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NATIONAL GALLERY:
DESCRIPTIVE AND
HISTORICAL CATA-
LOGUE OF THE BRITISH
AND FOREIGN PICTURES
WITH BIOGRAPHICAL NOTICES
OF THE PAINTERS, INDICES, ETC.

BY AUTHORITY

EIGHTY-FIRST EDITION

LONDON : PRINTED FOR HIS

MAJESTY'S STATIONERY OFFICE

AND SOLD AT THE GALLERY. 1913

PRICE ONE SHILLING

PLAN OF THE NATIONAL GALLERY

Stack
Annex

CONTENTS.

PAGE

PLAN OF THE GALLERY FRONTISPIECE

INDEX TO THE PLAN . v

REGULATIONS OF THE GALLERY vii

HISTORY OF THE NATIONAL GALLERY ix

DIRECTOR'S PREFACE xv

EXPLANATORY REMARKS xvi

ALPHABETICAL CATALOGUE OF THE

PICTURES 1

INDEX OF RELIGIOUS SUBJECTS 780

NUMERICAL INDEX OF PICTURES 800

PICTURES ON LOAN 819

CHRONOLOGICAL LISTS OF THE VARI-
OUS SCHOOLS 821

(1798327.) Wt. 25752 8U3/54. 5000. 4/13. D & 8.

1C913SO

INDEX TO THE PLAN.

NORTH VESTIBULE TUSCAN AND SIENESE SCHOOLS (14th
Century).

I. TUSCAN SCHOOL (15th Century).
II. Do. Do.

III. Do. (16th Century).

IV. MILANESE SCHOOLS AND LEONARDO DA VINCI.
V. TUSCAN AND SIENESE SCHOOLS (15th Century)

VI. UMBRIAN SCHOOL : Raphael.
VII. VENETIAN SCHOOL : Titian.
VIII. PADUAN SCHOOL : Crivelli.
IX. VENETIAN SCHOOL : Veronese.
X. FLEMISH SCHOOL : Rubens.
XI. EARLY FLEMISH SCHOOL : Van Eyck.
XII. DUTCH SCHOOL: Ruisdael.

XIII. Do. Vermeer.

XIV. Do. Rembrandt.
XV. Do. Pieter de Hooch.

XVI. GERMAN SCHOOL.
XVII. SPANISH SCHOOL : Velazquez.
XVIII.
XIX.

XX. BRITISH SCHOOL : Hogarth.

XXI. Do. Crome.

XXII. Do. Turner.

XXIII. Do. Xasmyth, &c.

XXIV. Do. Constable.

XXV. Do. Reynolds and Gainsborough.

XXVI. FRENCH SCHOOL : Poussiu.
XXVII. BOLOGNESE SCHOOL.
XXVIII. FRENCH SCHOOL.

XXIX. FERRARESE SCHOOL AND CORREGGIO.
DOME VENETIAN AND VERONESE SCHOOLS.
EAST VESTIBULE FRENCH AND ITALIAN SCHOOLS.
WEST VESTIBULE BRITISH SCHOOL

REGULATIONS OF THE GALLERY.

THE National Gallery is open to the public free on Mondays,
Tuesdays, Wednesdays, and Saturdays throughout the year
during the following hours :

Januar From 10 A.M. until 4 P.M.
From 10 A ' M - until du8k '

April 1

May

Jjjfy 6 j- From 10 A.M. until 6 P.M.

August
September J

October }

November > 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,

Th *- **-

uno
cert
Eig:

are!
have
are u

In
with
conte:

Th< _^____^<o given m inches,

and ii*-ni<7cres: ThTlibbreviations 7t. and w. indicate height and.
width.

CATALOGUE.

AACKEN (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.
He was an occasional exhibitor at the Royal Academy between
1788 and 1800. Several of his works, including a portrait of
Lord Nelson, are in the National Portrait Gallery. He died in
1803.

No. 1198. Portrait of Mr. Henry Byne, of Carshalton,
Surrey.

Bust portrait. About thirty years of age, in a blue coat with
brass buttons and a white muslin cravat. The face, three-quarters
to the right, is clean shaven, and the hair powdered. Dark
background.

Canvas, 29 in. h. by 24 in. w. (0-73 by 0-61).

Presented by Miss Catherine C. Lippincott in 1885.

AGII. (See PRE VITAL!.)
AGNOZ.O (ANDREA D'). (See SARTO.i

ALBA. (See MACRXNO D'ALEA.)

ALDEGREVER (HEINRICH), 1502 ? living in 1555.

School of Westphalia. HEINUICH ALDEGREVER, whose real name
was TRIPPENMEKER, the most important artist of Westphalia in the
XVIth century, was an engraver, 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 AetaMs XXVIII," and dated 1530, tho other inscribed " Anno Ktntis
sue XXXV," and dated 1637.

17983 A

2 ALDEGREVER ALLEGRI.

son of a Paderborn burgher named Hermann Trippenmeker. After
his period of study he settled at Soest ; this was probably before
1527 although he is not known with certainty to have been there
earlier than 1545. He practised as an engraver, designer of
ornament, goldsmith, and painter, but did not paint many
pictures. A notable work is the bust Portrait of Philip III,
Count of Waldeck, which is dated 1536 ; it appeared at Breslau a
few years ago, and is now in the Castle of Arolsen. ALDE-
GREVER'S Portrait of a Youth, of 1540, is in the Liechtenstein
Gallery at Vienna ; the Portrait of a Man in this collection
(Ko. 1232), is one of his latest works.

ALDEGREVEH'S style was formed upon that of Albrecht Diirer,
while he was also inspired by Sebald Beham. Outside the Nurem-
burg circle he is- perhaps\the most -interesting member of the
group of Little Masters of Germany. His engravings earned for
him an honourable, if not a leading place among his contem-
poraries, and illustrate biblical, mythological and allegorical
subjects or those taken from daily life. The latest date on any
of these is 1555, and beseems to have died shortly afterwards.

ATTRIBUTED TO AIiDEG-REVER.

No. 1232. Portrait of a Gentleman.

Formerly catalogued as the Portrait of a Young Man.

He is turned to the spectator's left. In his left hand he holds two
pinks. The face is beardless, the head, with crisp yellow hair, is
covered with a flat black cap. Beneath a gown of red watered
silk, broadly turned over with streaked yellow and brown fur, are
seen the black sleeves of the jerkin. The low-necked shirt is
edged with embroidery. Background of dark green. Half length
figure, rather less than life-size.

Oak, 19^ in. A. by 15 in. w. (<H8 by 0'38).

Possibly by HANS BALDUNG. Formerly in the Collection of Mr.
James Whatman, F.R.S., where it passed under the name of Holbein.

Purchased at the sale of Mr. J. Whatman's Collection (No. 34) ;
Walker Fund, July 2nd, 1887.

AXi&EGRX. (See CORREGCrXO.)

I *W. Bell Scott: The Little Masters"' of Germany, 1879; A. M. Hind : Short
History of Engraving and Etching, 1908, p. 85 ; Geisberg : Die Munstfrtochen
Wiedertatifer >n,>t AU<-<jr< /, Stfassburg, 1907: Gehrke: E. Aldegrevcr (Zeits-
chrift filr vaterl. Gcfch. und Altertumskunde IV, 145); Allgemeiues Lexikon der
midenden Kunstler, lt07, 1., p. 240.

ALLORI AMBERGER. 3

:> 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 Nos. 912-14 ; UMBRIAN SCHOOL.

The Virgin and Child with two Saints.

In the centre the Virgin stands half length, turned slightly
left. Her dress is cloth of gold patterned in deep rose ; her
mantle and hood deep indigo blue lined with greenish blue ;
on her left shoulder a gold star embroidered. The Child
stands to the left, on a red rose coloured cushion, gold braided,
which lies on a ledge, draped in the same colour. He has a
thin linen cloth round His waist and over His right shoulder ;
His right hand is raised to bless, His left arm is passed over the
Mother's shoulder. Behind them two saints, probably SS.
Paul and Peter, with bowed heads ; be on the left has a brown
beard, he on the right a white. The background is of gold leaf,
the Virgin's nimbus stamped in it ; the Christ's is a circlet, rose
coloured. On the right of the ledge, a goldfinch pecks at a
green cherry. Grey golden tone.

Wood, 24 in. h. by 16| in. w. (0'62 by (Ml).

Lent by the Victoria and Albert Museum.

FYT. 275

FYT (JAN), 1611-1661.

Flemish School. JAN FYT, one of the most famous of the
Dutch still life and animal painters, was baptized at Antwerp.
He was studying under Jan van den Berch, about 1622, and
later Frans Snyders. In 1630 he was admitted Master in the
Antwerp Guild and left the town next year. In 1633-34 he
was in Paris, then he went on to Rome where he was known
as Glaucus, Goedhart, and Goudrinder. He worked in Venice
in the Palazzo Sagrado and the Palazzo Corstarirri. By September
1641 he was back in Antwerp ; in 1642 he obtained a passport
to travel to Holland, and next year had a pupil, Jerome
Pickaert. FYT seems to have been of an avaricious temper ;
in 1648 he was quarrelling with his brother Peter, over their
mother's will ; in 1651 he was at issue with bis sister, and in
1652 in a law&uit with the Antwerp Town Council. He
married an invalid wife in 1654 for her considerable dowry. In
1656 he was again in a lawsuit with a picture dealer Frans Diaricx
concerning some spurious pictures, and was non-suited. From a
document of April 10, 1660, we learn that FYT was working for
Jan Breughel, Quillinus and J. Peeters for 18 guilders per diem.
He still had one pupil in 1660. His will was made in July 1661 ;
on September llth he died, and was buried in the Church of
St. Michaels-Abtei. His eldest son Jans was an idiot, his youngest
daughter Anna had died in 1662. Signed examples of FYT'S work
occur at Cassel, Dresden, Frankfort, tbo Louvre, Vienna and
Stockholm ; the dates on his pictures range from 1641 to 1661.
His etchings are well known.

No. 1003. Dead Birds.

Two partridges and smaller wild fowl before the stump of a
tree ; an open country to the left, and a carriage to the right, in
the background. Cold grey tone. Signed :

Canvas, 15 J in. h. by 22 J in. w. (0-39 by 0'57).
Wynn Ellis Bequest, 1876.

17983 S 2

276 GAINSBOROUGH.

GAINSBOROUGH (THOMAS), R.A., 1727-1788.

English School. Thomas Gainsborough was born at Sudbury,
the fourth son in a family of nine children, of whom four were
girls. He was apparently intent upon an artistic career from his
earliest years ; the tradition is that at twelve he " was a confirmed
painter." His earliest attempt at portraiture may be the famous
" Tom Peartree," which was painted under curious circumstances.

Leaving Sudbury for London in 1741, he studied first under
Hubert Gravelot (Bourguignon) and afterwards Francis Hayman.
In 1744 he took a studio of his own in Hatton Garden, and set
up as a portrait and landscape painter, but without success.
In 1745 he returned home. Almost immediately afterwards,
he met Margaret Burr, who was two years younger than himself.
In a very short time they were married and went to live at
Ipswich.

To this period of his career belongs the Village of Cornard,
Suffolk (No. 925), which dates from about 1753 ;f the Painter's
Daughters (No. 1811), of about 1755, the two Landscapes (No.
1485 and No. 1486) were painted some three years later.
Gainsborough's reputation extending, he settled about 1760
at Bath, probably having made a tentative visit in 1758.f
The John, Fourth Duke of Bedford, in the National Portrait
Gallery, was painted at Bath about 1768, being succeeded by the
Edward Orpin, Parish Clerk (No. 760), of about 1769. The
Blue Boy (Master Jonathan Buttall), now in the Collection of
the Duke of Westminster, was painted about 1770. The Dr.
Schomberg (No. 684) belongs to the end of the Bath period,
which included many famous landscapes. Typical among them
must be considered the Cottage Door, of 1772, now in the
Collection of the Duke of Westminster, and the Harvest
Waggon, now in the possession of Lord Swaythling.

In 1774, Gainsborough settled in London, and rented a portion
of Schomberg House, Pall Mall, his reputation being such that
from that year to his death he was considered the rival of
Reynolds. He was nominated by George III. one of the
thirty-six Academicians on the foundation of the Academy in
1768, and in the following year contributed four pictures to
the first exhibition. About 1775 were painted the Hon. Mrs.
Graham, now in the National Gallery of Scotland, and the

* The picture usually known by this title was painted from a hurried
sketch taken at the moment that a villager was robbing his father's orchard,
the ultimate detection of the thief being brought about by the truthful
representation of the features. The picture was lent to the " Gainsborough
Exhibition," held at the Grosvenor Gallery in 1885, and exhibited at
Ipswich in 1887. It is now in the Elizabethan Mansion in Christchurch
Park which was presented to the town of Ipswich by Mr. Felix
Cobbold, M.P. This information has been kindly communicated by Mr.
James Greig.

f Sec James Greig : Thomas Gainsborough.

GAINSBOROUGH. 277

Watering Place (No. 109), and the Sketch (No. 1174) for the
same picture, now in this Gallery. About 1777 appeared The
Bridge (No. 2284). The Rev. Sir Henry Bate Dudley (No. 1044)
was exhibited in 1780 and the Colonel St. Leger, now at
Buckingham Palace, 1782.

After exhibiting at the Royal Academy almost yearly from 1769
to 1783, he had a misunderstanding about the hanging of his
pictures, and in 1783 exhibited for the last time. In that year he
sent twenty- six paintings, which included fifteen small portraits of
the Royal Family, together with the Sir Harbord Harbord, now in
the Town Hall, Norwich, the Mrs, Sheridan, in the possession of
Lord Rothschild, Charles, Marquess Comwallis, now in the
National Portrait Gallery, as well as a Landscape and a Seapiece.
The Baillie Family (No. 789) was painted 1783-84. In that year
he painted the Mrs. Siddons (No. 683). Other famous paintings
belonging to the period of Gainsborough's fullest maturity include
the Mrs. Robinson (" Perdita,") in the Wallace Collection, the
Morning Walk (Squire Hallett and his Wife), in the Collection of
Lord Rothschild, which is admitted to be the artist's masterpiece,
and the Mrs. Sheridan and Mrs. Tickell in the Dulwich Gallery.
Gainsborough was among those present at the trial of Warren
Hastings, which began in Westminster Hall on Feb. 12, 1788. On
that occasion he caught a chill ; this seems to have proved the
beginning of cancer, from which he died six months later.

Gainsborough never left England, but occasionally made copies
of pictures by Titian, Velazquez, Rubens, and Van Dyck, often,
however, in great part from memory. He had a profound
admiration for Van Dyck ; his last words, uttered in the presence
of Reynolds, were : " We are all going to heaven and Van Dyck
is of the company."

The letters written by him to William Jackson, of Exeter, in
the possession of the Royal Academy, give the impression that
his love of music equalled his devotion to painting.f

He probably painted about 700 portraits and some 200 land-
scapes, but very rarely signed bis pictures.^

Some of Gainsborough's pictures in this Collection may be
approximately dated as follows : 1753 (No. 925), 1755 (No. 1811),
1758 (No. 1485, No. 1486), 1769 (No. 760), 1772 (No. 684), 1775
(No. 109, No. 309, No. 1174), 1777 (No. 2284), 1780 (No. 1044),
1784 (No. 683, No. 789).

* A copy of the " Pembroke Family," by Van Dyck, was among the
paintings included in the Collection which was exhibited by his nephew,
Gainsborough Dupont, at Schouiberg House, in March and April, 1789, for
private sale.

I Sir W. Armstrong: " Gainsborough and his place in English Art"
1898, p. 88. See also the Morning Post, July Oth, 1912. R. E. Fry " Jfrynoidx'
Discourses," 1905, p. :!7. - f.

J For a list of Gainsborough's signed pictures see a note by Mr. Maurice
W. Brockwell, published in Notes and Queries. 10th Series, vol. XI., May 8,
1909, p. 368.

278 GAINSBOROUGH.

No. 80. The Market Cart.

The horse and cart are on the point of passing towards the
right through a shaded pool on the high road ; the cart is loaded
with vegetables, on which two girls are seated ; two boys and a
dog are walking by the side of it ; in the foreground to the left
a boy and girl are sitting on the side of the road with a dog ; to
the right, in the middle-ground, is a youth collecting faggots.

Canvas, 72J in. h. by 60* in. w. (1'84 by T53).

Purchased at Lord Gwydyr's Sale, May 9th, 1829 (No. 87), under
the title of "A Grand Upright Landscape with Figures," and pre-
sented by the Governors of the British Institution.

No. 1O9. The Watering-place.

A thickly-wooded landscape, with a group of a few figures in a
retired spot to the left ; a man on a horse with some cattle and
goats standing in a pool of water in the foreground to the right.
Evening. Painted about 1775.

Canvas, 58 in. h. by 71 in. w. (l'47by 1'80).

The sketch for this picture is No. 1174.

Presented by Lord Farnborough in 1827.

No. 308. Musidora bathing her Feet.

She is seated full length on the bank of a' shaded stream, bathing
her right foot in the water, and loosening the sandal of her left
foot which rests on her right knee.

Canvas, oval, 72 in. h. by 60 in. w. (T82 by 1-52).

Robert Vernon Gift, 1847.

No. 309. The Watering-place.

A woody landscape ; in the centre a boy and a dog ; in the
foreground to the right three cows standing in a stream ; a village
church in the distance. This composition is very similar to
No. 109.

Canvas, 23 in. h. by 30 in. w. (0-58 by 0'76).

Robert Vernon Gift, 1847.

No. 310. Landscape; Sunset.

A carter on his way home has stopped to water his team at
a wayside brook, which occupies the centre foreground of the
composition.

Canvas, 51 in. h. by 59 in. w. (1-29 by 1-49).

GAINSBOROUGH. 279

Formerly in the Collection of Mr. John Ewer, May 12, 1832. Said
to have been bought by him at the sale of Gainsborough's pictures at
Schomberg House, 1789*.

Exhibited at the British Institution, 1814 (No. 52).

Robert Vernon Gift, 1847.

No. 311. Rustic Children.

A girl is carrying a child in her arms, to the left of her sits a boy
with a bundle of faggots in his arms. Evening light.
Canvas, 18 in. h. by 14 in. w. (0-43 by 0'36).

A sketch for the " Wood Gatherers " in Lord Carnarvon's Collection.
Robert Vernon Gift, 1847.

No. 678. Portrait of Abel Moysey.

Formerly catalogued as " Study for a Portrait."

A study for a full-length portrait of Abel Moysey, for some
years M.P. for Bath.

Canvas, 22| in. h. by 18 in. w. (0'57 byO'45).

Presented by Mr. H. G. Moysey and Rev. F. L. Moysey in 1861.

No. 683. Portrait of Mrs. Siddonsj

The great actress is seated three-quarter length, nearly profile to
the left, wearing a striped blue and white dress, with buff-coloured
shawl, with black hat and feathers ; she holds in her left hand a
brown muff. Painted in 1784.

Canvas, 49 in. h. by 39 in. w. (1-25 by 0-99).

Exhibited at Manchester, 1857 (No. 74).

A study for this picture in Indian ink wash is in the Collection of
Mr. H. J. Pfungst.

Purchased from Major Mair (who married the actress' grand-
daughter), 1862.

No. 684. Portrait of Ralph Schomberg, M.D., F.S.A.

He wears a court suit of claret-coloured velvet, and holds his
cocked hat and cane in his hands. He is seen standing full length,
in the open air ; landscape background.

Canvas, 91 in. h. by 60J in. to. (2'31 by 1-63),

Exhibited at the British Institution, 1814 (No. 29).

Presented to the National Gallery in 1835 ; but the donor having no
title to dispose of it. it was restored to the proprietors in 1836. Pur-
chased from Mr. J. T. Schomberg, Q.C., in 1862.

* The measurements given in the Catalogue drawn up by Gainsborough
Dupont. in 178'.l. invalidate this assertion.

I For a list of exhibited Portraits of Mrs. Siddons, see a note by Mr.
Algernon Graves, in "Notes and Queries," July 28, 1883, p. 63.

280 GAINSBOROUGH.

No. 760. Portrait of Orpin, Parish Cleric of Bradford-
on-Avon, Wilts.

Half length, seated ; his face turned to the right towards the
window ; his hands rest on a large folio Bible, open on a reading
desk before him. Golden grey tone. Edward Orpin died in 1781.

Canvas, 47 in. Ji. by 37$ in. w. (1'20 by 0'95).

Painted at Shockerwick. Exhibited at the British Institution, 1814
(No. 70).

Purchased from the Collection of John Wiltshire, of Shockerwick,
May 25, 1867 (No. 129).

No. 789. The Baillie Family.

The group is in a garden ; the mother seated with the youngest
child standing on her lap ; to the left are standing two girls ; to
the right the father leaning on the back of his wife's chair ; in
the right foreground a little boy. Six whole length figures.
Grey golden tone.

The group represents Mr. James Baillie, of Baling Grove, his
wife and four children.

Canvas, 98 in. h. by 89 in. w. (2'48 by 2-25).

Formerly in the Collection of Mr. Alexander Baillie, of Naples, until
1857 ; bequeathed by him to the National Gallery ; retained, by agree-
ment, by his nephew, Mr. M. J. Higgins, till his death. Received by
the National Gallery in 1868.

No. 925. Wood-Scene, Village of Gornard, Suffolk.

Formerly catalogued as a " Landscape " ; called " Gainsborough's
Forest " in the print published by the Boydells in 1790.

In the right foreground a pool of water and two donkeys ; in
the distance, where the road emerges from the wood, the village
and church of Cornard ; several figures and animals. Painted
about 1753.

Canvas, 48 in. h. by 60 in. w. (1'21 by 1'52).

Exhibited at the British Institution, 1843 (No. 176) ; at Manchester,
1857, No. 96.

Formerly in the Collections of Alderman Boydell. Mr. Watts, and
Mr. Watts Russell. Purchased from the Collection ' of Mr. Jesse W.
Russell, out of the Lewis Fund, 1875.

No. 1044. Portrait of the Rev. Sir Henry Sate
Dudley, Bart.

Bust portrait, nearly full face, slightly turned to the right, in
black coat and black neck-cloth. Sir Henry Bate Dudley (1745-
1824) was curate of Hendon in 1773. He became the founder
and editor of the " Morning Post." Painted about 1780

Canvas, oval, 28 in. h. by 36f in. w. (0'72 by 0'93).

Presented by his nephew, Mr. T. Birch Wolfe, in 1878,

GAINS BOROUGH. 281

No. 1174. Tlie Watering-place: Three Cows.
A sketch for No. 109. Painted about 1775.
Canvas, 16* in. h. by 21$ in. w. (0'41 by 0-54).
Bequeathed by Mrs. Elizabeth Vaughan in 1885.

No. 1271. Portrait of a Young Man.

Dressed in a plum-coloured coat, white waistcoat, and cravat ;
the hair brushed up from the brow, curled at the sides and
powdered ; three-quarters to the right.

Canvas, oval, 12 in. h. by 9f in. w. (0-30 by 0'24).
Presented by Mr. James Rannie Swinton in 1888.

No. 1283. View of Dedham.

A thickly-wooded copse, with beech and oak trees shading a
hilly foreground, on the left of which a man is seated. Through
the trees, towards the left of the picture, is seen meadow land
divided by hedges. Beyond, a church tower rises above the dis-
tant village. Blue sky, with storm clouds gathering on the right.

Canvas, 24 in. h. by 30J in. w. (0-62 by 0'76).

Purchased out of the " Clarke Fund " in 1889.

No. 1482. Portrait of Miss Margaret Gainsborough.

Bast portrait, nearly profile to the left. She wears a black
silk dress, trimmed with black lace over a white muslin fichu ;
her hair is brushed back from the forehead and gathered into a
knot on the back of her head, her left hand showing ; apparently
about 20 years of age ; grey background.

Canvas, oval, 29 in. h. by 24 in. to. (0-73 by 0'61).

Exhibited at Burlington House (Old Masters), 1887 (No. 40).

Formerly in the Collection of Mrs. Lane.

No. 1483. Two Dogs : " Tristram " and " Fox"

" Fox " is the small Spitz, while '' Tristram," a cross-bred
spaniel, lies by his side on the right. Dark background.

" Fox " belonged to Gainsborough and " Tristram " to Mrs.
Gainsborough.

Canvas, 24 in: h. by 20 in. w. (0'61 by 0-50).

Exhibited at Burlington House (Old Masters), 1887 (No. 47)

Fnlcher : "Life of GainxloroitgJi," 1856, p. 152.

No. 1484. Study of an old Horse.

Near a dilapidated wooden paling, at the entrance to a field,

282 GAINSBOROUGH.

a very lean white cart-horse stands tied by a halter to the branch
of a withered tree.

Canvas, in monochrome, 21f in. Ti. by 25 in. w. (0'55 by 0'64).

Exhibited at Burlington House (Old Masters), 1887 (No. 43).

No. 1485. Landscape.

A road, along which a man is walking, winds round a plantation,
containing beech and oak trees. Hilly country in the distance.
Grey sky with rising cumuli. Painted about 1758.

Canvas, 8| in. h. by 6f in. w. (0'22 by 0'17).

Exhibited at Burlington House (Old Masters), 1887 (No. 5).

No. 1486. Landscape.

Near a thickly-wooded glen, three figures sit under the shade
of an old oak tree. Towards the left glimpse of a distant village.
Twilight effect. Painted about 1758. Companion picture to
No. 1485.

Canvas, 8| in. h. by 6| in. w. (0'22 by 0'17).

Exhibited at Burlington House (Old Masters), 1887 (No. 6).

No. 1488. Rustics with Donkeys.

On the right in the foreground a boy bestrides a donkey, laden
with panniers holding children. Close behind trots another donkey
ridden by a young woman with a baby in her arms ; a man walks
by her side. In the background hilly wooded country suggested.

Canvas, in monochrome, 15J in. Ji. by 20f in. w. (0'39 by 0'52).

Nos. 1482-1488 presented by the Misses Lane in 1896.

No. 1811. The Painter's Daughters.

The artist's two daughters, Margaret and Mary, standing hand
in hand under some trees. Mary, the younger, on the left,
stretches out her hand to catch a butterfly. She wears a white
bodice and a light green skirt. Margaret, on the right, is in light
yellow. A large thistle in the left-hand corner. Painted about
1755.

Canvas, 45 in. h. by 41 in. w. (1'14 by T04).

Exhibited Burlington Fine Arts Club, 1871 (No. 72) ; Burlington
House (Old Masters), 1886 (No. 48).

A sketchy picture of " The Artist's Daughters " is in the Forster
Collection at the Victoria andfAlbert Museum.

Henry Vaughan Bequest, 1900.

Mary married Johann Christian Fischer, the hautboy player ; Margaret
died unmarried.

GAINSBOROUGH. 283

No. 1825. A Classical Landscape.

In the left foreground two white cows standing in a pool under
a bank crowned with thick trees. Another wooded bank on the
right, and a path, on which two figures are indicated, leads down
to a tall mass of buildings ; distant blue hills against a yellow sky.

Canvas, 16j in. k. by 21 in. w. ((HI by 0'54).

Henry Vaughan Bequest, 1900.

No. 2210. The Watering-place.

Cattle drinking at a watering-place in a sandy hollow, surrounded
by trees. This work is said to be been engraved on pewter.

A print from a soft ground etching, reinforced with aquatint.
9| in. h. by 13 in. w. (0'24 by 0'33).

A similar composition to No. 109 and No. 1174 in this Gallery.

Presented by Mr. A. E. Anderson in 1907.

The seven following Crayon Studies for Landscapes
(No. 2223-No. 2229), by Gainsborough, were pre-
sented by Mr. Thomas Birch Wolfe in 1878 :

No. 2223 (34). Sheep.
10i in. h. by 14$ in. w. (0'26 by 0*36).

No. 2224 (4O). Water in the foreground, a cottage

on rising ground to the right.
10f in. h. by 14J in. w. (0'26 by 0'36).

No. 2225 (36). Figures and horses in a country lane.

10 in. h. by 12 in. w. (0'25 by 2'31).

No. 2226 (39). A Bridge in the right foreground, a
Church in the distance.

No. 2227 (35). Horses under a shed.

10 in. h. by 12| in. w. (0'25 by 0'31).

No. 2228 (38). Figures and Horses crossing a bridge

in the left foreground.
10J in. 7<, by 14* in. w. (0'26 by 0'36).

No. 2229 (37). A Bridge in the left foreground,

a Cottage in the middle-distance.
10| in. h. by 14i in. w. (0-26 by 0'36)

284 GAINSBOROUGH.

No. 2284. Tlie Bridge*

A view of a wooded valley ; in the foreground a stream is
crossed by a wooden bridge, across which two cows are being
driven by a cowherd. In the middle distance to the right a tower
is seen among trees on rising ground. Painted about 1777.

Canvas, 15f in. h. by 18 in. w. (0'40 by (H7).

Exhibited Burlington House (Old Masters), 1892 (Xo. 4) ; Guildhall,
1902 (No. 68).

Bequeathed by Mr. Martin H. Colnaghi in 1908.

No. 2637. Portrait of Sir William Blackstone, LL.D.,
Judge. Author of the " Commentaries on the Laws
of England."

He wears judge's robes and holds a paper between the fingers of
his left band. Half-length, three-quarters to the left ; clean
shaven.

Canvas, 29 in. h. by 24 in. w. (0'74 by 0'62).

George Salting Bequest, 1910.

No. 2638. Portrait of Miss Elizabeth Singleton.

She wears a blue dress with a black lace fichu and a white
bonnet, the strings tied under her chin. Half-length nearly full
face. Plain background.

Canvas, 13J in. h. by llf in. w. (0'34 by 0-29).

George Salting Bequest, 1910.

The five following Etchings and one Aquatint Engrav-
ing (No. 2717-No. 2722), by Gainsborough, were
presented by Mr. A. E. Anderson in 1910 :

No. 2717. A Ruined Church Yard.

An old man in the foreground is reading the inscription on
the headstone of a grave. Two lovers are seated in the middle
distance. In an oil sketch that belonged to Mr. J. E. E. Leggatt,
the inscription on the headstone reads " Here lies poor Margaret
Gainsborough." A print with margins in the British Museum has
the lettering" Published, 1797. I. & I. Boydell."

A soft ground etching, llf in. h. by 15J in. w. (0'29 by 0'39).

No. 2718. A Road by a Rock.

A cart at the turn of a country road passing a big rock and
some trees.

A soft ground etching, llf in. h. by 15 in. w. (0'29 by 0-39).

* In accordance with the late Mr. Martin Colnaghi's wishes, this picture
has been hung with the others bequeathed by him.

GAINSBOROUGH GAROFALO. 285

No. 2719. Cattle and Tree.
Three cows resting beside a tree. Inscribed " Gainsborough."

There is a print in reverse of this composition in the British
Museum from which this composition may have been engraved.

Aquatint and soft ground etching, 6 in. It. by 8 J in. w. (0'15 by 0'20)

No. 2720. Demventwater.

The river entering the lake through low lying land near Grange.
Gatbells in the distance. Two cows are resting under the shade
of trees.

Aquatint and soft ground etching, 9f in. h by 13 in. to. (0'24 by 0'3-t).

No. 2721. A Cottage in a Wood.

A cart is stopping at the door of a cottage surrounded by trees
Soft ground etching, 10 in. h. by 12f in. w. (0'25 by 0'32).

No. 2722. A Woodland Glade.

Three cows are sheltering in a woodland glade near a pond.
A print in the British Museum is labelled" Boydell, 1797."
Aquatint engraving, 11 in. h. by 13| in. w. (0'27 by 0'34).

GAROFALO (BENVENUTO Tisi), 1481-1559.

Ferrarese School. Born at Ferrara in 1481, the son of Pietro
TISI, a shoemaker, of the Paduan village Garofalo, BENVENUTO
was apprenticed to Domenico Panetti, one of Tura's pupils, in
1491. About 1498 he went to Cremona and put himself under
Boccaccino for a few months. On January 19, 1499, he suddenly
and secretly departed, much to Boccaccino's disgust, leaving im-
portant work undone. He went to Rome where he made studies
from the drawings of the great Florentines. His father's fatal
illness recalled him home in 1501. Then he met Dosso Dossi,
and a little later worked with the brothers Dossi at the
Borgia's Court. While associated with Dosao GAROFALO pro-
duced his best work, in a period, that is, of some six years.
Among his early works are the Adoration of the Shepherds, in the
Borghese Gallery ; the Adoration, in the Doria Gallery, by some
attributed to Ortolauo ; the Descent from the Cross, circa 1508,
in the Borghese Gallery. Towards the close of 1509 he was
invited to Rome, and there saw part of the Sistine Chapel
ceiling, and perhaps Raphael's cartoons for the Stanza della
Segnatura. His stay iu Rome lasted eighteen months. In 1511
he was at Mantua, and next year settled in Ferrara, in whose
gallery his works range from 1513 to 1549. During this period

286 GABOFALO.

he was occupied with large altar-pieces. About 1531 he lost the
sight of one eye, which did not materially deter him; he
died at Ferrara in 1559. His wife was Caterina della Grana
and his youngest son was born in 1536. After his second
visit to Rome, in 1509, the influence, not beneficial, of Raphael
is obvious in his work. Morelli considered that many pictures
attributed to Ortolano, whom he describes as a weak imitator
of GAROPALO, are by the latter. Among these are the Descent
from the Cross (circa 1508), in the Borghese Gallery, the
SS. Sebastian Rode and Demetrius, No. 669 in this Gallery, and
the Nativity, in the Doria Gallery. Most of GAROFALO'S works
are at Ferrara, Rome, and Dresden.

No. 81. The Vision of St. Augustin.

Augustinus, one of the four " Doctors " of the Church, and
bishop of Hippo, in Africa, while engaged on a work on the
Trinity, in a vision saw a child endeavouring with a ladle
to empty the ocean into a hole in the sand ; upon the saint
pointing out how vain his labour, the child retorted how much
more futile must be the bishop's efforts to explain what the
Deity had made inscrutable. The Saint is seated on the
right, by a rock on which are some books, two papers and
his mitre. St. Catherine is behind him, and both turn to the left
where the child, seated on a stump and holding a ladle in his
right hand, points with his left at the sea beyond ; on his shoulder
is an orange cloak. In the clouds above the Holy Family with
a choir of angels : landscape background, with a view of the sea
on the shore of which, to the left, St. Augustine is seen standing.

Wood, 25i in. h. by 32 in. w. (0-64 by 0-81).

Formerly in the Corsini palace at Rome ; subsequently in the Ottley
Collection ; Holwell-Carr Bequest, 1831.

No. 170. The Holy Family.

To the right, dressed in deep rose-red and blue, the Madonna
seated full length ; she turns left, holding her Son, who steps
across the cradle to meet the little St. John, who advances,
supported by fet. Elizabeth. She, wearing rich green and orange
and a thickly-swathed white coif, is seated on the left, turned
right. Behind her, on the left, St. Francis and an older
saint ; on the right St. Joseph seated watching. Behind, an

rn window giving ou a distant town and mountains. Above
Eternal and a heavenly choir.
Canvas, 30 in. k. by 23. in. w. (0'77 by 0'59).
Purchased from the collection of Mr. Beckford, of Fonthill, 1839.

No. 642. The Agony in the Garden.

In the centre, on raised ground, the Christ, facing left,
kneels in prayer, His right hand on His breast ; He wears a

GAROFALO GEERTGEN. 287

rose-pink robe and deep-blue mantle. Behind Him, on the right,
soldiers with torches ; on the left, high in the sunset sky, an
angel with the Grail. In the foreground two disciples, prone in

Canvas, transferred from wood, 19 in. h. by 14 in. w. (0'48 by 0'35).
Purchased in Paris from M. E. Beaucousin, 1860.

No. 671. The Madonna and Child enthroned, under a
Canopy with Saints.

The Mother seated on a high throne in the centre, full
face, full length ; she wears blue and rose-pink. The Child
is on her lap looking to the right where stand SS. Francis, full
face and barefooted, with his right hand on his breast and
Anthony behind him, profile left. On the left stands St. William,
in armour and a green cloak, lined with dull orange, holding
a shield with his left hand and with the right pointing at the
throne's steps ; on his left St. Clara, a crucifix in her left
hand. Above the throne a green canopy. Golden grey tone.
Painted 1517.

Wood, arched at the top, 95 in. A. by 82 in. 10. (2'41 by 2-09).

Originally the principal altar-piece in San Guglielmo, Ferrara,
whence it was removed in 1832 to the cathedral, and thence to
the residence of the archbishop. A copy of this picture by
Alessandro Candi of Ferrara is now in the church of San Giuseppe
a' Cappucini at Bologna. Purchased from the Count Antonio Mazza
in 1861.

GSERTGEN VAN SINT JANS. 1465 ?-1493.

Netherlandish School. This master, known otherwise as
Gerard of Haarlem, was born about 1465 in Leiden. He worked
at Haarlem, where, according to Van Mander, he died, aged but
twenty-eight, in 1493. His master was Albert van Ouwater, and
GERARD, though not a monk, lived in the Monastery of the Brethren
of St. John, whence he derived his name, TOT SINT JANS. For the
confraternity he painted a large Crucifixion for the high altar, with
shutters, now preserved at Vienna. Works universally recognized as
GEERTGEN'S are few. They principally are the Julian the Apostate
ordering the Bones of St. John the Baptist to be burned (once in
Charles I.'s collection"), and The Descent from the Cross, or Die
Beweinung Christi, both in Vienna ; the curious allegorical piece
known as Ihe Holy Family, or Allegoric op het Zoenqffer des
Nieuwen Verbonds, No. 950, in tbe Rijks Museum, and The
Martyrdom of St. Lucy t No. 951 in the same gallery ; The Adoration
of the Magi, in the Ferdinandeum, Prague ; the St. John the Baptist,

288 GEERTGEN GENNARI.

at Berlin ; the Raising of Lazarus, in the Louvre; and an Adora-
tion of the Infant Christ, in the Kauffman Collection, Berlin.

Vide Sir Claude Phillips : Ihe Burlington Magazine XIX.,
Vol. VI. Dr. Max Friedlander : Jahrbuch der Konig-Preus&ischen
Sammlungen, CCCC., Vol. No. I., and for reproductions Alt
Niedrlandische Malerei ; Jena, 1910.

OEERTGENS VAN SZNT JANS (ASCRIBED TO).
No. 1085. Ttie Mystic Marriage of St. Catlierine.

A triptych ; formerly catalogued as School of the Lower Rhine.

In the central compartment the Virgin, with uncovered head
and long flowing hair, is seated reading ; her robe is deep cobalt.
At her feet the Infant Christ nndraped, seated on a black velvet
cushion. He extends His right hand that has given the ring
to St. Catherine, who kneels in contemplation on the left. Attend-
ants and angels grouped round, the latter playing musical instru-
ments. Behind is a stone fountain and an angel catching
water in a basin. In the background is the facade of a mediaeval
church, its west windows bright yellow. In the left compartment
the Baptist kneels, with some sheep, before a grove of orange trees.
In the right kneels St. John the Evangelist, a chalice in his left
hand. Behind him an angel gathers roses, and in the glade beyond
two more are picking oranges. The sky is a luminous deep blue.
The colours of the dresses are chiefly blues and reds ; the reds are
rich vermilion and a shade of rose carmine ; the blues deep and
pale cobalt ; in some of the dresses a note of rich green. The
picture is unfinished, the jewels and clasps are left out ; as an
explanation of the light windows it is possible that the painter
intended to add stained glass. Grey golden tone.

Wood, central compartment 26 in. h. by 17^ in. w. (0'66 by 0'43).
Side compartments, each 26 in. h. by 7 in. w. (0'667 by 0'178).

Exhibited Art Treasures Exhibition. 1857, lent by Mr. Green.
Inscribed on back " Hubertus et Joannis Van Eyck feceruut."

Bequeathed by Mrs. J. H. Green, 1880.

GENNARI (BENEDETTO), 1633-1715.

Bolognese School. GENNARI, the younger, born at Cento, was
the nephew and scholar of Guercino. He was in Paris in 1672,
and came to England in 1674, and was for some time in the service
of Charles II. and of James II. When the latter was dethroned
he returned to France, and in 1690 went to Bologna, where he
died in 1715. His works may be seen at Bologna and Modena,
mainly in figures of Saints.

GENNAEI GERICAULT, 289

No. 21O6. A Portrait of the Artist.

A portrait of a young man with dark hair and eyes and slight
moustaches. He is turned three-quarters to the left and holds a
palette and brushes in his left hand and a brush with which he is
working in his right. This portrait considerably differs in style
from one signed by this artist, representing Katherine, Queen
of Charles II., in the Collection of the Duke of Richmond and
Gordon at Goodwood.

Canvas, 23* in. h. by 19| in. w. (0'59 by 0'50).

John Samuel Collection, 1906.

GERICAULT (JEAN LOUIS ANDR6 THEODORE), 1791-1824.

French School. GERICAULT was born at Rouen, and entered
the studio of Carle Vernet in 1808, but neither there nor in that
of Gue"rin, to which he went in 1810, could he find con-
genial instruction. The effete traditions of pseudo-classical
painting were irremediably alien to his temper, and his own love
for the passionate realism of Rubens and bis irreverence for
classicism were gravely distasteful to Gue"rin. His real education
was absorbed from the old masters in the Louvre. In the
Salon of 1812 his Chasseur a Cheval was exhibited, a challenge
to the creed that deemed pictorial only what was "sublime"
and historical. Two years later he exhibited his tragic
Cuirassier Blesse, a symbol of the misfortunes that had fallen on
French arms. The heresy of painting a modern everyday subject
excited the critics, and G^RICAULT, always sensitive and restless,
enlisted in the Mousquetaires. He served in the Hundred Days
Campaign, but on the disbanding of the corps took up his palette
once more. In 1816 he went to Italy, and while in Rome painted
his famous Course des Chevaux Libres. He returned to Paris and
exhibited in 1819 his Radeau de la Meduse, dramatically depicting
the suffering of a shipwrecked crew, that had deeply stirred all
France. Here again his heresy in being " realistic " was bitterly
condemned ; hurt by these attacks GERICAULT came to London.
A man of a curiously brooding and morbid nature he at this
time attempted his life. From his earliest days horses had been
the motive of his work, and while in England he produced a series
of lithographs, now rarely obtainable, treating their action, anatomy,
and spirit with expressive power. He was back in Paris in 1822
full of projects, but in broken health ; he died on January 26,
1824. G^RICAULT was the prime spirit in the romantic move-
ment that came to a head with Bonington and Delacroix. The
latter owed much to G^RICAULT, for whom he had a kind of hero
worship ; in his Journal we read his admiration for his friend
and grief at the untimely death that robbed French art of so
original a son.

17983 T

290 GERICAULT.

Fourteen lithographs of horses, by or after Gericault. Pre-
sented by Edmund Houghton.

No. 2423 (1 to 14).
No. 1. Watering Horses.

A post-boy giving water in a backet to a pair of horses in a
stable ; a countryman stands by his side.
Inscribed " Gericault del."

No. 2. The Nose-lag.

A boy assisting a carthorse to get at his corn by lifting the
bottom of his nosebag.
Inscribed " Gericault del."

No. 3. Five Carthorses.

The animals are being led over the brow of a hill by two
waggoners.

Inscribed " Gericault del."

No. 4. The Vicious Carthorse.

A muzzled horse, tied to the post of a mill, stamps on the ground
as the carter loads up with sacks of flour.
Inscribed " Gericault del."

No. 5. TJie Forge, No. 1.

A blacksmith fitting a shoe on the hind leg of a horse.
Inscribed " Gericault del."

No. 6. The Coal-waggon.

A team of five horses dragging a coal-waggon over a hill.
Inscribed " Gericault del."

No. 7. Scavenger's Cart.

Three horses with a scavenger's cart in a foreign town.
A lithograph by G. Englemann after Gericanlt.

No. 8. After the Battle.
A dead horse in the snow.
A lithograph by G. Englemann after Gericault.

No. 9. Flemish Horses.

Two horses in a field standing near the stump of a dead tree.
A lithograph by G. Englemann after Gericault.

GERICAULT GERMAN SCHOOLS. 291

No. 10. A Horse Leaping.
A black horse leaping a gate.

No. 11. A Lion devouring a dead horse.

Inscribed " Gericault del."

No. 12. A groom exercising two carriage horses.

A lithograph by C. Hullmandel after Gericault.

No. 13. The Forge, No. 2.

A blacksmith lifting the fore-leg of a dray-horse.
A lithograph by C. Hullmandel after Gericault.

No. 14. The English Horse.
A racehorse on the downs.
A lithograph by G. Englemann after Gericault.

GERMAN SCHOOLS : XXV.-XV. CENTURIES

THE SCHOOL OF COLOGNE.

The painters of Cologne were early celebrated.* The first
definite personality encountered is " Meister Wilhelm " (living at
Cologne 1358-1378), whose name in full is Wilhelm von Herle.
To him nothing can be safely assigned save possibly the remnants
of the Rathaus frescoes, paid for in 1370, and now in the Cologne
Museum. The pictures formerly ascribed to " Meister Wilhelm "
now are given to Hermann Wynrich von Wesel, who succeeded to
Wilhelm von Herle's studio and widow. His activity was from
1378-1413-14. The most important works associated with him are
the High Altar of Cologne Cathedral (c. 1380), of which he painted,
it is thought, six scenes ; the Madonna with the Pea Blossoms in the
Cologne Museum ; the Veronica with the Sudarium, 1410, at Munich ;
the Crucifixion, at Cologne, SS. Catherine and Elizabeth, Nos. 88
and 89, Nuremberg Museum, and the Crucifixion with eight Apostles,
No. 43, Cologne Museum.

Stephan Lochner is the next painter of note. Born at Meersburg,
he died at Cologne in 1451. His earliest known work (c. 1430)
is the Madonna and Child with the Violet, in the Archbishop's

" Wolframb of Eschenbac-h, writing in the thirteenth century, says in his
" Parcival," speaking of the Knight that no painter of Cologne or Maastricht
could have made a better picture than he appeared on horseback. And in an
old chronicle of Limburg is written, " Eodem tempore, 1380. Coloniae erat
"pictor optimus, cui non i'uit similis in arte sua, diotus luit WILHELMDS,
"depingit enim homines quasi vivcntes." Fioriollo Gesc.hifhte dfr Zeichnenden
Kiimte in Deutschland, 1815, vol. 1, p. 418; compare Passavant, Kunxtreise, &e.,
p. 403; Schnaase, Gi'wMc.hte dcr liildn/ilni Kii/ixti; cr., vol. vi., t>. 423. On the
tempera employed by the Cologne painters, sec Sir Charles Eastlake's Materials
for a History of Oil Painting" 1847, p. 101.

17983 T 3

292 GERMAN SCHOOLS : XIV.-XV. CENTURY.

Museum, Cologne. The only dated work by him is the Darmstadt
Presentation (1447) ; the Adoration of the Magi in the Cathedral,
Cologne (the " Dombilder "), is assigned to 1440. Lochner's
influence was widespread, and his school apparently numerous,
until in 1450, R. van der Weyden, returning from Italy, stopped at
Cologne and painted his large triptych which eclipsed Lochner.
The next painter is the " Master of the Glorification of the Yirgin "
(No. 128, Cologne Museum) who is said to have come to Cologne
from Liege, after 1459 ; he had studied the Van Eycks, and com-
bined the style of Lochner with Netherlandish influences. He has
been identified by some authorities with Goedart Butgyn von
Aachen, who died 1489-93. A little later comes the " Master of
the Life of Mary," ("des Marienlebens") represented in this
Gallery. His pupil was the "Meister der Lyversberger Passion "
(Nos. 147-154, Cologne), a series once in the collection of
J. Lyversberg, Cologne. The next Master is he of the Holy
Kinship ("der heiligen Sippa")) so called from his large
triptych, No. 169, Cologne, (1498-1504) ; he has been called
Heinrich von Aachen and flourished between 1484 and 1509. His
works show the influence of the " Master of the Glorification of
Mary," the " Marienlebens Meister " Lochner, and even Jerome
Bosch : they can be seen at the Berlin Museum (on loan),
in the Dollfus Collection, Paris, and at Brussels (No. 126). His
glass windows are in the north aisle of the Cologne Cathedral.
The " Meister der heiligen Bartholomaus " (St. Bartholomew) so
called from a triptych (Nos. 48-50, Munich) is represented in this
Gallery.

Then comes the " Meister von St. Severin," called from a series
of pictures in the Church of St. Severin, Cologne. Probably a
Netherlander, under the influence of Memlinc, Geertgens van
St. Jans and C. Engelbrechtsen, he had set up a school for window
designs by 1505 ; a characteristic picture by him is the Adoration
of the Magi (Cologne, No. 189), painted circa 1513. His pupil
was the so-called " Master of the St. Ursula Legend," one of the
series being in the Victoria and Albert Collection, and another at
(No. 203). Thenceonward the School of Cologne became

Italianised ; a latter day painter was B. Bruyn, 1493-1555, who
reflects the influence of a Haarlem painter, Jan Soest, and his
contemporary Joos von Cleve (The Master of the Death of Mary,
Cologne, 442, 1515). Bruyn's best work was done 1520-1530. He
had two sons, Arnold (d. 1577) and Bartholomaus the Younger
(d. 1607-10).

See The Burlington Fine Arts Club : Catalogue of the Exhibition
of German Art, 1906 : Alban Head.

No. 687. The Santa Veronica, or Holy true Image of
our Lord.

St. Veronica is represented holding before her the SUDARIUM,
a white cloth bearing the miraculous portrait of the Saviour^

GERMAN SCHOOLS : XIV.-XV. CENTURY. 293

according to the church legend, with a golden nimbus inscribed
Xps Iris (Christ Jesus). The head is life-size, on a gold ground.
The original of this picture is said to be the Veronica with the
Sudarium at Munich, ascribed to Herman Wynrich von Wesel
(1378-1414), which has angel figures in the lower corners.

Wood, in tempera, 21 J in. h. by 13^ in. w. (0-54 by 0'33).

Formerly in the Lorenz-Kirche at Cologne ; purchased at Cologne
from the Collection of Mr. J. P. Meyer, in 1862.

GERMAN SCHOOLS. WESTPHALIAN
SCHOOL. XV. CENTURY.

The close connection of the Westphalian School with Cologne
makes differentiation sometimes difficult. One of the earliest
known painters is Konrad von Soest, who signed and dated an
altar-piece (1402-4) atNieder Wildungen ; there are many pictures
of his school at Kunstverein and Miinster.

The Meister von Schoppingen's altar-piece of the Passion is in the
church at Schoppingen, and shows the influence of the Maitre de
Flemalle (Robert Campin) and to some extent of Conrad Witz.
By some, the large altar in the Cologne Cathedral, taken from
Haldern, is ascribed to this Master.

The Meister von Liesborn represented in this Collection seems
to have left a School in which the so-called Meister von Lippborg
is placed ; a Crucifixion by him is in the Church of St. Mary at
Soest, and connects him with the brothers, Victor and Heinrich
Diinwegge, who signed and dated an altar (1521), in the now
Propsteikirche, at Dortmund. This work suggests Netherlandish
and even Dutch influence. Pictures ascribed to him are at
Dortmund, Munster, Wesel, Munich, and Antwerp.

The Meister von Cappenberg was a close follower of the Diin-
wegge, and painted the Triptych in the Monastery Church of
Cappenberg, and an altar in the Church of St. Victor, Xanten.
Later masters are Hermann to Ring, (born at Munster 1520, died
there 1597), a portrait painter, and bis brother Ludger (born 1522,
died 1583-4). His own portrait, dated 1547, is in a private
collection at Basel, and an interior, a kitchen, at Berlin.*

No. 1049. The Crucifixion.

The Christ hangs in the centre upon a cross of dark wood
between and in front of the crucified thieves, whose bodies are
violently contorted. At the foot of the cross stand the Virgin
Mary on the left and St. John on the right. Mounted soldiers,

* See Burlington Fine Arts Club. Catalogue Earlu German Art Exhibition,
1906. AlbanHead.

294 GERMAN SCHOOLS : XV. CENTURY.

with a crowd of other figures, are near. In the foreground, on
the left, a women kneels with uplifted bands, on the right a
soldier stands with his back to the spectator ; in the centre a
skull and bones. In the background other incidents of the
Passion. Mountain distance, with trees and buildings.

Wood, in oil, 41| in. h. by 47J in. w. (T05 by 1'19).

The wings of this panel are in the Roscoe Collection. Liverpool. (See
B.F.A. Catal. German Exhib., 1906; Nos. 12, 16.) A picture by the
same hand is at Aix-la-Chapelle.

Presented by Mr. E. Shipperdson, in 1847.

GERMAN SCHOOLS : XV. CENTU2LY.

German painting in the XVth Century had two main
phases ; the earlier being native and non-derivative, the latter
derived from foreign models. The former phase lasts till about
1450, the latter from 1450-60 till the century's end. Nurem-
burg, Ulm, Augsburg, and in the extreme south-west, Basel and
Constance were the chief centres in South Germany ; in the
North, Cologne, and in Bohemia, for a brief period, Prague.

Meister Berthold is the first master known at Niiremburg in the
XVth Century; he worked circa 1420-30 and to him are attributed
an altar-piece in the Imhof Chapel of the Church of St. Lorenz ;
another larger example in the National Museum, Munich, dated
1429, and the wings of yet a third altar-piece, in Berlin.
After Meister Berthold comes the Master of the Tucher Altar,
in the Frauenkirche, Niiremburg (c. 1440-50). From his time
onwards to the close of the century when Diirer rose to
supremacy the Niiremburg painters were unanimously derivative.
Their names and works are : Hans Pleydenwurff, active 1451-1472,
a Crucifixion in the Old Pinakothek, Munich, and an altar-piece at
Breslau ; Michael Wolgemut (b. 1434-1519), active from 1465-
1507 ; a Crucifixion (1465) : The Agony in the Garden (1465) ;
The Resurrection ; the Departure of the Apostles, all at Munich ;
the Peringsdorffer Altar (148^-88), in the Germanic Museum,
Niiremburg ; the Birth of Christ (1479), in the Marienkirche,
Zwickau, and a piece at Swabach (1507), painted mainly by
assistants. Contemporarily in Suabia, Lucas Moser painted his
altar-piece (1431) in the church of Tiefenbronn, which has been
thought to suggest Italian contact ; and at Ulm, were active Hans
Multscher 1437-1460 (Berlin. Sterzing Schleissheim, Stuttgart and
Karlsruhe) ; Hans Schiichlin 14*0-1505 (three panels in the
Church at Tiefenbronn dated 1469) ; F. Berlin, also of Ulm,
Rothenburg and Nordlingen, whose works may be seen at Nordlin-
gen, revealing R. van der Weyden's influence, and Bartholomaus
Zeitblom (1450-55 after 1517) to be seen at Stuttgart. Augsburg,
Bingen and Sigmarmgen.

Little is known of the early history of painting at Augsburg,
where a native school influenced by the Netherlandish preceded

GERMAN SCHOOLS : XV. CENTURY. 295

Hans Holbein the elder (born in Augsburg, 1470, d. 1524), who
may be studied at Augsburg in his Birth of the Virgin, Adoration
of the Magi, St. Anne viith the Virgin and Child, and Legends of
St. Ulric and SS. Paul and Peter, and in Munich from the St.
Sebastian triptych.

In the region of Basel and Constance the names of Nicholas
Wurmser of Strassburg, of Meister Lamelin (up to 1453) and of
Hans Tieffenthal (1418) occur, but no works can certainly be
assigned until Konrad Witz of Rottweil is reached. He practised
in Basel c. 1430-1443, and then moved to Geneva. Works by him
are at Basel, Strassburg, Naples, Geneva, and the Kaiser Friedrich
Museum, Berlin, the two last named revealing a surprising know-
ledge of landscape painting. Witz died in 1447. Robert Campin
(the Maitre de Flemalle) has been supposed to have come in touch
with him at Basel, and among his followers the engraver, Meister
E. S., the "Master of the House Book," and Schongauer have been
suggested as well as Justus de Allemagna., whose sole known
work is the Annunciation fresco (1451) in Sta. Maria in Castello,
Genoa. Schongauer (c. 1450-1491), whose early work shews
R. van der Weyden's influence, is represented by his Virgin of the
Rose Hedge (1473) at Colmar, and an Adoration of the Shepherds
at Berlin. At Frankfort-on-Mainz the " Master of the House
Book" is suspected to have lived and exercised a predominant
influence. His drawings, illustrating ledgers of receipts, Ac., in
the Collection of Prince Waldburg-Wolfegg, have given him his
name, and at Amsterdam in the Print room are some engrav-
ings by him. Paintings by him have been recognised at Feiurg
(a Crucifixion'), Simaringen (the Resurrection), and at Dresden.*

For the School of Hamburg see Professor A. Lichtwark's
Meister Francke, 1899, and Meister Bertram, 1905.

No. 722. Portrait of a Lady. (South German School).

Head and shoulders, three-quarters to the right. She wears a
large white head dress, on which a fly has settled to the left, and
holds in her left hand a sprig of forget-me-not. Her right hand,
with two rings on the little finger, rests on her breast. Her
maiden name of Hoferin is inscribed on the picture.

Deal, 20| in. h. by 15J in. w. (0'52 by 0'39).

Formerly in the Wallerstein Collection. Presented by Queen Victoria
by the wish of the Prince Consort, in 1863.

No. 1087. The Mocking of Christ.

The Saviour stands a little to tbe left turned three-quarters
to the right ; His body is bent, His wrists crossed, as if bound. He
wears a grey mantle over His shoulders and a white loin cloth.
Behind Him, quite on the left, stands an officer with a long

* Vide Burlington Fine Arts Club. Early German Art Exhibition Catalogue,
1906. S. M. Peartree.

296 GERMAN SCHOOLS : XV-XVI. CENTURY.

white reed. In front, a turbaned figure in a derisive attitude,
kneels in the right corner. In the background the vaulted porch
of a mediaeval building, decorated with canopies and statues.
Under it are represented other incidents of the Passion. Cold
silvery tone.

Wood, 36i in. h. by 1PJ in. w. (0-92 by 0'41).

' Pictures by this paiiiter, the "Master of 1500," are at Bruges and
Madrid.

Bequeathed by Mrs. Joseph H. Green, in 1880.

PAINTED ON THE LINES OF A COMPOSITION BY
SCHONGAUER.

No. 1151. The Entombment.

In the foreground St. John the Evangelist kneeling and the
Virgin standing by the side of the Sepulchre watch the body
of Our Lord lowered by Joseph of Arimathea and attendants
standing on the other side. Landscape background.

Wood, 6i in. h. by 4J in. w. (0-16 by 0-11).

Probably by Ysenbrandt.

Purchased at Milan, in 1883.

GERMAN : XVI. CENTURY.

No. 195. Portrait of a Medical Professor.

A half-length standing portrait, three-quarters to the right. In
his right hand he holds his gloves, his left rests on a skull in the
bottom right corner. He has a black cap and dress and a stole of
leopard's fur. His coat of arms contains mallets.

Wood, 38 in. h. by 29 in. iv. (0'96 by 0'74).

Purchased in 1845.

No. 1O88. The Crucifixion.

A picture in three compartments. In the centre Our Lord on
the Cross, with the Virgin Mary on the left and St. John standing
on the right. Angels and seraphim hover on clouds above. In
the background a landscape and distant town. On the side panels
are two figures, probably the donor on the left, three-quarters to
the right, and his wife on the right, three-quarters to the left, each
kneeling at a prie-dieu. On a hill at the back of the latter is
represented the Resurrection. A skull and bones at the foot of
the Cross.

Wood, central compartment, 28| in. Ji. by 19 in. w. (0'73 by 0'49).
Side compartments, each 28 f in. h. by S in. w. (0-73 by 0'21).

Bequeathed by Mrs. Joseph Green, in 1880.

GHIRLANDAIO. 297

GHIRLANDAIO (DoMENlCO DEL), 1449-1494.

Florentine School. DOMENICO, born in Florence, was apprenticed
to a goldsmith but soon entered the studio of Alesso Baldovinetti.
Amidst the great influences around him, borrowing something
from Botticelli and more from Verrocchio, he achieved a con-
siderable position ; his best works rank with the greatest decora-
tions. His first known activity was at San Gimignano, in
1475, working with Pier Francesco Fiorentino and Bastiano
Mainardi, probably on the decoration of the chapel of Sta. Fina,
built by Giuliano da Maiano. The same year he went to Rome,
accompanied by his brother David to paint in the Biblioteca
Vaticana. The work he did in Rome, such as the decorations
in the Tornabuoni Chapel, in the Church of Sta. Maria
Sopra Minerva have perished. In 1477 the brothers were at
Passignano, near Florence, painting the frescoes of the Last
Supper, still extant there. In 1479 they were at work at Badia
di Settimo on frescoes now lost, and next year in the Ognissanti
at Florence where are his St. Jerome in his Study and
a Last Supper. In 1481, as Botticelli's assistant, DOMENICO
reiurned to Rome and worked in the Sistine Chapel ; he was
back in Florence in May, 1482. between this and 1484 he
decorated the Flag Room, in the Palazzo Vecchio, with frescoes
of the Triumph of St. Zanobio, and between 1483-1486 the Chapel
of Sta. Trinita with a Life of St. Francis. No sooner had he
finished there than he began, in 1486, his superb frescoes in Sta.
Maria Novella, which were not completed till 1490. To this period
also belongs the Adoration of the Shepherds, in the Academy at
Florence. Into his Sta. Maria frescoes he introduced many members
of the Tornabuoni family. DOMENICO had many p'upils, the
chief of whom were his younger brothers David and Benedetto
del Ghirlandaio, his brother-in-law, Bastiano Mainardi, and
Francesco Granacci, He was twice married, first to Costanze
Nucci, who bore him Ridolfo, and died in 1485, and afterwards
to Antonia, daughter of Ser Paolo di Paoli. He died of the
plague, January 11, 1494, and was buried in Sta. Maria Novella.

SCHOOL OF GHXRXiANDAXO.

No. 1299. Portrait of a Youth.

' Bust length, life-size ; slightly to the left. Clad in a bluish-grey
doublet with a narrow black collar. A dark green mantle is

* As were also his younger brothers. David and Benedetto. Hence the
appellation "del Ghirlandaio" (in the Florentine dialect Grillandaio,*, which
became common to the brothers after they adopted painting, and was per-
petuated in their descendants.

298 GHIRLANDAIO.

thrown over the left shoulder. His short bushy hair is partly
concealed by a mulberry coloured berretta. Background of blue
sky.

Wood, 22 in. Ji. by 14 in. w. (0-55 by 0-36).

Formerly attributed to G-hirlandaio.

Purchased at Florence from Sigr. Stephano Bardini, in 1889.

G-HXRZ.ANDAXO (RIDOLFO DEL), 1483-1561.

Florentine School. RIDOLFO, the son of DomenicoVdel
G-hirlandaio by his first wife, was born February 14, 1483.
On the death of his father in 1494, he was taught by his uncle
David and F. Granacci. He was eclectic to a marked degree, and
drew upon most of his contemporaries, including Piero di Cosimo,
Fra Bartolommeo, Leonardo da Vinci, and Raphael, who, on his
visit to Florence is said to have commissioned RIDOLFO to finish a
picture for him and to have invited him to Rome to help with
the Vatican decorations. This, however, RIDOLFO declined, and
remained at Florence, enjoying the patronage of the Medici. He
became the head of a lare workshop and had many assistants,
among them Michele di Ridolfo, (b. 1503, d. 1577), Domenico
Puligo, and Bacdo G-atti. He died in Florence, 1561, and was
buried in Sta. Maria Novella. Of his works may be mentioned
The Coronation of the Virgin, Louvre, 1503 ; Madonna and Saints,
Pistoia, 1508 ; Portrait of a Lady, Pitti, 150^ ; Miracles of S.
Zanobio, Uffizi, 1510 ; and the Frescoes of 1514 in the Palazzo
Vecchio, Florence, where most of his pictures can be seen together.

No. 1143. The Procession to Calvary.

The group passes to the left. In the centre the Christ, in a
long red garment, bearing His cross, dragged onwards by a guard,
his back to the spectator, in a yellow and crimson tunic slashed
with black, emerald green trousers and bare legs. St. Veronica,
kneeling, receives from the Christ the sacred handkerchief.
Behind Him are the Virgin, St. John the Evangelist, Mary
Magdalene, and others. A mounted centurion in armour directs
the march, which is headed by the executioner and soldiers. The
distance is a mountainous landscape.

Canvas, transferred from wood, 65J in. h. by 63 in. w. (T66 by T60).

Painted for the Antinori family, and placed in the church of St.
G-allo. When Florence was besieged in 1529, the picture was apparently
removed to the church of Santo Spirito, and thence to the Palazzo
Antinori. Over the altar of the family in Santo Spirito now hangs a
similar subject, somewhat differently treated, by Eidolfo and Michele.

Purchased from the Antinori heirs, in 1883.

GHIRLANDAIO GIORGIONE. 299

No. 2491. Girolamo Benevieni.

Florentine philosopher and poet (1453-1542). Half - length,
three-quarters to the left. An old man, wearing a black gown and
cap. Behind him a cold blueish sky and landscape.

Wood, 27| in. h. by 21J in. w. (0'69 by 0-55).

Formerly in the Salimbeni and Torrigiani Collections. The small
bridge in the background is said to be a landmark on the Dal Nero
estates now in the Torrigiani family.

George Salting Bequest. 1910.

GIOLFINO (NiGCOLo), 1476-1555.

School of Verona. Born about 1476, NICCOLO was the friend
of Mantegna and, with the Carotti and Torbido, a scholar of
Liberate da Verona. He added wings to Liberale's altar-piece
in the Duomo of Verona. Da Persico, in his Description of
Verona, notices paintings in fresco and in oil by GIOLFINO,
executed in the churches of Verona in and between the years
1486 and 1518. He was the master of Paolo Farinati, a fresco
painter, also of de' Borsari. Many of GIOLFINO'S works are at
Verona, some at Berlin, and in private collections in England,
Florence, Vienna, and Paris isolated examples occur. He died
in Verona in 1555.

No. 749. Portraits of the Giusti Family of Verona.

On the left apparently are five half-lengths, but only four faces
are visible ; a youth's on the left, next him a woman's, facing the
spectator and towards the centre those of two bearded men. In the
background is a figure with the back turned to the front. In the
right division are seven half-lengths, with the faces of six visible ;
these are all of women. The woman nearest the centre is looking
to the left ; her back is turned to the spectator. These pictures
(formerly one) were originally the predella of an altar-piece, in
five compartments hence the upward direction of some of the
faces.

Wood, 21J in. h. by 61| in. w. (0'55 by 1'56).

Purchased from the Counts Monga, in Verona, in 1864.

GIORGIONE. 1477-1510.

Venetian School. This master, round whose name clings ro-
mance deepened by the glamour of mystery, was born of humble
parents at Castelfranco in 1477. The alluring and picturesque

300 GIORGIONE.

suggestion of an illegitimate father belonging to the noble family
of Barbarelli (to which is due the name this painter until recently
was known by) has succumbed before critical examination. In con-
temporary documents GIORGIONE is referred to as Zorzi, Zorzo, or
Zorzon, of Castelfranco. How early he went to Venice for his
art education is not known, but it is beyond question he got it
from Giovanni Bellini. By 1500 his reputation was established,
as in that year he was commissioned to paint the Doge Agostino
Barberigo and the Condottiere Consalvo Ferranti. In 1504 he was
given an altar-piece to paiat for the Cathedral of Castelfranco, in
memory of Matteo Constanzo, and in 1507 received, by order of
the Council of Ten, part payment for some picture he had painted
in the Hall of Audience in the Ducal Palace. The same year, in
company with other painters, he was commissioned to decorate
in fresco the exterior of the Fondaco dei Tedeschi, the bank of
the German merchant colony in Venice. For such a work
GIORGIONE had already gained experience by painting in fresco
the exteriors of the Case Soranzo and Grimani alii Servi. But
one other dated fact is recorded in his brief life, his meeting
with Leonardo da Vinci in Venice in 1500. Vasari, referring to
this, emphasizes its importance. An attack of plague scourging
Venice in 1510, carried off GIORGIONE in his thirty-fourth year.

As is usual with genius destined for an early death, GIORGIONE
compassed in his short career as much relatively as the great
masters to whom a longer span was allotted. In his lifetime his
sway over his contemporaries and even his seniors was complete,
and to this day his name both with critics and artists stands above
detraction. His capital achievement was the inventien of the
modern spirit of lyrical passion and romance in pictorial art, and
his magic charm has never been equalled. Naturally his fame and
ready vogue produced numerous imitators of his style and copies
of his originals. Among these latter many, if not most of the
pictures formerly accepted as GIORGIONE'S, are now accounted,
though there is a growing tendency in some quarters to restore
works to him. Pictures accepted as his, practically without demur,
are The Trial of Moses and The Judgment of Solomon, both in the
Uffizi, and representative of his early manner of painting.
A little later come the Christ bearing the Cross, originally at
Vicenza and now in the Gardner Collection at Boston, U.S.A. a
head and shoulders ; the other picture of the same subject, with
the Christ dragged by a rope, in S. Rocco, Venice, which
Van Djck copied in his sketch book now at Cbatsworth ; the
stormy landscape, with a woman and a soldier, in the Giovanelli
Palace, Venice ; the Judith, at St. Petersburg, and closing this
period the Castelfranco altar-piece of 1504. GIORGIONE'S middle
phase contains suih well-known pieces as the Aeneas and
Evander, or The Three Philosophers, at Vienna, the Uffizi Knight
of ifalta, the Dresden Venus, the prototype of Titian's Venus in
the Uffizi, and towards the end of his career the portrait of Antonio
Brocardo (?) at Budapest, the most penetrative work of this kind

GIORGIONE. 301

we have of the master, and the famous Concert Champetre of the
Salon Carr in the Louvre.

Bibliography : Morelli, Notizie, &c. (ed. Frizzoni, 1884) ;
Vasari (ed. Milanesi), vol. iv. ; Ridolfi, Le Maraviglie delV arte,
vol. i. ; Crowe & Cavalcaselle, History of Painting in North
Italy; Morelli, Kunstkritsche Studien ; Herbert Cook, Giorgione,
1900 ; Gronau, Zorzon da Castelfranco, 1894 ; Sir Sidney Colvin,
Encyclopedia Britaimica, llth edition, 1911.

No. 269. A Knight in Armour.

Full length, standing, completely armed except the head, which
is full face, while the body is three-quarters to the right ; in his
left hand he holds his lance whose butt rests on the ground.
Dark background.

Wood, 15i in. h. by lOf in. w. (0-39 by 0'27).

Apparently a study for the San Liberale in the altar-piece at Castel-
franco ; a MS. memorandum on the back shews that Mariette had
noticed this ; the warrior in the Castelfranco altar-piece, he observes,
was said to represent Gaston de Foix. At Vicenza is a picture by
Palma Vecchio in which the same figure occurs bareheaded.

In a sale in 1799, of the Gatton Park pictures, a Portrait of a Venetian
Nobleman in Armour, attributed to Giorgione, was sold for 5 10*.

In 1801 a small whole length Portrait of Gaston de Foix, by
Giorgione, was sold from Lord Besborough's Collection for 52 10*.,
and bought by Mr. Morland.

In 1804 a Gorton de Foix, by Giorgione, was sold .with Col. Smith's
pictures and bought by Mr. Wylde.

In 1820 the picture described above, No. 269, was bought from the
Benjamin West Collection by Samuel Rogers for 147.

Bequeathed by Samuel Rogers, in 1855.

No. 1160. The Adoration of the Magi. .

On the left, profile right, sits the Virgin, in a large blue
mantle ; on her knees the naked infant Christ. Towards the
centre sits St. Joseph, three-quarters right, in a blue tunic and
yellow mantle, in his hand a gilt orb or vessel which he has just
received from one of the Magi, who kneels before the Holy
Family. Farther to the right, another kneels bareheaded, with
his gift, attended by a page. Behind this group are other figures
standing (one in armour). On the right stand attendants, one
with his back to the front, and two horses. Blue sky, with a
glimpse of landscape in the right upper corner.

Wood. 12 in. h. by 32 in. w. (0'30 by 0'81).

Purchased in London, at the sale of the Leigh Court pictures, in 1884..

302 SCHOOL OP GIORGIONE.

SCKOOZi OF GIORGIONE.

No. 930. The Garden of Love.

On the left a woman stands turned three-quarters right, looking
out of the picture to the left ; next her a man, profile right,
holding a violin and bow ; he wears short hair and a black doublet
with bine and gold slashed sleeves. Beyond a rivulet running to
the right lower corner, a man in red, with a red cap, sits profile
right ; a woman lies against him, in a white cap and green dress.
In the mid-distance on the right two men converse. In the distance
on the right a solitary rock. Golden-brown tone.

Canvas, 87 in. h. by 59 in. w. (2-20 by 1'49).

Somewhat in the manner of Bonifazio's Finding of Moses (Brera).

Wynn Ellis Bequest, 1876.

No. 1123. Venus and Adonis.

To the left of the foreground Adonis is seated embracing Venus,
who is half seated on his lap turned to the left ; both figures
nearly nude ; Venus wears a chaplet of flowers and a mulberry
purple drapery over her thigh. Behind her, towards the right,
Cupid aims a dart. Landscape background. In the distance
various incidents relating to the classic myth of Myrrha, includ-
ing the birth of Adonis, her son. In the sky a woman and a
child.

Wood, 30i in. h. by 52 in. w. (0*76 by 1-32).

Purchased in London, at the sale of the Hamilton Palace pictures,
in 1882.

No. 1173. An Unknown Subject, or The Golden Age.

On the right a man crowned with olive leaves, in a dark green
tunic and maize-coloured pallium, sits on a raised throne, above
him a conical canopy of gold stuff. Before him on the steps of
the throne, stands a boy in a grey gown, bareheaded, profile to
the right, a cap in his hand. In the centre, profile right, kneels
an attendant in pale rose pink, offering a dish filled with fruit,
herbs, and grain, while a young man sitting on the right of the
foreground, at the foot of the throne, plays on a lute. To the
left a panther crawls ; a peacock on a dead branch above him.
Behind rises a cliff, its summit edged with brushwood : in a cave,
high up, a hermit at prayer. Hilly landscape, with buildings and
thick trees ; in sunlight and shadow. Gold grey tone.

By some authorities considered an early work by Giorgione.

Wood, 23} in. h. by 19^ in. to. (0'59 by 0'48).

Purchased in London, at the sale of the Bohn Collection, out of the
interest of the " Clarke Bequest," in 1885

GIOVANNI DA MILANO GIOVENONE. 303

GIOVANNI DA miLANO. 1300 ? after 1369.

Florentine School. GIOVANNI DI JACOPO DA COMO, or DA
MILANO, was born and bred in North Italy, at Caverzaio, near
C.>mo, early in the 14th cei tury. abut 1350 he was in Florence,
registered among; the foreigners as JOHANNES JACOBI DA COMO ;
here he probably became an assistant of Taddeo Gaddi, and in
1366 was given the freedom of the City of Florence. In the
Academy at Florence is an altar-piece signed by him and dated
136">. That year he painted his frescoes in the Capella Rinuccini
in Sta Croce. Other works by him are the ancona in the Galleria
Communale, Pra'o, signed by him ; the ancona (five compart-
ments) in the Uffizi ; and frescoes of the Life of the Virgin, in
Sta Croce, Sagrestia, Florence. In GIOVANNI DA MILANO Lombard
influence is blended with Florentine. In 1369 he was working in
Rome ; his death date is unknown. Golden grey tone.

See Osvald Siren : Giottino, pp. 53-56.

No. 579A. The Almighty, the Blessed Virgin, and
St. Isaiah.

Three terminal panels of an altar-piece.

Wood, in tempera. Central panel, 25 in. h. by 10} in. w. (0'63 by
0-26) ; side panels, 22J in. h. by 10 in. w. (0'57 by 0'25).

Bought from the Lombard! Baldi Collection in Florence, 1857.

GIOVANNI DEL FONTS. See under liANDINI,
No. 580.

GIOVENONE (GiROLAMO), c. 1490-1555.

School of Vercelli. But little is known of GIOVENONE'S career.
He is said to have been born about 1490 and to have worked with
Gaudenzio Ferrari in the School of Spanzotti at Vercelli. Cer-
tainly tie influence of Ferrari is present in his works, which are
in Turin the Virgin with Saints and Donors (1514) and the
Virgin with the Magdalen and three Saints ; and in the Cook Col-
lection at Richmond a Madonna with two Saints, and a copy of
Raphael's Madonna d' Orleans ; and in Vercelli. He died about
1555:

No. 1295. Madonna and Child with Saints.

The Virgin in the centre in pale rose red, with a blue mantle
lined with faded green is seated on a bright red-canopied throne
bearing the Infant Christ on her right arm and holding with
her left hand the end of a white napkin on which He sits ;
she is full face, with her head bent over to her left. On the
right stands St. Francis a crucifix in his left hand, which rests
on a kneeling donor's shoulder. On the left St. Nicholas in

304 GIOVENONE GIROLAMO DA SANTACROCE.

gold vestments wearing his mitre, and holding: his crozier in his
left hand stands behind the other kneeling donor. Flesh tone
blond.

Wood, with an arched top, 81 in. h. by 51 in. w. (2-05 by 1'29).

Purchased at Venice, from Sigr. Antonio Carrer, in 1889.

GXROX.A1KO DAI LIBRI. 1474-1556.

School of Yerona. GIROLAMO was born at Verona. Brought
up to follow his father's calling of book illumination, he became
a painter, working with Francesco Morone under the latter's
father, Domenico ; Mantegna, too, and Montagna influenced him.
A pleasant fancy fills his works, in which he introduced birds
and animals ; his landscape has great charm of feeling. Many of
his principal works are at Verona. In San Giorgio Maggiore
is the Madonna enthroned, with saints, and angels playing musical
instruments below, signed "MDXXVI MEN. MAR. xxviiii.
HIERONYMUS A LiBRis PiNxiT." He taught Giulio Clovio
miniature painting, and left a son Francesco, also a distinguished
illuminator. GIROLAMO died in 1556.

No. 748. The Madonna, Infant Christ, and St. Anne.

St. Anne in deep gold-orange is seated under a lemon tree
holding the Virgin in her lap ; both face the spectator. The
Virgin in a rich vermilion dress, and deep blue mantle lined
with emerald has her left foot on the slain dragon. The Child
stands naked on His mother's right thigh, facing slightly to

wings

like parrots' plumage. Landscape background. On a cartellino,
partly defaced, a signature HIERONYMUS A LIBRIS. r.

Canvas, 62 in. h. by 37 in. w. (T57 by 0'93).

The picture is noticed by Vasari. Formerly in the church of Santa
Maria della Scala, in Verona. Purchased there from the Counts
Monga in 1864.

GIROLAMO DA SANTACROCE, Painting 1520-1556.

Venetian School. Hardly anything is known of this painter,
who was apparently a native of Santacroce. He commenced in
the school of Bastiani, but later drifted into the wake of Giorgione
and Titian. Dates on his pictures range from 1520 to 1549 ;
examples are in Bergamo, Venice, Murano, Capo d'Istria, and a
signed example in the Castello Museum, Milan.

GIROLAMO DA SANTACROCE. 305

No. 632- A Saint, reading.

Full length, standing three-quarters to the right ; his cloak is
rose crimson, lined with orange.

No. 633. A Saint.

Full face, full length, standing. A white standard with a red
cross in his right hand, and in the other a square, towered building.
A dull gold mantle and red hosen.

Wood ; each picture 47 in. h. by 19 in. w. (1-19 by 0-48).

Formerly the doors of an altar-piece. Purchased from M. Edmond
Beaucousin, in Paris, 1860.

CIROXiAIKO DA TREVISO, 1497-1544.

Venetian School. GIROLAMO DI PIER-MARIA, or DA TREVISO
was born at Treviso. He is said to have begun bis training
under his father, Pietro Pennacchi. He went early to Venice
and Genoa ; in 1532 was employed at Trent, and in 1533 painted
a fresco yet extant, in the church at Faenza. He worked too in
Bologna, and c. 1 538 was in Venice, where he met Titian. In
154 1 he visited England and entered Henry VIII's service as
architect and engineer, and in this capacity was killed outside
Boulogne, in 1544. There are a few works by GIROLAMO still
preserved at Bologna, but his pictures are scarce. The picture
of the Adoration of the Kings, No. 218 in this gallery {see under
"Peruzzi"), may be the copy he made from a drawing by
Peruzzi. He is said to have been a good portrait painter.

No. 623. The Madonna and Child enthroned with Saints.

The Virgin is seated in the centre on a raised throne that faces
to tho right ; she faces the front. The Child standing at her feet
turns three quarters to the left to the kneeling donor, behind
whom stands St. Paul. On the right stand S8. Joseph and James,
the latter wrapped in a fawn coloured, fringed blanket and holding
a long staff and a book in his left hand ; behind are angels making
music. A town in the background. Signed leronimus Trevisius P.

Wood, 89$ in. h. by 58 in. to. (2'27 X 1-47).

Engraved on wood by Gmo. Gandini.

Mentioned by Vasari as the best of the painter's works. Formerly
the altar-piece of the Boccaferi Chapel in San Domenico, in Bologna ;
removed to Imola between 1706 and 1733 ; subsequently in the Solly
Collection. Purchased from the Northwick Collection, 1859.

lEROWIMVS-TREVBIVSf f-

17973 U

306 GLOVER GOYA Y LUCIENTES.

CLOVER (JOHN), 1767-1849.

English School. John Glover was born at Houghton-on-Hill,
Leicestershire. He began life as a writing master, but in 1794
removed to Lichfield and commenced as an artist. In later years
he travelled ahroad. His pictures were exhibited at the Royal
Academy at irregular intervals between 1795 and 1812 ; be was
a member of the Old Water Colour Society and contributed two
hundred and ninety works to its exhibitions. He was also a
member of the Society of British Artists. To the exhibitions held
at the British Institution he sent twenty-two paintings. Having
practised as a landscape painter for many years in London, he
purchased property near Ullswater, intending to retire, but
emigrated to Tasmania, March, 1831. Some of his best landscapes
were painted for colonists, who sent them to England. During
his last years he gave up art for religious study. He died at
Launceston, Tasmania, on Dec. 9th, 1849.

No. 1186. Landscape with Cattle.

A clear stream mirrors the surrounding scenery as it flows
through common land surrounded by meadows. On the opposite
bank cows are drinking. In the middle distance a group of
trees with level country beyond. Blue sky filled with cloud
cumuli. Shrubs and brushwood in the foreground.

Canvas, 19J in. A. by 27 in. w. (0'48 by 0'68).

Bequeathed by Mrs. Elizabeth Vaughan in 1885.

GOSSART. > MABUSE.

GOYA Tf I.UCIENTES. (FRANCISCO JOSE DE),
1746-1828.

Spanish School. This artist, one of the most original and remark-
able in modern art, was born at Fuentedos, in Aragon. Until
he was fourteen he laboured in the fields, then, in 1760, through
the offices of a monk who had seen him drawing, was sent
to Zaragoza to the studio of Jose Martinez. There he worked
vehemently and lived in the same key until, in 1766, he fled to
Madrid ; it is said that he came thrice under the notice of the
Inquisition. At Madrid he is supposed to have copied Velazquez,
to have mixed in the revolutionary agitations of the time and to

GOYA Y LUCIENTES. 307

&ave developed his passionate exuberance of life. This period
culminated in some fracas, probably with the authorities, and
GOYA is said to have escaped into Italy. In June 1772 he gained
the second prize for painting at the Academy of Parma, but when
he painted his picture or where seems uncertain. He was in
Zaragoza in 1771 commissioned to paint a fresco in the Cathedral,
which was finished in the summer of 1772. It is surmised that he
went to Italy at this date and there met Jacques Louis David.
He returned to Madrid in 1775 to find the German Mengs supreme
in the art' world, and Bayeu court painter. GOYA married the
latter's sister, and from Mengs obtained the commission for
designing the tapestries now in the Prado. They engaged
him from 1776 till 1791, and as late as 1802 the factories
at Sta. Barbara used his designs. In this period, 1776-91, GOYA
also produced genre pieces and some portraits and engravings, as
for example his plates after Velazquez (1779). In 1781 he went
to Zaragoza to assist Bayeu in decorating the Church del Pilar ;
his designs discomfited his patrons, " falling short of the
standard of chastity " required, and a violent split broke be-
tween Bayeu and GOYA, who returned to Madrid. His fame and
prosperity waxed ; in 1785 he became deputy director of the San
Fernando Academy, and in 1789 painter of the Chamber to Charles
IV, with a salary of 15,000 reals, which in 1799 rose to 50,000.
His vogue and personal predominance were great. A man of
hot passions, coarse fibred and candidly unscrupulous, he lived to
the full the life he found about him ; by his wife he is said to
have had twenty children, and his intrigues were endless. At
this period were produced innumerable portraits, ruthlessly
observed, and mordantly revealing, and the frescoes in the Church
of San Antonio de la Florida (1798), which a German critic has
likened to "the most erotic paintings of Fragonard," and which
gained GOYA the office of premier painter to the Court. Simul-
taneously he began his marvellous series of prints, the Los
Caprichos, whose origin and full significance are unknown. They
are as yet nnapproached in the field of brutal and sinister
caricature, and in their disquieting revelation of life and their
monumental sense of design stand apart. GOYA next produced
his Tauromachia, a series of thirty-three plates dealing with the
bull-ring. In the meantime Spain, rotten with corruption in
high places, had become Napoleon's objective, and French troops
poured in. GOYA was inspired by the humiliation and butchery
'his country had passed under to produce his horrible series of
Desastres de la Gtterra, in which the unspeakable bestialities to
which war reduces men are set forth pitilessly and by a superb
technique. Begun in 1810, the Disasters were not published
in a set till 1863. In 1814 Ferdinand entered Madrid as King,
and GOYA, now ageing and completely deaf, was made his
court painter. But a spirit of melancholy had obsessed him, and
he lived much in seclusion, reproducing strange visions on the walls
of his house. In 1817 he went to Seville to paint Santas Justa
17983 U 2

308 GOYA Y LUCIENTES.

and Rufina for the Cathedral ; for the saints he painted two
notorious courtesans, cynically remarking that he would make vice
worshipped. On his return he designed a new series of Caprichos
and began working in lithography. Later came Los Proverbios,
the fourth and last series of his etchings. In 1824, aged seventy-
six, GOYA went to Paris, there meeting the work of Ge"ricault and
Delacroix. In 1825 he settled in Bordeaux, painting a few
' portraits, and making a lithograph series of Les Taureaux de
Bordeaux, characterised as " the greatest lithographs in the history
of the art." He returned to Madrid in 1826, and to Bordeaux in
1826, where he died on March 16, 1828. His remains were taken
to Spain and laid in the San Isidro Cemetery, Madrid, May 11,
1900.

Bibliography: W. Rothenstein : GOYA. A. F. Calvert : GOYA
600 illustrations.

No. 1471. The Pic-nic (La merienda campestre).

A group, seven people pic-nicking, with a cloth spread on the
grass. One, on the right, is prone on his face ; in the foreground
a basket, in the backgound, to the right, trees.

Canvas, 16J in. h. by 10 in. w. (0-41 by 0-25).

Purchased in Madrid from the D'Osuna Collection, in 1896.

No. 1472. The "Bewitched" (El hechizado por fuerza*).

A scene from a play by Don Antonio Zamora. A priest
frightened by demons in the forms of a goat and jackasses. The
priest is pouring oil into a lamp held by the goat, on the left. In
the left corner a stone inscribed LAM . . . DESCC.

Canvas, 16J in. h. by llf in. w. (0-41 by 0'29).

Purchased in Madrid from the D'Osuna's Collection, in 1896.

No. 1473. Portrait of Dona Isabel Oorbo de Parcel.

Half length, the body three-quarters right, the head to the
left. She wears a rose-coloured satin dress almost covered by
a black mantilla ; her arms akimbo. Greenish grey background.

Canvas, 32 in. h. by 21 in. w. (0'81 by 0-5).

Purchased in Madrid, from Don Andres de Urzaiz, in 1896.

No. 1951. Portrait of Dr. Per al.

Half length seated on a straight-backed wooden chair, nearly
full face, the head slightly to the right. His light brown eyes
look at the spectator, his lips are slightly parted. Clean shaven,
with long hair, touched with grey, brushed back from the temples.
A light grey satin coat, his right hand is thrust into the front of a

GOYA Y LUCIENTES GOYEN. 309

light striped and flowered waistcoat ; a white muslin cravat.
His left elbow is bent, the hand resting on the hip.

Canvas, 36J in. h. by 24J in. w. (0'72 by 0'62).
Presented by Sir George Donaldson, in 1904.

GOYEN (JAN JOSEPSZ VAN), 1596-1656.

School of Haarlem. GOYEN was the leader of the Dutch School
of homely, native landscape. Born at Leiden, he had had five
instructors before he was nineteen Conraed Schilperoorts and
Isaack van Swanenburgh at Leiden, and Willem Gerritz at Hoorn,
among them. After a visit to France in 1615 he put himself
under Esaias van de Velde at Haarlem. Returning to Leiden,
he married in 1618, and began his professional career. Small
works of this period show his remarkable proficiency, and at the
same time his dependence on his latest master. In 1631 he left
Leiden, and settled in the Hague in 1634, where he resided until
his death. Here he was busy supplying the demands of the
burghers and the Court. He was a member of the Painters'
Guild. Besides his art he was involved in various speculations
house property, picture and bulb dealing, over which he lost heavily.
He had two daughters ; the elder, Margaret, married Jan Steen,
the younger Jaques de Claeuw, a still-life painter. VAN GOYEN
died at the Hague in April, 1656. The subjects chosen by GOYEN
were those common to many Dutch landscape-painters ; but his
mode of treating them after he had liberated himself from the
ways of E. van de Velde was thoroughly his own ; he attained
mastery by long and intimate study of Nature. His earliest
pictures, from 1620 onwards, are heavy-handed and in their
bright colour and use of landscape only as an accessory to
peasant subjects, belong to the old school of Dutch rustic genre.
In the next decade GOYEN developed landscape for its own sake
and began to paint the sea. These pieces are simple in motif and .
deficient in plein air, but in his mature pieces he shows a remark-
able knowledge of atmosphere and perception of recession. This
depth of content and his dexterity with pigment distinguish his
work from that of his numerous imitators.

No. 137. Landscape with Figures.

A cottage on a heath, with a few small figures scattered about.
On the left a pool ; in the centre a man wearing a large black
hat, and carrying a net. A cloudy sky.

Wood, 16 in. h. by 24 in. w. (0-40 by 0-61).

Bequeathed by Lient.-Col. Ollney, in 1837.

310 . GOYEN.

No. 151. A River Scene.

In the centre', the spire-crowned tower of a church above the-
roofs of a village on the river's bank. A ferry boat filled with
peasants and a waggon lies on the far side of the stream, on the
left. On the right, boats and boatmen, and a sailing barge in>
mid-distance. Nine cows in the foreground, and a man milking.
Signed

Wood, 2oi in. It. by 37 in. w. (0'64 by 0'93).
Bequeathed by Mrs. Hodges, in 1852.

No. 1327. A Winter Scene.

A frozen river, on which are many skaters. In the centre
foreground rustic sledges filled with peasants. On the right a
raised rampart surmounted by a building. Below, fishing vessels
and boats alongside a jetty. On the left a party of men are
playing golf ; a dog barking at one who has fallen down. In the
distance a ruined castle and windmills. Signed

Canvas, 45 in. //. by 58 in. w. (1-14 by 1'47).

Purchased in London, from Messrs. P. & D. Colnasrhi ; " Lewis
Fund," 1891.

No. 2577. A Stiff Breeze.

In the foreground, towards the right, a smack driven to the
right in a choppy sea ; other boats in the middle distance and four
cows on a spit of land. Clouds driven over a blue sky in which
gulls are flying. Signed, " 1654, J. Van Goyen, Ft."

Wood, 14 in. A. by 20 in. w. (0'36 by 0'52).

No. 2578. A Windmill ly a River.

To the right a mill stands high on the river's bank. Various
small figures. A river on the left winding towards the centre
distance. Signed with a monogram, and dated 1642.

Wood, llf in. A. by 14 in. w. (0'29 by 0'36).

No. 2579. Scene on the Ice.

Skaters crowd the ice. Four people in a horsed sleigh in the
centre ; to the right a tent flying a flag and sign, and another

GOYEN GBANDI. 311

horsed sleigh. A church in the distance near the centre. Signed
with a monogram, and dated 1645.
Wood, 10 in. h. by 13J in. w. (0'25 by O33).

No. 2580. River Scene with Fishing Boats.

In the left foreground two men cast their net from a small
rowing boat. On the right a skiff and fishing smack. Shipping
and a village in the distance. Signed V. G., 1648.

Wood, 12} in. h. by lOJin. w. (0-31 by 0-2).

Nos. 2577-2580, from the Roupell Sale ; George Salting Bequest, 1910.

GOZZOXiX. See BENOZ.ZI.

GRAND! (ERCOLE DI GIULIO CESARE), c. U65-1535.

School of Ferrara. ERCOLE GRANDI, the son of Giulio Cesare,
was a pupil of Ercole Robert!, and later an assistant of Lorenzo
Costa, whom he nearly approaches in some pictures. Not unnatur-
ally the influence of Costa's partner, Francia, also is ween in his
work, and that of Mantegna. ERCOLE can be studied best in the
Layard Collection, in Ferrara, his native place, and in the
Visconti-Venusti Collection in Rome. Isolated examples occur in
Bergamo, Berlin, Budapest, and elsewhere. He died c. 1535.

No. 73. The Conversion of Saint Paul.

Confused groups of men and horses ; in the centre a white
horse, from which St. Paul has fallen, is stretched on the ground ;
the Saviour in the sky ; a view of Jerusalem in the background.

Wood, 23 in. h. by 27 in. w. (0-58 by 0'68).

Formerly in the Aldobrandini Collection, at Rome. Holwell-Carr
Bequest, 1831.

No. 1119. The Madonna and Child with Saints.

High in the centre, full face, the Virgin enthroned. She wears
dark blue. On her right knee stands the Infant Saviour looking
towards the spectator, and raising His hand. The octagonal base
of the throne is adorned with a device in grisaille on a gold
mosaic ground of Adam and Eve by the Tree of knowledge.
On the right, below, stands the Baptist, three-quarters left, his
reed cross in his left hand, a book extended in his right ; on the
left St. William, bare headed and in armour, with a dull red
mantle, his left hand on the hilt of his drawn sword. The pave-

312 GRANDI GRECO.

ment is of marble, white and brown. Blue sky seen through
an arch.

Wood, 97 in. h. by 53J in. w. (2-46 by 1'35).

Originally in the Church of the Concezione, at Ferrara, whence it
was removed to the Convent of S. Cristof oro degli Esposti, from which
at was purchased by the Strozzi family. Bought from the Marchese
Strozzi, of Ferrara, in 1882.

GRECO (DOMENICO), 1545 ?-1614.

' Spanish School. DOMENICO THEOTGCOPOULOS, better known as
EL GRECO, was born at Candia, in Crete, about 1545-50. The basis
of his art is Byzantine. He was in Venice m 1570, mentioned as
Titian's pupil, and went that year to Rome. In 1575 or there-
abouts he went to Spain, to Toledo, where in 1577 he was decorating
Sto. Domingo el Antigua with an Ascension, and commissioned to
paint his El Expolio (The Stripping of Christ), for the C thedral.
The individuality and strangeness of his work always more or less
disconcerted his patrons. For thirty-four years he lived in Toledo,
and died April 7, 1614.

About a dozen pictures are ascribed to his first or Italian period ;
among them Christ healing the Blind Man (Dresden and Parma),
Th", Cleansing of the Temple (Cook Collection), St. Jerome (in this
Gallery), A boy lighting a Coal (Naples), and Escena de Genero
(Raising a Flame), in private hanHs iu London. In these works
the influence of Titian, Tintoretto, Bassano, and sometimes
Michael Angelo is clear. To his early Spanish peri"d bel>ng his
series in Sto. Domingo ; the Expolio, 'The Annunciation (Madrid),
and St. Sebastian (Valencia), and some single figures of the Christ
and St. Francis. About 1578-84 were produced the Saint Maurice
(Escorial) and the great Burial of Count Orgaz (Church of Sto.
Tome, Toledo), in which EL GHECO'S peculiar individuality was
clearly manifested ; and between 1584-1604 a large number of
religious pieces, of which we may mention the St. Martin and the
Ascension of the Virgin, both in t 1 e Chapel of San Jose, Toledo,
the Coronation of the Virgin (in Don Pablo Bosch's Colle -tion) and
five pictures in the Hospital de la Caridad, Toledo. GRECO has
also left a series of portraits, produced concurrently with his other
work. In Don Pablo Bosch's Collection is one of the finest, in
which the qualities that make Velazquez are foreshadowed ; in the
Prado, too, are many fine examples and in the Louvre a piece of
superb colour. To the artist's last years are allotted the Ascension
of San Vincento (1600), five pictures for the Church of Titulcia,
and the altar for the hospital of San Juan Bautista (1609). These
last works are the consummation of GRECO'S art ; in them the
spiritual imaginative fervour of his inspiration soars above all
convention and formulae.

Vide : M. B. Cossio, EL GRECO, Madrid, 1908. A. F. Calvert,
and C. G. Hartley, EL GRECO, 1909.

GRECO GR^ECO-ROMAN PORTRAITS. 313

No. 1122. St. Jerome (?)

Half length ; slightly to the left ; sitting at a table, with an
open volume before him ; on the margin of the page appears an
inscription at which the Saint points with his right thumb nail.
He wears a Cardinal's dress without the berretta. The face is
abnormally narrow ; the hair of the head cropped, the beard long
and thin. The hands rest on the book.

Canvas, 23 in. h. by 18J in. to. (0-584 by 0-469).

The inscription on the book : COBNABO. Aet. suaB 100 1556, is
evidently a later addition. There are five repetitions of this piece :
one ia in America (lately at Valladolid), one in the Collection of the
Marques del Arco, Madrid, and another is in the Museum Bonnat,
Bayonne. Catalogued as Titian in the Hamilton Collection, thence
purchased 1882.

No. 1457. Christ driving out the Traders from the
Temple.

The Saviour, with raised right arm and robed in rose pink, stands
in the centre of the picture. To the left, the traders in the Temple
carrying away their goods, on the right other figures, probably
the disciples. In the left foreground a kneeling man looks up
at the Christ. Through an arch in the centre is seen a street.

Canvas, 41 in. h. by 50 in. w. (J-052 by 1'276).

This is a replica in little, of a picture in the Sacristy of the Cathedral
at Valladolid. Another replica is in private possession at Madrid and
a sketch exists in England : v. Catalogue of Exhibition and Spanish
Art, Guildhall, 1901.

Presented by Sir J. C. Robinson, 1895.

ELEVEN GRJECO-ROPIAN PORTRAITS.

BANGING FROM c. A.D. 40 TO A.D. 250 : PAINTED, WITH
ONE EXCEPTION, IN THE ENCAUSTIC METHOD.

See H. B. WALTERS, The Art of the Romans, p. 92.

From the cases of mummies discovered in an ancient cemetery at Hawara,
in the Fayum, Egypt, by Professor W. M. Flinders Petrie, in 1888.

No. 126 Q. Portrait of a Woman.

She wears a white tunic under a purple mantle ; a gold chain
round her neck and gold pendants in her ears. The short black
nair falls in minute ringlets round her head, leaving the ears
visible.

lOf in. h. by 7f in. w. (0'27 by 0-19).

314 GR^ECO-ROMAN PORTRAITS.

No. 1261. Portrait of a young Man.

In a white tunic with a dark stripe on the right side, and a
white mantle. The hair of the head is dark brown and crisply
curled ; the beard and moustaches are slight. This portrait
retains the greater part of a gilt gesso border, stamped or
modelled with a wavy tendril and bud pattern.

15J in, h. by 8 in. w. (0'38 by 0'21).

No. 1262. Portrait of a young Woman.

In purple tunic and peplum. She wears two necklaces com-
posed of blue and red stones, and pendants in her ears.

13 in. h. by 6 in. w. (0'33 by 0'16).

No. 1263. Portrait of a young Woman.

In a purple tunic with a darker stripe on the right side, and
a purple peplum. She wears two necklaces composed of green
stones and tbpazes, and hoop earrings faced with gems. Her
black hair is bound with a fillet at the top of her head, where it
is confined by a gold pin.

14 in. h. by 8J in. w. (0'35 by 20).

No. 1264. Portrait of a young Man.

In white tunic and pallium. Slight beard and moustaches.

All painted in wax, on an arch-topped panel, 14 in. h. by 7J in. w,
(0-37 by 0-18).

All presented by Mr. H. Martyn-Kennard.

No. 1265. Portrait of a Man.

In this portrait, which is that of a man in middle life, the
features are modelled with unusual spirit, a misshapen nose and
the lines of age in the face being carefully indicated. The hair
of his head is short, and combed down straight on the forehead.
The face is clean shaven.

Painted in wax, on an arch-topped panel, 10i in. h. by 6i in. w
(0-26 by 0-16).

No. 1266. Portrait of a young Woman.

In a dark blue tunic. In her right hand she holds a rose-
coloured funeral garland (?) which is roughly indicated. On the
left arm a golden bracelet in the form of a snake.

Painted (in tempera ?) on canvas (much damaged) and measuring
about 18 in. h. by 14 in. w. (0-45 by 0'35).

Presented with No. 1265 by Mr. Jesse Haworth.

GR^ECO-ROMAN PORTRAITS GREUZE. 315-

No. 1267. Portrait of a young Woman.

Her shoulders are covered with a crimson peplum, beneath
which is seen a white tunic. She wears two necklaces and gold
earrings.

13J in. //. by 6$ in. w. (0'33 by 0-16).

No. 1268. Portrait of a young Man.

The hair of his head is black and crisply curled. The
moustaches are slight and tha cheeks hairless. No drapery
visible.

12J in. h. by 7J in. 10. (0-31 by (MS).

No. 1269. Portrait of a young Woman.

The shoulders and chest are draped in a purplish tunic and
peplum of the same colour. She wears two necklaces and hoop
earrings. Her hair is crisply curled.

Hi in. h. by 7$ in. tv. (0'36 by 0'18).

No. 1270. Portrait of a young Woman.

In a lilac-coloured tunic, enriched with a black stripe or
border edged wich gold thread, and a peplum of the same colour.
She wears a gold necklace, from the centre of which is a
crescent-shaped ornament.

All painted in wax, on an arch-topped panel, 15| in. A. by 8 in. w~
(0-40 by 0-20).

All purchased from Professor W. Flinders Petrie, Clarke Bequest.

GREUZE (JEAN BAPTISTS), 1725-1805.

French School. Born at Tonrnous, the son of a thatcher,
in 1725, GREUZE was put to one Grondon, a travelling picture
pedlar, in 1738. With his master he went to Lyons, and there, for
about eight years, was engaged in turning out popular pictures
that were hawked round the country. In 1746 he went to
Paris and during the ten years it took him to become known
worked under Natoire at the Academy and under Pigalle. In 1755
he was agree by the Academy on the strength of his sentimental
morality picture L'Aveugle Irempe. This sort of art was new and
won him quick popularity ; Diderot in especial was rejoiced by it.
At GREUZE'sdoor must belaid much of the sugared sentimentality
that has characterized so many subsequent pictures dealing with
humble life. In 1756 he went to Rome for two years ; back
in Paris, in 1757, he led off with his famous series of young
girls' heads and busts. Fatally meretricious and tainted with

316 GREUZE.

unwholesome sous entendu this side of his art, still popular, was
mischievous and decadent. GREUZE married, in 1761, Mile.
Balbuty, who involved him in every kind of disgrace. After a
delay of fourteen years the painter submitted his morceau dr
reception to the Academy in 1769, a ridiculous essay in the classic
style, on the strength of which he was denied rank as an historical
painter, and only enrolled among the peintres de genre ; bitterly
mortified he sent no more pictures to the Salon till 1800. Broken
by the revolution he sank in poverty and oblivion ; when he died,
in 1805, people were surprised, thinking him dead long before.
In most ways a contemptible painter, yet, in certain of his men
portraits, he shows manliness and honesty. His motto Soyez
piquant si vous ne pouvez pas etre vrai, is sufficient epitaph. Its
product can be freely studied in the Louvre, the Wallace Collec-
tion, Chautilly. and the Hermitage.

See P. M. Turner and C. H. Collins Baker : Stories of the French
Artists; 1909.

No. 206. The Head of a Girl

Head and shoulders, full face, the eyes looking to the right, the
head tilted over. Her hands cHsp over her right shoulder a white
veil covering her hair and nude bust.

Wood, 18 in. h. by 15 in. w. (0'45 by 0'38).

Bequeathed toy Mr. Richard Simmons in 1846.

No. 1019. Head of a Girl looking up.

Head and shoulders, three-quarters to the left, looking up, her
right arm extended out of the picture ; a blue riband in her dark
hair ; white dress.

Canvas, 18 in. h. by 15 in. w. (0'45 by 0'38).

Wynn Ellis Bequest. 1876.

No. 10ZO. Girl with an Apple.

Head and shoulders, the face to the left, the shoulders to the
right. Her right hand rests on an apple lying on a red cushion ;
white dress with blue ribbons on the sleeves.

Canvas, 16 in. h. by 12 in. w. (0*40 by 0'31).

Wynn Ellis Bequest. 1876.

No. 1154. A Young Girl carrying a Lamb.

Head and shoulders, three-quarters to the left, the eyes looking
to the front. She holds a lamb to her bosom. Auburn hair with
a greyish riband round it : a white dress or chemise.

Canvas, 21 in. h. by 17 in. w. (0%53 by 0'43).

Presented by Mme. Helmholtz, at the wish of Mme. Mohl, in 1883.

GUALTIERI GUARDI. 317

GUALTIERI. See CXMABUE.

GUARD! (FRANCESCO), 1712-1793.

Venetian School. FRANCESCO GUARDI was born, of Austrian
stock, at Venice. Hardly anything is recorded of his youth
and training ; losing his father in 1716, his education was
given him by his relations ; Canaletto was his master. About
1758 he married, and in 1761-63 was member of the Guild
of Painters ; we hear of his successful exhibition of works
in 1764, commissioned by an Englishman. His wife died in
1769. his sister ten years later. In 1782 GUARDI was commis-
sioned, by an Englishman again, to paint four scenes illustrating
the festivities that marked the Pope's visit to Venice. Towards
the close of his life he went to Mastellina, in the Tyrol, on a visit ;
his last years are said to have been passed in straits, he being forced
to sell his works for trifling sums. He died January 1, 1793. At
his best, GUARDI is an artist of high rank ; a brilliant painter, and
a rich colourist with a rare sen-te of atmosphere. His drawings
are distinguished by their swiftness and selective taste. England
is especially wealthy in his works. At the Wallace Collection, at
the Victoria and Albert Museum, at Glasgow, Edinburgh, and
Oxford, he is finely represented.

See G. A. Simonson : FRANCESCO GUARDI, 1904.

No. Zl 0. View of the Church, Campanile, and Piazza
of San Marco, at Venice.

The church stands in the centre, the campanile to the right at
the far end of the Piazza. Its shadows falls on the distant domes
of S. Mark's. Shadow falls across the right side of the picture.
Figures in the foreground.

Canvas, 28 in. h. by 47J in. w. (0'71 by 1'20).
Bequeathed by Mr. Richard Simmons in 1846.

No. 1054. View in Venice.

On the right is a canal on which is a group of gondolas, and
which runs through the centre of the picture between high
houses connected by a bridge. To the left is a church tower and
a garden with cypresses.

The authenticity of this picture is questioned by Mr. Simonson
in his work on Guardi.

Canvas, 14 J in. k. by 21 in. w. (0-36 by 0-53).

Bequeathed by Mr. John Henderson, in 1879,

318 GUARDI.

No. 1454. A Gondola.

A gondola in tbe foreground, rowed by two rowers and with
people in the " felse." The shore (probably the Lido) with a
tower and indications of other buildings is seen in the middle
distance, and the open sea beyond.

Canvas, llf in. h. by 17| in. w. (0-29 by 0'45).

Purchased at the sale of Lord Clifden's pictures in 1895.

No. 2098. Santa Maria della Salute, Venice.

A view of the entrance to the Grand Canal, the Dogana, and
towards the right the Church of the Salute. On the left two
large barges with tall sails.

Canvas, 22} in. h. by 29$ in. w. (0'56 by 0-74).

John Samuel Collection, 1906.

No. 2099. The Ducal Palace, Venice.

The Ducal Palace, the Prisons, and the Campanile of St. Mark's
occupy the centre of the composition. Further away, on the left,
the Doge's galley is seen moored near the Piazzetta. In the left
foreground a barge with sail.

Canvas, 22} in. h. by 29 in. w. (0'56 by 0'74).

John Samuel Collection, 1906.

No. 2517. Buildings and Figures.

On the left a domed church ; on the right an arch ; a woman is
kneeling in the foreground towards the left.
Canvas, 8J in. h. by 6 in. w. (0'22 by 0'16).

No. 2518. Gothic Archway and Figures.

Groups of figures, and in the centre a ruined arch beneath
which hangs a lantern. Shadow on the left.
Wood, 7f in. k. by 6} in. w. (0'19 by 0'15).

No. 2519. Venetian Courtyard.

Many figures in a courtyard seen through an archway. On the
right a man in brown.

Canvas, 8f in. h. by 6J in. w. (0-22 by 0-16).
No. 252O. Quay-Side with Warehouses.

Busy men and women on a quay. On the left a long wall in
shadow ; the lagoon lies in the distance ; on the left a boy and a
dog. .

Canvas, S in. h. by 12 in.ty. (0'20 by 0-30).

GUABDI GUERCINO. 319

No. 2521. Ruins.

Three small panels in one frame. A ruined arch in each.
Wood, each 3| in. h. by 2J in. to. (0-09 by O'Oo).

No. 2522. Treasure-Seekers.

On the left a ruined arch ; in the right foreground men digging
for treasure on the edge of a lagoon.

Canvas, 14 J in. h. by 10$ in. w. (0'36 by 0-2 V

No. 2523. View through an Archway.

People walking through an archway, and up some steps in the
middle distance on the right. Blue sky. A lamp high up on the
right.

Canvas, 18J in. h. by 14 in. w. (0'47 by 35).

No. 2524. The Tower of Mestre.

On the right a tower by a lagoon, men in fishing boats on the left,
and a gondola.

Wood, 8i in. h. by 16 in. w. (0'20 by 0-40).

No. 2525. Piazza San Marco, Venice.

Early morning, awnings spread at the base of the Campanile
in the right distance ; deep shadow on the left.
Canvas, 13* in. h. by 21 in. to. (0'34 by 0'5).
Nos. 2517-2525 George Salting Bequest, 1910.

GUERCINO. 1591-1666.

Bolognese School. GIOVANNI FRANCESCO BARBIERI, from his
squinting known as GUEKCINO, was born at Cento, near Bologna.
He was pupil to Zagnoni at Cento and Gennari at Bologna, and no
doubt studied the Carracci, and in Rome Caravaggio. He worked
in Bologna, Venice and Ronle. From 1623 to 1642 be resided at
Cento, when he moved to Bologna, there dying in 1666. He left
a large troop of imitators, to whom and their model the present
significance of the epithet Bolognese is due. Works by GDERCINO
are in Rome, Paris, St. Petersburg, Dresden, Florence and Bologna.

No. 22. Angels weeping over the Dead Body of Christ.

The Christ lies across the foreground, His head and shoulders
against a stone on the left. In the centre a kneeling angel looks

320 GUERCINO HALS.

mildly at Him, and on the right another kneels with his head
resting on his hand.

Copper, 14J in. h. by 17J in. w. (0'36 by 0-44).

Formerly in the Borghese Gallery. Holwell-Carr Bequest, 1831.

GUIDO. See RENZ.

HACKAERT (JAN), 1629-1699?

School of Amsterdam. JAN HACKAERT was probably born at
Amsterdam, where he lived later, associated with A. van der Yelde.
He travelled much in Switzerland, Germany and Italy between
1653 and 1658. From an etching by him it seems probable he
lived also at Gorkam. He followed J. Both in his style an-1 died
about 1699. The figures of his pictures are said to have been
inserted by Philips Wouwerman, Adrian Van de Velde, Jan
Lingelbacb, Nicholas Berchem and Helmbreker. The subject
described below is a typical example. Signed works by HACKAERT
are at Amsterdam, Dusseldorf , The Hague and Stockholm.

No. 829. A Stag -hunt.

Flooded ground within the skirts of a forest ; sunset effect ;
In the centre a stag, hounds, and two mounted horses ; on the
left a man on a white horse. On the right a man running
forward sounding his hunting horn. The figures are attributed
to Nicholas Berchem.

Canvas, 39 in. h. by 47J in. w. (0-99 by 1'20).

Formerly in the possession of Earl Granville. Peel Collection, in
1871.

HALS (DiRK), 1591-1656.

School of Haarlem. DIRK HALS was born at Haarlem, and
studied under his brother Frans, who was eleven years his senior.
In 1617 DIRK was chairman of the Rhetoricians' Club at Haarlem,
and from 1618 till 1628 a member of the " Liefd boven Al."
He married about 1620, and had eight children between 1621
and 1641. He was buried in Haarlem. May 17, 1656. He is
best known for his gaily-coloured genre pictures of society
gatherings, drinking parties ; courtships, &c., in which field he is
one of the best performers. Not many of his works are known
and they are sometimes confused with Buytenwecb's and Kitten-
steyn's. Signed examples occur at Amsterdam, Berlin (1627),.

HALS. 321

Copenhagen (1622 and 1647). Vienna (1624 and 1628), The
Hermitage (1648), Stuttgart (1640), and Dessau (1636 and 1654).
HALS also etched.

No. 1O74. Cavaliers and Ladies at table

A party of six ; four are seated. One of the cavaliers stands
leaning over the back of a lady's chair in the left foreground.
On the right at the back stands the landlady. Behind the table
in the centre is an open door. On the architrave above are two
plates and a dish. Signed and dated D. ffals, 1626.
Wood, 11 in. h. by 15 in. w. (0'27 by 0-38).
Purchased from Mr E. 0. Hill, in 1879.

KAZ.S (FRANS), 1580-841666.

School of Haarlem. One of the great masters of painting,
and sprung from a patrician Haarlem family, FRANS HALS
was born at Antwerp in 1580-84. In 1611 he is first heard
of in Haarlem, when his second son Herman's birth is
recorded. It is probable however that he had come to
Haarlem with his father and mother some time before 1591,
when Dirk, his younger brother, was born there It is pro-
bable that HALS studied under K. van Mander, and it has been
suggested that the Italianizing painters Goltzius and C. Cornells
were not without influence on him. No trace is recognized of
HALS' earliest paintings, c. 1600-1610, though a portrait of
a youth, in the Ludwig Knaus Collection, Berlin, is tentatively
assigned to c. 1611. In 1613 HALS certainly painted Peter
Scriverius, now lost, which as late as 1873 was in the possession
of Count Blondoff at Brussels, and in 1614 Jan Bogardus,
of which a print exists. Two years later HALS' name occurs
discreditably, in connection with his treatment of Anneke Abeels,
his wife, who died in September 1616 ; in February 1617
he married again. The Herring Man or P. van der Morsch, in
the Northbrook Collection, is dated 1616, in which year HALS
became a member of the Rhetoricians' Club and painted his
first doelen picture, The Officers of the Archers of St. George
(Haarlem). His other brilliant groups in the Haarlem Museum are
dated 1627, 1633, 1639, and 1641 ; the Theodore Schrevelius, War-
neck Collection, Paris, 1617 ; his portrait of himself and his second
wife, 1624 (Amsterdam) ; The Laughing Cavalier (1624),
Wallace Collection ; J. P. Olycan and Aletta Haneman, (1625)
at the Hague ; the Admiral (c. 1635), at St. Petersburg ;
the Dutch Noble, at Edinburgh ; the W. van Huythuysen, at
Vienna ; the famous Warde Group (c. 1642), lately gone to
America, and the group in this collection may be mentioned. In

17983 X

322 HALS.

1637 HALS had made a stay in Amsterdam, there coming in contact
with Rembrandt's influence, which considerably coloured his later
work. In 1543-4 he was again in Amsterdam and in Utrecht ; to
this year belong the Johan van Loo and the Nicolas Tulp in M.
Six' Collection at Amsterdam, and the J. Schade van Westrum in
the Budolfinium, Prague. From 1645 HALS' business declined ;
hitherto his clients had been patricians, literary men, and pros-
perous burghers and ecclesiastics ; but later, with few exceptions,
his sitters were found among the obscure. To this, his closing
period, belong works such as the Tyman Osdorp (1656) at Berlin,
the Hoornleck (1651), at Brussels, the Willcwi Croes (1658), in
Munich, the Hille Bobbe type of study, and consummatingly the
two final groups at Haarletn, the Regents and the Regentesses of the
Almshouses (1666). Gone'from these the lusty superficiality of
characterisation that marks the earliest portraits, gone too the colour
and glitter of jovial careless 'life- The saddening experience of the
master has substituted penetrative insight. Poverty and compara-
tive oblivion fell on the old artist ; in 1652 his belongings were
distrained upon, and in time he became an object for the paupers'
fund, as his widow after him. FRANS HALS died at Haarlem,
August 29, 1666, leaving a considerable number of followers, his
sons among them. Though rarely comparable with Velazquez and
Rembrandt as a portrait painter, HALS stands apart as a technician.
In this respect he was a great inventor, who perfected a method of
extraordinary brilliance and directness.

Bibliography : E. W. Moes, Frans Hals C. J. Holmes, Notes
on Rembrandt ; Bode, Rembrandt und seine Zeiigenossen ; and
Studien zur Geschichte der hollandischen Malerei. De Groot, Cata-
logue of Dutch Painters" vol. iii. Fromentin, Les Maitres d'autre-
fois.

No. 1OZ1. Portrait of a Woman.

Half-length, three-quarters to the left, in black, with her hair
combed back, a white cap, a large white ruff and wristbands, her
hands crossed before her. An example of HALS' middle period.
Signed with a monogram.

Canvas, 24* in. h. by 18$ in. w. (0'62 by O46).

De Groot's Catal., No. 381.

Purchased from Mr. F. A. Keogh ; " Lewis Fund," 1876.

No. 1251. Portrait of a Man.

Bust portrait, three-quarters to the right, looking out afc the
spectator. A fresh-coloured man of about 40 3 ears of age, with
short brown hair, moustaches and chin-tuft, in a black satin

HALS. 323

doublet and large ruff. Light brown background, on which is
inscribed

A^TAT. SV/e*

AN 7(533

The figures for the age have been cut off.
Canvas, 25 in. h. by 19J in. w. (0'63 by 0-49).
De Groot's Catal., No. 281.
Bequeathed by Mr. Decimus Burton, and presented in 1888.

No. 2285. A Family Group.

A picture containing ten figures. The father sits fronting the
spectator in the centre, about to lay his right hand on the head of
a little girl who stands between him and the mother, holding
up an apple in her left hand; The mother, towards the right, is
seated three-quarters left, looking down. Behind her on the extreme
right stands a grown-up daughter holding preserved fruit in her
right hand across her mother's shoulder, towards the little girl ; her
left arm hangs by her side, a basket of Chinese make in the hand ;
her dress is black, her petticoat dark purplish, shot with green. On
the left of the group, relieved against the sky, the nurse fronting
the spectator holds a baby on her right arm ; in front of her a
lad, profile left, kneels on his left knee offering the baby a rose.
Behind, against the background of trees, two other lads ; in the
foreground, by her father's right knee, a little girl kneels, hold-
ing a Dutch basket and turned three-quarters right ; her dress
is grey purplish, shot with green. A flat plain extends to the low
horizon on the left. It has been thought that there is an
intentional antithesis between the oriental basket and preserved
East Indies fruit held by the eldest girl, and the Dutch apple and
basket in the little child's hands.

Canvas, 58f in. h. by 99$ in. w. (1-49 by 2-52).

De Groot's Catal., No. 439. Purchased from Lord Talbot de
Malahide in 1908.

No. 2528. A Man holding a Glove.

Half-length, three quarters left. His right hand on his hip, in
his left his glove. Black dress, with a flat close-fitting collar, and
a large black bat ; dark brown background. Painted c. 1645.

Canvas, 30 in. A. by 26* in. w. (0'77 by 0'66).

De Groot's Catal., No. 289. Formerly in the Chohnondeley
Collection, 1902 ; purchased by Messrs. Agnew. George Salting
Bequest, 1910.

17983 X 2

324 HALS HARPIGNIES.

No. 2529. A Lady with a Fan.

Over half-length, full-face. In her left hand she holds a black
fan, with her right she fingers a gold chain, wound about her neck.
Her dress is black, gold embroidered in front. She wears a lace-
trimmed cap, a double lace collar and wristbands, and gold chain
bracelets, c. 1645.

Canvas. 31* in. h. by 23 in. w. (0'79 by 0'58).

De Groot's Catal., No. 385. Formerly in Collection of Robert
Gwilt, Icklingham, Suffolk. In the possession of Messrs. Agne-w
before 1889. George Salting Bequest, 1910.

HAND (THOMAS), ACTIVE c. 1790-1804.

English School. A landscape painter, the dates of whose birth
and death are not recorded ; he studied under George Morland and
became one of his close companions. He made clever copies of his
master's works, many of which have passed as originals. He
exhibited sporting and other pictures at the Royal Academy
between the years 1792 and 1804.

No. 2474. Cottage and hilly Landscape.

A rustic is seen leaning against the fence of a small thatched
cottage built close under a rocky hill. He is talking to a girl in
a mob-cap who is opening the gate. A rough sheep-dog at his feet
is turning towards two pigs that are approaching a wheelbarrow
loaded with straw and standing on the roadside in the centre of
the composition. Low hills and a church tower are seen in the
distance. Signed " T. Hand, '97."

Painted in the manner of George Morland.

Canvas, 27 in. A. by 35 in. w. (0-68 by 0'88).

Presented by Mr. Lockett Agnew in 1909.

HARPIGNIES (HENRI).
French School. Living Artist.
No. 2256. A River Scene.

A still rock-strewn pool at the head of a wooded valley seen in.
evening light. An oak tree fills the right side of the picture, and
under it are two figures in white and blue.

Canvas. 8 in. h. by 9 in. w. (0'20 by 0'22).

HARPIGNIES-HEEM. 325

No. 2257. Ilex Trees. Villefranche.

Between two masses of ilex in full summer foliage is seen the
cliff above the town of Villefranche, and to the right the blue
water of the bay. Blue sky, with white cumulus. In the fore-
ground larsje grey stones with a little thin grass.

Water colour on paper, 13 1 in. h. by 20 in. w. (0'33 by O'oO).
Both presented by Miss Evelyn McGhee, 1908.

HEDA (WILLEM KLAASZ), 1594? 1678.

School of Haarlem. HEDA was born at Haarlem in 1594. In
1631 he was President of the Guild, and in 1637 his name occurs
as master of certain pupils, among them his son Gerrit Willemsz
Heda. WILLEM KLAASZ buried his wife in 1668, a decade before
his own death in 1678. Possibly this painter is the Haarlem
lawyer or magistrate WILLEM HEDA who was in Haarlem in 1620.
Cornells Claesz Heda was his brother. Signed pieces by WILLEM
KLAASZ are at Munich (1625), The Hague (1629), Amsterdam
(1647), Schwerin (1646 and 1649), and at Vienna, Liechtenstein
Gallery (1651). Jacob de Bray painted HEDA in 1678.

No. 1469. A Study of Still-life.

On a table partly covered with a white cloth are various
flagons, a glass beaker in the centre of the canvas, and a coffee pot
towards the left. A crab and a peeled lemon with pewter and
china plates make up the group. Signed HEDA 1644.

Wood, 20J in. h. by 28J in. w. (0-52 by 0'72).
Presented by Henry J. Pfungst, F.S.A., in 1896.

HEEIVI (DAVID DE), 1570-1632.

School of Utrecht. DAVID DE HEEM I. was born at Utrecht in
1570 ; later he went to Antwerp. He was father to Jan Davidsz
de Heem, the better -known painter of still-life. His father, David
De Heem, signed his work, D. D HEEM, if we may judge from an
example at Brunswick. Another David Do Heem, presumably his
younger son, signs himself D. DE HEEM, he was born at Utrecht
in 1610. The picture described below is signed D. DE HEEM.
DAVID DE HEEM I. died at Utrecht in 1632.

326 HEEM HELST.

No. 2582. Fruit and Flowers.

A pyramidal arrangement of three oysters, a blood orange, and
various fruits and flowers. A snail crawls along below the group.
Signed " D. DE HEEM."

Wood, 13i in. h. by 9* in. ic. (O33 by 0'24).

George Salting Bequest, 1910.

HEIMBACH (CHRISTIAN WOLFGANG), 1613-1678.

German School. Little is known of HEIMBACH, who was born in
1613 at Oevelgonne, near Pinneberg, and flourished from 1637 to
1675. He visited Holland, Italy, and Denmark, and lived in the
latter country for some time, eventually becoming attached to the
Court there. He chiefly painted small portraits and pictures of
candle-light scenes. In 1667 he returned to Oldenburg, and died
in 1678. Examples of his work are at Brunswick, Cassel, and
Hanover.

See Jahrbuch der Bremischen Sammlungen. Vol. I (1908).

No. 1243- Portrait of a Young Man.

Half - length, three - quarters to the right, looking at the spec-
tator ; he wears a black doublet, mantle, and broad-leaved steeple-
crowned hat ; his right arm is akimbo, his left hand, gloved, is at
his waist. Behind him a grey-pink curtain, a pillar on the ex-
treme right, and in the centre a view of the sea. On the low
window-sill is the inscription :

Wood, oval, 19 in. 7<. by 13 in. w. (0'48 by 0-34).
Purchased from Mr. M. Roberts in London, in 1888.

HELST (BARTHOLOMEW VAN DER), 1612-1670.

School of Amsterdam. Born at Haarlem in 1612, VAN DER
HELST was taken to Amsterdam in 1613. There he probably entered
the school of Nicholas Elias Pickenoy. He married Anna du Pier in
1636, and between 1637 and 1647 had six children. In 1653 he
was one of the founders of the Amsterdam Guild of Painters.
Despite the great quantity of work, portraits, single and in groups,.

HELST. 327

he produced, he died in poverty at Amsterdam in 1670. Allart
van Everdingen, Ruisdael, and Hackaert sometimes put in the
landscape backgrounds of HELST'S portraits, and Bakhuyzen
collaborated with him in the Admiral Aart van Nes, in the Rijks
Museum. In portraits of that type VAN DER HELST'S deficiencies
are clear a certain rhetorical effect and lack of pictorial unity.
Nor can his great doelen piece, The Civic Guard, painted in 1648,
despite Reynolds' generous appreciation, rank with Frans Hals'
Corporation pictures as regards complete design. It is in his
single portraits, such as the moving Paul Potter (1654), at The
Hague, the Admiral Kortenaar at the Rijks Museum, the
Portrait of a Warrior (1650) (No. 1143) also there, and the
Portrait of a Young Man (No. 1597) in the Dresden Gallery, that
his rank as a portrait painter is gauged. His works are dated
from 1638, at Rotterdam, to 1669 at The Hague.

No. 1248. Portrait of a Young Lady.

Half length, three-quarters to the left. She has dark grey
eyes and light brown hair, and a gown of white and blue-figured
satin with gold embroidery. She wears a broad falling collar of
fine lace and broad cuffs of the same. The left hand rests in
front on the waist ; the right holds a fan of ostrich feathers
tinged with blue. Dark background. Signed and dated.

new?

Canvas. 29 in. It. by 25 j in. to. (0'73 by 0-64).

This picture, said to be the portrait of a lady of the house of
Braganza. was formerly in the Fonthill Abbey Collection. Purchased
at the sale of Colonel Everett's pictures ; " Clarke Bequest," 1888.

No. 1937. Portrait of a Lady.

Three-quarter length, standing, slightly turned to the left, her
dark brown eyes looking out of the picture. In her right hand
a closed fan, in the left the lower end of her stiff bodice. She
wears a lace cap, a black dress with full sleeves, and broad white
collar and cuffs. Her collar is fastened by a bow of blue and
yellow, and silver passementerie ; a similar bow is attached to the
handle of the fan. Dark warm grey background ; clear flesh tone.

Canvas, 40 in. h. by 29 in. to. (1-01 by 0'73).

Purchased in London from the Marquess of Northampton, in 1904.

328 HEME3SEN HERRERA

HE1VIESSEN (CATHARINA VAN). 1528 after 1554.

Flemish School. CATHARINA VAN HEMESSEN or HEMSEN was
the daughter and pupil of Jan van Hemessen, a painter born near
Antwerp in 1504. She married Christian de Morico, a musician,
at Antwerp, in 1554. Vasari says she went to Spain in the service
of the Queen of Hungary, as a miniature painter. The queen is
said to have pensioned CATHARINA.* Her death date is unknown.

No. 1042. Portrait of a Man.

A little over half length, three-quarters to the left, with blond
hair and beard, a black bonnet, and slashed doublet. His right
hand grasps the hilt of his sword, the left rests on the hip, and
has on the forefinger a ring with armorial bearings in enamel.
The shirt is embroidered with red, and the red cords of the ruff
depend on the breast and are fastened to a ring-like jewel.
Signed :

dATHAKlNA-FILLA
JOANMS DEXEMES
SEX FMGEBAT

Wood, 14 J in. h. by 11} in. w. (0-36 by 0'28).

Purchased from Mr. J. C. Wallace ; " Lewis Fund," 1878.

KEDXX.INC. See MEM LIN C.

(FRANCISCO DE) THE YOUNGER, 1622-1685.

School of Seville. Born at Seville, the younger HERRERA at
first studied under his father. Unable long to put up with his
violent temper the young man went to Rome and stayed there
until his father's death in 1656 when he returned to Seville.
He began painting still life pictures or " bodegones," but on
his return to Seville was employed in large compositions for the
churches. He went to Madrid in 1660, in jealousy it is said of
Murillo ; there he painted altar-pieces and frescoes, and was

* Guicciardini Descrizione (1617. f. 123). See also Starve Gody, St. Petersburg,
1907. A signed portrait of Catharina by herself, dated " 1548 Aetatis Suae 20,''
is in the Sernoff Collection.

HERRERA HEYDEN. 329

appointed painter to Philip IV., and under his son, Charles II.,
was promoted to be master of the royal works. He died at
Madrid in 1685.

No. 1676. Christ disputing with the Doctors.

Half length figures ; the young Jesus is on the right facing to
the left, telling off the points of His argument on His fingers.
On the left an old Pharisee bends towards Him, wearing blue and
gold, his face completely in shadow. Immediately behind Jesus a
bald headed Pharisee is seen ; and in the centre Mary with
Joseph. The figures are grouped in the porch of a building ;
another building and open sky form the background.

Canvas, 46 \ in. h. by 63 in. w. (1'17 by 1-60).

Bequeathed by Mrs. Alexander Lang Elder, in 1899.

HEYDEN (JAN VAN DER), 1637-1712.

School of Amsterdam. VAN DER HEYDEN was born at Gorkum,
and at first apprenticed to a glass-painter ; he then went to
Amsterdam and married in 1661. He painted street views,
churches, and squares ; at first aided with the figures by A. van de
Velde, E. van der Neer, and Liogelbach ; later he put these
accessories in himself. He visited the Rhine, Belgium, and,
according to Houbraken, England. He died at Amsterdam in 1712.
He occasionally painted subjects of still life. HEYDEN had a
strong turn for mechanics ; he invented the fire-engine, and
introduced the use of street lamps.

No. 866. A Street in Cologne.

Towards the right in the background is seen the unfinished
tower of the cathedral, surmounted by the old crane. Two dogs
in the left foreground. The figures are attributed to Adrian Van
de Velde. Signed J. V. D. H.

Wood, 11 in. h. by 17 in. w. (0-27 by 0'43).

A similar picture is in the Wallace Collection.

Sm. 98. De Monte Coll., 1825. Mr. J. Barchard, 1826. Sold to Sir
Robert Peel by Mr. C. J. Nieuwenhuya before 1834. Purchased with
the Peel Collection, 1871.

No. 992. Gothic and Classic Buildings.

Gothic and classic buildings, among which a triumphal arch is
conspicuous, with figures ; a lame beggar in the centre ; an old
tree and slabs of stone on the right. Signed " J. V. D. HEYDE."

