THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES DESCRIPTIVE AND HISTORICAL CATALOGUE OF THE PICTURES IN THE NATIONAL GALLERY: WITH Notices of tije FOREIGN SCHOOLS. Sutdortts. EIGHTIETH EDITION. LONDON: PRINTED FOR HIS MAJESTY'S STATIONERY OFFICE, AND SOLD AT THE GALLERY. 1906. Price One Shilling. DESCRIPTIVE AND HISTORICAL CATALOGUE OF THE PICTURES IN THE NATIONAL GALLERY: WITH iStogtapfjtcal Notices of tfje FOREIGN SCHOOLS. EIGHTIETH EDITION. LONDON: PRINTED FOR HIS MAJESTY'S STATIONERY OFFICE, ANDSOLDATTHEGALLEftY, 1906. Price One Shilling. Art ry Libra 107O THE National Gallery is open to the public free on Mondays Tuesdays, Wednesdays, and Saturdays throughout the year during the following hours : January From 10 A.M. until 4 P.M. From 10A.M. until dusk. April I May Jul^ !* From 10A.M. until 6 P.M. August September J October ~\ November > From 10 A.M. until dusk. December J The Gallery is open to Students on Thursday and Fridays during the above-mentioned months from 10 A.M. to 5 P.M. in summer and 4 P.M. in winter, and to the public on the same days after 11 o'clock A.M. and up to the same hours by payment of sixpence. The Gallery is also open to the public free of charge on Sundays from 2 P.M. to 5 or 6 P.M. (according to the season) from April to October inclusive. The Gallery is closed on Christmas Eve, Christmas Day, and Good Friday. 5000 Wt 10896 9/1S06 D & S 26 25640 a 2 1197574 NORTH VESTIBULE Early Italian Schools. L Tuscan School (15th & 16th centuries). II. Sienese School, &c. III. Tuscan School. IV. Early Flemish School. \.-Ferrarese & Bologncse Schools. VI. Umbrian School, &c. VII. Venetian & Brescian Schools. VIII. Paduan & Early Venetian Schools. IS.. Schools of Lombardy & Parma. . X. Dutch & Flemish Schools. XL Dutch & Flemish Schools. XIL Dutch & Flemish Schools (including the Peel Collection). XIII. Late Italian Schools. XIV. Spanish School. XV. German Schools. XVT. French School. XVII. French School. XVIIL Old British School. XIX. Old British School. XX. British School. XXI. Modern British School. XXI;. Turner Collection. OCTAGONAL HALL Italian Schools. EAST VESTIBULE Old British School. WEST VESTIBULE Old British School. I j PLAN OF THE NATIONAL GALLERY. THE NATIONAL GALLEKY, THE British National Gallery of Pictures was founded in 1824, during the administration of the Earl of Liverpool, by the purchase of the collection of the late John Julius Angerstein, Esq., which thus formed the nucleus of the present national collection. The establishment of a National Gallery had long been desired, and His Majesty George IV. is said to have been the first* to suggest the propriety of purchasing the Angerstein Collection. Sir George Beaumont, also, and the late Lord Dover, then the Hon. George Agar Ellis, took an active part towards the accom- plishment of this object. Lord Dover first brought the subject before Parliament in 1823 ;f and Sir George Beaumont was so desirous to see a National Gallery established, that he offered to give his own pictures to the nation as soon as the Government should allot a proper place for their reception. The Angersteiu Collection, consisting of thirty-eight pictures, was accordingly secured to the nationj, and a grant of Parliament of 60,000., proposed by Government, was voted April 2, 1824, Hansard, Parliamentary Debates, speech of Sir C. Long, April 2, 1824. t Hansard, Parliamentary Debates, July 1, 1823 ; Cunningham, Liven of the most Eminent British Painters, &c. ; Sir George Beaumont, vol. vi. J The entire collection was not included in the Government purchase ; a few pictures were excepted. See the Catalogue of the Pictures of J. J. Angersttin, Ssq., with Historical and Biographical Notices, by John Young, fol. 1823, which contains etchings of all the pictures. rj THE NATIONAL GALLERY. , to defray the charge of purchase and the expense incidental to the preservation and public exhibition of the collection for that year 57,000?. for the pictures, and 3,OOOZ. for the incidental expenses. A National Gallery was thus established. It was opened to the public, in the house of Mr. Angerstein, in Pall Mall, May 10, 1824. In 1826, pending the erection of a suitable building, Sir George Beaumont, following out his promise, made over to the Trustees of the British Museum in trust for the National Gallery, sixteen valuable works by old masters ; and in 1831 the Rev. William JTolwell-Carr bequeathed thirty-five pictures by a similar arrange- ment. The last extensive bequest in the department of the "Foreign Schools" was that of Mr. "Wynn Ellis, in 1876, com- prising ninety-four pictures. Other donations and bequests of great value, though numerically less important than those above noted, have from time to time augmented the treasures of the collection.f In the department of the " British and Modern Schools " the largest additions as yet made to the Gallery by private munificence are the gift of Mr. Robert Vernon, in 1847, consisting of one hundred and fifty-seven pictures, and the bequest of Joseph Mallord William Turner, R.A., in 1856, embracing a hundred and five works in oil and an immense number in water- colours and pencil by his own hand. Special mention may also be made of those works by John Constable, R.A., which have been presented, or bequeathed, by the family of the painter ; as well as one splendid example presented by Mr. Henry Vaughan, who also bequeathed to the Gallery a large collection of pictures and sketches.! * Hansard, Parliamentary Debates, April 2, 1824 ; and the Report from the Select Committee on National Monuments and Works of Art, with the Minutes of Evidence and Appendix. 1841. Appendix. T See the tabular list of donations and beqnests appended to this catalogue. t See the tabular list of donations and bequests appended to the catalogue of the British and Modern Schools. THE NATIONAL GALLERY. vii The resources of the Gallery have been increased by the following pecuniary bequests for the purchase of pictures : In 1864 from Mr. Thomas Denison Lewis - - 10,000 1878 Mr. Richard Charles Wheeler - 2,612 1881 Mr. Francis Clarke - - - 23,104 1885 Mr. John Lucas Walker - - 10,000* In 1890, Messrs. N. M. Rothschild & Sons, Sir Edward Guinness, Bart, (now Lord Iveagh), and Mr. Charles Cotes, each contributed 10,OOOZ. towards the purchase of three pic- tures from the Longford Castle Collection. In 1899 Mr. Alfred C. de Rothschild and Mr. John P. Heseltine each contributed 500Z. towards the purchase of the two Rem- brandts from the Collection of Lord de Saumarez. In 1904, Mr. W. Waldorf- Astor, Mr. Alfred Beit, Lord Burton, Lord Iveagh, Mr. Pierpont Morgan, and Lady Wantage con- tributed the total sum of 21,OOOZ. towards the cost of the "Darnley" Titian (No. 1944 in the National Gallery), purchased from Sir George Donaldson. In 1906, the National Art-Collections Fund presented the picture of " Venus and Cupid," by Velasquez. Without a continuance of State support, however, the National Gallery would have remained deficient as a representative col- lection, and wanting in some of its most important contents. Between 1825, after the purchase of the Angerstein pictures, and 1855, a series of chosen works were added to the Gallery by means of special grants from the Government. In the latter year the establishment was reconstituted by a Treasury Minute, and a Board of Management was appointed consisting of a limited number of Trustees and a responsible Director. To this Board * By the conditions of the Lewis and the Clarke bequests the interest only on the invested capital can be used. viii THE NATIONAL GALLERY. was entrusted the control of a subsidy to be annually voted by Parliament for the purchase of pictures. Under this system, and with such means at hand, the National Gallery has gradually taken its place abreast of the great continental institutions of its class. In more than one instance, however, where the regular annual grant would not have sufficed for the purchase en bloc of some important collection, or of some picture of especial value the Government has stepped in, and recommended to Parlia- ment an advance in aid. Such happened in the case of the Peel Collection, in 1871, and in 1885, when the "Ansidei Raphael " as well as the equestrian portrait of Charles I. by Van Dyck were acquired for the Gallery, and in 1890, when the Longford Castle pictures were purchased, and again in 1899 when the two Rembrandts from Lord de Saumarez's Collection were purchased.* In 1893 Mr. Henry Tate, who had long desired to present to the Nation his collection of Modern British pictures, generously offered to erect at his own cost a public Gallery for their recep- tion, on condition that Her Majesty's Government would provide A suitable site for the building. This offer was gratefully accepted. The site selected was in Grosvenor Road, Millbank. Designs for the structure were prepared by Mr. Tate's architect, Mr. Sidney R. J. Smith, and in July 1897 the institution was formally opened by H.R.H. the Prince of Wales, under the title of the "National Gallery of British Art." In November, 1899, the Building was enlarged by the addition of eight picture Galleries and a large Sculpture Hall, at the cost of the munifi- cent Donor of the Gallery. In addition to Sir Henry Tate's private collection, it now contains the pictures and sculpture purchased under Sir Francis Chantrey's Bequest, besides twenty- Tabular lists of all purchases made for the collection, -whether in the department of the foreign or in that of the British Schools, will be found appended to the respective catalogues of these schools. THE NATIONAL GALLERY. ix three pictures painted and presented by Mr. G. F. Watts, R.A., and nearly 130 examples of the Modern British School transferred from the National Gallery in Trafalgar Square. The collection at Trafalgar Square now consists of more than 1,470 pictures, of which about 180 are on loan to other Depart- ments and to provincial institutions. The original portion of the present building was erected at the national expense, after a design by William Wilkins, R.A., architect, and was originally intended to accommodate both the National Gallery and the Royal Academy. It was begun in 1832, and the east wing dedicated to the former institution was opened to the public April 9, 1838. In 1869, on the removal of the Royal Academy to Burlington House, the entire building, as it then stood, was given up to the National Gallery, but was already insufficient for the lodg- ment of the increased collection. In the year 1876 the new wing, erected from a design by the late Mr. E. M. Barry, R.A., was added, and the Vernon Collection, which had been tempo- rarily exhibited at the South Kensington Museum, was removed to this Gallery. In 1885-87 the Gallery was still further enlarged by the addi- tion of a new staircase directly accessible from the grand portico, and terminating in three vestibules, of which the central one opens into the first of two large and three smaller new rooms communicating with those of Mr. Barry's wing. In the sub- structure, on the ground floor level, were provided two large studios or repairing rooms, and several smaller apartments together with store rooms and other offices. These last alterations were executed by Her Majesty's Office of Works, under the superintendence of Mr. (now Sir John) Taylor, of that Department. INDEX TO THE NAMES OF THE MASTERS OF THE PICTURES IN THE NATIONAL GALLERY, FOREIGN SCHOOLS, ARRANGED ACCORDING TO THE NUMBERS OF THE PICTURES. No. 1 Luciani, Sebastiano 2 Gelle"e, Claude 3 Vecellio, Tiziano, School of 4 Vecellio, Tiziano I } Gelle"e, Claude 7 Allegri (after) 8 Buonarroti, Michelangelo, School of CarraCCi, Annibale Allegri, Antonio Beni, Guido Geltee, Claude Murillo, Bartolome E. Geltee, Claude Allegri, Antonio Robusti, Jacopo SartO, Andrea del Luiili, Bernardino Gell^e, Claude Luciani, Sebastiano Allori, Christofano Barbierri, Giovanni Allegri, Antonio Luciani, Sebastiano CarraCCi, Annibale 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 Gell^e, 31 Dughet, Gaspard , Raffaello Carracci, Lodovico BarOCCi, Federigo No. 32 33 35 36 37 38 on |Q 41 42 43 44 45 46 47 48 School of 51 52 53 54 55 56 57 58 59 61 62 63 64 Vecellio, Parmigiano Vecellio, Dughet, Gaspard Allegri (/&) Rubens, ^^r P. PouSSin, Nicolas Cariani, Giovanni Busi, Ascribed to PouSSin, Nicolas Rembrandt van Ryn Ruisdael, Jacob van Rembrandt van Ryn Rubens, Peter P. Rembrandt van Ryn Zampieri, Domenico } Dyck, Sir A. van Rembrandt van Ryn Dyck, Sir A. van Cuyp, Aelbert Rembrandt van Ryn Gelle"e, Claude Carracci, Annibale Rubens, Peter P. Gtellfo, Claude Rubens, -P^er p. Geltee, * PoUSSin, Nicolas Carracci, Annibale Bourdon, Sebastien ill INDEX TO NAMES OF MASTERS. No. 65 66 67 68 69 70 71 72 73 74 75 76 77 78 81 82 84 85 88 91 93 94 95 97 98 101 102 103 104 125 127 134 135 137 138 140 146 147 148 149 150 PoilSSin, Nicolas Rubens, Peter P. Dughet, Gaspard Mola, Pietro Francesco Varotari, Alessandro Both, Jan Rembrandt van Ryn Grand!, Ercole di Giulio Cesare Murlllo, Bartolomb E. Zampieri, Domenico Allegri, Antonio (after) Zampieri, Domenico Berchem, Nicolas Tisio, Benvenuto Mazzolino, Ludovico Rosa, Salvatore Zampieri, Domenico GarraCCl, Annibale Nicolas \ CarraCCl, Annibale Dughet, Gaspard Caliari, Paolo Dughet, Gaspard > Lancret, Nicolas Huysman, Jacob Canale, Antonio Decker, Cornelia G. Canale, Antonio Goyen, Jan van Panini, Giovanni A. Heist, B. van der Storck, Abraham \ Carracci, Agostino I Velde, Willem van de (the \ younger) No. 151 Goyen, Jan van 152 Neer, Aart van der 153 Maes, Nicolas 154 I Teniers, David (the 155 I younger) 156 Dyck, Sir A. van 157 Rubens, Peter P. 158 Teniers, David (tiw younger) 159 Maes, Nicolas 160 Mola, Pietro Francesco 161 Dughet, Gaspard 163 Ganale, Antonio 165 PouSSin, Nicolas 166 Rembrandt van Ryn 167 Peruzzi, Baldassare 168 Sanzio, Raffaello 169 Mazzolino, Ludovico 170 Tisio, Benvenuto 172 Amerighi, Michelangelo 173 Ponte, Jacopo da 174 Maratti, Carlo 175 PlaaS, Van der 176 MurillO, Bartolonie E. 177 Reni, Guido Raibolini, Francesco 181 Vannucci, Pietro 184 Lucidel, Nicolas 186 Eyck, Jan van 187 Rubens, Peter P. 189 Bellini, Giovanni 190 Rembrandt van Ryn 191 Reni, Guido 192 DOU, Gerard 193 Reni, Guido 194 Rubens, Peter P. 195 German School 196 Reni, Guido 197 Velazquez 198 Carracci, Annibale INDEX TO NAMES OF MASTERS. No. 199 Schalcken, Godfrud 200 Sassoferrato 202 Hondecoeter, Meichwr de 203 Herp, Guilliam van 204 Bakhuizen, Ludolf 205 Dietrich, J^hann w. E. 206 Greuze, Jean B. 207 Maes, Nicolas 208 Breenberg,^. 209 Both and Poelenburg 210 Guardi, Francesco 211 Huchtenburgh, Johanvan 212 Keyser, Thomas de 213 Sanzio, Ra/aello 214 Reni, Guido ojg | Gaddi, Taddeo, School of 218 Peruzzi, Baldassare 219 Lombard School 221 Rembrandt van Ryn 222 Eyck, Jan van 223 Bakhuizen, Ludolf 224 Vecellio, Tiziano, School of 225 Pippi, Giulio 226 Filipepi, School of 227 Tuscan School 228 Ponte, Jacopoda HgjZurbaran, Francisco 234 Catena, vinoenzo 235 Ribera, Jotef 236 Vernet, Claude J. 237 Rembrandt van Ryn 238 Weenix, Jan (the younger) 239 Neer, Aart van der 240 Berchem, Nicolas 242 Teniers, David (the younger} 243 Rembrandt van Ryn 244 Ribera, Jonef 245 Baldung, Hans 246 Pacchia, Girolamo del No. 247 Matteo di Giovanni 248 Lippi, Fra Filippo 249 Lorenzo da San Severino German School 251 252 253 254 255 256 257 260 261 262J 264} 266 268 269 270 271 272 274 275 276 277 2781 279 ( 280 281 282 283 284 285 286 287 288 289 290 291 292 Flemish School Lombard, Lambert Caliari, Paolo Barbarelli, Giorgio Vecellio, Tiziano Reni, Guido Italian School Mantegna, Andrea Filipepi, Alessandro Giotto, School of Ponte, Jacopo da Rubens, Peter P. Bellini, Giovanni Basaiti, Marco BertUCCi, Giovanni B. Gozzoli, Benozzo Vivarini, Bartolommeo Morone, Francesco TaCCOni, Francesco Veneziano, Bartolommeo Vannucci, Pietro LundenS, Gerrit Eyck, Jan van Cranach, Lucas Pollaiuolo, Antonio INDEX TO NAMES OF MASTERS. No. No. 293 Lippi, Filippino 623 294 Caliari, Paolo 624 295 MaSSyS, Quinten 625 296 Tuscan School 626 297 Romanino 6271 r*t\ f> r 298 BorgOgnone, Ambrogio 628 1 62Q 299 BonvicinO, Alessandro Uwv fisn 300 Cima Giovanni Battista \JO\J 631 564 Margaritone \J*J i 565 Cimabue, Giovanni 6321 566 Duccio di Buoninsegna 633 f 567 Segna 634 568 Giotto, School of 6351 5691 636) 570 637 571 638 572 tr wo 639 57o 574 Orcagna 640 575 641 576 642 577 6431 578. 644! 579 Gaddi, Taddeo, School of 645 580 Landini, Jacopo 6461 581 582 Spinello Aretino AngelicO, Fra Giovanni 647) 648 583 Uccello, Paolo 649) 585 Umbrian School 650 > OKI \ 586 Macchiavelli, Zenolio faoi ) CKO 589 Lippi, Fra Filippo DO/o RKI 590 591 ZoppO, Marco GozZOli, Benozzo DUO 654 592 Lippi, Filippino 655 593 Credi, Lorenzo di 656 594 Emmanuel \JU\J RKV 595 Venetian School Uu I 658 596 Palmezzano, Marco Uww KQ 597 Cossa, Francesco del Wo 660 598 Lippi, Filippirio 599 Bellini, Giovanni 661 602 Crivelli, Carlo Girolamo da Treviso 1 Pippi, Giulio BonvicinO, Alessandro Pilipepi, Alessandro Ruisdael, Jacob van Costa, Lorenzo SchiaVOne, Gregorio BlSSOlo, Francesco, As- cribed to \ Girolamo da Santa- croce Cima, Giovanni Battista VecelllO, Tiziano Bordone, Paris Raibolini, Francesco Mantegna, Francesco DOSSO Dossi, Giovanni MazZOlinO, Ludovico TisiO, Benvenuto Rinaldo Mantovana Albertinelli, Mariotto Umbrian School Credi, Lorenzo da ( BronzinO, Angela di Cosimo, called Rossi, Francesco Flemish School Weyden. Rogier van der, Later School of Orley, Bernard van Gossart, Jan Cornelissen, Jacob German School Rottenhammer, Johann Clouet, Francois^ Ascribed to SanziO, Raffaello, Tracing from, by J. ScMesinger. INDEX TO NAMES OF MASTERS. No. 663 Angelico, Fra Giovanni 664 Weyden, Rogier van der 665 Francesca, Piero delta i I Lippi, Fra Filippo 668 Crivelli, Carlo 669 Ortolano,' 670 Bronzino, Angela di Cosimo, called 671 Tisio, Benvenuto 672 Rembrandt van Ryn 673 Antonello da Messina 674 Bordone, Paris 679 Bol, Ferdinand 680 Dyck, Sir A. van 685 Hobbema, Meindert 686 Memlinc, Sang 687 German School 690 Sarto, Andrea del 691 Spagna, Lo, Ascribed to 692 Lpdovico da Parma 693 Pinturicchio, Bernardino 694 Catena, Vincenzo 695 Previtali, Andrea 696 Flemish School 697 Moroni, Giambattista 698 Piero di Cosimo 699 Lotto, Lorenzo 700 Lanini, Bernardino 701 Justus of Padua 702 Umbrian School 703 Pinturicchio, Bernardino 704 Bronzino, Angela di Cosimo, called 705) 706 \ German School 707) 708 ) Flemish School 709 \ Memlinc, Hans 710 ) Flemish School 712 1 ^ e yden, R 9 ier van dtr No. 713 714 715 716 717 7181 719 f 720) 721 J 722 724 726 727 728 729 732 734 735 736 737 739 740 741 742 744 745 746 747 748 749 750 751 752 753 7551 756 f 757 758 7661 767 f 768 Mostert, Jan Engelbertsz, Comelit Patinir, Joachim Bles, Herri de, Ascribed to Scorel, Jan van German School Crivelli, Carlo Bellini, Giovanni Pesellino, Francesco Beltraffio, Giovan Ant. Foppa, Vincenzo Neer, Aart van der Solario, Andrea da Morando, Paolo Bonsignori, Francesco Ruisdael, Jacob van Crivelli, Carlo Sassoferrato Velazquez, Ascribed to Moroni, Giambattista Sanzio, Raffaello Velazquez Ruisdael, Jacob van Memlinc, Hans,Ascribed to Girolamo dai Libri Giolfino, Niccolb Bastiani, Lazzaro Santi, Giovanni Lippo di Dalmasio Melone, Aitobeiu Melozzo da Forli Rembrandt van Ryn, School of Francesca, Piero della Domenico Veneziano Vivarini, Antonio XVI INDEX TO NAMES OF MASTERS. No. No. 769 Francesca, P**ro della 825 DOU, Gerard 770 Oriolo, Giovanni 8261 771 Bono da Ferrara 827 \ 828J Jardin,*^<* ZZn t Tura. Cosimo nfl'J 1 *****, 829 Hackaert, Jan 774 Flemish School 30) 775 Rembrandt van Ryn 776 Pisano, Vittore QQ 1 [ g2 >Hobbema, Meindert QQQ 777 Morando, Paolo OOO 1 ft^A / 778 Martino da Udine ggg } Hooch, Jfofw ens, Peter P. 906) 907} OKA \ OKK [ Ruisdael, Jacob van 908 r\ r\ r\ o/o > 909 856 Steen, Jan 930 857] 911 858 2$ iTeniers, David (the sXV | younger) 912) 913} 914) 862 915 863J 916 864 Terborch, Gerard 920 865 Cappelle, Jan van de 923 866 Heyden, Jan van der 924 867) 927 868 f Velde, Adriaen van de 869) 928 70] 929 871 QWO 930 XAg ! Velde, W. van de (the 931 gAY | younger) 932 8751 933 876J 934 877 ) 877-^ > Dyct, Sir A. van 877B ) J 935 936 QIJQ^i 937 o/o 070 938^ O ft/ I 880 } Wouwerman, Philips 881 1 939 940 > f\ A 1 I 882 j 941 942J 884 ) Wy nan * s * 7izw 943 895 Piero di Cosimo 944 896 Terborch, Gerard 945 901 Looten, Jan 946 902 Mantegna, Andrea 947 f\ A O 903 Rigaud, Hyacinthe 948 QdQ } 904 Schiavone, Gregorio y^y / 950 > 905 Tura, Cosimo 951) 25640 Crivelli, Carlo Francesca, Piero della Benvenuto da Siena Signorelli, Luca PinturicchlO, Bernardino fUmbrian School Filipepi, Alessandro Tuscan School S a very, Roelandt Solario, Andrea da Neeffs, Pieter Lippi, FUippino Pollaiuolo, Antonio, As- cribed to Sanzio, Raffaello (after) , Barbarelli, School of Caliari, Paolo Italian (XFZ Century) Varotari, Alessandro Dolci, 'Carlo Rosa, Salvatore Bibiena, Ferdinando Canale and Tiepota Canale, Antonio Flemish School Marinus van Romerswaei Patinir, Joachim Gossart, Jan Flemish School Rubens, Peter Paul > Teniers, David (the elder) XV111 INDEX TO NAMES OF MASTERS. No. No. 952 1 Teniers, David (the 953 J younger) qqg | Hobbema, Meindert 954 Huysmans, Corneli* 955 Poelenburgh, Cornelisvan 997 ) 998 } Schalcken, Godfried 999 1 956) 1000 Bakhuizen, Ludoif 8H VBoth, Jan 1001 Huysum, Jan van t/cIO I 959) 1002 Walscappelle, Jacob 960) 1003 Fyt, Jan 961 \ Cuyp, Aelbert 1004) 962 ) 1005 > Berchem, Nicolas 963 Ostade, &** m OCA } 1006! 1007 Wils, Jan 7U* 1 1008 Potter, PMer (?) "966 i Cappers, 1009 Potter, Paulu 967) 1010 Deelen, -DircA van 968 DOU, Gerard 1011 CoqueS, Gonzales 969 Neer, Aart van der 1012 Merian, Matthceus, Jnr. 970 MetSU, Gabriel 1013 Hondekoeter, Melchior de 972 } w y nants > Jan 973 Wouwerman, PMi/w 974 Koninck, Philips de 1014 Elsheimer, ^^i 1015 Os, 7 992 ) 993 > Heyden Jan van der 994 i 1045 David, Gheeraert 1047 Lotto, iowwo INDEX TO NAMES OF MASTERS. xix No. No. 1048 Pulzone, Scipione 1102 1049 German School 1103 1050 Bakhuizen, Ludolf 1104 1051 BertuCCi, Giovanni B. 1105 1052 Milanese School 1106 1053 Witte, Emanuel de 1107 1054 Guardi, Francesco 1108 1056 } Sor g h > Hendrich 1109 1113 1057 Vernet, Claude J. 1114' 1059 I Canale, Antonio 1115 1116 1060 Wouwerman, Philips 1117 1061 Poel, Egbert van der 1118 1062 Ferrarese School 1119 1063 Flemish School 1074 Hals, Dirk 1120 1075 Vannucci, Pietro 1121 1077 BorgOgnone, Ambrogio 1122 \$$ } Flemish School 1123 1124 1080 German School 1125 1081 Flemish School 1126 1082 Eatinir, Joachim 1127 1083 Flemish School 1128 1084 Patinir, Joachim 1129 1085 German School 1130 1086 Flemish School 1131 1088 I German School 1132 1 1 1 Q 1089 Flemish School lloo 1090 Boucher, Francois 1134 1092 Zaganelli, Bernardino da Cotignola 1135 1136 1 -t M 1093 Vinci, Leonardo da 1137 1094 Mor, Antony, Ascribed to 1138 1 1 on 1095 Lievens, Jan Hoy 1140 1096 Weenix, Jan B. A. * \J 1141 1098 Montagna, Bartolommeo 1099 MengS, Anton Rafael X1.7X 1143 1100 ) T 1_ 1144 1101 1 " on hl, Pietro 1145 25640 Longhi, Pietro Fiorenzo di Lorenzo Manni, Giannicola Lotto, Lorenzo Mantegna, Francesco Niccolo da Fuligno Tuscan School (Sienege) Niccold di Buonaccorsa Lorenzetti, Pietro CoqUCS, Gonzaleg Grandi, Ercole di Giulio Cegare Oima, Giovanni Battigta Venetian School TheotOCOpuli, Domenico Barbarelli, School of Lippi, Filippino Mantegna, Andrea Filipepi, Aleggandro Roberti, Ercole de' Signorelli, Luea Velazquez Robusti, Jacopo. Pontormo, Jacopo da Steenwyck, Hendriek Signorelli, Luca Liberale da Verona Veronese School Qost, Jacob Van (theelder) Andrea dal Castagno Duccio di Buoninsegna Antonello da Messina Ghirlandaio, Ridoifo del Bazzi, Giovannantonio Mantegna Andrea, b 2 xx INDEX TO NAMES OF No. No. 1147 Lorenzetti, Anibrogio 12181 1148 Velazquez 1219 } 1149 Marco da Oggionno 1220 1150 Pontormo, Jacopo da, As- 1221 1 "i C~* C" cribed to 1222 1151 German School 1227 1152 Piazza, Martina 1229 1154 Greuze, Jean Baptiste 1230 1155 Matteo di Giovanni 1157 Cavallino, Bernardo 1231 1159 Dughet, Gaspard 1232 1160 Barbarelli, Giorgio 1233 1165 BonvicinO, Alessandro 1166 Antonello da Messina 1234 12391 1 n/i r i 1168 Vliet, Willem van der 140 J 1171 SanziO, Raffaello lOAQ 1172 Dyck, Sir Anthony van 1/wTO 1173 Barbarelli, School of 1247 1189 \ Ugolino da Siena 1248 10K1 1190 Clouet, Francois, As- A^QvX cribed to 1255 iino \ Tiepolo, Giovanni B. 1256 119o I 1194 Venusti, Mar cello 1257 1OKQ 1195 Rubens, Peter P. 1/5 t)O 12601 1199 \ Tuscan School 1261 1262 120l} Macrinod ' Alba 1263 1264 1202 Bonifazio Veronese 1265 1203 Cariani, Giovanni de' Busi 1266 1267 1268 1206 Rosa, Salvatore 1269 1911 ) rt-i n f iVTorone Domenico 1270J 1277 1213 Bellini, 0ife 1278 1214 Michele da Verona 1280 1215 Domenico Veneziano 1282 1216 Spinello Aretino 1284 1217 Roberti, ErcoUde' 1286 Ubertini, France/ict? Andrea di Luigi Pape, Abraham de Hondecoeter, de Venusti, Marcello Morales, Luis de Ghirlandaio. del Mor, Antony Aldegrever, Bellini, Giovanni DOSSO DoSSi, Giovanni Mocetto> Girolamo Campana, Heimbach, Christian Wolfgang Maes, Nicolas Heist, & van d er Hals, Vrans Snyders, Frans Velde, J&n Jansz van de Steenwyck, Herman Murillo, Bartolome E. Chardin, J.-B. Simeon Grseco-Roman, 2 '3rd century MaeS, Nicolas Pot, Hendrik G. Flemish School Empoli, J- Chitnenti di Vivarini, Antonio Murillo, Bartolome E. INDEX TO NAMES OF MASTERS. No. 1287 1288 1289 1291 1292 1293 1294 1295 1296 1297 1298 1299 1300 1301 1302 1303 1304 1305 1308 1309 1310 1311 1312 1313 1314 1315 1316 1317 1318 1319 1320 1321 1323 1324 1325 1326 1327 1329 1330 Dutch School Neer, A. van der Cliyp, Aelbert Valdes-Leal, Bylert, Jan van Molenaer, Jan Miense Pocrter, Willem de Giovenone, Girolamo Zais, Giuseppe Patinir, Joachim Ghirlandaio, Domenico del Milanese School Tuscan School I Marmion, Simon, As- | cribed to Umbrian School Donck, G. MazO, Martinez Juan Bautista del Licinio, Bernardino Cima, Giovanni, Bat- tista Beerstraaten, Jan Victors, Jan Robusti, Jacopo Holbein, Hans Velazquez Moroni, Giambattista Tuscan School (.Sienese') Caliari, Paolo Gelle"e, Claude \ Janssens, Cornells van \ Ceulen BronzinO (^Angela di Cosimo), called Caliari, Paolo Goyen, Jan van Brekelenkam, Duccio di Buoninsegna No. 1331 1332 1333 1334 1335 1336 1337 1338 ' 1339 1340 1341 1342 1343 1344 1345 1346 1347 1348 1352 1353 13751 1376) 1377 1378 1380 1381 1383 1386! 1387) 1390 1393 1397 1399 1400 1401 1406 1409 1410 1411 Fungal, Bernardino NetSCher, Caspar Tiepolo, Giovanni B, Longhi, Pietro French School,-^, cent. Liberale da Verona, Ascribed to Bazzi, Giovannantonio FabritiuS, Bernhard Roghman, Roeland Decker, Cornelis G. Wet, J. de Dutch School Ruysdael, Salomon van Wouwerman, Jan Avercamp, Jfendrih van Ostade, I*adh van Velde, Adriaen van de Moucheron, Frederic de Ryckaert, Martin Velazquez Venetian School Steen, Jan Os, Jan van Mantegna, Francesco Vermeer, Jan Duyster, Willem c. Ruisdael, Jacob van Vernet, Claude J. Aack, Johannes Ab. Terborch, Gerard Rembrandt van Ryn Snyers, Pietcr Angelico, Fra Giovann^ School of Cordelle Agii, Andrea BorgOgnone, Ambrogio Roberti, Ercole de" XX11 INDEX TO NAMES OF MASTERS. No. 1412 1415 1416 1417 1417A 1418 1419 1420 1421 1422 1423 1424 1425 1427 1429 1430 1431 1432 1433 1434 1436 1437 1438 1439 1440 1441 1442 1443 1444 14451 1446) 144? 1449 1450 1451 1454 1455 1456 1457 1459 Lippi, Filippino Dou, Gerard Mazzola, Filippo Mantegna, Andrea Italian School Antonello da Messina Flemish School Berck-Heyde, Gerrit A. Steen, Jan Le Sueur, Eustache Ravesteijn, Jan A. van Elsheimer, Adam Le Nain Baldung, Sans Canale Antonio Beccafumi, Domenieo Vannucci, Pietro, As- cribed to David, Gheeraert Flemish School. Velazquez Vittore Barnaba da Modena Milanese School. Ruysdael, Salomon van Bellini, Giovanni Vannucci, Pietro Bakhuizen, Ludolf Steenwyck, Hendrick Honthorst, Gerard van Ruysch, Rachel Meulen, Adam F. van der Champaigne, Philippe de Luciani, Sebastiano Berck-Heyde, Oerrit A. Guardi, Francesco Bellini, Giovanni Italian School. TheotOCOpuli, Domenieo Eeckhout, Gerbrand van den No. 1461 1462 1465 1466 1468 1469 1470 1471 1472 1473 1476 1478 1479 1481 14891 1490 ! 1495 1653 1660 1661 1662 1664 1665 1674 1675 1676 1680 1682 1683 1689 1694 1695 1696 1699 1700 1701 1776 1810 1812 1842 1843 1845 Matteo di Giovanni Dubbels, Hen&rik Ferrari, Gaudenzio Orsi, Lelio Spinello Aretino Heda, wniem K. Weier, Jacob Goya, Francisco Meldolla, Andrea Mansueti, Giovanni Avercamp, Jfendrik Beg'a, Cornelius P. Venetian School Mazzolino, Ludovicv Vige"e Le Brun, Madame Elizabeth Werff, A. van der Predis, Ambrogiode Ghardin, J- B. Simeon Predis, Ambrogia de Rembrandt van Ryu Herrera, Francisco de Dutch School Francesco di Giorgio Cuyp, Aelbert Gossart, Jan Bartolommeo, Fra Venetian School Bellini, Giovanni Vermeer, Jan, Ascribed to Dutch School Everdingen, Allart van Signorelli, Luca Duchatel, Francois Spagna, Lo, Ascribed to Tuscan School Bonfigli, Benedetto Bordone, Paris INDEX TO NAMES OF MASTERS. No. 1847 1848 1849 1872 1895 1896 1897 1903 1914 i 1915 1917 1918 1925 Signorelli, Raguineau, Abraham Pacchiarotto, Jampo Vivarini, Aluise Jordaens, Jacob Saenredam, Pieter Lorenzo, Don (77 Monaco) Fyt, J an Heyden, Jan van der Both, Jan La Fargue, Paul Con. stantin Cranach, Luias No. 1930 Zurbaran, Francisco 1937 Heist, Bartholomew van der 1938 Durer, Albrecht 1939 French School 1944 Vecellio, Tiz>ano 1951 GrOya, Francisco 1953 Bastiani, Lazzaro 2057 Velazquez 2058 Diaz de la Pena, Narcisse V. 2062 Saftleven, Herman 2069 Sanzio, Raffae.Uo THE SCHOOLS OF PAINTING. THE word " School " has various significations with writers on art : in its general and widest sense it denotes all the painters of a given country, without special reference to time or sub-divisions of style; as, the Italian School. In a more restricted sense, it refers to the characteristic style which may distinguish the painters of a particular locality or period ; as the Bolognese School. In its most limited sense, it signifies the distinctive style of a particular master ; as the School of Raphael ; whence it is also applied to the scholars or imitators of an individual, who are said to be of the School of such master. In the following table, the word is used in its wider senses. With regard to the chronology there observed, it must be apparent that it is impossible to fix with precision the commence- ment of any School. There are isolated facts of very remote dates, connected with the history of painting in many countries, but such facts cannot be assumed to indicate the existence of a class of painters having a more or less common and definite style. It is only when such a class exists that a School can be said to be established ; and when there is evidence of the practice of painting in a more limited degree, yet tending to such development, the School may be said to have commenced. ( xxvii ) LIST OF PAINTERS, ARRANGED ACCORDING TO SCHOOLS AND CHRONOLOGICALLY. SCHOOLS OF TUSCANY. Margaritone of Arezzo 1216-1293 Cimabue, Giovanni 12407-1302? GiottO 1266?-! 336 G-addi, Taddeo 1300 1-living 1366 Orcagna, Andrea di Cione, called 1300 ?-1368 Landini(JACOPOdiCASENTINO) - - - I3io?-I390? Justus of Padua 13... 7-1400 Spinello Aretino 1333 7-1410 Lorenzo, H Monaco 1370 7-1425 Angelico, Fra Giovanni, da Fiesole .... 1387-1455 Andrea dal Castagno 1390 7-1*57 Uccello, Paolo 1397-1475 Domenico, Veneziano 14. ..-1461 Lippi, FEA FILIPPO 14067-1469 GOZZOH, Benozzo 1420-1498 Macchiavelli, Zenobio 1418-1479 PesellinO, Francesco 1422-1457 PollaiuolO, Antonio 1429 7-1498 Filepepi, Alessandro (SANDRO BOTTICELLI) - 1447-1510 Ghirlandaio, Domenico del 1449-1494 Vinci, Leonardo da 1452-1519 Lippi, Filippino 1457 7-1504 Credi, Lorenzo di - - - 1459-1537 Piero di Cosimo 1462-1521? xxviii LIST OF PAINTERS. Albertinelli, Mariotto 1474-1515 Buonarroti, MICHELANGELO - - - - 1475-1564 Bigio, Francia ... .... 1482 1525 Ghirlandaio, Ridolfo del 1483-1561 SartO, Andrea del (Andrea d'Agnolo) - 1486-1531 Pontormo, Jacopo (Carucci) da 1494-1557 Bronzino, (Angelo di Cosimo, called) .... 1502-1572 Rossi, Francesco de' (de' SALVIATI) - - - - 1510-1563 Yenusti, Marcello 15... ?-15... ? Empoli, Jacopo da 1554 ?-1640 Allori, Cristofano 1577-1621 Dolci, Carlo 1616-1686 SIENESE SCHOOL. Duccio di Buoninsegna .... about 1260-Zkm^ 1339 Segna di Buonaventura .... recorded 1305 to 1326 Lorenzetti, Pietro 12.. .-1348 ? Lorenzetti, Ambrogio 12. ..-living 1345 Ugolino da Siena -1339 ? Niccolo di Buonaccorso -1388 Matteo di Giovanni 1435?-1495 Fungai, Bernardino ?-1516 Benvenuto da Siena H36-1518 ? Pacchiarotto, Jacopo 1474-1540 Girolamo del Pacchia 1477-15... Peruzzi, Baldassare 1481-1536 BeCCafumi, Domenico 1486-1551 UMBRIAN AND ROMAGNOZiE SCHOOLS. Francesca, Piero della 1415 ?-1492 Lorenzo da San Severino, painting in the early part of the 15th century. Bonfigli. Benedetto - 1420 ?-1496 LIST OF PAINTERS. xxix Niccol6 da Fuligno (falsely ALUNNO) - - - 1430 ?-i492 Fiorenzo di Lorenzo 1430 ?-is... Melozzo da Forli 1438-1494 Santi, Giovanni - - - - - - - . 14. ..-1494 Signorelli, kuca of Cortona - - - - - - 1441 ?-1523 VannilCCi, Pietro (il PERUGINO) ---- 1446-1523 Manni, Giannicola -1544 PinturiccMo, Bernardino Betto, il 1454-1513 PalmezzanO, Marco 1456 l-limng 1537 Andrea di Luigi (" L'ingegno ") painting 1484 Lo Spagna, Giovanni, di Pietro, called - 14. ..-after 1530 Bertucci, Giovanni B. early 16th century Sanzio, Raffaello (RAPHAEL of Urbino) - - - 1483-1520 Ubertini, Francesco (II Bachiacca) .... 1494-1557 Zaganelli, Bernardino (of and called COTIGNOLA), early 16th century. SCHOOLS OF LOIVIBA.RDY AND THE EMILIA. (MILANESE AND PIEDMONTESE.) Foppa, Vincenzo 14. ..-1492 SDlariO, Andrea UQQI-after 151a BorgOgnone, Ambrogio da Fossano, il - - - - 1455 ?-1523 Macrino D'Alba 14... ?-i5...? Beltraffio (or Boltraffio), Giov. Antonio - - - 1467-1516 Marco da Oggionno 1470 ?-i540 ? Luini, Bernardino about Ii75-after 1533 Bazzi Giovanni Antonio (il SODOMA) - - - 1477-1549 Giovenone, Girolamo 14... ?-15... ? Ferrari, Gaudenzio ' - 1484-1519- Lanini, Bernardino 1508?-1578? (CBEMONA.) TaCCOni, Francesco ..... 14... t-Uvlng 1490 Meione, Altobello - - li... -painting in and after iolS- BoCCaCCinO, Boccaccio ..-. -painting 1496-1513 xxx LIST OF PAINTERS. (LODI.) Piazza, Martino 14... -after 1526 (PARMA AND MODENA.) Mazzola, Filippo H...?-1505 Lodovico da Parma 14...-15 .. Allegri, Antonio (da CORREGGIO) - 1494-1534 Parmigiano, Francesco Mazzola, il 1503-1540 Orsi, Lelio 1511-1587 Bamaba da Modena - second half of Hth century. SCHOOLS OP VENICE AND THE VENETIAN TERRITORIES. Vivarini, Antonio (of Murano) - - - - painting 1140-1464 Vivarini, Bartolommeo (of Murano) - - painting 1450-1498-9 Bastiani, Lazzaro 1425 ?-1512 Bellini, Gentile 1426-7 ?-1507 Bellini, Giovanni 1428 ?-1516 Vivarini, Alvise painting 1461-1503 Crivelli, Carlo painting 1168-after 14i>4 Antonello da Messina 1444?- 1493? Basaiti, Marco .... painting before 1500-after 1521 Montagna, Bartolommeo (of Brescia and Vicenza) about 1450-1523 Cariani, Giovanni de' Busi 1480 ?-1541 Cima, Giovanni Battista painting 1489-1517 Mansueti, Gievanni painting from 1490-1500 MocettO, Girolamo painting 1490-1514 Marziale, Marco painting 1492-after 1507 BlSSOlo, Francesco painting 1192-after 1530 Previtali, Andrea (of Bergamo) - - - painting 14... ?-1528 Cor d elle Agii, Andrea 14... MS...? Bonifazio Veronese -1540 Martino da Udine (PELLEGRINO da SAN DANIELE) Wore 1470-1547 LIST OF PAINTERS. XXXI Barbarelli, Giorgio (GIORGIONE) - - - Wore 1477-1511 Catena (VINCENZO DI BIAGIO, known as) - 14..?-1531 Vecellio, Tiziano (TITIAN) 1477-1576 Savoldo, Giov. Girolamo (of Brescia) . . - 1480 1-after 1548 Lotto, Lorenzo (of Treviso) 1480 J-about 1555 Luciani, Sebastiano (SEBAST. del PIOMBO) - 1485 ?-1547 Romanino, Girolamo, of Brescia - - - 1487 1-in or about 1566 VenezianO, Bartolommeo .... painting 1505-1530 Girolamo da Treviso 1497-1544 Bonvicino, Alessandro (MORETTO) - --- 1498-1555 Girolamo da Santa Croce - painting 1520-1549 LiciniO, Bernardino .... painting between 1524-1541 Bordone, Paris (of Treviso) 1500-1570 Moroni, Giambattista (of Bergamo) - - - . 15..? -15 78 Ponte, Jacopo da (JACOPO BASSANO) - - - 1510-1592 Robusti, Jacopo (ii TINTORETTO) - 1518-1594 Meldolla, Andrea (called SCHIAVONE) - - - 1522-1582 Caliari, Paolo (PAOLO VERONESE) - - - 1528-1588 Varotari, Alessandro (il PADOVANINO) - - 1590-1650 RiCGl, Sebastiano (of Belluno) 1659-60-1734 TiepolO, Giovanni Battista 1692-1769 Canale, Antonio (il CANALETTO) - 1697-1768 Longhi, Pietro 1702-1762 Guardi, Francesco 1712-1793 Zais, Giuseppe 17 . . ?-1784 PADUA (VENETIA). SchiaVOne, Gregorio 14 ..?-...? Mantegna, Andrea 143! .i5 06 Zoppo, Marco (of Bologna), see Bolognese School, painting 1471-1498 Mantegna, Francesco 1470 1-limng 1517 xxxii LIST OF PAINTERS. VERONA (VENETIA). Pisano, Vittore (PISANELLO) - 1380-1451 or 2 Morone, Domenico 1442-15 . . Liberale da Verona 1451-1535 Bonsignori, Francesco 1455-1519 Giolfino, Niccolo painting 1486-1518 Morone, Francesco- -- 1473-1529 Girolamo dai Libri 1474-1556 Morando, Paolo (ii CAVAZZOLA) - 1486-1522 Michele da Verona - - - - - - painting 1500 Caliari, Paolo (see also Schools of Venice) - - - 1528-1588 FERRARESE SCHOOL. Tura, Cosimo (or Cosm&) ...... 1420 ?-1495 Cossa, Francesco del ..... 14 . .-between 1480-85 Bono da Ferrara painting 1461 Oriolo, Giovanni ........ living 1461 Robert!, Ercole de' ....... 1450 ?-1496 Costa, Lorenzo ........ 1460 ? -1535 Grandi, Ercole di Giulio Cesare ..... 1460 ?-1531 DOSSO Dossi (Giovanni) ...... 1479 ?-1542 Mazzolino, Ludovico ....... 1480 ?-1528 2 TisiO, Benvenuto (il GAROFALO) - 1481-1559 L'Ortolano ........ 11.. -about 1525 BOLOGNESE SCHOOZi. LipPO di Dalmasio painting 1376-1410 ZoppO, Marco (see Paduan School) - - painting 1471-1493 Raibolini, Francesco (il FRANCIA) - - - 1450-1517 Carracci, Ludovico 1555-iein LIST OF PAINTERS. XXXlll Carraoci, Agostino Carracci, Annibale ... Reni, Guido Zarapieri, Domenico (il DOMENICHINO) Barbieri, Giov. Francesco (il GUERCINO) Mola, Pier Francesco ..... Bibiena, Ferdinando 1557-1602 1560-1609 1575-1642 1581-1641 1591-1666 1612-1668 1657-1743 ROMAN AND NEOPOXiXTAN SCHOOL. Pippi, Giulio (GIULIO ROMANO) - - - - 1492-1546 Rinaldo Mantavano painting 1525-15... BaroCCi, Federigo 1528-1612 Pulzone, Scipione 1550-1600 Amerighi, Michelangelo 1569-1609 Ribera, Giuseppe (lo SPAGNOLETTO) ; see also Spanish School 1588-1656 Salvi, Giov. Battista (SASSOFERRATO) - - - 1605-1685 Rosa, Salvatore (of Naples) - - - - - 1615-1673 Cavallino, Bernardo (of Naples) 1622-1654 Maratti (or Maratta), Carlo 1625-1713 Panini, Giovanni Antonio 1695-1768 SPANISH SCHOOL Campana, Pedr 1503-1570 TheotOCOpuli, Domenico (el GRIEGO, il GRECO) - 1548-1625 Morales, Luis de - - - - - - - - ... .-1586, Ribera, Josef de (see also Roman School) ... 1588-1656 Zurbaran, Francisco 1598-1662 Velazquez, Don Diego de Silva y - - - - - 1599-1660 Mazo, Juan Bautista Martinez del - - - - ... .-1667 Murillo, Bartolome Esteban 1618-1682 25640 c LIST OF PAINTERS. Valdes Leal, Juan de 1630-1691 Goya, Francisco 1746-1828 DUTCH SCHOOLS. Ravesteijn, JanAnthonisz 1572-1657 Savery, Roelandt 1576-1639 Hals, Frans 1580 or 81-1666 Vliet, Willem ven der 1584-1642 Avercamp, Hendrik 1585- after 1663 Poelenburgh, Cornells van 1586-1667 Hals, Dirk -1656 Honthorst, Gerard van 1590-1656 Janssens van Ceulen, Comeiis 1594-1664 r Heda, WiUem K. ....... 1594- after 1678 Keyser, Thomas de 1596 ?-1667 Gtoyen, Jan Josefsz van 1596-1656 Potter, Pieter 1597-1652 Saenredam, Pieter- - 1597-1665 Pot, Hendrik living 1600-1656 Roghman, Roeland 1597- living 1686 Duyster, Willem Cornelisz 1599-1635 Breenbergh, Bartholomew 1599- before 1659 WynantS, Jan painting 1641-1679 Ruysdael, Salomon van 1600 ?-1670 Cost, Jacob van (the elder) 1600 ?-l 671 Neer, Aart van der 1603-1677 Bylert, Jan van 1603-1671 Rembrandt van Ryn 1606-1669 Witte, Emanuel de 1607-1692 Donck, GL living 1636 Lievens, Jan 1607-1674 Delen, Dirck van - - 1607 ?-1673 ? Steenwyck, Herman 16 .. ?-16 . . . Saftlevan, Herman 1609-1685 LIST OF PAINTERS. xxxv Molenaer, Jan Miense before 1610-1668 Ostade, Adriaan Jansz van - 1610-1685 Wet, J- de painting 16S5 Both, Jan 1610?-1652 Poorter, Willem de 16... 1-living 1645 Sorgh, Hendrik . 1611-1669 ? Heist, Bartholomeus van der 1611 or 12-1670 DOU, Gerard 1613-1675 Herp, Guilliam or Willem van - - .- - - 1614-1677 Bol, Ferdinand .... ... 1616-1680 Terboreh, Gerard (or Terburg) 1617 ?-1681 Lely, Sir Peter (see German Schools) .... 1618-1680 Looten, Jan 1618 ?-1681 Koninck, Philips de ---.... 1619-1688 Wils, Jan 16 ... l-before 1670 Fabritius, Bernhard painting 1650-1672 Pape, Abraham de ,1666 Wouwerman, Philips 1619-1668 Decker, Cornells G. ?-1678 Dub bels, Hendrik 1620?-1676 Berchem, Nicolas 1620 168 Cuyp, Aelbert 1620-1691 Victors, Jan 1620-liring 1672 Bega, Cornelius P. . . 1620-1664 Weier, Jacob ?-l670 Poel, Egbert van der 1621-1664 Weenix, Jan Baptist 1621-1660 Ostade, Isaak van 1621-1649 Eeekhout, Gerbrand van den 1621-1674 Lundens, Gerrit 1622-lirinff 1677 Velde, Jan Jansz van de 1622- Beerstraaten, Jan Abrahamsz 1622-1666 Jardin, Karel du 1622-1678 Lingelbach, Johann or Jan 1623-1674 Potter, Paulus 1625-1654 Brekelenkam, Quiryn van .... between 1625-30-1668 xxxvi LIST OF PAINTERS. Steen, Jan 1626 7-1679 Buisdael, Jacob van 1628 or 9-1682 Hackaert, Jan 1629-1696 ? Wouwerman, Jan 1629-1666 Metsu, Gabriel 1630-1667 Aaclr, Johannes Ab 16...?- ? Cappelle, Jan van de painting from 1650 to 1680 WalSCappelle, Jan painting before 1667 until 1717-18 HoOCh (Hoogh), Pieter de 1630-/^r 1677 Storck, Abraham - 1630 ?-1710 Bakhuizen, Ludolf 1631-1708 Vermeer, Jan (or Van der Meer of Delft) - - - 1632-1675 Maes (Maas), Nicolas - - - - - - - 1632-1693 Velde, Willem van de 1633-1707 Moucheron, Frederic de 1633 nr 4-1686 Mieris, Frans van 1635-1681 Velde, Adriaen van de 1635 or 6-1672 HondeCOeter, Melchior de 1636-1695 Heyden, Jan vau der - - 1637-1712 Berck-Heyde, Gerrit Adriaensz 1638-1698 Hobbema, Meindert 1638-1709 NetSCher, Caspar - 1639-1684 Weenix, Jan (the Younger) 1640-1719 Schalcken, Godfried 1643-1706 Huchtenburgh, Johan van 1646-1733 Mieris, Willem van 1662-1747 RuySCh, Rachel - 1664-1750 Snyers, Pieter 1681-1752 HuySTim, Jan van 1682-1749 La Fargue, ? aul Constantin -1782 Os, Jan van - 1744-1808 LIST OF PAINTERS. xxxvii FLEMISH SCHOOLS, XV., XVI., AND XVII. CENTURIES. Eyck, Jan van 1390 ?~1440 Weyden, Rogier van der about 1400-1464 Memlinc, Hans - - - - - - - - ?-149o David, Gheeraert 14502-1523 Massys (MATSYS, Metsys) Quinten - - before 1460-1530 EngelbertSZ, Cornelis 1468-1533 Gossart, (Jan) of Mabuse - HTO ?-i5 Mostert, Jan 1474-fl/te/ 1 1549 BleS, Herri de (CIVETTA) - - - - abowt U80-after 1551 Patinir, Joachim 14 . . 1-in, or before, 1524 Orley, Barent (or Bernard) van - about 1491-1542 Scorel, Jan van 1495-1562 Hemessen, Catharina van 1500-1556 ? Campana, Pedro 1503-1570 ? Lombard, Lambert 1505-1566 Mor, Antony 1512-1577 ? Marinus van Romerswael - ... painting 1521-iseo Cornelissen, Jacob painting 1553 Neeffs, Pieter 1577-8-aftei- 1656 Rubens, Peter Paul ... - - 1577-1640 Snyders, Frans - 1579-1657 Steenwyck, Hendrick, junr - - - 1580-1649 ? Teniers, David (the Elder) 1582 1649 Ryckaert, Martin - .... 1587-1631 Jordaens, Jacob --- .... 1593-1678 Dyck, Sir Anthony van 1599-1641 Teniers, David (the Younger) 1610-1690 Pyt, Jan .... 1611-1661 Duchatel, Frangois - - 1616-1694 CoqueS (COCX), Gonzales 1618-1684 Meulen, Adam F. van der 1632-1690 Huysmans, Cornelis 1648-1727 Huysman, Jacob 1656-1696 xxxviii LIST OF PAINTERS. GERMAN SCHOOL . William of Cologne (MEISTER WILHELM) - iMng 1380 Lochner (or Loethener) (MEISTEB STEPHAN) - 13 .. ?-1451 " Meister VOn Liesbom " - - - painting about 1445-1465 " Master of the Lyversberg Passion " - painting 1463-90 Westphalian School, Master of about 1490-1500 Durer, Albrecht 1471-1528 Cranach, Lucas 1472-1553 Baldung, Hans 1476 ?-1545 Holbein, Hans (the Younger) 1497-1543 ? Aldegrever, Heinrich .-after 1555 Lucidel, Nicolas 1527 ?-l 590 ? Bottenhammer, Johann 1564-1623 Elsheimer, Adam 1578-1620-21 Lely, Sir Peter - 1618-1680 Heimbach, Christian Wolfgang 1613-1678 Merien, Matthaeus, junr. 1621-1687 Dietrich, Johann Wilhelm Ernst - - . 1712-1774 MengS, Anton Rafael 1 728-1 77& FRENCH SCHOOL. Marmion, Simon living 1468 Clouet, Francis (called JANET) 1510 M572 Le Nain i5 ?-i 6 ^ Poussin, Nicolas - - - 1594-1665 Gell6e, Claude (CLAUDE LE LORRAIN) - - ieoo-1682 Champaigne, Philippe de 1602-1674 Dughet, Gaspard (QASPARD POUSSIN) 1613-1675 Bourdon, Sebastien 1616-1671 Le Sueur, Eustache ... - 1616-1655- LIST OF PAINTERS. xxxix Hyacinthe 1659-1743 Lancret, Nicolas 1690-1743 Chardin, Jean-Baptiste Simeon 1699-1779 Boucher, Franqois 1704-1770 Vemet, Claude Joseph 1714-1789 Greuze, Jean-Baptiste 1725-1805 Vige"e Le Brun, Madame Elizabeth L. - - - - 1755-1842 DiazdelaPena 1809-1876 BYZANTINE SCHOOL. Emmanuel ivii. Csntury EXPLANATORY REMARKS. THE Catalogue is arranged in the alphabetical order of the painters' names, which answer to those inscribed on the picture frames. When the frame bears no painter's name but that of a school only, the picture will be found catalogued under the head of that school in the general alphabetical sequence, as : Tuscan School ; Umbrian School ; Dutch School, etc. Dutch and Flemish painters are catalogued according to the initial letter of their surnames, irrespective of the prefixes "van" and "de," when either of these was borne, as: Velde not van de Yelde ; Dyck not van Dyck ; Koninck not de Koninck. In the description of pictures the terms right and left are used with reference to the right and left of the spectator, unless the context obviously implies the contrary. The surface measure of pictures is given in feet and inches. The abbreviations h. and w. indicate height and width. 25640 AACK.EN (JAN VAN). 17th century. The picture described below is attributed to this artist, who is otherwise unknown, on account of the signature which appears at the foot of an engraving which is represented hanging on the wall in the background. No. 1397. An Old Woman Sewing. Apparently of the peasant class. She wears a black gown, a blue apron, a large linen kerchief which falls in two points on her chest, and a close-fitting linen cap which conceals her ears. She sits in a rustic chair stitching linen over a cushion which lies on her lap. On the left is a cloth-covered table on which are a drinking-vessel, a knife, a half-peeled lemon, and a pair of scissors. On the right of the foreground is a basket containing linen and a cloth. On the wall behind is the engraved portrait of a gentleman, bearing an inscription in which the name of Joannes Ab. Aack occurs, with the date 1655. On canvas, 3 ft. 6 in. h. by 2 ft. 8\ in. w. Presented by Mr. Henry J. Pfungst, F.S.A., in 1894. AGII. See CORDELLE AGZZ. AGNOLO (ANDREA D'). See SARTO. ALBERTINELLI (MARiOTTo), 1474-1515. A pupil of Cosimo Roselli, became the intimate friend and assistant of Fra Bartolommeo ; he was born at Florence 13th Oct. 1474. When Fra Bartolommeo, under the influence of Savona- rola, gave up painting and took to a monastic life, ALBERTINELLI completed some of his unfinished pictures, and so thoroughly assimilated the style of the Frate that independent works of the pupil have often been ascribed to the master. The grandest effort of MARIOTTO is the Visitation, in the Uffizi ; the Trinity, in the Accademia, has great merits. He died at Florence 5th Nov. 1515, the victim, says Vasari, of dissipation. No. 645. The Virgin and Child. The Child is seated on the Virgin's knee, with the hand raised in the act of blessing. On wood, 6 in. ft. by 4 in. w. Purchased I860. 25610 A 2 ALDEG RE VER ALLEGE!, ALDEGREVExt (HEINRICH), First Half of 16th Century ; Died after 1555. Or ALDE GRAVE, was born either at Soest or Paderborn. After his period of study he settled at the former place, and practised as painter, engraver, designer of ornament, and goldsmith. His style was formed upon that of Albert Diirer. He is best known by his numerous oiiginal engravings of subjects biblical, mythological, allegoiical, or taken from daily life. Of the last class are those festal and nuptial groups in which ALDEGREVER loved to portray the rich German costumes of his time in male and female figures, unusually tall, though having a quaint grace. As a painter he is most distinguished in portraiture. Signed examples of his work in that branch of art are at Breslau in the Kunstverein (1535), in the Liechtenstein collection at Vienna (1543), and in the Berlin Gallery (1551). ALDEGREVER died after 1555. ** i'.U. ,!....!... < UP0Q ; J. ,'.', No. 1232. Portrait of a Young Man. Under life-size, at half length, turned to the right, the hands seen, one of them holding a pink with two blossoms. The face is beardless, the hea^, with crisp yellow hair, is covered with a flat black cap. A gown of red watered silk, broadly turned over with streaked yellow and brown fur, allows the black sleeves of the jerkin to come through. The low-necked shirt is edged with embroidery. Background of dark green. On oak, 1 ft. 7 in. h. by 1 ft. 3 in. w Purchased out of the "Walker Bequest," 1887. AIiIiECrRI (ANTONIO) DA CORREGGIO, 1494-1534. ANTONIO ALLEGRI, called ir, CORREGGIO, from his birthplace, a s:nall town near Modena, and once the seat of a princely family, was born in 1494. His father, Pellegrino, was a cloth merchant and small proprietor. The youth of Antonio is involved in obscurity ; but Antonio Bartolotti, a native artist, is said to have been his first instructor in painting. Eecent criticism has, however, shown with convincing force that in his early youth, his susceptible genius came within the influence of Ferrarese masters ; and it is evident that it was not untouched by the creations of Mantegna at Mantua. Already in 1514, when in his twentieth year, his repute warranted the Minorite Friars of ALLEGRI. 3 Correggio in entrusting him with an important commission. Little is traceable of ALLEGRI'S occupations between that time and his appearance in Parma in 1518, as an artist rising to distinction. There, after having been employed by the Abbess of the convent of S. Paolo to paint her principal chamber with mythological subjects in grisaille, he, in 1521, entered into a contract with the Benedictines of S. Giovanni Evangelista to cover with frescoes the cupola and apsis of their church. This great work, of which now only the paintings in the dome remain in situ, and a similar labour in the cathedral, prove Allegri's vast powers in the management of fresco. In these composition*, wherein CORREGGIO breaks loose from all the traditions of Christian Art, the foreshortening of the figures is carried to a point which, while it displays the daring of the artist, too often transcends the limits of grace. Yet some of the heads of the sweeping ange's or genii are of surpassing beauty. f It is in his oil paintings chiefly that we must now seek that charm which is associated with the- happily appropriate name of ALLKGRI. These, executed between his twentieth year and the time of his death, are now, such of them as are traceable, scattered over Europe, chiefly in public galleries ; a few in private hands. They consist of altar-pieces, smaller sacred subjects, and scenes taken from or suggested by Greek mythology. The fame of the Dresden Gallery rests in great part on the possession of some of the finest in the * A large altar-piece on panel for their church, now No. 168 in the Dresden Gallery. This early work, in which the Madonna sits enthroned with the infant on her knee, between St. Francis and St. Anthony of Padua on her rjghtv and St. John the Baptist and St. Catherine of Alexandria on her left, bears unmis-takeable proof of the sources of the painter's primal studies. The.posa- and action of the Virgin are closely imitated from Mantegna's Madonna delta Vittoria, then at Mantua (now in the Louvre I ; the draperies remind us of both Costa and Francia ; the colouring recalls that of the Ferrarese School ; the St. John suggests reminiscences of Da Vinci, however, that may be explained. The filiation of Allegri to the schools of Bologna and Ferrara was first clearly demonstrated by "Lermolieff " (Senator Giov. Morelli) in Zeitschrifl far Blldende Kunst, Jahrgang X, and Die Wcrke italieniseher Meister in den Galerfen von Miinchen Dresden and Berlin. t The subject in the cupola of S. Giovanni is the Glory of our Lord, witnessed by the Apostles, who are seated on clouds amidst angels. In the spandrils of the arches are the four Evangelists with their attributes, and the four Fathers of the Church. *" were completed though commissioned in It represents the Assumption of the "Virgin, "who is surrounded by crowds of rejoicing angels. Below stand the Apostles beholding the scene. A stupendous work, of which it is equally impossible to deny the power or to defend the taste. 25640 A 2 4 ALLEGE f. first of these categories. The Gallery of Parma contains the Madonna, with the Magdalen and St. Jerome, the Madonna della Scodella, and the Martyrdom of St. Placidus and St. Flavia ; the Louvre, the Marriage of St. Catherine. Amongst the smaller class may be mentioned the Madonna, called La Zingarella, at Naples ; the Nativity, in the Uffizi at Flrrence ; and in our gallery the exquisite little Vierge au pcnier, which is an epitome of CORREGGIO'S art. In the division of mythological subjects the most famous are the Antiope in the Louvre, the Danae in the Borghese Palace at Rome ; the Venus, Mercury, and Cupid, in our own gallery ; and the Leda at Berlin. In 1520, at Correggio, ANTONIO married Girolama, the young -orphan daughter of Bartolomeo Merlini, an esquire of the Duke -of Mantua. She bore him three daughters, and a son, "Pomponio, who became a painter. Girolama died towards 1530 ; . after which CORREGGIO returned from Parma to his native town, where, on the 5th of March, 1534, he ended a life but little longer than that of Raphael. He was buried in the church of S. Fran- cesco. His parents, as well as his son, and his daughter Fiancesca, survived him. CORREGGIO appears as an isolated phenomenon in Italian ait. His aims differed widely from those of bis predecessors and contemporaries ; and we look in vain, after his earliest years of .practice, for any true affinity between him and other masters. Largeness of style he shared with the greater Florentines and Venetians of his time. It was a natural development of art as its ^resources became more known, and the study of ancient sculpture and select nature advanced. But none before him bad shown the capacity of painting to affect the imagination (irrespective of subject) by the broad massing of light and shadow, by subordi- nating colour to breadth of effect and aerial perspective, and by suggesting the sublimity of space and light. Herein be stood alone, adding a new science to art. But it was not solely in these more abstract qualities that Allegri's greatness showed Jtself. He could endow the offspring of his imagination with a vitality which is astounding. The sense of overflowing life in * " Honestam mulierem dominam Hieronymam fll. q. Bartolome Merlini Armi geri." She was born March 29th, 1503. Her father was killed at the battle of the Taro in November of the same year. See documents quoted in Pungileoni. Memorie Storiche, &c., vol. ii., pp. 150, 151 Ed. 1818. ALLEGRI. 