NOTICE 
 
 THE DRAWINGS & PUBLICATIONS 
 
 ARUNDEL SOCIETY 
 
DESCRIPTIVE NOTICE 
 
 fublirationK af tln{ girmtdijl ^ortijtj. 
 
onjAUimifAtifttnoAmmmPAnjmAUimuAmuj 
 
THE ECSTACY OF ST. CATHARINE. 
 
 .4 FRESCO BY BAZZI AT SIENA. 
 (Sec page 92.) 
 
|3ubli.'ihe(l uiulcr tho .'iandion of ilu' (rouin[il of the 3^i;w»tIi'I ^oitii'ty. 
 
 DESCRIPTIVE NOTICE 
 
 DKAWINGS AND PUBLICATIONS 
 
 i;iie l^rundDl ^ocictii, 
 
 UlRANGEI) IN THE OltllEl! ilE THEIR ISSUE. 
 
 F.Y FREDEIMC AV. :\IAYXARD. 
 
 " The study of nature, corrected by the ideal of the antique, and animated by the spirit of 
 Cliristianity, personal and social, can alone lead to excellence in iut; each of the three elements of 
 lumian nature — matter, mind, and spirit — lioinj; thus brouijht into union and co-operation in the 
 service of God, in due relative harmony and subordination." — LoUD Lindsay's Illstori/ of Chrhfian 
 Art, vol. ii. p. 101. 
 
 LONDON: 
 
 IJrintfD ant) ^3uilisf)r& for tfir aiitfjov bs 
 
 J. [;. NICHOr.S AND SONS, 25, rARLlAMENT STREET, 
 
 AND SOLD AT THE AUUNDEL ROO.MS, -'4, OLD BOND STREET. 
 1869. 
 
^/■';3 
 
 PREFACE. 
 
 TuE writer of the present Notice presents it to the Mcm- 
 hers of the Arundel Society in the hope that it may he 
 acceptahle as rendering the series of puhlications produced 
 hy the Society, and its collection of draAvings, useful to 
 those who have not devoted much time to the examination 
 of puhlished hooks on Early Art. 
 
 The design of this work is to give a full and complete 
 catalogue, with descriptions, of the puhlications, arranged 
 in the order of their issue, as well as notices of the Society's 
 collection of drawings, and hiographical memoirs of the 
 artists whose Avorks have heen illustrated ; comhining in- 
 formation in a condensed form Avhich could only he other- 
 wise obtained hy reference to various hooks either not readily 
 accessible or troublesome to refer to. 
 
 The Avork is published under the sanction and Avith the 
 approval of the Council ; but the author alone is responsible 
 for the facts and opinions stated in it. For the particulars 
 
 149 
 
relating to the publications of the first seven years the 
 writer is indebted for some of his material to a " Descrip- 
 tion " wbich was publisbed in 1855, explaining an Exliibi- 
 tion of the Society's Works wbich took place during tbat 
 year in the Crystal Palace at Sydenbam. The remaining 
 portion has been collected from the best sources attainable, 
 and is also the result of a careful study of those works which 
 are necessarily daily before the eyes of the writer in the per- 
 formance of his duties. 
 
 r. w. M. 
 
 March, 1869. 
 
 'W 
 
te ^nmdel ^ocieti];* 
 
 SOCIETY FOR PROMOTING THE KNOWLEDGE OF ART. 
 
 INTRODUCTORY XOTICE. 
 
 E,T has ill all ages and countries had an intimate 
 relation with religion; its nature has heen influ- 
 enced by the faith of its professors and patrons. 
 In ancient Greece and Rome the grandest human 
 types were used to exalt the mind to a contemplation of the 
 
 * A short designation being desirable fur the Society, tbe name of an 
 enlightened amateur — Thomas Howard Earl of Arundel — ^yas selected for 
 this pui-pose. Lord iVrundel has been called "the father of vei-tii in England," 
 and " the Msecenas of all politer arts." " I cannot," says Peacham in his 
 " Compleat Gentleman," first printed in 1G34, " but with much reverence 
 mention the everyway Right Honourable Thomas Howard, Lord High Marshall 
 of England, as great for his noble patronage of arts and ancient learning as 
 for his high birth and place ; to whose liberal charges and magnificence this 
 angle of the world oweth the first sight of Greek and Roman statues, with 
 whose admired presence he began to honour the gardens and galleries of 
 Arundel House about twenty years ago, and hath ever since continued to 
 transplant old Greece into England." 
 
 It appears that the person chiefly employed by the Earl in these researches 
 was his chaplain, Mr. William Petty, M.A., the uncle of the famous Sir William 
 Petty, and ancestor of the Marquis of Lansdowne. — See Dallawai/'s IValpole, 
 
 vol. ii p. nn. 
 
2 Descriptive Notice of the 
 
 supernatural, and even common objects of daily use were 
 designed with a beauty of tbeir own for tbis purpose. The 
 religious feeling of the jieople prompted tbe worsbip of the 
 unseen in the beauty of external form of everything that 
 surrounded them. As the power of the old religion lessened 
 on the minds of its believers, added to the diminished pros- 
 perity of the Roman empire, pagan art gradually perished, 
 and with the introduction of Christianity it died, — but only 
 that it might rise again from its ashes in a more beautiful 
 and spiritual form. The Christian religion caused for the 
 time a revulsion of feeling and a repudiation of art. Ap- 
 pealing to the inner life of man, it required no outward form 
 to assist in its worship ; and among its early followers there 
 was a horror and aversion to pagan art, connected as it was 
 with idolatry. Paganism invested its gods with every beauty 
 of external form : on the other hand, the Cliristian Church 
 looked upon the Saviour as the type of all suffering and 
 sorrow, and not attractive by form or comeliness. As the 
 Church was gradually relieved from persecution and became 
 the ruling poAver, the connection between Art and Heathen- 
 ism was severed ; but, believing that they were forbidden by 
 their faith du-ectly to represent sacred objects, the early 
 Christians obeyed their growing instincts for art by symbo- 
 lical rciiresentations having reference to the new doctrines. 
 As the power of Christianity advanced, historical representa- 
 tions took the place of the symbolical, even to representing 
 Christ himself and the events of his life. The period of the 
 Byzantine empire marks the transition from pagan to Chris- 
 tian art ; and, when the Gothic spirit was attaining its 
 influence by the development of a new style of architecture, 
 Christian art started into life fresh and original in its 
 character. Architecture and sculpture may be described as 
 the parents of painting. The edifice being erected, materials 
 
Piihlirah'ous of thr AnnxM Societl/. 3 
 
 for sculptured decoration were ready lo hand; but not so 
 for representations on a flat surface, for the manufacture of 
 colours, and the means of using them, had yet to be re-dis- 
 covered. Until this knowledge was obtained, the process of 
 working in mosaic (well understood in past ages) held the 
 place of painting, and the remains of this early art may still 
 be seen at Ilavcnna, Rome, Milan, and Mm-ano, and on the 
 domes of St. Mark's. This process was continued till the 
 thirteenth century, and degenerated into a mere handicraft. 
 It hampered the effiorts of those who had genius for design, 
 and art, as represented by mosaic, w^as sinking into the mere 
 outward form, without life or expression, notwithstanding 
 the spirit infused into it by such men as Mino da Tureta, 
 Tafi, Gaddo-Gaddi, and even Giotto bimself. The process 
 was costly, and occupied much time ; and, when the more 
 ready and cheaper material of fresco came to be discovered, 
 the general use of mosaic was abandoned. " The art of 
 Europe, between the fifth and thirteenth centuries, divides 
 itself essentially into two great branches, one springing 
 from, the other grafted on, the old Roman stock. The first 
 is the Roman art itself, prolonged in a languid and degraded 
 condition, and becoming at last a mere formal system, 
 centred at the seat of Eastern empire, and thence called 
 Byzantine. The other is the barbarous and incipient art of 
 the Gothic nations, more or less coloured by Roman or 
 Byzantine influence, but gradually increasing in life and 
 power. Gothic blood was burning in the Italian veins ; and 
 the Florentines and Pisans could not rest content in Eastern 
 formalism."* 
 
 In the thirteenth century a revival of the arts took place 
 in Italy, and there arose that long line of illustrious painters, 
 
 * " Giotto ami liis Works in radiia," liy .lolm Rnskiii. 
 
 b2 
 
4 Descriptive Notice of the 
 
 who, Leginning with Cimabue and Giotto, and ending with. 
 Raphael and his contemporaries, raised art to the highest 
 excellence it has ever attained. E.eligion united with wealth 
 created the emulation to produce those works which to the 
 present day are the admiration of mankind, and standards 
 whereby the present and future ages may derive and culti- 
 vate a pure and refined taste, and a sound knoAvledge of the 
 principles and practice of art. The objects kept in view by 
 the early masters were the help to devotion and the religious 
 teaching of men in general, and not to gratify the taste of 
 individuals; for almost without exception the subjects 
 painted illustrated Scripture history, sacred legends, or alle- 
 gories inculcating the blessings of virtue and faith. The 
 history of fresco is the true history of painting in its highest 
 and most spiritual development from the thirteenth to 
 nearly the middle of the sixteenth century. It became, 
 therefore, a noble object to collect diligently and with dis- 
 crimination the best examples of art, and to bring them 
 before hundreds of minds which would never otherwise be 
 touched by siich guiding and elevating influences, and to 
 show how the arts aided each other for the instruction as 
 well as the delight of men. The materials for such a work 
 Avere abundant, but scattered, little accessible, and in some 
 instances passing away. Where beauty is that of conception 
 rather than of execution, such reproductions would present 
 too little of popular attractiveness to be undertaken by the 
 ordinary mode of publication, yet nothing could be produced 
 of greater use, whether as illustrative of the history of 
 painting, or as models of its spirit and guides to its ends. 
 
 Peculiar facilities for the promotion of knowledge have 
 been obtained in modern times from the institution of 
 Societies devoted severally to the cultivation of distinct 
 ])rovincos of literature or science. By mutual assistance, 
 
Publications of t lie Arundel Soclef//. 5 
 
 and from common resources, operations of various kinds 
 have been prosecuted, too extensive or too costly for isolated 
 efforts. Publications Avhich, if produced by individuals from 
 the ordinary motives of literary speculation, Avould have 
 been liable to the sacrifice either of completeness in their 
 treatment or independence in their tone (from a necessary 
 regard to cheapness or to popularity), have, when put forth 
 by Associations interested only in the advancement of truth, 
 assumed a form and character at once more dignified and 
 more useful, determined simply by the requirements of their 
 respective subjects. Economy itself, without hampering 
 the efforts of such Associations, has in many instances 
 resulted from theu' constitution, which has enabled them to 
 secure from their own members gratuitous aid, and, by 
 greater subdivision of labour and action on a larger scale, 
 to avoid waste of resources, energy, and time. To such 
 causes we are indebted for the communication to the public 
 of many rare or hitherto unedited documents through the 
 agency of the Camden and Hakluyt Societies; for the 
 original memoh's and treatises of the Astronomical, Lin- 
 ntean, and other similar bodies ; and for publications in both 
 departments, which record the researches and attainments 
 of the Society of Antiquaries and of the Uoyal Society of 
 Literature. 
 
 The machinery, however, which proved so effective in the 
 cultivation of Literature, Science, and Archaeology, had, 
 previous to the foundation of the Arundel Society, been 
 employed only to a limited extent in promoting the know- 
 ledge of Art. The productions, indeed, of ancient Greece 
 and her colonies, their edifices and their sculpture, had 
 been illustrated by the labours of the Dilettante Society, 
 and much light thrown upon modiseval architecture through 
 means of the institutions devoted exclusively to its cluci- 
 
6 DescrqAive Nolire of the 
 
 dation. Eat no sucli body liad attempted the systematic 
 study of the monuments of painting nor of the arts in 
 Avhieh the middle ages were so eminently successful, nor had 
 undertaken the investigation of the theoretic principles 
 common to all branches of art, by -which its efforts should 
 ever be guided and its achievements judged. 
 
 In the year 18J<8 these considerations suggested the forma- 
 tion of the Arundel Society to supply the deficiency. The 
 object of its founders (amongst whom were the Marquis of 
 Lansdowne, Lord Lindsay, Lord Herbert of Lea, Mr. Gr. 
 Aubrey Bezzi, Mr. A. H. Layard, Mr. Samuel Rogers, and 
 Mr. John lluskin) was the preservation of the record, and 
 the diffusion of the knowledge, of the most important monu- 
 ments of Painting and Sculpture remainiug from past times, 
 especially of such as were either from their locality difficult 
 of general access, or from any peculiar causes threatened 
 by "violence or decay. The primary subject selected for 
 illustration was Italian Presco Painting ; a minor attention 
 was thought due to the more familiar productions of Paint- 
 ing in Oil ; whilst Sculpture, both classical and meditcval, 
 whether in monumental marble or more portable ivory, 
 was to be treated under a separate system of publication. 
 By adopting, according to circumstances, different processes 
 invented or perfected by the scientific and mechanical 
 genius of tlie age, more adequate expressions both of form 
 and colour might now, it was believed, be obtained than 
 was j)ossible with the limited means in use at any former 
 period. The association of a large number of Subscribers 
 would enable the Society to produce cheaply, and thence 
 to cii'culate Avidcly, what previously had been the costly 
 luxury of a few; whilst the independent position of its 
 govcrniug body would induce less regard to the popularity, 
 and more to the artistic value, of its productions than could 
 
Ptih/iratiojis of /lie Annidel Sucicftj. 7 
 
 fairly be expected from ordinary publishers. It was at the 
 same time hoped that greater familiarity with the purer 
 and severer stylos of earlier Art would tend to divert the 
 public taste from works that were meretricious or puerile, 
 and so iiidirectly elevate the tone of our National Schools 
 of Painting and Sculpture. 
 
 In pursuance of this design the Society, during the last 
 twenty years, has issued to its Members, principally Lii 
 retm-n for the yearly subscription of One Guinea, chromo- 
 lithographs, engravings, and literary illustrations of the most 
 important frescoes in Italy, as comprising the master-pieces 
 of the greatest and most illustrious Italian painters, who, 
 from Giotto to Raphael, lavished all then- genius and thought 
 upon mural decoration, as best calculated to display their 
 powers and impress the beholder. A^asari speaks of fresco as 
 "more masterly, noble, manly, secure, resolute, and durable 
 than any other kind of painting ;" and records the saying 
 of Michelangelo, that fresco was fit for men— oil-painting 
 only for women and the luxurious and idle.* 
 
 Not neglecting other branches of art, the Society has 
 lately commenced publishing illustrations of the Flemish 
 and German schools, as represented in the works of the 
 brothers Van Eyck, Hans Memling, Albert Durer, Hans 
 Holbein, &c. The works prepared for general sale have 
 included some reductions from the Elgin Marbles, and a 
 series of about one hundred and seventy fac-similes in Jidile 
 
 * The tenu "fresco " is generally, tliongli incorrectly, iippliea to all paintings 
 on plaster or lime fomiing part of an architectural whole, and adapted by their 
 composition and treatment to the place in which they were executed. True 
 fresco, however, the "buon fresco" of the Italians, is distinguished from tempera 
 and other processes applied to mural decoration, in the artist having to paint 
 upon damp lime newly laid on, and he was consequently obliged to cover a 
 certain space which was preimrcd for each day's work. 
 
8 DescrijJtive Notice of the 
 
 ivory of ancient ivory carvings extending over a period from 
 tlac second to tbe fifteenth centuries. 
 
 During the first ten years of the Society's existence 
 only such original drawings were obtained as were found 
 necessary for immediate ])ublication ; but in 1859 the Council 
 felt that a Society founded with such objects as the Arundel 
 ought not to waver in undertaking a service which might 
 soon no longer be in its power to render to the cause which 
 it represented, but should endeavour to secure, with or 
 without prospect of immediate publication, copies of some 
 few at least of the little known works of the greatest masters 
 in Italy and elsewhere which still survived, but might perish 
 or suffer injuries, which, though not beyond restoi'cition, 
 w^ere certainly beyond cure. They thei-efore opened a sub- 
 scription for a special " Copying Pund," to which they 
 invited the contributions of all who sympathised with their 
 views. Its purpose was to form a collection of water-colour 
 drawings, tracings, and photographs from frescoes and pic- 
 tures of the fourteenth, fifteenth, and sixteenth centimes, 
 which had been either inadequately or not at all engraved ; 
 to exhibit this collection as freely as the machinery and 
 funds of the Society would admit ; and to publish as much 
 of the collection as the annual income would bear. This 
 appeal was liberally responded to, and fi-om the fund thus 
 collected many valuable drawings were obtained, which 
 became the nucleus of the present large collection, now 
 numbering, in addition to those already re-produced and 
 issued, more than one hundred siibjects yet remaining to 
 be published. A description of nearly all of them is em- 
 bodied in this Notice; but of those masters whose works 
 have not yet been illustrated by the publications of the 
 Society copies of the following are included in the col- 
 lection. 
 
PahUcations of the Arundel Socief/j. 9 
 
 Chnahiie, JBuffulmacco, and Simone Memmi (12J<0-1311<). 
 Several Frescoes froiu the church of St. Francis at Assisi. 
 
 Giovanni Cimabtie, of a noble family of that name, was born 
 in 12-10 ; he died in 1302. He studied painting under some 
 Greek artists who were in Florence decorating" the chapel in 
 Santa Maria Novella. Cimabue by his works became famous 
 through all Italy, lie had a school of painting at Florence, 
 and among his pupils was Giotto. — BiiJJ'almacco was a pupil 
 of Andrea Tafi, and is celebrated by Boccaccio as a man of 
 most facetious character. The works of this painter were 
 liighly praised and valued during his life, but unfortunately 
 but few are preserved that can with certainty be attributed 
 to him. He died about 1310. — Simone Memmi, a pupil of 
 Giotto, was born in 1285, and died in 1314. He is cele- 
 brated by Petrarch in three sonnets for the portrait of his 
 Laura, which Simone painted in Avignon about 1336. 
 
 Fiero delta Francesca, of Borgo San Sepolcro, (cu'ca 1415- 
 1500). Three Frescoes in the church of San Francesco at 
 Arezzo portraying the Apocryphal History of the Cross. These 
 works show a complete mastery over painting in fresco, and 
 display originality and vigour to so remarkable a degree that 
 it led Vasari to exclaim " that these frescoes might be called 
 too beautiful and excellent for the time in which they were 
 painted." Piero was called Delia Francesca from the name 
 of his mother, who Avas left a widow before he was born. 
 He was a great student of mathematics, and wrote several 
 works on geometry and the laws of perspective. He executed 
 paintings at Ancona, Ferrara, Perugia, and in the Vatican at 
 Rome ; but all have been destroyed, the latter to give place 
 to the paintings by Eaphael. Giovanni Sanzio, the father of 
 Eapliael, is said to have been a pupil of Piero deUa Fran- 
 cesca, and was certainly influenced by his works, as were also 
 Pietro Perueino and Luca Siffuorelli. 
 
10 Descrijjtive Notice of the 
 
 Fra FilipjJO Lippi (1412-1469). One of the series of 
 Frescoes in tlie choir of the Duomo at Prato, from the 
 history of St. Stephen. The originals are on a large scale, 
 full of character, and form the most important works exe- 
 cuted hy the master. Tra Filippo Lippi was a Carmelite 
 friar, and said to he a pupU of Masaccio. The story of his 
 dissolute life appears to have heen without foundation, as at 
 the age of forty he was chaplain to the convent of nuns of 
 San Giovanni in Florence, and five years later he was rector 
 of the church of S. Qnirico at Legnaia. It is not likely he 
 would have held these offices in the Church if there had 
 been any truth in the ch-cumstances related hy Vasari. 
 
 Sandro BottlcelU (1447-1515). " The Yenus Anadyo- 
 mene," from a picture in the gallery of the UflBzi at Florence, 
 representing Venus on a shell floating upon the waters, and 
 driven hy two of the winds with a shower of roses towards 
 the shore, where a female attendant is holding a mantle to 
 receive her. Sandro Botticelli was one of the first who intro- 
 duced mythological and allegorical subjects into modern art.* 
 
 Mariotto Alhertinelli (1475-1520). " The meeting of Mary 
 and EUzaheth," from a picture in the gallery of the Ufiizi 
 at Florence. This is the most celebrated work of the master, 
 both in style and execution, and worthy of his friend and 
 fellow-pupil Fra Bartolommeo. Alhertinelli studied painting 
 under Cosimo Roselli. 
 
 Michelangelo Buonarottl (1474-1503). Four Drawings 
 of the Prophets and Sibyls, from the ceiling of the Sistine 
 Chapel at Kome.t Michelangelo began his career as an 
 artist in the school of Domenico Ghirlandaio. 
 
 * This subject will he published as an occasional or extra clii-oino-lithograpli 
 in the Spring of 1870. 
 
 •f The Sibyls, according to the legends of the middle ages, stand next in 
 dignity to the Prophets of the Old Testament, it was their ..tliee to foretel 
 
Pnhl leaf ions of the Animhl Si>cic///. U 
 
 Albert Durer (1171-3528). Two Pictures representing the 
 Four Apostles, John and Peter, Mark and Paul, from the 
 gallery at Munich.* The figures in the originals arc the 
 size of life ; they were painted in 1526, and are esteemed as 
 the most important of Albert Durer's works. 
 
 Hans Ilolbein the younger (1198-1554). The Burgomaster 
 Meyer's A'otive Picture, representing the Virgin and Child, 
 Avith the family of the Burgomaster Jacob Meyer of Basle 
 kneeling at her side.f This picture is in the possession of 
 the Princess Charles of Hesse at Darmstadt ; and there is 
 a repetition of the subject, with but very little variation, 
 painted by Holbein, and now in the gallery at Dresden. 
 
 In addition to the foregoing works the Society possesses a 
 series of drawings, both coloured and in outline, from some 
 of the most important sepulchral monuments at Venice and 
 Verona. Although the great artistic importance of fresco 
 painting and the dangers to which its productions are 
 exposed give it the first claim to attention, the scope of 
 the Arundel Society comprehends all the arts of design as 
 practised in the best periods. As examples of the suc- 
 cessful combination of architecture, sculpture, and pictorial 
 or other surface enrichment, the sepulchral monnments 
 erected in Italy during the Middle Ages are unrivalled in 
 Evirope. 
 
 the coming of the Saviour to the heathen, as it was that of the Prophets to 
 announce him to the Jews. The circumstances of their appearing in works of 
 art as equal in rank with the Prophets may have arisen from the manner in 
 which St. Augustine speaks of the Erythraean Sibyl's testimony, immediately 
 before he adverts to that of the Prophets of the Old Testament. [See Kugler's 
 Handbook of Painting.] 
 
 * These two subjects will, as chromo-lithographs, be included in the Second 
 Annual Publications for 1870. 
 
 t This subject will, as a chromo-lithograpli, be included in the Second ^Vunual 
 Publications for 1871. 
 
12 Descriptive Notice of the 
 
 The Copying Fund is supported by the entrance donations 
 of new members, by voluntary contributions, and from such 
 other sources of profit as may be available from the annual 
 income. Every year additions are made to the collection 
 of drawings, and they are freely exhibited to the public 
 at the rooms of the Society. 
 
 In 1866 a proposal was made to the Council by the autho- 
 rities of the Department of Science and Art at South Ken- 
 sington that the Arundel Society should undertake the 
 responsibility of the commercial transactions relating to the 
 sale of Art Examples produced by the Department principally 
 in photography, the Society to receive a certain commission 
 on all the sales effected, but not to share any risk of the cost 
 of producing the works. The desire to co-operate Avith an 
 Institution from which the Society had received valuable 
 support in former years induced the Council to accede to 
 the proposal, taking care, however, that any j)ublications 
 to appear in connection with the Society's name should be 
 of a character not uusuited to the objects for which it was 
 founded. Specimens of all the photographs produced by the 
 Science and Art Department are exhibited in the rooms of 
 the Society, and also sold there. These include coj)ies of 
 Drawings, Paintings, and Sculpture, Decorative Art in 
 Precious Metals, Enamels, Pottery, Porcelain, and other 
 examples of Art Workmanship. 
 
 In consequence of the rapid increase in the number of the 
 members of the Society, it became necessary in 1863, and 
 again in 1866, to revise the original Rules, it being found 
 impossible to supply the Annual Publications to all appli- 
 cants without the risk of impairing their quality. It was 
 thought dcsii-able, as a link of connection Avith that portion 
 of the public which declined actual membership, that, in 
 printing for the annual issue, a part of tlu> im])ression 
 
Pablicatious of fl/e Arundel Society. 13 
 
 should be reserved for general sale, under the head of a 
 supernumerary class. To provide tliis reserve, and yet to be 
 always able to guarantee that all the copies published should 
 be of the best execution, without any deterioration in the 
 quality of the chromo-lithographs, it became necessary to 
 limit the number of members on tlie original subscription 
 list, and to form a "second" series of Annual Publications, 
 diflFering in subject from, but not inferior in character or 
 execution to, the "first." 
 
 The present organization of the Society and the conditions 
 of membership are sufficiently explained in the following 
 summary of its rules : — 
 
 Constitution. — The Society is governed by a Council of 
 from twelve to sixteen persons, who, with the several 
 Honorary Officers, are elected from among the Members 
 at a General Meeting in the Spring. 
 
 Membership anb Admission. — Members are divided into 
 the following four Classes : — 
 
 1. Associates. Who give on admission, as an Entrance 
 Donation, not less than One Guinea to the Copying Fund, 
 pay no annual subscriptions, but can purchase the Occasional 
 and Supernumerary Publications at a lower price than the 
 public. 
 
 2. Second Subscribers {Annual or Life). Any new mem- 
 ber, after paying the Entrance Donation, can select this 
 Class in preference to that of Associates, and is then liable 
 for the payment of One Guinea annually on the 1st of January, 
 or a composition of Fifteen Guineas for Life, in return for 
 which a set of Publications is given in the Autumn of every 
 year. 
 
 3. First Subscribers {Annual or Life). Limited to Fifteen 
 
14 PaUications of the Arinidel Society. 
 
 Hundred. Second Subscribers and Associates are admitted 
 pct7'i passu to fill any vacancies in tliis Class to wliicb tbey 
 are found entitled by priority at tbe annual revision of the 
 lists, subject (in tbe case of Second Subscribers) to tbe same 
 payment as in tbeii- former Class, but tbey can at tbeir cboice 
 continue or relinquisb tbe Second Subscription. A set of 
 Publications is given to tbe First Subscribers in tbe Spring 
 of every year. 
 