Oak, 20 in. h. by 25 in. w. (0-50 by 0'63).

Sm. 65 ; in the sale of M. Geldermeester, 1800.

Wynn Ellis Bequest, 1876.

330 HEYDEN HOBBEMA.

No. 993. Landscape.

A house among trees ; a pool of water in the foreground ; some
cows and sheep on the further bank.

Oak, 8} in. k. by 11J in. w. (0'21 by 0-28).

Wynn Ellis Bequest. 1876.

No. 994. A Street in a Town.

A church to the left, casting a shadow over the foreground ;
at the end of the building a dog, by a post. Signed :

voe*

Oak, 20J in. h. by 16 in. w. (0-52 by 0-40).
Wynn Ellis Bequest, 1876.

No. 1914. A Royal Chateau in Holland.

The House in the Wood near The Hague, where the first Peace
Conference was held. In the centre a palatial building of plain
brick, in front a garden. On the right a high obelisk of lattice
work for training roses ; two more in front of the chateau.

Wood, 8 in. h. by lOf in. w. (0-20 by 0'27).

No. 1915. A Dutch Church and Market Place.

A Gothic Church, with a tower of Classic architecture in the
centre ; on the left is a Gothic building. Figures are disposed in
groups about the open ground. Signed " V. D. H." in monogram
form.

Wood, 8 in. h. by lOf in. w. (0'20 by 0'27).

Both bequeathed by Sir James Cannichael, 1902.

HOBBEMA (MEINDEBT), 1638-1709.

School of Amsterdam. HOBBEMA was born at Amsterdam.
The earliest date on his work is 1659, which we may assume to
to have been painted before his association with Buisdael. The
latter became a citizen of Amsterdam in 1659 ; and from recently
discovered documents it is proved that HOBBEMA'S connection with
the Haarlem master began in 1661 ; it is, however, possible that
prior to this he had studied Ruisdael, who had visited Amsterdam
some years before settling there. HOBBEMA'S activity was in any
case short. When the necessity for work was removed by
external devices his interest in art seems to have expired In
1668 he married Eeltie Yinck, a servant, four years his senior.

HOBBEMA. 33*

Through her good offices with a former fellow-servant he
obtained a post in the wine-customs. Thus the necessity of
painting for his living seemed removed. Hence, though HOBBEMA
lived till 1709, few of his pictures date from after 1670. By this
year his powers had patentlv diminished, so that it is surprising to
find 1689 as the date on The Avenue of Middelharnis, the picture
in this Gallery, one of his most important pieces. In com-
parison with his friend and master Ruisdael, HOBBEMA utters
prose unillumined by deep conviction. None the less his utterance
is in its way excellent, delicate and accomplished. In the Avenue
of Middelharnis he managed also to express a larger feeling of
design. HOBBEMA'S period of production was so brief that no
regular development is seen in his work, though some pieces are
obviously early, some late. His first dated paintings (from 1659)
at Edinburgh and Grenoble are "dry in execution and awkward
in construction, and in any case nearly related to J. van Ruisdael."*
Of 1659 also is a small -signed piece at Frankfort. A little earlier
are placed various pictures, yet more under Ruisdael's influence, in
the Augsburg, Munich, and Dresden Galleries. The later works
of HOBBEMA are heavier, colder, and petty in treatment. The
prices HOBBEMA obtained were low from 10 to 30 florins. His
own funeral, on December 14, 1709, is recorded in the Wester-
kerkhof register as a pauper's, as had been bis wife's. He died
on the Rozengracht, a suburb of Amsterdam, in a house opposite
that in which Kembrandt had died forty years before. His
influence on Crome was considerable in that master's later
period. Crome's last words are said to have been " HOBBEMA, how
I have loved thee ! " As a rule A. Van de Velde and Lingelbach
put in the accessory figures in his landscapes.
Fromentin, Lea Maitres d'autrefois.

No. 685. Landscape, Showery Weather.

A road runs from the foreground to the middle distance ; on the
left of it, in the centre of the picture, a clump of oaks. In the

sunny middle distance, towards the right, a cottage, a woman in
the doorway. On the left is a shaded pool, with a man angling on
the bank. A man with a long stick over his shoulder walks down
the road.
Signed :

/71. -

Wood, 23 j in. h. by 31$ in. w. (0-60 by 0'84).

* W. Bode : Great Masters of Dutch and Flemish Painting.

332 HOBBEMA.

De Groot's Catal., No. 160 Sale -I. M. Raikes, London, 1829. Sale
Comte Perregaux, Paris, 1841 ; bought by Le Roy. for Prince, d'Aren-
berg according to Sm. 1835 ; imported into England by Mr. Farrer ;
purchased from Mr. G. H. Phillips in 1862.

No. 830. The Avenue, Middelharnis, Holland.

In the centre a long avenue of tall lopped trees leads up
to the village, of which the church tower is conspicuous
on the left. On either side of the road a ditch ; beyond
the left ditch are plantations, and on the right, farm buildings,
and a nursery ground, in which a man is pruning trees. A
sportsman with his gun and dog is on the road approaching from
the village. Signed M. Hobbema, f. 1689.*

Canvas, 40 in. h. by 55 in. w. (1-02 by 1'40).

De Groot's Catal., No. 13. Exhibited at British Institution, London,
1835. In collection of Theodorus Kruislander, clerk of Sommelsdijk ;
bought from Krnislanders Estate in 1783 and presented to the village
according to inscription in Middelharnis Town Hall, but probably
bought at Kruislander's Sale, Oct. 15, 1782. In Middelharnis Town
Hall till 1822 ; then probably in Pott Collection, Rotterdam ; taken
to Edinburgh, 1824, by Galli. Peel Collection, London, 1835. A copy
by Adriaen van der Koogh, now in Town Hall, Middelharnis, was
accepted with view of village of Rekum, by the same painter, in
exchange for Hobbema's original work in 1822.

Purchased with the Peel collection in 1871.

No. 831. Ruins of Brederode Castle.

The castle of red brick stands on high ground, in sanshine in
the centre. The foreground of water is in shadow ; on the left
are three oaks, beneath which are two anglers and a sportsman
with his gun and dog. In the foreground some ducks swimming,
and a goose to the right. Signed 31. Hobbema ft. 1667. The
ducks are ascribed to Wyntrack, the figures to Lingelbach.

Canvas, 32* in. h. by 42 in. w. (0'82 by T06).

De Groot's Catal., No. 6. Formerly in the collection of M. H. Kops.
of Haarlem, 1816. Imported by Mr. C. J. Nieuwenhuys, 1825. In the
Peel collection 1825. Thence bought in 1871.

No. 832. A Village, ivith Water mills.

In the shadowed foreground a river, with a low fence standing
in it ; in the middle distance in sunlight a mill house wheel
and weir. Sunlight falls over the middle distance, on the right
being two more mills. A bent tree stands in the centre, on the
river's bank ; a few ducks in the foreground. Signed M. Hobbema.

Wood, 23J in. h. by 32 in. w. (0-59 by 0-82).

* The archives of Middelharnis incontestably prove that this picture cannot
have been painted before 1682, when the beacon on the East dike was put up
at the demand of the fishermen. Thus ' 1669,"' the date sometimes suggested, is
impossible. (From notes supplied by M. C. G't Hooft.)

HOBBEMA. 333

De Groot's Catal., No. 76. Formerly in the possession of M. Vaillant
at Amsterdam. Sold to John Smith, 1824. Peel Collection, 1835,.
thence purchased 1871.

No. 833. Forest Scene.

Two logs in shadow in the foreground by some water. To the
right two small willows ; in the left centre, on the farther bank,
five stunted willows. In the centre middle distance three small
figures, one in a red shirt ; on the right a man in a tall hat.

Wood, 12 in. h. by 15 in. w. (0'30 by 0-39).

De Groot's Catal., No. 161. In 1826 in the collection of Mr. J. Bar-
chard ; in the Peel collection. 1835 ; purchased with it. 1871.

No. 995. Woody Landscape.

A large cottage in shadow among the trees on the right, a woman
at the door. In a gleam of light, in the centre foreground three
figures stand on a road, that curves into the middle distance. The
left foreground of close set trees is in deep shadow. Through the
trees in the centre shews the sunny distance and middle distance.
A tall silver birch stands in front of the cottage, on the right.

Canvas, 39 in. h. by 52 in. w. (0'99 by 1-32).

De Groot's Catal., No. 162. Exhibited British Institution, London,.
1826. In Leader Collection, Putney, 1835 (Sin.).

The Wynn Ellis Bequest, 1876.

No. 2570. A Cottage in a Wood,

In the centre two men at the side of a winding road ; in the
middle distance a gabled red brick cottage, a woman standing in
the doorway : sunlight beyond. On the right a thatched grey
barn ; in the left foreground withies, stacked. Signed M.
Hobbema. (A replica of a picture sold 1898 with Clinton Hope Coll.)

Wood, 20J in. Ji. by 26$ in. w. (0'52 by 0'67).

De Groot's Catal. 36a. George Salting Bequest, 1910.

No. 2571. The Path through the Wood.

In the centre foreground a woman, a child, a man and a dog
stand in a gleam of sun on a road leading into the picture. On
the left cottages in the middle distance, where walk a man and
a woman ; beyond two more figures. Trees to the right and
left, sunlight in the middle distance, while the foreground is in
deep tone, A barn stands on the extreme left.

Wood, 24 in. h. by 33 in. w. (0-61 by 0'83).

De Groot's Catal. 127a. George Salting Bequest, 1910.

334 HOGARTH.

HOGARTH (WILLIAM), 1697-1764.

English School. William Hogarth, the most original of the
English XVIIIth Century figure painters, was born in London and
apprenticed to Ellis Gamble, an engraver on silver, who kept a silver-
smith's shop in Cranbourn Alley, Leicester Fields. He seems to
have been employed at first as an engraver of crests and ciphers
on silver and other metals. In 1718 he turned his attention to
engraving on copper for booksellers. His earliest known print is
his own shop-card, which is inscribed " W. Hogarth, Engraver,
Aprill y e 23, 1720." He first attracted public notice by his prints
for Butler's "Hudibras," published in 1726. About this date he
turned his attention to oil painting and attended the Academy of
Sir James Thornhill. Among his earliest works in oil are
The Wanstead Assembly, of 1728, a scene from Gay's Beggar's
Opera, of 1728-9, and the Wollaston Family, of 1730. In 1729
he eloped with and married Jane, the daughter of Sir James
Thornhill. He engraved many bookplates at this period,
sometimes receiving for his plates little more than the value
of the copper. In 1731 he painted, Ihe Harlot's Progress ;
the great merit of these works effected a reconciliation with
Sir James Thornhill. This series was followed in 1733, when
he moved to Leicester Fields, by the Southwark Fair, and,
in 1735, by the Rake's Progress, now in the Soane Museum
in Lincoln's Inn Fields. In that year he was instrumental
in bringing into Parliament a bill which vested in designers and
engravers an exclusive copyright in their own designs. Hogarth
was now of high repute, as painter and satirist. In 1740 he
painted the Captain Coram, still in the Foundling Hospital.
To the year 1745 belong His own Portrait (No. 112), as well as
the Marriage a la Mode (No. 113-No. 118), now in this Gallery.
In 1749 he painted his Calais Gate (No. 1464), also in this
Collection, which is a reminiscence of his journey to France in the
previous year. Two years later appeared his Beer Street and
Gin Lane. In 1753 Hogarth published " The Analysis of
Beauty, written with a view of fixing the Fluctuating Ideas of
Taste."* The Four Pictures of an Election, now in the Soane
Museum, were painted in 1755. In 1757 Hogarth was appointed
Serjeant Painter to the King. In 1761 he exhibited five pictures at
the Society of Artists. He died at his house in Leicester Fields on
Oct. 26, 1764, and was buried in the churchyard at Chiswick,
where he had a villa, and where he generally resided in the
summer.f The epitaph on his tomb was written by Garrick.J

* A German translation of this work was printed at Berlin in 1754 : it
appeared in Italian in 1771, and in French in 1805.

t This was purchased in 1902 by Lieut.-Colonel Robert Shipway to save
it from destruction.

J A monument was erected to him by his friends in 1 771 ; on one side of
it, under a design representing a mask, laurel wreath, mahl stick, palette,
pencils and a book inscribed "Analysis of Beauty," is an epitaph by
Garrick.

HOGARTH. 335

No. 112. His own Portrait.

The picture is represented resting on volumes of Shakespeare,
Milton, and Swift ; and Hogarth's favourite dog " Trump " is
painted by the side of it. In the lower corner to the left is a
palette with the " Line of Beauty and Grace " marked upon it,
and inscribed " W. H. 1745."

Canvas, 35 in. h. by 27 in. w. (0'88 by 0'68).

Engraved in 1749 by Hogarth himself, but the plate was converted
in 1763 into a satirical print of Churchill, the poet, as "A Russian
Hercules."* Engraved also by Benj. Smith, and by J. Barlow &c.

Exhibited at the British Institution, 1814 (No. 94), and the National
Portrait Exhibition, South Kensington, 1867 (No. 352).

Another self-portrait of Hogarth is in the National Portrait Gallery.

This picture remained in the possession, of Mrs. Hogarth until her
death in 1789. At the sale of her pictures in April, 1790, it was
purchased by Alderman Boydell, and in 1797 passed to Mr. J. J.
Angerstein.

Purchased with the Angerstein Collection in 1824.

Nos. 113-118. The Marriage "a la Mode"

This series of six pictures represents profligacy in high life or
the ill effects of a marriage, of which the rank of one party and
the wealth of the other are the sources of mutual attraction.
Both are indifferent ; the husband, a peer, proves neglectful and
profligate the lady, faithless ; and her lord is finally killed in a
duel by her paramour, who is hanged for the murder ; the suicide
of the lady by poison is the closing act of the tragedy.

No. 113. Scene I. The Marriage Contract.

A. splendid apartment, adorned with pictures, among which may
be recognised a " St. Sebastian," a " David and Goliath," and a
''Head of Medusa." The old nobleman, father of the bridegroom,
points to his pedigree, while the rich alderman, father of the bride,
is absorbed in the marriage settlement. The bride and bridegroom
are seated, turned away from each other, on the sofa. " The lady
shows . . . that but a sullen consent has been wrung from her,
and the young nobleman evinces his utter indifference for his
bride . . . The nature of the plot and catastrophe of the drama is
sufficiently indicated by the insidious attention which the young
counsellor " Silvertongue " is paying to the bride. f Two pointers

* The plate was inscribed : " The Bruiser C. Churchill (once the
Rev d .), in the character of a Russian Hercules, Regaling himself after
having kill'd the Monster Caricatura that so Sorely gall'd his Virtuous
friend the Heaven born Wilkes."

t See the elaborate description of this picture and the rest of the series
-by John Ireland in his "Hogarth Illustrated"

336 HOGARTH.

in the left foreground, chained together. Composition of seven
small figures.
Originally engraved by G. Scotin, in 1745.

No. 114. Scene II. Shortly after Marriage.

The breakfast-room, and an inner-room beyond, in which are
seen cards and card-tables, the candles still burning, and a sleepy
servant extinguishing them. The peer, after a night's debauch,
has just entered ; his wife, who has been all night at cards, is
seated at breakfast. He has thrown himself carelessly upon a
chair, his hands in his pockets ; she is yawning. An old steward,
with a parcel of bills and a solitary receipt, is leaving the apart-
ment in despair. A little dog is sniffing at a lady's cap in the
pocket of the young libertine. Four pictures of saints hang on
the walls of the inner-room.

Originally engraved by B. Baron, and by many others.

No. 115. Scene III. The Visit to the Quack Doctor.

The libertine rallies a quack and a procuress for having deceived
him, and the latter threatens him with her knife in return ; the
quack maintains indifference. The young girl, the cause of
the visit, presents a hapless picture of deadened sympathies.
Composition of four figures.

Engraved for the original set of prints by B. Baron.

No. 116. Scene IV. The Countess's Dressing Room.

Her morning levee is crowded with persons of rank, and
attended by her paramour and an Italian singer, with whose dulcet
notes two of the group seem enraptured. " Silvertongue," the
young lawyer, reclining upon the sofa, is presenting the Countess
with a ticket of admission to a masquerade, at which the assigna-
tion is made which leads to the catastrophes of the two following
scenes . On the walls, Titian's " Rape of Ganymede " and
Correggio's " Jupiter and lo."

Engraved originally by S. F. Ravenet.

No. 117. Scene V. The Duel and the Death of the
Earl.

The peer becomes aware of the infidelity of his wife and
discovers her with her paramour. A duel ensues, and the earl is
slain. The countess implores the forgiveness of her lord, and the
guilty paramour endeavours to escape out of the window, but the
Watch has already arrived, and he is arrested. The apartment, a
bed-room, is skilfully illuminated from a wood fire, the light of

* See John Nichols's ' Anecdotes " and Ireland's " Hogarth"

HOGARTH. 337

which is dimly seen to the left of the picture. Composition of
five, but only two principal, figures.

This picture also was engraved for the original set by Ravenet,
assisted by his wife ; also by Earlom.

No. 118. Scene VI. The Death of the Countess.

The final scene. The countess dies by poison in her father's
house in the city, of which he is one of the sheriffs : the
window of the apartment looks out on to the Thames. The
poison bottle lies upon the floor, and close to it is a paper with
the words "Counsellor Silver-tongue's last dying speech." The
father, seeing his daughter upon the point of death, is drawing
the rings from her fingers. The only two of the party who
exhibit any grief are the child of the countess and the old nurse,
who is holding it up to the face of its dying mother. In the
background is the apothecary rating the domestic for having
purchased the poison. A half -starved hound is stealing a " brawn's
head " from the table, on the right. On the extreme left is the
back of the retreating physician.

Engraved by G. Scotin, for the original set published in 1745.

All on canvas, and 27 in. h. by 35 in. w. (0-68 by 0'88).

Exhibited at the British Institution in 1814 (No. 110-No. 115), and
the International Exhibition, South Kensington, 1862 (No. 42-No. 47)

These pictures were completed in 1744, and were sold by Hogarth
by auction, on June 6, 1751. Purchased by Mr. Lane, of Hillingdon,
the only bidder, for 126Z. ; the frames alone had cost Hogarth 24
guineas. Bequeathed by Mr. Lane to Colonel J. F. Cawthorne, who,
after offering them for sale in March, 1792, and May, 1796, sold
them in Feb., 1797, to Mr. Angerstein for 1,000 guineas. Purchased,
with the Angerstein Collection, 1824.

No. 675. Portrait of Mary Hogarth, the Artist's
Elder Sister.

Bust portrait, profile to the right. Inscribed " MARY HOGARTH,
1746."

Canvas, 11 in. A. by 8| in. w. (0-27 by 0'20).
Bequeathed by Mr. Richard Frankum in 1861.

No. 1O46. Sigismonda mourning over the heart of
Guiscardo.

Sigismonda, daughter of Tancred Prince of Salerno, secretly
married Guiscardo, her father's page. Tancred having discovered
the union, caused Guiscardo to be strangled, and sent his heart
enclosed in a rich golden cup to Sigismonda. She accepted the
gift, bathed it with her tears, and poisoned herself.

Canvas, 39 in. h. by 49i in. w. (0'99 by 1-25).

17983 Y

338 HOGARTH.

Engraved by B. Smith in 1792. Exhibited at the Society of Artists,
1761 (No. 44) ; the British Institution, 1814 (No. 166), and Burlington
House (Old Masters), 1870 (No. 43).

Painted in 1759 for Sir Richard Grosvenor, who declined to take it.
It was afterwards exhibited in Spring Gardens. At the sale of Mrs.
Hogarth's effects in April 1 790, it was bought by Alderman Boydell
for 56 guineas. It formed one of the prizes of the Shakespeare
Gallery. It was sold again in June or July 1807.

Bequeathed by Mr. James Hughes Anderdon in 1879.

No. 1153. A Family Group.

An interior. On the left is seated Dr. Arthur Smith (Arch-
bishop of Dublin, 1766-72), an open book in his right hand ; he is
talking to Mr. William Strode, who is sitting at table. To the
right of the latter, the butler is pouring water into a tea-pot.
Lady Ann Strode, in a mob-cap, is drinking tea, and to the right
of her stands Mr. S. Strode, wearing a blue coat, embroidered with
gold, and red breeches ; he holds a stick in his right hand.

Canvas, 34 in. h. by 35 in. w. (0'86 by 0'88).

Exhibited at the Royal Academy (Old Masters), 1884 (No. 38).

Bequeathed by the Rev. W. Finch in 1883.

No. 1161. Miss Lavinia Fenton, as " Polly Peachum"
in the " Beggar's Opera."

The famous actress wears a pale green silk bodice open at the
neck and trimmed with reddish brown silk. Her fair hair is
half -concealed by a lace cap and her throat encircled by a pearl
necklace. Life-size, half-length portrait, the face turned three-
quarters to the left. Dark background.

Canvas, in a feigned oval, 29 in. h. by 23 in. w. (0'73 by 0'58).

Exhibited at Burlington House (Old Masters), 1875 (No. 137).

Formerly in the Collection of Sir Philip Miles. Purchased at the sale '
of the Leigh Court Collection, June 28, 1884 (No. 30), out of a Fund
bequeathed by Mr. Richard C. Wheeler.

No. 1162. The Shrimp Girl.

She wears a white cap with a dark cloth over her head, on which
she bears a flat dish, or basket, containing shrimps, and a small
metal mug used as a measure. Her mouth is half-open. Nearly
full face, bust length. Light grey background.

Canvas, 25 in. h. by 20 in. w. (0'63 by 0-50).

Exhibited at the International Exhibition, 1862 (No. 40).

Formerly in the Collection of Sir Philip Miles. Purchased at the
sale of the Leigh Court Collection (No. 31), out of a Fund bequeathed
by Mr. Richard C. Wheeler, June 28, 1884.

HOGARTH. 339

No. 1374. Portraits of Hogarth's Servants.

Six heads rather less than life size. In the upper part are
represented a woman in a mob-cap, a boy, and an old man. In
the centre a middle-aged man, with a brown wig falling in curls
on either side of his face. In the lower part of the picture,
to the left and right, two young women, wearing caps. Some of
them are apparently members of the same family. Grey back-
ground.

Canvas, 24 in. h. by 29$ in. w. (0'62 by 0-74).

Purchased at the sale of Mr. J. K. Wedderburn's Collection, (No. 98) ;
Lewis Fund, June 3rd, 1892.

No. 1464. Calais Gate (called also " The Roast Beef
of Old England").

In the centre a man cook, bearing in his arms a sirloin of beef,
is accosted by a portly friar who lays his hand upon the joint.
A French soldier in tattered uniform follows the cook with a
grotesque gesture of admiration. Close to him a shabbily dressed
Irishman is eating soup out of a bowl, while further to the right
two others are carrying away a large cauldron. In the right-hand
corner of the fore-ground lies a Scotchman, wringing his hands.
These represent the Irish and Highland mercenaries then serving
in France. In the left-hand corner three fish-wives crouch over
their market ware. Close behind them a French sentinel stands
on guard, while in the background to the left appears Hogarth
himself making a sketch. In the background is Calais ' Gate,
through the open portal of which is seen a priest bearing the
Host to a sick person.* On the summit of the gateway a carrion-
crow.f

This picture is based upon an incident which occurred during
Hogarth's trip to France in 1748, when the painter was arrested
for sketching the City Gate at Calais.

Canvas, 31 in. h. by 37J in. w. (0'79 by 0'94).

Exhibited at the Society of Artists, 1761 (No. 44) ; the International
Exhibition, Dublin, 1865 (No. 50) ; the National Exhibition. Leeds,
1868 (No. 1099) ; Burlington House (Old Masters), 1875 (No. 28).

Painted in 1749, and purchased by the Earl of Charlemont. Later
in the Collection of Mr. H. W. F. Bolckow, and was sold with his
Collection, March 2nd, 1891, No. 107. Later in the possession of the
Duke of Westminster.

Presented by the Duke of Westminster in 1895.

* Bee Cunningham's " Lives of Eminent. British Painters" 1879, Vol. I.,
p. 108; John Ireland's " Hogarth Illustrated" 1798, Vol. I., pp. 216-223.

f Soon after the picture was finished, it fell down by accident, and a
nail ran through the cross on the top of the gate. Hogarth strove in
vain to mend it with the same colour, so as to conceal the blemish. He
therefore introduced a starved crow. Nichols: " Biographical Anecdote* /'
William Hogarth," 1785. p. 291.

17983 Y <*

340 HOGARTH.

No. 1663. Portrait of Hogarth's Sister.

Probably Ann Hogarth. She is sitting very erect, seen through
an elliptical brown frame. She has a fresh complexion and a
very sprightly expression. The head is turned a little to the left,
but her brown eyes look straight at the spectator. She wears a
yellow dress, with a white lace fichu fastened with a pink rose,
and white lace under-sleeves. A bright green scarf is shown at
her back. Bust length. Neutral green background.

Canvas, in an oval, 30 in. ft. by 25 in. w. (0'76 by 0'63).

Purchased from Messrs. P. & D. Colnaghi in 1898.

No. 1935. Portrait of Quin, the Actor.

A portly man looking up with great vivacity. He wears a full-
bottomed grey wig, and a brown coat f rogged with gold and open
in front to show the white cambric shirt with a lace fall.
Inscribed, " Mr. QUIN."

Canvas, in an oval, 28f in. h. by 23| in. w. (0'73 by 0'60).

Exhibited at the National Portrait Exhibition, South Kensington,
1867 (No. 348) and Burlington House (Old Masters), 1885 (No. 6).

In the Collection of Mr. Gwennap in 1817 ; afterwards in that of
Charles Matthews ; subsequently in the sale of Townshend Heirlooms,
March 5, 1904 (No. 61).

Purchased from Messrs. T. Agnew & Sons ; Clarke Fund, 1904.

No. 2220. Study of a Human Skull.
Three quarter facing left, resting on two books.
Michelet paper in pencil. 7 in. h. by 7 in. w. (0'17 by 0'19),
Presented by the Rev. John Gibson in 1892.

No. 2221. Pen Sketch of a Man's Head.

3i in. h. by 2f in. w. (0'08 by 0'07).
Presented by the Rev. John Gibson in 1892.

No. 2437. A Scene from the " Beggars* Opera."

Macheath in chains is standing with folded arms in the centre ;
he wears a red coat and a grey waistcoat edged with gold lace
and a three-cornered hat ; he looks to his left at Polly Peachum
in a white satin gown and cap with red ribbons, who kneels at
the feet of Peachum in black. He points significantly to his
neck. With handkerchief in hand she holds the lapel of his coat.
On the other side of Macheath is Lockett with his keys ; Lucy
Lockett kneels at his feet. She is dressed in blue with a large
buff sash, a white kerchief and cap with blue ribbons. In the
background, which represents the inside of a prison with barred
windows, a mob of men armed with staves is grouped near the
iron - studded door. On either side spectators behind barriers

HOGARTH. 341

covered with gold-fringed red cloth. Blue curtains hang from the
top of the picture.

The principal characters are portraits ; Lavinia Fenton plays
Polly Peachum, and her future husband, the Duke of Bolton, is
the first figure from the right among the spectators.

The frame is said to have been designed by Hogarth, and contains
a carved portrait of Gay in a red cap between masks, flutes, and
foliage.

Canvas, 22 in. h. by 28* in. to. (0'55 by 0'72).

In Hogarth's early manner. Two other versions exist, the more
notable belongs to the Duke of Leeds, at Hornby Castle. They were
painted in 1728. No. 2437 and one representing the " Committee of
the House of Commons examining Bambridge" were commissioned
by Sir Archibald Grant, of Money-Musk, a member of the Committee.
Afterwards this picture was the property of Dr. Monkhouse, of Queen's
'College, Oxford, from the heirs of whose family it was purchased in
1834 by Mr. John Murray, and purchased from Mr. John Murray, out
of the Temple West Fund, in 1909.

No. 2736. Dr. Hoadley, Bishop of Winchester.

Three-quarter length portrait of Dr. Hoadley in his robes as
Prelate of the Order of the Garter, with badge and George. He
wears a wig and is seated in an arm-chair with a closed book in
front of him. his left hand raised with a deprecating gesture. In
the background there is a stained-glass window with a figure of
St. Paui and an angel holding a shield bearing two gold keys
crossing a sword on a red ground.

Canvas, 49 in. h. by 39$ in. w. (1'25 by 1-00).

Purchased from Messrs. Knoedler & Co. out of the National Loan
Exhibition Fund in 1910.

ATTRIBUTED TO HOGARTH:

No. 1982. A Garden Party.

Formerly catalogued as " A Family Group " by Hogarth.

A lady, with a baby on her lap, sits on a low bench in a garden.
On each side of her stands a younger iady dressed in a hooped
gown with a wide muslin apron, the one to the left in pink, the
other to the right in blue. A gentleman, probably the husband, ia
seen behind the group with his right arm resting on the back of
the bench. An older man, wearing a claret-coloured coat and
breeches, black stockings and shoes, is seated in the foreground to
the left with his legs crossed. He holds a miniature in his left
hand. An overturned basket of fruit lies on the ground in front
of the central group.

Canvas, 29 in. h. by 24| in. w. (0-73 by 0-61).

Bequeathed by Mrs. Anne Sealy in 1905.

342 HOLBEIN.

HOLBEIN (HANS), the Younger, 1497-1543.

German School. HANS HOLBEIN the younger, was born at
Augsburg in 1479, the son of Hans Holbein (circa 1470-1524),
who may be studied at Augsburg, his native city, in his Birth of
the Virgin, Adoration of the Magi, St. Anne with the Virgin and
the Child, and the Legends of SS. Ulrich, Paul, and Peter,
and in the Munich St. Sebastian. With his elder brother,
Ambrose, HANS the younger was taught by their father,
and no doubt influenced by their fellow-citizen Hans Burck-
mair. About 1514-15 the two brothers migrated to Basle
where they were soon engaged in independent work."" The
earliest known work by HANS is the little Virgin, dated 1514,
in the Basle Museum, perhaps painted during HOLBEIN'S journey
from Augsburg to Basle. Other early pieces, of c. 1516, are the
heads of SS. Mary and John and several Passion pictures, also at
Basle. The same year he painted the portrait of a young man,
in the Darmstadt Museum, and made the marginal drawings to
Erasmus' " Praise of Folly," published by Frobenius, who doubt-
less introduced the young man to Erasmus. In 1516 HANS, then
in his 19th year, painted Jacob Meyer ("zum Hasen"), Burgo-
master of Basle, his wife Dorothea, whose portraits and the silver
point and red chalk studies are at Basle, and Hans Herbster, the
painter. In 1517 HOLBEIN was at Lucerne painting, within and
without, the newly erected house of the Mayor, Jacob von Her ten-
stein ; of these works no adequate trace remains. From Lucerne
it has been supposed HOLBEIN visited Milan, there studying
Leonardo's Last Supper ; in his own Last Supper in the Basle
Museum evidence of such study is plain. In 1519 he was again at
Basle, and member of the guild " zum Himmel " ; in 1520 a
citizen of the town. His portrait of Boniface Amerbachf belongs
to 1519. From 1519 to 1526 HOLBEIN remained at Basle. About
1520 he married Elsbeth, a widow. During these seven years his
activity was constant and many sided. Among his drawings of
this period, preserved at Basle, are portraits and a long series of
wash designs for glass. The most important are the ten subjects
of a Passion Series ; and in addition there are his heraldic
drawings. He also was employed in painting facades of houses, as
before in Lucerne : of which a few studies remain. In 1521
he was commissioned by the magistracy, Jacob Meyer being
still Burgomaster, to paint the great hall of the Rathhaus.
These works, painted in oil in a damp locality, already decaying

" Ambrose Holbein entered the guild "zum Himmel" at Basle in 1517, and in
1518 obtained the rights of citizenship. His chief employment in Basle seems
to have been in designing on wood ; although some pictures are ascribed to
him. After 1519 he is not heard of.

t The principal portion of the treasures of art in the Basle Museum were
collected by Amerbach, the intimate friend and pupil of Erasmus, and appre-
ciator of Holbein, and by his son Basilius Amerbach. The collection was
purchased by the town authorities in 1667. Amongst its most valuable
contents are 15 paintings and 104 drawings by Holbein, and a sketch book.

HOLBEIN. 343

towards the close of the century, have perished. Other works
dating between 1521 and 1526 are the Dead Christ (1521), in
the Basle Museum ; the Solothurn Madonna (1522), the Lais
Corinthiaca, and the Meyer Madonna at Darmstadt of
1526 ; the two panels of St. Ursula and St. George (1522), at
Carlsruhe ; his famous wood-cut the Table of Cebes (1522), and
various title plates and cuts for the New and Old Testaments
published in 1523 by Petri ; and in 1523 also several portraits of
Erasmus, of which two were sent to England, where one remains
in Lord Spencer's Collection, while the other is in the Louvre.
At Basle is a third, which HOLBEIN himself took to Avignon to
his friend Amerbach ; on this occasion he visited Bourgea, and
drew the stone monuments of the Due de Berry and his Consort.
Between 1523-1526 he produced his Alphabet of the Dance of
Death, and the wood-cut series of the same. In the meanwhile
religious and political troubles coupled with the plague made
Basle impossible as regards commissions. With letters from
Erasmus to Sir Thomas More, HOLBEIN set out for London
in 1526, leaving his family at home ; on the way he stopped at
Antwerp, there making the acquaintance of Quinten Massys.
In London he was cordially received and housed by the great
Chancellor, and remained about two years. In this interval he
painted Archbishop Warham, Sir Thomas More, the Bishop of
Rochester, Sir H. Guildford (Windsor), an Old Man (Prado), and
Sir T. Godsalve and his son (Dresden) 1528. In 1528 the master
returned to Basle, bought a bouse there, painted the portrait of
his wife and children, and made designs for goldsmithery of which
drawings are at Basle In 1530 he again painted Erasmus,
and decorated the wall of the Bathaus he had left untouched
in 1521. He painted a Rehoboam and the Deputies and Saul and
Samuel, of which only drawings remain. In 1531 the great
and famous master was employed by the Basle Council to
paint clock faces ; no wonder that he returned to England
in 1532, to find that More was no longer a powerful patron.
He was, however, welcomed by the German merchants of the
Steelyard, and painted portraits of many of them, as well as
Triumph of Wealth, and the Triumph of Poverty on canvas for their
Hall. The portraits of these German merchants now are at Berlin,
in the Schonborn Gallery, Vienna, at Windsor, and the Imperial
Gallery, Vienna. In 1533 HOLBEIN painted The Ambassadors,
undertook part of the street decorations for Anne Boleyn's
coronation progress, but until 1536 was mainly patronised by his
compatriots in London. That year he was Court painter t6
Henry VIII, and thence onward almost exclusively engaged in
Court circles. During these first years in England HOLBEIN
mastered in incomparable style the art of miniature painting.
The superb portrait of Hubert Morrett at Dresden is also assigned
to this time, and the Jane Seymour at Vienna. In 1537 ht
painted the large composition for the Privy Chamber of the
Palace of Whitehall, in which were represented Henry VIII. and

344 HOLBEIN.

Queen Jane Seymour, Henry VII. and Elizabeth of York, of
which a part of the original cartoon is preserved at Cbatsworth
and a small copy at Hampton Court. In March 1538, HOLBEIN
was despatched to Brussels to paint the young widowed Duchess
of Milan, daughter of Christian II. of Denmark. In the autumn
of the same year he was again abroad on the King's affairs.
He revisited Basle, and was publicly feasted ; the council
extended his leave of absence by two years, granting his wife
an annuity of 40 florins, and himself one of 50 florins. On
his return to England in December 1538, he was immersed in
work for the Court. In 1539 he gave Henry a portrait (now
probably at Hanover) of the little Prince Edward and in the
summer was sent to Cleves to paint Anne, sister of the Duke.
He came back in September with the portrait, now in the Louvre.
In 1540 his salary was doubled. His last works are the
miniature of Queen Kafherine Howard (Windsor) ; another
miniature Charles Brandon (1541) ; a Man, Unknown, 1541
(Berlin), and another at Vienna ; and the half-length of a woman,
also at Vienna of 1541. To 1543 belong the Melchior Maag, in
the Huybrechts Collection, Antwerp, the Dr. John Chambers
in the Imperial Gallery, Vienna, and the Barber Surgeons'
group, still in the Barbers' Hall, which HOLBEIN only lived long
enough to begin. He died (apparently of the plague) between
the 7th of October and the 29th of November 1543. The former
of these dates is that of his will, the latter that of the appoint-
ment of an administrator. HOLBEIN'S rank with the great
masters is permanent. No European has surpassed him in the ex-
pression of form by line ; and no master's line has exceeded the
intimate knowledge and perception of HOLBEIN'S. As a painter
he expressed all the essentials of colour and luminosity with
perfect economy of means. Even his smallest miniature has the
large style of a life size painting. In addition HOLBEIN is one of
the great designers and a sensitive interpreter of the human mind ;
in this respect his range, from men of war, ascetic aged scholars,
prosaically material men of the world, to the fragile charm of
girlhood has not been surpassed. A survey of his incomparable
achievement in this way is possible in the series of drawings at
Windsor.

See Knackf uss : Hans Holbein. G. S. Davies : Holbein. A. B.
Chamberlain : The Burlington Magazine, C. ix., Vol. xxi.

No. 1314. " The Ambassadors."

Full-length portraits of Jean de Dinteville, Lord of Polisy,
on the left, three-quarters to the right, and George de Selve|
Bishop of Lavaur, on the right*, three-quarters to the left.
Behind them a green damask curtain, between them a high stand
covered with an oriental rug, on which are various scientific

* See Mary S. Hervey : Holbein's Ambassadors, 1900.

HOLBEIN. 345

instruments. Below, on a wooden stool, a lute, a case of flutes,
a music book and other things. Jean de Dinteville wears a
black kilted dress with a white fur lining to his cloak, and a
heavy gold chain with the badge of the French order of Saint-
Michel, and, on his right side, depending from his girdle, a
dagger with wrought gold hilt and sheath : on the sheath the
inscription ^ET. SV^E 29. in relief. In his black bonnet is
a silver skull set in gold. To the right, George de Selve,
dark-eyed, with a close beard, leans upon a clasped book,
the edges of which are inscribed : ^ETATIS sv^; 25. He wears a
a four-cornered black cap, and a loose long-sleeved gown of
mulberry and black brocade, lined with sable, and reaching to
the ground. Conspicuous on the marble floor is the anamor-
phosis, or perspectively distorted image, of a human skull,
which, touching the floor on the left, stretches obliquely upwards
towards the right. On the floor, to the left, the picture is signed,

Oak, in oil, of ten vertical panels, 82 in. U. by 821 in. 10. (2'08 by
2-08).

The identity of the figures in this picture was established by Miss
Mary Heryey in 1895, from a document of the 17th century, containing
a description of the picture and of the two persons represented, which
she presented to the National Gallery. Jean de Dinteville was born in
1504, and was Ambassador from France to England in 1533, the year
when the picture was painted, at which time, George de Selve paid him
a visit. Miss Hervey also found a Memoire in the Bibliotheque de
1'Institut at Paris (Collection Godefroy, Portfolio 216, No. 34) which
gives the summary of three letters, in which the picture is mentioned
as being by "Holben." A copy, probably of one of the letters in
question, dated 1654, is in the same collection in the Bibliotheque de
1'Institut. Vide The Burlington Magazine, xvi., vol. v., concerning a
drawing of De Dinteville at Chantilly by Clouet.

The picture was in the Polisy family till 1653. It was then in the
possession of F. de Cazillac in Paris. Notices of this picture occur in a
catalogue of 1787, found by Mr. W. Fred Dickes, and in J. B. P. Lebrun's
Galerie dcs Peimtres #c., $c., Paris, 1792. wherein the author, who had
had the picture in his possession, states that he had sold it, and that it
was then in England. It seems probable that it came into the hands

346 HOLBEIN-HONDECOETER.

of the dealer Vandergutsch (or Vandergucht), and that from him it
was purchased by the second Earl of Radnor, about 1790 or 1795. It
was purchased from the fifth Earl in 1891.

No. 2475. Portrait of Christiana of Denmark, Duchess
of Milan.

The girl-widow stands full length full face, her hands together,
holding her gloves. She wears a black satin dress with ruffles,
edged with a narrow black line round the neck and wrists and a
rich black silk pelisse, lined with brown fur. A black widow's
cap covers her hair. On the third finger of her left hand a
thin gold ring, set with a ruby. On the dark blue background
a cartellino fixed with sealing wax. Painted at Brussels, 1538.

Oak. 70 in. h. by 32 in. w. (1-77 by 0-81).

Originally in the Royal Collection in 1538, this picture has an
unbroken pedigree. It passed through the Lumley, Pembroke, and
Arunde] Collections. On loan from the Duke of Norfolk since 1880, and
ultimately acquired from him. Presented by the National Art Collec-
tions Fund, who purchased the picture with the aid of a grant from
H.M. Treasury, 1909.

HONDECOETER (MELCHIOR DE), 1636-1695.

School of Utrecht. The son of Gysbert de Hondecoeter,
MELCHIOK was born at Utrecht. He was taught by his father,
and uncle, Jan Baptist Weenix. From 1659 to 1663 HONDE-
COETER was at the Hague ; in 1663 he married at Amsterdam,
became a citizen there in 1668 and remained till he died in
1695. HONDECOETER painted birds in every capacity, domestic,
sporting and still life ; with his pieces he decorated most of the
large houses in Amsterdam. He worked also at Loo for the
Stadtholder, William III. In his own province he excels as a
colourist, draughtsman and designer; he had many imitators.
Signed pieces by him are common. In the Kijks Museum, at
Cassel, The Hague, Belton House, and Dresden, he may be studied.

No. 202. Domestic Poultry.

Young chickens and a tufted hen in the foreground ; to the
right a cock. On the lef c a pigeon, on a basket coop.

Canvas. 34 in. li. by 44 in. w. (0'86 by I'll).

Bequeathed by Mr. Richard Simmons in 1846.

No. 1013. Geese and Ducks.

A pool of water ; on the left a white red-beaked gander and a
goose disturbing a duck and her ducklings, in the air a duck flying
from the right to their protection.

Canvas, 46 in. h. by 61 in. iv. (1-18 by 1'54).

Wynn Ellis Bequest, 1876.

HONDECOETER HOOCH. 347

No. 1222. A Study of Foliage, Birds, Insects, &c.

On the right a tree trunk, round the roots of which plantains,
ivy, and fungi are growing. On a twig of the tree nutters a
bullfinch : other birds are on the ground. A frog, in the left
foreground, a snail, and butterflies and mushrooms complete the
group. Landscape background. On the bark ot the tree is an M,
with some now illegible letters and the date 1668.

This picture was formerly ascribed to Marseus.

Canvus, 26i in. //.. by 22 in. to. (0'67 by 0-55).

Presented by Mr. J. Whitworth Shaw in 1886.

HONTKORST (GERARD VAN), 1590-1656, ATTRIBUTED TO.
No. 1444. Peasants warming themselves.

An old man and an old woman are warming their hands over
a small fire on which an earthen pot it placed on a trivet. The
old man holds a jug in his left hand. The figures are half length
of the size of life.

Canvas, 3 ft. 2 in. h. by 2 ft. 7f in. w. (0'96 X 0'80).

Lent by the Victoria and Albert Museum, in exchange with several
others, for a collection of water-colour drawings lent by the National
Gallery in 1895.

HOOCH (PiETER DE), 1629-1677 ?

School of Delft. PIETER DE HOOQH or D'Hoocn was born
probably at Rotterdam. The known facts of his life are very
few. In the early fifties he was a servant, employed by
Justus de la Grange, and lived at Delft, Leiden, and the
Hague. In 1653, 1655, 1656 and 1657 he was member of The
Guild at Delft, where in 1654 he married. In February, 1655,
and November, 1656, children of his were baptized. He prob-
ably remained at Delft till about 1664. In 1664 DE HOOCH seems
to have been at The Hague, and from 1668 to 1677 to have
lived in Amsterdam. According to Houbraken he was a fellow
student with Jacob Ochtervelt under N. Berchem ; his early
training, however, seems to have been got from Karel Fabritius, at
Delft, before 1654, and no doubt he came in contact with Jan
Vermeer. The influence Vermeer exercised on DE HOOCH would
have been refining, and when the latter moved to Amsterdam his
work deteriorated. A theatrical and conventional spirit invaded
his last period, in which, instead of the simple bourgeois life he

348 HOOCH.

had so successfully painted at Delft; he attempted scenes from
high society in gorgeous surroundings. These ostentatious rooms
were adapted, it is said, from the new Town Hall at Amsterdam
and from Raphael's School of Athens. From 1667 to 1677 such
pieces were produced ; the painter died soon after. In his
earlier work, DE HOOCH was one of the best of the little Dutch
masters, showing a remarkable perception of the complex
qualities and action of light. He attempted more ambitious
subjects than Vermeer, though as a painter his success is
less. His pictures are fairly common, and well represented at
Amsterdam, Berlin, Cassel, in England (one of his masterpieces
is in Buckingham Palace), America, the Louvre and Hermitage.

Vide Dr. H. de Groot's Catalogue of the Dutch Painters, Vol. I. ;
also Bode : Great Masters of Dutch and flemish Paintinq.

No. 794. The Courtyard of a Dutch House.

In the left foreground, in a black velvet jacket, trimmed with
white fur, and a greyish skirt, the housewife stands towards the
left, her back to the spectator, her maid kneels to the right
cleaning a fish by a pump ; the yard is brick paved. A man is
approaching in the distance, on the left, through a garden- An
outhouse on the right, and part of an open door. Signed and
dated " P.D.H. 1665."

Wood, 29 in. A. by 24J in. w. (0-73 by 0'62).

De Groot's Catal.. No. 290. In the collection of Count Perregaux,
1841. Purchased in Paris at the Delessert sale in 1869..

No. 834. Interior of a Dutch House.

On the left, against a window, a woman, wearing a black velvet
jacket and deep vermilion skirt, stands with her back to the spectator
holding up a wine glass in her right hand. She faces a table at
which two cavaliers sit ; one, bareheaded, in yellow jerkin with an
orange sash, the other, beyond the table, wearing his hat. By
the fireplace, towards the right background, a maid with a pan in
her left hand. The floor paved in black and white ; a map on the
far wall, to the left ; a picture over the fireplace. Signed "P.D.H."

Canvas, 29 in. h. by 25 in. w. (0'73 by 0'63).

De Groot's Catal., No. 183. In the Heemskerck Sale, Amsterdam,
1749 ; the Van Leyden, Paris, 1804 ; the Pourtales Collection, Paris^
bought by Emmerson, 1826. Peel collection in 1871.

No. 835. Court of a Dutch House, paved with Mcks.

On the left an arched passage leading through the house ;
over the entrance of red brick is an inscription dated 1614.
The original of this tablet has lately been found by Dr. De Groot.
In the passage, at the far end, a woman stand*, her back to the

HOOCH HOPPNER. 34fr

spectator. On the right a servant and a child descending some
steps from an outhouse. In the foreground a broom, a pail, some
plants and a dust bin. A high brick wall on the right. Signed
" P.D.H. A 1658."

Canvas, 29 in. It. by 23 in. w. (0'73 by 0-59).

De Groot's Catal.. No. 291. In the Smeth van Alphen Sale, Amster-
dam, 1810 ; then bought by M. Backer of Amsterdam, from whom,
it passed in 1825 to Mr. W. Emmerson. Purchased with the Peel
collection in 1871.

No. 2552. Refusing the Glass.

Seated at a table in the left foreground, a youth on the left
and on this side a lady in rose pink. Leaning over her, a cavalier
in black offers a glass of wine, which she refuses, with her right
hand. In the background a man in grey, wearing a grey hat,
looking in a glass. The walls hung with gilt Cordovan.

Canvas, 46| in. h. by 36 in. w. (1-17 by 0'91).

De Groot's Catal., No. 189. In 1809 in the Pierre de Grand Pre
Sale, Paris. Dr. Bredius ascribes it to Ochtervelt, M. Kronig to G. van
den Eeckhout. George Salting Bequest, 1910.

HOPPNER (JOHN), R.A., 1758 ?-1810.

English School. John Hoppner was born at Whitechapel, of
German parentage, apparently in 1758. When young, he was one
of the choristers in the Chapel Royal. He entered the Royal
Academy Schools in 1775 at the feing's expense. He soon became,
through the patronage of the Prince of Wales, a fashionable
painter, having exhibited his first picture at the Royal Academy in
1780. In 1782 be married Phoebe Wright, who often sat to him as
a model. In 1789 he was appointed Portrait Painter to the Prince
of Wales and four years later elected an Associate of the Academy,
and a full member in 1795. He contributed one hundred and sixty-
seven works to its exhibitions. Reynolds and Gainsborough being
dead, Hoppner, '' the most daring plagiarist of Reynolds," divided
the town with Lawrence. The latter thus speaks of him in a letter
to a friend, shortly after Hoppner's death : " You will believe,
that I sincerely feel the loss of a brother artist, from whose
works I have often gained instruction, and who has gone by my
side in the race these eighteen years."* Hoppner died at 18,
Charles Street, St. James's Square, where he had resided since
1784, in 1810.

* Allan Cunningham: " Lives of Britith 1'ainterg" 1832, Vol. V., p. 254.
See also . . . 'John Hoppner.

350 HOPPNER HORSLEY.

No. 900. Portrait of the Countess of Oxford.

The Countess wears a white dress and a red coral necklace ;
three-quarter length, almost profile to the right.

Wood, 29 in. h. by 24 in. w. (0'74 by 0'61).

The " Portrait of a Lady of Quality," (? The Countess of Oxford)
was exhibited at the Royal Academy in 1797 (No. 167).

Bequeathed by her daughter, Lady Langdale, in 1873.

No. 2765. A Gale of Wind.

Three fishermen and a woman hauling ashore a small sailing-boat
on a rough day ; the figures relieved by the white foam of the
breakers. From the background a gleam of sunlight from a
stormy sky falls on other boats approaching from the left. An
old stump in the foreground supports a signal barrel.

Canvas, 52 in. h. by 72 in. zo. (1'32 by 1'82).

Engraved in mezzotint by E. Bell under the title " Fishermen
landing in a Gale of Wind."

Exhibited at the Royal Academy, 1794 (No. 191).

Presented by Mr. L. Lesser, in 1911.

HORSLEY (JOHN CALLCOTT), R.A., 1817-1903.

English School. John Callcott Horsley, the great-nephew of Sir
Augustus W. Callcott, R.A., was born in London He entered
the Royal Academy Schools in 1831, and contributed pictures to
the Annual Exhibitions of the Royal Academy from 1839 to 1896, his
first exhibited work being The Pride of the Village, now in the
National Gallery of British Art. He also exhibited eleven pictures
at the British Institution between 1837 and 1850. In 1843 his
cartoon of St. Augustine Preaching gained one of the 200 guinea
prizes in the Westminster Hall competition. In 1844 he was one
of the six painters commissioned to execute farther designs for the
Palace of Westminster, and in the following year he painted the
fresco of The Spirit of Religion in the House of Lords. Horsley
was elected an Associate of the Royal Academy in 1855, becoming
a full member in 1864, when he exhibited Tlie New Dress and
The Bashful Swain. Three panels by him are in the Sheepshank's
Collection at the Victoria and Albert Museum. He died at
Kensington on Oct. 19, 1903.

No. 2286. Portrait of Mr. Martin H. Colnaghi.

Full face, three-quarter length, seated, wearing a black coat, grey
trousers, and brown overcoat, with a white waistcoat and crimson
tie. The arms are folded and the knees crossed. la his gloved

.HORSLEY HUDSON. 351

left band he holds a yellow glove and a grey tall hat. The back-
ground is formed by a framed landscape on the wall.

Canvas 43 J in. A. by 33 in. w. (1-09 by 0'83).
Exhibited at the Royal Academy in 1889 (No. 265).
Presented by Mrs. Martin H. Colnagrhi in 1908.

HUCHTENBURGH (JAN VAN), 1646-1733.

School of Haarlem. JAN VAN HUCHTENBURGH or HUQTENBURG
was born at Haarlem, and the pupil of Jan Wyck. He went to
Rome in 1667 to join his brother Jacob, a landscape painter.
The same year he went to Paris, and there worked under Le Bran
and A. van der Meulen for the Gobelins factories. He returned
to Haarlem, 1670 and there married. In 1681 he settled in
Amsterdam, and in 1708-09 was employed by Prince Eugene of
Savoy in painting a series of battle pieces. For sometime before
1719 he had been resident at the Hague, and soon after
went to Amsterdam where he died in 1733. Many etchings by
HUCHTENBDRGH are known, and his pictures in isolated examples
occur in many Continental Galleries. The influence of Wouwerman
is obvious in his work.

No. 211. .4 Battle.

In the foreground a cavalry fight, a man on a white horse
riding at one who, on a black, fires at him ; a town burning
in the left distance.

Wood, 16} in. A. by 23 in. w. (0'42 by 0-58).

Brought to England by Mr. Bryan in 1801. Bequeathed by Mr.
Richard Simmons, in 1846.

HUDSON (THOMAS), 1701-1779.

English School. Thomas Hudson was born in Devonshire.
He became a pupil of Jonathan Richardson, one of whose
daughters he afterwards married ; Sir Godfrey Kneller also
influenced him much. A portrait at Hatfield o James, 6th Earl
of Salisbury, with his Sister, indicates that Hudson was in practice
as early as 1717.f According to Northcote, he bad little ability
to paint more than the head, and it is said that he was obliged to
apply to Vanhaaken to place it upon the shoulders and furnish the

* In the Beschrijving der Veldslagen van Print Eugcnius van Savoije, den Print van
ranje en den Hertog ran Xarlborough. 'silage, 1727.
From a note supplied by C. H. Collins Baker.

352 % HUDSON HUYSMANS.

drapery. This, however, is unlikely. On the death of Vanhaaken,
he became dependent upon Both as drapery man. His most
important work is his large painting of The Second Duke and
Ditchess of Marlborough and Family, at Blenheim. His single
figures, such as the George North, dated 1759, in the Merchant
Taylor's Hall, prove him a painter of considerable skill. The
National Portrait Gallery contains his portraits of George II.,
Handel, Lord Chancellor HardwicTce, and Sir John Willis.
Hudson is best remembered as having been the master, from
1741 to 1743, of Sir Joshua Reynolds. Among his other pupils
may be mentioned John Hamilton Mortimer and Joseph Wright,
of Derby. He retired to a small villa which he had built at
Twickenham. Here he formed a well selected collection of cabinet

Etctures and drawings by the Old Masters, many of which had
jrmerly belonged to his father-in-law. Towards the close of his
life Hudson married his second wife, Mrs. Fiennes, a lady of good
fortune, to whom he bequeathed his villa. He died there on the
26th of January 1779.

No. 12.24. Portrait of Samuel Scott, the Marine
Painter.

The artist, dressed en neglige, in a black silk coat with a blue
velvet cap on his shaven head, stands with his arms resting on
the back of a chair. In his right hand is a drawing or print of a
sea-piece with shipping. Life size ; three-quarter length. Dark
background.

Engraved by J. Faber.

Canvas, 48 in. h. by 38J in. w. (1-31 by 0-97).

Purchased from Mr. R. T. Simpson, in London ; Lewis Fund, 1886.

HUVSMANS (COKNELIS), 1648-1727.

Flemish School. The son of an architect, COKNELIS was born
at Antwerp. He studied under Caspar de Witte in Antwerp and
Jaques d'Artois at Brussels. He first worked at Mechlin, where
he married in 1682 ; in 1702 he was in Antwerp, a member of the
Guild. He returned to Mechlin in 1716, remaining till his death
in 1727. His pictures, rarely signed, are at Antwerp, Berlin, Paris
and Dresden.

No. 954. Landscape, Woody Country.

Massed trees on the right, and a cascade ; in the centre a winding
path, a peasant and some cows. On the left a large tree rising to

* J. Northcote, R.A. : Life of Sir Joshua Reynolds," 1818, Vol. I., p. 16.

HUYSMANS HUYSUM.

353

the top of the canvas. A chateau in the middle distance, and in
the distance blue hills.

Canvas, 25 J in. h. by 33 in. w. (0'64 by 0'83).

Wynn Ellis Bequest, 1876.

HUYSUM (JAN VAN), 1682-1749.

School of Amsterdam. JAN VAN HUYSDM was born at
Amsterdam, the son, pupil, and assistant of Justus van Huysum,
a painter of general subjects. Besides fruit and flowers, JAN
also painted landscape ; his drawings and water colours, too, were
thought much of. He died in Amsterdam on Feb. 8, 1749, having
suffered many troubles brought on him by his son. He had three
brothers, Justus, Jacob and Michael, all painters.

No. 796- *A Vase with Flowers.

A large vase full of flowers, among which poppies and tulips
predominate. On the pedestal are other flowers, peaches, grapes
and a bird's nest to the left with five eggs in it. Dull golden
background. Signed,

. /737.

Canvas, 52$ in. //. by 36$ in. w. (1'33 by 0-92).

Formerly in the collection of Mr. Wells, of Redleaf. Purchased from
Mr. C. J. Nieuwenhuys in 1889.

No. 1O01. Floivcrs in a Vase.

Hollyhocks and a flame tulip conspicuous. A snail crawls along
the stone slab from the right. Dark background. Signed JAN
VAN HUYSUM.

Canvas, 24 in. h. by 20 in. w. (0'61 by O'oO).

Wynn Ellis Bequest, 1876.

17983 Z

354 IBBETSON-INGEGNO.

IBBETSON (JuLius C^SAR), 1759-1817.

English School. Julius Caesar Ibbetson, the son of Richard
Ibbetson, was born at Masham in Yorkshire. Later on he was
apprenticed to John Fletcher, a ship-painter, of Hull. He designed
and painted the scenery for " The Genii," which was acted at the
York and Hull Theatres. In 1777 he came to London, where he
laboured unknown for many years, painting landscapes, cattle,
-and rustic figures. Some of these were exhibited at the Royal
Academy in 1785 and the following years, Ibbetson contributing
eighty-one paintings to the annual exhibitions between 1785 and
1815. He also sent six pictures to the British Institution.
In 1788, when Colonel Cathcart was despatched as Envoy to
China, Ibbetson accompanied him as draughtsman. Cathcart
having died on the voyage, Ibbetson soon returned to England,
haying gained a knowledge of sailors and ships. In 1794 the
death of his wife and other domestic troubles seriously affected
his health. He became involved in debt, and for some years
absented himself from London. In June, 1801, he married a
second time, his wife being the daughter of William Thompson,
of Windermere. In 1803 he published "An Accidence, or Gamut,
of Painting in Oil" of which a second edition, with a brief
memoir of the author's life, was published in 1828. Paintings by
him in oil and water-colours are at the Victoria and Albert
Museum. After his death was published a volume entitled
" Etchings by the late Julius Ccesar Ibbetson." He died at Masham
on Oct. 13, 1817.

No. 1460. Smugglers on the Irish Coast.

On the left a rocky promontory stretching into the sea bisects
a creek, on the shores of which men are landing kegs of liquor.
In the foreground peasants, some mounted on ponies or donkeys,
others drinking. In the distance a hilly coast is seen through
a hazy atmosphere. Above, a summer sky, across which fleecy
clouds are drifting. Signed and dated 1808.

Canvas, 21 J in. h. by 33* in. to. (0'54 by 0'84).

Formerly in the Collection of Mr. W. H. Matthews, and sold at
public auction in London, March 15, 1890. Purchased from Messrs.
Dowdeswell out of the Lewis Fund in 1895.

INGEGNO (L'.), Circa 1450-after 1511.

Umbrian School. ANDREA m LUIGI, known as L'INGEGNO, or
ANDREA D'Assisi, seems to have been a pupil of Fiorenzo di
Lorenzo, or Nicolu Alunno. Beyond a few dates we have no
record of his life, fle was active in 1484, when he is mentioned

INGEGNO-ISABEY. 355

as ANDREAS ALOYSII in an account as having painted the arms of
Assisi on the gates. In 1510 he was elected syndic of the
magistrates, and in 1511 papal cashier, at Assisi. He is said to
have died very old and blind. Pictures ascribed to him are in
Assisi, at Rome, Orvieto, the Louvre and Berlin. In all, the
types of Fiorenzo di Lorenzo and the influence of Pinturicchio
and Perugino are recognized. The picture described below bears
a signature which has generally been accepted as L'!NGEGNO'S. It
was formerly given to Pinturicchio .

No. 1220. Tl\e Madonna and Child.

The Virgin at three-quarters length three-quarters to the
left, wearing a red robe and blue mantle with green lining,
sits holding the Child on her lap ; He is naked and looks
over His right shoulder out of the picture to the left. Behind
her is a dark green curtain, on each side of which is seen a
landscape with trees and houses. Signed " A. A. P." in gilt letters
(Andreas Aloysii (or Assisiensis), Pinxit ?).

Wood, 25 in. A. by 17 in. w. (0-63 by 0'43).

Purchased from Lord Methuen, out of the " Walker Fund," in 1886.

No. 2484. Virgin and Child with Saints.

The Virgin is seated in the centre on a high throne, holding the
Infant on her right knee. She wears a deep carmine bodice, a
deep brown mantle and a green-blue skirt. To the left stands
St. Dominic, holding an open book in his left hand, and pointing
at it with the right ; he supports a lily on his left arm. On the
right St. Catherine of Siena stands in a black hood also with
a lily. In front of her the Donora kneel, the woman in deep
carmine and dull green-blue, the man in black, hi* cap in his
lef c hand. Eed paved floor ; sky to left and right of the
throne.

Wood, 13i in. h. by 12J in. w. (0'34 by 0'31).

From the Dudley Collection.

George Salting Bequest 1910.

ISABEY (EUGENE GABRIEL), 1804-1886.
French School. EUGENE, the son of Jean Baptiate the well-
known miniature painter was born in Paris. He was one of

* The question of the identity of Andrea di Luijri was first discussed by
von Bumohr in the " Tubingen Kunst-Blatt," vol. I., Pt. 2, Nos. 73 and 74,
1821 ; and subsequently in his Italic niscltc Forschungcn, IL, pp. 324-330.
Rumohr had seen at Florence the picture referred to above, the initials upon
which he recognised as signifying Andreas Aloysii. See alto the Le Monnier
edition of Vasari's Lives, &c., Part V. of the Commentary on the Life of P.
Perugino ; and Milanese's Opere di G. Vaxarl, Vol. III. ; also Crowe and
Cavalcaselle's History, &c., Vol. III., pp. 162-163, though somewhat abridged, in
English.

17983 Z 2

356 ISABEY ISRAELS.

of the romantic painters of 1830, at that time painting the
kind of genre Boningcon and Delacroix had led off with. Later
he abandoned " romantic " genre for landscape, and in especial
seascapes. He died in Paris, 1886. He is well represented in the
Wallace Collection.

No. 2714. Grandfatlier's Birthday.

Sir figures ; to the left of a table in the centre stands a lady in
blue holding a baby : at her side a little girl in rose pink. On the
right an old man, in scarlet, sits at table, holding up a little girl :
two hounds near the centre, and a Charles' spaniel on the left.
Signed " E. ISABEY, '66."

Wood, 9 in. A. by 11 in. w. (0-22 by 0'27).

No. 2715. Fish Market, Dieppe.

In the centre a great tray of fish ; to the right another of lobsters.
Between them two little girls : beyond them women, in shadow : a
basket in the left foreground. Signed, " E. ISABEY, '45."

Wood. 14 in. h. by 20J in. ic. (0-35 by 0-52).

Both presented by Mr. J. C. J. Drucker r 1910.

ISRAELS (JOSEF), 1824-1911.

Dutch School. ISRAELS was born at Groniugen. It was
some time before he went to Amsterdam and studied under
Pieneman and Kruseman, and later to Paris to the studio of Picot.
Finally he worked under Delaroche. An historical composition,
William of Nassau, sent to the Universal Exhibition, 1855, gave
no cine to ISRAEL'S future development. Xot till about 1856,
when he returned to Holland, was this sign made by his beginning
to paint the life and setting of Dutch fishermen. That year he
settled in Katwijck and painted the Children of the Sea and An
Evening on the Shore that were exhibited in the Paris Salon of ? 57.
What Millet did for French peasant life, in the way of pictorial
revelation, ISRAELS did for Dutch. His canvases followed on in
a steady stream. In the 6CTs be exhibited The Shipwrecked
Mariner, The Eve of Separation, The Shepherd, A Katwijck
Woman; in 1876 Through Darkness to Light; in 1875, at Bur-
ligton House, Waiting for the Herring Boats Returning from the
Fields; 1877 the Portrait of Mile. E., and, Faithful Comrades,
and at the Universal Exhibition of 1878, when he was made an
officer of the Legion of Honour, The Village Poor, The Cobbler's
Dinner, and The Anniversary ; he exhibited frequently during
his career at The Hague and Amsterdam. His sense of restraint
and significance prevented these and kindred subjects from

ISRAELS ITALIAN SCHOOL. 357

being mere sentimental illustrations. Perhaps his most lasting
expression was made in his comparatively rare portrait studies,
such as the One of God's Chosen People. In these interpretations
ISRAELS approaches his hero Rembrandt, (on whom he published a
monograph), more nearly than has any modern painter. Velazquez
stood next to Rembrandt in his esteem. ISRAELS' etchings,
pastels and water-colours are well known and widely sought.
In 1899 he made a tour through Spain, publishing on his return
" Spain: The Story of a Journey." On August 12, 1911, aged 87,
he died, having made a deep impress on the art of his time.

No. 2713. The Philosopher.

In the centre, his back to the spectator, an old man is seated at a
-table writing by the light of a single candle. Pictures hang on the
far wall. Signed " JOSEF ISRAELS."

Canvas, 25 in. h. by 21 in. w. (0-63 by 0-53).

Presented by Mr. J. C. J. Drucker, 1910.

No. 2732. The Shipwrecked Mariner.

On the left, leading a procession, a woman with two children
advances to the left. In the centre, two sailors bear the corpse
across the sand ; the dead man's mother walks beside them. Other
sailors and women, and at the back 'a spaniel, straggle up from
the shore. On the right the wreck lies out at sea. Painted in
1861. Signed, " JOSEF ISRAELS."

Canvas, 50 in. h. by 95 in. w. (1'27 by 2-41).

Presented by Mrs. Alexander Young, -1910.

ITALIAN SCHOOL. XV. CENTURY.

No. 1456. Virgin and Child with Angels.

The Virgin, crowned and in a blue dress lined with white,
with undersleeves of cloth of gold, stands in the centre holding
the Infant Christ on her left arm. He is fully dressed in gold
and ermine cloth, with red hose, and holds up His right hand.
Three angels in costume of the XVth Century stand on each
side. Above two six-winged cherubs drawn in outline on the
gold background ; below a portion of the original frame with
three small quatre-foil medallions in which are half-length figures
of the Saviour, the Virgin Mary, and Saint John.

PRIAMO BELLA QUBRCIA has been suggested by Mr. Berenson
.as the painter

Wood, in tempera, 33f in. h. by 21 J in. w. (0-85 by 0'54)

Presented by Mr. John Postle Heseltine in 1895.

358 ITALIAN SCHOOL JACKSON.

ITALIAN SCHOOL : XVZ. CENTURY.

No. 272. An Apostle.

A portion of a colossal figure seated over an arch, the right arm
flexed, the hand gripping a spear or sword handle.

Canvas, 59 in. h. by 45 in. w. r (l-& by 1-14).

Said to have been formerly in a church near Venice. Presented
by the Cavaliere Vallati of Rome in 1855.

No. 932. Portrait of a Bearded Man.

Half length, full face, wearing a large red cap ; his right hand
is raised holding his black cloak, his left hand resting on his
sword ; from a chain around his neck hangs the cross of Malta.
His dress is dull plum coloured.

Wood, 38 in. h. by 30 in. to. (0-96 by 0-76).

In Louis Philippe's collection ascribed to Sebastian del Piombo.

Wynn Ellis Bequest, 1876.

No. 1417 A. Illuminated initial letter.

The letter D, painted in gold and colours on a blue ground. It
is ornamented with floriated scroll-work terminating in vines and
grapes in gold, among which are seven angioletti bearing the Instru-
ments of the Passion. Enclosed within the letter is painted the
Agony in the Garden which is copied in its main features from
the picture by Mantegna, No. 1417 in this Gallery.

Vellum, 7f in. h. by 7-J in. w. (0'19 by 0'19).

Presented by the Earl of Northbrook in 1894.

JACKSON (JOHN), R.A., 1778-1831.

English School. John Jackson, the son of a village tailor, was
born at Lastingham, Yorkshire, and brought up to his father's
business. He received permission from Lord Carlisle to copy
pictures at Castle Howard, copying, amongst others, Annibale
Carracci's Three Marys. He soon attracted the notice of Lord
Mulgrave and Sir George Beaumont, the generosity of the latter
enabling him to enter the Royal Academy Schools in 1805.
Jackson early obtained distinction as a portrait-painter. He
travelled in Holland and Flanders, and on Nov. 5, 1815, was
elected an Associate of the Royal Academy, passing to the rank
of Academician in 1817. In 1819 he visited Rome, in company
with Sir Francis Chantrey, and painted for him there a portrait
of Canova. He was elected a member of the Academy of St. Luke
at Rome. Some Family Groups, painted by him. are at Castle

JACKSON JACOPO DI CIONE. 359

Howard. He exhibited one hundred and forty-six pictures at the
Royal Academy between 1804 and 1830, and also contributed twenty
works to the British Institution. His first wife, named Fletcher,
died in 1817, and his second wife, a daughter of James Ward,
R.A., survived until 1873. Jackson died June 1st, 1831.

No. 1Z4. Portrait of the Rev. William Holwell Garr.

Bust portrait. Painted by his direction to be placed in the
National Gallery, and bequeathed to the Gallery with the rest of
his collection in 1831.

Canvas, 30 in. h. by 25 in. w. (0'76 by 0'63).

Holwell-Carr Bequest, 1831.

No. 1404. Portrait of James Northcote, R.A.

He is dressed in a dark blue morning gown with a fur collar.
He sits in an arm chair near a table, holding an open volume.
Life-size, seen to the knees, three-quarter face, apparently about
70 years of age. Dark background.

Canvas, 52 in. h. by 38 in. w. (1'32 by 0'96).

A picture with this title was exhibited at the Royal Academy, 181*
(No. 605) ; and another in 1821 (No. 349).

Presented by the Earl of Carlisle in 1894.

JACOPO DI CIONE.

Florentine School. There were three painters of the fourteenth
century in Florence, called Nardo, or Leonardo, Andrea, and
JACOPO CIONE. Andrea (Orcagna), born c. 1308, d., c. 1368, is best
known. JACOPO worked in his studio, and at his death undertook
to complete an altarpiece for Orsanmichele, originally com-
missioned from Orcagna. The picture, St. Matthew, is now in the
Uffizi ; it bears resemblance to No. 1468 below. From 1370 to
1380 JACOPO worked under Pietro Gerini, and was still living in
1394. He seems to have been considerably younger than his
brothers Leonardo (d., c. 1365) and Andrea.

Vide Osvald Siren : Giottino, pp. 76-81.

No. 1468. The Crucifixivn.

An altar-piece; in the centre the Crucifixion of our Lord between
the two thieves ; at the foot of the Cross the Virgin Mother fainting,
supported by the two Maries ; St. John and other saints stand near.,
Two upright panels on each side contain figures of Saints. An
early work under the influence of Andrea di Cione his brother,
painted between 1365 and 1370, before he worked in Gerini's
studio.

Formerly catalogued as by SPINELLO.

Wood, the centre panel 42 in. h. by 33$ in. w. (1'OG by 0'85) ; the
side pictures each 40 in. h. by 5 in. w. (I'Ol by 0'12).

Bequeathed by the Rev. Jarvis H. Ash, 1896.

360 JANSSENS VAN CEULEN JARDIN.

JANSSENS (CORNELIS) VAN CEULEN. See JOHN-
SON (CORNELIUS).

JARDIN (KAREL DU), 1622-1678.

School of Amsterdam. CAREL DUJARDIN, or DU JARDIN, was
born at Amsterdam ; probably he was the scholar' of Berchem
or, according to others, of Paul Potter. He went early to Rome,
there taking the name of BOKBAART. Later, it is said, he went
to Lyons, and married his landlady with whom he returned to
Amsterdam. KAREL resided at the Hague from 1656 to 1659,
much influenced by Paul Potter. He then moved to Amsterdam
for about fifteen years. In 1675 he returned to Italy, and died at
Venice in 1678. The dates on his pictures range from 1651 to
1677. He is seen to advantage at Berlin, Amsterdam, the Louvre,
Cassel and the Hague. But it is on the merits of his etchings
rather than his paintings that he is especially regarded ; for as
regards technique he ranks high in this medium. Besides
landscapes and animals he p tinted portraits, as, for example the
group in the Rijksmuseum, a single figure at Berlin and No. 1680
in this Gallery.

No. 826. Figures and Animals in a meadow.

On the left, turned towards the right, an ox stands under a
tree ; a donkey faces him, the other side of the tree ; between
them some sheep. On the right a woman sleeping and a boy
\ with a dog in sunlight. A castle on a hill in the distance.
K. Du JARDIN fe. 1656.
Canvas, 13J in. h. by 15J in. w. (0'33 by 0'39).

Formerly in the collections of the Duke de Praslin and M. Eobit
Purchased with the Peel pictures in 1871.

No. 827. Fording the Stream.

On the left, rocks rising to the top of the picture. In a stream
in the foreground a woman and a boy wading across ; an ass
drinking, as is a dog on the right. On the left a cow and a sheep
standing in the stream. Signed K. Du JARDIN, 1657.
' Canvas, 14 in. h. by 17 in. w. (0-36 by 0-43).

Formerly in the collections of M. de Clene. Mr. Delahante. and Mr.
Barchard. Purchased with the Peel collection in 1871.

No. 828. Landscape with Cattle.

On the right a woman spinning ; on the left two cows and some
sheep ; one cow lying down, the other stands, its back to the

.TARDIN JOHNSON. 361

spectator ; an Italian house on a hill behind ; mountains in the
distance. Signed K.D.J.

Copper, 8i in. h. by 11 in. to. (0-21 by 0-27).

Formerly in the collection of M. D. St. Victor. Purchased with the
Peel pictures in 1871.

No. 985. Sheep and Goats.

A goat stands on the left, profile to the right. Two sheep in
the foreground, their backs to the spectator. Beyond them the
heads of two kids are seen. Signed :

Copper, 7 in. A. by 8J in. to. (0-17 by 0-08).
Wynn Ellis Bequest. 1876.

No. 1680. Portrait of a Young Man,

Head and shoulders : turned slightly to the right. A young man
with a slight moustache and long fair hair curled and falling to the
shoulders. He wears a light brownish green cloth coat open in
front and slashed on the sleeve showing the white cambric of
his shirt underneath. His large white collar, bordered with lace
is tied at the neck by two tasseiled cords. Signed K. Du Jardin.

Canvas, 24J in. h. by 20J in. w. (0-62 by 0-52).

Purchased in London from Mr. Horace Buttery, 1899.

JEANNET. (See CLOUET.

JOHNSON (CORNELIUS), 1593-1664?

English School. CORNELIUS JOHNSON, or JONSON, hitherto
(modernly) called JANSSEN VAN CEULEN from the name he a
adopted late in life was born in London, and baptized in the Dutch
Reformed Church, Austin Friars, Oct. 14th, 1593. His father
was Cornelius Jansz, of a family originating in Cologne. It has
been erroneously assumed that JOHNSON went to Holland for
his training, to the studio of Miereveldt. Investigation of
his earliest extant work proves that his education was directly
obtained from the influences surrounding him in London. In all
probability he was trained by Marc Ghaeraedts, and to some
extent influenced by the remarkable school of miniaturists under
Hilliard and Oliver. It seems less likely that Paul van Somer

362 JOHNSON.

had a share in his formation. JOHNSON'S earliest recognisable
work is completely English in character, and though it is difficult
to attach to it exact dates, we may accept that he was in indepen-
dent practice about 1612-1615. Tradition ascribes to him the
famous Portrait of Milton, aged 10 (1618) ; it is as reasonable, if
not more, however, to assign this painting (now in America) to
JOHNSON'S master Ghaeraedts, who, brought to England when,
seven years old, and as it were assimilated by the English atmo-
sphere and temper, is among the earliest Stuart English painters.
Cornelius' early work, to be seen here and there in private
houses, is distinguished from its contemporaries by a clear
fresh sense of colour, and from Yan Somer's by its gentle poetic
charm. From about 1618 bis practice increased. James I. and
the Queen both sat to him, as did the nobles and Charles I. later.
Little by little the flatness of his earlier work and its porcelain-like
texture change to a solidity of modelling and an unusual sense
of atmosphere. In 1622, aged 28, the painter married Elizabeth
Beke, in London. By her he had a son Cornelius, a painter who
imitated his father closely. To this son we may attribute most of
the numerous repetitions extant of certain of JOHNSON'S portraits.
From about 1627 to 1640 was CORNELIUS' best period. The
Earl of Portland, in the National Portrait Gallery (1627) and
the Cotton portraits (1629), at the British Museum initiate this
period, and are among the Jast of his panels. During the 1630's
JOHNSON migrated from London, where Van Dyck's intrusion bad
diminished patronage, to Kent. His portraits of that time have a
strikingly golden tone, and are rather slightly painted. In the
'thirties he painted certain full-length portraits of ladies, in which
we can see how much and how little Yan Dyck influenced him.
Of these we may mention the Lady Unknown (Montague House) :
the Countess of Bedford (1634) atWoburn, and the Lady Fanshawe
(1639) in a collection near Cambridge. From about 1640 on-
wards JOHNSON'S colour deteriorated into brownness, and after he
left England iu 1643 bis attitude lost much of its peculiar poetic
charm, becoming Dutch rather than English. He was in Middle-
burg in 1643, at Amsterdam in 1646, at the Hague in 1647, where
he painted a large corporation piece and probably stayed a few
years. He may have gone to Utrecht, and certainly was again
at Amsterdam in 1662. His latest work became Lelyesque. His
widow was at Utrecht in 1664. There is no instance known of
JOHNSON calling himself Janssen. Even when he had left England
for some years he signed himself " LONDINI " and JOHNSON VAN
CEULEN. His son too used this English form. Portraits by this
painter, who has the distinction of having to some extent in-
fluenced Yan Dyck, are frequent in English private collections,
and are dated in practically every year from about 1620 to 1641.
He is represented in the Maurishuis, Rijksmuseum, and the Town
Hall, The Hague.

Vide Die. Nat. Biog. : L. Gust. Burlington Magazine, Ixxxiii,
vol. xvi, and xcii, vol. xviii. Also C. H. Collins Baker, Lely and
the Stuart Portrait Painters, 1912.

JOHNSON-JORDAENS. 363

No. 1320. Portrait of Apolonius Veth*

Formerly called Aglonius Voon. Half-length, three-quarter to
the right, slight moustache and chin tuft ; the hair light brown,
long, and bushy. He is clad in a black velvet gown and a large
plain muslin collar. The right hand is laid on his chest. Signed
" C. J. fecit. 1644".f

Canvas, 30J in. h. by 24* in. w. (0'77 by 0-62).

Presented by Mrs. Zouch Troughton in 1891.

No. 1321. Portrait of Cornelia Remoens.

Half-length, turned slightly to the left. Her hands are crossed
on her waist ; brown hair, confined at the back of the head
with a fillet of pearls, and falling by the side of each cheek in
thick ringlets. She wears a black dress and ample white lace
collar, fastened at the chest with a narrow ribbon, from which a
jewelled pendant hangs. Pearl necklace and bracelets. Signed
" C. J. fecit. 1644."

Canvas, 30J in. A. by 24* in. w. (0-77 by 0'62).

Presented by Mrs. Zouch Troughton in 1891.

No. 25 30. Portrait of a Lady.

Half-length, turned slightly to the left, her hands folded on her
waist. She wears a black silk dress with lace insertion, and a pearl
necklace.

Canvas, 31 in. h. by 24 in. 10. (0'78 by 0-62).

George Salting Bequest, 1910.

JORDAENS (HANS), 1595-1643.

School of Antwerp. HANS JORDAENS III, called LONG JORDAENS
or LONG JAN, was probably the son and pupil of Hans
Jordaens II (1581-1653). He is supposed to have been born
about 1595, at Antwerp, where he was in the Guild 1620, and
where he died 1643. HANS JORDAENS III seems to have made a
speciality of pieces akin to No. 1 287.

No. 1287. Interior of an Art Gallery.

A lofty room, the panelled walls of which are lined with pictures,
is lighted by tall casement windows. On the left is a table
round which a group of cavaliers stand or sit examining articles

* From information kindly sent by M. D. W. Van Dam.

t Vide 0. H. (Jollins Baker : Burlington Magazine, xoii, vol. x via.

364 JORDAENS.

of vertu. Further to the right four amateurs stand near a chair,
on which ia placed a picture.

Wood, 37 in. h. by 48J in. w. (0'95 by 1-23).

Formerly Catalogued as Dutch School. A similar piece is in the
Hofmuseum, Vienna.

See The Burlington Magazine, LXX, vol. xiv.

Bequeathed by Mr. John Staniforth Beckett, in 1889.

JORDAENS (JACOB), 1593-1678.

Flemish School. JORDAENS was born in Antwerp, the son of
a cloth merchant of that city, who dealt in a kind of tapestry used
in pi ice of cordovan ; he had a factory for this decorated cloth, at
Mechlin, where JACOB doubtless was initiated into art. In 1607
he entered the studio of Adam van Noort who had been Rubens'
master. In 1615 JORDAENS was entered in the Guild as a tempora
painter, and next year married van der Noort's daughter Catherina,
by whom he had three children. In 1621 he was President of the
Antwerp Guild, receiving pupils. His early marriage prevented
him from going to Italy ; he seems to have journeyed no further
than Holland. In 1635, with C. de Yos, he was commissioned to
paint the Triumphal Arch of Philip IV. for the entry into
Antwerp of the Cardinal Infant Ferdinand. In 1639 Charles I.
negotiated with him for some decorations for Whitehall, without
result. In 1641 he settled into a new house he had planned,
built and decorated, where he lived for the rest of his life.
Some of these decorations, the Signs of the Zodiac, are in the
Luxembourg, Paris. In 1649, working with many other painters,
he began decorating the House in the Wood, near the Hague,
and completed it in three years. In 1661 he was commissioned to
paint three large pictures for the new town hall of Amsterdam,
and in 1663 Moses with the Tables of the Lav; for the Landhuis of
Hulst. Two years later he presented four decorative paintings
to the Guild of St. Luke, which are now in the Antwerp Museum.
At Rubens' death, JORDAENS was selected to complete his Perseus
and Andromeda, now in Madrid. JORDAENS sometimes collaborated
with other masters, putting in the figures for animal pictures by
Frans Snyders and Jan Fyt ; for the backgrounds of still-life
pictures by Adrien van Utrecht, Paul de Vos, Jacques van Es, W.
van Ehrenberg ; and for the foregrounds of landscapes by Jan
Wildens. Towards the end of his life JORDAENS became a
Calvinist. His wife died in 1659, and was buried in the
Protestant Cemetery at Putte, where he and his daughter
Elizabeth, who died of the sweating sickness on the same night,
October the 18th, 1678, were also buried.

In his art JORDAENS was completely Flemish, untinged by the
foreign influences that affected Rubens and Van Dyck. Thus in

JORDAENS JUSTUS OF PADUA. 365-

outlook he strikes us as bourgeois and often vulgar, where Rubens
is more tactful. JORDAENS' portraits are often restrained and
dignified, whereas his religious compositions are conceived in the
shallow spirit of ostentation. At St. Petersburg, Cassel, the
Louvre, Brussels, Antwerp and Amsterdam he is well represented.
Vide. Buschmann : Jacques Jordaens. Bruxelles, 1905.

No. 1895. Portrait of Baron Waka de Linter, of
Namur.

An elderly florid man in black with a large ruff, light moustache
and pointed beard. A three-quarters length, standing three-
quarters to the left. A gold chain crosses his breast from the
right. His right hand rests on a stick, the thumb and finger of
his left touch his sword hilt. A dark brown curtain in the left
background. On the right open sky on which is painted his coat
of arms and crest, a phoenix on a scarlet shield, and " ^ETATIS
SVvE 63, 1626."

Canvas, -UJ in. //. by 33J in. w. (M2 by 0'84).

Purchased, in London, from Mr. T. Humphrey Ward, from the
interest of the " Clarke Fund," in 1902.

JUAN DE FLANDRES. (See FZiEMZSK SCHOOL.
No. 1280.)

JUSTUS OP PADUA, 13 ?-1400.
Florentine School. JUSTUS or GIUSTO DI GIOVANNI DE'
MENABUOI, a Florentine family, commonly called JUSTUS OF
PADUA was born at Florence in the earlier half of the fourteenth
century. He based his style upon Giotto's works at Padua, where
he had settled in 1375, and obtained the rights of citizenship.
He was, however, a finished master long before that time, as the
date inscribed on the example in this Collection shows. Giusto
is mentioned by Michiel , in connection with his frescoes of the
Liberal Arte , the Virtues and Vices, in the Chapel of St. Augus-
tine in the Eremitani, Padua, to which also Savonarola, Scardeone
and Vasari refer. These paintings were destroyed and traces cf
them only remain in a manuscript in the Galleria Nazionale,
Rome, in the shape of the designs, and the model on which they
were based in an illuminated book at Chantilly. At Padua in the
Capella degli Scrovegni is a Madonna and Child attributed to
JUSTDS. JUSTUS died on Michaelmas day in the year 1400, and
left two sons, Domenico and Daniele ; whether they were painters
is not statedf.

* Vide, Venturi : Storia dell' Arte Italianu, vol. v, p. 921-22 ; and Leon Dorez La
Canzone delk; Vinta . . . di Burtotomeo di Bortoli da Bologmi.

t See Delia Pittuni in ndova, Ac.. ]>. 10, Paiiua, 1826 ; and Bnxnrtolcse,.
future, 4-c., di Padoca. 12ino Padua, 1735, i>. 281.

366 JUSTUS OF PADUA KEYSER.

No. 701. The Coronation of the Virgin.

A Triptych. In the centre the Christ is seated full-length robed
in pale pink and deep cobalt, facing the left, crowning the Virgin
who sits facing him in grey, with SS. Paul, John in a shott-blue
and rose dress, Peter, Catharine, Barbara and Margaret, standing
at the foot of the throne ; on the inside of the wings are the
Annunciation above, and below the Nativity on the left, the
Crucifixion on the right. On the outside of the wings are,
above the expulsion of Joachim from the Temple, and the
angel appearing to him foretelling the birth of the Virgin : in
the second line the meeting of Joachim and Anna at the
beautiful gate ; and the birth of the Virgin : on the third line
the presentation of the Virgin in the Temple : and her marriage.
Inscribed on the back Justus pinxit in archa ? and dated in the
front on the plinth below MCCCLXVII 1367.

Wood, in tempera, centre, 17J in. h. by 8- in. to. (0'44 by O22) ;
wings, 17J in. h. by 4J in. w. (0-44 by O'lO).

Formerly in the Oettingen - Wallerstein Collection which was
exhibited, in 1848, at Kensington Palace,* and bought by the Prince
Consort. Presented by Queen Victoria, by the wish of the Prince
Consort, 1863.

KEYSER (THOMAS DE), 1596?-1667.

School of Amsterdam. THOMAS DE KEYSER, wrongly called
THEODORE or DIRK, was born in Amsterdam. His father was
Hendrik, an architect. He is alleged to have studied under
Cornelis de Voort, at Amsterdam, and under N. Elias Pickenoy.
In 1626 he married, and re-married in 1640. From 1640 to 1654
he was concerned in house building and the basalt trade. His
reputation as a painter of small full-length portraits is deservedly
high. He had a definite influence on Rembrandt on his advent to
Amsterdam in 1631 ; his pictures are marked by a distinct
personality. At Amsterdam many of his large groups, as well as
single figures, give a comprehensive view of his art, which may
also be studied at Berlin, Cassel, Dresden, and the Hague. DE
KEYSER died in Amsterdam in 1667. The dates on his portraits
range from 1619 to 1660.

No. 212. A Merchant with his Clerk, portraits.

The merchant, in riding costume, seated at a table in the
centre, his body to the right, his face very slightly to the left.

* See the Descriptive Catalogue of a Collection of Byzantine, Early Italian, German,
and Flemish Pictures, belonging to H.S.H. Prince Louis D'Oettingen Wallerstein,
London. 1848. In 1854 a second Catalogue of this Collection was prepared by
Dr. Waagen. See aho L. Cnst : Pictures in thr. Royal Collection, 1911.

KEYSER KONINCK. 367

With his right hand he is taking a packet from his clerk who
stands behind him on the left. On the right a table, on which
are books, globes, and a sheet of paper whereon the merchant's
left hand rests. A tapestry hangs nearly across the background ;
beyond, to the right, an open door. Grey tone. Signed

AN. 1627.

Wood, 36J in. h. by 27 in. w. (0'92 by 0-69).
Bequeathed by Mr. Richard Simmons, 1846.

KONINCK (PHILIPS), 1619-1688.

School of Amsterdam. PHILIPS KONINCK or KONINQ was
born at Amsterdam, the son of a jeweller, and brother of
Jacob de Koninck the landscape painter. He is said to have
studied with this brother who was three years his senior, and
under Rembrandt. In 1640 he was in Rotterdam, and married
there in 1641. Soon after his removal to Amsterdam his wife died,
and in 1657 he re-married. He lived at Amsterdam, but seems
often to have travelled about. At one time he was a barge master
between Amsterdam and Rotterdam. KONINCK painted portraits
and scene pieces, besides the landscapes by which he is best
known. His self portrait is in the TJffizi. Lingelbach, A. v. de
Velde and D. van Bergen put in the accessories in many of his
pictures. His place as a master of landscape in the Dutch School
is next to Rembrandt and Vermeer of Delft. He died and was
buried in Amsterdam, 1688. His best works are in England in
this Collection and private hands. Others are at Amsterdam,
Berlin, Paris, The Hague and Frankfurt.

No. 836. Landscape, a View in Holland.

An extensive view across a plain to a winding river and the
sea. Sunlight in the foreground and distance ; cloud shadow over
the middle distance, a small town in the distance. In the
foreground a road with cottages on the left, and a small
stream on the right. On the road are a man and woman on
horseback, and in front a man with a hoop of falcons, and several
dogs ; a coach and six approaching from the middle distance.
In the stream to the right are a man angling and women washing
clothes. The figures probably by Lingelbach. Brown-grey tone.

Canvas, 52J in. h. by 63 in. to. (1-18 by 1-60).

Peel Collection in 1871.

368 KONINCK LAMBERT.

No. 974. A Hilly Woody Landscape.

The Scheldt, and Antwerp Cathedral in the distance. In the
middle distance a chateau and windmills. Two sportsmen and a
couple of greyhounds are in the foreground towards the left.
Greenish brown tone.

Canvas, 39 in. /(. by 59 in. w. (0-99 by 1-49).
Wynn Ellis Bequest. 1876.

XiA FARGUE (PAUL CONSTANTIN), 1733 ?-1782.

Hague School. LA FARGUE was born at the Hague about 1733.
He was working at the Hague in 1761, and Leiden in 1771, where
he died in 1782. He copied the older Dutchmen, such as
Ruisdael. His pictures are generally small views of the environs
of The Hague. LA FARGUE'S drawings are more important than
his paintings, and there exist several etchings by him.

No. 1918. The Market Place at the Hague.

A scene in the Groen Market at The Hague. Under the trees a
large crowd buying and selling ; at the back of the market to the
left are booths of old clothes and other wares. Cabbages, leeks,
carrots, baskets, &c., strewn over the foreground, in the right
corner of which a dog sits. Sunlight falls across the middle
distance on to the buildings in the background ; in the centre
the tower of the Groote Kerk. A sign on a tree to the right is
inscribed "BIBI UNI." Signed "P. C. LA FARGUE PINX. 1760."

Wood, 22 in. h. by 29 in. w. (0-55 by 0-73).

Purchased, in London, from the Hon. C. Sclater-Booth, from the
interest of the " Lewis Fund," in 1903.

IERT (GEORGE), 1710-1765.

English School. George Lambert, one of the earlier English
landscapists, was born in Kent. He became a pupil of William
Hassell and afterwards of John Wootton. He was first employed as
a theatrical scene-painter and worked for the Theatre in Lincoln's
Inn Fields ; at the age of twenty-six he was permanently engaged as
principal scene-painter at Covent Garden, much of his best work
perishing when that theatre was burnt down in 1808. The
Foundling Hospital possesses a " Landscape with Figures " by
him. He died Nov. 30, 1765.

LAMBERT LANCRET. 369

No. 1658* Landscape.

Clumps of oaks on the right and left. In the foreground a
pool with cows and donkeys on the near bank. To the right a
thatched half-timbered cottage with a woman milking a cow. In
the middle distance a ruined castle on a hill, and on the plain
beyond, a town with towers. A river in the extreme distance.
The evening sky is clear with a few light cumulus clouds.

Canvas, 44J in. Ji. by 34J in. w. (1-12 by 0'87).

Bequeathed by Miss Haines in 1898.

LANCASTER (REVO. RICHARD HUME), 1773-1853.

English School. The son of Richard Lancaster of London.
Matriculated at Merton College, Oxford, March 23, 1790 ; B.A. r
1793 ; M.A., 1796 ; Rector of Warnford, Hants, 1802 till death,
25 June, 1853. He was an " Honorary Exhibitor " of landscapes
at the Royal Academy from 1800 to 1827. His subjects were views,
in Wales, Scotland, the South Coast, Yorkshire, and one or two in
France.

Mr. Brockwell ("The National Gallery, Lewis Bequest") suggests
that the following picture (No. 1467), signed with the initials
R.H.L., and formerly ascribed to Robert Ladbrooke, is the work
exhibited by Lancaster at the Royal Academy in 1814.

"A View at Southampton" (No. 1428) by Lancaster is in the
National Gallery, British Art, at Millbank.

No. 1467. Landscape, with a view of Oxford.

In the outskirts of a wood, under the shade of large oaks, three
cows stand in a pool. On the left felled tree trunks, on the
right, a paling crossed by a stile separates a pathway from a
plantation. In the middle distance between the trees is open
country, beyond which, against a stormy sky, are seen the towers
and spires of Oxford, including the tower of Christ Church, and
the Bodleian. Signed " R. H. L."

Canvas, 20 in. h. by 28 in. w. (O'oO by 0'71).

Purchased from Sir George Donaldson ; out of the Lewis Fund, 1895.

LANCRET (NICOLAS), 1690-1743.

French School. LANCRET was born at Paris. He was the
pupil of Pierre d'Ulin and Claude Gillot, but adopted Watteau
as his model. He soon won a considerable reputation, and
17983 2 A

370 LANCRET.

by his close imitations of Watteau estranged the master.
LANCRET was elected a member of the French Academy
of Painting in 1719, as a painter of Fetes Galantes. He died
at Paris 14th September, 1743. While lacking the depth of
humanity and poetry of Watteau, LANCRET yet was an artist of
considerable merit. If his treatment of Watteau's themes is in
the nature of still life, still he is a charming colourist and designer.
Fine works are in the Royal Palace at Potsdam, the Wallace
Collection, Dresden, Chantilly and St. Petersburg.

Nos. 101-4. The Four Ages of Man.

No. 101. Infancy.

To the right a little boy and girl dragging by long ribbons a
stool on wheels, on which a little girl in blue is seated, towards
the left. Other children on the left, and in the centre the nurse
in vermilion standing, holding a baby. Thirteen figures under a
portico. Silvery tone.

No. 10Z. Youth.

On the right a girl seated pulling up her stocking ; a youth
makes advances to her. In the centre, profile to the left, a girl in
white stands, being decked with flowers. On the left a youth in
full pink kneels, holding a mirror up to her. Through an arch
in the centre background trees are seen, windows to the left and
right. Seven figures. Silvery tone.

No. 1O3. Manhood.

On the right a man shoots at a mark, straight into the air.
In the centre another archer waits his turn, dressed in rose dore ;
on the left a youth in gold silk sits on the ground, leaning against
a girl. Behind them a man is carrying a girl. Landscape back-
ground, ten figures. Silvery tone.

No. 104. Age.

"I On the right an old woman spinning by a barrel, another asleep
by her side. An old man is seated in the centre with a dog. On
the left a girl laughingly repulses the attentions of another
old man. Trees in the left background, a cottage on the right.
Six figures. Silvery tone.

Engraved by Desplaces, and by L'Armessin, fils.

Canvas. 13 in. h. by 17i in. w. (0'33 by 0'44) each picture.

They are mentioned by D'Argenville among the principal works oi
Lancret. Bequeathed by Lieut.-Col. Ollney in 1837.

LAND INI. 371

LANDINI (JACOPO), 1310?-1390?

Florentine School. JACOPO DI CASENTINO, called LANDINI, was
born at Prato Vecchio, in the Casentino, about 1310. He seems
to have founded the Guild of St. Luke in Florence c. 1340, and
not long before this to have met Taddeo Gaddi at the Sasso della
Vernia, and to have followed him to Florence. Later he assisted
Taddeo at Casentino. Recommended by Taddeo he found work
in Florence, painting three tabernacles in the Mercato Vecchio,
the Piazza San Niccolo, and the garden of the Tintori. At
Orsanmichele he painted the ceiling and the walls with Patriarchs
and Lives of the Virgin and Saints. He remained at Florence till
1354, and then perhaps went to Arezzo, where he painted many
frescoes, of which remnants are in the Church of San Bartolom-
meo. Taddeo on his death recommended his son Agnolo to
JACOPO'S care. When the latter died is uncertain ; Vasari states
that he lived to be eighty years old. He died at Prato Vecchio.
Spinello was his pupil.

No. 580. St. John the Evangelist lifted up into
Heaven; with various Saints; and other scenes from
the life of the Evangelist.

In the centre St. John in deep magenta is lifted up by the Lord
among the patriarchs and apostles of the church ;* on the left are
Saints Bernard, Scholastica, Benedict, and John the Baptist ; on
the right, Saints Peter, Romualdo, Catherine and Jerome.f Imme-
diately over the centre picture ia Christ risen from the Dead, the
gates of hell cast down on one side, and on the other the donor
and his family presented to him by St. John the Evangelist and
St. John the Baptist ; over the left picture is the archangel
Michael, and over the right, the archangel Raphael with Tobias.
In the three upper pictures are represented, in the middle the
Trinity, the Virgin and the Angel of the Annunciation at the
sides.

In the predella below are St. John the Evangelist distributing
alms and baptizing catechumens ; the vision in the Island of
Patmos, in which four angels are binding four beasts, and the
woman pursued by the serpent is flying into the wilderness ;
St. John liberated from the cauldron of boiling oil, in which he
was placed by the Emperor Domitian ; and at the extreme ends,
St. ApolloniaJ and St. Verdiana.

* See the Golden Legend. St. John Evan., p. 27 ; and Peter de Natalibus,
Catalog us Sanctorum, ii.. 7.

t In the open book held by St. Jerome is -written : Penitenclam agerc, est perpe-
trata mala iti.rwicrc, i't jieragendo non perjjetrare ; to do penance is to work out
sins, and in working them out to sin no more.

t Inscribed St. Apollonia, but the emblem, a female breast held by a pair of
pincers, is generally that of St. Agatha. The common emblem of St. Apollonia
is the tooth held in a pair of pincers.

17983 2 A 2

372 LANDINI LANDSEER.

In the pilasters on the left are Saint Francis, St. Cosmas and
another saint above ; on the right, St. Margaret, St. Damianua
and St. Nicholas of Bari. In all, twenty-two pictures.

This altar-piece is ascribed to Giovanni del Ponte by Dr. Oswald
Siren. Mr. C. Fairfax-Murray and Sir Claude Phillips. See also Bur.
Ungton Magazine, xli., vol. ix.

Wood, in tempera. The entire altar-piece, 113 in. h. by 101 in. iv.
(2-87 by 2-56). The large centre panel, 48 in. h. by 25 in. w. (1-21
by 0-63) ; the side panels, 45 in. h. by 24 in. w. (1-14 by 0'61). In
it? original frame, restored.

Formerly in the church of San Giovanni Evangelista at Prato
Vecchio, in the Casentino. Purchased at Florence, from the Lomb'ardi-
Baldi collection, in 1857.

No. 580\. The Holy Trinity and The Annunciation.

Three terminal panels of the altar-piece No. 580. These
appear to be by a different hand.

Wood, in tempera. Central panel, 17 in. //. by lOf in. w. (0 V 45 by
0-27) ; side panels. 16f in. h. by 9f in. to. (0-42 by 0-24).

LANDSEER (SiR EDWIN HENRY), R.A., 1802-1873.

English School. Edwin Henry Landseer, the third son of John
Landseer, the engraver, and was born in London on March 7,
1802. He was educated by his father. From his earliest years
he showed great aptitude in drawing animals ; a proof of this is
afforded by the Pencil Sketch of a Dog, which he made when he
was five years of age ; it is now in the Sheepshanks Collection
in the Victoria and Albert Museum. He received some instruc-
tion from Haydon, who advised him to dissect animals and
study the Elgin marbles, then in Burlington House. In
1814 he obtained the Isis silver medal of the Society of
Arts for a drawing of a Hunting Horse. Bis name appears
in the Royal Academy Catalogues for the first time in 1815,
when he exhibited a Portrait of a Mule and Heads of a
Pointer Bitch and Puppy. In the following year he became a
student in the Royal Academy School. In 1820 he sent to the
British Institution bis large picture of Alpine Mastiffs reanimat-
ing a distressed Traveller ; in 1822 he obtained from the
same institution the premium of 1501. for his picture of The
Larder Invaded. These works attracted great notice, and
established for the painter an unrivalled reputation in his own
field ; this reputation was increased by the long series of
pictures which followed them on the walls of the Royal
Academy, where he exhibited one hundred and seventy-nine works

* F. G. Stephens ; " Landseer" pp. 32-36.

LANDSEER. 373

between 1815 and 1873, failing to exhibit only seven times. He
also contributed pictures to the British Institution, the Society
of British Artists in Suffolk Street, and the Society of Painters
in Oil and Water Colours. In 1826 he showed the Hunting of
Chevy Chase at the Royal Academy and was in that year made
an Associate, and seven years later a full member. Among
his well-known pictures The Hunted Stag, of 1833, the Dis-
tinguished Member of the Humane Society, of 1838, Peace and
War, of 1846, Alexander and Diogenes, of 1848, and the Maid
and the Magpie, of 1858, all now in the National Gallery of
British Art. Several of his paintings are also in the Victoria
and Albert Museum. In 1850 he was knighted and awarded a
Gold Medal at the Exposition Universelle, Paris, in 1855, when
he exhibited his Shoeing (No. 606), now in this Gallery. He
was also awarded the Medal for Fine Arts at the Vienna Exhibi-
tion of 1873. On the death of Sir Charles Lock Eastlake in 1865
he declined the Presidency of the Royal Academy. He painted a
few portraits. A selection of his pictures was a special feature of
the "Old Masters" Exhibition at Burlington House, in 1874
Sir Edwin died at his house in St. John's Wood on Oct. 1, 1873,
and was buried in St. Paul's Cathedral.

He was the youngest brother of Thomas and Charles Landseer,
and the uncle of George Landseer, each of whom was well known
as an artist.

No. 409. Spaniels of King Charles's Breed.

This picture is also called " The Cavalier's Pets."

Two King Charles spaniels are lying on a table by the side of

a grey hat with a large drooping ostrich feather falling from its

band.

Canvas, 27 in. h. by 35J in. w. (0-69 by 0-90).

Exhibited at the British Institution, 1845 (No. 134).*

The two spaniels belonged to Mr. Vernon, for whom the picture
was painted.

F. G. Stephens : " Landseer," p. 64. S. C. Hall : " Tlw Vernon
Gallery of British Art," 1853, Series III., Plate II.

Robert Vernon Gift, 1847.

No. 6O3. Tfie Sleeping Bloodhound.

The hound is lying as if asleep, with the body slightly curved,
the jowl resting on the floor and the fore-paws extended. Painted
in 1835.

Canvas, 39 in. h. by 49 in. to. (0'99 by 1'24).

* The measurements given in the British Institution Catalogues down to
3852 are the outside sizes of the frames.

374 LANDSEER.

Engraved by Thomas Landseer ; by C. G-. Lewis ; and by J. C. Webb.

Exhibited at the British Institution. 1835 (No. 73) ; Dublin, Inter-
national Exhibition, 1865 (No. 57).

F. G. Stephens : " Landseer" p. 75.
Bequeathed by Mr. Jacob Bell in 1859.

No. 604. Dignity and Impudence.

Dignity is represented by an old bloodhound of the Duke
of Grafton's breed, known by the name of " Grafton ;" a little
Scotch terrier known as " Scratch " represents Impudence.* Both
are looking out of the same kennel.

Canvas, 35J in. h. by 27$ in. w. (0-90 by 0-69).

Engraved by Thomas Landseer.

Exhibited at Manchester, Art Treasures Exhibition. 1857 (No. 337).

Bequeathed by Mr. Jacob Bell in 1859.

No. 606. Shoeing.^

Also known as " Shoeing the Bay Mare." A farrier is trying a
shoe on the near hind foot of a bay mare, in a forge. This is a
portrait of "Old Betty," a mare which belonged to Mr. Bell.
She is standing in a way peculiar to her and without a halter, as
she would not tolerate one. The Donkey and the Bloodhound are
portraits : it is alleged that the farrier is a portrait of Mr. Jacob
Bell, for whom the picture was painted.

Canvas, 56 in. h. by 44 in. w. (1-42 by I'll).

Engraved by J. C. Webb ; different sizes by C. G-. Lewis.

Exhibited at the Royal Academy, 1844 (No. 332) ; Exposition Uni-
verselle, 1855 (No. 858). under the title of ;i Les Animaux a la forge " :
Manchester. Art Treasures Exhibition, 1857 (No. 407).

Bequeathed by Mr. Jacob Bell in 1859.
No. 1349. Study of a Lion.

The head towards the right fronting the spectator : the body
slightly fore-shortened and seen to the middle of the legs.
Life-size. Background of grey clouds.

Painted in the Zoological Gardens to aid the artist in modelling
his lions for the Nelson Monument in Trafalgar Square.

Canvas. 35| in. h. by SSJin. w. (0'90 by 1'35).

* Algernon Graves : " Catalogue of the Workf o f Sir Edtvin Landseer "
p. 21.
f Removed to the Tate Gallery.

LANDSEER LANINI. 375

Exhibited at the Royal Academy, 1869 (No. 30) ; International Ex-
hibition, South Kensington, 1872 (No. 339) ; Burlington House (Old
Masters), 1874 (No. 208).

Bequeathed by Mr. Thomas Hyde Hills in 1892.

No. 1350. Study of a Lion.

The head in profile to the left ; seen to the middle of the legs
and nearly full length. Life-size. Background of grey clouds.

Painted in the Zoological Gardens to aid the artist in modelling
his lions for the Nelson Monument in Trafalgar Square.

Canvas, 35 \ in. li. by 53J in. w. (0'90 by 1-35).

Exhibited at the Royal Academy, 1869 (No. 32) ; International Exhi-
bition, South Kensington, 1872 (No. 346) ; Burlington House (Old
Masters), 1874 (No. 212).

This and the preceding picture are introduced into the background
of J. Ballantyne's "Portrait of Sir E. Landseer," in the National
Portrait Gallery (No. 835).

Bequeathed by Mr. Thomas Hyde Hills in 1892.

LANINI (BERNARDINO), 1511 ? 1581-82 ?.

School of Vercelli. Born at Vercelli about 1511, LANINI became
the scholar and imitator of Gaudenzio Ferrari. In later life he
succumbed with all his school to the influence of Leonardo da
Vinci. LANINI'S works were chiefly in fresco and are represented
in the Brera and the Poldi-Pezzoli, at Milan, at Turin, and Vercelli.
Dates assigned to them range from 1539 to 1575, on a version of
Leonardo's Madonna with St. Anne, at Merate near Milan. At
Borgo Sesia, near Varallo, there is an altar-piece inscribed
" Bernardinus pausillum hoc quod cernis effigiabat 1539." His
principal works are the Sibyls and other frescoes in the Cathedral
of Novara. LANINI died c. 1582.

No. 7OO. The Holy Family.

The Blessed Virgin is seated in the centre, full-length, full-face,
dressed in dull blue and rose. The Child, almost naked, stands
on her left knee, looking towards the left and taking with His left
hand an apple from St. Paul who stands on the right, in a mul-
berry red dress and faded green cloak, lined with rose. On the
left stands the Magdalen, nearly profile to the right, in scarlet,
golden green and dull blue green, smiling at the Child and holding
her vase. St. George's head, with the papal tiara, is seen on the

376

LANINI LAWRENCE.

left of the Mother, and on the right St. Joseph's. A rocky land-
scape background. Heavy tone, the flesh grey brown. Signed

Wood, circular at top, 79 in. h. by ">1 in. to. (2-00 by 1-29).
frame is a rich cinquecento carving of the period.

Purchased in London, from Mr. G. H. Phillips, in 1863.

The

LAWRENCE (SlR THOMAS), P.R.A., 1769-1830.
English School. Thomas Lawrence was born at Bristol. In
that year his father, Thomas Lawrence, resigned his post as
Supervisor of the Excise and became landlord of the White Lion
Inn, Bristol.* In 1772 he moved from Bristol to Devizes, where he
took the Black Bear Inn. The boy Thomas early distinguished
himself for his ability in drawing, and his first efforts which
attracted notice were some portraits in chalk of his father's
customers. At the age of ten he worked as a portrait painter in
crayons at Oxford, but he soon afterwards ventured to set up in
Bath, where he met with extraordinary success. In his seven-
teenth year he commenced oil painting and in 1787 moved to
London, settling in Leicester Fields. In Sept., 1787, he became
a student at the Eoyal Academy School. On Nov. 10, 1791 he was
elected a Supplemental Associate of the Royal Academy an
appointment which had never been made before although he was
considerably less than twenty-four years old, the age required
by the regulations. On the death of Reynolds, 1792, he became
Painter in Ordinary to the King, being less than twenty-three
years of age. He had already moved from Leicester Fields to
Old Bond Street. In 1794 he was elected a Royal Academician.
He contributed to the Academy three hundred and eleven

* D. E. Williams : " Life and Correspondence of Sir Thomas Laivrence"
M31, Vol. I., p. 35. See also Lord Ronald Gower .- " Sir T. Lawrence"

LAWRENCE. 377

pictures between 1787 and the year of his death. His Mitt
Farren, afterwards Countess of Derby, now in the Collection of
Mr. J. Pierpont Morgan, was exhibited in 1790, and in 1792 the
John J. Angerstein and his Wife, now in the Louvre. He
exhibited one picture at the Suffolk Street Gallery and three at the
British Institution, where a special exhibition of eighty-eight of
his pictures was held in 1830, shortly after his death. In 1815 he
was knighted and in 1818-19 he painted on the Continent portraits
of Francis II., Emperor of Austria, Pope Pius VII., Charles X.
King of France, and Cardinal Gonsalvi, which remain in the
Waterloo Gallery at Windsor. At the death of Benjamin West,
in 1820, he was unanimously elected President of the Royal
Academy, being at that time Principal Portrait Painter to His
Majesty and member of the Academy of St. Luke at Rome.
In 1825 he was created a Chevalier of the Legion of Honour.
Sir Thomas formed a collection of drawings by the Old Masters
which was in all probability unequalled in Europe, but after his
death the collection was broken up. On the death of John
Angerstein, Lawrence was largely instrumental in founding the
National Gallery. He died unmarried, 1830. A collection of his
work was exhibited at Burlington House, 1904.

No. 129. Portrait of John Julius Angerstein.

Seated, nearly full face, looking out of the canvas. Painted
1 830 for George IV.

John Julius Angerstein (1735-1823), Art Collector ; a Russian
merchant resident in London. His collection, purchased 1824,
formed the nucleus of the present National Gallery.

Canvas, 36 in. h. by 27 in. to. (0"91 by 0-68).

Exhibited K.A.,il830 (No. 427), (an earlier portrait in 1816) ; the
British Institution. 1830 (No. 57). Presented by William IV. in 1836.

No. 136. Mrs. Francis Robertson (nee Laura Dorothea
Ross).

Full length, full face standing, in a white dress, her left hand on
a harp.

Canvas, 94 in. h. by 58 in. w. (2-38 by 1'47).

Painted c. 1804. Presented by Mr. Francis Robertson, of Brighton,
1837.

No. 142. John Philip Kemble as Hamlet.

Full face, full length, standing : the skull in his left hand, the
moon low on the left.

Canvas, 120 in. A. by 78 in. w. (3'04 by 1'98).

Exhib. R.A., 1801. Presented by William IV. 1836.

No. 144. Portrait of Benjamin West, P.R.A.

Full length portrait ; in his painting room ; on the easel is a
sketch of Raphael's Cartoon of the "Death of Ananias."
Painted 1811 for the Prince of Wales.

Canvas, 106 in. h. by 70 in. w. (2-69 by 1'77).

378 LAWRENCE.

Exhibited at the Eoyal Academy, 1821 (No. 193), British Institution.
1830 (No. 83), and 1833 (No. 12). A duplicate was sent to America.
Presented by William IV. in 1836.

No. 188. Portrait of Mm. Siddons.

Full length, f nil face : her left hand extended behind, on an open
book.

Canvas, 98J in. A. by 56 in. w. (2'50 by 1-43).

Probably the portrait exhib. R.A., 1804. Presented by Mrs. Fitz-
Hugh, 1843.

No. 785. Portrait of Mrs. Siddons.

The famous actress wears a white dress, a blue sash, and a green
cloak, which hangs loosely over her shoulders.

Canvas, 28 in. h. by 24J in. w. (0'72 by 0'62).

Probably the portrait exhib. R.A., 1797. Bequeathed by her daughter r
Mrs. Cecilia Combe, in 1868.

No. 893. Portrait of the Princess Lieven.

Apparently about twenty years of age, and has a brilliant
complexion, grey eyes and black hair, worn en neglige, but curled
round the temples. Three-quarters to the left ; bust portrait,
the head only finished. Background of blue sky.

Canvas, 18 in. k. by 15 in. w. (0'45 by 0'38).

Lawrence alludes to the Princess in a letter of Jan. 19, 1828.
Formerly in the Collection of Richard Winstanley ; sold March 16th.
1850 (No. 14), to Sir Robert Peel. Peel Collection in 1871.

No. 922. A Child with a Kid.

A child stands on a bank, her right arm resting on a tub
beside her ; in the foreground to the right is a kid. A hilly
landscape, with a stream running through a valley. Inscribed
" Lady Georgiana Fane. 1800. Mi. 5."

Canvas, 56 in. h. by 37 in. w. (1'42 by 0'9o).

Bequeathed by Lady Georgiana Fane in 1875.

Exhibited at the British Institution, 1830 (No. 35).

No. 1307. Portrait of Miss Caroline Fry, Authoress.

She wears a dress of white muslin, the bodice of which is
bordered with gold braid, and a blue sash round her waist.
She rests her right arm, partly concealed by a mantle of brown
silk lined with crimson, on a pedestal to the left. Background,
a cloudy sky. Half-length, seated, three-quarters to the right.

Canvas, 28J in. A. by 24J in. w. (0-724 by 0-616).

Exhibited R.A., 1830 ; at the National Portrait Exhibition, South Ken-
sington, 1868 (No. 279). Bequeathed by Mr. William Wilson in 1890.

LAWRENCE LELY. 379

No. 1413. Portrait of Mr. Philip Sansom.

He is seated, dressed in a black coat buttoned across the chest,
and cream-coloured kerseymere breeches. He sits in an arm-chair
resting his right hand on a table. A red curtain and an open
window in the background. Three-quarter length, seen three-
quarters to the left.

Canvas, 53* in. h. by 39* in. w. (1'36 by 1-06).

Bequeathed by Miss Ellen Sansom, a grand-daughter of the sitter
in 1894.

No. 2222. Portrait of Mrs. Siddons.

Pastel, 12 in. h. by 10 in. w. (0'30 by 0'25).
Bequeathed by Miss Julia E. Gordon in 1896.

LE BRUN. See VICES LE BRUN.

LELY (SIR PETER), 1618-1680.

Anglo-Dutch School. PETER VAN DER FAES, called LILLY or LELY
because bis father was born in a house bearing a lily signboard, was
born at Soest near Utrecht, rather than in Germany, in 1618. He
studied at Haarlem under Frans Pieterz de Grebber, and achieved
a certain reputation there as a portrait painter. He also produced
figure pieces in landscape settings, of a classical kind nymphs and
mythologies. In 1641 he came over to England in the train of
William Prince of Orange who was to marry Charles I.'s daughter
Mary. LELY painted the bridal pair (May 1641) and attracted
the attention of the Court. Thus to a small extent he competed
with Van Dyck, whose death occurred in December. After the
Flemish master's removal LELY and Dobson shared the bulk of
patronage. LELY'S portraits of the 1640's are often mistaken for
Dobson's or Van Dyck's, though without much cause. At Ham
House, Syon House, and in the Sir W. Compton (copy) National
Portrait Gallery, and in several private Colltctions, fine examples
of his first period exist : the best known being Duke of York, as a
boy, dated 1643, and Charles I. mid the Duke of York (1646),
both at Syon House. At this period LELY frankly based his
style of draperies and design, and even of hands, on Van Dyck's
models. At. the establishment of the Commonwealth LELY was
prominent in proposing a scheme for the decoration of the Houses
of Parliament, with no result. During the Interregnum his
reputation quickly increased, and in this period he painted many
fine portraits of great austerity and dignity, far superior to his

380 LELY.

more popular Court Beauties. Oliver and his generals all patronized
him. With the Restoration LELY'S position was but solidified.
Almost immediately Charles II. made him his Court painter and
granted him a pension, which was paid only after years of delay. At
this time, too, LELY entered into some curious financial relations with
the King. From about 1663 on wards he was unremittingly busy with
commissions. Pepys notes the great state he kept and the difficulty
of booking sittings with him. To this period belong the Windsor
Beauties at Hampton Court, which, despite their snallowness of
conception (with notable exceptions, such as the Countess de
Grammont), remain among the finest technical achievements
produced in England. In 1665-66 he painted his Admirals, now
in the Painted Chamber at Greenwich Hospital. These are works of
high merit (not only as free and masterly technique), that shew
LELY'S finest side. Portraits of about this time are the Sir W. Temple,
The Countess of Shewsbury, Dr. Patrick and Sir E. Nicholas, in the
National Portrait Gallery. In them LELY'S transition from the
extraordinary delicate finish of the Court Beauties manner is clear.
During the!670'she developed his style to wards a full ness of hand-
ling and richness of atmosphere quite unapproached by Van Dyck
Portraits of his ripest expression are the Duke of Buckingham and
Wycherley in the National Portrait Gallery, the Baptist May
at Windsor, and the -Sir Robert Long at Belton. Save for a
journey abroad during the Interregnum LELY seems never to have
left England, where he lived at Covent Garden and at Kew. He
bought estates in Lincolnshire and, there is reason to suppose, in
Warwickshire. His collection of drawings, paintings and sculpture
was large and choice, and fetched a great sum after his death.
Knighted in 1680, regarded as the arbiter of all matters relating
to Art, and the intimate of men of wit and rank, LELY died
auddenly in 1680. By his " reputed wife," whose name was
Ursula (d. 1673), he left two children, John and Anne. He
had a grandson, John Lely, who paiated portraits.! Compara-
tively few of the works ascribed to Sir Peter are by him. He
trained a school of skilled copyists, whose share in his work was
considerable, in the hands, draperies and backgrounds. Pole,
Hawker, Wissing, Mrs. Beale, Remee, Anderton, Buckshorn, and
Lankrink are responsible for many so-called Lely's.

See the Dictionary of National Biography : the Art Journal,
September 1911 ; and C. H. Collins Baker : Lely and the Stuart
Portrait Painters.

No. 1016. Portrait of a Girl.

Full-length, standing nearly full-face. Dressed in a bluish-
white simar, in which she is holding some red cherries, she is
feeding a parrot on a balustrade by her side with them ; her feet

* Vide C. H. Collins Baker : The Burlington 3[u>;azine. oiii., Vol. XX.
t Lely's direct descendants of to day have personal possessions of the master
and drawings of himself, his wife, and son.

LELY LEONARDO. 3,8 L

are bare ; a red curtain in the background, and a landscape to
the left.

Canvas, 49 in. h. by 40 in. w. (1'24 by 1-01).

Wynn Ellis Bequest. 1876.

LE NAZN (ANTOINE ?), 1588-1648.

French School. Some obscurity lies over the works of the
brothers Le Nain. They were ANTOINE (b. 1588), Louis (b. 1593)
and Mathieu (b. 1607), all born at Laon. Sons of a sergeant,
they were humbly educated, but all three taught painting by a-
foreign travelling artist whose name has been lost. In 1629'
ANTOINE was a master painter at St. Germain des Pres. In 1630
the three brothers were settled working in one studio in Paris.
In 1633 Mathieu was a master painter, and in 1648 they all were
members of the Academic, de la deuxieme Classe. Then, as if by
some epidemic, ANTOINE and Louis died, in 1648, while Mathieu
survived them by some thirty years, till 1677. He became
Chevalier of the Order of St. Michel, and painted many portraits.
Louis, the middle member of this group, was called Le Remain,
because he was credited with an Italian journey. At present the
identification of the brothers' separate work is tentative.

Vide Anthony Valabreque (Paris, 1904), also the Catalogue of
the Le Nain Exhibition at the Burlington Fine Arts Club, 1910.

No. 1425. Portrait Group.

In the centre a peasant woman sits with three children on her
right, two on her left. A boy in a red coat, drab - coloured
breeches, and blue stockings, sits on the right of the group
holding a glass in his left hand and a stone jug with the other.
Four little girls complete the group. Dark grey background.
Signed LENA IN.

This picture has been tentatively assigned to Antoine,'the eldest.

Formerly in the Bohn Collection.

Wood, 10 in. h. by 12 in. w. (0'24 by 0*31).

Presented by Mr. L. Lesser, in 1894.

LEONARDO (DA YlNCl), 1452-1519.

Florentine School. LEONARDO was born at Vinci, in the Val
d'Arno, the offspring of a notary and a peasant girl. He was
brought up by his father and step - mother ; his own mother
married a peasant not long after LEONARDO'S birth. At the age
of about fifteen LEONARDO was apprenticed to Verrocchio :

382 LEONARDO.

his fellow students were Perugino and Lorenzo di Credi. In
1472 he was admitted into the Guild of Painters. Concerning
LEONARDO'S early work little is yet definitely known. The profile
angel in Verrocchio's Baptism (Florence, Accademia) was already
ascribed to him in 1510. Otherwise we know of but a few
drawings dated 1473, 1478 and 1479. The same angel's head
occurs in the Madonna and Child (No. 26 in this Collection),
attributed to Verrocchio's School. Hence it has been advanced that
here again LEONARDO'S early work exists.f Other pictures recently
suggested as possibly in the same class are the Portrait of a Lady
in the Liechtenstein Gallery, and a Madonna and Child in Mme.
Benois' Collection, St. Petersburg.^ However this may be,
there remains a gap of about ten yeirs, during which LEONARDO
was in Florence. The Annunciation of the Uffizi Gallery, the
Lady witk a Weasel (Cracow) and La Belle Ferroniere (Louvre)
are the most important pieces put forward to fill this gap.i
In 1478 LEONARDO was commissioned to paint an altar - piece
for the Chapel of St. Bernard in the Palazzo Vecchio, a work
he threw np uncompleted. In 1479 he was commissioned to
paint the Pazzi Conspirators on the walls of the Palazzo Yecchio ;
a drawing of a hanged victim exists in the Bonnat Collection.
In 1481 the monks of St. Donato at Scopato ordered him to paint
an altar-piece, another work abandoned by the artist, after a few
weeks. Whether the unfinished Adoration of the Kings in the
Uffizi is LEONARDO'S design for this commission is not
exactly known, some writers attributing it to a later date.
Drawings centering round this panel are in the Louvre, the
Bonnat Collection, the British Museum, and at Cologne. At
about this time, 1478-1481, he produced his St. Jerome in the
Devert (Vatican). About 1482 LEONARDO reached Milan. The
question of his travels in the East, before he went to Milan, is
: generally ignored. LEONARDO'S letter of self -recommendation to
Lodovico Moro is well known, and his recital of his many rules.
"I could eqnal any other ... in architecture, public or private.
I cm conduct water from one place to another. I can execute
works in sculpture, marble, bronze or terra cotta. In painting,
also, I can do ... as well as any other, be he who he may. More-
over, I can undertake . . . the bronze horse ... to the perpetual
.glory ... of my lord your father . . . and the illustrious house of
rSforza." This great equestrian statue of Francesco Sforza inter-
mittently engaged LEONARDO for 16 years, when the model was
ready for casting. But it was destined to brutal destruction
at the hands of the French mercenaries, and what may well
have been the supreme master work of the high Renaissance
perished ignominiously early in the XVIth Century. Other

* Albertini'a Memorial.

t See Beinach : The Art Journal. January, 1912.

J See Herbert Cook: The Burlington Magazine, ev., Vol. XX. an3 Sir Sidney
i Colvin. cvi., XX.
, E. Muntz : Leonardo da Vinci, pp. 62-63.

LEONARDO. 383

works of LEONARDO'S first years in Milan are supposed to have
been portraits of II Moro's mistresses, Cecilia Gallerani, and
Lucrezia Crivelli, and a Madonna for the King of Hungary,
mentioned in a despatch of 1485 ; no traces of these remain.
LEONARDO was also employed decorating the Castello Sforzesco,
and references occur to his activity in various rooms therein
between 1495 and 1498. At this time, too, he was engaged
with his Last Supper, the work of many years, probably
completed in 1498. We know that in 1483, LEONARDO bad
agreed to paint, with Ambrogio and Evangelista da Predis, an
altar-piece for the monks of the Brotherhood of the Conception
in St. Francesco. This picture was the famous Virgin of the
Mocks* Between 1491 and 1494f this commission was not
completed and had become the subject of controversy concerning
the price. In 1487 LEONARDO received payment for his model for
the dome of the Cathedral, Milan, and in 1490 had made another
model. That year, too, he went to Pavia, with Francesco di
Giorgio, to advise on the Cathedral there. Evidence of his plans
for this building exist in sketches in the Codex Atlanticus. In
1489 he organized a masque for the marriage of Gian Galeazzo
Sforza, and in 1491 the jousts held for Galeazzo di San Severino.
Certain sketches of squires and pages at Windsor are associated
with these pageants.J During his sojourn in Milan were pro-
duced his Treatise on Painting, and On the Human Figure, and
his work on the Canalisation of Lombardy. In 1499 the French
army entered Lombardy and LEONARDO went to Venice early in
1500 by way of Mantua where he sketched a portrait of Isabella
d'Este. Soon after he returned to Florence. Here he devoted his
time to scientific study, especially mathematics and engineering.
In 1501 Isabella d'Este, wanting a picture of him, made
enquiries concerning his occupations. She required of him
a Madonna, a small picture " pious and sweet, as is his style,"
and " a new sketch of our portrait." In reply she was told
that the master had worked on but one cartoon since his return
to Florencethe Madonna and Child with St. Anne. This
cartoon has been identified with the picture in the Louvre.
Studies for it are in the Louvre, Burlington House, and the
Accademia, Venice. " The study is not yet complete. He has
done nothing else except that he now and then touches one or
other of the portraits his two assistants are painting. He is
entirely wrapped up in geometry and has no patience for painting."
In 1502 Isabella was informed that LEONARDO was willing to serve
her if he could get out of an engagement to the French King,
and that he was painting a small picture for Robertet, the
King's favourite a Madonna sitting as if spinning, with the
Child holding the reel, attentively regarding the cross-like spokes.
Nothing, however, came of Isabella's advances to the indifferent

See below under No. 1093.

t See Beinach : The Art Journal, January, 1912.

+ E. Muntz : Leonardo da Vinci, pp. 62-63.

384 LEONARDO.

master. In 1502 LEONARDO was in Umbria, in Cesare Borgia's
service inspecting fortresses ; he traversed Central Italy from the
Adriatic to the Tyrrhenian Sea. In 1503 he was back in Florence,
commissioned to decorate the Council Chamber of the Signorial
Palace with The Battle of Anghiari, of which nothing remains
but scattered studies or copies ; the best is in Lord Leicester's
Collection at Holkham. He engaged to finish a cartoon by
February, 1505, and immediately went on to paint on the wall a
part of his design The Struggle for the Standard. But he left it
unfinished, and it perished gradually. Between 1503 and 1506
LEONARDO completed certain portraits, such as the Ginevra Bend
and the Mona Lisa, both now apparently lost, and began his Leda
and St. John. The Leda exists only in old copies and in various
drawings, the original having been at Fontainebleau as late as 1694.
The St. John is in the Louvre. In 1505 he visited Eome, and in

1506 he moved to Milan into the service of d'Amboise, the French
Governor, to whom he had sent a small picture of Louis XII ; to
about 1507 are assigned the originals of the Hermitage Holy
family, the Louvre Madonna with the Scales, and Bacchus. In

1507 he returned to Florence, there living with Pier di Martelli.
In 1508 he began a collection of his manuscripts, and at this time,
too, aided the sculptor Rustici with his figures for the Baptistry.
In the autumn he was back in Milan as the Court Painter of the
French King. In 1515 he went to Eome with Melzi and Salai,
his favourite pupils, and stayed there nearly two years, probably
painting a Portrait of a Lady for Giuliano dei Medici and, according
to Vasari, a Madonna and a small picture of The Child for Turini
the Papal Almoner. In 1515 he left Rome, journeying to Piacenza
and Bologna, and stopped at Milan. Then, in the train of the
young French King Francis I., he fimally left Italy, journeying
to Amboise, to the Chateau Cloux, that had been set apart for
him. In 1517 the Cardinal of Aragon visited him, and has left
us some description of his mode of life, of three pictures the
master showed him, of his paralysed painting hand, of his pupil
Melzi, and his manuscripts. On the 2nd of May, 1519, LEONARDO
died and was buried at Amboise.

LEONARDO in virtue of his art, his deep scientific research, the
unparalleled scope and range of his mentality and an extraordinary
personality and physique, is among the greatest men history
can shew. His literary works include treatises on Painting,
Sculpture and Architecture, Anatomy, Botany, the Flight of Birds,
Astronomy, Naval and Military Science. A notable trait of his
lifelong character was the ease of his conceptive power and the
comparative difficulty he had in execution. His marvellous
patience in labour none the less was famous in his own day.
But to this trait of volatility, and to the swift flights of his mind,
from art to science and mathematics, is no doubt due the
remarkable rarity of his works. See also G. Gronau : L. Vinci,
1902 ; J. P. Richter : L. da Vinci (The Literary Works of).

LEONARDO. 385

No. 1O93. The Virgin of the Rocks. ("The Immaculate
Conception.")

The Virgin kneels in the centre, her head slightly to the left,
looking down. Her right hand is on the right shoulder of the
child St. John who, almost profile right, kneels with upraised
clasped hands, on the extreme left. Her left hand with spread
fingers is poised above her Son, who sits at her feet, profile left,
looking up at and blessing St. John. On the right an angel sits
supporting the Christ, nearly profile left. In the background rocks
and a river ; and above rocks with foliage. Brown smoky tone.

Wood, arched at the top. 72J in. h. by 45* in. w. (1'84 by 1-15).

Purchased from the Earl of Suffolk, 1880.