5 h's figures carries us away until we believe in their existence. !. is this creative power in CORKEGGIO which disarms criticism ; yet no great genius has left himself more open to its shafts. The proportions of his figures are frequently faulty. The grace which fiscinates u? tends to degenerate into affectation, and movement into tumult. Endued though he was with a fine sense of physical beauty, he is nevertheless apt to mar the loveliness of childhood by an aspect of implike roguishness. n Drapery, for him, is less a dignified or graceful covering than an auxiliary in producing the breadth of effect he sought. It often conceals or leaves uncertain, instead of finely revealing, the action of the body and limbs : at times it ia an unmeaning shred, fluttering on the wind. CORREGOIO was above all things a painter. In the management of the brush he has been equalled by few, and surpassed by none, and his mode of execution and his colouring arc as peculiar to him as his other qualities. His flesh tones are rich and warm, or cool and opalescent, with infinitely subtle modulations and transitions. The har.nonies he sought differ from those of the great Venetians. Full colours he used with powerful effect in his oil pictures ; but he was fond of quiet tertiaries. His general abstention from green, which plays so conspicuous a part in the Venetian system of colour, is remarkable. Taking this great genius by himself, it is difficult to over- estimate his powers. Bub the influence he exercised upon later art was more baneful than otherwisa.f Even the Divine Infant himself is not spared. In the otherwise enchanting picture called the Day at Parma, his aspect is that of a veritable Puck. Yet how well Correggio could catch the native charm of infancy is shown in our own Vierge au panier. t Authorities on Correggio, besides Vasari, are Grius. Ratti, Notizlc storiche sincere intorno la Vita e le opere del celebre pittore Ant. Allegri da Correggio. Finale 1781. L. Pungileoni, Memorie storiche di Ant. Allegri, &c.: Parma, 1817- 18-21. Corrado Eicci, Ant. Allegri da Corregio. Translated by Florence Simmonds, London, Wm. Heinemann, 1896. Consult also Lanzi and the works of Kaphael Mengs, Kugler, Handbook, &c. Italian Schools. Jacob Burckhardt, Der Cicerone : Loipzig, Seeman, 1869, 3ter. Theil, Malerei ; and English trans- lation of same: Murray, 1875 (?). See also Ivan Lermolieff, as given above. An excellent notice of Correggio, in which all relevant authorities and opinions are brought together, by Dr. J. P. Richter, will be found in Dohmc's Kunst und Kiimtler des Mittdalters und der Ncuzeit : Leipzig, 1879. Band III. ToschiV fine engravings from the frescoes in the Cathedral of Parma are well known. Outlines of frescoes and oil paintings in Landon, Vie et ceuvres des Peintres j Van Eyck and Bogier van der Weyden, had been seen and admired in Italy, the Italian painters generally still continued for many years to work in tempera. Vasari relates that ANTONELLO, having first studied at Rome and then returned to Sicily where he acquired reputation, saw, on a visit to Naple<=, a picture by John Van Eyck, in which the brilliancy and fine fusion of the tints so struck him that he forth- with set out for Flanders, ingratiated himself with Van Eyck, and learnt from him the secret of his method ; that on the death of his Flemish master he returned to Messina, and soon after settled at Venice. Now as John Van Eyck died in 1440, this story would necessarily imply that ANTONELLO was born at any rate early in the century, whereas Vasari subsequently states that he died in 1493, agei 49. Modern research corroborates the latter statement, and fixes the birth of ANTONELLO c. 1444. He could not, therefore, have known Van Eyck, though he may have visited Flanders in order to learn the new method of painting. On the other hand, it is unnecessary to suppose such a journey to have taken place. Flemish pictures were well kr.own and highly prized in Italy. Rogier van der Weyden spent some years of his life in the Peninsula, and without doubt was not the only 25640 B 18 ANTONELLO. northern painter who sought employment there. From one of these ANTONELLO might have gained the knowledge he desired. Certain it is that the style, no less than the technique of almost all his known works proves his affiliation to the northern school. It is useless to inquire where he spent the chief part of his life. He must have attained celebrity in his native island, where, in the church of S. Gregorio at Messina, a triptych by his hand, signed, and dated 1473, still exists. In the same year, however, be was at Yenice, which city became his chief or exclusive place of abode until his death 20 years later. The earliest of his signed works (No. 673 in this gallery) bears the date 1465. It has a markedly Flemish character, as have two other paintings of the same subject, the one in priva f e possession at Genoa, the other in the gallery of Vicenza. An altar-piece of 1473 in S. Cassiano, Venice, has long since disappeared. Later dates range from 1474 to 1478. The magnificent portrait in the Louvre is dated 1475, as is the small Crucifixion in the Antwerp gallery. A portrait in profile in the Casa Trivulzio at Milan is of 1476 : The Crucifixion (No. 1166, below), of 1477. Finally the very exquisite little portrait of a young man in the Berlin gallery is admitted to bear the date of 1478, although the two las-t numerals, which are somewhat obscured, were formerly read as 45. This work, however, has a strongly Venetian stamp, and is justly held to exhibit the influence of the Bellini, who, on their part, were indebted to the Sicilian for their knowledge of the Flemish method of oil painting. But to ANTONELLO and his Flemish education is due that type of portraiture which we find among the Venetian and North Italian painters of his time, and which, under a southern sun, and in the hands of a Titian, expanded itself in the noblest form. What works ANTONELLO may have produced in the last 15 years of his life, it is impossible to guess. Possibly some of them exist in collections under false designations. Not possessed of any great originality, ANTONILLO may have so far succumbed to the influence of the more powerful spirits around him as to adopt their ideas and conform to their style. No. 673- Christ as the Saviour, " Salvator Mundi." The right hand is raised in the act of blessing ; the fingers of the left rest on the edge of a parapet. The inner dress is a dark ANTONELLO. 19 crimson tunic ; a portion of bl le drapery crosses the left shoulder. Bust figure, seen in front, small life size. In the lower part of the neck is seen what is called a pentimento or correction. The right hand and part of the tunic were originally higher, and their forms, obliterated by the painter, have partly re-appeared. * On wood, 1 ft. 4f in. h. by 1 ft. f in. w. including a black border about an inch wide. With a cartellino, inscribed as follows : The year 1465 corresponds not with the eighth but with the thirteenth* indiction. It is therefore supposed either that the painter was misin- formed as to the year of the indiction, or, which is more probable, that the freely written V. was originally crossed so as to form X. Purchased in September, 1861, from the Cavaliere Isola, Genoa. No. 1141. Portrait of a Young Man. (Supposed to be the painter himself.} Bust length ; about two-thirds life size. He wears" a red cap, and a brown doublet, above the collar of which is seen the edge of a linen unier-garment encircling the neck. The hair of the head is short and the face is shaven. Dark background. On panel, 1 ft. If in. h. by 10 in. w. Purchased at Genoa, from Signor G. Molfini, from the interest of the- " Lewis Fund," in 1883. A piece of paper of the last century, glued to the back of this panel, contains a memorandum in now faded ink, in the handwriting of the great-grandfather of Signor G. Molfini, to the following effect: " Anto- " nello of Messina, a city of Sicily, a famous painter " And this is his portrait, painted by himself, as was to be seen by an " inscription below it which I, in order to reduce it (i.e., the picture) to li a better shape, sawed away." Some traces of further writing are now illegible. 25640 B 2 20 ANTONELLO. No. 1166. The Crucifixion. ' The dying Saviour, from the wound on whose side blood is still flowing, hangs nailed to the Cross, at the foot of which lie human skulls and bones. On the left the Virgin, clad in a plum-coloured robe and blue mantle, with a white linen veil, which falls from her head to her knees, sits in an attitude of sorrowful resignation. On the opposite side sits St. John, draped in a grey tunic and scarlet pallium, his face upturned towards his Master, with the hands extended as if in supplication. In the middle distance is seen a fortified town with many small figures, some on horseback. Beyond, a mountainous landscape. Signed on a cartellino below : " On panel, 1 ft. 5 in. h. by 10 in. w. 7. Purchased from Louisa, Marchioness of Waterf ord, out of the interest ofjthe " Clarke Bequest," in 1884. .No. 1418. St. Jerome in his Study. The subject is enclosed by a large stone segmental-headed arch- way, which admits light into an apartment roofed with a Gothic vault' and paved with tiles. A portion of this room is occupied by a wooden structure raised on a platform ascended by steps. On this platform St. Jerome sits at a de^k, turning over the leaves of an open volume. Behind and in front of him rie shelves filled with book*, pottery, and other articles. Towards the right of . the picture St. Jerome's emblematical lion is seen in a vaulted corridor lighted by two windows with land- scape in distance. On the left, at ihe end of a passage, is another window with a distant view of meadows and buildings. On a step in the foreground are a peacock and another bird, probably intended to represent a partridge. This picture is mentioned by the anonimo of Morelli as being in the possess oa of Antonio Pasqualino in Venice in 1529, where it was variously attributed to Antonello, to Jan van Eyck, and to Memlinc. He himself considered it to be by "Jacometto," ANTONELLO AVERCAMP. 21. meaning probably Jaeopo de' Barbari. There seems little doubt that the attribution to Antonello da Messina is the right one. On panel, 1 ft. 6 in. h. by 1 ft. 2 in. w. .-."itf S :u Formerly in the collection of Sir Thomas Baring, at whose sale it was bought by Mr. Wm. Coningham in 1848. It came ultimately into the possession of the Earl of Northbrook, from whom it was purchased for the Gallery in 1894. AVERCAMP (HENDRIK), 1585-after 1663. This painter was born in 1585, the son of Baerend Avercamp, a young Frisian, then a master in the high school of Amsterdam, and of his wife, Beatrix, daughter of the rector, Pieter van. Meerhout. 3 The year after his birth his parents removed to- Katnpen. The boy, who was incurably dumb, and thence- known throughout life as " de Stomme," (the mute)f, early" showed his talent for drawing. As his malady unfitted him for most employments, he was probably placed with a painter at Amsterdam, where he would be cared for by his mother's relations. His master there is supposed to have been the lands- cape painter Gilles van Coninxloo. At Amsterdam chiefly, but also at the Hague and perhaps elsewhere in Holland, HENDRIJK AVERCAMP pursued his art until, at any rate, 1625. Afterwards he withdrew to Kampen, where his widowed mother survived, and where he himself died after 1663. The subjects of most of his pictures are winter scenes. In these he bespreads the frozen water with a busy, motley throng of skaters and sledgers of both sexes, from the well-to-do, gaily-dressed burghers in pursuit of amusement, to the humbler villagers who glide along on their way to market. In the still, freezing air, under the thinly-veiled sky, all is life and motion. A riverside village or the skirts of a town lie in friendly nearness. The figures are sharply defined against the light, reflecting surface o the ice. The refined See " Oud-Holland," Jaargang HI., 1835, p. 53. t Immorzeel (De Levens en Werken, &c. sub voee Avercamp\ conjectures that this byname arose from the painter being of a taciturn disposition. But see the touching death-bed memorial of Beatrix Avereamp to the Magistracy of Kampen respecting her son Hendrik, Dec. 1633, and her will of the same date ; in the former of which documents she repeatedly calls him her dumb and pitiable son (haren stommen ende miserabelen soen), while in the latter she makes provision for his support, in order that he may not be a burden on his brothers and sister. (J. Nanning Uiterdyk, in Obreen's Arch>cf, &c., 2te deel, pp. 203-207.) 22 AVERCAMP. modulations of tint, and the delicacies of aerial perspective, aimed at by painters of such scenes in the middle of the 17th century, are seldomer found in AVERCAMP'S works. These retain traces, rather, of older views of art. His pictures, though of much less frequent occurrence than bis drawings, are to be found in several galleries. His signature is in most cases a simple monogram composed of the letters H and A ; occasionally the full surname appears. No. 1346. A Winter Scene. In the foreground, towards the left, a leafless tree rises above humble tenements on the bank of a frozen canal. In the distance is a chateau with other buildings beyond. On the ice between the foreground and the chateau are numerous gaily-dressed persons skating. On the right, a sleigh occupied by a pleasure party and drawn by a horse. Wintry sky. Signed. "On panel (circular), 1 ft. 3J in. diameter. Purchased in 1891 from Mr. Edward Habich, of Cassel. No. 1479. A Scene on the Ice. To the right is a large red-brick house, apparently a farm, with outbuildings abutting on a wide river, which is frozen over and covered with groups of figures, among whom are men and women skating, a sledging party, and men playing hockey. In the distance the spires of a large town are seen over the trees, and beyond, the river stretches away to the horizon. Signed with the painter's monogram on the water tank in the fore- ground : On panel, 1 ft. 10J in. h. by 2 ft. lOf in. w. Purchased from Mr. J. St. Hens6 from the interest of the " Lewis Fund " in 1896. BAKHUIZEN. 23 BAKHUIZEN (LUDOLF), 1631-1708. Was born at Emden, Dec. 18, 1631. His father was a govern- ment secretary at Emden, and Ludolf acted as his clerk until 1650, when he was placed with a merchant at Amsterdam, to learn commercial business. While thus engaged Bakhuizen commenced making drawings of ships from nature, for which he soon found willing purchasers. He eventually studied painting under Albert van Everdingen, and he received also some instruc- tion in the style which he had chosen from the marine-painter Hendrik Dubbels. BAKHUIZ i N'S favourite subjects were wrecks and stormy seas, which he frequently sketched from nature in an open boat, at the great peril of himself and the boatmen. He engraved a few pieces : there are some etchings of the Y, and other marine views, executed by him when old. He made also many constructive drawings of ships for the Czar Peter the Great, who took lessons of the painter, and frequently visited his painting-room. Among his other avocations, BAKHUIZEK also gave lessons in writing, in which he had introduced a new and approved method. He died at Amsterdam, November 17, 1708. Ludolf Bakhuizen, called the younger, a battle painter, was the nephew of fhe subject of this notice. No. 223. Dutch Shipping. A frigate, with a yacht saluting, a boat, and many small vessels; in a fresh breeze, off the Dutch coast. On canvas, 2 ft. 5 in. h. by 3 ft 5^ in. w. Bequeathed to the National Gallery by Mr. Charles L. Bredel, in 1851. No. 818. Coast Scene. The sea shore with small breakers falling on the sands. A group of figures in the foreground, and a fishing boat pushing off in the middle distance. Signed L. B. On wood, 13^ in. h. by 1 ft. 6J in. w. Engraved by Daudet in the Le Brun Gallery. Formerly in the collections of M. Lorrimer and M. De St. Victor. Purchased from Sir Robert Peel in 1871. * That part of the Zuider Zee on which Amsterdam is situated. M BAKHtJIZEN. No. 819. 6ff the Mouth of the Thames. A gale and a stormy sea ; on the right, cliffs, and a small fishing harbour. An English schooner and two boats in the foreground ; a bark in the middle distance on the left, with mainsail and two foresails set. On canvas, 3 ft. 2 in. h. by 4 ft. 4 in. w. Formerly in the La Fontaine collection. Purchased fromJSir Robert Peel in 1871. No. 1OOO. Shipping, the Estuary of a River. A. jetty, on which is a small shed for passengers by the boats ; the mast and sails of a vessel seen behind the jetty. A small boat with two men in front, another vessel to the right sailing towards a Dutch frigate at anchor in the middle distance. A dark cloudy sky casts a black shadow on the water. On oak, 13J in. h. by 18J in. w. The Wynn Ellis Bequest. 1876. No. 1442. Ships in a Gale. A three-masted vessel and a lugger are running before the wind with shortened sail, in a rough sea, off a hilly coast. In the foreground on the right is a fishing boat brought up in the wind in the act of going about. A large ship is seen on the horizon. On panel, 1 ft. 2| in. h. by 1 ft. 10| in. w. Lent by the Victoria and Albert Museum in exchange with several others for a collection of water-colour drawings lent by the National Gallery in 1895. BALDUNG. BALDUNG (HAMS), 1476 ?-1545. Who acquired and adopted the by-name of GRIEN or GRUN,* was born at Gmiind, in Swabia, in or about 1476. He settled at Strassburg in 1509, but two years afterwards was attracted to Freiburg-in-the-Breisgau, where he occupied himself with important commissions until 1517. Thence he returned to Strassburg, and renewed his lapsed right of citizenship. In 1545 he became a senator of that free city, and in the same year died. His earlier works exhibit the influence of Matthseus Griinewald and Martin Schongauer. Of later date, and more enduring, was the powerful example of Albert Diirer, with whom he stood on terms of friendship.! HANS BALDUNG, how- ever, possessed bath originality and imagination ; he was also a most able draughtsman, a sound if somewhat unequal painter, and a good colorist. In his twentieth year he produced the two altar-wings in the convent of Lichtenthal, near Baden-Baden, where they now form separate centres. His paintings are numerous in Germany, Austria, and Switzerland ; now for the most part in public collections, as at Berlin, Darmstadt, Aschaffenburg, Karlsruhe, Frankfort, Munich, Stuttgart, Vienna, Prague, and Basle ; in churches, as in that of Saint Mary in the Capitol at Cologne, and elsewhere. Dates found on some of these range from 1496 to 1539. BALDUNG'S greatest work is the altar-piece (alluded to above) in the monastery of Freiburg-in the-Breisgau, completed in 1516, the central subject of which is the Coronation of the Virgin. The wings contain, on the inside, figures of the 12 Apostles ; on the outside, four typical incidents in the life of Mary. On the reverse of the central panel is a large Crucifixion. BALDUNG * It has been suggested that this appellation owed its origin to Baldung's fondness for a peculiarly brilliant tint of green often found in his pictures. (Woltmann and Woermann. Geschichte der Malerei, II. 440.) That it was accepted by the artist himself is clear from his accustomed monogram, which is a combination of the letters H and B, with a G across the bar of the former. t Moritz Thausing supposes an early friendship between Diirer and Baldung at Nuremberg, which time and distance left unimpaired. On the death of Diirer, Baldung received a lock of his hair. This interesting relic, after the lapse of centuries, fell into the hands of the eminent painter, Eduard Steinle of Frankfort. It is now in the library of the I. K. Academy of Arts at Vienna. ( M. Thausing, "Diirer," &c.,1. 177, 2nd ed.,1884.) Diirer, in the diary kept during his journey in the Low Countries, records his having sold several impressions of "Griin-Hans's" engravings, which he had apparently taken with him on commission. (Tagebueh. March and June, 1521.) 26 BALDCJNG. sometimes tried allegorical and fanciful subjects. His portraits, of which several exist, are highly individual, and full of character. When unsigned they have sometimes passed for the work of Diirer ; but they want his searching modelling. HANS engraved several copper-plates. Much more numerous, and belonging chiefly to the latest period of his life, are the woodcuts executed upon his designs ; they amount to over 130. Characteristic drawings by him are to be found in most great collections, particularly in those at Vienna, Berlin, and Basle. Carlsruhe is fortunate in the possession of a sketch-book of his own, together with the silver style which he used in designing. No. 245. Bust Portrait of a Senator. An old man with a grey beard, in a purple robe with a fur collar, and a cap on his head, and on his neck a chain and order decoration ; a plain blue background, with the date 1514, and the monogram of Albert Diirer. On wood, 1 ft. 11 in. U. by 1 ft. 7 in. tr. I5H-- The date is probably original ; the monogram is a forgery. Purchased for the National Gallery, in 1854, at the sale of M. Joly de Bammeville's collection. No. 1427. The Dead Christ; a Pietd. The figure of our Lord, supported by the Virgin and St. John, is seen at half length above the edge of a red marble tomb ; behind the group stands Joseph of Arimathea. The background is gold with some clouds, from which the Holy Spirit, in the form * The designs in the sketch-book have been published in fac-simile by Dr- Marc Bosenberg, Frankfort a-M. Keller , 1889. t BALDUNG BARBARELLI. 27 of a dove, is descending. Below, in small, are kneeling figures of the Donor and his family, with two coats of arms. Signed : BALDWIN On panel, 3 ft. 7J in. li. by 2 ft. 10i in. w. Purchased from Mr. George Donaldson from the interest of the " Lewis Fund " in 1894. BARBAREXiXiX (GIORGIO) known as GIOKGIONE. 1477-1510. Commonly called, from his large and handsome stature, GIORGIONE, was born of parents in good circumstances, near Castelfranco, before 1477. He was the fellow-pupil of Titian with Giovanni Bellini at Tenice, and early distinguished himself for his beautiful colouring, and his effective treatment of light and shade. He was fuither distinguished for truth of representa- tion, which he acquired by his practice of referring to nature on all occasions. After having visited his native place, where he painted some pictures, GIORGIONE returned to Venice, and by way of exhibiting a specimen of his ability, decorated the front of bis house with subjects in fresco : he was, in consequence, employed on other works of the kind. Like many artists of the period, he was also in the habit of painting panels for various articles of ornamental furniture ; for these he generally chose his subjects from Ovid, encircling them with appropriate landscape backgrounds. The frescoes with which, in company with Titian, he decorated the fa9ade of the Fondaco de' Tedeschi at Venice have perished, and the nature and character of these groups and single figures can now be judged of only from Zanetti's etchings of the fragments which still remained in the middle of the last century. Many pictures have been and many still are assigned to GIORGIONE, on no authority but that of individual opinion. A very few are admitted on all hands to be his work. * A. M. Zanetti. Varie Pitture a fresco Ac' principals Maestri Venetian!, &c n Venezia. 1760. 28 BARBARELLI. Among (or perhaps as solely) these may be not3d the Enthroned Madonna, with SS. Francis and Liberate, in the parish church of Castelfranco ; the small composition called La Famiglia di Giorgione, once in the Manfrin collection, and now in that left by the late Prince Giovanelli at Venics ; and the so-called Three Philosophers in the Belvedere at Vienna. This great pii iter died in 1510, before the completion of his thirty-fourth year. Some of the greatest masters of the Venetian and neighbouring schools were the scholars or imitators of GIORGIONE : Sebastiano del Piombo, the great Titian himself, anl many others. No. 269. A Knight in Armour. A small figure completely armed with the exception of the head ; in his left hand he holds his lance. A dark background. On wood, 1 ft. 3J in. h. by lOf in. w. This appears to be a study for the figure of San Liberale in the altar- piece by Giorgione at Gastelfranco. The only difference is, that in the altar-piece the warrior wears his helmet, while in this picture he is bare- headed. From a MS. memorandum on the back of the picture, it appears that Mariette had also noticed the resemblance of this figure to the warrior in the Castelfranco altar-piece, which, he observes, was said to represent Gaston de Foix. In the Accademia at Venice is a picture by Palma Vecchio in which the same figure occurs bareheaded. Formerly in the collection of Benjamin West, P.R.A. Bequeathed to the National Gallery by Mr. Samuel Rogers, in 1855. No. 1160. The Adoration of the Magi. To the left of the picture the Virgin, drape i in a large blue mantle, sits on the thresholi of a building holding on her knees the infant Christ (undraped). Beside her sits St. Joseph, clad in a blue tunic and yellow mantle, bearing in his hand a gilt orb or vessel which he has just received from one of the Magi, who, in rich attire, kneels before the Holy Family. Near him, but farther to the rigbt, another of the Magi, also kneeling and bareheaded, presents his gift, attended by a page. Behind this group are other figures (one in armour). To the right of the * To this meagre list the late eminent Italian critic, Sgr. Giovanni Morelli, has now added, with general assent, the Sleeping Venus, No. 236 in the Dresden Gallery, as a veritable work of Giorgione's, and the prototype of Titian's celebrated picture in the "Tribuna" of the Ufflzi at Florence. A few other works, in and out of Italy, may, without much danger of dispute, be ranked in the same category. BARBARELLI SCHOOL OF BARBARELLI. 29 picture are attendants and horses. Average height of figures about eight inches. Blue sky, with a glimpse of landscape in the right-hand upper corner. On panel, 12 in. h. by 2 ft. 8 in. w. Purchased in London, at the sale of the Leigh Court pictures, in 1884. SCHOOL OF GIORGIO BARBARELLI. No. 930. The Garden of Love. A hilly landscape, a village in the background, and mountains in the distance. In the foreground a small stream and cascade partly shaded by overhanging trees ; to the left a man standing with a fiddle in his hand ; behind him a woman with her right hand full of roses ; at her feet two doves. Across the rivulet, towards the middle ground, a man in red suit and cap seated, and a woman reclining against him at his side, apparently asleep; a lute and some music lying in front of them. In the middle distance, two men accosting, and, still further, two other figures conversing. On eanvas, 7 ft. 3 in. \ by 4 ft. 11 in. w. The Wynn Ellis Bequest. 1876. No. 1173. An Unknown Subject. In a garden enclosed by a shrubbery, a personage crowned with a cbaplet of wild olive, and clad in a dark green tunic and maize-coloured pallium, sits on a raised throne, .above which is suspended a conical canopy of coloured stuff. Before him on the steps of the throne, stands a boy in a grey gown bareheaded, and holding a cap in his hand. Behind knee's an attendant offering a dish filled with fruit, herbs, and grain (?), while a young man sitting on the right of the foreground, at the foot of the throne, plays on a mandolin. To the left a panther crawls over the herbage, and a peacock is perched on the dead branch of a tree. Behind rises a high cliff of fantastic shape with a beetling summit. Beyond is a hilly landscape, with buildings, &c. Deer in the middle distance. On panel, 1 ft. ll\ in. h. by 1 ft. 7 in. w. Purchased in London, at the sale of the Bohn Collection, out of the interest of the " Clarke Bequest," in 1885. 30 SCHOOL OF BAEBARELLI BARBIEBI. No. 1123- Venus and Adonis. To the left of the foreground Adonis is seated by the side of Venus, whom he caresses. Both figures are nearly nude ; Venus wears a chaplet of flowers in her hair. Behind her, Cupid aims a dart. Landscape background. In the distance are represented various incidents relating to the classic myth of Myrrha, including the birth of Adonis, her son. On canvas, 2 ft. 6J in. h. by 4 ft. 4 in. w. Formerly attributed to Giorgione, and still considered by some critics as a work of that master. Purchased in London, at the sale of the Hamilton Palace pictures, in 1882. BARBIERI (GIOVANNI FRANCESCO) XL GUERCINO. 1591-1666. GIOVANNI FRANCESCO BARBIERI, Cavaliere, commonly called, from his squinting, GUERCINO, was born of very humble parents at Cento, near Bologna, Feb. 2, 1591 ; his father carried supplies of wood and faggots to the towns, and GDERCINO used to take care of his cart. He was self-taught : and after studying some time at Bologna and Venice, he repaired in the time of Paul V. to Rome ; he there made the acquaintance of Michelangelo da Caravaggio,* and became a decide I imitator of his style ; but, in consequence of the impetuous temper of that painter, soon avoided his society. Having executed several honourable com- missions at Rome, he returned to his native place after the death of his patron, Gregory XV. (Ludovisi), in 1623. GUERCINO remained at Cento for a space of twenty years, when, after the death, of Guido in 1642, he removed to Bologna, where he died in very affluent circumstances in 1666. f He is one of the principal masters of the class called Tenebrosi ; but in his later works, or those which he painted after he settled in Bologna, in which he appears to have endeavoured to approximate the style of Guido, he forsook the vigorous handling and treatment of his earlier pictures, and fell into an insipid manner. His master- piece is the great picture of Santa Petronilla,J in the Capitol of * See the notice of Caravaggio in this Catalogue under AMERIGHI. t Passeri, Vile de' Pittori, &c. ; Malvasia, Fehina Pittrice. A Life of Guercino> was published by J. A. Ualvi at Bologna in 1808. Notizie della Vita, &e., di Gio. Francesco Barbieri. J Santa Petronilla, or Perina, was, according to the legend, the daughter of St. Peter the Apostle. Gucrcino's picture has been engraved by Frey and by Dorigny. BARBIERI BARNABA. 31 Rome. It was painted for one of the chapels of St. Peter's, where there is now a mosaic copy of it : the body of the saint is being deposited in the vault prepared for it in the Yia Ardeatina outside the walls of Rome : above is a vision of the Saviour, with angels, receiving her soul. No. 22. Angels weeping over the Dead Body of Christ. The head and shoulders are supported against a stone ; the figure is slightly foreshortened ; two angels kneeling complete the composition. Engraved by J. Cheesman ; by P. W. Tomkins ; and by S. in Free- man Jones's National Gallery. On copper, 1 ft. 2 in. h. by 1 ft. 5 in. w. Formerly in the Borghese Gallery at Home. Ramdohr, in his account of that collection (1784), notices this picture as one of the productions of Guercino's best time.* It was bequeathed to the National Gallery, in 1831. bv the Rev. W. Holwell-Carr. BARNABA DA MODENA. Second half of 14th century. This artist, as his surname implies, was born at Modena, but appears to have worked principally at Piedmont and at Pisa, to which latter place he was summoned in 1380 to finish the series of frescoes of the story of S. Ranieri, in the Campo Santo, begun in 1377 by Andrea di Firenze. In 1364 he had painted the chapel of the Ducal Palace of Genoa ; in 1370 he did a Madonna for S. Domenico at Turin, which is now in the Turin Gallery. In the Staedel Gallery at Frankfort, and in the Gallery at Berlin, are pictures dated respectively 1367 and 1369. These are the only dates known in connexion with his career. He does not appear to have finished, or perhaps even worked, on the frescoes of S. Ranieri, as these were afterwards given to another painter ; but there are in the Museo Civico at Pisa two pictures by his hand, taken from churches in that town. BARNABA was one of the good painters of his time ; his colouring was luminous and harmonious, and his Madonnas have much grace and charm. ( * Malerei und Bildhauerarbeit in Rom, &c. t See Crowe and Cavalcaselle. Hist, of tainting in Italy, Vol. II., p. 220-2, also the Catalogue of the Nuaeo Civico di Pisa by the Cav. J. B. Supino, 1894. 32 BARNABA BAROCCI. No. 1437. The Descent of the Holy Ghost. In a room with a raftered ceiling are seated the Virgin Mary and the Apostles. Their hands are folded as in prayer, and the tongues of flame are on their heads. All have gold nimbi. The lower part of the picture is occupied by a deci.-rative parapet. In tempera, on wood, 1 ft. 8| in. h. by 1 ft. 7 in. w. Purchased in London from Mr. C. Simpson in 1895. BAROCCI (FEDERIGO), 1528-1612. Or BAROCCIO, was born at Urbino, in the Papal State, in 1528. His father Ambrogio Barocci, a sculptor, originally of a Milanese family, gave him his first instruction in design ; he was after- wards placed with the distinguished painter Battista Franco, who spent some time at Urbino in the service of the Duke Guidubaldo II. After the departure of Franco, BAROCCI also left Urbino, and accompanied his uncle Bartolomeo Genga, the duke's architect, who taught him perspective, to Pesaro, then under the dominion of the Dukes of CJrbino ; his uncle procured him permission to copy some pictures by Titian in the ducal gallery there. In 1548, in his twentieth year, BAROCCI visited Rome, and remained there a few years, devoting his time chiefly to the study of the works of Raphael. Several pictures which he painted after his return to Urbino gained him great reputation. He confined himstlf almost exclusively to religious subject , and executed several large altar-pieces, some of which he etched himself as the Pardon of San Francesco d'Assisi, at Urbino, in 1581 ; and The Annunciation, at Loreto, a few years later ; two of his masterpieces. In 1560, he returned to Rome, and was em- ployed in the following year by Pius IV., with Federigo Zuccaro, in the Vatican. While there engaged, he was nearly poisoned, by some rival, as supposed. Though the attempt failed, it wholly - * It is noticeable that the drapery of the Virgin Mary is treated in the Hieratic or Byzantine manner, while that of the Apostles is in the naturalistic manner of Giotto. The same treatment may be observed in a picture by this master ia the Museo Civico at Pisa (Room V.,No. 6) ; see also Tlie Transfiguration by Duccio di Buoninsegna (No. 1330) in our own Gallery. BAROCCi. 33 incapacitated BAROCCI for painting for four years, and afflicted him for the remainder of his life, fifty-two years, with a disease of the stomach which rendered work impossible for more than two hours in the day. From the period of this misfortune, with the exception of three years passed at Perugia, during which he paid a short visit to Florence, BAROCCI spent the remainder of his long life at Urbino, where he died of apoplexy on the last day of September 1612, aged 84 : he was buried there in the church of San Francesco, with all the ceremony due to his great reputation. BAROCCI is generally said to have founded his style upon the works of Raphael and Corregio : his works have considerable resemblance to those of Corregio in delicacy of light and shade. In colouring he was peculiar ; Mengs has observed, that his works are deficient in yellow tints. Bellori has also pointed out the defects of his colouring, remarking that he used too much vermilion and too much ultra-marine.f Reynolds observes that he " falls under the criticism that was made on an ancient painter, ' that his figures looked as if they fed upon roses.' ''J His style had considerable influence upon the painters of his time, both at Rome and Florence. Of all his followers, the most distinguished was Lodovico Cardi, commonly called Cigoli, who, partly through the example of BAROCCI 's works, became a reformer of the then, degenerate Florentine school. No. 29. A "Holy Family:' Known as "La Madonna del Gatto," from the circumstance of a cat being introduced into the picture. Though the subject h ostensibly holy, it is here treated merely as an ordinary domestic scene. The little St. John, leaning with his left arm upon the lap of the Yirgin, is playfully teasing a cat, by holding up a little bird beyond its reach. The Madonna is pointing with her right hand to the cat, as if to direct the attention of her infant son, who has just turned from the breast, to the incident. Behind is Joseph, who, with his left hand resting upon a table, is leaning forward, and appears to be equally engrossed by the trivial circumstance. * Mengs, Hinterlassene Werke,vol. i., p. 232 t Bellori, Vite de' Pittori, Scultori, eil Arcliitetti moderni, &e. Rome, 1072 Baldinuoci, Notizie de' Professori del Dlsegno da Cimabue in qua. Florence' 1681-88. + Sir J. Reynolds' Notes on Du Fresnoy's Art of Painting, note Iv. 25640 C 34 BAROCCI BARTOLOMMEO. Engraved by C. Cort, in 1577 ; and by A. Garden, and others. On canvas, 3 ft. 9 in. h. by 3 ft. w. A " Madonna del Gatto " is noticed by Bellori, and he appears to allude to this picture, though he calls the little bird a swallow, and mentions that it is tied with a piece of string, which is not evident at present, and the bird is a goldfinch. Bellori terms the composition a scherzo (a playful piece), and adds that it was painted for the Count Antonio Brancaleoni. The picture above described was long in the Cesarei Palace at Perugia, whence it was procured by Mr. Irvine for Mr. Buchanan in 1805, of whom it was purchased by the Rev. W. Holwell-Carr, who bequeathed it, in 1831, to the National Gallery. There are several old copies of it. BARTOLOMIVIEO (FfiA), 1475-1517. The proper name of this great Florentine artist was BAR- TOLOMMEO m PAGHOLO DEL FATTORINO, but he was better known as BACCIO della Porto, so called from his living near the Porta di San Pier Gattolino at Florence. He was early (at the age of nine years) apprenticed to Cosimo Roselli, in whose studio he formed a close frier.dship with Mariotto Albertinelli, with whom he went into partnership, and who was associated with him in many works until the partnership was foimally dissolved in 1512. BARTOLOMMEO was only twenty years old when he came under the influence of Savonarola whose preaching had a disastrous effect by his anathemas directed against all art which did not deal with sacred fcubjects, so much so that many painters in their zeal threw their beautiful vrorks into the bonfires on the Piazza. BACCIO was foremost among these, and his early studies, on the ground of their being nude figures, were sacrificed in obedience to the influence of the narrow-minded fanatic. BACCIO remained Savonarola's fast friend, and two portraits of the preacher by his hand are still extant. A naturally kind and gentle nature, and no doubt the influence of Savonarola, led him early to think of the retirement from the world which Le ultimately adopted, and his inclination in this direction took a more definite form, when on the occasion of the Convent of S. Marco being besieged in 1498 he made the vow that he would become a Dominican monk if he escaped the dangers of the assault ; te did not however, actually take the vows until the year 1500, when he entered the religious BARTOLOMMEO. 35 order of the Dominicans under the name of FKA BARTOLOMMEO, by which he is best known. He seems to have at first led a life of retirement and to have ceased the practice of his art for some years, but he returned to an active life about 1 505, and from that time never ceased to work for the convent of S. Marco of which he was an inmate. His first work of importance was a fresco painting of the Last Judgment which he undertook for the cloister of Sta. Maria Nuova at Florence in 1493 ; this work was, however, left unfinished by the artist, probably because at the time he had male up his mind to renounce the world for a religious life, and it wis completed by Mariotto Albertinelli. From the time that FKA BARTOLOMMEO resumed the practice of his art he was continually engaged, principally in large altar-pieces, and produced his finest work between this time and 1512, an altar-piece in the cathe- dral at Lucca painted in 1509, and the Marriage of the two S.S. Catherine of 1512, now in the Pitti Palace, being his master- pieces. In this and in other similar works he was assisted by Mariotto Albertinelli until the dissolution of their partnership in 1512, already referred to. In the year 1514, FKA BARTOLOMMEO'S health became seriously impaired, due it is surmised to a sickness contracted during a visit to Rome at this time,f and he was sent into the country, to the Dominican hospital at Pian di Mugnone, to recruit. Here, and at a subsequent visit, he painted some frescoes, part of which have perished. On his restoration to health he returned to S. Marco and set to work with renewed energy, and in the course of the three succeeding years produced many large and important works, including a Resurrection in the Pitti Palace, and the Presentation in the Temple at Vienna, a vast composition of the Madonna delta Minericordia in the public gallery at Lucca, and numerous Holy Families, one of which, now in the Corsini Palace at Rome, is a repetition done in 1516, with figures the size of life and the addition of a St. Joseph, of the picture in this gallery described below, but heavy in colour and black in the shadows, and less graceful in the movement and proportions of the figures. After 1514 the FRATE'S health, which * This fresco, the lower part of which, executed by Mariotto, has almost completely perished, was detached from the wall and transferred to canvas after it had become almost ruined by damp and neglect. It is now in the gallery of the Ufflzii in Florence, whither the pictures from Sta. Maria Nuova nave been recently transferred. t Kugler, however, fiinks it probable that this it urney took place after 1514. 25C40 C 2 36 BARTOLOMMEO. seems to have suffered from his illness in that year, and from the incessant labour involved in the production of many important works, frequently failed him, and he was sent to Pian di Mugnone and other places in the hope of receiving benefit. In 1517 he was seized with an access of fever, and he died at the convent of S. Marco at the age of forty-two. FRA BARTOLOMMEO was strongly imbued throughout his career with the principles of Lionardo, and much of the blackness to be found, especially in his latter works, is probably due to his desire to enforce relief on those principles by strong contrast of light and shade. But he was also greatly influenced by Raphael, who was in FJorence in 1504 and ajain in 1508, to which latter date the Holy Family in this collection, which shows the influence of the great master in a marked degree, may probably be referred. On the other hand there is little doubt that the example of FRA BARTOLOMMEO'S large and grand style was a factor in Raphael's gradual emancipation from his early Peruginesque method, and the arrangement of the Disputa del Sacramento in the Vatican is clearly traceable to the effect produced on him by the FRATE'S fresco of the Last Judgment. His visit to Rome, where he went with the desire of seeing the great works of Michelangelo and Raphael, no doubt had also its influence on a master already distinguished for bis breadth and his style and his mastery of composition. He was conspicuous for the ample cast of his draperies, and is said to have been the first to use a jointed lay-figure. His figures combine grace with grandeur of form and gesture, and if his drawing is not always irreproachable it must be remembered that he was largely assisted by pupils. To Fra Paolino, the chief of these, are due many works, founded doubtless on the master's sketches, which are still attributed to the master himself, No. 1694. The Virgin and Child and the Infant St. John. The Virgin, dressed in a rose-coloured tunic and a blue mantle r is seated on the ground in an open landscape. With her left hand she holds the Infant Saviour, who is leaping forward to embrace the little St. John, who, holding the cross and with a cord round him to which hangs a pilgrim's bottle, kneels on one knee before Him, while the Virgin Mother with her left hand presses his head towards that of the Infant Christ. In the background is a town BARTOLOMMEO BASAITI. 37 with churches and towers backed by a rising ground, beyond which is a line of blue mountains delicately relieved against a tender sky. On the right are two slender trees. The composition is of the pyramidal form. The flesh is thinly and luminously painted and the whole picture is in a very light key. The figures are two-thirds the size of life. Painted about 1508-9. Transferred to canvas from wood, 2 ft. 10 in. h. by 2 ft. 3| in. w. In the Corsini Gallery at Rome is a repetition of this composition with the figures life-size reversed and with the figure of St. Joseph added to complete the pyramidal form of the group. Purchased in Rome, 1900. BASAITI (MARCO). End of 15th and beginning of 16th century A Venetian painter, was born in Friuli, according to some writers, of Greek parents. He first appears in 1503, in the capacity of assistant to Alvise Vivarini. His pictures, several of which are preserved, are signed M. Baxit, Marcus Baxaiti, and Marcus Basaiti. He painted probably before 1500 and until after 1521. An alter-piece, representing the Calling of the Sons of Zebedee, painted in 1510, formerly in the Certosa, and now in the Academy of the Fine Arts at Venice, was once considered his masterpiece ; but another specimen in the same gallery Christ In the Garden with his Disciples is now justly preferred to it. BASAITI'S works, when well preserved, are brilliant in colour, and display great ability in the general management of the accessories, especially in the landscape backgrounds, which, according to Zanetti, he contrived to unite with his figures more skilfully than his contemporaries. A contemporary of Giovanni Bellini, he could not escape the influence of that great master, to whom many of his works have been ascribed. Amongst good examples of BASAITI'S art, are the Assumption in S. Pietro Mar tire at Murano, a St. Sebastian in the Salute, Venice ; an exquisite variation on the Calling of the Sons of Zebedee, dated 1515, in the Belvedere at Vienna, and a fine portrait, signed and dated 1521 in the Bergamo Gallery. As one of the early Venetian oil-painters BASAITI may be regarded as having successfully adopted the delicacy and brilliancy of the Flemish masters of the 15th century.* Zanetti, Delia Pittura Veneziana, p. 73. Moschini, Guild per la Cittd di Vcnezia, vol. 1, p. 11. 38 BASAITI BASTIANI. No. 281. St. Jerome reading. The saint is seated, reading a folio volume which rests upon his knee. A small figure in a rocky landscape, with a distant view of a fortified town. On wood, 18f in. Ji. by 13 in. w. Purchased from M. Marcovich, in Venice, in 1855. 8ASSANO (JACOPO). See FONTS. BASTXANX (LAZZARO), about 1425-1512. The name of LAZZARO BASTIANI, or SEBASTIANI. occurs for the first time in the archives of Venice as a witness to a will of bis brother Marco, dated 5th April, 1449. At this time he was living near San Lio, in Venice, with his brother Marco ; later, and until his death, he occupied a house over against the large door of the church of San Raffaele Arcangelo, beyond the canal. In 1460 he was painting an altar piece for the church of San Samuele for the Procurator! di San Marco. Ten years later the brothers of the Scuola di San Marco ordered a picture of the story of David from him, and they promised him the satre payment as they gave to Jacopo Bellini, who had been working for them with his two sons Gentile and Giovanni. It appears, therefore, that at this time LAZZARO was as famous a painter as Jacopo himself. During 1470 LAZZARO was inscribed in the Confraternity of San Marco, and for this Scuola he painted two stories of their titular saint. In 1474 a certain Antonio Corrardi, of Pera, Constantinople, wrote to hh cousin in Venice to order a picture from LAZZARO BASTIANI of a half-figure of Jesus Christ, but, if the painter was already dead, ' Zuan Bellici" was to paint the picture, another evidence of the estimation in which LAZZARO was then held. This work was finished in 1474 by LAZZARO, and his nime continues to occur in the acts of his Sjuola and other do3uments until his death in 1512. In 1508 his name is united with that of his most famous pupil Vittore Carpaccio in estimating the value of the work of Giorgione upon the facade of the Fondaco dei Tedeschi. In the same year, with another of his pupils Benedetto Diatia, he painted the banners for the Piazza San Marco. It is also on record that BASTIANI. 39 he painted twenty-five several portraits of Doges of the height of a bracia and-a half for the Sila del Collegio in the Ducal Palace. Finally we find a notice of the painter's death in the registry of the Scuola di San Marco : " 1512. Ser Lazaro Bastian pitor a San Rafael mori." The most important picture by LA.ZZARO BASTIANI is the signed altar piece " Santa Venerand enthroned surrounded by saints and angels," painted for the church of Corpus Domini, in Venice, but now in the Academy at Vienna. Another signed picture repre- sents Saint Anthony of Padua seated between the branches of a walnut tree with two Franciscan saints, one on either side ; the- Cardinal Bonaventura and brother Loone. Th : s work was painted for the altar of the Scuola di Sant' Antonio at the Frari and is now in the Venice Academy. After 1470, when LAZZARO was inscribed among the brothers of the Scuola di San Gerolamo, he painted two pictures of the last Communion and the funeral of that saint, which are now in the Imperial Gallery at Vienna, and three predella pictures now in the Brera Gallery at Milan. About the year 1480 he painted the picture of the Doge Giovanni Mocenigo kneeling before the Virgin, in the National Gallery, and formerly attributed to his pupil Carpaccio. The first work of LAZZARO'S that bears a date is the picture of Canonico Giovanni of the Angeli kneeling before the Virgin, of 1485, in the Duomo of Murano. The picture of the Coronation of the Virgin in the Gallery Lochis, at Bergamo, is dated 1490. His large picture representing a Miracle of the Holy Cross, now in the Academy at Venice, was painted for the Sala delle Sedute, called of the Holy Cross, in the Scuola di San Giovanni Evangelista, between the years 1486 and 1500, when Gentile Bellini was working for the same confraternity. LAZZARO painted several pictures of the Madonna and of the Annunciation for altar pieces and for organ shutters. The Madonna called " with the beautiful eyes " in the Ducal Palace, at Venice, was attribute i to Giovanni Bellini in the eighteenth century. The Angel Gabriel, ia the Museo Civico, at Padua, is one of the shutters of the organ from the church of San Michele, in Padua. There is also an important picture of the Madonna kneeling before the Christ Child lying in a manger under an elaborate canopy of joiners' work, and surrounded by four saints in a pastoral landscape, in the Venice Academy, and a 40 BASTIANI. solemn " Pieta " in the church of Saut' Antonin, in Venice, that recalls the masterpieces of Giovanni Bellini representing this subject. LAZZARO also designed two important mosaics near the chapel of Saint Clement in Saint Marks, Venice, representing Saints Sergius and Tecla. This artist was tl e principal master of an early Venetian school that differed from the more important schools of the Bellini of Padua and the Vivarini of Murano. His style was developed through the works of Jacobello del Fiora and Michele Giaaibono from Byzantine art, and he was influenced by the inspiring art of Jacopo Bellini in his larger and more important compositions, which may be compared with the drawings by Jacopo Ballini in the books preserved in the Louvre at Paris, and in the British Museum ; but his great claim to fama is that he was the master of the delightful painter Vittore Carpaccio. No. 750. The Madonna and Child enthroned, with Saints; and the Doge Giovanni Mocenigo] in adoration. A votive picture in which the Doge, with banner in hand, kneels before the Virgin, supplicating her protection on the occa- ; sion of the plague of 1478. The gold vase on the small altar before the throne of the Virgin is supposed to contain farmachi or medicaments, for which a blessing is invoked in favour of the city and Republic of Venice, according to the words of the inscription below, UEBEM EEM : VENETAM SERVA. VENETOMQ. SENATUM. ExMiuiSr MEREOR. VIRGO SUPERNA AVE.J Behind the kneeling Doge is his patron saint, John the Baptist : on the opposite side of the picture, by the throne of the Virgin, is St. Christopher with his staff bearing the Infant Christ on las shoulders. Landscape background, figures nearly life-size. * Vittore Carpaccio, La Vite e le Opere, by G. Ludwig and P. Molmenti. t Giovanni Mocenisjo was the seventy-first Doge ; he reigned seven years, 1477-85. and died of the plague in 1485, aged 76. De Vita Moribus et Rebus gestis Omnium Ducum Venetorum, &c., 12mo., Frankf., 1574, a continuation of the original work of Pietro Marcello with woodcuts of the armorial shields of the J " Hail Celestial Virgin, preserve the City and Eepublic of Venice, and the " Venetian Senate, and extend thy protection to me if I deserve it." For AYE possibly should be read FAVE. See Vasari, Vite del Pittori, &c. Ed. Le Monnier, vol. vi. The editors appear to have been unacquainted with this picture, as they give 1493 as the earliest date, showing the activity of Carpaccio. According to the records of the family of Mocenigo di Sant' Eustaehio, this picture was commissioned in 1479, after the plague of the previous year, but was not completed till after the death of the Doge in 1485. It was commissioned to Le presented, according to the custom with reigning Doges, to the Ducal Palace, but after the Doge's death was redeemed or purchased by the family, in whose possession it remained. BASTIANI BAZZI. 