 4. Honoranj Members. Limited to Fifteen. Election by 
 a General Meeting alone admits to this Class. 
 
 The Publications consist of Three Classes : — 
 
 1. Anmial. Divided into two distinct series of subjects for 
 Pirst and Second Svibscribers. 
 
 2. Occasional. Published and sold separately, at lower 
 prices to Members, and at higher to the Public. 
 
 3. Supermimerary , or extra copies of the Annual Publica- 
 tions, sold like the Occasional. 
 
DESCRIPTWE NOTICE 
 
 PUBLICATIONS OF THE SOCIETY. 
 
 EIRST YEAR (1849-50). 
 ANNUAL PUBLICATIONS. 
 
 I. The Life of Era Giovanni Angelico da Eiesole, 
 
 translated from Vasari by Giovanni Aubrey Bczzi ; 
 ■\vith Notes, and twenty-one Plates illustrative of tbe 
 Painter's Works.* 
 
 II. "The Distribution of Awis by St. Lawrence," a 
 
 Copper-plate Engraving by Professor L. Gruner, from 
 a Dra^A-ing by ]\Ir. Tunner after the fresco by Era 
 Angelico in tbe Chajiel of Nicholas V. in the Vatican. 
 
 Era Angelico. Born at Eiesole, near Elorence, 1387. 
 Died at Rome, 1455. His real name was Guido Petri da 
 Mugcllo, but in 1407, upon entering the Convent at Eiesole, 
 be took for his monastic name Giovanni. He won the appel- 
 lation of Angelico from the character of bis life and works, 
 and after his death was called II Beato, tbe Blessed. f It is 
 
 * This work is now out of print and no longer supplied by the Society, 
 f Beatification for eminent piety is a solemn distinction conferred Iiy the 
 Roman Church, second only to canonization. 
 
16 Descriptive Notice of the 
 
 not clear whether he studied art before or after entering 
 monastic life. His first efforts are said to have been in 
 miniature illuminations, in which his brother Benedetto da 
 MuGELLO, Prior of the Dominicans in Eiesole (who died 
 1448), excelled. Fra Angelico executed a great number of 
 small panel pictures, the best of them now being in the 
 Academy at Florence. His chief works, however, are in 
 fresco, and possess an altogether exceptional purity and 
 sweetness. He was a man of the utmost simplicity of inten- 
 tion, and most holy in every act of his life. It was his 
 custom to abstain from re-touching any painting once 
 finished, leaving it as it was done the first time, believing, 
 as he said, that such was the will of God. It is also affirmed 
 that he would never take the pencil in hand until he had 
 offered a prayer ; and certainly the saints that he jjainted 
 have more the air and expression of sanctity than those of 
 any other master. He was so humble and so little desirous 
 of honour that when Pope Nicholas V. wished to confer on 
 him the Archbishopric of Florence, on account of his holy 
 life, he prayed the Pontiff to appoint another, as he did not 
 feel himself called to a situation of authority. The compo- 
 sitions with which he adorned the Convent of St. Mark at 
 Florence (1441 — 1446), in their expression of deep rehgious 
 feeling, are perhaps the most beautiful works of art existing.* 
 Here are upwards of thirty frescoes, representing principally 
 events in the history of our Saviour, amongst them being 
 the two great masterpieces of Fra Angelico, " The Cruci- 
 fixion " and " The Adoration of the Ma^i." The former is 
 
 * Two of these frescoes, the Annunciation and the Coronation of the Virgin, 
 have been published in chromo-lithography. Copies of six others, inchuling 
 the Crucifixion and the Adoration of the Magi, are among the collection of 
 water-colour drawings oxliiliiU'd in tlio rooms of the Society. 
 
I'lib/icd/ions of till' Ar>ni(J<J Sacic///. 17 
 
 in the Chapter-room, and is a painting 26 feet long. About 
 the cross arc grouped the Virgin, Mary Magdalene, and 
 various saints, the heads and founders of religious bodies. 
 Around the composition, which is in a semicircle, is a border 
 divided by medallions, in Avhich the prophets appear holding 
 banderols inscribed with texts. On the lower part of the 
 fresco are ten small circles, containing the portraits of St. 
 Dominic and the illustrious men of his order. 
 
 "The Adoration of the Magi" is in one of the cells 
 larger than the others, used, it is said, by Cosimo de Medici, 
 the patron of Angelico and the benefactor of his convent. 
 This fresco is full of figm-es, many of them probably portraits 
 of celebrities of the period, and they are remarkable for their 
 admirable grouping and animation of expression. In the 
 train of the Magi are to be seen persons in Hungarian, 
 Polish, Servian, and Wallachian costume. At the time the 
 Turks were threatening to overrun Europe, a deputation of 
 the people inhabiting the Danubian countries visited Florence 
 and Rome for the purpose of forming a league against the 
 Turks, and it is thought not improbable that Ei-a Angelico 
 may have seen this deputation, and included their portraits 
 in his fresco. It is certain that the figures must have been 
 draAvn from nature. 
 
 The frescoes in the Chapel of St. Lorenzo, in the Vatican 
 Palace, executed by Fra Angelico, were commenced in 1147, 
 by command of Pope Nicholas V., and must have imme- 
 diately preceded his employment in the Cathedral of Orvieto. 
 Eleven large subjects range in two horizontal rows round 
 the walls of the Chapel, and represent the mission and mar- 
 tyrdom of the two deacons St. Stephen and St. Lawrence, 
 Above these historical subjects on the walls of the Chapel 
 are painted eight doctors of the Greek and Latin Churches 
 standing under Gothic canopies, holding books. On the 
 
18 Descriptive Notice of the 
 
 vaulted ceiling are the four Evangelists, seated, with their 
 respective symhols. Though ill preserved, these frescoes are 
 inferior in importance to none of the artist's worlds, except 
 those which he executed for his own Dominican Convent at 
 Florence. The heads, always refined, are here full of ex- 
 pression, the draperies are graceful, and the composition 
 sufficiently rich. Vehement passion and rapid movement 
 alone seem to be beyond his strength. These frescoes Avere 
 neglected and forgotten for nearly two hundred years, owing 
 to the loss of tlie key of the chapel. Attention was first 
 drawn to them early in this century by a German, Herr 
 Wolfez Hirt. In the Cathedral at Orvieto Fra Angelico 
 painted Christ as the Judge of the World, and on the vault- 
 ing of the ceiling the prophets, one behind the other, in a 
 pyramidal group. This work he did not finish, but it was 
 afterwards completed by Luca da Cortona. 
 
J'tihl/ait/'oiis ofi/ic Arundel Hccic///. 19 
 
 SECOND YEAR (1850-51). 
 
 ANNUAL PUBLICATIONS. 
 
 Four Engravings in continuation of the series of Frescoes 
 by Fra Angelico in the Chapel of Nicholas V. in the 
 Vatican, viz. — 
 
 1. "SL Stephen pleading before the Conned atJeruscdem,^' 
 
 engraved by Ilerr Schilffer after a Drawing by M. 
 Kupelwieser. 
 
 2. " St. Buonaventura,^'' engraved by Professor L. Gru.ner 
 
 after a Drawing by M. Tunner. 
 
 3. •' St. Matthew" engraved by Mr. Vernon after a 
 
 Drawing by M. Kupelwieser. 
 
 4. " St. Thomas" lithographed by Mr. G. Linnell after 
 
 a Drawing by M. Tunner.* 
 
 * This litlingrapli is out nf print and no lungrr solii liy tlio Society. 
 
 c 2 
 
20 Doscrqitice Notice of the 
 
 THIllD YEAR (1851-52). 
 ANNUAL PUBLICATIONS. 
 
 Two Copperplate Engravings, by Hen- Schaffer. 
 
 1. " St. Lmoreuce brought before Decius,'^ from a Draw- 
 
 ing by M. Kuj)elwieser, in continuation of the series 
 of Prescoes by Era Angelico in the Chapel of Nicho- 
 las V, in the Vatican.* 
 
 2. " The Fieta, or Lamentation 2ir€vwus to the Inter- 
 
 ment,'" from a Drawing by Signor Belloli after the 
 fi-esco by Giotto in the Chapel of Santa Maria dell' 
 Arena at Padua. 
 
 * The prefect having required St. L.iwrenee to deliver ii]i the treasures, he 
 j)resented, as such, all the poor, the sick, and the helpless whom he could collect, 
 and was in consequence sentenced to a painful death. Decius here sits on a 
 throne, pointing to the instruments of torture wliich lie on the ground. St. 
 Lawrence, with his hands bound, stands unmoved : around are numerous soldiers 
 and attendants. This fresco bears two inscriptions, which, whether oiiginal or 
 subsequently added, are both inaccurate. Over the head of Decius is the title 
 " Imperator," and below his feet a.d. ccliii. The prefect of Home seems to have 
 been confounded with the emperor of the same name who died a.d. 251. 
 St. T^nwrence was mnrtvred A.n. 258. 
 
/'nU/'nifioiis o/f/tr Anmdrl Sofit'tj. 
 
 OCCASIONAL PUBLICATIONS FOR 1851, 1852, 1853. 
 
 Three Plaster Casts, from Eetluctions in Alabaster by 
 Mr. Cbeverton, of the Monuments of the Parthenon, now 
 forming part of the Elgin Collection in the British Museum. 
 
 1. The Theseus. The original marble Avas placed on the 
 southern or left side of the eastern pediment of the Parthe- 
 non, the sculptiu'es of which represented the miraculous birth 
 of Minerva. It is the best preserved statue that has descended 
 to modern times of the series which we owe to the genius of 
 Phidias ; and the back, though in its ancient position hidden 
 from view by the tympanum of the building, is no less won- 
 derful in execution than the most conspicuous parts of the 
 figm-e. The lion's skin beneath the body is a characteristic 
 commonly attributed to Hercules alone ; and this, with the 
 similarity of attitude to that in which Hercules is repre- 
 sented on the coins of Crotona, has led to a supposition that 
 the son of Alcmcna is here intended rather than Theseus. 
 The original sculpture is 4ft. Sin. in height by 5ft. 9in. in 
 length, and the reduction is to the scale of one-third. 
 
 2. The Ilissus. The original marble is supposed to repre- 
 sent the deity of the small river which watered the southern 
 plain of Attica, This statue occupied the left or northern 
 angle of the tympanum in the western pediment of the 
 Parthenon, and formed part of a group representing the 
 contest bctw^een Minerva and Neptune for the local supre- 
 macy at Athens. The body of the Water God is partially 
 raised from a recumbent posture, and the head, now lost, 
 Avas originally turned to behold the triumph of the \'irgiu 
 
22 Descnptice Notice of the 
 
 Goddess. The dimensions of the orig-inal are 2ft. Sin. in 
 height by Gft. Sin. in length, and the reduction is to the 
 scale of one-third. 
 
 3. A Stab from the Fcwthenon Frieze, numbered 47 in tlie 
 British Museum. This marble represents in bas-relief two 
 youthful horsemen, lightly clad, the one in a chlcunys, the 
 other in a cuirass, tunic, and long boots, forming part of the 
 Panathenaic procession represented in the frieze surroimding 
 the cella of the Parthenon. The original, which was the 
 most northern slab at the west end of the temple, is 3ft. 4in. 
 in height by 5ft. 7^in. in length, and has been reduced to the 
 scale of one-fourth. 
 
 The merit of producing the reductions from which these 
 Plaster Casts were taken is due to the ingenuity of the late 
 Mr. Cheverton, the ivory carver, who invented many years 
 since a machine for cojiying works of sculpture on any 
 reduced scale, with an accuracy to which no similar con- 
 trivance has yet attained. A general correctness of form 
 resulting necessarily from the application of certain mathe- 
 matical conditions has, indeed, been subsequently secured 
 by other mechanicians, as in the well-known and deservedly 
 popular reductions of M. Collas of Paris. But Mr. Cheverton, 
 it is believed, has alone succeeded in the perfect expression 
 of surface, owing to his employment of one instrument of 
 sufficient power to work in hard materials, and capable of 
 executing its purpose so completely and minutely as to need 
 no subsequent finishing by hand. A remarkable proof of 
 this delicacy of execution was once afforded by Sir Praucis 
 Chantrey in a very conclusive instance. On seeing a reduc- 
 tion by Mr. Cheverton from one of his own works, of wliich 
 two or three copies had been made, he at once distinguished 
 it as having been taken dircctlv from the original bv rccog- 
 
Publications of the Arundel Societij. 28 
 
 nising his own touch iipoii the sui-lace of the iuavl)k'. The 
 method of procectlmg with each of these reductions was as 
 follows : A cast from the original was first obtained, which, 
 with figm-es of such magnitude, may he considered as 
 expressing every characteristic of form and surface as per- 
 fectly as the marble itself. From the cast Mr. Cheverton 
 executed his reduced model in alabaster ; hut the particulars 
 of this process cannot he stated, never having been divulged 
 by the inventor. 
 
 There is a peculiar value in such finished workmanship 
 Avhen applied to monuments of such surpassing interest as 
 the fragments from the Parthenon.* 
 
 * llessrs. Elkington and Co. of Birmingliani and London have been permitted 
 by the Arundel Society to produce, by electro-deposit, bronze repetitions of the 
 models, which, with an exactness of representation equal or superior to casts, 
 unite the advantages of a material of the greatest durability and strength, and 
 not liable to deterioration by exposure to the atmosphere, even of London. The 
 plaster casts of the Theseus and Ilissus are no longer supplied by the Society. 
 
 
24 Descriptive Notice of the 
 
 FOUUTn YEAR (1852-53). 
 
 ANNUAL PUBLICATIONS. 
 
 Eight Engravings on Wood, by Messrs. Dalziel, after 
 Mr. W. Oliver Williams's drawings from tlie frescoes 
 by Giotto, in the Chapel of Santa Maria dell' Arena, 
 at Padua, illustrating the history of the Vii-gin Mary 
 and our Lord. 
 
 1. Joachim, afterioards the father of the Virgin, having 
 
 brought a lamb as an offering, is rejected by the 
 High Priest Issachar as one whose childlessness tvas 
 a manifest proof of the Divine disfavour. 
 
 2. Joachim retires humiliated to his focks in the Wil- 
 
 derness. 
 
 3. Anna, his icife, praying in her chamber, receives from 
 
 an angel the promise of a child. 
 
 4. Joachim offering sacrifice. In the heavens, a Divine 
 
 hand, indicative of acceptance. The Angel Gabriel 
 is addi'essing words of comfort to Joachim, who 
 prostrates himself. 
 
 5. Joachim, in a trance, is encouraged by a vision of the 
 
 Angel Maphael. 
 
 6. Joachim returning from the Wilderness is met at the 
 
 Golden Gate of Jerusalem by his wife and her 
 attendants. 
 
 7. The birth of the Virgin Mary. The incident of a 
 
 female receiving a loaf at the door, at the left of 
 the picture, is characteristic of the naturalism of 
 the painter. 
 
Pahlications of the Arundel Society. 25 
 
 8. I7ie Virgin presented in the Temple. The legend 
 represents this event to have occurred when Mary- 
 was but three years old, and dwells on the miracu- 
 lous facility with which she ascended the stcjis of 
 the Temple. Giotto, how^ever, has either disre- 
 garded or failed in the expression of this incident. 
 
 Giotto di Bondone. Born at Vespignano, near Florence, 
 1276. Died at Florence, 1336. Giotto was horn of peasant 
 parents, and, when thirteen years old, as a shepherd hoy, 
 while drawing the figure of one of his sheep on a piece of 
 stone, he attracted the attention of Cimahue, and became his 
 pupil. At the age of twenty he was called as a master to 
 Rome ; there he painted the principal chapel of St. Peter's 
 and worked in mosaic also, no handicrafts that had colour or 
 form for their objects seeming unknown to him. Then 
 returning to Florence, he painted Dante about the year 1300, 
 the thirty-fifth year of Dante's life, the twenty-fom-th of his 
 own; and designed the fa9ade of the Duomo. Six years 
 afterwards he went to Padua, painting in the Arena Chapel 
 and other places; then to Assisi; afterwards he engaged 
 himself in other tasks at Ferrara, Verona, and Ravenna, and 
 at last at Avignon, where he became acquainted with 
 Petrarch. In 1327 he went to Naples, where he executed 
 many works, and finally returned to Florence in 1332. 
 During the life of Giotto a great advance in the fine arts 
 took place, perhaps the most important that history records, 
 and his o^vn genius and devotion were in great measure the 
 causes of the change. He emancipated himself from the 
 formalism of the old Byzantine models, and effected a com- 
 plete revolution in the artistic principles of his time. lie 
 was not only a painter but practised architecture and sculp- 
 ture with considerable success. Giotto was also the couteni- 
 
26 Descriptive Notice of the 
 
 porary and intimate friend of Dante, whose great poem of tlie 
 Paradiso suggested the subject of one of his finest works, 
 painted in the lower church at Assisi, and representing 
 Poverty, Chastity, and Obedience. In the upper church at 
 Assisi there are some frescoes, from scenes in the life of 
 St. Francis, which are attributed to Giotto.* His chief 
 scholar was Taddeo Gaddi, who lived with him tAventy-four 
 years, and completed his unfinished works. The Chapel of 
 Santa Maria dell' Arena at Padua was built about the year 
 1303 by Enrico Scrovegno, a noble of that city, and imme- 
 diately on its completion Giotto was employed to decorate 
 the walls, lie being at that time the acknowledged master of 
 painting in Italy. The frescoes he painted in the chapel 
 are the earliest of the artist's great Avorks which still survive 
 to us, and probably, at the time of their execution, the most 
 complete production of the art existing in Europe. The plan 
 of the Arena Chapel is a simple oblong, from the east end of 
 which is projected a narroAV tribune, terminating in a trila- 
 teral apse. In this tribune are six frescoes, which, though 
 probably from Giotto's designs, were executed by Taddeo di 
 Bartolo of Siena, and are therefore not included in the series 
 published. The nave or body of the building is decorated 
 throughout Avith paintings from the hand of Giotto. The 
 west wall is covered Avith a representation of the Last Judg- 
 ment, of great artistic merit and interest, but containing inci- 
 dents and modes of delineation so obnoxious, not merely to 
 the religious feeling, but to the more refined delicacy of 
 modern times, that it has not been thought expedient to 
 attempt any publication of it. The other three sides of the 
 chapel are painted in three roAvs or tiers Avith subjects Avhich 
 may be ccnisidered as i)riiiiarily devoted to tlie honour of 
 
 * Two ,,flli.'sc sulijccts ;iiv :nn.,n,- tho Sorii^lvV collection ,.f draw iiigs. 
 
PnbUcatioiix of the Arundel Soc/'cf//. 27 
 
 the Virgin Mary, to wliom the buikliiig was dedicated. The 
 upper tier represents the history of her parentage and early 
 life, taken chiefly from the Apocryphal Gospels; the two 
 lower, the scenes from the life of our Lord, in which his 
 mother is frequently seen ; and the series is completed by the 
 frescoes within the tribune, which represent the concluding 
 events of her history. On the dado are allegorical figures 
 in chiaroscuro of the cardinal virtues and their opposing 
 vices.* The ceiling, which is cylindrical, is blue powdered 
 with golden stars, and enriched with circular medallions, 
 containing heads within ornamental borders ; and in the 
 interstices of the wall-subjects are painted bands of mosaic 
 pattern, or arabesque foliage. At the time of his death 
 Giotto was occupied with the works of the Duomo at 
 riorence. He designed the Campanile in a more perfect 
 form than that which now exists, for his intended spire 
 150 feet in height was never erected. He modelled the bas- 
 reliefs for the base of the building, and sculptured two of 
 them with his own hand, but he only lived to see the founda- 
 tions laid and its first marble story rise. 
 
 * Copies of these figures are among the Society's collection of drawings. 
 
28 Descriptive Notice of the 
 
 FIFTH YEAR (1853). 
 ANNUAL PUBLICATIONS. 
 
 I. A Notice of Giotto and his Works in Padua, by Jolin 
 
 Riiskin. Part 1, explanatory of the subjects engraved 
 for the fourth and fifth years. 
 
 II. Six Engravings on Wood (9 to 14), in continuation of 
 
 the series of Frescoes by Giotto in the Arena Chapel 
 at Padua : — 
 
 9. The Bods are brought to the High Priest. He had 
 
 announced that the Virgin should be espoused to 
 that one of the house of David whose rod, when 
 brought to the altar, should bud, and be lighted 
 upon by a dove, 
 
 10. The loatching the Bods at the dltar. The High 
 Priest and all the suitors kneel in expectation. 
 The Divine hand is seen, but as yet no mii*acle 
 appears. 
 
 11. The Betrothal of the Virgin. The Rod has budded 
 and the Divine will declared by the a2ipcarance of 
 the dove. 
 
 12. The Virgin Ilarg returns to her Home. She is 
 attended by her seven bridesmaids, and preceded 
 by musicians and two other persons, one of whom 
 is supposed to be Joseph, 
 
 13 and 11.. The Annunciation. The Angel Gabriel 
 kneeling as he delivers his message. The Virgin 
 also kneeling in reverential acquiescence. 
 
/'i(l)//ca//'oiis of the Avinuld Societij. 29 
 
 SIXTH YEAK (1851). 
 ANNUAL PUBLirATIONS. 
 
 I. A Notice of Giotto and uis Wouks in Padua, by John 
 
 Ruskin. Part 2, explanatory of the subjects engraved 
 for the sixth year. 
 
 II. Eight Engravings on Wood (15 to 22), in continua- 
 
 tion of the series of Frescoes by Giotto in the Arena 
 Chapel at Padua : — 
 
 15. The Salutation. The Virgin Mary received by her 
 cousin Elizabeth at her house. 
 
 16. The Natk-itij of Our Lord. The same treatment of 
 this subject will be found repeated, with slight 
 variations, in contemporary ivory carvings. 
 
 17. The Adoration of the Magi. Under an open shed 
 sits the Virgin with her Child. 
 
 18. The Presentation in the Tenq^le. In the air is an 
 angel announcing to the aged Simeon the close of 
 his mission. 
 
 19. The Flight into Egypt. A guardian angel precedes 
 the Virgin and her ChUd. 
 
 20. The Massacre of the Innocents. Erom a balcony 
 above, Herod is lu-ging the massacre. 
 
 21. Christ disputing in the Temple. Our Lord sits in 
 the centre of a circle of Elders. 
 
 22. The Baptism of Christ. He stands immersed, half- 
 hidden bv the water. 
 
30 Descriptive Notice of the 
 
 SEVENTH YEAR (1855). 
 ANNUAL PUBLICATIONS. 
 
 I. EouR Engravings on Wood (23 to 26), from tlie same 
 
 scries of Frescoes : viz. — 
 
 23. The Ilarrlage Feast at Cana. 
 
 24. The Raising of Lazarus. 
 
 25. Christ's Entry into Jerusalem. 
 
 26. Tlie Eximlsion of the Ilonen -changers from the 
 
 Temple. 
 
 II. Notices of Sculpture in Ivory, being a Lecture on the 
 
 History, Methods, and Productions of the Art, hy 
 M. Digby Wyatt ; and a Catalogue of Specimens of 
 Ivory Carvings in various Collections, by Edmund 
 Oldfield. With Nine Photographic Illustrations.* 
 
 * ITie illustrated edition of tliis work is now out of print, Init tlic Lecture and 
 Catalogue can still be obtained. 
 
P/iblicatioiis of fhe Anindel Socicff/. ."U 
 
 OCCASIONAL I'UIUJCATIOXS, 1855. 
 Facsimiles of Ancient fvoi-i/ Carvingf. 
 
 The value of these fictile imitations is chiefly for those 
 who Avoulcl trace the successive developments of art, not 
 merely in quest of external heauty, hut as the expression, 
 and often the most natural and truthful expression, of the 
 faith, the sympathies, or the enjoyments of former genera- 
 tions. 
 
 For the ability to offer this instructive series to the notice 
 of the public, the Arundel Society has to acknowledge its 
 obligations to some amateurs. The materials were originally 
 collected by Mr. Alexander Nesbitt, assisted by Mr. West- 
 wood, the author of Fald'ographia Sacra, and Mr. Franks of 
 the British Museum. These gentlemen, with the permission 
 of the guardians and owners of some of the principal 
 museums and private collections, both in England and on 
 the Continent, made impressions in gutta percha from the 
 most interesting specimens of ancient ivory carvings there 
 preserved, efTecting the operation uniformly, it is believed, 
 without injury to the originals. From these impressions 
 types or models for moulding were made by Mr. Franchi ; 
 and from the types again, by means of clastic moulds, casts 
 were procured in '•' fictile ivory." Desirous of rendering the 
 collection thus formed conducive to the promotion of those 
 objects for which the Arundel Society was founded, the 
 gentlemen already named transferred to that body all their 
 materials. The entire collection has been distributed into 
 fourteen classes, and each of them represents either the 
 workraansliip of souio ])articular scliool or the application 
 
32 Descriptive Notice of the 
 
 of the art to some special purpose ; whilst within each class 
 the carvings have as far as possihlc been chronologically 
 arranged. This classification was made by Mr. Edmund 
 Oldfield, Avho has likemse drawn up, for the benefit of those 
 who are not familiar with this species of monuments, a 
 descriptive catalogue of the whole. A more general view of 
 the subject, comprehending a short historical sketch of the 
 introduction and application of ivory to purposes of decora- 
 tion, and of the progress and technical methods of sculptm-e 
 in this material, was supphed by Mr. Digby Wyatt in a 
 lecture delivered by him at the rooms of the Arundel Society 
 on the occasion of its General Meeting on the 29th of June, 
 1855. This Lecture, together with the Catalogue, formed 
 part of the annual issue for the year 1855. 
 