Another version La Vierge aux Rockers is in the Louvre. The
main facts relating to the question of authenticity are as follows.
In 1483 Leonardo was commissioned by the Franciscan monks
to paint a Virgin and Child, with two prophets and eight angels
in the shutters, for 800 lire. In 1491-94 Leonardo and Ambrogio di
Predis, his assistant, petitioned the Duke for arbitration as to this
amount, desiring either a larger sum or the return of the picture
'.vhich then was in the monks' Church of the Conception. Milan.
What happened is not known. The Louvre version complicates
the question, as it is generally admitted to be by Leonardo. On
the other hand the picture in this Collection was certainly in the
Church of the Conception in 1584 when Lomazzo (Trattato aelV
Arte delta Plttura II., cap. AT/7.) saw and described it. It is
recorded there till between 1751-1787. About 1777 Gavin Hamilton
brought it from Italy and sold it to Lord Lansdowne, who
exchanged it with the Earl of Suffolk. It remained in his (Charlton
Park) Collection till 1880. The essential differences in the two
pictures preclude the idea that the National Gallery version is
copied from the Louvre. The quality of the work in the former
has suggested to many critics (e.g. Frizzoni, Sir Claude Phillips and
S. Reinach) that Leonardo himself was largely concerned in iis
execution. Others, on the other hand, among them Dr. Gronau,
E. Miintz and Anatole Gruyere consider it a replica by one of
Leonardo's pupils, painted under the master's eye. An important
point in this question is that the Louvre version is admitted by
Miintz,* C. Clement and Miiller-Walde to have all the appearance of a
work painted before the master had left Florence, under Verrocchio's
influence. Expanding this view Reinacht has suggested, emphasizing
the literary significance of the angel's pointing gesture^ (in the Louvre
version), that Leonardo painted this picture before he left Florence,
and with the assistance of the two di Predis painted the National
Gallery version between 1483-1493 to the order of the Franciscan Monks
for the Church of the Conception, Milan. He also suggests that the
absence of the shutters from the Louvre piece renders it improbable
that that was the picture painted for the monks who expressly
stipulated for shutters in their contract, and adds that it is unlikely
that the monks would have given back the painting, and then have
ordered a replica.

" E. Muntz : Leonardo da F/n<rf,pp. 62-63. t See Reinach : The Art Journal,
January, 1912. M. Carmichael : The Mont/t. Jan. 1912. Burl. Mag. Vol. xx, p. 359.
J The London version is taken to represent the dogma of the Immaculate
Conception, the Paris its denial.

17983 2 B

386 LEPINE LE SUEUR.

LEPINE (STANISLAS), 1836-1892.

French School. LEPINE was born at Caen ; he studied under
Corot, and exhibited from 1859 onwards in the Salon. His pictures
are chiefly scenes of the Paris quais, gardens and markets. Among
them are Le Pont d'lena, Le Canal de la Villette ; Le Pont des
Arts (mention honorable, 1884), Le Jardin des Tuileries, Le Marche
aux Pommes (medaille, 3e classe, 1889), and Le Pont Royale
(medaille d'or at the Exposition Universelle, 1889). LEPINE was
an officer of the Academy and died in Paris, 1892.

No. 2727. Le Pont de la Tournelle.

A view of the bridge over the Seine ; Notre Dame towards the
right in the middle distance ; in the foreground a white horse.
Greyish tone. Signed 8. LEPINE.

Wood, 5J in. h. by 9J in. to. (0'13 by 0-23).

Presented by Mr. J. C. J. Drucker, 1910.

LE SUEUR (EUSTACHE), 1616-1655.

French School. Born in Paris, LE SUEUR was the pupil of
S. Vouet, became a member of the Academy of St. Luke, and
attracted N. Poussin's attention. He was one of the original
members of the Academy founded in 1648. He was painter to the
Queen-mother, working for her at the Louvre, and later for the
king. Between 1645-1648 he decorated the Chartreuse with the
Life of S. Bruno, and was employed by several of the Paris
churches, and for the Hc A >tel Lambert. He is said to have been
assisted by his brothers, and in landscape backgrounds by Patel.
He died in Paris, 1655. He is well represented in the Louvre, and
examples of his work are in St. Petersburg, Brussels, and Berlin.

No. 1422. The Holy Family.

In the interior of a lofty stone building supported on columns,
the Virgin, clad in a pale red robe and blue mantle, stands on
the left, profile to the right, with her right foot on a block,
bearing in her arms the Infant Christ, who raises His hand, in
the act of benediction, towards St. Elizabeth and the child St.
John, who kneel on the right, profile to the left. Behind them
St. Joseph, leaning on a staff.

A picture identical with this is at Chantilly, ascribed to Nicolas
Poussin. The present picture may be a copy by Le Sueur
Canvas, 2o\ in. h. by 1DJ in. 10. (O'Gi by 0'49).
Presented by Mr. Francis T. Palgrave, in 1894.

LIBERALE. 387

LIBERALS DA VERONA. 1451-1536.

School of Verona. LIBERALE di Giacomo was born at Verona
in 1451. He was the pupil of Vincenzo di Stefano, and later was
influenced by Girolamo da Cremona, Mantegna, the Bellini, and last
of all by Raphael. Having before his 17th year acquired con-
siderable practice as a miniaturist, he left Verona to seek work
in convents, and went to the Benedictine Monastery of Mont
Oliveto, where he was employed to paint in the choral books. f
Thence, after 1469, he went to Siena, and engaged in similar
work for the Duomo there.J Shortly after, under Bellini's and
Rizzo's influence, he painted the Pietd, now at Munich. His two
St. Sebastians in the Brera Gallery and at Berlin are also under
Rizzo'a influence. The Milan example shews the influence of
Mantegna, and in the landscape background gives a remarkable
picture of a Venetian canal. This work is in oil, a vehicle which
LIBERALE adopted in his later practice. A Madonna of 1489 is
in the Berlin Gallery, the only dated work of the master now
extant. Many other productions by him are at Verona, and in the
Torrigiani Collection at Florence was a Pietd. LIBERALS died in
1536. His scholars were F. Caroto, Francesco Torbido (il Moro),
and Giolfino.

See Berenson : The North Italian Painters.

No. 1 134. The Virgin and Child, attended by Angels.

The Virgin, at half length, in a crimson robe and dark blue
mantle, turned three-quarters right, bends over the Infant, who
lies on her lap. Behind her on the left two angels turned right,
one holding a flower. On the right an open casement.

Wood, in oil, 23 in. h. by 17J in. w. (0-59 by 0'44).

Purchased at Venice from Signer Fabris, in 1883.

No. 1336. The Death of Dido.

In the centre, Dido, on the summit of the pyre, prepares to
stab herself ; an arcade to left and right. A suit of armour and
two urnshaped jugs stand on a ledge below her. At the base the
fire is already kindled. In the foreground stand courtiers. Under
the arcades on either side a crowd assembled, others look on from
balconies above. A negro is prominent in the tight foreground,
and on the left a young man in a green cloak and red hose, gazing

* So he is named in Sienese records relating to him. In a document of 1515
he is styled "Liberalis Magistri Jacobi a Blado de S. Joanne in Valle." S.
Giovanni in Valle was a part of Verona.

t Now in the Catkodral of Chinw. Four of them contain miniatures, ten in
number altogether, by Liberale. He executed about thirty-six miniatures for
1 he Duomo at Siena. The antiphonaries which contain them have long since
disappeared from Siena. Records of payments made to Liberale for these
works are given by Milanesi. Documcnti per la Stvria delU Artc Sincse, II,
pp. 384-386.

I Now in the Library- of the Cathedral.

17983 2 B 2

388 LIBERALB LICINIO.

up at the queen, his hands clasped on his breast. On the extreme
right a view of the sea ; on the left a woodland scone with horsemen
tilting. Tone clear grey-rose.

Wood. 16 in. h. by 48 in. w. ((HI by 1'21).

Lentfby the Trustees to the Old Masters. Ex. R.A. 1892. Pur-
chased from M. Edward Habich. of Cassel, in 1891.

XiZBRZ (GiROLAMO DAI). See GXROXiAXKO,

LICINIO (BERNARDINO). Active 1520-1544.

Venetian School. BERNARDINO LICINIO was born at Pordeuone,
in Friuli, and was a pupil of Pordenone, with whom he has often
been confounded. Later influences on him were Giorgione,
Palma and Bonifazio. The year of his birth is not recorded, nor
is that of his death, but dates on his pictures prove that he was
active between 1520 and 1544. He is best known by his
portraits. These he frequently painted in half-length groups ;
good examples are in several collections. Amongst them may be
specified The Painter and his Family in the Borghese Palace at
Rome ; An Artist and his Pupils at Alnwick Castle ; A Lady
playing on the Virginals ; and A Family group (1524) at Hampton
Court, and a similar subject in the Hermitage, St. Petersburg
He shows to greater advantage in more limited compositions ; as
in the Lady seated (1533) in the Dresden Gallery ; at Hampton
Court ; and the Portrait of Ottaviano Grimani in the Belvedere
at Vienna. Amongst his religious subjects, the Enthroned Madonna,
and Child with attendant Saints, belonging to the Frari at Venice,
and a similar altar-piece in the church of Saletto near Padua
(1535) take first place.

No. 1309. Portrait of a Young Man.

A half-length, the head three-quarters left, the right arm on a
parapet, the hand, wearing two finger-rings, holds a pair of tan
gloves ; the left arm is akimbo. Beardless face, dark blue eyes,
the brown hair parted in the middle and drawn behind the ears.
The dress a black full-sleeved gown lined with grey squirrel fur
over a black doublet. Round the neck is a fine gold chain
supporting a curved gold ornament. Warm grey background
tone. On the parapet is inscribed in black majuscules

STEPHANVS
NANI ABAVRO
XVII MDXXVII1
LYC1NIVS P

LICINIO LIEVENS. 389

Stefano Nani clal Oro was a clerk in the Rason Vecchie (Ragioni
Vecchie) at Venice. 5

Canvas, 35 in. h. by 29 in. w. (0-88 by 0'74).

Purchased in London, at the sale of the (Perkins) Chipstead Collec-
tion in 1890.

X.IESBORN. See MASTER OF.

LIEVENS (JAN), 1607-1674.

School of Amsterdam. LIEVENS was born at Leiden, and from
1615 to 1617 he was under Joris van Schoten at Leiden ; afterwards
he became a fellow pupil with Rembrandt under Pieter Last-
man at Amsterdam. In 1631 he is said to have come to
London, where he was patronized as a portrait painter by
Charles I. In February, 1632, he returned to Leiden ; was
Master of the Guild at Antwerp in 1634, residing there until
1643. In 1638 he married and in 1640 took out his citizen's
rights. He worked with Jan de Heem, D. Seghers and Van
Dyck who painted his portrait and considerably influenced him.
In 1642 he painted a Continence of Scipio for the Chamber
at Leiden, sending the pictures from Antwerp. This series
still bangs in its original site. His Antwerp residence was fre-
quently interrupted : in 1640 he was in Leiden, in 1613 in
Amsterdam. For a while he visited the Hague, in 1661 was
a member of the Guild there. In 1670 he bought a house in
Amsterdam where he remained till his death in 1674. The in-
fluence of Rembrandt and of Van Dyck mingle in LIEVENS' art.
He painted large decorations, portraits, historical and allegorical
pieces ; also landscape. Examples are at Amsterdam, a Samson
and Delilah with the forged signature of Rembrandt, the Apotheo-
sis of Peace (1652) and some portraits ; at Berlin, a Portrait of a
Boy and a Wooded Landscape ; at The Hague, the Louvre, Dresden,
Turin and Munich

No. 1095. Portrait of Anna Maria van Schunnan.^

Half-length, three-quarters left, in a black velvet dress trimmed
with brown fur ; the throat bare. Seated at a table, an open
book in her hands. Dark background. Brown tone.
Canvas, 33 in. h. by 26 in. w. (0 83 by 0-66).
Presented by the Trustees of the British Museum in 1880.

* His name is mentioned in two documents of 31st March, and 9th August,
1542, found by Dr. Q. Ludwig in the State archives at Venice, Consiglio X.
Comune Registro 15, an. 1543-8, Carte 52 tergo.

t This lady, remarkable for her character, her learning, and her accomplish-
ments, was born at Cologne, of patrician parents, in 1607.

390 LIE YENS LIPPI.

No. 2864. Portrait of a Man.

Seated, half-length, three-quarters right. His right elbow
hangs over the arm of his chair, his hand rests on it. His left
arm draped in a golden wine coloured gown, is akimbo. His shirt,
seen only at the neck and in the right sleeve, is white ; a black
bow at the wrist. Through a window in the background is seen
a clearing in a wood, with a wall of trees against the stormy sky.
Above the head a pale yellow light. Signed " I. L."

Canvas 38 in. h. by 30 in. w. (0'96 X 0'77).

Presented by Mr. C. Fairfax Murray, 1912.

XiXNGEXiBACH (Joe ANN or JAN), 1623-1674.

School of Haarlem. LINGELBACH was born at Frankfort-on-
Main, but went early to Amsterdam, and in 1642 to Paris where
he remained two years, then going on to Italy, and remaining there
six years. In 1650 he returned to Germany, and finally settled
at Amsterdam, marrying there in 1653. It is probable that he
studied under Wouwermans at Haarlem ; their pictures some-
times are confused. He died in Amsterdam, 1674. He inserted
figures in the pictures of Wynants, Verboom, Hackaert, Ph.
Koninck, de Moucheron, and others. He painted Italian land-
scapes and seapieces, hunting and market scenes, and etched.
His pictures are common at Amsterdam, The Hague, St. Peters-
burg, Paris, and Dresden. Their dates range from 1646 to 1669.

No. 837. The Hay Harvest.

In the centre some men and a woman loading a cart with hay,
before which are standing the two unyoked horses, and a third
horse on which is a rider with a woman on a pillion behind him.
On the right are four figures near an old tree. In the foreground
a boy with two dogs. Greyish tone. Signed "J. Lingelbach. 1661."

Canvas, 27 in. U. by 34 in. w. (0'68 by O86).

Purchased with the Peel Collection, in 1871.

IiXPPZ (FRA FILIPPO), 1406 ?-1469.

Florentine School. FILIPPO LIPPI, the son of a butcher in
Florence, was born about 1406-09. In 1421 he took the vows
in the Convent of Sta. Maria del Carmine, where he probably
remained till 1437. He is first mentioned as a painter in 1432.
He was the pupil of Lorenzo Monaco. In 1434 he was at Padua
painting the reliquarium of the Saint, and at Florence in 1437

LIPPI. 391

where he undertook to paint the altar of the Chapel Barbadori in
Santo Spirito, now in the Louvre. There he worked for about a
year, attracting the notice of Domenico Veneziano, who men-
tions him with Fra Angelico. The influence of Masolino's and
Masaccio's paintings in the Carmine on FRA FILIPPO was pro-
found, and Fra Angelico influenced him too. An example of
the fused influences of Masolino, Masaccio and Fra Angelico
is the Annunciation (No. 666) and the Sacred Conversation
or Si!. John with Six Saints (No. 667) both in this Collection.
Other early works are the Adoration of the Kings (Cook Collection,
Richmond), The Nativity in the Accademia, Florence, and the
Annunciation at Munich, and the Madonna di Santo Spirito (1437-
1440) in the Louvre. To 1441 is given the Coronation of the
Virgin, in the Accademia, Florence, an altar-piece ordered from
him by the Chaplain of St. Ambrogio and paid for in 1447.
Between the completion of this altar-piece and FRA FILIPPO'S visit
to Prato, soon after 1450, he painted the Vision of St. Bernard, in
this Collection, the Death of S. Girolamo, in the Duomo at Prato,
an ancona of the Madonna and Child at Berlin, the Four Fathers
of the Church in the Accademia Albertina, Turin, and the Annun-
ciation in San Lorenzo, Florence. From 1452 till 1467 FRA
FILIPPO was painting in Prato. In 1452 he was made Chaplain of
San Niccolo de Fieri, Florence, and in 1456 Chaplain of Sta.
Margherita, Prato, the Convent whence he abducted Lucrezia Buti.
It has been suggested that he owed these posts to the influence of
his patron Cosimo dei Medici. By his influence, too, FRA FILIPPO
and Lucrezia were absolved from their monastic vows and
their marriage made legitimate ; from their union was born
Filippino Lippi in 1457. His works now at Prato, in which
he was assisted by Fra Diamante, are the frescoes of SS.
Bernard and St. John the Baptist (Duomo, Choir) and the Death
of St. Bernard (Duomo, Right Transept). He went to Spoleto
in 1467-68, remaining there till his death in 1469. He was
working in the Duomo there on the Life of the Virgin, a series of
frescoes in which Fra Diamante largely helped him. In the Death
of the Virgin is repeated the motif of the Burial of St. Stephen at
Prato. FRA FILIPPO'S great pupil was Botticelli.

See Venturi : Storia delVArte Italiana, VII., 1911 ; Berenson :
Florentine Painters.

No. 248. The Vision of St. Bernard.

The Saint, dressed in white, is seated on the left, profile right.
Before him a desk, on which are his papers, and some books by
it. In front of him, beyond the rock on which his desk stands,
the Virgin in faded pink and blue, facing the Saint, three-quarters
left. Three angels stand round her, he in the foreground, his
back towards the spectator, dressed in palest rose pink. Gold
nimbi. Dark grey tone.

Wood, tempera, the upper corners cut away, 38 in. //. by II! in. w.
(0-% by 1-Oii).

392 LIPPI,

Vasari states that Fra Filippo painted two pictures to be placed over
doors in the Palazzo della, Sitfnoria, at Florence. One was the
Annunciation, the other a St. 'Bernard. The date of the latter is
fixed by a record quoted by Baldinucci from the register of the
Pron-editori di Camera ; on the 16th of May. 1447, Fra Filippo
received 40 lire "for having painted the figure of the Virgin and of
St. Bernard to be placed before [above] the door of the cancelleria
of the Palazzo de' Siynori" Purchased at M. de Bammeville's sale
(catalogued as by Masaccio) in 1854.

No. 666. The Annunciation.

The Virgin seated full - length, on the right, profile left,
bending forward. ^ She holds a book in her left hand, and
wears a pale rose dress and a pale blue mantle, hemmed with
gold. Behind her a drapery, of gold leaf, incised with lines
and red bordered. Above her a hand emitting rays, in which a
dove flies symbolically to her. Almost in the centre a stone vase
wherein a lily grows. On the left, kneeling profile right, on
a bed of flowers, the angel Gabriel, in white and pale rose pink.
His wings are of gold, painted a deep red, with peacock's feathers
incised. On his shoulders, too, are feathers ; a lily in his left
hand. The floor of the Virgin's chamber is paved in red. Clear
golden tone.

Wood, in tempera, a lunette, 26 in. h. by 59* in. w. (0'66 by I'ol).

This and No. 667, were painted for Cosimo de' Medici. This is
marked with the crest of Cosimo. three feathers tied together in a
ring. The pictures were taken from the Riccardi (Medici) Palace at
Florence, by the brothers Metzger, about 1846.*

Presented by Sir Charles Eastlake, P.R.A.. in 1861.

No. 667. St. John the Baptist with six other Saints.

St. John, seated in the centre, facing right, wearing a lavender
grey dress. On the extreme left sits St. Francis, profile right ;
next him, looking at him, St. Lawrence, in grey, with rose orange
collar and cuffs, and hands joined. Next to the right sits St.
Cosmas, leaning forward, his hands outstretched ; he wears a
mulberry head dress and gown, blue undersleeves. On the
extreme right St. Peter Martyr sits, profile to the left, his right
elbow on a book ; he has brown buskins and a dark grey habit.
Next him, looking at him, is St. Anthony in a greyish purple dress
and grey cloak, pointing to the centre with his right hand. On
his right sits St. Damianus, with a mulberry head dress, blue
sleeves and a pale rose mantle ; his hands are joined in prayer.
All have golden nimbi, and are seated full-length on a marble
seat with rectangular ends. Along the bottom of the picture a

* See Vasari, Milanesi edition, II., p. 616.

LIPPI. 393

little hedge of herbs ; behind, trees against the sky. Grey golden
tone.

Wood, in tempera, a lunette, 26 in. h. by 59 in. w. (0'66 by 1-51).

Companion to No. 066. Purchased from Mr. Alexander Barker,
1861.

LIPPI, SCHOOL OF.

No. 589. The Virgin Mary seated, an Angel presenting
the Infant Christ to her.

The Virgin, clad in pale greenish blue, is seated on the right,
three-quarters length, three-quarters left. She is taking the Child
from an angel, who stands on the left, dressed in dull lavender
grey, profile right. In the right corner a red book. Behind the
group an arch, and landscape distance.

Wood, in tempera, 28 in. h. by 19^ in. w. (0-71 by 0-49).

This picture seems derived from the Madonna and Child with two
Angelx, by Botticelli (of which there are three repetitions) while he
was under Fra Filippo's influence.

Formerly in the possession of Sig. Zambrini, of Imola. Purchased at
Florence, from the Lombardi-Baldi Collection, in 1857,

LIPPI (FILIPPINO), 1457-1504.

Florentine School. FILIPPINO, the son of Fra Filippo and
Lucrezia Buti, was born at Prato in 1457. On his father's
death, he fell under the guidance of Fra Diamante, his father's
assistant. In 1472 he entered the studio of Botticelli. His first work
was a St. Girolamo, painted for the Ferranti family, in the church of
the Badia in Florence. It is uncertain if he went to Rome to work
in the Sistine Chapel. In 1482 the Signoria of Florence commis-
sioned him to paint one of the walls in the Sala del Palazzo
Publico, and in 1486 the Madonna and Saints (now in the
Uffizi) for the Sala degli Otto di Pratico. From 1484-1485 he
was at work in the Brancacci Chapel. In 1483 he was ordered to
paint two tondi of the Annunciation for San Gemignano, and in
1486 he finished his Vision of St. Bernard, in the Badia, Florence.
In 1487 Filippo Strozzi ordered from him frescoes for the Chapel
of Sta. Maria Novella, which he did not finish till 1502. For the
king of Hungary he painted two pictures in 1488, and between
then and 1493 was in Rome painting the chapel of Sta. Maria sopra
Minerva with an Annunciation and frescoes of St. Thomas Aquinas
and the Assumption. In 1493-1494 it is thought he painted the
Sto. Spirito, Florence, altar-piece, and the tondo in Mrs.

394 LIPPI.

Warren's Collection, Boston, U.S.A. To 1495 belongs the Christ
appearing to his Mother, at Mucich, and to 1498 the frescoed
Madonna and Saints in the Mercatale, Prato. In 1496 he
painted the Adoration of the Magi, now in the Uffizi, and in 1501
the Marriage of St. Catherine, at Bologna, in San Domenico ; in
1503 the Madonna with SS, John the Baptist and Stephen, in
the Municipio, Prato, and the Madonna and Saints, in the Palazzo
Bianco, Genoa, and in 1504 began the Deposition, now in the
Accademia, Florence, which at his death, in 1504, Perugino
finished. His reputation was great, his work in wide request,
and as a man he was loved for his modesty and courtesy. His
art, which is softened and sweetened in comparison with his
father's and Botticelli's, has always been popular. Other well-
known pictures by him are the Madonna and Saints (I486),
Uffizi ; the tondo in the Corsini, Florence (c. 1487) ; and the
Sacred Conversation, No. 293, of about 1496, the date of the
Adoration of the Kings, in the Uffizi.

See Venturi : Storia delV Arte Italiana, vii., 1911. Berenson :
Florentine Painters, 1909 : The Study and Criticism of Italian Art,
1902.

No. 293. Tlie Virgin and Child with St. Jerome and
St. Dominic. (" Sacred Conversation"}

The Virgin, seated in the centre, full-length, three-quarters
left, giving the Child the breast. She wears a deep blue mantle
and deep crimson dress. St. Jerome, looking up, with raised,
clasped hands kneels on the left. St. Dominic kneels on the right
holding a lily in his left hand and reading from a book. In the
background rocks and trees on the left, a distance in the centre
and rocky hills crowned with trees on the right. The nimbi are
spotted gold. Below, in a predella, the dead Christ, supported
by St. Joseph of Arimathea, with half figures of St. Francis and
the Magdalen in separate compartments on each side. The
arms of the Rucellai family at the extreme ends. Grey golden
tone.

Wood, in tempera, 81 in. //. by 73 in. w. (2'05 by 1-85). The
predella, 8 in. h. by 93 in. w. (0-20 by 2-36).

According to Vasari, painted for the Rucellai Chapel in San Pancrazio
Florence ; after the suppression of this church it was removed to the
Palazzo Rucellai. where it remained until it was purchased of the
Cavaliere Giuseppe Rucellai, in 1857.

No. 927. An Angel adoring.

The Angel, in blue grey with a red and gold collar and
cuffs, stands half-length on the left, profile right. His head
is bent, his hands raised in prayer. He looks down at the
Infant Christ, whose head is sketched at the bottom of the panel
in the centre. On the grey background are traces of wings and a

LIPPI LIPPO. 395

spotted aureole. On the left are two perpendicular red stripes,
running from the top to the bottom, relics of an underpainting.
Grey tone.

Wood, in tempera, 21 in. h. by 9 in. w. (0'53 by 0'24).

This fragment belonged to Sir Augustus Callcott.

Wynn Ellis Bequest. 1876.

LIPPI (FiLippiNo), SCHOOL OF.
No. 598. St. Francis in Glory.

The Saint stands on a red marble slab in the centre, full-
length, three - quarters right, bis head bent over towards the
right. In his arms, which are folded over his waist, he holds a
crucifix that slants up on to his left shoulder. Five angels playing
on instruments hover each side of him, their feet poised on clouds ;
the background is stamped gold. Inscribed below HUNC

SEQUANT0R, HUIC JDNGANTUB, QUI EX EGYPTO EXEUNT, IN QUO
OBIS CLARA LUCE VEXILLA REGIS PRODEUNT,* and dated

A.D. MCCCCXCII. Grey gold tone.

Wood, in tempera, 19 in. h. by 12' in. w. (0-49 by 0'31).

Formerly in the collection of the Marchese Giovanni Costabili, at
Ferrara, from which it was purchased, in 1858.

(For Nos. 592, 1033, 1124, 1412, formerly ascribed to
FILIPPINO, see under BOTTICELLI and
SCHOOL OF BOTTICELLI.

LIPPO DI DALMASIO. Painting 1376-1410.

School of Bologna. LIPPO DALMASIO, one of the earliest
painters of the Bolognese School, was much influenced by
Andrea da Bologna the scholar of Vitale da Bologna. LIPPO
painted from the year 1376 to 1410. Such was the popularity
of his Madonnas that, says Malvasia, a family was not considered
rich in Bologna that had not one of them. His pictures are now
scarce. There is a Coronation of the Virgin by him in the Pina-
coteca at Bologna, a Madonna and Child in the Palazzo Publico,
Pistoia, and an ancona in the office of the Secretary of the Scuola
Pie, Via Castiglione, Bologna, and several ruined fragments in the
churches at Bologna.

See Venturi : StoriadelV Arte Italiana, V., p. 948. Milano, 1907

" Let those who depart out of Egypt follow him, and be united to him, in
whom the standards of the king oome forth, for us, in clear light." This is,
with a slight variation, one of the eight strophes of a hymn to St. Francis.

390 LTPPO LOCHNEB.

No. 752. Madonna and Child.

The Madonna, in deep rose pink and a black mantle, is seen at
half length, three-quarters right, in a circular glory. She
holds her little Son to her ; He stands looking up in her face,
nearly touching her chin with His left hand. A flowery meadow
below, shut off by a scroll. In the right bottom corner the crescent
moon. In the corners above, in the starry sky three angels each
side, turned towards the Mother. Signed :

Etppus 29almasu ptnxit.

Canvas, in tempera, 43 in. h. by 34 in. w. (1-09 by 0'86).
Formerly in the Brcolani Palace, Bologna ; purchased at Bologna
from Signer Michelangelo Gualandi, in 1865.

LOCHNER (STEPHEN), c. 1400-1451.

School of Cologne. LOCHNER was born at Meersburg am
Bodensee, and came to Cologne about 1430. His first known work
is the Madonna and Child with the Violet (c. 1430), in the Arch-
bishop's Museum, Cologne. At Darmstadt is his Presentation in
the Temple (1447) ; in the Wallraf-Bichartz Museum, Cologne, his
Madonna of the Rose-Hedge (im Bosenhag), at Altenburg in the
Collection of the Princess of Saxony a Nativity, and in the Cologne
Cathedral the famous Dombildes (c. 1440).

See also under School of Cologne. Also Die Alt-Deutsche
Malerei ; Jena, 1909.

ZiOCHNER (STEPHEN), ATTRIBUTED TO.
No. 705. Three Saints.

In the centre St. Catherine of Alexandria, in clear ultramarine,
and a deep rose purple cloak lined with pale blue-green, her sword in
her right hand, her wheel broken at her feet. On the left, three-
quarters right, St. Mathew, in dull grey blue and apple green,
writing in a book, followed by a tiny angel. On the right, full
face, St. John the Evangelist, the chalice in his left hand, at his
feet his eagle. His robe is white, lined with plum purple. The
five nimbi are of solid gold ; the dark ground of the background
shows through the gold leaf in a pattern. Clear blond tone.

On the back, St. Catherine, full length, full face, in green and red ;
in the centre, bearing a palm in her hands, crossed at her waist ;
S. Gregory VII , his dove on his left shoulder, full face, on the
right, and St. Jerome, in Cardinal's hat. A donor kneels low down
on the right. On oak.

Linen attached to oak, tempera, 26| in. It. by 23f in. w. (0-67 by
OT>7).

Presented by Queen Victoria, by the Prince Consort's wishes, 1863.

LODOV1CO LOMBARD. 397

XiODOVZCO da PARMA, 14 . . ?-15 . . ?

School of Parma. Little is known of this painter, who is said to
have been a scholar of Francia. Crowe and Cavalcaselle describe
him* as a poor follower of Araldi (1465-1528-30), and attribute to
him frescoes in San Pauolo, San Pietro, the Collegio delle Scuole
Tecniche and the Pinacoteca, in Parma, and add that his painting
" is that of a follower of the Bolognese, on the level of Melanzio
and Tiberio d'Assisi." Aff 6 notices an Annunciation in the church
of the Eremitani. at Parma, as the woik of LODOVICO. The
following picture is ascribed to him.

No. 692. Head of a White Monk, with nimbus and
crazier, inscribed S.V.G.O.

Head and shoulders, three-quarters to the right. St. Hugh was
Bishop of Grenoble in the 12th century.

Wood, 16 in. h. by 12 J in. w. (0-40 by 0-31).

Bequeathed by Lieut.-General Sir W. Moore, in 1862.

LOMBARD (LAMBERT), 1505-1566.

Flemish School. LAMBEBT, or LAMPRECHT LOMBARD, born at
Liege, was the scholar of Jean Demeuse about 1520-25, and
then went to Antwerp to Arnold Beer, becoming a master in
the Guild in 1529. He married in 1527, and about this time
entered the service of Erard de la Marck, the Cardinal of Liege.
In 1532 he was paid (as " Maitre Lambert poinctre de palais de
Mre. Je Rme Cardinal de Liege) for the picture of a Crucifixion.
In 1533 he seems to have been in Germany, and about then to have
gone to Middle burg to the studio of Mabuse. In 1535 he was back
at Liege, where in 1537 Cardinal Pole came and attached LAMBERT
to him, taking him to Rome. There LAMBERT painted a so-called
Cebes Table, a version of the Vision of Cebes. In 1538 he returned
to Liege. Vasari, who met him in Italy, speaks highly of him,
calling him an excellent architect. In Liege LAMBERT took the
post of " Greffier de la Cour d'Avory," and in which his nephew
succeeded him. According to Van Mander he greatly advanced
art in Lit-ge. He died there in 1566, leaving a large family. His
scholars include Frans Floris, Goltzius, and W. Key. Pictures by
him are not very common in the large galleries ; at Cassel is a fine
Self Portrait, showing Italian influence ; others are in the Uffizi
(a Deposition formerly ascribed to G. David), at Hanover, Liege,
Nuremburg, and the Hermitage. In 1565 a life of LAMBERT
LOMBARD was published by Domenicus Lampsonius one of his

* Ireneo Aff6 : U Parmegiano Servitor dt Piazza ovcero Dial^hi Frumbola, &c.,
Parma, 1796. Crowe and Cavalcaselle Hint. ofPainti'ig in Nurth Italy, L, 5U1, note.

398 LOMBARD LONGHI.

scholars. LAMBERT'S drawings in chalk and with the pen are
numerous ; he etched some plates especially his Portrait of Titian,
dated 1545 ; he was a noted antiquary.

No. 266. The Deposition from the Cross.

St. John standing full face on the right in red and the Virgin
on the left three-quarters right support the body of Christ ; above
is the Holy Dove against a back-ground gradating from lilac purple
upwards to pale yellow. The figures three-quarters length. Flesh
tone grey-brown.

Wood, 42 in. h. by 27 in. w. (1-06 by 0'68).

Purchased with the collection of Herr Kruger, of Minden. in 1854.

LOMBARD SCHOOL, : XVI. CENTURY.

No. 219. Dead Christ, supported by Angels.

The Christ seated, half length, in the centre, His head three-
quarters left ; the eyes closed, the mouth open ; round His loins
a white cloth. On the left, standing full face, half length, an
angel in pale saffron and olive green supports His right arm. One
on the right, in similar colours, almost profile left, another holds
His left arm. Smoky grey tone.

Wood, 23J in. h. by 18J in. w. (0-59 by 0-46).

Bought by Sir W. Trevelyan from Citta di Castello, there attrib. to
Bazzil, 1837. Presented by Sir William Trevelyan, Bart., in 1849.

LONGHI (PIETRO), 1702-1785?

Venetian School. LONGHI was born at Venice and studied
under Balestra in Venice, there attempting subject and religious
pictures. His fellow students were G. Nogari and Mariotti.
An Adoration of the Kings, in Sta. Maria Materdomini, Venice,
represents this phase of LONGHI'S art. Balestra sent him on
to Bologna, to the school of Giuseppi Crespi, where he remained
some years, finding an atmosphere more congenial to his own
bent. He returned to Venice and married in 1732. His sou
Alessandro was born in 1733. In 1734 he was commissioned to
decorate the Palazzo Sagredo, with a frescoed series of the Fall of
the Giants, in which his success was not marked. His own bent
was towards the life he saw round him. Some have suggested that
engravings of Hogarth's pictures prompted such a departure on

* Lambert! Lombardi apud Eburones Pictoris celeberrimi Vita, 8vo., Brugen
Hubert Golzius, 1565. Rathgeber, Annalen. der Kiederl&ndischm Malcrei, <Sfc.,
folio, Gotha, 1843. Van Mander, Net Schilder Boek. Michiels, Histoire de la
Pcinture Flarnande et Hollandaise. vol. iii., 8vo., Brussels, 1846. Fierens Gevaert :
Lcs Primitifs Flamands. Tome IV., 1912.

LONGHI. 399

the Venetiau's part ; this, in view of chronology, is improbable.
LONGHI'S activity in painting began in 1734, when Hogarth was
little known even in England. It seems more likely Crespi (" Lo
Spagnuolo ") influenced him in painting coutemporary genre at
times touched with satire. Guardi,!too, exercised an influence on him.
He lived in Venice, but is rarely mentioned in documents ; between
1737-1773 his name occurs in the books of the Fraglia dei Pittori.
In 1763 he was elected president of the Academy. His vogue was
considerable, as was his son Alessandro's. PIETRO died May 8th,
1785. Most of his pictures are in Venice, in the Museo Correr,
and the Galleria Salom. His drawings, mostly in chalk heightened
with white, are well represented in the former collection. He has
been called the "Goldim of painters." Efts series of the Seven
Sacraments was etched by Pitteri. He himself etched other
subjects, and several of his works were engraved by Alessandro
Longhi, Bartolozzi, and others.

See Aldo Kara : Pietro Longhi ; Bergamo, 1909.

No. 1100. A Domestic Group.

Four figures. Possibly a scene in a comedy. On the left two
ladies stand with joined hands ; one in silver silk, the other in old
rose with a black apron. On the right a maid offers a spoon and
plate to an elderly man who is seated towards the centre, turned
towards the right, wearing a brown coat, grey breeches and
stockings. An engraved portrait hangs on the wall, inscribed
underneath "Gerardo Sagredo di Morei." The background is
greenish. Greyish tone.

Canvas, 24 in. ft,, by 19 in. w. (0'61 by 0-49).

Formerly in the possession of Count Oldof redi, of Milan.

Purchased there from Sigr. Giuseppe Baslini in 1881.

No. 1101. The Exhibition of a Rhinoceros in an Arena.

In the centre foreground a rhinoceros stands facing the right.
Beyond, behind a barrier, are five figures, three white-masked
cavaliers, a lady holding a fan, and the showman on the left holding
a whip and a horn in his right hand. Behind these people, on a
higher level are two women, one masked, and a little girl on the
left. Brown pale background. Pale grey-brown tone.

Canvas, 23 in. A. by 18 in. w. (0'58 by 0'45).

Formerly in the possession of Count Oldofredi, of Milan. A replica
of the picture in the Correr Museum.

Purchased there from Sigr. Giuseppe Baslini in 1881.

No. 1102. Portrait of the Chevalier Andrea Tron,

Procurator of St. Mark's, Venice.

Full length, nearly full face ; the right hand raised and pointing
to the left ; gloves in the left hand. A curtain hangs on the left.
On the right is a table with an inkstand. Grey tone.

400 LONGHILORENZETTI.

The golden stole implies that Andrea Tron was also a ktiight of
the order of the Stola d'Oro ; the stole with which a procurator
was invested by the Doge was of crimson velvet.

Canvas, 98 in. h. by 65 in. w. (2-49 by T66).

In style this portrait is nearer to Alessandro than Pietro Longhi.

Purchased, with its original frame, surmounted by the armorial bear-
ings of the Tron family from Sigr. M. Guggenheim, of Venice, 1881.

No. 1334. " The Fortune Teller."

In the centre a young lady, wearing a hooped white dress,
black silk mantle, and three-cornered hat, extends her left
hand towards a fortune-teller, who stands on her right, dressed
in a dark orange-yellow coat ; a cloaked cavalier, in a white
domino, stands behind the lady, facing the left. Behind the group
are two other ladies, one shawled in pale rose, the other in green ;
they face the spectator. On the left a market girl, profile to the
right, with a fruit basket. In the background, on the right, an
advocate and a masked lady. On a platform to the left a cane
chair with a long trumpet-shaped instrument on it ; the wall at
the back and pillars to the right have inscribed tablets. Signed
Petrus Longhi. Pale grey brown tone.

Canvas, 22f in. k. by 19 in. 10. (0'60 by 0'48).

Purchased from the Cavendish-Bentinck Collection ; out of the
Clarke Bequest, 1891.

LORENZ.ETTI (AMBROGIO). Active 1323-1348.

School of Siena. AMBROGIO. the younger brother of Pietro
Lorenzetti, by whom he was taught, is first heard of in 1324, when he
purchased some land ; next in 1331, when he painted some frescoes
in San Francisco, Siena. Next to them is placed his Martyrdom
of the .Franciscans, in San Francisco, and the San Ludovico $ Anglo
kneeling before Boniface VIII. ; it is thought that Pietro col-
laborated in these frescoes which also show the influence of
Simone Martini. In 1332 AMBROGIO went to Florence, for two
years, taking his degree as a painter in the Guild "de'medici e
degli speziali." Four small pictures in the Accademia, Florence,
telling the life of S. Niccolu di Bari, come from this time. In
1335 he was paid for work done in the Duomo, Siena, and at the
same time painted, with Pietro, frescoes in the Hospital della
Scala in Siena. Then he visited Cortona, and in 1337 was again at
Siena, decorating the Sala dei Nove, in the Palazzo Pubblico with a

LORENZETTI. 401

series of Good and Bad Government. These occupied him till 1340.
The painter's signature, "AMBROSIUS LAURENTI Hie PINXIT
UTRINQUE," occurs on this series. In 1340 he was painting the
Chapel of the Cemetery ; his Annunciation, in the Gallery at
Siena is dated 1344, in which year he again was working in the
Sala della Pace, and painted the altar-piece in San Pietro in
Castelvecchio. In 1345 he was busy in the Sala dei Nove. He is
supposed to have died of plague in 1348. Other works by
AMBROQIO LORENZETTI are at Mass Marittima ; in the Gallery,
Siena, and in the Walker Art Gallery, Liverpool.

See Venturi : Storia delV Arte Italiana, V., 1907. Berenson :
The Central Italian Painters, 1909.

No. 1147. Heads of four Nuns.

Fragment of a composition in fresco formerly on a wall of the
Capitolo of the Convent Church of S. Francis at Siena. Date
about 1331. Two heads fully seen ; the third cut off by the
black hood of the central head, the fourth, on the left, by the
broken edge of the fresco.

Fresco, 22 in. square (0'5.">).

Purchased at Siena, from the interest of the " Lewis Fund," in 1878.

LORENZETTI (PIETRO DI). Active 1306-1348.

School of Siena. PIETRO LORENZETTI, the elder brother of
Ambrogio, is first heard of in 1305-6 when he was paid for work
done for the Sala dei Nove, in Siena. He is assumed to have been
pupil to Uuccio, and to have been influenced by Simone Martini
and Giovanni Pisano. His dated works are the Polyptych Madonna
and Saints, at Arezzo (1320) ; pictures of St. Humilitas, at Berlin
and the Florence Accadetnia (1316) ; a Madonna and Angels, in the
Uffizi (1315) ; Madonna loith SS. Nicholas and Antony Abbot, in
St. Ansano, in Dofano (Siena) (1328) ; The Baptist and St.
Bartholomew, at Siena (1332). In 1329 PIETRO painted another
piece for the Church of St. Humilitas, in Siena ; in 1333, a Madonna
in the new door of the Duomo ; in 1335 a picture of St. Savino,
and the same year helped his brother with the decoration of the
Hospital, now destroyed. His Madonna with Angels, at Cortona,
probably belongs to 1335. His Madonna with Angels (1340)
painted for the Church of St. Francesco, Pistoia, now in the Uffizi,
shows that his association with Ambrogio resulted in the enlarging
of his types and forms. Paintings also generally given to PIETRO
are the frescoes in the Lower Church, Assisi. He died, it is
supposed, of plague, with his brother, in 1348.

See Venturi : Storia dell 1 Arte Italiana, V. ; Berenson : Central
It/iTmn Painters.

17983 20

402 LORENZETTI LORENZO.

No. 1113. A Legendary Subject.

A vaulted interior, spanned by arches on slender columns :
mosaic inlay iu the spandrils. A bishop in orange vermilion, stands
in the centre, three-quarters right, with two ecclesiastics before
the steps of a dais ; on this a figure in a red mantle is seated,
his back to the spectator and facing the bishop. On the right
an officer of State bearing a sceptre or mace, in green and brick
red. On the left three other figures, one bearing a draped
statuette in his arms, another, in dull gold, holding an altar
candle.

Wood, 12 in. h. by lOf in. to. (0'30 by 0-27).

Presented by Mr. C. Fairfax Murray, in 1882.

LORENZO (Box, IL MONACO), 1370 ?-1425.

School of Florence. The date of LORENZO'S birth is not known,
He is assumed to have been a pupil or follower of Agnolo Gaddi.
To some extent his art combines Sienese with Florentine traditions.
He is first heard of as taking the vow in 1391 in the monastery
of Sta. Maria degli Angioli, Florence. In 1399 he executed
an altar-piece, now lost, in Sta. Maria del Carmine. Many works
are attributed to him. Those to which dates are given are :
Pieta (Uffizi) 1404 ; Triptych (Empoli) 1404 ; a Madonna (Noseda
Collection, Milan) 1405 ; Miniatures (Biblioteca Laurenziano,
Florence) 1409 ; Three Marys at the Tomb- (Louvre) 1408 : Trip-
tych, Madonna and Saints (Uffizi) 1410; Miniatures (Bargello,
Florence) 1412-13 ; Coronation and Saints (Uffizi) 1413. LORENZO
is supposed to have died about 1425.

No. 215. Various Saints.

Eight full length seated figures, arranged in two rows of three
figures, with two saints at the back. The colours in the draperies
are orange scarlet, rose cendree, pale blue, dandelion, and apple green.
The saints are SS. Ambrose, Stephen, Francis, Paul, Catherine (?),
the Baptist, Matthew, and Benedict (?). Gold background ;
red floor. Probably the dexter shutter of an altar-piece. Grey-
brown tone.

Wood, 71 in. h. by 40^ in. w. (1'80 by 1-02).

No. 216. Various Saints.

This seems to be the sinister wing, corresponding with No. 215.
The chief colours are dandelion, orange scarlet, and rose pink.
SS. Gregory, Philip (?). Lawrence, Thomas (?), Dominic (?), John,
Peter, and Romuald. Tone grey-brown.

Wood, 70 in. h. by 40 in. w. (1-77 by 1'02).

This and No. 215 were presented by Mr. W. Coningham in 1848. -\

LORENZO. 403

No. 1897. The Coronation of tlie Virgin.

The Virgin is seated on the left of a simple Gothic throne,
three quarters to the right, full length. Her hands are crossed
over her bosom, her head is bowed. She wears a pale ash-rose
mantle, gold embroidered, and a cobalt blue hood ; her mantle is
lined with apple green. The Christ sits on the right crowning her
with both hands. His dress is deep carmine, His mantle deep
cobalt, lined with dandelion. In the foreground, a step lower
than the throne, three angels kneel. Those to left and right
in pale rose and cobalt, the centre one, playing an organ, in a
lemon coloured mantle, lined with orange-madder and cobalt.
Their wings are grey, black and white, with touches of blue and
scarlet. Tone greyish.

Wood, in tempera, 85 in. A. by 40J in. w. (2-15 by 1'02).

Purchased, at Florence, from Mr. Galli-Dnnn ; Clarke Fund, 1902.

No. 2862. St. Giovanni Gualbarto Instituting tlie
Order of Vallombrosa.

The Saint stands with bent head, profile to the right, towards
the left, against the upright of a wood partition ; behind him two
monks, facing the right. St. Giovanni raises in his covered bauds
the Mantle of the Order, about to invest a Cistercian kneeling on
the red tiled floor, profile left. Behind him another kneels, full face.
Towards the right stands seven figures in the white habit ; an eighth
is seen on the right behind the rocks that close in the composition.
Thirteen figures. A low roof over them and panelled background.
Golden tone.

Wood, 12 in. by 15* in. w. (0'30 by 0-39.)

Exhibited Old Masters and Scottish Portraits, 1883. New Gallery,
1893-4 (67) Grafton Gallery, 1911, N.A.C.F. (17) Given by Mr. H.
Wagner, 1912.

LORENZO (FiORKNZO 1.1 ). See FIORENZO.

LORENZO DA SAN SEVERING II.

The Younger. ?-1503.

Umbrian School. Little is known of this painter, who is also
called LORENZO DI M. ALESSANDRO. in his work the influence
of Carlo Crivelli and of Niccolo Alunno are discernible. He is
said to have studied under Girolamo Giovanni da Camerino or
Matteo da Gualdo. Works by him are in 88. Pietro e Paulo,
at Pausola ; in St. Francesco, at Matelica, in the Museo Piersanti,
and in St. Angelo, at Sanseverino. This painter, who died in
17983 2 C 2

404 LORENZO L'ORTOLANO.

1503, must be distinguished from Lorenzo Da San Severino
(b. 1374-after 1416) whose best known work is in S. Giovanni,
Urbino.

No. 2A9. The Marriage of St. Catherine of Siena.

The Virgin sits in the centre, three quarters to the left, holding
the Babe on her right knee. She is dressed in black and pale
apricot, surrounded by four saints, with a choir of angels above.
On the left is St. Dominic, on the right St. Augustine ; before
the throne are kneeling, on the right St. Demetrius of Spoleto,
on the left St. Catherine of Siena, on whose finger the Infant
Christ is placing the ring. St. Catherine wears her monastic
habit, and in her gold nimbus is written, SANTA KTRINA DE
SENA : in the nimbus of Christ are the words, SUM Lux ; in that
of the Virgin, AVE GRATIA PLENA Do. On the step of the throne
are a cucumber and an apple ; and in a cartouche on the front of
the step is the signature given below. Gold ground. The
prevailing colours are black, white, and red. Clear hard tone.

LAVR

ETTIYSff
SEVERN^

PI SIT

Wood, 57 in. square (I'll).

. Formerly in the sacristy of the church of Santa Lucia, at Fabriano.*
Purchased at the sale of M. E. J. De Bammeville's Collection, in 1851.

LORRAINE. See CLAUDE.

L'ORTOLANO. See ORTOLANO.

9 Passavant describes it as there, in his life of Raphael Rafael von Urbino,&o.
1839, vol. i., p. 428.

LOTTO. 405

LOTTO (LORENZO DI TOMMASO), 1480-1556.

Venetian School. LORENZO LOTTO, one of the most individual
painters of Venice, as far as personal emotion is concerned, was
born in 1480 at Venice. He was the scholar of Alvise Vivarini,
in Venice. His earliest known work is the Danae in the Martin
Conway Collection, assigned to c. 1498 : Alvise's influence pre-
dominates. The St. Jerome in the Louvre is dated 1500. In 1503
LOTTO is known to have been in Treviso, and between this year
and 1505 was painted his Madonna and Saints in the Scuola
Veneta, Naples. In this Bellini's influence, as well as Alvise's,
is evident. Other pictures of this period are the Madonnas at
Bridgewater House, in Sta. Cristina, Treviso (an altar-piece
surmounted by a Pieta) ; the Assumption at Asolo (1506), with a
predella a landscape without figures. In 1506 LOTTO left
Treviso, leaving his furniture and effects in lieu of rent, and went
to Recanati. There he stayed till 1508, painting the Munich
Marriage of St. Catherine, which is still mainly Alvisesque ; a
Madonna and Saints, in the Villa Borghese, Rome (1508), and the
large altar-piece in six parts, in the Municipio, Recanati (1508).
To 1508-09 is assigned the Hampton Court Portrait of a Young
Man. These pieces close his first period, all clearly indicating his
intimate connection with the Vivarini School. In 1508-09 LOTTO
was in Rome painting in the Vatican with Raphael, and clearly
influenced by this contact. In his next dated work, the Entombment
(1512) at Jesi, echoes of Raphael's Disputation and School of
Athens, in the Stanza della Segnatura, are clear. It seems that he
remained in Rome till 1512. To 1512-1517 are given the Jesi
Entombment, the Transfiguration, and the St. Vincent and St. James,
at Recanati ; Raphaelesque influence, in landscape, draperies and
golden colour is plain in all. In 1513 LOTTO engaged to
paint an altar-piece for St. Bartolommeo, Bergamo, which he
finished in 1516. Between these dates he revisited Venice. His
Assassination of St. Peter Martyr, at Alzano, reflecting the
influence of Palma, is assigned to 1514; to 1513 the lost original
of a Santa Conversazione in the Villa Borghese ; the double portrait
in this Collection (No. 699) is dated 1515, and the Trinity, in Sant'
Alessandro in Croce, Bergamo, and the Deposition in Sant'
Alessandro in Colonna belong to c. 1517.

Between 1518-1528 most of LOTTO'S time was spent in Bergamo,
where he was comparatively insulated from Venetian tendencies.
To 1518 belongs the dated Madonna and Child with St. John
(Dresden), to 1521 the Bergamo San Bernardino, altar-piece, yet
reminiscent of Alvise, and yet suggesting Coireggio. In 1521 also
were painted the Madonna and Saints, in S. Spirito, Beugamo, and
Christ leaving His Mother, at Berlin. The Marriage of St. Catherine,
at Costa di Mezzate (Bergamo) ; the Madonna and Saints (No. 2281
in this Gallery), and the St. Catherine, in the Leuchtenberg
Collection, St. Petersburg, are all dated 1522, to which year pos-
sibly belongs the Prothonotary Giuliano, in this Collection. The

406 LOTTO.

Marriage of St. Catherine, in the Bergamo Gallery, and A Bride
and Bridegroom, at Madrid, are both dated 1523, in which year too
is placed the Family in this Collection. That year LOTTO was in
Venice, receiving commissions, but soon returned to Bergamo.
Between 1524-27 he painted the Marriage of St. Catherine
(Quirinal. Rome), several frescoes in 1524, in Trescorre, Bergamo,
at Credaro, and in Sta. Maria Maggiore, Bergamo ; the Annunciation
(1526) at Jesi, formerly in the Biblioteca, and the Portrait of a
Young Man, at Berlin. In 1527 he was in Venice, again meeting
Palma. That year is dated the Odoni portrait, at Hampton
Court. After 1529 Titian's influence affected LOTTO, as is seen in
the Carmine altar-piece, with its decided ruddiness, hitherto alien
to LOTTO. Pictures belonging to 1529-40 are Christ and the
Adultress, in the Louvre ; various portraits in the Villa Borghese
and at Dorchester House, the Visitation at Jesi, the Crucifixion in
Sta. Maria, Monte San Giusto, SS. Sebastian and Christopher,
Berlin, the Recognition of the Holy Child (Louvre), A Man aged
Thirty -Seven, Doria Palace, and the Madonna in the Rose Garden,
at Cingoli. The accounts LOTTO kept from 1539 onwards are pre-
served, and throw light on many of his works. This period he
passed mostly in or near Venice. In 1542-45 he was at Treviso,
and in Ancona in 1550, when he lost his voice. A curious work
belonging to this decade (1540-50) was a Portrait of Luther and
his Wife, done from engravings. In 1542 he painted the St.
Antonio altar-piece, at Venice (San Giovanni e Paolo), in 1543 the
Portraits of a Man and Woman, in the Brera, and An Old Man,
also there. About 1545 is placed the Dead Christ, at Milan, and
1546 the Madonna Enthroned, at Ancona. His last years 1554-56
were spent in the Holy House of Loreto, where his last works
may be seen. He died in 1556.

See Berenson: Lorenzo Lotto, 1895. Venetian Painters, 1909.

No. 699* Portraits of Agostino and Niccolo della
Torre.

Half-length, full-face portraits. Agostino, dressed in an umber
gown, is seated in the centre holding a red book (Galen) in his left
hand, his right elbow on a table to the left. Behind him to the
right stands Niccolo (probably painted as an afterthought). Agostino
holds a roll of papers in his right hand, and a kerchief on which is
a fly. Gold brown tone.

Canvas, 33 in. h. by 27 in. w. (0'85 by 0'68).

Signed .

',5' S

Purchased in Bergamo, from Sig 1 . Giovanni Morelli, in 1862.

LOTTO. 407

No. 1O47- A Family Group.

On the left the wife is seated, three-quarters length, full-face,
leaning towards the centre on a table ; her right hand on her hip,
her left supports a little girl, seated on the table's edge filling her
mother's hand with cherries. Across the table, his right arm on it,
the father is seated, turned slightly left. His left hand, on his
knee, is ready to support a little almost naked boy who, standing
in front of him on one foot, reaches up with both hands to grasp
two cherries held in the father's right hand. The mother's dress
is deep rose pink, the little girl's a dull blue, the father's steely
grey and black ; the table cover is deep scarlet. In the centre,
behind them an open oblong window, giving a view of the sea.
Clear gold grey tone.

Canvas, 45 in. h. by 55 in. w. (I'll by 1'39).

Formerly in the collection of Lucien Bonaparte, and engraved by
Ricciani in the Choix de Grravwes, Sfc. de Lucien Bonaparte, Londres,
1812, No. 112.

Bequeathed by Miss Sarah Solly, in 1879.

No. 1105* Portrait of the Phrothonotary Apostolic
Juliano.

Half lenath, three-quarters left. An old man, with smooth grey
hair, in a black velvet gown trimmed with ermine, and open at the
throat. He sits beyond a table covered with a tappeto of rich
pattern, holding an open volume, close to which is a brass time-
piece. Dark green curtain background, with an open window
on left hand, through which a moorland landscape of unusual
emotional appeal is seen. Silvery gold tone.

Canvas, 37 in. h. by 27| in. w. (0'93 by 0'70).
Purchased at Venice from Sgr. M. Guggenheim, in 1881.

No. 2281. The Virgin and Child, with St. Jerome and
St. Anthony of Padua.

The Virgin, in a bright red dress, with wide puffed sleeves
and a blue mantle, seated in the centre on a wooden bench,
turned slightly right, supporting the Holy Child. He, seated
on a white pillow on a wooden coffer, rests His right arm on the
Virgin's shoulder, and looks round to St. Anthony, who kneels
on the right, a lily in his crossed hands. St. Jerome, with a
grey beard and bare shoulders, on the extreme left, turned to the
left, contemplating a crucifix. Mountain distance. Signed and
dated 1521.

Wood, 35 in. /*. by 28 in. w. (0'88 by 0*71).
Bequeathed by Mr. Martin Coluaghi, I'JOS.

408 LOUTHERBOUKG-LUCIDEL.

LOUTHERBOURG (PHILIP JAMES), DE, R.A., 1740-1812.

French School. PHILIP JAMES DE LOUTHERBOURG was born at
Strassburg. He was the pupil of his father, a miniature painter,
and went with him, in 1755, to Paris, where he was placed with
F. Casanova, the battle painter. LOUTHERBOURG shewed facility
as a landscape, marine, and battle painter, and in 1767 was a
member of the French Academy. In 1771 he came to England
and made his mark as scene-painter to Garrick at Urury Lane
Theatre. In November, 1780, he was elected an Associate, and
in the following year a full Academician. Among his principal
pictures are the Destruction of the Spanish Armada and Lord Howe's
Victory off Ushant, both at Greenwich Hospital. He contributed
147 works to the Royal Academy between 1772 and 1812 and
exhibited at the Free Society of Artists and the British Institu-
tion. He also etched several plates.f His portrait, painted by
Gainsborough, is at Dulwich. He spent the latter part of his life
at Chiswick, where he was buried, having died at Hammersmith
on March 11, 1812.

No. 316. Lake Scene in Cumberland, Evening.

In the middle distance to the right is a lake ; on the bank a
man and a woman are seated ; on rising ground to the left are
cattle and sheep. Signed and dated, 1792.

Engraved by W. Richardson.

Canvas, 16 in. h. by 24 in. w. (0'40 by 0-61).

Robert Vernon Gift, 1847.

LUCIANI. See FXOXKBO.

XiUCXDSXi (NICOLAS), i!520 ?-1590 ?

School of Antwerp or South Netherlands. NKJOLAS NEUFCHA-
TEL, or de Novo Castello, called LCCIDEL, was born in 1520, at
MonsJ, Hainault. In 1539 he was the pupil of P. Cock van Aelst
in Antwerp. In 1561 he was in Nuremberg, and later in Prague.
In 1566 he was paid for a portrait of the Emperor Maximilian II.'s

c See " Collectors Illustrated Circular? June 23, 1904, p. 225.

t P. de Baudicour, in his " Peintre Graveur Francals" 1861, VoL II.,
p. 239, describes 44 plates by Loutherbourg ; in some of these he signs
himself Pcintrc du Hoi, and in the later plates, apparently after he had
settled in England, he has placed a DC before his name.

J From information kindly supplied by M. H. Delanney.

LUC JDEL -LUINI. 409

daughter, Princess Anna. LUCIDEL painted portraits exclusively ;
often they go under Holbein's name. He died, probably in
Nuremberg, in 1590. Portraits by him are at Berlin, Cassel,
Althorp, Munich and the Hermitage.

No. 184. Portrait of a Young German Lady.

A half-length standing figure, three-quarters left, the hands
folded in front. The dress is of crimson watered silk, guarded
with crimson velvet, the narrow sleeves furred at the wrist. The
shoulders are covered by the pleated chemise with a gold embroi-
dered throat-band. A massive gold chain hangs to the waist ;
the hair is bound with a circlet of gold ; jewelled rings on the
fingers. Dark grey -green background. Dated 1561.

Canvas, 29 in. h. by 25J in. w. (0-73 by 0-64).

Formerly in the coUection of Mr. Beckford, at Fonthill Abbey,
whence it passed, in 1823, for 17 17*., to Colonel Hugh Baillie. It
was formerly called Jeanne iVArchel, and ascribed to A. Mor. Pur-
chased from M. J. C. Nienwenhuys, in 1858.

X.UXG-X (ANDREA DI). See ANDREA.

ZiUZMZ (BERNARDINO), 1475? 1531-32.

School of Milan. BERNARDINO LUINI was born at Luino
near the Lago Maggiore about 1475. He was probably the
pupil of Borgognone, and later certainly was influenced by
Bramantino, Gandinzio Ferrari, and Leonardo in Milan. He was
active in Chiaravalle (1512, 1515), Legnano (1516), Cesariano
(1521), and later Milan, Legnano, Saronno, and Lugano. His
work under the former influence has qualities of freshness
and pleasing reticence absent from his final pictures, produced
in close imitation of Leonardo's superficial aspects. He died
in Milan, 1531-32. One of his earliest dated works is the
Polyptych in St Magmo, Legnano (1523). The Presentation in the
Temple in St. Maria, Saronno is of 1525, frescoes in St. Mauriio
Milan, of 1529. In the Brera, in England, at Berlin, Paris, and
Lugano, numerous examples of LUINI are to be seen. His best
work is in his frescoes.

No. 18. Christ Teaching.

Christ stands full-face in the centre, touching the second finger
of His left hand with the first of His right. His dress is deep
carmine lined with prussian blue. On each side stand two elderly
men ; he on the extreme right clean shaven, with his left hand

410 LUINI LUNDENS.

resting upon an upright closed book. Warm brownish tone.
All are at half-length.

Wood, 28> in. h. by 34 in. w. (0-72 by 0-86).

Formerly ascribed to Leonardo.* Holwell-Carr Bequest, 1831.

No. 2088. Christ teaching.

A copy of the central figure in the above picture. The drapery
is in this case pink.

Wood, 28f in. h. by 22J in. w. (0-73 by 0-57).
John Samuel Collection, 1906.

LUNDENS (GERRIT), 1622-living 1677,

School of Amsterdam. LUNDENS or LUNDEN, the son of Bareut
and Lyntje Lunden, was born at Amsterdam. On the llth of
April, 1643, GERRIT married Agniet Mathys. He was still living
in 1677, at Amsterdam.! The subjects which he painted were
peasant interiors, where generally fiddling and dancing are going
on. Two pictures of this class are in the Dresden Gallery,
both dated 1656. A picture of a chiropodist and his patient is
at Hanover. Six pictures by GERRIT occur in an inventory
of the goods of Barent. Lunden in 16604 Mr - F - p - Seguier
catalogues four subjects by LUNDENS sold in England between
1802 and 1839.

No. 289. The March-out of a Company of the Amster-
dam Musketeers. (Copy of Rembrandt's so-called
"Night-Watch."}

This picture represents the officers of one of the companies of
the Burgher Guard issuing from their Doelen, or hall of assembly,
under the command of Frans Banning Cocq, Lord of Purmerland
and Ilpendam, who is seen advancing in the centre, and
giving orders to his lieutenant, Heer Yan Vlaerdingen, to
direct the march. All the figures are portraits. The scene is
illuminated by a gleam of brignt sunlight.

Wood. 26 in. h. by 32| in. w. (0'66 by 0'83).

This picture, a greatly reduced copy of the renowned work by

* See Holman Hunt: The Pre-Raphaelite Brotherhood, and his account of
Carlyle's criticism of this picture.

t Oud Holland, II. Jaargang, 1884, p. 206. Also III., Jaarg., 1885, p. 235 ; and
IV, Jaarg.. 1886, p. 304.

% Idem. III., pp. 225-6.

.-I critical aiiil commercial Dictionary of the Worlis of Painters, &c. London ,

LUNDENS-M ABUSE. 411

Rembrandt in the Rijks Museum, represents the condition of the
original before it was mutilated on all four sides and shorn of some
of its figures. The fact of this mutilation is notified in an inscription
placed over the picture at Amsterdam. This copy by Lundens and an
existing contemporary sketch in water-colours, made for Banning Cocq
himself, prove the injury done to the original in the earlier half of
the last century in order to suit the picture to the dimensions of a
room to which it was at that time removed.*

Painted for Frans Banning Cocq towards 1660 ; sold at the Van der
Lip sale at Amsterdam, in 1712 ; at the Boendermaker sale, in 1768,
and acquired by the dealer Fouquet, who sold it to M. Randon de
Boisset, of Paris, from whose sale, in 1777, it passed into the hands of
the banker Lafitte ; withdrawn at the sale of Counts d'Orsay and
Hohenzollern in 1810, it afterwards reached England, and the hands
of Mr. George Gillow. In or before 1836 it was seen by Smith in the
possession of Mr. William Brett. Bequeathed by the Rev. Thomas
Halford in 1857.

LYONS (COUNEILLE DE). Si'c CORNEILIiE.

M ABUSE (JAN GCSSART DE), 1472?-1535?

Netherlandish School. JAN GOSSART, called DE MABEUZE or
MABUSE, also MALBOGE or MALBODIUS, was born about 1472 at
Mabeuse in Hainault. He was the son of a bookbinder who
worked^for the Abbey of Sainte-Aldegonde, and it is thought
that his son thus might early have studied illuminated MSS.
MABUSE'S master is not known ; Memlinc, David and Massys have
been suggested. In 1503 he was in the Antwerp Guild. From
then till 1508 it is assumed he worked in Antwerp. The most
important picture of this pre-Italian period is the Adoration of the
Kings in this Collection. Other pieces placed at this date are
Christ in Gethsemane (Berlin), a triptych called Detresse de Dieu
in the Church at Matervliet, and the altar-piece (burned in 1568)
that Durer noticed in 1521. The portraits of Philippe le Beauaud
Jeanne la Foils at Brussels, also are assigned to this first period.

In 1508, in the train of Philip of Burgundy, MABUSE and
Jacopo di Barbari, who had been in Antwerp since 1507, went to

* See M. Louis Gonze, containing a letter to him by M. E. Durand-Greville,
in the Gazette des Beaux-Art*, T. XXXII.. Nov. 1885; to a contribution by
M. Moyer, jun., in Oud Holland, IV., p. ^05 ; and, finally, to a most interesting
paper by M. E. Durand-Grovillc, (riving a r.xuw of the whole evidence, and
entitled " Les Viinnsitudea d'un Tableau ci'-li'ibro," in the Revue politlque ct
itteralrc (Revue Bleue) 3 n > Serie, VIL, unnec, July 16, 1887.

412 MABUSE.

Rome by way of Verona and Florence. Piloted by J. di Barbari,
MABUSE no doubt made a thorough study of the chief influences
of the Italian High Renascence, the antique in Rome, Leonardo's
fascinating sfumato, and Michelangelo. In 1509 the painter
returned to Brussels, and in a short while Philip settled in Middel-
burg, and with him MABUSE and Jacopo di Barbari. MABUSE'S
works of this time are the Madonna and Child at Brussels, the
Virgin with the Grapes, Berlin, and the life-size nudes, Adam and Eve,
of which versions occur at Brussels, Hampton Court and Hatfield.
In 1515 MABUSE is supposed to have gone to Copenhagen to paint
the King, Christian II. and his bride. The portraits are in Copen-
hagen and Brussels. To this year is assigned his St. Luke Drawing
the Madonna in the Rudolphinium, Prague. The Neptune and
Amphitrite at Berlin is dated 1516, and the Ecce Homo at
Antwerp, of which repetitions are in various Galleries. In 1517
the artist accompanied Philip of Burgundy to Utrecht, there
decorating the Castle of Duerstede for his patron : at Utrecht he
must have met Jan Scorel. This year is dated the Louvre diptych
of Jean Carondelet and the Madonna. In 1518 the Madonna
(Madrid) was painted, in 1521 A Deposition, and certain portraits,
such as the Man with a Rosary in this Gallery are of this time.
To 1527 belong the Madonna and Child and the Dande at Munich.
On the strength of MABUSE'S signature on one of the Grimani
Breviary leaves it has been assumed that he may have painted yet
others; this is questioned by some critics. MABUSE died about 1535.
Other characteristic paintings by him are the St. Luke Painting the
Madonna at Vienna, a Hercules Wrestling in the Miethke Collec-
tion, Vienna (1523), the Cook Collection Hercules and Omphale,
and some good portraits at Brussels, Antwerp and Berlin.

See Fierens-Gevaert : Les Primitifs Flamands, III., 1910.
Wurzbach : Niederlandischen Kunstler-Lexikon, II.

No. 656. Portrait of a Man in black holding a Rosary.

Half-length, three-quarters to the left. He holds a rosary in his
left hand, palm upwards ; his right holds a fur cape. Yellow and
white marble background ; flesh tone grey-gold.

Wood, 27 in. h. by 19 in. w. (0'68 by 0-48).

Purchased in Paris, from M. E. Beaucousin, in 1860.

No. 946. A Man's Portrait.

A half-length three-quarters to the left, the eyes to the front.
He holds his gloves in his left hand, his right rests on the table.
He wears a black gown furred with sable, and a flat cap. On the
back of this picture is the brand of Charles I., a crown with C.R.
Dark green background ; clayey gold flesh tone.

Oak, 9J in. h. by 6 in. w. (0-23 by 016).

Wynn Ellis Bequest, 1876.

MABUSE. 413

No. 2163. The Magdalen.

A. half-length portrait of a lady as St. Mary Magdalene turned
three-quarters to the left. She wears a rich gold brocade dress
edged at the neck and wrists with fur, and laced over a red bodice.
She holds in her hands a gold repouss^ vase and cover, her right
hand holding the lid, her left round the body. On the third finger,
above the middle joint, a gold ring set with a ruby. Deep
prussian blue background ; blond silvery tone.

Scorel has also been suggested as the painter.

Wood, 8} in. h. by 6 in. w. (0'21 by 0'15), arched top.

Lewis Fund, 1907.

No. 2211. Portrait of Jacqueline de Bourgogne ?

The half-length portrait of a girl turned slightly left, with
dark grey eyes and crimped brown hair parted in the middle.
She wears a square-cut bodice of red velvet, the white upper
edge set with pearls. The sleeves are of white velvet with
green interlaced ribbon studded with pearls, and bands of
pearls at the wrists. A white cap edged with pearls fastened
under the chin, a necklace set with pearls. She holds an astrolabe.
Light green background set in a brown moulding ; blond silvery
flesh tone.

Wood, 14J in. h. by 11| in. w. (0-37 by 0-28).

Exhib. Worcestershire Ex., 1882, lent by Sir E. Lechmere, Upton-on-
Severn. Exhib. Exposition de la Toison d'Or, Bruges, 1907 (No. 65) ;
from the Collection of M. Gauchez ; Clarke Fund, 1908.

No. 2790. Tlie Adoration of ttie Kings.

Seated in the centre, at full length, three quarters right, the
Blessed Virgin supports her Infant Son on her right knee.
Her left hand holds the chalice given by Jaspar, who kneels
on the right, profile left. The Madonna's dress is blue, hes
skirt deep red ; Jaspar's mantle is dark red, his robe ochreour
gold-patterned damask. In front of the Virgin lies his crimson
fur-trimmed cap, and just beyond it the chalice lid inscribed
Roi JASPAR. On the right, behind, three quarters left stands
Melchior, in a coat of gold and a leaf green robe, and ochreous
ermine-lined cloak, an ornate monstrance in his right hand.

On the left, nearly profile to the right, Balthazar stands holding
an elaborate Gothic reliquary of gold. His dress is shott gold,
bis mantle red, a greyish scarf engirdles him ; his loose long

boots are orange. His page stands, on the extreme left, holding
up his cloak in his right hand. Other figures stand behind among
the pillars in the aisle of the ruined architectual background.
Down a vista in the centre are seen the ass, two peasants leaning
on a railing and a distant town. On the right, a hill against the
sky, with horsemen approaching. In the foreground on the care-
fully broken pavement are two dogs, to left and right. Nine
angels above ; the one nearest, on the left, wears a chalky yellow
shott robe, grey in the shadows, and rose-pink and blue wings, and

414 MABUSE.

is accompanied by one in dark green, holding an inscribed scroll.
The picture is signed on the torque of the turbaned, oriental
attendant who stands on the left next the African king's page.
IENNINE Gos . . . and again on the Balthasar's turban. Clear
blond tone.

Oak, 70 in. 7*. by 64 in. w. (1'78 by 1'62).

This picture was painted probably between 1497-1507 for the Abbey
of St. Adrian, at Grammont. About 1600 it was acquired by Albert
and Isabella, Governors of the Netherlands, and placed over the altar
in the Chapel of the Palace, Brussels. It was still in Brussels in 1731,
having been saved from the fire that destroyed the Ducal palace. In
1745 it was in Brussels ; in 1781 it was sold from the Collection of
Prince Charles Alexander of Lorraine, as the work of Diirer (cata-
logued as Halberdurere) and bought by one De Coek. It was bought
by the 5th Earl of Carlisle, in Brussels or London, 1781-87, but not
out of the Orleans Collection. It was exhibited in Leicester Fields,
1787, at the British Institution, 1851 (No. 1) ; the Manchester Exhibi-
tion, 1857 (No. 437) ; the Burlington House Exhibition, 1885 (No. 230).

Purchased by the aid of the Temple West, the Loan Exhibitions, and
the National Art Collections Funds, and of a special grant from H.M.
Government, from the Countess of Carlisle in 1911.

See Maurice Brockwell : The Adoration of the Magi, by Jan
e, 1911. See also National Art Collection Fund Report, 1911-12.

LBT7SE. ATTRIBUTED TO.
No. 1689. Portrait of a Man and his Wife.

On the left an elderly man nearly half length, looking slightly
to the right, with long grey hair. With his right hand he grasps
the fur collar of his coat, with his left a staff with a chased silver
top. He wears a black cap on which is a small medallion of Adam
and Eve (?). Black ribbons attached to the cap hang below his
chin. Over a black coat with a red collar he wears a loose over-
coat of purple brown cloth bordered with fur. To the right
his wife, turned three quarters to the left. She wears a black
dress with a narrow border of fur crossed over the bosom and a
little open at the neck and a white coif ; dark green background.
The man is a reddish brown tone, the woman golden grey.

It has been suggested that two hands produced this picture ;
German and Netherlandish.

On vellum, 18 in. h. by 26* in. w. (0-45 by 0'68).

Formerly Catalogued under Mabuse.

In 1807, " The Portraits of a Man and Woman, in the same frame,"
ascribed to Mabuse, from the Holderness Collection were sold in the
Coxe Sale, at Christie's. The picture described. (No. 1689) was
formerly in the collection of Captain A. F. Dawson. of Barrow Hill
Uttoxeter.

Purchased in London, from Mr. Ayerst H. Buttery, in 1900.

MACCHIAYELLI MACRINO. 415

IVTACCHIAVELLI (ZENOBlo), 1418-1479.

School of Florence. ZENOBIO or ZENOBI MACCHIAVELLI, the
son of Jacopo di Piero, was born in 1418. Messrs. Crowe and
Cavalcaselle follow Vasari in calling him Benozzo Gozzoli's pupil
and assistant. Yenturi on the other hand gives him to Pesellino.
Pictures by him are a Coronation of the Virgin in the Louvre
(1473) ; a signed Madonna and Child with Saints in the Accademia,
at Pisa, and a Madonna and Child with SS. Nicholas, Louis, Jerome,
Bernadino, and one other in the Dublin Gallery. ZENOBIO died
in 1479.

No. 586. The Madonna and Child enthroned, sur-
rounded by Angels and Saints.

The Virgin, in pale blue mantle, silver starred, is seated with
the infant Christ standing on her knee. Two angels, in green and
rose pink, are at the foot of the throne playing, one the lute, the
other the violin. Nine angels stand behind the Virgin. On each
side, in separate compartments, stand two saints, SS. Augustine
and Nicholas of Tolentino on the left, SS. Bartholomew and
Monica on the right. Gold background, the flesh grey pink.

Wood, in tempera, the centre picture, 64 in. h. by 28 in. to. (1'62 by
0-71) ; the two side pictures, 56 in. h. by 22J in. w. (1-42 by 0'57).

Formerly in the Convent of Santo Spirito, at Florence, where it was
placed, when removed from the Church of Santo Spirito, in the latter
part of the last century. It passed into the possession of the Primi-
cerio Crociani, of Montepulciano, and then into the Lombardi-Baldi
Collection, whence it was purchased in Florence in 1857.

XVXACBXNO D'AXiBA, 1470 V-1528 ?

School of Vercelli. MACRINO DE ALLADIO, a citizen of Alba in
Piedmont, probably studied at Vercelli and later Milan under
Vincenzo Foppa. The Umbrian influence of Pinturicchio has
also been noticed in his work, and the Florentine of Ghirlandaio.*
Works by Macrino are at Alba, in the Certosa of Pavia,
and the Pinacoteca of Turin. An interesting and characteristic
altar-piece is in the Staedel Institute at Frankfort-on-the-Main.
Dates on his pictures are 1494 and 1507 ; he died about 1528.

No. 1200. Two Saints.

On the right St. Peter Martyr, at half length, three quarters
left ; in his hands a palm branch and service book fastened

See Lisetta Ciaccio : Btuegna cTArte. Oct., 1906. See also U. B. Rossi. " Bvt-
Ungton Magazine" Ixxiv., vol. xv., pp. 113-14.

416 MACRINO MAES.

with a gilt clasp. On his head is a cleaver, the emblem of his
martyrdom. On the left is a Bishop three quarters to the left
wearing a jewelled mitre and a cope with richly embroidered
orphreys, fastened at the breast by a gilt and jewelled morse. He
holds a crozier in his left hand and raises his right in benediction.
The head of each saint is encircled by a heavy nimbus with a
simulated inscription. They stand under a coffered beam ; the
gold nimbus, crozier, mitre, &c., are sharply relieved against a
dull blue sky. The flesh a dull grey tone.
Wood, 29J in. li. by 20 in. w. (0-74 by 0-52).

No. 1201. A Group of Two Saints.

On the left St. Thomas Aquinas (?), almost full face, holds
a crucifix in his right hand, while his left rests on an open
volume the pages of which are inscribed with the text PRECEPTA
PATRIS MEI SERVAVI. On the right is St. John the Baptist,
half draped, and bearing in his left hand a scroll with the
sacred text ECCE AG[NVS] DEI QVI TOLLIT [PECCATA MVNDI].
The background to these figures and the nimbus behind each
head are of the same character as in No. 1200. The flesh a dull
grey tone ; the gold work sharply relieved.

Wood, 29J in. k. by 20J in. to. (0-74 by 0-52).

The two pictures described above, parts of an altar-piece, were pur-
chased at Milan, of Sigr. Giuseppe Baslini, out of : the " Walker Bequest,"
in 1885.

MACS (NICHOLAS), 1632-1693.

School of Amsterdam. MAES is the best of Rembrandt's
students as he is the only one who has definitely been proved to
have studied under the Master. Born at Dordrecht, he entered
Rembrandt's studio about 1650. His earliest works, painted
in 1653-55, show a delicacy of feeling not far from his Master's ;
such are the two single figure pieces in the Rijksmuseum,
The Reverie and Grace. Following these are larger studies, life-
size ; for example The Card Players in this Gallery, and Baroness
N. Rothschild's Children, with a Goat Carnage. Typical of them
are deep, warm colour and pronounced chiaroscuro. With such
may be classed portrait studies of old women, which have often
been ascribed to Rembrandt. From life-size figures MAES passed
to smaller genre, recognizing perhaps his own inadequacy to vie
with Rembrandt on the larger scale. Between 1655 and 1667 were
produced his best works of this kind, and his finest and most
individual portraits ; these latter have a peculiar charm and
distinction. Of the small genre pieces not very many are known.
The painter seems to have had a limited market for them and to

MAES. 417

have had to turn to portraits for a living. His last twenty-
five years were devoted to fa-hionable portraiture, wherein
Rembrandt's robust and homely pupil is superseded by an
imitator of Franco-Flemish airs and elegancies descended from
Van Dyck. Owing to this strangely complete change in manner,
MAES' later work has been ascribed to a hypothetical " Maes
of Brussels," who was considered distinct from the Maes of
Amsterdam. At one time, between 1662-65, he went to Antwerp,
where he picked up the alien influence. For the rest of his life he
lived at Amsterdam and was buried there December 24, 1693.
MAES' best works, of between 1655-67, are in this Gallery, the Six
Collection, the Rijksmuseum, the Wallace Collection, and at
Buckingham Palace. MAES etched a few plates.

No. 153. The Cradle.

A little girl, with a broad white collar and dark brownish purple
dress, seated, full face, behind a cradle in the centre ; on the right
a table covered with a red Turkey mat, and on the table a jug
and open book. Gold brownish tone. Signed with the monogram
of the painter.

Wood, 15* in. h. by 12$ in. w. (0'39 by 0-31).

Farnborough Bequest, 1838.

No. 159. The Dutch Housewife.

In the centre, seated full face, a servant maid in a white dress,
with a red over bodice, a fawn-coloured apron and dark blueish
skirt, is scraping parsnips ; a child is standing on her left ; on the
left, beneath the window, a chest, on which, at the far end stands
Brownish tone ; the flesh clear and cool. Signed, and
1655.

a jug.
dated 1

IM.NFcJS ,6 #

Etched in the Portfolio. Wood, 13* in. h. by Hi in. to. (0'34 by
0-29).

Farnborough Bequest, 1838.

No. fc07. The Idle Servant.

In the centre, standing facing the spectator, the mistress indi-
cates her maid, who is seated on the right asleep. The mistress
wears a dark purplish brown bod>ce, a white apron and dull brick-
red skirt. The maid wears a white bodice with a vermilion over-
bodice, and a greenish apron ; before her on the floor are strewed
various kitchen utensils, on a cupboard behind her a cat is stealing
a plucked duck. In an inner apartment in the background on the

* W. Bode : Rembrandt und seine Zeityenossen. (Great Master* of Dutch Flemish
Painting.)

17983 2 D

418 MAES MAINARDI.

left the family is seen at dinner. Low brown tone ; the flesh and
white linen sharply relieved. Signed and dated, 1655.

Wood, 27i in. h. by 21J in. w. (0'69 by 0-54).
Bequeathed by Mr. Richard Simmons, in 1846.

No. 124:7. The Card players.

Seated, three-quarters length, life size, at a small table covered
with a brown cloth, a young man and a young woman playing at
cards. He, in black velvet with gold embroidery, sits on the left
behind the table, facing the spectator, the cards in his right hand.
The woman, dressed in vermilion, is seated, three-quarters length,
profile left ; her cards in her left hand, before her face ; her right
fingering them. Dark brown background, a pillar on the right.
Gold brownish tone.

Canvas, 48 in. h. by 40 in. w. (I '21 by 1-01).

Purchased at the sale of the Gatton Park Collection in 1888.

No. 1277. A Man's Portrait.

Seated half length, nearly full face, apparently about 60 years
old. He wears a black gown trimmed with brown fur and a large
square linen collar. He wears slight moustaches and a chin tuft ;
a book in his left hand ; his right on the arm of his chair ; a
crimson curtain in the left background. Signed and dated 1666.

Canvas, 34 in. h. by 27 in. w. (0'87 by 0-69).

Presented by Sir Theodore Martin, K.C.B., in 1888.

No. 2581. A. Van Leuwenhoek, F.R.S.

Van Leuwenhoek was one of the first Fellows of the Royal
Society, celebrated for his improvements to the microscope.
Half-length portrait, full-face. He wears a black robe and white
shirt, a moustache, beard, and long hair. The face is wrinkled.
His raised right hand holds his robe. Background, a dark curtain,
with a pillar to the right.

Canvas, 30-J in. h. by 24f in. w. (O77 by O'Ol).

George Salting Bequest, 1910.

TCAXNARDX (BASTIANO), 1450 ?-1513.

Florentine School. BASTIANO MAINARDI, the pupil and brother-
in-law of Domenico Ghirlandaio was born about 1450. His

MAINARDI. 419

pictures, as for example Nos. 1230 and 2489, in this Collection,
have been sometimes ascribed to Ghirlandaio. He died in 1513.
His principal pictures are to be seen in Florence, in the Uffizi, the
Bargello and the Chiesa d' Ortobello (a fresco of the Madonna and
two Cherubim) ; at Berlin. Munich, the Louvre, and San Gemi-
gnano, (in the Municipal Gallery, S. Agostino, and the Chapel of
Monte Oliveto).

No. 1230. Portrait of a Girl.

Head and shoulders, under life size, three-quarters to the right
The bodice is scarlet, laced in front, and overlaid with a trans-
pareut gauze chemisette ; green sleeves, and a coral necklace.
The fair hair rippling over the ears is dressed as in the female
portraits in the frescoes of Sta. Maria Novella. Dark background.

Wood, in tempera. 17 in. A. by 13J in. w. (0'43 by 0'33).

Formerly catalogued under Ghirlandaio.

Purchased out of the " Walker Fund " in London, 1887.

No. 2489. The Young Florentine.

Bust portrait, turned three quarters to the right, wearing
deep rose and a black skull cap on his thick brown hair. The
head is bent slightly forward. Landscape background. Gold
brown flesh tone.

Wood, 15| in. 7t. by lOf in. w. (0-393 by 0-273).

George Salting Bequest, 1910.

Formerly ascribed to Ghirlandaio.

A picture probably identical with this was in the Barbarini
Collection, Rome.*

A portrait of the same man, very similarly dressed (save in colour),
but turned a little more to' the right, is at Berlin.

No. 2502. Virgin and Child with S. John Baptist.

The Madonna stands in the centre behind a covered parapet,
turned to the front but looking down at the little St. John, on the
right. She wearB a white headdress, a clear scarlet dress and a
dull blue mantle. Her two hands support her Son who stinds
on the left on the parapet, a gauze cloth round His waist. He
too looks down to the right at St. John, who, standing in front of
the parapet, and seen only in head and shoulders, looks up at the
Christ. His arms are folded, in his left hand is a long cross,
ornamented with pearls and a ruby. He wears a pelt and a dark
crimson cloak. In the middle distance a city ; mountains and a
lake beyond ; trees in the left middle distance. Golden grey tone.

Wood, 31| in. h. by 18 in. w. (0-80 by 0'45).

George Salting Bequest, 1910.

* See Venturi : Storia dclIArte Ilallana, VII., 1911.
17983 2 D 2

420 MANNI MANSUETL

MANNI (GIANNICOLA), .... ?-1544.

Umbrian School. GIOVANNI NICOLA, sen of PAOLO MANNI,
was born at Citta della Pieve, and became the pupil and assistant
of Pietro Perugino and Pinturicchio. Documentary notices dating
back to 1493, and relating to commissions which he received,
indicate that he settled at Perugia. Later he followed Andrea del
Sarto, Raphael, and Sodoma. Amongst the worka by MANNI, in
the style of Perugino, is a large altar-piece in the public gullery
at Perugia, representing the risen Saviour between the Virgin
and the Baptist, with angels and saints. Other productions of
his are in the same collection. In 1515 he began the frescoes in
the chapel attached to the Sala del Cambio. These, carried
on for years in a desultory way, mark the changes his style
underwent. The Louvre contains an altar-piece and some smaller
works by him all of Peruginesque type. GIANNICOLA was elected
a Decemvir of Perugia in 1527. He died Oct. 27, 1544.

No. 11O4. The Annunciation.

On the right kneels the Virgin, with bent head, three-quarters
left, clad in pink, crimson and dark green. On the left, the
angel, in a dark yellow mantle and lavender tunic holding the
lily, kneels on his right knee, profile to the right. An opening
in the centre background gives on to a landscape distance.
This panel probably formed the apex of an altar-piece. Blond
greyish tone.

Wood, 24 in. h. by 41 in. >. (0-61 by T04).

Purchased from the Marchese Perolo Monaldi, of Perugia in 1881.

MANSUETI (GIOVANNI), 1470-1530.

Venetian School. GIOVANNI MANSUETI was born in 1470, and
became a pupil of Lazzaro Bastiani. His principal works are in
the Venice Academy, large canvases representing Miracles of St.
Mark and of the Holy Cross, 1490-1500. At Berlin is an Adoration
of the Shepherds. He died in Venice in 1530.

No. 1478. Symbolic representation of the Crucifixion.

In the centre in front of fantastic architecture is represented
the Trinity. The Holy Spirit hovers over the head of the
Saviour on the Cross, behind which, seated on a raised throne,
and supporting the Cross with outspread hands, is the Father.
At the foot of the Cross kneels Mary Magdalen, her back to the
spectator, her hair reaching the ground, embracing the feet of
the Saviour. On the left stand Mary and St. James, on the right
SS. John and Peter. St. Joseph of Arimathea kneels in the left

MANSUETI MANTEGNA. 421

foreground, S. Peter Martyr (?) in the right. In a pulpit on each
side a little angel, one holding the reed, the other the spear.
A landscape with mountains, castles, and trees is seen through
arcades to left and right in the background. Signed : " J. DE
MANSUETI, 1492."

Fine canvas or silk, probably for a banner, r>0f in. h. by 48 in. w.
(1-28 by 1-23).

Formerly in Hon. Julian Fane's Collection and Lady Desborough's.
Purchased in London in 1896.

MANTEGNA (ANDREA), Cavaliere, 1431-1506.

Paduan School. Born at Vicenza in 1431, MANTEGNA was
inscribed in the Guild at Padua as pupil and adopted son of
Squarcione in 1441 : bis progress was extraordinary. In 1448 he
painted an altar-piece for Sta Sophia, Padua (lost), in 1452 the
fresco of SS. Anthony and Bernardino (now ruined) over the door
S. Antonio, Padua, and in 1454 the Polyptych of Saints in the
Brera. To the same year is assigned the St. Euphemia, at Naples.
Squarcione, himself a mediocre painter, is indirectly responsible
for the artistic rearing of MANTEGNA. As a sort of dealer in
Eoman antiques he no doubt afforded MANTEGNA material for his
study of the antique. The other determining influence in his
formation was the example of, if not personal contact with
Donatello, who had worked at Padua and was working there
early in the 1450's. In 1455 MANTEGNA went to Venice, to
the Law Courts, to have his contract with Squarcione cancelled ;
at the time with Donatello's assistant, Pizzolo, he was carrying
out Squarcione's contract to decorate the Eremitani Church, for
the friars of S. Agostino, at Padua. The six frescoes of the
Lives of SS. James and Christopher by MANTEGNA, now in the
Eremitani, combine in an extraordinary way his almost pedantic
concern in reconstructing the conditions of ancient Rome, with
the deep incommunicable spirit of his own conceptions. From
1454 to 1459 he was at work on the Eremitani frescoes, and in close
contact with Jacopo Hellini, Squarcione's rival in Padua, whose
daughter Nicolosia he married in 1454 ; then, too, he completed his
triptych for the Church of San Zeno, in Verona.* This was his
last work in Padua. In 1460, at length yielding to the invita-
tions of the Marchese Lodovico, he removed to the Court of
Mantua. His first commissions were to decorate the chapel in
the Castello Vecchio with the triptych of the Adoration of the
Kinjs, now in the Uffizi, and the decorations of the Villa
Goito. In 1466 MANTEGNA visited Florence, and was again
touched by the Florentine influence he had originally felt

* The triptych is still in S. Zeno. The predella is scattered ; the Tours
Museum has the left and riprht pictures ; the Louvre the centrepiece (La
Calvaire).

422 MANTEGNA.

through Donatello. The same year he began building his house ;
though he never lived in this incompleted palace he housed there
his collection of antiques. During these years at Mantua he also
was employed with designs for goldsmithery, for carpets, and the
palace decoration and in the arrangement of pageants, much as
was Velazquez by Philip IV. Besides the Uffizi Adoration, the
Prado Death of the Virgin and the St. George, in the Accademia,
Venice : the frescoes in the Camera degli Sposi, in the Castle at
Mantua, finished 1474, and the Dead Christ, in the Brera,*
belong to these early years at Mantua. In 1478 Lodovico Gonzaga
died and was succeeded by Federico, who continued his father's
kindly patronage of the great painter. Francesco succeeding him
in 1484 yet further enhanced MANTEGNA'S position. Under Fran-
cesco and Isabella d'Bste he became supreme arbiter of all artistic
questions. For them he painted the Triumph of Caesar, now at
Hampton Court (c. 1484-1494). His journey to Rome in 1488,
and his residence there till 1490, delayed their completion, and on
his return, as late as 1492, he was yet painting on them. For
Isabella's mother, the Duchess of Ferrara, he painted in 1485 the
Brera Madonna and Child, with a swarm of singing Cherubs. On
his departure for Rome, in 1488, MANTEGNA was knighted. On the
completion of the Triumph he painted bis Madonna delta Vittoria,
in the Louvre, in 1495. In 1496-97 followed the Madonna and
Child, in the Trivulzio Collection, Milan, originally painted for
Sta. Maria in Organo ; the Madonna and Child icith SS. Mai~y
Magdalene and John, No. 274, in this Collection, which in feeling
and to some extent in pose resembles the Louvre Madonna della
Vittoria ; and certain smaller pictures of the Madonna, such as the
Dresden Holy Family, the Madonna and Child, at Verona, the
Madonna and Child, with six Saints, at Turin, and the Mond
Collection Christ with Joseph, Mary, and St. John. To .MAN-
TEGNA'S last period belong certain mythological pieces, painted
for Isabella d'Este ; the Parnassus of 1497, in the Louvre, the
Triumph of Virtue, also in the Louvre, the monochrome
Triumph of Scipio, and the Samson and Delilah in this Gallery.
The superb drawing of Judith, with the Head of Holofornesfi also
falls in this period, with the drawings and engravings of the
Entombment (Berlin), the Battle of the Sea Gods (Chatsworth),
the Bacchanalia, and the Madonna, and Child, British Museum,
where are proofs of all the engravings. Busied to the last, and
involved in family and financial troubles, MANTEGNA died, Sept. 13,
1506. Lorenzo da Pavia wrote thus to Isabella, concerning their
loss. "The death of our master, ANDREA, causes me great sorrow,
for in him ... a second Apelles has passed away ; I do believe
that the Lord God wishes to employ him for the creation of eome
beautiful work. I can never hope to meet a finer draughtsman or
a more original artist."

According to Kristeller. Other writers date it later.

t See Berenson : Tlie Study and Criticism of Italian Art, vol. II

MANTEGNA. 423

Certain writers have dwelt mainly on his extraordinary power as
a draughtsman and designer, on his devotion to Roman art, and
what they would consider his pagan spirit. It is admitted that
his humanistic tendencies tempted him to a pedantic accuracy in
classical accessories in his pictures. But this is rather the cloak
covering a profound intimacy with the mystic significance of
Christianity and with humanity.* His influence was irresistible,
not only in Padua and Mantua, but in Venice.

See Kristeller : Andrea Mantegna, 1901. Yriarte : Mantegna,
Paris, 1901. Berenson : The North Italian Painters, 1907.

No. 274. The Virgin and Child enthroned; St. John
the Baptist and the Magdalen.

The Virgin is seated in the centre under a scarlet canopy, full-
length, turned slightly to the right, her head bent ; her draperies
are rose coloured and ash bine. The Child stands on her knee,
almost naked. On the left St. John the Baptist stands, full-length,
three-quarters to the right, in a lilac mantle and faded yellow
shirt. Jn his right hand he holds a long cross bearing a scroll
inscribed Ecce angus Dei, ecce qui tollit peccata mundi ; and on
the inner side of the scroll above is the signature. On the
right the Magdalen stands, full-face, looking upward to the right
front ; in her raised right hand her vase ; her left hand holds
her mantle on her left thigh. Her draperies are bronze green, shott
lilac, and bright saffron yellow. In the background orange and
citron trees, sky left and right of the canopy. Signed

*%?

(Civis Patavinus fecit).

Engraved in Aliprandi's Private Qallerie Milanesi (1813).

Canvas (small twill), in tempera, 54J in. h. by 45J in. iv. (l - 38 by
1-15).

This picture, according to Borronio, was in the collection of the
Cardinal Cesare Monti (Archbishop of Milan from 1632 to 1650), and
was placed as early, according to tradition, as 1610 in the private
chapel of the Palazzo Monti. It remained in that family until the
18th sentury, when it passed into the Andreani family. Thence it
went through the Mellerio, Somaglia, Baslini, and Roverselli Collec-
tions, and was purchased from the last in 1855.

No. 902. "The Triumph of Scipio."

Or the reception of the Phry
publicly recognized divinities of the Roman State.

See Roger Fry : The Burlington Magazine, xrxii.

424 MANTEGNA.

It is this honour that is recorded in the inscription on the
plinth :

S. HOSPES NUMINIS IDJEI. C.*

In the centre Claudia Quinta,f in profile to the left, is about to
kneel before the procession bearing the goddess' bust on the litter
which advances from the left preceded by a man who, with left
leg advanced and his hands stretched out to the kneeling figure,
looks over his shoulder, left. Scipio stands behind the kneeling
woman, his head profile left, his right leg advanced, his right
hand extended ; behind him a man turning his back to the
spectator, his head profile left. On some steps on the extreme
right a boy stands looking right, blowing a pipe in his left hand,
and supporting a drum on his raised left knee. On the extreme
left a high priest wearing a mitre advances right, in profile,
bearing the litter pole.

Composition of twenty-two figures.

In the background imaginary monuments to C. Scipio Nasica's
father and uncle, Publius and Cneus Scipio, who both fell in
battle near Tarragona in Spain, in 211 B.C.

The monument to the uncle is inscribed P. SCYPIONIS EX
HYSPANENSI BELLO RELIQUIAE il The relics of Publius Scipio from
the Spanish war." That to the father S.P.Q.R. CN. SCYPIONI
CORNELIUS. P.P. "In the name of the Senate and the Roman
people, Cornelius to Cneus Scipio. Placed by his son."

Canvas, in tempera, in monochrome ; 28J in. /t. by 106 in. w. (0 P 72
by 2-69).

This picture was painted for Francesco Cornaro, a Venetian
nobleman. An advance payment of 25 ducats was made to
Mantegna in 1504, and the picture was completed in 1506, only a
few months before the painter's death.

In consequence of an embargo laid upon the contents of Andrea
Mantegna's studio by Cardinal Sigismondo Gonzaga, the picture
remained in that city, and the painter's son Francesco made an
unsuccessful claim to it as an inheritance from his father,
offering to repay the amount received in advance for it.J

The Cornaro family eventually obtained possession of the
picture, and placed it in their palace at San Polo in Venice, where
it remained until the early part of the present century. Thence
it came to England into the possession of Mr. George Vivian.
Purchased from Captain Ralph Vivian in 1873.

* " The Host of the Idsean Deity," from the 3rd Satire of Juvenal, 1. 137-6.
The S.U. signify the decree of the Senate : Senatus Consultant.

t Compare Ovid's Fasti, IV., 305, et seq. ; Suetonius, Vit. Tib. 2 : Livy, ssix., 10,
11, and 14 ; and Paterculus, II., 3.

I Gaye, Carteggio inedito, &c., vol. II., p. 71, gives a letter from Cardinal Bemho
to Isabella Gonzaga, Marchioness of Mantua, relating to this picture ; see also
vol. III., of Gaye, p. 564 ; and Bottari, Lettere Plttoriche, vol. VIII.. ed. Milan
12mo., 1825, letters xil. and xiv. : and in Carlo d'Arco, Arti e. Arteftei di Mantova,
vol. I., p. 70. See also Vasari, ed. Lemonnier, vol. V., p. 196. It is remarkable
that the real subject of this picture is not mentioned in any of the above
accounts or in any published notice of it

MANTEGNA. 425

No. 1125. The Vestal Virgin Lucia and Sophomsba.

On the left Lucia carries water in a sieve to prove her
innocence. She advances towards the right, looking slightly to the
left, holding the sieve with both hands. Above her head a vase
and a festoon of leaves. On the right, standing three quarters
left, her head in profile, Sophonisba drinking from a goblet of
poison raised in her right hand ; her left, on the left thigh, holds
her cloak. In the background a sapling.

Monochrome of gold and brown on a marble or agate background

Wood. Each panel 28J in. A. by 9 in. w. (0'71 by 0'22).

Purchased in London from the Hamilton Sale, 1882.

No. 1145. Samson and Delilah.

At the foot of a tree in the centre Samson lies asleep with his
head in the lap of Delilah who, kneeling on the left, three-
quarters to the right, is shearing his hair. To the right
a rock from which water flows through a spout into a stone
trout-h. In the background a hedge of olives and lemon shrubs ;
a vine is trained round the tree trunk on which is inscribed :

POEMINA DIABOLO TRIBVS ASSIBVS EsT MALA PEIOR.
Monochrome on a coloured marble ground.
Linen or silk, in tempera, 18 J in. h. by 14 J in. w. (0'46 by 0'36).
Purchased in London at the sale of the Sunderland drawings in 1883.

No. 1417. The Agony in the Garden.

The Saviour kneels towards the left, profile left on a low
rock plateau ; His robe is rose, His mantle a dark dull green.
Above, in the left corner, five naked angels, bearing the instru-
ment of Passion, advance to Him. Below, in the foreground, the
three disciples sleeping by the brook Kedron, which flows in front ;
he on the left on his side, his arms folded, dressed in vivid ash
blue and rose dorde ; the others prone on their backs ; their
draperies are rose red, deep olive green, clear yellow and rose
purple ; on a withered tree to the right a cormorant ; rabbits
playing on the right, and two egrets in the water in the right
foreground. In the background Jerusalem : a procession of
soldiers, led by Judas descending the road from a gate on the
right. Low red brown tone. On the rock over the sleeping
disciples is the inscription

426 MANTEGNA.

The original suggestion for this design appears in a composition
in Jacopo Bellini's sketch-book in the British Museum. A some-
what similar design is Giov. Bellini's (No. 726) in this Gallery;
and again in the picture by Mantegna in the Museum at Tours,
one of the three predella pictures to the great altar-piece in S.
Zeno at Verona (of 1456-1459).

Painted in 1459 for Giacomo Marcello, Podesta of Padua.

Wood, 24f in. h. by 31J in. w. (0'62 by 0-80).

Formerly in Cardinal Fesch's Collection, and then in that of Mr.
Wm. Coningham ; thence it passed to Mr. Thomas Baring and the
Earl of Xorthbrook, from whom it was purchased in 1894.

MANTEGNA (FRANCESCO), about 1470 living 1517.

School of Padua. FRANCESCO, the second son of Andrea, was
born at Mantua and was the pupil and assistant of his father,
some of whose unfinished works he completed. He is first heard
of in 1494 as a painter in the Castle of Marmirolo, working for
poor pay ; subsequently he was banished from Mantua ; in 1505
Isabella d'Este was urging his pardon. In 1506 he was begging
leave to re-enter Mantua to visit his father. That year he was
entrusted with the frescoes of the Camera degli Sposi in Mantua.
After his father's death he fell on hard days ; he tried to dispossess
his nephew, and lost the patronage of the Court. The last heard
of him is his sale of a house in 1517. A monument was placed to
him by his nephew Andrea in the family cbapel in St. Andrea in
1560.

See Kristeller : Andrea Hantegna, pp. 416 et seq.

No. 639. Christ and Mary Magdalen in the Garden.

In the centre on a low rock the Christ stands, profile left, a
banner in His right hand, looking down at the Magdalen who
kneels, towards the left, profile right. His robe is steely blue and
red. Hers is dark crimson and pale grey blue. In the foreground
a withered tree from which hangs a vine ; to the left, beyond Mary,
a bee-hive and rocks. Landscape distance. Gold grey tone.

Wood, 16| in. h. by 12 in. w. (0-42 by 0'30).

Formerly in the Duroveray Collection. Purchased at Paris, from
M. Edmond Btaucousin, in 1860.

No. 1106. The Resurrection of Our Lord.

The Christ stands high, full -face, full-length on a sloping
marble sarcophagus, raised on a rock slab. He has an orange-red
cloak round His loins, and holds a cross of golden balls with a red-
cross banner attached to it. Behind Him a high hewn rock On

MANTEGNA MARATTI. 427

a ledge of rock below lie sleeping four soldiers ; a fifth on
the left keeps watch, seated with his back to the spectator, dressed
in mulberry. A sapling stands on the extreme right. Milky tone
in the sky ; the ground pinkish grey.

Wood, 16f in. h. by 12 in. w. (0 42 by 0'30).

Formerly in the Capponi Palace Florence ; afterwards successively
in the collections of the Rev. J. Sandf ord, Mr. Coningham (or Cunning-
ham). (1841), attrib. to Andrea), and M. His de la Salle, 1880. Pur-
chased from M. A. W. Thibaudeau in 1881.

No. 1381. The Holy Women at the Sepulchre.

On a rock platform in the centre, before a cave, an angel
seated, profile right, on the open sarcophagus. His dress is
a dull yellow - white, his wings sapphire. Towards the right,
nearly full-face, stands Mary Magdalene in dark blue and red
against the sky, looking down at the empty tomb from which
the Angel lifts an end of the shroud. Below, on the right, the
two other women, one standing by the platform profile left in
dark steely blue. Beyond them a sapling against the sky. In the
foreground towards the left a pool on which are two water-fowl ;
a tortoise crawls towards it. Clear gold sky tone ; ground pinkish
grey.

Wood. 16J in. k. by 12 in. w. (0'42 by 0'30).

Formerly in the Capponi Palace, Florence ; afterwards probably in
the Conyngham Sale, 1849, attrib. to Andrea, in the possession of the
late Lord Taunton, Exhib. B.A. 1870, lent by Lady Taunton who
bequeathed it, 1892.

MANTOVANO (RlNALDo). See RINALDO.

XttARATTI (CARLO), Cavaliere, 1625-1713.

Roman School. MAKATTI or MAKATTA was born at Camerano
and went early to Rome to the school of Andrea Sacchi. After
the deaths of Pietro da Cortona and Sacchi he was for nearly
half a century the most eminent painter in Rome. He worked
for six successive popes He was appointed superintendent of
the Vatican Chambers by Innocent XI. ; and in 1702-3 restored
the frescoes of Raphael there, receiving for his pains the Order of
Christ. Louis XIV. made him his Court Painter. He died in
Rome, December 15th, 1713, aged eighty-eight. MARATTI painted
little in fresco ; his chief works, which are very numerous, are
easel pictures in oil. A Baptism of Christ by him, now in the
church of Santa Maria degli Angeli at Rome, has been executed in
mosaic for the altar of one of the chapels of St. Peter's. From
his frequent pictures of the Virgin, he acquired the name of Carlo

428 MARATTI MARCO.

delle Madonne. Other pictures by him are at Brussels, the Pitti
the Louvre, and Berlin. There are several etchings by him.

No. 174. Portrait of Cardinal Cerri.

Seated, half-length, three-quarters to the right. He wears the
cardinal's red cope and beretta. His hands rest on the chair arms.
In the right background two shelves of large books.

Canvas, 47 in. h. by 38 in. w. (1-19 by 0'96).

Presented by Mr. Henry Gaily Knight, in 1839.

SCHOOL OF THE MARCHES (ATTRIBUTED TO)

No. 646. St. Catherine of Alexandria.

Three-quarters length, clad in a green robe embroidered with
gold thread, and jewelled on the bodice, and a crimson mantle.
Her left hand holding a palm rests on her wheel, her right touches
the hilt of a sword ; beyond the wheel, a youthful angel. At the
back of the panel are heraldic and decorative paintings of
apparently later date.

Wood, 33J in. h. by 16 in. w. (0-84 by O40).

Purchased from M. Edmond Beaucousin at Paris, in 1860.

No. 647. St. Ursula,

Three-quarters length, in a crimson robe embroidered on the
chest with a border of gems and seed pearls. A green mantle
falls from her shoulders. In her right hand an arrow (the emblem
of her martyrdom). Beneath her left arm a closed service book.
On her right a youthful angel playing on a harp. At the back of
the panel are heraldic and decorative paintings, probably of a
later date.

Wood, 33 in. h. by 16 in. w. (0'84 by 0'40).

Both formerly catalogued as Umbrian School.

Purchased from M. Edmond Beaucousin at Paris, in 1860

MARCO D' OGGIONNO, 1470 ?-1530 ?

School of Milan. This painter was called D' OGGIONNO, from
the village near Milan where he was born. He was in the
school of Leonardo da Vinci in or before 1490. Nothing
further is known of his history. The best of his original works

MARCO MARGARITONE. 429

is a large oil painting in the Brera Gallery at Milan, from the
Augustinian church of Santa Maria, representing the Triumph
of the three Archangels. Many others of his paintings are in
Milan, and isolated examples in Hampton Court, Modena,
Berlin, and Paris. His copy in oil of Leonardo da Vinci's Last
Supper is in the Royal Academy in London. Lanzi cites a
necrology which records the death of MARCO D' OGGIONNO in 1530.

No. 1149. The Madonna and Child.

The Virgin seated on the ground, three-quarters left, supporting,
with the fingers of her left hand, the Infant Christ, who is seated
naked on her lap, profile left. He is profile left, and stretches
His hands towards a columbine which she holds before Him in
her left hand. Background of rocks ; low toned blue sky to the
left. The Virgin's tunic is scarlet, her mantle prussian blue lined
with apricot ; flesh tone warm and bright, background dark grey
violet.

Wood, 25 J in. /<. by 20 in. w. (0-64 by 0-50).

Purchased at Venice, out of the Manf rini Gallery, in 1883.

IVIARGARITONE (D'AREZZO), 1216-1293.

Byzantine School of the XHIth Century. MARGARITONE, one
of the few pre-Cimabue Italian painters whose names have come
down, was born at Arezzo, c. 1216. He worked in the Byzantine
tradition. Besides the painting in this collection there are
attributed to him a Crucifix, dated 1272, in the Gallery of Perugia
and in San Francesco, Arezzo, and pictures of St. Francis in the
Accademia, Siena, and the Museums at Pisa, Arezzo, and the
Vatican. He is said to have been employed at Rome by Urban
IV. (d. 1265) to decorate the portico of the old Basilica of St.
Peter. In the convent at Sargiono is a picture of St. Francis
signed MARGARIT 'DE ARETIO PiNGEBAT.f MARGARITONE died
at Arezzo in 1293, aged seventy-seven, and weary of life, says
Vasari, having quite outlived the art and taste of his own time
which had then been completely superseded by the school of
Giotto.

In the only document known concerning this painter, bearing the date 1262,
are the words, in clamtro Sancti Michaelis (in Arezzo) coram Margarita pictore
Alio quumdam Magnani. Vasari, Ed. Le Monnier. vol. 1. p. 302. note.

fThis picture is said by Vasari to be rttratto di naturale, an expression
often used by him, meaning that the likeness was authentic, not, in every
ease, that it was taken directly from nature. St. Francis died in 1226. It i
engraved by U. Lasinio in the Etrurla Pittrlce. As an architect Margaritone
superintended the works of the episcopal palace of Arezzo, and carried out
some buildings at Ancona.

430 MARGARITONE MARIESCHI.

No. 564. The Virgin and Child, with Scenes from the
Lives of the Saints.

The Virgin is seated in the centre, full length, full face, the
Child in her lap, surrounded by the Ichihys or Vcsica Piscis
glory,* within which are two angels, around the glory outside
are the four symbolic images of the four Evangelists the
angel, the ox, the lion, and the eagle. The hand of the infant
Christ is in the act of blessing according to the Greek rite.

Bight small pictures are arranged, four on each side of the
vesica : the Nativity and Annunciation to the Shepherds; St. John
the Evangelist liberated from the cauldron of boiling oil; St. John
resuscitating Drusiana ; St. Benedict rolling himself among thorns
to resist the temptations of the evil spirit ; the martyrdom and
burial of St. Catherine on Mount Sinai ; St. Nicholas of Bari
exhorting the sailors to throw into the sea the vase of oil given
them by the Devil ; the same Saint liberating the condemned ;
and St. Margaret in prison swallowed and disgorged again unhurt
by the Dragon. The picture is signed Margarit de Aritio me
fecit. The annotators of the Le Monnier edition of Yasari
express the opinion that "among the few paintings by Margaritone
which now remain, this is, on every account, the most characteristic
and important."

Linen cloth attached to wood, in tempera, 33 in. h, by 6'J in. w.
(0-83 by 1-75).

Paliotto or altar cloth, formerly in the church of Santa Margherita at
Arezzo. Purchased at Florence from the Lombardi-Baldi collection in
1857.

IVEARIESCHI (MiCHELE), -1743.

Venetian School. MICHELE, who has generally been confounded
with his son, Jacopo Marieschi, was a follower of Canaletto. His
birth date does not seem known. From 1736-41 he was a member
of the Painters' Guild at Venice. He died in 1743. His paint-
ings and etchings of architectural subjects are fairly common.
His son Jacopo (1711-1794) was a painter of figure pieces.

* This glory or aureole representing the acrostic symbol the fish, is given
only to Christ or the Virgin holding the infant Christ and is called by Italian
writers on art, the Mandola or Mandorla from its almond shape.

MARIESCHI MARINUS. 431

No. 2102. A Town on a River with Shipping.
A town on a river ; a felucca moored to the ruined quay.
Canvas, 24 in. h. by 35J in. w. (0-61 by 0'90).

No. 2103. A Town on a River with Rapids.

An old town in a hilly country on the banks of a river, banked up
in three places. The water is used for two mill wheels.
Canvas, 24 in. li. by 35J in. w. (0'61 by 0'90).
With Xo. 2102. John Samuel Collection, 1906.

IKARINUS (VAN ROMERSWAELEN), 1497-1567.

School of Antwerp. MARINUS VAN ROMERSWAELEN. or DE
SEEU, or MARTIN DE SEEUW, MARINO DI SIRESSA (Vasari) was
born in Zeeland in 1497, the son of Nicolas de Ziriczee, a
painter. MARINUS was a scholar of Simon van Daele, a glass
painter of Antwerp in 1509. Thence onward, records of his life
and works are wanting. In 1567, a Marin Claeszoon von Romers-
waelen was sentenced to do public penance for sacrilege in the
Westminsterkerk, Middleburg, and to banishment for six years.
He is supposed to have died shortly after. His work often is con-
fused with Quinten Massys' or Corneille van de Capelle's (de
Lyon's ?)* as regards his well known type of picture of Moneylenders.
He may be said to have based his type on Quinten Masks' original,
the Banker and his Wife in the Louvre. MARINUS' pictures of this
kind are in Munich, Madrid, Nantes, Copenhagen, Valenciennes,
Dresden, and Florence. They differ from the painting attributed
to him in this Collection, which more closely corresponds with
signed works by Corneille Van de Capelle or de Lyon. Besides
these paintings of Bankers and Moneylenders, MARINUS painted
a St. Jerome (Berlin and Madrid) and the Taxgatherer at Munich.
The dates found on his pictures range from 1521 to 1560,

Vide L. Cust : Burlington Magazine, cvii, vol. XX. Also
Fierens-Gevaert : Les Primitifs Flamands. Tome IV., 1911.

No. 944. Two Usurers in their office.

On the left, seated, writing in a ledger, turned three quarters
to the right, an old man, in a red lilac gown and a strange
fringed headdress of pale rose. His comrade, in a vermilion
robe, is seated on the right, facing the left, his eyes turned
to the front. His headdress of black is similarly fringed.

* It has been suggested that Cornelius de Zeeu, known by a signature
(1665) on a portrait of Sir W. Cordell (St. John's Coll., Oxford) is identical
with Marinus (Burl. Mag., vol. v., p. 213, and No. cvii.).

432 MARINUS MAEIS.

(The Banker in MARINUS' picture at the Prado ha? a
similar headlress.) With his left hand this figure claws at a
heap of gold and silver coins, lying on the table on the right.
Behind him, linenfold panelling (that is introduced in the MAIUNUS
Prado piece). On a shelf above, stretching across the background,
are sealed parchments, a guttered candle in a stick containing
snuffers, a turned wooden box, cylindrical in shape, standing on
a box shaped like the end of a violin case. These pieces of
still life occur in the signed examples of Corneille de Lyon's
Misers, in the Oppenheim Collection, Cologne, and the Sigmaringen
Collection, Sigmaringen. In the left lower corner an inkpot
(repeated in the Oppenheim example). Light warm tone.

Oak, 35 J in. h. by 28J in. w. (0-90 by 0'72).

Similar pieces to the Oppenheim example are in Windsor Castle and
at Hagley Hall, now given to Corneille. They resemble this example
in their spirit of marked satire. Pieces of this type by MABIXCTS, or
attributed to him, are at Munich, Madrid, Nantes, Valenciennes,
Florence, Dresden, and Seville.

Wynn Ellis Bequest, 1876.

XKARXS (JACOB), 1837-1899.

The Hague School. JACOB MARIS, the elder, brother of Matthew
and Willem, was born in The Hague, 1837. He studied first at
the Hague Academy, and his earliest pictures, little pieces of the
Dutch coast, small in feeling and neat in finish, are quite within
the tradition of the early XlXth century Dutch School. He
went on to Antwerp and Paris, there entering Hebert's studio.
The Barbizon painters attracted him, and so suggested the
direction he took. He exhibited in the Salon from 1862-1872,
residing in Paris, where he was during the siege. In 1872
he went back to The Hague, and there developed his notable
powers in landscape painting. His sensitive feeling for colour,
his fine design and the gravity of his conception place him
among the first landscapists of the XlXth Century. Although the
elder, he yet owed something to Matthew Maris' influence. His
own influence on modern landscape was wide. He died at
Carlsbad in 1899. Important examoles of MARIS are in the
Mesdag. Museum, The Hague, and at Glascow.

See D. Croal Thomson : The Maris Brothers : also Dv
Hermeine Marius : The Dutch XlXth Century Painters, 1908.

No. 2709. Mother and Child.

A lady in a black dress and a white apron is seated, turned
lightly to the left, in an armchair, nursing her child, who, dressed

MARIS MARMION. 433

in a little shift, lies on her lap. A basket on the floor to the right.
Signed, J. Maria,/. 1868.

Wood, 11 in. h. by 9 in. w. (0'27 by 0-22).

Presented by Mr. J. C. J. Drucker, 1910.

No. 2710. The Drawbridge.

A horse and cart are crossing a white wooden drawbridge over
a canal in a Dutch town. Signed, J. Maris.

Wood, 12 in. h. by 9 in. w. (0 : 30 by 0'22).

Presented by Mr. J. C. J. Drucker, 1910.

IIS (MATTHEW), living artist, 1839.
No. 2874. Montmartre.
Signed : M. M. 70.

MARIS (WiLLEM), living artist, 1844.
No. 2875. Ducks.
Signed : W. Maris, fc.

MARMXON (SiMON), 1425 ?-1489 ?

French Primitive School. SIMON MARMION, painter and
illuminator, was born c. 1425, probably at Amiens. Comparatively
little is known of his work or life. He was at Amiens in 1453,
when he painted a picture for the Town Hall. In 1454 he
was at Lille, and from 1458 in Valenciennes where in 1460
his name appears among the founders of a Guild. In 1468 he
attained the rank of master at Tournai. He is said to have
executed several miniatures for Philip the Good, Duke of
Burgundy, and an altar-piece for the Abbey of St. Bertiu at
St. Omer which passed in 1905 from the Chateau de Wied to
Berlin. The shutters on two of its compartments are in this
Collection. MARMION was dead in 1489.

MARMION (ATTRIBUTED TO).

No. 13O2. The Soul of St. Bertin borne to Heaven.

Over the crested roof of a church, two long-robed angels fly,
bearing between them, in a white napkin, the Soul of St. Bertin,
who kneels in prayer. Above is a circular glory enclosing the
Almighty enthroned and in a rose coloured robe and dark blue
domed headdress, bearing a sceptre in His left hand, and raising
the right in benediction.

Wood, 22J in. h. by 7| in. w. (0'56 by 0'19).

* According to M. Paul Vitry (see Les Arts : Exiwsition des PrimUift Francaise.
Avril, 1904), even this attribution to Marmion is not incontestable. Jean Henne-
cart has been suggested instead.

17983 2 B

434 MARMION MARTIXO.

No. 13O3. A Choir of Angels.

Two angels, with variegated wings, long flowing robes and rose
red and dark green cloak*, soar immediately above the terminal of
a gable ; a scroll of music between them. In the clouds above
are three more angels, one above the other, in ochreous saffron
yellow, and rose red gowns, playing on long pipes.

Wood, 22i in. ft. b y 7 | in. Wm ( -56 by 0-19).

This and No. 1302 formed two of the shutters on the reredos of
the Abbey Church of St. Bertin at Saint Omer. now in the Kaiser
Fried rich Museum, in four parts.

Purchased with from M. Edmond Beancousin. at Paris, 1860.

MARTZNO DA UDINE. c. 1473-1547.

Venetian School. MARTINO, or PELLEGRINO DA SAN DANIEI.E
(or DA UDINE), was the son of Battista, a Dalmatian painter living
at Udine in Friuli. In 1491 he first appears as an independent
painter, decorating the church of Villanuova, and partner of a gold-
smith, Ser Giovanni Antonio. These frescoes have perished. It is
assumed that by 1491 he had returned from Venice, where he may
have worked under Cima, whose influence is seen in his altar-piece,
of 1494, in the church of Osopo. He seems to have had a large
business in the provinces, especially in San Daniele, where he
married, and painted the chapel of the Brotherhood of Sant'
Antonio in 1498. Leaving San Daniele he stayed at Udine (1501-
1506), then returning to San Daniele. Between 1508-1512 he
seems to have travelled about from Venice to Ferrara. While in
Venice he succumbed to the new Giorgionesque influence. In
1512 he returned to Udine, and in 1513 to his work in Sant'
Antonio in San Daniele. In 1514 he revisited Udine, there paint-
ing a Madonna with Saints in San Rocco. Next year he resumed
his Sant' Antonio frescoes, in which his attempt to imitate the
new Venetian School is clear. For the rest of his life he worked
at San Daniele and Udine, and for neighbouring churches. In
1529 his Madonna with Saints, in Sta. Maria, of Cividale, was
finished, a work in which Pordenone's influence is felt. He died
in 8. Daniele in 1547.

See Crowe & Cavalcaselle : Painting in North Italy, Vol. II., 1871.

No. 778. The Madonna and Child enthroned, with
Saints.

In the centre, seated full-face, the Virgin holds the Child stand-
ing on her right knee, naked, facing right. Above her head
two angels holding a crown. On the left, three-quarters right,
St. James stands behind the donor, who kneels, profile right,
holding his beretta. On the right St. George on horseback ;
the dead dragon at the horse's feet. Grey brown tone.

Wood, 98 in. h. by 57 in. w., arched top (2'48 by T44).

Formerly in the possession of Count tlgo Talentinis, of San Daniele.
Purchased in Venice from Signor Vincenzo Azzola. in 1867.

MARZIALE. 435

MARZIALE (MARCO). Painting 1492 after 1507.

Venetian School. Born in Venice, MARCO MARZIALE was a
pupil of Gentile Bellini and signs himself so ; his work of 1500-
1507 certainly reflects the influence of Cima and Previtali. He
is first heard of in 1492 as one of the painters employed with
Bellini and others in the decoration of the Hall of the Great
Council at Venice. The remuneration of Bellini was at the rate
of 60 ducats per annum, that of MARZIALE at the rate of 24 ;
Francesco Bissolo receiving the same.* In 1499 he finished his
Circumcision in San Giobbe, Venice, and in 1506 the Christ at
Emmaus, in which Diirer's influence has been suggested, and yet
more in the Academy of the Fine Arts at Venice. A similar
picture at Berlin is signed and dated MARCHVS MAEZIAL
VENETUS P., M.D.VII. His later work seems known only in
one example, The Woman in Adultery, in the hospital at Borgo
San Donino, near Parma, signed " MA'RCHUS .... CIALIS/."
There is yet another Supper at Emmaus attributed to Marziale,
at Berlin, described as "obviously a copy of a lost original by
Giovanni Bellini."

No. 803. Circumcision of the Lord.

In the centre the Virgin in vermilion and blue, stands
profile right, holding the Child on a cushion. St. Joseph stands
towards the left, profile right, in gold orange, holding two
pigeons. Simeon, standing profile left, in a white embroidered
silk cope, lined with green, performs the rite. Immediately below
the Infant a griffin terrier sits on a step. At St. Joseph's feet
a youth kneels in profile right. In the extreme left foreground a
woman, with a black and gold slashed sleeve and deep steely
blue robe, stands profile right ; on the extreme right a man stands
profile left, in a deep rose pink cloak, extending his right hand.
15 figures in all. On arches of the vault the prayer of Simeon
" Nunc dimittis," &c. Grey tone.

The picture is marked with the painter's monogram, a capital M
crossed by an horizontal bar with a double cross above it, and bears on
a cartellinu : MARCUS MARTIALI8 VENETUS JUS8U M ci EQUITIS ET

JURCON. D. THOME R. OPUS Hoc P. AN. MCCCCC.t
Canvas, in tempera, 88 in. h. by 60 in. w. (2'23 by 1'52).
There is a small oil picture of the upper half of the centre group in

Santa Maria delle Penitenti a San Giobbe in Venice, signed and dated

1499.
Painted for Signer Tommaso Raimondi and placed over the principal

altar of the church of San Silvestro in Cremona ; described lay Panni

* "Marco Martian depentor in palazo.el RUO lauriera dl 10 Zener 1492 & ducati
24 a lano." Gave, Carteggio &/;., <?A rtinti. Vol. II., p. 71.

t " Marco Marziale of Venice, by command of the Magnificent Signer, Tom-
maso II (aimondi), Knight and Jurisconsult, painted this work in the year
1500."

17983 2 E 2

436 MARZIALE MASSYS.

as still in its place in 1762.* On the suppression of the Church of
San Silvestro. at the close of the 18th century, the picture was
removed to the Marquis Picenardi's castle of Torre de' Malamberti,
near Piadena. where it remained until 1868. Purchased from Sieruor
Giuseppe Baslini, at Milan, in 1869.

N. 804. Tlie Madonna and Child enthroned, with
Saints.

Seated full-figure, in the centre, robed in rose pink and greenish
blue, the Madonna holds the Child seated on her left thigh. He
turns round to the right, holding out His hands to St. Bartholomew,
who stands with a knife in his left hand in profile to the left, in a
green dress and whiteish cloak. On the left, profile to the right,
stands San Gallo Abate, with crosier and mitre, his left leg sup-
ported on the throne step, holding an open book. On his left St.
John the Baptist is seen next the Virgin. On the other side
stands San Jacopo di Compostella, gazing at the Child, and holding
a pilgrim's staff. Beneath the Virgin, full-face and looking up,
is seated an angel playing on a lute ; his robes are gold orange
and grey brown Over the canopy a vaulted roof with mosaics
on a gold ground. Gold grey tone. Inscribed on a cartellino :
MARCUS MARCIALIS VENETUS P. M.D.VH.

Wood, 86i in. h. by 55J in. w.

Formerly over the principal altar of the church of San Gallo, in
Cremona (Panni. 1. c. p. 124), subsequently in the collection of the
Marchese Picenardi, as noticed above, No. 803. Purchased at Milan
from Signer Giuseppe Baslini, in 1869.

MASSYS (QOTNTEN), 1466-1530.

School of Antwerp. The earliest notice of QUINTEN MASSYS
or Quentin Matsys or Metsys, refers to him as of Louvain,f which
has been accepted as his birthplace, and 1466 as his birth date. He
was the son of a blacksmith and clockmaker. Old writers alleged
that before becoming a painter QUINTEN had been a metal
worker ; no satisfactory evidence exists in support of or against
this story. Writers of to-day give his master as Albrecht Bouts,
Schongauer, or Hubert Stuerbout, of Antwerp. The chief
influence in his early work is Dierick Bouts'. The Madonna and
Child, half length, and the full length in the Royal Museum
at Brussels, are accepted as typical of MASSYS' early period ;
in them the manner of Gerard David is perceptible ; in the
St. Christopher, the Salvator Mundi, and the Virgin in Prayer, at
Antwerp, Dierick Bouts' influence is more clearly felt. These
are assigned to c. 1491, the year MASSYS was admitted to the Guild

* Panel, Distin to Eapporto delle depinture che trovansi nelle Chisse della Cittd, e
obtorghi di Cremona. Crem. 1762.
f Guicciardini : Descrittione . . di tutti i Pacsl Bassi : 1567.

MASSYS. 437

at Ant veer p. In 1505 the Guild had a large painting made for
their new ball ; the Notre Dame des Sept Douleurs, at Brussels, has
been identified with this and given to MASSYS ; about it are grouped,
as regards chronology, the various Calvary pictures by him, of
which No. 715 in this Gallery is one. About 1504 he also painted
the altar-piece discovered by Justi at Valladolid. To 1509 belongs
the Brussels Legend of St. Anne, a piece with nine principal figures
and extensive landscape in the centre compartment, and with
shutters painted inside and out. In 1511 MASSYS completed his
Pietd (or L ' Ensevelissement du Christ), in the Antwerp Museum,
with the Decollation of the Baptist and Martyrdom of St. John
Evangelist on the shutters. In this work we see already the
decadence of the Netherlandish School of which MASSYS is the
last painter who at all expressed the old tradition the tradition
that was too sincere to be concerned with display or to be
theatrical. Pictures of this period, c. 1512, in which MASSYS*
Italianizing tendencies prevail, are his Magdalens, at Antwerp, in
the Rothschild Collection, Paris, and Berlin, and his Madonna
enthroned (Amsterdam (No. 1529) and Berlin (No. 561) ). Among
his portraits are the Old Man in Profile (1513) in the Andre
Collection, Paris, his fine half-length full-face of an Ecclesiastic in
the Liechtenstein Gallery, Vienna, and the portraits of Erasmus
(Stroganoff Gallery, Rome) and Aegidius (Pierre Gillis) at
Longford (1517). Another side of MASSYS' activity are his
pictures of genre, conceived in satirical caricature. In this spirit
he was followed by Jean Matsys, Marinus de Reymerswael, and
Corneille de Lyon (?) (Cornelis van de Capelle). MASSYS was thus
the first of the so-called Realist Flemish painters. His Louvre
Money Changer and Wife, and his Ill-assorted Lovers, in the
Pourtales Collection, Paris (an old man robbing a courtesan) are
the best known. He died at Antwerp in 1530, and was buried in
the Church of Notre Dame.

See Fierens-Gevaert : Les Primitifs Flamands, III., 1910 : also
J. De Bosscheri : Quinten Metsys : 1907.

No. 295. Salvator Mundi, and the Virgin.

Two half-lengths, in separate arched panels. On the left the
Christ, full face, His right hand raised in blessing, His left resting
on a crystal globe surmounted by a gold cross. His robe is light
rose red. On the right, three-quarters to the left, the Virgin, her
hands joined. She wears a gauzelike hood and a dark cobalt blue
mantle, gold and pearl hemmed. Gold background.

Wood, each panel, with arched top, 23 in. k. by 13 in. to. (0-54 by
0-33).

Somewhat similar pictures are in the Antwerp Museum ; only the
heads and shoulders, with parts of the hands showing ; the Virgin
crowned and facing to the right, and rayed nimbi behind the heads.
Other versions are at Heidelberg and Turin.

Formerly in Madrid ; brought to the Netherlands in 1816, they
passed into the Royal Collection at The Hague ; purchased thence 1857.

438 MASSTS.

No. 715. The Crucifixion.

In the centre the Cross, Our Lord hanging on it. At its foot,
clasping it and straining upwards, the Magdalen kneels profile
left ; white dress, deep emerald-blue sleeves and a dead leaf
coloured mantle. Behind her, kneeling profile left, her hands
joined on a level with her chin, St. Mary ; salmon rose dress,
white coif, blue sleeves and dark green cloak. Beyond her,
in black, stands Salome facing the front, her hands clasped
by her chin. On the left, beneath the Tree, St. John stands
with hands joined, gazing up, three quarters right ; his robe is
dull vermilion. Next him on the left the Virgin, in cobalt blue,
her head slightly to the right front, her figure to the left. Trees
and a castle in the left mid-distance ; in the centre horsemen
riding away. In the centre distance a grey- violet mountain. Steely
blue sky gradating to white on the horizon : white clouds in the
zenith. Cool tone.
Oak, arched top, 35 in. h. by 22 in. w. (0-90 by 0-57).

Other pictures of this type by Massys are in the Liechtenstein
Gallery, Vienna, the Mayer van der Bergh Collection, Antwerp, the
Louvre, and Munich.

Formerly ascribed to Patinir, to whom the landscape is assigned.

Presented by Queen Victoria, at the wish of the Prince Consort.
1863.

MASTER OF THE ST. BARTHOLO1VIE W
ALTAR. Active 1485 ?-1510.

School of Cologne. So-called from the altar-piece at Munich.
This painter may have been a scholar of Schongauer before 1491.
His early works at Sigmaringen and Cologne suggest this. Later
he seems to have gone to the Netherlands, and come under R. van
der Weyden's influence. His best known works are at Munich,
Cologne (Nos. 183-185), a Deposition at Temple Xewsam, the
Baptism in the Kaufmann Collection, Berlin, and the Deposition
(said to belong to c. 1510) in the Louvre.

No. 707. Two Saints.