41 A photograph of a rare print of this picture was presented to the Gallery by Dr. Gr. Ludwig ; it hangs in the small octagon room. On canvas, 6 ft. h. by 9 ft. 8 in. w. Purchased in Venice in 1865, from the Doge's descendant Aloise Count Mocenigo di Sant' Eustachio. No. 1953. The Virgin and Child. The Virgin, whose figure is seen at half-length, clad in a blue mantle and red robe, supports the Infant Christ as He kneels on a silk cushion which rests on a marble sill, and holds in His hands a fine cord which is attached to the legs of a dove. The background is formed by a dark chocolate-coloured curtain with a festoon of fruit suspended above it. Beyond the curtain on either side are seen a river and wooded landscape with hills. On panel, 2 ft. 8| in. Ii. by 2 ft. 1 in. w. Presented by the National Ait-Collections Fund in 1905. BAZZI (GlOVANNANTONIO), 1477-1549. Commonly called IL SODOMA, was born at Vercelli in Western Lombardy in 1477. His father, Jacopo de' Bazz ; , was a shoe- maker by trade. GIOVANNANTONIO, when in his 13th year, was placed with a local painter named Martino Spanzotti ; but soon after the death of his father, in 1 497. he appears to have betaken himself to Milan, where Leonardo da Vinci was resident. There, if not under the direct teaching, at least within the sphere of the powerful influence of the great master, young BAZZI studied for two or three years. His talents must have become known, for in 1501 we find him at Siena, whither, as Vasari relates, he was conducted by mercantile agents of the wealthy family of the Spannocchi of that city. In Siena his artistic gifts and his youth gained him friends. The native school there, which could look back to such founders as Duccio, the Lorenzetti, and Simone di Martino, had then for many decades vegetated rather than flourished. Little influenced from without, it still followed the traditions, and generally clung to the forms, of the 14th century, into which it could no longer breathe life. BAZZT, therefore, had an open field before him in Siena and its territory. Within the 42 BAZZI. six years that followed his arrival there he found ample employ- men To this period of his life belong the large Descent from the Cross, now in the town gallery ; the frescoes in the convent of S. Anna, near Pienza ; those in the castle of Trequanda in Valdichiana ; and, greater by far, those executed in 1505-6 in the Benedictine convent of Mont' Oliveto Maggiore, south of Siena, 25 in number. These depict incidents in the life of St. Benedict, and complete the series begun by Signorelli. In 1507 the rich patrician banker, Agostino Chigi, domiciled at Rome, revisited Siena, his native city, and struck by the genius of BAZZI, invited him to Rome, and presented him to Julius II. The result of this recommendation was a commission to adorn with frescoes the Camera della Segnatura in the Vatican. But while the painter was still at his task on the vault of the chamber, his work waa cut short by the arrival in Rome of young Raphael, to whom the Pope transferred the commission, with liberty to efface what BAZZI had executed. However, the central composition, consisting of the escutcheon of the Pope supported by boy genii, was left entire ; while the finely designed borderings of the other subjects were destined to enclose the allegorical figures of Sanzio. BAZZI returned to Siena, where, in 1510, he married Beatrice, daughter of Luca de' Galli, landlord of the ian " Alia Corona." He resumed work at Siena until 1513 or 1514, when (Leo X. having succeeded Julius), again invited to Rome by Chigi, he commenced a series of frescoes in a first-floor apart- ment of his patron's villa, afterwards the Villa Farnesina. Of these the most striking is the Nuptials of Alexander and Roxana, a work of surprising beauty and vitality. The inspiration of SODOMA in this instance was Luciaa's description of a work by the Greek painter Aetion. BAZZI'S composition could, of course, have nothing in common with that of the Greek, save the incidents of the story and the beauty of the presentment. But it may well be doubted whether the earlier master surpassed him of the Renaissance in the treatment of the theme chosen by both. The head of Roxana, with downcast eyes, is of a bewitching loveliness. The whole picture is a lyric, full of imagination and delicate fancy. In 1515 SODOMA returned to Siena, which then became his head-quarters for the rest of his life ; although between the year just named and 1542 he moved BAZZI. 43 much about in Tuscany and Upper Italy, and doubtless left productions of his pencil in many localities. To 1518 belong the four fine frescoes in the Oratory of S. Bernardino in Siena, part of a series of which Beccafumi and Girol. del Pacchia executed the rest. Within the two preceding years the Holy Family with S. Calixtus, now in the chapel of the Palazzo Pubblico, had been produced. In 1525 date the frescoes which fill the chapel of S. Catherine of Siena, in S. Domenico. Here, the group of the saint supported by two attendant nuns when, swooning, she receives the holy stigmata, is a masterpiece of unaffected grace and pathos. In the same year was painted the standard for the confraternity of S. Sebastian, showing on one side the martyr bound to a tree, and on the other the Madonna (now in the Uffizi, Florence) ; further, the Adoration of the Kings, foi S. Agostino. At intervals between 1529 and 1537 were executed the frescoes in the Sala della Balestre and in other parts of the Palazzo Pubblico. The colossal Madonna for that architectural gem, the chap'el of S. Maria della Spina at Pisa, dates from 1542.f BAZZI was now advanced in years, and he seems to have retired from active work. Attended in his decline by his wife, he died Feb. 14, 1549. The works of SODOMA show that he issued truly from the school of Leonardo da Vinci. But he himself possessed an innate sense of youthful and feminine beauty and grace, while he could also impart to his figures dignity and energy. His colour is generally harmonious. His execution is very unequal, some- times most careless. Had be studied with only half the earnest- ness which Leonardo so strenuously enjoined, he might have taken rank amongst the greatest artists of his time. But although the more bitter of Vasari's accusations, which betray a strong hostile animus, may be regarded as probably calumnious, there is reason enough to believe that the temperament of SODOMA and his love of pleasure and ostentation sadly interfered with devotion to his art. However, his caprices and aberrations notwithstanding, he was a great artist, and his absence from the illustrious rolls of * It was painted for the altar of S. Calixtus in the Dupmo, and was thence transferred to the Pal Pubblico in either 1681 or 1704. (Private communication from Sgr. G. Milanesi.) t The late Senator Giovanni Morelli has keen reason for restoring to Sodoma many works which have long borne other attributions. 44 BAZZI BECCAFUMI. the later Renaissance would have left a sensible gap in the history o Italian painting. By his example the languishing school of Siena received an impulse such as the tamer art of Piuturicchio could scarcely have given to it. No. 1144. The Madonna and Child with Saints. On a throne, canopied by a curtain which is raised by boy angels, sits the Virgin, clad in a red tunic and a blue mantle, and bearing on her knees the Infant Christ. He raises his hands to bless a kneeling monk, who is presented by St. Peter. St. Catherine of Siena stands on the right of the Virgin. On wood, 1 ft. 7 in. h. by 1 ft. 2 in. w. Formerly in the Rossini Collection at Pisa. Purchased at Florence, in 1883, from Mr. C. Fairfax Murray. No. 1337. Head of Our Lord. A life-size study ; bust length ; possibly part of a large pic- ture. The head of our Lord, inclined downwards, is crowned with thorns, from which thick clusters of brown hair fall on each side of the face. The eyes are downcast ; the hands raised in prayer ; the breast and shoulders are draped in white linen. On canvas, 1 ft. 2| in. h. by 11 J in. w. Purchased in 1891, from Mr. Edward Habich, of Cassel. BECCAFUIVII (DOMENICO), 1488-1551. According to Vasari this artist's name was Mecherino, and he was called BECCAFDMI after his first patron ; but Mecherino may be merely a diminutive of Domenico. His father, Pacio, according to the same authority, was a labourer on the estate of Lorenzo Beccafumi, the patron in question, who found Domenico drawing with a stick in the sand and had him educated in art. Another account, however, makes Pacio an artist of some distinction. DOMENICO was born in the neigh- bourhood of Siena in 1486. His style was first formed on Pietro Perugino, two of whose pictures in Siena he copied. About the year 1510, when the ceiling of the Sixtine Chapel in the Vatican was completed, he went to Rome, and there BECCAFUMI. 45 devoted himself to the study of the works of Michel Angelo and Raphael and of the antique. He was at Siena again in 1512, and became for the time a close follower of Sodoma, who had recently arrived in that city ; at which time he painted the fa9ade of a house belonging to the Borghesi in rivalry with Sodoma, who was executing a similar work for Agostino Bardi. Thif seems to have made his reputation, as he was soon actively employed in painting altar-pieces for churches, among others one of St. Catherine receiving the stigmata for the convent of Monte Oliveto, which is considered his best work. The frescoes of classical subjects which he painted for the house of Marcello Agostini still remain, and are described at length by Vasari ; he was also employed in the same class of decorative work for a hall in the Palazzo Pubblico. In 1541 he went to Genoa in accordance with a request from Prince Doria that he would exesute some paintings for his palace ; but he was never happy away from his native town, and after having done one painting he returned to Siena, stopping, however, at Pisa for a short time on his way home. His last paintings were for the apse behind the High Altar in the Duomo at Siena ; these seem to have occupied him from 1539 to 1544. The works, however, by which he is best known are the designs in chiaroscuro executed in tinted marbles for the pavement of the Duomo. The first of these was done as early as 1517, and various other portions were carried out in 1521, 1525, 1544, and 1546. Six of the cartoons for these panels and friezes are pre- served in the Accademia delle Belle Arti in Siena, where are also several of his pictures, including the altar-piece for Monte Oliveto alluded to above. Towards the end of his life he took to sculpture and executed eight angels in bronze for the Duomo. but died before he was able to complete a further commission for the Twelve Apostles in the same material. His death tock place in May 1551 as is proved by an existing document giving the expenses of his funeral. BECCAFUMI was much influenced by the various painters of his time ; he was an excellent master in perspective, and as has been seen, was, like so many other artists of the Renaissance, sculptor as well as painter. He was a man of retiring habits, and occupied his leisure in cultivating a small property which he possessed outside the gates of Siena. He used to say that he could not work out of the air of his native city. 46 BECCAFUMI BEERSTRAATEN. No. 1430. Esther before Ahasuerus. This is probably a fantastic treatment of Esther brought before Ahasuerus, or possibly of the visit of the Queen of Sheba to Solomon. Under a dark arched building a female figure with others grouped round her is approaching a seated figure on a throne, and is introduced by a youth standing on the steps. Other figures apparently intended for Orientals follow in her train, and various groups in the foreground point with an appearance of interest to the scene taking place under the arch- way. On the right a lady is emerging from a litter. The background is filled up with isolated buildings and ruins, behind which is seen a river crossed by a bridge with mountains in the distance. On panel, 2 ft. 5 in. h. by 4 ft. 6 in. w. Presented by Mr. Geo. Salting 1894. 3EERSTR3.ATEN ( JAN ABRAHAMS). 1622-1666. This painter, the son of Abraham Jansz Beerstraaten, a cooper of Amsterdam, was baptized there May 31, 1622. lu 1642 he married Magdalena, daughter of Antonie van Bronckhorst. She died in 1665, leaving four sons and a daughter ; her husband survived her no more than about a year.f Nothing further is known as to his life, and, although he deserves a distinct place in the Amsterdam school his name is not mentioned by any nearly contemporary biographer. BEERSTRAATEN, as the subjects of many of his pictures and drawings prove, journeyed in various parts of Holland. Whether he ever travelled further is utcer- tain. His paintings of Mediterranean seaports might have been founded on local sketches by other Dutch artists ; but his drawings of similar scenes can less easily be so accounted for. Marine and coast views with shipping, often with a stormy sea, views in towns, winter landscapes peopled with skaters, and, occasionally, sea fights, were his chosen subjects. His manner of painting was vigorous. Delicate finish and precision of touch * For the facts above stated see L'Art et Its Artistes hollandais par Henri Havard. Paris, Quantin, 1874-1881, III. t He died in 1666. Bredius, Catal. des Peintures du Musee de TEtat a Amsterdam : 2nd ed. 1888. The year of Beerstraaten's death has been accepted 43 probably 1687. BEERSTRAATEN. 47 were less his aim than freedom of handling combined with broad contrasts of tone, where the colour, of a subdued richness, shuns brilliancy and often loses itself in harmonies of grey. The best of the figures in his works were perhaps supplied by other hands than his own. The five pictures by BEERSTRAATEN in the State-Museum at Amsterdam afford excellent examples of each class of subject treated by him ; the Town Hall of the same city contains two specimens ; some are in the Six and other private collections. The painter is also represented in the Louvre, in the Galleries of Rotterdam, Berlin, Dresden, and Munich, and richly in Sweden. A great number of his drawings, executed for the most part in chalk and slight Indian ink or bistre wash, are extant. No. 1311* A Winter Scene ; The Castle of Muiden in the centre ; Skaters on the Ice. The castle, a massive square structure with round towers at the angles and high-pitched roofs, appears to be that of Muiden, between Amsterdam and Naarden. A light wooden bridge supported on stakes connects it with an embanked causeway on the left, from which the frozen water, surrounding the castle and enlivened by skaters, extends to the extreme right and towards the distance, where the fortified village of Muiden is seen. On the left, far off, appears the Zuyder Zee. The country, interspersed with trees, Jies under snow. The sky is obscured by masses of dark cloud which, low on the extreme left, transmit some lurid yellow light from the declining sun. Signed in the foreground I. BEERS TRAATEN, 1658. On canvas, 3 ft. 1 in. h. by 1 ft. 2 in. w. Purchased in London from Messrs. P. & D. Colnaghi, in 1890. * Hazard op. cit. gives a list of pictures and drawings by J. Beerstraaten. Certain pictures exist having the characteristics of those of the subject of the present notice, but signed A. Beerstraaien. This initial A., long held to denote Alexander, then Abraham, is now believed to stand in all cases for Antonie on the evidence of two pictures which bear the last of these Christian names in full. The painter was a contemporary and perhaps a brother of Jan. (Amsterdam Catalogues as above.) 48 BEG A BELLINI. BEG-A (CORNELIS PlETERSZ). 1620-1664. Was a pupil of Adrian van Ostade. He was born at Haarlem in 1620, and was the son of a sculptor. His works are of the same character as uhose of his master, but are heavier in quality and rather over-loaded in touch, but characterised by very high finish. He died of the plague in 1664. No. 1481. " The Philosopher." A man with spectacles in his hand is seated before an. open book. Behind him is a globe. The room is encumbered with books, papers, clothes, and other objects, and has the appearance of a second-hand dealer's shop. The whole is executed with extreme care and finish. Signed : C. P. Bega, A 1663 On panel, 1 ft. 2 in. h. by 11 1 in. w. Presented by Mr. Martin Colnaghi in 1896. BELLINI (GENTILE), 1426-7-1507. GENTILE, elder brother of Giovanni, and son of Jacopo Bellini, was born about 1426-27. He was named after Gentile da Fabriano, under whom his father had studied. He learnt his art from his father at Padua. It was not until after his thirtieth year that he removed to Venice, where he is first heard of in 1464, as commissioned to paint on the organ-shutters of St. Mark's, in tempera, colossal figures of Saints Mark, Theo- dore, Jerome and Francis. These remain in their original place, in all their dry severity. In 1465 he painted for the church of S. Maria dell' Orto, in tempera on canvas, the figure of the Beato Lorenzo Giustiniani, first Patriarch of Venice ; an injured work, recently rescued from its obscurity in the magazine of the Accademia of Venice ; but interesting, as illustrating the severe training of the school of Jacopo. Eleven years later GENTILE was employed by the State to renovate the frescoes by Gentile du Fabriano in the Hall of the Grand Council in the Ducal Palace ; * See Memoir of Giovanni Bellini in this Catalogue. BELLINL 49 these having shown signs of decay. Gaining in reputation, and in favour with the authorities, he was selected by the Senate to fulfil the request of the Ottoman Sultan Mahomet II. that a skilful limner might be sent him from Venice ; and on the 3rd of September 1479, GENTILE sailed for Constantinople with two assistants, at the expense of the State. The Sultan, who was by no means a rigid mussulman, sat for his portrait to the artist, and his example was no doubt followed by many of the magnates at court.* GENTILE appears not to have stayed very long in the Turkish capital. On leaving it he was rewarded by the Sultan with oriental munificence, raised to the dignity of knighthood, and invested with a richly-wrought chain of gold, equal in weight to 220 golden scudi. Returned to Venice, he received from the State an annual salary of 220 scudi, settled on him for life. He rejoined his brother at their work in the ducal palace, and painted on canvas, for the Hall of the Grand Council, four subjects from the legend of Frederick Barbarossa's visit to Venice. These unhappily perished in the great firo at the Palace in 1577. Vasari, who had seen them, has left us an interesting description of them. It must have been about the- year 1486 that Titian, as a boy of nine years old, entered the studio of GENTILE. Two or three of the extant productions of GENTILE may here be mentioned. The moderately -sized picture of a Miracle of the True Cross in the Venice Academy is well known. In this work the portrait of Caterina Cornaro, quondam Queen of Cyprus, is said to be introduced among the kneeling dames who line the quay of the canal and witness the miracle. In the same collection is the large composition of the Procession of Corpus Domini, also illustrating a local miracle. Although sadly shorn of its original brilliancy by the ravages of time and the more regrettable assaults of clumsy restorers, it still retains nutt3r enough to attract and fix the admiration of the artist. The same remarks apply to the picture of St. Mark * The late Sir Henry Layard's collection at Venice contains a most interesting and valuable, though somewhat impaired portrait of the great Ottoman conqueror, by Gentile Bellini. It is no doubt an autograph replica of the portrait which the artist painted at Constantinople, and which must have remained with the Sultan, and it probably served as the type from which the bronze medal or plaque of Mahomet II., well known to collectors, was carved. The finish of his work in its best preserved parts is of the utmost minuteness and delicacy. 25640 D 50 BELLINI. preaching at Alexandria, now in the Brera Gallery at Milan. The restorations in this case are observable chiefly in the group of white-veiled oriental women who sit on the ground in front of the Apostle. This important work was unfinished when GENTILE died, and was completed, as his will enjoined, by Giovanni. An Adoration of the Magi in the late Sir Henry Layard's collection at Venice (in oil, on canvas), belongs to an earlier, though late period of the painter's life. It is an interesting work, with its trains of figures in varied eastern costume, and a proof of the freedom of pencil which the master gradually attained after he had adopted practice in oil.* Although he painted many portraits, few of those now ascribed to him can be authenticated. GENTILE was married, but he left no children. He died February 23, 1507, and his remains were interred, as his will directed, in the church of SS. Giovanni e Paolo in Venice. No. 1213. (Supposed) Portrait of Girolamo Malatini, Professor of Mathematics at Venice. Half length ; life size. A man of about 70 years of age, with white hair and shaven face, dressed in a black gown and black berretta, holding in his left hand a large pair of compasses, and raising his right with a gesture of explanation. On canvas ; in oil, 2 ft. 3 in. /<, by 1 ft. 10| in. w. Purchased in 1886 from Dr. J. P. Richter, out of the " Walker Bequest." BELLINI (GIOVANNI), 1428 ?-1516. GIOVANNI BELLINI,! and his elder brother, Gentile, were the sons of the Venetian Jacopo di Piero Bellini, an artist of great talent, and originally a pupil of Gentile da Fabriano, under whose tutelage he entered while the latter -was at Venice, and whom he accompanied as apprentice to Florence. He afterwards * Mr. Ludwig Mond possesses a Madonna and Child, probably painted in oil on wood, signed "Opas Gentilis Bellini Veneti Equitis." f In the Venetian mode, Giambellin, Zambellin, or Zuan Bellin. BELLINI. 5t made Padua his chief place of abode.* Of the circumstances of Jacopo'a marriage, and of the dates of his children's births, there is no record. His younger son GIOVANNI was born about 1428, or possibly a year or two earlier. The sons studied together in their father's school at Padua, and at the most impressible period of life must have seen the great works which Donatello was then executing in that city. There too they formed a friendship with the young Andrea (afterwards the great Mantegna), who was then emerging from the school of Squarcione, and who subsequently married their sister Nicolosa.f Without doubt the master mind of Andrea, and his severe tendencies in art, exercised a lasting influence upon the milder nature of GIAN BELLINI. This influence is very manifest in works of his middle period ; notably in the large altar-piece painted for the church of SS. Giovanni e Paolo,! at Venice ; and in the yet earlier and more beautiful work for the church of S. Giobbe, now in the Accademia. It may have been after 1460 that GIOVANNI settled at Venice, where he had to rival the established fame of the Vivarini. By his own talents and the aid of his brother, who had attained to great credit with the Signory, he gradually rose in esteem ; and in 1479, when Gentile departed on his famous mission to Constantinople, GIOVANNI was appointed in his place to carry on the series of pictures for the Hall of the Great Council, begun by his brother in 1474, at the instance of the Doge, Niccolo Marcello. In consideration of this commission he received the promise of the first vacant senseria (broker's patent) in the Fondaco de' Tedeschi. On Gentile's return the brothers worked together on those great canvasses, the destruc- tion of which by a fire in the Ducal Palace in 1577, has deprived us of the power of estimating their merits. In the course of a long life the style and method of GIAN BELLINI altered and developed greatly. His earlier works were executed in tempera. But the use of an oil medium was spreading itself over Italy, and, having been introduced into Venice by * He painted also at Verona, as well as at Venice, where he was employed in 1430 ; as attested by an autographic inscription in his drawing book now in the British Museum. t See the memoir of Mantegna in this Catalogue. I Burned, together with Titian's famous " Death of S. Peter, Martyr," in the fire which broke out in the sacristy of that church on the 16th August, 1867. Notes on the Bellini in Gazette des Beaux Arts, vol. xx., 1866, p. 981. 25640 D 2 52 BELLINI. Antonello da Messina, was gradually adopted by the native painters, GIOVANNI being one of the fir>t to master the new prac- tice, which, before the close of his laborious career, he carried towards that perfection fully given to it by the hands of his great pupils Giorgione and Titian. GIOVANNI'S productions are marked by dignity and gravity ; by a deep pathos, and often by a winning naivete. A prophetic sadness veils the sweet faces of his Madonnas. But the solemnity of his manner sometimes rises to grandeur. His drawing is true to nature ; the cast of his drapery fine. His colouring grew to be warm and lustrous ; and although it was not his aim to paint flesh from the point of view of Titian, his flesh-tones in his later period are rich and glowing ; they form a part of the genera) harmony. "With Titian they become the key-note of the whole. In the management of his landscape backgrounds he equalled any, and surpassed most, of his competitors, uniting breadth of treatment with the most loving finish in details. He painted many portraits, amongst which those of the contemporary Doges.* Taken altogether, GIAX BELLINI was distinctly the greatest figure in the Venetian School in his time. And that he was still acknowledged as such towards the end of his life we have proof in the testimony of Albert Diirer, who, on his visit to Venice in 1506, was so much impressed by the man and influenced by the painter. We may still contemplate won- deringly his masterly work in S. Zaccaria, executed in 1505 ; and his glowing altar-piece in S. Giovanni Crisostomo, painted in 1513 ; and may witness with surprise the rejuvenescence shown in the Baccanale of the following year, where fine design, gem-like colour, and exquisite landscape, combine to exhaust the aims of the renaissance in Art.f He died November 24th, 1516, being then, if we adopt the lowest possible computation, in his ninetieth year, and was buried in the church of SS. Giovanni Paolo in the same tomb where his brother had lain since 1507, A galaxy of great painters owed their more or less direct teaching to Giovanni Bellini, such as Cima da ConegKano, Lorenzo Lotto. Palma Vecchio. and those princes of the Art, * Giovanni Mocenigo, Marco Barbarigo, Agostino Barbarigo, and Leonardo Loredana. t Now in the possession of the Duke of Northumberland at Alnwiek Castle. This picture was, however, left unfinished at Bellini's death, and was completed by Titian BELLINI. 53 Giorgione and Titian ; to S'iy nothing of a minor host with less capacity for development, whose works, during their lives, reflected the images of their prototype. No. 189. Bust Portrait of the Doge Leonardo Loredano in his State Bobes. He died in 1521, having filled the office of Doge nearly 20 years from 1501.* Joannes Bellinus is written on an unfolded scrip of paper, or cartellino. On wood, 2 ft. li. by 1 f b. 5 in. w. This picture was formerly in the Griinani Palace at Venice, whence it was brought to England by the labe Lord Cawdor. It passed subse- quently into the possession of Mr. Beckford, from whom it was pur- chased for the National Gallery, in 1844. No. 280. Madonna and Child. The Virgin with the Child on her knee. In her left hand she holds an apple, on which the right hand of the Child rests ; her right hand supports the Child. Behind is suspended a green curtain with a red border. Lmdscape background. Inscribed on an unfolded scrip of piper, on a coloured marble screen below, JOANNES BELLINUS, P. 9 De Vita, Moribus, et Rebus Gestis Omnium Ducurn Venetorum &c., Historia. Francofurti ad Moenum. 1574. 54 BELLINI On wood, 2 ft. ilj in. h. by 2 ft. 1 in. w. Engraved by L. Boscolo. Purchased from the Baron Galvagna, in Venice, in 1855. No. 599. The Infant Christ asleep on the Lap of the Virgin. The Virgin Mother is seated on the ground in a meadow and adoring the Child. Behind are some go its and cattle pasturing ; in the background is a convent on a hill, with mountains in the distance. On the left is an eagle perched on a dead or leafless tree, watching a contest between a stork and a snake at the foot of the tree.* On wood, 2 ft. 2 in. h. by 2 ft. 9 in. w. Purchased in Florence from Signor Achille Farina, in 1858. No. 726. Christ's Agony in the Garden. A rocky landscape in a warm twilight. In the fore-ground are the three disciples sleeping, while the Lord is praying on a hill a little way from them ; above, an angel appears holding a cup as the emblem of the Passion. In the distance beyond the b-ook Cedron, is seen Judas approaching with a crowd of Jews. (See Lnke, ch. xxii., and John, ch. xviii.) On wood, 2 ft. 8 in. U. by 4 ft 2 in. w. Purchased in London at the Davenport-Bromley sale in 1863. No. 808. St. Peter Martyr. Portrait of a Dominican Monk, holding a palm branch, with a knife in his head and a dagger in his breast. Signed in a car- tellino, Joannes Bellinnus, pinxit. On wood, 1 ft. 10J in. h. by 1 ft. 6 in. w. From the collection of the Marquis Picenardi. Purchased in 1870 at Milan, from Signor Giuseppe Baslini. * This picture has hitherto been attributed to Basaiti, from the time when it was first placed in the National Gallery. If, however, a picture, signed Giovanni Bellini, in the Giovanelli Palace at Venice, is really by that painter, there can be little doubt that the present work, which is identical in manner of painting, key of colour, and general effect, is by the same famous hand. It may be compared also with the Baptism of Christ by Giovanni Bellini, in the 'Church of Santa Corona at Vicenza, and with a Madonna and Child (No. 297) in the Brera Gallery at Milan ; and as regards the background, with No. 812 in the National Gallery. BELLINI. 55 No. 812. Landscape, with the Death of St. Peter Martyr, 1252. The Dominican and his companion are attacked by two armed men in a wood, on the road between Milan and Como. In the background are several labourers at work in the wood ; a small town is seen in the distance. Signed, Joannes Bellinus,ft. On wood, 3 ft. 4 in. h. by 5 ft. 4 in. w. Presented by Lady Eastlake in 1870. No. 1233. The Blood of the Redeemer. A mystic subject. The risen Saviour, unclothed but for a linen loin-cloth, stands before us, encircling with his left arm the- Cross, on which hangs the Crown of Thorns. Of the pierced hands, the left presses round the wound in the side, while the- right is extended with open palm. His look and gestures seem to demonstrate that the blood which pours from the lance-wound is freely given for the redemption of the world. The blood is received in a chalice by a little kneeling angel, winged, and wearing a long violet-grey tunic. The figures are on a terrace, which is paved with squares of marble, white and black, and enclosed by a parapet, decorated with antique reliefs modelled in gold on a black ground. Beyond this is a sombre landscape, with castellated buildings on the left, and ruins on the right ;, near the latter are seen two small figures. Towards the high horizon is a distant town amidst low hills. The streaky sky- indicates early dawn. On wood, 1 ft. 6 in. h. by 1 ft. 1 in. w. Purchased in London from Mr. C. Fairfax Murray, out of the interest of the " Clarke Bequest," in 1887. No. 1440. St. Dominic. This head is a portrait of a nonk in the character of St. Dominic. He wears the Dominican robe and a black skull cap. The right hand, which alone is seen above the red marble parapet, holds the lily and a book in red binding on which is a small white label with the words Sancts Dominies. Behind is a green curtain with a pattern of daisies and red flowers. 56 BELLINI. On the parapet is a cartellino with the name : IOANIS BELLIN OP MDXV. and painted on the parapet is the following inscription (much effaced) : Imago Fratris Theodori Urbinati.* On canvas, 2 ft. h. by 1 ft. 7 in. w. Lent by the Victoria and Albert Museum in exchange with several others for a collection of water-colour drawings by the National Gallery in 1895. No. 1455. The Circumcision. The Infant Christ is supported by the Virgin Mother and St. Joseph on a table in the centre covered with a white damask cloth. On the left is the High Priest in a rich cope of white brocade with a broad coloured border of Oriental design, and a veil of a similar character over his head. Behind him a man with reddish hair and beard holds back the cope displaying its crimson lining and the sleeve of the tunic beneath, also covered with rich Oriental embroidery of great beauty of design. To the right is St. Catherine in a dark mantle, with a head-dress of pearls partly seen under a yellow veil which is wrapped round the head and shoulders.f Signed on a cartellino : JOANNES * The name of the Venble. Father Theodoras of Urbino as a member of the Convent of SS. Giov. e Paolo occurs in a document of the year 1514, discovered by Dr. Qustav Ludwig. t Replicas of this picture are to be met with in public galleries in Italy, and one was exhibited at the Venetian Exhibition at the New Gallery in 1893. The High Priest is also to be found in other Venetian pictures of the same period, generally with the remarkable Oriental embroidery on the cope, as in the Presentation in the Temple by Bissolo in the Venice Academy. An earlier example is in a picture attributed to Mansueti in the Museo Civico at Padua, but in this the cope is not embroidered. BELLINI BELTRAFFIO. 57 In oil, on wood, 2 ft. 4 in. h. by 3 ft. 4 in. w. Presented in 1895 by the Earl of Carlisle. No. 1696. Virgin and Child. The Madonna is seated in front of a red hanging of the usual type holding the Infant Christ in her lap with both hands, which are crossed in front of Him. She wears a deep red tunic and a pale blue mantle over the white veil which falls over her forehead. The blue has almost entirely faded from the mantle, and the picture has suffered in many places, probably in being detached from the wall on which it was originally painted. Fresco painting on plaster, 2 ft. 9| in. k. by 1 ft. lOf in. w. Presented by Lady Layard in 1900. BELTRAFFIO (GIOVAN ANTONIO), 1467-1516. Or BOLTRAFFIO, was born at Milan of noble parents in 1467. He must have followed his artistic instincts early in life, although it was probably not until after Leonard! da Vinci had settled at Milan that BELTRAFFIO, coming under his influence, determined to devote himself seriously to the study and practice of painting. He sat at the feet of the teacher, lodged with him, and became one of his most ardent disciples. He sought with all reverence to follow the precepts and imbibe the spirit of his great master, but a strong intelligence saved him from becoming a mere imitator. His scope was not wide nor his imagination powerful, but within the limits to which he confined himself, nothing could exceed the loving care which he bestowed upon his refined works. His outline is pure and select, his modelling true, if wanting in the thoroughness and subtlety of Leonardo's, his colouring always pleasing. His portraits are so fine that we only regret their rarity. Of his works on a large scale, which are very rare, the most important is the altar-piece formerly in the church of the Misericordia, near Bologna, but now in the Louvre. It contains, in a landscape, the Virgin and Infant, SS. John the Baptist and Sebastian, and two worshippers (G-irolamo and Giacomo Casio). 58 BELTRAFFIO BENVENUTO. The feeling throughout is noble, although the head of the Virgin lacks the more classic type to be found in the picture described below, and in the exquisite small panel of the Poldi-Pezzoli collection at Milan. The Berlin Gallery contains a fine S. Barbara. The fresco in the convent of S. Oaofrio at Rome (Madonna and Child with a Wor shipper") , commonly ascribed to Da Vinci, is now, with much show of reason, given to his pupil. Some beautiful portrait studies in crayons, undoubtedly by the latter, though still attributed to his master, are in the Ambrosiana at Milan. BELTRAFFIO appears to have been one of the friends who accompanied Leonardo to Rome in 1514. He died at Milan, June 15, 1516, three years before the decease of his master. No. 728. The Madonna and Child. The Child lying on its mother's lap, has just turned away from her breast and is looking out of the picture. In the background is a landscape almost who'.ly screened from view by a green and gold hanging. Figures life-size. On chesnut, 3 ft. h. by 2 ft. 2 in. w. Formerly in the Northwick Collection. Purchased in London at the Davenport -Bromley sale in 1863. BENVENUTO DA SIENA, 1436-1518? BENVENUTO, of Siena, was born on the 13th of September, 1436, and was the son of Giovanni di Meo del Guasto, a mason. He died in 1518 or 1519. BENVENUTO executed some of the illuminations of the books of the choir of the cathedral of Siena, in 1482 ; and he designed portions oH the pavement there in 1485 : the Tiburtme Sibyl, Albunea, and Jephthas Sacrifice. There are three small pictures by him in the Academy at Siena ; and at Volterra is an Annunciation painted in 1466, signed OPUS BENVENUTI JOANNIS DE SENIS. BEN VENUTO BERCHEM. 59 By an income return in 1488, in which he complains of dearth of work in Siena, it appears that the painter had three sons and three daughters. His son Girolamo di Benvenuto, also a master of some position, was born in 1470, and died about 1524. No. 909. Madonna and Child, with Saints. An altar-piece in three compartments. On the centre panel is represented the Virgin, seated on the throne, placing a sprig of white roses in the hand of the divine Infant on her knees. Above and behind the throne are two angels playing on musical instruments. Beneath is the inscription : Regina celi lettare Alleluia. On the side panels are represented St. Peter and St. Nicholas of Bari. Their names are inscribed beneath. Santus Petrus Apostolus ; and Santus Nicholaus De Bari. In tempera, on wood. Centre panel, 5 ft. 6 in. h. by 2 ft. 1 in. w. Side panels, each 5 ft. 6 in. h. by 1 ft. 9 in. w. The centre panel was purchased in 1874 at the first sale of Mr. Alexander Barker's Collection, and the side panels at a later sale of the same collection in 1879. BERCHEM (NICOLAS), 1620-1683. Was baptized at Haarlem, Oct. 1, 1620 ; and died at Amsterdam, Feb. 18, 1683. He had many masters, among whom were his father Pieter Claasze, Jan Van Goyen, J. B. Weenix, and Jan Wil, whose daughter he married. BERCHEM painted in several styles portrait, figure (large and small), battles, and landscape with cattle and small figures, in which last class he is chiefly distinguished. His pictures are remarkable for their composition, their careful finish, and at the same time freedom of handling ,- and for their warm tone of colour and brilliant lighting. He is * Milanesi, Doeumenti, &c., dell 'Arte Senese, vol. iii., p. 79. Crowe and Cavalcaselle, Painting in Italy, &c., vol. iii. 60 BERCHEM. supposed by some, from the nature of his scenes, to have studied in Italy. At the height of his reputation, in 1665, BERCHEM sold his labour, from early morning until four in the afternoon, for 10 florins a day : his wife is said to have suffered him to keep very little money ; he appears to have been prone to spend it too freely on Italian drawings. At the sale of his effects after his death his pictures produced 12,000 florins, and his sketches 800. BERCHEM also etched ; there are in all 56 plates attributed to him, chiefly of animals, which are very scarce. BERCHEM was a nickname or surname that originated with himself ; it is variously accounted for. No. 24O. Crossing the Ford. A hilly scene with clump of trees under a sunset sky ; in the fore-ground are figures and cattle, sheep, &c., crossing a stream. On wood, llf in. h. by 1 ft. 5J in. w. Bequeathed to the National G-allery by Lord Colborne in 1851 Signed : .Pin- No. 820. Landscape with Ruin. A hilly country, evening ; some peasants and cattle are crossing a stream ; on the left is a ruined arch. Signed BERCHEM. On wood, 1 ft. 6 in. h. by 1 ft. 3 in. w. Engraved in the Poullain Gallery. Formerly in the Braamcanap, Poullain, and Tolozan collections &c. Subsequently in Sir Simon Clarke's possession. Purchased with the Peel Collection in 1871. No. 1004. Italian Landscape. A group of muleteers are resting with their animals in the scanty shade of some slender trees in the foreground, looking down over an extensive hilly country. The broken trees indicate an exposed situation. Signed BERCHEM. On canvas, 3 ft. 7 in. /i. by 4 ft. 1 in. w. The Wynn Ellis Bequest. 1876. BERCHEM BERCK-HEYDE. 61 No. 1005. Ploughing. A hilly woody landscape ; on a rising ground in front are two men ploughing with a yoke of cattle ; dog and pitcher, &c. are grouped in the foreground. Signed BERCHEM. On canvas, 15 in. h. by 20 in. w. The Wynn Ellis Bequest. 1876. No. 1O06. Landscape. With cattle and figures ; a man is playing a hurdy gurdy before a woman with a child in her lap ; she wears a blue gown. Signed BERCHEM 165 +. On oak, 13J in. k. by 15 in. to. The Wynn Ellis Bequest. 1876. BERCK.-HEYDE (GERRiT ADRIAENSZ), 1638-1698. This painter was born at Haarlem in 1638, and was younger son of Adrian Joppe Berck-Heyde, a butcher in that town. His works are mostly views in Haarlem, Amsterdam, and the Hague ; some pictures painted at Cologne are also mentioned in catalogues of sales in Holland. But his favourite subject was the Market Place of Haarlem, of which several examples exist, one being the picture described below. They are in no sense copies or replicas, as they all vary in the point of view, and in the arrangement of the figures. Two of these views are in the possession of the Earl of Northbrook ; one of them is almost identical with the National Gallery picture, but does not include the Doric portico in the foreground, and the figures are different ; in the other, taken from an opposite point, the portico appears at the further end of the Market Phce. He worked sometimes in co-operation with his elder brother Job. The pictures of both brothers are remarkable for a broad style of painting, for brilliant sunlight, and careful, but not over elaborate, drawing of details, and the figures arc invariably well grouped. He died at Haarlem in 1698. 62 BERCK-HEYDE. No. 1420. A View in Haarlem. A view in bright sunlight of the public square or market-place before the Groot Kirck, from the crux of which rises, in the middle distance, a lichly detailed belfry. On the right of the scene are several lofty brick houses surmounted by stepped gables. On the right of the foreground is seen part of a Doric porch or colonnade supporting a balustraded balcony. The square is enlivened by numerous figures chiefly men who walk or stand in conversation. On the left a cavalier and lady stroll towards the spectator, followed by a dog. Signed : On canvas, 1 ft. 8J in. k. by 2 ft. 2 in. w. Purchased in London at the sale of Mr. Adrian Hope's Collection in 1894. No. 1451- Interior of the Church of St. Bavo, Haarlem. The nave of the church filled with people during sermon- time. The preacher is seen in the pulpit against one of the columns on the right. The women are seated on chairs in the central part of the nave, and the men are in seats raised in tiers all round ; the men wear their hats. In the foreground are isolated figures. On the left an elderly man warns two children to be quiet. In the centre a boy is caressing a hound to which a woman is directing the attention of child dressed in white and holding a coral and bells. Others stand listening to the sermon. Signed on the pavement : On panel, 2 ft. Of in. h. by 2 ft. 9 in. w. Purchased in 1895 at the sale of Lord Clif den's pictures. BERTUCCI. 63 BERTUCCI (Giov. BATTISTA DA FAENZA). Early 16th Century. BERTDCCI was the nickname given to this painter, who was a native of Faenza, where most of his works are to be found. His most important work is a Coronation of the Virgin in the Pinacoteca of that town, signed in full and dated 1506. Others attributed to this painter are in the same gallery and at Forli. His work shows the influence of Perugino and Pinturicchio, and his pictures have, until recently, been variously named as by one or other of those painters, or, like the picture No. 282 described below, as by Lo Spagna. No. 282. The G-loriftcation of the Virgin. The Virgin, holding in her left hand a lily, is seated in clouds, with the Child standing upon her knee : she is surrounded by cherubim, two of which are supporting a crown above her head ; two others are holding lighted candles. On a marble platform below are two infant angels, seated ; one playing on a viol, the other blowing a flageolet. In the landscape background are seen a church, and distant mountains. On wood, 5 ft. 10 in. h. by 2 ft. 7J in. w., circular top. Formerly in the Ercolani Collection at Bologna. Purchased for tne National Gallery at the sale of the Earl of Orford's pictures, in 1856. No. 1051. Our Lord, St. Tliomas and St. Anthony of Padua, the Donator kneeling to the right. In the foreground, on a marble terrace, which is guarded behind by a low parapet, stands in the centre our Lord, dressed in a long crimson gown with full sleeves. He raises His right arm on high so as to display through an opening in the gown, the spear-wound in His side. On the left, the incredulous Thomas presses forward to thrust his finger into the wound. On the right, the Donator kneels in adoration encouraged by his patron St. Anthony of Padua, who bears a stalk of lilies. In the background, a hilly landscape. On wood, 3 ft. 5 in. h. by 5 ft. 5 in. TV. Bequeathed by the Misses Solly in 1879. 64 BIBIENA BIGIO. BIBIENA (FERDINANDD), 1657-1743. The son of Giovanni Maria Galli da Bibiena was born at Bologna in 1657, and was taken care of and instructed by Cignani. He was painter and architect, and executed several works for Ranuccio Farnese, Duke of Parma. His scenic effects were very successful. He became blind, and died in 1743. He left some works on perspective. No. 936. The Teatro Farnese, Parma. The pit and stage of a theitre, in which Othello is being acted ; the stage, seen by daylight, has a constructed scene, with entabla- tures and statue? at intervals ; Othello is on the stage ; the pit is full of visitors, who are promenading about ; there are no seats. On canvas, 3 ft. 5J in. h. by 3 ft. 8J in. w. The Wynn Ellis Bequest. 1876. BIGIO (FRANCIA), 1482-1525. FRANCESCO, the son of Cristofano di Francesco d' Antonio (a Milanese), and commonly called FRANCIA BIGIO,'' was born at Florence in 1482, and died there on the 14th of January, 1525. He studied under Mariotto Albertinelli, and quickly rose to eminence. Subsequently he formed a strong friendship with Andrea del Sarto, and his first important work was produced in 1513 in co-operation with that painter in the small cloister of the Servi. It was here that the famous scene took place with the Friars, who, having uncovered BIGIO'S fresco of the Sposalizio before the painter considered it finished, so enraged him that he defaced some of the finest heads in it with a mason's hammer, and would have destroyed the whole but for forcible intervention. Neither he nor any other painter could be induced to repair the injuries, which remain to this day. While Andrea del Sarto was absent in France in 1518, the chiaroscuro frescoes commenced by him in the cortile of the Scalzi were carried forward by FRANCIA * Francia was a dialectic abbreviation of Francesco instead of the more familiar form Cecco. BIGIO BISSO LO. 65 BIGIO. Soon afterwards both these painters, in conjunction with Pontormo, were engaged in painting the History of Cicero and other subjects in the Villa del Poggio at Cajano for Lorenzo de' Medici Duke of TJrbino, and his nephew Leo X. The small oil painting of Bathsheba, now in the Dresden Gallery, was completed in 1523, and formed one of a series in which Pontormo and Baechiacoa took part. FRAXCIA'S style on the whole shows a strong affinity with that oC Andrea del Sarto. He was a laborious student in his art to the end ; and Vasari con- sidered him to have carried the process of fresco painting to a higher degree of refinement than any of his contemporaries. FRANCIA painted many portraits in oil, fine examples of which exist in the Pitti Palace, at Bsrlin, Windsor, and in the possession of Lord Yarborough. No. 1035. Portrait of a Young Man. In half length, with long hair, in black habit and cap ; bearing on his breast the cross of Malta He holds in his hands an open letter and looks towards the spectator. The background is a land- scape. On a ledge below is the inscription TAR : VBLIA : CHI : BIEN" : EIMA.f at either end of which is the monogram of Francia Bigio.J On panel, 1 ft. 11 J in. k. by 1 ft. 6 in. w. Purchased, in 1878, from Mr. W. Fuller Maitland, M.P. BZSSO'ZiO (FRANCESCO). Painted from about 1492 - 1530. Of the school of Giovanni Bellini, painted at Venice in the early part of the 16th century, about 1492-1530. Very few of his pictures are known, but these are distinguished for delicacy of execution and a fine feeling for colour. The Venetian Academy * The apparent text of this letter is not decipherable beyond the date : 1514. t Slowly forgets he who loves well. t Composed of the letters F. E. A. C. P., signifying Franciscns Christophori pinxit. 25640 E 06 BISSO'LO BLES. possesses a fine picture of Christ replacing the crown of thorns of St. Catharine of Siena by a crown of gold ; it is signed Franciscut Bissolo, and was formerly in the church of San Pietro Martire at Murano. In San Floriano, near Castel-Franco, is a picture by him, signed and dated MDXXVIII.* ASCRIBED TO BZSSOZiO. No. 631. Portrait of a Lady. With blond hair confined in a net, and in a rich dress of embroidered Byzantine stuff. Bust. On wood, 14 in. h. by 12 in. w. Purchased from Mr. Edmond Beaucousin, at Paris, in 1860. BLES (HERRI DE), 1480? -after 1551. Was born at Bouvignes, near Namur, about 1480 ; he is sup- posed to have died at Liege after 1551. DE BLES (or Henrik met de Bles, with the forelock,) was called also CIVETTA by the Italians, from his habit of placing an owl in his pictures ; his- works are generally a combination of figures and landscape, similar to those of Patinir. The following pictures are ascribed to him : No. 718. Mount Calvary. Christ on the Cross. Three angels receiving in chalices the blood which pours from his wounds ; below are St. John, the Virgin Mary, the Magdalen. Longinus the Centurion, and another Roman soldier. In the background is a view of Jerusalem, to which the Jews are seen returning. On oak, upper angles cut away, 3 ft. 1 in. h. by 2 ft. 2 in. w. No. 719. The Magdalen. Richly dressed, holding a vase of ointment in her left hand, and lifting the lid with her right ; before her lies an illuminated * Zanetti, Delia Pittura Vcneziana, &c. ; Moschini, Guida di Venczia. In some accounts Bissolo's Christian name i given as Pier Francesco. BLE 3- .BOCCACCINO. 67 manuscript. Through an ornamented archway is seen a distant landscape with a view of the sea. Half-length figure. On oak, 20J in. h. by 13| in. w. Both formerly in the Wallerstein Collection, in Kensington Palace. Presented, in 1863, by Her Majesty Queen Victoria, in fulfilment of the wishes of H.R.H. the Prince Consort. BOaCACCINO (BOCCACCIO), 14 . .?-1525. Was a native of Cremona, where several of his works are still preserved ; but of the circumstances of his life little is known. He died in 1525. His works bear dates from 1496 to 1518. If not of striking originality, they are always pleasing in character ~ his females are remarkable for their tenderness and charm. A peculiarity of his heads is a very light grey eye rimmed with a dark line. BOCCACCINO worked at the frescoes in the Cathedral of Cremona before and simultaneously with Altobello Melone and others. His charming picture in the Academy at Venice, The Mystic Marriage of St. Catherine, is well known. In this Venetian tendencies are visible ; but in some other works of his may be traced the influence of Perugino crossing his native Lombard manner. Garofalo studied with BOCCACCINO before visiting Rome, in 1500. He has signed his name BOG. Boccacinus. No. 8O6. The Procession to Calvary. A composition of many small figures, some on horseback, in a rocky landscape with a sea in the distance ; the two thieves are seen led on in advance to the Calvary ; in the centre of the fore- ground is Christ bearing his cross, preceded by John. On the spectator's right, the Virgin, fallen in a swoon, is being attended to by the two Maries and Salome. On wood, 4 ft. 4 in. h. by 4ft. 3 in. w. Formerly in the church of San Domenico De' Frati Osservanti in Cremona, where it was seen, and was described by the Anonimo of * Panni, Cremona, p. 137 ; Zaist, Pittori Cremone. &c., 4to. Cremona, 1774. Vol. I., p. 63. 25a40 E 2 68 BOCCACCINO -BOL. Morelli] about 1537 as a work by Boccaccino ; * subsequently in the collection of the Marquis Picenardi, near Piadena. Purchased in Milan from Signer Giuseppe Baslini in 1870. BOIi (FERDINAND). 1616-1680. Was born at Dort in June, 1616, and became the pupil of Rembrandt at Amsterdam, where he acquired the rights of a burgess oa the 24th of January, 1652. He is distinguished chiefly as a portrait painter and etcher, and his pictures are remarkable for a prevailing yellow tone. He died rich at Amsterdam, July 24, 1680.f He generally signed Bol or Bol fecit, the initial letter being intertwined with an F. No. 679. The Portrait of an Astronomer (?) Half -length seated before a table, on which are an open book and two globes. Signed, and dated 1652. On canvas, 4 ft. 1^ in. h. by 4 ft. 4^ in. w. Presented, in 1862, by Miss E. A. Benett. * L'altra Palletta del Cristo tirato alia Croce, dall' altro lato, f u da mano del detto Boccacino. Morelli, Notizia d'Opcrc di Disegno, &c. Scritta da un Anonimo di quel tempo. Bassano, 1800. t Houbraken, Groote Schovburg, &c. Scheltema, Rembrand, Redevoering, Ac. p. 6 ; French Translation by Burger, p. 53. BONFIGLI BONIFAZIO. 69 BONFIGLI (BENEDETTO), 1420 ?