 A general idea of the character of the carvings may be 
 formed from the following brief summary of the contents of 
 the several classes. It will thence be seen that the peculiar 
 value of the collection — which results from the circumstances 
 of its formation and from its unpretending material, but 
 which renders it more instructive than the richest single 
 collection of original ivories— consists in the completeness 
 and continuity with which it illustrates all the vicissitudes 
 of the sculptural art ; exhibiting its first decline, from the 
 exuberance of lloman luxury to the laborious littleness of 
 Byzantine formalism; its collapse in Western Europe after 
 the overthrow of the Imperial civilisation; its reviving 
 struggles in the rude hand of Norman vigour; and its 
 eventual emergence in all the grace and spirituality of the 
 best Gothic age. This means of illustration is of the greatest 
 value with reference to the most barbarous periods, when 
 sculpture on a larger scale was almost extinct, and the few 
 monuments which survived have since been genorally either 
 destroyed by rapine or defaced by careless exposure. 
 
I'nh/ini/ious of till- Arilinlcl Snrir/j/. 33 
 
 Class I. Jioninii MyihoJinjical Dipfi/cI/s.—Thh consists oC 
 tlirec specimens of ancient Eoman Diptyclis, eacli l)eing a 
 folding pail- of ivory tablets united by binges, tlie exterior 
 sculptured with bas-reliefs of mythological or allegorical 
 subjects, and the interior intended to be covered with wax, 
 for writing upon with a sfi/li/s. The first specimen, ropi-e- 
 senting iEsculapius and Ilygeia, is rcniarkablo for a finer 
 execution than any other known object of this character. 
 It is also the earliest carving in the collection, being pro- 
 bably of the time of the Antonine Emperoi-s. 
 
 Class II. Eoinaii and Bz/zaniii/e Historicid Diptyclis. — 
 This contains nine diptychs, or half-diptychs, of which tlie 
 subjects carved on the exterior arc exclusively historical, 
 consisting of portraits or actual incidents. The class may be 
 subdivided into three series : — 
 
 1. Diptychs of personages believed to be Imperial. Two 
 examples are given, each of high interest and beauty ; the 
 first supposed to exhibit the Emperor Philip presiding at the 
 Saccular Games in a.u. 218; the other having full-length 
 portraits, it is believed, of Valentinian III. and his mother 
 the Regent Galla Placidia, with a dignitary of their court in 
 full armour. 
 
 2. Diptychs of Consuls with their names inscribed. These 
 are of much value, both from the illustrations of costume 
 and manners presented by the figures of the consuls and the 
 various incidents shown in connection with their assumption 
 of oflice, and also from the circumstance, that, by comparison 
 of the inscriptions with existing historical records, the exact 
 year when each diptych was executed has been determined. 
 The earliest is of the year 428 and the latest 525. The first 
 belongs to the Western Empire, the remaining four to the 
 Eastern. 
 
34 Descriptive Notice of the 
 
 3. Diptyclis of Consuls with no names inscribed, but of 
 the same character as the preceding. The ivories represented 
 in the entire class were originally designed for presents, 
 distributed by the consuls of the Lower Empire on their 
 accession to office — a practice which may be compared with 
 the donations of gold rings still made by our serjeants-at- 
 law on their assumption of the coif. One specimen in the 
 second subdivision of this class has a representation of the 
 distribution of largesses on the accession of the Consul 
 Clementinus, amongst which diptychs such as these are 
 introduced ; another bears a Greek inscription, recording 
 that it was presented to the Senate by the Consul Phi- 
 loxeuus. 
 
 Class III. Christian Diptychs anterior to A.J). 700. — 
 These diptychs are similar in fabric to those already 
 described, but designed for a different use, having been 
 employed in the early Christian churches for the inscrip- 
 tion of liturgical notices, lists of bishops and saints to be 
 commemorated, and other ecclesiastical memorials. The 
 most remarkable in this class is one preserved at Monza, 
 and traditionally reputed to have been presented by St. 
 Gregory to the pious Qvieen Theodolinda ; it appears to have 
 been originally a consular diptych with two portraits of the 
 consul, subsequently transformed into representations of St. 
 Gregory and of King Da-sdd, with a superadded inscription 
 commemorative of the apotheosis of the illustrious Father. 
 
 Class IV. Book-covers anterior to A.D. 700. — Eive book- 
 covers, or portions of book-covers, of the sixth and seventh 
 centuries, all Christian in subject. The first is remarkable 
 for its size and rich series of scriptural illustrations, and 
 furnishes an interesting example of the early combination 
 of Christian symbolism witli Pagan ornamentation. 
 
riihlications of the Arundel Sock'tij. 85 
 
 Class V. I>/pti/c/i,s- ami Book-corers of the Eighth, Ninth, 
 and Tenth Centuries. — Pourtecn examples from tlic darkest 
 periods ia the annals of medigcval art, yet not withovit some 
 dawning symptoms of a day brighter than that which has 
 preceded. Six of the hook-covers may be distinguished as 
 specimens of French carving under the Carlovingian dynasty, 
 some of which present highly curious illustrations of the 
 hybrid and fantastic style of allegory which had now ovei'laid 
 the truth and purity of art, and confounded the imagery of 
 heathen mythology with the most sacred conceptions of 
 Christianity. 
 
 Class VI. Miscellaneous Objects anterior to A.B. 1000. — 
 The most important of these carvings is a holy water-vessel, 
 in the form of a small bucket, with an inscription recording 
 both the use of the object and its approximate age, having 
 been presented to the Cathedral of Milan by Ai-chbisliop 
 Godfrey, on the occasion of a visit from the Emperor Otho, 
 whose date was from 973 to 978. 
 
 Class VII. Carvings of the Greek School, of various 
 periods posterior to the Reign of Justinian, a.d. 527 — 5G5. 
 This series, which comprehends objects of various use, but 
 chiefly ornaments of book-covers, is one of the most curious 
 and interesting in the whole collection. Its chronological 
 arrangement, however, can scarcely l)e determined with such 
 certainty as that of the carvings of Western Europe, owing 
 to the rigid adherence to traditional types peculiar in all 
 ages to the Byzantine artists. The following are some of the 
 most remarkable specimens : — 1st. An Ecclesiastical Diptych, 
 with eight subjects from the Life of Christ, each bearing 
 an explanatory inscription in barbarous Greek. 2nd. A 
 splendid Triptych, with a central tablet representing the 
 Crucifixion, with various Saints in attendance (including 
 d2 
 
36 Desrriptii-e Notice of tlie 
 
 Constantiue the Great and his mother Helena), and on each 
 side a flap, or wing, having busts of Saints in medallions, — 
 the several personages distinguished hy their names, and the 
 subject illustrated by inscriptions in prose and verse. 3rd. 
 A Tablet, representing Ptomanus IV. and Eudocia Dalassena 
 crowned by our Saviour. As the marriage and coronation 
 of this Emperor and Empress took place in 1008, a fixed 
 date is obtained for this ivory, Avhich determines also, by 
 the correspondence of style, the age of the triptych just 
 described. 
 
 Class VIII. Cusltot from the Cathedral of Scus.—'I\n^ 
 casket, of uncertain date, contains twenty-four panels, repre- 
 senting scenes from the lives of Joseph and of David. They 
 are of Greek workmanship. 
 
 Class IX. Carvings of tlie Italian School of the Fourteenth 
 Century. — This is the only school of Western Europe w^hose 
 works it has been thought practicable to arrange in a sepa- 
 rate series. They are all believed to have been executed 
 about the fourteenth century, the era of the Pisani and 
 Giotteschi, and proceed in most instances either from their 
 hands or those of their Venetian contemporaries. The 
 carvings consist of triptychs, panels from caskets, and frag- 
 ments from retablcs, or portal)le screens placed at the backs 
 of altars during high mass. 
 
 Class X. Carvings of the French, English, and German 
 Schools of the Eleventh and Ticelfth Centuries. — This class 
 contains objects of miscellaneous use, attributed to the 
 eleventh and twellth centuries, which period includes the 
 Norman era of architectural anticpiities. 
 
 Class XI. Carvings of the Thirleeiilh and Fourteenth 
 Centuries. — The specimens of the tliirteentli and fourteenth 
 
r,il>i;nif!ni,s oJUir Arniulvl Noc/r///. 37 
 
 centuries from the schools just mentioned, whieli together 
 constitute the Northern Gothic, have been divided into three 
 classes, of which the present contains the bas-reliefs with 
 sacred subjects. The majority of these Avere used as devo- 
 tional tablets, either singly or in pairs, united by hinges, and 
 folding with the sculpture inwards, — a peculiarity which 
 distinguishes them from diptychs, or writing-tablets, Avith 
 which the popular phraseology confounds them. 
 
 Class XII. Carciugs with secitlar siihjccts, Thirtecidh and 
 Fourteenth Centuries. — The first seven in the list are orna- 
 ments of small mirror-cases, formerly carried by ladies. 
 They were in the form of flat round boxes, of which both 
 sides were carved on the exterior, and the edge frequently 
 decorated Avith little statuettes of lions, griflins, &c. Their 
 reliefs illustrate commonly scenes from mediaeval romances, 
 or incidents of gallantry, and gentle sports. The second 
 carving in the list represents, with a charming naioete and 
 delicacy, the elopement of Ginevra with Sir Lancelot; the 
 third treats, with no less playfulness and grace, a favourite 
 allegory, the Siege of the Castle of Love. This class also 
 contains two writing tablets and two ornaments of boxes, 
 with subjects no less curious than those of the mirror-cases. 
 
 Class XIII. Three small groups of Statuettes, of the same 
 period and school as the two preceding classes. One repre- 
 sents St. Mary and St. John beside the Cross, part of a 
 subject of which the central figure is wanting. 
 
 Class XIV. Carvings of Miscellaneous JFcstern Schools of 
 the Fifteenth and Sixteenth Centuries. — Eleven Illustrations 
 of the later Gothic and early Renaissance period, taken 
 promiscuously from all the schools of Western Europe. The 
 panel, of Italian workmanship (a proL'cs.siuu of figures), is 
 
38 Descriptive Notice of the 
 
 an early example of the style to wliicli the Gothic finally 
 succumhed iu the Sixteenth Century. 
 
 With the introduction of the classic clement, on which 
 modern art is chiefly founded, the series terminates. It was 
 not thought necessai'y to accumulate memorials of a school 
 so prolific and generally known as that of the Cinquecentisti, 
 still less to invite new attention to the debased works of 
 their successors. 
 
 Independently of the arrangement here described, a Select 
 Class has been formed consisting of fourteen of the most 
 important specimens from the entire collection. 
 
 t&^ 
 
rubtiadionti of tJiv ArundeJ Societ/j. 39 
 
 EIGHTH YEAR (185G). 
 ANNUAL PUBLICATIONS. 
 
 I. A View of the Interior of tiie Arexa Chapel, Padua, 
 
 IN 1306. A Chvomo-lithograpli by Mr. Vincent 
 Brooks, from a drawing by Mrs. Higford Burr.* 
 
 II. Two Engravings on Wood (27, 28), in continuation of 
 
 the series of frescoes in the same Cliapel : viz. — 
 
 1. The Hiring of Judas. 
 
 2. The Last Siqjper. 
 
 III. The Martyrdom of St. Sebastian, t A Chromo- 
 
 lithograph by Mr. Vincent Brooks, from a drawing 
 by Signor Mariannecci, after the fresco by Perugino 
 at Panicale. 
 
 IV. EivE Engraved Outlines of the principal heads in the 
 
 Martyrdom of St. Sebastian, traced from the originals. 
 
 V. A Notice of Perugino's Eresco of the Martyrdom 
 
 OF St. Sebastian, by A. H. Layard, M.P. 
 
 PiETRO Perugino. Born 1446. Died 1524. Pictro Van- 
 nucci was born at a little town in Umbria called Citta della 
 
 • This subject is out of print and no longer sold by the Society. 
 
 f St. Sebastian vras bom at Narbonne in France, a.d. 288, but settled at 
 Milan, and was there educated in the Christian religion ; he afterwards entered 
 the army, and became a captain in the Pretorian guard ; while on duty at Rome 
 he employed himself in converting the heathen. He was at length arrested and 
 carried before Diocletian, who, incensed at his firmness in the Christian faith, 
 ordered him to be tied to a tree and shot to death, which sentence was appa- 
 rently carried out, but the saint not being quite killed was restored by his 
 friends, and on his asraiu confronting Diocletian was sei;!cd and beaten to death 
 
40 Descriptive Notice of the 
 
 Pieve, and he was known in liis early life as Pietro della 
 Pieve. After he had settled at Perugia he was called Pietro 
 di Perugia, or II FcritgUw, by Avhich name he is best known. 
 Little knowledge has been obtained of the early life and 
 education of Perugino ; his parents were respectable but 
 poor. He studied in the " bottega" or workshop of Bene- 
 detto Bonfigli, a painter of some merit who had founded a 
 school in Perugia. About 1470 he went to Florence to 
 study, and became the friend and fellow-pupil of Leonardo 
 da Vinci. He possessed great genius and feehng, and in the 
 beginning of the sixteenth century was esteemed the most 
 popular painter of his time. According to Vasari he became 
 the victim of an insatiable passion and thirst for gain, his 
 prmcipal aim being to earn his money with as little expense 
 of time and trouble as possible; there are, however, good 
 reasons to doubt this accusation of avarice ; but certainly 
 his later efforts were feeble, mannered, and monotonous, 
 continually repeating the same figures, actions, and heads. 
 He survived his great disciple Pvaphacl four years. 
 
 Among Perugino's finest works in fresco are the follow- 
 ii^g :_" The Baptism of Christ," and " The Delivering the 
 Keys to Peter," both in the Sistine Chapel at Rome, painted 
 about the year 1480. " The Crucifixion," in the Convent of 
 Santa Maria Maddalena de' Pazzi, at Plorence. This subject 
 is in three compartments : in the centre our Lord is on the 
 cross and the Magdalen kneeling below in adoration. On 
 one side stands the Virgin, by her side St. Bernard kneeling, 
 and in the opposite compartment are St. John and St. Bene- 
 dict, the latter also kneeling.* " The Birth of Christ," m 
 
 * The buikling in which this fresco is paintotl was i>i-igiiiall.v a iiKuiastcry 
 called the Cestello, but being now a convent of nuns tlio placo is umlcr wliat is 
 termed clausura, and the fresco cannot be st-cn williuiil an nnlcr from the 
 Archbislu.ii. 
 
/>„I>fir<ifii>ns of thr Arundvl Sncirf//. 41 
 
 the Convent of San Francesco del Monte at roiiigia. The 
 figure of the Child in this fresco is sweet and tender in 
 expression, and the Madonna dignified and heautiful. " The 
 Adoration of the Kings" in Santa Maria de Bianchi, at Citta 
 deUa Pieve, painted in 1501. The great number of figures 
 in this composition, as well as the excellence of the execu- 
 tion, caused this fresco at one time to be wrongly assigned 
 to llaphael.* Eor this painting Pcrugino received only 75 
 florins, bargaining for a mule and a guide to take him to 
 the spot. Pcrugino and his pupils decorated the hall and 
 chapel of the Exchange at Perugia, covering the edifice 
 with the finest productions of his pencil, and even designing 
 the pattern of the ornaments and furniture, thus completing 
 a work which illustrates the use of painting applied to mural 
 decoration. This work is to the fame of Perugino as the 
 Stanze of the Vatican is to that of Raphael. The fresco of 
 the Martyrdom of St. Sebastian is in a chapel dedicated to 
 St. Sebastian attached to a convent of nuns outside the small 
 town of Panicale, overlooking the lake of Perugia. It is in a 
 good state of preservation, but some years ago it narrowly 
 escaped destruction. The bishop of the diocese was scan- 
 dalised at the partly naked figure of the saint being in a 
 chapel which was attended by nvms. A compromise was 
 however effected by placing a veil over the oifending figure, 
 large nails being driven into the fresco for the purpose. It 
 was painted in the year 1505, and may be ranked among the 
 best works of a painter, who, by his genius and the influence 
 he exercised upon his great contemporaries, formed an epoch 
 in the history of Art. 
 
 * The Society Las acquired finely-executed drawings of the three last-men- 
 tioned frescoes. The " Adoration of the Kings" will, as a chromo-lithogrBph, 
 
 l\>vm i.art of the Second Aunuiil I'liMications for ISG'J. 
 
42 
 
 Descriptive Notice of the 
 
 The National Gallery possesses two examples by Perugino, 
 a small Madonna and Child, with St. John, in tempera; and 
 an altarpiece in three compartments, formerly at Pavia, in 
 oil colours. Perngino has been represented as a very irre 
 ligious man, denying the immortality of the soul, and on his 
 deathbed refused to confess, saying that he should like to 
 know what l)ecame of souls which did not confess. In con- 
 sequence of this and his refusal of the sacrament he w^as 
 buried in unconsecrated ground. 
 
P((/>/icatioiis of the Arundel Society. 43 
 
 NINTH YEAH (1857). 
 ANNUAL PUBLICATIONS. 
 
 I. CiiKiST AMONG THE DocTOBS. A Cliromo-lithograph by- 
 
 Mr. Vincent Brooks, from a Drawing by Signer 
 Mariannecci after the Fresco by Piutnricchio in the 
 Catliedral of Spello. * 
 
 II. Two Engraved Outlines of Heads in the Eresco of 
 
 Christ among the Doctors, traced from the Originals. 
 
 III. The Madonna and Saints. A Chromo-Iithograph pro- 
 
 duced under the direction of Professor L. Gruner, 
 from a Drawing by Mrs. Higford Burr after the 
 Eresco by Ottaviano Nelli in the Church of Santa 
 Maria Nuova at Gubbio.* 
 
 IV. Tavo Engraved Outlines of Heads in the Eresco of 
 
 the Madonna and Saints, traced from the Originals. 
 
 V. A Notice of Nelli's Eresco of the Madonna and 
 
 Saints, by A. H. Layard, M.P. 
 
 VI. Two Engravings on Wood (29 and 30), in continuation 
 
 of the series of frescoes by Giotto in the Arena 
 Chapel at Padua : viz. — 
 
 1. The Trashing of the Disciples Feet. 
 
 2. The Kiss of Judas. 
 
 PiNTURicCHio. Born at Perugia 1151. Died at Siena 
 1513. He was the son of one Benedetto di Biagio, and, 
 
 * These subjects are out of print luul uo longer sold by llic Society. 
 
44 Descriptive Notice of the 
 
 from the lowness of his stature, Avas called Pinturicchio, or 
 Picturicchio, "the little painter." He was brought up in 
 the school of Benedetto Bonfigli, under whom Perugino had 
 also learnt his art. Pinturicchio holds a place as the link 
 between Pictro Perugino and Raphael. He was rather an 
 assistant than a pupil of the former (being only eight years 
 younger), and marks the transition betAveen the Umbrian 
 school and the Roman, founded by Raphael. In some 
 respects he was a more gifted artist than Perugino, display- 
 ing great dramatic vigour in his works, and may be con- 
 sidered as the first of the historical painters of the Umbrian 
 school. lie was a good landscape painter for his time ; to 
 which class of art lie was one of the first to pay any great 
 attention. In 1502 Pinturicchio executed his great work, 
 the painting of the library in the Cathedral of Siena with a 
 series of histoi'ical representations from the life of Eneas 
 Sylvius Piccolomini, afterwards Pope Pius II., in which he 
 employed the young Raphael as his assistant in making some 
 of the designs.* These Avorks, Avith the frescoes lie executed 
 in the churches of Santa Maria Aracoeli and of Santa Croce 
 in Gerusalemme in Rome, and in the chapel of Santa Maria 
 Maggiorc at Spello, may be classed among the most perfect 
 examples of the decorative mural paintings of the sixteenth 
 century combined Avith architecture. The subject of " The 
 Death of St. Bernardino" in the church of the Aracoeli is a 
 most elaborate Avork, and the heads in it are marked by great 
 power and expression. Those at Spello were painted in the 
 years 1500 and 1501, Avhen Pinturicchio was in the full 
 maturity of his powers. The subjects occupy the three sides 
 of the chapel— the fourth being open to the church— and 
 
 * An interior view of the Lllir;iry iit iSiiMui is imiong the i^ocioty's eMllee-tioii 
 of wiitfr-oiloiir ih-a\vin,"s. 
 
rah] leal ions of the Arundel Societf/. 45 
 
 represent "The Annunciation," "The Nativity," and "Christ 
 disputing with the Doctors " Tliese frescoes by neglect and 
 indifference are fast disappearing. They are not widely 
 known, being out of the beaten track of travellers, and away 
 from the main road. In one of them, "The Annunciation," 
 is his own portrait, signed " Bernardinus Pictoricius Peru- 
 jinus, 1501." In the third su1)ject, " Christ disputing with 
 the Doctors," the painter has introduced the portrait of his 
 patron Trojolo dei Baglioni, the Prior of Spello, at whose 
 cost the frescoes were executed. Pinturicchio appears to 
 have made, like Andrea del Sarto, an unfortunate marriage. 
 His wife Grania consigned him to a terrible death. She 
 locked him up in his house at Siena alone during an illness, 
 and left the unhappy painter to die of neglect and stai'vation. 
 
 Ottaviano di Martixo Nelli, the son of a painter, 
 flourished in the commencement of the fifteenth century, 
 and was a contemporary of Gentile de Pabriano. There is a 
 probability that among the pupils of Ottaviano may be 
 reckoned Giovanni Sanzio, the father of Raphael. He 
 painted chiefly in fresco, and his works are remarkable for 
 their warm colouring and the tender expression and senti- 
 ment of the heads. The fresco of the Madonna and Saints 
 in the Church of Santa Maria Nuova at Gubbio was painted 
 in 1103. This work is of considerable merit, and is probably 
 the best-preserved fresco of NcUi's remaining. It represents 
 the Virgin and Child surrounded by saints and angels of a 
 quaint and innocent simplicity, receiving the adoration of the 
 members of the noble family of Pinoli, for whom tlic fresco 
 was painted, probably in fulfilment of a vow. 
 
46 Descriptive Notice of the 
 
 OCCASIONAL PUBLICATIONS, 1857. 
 
 I. The Head op a Pemale Saint. A cast from a bas-relief 
 
 by Donatello, in the possession of Lord Elclio. 
 
 II. Two Photographs. From copies executed by Mr. Eain- 
 
 ford, after the j^aintings by Tintoretto in the Scuola 
 di S. Rocco at Venice : viz. — 
 
 1. Christ before Pilate. 
 
 2. Christ bearing the Cross. 
 
 With a Description by John Ptuskin. 
 
 DoNATO DI Belto DI Bardi, known commonly as Dona- 
 tello, was born of humble parents at Florence in 1383. 
 He died in 1466. Under the patronage of the Martelli 
 family he became the pupil of Lorenzo Bicci. His great 
 talents attracted the attention of Cosimo de' Medici, for 
 whom he executed many important works. The tendency of 
 his mind was towards sentiment and nature, the charac- 
 teristics of Christian art, and in studying the works of 
 Brunellesco, his style assumed great breadth and grace. 
 Donatello was not only an excellent sculptor but was also 
 very skilful in works of stucco, and highly esteemed as an 
 architect. He was the true restorer of sculpture, and the 
 first who succeeded in giving to his figures that freedom of 
 movement and force of expression which were afterwards 
 carried to the highest point by Michelangelo. He is also 
 the more worthy of commendation, because in his day the 
 antiquities, from which later masters studied, had not been 
 discovered and excavated. Among the masterpieces of 
 
Pill ilicat ions of flic ArnvcM Sodeiij. 47 
 
 Donatello may l)c mentioned the fic^nre of a Magdalene for 
 the haptistery of Florence, the tomh of Pope Giovanni Coscia 
 (John XXIII.), and the celebrated figure of St. Mark, Avhich 
 is said so to have excited the admiration of Miclielangclo 
 as to make him ask, " Well ! why don't you speak?" Among 
 his principal has-reliefs are those in the Medici palace, and 
 those representing the life of St. Anthony for the Sanctuario 
 of Padua, and the gates of the Church of St. John at Siena, 
 afterwards removed to Elorence. The private character of 
 Donatello was remarkable for its virtue, goodness, and libe- 
 rality ; he attached little value to his gains, but kept what 
 money he had in a basket, suspended by a cord to the roof, 
 and from this all his assistants as well as his friends took 
 what they needed, without being expected to say anything to 
 him. He passed his old age cheerfully, and, when he became 
 too decrepit to work longer, he was taken care of by Cosimo 
 de' Medici, and others of his friends. 
 
 Jacopo Robusti. Born at Venice 1512, Died 1594. His 
 father was a dyer (in Italian tin tore), — hence he received in 
 childhood the diminutive nickname II Tintoretto, by which 
 he is best known to us. He was a contemporary and pupil 
 of Titian, but was dismissed by that master for disobedience 
 to his commands ; yet it has been af&rmed that the great 
 artist Avas jealous of his pupil. Tintoretto, however, pursued 
 his studies, and, as he had a good opinion of his own talents, 
 when he set up his establishment wi'ote the following words 
 over his workshops (the refined "studio" had not then been 
 invented) : " The design of Michelangelo, and the colouring 
 of Titian." Tintoretto's pictures display great originality of 
 conception and a depth and force almost unsurpassed ; but 
 as a painter he was unequal, and in his compositions may be 
 found frequently great faults, side by side with the highest 
 
48 Descriptive Notice of the 
 
 beauty. He possessed wonderful facility of execution, but 
 did not give sufficient time and study to bis work. The 
 portraits by Tintoretto are a class of his works more care- 
 fully executed than any other. In the Scuola di S. Rocco 
 there are Jifttj-seven paintings by tliis prolific artist ; several 
 of them are very large, and the figures throughout are the 
 size of life. The Crucifixion, painted in 1565, is perhaps 
 the finest of his works, both in conception and execution. 
 In the Academy of the Pine Arts at Venice is another fine 
 production by Tintoretto. It was originally in the Scuola 
 of St. Mark, near SS. Giovanni e Paolo. It represents 
 St. Mark appearing in the air and delivering a man, who 
 was his votary, from the torments of martyrdom. This 
 picture exhibits a great number of figures ; many well 
 executed foi'cshortenings, and portraits from the life, which 
 render the work one of infinite interest ; it is also painted 
 with great care, and glows with colour and movement. 
 
PuhUcatiojis of the Ariindd i^ork'ttj. 49 
 
 TENTH YEAR (1858). 
 ANNUAL PUBLICATIONS. 
 
 I. The Nativity of Our Lord. A Chromo-lithograph by 
 
 Mr. Vincent Brooks, from a Water-colour drawing by 
 Signor Mariannccci, after tbe fresco l)y Pinturiccliio 
 in tbe Catbedral at Spello.* 
 
 II. Two Engraved Outlines of Heads in tbe fresco of tbe 
 
 Nativity of Our Lord, traced from tbe originals. 
 