On the left standing full-length, turned slightly to the right,
St. Peter. He wears a dark Antwerp blue dress, with light blue
collar and cuffs and a brick red cloak that he holds with his left
band below his waist. With his right arm he supports an
open book and two large keys ; in bis left hand a pair of eye-
glasses. His feet are bare, the left advanced to descend a step.
St. Dorothy stands full-length turned slightly left, on the right.
Her underdress is reddish plum colour, her overbodice and skirt
white lined with red. Her right hand at her bosom holds a rose-

MASTER OF THE LIFE OF THE VIRGIN. 439

bud ; her left, on her hip, a cup-shaped plaited basket full of
flowers. Behind the heads a gold hanging ; above distant hill-
tops and blue sky. A pillar outs the sky in the right centre.
Grasses and plants each side of the foreground. The landscape
suggests Quinten Massys' influence. Tone : milky grey.

At the back of the panel, probably by an assistant, are painted
St. John the Evangelist and The Madonna and Child.

The corresponding shutter, with SS. Andrew and Columba, is at
Mainz (No. 441).

Oak, 49 in. h. by 27% in. w. (1-25 by 0'69).

Inscribed on the back "Disbild ist nmb fiinffhundert gulden ~esti-
raiert von mir aber nachmals umb 105 fl. bezihit. 1688 zi. 8. brl."

Presented by Queen Victoria at the Prince Consort's wish in 1863.

MASTER OF THE! DEATH OF THE VIRGIN.

(? 1485-1540), active 1510-1530.

Antwerp School. The MEISTER DER TODES MARIA, probably
identical with Joos van Cleef the elder, is so called from the two
pictures of the Death of the Virgin at Munich and Cologne. He
painted under Quinten Maesy's influence and Patinir's. He
worked probably in Antwerp, and perhaps travelled to Cologne
and Genoa. Joos van Cleef, the elder, or Joos van der Beke,
with whom the MASTER OP THE DEATH OF THE VIRGIN has
been identified, was born at Cleve, or Antwerp, in 1485 ; was a
member of St. Luke's Guild in Antwerp in 1511, and died there
1540. Other pictures assigned to this MASTER are a Holy Family
with Saints and Donors (Vienna), a Holy Family (somewhat similar
to the example in this Collection), also Vienna ; a Crucifixion, lately
in the Weber Collection, Hamburg ; and an Adoration of the Kings
(Berlin). Hia name is at present generically used.

See Alt-Niederldndische Malerie, Jena, 1910.

No. 2603. Holy Family.

On the right, half-length, the Mother stands, three-quarters left,
giving the breast to the Babe, who stands on a parapet. He is
naked, and turned to the right clasps her breast in both hands.
Her right hand round His shoulders, her left outstretched at His
feet, over a spray of cherries. Her robe is antwerp blue, her
cloak vermilion. On the left, full- face, with eye-glasses and a
straw hat, St. Joseph reads a book upon a desk ; in front a lily.
By the Child's right foot half a lemon and a knife. Dark brownish
background. Tone : cool clear grey.

Wood, 19i in. A. by 14} in. w. (0'495 by 0'3G).

On loan since 1895. George Salting Bequest, 1910.

440 MASTER OF THE HALF LENGTHS.

MASTER OF THE HALF LENGTHS

Flemish School. Under this name is grouped a series of pic-
tures, arranged in relation to the Three Ladies making Music in
the Harrach Collection, Vienna, a picture closely akin to the
Eleanor of Portugal and The Letter in the Leon Cardon Collection
at Brussels. It has been suggested that this " Master of the
Half Lengths" was of Bruges origin, and the resemblance be-
tween his and Ambrosius Benson's work has been pointed out.
Various names have been hazarded for him : Jean Clouet II.
(b. c. 1485), to whom are attributed a Francois 1. and Montmorency
in the Louvre and some drawings at Cbantilly. Another sugges-
tion is that this master is Lucas de Heere, of whom so few facts
are known. The Master of the Half Lengths was active c.
1525-1540, and L. de Heere was born at Ghent in 1534 and died
there 1584.

See Fierens-Gevaert : Les Primitifs Flaniands, III.

ATTRIBUTED TO MASTER OP THE HALF
LENGTHS

No. 720. A Repose in Egypt.

The Virgin is seated full length full figure in the centre, looking
down. to the right front. Her right hand is on her bared breast.
The Child, seated on her left knee, leans to the right, taking some
fruit from a plate held by St. Joseph, who bends forward, full face.
On the right a tree and a fountain. Landscape gold green, with
blue green distance. Flesh tone, rose grey.

Oak, angles cut at top, 32 in. h. by 24| in. w. (0-81 by 0'62).

A picture, practically the above in reverse, was in the Rath Collec-
tion, Budapest, and later in the Sedelmeyer ; now probably in the
Johnson, Philadelphia.

No. 721. Portrait of a Lady.

Bust portrait ; a young woman looking down to the left front.
She wears a blue bodice bordered with brown fur and a rose-
coloured mantle on her right shoulder ; in her hair a green pleated
veil, gold fringed. A small gold brooch on the parting of her
hair. Behind, on the right, a damask green curtain with a gold
fringe. Flesh tone, rosy.

Oak, 10 in. h. by 7\ in. w. (0'25 by 0-18).

Both formerly attributed to Scorel.

Both formerly in the Wallerstein Collection. Presented by Queen
Victoria by the wishes cf the Prince Consort, 1863.

* F. Wirkhoff: Jahrbuch dcr Eunsthist. Sammlungen der allerhochsten Kaiser-
hauses, 1901.

MASTER OF JEHAN PEREEAL. 441

"MASTER OF JEHAN PERREAL. '

French School, XVth Century. The above name is provisional.
No. 2669. St. Clement and Donor.

On the left, half-length, three-quarters right, St. Clement
stands with his right hand on the right, shoulder of the Donor ;
his left appears behind the left shoulder of the kneeling figure,
holding an anchor. The Donor kneeling, three-quarters right,
is dressed in black ; his hair is dark brown ; his hands are
joined. Above him an angel flying, with brown wins^s and grey
robe. In the right distance a winding stream, a horseman on the
right bank, and beyond him a turretted castle. An inscription on
the frame, half erased, beginning CREDENDO.

Wood, 19f in. h. by 14J in. w. (0-50 by 0-37).

George Salting Bequest, 1910.

THE MASTER OF LIESBORN. Active c. 1465.

School of Westphalia. The MEISTER VON LIESBORN painted
the high altar at Liesborn in 1465. The influence apparent in
him is of Cologne rather than Netherlandish. This altar has been
cut up into fragments ; eight are in this Collection, one is in the
Kunstverein, Mnnster (exhibited, Diisseldorf, 1904), another is in
Major Loeb's Collection at Caldenhoff, and another over the altar
in the church of Brandt Broughton, Lincolnshire. The LIESBORN
MASTER'S influence is seen in the Meister von Lippborg, at Soest,
in a Crucifixion, also exhibited at Dusseldorf, 1904.

No. 254. Three Saints.

On the left St. Ambrose, his head facing the front, mitred and
in a rose red, green-lined cope. In his right hand an open book, in
his left a crosier. His right foot, in a scarlet shoe, advanced. In
the centre, full-face, in armour and with legs apart, St. Exuperius
Martyr, his sword over his right shoulder, a palette-like shield held
behind his left leg. On the right, three-quarters to the left, St.
Jerome, in a red, brimmed hat and robe over a dark blue dress ; he
reads from a book in his left hand ; in the right corner his lion,
rampant. Three arches in the background, filled with gold.
Full-length figures. Tone : warm grey.

In tempera and in oil.

Canvas stretched on wood, 46$ in. h. by 26 in. w. (1-18 by 0'66).

No. 255. TJiree Saints.

On the left St. Gregory, full-length, facing slightly right,
a green book in his left hand, a red cross in the left. He

442 MASTER OF LIESBORN.

wears a triple-crowned papal tiara, a dark blue cope fringed
with white, red, and green, and red shoes. In the centre, facing
slightly right, his legs apart, St. Hilary, armed ; his sword over
the right shoulder, a red shield, balanced on the ground, in
his left hand ; over his shoulders a red cloak. On the right, in
black and apple green, St. Augustine stands, the pierced heart
in his right, a red cross in his left hand ; he faces left. Three
arches, gold-filled, in the background ; paved floor. Tone : warm
grey.

In tempera and in oil.

Canvas stretched on wood, 46 in. k. by 26 in. w. (1-18 by 0'66).

No. 256. The Annunciation.

On the left, seated by a desk, the Virgin : her dress is red,
embroidered in gold, her mantle indigo. Her left hand at her
bosom, her right on a book in her lap : full-face, the head inclined
to the right. Behind her a deep rose pink canopied bed ; on her
left, in perspective, a cupboard, supporting a pewter flagon,
candle and brass platter, and a settee with three cushions. A
window over it. On the right, three-quarters to the left, the
angel kneels, in a bronze green cope, lined in faded rose, a sceptre
with an inscribed scroll (AvE GRATIA, &c.) in his left hand.
Both have red gold hair, the Virgin a gold halo. On the right,
through the window, a landscape. Tone : very cool clear grey,
(rose m lighter flesh tones).

Canvas stretched on wood, in tempera and in oil, 37 in. h. by 27 in. iv.
(0-95 by 0-68),

No. 257. The Purification of the Virgin and the
Presentation of Christ in the Temple.

To the left of the centre, standing three - quarters right,
the Virgin hands the Infant, quite naked, to Simeon, who takes
Him in a cloth. He wears a bronze dalmatic, a mulberry head-
dress, and dark rose-pink sleeves. On the left, profile right, a
woman in apple green, holding a birdcage. On the extreme right,
nearly profile left, a bearded man in blue and red, his hands
hidden in his sleeves. Ornamented Gothic church interior.
Eight figures. Tone : cool clear grey.

In tempera and in oil.

Canvas stretched on wood, 37 in. li. by 27 in. w. (0'95 by 0'68).

No. 258. The Adoration of the Kings.

In the centre the Infant lies on His mother's lap, her hand
above Him to the right holding a chalice. Below on the left,
facing the right, head and shoulders, a white haired king kneels^
offering a cup. On the right, holding the Child's foot, another
kneels, brown haired and bearded, dressed in pale blue and dark

MASTER OF LIESBORN. 443

bronze green. The left-hand king is in vermilion red ; possibly
by an assistant. Tone : cool clear grey.

Canvas stretched on wood, 9 in. h. by H in. w. (0'22 by 0'36).

No. 259- Head of Christ on the Cross.

Head and breast, inclined to the left ; the letters I.N.R.L on the
Cross. Gold background. A fragment of the centre compartment
of the Liesborn altar-piece. Tone : cold grey figure ; brown
background.

In tempera and in oil.

Canvas stretched on wood, 13 in. li. by 11 in. w. (0'33 by 0'29).

No. 260. TJiree Saints.

On the left in old rose and vermilion, St. John, turned to the
left ; his hands clasped, looking towards the right. In the centre,
full-face, holding a red and gold crozier, and dressed in black
and white, St. Scholastica. On the right, three - quarters left,
St. Benedict, a book in his hands, a crosier in his arms. Heads and
shoulders. Tone : clear golden grey.

Canvas stretched on wood, 22 in. //. by 28 in. w. (0'55 by 0-71).

No. 261. Three Saints.

On the left, in a red fez and apple green cloak, St. Cosmas,
holding a vase and lid, turned slightly right. In the centre, in
a blue furred cap and cope, St. Damianus, a stone bottle in his
left hand ; he looks to the right front. On the right a female
Saint, white coiffed, and in pale rose red and blue ; looking to the
left front, her head inclined. Gold ground and nimbi. Head and
shoulders lengths. Tone : Clear golden grey.

In tempera and iu oil.

Canvas stretched on wood, 22 in. h. by 28 in. w. (0'55 by 0'71).

Nos. 254-261 purchased from Herr Kriiger, of Minden, in 1854.

SCHOOL OF THE MASTER OF LIESBORN.
No. 262. The Crucifixion of Christ.

In the form of a predella or decoration of the base of the
altar-piece. In the centre is Christ on the Cross ; on either side
are four Saints ; on the left St. Scholastica, Mary Magdalen, St.
Anne with the Virgin in her arms, who holds the Infant Christ ;
and the Virgin. On the right SS. John the Evangelist, Andrew,
Benedict, and Agnes with the Lamb. In the background is a

444 MASTER OF LIESBORN.

representation of Jerusalem, here a little Westphalian town.
Nine small figures.

In tempera and in oil.

Canvas stretched on wood, 15 in. h. by 46J in. w. (0'3S by 1-18).

Purchased from Herr Kriiger, of Minden, in 1854.

THE MASTER OF THE LIFE OF THE
VIRGIN. Active 1463-1480.

School of Cologne. The MEISTER DES MAEIENLEBENS, called
after seven scenes at Munich (22-28) shows the influence of Loch-
ner and D. Bouts. He is distinct from his pupil, the Meister der
Lyversberger Passion, with whom he is sometimes confused. It
has been suggested that he is Johann van Duyren (d. 1495). At
Linz are his Seven Joys of Mary (1463) ; at Cologne a Crucifixion,
and an Adoration of the Kings ait Nuremberg.

No. 706- The Presentation in tlie Temple.

In the centre an altar. Before it on the step, Simeon, profile
left, taking the Child, wrapped in a thin white scarf, from
Mary. Simeon wears a black cope with a gold hood and green
lining, pale shell pink gown and black shoes and stockings. Mary,
to the left, standing on the step in dark indigo, nearly profile to
right, hands him the Babe. Joseph behind her, with bowed
head, nearly in profile, wears red and dark grey. His right hand
in a pouch, the left holds a candle, and presses his black hat to
him. Behind him three women and one man, standing facing
right. On the right stand six figures, conspicuous a woman in
clear cold green and rose pink, on the step, who turns to the right
to a bearded man in deep vermilion and large gold -coloured
sleeves. Gold background, paved floor. The altar steps are green.
Fourteen figures. Tone : clear golden-grey.

This picture is the eighth of the Munich series. Originally the
series were the inside panels of an altar in St. Ursula, Cologne.*

Linen attached to oak, 32* in. h. by 42 in. w. (0'82 by 1'06).

From the Wallerstein Collection. Presented by Qneen Victoria, by
the wish of the Prince Consort, in 1863.

THE MASTER OF WERDEN.

The Meister Yon Werden, the painter of the following four
pictures, found in the old Abbey of Werden, near Dusseldorf, is

* See Burlington Fine Arts Club : Catalogue Early German Exhibition, 1906.

MASTER OF WERDEN. 445

otherwise unknown. There seems to be a definite connection
between his work and the Master of the Life of the Virgin.

No. 25 O. Four Saints.

A row of full-length standing figures. On the left, full-face, in
red rose hat and mantle, St. Jerome, holding his lion's paw with
his left hand, a book at his waist with the right. The lion stands
on its hind legs, profile left, looking to the front. In the
centre, full-face, SS. Benedict and Giles stand in black, crosiers
in their right hands ; a doe on its hind legs by St. Giles' left knee.
On the right, in white robes, three quarters left, St. Romuald,
reading from a book ; a crozier leans against his left arm. Blue
sky, landscape background. Gold nimbi. Grass seen behind the
figures. Tone : cold grey.

Wood, in oil, 48 in. h. by 32 in. w. (1-21 by 0'82).

No. 251. Four Saints.

Four figures, three in processional vestments, the fourth in
armour, standing in a row. St. Augustine, on the left, mitred
and in a golden cope, faces the right front, a red pierced heart
in hia left hand. Next him St. Ludger, mitred, in apple green,
full-face, reading from a book in his right hand, a crosier in the
left ; next St. Hubert, turned towards the right, in a gold
cope, supporting a doe lying on a green book in his left
hand. On the right, in armour and a crimson cloak, St.
Maurice, bareheaded, a bannered lance in his right hand ; full-
face, his right foot advanced. Blue sky, landscape background, a
river and low hills ; grass seen between the figures. Tone : cold
grey.

Wood, in oil, 48 in. h. by 32J in. w. (1/21 by 0'82).

No. 252. TJie Conversion of St. Hubert.

The Saint kneels in the centre, profile right, in crimson and
red orange, patterned with gold and trimmed with white.
Behind him his dark bay horse and attendant in deep blue and
red ; the head of a grey horse on the left edge. In the left
corner a dog lapping water ; a black hound behind the Saint, and
a small terrier in front of him are barking at the stag, who stands
profile left on the extreme right ; the vision of the Crucifixion
between his horns. Grassy hills in the left and right mid-distance.
On the right St. Hubert is seen hunting the stag ; a coppice in the
centre ; deep indigo distance against a gold-leaf sky. Tone : cold
grev.

Wood, in oil, 48 in. h. by 32* in. w. (1-21 by 0-82).

No. 253. The Mass of St. Hubert.

In the centre St. Hubert stands, pro61e left, before an altar
perspective on the left, hung with deep clear green fringed with

446 MASTER OF WERDEN MATTEO.

white, red, and blue. St. Hubert, with hands raised, looks up
at an angel who flies to him bearing a long scroll. On the
left in daik crimson, with scalloped edge, a priest stands, his
back to the spectator, looking round to the right at St. Hubert.
On the extreme left another head ; in the centre background, full-
face, a priest in pale carmine under an apple green slashed robe,
his right hand raised. Behind the Saint, on the right, a priest in
black and gold kneels, bearing his mitre. Five other figures.
Above, three arches springing from pillars, gold-filled background ;
white and yellow tiled floor, a dog lying in the right foreground.
Tone : warm golden grey.

Wood, in oil, 48 in. h. by 32J in. w. (1-21 by O82).

The above four paintings were originally the wings of an altar in the
Monastery at Werden ; probably executed 1474-8. The Saints were
the outside, the St. Hubert Legend the inside panels.

Purchased from Herr Kruger, of Minden. in 1855.

BXATTEO DI GIOVANNI, 1430-35-1495.

Sienese School. MATTEO DI GIOVANNI Di BARTOLI was born
not earlier than 1430 at Borgo San Sepolcro. His first master
has not been clearly ascertained ; the influences of Domenico di
Bartolo, Sassetta, and Sano di Pietro are seen in him. Probably he
worked very early in collaboration with Piero della Francesca, in
Borgo San Sepolcro. Technically, though not artistically, MATTEO
was the foremost painter of his time in Siena. '' Just as his colour
is glittering and cold, so his art is unfeeling." One of his earliest
known works is the Madonna enthroned, No. 286, in the Accademia,
Siena, signed and dated 1470 ; his Massacre of the Innocents, in the
Servi, Siena, is dated 1471, that in S. Agostino, Siena, 1482, and
another in Naples, 1488. These do not represent his earliest
period, when, in 1457, he collaborated with Giovanni di Pietro
in the Chapel of St. Bernandino in the Duomo of Siena ; no trace
of this work remains. Florentine influence, of Botticelli and
Pollaiuolo, appears in the later period, which is fully represented
at Siena. MATTEO died in 1495.

No. 247. " Ecce Homo:'

A head of Christ crowned with thorns, turned slightly left,
looking down ; the hands crossed on the breast. On the cruciform
nimbus are the words YHS'XPS'NAZ ; on the lilac red border
round the blue background is "In nomine IHV omne genu flec(tet)
celestium terestium et infeno(rum)."

Wood, in tempera, on 8J in. square (0'2l).

Purchased as by Niccolo Alunno from M. de Bammeville, in 1854
* Sec Emil Jacobsen : Das Quattrocento in Siena : 1908.

MATTEO MAUVE. 447

No. 1155. The Assumption of the Virgin.

In the centre the Virgin seated, full length, full face, with
hands joined in prayer. At her shoulders, elbows, knees, and
behind her are the heads and wings of blue, scarlet, lilac, and
grey-black cherubim. She wears a rose red tunic crossed by a
rich stole, a large mantle of white damask embroidered with
florets and lined with green and a close white veil ; she is
surrounded by a gold nimbus inscribed REGINA'CELI*LETARE.
Christ is seen above, in the midst of cherubim, bending
forward, His hands raised. To left and right of the Virgin's
head a group of saints ; the Baptist conspicuous. Ten angels
dance and play and sing each side of and below the Virgin ;
their dresses multi - coloured, scarlet vermilion, pure ultra-
marine-ash, mulberry, rose red, and deep green. Beneath her
feet St. Thomas stands pro61e right catching the girdle let fall
as she ascended. By him, her empty marble tomb ; beyond,
low landscape with little trees and a winding stream. The panel
terminates above in an ogee form. Gold background. Tone cool.

Wood, in tempera. 130J in. h. by 68 in. w. (3-31 by 1'73).

A very similar composition, ascribed to Beuvenuto di Giovanni, is in
the Metropolitan Museum, New York. Purchased from the Signori
Griccioli, of the Munistere (S. Eugenic), near Siena, in 1884.

No. 1461. St. Sebastian.

The Saint stands full length, nearly full face, pierced with
numerous arrows ; the martyr's crown in his right hand, in his
left the palm-leaf. Above, two angels crown him ; he on the
left in green with lavender sleeves ; he on the right in rose
colour. Behind, left and right, low cliffs ; between them a dis-
tance of low country, with a winding stream. The panel, arched
above, is surrounded by the original gilt mouldings. Tone pale.

Wood, in tempera, 49| in. A. by 23J in. ?. (1-26 by 0-59).

Purchased from Signer Bardini, of Florence, in 1895.

MAUVE (ANTON), 1838-1888.

Modern Dutch School. Born at Zaandam in 1838, MAUVE early
resolved to be a painter. His master was Vanos (Pieter Frederik),
at Haarlem, and W. Verschuur. In 1870 he settled in the Hague,
and in 1885 in Laren. Be died Feb. 5th, 1888. In common with
the Maris brothers, ANTON MAUVE considerably influenced modern
landscape. The Rijksmuseum has nine representative examples
of his work. Others are in the Mesdag, at The Hague.

No. 2711. Watering Horses.

In the centre a boy on a black horse leading a grey mare,
profile to the left. He wears a blue shirt, brown trousers and

448 MAUVE MAZZOLA.

a black peaked cap. The horses stand in the corner of a pond,
which fills the right foreground. Across the level fields, willows on
the left, cattle on the right. Silvery tone.

Canvas, 14 in. h. by 23 in. w. (0'35 by 0'58).

Presented by Mr. J. C. J. Drucker, 1910.

IYIAZO (JUAN BAUTISTA MARTINEZ DEL), 1600 ?-1667.

Spanish School. Born in Madrid at a date yet unascertained,
MAZO entered Velazquez studio when quite young, remaining
there till the Master's death (1660) ; in 1634 he married his
daughter, and in 1660 succeeded him as Court painter. He died
in 1667. Working under Velazquez he no doubt produced many
of the repetitions of portraits that now are described as the
Master's. It is said he was a skilled reproducer of the originals,
and that " every portrait by him in the Prado and elsewhere is
stamped as a second hand Velazquez." His best work is considered
the Don Tiburcio y Cruzat in the Prado. He painted also land-,
scape and sea pieces. In the Royal Gallery, Madrid, is his View
of Zaragoza.

See C. G. Hartley : Spanish Painting, 1904.

ATTRIBUTED TO MAZO.
No. 13O8. Portrait of a Man.

Full length, standing, in the centre, three-quarters right. His
left hand on a chair back, to the right ; in his right a plumed
hat. He wears a red jacket, silverlaced, trunk hose, high leather
boots, and a deep falling collar. Grey brown tone.

Canvas, 35 in. 7i. by 26| in. w. (0-88 by 0'68).

Presented by Mr. C. H. Crompton-Roberte, 1890.

BXAZZOXiA (FILIPPO), 1460-1505.

School of Parma. FILIPPO MAZZOLA, born in Parma, is some-
times called DELLE ERBETTE or MAZZOOLA. A picture by him at
Padua, signed " Dis. J. B.," shows that he was in G. Bellini's
School. His pictures are not very common. At Parma is a Virgin
and Child, dated 1491 ; in the Palazzo Vescovite there is a Baptism
(1493) ; the Naples Gallery Dead Christ is dated 1500, the Berlin
Gallery has a Madonna and Child and a Madonna and Child enthroned,
icith two Saints, and portraits in the Brera, and the Doria Gallery
(Rome) are given to him. He died of plague it is said, 1505,
leaving a son Parmigiano.

MAZZOLA MAZZOLINO. 449

No. 1416. The Virgin and Child with two Saints.

The Virgin is seated in the centre, half-length, three-quarters
left ; she offers a pear to the Infant, who sits, naked, on her right
knee facing the right, caressing a goldfinch. On the left, profile
right, stands St. Jerome his hands joined in prayer. On the right
hand another Saint bearing a closed volume, on which is placed
a small figure of the Saviour standing before a cross in a stone
niche. Background of sky. Signed :

PH/L/P/V5- SAAZQL A*P<r*

Enclosed in an old Italian frame of early cinque-cento pattern,
richly carved, gilt, and painted, probably its original frame.

Wood, 21| in. h. by 29 in. w. (0-55 by 0'73).

Lewis Fond ; purchased from Mr. C. Fairfax Murray, 1894.

IKAZZOXi/L (FRANCESCO M.). See PARBXXGXANO.

nXAZZOXiXNO (LuDOVico) DA FERRARA, 1478 P-1528 ?

School of Ferrara. MAZZOLINO, born at Ferrara, was a pupil
of Ercole Roberti and later underwent the influence of Costa and
Dosso Dossi. Domenico Pannetti also has been suggested as his
teacher. His works, which are not numerous, for the most part
are small ; the unique example with life-size figures is the Presepio
in the Pinacoteca of Ferrara. Good specimens of his work are
in the Pitti and Uffizi ; in the Doria and Borghese Palaces at Borne ;
and at Berlin a triptych dated 1509, and Christ among the Doctors
of 1528. At Dresden, the Louvre, and Munich (1516) are other
examples. MAZZOLINO married in 1521 Giovanna, daughter of
Bartoloinmeo Vacchi, a Venetian painter, and died at Ferrara in
1528.

No. 82. TJie Holy Family.

On the right of the centre the Virgin seated full length, her
body three-quarters left, her head inclined right. Behind her on
the right St. Joseph, standing bent a little forward. The Infant
is seated on her right knee, naked, full face, bending His head

ygr. Giovanni Morelli, in Die Werkc Italienischer Meister in den Qaletien
von Munchen &c. passim.

17983 2 P

450 MAZZOLINO.

to the left where kneels St. Francis, profile right. Immediately
behind him St. Elizabeth, profile right, her right hand behind
her, resting on the little St. John's head. He kneels, holding a
lamb : a monkey on the extreme left. Behind, a marble arch sur-
mounted by friezes. The centre piece of the Berlin triptych of
1509 closely follows, in reverse, the Madonna and Child in this
picture. Drapery colours, brown, blue, and plum red.

Wood, 21 in. h. by 15J in. w. (0'53 by 0'39).

Formerly in the Durazzo Palace at Genoa.

Holwell-Carr Bequest, 1831.

No. 169. The Holy Family.

In the centre, seated, full face, the Madonna holds the Child
on her left knee. Her tunic is red and gold with a blue cloak. On
the left St. Nicholas of Tolentino kneels, profile to the right, behind
a table, a lily in his right hand. Behind him two winged angels.
Above the Virgin the Dove and the Eternal in clouds. On
the right St. Joseph, behind a table, three-quarters left, offering
cherries to the Child ; his dress is crimson and blue. Arches in the
background ; at the top, flanking an organ, a choir of angels.

Wood. 24 in. A. by 18f in. w. (0'61 by 0'17).

Formerly in the Lercari Palace, Genoa : brought to England by
Mr. A. Wilson, 1806. Purchased from Mr. Beckford, 1839.

No. 641. The Woman taken in Adultery.

The Christ stands to the left facing the adulteress, who with
crossed hands and bowed head stands to the rignt, facing the left
front. Sixteen figures stand about them. In the left foreground
a man kneels reading the Christ's writing on the pavement : in the
centre a seated youth, looking upward towards the right, reads it
to a man leaning over his shoulder. In the background, under
a, portico above the heads of the main group are several figures ;
three more to left and right. A frieze surmounts the portico.

Wood arched at the top, 18 in. A. by 12 in. w. (0'45 by O30).

Formerly in the Fonthill collection. Purchased at Paris from
M. Edmond Beaucousin in 1860.

No. 1495. Christ disputing with the Doctors.

The Saviour is seated, in green and gold, on a raised throne
in the centre ; His right hand raised and right foot advanced ;
the doctors are grouped on each side. Conspicuous on the
right a man seated profile to the left, holding a book on his
thigh ; a bearded man facing him points to a passage in the
book. The background is adorned with statues in niches, and
reliefs. The lower of these reliefs represents Moses showing
the Tables of the Law to the Israelites. In the upper one

MAZZOLINO MELONE. 451

apparently is the battle between the Israelites and the Philistines,
with David beheading Goliath. The draperies are heightened
with gold.

Wood, 12 in. //. by 8f in. w. (0-30 by 0-22).

Purchased from Messrs. T. Agnew and Sons, 1897.

1HEZ.DOZ.X.A (ANDREA). See SCHIAVONE.

lYIELONE (A.LTOBELLO). 14 . . ? Painting in and after 1518.

School of Ferrara. MELONE or DE'MELONI or ALTOBELLO
FERRARI of Cremona, son of Marcantonio Melone, and possibly
a pupil of Boccaccio Boccaccino, is best known by seven subjects
from the history of our Lord which he contributed (1513-1518) to
the series of frescoes in the nave of Cremona Cathedral. These he
painted, according to Morelli, with his master Romanino. They are
the Flight into Egypt, the Massacre of the Innocents, the Last Supper,
the Washing of the Disciples' feet, the Agony in the Garden, the
Seizure of Christ, and Christ before Caiaphas. The three first
and the sixth are signed, the two first dated MDXVII. ; the
signature is " Altobellus de Melonibus p.," or " Altobellus p."
Crowe and Cavalcaselle considered that he began his studies at
Bologna and Ferrara, and later acquired Romanino's influence.
These writers assign to him in addition to the Cremona frescoes, a
Nativity and Ecce Homo, in the Palazzo Reale, Cremona, a Christ in
Limbo, in the Duomo, Cremona, and certain portraits, one at Stutt-
gart, formerly ascribed to G. Bellini, a Man in a Landscape, holding
a flower, in the Lochis Collection, Bergamo, once ascribed to
Giorgione, and a Man in red and yellow in the Castelbarco
Collection, Milan. The Virgin in Glory in S. Abbondio, Cremona,
is his. Vasari mentions some frescoes by ALTOBELLO in Sant'
Agostino at Cremona, these still exist though cut off from view
by a timber construction in the church. The dates of this
painter's birth and death are unknown.

No. 753. Christ and the Disciples on the way to
Emmaus.

On the left, profile to the right the Christ in a pilgrim's hat, blue

* Notices of Altobello may be found in Grasselli, Abecedario biograflcodegU
Arteflci cremoticai ; Milano, 1827. Signer Qiov. Morelli considered him as a
direct pupil of Romanino. (See Kugler's Handbook, &c., edited by Sir H.
Layard, II., 583.) MM. Crowe and Cavalcaselle trace in his earlier works
evidence of Ferrarese teaching. (Painting in North Italy, 1871, II., 451, seqq.)

17983 2 F 2

452 MELONE MELOZZO.

tunic, light blue cloak and black shoes stands with His staff
over His right shoulder, touching with His left hand one of the
disciples' shoulders. The two disciples walking to the right, in
lavender blue and dark green with gold coloured cloaks, look
round at Him. In the left background a tree trunk ; towards the
centre a clump of trees cutting the sky : on the right, on a hill a
fortress. In the centre distance a square tower.

Wood, 57 in. square (1'44).

Formerly in the Carmelite Church of San Bartolomeo at Cremona.

Purchased at Milan from the Count Carlo Castelbarco in 1864.

MEXiOZZO DA FORLI. 1438-1494.

Umbro-Romagnol School. MELOZZO DA FORLI, or DEGLI
AMBROSI, was born at Forli, in Romagna ; with Signorelli he
was a pupil of Piero della Francesca. It has been said that
whereas his master's purpose was static calm and impas-
sivity, MELOZZO'S was consuming emotion* and the joy of
movement. Some critics see Netherlandish influence in MELOZZO,
contracted from Justus of Ghent, at Urbino. From 1461 to 1472
he was working in Rome, from 1473 to 1476 at Urbino ;
then till 1481 he was again in Rome, with an interval in 1478
when he went to Loreto. Few of his paintings remain. In the
Vatican is his fresco of Sixtus IV. and his Court (c. 1476-81) ; in
the Qoirinal an Ascension, a relic of the frescoes in the Cupola of
SS. Apostoli, of the same period, as also are the frescoes of Music
making Angels, Apostles and Cherubs in the Inner Sacristy of
S. Peter's. Others of his finest works, which more nearly perhaps
than any other works of the Renaissance approach the spirit of
classic Oriental painting, are 11 Pestapepe (The Man pounding with
a Pestle) in the Pinacoteca, Forli, and the Prophets, at least
designed by MELOZZO, in the Cupola of S. Biagio, at Forli. He
first showed how figures might be foreshortened in a dome.

The Count Girolamo Riario, Lord of Forli, brought MELOZZO
to Rome and created him his gentleman and esquire. MELOZZO
is supposed to have been patronized also by Federigo of Monte-
feltro, Duke of Urbino, and to have executed some of the
portraits formerly in the Palace of Urbino, of which several are
now in the Louvre. Giovanni Santi of Urbino, the father of
Raphael, in his Chronicle speaks of MELOZZO as his friend, and
lands his skill in perspective. He was one of the original members
of the Roman Academy of St. Luke, founded by Sixtus IV. ; his
name is inscribed in the book of the Academy, Melotius Pi. Pa.
(Melotius Pictor Papalis). His epitaph, formerly in the church
of the Trinity at Forli, states that he lived fifty-six years and

* See Berenson : The Central Italian Painters, 1909.

MELOZZO. 453

five months. The date of his death is given in a chronicle of
the time , November 8th, 1494.

See Eicci : Meluzzo da Forll : L 1 Opera dei Grandi Artisti
Italiane.

The two following pictures are ascribed to MELOZZO, and con-
sidered part of a series executed for the Duke Federigo at Urbino,
c. 1476. Commendatore Ricci considers them by MELOZZO and
Justus of Ghent, in collaboration.

No. 755. RJwtoric?

The Muse is seated full-length, nearly full-face, on a marble
throne with a vaulted roof or canopy ; before the throne are four
steps, covered with a figured green carpet ; on the lowest, on the
left, his back to tbe spectator, kneels a man in deep plum red and
black, his red cap hanging on his shoulders. He is about to take
an open book from the Muse ; she holds a corner with her left baud
and points to a passage in it with her right. Her robe is black,
trimmed with gold. On a frieze above is the inscription, (D)VX
VBBINI MONTIS FEEITRI AC.

Wood, 61 in. h. by 40 J in. w. (1-84 by 1-02).

No. 756. Music ?

The Muse, dressed in scarlet sleeves and pale rose robe, is
seated, full-length, her head slightly right ; in her right hand,
upraised, a closed book ; her left points down at an organ on
the right. On the green-carpeted lowest step of, the throne,
on the left, a young man kneels, profile right, in red trunk
hose, a silver grey doublet, fur trimmed, and a deep mulberry
scarf ; his scarlet cap on the step before him. He seems to be
counting on his fingers. Above his head a branch of laurel on
the marble wall.

Wood, 61 J in. h. by 38* in. to. (1-84 by 0-97).

These companion pictures are said to be two of seven originally
in the palace of Urbino. They passed subsequently into the pos-
session of the Principe dei Conti, who sold them to Mr. William
Spence, from whom they were purchased at Florence, in June 1866.
The words incribed on the pictures are portions of an inscription which
the Duke Federigo had put up on the walls of the courtyard of the
palace of Urbino. Fredericus Urbini Dux, Montixferetri ac Durantis
Comes, Saiictte Ro, EcolesieeConfaloneriux,atqtie Itaiicte Cowfcederationig
f //>/ i-titor, Sfo,

By Leone Cobelli, quoted in the Commentary on the Life of Benozzo
Qozzoli in the fourth volume of the Le Monnier edition of Vasari, p. 198. See
also BeggianV'-4fe*M Jfenurie intorno al I'Utore Marco Melozzo da Forll," Forli,
1834. The name Marco hero given to Melozzo, seems to be an error from eon-
founding the name of the master with that of his pupil Marco Palmezzano,
who from affection to Melozzo has signed his name Marchus de Melotius.
Cobelli in the MS. cited speaks of Melozzo as Milocio digit Ambrosi, indicating
Ambrogi to have been the painter's surname, but it was not used by Melozzo
himself, or by any other contemporaries when speaking of him.

454 MELOZZO MEMLINC.

Federigo ol Montefeltro was created gonfaloniere of the Church by
Pius II. in 1465, and Duke of Urbino in 1474, by Sixtus IV. The
words of his titles wanting between those of the inscription of these two
pictures are on a companion picture Dialectics (No. 54) now in the
g-allery at Berlin, where is yet another, Astronomy (No. 54A) ; another
of the series is in the possession of His Majesty the King.

The remaining pictures were Grammar. Geography and Arithmetic.

Xtt&XKX.INC (HANS), 1430-351494.

Netherlandish School. HANS MEMLINC, MEMLYNC or MEM-
LYNGHE, was born possibly in Memelynck, near Alkmaar ; it is
assumed his family moved to the diocese of Mainz when he
was about fifteen. He probably was apprenticed to a Koln or
Mainz painter, and it is reasonably certain that he had worked for
some time at Koln before he went to Bruges c. 1465. Vasari and
Guicciardini name Roger van der Weyden as his master ; if this be
so he would have taken MEMLINC not earlier than 1450. In 1467
MEMLINC was a master painter in Bruges, and painted the
medallist Nicolas Spinelli,inthe Royal Museum, Antwerp, and the
Donne triptych now at Chatswonh. Between 1470 and 1480 he
married ; in 1478 he completed the Stationers' altar-piece placed
in the Abbey of Erckhout (now in Turin) ; in 1479 the Adoration
of the Kings in St. John's Hospital, Bruges, a triptych painted for
John and James Floreins, and the altar-piece of St. John's Church,
another triptych aso in St. John's Hospital. Before Easter, 1480,
he completed the large CJirist, the Light of the World, for Peter
Bultinc, now in Munich. At about tbe same time he bought a
large house in Bruges, then being a prosperous citizen and master
of apprentices, and in the same year pointed the shutters for the
Stationers' altar-piece of 1478, and portraits of William Moreel,
his Wife, and Daughter Mary, now in the Museum at Brussels, and
St. John's Hospital, Bruges. In 1484 the Moreel altar-piece of
St. Christopher, a triptych now in the Museum, Bruges, was finished.
The next picture preserved is the diptych painted for M. van
Nieuwenhove in 1487 (St. John's Hospital), the Virgin and Child
in one panel and the Donor in the other. In 1487 was also painted
the Portrait of a Young Man in the Uffizi, and the Louvre Virgin
and Child with the Floreins family. By 1489 the famous Shrine
of St. Ursula was completed and the relics laid therein. This
painted shrine is in St. John's Hospital. In 1491 the polyptych
altar-piece of the Gravrade (Jhantry, in the Cathedral at Lubeck,
was finished. This is the last authentic record of MEMLINC'S
activity. In 1494 he died in Bruges, and was buried in St. Giles,
leaving three sons, John, Cornelius and Nicolas, all under twenty-
five.

Compared with the other great masters of the Netherlandish
School MEMLINC may be held the most poetical and tender.

MEMLINC. 455

With the great exception of Hubert van Eyck MEMLINC was more
profoundly human than his contemporaries or predecessors. It
is worth note that these qualities in him especially attracted
D. G. Rossetti and Holrnan Hunt when in 1849 they had just
established the Pre-Raphaelite Brotherhood.

See W. H. J. Weale : Hans Memlinc, 1907. Kleinmann : Hans
Memlinc, 100 plates, Haarlem ; and Klassiker der Kunst : Memlinc.

No. 686. The Virgin and Infant Christ, enthroned, in
a Garden.

The Madonna, seated full-length in the centre, in a walled
garden ; her head turned slightly right, reading a book in her
left hand. Her right clasps the Babe, who is seated naked
on her lap, looking to the left, His body three-quarters right,
His left band on the book. The Virgin's dress is blue-black, her
mantle clear red-pink, as is the canopy above. On the left an
angel kneels playing a lute ; on the right St. George standing,
three-quarters lefc, the dragon at his feet. In front of him the
donor, in black, kneeling three-quarters left. Behind the Virgin
a canopy cuts off the sky and distance ; to left and right distant
castles and the sea. On the left, in the background, a man
leaving the garden by a door. Flesh tone, clear rose-ivorine.

Wood, 21 J in. h. by 14f in. w. (0'54 by 0'37).

Formerly in the Gierling Collection, whence it was purchased by
M. Fontaine who sold it to Mr. Weyer. Purchased at Cologne, at the
sale of the pictures of Mr. J. P. Weyer, in 1862.

No. 7O9. The Madonna and Infant Christ.

The Madonna stands, half-length full-face, behind a ledge,
clasping with both hands the Child who is seated on a white
cushion. He is quite naked and raises His right hand. She wears
dark emerald grsen edged with gold and precious stones, a gold
under-bodice and clear red-pink mantle. Behind her a gold
hanging with black pattern ; to left and right an emerald green
hanging. Flesh tone, clear grey golden.

Oak, 16 in. A. by 11| in. w. (0'3r, by 0-28).

Formerly in the Wallerstein Collection. Presented by Queen Victoria,
at the wish of the Prince Consort.

No. 2594. The Duke of Cleves.

Half-length, three-quarters to the right, his hands joined in
prayer, a book open before him in the right corner. His hair is
dark chestnut and shore ; he wears a white shirt laced with black,
and a crimson vest and black doublet with slashed sleeves. Oa
the left a pillar, in the foreground ; another on the right beyond
the figure. Dark background. Flesti tone clear.

Wood, 15J in. h. by 10 in. w. (0'39 by 0-25).

Formerly in the Felix Collection, Leipzig.

George Salting Bequest, 1910.

456 MEMLINC MENGS.

No. 747. St. John the Baptist and St. Lawrence, Deacon.

Two panels. In the left, full-length, three-quarters right,
St. John Baptist in a yellow-brown shirt and violet purple cloak,
a lamb on his left arm. In the right St. Lawrence, nearly
full-face, in a white cassock trimmed with ultramarine blue
and a vermilion cope. In his right hand a closed book, in his
left the gridiron. Each stands on a tiled step ; behind each a
gothic arch and landscape background ; the top of a turret and
two little figures in the right distance.

Oak, 22i in. A. by 6J in. to. each (0-57 by 0'17).

On the backs of these pictures are painted some storks or cranes
with bright red crests on their heads, and on one of the panels a coat-
of-arms Shield gules, two chevrons argent, accompanied by three pairs
of compasses, surmounted by a helmet with mantling, gules and
argent. Crest, a man's arm and hand in particoloured sleeve holding
a pair of compasses.

Purchased in Paris from M. San in 1865.

XVXENG-S (ANTON RAPHAEL), 1728-1779.

German School. MENGS was born at Aussig, Bohemia, 1728.
His father taught him at first ; then in 1741 be went to Rome,
there copying Raphael, and studying under Conca and Benefial.
In 1744. returning to Saxony, he became painter to the king.
About 1745 he revisited Rome, marrying and staying tbere till
1749. He resided at Dresden till 1752, then again going to Rome.
la 1754 he became Director of the Academy ; in 1757 he painted
the ceiling of S. Eusebius, and shortly after bis Mount Parnassus
in the Villa Albani. On the invitation of the Spanish King he
went to Madrid, 1761, there coming in contact with Goya. In
about 1770 he returned to Rome, and was employed in the Vatican.
Revisiting Madrid in 1773 he decorated the Royal Palace ceiling
with his Trajan. His frescoes are thought better than his oils.
Some of his portraits, which are plentiful, have considerable merit.
His religious pieces are in Dresden, Berlin, The Hermitage, and
Vienna. He died in Rome, 1779.

ASCRIBED TO MENGS.

No. 1099. The Virgin and Child with St. John
Baptist.

A tondo ; cartoon in black chalk. The Madonna seated at half
length three-quarters to the left : the Christ asleep on her right
shoulder. On the left, head and shoulders, the little St. John

MENGS METSU. 457

pointing with his right hand at the Infant, and looking at the
spectator.

Cartoon : 28 in. diameter (0-71).

Bequeathed by Miss Harriet Kearsley, 1881.

LIAN (MATTH^US), THE YOUNGER, 1621-1687.

German School. Born at Basle, 1621, son of a Swiss painter
and etcher MERIAN studied under Sandrart, who took him to
Holland about 1640. He visited Flanders, Italy, France, and
England, studying Van Dyck in England, Sacchi and Maratta in
Italy, and Youet and Lesueur in Paris. Living in Nuremberg
during the negotiations of 1650 he had many commissions for
portraits. On his father's death at Frankfurt he carried on his
publishing business, and the series of " Theatrum Europseum."
In 1652 he married ; in 1658, with Leopold I., he went to Vienna,
there painting an equestrian portrait of the Kaiser and several of
the courtiers. In 1652 he completed a great map of Frankfurt, in
four plates, and died in 1687. His son, Johann Matthseus, painted
in pastel. Many of MERIAN'S portraits are said to pass under
Van Dyck's name. Very few recognized as his are known. His
Martyrdom of St. Lawrence (1652) is in Bamberg Cathedral ; in
the Basle Library The Resurrection, and in the Museum there a
Family Picture (1641).

No. 1012. Portrait of a Man.

Aged about 30 ; seated, nearly full face, the head resting on
the left hand, the elbow on a stone pedestal, the right arm
akimbo. Black velvet dress of c. 1640-50 ; full shirt-sleeves.

Canvas, 38 in. A. by 31 in. w. (0'96 by 0'78).

Ascribed to Vandyck in the Wynn Ellis Collection.

Ths Wynn Ellis Bequest. 1876.

DXERXGX. See AMERIGHI.

MESSINA. See ANTONELLO.

METSU (GABRIEL), 1630-1667.

School of Leiden. METSU was born 1629-30, in Leiden, and
studied under Dou. When about fifteen he was one of the

458 METSU.

painters petitioning to found a Guild of St. Luke, proving
thus his early reputation. In 1648 he was one of the first mem-
bers. Until 1654 he lived in Leiden ; from 1657 onwards he
is mentioned as living in Amsterdam where he died, 1667. His
early work under Dou's influence is very neat and smooth. Later
it acquired freedom and vitality. Between 1655-60 he studied
Rembrandt's chiaroscuro, and adopted a warmer colour. Later,
again he reverted to a cooler tone and used a more petty, finished
treatment. As a rule he painted bourgeois genre, rarely
attempting mythology. His pictures are never boisterous as
are Steen's or Brouwer's ; at his best he rivals Terborch.
Characteristic examples are in Berlin, Dresden, the Rijksmuseum,
where his Old Woman Reading resembles Maes : Munich, where
his Twelfth Night suggests Jau Steen ; Cassel, and the Wallace
Collection.

See H. de Groot : Catalogue of Dutch Painters, I. W. Bode :
Dutch and Flemish Painters.

Xo. 838. The Duet.

In the centre, profile left, a lady in a scarlet jacket, a
piece of music on her lap ; she is seated at a table covered with
a Turkey carpet on which a bass viol is lying ; behind to the left a
man tuning his violin, stands facing the spectator. In the right
corner a spaniel. In the right background a mantelpiece sup-
ported by an Atlas. A mirror faces the lady. Signed G. Metsu.

Wood, 16J in. h. by 14J in. w. (0-41 by 0'36).

A repetition was lent to the Guildhall Exhibition (1895) by Mr. W.
Harvey, possibly identical with No. 657, Leeds Exhibition, 1868, from
the Franks and White Collections.

De Groot's Catal., No. 154. Sm. 31 . Engraved in the Choiseul Gallery.
Formerly in the Choiseul (1772), Parslin (1793), Fouquet (1801).
Solirene (1812) and Talleyrand Collections. Imported by Mr. Buchanan
in 1817. Then in the Webb Collection, and later in the Erard. in Paris.
Purchased with the Peel Collection in 1871.

No. 839. The Music Lesson.

A lady holding a piece of music seated towards the left, pro-
file right, at an open virginal ; facing her on the rigot, a
man in blue hose, a glass of wine in his hand ; a jug is
in the right corner and a fiddle on a table by his side. On
the wall in the background are two pictures, a Twelfth Night by
Metsu in a gilt, a Ruisdael in an ebony frame. The lid and
edge of the virginal inscribed (I)n te D(o)mine speravi : Non
Conf(un)dar i(n) aeternu(m) : and (O)runis . . . . (t) Dominum.
Signed G. Metsu.

Canvas, 15 in. h. by 12J in. w. (0-38 by 0-31).

De Groot's Catal.. No. 155. Sm. 97. Formerly in the collections of
Mr. Bryan (1798) and Lord Radstock (1826). Purchased with the Peel
Collection in 1871.

METSU MEULEN. 459

No. 97O. The drpwsy Landlady.

A woman profile left, in a scarlet gown and white apron
is asleep in an arm-chair ; a clay pipe in her hand. On
the right a table on which are playing cards and other objects ;
a spaniel on the left watching her. Two men in the background,
to left and right, one tickling her neck with the end of his clay
pipe. Signed on the slate, G. METZU.

Oak, 14$ in. U. by 12 in. w. (0'36 by 0'31).

De Groot's Catal., No. 197. Sm. 55 and Sup. (Add. 42). Sales
Griffier Fagel. London, 1801 ; Willett Willett, 1813 ; Acraman, Bristol,
1842.

Wynn Ellis Bequest, 1876.

No. 2590. A Woman Seated at a Window.

An old woman seated full-face, half-length in the arched open-
ing of a window. Before her a large book and a piece of printed
paper, to the right a pestle and mortar, a gourd-shaped vessel on the
left. A oirdcage hangs in the arch on the right ; a vine climbs up
the left. Signed G. METSU.

Wood, Hi in. h. by 10 J in. w. (0'29 by 0*27).

De Groot's Catal., No. 211. Sm. 24 and Suppl. 39. Sales (Probably)
Vander Lip Amsterdam, 1712; Braamcamp, Amsterdam, 1771 ; Locquet,
Amsterdam, 1783. bought by Fouquet. In the Hoofman Collection,
Haarlem, 1833-1846. Later in the Ashburton Sale, 1907.

George Salting Bequest, 1910.

No. 2591. The Forge.

On the left, profile right, the smith is hammering a red-
hot shoe on the anvil. In the centre a boy behind a grindstone.
Towards the right, in a red coat and black hat, a horseman holding
with his left hand his horse's bit. The animal's head and neck
appear on the right inside the smithy ; his off fore-leg appareutly
fastened up for shoeing. This unusual example of Metsu is in the
same category as pictures in the Rijksmuseam and at Stockholm.

Canvas, 25J in. h. by 28f in. w. (0'64 byO'73).

De Groot's Catal., No. 220. Sm. 75. Sales Delfos, The Hague, 1807 ;
Van Leyden, Warmoud, 1816 : at Christie's, London, 1824 ; and Rev.
J. Thomas, London, 1886, bought by Mr. Salting. An old copy was
sold at Leiden in 1829, and in A-nsterdam, 1908.

George Salting Bequest, 1910.

MEULEN (ADAM FRANS VAN DER), 1632-1690.

Flemish School. VAN DER MEULEN was born in Brussels,
1632, and apprenticed to P. Snayers. In 1665 Colbert invited him

460 MEULEN MICHEL.

to Paris on Le Brun's advice and gave him free lodgings at
the Gobelins factories and a large salary. VAN DER MEULEN
accompanied Louis XIV. in the field, thus studying the battle
sc"enes by which he is best known. He married in Brussels
Catherine Huseweel, who accompanied him to Paris and gave him
five children. She died in 1677. VAN DER MEULEN re-married in
1679 and 1681, on the last occasion Marie de By, a niece of Le
Brun. In 1673 he was a member of the Academy ; and died in
1690. His pictures are not uncommon. The Munich, Louvre,
Versailles, and St. Petersburg Galleries have typical examples.

No. 1447. A Hunting Party.

A carriage and six white horses stretch across the foreground ;
possibly Louis XIV. is seated at the window ; two horsemen
approach him hat in hand ; the carriage surrounded |by a suite on
horseback and foot, all bareheaded. On the left a low hill
topped with trees ; a bareheaded rider on a white rearing horse
in the left centre foreground : on tjhe right a pack of hounds.
Landscape distance. Signed :

A. T*'

Wood, 23 in. ft by 31J in. w. (0-58 by 0'80).
Purchased from the Lyne Stephens Collection in 1895.

IVIICHEL (GEORGE), 1763-1843.

French School. GEORGE MICHEL was educated in the studio
of Leduc, and much employed in making copies of various
masters. Also he restored the pictures in Cardinal Fesch's
collection. But he is best known as a notable forerunner
of modern landscape, filling more or less the place in French art
that Crome filled in English. He died in 1843. His works are
not common. His chief material was the plain of Montmartre.
In the Louvre, the Luxembourg, the Mesdag, and the Victoria and
Albert Museums are isolated examples.

No. 2258. A Woodland Scene.

Oak trees on a bank, to the left. In the centre two barns
behind a wooden fence at the junction of two roads. Cottage
roofs in the right middle distance.

Canvas, 17 in. h. by 26| in. w. (O'i3 by 0'68).

Purchased in Paris from M. Foinard ; Lewis Fund. 1908.

MICHEL MICHELANGELO. 461

No. 2759. Stwvny Landscape.

A wide plain under the shadow of dark clouds on the right ;
a gleam of sunlight across the foreground where a man is seen
approaching some ruins on the right.

Canvas, 21 h. by 31 in. w. (0-54 by 0-78).

From the Collection of Mr. T. W. Bacon ; presented through the
National Art Collections Fund, 1910.

MICHELANGELO.

1475-1564.

Florentine School. MICHELANGELO, unique painter and
sculptor, was born at Castel Caprese, in the diocese of Arezzo
on the watershed of Tiber and Arao : his father Lodovico
BUONARROTI was governor of the castle of Caprese and Chiusi.
On the 1st of April 1488, he was apprenticed to Domenico
G-hirlandaio for three years, during which period he was to
receive 24 florins for his service's. He soon distinguished himself,
working in the Medici Gardens under Donatello's pupil Bertoldo ;
then Lorenzo de Medici took him under his especial protection,
employing him on several pieces of sculpture. At this period
he made the bas relief of the Battle of the Centaurs, now in the
Casa Buonarroti, Florence. After Lorenzo's death in 1492,
MICHELANGELO continued in Florence, working for Piero dei
Medici till 1494 when, frightened hy a dream of his friend
Cardiere, he fled to Bologna. He visited Venice and almost
certainly stayed at Ferrara and Padua on his way back to
Bologna, where he made the small statues of SS. Petronius
and Proculus and the kneeling angel in S. Domenico. He
returned to Florence in 1495. Soon after, owing to the
success of his Sleeping Cupid which was sold at Rome as a
veritable antique, he went to try his fortunes there : during
this first visit he produced his Pietd, the dead Christ on the
knees of the Virgin, now in the Church of St. Peter. Re-
turning to Florence about 1501, he carved his colossal statue
of David, placed in the Piazza Granduca. About 1503 he
received a commission from Soderini, Gonfaloniere of Florence,
to paint one end of the Council Hall ; the opposite wall being
entrusted to Leonardo da Vinci. Leonardo began but did not
complete his picture ; MICHELANGELO'S does not appear to have
been commenced ; but his cartoon, the Cartoon of Pisa, was
finished about the year 1506. It represented Pisan soldiers,
surprised by Florentines while bathing. These designs on account
of their unparallelled mastery of the human figure, became in

* Removed in 1875 to the Accademia ; a copy has been set up on the original
site.

462 MICHELANGELO.

Benvenuto Cellini's phrase, " The School of the World. * During
the progress of this cartoon, MICHELANGELO revisited Rome on
the invitation of Julius II., to design a mausoleum for the Pope
himself, for Saint Peter's ; he returned, however, to Florence in
1505, having been offended by one of the Pope's servants ; he
was reconciled to Julius in the following year, at Bologna ; where
he made the celebrated statue of Julius 12., later cast as a cannon,
and turned against the Pope by the Bolognese.

In 1508 MICHELANGELO returned to Rome and was commis-
sioned by Julius to paint the ceiling of the Sixtine Chapel. He
assented reluctantly, naming Raphael, then beginning his frescoes
in the Vatican Stanze, as more fit for the work. He began
his designs in 1508, and the ceiling was finished on All Saint's
Day (Nov. 1), 1512.f The frescoes represent the creation of the
World and Man ; his Fall ; and the early history of the world,
with reference to Man's final redemption and salvation. These
extensive frescoes interrupted MICHELANGELO'S work on the
tomb of Julius ; and as the Pope died shortly after their
completion, in 1513, the monument was never finished.
For the next nine years MICHELANGELO was chiefly employed
in getting marble from the quarries of Pietra Santa, for
the faQade of the church of San Lorenzo at Florence : he
paid, however, three visits to Rome during this interval, in
1515-16-174 During the pontificate of Adrian VI., and part
of that of Clement VII., he was employed, on the works of
the Medici Chapel in the Church of San Lorenzo at Florence :
in 1533, thirteen years after Raphael's death, he began his cartoons
for the great fresco of the Last Judgment, on the altar wall of the
Sixtine Chapel. It was finished in 1541. MICHELANGELO did
little more painting after this ; the frescoes of the Cappella
Paolina, built for Paul III., were his last works of' the kind :
they were finished in 1549, when he was seventy-four years of
age. He had been appointed, in 1547, to succeed Antonio da
San Gallo, as architect of St. Peter's, which, though the first stone
had been laid by Julius II. in 1506, was still very little advanced ;
he undertook the work without salary. He continued architect
throughout the pontificates of Paul III., Julius III., Marcellus II.,
Paul IV., and Pius IV., until his death ; he carried the building
to the base of the cupola and the Dome was completed from his
design.

Vita di Benvenuto Cellini, Milan, 1806, p. 31. Gaye. Carteaaio. <fcc., vol. ii., p. 90.
Vasari, Life of Michelangelo.

t A document now in the British Museum, formerly in the possession
of the Buonarroti family at Florence, purports to be an original contract
made by Michelangelo with the Pope, respecting the commencement of his
designs for this ceiling ; it is dated May 10, 1508. The whole work, therefore,
took about four years, for the scaffolding was still not removed from the
chapel by Christmas-day, 1512, as noticed in the Diary of Paris de Grassis,
quoted by Pungileoni, Elogio Storico, &c., v . 131 ; and by Passavant. Rafael
von Urbino, i., p. 167. See also the Kunstblatt. No. 105, 1844.

j See the Buonarroti MSS., British Museum.

This great fresco measures 47 feet in height by 43 in width.

MICHELANGELO. 463

MICHELANGELO died at Borne, February 17, 1564 ; his body
was smuggled from the city by night, wrapped in a bale
of merchandise, so jealous for the honour of interring it
were both Romans and Florentines. Thus it reached Florence,
and. on the 14th March, was buried in Santa Croce. As
sculptor, painter, designer and draughtsman MICHELANGELO
is unparalleled. He also was pre-eminent in military engineering
and architecture. To an unsurpassed knowledge of technique
he added powers of conception unapproached in modern Western
art. Of his poetry Condivi wrote : " I hope to bring out
some of MICHELANGELO'S sonnets and madrigals, that the world
may know the worth of his imagination and how many beautiful
conceits were born in his divine spirit."f

No. 79O. The Entombment of the Christ.

In the centre the dead Christ seated on a sling borne by
St. John on the left, and Mary Magdalene on the right. The
Body sinks back against St. Joseph of Arimathaea, who bends
forward over the Head ; another sling is round the Christ's chest.
St. John stands, full face, gripping the sling with both hands and
supporting it on his raised right thigh ; he leans outwards looking
down at the Body to the right. St. Mary Magdalene, profile
left, her back part turned, leans back, straining with her left arm
on the sling. Behind her, on the right, full face, looking right
front, Mary, wife of Cleophas, stretching forward her right arm.
Before her, kneeling in the right corner, the silhouette of the
Blessed Virgin. In the left corner, kneeling, and sitting back on
her heels, Salome, profile right ; she gazes at her right hand,
held against her breast ; her left hand supports the right elbow.
(A drawing of a nude figure, in the Louvre, ascribed to Michel-
angelo, explains her actions ; in the upraised hand she was to
hold the crown of thorns, in the left the nails.) Rocks hide
the sky in the right background ; a barren land and sea in the
centre and left distance. St. John is dressed in very clear red,
lined with olive green ; Mary Magdalen in dark moss green and
pale rose pink ; Mary, wife of Cleophas, in olive green with rose
red cloak. Salome, on the left, wears a lilac purple bodice and

The paintings accepted as his are the Holv Family (Tondo) in the Ufflzi ;
the Entombment, in this collection, the Sixtine Frescoes (of 1508-12 and 1534-41)
and the frescoes in the Cappella Paplina, Borne ; the Conversion of St. Paul,
and the Martyrdom of St. Peter. A fine version of his Leda (painted in 1529 for
the Duke of Ferrara, hut sent to France) is in the offices of this Gallery. See
Sir C. Holroyd : Michael Angela Buonarroti, 1911 ; Berenson : Florentine Painters,
190*

t His poems, chiefly sonnets, were first published by his great - nephew,
ichelangelo Buonarroti, at Florence, in 1623, and again by Bottari in 1726.
Select specimens have been translated into English by Mr. J. E. Taylor,

Jlicheliuigi'lo considered as a philosophic i>oct ; with translation*, <fcc.; 8vo., London,
1840. A Life of Michelangelo by Mr. J. S. Harford was published in 1856 ;
London, 2 vols., 8vo., with a folio of plates. See also R. W. Garden :
Giorgio Vaxari, Lee Warner ; London, 1911.
A reproduction is exhibited downstairs.

464 MICHELANGELO.

dark brownish green turban and mantle, lined with red, the
colour of red hot iron.

Wood ; partly if not wholly in tempera ; the priming showing in
several parts. 63J in. li. by 59 in. w. (2'45 by 1'49).

It has been reasonably suggested that Michelangelo during his
sojourn in Bologna, 1494-95, studied painting under a Ferrarese
master (possibly the author of the Holy Family tondo in the
Vienna Academy). This Vienna tondo seems in some way
associated with the Holy Family by Michelangelo (No. 809) and
with this Entombment. According to this theory Michelangelo
would have begun these pictures in Bologna, c. 1494. This
Entombment was carried on under the influence of Mantegna's
print of the same subject, after Michelangelo's return to
Florence, perhaps about 1500, but never finished. So that
two hands are seen in this work ; Michelangelo's in the land-
scape, and the figures of the women ; a later in the more polished,
smaller treatment of detail in the St. John and the dead Christ.
Condivi and Vasari mention that Michelangelo left several
unfinished works in painting as well as sculpture. This Entomb-
ment was in the Collection of Cardinal Fesch, and stored in the
the Falconieri Palace, Rome, whence it was removed to the Villa
Paolina. In 1845 sold by the Principe di Musignano to a Roman
picture dealer, from whom, in 1846, it was bought by Mr. Robert
Macpherson, for a small sum. When washed, it "was inspected by
several Roman connoisseurs and artists, and pronounced a work of
great value.

Purchased in London from Mr. Robert Macpherson, in 1868.

No. 8O9. The Madonna and Infant Christ, St. John tlie
Baptist, and Angels.

The Virgin is seated, full face, in the centre, holding an open
book up to the left. The Infant Christ, standing in front of her,
reaches across her with His right hand, and grasps the book ;
behind Him stands the little St. John facing the spectator ;
on each side are two angels, those on the left unfinished, their
flesh laid in in terra verde. One, on the right, profile to the
left, is holding up a scroll, from which his companion reads. They
wear rose carmine tunics. The Virgin, whose right breast is bare,
wears a rose crimson dress, her grey black mantle is unfinished ; it
is lined with dark green. The ground, of rock, is moss green.
Sky background.

Wood, in tempera, 40J in. Ji. by 30 in. w. (1-02 by 0-76).

Perhaps designed at Bologna, 1494-5 ; the types of heads and
features closely correspond with those in Michelangelo's Angel in
S. Domenico, and his S. Procul-u* sculpture in Bologna, made in 1494;

* See C. J. Holmes : " Where did Michelangelo learn to paint ?" Burlington
Maaazine, July, 1907.

MICHELANGELO MICHELE. 465

it was formerly ascribed to Domenico Ghirlandaio. Exhibited at the
British Institution in 1847 by Mrs. Bonar, who sold it to the Rt. Hon.
H. Labouchere, M.P., afterwards Lord Taunton, from whose executors
it was purchased in 1870.

See C. J. Holmes : Burlington Magazine, July, 1907.

SCHOOL OF IKXCHEXiANGEXiO BUONARROTI.

No. 8. A Dream of Human Life.

A naked male fgure, seated, reclining to the right against a
globe ; his head profile to the left, his body turned to the left
front. An angel, shooting downwards from the sky, is blowing a
trumpet in his ear. Beneath his seat is a collection of masks
illustrating the insincerity or duplicity of human dealings, and
around him are visions of the many vices and depravities of
mankind.

Engraved by J. Bonasone, the contemporary of Michelangelo, also by
others ; and in Jones's National Gallery.

On wood, 25 in. h. by 21 in. w. (0-63 by 0'53).

This picture, of which there are several repetitions, was painted from
a design by Michelangelo, by one of his scholars. Formerly in
the Barberini Palace at Pxome. Holwell-Carr Bequest, 1831.

MICHELE DA VERONA. 14701536-44.

School of Verona. MICHELE was a contemporary and some-
times an assistant of Cavazzola (Paolo Morando) at Verona^
and, like tne latter, belonged to the school of Domenico Morone.
He had also been influenced by Carpaccio. The period of his
activity may be inferred from dates on his works extending from
1500 to 1523. Of the year 1501 is a large Crucifixion, formerly
in the refectory of S. Giorgio at Verona, now in the Brera,
Milan (160). The same subject (1506) with little variation is in
S. Maria in Vanzo, at Padua, where MICHELE is thought to have
also worked at the frescoes in the Scuola del Santo, in company
with Titian. In Santa Chiara, at Verona, is a fresco, much
injured, of 1509 ; others are in S. Maria della Vittoria Nuova
and in Sant' Anastasia. An altar-piece, the Madonna enthroned
and Saints, dated 1523. in the church of Villa di Villa near Este,
is probably the best work by MICHELE. His style altered and
softened somewhat during his career, but always bears the
Veronese stamp, and frequently shows the influence of Cavazzola,
17983 2 a

466 MICHELE MIEREVELD.

though it is not combined with the coloristic harmony to be
found in that master's work. But MICHELE'S landscape back-
grounds are often of great excellence.

ASCRIBED TO MICHELE.

No. 1214. The meeting of Coriolanus with Volumnia
and Veturia.

Coriolanus, kneels in the left centre, profile left, foreground
to greet Yolumnia who with her son kneels profile right side, while
Veturia and two other women stand behind her. On the right
are two mounted soldiers, in the centre a soldier holding a white
horse. In the background a hilly landscape, a river fringed with
poplars and a town on the left. On the right a lofty cliff
surmounted by buildings.

Canvas, 36 in. h. by 46| in. w. (0'91 by 1-18).

Walker Fund ; purchased from Dr. J. P. Richter, 1886.

MIEREVELD (MicmEL JANSZ VAN), 1567-1641.

School of The Hague. MICHIEL JANSZ MIEREVELT, or
MIEREVELD, was born at Delft, where he studied under
Willem Willemsz and Augustyns. When twelve years old he
went to Utrecht to the school of Antonio Blockland, known as
Montfort. He remained in Utrecht till Montford's death in 1583,
then returning to Delft. His name occurs in the Guild books of
1613. In 1625 he was in the Guild at The Hague. He married
twice, in 1589, at Delft, and in 1633. He has an almost fabulous
reputation for the number of his portraits, many of which, as now
seen, are merely school repetitions. At the invitation of Charles I.,
MIEREVELD nearly came to England. He was portrait painter to
the Prince of Orange and Nassau, and is well known in England
for his portraits of the Queen of Bohemia, the Duke of
Buckingham, and the nobles who shared in the Low Country
wars, for example, the Earl of Tilbury in the National Portrait
Gallery. The Wallace Collection has a good example of his
women portraits and Coombe Abbey many signed examples. In
the Rijksmusenm he is well represented. MIEREVELD died in
Delft, 1640.

No. 2292. Portrait of a Lady.

Half-length, three-quarters to the left. She wears a black dress
with a stomacher embroidered with five rows of large pearls
and a wide pleated lace ruff. Brownish warm tone. Signed,
"M. MIEREVELT, 1618."

Wood, 24 in. h. by 19f in. w. (0'61 by 0'50).

Bequeathed by Mr, George Fielder, 1908.

MIERIS. 467

(PRANS VAN), 1635-1681.

School of Leiden. FRANS VAN MIERIS the elder was born at
Leiden in 1635, and first studied nnder a glass painter, A.
Toorenvliet, then for six months under A. van Tempel, and lastly
Gerard Dou. In May 1658 he was in the Leiden Guild ; in 1657
he had man-ied. Mieris lived in Leiden : of his five children two,
Jan and Willem, were his scholars, as were Karel de Moor, Ary de
Vois, and Cornelis Paats. MIERIS was popular in his own time
and largely patronised. His pictures of upper class Dutch society
may be considered faithful documents. After Dou, FRANS MIERIS
is the best of the Leiden painters. He died there 1681. Pictures
by him are plentiful at Dresden, Munich, St. Petersburg, and
Vienna. There is one example in the Wallace Collection. Tbe
dates on his work range from 1657 to 1680.

No. 84LO. A Lady in a Crimson Jacket.

Towards the right, in profile to the left, a lady seated half-
length. She wears a crimson jacket trimmed with white fur. Her
left hand at her bosom ; with her right she feeds a parrot, on a
perch to the left. The flesh is carminous.

Copper, 9 in. h. by 7 in. w. (0-22 by 0'17).

Sm.29. Formerly in the De Gaignat, 1768, De Praslin, 1793, Talleyrand,
1817, and Fonthill, 1823, Sales. In the Peel Coll., 1829. Repetitions
at Munich, in the Cook Coll., and Buckingham Palace.

Peel Collection, 1871.

No. 2589. The Young Astrologer.

Seated, behind a table, three-quarters to the left, holding a
globe before him with both bands ; on the table an open manu-
script, and ink pot ; to the right two books partly hidden by a
lilac curtain. Brownish low tone ; the flesh clear and warm.

Wood, 6 in. by 5 in. w. (0'ir, by 0-12).

George Salting Bequest, 1910.

IVXIER.IS (WiLLEM VAN), 1662-1747.

School of Leiden. Born at Leiden, 1662, WILLEM MIERIS
studied under his father Frans. In 1683, he was in the Guild,
marrying the next year. He produced mythological pieces and
elaborate compositions. Also he modelled in wax, making four
vases adorned with bas reliefs, in 1702-1704, for his patron De la
Court. His father's smallness of style is exaggerated in WILLEM
VAN MIEKIS. He died in Leiden, 1747, having been blind some
years. Dresden bas thirteen of his pictures. Tbe Wallace
Collection seven. Most galleries possess examples.

17983 2 O 2

468 MIERIS.

No. 841. A Fish and Poultry Shop.

In the centre inside an arched window a woman stands
profile right, her left hand extended right. The shopman
with a basket of fish stands towards the right. Outside
the window on the right two rabbits hanging. In the right
foreground in front of a relief beneath the window a tortoiseshell
cat looking up, left, at a drake whose head hangs down over the
window ledge. A basket of potatoes in the left corner ; a
festooned curtain above. The shop interior in the background.
A cool metallic tone. Signed "W. VAN MIERIS, Ft. Anno, 1713."

Wood, 19J in. h. by 16 in. w. (0-48 by 0"40).

Sin. 45. Formerly in Sir Simon Clarke's Collection. Sales, G.
Hibbert, 1802, J. Dent, 1827 (bt. by Sm.). Exnib. Brit. Gall., 1815 and
1824. In Peel Collection, 1829 ; purchased with it.

MILANESE SCHOOL : XV. OR EARLY
XVZ. CENTURY

No. 1052. Portrait of a Young Man.

Head and shoulders, slightly to the left. He wears a black cap,
a gown lined with spotted lynx fur over a crimson doublet, a
gold chain round his neck, and a gold ring on the thumb of
his left hand.

Wood, 25 in. h. by 19 in. w. (0-63 by 0-48).

Bequeathed by Miss Sarah Solly in 1879.

No. 13OO. The Virgin and Child.

The Virgin is seated facing the right front, at three quarters
length, in front of a tree trunk. She wears a rose-red dress and
blue mantle. The Child lies on her lap holding her left breast
and looking over His shoulder at the spectator : His head is to the
right. Landscape distance ; on the right a hamlet ; beyond, a cliff
of fantastic shape. Cool greyish tone.

Wood, 23 in. h. by 17 in. w. (0'58 by 0'43).

Purchased from M. Edmond Beaucousin at Paris, in 1860.

No. 1438. Head of John the Baptist.

The Saint's head turned to the right, lies in a dish of white
faience on a high foot, standing on a red marble slab. The hair
is red brown, the flesh warm ivorine. On the dark background is
the inscription in large capitals :

MDXL H. KL. FEB.

Wood, 17J in. h. by 15 in. w. (0'44 byO'39).

MILANESE SCHOOL MILLAIS. 469

A replica, bearing on a cartellino the date " 1511 die 24 Nov.," is in
the Borromeo Collection at Milan.

Formerly in the collections of Cardinal Stoppani of Rome, and
Prof. Geromini of Cremona. Purchased from Mr. J. C. Watt in 1895.

No. 2504. Virgin and Child.

The Holy Child standing on a window sill with Hia right foot,
His left in Mary's lap. His arms are round her neck, and she,
seated full face behind the sill, clasps Him to her with her right
hand. Her dress is blue, deep vermilion and gold-saffron. Flesh
tone grey gold.

Formerly ascribed to Cesare da Sesto. It is nearer the manner
of Andrea da Solario. A replica is in the Museum, Budapest.

Wood, 23f in. A. by 18 in. w. (0'60 by 0').

George Salting Bequest, 1910.

(SiR JOHN EVERETT), P.R.A., 1829-1896.

English School. JOHN EVERETT MILLAIS was born on
June 8th, 1829, at Southampton. His home was, however, in
Jersey, where he passed his first five or six years. In 1835 the
family removed to Dinan, in Brittany, and in 1837 came to
London, occupying a house in Gower Street. On the advice of
Sir Martin Archer Shee, then President of the Royal Academy,
the boy was sent in 1838 to the School of Art kept by Mr.
Henry Sass, a portrait-painter, at the corner of Bloomsbury
Street. At the age of nine he had made sufficient progress to
win a Silver Medal awarded by the Society of Arts and in 1840
was admitted a student at the Royal Academy Schools. In 1843
he won the Royal Academy's Silver Medal. Before he was
seventeen he had painted his first subject picture, Pizarro seizing
the Inca of Peru, which was hung at the Royal Academy in 1846
and is now in the Victoria and Albert Museum. In 1847 he
gained the Royal Academy's Gold Medal for another work
representing The Young Men of the Tribe of Benjamin seizing their
Brides. About the same time, for the Government Cartoon
competition then organized, he exhibited at Westminster Hall
The Widow's Mite, a life-size group. A year later young Millais,
in conjunction with Rossetti, Holman Hunt, and a few other
rising artists, revolting against academicism and conventionality,
banded together in a group known as the Pre-Raphaelite
Brotherhood. Their principles are too well known to. need
description here. But one of their professed objects was to paint
Nature with absolute fidelity, disregarding the convention of the
chiaroscurists ; they based their views on the work of early
Italian and Flemish masters.

470 MILLAIS.

MILLAIS did not long maintain those principles in practice.
Only a few of his earliest pictures, such as Lorenzo and Isabella,
Mariana in the Moated Grange, The Carpenter's Shop, and the
Woodman's Daughter, exhibited at the Royal Academy between
1849 and 1851, suggest the influence of primitive art. But for
many years he remained a scrupulous realist, painting with
extraordinary finish and minute attention to detail. The Huguenots;
The Death of Ophelia (1852), The Order of Release, both in
the Tate Gallery, and The Proscribed Royalist (1853), Rescue
by a Fireman (1855), Autumn Leaves and Peace Concluded (1856)
were severely criticised in certain quarters, but as warmly
defended by [his admirers, among whom Ruskin was con-
spicuous. In 1853 at twenty -four, Millais, was elected an Associate
of the Royal Academy. His work had gradually won public favour.
The Vale of Rest, (1859) (Tate), The Black Brunswicker (1860),
Trmt Me (1862), My First Sermon (1863), and The Eve of Saint
Agnes (1863), were received with enthusiasm and in 1863 he became
a Royal Academician.

The patient study of his early years enabled him in time to
attain equal truth with less labour. His style became broader and
more masterful, but it was still distinguished, both in colour and
effect, by a close adherence to Nature. As a young man Millais
had worked with great success as a book illustrator. The " Corn-
hill Magazine," " Good Words," and " Once a Week " abound in
woodcuts from his designs. He now took to landscape and por-
traiture ; Chill October was exhibited in 1871, and followed by
Flowing to the Sea, Scotch Firs, The Fringe of the Moor, and 2 he
Sound of Many Waters, between 1873 and 1877. One of his first
exhibited portraits was that of Miss Nina Lehmann, 1869 : his later
portraits include Sir John Fowler, Sir James Paget, Lord Lytton,
Lord Shaf tesbury, the Duchess of Westminster, Cardinal Newman,
Lord Beaconsfield, Lord Salisbury, Mr. Gladstone, and Mr.
John Bright. The family group, entitled Hearts are Trumps, and
representing the Misses Armstrong, attracted much attention at
the Royal Academy in 1872. Among the most popular of Millais'
later pictures are, TJie Minuet (1867), The Boyhood of Sir Walter
Rayleigh (1870), Ihe North-West Passage, (1874), The Yeomen of
the Guard, (1877), and the Princes in the Tower (1878). In all,
he is said to have produced two hundred and twenty-seven oil
paintings. In July, 1855, Millais married Euphemia Chalmers
Gray ; by her he had several children. The honours which
fell to him were numerous ; be was created a baronet in 1885 ;
he had previously been made an Officer of the Legion of Honour
and a Member of the Institut de France ; in 1880 he had painted
his own portrait for the Uffizi Gallery. From Oxford he obtained
a D.C.L. degree, Cambridge and Durham Universities conferred
on him honorary degrees, and he was a Trustee of the National
Portrait Gallery. On the death of Lord Leighton, Sir John was
unanimously elected, in February, 1896, President of the Royal

MILLAIS. 471

Academy. By this time, however, he was in failing health, and
died in August.

Of Millais's pictures referred to above, the Tate Gallery has
The Death of Ophelia, The Order of Release, The Vale of Rest,
The Xorth- West Passage, and The Yeoman of the Guard, besides
nine other works. Millais exhibited one hundred and eighty-
eight pictures at the Royal Academy between 1846 and 1896,
besides on occasions contributing to the Exhibitions at the British
Institution, the Grosvenor Gallery, the New Gallery, and the
British Institution.

A selection of his works was exhibited at Burlington House
(Old Masters) in 1898.

No. 1666. Portrait of the Right Hon. W. E. Gladstone.

Mr. Gladstone, in his 70th year, is shown at three-quarter length,
standing erect in an easy position, his right hand, with a ring
on the fourth finger, lightly clasping his left in a characteristic
attitude. He wears a black frock coat and black tie, and is look-
ing to the spectator's right. The background is a ruddy brown.
Signed with the painter's monogram and dated 1879.

Canvas, 49J in. A. by 36 in. w. (1'25 by 0'91).

Exhibited at the Royal Academy, 1879 (No. 214) ; the Grosvenor
Gallery, 1886 (No. 97) ; Manchester, Royal Jubilee Exhibition, 1887,
Fine Art Section (No. 529) ; Paris, Exposition TJniverselle, 1889,
British Fine Art Section (No. 89); and Burlington House (Old
Masters) 1898 (No. 128).

Another Portrait of Mr. Gladstone, by Millais, painted in 1885, is in
the Hall at Christ Church, Oxford.

Formerly in the collection of the first Duke of Westminster.
Presented by Sir Charles Tennant, Bart., in 1898.

No. 1941. Portrait of Sir Henry Thompson, Bart.

Three-quarters length standing very upright, facing the
spectator. His left arm behind his back, his right hangs by his
side with the hand in a black glove holding the fellow glove. He
wears a black frock-coat, a black silk-faced overcoat and a gold
eye-glass. The background is a warm grey green, against which
the ruddy complexion and white collar show in strong relief.
Signed with the painter's monogram and dated 1881.

Sir Henry Thompson, F.R.C.S., the eminent surgeon, was born
at Framlingham, Suffolk, in 1820 ; he was knighted in 1867, and
made a Baronet in 1899 ; he died in 1904.

Canvas. 49} in. h. by 36 in. w. (1'25 byO'91).

Exhibited at the Royal Academy, 1882 (No. 127) ; the Grosvenor
Gallery, 1886 (No. 106) ; Manchester, Royal Jubilee Exhibition, 1887,

Marion H. Spielmann : Millaix and his Works, 1898 ; J. F. Millais : Lift and
Letters ofjolin Everett Millai*.

472 MILLAJS MILLET.

Fine Art Section (No. 477) ; and Burlington House (Old Masters),
1898 (No. 139).
Bequeathed by Sir Henry Thompson, Bart., in 1904.

(JEAN FRANQOIS), 1814-1875.

School of Barbizon. JEAN FRANQOIS MILLET was born at
Gruchy, near Cherbourg, 1814. His people were peasants and
his early life that of a Normandy peasant living within the
influence of the sea. His first systematic training was at
Cherbourg under one Mouchel, in 1832. In 1835 on the death
of bis father he had to abandon art and return to Gruchy. But
such was his promise that- he was allowed soon to resume his
studies, working with Langlois at Cherbourg on two large
paintings in the Church of the Trinity. The Municipal Council
gave him a scholarship to Paris in 1836. For some time be
was at a loss, until finding his way to the Louvre he was
quickened and encouraged by the works of Michelangelo,
Delacroix and Poussin. Then he entered Delaroche's studio ;
Diaz and Rousseau were fellow pupils. Leaving Delarocbe he
endeavoured to make a living by his own style of work, with no
success. He was driven therefore to painting a more popular type
of thing graceful nudes such as L' Amour Vainqueur of the
Staats Forbes Collection. In 1840 he exhibited a portrait, of his
father in the Salon, attracting no attention. Returning to
Cherbourg he was forced to paint signs for a livelihood. Marrying
in 1841 he went back to Paris in 1842. He exhibited La Laitiere
and La Lecon d 1 Equitation, a pastel, in 1844. The same year his
wife died, and his life seemed filled with failure. Returning to
Cherbourg he re-attempted portrait painting, with more success.
He married again in 1845, and secured a fair number of
commissions at Havre before he went back to Paris at the year's
end. For some time he painted nudes, with considerable mastery
and success ; finding however that bis reputation suffered he gave
up this branch, and produced work more congenial to his own bent.
In 1848 he exhibited the Winnower, and next year went out of
Paris to Barbizon, where Rousseau and Diaz were already settled.
In 1850 he exhibited The Soiver, iii 1851 the Going t-o Labour, in
1853 the Repas des Moissoneurs, for which he gained a second-class
medal. MILLET'S life at this time, despite financial embarrass-
ments, was happy and productive of his finest work. To 1855
belongs The Grafter, 1856 The Shepherd in the Park, 1857 Les
Glaneuses, 1859 L'Angelus and Death and the Woodcutter. In 1860
MILLET entered into a contract with one Stevens, a Paris dealer,
engaging to sell him according to tariff all the works produced in
the next three years. La Tondeuse appeared in 1861 : the Man
with the Hoe 1863, which evoked hot controversy, and ahout this
date Maternite. The Shepherdess with her Flock (1865), a series of

MILLET MOCETTO. 473

pastels (1864-1870), visits to Vichy and Alsace, and the Great
Exposition of 1867, to which MILLET sent nine works which
gained him a first-class medal, bring us to his last period, 1870-75.
In the Salon of 1870 he had November and La Barratteuse.
During the War MILLET moved to Cherboug where he was
arrested while sketching, as a spy. In 1871 he returned to
Barbizon, at once setting to work." Unluckily his health, never
robust, broke down; throughout 1872 and 1873 he was laid up.
He was commissioned in 1873 to paint the walls of the Pantheon
with tbe Four Seasons ; but be got no further than charcoal
sketches. He died in January, 1875, and was buried in Ohailly
near Barbizon, next to his great friend and benefactor Rousseau.
MILLET'S drawings, etchings and pastels are among the most
valued products of the XlXth Century, in which he made a rather
solitary figure, now recognized as classic.

See Sensier : La Vie et I'ceuvre de J. F. Millet, 1881 ; also D.
Croal Thomson : The Barbizon School, 1890. Walter Sickert.

No. 2636. The Whisper.

A girl seated on a bank, her head turned profile to the left, her
arms resting on a basket on the right. Her left leg bare below
the knee hangs down ; the right lies along the bank to the left.
On the left a cupid, profile to the right, is creeping up behind her,
holding her right shoulder with his left hand. Her turban is
clear blue green, her bodice white, her skirt dull olive green.
Greyish tone.

Canvas, 17J in. h. by 14| in. to. (0'45 by 0'37).

George Salting Bequest, 1910.

MOCETTO (GiEOLAMo), 1458-1531 ?

Venetian School. MOCETTO, born at Murano and influenced by
Alvise Vivarini, studied painting at Venice and became an assistant
to Giovanni Bellini. Between 1492-1503 MOCETTO was engaged to
paint three pictures in the Ducal Palace. He left them unfinished.
In 1514 he was living in the parish of S. Apollinare. In 1517 he
was working in Verona. His will is dated Aug. 21, 1531. Vasari,
mentioning a Dead Christ in S. Francesco della Vigna at Venice,
says that, though signed Bellini, it was considered for the most
part the work of MOCETTO. In SS. Nazario e Celso, at Verona,
is a Madonna enthroned, with attendant saints and worshippers :
in the gallery of Vicenza, a Madonna ; and, in the Modena Gallery,
a portrait of a young man. All these are signed by MOCETTO,
but undated. These are his pictures which can be certainly iden-
tified. His claims to distinction rest rather on his engravings,

474 MOCETTO MOLA.

executed under the inspiration of Giovanni Bellini and Mantegna,
and in several instances copied from their designs. Impressions
of MOCETTO'S plates are rare, and no collection appears to contain
a complete series of them.

No. 1239. The Massacre of the Innocents.

King Herod, seated towards the right under a portico of
variegated marbles, directs the slaughter ; under the portico
several women. In the centre foreground a soldier kneeling,
profile to the left, slaying a seated baby. On the left a standing
soldier holds up a baby by its right arm. On the pedestal of one
of the supporting columns is the signature :

HEROL

EMO

MOCETo
P.

No. 1240. The Massacre of the Innocents.

A group of mothers, babies and soldiers. In the left foreground
a soldier advances, profile to the right, seizing a baby in its
mother's arms. In the centre, one kneels, profile to the right,
over a baby lying on the pavement. Two babies lie dead on the
right, a woman with long hair and up-thrown arms lamenting
over them. An arcade in perspective on the right ; an arched
doorway in the left background.

Both wood, in tempera, 26 in. h. by 17 in. w. (0'66 by 0'42).

This and No. 123!) were formerly in the Collections of Sir R. Strange,
Venice, and of Vicomte de Janze, Paris.-}- No. 1239 is engraved in
outline by D'Agincourt : Storia, delV Arte. &c. Tav.. CLXII.

Both were purchased from Dr. J. P. Richter in Florence in 1888.

(PiETRO FRANCESCO), 1612-1668.

Bolognese School. MOLA was born in or near MilanJ in 1612.
He went early with his father Gio. Battista Mola, an architect, to
Rome, where he studied painting under the Cavaliere d'Arpino.
He removed while still young to Venice, where he dwelt some
time ; but he afterwards returned to Rome, then visited Milan,
and subsequently Bologna, where he adopted the style of the
Bolognese painters, especially Albani. He settled finally in
Rome in the latter part of the pontificate of Innocent X., and

'Two of the best of Mocetto's engravings, Judith and her maid with the head of
Holophernes, and Bacchus seated b>/ a vine, are after designs by Mantegna. See
M. Georges Duplessis : Histoire de la Gravure, &c., p. 57, Paris, 1880. See also
Barclay Baron, Girolamo Mocetto, Verona, 1910.

t Emile Galichon in Gazette des Beaux Arts. 1859. P. LL, p. 332.

t Lanzi says Como ; in Goethe's Winckelmana und sein Jakrhundert, it is
stated that he was born at Coldre, in Italian Switzerland.

MOLA MOLENAER. 475

died there in 1668.* He had held the office of President of the
Academy of St. Luke, and had been invited to settle in Paris
as court-painter to Louis XIV. MOLA painted large and small
figures and landscape : in light and shade he was much influenced
by G-uercino. He etched some plates.

No. 69. St. John Preaching in the Wilderness.

The Saint kneels, profile to the left, in front of a tree in the
centre. His left foot advanced, his right hand spread over his
heart, his left arm extended behind him pointing to the right,
where the Christ appears in the middle distance. In the left
foreground a woman reclining and two turbanned figures.

Canvas, 2<>J in. h. by 26 in. w. (0'52 by 0'66).

Formerly in the Robit collection at Paris.

Holwell-Carr Bequest, 1831.

No. 160. The Repose.

The Holy family seated towards the left, three angels' heads
floating in cloud above Mary. Behind the figures large trees ; the
sky appearing in one slit between them. Landscape and sky to
the right, where is a shepherd tending his flock.

Canvas. 12 in. A. by 18 in. w. (0'30 by CK5).

Engraved by J. Ccelemans.

Formerly in the Orleans collection.

Farn borough Bequest, 1838.

IVIOLENAER (JAN MIENSE), 1605-1668.

School of Haarlem. MOLENAER was born, probably at Haarlem,
in 1605. His master has not been ascertained, but the influence
of Frans and Dirk Hals is obvious in his work. In July 1636 he
married at Heemstede near Haarlem the paiutress Judith Leyster ;
next year he settled in Amsterdam. The large family group in
the van Loon collection, Amsterdam, is signed by him and dated
1637. He seems to have been of a contentious cast. In 1644
Lievens was living with him in Amsterdam ; in* 1648 he had
bought a house at Heemstede, near Haarlem. He was buried
at Haarlem in 1668. The influence of Rembrandt is seen in
his work done after 1636, when he moved to Amsterdam.
Examples of MOLENAER'S earlier manner are the Spinet-players
in the State Museum at Amsterdam, the Itinerant Dentist in the
Brunswick Gallery, and the picture described below. Works
of later date 1650 to 1661 may be found in the galleries of The

t Passeri : Vite de 1 Plttorl, &c. Pascoli, a more modern writer, says 1666 ;

but Passeri, Hola's contemporary, is the better authority.

476 MOLENAEB MOMPER.

Hague, Berlin, Brussels, and Copenhagen. Very many are in
private possession, more particularly in Sweden. The subjects
are for the most part scenes from village life. JAN MOLENAER'S
ordinary signature is peculiar, being a monogram composed of
the letters J. M. R. ; but occasionally, the surname appears in
full.

No. 1293- Musical Pastime.

In a panelled room a young man and a young woman are seated
on chairs, singing ; he playing on a theorbo, she a cither. The
lady seated three quarters to the left, in the centre, rests her
unslippered right foot on a chauffrette ; a music-book lies open on
her knees ; beside her crouches a little dog. The man is seated
full face, his head tilted to the left, his left foot raised behind the
lady's skirt. In the right background a maid places a roast fowl
on the table ; against the table leans a viola da gamba, the neck
of which is covered by the man's plumed hat. A portrait of one
of the princes of Orange hangs on the wainscot behind. Signed
on the side of the chauffrette.

Canvas, 26 in. h. by 32 in. w. (0-66 by 0'82).

" Clarke Fund." Purchased from Messrs. P. and D. Colnaghi in
1889.

(Joos DE), 1564-1635.

Flemish School. JODOCUS or Joos DE MOMPER the younger
was born at Antwerp 1564, travelled in Italy and Switzerland
and entered the Antwerp Guild, 1581. as pupil of Bartholomaeus,
his father. In 1590 he married in Antwerp, and in 1611 was a
director of the Guild. He collaborated with H. van Balen, Jan
Brueghel, A. Francken, &c. and his son Philips de Momper often
worked on his pictures. Their joint pictures are very difficult to
distinguish. Joos DE MOMPER died in Antwerp, 1635. His
pictures, mainly mountainous landscapes are represented in
Amsterdam, Antwerp, Dresden, Munich and the Rudolfinium
Gallery, Prague. There is a certain interest in the suggestion
made by Wrightf that MOMPER, whose works were plentiful in
Rome, exercised an influence on Richard Wilson. This writer says
" Zunarelli and Vernet have both been mentioned as models in
Wilson's pursuit ; but I am of opinion he was more indebted to
MOMPER than to either."

The E must be taken to represent the final letter of the surname. Upon
the curious signature of the Brunswick picture, in which the painter has added
olenaer to the monogram, so that the whole reads JURolenaer see W. Bode,
Studicn zur Gesch. der Roll. Malerei, p. 199. See also the controversy on the
subject in Repertorium filr Kunstwissenschaft, VII., p. 215, p. 488, and VIII.,
p. 137.

t '!' Wright : Life of Richard Wilson, 1824.

MOMPER MONTAGNA. 477

BXOllXPXiR (ATTRIBUTED TO).

No. 1017. A hilly woody Landscape.

In the middle distance a village, a church on the left, a chateau
on the right. In the centre an avenue ; a formal garden on the
right with gardeners and two ladies walking. In the foreground
a road : three ladies playing on instruments to the right. Distant
mountainous landscape, greenish in tone. Trees shut in the
picture to the right and left. The figures in the foreground
almost chalky in tone; draperies canary yellow, lilac, grey and
red. The middle distance and foreground brown toned. The
landscape is attributed to MOMPER, the figures to Rubens.
Signed D. D. V., 1622."

Canvas, 55 in. h. by 71 in. w. (1'39 by 1'80).

Wynn Ellis Bequest, 1876.

IVTONTAONA (BARTOLOMEO), 1450?-1523.

School of Vicenza. The date of BARTOLOMEO MONTAGNA'S
birth is unknown. He probably was trained by Alvise Vivarini
and influenced more or less by Mantegua, Giovanni Bellini, and
Antonello da Messina. The first mention of him is in 1480, when
at Vicenza he witnessed a will. In 1482 he was commissioned to
paint two canvases, now lost, for the Albergo of the Scnola
Grande di San Marco, Venice. In 1484 he purchased part of a
house in Vicenza, there residing all his life, save for occasional
absences in neighbouring towns. His earliest known extant
picture is the Virgin and Child with SS. Sebastian and Roch, in
the Galleria Lochis, Bergamo, belonging to 1487. To 1481 is
given the Madonna and Child, (No. 1696), in this Collection,
ascribed to G. Bellini. Other works assigned to MONTAGNA'S early
phase are The Virgin and Child (Cbiesa del Castello in San Giovanni,
Ilarione) ; the little Madonna (Museo Civico, Belluno, and Butler
Collection, London), Madonna* at Verona and Bremen, the Virgin
and Child with SS. Francis and Bernard, in the Brera, the Virgin
and Child, No. 1098 in this Collection, the altar-piece in the Museo,
Vicenza, the Madonna and Child with SS. Monica and Mary, and
lastly the Virgin and Child with SS. Sebastian, Augustine, John
Baptist, and Bartholomew, also at Vicenza, signed " BARTHOLOMEUS
MONTANEA." To MONTAGNA'S middle period are given the San
Michele altar-piece, now in the Brera, dated 1499, the Madonna
enthroned, with four Saints, the Pietdin the Church of the Madonna
del Monte, and the Virgin and St. Joseph adoring, in the Church of
Orgiano, both of 1500. the Presentation in the Temple, at Vicenza,
the frescoes in the Capel'a Proto, in the Duomo, Vicenza, and the
Crucifixion in the monastery of Praglia. In 1504-1506 MONTAGNA
was in Verona, painting in the Capella di San Biagio, the frescoes

478 MONTAGNA.

of St. Blaise. In 1507, still in Verona, he painted the Virgin
enthroned between SS. Jerome and Sebastian, now in the Accademia,
Venice ; the same year he returned to Vicenza. Other pictures of
about this, his mature period, are the SS. John Baptist and Zeno,
Layard Collection, SS. Jerome and Paul, P"ldi-Pezzoli Museum,
Milan, the Christ bearing his Cross, Casa Franco, Vicenza, and
the Ecce Homo, Louvre. To his old age belong the St. Jerome,
Frizzoni Collection, Milan, the altar-piece in S. Maria in Vanzo,
Padua (in which features of Giorgionesqne landscape and feeling
are seen), the fresco of St. Anthony in the Scuola del Santo, Padua,
the altar-piece of Mary Magdalene in Sta. Corona, Vicenza, the
Madonna and Child with the infant St. John, Vicenza, Museo Civico,
dated 1520, and the Adoration of the Shepherds, with a lunette
and predella, in the Cathedral at Cologna Veneta, dated 1522.
BARTOLOMEO MONTAGNA died in Vicenza, 1523. His influence on
Cima is very marked. A very interesting portrait in the Altman
Collection, New York, is assigned to him.

See Tancred Borenius : The Painters of Vicenza, 1909.

No. 1098. The Virgin and Child.

The Virgin stands half length profile to the right, in the
centre. She prays over the sleeping Child who, seated on the
window sill in front, profile to the left, leans against the wall on
the right. The Virgin's hood is white, her tunic red, her mantle
greenish blue ; behind her a black hanging : the sky seen to left
and right. Gold brown tone.

Wood, 22| in. h. by 19| in. w. (0'57 by 0'50).

Purchased at Milan, from Signer Giuseppe Baslini in 1881.

See also No. 1696, under BELLINI. GIOVANNI.

ZVIONTAGNA, ATTRIBUTED TO.

No. 802. The Madonna and Child.

The Infant is seated full face in the centre on a book, that rests
on a marble parapet, holding a cherry. The Madonna stands
behind Him looking to the left front. Her right hand touches
His right thigh, her left, palm upwards, holds a cherry. Her tunic
is gold brocade, embroidered in red, her hood white and mantle
blue. An arch built in a rock in the left background, with a
church and other buildings on the margin of a lake, in the right.
Grey brown tone.

This work is ascribed by some critics to Giovanni Speranza, a
Vicentine painter contemporary with Montagna.

Dr. Borenius ascribes it to a nameless imitator of Montagna.

Wood, 25 in. h. by 21$ in. w. (O63 by 0'54).

Formerly in the collection of Count Carlo Castelbarco. Purchased at
Milan from Signer Giuseppe Baslini in 1869.

MOR. 479

IYIOR (ANTONIS), c. 1519-1576.

Dutch School. ANTONIO MORO, or ANTONIS MOR, born c. 1512-
1519 at Utrecht, was a pupil of Jan van Scorel, after that painter
had become Italianized. An early portrait of MORO'S, daterl 1538,
at Stockholm, suggests also Jcost van Cleef's influence. In the
Kunstliefde Museum, Utrecht, is a portrait of Five Members of
the Order of St. John of Jerusalem signed and dated 1541, and at
Berlin Two Canons of Utrecht, dated 1544, intimately connected
with Scorel. According to Van Mander, MORO went early to
Rome. In 1547 he was admitted to the Guild in Utrecht. His
first great patron was Cardinal Granvelle, who came to Brussels
in 1548, with the artist in his train ; at this time MORO had as
assistants Conrad Schot, Jan Maes and as pupil Alonso Coello ; a
portrait of Granvelle at this date is in Vienna. To this date too
belongs the Philip II. at Buckingham Palace. In 1550 MORO
was again in Rome in Granvelle's service, copying Titian's Dande
for him. Thence he was ordered by Mary of Hungary to go to
Madrid, and on to Lisbon to paint the Portuguese Kind's sister,
Dona Maria. Returning to Madrid he became Court painter to the
Hapsburg House. At about this time he painted Maximilian of
Bohemia, his wife Mary of Austria and Juana, wife of Prince John
of Portugal (both now in the Prado). For a year or two MORO
passed about between Rome, Genoa, and Madrid, and in 1553 was
sent by Mary of Hungary to England to paint Queen Mary, now
in the Prado. MORO remained perhaps a year in England, return-
ing to the Netherlands with Mary's portrait. To this period
probably belong the William of Orange, at Cassel and the Hague,
the Alva in Brussels, and the Huntingdon Collection in New
York, Philip II., Alary of Hungary, Mary of Parma, and her
son Alessandro Farnese, in the P.irma Gallery. MORO was now
constantly employed by Philip II. though his home seems to have
been in Utrecht. In 1560 ne painted Jan van Scorel (now at
the Society of Antiquaries, London). At Utrecht, Brussels or
Antwerp MORO found a new patron in Margaret of Parma, whose
portrait by him is in Be>lin. In his last period were painted
Elizabeth of Valois (Bischoffsheim Collection) and Anne of
Austria (Vienna), and Hubert Goltzius in the Brussels Gallery.
He died, 1576, in Antwerp. Other fine portraits by MOKO are the
Peregon the Jester in the Prado, at Cassel the Johann Gallus and
his Wife, and the Gresham in the National Portrait Gallery.

See Henri Hymans : Antonio Moro, 1910. Also L. Cust : The
Burlington Magazine, xci, Vol. XVIII.

No. 1231. Portrait of a Man.

Bust length, three-quarters to the right ; the eyes turned to
left front. Dressed in a black satin doublet, with a high collar
encircling the throat, disclosing the edge of a white frill above.
The dark brown hair of the head is short and bushy. The
forked beard and moustaches are the lighter. Greenish-grey

480 MOR MORALES.

background. Flesh tone clear and warm. According to Hymans,
painted about 1575.

Wood. 18J in. h. by 15 in. w. (0'46 by 0'38).

Purchased in London, out of the " Walker Bequest " in 1887.

MOR, ASCRIBED TO.
No. 1094. Portrait of a Man.

Bust length, three-quarters to the right ; the eyes to the front.
Dressed in a black doublet, a pierced linen collar and a round flat
cap. His hair and beard are brown. Dark background. The
flesh tone clear and warm.

Frans Pourbus the Elder has been suggested by Dr. Friedlander,
as the painter.

Wood, 23j in. h. by 19 in. w. (0'59 by 0'48).

Presented by the Trustees of the British Museum in 1880.

1VEORALES (Luis DE), c. 1509-1586.

Spanish School. MORALES, called in Spain " The Divine was
born about 1509 in Badajos. Who was his teacher is not known ;
a certain Flemish influence is mingled with the marked individuality
of his style. The first years of his life were spent in obscurity in
Estremadura, painting mournfully dramatic religious pieces
inspired by genuine emotion. In 1564 he was sent for by Philip II.,
to work in the Escorial. In a time of Italianate predominance he
made no mark, painting but one picture, a Calvary given by Philip
to the Jeronymite Convent at Madrid, and returning to Badajos.
During his sojourn in Madrid he picked up the affectations of the
Italian decadence. He worked in obscurity and poverty until his
death, in 1586. Many of his best works are in small churches in
Estremadura ; sixteen are at Arroyo del Puerco. Six are in the
Royal Gallery, Madrid, the best being The Presentation ; at
Evora, in Portugal is a Crucifixion. The Louvre, the Hermitage
and Dresden have examples.

See C. G. Hartley : Spanish Painting, 1904.

No. 1229. The Virgin and Child.

Small figures, half length. The Virgin seated at half length,
three-quarters to the left, looks down upon the Infant Saviour
whom she holds. He looks upwards at her, thrusting His right
hand into the bosom of her dress, and with His left plays with

MORALES MOBANDO. 481

her hood. Her dress is orange terra cotta, her mantle a metallic
greenish blue. Blonde, grey tone.

Wood, 10 in. A. by 7| in. w. (0'26 by 0'19).

Presented by Mr. S. H. de Zoete in 1887.

MORANDO (PAOLO), 1486-1522.

School of Verona. MORANDO, usually known as Cavazzola, was
born at Verona, 1486, and studied under Domenico Morone. Thus
he was influenced by Domenico's son Francesco and Girolamo dai
Libri. His earliest dated work appears to be the the Madonna in
the Cagnola Collection at Gazzada, Varese, dated 1508. An
Annunciation in SS. Nazzaro e Celso, Verona, ia dated 1510-1511 ;
the Madonna with the infant Baptist, Royal Collection, Berlin, 1514.
Influences on Cavazzola later than those of the Morone School
came from Giolfino and Caroto, pupils of Liberale, and from Raphael.
The St. Rock in this Collection is dated 1518, a Deposition at
Verona 1517 ; the Madonna and an Angel at Frankfort 1519, and
the Vision of the Virgin at Verona 1522. That year, aged but
thirty-six, MORANDO died in Verona, as recorded in the Register of
the Confraternity to which he belonged. Many more of his
pictures are in Verona, and others are at Milan. The landscape
in his Verona Deposition has been described as anticipating
Canaletto.

See Berenson : North Italian Painters, 1907. Crowe and
Cavalcasele, North Italy 1912. II, 205, et seq.

No. 735. St. Much with the Angel.

The Saint, standing at full-length looking dp to the left. He
is baring his right thigh to show the plague spot to an angel
above him in the left corner ; below the angel are his staff and
hat. Behind the saint against the green blue sky an oak ; by his
right foot, which rests on a low rock, a rose. A dog's head and
shoulders in the right corner. The Saint's tunic is orange terra
cotta, blue lined ; his mantle grape black. The flesh golden
brown, and greenish in the tones. Signed " PAULDS MORADUS.
V.P." (Veronensis Pictor), and formerly dated MDXVIII ; the last
five figures have been obliterated.

PAVLVS 1
MORADVS

Canvas, 61* in. k. by 21$ in. w. (1-56 by 0'54)
17983 2 H

482 MORANDO MORETTO DA BRESCIA.

Formerly over the Cagnoli altar in the church of Santa Maria della
Scala ; subsequently in the Caldana Gallery, at Verona. Purchased
from Dr. Cesare Bernasconi in 1864.

No. 777. The Madonna and Child, with St. John the
Baptist and an Angel, in a Landscape.

The Virgin is seated towards the left, three-quarters to the
right, three-quarters length. The Child, partly standing, partly
sitting on her left hand, faces the right front, where, three-
quarters to the left, St. John stands holding a lemon in his right
hand. On the left, behind the Virgin, an angel playing with her
hood, which is lavender grey, her tunic rose carmine, her mantle
clear blue, lined with deep orange. The angel and St. John
are dressed in green. Clear metallic tone ; the flesh greyish
brown. Signed PAULUS V P.

Canvas, 30 in. h. by 26 in. w. (0'76 by 0'66).

Purchased at Verona, from the Count Ludovico Portalupi in 1867.

MORETTO DA BRESCIA, 1498-1555.

School of Brescia. ALESSANDRO BONVICINO, called MORETTO
DA BRESCIA was born at Brescia in 1498, and became pupil and
assistant to Ferramola. Later he was influenced by Savoldo,
Romanino, Titian and Raphael (probably through engravings in
the last instance). At his best MORETTO is the greatest provincial
painter in Northern Italy of his time and even in competition
with the lesser Venetians, such as Bordone or Bonifazio, he holds
his own. He produced both religious pieces and portraits. In
1518 he painted Christ with the Cross, at Bergamo. In 1521 he
was working with Romanino in S. Giovanni, Brescia, painting the
Mannah, Elijah, Last Supper, and Prophets frescoes. His
Ascension in the Duomo, Brescia, is dated 1526. In 1529 he was
active in Bergamo again, but for the most part was occupied in
Brescia, where is a great number of his paintings. The portrait
in this Gallery belongs to 1526 ; the S.S. Margaret, Francis and
Jerome in S. Francesco, Brescia, to 1530. In 1540-41 he was in
Milan and Verona ; his Madonna with S.S. Cecily, Agnes, Barbara
and Lucy, S. Giorgio in Braida, Verona, is dated 1540 ; the
Glorification of S.S. Mary and Elizabeth, Berlin, 1541 ; the
Madonna with St. Francis in the Galleria Martinengo, Brescia.
1542. Later pictures are the Christ in the House of Levi, in
S. Maria delta Pieta, Venice, dated 1542, and the Deposition of
1554, lately in ths Weber Collection, Hamburg. MORETTO left
many works : he died in December, 1554. At Budapest, Cassel,
the Louvre, Frankfurt and St. Petersburg he may be studied.
His pupil was Moroni, the great portrait painter.

MORETTO DA BRESCIA. 483

No. 299. Portrait of Conte Sciarra Martinengo

Cesar esco.

Seated at three-quarters length, three-quarters to the left, leaning
his head upon his right hand. On the cap is a label inscribed
lor AIAN noeo ; his elbow on two old rose cushions. Behind
a Genoese hanging gold brocaded ; a grey pillar to the right.
The quilted doublet is dark beetle green ; over the shoulders an
ermine stole.* Grey tone.

Canvas, 44 in. h. by 37 in. w. (1-12 by 0'98).

Formerly in the collection of Count Lechi, at Brescia, attributed t<>
Moroni. Thence it passed into the possession of. Mr. Henfrey, at
Turin, from whom it was purchased in 1858.

No. 625. St. Bernardine, of Siena. .

With SS. Jerome, Joseph, Francis and Nicholas of Bari ; the
Virgin and Child, with SS. Catherine and Clara, in the clouds
above. St. Bernardine in dove grey stands full length in the
centre, full figure to the front, his head three quarters to the
right. He holds up in his right hand a disk containing the mono-
gram I.H.S. ; in his left an open book, inscribed " Pater mani-
festavi nomen tuum hominibus ; " at his feet three mitres, with
the names of the three cities of which he refused the bishoprics
Urbino, Siena, and Ferrara. On the right St. Francis, in grey,
kneeling, St. Nicholas of Bari standing profile to the left ; on the
left St. Joseph, in dark blue-green and dull gold, kneeling, looking
up, his chin on his right hand, and St. Jerome standing, turning
to the left in abstraction, and reading from a book. Above, the
Virgin and Child seated with St. Catherine on the left, St. Clara
on the right, kneeling. Low greyish tone.

Canvas, 139 in. h. by 90 in. w. (3'52 by 2-28).

Formerly in the possession of Dr. Faccioli at Verona, from whom it
passed in 1852 into the collection of Lord Northwick. Bought at the
sale of the Northwick pictures in 1859.

No. 1025. Portrait of an Italian Nobleman.

A portrait of one of the Fenaroli family. Full length. stand-
ing, the head inclining to the left. The right arm rests upon a
pedestal ; the left hand, ungloved, upon the sword-hilt. The
doublet is rich sienna, the sleeves slashed ; a black damask mantle
and vari-coloured hose, one leg brown, the other black. On
the dull vermilion cap a medallion in gold and enamel, with St.
Christopher bearing the Infant. Pillars on the left, on the

'See an article by Mr. W. Fred Dickes in the " Athenwum " of June 3rd
1893. where the writer suggested that the sitter was Giacomo di fL-men^o: a
theory rendered untenable by evidence courteously afforded by the Conte
Martinengo Cesaresco.

17983 * H 2

484 MORETTO DA BRESCIA.

right a hill against a limpid blue sky. Clear grey tone. Dated
below MDXXXVL

Canvas, 78 in. Jt. by 35 in. j. (1-98 by 0'88).

Formerly in the Casa Fenaroli at Brescia. Purchased with three other
portraits from the same palace, from Signor Giuseppe Baslini, at Milan,
in 1876.

No. 1165. The Virgin and Child, with Two Saints.

On the left St. Hippolytus, in red hose, a grey-lilac lunic and
cloak and steel breast-plate, stands full length three-quarters to
the right with face upturned ; a palm branch in his right hand.
On the right St. Catherine full face, a coronet on her head,
a palm branch in her right hand, and her sword hilt in the left ;
her left foot is on the broken wheel. Her tunic is dull orange, her
mantle greenish blue shott with red lilac. Landscape background,
a castle and a bridge in the centre. Between the saints a broken
marble plinth, inscribed :

M'EBRIS

VOLVERVNT

NE VINCVLIS

DIVELLERETVR

^ETERNIS

Above, sitting on clouds, the Virgin bends over the Infant Christ,
whom she folds in her arms. Dark grey tone.

Canvas, with an arched top, 90J in. h. by 52f in. w. (2-29 by 1'33).

Presented by Mr. Francis T. Palgrave, in 1884.

No. 2090. An Angel.

Walking profile to the left, the right leg advanced, the hands
raised and joined, against a sky golden on the horizon, blue in the
zenith. He wears a long white robe, a dull cloth-of-gold mantle,
and a wreath of roses. He stands on a parapet inscribed " Coe-
loram." Grey milky tone.

Wood, 591 in. h. by 20J in. w. (1-51 by 0'52).

John Samuel Collection. 1906.

No. 2091. An Angel.

Advancing in profile to the right, the right leg forward. Corre-
sponding with No. 2090 in colour and arrangement. He stands on
a parapet inscribed " Ave Regina."

Wood. 59i in. h. by 20J in. w. (1-51 by 0'52).

John Samuel Collection. 1Q06.

MORETTO DA BRESCIA-MORLAND. 485

No. 2092. Saint Joseph.

The saint stands three-quarters to the right on a parapet
inscribed with his name. He holds in his right hand the blossom-
ing rod which proved him the chosen suitor of the Virgin, in his
left a shut book. His tunic is deep green, his mantle dull gold
brown. Landscape horizon ; grey blue sky. Brown grey tone.

Wood, r>9 in Jt. by 20J in. w. (1-51 by OM2).

John Samuel Collection, 1906.

No. 2093. Saint Jerome.

The saint stands on a parapet inscribed with his name, slightly
turned to the left front. He wears his Cardinal's hat and robes,
and holds a book open in his gloved hands.

Wood, 59J in. //. by 20J in. u\ (1'51 by 0-52).

John Samuel Collection, 1906.

MORZiAND (GEORGE), 1763-1804.

English School. George Morland was a son of Henry Robert
Morland, his mother apparently being a French woman. Although
George Morland was instructed in his art by his father, he was
especially influenced by George Stubbs, the best animal painter of
the day. In 1773 he exhibited at the Royal Academy for the first
time, and between that date and 1804 he contributed thirty-nine
works. In 1791 he exhibited The Inside of a Stable (No. 1030), in
this Gallery, usually considered his masterpiece. George, like his
father, was continually in financial difficulties. He was incessantly
pursued by his creditors and often compelled to change his address.
On September 22nd. 1786, he married Ann Ward, the sister of
William Ward, the artist. He exhibited frequently at the Society
of Artists between 1777 and 1782. His subjects were generally
animals, or of a domestic nature, and all his pictures are executed
with extreme facility. Morland. died October 29, 1804, in a
spunging-house in Eyre Street, Coldbath Fields, in his forty-second
year, his death being hastened by dissipation, his wife surviving
him four days. He was buried in the grounds of St. James'
Chapel, Hampstead Road. Portraits of him by Rowlandson are in
the Print Room (Brit. Mus.).

No. 1030. The Inside of a Stable.

The picture has also been called " The Farmer's Stable."

Two horses and a pony are being led by a youth into a stable.

To the left a man is stooping and gathering together some straw.

In the right foreground are a pitchfork and a wheel-barrow. The

stable is said to be that of the White Lion Inn at Paddington.
Canvas, 53 in. h, by 79J in. w. (1'44 by 2/01),

486 MORLAND.

Engraved by William Ward in 1792. Exhibited at the Royal
Academy, 1791 (No. 58).

Formerly in the Collection of the Rev. Sir Henry Bate Dudley, Bart.,
and his nephew. Mr. Thomas Birch Wolfe, by whom it was presented
in 1877.

No. 1067. A Quarry with Peasants.

Broken ground, with a high gravelly bank studded with scrub.
In the further foreground some labourers are at their noonday
meal. Near them is a range of baskets. In the distance, some
blue hills. Above, a summer sky, with soft white clouds.

Wood, 7 in. h. by 9 in. w. (017 by 0'22).

Formerly in the Collection of Mr. Jesse Curling, 1856. Purchased
at the sale of Mr. J. H. Anderdon's pictures. May 31st, 1879 (No. 186).

No. 1351. Door of a Village Inn.

On the right of the picture are two thatched cottages partly
enclosed by a wall and overshadowed by trees. From one of
them a peasant woman has just issued, bringing a mug of ale to
a farmer mounted on a white pony and attended by a dog. At
the door of the larger cottage are two children. On the left
hand are rocks and brushwood, near which a boy stands ap-
parently kindling a fire, while a terrier sits at his feet. In the
distance are meadows with hills beyond, illumined by the glow
of sunset. Signed " G. Morland pinxt."

Canvas, 41 in. h. by 49 in. w. (1-04 by 1'24).
Bequeathed by Sir Oscar M. P. Clayton, C.B., in 1892.

No. 1497. RdbUting.

A rural landscape. On the left of the foreground a youug man,
kneeling, holds back a sporting dog, which is eagerly watching
rabbit holes on an adjacent bank. Near him is seated a farmer clad
in a drab-coloured coat and red waistcoat, and close behind the
farmer stands a woman with a little girl. On the top of the rabbit
warren rises a thickly wooded knoll. In the middle distance are
arm buildings, with open country beyond. Signed and dated 1792.

Canvas, 34 in. h. by 46 in. w. (0'86 by 1-16). .

Bequeathed by Mr. Joseph Travers Smith in 1897.

No. 2056. The Fortune Tetter,

Three ladies and a young officer are grouped round a card-table
in a small room hung with green. The two younger kdies, who
occupy the middle of the picture, are dressed in white with pink
and blue sashes. One of them is telling a fortune and turning to
the officer, who is dressed in a scarlet coat and white breeches.
The third lady seated on the right is in outdoor costume, and

MORLAND. 487

wears a black plumed hat and a white mantle trimmed with far
On the wall two landscapes painted in Morland's manner.

Canvas, 18 in. h. by 21 in. w. (0'45 by 0*53).

Bequeathed by Mrs. Behrend in 1906.

No. 2639. Outside the Ale-house Door.

A peasant sitting on a bench by the door of an ale-house
on the table before him he holds a jug of ale in his left hand.
On the far side of the table stands another peasant who is talking
to him.

Canvas, 13| in. h. by 10f in. to. (0-35 by 0-27).
George Salting Bequest, 1910.

No. 2640. Cowherd and Milkmaid.

A farm-yard scene. A pig and a white cow lying down are in
the foreground. A man in a red jacket is leaning on a cow which
stands by the farm buildings. A milk-maid carrying a pail is
coming through a gate. Signed, " G. Morland, pinxt., 1792."

Canvas, 20 in. h. by 26 in. to. (0-50 by 0-66).

Exhibited at Burlington House (Old Masters), 1873 (No. 7).

George Salting Bequest, 1910.

No. 2641. Roadside Inn.

Two men on horseback are riding past the sign of the inn on the
left. An ostler is leading a horse under some trees to the right.
In the foreground a man is lying asleep by the side of a woman
and children. Signed " G. Morland, 1790."

Canvas, 19| in. h. by 26 in. w. (0'50 by 0-66).

George Salting Bequest, 1910.

MORLAND (HENRY ROBERT), 1730?-1797.

English School. Henry Robert Morland, the father of George
Morland, was born about 1730. He was a portrait painter in
crayons, and an engraver in mezzotint, as well as a picture dealer
and restorer. He was the son of George Henry Morland, who was
also an artist. About 1760 he executed a portrait of George III.,
which was engraved by Houston, and another of Garrick, in the
character of Richard III., which is in the Garrick Club. At one
time he lived in the house in Leicester Fields which was occupied
by Sir Joshua Reynolds from 1760. His career was often
clouded by financial difficulties. Between 1771 and 1792 he
contributed a few pictures to the Royal Academy's exhibitions,
and exhibited frequently at the Society of Artists and the Free

488 MORLAND MORONE.

Society. His reputation as a painter was far surpassed by that of
his son George. He died in London on Nov. 30th, 1797.

No. 1402. The Laundry Maid.

She wears a small cap and white dress figured with coloured
sprigs, a low-cut bodice and short sleeves. Round her throat is
a narrow necklet of black velvet. She is washing linen in a
basin placed before her. Half-length figure, rather less than
life-size. Grey background.

Canvas, 29 J in. A. by 24 J in. w. (0'74 by 0'61).

Formerly in the Collection of the fourth Earl of Mansfield.
Purchased, with No. 1403, from Messrs. P. & D. Colnaghi, in 1894.

No. 1403. The Laundry Maid.

She wears a white dress delicately figured with pink sprigs, a
low-cut bodice and short sleeves. Her hair is drawn back from
her forehead under a small muslin cap encircled by a blue ribbon.
She sits at a table, ironing. Half-length figure, rather less than
life-size.

Canvas, 29J in. A. by 24J in. w. (0'74 by 0'61).

There is, apparently, no historical foundation for the tradition that
the beautiful Misses Gunning sat to Morland for pictures of this kind.

A somewhat similar picture, which formerly passed under the mis-
leading title of " The Countess of Coventry," is in the collection of
Mr. J. Pierpont Morgan.*

Formerly in the Collection of the fourth Earl of Mansfield.
Purchased, with No. 1402, from Messrs. P. & D. Colnaghi, in 1894.

MORONE (DoMENico), 1442-after 1503.

School of Verona. Very little is known of MORONE'S life or
early work. He was born at Verona, the son of a tanner,
is said to have studied under Benaglio, and the influence of
Mantegna and G. Bellini is seen in his work. His most important
existing painting is the Battle of the Gonzaga, signed and dated
(1494), in the Crespi Collection, Milan. Earlier are placed a
Madonna in the Correr Museum, Venice, a Madonna at Lovere,
a Holy Family in the Lindenau Museum, Altenburg, and
the Portrait of an Elderly Man in the Layard Collection.
At Berlin is a small Madonna signed and dated 1483. In
1503 MORONE was commissioned to paint the library of the
Convent of S. Bernardino, Verona, and in 1508 frescoes in Sta.
Maria in Organo. He was head of the School in which Morando,

* See " Pictures in the Collection of J/r. J. Pierpont Morgan" by T. Hum-
phry Ward and W. Roberts, privately printed, 1907.

MORONE. 489

Francesco Morone and Girolamo dai Libri were trained. His
death date is unknown.

See Berenson : North Italian Painters.

No. 1211. Scene at a Tournament.

In the foreground the tilting lists. A knight, on a white horse
behind the dividing barrier, falls, while the victor, on this side,
gallops across to the right brandishing his broken lance. On the
right another horse is disappearing. On the left, behind the
barrier, a white horse is rearing. Groups of mounted squires and
spectators are beyond the barrier. In the centre, behind and
above these, a young prince seated, surrounded by courtiers,
under a high canopy, topped by a red banner with a black
eagle. On each side of the throne a bank of flowering turf.
Ladies are seated under a gay awning. Further behind is seen an
unfinished building with its scaffolding ; in the distance blue
hills.

No. 1212. Scene at a Tournament.

In the centre background the prince stands with a richly-
dressed lady, a young man stands on his right addressing him.
The flowery bank on each side is now the scene of a dance
performed by the ladies and young men. Two youths, one
on a ladder, ascend to join them ; a third is vaulting the
barrier. Behind the barrier, to the left, a knight in golden
armour, but bare-headed, rides off on a white horse flourishing
his sword. In front two mounted horses : the bay facing the
front, the white the barrier. On the left a page on foot taking
a helmet from the cavalier. Each of these compositions is
enclosed in a rich arabesque border, both probably were part of
the front of a cassone or wedding-chest.

Wood, each 17 in. h. by 18| in. w. (0'44 by 0'47).

Walker Fund. Purchased from Dr. J. P. Richter in 1886.

MOBONE (FRANCESCO), 1470?-1529.

School of Verona. FRANCESCO DI DOMENICO was the son and
scholar of Domenico Morone and born in Verona 1470-73. He
has been called the severest of his father's pupils, in comparison
with Morando and Girolamo dai Libri. His Crucifixion at San
Bernardino in Verona has been described as "among the most
inspired renderings of the sublime theme." Mantegna and
Gentile Bellini both influenced him. He is copiously represented
in Verona : the Crucifixion in S. Bernardino is dated 1498 ;
the busts of St. Franci* and St. Bartholomew in the Museo
Civico belong to the same year ; the Madonna with SS. Nicholas

490 MORONE MORONI.

and Zena in the Brera, Milan, is of 1502 (?) ; the Madonna
and Saints in S. Maria in Organo, Verona, 1503 ; the frescoes
of The Eternal and SS. Matthew, Mark, and Joshua in S. Chiara,
Verona, 1509. Later works are the fresco Madonna and Saints,
1515, Museo, Verona ; the Magdalen and St. Catharine in the
Church at Marcellise, near Verona, 1515, and the Madonna
with SS. Elizabeth and James in S. Fermo, Verona, 1523.
The Kaiser Friedrich Museum has a Madonna and Child and a
Madonna Enthroned between Saints. MORONE died at Verona, 1529.
See Berenson : North Italian Painters.

No. 285. Madonna and Child.

The Virgin seated, full-face, three-quarters length, clasping the
Child to her bosom. His head is against her chin, looking to the
left front. His left hand is laid on her neck ; in His right He
holds an apple between her breasts. His shirt is orange, her tunic
rose, her mantle laurel green. Behind, on the left, a vermilion
curtain on a rod, extending half across the picture : a town upon
a rock in the right distance. Flesh tone gold-grey.

Wood, 24 in. h. by 17 in. M\ (0-61 by 0-43).

This picture, while in the Galvagna Collection, was attributed to
Pellegrino da San Daniele. It lias also been given to Girolamo dai
Libri. Purchased from Baron Galvagna in Venice in 1855.

MORONI (GIAMBATTISTA), 1520-251578.

School of Brescia. MORONI, sometimes spelled MORONE, was
born at Bondo in Bergamo. He studied under Moretto at Brescia
and was influenced by Lotto. MORONI painted several religious
subjects, poor reflections of his master. He must be judged as
a portrait painter, and even thus does not rank with Moretto at
his best. MORONI considerably influenced Van Dyck. MORONI
resided mainly at Bergamo, where his works are still numerous.
In England are many of his best portraits ; the Tailor in this
Collection being regarded as one of them. Titian is reported
to have advised the Bergamask nobility who came to him to go
to their countryman for a true portrait. Dated works by MORONI
are A Man Seated, Johnson Collection, Philadelphia, 1545 ; A
Young Man, Berlin, 1553 ; full-length Portrait of a Man, Ambro-
siana, Milan, 1554 ; Portrait of an Abbess, Davis Collection,
Newport, U.S.A., 1557 ; A Man, Galleria Tosio, Brescia, 1560 ;
Antonio Navagero, Brera, 1565 ; Paulus Cedrellus, Bergamo, 1576 ;
and Madonna with Saints, Fino del Monte, 1577 ; GIAMBATTISTA
MORONI died at Bergamo on the 5th of February 1578.

See Berenson : North Italian Painters, 1907.

MORONI. 491

No. 697. TJtfl Portrait of a Tailor.

Known as the Tagliapanni in a silvery cream doublet and red
trunk hose, standing behind his board at half-length, three-
quarters to the right ; his shears in hia right hand, a piece of
black cloth in the left. Greenish grey tone.

Canvas, 38 in. h. by 29$ in. w. (0-97 by 0'74).

Formerly in the Grimani Palace at Venice. Purchased at Bergamo
from Sig. Federigo Frizzoni de Sails in 1862.

No. 742. Portrait of a Lawyer.

Half-length, three-quarters to the left. He wears a black cap
and black velvet suit, with white frill and wrist bands ; in his
right hand a letter ; his left rests on his belt. Dull grey back-
ground ; flesh tone golden brown.

Canvas, 34 in. h. by 27 in. w. (0-86 by 0'69).

Formerly in the Pourtales collection. Purchased in Paris from M.
Ch. Edmond de Pourtales in 1865.

No. 1022. Portrait of an Italian Nobleman.

Probably a member of the Fenaroli family of Brescia. Full-
length, standing profile to the right, the head slightly to the
front. The left leg advanced ; the left arm resting on a plumed
helmet which bears the device of a red sun on the right ; the right
hand by the sword hilt. He wears a buff jerkin over chain mail,
with black sleeves and hose, and a black cap with silvery plumes.
His left foot is attached by a kind of stirrup and black cord to a
band above the knee. Pieces of plate-armour to left and right
on the pavement. Cool grey tone, marble background, sky in the
left corner light grey.

Canvas, 79 in. h. by 41 in. w. (2-00 by 1'04).

No. 1O23. Portrait of an Italian Lady.

Perhaps the wife of the above. Seated, nearly full-face, full-
length, in an arm chair, wearing an under-dress of gold tissue,
over which is a robe of rose orange satin. In her left hand a fan
resting on her knee. The figure is seen against a light grey wall,
and a pavement of inlaid marbles. Warm flesh tone.

Canvas, 59 in. h. by 41 in. in. (1-49 by 1*04).

From the Fenaroli collection at Brescia.

No. 1024. Portrait of Canon LudovicQ di lerzi.

He holds in his left hand a letter addressed to himself. Al
molto R ln . M. Lud. di Terzi, Can, di B'gomo Dig". e,t Proth".
Ape". Sig r , Min Os8w mn . B'goinn. Full half-length, three-quarters to
the right, standing. He wears a black beretta and gown ; in his

492 MORONI MOFOHEROX.

right hand, on his hip, a roll of parchment. Above to the right a
glimpse of sky, a weed against it ; the general tone of the picture
is light ; the dress is black.

On canvas, 39 in. h. by 31 J in. to. (0.99 by 0'80).

With Nos. 1022, 1023 bought from Signer Giuseppe Baslini, Milan,
in 1876.

No. 1316. Portrait of an Italian Nobleman.

Full-length figure, profile to the left, the head three-quarters
face. Clad in a black jerkin, worn over a shirt of mail ; black
trunk hose, stockings and shoes. He stands close to a wall,
placing his right hand upon a steel helmet resting on a truncated
marble column ; his left hand touches his sword hilt. The hair
is dark and cropped ; the beard and moustaches are light brown,
short and bushy. Sky in the top left corner. Red flesh tone.
Canvas, 72 in. h. by 39 in. w. (1'82 by
Purchased from the Longford Castle Collection in 1890

No. 2094. n Cavaliere.

This picture has also been called II Gentile Cavaliere. Half-
length, standing, facing slightly to the left front, dressed in black
ornamented with gold braid. He wears a black cap and feather
with a silver -lace band. In his right hand a piece of paper ; his
left rests on a book behind him on the right. Dark brown -grey
background ; brown gold flesh tone.

Canvas, 38 in. h. by 31 in. w. (0'98 by 0'78) :

A repetition, bust length, was in the Cte. Bassi's -Sale (No. 34).
Milan, 9 November, 1898.

John Samuel Collection, 1906.

1VIOUCHERON (FREDERIC DE), 1633-4-1686.

Dutch School. MOUCHEROX was born at Emden of an Antwerp
family. He was the scholar of J. Asselyn at Amsterdam, studied
some time in Paris, later worked in Antwerp, and settled at
Amsterdam, where he married in 1659, and where his son Isaac,
also a painter, was born in 1670. MOUCHERON painted Italian
landscapes in the style of Both, without having visited Italy, the
accessory figure" being sometimes pat in by Lingelbach, N. Berchem,
and A. Van de Velde. In 1678 he finished a picture by W. Shel-
links. He was buried at Amsterdam, January 5th, 1686. Pictures
by MOUCHERON are at Amsterdam, Brussels, Cassel, Frankfurt, St.
Petersburg, and Vienna.

No. 842. A Garden Scene, bounded by trees.

On the right some figures seated and standing by a trough
from which a dog drinks ; beyond them a fountain ornamented with

MOUCHEBON MURILLO. 493

statues and backed by poplars. A poplar and two birches on the
extreme left. In the middle distance to the left, figures in the
centre, near a jetting fountain ; beyond is a balustrade, and a view
of the open country. Low toned ; clayey green colour. Signed
Jfoucheron, f. The figures are assribed to Adrian Van de Velde.

Canvas, 28 in. h. by 36 in. w. (0'72 by 0'91).

Purchased with the Peel Collection in 1871.

No. 1352. Landscape with Ruins and Figures.

On the left three columns support part of the entablature of a
ruined temple ; a mass of masonry lies at their base. In the
middle distance poplar trees ; a far distance on the right. In
the foreground towards the left peasants and cattle. White clouds
in the blue sky. Dark brownish tone.