-affcer 1493. Sometimes called BDONFIGLIO, was born at Perugia about the year 1420. He was one of the early masters of the Umbrian School, but was influenced to some extent by the scientific training of Piero della Francesca, especially in his study of perspective. His colouring is sober and beautiful, and he revels in amusing details of contemporary life. His earliest known work is an Annunciation, formerly in the Orfanelli at Perugia, and now in the Pinacoteca Vanucci of the Palazzo del Municipio. His master- work is a series of frescoes in the Palazzo del Consiglio in that city, representing the lives of St. Louis of Toulouse and St. Herculanus ; they were begun in the year 1454 and were still unfinished in the year 1496, when Bonfigli made his will. There is also an Adoration of the Magi by him, said to have been painted in 1460, in San Domenico in that city. BONFIGLI painted several processional banners, among them one painted for the brotherhood of San Bernardino, representing the deeds of their patron saint. Another was painted for the brotherhood of San Fiorenzo, in 1476, in honour of the Virgin, who had been prayed to intercede for the cessation of the plague in the city. There is also a Virgin of Mercy, painted in 1478 for the church of the Commenda di Santa Croce. No. 1843. The Adoration of the Magi. The three kings, presenting vessels of gold, kneel before the Virgin, who is seated, with the Infant Christ on her knee, before the manger. On the right is a representation of the crucified Saviour. St. Joseph is seated on the left. On panel, 1 ft. 2| in. h. by 1 ft. 7J in. w. Purchased at Florence from Prof. Elia Volpi, iu 1301. BONIFAZIO VERONESE. Died 1540. Three painters bearing the name of Bonifazio practised at Venice in the 16tb century. They seem to have been closely related, and to have belonged to a Veronese family. It may be 70 BONIFAZIO. convenient to designate them as the Bonifazii senior and junior, and Bonifazio Veneziano. The last was probably the son of one of his older namesakes. The eldest of the three, whose name heads th.'s notice, was a pupil of Palma Yecchio, as Bidolfi informs us ; and we may believe that during his apprenticeship he often assisted his mastei . It must be admitted that works assigned to the two elder men respectively have so much in common as not to be easily discriminated, and it is unnecessary to attempt the task here. Those pictures which all allow to be by the eldest of the family exhibit some diversity of style, inasmuch as the earlier examples show unmistakably the influence of Palma, whereas, in those of a later period, a fully developed and independent manner is apparent. Two of the most striking productions of BONIFAZIO VERONESE the elder are : The Rich Nan's Feast (or Dives and Lazarus) in the Accademia at Venice, and the Finding of Moses in -the Brera gallery at Milan, the former remarkable for its dramatic suggestiveness, the other for the splendour of its colouring. The former indeed is the work of a man of poetic mind, who had observed keenly, and felt and thought deeply. The Finding of Moses is treated as a Jete champetre, in which the daughter of Pharaoh, in the guise of a 16th century princess, with her gay retinue of lords and ladies, hunters, and falconers, takes part. Wealth of colour is here carried to a pitch beyond which it could not go, in the rich garments which serve to support and set off the exquisite flesh tones. The groups are concentrated in the foreground, or scattered through the distance, of a charm- ing and diversified landscape. The picture of the Massacre of the Innocents, and many other works at Venice and elsewhere, illustrate BONIFAZIO'S extraordinary power over colour as well as the cultivation of his mind. He died in 1540. No. 1202. The Madonna and Child with Saints. A composition belonging to the class called by the Italians "Sante Conversazioni." The principal group occupies the fore- ground. In the centre is seated the Virgin, in a pale red robe, * For the other two painters of the Bonifazio family, the student may consult Qiov. Morelli, Italian Masters in the Galleries of Munich, &e., English edition Bell, 1883 ; also the recent edition of Kugler's Handbook of Italian Painting, Murray, 1887. BONIFAZIO BONO. 71 light blue mantle, and white kerchief, supporting on her knee the infant Christ, whose foot the little St. John bends to kiss. On the right sits St. Catherine, holding a fragment of her wheel of martyrdom. To the left are seated St. James the younger, reading, and beyond him, St. Jerome. A ruinous building and some small trees on an elevation, form a mass behind the group, leaving visible on either side an undulating country with distant castle-crowned hills and blue mountains. The figures in the distance have probably a symbolical meaning. On the extreme right a shepherd lies asleep near his flock ; more towards the centre, the sheep dog is seized, by a lion, before whom three other shepherds flee for shelter to the building. On the left, an armed cavalcade is partially lost to sight in the hollows of the ground. On wood, 2 ft. 4| in. h. by 3 ft. 9J in. to. There is a replica of this composition in the Accademia at Venice. Purchased from the heirs of the late Signer Enrico Andreossi, of Milan, out of the " Walker Bequest," in 1886. BONO DA FERRARA. Painting 1461. Was an excellent painter of the fifteenth century, of whom little is known : he has been described as a scholar of Squarcione at Padua, and even of Mantegna, his contemporary. We learn from the inscription in the example of his work in this collection that he was the pupil of Vittore Pisano, the painter and medallist of Verona, commonly called Pisanello. His style is precise in execution and effective in colour, similar to that of his very able master. We have a few dates fixing his time : in 1450, 1451, and 1452 he was painting at Migliaro and at Casaglia, near Ferrara. A Master Bono, painter, of Ferrara, was in 1461 engaged on work in the Cathedral of Siena. No. 771. St. Jerome in the Desert. ^Seated on a rock, holding in his left hand a rosary ; by his side reposes his lion. A small church is seen in the background, and * Count Laderchi, La Plttura Ferrarcse, Ferrara, 1856, p. 33. 72 BONO BONSIGNORI. in an upper part of the rocky landscape behind, a deer is feeding. A bright sunset : the warm evening light is cast upon the rocks by means of gold hatchings. Signed BONUS FERARIENSIS PISANI DlSIPULfS. ' In tempera, on wood, 1 ft. & in. li. by 1 ft. 3 in. w. Formerly in the Costabili Gallery, Ferrara. Purchased from the collection of Sir Charles Eastlake, P.R.A., in 1867. BONSIGNORI (FRANCESCO), 1455-1519. Was born at Verona in 1455, and became the imitator of Mantegna at Mantua, where he settled. He died at Caldiero, near Verona, where he went to drink the waters, on the 2nd of July, 1519. He was an excellent historical and portrait painter ; and was distinguished also for his knowledge of architectural perspective, and for his power in portraying animals. A fine altar-piece by BONSIGNORI, dated 1488, is in the church of S. Bernardino at Verona ; and in the Pinacoteca are three pictures by him, transferred from churches ; large in style, and severe almost to rudeness. All these belong to his pre- Mantuan time. This painter is erroneously called Monsignori, by Vasari, who notices several admirable works by him, some of which are still preserved.* 5 * Vasari, Vite, t OL the hair. An old inscription on the back o the panel states that this picture is a portrait- of Anna Maria van Schurman ; but it will be observed that the porirait by Jan Lievens (No. 1,095 in this Collection) tupp3sed to represent the same lady differs in the colour of the hair, and has other points of variation which preclude the possibility of both having been painted from the same person. On panel, 6 in. Ji. by 5 in. w. Purchased from Mr. Horace Buttery, in 1894. DUBBELS DUCCIO. ^165 DUBBEIiS (HENDKIK), 1620 ?-1676. But little is known respecting this painter who lived at Amsterdam at the end of the 17th century. There were three artists of the name, HENDRIK, DIRK, and JAN, but in what way they were related to each other is unknown. JAN was living in 1715. The initials on the barge-board of one of the boats in the picture mentioned below identify the painter with HENDRIK. He was born at Amsterdam in 1620 or 1621. His interment in the Noord Kerk at Amsterdam on the 9th June 1676 is recorded. f No. 1462. A Sea piece with Shipping. Various vessels are distributed over a calm sea. On the left a barge is lying on a sand bank, with figures grouped about it: Signed on the barge-board, I. H. D. On the panel, 1 ft. Of in. li. by 1 ft. 4 in. w. Presented by Mr Arthur Kay, 1895. DUCCZO DI BUONXNSECrNA, 1260 ?-1339?. Whilst the genius of Giotto was revolutionizing the arts of design in Tuscany, and more or less throughout Italy, DccciO was infusing new life into the Sienese school without entirely abandoning Byzantine traditions. DUCCIO was born at Siena about 1260, and lived, at least, until 1339. The earliest authentic record of his activity is a contract made in 1285 to paint a Madonna for a chapel in S. Maria Novella at Florence. This work, if ever executed, has disappeared. The greatest effort in his career was the famous Maestd for the cathedral at Siena. It consisted of many parts forming one great altar-piece, 14 ft. long, by 7 ft. in height, exclusive of the pinnacles, and painted on both sides. On the front was the Madonna enthroned, holding on her left knee the infant Saviour, who was fully clad, after the Byzantine manner. Twenty angels surrounded the throne. Figures of the Apostles, and of four kneeling bishops, tutelaries of Siena, completed this side of the * According to Dr. Woerman, see the Catalogue of the Dresden Gallery, 1892. t See Oud Holland, Vol. III., p. 141. 166 DUCCIO. altar-piece. On the reverse, which faced the chancel, various scenes of the life and passion of Christ were depicted in 26 small compositions, of which two, the Entry into Jerusalem and the Crucifixion, exceeded the rest in size. There was, further, a predella, containing many subjects from the lives of Christ and the Virgin. This important work was commissioned in October 1303, and was not wholly finished till about three years later ; although on June 9, 1310, what we must suppose to have been the front panel only, was carried to the Duomo with solemn pomp, in which the Archbishop, the Great Magistracy and in fact, the whole population civil and religious, took part, with lighted tapers, amidst the clangour of trumpets, drums, and the church bells. Of other works of DUCCIO, said to have been in Siena, Florence, Pisa, and Pistoia, none now remain, save two in the Accademia delle Belle Arti of Siena. As scholars of DUCCIO have been reckoned Segna di Buenaventura, Simone di Martino, the two Lorenzetti, and possibly, Ugolino da Siena.f No. 566. A Triptych. In the arched centre panel is the Madonna with the Child, with four angels at the sides. In the tympanum above the arch seven half figures, of David and six prophets, look down on the group enthroned beneath. On the doors to the right and left are St. Catherine of Alexandria and S:. Dominic. All are on a gold background. In tempera, on wood, 2 ft. h. by 2 ft. 7 in. w. Formerly in a Gallery at Pisa. Purchased at Florence from the Lombard!- Baldi Collection, in 1 857. * This altar-piece cost 3,000 florins of gold, out of which Duccio's pay was hut 16 soldi per working day. But the materials were furnished him. In 1506 it was removed from the high altar (which was at the same time thrown further back in the church) to make way for the present bronze tabernacle, the work of II Vecchietta, and became so completely lost to sight and memory that Vasari, about 50 ye&ts later, was unable to discover it. It was, however, brought to light again in the 17th century, when the front and back panels were sundered and otherwise deranged, and finally set up on side altars in either transept, where they are ill seen. Kighteen of the subjects of the pre- della and pinnacles, long preserved in the sacristy, are now in the Opera del Duomo (Office of Works) close by. The altar-piece, as it now exists, was engraved in a series of outlines by B. Bartoccini, published by Emil Braun, Rome, 1847. tFor fuller accounts of Duccio and his works, see Milanesi, Opere di G. Vasari, Florence, 1878-85, Vol. I., and Crowe and Cavalcaselle, History of Painting in Italy , Vol. 1L DUCCIO DUCHATEL. 167 No. 1139. The Annunciation. % Under an arcaded porch or cloister, the Virgin, standing on the right hand and bearing a book of devotions, turns towards the Angel, who, with a gesture of salutation, approaches from the left band. Gold background. In tempera, on wood, 1 ft. 4J in. h. by 1 ft. 4 in. w. No. 1140. Christ healing the Blind. In the centre of the picture, our Lord, followed by His Disciples, extends His right band towards a blind man, who stands before Him, while another seems to return thanks to heaven for a previous miracle. In the background are buildings. In tempera, on wood, 1 ft. 4^ in. h. by 1 ft. 5f in. w. Purchased, together with the preceding subject, from Mr. C. Fairfax Murray, at Florence, out of the interest of the " Clarke Bequest," in 1883. No. 1330. The Transfiguration. On the summit of a rocky hill, the Saviour, clad in a dark robe, the folds of which are indicated with gold lines, stands raising His right hand in benediction and bearing in His left a closed volume. At a little distance on the right and left of our Lord appear Moses and Elias in attitudes of reverence. At the foot of the mount, in the foreground, three disciples kneel, gazing upwards with gestures of surprise. Gold background. On panel, 1 ft. 5 in. h. by 1 ft. 6J in. w. Presented by Mr. Robert H. Wilson, in 1891. DUCHATEL (FRANCOIS), 1616-1694. A Flemish painter whose works are not commonly met with. His works are mostly portraits, or subjects including portraits, such as the picture in the Museum at Ghent, representing the Inauguration of Charles II., King of Spain, as Count of Flanders 168 DUCHATEL DUGHET. in 1666. In the Picture Gallery at Brussels is a charming por- trait group of two little girls. He was born in Brussels, and is said to have been a pupil of Teniers, and is also supposed to have worked in Paris with Van der Meulen. He died in 1694. No. 1810. Portrait of a Boy. A boy, about 12 years old, seen at three quarter length, richly dressed, stands holding a rose in his right hand. He has long brown hair flowing on his shoulders, and weurs a gold brocade vest, with open sleeves, over a full white shirt, with lace collar, and a short black kilt over red hose, richly adorned with coloured ribbons. A black velvet cloak hangs from his left shoulder, and behind is a crimson curtain looped up with a gold tassel. On canvas, 3 ft. h. by 2 ft. 1 in. w. Bequeathed by Mr. Henry Vaughan, in 1900. DUGHET (GASPARD) called GASPARD POUSSIN, 1613-1675. GASPARD DuaHET, born at Rome of French parents in 1613, and by his sister's marriage brother-in-law to Nicolas Poussin, had the eminent good fortune to come under the artistic tutelage of that illustrious painter, who was GASPARD'S senior by 19 years. Through this double bond of relationship the name of POUSSIN came to be shared by the pupil ; though in France he is familiarly known as " Le Guaspre " simply. Nicolas Poussin took a deep interest in the education of the young man, whose abilities he fully recognized, and, seeing that GASPAUD leaned towards landscape-painting, encouraged him to cultivate that branch of art, without neglecting the study of the human and other living forms. Before DUGHET had completed his 20th year he was already established as an independent painter, and from that time his works were eagerly sought by lovers of art near and far. Rome remained his place of residence ; but he made excursions in the Papal States, as well as in Tuscany, Lombardy, and the kingdom of Naples. He rented houses at Frascati and at Tivoli, and found in the grand scenery DUGHET. 169 around both the subjects of his finest compositions. The nobility of style cultivated and inculcated by his great brother-in-law was maintained by GASPARD ; losing perhaps on the epic to gain on the idyllic side. Something he may have owed to Claude ; but throughout he remained himself, saw with his own eyes, and was at home with nature equally in her placid and her wilder moods. He painted in fresco, tempera and oil. In the first-named method are the wall-paintings in the church of S. Martino ai Monti, at Borne, where the stories of Elijah and Elisha afforded GASPARD an excuse for exercising his powers in landscape. These grand compositions are now sadly decayed. Next to them may be mentioned the frescoes in a ground-floor room on the Palazzo Colonna. In tempera on canvas are the 12 great compositions in the same palace. Still richer is the Palazzo Doria, which contains not only an immense numbers of works in tempera but also a series of 25 huge canvases in oil. Easel pictures in of various sizes are found in several of the great European galleries, and as many are in private collections. GASPARD painted with uncommon ease and rapidity, but none of his works show a trace of carelessness. Many of his oil pictures have darkened in tone, in consequence, no doubt, of the use of the dark red ground, which was much employed by Italian painters in the 17th century. Numbers of his works have been engraved. He produced several etchings himself. GASPARD DCGHET died at Rome, May 25, 1675. No. 31. A Landscape with Figures representing Abraham and Isaac going to the Sacrifice. In the elevated fore-ground is a broad rocky and woody glen, overhung by large forest-trees on each side ; an extensive country, bounded by the sea, appears in the distance, with mountains on the extreme left. Abraham and Isaac are seen on the right ascending the mount to the sacrifice ; Isaac bears the wood, his father follows with a lighted torch. In the middle-distance below, the two servants of Abraham are awaiting his return. Engraved by Giuseppe Cunego ; by P. Parboni ; by J. Pye ; and by W. Radclyffe, for Jones's National Gallery. These, by reason of their grand severity of style, have been ascribed to Nicolas Poussin. On the other hand some external evidence seems to confirm the traditional belief that they are really from the pencil of Gaspard. See Woltmann and Woermann, Gcschichte der Ifalerei, Bd. III., p. 332, note 2. 170 DUGHET. On canvas, 5 ft. 3 in. h by 6 ft. 6 in. w. This picture, by some considered the painter's masterpiece, remained in the Colonna Palace, at Rome, to the period of the French Revolution, when it was brought to this country by Mr. Day. It was subsequently in the Lansdowne Collection, from which it passed to that of Mr. Angerstein, and was purchased with the rest of the Angerstein pictures, in 1824. No. 36. A Land Storm. Mountain scenery ; shepherds seeking refuge for their flocks. A winding road at the outskirts of a forest occupies the fore- ground ; an oak in the middle of this part of this picture has just been snapped asunder by the storm, and lies prostrate on the ground. The effect of the strong wind is forcibly expressed throughout the whole scene. In the middle-distance a lone building very beautifully lighted from the bright streaks of sky in the horizon, is effectively relieved by the more distant mountain behind it. The partial light of the distance contrasts powerfully with the dark driven clouds above, and with the general gloom which pervades the picture elsewhere. Engraved on a large scale by Vivares ; and small by S. Lacy, for Jones's National Gallery. On canvas, 4 ft. 11 in. h. by 6 ft. w. Purchased at Rome by Mr. Irvine for Mr. Buchanan in 1803. Subse- quently in the Delme tind Lansdowne Collections, afterwards in that of Mr. Angerstein, with which it was purchased for the nation, in 1824. No. 68. A Woody Landscape ; Evening. A view near Albano. In the fore-ground a shepherd boy is leading home his flock : on the right is a thick forest of oaks ; on the left a steep bank, under the shade of which two figures are reposing. Engraved by J. B. Allen for Jones's National Gallery. On canvas, 1 ft. 7 in. h. by 2 ft. 2 in. w. Formerly in the Corsini Palace at Rome : subsequently in Mr. Ottley's Collection, sold in 1801. Bequeathed, in 1831 by the Rev. W. Hoi well- Carr. No. 95. Landscape, with Dido and ^Eneas taking shelter from the Storm. Virgil, ^Eneis, iv. 119. A pitchy cloud shall cover all the plain. With hail and thunder and tempestuous rain ; The fearful train shall take their speedy flight Dispersed and all involved in gloomy night ; One cave a grateful shelter shall afford To the fair princess and the Trojan lord. Dryden. DUGHET. 171 This is the moment represented in the picture .ZEneas and Dido are just visible at the entrance of the cave, above which are two hovering Cupids ; a third, at a little distance before it, is holding the bridle of the " lofty courser " of the queen. In the clouds is the goddess Juno, accompanied by Venus and Hymen, promoters of the storm. Engraved by J. C. Varrall, for Jones's National Gallery. On canvas, 4 ft. 10 in. h. by 7 ft. 4 in. w. Formerly in the Falconieri Palace at Rome. Bequeathed to the National Gallery, in 1831, by the Rev. W. Holwell-Carr. No. 98. View of La Riccia, or Ariccia. A small town, situated on a rock, fourteen miles south-east of Rome. Horace spent the first night at this place on h:s journey from Borne to Brundusium ; it still preserves its ancient name, Aricia. The view is from the south : the little town and its picturesque rock occupy a large portion of the picture. Three figures and a dog are seen on the winding road in the foreground, and in the distance is a viow of the Roman Campagna, bounded by the Appenines. A solitary tree in the foreground to the right gives expanse to the scene. Engraved by A. Smith, for Jones's National Gallery. On canvas, 1 ft. 7 in. h. by 2 ft. 2 in. w. Companion to No. 68. Formerly in the Corsini Palace at Rome : subsequently in the Ottley Collection. Bequeathed to the National Gallery, in 1831, by the Rev. W. Holwell-Carr. No. 161. An Italian Landscape. Mountain scenery, with the v'ew of a town on the slope of a hill, and a cascade in the middle -ground ; snow is visible on the distant mountains. Some figures and a couple of dogs are seen in the foreground, to the left of which is a rocky bank covered with trees. On canvas, 2 ft. 4 in. h. by 5 ft. 5 in. w. Formerly in the Colonna Palace at Rome. Bequeathed by Charles Long, Lord Farnborough, in 1838. No. 1159. The Calling of Abraham. A landscape, with figures on a small scale. On the left a group of lofty trees, the branches and foliage of which are violently agitated by the wind. Below them a winged Angel, standing 174 DUGHET DUREB. by the side of a roid which winds towards the foreground, accosts Abraham, pointing upwards as he does so to a figure representing the Almighty seated in the clouds above. In the middle distance is a river which, falling in a cascade flows towards the right. Beyond is a large plain, bounded by wooded hills, on which various buildings are seen. Sky storm with a gleam of sunshine on the horizon. Mountains in the distance. On canvas, 6 ft. 7 in. h. by 5 ft. w. Purchased at the sale of the Leigh Court Collection in London, in 1 884. DURER (ALBRECHT), 1471-1528. ALBERT DURER, the great artist of Germany, was of Hungarian descent ; his ancestors livtd, as be himself tells us, "by tending oxen acd sheep." His father, Albrecht the elder, deserted this patriarchal calling and became a goldsmith. After passing some time in the Netherlands, he came to Nuremberg in 1455, where he worked with a master-goldsmith named Hieronymus Helper whose daughter, Barbara, he married in 1467, taking up about the same time his rights as burgher and master- goldsmith in the city. ALBERT DURER was the third of the eighteen children of this marriage, most of whom died in infancy. " When I had learnt to write and read," says ALBERT DURER in his brief chronicle, " my father took me from school and taught me goldsmith's work; " but, he says, "my inclination carried me more towards painting." In 1486 bis father bound him apprentice to Michel Wolgemut, the best painter in Nuremberg of his time, to serve with him for three years. "During this time," writes DURER, "God gave me diligence so that I learnt well, and, when I had served my time, my father sent me away, and I was absent four years, until my father required me back, and, as I set out in 1490 after Easter, so I returned in 1494 after Whitsuntide." These wander years were probably spent in Germany, but some think that he crossed the Alps and spent some time in Italy. " When I reached home," he continues, "Hans Frey treated with my father, and gave me his daughter Agnes, and he gave me with her two hundred florins, and the marriage was celebrated on the Monday before St. Margaret's day in the year 1494." This is all DCRER tells UB about his wife, DURER. 173 who was mentioned by DURER'S friend, Pi?khei"ner, in 1530, in a letter to Johann Tscherte in such unflattering terms that Frau Agnes has baen thought to be a second Xantippe. We know, however, that she continued to live with her husband in his father's house, that DURER often drew her portrait, and that she accompanied him on his famous journey to the Netherlands, sharing his triumphs. Between the years 1494 and 1505 DURER engraved several of his larger copper-plates The Ad-im and Eve, 1504 ; The Nativity, 1504 ; The Great Horse, and The Little Horse, 1505 ; The Prodigal Son and the series of fifteen large woadcuts, The Apocalypse, 1498 ; which mark an epoch in the history of engraving. DiJRER's first known painting is The Adoration of the Magi, dated 1504, now in the Uffizi, at Florence. An important event in DURER'S life was his visit to Venice in the Autumn of 1505 ; he received a commission from the German merchants in Venice to paint a picture for their new Exchange, the FonJaco dei Tedeschi, upon the mural decoration of which Giorgione anl Titian were engaged. As soon as he arrived he began the picture, called The Feist of the Rose -Garlands, which is now in the Monastery of Strahow, near Prague. DURER wrote nine letters, still extant, to his friend Pirkheimer during his stay in Venice, which lasted until the beginning of 1507. On hi* return to Nuremberg he painted several large altar pieces, the two single figures of Adam and Eve, now in the Prado, at Madrid ; The Martyrdom of the Ten Thousand Christians, 1508, and The Adora- tion of the Trin'ty, 1511 ; both in Vienna. In this year he published the series of twenty woodcuts illustrating tha Life of the Virgin, seventeen of which had been finished before his journey to Venice ; and the two series known as The Great Pa.sion and The Little Passion, his best known series of woodcuts ; thirty-five of the original blocks are in the Bri'.ish Museum. The earliest copper-engravings signed by DURER are The Holy Family with the Locust and The Love Offer, of about 1495 ; but his noblest plates belong to a later date The Prodigal Son, The Arms of Death, 1503 ; Adam and Eve, 1504; The Nativity, 1504 ; Knight Death and the Devil, 1513 ; Melancholia and St. Jerome in his Chamber, 1514 ; The Great Fortune, and the St. Eustace. The beautiful series of The Passion, on copper, date from 1508 to 1513. In 1512 DURBR began to work for the Emperor Maximilian and con- tinu d to do so until his patron's death in 1519. Amongst these 174 DURER. works were the huge woodcut of the Triumphal Arch and the Maximilian Prayer Book for the Order of St. George. DURER drew the Emperor's portrait at the Diet of Augsburg in 1518, and made a picture and a woodcut from the drawing. In 1520-21 DURER undertook a journey to the Netherlands, apparently to get a ratification from Charles V. of the pension granted him by Maximilian. He has left us a detailed account of his travels, which has been translated into English in the lives of DURRR by Mrs. Heaton and W. B. Scott. DURER wrote several treatises, including one on Proportion, published after his death, which occurred on the 6th of April, 1528. His last gre;it work had been the painting of the Four Apostles, Saints Peter, John, Paul, and Mark, typifying the four temperaments, which he presented to his native city in 1526. They are now in the Munich Gallery. Luther and Melanchthon were amongst the number of DORER'S friend?, the latter testifying to his worth by saying " His least merit was his art." His work is characterized by his imaginative thoughtEulness and by the inexhaustible patience of his technical powers. He opened a door, which was his coat of arms, between Italy and the north, and so spread the ideas of the renaisance in art over Europe. DURER painted on panel and his pictures are rare ; besides those already mentioned there are The Virgin and Child with Saints Anthony and Sebastian, The Crucifixion, 150(5, and the portrait of Bernard van Orley, 1521, in Dresden ; The Portrait of his Father in the Uffizi, Florence ; the Virgin Crowned by Two Angels, 1506 ; and the portraits of a Lady, of Hieronymus Holzschaher, and Jacob Muffel, 1526, in Berlin ; the portraits of Oswald Krell, 1499, and Michael Wolgemat, 1516, at Munich ; and Madonnas at Augsburg, Berlin, and Vienna. No. 1938. Portrait of the Painter's Father. ">Half length of full size. His face, close shaven and turned nearly full to the spectator, is seamed w'th wr nkles ; the hair, rather long and curly and hardly grizzled, falls from under a black cap with turned-up ears. Over a black und^rvest he wears a loose coat of a golden brown c >lour lined with black fur. The hands are almost entirely concealed under the loose sleeves. Red background. * Bryan's Dictionary of Painters and Engravers, 19J3. DURER DUTCH SCHOOL. 175 Along; the ton of the panel is the inscription : 1497 ALBREC HT THVRER DER ELTER VND ALT 70 IOR, thinly painted in white on the red ground. On panel, ] ft. 8 in. k. by 1 ft. 4 in. w. Purchased in London, from the Marquess of Northampton, in 1904. DUTCH SCHOOL. XVII. CENTURY. No. 1287. Interior of an Art Gallery. A lofty room, the panelled walls of which are lined with pictures, is lighted by tall casement windows. On the left is a table round which a group of cavaliers stand or sit examining articles of virtu. Further to the right four other gentlemen stand near a chair, on which is placed a picture. On panel, 3 ft. 1 in. 7t. by 4 ft. in. w. Bequeathed by Mr. John Staniforth Beckett, in 1889. No. 1680. Portrait of a Young Man. A young man with a slight moustache and long fair hair curled and falling to the shoulders, is seen nearly full-face, looking with a vivacious expression out of the picture a little to the right of the spectator. He wears a light brown cloth coat open in front and slashed on the sleeve showing the white cambric of his shirt underneath. His large white collar, bordered with lace is tied at the neck by two tasselled cords. Bust length. On the background is the partly-effaced signature J. Karel du Jardin, which has some appearance of having been addedj after- wards. On canvas, 2 ft. | in. k. by 1 ft. 8f in. w. Purchased in London from Mr. Horace Buttery, in 1899. No. 17OO. Portrait of a Gentleman. The picture represents an elderly man with face seen in three- qnarter view turned over his right shoulder, He has long hair and moustache and imperial. His left arm leans on a pedestal and he holds a glove in his hand. His right hand lies across his chest and he is pointing to the left, apparently at some person or object behind him. 176 DUTCH SCHOOL DUYSTER. On canvas, 3 ft. 3J in. h. by 2 ft. 7| in. w. Bequeathed by Miss Pilbrow, in 1900. DUYSTER (WILLIAM CORNELISZ), 1599-1635. Was born at Amsterdam in 1599, and became a pupil of Pieter Codde. One of his pictures, representing A Party of Soldiers playing at Tric-Trac, is in the Gallery of the Hermitage at St. Petersburg. Another, entitled Soldiers Fighting over the Division of Booty, is in tin Royal Gallery at Dresden ; while a third is preserved in the Rijks Museum at Amsterdam, having been presented to that institution by Dr. A. Bredius in 1887. The recognized works by Duyster are scarce. He died and was buried at Amsterdam in 1635. No. 1386. Soldiers quarrelling over their Booty. The spoils are spread on a table and on the floor of a barn in which the conflict is taking place. Towards the right of the foreground a sword encounter is being carried on between an officer, who wears a white satin doublet, large felt hat, and white feather, and his opponent, clad in a leather jerkin and scarlet breeches. Near the latter, in the corner of the picture, is another soldier examining the fuse of his matchlock. On the left of the picture a second officer, dressed in a flame coloured suit and leather boots, stands bareheaded, grasping his sword. Close to him a soldier, shouldering a long gun, is taking aim across the table, behind which are several otber men engaged in various acts of violence. On panel. 1 ft. 2 in. ft. by 1 ft. 10 in. DUYSTER DYCK. 177 No. 1387. Players at Tnc-trac. On the left of the picture is a table covered with a Turkey rug, at which the players sit, viz., a lady attired in a brown silk dress, black bodice, and red sleeves, a large starched ruff, and white apron. Opposite her sits a cavalier wearing a blue satin jacket slashed with white, a large felt hat, and blue feather. Behind the players stand two male companions, one in the act of removing a piece from the board, and the other lighting a pipe. In the background another man sits smoking. VCC. On panel, 1 ft. 3| in. h. by 2 ft. 2 in. w. Purchased in London, together with the preceding picture, from Mr. Romer Williams in 1893. DYCK. (SiR ANTHONY VAN), 1599-1641. ANTUONY VAN DYCK was born at Antwerp, March 22, 1599. His father, Frans van Dyck, was a merchant in that city, and ANTONY was the seventh of a family of twelve ; his mother, Maria Cupers, died when he was only eight years old, in 1607. He became the pupil of Hendrik van Balen so early as 1609 ; but VAN DYCK'S great instructor was Rubens, with whom he lived about four years. He was still acting as Ruben's assistant in 1620, although he had been admitted a master of the Antwerp Corporation of Painters early in the year 1618, before his twentieth birthday. Having attained sufficient proficiency as a painter, he by the advice of Rubens, visited Italy in 1623 ; he spent about five years in that country, dividing his time between Genoa, Venice, and Rome ; he paid also a short visit to Palmero. Shortly after his return to Antwerp, in 1628, he painted a picture of St. Augmtin for 25640 M 178 DYCK. the church of the Augustinians of that city which established his celebrity as one of the first masters of his age ; this was followed by a still more celebrated work, the Ci-ucifixion, for the church of St. Michael at Ghent ; and he soon acquired an unrivalled reputation as a portrait-painter. About the year 1630-31, VAN DYCK appears to have visited England, but not meeting with the reception which he had anticipated, he returned after a short time to his own country ; he had already visited England before, in 1621, previous to his journey to Italy. In 1632, however, Charles I., who had seen a portrait of Nicolas Laniere, his chapel-master, by VAN DYCK, s^nt an express invitation to the painter to come to England, and, on this occasion, he was most courteously received. He was lodged by the king at Blackfriars, was knighted in the following year, and was granted a pension of 200 per annum for life with the title of painter to his Majesty. VAN DYCK settled for the remainder of his life in England where his very successful career as a portrait-paintei enabled him to live in great style. He had a country house at Eltham in Kent, where he spent a portion of the summer ; he kept great state when in town ; " he always went magnificently dressed, had a numerous and gallant equipage, and kept so good a table in his apartment that few princes were more visited or better served." VAN DYCK died in London, December 9, 1641, in the forty-third year of his age, and was buried in the old church of St. Paul, near the tomb of John of Gaunt. He left a daughter, his only child, by his wife Mary Ruthven, grand- daughter of the unfortunate hord Ruthven, Earl of Gowrie. Notwithstanding his expensive style of living, VAN DYCK left property to the value of about 20,000 sterling. Some of VAN DYCK'S earlier productions are scarcely to be distinguished from those of Rubens. There are cases, indeed, in which dogmatism as to authorship would be hazardous. Differentiation is first visible in a greater precision, a slenderer, it might be said a more wiry, touch, and a cooler colouring, on the part of the pupil. When VAN DYCK travelled and painted in Italy he was influenced by the works of Titian, which, combined with the southern complexion of his sitter, led him to adopt a Graham, Essay towards an English School, at the end of the Translation of Te Kles. London, 1706. DYCK. 179 richer, deeper, and more glowing colour. This he retained for a time after his return to the north, and in some degree during the earlier part of his residence in England. Gradually he lost it, and with it something of his sense of harmony. At the last he became less careful. A routine practice, the pressure of engagements, luxurious living, decaying health, and the indis- pensable employment of assistants conspired to lessen the intrinsic value of his work. The sacred and other free compo- sitions painted by VAX DYCK balong to the period o his greatest executive power. In freshness, force, and vigour of handling they are unsurpassed But they interest less than do his noble portraits. In these he stands a master among masters ; and, happily, many still remain, for the most part well preserved, witnesses of the renown that attends the name of VAN DYCK. He produced several etchings, masterly works in their kind.* No. 49. Portrait of an Artist (?) Half-length, standing, leaning with his left arm on a table ; his right hand by his side, but brought to the front, with open palm, as if to emphasize the discourse he is addressing to a person on his left, who leans forward listening respectfully. This person, and a negro, whose head is seen between, point to a marble statuette which they appear to support on the table. Columns behind, and to the left an open distance. Engraved by J. H. Robinson, for the Associated Engravers; and by W. Holl, for Jones's National Gallery. On canvas, 3 ft. 9 in. each way. The principal personage in this group has been supposed to represent Rubens. But although the upper part of the head bears a certain re- semblance to Rubens, the mouth and all the lower portion show none. The beard, too, is scanty and clairsemee: whereas Rubens, at the earliest period of Van Dyck's career to which this picture could belong, was about 42 years of age, and, as is evident from his own portraits by him- self, had a thick moustache and beard. * See the Catalogue in Carpenter's Memoir of Sir Anthony Van Dyck, London. 1844, 0/. ; while the noble Entombment of Our Lord, by Titian, now one of the most precious pictures in the Louvre, was bought by the dealer Jabach for 1201. These figures, however, represented at that period a value many times greater than they do now. The memorable sale above referred to dispersed over the Continent the principal gems of the magnificent collection formed by the King. DYOK EEOKHOUT. 183 great Duke of Marlborough. One repetition of it on a small scale ia in the Royal Collection at Buckingham Palace, another is in the poses- sion of the Earl of Clarendon ; each maintained to be Van Dyck's com- pleted study for this picture. A fine water-colour sketch by Van Dyck for the trees in the background is in the British Museum, where is also a small study of the horse on grey paper, in bistre pen and wash heightened with white. The picture itself was exhibited at the British Institution in 1815, and had been previous to that time in Marlborough House, St. James's. It was afterwards removed to Blenheim Palace. It was slightly etched by Briggs, and also by Sir James Stuart, of Allanbank, from a study by the late Mr. W. H. Carpenter.* EECK.HOUT (GERnuAND VAN DEN), 1621-1674. Was the son of a goldsmith of Amsterdam and was born on the 19th August, 1621. He was one of the first who entered the School of Rembrandt, and of all the pupils formed in that School EECKHOUT was his closest imitator. His first picture was a portrait of his own father the skill of which surprised Rembrandt himself. He was best in portrait, as in his historical and biblical compositions he merged all originality in a close imitation of his master, missing, however, the profound depth of feeling and the poetical imagination which vivifies the work of the great Remb r andt. His works are to be found in most of the principal galleries abroad. He died on the 22nd July 1674. No. 1459. The Wine Contract, This group represents the four chiefs of the Wine Guild of Amsterdam seated in conversation over some deeds which are spread out on a table in the centre. They are all dressed in black, and three of them wear their hats. A pug dog is seated on the floor by the side of the figures on the left. Signed In oil, on canvas, 5 ft. 3J in. h. by 6 ft. 5| in. w. Purchased from Mr. Martin Colnaghi, in 1895. * Thin, and several of the other particulars given above, are taken from the Catalogue Raiwnnii of the Pictures at Blenheim Palace by Mr. George Scharf London, Dorrell and Son, 1862. 184 ELSHEIMER. ELSHEIIVIER (ADAM), 1578-1620-21, Was the son of Anthony Elsheimer, a tailor, who had settled and married at Frankfort-on- Maine. ADAM was baptized there on the 18th of March 1578. At an early age he was pliced with the painter Philipp Uffenbaoh, and in his nineteenth year was an independent artist with a pupil of his own. Like many of the young German and Flemish painters of that period, he felt himself drawn towards the south, and in 1600 was already in Rome, whither he had probably made his way by Venice. In Rome he married, and spent there and in its neighbourhood the rest of his short life, which ended in 1620-21. ELSHEIMER painted almost exclusively on copper, his pictures being extremely limited in scale. He inherited with his northern blood an intense love of nature and her varied aspects. Upon this he engrafted a careful study of the human form, and in Italy he profited by the example of the great masters of preceding generations. Thus, aided by a certain homely imagination, he formed a style of his own, combining landscape and figure in such a manner that each was the necessary complement of the other, and that subject and situation were in perfect harmony. The lonely, and at that time, wooded, depressions of the Roman Campagna, and the hills of Albano and Tivoli, were his favourite haunts, and in their scenery his imagination placed events in biblical or mythological story. He loved especially to paint the strange effects produced by diverse sources of illumination. The novelty of his aims, the beauty of his execution and the geniality of his dis- position gained him admirers and friends ; but his fastidiousness over bis work prevented him from rising above need. His etchings are well known, and the vogue they obtained led to many forgeries. Drawings by him are in several collections. The Stadel Institute, in his native town, possesses a rich series of 179 of his designs, which appear to have been brought together by a Dutch connoisseur in the 17th century. c ' * The most appreciative and discriminating account of Elsheimer and his work will be found in Dr. W. Bode's Studien zur Geschichte der HolUindischcn Ofalcrei, pp. 233 to 311. Much new light is there thrown on the painter's life and his position in art, and the digression is explained and justified hy the succeeding chapter of the same \vork o "The Dutch Painters under the influence of Elsheimer." ELSHEIMER EMMANUEL. 185 No. 1O14. The Martyrdom of St. Lawrence. He is being undressed before an image of the Emperor, behind which is seen the Roman standard. The fire and gridiron are being prepared in the background. Over the head of the saint is an angel with a palm branch in his left hand, and pointing upwards with his right. On copper, 10-J in. h. by 8 in. w. The Wynn Ellis Bequest. 1876. No. 1424. Tobias and the Angel. In a thickly-wooded landscape disclosing a distant view of hilly country, Tobias, on the right hand of the picture, walks barefooi and bareheaded, dragging the fish after him (Tobit, chap. vi.). He is closely followed by the Angel, who, dressed in a blue robe and maize-coloured mantle, bears a staff in his hand. Etched by Count Gondt, in 1613. On panel, 7 in. h. by lOf in. w. This picture has passed through many collections, beginning with that of Count Gondt. It was afterwards Mr. Beckford's of Fon thill.* Bequeathed by Mr. Samuel Sandars, in 1894. EMMANUEL. 17th Century. A Greek priest and painter. He signs himself in the example of his work in this collection Emmanouel, priest of Tzane. Lanzi refers to a picture, dated 1660, by Emmanuel, a priest, who lived at Venice, in the 17th century, and who is apparently the same painter.f * See Waagen, Art Treasures, Tom. ii., p. 229. t The period of a Byzantine picture cannot always be ascertained from its stvle, as the Greek Christian Art is purely conventional, and has heen practised without material alteration from about the tenth century to the present time. This singular constancy in the practice of an art is thoroughly explained in the Guide or Manual of Painting, 'Ep/zjjvs/n TJJS wy|0a0iicj)e printed by M. Didron, from a MS. of the eleventh century, procured by him from Mount Athos, and published at Paris in 1845, under the title, Manuel d' IconograpJiie Chretienne, Grccque ct Latlne, avc.c une. Introduction et des notes. TradiM du MS. Byzantin, "Le Guide de la Peinture," par Ic Dr. Paul Durand There is also a German Translation by Dr. Schafer. Das Handbuch for Malerei vom Serge Athos, &c., 8vo., Trier, 1855. In this remarkable guile are given, not only the subjects to be represented, and their orthodox treatment, but even the costume, age, and lineaments of the characters introduced ; it is as indispensable to the Greek painter as his palette and brushes. 186 EMMANUEL EMPOLL No. 594. Saints Cosmas and Damianus, receiving the Divine blessing, according to the Greek rite.* The Lord surrounded by the Vesica Piscis, or Ichthys,^ is repre- sented above. Inscribed 'O 'A Koap-aQ, 6 'A Aa/uavof, and signed Xsip 'E[ip,avovri\ igplwc TOV Tdvt. The hand of Emmanuel, the priest son of John.J In tempera, on wood, 2 ft. 2 in. h. by 1 ft. 9 in. w. Formerly in the possession of Sig. Nardi, of Florence. Purchased in Florence from the Lombardi-Baldi Collection, in 1857. X N |P CMYIflNOVHA epecoc TOV EMPOtI (JACOPO DA). 1554?-1640. Born at Florence about 1554, was the son of a certain Chimenti, a cloth merchant, called da Empoli perhaps because either he or his father had come from that town. JACOPO learned the arts of design in the school of Tommaso da S. Fridiano, but at the same * In the Greek mode of blessing the hand attempts to form the monogram of Christ 1C. XC, or the first and last letters of the name of Christ, 'It]HN ' EN ' YQI ' TEAEI ' TOY ' XSS2SS ' ETOYS ' EN TAIS ' TAP S THE ' ITAATAS ' AAESANAPO2 ' EFQ ' EN ' TQI META ' XPONON ' HMIXPONQI ' EFPAfcON ' HAPA TO ' ENAEKATON TOY 'API OY ' IQANNOY ' EN ' TUI ' AHOKAAY^EOS ' BQ/ 'OYAI EN THI AYSEI ' TON ' P ' ' Al ' HMISY ' ETQN ' TOY ' AIABOAOY ' EIIEITA AESMO9H2ETAI ' EN ' TO I ' IBQI ' KAI ' BAE^OMEN ' IIA NON ' OMOION ' THI . TPA^HI * TAYTHI. Note. The Greek of this inscription is base ; and portions of it have been erased by accidental injury. For a valuable and interesting commentary on this picture, its significance, and the Greek inscription attached to it, see Prof. Sidney Colvin's essay in the Portfolio, February, 1879. On canvas, 3 ft. 6^ in. h. by 2 ft. 5 in. w. Purchased from Mr. W. Fuller Maitland, M.P. in 1878. FILIPEPI. 203 No. 1126- The Assumption of the Virgin. High in the upper and celebtial portion of the composition is seated the Saviour in glory, having on his knee an open volume inscribed with the mystic letters A and Q. To his right kneels the ascended Virgin, towards whom he makes the sign of bene- diction. On either side is a band of Cherubim and Seraphim, in whose ranks are seen St. Peter, St. John the Baptist, and St. Mary Magdalene. Lower down are two great zones of figures comprehending the Angelic Hierarchy, together with the Patriarchs, Prophets, Apostles, Evangelists, Martyrs, CoLfessors, Doctors of the Church, and Virgins. In the terrestrial and lower part of the picture the Apostles are gathered round the Virgin's tomb, out of which lillies have sprung. To the left kneels the Donor, Matteo Palmieri ; to the right, his wife. Beyond, the widespread landscape reveals the Valley of the Arno, the City of Florence, and the town of Prato (?), with mountains behind. Of this picture, which is now attributed by critics of the modern school to Botticini, a painter of whose life little is known, Dr. H. Uhlmann, in his " Sandra Botticelli " writes : " It may well be that Botticelli had had from Palmieri the commission for this picture of ' The Assumption,' and have designed only the composition, and left the working out to Botticini, with whom, having probably known him at dome former time in Verocchio's studio, he worked in the year 1470. The great affinity of the art of Botticelli with that of Botticini speaks for a close relation between the two."* On wood, 7 ft. 5 in. h. by 12 ft. 3 in. w. Purchased at the sale of the Hamilton Palace pictures, in 1882.f * Sandra Botticelli, by Hermann Uhlmann, Munich, 1893, p. 77. t The history of this painting is remarkable. It was executed, perhaps about 1472, for Matteo Palmieri, and placed in the family chapel in S. Pietro Maggiore, Florence. Palmieri was a man of distinction and learning, who rendered important diplomatic and other services to the Republic. A profound theo- logian, and an earnest student of Dante's work?, he composed a poem somewhat on the model of the"Divina Commedia," in which he supposes himself con- ducted by the Cumsean Sibyl through the Elysian fields to Heaven, the "City of Life." After his death and honourable burial in or after 1475, this poem, which had not been circulated previously, became suspected by invidious critics of containing some unorthodox views as to the nature of angels. This was brought to the notice of the Church authorities, and, pending inquisition, the picture, which was supposed to reflect in some way the surmised doctrine in the poem, was covered, and the chapel in which it stood closed to public worship. Finally, after some lapse of time, the book was declared innocuous and the chapel was re-opened. Meanwhile, however, the question of Palmieii's heresy had been so violently debated in Florence that the story spread through Europe, giving rise by degrees to inaccurate and extravagant reports which were variously recounted by ecclesiastical writers, some of whom stated that Palmieri had been burnt alive for heresy ; others, that his bodv had been disinterred, and burnt, together with his poem. Vasari, in his Life of Botticelli accurately describes the picture, adding that the painter, no less than Palmieri, 204 FILIPEPI FIORENZO. FZIiXPEPI (SANDRO), called BOTTICELLI, SGHOOXi OF. No. 226. The Virgin and Child, St. John the Baptist and Angels. The Virgin is seated in a garden, with the Child on her knees ; two Angels are holding a crown over her head. St. John, kneel- ing by her side, is adoring the Divine Infant. Five figures, small life-size. In tempera, on wood, circular ; 3 ft. 8 in. in diameter. This picture, formerly ascribed to Botticelli, is a copy of the original by that Master in the Rospigliosi Palace at Rome. It was in the possession of the Polli family, at Florence, where it was purchased for the National Collection of Mr. J. H. Brown, in 1855. FIORENZO DI LORENZO. 1430 ?-15 ?. A Perugian painter of great feeling and ability, born towards the middle of the 15th csntury, and contemporary with Pietro Perugino. Very little is known of his history. He may have studied under Bonfigli, or Niccolo da Foligno. In his works Florentine affinities are perceptible, especially with Benozzo Gozzoli, though the assumption of a direct pupilage of FIORENZO to that master would scarcely comport with dates and facts. In 1472 he was already of sufficient age and local distinction to hold the office of a Decemvir in his native town ; and in the same year is dated the earliest notice extant of his artistic activity. This records a contract to paint a double altar-piece was included by the malevolent in the charge of heresy. The painting bears evidence of intentional injury, the faces of the donor and his wife having been scored through : an attempt to restore them was subsequently made. At some uncertain period it was removed to the Villa Palmieri, the country seat of the family, near Florence. On the death of the last heir, within this century, the picture fell into the hands of a Florentine dealer, and still later became the property of the llth Duke of Hamilton. The original draft of Palmieri's poem, entitled "La Cicta (Citta) della Vita," is in the Hagliabecchian Library at Florence ; a copy is or was in the Strozzi Library ; the Ambrosian Library at Milan contains the only other known copy. For a minute account of the posthumous persecution of the author, and the circumstances which attended it, see Padre Gius. Richa, Notizie istoriehe dellc Chiese florentinc, etc., Firenze, 1754, Tom. I. Lezione XL, and for a more recent survey of the whole question, an article by Diego Angeli in the Arahivio Storico deli' Arte for 1896, p. 58. Th picture seems to have been still in its original position in Richa's time. FIORENZO. 205 for the church of S. Maria Nuova, the principal parts of which may now be seen in the Pinacoteca of Perugia. That gallery contains several other works of his, various in merit, but all possessing many points of excellence. A Nativity, in particular, is marked by great tenderness of feeling, by the charm of the angelic attendants, and by the character shown in the figures of the adoring shepherds. Eight remarkable compositions of small size in the same collection, illustrating legends of S. Bernardino, and painted in dry tempera on linen, are now, on internal evidence, generally ascribed to FIORENZO. Although the validity of this attribution is open to no reasonable doubt the painter here presents himself in a phase for which his altar- pieces would hardly prepare us ; but the difference is no greater than may often be found between a monumental altar-piece and its predella, wherein a greater freedom of treatment was allowable, and even inevitable. One of the series is dated 1473, when FIORENZO may have not yet reached his thirtieth year. These works may consequently be looked upon as indicative of his tendency ; and their character awakens speculation as to his teaching, and his share in the development of the Umbrian school. A fresco at Diruta, near Peragia, is essentially Umbrian. The Berlin Gallery contains an interesting Madonna^and Child on a gold ground, dated 1481. Other dates on this painter's works are 1475, 1485, and 1490. He was still living in 1521, when he and Tiberio d'Assisi were called upon to value a picture by a third painter. Typical of the Madonnas and angels of FIORENZO are their highly arched eyebrows, a peculiarity which his scholar Pinturicchio repeated to some extent in similar figures. No. 1103. Portions of an Altar-piece. In the central panel the Virgin sits enthroned with hands crossed on her breast adoring the Infant Saviour, who lies across her lap. Below, on each side, St. Francis and St. Bernardino, kneeling, recommend to her intercession a worshipper who kneels between them, and is represented on a smaller scale than the other figures. Four angels flank the throne of the Virgin. The compartments containing the figures of St. John the Baptist and St. Bartholomew were originally at one side of the central panel, but have been placed 206 FIORENZO FLEMISH. on each side for symmetry, the corresponding twin panels being lost. The background throughout is of gold, engraved with a rich and beautiful pattern. On wood, in tempera. Central panel 3 ft. 11 J in. k. by 9 ft. 7 in. to. Side panels, each 3 ft. 11 in. k. by 1 ft. 6| in. w. Purchased, together with No. 1104, in 1881, from the Marchese Perolo Monaldi of Perugia. FLEMISH : XV. AND EARLY XVI. CENTURIES, No. 264. A Count of Hennegau (Hainaulf) with his patron Saint, Ambrose. The count is represented as a Cistercian monk praying, in abbot's robes, with the crosier on his arm, and a richly ornamented mitre by his side. On the front of the mitre is embroidered the Crucifixion, with the Virgin and St. John by the side of the cross. Behind the kneeling figure is the Saint, in a richly-embroidered stole, and wearing the bishop's mitre, holding a cro's in his left hand, and a scourge in his right. The execution of the costume, jewellery, &c., is extremely elaborate. Small figures, half-length. On wood, 2 ft. 4^ in. h. by 9 in. w. Purchased for the National Gallery with other pictures in the collec- tion from Herr Kriiger, of Minden, in 1854. No. 265. The Virgin and Child. The Yirgin with a book in her hand, the child blowing bubbles with a straw. Seated half length, small life size, gold ground. On wood, 2 ft. 3 in. h. by 1 ft. 8 in. w. Purchased for the National Gallery with other pictures in the collec- tion from Herr Kriiger, of Minden, in 1854. No. 653- Portraits of a Man and his Wife. The man wearing a red hood, his wife with a white kerchief on her head and a wimple. Busts, life size. On wood, each panel 16 in. h. by 11 in. w. Purchased, in Paris, from M. Edmond Beaucousin, in 1860 FLEMISH. 207 No. 696. Portrait of Marco Barlarigo, Venetian Consul in London in 1449. He holds in his hand a letter addressed to him in London. Half length. He was elected Doge in 1435, and died in 1486, aged 72. On oak, 9 in. 7i. by 6 in. w. Formerly in the Manf rini Gallery, Venice ; purchased from the pro- prietors of that collection in 1862. ;"i .': " ..''