 III. The Buri^vx of St. Catherine. A Cbromo-litbograpb 
 
 executed by Messrs. Storcb and Kramer, under tbe 
 direction of Professor L. Gruner, from a Water-colour 
 drawing by Signor Bignoli, after tbe fresco by Luini 
 in tbe Brera Gallery at Milan. f 
 
 * For Pinturiccliio's frescoes at Spello see page 43. Tlie chromo-litho- 
 graphs of all the three subjects are out of print and no longer sold by the 
 Society. 
 
 \ This chromo-lithograph is out of print and no longer sold by the Society. 
 The legend of St. Catherine was the most popular in mediajval times. She was 
 the Minerva of Christianity, the patroness of Learning and Theology, and— 
 on account of her royal birth— of ladies of rank. She was the daughter of 
 Costis king of Egypt, living at Alexandria, and was celebrated for her acquire- 
 ments in learning and philosophy. Being converted to the Christian faith she 
 gave herself up to God, refusing all offers of marriage, and lived in contempla- 
 tion of the day when she should be united to her heavenly spouse. The tyrant 
 Maximian went to Alexandria and persecuted all the Christians who would not 
 sacrifice to the gods. He ordered St. Catherine to be tortured between four 
 wheels armed with spikes, but when she was being bound to these wheels fire 
 and lightning came down from heaven, shattered them, and killed her execu- 
 tioners with the fragments that flew about. She was then scourged and be- 
 headed, and angels carried her body over the Red Sea to ]\Iount Sinai, where it 
 found its (IiimI resting jilaco. She was martyred .v.n. .".O?. 
 
50 Descriptive Notice of the 
 
 IV. Engraved Outline of Two Heads in the fresco of the 
 
 Burial of St. Catherine, traced from the originals. 
 
 V. A Notice of the Frescoes by Pinturicchio in the 
 
 Cathedral at Spello, by A. II. Layard, M.P. 
 
 VI. Four Engravings on Wood (31 to 3-1), in continuation 
 
 of the series of frescoes by Giotto in the Arena 
 Chapel at Padua : viz. — 
 
 1. Christ before Caiaphas. 
 
 2. The Flagellation. 
 
 3. Christ bearing the Cross. 
 
 4. The Crucifixion. 
 
 Bernardino Luini (or di Luvino, a village on the Lago 
 Maggiore). Flourished during the early part of the six- 
 teenth century. He studied in the school of Leonardo da 
 Vinci, and was the most distinguished follower of that 
 master. As a fresco painter he was one of the greatest 
 artists that has appeared in Italy, and his excellence has 
 been by no means sufficiently acknowledged. The compara- 
 tive obscurity of his name is partly owing to his having 
 been overlooked by Vasari, or only slightly mentioned imder 
 the designation of Bernardino da Lupino, and partly to some 
 of his best works being attributed to Leonardo da Vinci, 
 though wanting Leonardo's exquisite tone and grandeur of 
 style. Milan is rich in the works of Luini. A great number 
 of his frescoes have accrued to the Brera Gallery from the 
 walls of suppressed churches and convents. There are other 
 frescoes in some of the palaces of Milan, as in the Casa 
 Silva, and a great number in the Franciscan Convent at 
 Lugano. Amongst the latter may specially be mentioned 
 '• The Crucifixion," containing about one hundred and forty 
 figures, which arc of great beauty, and i'ull of inspiration 
 
PiihUcatioiis of the Arnndd Soa'cf//. t)i 
 
 aud faith. Ilis finest works are the series from the Church 
 at Saronno, painted about the year 1530. These frescoes are 
 admirable examples of mural decoration, and display great 
 appreciation of the beautiful, and excellence of design. 
 They represent, 1. The Marriage of the Virgin ; 2. The 
 Adoration of the Kings ; 3. The Presentation in the Tern, 
 pie ; 4. Christ disputing Avith the Doctors. " Life is here 
 painted in its most cheerful sj)lendour, and yet with sin- 
 cerest feeling; the Adoration of the Kings is particularly 
 rich in invention, noble in style, and delicately conceived."* 
 
 * See Kugler's Handbook of Painting, vol. ii. p. 293. These works were 
 published by the Arundel Society in the years 18G4, I8G0, and 1866. 
 
52 Descriptive Notice of the 
 
 ELEVENTH YEAR (1859). 
 ANNUAL PUBLICATIONS. 
 
 I. The Virgin and Chilb amidst Saints ; and the Eesur- 
 
 RECTiON OF Our Lord. A Chromo-lithograpli exe- 
 cuted by Messrs. Storcli and Kramer, under the 
 direction of Professor L. Gruner, from a Water-colour 
 drawing by Signor Mariannecci, after the fresco by 
 Giovanni Sanzio, in the Chiu-ch of St. Domenico at 
 Cagli. 
 
 II. Engraved Outline of the Eigure of an Angel, from 
 
 the fresco by Sanzio (supposed to be the portrait of 
 the artist's son Raphael), traced from the original. 
 
 III. The Virgin and Child, with portrait of the Donor. 
 
 A Chromo-hthograph executed by Messrs. Storch and 
 Kramer, under the direction of Professor L. Gruner, 
 from a Water-colour drawing by Signer ]\Iariannecci, 
 after the fresco by Leonardo da Vinci in the Monastery 
 of St. Onofrio at Rome. 
 
 IV. Engraved Outline of the Head of the Virgin, from 
 
 the fresco by L. da Vinci, traced from the original. 
 
 V. A Notice of the Fresco by Sanzio in the Church of 
 
 St. Domenico at Cagli, by A. H. Layard, M.P. 
 
 VI. Two Wood Engravings (35, 36), in continuation of 
 
 the scries of frescoes by Giotto in the Arena Chapel 
 at Padua : viz. — 
 
 1. The Ptcta. 
 
 2. T'ho BrsKD'cctiDii. 
 
PitliUnitions of tJte Anindvl Soricf//. 53 
 
 Giovanni Sanzio, oe, Santi. Elourishcd during the latter 
 l)art of the fifteenth century.* In early life he was influ- 
 enced by the Avorks of Ottaviano Nelli (of whom there is a 
 probability he was a pupil) and Piero della Eraneesca ; but 
 at a later period, when he had acquired the friendship of 
 Andrea Mantegna, his style greatly improved. He was the 
 most distinguished contemporary of Perugino ; but his fame 
 rests, very unjustly, not so much upon the merits of his 
 works as upon the honour which the paternity of the greatest 
 of painters has conferred upon him. The style of this master 
 is simple and serious, and his children's heads are of great 
 loveliness. His most developed pictures are chiefly those 
 which were executed in Urbino. The fresco in the Chm'ch of 
 the Dominicans at Cagli, painted about the year 1492 for one 
 Pietro Tiranni, and reproduced in chromo-lithography by the 
 Arundel Society, is the most important work that Sanzio 
 ever executed. It is divided horizontally into two distinct 
 parts. In the lower division the Virgin is seated on a throne 
 supporting the Infant Christ, and on each side of her are two 
 saints and a boy angel. According to a tradition the angel, 
 with his arms crossed, to the right of the throne, is the 
 portrait of Giovanni's son Raphael, then a boy nine years 
 old. The four saints are, — the Baptist as the precursor, 
 St. Peter as the head of the Catholic church, and St. Francis 
 and St. Dominic as the founders of the two great religious 
 orders which were mainly instrumental in establishing its 
 authority. In the upper part, in a semicircle, Santi has 
 painted the Resurrection of our Lord. The drawing is fuU 
 
 * The date of liis birtb is not known. IIo was the son of one Panto, whose 
 father Pcruzzolo could trace his descent from an ancestor also named Sante 
 living in the beginning of the fourteenth centuiy. From this ancestor he took 
 the name ol " dc' Santi," Latinised into " Sanctius," and then Italianised into 
 " Sanzio." 
 
54 Bescrijptke Notice of the 
 
 and animated, and the colouring fresh. This fresco is also 
 peculiarly interesting as showing the influence which he 
 must have exercised over his son, the figures in it having a 
 charm which gives a foreshadowing of Raphael. 
 
 Leonardo da Vinci. Born in the year 1452 at Vinci, a 
 village in the Val d'Arno. He died in France in 1519. He 
 was a natural son of Pietro da Vinci, an advocate of Floi'cnce, 
 by whom he was placed in the school of Andrea Verocchio. 
 Leonardo da Vinci stands at the head of a period of the 
 highest development of art. That period has never since 
 been equalled. Within thirty years, viz. between 1190 and 
 1520, the greatest painters whom the world has ever seen 
 were living and working togetlier. Leonardo da Vinci dis- 
 played extraordinary versatility. He seemed to possess all 
 the gifts of the age in whicli he lived. He was a sculptor, 
 architect, painter, musician, and poet, as well as the best 
 mathematician and most ingenious mechanic of his time. Of 
 the many fine productions by Leonardo da Vinci the two 
 grandest were: — 1. The equestrian statue, intended to have 
 been cast in bronze, of colossal dimensions, in memory of 
 Francesco Sforza. The splendid anatomical studies which 
 Leonardo made for this work still exist ; but when Milan was 
 conquered by the French, in 1499, the model was used as a 
 target by the Gascon cross-bowmen and destroyed. 2. The 
 fresco of the Last Supper, painted in the refectory of the 
 Dominican Convent of Santa Maria della Grnzie at Milan. 
 The picture is 28 feet in length, and the figures are larger 
 than life. Of this magnificent creation of art only the 
 mouldering remains are now visible. During an inundation 
 in 1500 it remained for a time partly under water, and the 
 colours thus became much faded, as the Avork was not in 
 pure frcfco but finished in oil. In 1G52 a hole was broken in 
 
PithlicatioDS of the Arundel Societ//. 55 
 
 the wall ou wliicli it was painted for the purposes of a door- 
 way. In 1726 the picture was entirely repainted, and in 
 1770 it was retouched a second time. Almost every trace of 
 Leonardo's work has therefore vanished. Of this admirable 
 picture, justly regarded as the compendium of all Leonardo's 
 studies and writings, an engraving was made by Raphael 
 Morghen, and this work is considei'ed the masterpiece of 
 tlie engraver as the picture is that of the painter. There is 
 also a finished coloured copy of the fresco in the Brera 
 Gallery at Milan. The fresco from the Convent of St. Onofrio 
 at Rome, published by the Arundel Society, was painted by 
 Leonardo after he had for some years employed his talents in 
 Upper Italy as an engineer. It was executed about the year 
 1514, when Raphael, at the height of his fame, was engaged 
 in painting the frescoes in the Vatican. 
 
 As an additional proof of the versatile genius of this great 
 man may be mentioned a Map of the World in his hand- 
 writing lately discovered by Mr. B. B. Woodward, the 
 Queen's Librarian, in Her Majesty's Library at Windsor, and 
 described by Mr. R. H. Major, in a paper printed in vol. 40 
 of the Archreologia. This map is the more remarkable as it 
 is supposed to be the earliest yet made known to the world 
 in which the name of America is inscribed. Of the various 
 writings on Art by Leonardo, the Trattato della Pittura has 
 descended to our times, and still forms a very useful 
 compendium. 
 
56 Descriptive Notice of the 
 
 OCCASIONAL PUBLICATION, 1859. 
 
 TiiE Portrait of Dante. A Cliromo-lithograph from the 
 fresco by Giotto, in the Palazzo del Podesta (now 
 called the Bargello), from a fac-simile traced and 
 coloured by Mr. Seymour Kirk up.* 
 This portrait, painted about the year 1300, formed part of 
 one of the earliest recorded performances of Giotto, in which 
 was also introduced the portraits of Brunetto Latini, Corso 
 Donati, and others. Vasari speaks of these works as the 
 first successful attempts at portraiture after the revival of 
 art. The fresco was plastered over not long after it was 
 done by the political enemies of Dante, and for ages, though 
 known to exist, it was buried from sight. The merit of 
 restoring this most valuable relic to light is due to Mr. 
 Aubrey Bezzi and Mr. Seymom* Kirkup, who in 1840, with 
 the permission of the Tuscan Government, removed the 
 Ijlaster, and discovered the portrait. It roused great enthu- 
 siasm among the Florentines, and thousands shouting 
 "I'abbiamo il nostro poeta," flocked to gaze on the well- 
 known features of their beloved poet. When the portrait 
 was painted by Giotto, Dante was stiU in middle life, and his 
 features were not marked with that melancholy which the 
 ingratitude of his country afterwards wrote upon them. 
 Unfortunately, before the plaster was removed, a nail had 
 been driven into the wall where the eye was ; it was care- 
 lessly pulled out bringing with it the original plaster of the 
 wall. Soon after the discovery the head was re-painted, and 
 the original likeness lost, but, fortunately, not till Mr. 
 Kirkup had made a careful coloured tracing from it. 
 
 * For a notice of Giotto see page 25. 
 
Publications of the Arundel Society. 57 
 
 TWELPTH YEAR (1860). 
 ANNUAL PUBLICATIONS. 
 
 I. Tee Death of St. Erancis of Assisi. A Chromo-litlio- 
 
 graph executed by Messrs. Storch and Kramer, vmder 
 tlie direction of Professor L. Gruner, from a Water- 
 colour drawing by Signor Mariannecci, after the 
 fresco by Domenico Ghirlandaio, in the Church of 
 Santa Maria Trinita at Elorencc.* 
 
 II. Heads of a Bishop and a Priest. A Chromo-litho- 
 
 graph from the above-mentioned fresco on the scale 
 of the original. 
 
 III. A Notice of Ghirlandaio, with an account of the 
 
 fresco of St. Erancis, by A. H. Layard, M.P. 
 
 IV. Two Wood Engravings (37 and 38), concluding the 
 
 series of the frescoes by Giotto, in the Ai-ena Chapel, 
 Padua : viz. — 
 
 1. The Ascension. 
 
 2. The Descent of the Hohj Spirit. 
 
 V. Title-page and List of Subjects belonging to the 
 
 above series of wood engravings. 
 
 VI. A Notice of Giotto and his Works in Padua, by 
 
 John Ruskin. Part III., concluding the work. 
 
 Domenico Ghirlandaio. Born li49. Died 1497. Do- 
 menico di Tommaso di Currado Bigordi was the son of a 
 goldsmith of repute in Elorence, who was called " II Ghir- 
 
 » The eliromo-litbogvapU of this subject is out of print niul no longer sokl by 
 the Society. 
 
58 Descriptive Notice of tlie 
 
 landaio " or " Grillandaio," the garland maker, because of 
 the gold and silver wreaths which were made by him, and 
 worn in those luxurious times by the Florentine damsels. 
 The nickname descended to his son, who was intended for 
 the profession of a goldsmith ; bvit at the age of twenty-four 
 he left it, took to painting, and earned the reputation of 
 being one of the chief masters of his time in Florence. 
 Ghirlandaio surpassed all his contemporaries in the precision 
 of his drawing and the delicacy of his execution. He had 
 many scholars, the most eminent being Michelangelo, and 
 who, according to tradition, assisted him in the frescoes of 
 Santa Maria Novella. Ghii-landaio's principal works are in 
 Florence. An important characteristic in the productions of 
 this master is the introduction of portraits of celebrated 
 contemporaries as spectators in his historical representations. 
 Among his earliest works is the fresco of "The Last Supper" 
 in the refectory of the Church of the Ognissanti at Florence, 
 bearing the date of 1480. This fresco is remarkable for the 
 diversity of expression given to each head, particularly that 
 of Judas, which is very striking.* Ghirlandaio painted the 
 same subject in the refectory of the Convent of St. Mark ; 
 but there is much less force and expression in that com- 
 position. In the Sassetti Chapel of Santa Maria Trinita 
 he painted six frescoes, which were completed in 1485, 
 representing events in the history of St. Francis of Assisi. 
 Of these the death of the Saint is considered to be the 
 painter's masterpiece, and one of his most perfect historical 
 works. The scene is placed in an open colonnade, ter- 
 minating with an altar, a free re^iresentation of Santa Maria 
 dcgli Angeli, where the saint expired in 1226. The heads 
 
 * Tlie Society pusse^scs a drawing df this sulijcct wliicli \v:is pnlilislicil in 
 IbGO as a flii-..inu-iitlio-rii|.li. 
 
Puhlkatlons of the Antndd Society. 59 
 
 are depicted with great skill ; at the head of the hier is 
 a bishop chanting the litanies, with spectacles on his nose, 
 which is the earliest known representation of those imple- 
 ments, then recently invented. In a Chapel of the Collegiate 
 Church at St. Gimignano arc a series of frescoes by Ghir- 
 landaio ; one, representing the death of St. Pina (to whom 
 the chapel is dedicated), is a very fine work, hut resembling 
 much in design the artist's fresco of the death of St. Francis.* 
 Ghirlandaio was also invited to Rome by Pope Sixtus IV. to 
 take part, in rivalry with his eminent contemporaries, in the 
 painting of the Sistine Chapel, where he depicted "The 
 Calling of Peter and Andrew" and "The Pesurrection of 
 Christ." The latter is now destroyed, but the other subject 
 displays in a remarkable degree the powers of a great 
 painter. 
 
 His most important undertaking, which was completed in 
 1 too, was the decoration of the Tornabuoni Chapel of the 
 Church of Santa Maria Novella at Plorence. The walls 
 were covered with fourteen frescoes, representing on one 
 side events in the life of the Virgin, and on the other 
 incidents in that of St. John the Baptist. In these compo- 
 sitions he has, as usual, introduced portraits of distinguished 
 and illustrious persons of his day, among whom may be 
 mentioned Ginevra de' Benci, the celebrated beauty, and 
 many members of the Medici and Tornabuoni families.! 
 
 Ghirlandaio in later life devoted himself to mosaic, having 
 executed works in this material at Plorence, Orvieto, and 
 Siena. He was wont to say that " painting was design, but 
 that the true painting for eternity was mosaic." 
 
 * The Society possesses a copy of this fresco ainongst its collection of Jrawings. 
 
 f Eleven of these subjects are among the Society's collection of water-colour 
 Drawings ; two of them, " Zacharias naming his Son " and " St. John Preach- 
 ing," were pnblishei-l in ISflT. 
 
60 Descriptive Notice of the 
 
 THIHTEENTn YEAH (18G1). 
 
 ANNUAL PUBLICATIONS. 
 
 Seven Chbomo-lithographs executed by Messrs. Storch 
 and Kramer, under the direction of Professor L. 
 Gruner, from Water-colour drawings by Signor 
 Marriannecci, after tbe Erescoes in the Brancacci 
 Chapel in the Church of Santa INlaria del Carmine at 
 Elorence : viz. — 
 1 and 2 (on one sheet). The Fall of Adam and Eve, 
 
 and The Usj^itlsioiifrom Paradise, after Masaccio. 
 3. The Tribute Money, after Masaccio. 
 4 and 5 (on one sheet). Tico Heads from the Tr Unite 
 
 Monei/, on the scale of the original fresco. 
 6 and 7 (on one sheet). aS*^. Fcter Sajjtiziiig and St. 
 Feter F reaching, after Masaccio. 
 
 Masaccio. Born 1402. Died 1429.* Tommaso di 
 Giovanni di Simone Guidi, the son of a notary, was born in 
 the town of St. Giovanni on the Arno above Elorence. He 
 was familiarly called Masaccio, a reproachful corruption of 
 his own name, meaning " slovenly or dirty Tom," on account 
 of his negligent habits and dress. At an early age he 
 obtained celebrity by painting some frescoes in the chapel 
 of St. Catherine in St. Clemente at Rome ; and upon the 
 death of Masolino he received a commission to complete 
 
 * According to Vasari lie v^ns l.oni in 1117 ami tlird in 1 ll.'l, Imt coti- 
 tcmporai-y ducunicnts of un<loulit.Ml antlicntioity rurnish nioro tnislwortliy 
 
Puhlications of the Arundel Society. 61 
 
 the great work of decorating the Brancacci Chapel. During 
 the progress of this he left Elorence hastily for Rome, it 
 is supposed for the purpose of escaping his creditors. Much 
 mystery haugs over the cause of his death, which was 
 sudden, but a report was circulated in Florence that he was 
 poisoned. Masaccio's marks one of the distinct and well- 
 defined periods of the development of art in the fifteenth 
 century, in the same manner that Giotto does in the four- 
 teenth, both giving in their day a decided impulse to the 
 new direction in which art was progressing. In skill as 
 a draughtsman and designer in colour on a large scale, 
 Masaccio anticipated the artistic triumphs of the sixteenth 
 century. 
 
 The Brancacci Chapel in the Church of Santa Maria del 
 Carmine at Florence was built in the early part of the 
 fifteenth century by Felice Michcle di Piuvichese Brancacci, 
 a noble Florentine. Its decoration was not completed until 
 about eighty years later. This chapel was dedicated to St. 
 Peter, and in honour of him its walls were covered with 
 frescoes, which are now among the most important monu- 
 ments of art remaining from the fifteenth century. The 
 execution of this work was commenced by Masolino ; it was 
 continued after his death by Masaccio, and completed by 
 Filippino Lippi. The great painters of the latter part of the 
 fifteenth and the whole of the sixteenth centuries, not 
 excepting Michelangelo and Ptaphael, did not disdain to 
 study these frescoes, and to a certain extent form their 
 style upon them; and the influence of these remarkable 
 works reached far beyond the century in which they were 
 painted.* 
 
 * Fui- a full ilcscription of these works, sue Mi-. Layanl's Notice of the 
 Brancacci Cliapcl, pul.lishod by the Arutnlol Society, 1808. 
 
62 Descriptive Notice of the 
 
 OCCASIONAL PUBLICATIONS, 186L 
 
 I. The Annunciation. A Chvomo-lithograpli executed by 
 
 Messrs. Storch and Kramer, under the direction of 
 Professor L. Gruner, from a Water-colour drawing by 
 Signor Mariannecci, after the fresco by Pinturicchio, 
 in the Cathedral at Spello.* 
 
 II. Three Engba.ved Outlines of Heads in the fresco 
 
 OF THE Annunciation (one of them being a portrait 
 of the painter) traced from the originals. 
 
 • This fresco is to the loft on entering the Baglioni Chapel. The composition 
 is very simple, the subject being treated in the conventional manner of the 
 Umbrian school. The A'irgin, a most graceful figure, stands before a high 
 reading desk and rests one hand upon an open book. The kneeling angel, 
 delivering his holy message, is one of the noblest figures of this class that 
 Pinturicchio ever painted. The Almighty above, supported by chenibim, sends 
 the mystic dove towards the Virgin. In the background is an arcade the 
 columns of which are ornamented with arabesciues. To the right, beneath a 
 window, is represented, as suspended to the wall in a frame, the portrait of the 
 painter. For an account of Pinturicchio and his frescoes at Spello, see page 43. 
 
 These chromo-lithographs are now out of print and no longer sold by the 
 Society. 
 
riihb'cations of f/ic Aiuiuhi Socief//. 63 
 
 rOURTEENTH YEAH (1862). 
 ANNUAL PUBLICATIONS. 
 
 I. Five Ciiromo-Lithographs, executed, by Messrs. Storch 
 
 and Kramer, under the direction of Professor L. 
 Gruncr, from Water-colour drawings by Signer Ma- 
 riannecci, in continuation of the series of frescoes in 
 the Brancacci Chapel in the Church of Santa Maria 
 del Carmine at Florence : viz. — 
 
 1. St. Fcter and St. John lieaUng a Crlj^ple, and St. 
 
 Peter raising Tabitha, after Masolino da Panicale. 
 
 2. Sead from the fresco of the JRaising of Tabitha, on 
 
 the scale and in exact imitation of the original. 
 3 and 1 (on one sheet). St. Peter in Prison visited by 
 
 St. Paul, and St. Peter delirered from Prison, after 
 
 Filippino Lippi. 
 5. Head from the fresco of St. Peter in Prison, on the 
 
 scale of the original fresco. 
 
 II. St. Stephen distributing Alms. A Copper-plate 
 
 Engraving by Herr Schaffer, from a drawing by M. 
 Kupelwieser, in continuation of the series of frescoes 
 by Fra Angelico in tlie Chapel of Nicholas V, in the 
 Vatican.* 
 
 Masolino da Panicale. According to Vasari, Masolino 
 was born in 1403, in the town of Panicale of Valdclsa, in 
 
 * For an account of Fra Angelico and Iiis frescoes in llie Vatican, see 
 page 17. 
 
64 Descriptive Notice of the 
 
 the Florentine territory, and died in 1440 ; but it appears 
 from reliable documents in the Florentine archives that 
 Masolino was the son of one Cristoforo Fini, and that he 
 was born at Florence in the year 1383. His name was 
 Tommaso, of which Masolino is the diminutive. He studied 
 painting under Stamina, an artist of some reputation. In 
 1428 he painted some frescoes at Castiglione d' Olona, in 
 Lombardy. He was chosen to decorate the Brancacci 
 Chapel, and executed several works in that place, but the 
 only subject now remaining which can be assigned to 
 Masolino is " The Eaising of Tabitha."* The others must 
 have been upon the vault of the Chapel and in the lunettes, 
 and were destroyed or concealed beneath the comparatively 
 modern decoration with which the ujiper part of the build- 
 ing is now covered. According to Vasari his too zealous 
 study and the fatigues to which he perpetually subjected 
 himself so weakened his frame that his life was prematurely 
 terminated, and his pupil Masaccio was appointed to con- 
 tinue the work he had begun. Masolino would have been 
 the leading painter of the first part of the fifteenth century 
 but for the altogether exceptional artistic power of his asso- 
 ciate Masaccio. There is a picture in the Eoyal Gallery at 
 Berlin attributed to Masolino ; it represents St. Helena stand- 
 ing on the sea-shore, superintending the reception of corn 
 for the wants of the people. 
 
 FiLiPPiNO LiPPl. Born 14G0. Died 1505. Vasari's ac- 
 count of the parentage of Filippino Lippi has been disproved 
 
 * Vasari describes this fresco as " St. Peter releasing his daughter Petronilla 
 from her iufirmitj-." The manner however in which tlie subject is treated wodd 
 hardly agree with the Roman legend, and it is more probable that the painter 
 chose for his subject an incident described in Scripture, rather than an apocryphal 
 
 and littlo-kiiown story. 
 