Signed :

F DF

Canvas, 27 in. h. by 25 in. w. (0'6y by 0'63).
Bequeathed by Mr. Richard W. Cooper, in 1892.

MURILLO (BARTOLOME ESTEBAN), 1617-1682.

School of Seville. MURILLO, the most popular Spanish painter,
was born of the labouring class in Seville. His teacher was Juan
del Castillo. When about twenty-three he took to painting
independently, turning out popular pieces to sell in the weekly
fair held in the poor quarter of Seville. Till 1642 he was
thus employed, to the permanent weakening of his art. Then he
went to Madrid to Velazquez, who, taking an interest in his
enthusiasm, lodged him and got him access to the Royal Collection.
Here he copied Velazquez, Ribera, and Van Dyck, especially
attracted by the soft lighting of the last. In 1644, though advised
by Velazquez to go to Italy, he returned home, immediately
acquiring a great reputation. His earliest work was a series of the
Life of St. Francis, of which only two remain in Spain. Several
examples of his work of this period are in Madrid, such as The
Holy Family (known as The Little Bird), The Adoration of the
Shepherds, and Rebecca and E leaser ; the San Ildefluso, the San
Bernardo, and the San Jeronimo, all in the Prado, and of this
period, reflect Velazquez's and Ribera's influence. His well-known
Beggar Boys in this Collection, in the Louvre, the Hermitage, and at
Munich belong to about this time, and The Vition of St. Anthony
of Padua at Seville and in St. Petersburg. From 1652 onwards he
produced his pictures of The Immaculate Conception and The

494 MDRILLO.

Assumption, which exist in many galleries, and his renderings of
1 he Holy Children, as, for instance, The Baptist loith a Lamb and
the Los Nirios de la Concha in the Prado. In 1660 MURILLO
established an academy in Seville, where he always lived. His
later work is typified in the series illustrating Our Lady of the Snow,
of which two are in the Academia, Madrid The Dream and The
Fulfilment ; the series painted soon after 1670 for La Caridad
Hospital, where three yet remain Moses and the Rock, Tfte
Loaves and Fishes, and The Charity of St. John. The remainder,
with many more of MURILLO'S pictures, were taken from Spain by
the French ; one, St. Elizabeth and the Leprous Child, has been
recovered, and is in the Prado. From 1674 to 1680 MDRILLO was
painting a series for the Capuchin Convent ; seventeen of these
are in the Gallery, Seville, where he can best be studied. In 1681
he went to Cadiz to paint an altar-piece for the Capuchins. He
fell from the scaffolding and received injuries from which he died
in 1682. He was buried with every honour in the Church of Sta
Cruz. MURILLO i esteemed more for his portraits than his
subject pictures.
See G. G. Hartley : Spanish Painting, 1904.

No. 13. The Holy Family.

The Child stands in the centre on a stone, full-face, looking
upwards to the right front. His gown is pale rose golden. The
Virgin kneels on the left, nearly profile to the right, holding His
right hand. St. Joseph kneels, facing the spectator, on the right,
a lily in his left hand ; the Christ's left hand rests on Joseph's
right palm. The Virgin is dressed in green blue and deep rose
scarlet, St. Joseph in grey brown and ochreous gold. The Holy
Spirit is descending from above, where the Father is supported
by angels. Brown grey tone.

Canvas, 114 in. h. by 82 in. w. (2'89 by 2-08).

Called the " Pedro?o " Murillo ; painted at Cadiz about 1677 ; in the
i'amily of the Marquis del Pedroso until 1810 ; then sold and brought
to this country : purchased from Mr. T. B. Bulkeley Owen in 1837.

No. 74. A Spanish Peasant Boy.

A laughing boy, his right shoulder bare, leaning on a window
sill ; head and shoulders three-quarters to the right ; his right
forearm lies along the sill. His coat is blue, buff lined. Brown
background, gold flesh tone.

Canvas, 21 in. h. by 15 in. w. (0'53 by O38).

Formerly in the collection of the Marquis of Lansdowne ; presented
by Mr. M. M. Zachary in 1826.

No. 176. St. John and the Lamb.

The boy St. John stands full-face in the centre, his left foot on
a rock. He embraces a lamb that stands on a mound towards th

MUBILLO NASMYTH. 495

right. St. John's left hand, behind the lamb, points to the sky.
The standard of the Lamb on the ground to the right : dark
rocky background ; gold brown tone.
Canvas, 65 in. h. by 43 in. 10. (1-65 by 1'09).

Formerly in the collections of M. Kobit and Sir Simon Clarke ;
purchased in 1840.

No. 1286. A Boy Drinking.

Half-length, three-quarters . to the left. He leans on his left
elbow, holding a square wine flask. With his right hand he raises
a long glass to his lips. Dark background ; brown gold tone.

Canvas, 24$ in. h. by 18J in. w. (0'62 by 0-46).

Bequeathed by Mr. John Staniforth Beckett, in 1889.

, COPY AFTER.

No. 1257. The Nativity of the Virgin.

Iii the centre the new-born babe is held by two women.
Behind are two angels in adoration, and to the right, in front,
a girl, her back to the spectator, kneels by a basin, looking up
to the right at a woman who brings the swaddling-clothes ;
further back, on the right, two women by a chimney. On the
left two boy-angels with a basket of linen ; near them a little
spaniel ; in the background St. Anne in bed. Above, in the
centre, a choir of boy-angels.

Canvas, lunette, 9| in. /*. by 17 in. w. (0'24 by 0-44).

A copy of the large picture No. 540 in the Louvre.

Formerly in the possession of the Duchesse de Berri. Presented by
Lord Savile, G.C.B., in 1888.

NASMYTH (ALEXANDER), 1758-1840.

Scottish School. Alexander Nasmyth, a Scotch landscape
painter, was born at Edinburgh. At an early age he removed
to London, where he became the pupil of Allan Ramsay. He
subsequently travelled to Rome, where he remained several years,
studying historical painting, portraiture, and landscape. On his
return to Edinburgh he devoted himself at first to portraits,
painting among others, Robert Burns. But it was in landscape
as painter and instructor, that he achieved success. He was
an Honorary Associate of the Royal Scottish Academy. He
exhibited at the Royal Academy between 1813 and 1826.
Alexander Nasmyth was the father of Patrick Nasmyth, the artist,

496 NASMYTH.

and of James, the inventor of the steam-hammer.* He died in
Edinburgh, April 10th, 1840.

No. 1242. Stirling Castle.

The castle occupies a rocky eminence to the right of the
picture overlooking, on the left, an extensive plain of meadow
land revealing glimpses of a winding river and bounded by a
range of lofty hills. The undulating foreground is covered with
scanty herbage on which goats are browsing. In the middle
distance a steep road rises towards the castle.

Canvas, 52 in. h. by 72J in. w. (1-32 by 1'84).

A picture by this artist with the same title, but totally different in
composition, is in the National Gallery of Scotland.

Purchased from Mr. Martin Colnaghi in 1888.

NASXKYTH (PATRICK), 1787-1831.

Scottish School. Patrick Nasmyth was born at Edinburgh, the son
and pupil of Alexander Nasmyth, the landscape painter. When about
twenty he settled in London, where he died, in South Lambeth,
August the 17th, 1831. Patrick Nasmyth has been inaptly called the
English Hobbema ; his landscapes are simple in subject, with much
detail of execution, but forcible in effect. Owing to an accident
to his right hand in his youth, he was in the habit of painting
with his left.f He exhibited at the Royal Academy from 1811
to 1830. He died in London on Aug. 17, 1831.

No. 380. A Cottage, formerly in Hyde Park.

Wood, Hi in. fc. by 15 in. to. (0'29 by 0'38).

Painted about the year 1807. Engraved by A. Willmore.

Robert Vernon Gift, 1847.

No. 381. Tlie Angler's Nook.
A woody landscape ; a man fishing in a stony brook.
Wood, Hi in. h. by 16 in. w. (0'29 by 0'40).
Engraved by J. Carter.
Robert Vernon Gift, 1847.

No. 1176. Landscape, with a Cottage.

Formerly catalogued as " A Landscape." A f urzy common with
a by-road winding through it and peasants conversing in the
foreground. To the left a knoll, with a cottage and trees in

* W. D. McKay : " The Scottish School of Painting," 1906, p. 176.
t Literary Gazette, 1831.

NASMYTH. 497

the middle distance. Beyond a valley, with a church and other
buildings surrounded by hills. Cloudy sky.

Wood, 7f in. A. by 10 in. w. (0'19 by 0'23).

Bequeathed by Mrs. Elizabeth Vaughan, 1885.

No. 1178. A Country Lane.

Formerly catalogued as "A Landscape." View of a winding
road skirting a park, from which it is divided by wooden palings.
In the foreground to the left a group of lofty trees, under the
shade of which two women are conversing. In the middle distance
a quickset hedge, with a cottage beyond it.

Wood, 10 in. h. by 13J in. MJ. (0'26 by 0'34).

Bequeathed by Mrs. Elizabeth Vaughan, 1885.

No. 1179. Landscape, with a Farm House.

Formerly catalogued as " A Landscape." A stream flowing
between sedgy banks in a wooded country. To the right a
cottage or part of an old manor house, beyond which rise lofty
poplars. In the middle distance are two peasants.

Wood, 6 in. h. by 10 in. w. (0'16 by 0-25).

Bequeathed by Mrs. Elizabeth Vaughan in 1885.

No. 1183. Landscape, with a River.

Formerly catalogued as " A Landscape." View looking across
a lake or river, on which are two boats rowed by peasants. A
steep and wooded bank on the opposite shore. In the distance
to the right a cliff, with a castellated building on the summit.

Wood, 9j in. h. by 12 in. w. (0'23 by 0'30).

Bequeathed by Mrs. Elizabeth Vaughan, 1885.

No. 1384. A View in Hampshire.

In the foreground a pond, with shelving banks, overgrown with
herbage, and strewn with felled timber. On the right two lofty
beech trees ; in the middle distance a road between farm cottages
and meadow land. "Beyond, is a wooded plain bounded by hills.
Above, cloud cumuli float across a summer sky.

Canvas, 14 in. h. by 34 in. w. (0'35 by 0'86).

Bequeathed by Colonel Alexander Beresford Read in 1893.

No. 1828. View in Sussex.

A country road runs through the middle of the picture, with
trees and cottages to the right and left. The road divides, as it
approaches the foreground, at a small tree which occupies the
centre of the composition, and on the right is a small group of
figures. The composition is in close imitation of Hobbema.

Wood, 13$ in. h. by \1\ in. w. (0'34 by 0'44).

Henry Vaughan Bequest, 1900.

17983 2 I

498 NASMYTH NEEFFS.

No. 1916. The Severn off Portishead.

The River Severn extends across the middle distance, with the
low hills of the Welsh coast on the further side and the Welsh
mountains beyond. The Avon runs in on the right, at the mouth
of which are some ships at anchor. The foreground is composed
of rocks and trees. On the right a road runs down past a cottage
to the lower ground, and in the centre is a group of three figures.

Canvas, 25 f in. h. by 35f in. w f (0'64 by 0'90)

Bequeathed by Mr. Charles Gassiot in 1902.

No. 2208. A Pond.

A pond on a hilly common with a dead tree on the right. The
Surrey hills are seen in the distance.

Wood, 18 in. h. by 24 in. w. (0'45 by 0-61).

Bequeathed, under the title of " A View in Sussex," by Mr. Henry
Callcott Brunning, in 1907.

NEEFFS (PIETER), 15781651-56.

School of Antwerp. PIETER NEEFFS the elder was born
probably in 1578, at Antwerp, and was probably the pupil of
H. van Steenwyck. In 1609 he entered the Guild in Antwerp,
apparently in poor circumstances, and married 1612. The
figures in his pictures were put in by J. Vytewael, J. Brueghel,
Cocques, Vrancx, and Stalbent. His son Pieter Neeffs II., was
born 1620. NEEFFS died between 1651 and 1656 in Antwerp.
Signed pictures by him are in Amsterdam (1636), Antwerp,
Cassel (1636), Dresden (1605), Ghent (1651), and Prague (1633).
J. van Vucht was an imitator of NEEFFS.

No. 924. The Interior of a Gothic Church.

On the right a group of three figures inspecting a black marble
tomb ; a boy with a hound nearer the foreground. In the ceutre
middle distance, other figures ; a man with a dog conspicuous.
The black and white paved aisle in a vista, fills the centre ; on the
left, up some steps, a chapel ; two men at the top of the steps, one
descending. Signed :

Wood, 27 in. h. by 38 in. w. (0'68 by 0'97).
Presented by Sir Henry H. Howorth, in 1875.

NEEFFS NEEB. 499

No. 2205- Interior of a Church.

In the foreground the slab covering Steenwyck's grave, inscribed

32 (?) HIER LEYT BEGBAVEN HENRY 8TEENWTCK. In the Centre,

on three low red stone steps, a tall bronze font ; to the right a
woman kneeling profile to the right. Deep shadows to left and
right of the foreground. On the left a flight of steps with
an iron rail ; beyond three men, one dipping his fingers in
the holy water. In the centre distance, at the end of the dark
aisle, the rood screen, surmounted by a crucifix ; beyond in light
the altar candles just seen. To left and right chapels in the
transepts, in light ; in the right transept a verger lighting a candle.

Wood, 18 in. A. by 25$ in. to. (0-45 by 0'64).

Bequeathed by Mr. H. Callcott Brunning 1907.

No. 2206. Vespers.

A church interior. Deep shadow in the foreground and distance ;
candlelight in the middle ground, where figures kneel inside and
about a chapel on the left. In the centre two women and two
men stand talking ; a little dog behind. On the right an
old soldier seated, his left arm in a sling, looking towards the
left. A priest in gold vestments stands before the altar in the
chapel ; above the altar an altar-piece, veiled. In the distance, at
the end of the dark aisle, the high altar. Dark red brown tone
in the shadows, golden in the light. Signed PEETER NEEFFS.

Wood, 10i in. h. by H w. (0-26 by 0'36).

Bequeathed by Mr. H. Callcott Brunning, 1907.

No. 2207. After Vespers.

In the dark foreground of a chapel eight figures scattered about ;
towards the right a boy with a greyhound, profile to the right ;
on the left a woman seated on some steps nursing a baby ; by
her a little girl seated. In the lit-up chapel beyond two vergers
stand on the left of the altar ; on the right a boy extinguishing
a candle. Above the altar a Holy Family, with a blue sky, between
red marble pillars ; dark brown tone in the shadows ; yellow in the
lights.

Wood, 11 in. A. by 8 in. w. (0-27 by 0-20).

Bequeathed by Mr. H. Callcott Brunning, 1907.

(AART VAN DER), 1603-1677.

School o Amsterdam. AABT VAN DER NEER was born at
Grorkum. In his youth he was the steward in the Von

Steenwyok died at Frankfort-on-Main, and presumably was buried there.
17983 212

500 NBER

Arkels family, only painting as a hobby. Later he moved to
Amsterdam. His early model was Raphael Camphuysen, and
the earliest date on his pictures is 1639. In style bis first
pictures resemble E. van de Velde's, being coarsely painted ;
examples are in the Rijksmuseum and at Frankfurt. From
1640 VAN DER NEER was settled in Amsterdam; to 1643 and
1644 belong the Winter in the Wantage Collection and the J/bon-
ligJit in the Arenberg Gallery, Brussels ; they are among his best
works. Men playing Bowls (1649), at Prague, the Hermitage,
Mill ly the Water, and certain pieces of the 1650's, are nearer
Cuyp, to whom, indeed, some of them have been attributed, as far
as the accessory figures are concerned. Among such is the No. 152
in this Collection, in which Cuyp's collaboration 1 is suggested by
a signature. VAN DER NEER'S masterpieces fall in the f650's and
the sixties, and are represented in this Gallery, the Wallace Col-
lection, the Bredius and the Berlin Galleries. Later his work tends
to mannerism. An artist of great sincerity and peculiar delicacy
of perception, VAN DER NEER was unable to live by his art ; he
was forced to keep an inn and was in perpetual straits. His name
is generally associated with his late period moonlight effects, but
it is in his winter pictures, of late evening or dawn, that his
considerable mastery is most fully shown. He left a son, Eglon
van der Neer, a painter. AART died in Amsterdam, 1677.

No. 152. A Landscape, with Figures and Cattle;

Evening.

A river zigzags to the centre distance, where a gabled cottage
stands against the sunset. Towards the right a spired church and
villaere among trees. Before the church a drawbridge, and nearer
again a man on a grey horse leading a bay. Three cows in the
right foreground ; in the centre a milkman and girl in a scarlet
petticoat, bearing yokes. Trees on the left rising to -the top of
che canvas ; a broken stump in the left corner. Sky tone, golden
smoke grey ; ground gold brown. Cuyp's name is inscribed on
the milkmaid's pail ; signed on the left with Van der Neer's
monogram.

WN-i

Engraved in the Oalerie de Lucien Bonaparte.
Canvas, 47 in. h. by 63J in. w. (1-19 by 1-61).

Formerly in the collections of M. Erard and Lucien Buonaparte.
Lord Farnborough Bequest, 1883.

* The authenticity of this signature is doubtful.

NEER. 501

No. 239. River Scene by Moonlight, with Shipping.

In the left middle distance, on the river's bank a town, with a
spired church. A boat lies on the left with a red pennon on the
mast. The moon rises to the left of the centre ; to the right a
barge lowering its sail. Towards the centre of the foreground
two " pots " float ; short stakes on the left. Sky, dark grey tone ;
the water reddish. Signed with the painter's monogram.

Wood, 12 in. h. by 18 in. w. (0'30 by 0'46).

Formerly in the collection of Mr. E. Heathcote, sold in 1805.
Bequeathed by Lord Colborne in 1854.

No. 732. Landscape ivith Figures ; a Canal Scene,
Holland.

In the centre a canal ; in the foreground a private barge with a
carved gilded stern and a furled flag ; two swans swimming to the
right ; on the right bank a cowherd, blowing a horn, and a woman
with a child. On the wharf, on the left a withered oak, two dogs
in front ; and on the left a woman seated against a paling, and
three sportsmen with a dead hare. Tall trees behind them and a
chateau. In the centre distance a drawbridge ; on the right
another chateau. Sky tone, milky blue ; the ground brownish.
Signed with the painter's monogram.

Canvas, 5H in. h. by 65 in. w. (1-30 by 1'66).
Purchased from the Earl of Shaftesbury in 1864.

No. 969. A Frozen River.

Red brick houses on each bank, their roofs powdered with snow ;
in the centre distance a mill. In the foreground two men skating,
a boat with oars and a rope festooned on two stakes. Heavy
cumulus to left and right. Silvery grey tone. Signed with the
painter's monogram, " A. v. N."

Oak, 10 in. h. by 15 in. 10. (0-25 by 0-39).

The Wynn Ellis Bequest, 1876.

No 1288. A Frost Scene.

From the right a frozen river winds to the right distance. On
the left bank a town ; towards the left a lead roofed church with a
small spire. Below, on the left, a pool with three skaters. In the
left foreground a man, woman, and dog ; on the extreme right two
bare trees. Towards the centre a skater in buff and white sleeves

502 NEER.

is about to drive a golf ball. The foreground in cloud shadow ;
grey silvery tone.

Wood, 12f in. A. by 20 in. w. (0'32 by 0'52).

Bequeathed by Mr. John Staniforth Beckett, in 1889.

No. 2283. Dawn.

Water stretching from the left middle distance to the centre
distance. A three-masted vessel in the distance against the
yellow light. On the left bank a church spire rises above trees.
In the right foreground a group of trees in front of a large house.
In the centre three cows. On the left a man, a woman in a scarlet
apron, and a dog. On the right a *nan with a stick on his shoulder.
The sky is steely black, with soft nimbus, the ground a dark
brownish tone.

Canvas, 31J in. h. by 25 in. w. (0'79 by 0-64).

Bequeathed by Mr. Martin Colnaghi, 1908.

No. 2534. River Scene, with Horseman.

Water in the centre and right distance. Farm buildings in the
centre middle distance on a spit of land. Trees on the left and
farm buildings. Swampy foreground ; to the left a bare tree,
felled timber in the centre and palings ; on the right a horseman
ridiog to the right. Low brown yellow tone. Signed with a
monogram.

Wood, lOf in. h. by 16 in. w. (0'27 by (Ml).

George Salting Bequest, 1910.

No. 2536. Moonlight.

In the centre a stretch of water ; on the left bank a spired
church tower and gabled buildings among trees. Boats lie in the
centre distance ; a mill stands on the right. The foreground bank
covered with brushwood. The moon behind clouds in the centre.
Dark brown-grey tone.

Wood. 7f in. A. by lOf in. w. (0'19 by 0'27).

George Salting Bequest, 1910.

No. 2537. Landscape with a Horse and Cart in the
Foreground.

On the left a shallow stream, lined by trees, stretching to the
centre distance. On the right a sandy bank, with two houses, a thin
clump of trees in the centre and trees massed on the right. In the
right foreground a horse and cart advancing to the right, a woman
following, a man beating the horse ; a foal in the right corner ;
on the bank a silver stemmed tree. Sky tone milky grey ; ground
clayey brown.

Canvas, 20 in. h. by 24f in 10. (0'52 by 0-62).

George Salting Bequest, 1910.

NEERNETSCHER. 503

NEER (EOLON HENDRIK VAN DER), 1635-361703.

School of Amsterdam. Born in Amsterdam, EGLON was pupil
to his father Aart van der Neer, and Jacob Van Loo, in Amsterdam.
He married in Rotterdam, 1659. After this he went to Amsterdam
and France, for about three years, then returning to Rotterdam,
where be lived from 1664 to 1677. In 1670 he was a member of
the Cpnfrerie at the Hague ; in 1678 he was in Amsterdam, and on
his wife's death, 1679, went to Brussels, there marrying Maria Du
Chatel, a miniaturist, and daughter of F. Du Chatel, the painter.
In 1687 he was appointed principal painter to Charles II. of Spain
and in 1689 was again in Amsterdam, thence going to Dussel-
dorf, where he married a third wife in 1697, and died 1703.
Pictures by him are in Amsterdam, Paris, Dresden, Munich,
Schwerin, St. Petersburg, Stockholm, and Antwerp ; their dates
range from 1664 to 1700.

No. 2535. Judith.

Three-quarter length, standing, full face, the body three-quarters
to the right. She is dressed in white silk, of late XVII. century
style. Her left hand at her bosom, her right holding a sword by
her side ; in tie left background the body of Holofernes, his plumed
helmet in the foreground. On the right a woman patting his head
in a sack. Pillars above her seen through the tent hangings.
Flesh tone creamy. Signed " E. VAN DER NEER, fc."

Wood, 124 in. h. by 9* in. w. (0'31 by 0'24).

Sm. Catal. 15. De Groot, 12. Destouches Coll., Paris, 1794. In the
collection of a lady, London, 1838, bt. by Dr. Franck. George Salting
Bequest, 1910.

NETSCHER (CASPAR), 1639-1684.

Hague School. CASPARS or GASPAR NETSCHER was born at
Heidelberg in 1639. He studied under Hendrik Costers at
Arnbeim, and later Terborch at Deventer. On his way to Italy he
stopped in Bordeaux, there marrying, 1659. He was in The Hague
in 1662, and lived there till he died in 1684. His pictures are very
numerous. His son Constantino painted much in his manner.

No. 843. Blowing Bubbles.

In the centre a little boy inside a window looking up to the left
at a bubble ; with his right hand he holds a plumed flat cap, plum
coloured. Behind him on the right a smaller child. Above an
emerald green curtain ; a festoon of sculptured fruit below the
sill. Flesh tone grey golden. Signed " A.D. 1670, G. Netscher."

504 NETSCHER.

The boy, probably the painter's son Constantine, appears in a
picture by Caspar in the Rijksmuseum.

Wood, 12 in. h. by 9 in. w. (0'30 by 0'24).

Engraved in the Poullain Gallery

Sm. 14. De Groot, 149. Sales: Bout, The Hague. 1733 ; Pletteuberg-
Wittem. 1738 ; Loriiner, Hague, 1763 ; R. de Boisset, 1777 ; Poulain.
1780 ; Calonne. '88 ; Le Brun, '91 , Catalan, 1816 : Duchesse de Berri
Coll., 1833. Purchased with the Peel pictures in 1871.

No. 844. Maternal Instruction.

A lady seated at a table before a window on the left is teaching
a child, who stands in front of her, to read ; another child is play-
ing with a dog on a chair to the right. In the background over
a cupboard in a black frame a small copy of Rubens' " Brazen
Serpent," in this Collection. Golden grey tone.

Wood, 17J in. h. by 14$ in. w. (0'44 by 0'36).

Sm. 35. De Groot, 96. In the Bout Sale, The Hague, 1733. Engraved
by Le Launav in the Orleans Gallery. Imported. 1798. Exhib. Brit.
Gall., 1826. '

Formerly purchased with the Peel collection in 1871.

No. 845. Lady seated at a Spinning Wheel.

Seated profile to the left, facing the spectator ; her wheel on the
left. She touches her lips with her left hand. Signed G. Netscher,
1665.

Wood, 8i in. h. by 6 w. (0'21 by 0'16).

Sm. 22. De Groot, 47. Collections of M. Blondel de Gagny, 1773 ;
Blondel d'Azincourt, 1873 ; and the Prince Galizin, 1825 ; Peel. 1833.
Purchased with the latter, 1871.

No. 1332. Supposed Portrait of George, 1st Earl of

Half-length ; nearly full face. A young man in a black velvet
cloak with a light brown perruque. He stands leaning his right
elbow on a stone pedestal with bas-relief carving ; his left hand
on his hip. In the left background a curtain of brown and
gold brocade. Sky on the right. Brown tone ; the flesh clear and
warm. Signed :

cn
1679

Canvas. 18 J in. h. by 14 J in. to. (0'46 by 0'36).

NETSCHBR NICCOLO DI BUONACCORSO. 505

De Groot, 176. A replica, signed and dated, is in the Rijks-
museum (1679), catalogued as probably a member of the family
Van Citters. Another at Stuttgart is signed in full and dated
1682 (No. 285).

Presented by Lord Savile, G.C.B., in 1891.

NEUFCHATEX,. See XiUCXDEXi.

NICCOLO ui BUONACCORSO, active c. 1350-1388.

School of Siena. NiccoLd DI BUONACCORSO was perhaps the son
of Buonaccorso di Pace, a painter whose name occurs in Sienese
records. NICCOLO was municipal councillor in 1372 and 1376, and
in 1381 was Gonfaloniere of the Terzo of S. Martino. A certain'
resemblance has been noted in his, Bartolo di Fredi's and Simone
Martini's work. Paintings by him are a Madonna and Child with
St. Margaret, in Sta. Margherita, near Costa al Pino, Siena, dated
and signed, and the piece in this Gallery ; a Presentation in the
Temple in the Uffizi is also given to him, as is a small St. Jerome
exhibited at the Burlington Fine Arts Club, 1904, in Mr. A de
Pass' Collection. A few entries of payments made to NICCOLO
shew that he did some work for the Duomo in 1376 and 1383. He
died in May 1388.

No. 1109. The Marriage of the Virgin.

In an open cortile, enclosed by arcaded buildings and carpeted
with a cloth of Arabian design in scarlet and yellow, the Virgin
and St. Joseph stand in the centre to right aud left, before the
High Priest, who is joining their hands. In the left foreground
a man in black, profile to the right, and a small child, his back to
the spectator, in black and gold ; figures grouped around. Among
them two heralds blowing trumpets, and a youth playing ou the
tymbals, on the right. Behind is an open gallery supported ou
an arch, through which are seen conventional representations of
a palm tree and shrubs relieved on a gold background. Flesh
tone reddish brown. Below is the signature.

Wood, 16| in. k. by 10* in. w. QH2 by Q-26).

* G. Milanesi, Document i j,cr la Storin dM A rte Se.iifxe, I., pp. 31, 3?. Of Buonac-
corso di Pace, the presumed father of Nk-colo, Milanesi (idem, p. 60) cites some
notices by which we learn that he married, November 27, 1348, Muddalena di
Oecco di Nuccio ; and that ho wu* Capitano del Popolo for the months of
January and February, 1362 ; in which year he made his will and probably died.

506 NICCOLO DI BUONACCORSO.

Apparently the centre of a triptych of which two other compart-
ments exist : Tlie Presentation in the 'lemple, formerly in the Hospital
of St. Maria Nuova, Florence, now in the Uffizi, and The Assumption
of the Virgin, formerly in the Sciarra Collection.

Purchased at Florence from Mr. Fairfax Murray in 1881.

NICCOLO DA FOLIGNO. 1430M502.

Umbrian School. NICCOLO DA FOLIGNO, LIBERATORS, or
NICCOLO D'ALUNNO, commonly, but incorrectly, called ALUNNO,
was born about 1430 at Foligno. He was the pupil of Bartol. di
Tommaso and P. A. Mezzastria, local painters ; but he was more
influenced by Benozzo Gozzoli who, from 1452 until at least 1457,
was working not far from Foligno. His earliest dated work is the
altar-piece at Deruta, painted in 1458. He steadily produced ancone
till 1499, when he finished one in Sta. Croce a Bastia. Paintings
by him are at Foligno, in S. Maria in Campis, 1456 ; Deruta, 1458 ;
the Brera, 1465 ; the Vatican, 1466 ; Perugia, 1466 : San Severmo,
1468 ; Gualdo-Tadino, 1471 ; the Villa Albani, Rome, 1475 ;
Bologna, 1482, and Nocera Umbra, 1483. Later pieces are at
Foligno, in S. Niccolo, 1492 ; the Louvre, 1492 ; Budapest. 1497 ;
Terni, 1497, and Sta. Croce a Bastia, 1499. At Assisi he executed
many paintings in fresco and on panel ; the frescoes have dis-
appeared. The separated panels of an altar-piece of 1465 are in
the Brera at Milan ; the Vatican Gallery contains a similar altar-
piece in two or three stages, dated 1466. Gualdo, Nocera, and
Foligno retain altar-pieces of later years ; that at Foligno, in S.
Niccolo, bears the latest possible date, 1492 ; its predella is now
in the Louvre. An interesting work of small size is the standard
painted on both sides, presented by Pius IX. NICCOLO made his
will, August 12, 1492, and died in 1502, leaving a son Lattanzio,
a painter. His signatures vary in form as, Nicolai de Fulginea
(opus); Nicolaus de Fulgineo ; Nicolaus Fulginas ; Nicolai
Fulginatis (opus).

No. 1107. The Crucifixion (a triptych).

In the central compartment the Christ high on the Cross, two angels
on each side, dressed in heather colour and green, kneel on clouds
receiving in gold vessels the blood which flows from the wounds.
Below, St. Francis kneels embracing the cross. On the right

* The error had a curious origin. On a picture of the Nativity (probably
Niccol6's last work) in S. Niccolo at Foligno are some Latin lines in which the
painter is metaphorically termed

" Nicholaus alumnus

Fulgjnise "

"Nurseling of Fulginia." vasari, accepting alumnus as the surname of Niccolo.
rendered it in Italian Alunno. (Prof. Adamo Rossi, / Pittori di Fuligno &c.,
quoted in the notes to Milanesi s Opcrc di G. Vasai i, Tom. HI., 508-9.)

NICCOLO DA FOLIGNO. 507

hand stands St. John in blue, with a rose coloured cloak, with
clasped hands and averted head. On the left the Virgin in black
supported by two female Saints dressed in heather colour, black
and scarlet. Landscape background ; in the centre a fortified wall
surrounding buildings. Flesh tone clear greyish ; rose in the
lights.

The shutters are divided transversely into two panels, on which
are represented successively :

1. The Agony in the Garden.

2. Christ bearing his Cross to Calvary.

3. The Descent from the Cross.

4. The Resurrection.
Signed on a cartellino :

Wood, in tempera. Central compartment, 36 in. h. by 22 J in. w.
(0-91 by 0-57). Side panels, each 16| in. h. by 9 in. to. (0'42 by
0-24).

Formerly in the convent of Santa Chiara at Aquila, in Umbria.
Purchased at Rome in 1881.

NICCOLO DI PIETRO GERINI, 13 -1415.

Florentine School. NICCOLO DI PIETRO GERINI and Lorenzo
di Niccolo, his son, were assistants of Spinello Aretino, and
painted in the tradition of Agnolo Gaddi, whom NICCOLO had
worked with at Prato in 1391. NICCOLO was inscribed in the
Guild at Florence in 1368 : he died 1415.

No. 579. The Baptism of Christ in the River Jordan.

Three panels ; in the centre picture St. John on the right,
baptising the Christ, who stands full face in the centre. On the
left two kneeling angels, the foremost supporting His mantle ;
the Eternal and the Holy Spirit above. Higher up an angel ; on
the spectator's left St. Peter, full face, on the right St. Paul,
nearly profile to the left, his sword in his right hand.

Wood, in tempera, 132 in. It. by 79 in. w. (3-35 by 2-00). The
centre panel of the altar-piece 63 in. //. by 80 in. w. (1-16 by 0'76) ;
the side panels 48 in. h. by 14* in. w. (1-28 by 0-36).

Dr. Oswald Siren ascribes this altar-piece to Jacopo di Cione (see hi,s
(fiottino, p. 79), who certainly collaborated with NICCOLO. For instance,
the Uffizi Coronation of the Virgin (29) was ordered from one Simone
and NICCOLO in 1372/and finished by J. di Cione, 1373.

508 NICCOLO DI PIETRO GEBIN1 OOST.

According to an inscription, now partly obliterated, on the principal
picture, this work was painted for Filippo Neroni, in 1387. Formerly
in the Abbey del Sasso di Camaldoli, in the Casentino. Purchased at
Florence from the Lombardi-Baldi Collection, in 1857.

OCHTERVELT (JACOB), c. 1635-1700?

School of Amsterdam. OCHTERVELT was born at Rotterdam,
and studied under Berchem with P. de Hooch, and possibly under
Frans Mieris. He resided in Rotterdam, marrying there in
1655. He moved to Amsterdam in 1674, where he painted his
Governors of the Leper-house. He died about 1700. At his best
OCHTERVELT takes a good place among Dutch genre painters,
rivalling de Hooch in breadth of treatment. His pictures are
comparatively few ; examples are at Dresden, Frankfurt, Rotter-
dam, St. Petersburg and Stockholm.

No. 2143. A Lady standing at a Spinet.

In the centre a lady in rose-coloured satin in front of a spinet,
facing left, her back to the spectator. Her left hand rests on
the keys. A man in a full-bottomed wig sits at the other side of the
instrument. A dog sits on ground to the right turning towards
a page boy, who enters, carrying a flask of wine. Tone dark ;
flesh cool.

Canvas, 31 in. li. by 25 in. to. (0-78 by 0'63).

Presented by Mr. H. J. Pfungst, 1907.

No. 2553. A Lady at lier Toilet.

On the right a lady in white satin with a light blue bodice sits
facing the left, by a table covered with a cloth. She is trimming
her nails, her right foot is bare. On the left a maid enters with a
tray on which is a silver goblet. The background to the right a
four post bed, draped in red ; in the left foreground a foot bath.
Tone cool grey.

Canvas, 29 in. h. by 22 in. w. (0'73 by 0'57).

George Salting Bequest, 1910.

OGG-XONNO. (See MARCO.)

OOST (JACOB VAN) THE ELDER, 1601-1671.

School of Bruges. JACOB or JACQUES VAN OOST, the elder, was
born at Bruges. He studied under his brother Frans in 1619,

OOST OPIE. 509

and in 1621 was a master in the Bruges Guild ; the same year ha
went to Rome, where he remained for five years, closely imitating
the Carracci. In 1629 he was back in Bruges, and married 1630.
He re-married in 1633 and died in Bruges, 1671. His pupils
were his sons Jacques and Guillaume, Bedet, Meuninexhove and
A. Roose. His pictures, principally of religious subjects, are mostly
in Bruges ; others are at Lyons and St. Petersburg.

No. 1137. Portrait of a Boy.

Half-length, nearly profile to the left. Dressed in a black
doublet buttoned on the chest over a white shirt, and a black
cap ornamented with a squirrel's tail. His long dark hair falls
to his shoulders ; the hands concealed in a fur muff. Light
brown background, on which are inscribed the words ^ETAT.
11, 1650, and the painter's monogram. Gold brown tone.

Wood, 31 in. h. by 24 in. w. (0-78 by 0'61).

" Clarke Fund " ; purchased in London, from Miss M. A. Thomas,
1883.

OPIE (JOHN), R.A., 1761-1807.

a doctor at Truro. Dr. Wolcot brought him to London in the
autumn of 1781, and introduced him to Sir Joshua Reynolds.
Opie in 1780 bad exhibited " A Boy's Head " at the Society of
Artists. From 1782 to 1807 he contributed many works to the
Royal Academy and for some time created a considerable sensation
in London as the "Cornish Wonder." He was elected an Associate
of the Royal Academy in 1786 and became a full Academician in
the following year. In 1782 he married Mary Bunn, but in 1795
divorced her. In 1798 he married as his second wife the accom-
plished Amelia Alderson, who survived him many years. Opie was
in Paris in 1802 ; in 1805 he obtained the Professorship of Painting
at the Royal Academy in succession to Fuseli. Between February
16th and March 9th, 1807, he delivered a course of lectures on
design, invention, chiaroscuro, and colouring.* He was successful
both as a historical and a portrait painter, but his pictures are

* The "Lectures on Painting by John Opie, together with a Memoir by Mrs.
Amelia Opie" were published in 1809.

510 OPIE.

not always harmonious in colouring. He died in the prime of
life, on April 9th, 1807, and was buried near Sir Joshua Reynolds
in St. Paul's Cathedral.* 4

No. 784. Portrait of William Siddons.

He wears a black coat, and a white cravat. Bareheaded, grey
hair, full face ; dark background.

Mr. William Siddons was an actor, and married Sarah Kemble
in 1773.

Canvas, 30 in. h. by 25 in. w. (0'76 by 0'63).

Bequeathed by his daughter, Mrs, Cecilia Coombe, in 1868.

No. 1167. Portrait, said to represent Mary Woll-
stonecraft Godwin.

She is seated half length at a desk before an open window, on
which her right hand rests, the left hand not being seen ; her body
is turned to the left, and her face towards the spectator. Her
abundant hair, grey, or powdered, is confined en neglige by a white
handkerchief bound round her head, allowing a single tress to
fall over her chest, while another hangs down her back.

Canvas, 29 in. Ji. by 24J in. to. (0'74 by 0'62).

Mary Wollstonecraft was born April 27, 1759 ; she married
William Godwin 1797^, and died the same year.

Engraved in 1796 in stipple for the "Monthly Mirror" as Mrs. Woll-
stonecraft, and etched by Mrs. Merritt for Mr. Ke?an Paul's Memoir of
Mary Wollstonecraft prefixed to the "Letters to Imlay" 1879.

Exhibited at the British Institution 1861 (No. 173) and the National
Portrait Exhibition, South Kensington, 1867 (No. 689).

Purchased at the sale of the late Mr. William Russell's pictures,
(No. 1083, out of the Clarke Fund, 1884.

No. 1208. Portrait of William Godwin, the Author.

He wears a coat of dark cloth, buttoned across the chest, with
a white cravat and frilled shirt. His hair is a reddish brown, and
he is clean-shaven. Half-length, three-quarter face to the right.
Dark background.

Canvas, 29J in. A. by 24| in. w. (0'74 by 0'62).

Purchased in London from Mr. C. Campbell Feetum, out of the
Lewis Fund, 1886.

No. 1408. Portrait of a Boy.

Possibly the artist's younger brother, William Opie. He is
apparently about 10 or 12 years of age, and has thick chestnut

See also an article by Sir Claude Phillips in the " Gazette des Beaux
Arti" 1892, p. 299-313.

OPIE OROAGNA. 511

hair falling to his shoulders. He wears a dark coat, or frock,
open at the neck, which is encircled by a large white frilled collar.
Bust portrait, three-quarters right.
Canvas, 20f in. h. by 16f in. w. (0-51 by (Ml).

Presented by Mr. Edward Opie, of Plymouth (a nephew of the
painter), in 1894.

No. 1826. Portrait of t/ie Painter.

A largely painted study of the artist himself, looking down,
with a strong effect of light and shade. Head only.
Canvas, 16 in. h. by 12f in. w. (0'40 by 0'32).

J. Jope Rogers, in " Opie and his Works" gives a list of twenty
portraits of the artist by himself, and adds that " many were executed
for the purpose of making experiments in pigments and in methods of
treatment." The Edinburgh Gallery and the Dulwich College Gallery
also contain a " Portrait of the Artist."

Henry Vaughan Bequest, 1900.

No. 2877. Portrait of Mrs. S. W. Reynolds.

Wife of the engraver. Head and shoulders, dressed in black,
three-quarters to the left, the chin resting on the right band.
Canvas, 29 in. h. by 24 in. to. (0-73 by 0-61).
" Clarke Fund " ; purchased from Mr. A. G. Reynolds, 1912.

ORCAGNA (ANDREA), 1308 ?-1368.

Florentine (Giottesque) School. ANDREA DI CIONE, called
ORCAGNA, was the son of Cione and brother of Nardo and Jacopo
Cione. Of these Nardo, according to Mr. Berenson, was scarcely
Andrea's inferior. Andrea was pupil to Andrea Pisauo, a follower
of Giotto ; and influenced by A. Lorenzetti. He excelled as
sculptor, a worker in mosaic, a painter and architect. He entered
the Guild of stone cutters in 1352, at Florence. His greatest
extant work, indeed the only work certainly from his hand that has
survived fairly intact is the altar-piece in 8. Maria Novella,
Florence, dated 1357. Before this Andrea had matriculated as a
master painter in 1344, and in 1347 bis name occurs on a list of the
best masters in Florence. In 1354 Tommaso di Rossello Strozzi
commissioned him to paint the altar-piece above named. It was
finished in 1357 when Andrea and Nardo were entered in the Cam-
pagnia dei pittori. In 1358 he painted the Choir in S. Maria
Novella, which Gbirlandaio repainted. In 1352 he had painted a
picture for the Sala dell'Udienza dei Capitani belonging to the

512 ORCAGNA.

Compagnia of Or San Michele. In 1359 he completed his marble
sculptured tabernacle in Or San Michele. Other sculptures recog-
nized as his are in the Bargello, Florence, and the Kaufmann
Collection, Berlin. In 1361 he finished a mosaic in the Cathedral
at Orvieto ; in 1367 he painted a St. Matthew, now in the Accademia,
Florence, on a pillar in S. Maria Novella. The Trinity with S.S.
John and Romuald, in the Accademia, Florence, is dated 1365, as
is the Madonna with Saints in the Sacristy, Sta. Croce. Andrea
died in 1368.

See Venturi : Storia dell'Arte Italiana V. 0. Siren, Giottino ;
Berenson, The Florentine Painters ; Crowe and Cavalcaselle,
History of Painting in Italy, vol. ii. Murray, 1903.

No. 569. The Coronation of the Virgin, Angels and
Saints in Adoration.

A triptych. In the centre panel Christ on the right, profile to
the left, crowning the Virgin. They are robed in pale rose and soft
white, gold embroidered ; behind them a gothic throne hung with
blue and gold brocade, patterned with birds. Two Angels in
scarlet stand to left and right ; below twelve others, eight kneeling,
playing various instruments a keyed organ, harp, lute, viol, guitar
and bagpipe. Their draperies are pale rose, light ultramarine,
scarlet, grey and orange.

In each wing are twenty-four Saints, kneeling in tiers. On the
left St. Peter ; on his knee the model of the church of San
Pietro Maggiore in Florence, for which the picture was painted.

* As many of the Saints here represented are without their characteristic
emblems, it is difficult to identify them all. They appear to be the following :

On the left,

1. St. Peter.

2. St. Bartholomew.

3. St. Stephen.

4. St. John the Evangelist

5. An Apostle.

6. St. Sigismond.

7. St. Ambrose.

8. St. Francis.

9. Mary Magdalen.

10. St. Philip.

11. St. Cosmas ?

12. St.Blaise.

On the right.

1. St. Paul.

2. St. Matthew.

3. St. Lawrence.

4. St. John the Baptist.

5. St. Damianus ?

6. A youth with sword.

7. St. Nicholas " '

8. St. Dominic.

9. St. Catherine of Alexandria.
10 St. James the Greater.

11. An Apostle.

12, A monk with purple scull.

13. St. Gregory the Great.

14. St. Benedict.

15. St. Lucy.

16. An Apostle.

17. St. Luke.

18. St. Clement.

19. A Bishop.

20. Eastern King, Balthasar.

21. St. Elizabeth of Hungary.

22. Eastern King, Caspar.

23. Eastern King, Melchior.

24. St. Euphemia?

13. St. Bernard.

14. St. Anthony Abbot.

15. St. Agnes.

16. An Apostle.

17. St. Mark.

18. St. Marcellinus.

19. St. Augustine.

20. St. Jerome.

21. St. Scholastica.

22. St. Zenobius.

23. A youth with sword.

24. St. Reparate

ORCAGNA. 513

With him in the lowest tier SS. Bartholomew and Stephen. On
the right, in the lowest tier, SS. Paul, Matthew and Lawrence.
Flesh tone, grey rose and brownish.

Wood, in tempera, the centre picture 81 in. h. to the point of the
arch by 45 in. w. (2'07 by I'lo) ; the side pictures, 66 J in. h. by
48i in. to. (1-68 by M2). The total measurement 115 in. h. by
157 in. w. (2-92 by 3'98).

Records say that Pietro Gerini was paid for this work, 1370, which was
painted for the church of San Pietro Maggiore in Florence, where it was
placed over the high altar ; in 1677 it had been removed to the Delia
Rena chapel.* It was inherited from the Delia Rena family by the
Marchese Roberto Pucci, from whom it passed into the possession of
the late proprietors in 1846. Purchased at Florence from the Lom-
bardi-Baldi collection in 1857.

The following nine pictures also were portions of this altar-piece,
being originally placed over the three principal pictures described
above.

No. 57O. The Trinity.

The Son crucified ; the Holy Spirit hovering above ; the Father
behind, in rose red and deep blue, His right hand raised. Gold
background.

Nos. 571, 572. Angels adoring.

The sides of No. 570 ; eight angels in each panel ; in rose, green,
white and blue.

Wood, in tempera, each 34 in. h. by 15 in. w. (0'86 by 0'38).

No. 573. The Nativity.

The Child is lying in the manger, covered with a red quilt. On
the right the Mother seated in red and blue ; on the left St.
Joseph, seated fronting the spectator, looking up to the right.
Beyond the manger the ox and ass. In the background to the left
two shepherds ; above, to the right, angels bringing the tidings to
the shepherds.

No. 574. The Adoration of the Kings of tJie East.

The kings kneel towards the centre, in red, blue and green ; they
are haloed. Camels and attendants in the background. St. Joseph,
on the right, receives a golden vessel from the Child. Immediately
over the stable a star. Gold background.

No. 575. The Resurrection of Christ.

He rises above the covered tomb. In front and on the right
seven guards asleep ; S.P.Q.R. on their red shields. Gold sky,
rocky hills to left and right. Grey tone.

Cinelli, Bellezze della Cittd di Fireme, &c n p. 361
17983 2 K

514 ORCAGNA.

No. 576. The " TJiree Maries " at the Sepulchre .

On the left Mary Magdalene, Mary the mother of James, and
Salome, stand with vases of sweet spices in their hands, by the side
of the vacant tomb ; on the opposite side two angels, their
dresses pale rose, dark olive green and vermilion. Towards
the right an angel seated on the tomb ; behind him one stands
holding the lid ; flowered grass foreground ; rocky background
with trees.

No. 577. The Ascension of Christ.

He rises, robed in white, red lined, above a ring of kneeling
saints, whose draperies are green, pale rose, golden, blue and
scarlet. Two angels stand in che left background. Trees to left
and right on rocks. Two angels flying each side of the Christ.
Flesh tone, greyish.

No. 578. The Descent of the Holij Spirit.

Under an arcade, with windows seen in the background, twelve
half length figures ; St. Peter and the Madonna in the centre ;
above, the Holy Spirit descending. Below, standing against a
green and grey wall, a door in the centre, twelve other figures, at
full length. These represent the multitude confounded, every
man hearing his own language. Before the door, to the right
stands a king, his left hand to his lips, dressed in pale blue and
rose. To the left a white hooded figure, in blue and rose orange,
bends towards the other, his right hand raised. Flesh tone, dull
grey-gold.

Wood, in tempera, each 36 in. h. by 19 in. w. (0'92 by 0-48).

Portions of No. 569. Purchased at Florence from the Lombardi-
Baldi collection in 1857.

No. 581. SS. John the Evangelist, John the Baptist, and

James the Greater.

Three panels ; full length standing figures. In the left the
Evangelist, facing slightly to the right front. His long robe is
pale grey green, lined with faded rose ; in his hands a scarlet book.
In the centre the Baptist, full face ; his right hand on his breast,
a scroll inscribed EGO . vos . CLAMANTE . IN . DEXERTO . PARATERIA
in his left. His mantle is faded rose, lined with ultramarine. His
feet are bare, his hair falls in four rope-like locks on his shoulders.
Flesh tone, grey brown. In the right, looking three-quarters to
the left, St. James, in pale ultramarine, scarlet-lined, his staff in
his right hand, a black book in his left. Flesh tone, grey. Gold
background throughout ; the nimbi stamped in it. The saints
stand on an orange scarlet carpet, patterned with birds in blue
and gold.

Wood, in tempera, 74 in. h. by 61 in. to. (1-8 by 1'54) : the panels
each 54 in. A. by 19 in. to. (1'37 by 0'48).

ORCAGNA OR LEY. 515

Formerly ascribed to Spinello Aretino.

Formerly in the Hospital Church of i

lorence.

Purchased from the Lombardi-Baldi Collection 1857.

Formerly in the Hospital Church of SS. Giovanni e Niccolo, near
Florence.

ORIOZ.O (GIOVANNI), active c. 14401473-74.

School of Verona. GIOVANNI DA ORIOLO of Faenza is traced
in records from 1443-1474. Little is known of him beyond
the picture in this Gallery, perhaps derived from a medal by
Pisanello, though the latter seems to have had no influence on
Giovanni as a painter. Payment for this bust portrait of Leonello
was made apparently in 1447. In 1449 he painted Elizabetta and
Barbara, daughters of Astorgio II., and in 1461 was " pictor
publicus" at Faenza. He died 1473-74.

See Jules Destree Les Primitfs italiens (U Art Moderne, September,
1892) ; F. Arguari, Sub pittore Giovanni da Oriolo, Faenza, 1899 ;
G. Ballardini, G. da Oriolo, Firenze, 1910.

No. 77O. Portrait of Leonello d'Este, Marquis of
Ferrara, <&c., ivho died in 1450.

Bust, profile, to the left ; red hair. Rose red gown under
sleeveless black tunic edged with gold. Background dark green.
Tone golden. Inscribed LEONELLUS + MARCHIO + ESTESIS, and
signed OPUS JOHANIS OKIOLI +.

OPVS lOANJ ORIOLI+*-

Wood, in tempera, 21$ in. h. by 15 in. w. (0-54 by 0'38).
Formerly in the Costabili Gallery, Ferrara. Purchased from the
collection of Sir Charles Eastlake, in 1867.
See also Xo. 776, Pisano.

ORX.EY (BERNARD), c. 1479 ?-1542.

Netherlandish School. BERNARD, BARENT or BERNAERT VAN
ORLEY was born probably in Brussels, of a patrician family.
Tradition says that he went to Rome about 1509, there meeting
Raphael. His earliest Madonnas reflect but Netherlandish
influence, David's, Massys' and Mabuse's and belong to pre-1514

2K2

516 ORLEY.

In 1514 VAN ORLEY was a Master painter in Brussels, and in 1516
painted the Children of Philippe le Beau ; of these portraits, now lost,
old repetitions of the Charles (later Charles V.) are in the Lonvre,
Naples, and St. Sauveur, Bruges. In 1515 the Guild of the
Sante-Croix de Furnes ordered a triptych of him, for the Church
of St. Walburge, of which the centre is supposed to be now in the
Gallery at Turin ; this however is disputable. To the same
date belongs the triptych painted for the Carpenter's Com-
pany, in Vienna, the central part signed. In 1518 VAN
ORLEY was made official painter to Margaret of Austria ; his
portrait of Doctor de Zelle, at Brussels, is dated 1519 ; in 1521
he painted a Death of the Virgin, now lost, for the convent of
the Sept Douleurs, Bruges ; a repetition (some authorities say a
replica) is in St. John's Hospital, Brussels. In 1520 Diirer visited
Brussels and was welcomed by VAN ORLEY ; in 1521 he was
again there and painted the Flemish master. The latter's Holy
Family in the Louvre is dated 1521, and clearly reflects Raphael ;
other Italianate pieces of this period are a Madonna and Child,
Brussels, and 2he Madonna, in the Northbrook Collection. The
Trials of Job, in the Brussels Museum, is dated 1521 ; the Last
Judgment, in the Antwerp Gallery, was finished in 1525, with
shutters depicting the Works of Pity ; the Brussels Museum
Triptych of the Hanneton Family is of the same period, and in 1526
he painted the Stockholm Holy Family. About this time he was
summoned by the Inquisition to explain the presence in his house
of a preacher of the Reformed Church. His last important
commission was an altar-piece, ordered 1534, for the Convent of
Broulez-Bourg, now in Notre Dame, Bruges. VAN ORLEY died
in 1542 before this was completed ; Marc Ghaeraedts of Bruges,
who later settled in London with his son as a portrait painter,
finished it. VAN ORLEY takes his place after Massys and Mabuse
on the downward slope of Netherlandish painting.

See Max Friedlander, Jahrbuch der Kdn. Preus. Kunstsammlungen,
vol. 30, 1909. Fierens Gevaert ; Les Primitifs Flamands, III ;
W. H. J. Weale, Burl. Mag., Vol. II. p. 205.

No. 714. Mother and Child.

The Virgin, turned three-quarters to the right, in an egg-blue
robe, is seated full-length on the grass beneath a tree. She holds
the Child, who has jusc turned from her breast. In the distance
a landscape of buildings and trees telling blue against a luminous
sky, in which is repeated, in deeper tone, the blue of the .Virgin's
robe ; a rocky hill on the left. Warm, clear tone.

Oak, 13 in. h. by 10J in. w. (0-34 by 0'26).

Presented by Queen Victoria, at the Prince Consort's wish, 1863.

For No. 655, formerly catalogued as ORLEY, see BENSON.

ORSI-.ORTOLANO. 517

ORSI (LELio), 1511-1586.

School of Parma. LELIO ORSI, or DA NOVELLARA, was born,
probably at Reggio. He shows the influence of Correggio and
Michelangelo. In 1536 he was decorating triumphal arches at
Reggio, where he also painted several pictures and frescoes, now
lost. He was banished, 1546, and spent six years in exile during
which he probably went to Rome and studied Michelangelo. He
seems to have returned to Reggio, 1552, and to have revisited
Rome after 1555. Michelangelo's influence on him is beat
seen in a series of frescoes once, if not still in a private
Collection at Wiesbaden. f These consist of allegorical figures
and architectural and sculptural (imitation) reliefs. They are
said to be his best extant work. For the rest of his career ORSI
worked mainly at Novellara. He was known as an architect,
painter and draughtsman. He died 1586-87. Pictures by him
are a Holy Family, Florence ; a Magdalen and Portrait, of a
Man, Munich ; a Crucifixion, Berlin, a few at Modena, and an
allegorical Gentleness at Vienna.

No. 1466. The Walk to Emmaus.

The Saviour, in the centre, and the two disciples walking
towards the spectator ; they wear broad brimmed hats. The
Saviour is in white, the two disciples are dressed as peasants.
He on the left carries his staff over his right shoulder ; he on the
right has a dagger in his belt. A dark sky with black clouds and
rifts of light. Dark cold tone.

Canvas, 27* in. A. by 21f in. w. (0'69 by (V55).

A drawing for this picture by OBSI is in the Palazzo Bianco, Genoa

Purchased from the Scarpa Collection at Milan in 1895.

ORTOXiANO (LT), active c. 1512-1525.

School of Ferrara. This painter, whose birth and death dates
are unknown, was GIAN BATTISTA BENVENCTI. He shows
affinities with Mazzolino, and was an outcome of Ercole Grandi's
school. Later he was influenced by Dosso and Raphael, about
1512-13.J and gradually became merged in the manner of

* See an article by Francesco Malaguzzi in the Archivlo Storioo dell Arte for

^fsee^n article by Henry Thode in the Archivlo Storico for 1890, p. 366, for an
account of these paintings, and for fuller details of the life of L.elio Ursi.

J Or 13OT-8. This fact is ascertained from the title of a book ol sketches
noticed by Baruffaldi " Studio di me Zoane Bapta d. Bonvegna fatto in
Bologna suxo le, dipinture del Bagnac e del Sangio da Urbino. a li anni
MD.VI1. et MD.VIII." These dates arc othi-rwiHe read us MDXII MDXIII.
See Lanzi, Moria Pit tor leu, <:, vol. v., p. 21U ; Baruffaldi, Vtte de Pittorl &c.,
vol. i., p. 168 ; and Ladcrchi, Pittura Fcrraresc, p. 93.

518 ORTOLANO^OS.

Garofalo. His death is placed about 1525. Bis best pictures are

the Deposition (Borghese Gallery), the Crucifixion (Brera),

Nativity (Doria Gallery, Rome), a Pieta and an Agony in the
Garden (Ferrara).

No. 669. St. Sebastian, St. Hock, and St. Demetrius.

In the centre St. Sebastian, his raised arms stretched to the right,
and tied to a tree, stands on a sloping rock ; in the foreground a
cross-bow. On the left St. Roch as a pilgrim standing full-face
looking-up, his left hand on his breast ; his tunic is red orange,
his mantle blue ; at his feet a firkin. On the right St. Demetrius
in armour ; his right hand on his sword hilt supporting his left
elbow, his left hand covering his mouth and chin. He faces the
spectator. Landscape background : on the left on high ground
some horsemen near a village, and on the right a walled town.
Flesh tone.

Canvas, transferred from wood, 91 in. h. by 611 in. w. (2-31 by
1-56).

Originally, and until 1844, the altar-piece of the parochial church
of Bondeno, near Ferrara. where it was generally considered the painter's
masterpiece. Bought by Mr. Alexander Barker from Sig. Ubaldo
Sgherbi. Purchased from him, 1861.

OS (JAN VAN), 1744-1808.

Hague School. JAN VAN Os was born at Middelharnis in 1744
and was the pupil of A. Schouman at The Hague. In 1773 he was
a member of the Guild in The Hague. He painted flower pieces,
marine and coast views, and was a poet ; his water colours are
very brilliant in colour. Few pictures by him are known ;
at Amsterdam, the Louvre, St. Petersburg and Frankfurt. His
wife, Susanne (de la Croix), drew portraits in black chalk. He
died at The Hague in 1808.

No. 1015. Fruit, Flowers and Dead Birds.

Fruit and flowers in a basket ; in front, on a red marble slab, a
lapwing and two small song-birds. Trees in the right background.
Signed " J. VAN Os fecit."

Canvas, 27 in. h. by 21 in. w. (0'68 by 0'53).

Wynn Ellis Bequest, 1876.

No. 1380. Fruit and Flowers.

Yarious ripe fruits, a cut green melon in the centre, mixed with
a few flowers, grouped in and round a vase standing on a
yellowish marble slab. In front, to the right, a pewter plate

OS OSTADE. 519

containing a fish and some green gooseberries ; by the plate a
mouse nibbling a skinned chestnut. A sculptured figure in the
right background. Signed :

a f .

Wood, 29 in. h. by 22 in. vs. (0'73 by OT>5).
Presented by Mr. George Holt, in 1892.

OSTADE! (ADRIAEN JANSZ VAN), 1610-1685.

School of Haarlem. ADRIAEN VAN OSTADE was born at
Haarlem and lived there all his life. About 16/7 he was studying
under F. Hals, but his work reflects little of that influence. In
1634 he was a member of the Guild, and married, 1638 ; he
re-married, 1657. His earlier work depicts dancing and drinking
scenes with rather sudden lighting, and violent action ; his
palette is limited to few colours, mostly neutral, and he introduces
many figures. After 1640 his work becomes more harmonious
in action and lighting, rendering quieter themes, domestic
scenes, games and conversations. He also tried more out-door
pieces, Biblical subjects and portraits. His best period is about
1646-1670 ; later his work became smaller iu feeling, more
polished in finish, and his colour brighter and more superficial.
At this period he produced many gaudy water-colours, which had
a good sale. Fifty etchings hy him have come down to us, often
having served as models for forged paintings VAN OSTADE died
in 1685, in Haarlem. His chief merit is his mastery of light
in its gentle suffusing radiance ; of this the Alchymist in this
Collection is a representative example. His paintings are
numerous ; Amsterdam, Berlin, Brussels, Brunswick, The
Hague, Dresden, Paris, St. Petersburgh, Providence, Rhode
Island (Annmary Brown Memorial), Stockholm and Vienna have
examples.

See H. de Groot : Catalogue of Dutch Painters, Vol. III.

No. 846. The Alchymist.

A long room in perspective, in deep shadow on the left. In the
right foreground a furnace before which an old chemist, wearing a
peaked hat, stands blowing his bellows to heat a crucible. He is
surrounded by a chaos of implements, and under a stool beside

520 OSTADE.

him is a parchment inscribed : " Oleum et operam perdis.'' In the
background two children and an old -woman. Tone, golden-
brown. Signed on a shovel on the wall : " A. v. OSTADE, 1661."

Wood, 13 in. A. by 17 in. w. (0'34 by 0'44).

De Groot's Catalogue, No. 397. Sm. 28.

Exhibited at the British Institution, London, 1821.

Sales : Samuel van Huls, The Hague, Sept. 3, 1737 ; Count van
Wassenaar Obdam. The Hague, Aug. 19, 1750 : La Live de Jully, Paris,
Mar. 5, 1770 ; Abbe de Gevigney, Paris, Dec. 1, 1779 : Lenglier, Paris,
Mar. 10. 1788 ; De la Hante, London, 1821 ; Joseph Barchard Collection,
sold to London dealer, Emmerson ; Peel Collection. 1829. with which
it was purchased, 1871.

No. 2540. A Room with many Figures.

A long, raftered room with a central table round which eight
figures are grouped listening to an old man who stands to the
right playing a hurdy-gurdy. To the left a grate with embers
which a child is blowing with bellows. To the right a besom and
overturned bench lie on the floor. Tone, brown. Signed and
dated : " A. v. OSTADE, 1653."

Wood, 15i in. h. by 21f in. w. (0'39 by 0-55).

De Groot's Catalogue, No. 535.

In Lord Dudley's Sale, London, June 25. 1892. George Salting
Bequest, 1910.

No. 2541. The Cobbler.

To the left an old cobbler is seated three-quarters to the right
in his hut ; on the roof a dog sleeping on a red blanket. To the
right, facing the cobbler, a man with a pipe sits on a stool
profile to the left ; a besom in the left corner, a pump on the right,
a cottage wall in the background. Tone, brown. Signed " A. v.
OSTADE, 1657."

Wood, 9 in. k. by 7 in. w. (0'22 by 0'18).

George Salting Bequest, 1910.

No. 2542. Courtship.

In the centre a man, wearing a black coat and hat, is seated
facing the right front. He leans his right elbow on a round table,
and holds a glass of wine in his right hand. His left hand rests
on the right hand of a woman who sits facing left. Behind, on
the left, a leaded window. On the table, to the left, a plate of
oysters. Tone, golden brown.

Wood, 10J in. h. by 8 in. w. (0'27 by 0'21).

De Groot's Catalogue, No. 291.

George Salting Bequest, 1910.

OSTADE. 521

No. 2543. A Man with a Jug.

The half-figure of a man turned to the left with a jug raised in
his hands ; his face looking hack to the right. In his right hand
is also a pipe. Tone, golden brown. Signed " A. v. Ostade."

Wood, lOf in. h. by 8* in. w. (0'27 by 0'21).
De Groot's Catalogue, No. 142.
George Salting Bequest, 1910.

OSTADE (ISACK VAN), 1621-1649.

School of Haarlem. ISACK, the younger brother and pupil
of Adriaen, was born in Haarlem. His early pictures so closely
resemble Adriaen's of c. 1635-38, when he must have been his
pupil, that the brothers are often confused. In 1643 he entered
the Guild of Haarlem where he resided till his early death. His
activity dates from about 1639 ; interiors were his first subjects,
with strong light and shade and warmer and yellower colour
than Adriaen's. Later he painted landscapes ; first summer
scenes, mainly of streets, then winter pieces with frozen canals.
His earlier works are brownish, the later clear and silvery. He
died in Haarlem in 1649. A few drawings by him are known,
but no etchings or water colours. His pictures are in Amsterdam,
Antwerp, Berlin, Budapest, Munich and St. Petersburg.

See Hofstede de Groot : Catalogue of Dutch Painters, Vol. III.

No. 847. A Village Scene.

Towards the left a cloaked man on a white horse, followed by
a boy with two lurchers, rides into the picture towards the right.
Beyond him, to the left, a house and tall trees. In the shadow of
the trees a group of people round a cow, and a man milking. To
the right a milkmaid and a man. In the right foreground a sheep
and two swine. Tone, golden brown.

Wood, 22 in. h. by 19J in. w. (0-55 by <H9).

De Groot's Catalogue, No. 114. Sm. 3.

Sale : Due de Choiseul, Paris, April 6, 1772 ; bought from Erard in
Paris, 1823, by Smith, who sold it to Sir Robert Peel. Peel Collection,
1871.

No. 848. Frost Scene.

A frozen river with figures skating and in sledges. A man
with faggots on his back, preceded by a dog, is crossing, from left
to right, a footbridge spanning a frozen river. On the right bank
a bare tree and an inn before which are three men on the right.
A white horse draws a sledge with a barrel off the ice towards
the right. Tone, silver grey. Signed : " ISACK VAN OSTADE."

Wood. 19 in. h. by 15i in. ic (0-48 by 0-39).

522 OSTADE.

De Groot's Catalogue, No. 254. Sm. 38 and Suppl. 31.

Sales : Sir Simon Clarke, Bart., and G. Hibbert, London, May 14,
1802 ; Lady Drummond Smith, London, 1835. In the Peel Collection.
1842. Purchased with it, 1871.

No. 963. A Frozen River.

To the left a frozen river with sledges and skiters. Under the
right bank in the centre a hole has been broken in the ice ; on
the bank a tavern before which are sledges and travellers.
Harnessed to one of the sledges a white horse is conspicuous.
The sky is cloudy, and grey olue.

Oak, 16 in. h. by 21 in. w. (0-40 by 0'53).

De Groot's Catalogue, No. 81.

Wynn Ellis Bequest, 1876.

No. 1347. A Farmyard Scene.

In the centre a dilapidated wooden shed, in which a cart,
baskets and agricultural tools are stored. On the left a
ruined fowl-house and brambles in sunlight. Behind it, on the
left, an oak ; in the foreground poultry feeding. Gold brown
tone. Signed,

Wood, 15J in. h. by 15f in. w. (0'39 by 0'40).
De Groot's Catalogue, No. 306.

Sales : H. Moll, Cologne, Nov. 11, 1886 ; Habich, Cassel, May 9, 1891,
whence purchased, 1891.

No. 2544. The Cart.

Also called Travellers on the Road. In the centre, advancing to
the right, is a man leading a horse and cart in which a woman is
seated. They are followed from the left distance by a man on
horseback driving cows. In the left foreground a boy and a white
dog ; on the right two men seated. Tone, golden brown.
Signed : " ISACK VAN OSTADE, 1645."

Wood, 20f in. /;. by 17 J in. w. (0'52 by 0'44).

De Groot's Catalogue, No. 115.

George Salting Bequest, 1910.

PACCHIA PACCHIABOTTO. 523

PACCHIA (GIROLAMO DEL), 1477-1535?

School of Siena. PACCHIA was born at Siena, the son of a
cannon founder from Croatia. Left an orphan GIROLAMO was
pupil to Fungai, and influenced by Pacchiarotto. Later at
Florence and after 1500 in Rome Fra Bartolommeo, Sodoma,
Genga, Raphael, and Andrea de Sarto all had some effect on his
susceptible mind. In about 1508, with a reputation made, he
returned from Rome to Siena, where are some of his best works
and records of others now perished. With Bazzi and Beccafumi
he worked at the frescoes in the Oratory of S. Bernardino, three
of which are his. For the Preaching Friars of Sto. Spirito he
painted an altar-piece, now in the Gallery at Siena ; their church
still contains his Assumption of the Virgin. One of his finest altar-
pieces is a Madonna and various Saints in S. Cristofano. Other
works of his are in the Oratory of Sta. Caterina in Fontebranda,
at Berlin. Munich, Budapest, Highnam Court, and Dresden. Im-
plicated with the notorious Company of the Bardotti, he seems
to have fled Siena in 1535. After then his name does not appear
in Sienese documents ; the year of his death is uncertain.

No. 246. Madonna and Child.

The Virgin in a black hooded, mantle, and dull rose tunic is
seated half-length, full face, looking down to the right front ; she
feeds the Child, who lies on her left arm, quite naked. Landscape
background. Tone golden-brown.

Wood, in oil, 29 in. h. by 24 in. tv. (0-73 by 0'61).

Purchased from M. Joly De Bammeville's collection, in 1854.

PACCHIAROTTO (JACOPO), 1474-1540?.

School of Siena. PACCHIAROTTO, who has often been confused
with Pacchia, was born in Siena, and studied under Matteo di
Giovanni. Subsequently he was influenced by Fungai, Francesco
di Giorgio, Pietro di Domenico, and lastly Perugino. From 1503
he carried out in paint and stucco the decorative beads of the
emperors in the nave of the Duomo, standards ordered for state
occasions and processional banners for religious confraternities.
In 1507 the nephews of Pius III employed PACCHIAROTTO to
complete the decoration of a chapel in the Church of San Francesco,
begun in 1504 by Pinturicchio. This work was not finished until
1514, and was destroyed by fire in 1655. In 1525 he was employed

"Magister Johannes de Sclavonis magister bombardarum ; and "Magister
"Johannes Johannis de Sagabria (Zagrab, is. Agram), Magister bombardarum. '
See Milanesi, Document! per la Storia dclF Arte Senete, voL ii.. p. 349.

524 PACCHIAROTTO PADOVANINO.

by the Guild of Notaries, and again in 1536 to erect a triumphal
arch for the Emperor Charles V. Although Gonfalonier and
Captain of the Company of Stalloregi, in which quarter of the city
he lived, he often was at issue with the authorities : ultimately
in 1539 he was sent into exile and his life declared forfeit. This
sentence was repealed in 1540, and he returned to Siena, where
shortly afterwards he died. Pictures by him are in the Accademia.
Florence, at Highnam Court, in the Gallery, Siena, and in the
Duomo, the Palazzo Palmieri Nuti, and the Arciconfraternita
delJa Misericordia, Siena.

No. 1849. The Nativity.

Before a wooden shed built out from a cave hollowed in the
rock, the infant Christ lies on the ground in the centre sur-
rounded by seven figures. To the left centre, facing half right,
the Virgin kneels in a blue mantle lined with green, over a rose-
red robe. On the left St. John Baptist kneels, facing the front,
holding a cross and scrip, a rose-red mantle over his pelt. Behind
him, to the left, stands St. Stephen, in blue, holding a scarlet-
bound book. To the right centre St. Joseph kneels, in blue
and rose-red, looking towards St. Nicholas of Bari, who
stands on the right in rose-red and green, with mitre and
crozier. Ou the right St. Jerome kneels, profile to the left.
Behind, in the cave's mouth, an ox and an ass : above, the Eternal,
in faded blue and crimson, an angel on each side. Flesh tone grey
brown.

On the frame on each side are three small niche-shaped panels, one
over the other, each containing a figure. At the top on the left is
the Angel of the Annunciation ; then St. Peter and St. Francis of
Assisi below. On the right is the figure of the Virgin above, and
St. Paul and St. Lucy below. The predella contains five panels
with scenes from the Passion. Beginning from the left is
(1) 4< The Agony in the Garden " ; (2) " The Betrayal of Judas " ;
(3) " The Crucifixion " ; (4) " The Deposition from the Cross " ;
and (5) " The Resurrection." 2 shield shaped Coats of Arms on
the Castle in top lef c quarter on gold R -)- 4 crescents
dexter lion ramp.

Wood, in tempera, 74 in. h. by 61 i in. w. (TS8 by 1-56).

The predella, S 1 8 in. h. by 55| in. w. (0"20 by T40).

Purchased in London from Messrs. T. Agnew & Sons, in !'.">:.

PADOVANZNO. 1590-1650.

Venetian School. ALESSAXDRO VAROTARI, commonly called
PADOVANINO, was born at Padua, the son of Dario Varotari, a
Veronese painter. He went early to Venice and became a fairly
successful imitator of Titian and Paul Veronese. He visited

At each side of the predelia is an oval shield shaped coat of arms : a eastle
in the one and four crescents and a lion rampant in the other.

PADOVANINO PALAMEDES. 525

Rome, but his pictures are seldom seen out of Venice and Padua.
He died at Venice in 1650. His best pictures are the Marriage at
Cana, now in the Accademia, and the San Liberate in the Carmine
Venice.

No. 70. Cornelia and her Children.

On the left, looking to the right, a woman seated by a table ; a
pearl necklace in her raised left hand. To the right, profile to the
left, Cornelia, " mother of the Gracchi," sits, in a blue robe and
white sleeves, profile to the left, pointing with her left hand to
the right lower corner where are her two sons ; one in red, held
to her, and looking right, the other kneeling profile left. Gold
brown tone.

Canvas, 56 in. h. by 48 in. w. (1'42 by 1-21).

Bequeathed by Lieut.-Col. Ollney in 1837.

No. 933. Boy ivith a Bird.

Lying on the ground caressing a white dove.
Canvas, H in. h. by 19 in. w. (0'35 by 0'48).
Wynn Ellis Bequest. 1876.

PAXiAXVXEDES (ANTHONIE), 1601-1673.

School of Delft. ANTUONIE PALAMEDES, called Stevers, was
born and trained at Delft ; in 1621 he was in the Guild, and
from 1651-1673 repeatedly its President. He married firstly
in 1630, secondly 1660. Apparently at his eldest SOD'S insti-
gation (Palamedes Palamedesz II) he moved to Amsterdam,
1673, where he died the same year. He collaborated with A. de
Lorme and probably D. van Delen, introducing genre and still
life into their pictures. Examples of PALAMEDES are at
Amsterdam, Berlin, The Hague, and many other galleries in
small numbers.

No. 2575. A Musical Party.

The light falls obliquely from the left on a centre group of
three seated figures. A young man, profile left, in pale buff,
with a black hat, plays the violin ; to the left, profile right, a
woman in a red skirt, white mutch and black bodice, and a man,
full-face, in old rose, sing from a book in their laps. In left
foreground a man stands in shadow nearly profile right.
To the right in half shadow a table laid : swan pie is served.
Beyond stand a boy in black holding a cup, and a woman in red.
In the right foreground a small dog and a wine cooler ; greyish
tone.

526 PALM A.

PAX.IKA (VECCHio), 1480-1528.

Venetian School. GIACOMO PALM A, the elder, called PALM A
VECCHIO, was born at Serinalta, near Bergamo. He is said to have
been pupil to Giovanni Bellini or rather to have been under Cima
at Venice, thus acquiring at second hand the Bellinesque influence.
Later he inevitably came under the Giorgionesque and Titian
domination. In the main he worked at Venice, but during his
middle period made Bergamo his centre, thence working for the
churches in the neighbouring villages. At this time, c. 1512, he
came in contact with and influenced Lorenzo Lotto, who in return
had a distinct effect on him. PALMA died in Venice, 1528. He
stands in the front rank of the secondary post-Giorgionesque
Venetians. He is well represented at Berlin in the chief phases
of his art, from the early Madonna and Child, No. 31, to the late
blond-toned half-length portraits of courtesans, No. 197A and
19?B. At Dresden are five important pieces, including the Holy
Family and the late Jacob and Rachel. Hampton Court has a Santa
Conversazione and a portrait by him, and the Louvre an Adora-
tion of the Shepherds reflecting Lotto's influence. In Venice he
is seen in the Christ and the Adulteress, St. Peter Enthroned, and a
late Assumption, all in the Accademia, where also is the Tempesta
di Mari ascribed to him by Vasari, but taken from him by certain
authorities ; and in the Quirini-Statnpalia, the Giovanelli, and the
Leyard Collections. At Vienna, lastly, are several representative
examples. A picture in Mr. Heseltine's Collection (exhibited at
the New Gallery, 1895, and now on loan in this Gallery) bears the
signature of PALMA. It was 'formerly accepted as by Catena, to
whose Warrior adoring the Infant Christ (No. 234 in this Collection)
it shows striking resemblances.

No. 636. Portrait of a Poet.

Half-length, nearly full face, the body three-quarters right,
the eyes left, with long bronze-red hair, slig&t beard and
and moustache ; he wears a quilted rose crimson and dark violet-
blue dress, showing the neck and white shirt, and a mantle round
his shoulders. The gloved right hand rests on his lap, the left
arm on a book, tied with a bow ; a rosary on the wrist.
Background of laurels. Tone glowing golden.

Canvas, transferred from wood, 32 1 in. h. by 24 in. w. (0-82 by
0-61).

Transferred by Paul Kiewert, Paris, 1857. Formerly in the
possession of Mr. Tomline. Purchased at Paris from M. Edmond
Beaucousin, in 1860.

Formerly ascribed to Palma. Titian, and Giorgione in turn. A head
precisely similar, assigned to Palma. was, in 1874. in the Giustiniani-
Barbarigo collection at Padua : the figure, painted by another hand,

* Sec Sir Claude Phillips : Burlington Magazine, XL VI, vol. X.

PALMA PALMEZZANO. 527

represented a " Salvator Mundi." Other similar portraits are in the
collection of the Duke of Alba, at Madrid, and in the Qnirini-
Stampalia, Venice, and the John G. Johnson Collection in Philadelphia.

PAXilKEZZ ANO (MARCO), 1456 ? after 1543

Umbro-Romagnol School. PALMEZZANO, one of the principal
painters of the Romagna, was born at Forli ; * he was the
scholar of Melozzo da Forli, and has signed his name Marchus
de Melotius and de Melotiis in pictures in the Church del Carmine
at Forli, and in the Church of San Francesco dei Zoccolanti at
Matelica. His ordinary signature was Marcus Palmezanus Pictor
Foroliviensis faciebat. PALMEZZANO followed his master in the
study of geometry and perspective, and showed some skill in
foreshortening the human figure, as in the vault of the chapel
of S. Biagio in S. Girolamo at Forli. He was also an able
inventor in ornamental design. Pictures of his to which dates
are assigned are the altar-piece in the Church of Bulciago (Como),
1481 : Madonna and Saints, Faenza, 1498 ; the Crucifixion (fresco),
at Forli, 1492 ; a Polyptych in S. Francesco, Matelica, 1501 ; the
Nativity and Madonna and Saints, 1492 and 1493, in the Brera ;
SS. Francis and Jerome, Liechtstentein Collection, Vienna, 1500 ;
the Dead Christ, Paris, 1510; St. Helena, Forli, 1516; Christ
Risen, Berlin, 1536 ; his own Portrait, 1536, at Forli, and a Holy
Family, Padua, 1536. PALMEZZANO'S death date is not known.

No. 596. The Deposition in the Tomb.

In the centre the Body, in a sitting posture, supported on the
dge of the tomb by the Virgin, to the right, and Mary Magdalen,
who kneels profile to the left. The Virgin is in blue, the Mag-
dalen in vermilion and green. The Evangelist, nearly profile
right, stands to the left, in a gold tunic and rose-red mantle,
his hands clasped. On the extreme right, three-quarters left,
stands San Mercuriale, first Bishop of Forli, holding the Guelphic
banner of the Church, a white cross on a red flag : on the extreme
left San Valeriano, in a scarlet cloak, holds the standard of Forli,
a white flag striped with blue, in his left hand. In the foreground
is a black-green cloth, draped on the side of the tomb.

Wood, 39 in. 7t. by 65$ in. to. (0'99 by 1-65).

Originally of a semicircular shape as the lunette of an altar-piece,
representing "Christ administering the sacrement to the Apostles," now
in the gallery at JForll and which was placed in the Cathedral of Forli
in 1506. Purchased in Rome from Signer Gismondi in 1858.

The Palmezzani family at Forli, possessed a portrait of this painter,
the frame inscribed-MARCUS PALMKSANUS NOB. FOROL. SEMETirsuM
PINXIT OCTABA ^TATIS SUJE 1538. This appears to be in the Pinacoteca.
Forli, and represents the painter as old.

528 PANINI PAPE.

PANZNZ (GIOVANNI ANTONIO), Cavaliere 1695-1768.

Roman School. PANINI was born at Piacenza in 1695, He
became a scholar of Andrea Lucatelli and Benedetto Luti at
Rome. For some time he resided in Paris, where, in 1732, he
was elected a member of the Academy. Rome was, however, his
settled place of abode and there he died on the 21st of October,
1768. Many of his works were engraved. He is well represented
in Boston, U.S.A.

No. 138. Ancient Ruins, with Figures.

In the centre various fallen ruins, among which seven classical
figures in bright-coloured draperies are grouped. In the left fore-
ground three ruined pillars in perspective, in the right a wall and
a statue on a pedestal. In the background, towards the right,
the pyramid of Cestius. Background of blue sky with grey
cumulus. Tone grey-gold.

Canvas, 19i in. h. by 25 in. w. (0-49 by 0'63).

Bequeathed by Lieut.-Col. Ollney in 1837.

PAPS (ABRAHAM DE), 1620-1666.

School of Leiden. ABRAHAM DE PAPE, born at Leiden,
was a pupil of Gerard Dou in 1644. His name appears in 1645
in the account book of a society for the sale of pictures
at Leiden. In 1648 he entered the Guild, and was Warden and
Dean in 1649 and 1651. He died in Leiden, 1666. Pictures by
him are scarce ; he seems to have confined himself to painting
interiors with figures. The gallery of the Hague has one, signed,
but not dated ; a second, dated 1648, was lent by Comte G. du
Chastel to an exhibition at Brussels in 1873 ; a third, undated,
but signed, was in the sale of the Du Bus de Gisignies collection
at Brussels in 1882. Other examples are at Dublin, the Leicht-
stentein Collection, Vienna, and Schwerin.

See Bredius : Archief voor Nederlandsche Kunstgeschiedenis,
5e Deci., p. 172. Rotterdam, 1882-83.

No. 1221. Interior of a Gottage with Figures.

On the left an old woman sits at her spinning wheel with her
back to a window. On the right, profile to the left, an old man in
dull brown sits warming his hands at a fire-place. Above the
spinning wheel a wooden cupboard ; in the right foreground an
olive green curtain ; on the left a small barrel. Low brownish tone.

Signed A. DB PAPE.

Wood, 15f in. h. by 21 in. w. (0'40 by 0'54).

Purchased from the Blenheim Palace collection ; " Walker Fund."
1886.

PARMA PARMIGIANO. 529

PARMA (LoDoviCO DA). See ZiODOVZCO. i

IG-XANO, 1504-1540.

School of Parma. FRANCESCO MARIA MAZZOLA, commonly
called PARMIGIANO, or PARMIGIANINO, was born at Parma.
He was brought up by his uncles Michele and Pietro Ilario,
who, with his father (Pilippo Mazzola) were both painters. After
Correggio bettled at Parma in 1518 PARMIGIANO imitated hia
style. He went to Rome in 1523, where he was well received by
Clement VII., and studied Raphael. He was in Rome during the
sack by the French soldiers of Charles V., 1527 ; the picture of
St. Jerome in this Collection was painted at that period.
PARMIGIANO then went to Bologna. In 1531 he returned to
Parma, and was engaged on extensive frescoes in the choir of
the church of Santa Maria della Steccata, to be completed by the
10th of November 1532 ; he received half payment (200 gold
scudi) in advance ; but having scarcely commenced the frescoes
after five or six years, he was thrown into prison for breach
of contract. Instead of prosecuting the work after his release,
he fled to Casal Maggiore, in Cremona, where he died. His
pictures are numerous ; examples are in the Pitti and Uffizi, at
Madrid, Hampton Court, Parma, Naples, and Vienna. The most
celebrated of his altar-pieces is the Santo Margherita in the
academy at Bologna, preferred by Guido to the St. Cecilia of
Raphael. Of his easel-pictures the most admired is the Cupid
making a Bow, painted about 1536 for Francesco Boiardi, now
at Vienna : PARMIGIANO etched a few plates, and is said also
to have made several woodcuts. His drawings are well-known.

No. 33. TJie Vision of St. Jerome.

So called by Vasari. John the Baptist on the left, kneeling on
one knee with a leopard skin thrown over his left thigh, points
upwards with his right hand to the Virgin seated with the infant
Saviour ; he looks round at the spectator. St. Jerome lies on his
back, asleep, on the right, further back, a dull scarlet drapery over
his loins. A skull lie* by his left knee. The Virgin's tunic is
pale rose, her mantle green blue.

Engraved by J. Bonasone, the painter's contemporary; and by
W. T. Fry, in Jones's National Gallery. There are several old copies
extant.

Wood, 138 in. A. by 60 in. w. (3-50 by 1'52).

Painted at Rome, in 1527, for Maria Buffalina, to be placed in

the church of San Salvatore di Lauro. at CittA di Castello : during

the completion of the work the city was stormed by the Imperialists.

It remained in Citta di Castello until 1780, and then was purchased by

17983 2 L

530 PARMIGIANO PATINIR.

'an English collector, and brought to this country. After passing
through different hands, it was finally purchased by the Governors of
the British Institution, at the sale of Mr. G. Watson Taylor's pictures,
in 1826, and by them presented to the National Gallery.

P ASSIONANO (DOMENICO CRESTI), c. 1558 ?-1638.

Florentine School. DOMENICO CRESTI was born at Passignano,
near Florence. He studied under Macchietti, Naldini, and
Zuccaro, the first two obscure Florentines of the Decline. He
worked in Rome, Pisa, and Venice. His pupils were Pietro
Sorri (1556-1622) (who is said to have been also his son-in-law,
though their respective ages make this improbable), Giovanni
Carlone, and Giovanni Battista. Paintings by PASSIGNANO
are in the church of S. Marco, Sto. Spirito, and the Palazzo
Yecchio ; the Louvre, and Vienna. He was knighted by
Clement VIII, and the first master of drawing in the Academy at
Florence. He died 1638.

No. 2294. Portrait of Galileo.

Three-quarter length, nearly full face to the left. He wears a
black doublet, with white lawn collar and cuff. On the left a
table, on which is an astrolabe, a book, and a sheet of white paper
marked with a diagram. His right hand is resting on the book ;
his left, with a ring on the thumb, holds a pair of compasses.

Canvas, 46 in. h. by 32* in. to. (1-16 by 0-82).
Bequeathed by Mr. George Fielder, 1908.

PATINIR (JOACHIM), 1485-1524.

Netherlandish School. PATINIR, or PATINIER, was born at
Dinant. He probably had worked at Bruges for some time
before he was a master in the Guild there in 1515 ; it is uncer-
tain, however, who his master was. His first wife was Francesca,
daughter of a painter, E. Buyst, of Termonde. In 1520 PATINIR
bought a house in Antwerp, and remarried there the same year.
When Durer visited Antwerp, 1521, he made Joachim's acquaintance,
drawing him, and presenting him with drawings and a picture by
Baldung Grien. In return Durer was presented with a Lot and
his Daughters by PATINIR. Joachim died at Antwerp, 1524,
leaving young children who became wards to Massys, Karel
Alaerts, and Jan Buyts. PATINIR'S popular repute is as the painter
who first painted landscape for its own sake, making it the motif of
a picture. Recent criticism has allowed that he also painted more

PATINIR. 531

or less important figures in these landscapes ; formerly it was
denied that he ever painted such. It is possible that he borrowed
his figure material from the work of other painters ; his Flight
into Egypt, at Berlin, is derived in this respect from Robert
Campin. For his part he certainly collaborated with brother
artists, Massys, for example, in putting in their backgrounds.
Four incontestable works by PATINIR are known : the Baptism, in
the Imperial Museum, Vienna ; the St. Jerome (Carlsruhe) ; the
Madrid Temptation of St. Anthony and the Flight into Egypt, in
the Antwerp Museum. Of these the first, second, and last are
signed ; some critics read the signatures as JOACHIMO, and infer
an Italian journey. Another picture fairly generally assigned to
him is the Berlin Flight into Egypt.

See Fierens-Gervaert : Les Primitifs Flamands, III, 1910.

No. 716. St. Christopher carrying the Infant Christ.

A large fiord almost surrounded by a rocky landscape. In the
centre foreground St. Christopher wading towards the spectator.
He wears a deep blue tunic and rose-red cloak, and bears on his
right shoulder the infant Christ, dressed in a black robe and light
rose-coloured cloak. In the foreground, to right, a hermit stands
on the bank facing left, a staff in one hand, a rosary in the other.
In a niche in the rocks a chapel and hermit's cottage. In the left
middle distance trees, beyond, a town surrounding a castle on a
hill. Blue distance of sky and sea ; boats and a galleon in the
bay. Tone cool and atmospheric.

Oak, 10 in. k. by 21 J in. to. (0-24 by 0-54).

Formerly in the Wallerstein Collection ; presented by Queen
Victoria at the wish of the Prince Consort, 1863.

No. 717. St. John on the Island of Patmos.

Seated in the centre, profile to the right, beneath a sapling,
writing the Book of Revelations ; to the right an eagle holding
an ink-horn which an impish monster is offering to steal ; above,
the Saint's vision of the woman with the child and the dragon
with seven heads. In the left mid-distance houses behind pand-
hills on the shore, and a flat-bottomed hoat lowering sail ; in the
left and centre distance isolated rock cliffs. Flesh tone.

Oak, 14J in. h. by 9J in. w. (0'36 by 0'24).

Presented by Queen Victoria at the wish of the Prince Consort, 1863.

No. 1082. The Visit of the Virgin to St. Elizabeth.

The Virgin in a deep blue robe, stands in the left centre facing
right, with hands extended to St. Elizabeth. The Saint kneels
facing left, her hands touching the Virgin. She is dressed in ro
colour, with black and white head-dress. In the middle distance
a garden with a clump of trees. In the right background a ruined

17983

2 L 2

532 PATINIR PENNI.

archway leading to a castle. Beyond, to the left, a fortified town,
the bend of a river, and blue distance.

Wood, 31 in. h. by 27J in. w. (0'79 by 0'69).

On the back a seal with S.C. in monogram. Bequeabhed by Mrs.
Joseph H. Green. 1880.

No. 1084, The Flight into Egypt.

In the centre the Yirgin, in a blue robe and hood, is seated
on an ass facing the spectator. She gives the breast to the Child
wrapped in white. In the extreme left St. Joseph, with his back
to the spectator, leads the ass by a long halter. He wears a rose-red
robe, and carries over his right shoulder a staff, with a double
bundle. In the left foreground a tiny stream flowing from a
drinking trough ; in the right middle-distance a grove, with
a small broken statue, a monkey seated by the base. Beyond,
to the left, a blue rocky distance with a town and figures. Flesh
tone, clear rose-grey.

Wood, 31J in. h. by 27| in. w. (0-79 by 0'69).

Bequeathed by Mrs. Joseph H. Green, 1880.

No. 1298. Landscape ; River Scene.

A placid river winds to the left past white cliffs. In the middle
distance a small town at the foot of a wooded upland. On the river
are a rowing boat, a barge, and a logwood raft of great length,
which assumes a serpentine form. In the left foreground a man
sketching at the foot of a tree. Tone pearly grey.

Wood, 20 in. h. by 27 in. w. (0'50 by 0'68).

On the back a seal with S.C. in monogram. Purchased at Florence
from Sigr. Stefano Bardini. 1889.

PELLEGRINI (DA SAN DANIELE). See MARTXNO
DA UDINE.

PENNX (LucA)i 1500?-

Umbro-Roman School. LUCA, brother of Francesco Penni
(known as II Fattore), was born in Florence about the beginning
of the XVIth century. He was a pupil of Raphael and P. del
"Vaga. He worked in Lucca and Genoa, and in most parts of
Italy. He came to England and worked for Henry VIII, then
he visited France, practising at Fontainebleau with Primaticcio.
Thence he returned to Italy. The date of his death is not known.
Pictures by him are apparently scarce : a Holy Family is said to
be in Florence. On his return to Italy he took up engraving.

PENNI-PERUGINO. 533

No. 2293. The Holy Family.

In the foreground, to left, the Virgin seated on the ground,
profile to the right. She is robed in rose colour and clear blue and
wears sandals. On either side of her, and leaning across her lap
with entwined arms, are the Holy Child and St. John. To the
right, dressed in blue and brown draperies, St. Elizabeth kneels,
facing left. In the centre, standing below a rock, St. Joseph in
shadow, and in front of him, showing dimly, a child's fa:e. To
the left, bending over the Virgin, two attendant angels. In the
distance a rocky landscape. Tone golden.

Wood, 12 in. h. by 8| in. to. (0'30 by 0'22).

Bequeathed by Mr. George Fielder, 1908.

PERUGINO (PiETRo), 1446-1523.

Umbrian School. PIER DELLA PIEVE or PIETRO VANNUCCI,
born at Castello della Pieve, is usually called PERUQINO, from
Perugia, where he spent his youth and learnt his art. He was
probably pupil to Fiorenzo di Lorenzo, and was influenced
by Signorelli and largely by Verrocchio, in whose studio he had
probably worked with Leonardo and Lorenzo di Credi, before
1475 when he was commis-^ioned to paint in the Palazzo Pubblico,
Perugia. The frescoes he made have perished ; of those executed
in a chapel at Cerqueto in 1478 a St. Sebastian and other figures
remain. An earlier work is alleged to be the Assumption, finished
in 1469 by PERUGINO for Piero della Francesca, for the church of
St. Agostino, now at Borgo San Sepolcro. In 1481-82 he was
at Rome, employed with Signorelli, Cosimo Rosselli, Dom.
Ghirlandaio and Botticelli, to paint in fresco in the Sixtine
Chapel. Of his four works three which filled the altar end
were destroyed to make room for Michelangelo's Last Judgment ;
the fourth, the Delivery of the Keys to St. Peter, still remains.
After his departure from Rome he had studios at Florence and
Perugia, but was himself frequently elsewhere attending to hia
many engagements. In 1489 he was invited to Orvieto to paint the
Chapel of S. Brizio in the Duomo ; but after negotiations, renewed
at intervals of years, he renounced the undertaking. In 1490 he
was in Perugia, in 1491 in Rome again working for Cardinal della
Rovere, on the altar-piece now in the Villa Albani. In 1493 he
was a councillor in Citta della Pieve, and in Florence, where he
painted a Madonna and Child (now in the Uffizi) for 8. Domenico
in Fiesole ; in 1494 he was in Venice and Cremona, in 1496 at
Pavia working for II Moro, Duke of Milan, and the same year in
Venice, Florence, and Perugia, so much was he in demand. Dated
paintings of about this period are at Cremona in S. Agostino, a

534 PERUGINO.

Madonna and Saints (1494) ; a Madonna and Saints in the Acca-
demia, Florence (1493) ; a Portrait of Francesco delVOpere (1494)
and an Entombment (1495) there also ; as is the earlier Pieta. In
the Cenacolo di Foligno, Florence, is a Last Supper (c. 1490), and
in S. Maria dei Pazzi a Crucifixion (1493-96) ; at Lyons an Ascension
(1496-98) ; in St. Gervais, Paris, a Lunette, The Eternal with Angels
(1496-98) ; at Perugia, in the Gallery, a Madonna and Angels
(1498) ; a triptych in the Villa Albani, Rome (1491), and at
Vienna a Madonna with four Saints (1493). In 1497 PERUGINO
was on a commission, in Florence, to assess the value of certain
frescoes of Alessio Baldovinetti ; he visited Fano, too, and
probably Perugia ; in 1498 he was again in Florence. In 1499
he began his most important frescoes in the Cambio, Perugia,
into which he introduced his own portrait. Between 1502-17 he
was at Florence, Perugia, Citta della Pieve, Foligno and Rome ;
perhaps Assisi, and certainly Siena, and Citta della Pieve in
1512-1517- His works of these decades include the Assumption,
in the Accademia, Florence (1500) ; the portraits of Dom Blasco
and Dom Bathazar, same gallery and date ; frescoes at Cambio,
Perugia (1500) ; Love and Chastity, Louvre (1505) ; the Assump-
tion, in SS. Annunziata, Florence (1506) ; frescoes in the Stanza
dell' (Incendio del Borgo, Rome (1507-8) ; St. Anthony, atBettona,
Perugia (1512) ; a Deposition, in S. Maria, Citta della Pieve (1517) ;
a Madonna of Mercy in the Monastery of S. Agnes, Perugia (1518) ;
SS. the Evangelist and Augustine, Toulouse (1521), and several
pieces in the Gallery, Perugia, of about 1521-1523. In 1521
PERUGINO painted his six Saints in San Severo, below Raphael's
fresco ; and in Fontignano in 1523 began the large fresco, said
to be his last work, now in this Collection. He died of plague,
presumably, at Fontignano, 1524. Recent criticism is inclined
to take a less serious view of PERUGINO as a painter of figure
subjects than as a landscape painter, finding him deficient in
considerable feeling for form or action. His influence in Umbria
and Siena was wide ; Lo Spagna and Pintorricchio are prominent
among his followers.

See Berenson: The Central Italian Painters, 1909. G. C.
Williamson : Pietro Perugino, 1903.

No. 181. The Virgin and 'Infant Christ, with St. John.

The Virgin stands half length, full-face, in the centre, looking
down, her head inclined to the left. The child St. John stands
half-length, profile to the left, in the right corner, behind a
parapet on which the Child stands on the left. In His left
hand He holds a lock of Mary's hair. Landscape back-
ground. The Virgin's tunic is crimson, her mantle blue, with
green lining. Flesh tone greyish yellow. " Petrus Peruginus " is
inscribed in gold on the hem of the mantle of the Virgin.

Wood, in tempera. 26^ in. h. by 17 in. w. (0'67 by 0'44).

PERUGINO.

535

This picture was obtained by Mr. Beckford at Perugia, and
purchased from him in 1841.

No. 288. Tlw Virgin adoring the Infant Christ.

Three principal portions of an altar-piece. In the centre the
Virgin kneels, three-quarters to the left, adoring the Infant, who,
supported by an angel, is seated in the left corner on the end of
the Virgin's deep ultramarine mantle. He looks up at her,
touching His lip with His left hand. The angel, fronting the
spectator, looks up at the Madonna. Landscape distance, sharp
blue sky, silvery on the horizon ; three angels stand on clouds
against the blue. On the right the angel Raphael stands, full
figure, in pale ultramarine and rose carmine, looking down to the
left at the boy Tobias, who stands full-length, holding Raphael's
right hand and looking up at him : his tunic dark emerald green,
his hose rose carmine, bis buskins pale ultramarine. Landscape
beyond. In the left division the Archangel Michael stands,
armed and winged, nearly full-face, his copper shield between his
feet, held by his left hand ; a medallion in the centre has the
Gorgon's head on blue enamel. To the left, on a tree, a pair of
scales. Landscape background. Flesh tone throughout brown
golden. Signed

PETRVS PlLFlVSINVS

PINXIT

Wood, each compartment 50 in. A. (1'27) ; the centre compartment
25J in. w. (0-64) ; the side pictures each 22J in. ;. (0'57).

Painted, as recorded by Vasari, for the Certosa, or Carthusian convent
near Pavia. The entire altar-piece consisted of six compartments.
Above the three portions already described were in the centre, a figure
of the Almighty, which is still in its original place in the Certosa ; on
the sides, the subject of the Annunciation, the Angel on the left of the
spectator, the Virgin on the right ; all these were half figures. The
two last-named have disappeared ; but their places, as well as the places

go
du

536 PERUGINO.

of the three portions now in this collection, have long been supplied
by copies.

These three pictures were bought from the Certosa by the Melzi
family in 1786 ; purchased from Duke Melzi of Milan in 1856.

No. 1075. The Virgin and Child with SS. Jerome and
Francis.

The Virgin, the Babe in her arms, stands on a low pedestal,
facing the spectator. She wears a black cloak shott with

ld, over a dull red robe. To the left, in a crimson habit over a

ull plum-coloured dress St. Jerome, holding a black missal and
turning half right. To the right, St. Francis stands full-face, in
a brown habit holding a red cross and missal. The figures are
surrounded by a low stone parapet. Above, two angels in rose
colour and brown, with lilies, hold a red crown over the Virgin's
head. In the background a hilly landscape. Tone golden grey.

Wood, in oil. 72 in. h. by 59 in. w. (T82 by 1'49).

Ordered of Perugino in 1507 by the executors of Giovanni Schiavone,
a master carpenter of Perugia, and painted that year, when it was
placed over the altar of their chapel in S. Maria Xuova (de' Servi).
in a carved ungilt frame, said to be designed by Perugino. The
chapel reverted to the Frati Serviti, owners of the church, who subse-
quently sold the chapel with its contents to the Cecconi family, at
whose extinction it was inherited by the family della Penna. In 1822
Baron Fabrizio della Penna removed the picture to his palace in Perugia,
leaving the frame in situ, in which at the same time was inserted a copy
on canvas executed by a young Perugian painter, Giuseppe Carattoli.*
The picture was purchased from the Baron della Penna in 1879.t

No. 1441. The Adoration of the Shepherds.

In the centre the Infant Christ sits alone supported by a cushion
on a faded lilac drapery. Behind, rising to the top of the

Jno Siepi, Descrizione topoligico-istorica della Cittd di Perugia &c. Perugia
1822. Vol. in., p. 282.

t This picture is described by MM. Crowe and Cavalcaselle, Hist, of Painting
in Italy, Vol. ILL, p. 231.

By the kindness of the late Prof. Adamo Rossi, of Perugia, it is possible to give
here the text of the original contract for this picture, extracted from the daily
register book (1503 to 1507). preserved in the Biblioteca Comunale of Perugia :
" 1507, 7. Gingno ; presents Ser Severo di Pietro, e Gio. Bernardino di Francesco
" Baglioni II reverendo Padre Fra Niccolo, Priore di S. Maria (de 1 Servi), assente,
" Maestro Gaudiosi, e Cristoforo di Leonardo, sartore, di Porta S. Pietro,
" fldecommissari ed esecutori testamentari di Maestro Giovanni Schiavone,
" gia falegname di Perugia, defonto, come dissero constare per tnano di Ser
" Mariotto, allogarono a cottimo a Maestro Pietro, eecellente maestro di pittura,
" presente ci, a far e a fabbricare una Tavola di legname, e fatta e fabbricata, a
" dipingerla di sua mano ; nella quale debba dipingersi 1'imagine della gloriosa
" Vergine col Figliuolo, in piedi, a somiglianza di quella di Loreto, con la ligura
" di S. Girolamo in abito cardinalesco, e di S. Francesco stimatizzato, con colori
" flni, ornamenti di oro, ecc. E questq fecero perche i detti locatori gli
" promisero per sua fatica e mercede florini 47 a bolognini 40 per florino, con
" la predella e poamenti delle buehe. La qual tavola gli promise dipingere, e
" dipinta, d'esibire entro il mese di Settembre prossimo venturo : e nel caso
" che non la restituisse, pagare la quantita di 47 florini, perche non fosse
" guistamente impedito, ecc. Con questo patto che si debba nel prezzo di detta
" pittnra computare tutto il legname, a oagione di tre soldi al piede."

PERUGINO-PERUZZI. 537

picture, the beams of a shed ; the ox and ass lie against a
paling in the background. In the left division kneels St. Joseph,
profile to the right, his arms crossed, looking down at the
Babe ; his draperies are faded blue and gold. Behind him
three shepherds, two kneeling, in rose red and pale blue and
yellow, and one standing, in orange and pale lilac. He has a
basket in his left hand ; a fourth stands in the background by a
goat ; an angel in the sky above St. Joseph. In the right division
the Mother kneels, nearly profile to the left, in faded blue and
heather. Behind her, to the right, three shepherds, two kneeling
and one standing. Their dresses are rose red and cold, faded lilac
and heather. An angel flies above her. Landscape of great
recession stretches across the background. Tone faded grey.

In fresco, transferred to canvas, 98 in. h. by 233f in.w. (2-49 by 5-93).

This fresco, Perugino's last work, was removed from the Church
of Fontifjnano in the year 1843. It was purchased by the South
Kensington Museum in 1862 from Mr. W. H. Spenoe, of Florence.

Lent by the Victoria and Albert Museum, 1895.

PERUGXNO, AFTER.

No. 1431. Tlie Baptism of our Lord.

St. John the Baptist stands in the centre, nearly profile to the
left, pouring water from a cup on the head of the Saviour, who
stands, three-quarters to the right, His feet in the shallow river.
Two angels kneel to right and left in pale blue, gold, rose, and
olive green draperies ; two disciples, in pale pink, blue and gold,
and olive green stand on the right ; two in pale rose, and gold
moss green and dark blue on the left ; rocks and saplings to right
and left. Flesh tone grey pink.

Wood, 12f in. h. by 23 in. w. (0'32 by 0'9).

This was a favourite composition of the Perugino School. There are
two distinct variations. One, possibly originating with Perugino's
drawing (ex-Heselline Collection), is represented in the large Sixtine
fresco (attrib. to Perugino and Pintoricchio), at Foligno, (attrib. to
Perugino), Perugia and Munich. In this type the Baptist stands on
his right leg. In the second type he stands on his left leg, as in
No. 1431 in this Gallery, in the predella at Rouen (in which the land-
scape and other figures are identical in arrangement), in the Royal
Museum, Canterbury, at Vienna, and in the Louvre (by Giannicola
Manni). The example in the National Gallery was purchased in Rome
from Mr. Godfrey Kopp, 1894.

PERU2.Z.I (BALDASSARE), 1481-1537.

Umbro-Sienese School. PERUZZI, sometimes called BALDASSAKE
DO SIENA, was born at Siena, March the 7th, 1481. He probably

538 PERUZZI.

was pupil to Pacchiarotto, was assistant to Pintoricchio, and
influenced by Raphael and Sodoma. His most considerable
activity was in architecture. His first work of merit was done
at Volterra ; and he worked at Rome in the beginning of the
XVIth century. For Agostino Chigi he built a villa the well
known Farnesina on the western bank of the Tiber. From
this period his time was chiefly devoted to architecture. He
was appointed by Leo X., in 1520, the successor to Raphael as
architect of St. Peter's, at a salary of only 250 scudi per annum.
At the sack of Rome, in 1527, he was plundered of all he possessed
by the Imperial soldiers, and was forced to paint a picture of their
general Constable Bourbon, who had been killed in the first assault
of the city. He then escaped to Siena, where he was made city
architect, employed on the fortifications and pensioned. After a
few years he returned again to Rome, and died there Jan. 6, 1536,
perhaps by poison. He was buried in the Pantheon near the tomb
of Raphael. PEKDZZI, though a good draughtsman, was not
distinguished as a painter. His best work is a fresco repre-
senting the legend of Augustus and the Sibyl in the small
church in Fontegiusta Siena ; many other paintings are at Rome
and Siena, mainly frescoes. He was also a skilful designer of
ornament ; as an architect he takes high rank.

No. 167. The Adoration of the Kings.

A drawing in sepia. In the centre, before a ruined arch, the
Madonna seated, profile to the left, the Babe on her knee. One
of the kings kneels at her feet ; the others stand a little to the
right. Behind her the ox and the ass. To left and right a horse
stands against the pillars of the arch, above which is the Eternal,
surrounded by angels. Cavalcades to left and right in the middle
distance. A stepped path seen through the arch winding up a cliff.

Engraved nearly the same size, in several sheets, by Agostino
Carracci, in 1579.

Paper, 44 in. h. by 42 in. w. (I'll by 1-06).

This drawing was made afc Bologna, in 1521, for Count Giovanni
Battista Bentivogli. Grirolamo da Trevigi painted a picture from it for
the same nobleman. The drawing was presented to the National
Gallery, with a print from the plate engraved from it by Agostino
Carracci, by Lord Vernon, in 1839.

PERUZZI, COPY AFTER.
A copy in oils of the above, No. 167.

No. 218. The Adoration of the Magi.
Engraved by Agostino Carracci, in 1579.
Wood, 56| in. h. by 49* in. w. (1'43 by 1'25).

PERUZZI PESELLINO. 539

The drawing by Peruzzi was copied by Girolamo da Trevigi, in the
year 1521 ; Girolamo's picture was said to have been lost at sea :
several copies, however, were made from it ; one by Bartolomeo Cesi
was formerly in the possession of the Rizzardi family at Bologna. The
Threa Magi are portraits of Titian, Raphael, and Michelangelo.

Formerly in the Lapeyriere and Gray Collections. Presented by
Mr. E. Higginson in 1849.

PESELLINO (FRANCESCO), 1422-1457.

Florentine School. FRANCESCO PESELLO, called PESELLINO,
was born in Florence, the grandson of Giuliano d'Arrigo
Giuochi. He was brought up by his grandfather, and through
his master, Fra Filippo Lippi, obtained the teaching of Fra
Angelico. The latter's influence is prominent in his Triumphs,
in the Gardner Collection, Boston. U.S.A. About 1440, when
Filippo Lippi painted the front of the altar in Sta. Croce,
PESELLINO painted the predella of the same altar, in the
Medici Chapel ; part of it is in the Accademia, Florence,
part in Paris ; the Nativity, SS. Cosmas and Damian, and St.
Anthony of Padua in the former ; SS. Cosmas and Damian,
and St. Francis in the Louvre. Not only is Fra Angelico reflected
in these and the predella of the Legend of S. Silyestre, in the Doria
Palace, but Masaccio as well. PESELLINO'S pictures at Locking
Hall, the David and Goliath and the Triumph of David reveal
a fresh impetus, an exuberant pleasure in movement, in the
charm of landscape, and the bravery of gaily caparisoned caval-
cades. A closer resemblance to Filippo Lippi is seen in his Cruci-
fixion (Berlin) ; the Highnam Court Annunciation ; the Madonna
ami Saints on a gold ground (private collection, Berlin); the
Marriage of St Catherine, in the Uffizi, and especially in the Holy
Trinity with Saints and Angels, painted in 1457 for the Church of
the Trinity at Pistoia. The central part is in this Collection,
No. 727 ; the rest scattered in diverse places in the Royal
Collection, in Lady Henry Somerset's, in Lady Brownlow's, and
in private hands in Italy. This work he died leaving unfininhed.
In 1453 he had entered into partnership with P. di Lorenzo
di Pratese and Zanobi di Migliore, with them working on the
Pistoia Irinity already mentioned. PESELLINO died in 1457,
and was buried in S. Felice, in Piazza. His panels in Lady
Wantage's Collection representing thej Triumph of David, exhibit
for that time, an unusual power, of drawing horses and other
animals.

See Venturi : Sloria dell' Arte Italiana, VII. Milano, 1911.
Cuet Notes on Pictures in the Royal Collection, 1911.

No. 727. A Trinitd,

The Father in grey blue and rose, wearing a tiara, is seated
against the sky, surrounded by dark and scarlet Seraphim, and a

540 PESELLINO PIAZZA.

serrated % old-edged aureole. He bears up the Cross with both
hands. On it hangs the Son ; the Spirit hovers above His bowed
head. Blue sky, pale on the horizon ; in the distance brown hills
in sunlight ; a flowered meadow foreground in shadow. Flesh
tone blond grey gold.

Poplar, in tempera, in the modified form of a cross, 72 in. h. by 3y in. w.
(1-82 by 0-99).

Formerly in the church of the Santissima Trinita in Pistoja ; subse-
quently in Mr. W. Y. Ottley's collection. Purchased in London at the
Davenport-Bromley stile in 1863.

PIAZZA (MARTINO). 14 . . ?- after 1529.

School of Milan. At the beginning of the 16th century the two
brothers MARTINO and Albertino PIAZZA worked together and also
separately at Lodi. They belonged to the school which had
its seat in Lombardy before the arrival of Leonardo da
Vinci. Although the influence of Borgognone prevails in their
works, these now and then show that the brothers were subject
to the new Leonardesque influence. Perugino and Raphael also
influenced them. MARTINO exhibits a delicate fancy both in his
figures and the landscape settings. In the Ambrosiana at Milan is
a Nativity by him which well illustrates these qualities. Works of
more importance, the joint productions of both brothers, are altar-
pieces in the churches of the Incoronata and S. Agnese at Lodi,
and in that of the Incoronata at Castiglione in the vicinity.
At Bergamo, in the Carrara and Piccinelli Collections ; at Haigh
Hall, Wigan ; in the Mond Collection ; in the Castello, Milan ;
and various private galleries in Milan and Rome, and in Modena,
Nantes, Turin, and Vicenza other examples by the brothers are
preserved. MARTINO'S son Calisto became a pupil of Romanino
at Brescia. (See under Romanino, No. 2096.)

No. 1152. St. John Hie Baptist.

Towards the left, profile to the right, in a rocky cavern St John
kneels on one knee, a bowl in his right hand. At the back of the
cave are two openings through which a mountainous landscape is
seen. The Saint's drapery is carmine, the flesh tone golden grey.
Signed with the painter's monogram, which is identical with that
on the picture in the Ambrosiana mentioned above. " M.P.P."
(Martinus Platea pinxit.)

Wood, 27 in. h. by 20 in. w. (0'68 by 0-51).
Purchased at Milan from Signer P. Vergani in 1883.

PIER FRANCESCO FIORENTINO. 541

PIER FRANCESCO FIORENTINO.

Florentine School. Little is known of the circumstances of
PIER FRANCESCO FIORENTINO. He was a priest who in the
second half of the XVth century imitated Filippo Lippi, Bal-
dovinetti, and Pesellino ; he seems to have been taught by
Fra Angelico and Benozzo Gozzoli. In 1475 he was assisting
Domenico Ghirlandaio at S. Gimignano, where also a fresco of his,
dated 1497, is known. At Certaldo, in the Palazzo dei Priori, a
Pietd (1484) and the Incredulity of St. Thomas frescoes are assigned
to him. Other pieces thus attributed, many of them copies of
Filippo andJPesellino, are at Berlin, Bergamo, Colle di Val d' Elsa,
Eastnor Castle, the Uffizi,and Bargello, Florence, Liverpool (Walker
Gallery), the Andre Collection, the Bonnat Collection, Paris ; the
Pinacoteca, St. Gemignano, a Madonna and two Saint* (1477),
St. Agostino, S. Gemignano Madonna and Saints (1494) ; the
Collegiata, S. Gemignano ; the Capella di Monte, S. Gemignano,
Madonna with SS. Anthony and Bartholomew (1490), Vienna,
Faniteum (liber St. Veit) (1485), Volterra, and the Fogg Museum,
Harvard, Cambridge, U.S.A.

See Berenson : Florentine Painters ; also Venturi : Storia dell'
Arte Italiana, VII.

No. 1199. Tlie Madonna and Child attended by
St. John and an Angel.

A tondo. The Virgin, half-length in the centre, wearing a
crimson robe and dark green or black mantle bordered with
gold, and a white pleated veil, supports the Infant Christ who
stands naked, full-face, before her on a balcony. On the right
the youthful St. John in a pelt stands, profile to the left, his
hands crossed. On the left an Angel in yellow tunic, crimson
mantle and with a chaplet of roses has a lily in his left hand.
Gold punched background powdered at intervals with small
seed-like projections. Yellow flesh tone.

Wood, a "tondo" 40J in. (1'02) in diameter, of which 27 J in. is
occupied by the picture, and the rest by an ornamental border 6J (0'16)
inches wide of quattro-cento design modelled in gesso and gilt.

Formerly catalogued under Tuscan School.

Purchased at Milan from Sgr. Giuseppe Baslini, out of the " Walker
Bequest," in 1885.

PIERO DI COSZMO, 1462-1521 ?

Florentine School. PIERO, called DI COSIMO after his master
Cosimo Rosselli, and DI LORENZO after his father, was born in

542 PIEEO DI COSIMO.

Florence in 1462. He accompanied his master to Rome when the
latter went, about 1480, to decorate the new chapel of the Vatican
for Sixtus IV. His tirst recognized works are the Sermon on the
Mount and Healing of the Leper, in the Sixtine Chapel, done as
Bosselli's assistant in 1482, and his Destruction of Pharoah of the
same date. Returned to Florence he painted the Death of Procris
(in this Collection) and the Venus and Mars (at Berlin) as mural
decorations, that obviously recall Botticelli's Mars and Venus (in
this Gallery). Another picture of PIERO'S youth is the Simonetta
Vespucci, in the Conde Museum, Chantilly. In 1482 Hugo van
der Goes Portinari altar-piece had been set up in Florence, pro-
foundly interesting the Florentine painters. How closely PIERO
studied the Netherlandish master may be seen in his Visitation
(Colonel Cornwallis West), and in an Adoration in Mr. A. E.
Street's Collection. To this period, early in the 1500's, also
belongs the Madonna with Saints in the Innocenti Gallery,
Florence, in which the types of van der Goes and his nocturn
landscape are reflected. A picture revealing PIEKO'S most charm-
ing qualities, in characterisation and colour is the Madonna and
Child w.th a Dove in the Louvre. Other influences shown in his
paintings are Verrocchio's, Signorelli's, Leonardo's, and di Oredi's ;
enough to prove his eclecticism. A picture stamped with the
eclectic mark is his Immaculate Conception in the Uffizi. One of
his best portraits is the Giuliano di Sangallo, at The Hague.
PIERO DI COSIMO died 1521, in Florence. Many of his pictures
are in Great Britain in private galleries. There are some
half dozen in the Uffizi, and others in America.
See Venturi : Stori-j, delVArte Italiana, VII.

No. 698. The Death of Procris.

She is lying on her right side facing the spectator in a field of
flowers ; over her hips an orange vermilion mantle ; the torso naked.
At her head kneels a satyr on the left, holding her left shoulder :
on the right her hound Laelaps, the gift of Diana, sits watching
her ; he is reddish in colour. In the background the sea : with
other dogs, and some birds, on the shore. Flesh tone blond and
hot.

Poplar, in tempera, 25 in. h. by 72 in. w. (0'64 by 1'82).

Purchased in Florence, from Sig r Francesco Lombardi in 1862.

No. 895. Portrait of General Francesco Ferrucci*

Half-length, nearly full-face, in armour, as though drawing his
sword. In the left background a view of the Piazza della Signoria,
Florence, with Michelangelo's David in front of the Palazzo
Vecchio.

Wood, 28 in. h. by 20 in. w. (0'71 by 0'52).
Bequeathed by Sir Anthony C. Sterling, in 1871.

* It has been suggested that this portrait represents ilalatesta Baglioni.

PIERO PINTORICCHIO. 543

PIERO BELLA FRANCESCA. (s,. FRANCESCA

PIETRO (GIOVANNI DI). Sec SPAGNA.

PINTORICCHIO (BERNARD), 1454-1513.

Umbrian School. BERNARD DI BETTO, or BIAGIO, commonly
called PINTORICCHIO, " the little painter," was born at Perugia in
1454, and first studied under Fiorenzo di Lorenzo. Later he was
influenced by Signorelli and Pietro Perugino, with whom he
worked in Rome in 1482 in the Sixtine Chapel, painting his Moses'
Journey to Egypt. While at Rome he was engaged on the series
of frescoes in S. Maria del Popolo the Nativity and Life of St.
Jerome; the frescoes in the Belvedere (1487) ; those in the
Palazzo dei Penetenziari (1490) ; the Life of St. Bernard in the
Buffalini Chapel, in Aracoeli ; and the Borgia Apartments frescoes,
1492-1494, of which he painted only part, leaving the rest to his
assistants. In 1491 he was summoned to Orvieto to decorate the
Duomo, whence he returned to Rome. In 1496 he visited Perugia,
there painting the Madonna and Angels in the Municipio ; and the
polyptych (1498) in the Gallery. In 1497 be was at Spoleto
painting frescoes (now much damaged) in the Duomo ; in 1501 he
was at Spello, where in the Baglioni Chapel are frescoes of the
Annunciation, Adoration of the Shepherds, and Christ with the
Doctors, and in the Sacristy a Madonna, all of 1501. To 1503
belongs his Coronation in the Vatican ; this year he began the
series of the Life of Aeneas Silvius (Pius IF) in the Library at
Siena ; he was engaged on this intermittently till 1508. At Siena
in 1504 he painted, with Peruzzi's help, the frescoes in 8. Gio-
vanni ; in Rome in 1505 the ceiling frescoes in the choir of S.
Maria del Popolo. By this time the promise of his early work in
the Sixtine Chapel, which " may be looked at even alongside of
Botticelli," work in which charming feeling, fine landscape design
and portraiture are conspicuous, had long set. Even in his Borgia
frescoes of c. 1492, his charm had deteriorated despite occasional
exhibitions of fine portraiture and arrangement. Popularity and
patronage completed his decay. His frescoes in the Library at
Siena, " perfect as architectonic decoration," and pleasant for
their sense of space and landscape, are yet mechanical and crude
in colour. His last works are a Madonna in Glory at S. Gemig-
nano (1512), and Christ roith His Cross in the Casa Borromeo,
Milan, 1513. He died at Siena, December 11, 1513, deserted, it
is said, by his wife Grania, who left him when ill, to starve to
death.

544 PINTOEICCHIO.

See Berenson : Central Italian Painters. E. M. Phillipps :
Pinturrichw, 1901 and 1908. Ehrle & Stevenson : A/reschi del
Pinturicchio delV Appartamento Borgia del Vatican, Roma, 1897 ;
also French edition, 1898.

No. 693. St. Catherine of Alexandria.

In the centre, full-length, St. Catherine, crowned, and wearing a
vermilion cloak over a greenish-blue tunic, is standing in front of
a gold screen. Her right hand, holding a sword rest on her wheel ;
her left hand a missal. In the right foreground, profile to left, a
monk kneels ; to the right of the screen a hill with trees. To the
left a town and water seen through trees. Tone golden.

Wood, 21$ in. h. by 15 in. w. (0-54 by 0'38).

Bequeathed by Lieut.-Gen. Sir W. Moore in 1862

No. 703. The Madonna and Child.

The Infant stands on a carpeted parapet facing the left front,
His right hand raised. He wears a shirt falling just below the
waist. The Virgin stands half-length, to the left, behind Him,
looking down to the right front. Her tunic is rose red, her hooded
mantle blue with gold border. A cliff topped with two trees in
the left background ; trees and distant mountains on the right.
Flesh tone, pearly gold- grey.

Poplar, in tempera, 22 in. h. by 15 J in. w. (0'55 by 0'39).

Formerly in the Wallerstein Collection. Presented by Queen Victoria
at the wish of the Prince Consort, in 1863.

No. 911. The Return of Odysseus to Penelope.

To the left, facing the right front, Penelope seated at her
loom, in a clear blue dress with gold revers. In the extreme left
foreground a girl sitting on the floor, profile to the right, wind-
ing thread from a ball with wbich a grey cat is playing. The loom
stands in the centre, through and behind it are seen the open
window, the ships of Odysseus and a landscape with various scenes
from the Odyssey. In the centre foreground a young man
advances to the left with outstretched right hand, gaily dressed
in a green slashed tunic, scarlet and blue hose ; he leads a group
of five who advance from a doorway in the right background.
The floor is tessellated. Tone, pearly grey.

A fresco transferred to canvas, 49 in. h. by 57^ in. w. (1'24 by 1-46).

Painted about 1509. Formerly in the Pandolfo Petrncci Palace at
Siena ; transferred from the wall for M. Joly de Bammeville, in 1844,
by Pellegrino Succi. Subsequently in Mr. Barker's collection, at whose
sale it was purchased in 1874.*

* See under "SignoreUi." No. 910

PIOMBO. 545

PIOIttBO (SEBASTIANO DEL), 1485?-1547.

Venetian School. SEBASTIANO DEL PIOMBO, or VENETUS, a&
he signed himself, or again, after his father, LUCIANI, was born
in Venice. He practised music when young, but became the
disciple of Giovanni Bellini and afterwards Giorgione. An early
Cima-esque picture by him (a Pietd), in the Layard Collection
proves him, by its signature, to have been Giovanni Bellini's
scholar as his great altar-piece in S. Giovanni Crisostomo bears
the impress of Giorgione. About 1510 he was invited to Rome
by the rich banker and patron of the arts, Agostino Ohigi, in
whose villa, now the Villa Farnesina, he executed some frescoes.
At Rome he met Raphael, who influenced him, and then Michel-
angelo, who employed him to paint some of his designs ; thus, in
his role of eclectic, PIOMBO adopted the manner of the great
Florentine and acquired a large practice. Pictures of this early
Roman time are the Salome in this Gallery (1510) ; the Fomarina
in the Uffizi (once considered Raphael's), of 1512 ; a somewhat
similar portrait at Berlin ; the frescoes in eight lunettes in the
Farnesina, Rome (1511) ; the St. John in the Desert in the Louvre,
and the Violin Player in, the Alpbonse Rothschild Collection,
Paris. Other early pieces' are the panels of Saints in S. Barto-
lommeo in Rialto, and the St. John Chrysostom, in S. Giovanni
Crisostomo, Venice. The Lazarus in this Gallery, under Michel-
angelo's influence, is dated 1519 ; the Visitation in the Louvre,
1521 ; the Martyrdom of St. Agatha in the Pitti, 1520. Among
his later works are the Berlin Knight ; the Portrait of a Man
in the Pitti ; the Clement VII. in the Naples Museum ; the Pietd
of 1525 at Viterbo ; the Andrea Doria in the Doria Gallery,
Rome ; the Birth of the Virgin in S. Maria del Popolo, Rome,
the Cardinal Poli at the Hermitage and the Scourging in S. Pietro
in Montorio, Rome. SEBASTIANO is aaid to have preferred oil
painting to fresco ; and his endeavours to obtain leave to carry
out in oil the Last Judgment in the Sixtine Chapel led to an
unhealable misunderstanding between him and Michelangelo. la
1531 he was appointed Frate del Piombo by Clement VII., and
held the office till his death in Rome, 1547.

No. 1. The Raising of Lazaws.

The Christ stands towards the left on a step ; full-length in
pale rose and grey blue, three-quarters to the right. His right
hand is raised dramatically. His left points across to the right
where Lazarus is seated, looking profile left, freeing himself of
grave cloths. In the centre, profile to the left, a woman kneels,
gazing up at the Saviour ; her tunic is gold-yellow, her fallen
mantle rose red. In the left corner an old man, in white and dull
orange, kneels, profile to the right, at Christ's feet. Standing
behind His pointing hand a woman gesticulates, with averted
bead ; her tunic is greyish, her mantle rose red. In the right
foreground a dark-skinned man, in rose red tunic, kneels un-
fastening Lazarus' winding sheet. Numerous figures in the
17983 2 M

546 PIOMBO.

background ; a large tree trunk backing them towards the right.
In the centre distance a bridge over a river ; on the left bank a
classic palace ; dark blue distance and sky. General tone dull red-
brown. Signed

SEBASTIANVS A/ENETV&FACIE

Canvas, transferred from wood in 1771, 160 in. h. by 113 in. w. (3'80
by 2-87).

Painted at Rome, in 1517-19, for Giulio de' Medici, afterwards Pope
Clement VII. ; to be placed with Raphael's Transfiguration in the
Cathedral of Narbonne. Both were publicly exhibited in Rome ; some
preferred the work of Sebastiano. According to Vasari, Sebastiano
was assisted by Michelangelo in the design of parts of this picture,
though we learn from a letter by Sebastiano that Michelangelo left
Rome when the picture was commenced, probably in the autumn of
1517, when Michelangelo was summoned to Rome by Pope Leo. It was
sent to Narbonne, where it remained until it was purchased by the
Due d'Orleans early in the eighteenth century. It was brought to
England in 1792, with the rest of the Orleans Gallery, and came
into the possession of Mr. Angerstein. Purchased with his pictures,
1824.*

No. 2O. Portraits of Sebastiano del Piombo and the
Cardinal Ippolito de 1 Medici.

To the right, facing the left front, the Cardinal is seen behind a
table on which are lying parchments. He wears a red robe and
hat ; a pen in his right hand, his left resting on the parchments.
The painter stands in the left foreground, three-quarters to the
right. He is wearing black and holds his seal of office in bis left
band, resting on the table. Background of blue draperies hanging
on a screen ; tone, golden red.

Wood, 5* in. A. by 44 in. w. (1-37 by I'll).

Formerly at the Borghese Gallery, at Rome, where it was at one time
called " Borgia and Macchiavelli," and attributed to Raphael.

Holwell-Carr Bequest, 1831.

No. 24. Portrait of a Lady, as St. Agatha.

Formerly supposed to be Giulia Gonzaga. Half-length portrait
of a lady, three quarters to the right. She wears a low-cut dress
of moss green trimmed with bands of velvet, and a white drapery
over her head. In her right hand she holds a palm-leaf on the

Sir Thomas Lawrence was in possession of some drawings of parts of this
composition, ascribed to Michelangelo, including two sketches of the figure of
Lazarus, now in the British Museum : they were some time in the collection of
the late King of Holland at The Hague.

PIOMBO 547

right. A nimbus surrounds her head, a pair of pincers by her
ide ; tone, warm grey. Signed

-F'SEBASTIANVS

- YEN -

'FACIE BAT*
* ROMS *

Oanvae, 36 h. by 30 in. w. (0'91 by 0-76).
Sometimes called " Vittoria Colonna."

Formerly in the Borghese Gallery at Rome. Holwell-Carr Bequest,
1831.

No. 1450. The Holy Family*

The Madonna, in a rose-coloured dress with a white veil and a
dark blue green mantle lined with flame colour, holds with her
left hand the Infant Christ, who with one knee on hers advances
the other foot. Her right arm is round the kneeling figure of the
donor. He wears a black dress, a dark beard and long dark hair
and crossing his hands on his breast looks up to the Infant
Saviour. Behind to the left is the Baptist, profile right, the cross
leaning against his shoulder, and on the right St. Joseph, in brick
red, asleep. The background is dark ; tone, golden, with brown
shadows.

Wood, 38 in. h. by 42 in. w. (0'96 by 1-06).

Formerly in the collection of the Senator Cambiaso, at Genoa. Later
in that of Sir Thomas Baring, who purchased it from M. le Brun, in
1808 ; he sold it to Mr. Coningham, in 1843, from whom it was
purchased by the late Mr. Thomas Baring. Purchased from the Earl
of Northbrook, in 1895.

2493. The Daughter of H&rodiae.

Half-length portrait of a lady as Salome. She stands profile
right, her eyes to the front. Her right arm, advanced, rests on a
stone slab ; in her hands the charger with the Baptist's head. Her
dress is light ultramarine edged with gold, with a full white sleeve
rolled above the elbow. To the right, through an open window,
buildings, trees and a distant mountain against the sunset. Flesh
tone, rose golden ; the sky zenith, deep clear blue. Dated 1510.

Wood, 21 1 in. h. by 17 in. w. (0'54 by 0'43).

On loan since 1902.

George Salting Bequest, 1910.

]7983 2 M 2

548 PIPPI PISANO.

PIPPI. (See ROMANO.

PZSANO (ANTONIO or VITTORE), 1397-991455.