.' ' Z:'. '. f:C.S No. 708. The Madonna and Child. Half-figures; in the back-ground a riohly brocaded damask eurtain. On oak, 7f in. Jt. by 6^ in. w. Formerly in the Wallerstein Collection. Presented, in 1863, by Her Majesty Queen Victoria, in fulfilment of the wishes of H.R.H. the Prince Consort. No. 710. Portrait of an Ecclesiastic, Or Dominican Monk, with his hands clasped as if in prayer : in the back-ground a church tower. Half-figure, small. On oak, 13 in. h. by 10 in. w. Formerly in the Wallerstein Collection. Presented, in 1863, by Her Majesty Queen Victoria, in fulfilment of the wishes of H.R.H. the Prince Consort. No. 774. The Madonna and Child enthroned. On her light kneels St. Peter holding an open book, on which the Virgin has placed her hand ; on her left k,neels St. Paul, offering a pink to the Infant Christ. Gothic architecture ani stained windows on one side behind the throne, a landscape on the other side. On wood, 2 ft. 3' in. h. by 1 ft. 8 J in. w. Formerly in the Zambeccari Gallery, Bologna. Purchased from the collection of the late Sir Charles Eastlake, P.R.A., in 1867. No. 783. The Exhumation of St. Hubert, Bishop of Liege, in the eighth century. The action takes place in the choir of a handsome Gothic church ; over the altar is a statue of St. Peter, and on the altar is the shrine 203 FLEMISH. of St. Hubert. The body of the saint in his robes, and with the mitre on his head, is supported by two monks just above the opening of the grave ; at hia head kneels a bishop, and another bishop is incensing the body at his feet. On this side also is standing the Prankish King holding his crown in his hand. On each side and behind the rails of the choir are many spectators. On wood, 2 ft. 11 in. It. by 2 ft. 8 in. w. This picture may be by Albert Ou water, a Netherlands painter of the the 15th century. It very closely resembles the " Raising of Lazarus," by that painter, in the Berlin Gallery. Formerly in the collection of Mr. Beckford, of Fonthill, where it was described as the burial of a bishop, by John van Eyck. Purchased from the collection of the late Sir Charles Eastlake, P.R.A., in 1868. No. 943- Portrait of a Man. Nearly full face, with thin brown hair, and beardless. In a red cap and gown, but showing the hands one laid over the other. To the left an open window, with a view of the country. This picture was formerly in the possession of Samuel Rogers, and was assumed to be a portrait of Memlinc by himself, in the costume of the Hospital of St. John at Bruges. On oak, 12 in. h. by 8 in. w. The Wynn Ellis Bequest. 1876. No. 947. A Man's Portrait. A full face bearded, a gold chain round his neck, dressed in black ; his gloves in his left hand, and a paper roll in the other. A small black cap on his head. On oak, 15 in. h. by 11 in. w. The Wynn Ellis Bequest. 1876. No. 1036. A Man's Portrait. Half length. An attenuated man, of intellectual aspect, without beard. He is dressed in a cap and close vest of black velvet, with a dark mulberry-coloured gown lined with black damask. The right hand rests upon a skull, the left holds a pansy of two blosso ns ; green background. On wood, lOf in. h. by S in. w. Purchased from Mr. W. Fuller Maitland, M.P., from the interest of the " Lewis Fund," in 1878. FLEMISH 209 No. 1O63. Bust Portrait of a Young Man. In a black dress, bare headed ; his hands joined as in Prayer. On wood, 9 in. 7t. by 7 in. w. Once, apparently, in the possession of Mr. Beckf ord, at Fonthill Abbey. Purchased at the sale of the collection of Mr. J. H. Anderdon, in 1879. No. 1078. The Deposition from the Cross. The body of our Lord in a sitting posture is supported by the Virgin, who clasps it in her arms, and by St. John who stands behind it. Mary Magdalene, with the jar of ointment, kneels at the feet anointing them. St. Anna and two other female saints complete the group. In the background is a rocky eminence, in the side of which the Sepulchre is hollowed. Beyond, to the left, a landscape. On wood, 2 ft. f in h. by 2 ft. | in. w. Bequeathed by the late Mrs. Joseph H. Green, in 1880. No. 1079. The Adoration of the Kings. To the left of the picture, the Virgin with the Infant Christ on her knees sits on a stone trough in a partly ruined building. At her feet is one of the kings in an attitude of prayer, another kneels behind him holding a golden casket. A third king of dark complexion richly attired enters on the right bearing a gold vessel in one hand and a turban in the other. Behind him are grouped other figures. In the background is a madias ?al building with angle turrets and machiolated walls, beyond which is seen a village. These two pictures (1078 and 1079), if a larger altar piece in St. Bavon, at Ghent, is rightly attributed to Gerard van der Meire, may possibly be by that master, as they closely resemble it in style and colouring. On wood, 1 ft. Hi in. h. by 1 ft. 10| in. 10. Bequeathed by the late Mrs. Joseph H. Green, in 1880. No. 1081. Portrait of a Man in an attitude of prayer. Half length figure (about two -thirds life-size) dressed in black, with an open book before him. Probably the donor of a 25640 210 FLEMISH. triptych of which this picture formed one compartment. Land- scape background with trees, cottages and rocky heights in the distance. On wood, 2 ft. 2 in. h. by 12| in. w. Bequeathed by the late Mrs. Joseph H. Green, in 1880. No. 1083. Christ Crowned ivith Thorns. Half length figure, nearly life size, wearing a crimson robe, but otherwise undraped. The hands upraised showing the sacred wounds. Gold background. On wood, 1 ft. 5J in. h. by 1 ft. 2| in. w. Bequeathed by the late Mrs. Joseph H. Green, in 1880. No. 1085. The Virgin and Child, with other Figures. A triptych. In the central compartment the Virgin, with uncovered head and long flowing hair, is seated reading from a book which she holds in her hand. At her feet is the Infant Christ undraped and seated on a cushion. Attendants and angels are grouped around, the latter playing musical instruments. In the rear is a stone fountain, into which water is flowing from a richly wrought brass or copper basin, supported on a pedestal of the same material. In the background is the fa9ade of a mediaeval church and part of the tower with cypress trees to the right. In the left compartment is a kneeling figure (St. John the Baptist ?), with sheep and a background of trees. In the right- hand compartment St. John the Evangelist kneels bearing a shalice. Landscape background. On panel, central compartment, 2 ft. 2\ in. h. by 1 ft. 5 in. w. Side compartments, each 2 ft. 2| in. h. by 7 in. w. No. 1086. Christ appearing to the Virgin Mary after His Resurrection. Our Lord, clad in a scarlet robe, but otherwise undraped, approaches the Virgin, who is seated with a book on her knees at an open casement in a dwelling room. He raises bis hands showing the sacred wounds. His mother turns towards Him with a gesture of surprise. A half -opened door in the background reveals a garden with the Holy Sepulchre. Through the open window is seen a landscape. Figures about one-third life size. On wood, 4 ft. !, in. h. by 2 ft. 4 in. w. Bequeathed by the late Mrs. Joseph H. Green, in 1880. FLEMISH. 211 No. 1089. The Virgin and Child, with St. Elizabeth. The Virgin with uncovered head and long fair hair, clad in a dark -coloured robe and pale-blue mantle, sits in a garden holding the Infant Christ on her lap. By her side is St. Elizabeth, also seated, with an open book on her knees, offering fruit (?) to the Child. Landscape background, with trees and a cottage. On wood, 1 ft. 3J in. h. by 1 ft. w. Bequeathed by the late Mrs. Joseph H. Green, in 1880. No. 1280. Christ appearing to the Virgin Mary after His Resurrection. The Yirgin, clad in a blue mantle, sits at the foot of a large bed hung with rose-coloured curtains. On the pavement, by her side, lies an open service book. On the left of the picture our Lord, draped in a red robe, and bearing an emblematical cross, sits with upraised hands, revealing His wounds. Behind, is a crowd of kneeling figures who have entered an arched doorway leading to the apartment. On panel, 8J in. h. by 6 in. 10. Purchased in London, from Professor Attwell, out of the "Walker Bequest," in 1889. No. 1419. The Legend of St. Giles. On the right hand of the picture the Saint, clad in hermit's robes, sits on a rocky bank surrounded by shrubs and wild flowers. He is tenderly protecting a hind which has fled from a hunting party towards him, and his right hand is transfixed by an arrow which was intended for the animal. Kneeling before St. Giles, as though to implore forgiveness for the misadventure, is a young man richly clad in a green velvet mantle faced with scarlet and gold brocade. He is attended by a companion draped in a crimson mantle who stands by him, and who is supposed by Mr. Weale, in his catalogue of the Flemish portion of Lord Northbrook s Collection, to represent the painter of the picture. An ecclesiastic kreels on the other side. In the imme- diate foreground is a group of irises, and to the right a plant of mullein, finished with great delicacy of execution. In the middle distance are seen retainers and huntsmen one mounted on a white horse near the trunk of a large tree. Beyond is a rocky landscape with the distant view of a town and hilly country. 25640 2 212 FLEMISH FOPPA. This picture formed part of a diptych, of which the companion pic- ture, representing St. Giles elevating the Host before a group of wor- shippers, belonged formerly to the Earl of Dudley, from whose collection it was bought at Christie's, in 1892, by Mr. Edward Steinkopff. On panel, 2 ft. k. by 1 ft. 6 in. w. Exhibited at the Burlington Fine Arts Club in 1892, and at the Royal Academy Winter Exhibition of Works by Old Masters in 1893-4. Formerly in the collections of Mr. Th. Emerson and of Mr. Webb. Purchased for the Gallery from the Earl of Northbrook, in 1894. No. 1433- Portrait of a Lady. She wears a transparent starched muslin head-dress which, coming down as low as the eyebrows and covering the ears, yet allows the forehead and ears, and a high cap of gold and white brocade to be seen through its thin texture. She holds her hands folded in front of her and wears a brown cloth dress with dark green lapels, confined at the waist by a leather belt, and open in front to show a crimson velvet stomacher and a white muslin guimpe. On panel, 1 ft. 2 in. k. by 10| in. w. Bequeathed, in 1895, by Mrs. Lyne Stephens. FLEMISH: XVII. CENTURY. No. 1017. A hilly woody Landscape. In the middle distance a village ; in the foreground a formal flower garden with labourers at work to the right, and a bridge with an avenue beyond it in the centre ; a festive party and other figures, some playing musical instruments, in the front. Signed D. D. V., 1622. On canvas, 4 ft. 7 in. k. by 5 ft. 11 in. w. The Wynn Ellis Bequest. 1876. FOFFA (ViNCENZO) 14 . .?-J492. May be looked upon as the founder of that school of painting which pievailed in the Milanese before and up to the time of FOPPA. 213 Leonardo da Vinci. He seems, however, to have been born at Brescia, and as may be conjectured within the first quarter of the 15th century. Vasari, who makes honourable mention of him more than once, though under the erroneous name of Vincenzio di Zoppa, says, on the authority of Filarete and Girol. Campagnuola, that he had been a pupil of Squarcione at Padua. There is certainly much in the style of some of FOPPA'S productions to re nind us of the school out of which came Mantegna and Pizzolo. Unhappily the greater number of his works have disappeared, as, for instance, the frescoes executed in the palace ab Milan which was presented by Francesco Sforza to Cosmi de' Medici, and those painted in the Great Hospital with which Sforza endowed that city ; those of the Carmine at Pavia (1465), and in the neigh- bouring Certosa, and many other works once at Milan and elsewhere. Amongst those which still remain more or less unscathed are the great altar-piece (1489) in many sections, partly the work Brea, now in S. Maria di Castello at Savona, but formerly in the Duomo there ; the Four Doctws of the Church (frescoes) in S. Eustorgio in the same city ; a similar series in the Carmine at Brescia ; at Milan, again, in the the Brera Gallery, the disjointed panels of an altar-piece once in S. Maria delle Grazie at Bergamo, together with a fresco, the Martyrdom of St. Sebastian, saved out of an otherwise destroyed series once in S. Maria di Brera, and some fresco fragments in the Archaeo- logical Museum. Two small panels in the Carrara Gallery at Bergamo, a S. Jerome and a Crucifixion, both signed, and the latter dated 1456 (the earliest date found), must also be men- tioned as illustrative of FOPPA'S path in art. When at Pavia, FOPPA married. Late in life, after many years of absence, spent chiefly at Milan, he returned to his native town, where he received a renewed grant of citizenship and a stipend of 100 lire yearly. There he died in 1492, and was buried in S. Barnaba.f *It is, nevertheless, certain that an artistic family of the name of Foppa existed in the 14th, 15ih, and 16th centuries, and early writers are not quite in agreement as to Vincenzo's birthplace. See G. L. Calvi, Dei Profcssori, &c., pt. II., 56 ; also Crowe and Cavalcaselle, Painting in N. Italy, II., 2. But Vasari's information led him to conclude that Vincenzo wasa Breseian, and the painter's own signature on the little Crucifixion at Bergamo, whichever way it may be read, seems to confirm that inference. See Lermolieff, Die Italienischen Meister, &c., p. 439, and Calvi, as above, pt. II., 59. t There was a younger Vincenzio Foppo, whose works have often been ascribed to the elder, but whom it is needless to mention further here. 214 FOPPA FRANCESCA. To the pupils of FOPPA are reckoned, with greater or less show of probability, and as in nearer or further affinity to him, Buttinone, Zenale, the Borgogoni, Bevilacqua, Bramantino (B. Suardi), Civerchio, G;ov. da Montorfano, Bernardino de' Conti, and the Piedraontese Macrino d'Alba. He is said by Lomazzo to have written on perspective. No. 729. The Adoration of the Kings. The Virgin is seated on the left by the side of a ruined stable ; in the centre are the three kings, with their attendants, offering presents. In the background are seen the star and the city of Bethlehem, with horsemen and other travellers proceeding from one of the gates. Whole figures, small life-size ; some of the gold ornaments and stones are in relief. This picture was long attributed to Bramantino. On poplar, 7 ft. 10 in. h. by 6 ft. 11 in. w. Formerly in the Fesch. Collection. Purchased in London at the Davenport-Bromley sale, in 1863. FOR 1,1 (MtfLOZzo DA). (See MEXiOZZO.) FRANCESCA (PIERO BELLA), 1415?-1492. Or, with more correctness, DEI' FRANCESCHI, so called after the family name of his mother, was born at Borgo San Sepolcro about 1415. He received at first a scientific education which appears to have influenced his subsequent tendencies in art. At the age of fifteen he turned his attention to painting, and ultimately became one of the most distinguished of the Umbrian masters. He practised the new method of oil painting which he probably acquired from Domenico Veneziano. His earliest productions are no longer to be traced. In 1439 he assisted FRANCESCA. 215 Domenico Veneziano in some wall paintings in the church of Santa Maria Nuova in Florence. In 1450, and probably for some time previously, he was occupied with the same master at Loreto, and in 1451, independently, at Rimini, where a fresco by him with that date still exists. His maturer works in his native city of Borgo San Sepolcro, appear to have been executed during a period comprehending the years 1460-8. c Among those works, a fresco of the Resurrection, still preserved in good state in the Palazzo de' Conservatori, is justly extolled by Vasari. Pietro was subsequently in Urbino : the portraits of Federigo di Montefeltro and Battista Sforza, now in the Gallery of the Uffizi in Florence, must have been painted after 1460, in which year the marrhge of those personages took place. The age of that lady in that picture indicates a later period as its date ;f and the presence of Pietro in Urbino in 1469, when he appears t) have been the guest of Giovanni Santi,J may possibly coincide with the time when that work and another, still preserved in the sacristy of the Duotno at Urbino, were executed. The period when he was employed by Duke Borso of Ferrara in the palace of Schifanoia in that city, and the date of his visit to Rome, when he painted for Pope Nicholas V. two frescoes in the Vatican which were afterwards destroyed to make room * A fresco of San Lodovico, ascribed to Pietro, in a hall of the Tribunale in Borgo San Sepolcro, has the date 1460. Dragomanni, Vita di Pietro delta Francesco, Firenze, 1835, p. 22. In 1467 he painted in this city a " gonfalone " in oil colours (lavorato a oglio) for the Nunziata of Arezzo, for which he received the balance of 22 florini d'oro on the 7th November, 1468, having been paid 10 florins, in advance, December 31st, 1466. See Milanesi, Giornale Storico, &c., 1862, vol. vi., p. 12. t Battista Sforza was only thirteen at the time of her marriage, she died at the age of twenty-five in 1472. Dennistoun, Memoirs of the Dukes of Utbino, London, 1851, vol. i., pp. 86, 114, 204. At p. 207 will be found an accurate engraving of the portraits. J Passavant, Raphael d'Urbin, Paris, 1860, tome 1, p. 392; Pungileoni, Elogio Storico di Giovanni Santi, Urbino, 1822, pp. 12, 75. In the extract from a docu- ment dated April 8, 1469, with an account of disbursements for Pietro by Giovanni Santi, it appears that the former was to have painted an altar-piece for the Confraternity of Corpus Domini ; Pungileoni adds that the picture was, for some unknown reason, not executed ; thus the painter's visit to Urbino in 1469 would have had no apparent result unless we suppose that the portraits and the small picture in the Duomo were painted about that time. The subject of the last-named picture is partly allegorical. On the left of the spectator, in the middle distance under a portico, is represented the Flagel- lation of Christ. In the foreground, on the other side, stand three personages of distinction ; the motto "convenerunt in unum" is inscribed near them. Passavant (Raphael, &c.,i.. p. 389) concludes that they represent three princes or leaders who were hostile to Federitro. The picture bears the inscription OPUS PETRI DE BUBGO Sci SEPULCHBI. 216 FRANCESCO. for the works of Baphael, cannot be precisely defined.* His frescoes relating to the history of the Cross, in the church of Sin Francesco at Arezzo, are also of uncertain date, although the magnitude of the series indicates a residence of some years.f According to Yasari, he was blind after the age of 60 ; but this statement probably ante-dates the fact. He died in 1492. Among his scholars Vasari names Pietro Perugino, and Luca Pacioli was his pupil in geometry and in scientific investigations generally. The mathematical studies of this remarkable painter, which appear to have been prosecuted occasionally during his life, and to which his latter like his early years were exclusively devoted, led him to give his attention to some branches of art, such as the effects of perspective and light, which were imperfectly practised when he began his career, and in these respects he undoubtedly contributed t:> prepare the way for the more accomplished masters who succeeded him.J No. 665- The Baptism of Christ in the River Jordan* Christ is standing in the river, under the shade of a pome- granate tree receiving the water on his head from the cup of the Baptist ; the dove is descending upon him. On the spectator's left are three angels witnessing the ceremony ; other figures are on the banks of the the river, in the background. Composition of six principal figures. * Borso succeeded to the sovereignty of Ferrara in 1453. In 1469 an alteration in the Schifanoia palace is supposed to have involved the partial destruction of Pietro's f r escoes which it seems were on the walls of the lower story. The two dates include the period of his residence in Ferrara. See Laderchi, Sopra i dipint! del Palazzo di Schifanoia, Bologna, 1840. The years 1447, 1455, the limits of the pontificate of Nicholas V., define the period within which Pietro's Roman labours must be placed. In the life of Raphael, Vasari speaks but of one fresco in the Vatican by Pietro ; in the life of Pietro himself, he alludes to two, and informs us that they occupied the places where Raphael's frescoes of the Deliverance of Peter and the Mass of Bolsena now are. t Luca Pacioli, in his " Divina Proporzione," speaking generally of Pietro's works in painting, adds " especially in the city of Arezzo. ' According to Vasari, the order of Pietro's principal works, as defined by that of the places where he successively resided would be Urbino, Ferrara, Rome, Borgo San Sepolcro, Loreto, Arezzo. The inconsistency of this, in point of chronology, is apparent, more especially as the biographer supposes Pietro to have been employed in Urbino by Duke Guidobaldo, who succeeded his father Federigo in 1482 at the age of ten. It is, however, not impossible that the aged artist may have painted for Guidobaldo, the date of Pietro's blindness being uncertain. I A drawing by Pietro for one of the frescoes at Arezzo (once in the Lawrence collection) in which the angel descends by night to Constantine, is so powerful and original in its light and shade, that it was published by Ottley as the work of Giorgione. Compare Vasari's description of the fresco. FEANCESCA. 217 In tempera, on wood, 5 ft. 5 in. h. by 3 ft. 9 in. w. Formerly the principal altar-piece of the Priory of St. John the Baptist, at Borgo San Sepolcro. When the priory was suppressed in 1807 the picture was removed to the sacristy of the Cathedral, where it formed the centre portion of an altar decoration, the remainder of which was by another hand.* It was bought by Mr. J. C. Robinson for Mr. Uzielli, at whose sale it was purchased for the National Collection, in 1861. No. 758. Portrait of a Lady. Said to be a Contessa Paltna, of Urbino. A bust in profile, life size. In tempera, on wood, 5 ft. h. by 1 ft. 4 in. w. Formerly belonging to the Counts Pancrazi, in Ascoli. Purchased from Signer Egidi, in Florence, in 1866. No. 769. St. Michael and the Dragon. The Archangel is standing full-length and nearly life-size, clothed in a coat of blue and gold armour, and he has large white wings ; on his feet are red socks, open in front. He stands on the slain beast or serpent, the detached head of which he holds in his left hand ; in his right he has his bloody sword. Inscribed ANGELrS POTENTIA DfU LiUCHA. On wood, 4 ft. 4J in. h. by 1 ft. 11 in. w. Formerly in the possession of Signer Fidanza, at Milan. Purchased from the collection of Sir Charles Eastlake, P.E.A., in 1867. No. 908. The Nativity of our Lord. The child is lying on the ground on the corner of the mantle of the Virgin, who is kneeling in adoration ; five angels are singing, or playing on musical instrumeLts. In the background is a ruined shed or stall, in which are seen an ox and an ass. Joseph is seated behind the Virgin on the ass's saddle ; near him are two shepherds. In the distance a hilly landscape and the view of a town. Unfinished. On wood, 4 ft. 4 in. h. by 4 ft. w. Formerly in the possession of the Marmi-Francheschi family, of Borgo San Sepolcro. descendants of the painter, who entrusted it for sale into the hands of the Cavaliere Ugo Baldi, in Florence, where, in 1861, it was bought by Mr. Alexander Barker. Purchased for the National Gallery at the Barker sale, in 1874. * Dragomanni, Vitu di Pietro .della Francetca, Ac., Florence. 1835. 218 FRANCIA FRANCESCO DI GIORGIO. FRANCZA. (See R AIBOZ.ZNI.) 7RANCZA BXGXO. (See BZGZO.) FRANCESCO DZ GZORGZO, 1439-1502. This Sienese artist is supposed, from the peculiarities of his style, to have studied under Lorenzo di Pietro, called Vecchietta. In his early days he was associated with Neroccio di Bartolommeo di Landi in painting and sculpture, but he was distinguished rather as an architect and engineer than as a painter, and was much employed in the designing of fortresses, for which he was cele- brated throughout Italy, and is said to be the first who used the mine as a means of attack. After 1475 he seems to have almost given up the practice of the arts, and devoted himself entirely to architectural and engineering works ; his paintings, therefore, are not numerous. They are characterized by a certain originality of treatment, with curious affectations. The small picture noticed below shows novelty in the treatment of the well-worn theme of the Madonna and Child, with much grace in the movement and in the easy fall of the draperies. No. 1682. Virgin and Child. This quaint little picture represents the Virgin in the attitude of walking, leading the Infant Saviour by the hand. She wears a white dress, shaded blue, with a small gold pattern delicately painted upon it, and a rose-coloured mantle lined with dark green, and holds in her right hand a branch of roses. The drapery falls with much grace, and she looks down with a sweet expression to the child, who is dressed in a light orange-red tunic bordered with black and gold, from beneath which appears an under dress of blue. He wears light grey shoes and stockings, and holds a small basket of flowers in His left band. The background is gold with a stamped border, above a marble floor. The nimbi are stamped on the background. On panel, 1 ft. 1$ in. h. by 8J in. w, Purchased in London, from Messrs. T. Agnew & Sons, in 1899. FRENCH SCHOOL FUNGAL 219 FRENCH SCHOOL 3 XV. CENTURY. No. 1335. The Madonna. Bust length : about three-quarters life size : nearly full face. The head of the Virgin is covered with a hood of blue material (bordered with gold thread and pearls) which falls to the shoulders. Underneath the hood is a white linen veil, concealing the hair. The eyes are downcast and the expression pensive. Gold background, on which a large and elaborate nimbus is stamped or engraved. On panel, 1 ft. 1^ in. h. by 9| in. w. Purchased in London, from Miss Sorel, out of the interest of the " Clarke Bequest," in 1891. No. 1939. The Virgin and Child with Saints. The Virgin, holding the Infant on her knee, and clothed in a rose-coloured mantle, is seated on a turf-covered stone bench, frqm which flowers are springing, in a small garden, " hortus conclusus." Her feet rest on a rich cushion of black and gold brocade. At her back is a battlemented wall, behind which are gathered three male and three female saiuts. To the left is a Gothic Chapel, in the door of which the donor, richly dressed in gold brocade, is kneeling. Columbines and other flowers spring from the grass at the Virgin's feet, and a small basket and bowl with fruit are placed on the turf-covered bench to the left. The background is an open landscape with a town and towers. Two minute angels, all blue, hold a crown over the Virgin's head, and close to the top of the picture are two very small figures of St. Michael driving out Satan. On panel, 10J in. ft. by 7f in. tv. Purchased in London, from Messrs. T. Agnew & Sons, out of the interest of the " Lewis Fund," in 1904. FUNGAI (BERNARDINO), 14 . . ?-1516. This Sienese painter died in 1516, at what age is not known FUNGAI, treading in the footsteps of Matteo di Giovanni, Benvenuto di Giovanni, and others of the same class, continued with no real signs of development from within, the style prevalent in the School of Siena during the 15th century. Such variations from native habitudes as his works exhibit are due to 220 FUNGAI FYT. Umbrian example. In hi8 infantile heads he took after Perugino ; in his landscape backgrounds he imitated Pinturicchio. The picture described below displays the hotne and foreign elements in combination. FUNGAI may best be studied now in the collection of the Accademia of Siena. There, amongst many specimens removed thither from churches, a large Assumption, and an Enthroned Madonna and Child with attendant Saints, favour- ably represent the painter. The fresco of the Coronation of the Virgin, behind the high altar in the church of Fontegiusta at Siena, still ascribed locally as well as by some writers to FUNGAI, has been long since shown by Milanesi to be the work of Girolamo, the son of Benvenuto di Giovanni. No. 1331. The Virgin and Child surrounded by Cherubim. The Virgin clad in a robe of crimson and gold brocade and a white mantle enriched with a large gold diaper, sits holding on her knees the Infant Christ, who raises his right hand in bene- diction. Round the sacred group hover six cherubim. In the middle distance, on the right, is seen a cavalcade (the Procession of the Magi ?) descending a zigzag path over a rocky height. On the left is a ruined building, near which Joseph and Mary kneel adoring the Infant Jesus, who lies on the ground near a manger. In the background, mountainous and wooded landscape. On panel (circular), 3 ft. 9 in. diameter. Presented, in 1891, by Mr. William Connal, junr. FYT (JAN), 1611-1661. One of the ablest of the Flemish animal painters, was baptized at Antwerp, March 15, 1611. He studied painting first under Jan van den Berch, and afterwards profited by the tuition ot Frans Snyders. In 1629 he was admitted master in the corpora- tion of St. Luke in his native city. In 1632-33 he set out on a journey through France to Italy, where he appears to have tarried some seven years before returning home. His sojourn at Borne had rendered him eligible for election into the guild of "Romanists" at Antwerp. He entered it in 1650, while Jan van den Hoecke was Dean of the Guild, and succeeded to that FYT GADD1. 221 dignity himself within two years. In 1654 FYT married Joanna van den Zande, by whom he had four children. He died September 11, 1661. FYT'S work is perfect in its kind, exhibiting the finest observation of nature, and an execution which unites the greatest mastery with the utmost delicacy. His composition is unconstrained, and the colouring and tone of his pictures are most pleasing. His spirited etchings of animals, &c., are well known. No. 10O3. Dead Birds, Two partridges and other small birds before the atump of a tree ; an open country to the left, and a carriage to the right, in the background. Signed : On canvas, 15J in. h. by 22J in. w. The Wynn Ellis Bequest. 1876. No. 1903. Landscape with Dogs and Game. A dog is seated under a bank keeping guard over a heap of dead game. Another is partly seen over a rising ground on the right, beyond which is a distant open country. An owl is sitting on a red perch in the upper left hand corner. On canvas, 3 ft. 3f in. h. by 4 ft. 4| in. w. ^Presented by Sir Edward Burning-Lawrence, Bart., in 1902. GADDI (TADDEO), SCHOOL OF (XIV. CENTURY.) TADDEO, the son of Gaddo GADDI, was born at Florence, accord- ing to Vasari, in the year 1300. He was the godson and pupil of Giotto, with whom he lived twenty-four years ; and he became 222 GADDI. the most eminent of that painter's numerous scholars. He enlarged somewhat upon the style of Giotto, though he preserved its general character ; he surpassed his master, says Vasari, in colour, and, in some of his works, even in expression. TADDEO, however, adhered strictly to the prevailing sym- metrical disposition of the figures which, in altar-pieces at least, characterizes the compositions of the early Italian masters. He executed many works at Florence, both in fresco and in tempera, but few are now preserved. The best of those that remain are the frescoes of the Giugni (formerly Baroncelli) chapel, in the church of Santa Croce at Florence. 6 But his most extensive works were the frescoes of the Cappella degli Spagnuoli, in the church of Santa Maria Novella, now much decayed. TADDEO was equally distinguished as painter and as architect ; he built the present Ponte Vecchio, and also the old Ponte della Trinita, which was destroyed by a flood in 1557. TADDEO GADDI died in 1366. He amassed considerable wealth, and was the founder of the distinguished Florentine family of the name. He left two sons, Giovanni and Agnolo, who both followed the arts, but the former died young : Agnolo became an eminent painter, and was the master of Ceunino Cennini. No. 215. Various Saints. Apparently St. Ambrose, St. Stephen, St. Francis, St. Paul, St. Catherine ? St. John the Baptist, St. Matthew, and St. Benedict ? On wood, 5 ft. 11 in. h. by 3 ft. 4 in. w. No. 216. Various Saints. St. Gregory, St. Philip? St. Lawrence, St. Thomas? St. Dominick ? St. John, St. Peter, and St. Romuald. On wood, 5 ft. 10 in. h. by 3 ft. 4^ in. w. These pictures, painted in tempera, appear, from the corresponding symmetrical disposition of the figures, to have formed the wings of an altar-piece. They were presented to the National Gallery, in 1848, by Mr. W. Coningham, by whom they were purchased at Rome ; one was formerly in the collection of Cardinal Fesch, the other had been taken from Florence to Rome on speculation. * They are engraved by Carlo Lasinio in his Affreschi celcbri del xxiv., c. xv. Sccolo, Firenze, 1841. GADD1 GELLEE. 223 No. 579. The Baptism of Christ in the River Jordan. In the centre picture is St. John baptising Christ ; above which subject is an angel ; on the spectator's left is St. Peter, on the right St. Paul. In the predella pictures, the angel announcing the birth of St. John the Baptist to Zaccharias ; the birth of St. John ; his death ; the feast of Herod ; Herodias receiving the head of the Saint from her daughter ; and at the extreme ends, St. Benedict, and St. Romuald ; in all, eleven subjects. Altar-piece in tempera, on wood, 11 ft. h. by 6 ft. 7 in. w. Of fche principal pictures, the centre 5 ft. 3^ in. h. by 2 ft. 6 in. w., the sides 4 ft. ^ in. h. by 1 ft. 2J in. w. ; of the upper pictures, the centre, 2 ft* 1 in. A. by 10 in. w., the sides, 1 ft. 11 in. h. by 10 in. w. ; the predella pictures. 1 ft. 1 in. h. by 2 ft. 3 in. w. According to an inscription, now partly obliterated, on the principal picture, this work was painted for Filippo Neroni, in 1387. Formerly in the Abbey del Sasso di Camaldoli, in the Casentino. Purchased at Florence from the Lombardi-Baldi Collection, in 1857. No. 579A. The Almighty, The B. Virgin, and St. Isaiah. The cuspidi or upper pictures of the above ; in the centre, the Almighty ; on the left, the Virgin ; on the right. Isaiah holding a scroll containing the words Ecce virgo concipiet. In tempera, on wood. Central panel, 2 ft. 1 in. h. by 10J in. w. ; side panels, 1 ft. lOf in. h. by 10 in. w. GAROFAX.O. See TZSIO. (CLAUDE), called LE LORRAIN. 1600-1682. CLAUDE GELLE'E or GILLE'E, called CLAUDE DE LORRAINK, or LE LORRAIN, and also CLAUDE LORRAIN, was born at Chamagne, near Charmes, department des Vosges, in the year 1600. His parents were poor, and as CLAUDE showed little disposition to learn to read or write he was placed with a baker and pastry cook. The cooks of Lorraine were then celebrated, and according to his friend and biographer, Sandrart, CLAUDE 224 GELLEE. travelled to Rome in the company of some of these cooks, to seek, like them, employment there. He found it with Agostino Tassi, and the circumstance of his master being a painter gave a stimulus to CLAUDE'S innate fondness for art. Tassi was a good landscape painter (he had been the pupil of Paul Bril), and with this painter CLAUDE engaged himself as an ordinary domestic servant. He prepared his master's meals and ground his colours for him, but soon became his pupil in art.* How long CLAUDE was engaged in the humbler capacity is uncertain. Tassi's principal works were those of the Lancellotti and Quirinal palaces, executed during the pontificate of Paul V. (1605 21), and it is certain that CLAUDE was already acting as his assistant in 1617.f About 1625 CLAUDE, by that time ripened in practice, revisited his native soil, probably with the intention of making it his abode ; at Nancy in Lorraine he put himself under Deruet, a decorative painter of some celebrity, to learn figure painting. Apparently dissatisfied with his experiences in France he returned to Italy in 1627, overtaking at Marseilles Charles Errard, who was bound in the same direction, and who in after years was the first to hold the office of Director of the French Academy at Rome. Re-settled in the Papal capital CLAUDE ere long fell in with the German painter Joachim Sandrart, a man of sympathetic spirit, who, attracted * Sandrart, from whose Teutsche Acadcmie,&c.,or Accademia Tedesca, the above account is taken, was the intimate companion of Claude, and his work vas published during- Claude's lifetime (1675) ; it is therefore most probably correct, or at least must be of more authority than the account in the posthumous volume of Baldinucci, who lived at Florence, and was probably not even acquainted with Claude. This subject is noticed here, as Baldinucci (Notizie dei Professori del Disegno, Ac.) has been represented as contradicting Sandrart's account of Claude's origin. Baldinucci does not contradict Sandrart ; he merely gives a different account of Claude's journey to Kome. He states that Claude, after the death of his parents, who died when he was twelve years of age, joined an elder brother in Alsace, who was a wood-engraver, and subse- quently accompanied a lace -merchant, his relation, to Rome. This may have taken place after Claude had been some years with the pastry-cook with whom he was placed by his parents, according to Sandrart. But Claude's history was too remarkable for Sandrart not to have heard it from his own mouth when in Borne during their repeated intercourse and sketching excur- sions together (Lebcnslauf Joachims von Sandrart, &c., p. 12, and in the second volume of the Acadcmia Tedt'isca, p. 332). In the Latin translation of Sandrart, which was published in 1684, nine years after the original work, there is a misprint in the text of pictori for pistori, by which Sandrart is made to say that Claude's master was a painter of pies instead of a baker of pies (pictori cuidam artocreatum) ; the same mistake occurs in the marginal note, and in the index, and a few recent writers have been led into error by it. The misprint, however, is quite evident merely from the context. t A document proving this fact was discovered by M. Eug. Miintz, and is published by Mrs. Mark Pattison CLady Dilke). Claude Lorraln, &c., p. 201. GELLEE. 225 by the talent and the personal qualities of the young Frenchman, became his most intimate friend, and in their frequent wanderings in the neighbourhood of Rome impressed upon him the necessity of studying direct from nature. Earnestness of purpose and patient labour brought their reward, and CLAUDE became appreciated. One of the earliest of his friends appears to have been M. de Bethune the French Ambassador at Rome.* Cardinal Rospigliosi (afterwards Pope Clement IX.) and Cardinal Bentivoglio, who introduced the painter to Urban VIIL, were also amongst those who helped to bring him into notice. Thenceforward he must have found it difficult to satisfy the numerous demands made upon him. In 1630 he appeared as an engraver : of the several etchings ascribed to him about one-half bear dates from 1630 to 1663, f the rest are without dates. His earliest picture of note may have been painted from about 1630 ; the best, fifteen or twenty years later. He was in the habit of preserving sketches of his pictures in a portfolio or book ; and on the backs of some of these drawings he wrote the dates of the completion of the pictures, and the names of the purchasers. This remarkable collection of drawings, known as Pittori, Scultori, fd ArchiMti Mode mi, Rome, 1736 ; D'Arjrenville, Abrege de la Vie des plus famiux peintres, Paris, 1745. C. A. Eegnet, Claude Lorrain, in Dohme's Kunst und Jtunstler. Mrs. Mark Pattison, as above. GELLEE. 227 No. 5. A /Seaport at Sunset. A composition. On the left are masses of Italian architecture in perspective ; on the extreme right a few ships are lying at anchor : in the foreground are several figure?, variously occupied. Towards the middle of the picture, the declining sun is already nearly level with the horizon. Engraved in the Liber Veritatis, No. 28 ; in Jones's National Gallery; and by B. Goodall, for the series of prints published for the Associated Engravers. On canvas, 3 ft. 3 in. h. by 4 ft. 3 in. iv. This picture is dated 1644 : it was painted for the Cardinal de Medici. It was imported into this country by Mr. Delahante, and formed part of the Angerstein Collection, with which it was purchased for the nation, in 1824. Signed No. 6. Landscape, with Figures. Supposed to represent David at the Cave af Adullatn. Also called Sinon brought before Priam. On the right, behind the principal figures, is a broken rocky height, thinly covered with small trees and bushes ; opposite this, towards the left, is a very prominent group of trees, constituting with its foreground the principal dark mass of the picture, and giving distance to the woody castellated eminence in the middle- ground behind. Immediately before the trees two warriors are hastening to join the assemblage around David. The distance is an extensive and varied country. Several groups of small figures are interspersed about the picture. Signed CLAUDIO GiLLEE i.v. KOM.E, 1658. Engraved in the Liber Veritatis, No. 145 ; and by J. C. Varrall, for Jones's National Gallery. On canvas, 3 ft. 9 in. h. by 6 ft. 2 in. w. This picture, called the Chigi Claude, was painted, in 1658, for Agostino Chigi, and was, up to the time of the French Revolution, in the Chigi Palace at Rome, from which it passed into the possession of Mr. Sloane, an English banker there ; after his death it was sent by his family to England. It came subsequently into the possession of the Rev. W. Holwell-Carr, who bequeathed it, in 1831, to the National Gallery. 25640 p 2 228 GELLEE. No. 12. Landscape, with Figures., representing the marriage festival of Isaac and Rebecca. f * A broad river with a picturesque water-mill on the left hand, and a more distant bridge leading to a town on the opposite side, constitute the centre of the picture : the scene is bounded by mountains. On each side are lofty spreading trees, behind thoee on the left is seen a waterfall : in the foreground is a bridge of a single arch with cattle drinking from the stream which 'flows under it ; to the right are the figures celebrating the marriage festival of Isaac and Rebecca according to the inscription on the picture itself " Mariage d'Isac avec Rebeca." Engraved in the Liber Veritatis, No. 113 ; by J. Mason, in 1748 by E. Goodall, for the series of prints published for the Associated Engravers ; and small, in Jones's National Gallery. On canvas, 4 ft. 11 in. h. by 6 ft. 7 in. w. This picture, which, with the following, was painted, in 1648, for the Duke de Bouillon, at Paris, is a repetition, with considerable variations in the details, of the celebrated Doria or Panfili Claude, known as " 11 Molina" or Claude's Mill, and is of the same dimensions. There is a print of the Doria picture by F. Vivares, engraved in 1766, and another by F. W. Gmelin. engraved in 1804. The picture above described was subsequently in the Angerstein Collection, with which it was purchased, in 1824.* * Some connoisseurs have . pronounced this picture a copy of the Doria Claude, but a comparison of the above-mentioned prints will show that there are considerable variations in all parts of the two pictures. The figures are Tery different. GELLEE. 229 No. 14. Seaport, with Figures, representing the em- barkation of the Queen of Sheba, on the occasion of her visit to Solomon. The time appears to be the early morning, as the sun is repre- sented only a little above the horizon ; on the left in the fore- ground, and occupying the whole height of the picture, is a Corinthian ruin, behind which is seen some shipping ; on the right, extending back towards the centre of the picture, is a pile of Italian architecture partly relieved by foliage ; the queen and her attendants are descending a broad flight of steps on this iide to enter a boat which is waiting to receive them. A ship is lying at anchor near the entrance of the port. Several figures to the right, and a boat in the centre occupy part of the foreground. The words La Heine de Saba va trover Salomon, nearly obliterated, are written in the right corner of the picture. -' LA- REINE-DE- SABA VA- TROV E fv ^SALOMON- Engraved in the Liber Veritatis,No. 114 ; by J. C. Varrall, for Jones's National Gallery ; and by J. Pye. On canvas, 4 ft. 11 in. ft. by 6 ft. 7 in. w. This picture is known as the Bouillon Claude, from the Duke de Bouillon, whose name is inscribed in the left corner, for whom it was painted, together with No. 12, in 1648. Both pictures remained in the possession of the Bouillon family until the French Revolution, when they were brought to England, and were bought by Mr. Angerstein, with whose collection they were purchased for the nation, in 1824. The inscription referred to is CLA/DF Gil. 'IV- FAICT-POVR/SON ALTESSt-LE-IDVC-DE BVILLON- AROMA- No. 19. Landscape, with Figures, representing the story of Narcissus and Echo. This picture is almost equally divided into two principal masses ; dark shady foliage occupying the whole left is separated from the bright sky of the rest of the picture by a castellated eminence 230 GELLEE. and more distant foliage in the middle-ground. The distance to the right represents a bay of the sea, with a small town on each side, and is bounded by mountains. There is also a small cluster of trees to the right of the picture. The foreground is occupied by a transparent shady pool, on the farther side of which Narcissus is admiring his image in the water ; above him, to the left, are two nymphs, almost hidden by the trees, watching him. The nymph, lying at the extreme left on this side of the pool, is apparently the disconsolate Echo, pining for the love of Narcissus. Engraved in the Liber Veritatis, No. 77 ; by F. Vivares, in 1743 ; and by W. B. Cooke, in Jones's National Gallery. On canvas, 3 ft. 1 in. h. by 3 ft. 11 in. w. There is an obscure inscrip- tion in the left corner. According to the Liber Veritatis, this picture was painted for England in 1644. It was formerly in the possession of Mr. P. Delme, from whose collection it was purchased by Sir George Beaumont, who presented it, with other pictures, in 1826, to the National Gallery. No. 30. Seaport, with the Embarkation of St. Ursula. The water in this picture is a small basin or harbour ; on the left side is a perspective view of a rich pile of architecture, on the other are harbour works and foliage, and the ships about to convey St. Ursula and her followers on their pilgrimage. The taint, with a long train of virgins, is descending a flight of steps to the boats, which are ready to convey them on board the ships. In the foreground are various figures busily occupied, some with merchandise, others with boats. " The effect of the breeze upon the water and upon the trees, and the freshness of the morning atmosphere, in this picture," says Mr. Ottley,* " are expressed with a closeness of imitation bordering on illusion." Engraved in the Liber Veritatis, No. 54 ; also by Dominique Barriere, at Rome, in 1665 ; by J. Fitler, in 1787 ; by H. Le Keux, for the series of prints published for the Associated Engravers ; and small, in Jones's National Gallery. On canvas, 3 ft. 8 in. /;. by 4 ft. 11 in. w. Signed, but the signature is not legible. This picture was painted for Cardinal Barberini, in 1646, and remained in the possession of the Barberini family until 1760, when it was purchased by Mr. Lock, of Norbury Park. It formed subsequently part of the Angerstein Gallery, and was purchased with the other works of that collection, in 1824. * Descriptive Catalogue of the Pictures in the National Gallery, &c. London, 183-. GELLEE. 231 No. 55. Landscape, with Figures, representing the death of Procris. The scene is in a forest ; the sun is still high. In the middle- ground, among the trees, may be discerned a town on the border of a small lake ; a deer is also very prominently introduced de- scending a hill which leads towards the lake. In the foreground Procris lies pierced by the fatal arrow from the hand of her husband Cephalus, who, followed by his hound, is hastening to her assistance. Engraved in the Liber Verltatis, No. 100 ; of the full size, by J. Browne ; and small, in Jones's National Gallery. On canvas, 1 ft. 3 in. h. by 1 ft. 7 in. w. Presented to the nation, in 1826, by Sir George Beaumont, Bart. No. 58. Landscape, with Goatherd and Goats. Sometimes called a study of trees. A large open cluster of trees constitutes nearly the whole picture : in the foreground is a goat- herd, playing the pipes while tending his goats. Engraved by G-. A. Chocarne for Jones's National Gallery. On canvas, 1 ft. 8 in. h. by 1 ft. 4 in. to. Presented to the nation, in 1826, by Sir George Beaumont, Bart. No. 61. Landscape, with Figures. Supposed to represent either the Annunciation or the Angel appearing to Hagar. The figures are in the foreground to the left ; on each side of the picture is foliage, that to the right cover- ing a great portion of the picture. The middle-ground is occupied by a broad winding river, over which a single arch conducts to a high rock, occupying the centre of the middle distance, and which is surmounted by a castle or town. The view is bounded by low mountains. Engraved in the Liber Veritatis t No. 106 ; by J. Pye, for the series of prints published for the Associated Engravers ; and by J. C. Varrall, in Jones's National Gallery. On canvas, 1 ft. 8 in. h. by 1 ft. 5 in. w. Presented to the nation, in 1826, by Sir George Beaumont, Bart., with whom, however, this picture was so great a favourite that he requested permission to have it returned to him for his lifetime ; upon Sir George's death it was restored to the National Gallery, by his widow, Lady Beaumont, in 1828. 232 GELLEE. No. 1018. A Classical Landscape. On the right hand various buildings, including some temples ; in front two trtes, a palm and another, with some ships at anchor in the harbour. A road and a bridge in the foreground, with various figures and animals, and six large figures to the right. A part of the inscrip- tion, which is illegible, contains the names AncBises and ^Eneas, and has the date 1673. On canvas, 8 ft. 4 in. k. by 4 ft. 5 in. w. Originally painted for M. Du Passy le Gout. The Wynn Ellis Bequest. 1876. No. 1319. Landscape and View in Rome. On the right of the composition an ancient Ionic portico (seen from the side) and a statue of Apollo surrounded by trees. On the left a wooded slope, bevond which, in the middle distance, is seen the church of Sta. Trinita de'Monti and other buildings. In the foreground, a group of figures ; among them a peasant woman receiving alms. Above, a serene blue sky crossed by light clouds. On canvas, 1 ft. 11^ in. h. by 2 ft. 7 in. w. Purchased from the Count St. Martin d'Aglie, in 1890. GERIVIAN SCHOOLS: XZV.-XV. CENTURY. Under this general head are now brought together a number of works, a few of which have hitherto borne specific attributions too precise to be retained. By this arrangement the multipli- cation of headings is avoided, and reference to the catalogue facilitated. The history of the early German schools of art remains as yet very obscure ; and efforts to connect recorded names with extant works, even when these display striking merits, often encounter serious difficulties. The schools of Lower Germany were at first independent in aim and style ; but early in the XV. century they fell more or less under the influence of rising Flemish art. GERMAN SCHOOLS : X1V.-XV. CENTURY. 233 SCHOOL OF COLOGNE. XIV.-XV. CENTURY. The painters of Cologne were early celebrated. 51 The leading representatives of the school are known as the traditional " Master William/' and the better identified " Master Stephen." The works generally classed under the name of the former are purely ideal in aim, full of tenderness and sweetness, and beautiful in their simple colouring. In those assigned to Master Stephen, of which the noblest example is the celebrated triptych in Cologne Cathedral (date about 1426), is recognised an art more developed and realistic, richer and more splendid in colour, but still retaining the tender grace of the earlier style. Italian art has seldom produced a group so beautiful as that of the crowned Madonna with the infant on her lap to whom the Kings present their offerings in the central panel of the altar-piece at Cologne. The first of the two following subjects belongs to the earlier school ; the second may be a minor work by Master Stephen himself. No. 687. The Santa Veronica, or Holy true Image of our Lord. St. Veronica is represented holding before her the SuDARlUM,f a white cloth bearing the miraculous portrait of the Saviour, according to the church legend, with a golden nimbus inscribed Xpc Ije (Christ Jesus). Head, life-size. Gold ground. In tempera, on wood,J 1 ft. 9^ in. h. by 1 ft. 1^ in. w. Formerly. in the Lorenz-Kirche at Cologne ; purchased at Cologne, at the sale of the pictures of Mr. J. P. Meyer, in 1862. * Wolfram!) of Eschenbac-h, writing in the thirteenth century, says in his " Parcival," speaking of the Knight that no painter of Cologne or Maastricht could, have made a better picture than he appeared on horseback. And in an old chronicle of Liniburg is written, " Eodem tempo re, 1380. Coloniae erat " pictor optimus, cui non fuit similis in arte sua, dictus fuit WiLHELMUS, "depingit enim homines quasi viventes." Fioriollo Gcschichte der Zeichnenden Kiinste in DeutscJiland, 1815, vol. 1, p. 418; compare Passavant, Kunstreise, ,P-12. J This portion of the altar-piece, afterwards more particularly described in ^he contract, has disappeared. GOZZOLI GRANDI. 261 used for wedding gifts. Composition of many small figures in the costume of the fifteenth century. In tempera, on an octagonal panel, 1 ft. 7 in. h. by 2 ft. w. Formerly in the possession of the Marchese Albergotti, of Arezzo. Purchased at Florence, in 1857, from the Lombardi-Baldi Collection, in the catalogue of which it was called " The Rape of the Venetian Brides." GRAND! (ERCOLE DI GIULIO CESARE), 1460?-153J. Little is known of the life of this painter beyond the facts that it was partly spent in the service of the ducal house of Este at Ferrara, and that it ended in 1531. Much difficulty in identify- ing his works has arisen through an error on the part of Vasari, who, unaware that two painters of the Grandi family had borne the name of Ercole, classed the works of both under one head. There can now be no doubt that the painter stated by Vasari to have been a pupil of Lorenzo Costa, was in reality ERCOLE the younger, son of Giulio Cesare de' GRANDI. At the same time it must be confessed that if certain pictures confidently assigned to this master by some modern writers be all truly by him, his style must have varied in a manner quite without example in the history of art. Amongst those pictures which may with safety be ascribed to ERCOLE DI GIULIO are the series of eight temperas on canvas formerly in the Costabili collection at Ferrara, the two best of which, The Departure of Moses from the Land of Egypt, and The Israelites gathering Manna, are now in the collection of the late Sir Henry Layard. All these works are characterized by a peculiar refinement, and by great grace in the female figures. The scholar or associate of Costa is revealed in the altar-piece described below (No. 1119), a picture which, while at Ferrara, was attributed to Costa himself, although it differs from that painter's productions in some essential particulars.f The figure See the notice under Ercole Roberti. t The attribution of this work to Ercole di Giulio has been arrived at by a process of elimination not unusual in critical research. The opinion expressed by an eminent Italian writer on art has been unhesitatingly accepted in this case as offering the only plausible solution of a problem which presented many difficulties. See Giovanni Morelli, Italian pictures in German galleries, English edition. 