Puhlications of the A rundel Society. 65 
 
 by clocumcntaiy evidence. He was not the son of Filippo 
 Lippi, the celebrated painter and Carmelite friar. Eilippino 
 was born at Prato, near Florence. As a boy he was taught 
 painting by Fra Filippo, and finished his studies under Fi'a 
 Diamante. He was a fellow-student of Sandro Botticelli, 
 who was al)out his own age. His stylo is similar to that 
 of Botticelli, but his works attained a richness and harmony 
 never reached by Fra Filippo Lippi. His heads are fine, 
 and portraiture is frequently and beautifully used in his 
 compositions. One of the earliest works of Filippino Lippi 
 was an altar-piece painted on panel in 1480, representing 
 " The Vision of St. Bernard." It was painted for the 
 Chapel of Francesco del Pugliese at Campara, outside one 
 of the gates of Florence, and now placed in the Church of 
 the Badia, within the walls of that city. The Saint is seated, 
 writing the Life of Christ, when the Virgin suddenly appears, 
 attended by a train of cherubs, and dictates his composition. 
 The portrait of the donor, who kneels in the corner, is 
 awkwardly placed, and the figure of St. Bernard is unna- 
 turally long ; but, notwithstanding these defects, the picture 
 is very charming, and is perhaps Filippino's finest easel sub- 
 ject.* The frescoes in the Caraff"a Chapel in the Church 
 of Santa Maria sopra Minerva, at Ptome, painted between 
 1489 and 1493, and those in the Chapel of the Strozzi 
 family in the Church of Santa Maria Novella, at Florence, 
 painted in 1500, are remarkable for the rich ornamental 
 decorations and arabesques introduced in the architecture. 
 Amongst those in the Caraffa Chapel is the allegorical repre- 
 sentation of " The Disputation of St. Thomas Aquinas." 
 The saint is seated on a throne between the four Cardinal 
 
 * This subject, as .a clironi.i-litliogn.i.li, f.inuod part i.f the Second An 
 riiblications of the Society for 18G8. 
 
m 
 
 Descr{j)tive Notice of the 
 
 Virtues, defending the Churcli from the attacks of her 
 enemies, and he tramples under foot a prostrate imheliever. 
 Before him stand discomfited the heretics Arius, Sahellius, 
 Averroes, and others.* Among Tilippino's hest and most 
 finished historical works are those in the Brancacci Chapel. 
 He completed the subject of " The Raising of the King's 
 Son," left unfinished by Masaccio at his death. He also 
 painted the subjects of " St. Peter in Prison visited by St. 
 Paul," "St. Peter delivered from Prison," and "The 
 Martyrdom of St. Peter." 
 
 Filippino Lippi died suddenly of fever and quinsy whilst 
 occupied in painting a picture for the Church of the Annvm- 
 ziata at Plorence. This picture, representing the Depo- 
 sition from the Cross, was finished by Pietro Perugino, and 
 is now in the Academy of Fine Arts at Florence. Filippino 
 was held in high esteem by his fellow-citizens, and when his 
 funeral passed through the streets the shops were closed as a 
 mark of respect. 
 
 * A copy of this fresco by Pij 
 tion of water-colour dravpiiigs. 
 
 Mariannecci is among tlie Society's collec- 
 
Pablieafioiis of tlic Anmdcl Socief//. ()7 
 
 OCCASIONAL PUBLICATIONS 1862. 
 
 r. and IE. Two CnROMo-UTUOGiiArHS executed by Messrs. 
 Storcli and Kramer, under the direction of Professor 
 L. Griiner, from AYater-colour Drawings hy Signor 
 Mariannecci : viz. — 
 
 1. The Burial of St. CeciUct, a fresco by Francesco 
 
 Erancia in the Churcli of St. Cecilia at Bologna. 
 
 2. The Madonna del Sacco, a fresco by Andrea del Sarto 
 
 in the cloister of the Convent of the Annunziata at 
 Florence. 
 
 III. An Alphabet of Capital Letters, selected from the 
 
 illuminations of Italian Choral Books of the fifteenth 
 and sixteenth centuries. Engraved in outline, with 
 the letter F. (attributed to Fra Angelico) printed in 
 colours. 
 
 IV. A Plaster Cast, from a reduction in Alabaster by Mr. 
 
 Cheverton, of the Head of one of the Horses of 
 Night, from the eastern pediment of the Parthenon, 
 now forming part of the Elgin Collection in the 
 British Museum.* 
 
 * The chariot of Night sinking into the Ocean at the moment when that of 
 the Sun was vising in the East tenninated the composition on one side of the 
 pediment. The original marble is of the finest possible workmanship, and its 
 surface has been very little injured. The size of it is I foot 8 inches in height 
 by 2 feet 9 inches in breadth, and the reduction is to the scale of one-third. 
 See notice of Elgin Jlarbles, page 21. 
 
 1' 2 
 
68 Descriptive Notice of the 
 
 Feancesco Feancia. Born 1450. Died 1517. The family 
 name of this painter was RaiboUni. His father, Marco di 
 Giacomo Ptaibolini, was a carpenter of Bologna. Francia 
 was tlie name of a goldsmith to whom Francesco was appren- 
 ticed; hence he was called II Francia.* lie was celebrated 
 for the execution of dies for coins and medals, and at the 
 age of forty he took to painting. He was one of the best 
 artists of the latter part of the fifteenth century, and equal 
 in rank with Perugino; but in Francia the sentimentality 
 of Perugino is moderated without any deficiency of deep and 
 fervent feeling. His talents first excited attention from a 
 picture executed in 1490 for the Felicini family, and placed 
 in the church of La Miscricordia, after which he executed 
 some important works for Giovanni Bcntivoglio of Bologna. 
 Francia was chiefly excellent as an oil-painter, but the fres- 
 coes in St. Cecilia, at Bologna, are among his best works. 
 They are scenes from the history of St. Cecilia; but the 
 Marriage and the Burial of the Saint are the most remark- 
 able.! Since their publication by the Arundel Society the 
 originals have, by neglect and ill-usage, fallen into ruin and 
 decay. Francia was an intimate friend and admirer of Ea- 
 phael ; but there does not appear to be any good foundation 
 for the story that envy of his friend's superior talents has- 
 tened his death. A fine example of Francia's oil-painting 
 
 * It is remarkable how large a nimiber of Italian painters were originally 
 goldsmiths. Amongst them ni.aj be mentioned Orcagna, Veroccliio, Sandro 
 Botticelli, Ghirlandaio, and Andrea del Sarto. Other n.nuies might be added, 
 as Luca della Eobbia, Ghibcrti, &c. 
 
 •j- St. Cecilia, Virgin and MartjT, a.d. 230. The legend of this Saint relates, 
 that she was a Roman lady of good family, a patroness of music, and the in- 
 ventress of the organ. When very young she was forcibly compelled to marry 
 Valerian, a yonng patrician, whom she converted, together with his brother 
 Tiburtius and their friend Maximus. Tlicy were all persecuted and suffered 
 martyrdiiin. 
 
Pnhlications of the Arundel Society. G9 
 
 is now in the National Gallery, and was formerly in the ducal 
 palace of Lucca. It rein-csents Christ lying dead on the lap 
 of the Virgin. 
 
 Andkea del Sauto. Born 1188. Died 1630. His fiither, 
 Andi-ea Vannucehi, was a tailor (in Italian sarto), hence the 
 appellation hy which he was known, and has since become 
 celebrated. At the age of seven he was apprenticed to a 
 goldsmith, but, having displayed great talent in drawing, he 
 became the pupil of Piero di Cosimo, and afterwards asso- 
 ciated himself in work with Francia Bigio. His skill as a 
 draughtsman won for him the title of "Andrea senza crrore," 
 and he obtained the reputation of being the best ''fves- 
 cante^ or painter in real fresco, in Italy. The circum- 
 stances of his life were unfortunate, and his own acts foolish 
 and even criminal. The well-known type of his female 
 heads is no way derived from the ideal, but merely a gene- 
 ralizing of one individual, supposed to be his capricious and 
 tyrannical 'nafe, through whose bad influence much of his 
 trouble and disgrace was caused. In 1518 he visited France 
 on the invitation of Francis I. who intrusted him with some 
 money for the pm-chase of certain pictures and sculpture. 
 Andrea returned to Italy for that pvirpose, but the persua- 
 sions of his wife had more power than the faith he had 
 pledged to the king, and he squandered the money which 
 had been placed in his hands on his own pleasures, and from 
 a highly-eminent position he sank to the very lowest. The 
 nnhappy circumstances of his life prevented him from reach- 
 ing the highest excellence in art ; but he Avould have been, 
 imder more favourable conditions, unsurpassed in power, 
 versatility, and truth, yet he Avas without the mental and 
 moral grandeur that would have made him a great imaginative 
 painter. Andrea's earliest works are the Ircscoes in the 
 
70 Descriptive Notice of the 
 
 court of the Compagnia dello Scalzo at riorence. Those 
 that remain are iu chiaroscuro, and represent the history of 
 St. John the Baptist.* Among his hest works are the fres- 
 coes in the coixrt of the SS. Annunziata at Florence. These 
 consist of five subjects from the history of San Filippo Be- 
 nizzi. One of them excels the rest iu beauty : the subject is 
 Children healed by touching the Garment of the Saint. t 
 Also in the same place are The Nativity of the Virgin and 
 The Procession of the Magi, published by the Society in 
 1866 and 1868. In the Nativity, one of the two female 
 figures in the foreground wearing the Plorentine habit is 
 said to be the portrait of Andrea's wife, Lucrezia del Fede. 
 The Procession of the Magi also contains three portraits : 
 the first, a full-length figure looking at the spectator, is 
 Jacopo Sansovino, the architect and sculptor ; the second, 
 who is leaning on him, and pointing forwards w^ith one arm 
 foreshortened, is Andrea himself ; and the head seen iu pro- 
 file behind Jacopo Sansovino is that of the musician Ajolle, 
 of whose madrigals Baldinucci and Benvenuto Cellini speak 
 Avith admiration. 
 
 The fresco of the Madonna del Sacco, executed in 1525, is 
 in the same convent over a doorway. It represents a simple 
 Holy Family, in which Joseph is leaning on a sack. This is 
 one of the most celebrated and widely -known works of the 
 artist. He received only ten crowns for painting this fresco. 
 
 Another very important fresco was painted by Andrea (in 
 1526-7) in the refectory of the Convent of St. Salvi near 
 Florence. J It represents the Last Supper, and in its ar- 
 
 * One of these subjects, " St. Juliii Picidiing," is .among the Society's collec- 
 tion of drawings. 
 
 •f This subject is also among the collection of drawings. Jt will, .as n chromo- 
 lithograph, form part of the Second Annual Publications for 18U9. 
 
 J A copy of this fresco is among the Society's collection of drawings. 
 
I'ii!i!/c(>fi()iis of the Arniulel Sociefi/. 71 
 
 rangement resembles Leonardo tUi Vinci's great fresco, 
 although wanting the grandeur of conception in that artist's 
 work. It is among the most animated, -whether as regards 
 design or colour, ever executed by Andrea, who has im- 
 parted grace and majesty to all the figiu-cs. It is in a very 
 good state of preservation. Its excellence formed the safe- 
 guard of the building in which it is placed durmg the siege 
 of Florence in 1529. It was so much admired that the 
 soldiers were not permitted to destroy the convent, as they 
 were doing with the other edifices in the suburbs of the city. 
 The easel pictures of Andrea arc too numerous to be men- 
 tioned in this notice. 
 
 The Alphabet of Capital Letters has been selected 
 from the examples in the well-known choral books in the 
 Church of the Convent of St. Mark at Florence, in the 
 Duomo at Florence, and in the Public and Piccolomini 
 Libraries at Siena. Fra Angelico's first efforts are said to 
 have been in miniature illmninations ; and Vasari speaks of 
 the choral books in St. Mark's at Florence, and others in 
 St. Domenico at Fiesole, embellished by him. Those, how- 
 ever, which are preserved at St. Mark's were probably only 
 designed by Fra Angelico and executed by his elder brother 
 Benedetto da Mugello, who Avas Prior of the Dominicans in 
 Fiesole. The date of these books is 1139. The date of the 
 other examples in this collection is from 1423 to 1530, and the 
 originals were executed by Giovanni di Paolo di Neri, Liberale 
 da Verona, Frate Benedetto di Maestro Paolo Einaldi, and 
 others. Among the Society's collection are several coloured 
 drawings of letters from which the outlines were taken. 
 
72 Descriptive Notice of the 
 
 FIFTEENTH YEAE (1863). 
 
 ANNUAL PUBLICATIONS. 
 
 I, Five Chromo-lithographs executed by Messrs. Storcli 
 and Kramer, under tlie direction of Professor L. 
 Gruner, from water-colour drawings by Sign or Mari- 
 annecci, in continuation of the series of frescoes in 
 the Brancacci Chapel at Florence : viz. 
 
 1. St. Fetev and St. Faul raising the King's Son, and 
 
 the Homage to St. Feter, after Masaccio and 
 Filippino Lippi.* 
 
 2. Head from the fresco of The King's Son, on the 
 
 scale and in exact imitation of the original. 
 
 3 and 4 (on one sheet), ^S*;;. Feter and St. John healing 
 the Sick hy their shadotvs, and St. Feter and St. 
 John giving Alms, after Masaccio. 
 
 * The subject of tliis fresco is taken from an npocrj'i)hal incident in the Life 
 of St. Peter related in the Golden Legend. Theophilus, King of Antiocli, 
 ■having cast the Apostle into prison, St. Paul interceded in liis behalf and repre- 
 sented to the king that Peter could raise the dead. Theophilus asked that his 
 son, who had been dead fourteen years, should be restored to life. St. Peter 
 having been brought out of his prison prayed over the body of the boy, who 
 returned to life; and, from witnessing this miracle, Theophilus and his subjects 
 were converted to Christianity. In the right-hand corner of the fresco a 
 second incident is represented. St. Peter is seated on a throne, and, before 
 him, kneeling or standing, arc various figures. Masaccio died before this fresco 
 was coui]>lcted, ami many years afterwards it was finisliod by Filippino Lippi. 
 
Puhllcations of tlie Aviindel Societij. 73 
 
 5. Head from St. Feter and SI. John giving Alms, on 
 tlie scale and in exact imitation of the original 
 fresco. 
 
 II. St. Stephen thrust out before his Martyrdom, a 
 copper-plate engraving by Herr Scliiiffer, from a 
 drawing by M. Kupehvicser, in continuation of the 
 series of frescoes by Era Augelico, in the Chapel of 
 Nicholas V. in the Vatican.* 
 
 * See page 17. 
 
74: Desci'iptive Notice of the 
 
 OCCASIONAL PUBLICATIONS 1863. 
 
 Six Chromolithographs executed by Messrs, Storch and 
 Kramer, under the direction of Professor L. Gruner, 
 and (exceiDting Nos. 5 and 6) from Water-colour 
 Drawings by Signor Mariannecci : viz. 
 
 1. The Annunciation, after the fresco by Fra Angelico 
 
 on the outer wall of the range of cells in the Con- 
 vent of St. Mark at Elorence.* 
 
 2. St. Augustine Teaching, one of the series of frescoes 
 
 by Benozzo Gozzoli at St. Gemignano, near Vol- 
 terra, in Tuscany. 
 
 3. The Conversion of Hennocjenes the Sorcerer by 
 
 St. James the Greater, one of the series of frescoes 
 by Andrea Mantegua, in the Church of the Eremi- 
 tani at Padua. 
 
 4. The Marriage of St. Cecilia, after the fresco by 
 
 Prancesco Prancia, in the Church of St. Cecilia at 
 Bologna. t 
 
 * At tlie bottom of this composition the painter has written in Latin, " Hail 
 Mother of Love, Mary, noble seat of the -whole Trinity :" and below, " When 
 thou comest before this figure of the spotless Virgin, take heed in passing that 
 the Ave be not unsaid." Inside one of the cells at St. Mark's Convent is 
 another Annunciation. The Virgin is kneeling, the angel stands before her, 
 and behind him, outside the portico, is seen St. Peter Martyr. Notice of Fra 
 Angelico, see page 15. 
 
 t F(ir a notice of Francesco I'^-anciii, sec page (IS. 
 
PuUications of the. AruiuM Socief//. 75 
 
 5 and 6. Bluminated Capital Letters C and L, from 
 the choral hooks in the Piccolomini Lihrary at 
 Siena. Painted hy Liberale da Verona and Frate 
 Benedetto di Maestro Paolo Einaldi, and repre- 
 senting St. Laurence before his martyrdom, and 
 the Miracle of the Loaves and Pishes.* 
 
 Benozzo Gozzoli. Born 11.2 i. Died about 1500. Benozzo 
 di Lese di Sandro, called from personal characteristics Gozzoli, 
 was the most distinguished scholar of Pra Angelico, and 
 acted as his assistant at Orvieto. He was a contemporary of 
 Melozzo da Porli, with whom, by early writers, he was some- 
 times confounded. His earlier works display the peculiarly 
 gentle style of his master, but afterwards he differed widely 
 from Pra Angelico, and developed a forcible and natural 
 style but not of great dramatic power. He had a lively sense 
 of the beauty of the material world, and showed, for the time 
 in Avhich he lived, a very extraordinary skill in the treatment 
 of the accessory parts of his paintings, as the landscapes, the 
 architecture, and the birds and animals introduced, of which 
 the dogs are particularly excellent. His principal works are 
 a series of admirable frescoes in the Campo Santo at Pisa, 
 commenced in 1409, and representing in twenty-four compo- 
 sitions the history of the Old Testament from the time of 
 Noah to the visit of the Queen of Sheba to Solomon. 
 Pictures on wood by Benozzo are rare, and greatly inferior 
 in every quality of good painting to his frescoes. The 
 National Gallery possesses two examples of this painter, 
 both in tempera. The fresco of the Adoration of the Magi 
 in the Riccardi Chapel at Plorence is full of delicate and 
 beautiful fancies. The series of frescoes at St. Gemiguano, 
 
 * Uliniiiiiated cnnititl letters, sec page 71. 
 
76 Descriptive Notice of the 
 
 a little city on tlie road from riorcnce to Siena, painted 
 about 1467, display the entire development of Benozzo's 
 peculiarities, and are, perhaps, even more interesting from 
 their careful execution and pleasing composition than his 
 better-known Avorks at Pisa. They illustrate the history 
 of St. Augustine, Bishop of Hippo.* Benozzo died at Pisa, 
 where he was long looked upon with great consideration, as 
 much for his excellent qualities as for the distinction to 
 which he had attained in art. 
 
 Andrea Mantegna. Born 1430. Died 1506. He was 
 the son of a poor farmer living near Padua, and was 
 employed to tend sheep. The stories of Giotto and Mantegna 
 are somew^hat similar. At the age of ten he attracted the 
 attention of Erancesco Squarcione, who adopted and educated 
 him. Squarcione, more distinguished as a teacher than an 
 artist, surrounded his pupils with the best models of anti- 
 quity, which he had collected from the remains of ancient 
 art in Italy and Greece, and the character of Mantegna's 
 w^orks displays the effect of his education. Mantegna was 
 
 * St. Augustine was born in the year 354, his mother ]\Ionica being an 
 earnest Christian, his father a pagan. He was possessed of great talents, but 
 in his youth was a votary of pleasure. At Milan, where he was professor 
 of philosophy and rhetoric, he was thrown in the way of St. Ambrose, who con- 
 verted him. He was ordained priest, and shortly afterwards chosen Bishop of 
 Hippo. One of the drawings from the frescoes at St. Gemignano represents a 
 vision which he himself relates as occm-ring to him. While he was walking one 
 day on the sea-shore meditating on the mysteiy of the Trinity, he saw a child 
 filling a hole in the sand with water baled out of the sea ; in answer to an 
 inquiry frem the saint, the child replied, " I wish to empty the sea into this 
 hole ; " the saint replied, " Child, it is impossible ; " and the child, who was the 
 Infant Jesus, said, " Not more impossible than to comprehend what you are now 
 meditating upon," and immediately vanished. In addition to the subject pub- 
 lished, tlio Society possesses in its collection five other drawings from this series 
 
Publications of the Arundel Society. 11 
 
 tlio ablest painter of his time in North Italy, excepting 
 perhaps Giovanni Bellini, and his influence affected almost 
 all the schools. His style is hard and severe, but his drawing 
 is correct, and his execution most careful. The celebrated 
 series of tempera pictures on paper fixed to cloth, known as 
 " Caesar's Triumph," now at Hampton Court Palace, were 
 considered the masterpieces of Mantegna. These drawings, 
 nine in number, were commenced about 1487, and finished 
 in 1192, for Francesco Gonzaga, for the Palace near the 
 Monastery of St. Sebastian, at Mantua. They were brought 
 to England by Duke Carlo in the reign of Charles I., who 
 purchased them; they were sold, it is said, under Cromwell 
 for 1,000^., but were afterwards recovered by the Crown. 
 Unfortunately these works have suffered much by restora- 
 tion, very little of the originals remaining. The frescoes in 
 the Church of the Eremitani at Padua display all the origi- 
 nality of the painter, with very great perfection of workman- 
 ship, and a technical skill far surpassing anything prcviou.sly 
 known. " Here it was that Mantegna, assisted by other 
 scholars of Squarcione, painted the Chapel of St. James and 
 St. Christopher, the whole left side with the life of St. James 
 being his work, as well as the last picture in the history of 
 St. Christopher — the martyrdom of the Saint. Art here 
 assumes the garb of the most living reality, the story being 
 no longer symbolically expressed, but entirely told. The 
 forms are complete in colour, foreshortening, chiaroscuro, 
 and perspective : the single figures also, in order to bring 
 them as near life as possible, bear the features of contem- 
 porary personages."* In the fresco of the Martyrdom of St. 
 Christopher, Mantegna, among others, painted the portrait 
 of his master Squarcione— the figure of a corpulent soldier 
 
 * KuirliT's IlandlKjok ..f Jtaliiiu Paiiitors. 
 
78 Descripti're Notice of f/ie 
 
 clothed iu green, liaviug a spear in one hand and a sword in 
 the other. In the same work he painted his own likeness, 
 supposed to be the young soldier, with a spear in his hand, 
 who stands close to St. Christopher in the Martyrdom.* 
 
 Mantegna was one of the first Italian painters who prac- 
 tised the art of engraving. He also distinguished liimseK as 
 a sculptor, poet, and architect. His second son, Prancesco, 
 was also a painter, assisted his father, and completed his 
 unfinished works at his death. 
 
 Andrea, from the excellence of his paintings, won the 
 distinction of being celebrated by Ariosto ; who, in the com- 
 mencement of his thirty-third canto, enumerates him among 
 the most illustrious painters of his time, as thus -.—Leonardo, 
 Andrea Mantegna, Gian BeUbw. 
 
 * Drawings of all the subjects are among the Society's collection; two of 
 them, from scenes in the Life of St. James the Greater, have been published as 
 chromo-lithographs. St. James the Apostle, a.d. 43, called the Greater, either 
 because he was much older than the other James, or because our Lord con- 
 ferred upon him some peculiar honours and favours. He was beheaded at 
 Jerusalem by order of Herod the Great, and was the first of the apostles who 
 obtained the crown of martyrdom. St. Christopher, according to the legend, 
 was a giant of great stature and strength, and after many marvellous acts 
 suffered martyrdom. A full description of the events which these pictures 
 depict will he found in Mrs. Jameson's work on Legendary Art. 
 
Publications of the Arundel Society. 79 
 
 SIXTEENTH YEAR (1801). 
 ANNUAL PUBLICATIONS. 
 
 I. Two Cheomo- LITHOGRAPHS cxcciitcd by Messrs. Storcli 
 
 and Kramer, under tlie direction of Professor L. 
 Gruner, from water-colour drawings by Signor 
 Mariannecci, after tbe fresco by Bernardino Luini 
 at Saronno : * viz. 
 
 1. The Fresentation in the Temple. 
 
 2. Send of Joseph from the foregoing subject, on the 
 
 scale and in exact imitation of the original fresco. 
 
 II. Saint John. An Eugraving by Mr. Stoelzel, from a 
 
 drawing by M. Kupelwieser, in continuation of the 
 series of frescoes by Era Angelico, in the chapel of 
 Nicholas Y. in the Vatican. t 
 
 III. The Conversion of Saul. An Engraving by Professor 
 
 L. Gruner, from a drawing by Signor Consoni, after 
 the tapestry in the Vatican designed by llaphael. % 
 
 * Bernardino Luini, see page 50. f F''^ Angelico, see page 15. 
 
 X Of the ten cartoons originally drawn by Raphael and his scholars (1513 
 and 1514) as copies for the tapestries now in the Vatican, three are lost, viz : 
 The Stoning of St. Stephen ; The Conversion of Saul ; and St. Paul in his 
 Dungeon at Philippi ; the others are now at the South Kensington Museum. 
 Engravings of the first-mentioned two of the missing subjects have been published 
 by the Society (1864 and 1867) from very careful drawings, in the possession of 
 Mr. Thomas Longman, made from the tapestries. These tapestries were worked 
 in wool, silk, and gold, and hung in the Sistine Chapel at Rome in 1519, the 
 year before Raphael died. The cartoons, which were drawn with clialk upon 
 strong paper and coloured in distemper, remained neglected in the warehouse 
 of the tapestry manufacturer at Arras, and were seen there by Rubens, who 
 advised Charles I. to purchase them for the use of a tapestry manufactoiy at 
 Mortlake. On the death of Charles, Cromwell bought them for the nation 
 for 300/. 
 
80 Descriptive Notice of the 
 
 OCCASTONAL PUBLICATIONS, 18^4. 
 
 Three CuROMO-LiTnoaRAPHS executed by Messrs. Storcli 
 and Kramer, under tlie direction of Professor L. 
 Gruner, and (excepting No. 3) from water-colour 
 drawings by Signor Mariannecci : viz. 
 
 1. The Coromition of the Vmjin, after tbe fresco by Fra 
 
 Angelico in one of tbe cells of tbe Convent of 
 St. Mark at Florence.* 
 
 2. Christ Disputing with the Doctors. In continuation 
 
 of tbe series of frescoes by Bernardino Luini at 
 Saronno. 
 