School of Verona. ANTONIO PISANO, called PISANELLO (and
formerly by Vasari VITTORE), was born about 1397 (as against the
formerly accepted 1385).* He was the chief pupil of Stefano da
Zevio, and a follower of Altichiero. In 1422 Antonio probably
painted a picture of the Story of Alexander III. in the Ducal Palace
at Venice, afterwards repainted. In 1425 he was in Mantua at the
Court of the Gonzagas, and then worked on the Brenzoni monu-
ment in San Fermo, Verona, 1426-28 ? Later, in Rome, he
carried on the work of Gentile da Fabriano in the Lateran, thus
coming under Gentile's influence. From Rome he made his way
homewards, meeting Leonello d'Este in Ferrara. He arrived in
Verona, August, 1434, remaining till the close of February,
1435, when Leonello received from him a portrait of Cassar,
perhaps as a wedding present for the marriage of Margherita
Gonzaga. Presumably PISANELLO worked at Mantua in '37, and
in 1438 he was at Ferrara, where he cut the medal of Giovanni
Paleologo. He was in Mantua, 1439, the intimate of the Marchese
Francesco Gonzaga, whom he followed at the capture of Verona.
On this score he had to come under the Tribunal of the Council
of Ten at Venice, 1442, and in February, 1443, went to Ferrara,.
with a two months' leave of absence, on the understanding that
be should not visit Veronese territory or that of the Gonzaga.
In September, '43, he was in Ferrara, again in '44, '45, '47, and
the beginning of '48. He was also in Verona and Rimini at the
Court of Sigismondo Pandolfo Malatesta at this period, and in 1447
at Mantua, just before he went to the Court of Arragon at Naples.
During the period 1437-48 PISANELLO had chiefly been engaged
on his unsurpassed medals ; but he had also painted Leonello
d'Este, and in 1439, at Mantua, probably a Christ, on linen
stretched on wood, for the Monastery of Corpo di Cristo, and
decorated in fresco a room that was called the Sala del Pisauello
when it was pulled down, 1480. Moreover, he painted a picture at
Ferrara in 1445 " por la deli/ia esteuse di Belriguardo." In
February, 1449, PISANELLO was in Naples the friend and pen-
sionary of Alfonso I., casting medah> and designing culverins.
Facio mentions a work, St. Jerome in the Wilderness, peopled
with numerous kinds of animal?, which is possibly the picture
PISANELLO gave to Guarino the poet and rhetorician at Leonello's
Court. The date of PISANELLO'S death is given as October, 1455.
Facio in 1456 refers to him as lately dead. The earliest picture
ascribed to PISANELLO is the Madonna della Queglia in the Museo,

See A. Venturi : Eeceusionc della nota prima del Biadego in L'Arte XL, 1908. and
in L'Arte,XUI, 1910. Also The Burlington Magazine, Aiigust, 1908. Also L. Testi,
Kasscgna d'Art, 1910, No. 7.

PISANO.

549

Verona, by some critics recently attributed to Stefano da Zevio.
At Verona, too, in St. Fermo is PISAXELLO'S fresco of the
Annunciation, with SS. George and Michael, and in S. Anastasia
his fresco of S. George and the Princess. At Bergamo in the
Accademia (from the Morelli Collection) is his profile bust
portrait of Leonello d'Eete, and in the Louvre the profile of
Genevra d'Este (?). At Berlin is an Adoration of the Kings
ascribed to him. His drawings of animals in various galleries are
of rare beauty. His medals, especially as regards the reverse sides
of the Malatesta Novella, the Leonello d'Este and Cecilia Gonzaga^
remain as perfect examples of that art. In his paintings, even in
his frescoes, PISANELLO shews the spirit of a miniaturist rather
than a mural decorator.

See Venturi : Storia delVArte Italiana VII. ; also Berenaon :
North Italian Painters. Crowe and Cavalcaselle, 1912, II. 155.

No. 776. St. Antlumy and St. George.

On the left, facing right, stands St. Anthony with his staff and
bell wearing a brown cloak over a red brown cowl and gown ;
a wild boar reposing at his feet. St. George stands on the right,
profile to the left, in silvered armour with gold trappings and a
large Tuscan hat ; at his feet lies the vanquished dragon. Behind
St. George are two horses' heads; the sword and spurs of the
Saint and the bits of the horses are embossed and gilt. The back-
ground is a pine wood ; in the sky above is a vision of the Virgin
and Child in a glory. Inscribed Pisanus Pi.

Wood, in tempera, 18 in. /*. by 11 J in. w. (<H5 by 0'29).

Formerly in the Costabilli collection at Ferrara. Presented by Lady
Eastlake in 1867.

In the frame of the picture are inserted casts from two of Pisano's
medals ; the one above is that of Leonello D'Este, his patron, inscribe-1
GE. R. AK. LEONELLAS MABCHIO ESTENSIS D. FERBARII, REGII, ET
MUTINE. Son-in-law of the King of Aragon, Leonello Marquis of Este.
Duke of Ferrara, Reggio, and Modena. The lower medal represents n.
profile of the painter, inscribed PISANUS PiCTOB.

No. 1436. The Vision of St. Eustace.

To the left, the Saint, wearing a gold tunic and bright blue
head-dress, seated on a horse covered with trappings, sees before

550 PISANO POELENBURGH.

him (to the right) a stag with the crucified Saviour between the
horns. The background is a landscape of wood and rocks through
which runs a small stream ; over the trees at the top of the
picture water is seen. At the bottom a greyhound is chasing a.
hare. Various animals and birds are disposed about the landscape ;
prominent among them are another stag on the left and a bear
among the rocks on the right. In the marsh above are swans and
pelicans. At the bottom of the picture is an empty scroll.
Numerous drawings of animals are in collections throughout
Europe, some of them in preparation for this picture, notably a
sheet in the Collection of Baron Edmund Rothschild^ Paris.

Wood, in tempera, 21 in. Ji. by 25 in. w. (0'53 by 0'64).

Inscribed on the back " Albrecht Durer A. Finihe (?) Berlin " and
" Johnson, 1888."

Purchased from the Earl of Ashburnham in 1895.

POEZi (EGBERT VAN DER), 1621-1664.

Delft School. POEL was baptized at Delft 9th of March, 1621.
In 1650 he entered the Guild of St. Luke and married, 1651. He
is supposed to have been Saftleven's pupil. He painted interiors,
views of towns and the dunes, and especially conflagrations and
effects of moonlight, in which A. van der Neer's influence is
seen. Several pictures of his represent the Delft explosion of
October 12th, 1654. He spent the latter years of his life chiefly
at Rotterdam, and was buried there July 29th, 1664. There are
pictures by him at Brussels, Delft, Cassel, Copenhagen, Paris,
St. Petersburg, Vienna and Stockholm, most of them of 1654 ;
the earliest seems to be 1646.

No. 1O61. View of Delft after the Explosion, October 12,
1654.

A brown foreground with debris of fallen houses, among which
figures are moving. To the left a small canal bridge across which
two men advance carrying a large basket on a stretcher. In the
background three spired buildings. Cloudy grey sky. Tone,
brown. Signed : E. Vander Poel. 12 Octob. 1654.

Wood, 14 in. h. by 19 in. to. (0-35 by 0-48).

Bequeathed by Mr. John Henderson in 1879.

FOELENBURGH (CORNELIS VAN), 1586-1667.

School of Utrecht. POELENBURGH was born at Utrecht, in.
1586, studied first under Abraham Bloemart, and afterwards
for some time in Rome where, from 1617 to 1622, he engraved

POELENBURGH POLLAIUOLO. 551

the works of Elsheimer and Raphael. Later he moved to
Florence where he was employed by the Grand-Duke. In 1627
he returned to Utrecht, with still increasing reputation. Rubens
is said to have visited him, and POELENBURQH painted Rubens
and himself and his wife in a landscape. In 1627 the State
of Utrecht ordered him to paint Princess Amalia von Solms.
In 1637 he is said to have been in London, living with Geldorp,
and painting perspective pieces. James II. had a picture
by him, and Walpole records a portrait group of the King
(Charles I.) and Queen, with Lords Montgomery and Pembroke, ac
flinton, of which Steenwyck had put in the buildings, while the
figures were by Poelenburgh or Van Bassen. POELENBDRGH him-
self was painted by Van Dyck. He was three times Dean of the
Painters' Guild of Utrecht in 1649, '56-58 and '64. He died at
Utrecht, Aug. 12, 1667. He frequently helped landscape painters
by adding figures to their pictures. His works are found in
almost all collections.

No. 955. A Ruin. Women Bathing.

In the centre foreground eight semi-nude figures of women
with various coloured draperies standing on a grassy hillock.
Beyond, to the right, a pool with four more figures bathing.
A bacnground of ruins and wooded country, with blue distance
to the left. Tone, brown.

Canvas, 14 in. A. by 17 in. w. (0'35 by 0-43).

Wynn Ellis Bequest, 1876.

OLLA.IUOLO (ANTONIO), 1432-1498, (PIERO) 1443-1496.

Florentine School. ANTONIO POLLA.IUOLO, one of the greatest
artists of the Italian Renaissance, was born probably in 1432, at
Florence. His family name was Benci, Pollaiuolo (poulterer)
being derived from his father Jasopo's trade. PIERO POLLAIUOLO,
a wholly inferior artist, was ANTONIO'S younger brother (b. prob-
ably 1443, d. 1496?). On Vasari's account ANTOXIO was appren-
ticed to Bartoluccio Ghiberti (Lorenzo Ghiberti's master), a
goldsmith, and quickly became conspiauous in Florence as a
worker in jewellery and niello. Thus he caught Lorenzo Ghiberti's
eye, and was employed by him to carve on the famous Gates of
Paradise (1425-47) and the Bronze Doors of the Baptistry. Soon
leaving Lorenzo he set up for himself as a goldsmith in the
Mercato Nuovo. It seems probable that he was a pupil of
Donatello, and studied painting under A. del Castagno ; Alesso
Baldovinetti moreover influenced him. It is beyond question that
like Verrocchio be simultaneously practised goldsmithery, sculpture
and painting throughout his career. In 1459 he sec up inde-
pendently near the Ponte Vecchio, there working till he went to

552 POLLAIUOLO.

Roms, 1484. " His bottega became the most popular in Florence
and he the most renowned draughtsman of his day" (Vasari).
41 He was so great a draughtsman that nearly all the goldsmiths
used his beautiful designs" (Cellini). At first, till about 1464,
Tomaso Finiguerra was his partner, as later was Paolo di Giovanni
Soghani. ANTONIO'S earliest paintings were untouched by PIERO,
his younger brother : the earliest dated are the three large canvases
of Hercules, painted for Lorenzo de' Medici immediately after the
S. Giovanni Silver Cross was finished (1460). These canvases
have vanished ; in 1492 they were inventoried among Lorenzo's
belongings ; in 1495 they were seized by the Signoria and hung in
the Palazzo dei Priori, where Albertini saw them in 1512. Lastly,
we hear from Vasari that R. Ghirlandaio copied them for Francis I.
of France. Traces of them exist in two engravings by Robetta
Hercules and the Hydra and Hercules and Antceus, probably after
the lost canvases rather than the two little panels of the same
subject painted by ANTONIO, in the Uffizi. These panels are
among the truly great works of art. To this period belong
also the Berlin David, and the Apollo and Daphne in this Collec-
tion ; perhaps they date from c. 1458. ANTONIO also had a share
in the Hercules and Nessus (Newhaven, U.S.A.) at about this time.
About 1465 he frescoed the Chapel of the Cardinal of Portugal,
San Miniato, with Angels (his own work) and the altarpiece
SS. James, Vincent and Eustace (Uffizi), of which PIERO did the
larger part ; this may be taken as a definite point from which to
study PIERO'S development. The Journf.y of Tobias (Turin) is
closely related to this altarpiece and is mainly PIERO'S, as is the
Annunciation in the Kaiser - Friedrich Museum. An important
side of ANTONIO'S activity, 1466-80, were his designs for em-
broideries, which are in the Museo dell' Opera del Duomo.
POLLAIUOLO worked on these with ten other master craftsmen,
Venetian, French, and Flemish. His designs are identified as the
St. John Baptist set. In 1897 some frescoes were discovered in
the Villa della Gallina, near Florence, a Dance of Nudes, at first
ascribed to Botticelli, then given to ANTONIO. They are assigned
to c. 1465 and have been "restored" since their discovery.
Allied to these is the magnificent engraving (the sole extant plate
by ANTONIO) of the Battle of the Nudes ; this supremely represents
his rank in Florentine art, and his position as the first modern
artist to master expression of the human form, its spirit and its
action. With this engraving as regards chronology is placed the
Prisoner before a Judge (pen and sepia, Brit. Mus.) ; the gesso
relief Discord, at South Kensington, has been assigned to
POLLAIUOLO, C as well as to Leonardo and Verrocchio. To
1420 belong the Virtues of the Mercantanzia, now in the
Uffizi ; ANTONIO'S share in these is restricted to a chalk
drawing fnr the Charity; PIERO, as an independent painted n
competition with Verrocchio, was commissioned for this work,

See iL Crnttwell, Antonio Pollaiuolo, p. 125.

POLLAIUOLO. 553

probably because his estimate was cheaper. The Sebastian in
this Gallery is assigned to 1475 ; ANTONIO'S part in this probably
is the background, the two stooping bowmen in the foreground, and
perhaps the designs for the other archers. To about this date belongs
tbe iS. Mary of Egypt in the Church of Staggia, designed if not
executed by ANTONIO. In 1477 the wanting side reliefs on the Silver
Altar of S. Giovanni, Florence, (begun 1366) were taken in hand.
In general competition ANTONIO and Verrocchio were unsuccessful
in gaining the commission ; but at length they were given a share,
with sundry inferior goldsmiths ; ANTONIO made the Birth of St.
John Baptist (1480), (silver relief ), now in the Museo del Dnomo,
Florence. In 1484 he went to Rome, summoned by Innocent VIII.
to make a bronze tomb (finished in 1493) for the late Pope Sixtus
IV. This is in S. Peter's, Borne. On Innocent's death his nephew
commissioned POLLAIUOLO to make another tomb, completed 1498,
the year the master died, having survived PIERO two years.
Besides the works already mentioned, certain portraits are assigned
to PIERO and ANTONIO, notably the Poldi Pezzoli Museum Profile
Portrait of a Lady.

See Venturi : titoria dell' Arte VII ; M. Crattwell : Antonio
Pollaiuolo, 1907 ; Berenson : Florentine Painters, and Florentine
Drawings.

No. Z92. The Martyrdom of S. Sebastian.

In tbe centre, bound aloft on the trunk of a tree, S. Sebastian
pierced with arrows. He is surrounded by six archers, four in the
foreground, forming the base of the pyramid of which the figure
of S. Sebastian is the apex ; two, in the centre stoop, load their
bows. Of the foreground figures three are clad in tunics of egg-
blue, crimson and dull gold, and the fourth is nude, except for a
scarf round the loins. In the middle distance are mounted
soldiers, one with a standard, and beyond a landscape, the valley
of the Arno, with Florence on the left ; blue mountains in the
distance. Tone golden.

Wood, 114 in. h. by 79* in. w. (2-89 by 2'01).

Painted for the Chapel of the Pucci, in SS. Annunziata, finished
1475 ; Antonio Pollainolo probably making the design and painting the
two stooping archers, the background horsemen and the landscape,
Piero painting the Saint and the other archers.

Purchased at Florence, from the Marchese Pucci, 1857.

No. 928. Apollo and Daphne.

Apollo running from left to right, his arms round Daphne,
who is partly changed into a laurel. In the distance a delicate
landscape, the Arno winding through the valley. Tone golden.

Chestnut, 11 \ in. h. by 7i in. w. (0'28 by 0-19).

In 1845 in the collection of Mr. W. Coningham ; Wynn Ellis Bequest,
1876.

554 POLLAIUOLO PONTORMO.

SCHOOL OF POZiXiAIUOIiO.

No. 585. Portrait of a Lady.

Head and shoulders, profile to the left, with gold and pearl head
dress, and bodice of crimson velvet and gold. Blue background,
flesh tone rose golden.

Wood, in tempera, 16 in. h. by 11 in. w. ('041 by 0'29).

Formerly catalogued under UMBRIAN SCHOOL.

Originally called Isotta da Rimini, to whose medallion portraits by
Matteo de 1 Pasti it bears little resemblance. Formerly in the possession
of the Marchese Carlo Guicciardini of Florence. Purchased at Florence
from the Lombardi-Baldi Collection in 1857.

PONTE. (See BASSANO.

PONTORMO (JACOPO DA), 1494-1556-7.

Florentine School. JACOPO CARTJCCI PONTORMO, or PUNTORMO, so
called from his birthplace near Empoli ; was son of Bartolommeo,
a painter, who married at Empoli. JACOPO was pupil to Andrea
del Sarto in 1512, and much influenced by Michelangelo ; he
made extensive frescoes in the church of San Lorenzo, Florence, of
the Deluge and the Last Judgment. They occupied him eleven
years ; but they were in the style of the mannered imitators of
Michelangelo, and have long since been covered with whitewash.
This mannerism, belonging more particularly to his later years, did
not extend to PONTORMO'S portraits : he painted some of the Medici
family. His works are numerous in Florence in the Collegio Mili t -
tare are frescoes dated 1513 ; in S. Michele Visdomini a Holy
Family of 1518 ; in the Academy a Christ at Emmaus, 1528 ; in the
Louvre, a Holy Family of 1543. His portraits are not un-
common : at Vienna, Newbattle Abbey, the Corsini Gallery,
Rome, in the Stadel Institut, Frankfurt, in the Pitti and Uffizi
Galleries, and at Berlin. He was the master of Angelo Bronzino,
who assisted him in many of his works and completed those in
San Lorenzo. PONTORMO died at Florence, and was buried in the
Church of the Annunziata, January 2, 1557.

No. 1131. Joseph and his Kindred in Egypt.

To the left, on the top of a flight of steps, Pharaoh stands,
receiving Joseph ; an old man and woman are suppliant before
him. To the right, seated on a- triumphal car drawn by naked
children, Joseph is again represented stooping forwards towards a
man who kneels, presenting a petition. To the right, above, a

* Milanesi's Op. di Vasarl, VI., p. 288, note. Other writers give 1556.

PONTORMO POORTER. 555-

circular building and a flight of steps, with people ascending ; at
the bottom a little boy on a pillar, and at the top a statue of
a goddess. On the left, behind the principal group, the statue of
a god or athlete. In a porch above on the right, Joseph at the
bedside of his dying father, to whem he presents the children
Ephraim and Manasseh. Prevalent colours clear blue, scarlet and
heather ; flesh tone greyish brown.
Canvas, 44 in. A. by 49 in. w. (I'll by 1'24).

Vasari regarded this picture as Pontormo's best work, and relates
that it was in his day in the mansion of Pierfrancesco Borgherini of
Florence, part of a series of which the remaining subjects were
executed by Andrea del Sarto, Bacchiacca* and Granacci. Vasari
further states that the boy who is represented sitting on the steps in
the foreground is the young Angelo Bronzino.

Purchased in London at the sale of the Duke of Hamilton's pictures
out of the interest of the " Clarke Fund," in 1882.

ASCRIBED TO PONTORMO.

No. 115 O. Portrait of a Man.

Half length, three-quarters right, the eyes looking to the left.
A middle-aged man, with dark hair falling over the ears, mous-
tache, and a short thick beard. He wears a black gown and cap.
The left hand is laid on his breast, in his right a roll of paper.
Flesh tone red-brown.

Wood, 25 in. k. by 19J in. w. (0'64 by 0'49).

Purchased at Florence, of Mr. C. Fairfax Murray, in 1883.

POORTER (WiLLEM DE), 16 ?-after 1645.

School of Leiden. WILLEM DE POORTER is said to have been
born at Haarlem quite early in the 17th century. In 1627 prob-
ably, and certainly in 1630, he was a scholar of Rembrandt at
Leiden. In 1635 P. Casteleyn, and in 1643 P. A. Poorter and
Claes Conraets were pupils of his at Haarlem. In 1645 he settled
at Wyck. DE POORTER painted scriptural, allegorical and mytho-
logical subjects on a small scale. At Dresden is a copy of an
early work by Rembrandt the Presentation in the Temple now at
The Hagne ; others are the Adulteress before Christ, and Esther
received by Ahmuerus. At Berlin is the Capture of Sampson ; at
Amsterdam Solomon's Idolatry ; at Rotterdam an Allegorical Sub-
ject ; and at Munich a Raising of Lazarus, with a false Rembrandt

1 Two of the series, by BACCHIAOCA, are also in the National Gallery.

556 POORTER POT.

signature. The Galleries of Cassel, Brunswick and Copenhagen
also contain small works by DE POORTER. Xo date later than
1645 is found on his pictures.

No. 1294. An Allegorical Subject.

A young man, whose head is encircled by a wreath, wearing a
steel cuirass and a long brown cloak, stands to the right, in
profile to the left, his head turned to the front. He lays a sceptre
on a globe standing on the pediment of a broken pillar ; two
crowns are set by the globe.

Wood, 19 in. k. by 14 in. w. (0'48 by 0'35).

Presented by Mr. T. Humphry Ward in 1889.

POT (HENDRIK GERRITSZ), 1585-1657.

Haarlem School. HENDRIK POT was born probably in Haarlem,
was most likely a pupil of K. van Mander, and painted under
Hals' influence. He is identified with the Hendrik Gerritz, who
was in the Guild at Haarlem 1603, and in 1625 in the Town guard ;
from 1626-1635 he was president of the Guild. He came to
London 1631, where he seems to have painted Charles I. and
various Court portraits ; in November his daughter Judith was
baptized in London. By 1633 he was back in Haarlem, where he
yet was in 1639. Later he moved to Amsterdam, where he was
living in 1657. On 16th October, 1657, he died there. His pic-
tures, sometimes signed HP in monogram, or " H. POT " (the
Jovial Society at Haarlem), are numerous. Rotterdam, The
Hague, Paris, Hampton Court, Berlin, and Dresden have
examples.

No. 1278. A Convivial Party.

A group of six seated at a table half covered by a white cloth.
In the right corner a man, in dull buff, wearing a plumed hat, lies
back in his chair ; a small dog is licking his left hand. To the
left a man, with his back turned, is embracing a young woman :
an old woman seated in the centre watches them, while she fills a
pipe. On the right a projecting chimney canopy. A cupboard
and large washing vessel in the left background. Tone, greyish
brown. Signed, "HP " (monogram).

Oak, 12J in. h. by 7J in. w. (0'31 by 0'18).

Purchased from Messrs. Lake, Beaumont & Co. ; "Lewis Fund."
1889.

Signed HP and entered in Charles I.'s inventory a? by " Bott." See Erne^
Law, Historical Catalogue Htm/jion Court, 1881. See al<o Bode. Stulien . . . der
Hollandisclien Xalerei.

POTTER. 657

POTTER (PAULUS), 1626-1654.

School of Amsterdam. PAUL, the son of Pieter Potter, was
baptized at Enkhuizen, November 20, 1625. He studied first
under his father at Amsterdam, and then under N. Moeyaert ;
there seems little probability that he studied later under Jacob de
Weth at Haarlem. At first he lived with his father in Amster-
dam : in 1646 he was at Delft, then, three years later, in The
Hague, where he married in 1650 ; in May, 1652, he returned
to Amsterdam where he died of consumption, January, 1654.
POTTER rarely painted other than animal pieces ; when he attempts
people he generally identifies them in character with animals.
His earlier works are clumsy in treatment, showing Pieter
Potter's and Moeyarts' influence. Such a piece is the Abraham
setting out for Canaan, dated 1642, at Numbers. After 1646 his
maturity was soon reached. His best works are the small
luminous landscapes with a few cattle, such as the Oxen hi <i
Meadow (Bridgewater House), 1650 ; the Cattle in a Meadow
(Grosvenor House), 1647, and the Boys Bathing (The Hague).
Towards his end, when depression weighed on him, his work
became more sombre ; yet as late as 1653 he painted the Cattle
Returning in the Arenberg Collection, one of his master-pieces.
An impressive portrait of Paul Potter painted during his last
weeks by B. van der Heist is in the Mauritshuis, where also is
the overrated Bull. Two other large pieces, comparative failures,
are his Boar Hunt in the Rijksmuseum, and the equestrian,
Dr. Tulp, in the Six Collection, Amsterdam. Very fine examples
are at St. Petersburg.

See Bode : Great Masters of Dutch and Flen,M< Painting
Hofstede de Groot : Catalogue of Dutch Painters, Vol. IV.

No. 849. Landscape ivith Cattle.

On the left, in shadow, a horse and cart before a barn, a dog
and some sheep. A man in red stoops down in the cart. In the
centre, profile to right, a cow grazes on a bank in sunlight.
Further right a horse, a man, three cows and a sheep. One of
the cows lies facing the spectator ; one on the right is making
water. Trees massed on the left ; a cornfield in the centre
distance. A log lies in the foreground. The sky is sharp blue
(like Berchem's and A. van de Velde's skies) and yellow on the
horizon. Gold brown tone. Signed Paulus Potter, ft. 1651.

Wood, 22J in. //. by 20J in. w. (0'57 by 0'52).

De G root's Catal. 75. Sm. 66. A similar picture (20 in. by 1.}$ ins.)
is in the Morrison Collection, Basildon Park.

Sales : L. de Neufville, Amsterdam, June, 1766 (73) : bought by
Locquet P Locquet, Amsterdam, September 22, 178H (28n) : bought
by Fonquet. In the De Noailles Collection. In the Lord Gwydyr
Sale, London, May 8, 1829. In the Peel Collection, 1834.

Peel Collection. 1871.

558 POTTER.

No. 10O9. The Old Grey Hunter.

In the left foreground a huntsman with scarlet breeches lying
under a tree holding the bridle of a grey horse. A sleeping grey-
hound by him. In the distance another sportsman with two
dogs. Signed

Oak, 12* in. h. by 10J in. w. (0-31 by 0'26).

De Groot, 151. From Lord Clare's Collection. 1864. Wynn Ellis
Bequest, 1876.

No. 2583. Cattle in a Stormy Landscape.

On a gentle rise in a field a reddish-brown bull stands on
ihe left, against large dark clouds. A black cow lying near,
profile right. A cow and two sheep in the right mid-distance,
near some trees bent by the wind. Signed. Paulus Potter f.
1647.
Wood, 18i in. h. by 14f in. w. (0'45 by 0'37).

Exhibited : Manchester, 1857 (1006) ; Burlington House (Winter
Exhibition), 1881 (82) ; Victoria and Albert Museum, 1891-98.

De Groot's Catal. 50. Sm. 86. An engraving by douche resembles
this picture.

Formerly in the Collections of : Bisschop. Rotterdam, 1752 ; Hope,
1771 ; P. H. Hope, London, 1834 ; H.T. Hope, 1854 ; Mrs. Hope, 1881 ;
ord Francis Pelham Clinton V
fessrs. Colnaghi, 1898.
George Salting Bequest, 1910.

"Lord Francis Pelham Clinton Hope, Deepdene ; thence bought by
Messrs. Colnaghi, 1898.

POTTER (PiETER SYMONSZ), 1597-1652.

School of Amsterdam. PIETER POTTER, the father of Paul
Potter, was born at Enkhuizen. He married in 1622, and from
1628 to 1630 was at Leiden ; from 1631 he appears to have
lived at Amsterdam, where, in 1639, he was director of a manu-
factory of gilt leather. In 1643 be drew the State Procession
that welcomed Henrietta Maria to Amsterdam ; in 1647 was
temporarily at The Hague. In his earlier days he painted on
glass, and in a signature of his (in 1628), he calls himself "glaes-
schrijver ooc sfhilder," glass annealer, also painter. He was
influenced by Frans Hals, and painted scenes in the guard-
house, landscape, historical pieces in the style of Moeyart and
Lastman, genre in that of Bartsius and H. Pot, and still life
in J. D. Heem's. He died in Amsterdam, 1652. Pictures by him
-are in Amsterdam, Berlin, The Hague, Copenhagen and Prague.

POTTER POUSSIN. 559

No. 1OO8. Stag Hunt.

A dense wood on the right ; an open country with a river on
the left ; two stags running across the foreground to the left,
chased by hounds and horsemen breaking from the wood. Tone,
low and grey. Signed, P. Potter f. 1651.

Canvas, 43J in. h. by 58J in. to. (1-10 by 1'48).

Wynn Ellis Bequest. 1876.

POURBUS (FRANS THE YOUNGER), 1569-1622.

Flemish School. FRANS POTTRBDS, son of Frans the elder and
grandson of Pieter Pourbus (1513-1584), was active in Bruges,
1589, restoring the large Passion altar-piece in the Church of Our
Lady (commenced by B. van Orley and finished by Marc Ghaeraedts,
senior). In 1591 he was a free master in the St. Luke Guild
Antwerp ; in 1600 he was at Brussels, working for the Archduke
Albert. Thence he went to Mantua and became Court painter,
accompanying Eleanor of Mantua to Paris, 1609, there becoming
painter to Maria de' Medici ; he died in Paris, 1622. Portraits
by FRANS POURBUS are at Berlin, the Pitti, Hampton Court, the
Louvre, and St. Petersburg. At Paris, too, are his Last Supper
1618, and St. Francis, 1620.

No. 2295. Portrait of a Military Commander.

The head of a middle-aged man, partly bald, and with a heavy
brown moustache and beard. A narrow white ruff shows above
his armour.

Wood, 16 in. h. by 12 in. w. (0'41 by 0'30).

Bequeathed by Mr. George Fielder, 1908.

POUSSZN (CHARLES), 1819-1904.

CHARLES PIERRE POUSSIN was born 28th December, 1819, in
Paris. He studied under Coignet ; he obtained a mention honor-
able at the Exposition de Paris, 1885. He painted scenes of
Breton marriages, and many landscapes, and died in Paris on
October 12th, 1904.

No. 810. Pardon Day, in Brittany.

This represents a fete held in honour of Notre Dame de Bon
Secours of Guingamp, in Brittany, on the 2nd of July in every
year. The numerous pilgrims are assembled in an open wood

560 POUSSIN.

variously occupied, and exhibiting many interesting examples of
local costume.

Canvas, 58 in. A. by 129 in. ?. (1'47 by 3'27).

Presented by Mr. R. E. LofL 1870.

POUSSIN (GASPARD), 1613-1675.

French School. GASPARD DUGHET was born at Rome of French
parents in 1613 ; early he became the pupil of Nicolas Poussin,
his brother-in-law, and from this association derived the name by
which he is best known. In France he is sometimes simply
called " Le Guaspre." His brother-in-law, Nicolas Poussin,
encouraged him to cultivate landscape painting without neglecting
the study of the human figure. Before DUGIIET had completed his.
20th year he was already an independent painter, and from that time
his works were eagerly sought. He lived at Rome, thence making
excursions in the Papal States, as well as in Tuscany, Lombardy,
and the kingdom of Xaples. He rented houses at Frascati and
at Tivoli, finding in the grand scenery there the subjects of his
finest compositions. The style inculcated by his brother-in-law
was maintained by GASPARD ; losing perhaps on the epic to gain
on the idyllic side. No doubt he looked at Claude, whose vogue
in Rome synchronized with DUGHET'S early years of independent
practice. Comparison of these two French artists is inevitable.
What GASPARD lacks in plein air he makes up to some extent
by severity of conception and design. He painted in fresco,
tempera and oil : in fresco are the wall-paintings, Elijah and
Elisha, in the church of S. Martino ai Monti, at Rome. In the
Palazzo Colonna are twelve great compositions in tempera on
canvas. The Palazzo Doria contains numbers of works in tempera
and a series of 25 huge canvases in oil. GASPARD painted with
uncommon ease and rapidity, but none of his works shows care-
lessness. Many of his oil pictures have darkened in tone, in
consequence, no doubt, of the use of the dark red ground usually
employed by Italian painters in the 17th century. Numbers of
his works have been engraved. He produced several etchings
himself. GASPARD Poussix died at Rome, May 25, 1675. His
pictures are found in most large galleries.

No. 31. Landscape with Figures, Abraham and Isactc.

Three trees on the extreme left foreground, and a grove on the
right, towards which Abraham and Isaac are making. A rocky
cliff in the left middle-distance ; a wooded champaigne stretching

3 These have been ascribed to Nicolas Poussin. See Woltmann aud Woer-
mann Gesehichte der Malerei, Bd. IIL, p. 332, note 2.

POUSSIN. 561

to the sea ; a square tower in the centre distance. Golden-grey
tone, dark foreground.

Engraved by Giuseppe Cunego ; by P. Parboni.

Canvas, 63 in. h. by 78 in. w. (1'60 by 1-98).

This picture, by some considered the painter's masterpiece, remained
in the Colonna Palace, Rome, till the French Revolution, when it was
brought to this country by Mr. Day. It passed through the Lansdowne
Collection into the Angerstein, whence it was purchased in 1824.

No. 36. A Land Storm.

In the centre foreground a tree blown down ; to the right a tree
with scant foliage blown by the tempest. In the left middle-
distance shepherds hurrying their sheep towards a high bank
fringed with trees. In the distance buildings in a gleam of light ;
mountains beyond. Dark stormy sky. Dark grey-brown tone.

Engraved on a large scale by Vivares.

Canvas, 59 in. h. by 72 in. v. (1'49 by 1'82).

Purchased at Rome by Mr. Irvine for Mr. Buchanan in 1803. Subse-
quently in the Delme and Lansdowne Collections; afterwards in the
Angerstein, with which it was purchased in 1824.

No. 68. A Woody Landscape ; Evening.

A view near Albano. In the right foreground a shepherd boy
leading home his flock ; on the right a forest of oaks ; on the
left a steep bank, nnder the shade of which two figures are
reposing. Grey-brown tone.

Canvas, 19 in. h. by 26 in. w. (0-48 by 0'66).

Formerly in the Corsini Palace at Rome : subsequently in Mr. Ottley's
Collection, sold in 1801. Holwell-Carr Bequest, 1831.

No. 95. Landscape, with Dido and ^Eneas.

JSneas and Dido are just visible at the entrance of the cave on
the right, above which are two Cupids ; a third, towards the
centre, is holding the bridle of the " lofty courser " of the queen.
In the left sky are Juno, Venus and Hymen, promoters of the
storm. Dark grey tone.

Canvas, 58 in. h. by 88 in. w. (1'47 by 2'23).

From the Falconieri Palace, Rome. Holwell-Carr Bequest, 1831.

No. 98. View of La Riccia.

In the left middle-distance Ariccia on a hill. On the right
a sapling blown by the wind. Three figures and a dog on a
winding road in the foreground, and in the distance the
Campagna, bounded by the Appenines. Low grey tone.

Canvas, 19 in. h. by 26 in. w. (0'48 by 0'66).

Formerly in the Corsini Palace at Rome : subsequently in the Ottley
Collection. Holwell-Carr Bequest, 1831.

17083 2 H

562 POUSSIX.

No. 161. An Italian Landscape.

On the left a rockv bank topped by tree trunks, in shadow ; two
seated figures to left, and right another ; two dogs and a man
walking away. In the centre middle-distance a cascade and a town
beyond. Mountain peaks in the distance. Grey tone.

Canvas, 28 in. h. by 65 in. w. ("0-71 by 1-65).

From the Colonna Palace. Rome. Farnborough Bequest, 1838.

No. 1159. The Calling of Abraham.

On the left a group of trees agitated by the wind.
Below them an Angel standing on a winding road speaking to
Abraham and pointing to the right. A sapling on the extreme
right ; in the centre mid-distance a stream. Mountains and water
in the distance. Golden-grey low tone.

Canvas, 79 in. h. by 60 in. ic. (2-01 by 1'52).

Purchased from the Leigh Court Collection, London. 1884.

ASCRIBED TO GASPARD FOUSSZN.

No. 2723. Landscape with figures.

A river scene with a mountain in the distance and broken
ground to the right. A large tree closes the composition on the
left.

Canvas, 66J in. A, by 96 in. w. (1'68 by 2'43).

No. 2724. Landscape with figures.

A river spanned by a bridge leading to a group of trees ; an
arm of the sea in the distance. The foreground is composed of
bushes and sandy hillocks.

Canvas, 66f in. h. by 96 in. w. (1'69 by 2'43).

Presented with No. 2723 by Mr. P. Pusey, 1849.

POUSSIN (NICOLAS), 1594-1665.

French School. NICOLAS POUSSIN was born at Villiers, near Les
Andelys, in Normandy. He studied under Quintin Var'm at Les
Andelys. When 18 he visited Paris, there studying and drawing
from casts and copying prints after Raphael and Giulio Romano.
He visited Rome in 1624, there living with Du Quesnoy (II Fiam-
mingo). It was probably owing to his intimacy with Du Quesnoy,

POTJSSIN. 563

that POUSSIN paid so much attention to the ancient basai-rilievi,
many of which he modelled. He also studied practical anatomy,
and worked under Domenichino, whom he considered the first
master in Rome. He had, however, little success until the
return to Rome of Cardinal Barberini from his embassy in
France. The Cardinal commissioned POOSSIN to paint the Death
of Germanicns and the Capture of Jerusalem, which he painted
twice. From this period he rapidly acquired fame. His next
pictures were the Martyrdom of St. Erasmus, the Plague of Ashdod
and the Seven Sacraments ; the last-named works, painted for the
Commendatore Del Pozzo, and repeated later for M. de Chantelou
at Paris, are now at Belvoir Castle and Bridgewater House.
POUSSIN, after an absence of sixteen years, returned to Paris in
1640, when he was introduced by Cardinal Richelieu to Louis
XIII., who wishing to retain his services gave him apartments
in the Tuileries, and appointed him his painter in ordinary with
a salary of 120Z. a year. POUSSIN, however, departed in 1642 for
Rome to fetch his wife ; and never returned to France. He
painted with uninterrupted success for twenty-three more years,
dying at Rome in November 1665, in his 72nd year ; he was
buried in the church of San Lorenzo in Lucina.* Titian's
influence, more than any other master's, is seen in POUSSIN.
His works are very numerous : the prints that have been engraved
after his principal pictures amount to upwards of two hundred.
He is one of the most scholarly of painters.

No. 39. The Nursing of Bacchus.

Landscape, with a nymph and fauns tending the infant Bacchus
who is in the centre drinking from a bowl held by a satyr. On
the left two putti embracing ; on the right a goat. Six figures ;
flesh tone red-brown.

Canvas, 30J in. h. by 37 in. w. (0'77 by 0'93).

Possibly 8m. 209, in the John Knight Coll. 1819 and 1821. Be-
queathed by Mr. G. J. Cholmondeley in 1831.

No. 40. Landscape, with Figures. (" Pftocion")

A wooded spot in the neighbourhood of a city, which is seen
at the base of a range of mountains in the distance. In the
left foreground Phocion seated, washing his feet at a public
fountain. On the right a man and woman seated by a low wall.
A woman is passing by behind them. Trees to left and right of
the middle distance, a read winding through them in the centre
towards a town and distant mountains.
Canvas, 30 in. It. by 43 in. w. (0-76 by 0-93).

Sm. 309. Engraved E. Baudefc and W. Radclyffe. Presented by Sir
Oeorge Beaumont, Bart., 1826.

Bellori, in the Vitr. de' Pittort, &c n Borne, 1672. Qault de St. Germain, Life
*} Poussln, 1806, and a Collection de T.ettrrt de. I'o*slni, Paris 1824 S>" OTO P. M.
Turner : Stories of the French Painters, 1909.

17983 2 >' :;

564 POUSSIN.

No. 42. A Bacchanalian Festival.

A dance of satyrs, fauns, centaurs, and animals in a grove. Ta
the left, Silenus is being placed under a canopy by two fauns, his-
left leg on a tiger's back. On the right a female satyr is sup-
ported by a faun upon the back of a goat. In the centre is a
kneeling satyr drinking from a bowl into which a faun is pouring-
wine ; in the background a faun belabouring a donkey. Low
tone, flesh brown-red.

Canvas. 56 in. h. by 37 in. w. (1'42 by 0*93).

One of a series of three pictures said to have been painted for the
Due de Montmorenci ; the other two were formerly in the possession
of the Earl of Ashburnham. Bellori notices four " Bacchanals " by
Poussin, painted at Paris in 1641-42, for Cardinal Richelieu.

Sm. 213. "painted for Cardinal Barberini": later in Colls, of J.
Lock and J. Purling (sale 1801). Purchased by J. Angerstein ; bought
with his collection. 1824.

No. 62. A Bacchanalian Dance.

In the centre nymphs and fauns dancing ; on the right, before
a term of Pan, a satyr embracing a nymph whom he has thrown
down. On the left two infant bacchanals struggling, one raising
a bowl to catch the grape juice squeezed into it by a dancing
nymph. The draperies are blue, dull gold, rose and white ; trees
in the right background, hills and sky in the left. Low tone, flesh
ruddy and grey gold.

Canvas, 39 in. h. by 56 in. w. (0'99 by 1-42).

Probably one of the four painted for Cardinal Richelieu : Sm. 221,
Sales : R. de Boisset, 1777 ; De Vaudreuil. 1786 ; De Calcnne (London).
1795, (Buchanan, Memoirs of Painting), R. Walker. 1803. Lord Kinnaird.
1813 (Eng. by Ri Cooper. Kinnaird Coll., 1809), and in Mr. Hamlet's, of
whom it was purchased in 1826.

No. 65. Cephalus and Aurora.

Cephalus standing in the centre, profile left, is endeavouring to
free himself from the arms of Aurora, who is seated on the right.
To the left stands a cupid holding up the portrait of Cephalus'
wife Procris. Pegasus stands beyond him. A faun lies asleep OR
the left. Trees in the right background ; sky and hill to the left.
Flesh tone grey gold.

Canvas, 38 in. h. by 51 in. w. (0'96 by 1-29).

Sm. 251. Sales : J. Knight. 1819 and 1821. bought by Mr. G-. J.
Cholmondeley and bequeathed by him, 1831.

No. 91. Venus Sleeping, surprised ly Satyrs.

The goddess lies asleep, across the foreground, her head on the
left. A satyr kneeling at her feet lifts her white drapery.
Beyond her lies Cupid just aroused, and in the left background
a satyr watches from behind a tree. Sky in the right background.

Canvas. 26 in. ?t. by 20 in. u\ (0'66 by O'oO).

Sm. 23ft. From the collection of M. de Galon ne, Paris, and Henrv
Hope. 1816. Holwell-Carr Bequest. 1831.

POUSSIN PREDIS. 565

No. 165. The Plague among tfie Plulistines at Ashdod.

A woman lies on her back in the centre, dead, her dead child
beside her. A man stoops over her, behind him a group of people
facing left. A pilJar on the right, before it a little boy and a man
covering his face. On the left a man advances, looking to
the left ; at his feet a body lies against a broken pillar. Behind
him the shattered idol of Dagon, lying under a portico. In the
background a street scene in perspective ; on the right a flight of
steps, towards which two men bear a corpse.

Engraved by E. Picart ; by J. Baron : and by C. Siquet.

Canvas, 51 in. h. by 80 in. w. (1'29 by 2'03).

A repetition of a picture painted at Rome in 1630 now in the Louvre.
Formerly in the Colonna Palace, Rome, and in the Buchanan collec-
tion. Presented by the Duke of Northumberland, 1838.

No. 26 19. Landscape.

A herdsman driving cattle under trees to a river in the middle
distance flowing between high banks.

Canvas, 21J in. h. by 16f in. w. (0'54 by 0'42).

George Salting Bequest, 1910.

PREDIS (AMBROGIO DA), active 1482-1506.

School of Milan. AMBROGIO DA PREDIS was one of the
followers of Foppa in Milan prior to Leonardo's arrival. Morelli
was the first to identify his signature on a portrait of the
Emperor Maximilian in the Ambras Collection at Vienna as
that of DE PREDIS. The two wings of the Virgin of the Rockt
(Nos. 1661 and 1662 in this Collection) were originally part of the
altar-piece in the church of S. Francesco at Milan, of which the
Virgin of the Rocks by Leonardo was the centre panel. A docu-
ment discovered by Sigr. Emilio Motta in 1893 shows that these
wings were executed by AMI;. DE PREDis.f Of his life scarcely
anything is known. Morelli considers that he was born between
1450-1460, and supposes that he may have been a pupil of
ristoforo de Prodis, a miniature painter of celebrity. He was
apparently the favourite portrait painter of Lodovico Sforza, the
portraits attributed to him including many members of the Sforza
family. His only two signed pictures are dated 1494 and 1502
respectively. His name is mentioned in a document of 1482, and
it is surmised that he accompanied Lodovico Sforza to Innsbruck
in 1499, where he may probably have painted the portrait of the
Emperor Maximilian referred to above, as well as that of his wife.
The year of his death is unknown.

Italian Painters, by Giov. Morelli (London : John Murray. 1892), pp. 180-189.
t See the Arehivio Storico for 1894, p. 68. Also Arcbivlo Stonco Lombardo.
March 31, 1910.

566 PREDIS PREVITALI.

No. 1661. An Angel.

An angel, in a bronze-green robe with red-brown under sleeves,,
stands in a niche, with bent head facing slightly left, playing a
viol. Tone, grey-brown.

Wood, 45 in. It. by 23J in. w. (1-15 by 0'60).

No. 1662. An Angel

An angel with bright brown wings and hair and a scarlet robe r
is standing in a niche, head profile to the left, playing on a lute.
Tone, red-brown.

Wood, 45f in. h. by 23f in. to. (1-15 by 0'60).

These two figures formed the wings of the altar-piece by Leonardo da
Vinci, described under No. 1093 in the National Gallery catalogue.

Purchased from the Duke Jean Melzi d'Erie's collection at Milan
in 1898.

No. 1665. Portrait of a Young Man. (Francesco di
Bartolommeo Archinto ?).

Bust portrait, almost full face, of a young man with long golden
hair, wearing a black cap and grey-green coat with collar of
leopard skin, His tunic of slate blue is tied at the neck with a
black velvet ribbon. In his right hand, resting on a red marble
slab before him, is a small scroll inscribed with date and monogram,
1494, ANO. 20. and A M PEED. Flesh tone, greyish.

Wood, 21 in. h. by 14| in. w. (0'54 by 0'37).

Exhib. New Gall. 1893-4.

Purchased in London from Mr. W. Fuller Maitland in 1898.

No. 2251. Portrait of Bona of Savoy.

Full-length portrait, in profile to the left, of a lady in crimson
brocade with puffed sleeves and a cloak of brocaded stripes. She
wears a necklace of red beads, and in her right hand holds a spray
of aquilegia. Thick impasto, much peeled off, leaving the bare
canvas. Tone, heavy brown.

Canvas, 54 in. h. by 24 in. w. (1'37 by 0'61).

Presented by Sir George Donaldson, 1908.

PREVITALI (ANDREA). 1480-1528.

School of Bergamo. ANDREA PREVITALI, ANDREAS BEROO-
MENSIS or PREVITALUS, in his early years signed himself ANDREAS
CORDELLE AQI (by Yasari written CORDELLIA&HI). Born at

* The name Cordelle Agii (cordelle e agii i.e. " cords and needles " or " tape&
and needles") would lead one to suppose that one of his relations was a
huckster or pedlar. Morelli : Italian Painters, vol. ii, p. 237, claims that the
name is Venetian, and not Bergamasque. See also Frizzoni : " Notizia (FOperc di
'Disegno,'' 2nd edition, 1884, p. 161 and p. 239, also Zanetti : Delia Pittura Veneziarm,
In Venezia, 1771, p. 65 ; also Crowe and Cavalcaselle, Paintinrj in A*. Italy (1912
ed.) I. 576 : Ludwig, Jahrbuch xxiv., Ruppl. p. 57.

PREVITALL . 567

Bergamo, 1480, PREVITALI was a scholar of G. Bellini, in Venice.
The earliest known work by him is said to be in a private Col lee
tion at Padua, presumably signed CORDELLE AGI and dated 1502.
A Madonna in the Museo Civico, Padua, of the same date, is also
attributed to PREVITALI. The influence of Cima, Lotto and Basaiti
is seen in his later period. Later he moved to Bergamo, probably
about 1511. Perhaps his best work is the altar-piece of St. John
the Baptist in Sto Spirito at Bergamo, signed ANDREAS PREVI-
TALUS, 1525.f He imitated Giovanni Bellini as closely as he
could, and although he had little originality, yet the bright, clear
colour, the light atmosphere, and the pleasant character of the
landscape distances in has pictures, make them attractive. Many
of them are to be found in Bergamo, dated 1506, 1524, 1525 ; at
Dresden a Madonna and Saints is dated 1510 ; at Milan a Christ in
the Garden, 1512. A Head of the Christ is in the Layard Collec-
tion. According to Tassi, he died of the plague at Bergamo in

No. 695. Madonna and Child.

In the centre the Madonna seated full-face, her right hand
touching the head of a monk who kneels to the left, profile right.
On her lap the Infant seated, profile left, His right hand raised
in blessing, a flower in His left. To the right, in the middle
distance, St. Catharine in a flame-coloured cloak, standing
under a ruined archway. The Virgin is dressed in a rose-madder
tunic with a cloak of bright blue with shott lining. Background
of pastoral landscape with blue mountains in the distance. Tone,
rose-blond.

Poplar, 21 in. A. by 27 in. to. (0-53 by 0-68).

Purchased from the Manfrini Gallery, Venice, in 1862.

No. 1409. The Mystic Marriage of St. Catharine.

In the centre the Virgin, seated, bears the Infant Christ, on-
draped, on her lap, and assists Him to place a ring on the finger
of St. Catharine, who, standing on the right, extends her hand
to receive it. St. John the Baptist stands on the left. Half-
length figures ; landscape background. Flesh tone, creamy-rose.

Morelli, op. cit. ii.,p. 236, records having seen in the Casa Terzi at Bergamo a
Madonna signed and dated "Andreas Previtalns 1511": he maintains that
Cordelle Agii and Previtali are two distinct personalities and that the few
signed works of the former are " more refined and lifelike in expression and his
landscapes are warmer and less vividly yrecn than those of PreviUUi."

Crowe and Cavalcaselle : Historu of Piintiim in Xorth Italy, 1X71, 1, 271, claim
that Andrea Previtali is identical with Andrea Cordoliaghi - who t-nme to
Venice at the close of the XV century and probably practised there as Aodroa
Cordeliaghi, or Cordelia.

Berenson recognises Previtali only, but seems to identify the picture in the
Cavalli Collection, Padua (1502) as his.

t Andrea seems to have added B> rqomcnii* to his signature as long as he
remained at Venice, or till about (?) 1511.

: Tassi. Vite M Pittori,c., Bergatna*chi, 1793 : Ridolfli,i Xaravtglit, Ac.

568 PREVITALI PREVOST.

On the parapet forming the lower part of the picture a cartellino
inscril

iouSntf oeufni

Wood, 24i in. h. by 33J in. w. (0-62 by 0-84).

Formerly catalogued separately under CORDELLE AGII.

Formerly in the Stowe Collection, in the sale of which September 15th,
1848 (No. 389), it was assigned to "G. Bellini" and acquired by Sir
Charles Eastlake.

A similar picture by Andrea Previtali in the Sacristy of San Giobbe,
Venice.

Waagen : Treasures of Art in Great Britain, 1854, II, 265.
Purchased from the Eastlake Collection (No. 53), 1894.

No. 2500. Virgin and Child.

The Virgin seated, facing the spectator, the Holy Child in
her lap. She is dressed in a deep crimson robe with a cloak of
bright blue lined with gold, and a white head-dress. With her
right hand she bends a juniper sapling towards the Child, who,
facing left, stretches out His hand to it. Background of trees
with blue distance beyond, to the right. Tone, rose-golden.

Wood, 20 in. h. by 26 in. w. (O'oO by 0'66).

George Salting Bequest, 1910.

No. 25O1. "Salvator Mundi."

A bust of the Saviour, full-face, wearing a rose-coloured robe
edged with gold embroidery, and over the left shoulder and arm a
blue cloak lined with golden brown. His right hand raised in
blessing, and in His left the crystal orb. Tone, golden brown.
Signed "ANDREAS. PREVITALUS. P. M.D.XVIIII."

Wood. 24 in. h. by 20J in. tv. (0'61 by 0'52).

Lent to the Gallery since 1903. George Salting Bequest.

PREVOST (JAM), 1462?-1529.

South Netherlands School. JAN PREVOST or PROVOST was born
at Mons in Hainault, about 1462. He worked at Valenciennes,
where he acquired citizen rights in 1498 and soon after married the
widow of Simon Marmion, the painter. In 1493 he was admitted
to the Guild at Antwerp, and on the 10th of February, 1494,
purchased citizen rights at Bruges. His work shows the influence
of Gerard David and Q. Massy s. PREVOST held various offices in

PREVOST PULZONE. 569

the Bruges Guild between 1501-1526. In 1521 at Antwerp he
met Diirer who went with him to Bruges and stayed in his house.
Diirer drew PREVOST'S portrait and that of his third wife. PREVOST
died in Bruges, 1529. There is a Last Judgment by him in the
Museum at Bruges, painted 1525, and Adoration of the Kings
ascribed to him at Berlin.

See Le Beffroi, IV. 205-215, Bruges, 1875 ; also M G. Halin :
UArt et la Vie, Ghent, 1902.

No. 713. The Virgin and Child in a Garden.

In the centre the Virgin seated, full-length, full-face, amid
a profusion of delicate plants, beneath a tree. On her lap the
Child gazing at a small orb in His left hand. The Mother wears
a rose-doree mantle edged with pearl-studded gold embroidery
over a tunic of indigo, edged with grey fur. This is raised over
the knee and shows an under- skirt of gold damask. Her coronal
is set with pearls ; behind her head a rayed nimbus. To the
right an earthenware pot of growing pinks. Background of
pastoral landscape with farms to left and right, a stream winding
across the middle distance ; in the left distance a hill ; on the
right trees against a clear gradated sky, golden on the horizon.
Low-toned sky and landscape ; flesh tone, blond grey-gold.

Oak, 24 in. A. by 19 in. w. (0'61 by 0-48).

Presented by Queen Victoria at the wish of the Prince Consort, 1863.

PRI AIYIO DEZ.Z.A QUERCIA. (See Italian School.
XV. Century. No. 1456.)

PUZiZONE (SCIPIONE, called GAETANO), 1550-62? 1600?

Roman School. PULZONE was born at Gaeta and a disciple
of Jacopo del Conte. His most important pictures are the Assump-
tion in the Church of San Silvestro, on Monte Cavallo, and a Pieta
in the Jesuits' Church in Rome. He also painted portraits of the
most illustrious persons of his time, and is absurdly called by Lanzi
" The Roman Van Dyck." He died at Rome in 1588, or, according
to Zani, in 1600.

No. 1048. Portrait of a Cardinal.

A three-quarter length seated figure facing half length, the
eyes turned to the front. He wears his rose-coloured silk hood,
with white collar and scarlet hat.

Copper, 37J in. h. by 28 in. to. (0-95 by 0'71).

Bust portraits of the same personage by Scipione GaeUuo are in the
Corsini Palace, Rome, and at Chantilly.

Purchased at Florence, from Mr. W. Campbell Spenoe, in 1879.

570 QUAST RAEBURN.

QVAST (PIETEB JANSZ), 1606-1647.

The Hague School. QTJAST was born in Amsterdam or The
Hague ; in 1632 he married, and two years after entered the Hague
Guild. In 1644 he was living in Amsterdam ; his reputation was not
of the best. He painted genre subjects and peasant pieces in the
manner of Van Ostade and Brouwer ; frequently his pictures,
which are greyish and clayey and sometimes pale violet in tone,
pass for Ostade's. He painted some biblical scenes and portraits,
and a few chalk drawings on vellum are recognized as his. He
died in Amsterdam, 1647. Pictures by QUAST are at Amsterdam,
The Hague, Rotterdam, St. Petersburg, and Brunswick ; his usual
signature is P.Q., sometimes in monogram, or PIETER Q.

No. 2856. A Cavalier and Lady in a Courtyard.

In the centre a cavalier, in plumed hat and buff jerkin, stands
facing the spectator, his left foot on an inverted tub ; a man in a
cap and reddish brown coat stoops to fasten his boot. To the
right, with her right hand through the cavalier's arm, a woman
stands full face, leaning forward, dressed in a greenish blue gown,
with cap, cape, and underdress of white cambric. Behind her, to
the right, an old woman tending a cauldron over a fire, and in
the shadow to the left two men saddling a white horse. Back-
ground of enclosed courtyard with a manger, and steps leading to
a loft with hay. In the right foreground a haversack and bundle
of straw. Tone reddish brown. Signed on the flask to the
right " P.Q./."

Oak, 17 in. h. by 2H in. w. (0'43 by 0'54).

Formerly in the Eastlake Collection, attributed to Pieter Codde.

Bequeathed by Mrs. Charles Eastlake, 1911.

RAEBURN (SIR HENRY), a. A., 1756-1823.

Scottish School. HENRY RAEBURN was born at Stockbridge, a
suburb of Edinburgh. At fifteen he was apprenticed to Mr.
Gilliland, a goldsmith, who encouraged him to draw and introduced
him to the portrait-painter David Martin. For a time RAEBURN
occupied himself with miniature-painting. Martin lent him pic-
tures to copy, bat seems to have given him little technical instruc-
tion. At the age of twenty-two, RAEBURN married Anne Leslie
(ne'e Edgar), the widow of Count James Leslie.* He soon
went to London and made the acquaintance of Reynolds, who
advised him to study Michelangelo. In 1785 RAEBURN visited
Italy with his wife, and after two years returned to Scotland and
established himself as a portrait-painter in Edinburgh.

* "Raeburn," by Sir W. Armstrong, with an Introduction oy K. A. M.
Stevanson, and a Descriptive Catalogue by J. L. Caw, 1901, p. 46.

RAEBURN. 571

In 1791 he was commissioned by the Royal Company of Archers,
Edinburgh, to paint Dr. Nathaniel Spent. Between 1792 and 1823
he exhibited fifty-two pictures at the Royal Academy. To 1795
belongs the Mrs. Campbell of Baltimore (National Gallery of
Scotland). About 1796, RAEBURN painted his son, Henry, on a
grey pony, now in the possession of Lord Rosebery, and the Lady
Raeburn, now in Sir Ernest Cassel's collection. Characteristic of
a later period is the Dr. Alexander Adam, of about 1808, also
in the Edinburgh Gallery. In 1812 RAEBURN was elected Associate
of the Royal Academy, and in the same year President of the
Royal Society of Artists at Edinburgh, and in 1815 a Royal
Academician, presenting in 1821 as his Diploma picture the Boy
and the Rabbit, which is now at Burlington House. In the
following year, when George IV. visited Scotland, RAEBURN was
knighted and shortly afterwards was appointed His Majesty's
Limner for Scotland. He did not, however, long enjoy these
marks of Royal favour, for his death occurred on July 8tb, 1823.

A generation ago RAEBURN'S pictures were little prized, and, in
consequence, were passed over by the critics. It may, therefore,
be useful to give a list of some of the more important Exhibitions
at which his paintings have been shown : 1 824, Raeburn Exhibi-
tion in the Artists' Gallery, York Place, Edinburgh, held after
RAEBURN'S death ; 1850, Raeburn Exhibition, held in the College
of Edinburgh during the Meeting of the British Association ;

1876, Raeburn Exhibition, National Galleries, Edinburgh. In
1877 twelve of his pictures, including the Lady Raeburn and
the Dr. Spens above referred to, were included in the Old Masters
Exhibition at Burlington House, and it has been justly said that
RAEBURN'S modern vogue dates from that time.f On May 7th,

1877, forty-nine of his pictures were sold at Christie's by order of
the Raeburn family, when three portraits were purchased for the
National Portrait Gallery. In 1884 he was well represented at an
Exhibition of Scottish National Portraits which was held in
Edinburgh. In 1901 many of his pictures were included in a
Loan Exhibition held in the National Gallery of Scotland. In
1908 several portraits by him were shown at the Scottish National
Exhibition, Edinburgh, and in 1911 at the Glasgow Exhibition.

No. 1146. Portrait of a Lady.

A member of the Dudgeon family. In a white dress open at
the neck, a broad-brimmed straw hat lined with silk, aud an
orange-coloured scarf round her waist. On her left arm a cream-
coloured shawl with an embroidered border, and stands leaning
against a pedestal or monument in a plantation of young beech
trees.

Canvas, 93$ in. h. by 59 in. w. (2'37 by 149).

Bequeathed by Mr. Robert Dudgeon in 1883.

The Catalogue contains 325 numbers. See " Academy" Oct. 14, 1786.
t Sir W. Armstrong : " linebtir/i," p. 36.

572 RAEBURN RAGUINEAU.

No. 1435. Portrait of Lieut. -Oolonel Bryce McMurdo.

He is seated on a rock under a bank by the side of a trout-
stream, with a fishing-rod under his arm. At his feet is a fishing-
basket. He wears a dark-green swallow-tail coat, nankeen panta-
loons, white stockings, and shoes. In the background rise lofty
tills. Life-size, full length figure, seen in full face.

Canvas, 94 in. k. by 58 in. to. (2'38 by 1-47).

Bequeathed by General Sir W. Montagu McMurdo, G.C.B., in 1895.

No. 1837. Portrait of Mrs. H. W. Lauzun.

Aged seventeen. She is seated on a bank, wearing a white
muslin dress with long sleeves, cut square at the neck, and edged
at the opening of the bodice with pleated lawn. She has light
brown eyes, and her light brown powdered hair is in crisp locks,
the head being relieved against a dark brown tree. The face is
seen three-quarters to the right. The background, which shows a
hilly wooded landscape, is broadly painted. Painted in 1795.

Canvas, 29 in. h. by 24f in. 10. (0-74 by 0'61).

Bequeathed by Miss Henrietta Francis Tod Lauzun in 1900.

No. 2648. Portrait of Lady Dalrymple.

She wears a white dress with black mantle, and a white head-
dress. She is turned three-quarters to the right, and is seen at;
half-length. Life size ; dark background.

Canvas, 29 in. h. by 24 in. w. (0-737 by 0-610).

George Salting Bequest, 1910.

RAOUINEAU (ABRAHAM), 1623-after 1681.

The Hague School. RAGUENEAU, or RAGUINEAU, was baptized
October 19, 1623, in the French Church in London. Little is known
of his early career ; in 1640 he was at The Hague, where in 1645
he was enrolled as burgher and militiaman and married.
RAGUINEAU does not seem to have been in a prosperous condition,
for he declared upon oath, 25th April, 1646, that he was
not worth twelve guilders. In 1647 he and his wife left the
Hague and went to Bois-le-Duc. The baptism of his third son is
recorded in the Walloon Church at The Hague on the 25th Sep-
tember, 1659, shortly before which date he had probably come over
from Breda, as the certificate upon which the child was registered
is dated from that place. In 1661 he was in Leiden, as writing
master to the Prince of Orange, and three years later member of
the Guild of St. Luke there. In 1664 he was in The Hague, and
in 1681 at Zierikzee.*

* See an Article by Dr. C. Hofstede de Groot in Oud-Holland for 1899, p. 6.

RAGUINEAU RAMSAY. 573

There are two engravings of his work in existence, but the
onginal of both portraits is lost. RAGUINEAU holds a respectable
place in the crowded ranks of the Dutch portrait painters o
the seventeenth century, but the only known signed work of his
recognized is the portrait described below. The Brera has a
portrait assigned to him.

No. 1848. Portrait of a Young Man.

Half -length, facing slightly right. He wears a grey cloth slashed
doublet, trimmed with silver buttons, partly open, showing an
embroidered shirt of white cambric, with a white cambric collar
and jabot trimmed with lace. Over the left arm a grey cloak
edged with silver braid. Tone, golden grey. Signed A. Raguineav,
pinxit : Ao 1657. Aetatis 18.

Canvas, 28 in. h. by 23 in. w. (0'71 4y 0'58).

Formerly in Prince Barintinsky's possession in Russia, at the sale of
whose collection it was purchased by igr. F. Meazza, and from
whom ic passed into the possession of Sigr. Aldo Noseda, and was
purchased from the latter, in Milan, in 1901.

RAMSAY (ALLAN), 1713-1784.

Scottish School. ALLAN RAMSAY, son of Allan Ramsay, the
Scottish poet, was born at Edinburgh. He learnt painting
in London under Hans Huyssing, a Swedish painter who had
come from Stockholm to London in 1700. He went to Italy
in June, 17S6, and studied there under Francesco Solimena, and
afterwards Imperiale, who were artists of some celebrity. On
his return to England he devoted himself to portraiture, and
practised first in Edinburgh, where the Duke of Argyll sat to
him ; he settled in London about 1762. On the death of
Shackleton in 1767, RAMSAY was appointed Painter in Ordinary
to George III., and received numerous commissions from
the Court. Paintings entirely by his hand show him to have
been a rather timid painter. In the execution of his pictures
he frequently availed himself of assistants, among whom
may be mentioned David Martin and Philip Reinagle, R.A.
RAMSAY was an accomplished linguist and litterateur. Some of
his essays were published in a collected form under the title of
" The Investigator." He also wrote a little treatise " On the
present state of the Arts in England." Rousseau, Voltaire, and
Hume were among his correspondents and he was a friend of
Dr. Johnson. There are many portraits by him in the National
Portrait Gallery. His art is well represented in the Edinburgh
Gallery and in several private collections in Scotland. He visited
Italy fonr times, and it, was on returning from that country that
he fell ill at Dover, where he died on Aug. 10, 1784. Ramsay's
sanguine drawings are admirable.

* Mrs. Heaton : " Cunningham's British Painters." 1879, Vol. IL. r>. 127.

574 RAMSAY RAPHAEL.

ATTRIBUTED TO RAMSAY.

No. 1491. Portrait of Mrs. Everard.

Formerly catalogued as Portrait of a Lady by Ramsay.

She wears a blue silk dress, having a low-cut bodice trimmed
at the chest with white lace, and a boa. A mantle edged with
ermine fur is thrown over her right shoulder. Her chestnut
coloured hair is worn plain, and gathered into a large knot at the
back of the head. Life-size : seen to the waist : the face nearly
in profile. Dark background.

Canvas, 25 in. ft. by 21 in. w. (0'64 by 0'53).

This picture was presented to the South Kensington Museum in
1864 by Mr. William Freeman and was at first catalogued as a
*' Portrait of Mrs. Everard," by T. Gainsborough (No. 1147-1864).

Lent by the Victoria and Albert Museum in 1895.

RAPHAEL, 1483-1520.

Umbrian School. RAFFAELLO SANTI, son of Giovanni Santi,
was born at Urbino. He studied first under his father and. at his
death, probably under Evangelista di Pian di Meleto. In
December, 1500, RAPHAKL and this Evangelista (his senior by
many years, who in 1483 had been working under Giovanni Santi)
contracted to paint the altar-piece of the Coronation of S. Niccolo
da lolentino for the Church of S. Agostino at Citta di Castello.
This altar-piece is lost, only a partial copy, made at the end of the
XVIIIth century, remaining ; but in an article in the Corriere
delta Sera (Sept. 1912) Dr. Ettore Modigliani identifies the Head
of an Angel in the Tosio - Martinengo Municipal Gallery as a
portion of this work. RAPHAEL worked at Urbino under the
influence of Timoteo Viti, Evangelista's partner. Later he assisted
Perugino in Perugia, and Pintoricchio, c. 1502-1504. How
much he owes to Perugino can be gauged by the Crucifixion
in the Mond Collection. Towards the close of 1504 RAPHAEL
was in Florence, there coming under Leonardo's and Fra
Bartolommeo's influence. Among his pictures of this early
time are Portrait of Pemgino (1500?) in the Borghese. Rome;
The Knight's Dream (1499?) in this Collection; the Madonna
and Child with a Goldfinch (1501 ?), Berlin ; the Three Graces
(1498-1500), Chantilly ; the S. Sebastian (1500 ?), Bergamo :
-the Madonna and Saints (1M)2), Berlin (145); Coronation of the
Virgin, Vatican (c. 1503), and the Milan Spvtaibie (1504) ;f the

* See Bolletino delta R. Deputizione di Storia patria -p'.r I'Umbria, Jan. 1909 ; also
The Athenaeum, Feb. 6, 1909, p. 174, also the Jahrbueh II. and III., 1912.

t See Berenson: The Study and Criticism of Italian Art, II. ''The Caen
Sposalizio."

RAPHAEL. 575

Doni portraits in the Pitti (c. 1504) ; fh^Madonna della Cata
Tempi (1505) at Munich, and the Madonna Ansidei in this Gallery.
In 1508, recommended by Bramante the architect, his compatriot,
RAPHAEL was called to Rome by the Pope to decorate the Stanze,
his greatest work. The first fresco was the Dispute, almost
entirely painted by RAPHAEL and one of the finest works of the
high Rennaisance. In the same room are the School of Athens, the
Parnassus and Jurisprudence, all in the master's best manner.
Owing to the Pope's impatience and the general demand for his
work RAPHAEL, for his frescoes in the other rooms, had recourse
to assistants' collaboration ; his pupils were Giulio Romano,
Francesco Penni, G. da Udine and Perino del Vaga The best
works painted thus are the IJeliodorus, the Mass of Bolsena,
St. Peter in Prison and the Incendio. When RAPHAEL saw
Michelangelo's Sixtine Chapel frescoes he could not bat be
influenced by them ; his Isaiah in S. Agostino and the Sibyli in
Sta. Maria della Pace were produced under this influence. His
genius for adapting his design to its given space is seen in the
Cupid and Psyche frescoes and the Triumph of Galatea (1514) in
the Farnesina. On Bramante's death RAPHAEL was appointed
architect of S. Peter's and in addition director of the excavations
of ancient Rome ; his beautiful use of the antique is seen in his
decorations in the Loggia. RAPHAEL died on Good Friday, 1520 ;
his last picture, The Transfiguration, was placed by his bier daring
the funeral solemnities. His famous cartoons for the Sixtine
Chapel Tapestries were painted with the help of his assistants :
they are now in the Victoria and Albert Museum. Some superb
drawings are at Oxford and Windsor.

"No. 27. Portrait of Julius II., seated in a chair.

Seated in a papal chair, facing half-right ; in a crimson cap and
cape lined with white fur, over a white robe. The right arm rests
on the arm of the chair, the hand clasps a handkerchief.

Engraved by A. Chataigner ; by B. Morace, and by R. Page.

Wood, 42 in. A. by 32 in. w. (1'06 by 0-81).

This portrait was repeated several times by the Raphael School.
Passavant enumerates nine repetitions, including the picture now
referred to, besides three of the head only. The original cartoon is in
the Corsini collection at Florence ; the best example probably is that
in the Pitti, Florence. One was at Leigh Court, No. 59, in 1822. The
above picture was formerly in the Falconieri Palace at Rome ; and
subsequently in the possession of Mr. Angerstein, with whose collection
it was purchased in 1824.

No. 168. St. Catherine of Alexandria.

St. Catherine stands facing the spectator, her head turned up to
the left. Her right hand rests on her breast, her left arm leans ou
a heavy wooden wheel studded with nails. She wears a dark grey
'.robe with moss green sleeves, and a crimson mantle lined with

576 RAPHAEL.

gold. Landscape background with water and distant blue
mountains. Tone grey. Painted about 1507 in Raphael's second
style.

Wood, 28 in. Ji. by 21 in. w. (0'71 by 0'54).

An original drawing by Raphael of this picture is in the possession
of the Duke of Devonshire ; a finished cartoon is in the Louvre Collec-
tion of Drawings.

Formerly in the Aldobrandini collection in the Borghese Palace at
Rome, from which it was procured by Mr. Day at the close of the last
century ; it passed into the Collections of Lord North wick and Mr.
Beckford, from whom it was purchased in 1839.

No. 213. The Vision of a Knight.

In the centre foreground a young knight, in armour over a
bright blue tunic and light reddish brown hose, asleep on the
ground, resting on a crimson shield. Behind him, on the left, a
woman in dark-slate blue proffering a sword and missal. On the
right stands another woman in bright blue over carmine, proffering
a sprig of myrtle. She wears another sprig of myrtle in her hair.
Background of undulating landscape with buildings and distant
blue mountains. Tone, rosy grey.

The original pen-and-ink drawing from which the picture was
traced was purchased with it.

Wood, 7 in. square (0'17).

In Raphael's first period, according' to Morelli painted under the
influence of Timoteo della Vite. Formerly in the Borghese Gallery.
Rome, whence it was procnred at the end of the last century by
Mr. W. Y. Ottley ; it passed subsequently into the Collections of
Sir Thomas Lawrence, of Lady Sykes, and of the Rev. Thomas
Egerton, from whom it was purchased in 1847.

No. 744. Tlie Madonna, Infant Christ, and St. John.

The Virgin is seated in the centre under a cloister. She looks
down to the right front and reaches to the right to embrace with
her left arm the little St. John who, standing below, has just
given a pink to the Infant Saviour seated, leaning forward on His
Mother's lap. The distance is of buildings and blue mountains.
The Virgin wears a robe of clear blue and rose colour and a
striped green head dress. Flesh tone, rosy.

Wood, 15 in. h. by 13 in. w. (0'38 by 0-33).

Engraved by Alessandro Mochetti in D'Agincourt's Hlstmre de I'Art*

This picture, now called the GARVAGH RAPHAEL, was formerly in
the Aldobrandini apartments of the Borghese Palace at Rome, where it
was commonly known as the " Aldobrandini Madonna." It was imported
into this country by Mr. Day, who in 1818 sold it to the late Lord
Garvagh. Exhibited at the British Institution in 1819. Passavant
notices, besides several repetitions of the composition with variations,
three old copies of this picture ; one in the Academy of Bergamo,
another in the Stacoli Palace at Urbino, and the third in the Casa Silva
in Milan. Purchased in London from Lord Garvagh in 1865.

RAPHAEL. 577

No. 1171. TJie Virgin and Child with S.S. John Baptist
and Nicholas of Bari (The Madonna degli Ansidei).

In the centre, on a high canopied throne, the Virgin seated in a
deep blue mantle over a carmine robe ; the Infant on her right
knee. She supports Him with her right hand, and places on her
left knee an illuminated book. To the left, below, stands the
Baptist, profile right, in a pelt and deep red mantle, looking up ;
in his left hand a long crystal staff ending in a cross. On the right
St. Nicolas of Bari, in a myrtle green robe lined with red brown,
and mitre, stands full-face, a crozier in his right hand, a missal in
his left. At his feet are three golden balls, bis attributes.* Behind
rises a lofty arch, and beyond are seen the sky and distant land-
scape. On the frieze of the high, niched back of the throne, in gold
letters : SALVE M ATER CHR1STI. Onthe embroidered border
of the Virgin's mantle, on her left arm, is the date : MDVI.f

Poplar, in oil, arched above, 85 in. h. by 58J in. w. (2'15 by 1'48).

Painted for the Ansidei family of Perugia, and placed in their chapel
in the Servite Church of S. Florenzo in that city. There it remained
until 1764, when it was purchased through Gavin Hamilton by Lord
Robert Spencer, who presented it to his eldest brother the 3rd Duke
of Marlborough. In accordance with the terms of the sale a copy of
the picture (executed by Nicola Monti, a pupil of Pompeo Battoni)J
replaced the original in the chapel. The predella had three subjects,
one, l he Preaching of St. John the Baptist, belongs to the Marquess of
Lansdowne. Purchased by H.M. Government from the 8th Duke of
Marlborough in 1885.

No. 2069. The Madonna of the Tower.

The Madonna with downcast eyes is seated, turning half-left
facing the spectator. She clasps the Child to her breast with her
right hand and supports His foot with her left. His arms are
round her neck. The Madonna wears a veil over her head and a
deep greenish blue dress, with grey sleeves and scarlet under-sleeves.
A mountain in the right distance, and on the left a tower, half
hidden in a thick wood. Tone, rose-golden.

Canvas, 30 in. h. by 25 in. w. (0'76 by 0-63).

Exhibited in Art Treasures Exhibition, Manchester, 1857; Old
Masters, Burlington House, 1902.

This " Madonna della Torre " was in the Collections of the Due
d'Orleans and Samuel Rogers ; purchased from the latter by Mr. R. J.
Mackintosh, 1850. As it is very similar in manner to the groups of
women and children in the fresco of the Mass of Bolsena. it may
belong co that year, 1512. This group of the Madonna and Child was
used in a composition, The Madonna and Child with two Saints, by

See the origin of these attributes in Mrs. Jameson's Sacred and Legendary

t Part ofthe flffira composing the date are forehortened, on account of the
curve formed by the drapery round the arm. It was read bv Paswvant
(Raphael, &c. II. p. 31), and by Waagen (Art Treasures. Ac. III. o. 1J7>!--MDV.
But the fourth nnmeral-I.-is distinctly visible. Crowe & Oavalcaselle also
read the date MDVI. (Raphael, &c. 1882-5, 1. p 224).

JSeraflno Siepl, Drxcn;: toi^L^K-mtorica della Citta dl Perugia, 1882, p. 345.
George Scharf, F.SjL, Catalogue rait, of tlx Pictures tn BleiUteim Palact, 180.!,
p. 40.

17983 2

578 RAPHAEL.

Domenico Alfani, dated 1518, in the gallery at Perugia. There are
copies by Sassoferato ; one was in the Leuchtentmrg Gallery, Munich
(1851), another in the Borgheae Gallery, Rome, where there is another
copy by a different hand. There is a cartoon of a similar composition
in the British Museum, ascribed to Brescianino.* Presented by Miss
Eva Mackintosh, 1906.

No. 2919. Procession to Calvary.

The Christ in the left centre in blue grey advancing to the
right ; two men behind him supporting the cross. Before him an
executioner in pale lemon dragging Him by a rope, and two soldiers
advancing, right. Two horsemen on the right, in pale rose and
leaf green and apricot yellow, on a white and a dark chestnut
horse. Behind him a guard in apricot yellow and scarlet, pausing
with back turner!, to look at the group of Holy Women, who
support the fainting Mother. St. John, in pale rose and leaf
green, walks with them. Blue sky and mountain distance. Clear
and softly luminous tone. The flesh is pale and wan, the coloured
draperies fresh and brilliant. Painted 1505.

Wood, 9i in. h. by 33* in. w. (0-23 by 0-85).

Originally the centre part of the predella of the altar-piece painted
for the nuns of S. Antonio, Perugia (1505), and now in the Pierpont
Morgan Collection. The predella, acquired from the nuns. 7 June,
1663, for Queen Christine of Denmark, was composed of a S. Francis
and S. Anthony of Padua, now at Dulwich ; a Pieta (ex-colls. Queen
Christine, Orleans, Bryant, Bonnemaison, Rechberg, Sir. T. Lawrence,
M. Whyte and M. E. Dawson, now in Gardner Coll., Boston) ; an
Agony in the Garden (ex-colls. Queen Christine, Orleans. Bryant, and
Eldin, in Lady Burdett Coutts Coll., 1882, now in coll. of Mr. W. Burdett
Coutts, M.P.), and this Procession to Calvary. From Queen Christine it
passed through the Orleans Coll. (1786 Catal.'). (sale 1800. bt. by Hibbert)
to the J. H. Miles Coll., Leigh Conrt (1822 Catal.). Bought at Leigh
Court Sale 1884 by Lord Windsor. Exhib. Burl. House, 1870 and 1902
(No. 14) ; New Gallery (Early Italian), 1893-4. Purchased from the
Earl of Plymouth ; Temple- West Fund, 1913.

AFTER RAPHAEL.
No. 661. The Madonna di San Sisto (a tracing by

J. Schlesinger (1822)).f

A tracing f r >m the original picture by Raphael at Dresden.

Paper, 101 in. h. by 79 in. w. (2-56 by 2'00). Presented by Messrs.
P. & D. Colnaghi, 1860.

No. 929. The Madonna and Child.

The Madonna, seated three-quarters right, looks down to the
left at the Child, who lies naked on her knees, His right hand
behind His head. The Madonna wears a blue-green mantle over
a rose-carmine robe. Tone, warm grey.

Poplar, 34 in. h. by 23J in. w. (0-864 by 0'596).

Old copy of the Madonna of Bridgewater House (ex-Orleins Coll.).
Inscribed on the back, " Ce tableau appartient a M. le Prince Charles.
May 1722." Wynn Ellis Bequest, 1876.

See Berenson : The Study and Criticism of Italian Art, II. t Not exhibited.

REMBRANDT. 579

REMBRANDT VAN RYN, 1606-1669.
Schools of Leiden and Amsterdam. REMBRANDT HARMENSZ
VAN RYN was born at Leiden ; his father was a miller, his mother
a baker's daughter. Intended for a scholar's career he entered
Leiden University May 1620, leaving, however, in a few months.
He then studied under Swanenburgh, a Leiden painter, for about
three years, at the end of that time spending some six mouths
in Amsterdam under P. Lastman, who may be studied in
the Rijksmuseum ; he is a typical Italianized Dutchman, using
bright garish colour and formal composition in a mechanically
adroit manner. Apparently his formulae were distasteful to
REMBRANDT, who returned to Leiden 1624. His movements there
for the next three years are obscure, but it seems fairly certain
that he came in contact with Jacob Pyuas at some time. Pynas,
another Italianate, is distinguished from Lastman by bis prefer-
ence for brown chiaroscuro, which made some believe, says
Houbraken, " that REMBRANDT aped him in this matter." Cer-
tainly Pynas used the dramatic effects of light and shade that
characterize all REMBRANDT'S early work before REMBRANDT was
born.* REMBRANDT'S so-called Leiden period lasts till 1631 ; bis
earliest dated works are the Banker (Berlin) and St. Paul in
Prison (Stuttgart), both of 1627; his earliest dated etchings his
Mother, 1628. Pictures of this period are small and dark in tone,
with extraordinarily deeply studied effects of artificial light, and
figures well arranged in conventional and often theatrical design.
With these go portrait and costume studies, mainly of REMBRANDT
himself, his father and mother. Examples are Samson and Delilah,
1628, Royal Palace, Berlin ; Supper at Emmaus, 1629, Paris ; A
Laughing Man (very like Carel Fabritius' later work) in the
Mauritshuis ; Self Portraits at The Hague, Budapest, Gotha, and
Boston, U.S.A. (Gardner Museum) ; his Mother, in the Bredius
Collection, at Windsor and the Sanderson Collection, Edinburgh ;
his Father, at Innspruck, Cassel, and St. Petersburgh. REM-
BRANDT moved to Amsterdam, 1631, and soon developed a pood
practice. In 1634 he married Saskia van Ulenburch Thin
period, c. 1634-1640, is marked by exuberance of feeling, by an
intense response to appeals made to the senses, whether by
sumptuous stuffs, jewels, colours, or by passionate movement and
sensual emotion. REMBRANDT may be said to have experienced
life in all its intensity as deeply as is humanly possible. His
pictures of this his worldly successful time vibrate with physical
zest ; among them are the almost barbarically arranged Sasktas,
portraits of himself in opulent attire, portraits such as the Old
Woman (No. 775) in this Collection, of 1634, in which his attention
is chiefly spent on problems of surface, and compositions in which
time after time, in chalk, etching, monochrome and colour he
combated and eventually conquered the technical difficulties of
his art. Pictures of this time, in which hia expression is not

* See 0. J. Holmes : Notes on the Art of Rembrandt, pp. 28-41. 1911
17983 2 2

580 EEMBRANDT.

yet instinctive but reasoned out, are the Christ before Pilate,
c. 1633 (No. 1400), in this Gallery, The Angel leaving Tobias,
1637, Louvre, and the St. Petersburg Abraham's Sacrifice. The
almost brutally violent Blinding of Samson * in the Frankfurt
Gallery, is of '1636 ; the perfectly realised Danae at St. Peters-
burg of the same year. REMBRANDT'S children by Saskia all
died in infancy save Titus ; their mother died 1642. From
about 1640 REMBRANDT'S popularity and prosperity waned. His
famous Sortie of Banning Cocq (1642), (" The Night Watch,")
was a failure, and through increasing money troubles and social
difficulties he gradually dropped out of the ranks of fashionable
painters. He was a bankrupt in 1656. His relations with
Hendrickje Stoffels, his reputed wife, by whom he had three
children, and whose protective care of the master and his son
Titus, until her death in 1664, lend an intimate and tender
beauty to the story of his adversity, gave scandal to the
righteous. From 1640 onwards REMBRANDT'S art reveals an
ever deeper communion with the complex emotions and secret
thoughts of humanity. Thus he stands alone as an interpreter
of the Bible story.; his type of the Christ, and Apostles, his
knowledge of the living meaning of the Crucifixion (etching,
1653), the Supper at Emmaus (Louvre), the Raising of Lazarus
(etching, 1642), Christ and the Little Children (Hundred
Guilder Plate, 1649), and Christ carried to the Tomb (etching,
1645), stand unapproached. In portraiture his mature expres-
sion is as profoundly searching. His Jan Lutma and Haaring
(etchings, 1655, 1656), his wonderful Hendrickje Sto/els (Louvre,
1652), his Brother, in the Mauritshuis, and With a Gold Helmet
(Berlin), 1650, the Dulwich Girl at a Window (1645), the
Chicago Girl behind a Door (1645), and the Six Collection
Jan Six, in their several fields have not been equalled. His
Bathsheba (Louvre) and the Woman Wading (54) in this Col-
lection, both of 1654, are supreme examples, the former standing
at the head of and incomparably above the modern treatment of
the nude. In this class must be placed the little Andromeda
lent to the Mauritshuis. Other paintings that manifest REM-
BRANDT'S unapproached power of identifying himself with the
life he evokes are the fragmentary Dey man's Anatomy (Rijks-
museum), Saul and David (Mauritshuis), the Jacob's Blessing
(Cassel), and the Blind Tobit (etching). From his last years
comes the series of portraits, mainly works done in the solitude
of a "splendid obscurity," and occasionally commissions. Con-
spicuous among them are the master's self-portaits, such as that in
the Uffizi, at Aix, No. 221 in this Collection ; that in the Louvre
and at Bridgewater House, and the masterpiece that left Lord
Ilchester's for an American Collection. In all these late works
REMBRANDT, whose earlier period had exulted in the physical
senses, labours ceaselessly to make visible the mysteries of the
spirit to which he had gained access. Immersed in financial

* See W. R. Valentiner : The Burlington Magazine, xxxix.

REMBRANDT. 581

worries, his very existence almost forgotten, suffering loss after
loss (Hendriekje died about 1662, Titus, his son, in 1668), yet the
old master serenely pursued his way. There seems every ground
for thinking that he was in England, in London and Yorkshire,
about 1661-62. The latest references to him record his activity
as a line engraver, and a commission given him to engrave a por-
trait of Van der Linden after A. van der Tempel's painting, in
1665. He died October 4th, 1669, and was buried in the Wester-
kerk, Amsterdam. His granddaughter, Titus' orphan child, was
baptized March 1669 ; his two children by Hendriekje survived
him. Among his numerous scholars were : Gerbrandt van den
Eeckhout, Ferdinand Bol, Govert Flinck, Karel and Bernhard
Fabritius, Adriaen Backer, the de Konincks, and many others.
No study of REMBRANDT is adequate that does not approach him
through his varying aspects, his etchings, drawings and paintings,
his figure subjects, portraits and landscapes, in which last branch,
too, he stands with the greatest masters. Of his late work the
Altman Coll., New York, is one of the finest.

See W. Bode : The Complete Works of Rembrandt, 8 vols.
Klassiker der Kunst : II. and VIII. Rembrandt. C. J. Holmes :
Notes on the Art of Rembrandt, 1911. A. M. Hind : The Etchings
of Rembrandt, 2 vols., 1912. G. B. Brown : Rembrandt.

No. 43. Christ taken down from the Cross.

A monochrome. The immediate foreground is in darkness, a
turbanned man stands on the left. Beyond, in the centre, the
light falls on the supine body of the Christ ; on the right Hia
head and shoulders lie across Mary's lap ; she is seated on the
ground facing the spectator ; round her, supporting and comforting
her, is a group of the disciples and holy women. To the left
a disciple embracing our Lord's feet, a woman weeping and a
group of standing figures in shadow. Behind, the three crosses,
two burdened by the thieves ; the third, supporting two ladders,
tells dark against a light in the sky. Dim landscape distance and
buildings. Two horsemen ride away on the right.

Wood, 13 in. h. by 11 in. w. (0'33 by 0'27).

Bode's Catal., No. 245. Sm. 96. A drawing by Rembrandt of this
composition is in the British Museum.

Painted c. 1642. Formerly in the Collection of M. J. De Barry, at
Amsterdam (engraved Picart), subsequently in the possession of Sir
Joshua Reynolds, at- whose sale, in 1795, it was purchased by Sir George
Beaumont, and by him presented to the nation in 1826.

No. 45. The Woman taken in Adultery.

A composition of many figures standing on steps which lead up
to a lofty golden throne on the right. The picture is in semi-
darkness, the light being concentrated in the centre foreground,
on the white-robed figure of the woman kneeling profile left, on
the head and shoulders of Christ and one of His disciples who
stands profile right, on the left, and on the heads of the accusers.
The glowing red and green in the drapery and enamels of the

582 REMBRANDT.

throne are repeated in the mantle and armour of two of the
figures in the central group. Tone, dark gold brown. Signed and
dated

(Jtembranak"

Wood, 32 in. h. by 25J in. w. (0-82 by 0-64).

Bode's Catal. IV, No. 247. Sin. 112. Painted for Jan Six, the patron
of Rembrandt, and was later in the possession of the Burgomaster.
Willem Six ; sold in 1734 ; imported, 1807, by Lafontaine, and passed
eventually into the Collection of Mr. Angerstein, with which it was
purchased in 1824.

No. 47. The Adoration of the Shepherds.

The interior of a dark and lofty stable. On the left foreground
a circular group of figures lighted from the centre. On the left
St. Joseph, standing full face, and the Yirgin seated partly behind
a manger in which lies a cradle containing the Holy Babe ; two
kneeling shepherds, one in profile to left, and one with his back to
the spectator, hiding the source of light and telling dark against
it. Beyond to the left, cattle dimly seen, standing in stalls. To
the right, in half-light from a lantern carried by the foremost, a
group of four men, and a boy holding a hound. Tone, glowing.
Signed and dated

Canvas, 25 in. h. by 22 in. w. (O63 by 0'55).

Bode's Catal. V., No. 316. Sm.58. Sales: Bandeville, 1786 ; Tolozan,
1801. Purchased with the Angerstein Collection, 1824.

No. 51. Portrait of a Jew Merchant.

Three-quarter length portrait of a bearded man, seated three-
quarters to the right (with head turned to left towards the
spectator) ; both hands rest on a stick. He wears a black
t satin coat with sleeves slashed to show touches of red lining, and
a black hat with fur trimming. A fur lined rug is on the back of
his seat and across his legs. Tone, glowing golden - brown.
Painted c. 1650.

Canvas, 53 in. h. by 41 in. w. (1'34 by 1'04).

Bode's Catal. V., No. 384. Sm. 415 (he valued it at 500 gs.). Presented
by Sir George Beaumont, Bart., in 1826.

REMBRANDT. 583

No. 54. A Woman Bathing.

A woman, holding up her smock and turned slightly to the
right, wades towards the spectator through a pool of clear water.
On the bank behind her, to the left, is a rich crimson and gold
brocaded drapery. Behind, to the right, a dark tree trunk.
Signed Rembrandt f. 1654.

Wood, 24 in. A. by 18\ in. w. (0-61 by 0-46).

Bode's Catal. V, No. 353. Sm. 165. In the collection of Lord Gwydyr,
at whose sale it passed into the possession of the Rev. W. Holwell-
Carr (1829). Holwell-Carr Bequest, 1831.

No. 166. Portrait of a Capuchin Friar.

Half length portrait of a slightly bearded man in brown cowl
and habit, seated full-face, his hands folded in front of him.
Tone, gold brown. Painted c. 1661.

Canvas, 34 in. A. by 25* in. w. (0'87 by 0'64).

Bode's Catal. VI, No. 484. (? Sm. 132, in Lord Wemyss' Coll. Exh.
Brit. Gall., 1835). Presented by the Duke of Northumberland in 1838.

No. 19 O. A Jewish Rabbi.

Head and shoulders of a bearded man turned slightly to the
right front. He wears a black velvet hat, and black velvet fur-
trimmed cloak over a russet under-coat. Under half-length.
Tone, golden grey-brown. Glowing background. Signed REM-
BRANDT, 1657 ?

The same model is seen in Mrs. C. P. Huntington's (New York)
A Scholar with the Bust of Homer, dated 1653 ; (ex.-Kann Coll.).

Canvas, 30 in. A. by 26 in. w. (0-76 by 0-66).

Bode's Catal. VI, No. 469. Sm. 351. Formerly in the possession of
the Duke of Argyll, and subsequently in Mr. Harman's collection,
at whose sale in 1844 it was bought by Mr. Farrer, from whom it was
purchased, in 1844.

No. 221. The Painter's own Portrait.

Three-quarters to the right, half-length portrait of himself as
an old man. He is seated with his hands folded before him. He
wears a brown turban-cap with white under-cap, a brown coat
with embroidered collar and crimson under sleeves. Tone, grey-
brown. Painted c. 1659.

Canvas, 33 in. h. by 27J in. w. (0-83 by 0'69).

Bode's Catal. VI, No. 433. Purchased at the sale of the collection of
Viscount Middleton, Pepper-harrow, in 1861.

No. 237. Portrait of a Woman.

Half-length portrait of a young dark-haired woman very slightly
facing the left front. She wears a black transparent coif, long

584

REMBRANDT.

silver earrings, and a black dress with chemisette and under-sleeves
of white cambric. Her hands, one of which clasps a handkerchief,
are folded on a book in front of her. Russet background.
Tone, luminous rose-golden.

Canvas, 26| in. h. by 23 in. w. (0'66 by 0'59).

Bode's Catal. VII, No. 499. Bequeathed by Lord Colborne in 1854.

No. 243. Portrait of an Old Man.

Half-length, three-quarters to the left, with grey hair, beard and
moustache, his hands folded on a table before him. He wears a
red turban-cap, and black fur- trimmed coat. On the table, by his
right arm, a thick volume ; a sword in the background. Tone,
warm grey- brown. Signed

Canvas, 30 in. h. by 32f in. w. (0'99 by 0-83).

Bode's Catal. VI, No. 460. Sm. 348. Exhib. Brit. Gall.. 1815 and
1832. Colborne Bequest, 1854.

REMBRANDT.

586

No. 672. Portrait of Himself.

Half-length, three-quarters to the right, his right arm resting on
a parapet. He wears a black velvet hat and fur-trimmed coat,
with striped brocade sleeves and gold-embroidered collar, over an
embroidered vest and embroidered cambric chemisette ; under-
sleeves of dull plum colour. Tone, glowing grey-golden.

ct' jf

Canvas, 39 in. h. by 31* in. w. CO-99 by 0'80).

Bode's Catal. IV, No. 256. Cf . the etched Rembratidt and a StoM Sill
(1639). Formerly in the collection of General Dupont, at Paris;
purchased from his heirs, MM. de Richemont, in 1861.

No. 775. Portrait of an Old Lady.

Full-face bust of an old lady in black dress with white cap and
ruff. Tone, rose golden grey. Signed and dated

Wood oval, 27 in. h. by 21 in. w. (0-68 by 0'53).

Bode's Catal. II, No. 106. Sm. 490. An Indian-ink copylof thia
portrait, by Jan Sfcolker, draughtsman and engraver (1724-1785), is in.
the British Museum. Underneath the drawing the name of the sub-
ject is sriven as Francoise van Wasserhoven. Formerly in the Erard
Collection (1832). later in that of Mr. William Wells of, Redleaf
(1848). Purchased from the collection of Sir Charles Eastlake in 1867.

586 REMBRANDT.

No. 850. A Man's Portrait.

Bust portrait, three-quarters right, of a black-haired man with
brown moustache aad imperial. Deep lace-edged collar, over a
black speckled satin coat. A broad chain of open links crosses
the breast. Tone, glowing golden. Signed Rembrandt f. 1635.

Canvas, 30| in. h. by 22 in. to. (0'77 by 0-57 ).

Bode's Catal. II, No. 116. Sm. 488. Purchased with the Peel
Collection in 1871.

No. 1400. Christ before Pilate. " Ecce Homo"

In monochrome. High up on the left Christ stands in half-
shadow, before a dark archway, surrounded by soldiers. Below
Him, Pilate is rising from a seat beneath a canopy ; his back
is to the spectator. He faces right with hands out - spread
towards a group of denunciatory Jews, on whom the light
is concentrated. Below, to the right, a courtyard thronged with
people who surge through an archway surmounted by a clock.
A tall pillar on the right crowned with a bust of Caesar.

The study for the etching reversed of 1635-6.

Canvas, in grisaille, 21| in. h. by 17f in. w. (O54 by 0'45).

Bode's Catal. Ill, No. 214. Sm. 88. From the Collections of W.
Six (1734), Goll van Frankestein (1827) Brondgeest, Emmerson and J.
Harman (1844).

Purchased from the Collection of the late Sir Charles Eastlake, in
accordance with the terms of his will, in 1894.

No. 1674. A Burgomaster.

An elderly man with slight grey beard, seated three-quarters
length three-quarters to the right, in a wooden chair with carved
arms. He wears a turban cap of transparent material showing a
white under-cap, and a heavy robe of red-brown over a white
under-robe. His right hand, on his lap, holds the folds of the
robes ; his left, on the arm of the chair, a burgomaster's staff.
The back of the chair is covered by a dark drapery. Tone,
golden-brown. Painted c. 1661.

Canvas, 60} in. h. by 38 in. w. (1-28 by 0'96).

Bode's Catal. VII, No. 512. Sm. Suppl. 6. Exhib. Brit. Gall., 1837.

No. 1675. Portrait of an Old Lady.

An old lady seated full-face in a wooden chair. Her dress is
black velvet, with a stole and sleeve trimmings of brown and black
brocade, white cuffs and large pleated ruff. On her head is a cap
of wired blacs net. Her right elbow rests on the arm of the
chair, the hand holding a handkerchief ; her left hand clasps the
arm of the chair. Background of dim interior. Tone, broken
rose-grey and brown. Painted c. 1661

Canvas, 50| in. h. by 38 in. w. (1-28 by 0-96)

REMBRANDT. 587

Another portrait of the same old lady, seen three-quarter face, is
in the Wantage Collection ; a pen and ink sketch, evidently done for the
Wantage picture, was in Mr. John P. Heseltine's Collection ; published
in M. Emile Michel's work on Rembrandt, p. 518. Nos. 1674, 1675,
were formerly in possession of Sir William Middleton, Bart., great
nncle to Lady de Saumarez, and were exhibited at the British Institu-
tion in 1837 and 1858. Since the latter date, until they were purchased
for the National Gallery in 1899, they had been lost to sight. Probably
they had been in the Lee family, Lady de Saumarez's ancestors, from
the time that they were painted, but they may have come into the
family with a certain John van Enkoren, a Dutch gentleman, who
married a second cousin of Sir William Middleton.

Bode's Catal., VII.-, 493. Sm. Suppl. 14. Exhib. Brit. Gall., 1837.
Purchased with 1674 (Mr. Alfred C. de Rothschild and Mr. J. P.
Heseltine each contributing 500) from Lord de Saumarez, 1899.

No. 2538. Diana Bathing.

A dark mass of wooded cliff, with a pool in the centre fore-
ground. To the left a small nude figure of a woman, seated facing
half -right. On the left are two greyhounds. On the top left
corner a small patch of misty blue sky. Painted c. 1640.

Wood, 18 in. h. by 14 in. w. (0-45 by 0'35).

George Salting Bequest, 1910.

No. 2539. A Man with a Gap.

Bust study of a man turned half-right. He has grey hair, a
slight dark beard, and wears a red-brown tunic and dark brown
Tarn o' Shanter. Signed, Rembrandt/ 1 . Dated 165 ..? Painted c.
1650.

Canvas, 25* in. h. by 21 in. w. (0-64 by 0-53).

George Salting Bequest, 1910.

SCKOOZi OF REMBRANDT.

No. 72. Landscape, with Tobias and the Angel.

On the right, extending to the centre, a mass of dark trees
shadowing a stream. In the centre foreground the figure of the
angel guiding Tobias over stepping-stones towards the right.
Beyond, to the left, a traveller seated on a bank beside a track
leading to the distance over a hilly common in cloud shadow.

Dr. Schmidt Degener suggests that this landscape is by Adriaen
Brouwer. "

Wood, 22 in. h. by 34 in. w, (0'55 by 0-86).

Holwell-Carr Bequest, 1831.

No. 757. Christ Blessing Little Children.
_ To the right the Saviour, in a brownish-red robe, is seated
profile to the left, His right hand resting on the head of a little

588 REMBRANDT RENI.

cluld, whom he draws to Him with His left hand. The child,
finger in mouth, looks away to the left ; in its left hand an apple.
Beyond, to the left, a group of women in dark dresses stand by
with their children. Behind, on the right, stand two disciples ;
in the centre a little child lifted high. Background of dark trees.
Tone, golden brown.

Variously assigned to EECKHOUT and CAREL FABRITIUS. and
LEEXDERT CORXELISZ VAX BEYEREX.*

Canvas, 82 in. ft. by 60 in. w. (2'08 by 1-53).

Sm. Catal. 81 (as by Rembrandt, described from a print). Formerly
in the collection of Count Schonborn at Vienna ; purchased from Herr
Suermondt at Aix-la-Chapelle, 1866.

RENI (GuiDo), 1575-1642.

Bolognese School. GUIDO REXI was born at Calvenzano, and
placed in the school of Denis Calvart, whence he removed, about
the year 1595, to that of the Carracci in Bologna. He followed
Annibale Carracci to Rome, where he came under Caravaggio's
influence, and studied Raphael and the antique. He practised
chiefly at Bologna, but between 1605 and 1610 was busy in Rome,
and in 1621 at Naples. At Bologna he lived in princely style, and
died heavily in debt, 1642. He is said to hare bound himself, in
his decline, to work by the hour for dealers, who stood over him
watch in hand. This kind of contract was no doubt responsible
for much of the feeble work GDIDO is now judged by. His
pictures are numerous. II Pesarese was his imitator.

No. 11. St. Jerome.

Kneeling half-length, profile to the right, holding a crucifix, and
beating his breast with a stone.

Canvas, 46 in. ft. by 36 in. w. (1-18 by 0'91).

Formerly in the possession of Gavin Hamilton. Holwell-Carr
Bequest, 1831.

No. 177. The Magdalen.

Bust, nearly full-face, looking upwards, her right hand on her
breast.

Canvas, 31 in. A. by 27 in. w. (0'78 by 0'68).

From the Orleans Gallery. Purchased by Parliament at the sale of
Sir Simon Clarke's pictures in 1840.

No. 191. The Youthful Christ embracing St. John.

The Christ, on the left, has His left arm round St. John's
shoulders ; His right hand and St. John's hands joined, nearly
meet at the lower edge of the canvas.

Canvas, 19 in. A. by 27 in. w. (0-48 by 0'68).

* This attribution kindly communicated by Dr. Bredius.

RENL REYMERSWAEL. 589

Formerly in the Camuccini Collection at Rome ; bought by Mr Irvine
for Mr. Buchanan in 1805. Purchased at the sale of Mr J Harman'
pictures in 1844.

No. 193. Lot and his Daughters leaving Sodom.

Three half-lengths, walking to the left. Lot in the centre, in
scarlet, looking to the right ; on the left one daughter in black
carrying a pitcher, and facing the right ; on the right, profile left,
the other, pointing with her right hand ; she wears a gold mantle
over a heather coloured tunic.

Canvas, 45-J in. h. by 58 J in. w. (1-15 by 1'48).

No. 196. Susannah and the Two Elders.

Three three-quarters-length figures. To the right 'Susannah
seated half naked turned to the right, and looking left. With her
left hand she pulls round her a gold drapery, whose folds lie across
her lap On the left the two elders bending towards her ; both in
red-brown cloaks. Flesh tone g )lden-grey and hot brown.

Canvas, 46 in. h. by 59J in. w. (M6 by 1'51).

A duplicate of the " Susannah " was in the Orleans Gallery, and in
1822 in the Leigh Court Collection. One was given to the Uffizi in
recent years by an Englishman. There are several repetitions of it.
These two pictures, probably companions, were, until the French
Revolution, in the Lancellotti Palace at Rome : described by Ramdohr,
in his account of the pictures of Rome in 1784,* brought to England
by Mr. Irvine for Mr. Champernowne, passed into the possession of
Mr. Penrice of Norfolk, and were finally purchased for the National
Gallery ; the " Lot," in 1844, and the " Susannah," 1845.

No. 214. The Coronation of tJie Virgin.

The Virgin seated in the centre looking up. She is surrounded
by cherubim. Below her, to left and right, two angels playing
on lute and violin. Two cherubim descend bearing her crown.

Copper, 25| in. h. by 18J in. w. (0'65 by 0'47).

Probably an early work, painted before his visit to Rome. Formerly
in the Royal Collection at' Madrid, and subsequently in the possession
of Sir Thomas Lawrence and Mr. William Wells, who bequeathed it
in 1847.

No. 271. The " Ecce Homo:'

The head of Christ crowned with thorns, looking up slightly to
the right. Flesh tone cool.

Deal : an oval, 21J in. A. by 16 in. w. (0-54 by 0'40).

A replica is in the Louvre, Formerly in the collection of Benjamin
West. P.R.A. Bequeathed by Samuel Rogers in 1855.

REYBIERSWAEI. See BXARZNUS.

Malcni und Blldhauerarbeit in Rom, &c Hi. 74.

590 REYNOLDS.

REYNOLDS (SiR JOSHUA), P.R.A., 1723-1792.

English School. Joshua Reynolds was born at Plympton Earl,
Plymouth, his father, the Rev. Samuel Reynolds, being head-
master of the grammar school there. It is recorded that
when seven he made drawings of great promise. Joshua was
originally intended for an apothecary. It is said that a perusal of
Richardson's " Treatise on Painting " decided him on adopting the
profession of a painter. Towards the end of the year 1740 he
was apprenticed to Thomas Hudson in London. After two years
he returned home in 1743, and soon afterwards set up as a portrait-
painter at Plymouth Dock. The influence of William G-andy, the
Exeter and Plymouth painter (d. 1729), is traceable in Reynolds'
early pieces. In 1744 he was once more in London. Towards
the end of 1746 he was summoned home owing to the serious
illness of his father, who died on December 25th, 1746. Before
long he returned to Devonport, where he remained until early in
1749. In May, 1749, he became acquainted with and painted Commo-
dore (afterwards Admiral) Keppel, whom he accompanied on board
the " Centurion " to the Mediterranean. On leaving Minorca he
went to Leghorn and Rome, where he remained two years. In the
Vatican he caught a severe cold which resulted in life-long deaf-
ness and necessitated the use of an ear -trumpet.

After a sojourn of three years in Italy (1749-52), he settled
in London. To this early period belongs His own Portrait (No.
889). Among his earlier paintings in this Gallery are the Lady
Anne Lennox, Countess of Albemarle (No. 1259), the Lord Ligonier
(No. 143), and the Captain Robert Orme (No. 681). In 1760
Reynolds removed to a house in Leicester Fields, lately occupied by
Henry Morland. Within a few years Reynolds had become the
most distinguished portrait-painter in the capital, and in 1768 was
unanimously elected first President of the Royal Academy, being
knighted by George III. soon after. Reynolds had already ex-
hibited twenty-eight pictures, including the Captain Orme and Lord
Ligonier now in this Collection, at the Societv of Artists between
1760 and 1768. To the Royal Academy's first exhibition, held
in 1769, he contributed four pictures, and between that year and
1790 exhibited two hundred and forty-seven paintings there.
About 1772 he painted the Mrs. Hartley and Child (No. 1924), and
in the following year exhibited The Strawberry Girl, now in the
Wallace Collection. To this period also belong The Graces (No. 79),
and the Lady Cockburn and her children (No. 2077). Some two or
three years later followed Miss Bowles (Wallace Collection), the
Infant Samuel (No. 102) in this Gallery, and the Portrait of the
Artist in the Uffizi. In 1777 appeared the Mrs. Carnac (Wallace
Collection), and the Marlborough Family (Blenheim), while the
Two Gentlemen (No. 754), and the Admiral Keppel (No. 886),
were painted a little later. In 1784 Sir Joshua succeeded Allan
Ramsay as Painter in Ordinary to the King and painted Mrs.

REYNOLDS. 591

Siddons as the Tragic Muse (Duke of Westminster), and the Mrs.
Robinson ("Perdita") (Wallace Collection). These masterpieces
were succeeded by the Lord Heathfield (No. Ill), and the Age of
Innocence (No. 307). Between January 2nd, 1769, and December
10th, 1790, Sir Joshua delivered his "Discourses" on Art at the
Academy, his object being "to encourage a solid and vigorous
course of study." On July 13, 1789, his eye-sight began to fail,
and he had practically to relinquish his art. In 1790 he resigned tbe
Presidentship owing to a quarrel with the Academy, and delivered
his Fifteenth and farewell "Discourse."* Reynolds painted a few
landscapes. Among the private collections in England containing
examples of Reynolds' art are those of Lord Rothschild, Lord
Burton, Lord Iveagh, Earl Spencer, Lord Sackville, Lord Nor-
manton, the Duke of Rutland, the Earl of Radnor, and the
Earl of Ilchester. Sir Joshua died at his house in Leicester Fields,
on February 23, 1792, and was buried with great pomp in St.
Paul's Catbedral.f

Reynolds' pictures in this Gallery may be dated approximately
in the following order : 1750 (No. 889), 1759 (No. 1259), 1760
(No. 143), 1761 (No. 681), 1771-3 (No. 1924), 1772 (No. 887 and
No. 106), 1773 (No. 79, No. 306, and No. 2077), 1775 (No. 107),
1776 (No. 102), 1777 (No. 1840), 1778 (No. 754), 1779 (No. 890),
1780 (No. 886 and No. 891), 1783 (No. 305), 1784 (No. 1834),
1786 (No. 888 and No. 892), 1787 (No. Ill and No 182), 1788
(No. 307, No. 885, and 78 A).

No. 78A. The Holy Family.

Formerly No. 78 in this Gallery.

The Virgin, holding the Infant Christ, is seated by the side of
a stone pedestal or monument. To the left sits St. Joseph.
Before them stands the young St. John the Baptist, holding the
standard of the Lamb. Whole length figures. Landscape back-
ground. Painted about 1788.

Canvas, 79 in. h. by 57J in. w. (1'95 by 146).

Engraved by W. Sharp, etc. Exhibited ac Macklin'a Gallery of
Poets, Pall Mall, 1790 (No. 1) ; the British Institution, 1829 (No. 8).

* The concluding passage of this " Discourse " was as follows :

" And I should desire that the last words which I should pronounce in

" this Academy, and from this place, might be the name of Michael

" Angelo." See Roger E. Fry : " Reynolds' Discourses, 1906, p. 428.

t For fuller details of the life of Sir Joshua see : James Northcote R.A. :

" The Life of Sir J. Reynolds" 1818. Edmond Malone : " Literary Works of

Sir J. Reynolds" 1819. H. W. Beechey : " The Literary Work* of SirJ.

Reynolds* 1855. W. Cotton : " Sir J. Reynolds and his Works 1866. C. R.

Leslie and Tom Taylor : " Life and Times of Hir Joshua Reynolds, 1866.

Algernon Graves and W. V. Cronin : "A History of the Workt of Sir

Joshua Reynolds," 1899. Sir W. Armstrong: 7> Str J. Reynolds, Jirtt

President of the Royal Academy" 1900.

A Collection of Engravings after Sir J. Reynoldi was exhibited at
Burlington House (Old Masters), in 1878.

592 REYNOLDS.

Waagen : ' Art Treasures" Vol. 1., p. 366. Graves & Cronin, Vol.
III., p. 1155.

A replica was included in the sale of Mr. William Angerstein's
Collection, April 6th, 1895 (N"o. 74).

Formerly in the collection of Mr. Macklin, having been originally
painted to afford a frontispiece to the New Testament of Macklin's Bible.
In the collection of Sir- Peter Burrell (created Lord Gwydyr), in 1 792.
Sold at the sale of Lord Gwydyr's collection, May 9, 1829 (No. 86). to
the Directors of the British Institution.

Presented by the Directors of the British Institution in 1829.

No. 79. The Graces decorating a terminal figure of
Hymen.

A portrait group of Barbara, Elizabeth, and Anne, the three
daughters of Sir William Montgomery. The " Graces " are grouped
under some trees, and hold a long garland of flowers, with which
they are about to wreathe a statue of Hymen. To the left is
Barbara Montgomery, afterwards the Hon. Mrs. Beresford, taking
flowers from a basket ; in the centre is Elizabeth, afterwards
the Hon. Mrs. Gardiner ; on the right Anne, afterwards Viscountess
Townshend, is holding up in both hands the wreath of flowers.
Painted 1773.

Canvas, 92 in. Ti. by 114 in. w. (2-33 by 2'89).

Engraved by Thomas Watson and by S. W. Reynolds.

Exhibited at the Royal Academy in 1774 (No. 216) (" Three Ladies
adorning a Term of Hymen ") ; the British Institution, 1833 (No. 42) ;
the International Exhibition, South Kensington, 1862 (No. 59).

Leslie and Tom Taylor, Vol. II., p. 5 ; Armstrong, p. 91.

Formerly in the Collection of Mr. Gardiner.

Bequeathed by the Earl of Blessington, the second son of the Hon.
Mrs. Gardiner, in 1837.

No. 106. A Man's Head.

Formerly catalogued as " A Man's Head in Profile."

This bust portrait of George "White, a favourite model, in profile
to the left. Painted in 1771.

Canvas, 23 in. A. by 18 in. w. (0'58 by 0'45).

Engraved by S. W. Reynolds, and by J. Rogers. Exhibited at the
Royal Academy, 1771 (No. 159) ; theBritish Institution, 1813 (No. 52).
Leslie and T. Taylor, Vol. I., p. 385 :

Presented by Sir George Beaumont in 1826.

No. 1O7. The Banished Lord.

" The Banished Lord," or " The Captive," wears a white shirt
and dark red cloak. He has a beard. A bust full-face portrait,
the eyes looking to the left of George White, the pavior.

Canvas, 30 in. h. by 25 in. to. (;0'76 by 0'63).

REYNOLDS. 593

Engraved by J. R. Smith in 1777. Exhibited at the British Insti-
tution, 1813 (No. 23) ; 1823 (No. 5).* Graves & Cronin, Vol. III.,
p. 1134.

Presented by the Rev. William Long in 1826.

No. 111. Portrait of Lord Heathfield.

A three-quarters length turned slightly left. Lieutenant-
General Eliott, afterwards Lord Heathfield, is represented with
the key of the Fortress of Gibraltar in his right hand. The back-
ground is a view of the rock, with the smoke of artillery, a
reminiscence of the celebrated defence of 1779-83, of which
Lord Heathfield was the hero. Painted in 1787 for Alderman
Boydell.

Canvas, 56 in. h. by 44 in. w. (1'42 by I'll). %

Waagen : " Art Treasures," I., 365 ; Leslie & T. Taylor, Vol. II.,
p. 516 ; Graves & Cronin, Vol. II., p. 455.

Engraved by Earlom in 1788. Exhibited at the Royal Academy, 1788
(No. 115).

Formerly in the Angerstein Collection ; purchased with it, 1824.

No. 143. Portrait of Lord Ligonier on Horseback.

In uniform, seated on a charger, of which the head is towards
the right. His body is turned to the right, and he is looking
over his right shoulder. In his right hand he holds a baton. In
the middle distance to the right is a view of a battle, in the
distance to the left a tower. Painted 1760.

Canvas, 110 in. h. by 94 in. w. (2'79 by 2'38).

Leslie & T. Taylor, Vol. I., p. 191 ; Graves & Cronin, Vol. II., p. 582.
Engraved by E. Fisher and by S. W. Reynolds.

Exhibited at the Society of Artists, 1761 (No. 85) ; the British
Institution, 1827 (No. 173), 1831 (No. 164).

A smaller replica is in the Collection of the Duke of Sutherland,
removed in 1908 from Trentham to Lilleshall.

Presented by William IV. in 1836.

No. 162. The Infant Samuel.

The infant Samuel is kneeling at prayer at the foot of his bed,
background to the right is a

The infant Samuel is kneeling at p
almost in profile, to the left. In the
column. Painted c. 1776.

Canvas, 33f in. h. by 26f in. w. (0'85 by 0'68).

Graves & Cronin, Vol. III., p. 1201. Engraved by J. Dean ; by
J. Lucas ; and by Thomas Lupton.

* It is said that on that occasion the picture was copied by twenty-eight
different copyists.

17983

594 REYNOLDS.

Exhibited at the British Institution, 1813 (No. 39),* 1823 (No. 19),
1833 (No. 43) ; the International Exhibition, South Kensington,
1862 (No. 88).

A replica in the Collection of Lord Sackville at Knole. A replica
signed and dated 1777 is in the Montpelier Museum. Among variants
may be mentioned the " Infant Samuel" in the Dulwich College
Gallery (No. 223).

Farnborough Bequest, 1838.

No. 182. Heads of Angels.

Five Cherubs' Heads in different positions, painted from Miss
Frances Isabella Gordon, daughter of Lord William Gordon and
Hon. Frances Ingram Shepherd. She was born March 26, 1782,
and died Sept. 2nd, 1831. Painted 1787.

Canvas, 29 J in. h. by 244 in. to. (0-74 by 0'62).

Graves & Cronin, Vol. I., p. 372. Engraved by P. Simon ; by
S. W. Reynolds, etc.

Exhibited at the Royal Academy in 1787 (No. 24) ; the British
Institution, 1813 (No. 58) ; the International Exhibition, South Kensing-
ton, 1862 (No. 23).

A replica, rather smaller in size, is in the Collection of Lady Wantage.
Presented by Lady William Gordon in 1841.

No. 305. Portrait of Sir Abraham Hume.

Wearing a white cravat and crimson coat, his hair powdered.
Three-quarter face to the right. Painted c. 1783.

Canvas, oval, 27 J in. h. by 21 i in. w. (0'69 by 0'55).

Graves & Cronin, Vol. II., p. 493. Engraved by C. H. Hodges ;
W. Sharp ; G. Stoddarb.

A replica of a slightly larger picture in the Collection of Earl
Brownlow at Ashridge, Berkhampstead.

Presented by Mr. Robert Vernon in 1847.

No. 3O6. Portrait of the Artist.

Sir Joshua is wearing a red cloak, a white neck-cloth and frill
and a black velvet hat. His body is turned to the right ; three-
quarters right, looking at the spectator. Painted in 1773.

Canvas, 29 in. h. by 24 in. w. (0'73 by 0'61).

Graves & Cronin, Vol. II., p. 800. Engraved by T. W. Hunt.

Sir Joshua painted his own portrait a great many times. See
No. 889 in this Gallery.

Robert Vernon Gift, 1847.

* This is not the picture exhibited at the Royal Academy, 1776, No. 224.
The latter was among the nineteen Sir Joshua's which belonged to the Fifth
Duke of Rutland and were destroyed in the fire at Belvoir on Oct. 26, 1819.

REYNOLDS. 595

No. 307. The Age of Innocence.

A child, seated on grass, under birch trees to the left, in profile
to the right ; her hands are crossed over her breast ; she has a pink
ribbon in her hair, and wears a white dress and pink sash. This
picture is said to have been painted from Theophila Gwatkin
(Mrs. Lowther), Sir Joshua's grand-niece. Painted 1788, in her
seventh year.

Canvas, 30 in. A. by 25 in. w. (0-76 by 0'63).

Waagen : "Art Treasures," Vol. I., p. 366 ; Graves & Cronin, Vol. III.,
p. 1129 ; Armstrong : p. 169.

Engraved by J. Grozier ; Turner, A.R.A. ; by F. Joubert ; etc.

Exhibited at the British Institution, 1813 (No. 57). 184S (No. 57) ;
the International Exhibition, South Kensington, 1862 (No. 65).

Formerly in the Collection of Jeremiah Harman, and sold May 18,
1844 (No. 133), to Mr. Vernon. Robert Vernon Gift, 1847.

No. 681. Portrait of Captain Robert Orme.

He is standing, leaning on his horse, his right hand resting on the
pommel of the saddle, in his left a letter Full length. Painted in
1761.

Canvas, 93 in. h. by 57* in. w. (2'36 by 1-46).

Leslie & T. Taylor, Vol. I., p. 193 ; Graves & Cronin, Vol. II., p. 711.
Engraved by R. B. Parkes.

Exhibited at the Society of Artists, 1761 (No. 84) ; the British Insti-
tution, 1860 (No. 119).

Formerly in the Collection of the Earl of Inchiquin. Purchased at
the sale of Lord Orkney's pictures (No. 62), May 10, 1862.f

No. 754. Portraits of Two Gentlemen.

On the spectator's left is the Rev. George Huddesford, in
Van Dyck dress. To the right is Mr. J. C. W. Bamfylde, a
violin in his right hand. They are looking at some prints.
Painted 1778.

Canvas, 49 in. h. by 40 in. w. (1-24 by I'Ol).

Graves & Cronin, Vol. II., p. 988. Engraved by A. N. Sanders.

Exhibited at the British Institution, 1824 (No. 172).

Presented by Mrs. Plenge, in the name of her mother, Mrs. Martha
Beaumont, in 1866.

No. 885. The Snake in the Grass.
Or " Love unbinding the Zone of Beauty."
A girl seated on a bank is sporting with Cupid, who has seized

There is another tradition that the Sitter was Miss Anne Fletcher (Mrs.
M tT e he f SSfflSS'S-ErSVilli-n. was sold on the ,a.e day. Thi.

picture, however, belonged to Lord Orkney.

17983 * P 2

596 KEYNOLDS.

both ends of her sash, and is untying it. On the grass by her side,
in the bottom right-hand corner of the composition, is seen the
head of a snake. Life-size, three-quarter length. A red curtain
in the background. Painted in 1788 for Lord Carysfort.*

Canvas, 49 in. h. by 39 in. w. (1-24 by 0-99).

Graves & Cronin, Vol. III., p. 1210. Engraved by J. R. Smith ;
William Ward ; Henry Dawe, etc.

Exhibited at the British Institution, 1813 (No. 77), 1823 (No. 58A),
1831 (No. 6), 1843 (No. 20).

Repetitions of different dimensions are in the Soane Museum, in
the Collection of the late Lord Burton, in the Collection of Lord
Wimborne, and in the Hermitage, St. Petersburg (No. 1390).

Formerly in the Collection of Lord Carysfort ; sold June 14, 1828
(No. 63), to Sir Robert Peel.

No. 886. Admiral Keppel.

The Admiral is wearing a claret-coloured suit, his right hand
resting on his sheathed sword, his left hand on his hip. Three-
quarter length, three-quarter face to the right. The sea in the
background. Painted for Erskine in 1780.

Admiral, the Hon Augustus Keppel. Born 1725. Died 1786.

Canvas, 49 in. h. by 39 in. w. (1'24 by 0'99)

Exhibited at the British Institution, 1849 (No. 126). Graves &
Cronin, Vol. II., p. 543.

Sir Joshua considered it "one of his most perfect pictures." He
seems to have painted as many as ten portraits (including replicas),
of Keppel, between 1753 and 1786. The National Portrait Gallery
has one of 1779 ; the Earl of Rosebery an earlier one. Concerning a
portrait dated 1749, see " The Walpole Society" 1912. pp. 77-84.
(Leonard O'Malley and C. H. Collins Baker.)

Formerly in the Collection of Thomas, afterwards Lord, Erskine,
counsel for Keppel, afterwards in the Collection of Thomas Wright,
June 7th, 1845, (No. 52).

No. 887. Dr. Samuel Johnson.

In powdered wig and wearing a brown suit, and showing his left
hand. Bust portrait, life-size, nearly full -face. Painted for
Thrale, 1772.

Canvas*, 29 in. h. by 25 in. w. (0-74 by 0'63).

Graves & Cronin, Vol. II., p. 520. Engraved by W. Doughty. T. Cook.
W. Holl, etc.

Exhibited at the British Institution, 1813 (No. 130), 1S20 (No. 28).
and 1833 (No. 46).

* W. Cotton : " Sir J. Reynolds'* Notes and Observations," 1859, p. 86.

REYNOLDS. 597

There seem to be as many as a dozen portraits, including replicas,
of Dr. Johnson, by Reynolds.

Formerly in the Collection of Mrs. Piozzi ; afterwards in the
Collection of Mr. G. Watson Taylor.

No. 888. James Boswell.

In a black coat and wig. Bust portrait, three-quarters length to
the left. In the background to the right is a red curtain. Painted
in 1786.

Canvas, 29J in. h. by 24J in. to. (0'74 by 0'62).

Engraved by J. Jones, by R. Granger, by R. Graves, etc.

Exhibited at the Royal Academy in 1787 (No. 113).

No. 889. His own Portrait.

He is wearing a brown suit, the coat opened with five buttons,

, white neckcloth
>wards the right.

and folding collar ; waistcoat open at the top, white neckcloth
and frill. Nearly full-face, the body turned to^

Painted in 1750.

Canvas, 29 in. h. by 24 in. w. (0-73 byO'61).

Engraved by S. W. Reynolds.

Graves & Cronin, Vol. II., p. 791.

Mentioned in one of Reynolds' Roman Note Books (April 23, 1750).

Formerly in the Collection of Caleb Whitefoord. Subsequently in
the possession of Sir Thomas Lawrence. Later it was the property of
Edward W. Lake, and was bought at the sale of his Collection, in
1845, by Sir Robert Peel.

No. 890. Portrait of George, Prince of Wales, after-
wards George IV.

Bust portrait, three-quarter face, turned to the left. He wears
the blue ribbon and Star of the Garter and a blue velvet coat
with a high collar, white neckcloth, and frill. Painted 1779.

Wood, 29 in. h. by 24 in. w. (0*73 by 0'61).

Graves & Cronin, Vol. III., p. 1020. Engraved by Albanesi ; by
C. H. Hodges ; and by S. W. Reynolds.

Exhibited at the Royal Academy, 1785 (No. 155) ; British Insti-
tution, 1846 (No. 9).

No. 891. Portrait of a Lady and Child.

Bust portrait, life-size, in left profile and wearing a low-cut
russet dress ; the head and left arm of a child are seen resting
on her right shoulder. Painted about 1780.

Canvas, 29 J in. h. by 24} in. w. (0-74 by 0'62).

Engraved, without the child and under the erroneous title of " Mrs.
C. J. Fox," by S. W. Reynolds.

598 REYNOLDS.

Graves & Cronin, Vol. II., p. 685 ; Armstrong, p. 221.

A very similar picture, by Reynolds, in the Collection of the Earl
of Beauchamp, at Madresfield Court, is entitled " Catherines Viscountess
Deerhurst.*

No. 892. RoUnetta.

A girl with a robin, which has settled on her right shoulder, is
seated, resting her left arm on its cage. Half-length, nearly
life-size, and full-face. Painted c. 1786, as a study of the Hon.
Mrs. Tollemache.

Canvas, 29J in. h. by 24J in. w. (0'74 by 0-62).

Graves & Cronin, Vol. III., p. 1194. Engraved by Lumb Stocks.

Exhibited at the British Institution, 1843 (No. 31).

Replicas or variants of this picture are in the Collections of Lord
Tollemache and Lord Sackville.

Nos. 885-892 purchased with the Peel Collection in 1871.

No. 1259. Portrait of Lady Anne Lennox, Countess
of Albemarle.

Formerly catalogued as Anne, Countess of Albemarle.

Grey hair ; three-quarter length, with face slightly turned to
the right, and dressed in a gown of blue and white brocade, with
a black silk mantle and hood, the latter drawn over her head.
Wide sleeves trimmed with deep lace fall to the elbows, leaving
the rest of the arms bare. She holds a tatting shuttle in her
right hand, and on her lap is a ball of thread. She sits in an
armchair covered with crimson velvet. Painted in 1759.

Canvas, 49 in. h. by 39 in. w. (1-24 by 0-99).

Exhibited at Burlington House (Old Masters), 1873 (No. 77) ; the
Grosvenor Gallery, 1884 (No. 67). Graves & Cronin, Vol. II., p. 578.

Formerly in the Collection of the Earl of Albemarle. Purchased
from Messrs. T. Agnew & Sons in 1890.

No. 1834. Study for a Figure of Horror.

A study made by Sir Joshua from himself for the expression
of the figure representing Horror, in his large picture of " Mrs.
Siddons as the Tragic Muse," in the Collection of the Duke of
Westminster.

Paper, in black chalk, 14 in. h. by 9 in. 10. (0-35 by 0-24).

Henry Vaughan Bequest, 1900.

* Lady Catherine Henley, fourth daughter of Robert, Earl of Northington,
married George William, Viscount Deerhurst and Seventh Earl of Coventry,
on March 18, 1777. She died childless on Jan. 9, 1779.

REYNOLDS. 599

No. 1840. George, Third Duke of Marlborough and

his Family.

The Duchess is seated in the centre under an arch draped with
red. To the left are the Duke and the Marquess of Blandford
In the foreground Lord Henry Spencer holds out his hand to a
dog.

Canvas, 21 in. A. by 19 in. to. (0-53 by 048).

Exhibited at Burlington House (Old Masters), 1871 (No. 5).

A sketch for the large picture at Blenheim, painted in 1777. The
finished picture differs from the sketch in several important particulars.

Leslie & T. Taylor, Vol. II., pp. 196 and 213 ; Graves &. Cronin,
Vol. II., p. 626.

Henry Vaughan Bequest, 1900.

No. 1924. Portrait of Mrs. Hartley and Child*

The mother, wearing a puce-coloured dress adorned with gauze
of a rich golden colour with a scarlet sash, seen at half-length with
her right hand on her hip, supporting on her right shoulder her
child as a youthful Bacchanal crowued with ivy. The group is
relieved against a background of warm foliage and a vaguely indi-
cated sky and distance. Painted in 1771-73.

Canvas, 35 in. A. by 27 in. w. (0'88 by 0-68).

Graves & Cronin, Vol. II., p. 444. Engraved by Giuseppe Marchi, by
G. Nutter, by Hopwood, etc.

Exhibited at the Royal Academy, 1773 (No. 241) ; the British Insti-
tution, 1813 (No. 47), 1849 (No. 119) ; the International Exhibition,
South Kensington, 1862 (No. 135) ; the Grosvenor Gallety, 1884
(No. 139) ; the Graf ton Gallery, 1894 (No. 127).

Formerly in the Collection of the Earl of Carysfort ; subsequently
in the possession of Mr. John Bentley, Mr. John Naylor, Messrs. T.
Agnew & Sons, Mr. Alfred C. de Rothschild, the Earl of Northbrook,
and Sir Wm. Agnew, Bart. Presented by Sir William Agnew, Bart.,
in 1903.

No. 2077. Portrait of Lady Cockburn and her

Children.

Lady Cockburn, dressed in & white gown with the bodice open
at the throat and an amber-coloured mantle trimmed with white
fur, sits supporting two of her sons, viz. : James Kneeling,
and William, lying on her lap, while a third child, George, who
has climbed on his mother's back, looks over her shoulder. On
the right a macaw of gay plumage is perched ou a pedestal
near the base of a column. Above, a crimson curtain, drawn

A tradition states that Reynolds ordered that this picture should never be
cleaned, because it was painted entirely in varnish.

600 REYNOLDS RIBERA.

aside, discloses a peep of landscape. Life-size group. Inscribed :
" 1773. J. REYNOLDS PINXIT."

Canvas, 54 in. h. by 43J in. w. (1'37 by MO).

Engraved in 1871 by C. Wilkin, who substituted as title, " Cornelia,
the mother of the Gracchi " ; also by S. W. Reynolds. Exhibited at
the Royal Academy, 1774 (No. 220) ; the British Institution, 1813
(No. 128). and 1843 (No. 16) : at Burlington House (Old Masters),
1878 (No. 89). Leslie and T. Taylor, Vol. II., pp. 47 and 77 : Graves &
Cronin, Vol. I., p. 181. A copy on enamel of this picture, by Bone, is
in the Wallace Collection.

Formerly in the Collection of Sir James Cockburn. Bart. ; bequeathed
to his daughter Marianna Augusta, Lady Hamilton, who left it with
19 others to the National Gallery, in 1892. The deed of gift was, how-
ever, proved to be illegal, and the claim of the co-heiresses of Sir
James Cockburn was admitted, the twenty pictures being delivered
up to the rightful owners. This picture was, in 1900, sold privately
to the late Mr. Alfred Beit, in whose Collection it was known as " Lady
Cockburn as Caritas."f Bequeathed by Mr. Alfred Beit, in 1906.

(JUSEFE), 1589-1652.

Spanish School. RIBERA, called Lo SPAGNOLETTO, was born in
Spam, near Valencia. . He studied under Francisco Ribalta, at
Valencia, and then, still a youth, at Rome. He studied Raphael
and Annibale Carracci, but eventually adopted the manner of
Caravaggio. He also studied Correggio at Parma, and worked at
Venice. He settled at Naples, there being employed on many
commissions for Philip IV. of Spain. In 1630 he was elected a
member of the Academy of St. Luke at Rome, and entertained
Velazquez at Naples ; in 1644 he was decorated by the Pope with
the insignia of the Order of the " Abito di Cristo." He died in
Naples, 1652. He is notorious as a member of the infamous Cabal
of Neopolitan painters, that stopped at nothing to secure a
monopoly of commissions. RIBERA should be studied in Spain, in
the Prado, the Escorial, and many private galleries ; he was a
master of pigment, and a good draughtsman.

No. Z35. The Dead Christ.