262 GBANDI. of St. John the Baptist is no doubt one which Coita might hav produced, and the small coloured compositions which serve to adorn the Yirgin's throne and the arch behind it might equally be his. But Costa would have been unable to design a figure so finely drawn and so firmly balanced as that of the Infant Saviour who stands erect on his mother's knee ; nor could the almost classical reliefs in monochrome on the throne well have emanated from that painter. No. 73. The Conversion of Saint Paul. Confused groups of men and horses, with the Saviour in the clouds, and a view of Jerusalem in the background. Engraved in Jones's National Gallery. On wood, 1 ft. 11 in. h. by 2 ft. 3 in. w. Formerly in the Aldobrandini Collection, at Rome. Bequeathed to the National Gallery, in 1831, by the Rev. W. Holwell-Carr. No. 1119. TJie Madonna and Child with Saints. The Virgin enthroned. On her right knee stands the Infant Saviour looking towards the spectator, and raising his hand in benediction. The octagonal base of the throne is adorned with a device in grisaille on a gold mosaic ground of Adam and Eve by the Tree of knowledge. Below this are subjects from scripture, alternately in colour and grisaille. Behind and rising above the throne, is a richly-decorated semicircular archway on the face of which, on each side, is a composition in colour. To the left of the throne below St. John the Baptist, with his reed cross, looks up piously to the Infant Christ, and seems to present the Book of the Prophets. On the opposite side stands firmly the youthful St. William, with his long hair uncovered, but otherwise clad in armour, resting his left hand on the hilt of his drawn sword. The pavement on which these two figures stand is composed of squares of marble, white and brown. On wood, 8 ft. 1 in. h. by 4 ft. 5 in. w. This picture appears to have been originally in the Church of the Concezione, at Ferrara, whence it was removed to the Convent of S. Cristoforo degli Esposti (the Foundling Hospital), out of which it was purchased by the Strozzi family. Purchased, in 1882, from theMarcheee Strozzi, of Ferrara. GBEUZE. 263 GR&UZE (JEAN BAPTISTE), 1725-1805, Was born at Tournus, near Macon, in Burgundy, 21st August 1725. He was at first the pupil of Grandon or Gromdon, at Lyons ; he studied afterwards in the Academy at Paris, and at Borne. He was elected an agree or associate of the French Academy of Painting in 1755 ; but as he was placed in the class of genre painters when he was elected a member in 1769 he considered it a degradation and retired altogether from the Academy. He died in Paris, in very poor circumstances, March 21, 1805. GREUZE was a portrait and genre painter ; he executed only one historical picture Severus reprimanding his son Caracalla, which is now in the Louvre. His favourite subjects were . illustrations of the affections or domestic duties, the observance or violation of them. He is unique in the French school, and is sometimes termed the Lachausee of Painting, and sometimes, but very in- appropriately, the French Hogarth. Among bis most celebrated pieces are The Village Bride (UAccordeede Village) ; The Broken Pitcher (La Cruche Cassee) ; The Little Girl with the Dog (La Petite Fille au Chien), and others : the two former are in the Louvre, and the last is considered by some the painter's best picture : there is a print of it by Ch. Porporati. GKEUZE etched a few plates. No. 2O6. The Head of a Girl. On wood, 1 ft. 2f in. h. by 1 ft. 5 in. w. Bequeathed to the National Gallery, in 1846, by Mr. Richard Simmons. No. 1019. Head of a Girl looking up. A blue ribbon round her hair ; she is dressed ia white. On canvas, 18 in. h. by 15 in. w. The Wynn Ellis Bequest. 1876. No. 1020. Girl with an Apple, which she holds in her left hand, resting on a red cushion. Dress white and blue, hair blond. On canvas, 16 in. h. by 121 in. w. The Wynn Ellis Bequest. 1876. 9 Qault de Saint-Germain, Les trois Sieeles de la Peinture en France, 1808 Villet Notice des Tableaux exposes dans les Gakrics du Louvre, 1861 ; Baudicour, Le. Peintre-Oraveur Franyiis continue, 1859. 264 GREUZE GUARDI. No. 1154. A Young Girl carrying a Lamb. An unfinished study. Life size : bust length : three-quarter face turned to the left. Her chestnut-coloured hair is bound round the head by a fillet. She wears a white dress which is falling from her shoulders, and she bears the lamb in her arms. On canvxs, 1 ft. 9 in. h. by 1 ft. 5 in. w. Presented, in 1883, by Mme. Helmholtz, in conformity with the wish of the late Mme. Mohl. GUARD! (FRANCESCO), 1712-1793, Born in Venice in 1712, was the scholar and imitator of Canale, but remained far behind him in the accuracy of his architectural details, and was careless and sketchy in the execution of his figures ; his works are, however, rich and forcible in their colouring. They are occasionally on a tolerably large scale, though more frequently of very small cabinet size ; the number of the latter description scattered over Europe in public and private collections almost baffles calculation. GUARDI died at Venice in 1793. No. 210. View of the Church, Campanile, and Piazza, of San Marco, at Venice. The building of the church was commenced in the tenth and finished in the eleventh century ; the campanile, which was commenced in the ninth, was not completed until the fourteenth century. On canvas, 2 ft. 4 in. h. by 3 ft. 11 in. w. Bequeathed to the National Gallery, in 1846, by Mr. Richard Simmons. No. 1054. View in Venice. In the foreground is a small piazza, with numerous figures in the exaggerated costume of the period. On the right is a canal on which is a group of gondolas, and which runs through the centre of the picture between high houses connected by a bridge. To the left is a church tower and a garden with cypresses. On canvas, 1 ft. 2J in. h. by 1 ft. 9 in. iv. Bequeathed by the late Mr. John Henderson, in 1879. GUARDI HACKAERT. 265 No. 1454. A Gondola. Sketch of a gondola on the lagoon at Venice, rowed by two rowers and with a small party seated in the " felse." The shore (probably the Lido) with a tower and indications of other build- ings is seen in the middle distance, and the open sea beyond. On canvas, llf in. h. by 1 ft. 5 in. w. Purchased, in 1895, at the sale of Lord Clif den's pictures. GUERCXNO. (See BARBIERI. , GUIDO. (See RENI. ) HACKAERT (JAN) 1629-1696? Was born at Amsterdam in 1629 and died there about 1696. He travelled much in Switzerland, Germany and Italy between 1653 and 1658. The figures of his pictures are said to have been inserted by Philips Wouwerman, Adrian Vandevelde, Jan Lingelbach and Nicholas Berchem. The subject described below affords a good notion of HACKAERT'S tendency, and his method of treating landscape. No. 829. A Stag-hunt. Flooded ground within the skirts of a forest, seen by an evening light ; a stag is being chased through by hounds followed by two gentlemen and a lady on horseback. On the right a man is running forward sounding his hunting horn. The figures are attributed to Nicholas Berchem. On canvas, 3 ft. 3 in. h. by 3 ft. 11 in. w. Formerly in the possession of Earl Granville. Purchased with the Peel Collection, in 1871. HALS (DiRK). HALS (DiRK), . . . .?-1656. DIRK HALS would seem to have been born several years later than his brother Frans (see the succeeding memoir), and at Haarlem. He doubtless acquired a knowledge of painting under the tuition of his elder brother, whose method of handling the brush he adopted in works of small dimensions. He was the leader in that class of subject treated by Palamedes, A. le Due (or Duck), and Pieter Codde ; though DIRK HALS confined himself chiefly to the representation of convivial parties, where cavaliers and ladies are seen enjoying themselves without much reserve at table, in the dance, or with music. His light pencil, his brilliant colour, laid on thinly over a greyish ground, and sharply accentuated, suited the themes and the small scale of his pictures. These date from 1620 to 1653 ; but there is no doubt that some may be referred to still earlier years. His works are now more numerous in German collections than elsewhere ; in Holland they are rare. Many of them have been erroneously assigned to Palamedes or le Due ; but the resemblance in the productions of all those painters lies rather in the subjects they in common affected than in the mode of treatment. DIRK and his elder brother were elected honorary members of the Society of Rhetoricians (Rhetorykerkamer) at Haarlem in 1617, and both belonged to the Burgher Guard. DIRK HALS died in the middle of May 1656. No. 1074. A merry party of Cavaliers and Ladies at table. Four of the party are seated. One of the cavaliers stands, leaning over the back of a lady's chair, to the left. On the right is a waiter, or tavern keeper. At the back is an open door. On the architrave above it is the signature, D. Hals, and the date, 1626. On panel, 11 in. A. by 1 ft. 3 in. w. Purchased from Mr. E. 0. Hill, in 1879. HALS (FRANS). 267 HALS (FRANS), 1580 or '81-1666, Was born 1580 or 1581* at Antwerp of parents who were then temporarily resident there, but who belonged to an old patrician family of Haarlem. They seem to have returned to Haarlem within the century ; and FRANS became the pupil of Karl van Mander, an eminent painter and art - historian. He was twice married, the second time in 1617. He led an irregular and improvident life, and in his old age was supported by the communal magistracy ; he left his widow a charge upon the poor-rate. Yet his fellow-citizens seem to have looked leniently upon his eccentricities. He died in 1666, and was buried on the 1st of September in the church of St. Bavon. He left four sons, all painters. FRANS HALS was one of the greatest masters in portraiture of his own or of any time. Of the host of distinguished painters in that branch of art who practised in the Netherlands in the first half of the XVII. century, he stands forth as the first Rembrandt only excepted. His portraits have not the gravity and intensity of Rembrandt's ; yet they cannot be termed superficial. The temperament of HALS led him to view life rather from its lusty, joyous side ; and he entered fully into the spirit of his countrymen, who in his earlier years had but recently achieved their national freedom, portraying them with a keen zest for their idiosyncracies, and a sharp but sympathetic sense of humour. The mode of execution which he made his own was admirably appropriate ;f light, free, vigorous, and rapid, it reproduced the impression of vitality with more than the truth of instantaneous photography. Nowhere are his powers more strikingly brought to view than in the series of portrait groups in the Haarlem Museum, where the officers of the burgher guards are seen assembled to celebrate some anniversary. These magnificent compositions were painted between 1616 and 1639. FRANS is seen at his very best in that which is dated 1633, representing the officers of the corps of St. Adrian gathered round their stout old colonel Jan Clasez Loo, who sits in the midst. The grouping here is perfect ; the * " Omnes superat inusitato pingendi modo, quern peculiarem habet. H Schrevelius ; cited by W. Bode, Studien zur Geschichte der Hollandischen Malerei, p. 46. Braunschweig. 1883. This work contributes importantly to the history of the Hals family. t A. Bredius, Catalogue des Peintures du Husee de VEtat a Amsterdam, 1888. 268 HALS (FRANS). colouring, in freshness, harmony, and force, rises to the highest point ; the sense of life in the heads is astonishing, and no less striking is their individuality. In the Amsterdam Gallery, the group of HALS and his second wife, Lysbeth Reynier, is a wonderful piece of character. In his later years the painter fell gradually into a less agreeable style ; his sense of colour failed him ; the freshness and purity of his tints degenerated into monotone, and black shadows, roughly dashed in, took the place of all more delicate modulations. It would be impossible here to particularize even the finer works of HALS existing in the public and private collections of Holland, Belgium, Germany, Austria, Russia, France and England. Many copies or imitations of his works pass for originals with the uncritical ; yet the imposture is not difficult of detection. No. 1021. Portrait of a Woman. Small half-length, in black, with her hair combed back, a white cap, a large white ruff and wristbands, her hands crossed before her. Signed with the painter's monogram, here reproduced in half -size. On canvas, 24 in. h. by 18 in. w. Purchased from Mr. F. A. Keogh, from the interest of the " Lewis Fund," in 1876. No. 125 1. Portrait of a Man. Bust portrait, turned to the right, in a sitting posture, looking out ab the spectator. A fresh-coloured man of about 40 3 ears of age, with short brown hair, moustaches and chin-tuft, in a black satin doublet and voluminous ruff. Light warm grey back- ground, on which is inscribed 'R ALT AT. SVA^ AN 1633 HALS (FRANS) HEIMBACH. 269 The numerals giving the age must have been cat away in remounting the picture. On canvas, 2 ft. 1 in. h. by 1 ft. 7J in. w Presented, in 1888, by Miss E. J. Wood, in accordance with the wish of her uncle, the late Mr. Decimus Burton. HEDA (WILLEM KLAASZ). 1594 after 1678. Was a good painter of fruit, and flowers, and still-life. He was born at Haarlem in 1594, and was still living in 1678, when at the age of eight-four, his portrait was painted by Jan de Bray. Pictures by this painter are to be seen at Munich, Dresden, and Schwerin, and in other galleries abroad. The subjects are mostly of the kind illustrated by the picture described below. No. 1469. A Study of Still-life. On a table partly covered with a white cloth are various flagons and a large glass beaker. A crab and a peeled lemon with metal and china plates make up the group. The whole is painted with careful finish. On panel, 1 ft. 8 in. h. by 2 ft. 4 in. w. Presented by Mr. Henry J. Pfungst, F.S.A., in 1896. HEX1KBACH (CHRISTIAN WOLFGANG). 1613-1678. A German painter and deaf mute, of whom little is known, was born in 1613 at Oevelgonne, near Pinneberg, as a subject of the Count of Oldenburg, and flourished from 1637 to 1675. He visited Holland, Italy, and Denmark, and lived at the latter country for some time, eventually becoming attached to the Court there. He chiefly painted small portraits and pictures of candle-light scenes. In 1667 he returned to Oldenburg, and died in 1678. Examples of his work are at Brunswick, Cassel, and Hanover. No. 1243. Portrait of a Young Man. A young man, facing to the right, but looking at the spectators, dressed in a black doublet and mantle, and wearing a broad- leaved steeple-crowned hat ; behind him a reddish curtain 270 HEIMBACH HELST. between which and a pillar on the extreme right is seen the distant sea, with a ship, and a fortress on a hill. On the low window-sill is the inscription On wood, oval, 1 ft. 7 in. h. by 1 ft. 1 in. w. Purchased from Mr. M. Roberts in London, in 1888. HXSXiST (BARTHOLOMEUS VAN DER). 1611 Or 12-1670. One of the most distinguished of the Dutch portrait-painters, was born at Haarlem in 1611 or 1612. He is supposed to have removed to Amsterdam while yet young and there to have become the pupil of Nicholas Elias, an eminent master in the art of portraiture.* Portraits by VAN DER HELST are faithful tran- scripts of nature, and full of character. He bestowed special care upon the hands of his subjects, nor was he less attentive to the discrimination of stuffs, while his skill in reproducing the lustre and shimmer of jewellery or gold embroidery, and the delicacy of the lace-worker's art has never been equalled. His painting is solid and firm, verging on excess of precision ; pastose, though without any overloading of colour Splendid examples of his work, both in single figures and in large groups, are in the Museums of Amsterdam and Rotterdam. The Hermitage at St. Petersburg contains some fine family groups. The great composition called the Schuttersmaaltyd, in the Museum, at Amsterdam, is one of the most remarkable productions of the Dutch School of Fainters. It contains twenty-five figures of the natural size, twenty-four of which are named on the picture, and represents a banquet given by a company of the civic guard of Amsterdam, in commemoration of the peace of Munster in 1648 ; the Spanish Ambassador is present at the feast. Sir Joshua Reynolds considered this work to be " perhaps the first picture of portraits in the world." Undoubtedly it is a startling piece Nicolas Elias. or, more correctly, Nicolas Eliasz Pickenoy, was born at Amsterdam in 1580-81, and died between 1646 and 1656. Many excellent works of his, both single and griped portraits, are in the Amsterdam Gallery, HELST. 271 of realism, and the sense of vitality in the heads is impressive. But it is somewhat wanting in subordination, and in perfect harmony of colour. Many would prefer the group of The four Syndics in the same collection, a less ambitious work, but containing more of the higher qualities of art. Equal, if not superior to the latter, is the comparatively small picture in the Louvre, representing, round the table, four captains of the civic guard of arquebusiers with other persons, displaying the various costly prizes gained in shooting ; a masterpiece of portraiture, composition, depth of colouring and finish ; it is dated 1653 YAN DER HELST married in 1636. He died at Amsterdam, where he had continued to reside, and where he was buried Dec. 16, 1670. His son Lodewyk was also a portrait painter! No. 1248. Portrait of a Young Lady. % Life size, half length, facing towards the left, and regarding the spectator. A young girl with dark grey eyes and light brown hair, dressed in a gown and stomacher of white and blue figured satin guarded with gold embroidery ; the shoulders covered with a broad falling collar of fine lace ; broad cuffs of the same ; a long pendant of precious stones is suspended from the throat beneath a necklace of large pearls ; strings of pearls hang from the centre of the bosom to the left shoulder, and others surround the wrists ; large delicately-wrought ear-rings and a jewelled finger ring complete the rich attire. The left hand rests in front on the waist ; the right holds a fan of ostrich feathers tinged with blue. Dark background. In the upper left-hand corner is the inscription B. van der Heist, 1645, here reproduced in half size. On canvas, 2 ft. 5 in. Ji. by 2 ft. \\ in. w.- This picture, said to be the portrait of a lady;.;of the house of Braganza, was formerly in the collection of Mr. Beckf ord, at Fonthill Abbey. It was purchased for the National Gallery, at the sale of Colonel Everett's pictures, in 1888, out of the interest of the " Clarke Bequest." 272 HELST HEMESSEN. No. 1937. Portrait of a Lady. Three-quarter length, standing. She is slightly turned to her right, her dark brown eyes looking out of the picture. In her right hand she holds a closed fan, and with her left she holds the lower end of her stiff bodice. On her head is an open lace cap showing the hair which hangs loosely down each side of her face. She wears a black satin dress with full sleeves, with broad white collar and cuffs bordered with rich lace and open in front, showing a white and silver brocade stomacher and black satin skirt. Bands of black lace cross the stomacher in front, and her collar is fastened at the neck by a small bow of blue and yellow, and silver passementerie ; a similar bow is attached to the handle of the fan. Pearl earrings, necklace, and bracelets complete a very rich and tasteful costume. Dark background. On canvas, 3 ft. 4 in. h. by 2 ft. 5 in. to. Purchased in London from the Marquess of Northampton, in 1904. HEMESSEN (CATHAKINA VAN). Was the daughter and pupil of Jan van Hemessen or Heemsen, a painter born near Antwerp in 1500, who painted for the most part religious subjects. CATHARINA, the dates of whose birth and death are not recorded, painted portraits of small size. She was married to Christinan^, a musician of repute in the Low Counties, and with her husband -was taken to Spain by the Queen of Hungary, who, when dying left them both a provision for life.f CATHARINA acquired much celebrity and favour at the Spanish Court through her ability in portraiture. No. 1042. Portrait (three-quarter length) of a Man. Of about five and thirty, with blond hair and beard, attired in a black bonnet, and close doublet of the same colour slashed on the body and adorned with golden studs and black galloon. The sleeves fall behind from the shoulder, showing the white satin sleeves of the under dress. His right hand grasps the hilt of his sword, the left rests on the hip, and has on the forefinger a ring The Dowager Mary, sister of the Emperor Charles V., and widow of Louis, King of Hungary and Bohemia, who waa slain at Mohacz in 1526. In 1530 she was appointed Governess of all the Netherlands, and ruled there in Charles's name until his abdication in 1556, when she retired with him to Spain. t Lodov. Guicciardini, Descrizione di tutti I Paesi Bassi, &c., toil, 1588, p. 130. HEMESSEN HERRERA. 273 with armorial bearings in enamel. The shirt is embroidered with red, and the red cords of the ruff depend on the breast and are fastened to a ring-like jewel. Signed: dAVHAKINA ' FlllA DE HEMES On panel, 14J in. h. by 11 J in. w. Purchased from Mr. James 0. Wallace from the interest of the " Lewis Fund," in 1878. HERRERA (FRANCISCO DE) THE YOUNGER. 1622-1685. There were two painters of this name, father and son. The latter, to whom the picture noticed below is attributed, was born at Seville, and studied under his father, whose temper was so violent that his pupils fled from him, and among them the subject of this memoir, who escaped to Rome and stayed there until his father's death in 1656. He began by painting still life pictures or u bodegones," but on his return to Seville was employed in large compositions for the churches in that town. Later, he went to Madrid where he painted altar-pieces and frescoes in the churches, and was appointed by Philip IV. painter to the king, and under his son, Charles II., was promoted to be master of the royal works. He died at Madrid in 1685. No. 1676. Christ disputing with the Doctors. The figure of the youthful Saviour is on the right in the attitude of argument with one of the Pharisees, an elderly man with a grey beard who leans towards Him, his face completely in shadow. Others of the Doctors stand around, and the figures of Joseph and Mary are seen in the centre in the mid-distance. The 25640 S 274 HERRERA HEYDEN. figures are grouped in the porch of a building ; another building and open sky form the background. The personages are rather larger than life and are seen to the waist. On canvas, 3 ft. 10J in. h. by 5 ft. 3 in. w. Bequeathed by Mrs. Alexander Lang Elder, in 1899. HEYDEN (JAN VAN DER), 1637-1712. Was born at Gorkum in 1637, and is distinguished for his street views, in which the figures were inserted by A. van de Velde and Eglon van der Neer. VAN DER HEYDEN was at first apprenticed to a glass-painter, with whom he remained for a short time. He then studied architectural drawing, and be- taking himself to Amsterdam practised that branch of art in which he attained honourable distinction in the ranks of the "Little Masters " of the Dutch School. He had the finest sense of perspective, linear and aerial, and the delicate minuteness of detail in his pictures is always kept in subordination to the general effect. He occasionally painted subjects of still life. HEYDEN had a strong turn for mechanics ; he invented the fire- engine, and introduced the use of street lamps. He visited England for a. ahgyt time. His death occurred at Amsterdam., 8*pt. 28, 1712. No. 866. A Street in Cologne. On the right in the background is seen the unfinished tower of the cathedral, surmounted by the old crane. The figures are attributed to Adrian Van de velde. Signed J. V. D. H. On wood, 11 in. A. by 17 in. w. In 1826 in the possession of Mr. J. Barchard. Sold to the late Sir Robert Peel by Mr. C. J. Nieuwenhuys. Purchased with the Peel Collec- tion, in 1871. No. 992. Architectural Scene. Gothic and classic buildings, among which a triumphal arch is conspicuous, with figures ; a lame mendicant is asking alms ; an old tree to the right. Signed J. V. D. HEYDE. On oak, 1 ft. 8 in. h. by 2 ft. 1 in. w. Formerly in the collection of M. Geldermeester. The Wynn Ellis Bequest. 1876. HEYDEN. 275 No. 993. Landscape. A house among trees ; a pool of water in the foreground ; some cows and sheep on the further bank. On oak, 8 in. h. by 11^ in. w. The Wynn Ellis Bequest. 1876. No. 994. A Street in a Town. A church or other large Gothic building to the left, casting a shadow over the foreground ; a few trees and various figures scattered over the scene. Signed : On oak, 20 1 in. li. by 16 in. w. The Wynn Ellis Bequest. 1876. No. 1914. A Royal Chateau in Holland.. The "House in the Wood," near the Hague, where the first Peace Conference was held. In the centre is a large palatial building of plain brick, in front of which is a garden seen over a clipped hedge. A broad walk, divided into three by low cut hedges and pedestals, leads up to the central door, and is intersected by another leading right and left, and at the point of intersection are four marble statues on high brick pedestals. Down the pathway a group of ladies and gentlemen is coming forward, and a man is working in the garden to the left. On the right is a high obelisk of lattice work for training roses, and two similar ones stand in front of the Chateau. On panel, 8 in. h. by 10| in. w. Bequeathed by Sir James Carmichael, Bart., in 1902. "No. 1915. A Dutch Church and Market Place. A Gothic Church with a tower of classic architecture, occupies the centre of the picture, and on the left is a Gothic building which appears to be a Chapel. In front is an open space, with some trees and a bnilding on the right, and other buildings are seen beyond. Figures are disposed in groups about the open ground. On panel, 8 in. Ji. by lOg in. w. Bequeathed by Sir James Carmichael, Bart., in 1902. 2.jfUO S 2 276 HOBBEMA. HOBBEXKA (MEINDERT), 1638-1709. Appears to have been born at Amsterdam in 1638, and to have been the scholar of Jacob Ruysdael in landscape painting. Ruysdael was the witness at HOBBEMA'S marriage to Eeltie Viock in the reformed church at Amsterdam on the 2nd of October, 1668, when HOBBEMA recorded his age as thirty. The city of Haarlem, the town of Koeverden and the village of Middelharnis, in Holland, are each said to have been his birthplace ; but he resided in Amsterdam, and may from the marriage register be assumed to have been born there, f The earliest date on his works is 1650 ; the year 1663 is inscribed on two of his finest pictures, one lately in the Dudley Gallery, and the other in the collection of Mr. Holford, at Dorchester House. The latest acknowledged date is 1669, but a fine work by the master in the Peel collection (see below, under No. 830) is by some said to be inscribed with the year 1689.| He died at Amsterdam, and was buried in the Westerkerkhof, Dec. 14, 1709. He died poor, his last lodging was in the Roosegraft, the street that Kembrandt died in, just as poor, forty years before. HOBBEMA'S wife Eeltie died in July, 1704. The landscapes of HOBBEMA consist generally of simple wooded scenes, often sunny, with an occasional pool of water or a mill ; the figures in them are inserted sometimes by himself and some- times by Berchem, A. Vandevelde, or Lingelbach, and others. The majority of his works are in this country ; they were little known or little appreciated in Holland till about a century after his death ; they are now more generally valued, perhaps, than the works of any other landscape painter, and realise very large prices at auctions. * Discovered in the church register by M. R. Elsevier, quoted by Siret, in his Dietionnaire Historique den Peintres, 1862. t See Van Eynden en Vander Willigen, Gcschiedcnis der Vaderlandsch Schilder- kunst, &c., 4 vols., 8vo., 1816-1842. These writers give, in their supplement or fourth volume, p. 101, a statement that Meindert Hobbema was the S9n of a Serjeant Willem Hobbema, of the company of Captain Solema, in garrison at Koeverden, and that he was baptized at Koeverden on the 6th ot August, 1654, when he was grown up, therefore. They also notice a drawing attributed to him, bearing the date 1047, when he was nine years only, according fo the marriage register. J See Smith, Catalogue PMisonnf, &c. Of the 142 pictures attributed to Hobbema in this work, 16 only are dated, and of these five have the same year 1663. These facts were discovered by M. Scheltema of Amsterdam HOBBEMA. 277 No. 685. Landscape, Showery Weather. Rain and sunshine are both represented, and everything seemp wet ; but the chief feature of the picture is a cluster of large trees in the centre, slightly moved by the wind ; on the one side is a shaded pool, with a man angling on the bank ; on the other is a road-side cottage with a woman looking out at a doorway ; on the road in front of it are a few figures. Signed : On wood, 1 ft. 1 If in. h. by 2 ft. 9^ in. w. Formerly in the collection of Count Perregaux ; imported into England by Mr. Farrer ; purchased from Mr. G-. H. Phillips in 1862. No. 830. The A venue, Middelharnis, Holland. This is one of the several places supposed to have the credit of Hobbema's birth. In the centre of the picture a long avenue of straight lopped trees leads up to the village, of which the church tower is a conspicuous object. On either side of the road is a broad ditch ; beyond the ditch on the spectator's left, are plantations, and on the other side are also plantations, farm buildings, and a nursery ground, in which a man is pruning some grafted trees. A sportsman with his gun and dog is on the road approaching from the village. Signed M. Hobbema, f. 16 9, the third figure read as an 8 is not legible. On canvas, 3 ft. 4J in. h. by 4 ft. 7^ in. w. Formerly in the Vander Pot collection at Rotterdam. Purchased with the Peel collection in 1871. No. 831. Ruins of Brederode Castle. The castle stands upon some high ground in the middle of the picture, and is surrounded by water. On the left on this side of 278 HO BBEMA HOLBEIN. the water is a cluster of trees, beneath which are two anglers and a sportsman with his gun and dog. In the foreground are some ducks. Signed M. Hobbema ft. 1667. The ducks are ascribed to Wyntrank, and the figures to Lingelbach. On canvas, 2 ft. 8 in. h. by 3 ft. 6 in. w. Formerly in the collection of Mr. H. Kops, of Haarlem. Imported by Mr. C. J. Nieuwenhuys. Purchased with the Peel collection in 1871. No. 832. A Village, with Watermills. Several picturesque trees dispersed over the grounds ; a small river in front, with three under shot water wheels erected over it ; a few ducks in the foreground. Signed M. Ilobbema. On wood, 1 ft. Hi in. h. by 2 ft. 8 in. w. Formerly in the possession of M. Vaillant at Amsterdam. Sold to the late Sir Robert Peel by Mr. John Smith. Purchased with the Peel -collection in 1871. No. 833. Forest Scene. The outskirts of a wood, a pool of water in the foreground ; a few figures on a road in the middle distance. On wood, 12 in. h. by 1 ft. 3J in. w. In 1826 in the collection of Mr. J. Barchard. Purchased with the Peel collection in 1871. No. 995. Woody Landscape. Cottages among the trees ; a pond in the middle ground, three figures in the foreground. On canvas, 3 ft. 3 in. h. by 4 ft. 4 in. w. The Wynn Ellis Bequest. 1876. HOLBEIN (HANS), tht Younger, 1497-1543. The elder Hans Holbein of Augsburg, father of the subject of the present notice, holds the first rank amongst those Swabian HOLBEIN. 279 painters whose period lies, roughly speaking, between 1470 and 1520. His paintings, devotional in subject, in accordance with the demands of his time and country, are marked by sincerity, refinement of feeling, and a grace, still touched by medievalism, in female figures. On the other hand, numerous portrait studies, done to please himself or his friends, disclose in the father a natural gift afterwards to be more conspicuously developed in the son. This son, HANS HOLBEIN the younger, was born at Augsburg in 1497, and died in London in 1543. He shared with his elder brother, Ambrose, the artistic instruction which their father was so well fitted to impart, and he must have found a further stimulus in the vigourous designs of their fellow-citizen Hans Burckmair. About 1514-15 the two brothers migrated to Basle, where they were soon engaged in independent work.f This Free City was then, by reason of its University and its printing presses, a centre of literary activity, frequented by men of learning from all parts. Erasmus, the greatest scholar of his age, after repeated visits, took up his abode there. Foremost among the enlightened and enterprising printer-publishers of Basle was Frobenius, a genial man, ready to welcome all who could contribute to the perfection and adornment of the volumes that issued from his press. He recognized the genius of young HANS, and, it may be assumed, made him known to Erasmu?, whose appreciative friendship brought about the most eventful turn in the artist's life. In 1516 HANS, then in his 19th year, made his first essays in portraiture by painting Jacob Meyer (" zum Hasen"), the able Burgomaster of Basle, his wife Dorothea Kannegiesser, and Hans Herbster, the painter. J In point of character and ease ef execution these portraits are masterly. * The elder Holbein, towards 1515, fell into pecuniary straits. He seems to have died in 1524, after wandering here and there in search of employment, of which he found some at Isenheim in Alsace. His brother Sigmudd, also a painter, who would appear to have been unmarried, and in good circumstancei, removed to Bern, where he died in 1540, leaving his nephew Hans his sole heir. t Ambrose Holbein entered the guild " zum Hitnmel" at Basle in 1517, and in 1518 obtained the Tights of citizenship. His chief employment in Basle seems to have been in designing on wood ; although some pictures are ascribed to him. After 1519 he is not heard of. I Herbster was the father of the distinguished printer " Oporinus," and is so designated on the picture, which is in the collection of the Earl of Northbr ook. 280 HOLBEIN. HOLBEIN was in the next year at Lucerne, adorning with historical subjects within and without, the newly erected house of the Mayor, Jacob von Hertenstein. In 1519 he was again at Basle, and member of the guild " zum Himmel " ; in 1520 a citizen of the town. In the former year is dated his fine portrait of Boniface Amerbach. c His resources in architectonic decoration were now put to the test in the city of his adoption. The frescoes which he there painted on facades have perished. But designs for some of them are in the Basle Museum. These prove his inventive genius, his knowledge of perspective, and his skill in overcoming obstacles, nay, in using them as aids in the unfolding of an imaginative scheme. In all such devices, as indeed in all his compositions and portraits where architecture formed a background or an adjunct, he adopted the fashion of the Renaissance as it was understood by him. Good taste saved him from the tendency to grotesqueness prevalent in German art of his time. Indeed HOLBEIN is distinguished by sobriety of design, by a fine sense of form and proportion, and by the consistent nature of his ornamentation, which with him is never an excrescence, but part of an organic structure ; yet of the freest and most graceful fancy. These qualities are exemplified in all his designs for goldsmith's work and jewellery. In 1521 he was commissioned by the magistracy, Jacob Meyer " zum Hasen " being still Burgomaster, to cover with appropriate " histories " the great hall of the Rathhaus then lately rebuilt. These works, painted in oil in a damp locality, were alrsady decaying towards the close of the century, and are now no more. Other notable productions dating between 1521 and 1526 are the Dead Christ, a Portrait of Erasmus, the Lais Corinthiaca and its companion, all in the Basle Museum ; the Solothurn Madonna, the paintings on the organ-shutters of the Miinster, and, above all, the priceless Meyer Madonna at Darmstadt. f In the mean- while Basle had become afflicted with religious dissensions within, The principal portion of the treasures of art in the Basle Museum were collected by this enlightened man, the intimate friend and pupil of Erasmus, and appreciator of Holbein, and by his son Basilius Amerbach. The collection was purchased by the town authorities in 1607. Amongst its most valuable contents are 15 paintings and 104 drawings by Holbein, together with a sketch book filled by his hand. t It is now admitted on all hands that this picture is the sole original, and that the Dresden example, although very beautiful, is only a copy (with some alterations), by a later and Flemish hand. HOLBEIN. 281 and political dangers from without j an outburst of plague completed the general distress. Public work and private enterprise collapsed ; and HOLBEIN bethought him of seeking employment in England. Furnished with letters from Erasmus to ,ZEgidius at Antwerp, and Sir Thomas More at London, he set out on his journey in 1526, leaving his family at home, and the paintings in the Rathhaus unfinished. Stopping for a while at Antwerp, he made the acquaintance of Quinten Massys. In London he was cordially received and housed by the great Chancellor, and there he remained about two years. In this interval he painted some noble portraits, amongst which those of Archbishop Warham and Sir Thomas More. Troubles having in some degree subsided in Basle, he returned in 1528 to fulfil his engagements there. Towards the middle of 1532 he again came to London. Here, things had greatly changed. More had been shortly before deprived of his high office, and could no longer act the part of a powerful friend. HOLBEIN, however, met with a warm reception from the German merchants of the Steelyard, and painted portraits of many of them, as well as two large allegori- cal subjects on canvas for the decoration of their Hall, viz., the Triumph of Wealth, and the Triumph of Poverty. But this was not all. Several Englishmen of note or position sat to him, and he gradually became known at court. To the earlier part of this period, too, belongs the famous portrait group known as The Ambassadors, now in this gallery. The superb portrait of Hubert Morrett (or Count Moretta ?) at Dresden, must also be assigned to this time. At what date HOLBEIN was received into the permanent service of the king is not precisely known. But it was in 1537 that he painted the large composition for the Privy Chamber of the Palace of Whitehall, in which, in figures of large life size, were represented Henry VIII., standing to the right, and Queen Jane Seymour to the left of a sort of pedestal ; and on a slightly higher level behind, the figures of the King's parents, Henry YII. and Elizabeth of York. It is, however, under the date of March 25, 1538, that HOLBEIN first appears in the accounts of the royal expenditure as a salaried servant of the King. Thenceforward the quarterly entries regarding him occur regularly, so far as the record is extant. In the year and month last mentioned, in consequence of the negotiations then on foot for a marriage of Henry with the widowed but youthful 282 HOLBEIN. Duchess of Milan, daughter of Christian II. of Denmark, and niece of the Emperor Charles V., HOLBEIN was despatched to Brussels to take her portrait. In the autumn of the same year he was again abroad on the King's affairs, although the purpose is obscure. But he seems to have made use of this occasion to revisit Basle, and to conciliate the municipality ; for his prolonged absence strained the laws of citizenship. He was welcomed, and publicly feasted. The council, by an instrument dated Oct. 16, recognized the obligations which still bound the master to the English King, and, in consideration thereof extended his leave of absence by two years, granting to his wife in the meantime an annuity of 40 florins, and to himself one of 50 florins. On his return to England he was more than ever occupied in work for the King and for others. The summer of the next year finds HOLBEIN again on the Continent in connexion with one of Henry's matrimonial projects. In this instance Anne of Cleves was the subject of the painter's pencil. Although it is most unlikely that his portrait of this lady was designed to flatter her, it yet conduced with verbal reports to plunge the King into a fourth inauspicious marriage. The large compo- sition on panel, over 10 ft. in length by about 6 ft. in height, belonging to the Barber Surgeons' Company, in which the King is depicted in state presenting to the members of the guild the charter of its reconstitution. must have been begun in or soon after 1541, and was, perhaps, never quite finished. After mid- summer in that year no mention of HOLBEIN occurs. But there is a break in the accounts of the royal expenditure, and it can hardly be doubted that the painter remained up to his death in the service of the King. He died (apparently of the plague) between the 7th of October and the 29th of November 1543. The former of these dates is that of his will, the latter that of the appointment of an administrator. In this country HOLBEIN is popularly known as a portrait-painter only. And no doubt his highest claims to fame will rest on his unrivalled achieve- ments in that capacity. For his pre-eminence as a delineator of physiognomy and character would be firmly established by his iconic drawings alone, such as the superb series at Windsor, those at Basle, and a few scattered elsewhere. Words can create no conception of the insight, the ease of draughtsmanship, the force united with delicacy, the freedom from all trace of HOLBEIN. 283 mannerism, that characterize these transcendent works. Yet the master proved himself equally great in historical composition. The story is always told with dramatic clearness, without redundancy of figures or waste of space ; and a sound commonsense regulates the imaginative faculty throughout. These qualities also distinguish his designs for the wood-engraver and the glass- painter.* No. 1314. " The Ambassadors:' Portraits of Jean de Dinteville, Lord of Polisy, and George de Selve, Bishop of Lavaur. The scene is a chamber paved with inlaid marbles, and hung with green damask, which in the upper left-hand corner partly reveals a silver crucifix attached to the wall behind. In the centre of the composition is a wooden stand, having an upper and a lower shelf. To the left of this, leaning his arm upon it, stands Jean de Dinteville, a young man with dark brown eyes and beard, in a rich costume of the period of Henry VIII., wearing a heavy gold chain with the badge of the French order of Saint-Michel, and, on his right aide, depending from his girdle, a dagger with wrought gold hilt and sheath : on the sheath the inscription MT. SV^E 29. in relief. In his black bonnet is a jewel formed of a silver skull set in gold. To the right, George de Selve, dark-eyed, with a cloe beard, also leans upon the stand, or, more immediately, on a clasped book, the edges of which are inscribed : ^ETATIS SVJE 25. He wears a four-cornered black cap, and a loose long- sleeved gown of mulberry and black brocade, lined with sable, and reaching to the ground. Both these persons regard the spectator. The upper shelf of the stand is covered with a Turkish rug, on which are several mathematical and astronomical instruments, and, close to the principal personage, a celestial globe. The lower shelf bears a case of flutes, a lute, an open Holbein married (about 1520, as Woltmann conjectures) Elsbeth (Elizabeth) Schmid, a widow, apparently somewhat his senior. A marvellous portrait of this unattractive - looking person by her husband, is in the Basle Museum. Their children were Philip, the eldest, and Jacob the youngest of the family ; and two daughters, Ratharina and Kungolt (Kunigunde). Philip was appren- ticed by his father in 1538 to Jacob David, a goldsmith in Paris. After many wanderings he settled in Augsburg, where he died, leaving a son (Philip) who became court jeweller, and was ennobled by the Emperor Matthias in 1612. Jacob settled in London as a goldsmith in his father's lifetime. The daughters married in Basle, where the younger one left a numerous family. The bibliography of Holbein is extensive, but scattered. However, the known facts regarding him and the entire Holbein family are laboriously and conscientiously, if rather diffusely set forth in Alfred Woltmann's Holbein und neine Zeit, second and revised edition. Leipzig, 1874. See also, Holbein's Ambas- sadors, the Picture and the Men, by Mary S. Hervey. London, Geo. Bell & Sons, 1900. 284 HOLBEIN. music-book containing part of the score and words of the Lutheran hymn : " Komm, heiliger Geist," a smaller book, on arithmetics, kept partly open by a small square, a pair of com- passes, and a terrestrial hand-globe, which is in a direct line below the other globe. Under the stand lies the lute-case. Conspicuous in the foreground is the anamorphosis, or perspec- tively distorted image, of a human skull, which, touching the floor on the left, stretches obliquely upwards towards the right. In the shadow cast on the floor by the chief personage is the inscription here reproduced in half -size. /OAKJVES The question as to the identity of the personage represented in this picture was set at rest by the discovery, in 1895, by Miss Mary Hervey, of a document of the 17th century, containing a description of the picture and of the two persons represented. Jean de Dinteville was born in 1504, and was Ambassador from France to England in 1533, the year when the picture was painted, at which time, according to the document in question, George de Selve, his intimate friend, who was then in his 25th year, paid him a visit. This document is confirmed by a further discovery by Miss Hervey of a Meinoire preserved in the Bibliotheque de 1'Institut at Paris (Collection Godefroy, Portfolio 216, No. 34) which gives the summary of three letters concerning the picture : "Memoire " pour 1'intelligence de trois lettres envoyees par Mons r . Camusat, " chanoine de St. Pierre de Troyes, touchant un tableau faict en " Angleterre, &c., &c., and in which the picture is mentioned as being " by ' Holben.' " Nicholas Camusat, the celebrated antiquary, was well acquainted with the successors of the Dinteville family. A copy, prob- ably of one of the letters in question, dated 1654, the year after the picture was removed from Polisy to the house of Francis de Cazillac, near St. Sulpice, in Paris, is in the same collection in the Bibliotheque de 1'Institut.* 9 A letter from Miss Hervey to the " Times " of December 7th, 1895, gives the first document in full, and an account of Jean de Dinteville and George de Selve, with a description of the discovery of the document Miss Hervey was good enough to present the original document to the National Gallery. It is framed, and hangs at present in the small East Octagon Room. HOLBEIN HOXDECOETER. 285 Notices of this picture occur in a catalogue of 1787, found by Mr. W. Fred Dickes, and in J. B. P. Lebrun's Galerie des Peintres <$-c., #c., Paris, 1792, wherein the author, who had had the picture in his posses- sion, states that he had sold it, and that it was then in England. It was engraved for Lebrun's work, but very poorly and incorrectly. It seems probable that it came into the hands of the dealer Vandergutsch (or Vandergucht), and that from him it was purchased by the second Earl of Radnor, about 1790 or 1795, in whose family it became an heir- loom. In 1891 it was purchased from the fifth Earl for the nation, together with two full-length portraits, respectively by Velazquez and G. B. Moroni (Nos. 1315 and 1316) for the sum of 55,000?., of which 25,OOOZ. was supplied by the State, and 30,OOOZ. by Messrs. Nath. Rothschild and Sons, Sir Edward Guinness, Bart, (now Lord Iveagh), and Mr. Charles Cotes. In oil, on oak of ten vertical panels, 6 ft. 10 in. h. by 6 ft. 10J in. w. HONDECOETER (MELCHIOR DE), 1636-1695, One of the most remarkable of the Dutch painters of birds of all kinds, foreign and domestic, was born at Utrecht in 1636. He was first instructed by his father, Gysbert de Hondecoeter, after the death of whom, in 1653, MELCHIOR studied with his uncle, Jan Baptist Weenix. From 1659 to 1663 HONDECOETER resided at the Hague, and, after that period, at Amsterdam, where he died, April 3, 1695. No. 202. Domestic Poultry. A beautiful brood of youn? chickens in the fore-ground. The cock was Hondecoeter's favourite bird, which he is said to have taught to stand to him in a fixed position as a model. On canvas, 2 ft. 10 in. h. by 3 ft. 8 in. w. Bequeathed to the National Gallery by Richard Simmons, Esq., in 1846. No. 1013. Geese and Ducks. A pool of water, a white red-beaked gander and a goose dis- turbing a duck and her ducklings, the duck in the air flying to their protection. On canvas, 3 ft. 10J in. h. by 5 ft. 1 in. w. The Wynn Ellis Bequest. 1876. 286 HONDECOETER HONTHORST. No. 1222. A Study of Foliage, Birds, Insects, . distance. . . .>. A -chateau among the trees in the middle ground ; a peasant driving a cow in the foreground ; a small cascade to the right. On canvas, 2 ft. 1 in. h. by 2 ft. 9 in. w. The Wynn Ellis Bequest. 1876. HU YSUHX (JAN . VAN), 1682-1749. Was born at Amsterdam on the 15th of April, 1682, and was the son, pupil, and assistant of Justus van Huysum, a painter of general subjects. JAN has acquired the highest reputation as a painter of fruit and flowers, and is also known as .a landscape painter. After a very successful career he died in his native city on T?eb. 8, 1749. He had three brothers, also painters, Justus, Jacob and Michael. Justus was a battle painter and died young, Jacob apd .Michael painted flower pieces. Jacob was established in liondon, where he;copied and imitated his brother's pictures, and died poor in 1740. c No. 796. A Vase with Flowers. On the pedestal are other flowers, fruit, and a bird's nest with five eggs in it, like those of the greenfinch. Signed, Jan Van 1736 en 1637. . /737 * Van Gool, ffievwc Scbouburg, John the Baptist and Peter, Catharine, Barbara and Margaret, standing at the foot of the throne ; on the interior sides of the wings are, above the Annunciation, below the birth and the Crucifixion of our Lord. On the exterior sides of the wings are, above the expulsion of Joachim from the Temple, and the angel appearing to him foretelling the birth qf the Virgin : in the second line the meeting of Joachim and Anna at the beiutiful gate ; and the birth of the Virgin : on the third lice the presentation of the Virgin in the Temple : and her marriage. Inscribed on the back Justus pinxit in archa ? and dated in the front on the plinth below MGGCLX VII 1367. In tempera, on wood, centre, 1 ft. 5 in. h. by 8f in. w. ; wings, 1 ft. 5J in. ft. by 4 in. w. Formerly in the German Collection of Prince Ludwig von Oettingen Wallerstein, which was exhibited, in 1848, at Kensington Palace,f and became subsequently the property of the Prince Consort. Presented, in 1863, by Her Majesty Queen Victoria, in fulfilment of the wishes of H.R.H. the Prince Consort. * This appears from the following memorial, published by Q. A. Moschini and others, but with some slight variations in the orthography" Hie jacent Dominicus et Daniel fratres et fllii quondam Magistri Justi pictoris qui fuit de Florentia. Migravit ad Dominum die S. Michaelis MJJJ (c) die xxviiii mensis Soptembris." Delia PiUura in Padova, &.C., p. 10, Padua, 1826. See further Brandolese, Pitture, &c., dt Padova. 12mo., Padua, 1725, p. 281. t See the Descriptive Catalogue of a Collection of Byzantine, Early Italian, German, and Flemish Pictures, belonging to H.S.H. Prince Louis D'Oettingen Wallerstein, London, 1848. In 1854 a second Catalogue of this Collection was prepared by Dr. Waagen. KEYSER. 299 p - K.EYSER (THOMAS DE), 1596?-1667. Son of the eminent sculptor and architect Hendrick de Keyser, was born 1596 or 1597, at Amsterdam. Down to recent years his baptismal , name was erroneously believed to be Theodore. Under whom' he studied is not known, but he followed a long line of more or less able portrait-painters of Amsterdam, all of whom he surpassed. If in some of his works remains of the formality and stiffness of the 16th century may be traced) the greater number show a freedom and a sense of life unusual among those of his predecessors. His workmanship is thorough, and his colouring in general warm and forcible. It is acknow- ledged that DE KEYSER had an indirect share in the development of Rembrandt. Many of his portraits are of life size, but he seems to have preferred working on a smaller scale, as in his admirable group in the Museum of the Hague, the Burgomasters of Amsterdam in consultation, or in the still more attractive full length seated portrait of a Magistrate in the same collection, dated 1631 ; a work full of character, and as harmonious in colour as it is large and vigorous in style. Fine examples of DE KEYSER'S skill may also be seen in the galleries of Amsterdam, Utrecht, Berlin, Dresden, Munich, Frankfort, Pesth, and St. Petersburg. He died at Amsterdam, on June 7, 1667. No. 212. A Merchant with his Clerk, portraits. The " merchant," dressed in riding costume, is seated at a table in a private apartment which bespeaks affluence in the owner : the background is a costly piece of tapestry. On the table are a plan, books, a guitar, and other objects. The " clerk " is standing, with his hat in his hand, behind the chair of the seated figure, to whom he is respectfully handing a packet. Small, full-length figures. On wood, 3 ft. - in. h. by 2 ft. 3 in. w. Signed, on the mantelpiece with the painter's monogram composed of T. D. K., and dated 1B27. AN. 1627. t M. Karl Woermann states that Thomas de Keyser developed under, the influence of Nicolas Elias. (See Geschichte der Malerci, III., 664.) M. A. Bredius, on the contrary, inclines to the opinion that he was a pupil of Cornelis van der Voort. (Catalogue, &c., du Muse'e de VEtat a Amsterdam, 1888.) 