 3. Illumhiated Capital Letter D, from a clioral book 
 
 in the Piccolomini Library at Siena, painted by 
 Liberale da Verona, and representing Christ's entry 
 into Jerusalem.! 
 
 * This siibject is depicted in a most exquisite manner. Christ and the Virgin 
 are in glory. He holds a crown over her head. Below are six saints wrapt in 
 ecstacy ; they are St. Paul, St. Thomas, St. Francis, St. Benedict, St. Dominic, 
 and St. Peter Martyr. See Notice of Fra Angelico, page 15. 
 
 ■f Liberale da Verona, who flouiished during the latter part of the fifteenth 
 century, was not a painter of very great importance. He holds a middle place 
 between the manner of Giovanni Bellini and Andrea Mantegna, in whose schools 
 he is supposed to have studied. An Adoration of the Kings, in the Duomo, 
 and some frescoes in St. Anastasia, at Verona, together with a St. Sebastian in 
 the Brera Gallery at Milan, are among his best works. 
 
ruU/aifioiis of lltr . I nindd Sociefy. 81 
 
 SEVENTEENTH YEAR (18G5). 
 ANNUAL PUBMCATIONS. 
 
 I. St. Sixtus giving mokey to St. Lawrence for Alms. 
 
 An Engraving by Herr SchJiffcr, from a drawing by 
 M. Kupclwieser, in continuation of tlie scries of 
 frescoes by Era Angelico in the Chapel of Nicholas V. 
 in the Vatican.* 
 
 II. EivE CuROMo-LiTnoGiiApns, by Mr. C. Schultz, after 
 
 water-colour drawings executed by himself from the 
 triptych painted by Hans Memling in the Hospital 
 of St. John at Bruges : viz. — 
 1. The Adoration of the Magi. 
 
 2 and 3 (on one mount). The Natirifi/ and (he Pre- 
 sentation in the Temple. 
 4 and 5 (on one mount). St. John the Bapti.st and St. 
 Veronica, t 
 
 III. A Notice of IIans Memling and nis Works, by 
 
 W. H. James Weale. 
 Hans Memling, sometimes called Memlinc, was married 
 and established at Bruges, as a well-to-do citizen, in 1479, 
 
 * St. Sixtus, having refused to deliver to the Roman prefect Dccius tlie 
 treasures of the ehurch, is about to be led to prison. lie is represented with 
 three attendants within the eloistcr of a chureh committing a jnirse to St. Law- 
 rence. Without are two soldiers knocking at tlie door. 
 
 f According to the legend (which is now rejected by the Cliurcli) St. Veronica 
 was the woman who was cured by touching the hem of Onr Saviour's garment, 
 and who, when He was toiling with His cross up to Calvary, wiped the drops 
 of perspiration from His forehead with her veil, which was afterwards found to 
 be stamped with a likeness of His featm-es, which likeness was styled the " Vera 
 Icon," or true image. St. Veronica is always represented holding a cloth with 
 the sacred features on it. 
 
82 Descripthe Notice of the 
 
 if not earlier ; bui, tlie date and place of his l)irtli are alike 
 uncertain. He died about the year 1493. The statements 
 about his poverty and destitution and his seeking shelter 
 (in the year 11<77) in the Hospital of St. John at Bruges as 
 a sick soldier, appear, from authentic documents discovered 
 in the archives of Bruges, to be wholly unworthy of credit. 
 He is said by Vasari to have been the pupil of Eoger de la 
 Pasture, who is better known by the name of Van der Wey- 
 den. The works of Memling, though inferior in colour and 
 force of expression to those of the other great painters of 
 the Plemish school of the fifteenth century, are superior to 
 them all in religious sentiment and in delicacy of delinea- 
 tion. Although of different schools, there is a certain simi- 
 larity of genius displayed in the works of Fra Angelico and 
 Memling. Among the princij)al works of this painter are, 
 — the small shrine of St. Ursula, on which the adventures 
 of the saint with her martyr virgins are delineated in a 
 series of miniatures ; the large altar-piece of the Marriage 
 of St. Catherine ; and the triptych reproduced by the Society, 
 dated 1479. This last may be considered, as far as colour is 
 concerned, Mcmling's masterpiece. The figure kneeling on 
 the right is the donor John Floreins. The man with the 
 beard and orange cap, looking in on the left, is said to be 
 the portrait of Memling. 
 
 In the gallery at Munich is a grand altar-piece called the 
 Seven Joys of the Blessed Vii'gin. Several of Memling's 
 works are now in England ; amongst them is a very fine trip- 
 tych belonging to the Duke of Devonshire, painted in 1471. 
 
 Memling was also an excellent miniature painter. There 
 is a miniature by him in the Breviary now at the Library 
 of St. Mark's at Venice. This is a rich and most beautiful 
 specimen of miniature painting, and Avas probably executed 
 for Mary of Burgundv, daughter of Charles the Bold. 
 
Puhlicatuyns of the Arundel Society. 83 
 
 OCCASIONAL PUBLICATIONS, 1865. 
 
 TnREE CnuoMO-LiTnoGRAPns executed by Messrs. Storcli 
 and Kramer, under the direction of Professor L. 
 Gruner, from Water-colour drawings by Signor 
 Marian necci : viz. — 
 
 1. St. James the Greater before the tribunal of Jlerod 
 
 Agrippa, one of the scries of frescoes by Andrea 
 Mantegna in the Church of the Eremitani at 
 Padua.* 
 
 2. The Marriage of the Virgin. In continuation of the 
 
 series of frescoes by Bernardino Luini at Saronno.f 
 
 3. aS*^. Feter delivered from Prison, after the fresco 
 
 by Raphael in the Stanza of the Heliodorus in the 
 Vatican. 
 
 Raphael, or Raffaello Sante, or Sanzio, called II Divino, 
 was born at Urbino 1483. He died in 1520. He was the 
 only son of Giovanni Sanzio, an excellent painter of the 
 TJmbrian school, who died when Raphael was eleven years 
 of age. After his father's death he studied with Pietro 
 Perugino at Perugia. Raphael's training as an artist had 
 already far advanced when his father died. The influence 
 of Giovanni is very visible in the earliest of his son's works, 
 painted when he was still Perugino's scholar. In 1502 he 
 was employed at Siena in assisting Pinturiccio (an elder 
 pupil of Perugino) in designing some of the frescoes in 
 the library at Siena. In 1504 he went to Florence, and 
 until 1508 was much in that city, where he contracted a 
 
 * Androa Manteyna, see page 7i'>. t ricriianliiii> f.iiini, stc page .'id. 
 
 g2 
 
84: Descriptive Notice of the 
 
 special friendship with Fra Bartolommeo, associating in 
 work with that religious enthusiast. During this period he 
 emancipated himself from the confined manner of Perugino's 
 school, and rapidly improved in technical skill. His most 
 excellent works at this time were, the picture representing 
 the Marriage of the Virgin, now in the Brera Gallery 
 at Milan, and the celebrated Madonna del Granduca. 
 Raphael's first fresco was painted in 1505, in San Severe at 
 Perugia. It is in a lunette ; Christ is in the centre, vrith 
 the dove of the Holy Spirit above, and two angels beside 
 him. Over the group is God the Pather ; on each side, 
 somewhat lower than the middle group, are three saints 
 seated. This fresco is now very much damaged. About the 
 middle of the year 1508, Raphael, then in Ids twenty-fifth 
 year, was invited to Rome to decorate the state apartments 
 of Pope Julius II. in the Vatican. These consist of four 
 principal rooms, and are designated after the most remark- 
 able frescoes which they contain. The first painted (1509- 
 1511) was the Stanza della Segnatura. It contains the 
 "Theology" (called also "La Disputa del Sacramento"); 
 the Philosophy, or the School of Athens ; with " Poeti*y,"* 
 and "Jurisprudence." On the ceiling are four round pic- 
 tures, in which are represented Poetry, Theology, Philo- 
 sophy, and Jurisprudence, personified by female allegorical 
 figures throned in the clouds, and characterized by symbols 
 as well as by form and expression, f 
 
 * A copy of tliis subject is among the Society's collection of \vaUM--colour 
 Drawings; it represents an assembly of the great Greek, Koman, and Italian 
 poets of all ages to Raphael's time, grouped on Mount Parnassus, wiili Apnlln 
 and the Muses under laurel trees in tlic centre. 
 
 f Copies of these subjects arc among the Society's collection of drawings; 
 two of them, Poetry and Theology, were published as chromo-lithographs in 
 18C7. l*'or a desorijition ol' (lie allegories, see page 95. 
 
I'ltlilivdtlotiH of the Arundel Society. 85 
 
 The next in order was the Stanza of the Ilcliodorus, com- 
 menced in 1512 ; the ceiling contains four subjects from the 
 Old Testament. The great pictures are, — 
 
 1. The Exj)ulsion of Ucliodonis from the Temple at Jeru- 
 salem ; when, as treasurer to the Syrian king Seleucus, he 
 attempted to plunder the Temple (2 Maccabees, iii). Ilclio- 
 dorus lies prostrate under the hoofs of a horse, on which 
 sits a figure in golden armour ; near him two youths rush 
 forward to scourge the despoiler of the Temple. 
 
 2. The Mass of Bolsena, representing a miracle said to 
 have taken place in the year 1263 under the pontificate of 
 Urban IV. A priest who doubted the doctrine of tran- 
 substantiation was convinced by the blood which flowed from 
 the host he was consecrating.* 
 
 3. Attila induced to desist from his hostile enterprise 
 against Home. 
 
 4. The Deliverance of St. Peter from Frison. This subject 
 (which is published in chromo-lithography by the Society) 
 contains three different periods of the event : 1. The Angel 
 awakening Peter. 2. The Angel leading him through the 
 sleeping Guards. In both these representations the figures 
 are illuminated by the beams of supernatural light which 
 proceed from the Angel. 3. The Guards alarmed. This 
 group receives its light from the moon and the soldiers' 
 torches. The painting is particularly celebrated for the pic- 
 turesque effect of the various lights contrasted against the 
 darker parts. It is one of the earliest night pieces painted 
 by the Italian artists, and its masterly treatment has secured 
 the author the lasting admiration of the world. The subject 
 is supposed to contain an allusion to the captivity of Leo X., 
 
 * Copies of tliis anil the preceding sulijcct are among tlic Society's collection 
 of drawinirs, <•- ■ 
 
86 Descriptive Notice of the 
 
 who had been liberated only the year preceding his eleva- 
 tion to the pontificate. He had been made prisoner after 
 the battle of Ravenna in 1512, when as cardinal legate he 
 was defending the interests of the holy see under Julius II., 
 and his deliverance was regarded as miraculous. 
 
 It may be interesting to note the fact, that, at the time 
 Raphael painted the Stanza of the Heliodorus, Michelangelo 
 completed his great series of frescoes on the ceiling of the 
 Sistine Chapel.* 
 
 The works of the third room, the Stanza del Inceudio, 
 are inferior to the rest, and the assistance of pupils is 
 very apparent. The subjects are : the Fire in the Borgo ; 
 the Victory at Ostia; the Oath of Leo III.; Charlemagne 
 crowmed by Leo III. 
 
 The fom'th room, the Sala di Constantino, was the last 
 painted; it was executed after Raphael's death by his 
 scholars Giulio Romano and Gianfrancesco Penni, from 
 his drawings. 
 
 In 1512 Raphael painted a fresco representing the Pro- 
 phet Isaiah and two angels in the church of St. Agostino at 
 Rome. This was an attempt to rival the style of Michel- 
 angelo, the result not being favourable to Raphael, it being 
 one of his feeblest works. The Four Sibyls, painted during 
 1514 in Santa Maria della Pace, can be favourably con- 
 trasted with the Sibyls by Michelangelo. Each work dis- 
 plays the peculiar excellence of its niaster; in the one is 
 seen serene and ingenuous grace, in the other grandeur, pro- 
 found and sublime. 
 
 From the year 1513 Raphael executed — besides many 
 
 * Four subjects reprcsontiiig single figures of proplicts and sibyls from the 
 triangular compartments at the springing of the vault of this ceiling are among 
 the Society's collection of water-colour drawings. Sec ]inge 10. 
 
Piiblicaf/ONs of the Arnmld Socief//. 87 
 
 Madonnas and Iloly Eamilics, portraits and other less im- 
 portant works — the scries of the Vatican Logg-ie ; the " St. 
 Cecilia" at Bologna; the "Madonna di San Sisto" at Dres- 
 den; the "Spasimo" at Madrid ; the " Transfiguration " in 
 the Vatican ; the " Galatea" and other frescoes of the Far- 
 nesina; and the designs for the ten tapestries, seven of 
 wliicli arc now at South Kensington. He was overwhelmed 
 with commissions, and it was doubtless owing to his multi- 
 farious occupations that his brilliant career was so prema- 
 turely terminated. He died of a short and violent fever at 
 the age of thirty-seven. 
 
 There were few departments in art in which Eaphacl did 
 not excel. About nine hundred paintings and drawings 
 of various kinds are attributed to him; and, in addition 
 to these, he directed the buildings at St. Peter's from his 
 own plans, and executed other architectural works. During 
 the latter years of his life he superintended the disin- 
 terring and preserving the remains of art buried beneath 
 ancient E,ome. He did not even neglect sculpture. One 
 of the finest statues of modern E,onie, the Jonah in the 
 Cappella Chigi, in Santa Maria del Popolo, is, with good 
 proof, ascribed to him. 
 
 Art in Italy may be said to have reached its highest per- 
 fection during the life of Raphael ; but, his numerous pupils 
 and followers not having the strength nor the transcen- 
 dental qualities of mind of their master, from his death 
 may be dated the stagnation — if not the decadence — of 
 Italian art. 
 
88 Descriptice Notice of the 
 
 EIGHTEENTH YEAE (1866). 
 ANNUAL PUBLICATIONS. 
 
 I. The Last Supper. A Chromo-litliograph executed by 
 
 M. Hangard-Mauge, under the direction of Mr. C. 
 Schultz, from his drawing after the fresco by Dome- 
 nico Ghirlandaio, in the Church of the Ognissauti, at 
 Florence.* 
 
 II. The Aboration oe the Magi. A Chromo-lithograph 
 
 executed by Messrs. S torch and Kramer, under the 
 direction of Professor L. Gruner, from a water-colour 
 drawing by Signor Mariannecci ; concluding the series 
 of frescoes by Bernardino Luini at Saronno.t 
 
 * This fresco is frequently mistalvcn for another " Last Supper " by Ghir- 
 landaio in the Convent of St. Mark, which is treated in a very similar manner. 
 In both of them Judas is seated by himself at the front of the table ; but in the 
 fresco at St. Mark's the figure of a cat is introduced as sitting on the ground 
 behind Judas ; and St. John is reclining his head quite on the table in front of 
 our Lord. The fresco in the Ognissanti is the much finer work of the two. — For 
 a notice of Ghirlandaio see page 57. 
 
 f Of the four frescoes by Luini at Saronno this is the most beautiful in com- 
 position. The Virgin is seen seated outside a stable on some architectural 
 niins — symbolizing the destruction of Paganism by the advent of the Saviour. 
 In her arms is the Infant Jesus, who is holding out his hands as if to welcome 
 the Magi, two of whom kneel before him. In the background are richly dressed 
 pages and attendants, with camels and horses bearing the gifts to be presented. 
 Above in the sky is a most beautiful group of boy angels looking down on the 
 event which is taking place. — For a notice of Luini see page 50. 
 
r,ihl!('iitioii^ nf tin Annu/cl Sncicf//. 89 
 
 OCCASIONAL PUBLICATIONS, 1860. 
 
 L The NxVtivitt of the Virgin. A Chromo-lithograph 
 executed by M. Lemercier, under the dii'cction of 
 M. C. Scliultz, from a drawing by him after the 
 fresco by Andrea del Sarto, in the Cloister of the 
 Convent of the Annunziata, at Florence.* 
 
 II. The Annunciation. A Chromo-lithograph after the 
 
 fresco by Fra Bartolommeo in the Villa of the Frati 
 di San Marco, near Florence. 
 
 III. The Four Sibyls. A Chromo-lithograph after the 
 
 fresco by Raphael in the Church of Santa Maria 
 della Pace, at Eome.t 
 
 Fra Bartolojimeo di San Marco, Born 1469. Died 
 1517. llis real name was Baccio della Porta (Bat of the 
 Gate), so called from living many years near the gate of San 
 Piero Gattolini. He was a Florentine by birth, studied 
 
 * Andrea del Sarto, sec page G9. 
 
 t Both this and the foregoing subject were executed in chromo-lithography 
 by Messrs. Storch and Kramer, under the direction of Professor L. Gruner, 
 after drawings by Signor Mariannecci. The fresco of the Four Sibyls occupies 
 the space over an arch in one of the side chapels of the church above mentioned. 
 It is a work of Raphael's best time (1514). The idea of the subject was derived 
 from the ancient mythical prophetesses called " Sibylla;." They had previously 
 been represented by Michelangelo as separate figures on the ceiling of the 
 Sistine Chapel. In Raphael's design, naming them from left to right of the 
 fresco, they are the Cuma^an, Persian, Phrygian, and Tiburtine. The angels 
 holding the tablets to be written on or read by the Sibyls, are remarkable for 
 the beauty and variety they add to the eiiiii|M.sltion. 
 
90 Descriptive Notice of the 
 
 under Cosimo Eoselli, and was the friend and fellow-joupil 
 of Mariotto Albertinelli. Erom his earliest years he appears 
 to have been a religious enthusiast ; and when his friend 
 Savonarola was put to death in 1498 he forsook his pro- 
 fession, took the vows, and became a Dominican friar. He 
 remained ui seclusion nearly sis years, and, it is said, never 
 touched a pencil until E,aj)hael came to Florence and re- 
 awakened in his mind the love of art. During his friendship 
 with that artist he greatly enlarged and improved his style, 
 while Haphael benefited by his instruction in colouring. 
 The works of Era Bartolommeo are dignified, and sometimes 
 even approach grandeur ; but they are chiefly remarkal)le 
 for their truth and power of expression (resulting from the 
 religious tendency of his mind), and consequently far supe- 
 rior to the mere sentimentality of later masters. He is said 
 to have been the first painter who used the wooden lay 
 figure for the purpose of studying drapery. Among his 
 masterpieces are — a fine figure of St. Mark, now in the 
 Pitti Palace at Plorence ; the Madonna della Misericordia 
 in the church of San Romano, and the " Virgin with an 
 Angel playing on a Lute " in the church of San Martino, 
 both at Lucca, which are particularly worthy of notice ; and 
 the " Presentation in the Temple " at Vienna. Of the fres- 
 coes of Fra Bartolommeo but fcAv remain. There is an 
 interesting but much injured one in a chapel of Santa 
 Maria Nviova at Florence representing the Last Judgment. 
 Albertinelli is said to have assisted in this work. In the 
 villa of the Frati di San Marco, a house belonging to the 
 Dominican monks, a short distance from Florence, there arc 
 an Annunciation and " Christ and Mary Magdalene in the 
 Garden." In a corridor over a doorway of the refectory in 
 the Convent of St. Mark is the subject of "Jesus and his 
 two Disciples at Emmaus." There has l)een lately disco- 
 
Piihltcathns of the Arundel Society. 91 
 
 vered in an ancient convent in tlic valley of Mongnone, 
 near Florence, a most beautiful fresco by Era Bartolommco 
 rejircsenting tlie Virgin and Child, wliicli is worthy of the 
 genius of Raphael. It was removed in 18G8 to the chamber 
 of Fra Bartolommeo in the Convent of St. Mark. The 
 fresco was in good preservation up to the time of its re- 
 moval ; but it has been much injured by the change, having 
 received many stains on account of the dampness of the 
 new Avails.* 
 
 * Copies of this and the three preceding subjects are among the Society's 
 collection of water-colour drawings. The " Annunciation," as already described, 
 has been published in cliromo-lithography. The " Virgin and Child " will be 
 published as an occasional or extra cliromo-lithograph during the autumn of 
 1869. The "Meeting at Emmaus" will be included among the First Annual 
 Publications for 1870. 
 
92 Descriptive Notice of the 
 
 NINETEENTH YEAR (18G7).* 
 FIRST ANNUAL PUBLICATIONS. 
 
 I. Two CHROMO-LixnOGRAPHS, executed by Messrs. Storcli 
 
 and Kramer, under the direction of Professor L. Gruner, 
 from Water-colour drawings by Signer Mariannecci : 
 viz. — 
 
 1. St. John the Baptist Preaching, after the fresco by 
 
 Domenico Ghirlandaio in the Church of Santa 
 Maria Novella at Florence. t 
 
 2. The Ecstacy of St. Catherine, after the fresco by 
 
 Bazzi in the Chapel of St. Catherine in the Church 
 of St. Domenico at Siena. 
 
 II. The Martyrdom of St. Stephen. An Engraving by 
 
 Professsor L. Gruner from a Drawing by Sign or 
 Consoni, after the tapestry in the Vatican designed 
 by Raphael. J 
 
 GiANANTONio Bazzi, kuown as Razzi, and also as It 
 Sodoma. Both names are corruptions, the first arising from 
 an early misprint, and the name Sodoma appears to have 
 been a conversion from his family name of Sodoua, also 
 spelt Sogdona. He was born at Vercelli in Piedmont about 
 1'177, and died at Siena in 1519, where he had settled early 
 
 * The scheme of issuing two series of amuial iiublicatioiis ihiring- the year 
 commenced in 18G7. 
 
 f Dumenico Gliii-lanilaio, see page 37. 
 I Ka])liael, see page bo. 
 
Puhlications of the Arundel Society. 93 
 
 in life. Vasari describes Uazzi as a man of joyous life and 
 cheerful manners, a lover of pleasure and horse-racings, and 
 ever ready to contribute to the amusements of others, even 
 though it Avere not always in the most creditable manner, 
 for which cause he obtained the name of Ilattaccio, or the 
 arch fool. Wlicn young he married ; but his Avifc, weary of 
 the follies committed by her husband, at length refused to 
 live with him, and he died at last, miserably reduced in cir- 
 cumstances, in the hospital at Siena. He acquired gr<^at 
 distinction in that city as a painter, his works possessing 
 much of the grace and tenderness of Leonardo da Vinci 
 and Francesco Prancia. His earliest productions are a series 
 of twenty-six well-preserved frescoes in the convent of St. 
 Ulvieto Maggiore, between Siena and Piome, which he 
 completed in 1502. He afterwards painted the Miracle 
 of the Loaves and Pishes, in the refectory of the neigh- 
 bouring convent of Santa Anna. These works extended 
 his reputation to Pome. He was employed by Julius 
 II. to decorate the galleries of the Stanze in the Vatican, 
 but his paintings there, with the exception of some 
 arabesques and ornamental work, were obliterated to make 
 place for those of Paphael. In an apartment of the upper 
 story of the Parncsina are painted the Marriage of Alex- 
 ander with Roxana, and Alexander in the Tent of Darius, 
 which are remarkable for the beauty and grace of the 
 female forms. Siena is rich in the works of Bazzi, and, 
 among the finest, are the frescoes of the chapel of St. Cathe- 
 rine in the Church of San Domenico, painted in 1526. The 
 subject reproduced liy the Society is the lower part of a 
 double composition. In the upper part the painter has repre- 
 sented God the Pather with the Madonna and Infant Saviour 
 surrounded by lovely angels appearing to St. Catherine. In 
 the lower portion the Saint is in a swoon or ccstacy, sup- 
 
9-i Descripfive Notice of the 
 
 ported by two nuns, and receiving the stigmata. The figure 
 of a person fainting has never been depicted with more truth 
 and perfection than in this painting (see frontispiece).* 
 
 Another work of great merit is the series of frescoes in 
 the oratory of San Bernardino at Siena, illustrating the 
 history of the Virgin, in which Jacopo Pacchiorotto, a con- 
 temporary of great repute, assisted Bazzi. Also in the church 
 of San Francesco, " The deposition from the Cross," and 
 another, " The Scourging of Christ," originally in the cloister 
 of the same church, but now transferred to canvass and 
 placed in the Academy of Arts at Siena. This last is a most 
 exquisite composition, and is interesting on account of Bazzi 
 having introduced his own portrait, that of the figure Avith 
 the shaven beard and long hair. His works are principally 
 in fresco, but few easel pictures in oil having been executed 
 by him. Bazzi is far less known than he deserves to be, 
 standing as he does on a level with tlie great masters of 
 the sixteenth century. Paolo Giovio (the historian of the 
 age) in an eulogium on Raphael compares Bazzi with that 
 painter, 
 
 * Saint Catherine of Siena was born in 1347. At an early age she took the 
 veil and was admitted into the Dominican order. Her austerities and fastino- 
 obtained for her the reputation of extraordinary sanctity; while her alleged 
 visions caused her to be regarded with superstitious veneration. She died in 
 1380, and was canonized by Pope Pius II. in 1461. 
 
Publications of the Arundel Society. 95 
 
 SECOND ANNUAL PUBLICATIONS, 1867. 
 
 Two CiirvOMO-LiTiiOGiiAPUS executed by Messrs. Storch and 
 Kramer, under tlie direction of Professor L. Gruner, 
 from Water-colour drawings by Signer Mariannecci : 
 viz. — 
 
 1. Zacliarias naming his sou John, after the fresco by 
 
 Domenico Ghirlandaio in the Church of Santa 
 Maria Novella at Florence.* 
 
 2. Toetry, after the fresco by Raphael on the ceiling of 
 
 the Stanza della Segnatura in the Vatican. f 
 
 OCCASIONAL PUBLICATION, 1867. 
 
 Theology. A Chromo-lithograph by Messrs. Hanhart, from 
 a drawing by Signer Mariannecci, after the fresco by 
 Eaphael on the ceiling of the Stanza dclla Segnatura 
 in the Vatican. 
 The allegorical female figures on the ceiling of the Stanza 
 dclla Segnatiu-a represent Theology, Poetry, Philosophy, and 
 Jurisprudence, and have reference to the four great compo- 
 sitions on the walls of the hall. The subjects are on a 
 golden ground in imitation of mosaic. Theology, su.rmount- 
 ing "The Dispute of the Sacrament," is seated on clouds, 
 with boy angels by her side holding tablets inscribed with 
 the words Beriiui dicbiarum notUia. She holds a closed 
 
 * Donicnicii Ghirlandaio, sec page ;')?. f Rajiliael, sec page 83. 
 