The body reclines across the foreground, on a white sheet, the
torso on the right supported by St. John, who bends over the
head ; he wears a moss green mantle and red-brown under-robe.

* The artist is said to have remarked to his sitter at the time that he
signed this picture ; " I shall be handed down to posterity on the hem of
your Ladyship's garment." Signed pictures by Sir Joshua are very rare and
probably not more than six signed works exist. The " Mrs. Siddons as the
Tragic Muse," in the Collection of the Duke of Westminster, is a signed
and dated work of 1784.

f W. Bode: "The Art Collection of Mr Alfred Beit." Printed
privately. Berlin. 1904. p. 60.

RIBERA RICCL 601

Behind, in the centre, the Virgin kneeling, profile right, with
clasped hands. She wears a greenish blue mantle and brown
head-dress. On the left, her head towards the spectator, Mary
Magdalene kneels to kiss the Christ's feet. Flesh tone, golden.

Canvas, 50 in. h. by 70 in. to. (1'27 by 1'77).

Presented by Mr. D. Barclay, 1835.

No. 244. Shepherd with a Lamb.

A shepherd in reddish brown is seated under a tree, turned to
the left, his head looking up to the right. His right hand rests on
a lamb lying in his lap ; his left holds a staff. Beyond the trunk
of a tree a ewe's head. Background of sky. Tone, red-brown.

Canvas, 52f in. h. by 42 in. to. (1'33 by 1-07).

Colborne Bequest, 1854.

RXCCX OR ZtZZZZ (SEBASTIANO), 1659-60-1734.

Venetian School. Riccr was born at Cividale di Belluno. He
studied under F. Cervelli at Venice, in Lombardy under an imitator
of Magnasco, in Bologna of Cignani. He studied Tintoretto also
and Veronese. RICCI spent some years in this country in the reign
of Queen Anne ; there are several of his works at Hampton
Court. He painted at Schonbrun, near Vienna, and in Venice,
where he died, 15th May, 1734. He also designed the cartoon for
the mosaic of the Magistrates of Venice and the Body of St. Mark,
on the facade of the basilica.

No. 851. Venus Sleeping.

Venus lies naked, on the left, asleep, an attendant nymph and a
bacchanal behind her. An urn stands iu the left corner. At her
feet two putti dancing, one blowing on a pipe. On her right
Diana advances, accompanied by a leopard. Landscape back-
ground ; two cupids hovering above.

Canvas, 30J in. h. by 25 in. w. (0'77 by 0-63).

Purchased with the Peel Collection, 1871.

No. 21O1. Esther at the Throne of Ahasuerus.

To the right a throne approached by steps, under a high red
canopy. On it and facing left, Ahasuerus stands, bending forward
to touch with his sceptre Queen Esther, who kneels on the lowest
step of the throne, facing right and supported by an attendant.
In the right foreground a seated man in blue and white, facing
left and looking away into the picture. On the left a group of
soldiers with spears and shields. In the centre foreground a
black and white dog.

Canvas, 18J in. h. by 13 in. w. (0'46 by 0-33).

John Samuel Collection, 1906.

602 RIGAUD.

RZGAUD (HYACINTHE), 1659-1743.

French School. RIGAUD takes the place in Fren*h portraiture
that Sir Godfrey Kneller holds in English. RIGAUD, born at
Perpigiian about thirteen years later than Kneller, outlived him
exactly twenty. He studied at Montpellier under Pezet, and had
some instruction from Ranc. He went to Lyons and on to Paris,
1681. On Lebrun's advice he abandoned history painting and
made a speciality of portraits. In 17uO he was elected to the
Academy ; among his other honours were the Order of St. Michael
and the distinction (shared by Kneller) of painting at least five
monarchs. RIGAUD had an advantage not fairly shared by Kneller,
an acutely sympathetic school of engravers to engrave his por-
traits. In especial the Drevets, F. Chereau, Simonreau and J.
Andrew interpreted the elaborate formalism of RIGAUD with a
wit and spirit Kneller's engravers too often lack. RIGAUD'S
influence on French engraved portraits was large. Though less
sensitive than Largilliere in his lavish use of accessories and
decorative convention, RIGAUD well typifies the Louis XV. period
of French art.* Needless to say that, again like Kneller, RIGAUD
is made responsible for countless portraits by other painters.
He is well represented in the Louvre and at Versailles.

No. 903. Portrait of Cardinal Fleury.

Bust portrait, almost full-face, in scarlet cap and robe, the
latter lined with white fur. Round his neck is a jabot of clear
muslin.

Canvas, 32J in. h. by 25 in. w. (0'82 by 0'6i).

There is a repetition in the Wallace Collection (same measurements),
No. 130. Both pictures are perhaps derived from the three-quarters
length by Rigaud at Versailles.

Presented by Mrs. Charles Fox, 1874.

ASCRIBED TO RIGAUD.

No. 2081. Lulli and the Musicians of the French

Court.

A 'cellist holding his 'cello before him and dressed in grey, with
lace jabot and cuffs, is seated on the left, full figure, his head
three-quarters right towards Lulli, who stands, right centre, in a
brown perruque, turning a leaf of the score. On each side of him
a flutist, sitting at a circular ormolu table, on which music scores

* See T. H. Thomas : French Portrait Engraving, pp. 80 et seq., 1910. See also
P. M. Turner and C. H. Collins Baker : Stories of the French Artists, 1909.

RIGAUD RINALDO. 60$

for " Senates en trio pour la Flute Traversiere " are lying. They
are dressed in blue, drab, and tabac, with embroidered waistcoats ;
all save Lnlli wear grey perruques. To the left, a fourth musician
stands in slate colour. Background of pillars and landscape, with
draped curtain of prune silk to right. Flesh tone, reddish.

Canvas. 62* in. k. by 50 in. w. (1-58 by 1-27).

Tonrnieres and De Troy, pere. have been suggested as the painter.
There is a bust of Lnlli at Versailles that establishes the identity
of the central figure in this picture. A small version of this group,
catalogued as French School, is at Dijon.

Purchased from the Coullange Collection, Xancy, 1906.

RIMINI (GIOVANNI FRANCESCO IDA), working 1406.
(UMBRIAN SCHOOL.)

No. 2118. Madonna and Child.

The Madonna, turning slightly to the right, stands supporting
with her left hand the naked figure of the Child. He stands
turning half left on a marble parapet, clasping the thumb of His
mother's right hand. She wears a bright blue mantle lined with
dull green and edged with gold jewelled braid, over a deep rose-
coloured 'robe, and a draped white head-dress. The background
is formed by the concave wall of the niche in which the Madonna
stands ; it ends in a red cornice, over which the haloed heads of
two angels are peeping. Tone, milky grey. Signed and dated
" JOVANES FRANCISCUS DE RIMING FECIT MCC.VL"

Wood, 25 in. h. by 18 in. w. (0'63 by 0-45).

George Salting Gift, 1906.

RINAX.DO BXANTOVANO, Painting 1525-15 . . ?

Roman School. Little is known of this painter, who was a
native of Mantua, and died young ; he was a pupil and assistant
of Giulio Romano after that artist had entered the Service of
Duke Federigo Gonzaga. Vasari mentions an altar-piece by him in
Sant' Agnese at Mantua. Otherwise, RINALDO carried oat in fresco
the famous Palazzo del Te close by Mantua, a number of his
master's designs for the History of Psyche and the Overthrow of
the Giants, and painted, with Benedetto Pagni, the horses belonging
to the ducal stud ; these surround the ante-chamber of that palace.
Again, in the chapel of Isabella Buschetta, in Sant' Andrea at
Mantua, he executed, equally from cartoons by Giulio, a Crucifixion
and another subject, both of which are still in good preservation. v

604 RINALDO-ROBERTI.

ASCRIBED TO RINALDO.

No. 643. The 'Capture of Carthage; and the
Continence of Publius Cornelius Scifrio.

Two pictures framed together. In the upper the Capture of
Carthage is represented ; in the centre the Roman soldiers
advancing ; conspicuous a warrior, helmetted, standing profile left,
a man kneeling before him, and a bareheaded standard-bearer
advancing, profile right. On the right a horseman riding to the
right ; on the left the forepart of a white horse and tents ; the
walls of Carthage in the background. In the lower picture Scipio
is seated to the left, nearly profile left ; he grasps a Carthaginian's
hand ; towards the left two men stooping, with vessels in their
hands ; further left a camel and a seated figure, the back to the
spectator ; tents in the centre background. Dark brown tone.

Engraved by Nicholas Tardieu, Couche and Michel.

No. 644. The Rape of the Sabine Women ; and the
Reconciliation between the Romans and the Sabines.
See No. 38.

Two pictures. In the upper the Rape of the Sabines. On the
left a man seated on a throne, nearer the centre a man kneeling to
lift up a woman, and a standing figure about to smite him ; in the
centre a dead goat, to the right a Roman bearing off a woman
whose arms are upraised. In the lower, the Sabines and Romans
in battle ; two horsemen on the left ; a melee in the centre, where
a dead body lies. On the left a Sabine and Roman meet prepared
to shake hands. Dark brown tone.

Engraved by Philippe Simonean, Couche fils, and J. B. Racine, as by
Giulio Romano.

Canvas from wood, each picture 14 in. li. by 60 in. w. (0'35 by T52).

Formerly in the Orleans Collection, attributed to Giulio Romano.
Purchased at Paris from M. Edmond Beaucousin, in 1860.

ROBERT! (ERCOLE DE'), 1440?-1496.
School of Ferrara. HERCULES DE RUBERTIS, alias DE GRANDIS,
as his name appears in some Ferrarese document,* was the son of
a certain Jfntonio, a painter, and the elder of two brothers who
distinguished the school of Ferrara. He is supposed to have been
born towards 1440. He studied at Padua, the pupil of Tura and
influenced by Cossa. He also shows the influence of the Bellini.
Vasari describes with warmth the merits of his works, but
erroneously attributes them to Ercole di Giulio Cesare de 1 Grandi,
the younger of the name. ERCOLE DE' ROBERTI worked for the
Dukes of Ferrara (about 1479), from whom he enjoyed a regular
salary. Possibly he was one of the painters who executed the

* See L. N. Cittadella Xotizic relative a Ferrara, pp. 583 and 589.

EOBEBTI. 605

frescoes in the Schifanoia palace, where the work of several hands
may be distinguished though not clearly identified. He worked
also in Bologna in 1482. His compositions in fresco which
adorned the chapel of the Garganelli family in 8. Pietro at
Bologna, works to which Vasari gives high praise, have perished.
In 1486 he returned to Ferrara, where in 1486 he was principal
painter to the Court. He remained in Ferrara, with short breaks,
once when he was in Venice, 1489, and in Rome 1492, whither he
went with the young Alfonso. In 1490 he had to design the
decorations for Isabella d'Este's marriage. His most important
extant work is the Pala Portuense altar-piece (Brera), painted
1480 ; this came from Ravenna. The predelle are at Dresden, a
Betrayal and the Procession to Calvary ; at Liverpool is a Pieta,
Beyond these, The Israelites gathering Manna described below ;
the Nativity and Pieta in this collection ; a St. John and a Madonna
in Berlin ; in Paris, SS. Michael and Apollonia ; and in the Cook
Collection Aledea and her Children,* and the Lucretia at Modena
nearly complete the list of ERCOLE'S undisputed works.

No. 1127. The Last Supper.

The Christ is seated beyond a white clothed table in the centre,
in gold, moss green and turquoise blue. He holds the sacred Host
in His left hand, and raises the right in blessing. To left and
right sit SS. Peter, in russet and turquoise, and John, in pale
gold and vermilion. At each side sit five disciples in perspective,
in clear bright colours. On the right, nearest the spectator, Judas,
in dark blue, looks round to the right. A shaft of light fails from
the right across the marble walls and plasters of the background.
The centre and left in half tone. The clear tone of an illumination.

Wood, 12 in. h. by 8 in. w. (0-30 by 0'2 1).

Purchased from the Hamilton Collection in 1882.

No. 1217. The Israelites gathering Manna in the
Wilderness.

A patch of desert surrounded by camp buildings of poles and
laths. In the foreground many figures of men and women in
various coloured robes are gathering the manna. On the left,
stand Moses and Aaron, clad respectively in a bright scarlet
mantle over emerald green, and a shott black mantle over wilmon.
The glowing colour of the whole, especially of the blue sky, is like
enamel or illumination. Tone glowing golden.

Wood, 11 in. h. by 24 J in. w. (0'27 by 0'62).

Purchased from the Dudley Collection ; " Clarke Fund," in 1886.

" Morelli ascribed to him a drawing in the His de la Salle Collection in the
Louvre ^^gtl*M**arrc of the Innocent,, and a picture belonging to
Prince Chigi at Rome.

606 ROBERTI-ROMANINO.

No. 1411. The Adoration of the Shepherds. The Dead
Christ a Pieta. (A Diptych.)

In the left panel the Infant Christ lies in the centre in a
basket manger. To left and right kneel St. Joseph and the Yirgin,
she profile to the left. A waterbottle hangs on the stall pole, to
the left. A shepherd approaches from the right with clasped
hands. In the rear is a stable of hurdles ; an ox and ass inside it.
In the distance an Angel appearing to Shepherds.

In the right the dead Christ seated on the far edge of His open
tomb, supported by two angels. St. Jerome kneels on the left,
his lion before, his cell behind him. with a bell hanging from a
broken arch. At the top on the left the Deposition ; to the right
St. Francis receiving the stigmata. A pool in the left foreground.
The clear tone of an illumination.

Wood, each picture 6f in. h. by o\ in. w. (0'17 by 0'13).

Purchased in London from the late Lady Eastlake's Collection, 1894.

No. 2486. A Concert.

Three half-length figures behind a parapet. In the centre a
man turned slightly left, playing a lute and singing. He wears
a dark green coat over a red jerkin laced with black and slashed
to show a white gathered shirt. On the left a woman singing, in
green with gold brocade sleeves. On the right another man sing-
ing, dressed in a puce coloured jerkin. On the parapet are lying
a tiny viol and two small books of music. Tone, golden.

Wood, 36| in. h. by 29 in. w. (0'93 by 0'73).

On loan in the Gallery since 1903. From the Collection of Herr 0.
Miindler.

George Salting Bequest, 1910.

,OK.ES (HENDRIK MARTENSZ). See SORGH.

R01VIANINO, 1485-61566 ?

School of Brescia. GIROLAMO ROMANI, called ROMANINO,
was born in Brescia, and influenced by Girolamo Savoldo, and
later Giorgione, Titian, and Lotto. He was active mainly in
Brescia and its neighbourhood, in Padua in 1513, in Cremona
about 1517, and Trent in 1540. ROMANINO, some of whose works
even now pass for Giorgione's or Titian's, had much of the
emotional and sensuous charm of his great Venetian models,
and at his best, principally in his frescoes, ranks with the fine
colourists of North Italy. His works are numerous ; at Brescia,
Cremona, Bergamo, and Berlin, and in the frescoes in the Castello ,
Trent, he is well seen. He died 1566 le aving many followers.

ROMANINO-ROMANO. 607

No. 297. The Nativity.

An altar-piece in five compartments. In the central compart-
ment the Virgin, nearly profile to the left, and St. Joseph, full-face
kneels by the Holy Child, who lies in a draped manger, on the left.
Above, in a cloud, six winged cherubim. The Virgin wears a deep
blue mantle of figured brocade lined with moss green, over a
rose-coloured tunic, and St. Joseph a red-brown mantle over a
blue-black robe.

Wood, the central picture, 103 in. h. by 45J in. u. (2-61 by 1-16) ;
the upper side compartments, 29 1 in. h. by 25\ in. w. (0'74 by 0'64) ;
the lower compartments, 63 in. h. by 25J in. w. (1'60 by 0'64).

Painted in 1525, for the high altar of the church of Sant' Alessandro
at Brescia, where it remained until 1785, when it passed into the
possession of Count Averoldi. Purchased at Brescia from the Counts
Ang-elo and Ettore Averoldi in 1857.

No. 2O96. The Man with a Beard.

Half-length portrait of a man with rounded grey beard, turning
half left. He wears a full black gown, with white collar and
ruffles, and a black Venetian hat. In his hands he is holding a
pair of gloves. Tone, red golden.

Wood, 28i in. h. by 23 in. w. (0'72 by 0'58).

CALISTO DA LODI (Piazza de' Toccagni) has been suggested as the
painter.

John Samuel Collection, 1906.

ROMANO (GiULio), 1492-1546.

Roman School. GIULIO PIPPI, or DE' GIANNUZZI, commonly
called GIULIO ROMANO, was born at Rome. He was the pupil of
Raphael, who employed him in the Vatican during the pontificate
of Leo X. After the death of Raphael in 1520, GIDLIO and his
fellow-pupil, Gianfrancesco Penni, to whom Raphael had be-
queathed conjointly his implements and works of art, were
entrusted with the completion of the frescoes of the Sala di
Constantino, in the Vatican, comprising the Battle of Constantine,
the Apparition of the Cross, the Baptism of Constantine, and the
Presentation of Rome to the Pope. These works were completed in
1523 ; in 1524 ROMANO entered the service of Federigo Gonzaga,
Duke of Mantua. For Federico II. he built the Palazzo del Te,
at Mantua, and partly decorated it. He died at Mantua,
November 1, 1546, leaving a wife and two children. He intro-
duced the style of Raphael into Mantua, and established a
considerable school ; Primaticcio was one of his pupils.

No. 225. The Beatific Vision of the Magdalen.

Mary Magdalene borne upwards by angels to witness the joys
of the blessed. Seven figures.

Fresco, of semicircular form. 65 in. h. by 92 in. w. (1'65 by 2-33).

608 ROMANO ROMNEY.

Engraved by Ant. Ricciani.

Formerly in the church of the Trinita de' Monti, Rome. According
to Titi rstudio di Pittura &c. Roma, 1763, p. 378) Giulio Romano
was aided by Gianfrancesco Penni in the frescoes he executed in
this church. Formerly in the possession of M. Joly de Bammeville.
Presented by Lord Overstone, in 1852.

No. 624. The Infancy of Jupiter.

In the centre, a wicker cradle containing the sleeping boy god
before a clamp of trees on a small verdant island. Beyond it, and
at the head and foot, nearly naked women watch over him. To
the right and left of the background the Curetes making music
lest Saturn should hear the baby's cries. The landscape is possibly
by Giambattista Dossi.

Engraved by J. B. Patas for the Orleans Gallery.

Wood, 41 in. h. by 69 in. w. (1'05 by 1'75).

Formerly in the Orleans Gallery, subsequently in that of Lord
North wick at Cheltenham, from which it was purchased in 1859.

ROMERSWAEL. See 1VIARINUS.

ROMNEY (GEORGE), 1734-1802.

English School. GEORGE ROMNEY was born at Beckside,
Dalton - in - Furness, and brought up as a cabinet maker.
In 1755 he was placed with an itinerant portrait painter,
Christopher Steele, who had worked with Carle van Loo in Paris,
practising at Kendal. On October 14 of the following year
he married Mary Abbot, and shortly after moved to York to
continue his apprenticeship under Steele. In 1757 ROMNEY
returned to Kendal and painted a hand holding a letter for the
Post-Office window. It is said to have remained there for many
years. He soon painted several portraits. He left Kendal for
London on March 14, 1762 ; his wife and two children remaining
behind*. In 1763 he exhibited at the Free Society his Death of
General Wolfe, which won for him a prize of fifty guineas. The
Committee seem, however, to have revised their first decision and
to have awarded the first prize to Mortimer. ROMNEY always
believed that this action on the part of the Committee was due
to the interference of Sir Joshua Reynolds, who, he imagined,
was prompted by jealousy of his fast increasing reputation.
Consequently, from that time he persistently shrunk from coming

* His daughter died in infancy, and his son, John, took Holy Orders.

ROMNEY. 609

into contact with his rival and could never be induced to send any
pictures to the Royal Academy. At about the age of thirty
ROMNEY painted the Mr. Morland of Capplethwaite (No. 1906),
in this Gallery. From 1763 down to the year 1772 he exhi-
bited annually at the Free Society or the Society of Artists In
1764 he visited Paris, where he met Claude Joseph Veruet and
visited the Orleans Gallery. In 1767 he went home to visit his
wife, and on his return to London resided in Great Newport
Street, soon after painting the Mr. and Mrs. William Lindow
(No. 1396). On March 20, 1773, he started, with Ozias Humphrey,
for Italy. He returned in 1775. and leased No. 32, Cavendish
Square. In 1776 he first met William Hayley, the poet, who
took possession of ROMNEY and from motives of jealousy pressed
him to abstain from exhibiting at the Royal Academy. In the
same year, when ROMNEY was becoming financially embarrassed,
the Duke of Richmond commissioned him to paint his portrait,
now at Goodwood. A few months later he pioduced one of
his earliest masterpieces, The Gower Children (Stafford House).
He painted the Lady Craven (No. 1669) in 1778, and the Lady
and Child (No. 1667) in 1782. Soon afterwards he painted the
Countess of Westmorland and the John Fane, Tenth Earl of West-
morland, in the Collection of the Earl of Jersey. ROMNEY
was by this time sharing the patronage of the aristocracy
with Reynolds and Gainsborough. Lord Thurlow, Lord High
Chancellor, whose portrait was painted about 1781 by both
Reynolds and ROMNEY volunteered the statement that " Rumney
and Reynolds divide the town, and I am of the Romney faction."
Though ROMNEY had become rapidly famous, his wife was never
called from Kendal to share his success. In April 1782 he had
a new sitter in Emma Hart, the future Lady Hamilton, who had
an instinct for posing, and during the next nine years adapted
herself with the readiness of genius to any part that the imagina-
tion or reading of the painter or his friends might chance to
suggest. In 1789 appeared the Mrs Mark Currie (No. M51), and
six years later came the Egremont Family Piece, still at Pet worth.
Shortly after this, he removed to Holly Bush Hill, Bampstead,
but soon he retired to his home and rejoined his wife and son.
Although ROMNEY is now fairly well represented in this Gallery,
his finest pictures are scattered through the private collections of
England, excellent examples of his art being in the possession of
Mr. Tankerville Chamberlayne, Mr. J. Pierpont Morgan, Sir
Ernest Cassel, and many others. The National Portrait Gallery
contains several of his pictures, including His Own Portrait
(unfinished) of 1780, and a Lady Hamilton. In the British Museum
there are half-a-dozen of his original drawings. He died at

* Miss B. Marshall, in an article on " George Romney," published in the
" Hamvstead Annual " for 1901, p 26, states that a deed of tenancy, which
has been lately discovered, identifies Romney's house with Prospect Home,
Cloth Hill, now the Constitutional Club.

17983 2 Q

610 ROMNEY.

Kendal, November 15, 1802, and was buried at Dalton-in-Furness,
a monument being raised to him in Keiidal Parish Church*.

No. 312. Lady Hamilton as a Bacchante : A Study.

The head, turned towards the right, rests on her right shoulder ;
she wears a white classical dress ; dishevelled hair ; bust length,
life-size portrait. Painted c. 1786.

Canvas, 19 \ in. h. by 15| in. w. (0'49 by 0-40).

Engraved by C. Hall ; by G. Paulier ; by R. Kenealy, &c.

Exhibited, National Portrait Exhibition, 1868 (No. 26).

Romney appears to have painted no fewer than thirty pictures,
with distinctive titles, of the " Divine Emma " in character, as well as
fourteen portraits without titles ; he also painted replicas and variants
of some of these paintings.

Robert Vernon Gift, 1847.

No. 1068. The Parson's Daughter.

This portrait of an unknown lady represents her looking to
the left ; she has dark eyes, a tip tilted nose, and auburn hair
powdered and bound with green ribbon ; she wears a brown
dress and white neckerchief ; bust portrait.

Canvas, 25 in. (0'63) in diameter.

Engraved by Gerald Robinson and by S. A. Edwards.

Formerly in the Collection of Mr. James Goding. and sold at his
sale, February 21, 1857 (No. 501), under the title of A Lady in a
brown dress. Exhibited at Burlington House (Old Masters). 1875 (No.
206). Purchased at the sale of Mr. J. II. Anderdon's Collection
(No. 225), May 30, 1879.

No. 1396. Portraits of Mr. and Mrs. William
Lindow.

Mr. Lindow, wearing a plum-coloured suit, grey stockings, and
a powdered wig, sits in an arm-chair towards the right of the
picture, resting his head on his right hand. By his side, but
slightly further back, stands his wife, dressed in a blue silk
gown, white lace sleeves, and a black lace mantle left open at
the neck. Her hair is powdered and confined by a grey kerchief
and lilac ribbon. In the background is an open window with a
distant view of the sea. Painted about 1770.

Canvas, 54f in. h. by 45 in. w. (1-38 by 1-14).

Exhibited at Burlington House (Old Masters), 1892 (No. 132).

T. Humphry Ward and W. Roberts : " Romnsy," 1904, Vol. II., p. 95.

* William Hayley : " Life of George Romney" 1809. Rev. John Romney
(the artist's son) : " Memoirs of the Life and Works of George Romney,"
1830. Sir H. E. Maxwell: " G. Romney" 1902. T. Humphry Ward and
W. Roberts: " Romney, a Biographical and Critical Essay" 1904.

ROMNEY. 611

Formerly in the Collection of Mr. Henry Rawlinson, nephew of
Mrs. Lindow, and subsequently the property of Miss Bevan, a relative.
Purchased in London from Mr. J. J. Wigzell, in 1893.

No. 1651. Portrait of Mrs. Mark Currie.

She is seated on a terrace, leaning her left arm on the plinth of
a stone balustrade, and resting her hands in her lap. Her face is
slightly turned towards the right. She wears a white muslin dress
with short sleeves and a plaited fichu of the same material. Round
her waist is a silk sash of pale crimson. The fichu and sleeves are
trimmed with ribbons of the same colour. Her fair hair, which
seems to be slightly powdered, is dressed in copious clusters
falling to her shoulders. Full length. Foliage and sky back-
ground. Painted in 1789.

Canvas, 59* in. h. by 47$ in. ?. (1-51 by 1-20).

Engraved by E. Milner.

Exhibited at Burlington House (Old Masters), 1893 (No. 106), as
(i Miss Close." T. Humphry Ward and W. Roberts, Vol. II., p. 39.

Purchased from the Rev. Sir Frederick L. Currie, Bart., of Uckfield,
Sussex, in 1897.

No. 1667. A Lady and Child.

Formerly catalogued as Lady with a Child. Almost in profile
to the right, wears a pink silk dress cut low at the neck
with long sleeves, her shoulders covered with a lace -edged
black silk scarf, and a green and yellow handkerchief on the
top of her thick brown hair ; she leans back against a yellow-
green damask cushion. She bends forward to rest her left
cheek against the head of a child of about two, who sits in
her lap held by her clasped hands. The child, with its face
on its left hand, leans against the lady's breast, and looks
straight at the spectator with very dark blue eyes. The child
is in a white petticoat without sleeves, and scarlet shoes. The
lady has a white ribbon round her neck, supporting a gold heart-
shaped locket. Green background. Painted in 1782.

Canvas, 35J in. h. by 27^ in. w. (0*89 by 0'69).

T. Humphry Ward and W. Roberts, Vol. II., p. 189.

Bequeathed by General J. Julius Johnstone in 1898.

No. 1668. Sketch Portrait of Lady Hamilton.

The head, nearly full-face, is shown turned slightly back over
the right shoulder. The lips are parted, the eyes raised, and the
rich brown hair is spread in disorder against a white pillow behind.

Canvas 18 in. (0'45) in diameter

Engraved by T. Protheroe.

Bequeathed by General J. Julius Johnstone in 1898.

17983 2 Q 2

612 ROHNEY ROSA.

No. 1669. Portrait of Lady Graven.

The head is relieved against dark foliage. The bright brown
hair is dressed very high and twined with an embroidered ribbon.
The V-shaped muslin bodice is fastened with a green jewel, and
a light grey mantle covers the shoulder. Three-quarter face to
the left, with the eyes turned to the spectator. Painted in 1778.

Oval, canvas, 26i in. h. by 20J in. w. (0-67 by 0'52).

Engraved by W. Greatbach. Ward and Roberts, Vol. II., p. 35.

Formerly in the Walpole Collection and included in the Strawberry
Hill Sale, May 6 (eleventh day of sale), 1842 (No. 19). At one
time in the possession of Lord Waldegrave. Later the property of
General J. Julius Johnstone. Presented by Colonel the Hon. F. W.
Stopford, in 1898.

No. 19O6. Portrait of Mr. Jacob Norland, of Capple-
thwaite.

Mr. Jacob Morland, of Capplethwaite Hall, Westmorland, in
shooting dress. He stands, as a young man, in an open landscape,
his left band on the muzzle of his gun. His right hand rests on
his hip, and his favourite pointer is standing by his side. He
wears a blue coat, waistcoat and knee breeches, with white
stockings and black half boots. Painted about 1763.

Canvas, 29f in. A. by 24| in. w. (0-74 by 0'62).

Eev. J. Romney : " Memoirs of 6. Romney" 1830, p. 20.

Bequeathed by Colonel John Morland, in 1902.

No. 2280. Portrait of Wm. Pitt, the Younger.

He wears a dark blue coat, with gold buttons, lemon-coloured
vest, and white cravat. Powdered hair. Bust length, the- face
turned three-quarters to the left.

Canvas, 34 in. h. by 26 in. w. (0'87 by 0'66).

Bequeathed by Admiral John E. Pringle in 1908.

ROSA (SALVATORE), 1615-1673.

. Neapolitan School. SALVATOR was born at Renella; near
Naples, and first studied under Ciccio Fracanzano. His favourite
subjects were landscapes of romantic scenery. Encouraged by
Lanfranco he went, in 1635, to Rome. Here he found a patron in
the Neapolitan Cardinal Brancacci, bishop of Viterbo, for whom
he worked also at Viterbo. He returned to Naples, but owing to
the reception of his picture of Tityus torn by the Vulture, at
Rome, finally settled in that capital in 1638. For a time he
became an actor and singer, pending success as a painter. He died

ROSA-EOSSI. 613

at Rome, March 15, 1673. SALVATOR'S reputation in Reynolds'
time was hisjh. It now has gone to the opposite extreme. His
works are plentiful in English collections.

No. 84. Landscape ; Mercury and the Woodman.

A stream across the foreground ; to left and right shattered
tree trunks. Mercury stands on the left. A cluster of trees to
the right and in the centre ; open hilly country on the left.

Canvas, 49J in. h. by 79J in. w. (1-25 by 2-01).

Formerly in the Colonna Palace, Rome ; brought to England by
Mr. Ottley, who sold it to Sir Mark Sykes. It passed into the posses-
sion of Mr. Byng, of whom it was purchased, 1837.

No. 811. Forest Scene, with Tobias and the Angel.

Tobias and the angel in the centre, rocks on the right, sky and
distance in the centre, trees on the left. A wild rocky landscape.
Canvas, 93 in. h. by 132| in. w. (2-36 by 3-36).
Wynn Ellis Gift, 1870.

No. 935. River Scene.

A table mountain in the centre distance ; a river running from
the right foreground to the left distance. On the right a round
tower, on the left a group of men and a tree trunk.

Canvas, 34 in. h. by 46 in. w. (0'26 by 1'16).

Wynn Ellis Bequest. 1876.

No. 1206. Landscape and Figures.

On the right rises a steep and rocky hill ; in the centre a winding
river. On the left, lofty ash trees half stripped of their branches.
In the foreground to right and left are two groups of rustics.

Canvas, 29 in. h. by 43 in. w. (0'73 by 1'09).

Bequeathed by Mrs. L. Frederica Ricketts in 1886.

No. 2107. Hagar in the Desert.

A rocky landscape with trees. The child Ishmael lies aban-
doned on the stony ground. Hagar listens to the message of the
angel, who points to the child from behind a rugged tree.

Canvas, 52 in. h. by 37J in. ic. (1'3 by 0'95).

John Samuel Collection, 1906.

ROSSI (FRANCESCO), 1510-1563.

Florentine School. FRANCESCO Rossi, commonly called
SALVJATI, after his patron Cardinal Salviati, was born in Florence.

614 ROSSI ROUSSEAU.

He worked for Bugiardini, Baccio Bandinelli, Brescianino, and in
1529 under Andrea del Sarto, in Florence. From about 1530-
1542 he worked in Rome, from 1539-1541 in Florence and Venice :
later again in Florence between 1543 and 1548, and after tbat in
Rome. Between 1554-56 he stayed in Paris, and spent the re-
mainder of his time at Florence and Rome, where he completed
Piombo's Chigi altar-piece. He died in Rome, 1563. From the
fact that many of his works are confused with Brouzino's, he muse
have followed that master closely. SALVIATI'S name occurs in a
list of "excellent! pittori," drawn up 1602, whose works were not to
be removed from Florence. He is represented in Berlin, Vienna,
the Museum, Naples, and the Uffizi.

See Zeitschrift fur Bildende Kunst, Nov. 1911.

No. 649. Portrait of a Boy.

Full-length, standing, slightly to the right front. His right
hands rests on his belt, his right knee is bent : his left hand holds
his sword hilt. He wears a quilted rose red tunic and black and
gold cloak.

Wood, 50J in. h. by 24 in. w. (1'28 by 0'61).

Formerly catalogued under BROXZ1NO.

Formerly in the Duke of Brunswick's Collection. Bought in Paris
from M. E. Beaucousin, 1860.

No. 652. Cliarity.

A woman seated looking to the left and giving the breast to a
child who has turned away to the right to caress another child :
on the left a third boy standing near a brazier with live coal in it.
Flesh tone, clear rose.

Wood, 9| in. h. by 7 in. w. (0-24 by 0-17).

Purchased at Paris from M. Edmond Beaucousin, in 1860.

ROUSSEAU (PIERRE ETIENNE THEODORE), 1812-1867.

School of Barbizon. ROUSSEAU was born in Paris ; when about
fourteen years old he became bookkeeper in a saw- mill in the
forests of Franche-Comte. Here his innate sympathy with
forest nature unfolded, and he definitely made art his pro-
fession. After working by himself at Montmartre he was sent to
his uncle Pau, at St. Martin, in 1826, and then to Remond, a
landscape painter. In 1829 he entered a figure painter's studio,
G. Lethiere's, in Paris, and spent much time in the Louvre before
Claude, Van Goyen, and K. du Jardin. In 1830 he left Paris for
the southern mountains of Auvergne, where he found a new and
unexploited field. His studies of this period are marked by truth
of atmosphere and minute finish of detail, but inasmuch as they
showed intimate study of nature were regarded as revolutionary.
Ary Scheffer, however, approved of them and materially assisted
ROUSSEAU. Thus ROUSSEAU became one of the pioneers in the
Romanticist upheaval of 1830. He exhibited in the Salon of 1831

ROUSSEAU. 615

in Corot's and Dupre's company. In 1833 his Leg Cotes de Gran-
ville. was exhibited, bringing him prominently forward. In 1833
he *rent to Chailly in Fontainebleau, returning next year to Paris,
and visiting Switzerland. On this visit he was iuspired to paint
his celebrated Descente des Vaches (Mesdag Museum, The Hague),
which was rejected by the Salon of 1836, on the score of heresy
against classic traditions. For twelve years (six exhibitions)
ROUSSEAU was excluded from the Salon. In 1836 he went to
Barbizon to stay, and in 1844 to settle there ; his Avenue de
Chataigniers (1837) was in 1840 bespoken by the State, but the
sale was not concluded. Between 1837-40 he was busy in Fon-
tainebleau, and in 1841 was at Monsoult with Jules Dupr4 ; in
1842 in the Berry de France, p linting Le Cure and A Sunset in
Stormy Weather. In 1845 he was in Paris for a sbort time, and
finally settled at Barbizon, there becoming intimate with Millet.
In 1847 he became one of a society bent on forcing the hand of
the Salon, and in 1848 sweeping reforms were imposed upon the
Jury. ROUSSEAU himself, having been refused six times, was
made a member of the Jury, and commissioned to paint a picture
by the State. This, his Coucher du Soleil, was exhibited in the
Salon of 1850-51, and is now in the Louvre. From this time on
he regularly appeared in the Exhibitions. Among his finest pic-
tures are MaraU dims les Landes, 1853 (Louvre), Sortie de Foret
(Louvre), A Glade in Fontainebleau (Wallace Collection), The
Stone Oak (1861), October Sologne (1867), in which year ROUSSEAU
was awarded a Grand Medal of Honour at the Exposition Uni-
verselle, and the higher grade of the Legion of Honour. He
survived these honours but a few weeks, dying in December, 1867.
See D. Croal-Thomson : The Barbizon School, 1902.

No. 2439. A River Scene.

A rush-grown river nearing the sea. On the right of the estuary
there is a low sea wall banking up a field in which there is a group
of dark trees. A man is fishing from a puat in the reeds on the
left bank. The long line of the sea is seen in the distance. Signed
" T. H. Rousseau."

Wood. 12 in. It. by 15 in. w. (0-30 by 0'39).

Presented by Mr. H. Velten, 1909.

No. 2639. Sunset at Auvergne.

Figures looking across fields at sunset. Stormy sky. Signed
"T. H. Rous<eau."

Wood. 8i in. h. by 9J in. w. (0'20 by 0'24).

George Salting Bequest, 1910.

ROUSSEAU (PHILIPPE), 1816-1887.

French School. PHILIPPE ROUSSEAU was born in Paris, and
studied under Gros and Bertin, exhibiting a landscape at the
Salon. About 1844 he took to still life painting. He received
the Legion of Honour in 1870, and died in 1887

016 ROUSSEAU EUBENS.

No. 2480. The Fish Market,

A study of fish piled up on a table, with other stalls and figures
of fishwives and salesmen.

Wood, 9 in. A. by 1H in. w. (0'23 by 0'28).

Presented by Mr. H. J. Florence, 1909.

RUBENS (SiR PETER PAUL), 1577-1640.

Flemish School. PETER PAUL RUBENS was born at Siegen,
Westphalia. His first master was Tobias Verhaagt, whom he left
to go to Adam van Noort (1591-1594). Then he worked under
Otho van Veen (1594-1598). He went to Italy in 1600, entering
the service of Vincenzo Gonzaga, Duke of Mantua, with whom
he stayed, with various breaks, for eight years. In 1603, for
instance, he went on a mission to Madrid, there staying till 1604 :
he also visited Venice, Rome, and Genoa. On Vincenzo's death,
1608, he returned to Antwerp, becoming (1609) Court painter to
Albert and Isabella, Regents of the Netherlands. In 1609 he
married Isabella Brant. From this period he developed an
enormous business in Antwerp : his studio or workshop was filled
with students and assistants from Holland and Belgium, who
prepared and carried on his designs. In 1621 he went to Paiis,
and was commissioned by Marie de' Medici to paint a series of the
conspicuous events of her life. By 1625 these had been completed
by RUBENS and his staff at Antwerp, and were installed in the
Luxembourg. In 1627 he visited Paris again, and next year was
sent by Isabella on a diplomatic mission to Madrid, where he spent
some time in the young Velazquez' company. In 1629-30 he was
sent on a similar errand to Charles I. in London, by whom he was
knighted. In 1630, aged fifty-three, he married the young niece
of his first wife, H41ene Fourmeijt. This happy and prolific union
gave the master fresh enthusiasm and impetus ; his very finest
pictures were painted from Helene Fourment, even as were
Rembrandt's from Hendrijcke Stoffels. RUBENS built him a palatial
house in Antwerp, where and in his country Chateau de Steen he
passed the splendid autumn of his life. He produced ceaselessly
and carried on with his assistants' aid a great manufactory of
decorations.* His artistic and social predominance have hardly
been equalled ; indeed his worldly prominence as the favourite
and diplomat inevitably combatted his artistic development. His
influence on his own time and the art of all succeeding generations
was and is very great. RUBENS' carter can be divided into three

* Rubens charged three prices ; one for works by his own hand, the second
for his design and partial execution, the third for his designs wholly carried
out by assistants. Some of his finest works were at Blenheim, having been
given to the Great Duke of Marlborough by grateful cities in the Low
Countries. A Lot and his Daughters from that Collection is now in Montreal.

RUBENS. 617

fairly distinct periods; from 1600-1609, 1609-1630, and thence
onward to his death, May 30, 1640. His Italian pictures, such as
the Circumcision in S. Ambrogio, Genoa, the St. George (c. 1607),
Prado, the Baptism of Christ (c. 1605) in Antwerp, and the
Nancy Transfiguration are elaborate Italianate confections, with
little real feeling : his early married life with Isabella Brant
produced a series of mythological and Bacchic pieces that are
full of intense if material and physical enthusiasm. The master
exults in swift and violent motion, in the play of line, colour, and
light in the human figure, and in the sensuous appeal of sex. To
this period belong his Toilet of Venus (c. 1615), Vienna ; Perseus
and Andromeda (c. 1616), Berlin ; The Lion Hunt (c. 1615),
Munich ; his Madonnas, such as those in the Pitti and the
Herrnsheim Collection, Worms ; the Rape of the Daughters of
Leucippus (c. 1619), Munich ; the St. Ignatius of Loyola and St.
Francis Xavier at Vienna ; the Bacchanal of 1 620, at Berlin ; the
Education of the Virgin (c. 1626), Antwerp ; the Prado Holy
Family (c. 1628) ; and the Peace and War (c. 1629), in this collec-
tion. To 1628-29 belong his Spanish portraits, and to 1630 his
Matthaus Yrsselius, at Copenhagen. In 1629 he was commissoned
by James I. to paint a ceiling for the Banqueting Hall, White-
hall ; he finished it in 1635. His last period, beginning with
his second marriage, is marked by a renaissance of his vigour
and sensuous enthusiasm ; pieces chiefly mythological, in which his
wife appears, such as the Judgment of Paris, in this collection,
and the Prado ; the Berlin Andromeda the Three Graces and
Diana and Callisto, in the Prado ; or the actual portraits of Hele*ne,
painted for the beauty of her flesh and colour, are numerous. In
this last phase the master's colour becomes blonder and more
luminous. His treatment of landscape is daring and inventive ;
his influence on Turner was considerable. His rank among the
great masters of design, technique, and drawing far exceeds his
position as an interpretative artist.

See Max Rooses : L'Oeuvre de Rubens, V. vols., 1886-1892
(translated by Harold Childe, II. vols.). Bode: Dutch and
Flemish Painters, 1911. Klassiker der Kunst : Rubens dea
Meisters Gemalde, 551 Abbildungen.

No. 38. The Rape of the Sabine Women.

A throng of figures in violent struggle. To the right, high
up, is Romulus ; beneath him a man on horseback hoisting a
woman upon his saddle, helped from below by another man. In
the centre a matronly woman, profile to the right, in gold and
black, with clasped hands ; behind her a helmetted Roman in rose
crimson turns to the left, dragging the steel-black skirts of a girl
who, lying on her back, is supported by two figures. In the left
background figures heaped up in action, women being torn dorn
from a portico by the Romans. In the centre background in full
light the portico of the temple, a javelin thrower in front of it.

618 RUBENS.

Dark brown tones : flesh hot golden tone ; background golden
Painted 1635. Helene Fourment is seen in the centre looking
down to the right.

Wood, 67 in. h. by 93 in. w. (1-70 by 2-36).

Max Rooses' Catalogue. No. 803. Smith, 315.

Engraved by P. F. Martinasi, 1 770.

Formerly in the possession of Madame Boschaert at Antwerp ; it
subsequently formed part of the Angerstein collection, with which it
was pui chased in 1824.

No. 46. Peace and War ; or Minerva shielding Peace.

To the left of the centre Peace, with nude torso, seated looking
to the right front, her right hand on her breast ; at her feet a
leopard : slightly to the left, profile right, Pan stooping down
with a bunch of fruit. On the loft Wealth, a nymph, her back to
the spectator, a moss green drapery round her waist and a bowl of
precious stones and metal on her left hip ; beyond her Happiness,
with the cymbals. In the centre and right foreground a knot of
children centering on Peace, their mother ; the girl on the right
wears ochreous tawny red. In the centre background Minerva
driving War (a man in armour), to the right. Pestilence and
Famine are driven into darkness. Heavy chiaroscuro ; flesh tone
warm golden. Painted 1628-29 ; the children are those of
Balthazar Gerbier. The genius with a torch in his right hand is
painted from a red and black chalk drawing in the Albertina.
(Rooses, 1574), (see Dr. F. M. Haberditzl : Die Graphischen
Kunste, 1912, xxxv., p. 9).

Wood, 78 in. h. by 117 in. w. (1'98 by 1'97).

Max Rooses' Catalogue, No. 825. Sm. 561. A variant is in the
Pinacothek, Munich ; a similar composition with life-size figure is in
the Jusupoff Collection, St. Petersburg.

Exhib. Brit. Gall., 1815.

Presented to Charles I. by Rubens when in England in 1630 (named
Peace and Plenty ; Sin.). After the death of Charles it passed into the
possession of the Doria family at Genoa, where it was known as the
" Family of Rubens."* It was purchased, in 1802, by Mr. Irvine for
Mr. Buchanan, and subsequently obtained by fhe Marquis of Stafford,
first Duke of Sutherland, who presented it to the National Gallery, in
1828.

No. 57. The Conversion of St. Bavon t

The saint stands in the centre halfway up a flight of steps,
nearly profile to the right. Below him, on the right, his worldly
retinue ; a man on a dapple grey horse on the extreme right, in
tawny orange and steely blue ; to the left a group of the poor
and crippled, a man kneeling holding a crutch and with bare back

* Vanderdoort, A Catalogue and Description of King Charles the First's Capital
Collection of Pictures, AT. London. 1757. Buchanan, Memoirs of Painting, vol. ii.,
p. 108.

RUBENS. 619

in the centre. Above them on the left a group of richly-dressed
women and two boys. Tone golden, with silvery green passages.
Flesh golden rose. Painted 1612.

Wood, 41 J in. k. by 65 J in. 10. (1'05 by 1'56).

Max Rooses' Catalogue, No. 396 M *. Smith, 868.

Engraved by P. Lightfoot, &c. Exhib. Brit. Gall., 1815.

Formerly in the Carrega Palace at Genoa, from which it was pur-
chased for Mr. Buchanan by Mr. Irvine in 1805. Holwell-Carr
Bequest. 1831.

No. 59. The Brazen Serpent.

On the left are Moses and Eleazar, profile right, in dull gold,
rose, deep brown and black, under the brazen serpent. In the
centre background the nude torso of a woman, inclining to the
left, her arms above her head encircled by a serpent, a rose-
coloured mantle round her waist. To the right a baby held aloft
by another woman, in pale rose, and a man in armour, nearly
profile to the left, his left arm raised. Across the foreground two
men lying on their backs, dead. To the right a girl kneels rest-
ing her elbow on one of the corpses. Strong chiaroscuro ; fiesh
tone golden. Painted 1635-38.

Canvas, 74 in. h. by 105 in. w. (1'88 by 2-66).

Max Booses' Catalogue, No. 112. Smith, 769.

Engraved by Bolswert, Galle, F. Kagot, &c. Exhib. Brit. Gall., 1815.

Formerly in the Marana Palace at Genoa : brought to England by
Mr. A. Wilson in 1806 ; in the Champion Coll., 1810. There are
repetitions in the Prado and at Potsdam. (Smith.) Purchased of Mr.|T.
B. Bulkeley Owen in 1837.

No. 66. Autumn, with a View of the Chateau de Steen.

Rubens' chateau near Mechlin. To the left the chateau set
in trees ; in the fore-ground below it a two-horse waggon, carry-
ing a calf, fording a brook. To the right an extensive open
country, with a view of a town in the distance : in the immediate
fore-ground a sportsman with his dog and gun creeping up to a
covey of partridges. To the right, in the valley, some cows, and
a woman milking. In the fore-ground a kingfisher, goldfinches,
and hemlocks in flower ; two plovers in the sky. Fore-ground
tone reddish, distance and mid distance gold green ; silvery blue
sky, with golden light, Painted 1636.

Wood, 53 in. h. by 93 in. to. (1'34 by 2-36).

Max Booses' Catalogue, No. 1204. Smith, 767.

Engraved by G. Cooke, <fcc.

One of a series Spring is in the Wallace collection Rainbow
Landscape (No. 3) ; Suvimer and Winter are at Windsor Castle.

Formerly in the Balbi Palace at Genoa, from which it was purchased
by Mr. Irvine for Mr. Buchanan in 1802. Presented by Sir George
Beaumont in 1826.

620 RUBENS.

No. 157. A Landscape; Sunset.

A wide plain ; the sun setting towards the right and envelop-
ing the d stance. Rubens' chateau in the right mid-distance, a
stream in the centre ; in the left foreground a pool, to the right
a flock of sheep and a shepherd sitting on the water conduit.
Ground tone reddish, sky silvery. Painted 1635-38.

Wood, 19 in. h. by 33 in. to. (0-48 by 0'83).

Max Rooses' Catalogue, No. 1193. Smith, 1212.

Engraved by Bolswert. A somewhat similar picture is at Dulwich.

Farnborough Bequest. 1838.

No. 187. The Apotheosis of William the Silent.

William is being borne aloft in the centre by War and crowned
by Peace. Malignancy pulls at his foot : to the left three nude
female figures. Pale silvery opalescent tone. Painted 1635-40.

A sketch of a picture in the possession of the Earl of Jersey, at
Osterley Park.

Wood, of a circular form, 25 in. in diameter (0'63).
Max Rooses' Catalogue, No. 820.

Formerly in the possession of Sir David Wilkie, known as "The
Apotheosis of James I." Purchased in 1843.

No. 194. The Judgment of Paris.

Paris seated on the right, profile left, beneath a tree holding up
the apple. Behind him Hermes in red pink, holding on to the tree.
In the centre, her back to the spectator, her peacock at her feet
stands Hera ; she holds a brown mulberry drapery round her. To
the left, profile right, stands Aphrodite, her hands raised to her
breasts, holding a brown-black robe in front of her. Further to
the left stands Athene, full-face, her arms raised above her head,
holding behind her a white drapery, her shield and owl by her.
She represents Helene Fourment. Eros kneels in the left corner.
Landscape background. Flesh tone blond golden. Painted
1635-36.

Wood, 57 in. h. by 75 in. to. (1'44 by 1'9(T).

Max Rooses' Catalogue, No. 663. Smith, 748.

Engraved by Lommelin, Couche, Dambrun, &c.

There is a fine replica of this picture in the Dresden Gallery, and a
small copy in the Louvre, possibly from the Holderness Collection ;
formerly in the Orleans and Kinnaird Collections. Purchased at the
sale of Mr. Penrice's collection in 1844.

No. 278. The Triumph of Julius Gcesar.

A procession ; to the left, dancing girls with flowers, and other
figures leading animals for the sacrifice ; in the centre a youth

RUBENS. 621

in white chiton leading a bull ; on the right elephants bearing
fruit, and lighted torches in the background ; and wild beasts for
the shows. In the back-ground a hill surmounted by a temple,
with crowds of spectators. Flesh tone silvery. Painted 1602-
1604.

Canvas, attached to wood, 35J in. h. by 65 in. 10. (0-90 by 1-65).
Max Rooses' Catalogue, No. 715. Smith, 803. Exhib. Brit. Gall., 1815
This sketch was made from a portion of the cartoons by Andrea
Mantegna. now at Hampton Court. It was in Rubens' possession at his
death, and is thus noticed in the English catalogue of his effects :*
" Three cloathes pasted uppon bard, beinge the Triumph of Julius Cesar,
after Andrew Haiitegna, not full made'." The other two canvases are
lost. It was subsequently in the Balbi Palace, Genoa ; in 1802 it was
bought by Mr. Irvine, and became the property of Mr. Champernowne,
from whose collection it passed to that of Mr. Rogers, whence it waa
purchased in 1856.

No. 279. The Horrors of War.

Mars leaving the temple of Janus open, is held back by Venus
he is drawn on by the Fury Alecto, preceded by Plague and
Famine. Europe bewails the miseries of war. The figure on the
ground with the broken lute represents Concord overthrown, f
On the left Europe stands with outstretched arms. Mars in the
centre advances to the right, his shield upheld. Venus, almost
naked, stretches her right arm across Mars' chest to detain hinu
Cnpids pull at her drapery. At their feet a woman seated, her
back to them. Concord lies on his left shoulder, his right arm
stretching up.

Paper attached to canvas, 19J in. h. by 30J in. w. (0*49 by 0'76).

Max Rooses' Catalogue, No. 827 '. Smith, 524.

A sketch for the large picture painted in 1637-8 for Sustermans, and
now in the Pitti Palace at Florence. Another example was (in 1820>
in the Eudoxe Collection, Paris ; the Dresden Virtue Triumphant is
a variant of the central figures. Formerly in the Balbi Palace at
Genoa, from which it was purchased by Mr. Irvine in 1803 ; it was
subsequently in the collections of Mr. Champernowne and Mr. Rogers,
whence it was purchased in 1856.

No. 680. The Miraculous Draught of FisJies.

Two skiffs close to land. The Christ standing in the stern of
the nearer ; at his feet a disciple leaning over the gunwale, hauling
on a net, which two others in the water, on the right, and a third
on Rhore, his back to the spectator, are drawing in. Gulls flying

Privately printed by Dawson Turner. Catalogue of the Workt of Art in
the inisscssion of Sir Peter Paul Rubens, at the Time of his Decease, <fcc M 2d ed. Svo.,

tSee the letter of Rubens, publiHhed in the account of Sustermans by
Baldinucci, in the Nottzif del Proftssorl del Disegno, Dec. in., 8ec. V.

622 RUBENS.

against the sky and over the sea. Eleven figures. Painted c.
1618.

Paper, 2 If in. h. by 33 in. w. (0'55 by O'So).

Max Rooses' Catalogue, No. 252.

Engraved by Bolswert. Soutman engraved a similar design with
six figures.

A sketch for the centre-piece of the altar-piece in Notre Dame,
Mechlin.

Formerly catalogued under Van Dyck.

Purchased at Naples from Cav. Raffaele Carelli, 1861.

No. 852. Portrait of Susanne Fourment (" Cltapeau de
Faille.")

Half-length, full-face, standing ; the hands folded under the
breasts. She wears a large black beaver hat with a white ostrich
plume ; crimson sleeves, black bodice and pale olive green scarf.
Flesh tone, silvery rose. Painted c. 1620. (Susanne Fourment,
afterwards married to Arnold Lunden, was the third daughter of
Daniel Fourment, whose youngest daughter Helene was Rubens's
second wife.)

Wood, 30J in. h. by 21 in. w. (0'77 by 0'53).

Max Rooses' Catalogue, No. 949. Smith, 811.

There is a somewhat similar drawing in the Albertina, Vienna,
described in the "Inventory" of Rubens's effects, privately vrinted
by Dawson Turner, as " No. 122. The picture of a woman with her
hands one upon another." After the painter's death it passed to
Mr. Nicholas Lunden, who married Isabella, a daughter of Rubens
by his second wife Helena Fourment. At the beginning of this
century it was the property of Baron Stiers d'Aertselaar. After his
death in 1822 it was sold by auction, and brought to London ; publicly
exhibited in Old Bond Street ; purchasou from Smith (said to bo a
Mile. Lundens) by Sir Robert Peel.* Bought with the Peel collection
in 1871.

No. 853. The Triumph of Silenus.

Silenus in the centre, a light copper drapery round his waist, is
led across the canvas to the left. Before him a nymph in rose
colour holding a bunch of grapes over him ; a faun stooping to
drag Silenus' vast weight, and a piper in blue grey. Behind the
god a faun, looking up to the right, his arms around Silenus, and
two other figures. Two infant bacchantes with grapes on the
right. Flesh tone, golden, salmon and deep copper. Painted
1625-27.

* See Max Booses, L'(Eui*re de P. P. Rubens, Vol. IV., p. 176. Anvers, Jos. Maes,
1890. How and when this picture acquired the inappropriate title by which it
is known is a question not easy of solution. M. Alfred Michiels, writing in the
Journal dea Arts, July 2, 1886 maintains that the title is a corruption of
" Chapeau d'Espagne."

RUBENS. 623

Canvas, 54 in. A. by 77J in. w. (1'37 by 1'96).

Max Rooses' Catalogue, No. 680. Smith, 564.

Engraved by N. de Lannay.

This picture is described in the "Inventory" of Rubens's effects as
" No. 170, Drunken Silenns." It was formerly in the possession of
Van Uffelen, who seems to have commissioned it. Later it was in
Richelieu's Collection ; subsequently in the collections of M. de Tartre
and Lucien Buonaparte (1816) ; in the Bonnemaison Collection, Paris
(1827) ; bought by Smith and then by Sir Robert Peel. Purchased
with the Peel Collection in 1871.

No. 853A. The Fall of the Damned.

Study for the large picture in the Old Pinakothek at Munich.
(1614-1618.)
274 in. A. by 19 in. w. (0'69 by 0-48).

No. 853B. The Fall of the Damned.

Study for the large picture in the Old Pinakothek at Munich.
(1614-1618.)
29 in. A. by 19 in. w. (0-73 by 0-48).

No. 8530. The Fall of the Damned.

Study for the large picture in the Old Pinakothek at Munich.
(1614-1618.)
29 in. A. by 18J in. w. (0-73 by 0'47).

No. 853D. The Fall of the Damned.

Study for the large picture in the Old Pinakothek at Munich.
(1614-1618.)

28 in. A. by 18J in. w. (0-71 by 0'46).

No. 853B. The Beheading of Saint Paul.

In the centre the martyr kneels, full-face, between the execu-
tioner and a woman who, profile right, is binding his eyes. To the
left, Roman soldiers with long spears ; cherubim above. In the
foreground, women and children to the left and in the centre, and
on the right a centurion, his left arm akimbo behind him, and a
horse's head and shoulders.

A sketch for the picture once in the Convent of Rouge Oloitre, near
Brussels, destroyed after removal to the Church of St. Catherine, 1696.
There is a sketch, on wood, in oils, for the same composition in the
Holford Collection (c. 1633) (Max Rooses', 478).

28 in. A. by 20J in. w. (0'71 by 0'52).

No. 853P. The Descent of the Holy Spirit.

In a chapel the Virgin stands in the centre on some steps,
full-face, with joined hands and looking upwards ; the Apostles

624 RUBENS.

surround her with gestures of surprise and awe, while fiery
tongues descend upon them. Above, the Holy Spirit in the form
of a dove.

23 in. h. by 16J in. w. (0'58 by 0'41).

Max Booses' Catalogue, No. 1351.

A study from the Descent of the Spirit in the Pinacothek, Munich.
(1619), for the print by P. Portius.

In the Crozat Sale, Paris, 1741 ; in the Sir T. Lawrence's and Peel
Collections.

No. 853G. The Crucifixion.

The lifeless body of Our Lord hangs on the Cross between the
two thieves. On the left are two mounted soldiers, one of whom
pierces the Saviour's side with his spear. On the right is the
Virgin attended by St. John.

Study for the Coup de Lance (1620), at Antwerp.

23 in. h. by 17 in. to. (0'59 by 0-43).

Nos. 853A-G- on white paper, in chalk, tint, and body colour.

No. 853H. Portrait of a Girl; half-length.

Half-length, nearly profile to the left ; her right hand on her
breast. She wears a close-fitting cap surmounted by a black cap
and feathers.

White paper, in chalk and bistre, with black washes about the head-
dress, 12 in. h. by 7J in. w. (0-30 by 0-19).

No. 853i. Portrait of Helene Fourment.

Bust length ; three-quarters to the left ; clad in a full-sleeve
dress open at the chest. A flat lace collar rises above her
shoulders. Her hair falling en neglige is trimmed at the back with
beads and flowers.

White paper, in red and black chalk, 10 in. h. by 7J in. w. (0-25 by
0-19).

Max Rooses' Catalogue, No. 1499. According to Max Rooses, a study
for the Windsor Castle Isabella Brant (Max Rooses', No. 895) of
c. 1614. The costume, however, and the character of the head suggest
c. 1630-32 as the date and Helene Fourment as the sitter. She is
given as the sitter in Klassiker der Knnst ; Rubens, p. 337.

No. 853 J. Portrait of a Young Lady.

Bust length ; nearly full face. The hair is parted on one side
and gathered into a roll at the back of the head. Her neck is
encircled by a large muslin ruff.

White paper, in chalk and sepia, 9 in. h. by 8 in. w. (0'24 by 0'21).

RUBENS. 626

No. 853K. Sketch for Monumental Sculpture.

Winged Victory, seated, shading her eyes with her left hand ; at
her feet a captive, bound.

White paper, in pen and bistre, lights in body colour, 141 in. A. by
11 in. to. (0-36 by 0-27).

No. 853L. Sketch for Monumental Sculpture.

In the central panel two monks kneeling before a monstrance
enclosing a crucifix. Above, the Holy Spirit in the form of a
dove. On either side are statues on the left, Aaron ; on the
right, Moses. Above, a pediment decorated with bas-reliefs and
figures of winged putti. Below, a sculptured podium.

White paper, in pen and bistre, lights in body colour, 12J in. h. by
8i in. to. (0-31 by 0-20).

No. 853M. Sketch for Monumental Sculpture.

Apparently designed for a plinth or podium. A shield sup-
ported by infant mermen, let in a square panel enriched by
festoons of fruit and foliage held up by seated satyrs.

White paper, in pen and bistre, lights in body colour, 14$ in. li. by
14$ in. to. (0-36 by 0'36).

No. 853N. Sketch Frontispiece of Obsidio Bredana.
Scribebat Hcrmannus Hugo; AntverpicB MDGXXVI.

A medallion on a plinth, Hercules on the left, as Labour, and
Vigilance on the right. In the foreground Breda seated on war-
like trophies (among which is a shield inscribed with the name
Breda), seems to succour an emaciated woman. Above the shield
the Spanish Arms, and angels bearing palm branches, &c.

A first sketch for the frontispiece engraved by Corneille Gralle.
Another sketch is at Dijon.

In pen and bistre, lights in body colour, on white paper, 12 in. ft. by
7| in. to. (0-30 by 0'19).

Max Rooses' Catalogue, No. 1278. r ''

No. 853o. Study of a Lioness.

The tail to the spectator. The head turned left, the left fore
paw raised, the tail swung left, the left hind leg in the left
corner.

This lioness recurs on a sheet of ten lion studies and a dog in
the Albertina.

Tinted paper, in black chalk, lights picked out with white, 12 in.
h. by 9} in. w. (0'39 by 0'23).

Max Rooses' Catalogue, No. 1428.

17983 2 R

626 RUBENS RUISDAEL.

No. 853P. Sketch of a Lion Hunt.

A rearing horse in the centre, a lion pulling down the rider. To
the left a horseman spearing the lion, and beyond him a man with
upraised right hand. On the right a horse galloping to the right ;
a dead lion in the right corner. Lion hunt pictures of c. 1616 are
at Munich and St. Petersburg.

Wood, in brown, in oil, 2S in. h. by 41 in. w. (0'72 by 1'04).

All these drawings 853A-853P purchased with the Peel Collection
in 1871.

No. 1195. Tlie Birth of Venus (Design for a Silver
oval Dish),

In the centre Venus, attended by the Graces and marine
deities, is wafted to the shore in a shell. Above, in the air, a
goddess, probably Peitho (Persuasion), uniting with Amor to crown
Yenus with a chaplet. On the border of the dish marine gods.

This design, and one for a ewer, were made by Rubens for Charles I.
The goldsmith, T. Rogers, executed them. They were engraved by
Jacob Neefs in a print now extremely rare.

Wood, grisaille, 23 in. h. by 30 in. w. (0-58 by 0'76).

Max Rooses' Catalogue, No. 688.

"Clarke Fund" ; purchased at the Beckett Denison Sale. London,
1885.

SCHOOL OF RUBENS.

No. 67. A Holy Family, with Saint George, and other
Saints.

The Virgin, in red pink and prussian blue, seated in profile, in
the centre, before a portico, her head to the front, the Child asleep
on her breast. To the left a knight in armour, full-length, stand-
ing, profile to the right, and a woman, profile to right, in XVIIth
century dress of gold and grey-black ; to the left three little angels
with a lamb ; behind them in the background St. Joseph asleep
against a tree. Heavy brown tones ; flesh grey golden.

Canvas, 49 in. h. by 64 in. w. (1-24 by 1'62).

Max Rooses' Catalogue, No. 180.

A similar composition to the Rest in Egypt (c. 1638) at Madrid.
Max Rooses considers this in large part the work of Rubens' scholars,
and the landscape by Van Uden.

Purchased with the Angerstein Collection in 1824.

KUISDAEL (JACOB VAN), 1628 or 9-1682.

School of Haarlem. The son of a frame-maker, JACOB VAN
RUISDAEL, not RUYSDAEL, was born at Haarlem in 1628 or 1629.
His father, Isaac, also painted. At Haarlem, in RUISDAEL'S

EUISDAEL. 627

youth, a school of landscape reactionary from the older school of
Goyen was at work, headed by painters like Cornelisz Vroom and
G. Dubois. In this school local colour was reinstated iu opposition
to the tone treatment consummated by Goyen. Young RUISDAEL,
and perhaps his father, were followers of Vroom and Dubois.
Already by 1648 JACOB was a member of the Painters' Guild of
Haarlem. His first period lies between 1646 and 1653 ; herein
are many pictures, about a hundred, according to Dr. Bode
on which his signature often occurs. These early works are
simple in motif and sedulous in study and detail ; thc-ir shadows
are at first opaque, but gradually clear while unnecessary detail,
little by little is suppressed. Before he moved finally to
Amsterdam in 1659 RUISDAEL visited that city, and stayed there
painting the wide level country. At this time too he crossed the
German frontier, and explored the hills of Cleves and Monster.
From such an expedition come the Castle of Bentheim, in the Otto
Beit Collection, of which there is a different rendering in this
Gallery. After settling in Amsterdam he seems to have re-visited
the German hill country. From 1659, when he became a citizen of
Amsterdam, until 1681, RUISDAEL lived there, producing in the
sixties and early seventies his masterpieces : his landscapes with
distant views, his sea-pieces, the interiors of woods and the winter
pictures. Among these misterworks are the Swamp in a Wood,
in the Hermitage, the Windmill, in the Rijksmusenm, the
Landscape with Ruins (1673), and the Beach of Nordwijk (or
S^heveningen), iu this Gallery. Until 1675 or so RUISDAEL'S
fullest powers lasted ; then they somewhat failed. Perhaps the
disease that ultimately killed him was already draining his
strength. In his late pieces the dark ground has come up,
owing to the thinness of the overpainting, and the skies and
shadows have darkened. The detail in these pictures, moreover,
is often conventional. Apparently discontented with the scenery
that he himself knew RUISDAEL now went to the pictures of friends
for his material. A craving for more grandiose effects led him to
the work of Everdingen, who had explored parts of Norway and
Sweden, and to Hackaert's pieces of Swiss mountain scenery. At
one time the Norwegian waterfalls of RUISDAEL were ascribed to
his earlier years, and even now they are more popular than his
masterpieces of the previous decade. These mountain and water-
fall pictures and the forest pictures of his closing years, worked
up from second-hand material, are heavy in tone and form, and
forced in feeling, in comparison with the Amsterdam and German
paintings of the sixties and early seventies. Goethe foun<l in
RUISDAEL a kind of mystic symbolism, largely on the score of his
late work. Seriously ill in 1681 the master left Amsterdam and
returned to Haarlem, to enter the Hospital of the Mennonites.
There he died in 1682, aged fifty-three or four. RUISDAEL
was a kindly and affectionate son, who supported his father
entirely ; he never married. Though doubtless a mau of
solitary life he mixed to some extent with his fellow-artists,
17983 8 R 2

628 RUISDAEL.

of whom A. van Ostade, N. Berchem, and Ph. Wouwerman
helped him with accessory figures in his pictures. Later, when he
had moved to Amsterdam, A. Van de Yelde was associated with
him in the same way. As a painter of the sky and atmosphere,
and in his management of light and shade, RUISDAEL is one of the
profound landscape painters. To an extremely perceptive,
sympathetic vision he added a master's knowledge of scientific
composition. After Rembrandt he was the first to invest the sky
with a harmony of feeling, so bringing it into contact with earth
and man. RUISDAEL'S imitators and followers in especial were
Jan van Kessel, Michiel Van de Vries, Cornelis Vroom, Salomon
V. ROYSDAEL (his cousin), and G. van Hees.*

No. 44. Bleaching Ground.

On the left a gnarled oak in full leaf. On the right a sand
bank partly covered with grass. Beyond, a steep-roofed cottage
standing against the cloudy sky at the foot of a hill. In the
centre foreground a stream and grassy flat, on which rustics are
washing and drying linen. Black- green foliage. Tone grey.
Signed " V. RUISDAEL." (V.R. monogram.)

Wood, 21i in. h. by 26 in. w. (0'51 by 0'67).

De Groot's Catalogue, No. 95.

Bequeathed by Sir John May in 1847.

No. 627. Landscape with Waterfall.

The whole foreground is occupied by the waterfall ; a wooden
bridge in the centre middle distance, and a cottage among trees
on a hill to the right. Signed J. Ruysdaelf.

Canvas, 40 in. h. by 34 in. w. (1-02 by 0'86).

De Groot's Catalogue, No. 239. Purchased from the Brabeck-Stolberg
Collection (235), (Soder), 1859.

Engraved in mezzotint by J. G. Prestel.

No. 628. Landscape with Waterfall.

In the middle distance a wooden bridge ; in the foreground
foaming water ; a tree lying on the left. Grey-brown tone.
Signed as above.

Canvas, 40 J in. fi. by 34 in. w. (1'02 by 0'86).

* W. Bode: Great Masters of Dutch and Spanish Painting. See also Dr. Groot's
Catalogue of Dutch Painters, Vol. IV. Also Fromentin Les Maitres d'Autrefois.

BUISDAEL. 629

De Groot's Catalogue, No. 240. Sale Count von Brabeck and Count
Andreas von Stolberg, of Soder, Hanover (229), Oct. 3l8t, 1859.

Engraved in mezzotint by J. G. Prestel.

Both pictures formerly in Count Stolberg's collection at Soder,
Hanover, near Hildesheim ; purchased thence in 1859.

No. 737. Landscape with Waterfall.

A castle high up on the right ; nearer the centre three larches.
Open sky to the left ; foaming water in the foreground. Low
grey tone. Signed as above.

Canvas, 39 in. h. by 34 in. w. (.0-99 by 0'86).

De Groot's Catalogue, No. 241. Sm. Suppl. 72. Sale Meyndera,
Amsterdam, 1838. Collection of J. M. Oppenheim, London, 1842.
Bequeathed in 1864 by Mr. J. M. Oppenheim.

No. 746. A Landscape with Ruins.

On the right a ruined chateau, chiefly of brick ; trees in the
centre, open sky and country on the left ; in the foreground a
small weedy pool ; brick masonry on the left. Grey tone. Signed
J. Ruisdaelf., and dated 1673.

Wood, 16J in. h. by 22* in. w. (0'41 by 0'57).

De Groot's Catalogue, No. 757. Sm. Suppl. 105. Sales Sir John
Pringle, London, 1838. Due de Morny, Paris, May 31, 1865. Bought
from the Paris dealer M. Sano in 1865.

No. 854. Forest Scene.

The fringe of a forest ; trees in the right and centre middle
distance ; more sky to the left. In the foreground a pool ; on the
right is a bare birch stem, a second lying at its foot. On the left
two sportsmen. Low grey-brown tone. Signed J. v. Ruledael.

Canvas, 42 in. h. by 56 in. 10. (1'06 by 1'42).

De Groot, No. 481. Sm. Suppl. 64. Bought, 1842, by Smith ; sold in
1843 to Sir R. Peel, Bart. Purchased with the Peel Collection in 1871.

No. 8S5. A Waterfall.

On the right a rocky cliff ; towards the centre the top of a
church spire. A small wooden bridge leads over a ravine on the
left ; some sheep are crossing it. A cascade and rocks on the
right. Steel-grey tone. Signed /. Ruisdael.

Canvas, 34 in. h. by 39 in. to. (0'86 by 0-99).

De Groot, No. 242. Sm. 178, and Suppl. 55. Exhibited at British
Institution, 1824. Sales J. A. Brentano, Amsterdam, May 13, 1822.
Lord Charles Townshend, London, 1838. Sold to Peel. April, 1835,
according to MSS. note by Smith. Purchased with the Peel Collection
in 1871.

630 RUISDAEL.

No. 986. The Watermills.

A mill shed in sunlight, in the centre : to the left three wheels
and the sluice, another mill house and a straggling oak. In the
right distance high against the sky a mill, in sunlight. The right
mid-distance and foreground in cloud shadow. Reeds in the centre,
a birch log on the right, and beyond it some steps. Grey tone.
Signed " J. RUISDAEL " ; the R combined with a J.

Canvas, 34 in. //.. by 43f in. w. (0-87 by I'll).

De Groot's Catalogue, No. 148. Sm. 17. Sale Thomas Emerson.
London, 1832. Collection of Wynn Ellis, 1854.

Wynn Ellis Bequest. 1876.

No. 987. Rocky Landscape with Torrent.

High cliffs on the right ; in the middle distance towards the
centre a single larch perched on a rock. In the centre distance a
church and cottages beneath an isolated hill. The torrent runs
from the left distance to the right foreground. Low grey-brown
tone. Signed " RUISDAEL."

Canvas, 47 in. h. by 50^ in. w. (1-20 by 1'28).

De Groot's Catalogue, No. 243 ; Sm. Possibly the " Waterfall " men-
tioned in the Wynn Ellis Collection by Waagen.

Wynn Ellis Bequest, 1876.

No. 988. An Old Oak.

On the skirt of a wood ; a large oak in the centre ; a cottage
in the right distance : in the centre foreground a curving road ; a
log in the right corner. Grey tone. Signed " J. v. R." (monogram).

Wood, 12J in. h. by 11J in. w. (0'31 by 0'29).

De Groot's Catalogue, No. 618 ; Sm.

Wynn Ellis Bequest, 1876.

No. 989. Watermills.

Three mills stand to left and in the centre beyond a placid
stream. They are backed by a hill, with little trees on the summit.
The river flews into the right distance. Gold grey tone. Signed
" J. R." (not in monogram).

Canvas, 23 in. h. by 2SJ in. w. (0-59 by 0'72).

De Groot's Catalogue, No. 149.

Wynn Ellis Bequest. 1876.

No. 990. Landscape, an extensive flat wooded country.

In the centre mid-distance, in cloud shadow, the spire of
Beverwyk(?) church rises above trets, a plain, with a windmill,
gleams in the centre ; a church spire in half light to the right. In

RUISDAEL. 631

the left mid-distance fields of shocked corn. Low woodland on
the right. In the centre foreground a still shadowed pool ; a
rained round tower on the right, in a passing qleam ; two shepherds
on the left. Gold-grey tone. Signed " J. RCISDAEL."

Canvas, 42 J- in. li. by 57 in. w. (1-07 by 1'44).

De Groot's Catalogue, No. 758. A somewhat similar picture is in the
Kempher Collection, Berlin. See also No. 256 in this Collection.

Wynn Ellis Bequest, 1876.

No. 991. The Broken Tree.

An oak growing on a bank, to the right ; at its foot a felled
birch. Across the valley, on the left, a square ruined tower backed
by a hill in sunlight and cloud shadow. Signed " J. R. " (in mono-
gram).

Oak, 8J in. h. by 11$ in. w. (0'21 by 0'29).

De Groot Catalogue, No. 619 ; sm. Similar compositions are at
Dresden and Berlin.

Wynn Ellis Bequest, 1876.

No. 139O. View on the Shore at Scheveningen.

A flat sandy beach, washed by the receding tide ; sand dunes
on the right, beyond which are seen the church tower and roofs of
Scheveningen. In the right foreground two black-hooded women ;
a man lifting a woman ; beyond, a group of three men and little
figures in the centre distance, where two sailing boats are running
in. Above, large stormy cumuli rise into a blue sky. Signed
" J. v. RUISDAEL."

Canvas, 21J in. h. by 26$ in. w. (0-54 by 0'67).

De Groot Catalogue, No. 927. Sm. 19. Engraved by Le Bas and in
the Choiseul Gallery, No. 117. Sales Due de Choisenl, Paris. April 8,
1777; Dulac. Paris, 1778; Marquis de Marigny, Paris, 1781;
Marquis de Menars, Paris, Feb., 1782 ; M. B , Paris, 1827. In collec-
tion of Baron J. G. Verstolk Van Soelen, The Hague, 1835. (Sm.)
No. 43. Tne collection was sold as a whole in 1846 to Thomas Baring,
H. Mildmay, and Lord Overstone. H. B. Mildmay. Purchased from
the Mildmay Collection (No. 64), June 24, 18!3.

No. Z561. View near Haarlem.

A similar composition to No. 990.

Beyond a green-gold cornfield in snnlight in the middle distance
stretches a shadowed plain ; Haarlem Church Tower or (Bever-
wyk) in the centre in tone. A lake lies in the foreground with

632 RUI3DAEL.

ruins on either hand ; a boat manned by a single figure is on the
water. Signed " J . RUISDAEL."

Canvas, 13 in. h. by 16 in. w. (0'33 by 0'41).

De Groot's Catalogue, No. 66A.

G-eorge Salting Bequest, 1910.

No. 2562. Country Scene with a Ruined Castle.

A road runs through a ruined Norman arch in the centre : down
it passes a man in red with a child and dog. Another man meets
them. A well is in the right foreground, a pool in the centre.
Low horizon on the right. Signed on the left, " J. RUISDAEL."

Wood, 18J in. A. by 25 in. w. (0-46 by 0'64).

De Groot's Catalogue, No. 786. Sm.44. Exhibited British Institution,
1832 and 1845. Manchester, 1857. Burlington Fine Arts Club, 1872.
Sales Morelli, 1782 ; Calome, Paris, April 21, 1788 ; Coolers, Paris,
Feb. 9, 1789, in collection of W. Smith, M.P. sold privately. Sales-
London. 1823. Lord Radstock, London, May 12, 1826. In the Collection
of Charles Bredel, London, 1835. Sales Bredel, London, May 1, 1875.
Earl of Dudley, London, June 25, 1892.

George Salting Bequest, 1910.

No. 2563. The Entrance to the Forest.

Sunlight in the middle distance, shadow in the foreground. A
man with a dog turns the corner of a road running through trees
towards the forest ; he passes a group of three men. with a dog,
talking by the roadside on the right. A church tower is seen in
the centre distance behind a foreground oak. Golden-grey tone.
Part of the painter's monogram is visible in the left corner.

Canvas, 21 in. k. by 27 in. w. (0'54 by 0'69).

Engraved in the " Choiseul Gallery."

De Groot. No. 566. Sin. 26. 55 and Suppl. 66. Royal Academy
Winter Exhibition, London, 1891. Lent by G. Salting. Sales Due
<le Choiseul, Paris, April 6, 1772. Paris, 1774. Coders, Paris, 1789.
Tolozan, Paris, 1801. Lapeyriere, Paris, 1815. Imported into England,
1840, by Fradel ; sold to Pennell ; sold to Smith. Collection William
Theobald, 1842 (Sm). Sale W. Theobald, London, 1851.

George Salting Bequest, 1910.

No. 2564. A Cottage on a Rocky Hill.

In the centre a cottage perched on a rocky hill. A man with a
child climbs the path leading from the road up the hill. Beyond
is another cottage, and in the background a coppice. Grey tone.
Signed with a monogram.

Canvas, 21 f in. K. by 26 in. w. (0'55 by 0'66).

De Groot's Catalogue, No. 809A.

George Salting Bequest, 1910.

EUISDAEL RUYSCH. 633

No. 2565. A Cottage and a covered Hay Rick by a River.

The stream crosses the foreground ; on the left a man in red is
punting to the further bank on which stand a cottage, a roofed
hayrick and, to the right, some trees ; a bird on a plank in the left
comer. Pale golden-grey tone. Signed " J.v.R." (monogram).

Wood, 10$ in. h. by 13J in. w. (0'26 by 0-33).

De Groot, No. 704. Sm. 51. Engraved by Deuchars. Sale Cheva-
lier Lambert et du Porail, Paris, March 27, 1 787. Clos Collection, Paris.
1792 (Le Brun). Sale S. Woodburn, London, May 15, 1854.

No. 2566. The Skirts of a Forest.

A road skirting the forest runs across the foreground. A
woman and child stop to talk with a man seated in the ditch, on
the left. A felled tree lies on the right. Low grey tone. Signed

" J. RUYSDAEL."

Canvas, 22f in. h. by 27 in. w. (0-57 by 0'68).
De Groot's Catalogue, No. 619A.
Inscribed on the back, " J. F., Duke of Dorset, 1770."
George Salting Bequest, 1910.

No. 2567. A Stormy Sea-piece.

Two fishing smacks on the left, in sunlight, heeling over to a
stiff breeze. Waves are breaking on some stakes in the right
foreground, in a gleam of sun. Blue sky seen through the storm
that clears off to the right. Dull golden grey tone. Signed

" J. RUISDAEL."

Canvas, 17* in. h. by 21$ in. w. (0'44 by 0-54).

De Groot's Catalogue, No. 956. Exhibited Royal Academy Winter
Exhibition, London, 1891. Sale A. Levy, London, June 16, 1876.

George Salting Bequest, 1910.

RUYSCH (RACHEL), 1664-1750.

School of Amsterdam. The daughter of Frederick Ruysch, a
professor of anatomy, RACHEL was born at Amsterdam in 1664.
She studied under William van Ae st, a skilful painter of flowers,
but soon surpassed him. She was more successful in painting
flowers than fruit. In 1695 she married Jarian Pool, a portrait
painter, by whom she had a large family. Jn 1701 she was
admitted with him a member of The Hague Guild ; in 1708 she
was appointed by the Elector Palatine his court painter ; he stood
sponsor for one of RACHEL'S children. In 1716, on the Elector's
death, she went to Amsterdam, continuing to paint till she was
80 years of age. She died in Amsterdam, 1750. Her works may

634 RUYSCH RUYSDAEL.

be met with in various collections at Amsterdam, Berlin,
Brussels, Dresden, Munich, and Rotterdam.

No. 1445. A Study of Flowers.

A bunch of roses and other flowers lying on a table against a
dark background.

Wood, 12f in. h. by 10i in. IP. (0'32 by 0*26).

No. 1446. A Study of Flowers.

The companion picture to the above. A butterfly is settled on
one of the leaves of the white rose.

Wood, 12| in. h. by 10J in. to. (0'32 by 0-26).

Lent by the Victoria and Albert Museum in exchange with several
others for a collection of water-colour drawings lent by the National
Gallery in 1895.

RUYSDAEL (SALOMON VAN), 1600-1670.

School of Haarlem. SALOMON VAN RUYSDAEL, of Haarlem,
landscape painter, was brother of Isack and uncle of Jacob Ruisdael.
It should be noted that in SALOMON'S name the spelling is Ruy,
in Isack's and Jacob's usually Rai. SALOMON had a son Jacob
Ruysdael. SALOMON seems to have studied under J. van Goyen,
and has been called pupil of E. van de Velde. He was a
member of the Haarlem guild in 1623 ; in 1648 he presided as dean.
He enjoyed municipal honours and presumably a comfortable
income. His wife died 1660, in Haarlem. Houbraken credits
RUYSDAEL with an invention of some artificial marble. He died
at Haarlem, 1670. Signed and dated pieces by him are seldom
earlier than 1630 ; the latest eeems to be the Budapest Haarlem
Tavern, 1664. He is represented in Amsterdam, Antwerp, Berlin,
The Hague, Munich, the Louvre, Stockholm, and Vienna.

No. 1344. Landscape.

On the left reaching to the centre a grove of lofty beeches. In
the left foreground a small rapid feeding a pool in the centre, in
which two horses are drinking. To the right a hooded carriage
and pair, two riders and a grey horse, with rabbits slung across it.
Two men with four dogs on the ground. Open sky and low
horizon to the right. Blackish greens and red brown foreground.
Signed :

Wood, 19J i n> A . by 241 i n . w , (Q-43 by 0-62).
Purchased in 1891 from M. Edward Habich. of Cassel.

RUYSDAEL SAENREDAM. 635

No. 1439. Fishing in the River.

A broad river, flowing from the right, occupying the whole
foreground to the left middle distance, and agaiu winding to the
right beyond. On the right bank a line of low trees and a wide
bridge near the centre, to which a herd of cows is driven. Two
fishers on the bridge, and to the right a man in yellow lying down.
In the left corner a spit of bank, and a skiff six men fishing

Signed :-*

Wood, 14$ in. h. by 25 in. iv. (0'36 by 0-63).

Lent by the Victoria and Albert Museum in exchange with several
others for a collection of water-colour drawings lent by the National
Gallery in 1895.

RYCK.AERT (MARTEN), 1587-1631.

School of Antwerp. MARTEN, son of the eldest, brother of the

Smnger, and uncle of the youngest and best known David
yckaert, was born at Antwerp. He studied under his father
David, and later Tobias Verbaecht. He went early to Italy,
remaining until 1611. Soon after his return to Antwerp he
entered the guild of St. Luke. He died, 1631. MARTEN is
entered in the guild register as " a painter with one arm,"
and is so represented in the portrait of him by Van Dyck in
the Dresden Gallery. His landscapes show some affinity with
those of Joos de Momper ; examples are in the Uffizi, Hanover
and Madrid.

No. 1353. A Landscape, with Satyrs.

On the right a cascade between two masses of rock crowned by
trees ; it falls into a pool through which Satyrs are wading, while
others stand or sit upon the banks. Open sky and a plain to the
left. Greenish golden tone.

Wood, 3| in. h. by 7f in. w. (0'09 by 0'19).

Bequeathed by Mr. Richard W. Cooper, in 1892.

SAENREDAM (PiETER J.vxsz), 1597-1665.

School of Haarlem. PIETER JANS/, son and pupil of the
engraver Jan Pietersz Saenredam, was born at Assendelft. At
Jan's death, 1607, PIETER studied under F. Pieterez de Grebber at
Haarlem, where, 1623, he was in the Guild. He was secretary of
the Guild 1635 ; in 1636 he was in Utrecht, and in 1638 married

636 SABNREDAM SAFTLEVEN.

presumably in Haarlem, where he died 1665. SAENREDAM'S dis-
tinctly individual, fresh way of seeing nature, especially as regards
the action of sunlight in large interiors and on exteriors, places
him far above most of the painters of his kind. His rank among
the Church interior painters corresponds with de Hooch's among
the genre artists. Examples are in the Six Collection and the
Rijksmuseum, Amsterdam. His drawings are in the Teyler
Museum, Haarlem, and the Albertina, Vienna. ,

No. 1896. Interior of a Church.

The choir and transept of the Domkerk, or Buurkerk, Utrecht.
On the right the tables of the Commandments, below are two boys,
one, seated on the ground, is teaching a dog to sit up, the other is
drawing on the wall ; on his right a scribbled horse, with four
men seated on his back, underneath which is an inscription in
Dutch. In the centre distance a group of three, standing below
the windows, through which a silvery blue sky is seen. Luminous
silvery tone in the lights, grey brown in the shadows ; the floor,
blue black and red tiles.

" SAENREDAM " is written on the wall under the caricature. 1644
appears in the Dutch inscription.

Wood, 23J in. h. by 19 in. to. (0'59 by 0'48).

Presented by Mr. Arthur Kay in 1902.

No. 2531. Church Interior, St. Bavon, Haarlem.

In the centre foreground a large round pillar on an hexagonal
base ; a little girl seated against It with a basket. On the left a
dog, its forepaws on a pew, in which sits a man in black gown and
hat. Behind him another pillar, caught by a shaft of sunlight
just above his head. A vista up the left centre, three figures
towards the end, between round pillars. On the right another
vista ; a window showing the silvery blue sky, and a wooden stall
beneath it at the end. Two men and a woman against the stall,
an open door to the left. A black framed hatchment on the
centre foreground pillar. Luminous milky tone ; sunlight, pale
golden.

Wood, 22 in. h. by 31* in. w. (0'57 by 0'80).

George Salting Bequest. 1910.

SAFTLEVEN (HERMAN), 1609-1685.

School of Haarlem. HERMAN SAFTLEVEN II., the son of
Herman I., was born at Rotterdam. He was the younger brother
of Cornelis Saftleven, his pupil and Jan van Goyen's. He painted
views on the Rhine and Maas and rivers flowing past high hills
with numerous minutely finished small figures. His early works
are signed in full, the later in monogram. In 1633 he was in

SAFTLEVEN SAINT-AUBIN. 637

Utrecht, where he settled. With Cornelia he painted a family
group for the Van Godarts, iu 1634. His etchings range from
1640-69. From 1655-67 he was a prominent official in the Utrecht
Guild. He died. at Utrecht, 1685. SAFTLEVEN'S pictures, mostly
small, are numerous, for instance at Amsterdam, Copenhagen,
Dresden, Haarlem, Munich, Rotterdam, and Stockholm. One of
his best is a View on the Rhine in the Dulwich Gallery.

No. 2O6Z. Christ Teaching out of St. Peter's Ship.

The Lake of Gennesaret. On the left high cliffs in tone ; at
their foot a crowd in deep shadow, stretching across the fore-
ground, many in red coats and caps. Two ships and a boat on the
right. A gleam of sunlight across the middle distance, falling
on a round tower on the right shore, and throwing up in dark
relief little figures standing on a hill, on the left. Blue moun-
tainous distance and a lake ; dark blue-grey sky with a vivid orange
light in the left zenith.

Oak, 18 in. h. by 24 in. w. (0-45 by 0-61).

Presented by Mr. Charles L. Eastlake in 1906.

SAINT-AUBIN (AuGUSTlN DE), 1736-1807.

French School. AUGDSTIN DE SAINT ADBIN, the portrait
engraver par excellence of the Louis XVI. period, was first trained
by his elder brother Gabriel. At the age of nineteen he was put
in the atelier of Fessard to become an engraver of history pieces.
But he soon found that his bent was for the genre of his own
time, for portraiture and decorative illustrations. His next master
was Laurent Cars, who had most influence on his style of
engraving. In 1764 he married His early work was original :
frontispieces, ex-libris, illustrations, fashion plates, and pieces of
society genre, such as Le Bal Pare and Le Concert, drawn by
AUGUSTIN and engraved by Duclos. Then he took to engraving
after Le Prince, Boucher, and especially Cochin, Greuze, &c. His
best prints are Cochin, the Due de Panthicvre, Vigalle, J. M.
Moreau, the De La Borde, and Mme. Letine, an etching after his
own drawing. He carried further than any other French engraver
the fashion of the antique. SAINT-AUBIN died in poverty, after a
long illness, in Paris, 1807.

See T. H. Thomas : French Portrait Engraving, XVII. and
XVIII. Centuries; Adrien Mourean : Let Saint- Avbins. Also
French Drawings, J. P. H. Collection, Nos. 30, 31.

No. 2136. Jean Baptixte Lulli.

A print of Lulli, the composer, engraved from a drawing by
C. M. Cochin, after the bust by Colignon.

7 in. h. by 5 in. w. (0'17 by 0-12).

Presented by the Comtesse de Coulanges, 1907.

638 SAINT-AUBIN.

SAXNT-AUBXN (GABRIEL JACQUES DE), 1724-1780.

French School. GABRIEL DE SAINT-AUBIN, elder brother and
first master of Augustin, was born in Paris. Educated to become
an historical painter under Jeaurat he found the life of his own
time more important. He studied under Boucher also, but his
style was not concerned with nymphs or shepherdesses. His
drawings and etchings, and, presumably, his pictures correspond
more closely with the Venetian art of Guardi or Longhi. Among
his etchings are the Salon du Louvre, 1753. Le Bal d'Auteuil,
Le Charletan, Le Spectacle des Tuileries and Le Tonneau des
Tuileries. His chalk drawings have a nervous sensitiveness and
style that ally him with Watteau. GABRIEL was represented in
the Salon of 1774 with a design for a ceiling, Le Triomphe de
V Amour (1753), L'ecole de Zeuxis, Le Tremblement de Terre de
Lisbonne, Cortes de la Fontaine and Jeune Dame faisant reciter la
lecon. These pictures are specially mentioned in the Mercure de
France, Oct. 1774. A portrait of Mile. Dubois is also mentioned.
To the Salon of 1776 SAINT-AUBIN sent more paintings Parnassus,
Le Triomphe de Pompee, a Tentation de S. Antoine and his own
portrait. But at the present day none of his paintings, with the
possible exception of the self portrait, which the De Goncourts
thought they found in the possession of M. Destailleur, and the
picture in this Gallery is recognized. His main activities were in
illustration and design. He died in Paris, 1780.

See A. Moureau : Les Saint-Aubins. Also French Drawings :
J. P. H. Collection, Nos. 32, 33.

No. 2129. Une Parade.

In the centre two fencers on a platform in silvery light, with a
banner beyond. Immediately beneath them a man in deep orange
and blue, his arm round a woman's waist, and an old man in scarlet
gown. In the left centre, in brown shadow, a bench, a woman
sitting on it with two children standing up behind her, one holding
on to a tree. In the left foreground a tall slender woman standing
against a tree trunk, in deep tone, relieved against silvery light
beyond. Across the street, to the left a woman on a balcony,
with a pink contre-sol, watching the sword play. Heavy foliage
arched above. Silvery-brown lights, deep brown tone.

Canvas, 32 in. 7t. by 2& in. w. (0'81 by 0'63).

In the Baring Collection, ascribed to Gillot ; bought in London ;
identified by Mr. J. P. Hesehine as the original of a print, Les Theatres
Libertins. An unfinished proof of the plate, dated 1760, in the
Bibliotheque Nationale, identified by M. Schefer, is inscribed " Gabriel
de Saint-Aubin pinxt." This seems the only recognized oil painting
by GABRIEL SAINT-AUBIN. In Gazette des Beaux Arts, April 1908,
was published a copy of La Description de Paris, by Piganiol de la
Force (1742), that once had been in G. DE SAlNT-AusiN's possession.

SAINT-AUBIN SANTI. 639

Between 1770-79 he filled the volume with sketches; one the Alley
of Limes may be connected with this picture.

See The Burlington Magazine, LXIII., Vol. XIII.

Purchased from Messrs. Agnew ; Lewis Fund, 1907.

SAX.VX. See SASSOFERRATO.

SAX.VXATX. See ROSSX.

SAN DANIELE (PELLEGRINO r>A). See MARTINO
DA UDINE.

SAN SEVERING (LORENZO DA). See LORENZO.

SANTACROCE (GiROLAMo). See GIROLAMO.

SANTX (GIOVANNI), 1430-40 ?-1494.

Umbrian School. GIOVANNI SANTI, the father of Raphael,
was born at Colbordolo. Under whom he studied is not known ;
but he was certainly influenced by Piero della Francesca, (invited
to Urbino in 1469 by Fiorenzo di Lorenzo) and especially
Melozzo da Forli. His marriage with Magia Ciarla in 1482 allied
him with a family of means, who gave him employment ; next
year Raphael was born, and in 1485, on his father Santi's death,
GIOVANNI established a bottega in Dibino. He also worked in
Pegaro and Cagli. In 1491 he lost his wife Magia and their only
daughter, and in 1492 married Bernardina Parte. GIOVANNI
himself died August 1, 1494.

The rhymed chronicle, in which GIOVANNI celebrated the deeds
of Duke Federigo, expresses his sentiments about art and his
opinions on some of his contemporaries. There is an allusion to
Melozzo da Forli aone " to me so dear." SANTI'S characteristic
is tender and deep religious feeling. Many of his productions are

* The only known copy of this poem is a MS. in the Vatican Library, Codex
Ottobonianus, 1305. Notices of and excerpts from the poem have been given
by Pangilooni Eloglo di Qwvannni Santi, 1822: Puncinotti, in "Giornale
Areadico" X., 1831 : Oaye, in " Kunstbkitt." 1836 ; Passavant, Raphael (TUrbin et
son Pcre. Giov. Santi, Paris, 1860 ; Dcnnistoun, Mr.moirt of the Duke* of Urbino,
1851, where tho extracts are paraphrased in English verse by Professor Aug.
Schmarsow, in Geiger's " Vierteljahrscnrift" IL, 1887.

640 SANTI SARTO.

lost, and few are dated. A Visitation at Fano is probably early ;
more advanced is a Madonna with Saints in Sta. Croce there.
The Munioipio at Gradara has an Enthroned Madonna, with four
saints, dated 1484 ; a St. Sebastian pierced by the archers ; the
" Buffi " Madonna and Saints of 1489 ; a Dead Christ and four
other pictures are in Urbino. In the convent of Montefiorentino
is one of SANTI'S most important altar-pieces, an Enthroned
Madonna with saints and angels and the Count of Pianano
kneeling in prayer, dated 1489. GIOVANNI'S best known produc-
tion is the fresco in the Dominican church at Cagli (1482). An
Annunciation is in the gallery at Milan, a small but fine Pietd, at
Urbino, and two pieces are in Berlin.

No. 751. Madonna and Child.

The mother stands half-length behind a parapet leaning to the
left, three-quarters face. Her right hand supports the sleeping
Child's head ; her left holds His lei t ankle. His tunic is rose red,
her mantle dark blueish green, lined with pale leaf green which ia
repeated in the lining of the brown red curtains above. Behind
the Madonna a pale violet damask hanging ; landscape to left
and right. The background shows a rocky landscape with blue
mountains in the distance. Flesh tone, grey-gold.

Wood, in tempera and oil, 26 in. h. by 19 in. w. (0'67 by 0'48).

Formerly in the collection of Count Mazza at Ferrara. Purchased
from Signer Michelangelo Gualandi of Bologna, 1865.

SANZZO. See RAPHAEL.

SARTO (ANDREA DEL). 1486-1531.

Florentine School. ANDREA D'AGNOLO, commonly called
ANDREA DEL SARTO, was born at Florence, pupil of Piero di
Cosimo, and influenced by Fra Bartolommeo and Leonardo. After
the exhibition of Michelangelo's celebrated Cartoon of Pisa, in
1506, he fell under his influence too. Having earned a great
reputation in Florence, both in oil and in fresco, he was
invited by Francis I. to France. He arrived in Paris in 1518,
and was well received by the King ; he returned to Florence
in 1519, and having squandered money which Francis had
entrusted to him for purchasing works of art, never ventured
to return to France. He died at Florence of the plague on the
22nd Jan. 1531, aged only forty-five. His wife survived him forty
years. He is best known by his Holy Families in oil ; but he
painted also many extensive works in fresco, the most celebrated
those of the forecourt of the Santissima Annunziata at Florence,

SARTO SASSETTA. 641

1509-1514. Between 1512-1526 he painted the frescoes in the
Scalzo, Florence ; in 1521 the Caesar and the Tribute Money, at
Poggio a Cajano ; in 1529 the Sacrifice of Isaac, at Madrid. Many
examples of ANDREA are in Florence, in the Accademia, Pitti,
and Uffizi Galleries. From the easy excellence of his frescoes he
was called Andrea senza errori (Andrea without faults).* Vasari,
Jacopo da Pontormo, Franciabigio, and Domenico Puligo were all
scholars of ANDREA DEL SARTO. ANDREA was a brilliant
draughtsman, a charming colorist, and consummate technician.

No. 17. The Holy Family.

The Virgin in red tunic, brown hood, and greenish blue skirt,
seated full length in the centre. Three-quarters to the left facing
St. Elizabeth, who is seated on the left in white hood and dull
gold dress, holding the little St. John, standing naked, against
her knee. The Child Christ reclining on His mother's lap looks
up laughing and pointing to her breast with His left hand. Low
toned turquoise sky ; flesh tone, gold-brown.

Wood, 42 in. h. by 32 in. w. (1'06 by 0'81).

Formerly in the Aldobrandini Villa at Rome ; purchased for Mr.
Buchanan by Mr. Irvine in 1805. Holwell-Carr Bequest, 1881.

No. 69O. Portrait of a Sculptor.

Half length, the head three-quarters, the figure profile left. The
left elbow in a large grey sleeve rests on a table ; in the hands a
block. Black vest and cap. Grey-green background, flesh tone
brownish. Signed " A.A." Andrea d'Agnolo.

Canvas, 28 in. h. by 22 in. w. (0-71 by 0'55).

Purchased at Florence from the effects of Niooolo Puccini in 1862.

SASSETTA (STEPANO DI GIOVANNI), 1392-1450.
Sienese School. STEFANO DI GIOVANNI, known as SASSETTA,
was born about 1392. His masters are said to have been Paolo
di Giovanni Fei and Bartolo di Fredi ; his art was derived from
Simone Martini. In 1427 he was commissioned to design a font
for the Duomo Siena ; between 1430-32 he made an altar-piece
for the S. Bonifazio Chapel, in the Duomo. The earliest dated
altar-piece by SASSETTA is the Madonna Enthroned in the
Osservanza, Siena, of 1436 ; another early piece is the little
Madonna in the Museo, Pienza. In 1437 he engaged to paint a
large ancona for S. Francesco, Borgo San Sepolcro ; he was paid
for this in 1444. In 1447 he was ordered to complete the frescoes of

* See Robert Browning, Andrea dei Sarto.
17983 2 S

642 SASSETTA SASSOFERRATO.

the Roman Gate, begun by T. di Bartolo 30 years before. In the
Saracini Gallery, Siena, is an Adoration of the Kings, and at
Asciano, in the Propositura, a Biiih of the Virgin, of his early
time, and a Death of Mary. In the Saracini Gallery, Siena, also
are a triptych Madonna, and Saints, St. Martin and the Beggar,
and busts of SS. Mary and John. Among SASSETTA'S later works
are the altar-piece in S. Domenico, Cortona ; a Departure of the
Apostles in the Crespi Collection, Milan ; a Madonna in the
Church at Basciano ; a Madonna in the Berenson Collection,
Settignano, and a Book Cover in the Archivo di Stato, Siena, of
1440. A good example is in the Bowes Museum, Barnard Castle.
In his closing period, 1437-1439, SASSETTA has been regarded as
distinctly influencing Piero della Francesca. He died about 1450,
in great poverty, having caught a fatal chill working on the
Roman Gate.

See Emil Jacobsen : Das Quattro Cento in Siena. Berenson :
Central Italian Painters. The Burlington Magazine, vii. and viii.,
vol. iii. Also Langton Douglas : The Burlington Magazine, iii. T
vol. i.

No. 1842. Heads of Angels.

Fragment of a fresco of three angels' heads, with gold Nimbi.

On the left a head and shoulders inclined to the right, pale blue
tunic ; on the right a head and one shoulder in a pale rose tunic,
three-quarters to the left. Behind and between these heads the
angel, full face, looking up, in dull brick-red tunic. Slate grey
background : flesh tone clear and warm.

On plaster, 10 in. h. by 14| in. 10. (0'26 by Cr37).

A fragment from a fresco of the Coronation of the Virgin over a gate
at Siena. The fresco was finished by Sano di Pietro.*

Henry Vaughan Bequest, 1900.

SASSOFERRATO, 1605-1685.

Roman School. GIOVANNI BATTISTA SALVI, was born fat
Sassoferrato. He was the pupil of his father, Tarquinio Salvi,
and was a follower of the Carracci, and especially Domenichino,
in Naples, and their scholars. His works bear some resemblance
to Carlo Dolci's. He made many copies. SASSOFERRATO died at
Rome, April 8, 1685. At his best he is " an echo of the early
Raphael minus his reserve of force and principle of life."

No. 200. The Madonna in Prayer.

Half length, full face ; the hands joined, the head bowed.
Creamy white hood, cobalt blue mantle and rose pink tunic.
Flesh tone, pale rose grey.

Canvas, 27f in. h. by 22 in. w. (0'70 by 0'57).

Bequeathed by Mr. Richard Simmons in 1846.

* Information kindly supplied by Mr. B. Berenson.

SASSOFERRATO SAVOLDO. 643

No. 740. TJie Madonna with tlie Infant Christ.

Seated, profile left, in rose pink and greenish-blue, in a porch :
the Child half kneeling in her lap. Landscape background on the
left, St. Joseph approaching in the middle distance through an
arch. Flesh tone, pale greyish.

Canvas, 38 in. h. by 29 in. w. (G'96 by 0-73).

There is an etching of this composition by the Cav. Ventura
Salembeni, who died in 1613 ; therefore it cannot be Sassoferrato's
design.

Lately in the collection of Pope Gregory XVI., to whom it was pre-
sented by the town of Sassof errato, that Pope's native place. Purchased
at Venice from Signor Jenne in 1864.

SAVOLDO (GIOVANNI GIROLAMO), 1480?-1550?

School of Brescia. Little is known of SAVOLDO'S life.
He was born at Brescia. In 1508 he was in the Guild at
Florence, and seems to have worked for a short time in Treviso.
1521. In 1526 he was in Venice, where he still was in 1548.
His manner is derived from the older school of Bellini, and the
new of Giorgione and Titian. An important piece by SAVOLDO
is the great altar-piece in the Brera. At Berlin are a Deposition
and a Mary Magdalen, akin to the example in this Collection.
Other examples are at Hampton Court (signed 1527), the Louvre,
the Villa Borghese, the Layard Collection, the Mond Collection
and the Lichtenstein, Vienna.

See Crowe and Cavalcaselle, North Italy, 1912, HI, 308 et aeq.

No. 1O31. Mary Magdalene approaching the Sepulchre.

Half length figure, profile to the right, the head bent and
looking out towards the spectator from under a hood of grey
silk. The right hand, muffled in the drapery, is raised to the chin.
Buildings are in the right background, the sepulchre with the vase
on the left ; open landscape and sky above.

Canvas, 34J in. h. by 31 in. w. (0-87 by 0'78).

A picture of very similar character, but with different colouring
and treatment of the accessories, has long been in the Berlin Oakery,
and is signed with SAVOLDO'S name. The picture in this Gallery
answers the description given by Ridolfi of a picture by SAVOLDO
which in his time was in the Casa Averoldi at Brescia. A copy IB
at Warwick Castle. Formerly in the Casa Fenaroli at Brescia. Pur-
chased from Signor Giuseppe Baslini of Milan m 1878.

282

644 SCHALCKEN.

SCHALCK.EN (GODFRIED), 1643-1706.
School of Leiden. SCHALCKEN was born at Made (Dordrecht) ; he
studied painting first under Samuel van Hoogstraten in Dordrecht
between 1656-62, and then under Dou at Leiden. In 1665 he was
back in Dordrecht, and married 1679. In 1691 SCHALCKEN was in
the Hague Confrerie ; in 1692 he came to England ; and 1698-99
in the Hague again. Later, in 1703, he was employed at Diisseldorf
by the elestor Johann Wilhelm. He afterwards retired to the
Hague, where he died November 16, 1706. SCHALCKEN painted
pictures of candle-light on a small scale, and daylight effects
occasionally of strong sunshine. Some of his numerous portraits
are of life size, e.g. the William III. by candle-light in the
Rijksmuseum at Amsterdam : the same king by daylight at The
Hague (1699) ; a Princess Palatine in the Augsburg Gallery
(1703) ; and two large subjects, not portraits, respectively at
Dresden and Brussels.

No. 199. Lesbia weighing Jewels against her Sparrow.*

Half length, seated, holding the scales to the left ; in the hair
a plume. Her bodice is orange, her skirt deep blue : flesh tone
creamy.

Wood, 6J in. ft. by 5 in. w. (0-16 by O12).

Sm. 47. De Groot, 91. Sales, Greffier Fagel, 1801, Panne, 1813.
Sold to Simmons by Smith. Bequeathed by Mr. R. Simmons, 1846.

No. 997. An Old Woman.

Standing, three-quarters length, profile right, inside an open
window scouring a brass kettle. She is dressed in black and
yellow and wears eyeglasses ; a brass candlestick, a broken earthen
pot on the left ; a butterfly on the right. Flesh tone golien.
Signed G. Sckalcken.

Oak, 11 in. h. by 8 in. to. (0-27 by 0'21).

De Groot, 117. Exhib Brit. Inst. 1861 ; in the Wynn Ellis Coll., 1861.

No. 998. A Duet.

On the left a lady with music, and on the right a man with
a guitar seated at a table covered with a Turkey rug ; a pink
rose is on the table. The lady's bodice is dark sea green, trimmed
with white fur, her skirt cobalt blue. A picture hangs in the left
background. Flesh tone brown-grey. Signed G. Schalcken.

Oak, 10i in. h. by 8 in. w. (0"26 by 0'20).

Sm. 5. De Groot, 159. Sales, De Vence, 1760, L. de Jully. Paris,
1770, De Choiseuil, 1772, Randon de Boiaset, 1777. Destouctes, 1794.
? in llanbury-Tracey Coll., 1822.

No. 999. A Candle Light Scene.

A woman seated in the centre on the edge of a bed, a wine glass
* Catullus, Carmen lit

SCHALCKEN SCHEFFER. 645

in her left hand. A candle on the right illumines her. On the
left in shadow and profile right, an officer giving her jewellery.
Flesh tone coppery gold.

Copper, 6 in. //. by 7J in. w. (0-15 by 0-18).

De Groot, 253.

Nos. 997. 998. 999, Wynn Ellis Bequest, 1876.

SCHEFFER (ARY), 1795-1858.

French School. SCHEFFER was born at Dordrecht, and first
taught "by his father J. B. Scheffer. In 1810 he sent a portrait to
the Amsterdam exhibition, and next year, on his father's death,
went to live in Paris. There he studied, with his brother Hendrik,
under Guerin. In 1816 he won the Grand Prix at Antwerp, and
soon gained a reputation in Paris with small genre pieces such
as Orphans in a Churchyard. In 1822 he exhibited The Shades of
Francesco, and Paolo, and St. Louis and the plague-stricken Soldiers,
for St. Fran9ois d'Assise, Paris. In 1826 he was drawing master
to Louis Pailippe'a children. In 1829 he visited Holland and
Belgium, studying Rembrandt and the Flemish masters ; to this
period belongs his Gaston de Foix (1824), at Versailles ; and
Charlemagne dictating the Ordinances (1829), also at Versailles.
SCHEFFER, who had a great influence in Pans, is to be honoured
for his encouragement of Rousseau during the Romantic trouoles
of 1830. He was also considerably to the fore in political affairs,
and a warm adherent of Louis Philippe. In 1835 he exhibited
Beatrice and Francesco da Rimini ; Ruth and Naomi and Christ the
Consoler, of that period, are typical examples. The SS. Augustine
and Monica in this Collection is a fair gauge of the style and
temper of his art. SCHEFFER, who was an Officer of the Legion
of Honour, and who had refused the Grand Cross of a Com-
mander, died at Argenteuil 1858.

No. 1169. Portrait of Mrs. Robert Holland.

Head and shoulders, the head leaning on the right hand is
turned slightly to the left, the eyes looking up. The right hand
lies across the waist. Dressed iu a white linen tunic open at the
neck, and a pink mantle thrown over the left shoulder. Flesh
tone creamy rose. Background of blue sky. Signed Ary Scheffer,
Paris, deccmbre 1851.

Canvas, oval form, 30* jn. h. by 22* in. w. (0'77 by 0'56).

Bequeathed by Mr. Robert Hollond, 1885.

No. 117O. SI. Augustine and St. Monica.

At a balcony open to the sky, St. Augustine on the left in a red,
tunic and brown-red cloak sits by his mother, who holds his left

646 SCHEFFER SCHIAVONE.

hand clasped in hers. Both, nearly profile right, are looking up-
waids. St. Monica is dressed in a white habit.

Canvas, 53J in. h. by 41 in. w. (T35 by 1'05).

Bequeathed by Mr. Robert Hollond, 1885.

SCHIAVONE, 1522V-1563.

J& Venetian School. ANDREA MELDOLLA, called SCHIAVONE,
" the Slavonian," was born at Sebenico or Zara, in Dalmatia, about
1522 ; his parents migrating to Venice, brought him with them.
ANDREA was early employed at very small remuneration to 'paint
the outsides of houses. He was Titian's pupil, and by him
employed to paint three ovals in the library of St. Mark. He
was also influenced by Parmigianiuo. ANDREA is an attractive
artist ; Tintoret said that he made up for the weakness of his
drawing by the beauty of his colour, and that that painter was to
blame who did not possess one of his works. Pictures by
SCHIAVONE are numerous : examples are at Berlin, Hampton
Court, Bridgewater House, St. Petersburg, Venice (the Accademia,
Quirini Stampalia, and Palazzo Reale), and many in Vienna. He
died 1582.

No. 1476. Jupiter and Semele.

On the right Semele lying on her face on a couch with deep
crimson draperies. In the centre Jupiter descends from the sky
surrounded by flames and clouds.

Wood, 8| in. h. by 25J in. w. (0-22 by 0'64).

Bought from Lord Leighton's Collection, 1896.

SCHIAVONE (GREGORIO), 1435-6 after 1474.
School of Padua. GREGORIO SCHIAVONE. properly GIORGIO
CHIULINOVICH, born at Sebenico, entered the service of
Squarcione, 1456. In 1462 he had retured to Dalmatia, and in
1474 was again in Padua. But few pictures by him are recognized.
At Bergamo are a S. Alessio and S. Jerome, in Berlin a Madonna,
at Padua a polyptych, and two pictures in the Duomo ; in the
Andre Collection, Paris, a Madonna enthroned between SS. Peter
Martyr and Anthony, and at Turin and Venice are others. There
is affinity between Schiavone's style and Crivelli's.

No. 63O. The Madonna and Child enthroned, with
various Saints.

In the centre-piece the Madonna seated full length, nearly full
face, beneath a festoon of flowers, and between two pomegranates;

See Crowe and Cavalcaselle, Xorth Italy, 1912, H, p. 45,

SCHIAVONE SCOTT. 647

the Child standing on His right leg on her right knee ; at her feet
a peach. Her tunic is rose pink, her mantle deep green. Above,
the dead Christ standing in His tomb, supported by two angels.
In the left division SS. Anthony Abbot and Catherine, above ;
below, SS. Bernardino and Anthony of Padua. In the right,
SS. Sebastian and Cecilia, above ; below, SS. John Baptist and
Peter Martyr. Signed, OPUS. SCLAVONI. DISIPUH. SQUAKCIONI. S.

Wood, in tempera, in ten panels. Centre picture, 38$ in. h. by
13f in. w. (0-92 by 0'34) ; upper picture, 15 in. h. by 10J in. w. (0-38
by 0-26) ; side pictures, 26 in. h. by 9 in. w. (0'66 by 0-22); upper aide
pictures, 12 in. h. by 9 in. w. (0'30 by 0'22).

1'ormerly in the Dennistoun Collection, differently arranged. Sale,
June 14, 1855 (20). Bought by Wilson.

Purchased in Paris from M. Edmond Beaucousin, 1860.

No. 9O1. Madonna and Infant Christ.

Half-length, nearly profile left, the Virgin stands under an
ornamented arch festooned with fruits. She holds with both
hands the Infant Christ, who stands on the parapet, an apple in
His right hand, His left holding her hair. Below, left and right,
are two small angels holding fruit that one of them offers
in a basket ; a peach lies immediately under the Child's feet.
Behind hangs a curtain, beyond which, on the left, is seen a
glimpse of sky and landscape. The Virgin's tunic is deep blue,
her mantle a golden rose pink. Flesh tone, dull grey-brown.

Wood, in tempera, 22 in. h. by 16* in. w. (0-55 by 0-41).

Purchased from the Alexander Barker Collection, 1874.

SCOTT (SAMUEL), .... ?-1772.

English School. SAMUEL SCOTT, the best marine painter
of his time in England, was born early in the eighteenth
century. He painted views of London and Westminster Bridges,
the quay at the Custom House, and other views, into which he
introduced buildings with considerable skill, his figures being
judiciously chosen and well painted. He was a friend of Hogarth.

648 SCOTT.

Many of his pictures were in the Strawberry Hill Collection.
Thomas Hudson's portrait of SAMUEL SCOTT is in this Gallery
(No. 1224). He exhibited at the Society of Artists and the Free
Society between 1761 and 1765. Towards the end of his life SCOTT
resided at Bath, where he died of gout, October 12, 1772.

No. 313. Old London Bridge, 1745.

The view is seen from the Surrey side.f

This bridge, of which the last remnant was removed in 1832,
was commenced by Peter of Colechurch in 1176, and occupied
thirty-three years in building. The houses as seen in the picture
were built after the great fire in 1666, and they were all removed
between the years 1754 and 1761.

Canvas, 11 in. A. by 21J in. w. (0-28 by 0-54).

Engraved by J. B. Allen.

Robert Vernon Gift, 1847.

No. 314. Old Westminster Bridge.

In the middle distance four arches of the bridge are seen ; in
the foreground are sailing vessels ; buildings on the river bank to
the right.

This bridge was built by Charles Labelye, a Swiss, at the cost
of 390,000?. : it was commenced in 1739, and opened to the public in
1750. The first stone was laid by Henry, Tenth Earl of Pembroke.

Canvas, 11 in. ft. by 21J in. w. (0*28 by 0-54).

Engraved by J. B. Allen.

This is a companion picture to the view of London Bridge (No.- 313)
and is said to have been painted in the same year ; the bridge was
however, not then completed.

Robert Vernon Gift, 1847.

No. 1223. View of a portion of Old Westminster
Bridge.

The whole of one arch and part of another. Under the former
passes a heavily-laden barge rowed by two men and steered by a
third in a scarlet coat. On the parapet and cornice above one of
the piers, other figures are introduced. In the distance is seen
the left bank of the river lined with wharves and warehouses.

Wood, 10 in. A. by 15 in. w. (0'26 by 0'39).

Clarke Fund ; 'purchased from Messrs. H. Graves & Co. in 1886.

* H. Walpole : " Anecdotes of Painting in England" revised by Wornum.
1849, Vol. II., p. 709.

t R. Thompson: " Chronicles of Old London Bridge" 1827. p. 501, 'says
the view is painted from St. Olave's Stairs, and adds that it was" also
engraved by G. W. Bonner.

SCOTT SCHONGAUER. 649

No. 1328. View of Westminster from the Thames.

Taken from the centre of the river, about a quarter of a mile
north of old Westminster Bridge.

On the right bank is the old water-gate known as York Stairs,"
with a party entering a pleasure boat from the steps. Above this
rises the lofty, obelisk-like water tower, erected in the early part
of the last century to supply the neighbourhood with water pumped
from the river. Beyond are houses aud wharves with barges
moored. In the distance are seen Westminster Abbey and Hall.
In the foreground to the right is a barge laden with grain ; on
the left are a sailing vessel and boat, with wherries, &c. plying
in the river. Above, a light blue sky relieved by fleecy clouds.

Canvas, 23J in. h. by 43 J in. w. (0'59 by MO).

Wheeler Fund ; purchased from Messrs. P. and D. Colnaghi in 1891.

SCHONGAUER (MARTIN), 1445-91.

German School, XVth century. MARTIN SCH'JN was born at
Colmar, about 1445. In 1465 he matriculated at Leipzig Univer-
sity, and by 1469 was a householder in Colmar ; two drawings of
this year are in the British Museum. He began as a goldsmith
and engraver. His earliest known painting is the Madonna of the
Rose Garden (1473), in St. Martin's, Colmar, which shows the
distinct influence of Roger van der Weyden. Lambert Lombard,
in writing of SCHONGAUER, describes him as Van der Weyden's
pupil. In 1489 SCHONGAUER was a citizen of Breisacb, where he
died 1491. He seems to have painted his own portrait in 1483.
No signed picture of SCHONGAOER'S is known. At Berlin are a
Nativity (triptych) and two altar shutters attributed to him, and
at Munich and Vienna two small Holy Families. In the Colmar
Museum are an Annunciation, a Madonna in Adoration, and a
S. Anthony. There are over 100 engravings signed by him ; most
of them are in the British Museum.

See Bryan's Dictionary, Vol. V. (Campbell Dodgson). Also
Die Alt Deutsche Malerei, Plates 48, 49.

No. 723. The Virgin and Child.

The Virgin seated full length in the centre, three-quarters left.
Her tunic is blue emerald green, her mantle rose vermilion. The
Child is seated naked in her lap, looking to toe left at a pink in
her right hand. Behind, a wattle hurdle, and a cherry tree
slightly to the left. Clear milky sky, a green hill on the right
topped by trees. Flesh tone, golden rose.

Wood, 12 in. h. by 8j in. w. (0'30 by 0-22).

Presented by Queen Victoria, at the wish of the Prince Consort, 1868.

50 SEBASTIANO DEL PIOMBO SELLAIO.

SEBASTIANO DEL PZOMBO. (See PZOMBO.)

SEGNA, recorded 1305 to 1326.

Sienese School. SEGNA DI BUONAVENTURA, the pnpil of Duccio
di Buoninsegna, painted at Siena between the years 1305 and
1326. His early works show the influence of Duccio, such as his
signed Virgin and Saints in the Accademia, Siena ; a Madonna in
S. Spirito, Siena, and a Madonna in the Loeser Collection. His
later works, such as the " Giusgioli " Madonna, now in the Siena
Gallery, the Madonna in S. Francesco, S. John Baptist and S.
James in the Pieve of S. Giovanni d'Asso, and the SS. Ansano
and Galgano in the Siena Accademia, reveal Simoni Martini's
influence. His works are exceedingly rare ; in the Gallery at
Siena is a portion of an altar-piece, containing the Virgin and
three Saints, in which Segna me fecit is inscribed on the sword
of St. Paul, one of the Saints represented.f In the same col-
lection are two portions of a picture once in the Palazzo Communale.
The church of Castiglione Fiorentino, contains a Madonna sur-
rounded by angels, with four small figures of worshippers below.
This has quite the form of the Madonna in the Rucellai Chapel
at Florence. It is inscribed Hoc opus pinxit Segna Senensis. In
1317 SEGNA painted a Madonna and Child for the church of the
convent of Lecceto, some miles from Siena : it is now in the
neighbouring church of S. Lionardo.i

See Crowe & Cavalcaselle, Murray, 1908, III., pp. 26-28.

No. 567. Christ on the Cross.

The Saviour crucified ; the head hanging to the left. With the
Virgin and St. John at the extremities of the side limbs of the
cross. A crucifix, with a projecting nimbus around the head of
Christ ; inscribed above, Ins. NAZARENUS REX JUDEORDM.

Wood, in tempera, 85 in. Ji. by 72 in. w. (2-15 by 1'82).

Formerly in the Vanni Collection at Siena. Purchased at Florence,
from the Lombardi-Baldi Collection, in 1857.

SELLAIO (JACOPO DEL), 1446-1493.

Florentine School. JACOPO DEL SELLAIO, son of Arcangiolo di
Jacopo, " Sellaio " (Sadler), was probably fellow pupil with Botti-

Milanesi Opere di G, Vasari, I. pp. 853-4. note,
t Engraved in Rosini's Storia della
vol. ii. p. 4.

ved in Rosini's Storia della Pittura Italia-na &c vol. ii. p, 165 and Ed.
J Milanesi, Ice. cit. See also The Burlington Magazine, Dec. 1912.

SELLAIO. 651

celli in Fra Filippo's bottega. In 1472 he was member of the
S. Luke's Guild. In 1480-81 he was yet living, with a little
on of 2 years old, with his father and mother and a partner,
Filippo di Giuliano, who also was in the S. Luke's Guild, and con-
tinued in Florence till 1498. JACOPO painted several altar-pieces
for Florentine Churches, of which five exist. A document of
1473 alludes to paintings now in Sta Lucia, Florence, St, Lucy,
The Virgin, and St. Gabriel, panels characteristic of SELLAIO'S
early manner. In general conception they are Fillipesque. In 1483
JACOPO was commissioned to paint the altar-piece for S. Friano,
which now is in the Berlin Gallery. One of his last works is the
altar-piece, painted after 1490, now in the Sacristy of San
Frediano. He died 1493. There are two altar-pieces by JACOPO
in the Uffizi, a pieta with SS. James, Francis, Michael, and Alary
Magdalene, and a Coronation of the Virgin (c. 1480). JACOPO is
typical of several minor Florentine eclectics ; at various times he
imitated his master Fra Filippo, Bart, di Giovanni, bis fellow
pupil Botticelli, Filippino, Ghirlandaio, and even older masters
such as Ucello and Baldovinetti. He painted various cassone,
of which examples are in American Collections. Other galleries with
examples are : Lindenau Museum, Budapest, Academy and Pitti,
Florence, the Liverpool Art Gallery, Munich, and the Louvre.

See the Burlington Magazine, vol. x., p. 205 ; vol. xiii.,
pp. 210-213. Also Berenson : Florentine Painters.

No. 916. Venus reclining with Cupids.

Venus reclines across the foreground, her feet on the right.
Her right elbow on a rose coloured cushion, her left arm round a
Cupid's shoulders ; he stretches his right arm across her waist.
In his left hand a bunch of grapes resting on Venus' hip. To
the right two Cupids, one kneeling between the goddess' legs,
his arms in a rose basket, the other" standing behind him. Both
turned profile right look back to the left. A pillar on the extreme
left and right. Grey-gold background of hills and a winding
stream to the left. Flesh tone, gold-grey. Probably painted for
a piece of furniture.

Wood, in tempera, 36 in. h. by 68 in. w. (0'92 by 1'72).

Formerly Catalogued " TUSCAN SCHOOL." Purchased from the
Alexander Barker Collection, 1874.

No. 2492. Virgin and Child, with Angels adoring.

A tondo. The Virgin kneels, three-quarters right in the centre ;
her tunic is crimson, her mantle blue-preeu. Behind her St.
Joseph seated, his head on his right hand, wearing pale rose and
blue green. Before her on the right the Child sitting on the
grass, supported by a kneeling angel, in light grey and green.
Two more angels kneel beyond the Child, in orange gold, blue

652 SELLAIO SHEE.

green and crimson. Light grey blue sky and grey green land-
scape, two square pillars on the left. Pale tone, flesh chalky.

Wood, a tondo, 49 in. diameter (1'24).

George Salting Bequest. 1910.

SHEE (SiR MARTIN A.), P.R.A., 1769-1850.
British School. MARTI x ARCHER SHEE, the son of a merchant,
was born in Dublin on December 20, 1769.* He was first taught
in Dublin, being admitted as a pupil of the Dublin Society, in which
establishment he obtained, at the age of twelve, the three chief
medals. He came to London in 1788, and two years later, on the
advice of Sir Joshua Reynolds, he entered the Royal Academy
schools. He soon became known by his portraits of well-
known actors, among which may be mentioned the Portrait of
Lewis (No. 677) now in this Gallery. In 1798 "he was elected an
Associate of the Royal Academy, his diploma picture being
Belisarius. In that year he took No. 32, Cavendish Square,
the house which had been occupied since 1775 by Romney, and
earlier by Francis Cotes. In 1800 he became an Academician,
and at the death of Sir Thomas Lawrence, in 1830, was elected
President of the Royal Academy and was knighted. Between
1789 and 1845 he contributed three hundred and twenty-four
works, mostly portraits, to its exhibitions, and in the latter year
that body voted him an annuity of 300Z. as an acknowledgment
of the great services he had rendered during his Presidency .f In
1805 he published "Rhymes on Art"; in 1809, a poem entitled
" Elements of Art"; in 1814, " The Commemoration of Reynolds" ;
and in 1824, " Alasco" a tragedy. The addresses which he
delivered to the students of the Royal Academy between 1831 and
1845 were also published. He died at Brighton, 1850.

No. 677. Portrait of Lewis as " The Marquis " in
" The Midnight Hour."

(LENT TO DUBLIN.)

Full length, standing three-quarters right, the right arm akimbo.

William Thomas Lewis, the comedian, known as " Gentleman
Lewis," was born at Ormskirk, 1747 or 1748, and died, 1811.

Canvas, 93 in. h. by 57 in. w. (2'36 by 1-44).

Exhibited at the Royal Academy in 1792 (No. 205) ; the Corporation
Art Gallery. Dublin, 1908.

Bequeathed, with 10.000, by the actor's youngest son, Thomas
Denison Lewis, who died in 1849.* The portrait was allowed to remain
in the possession of Miss Lewis until her death in December, 1862.

* This is the date given in the " Life of Sir ]>[. A. Shee" by his son,
published in 1860. The date mentioned in the " Art Journal^ 1849. p. 12,
is now rejected.

t J. E. Hodgson and F. A. Eaton : " The Royal Academy and its
Members." 1905, p. 286.

SHEE SIENESE SCHOOL. 653

No. 368. Portrait of Thomas Morton, Dramatist.
Head and shoulders, turned slightly towards the right front.
Canvas, 30 in. h. by 25 in. w. (0'76 by 0'63).
Robert Vernon Gift, 1847.

SIBERECHTS (JAN), 1627-1703.

School of Antwerp. JAN SIBERECHTS was born in Antwerp,
where in 1649 he was a master in the Guild. In 1652 he married.
He came to London 1672, where according to Vertue he died
about 1703. He was patronised by the Duke of Buckingham, and
painted several views of Chatsworth ; at Newstead Abbey
Walpole records " a landscape in the style of Rubens' School and
a prospect of Longleat, not unlike Wouwerman. He is said to
have used water-colours more than oils. Pictures by SIBERECHTS
are at Antwerp, Budapest, Brussels, Copenhagen, Munich, Paris,
and Yienna.

No. 2130. The Water Lane.

A market cart, loaded with vegetables and driven by a boy in
a red jacket riding on a grey horse, splashes through a water lane
shaded by oaks and willows. An old woman in a conical straw
hat rides in the cart. A girl in a white cap is wading through the
water driving four cows.

Canvas, 25f in. h. by 21} in. w. (0'65 by 0'05).

Presented by Mr. J. P. Heseltine, 1907.

SIENESE (?) SCHOOL. XIV. OR EARLY
XV. CENTURY.

No. 1317. TJie Marriage of the Virgin.

In the centre the High Priest stands between slender pillars in
a vaulted chapel. The Virgin stands profile left, on the right ;
St. Joseph on the left, profile right. The High Priest joins their
hands. Behind Mary stands St. Anne, seen just within the centre
portion of the picture. Behind St. Joseph a disappointed suitor
raises his right arm, behind the left pillar. Beyond the pillar on
the right two women standing profile left, behind Mary ; beyond
that on the left three more suitors, standing profile right, one
breaking his rod, one with his right hand almost touching fit.
Joseph's back. The Holy Spirit hovers above St. Joseph's
flowering rod. Drapery colours, pale rose-uiagenta, pale apple
green, and blue. Flesh tone, greyish.

Wood, 16$ in. h. by 13 in. w. (0-41 by 0'33).

"Clarke Fund." Purchased in London from Mr. A. Borgen, 1890.

654 SIEXESE SCHOOL SIGNOEELLI.

SIENESE SCHOOL. LATE XV. CENTURY.

No. 1108. TJie Virgin Enthroned; with Six Saints
below.

In the upper part the Christ sits on the left, full-length, three-

S darters right, the Virgin on the right, full-length, three-quarters
}ft. They carry orbs and sceptres, and are robed in blue and
heather purple. Beneath stand six saints ; three on the lefc,
profile right, three on the right, profile left. SS. Catherine of
Alexandria and Siena, and Barbara, on the right, SS. Francis,
Zenobius (?) and John Baptist on the left in blue, vermilion, grey,
and heather-purple.

Wood, 171 in- * by 13 in. w. (0"44 by 0-33).
Purchased in Eome, 1881.

SIGNORELLI, (LuCA), 1441-1523.