300 KEYSER KONINCK. Bequeathed to the National Gallery by Mr. Richard Simmons in 1846. KONINCK. (PHILIPS DE), 1619-1688. PHILIPS DE KONINCK or KONING* was born at Amsterdam November 5, 1619. He became a pupil of Rembrandt ; but little further is known of his artistic life. As to his domestic circum- stances, documents show that he was married twice, first in January, 1641, to Cornelia Furnerius, of Rotterdam, who seems to have died the next year ; and secondly, on the 24th of April, 1657, to Margrieta (born Van Rijn), widow of Pieter Valentyn. DE KONINCK painted various subjects, including portraits ; but his fame rests upon his achievements in landscape-painting. His expansive views, embracing great tracts of country as seen from a height with the sand-dunes in the far distance lighted by gleams of sunshine against grey rolling clouds, are distinguished by much grandeur of conception, and by richness and truth of colouring. The figures in them were sometimes painted by Lingelbach or Dirk van Berchem. The themes no doubt are not greatly varied ; but it was characteristic of the Dutch painters generally to aim at thoroughness in one direction rather than to scatter their powers over a wider range. DE KONINCK'S pictures are rare in the great continental collections. Two are in the State Museum at Amsterdam, one of which (in the D upper bequest) is of singular charm, with its magnificent sky of silvery clouds in two strata of contrasted forms, its rich warm landscape over which pass fleeting shadows, its distant dunes, here in grey shade against a light horizon, its placid stream, widening in the fore- ground between steep banks, reflecting the sky, and bearing a gay pleasure boat on its bosom. In the Rotterdam Gallery is a fine example, and in the Royal Museum at the Hague a repe- tition of the picture in the Peel collection (836, below). Several are in private possession in England. PHILIPS DE KONINCK is said to have travelled much. He was buried at Amsterdam, October 4, 1688.f * The name is also written Coninck in old registers. He signed himself Philips Koning ia the registry of his second marriage. See H. Havard, L'Art et Its Artistes Hollandais, IV., 251-2. t Catalogue dts Pcintures du Musec de. FKtat a Amsterdam, par. A. Bredius 1888. KONINCK LA. FARGUE. 301 No. 836. Landscape, a View in Holland. A small town is seen in the middle ground, with wide- spreading" waters and sandhills in the distance. In the foreground is & road with some cottages on the left, and a small stream on the right. On the road are a hawking party, a lady and gentleman on horseback, a man with a hoop of falcons, and several dogs ; a coach and six is approaching from the middle distance. In the stream to the right are a man angling and women washing clothes. On canvas, 4 ft. 4J in. h. by 5 ft. 3 in. w. Purchased with the Peel Collection in 1871. No. 974. A Hilly Woody Landscape. With a view of the Scheldt, and Antwerp Cathedral in the distance. In the middle ground a chateau and windmills. On a sloping road bordered by picturesque trees some person of dis- tinction is passing in a carriage and six with outriders. Two sportsmen and a couple of greyhounds are in the foreground. On canvas, 3 ft. 3 in. A. by 4 ft. 11 in. w. The Wynn Ellis Bequest. 1876. ZiA F ARGUE (PAUL CONSTANTIN), 1782. A Dutch painter, barn at the Hague. His pictures are generally small io size, representing views of the environs of his native city. LA FARGUE'S drawings are more important than his paintings, and there exist several etchings by him. He had considerable skill in copying the works of the older Dutch masters. He died at Leyden in 1782. No. 1918. The Market Place at the Hague. An animated scene in the Groe"n Market at the Hague. Under the trees an immense crowd of people of all classes busily occupied in buying and selling ; at the back of the market to the left are the booths of merchants of old clothes and other wares, while in the foreground and central area of the picture are the sellers of market produce. Through the trees are seen the red brick houses surrounding the market place. A fountain occupies the centre, and in the background is the tower of the Groote Kerk. 302 LA F ARGUE -LANCRET. On panel, 1 ft. 9 in. k. by 2 ft. 5 in. w. Purchased, in London, from the Hon. 0. Sclater-Booth, from' the interest of the " Lewis Fund," in 1903. X.ANCRET (NICOLAS), 1690-1743. ;/J. Was born at Paris 22nd January, 1690. He was the pupil of Pierre d'Ulin and Claude G-illot ; but he adopted Watteau as his model. He soon distinguished himself, and became the rival of his model in popular estimation. He had, however, little of those finer and poetic qualities which elevate the productions of Watteau, 'no matter how frivolous their theme, into really great works of art. LANCRET was elected a member of the French Academy of Painting in 1719, as a painter of F&tes Galantes. He died at Paris 14th September, 1743. Nos. 101-4. The Four Ages of Man. No. 101. Infancy. Groups pf gaily-dressed children, at play, under a stately arcade or portico. No. 102. Youth. Young people of both sexes, who appear to be contemplating the adornment of the person, forming a group of seven figures in a garden pavilion. No. 103. Manhood., A party of pleasure, some reclining upon the greensward : two archers are shooting at the popinjay. A composition of ten figures: the arrangement of the grouping indicates the age of courtship. No. -1O4. Age. An old woman spinning, with another asleep in a chair by her aide : of the male portion of the group one old man is caressing a LANCRET LANDINI. 303 dog, another is making advances to a young girl. Composition of six figures. Engraved by Desplaces, and by L'Armessin, fils. On canvas, 1 ft. 1 in. h. by 1 ft. 5J in. w. each picture. They are mentioned by D'Argenville among the principal works of Lancret. Bequeathed to the National Gallery, in 1837, by Lieut.-Col. Ollney. LANDINI (JACOPO), 1310?-1390? Or JACOPO Dl CASENTINO, born at Prato Vecchio, in the Casenr tino, about 1310, was a pupil of Taddeo Gaddi, and painted in a very similar style. He was an established painter at Florence in 1350, and assisted in the formation of the Florentine Academy of St. Luke ; he was enrolled one of the Company of Painters in 1351. He was also an architect. JACOPO was distinguished chiefly as a fresco painter ; he executed many frescoes in various places in Tuscany, some of which are highly spoken of by Vasari ; but few traces of them now remain. He was the master of Spinello Aretino, who when young assisted him in some of the many works he executed in Arezzo, JACOPO DI CASENTINO died at an advanced age, in his native place, towards the close of the four- teenth century about 1390. Vasari states that he attained the age of 'eighty.f No. 580. St. John the Evangelist lifted up into Heaven ; with various Saints,- and other scenes from the life of the Evangelist. In the centre is St. John lifted up by the Lord among the patriarchs and apostles of the church :J on the left are, Saints * The term fresco is used by Vasari and others in describing the wall paintings of the early Italian masters, but the method oC biion fresco was not in use till the close of the 14th century. t Vasari, Opere, &c. Ed. Milanesi, I., 669. t"Post heec juxta altare foveam quadratam fieri jussit et terrain extra ecclesiam jactari. In quam beatus Eyangelista descendens expansis manibus gratias Deo egit, et oratiqnetn devotissimam fudit. Qu& flnita tanta lux super eum emicuit quod a nemine videri potuit. Eeeedenteque lumine, fovea reperta est Manna repleta" &c. See the Golden Legend. St. John Evan., p. 27 ; and Peter de Natalibus, Catalogus Sanctorum, ii., 7. 304 LANDINI. Bernard, Scholastica, Benedict, and John the Baptist ; on the right, Saints Peter, Romualdo, Catherine and Jerome.* Imme- diately over the centre picture ia Christ risen from the Dead, the gates of hell cast down on one side, and on the other the donor and his family p-esented to him by St. John the Evangelist and St. John the Baptist ; over the left picture is the archangel Michael, and over the right, the archangel Raphael with Tobias. In the three upper pictures are represented, in the middle the Trinity, the Virgin and the Angel of the Annunciation at the sides. In the predella below are St. John the Evangelist distributing alms and baptizing catechumens ; the vision in the Island of Patmos, in which four angels are binding four beasts, and the woman pursued by the serpent is flying into the wilderness ; St. John liberated from the cauldron of boiling oil, in which he was placed by the orders of the Emperor Domitian ; and at the extreme ends, St. Apolloniaf and St. Verdiana. In the pilasters on the left are Saint Francis, St. Cosmas and another saint above ; on the right, St. Margaret, St. Damianus and St. Nicholas of Bari. In all, twenty-two pictures. In tempera, on wood. Principal pictures, centre, 4 ft. h. by 2 ft. 1 in. 10., sides, 3 ft. 9 in. A. by 2 ft. w. ; cvspidi, or upper pictures, centre 1 ft. 4J in. A. by 11 in. w., sides, 1 ft. 4$ in. h. by 10 in. w. ; predella pictures, 1 ft. h., centre, 1 ft. 10J in. w., sides, 1 ft. 9J in. w. Outside measure of the altar-piece, 9 ft. 5 in. h. by 8 ft. 5 in. w. In its original frame, restored, Formerly in the church of San Giovanni Evangelista at Prato Vecchio, in the Casentino. Purchased at Florence, from the Lombardi- Baldi collection, in 1857. No. 58OA. The Holy Trinity and The Annunciation. Three terminal panels of the altar piece No. 580. In tempera, on wood. Central panel, 1 ft. 5 in. A. by lOf in. w. ; side panels, 1 ft. 4| in A. by 9f in. w. * In the open book held by St. Jerome is written : Penitenciam agere, cst perpe- trata mala peragere, ct peragendo nan perpctrare ; to do penance is to work out sins, and in working them out to sin no more. t Inscribed St. Apollonia, but the emblem, a female breast held by a pair of pincers, is generally that of St. Agatha. The common emblem of St. Apollonia. is the tooth held in a pair of pincers. LANINI. 305 LANINI (BERNARDINO), 1508?-1578?. Born at Vercelli about 1508, became the best scholar and imitator of Gaudenzio Ferrari, though he did not equal his master. In later life he approached more to the manner of Leonardo da Vinci and became one of the principal Milanese painters of his time. LANINI'S works were chiefly in fresco. The date of his birth is uncertain, but he was an established master in 1539. At Borgo Sesia, near Varallo, there is an altar-piece inscribed " Beniardinus pausillum hoc quod cernis effigidbat 1539." His principal works are the Sibyls and other frescoes in the Cathedral of Novara. He died about 1578. No. 70O. The Holy Family. With the Magdalen, Pope Gregory the Great, and St. Paul presenting an apple to the infant Saviour. A rocky landscape in the distance, whole figures, life-size. Signed On wood, circular at top, 6 ft. 7 in. h. by 4 ft. 3 in. w. The frame is a rich cinquecento carving of the period. Purchased in London, from Mr. Gr. H. Phillips, in 1863. 25640 U 306 LE BRUN LELY. XiS BRUN. (See VIGEE Z.E BRUN.) LELY (SiR PETER), 1618-1680. This painter, Dutch by family, was born at Soest, in West- phalia, in 1618 ; his father was Captain Van der Faes-Lely. At a very early age PETER showed so decided a passion for art that his father sent him to Haarlem to learn painting in the school of Pieter Fransz de Grebber. He was taken to England in 1641 by William Prince of Orange, son-in-law of K. Charles I. In the December of that year Van Dyck died, and young LELY, who admired the works of that master and regarded them as models, for his own practice, soon succeeded him in general estimation, and, finally, as Court painter. When the unfortunate King was in durance at Hampton Court, LELY, it is said, took what was destined to be the last portrait made of him.* The fall of the monarchy did not much affect LELY'S position. The Protector sat to him, previously giving the painter stern injunctions to portray him as he was, with all his " roughnesses, pimples and wart?," on pain of forfeiting payment. On the restoration of the monarchy, LELY became the favourite royal painter, receiving the titles of knight and chamberlain. His portraits of the ladies of the Court of Charles II., including the royal mistresses, are well known. He certainly had great abilities, a good sense of beauty and colour, and a facile pencil. "The affectation and mannerism too often apparent in his female portraits are perhaps in some measure due to the fashion of the time. SIR PETER LELY died suddenly, Nov. 30, 1680, while painting the Duchess of Somerset. He was buried in St. Paul's Church, Covent Garden, where a bust of him by Grinling Gibbons, with Flatman's epitaph, existed until 1795, when they were calcined by the fire there.f -* This is believed to be the picture now at Sion House, in which the King standing, and seen at three-quarter length, appears in conversation with his son the young Duke of York (afterwards K. James II.), who hands his father a penknife to cut open a letter. t Walpole's Anecdotes of Painting in England. LELY LE NAIN. 307 No. 1016- A Full-length Portrait of a Girl. Dressed in a bluish-white simar, in which she is holding some red cherries, with which she is feeding a parrot on a balustrade by her side ; her feet are naked ; a red curtain in the background, and a landscape. On canvas, 4 ft. 1 in. h. by 3 ft. 4 in. w. The Wynn Ellis Bequest. 1876. LE NAIN. 15 ?-1648. There were three brothers of this name ; two of them, Louis and Antoine, worked so much together and had so much in common that it is not easy to distinguish their works. They were born at Laon, Antoine in 1588 and Louis in 1593. Their pictures represent principally scenes of peasant life, and have a direct air of truth, and a realism which is remarkable at a time when the artists of the French school turned with one accord to classicism, and were frequently characterised by a false and bombastic style. Their works are mostly small in scale. Both the brothers died in 1648, soon after they became members of the Academic Royale. No. 1425. Portrait Group. A peasant woman tits surrounded by rustic children. On a chair in front of her a boy in a red coat, drab-coloured breeches, and blue stockings, holds a drinking glass in one hand and is about to raise a stone jug with the other. Four little girls humbly, but picturesquely, clad complete the group. Dark grey background. Formerly in the Bohn Collection. On panel, 10 in. h. by 1 ft. \ in. w. Presented by Mr. L. Lesser, in 1894. 25640 U 2 308 LE SUEUR. LE SUEUR (EUSTACHE), 1616-1655. Was the son of Cathelin le Sueur, a carver in wood. He was born in Paris in 1616. and studied under Simon Vouet, and his first -works are much in the manner of his master, from whom, to quote his biographer, Le Comte de Caylus, "he learnt to work " in a large style and to admit nothing of meagre or dry in his " compositions." Eight pictures done in his early youth, illus- trating the Dream of Polyphilus, were done in tapestry at the Gobelins. Later on he corrected the mannerisms acquired from Vouet by the study of the Italian masters, though he would never go to Rome as was the custom of the historical painters of the time. His first works were principally mythological and allegorical subjects painted as decorations. Thus he executed a series in the Hotel Lambert Thorigny at Paris, on which he seems to have worked at intervals during the whole of his career ; which, however, was but a short one, for he died at the age of thirty-eight. Another series, representing scenes from (he story of Juno and other mythological subjects, was done for Anne of Austria, for her apartments in the Louvre. The pictures by which Le Sueur is best known are a series of twenty-two scenes from the life of St. Bruno, painted for the cloisters of the Chartreuse at Paris, between 1645 and 1648. These, which were originally painted on panel, were transferred to canvas, and are now in the Louvre.f The number of works executed by Le Sueur is very large, besides those alrealy mentioned, he painted numerous pictures of religious subjects, done for churches and for private individuals in Paris and the immediate neighbourhood. He died in Paris in 1655. Le Sueur's works partake of the academic style of the period, but are distinguished by much grace and are less mannered than those of most of his contemporaries, and occasionally show genuine dramatic power. He was assisted in his work by his three brothers and his brother-in-law, and the landscape backgrounds are said to have been sometimes done by Patel. * These are now in the Gallery of the Louvre. t Le Sueur was one of the artists who, breaking away from the maitrise or guild of master-painters, formed a society and school, which, being taken under the protection of Louis XIV., became in 1648 the Acadtmie Royale, LE SUEUR LIBERALE. 309 No. 1422, The Holy Family. In the interior of a lofty stone building supported on columns, the Virgin, clad in a pale red robe and blue mantle, stands on the left hand of the picture with her foot on a stool or block of masonry, bearing in her arms the Infant Christ, who raises His hand, in the act of benediction, towards St. Elizabeth and the child St. John, who kneel on the right. Behind them St. Joseph, leaning on a staff or implement of carpentry, seems to watch the Holy children. A picture identical with this in every respect is in the collection at Chantilly, and is there ascribed to Nicolas Poussin. The present picture may be a copy by Le Sueur. On canvas, 2 ft. 1J in. h. by 1 ft. 1\ in. w. Presented by Mr. Francis T. Palgrave, in 1894. LIBERALS DA VERONA, 1451-1535. LIBERALE di Griacomo was born at Verona in 1451. Having already before his 17th year acquired considerable practice as a miniaturist, he left Verona to seek work in convents, and wandered to the Benedictine Monastery of Mont' Oliveto, where he was employed to paint in the choral books. Thence, after 1469, he went to Siena, and engaged in similar work for the Duomo there. f Returning to Verona (about 1477 ?), LIBERALE took to painting on a larger scale ; his style, moreover, under- going great modifications during his subsequent career. Works of his may still be seen in the churches of S. Fermo and Sant' Aanastasia, as well as in the Vescovado. A St. Sebastian bound to a tree is in the Brera Gallery at Milan ; a work which perhaps indicates the influence of Mantegna, but more conclusively shows that LIBERALE had been in Venice, as the background of the picture represents a characteristic canal scene in that city. The martyr's figure is carefully drawn from ordinary nature, * So he is named in Sienese records relating to him. In a document of 1515 he is styled ''Liberalis Magistri Jacobi a Blaio de S. Joanne in Valle." S. Giovanni in Valle was a part of Verona. t The choral books of Mont' Oliveto Maggiore have been transferred to the Cathedral of Chiusi. Four of them contain miniatures, ten in number alto- gether, by Liberale. He executed about thirty-six miniatures for the Duomo at Siena. The antiphonaries which contain them have long since disappeared from Siena Eecords of payments made to Liberale for these works are given by Milanesi. Documenti per la Storia delt Arte Senese, II , pp. 384-386. 310 LTBERALE. though without a thorough knowledge of structure This work is in oil, a vehicle which LIBERALF. adopted in his later practice. In the same medium is executed an Enthroned Madonna with Angels in the Casa Ssotti at Milan, bearing the forged signature of Andrea Mantegna, a fraud which, though it long deceived critics, is contradicted and exposed by the whole style of the painting itself. A Madonna of 1489 is in the Berlin Gallery, the only dated work of the master now extant. Other productions by him are in the Municipal Gallery at Verona, in S. Leo at Venice, and in the Palazzo Torrigiani at Florence. LIBE RALE'S death is placed by Vasari in 153?>, but no notice of the painter is on record later than 1515. Scholars of his were the elder Caroto, Francesco Torbido (il Moro), and, probably, Niccolo Giolfino. No. 1 134. The Virgin and Child, attended by Angels. The Virgin, in a crimson robe and dark blue mantle, leans over the Infant Christ, whom she supports on her lap. Behind her, two youthful angels press forward, one of them holding a flower. The figures, excepting that of the Infant, are seen only at half-length. On wood, in oil, 1 ft. 11 in. h. by 1 ft. 5J in. w. Purchased in 1883, at Venice, from Signer Fabris. ASCRIBED TO XiZBERAXiE DA VCRONA. No. 1336. The Death of Dido. In the centre of a piazza surrounded by an arcade, Dido, standing on an hexagonal platform of two stage?, with circular steps at its base, prepares to stab herself with a dagger. On the lower stage of the platform is the funeral pyre already kindled. In the foreground stand friends or courtiers. Under the arcades on either side of the scene are numerous persons assembled to witness the immolation, while others look on from balconies above. On the extreme right and left of the picture, beyond the arcade?, are portions of a landscape representing a lake or seashore on one side, and a woodland scene with horsemen tilting, on the other. On panel, 1 f t. 4 J in. h. by 4 ft. ic. Purchased in 1891, from Mr. Edward Habich, of Cassel. LIBRI LICINIO. 311 XiZBRZ (GiROLAMO DAI). See G-IROLAMO. XiICINIO (BERNARDINO). Painting between 1524-1541. Of Pordenone, in Fruli ; was a disciple and distant relation of the more eminent Giovan Antonio Regillo da Pordenone, with whom he has not seldom been confounded. The year of his birth is not recorded, nor is that of his death, but dates on his pictures prove that he was active between 1524 and 1541. He is best known by his portraits. These he frequently painted in half- length groups, put together with little skill in composition and without much power in design. On the other hand, LICINIO may be termed a colourist by virtue of the warm ruddy glow which he imparted to his flesh tones, and which, though monotonous, conveys a sense of life. Good examples of his portrait groups are to be found in various collections. Amongst them may be specified The Painter and his Family in the Borghese Palace at Rome ; An Artist and his Pupils at Alnwick Castle ; A Family group at Hampton Court, and a similar subject in the Hermitage, St. Petersburg. But this painter shows to greater advantage in more limited compositions ; as in the Lady seated in the Dresden Gallery ; A Lady at a Spinet (with another figure) at Hampton Court ; and the Portrait of Ottavinno Grimani in the Belvedere at Yienna. In religious subjects, which he sometimes attempted, the Enthroned Madonna and Child with attendant Saints, a large altar-piece in the Frari at Venice, takes the first place. After this come a similar altar-piece in the church of Saleto near Padua ; a Madonna and Child, with Saints formerly in the Manfrin Gallery, but now belonging to Lord Wimborne ; a Virgin and Child and St. Jerome in the Uffizi, and other productions elsewhere. No. 1309. Portrait of a Young Man. Over half-length ; the head turned to the spectator's left ; the right forearm resting on a parapet, the hand, adorned with t^o finger-rings, and holding a pair of tan gloves ; the left arm akimbo. Beardless face, dark blue eyes, the brown hair parted in the middle and drawn behind the ears. The dress a black 312 LICINIO LIEVENS. full-sleeved gown lined with grey squirrel fur over a black doublet ; the low-bosoined shirt shows the neck, around which is a fiue gold chain supporting a curved gold ornament, probably a charm. Warm grey background. On the parapet is inscribed in black majuscules STEPHANVS NANI ABAVRO XVII MDXXVII1 - LYCINIVS P Stefano Nani dal Oro was a clerk in the Rason Vecchie (Ragioni Vecchie) at Venice. On canvas, 2 ft. 11 in. h. by 2 ft. 5J in. w. Purchased in London, at the sale of the Chipstead (Perkins) Collec- tion in 1891. LIE SHORN, THE MEISTER VON. (See GERMAN SCHOOLS.) LIEVENS (JAN), 1607-1674, Or LIVENS, was one o those Dutch painters of the 17th century who, submitting to foreign influences, considerately modified the style in which they had been educated. LIEVENS was born October 24, 1607, at Leyden. There he was apprenticed to Joris van Schoten ; afterwards be became a fellow pupil with Rembrandt under Pieter Lastman at Amsterdam. In 1631 he came to London, where he was patronized as a portrait painter by King Charles I. He appears to have remained here until 1635. Meanwhile Van Dyck had been expressly invited hither by the King, and LIEVENS became decidedly impressed with the mastery and elegance of that painter's work. He had, further, opportunity of studying the creations of great Italian masters in * His name is mentioned in two documents of 31st March, and 9th August, 1542, found by Dr. G. Ludwig in the State archives at Venice, Consiglio X. Comune Registro 15, an. 1542-3, Oarte 52 tergo. LIEVENS. 313 the magnificent collection which the King was then forming. Thus LIEVENS fell into eclecticism, while dominated always in his notions of chiaroscuro by the powerful example of Rembrandt. No evidence shows that he ever visited Italy. From 1635 till towards 1643 he resided at Antwerp ; and there the productions of Rubens could not fail to excite his admiration and affect his views. In this interim he paid a visit to Leyden, in 1639-40. From Antwerp he removed to Amsterdam, where, with the exception of a short stay at the Hague in 1661, he remained until his death on the 8th of June 1674. He was buried there in the Nieuwe-Kerk. LIEVENS hai a deserved reputation as a portraitist. Some of his compositions, biblical and quasi-historical, are ambitious and imposing, though they betray the mingled influences of various prototypes. His large picture of the Visitation, in the Louvre, has a certain grandeur of aim ; but an over-care to dissriminate the too rich materials of the dresses is disturbing in such a subject. Of higher worth is Abraham's Sacrifice, in the Doria Palace at Rome, there catalogued unler the name of Titian. No. 1O95. Portrait of Anna Maria van Schurman* Life-size figure to waist, in a black velvet dress trimmed with brown fur ; throat bare. Seated at a table, holding an open book in her hands. Three quarter face ; dark background. On canvas, 2 ft. 9 in. h. by 2 ft. 2 in. w. Presented by the Trustees of the British Museum in 1880. * This lady, remarkable for her character, her learning, and her accomplish- ments, was born at Cologne, of patrician parents, in 1607. As a child she showed extraordinary aptitudes, and as she developed into womanhood mastered, first, Latin and Greek, then Hebrew, Syriac, Arabic, and Ethiopic. even compiling a grammar of the last-named tongue. Of living European languages, besides German and Dutch, which were those of her childhood, she was familiar with French, Italian, ani English. She studied philosophy and several of the physical sciences, and held correspondence with some of the most erudite men of her day. She was, further, skilled in design, painting, and engraving ; in music she excelled. Her tone of mind was strongly religious. Late in life coming into contact with Labadie, she espoused the doctrines and the cause of that persuasive imposter, inducing the Princess Palatine Elizabeth to adopt them also. She accompanied him in his fugitive wanderings, and, after his death, collected his disciples at Wieuwerd in Friesland, where she died in 1678, in utter destitution. Such was her renown that she was visited by Queen Christina of Sweden and other illustrious women. William Penn, when in Holland, sought her at Wieuwerd. Several of her writings were published ; one of them under Spanheim's editorship. Besides some earlier notices, a memoir of her by Mgid. D. J. Schotel appeared at Hertogenbosch (Bois-le-Duc^ in 1857. 314 LINGELBACH LIPPI. LINOELBA-C* (.JOUANN or JAN), 1623-1674. Was born at Frankfort on-Miin in Octobar, 1623. He went early to Holland, studied also in Paris, and in Italy, which he visited in 1644, remaining there six years. In 1650 he returned to Germany, and finally settled at Amsterdam, where he was buried in November 1674. He used to insert figures in the pictures of Wynants, Yerboom, and other painters. German School ; but commonly reckoned among Dutch painters.* No. 837. The Hay Harvest. Some men and a woman loading a cart with hay, before which are standing the two unyoked horses, and a third horse on which is a rider with a woman on a pillion behind him. On the right are some haymakers reposing near the stem of an old tree. On the left is a man angling in a small stream, on the other side of which is a hawking party approaching a small house on the road side Signed J. Lingelbach. 1661. On canvas, 2 ft. 3 in. A. by 2 ft. 10 in. w. Purchased with the Peel Collection, in 1871. XiXPPX (FRA FILIPPO), 1406 ?-1469. FILIPPO LIPPI, the son of Tommaso di Lippo, a butcher in Florence, was born about 1406. Left an orphan when eight years olJ, he was committed to the care of the monks of the Carmelite convent close to which his parants had lived, and at the docile age of 14 or 15 was induced to take the vows of the order. Soon after this date the conventual church S. M. del Carmine, was consecrated, and as the young monk was approach- ing manhood he may have seen Masolino he must have seen Masaccio painting in its renowned Brancacci chapel. Whether he became actually a pupil of Masaccio is uncertain ; but he did execute some works in the church which were said to be thoroughly imbued with that master's spirit.f Towards the * Gwinner Kunst und Kiinstler in FrankJurt-am-Main, 1862. t These have perished, some through decay others in a fire which destroyed a great part of the church in 1771. LIPPI. 315 close of the year 1431 FRA FILIPPO was permitted to leave the convent in order no doubt that he might be free to practice his art ; but he remained a friar and continued to wear the frock. He soon received commissions, even attracting the favour of Cosimo de' Medici, who at a later period signally befriended the man whose genius he had early recognised. In 1442 Pope Eugenius IV. nominated LIPPI rector of S. Quirico at Legnaia ; in 1452 he was made chaplain of the monastery of S. Niccolo di Fieri in Florence ; sinecure offices, bestowed upon him as artist rather than as churchman. In the interval between bis departure from the Carmine and the year 1453-4 some of his best panel pictures were executed. A little lat.r he undertook his master- work, the grand series of frescoes in the choir of the Pieve (now the Duomo) at Prato. These chiefly illustrate the acts and sufferings of St. John the Baptist and St. Stephen. They display all the highest qualities of FKA FILIPPO'S art.f While thus engaged at Prato the friar-painter was appointel chaplain to the convent of Saint Margherita, a small community of nuns professing the rule of St. Augustine. This appointment brought about the most eventful incident in his career, the abduction of the young nun Lucrezia Buti. Painting an altar-piece for the convent chapel (by desire of the abbess) he persuaded the abbess to let him make a study of Lucrezia's head as a basis for that of the Madonna in the picture. In spite of the abbess's care and foresight FRA FILIPPO found an opportunity of declaring the love he hai secretly harboured, and tempting L'acrez : a to flee from her prison-house. Soon afte", in the confusion of a solemn public festival at which tha nuns were present, he conveyed her unobserved to his house. There she remained about two years and brought into the world tha afterwards famous painter Filippino Lippo. Although induced to return to the convent and take fresh vows, Lucrezia a^ain escaped to seek the friar's pro- tection. The scandal now became so serious that FRA FILIPPO * Vasari tells how Filippo, after his departure from the convent, was carried off from the Adriatic shore by Moorish rovers, enslaved in Barbary, and after a period of servitude sent safely to Naples by his benevolent master, whose portrait he had drawn. Unfortunately, this interesting tale is inconsistent with the facts as now known of the painter's life. HOB t Delle Pitture di Fra Filippo Lipiri ncl coro dclla Cattcdrale di Prato, by the Cnnonico Baldanzi, Prato. 1636 ; Delia chiesa Cattedrale di Prato, Desmziom cm-re- data di Notizie Storiche, &c., Prato, ]8^6; Vasari, Vite,&e.; Baldinucci, Notizir. &c. ; and Gaye, Carteggio inedito d'Artisti. 316 L1PPT. was threatened with punishment. But here Cosimo de' Medici intervened, and moved Pope Pius II. to issue a bull releasing the erring pair from their monastic vows, and sanctioning their marriage. This concession, however necessarily deprived Filippo of the power to hold any benefices in the church ; thence- forward he had to live upon the earnings of his pencil. He had still various work to do at Prato ; indeed, it was not until 1465 that the frescoes in the Pieve, begun about twelve years before, were finished. He next sought and obtained a commission to execute a series of frescoes in the choir of the Duomo at Spoleto. Taking with him his pupil and assistant Fra Diamante, he com- menced the work which he was not destined to finish. Overtaken by an illness, ascribed by some to poison, he died at Spoleto on the 9th of October 1469, and was buried in the Duomo. The work there was carried to completion by Fra Diamante.f If FRA FILIPPO owed mueh to Masaccio and something to Fra Angelico, his style is nevertheless original and peculiar. Rejoicing in life, he loved to introduce its incidents even in the solemn, often mystic scenes, he had to represent. But this human element, with him so naive and spontaneous, gives a singular charm to his works. He chose tw ) different types for his Madonnas. In the Presepios of the Florence Academy and the Berlin Gallery the features of the spare countenance are long and delicate : in other instances the face is rounder and the nose small and retrousse ; the expression is always tender and anxious. In freedom of execution this painter was no less in advance of his predecessors than in variety and subtlety of colouring. His panel pictures exhibit contrasts of flat with juicy transparent tints previously unexampled in tempera painting. In the cast of the ample garments which he gave to his figures may be found motives novel, bold and striking. *Spinetta and Lucre zia Buti, sisters, first took the veil in 1451 when aged respectively 17 and 16. not of their own free will, but constrained by their eldest brother, who, on his father's death, had been left sole provider for a large family, which his means were insufficient to support. On each occasion of Lucrezia's flight from the convent, Spinetta, equally longing for freedom, sought refuge with her sister under Filippo's roof. (Ales- sandra, the daughter of Filippo and Lucrezia, was born in 1465, four years after the marriage of her parents.) For a more detailed account of these events see the commentary on the life of F. Lippi in Milanesi's Opere di G. Vamri, T. II., p. 633, seqq. t Distinguished soholars of Fra Filippo were Francesco Pesellino, Botticelli, and indirectly, his own son Fillipino Lippi. LIPPI. 317 Conspicuous among PHILIPPO'S larger panel pictures are the Coronation of the Virgin in the Florence Academy ; the same subject in the Lateran collection ; a Nativity containing many figures in S. Domenico at Prato ; in the Communal Gallery of Prato an Assumption, supposed to be the picture in which the Virgin was the portrait of Lucrezia Buti, and in the Louvre a singularly fine though early work in which the Virgin stands on the dais of her throne, supporting in her arms the Infant who ia adored by two kneeling bishops. Works of smaller dimensions are the Presepios referred to above ; a Madonna and Infant, with two boy angels, in the Uffizi, and the two exquisite lunettes which are catalogued below. These, however, are merely examples out of many. FILIPPO'S predella subjects are of remarkable beauty, and of a delicate finish uncommon in works of their class. No. 2AB. The Vision of St. Bernard. The Saint, dressed in white, is represented writing his homilies at a desk placed on a table formed of the solid rock. On the desk is some paper and a leathern ink bottle ; by his side are some books. Tha Virgin, surrounded by angels, appears before him. In tempera, on a hexagonal panel, the upper corners of a square being cut away, 3 ft. 2 in. h. by 3 ft. 5 in. w. Vasari states that Fra Filippo painted two pictures to be placed over doors in the Palazzo della Signoria, at Florence. The subject of one was the Annunciation, of the other a St. Bernard. The date of the latter picture is fixed by a record quoted by Baldinucci from the register of the Prarreditori di Camera, whence it appears that, on the 16th of May, 1447, Fra Filippo received 40 lire " for having painted the figure of the Virgin and of St. Bernard to be placed before [above] the door of the cancelleria of the Palazzo de' Signori." Purchased at M. de Bammeville's sale in 1854. In the catalogue of that sale this picture was attributed to Masaccio. No. 589. The Virgin Mary seated, an Angel presenting the Infant Christ to her. Under an arch is seen a distant view of a lake. Three figures, small life size. In tempera, on wood, 2 ft. 4 in. h. by 1 ft. 7J in. w. Formerly in the possession of Sig. Zambrini, of Imola. Purchased at Florence, from the Lombardi-Baldi Collection, in 1857. 318 LIPPI. No. 666. The Annunciation. The Yirgin Mary is seated in a richly-furnished chamber, and in a garden opposite to her on the spectator's left, is the angel Gabriel announcing the birth of Christ. In the centre of the picture a dove, proseeding in a ray of glories from a band above, is approaching Mary. Small full- length figures. On wood, in tempera, a lunette, 2 ft. 2 in. h. by 4 ft. 11 in. w. This and the following picture, No. 667, were painted for Cosmo de' Medici. This is marked with the crest of Cosmo, three feathers tied together in a ring. The pictures were both procured from the Riccardi (Medici) Palace at Florence, by the brothers Metzger, about 1846.* Presented to the National Gallery by Sir Charles Lock Eastlake, P.R. A., in 1861. No. 667. St. John the Baptist with six other Saints. On his r'ght are Saints Francis, Lawrence, and Cosmas ; on his left, Saints Damianus, Anthony, and Peter Mart-ire : all seated on a marble bench in a garden. Small full-length figure?. On wood, in tempera, a lunette, 2 fb. 2 in. h. by 4 ft. 11^ in. w. Companion picture to No. 666, described above. Purchased from Mr. Alexander Barker in 1861. XiIFFI (FiLiPPiKo), 1457?-1504. FILIPPO LIPPI the younger, commonly called FILIPPIHO, the son of Fra Filippo and Lucrezia Buti, was born at Florence about 1457. In consequence of the death of his father [when FILIPPINO was still very ycung, he fell under the guidance of Fra Diamante, who had been his father's assistant. Subsequently he entered the studio of Sandro Botticelli, whose influence is very observable in many of his works. But FILIPPINO studied the frescoes of Masolino and Masaccio in the Brancacci Uhapel, as his father before him had done, and in 1484 was appointed to complete the series which Masaccio had left unfinished nearly sixty years before. This work was nobly fulfilled and FILIPPINO'S * See Opcre di 0, Fasari, edited by Milanesi, Florence, vol. II., p. 616, note 2. LIPPI. 319 reputation was established. A few years later he received a commission to paint some frescoes in the Strozzi Chapel in Sta Maria Novella. These, begun in 1487, were not completed until 1502. In the meanwhile FILIPPIXO visited Rome, and there executed some frescoes for Cardinal Caraffa in Sta Maria sopra Minerva. All these works are of a high order of merit, showing great skill in composition, and great refinement of feeling. Amongst altar-pieces on panel by this painter, one of the most attractive as well as one of the earliest is the Vision of St. Bernard in the Badia at Florence. Others are in Santo Spirito and in the Gallery of the Uffizi in that city. An exquisite work, the Marriage of St. Catherine, is in S. Domenico, Bologna. The Galleries of Munich and Berlin contain interesting examples. FILIPPINO married in 1497 Maddalena, daughter of Pietro Paolo Monti. He died at Florence, and was buried on the 18th of April, 1504. He signed his name Philippinus Florentinus, Philippinus de Lippis, and also Filippus de Lipis. No. 293. The Virgin and Child ; St. Jerome and St. Dominic adoring the Infant Christ. The Virgin is seated in a landscape, with the infant at her breast ; the two saints are kneeling one on each side of the Virgin, St. Jerome on her right, St. Dominic on her left. Below, in a predella, are represented the dead Christ, supported by Joseph of Arimathea, with half figures of St. Francis and the Magdalen in separate compartments on each side. The arms of the Rucellai family are painted at the extreme ends. In tempera, on wood, 6 ft. 9 in. h. by 6 ft. 1 in. w. The predella, 8 in. h. by 7 ft. 9 in. w. We learn from Vasari that this picture was originally painted for the Rucellai Chapel in the church of San Pancrazio, at Florence ; after the suppression of this church it was removed to the Palazzo Rucellai. where it remained until it was purchased of the Cavaliere Giuseppe Rucellai, in 1857, for the National Gallery. * rhe works of Filippino in the Brancacci Chapel are: "The Restoring a Youth to Life," part of which was painted by Ma'-accio ; the " Crucifixion of St. Peter," " St. Peter and St. Paul before Nero or the Proconsul," " St. Peter liberated from Prison " ; and according to some " St. Paiil visiting St. Peter in Prison," in which is the figure of St. Paul that was adopted by Raphael in his cartoon of ''Paul preaching at Athens." 320 LIPPI. No. 592. The Adoration of the Magi; or, the Wise Men's Offering. The holy family is in front of a ruined building on the spectator's right, and the magi are prostrating themselves before the divine Infant ; on the left is an immense retinue of followers reaching to the extreme limits of the picture on that side. A rocky back- ground. Small figures. In tempera, on wood, 1 ft. 8 in. h. by 4 ft. 7 in. w. Formerly in the possession of the Marchese Ippolito Orlandini, of Florence. Purchased at Florence from the Lombardi-Baldi Collection, in 1857. No. 598. St. Francis in Glory. With the stigmata, standing, holding in his arms and contem- plating a small crucifix ; above on each side five angels playing musical instruments. Inscribed below HUNG SEQUANTUR, HUIC JUNGANTUR, QUI EX EGYPTO EXEUNT, IN QUO OBIS CLARA LUCE VEXILLA REGIS PRODEUNT, and dated A.D. MCCCCXCII.* Gold background. In tempera, on wood, 19J in. h. by by 12^ in. w. Formerly in the collection of the Marchese Giovanni Costabili, at Ferrara, from which it was purchased for the National Gallery, in 1858. No. 927. An Angel adoring. Looking down, with the hands joined in the attitude of prajer. There are traces of wings and an aureole ; an I below it apparently the head of the Infant Saviour. On wood, in tempera, 21 in. h. by 9| in. w. This fragment belonged to Sir Augustus Callcott. The Wynn Ellis Bequest. 1876. * "Let those who depart out of Egypt follow him, and te united to him, in whom the standards of the king come forth, for us, in clear light." This is, with a slight variation, one of the eight strophes of a hymn to St. Francis, which will be found in a " Breviarium secundum ritum Eomanum Venetiis impressum arte et impensis Andree de Torresanis de Asula MCCCCXCV.," &c. Hunc sequantur, Huic jnngantur, Qui ex 2Egypto exeunt, In quo duee Ulara luce Vexilla Regis prodennt. LIPri. 321 No. 1O33. The Adoration of the Magi. The Virgin is represented sitting on a raised platform in the centre of a half -ruined temple, holding the Infant Christ on her left knee, while St. Joseph stands behind. The Magi crowd round in attitudes of respect and adoration. In the immediate foreground are their attendants with horses and other animals. To the right are mounted heralds blowing trumpets. Above this group in the distance is seen a mediaeval castle. The end of the building behind the Holy Family is converted into a stable. About 70 figures are introduced in this picture. On wood, circular, 4 ft. 3^ in. diam. Purchased, in 1878, from Mr. W. Fuller Maitland, M.P. No. 1124. The Adoration of the Magi. In the centre of the picture, before a ruined building, the Virgin is seated holding the Infant Saviour on her knees. Behind her to the right St. Joseph leans upon his staff. Before them, at wide intervals apart, and clad in robes of ample dimensions, kneel three of the Magi offering their gifts. In the distance a mountainous landscape, in which numerous figures are introduced representing the retinue of the Kinga and anchorites at their devotions. On panel, 1 ft. 10 in. h. by 2 ft. 9 in. w. Purchased at the sale of the Hamilton Palace pictures, in 1882. No. 1412. The Virgin and Child with the Infant St- John. The Virgin, whose figure is seen at three-quarter length, clad in robes of the traditional colours, with a white head-veil, stands, behind a marble parapet or balcony bearing in her arms the Infant Christ, who is playing with a pomegranate. By her side is the youthful St. John in an attitude of adoration. On the balcony near him lies an open missal or Service-book. Further to the right, also on the balcony, is a shallow vase filled with flowers. Landscape background, with a distant view of buil lings. On panel, 1 ft. 11^ in. h. by 1 ft. 5 in. w. Purchased in London, in 1894, at the sale of Lady Eastlake's Collec- tion, where it was ascribed to Botticelli. 25640 322 LIPPO LODOVICO. XiIPPO DI DAXilKASXO. Painting 1376-1410. Called also LIPPO DALLE MA.DONNE, from the many pictures he painted of the Virgin and Child, was one of the earliest painters of the Bolognese School ; he was the scholar of Vitale de Bologna. LIPPO painted from the year 1376 to 1410, both inclusive. Such was the popularity of his Madonnas that, says Malvasia, a family was not considered rich in Bologna that did not possess one of his pictures of this class. His pictures are now very scarce. No. 742. Madonna and Child. In a circular glory, angels hovering above ; a flowery meadow meadow. Signed : iltppus Balmasit puurit. In tempera, on canvas, 3 ft. 7 in. h. by 2 ft. 10 in. w. Formerly in the Brcolani Palace, Bologna ; purchased at Bologna from Signer Michelangelo Gualandi, in 1865. LODOVICO da PARMA, 14 . .?-15 . . ? Said to have been a scholar of Francia, was a painter of repute at Parma early in the 16th century. Affo notices au Annunciation in the church of the Eremitani, at Parma, as the work of Lodovico. The following picture is ascribed to him. No. 692. Head of a White Monk, with nimbus and crozier, inscribed S. V.G.O. St. Hugh was Bishop of Grenoble in the 12th century. On wood, 16 in. h. by 12 in. w. Bequeathed by Lieut.-General Sir W. Moore, in 1862. Ireneo Aff6, II Parmegiano Servitor di Piazza ovvero Dialoghi Fromboln. &c , Parma, 1796. Crowe and Oavalcaselle attribute some other works at Parma to Lodovico. Hist, uf Painting in North Italy, I., 591, note. LOMBARD. 323 LOMBARD (LAMBERT), 1505-1566. LAMBERT, or LAMPRECHT LOMBARD, born at Liege of bumble parents, in lf>05, was the scholar of Jean de Mabuse and Arnold Beer. He married when very young, travelled in Germany and France, and visited Italy in the suite of Cardinal Pole ; there he became acquainted with Vasari, who speaks highly of his general attainments, calling him, among other things, " an excellent architect." In Italy, though LAMBERT resided there for a very short time, he entirely acquired the Italian style of design. At the death of his patron, Cardinal Erhard de la Marck, Bishop of Liege, in 1538, he was compelled to return home where his example, according to Van Mander, greatly advanced the school of his native place. Hubert Golzius and Frans Floris, were both scholars of LAMBERT LOMBARD. He died poor, at Liege 1566 : he was three times married and had children by each wife ; this large family imposed burdens upon him that the art patronage o"f Liege did not enable him to support. He is reported to have died in the Hospital of Mont Cornillon. The pictures of this master are scarce ; they are generally remarkable for the correctness of their drawing, and are executed in a manner somewhat peculiar to himself : the drawing is in the first instance elaborately and delicately defined, and the colours and shadows are only very slightly scumbled over the light ground. In 1565 a life of LAMBERT LOMBARD was published by Domenicus Lampsonius, one of his scholars. LAMBERT'S drawings are numerous in chalk and with the pen ; he also etched some plates ; he was the best antiquary of his time and district. No. Z66. The Deposition from tJie Gross. St. John and the Virgin are supporting the dead body of Christ ; above is the Holy Spirit in the form of the dove. Three figures half length, life size. On wood, in oil, 3 ft. 6 ia. h, by 2 ft. 3 in. w. Purchased with the collection of Herr Kriiger, of Minden, in 1854. * Lambert! Lombards apud Eburones Pictoris celeberrimi Vita, 8vo., Brazen Hubert Golzius, 1565. Eathgeber, Annalen der Niederliindischen Mulerei "&c folio. Gotha, 1843. Van Mander, H et Sehilder Boek. Mischiels, Histoire 'de lit Peinture flamande et Hollandaise, vol. iii., 8 vo., Brussels, 1816. 25640 X 2 324 LOMBAED SCHOOL : XVI. CENTURY LONGHI. LOMBARD SCHOOZi : XVX. CENTURY. No. 219. Dead Christ, supported by Angels. Three figures, small half length. On wood, 1 ft. 11 \ in. h. by 1 ft. 6j in. w. Presented by Sir W. C. Trevelyan, Bart., in 1849. ZiONGHZ (PiETRO), 1702-1762. Was born at Venice in 1702, and died there in 1762. Having made his first serious studies in the then celebrated school of Antonio Balestra at Bologna, he became a pupil of Giuseppe Maria Crespi in the same city. He finally settled in the place of his nativity, where, in 1734, he painted the Fall of the Giants in the Palazzo Sagredo. Such tasks were, however, ill-suited to the taste or the capacities of Longhi, and he soon fell back upon subjects more congenial to him, pourtraying, generally on a restricted scale, the daily life and amusements of his fellow citizens. His pictures, much sought after, are always pleasing, often delicate in workmanship, and sometimes not devoid of humour or pathos. But they never display the robust originality of his great English contemporary, Hogarth. His series of the Seven Sacraments was etched by Pitteri. He himself etched other subjects, and several of his works were engraved by Alessandro Longhi, Bartolozzi and others. No. 1100. A Domestic Group. Uncertain subject. Possibly a scene in a comedy. But the engraved portrait seen hanging on the wall, inscribed under- neath " Gerardo Sagredo di Morei" (with some indistinct word below), might indicate that the subject relates to some story connected with the patrician family of Sagredo for whom Longhi had painted. On canvas, 2 ft. h. by 1 ft. 7 in. w. Formerly in the possession of Count Oldofredi, of Milan. Purchased there from Sigr. Giuseppe Baslini, in 1881. LONGHI LORENZETTL 325 No. 1101. The Exhibition of a Rhinoceros in an Arena. The spectators wear tha costume of the last century and .are chiefly masked. The keeper, who is pointing to the animal, holds its (detached) horn and a whip in his hand. Painted on canvas, 1 ft. 11 in. h. by 1 ft. 6 in. w. Formerly in the possession of Count Oldofredi of Milan. Purchased there from Sigr. Giuseppe Baslini in 1881. No. 1102. Portrait of the Chevalier Andrea Tron, Procurator of St. Mark's Venice. The procuratorship of St. Mark's was an office of exalted dignity at Venice and entitled the occupant to a seat in the Council of Ten. The broad golden stole on the shoulder in the present portrait probably shows that Andrea Tron was also a knight of the order of the Stola d'Oro, since the stole with which a procurator was invested by the Djge was of crimson velvet. Painted on canvas, 8 ft. 2^ in. h. by 5 ft. 5J in. w. Purchased, with its original frame, surmounted by the armorial bear- ings of the Tron family from Sigr. M. Guggenheim, of Venice, 1881. No. 1334. " The Fortune Teller."i In the centre of the picture a young lady, wearing a hooped white dress, black silk mantle, and three-cornered hat of the last century, extends her left hand towards a female fortune- teller, who examines it attentively, while a cloaked cavalier, standing near in a white domino, watches the result. Behind the group are two other ladies. On the left of the foreground a market girl offers fruit &c. for sale. In the background, on the right, an advocate converses with a masked lady. Signed Petrus Longhi. On canvas, 1 ft. llf in. h. by 1 ft. 7 in. w. Purchased in London, at the sale of the Cavendish-Bentinck Collec- tion, out of the interest of the Clarke Bequest, in 1891. LORENZ.ETTI (AMBROGio). 12 . . Living 1345. Or Di LORENZO, the younger brother of Pietro (see the fol- lowing memoir), with whom he worked frequently, was the most eminent painter of the Sienese school in the first half of the 14th century. The earliest known works of AMBKOQIO appears to date in 1331. His great series of frescoes in the Sala della Pace 326 LORENZETTI. of the Palazzo Pubblico at Siena is justly famous. There the walls are covered with immense compositions typifying Good and Bad Government ; the allegorical figures being over life size, and of great beauty and majesty ; the heads of extraordinary grandeur. The half- reclining form of " Pax " excels in ease and classic dignity. Other works by the hand of AMBROOIO exist in and around Siena. The date of his birth is unknown ; he was still living in 1345. No. 1 147. Heads of four Nuns. Fragment of a composition in fresco formerly on a wall of the Capitolo of the Convent Church of S. Francis at Siena. Date about 1331. 1 ft. 10 in. square. Purchased at Siena, from the interest of the "Lewis Fund," in 1878. LORENZETTI (PiETBO). 12 . . ?-1348. ? The elder brother of Ambrogio (see foregoing memoir). Biographical notices of both brothers are wanting. PIETRO was already a painter of repute in 1305.* Although be worked in fresco only panel pictures by him (in tempera, of course) are to be recognized with any certainty. The earliest of these with a data (1329) is a Madonna in S. Ansano, near Siena. In the Uffizi at Florence is another Madonna, of 1340. The Sacristy of the cathedral at Siena contains a charming triptych of his representing the Birth of the Virgin with the events attending it ; this is dated 1342. This work, though small in scale, gives a high idea of the artist's power?. In the remarkable ancient pile at Arezzo, S. Maria della Pieve, was formerly a Madonna sur- rounded with numerous smaller subjects. The whole is now in the Town Gallery. Vasari, who by a misreading of the signature on this work calls the painter Pietro Laurati, attributes also to him the fresco in the Campo Santo at Pisa, where the Life of the Anchorites of the Thehald is depicted ; but there is no external and little internal evidence in corroboration of such an ascription. PIETBO married Giovanna di Mmo del Cicerchia, sister of that Niccolo who composed a short poem on the Passion of our Lord * Milanesi. Loeumenti per la Storia dell' Arte Senese, Vol. I., p. 194. LORENZETTI LORENZO. 327 The painter was probably carried off by the terrible plague which ravaged Italy in 1348.* No. 1113. A Legendary Subject. In a vaulted room (or aisle of a church ?), spanned by segmental arches carried on slender columns, and enriched in the spandrils with mosaic inlay, a bishop, wearing his mitre and episcopal vestments, stands, attended by two ecclesiastics, near the steps of a raised dais, on which a person of authority clad in a red mantle, is seated, with his back to the spectator and turning towards the bishop. On the right is an officer of State bearing a sceptre or mace. On the left are three other figures, one of whom bears a draped statuette in his arms, while another holds an altar candle. On panel, 12 in. h. by lOf in. w. Presented by Mr. C. Fairfax Murray, in 1882. LORENZO (Dox, IL MONACO), 1370 ?