96 Descriptive Notice of the 
 
 book in one hand, and with the other points towards the 
 earth, implying that the Icnoicledge of divine things is denied 
 to its inhabitants. Poetry, surmounting the picture of 
 " Parnassus," is seated on a throne holding in one hand a 
 lyre and in the other a book, supposed to contain the works 
 of Ilomer the prince of poets. The tablets held by the 
 angels at her side have inscribed upon them Numine affiatnr. 
 Philosophy, placed above the "School of Athens," is seated 
 on a throne, the angels at her side bearing tablets with the 
 motto Causarum cognitio. Upon the tunic of Philosophy is 
 a symbolical representation of the kingdoms of nature. Prom 
 the head downwards the vestments are ilame-colour to inti- 
 mate fire ; beneath the girdle the air is expressed by stars on 
 a blue ground ; in the middle, water, by fish, this part of 
 the robe being green ; and on the low^er portion of the dress, 
 ■which is yellow, all kinds of plants are represented. The 
 figure of Justice surmounts the large subject of " Jurispru- 
 dence." She is seated on clouds, holding a balance in one 
 hand and a sword in the other. The two tablets borne by 
 four boy angels at her side bear the device, Jm suum uni- 
 ciiique tribidt. The four angles of the ceiling between these 
 figures represent subjects connected with the large composi- 
 tions and also the allegorical figures above them; thus to 
 Theology is placed Adam and Eve ; to Poetry, the Punish- 
 ment of Marsyas by Apollo ; to Philosophy, the figure of 
 Science represented by a w'oman bending over a sphere 
 which she is attentively examining ; and to Justice, the 
 Judgment of Solomon when he decides that the infant shall 
 be divided between the contending mothers. It is said by 
 Vasari that the decorations on the ceiling of the Stanza della 
 Segnatura are the remains of a work by Bazzi, and that 
 llaphael merely substituted new figures in the divisions 
 between the arabesques and ornaments. 
 
PtiJJ /'cat /'oils of fhe Ar/iiuhi Son'et/j. 97 
 
 TWENTIETH YEAR (1868). 
 FIRST ANNUAL PUBLICATIONS. 
 
 I. TuE Adoration of the Lamb. A Chromo-lithograph of 
 
 the centre lower panel of the large Altar-piece by the 
 brothers Van Eyck in the Cathedral of St. Bavon, at 
 Ghent, executed by M. Hangard-Mauge, under the 
 superintendence of M. C. Schultz, from a drawing 
 made by himself. 
 
 II. St. Peter and St. Paul before the Proconsul Felix, 
 
 and The Martyrdom of St. Peter. A Chromo- 
 lithograph after the fresco by Eilippino Lippi in the 
 Brancacci Chapel of the Church of the Carmine at 
 Elorence, executed by Messrs. Storch and Kramer, 
 tinder the direction of Professor L. Gruncr, from a 
 drawing by Signor Mariannecci.* 
 
 III. A Notice of the Brancacci Chapel, and of the 
 
 Lives and Works of Masolino, Masaccio, and 
 FiLippiNO Lippi. By A. H. Layard, M.P. 
 
 IIubert Van Eyck and John Van Eyck Avere the founders 
 of the Flemish school of painting,! and the inventors of, and 
 
 * This subject conchides the scries of frescoes iu tlic Brancacci Chapel. For 
 notice of the Chapel, see page GO. 
 
 f Germany and the Netherlands were much beliind in the art of painting, ns 
 up to the end of the fourteenth century it was principally limited to the illumi- 
 nation of outlines ; but, when that realistic feeling to express a spiritual meaning 
 (by depicting the forms of real life in a natural manner) was completely devc- 
 lojied, a true revival of the aits took place among the Teutonic nations. The 
 11 
 
98 Descriptive Notice of tlic 
 
 the first to practise, the improved oil-painting, as distin- 
 guished from the previous method in vogue of tempera, or 
 distemper. Oil-painting, as far as the term may be under- 
 stood by using colours mixed Avith boiled oil, was practised 
 as far back as the early part of the thirteenth century in 
 this and other countries of Europe. The process was princi- 
 pally limited to wood panels, because it was necessary to dry 
 each coat of paint in the sun, or by the aid of some other 
 strong heat. This frequently led to the wood panels being 
 split, and it is said that Hubert Van Eyck, in consequence 
 of such an accident, was led to make experiments for the 
 purpose of discovering a medium which would dry in the 
 shade. One success led to another. He invented a good 
 drying varnish ; and then, improving this by a process Avhich 
 rendered it nearly colourless, he was able to use it at once 
 with opaque as well as transparent colours. The exact 
 nature and qualities of the vehicle used by the Van Eycks, 
 which was a kind of oil-varnish, is not now known. Accord- 
 ing to Vasari, the process of oil-painting was introduced into 
 Italy by Antonello, a young painter of Messina, who acquired 
 the method in 1442 from Lambert Van Eyck, a younger 
 brother of the two others. 
 
 Hubert Van Eyck, the eldest brother, was born in 1366, 
 probably at Maaseyck near Maestricht. He died at Ghent 
 in 1426. He became the instructor of his brother John and 
 his sister Margaret, who assisted him in his works, and per- 
 fected the discovery he had made. Tliere are now but few 
 productions that can with certainty be attributed to Hubert, 
 
 NctlierlaiKlish or Flomisb Scliool, wliich previously liixlbcon the most adv.inced, 
 was the first to feel entirely that enthusiasm for Art and Christianity \yliich in 
 Italy had already resulted in painting having reached a high degree of per- 
 fection. 
 
ruhlica/ions of the Annufcl Soricf//. 99 
 
 excepting the whole of the upper part of the altar-piece iu 
 the Church of St. Bavon, at Ghent. Two others are sup- 
 posed to he hy his hand : one now in the National JMuseum 
 in Santa Trinidad at Madrid represents the Triumph of the 
 Christian Chui'ch over the Synagogue hy the sacrifice of 
 Christ ; the other, now in the Gallery at Naples, is that of 
 St. Jerome extracting a tliorn from the paw of the lion. 
 
 John Van Eyck, the second hrother, and the most cele- 
 hrated of the family, was horn about 1396. He died at 
 Bruges in 1111. The earliest picture known to be by John 
 Van Eyck is one in the collection of the Duke of Devon- 
 shire, at Chatsworth, dated 1121. It represents the con- 
 secration of Thomas Becket as Archbishop of Canterbury. 
 In 1122 he entered the service of Philip the Good, Duke of 
 Burgundy, and so gained his confidence as to be sent on 
 many important missions. In 1428 he went to Portugal 
 Avith the mission appointed to solicit the Princess Isabella 
 in marriage for the Duke, and returned with her to Bruges 
 in 1129. Three fine pictm-es painted by John are in the 
 National Gallery ; two being portraits ; and another, entitled 
 a Plemish Lady and Gentleman, probably representing the 
 painter and his wife. Thr; date of these pictures is 1132-1131. 
 
 The large altar-piece, or polyptych, which the brothers 
 painted at Ghent, was executed for Judocus Vyts, Seigneur 
 of Pamele and Burgomaster of Ghent ; and his wife Eliza- 
 beth, of the then distinguished family of Burlut, for then- 
 mortuary chapel in the Cathedral of St. Bavon, and was 
 completed in 1432, six years after the death of Hubert. 
 This was in its own day the most important work that had 
 then been executed in oil colours, and in the technical 
 method employed it may be doubted whether any improve- 
 ment upon it has ever been made. 
 
 It consists of several panels, and comprises two principal 
 II 2 
 
100 Descriptive Notice of the 
 
 pictures, one above the other, with hinged double wings, 
 painted inside and out. The upper centre picture (of three 
 panels) represents the Almighty enthroned, with the Virgin 
 and St. John the Baptist on either side, reading holy books, 
 and turned towards the centre figure. On the interior of the 
 adjoining wings are represented St. Cecilia playing the organ 
 on one side, and a group of eight singing angels on the other. 
 At the extremities on each side are Adam and Eve, the 
 representatives of fallen man. Over these panels are small 
 subjects in chiaroscuro : the sacrifice of Cain and Abel, and 
 the death of Abel. The lower central picture shoAvs the 
 Mystic Lamb (Agnus Dei) on an altar ; angels are in front 
 worshipping the Lamb ; and from the sides advance four 
 groups of martyi's, male and female, and priests and laymen. 
 The two principal groups represent the Christian and the 
 Jewish Churches. In the foreground is the fountain of life; 
 in the distance the towers of the heavenly Jerusalem. On 
 the wings which adjoin the Adoration of the Lamb the sub- 
 jects are, groups of Warriors and Judges approaching on one 
 side, with Hermits and Pilgrims, led by the giant St. Chris- 
 topher, on the other, depicting those Avho have laboured for 
 the kingdom of the Lord by worldly deeds, and those who, 
 through self-denial and renunciation of earthly goods, have 
 served him in the spirit. When the two wings arc closed 
 over the centre, the upper part represents the Annunciation, 
 with the prophets Micah and Zcchariah, and two Sibyls 
 above; and the lower part, portraits of Judocus A''yts and 
 his wife, with their patron saints St. John the Baptist and St. 
 John tlie Evangelist, the two latter painted in chiaroscuro.* 
 
 * The eight panels funning tlic inner and outer ]iarts of the hnver wings 
 are included among the First Annual Publications for 18G9. The upper 
 centre picture of three panels will be issued in the First Publications for 1870 ; 
 and the entire work eonn.lHed in 1.S71. 
 
PnliUcations of the Arundel Socktij. 101 
 
 The parts of this fine woi-k are now dispersed ; the two 
 centre pieces, and the panels of Adam and Eve, alone re- 
 maining at Ghent. The wings are in the Berlin Museum, 
 with the exception of two panels, which are at Brussels. 
 The Arundel Society possesses a copy of the entire work, 
 made by Mr. Schultz, from the original pictures. On the 
 framework is the following inscription, the last line heing a 
 chronogram, and fixing the date of the work : 
 
 " Pictor nubertus e Eyck, major quo nemo repertus, 
 
 Incepit : pondusque Johannes arte secundus 
 
 Prater perfecit, Judoci Vijd prece fretus. 
 
 VersV seXta Mai Vos CoLLoCat aCta tVcrl." * 
 Lambert Van Eyck, a third brother, was also a painter. 
 A triptych, painted in 1455, now belonging to the family of 
 Van der Schrick at Louvain, is attributed to him. It is 
 also not improbable that two of the minor panels in the 
 Ghent altar-piece, representing the two Sibyls and the pro- 
 phet Zechariah, which are the weaker portions of the great 
 work, were by Lambert. Margaret Van Eyck is said to 
 have been a skilful miniature painter, and assisted her bro- 
 thers in their works. She died in 1132. 
 
 * The literal translation of this inscription is as follows : — 
 
 " The painter Hubert Van Eyck, a greater one was never fomid, 
 Began : and his second brother John completed 
 The work ; at the instance of Judocus Yyd — 
 " On the Gth of May of the year 1432 these pictures were completed." 
 The date is made up from the capital letters, thus : — 
 
 M + CCC + LL + X + WW + 11 = 1 132. 
 
102 Descriptive Notice of the 
 
 SECOND ANNUAL PUBLICATIONS, 1868. 
 
 Two Chuomo-lithographs, executed by Messrs. Storcli and 
 Kramer, under the direction of Professor L. Gruncr, 
 from Water-colour drawings by Signor Mariannecci : 
 viz. : 
 
 1. The Vision of St. Bernard, after the painting by 
 
 Eilippiuo Lippi in the Badia at Florence.* 
 
 2. The Procession of the Magi on their way to Bethle- 
 
 hem, after the fresco by Andrea del Sarto in the 
 cloister of the Convent of the Annunziata at Flo- 
 rence, f 
 
 * St. Bernard \Yas born in 1091 at Fontaines, in Burgundy. From his 
 earliest youth he was a religious enthusiast, and at the age of twenty-two he 
 entered tbe Cistercian monastery near Dijon. This religious order was noted 
 for its austerities, and Bernard's piety was so eminent that he was selected to 
 be the head of a new abbey at Clairvaux in Champagne. He has attained 
 celebrity not only as monk and abbot, but also as a counsellor, writer, agitator, 
 and saint. He drew up statutes for the famous order of the Tenijjlars, and 
 gave them a body of wise counsels. His eloquence incited the king and nobility 
 of France, in 1146, to a new crusade; predicting great successes, which were 
 however falsified. St. Bernard believed in his own power to work miracles, and 
 is said to have been the subject of many holy visions. He died in 1153, and 
 was canonized by Pope Alexander III. in 1174. For a description of the 
 subject, published by the Society, see page G5, and also the Notice of the Bran- 
 cacci Chapel, and Life of Filippino Lippi, by A. H. Layard, 51. P. 
 
 \ For a Notice of Andrea del Sarto, see page G9. 
 
Pn/Jirafinus nf the Aniiidrl Socie///. 103 
 
 TWENTY-FIllST YEAR (18G9). 
 ANNUAL PUBLICATIONS, 
 
 I. Eight Curomo-litiiograpus from the panels formiug the 
 
 lower wings of the altar-pieee by the brothers Van 
 Eyck in the Cathedral of St. Bavon at Ghent. Exe- 
 cuted by M. Haugard-Mauge, under the superinten- 
 dence of M. C, Schultz, from drawings made by 
 himself: viz. — 
 1 to 4 (on one mount). Procession of Judges and War- 
 riors, with Sennits and Pilgrims* 
 5 to 8 (on one mount). Portraits of Jndocus Vijts and 
 his loife Elizabeth of Burliit, with their patron 
 saints, ^S*^. John the Baptist and St. John the 
 Evangelist. 
 
 II. The Ordination of St. Lawrence. An Engraving by 
 
 Herr Schiiffer, from a drawing by M. Tanner, com- 
 pleting the series of frescoes by Era Angelico in the 
 Chapel of Nicholas V. in the Vatican. f 
 
 * There is a tradition that in one of these panels, which represents the pro- 
 cession of the righteous judges, there are likenesses of both Hubert and John 
 Van Eyck. The figure robed in blue, riding ou a grey horse in front, is sup- 
 posed to be a portrait of Hubert, and further back in the group, clothed in 
 blaclj, with his face turned to the spectator, is the other brother, John. 
 
 I Within a church or basilica St. Lawrence kneels before >Sixtus IL, the 
 saintly Bishop of Rome, who presents to him the sacramental ciiji, amidst a 
 group of clergy. 
 
 The publication of this series of frescoes commenced in 1810, the first year 
 of the Society. For a Notice of Fra Angelico, see page 17. 
 
104 Descriptive Notice of the 
 
 SECOND ANNUAL PUBLICATIONS, 1869. 
 
 Two Chromo-lithographs, executed by Messrs. Storch 
 and Kramer under the direction of Professor L. 
 Gruner, from Water-colour drawings by Signor 
 Mariannecci : viz. — 
 
 1. The Ado7Yttion of the Kings, after the fresco by 
 
 Pietro Perugiuo in Santa Maria de Bianchi, at 
 Citta della Pieve.* 
 
 2. San Filijypo Benizzi heeding Children, after the fresco 
 
 by Andrea del Sarto in the cloister of the Convent 
 of the Annunziata at Plorence. 
 
 OCCASIONAL PUBLICATION, 1869. 
 
 The Virgin and Child. A Chromo-lithograph, executed 
 by Messrs. Storch and Kramer under the direction 
 of Professor L. Gruner, from a drawing by Ilerr 
 Kaiser after the fresco by Pra Bartolommeo now 
 l^laccd in the Convent of St. Mark at Florence t 
 
 * Pietro Perugiuo, see jiage 39. * Fra Bartulommeo, see page SO. 
 
Publications of the Arundel Society. 105 
 
 TWENTY-SECOND YEAR (1870). 
 FIRST ANNUAL PUBLICATIONS. 
 
 I. Three CuROMO-LixiiOGRAPns (on one mount) from the 
 
 panels forming the upper centre picture of the Altar- 
 piece by the brothers Van Eyck in the Cathedral of 
 St. Bavon at Ghent, to be executed by M. Hangard- 
 Maixge, under the superintendence of M. C. Schultz, 
 from drawings made by himself, and representing — 
 
 1. The Triune God. 
 
 2. The Virgin Mary. 
 
 3. Saint John the Baptist.* 
 
 II. Tavo Ciiromo-lithographs, to be executed by IMessrs. 
 
 Storcb and Kramer, under the direction of Professor 
 L. Gruncr, from Water-colour drawings by Ilerr 
 Kaiser : viz. — 
 
 1. Christ a7id Mary Magdalene in the Garden, after the 
 
 fresco by Era Angelico in the Convent of St. Mark 
 at Elorence. 
 
 2. Jesus and his two Disciples at JEmmans, after the 
 
 fresco by Era Bartolommco, also in the Convent of 
 St. Mark at Elorence. 
 
 * Of the merit of these three pictures the following opinion has been expressed 
 by Fuseli :— "The pictures exhibited in the gallery of the Berlin Museum as 
 the works of Memling, Messis, Lucas of Holland, A. Durer, and even Holbein, 
 arc inferior to those ascribed to Eyck. The draperies of the three, especially 
 that of the middle figure, could not be improved in simplicity or elegance by the 
 taste of Raphael himself. The three heads of God the Father, the Virgin, and 
 St. John the Baptist, are not inferior, in roundness, force, or sweetness, to the 
 heads of L. da Vinci."— LZ/'c of Fuseli, i. p. 207. 
 
106 Descriptive Notice of the 
 
 SECOND ANNUAL PUBLICATIONS, 1870. 
 
 I. The Tbansfigueation, a Chromo-litliograph to be exe- 
 
 cuted by Messrs. Storch and Kramer, under the direc- 
 tion of Professor L. Griiner, from a drawing by Herr 
 ScbaflFer after the fresco by Fra Angelico in the 
 Convent of St. Mark at Florence. 
 
 II. Two Chuomo-lithographs, to be executed by Messrs. 
 
 Enzelmann and Graf, under the superintendence of 
 M. C. Schultz, from drawings made by himself after 
 the pictures by Albert Durer in the Gallery at 
 Munich, and representing— 
 
 1. The Apostles John and Feto'. 
 
 2. The Ajwstles Mark and Paid. 
 
 Albert Durer. Born at Nuremberg 1471, died in that 
 city 1528. His father was a goldsmith, and it was intended 
 that Albert should follow that profession, but, having shown 
 great skill in designing, he was apprenticed to Michael 
 Wohlgemuth, a painter of some repute. He travelled as an 
 apprentice through Germany, the Netherlands, and Italy, 
 painting pictures at various places, and eventually esta- 
 blished himself at Nuremberg in 149'!, where he shortly 
 afterwards contracted an ill-assorted marriage which resulted 
 in much misery, his wife being as remarkable for the shrew- 
 ishness of her temper as the beauty of her person ; and it is 
 said that his domestic troubles embittered and shortened 
 his life. 
 
 In 1506 Albert Durer went to Venice, where he painted 
 for the German Company one of liis most celebrated pic- 
 
Puhlicaiions of fhe Arundel Society. 107 
 
 tures, the Coronation of the Virgin, which is now at Prague. 
 AVhile ill Italy he visited Bologna, and became acquainted 
 with Marcantonio Raimoudi.* He was also invited to 
 Mantua by Andrea Mantcgna, but that artist died before 
 Durer reached him. In 1520 he undertook another journey 
 to the Netherlands, which appears to have exercised an 
 important influence upon him, and greatly improved his 
 style. His earlier works were fantastic in their character, 
 full of superfluous and petty details, but he learnt in later 
 life that simplicity is the great charm of art. Albert Durer, 
 and his contemporary Holbein, laboured under great diffi- 
 culties and disadvantages, for in Germany there was little 
 appreciation of art; and Durer himself says that his pictures 
 were so meanly paid for, that, to provide the means of sub- 
 sistence, he was obliged to devote himself to engraving. 
 That which was beautiful in composition and form had been 
 so little comprehended by the German mind that nothing 
 was to be seen which could furnish a student with noble 
 ideas or give him an insight into the principles required for 
 grand compositions. Italy and the Netherlands were more 
 
 * Marcantonio, ^^•bosc family name was Raimondi, was Liorn in 1-187. He 
 was a pupil of Francesco Francia, and executed nielli, which were at that time 
 applied to girdles and other articles. He was led to adopt the profession of an 
 engraver from seeing some prints by Albert Durer. In 150G he pirated, with 
 the most minute accuracy, the entii-e series of Durer's prints of the Passion of 
 our Lord and the Life of the Virgin, even to imitating the monogram (^) of 
 Durer, and, as there was a great demand for these works, sold them as originals. 
 Vasari relates that Albert Durer was so indignant at this proceeding that he 
 went to Venice and laid his complaint before the Senate, but could obtain no 
 other satisfaction beyond the command that Marcantonio should no longer affix 
 to his works the name or signature of Albert Durer. Afterwards Marcantonio 
 engraved a large number of Raphael's designs under the immediate superin- 
 tendence of the great painter, and won for himself the reputation of being the 
 
108 Descriptive Notice of the 
 
 favourable to the encouragement of artists. Vasari, speaking 
 of Albert Durer, says, " And in truth if this, so excellent, so 
 exact, and so universal a man, had been born in Tuscany, and 
 had formed his studies according to those beautiful pieces 
 which are to be seen at Eome, as the rest of us have done, 
 he had proved the best painter of all Italy, as he was the 
 greatest genius and the most accomplished which Germany 
 ever bore." 
 
 Among Albert Durer's most celebrated paintings are the 
 following : the Martyrdom of the Ten Thousand Saints, 
 dated 1508 ; the Assumption of the Virgin, painted in 1509, 
 but destroyed by fire in the beginning of the seventeenth 
 century ; the Adoration of the Trinity, painted in 1511, and 
 now in the Belvedere at Vienna. The composition of this 
 picture is very grand, the figures dignified and beautiful, the 
 execution masterly and of great delicacy. In a corner of 
 the picture is a portrait of the artist himself. 
 
 Albert Durer executed many very fine portraits remark- 
 able for forcible outline and free painting. Ilis last great 
 work was completed in 1526. It consists of two pictures, 
 corresponding with each other, of the Four Apostles. The 
 figures in the originals are the size of life, simple in their 
 design, yet grand in their simplicity. These pictures were 
 presented by Albert Durer to the Council of his native city 
 in remembrance of his career as an artist. In the year 1627 
 they passed into the hands of the Elector Maximilian I. of 
 Bavaria, and they are now in the Munich Gallery. There is 
 an old tradition handed down from Durer's time to the 
 effect that these pictures represent the Four Temperaments. 
 In one St. John stands in front, the open book in his hand, 
 absorbed in contemplation and thought, as of the melan- 
 cholic, — while behind, St. Peter, earnestly bending over the 
 book, Ills head full of repose, represents the phlegmatic tem- 
 
Ptiblications of the Arundel Societij. 109 
 
 peramcnt. In the other picture is seen St. Mark looking 
 boldly forward displaying the sanguine, — while St. Paul in the 
 foreground, with the hook and sword in his hand, looks 
 sternly round as the representative of the choleric tempera- 
 ment. " These pictures arc the fruit of the deepest thought 
 which then stirred the mind of Albert Durer, and are exe- 
 cuted with overpowering force. Finished as they are, they 
 form the first complete work of art produced by Protest- 
 antism." * 
 
 Durer's spirit was rich and inexhaustible. He was not 
 only the most accomplished of all the German painters, but 
 he also exerted his powers as an architect and sculptor. 
 AVorks of sculpture from his hands are preserved at Munich, 
 Vienna, and Stuttgart, and the British Museum contains 
 one of his bas-reliefs representing the Nativity of Saint 
 John. 
 
 The engravings and woodcuts which he executed were 
 very numerous, and much admired in Italy, particularly by 
 Raphael, who suspended them in his rooms, and used to 
 lament that so great a genius lived in Germany.! Among 
 the most celebrated of these productions may he mentioned 
 the following : Adam and Eve ; the Passion of Christ, and 
 
 * Ilandhooh of Painting, German School: by Dr. Wangen. 
 
 f Albert Durer sent a tribute of respect to Raphael, being his own 
 portrait executed on fine linen, which permitted the picture to be seen from 
 both sides. Tliis work was much thought of by Raphael. After his death it 
 was taken to Slantua by Giulio Romano, who inherited it : it is now believed 
 to be lost. Raphael scut a number of his own drawings to Albert Durer. One 
 of these, containing two undrapcd figures of men, was in the collection of the 
 Archduke Cliarles at Vienna, and it bore the following inscription written by 
 Albert Durer: "1515. Rafael of Urbino, who is so highly esteemed by the 
 Pope, has made this naked figure, and has sent it to Nuremberg to Albert 
 Durer as a specimen of work from his hand." 
 
110 BescrijAive Notice of the 
 
 the Life of the Virgiu ; the Knight, Death, and the Devil ; 
 Melancholy ; St. Jerome in his Study ; the Prodigal Son. 
 
 Durer's genuine paintings are fewer in number than those 
 which bear his name, and they are scarce in England. 
 There is a small but fine picture by him in the collection at 
 Bui'ghley House representing the Nativity. 
 
 
 S^' f V - ' . '%^o 
 
PahUcations of the Arundel Society. Ill 
 
 OCCASIONAL PUBLICATION', 1870. 
 
 Venus rising from the Sea, a Chromo-lithograph to be 
 executed by Messrs. Storcli and Kramer, under the 
 dii-ection of Professor L. Gruner, from a Water-colour 
 drawing by Signor Mariannecci after the picture by 
 Sandro Botticelli in the Uifizi Gallery at Plorence. 
 