Umbro- Florentine School. The son of Egidio di Ventura,
SIGNORELLI was born at Cortona about 1441 and was the pupil of
Piero della Francesca, with whom he worked in Arezzo, and much
influenced by Antonio Pollaiuolo. He was painting in Arezzo in
1472 and in Citta di Castello in 1474. LUCA visited Rome about
the year 1482, and here painted two frescoes from the history
of Moses in the Sixtine Chapel. By 1484, when the Roman
frescoes were apparently completed, he was back again in
Cortona, engaged ~ to paint an altar-piece for the chapel of
St. Onof rio in the Cathedral of Perugia, which is still preserved.
In 1488 SIGNORELLI was made a citizen "of Citta di Castello, and
at the same time elected a magistrate of his native place ; he
served in this capacity, at intervals, for the remainder of his long
life. His chief works, the frescoes of The Antichrist, Hell, The
Resurrection, and Paradise in the Cathedral of Orvieto, were
painted after LUCA'S sixtieth year. One contract was signed on
the 5th April, 1499, another on the 27th April, 1500, and the
frescoes were uncovered on the day of the Assumption of the
Virgin, August 15th, in the year 1502. These great works were
executed ten years before the ceiling of the Sixtine Chapel by
Michelangelo, and about forty years before the completion of the
Last Judgment, on the end wall of that chapel, by the same
master, who shows in these works how he was influenced by
LUCA SIGNORELLI. The great frescoes in the Convent of
Mont Oliveto di Chiusuri, between Siena and Rome, illus-
trating the life of St. Benedict, were commissioned in 1497.
Other works to which dates can be assigned are a Madonna and
Saints (1508), Brera, Milan ; The Prophets (1499), Duomo, Orvieto ;
a Pieta (1500-04), there too ; Crucifixion and Pentecost (1494) in
S. bpirito, Urbino ; three pieces of 1491 in Volterra ; a Pieta.
with predelle (1502), and a Communion of Apostles (1512), at

SIGNORELLI. 655

Cortona ; the Madonna with Saints (1515) in this Gallery ; and
a Madonna and Saints (1515) in S. Domenico, Cortona. SIGNOR-
ELLI died in Cortona 1523, having lived in splendid state, more
like a grand signor than a painter. His signature is various
LUCAS AEGIDII SIGNORELLI CORTONENSIS, MDII. ; LUCAS SIGNOR-

ELLIUS CORTHONENSIS PlNGEBAT ; AOVKA2 O KOPITIO ll!l lo 1 1 ; I ;

and LUCAS CORITAS. His son, Antonio, and nephew, Francesco
Sicrnorelli, were both painters. SIGNORELLI stands among the
great mural painters ; a master of deep emotion, with a splendid
sense of scale and expression of movement.

See R. Vischer Luca Signorelli und die Ital. Renaiss., 1879 ;
Berenson : Central Italian Painters ; also, Die Frilh Renaissance
Der Italienischen Malerei, Jena, 1909.

No. 91O. The Triumph of Chastity.

In the foreground, Cupid on his knees bound by maidens,
his darts seized, and his bow broken : three armed men on the
right. In the left distance another group of maidens in red, pale
lavender blue, and gold and white, seizing the blue-winged naked
god. In the centre distance, Chastity triumphant in a chariot,
Love pinioned before her. Dull grey-brown tone. Foreground
draperies, lilac blue, pale gold and grey, aud red. Signed " LUCAS
CORITIVUS."

A fresco transferred to canvas, 18J in. A. by 52 in. w. (1'23 by 1'32).

Painted in the Pandolfo Petrucci Palace at Siena about 1509 ; trans-
ferred from the wall to canvas, in 1844, by Pellegrino Succi, for
M. Joly de Bammeville. Injured before removal from the wall, and
further in the process ; the foreground figures have been restored.
Purchased from the Barker Collection, 1874.

No. 1128. The Circumcision.

The Virgin seated full length, three quarters right, in the centre,
her bead bent. She has a dull ochreous tunic and dark green
skirt. The Child (perhaps by Sodoma) sits on her lap leaning for-
ward to the right, where the priest kneels, profile left, in deep
blue-green. Behind the Mother a woman in rose, full face, leaning
forward ; to the right Simeon, with a halo, his hands raised,
looking up to the right front. In the left foreground an old
man, profile right, stands leaning on his Btaff ; he wears golden
olive green and blood-orange. On the rig'at a woman, her back
to the spectator, her head profile left, standing with her left
foot behind her ; her robe is deep mulberry. Two other figures in
the left background, one on the right, in a vermilion cassock and
striped gold, green, and red hood on his shoulders, and a turban
striped in red, white, crimson, and gold. A vaulted arch in the
centre background ; the floor is paved in mulberry, orange, and
blue-green marble slabs ; an effect of sunlight and shadow on the
marble.

Wood, 102 in. A. by 71 in. w. (2-59 by 1'80).

656 SIGNORELLI.

Presumably the altar-piece described by Vasari (ed. Milanesi-
III. p. 685. and note), which in his day was in the church of
S. Francesco at Volterra. Vasari indeed mentions it as a fresco ;
but he has made many such mistakes. He states that it was in good
condition with the exception of the figure of the Child, which had
suffered, and had been repainted by Soooma. In this picture the
position of the legs has been altered ; their original action is distinctly
shown by the incised outline still visible through the deep blue colour
of the Virgin's robe. Purchased from the Hamilton Palace Collection.
1882.

No. 1133. The Nativity.

The tiny Child lies on His back in the centre foreground.
Behind Him His Mother, of peasant type, kneels full face in deep
blue-green, lined with dark apple-green. Three angels kneel
behind her. To the left the shepherds ; two kneeling in adora-
tion, two standing, one, looking to the left, wears a straw hat,
the other is in a slate-grey mantle and dull red tunic. St. Joseph
sits profile left on the right, in crimson and deep orange, his hands
joined ; behind him the ass and ox. A figure seen high up
through a rock arch. In the left centre background the people
coming to be registered for the census, in a pillared hall. To
the left the shepherds receiving the tidings. Flesh tone, red-
brown. Signed :

I VC F- D COR TONfi -P'O

Wood, 86 in. h. by 67 in. w. (2-18 by T71).

Formerly in the possession of the Marchese Mancini. of Citta di
Caste! lo, and probably the same which adorned an altar in S. Francesco
in that town. See Milanesi's Opere di G. Vasari, <kc., III., p. 686, and
note 3. See also Crowe and Cavalcaselle, History, <tc.. III., p. 29.
" Lewis Fund," purchased from Sgr Barbini at Florence in 1882.

No. 1776. The Adoration of tJie Shepherds.

In the centre the Virgin clad in a grey-blue mantle kneeling,
profile left, before the Infant Saviour who lies on a little straw
on the bare ground. St. Joseph sits behind her to the right, and
between the two figures the stable is seen with the heads of an
ox and an ass looking out. On the left three shepherds in
adoration before the Infant. Behind, a landscape of rocks and
thin trees, with mountains in the distance seen beyond a broad
river to the left. Gold-grey tcCne.

Wood, 6| in. h. by 25f in. w. (0'17 by 0'64).

SIGNORELLI SMITH. 657

Originally part of a predella ; afterwards in the Casa Ferretti
at Cortona, the last owner being Count Colonna Ferretti.
Purchased from Messrs. P. & D. Colnaghi, 1900.

No. 1847. The Virgin and Child Crowned by Angels,
with attendant Saints.

Above, in the centre, supported by Cherubs' heads on clouds,
stands the Virgin, in dull green and red, holding the Infant
Saviour. Two angels hold the crown over her head. To the
right and left stand S. Christina, in emerald green and deep
brick red, and S. Sebastian, and below are 8. Nicholas of Bari,
in gold vestments, on the right, and S. Jerome, in scarlet, on
the left. An extensive landscape representing Lake Trasimeno
seen beneath the feet of the Virgin between these two figures.
Flesh tone brownish.

Wood, 104J in. h. by 76 in. w. (2-65 by 1-94).

In a private collection in Citta di Castello about 1888 ; purchased in
Florence, from Prof. E. Volpi, 1901.

No. 2488. The Holy Family.

The Virgin seated half length, profile right, offering the breast
to the Child, Who wearing a gold sash is seated on her lap, His
head profile left ; in His left hand wild strawberries. Behind
Him St. Joseph in a scarlet scarf over a deep copper tunic, the
scarf ends striped red, black, blue, and gold. The Virgin wears
deep crimson and a green and red striped scarf embroidered in gold,
and a greenish veil over her hair. Flesh tone, red-brown.

Wood, 31f in. h. by 25* in. w. (0-80 by 0'64).

George Salting Bequest, 1910.

SMITH (GEORGE) OF CHICHEBTER, 1714-1776.
English School. GEORGE SMITH, who is generally known as SMITH
of Chichester, was born in that city in 1714. He was awarded the
Premium of the Society of Artists for a landscape which he ex-
hibited in 1760, Richard Wilson, who became oue of the original
members of the Royal Academy eight vears later, being one of
the competitors. SMITH contributed about one hundred land-
scapes to the Free Society between 1761 and 1774. A Land-
scape and a Lake Scene by him are in the Victoria and Albert
Museum. He died on September 17, 1776. GEORGB SMITH had
two brothers, John and William, who painted landscapes and
portraits respectively.

No. 2287. Classical Landscape.

A still pool, in which a man in a red coat is fishing, occupies the
17983 2 T

658 SMITH SNYERS.

foreground enclosed by oaks to the left and right. Wooded
middle distance.

Canvas, 12 in. A. by 16f in. w. (0'30 by 0'42).

Bequeathed by Mr. George Derwent Radclyffe, 1908.

SNYDERS (FRANS), 1579-1657.

School of Antwerp. SNYDERS was born at Antwerp and studied
under Peter Brueghel in 1593, and, later, Hendrik van Balen. He
afterwards became the intimate friend and associate of Rubens,
who was his elder by only two years, and influenced him largely.
In 1602 he was enrolled in the Guild of St. Luke at Antwerp, and
in 1608 went to Italy, whence, in 1609, he returned to Antwerp,
and there lived in brilliant style. He married 1611. His portrait
and his wife's were painted by Van Dyck. SNYDERS died 1657,
leaving no children. The Prado has many SNYDERS : many are
in Paris, St. Petersburg, Antwerp, Brussels, Dresden, Munich,
etc., and in private collections, abroad and in England.

No. 1252. A Fruit-piece.

Apples, pears, melons, grapes, and peaches are piled in confusion
on a table, or hang over its side ; while a monkey sitting on
it helps himself to the fruit, looking round cautiously as he
does so. On the floor is a large green gourd, or pumpkin. Dark
background.

Canvas, 40 in. h. by 52f in. w. (I'Ol by 1'33).

Presented by Miss E. J. Wood, in accordance with the will of her
uncle, Mr. Decimus Burton, in 1888.

SNVERS (PiETER), 1681-1752.

School of Antwerp. SNYERS was born at Antwerp, and in 1694
entered the atelier of A. van Bredael, and was a master in Brussels
in 1705 and in Antwerp 1707. He married 1726. In 1741 he
was made director of the Royal Academy of Antwerp, on which
occasion, the Academy being in difficulties, he gave his services
gratuitously. SNYERS painted fruit and flower-pieces, landscapes,
portraits, and figure subjects of low life. At one time he went
for a few months to London, where he painted some portraits.
He was called SAINT SNYERS from the piety of his life. He died
in 1752. Pictures by him are at Antwerp, "Brussels, and Vienna.

No. 1401. A Study of Still Life.

Fruit, vegetables, and flowers, shell-fish, etc. ; conspicuous, three
bundles of asparagus, a bowl of cherries, and a basket of apples

SNYERS SODOM A. 659

and plums. All heaped on a table covered with a blue and white
striped cloth.

Signed in large red letters as if embroidered on the corner of
the table-cloth, P. SNYEBS.

Canvas, 44f in. h. by 38J in. w. (1-13 by 0'97).
Purchased from Mr. Richard Stephens in 1894.

. SODOM A, 1477-1549.

School of Vercelli. GIOVANNI ANTONIO BAZZF, kno^n as
SODOMA, was born in Vercelli, and there worked under Martino
Spanzotti. About 1501, having already been influenced by
Leonardo in Milan, he settled in Siena, there introducing the
manner of the great Florentine. He has been called " an agree-
able and lucky retailer of Leonardo's inventions," who gave the
Sienese the prettiness he extracted from the Leonardesque by
omitting the strength of the original. He worked chiefly in
Siena after 1501 ; visited Rome 1508, and there painted the
frescoes in the Farnesina and the decorations on the Vatican ceil-
ing : was in Northern Italy in 1518 and again 1525 ; worked in
Mantua after 1518 and in Florence (1529), Volterra (1540). and
Pisa (1541). He had a large following at Siena, chiefly Girolamo
del Pacchia, Beccafumi, and Baldassare Peruzzi, the architect.
SODOMA died in Siena, 1549. His works are numerous, especially
in Siena. At Berlin is a Charity holding a baby that closely
corresponds with the Child Jesus in Signorelli's Circumcision,
No. 1128 in this Gallery. His best works are the Descent from the
Cross, Siena, and A lexander andRoxanaiu the Farnesina. Examples
are au Dorchester House and in the Cook Collection, Richmond.

See R. Gust : Giovanni Antonio Bazzi,

No. 1144. The Madonna and Child with Saints.

The Virgin, seated full face in the centre beneath a roue-rod
canopy, her tunic is rose, her mantle gleaming green-blue; the Child
seated on her left knee, reaching forward to the left, where stands
St. Peter in green-blue, profile right, presenting a kneeling Fran-
ciscan. On the right St. Catherine of Siena stands in bkck and
white, leaning across the Mother, facing the left front. Flesh tone,
cold grey.

Wood, 19 in. h. by 14J in. w. (<H8 by 0'36).

Formerly in the Rossini Collection at Pisa. Purchased from Mr. C.
Fairfax Murray, in 1883.

17983 2 T 2

60 SODOMA SOLARIO.

No. 1337. Head of Our Lord.

Probably a fragment of a large picture. The head of our
Lord, inclined to the left, is crowned with thorns, from which
thick clusters of brown hair fall on each side of the face. The
eyes are downcast ; the hands raised in prayer ; the breast and
shoulders are draped in white linen.

Canvas, 14f in. h. by 11 in. w. (0'37 by 0-29).

Purchased from M. Edward Habich, of Cassel, in 1891.

SOGLIANI (GIOVANNI ANTONIO), 1492-1544.

Florentine School. SOGLIANI was born at Florence, studied
under and copied Lorenzo di Cred, and imitated Fra Bartolommeo.
He worked with Sodoxua and Andrea del Sarto in the Duomo at
Pisa. In Florence by him are a Holy Family (TJffizi), an
Assumption in S. Giov. Battista ; in the Church of S. Mark a
Miracle of S, Dominic, in Sta. Maria INovella an Immaculate
Conception. SOGLIANI died in Florence, 1544.

No. 645. The Virgin and Child.

The Madonna seated full length, three-quarters left. She wears
a pale rose-red tunic and pale ultramarine blue hood and mantle.
The Child sits on her right knee, naked, facing the left front, His
right hand raised ; sky background on the right ; green trees on
the left, behind the figures. Cool creamy tone.

Wood, 6 in. h. by 4 in. w. (0'15 by O'lO).

Formerly attributed to ALBERTINELLI.

Purchased from M. Edmond Beaucousin. Paris, 1860.

SOLARIO (ANDREA DA), 1465 ? after 1515.

School of Milan.- Called also ANDREA MILANESE, was born
about 1465, probably at Milan ; his elder brother Cristofano, nick-
named " il Gobbo " (the hunch-back), a sculptor and architect of
eminence, may possibly have instructed him. ANDREA certainly
came under the influence of Antonello da Messina in his early
period, so that their works are often confused in especial the
Doughty House Christ at the Column, which corresponds with
Antonello's picture in Venice. An early SOLARIO associated with
this confusion is the Brera Madonna and Saints signed and dated
1495 ; another, a Madonna, in the Crespi Collection, Milan, and
the Poldi-Pezzoli Ecce Homo. With his brother Cristofano he
went to Venice in 1490, and came under Alvise Vivarini's influence
and Gentile Bellini's. He returned to Milan in 1493. Thus his

SOLARIO. 661

early work, for example No. 923 in this Gallery, is Venetian in
cast, his later inconsistently and weakly Leonardesque. Works
by him to which dates are attached are St. John Baptist (1498) ; St.
Catharine (1499) in the Poldi-Pezzoli ; the Cristoforo Longono
(1505), No. 734 in this Collection ; Crucifixion (1503) ; Head of
the Baptist (1507) in the Louvre ; Repose in Egypt (1515), Poldi-
Pezzoli, Milan ; and Christ with the Cross (1511), Borghese, Rome.
In the Louvre, too, is a bust portrait of Charles d'Amboise,
nephew of Cardinal George d'Amboise, who employed SOLARIO
in 1507 to decorate with frescoes the chapel in his Castle of
Gaillon in Normandy. ANDREA'S last undertaking was a large
picture of the Assumption of the Virgin for the Certosa of Pa via,
which his death, some time after 1515, prevented him from
finishing. It is now in the Sacristy, over the altar.

See Berenson : North Italian Painters. The Study and Criticism
of Italian Art, L, pp. 106-7.

No. 734. Portrait of Qio. Cristoforo Longono.

A Milanese nobleman and lawyer, in a black cap and suit ; full-
face, half-length, behind a parapet on which both hands rest ; the
left palm down, the right holding a letter. In the left background
a cliff fringed with trees, a far distant stream and city ; in the
right a single tree and undulating country. Flesh tone, grey-gold.
Signed " ANDREAS D. SOLARIO. F. 1505."

ANDRE AS- D-
-SOLAKJO

Wood, 31 in. h. by 23J in. w. (0-78 by 0'59).

Three seals on the back : one inscribed " Soyez Fidelie." Purchased
from Sig. Giuseppe Baslini, in Milan, 1863.

No. 923. Portrait of a Venetian Senator.

Bust portrait, full-face, the chin raised ; in a black cap and red
mantle. A pink in his right hand ; on the thumb of bis left,
holding his black stole, is a gold signet ring set with a turquoise.

Wood, 19i in. h. by 15 in. w. (<H8 by 0-38).

Formerly in the possession of the Marchese Girolamo Gavotti of
Genoa, who acquired it by his marriage with the Marohesa Gnllo-
Cattaneo, of that city. Purchased at Milan from Signer Giuseppe
Baslini, in 1875. ___ _ _ _ .

* On the bottom of the panel is written -

IQNORANS QUALIS FUBRIS. QUALISQUB FUTUBUS,
SIS QUALIS, STUDKAS POSSE VIDKBB DIO.

You know not whence you come nor whore you go ;
Seek therefore earnestly to see yourself as you are.

662 SOLARIO SORGH.

SOLARIO (ANTONIO DA), active c. 1502.

Venetian School. ANTONIO DA SOLARIO, born in Veuice, son of
one Giov. di Pietro, of this School, was not recognized before 1903,
when he was generally supposed to be identical with Andrea. In
1903 the signature AXTONICS DA SOLARIO YENETDS /. on the
Leuchtenberg Madonna and Child, in Mr. A. Wertheimer's
possession, by some considered an early, by some a late, example,
was seriously considered. Later a Head of the Baptist in Mr.
Humphry Ward's Collection revealed the signature and date 1508.
From these pictures ANTONIO'S dependence on Vivarini in Venice
and Leonardo, later, in Milan was established. Other signed
pictures by ANTONIO have been discovered ; and the identity of
ANTCNIO DA SOLARIO VENETUS with the Antonio Solario of
Naples (called Lo Zingaro) has been proved. A Madonna and
Child in the Naples Museum, acquired about 1907, is signed
" ANTONIUS DE SOLARIUS V[enetus] P[inxit] " and reconciled with
the frescoes in SS. Sevorino and Sosio, Naples (1495). Thus the
Venetian trained ANTONIO DA SOLARIO is identified with the
painter of the frescoes of SS. Sevorino and Soso. Naples, who was
working between 1502 and 1503 in the Marches, thence going to
Northern Italy again.

See the Burlington Magazine, Vol. I., p. 353 ; VII., 76 ; XL, 376.

No. 2503. Holy Family.

The Virgin stands, full-face, three-quarters length, behind a
step-shaped parapet holding the Child who stands naked, his feet
crossed. He holds a cord in His left hand tied to the leg of a
crested bird. On the left, three-quarters right, stands the child
St. John holding a dragon fly on the parapet with his left hand.
A green curtain across the left background : on the right a gold
toned landscape seen through a window and a delicate turquoise
sky and lake. The parapet on the right in sunlight. The Virgin's
tunic dark vermilion, her mantle ultramarine. Flesh tone, golden.
Signed, " ANTONIUS DA SOLARIO VENETDS /."

Canvas, 14i in. h. by llf in. w. (0'35 by 0'29).

From the Lenchtenberg Gallery (No. 2) and Mr. A. Wertheimer :
George Salting Bequest. 1910.

SORGH (HENDRICK), 1611-1670.

School of Haarlem. HENDRICK MARTENSZ SORGH, called
also ROKES, was born in Rotterdam, and appears to have
dwelt in that city till his death, between October 1669 and
August 1670. He was a scholar of Willem Buytenweg and
Teniers, according to Houbraken ; he also studied Adriaen

* According to Houbraken Rokes was the family name, and Sorgh but a nick-
name; but the latter was always used by the painter himself. The form Zorgh
is incorrect

SORGH-SPAGNA. 663

Brouwer. He seems to have lived in Amsterdam 1630-32.
In 1633 he married and lived in easy circumstances, carrying
on, with his painting, a shipping business. In 1658 he restored
certain pictures for the Town Council. He died in Rotterdam
1670. He painted biblical subjects, treated in a familiar manner,
and as frequently in-door genre, village markets, fairs, and, later,
river and sea views with figures. SORQH is well represented
in the principal Museums of Holland, at Dresden, Hanover,
Cassel, Brunswick, Carlsruhe, Copenhagen and St. Petersburg.

No. 1055. Boors at Cards.

Two men and a woman on the left, seated at a wooden bench,
playing cards. One of the men holds a mug in his hand ; the
other a lighted pipe. On the right" "are a basket of eggs and a
dead duck. The man on the right raises a mug in his left hand ;
he in the centre holds a pipe.

Wood, oval-shaped, 10 in. h. by 14 in. w. (0'26 by 0'35); ^

Bequeathed by Mr. John Henderson in 1879.

No. 1O56. Group of Two Figures drinking.

In the centre a woman seated at a* talale, profile -right, leaning
back and looking at the spectator ; she holds the chin of a man,
who, seated beyond her, has his right arm round her shoulders.
In the left background an old woman peers in through a door.
A cat under the table.

Wood, oval-shaped, 10 in. h. by 14 in. to. (0'25 by 35).

Bequeathed by Mr. John Henderson in 1879.

SPAGNA (Lo). 14 ?-after 1530.

Umbrian School. GIOVANNI DI PIETBO, called Lo SPAGNA
and Lo SPAGNOLO, was a scholar of Pietro Perugino and
Pintoricchio, and influenced by Raphael. Few of the circum-
stances of his life are known : be was an established painter in
Italy probably in 1503, and certainly in 1507. In 1516 he was
made a citizen of Spoleto, and in 1517 head of the Society of
Painters there : he was still living in 1530. In bis latest works
Lo SPAGNA was an imitator of Raphael's third or Roman style
his best performances are considered those executed m the
manner of Perugino. The Madonna enthroned, painted in 151b,
in the chapel of San Stefano, in the lower church of San Fran-
cesco at Assisi, is accounted his masterpiece. Many picture , such
as the Caen Sposalizio, formerly attributed 10 Perugino, or to
Raphael, are Lo SPAGNA'S. Other pictures by Lo SPAQNA are at
Assisi. Perugia, Rome, Spoleto, and Trevi.

See Berenson : The Study and Criticism of Italian Art, II.

664 SPAGNA- SPAGNOLETTO.

No. 1032. The Agony in the Garden.

Christ kneels on a mound in the lett centre profile left ; an
angel with a chalice flies towards him from above. In the
foreground three disciples seated asleep. In the right middle
distance Judas, with the money-bag, and Eomanisoldiers. Land-
scape background, a city in the centre.

Wood, 23 in. h. by 29 in. w. (0'59 by 0'67).

Formerly assigned to Raphael.

Purchased by the brothers Woodburn from Prince Gabrielli of Rome ;
subsequently sold by them in London. Purchased from Mr. W. Fuller
Maitland, M.P., in 1878.

ASCRIBED TO ZiO SPAGNA.

No. 691. An "Ecce Homo."

Bust length ; full face, the head slightly inclined to the left ;
a rope over the open rose coloured tunic, which has a green lining.
Wood, 15i in. h. by 12 in. w. (0-39 by 0-31).
Bequeathed by Lieut.-Gen. Sir W. Moore in 1862.

No. 1812. Christ on the Mount of Olives.

The Saviour kneeling full length nearly profile left, in a rose
tunic and greenish blue mantle, with his eyes raised to heaven,
and the hands folded in prayer. Above in the left-hand corner
is an angel bearing the cup. Landscape background.

The figure of the Saviour and the angel are identical with those
in the picture by Lo Spagna, described above (No. 1032), but the
execution points to a different hand. It was ascribed by Passavant
to Raphael.f On the back of the panel are incised the initials G.D.H.
in a monogram surmounted by a crown, and an inscription on paper of
probably the 18th century, " All' Ill mo et Ecc mo Giovanni Hiccolini
(sic) Imbascatore (sic) di Toscana in Roma." It was lent to the Art
Treasures Exhibition, Manchester, 1857 (No. 146) under the name of
Raphael, by Mr. Henry Farrer, who had it from Russia.

Wood, 13^ in. h. by 5J in. w. (0'33 by 0-13).

Bequeathed by Mr. Henry Vaughan, 1900.

SPAGNOLET TO. (See RIBERA.)

* The greater portion of the original drawing for this picture is in the collec-
tion of drawings in the Ufflzi, though in fragments. These consist of the figures
of Christ and the three disciples, in black chalk on paper once white.

t See Raphael cfUrbin et Giovanni Santi, par J. D JPassavant, Paris, 1860, VoL ii.
p. 323.

SPANISH SCHOOL SPINELLO ARETINO. 665

SPANISH SCHOOL XVIth CENTURY .
[LENT.] The Adoration of the Magi.

The Madonna is seated on the left on a stone plinth, part of a
ruined building which forms the background. She wears a deep
rose tunic and a greyish mantle, of which the part over her knees
is white, in bright sunshine, as is the part on her right shoulder.
On this the Child (seated on her left hand in her lap) throws a
cast shadow. Behind her stands St. Joseph, looking to the left,
in dull green, his hands on his staff. A king kneels profile right
at the Virgin's feet, in red and gold orange. On the left two
kings stand, their right hands raised, dressed in gold damask and
with chains round their shoulders, and in scarlet and gold orange
boots. An open green with figures, a castle and the sea in the
centre distance, seen through pillars. Grey tone. Inscribed :
" Lo Fil de Mestre Rodrigo."
Wood, 68 in. h. by 58f in. w. (1-72 by 1'49).

Painted possibly by a Netherlander settled in Spain, much influenced
by Mabase (see Log Cuatrocer&istas Valencinos, in Cult-lira Espaiiola,
it Feb. 1908.)

Lent by the Victoria and Albert Mi

SPANISH SCHOOL i XVIIth CENTURY .

No. 2526. Peasant and Child.

A man stooping over a little child who is helping herself to
grapes from a silver dish. Unfinished. Grey-brown tone.

This picture has been ascribed to Villa Vicentio, the favourite pupil
and executor of Murillo.

Canvas, 21$ in. h. by 22| in. w. (0'71 by 0'57).

From the Lord Clare and Sir C. Robinson Collections ; formerly at-
tributed to Velazquez. George Salting Bequest, 1910.

SPINELLO ARETINO. 1333?-1410.

Florentine School. SFINELLO DI LUCA, called SPINELLO ARETINO,
was born, apparently at Arezzo, about 1333. SPINELLO became
the pupil, before his 20th year, of Jacopo di Casentino, while that
painter was engaged at Arezzo. In 1361 he was employed by the
Monks of Camaldoli, in the Casentino, to paint the principal
altar-piece of their church ; it remained in the church until 1539,
when it was removed to give place to an altar-piece by Vasari.
During the 1360's and '70's he was mainly occupied in Arezzo,
and later, during the 1380's, he worked in Florence. He was in
Pisa in 1390-1392, and between 1404-1410 in Siena. He died at

666 . SPINELLO ARETINO.

Arezzo, 1410. Paintings now recognized as his are at Arezzo, in
S. Domenico, S. Francesco, and SS. Aununziata ; in the Gallery
at Budapest ; in Cambridge, Mass., U.S.A. ; in the Accademia,
Florence ; in Sta. Catarina a 1'Antella, a St. Catherine (1387) ; at.
S. Miniato al Monte, a History of S. Benedict (1387) ; A Madonna
with four Saints (1393) in Qumto Florentine, Campagnia della
Misericordia ; in Copenhagen ; Paris ; Liverpool ; Pisa, in the
Campo Santo, six frescoes of SS. Ephesus and Politus (1391-92) ;
and Siena, Palazzo Publico, the History of Alexander III.
(1408-1410), and in the Accademia, the Death and Coronation of the
Virgin (1385).
See Osvald Siren : Giottino, pp. 81-84.

No. 276. Two Apostles.

Head and shoulders length, both heads bowed ; profile left.
The figure on the left has the hands clasped below the chin.

In fresco secco, on plaster ; 19J in. square (0'49).

A fragment from one of the wall paintings of the chapel of San
Giovanni Battista, in Santa Maria del Carmine, at Florence. The
subject to which these figures belong was the Burial of St. John the
Baptist. This and two portions from other paintings of the series.
now at Liverpool, were saved from the fire which destroyed this chapel
in 1771. Other fragments are in Pisa and Pavia. They were brought
to England by Mr. Towneley, and became the property of Thomas Patch,
the engraver. This fragment was subsequently in the Greville and
Rogers Collections. Purchased from the latter, 1856.

No. 1216. Fragment of a Fresco representing tlie Fall
of the Rebel Angels.

On the right, profile right, the Archangel Michael with his
golden wings across the centre of the picture, raises his sword to
strike. On the left six other angels, on a smaller scale, with
swords, spears, and shields, follow him.

Fresco transferred to canvas, 67 in. h. by 45J in. w. (1'70 by 1-16).

No. 1216 (A and B). Two Fragments of tlie Decorative
Border of the same Fresco.

The border is enriched with (feigned) panels formed by the
intersection of a lozenge and quatrefoil : each panel filled with
the figure (en buste) of a saint or martyr : each head encircled
by a nimbus bearing an inscription, now nearly obliterated. The
spaces between the panels painted with leaf ornament, on which,
in one instance, is introduced the figure of a kneeling friar.

Fresco transferred to canvas.

Fragment A, 25f in. h. by 59 in. w. (0-65 by 1'51).
B, 25i i n . ft. by 51 in. w. (0'65 by 0-29).

Tliree parts of a large painting executed by Spinello for the Com-
pany of Sant' Angelo on the altar wall in the church of S. Maria degli

SPINELLO ARETIXO STEEN. 667

Angeli at Arezzo. It represented in the upper part Christ enthroned,
with Michael and his militant angels marshalled on His right, and
Gabriel and the other angels of grace on His left. Lower down was
seen Michael combating with the seven-headed and ten-horned winged
dragon ; around him the armed angels thrusting down the rebellious
host who, falling, are changed into demons, and plunged into hell.
There, in the centre, rolled supine the colossal form of Lucifer. The
church was altered some years ago and turned to secular uses ; of
the fresco, which, meanwhile had been covered with whitewesh, the
only portions saved were those catalogued above, and a part of the
figure of Lucifer. Presented by Sir Henry Layard, G.C.B., in 1886.
No. 1468, formerly attributed to Spinello, see JACOPO DI CIONE.

STEEN (JAN), 1626 ?-1679.

School of Haarlem. JAN STEEN, the son of a brewer, was
born ?t Leiden about 1626. He perhaps studied painting first
with Nicolas Knupfer at Utrecht, and afterwards at The Hague
with Jan Van Goyen whose daughter he married in 1649; but
his true predecessors are J. M. Molenaer, E. van de Velde and
P. de Bloot. JAN STEEN enrolled himself a student in the Leiden
University, 1646, and entered the corporation of painters in 1648.
In 1649 he went to The Hague, remaining there till '54. Then he
leased a brewery in Delft for six years. In 1655 he painted the
Burgomaster of 'Delft and his Daughter. Daring 1661-69 he was
resident in Haarlem, then moving to Leiden where he got an
innkeeper's licence in 1672. He died there, 1679. He painted
mostly in a vein of shrewd hard humour : his numerous Biblical
and historical pieces are conceived in this spirit. The tenderness
of his Menagerie at the Mauritshuis is exceptional. Hia dated
pictures range from 1650 to 1677 and reveal his curious inequality
and inconsistency of production. In his best work, for example
The Invalid in the Bijksmuseum, he shows a delicate perception
of light and colour, and a fine sen?e of design that rank him with
the best little Dutch masters. His pictures are very numerous.
Among his imitators is Brakenburg.

No. 856. The Music Master.

A young lady, in a yellow body and cobalt skirt, is seated, profile
left, at an open harpsichord. A cavalier in grey wearing his hat,
leans on the instrument towards the left. In the right background
a boy descending some steps. The front of the instrument is
inscribed " Soli Deo Gloria," the raised lid " Acta virum Probant."
Metallic tone. Signed on the harpsichord JOHANIS STEEN FECIT
1656 (?).

Wood, 16i in. h. by 12.J in. w. (0-41 by 0-31).

De Groot's Catalogue, No. 409. Sin. 113. Exhibited, British Gallery,
1823.

Sales: Hogguer, Amsterdam, 1817; M. Le Rouge in Paris, 1818.
In the Peel Collection in 1833, purchased with it, 1871.

668 STEEN.

No. 1378. An Interior ivith Figures.

In the centre a man profile to the right bowing, his right le#
advanced, his hat in his right hand : in the right foreground a
matron seated profile left, her feet on a stool ; a girl and a man in
the background, facing the left front. An open door in the left
background, a bird cage hanging in front of it.

Canvas, in monochrome, 17J in. h. by 14J ia. w. (0'43 by 0'36).

De Groot, 420 ; Sm. 153. Engraved by Paul ; a similar picture was
in the Van Loon Coll.. Amsterdam, 1833, not in 1856. Bequeathed by
Sir William H. Gregory in 1892.

No. 1421. A Terrace Scene, with Figures.

A man seated in the centre, profile right, against the sky, a glass
in his left hand. To the right a lady seated on the paved terrace,
profile left, her left arm on a parapet, behind which to the right is
a man playing a lute. To the left a basket and stone balustrade,
with a ball-topped corner pillar ; trees on the right, sky in the
centre and left background. The woman's bodice is orange terra-
cotta ; her skirt golden. Sharp blue in the sky.

Wood, 17 in. h. by 24 in. w. (0'43 by 0'61).
De Groot's Catalogue, Xo. 410. Sm. Suppl. 26.

Sale : Wellesley, Brussels, 1846. Purchased from the Adrian Hope
Collection, in 1894.

No. 2555. Woman asleep.

A woman in a plum-coloured jacket, yellow skirt, and white
apron asleep with a pipe iu one hand and a glass in the other. A
man seated at a table on the right laughs whilst another blows
smoke in her face over her right shoulder. Low tone, red flesh
tone. Signed, " J. STEEN."

Wood, Hi m. h. by 9 in. w. (0'29 by 0'24).

George Salting Bequest, 1910.

No. 2556. The Pedlar.

A pedlar stands in the centre, profile right, holding out a pair of
eyeglasses to a woman, whoi, facing him, is reading a paper in a
doorway. A little girl in red between them, and a man seated on
the right in blue, bis left arm resting on the back of the bench.
Two boys on the left ; a tree branch over-arching the figureg.
Flesh tone, copper red. Signed, " J. STEEN."

Wood, 9J in. h. by 8J in. w. (0'24 by 0'20).

George Salting Bequest, 1910.

STEEN STEENWYCK. 669

No. 2557. Merry Makers.

In the centre an old man, profile left, bending to shake hands
with a girl in scarlet seated left by a dark tree stem. Ou the
right a man playing a flute, a little boy in bright orange before
him. Strong light and shade, red-gold tone in the light.

Wood, 9 in. A. by 8. in w. (0'24 by 0'20).

George Salting Bequest, 1910.
No. 2558. Grace before Meat.

The mother in warm lemon yellow and dull blue stands in the
left centre holding a spoon in an orange pipkin. Opposite her a
little girl stands, profile left, in blue, saying grace. Beyond her a
boy, full face ; in the centre a man slicing meat. In the left
foreground a dog smelling a tipped-up blue bowl. Flesh tone,
golden and rose ; greyish atmosphere. Signed, " J. STEEN."

Wood, 17 in. h. by 14$ in. w. (0-43 by 0-36).

De Groot's Catalogue, No. 378. Sm. 167. In Pee. Eugene's (Leuch-
tenberg) Coll., Munich, 1833 and 1851. George Salting Bequest, 1910.

No. 2559. The Oyster Feast.

A. man in black standing in the right centre handing an oyster
to a lady seated in the centre in a red jacket. A woman in the
left background opening oysters at a table ; a man in the centre
talking to a servant. Six figures, brown tone. Signed, "J. STEKN."

Wood, 15 in. h. by 12 in. w. (0'38 by 0'30).

De Groot's Catalogue, No. 855. Sm. Suppl. 62. Kleynenbergh Sale,
Leiden, 1841. Bt. by Nieuwenhuys. Later in Sir H. Hume Campbell's
Coll. George Salting Bequest, 1910.

No. 256O. The Skittle Players.

Nine figures ; in the left foreground three seated, one with his
back to the spectator. On the right a man in a white shirt, lilac
breeches, and blue hose, bowliug at skittles. A little boy in a red
cap, lemon jacket, and greyish plum breeches, watching. A horse
in the centre background by a paling. Beyond tall feathery
foliaged trees. A cottage on the right. Clear tone.

Wood, 13 in. It. by 10$ in. w. (0'33 by 0'26).

De Groot, 737. Sm. 33. Sales : Cromhout, Amsterd., 1709 (33) ;
C. V. Dijck (?), Hague, May, 1713 (40) ; P. Testae, Amsterd., May,
1757 (41) ; C. V. Heemskerck, Hague, Oct., 1765 (30) ; R. de Boisset,
Paris, Feb. 1777 (128) ; Poullain, Paris, March, 1780 (77) ; De Vaud-
reuil, Paris, Nov., 1784, (63) ; Destouches, Paris, March, 1794 ; G. St.
Maurice, Paris, 1796 ; Montaleau, 1802 ; DePreuil, 1811 ; Talleyrand
Coll., bt. by W. Buchanan ; Gray, London ; in Alex. Baring Coll., 1833 ;
sold with the Ashburton ColL, 1907. George Salting Bequest, 1910.

STEENWYCK. (HENDRICK), JUNIOR, 1580 after 1649.
'> School of Antwerp. HENDRIK STEENWYCK II., son and pupil
of. Hetidrik I., was born at Frankfurt in 1580 ; he painted

670 STEENWYCK.

interiors of churches, halls, and chambers, with day or night
illumination. He worked for a time at Antwerp, The Hague,
Frankfurt, came to London before 1629, and was much em-
ployed here, partly in supplying architectural backgrounds to
the royal portraits by Van Dyck, who brought him into favour
with the King. He died in London after 1649. Jan Brueghel,
Poelenburgh, etc., sometimes put in the accessories of his pictures.
Pictures by him bear dates ranging from 1604 (The Liberation
of St. Peter from Prison, in the Belvedere at Vienna) to 1649
(Prison Interior, at Berlin). Christ in the house of Martha and
Mary, in the Louvre is dated 1620.

No. 1132. An Interior.

In the right foreground a table covered with a pale green cloth,
in light ; on the left, in shadow, a chest and three bronze vessels ;
in the centre background, standing at the top of three steps, a
man in a white turban and golden robe, another advancing to him
in blue and rose, and to the left two children. Beyond and above
the figures a parrot seated on a balustrade : a room with shelves
and a glass cupboard on the right beyond ; golden tone.

Wood, llf in. h. by 9 in. w. (0'29 by 0-22).

Clarke Fund ; purchased from the Hamilton Collection, 1882.

No. 1443. Interior of a Church.

A vista of the nave and choir of a large Gothic church. Over
the entrance to the right aisle an organ. A procession of women
and children on the left, and of women beneath the organ. Two
dogs in the centre foreground. The figures ascribed to Brueghel.
Signed " H. W. STEINWICK," and dated 1603.

Wood, 14 in. h. by 2\\ in. w. (0-35 by 0'54).

Lent by the Victoria and Albert Museum in 1895.
No. 2204. An Interior of a Gothic Church.

A view of the nave of a Gothic church looking toward the choir.
The congregation is entering by a door on the right under an
organ. Two dogs playing in the left foreground. Pale grey-
yellow tone. Signed, " H. V. STEEIN. 1615."

Copper, 10 in. li. by 15 in. w. (0'25 by 0'39).

Bequeathed by Mr. H. C. Brnnniug, 1907.

STEENWYCK (HERMAN), 1612-after 1656.
Leiden School. HERMAN or HARMEN STEENWYCK, of Delft,
together with his brother Pieter, studied painting under David
Bailly at Leiden, in 1628. In 1644 he was in Delft, and ten

e And not only to those by Van Dyck : the full length portrait of King
Charles I. by Mytens, in the Tnrin Gallery, bears both the signature of the
portrait-painter (1627), and that of Steenwyck (1626), -who painted the Doric
colonnade in the background.

STEENWYCK STORCK. 671

years later in the Indies, whence he returned, 1655. He died
after 1656. Few pictures by HERMAN STEENWYCK are known ;
they are in Amsterdam, Budapest and Dusseldorf. Both brothers
painted compositions of still life, in which a human skull fre-
quently held a prominent place. Pictures of this class by
HERMAN are to be found in many collections, public and private,
while his brother Pieter's works are extremely rare, only one
signed example in the gallery of the Prado at Madrid being
cited.*

No. 1256. A Study of Still Life.

On a marble table a human skull, a brazen lamp, a sheathed
Japanese sword, a watch, a pilgrim's water-bottle, musical instru-
ments, a sea-shell, and a book. Signed .

Wood, in oil, 1.1 in. h. by 19 in. w, (0'38 by 0-48).
Presented by Lord Savile, G.C.B., in 1888.

STORCK. (ABRAHAM), 1635-1710?

School of Amsterdam. About the life of this marine painter of
Amsterdam nothing is to be said except that he was born about
1630 and died, as is supposed, in 1710. He painted Dutch and
Italian seaports, seascapes and winter scenes, nearly rivalling W.
van der Velde in his quality. Dated pieces by him occur between
1650 and 1697. It is said that 6gures by him are occasionally to
be found in the landscapes of Hobbema and Moucheron. Some
etchings by him are extant. Examples are at Dresden, Rotterdam,
Vienna, The Hague, and Brussels.

No. 146. A View of the Maes, with Shipping and
Rotterdam in the distance.

In the centre and right mid distance three sailing craft lie with
slack sails, becalmed. A skiff is in the right foreground, with
three men in her. A little boy fishing in the centre foreground ;
in the centre distance the Cathedral of Rotterdam. On the left
two trees ; a frigate beyond with set topsails^against the sunset.
Opalescent tone. Signed, " A. STORCK, FECIT.

Canvas, 2 A in. h. by 29 in. w. (0-58 by 0'73).

Bequeathed by Lt.-Col. Ollney in 1837. m

w. Bode, Sludioi zm Qewh : der Bollttodticlim Malcrd, p. 228 : and private
communication from Dr. A. Bredius.

672 STOTHARD.

STOTKARD (THOMAS), R.A., 1755-1834.

English School. THOMAS STOTHARD, whose father kept the
Black Horse Inn in Long Acre, was born in London. STOTHARD
was sent to school at Stutton, near Tadcaster. He was
apprenticed in London to a designer of patterns for brocaded
silks, but soon turned his hand to book illustration. In 1777
he became a Student of the Royal Academy and in 1778
contributed a Holy Family to the Annual Exhibition. He
exhibited ninety pictures altogether at the Academy. His first
important book illustrations were those executed between 1780
and 1785 for the " Town and Country Magazine," while others
appeared in the " Universal Magazine," the '' Lady's Magazine,''
and in Bell's "British Poets." In 1791 he was elected an
Associate of the Royal Academy, and three years later a full
member. From 1799 to 1802 he was employed by the Marquis
of Exeter at Burghley, decorating the staircase. Among the
subjects chosen was " Intemperance" the original sketch of which
(No. 321) is now in this Gallery. He also retouched the ceilings
painted there by Verrio. In 1814 he was appointed librarian of
the Royal Academy, an office he held until his death. In 1822
he commenced to paint the ceiling of the Advocates' Library,
Edinburgh. He died at his house in Xewman Street on April 27,
1834. Stothard's designs are said to aggregate five thousand, of
which more than three thousand have been engraved in various
publications. There is a large collection of these prints in the
British Museum, and the Royal Academy possesses five large folio
volumes filled with engravings after his designs.f

No. 317. A Greek Vintage. A Dance in the Vine-
yard.

Canvas, 40 in. h. by 51 in. w. (1-01 by 1-29).

Exhibited at the Royal Academy, 1821 (No. 20) ; the International
Exhibition, South Kensington, 1862 (No. 207). In the Artist's Sale,
June 19, 1834 (No. 106).

Robert Vernon Gift, 1847.

No. 32O. Diana and her Nymphs Bathing.

A woody landscape with a rivulet in which several nymphs
are bathing.

Canvas, 20 in. h. by 24 in. w. (0*50 by 0'61).

H Exhibited at the Royal Academy, 1816 (No. 324). Robert Vernon
Gift, 1847.

* See also Mrs. Bray : " The Life of Thomas Stothard, with personal
Reminiscences" 1851. J. E. Hodgson and F. A. Eaton: " The Royal
Academy and its Members" 1905. A. C. Coxhead : " Thomas Stothard. B.A.."
1906.

A Series of Engravings by Heath and Bartolozzi, from paintings by
Stothard, was published in 1818.

STOTHARD. 073

No. 321. "Intemperance" ; Mark Antony and Cleo-
patra.

Canvas, 19Jin. h. by 29 J in. to. (0-49 by 0'74).
Exhibited at the Royal Academy, 1805 (No. 146).
A sketch for the large composition, painted in 1802, for the staircase
at Burghley. the seat of the Marquis of Exeter.
Robert Vernon Gift, 1847.

No. 322. A .Battle.

Men and horses in fierce strife ; a mythological subject ; a
sketch.

Canvas, 23 in. h. by 26 in. w. (0-58 by 0-61).
Presented by Mr. Robert Vernon, in 1847.

No. 1069. Nymphs discover the flower Narcissus.

Formerly catalogued as From the Myth of Narcissus. It was
originally called Narcissus.

Naiads and Dryads discover the flower into which Narcissus has
been changed. Echo, who had loved him, listening amongst the
trees. A gleam of sunshine illumines the group.*

Paper, fastened on wood, 12 in. h. by 13$ in. to. (0'31 by 0-34).

Exhibited at the Royal Academy, 1793 (No. 335). Sold in the Artist's
sale, June 19, 1834 (No. 81), to Mr. J. H. Anderdon.

Purchased at the sale of Mr. J. H. Anderdon's Collection, May 31,
1879 (No. 240).

No. 107O. Cupids preparing for the Chase.

Is also known as Cupids sporting with a Dog. In the foreground
of a wild landscape three cupids surround a large black and white
boar-hound. One winds a horn ; another advances leaning on
a spear ; the third clasps the dog round the neck.

Canvas, 18 in. h. by 13 in. w. (0'45 by 0'33).

Purchased at the sale of Mr. J. H. Anderdon's Collection, May 31,
1879 (No. 238).

No. 1163. The Pilgrimage to Canterbury.

A long horizontal composition, including numerous figures
all mounted on horseback, and riding in cavalcade from right to
left. Among them may be recognized the Knight and bis Son
tho " yong Squyer," with his "yeman clad in coote and hood
of grene," the " Prioresse with hire Chapelleyn and Prates
thre," the Monk and " merye Frere " the " Marcbaunt " with a
" forked berd," the " Clerk of Oxenford," the " Sergeant of Lawe,"

* Ovid. Met.: B. III. 1. 606.
17983 U2

674 RTOTHARD.

the " Frankeleyn," the " Haburdassher," the "Carpenter," the
" Deyer," the " Tapicer," the " Cook," the " Schipman," the
" Doctour of Phisik," the " good Wif of byside Bathe," the
"pore Persoun," the "Stout Mellere," the "gentil Maunciple,"
the "Sompnour" and the "Pardoner" all enumerated and
described in the Prologue to Chaucer's " Canterbury Tales."

Wood, 12 in. h. by 36 J in. to. (0-31 by 0-92).

Purchased at the sale of the collection of Sir Philip Miles, of Leigh
Court, Bristol, June 28, 1884 (No. 66).

No. 1185. Nymphs and Satyrs.

A half-draped Bacchante steps from a car drawn by panthers
towards a nymph, who kneels on the ground in alarm. By the
side of the car nymphs and rustics are sporting. Behind, Silenus
supported by two Fauns. In the background a vineyard with
mountains beyond.

Wood, 12 in. h. by 9 in. w. (0'31 by 0'22).
Bequeathed by Mrs. Elizabeth Vaughan in 1885.

No. 1827. A Nymph Sleeping.

A Bacchante, partly draped in white, is lying with one knee
raised, and her head thrown back on a couch covered with dark-
blue drapery under a vine. A thyrsus lies across her knees ; under
her arm is a tambourine, and a pair of cymbals lie at her feet.
Behind is a cupid sporting with a goat.

Wood, 5 in. h. by 6f in. w. (0-12 by 0-17).

No. 1829. Sans Souci.

The scene is a deep and densely wooded glen through which a
stream winds under a castle on a height to the right. The fore-
ground is occupied by a grassy slope, on which are numerous
groups of brightly-dressed ladies and gentlemen conversing or
singing, while a feast is being spread on a cloth on the ground.

Wood, 31 in. Ji. by 20 in. w. (0-78 by 0'50).

Exhibited at the Royal Academy, 1817 (No. 137). Sold at the Artist's
Sale, June 19, 1834 (No. 73).

No. 1830. Shakespearean Characters.

The characters represented passing from left to right include
Malvolio and the Duchess, Maria, and Sir Toby Belch and Sir
Andrew Aguecheek, and in the background the lovers of " Love's
Labour Lost " ; Falstaff with Bardolph and Pistol behind on the
left and Prince Henry on the right ; Rosalind and Celia with
Touchstone on their left ; Prospero and Miranda, with attendant
spirits above, and Caliban in the shadow behind ; Lear and
Cordelia, Goneril and Regan, Kent, Edgar, and Edmund ; Hamlet

STOTHARD 675

and Ophelia, Macbeth and Lady Macbeth close the frieze-like
composition on the right.

Paper, 10J in. h. by 36| in. w. (0-26 by 0-93).

No. 1832. Cupid bound to a Tree.

Cupid is surrounded by Nymphs, one of whom is binding him to
a tree in the centre of the composition, while the others are
pelting him with roses.

Wood, 15J in. h. by Hi in. w. (0-39 by 0'29).

No. 1833. Lord William Russell taking leave of his
Children.

Lord Russell, condemned to death in 1683, is standing in the
middle of the picture taking leave of his family before being led
out to execution. He holds the hand of his wife, Lady Rachel,
and his children cling to him ; on the right is a group of his
friends, and some women stand weeping on the left. The guard
is seen at the portcullis on the right.

Canvas, 10J in. h. by 14} in. w. (0-26 by 0'36).

No. 1835. Scene from " Romeo and Juliet"
Juliet is kneeling at her father's feet. Lady Capulet and the

nurse stand behind.
Paper, oval, 5f in. h. by 4* in. to. (0-14 by O'll).

No. 1836. Lady Reclining.

A young lady is reclining in a pensive attitude on a sofa.
Behind are three Cupids, one of whom is fanning her with a leaf-
shaped fan. Behind is a red curtain.

Canvas, of in. h. by 7* in. w. (0-14 by 0'18).

Nos. 1897-1836 ; Henry Vaughan Bequest, 1900.

No. 2219. " Peace came down upon the Earth."

A maiden in white, with an olive branch in her hand, is being
led forward by cupids and by a woman in red, bearing a cnirass
on a pole. On the right a family and personifications of Art and
Plenty watch her progress rejoicing.

Canvas, 20 in. h. by 30 in. w. (O'oO by 0'76).

Painted for Samuel Rogers as a companion to " The Horrors of War "
(No. 279) by Rubens.

Presented by the Misses Sharpe in 1908.

No. 2232. Eleven sketches for the finished picture,
No. 1163, of the "Pilgrimage to Canterbury."

Henry Vaurhan Gift, 1891.
17983 2 U 2

676 STUART STUBBS.

STUART GILBERT), 1755-1828.

British School. Gilbert Stuart, a distinguished American portrait-
painter, sometimes called American Stuart,was born of Scotch parents
at Narragansett, near Newport, Rhode Island, U.S.A., on December
3, 1755. He visited Scotland about 1775, and was educated at the
University of Glasgow, where he graduated. He, however, finally
adopted the profession of a portrait-painter, both in London and
Paris. He exhibited at the Royal Academy from 1777 to 1785.
Among Stuart's sitters in Europe were Louis XVI., George III.,
and George IV., as Prince of Wales. He painted also John
Kemble, Alderman Boydell, Sir J. Reynolds, Benjamin West, and
others. Pictures by him are in the Collection of Lord Normanton.
He returned in 1792 to his native country, where, after
working at New York, Philadelphia, and Washington, he retired,
about 1806, to Boston. Stuart's best portraits are chiefly
remarkable for freedom of effect and character, but he excelled
especially in men's heads. The National Portrait Gallery
contains portraits of Benjamin West, R.A., George Washington,
and others. He is well represented in the Pennsylvania Academy
of Fine Arts, in the Metropolitan Museum, New York, and at
Boston, U.S.A. Six Presidents of the United States, George
Washington, John Adams, Thomas Jefferson, James Madison,
James Munroe, and John Quincy Adams, sat to him. Stuart
died at Boston on July 27, 1828. A collection of about three
hundred of his works was exhibited in the Boston Athenaeum,
for the benefit of his widow and daughters, which, with the sale of
his effects, realised a considerable sum.

No. 229. Portrait of Benjamin West, P.R.A.

Seated on a sofa ; small half-length.

Canvas, 36 in. h. by 28 in. w. (0-91 by 0'71).

Another portrait of Benjamin West by Gilbert Stuart is in the
National Portrait Gallery.

Presented by Mr. J. H. Anderdon in 1853.

No. 1480. Portrait of the Artist.

He is apparently about fifty years of age and is dressed in a
black coat and white neckcloth. His hair is slightly curled and
powdered. Life-size, bust portrait, three-quarter face to the left.
Dark background.

Oval, canvas, 28f in. 7t. by 23J in. w. (O73 by 0'59).

Lewis Fund ; purchased from Mr. H. Hughes-Stanton, 1896.

STUBBS (GEORGE), A.R.A., 1724-1806.
English School. GEORGE STDBBS was born at Liverpool. His
father, a currier and leather dresser, intended that the boy should

STUBBS-SUNDER. 677

follow that business, but young STUBBS showed an early aptitude
for drawing, and at the age of sixteen assisted Hamlet Winstanley
(see No. 1076) in copying some of the pictures at Knowsley
Hall. After some years in his native town, STUBBS removed to
Wigan, and afterwards to Leeds, where he occupied himself with
portrait painting. A little later he went to York, and there
devoted some time to the study of anatomy, dissecting both
human and animal subjects. Here, too, he made his first essays in
engraving for the illustrations of an anatomical work published by
a Dr. Burton. He sailed about 1754 for Italy, landed at Leghorn,
and travelled on to Rome, where he studied the Old Masters. On
his return to England STUBBS spent some time in Lincolnshire
painting portraits and preparing studies for his work on the
" Anatomy of the Horse." He brought his drawings to London
in 1759, but did not publish until 1766. The issue of this work
established his reputation as a painter of animals and hunting
scenes, for which he received numerous commissions. One of the
best examples of his skill in this line of art is the portrait of the
famous racehorse Whistlejacket, painted for the Marquis of
Rockingham. He also painted the celebrated racehorse Eclipse.
He exhibited at the Society of Artists from 1761 till 1774. and
became their President. He exhibited at the Royal Academy
from 1775 till 1803. On November 6, 1780, he was elected an
Associate of the Royal Academy and became a Royal Acade-
mician Elect on February 13 of the following year, but did not
attain to full membership*. He died in London on July 10,
1806. In 1817 his "Anatomy of the Human Body" was
published.!

No. 1452. Landscape: with a Gentleman holding his
Horse.

On the left a man in a hunting suit leans on a rock holding
the bridle of a white horse ; a greyhound stands by his side. In
the background a steep wooded cliff, at the base a river.

Canvas, 17$ in. h. by 26J in. w. (0'44 by 0-67).

Purchased at the sale of Lord Clif den's Collection, May 25, 1895
(No. 676).

SUNDER. See CRANACK.

* He was elected to full honours, but he resented the application to
himself of a rule made subsequent to his election, which requires the
presentation of a diploma work to the Academy. He refused or neglected
to send one, and his election was annulled in a very arbitrary manner, and
another member was elected in his place. He always maintained that he was
entitled to the rank of R.A.-"2>ic. Nat. Huy.* 1903. Vol. LV., p. 118.
He also had a difference with the authorities as to the hanging of
pictures.

f Sir W. Gilbey : " Li fit of Georye Stubbs" 1898.

078 TACCONI TENIERS.

TACCONI (FRANCESCO), 14 ?-1491.

School of Cremona. FRANCESCO TACCONI was a painter of
Cremona in the fifteenth century, who followed G-iovanni Bellini.
FRANCESCO and his brother (?) Filippo TACCONI were in 1464
exempted from personal taxes, on account of a Loggia painted
by them in the Palazzo Pubblico of Cremona. In 1490 FRAN-
CESCO TACCONI was employed in the church of St. Mark at
Venice, for which he painted the doors of the organ then in
use on the outsides the Adoration of the Kings and of the
Shepherds; on the insides, the Resurrection of Christ. These
doors are still preserved, but the paintings are injured. The
recorded inscription, 0. FRANCISCI TACHONI CREMON. PICTORIS
1490 MAII 24, exists no longer.* FRANCESCO died about 1491.

No. 286. The Virgin and Child enthroned.

Holding the Child upon her right knee, the right foot being
raised on a footstool ; in the background a green curtain,
the sky to the left and right reaching from the foot of the canvas
to the top. The Child, facing three-quarters right, grasps Mary's
hood in His right hand ; sh*> holds His left in her left. Her
tunic is dull carmine red, her mantle dark green. Gold-grey tone.
Signed

OP'FRANCiSI*

TACHONH*8>
OCTV*

Wood, 39 in. k. by 20i in. w. (0'99 by 0'52).

Formerly in the Casa Savorgnan ; purchased, at Venice, of the Baron
Galvagna in 1855.

TENIERS (DAVID), the Elder, 1582-1649.

School of Antwerp. DAVID TENIERS I. was born in Antwerp,
and admitted a member of the Guild in 1606. He spent some
years in Rome, where he came under the influence of Adam
Elsheimer.f He was the master of his son, who carried on his

* Moschini, Guida per la Citta di Venezia, Ven. 1315, vol. i. p. 287. See also the
Dictionary of Grasselli, 4&m darn, /;/>//<///<<), Milan, 1827, in which the picture
in this collection is mentioned. It is noticed likewise in the dictionaries of the
Abate de Boni, Ticozz and Nagler.

t As to the length of the elder Teniers's sojourn at Kome see W. Bode Studien
zur Gesch : der Holldndiaclwn Malcrei, p. 318.

TENIERS. 679

father's style ; so that it is not always ascertainable which are the
works of the father and which those of the son (see 951 below).
Both are said to have occasionally used the same signature. The
father's signature appears to have commonly been a T within
the D, as we see it in some of the pictures in this collection
ascribed to the son. TENIERS died at Antwerp July 29, 1649.

No. 949. Rocky Landscape.

On the right a cliff and precipice ; a chateau against the sky in
the right centre. Water below to the left. In the centre fore-
ground a group of gipsies, and to the left a peasant having his
hand examined and a bank with a single silver birch. Signed
in monogram, a T within a D followed by an F for fecit.

Canvas, 64 in. h. by 84 in. w. (1'62 by 2'13).

Wynn Ellis Bequest, 1876.

No. 950. The Conversation.

Three men with long sticks standing in the left foreground, a
lurcher behind them in the centre. A grindstone in the left
corner, before a gabled cottage ; a woman in the doorway. On the
right a man walking away in the middle distance ; a spired church
in the centre distance ; tone, grey brown. Signed in monogram.

Canvas, 44 in. h. by 65 in. w. (I'll by 1'65).

From the sale at Stowe, 1851. Wynn Ellis Bequest, 1876.

No. 951. Playing at Bowls.

In the left corner a group of bowlsmen, one in a white shirt
stooping to throw ; beyond them on the left an inn, with the sign
of the crescent moon. A cottage with a thatched portico further
on. A stream in the centre ; sandy banks and a stile on the right ;
a church high up against the sky. A man running in the centre
foreground towards another standing profile left iu the right.
Broad shafts of light across the sky. Tone, warm amber grey.
Signed in monogram.

Canvas, 47 in. h. by 75 in. w. (1-19 by 1'90).

Wynn Ellis Bequest, 1876. Sm. 541. He attributed it to Teniers
the Younger.

TENIERS (DAVID), the younger, 1610-1690.

School of Antwerp. DAVIU TENIERS II., the son and pupil of
David Teniers I., was baptized at Antwerp, December 15, 1610.
The influences of Rubens and Adriaen Brouwer are clear in his
pictures. He was admitted a master into the Antwerp Guild in
1632-3. TENIERS' success was immediate and continuous, the

680 TENIERS.

Archduke Leopold William, governor of the Spanish Nether-
lands, appointed him his court painter, keeper of his pictures,
and one of his chamberlains. For the Archduke TENIERS
painted several pictures of the Picture Gallery, and many small
copies of its contents ; many of the former are in the Imperial
Gallery, Vienna, and at Munich ; of the latter the Blenheim Collec-
tion formerly had a number, after Titian, Palma,etc. ; some are now
in the Wallace Collection. He bought himself a country seat at
Perck, a village between Antwerp and Mechlin, which became a
constant resort of the Spanish and Flemish nobility : and he gave
Don Juan of Austria lessons in painting. This prince painted the
portrait of TENIERS' eon, and presented it to the painter as a
token of his regard. TENIERS died at Brussels, April 25, 1690,
and was buried at Perck. He was twice married : his first wife
was the daughter of Velvet Brueghel. TENIERS, though a Fleming
by birth, is akin to the Dutch painters in style : his works vary
very much, both in subject and in quality. At bis best he was a
brilliant virtuoso. His general subjects are fairs, markets,
merry-makings, guard-rooms, beer-houses, and other interiors :
he painted also landscapes. They are to be found in all collec-
tions ; the Hermitage has forty -three examples, the Belvedere at
Vienna eighteen. There are several etchings by him.

No. 154. A Music Party.

A man playing a lute seated full face in the centre ; his left foot
on a stool ; his right leg stretched to the left. Behind him to the
left an old woman holding a paper, seated at a table, a man bend-
ing over her. A stoneware flagon in the left corner. A group of
four men in the right background, by a fireplace. Signed

Wood, 10 in. h. by 14 in. w. (0-25 by 0'35).
Smith, 503.

No. 155. The Money-changers.

A man seated profile left in an armchair on the right, money
bags on bis knees. A woman seated behind a table in the centre,
looking at him. A window in the left upper corner ; papers
and money on the table. Gold-brown tone. Signed " DAVID
TENIERS."

Canvas, 24J in. 7i. by 33 in. iv. (0'62 by 0'83).

Smith, 505.

No. 158. Boors Regaling.

A mau seated on a low box in the centre, his right elbow on a
table, a glass of ale held up in his left, hand. Behind him an old
woman seated, a pipe in her hand, an old man stooping over her. In

TBNIERS. 681

the right background a man seated on a tub leaning against the
fireplace, another standing profile right. Brown tone. Signed

Wood, 10 in. h. by 14 in. to. (0'25 by 0'35).

Smith, 504 (" The Companions "}.

With Nos. 154, 155, Farnborough Bequest, 1838.

No. 242. Players at Tric-trac, or Backgammon.

A table in perspective in the centre ; a man seated at it on the
left ; one, in a felt hat with a pheasant feather, standing on the
right. At the far end a man standing, and another seated, bis
elbow on the table. Three men by a fireplace in the right
background. Amber brown tone. Signed" D. TENIERS, F."

Wood, 14$ in. h. by 21 in. w. (0'36 by 0'53).

Smith Suppl., 117. Exhib. Brit. Gall., 1838. Bequeathed by Lord
Colborne, in 1854.

No. 805. An Old Woman Peeling a Pear.

An interior, a large oven to the left ; the old woman is seated in
front peeling a pear ; other pears to left on the floor. Cauliflowers
on- the extreme left, a whippet to the right. An open door in the
right background admitting light that falls on a besom, a churn,
etc. Luminous brown tone. Signed " D. TENIBBS, F."

Canvas, 19 in. h. by 26 in. w. (0'48 by 0"66).

Formerly in the Hesse Cassel Gallery ; subsequently in the collections
of Jerome Bonaparte and General Myot. Purchased from Mr. G. H.
Phillips in 1870.

No. 817. The Chateau of Teniers at Perck.

A towpath in the left corner, the painter, his wife, another lady,
and his son holding a greyhound standing on it ; a short, fat man
is approaching with a pike in his hands. A canal in the centre and
right, six men dragging a net. In the middle distance and distance
three chateaux. Warm grey tone. Signed" D. TENIERS, F."

Canvas, 33 in. h. by 46 in. w. (0'83 by M6).

Smith 422. Formerly in the collections of M. Lambert and M. Sere-
ville ; subsequently in that of Sir George Warrender. Purchased
from Mr. C. J. Nieuwenhuys in 1871.

Nos. 857-60. The Four Reasons.

Signed each with a monogram of a T within a D, and an F for
fecit.

No. 857. Sprin,/.

A man carrying an orange tree before him in a pot to the
right ; others laying out a garden in the background.

682 TENIERS.

No. 858. Summer.

A man holding a wheatsheaf on the left ; he wears a white
smock and brown breeches ; others in the background
reaping.

No. 859. Autumn.

A publican standing full face, a flagon in his right, a wine
glass raised in his left hand ; figures in the background pre-
paring grapes for the press.

No. 86O. Winter.

An old man in a fur cap seated at a table, warming his hand
ever a pan of coals, a jug and wine glass by his side ; figures
skating in the left background.
Copper, each. 8 in. h. by 6 in. w. (0'21 by 0'15).

Engraved by P. L. Surrugua. Smith 48 ; Collections : The Com-
tesse de Verrue, 1737. Later La Prade (1776), Gros (1778), Nouri
(1785), Destouches (1794), Le Brun (1812), Prince Talleyrand (1817),
Watson Taylor (1823). Exhib. Brit. Gall., 1821. Peel Collection, 1871.

No. 861. River Scene.

A broad river from the right across the centre ; wooded
country, with a chateau among the trees on the far bank. In
the foreground on the left is a cottage and willow ; a woman
cleaning an earthen pot, and an old man wheeling an empty barrow.
By the river on the right three cows. Signed " D. TENIERS Ft."

Wood, 184 in- h. by 25 in. w. (0-46 by 0'64).

From the collection of Count Morel a Vende. Peel Collection, 1871.

No. 862. The Surprise. (" La Surprise fdcheuse.")

In the centre a maid servant, kneeling profile left, her left
hand on a large earthen pan. An old man seated by her is
chucking her under the chin ; several large vessels on the left, a
besom and smaller crocks on the right. In the right background
the old man's wife looking in at a door, raising her right hand, a
cat in front of her, and behind her the churn, chair, &c., that are
in the background of No. 805. Golden-brown tone. Signed " D.
TENIERS F."

Wood, 16J in. h. by 25 in. w. (0'41 by 0'63).

Smith, 478. In 1822 in the possession of M. Varoc. Exhib. Brit.
Gall., 1823. Peel Collection, 1871.

No. 863. Dives, in Hell. (" Le Mauvais Riclie."}

Dives stands in a cavern, full face in the centre ; a bat-winged
fiend on the left, a horse's skull and a man in a helmet playing
bagpipes on the right. Two monsters in the left corner, one

TENIERS. 683

holding up a flaming broom against the furnace glow. Luminous
brown tone. Signed " D. TENIERS, F."

Wood, 19 in. A. by 27 in. w. (0-48 by 0'68)

Smith, 264. Formerly in the collections of the Count de Merle and
M. Destouches ; subsequently in that of Mr. Emmerson. Peel Collec-
tion, 1871.

No. 952. The Village Fete, or the Fete aux Chaudrons.

On the left a building in front of which are four cauldrons ;
nearer the building six casks of beer, above a fight going on
The landscape is hilly and woody, to the extreme right is a cross
on a pillar, with immortelles. In the left foreground is an old
peasant selling children's flags with a plate of money before him.
Teniers and his party, with his little boy leading a greyhound, the
left foreground. A crowd arranged in two rows seated on the
right. The tower of Antwerp in the distance. Clear warm grey
tone. Signed "D. TENIERS F. 1643."

Canvas, 34* in. h. by 47J in. w. (0'97 by 1'20).

Replica of the picture in the possession of the Duke of Bedford,
which is signed 1646. (Sm. Catal., 137.) Wynn Ellis Bequest, 1876.

No. 953. The Toper.

A man with a flagon in his right hand and a full glass held up
in the left ; he stands full face wearing a red cap with a feather
and a blue jacket and a white shirt beneath. A cottage in the
right background. Signed with a T. within a D.

Oak, 6J in. h. by 4 in. w. (0'15 by (HI).

Wynn Ellis Bequest, 1876.

No. 2599. Visit to the Doctor.

A man in a chair is having his foot dressed by the doctor. The
patient's wife, wearing a green jacket, a straw hat and a cloak
over her folded arms, stand by his chair. A boy warms a plaster
over a chafing dish and a man with a jug is leaving the room by a
side door. Tone golden. Signed " D. TENIERS, F."

Wood, 15J in. h. by 23f in. w. (0-38 by 0'60).

Sm. 420. Sales, Walsh Porter, 1810, Thompson Martin, 1830. In
Coll. of T . Tomkinson, 1831. A somewhat similar piece was engraved
by Major, 1747 (13 by 18J).

George Salting Bequest, 1910.

No. 260 O. Card Players.

Two men seated at a stool playing cards and two others watching.
An old woman looks down at them through an opening in the wall.
Other figures in the background round a woman frying. Tone
luminous brown. Signed, " DAVID TENIERS."

Wood, 21J in. h. by 29 in. to. (0-i:> by 0'75).

George Salting Bequest, 1910.

684 TENIERS TERBORCH.

No. 2601. An old woman reading.

She is three-quarters right, holding a large book which rests on
her knees. Signed with a monogram.
Wood, 6i in. h. by 5J in. w. (0-17 by 0'13).
George Salting Bequest, 1910.

TERBORCH, OR TERBURG- (GERARD), 1617-1681.

School of Haarlem. GERARD TERBORCH (or TER BORCH) was
bora at Zwolle and taught by his father, Geert Terborch (1584-
1662), a wealthy man who travelled in Italy in his youth. The
artistic talent which he possessed, but which he does not seem to
have exercised professionally, was inherited by four of his children,
namely GERARD, the subject of this notice, and Harmen, sons by
a first marriage, and Gezina and Moses, daughter and son by a
third wife.* In 1632 GERARD was at Amsterdam, under whose
tuition does not appear ; before long be went to Haarlem
to become pupil of the elder Pieter Molyn, and to take
example by Frans and Dirk Hals. He entered the Guild at
Haarlem in 1635. The Consultation at Berlin, his earliest dated
picture, is of this year, when too he visited England. From this
country he passed through Germany into Italy, where he studied
Titian, and returning to Holland, perhaps by way of France.
To this Italian visit he doubtless owes the cosmopolitan style
and temper that distinguish his Dutch art. Yet he became in
no way an Italianizer. Pieces of about this date are Jan Six
(c. 1641) and the Portrait of a Girl in the Six Collection ; The
Marauders (1637) in the Werner-Dabl Collections, Dusseldorf,
and generally speaking the pictures of soldier life, such as Officers
playing Trie Trac, at Bremen, or the Dresden Officer Reading
and Officer Writing. He remained some time working at Amster-
dam, learning much from the works of Rembrandt. In 1646
TERBORCH went to Miinster, where the Congress was sitting, and
painted the marvellous little Ratification of the Treaty of Peace,
now in this Gallery. After the conclusion of the Treaty, in
1648, the Conde de Peneranda took TERBORCH to Spain, and
thus enabled him to study Velazquez. TERBORCH was again in
Holland in 1650 ; in 1654 he married at Deventer, of which town
he became a citizen, and, at a later period, Burgomaster. There
he passed the remainder of his life, dying on the 8th of December,
1681 ; his body, in accordance with the terms of his will, was
taken to Zwolle for burial.

* Kespecting the Terborch family, see W. Bode Studien zur Gesch : der
Hallandischeji Malerei, p. 176, seqq.. and p. 614 and Great Masters of Dutch and
Flemish Painting. E. W. Moss, in " Oud Holland," IV., 1886. pp. 145-165. Harmen ,
and his much younger step-sister and brother Gezina and Moses, made draw-
ings only. The last, an officer in the Dutch fleet, was killed in an engagement
with the English in 1667.

TERBORCH 685

To 1655 belongs The Despatch (Mauritshuis) ; 1656 the Portrait
of a young Man, seated, in the Thieme Collection, Hamburg ;
to 1658 the Interior with four Figures (Schwerin) ; to 1660 The
Music Lesson (Louvre). To his last period belong the pictures of
single figures, of Dutch upper middle class life, arid his arrestingly
penetrative portraits. In his pictures of women he shows a
sympathy with femininity akin to Watteau's, Dutch though its
expression is Misterpieces of this class are the Lady with her
Back turned (Dresden), The Toilet from the Kann Collection, The
Letter (Buckingham Palace), A Lady reading (Wallace), 2he
Concert (Berlin) The Glass of Lemonade (St. Petersburg), and
portraits in this Collection, at Haarlem, The Bague, and Amsterdam.
There is a fine Woman Spinning in the Cook Collection, Richmond.
TERBORCH'S drawings have a sensibility that reminds us of
Watteau, and his portraits a powerful realism unparalleled by
the other Little Dutch masters.

See Franz Hellens : Gerard Terborch. Bruxelles, 1911.

No. 864. The " Guitar Lesson. 11

A lady, in yellow and white satin, seated on the left, profile
right, playing a lute. Her master, seated in the centre at a table
covered with a Turkey carpet, reading the music, and keeping time
with his right hand. Another man is standing between them full
face ; a spaniel in the left corner. Flesh tone rosy pearl.

Canvas, 26 in. h. by 22 in. w. (0-67 by 0'55).

Sm. 7. De Groot 132. Smith had a repetition. The music master
recurs in the Cassel Hausmuxik. Formerly in the De Julienne (1767),
De Choiseul (1772), the De Conti (1777), De Pange (1781), the De
Praslin (1808), De Sereville (1812), Prince Galitzin (1825) ; and in
1826, in Barchard's Collections. Peel Collection, 1871.

No. 896. TJte Peace of Munster.

The Plenipotentiaries of Philip IV. of Spain and the Delegates
of the Dutch United Provinces, assembled in the Rath-haus at
Miinater on the 15th of May 1648, to ratify the Treaty of Peace
between the Spaniards and the Dutch ; signed on the 30th of
January previous. The Plenipotentiaries are standing nearest
to the table" ; six, holding up the right hand, are the Delegates
of the United Provinces ; two, with their right hands resting
on the Gospels, are representatives of the King of Spain.
The first of the Dutch Delegates, commencing from the left,
is the representative of Overyssel, William Ripperda, seen in
profile ; the next in order is Francis De Dona, Delegate for
Groningen ; the third also in profile, standing in front of a chair,
is Godard van Reede, representing Utrecht ; the next, seen in
three-quarter face, is Adrian Pauw, the Delegate for the Province
of Holland ; beyond him is Jan van Matanesse, seen in full face,
representing Friesland ; and the sixth is Barthold van Ghent, from
Guelderland, holding the copy of the document. Next Bar-
thold van Ghent is the Count do Pefiaranda, the Spanish

C86 TERBORCH THORNHILL.

ambassador ; he holds the document in his left hand, his right
being placed on the Gospels ; next to the count, on his left,
is Anthony de Brun, of the Supreme Council of the Nether-
lands at Madrid, his right hand on the volume. Immediately
behind the officer, standing resting one arm on the chair of
Godard van Reede, is Terborch himself, seen in three-quarter
face The chandelier still hangs in the Hall at Munster. Atmos-
pheric grey gold flesh tone. Signed " G. T. Borch, F. Monasterii,
A. 1648."

Copper, 17| in. Ji. by 22$ in. w. (0'44 by 0'57).

A copy of the picture is in the Museum at Amsterdam. Engraved by
Jonas Suyderhoef , the print bears a long inscription dated MDCXLVIII.
Idibus Maii."* Another copy is in the Rathaus, Munster.

Sm. 1. De Groot, 6. The picture remained in the painter's family and
was the property of a descendant, of the same name, at Deventer, in Hou-
braken's time, 1721. It passed thence into the Van Leiden Gallery (1804),
and next into the possession of Prince Talleyrand (Sale 181 7), and was
hanging in the room of his hotel at the signing of the treaty of 1814.
Bought with the rest of the Talleyrand Collection by Mr. Buchanan in
1817 ; subsequently in the collection of the Due de Berri, at whose sale
in 1837 it was purchased by Prince A. Demidoff. At the Demidoff sale,
Paris, 1868, bought for the late Marquis of Hertford, at whose death
it came into the possession of Sir Richard Wallace, Bart., and was by
him presented in 1871.

No. 1399. Portrait of a Gentleman.

Full length, standing, slightly facing the right front, the right
foot advanced, the right hand on his thigh, wearing a black velvet
doublet, black hose, black cloak, white shirt, a deep collar and
large muslin cuffs. He wears his own hair and a black broad-
brimmed sugar-loaf hat with black ribbons over his left ear. On
the right a table with a red velvet cloth, on the left a chair covered
with the same material. Warm grey background.

Wood, 26 in. ft. by 21 in. to. (0'66 by 0-53).

De Groot, 307. Purchased (for a nominal sum) from the Collection
of Sir Charles Eastlake, in accordance with his will, in 1894.

THEOTOCOPULI. (See GRECO.)

THORNHILL (SIR JAMES), 1676-1734.
English School. James Thornhill was born at Melcombe
Regis in 1676. He came to London, and was placed by

* See Wicquefort's Histmre den Provinces U?iies, vol. I. p. 112. The portraits of
the Delegates have been identified from Anselnms Van Hulle's Paciftcatores orU
Christiani, sive Icones Principiu m, &c. Fol. 1696.

THORNHILL-TIEPOLO. 687

his uncle under the tuition of Thomas Highmore, Sergeant
Painter to William III. He soon acquired repute and after an
expedition through Holland, Belgium, and France, was com-
missioned by Queen Anne to paint the cupola of St. Paul's, which
he decorated with eight scenes from the life of St. Paul in
grisaille. He also painted Queen Anne's Bed-room at Hampton
Court with a design showing " Aurora rising out of the Ocean
in her Golden Chariot," the cornice including several portraits.
He was also employed at Blenheim Palace. Between 1707
and 1727 he painted the ceiling and walls of the Painted
Hall at Greenwich, but for his work here, as at St. Paul's, he only
obtained 40 shillings* the square yard.* He also painted altar-
pieces for All Soul's and Queen's Colleges, Oxford. The copies
of Raphael's Cartoons which he made at Hampton Court are now
in the possession of the Royal Academy. He was knighted by
George I. and represented Melcombe Regis in Parliament. His
only daughter, Jane, eloped in 1729 with William Hogarth.
Thornhill died at Weymouth in 1734. His son John succeeded
him as Sergeant Painter to George II.

No. 1844. An Incident in tlie, Life of St. Francis.

Under a canopy supported by angels, St. Francis, ascending
some shallow steps, healing a sick man supported by a kneeling
woman and two men. A man stands to the right and in front
of the Saint. In classic architecture and various figures and an
interval of sky, from which breaks a glory. The foreground is
filled with a supporting winged angel in scarlet drapery, and
three draped allegorical figures. The study is painted on a red
ground, and is evidently the design for a ceiling. Signed on an
arch at the lower right corner, " JAMES THORNHILL, PINXIT."

Canvas, 41 in. h. by 32f in. w. (1-04 by 0'83).

Presented by Mr. C. W. Dopson in 1901.

TXEPOXiO (GIOVANNI BATTISTA), 1696-1769.

Venetian School. TIEPOLO was born at Venice in the people's
quarter and studied under Lazzarini, who was at least an able
draughtsman. He was influenced somewhat by Piazzetta, and
considerably by Paolo Veronese. In 1715 he married Guardi'a
sister, and until 1740 he was employed in Venice and its provinces
decorating the palaces and villas of the nobles as far as Genoa and
Milan. In 1750 he went to Wiirtzburg to paint in the Arch-
bishop's palace there. He returned to Venice in 1753. In 1755
he wa^ elected first director of the Venice Academy, but resigned

* The Sketch of the Painting for the Ceiling of the Painted Hall,
Greenwich, hangs on the East Staircase at the Victoria and Albert Mnseum.

688 TIEPOLO.

in 1762 and set off to Madrid to adorn with frescoes the Royal
Palace. He had a great reception and was loaded with com-
missions ; he died in Madrid, 1770. TIEPOLO'S rank as a brilliant
vertuoso, a fine designer and colourist, a master of plein air, and
on occasions as the creator of a distinct type, is higher than the
mere brilliance of his execution would lead one to suppose. He is
best studied in the Venetian palaces, at Verona, Vicenza, Milan,
and in the Churches of the Scalzi and the Gesuati and the School
of the Carmine, Venice. His Edinburgh Finding of Moses is a piece
of great beauty. His sons helped him in some of his work: the
Stations of the Cross in the Frari, by Domenico Tiepolo, show
him to have been a competent master. TIEPOLO'S drawings and
etchings are of high rank.

No. 1192. Henry IV. of Germany at Canossa, 1077
(II.}.

Henry IV., Emperor of Germany in 1077, performed penance
and humiliation before Gregory VII. at Canossa. This picture
may be taken to represent his pardon. The Emperor is seated to
the right, full-length, full-face, looking up at an angel who
descends bearing a crown. On the left, Gregory stands full-length,
three-quarters right, his hands joined. Below him kneels a young
man in white silk, with a palm branch, looking up to the right.

Canvas, 23 in. A. by 12f in. w. (0'58 by 0'32).

No. 1193. Henry IV. of Germany at Canossa, (1077}
(/.)

This represents the self-abasement of the Emperor, before Pope
Gregory who is seated in the centre raised up under an arch. He
has a heart in his right hand, emblem of Faith ; his left rests on
a book. Below him on the left stands Henry ; his left foot on
the throne step, a sceptre in his left hand, a crown on the step
behind him. To the right a group of four persons : a scribe
sitting on the step in front : immediately behind him a bishop,
with joined palms, reading from a book held by an acolyte :
a second acolyte behind holding his mitre and crook.

Canvas, 23 in. h. by 12| in. w. (O58 by 0'32).

A similar picture was in the Camille Rogier Sale, Paris, 1896 ;
another is known in a private collection in France.

Purchased with No. 1192 at the Beckett Denison Sale ; " Lewis
Fund," 1885.

No. 1333. The Deposition from the Cross.

In the centre the dead Christ lying on the ground ; the Virgin
prostrate at His head. The empty cross rises at His feet. In

See Alvin Beaumont : Journal des Artistes, 7 Aout, 1898. According to
Dr. H Modern, Nos. 1192-93 are studies for altarpieces in S. Salvatore and
S. Massino, Venice.

TIEPOLO TINTORETTO.

the left foreground, in tone, one of the thieves, erucified : the
other in light in the right centre. Standing figures on the right.

Canvas, 25 in. h. by 16f in. to. (0-63 by 0-42).

From the Cavendish-Bentinck Collection. " Clarke Bequest," 1891.
No. 2100. The Marriage of Vie Emperor Frederick 1.

The Emperor Barbarossa, and Beatrix of Burgundy, kneelin"
before the altar receiving the blessing of the bishop in full
canonicals. Ecclesiastics, courtiers, and pages crowd round the
altar steps. High up under an arch in the background a
company of musicians.

Canvas, 28 in. h. by 20J in. w. (0'72 by 0-52).

John Samuel Collection, 1906.

No. 2513. Virgin and Child with Saints.

The Blessed Virgin with the Holy Child on her knee
enthroned on clouds against an architectural background. Below
are St. Francis and two kneeling figures.

Canvas, 20 in. h. by 12 in. w. (0'52 by 0'31).

George Salting- Bequest, 1910.

TINTORETTO, 1518-1594.

Venetian School. JACOPO ROBUSTI, commonly called TINTO-
RETTO, was born at Venice. He was apprenticed to Titian, but
for some unknown reason summarily dismissed. Perhaps he
worked under Bonifazio ; he was influenced by Titian, Palma,
Michelangelo and Parmigianino. He is one of the classic
examples of indefatigable work. It was some time before he
made a name in competition with Titian and Palma ; his earliest
works were two altar-pieces for SS. Ermagora and Fortunate,'
and the Golden Calf and Last Judgment in S. Maria dell' Orto.
In 1548 he was commissioned to paint the Miracle of St. Mark,
now in the Accademia, Venice, which at once won him fame.
Other pieces of his first period are the St. Mark and a Shipwrecked
Sailor and the Transportation of the Body of St. Mark and the
Philosophers, in the Palazzo Reale Libreria. In 1658 he married,
and in 1560 began to work for the Scnola di San Rocco ; in the
church of S. Rocco are his Annunciation, Bethesda and St. Roch
series. In 1574 he volunteered the gift of a picture of the Victory
of Lcpanto to the State, and was rewarded by a Broker's patent.
In the meantime he was engaged in the Scuola di San Rocco,
receiving an annuity of 100 ducats and being bound to paint three
pictures yearly. The Scuola is the greatest monument to TINTO-
RETTO, containing sixty-two pictures by him. Among them are
Moses Smiting the Rock, the Crucifixion series, the Visitation nrd
17983 2 X

G90 TINTORETTO.

S. Mary of Egypt. In the Salute is his Feast at Cana, 1561 ; in
the Arti Collegio Mercury and the Graces, Vulcan, and Bacchus
and Ariadne, all of 1578. In S. Paolo and S. Giorgio Maggiore
are his two renderings of the Last Supper, and in the Sala del
Gran Consiglio the Paradiso of TINTORETTO'S old age (1590).
There are five examples at Hampton Court. He died at Yenice,
May 31, 1594 ; his son Domenico died in 1637, his daughter,
Marietta, an excellent portrait painter, in 1590, aged only thirty.
TINTORETTO from the rapidity of his execution, received the
nickname of il Furioso : Sebastiano del Piombo said that
Tintoretto could paint as much in two days as would occupy
him two years. Other sayings were that he had three pencils :
one of gold, one of silver, and a third of iron, and that "if he was
sometimes equal to Titian, he was often inferior to TINTORETTO."^

No. 16. St. George destroying the Dragon.

The princess in steely ultramarine kneels in the right fore-
ground with outspread hands fronting the spectator, looking
left ; her rose-coloured mantle blown out behind her. On
a bank beyond, a dead man lying naked, and St. George on a
white horse charging to the left at the dragon. Sea in the left
mid-distance and distance ; a castle in the centre. Flesh tone grey-
gold.

Canvas, 62 in. h. by 39 in. w. (1'57 by O99).

Holwell-Carr Bequest, 1831.

No. 1130. Christ washing the Feet of His Disciples.

The Christ kneels in the centre in rose red, with outspread
hands, His head profile left looking up into Peter's face. St.
Peter is seated profile right bending forward ; bis bared right leg
advanced, his foot in the basin. On the extreme left a disciple
stands holding a torch and leaning over profile right ; on the
extreme right another stands, his back turned, bending over to
the right drying his right foot ; on his left Christ's mantle. In
the right background a fire ; figures arranged across the back-
ground. Low tone.

Canvas, 80 in. h. by 160 in. w. (2-03 by 4-06).

Formerly in SS. G-ervasio e Protosio (called S. Trovaso) at Venice.

Engraved by Andrea Zucchi. Purchased in London from the Duke
of Hamilton's Collection ; " Clarke Bequest," 1882.

No. 1313. The Origin of " The Milky Way."

Jupiter in dull rose red descending from the right places the

fEidolfl, Le Maraviglie dell' Arte, ovvero Ic Vite dcglt illustri Pittor Vencti, &c.;
Lanetti. Delia Pittura Vencziatia, e dclle opere pubbliche de' Venezianc Maestri;
Zanzi, Storia Pittorica, &c. See also Berenson : Venetian Painters. E. March
Phillipps: Tintoretto and Venetian School. 1

TINTORETTO TITIAN. 691

infant Hercules at Juno's breast, beneath her upraised left arm.
She is half reclining on white and brown-rose red draperies,
leaning over to the left, her right leg hanging down, her
right arm supporting her. The milk flowing from her breasts
forms the Constellation of the Milky Way. At the foot of her
couch on the right, her peacocks, a cupid descending headlong
above them. Behind the goddess on the left a red-gold canopy
reaching to the top. In the middle distance Jove's eagle bearing
his thunder -bolts. Background of blue sky crossed by clouds.
Flesh tone grey-gold.

Canvas, 58 in. h. by 65 in. UK. (1-47 by 1-66V
Purchased from the Earl of Darnley in 1890.

TITIAN, 1477?-1576.

Venetian School. TIZIANO VECKLLIO was born at Pieve di
Cadore, son of Gregorio Vecelli and elder brother of Francesco.
He was taken to Venice when about ten and apprenticed to a
mosaic worker, S. Zuccato ; later he is said to have passed through
Gentile Bellini's studio into Giovanni's, where he was fellow pupil
of Giorgione. His earliest period, c. 1498-1511, is practically
unexplored : such pieces as are ascribed to it are Giorgionesque
rather than Bellinesque. They are r lhe Man of Sorrows (c. 1500),
Scuola di San Rocco ; La Zingarella (c. 1503-6), Vienna ; The
Madonna and Child (c. 1504-6), Benson Collection ; The Little
Tambourine Player (c. 1506), Vienna ; Pope Alexander and Jacopo
Pesaro, lately ascribed to 1508 ; the Caterina Comoro (c. 1509)
from the Crespi Collection, Milan. TITIAN was associated with
Giorgione in the decorations of the Fondaco dei Tedeschi
which established a new era in Italian painting. About 1510
he went to Padua, where in 1511 he painted frescoes in the
Scuola del Santo The Miracle of the Child, the Healing of a
Youth, and The Jealous Husband, and returned to Venice 1512,
probably then painting the Doria Gallery Salome, the Pitti
Concert and the Salute St. Mark Enthroned. Other pieces of this
time are the Bridgewater House Three Ages ; the Capitoline
Baptism, the Venus and Medea ("Sacred and Profane Love")
in the Borghese Gallery, and The Adoration of the Shepherd and
Noli Me Tangere, both in this Gallery. The Temple Newsam,
Man with a Glove, one of the master's great portraits, and the
"Cobham" Ariosto (c. 1508-14) in this Collection, also are of
this period. Early in 1513 TITIAN had been invited to Rome, but
stayed in Venice, where in May he petitioned for a broker's patent
on the terms enjoyed by Giov. Bellini. In December 1516, he was
given the patent left empty by Bellini's death. Between these
dates fall the Madonna with the Cherries, perhaps his most popu-
17983 2X2

692 TITIAN.

larly attractive painting, The Tribute Money (Dresden), and the
Sacred Conversation (Louvre, Dresden, and Vienna). His master-
pieces of portraiture the Munich and Hampton Court Men ; the
Parma at Vienna, the Louvre UHomme au Gant and Man in Black
belong to the next three years, as do the Uffizi Flora, the Madrid
Bacchanal and Garden of Love, and the Venice Academy L* Assunta.
In 1516 TITIAN first went to Ferrara, there painting the Bridge-
water House Venus, the Madrid pictures already mentioned, and
Bacchus and Ariadne (No. 35 in this Collection) in a second visit,
1523. To about this time belongs the Louvre Entombment, and to
about 1526 the " Casa Pesaro " Madonna at Venice. Two years later
TITIAN painted the Peter Martyr (destroyed by fire 1867) in
competition with Palma and Pordenone ; it was delivered to the
Friars of SS. G-iovar.ni e Paolo in 1530 ; perhaps no picture has
been so highly praised and deeply mourned : it represented the
climax of TITIAN'S first and perhaps best period. His intimacy
with Aretino, his enormous success and his splendid mode of life
no doubt conspired to produce the complacency and shallowness of
much of his work during the next thirty years. In 1532 he was
at Bologna and painted Charles V. two or three times ; the Prado
full length is ascribed to 1533, as are the Pitti Young Englishman
and the Ippolito de 1 Medici ; the Francesco and Leonora delta
Rovere and La Bella di Tiziano fall between 1536-38. These and
the Uffizi Venus are typical of the superb materiality of TITIAN'S
maturity. In 1536-37 he painted his series of The Caesars for
the Duke of Mantua ; their completion was broken by the Battle
of Cadore which TITIAN had to finish for the Signoria, in dis-
charge of his duties as holder of a broker's patent. So engrossed
had he been with princes' commissions that he had neglected his
office for twenty years. His Battle perished 1577, and is known to
us only by Rubens' drawing and a print. To this same period
(c. 1538) belongs the Venice Academy Presentation of the Virgin,
and a little later are placed the Verona Assumption, the General del
Vasto (Prado), the Daughter of R. Strozzi (Berlin), and the
Louvre Bearded Man. Between 1542-4 at Urbiuo he painted the
Resurrection and Last Supper, Pope Paul 111. at Bologna in 1543,
and again in 1545 in Rome. A third portrait of the Pope with
Ottavio and Alessandro Farnese is at Naples, also dating from
1545 with the Pitti Aretino. In Rome TITIAN met Michelangelo,
whose famous comment on the Venetian's Danae " it was a pity
the Venetians did not study drawing more," is known to all. In
1548 TITIAN went to Augsburg, there painting the splendid
Charles V. on Horseback, in the Prado. Among his later pieces,
mostly painted for Philip II., are the Prado St. Margaret and
Trinity (painted for Charles V.) ; the Naples and Madrid full length
Philip, and the sensual Prado Danae. From 1550 onwards a
change came over TITIAN, heralding the almost tragic intensity of
his last phase. For a time the great master explores yet further
the resources of colour, and then with the gained mysticism of his
end loses his control of outward expression. The Venus and Adonis

TITIAN. 693

in the Prado is of c. 1554 (see below No. 34) ; the Dresden Lavinia,
c. 1555 ; the wonderful Diana and Actaeon (Bridgewater House)'
c. 1559 ; the Munich Madonna and Child, c. 1560. The Ancona
Gallery Crucifixion of 1561 ; the Prado Entombment- the Vienna
Jacopo Strada ; the Self Portrait of c. 15R6-70, at Madrid ; the St
Pecersburg S. Sebastian, of c. 1572 ; the Prado Victory of Lepanto
and consummatingly the Munich Crowning with Thorns, and the
Venice Pietd show a profound significance that is barely com-
patible with the equanimity and superb materiality of his middle
period. TITIAN died of plague, as Giorgione sixty years earlier,
in 1576 ; his son Orazio followed him. TITIAN is the greatest
painter the Western world has knowledge of. In certain of his
portraits he ranks with the supreme masters ; in certain other
aspects he is seen as the greatest academician, as perhaps he was
the first.

See Crowe & Cavalcaselle : Life of Titian ; Sir Claude Phillips :
Titian (Portfolio Monographs) ; Charles Ricketts : Titian, 1910

No. 4. A Holy Family.

The Madonna seated on the left profile right, the Child on her
knee. St. Joseph seated in the centre, his head and shoulders
against the sky, facing the right front, where kneels a young
shepherd profile left, his left hand on the ground, a firkin slung
on his belt. The Virgin's mantle is clear blue, over a deep rose
robe, behind her a high bank : sky in the centre, a distant hill on
the right.

Canvas, 41J in. A. by 56 in. 10. (1'05 by 1-42).

From the Borghese Palace, Rome. Holwell-Carr Bequest, 1831.

No. 34. Venus and Adonis.

Sometimes called " Cephalus and Procris."

Venus seated naked on the left, her back to the spectator, her
left foot on the ground. She stretches back to the right embrac-
ing Adonis, who with his right arm raised, and looking down at
Venus, strides across the centre to the right ; two hounds in the
right corner. Venus' right toes cut off by the canvas edge ; beyond
her a sapling with two forking branches ; next it a trunk against
the canvas edge, with a quiver and bow pointing down to the
right.

Canvas, 69 in. A. by 72 in. w. (1'75 by 1'88).

The presumable original, with certain differences, is at Madrid,
painted 1554. A repetition was in the Leigh Court Collection (No. 4),
1822. The original sketch is at Alnwick. Versions of the picture are
in Lords Elcho's, Normanton's, and Wemyss' Collections. Schiavone
has been suggested as the painter of No. 84.

Formerly in the Colonna Palace at Rome. Imported by Mr Day in
1800 ; in the Angerstein Collection, whence purchased, 1824.

694 TITIAN.

No. 35. Bacchus and Ariadne.

Ariadne is on the left in deep ultramarine and vermilion
walking away, her right hand thrust out in front of her ; next
her two leopards part in shadow. In the centre Bacchus leaping
from his chariot, his rose-coloured mantle flung out above and
behind him. Below him a little faun with gleaming eyes and
uplifted face walking to the left dragging a calf's head. Behind
him Silenus twined with snakes advances to the left ; behind
him on the extreme right a dancing bacchanal brandishing a
goat's leg. Above Ariadne is the constellation of the golden
crown with which Bacchus presented her, on her becoming his
bride. The left background is a glowing landscape, with a view
of the sea, on which the departing ship of Theseus is seen in the
distance ; trees on the right. Composition of ten figures. General
flesh tone red-gold. Painted c. 1520. Signed " TiciANcs. F."

Engraved by G. A. Podesta ; and by J Juster in 1691.

Canvas, 69 in. h. by 75 in. w. (1-75 by T90).

Painted in 1514, at Ferrara, for the Duke Alfonso I. Subsequently
in the Barberini family, and the Villa Aldobrandini. Rome ; purchased
by Mr. Irvine for Mr. Buchanan in 1806, and brought to England. It
passed into the possession of Mr. Hamlet, of whom it was purchased,
1826.

No. 270. Christ appearing to Mary Magdalen.

Commonly called "NOLI ME TANGERE."

Mary kneels in the centre, profile left at the foot of a tree, her
right hand half raised. She looks up at the Christ, who stands
partially clad in white drapery, a hoe in his left hand, turning to
the right and bending over her. A castle and gabled buildings on
a hill in the right background ; level horizon in the centre, a
distant mountain on the left. Flesh tone golden. Painted c. 1514.

Engraved by Nicholas Tardieu and by W. Ensom.

Canvas, 42J in. A. by 35 in. w. (1'07 by 0'90).

Formerly in the Muselli family at Verona ; afterwards in the Orleans
and Champernowne Collections ; purchased in 1820 by Mr. Rogers, who
bequeathed it to the nation, in 1855.

No. 635. The Madonna and Child with St. John the
Baptist and St. Catherine.

The Madonna seated on a rock in the centre, nearly full face.
Her tunic is bright blue. She extends her right arm to take a
jasmine flower from the boy St. John who is seated on the left,
profile right. The Babe lies on His back on her right knee,
His right hand raised above His face, the left on St. Catherine's
right shoulder. She kneels in greenish lemon yellow profile right
to kiss Him ; her right arm beneath His shoulders. Massed trees
behind them on the left ; in the right background sunset sky

TITIAN. 695

with deep blue clouds, an angel in them, and dark mountains
In the middle distance shepherds driving their herds and sheep.
Painted c. 1530. Signed

T1CIAN

Canvas, 39 in. h. by 55J in. w. (I'OO by 1'40).

Probably the picture mentioned in Malatesta's letter to Federigo
Gonzaga. 1530 ; there is a repetition in the Pitti ascribed to Francesco
Vecelli.

Formerly in the Sacristy of the Escorial ; it has the Esourtal mark
"N. 78 Di Titi." Subsequently in the Coesvelt Collection. (183<i.
engraved.) Purchased at Paris from M. Edmond Beaucousin, in 1860.

No. 1944. Portrait said to be of Ariosto.

Galled the " Cobham Ariosto." The portrait is of a brown
haired, brown bearded man about 30 years of age. Turned profile
right, his arms apparently folded. The face turned slightly to
the front, the eyes fixed on the spectator. He is dressed in a
grey satin doublet, with large quilted and slashed sleeves, a low-
necked pleated shirt, and a thin gold chain. A black far mantle
seen on the left arm held in the right hand, which is just visible
in the shadow. Warm grey background. Painted c. 1508-14.
Signed on the parapet " TITIANVS V," another v at the further end
of the parapet.

Engraved by Joachim Sandrart, Amsterdam.

Supposed by Crowe and Cavalcaselle (Life of Titian, vol. I., p. 198,
note), to have been in the Lopez Collection in the time of Charles I.,
and perhaps the lost original sent from Ferrara to Virginio Ariosto at
Padua in 1554. A Portrait in the Altman Collection, New York,
attributed to Giorgione, bears resemblance to the sitter in this picture,
at a younger age and with auburn hair.

Canvas, 31 f in. h. by 25| in. w.

Purchased from Sir George Donaldson, who had it from the Cobham
Hall Collection. 21,000 were contributed by Lady Wantage, MT.
Waldorf Astor, Mr. Alfred Beit, Lord Burton, Lord Iveagh, Mr. J.
Pierpont Morgan.

Purchased 1904.

SCHOOL OF VECELLIO.

No. 3. A Concert, or, Music Lesson.

Five figures, half-length ; a 'cellist and a boy Ringing on the right ;

696 TITIAN-TROY.

the maestro, profile right, beating time in the centre, a girl on the
left resting her bare right arm on his shoulder.

Engraved by H. Danckerts and J. Groenswelt.

Canvas, 38 in. h. by 49 in. w. (0'96 by 1'24).

Part of the Mantua Collection, purchased by Charles I. in 1630 ;
mentioned in Vanderdoort's Catalogue as a " Music Party." Formerly in
the Angerstein Collection, with which it was purchased, 1824.

No. 32. The Rape of Ganymede.

He lies naked on his face, his left knee bent, borne up by the
talons of the eagle, whose wings stretch out of the picture left and
right. Ganymede wears a rose red scarf and has a bow in his right
hand.

Engraved by G. Audran and D. Cunego, for the Schola Italica, $c.

Canvas, an octagon, 68 in. each way (1'72).

Painted for a ceiling ; it corresponds with the picture mentioned by
Ridolfi originally in the Casa Sonica at Padua, by Damiano Mazza. a
scholar of Titian. That picture was generally reported to be by Titian.
and was sent elsewhere as such. Formerly in the Colonna Palace ; the
back-ground is a restoration by Carlo Maratta. It was brought to
England in 1800 by Mr. Day. Angerstein Collection, with which it
was purchased, 1824.

No. 224. The Tribute Money.

The Christ stands half length facing the left front, pointing
upwards with His right hand. Two disciples on the left ; one
leaning forward profile right, holding out the coin in front of
Jesus." (Matthew xxi. 17-24.)

Engraved by Martin Rota.

Canvas, 48 in. h. by 40* in. w. (1-21 by 1-02).

Titian's famous Cruto delta 3fonpta, at Dresden, is of 1514. on wood :
it has two figures only, the disciple on the right.

Purchased at the sale of Marshal Soult's collection, in 1852.

TREVISO (GiROLAMO DA). See GX&OXiAXKO.

TROY (JEAN FRANCOIS DE), 1679-1752.

French School. JEAN FRANCOIS, son of the portrait painter
Francois de Troy, was born in Paris and pupil of his father. He
went to Italy, 1699, remaining there till 1706. Accounts of his
personality and mode of life suggest that JEAN FRANCOIS was
strikingly attractive and debonair. In Paris he wa<> received by
the Academic, 1708, and in 1719 given a professor's chair. In
common with his age DE TROY began with the Grand Style of

TROY TDEA. 697

painting. In 1727 he entered into heated competition with
Le Moine for a prize offered by the king. In the next few years
he was engaged iu large commissions for mural decoration. Then,
finding the new movement under Watteau superseding the Grand
Stjle, DE TROY adapted himself to it. His best work was done in
the vein of small fetes-champctres, such as his Chantilly Dejeuner
iVHuitres, tbe piece in this Gallery, the Wallace Collection Hunt
Breakfast and the Victoria and Albert Museum La Surprise. DE
TROY was made Director of the French Academic at Rome, 1738.
At this period ho designed his large Queen Esther and Medea anil
Jason for tapestries, which show him to have been a competent
master. The tapestries exist in various collections : Windsor, the
Academie de France, Rome, the Arazzi Museum, Florence, and
Versailles. DE TROY'S last years were troubled by private
complications and quarrels with the Government.. Recalled in
1752, he died at Rome preparing for the journey.

See Lady Dilke : The French XVIII. Painters ; P. M. Turner
and C. H. Collins Baker : Stories of the French Artists, 1909.

Xo. 2216. " La Main Chaude."

A gentleman in coat and breeches of plum-coloured satin,
seated on a bank in a garden beneath a stone pedestal carved with
amorini, leans towards a lady on his right, also seated, in order to
play a children's game of hands, " la main chatule," in which a
second lady in the background between them is taking part. The
lady on the left wears a white silk Watteau gown and a small
white cap with a red bow.

Wood, IS in. h. by 10 in. w. (0'33 by 0-25).

Presented by Lieut.-Colonel R. Croft Lyons, 1908.

TURA (CosiMO), 1420?-1495.

School of Ferrara. COSIMO TURA, locally called COSMK,
the first Ferrarese painter of eminence, was born in or
after 1420. From 1451 we find him in the permanent service
of the Dukes at Ferrara, but at the same time painting
for churches, and for noble patrons elsewhere. In 1489 he
painted the organ doors of Ferrara cathedral, now in the
Town Collection. Many of his recorded works have perished, but
in parts of the frescoes of the Schifanoia Palace, executed after
1470 for Duke Borso, and several years ago cleared of the white-
wash with which they had been covered, the hand of TURA may
be seen. Amongst his best known works are a fine altar-piece
iu the Berlin Gallery ; a Madonna at Bergamo ; a small but
remarkable Pietd in the Museo Correr at Venice ; a beautiful
Madonna and Child in the Accademia, Venice ; a throned per-
sonification of Spring, in the Layard Collection. He is well
represented in the Gardner Collection, Boston, the Fogg Museum,

698 TURA-TURNER.

Harvard, and the Benson Collection, London. TURA'S art is filled
with an extraordinary intensity and sincerity of conception, in this
respect having affinity with that of Crivelli, Melozzo da Forli,
and Mantegna, in all of whom primitive conviction was alive.
See Die Friihe Renaissance der Italienischen Malerei. Jena, 1909.

No. 772. The Madonna and Child enthroned.

The Virgin enthroned in the centre, full face, full length, before
an apsidal niche heavily carved ; the Child lies back naked on
her left arm. She wears a blue mantle lined with moss green.
Below to left and right two angels each side, two standing
playing violins, two seated at her feet with lutes. Below them
in the centre two kneeling angels in green and browish rose, an
organ or regal between them. He on the left touches the keys,
the other blows the bellows. Prevailing colours blue, green, pale
magenta and brown rose. Grey milky-amber flesh tone.

Wood, 94 in. h. by 40 in. to. (2-38 by I'Ol).

Originally the centre portion of an altar-piece, of which the Lunette
is in the Campana Collection, in the Louvre. Later in the Frizzoni
Collection, Bergamo. Purchased from the Eastlake Collection, 1867.

No. 773. St. Jerome in the Wilderness.

The Saint kneels profile left, his lef c hand on his breast, a stone
in his raised right. A brownish grey drapery over his shoulders and
left leg. Behind him a rocky arch, and the lion with a thorn in
his foot in the left background, an owl and two kneeling figures
in the right. Flesh tone, reddish grey.

Wood, in tempera, 39 in. h. by 22 in. w. (I'OO by 0'57).

From the Costabili Gallery, Ferrara ; formerly in the Certosa at
Ferrara. Purchased from the Eastlake Collection, 1867.

No. 9O5. The Virgin at Prayer.

She is seated in the centre, three-quarters length, her clasped
hands held up to the right, her head turned to the left front ;
an open book on her left knee. Her tunic is warm rose, her
mantle grey-blue. Flesh tone, milky grey.

Wood, in tempera, 17 in. h. by 13 in. w. (0'44 by 0'33).

Purchased at the sale of Mr. Alexander Barker's pictures in 1874.

TURNER (JOSEPH MALLORD WILLIAM), R.A., 1775-1851.

English School. TDRNER, England's greatest artist, was born
April 23, f 1775, at 26, iVfaiden Lane, Covent Garden, where
his father, a native of South Molton, Devon, had a barber's
shop ; his mother died insane ; his father gave up the shop about

This Life is taken from the Catalogue of the Tate Gallery.
t Turner named April 23 as his birthday in a codicil to his will ; he was
baptised May 14, 1775, at St. Paul's, Covent Garden.

TURNER. 699

1800, and till his death in 1830 lived with his son*. TURNER in
1785 was sent to school at Brentford, where he coloured engravings
for the foreman of the distillery ; according to confused tradition
he studied in 1786 under Pallice, a floral painter, in the Soho
Academy ; in 1788 was sent to Coleman's School at Margate, and
in the same year worked under Thomas Malton, the architectural
draughtsman. In the absence of evidence many statements made
about this period must be taken with caution. He coloured prints
for J. R. Smith and backgrounds for architects, including William
Porden and Thomas Hardwick, and copied drawings by Paul
Sandby. In 1789 he entered the Academy Schools (see Drawings
from the Antique, V.f ; Anatomical Studies, X.. Studies from the
Nude, XVIII., Life Studies, XLIII., also LXXXIV.; ; he is said
to have copied at Reynolds's studio (Reynolds died 1792) ; he
exhibited in 1790 (aet. 15) at the R.A. a View of the Archbishop's
Palace at Lambeth (in possession of Mr. W. G. Rawlinson, repro-
duced in " The Water-colours of J. M. W. Turner," 1909). By 1789
he had sketched at Oxford (II.) ; in 1791 at Bristol and Malmesbury
(VI. and VII.) ; in 1792 he drew the ruins of the Pantheon (IX.),
and also made sketches in Wales. In 1794 the first engraving from
one of bis drawings, Rochester, appeared in the " Copper-Plate
Mazazine " ; he ceased regular attendance at the School, but
studied at intervals at least till 1799 ; by 1793 he bad a studio in
Hand Court, Maiden Lane, and was launched upon his early
career as a wandering topographical draughtsman in the wake of
Rooker, Hearne, and Dayes. About this time he came to know
Dr. Monro of the Adelphi, and in his bouse, along with Girtin,
Varley and others, studied, copied and translated drawings by the
old masters and the recent work of J. R. Cozens in Italy and
Switzerland, which immediately affected him (CCCLXXV.,
CCCLXXVL, &c.). From 1797 in conjunction with Girtin he
developed a broader and more mysterious manner in large draw-
ings for exhibition (XXXVI., L., LX., LXa., LXX.), culminating
in the Norham Castle of 1799, which he regarded as the beginning
of his success. Beginning with the ' tinted drawing ' of his pre-
decessors he had explored and even strained the possibilities of
water colour. In 1799 he was elected A.R.A. (age 25), and by
1800 was at 64, Barley Street. He was elected R.A. in 1802.

TURNER'S topograpical subjects had already passed over into oil
(Moonlight at Millbank, 1797, No. 459|, Buttermere, No. 460, and
Morning on Coniston Fells, 1798, No. 461 ; Kilgarran Castle, 1799).
He now threw himself more into oil painting, and began to design
landscaoes with mythological figures about 1800 (^Eneaa with the
Sibyl, No. 463, and Rizpah) ; in 1803, with the Calais Pier -(No.
472), his fisher subjects, begun at Dover and Brighton (XVI.,

For further particulars of the family see 0. Mallord Turner, Ihe Family
rals refer to section* in Mr. Plnborg's
in the Tate Gallery.

700 TURNER.

1793, and XXX., 1796) reached their culmination, and his seven-
teenth century Dutch models were surpassed ; the full mastery of
his earlier manner is here reached. It is a record of his first
foreign tour in 1802, by Calais through Paris (where he made a
number of notes on pictures in the Louvre, LXXIL), Macon,
Lyon and Geneva to Grenoble as the limit on one side, and
through Switzerland to Strassburg as the limit on the other (see
map in Finberg, Vol. I. and LXXI.-LXXIX.). A noble series
followed the Calais Pier ; the Boats carrying out Anchors (1804),
the Shipwreck (1805, No. 476), the Sun rising in a Mist (1807, No.
479), Spithead (1809, No. 481), and BligTi Sand (No. 496), with
the Death of Nelson (1808, No. 480) to mark TURNER as England's
greatest historical painter. Mythological compositions had accom-
panied these (Hesperides, 1806, No. 477, inspired by Poussin ;
Apollo. 1811, No. 488, inspired by Titian) ; Claude was the model
for Dido and ^Eneas (No. 494) and Apullia (No. 495) in 1814, and
for Dido building Carthage (1815, No. 498) ; in English landscape
the very modern Frosty Morning (1813, No. 492) was one of many,
and Crossing the Brook (No. 497) in the year of Dido applies to
English landscape the Claude-like structure of Mercury and Herse
and foreshadows the build of the coming Italian pictures ; excur-
sions had also been made in the field of Dutch interior painting
Blacksmith's Shop (1807, No. 478), Garreteer's Petition (1809, No.
482), and Cobbler's Home (No. 2055).

These various lines of work were knit together in the project
of Liber Studiorum, begun in 1807, continued till 181^, and
never concluded. Claude had kept for reference in his Liber
Veritatis (now at Chatsworth) sketches of the composition of his
pictures drawn in reed line and brown wash, and these had been
engraved by Earlom. TURNER prepared drawings in line and
sepia wash of sample compositions "Historical, Mountainous,
Pastoral, Marine, and Architectural " ; the lines were etched, the
washes, with the exception of one, an aquatint, were mezzo-tinted,
TURNER being aided in this by a number of engravers ; seventy out
of one hundred were published. Numerous engravings after his
drawings bad appeared in other publications, atd he trained the
line engravers on copper and later on steel to a filmy delicacy of
execution. Of publications begun up to 1819 may be mentioned
Cooke's Picturesque Views of the Southern Coast of England, 1814-
26 ; Views in Sussex, 1816-19, and Rivers of Devon, 1814-19 ;
Hakewill's Italy, 1 820 (from sketches supplied to him) ; Whitaker's
Richmodshire 1818-23, the climax of these complex " Views." In
1807 TURNER was appointed Professor of Prospective, a work he
took up reluctantly, but carried out arduously, as his MSS. (in the
possession of Mr. Mallord Turner) and diagrams (CXCV) remain
to prove. He resigned in 1837, but had ceased to lecture at a
much earlier date.

In 1817 TURNER was in Belgium, Holland, and on the Rhine,
where in three weeks he painted 50 body-colour drawings on
stained paper ; in 1818 in Scotland for Provincial Antiquities ; in

TURNER. 701

1819 he exhibited the large England : The Thames from Richmond
Hill, and first visited Italy (age 44). He went by Calais, Paris
Savoy, over Mont Cenis (CLXXIII), then by Turin, Como,
Lugano, Maggiore (CLXXIV), to Milan, Verona, Venice (CLXXV),
thence to Bologna, Rimini, and Ancona (CLXXVI), Loretto and
other places to Rome (CLXXVII, CLXXVIII, CLXXIX) ; there
he drew, making a number of notes in the Vatican Museum, and
excursions to Tivoli, Albano, Nemi, &c. (CLXXX-III), and
went on to Naples and Baiae (CLXXXIV) to Pompeii, Amalfi,
Sorrento, Herculaneum, Paestum, returning to Rome and working
there (CLXXXV-CXU) ; thence by Narui, Spoleto, Arezzo, to
Florence (CXCI) and back by Turin and the Simplon (CXCII-
IV). Two pictures of Rome appeared in 1820, and in 1823 The
Bay of Baiae (No. 505), the first of a series in which the complex
panorama of the recent English drawings is transposed to Italy
and the water-colour vision rendered in more iridescent colours
His method, along with his vision, had been changing, and this
date is a convenient one to mark the revolution ; the toned ground,
dark colour and solid painting that make early pictures like Jason
rectangles almost of black were to change to the opposite extreme
of his later work. The grey-blue sky of Crossing the Brook and
other English pictures had already invaded this darkness ; now
the light tone breaks into the foregrounds as well ; the ground
is white, in parts stained like a water-colour, in others thinly
scumbled. In pictures of the later period the ground is frequently
laid in with masses of blue, yellow and red (see the yellow fore-
ground of the Mountain Glen (No. 561) and the vermilion of the
Visit to the Tomb (No 555). The spots of dark tone tend to be
no more than the ' patch ' that shows up the brightness of a fair
complexion. In the transition period of the Bay of Baiae the
shadows (at least in their present condition) contrast somewhat
garishly with the lights, and these pictures are less satisfying
than TURNER'S earlier and later work. In the Ulysses and Poly-
phemus of 1829 he reached a new balance ; all is colour, both
shadow and light, and a fiaming design of morning clouds takes
the place of the dark architecture of his early skies and of the
blue spaces broken by tree clumps of the middle period. This is
the period also of some fine Petworth pictures, of simple and
perfect pieces like the Ship Ayround (No. 20G5) and Evening Star
(No. 1991) ; the Cowes yachting scenes are just before. Ten years
later the powers of colour which had thus translated the early
shipping picture into the romance of Ulysses were applied to the
original subject, and the Nelson native of thirty years before
reappeared in the Temeraire of 1839.

The last period of TURNER'S oil painting, from 1840 onwards,
includes elemental dramas of storm and conflagration, whose beauty
is sometimes marred by the freakish side of his fancy, as is the case
with some earlier works. There are pictures of Light and Colour
on one side, companion pieces of Shade and Darknest on the other.
The pictures so named with their abstract circular composition

702 TURNER.

round the centre of light are typical of the series, and the odd sub-
title of one of them (" Goethe's Theory of Colour ") shows his
preoccupation. The furnace of the Rain Steam and Speed (No.
538) and of the Hero of a Hundred Fights (No. 551), the ' sea of
blood ' of War (No. 529), the Angel in the Sun (No. 550), belong
to one side ; the Snowstorm (No. 530), the black Peace (No. 528)
the Undine (No. 549), to the other. During these yeais the moun-
tains and foliage, the Carthage and Baiae of his earlier imagination
are displaced by Venice, where the buildings and water gave free
play to reflections of light and colour ; the title, The ' Sun of
Venice ' Going to Sea (No. 535), shows what was in TUKNER'S mind.
The last pictures he exhibited were a combination of the old and
the new, a Carthage, Cowes and Venice in one.

But the oil pictures alone give an imperfect view of his later
activity. From 1820, the date of his first Italian tour, till about
1840, TURNER'S water-colour work, sketches apart, was mainly for
engravers. The chief new series were the Rivers of England
(1823-7), Ports of England (1826-8), Picturesque Views in England
and Wales (1827-38), The Keepsake (1828-37) and similar
publications, The Rivers of France (1833-5), Turner's Annual Tour
(1833-5), and a multitude of illustrations, including those to
Rogers's Poems (1834), Byron's Life and Works (1832-4), Scott's
Works (1834-6), and Life (1839), Finden's Bible (1836), Milton
(1835), White's India (1836-7), Campbell's Poetical Works (1837),
Moore's Epicurean (1839). This work, of very mixed quality from
the pitch of the England and Wales and Rivera of France down to
the prettiness of the vignette drawings (1830-6), had been accom-
panied by colour sketches unprecedented in their freedom, flaming
hues and ethereal structure. It was this line that TURNER developed
when he ceased to illustrate. From 1838 to 1845 he spent an in-
creasing time on his " annual tours" abroad, especially in Venice
and the north of Italy, and in Switzerland. From the sketches
made he occasionally developed finished drawings ; the sketches
themselves are part of the Turner Collection (CCCLXIV, ex-
amples in Room VII, Tate). These are the last word of his art.
His health began to fail in 1845, but his exhibited up till 1850.
On December 19, 1851, he died in the small house on the river
at Chelsea, which he had kept from the knowledge of his friends,
and where he passed under the name of Booth, that of his
housekeeper. He was buried beside Sir Joshua Reynolds in the
crypt of St. Paul's on December 30.

For full bibliography as well as further biographical detail see
the Catalogue of the Tate Gallery.

No. 476. The Shipwreck. Fishing Boats endeavouring

to Rescue the Crew*

A wreck labouring in the distance, crowded with human beings ;
in the foreground near the wreck are several fishing boats, striving

* From the Tate Gallery.

TURNER. 703

to approach the ship. One boat in the centre of the picture has
rescued some of the passengers and crew. There are various
studies for a Shipwreck in Calls Pier Sketch Book, No. LXXXI.
No. LXXXVII is labelled Shipioreck and contains studies for
the picture, and list of subscribers for Charles Turner's engraving.
No. LXXXVHI contains further studies of wrecks, e.g. pp. 1-8
[536*41. Painted in 1805 ; exhibited in Turner's studio 1806 ;
originally purchased by Sir John Leicester (Lord de Tabley), and
subsequently exchanged for the Sun rising through Vapour (No.
479, N.G.).
Canvas, 67 in. A. by 95 in. w. (1-71 by 2'41).

No. 479. The Sun rising through Vapour.

Formerly catalogued The Sun rising in a Mist.

Fishing boats arriving and unloading, fishermen cleaning and
selling fish ; guard-ship in the distance, tide low.

Canvas, 52 in. h. by 70 in. w. (1'32 by 1-77).

This and the Dido building Cartilage (No. 498) were bequeathed by
Turner to the nation, on condition that they should be hung between
two paintings by Claude (No. 12 and No. 14).* This picture was ex-
hibited at the Royal Academy in 1807 (No. 162) under the title of
Sun riting through Vapour. Ms/wrmen cleaning and selling fish. The
picture was exchanged with Sir John F. Leicester, afterwards Lord de
Tabley, for the Shipwreck (No. 476), and was repurchased by
Turner in the De Tabley sale, July 7, 1827 (No. 46).

A small replica of this painting was included in a sale of pictures
belonging to Mr. Ayscough Fawkes. June 27, 1890 (No. 62), and ia
now in the Collection of Mrs. Johnstone Foster.

TUKNBE COLLECTION.

No. 481. Spithead: Boat's Crew recovering an Anchor.

Various men-of-war lying anchored in the roadstead, others
bearing up for anchorage ; a fresh breeze blowing.

Canvas, 67 in. h. by 92 in. to. (1*70 by 2-33).

Exhibited at the Royal Academy in 1809 (No. 22).

TURNEK COLLECTION.

No. 483. London from Greenwich.}

The Hospital and Park in foreground ; the Thames and London
in distance ; wind blowing from south-west. Exhibited in Turner's
Gallery, 1809, No. 16, as London, with the following verses :
" Where burthen'd Thames reflects the crowded Hail,
Commercial care and busy toils prevail,
Whose murky veil aspiring to the skies.
Obscures thy beauty and thy form denies.
Save where thy spires pierce the douMtUlaJr,
s of hope amidst a world of care.

gleams of hope

i- This condition contained in the Will WM cancelled by virtue of the
Order of the Court of Chancery.
t From the Tate Gallery.

704 TURNER.

Etched by J. M. W. Turner, and engraved by C. Turner in Liber
XXVI. (R. 26). Study for this No. CXVII, D [493]. cf. also
CXX, N., CLVIII, 67a, 68.
Canvas, 34J in. h. by 46 in. w. (0 87 by 1-18).

No. 492. A Frosty Morning ; Sunrise*

" The rigid hoar frost uielts before his beam." Thomson's Seasons.

Men with a two-horse cart at work by the roadside ; the stage
coach approaching from the distance. Mr. F. E. Trimmer gave
Thornbury the following notes on the picture. " Turner, when at
Twickenham had a gig . . . and an old crop-earel bay horse,
or rather a cross between a horse and a pony. In this gig he used
to drive out sketching. He has immortalised his old crop- ear in
bis Frosty Morning . . . The Frost Piece was one of his
favourites. Once he talked of giving it to my father, who
greatly prized it. He said he was travelling by coach in Yorkshire,
and sketched it en route. There is a stage coach in the distance
that he was on at the time. My father told me that when at
Somerset House it was much brighter, and made a great sensation.
It was over the fire-place in his [Turner's] gallery. The girl with
the hare on her shoulder, I have heard my father say, reminded him
of a young girl whom he occasionally saw at Queen Anne Street,
and whom, from her resemblance to Turner, he thought a relation.
The same female figure appears in his Crossing the Brook
(No. 497). Exh. R.A. 1813, as Frosty Morning.

Canvas, 45 in. h. by 69 in. 10. (1'14 by 1'75).

No. 497. Crossing the Brook*

Near Morwell Rocks arid the Weir Head, some twenty miles
from the sea, looking south towards Plymouth and Mount Edg-
cumbe, with Poulston Bridge above, Calstock in middle distance,
and Calstock Church beyond. In left foreground is a bare-legged
girl, Avho has crossed the brook and calls to her dog, which,
dripping wet, has passed midway over the stream with a Bundle in
his mouth ; on the bank to the right is another girl seated, with a
package by her side. An original finished sketch ' is in possession
of Mr. C. B. Walker, of Minneapolis, ex. coll. the Earl of Jersey.
Studies CXXIX, (52) (?), CXXXI, 84, 118 (?) and 162a, CXXXIII,
35a, 36 (?), and 37 (?), CXXXV, 14 (?) and 18a, 19 (?). Exh.
R.A. 1815.

Canvas, 76 in. h. by 65 in. w. (1-93 by 1'65).

No. 498. Dido building Carthage ; or the Rise of the

Carthaginian Empire.
A river scene, with the sun in the centre of the picture ; a

* From the Tate Gallery.

TURNER. 705

bridge in front, and piles of classic architecture, completed and iu
progress, on either side ; high banks and rocks in the background.
Dido, Queen of Carthage, is seen surrounded by her people on the left :
on the right is the monument to her murdered husband, Sicheeus.

Inscribed, on the extreme left, " Dido building Carthage, or the Rise
of the Carthaginian Empire," and signed " J. M. W. TURNER, 1815."

Exhibited R.A., 1815 (No. 94).

Canvas, 60* in. h. by 89* in. w. (1-63 by 2'2).

TURNER COLLECTION.

No. 516. CUlde Harolds Pilgrimage.

A mountainous landscape, with a winding river ; to the right
a broken ridge ; on the left a pile of ruins ; in the foreground a
solitary stone-pine, and a party of pleasure seated on the river
bank. In this picture, Italy, ancient and modern, are both repre-
sented : the ancient ruin, the medieval convect and walled town,
the modern life. The time is evening, the sun is going down
beyond the mountains, but still tinging them with a warm and
beautiful light, and shining alike upon the glorious wreck of the
past, and on the fascinating out-door life, the feasting and dancing,
of the present Italy. The Italian air, land, and foliage, all are
vividly realized. Exhibited R.A., 1831 (No. 70).

Canvas, 56 in. h. by 98 in. w. (1-42 by 2'48).
TURNEE COLLECTION.

No. 534. San Benedetto: looking towards Fusina.

This picture was formerly catalogued as " Approach to Venice,
looking towards Fusina."

In the middle-distance to the right and left are buildings on
islands ; in the foreground to the left a group of gondolas.
Evening sky. Exhibited R.A. 1843 (No. 554).

Canvas, 24 in. h. by 36 in. w. (0'61 by 0-91).

A painting called " Approach to Venice " is in the Collection of
Sir Edward P. Tennant. It was exhibited at the Royal Academy
in 1844.

TURNER COLLECTION.

No. 535. TJie "Sun of Venice" going to Sea.

The "Sun of Venice" So? di Venezia-h the name of the
fishing boat putting out to sea. Exhibited R.A. 18
Canvas, 24 in. A. by 36 in. w. (0'61 by 0'91),
TURNER COLLECTION.

17983

2 Y

706 TURNER.

No. 536. Fishing Boats bringing a Disabled Ship
into Port Ruysdael.

The title given to this picture was adopted merely to do honour
to Jacob van Ruisdael, the celebrated Dutch landscape painter.
The "Port Ruysdael" is the fiction of the painter. Exhibited
R.A. 1844 (No. 21).

Canvas, 35 in. Ji. by 47 in. w. (0-88 by 1-19).
TTJRNBK COLLECTION.

No. 538. Rain, Steam, and Speed the Great Western
Railway*

The railway, carried on a high viaduct over a river, is seen in the
middle of the picture ; on the left another bridge and a town ; on
the right the open country, indistinctly visible through the rain ; a
train, the fire visible through an opening in front of the engine,
approaching the spectator ; a hare running before it. Sweeping
rain-clouds fill the atmosphere. Exh. R.A. 1844.

Canvas, 36 in. h. by 47 in. to. (0'91 by 1-19).

No. 560. Chichester Channel. (Unfinished.)*

Canvas, 25 in. h. by 53J in. to. (0-60 by 1-35).
Painted, 1829.

No. 1981. Norham Castle, Sunrise*

The sun rises behind the castle, blue in the mists of dawn ; the
opalescent sky is reflected in the shallow river, where a red cow
stands drinking. This should be compared with the sepia drawing
of the same subject (CXYIII, D.), mezzotinted by T. Lupton for
the " Liber Studiorum," R. 57. Turner's earliest Norham Castle,
a water colour, was at the R.A. 1798. Three other versions in
water-colour were painted between 1820 and 1833, but this picture
probably dates some years later.

Canvas, 35J in. k. by 47i in. w. (0-90 by 1-20).

No. 1993. Yacht Racing in the Solent. No. 1.*

Yachts, their white sails flecked with sunlight, are sailing through
broken water below the yellow cliff of East Cowes ; to right is
the estury of the Medina river, forming Cowes harbour. This
and the following five pictures were painted by Turner when he
was staying at East Cowes Castle with J. Nash, architect of that
building and o the Quadrant, Regent Street, in the Autumn of

* From the Tate Gallery.

TURNER. 707

: c, See 8tudies in CCXXV I, Windsor aud Cowes, Isle of
Wight Sketch Book, and CCXXVII (a), CCXXVIII, East Cowes
Castle, and Yachts at Cowes Sketch Books.
Canvas, 17 in. A. by 28i in. to. (0'44 by 0'72).

No. 2000. Shipping at Cowes. No. 2.|

A group of boats in Cowes Harbour at the hour of sunrise, their
crowded masts relieved against the morning sky. The sun is rising
behind a group of high trees on the right, under which the mimic
fortifications of West Cowes Castle, the Royal Yacht Squadron
clubhouse, may be distinguished.

For further details, see -No. 1993.

Canvas, 17 in. h. by 29 in. 10. (0'44 by 0-7:?).

No. 268O. Sketch for " Walton Bridges."
Wood, Hi in. A. by 28i in. to. (0-36 by 0-72).

No. 2681. Walton Reach.

Wood, Hi in. h. by 28f in. w. (0'36 by 0'73).

No. 2881. Waves Breaking against the Wind.

Canvas, 23 in. h. by 35 in. w. (0'58 by 0'08).

No. 2882. Waves Breaking on a Lee Shore.

Canvas, 23 in. h. by 35 in. w. (0-58 by 0"88).
Both in Turner's late period.

* These nine pictures were painted on two pieces of canvas measuring 3 ft
by 4 ft. Nos. 1993, 1995, 1996, 2000, 2001 on one piece, and NOB. 1W4, 1907, 1908,
1999 on the other. Mr. Pinberg has communicated a copy of the following
letter, which probably refers to these two canvases ; it is in the possession of
C. Mallord Turner, Esq., who has kindly consented to allow it to be published.

" Sunday.

' I wrote yesterday to Mr. Newman to get a canvass ready tf feet by 4 feet
I wish you to call and ask if he has it by him, and if he gets it done by
Middleton, in St. Martin's Lane, or at home. If by Middlcton, then let two bo
sunt ; if he does it at home, then ho will be some time about tt, and then
tell him if he has by him a whole length canvass to send it instead of pre-
paring the 6 feet 4 canvass. If he has not then go to Middleton, and if he has
one, a whole length canvass, let him send it me immediately. I want the
canvass only I don't want the stretching frame made in town if Middleton or
Newman has the canvass ready done and it' a whole length let either send it
down to me

at J. Nash, Esqre.

East Cowes Castle,
Isle of Wight

If they are both ready send them together rolled up on a small roller and
put the linen things I wrote for on the outside.

1 want some Scarlet Lake and Dark Lake and Burnt Umber in powder from
Newman's, one ounce each.

J. M. W. T.
I ounce of mastic.
To Mr. Turner
Queen Ann Street

Cavendish Square.

t From the Tate Gallery.
171)83 3Y3

708 TUSCAN SCHOOLS UCCELLO.

TUSCAN SCHOOLS.
FLORENTINE. XV. CENTURY.