 Sandro Botticelli. Born at Florence 1447 ; died 1615. 
 His real name was Allessandro Filipepi, and he derived his 
 surname Botticelli from his first master, a goldsmith. 
 Having sho^vn great skill as a designer, he became a pupil of 
 Fra Filippo Lippi, whose style he closely imitated, modified 
 by a fanciful conception and a more ideal mind. Botticelli's 
 works display a rough ardour and impetuous energy, and in 
 his myths and allegories the fanciful bias of his mind is very 
 apparent, particularly in his picture of Calumny now in the 
 Gallery of the TJfiizi at Florence.* During Botticelli's life 
 
 * This subject is taken from Lucian, who relates that Apelles, being accused 
 of seditious intentions against Ptoleniieus by Antiphilus, arcnged himself on his 
 rival by composing the picture of Calumny, representing the danger of denun- 
 ciation under a suspicious prince. Lucian's description is as follows : " Upon 
 the right of the picture is seated a man with long ears like those of Jlidas. 
 He holds out his hand to Denunciation, who advances from a distance. Near 
 him are two women, one of whom appears to be Ignorance and the other Sus- 
 picion. Denunciation advances under the form of a beautiful woman ; her 
 countenance is inflamed ; she appears violently agitated and transported with 
 ragp. In one hand she holds a lighted torch, with the other she drags by tl\e 
 hair a young man who raises his hands towards heaven. A man jiale and with 
 distorted countenance serves her as a guide. His expression is gloomy and 
 fixed, his extreme meagrencss makes him resemble sick persons attenuated by 
 long abstinence — in liim we easily recognise Envy. Two more women accom- 
 
112 Descriptive Notice of the 
 
 the introduction of allegorical subjects became very frequent, 
 and he was one of the first who treated them with feeling. 
 The picture of Venus rising from the Sea is very charming. 
 The goddess is floating on a shell driven by the Loves and 
 Zephyrs with a shower of roses towards the shore, where a 
 richly attired attendant holds a mantle to receive her beau- 
 tiful form. The figures are the size of life. The idea of this 
 picture, like that of Calumny, was taken from the descrip- 
 tion by Luciau of a painting by Apelles of the Venus Ana- 
 dyomene, said to have been the most perfect work of the 
 master. It was against this class of pictures that Savona- 
 rola's fiery indignation was principally directed. A very 
 successful example of another style of painting is also in the 
 Gallery of the Uffizi, representing the Coronation of the 
 Virgin, remarkable for the beauty of the principal figure, 
 which, however, is the original of the female heads repeated 
 in almost all similar pictures by Botticelli. His finest works 
 are the frescoes in the Sistine Chapel of the Vatican, erected 
 by Pope Sixtus IV. in 1473, who, desiring to have it adorned 
 with paintings, appointed Sandro Botticelli superintendent 
 of the work. On one side of the chapel are subjects from 
 the life of Christ, on the other from that of Moses, the latter 
 having a typical reference to the former. Sandro painted 
 three subjects, viz. 1. Moses overcoming the Egyptian, and 
 Moses drawing Water for the Daughters of Jetliro ;* 2. The 
 
 pany Denunciation, oncourage licr, .iiul arrange lier attire. One is Knavery, 
 the other Perfidy. They are followed at a distance by a ■woman whose apparel 
 is black and torn and whose grief announces Repentance. She turns aside her 
 head, weeps, looks back, and with confusion perceives tardy Truth advancing, 
 represented by a nude female." 
 
 There is a drawing by Raphael, now in the ]\[nscnm of the Louvre at Paris, 
 also made from Lucian's description of the picture by Apcllcs. 
 
 * A water-colour copy of this subject is now being made for the Society by 
 Signor Mariannocci. 
 
Publications of the Arundel Society. 113 
 
 Rebellion of Kovah ; 3. The Temptation of Christ. He 
 painted besides several figures of Popes in the niches 
 between the windows. The artists associated with Botticelli 
 in the Avork were Luca Signorelli,* Pietro Perugino, Cosimo 
 Roselli, and Domenico Ghirlandaio. Three frescoes by 
 Perugino over the altar were afterwards destroyed to make 
 room for the Last Judgment by Michelangelo. Many of 
 these compositions contain more than one moment of time, 
 and all are remarkable for the crowds of portrait-like spec- 
 tators in imitation of Masaccio. Botticelli obtained great 
 honour and reputation among the competitors who laboured 
 with him in this work, and received from the Pope a consi- 
 derable sum of money. On his return to Florence he occu- 
 pied himself with designing several engravings to illustrate 
 Dante's Inferno, and executed some of the plates, but in a 
 very inferior manner. He became a zealous partizan of 
 Savonarola, abandoned painting, fell into great difficulties, 
 and would have died of want had he not been supported in 
 his old age by Lorenzo de Medici. 
 
 * A copy of one of the subjects by Luca SignorelH is now being made for 
 the Society by Signer Fattorini. 
 
INDEX. 
 
 AlbertincUi, Mariotto, 10, 1)0 
 Alphabet of Capital Letters, 71, 75, 80 
 Angelico, Fra Giovanni, da Ficsolc, 1 5, 
 
 71, 75 
 Apelles, 111, 112 
 Augustine, Saint (note), 7(> 
 Bartolommco, Fra, di San Marco, 84, 89 
 Bazzi, Gianantonio, 92 
 Bernard, Saint (note), 102 
 Bonfigli, Benedetto, 40, 44 
 Botticelli, Sandro, 10, 65, 111 
 Buffalmacco, Buonamico, 9 
 Buonarotti, Michelangelo, 10, 40, 58, 
 
 61,86 
 Catherine, Saint (of Alexandria), {note), 
 
 49 
 Catherine, Saint (of Siena), (note), 94 
 
 Cecilia, Saint (note), 68 
 
 Cimabue, Giovanni, 9, 25 
 
 Cortona, Luca da (Signorelli), 18, 113 
 
 Cosimo, Piero di, 69 
 
 Dante, 56 
 
 Diamante, Fra, 65 
 
 Donatello (Donate di Belto di Bardi), 46 
 
 Durer, Albert, 11, 106 
 
 Elgin Marbles, 21, 67 
 
 Eyck, Hubert van, 97, 103 
 
 Eyck, John van, 99, 103 
 
 Eyck, Lambert van, 101 
 
 Fabriano, Gentile da, 45 
 
 Forli, Melozzo da, 75 
 
 Francesca, Piero della, 9 
 
 Francia, Francesco, 68 
 
 Francia, Bigio, 69 
 
 Gaddi, Taddeo, 26 
 
 Ghirlandaio, Domenico, 57, 113 
 
 Giotto di Bondone, 25, 56, 61 
 
 Giovio, Paolo, 94 
 
 Gozzoli, Benozzo, 75 
 
 Holbein, Hans, 11 
 
 Ivory Carvings, 31 
 
 Liberale da Verona, 71, 80 
 
 Lippi, Fra Filippo, 10, 65, 111 
 
 Lippi, Filippino, 64 
 
 Lucian, 111, 112 
 
 Luini, Bernardino, 50, 88 
 
 Mantegna, Andrea, 76 
 
 Marcantonio, Rairaondi, 107 
 
 Masoliuo da Panicale, 03 
 
 Masaccio, 60 
 
 Medici, Cosimo de, 17, 46 
 
 Memling, Hans, 81 
 
 Memmi, Simone, 9 
 
 Messina, Antonello da, 98 
 
 Michelangelo, 10, 46, 58, 61, 80 
 
 Mugello, Benedetto da, 10, 71 
 
 Nelli, Ottaviano di Martino, 45, 53 
 
 Orcagna {note), 68 
 Pacchiorotto, Jacopo, 94 
 
 Perugiuo, Pietro, 39, 68, 83, 113 
 
 Piero della Francesca, 9 
 
 Pinturicchio, Bernardino, 43, 83 
 
 Eaimondi, Marcantonio, 107 
 
 Raphael Sanzio, 83, 90, 95, 109 
 
 Razzi {see Bazzi) 
 
 Robusti, Jacopo, 47 
 
 Roselli, Cosimo, 90, 113 
 
 Sanzin, (Jiuvaimi, 53, 83 
 
 Sanzin, i;;,pl,;,rl, ,s;i, 90, 95, 109 
 
 Sarto, Andrea dd, 09 
 
 Signorelli, Luca (Cortona), 18, 113 
 
 Sibyls, The, 10, 86, 89 
 
 Sebastian, Saint {note), 39 
 
 Sodoma (see Bazzi) 
 
 Squarcione, Franceso, 76 
 
 Stamina, 64 
 
 Tafi, Andrea, 3, 9 
 
 Tintoretto, II, 47 
 
 Titian, 47 
 
 Veronica, Saint {note), 81 
 
 Verocchio, Andrea (note), 68 
 
 Vinci, Leonardo da, 54 
 
 Weydcn, Roger Van dor, 82 
 
 Wohlgemuth, MirlKK-l. K'O 
 
LIST OF 
 
 (Occasional ani^ c^upcnuimcrarg fuMications 
 
 OF THE 
 
 ARUNDEL SOCIETY 
 
 NOW ON SALE. 
 
 *** Tlie ANNUAL SUBSCRIPTIONS close on the 31st of December in eacli year, and the 
 prints are tlien sold separately at advanced prices. The earlier publications, not mentioned 
 in this list, are no longer in print, and others, now on sale, will soon be exhausted. By the 
 rules of the Society, all publications and other objects sold, must be paid for previous to 
 deliveiy. 
 
 CHROMOLITHOGRAPHS, ENGRAVINGS, 
 
 GIOTTO (1276-1336).— "The Portrait of Dante," a chromolithograph, 
 from the Bargello at Florence, before the fresco was repainted 
 
 GIOTTO. — " The Entombment of Christ," a line engraving, from the Arena 
 Chapel, at Padua 
 
 GIOTTO. — " The Lives of the Virgin and our Lord," a series of thirty- 
 eight wood engravings, from the Arena Chapol, at Padua (bound in 
 a volume) 
 Each woodcut separately 
 
 MASOLINO (1383-1420).— "The Raising of Tabitha and SS. Peter and 
 John Healing a Cripple," a chromolithograph, from the fresco in the 
 Brancacci Chapel, at Florence 
 Full-size Head from " The Raising of Tabitha " ... 
 
 MASACCIO (1402-1429).— "The Tribute IMoney," a chromolithograph, 
 from the fresco in the Brancacci Chapel, at Florence 
 Two full-size Heads (on one mount), from " The Tribute Money " ... 
 
 MASACCIO. — "S. Peter Preaching" and "S.Peter Baptizing" (on one 
 mount), chromolithographs, from the frescoes in the Brancacci 
 Chapel, at Florence 
 
 MASACCIO.—" The Fall " and "The ExpvUsion from Paradise" (on one 
 mount), chromolithographs, from the frescoes in the Brancacci 
 Cliapel, at Florence 
 
 MASACCIO.— " SS. Peter and John H.aling the Sick" and " SS. Peter 
 and John Giving Alms " (on one mount), chromolithographs, from 
 the frescoes in the Branr.ncei Cli.TpoI, at Florence 
 Full-size Head from " SS. Peter and John Giving Alms" ... 
 
 MASACCIO AND FILIPPINO LIPPL— " SS. Peter and Paul Raising 
 the King's Son " and " The Homage to S. Peter," a chromolitlio- 
 graph, from the fresco in the Brancacci Chapel, at Florence 
 Full-,«ize Head from the "King's Son " 
 
 KILIPriNO LIPPI (1400-1505).—" S. Peter Delivered from Prison" and 
 " S. Peter in Prison visited by S. Paul " (on one mount), chromo- 
 lithographs, from the frescoes in the Brancacci Chapel, at Florence... 
 Full-size Head from " S. Peter Delivered from Prison " 
 
 FILIPPINO LIPPI.—" SS. Peter and Paul before Felix and The Martyr- 
 dom of S. Peter," a chromolithograph, from the fresco in the Brancacci 
 Chapel, at Florence 
 
 FILIPPINO LIPPL— "The Vision of S. Bernard," a chromolithograph, 
 from the painting in the Badia, at Florence ... 
 
 FRA ANGELICO (1387-1455).— " The Annunciation," a chromolitho- 
 graph, from the fresco in St. Mark's Convent, at Florence 
 
 &c. 
 
 PIIICB 
 MKMBEKS. S 
 
 7 
 
 G 
 
 10 
 
 
 
 4 4 
 2 
 
 
 
 G 
 
 15 
 5 
 
 
 
 
 15 
 
 7 
 
 
 G 
 
 12 
 
 
 
 7 
 
 G 
 
 12 
 5 
 
 
 
 
 15 
 5 
 
 
 
 
 7 
 5 
 
 G 
 
 
 15 
 
 
 
 1 1 
 
 
 
 10 
 
 
 
 10 
 15 
 
 5 5 
 3 G 
 
 1 
 10 
 
 IG 
 10 
 
 16 
 
 7 G 
 
 1 
 7 G 
 
 10 
 7 6 
 
 1 
 1 7 6 
 12 6 
 
FRA ANGELICO — " Tlie Coronation of the Virgin," a cliromolithograpli, 
 
 from the same place 
 FRA ANGELICO. — Seven subjects from the lives of St. Laurence and 
 St. Stephen. Engravings from the frescoes in the Chapel of 
 Nicholas V., in the Vatican ... ... ... (each) 
 
 FRA ANGELICO.— Three single figures of Saints. Engravings from the 
 same place ... ... ... ... ... (^gach) 
 
 BENOZZO GOZZOLI (1424-1500).—" S. Augustine Lecturing," a chromo- 
 lithograph, from the fresco at S. Gimignano 
 ANDREA MANTEGNA (1430-l.o06).— "The Conversion of Hermogenes," 
 
 a cliromolithograph, from the fresco in the Eremitani Church, at Padua 
 ANDREA MANTEGNA.—" S. James before Herod," a chromolithograph, 
 
 from the same place 
 DOMENICO GHIRLANDAIO (1449-1497).— "Zac'liarias naming his son 
 
 John," a chromolithograph, from the fresco in S. Maria Novella, at 
 
 Florence 
 DOME.\ICO GPIIRLANDAIO.—" Preaching of John the ' Baptist," "a 
 
 chromolithograph, from the same place 
 DOMENICO GHIRLANDAIO— "The Last Supper,"'a chromolithograph, 
 
 from the fresco in the Chm-ch of the Otcnissanti, at Florence 
 DOMENICO GHIRLANDAIO.— Two full-size Heads, a chromolithograph, 
 
 from the fresco of "The Death of S. Francis," in SS. Trinita Church,' 
 
 at Florence 
 GIOVANNI SANZIO (died 1492).— " Madonna and Sain tsi' with the 
 
 Resurrection of our Lord," a chromolithograph, from the fresco in 
 
 S. Domenico, at Cagli 
 PIETRO PERUGINO (144G-1524).— "The Martyrdom of StV Sebastian, 
 
 a chromolithouraph, from the fresco at Pauicale 
 PINTURICCHIO (1454-1513).— Three full-size Heads. Engravings from 
 
 the fresco of " The Annimciation," at Spello ... 
 FRANCESCO FRANCIA (1450-1517).— "The Marriage of S. Cecilia,"' a 
 
 chromolithograph, from the fresco in St. Cecilia's Chapel, at Bologna 
 FRANCESCO FRANCIA.—" The Burial of S. Cecilia," a chromolithograph, 
 
 from the same place 
 LEONARDO DA VINCI (1452-1519).— "The Virgin and "child,""a 
 
 chromolithograph, from the fresco in the Monastery of S. Onofrio, at 
 
 Rome ... 
 FRA BARTOLOMMEO (1469-1517).— " The Annunciation," a chrom'o- 
 
 hthograph, from the fresco in the Villa of the Frati di S. Marco, near 
 
 Florence 
 FRA BARTOLOMMEO.— "The Virgin and Child,"' a chromoiithograph, 
 
 from the fresco now in the Convent of S. Mark, at Florence {nearly 
 
 ready) 
 ANDREA DEL SARTO (1488-1530).— "The -Nati'^^ity of th'e'virgiu,""a 
 
 chromolithograph, from the fresco in the Cloister of the Anuunziata, 
 
 at Florence 
 ANDREA DEL SARTO.— " The Procession of the Magi,"' a chromo- 
 lithograph, from the same place 
 ANDREA DEL SARTO.— "The Madonna del Sacco," a chromolithograph, 
 
 fi-oni tin- sain(^ place 
 BERNARDINO LUINI (died 1532).— "The Marriage of t'h' 
 
 a cliiojiiolithogiapli, from the fresco at Saronno 
 BERNARDINO LUINI.— "The Adoration of the Magi," a chromolitho- 
 
 grapli, ii-om the !<;ime place 
 BERNARDINO LUINI.— "The Presentation in the Temple," a chromo- 
 lithograph, from the same j>lace 
 BERNARDINO LUINI— Full-size Head, a chromolithograph,' from t'h'e 
 
 " Presenialion "... 
 
 Virgin," 
 
 15 
 
 
 
 10 
 
 
 
 5 
 
 
 
 1 4 
 
 
 
 15 
 
 
 
 15 
 
 
 
 1 1 
 
 
 
 1 1 
 
 
 
 1 1 
 
 
 
 7 
 
 6 
 
 15 
 
 
 
 10 
 
 
 
 5 
 
 
 
 16 
 
 
 
 16 
 
 
 
 10 
 
 
 
 12 
 
 
 
 12 
 
 
 
 1 1 
 
 
 
 16 
 
 
 
 12 
 
 
 
 1 1 
 
 
 
 1 1 
 
 
 
 16 
 
 
 
 5 
 
 1 
 1 
 
15E11NARDINO LUINI. — " Christ among the Doctors," a chromolithograph, 
 
 from the fresco at Saronno ... 
 GIANATONIO BAZZI (1477-1519).— " The Ecstacy of St. Catherine," a 
 
 chromolithograph, from the fresco in S. Domenico, at Siena 
 RAPHAEL (14S3-lf)20).— "The Four Sibyls," a chromolithograph, from 
 
 the fresco, in S. Maria della Puce, at Rome 
 RAPHAEL. — " S. Peter Delivered from Prison," a chromolithograph, from 
 
 the fresco in the Stanze of the Vatican 
 RAPHAEL. — " Theology " and " Poetry," chromolithographs, from the 
 
 allegorical figures in the ceiling of the Stanze of the Vatican (each) 
 RAPHAEL. — " The Conversion of Saul," an engraving from the tapestry 
 
 in the Vatican ... 
 RAPHAEL. — " The Stoning of S. Steplien," an engraving from the tapestry 
 
 in the Vatican ... 
 TINTORETTO (1512-1594).—" Christ before Pilate" and " Christ bearing 
 
 the Cross," photographs from the paintings in the Scuola di San Rocco 
 
 at Venice, with Mr. Raskin's desci-iption ... ... (each) 
 
 An Alpliabet of Capital Letters, engravings from the Choral Books of S. 
 
 Mark's and the Uuomo at Florence, and Piccolomini Library, Siena, 
 
 with the letter F in colour... 
 The same, half bound in morocco 
 Fom- Capital Letters, coloured in facsimile from Choral Books at Florence 
 
 and Siena : — 
 
 Letters C and D ... ... ... ... (each) 
 
 liCtters F and L ... ... ... ... (each) 
 
 HUBERT AND JOHN VAN EYCK (1.3GG-1441).— " The Adoration of 
 
 the Lamb," a chromolithograph from the lower centre panel of the 
 
 Altar Piece at Ghent 
 HUBERT AND JOHN VAN EYCK.— -"Procession of Judges and Warriors," 
 
 with Hermits and Pilgrims (en uiic imnint), four chromolithographs 
 
 from the inside of the Iowit \\ in'j^ if i hr Altar Piece at Ghent 
 HUBERT AND JOHN VAN EYCK.— rnrinuts of JuJocus Vyts and his 
 
 Wife, with their Patron Saiuls (uu uiie mount), four chromolitho- 
 graphs from the outside of the lower wings of the Altar Piece at Ghent 
 HANS MEMLING (died 1493). — Five chromolithographs (on three mounts), 
 
 forming the Triptych in the Hospital of S. John at Bruges 
 
 PlilCE TO 
 MEMBKUS. 8TEANGEKS. 
 
 £ s. d. £ 1. >i. 
 
 1 1 II j 1 7 i; 
 
 1 1 j 1 7 f, 
 
 1 5 111 i; 
 
 1 j 1 .") 
 
 15 oil ti 
 
 10 ; 1 1 II 
 
 I 
 
 12 i 11) 
 
 5 i 7 i; 
 
 1 10 2 
 
 2 I 2 10 
 
 10 ; 12 6 
 7 G j 10 
 
 15 1 11 C 
 1 1 1 7 G 
 
 IG I 1 1 
 2 2 2 12 C 
 
 SCULPTURE. 
 
 ELGIN MARBLES. — Head of a Horse, from the Eastern Pediment of the 
 Parthenon : — 
 
 Cast in superfine plaster (without seams) 
 Slab 47 of the Parthenon Frieze : — 
 
 Cast in superfine plaster (without seams) 
 DONATELLO (attributed to).— Head of a Female Saint, in bas relief: — 
 
 Cast, tinted and gilded 
 FICTILE IMITATIONS OF ANCIENT IVORY CiVEVINGS :— 
 The Entire Collection 
 Class I. — Roman Mythological Diptychs ... 
 Class II. — Roman and Byzantine Historical Diptychs 
 Class HI. — Christian Diptychs anterior to a. d. 700 
 Class YV. — Book-covers anterior to a.d. 700 
 Class V. — Diptychs and Book-covers of the 8lh, 9th, and lOih 
 
 centuries... 
 Class VI — Miscellaneous Objects anterior to a.d. 1000 
 Class VII. — Carvings of the Greek School, of various periods 
 Class VIH. — Casket from the Cathedral of Sens 
 Class IX.— Carvings of the Italian School of the 14lh century ... 
 
 10 
 
 
 
 7 
 
 G 
 
 15 
 
 
 
 1 
 
 
 
 1 5 
 
 
 
 2 10 
 
 
 
 1 
 
 
 
 1 15 
 
 
 
 2 5 
 
 
 
 1 
 
 
 
 2 5 
 
 
 
 1 11 
 
 G 
 
 1 11 
 
 G 
 
Class X. — Carvinas of the French, English, and German Schools 
 
 of the llth and 12th centuries 
 Class XI. — Ditto of the 13th and 14th centuries. Sacred subjects 
 Class XII. — Ditto of the 13th and 14th centuries. Secular subjects 
 Class XIII. — Ditto of the 13th and 14th centuries. Statuettes ... 
 Class XIV. — Carvings of Miscellaneous "Western Schools of the 15th 
 and IGth centuries ... 
 Select Class. — Specimens from the various Schools and Periods 
 
 *,* In addition to the sale in Classes, eastf to the value of £2 or upwards may be selected for purchase 
 hy Members at their oiim discretion, according to a separate List of Prices, supplied with the Catalogue. 
 
 The entire collection of "■fctilr ivory" casts can he packed in two cases of moderate size. The cases are 
 charged at cost price, and are such that the casts can safely be sent to any part of the world. 
 
 riucE 
 
 TO 
 
 
 MEMBK 
 
 IS 
 
 STKANOE 
 
 IS. 
 
 £ 5. 
 
 d. 
 
 £ S. 
 
 d. 
 
 1 11 
 
 6 
 
 2 
 
 
 
 2 2 
 
 
 
 2 12 
 
 6 
 
 1 5 
 
 
 
 1 11 
 
 
 
 1 
 
 
 
 1 5 
 
 
 
 1 7 
 
 6 
 
 1 15 
 
 
 
 3 3 
 
 
 
 4 4 
 
 
 
 LITERARY WORKS. 
 
 J. RUSKIN.—" Giotto and his Works in Padua " 
 
 A. H. LAYAED, M.P.— Notice of Ottaviano Nelli ... 
 
 The Brancacci Chapel, Florence 
 
 Notice of Ghirlandaio 
 
 Notice of Giovanni Sanzio 
 
 Notice of Perugino... 
 
 Notice of Pinturicchio 
 W. H. JAMES WE ALE.— Notice of Memling 
 M. D. WYATT AND E. OLDFIELD.— " Sculpture in Ivory." 
 on the Art and a Catalogue of Specimens) 
 
 (A Lecture 
 
 
 
 10 
 
 
 
 
 
 1 
 
 6 
 
 
 
 4 
 
 6 
 
 
 
 3 
 
 
 
 
 
 2 
 
 
 
 
 
 1 
 
 
 
 
 
 1 
 
 6 
 
 
 
 1 
 
 6 
 
 
 
 3 
 
 
 
 
 
 15 
 
 
 
 
 
 2 
 
 r, 
 
 
 
 6 
 
 
 
 
 
 4 
 
 
 
 
 
 3 
 
 6 
 
 
 
 r 
 
 6 
 
 
 
 2 
 
 6 
 
 
 
 2 
 
 6 
 
 LOCAL AGENTS 
 
 Through whom Subscriptions may be paid and Publications obtained. 
 
 pp^^EAT JBrITAIN and Ji^LAND. 
 
 Birmingham Mr. T. Turntr. Pnr:uli-p Sirort. 
 
 Bristol Mr. T. II. Wrsmx, r,i„<.rll,,, Torn Street. 
 
 Cambridge Messrs. DEiiiii i.n, I'li ; i, \ i •'., Booksellers, Trinity Street. 
 
 Dublin .Mr. T. CiiAMi i i.n I'.n^' - ll< r, 1 1."), Grafton Street. 
 
 Edinburgh Mr. R. Nhi.s(.n, I'l iiit.rll, ,, I',), South Hanover Street. 
 
 Glasgow Messrs. M'Cluri; & Siix, Booksellers, 100, Buchanan Stieet. 
 
 Leedt Mr. A. HASsfe Printseller, 31. Commercial Street. . 
 
 Liverpool Mr. Adam Holuen, Bookseller, 48, Church Street. 
 
 Manchester Mr. K. Slater, Bookseller, 16, St. Anne's Square. 
 
 Oxford Mr. J. Ryman, Trintseller, High Street. 
 
 Preston Mr. Oakey, Bookseller, 36, Tishergate. 
 
 South Shields Messrs. Whitecross & Yokke. 
 
 POLONIES. 
 
 Canada Messrs. Dawson Bros., Montreal. 
 
 I^OF^IGN poUNTRIES. 
 
 The United Slater— New York ....L.M Jones, Esq., 170, Broadway. 
 
 France MM. DiDRON, 23, Rue S. Dominiijue S. Germain, Paris. 
 
 * At Dresden information may be obtained from Professer Gruner, Director of the Gallery of Prints i 
 Royal iiuseum. 
 
 Italian Kingdom Mr. GoonnAN, Printseller, Via Tornabuoni, Florence. 
 
 Roman States M. Si-itiioveii, Piazza di Spagna, Home. 
 
RET 
 TO 
 
 LOA 
 
 I 
 
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 AUG 5 1989 
 
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