-1425. LORENZO MONACO was a Camaldolese monk of the Convent of the Angeli, at Florence ; be was born about 1370, and probably began life as a miniaturist ; his style recalls that of Agnolo Gaddi and the school of Giotto, whose traditions he carried on to the time of Fra Angelico and Massaccio. His works are somewhat cold and archaic in manner, but expressive of religious feeling and very carefully painted. There is a picture by him in the church at Empoli dated 1404, and a large Coronation of the Madonna, of 1413, formerly in. the Abbey of Cerreto, and now in the Uffizi, Florence, with six predella pictures, remarkable for their land- scape backgrounds, which are more leal and natural than most of the landscape work of hi? time. There is an Annunciation by him in the Church of the Trinita, at Florence, of the conventional type, but remarkable for the gentle expression of the heads. There are two pictures by him in the Muse"e de Cluny, at Paris, and three saints in the Louvre. No. 1897. The Coronation of the Virgin. The Saviour is seated on a throne of Gothic design, with the Virgin by his side, who inclines her head to receive the crown * Milanesi, Documenti per la Storia dell' Arte Senese, Vol. I., p. 194. 828 LORENZO. from His hands. Behind hangs a scarlet curtain enriched with a gold pattern. The Saviour wears a deep rose-coloured tunic with a blue mantle. The dress of the Virgin is white, and is almost covered by an ample mantle of pale pink, of which the colour has somewhat faded. Over her head she wears a blue veil with gold embroidered border and a gold star on the shoulder. Below are three kneeling angels with variegated wings, the central one of whom plays a hand organ and the others swing golden censers. The floor at the foot of the throne is inlaid with a geometrical Arabesque design. The picture is in its original richly carved and gilt Gothic frame. In tempera, on panel, 7 ft. 1 in. h. by 3 ft. 4J in. w. Purchased, at Florence, from Mr. Galli-Dunn, from the interest of the " Clarke Fund," in 1902. LORENZO DA SAM SEVERING. Painting in the early part of the 15th century. An artist of this name and his brother Jacopo were painting in TJrbino in the early part of the fifteenth century. In the Oratory of San Giovanni Battista are still preserved some frescoes by these painters of the early date of 1416, representing passages from the life of the Baptist, and also the Crucifixion of Christ. The paintings bear the following inscription : ANNO. DOMINI. MCCCCXVI. DIE. XVIII. JOLII. LAURENTIUS. DE. SANTO. SEVERING. ET JACOBU?. FRATER. Ejus. HOC. OPUS FECURENT. Lanzi remarks, that these painters, though they lived in the fifteenth century, painted like the Florentines of the fourteenth ; and he adds, that we have works by them as late as 1470. This is scarcely possible. Lanzi, in fact, seems to have been unaware cf the existence of a later LORENZO of SAN SEVERING, probably a son of the former, by whom there are works in the church of Pausolo near Maccrata and in the collegiate church of Sarnano dated 1481 and 1483. To this painter must belong the picture in this collection, described below, and signed LAVRENTIVS II. (secondus). The whole style of this work points to the fourth quarter of the 15th-century. Crowe and Cavalcaselle, Hist, of Painting in Italy, III., p. 112. LORENZO. 329 No. 249. The Mystic Marriage of SI. Catharine. The Virgin and Child enthroned, surrounded by four saints, with a choir of angels above. On the right of the Virgin is St. Dominick, on the left St. Augustine ; before the throne are kneeling on the left St. Demetrius of Spoleto, and on the right St. Catharine of Siena, on -whose finger the infant Christ is in the act of placing the ring. St. Catharine wears her monastic dress, and in the gold nimbus or glory around her head is written SANTA KTRINA DE SENA, allowing of no question as to her identity : in the nimbus of Christ are the words, SUM Lux ; in that of the Virgin, AVE GRATIA PLENA Do. On the step of the throne are a cucumber and an apple ; and in a cartouche on the front of the step is the signature given below. Gold ground, figures small life size. LAVR On wood, 4 ft. 9 in. h. by 4 ft. 9 in. w. Formerly in the sacristy of the church of Santa Lucia, at Fabriano.* Purchased for the National Gallery, at the sale of M. E. J. De Bammeville's Collection, in 1854.f Passavant describes it as there, in his life of Raphael Rafael von Urbino,&c. 1839, vol. i , p. 428. t There are two St. Catharines : the earlier, a young queen of Alexandria, according to the legend, belongs to the fourth century. She was at first a pagan, but, on being baptized, was espoused to the infant Christ. Her subse- quent history will be found in the description of Raphael's picture of St. Catharine. The later St. Catharine was born at Siena in 1347 ; she became a Dominican nun, and ended a short life of extraordinary piety and zeal in Rome, in 1380. The legend of the mystic marriage, as exemplified in the picture above described, also belongs to her ; and it would not be easy to determine, without a careful comparison of the dates of the mediaeval legends, which saint had the distinction ascribed to her first. The attribute of the wheel belongs, however, exclusively to St. Catharine of Alexandria. The Sienese saint was canonized by Pope Pius II. in 1461. The ceremony is the subject of Pinturicchio's ninth fresco in the library of Siena, which bears 330 LORRAINE LOTTO. > T LORRAINE (CLAUDE). (See GEL LEE Xi'ORTOXiANO. ('SV,- ORTOZiANO.) LOTTO (LORENZO), 1480?-1555;? Was born at Venice about 1480. Vasari, who couples him with Palma in one memoir, calls him the friend and companion of Palma, and says that, having at first imitated the style of Giovanni Bellini, he afterwards adopted that of Giorgione. Many of LOTTO'S works bear witness to the general truth of this account. The probability is that he and Palma, who were of about the same age, were condisciples in Bellini's school. Were none of LOTTO'S works signed or otherwise attested they~ would certainly bear very various attributions, as indeed many of his unsigned pictures have done, and as it is likely some do still. Only by extremely careful study and comparison can his hand be traced throughout in works which at first sight exhibit little or nothing in common. Great versatility and remarkable impressibility are among the chief characteristics of LOTTO, who certainly was possessed of genius but whose development was oscillating and affected by many influences. The outward circumstances of his life, so far as tbey are known, seem to have reacted on a peculiar temperament. He moved much from place to place. We find him at various times in Treviso, Bergamo, the Marches of Ancona, Rome and Venice. And although the the inscription -."Pius Pontifcx Maximus Catherinam Sencn. ob innumera ejus miracula inter Divas retulit." The date of the canonization, 1461, would at first appear to limit the date of Lorenzo di S. Severino's altar-piece, by precluding- the possibility of its having been executed before that year ; but" the popular voice has constantly anticipated the formal recognition of the Church, which necessarily, in many instances, only confirms the voice of the people. It might not be difficult to find instances of saints represented as such before their canonization. A case in point occurs in Siena, in the church of St. Catharine, where she is represented by Pacchiarotto visiting the body of St. Agnes of Montepulciano, almost a century before the solemn recognition of St. Agnes by the Church. The fact, therefore, that Catharine is here represented as a saint is not absolute evidence of the corresponding later date of the picture ; and the Laurentius II. Severinas of this work may still be the Laurentius de Santo Severino who executed the frescoes of 1416 at Urbino. LOTTO, 331 r last-named city was his head quarters for four and twenty years he made excursions from it elsewhere. Towards 1550 he finally removed to the Marches and resided at Loreto, where he dedicated himself and his goods to Our Lady of Loreto in lieu of support from the Casa Santa. There he died about 1555, and was buried at Jesi. From what has been said above it may be seen that it is not easy to define LOTTO'S style, which varied considerably. If his earliest productions tend to prove his education under Giovanni Bellini, and if in later efforts the ways of Palma and Giorgione are more or less reflected, we are astonished to find in the superb altar-piece of S. Bartolommeo at Bergamo a strange foreshadowing of another great painter. The striking affinities with Correggio apparent in this work (and not in it alone) remain unexplained upon any reasonable hypothesis. The picture in question was commissioned in 1513, and completed in 1516 while LOTTO was dwelling at Bergamo. At that period the youthful Allegri appears to have been still in his native town, scarcely, if at all known beyond it ; nor had he yet developed those peculiarities by which he is so easily recognised. Nothing warrants the suspicion of plagiarism on either side or suggests the probability of contact between the two painters. As a colourist LOTTO remained throughout a Venetian. His flesh tints are true, and various as the age, sex, and temperament of the persons depicted. He was one of the greatest portrait painters of his time, and his sympathetic nature enabled him to seize the finer traits of his sitters to whose differing physique he adapted his pencil with wonderful ability. Some of his portraits have been attributed to Correggio, notably amongst these the fine one of Andrea Odoni at Hampton Court, which when cleaned some years ago disclosed the signature of LOTTO. Taken altogether LOTTO is an interesting and unique figure in art ; and if inequalities and weaknesses in his works forbid us to assign him a place in the first rank, he must always hold a distinguished position in the second. He signed himself Laurentius Lotus, L. Lotto, and occasionally L. Loto. The Latin form is found on his earlier pictures. His best known works are to be looked for at Treviso (Santa Cristina) ; at Bergamo in many of the churches there ; at Jesi ; 332 LOTTO. Recanati ; Venice ; as well as in galleries, public and private, at Rome, Milan, Naples, Brescia, Bergamo, Madrid, Vienna, Berlin, Munich, Paris, and London. No. 699* Portraits of Agostino and Niccolo della Torre. With various books and papers around them, two of the papers bearing the names of the subjects of the pictures. Agostino, who holds " Galen " in his hand, was professor of medicine in the University of Padua. Figures half length, life size. On canvas, 2 ft. 9J in. h. by 2 ft. 3 in. w. Signed ?' * S Purchased in Bergamo, from Sig r . Giovanni Morelli, in 1862. No. 1047- A Family Group. Supposed to represent the painter, his wife and two children, dressed in Venetian costume of the 16th century, seated at a table covered with a richly- worked tovaglia. Behind them is an open window, looking out upon an expanse of water, with distant hills beyond. Signed L. Lotto. On canvas, 3 ft. 9 in. h. by 4 ft. 7 in. w. Formerly in the collection of Lucien Bonaparte, and engraved by Ricciani in the Choix de ffrzvures, fyc. de Lucien Bonaparte, Londres, 1812, No. 112. Bequeathed by Miss Sarah Solly, in 1879. No. 1105- Portrait of the Phrothonotary Apostolic Juliano. A life-size figure, seen to the waist, with three-quarter face turned to the right. The features are those of a man past middle life, with smooth grey hair. He wears a black velvet gown trimmed with ermine, and open at the throat. He stands at a LOTTO LUCIAN1. 333 desk or table covered with a tappeto of rich pattern, and holds before him an open volume, close to which is a brass time-piece. Dark green curtain background, with an open window on left hand, through which a landscapa is seen. On the table lie two folded letters or documents. On canvas, 3 ft. 1 in. h. by 2 ft. 3| in. w. Purchased at Venice, from Sgr. M. Guggenheim, in 1881. XiUCZANI (SEBASTIANO), 1485?-1547, Or SEBASTIANO VENEZIANO, as he signed himself, or FRA SEBASTIANO DEL PIOMBO, as he is generally called from the office which, late in life, he occupied at the Papal Court, was born, apparently at Venice, about 1485. He practised music when young ; but having a decided taste for painting he became the pupil of Giovanni Bellini, and afterwards studiel for some time under Giorgione. An early picture by him (a Pieta), in the collection of the late Sir Henry Layard at Venice, proves him, by its style and its signature, to have been Bellini's scholar ; while his great altar-piece in S. Giovanni Crisostomo bears the un- mistakeable impress of Giorgione. At 1512 he was invited to Rome by the rich banker and patron of the arts, Agostino Chigi in whose villa, now the Villa Farnesina, he executed some frescoes. At Rome he contracted a friendship with Michelangelo, who employed him to paint some of his designs ; eventually, SEBASTIAN attained such eminence through his own powerful colouring and Michelangelo's assistance, that, as a painter of altar-pieces, he was enabled to contend for the palm even with Raphael. He was very successful as a portrait painter ; Vasari particularly notices his great skill in painting the head and hands. In 1531 he was appointed Frate del Piombo by Clement VII. ; and held the same office under Clement's successor Paul III., until his death. He died at Rome, in 1547. SEBASTIAN'S master-piece is undoubtedly the Raising of Lazarus in this collection. How much of the design beyond the group of Lazarus and the men who are unswathing him, is directly due to Michelangelo, is a question open to speculation ; but the influence of his great mind is very evident throughout. The 334 LUCIAXI. dramatic unity of this grand composition is one of its most striking features. Crowded as it is with figures, no one of these is superfluous, and the mind is distracted by no episodes from the stupendous miracle which is taking place. The magnificent landscape that forms the scene of action is at all events the con- ception of the Venetian painter. Some other works by SEBASTIAN are confessedly carried out on the lines of the great Floren- tine's designs, such as the impressive Pieta at Viterbo ; the Scourging of Our Lord in S. Pietro in Montorio at Rome ; the frescoes of the vault in the same church, and the Pieta in the Hermitage. Amongst portraits by SEBASTIAN are specially to be noted the noble and charming bust of a lady in the Uffizi Gallery which, under the name of the Fornarina, until recently was ascribed to Raphael ; s a some- what similar portrait, formerly in Blenheim Palace, now in the Berlin Museum, and the famous portrait of Andrea Doria in the Doria Palace, Rome. These and others suffice to show that SEBASTIAN, even when unaided by Michelangelo, was capable of forming the grandest conception of bis subject, and of clothing it in the noblest form. The technical qualities of his art underwent some modification after he had been for some time at Rome. The rich impasto which he had acquired with Giorgione was gradually exchanged for a smooth and glassy surface ; and the charm of various colour tended to lose itself in rich general tone and even in sombre chiaroscuro. Searching for an indestructible material on which to paint, he was induced to try slate ; and upon this substance several of his later works are executed. He preferred oil painting to fresco ; and his endeavours to obtain leave to carry out in oil the Last Judgment in the Sixtine Chapel led to an unhealable misunderstanding between him and Michelangelo. No. 1- The Resurrection of Lazarus. Christ is in the middle of the picture uttericg the words, " Loose him and let him go ;" Lazarus, on the point of being freed from his grave-cloths, occupies the right of the composition ; This famous portrait is now conjectured to represent Beatrice da Ferrara a courtesan at Borne, sometime mistress of Lorenzo de' Medici, afterward* Duke of Urbino. LUCIANI. 335 on all sides is a dense throng of curious spectators, with astonish- ment and conviction depicted on the*ir countenances. In the middle distance to the left is seen a group of Pharisees in eager discussion ; beyond them to the right is a bridge conducting to a city, in the extreme distance. Composition of many figures, of the natural size. On a slib of stone beneath the feet of Chriat h written Sebastianus Venetas Faciebat. *SEBASTIANVS BAT- Engraved by Delaunay ; by Vendrauiini ; by R. W. Lightfoot ; and by G. T. Doo, R.A. Transferred, in 1771, from wood to canvas, 12 ft. 6 in. k. by 9 ft. 5 in. w, Painted at Rome, in 1517-19, for Giulio de' Medici, made Bishop of Narbonne in 1515, afterwards Pope Clement VII. The Transfiguration by Raphael and this picture were painted for this prelate, to be placed in the Cathedral of Narbonne, in France. Both works were publicly exhibited together in Rome, and there were not wanting those who preferred the work of Sebastiano to that of Raphael. According to Vasari, Sebastiano was assisted by Michelangelo in the design of parts of this picture, though we learn from a letter by Sebastian himself that Michelangelo left Rome when the picture was commenced; this was probably the autumn of 1517, when Michelangelo was summoned to Rome by Pope Leo respecting the church of San Lorenzo, at Florence.* It was sent to the Cathedral at Narbonne, where it remained until it was purchased by the Duke of Orleans early in the eighteenth century. It was brought to England in 1792, with the rest of the Orleans Gallery, and came into the possession of Mr. Angerstein, with whose pictures it was purchased for the nation, in 1824.-J- No. 2O. Portraits of Sebastiano del Piombo and the Cardinal Ippolito de 1 Medici. The cardinal is seated at a table with pen and papers before him ; the painter is standing opposite to him with his seal of office m his hand. Half-length figures, of the natural size. Engraved by W. T. Fry, for Jones's National Gallery. On wood, 4 ft. 6 in. h. by 3 ft. 8 in. w. * The Buonarroti MS. in the British Museum proves Michelangelo's visit to Home in 1517. t Sir Thomas Lawrence was in possession of some drawings of parts of this composition, ascribed, to Michelangelo, including two sketches of the figure of Lazarus now in the British Museum : they were some time in the collection of the late King of Holland at the Ha^ue. 336 LUCIANI. Formerly at tne Borghese Gallery, at Rome, where it was sometimes called Borgia and Macchiavellf, and was attributed to Raphael. Ramdohr,* in his account of the works of art in Rome, in 1784, notices this picture as only probably by Sebastiano del Piombo. Bequeathed to the National Gallery, in 1831, by the Rev. W. Holwell-Carr. No. 24. Portrait of a Lady, as St. Agatha. Formerly supposed to be Giulia Gonzaga, a lady of the ruling family of Mantua, distinguished for her beauty and accomplish- ments. The nimbus, or glory, around the head indicates the Saint, and the pincers at the side, St. Agatha. Half-length, rather above the natural size. Engraved by L. Stocks, R.A., for Jones's National Gallery. On canvas, 3 ft. h. by 2 ft. 6 in. w. The portrait of Giulia Gonzaga, " a divine picture," as Vasari terms it, was painted at Fondi for the Cardinal Ippolito de' Medici, and by him presented to Francis L, of France, who placed it in his gallery, at Fontainebleau, from which it was sometime afterwards lost. This picture, said to be the portrait in question, was painted in Rome ; it is signed F. SEBASTIANUS, YEN. FACIEBAT, ROM.E, was formerly in the Borghese Gallery at Rome, and bequeathed to the National Gallery, in 1831, by the Rev. W. Holwell-Carr. F'SEBASTIANVS FAC1EBAT No. 145 O. The Holy Family. The Madonna in a reddish dress with white veil over her head and shoulders and a dark blue mantle lined with red over her knees embraces with her left hand the Infant Christ, who with one knee on hers advances the other foot as if to leap to the ground. Her right arm is thrown round the kneeling figure of the donor of the picture. He wears a dark dress and lias a * Ueber Malerei und Bildhauerarbeit in Rom. &c., i., 289. LUCIANI LUCIDEL. 337 dark beard and long dark bair. He crosses his hands in adoration on his breast and looks up to the Infant Saviour with an ex- pression of intense devotion. Behind to the left is St. John the Baptist with the cross leaning against his shoulder, and on the right is St. Joseph asleep. The background is dark. On panel, 3 ft. 2 in. h. by 3 ft. 6 in. w. Purchased from the Earl of Northbrook, in 1895. Formerly in the collection of the Senator Cambiaso, at Genoa. Later in that of Sir Thomas Baring, who purchased it from M. le Brun, in 1808 ; he sold it to Mr. Coningham, in 1843, from whom it was purchased by the late Mr. Thomas Baring. LUCIDEL (NICOLAS), 1527 P-1590 ? This painter, born in the county of Bergen. Hainault, in or about 1527, died at Nuremberg probably after 1590. The name by which he is commonly known is said to be a corruption of his true surname de NEUFCHATEL. In Antwerp, where, in 1599, he was a pupil of Pieter Coecke van Aelst, he was known as Colyn van Nieucasteel. He chose to sign himself Nicolaus de Novo- castello. In 1561, or possibly a little earlier, he settled ai Nuremberg for the remainder of his life. He painted portrait? only. These are distinguished by careful and refined execution, and great feeling for colour. The galleries of Vienna, Berlin, and Munich contain each a fine male portrait by LUCIDEL. By him, also, is a picture of a lady and her child in the collection of Count Nostitz at Prague ; and by him too may be a charming portrait of a German lady in Earl Spencer's collection. The portrait described below (formerly ascribed to Antony Mor, and supposed to represent Jeanne d'Archel), reveals in its style and its Upper German costume the handiwork of LUCIDEL. Its date, 1561, is the same as that on his portrait of the mathematician^, Neudorfer in the Munich Gallery. No. 184. Portrait of a Young German Lady. Life-sized standing figure, seen at half length, and turned very slightly to left ; the hands folded in front. The dress is of crimson watered silk, guarded with velvet of the same colour its narrow sleeves furred at the wrist. The piece of rich embroidery 25640 338 LUCIDEL LUINI. oa the bosom is probably a separate article of dress. The shoulders are covered by the plaited chemise with its gold embroidered throat-band. Over all, a massive gold chain descends below the waist. The close hair is bound with a circlet of gold. Jewelled rings are on the fingers. Dark (perhaps originally grey or green) background. ,0n canvas, 2 ft. 5 in. h. by 2 ft. 1J in. w. Dated 1561. Formerly in the collection of Mr. Beckford, at Fonthill Abbey, whence it passed, in 1823, into the possession of Colonel Hugh Bail lie. Purchased for the National Gallery, from M. J. C. Nieuwenhuys, in 1858. XiUZNZ (BERNARDINO), about 1475 after 1533. It is singular that we should remain almost totally ignorant of the biography of a man who deserves so high a place in art, and has left so many noble works to testify to his powers, as BERNAR- DINO LDINI. Even the precise date of his death is unknown, and we can but guess at that of his birth. Vasari, who must have been familiar with his productions, dismisses him with a few condescending phrases, miscalling him Del Lupino. He was born at Luino near the Lago Maggiore perhaps about 1475. The earliest date found on his works in 1521 ; the latest record of him occurs in 1533. He may have developed under the influence of Borgognone and Bramantino previous to the absorbing sway of Leonardo da Vinci at Milan. That he became a direct pupil of Leonardo cannot be affirmed. Yet no immediate scholar of the great Florentine so well caught the gentler characteristics of his art, or reproduced so nearly his ideal of beauty, as LUINI. His female figures are of sweetness and gracious dignity ; and should we incline to cavil at the monotony of his type, its loveliness disarms us. But a merit even higher than his sense of beauty is the pathos which he infused into subjects that required it. These he imagined from within outwards, following his inspiration without egotism or mannerism. Unfortunately the constructive faculty, weak in LUINI, had not been strengthened by severe early training. Hence the defective composition per- ceptible in the more ambitious of his undertakings, as, for example, in the great fresco of the Passion at Lugano, where great beauty LUIXI MABUSE. 339 and feeling in single groups and figures but partly atone for helpless arrangement and want of concentration in the whole. LOINI painted in fresco, tempera, and oil. His execution in the method last named is careful and refined with a smooth finish ; the colour pleasing and often rich. But he appears to most advantage in fresco ; for few have understood so well as he the management of the limited palette of the fresco painter, and that skilful juxtaposition of tints by which the value of each is exalted. The decorated party-wall and adjacent chapels in S. Maurizio at Milan must once have been as conspicuous for their harmonious colouring as the former still is for the rad'ant beauty of the Virgin Saints in its lower compartment. LUINI seems to have been in close association with Gaudenzio Ferrari whose inventive and dramatic genius influenced his later work. Besides the frescoes already mentioned others are preserved at Legnano, Saronno, and Milan. The subjects formerly in the Casa Litta (not all by Luini) are, since 1867, in the Louvre. Exquisite easel pictures are in the churches and public galleries at Milan and in the galleries of Florence, Paris, Berlin, Vienna and Petersburg. Many private collections here and abroad can boast of similar treasures, of which the most famous is the Modesty and Vanity in the Sciaira- Colonna Palace at Borne, long ascribed to Leonardo da Vinci. No. 18. Christ disputing with the Doctors, or Christ arguing with the Pharisees. Composition of five figures, half-length, somewhat less than the natural size. Formerly ascribed to Leonardo da Vinci. Engraved by D. Cunego, for the Scola Italica, #c.; and by W. Badcliffe, for Jones's National Gallery. On wood, 2 ft. 44 in. h. by 2 ft. 10 in. w. Formerly in the Aldobrandini apartments in the Borghese Palace, at Rome. It was imported into this country by Mr. Day in 1800, and was bequeathed to the National Gallery by the Rev. W. Holwell-Carr, in 1831. There are several old copies of it. IVI ABUSE. (See GOSSART.) 25610 Y 2 340 MACCHIAVELLI MACRINO. MACCHXAVSXiXiX (ZENOBIO), 1418-1479. Little is known of this painter, except that he was a scholar of Benozzo Gozzoli, and possibly also of Fra Filippo Lippi, and that he lived from 1418 to 1479. He is said by Messrs. Crowe and Cavalcaselle to have assisted Benozzo with the frescoes in the Campo Santo at Pisa, but there is no mention in the records of Zenobio's name, although other assistants are named. His most important extant work is a signed altar-piece painted for the Church of Sta. Croce in Fossa Banda, now in the Museo Civico at Pisa ; another from the same church is preserved in the Louvre, and a third is in the National Gallery of Ireland. No. 586* The Madonna and Child enthroned, sur- rounded by Angels and Saints. The Virgin is seated with the infant Christ standing on her knee. Two angels are at the foot of the throne playing on musical instruments, one on the lute, the other on the violin. On each side, in separate compartments, are standing two saints, St. Augustine and St. Nicholas of Tolentino on the left, St. Bartholo- mew and St. Monica on the right. Figures nearly life size. In tempera, on wood, the centre picture, 5 ft. 4 in. h. by 2 ft. 4 in. w.; the two side pictures, 4 ft. 8 in. h. by 1 ft. 10 in. w. Formerly in the Convent of Santo Spirito, at Florence, where it was placed, when removed from the Church of Santo Spirito, in the latter part of the last century. It was subsequently in the possession of the Primicerio Crociani, of Montepulciano, from whom it was obtained by the late proprietors. Purchased in Florence, from the Lombardi-Baldi Collection, in 1857. IVIACRINO D'AX.BA, 14 ?-15 ? So signed himself GIANGIACOMO FAVA, a citizen of Alba in Piedmont, of whose artistic career little is known. He probably studied at Vercelli and later at Milan while Yincenzo Foppa held a high position there. Works by Macrino are at Alba, Asti in the Certcsa of Pavia, and are frequent in the Pinacoteca of Turin. An interesting and characteristic altar-piece is in the Staedal Institute at Frankfort on-the-Main. Dates on his pictures are 1496 and 1506 ; but it is unlikely that these dates represent either the earliest or the latent period of his activity. a See a notice of this painter in an article on Benozzo Gozzoli by the Cav. J. B. Supino, in the Archivio Storico dell Arte. Borne, 189J. p. 234. MACRINO-MAES. 341 No. 1200. A Group of Two Saints. On the right St. Peter Martyr, clad in the robes of his Order, bears in his hands a palm branch and service book fastened with a gilt clasp. On his head is a cleaver, the emblem of his martyrdom. On the left is a Bishop wearing a jewelled mitre and a cope with richly embroidered orphreys, fastened at the breast by a gilt and jewelled morse. He holds a crozier in his left hand and laises his right in benediction. The head of each saint is encircled by a nimbus with a simulated inscription. The figures are about half life-size and are seen at half length. They stand under a coffered beam with a background of blue sky crossed by white clouds. Ou panel, 2 ft. 5 in. h. by 1 ft. 8J in. w. No. 1201. A Group of Two Saints. On the left St. Thomas Aquinas (?), clad in a monk's robes, holds a crucifix in his right hand, while his left rests on an open volume the pages of which are inscribed with the text PRECtPTA PATRIS MEI SERVAVI. Close beside him is St. John the Baptist, half draped, and bearing in his left hand a scroll with the sacred text ECCE AG[NVS] DEI QVI TOLLIT [PECCATA MVNDI]. The background to these figures and the nimbus behind each head are of the same character as in the companion picture described above. On panel, 2 ft. 5J in. h. by 1 ft. 8J in. w. The two pictures described above, parts of an altar-piece, were pur- chased at Milan, of Sigr. Giuseppe, Baslini, out of the " Walker Bequest," in 1885. MAES (NICOLAS), 1632-1693. MAES (in more modern form, MAAS,) was born at Dort in 1632. When eighteen years of age he entered the studio of Rembrandt at Amsterdam, and remained with that master until 1654. He then returned to Dort, where, with the exception of a sojourn at Antwerp, he abode until 1678, when he settled for the rest of his life at Amsterdam, dying there and being buried in the Oude-Kerk Nov. 24, 1693. NICOLAS MAES ranks high amongst the many scholars of Rembrandt and amongst Dutch painters generally. He assimilated the principles of his master * The combination a e in Dutch words is pronounced like d in the English words mar, rather, &c. In fact the e in such cases is silent, and its phonetic use is to lengthen the syllable. 342 MAES. without adopting his subjects. In the class of pictures by which he is best known, namely in-dcor scenes taken from ordinary life, he unites subtlety of chiaroscuro, vigorous colour, and great mastery in handling, with that true finish which never becomes trivial. The figures are finely drawn, and their action is perfect. Harmonies of red and black prevail in these works ; sometimes pervading the picture in subdued tones ;- sometimes brought out in full contrasting force against white. The smaller pictures by MAES in this gallery and The Listener in the Duke of Wellington's collection are among the finest examples of the former mode of treatment ; the latter mode is illustrated in the two powerful Spinners in the State-Museum at Amsterdam. Exquisite specimens of the art of MAES are in the Six Collection at Amsterdam, in the Royal Gallery at i\i> Hague, at Frankfort, Hanover, Munich, Berlin, and St. Petersburg ; also in private collections in England. His earlier portraits are remarkably fine, showing much of Rembrandt's influence ; those of a later period partake of the Frenchified taste then invading Holland. Save in portraiture MAES rarely painted his figures life size ; but, besides the Card Players in this Gallery, other compositions of his on the same large scale are known : for example : La Rereuse (a girl at a window) in the Amsterdam State-Museum ; a fine group of two figures belonging to the Society " Arti et Amicitiae " at Amsterdam ; an Old Woman in the Brussels Gallery, and Lheureux Enfant, a picture containing three figures, which was sold with the San Donate Collection in 1880. MAES etched a few plates No. 153. The Cradle. A little girl is rocking a child to sleep in a cradle. An open book and a jug are standing upon a table, covered with a rich Turkey mat. Signed with the monogram of the painter. On wood 15^ in. h. by 12 in. w. No. 159. The Dutch Housewife. A girl scraping parsnips, with a child by her side watching her. On the other side is the Flemish kruik or Leer-jug, so often intro- duced into the pictures of this master. Signed, and dated 1655. JM.NFdS , .;: MAES 343 On wood, 13 J in. h. by Hi in. w. Etched in the Portfolio. Both pictures were bequeathed to the National Gallery, in 1838, by Charles Long, Lord Farnborough. No. 207. The Idle Servant. A kitchen maid has fallen asleep over her work ; before her on the floor are strewed various kitchen utensils ; and on a cupboard behind her a cat is in the act of stealing a duckling ready trussed for cooking. Her mistress standing by her side, with a beer- jug in her hand, is laughing at the disorder around. In an inner apartment in the background the family is seen at dinner. Signed and dated, 1655. N XS&ifo On wood, 2 ft. 3J in. k. by 1 ft. 9J in. w. Bequeathed to the National Gallery, in 1846, by Mr. Richard Simmons. No. 12&7. The Card players. At a small table, covered with a brown cloth, a young man and a young woman are engaged at cards. He is dressed in black velvet with gold embroidery ; she in a gown of deep- toned scarlet slashed at the elbows. She wears earrings, a gold chain and bead necklace, and has pearls in her brown hair. The- young man has just played, and looking out of the picture with an. archly patient expression awaits the play of his opponent. The girl, on the right, in profile, with her cards held high before her face, and her right hand hovering above them, anxiously ponders her selection. The figures, life-size, and seen at three- quarters length, nearly fill the picture. The background, of a dark olive-brown tone, shows the base of a pillar behind the girl's head. On canvas, 4 ft. h. by 3 ft. 4 in. w. Purchased in 1888 at the sale of the Gatton Park (Lord Oxenbridge's) Collection. No. 1277. A Man's Portrait. A life-size seated figure, seen to the waist. The face, nearly full, appears from the features, which are large and strongly marked, to be that of a man about 60 years of age. He is clad in a black gown trimmed with brown fur and a large square cut linen collar on which his hair falls from the back of his head, concealing the ears. The cheeks are close shaven, but he wears 344 MAES MAKN1. slight moustaches and a chin tuft. He holds a book in his left hand while his right rests on the arm of his chair. In the back- ground a crimson curtain. Signed and dated 1666. On canvas, 2 ft. 10J in. h. by 2 ft. 3J in.^w. Presented by Sir Theodore Martin, K.C.B., in 1888. 3XIANNI (GiANNidOLA), .... ?-1544. O GIOVANNI NICOLA, son of PAOLO MANNI, was born at Citta della Pieve the native town of Pietro Perugino, whose pupil, and sometime assistant he became. Documentary notices dating back to 1493, and relating to commissions which he received, indicate that he settled at Perugia and continued to work there. He long followed faithfully in the path of Perugino, but later adopted, as far as he could, the leadership of Andrea del Sarto. Amongst some works by MANNI, of respectable merit, but purely in the style of Perugino, is a large altar-piece, formerly in the church of S. Domenico, now in the public gallery, at Perugia. It represents the glorified Saviour between the Virgin and the Baptist, surrounded by angels ; while below a host of saints stand in adoration. Other productions of his are in the same collection. In 1515 he began the frescoes which adorn the chapel attached to the Sala del Cambio. These works, carried on for some years in a desultory way, reflect the changes which his style underwent in the interval. The Louvre contains an altar- piece and some smaller works by him all of strictly Peruginesque type. GIANNICOLA was elected a Decemvir of Perugia in 1527. He died Oct. 27, 1544. No. 1104. TJie Annunciation. On the right the Virgin, clad in garments of the traditional colours, kneels in prayer behind an ornamental desk on which is an open book. On the left, the announcing angel, enveloped in a dark yellow mantle and holding the lily, kneels on one knee with bowed head. The light-coloured architecture of the room leads in perspective to an opening through which is seen the landscape without. This small panel probably formed the apex of an altar-piece. On wood, 2 ft. h. by 3 ft. 5 in. w. Purchased in 1881, together with No. 1103, from the March ese Perolo Monaldi, of Perugia. MANSUETI MANTEGNA. 345 1VIANSUETI (GIOVANNI). Painting from 1490-1500. This painter flourished at the end of the fifteenth and begin- ning of the sixteenth centuries. The date of of his birth and death are unknown. He was a pupil of Giovanni Bellini, and was also a follower of Carpaccio, but with rather a distinct style of colouring and arrangement in his pictures which is peculiarly his own, and makes them easily recognisable. They are generally crowded with figures, not well composed, and are sometimes overloaded and confused with fantastical architectural details. His principal works are in the Venice Academy, and are large canvases representing Miracles of St. Mark and of the Holy Cross. There is often a preponderance of red, and the figures are stiff in drawing and arrangement. The dates range from 1490 to 1500. No. 1478. Symbolic representation of the Crucifixion. In the centre of a somewhat fantastic architectural composition is represented the Trinity. The Holy Spirit hovers over the head of the Saviour on the Cross, behind which, seated on a raised throne, and supporting the Cross with outspread hands, is the Father. At the foot of the Cross kneels Mary Magdalen, embracing the feet of the Saviour. To the right and left of the Cross stands the Virgin Mother, St. James the Greater, St. John, and St. Peter. Two other saints, one of whom is probably St. Joseph of Arirnathea, kneel below. In a balcony on each side stands an angiolino, one of whom holds the reed and the other the spear. A landscape with mountains, castles, and trees is seen between the arches. Signed : J. DK MANSUETI, 1492. Painted on very fine canvas or silk, probably for a banner, 4 ft. 2-f in. k. by 4 ft. i in. w. Purchased in London in 1896. MA.NTEGNA (ANDREA), 1431-1506. This great master was born in 1431 ; that he was a Paduan was considered a well established fact until a document discovered at Venice seemed to point to Vicenza as his native 346 MANTEGNA. place. His father was a certain Biagio, apparently of Padua. The boy when quite young fell under the eye of Francesco Squarcione who, seeing his talent, not only accepted him as pupil but also adopted him as son ; whence it may perhaps be inferred either that Biagio was poor (as Vasari states), or that dying prematurely he had left his son an orphan. In Squarcione's studio ANDREA met with a number of other scholars, among whom was the promising young Niccolo Pizzolo. However moderate miy have been the claims of Squarcione to originality as an artist, he must have been an able teacher. He had travelled and studied much, and had collected stores of artistic materials ; paintings, fragments of ancient sculpture and casts from the antique. These he set before his pupils as models, but inculcated at the same time the study of nature. In his academy MANTEGNA so ripened that when little more than a boy he was practising independently. As he was attaining manhood he had the further advantage of associating with Jacopo Bellini and his sons Gentile and Giovanni ; though this alliance, cemented by a marriage with Jacopo's daughter Nicoloso, cost ANDREA the friendship of his foster-father. After having painted some easel works of distinction, as for example the ancona of St. Luke, now in the Brera at Milan, MANTEGNA received a commission to complete the frescoes of the chapel of Saints James and Christopher in the church of the Eremitani at Padua. The paintings on the vault and some of those on the choir walls had been executed by other pupils of Squarcione, the best apparently by Pizzolo, who lost his life early in a private quarrel. MANTEGNA'S labours in that chapel are too well known * The date of Mantegna's birth is established by an inscription on a picture of his once over the high altar of Sta Sofia at Padua. Vasari, who had evidently seen this now lost picture, relates that it was painted when the artist was but 17 years old ; and Scardeone (De Antiq: Urbis Patavii, &c., Basiliac, 1560) gives the inscription itself ANDREAS MANTINEA PATAVINYS ANN : SEPTEM ET DECEM NATVS SVA MANV PINXIT. MCCCCXLVIII. With regard to the place where the painter was born, his own signatures, and a mass of other evidence seemed to leave no doubt that it was Padua. But the document alluded to above, which dates in 1455, and concerns a lawsuit between Squarcione and Mantegna, designates the latter "Andream Blasii Mantegna de Vicentia pictorem." It must be observed, however, that here the name Mantegna, being in the Italian form, and therefore without any case- ending, we are left in doubt whether to couple it with Andream or with Blasii, and consequently whether de Vicentia applies to the father or the son. The document was discovered by Cav : F. Stefani in the State Records at Venice, and has been published by him in the Archirio Veneto, T. XXIX., parte I., 1883, p. 191. It is referred to in Milanesi's Vasari, T. IX., Aggiunte, p. 260, and in ir H. Layard's edition of Eitgler, V. 1, 283, note. MANTEGNA. 347 to need description.* They occupied some of the interval between 1454 and 1459. In the latter part of that period was also produced the magnificent altar-piece of S. Zeno at Verona, a work which in grandeur of conception, solemnity of presen- tation, and splendour of decorative effect was never transcended, even by the master himself. As early as 1456 Lodovico Gonzaga, Marquis of Mantua, had sought to attract MANTEGNA to his capital, making him the most liberal offers. These overtures were long without result, although the painter professed to be at the disposal of the prince, and did really undertake various work for him before 1463. In 1466 ANDREA was at Florence, on business not clearly defined, and it was hardly before the close of that year that he removed his family to Mantua, his future home under three successive princes.f Of his work in that city little now remains. The frescoes executed in the Castello di Corte were obliterated, with the exception of a portion of those which once lined a room called the Camera de' Sposi where large spaces of wall are now blank. The subjects still preserved (not without much restoration) are of importance, illustrating ANDREA'S powers as an observant portrait painter and an ideal inventor. Lodovico, his spouse Barbara of Brandenburg, their family and courtiers appear upon the walls in groups which, for all their formality, interestingly depict the manners of the time. The decoration of the vaulted ceiling is rich and beautiful, especially in the centre where the blue sky is imaged through a circular opening bounded by a balustrade about which cluster amorini, while ladies peer over into the room below. This is a marvel of design and skill in perspective ; the foreshortening of the children's figures reaches the point of illusion. Still more beautiful are the winged boys that support an inscribed tablet over the door. Among works produced in Mantua, but now no longer there, are the temperas of the Triumph of Caesar, painted for the palace of S. Sebastiano. This once magnificent series, now deplorably defaced, was one of the finest of ANDREA'S creations. The subject was one suited to an imagina- tion that loved to resuscitate the ancient world and render it * They have been copied for the Arundel Society, and in part published. t For the correspondence between the Marquis Lodovico and Mantegna, and many other valuable documents relating to the painter, see Armand Baschet in Gazette dcs Beaux Arts, T. XX., 1866, pp. 318 to 339, and 478 to 491. 348 MANTEGNA. to the living eye in all its detail and with all its human interest.* From this congenial labour the painter was called away by an invitation from Innocent VIII. to Rome, where he spent two years (1488 to 1490) in decorating the chapel of the Belvedere, a part of the Vatican since demolished in alterations. During his busy life at Mantua ANDREA executed most of his engravings, works which alone place him in the highest rank as an inventor, and which in fact did spread his fame and influence far beyond the place wheie bis paintings could be seen. Intensity may be said to be the characteristic of MANTEGNA as an artist. Deeply in earnest, he swerved from his purpose neither to the right nor to the left. In expressing tragic emotion he sometimes touched a realism beyond the limits prescribed by poetic art. So, too, he never arrived at an ideal of female beauty. But he could bfe as tender as he was stern ; and we forget the homely plainness of one of his Madonnas in the devoted and boding mother or the benign protectress. His children are always childlike and without self -consciousness. He loved allegory and symbolism ; but with him they clothed a living spirit. Regarding MANTEGNA from the more purely technical side he was a master of the highest order. His forms are correct and nobly conceived ; the extremities carefully wrought out and select. An occasional lengthiness in his figures adds to their dignity and never oversteps possible nature. His colouring, whether it was the product of a defined system or of certain predilections only, has a harmony of its own that more than satisfies the eye. Drapery he treated as a means of displaying the figure. This peculiarity he derived from an almost too exclusive study of ancient sculpture. Yet so thoroughly does it accord with his whole style that none would willingly miss a single fold which the master thought worthy of almost infinite care. Some of his earlier pictures have been referred * The "Triumph of Csesar," a continuous composition over 80 feet long, of nearly life-size figures, painted in tempera on canvas, is now at Hampton Court. It was purchased in j628 from the then reigning Duke of Mantua for King Charles I., and was exempted from the sale of the King's effects after his death. For the correspondence relating to the purchase, see Original un- published State Papers, &c., ed. by W. Noel Sainsbury, 1859, Appendix H., p. H20, Seqq. For a general history of the work, and a detailed description of it, see Ernest Law's Historical Catalogue of the Pictures at Hampton Court, London, Bell, 1881. Portions of the composition were engraved (with differences) by Mantegna himself. The whole series was reproduced by means of chiaroscuro wood-blocks, by A. Andreani in 1590, while the original was still in good condition. MANTEGNA. 349 to already ; others are the St. Euphemia at Naples, the exquisite triptych in the Uffizi, the St. Sebastian at Vienna, and the knightly St. George in the Venice Academy. To a maturer time belong the Madonna della Vittoria of the Louvre (1496), the large Madonna and Saints in the Casa Trivul/i at Milan, and the two remarkable subjects in the Louvre, the one allegorical (Wisdom vanquishing Vice), the other mythological, and called Parnassus, in which last the master reached the utmost in classic beauty of form, freedom and grace of action, and charm of colour. MANTEQNA died at Mantua on the 13th of September 1506. His son Francesco, who in his father's later years had assisted in his studio, practised afterwards independently.* No. 274. The Virgin and Child enthroned; St. John the Baptist and the Magdalen. The Virgin is seated, with the child standing on her knee, on a low throne surmounted by a canopy. On the right of the Virgin is St. John the Baptist, on her left the Magdalen, both standing. The background consists chiefly of orange and citron trees. On a scroll attached to the cross held by St. John is written Ecce angus Dei, ecce qui tollit peccata mundi ;f and on the innor side of the scroll above is the painter's signature Andreas Mantinia C. P. F. (Civis Patavinus fecit). Mt,n,. Engraved in Aliprandi's Private Gallerie Milanesi.\ In tempera, on canvas, 4 ft. 6J in. h. by 3 ft. 9J in. w. This picture is described and extolled by various Italian writers on * The expenses and debts incurred by Mantegna in founding the family chapel in Sant' Andrea had embarrassed him seriously, and his valuable collec- tion of antiques &c. had to be sold, partly before and partly after his death. For notices and documents relating to him and his works, consult, besides the sources referred to in the foregoing notes, P. Codde. Memorie biographiche r &c., Mantova, 1859. Gaye, Carteggio, &c., Vols. I. and III. Carlo d'Arco ; delte Arti, in. w. These companion pictures are said to be two of seven which were originally in the palace of Urbino. They passed subsequently into the possession of the Principe dei Conti, who sold them to Mr. William Spence, from whom they were purchased at Florence, in June 1866. The words incribed on the pictures are portions of an inscription which the Duke Federigo had put up on the walls of the courtyard of the palace of Urbino. Fredcricus Urbini Dux, Montisferetri ac Durantix Comes, Sanctfe Ho, -Ecclesia Co nf alone rius, atque Italicce Confcederationix Imperator, Jfc. * By Leone Cobelli, quoted in the Commentary on the Life of Benozzo Oozzoli in the fourth volume of the Le Monnier edition of Vasari, p. 198. See also Reggiani, " Alcune Mem<>rie intomo al Pitture Marco Me.lozzi da Furtt" Forli, 1834. The name Marco here given to Melozzo, seems to be an error from con- founding the name of the master with that of his pupil Marco Palmezzano, who from affection to Melozzo has signed his name Marchus de Me.lotius. Cobelli in the MS. cited speaks of Melozzo as Milocio degli Ambrosi, indicating Ambrogi to have been the painter's surname, but it was not used by Melozzo himself, or by any other contemporaries when speaking of him. 376 MELOZZO MEMLINC. Federigo of Montefeltro was created gonfaloniere of the Church by Pius II. in 1465, and Duke of Urbino in 1474, by Sixtus IV. The words of his titles wanting between those of the inscription of these two pictures are on a companion picture now in the pallery at Berlin ; another of the series is in the possession of Her Majesty the Queen.* MEMLINCj (HANS) V-1495. The form of this great master's christim name Hans instead of Jan had suggested that he was of German rather than of Flemish origin. The surmise has now become a certainty ; he was born at Mayence, though in what year is not known.J A picture by him, formerly in the possession of Cardinal Bembo at Padua, bcre the date 1470, showing that MEMLINC was at that period well practised in his art ; it seems probable that he was born about 1430. The earliest trustworthy notices relating to him prove that he was already, in 1478, living at Bruges, in bis own house, as an established painter ; that he was then a citizen of properly and considera- tion, and one of those who in 1480 contributed to the city lean towards defraying the expenses of the war between the Emperor Maximilian and France. In 1487 he lost his wife, Anne, by whom he had two sons and a daughter ; and on the llth of August, 1494, he himself died, his children being then still minors. MEMLINC used the technical methods perfected by the Van Eycks, and prevalent after their time in the North. His works afford presumptive evidence of his artistic affiliation to Rogier van der Weyden, while they also show an advance in many respects upon those of the elder painter. It has been truly and well said that, in drawing a * See Dennistoun's Dukes of Urbino, vol. I. ; and Crowe and Cavalcaselle.Hist. of Pninting in Italy, vol. II t The orthography of this painter's name has been fixed by Mr. W. H. J. Weale, who gives good reasons for the adoption of the termination followed above. The inscriptions on the frames of two triptychs in St. John's Hospital at Bruges give the spelling Memling : but these are of a later period. See Hans Hemline, a Notice ofhis Life and Works, by W. H. James Weale, published by the Arundel Society, 18f 5 : also notices by the same learned and accurate writer in " Le Beflroi," Vol. II., 1865. As to the form Hcmlinci, so long erroneously used, it arose with Descamps ( Vie des Peintres &c., 1753-6), who misunderstood the old initial M. of the inscriptions, which has nearly the form of H. I See " Athenseum," Feb. 2, 1889, p. 154. j Minority lasted until the age of five-nnd-twenty. Weale, as above MEMLINC. 377 comparison between MEMLINC and his predecessors and con- temporaries, he is found inferior to John van Eyck in power of colour and chiaroscuro, as well as in searching portraiture ; to Van der Weyden in dramatic force ; to Dierick Bouts and Gbeeraert David in beauty and finish of landscape. As a religious painter, however, he was above them all ; he had a certain ideal strain in him which softened and elevated all he touched. Avoiding a too realistic representation of grief and pain he indulged rather in a tender cheerfulness, and in the serene and not undignified expression of purity, humility and resignation. His Infant Christ is no longer the awkward and crabbed being of earlier Flemish art. MEMLINC was as incapable as was Fra Angelico of depicting humanity in its brutal aspects ; indeed his male figures are too often wanting in force. A correct chronological arrangement of MEM LING'S works is now an impossibility. If the claim made for him to the authorship of the Last Judgment at Dantzig were established, the apparent date on that picture (1467) would offer the earliest record of his activity, f The beautiful triptych at Chiswick, containing the portraits of the Englishman, Sir John Donne (as donor), his wife and their little daughter, is supposed to have been painted in 1471. | The large altar-piece, also a triptych, in the Hospital of St. John at Bruges, of which the centre panel is between 5 and 6 feet square, bears the date 1479 ; but the inscription has been retouched. This fine work, symmetrical in composition, represents the Virgin seated in a throne, with the Infant on her lap, from whom St. Catherine, seated on the marble floor to the left, receives the ring of her mystic marriage. Her figure is balanced on the right by that of St. Barbara, who reads in a book. Behind stand on each side the Baptist and St. John the Evangelist. Two angels in choir dresses complete the group and two others hover above in front of the baldacchino holding a crown over the Virgin's head. The lines of the composition * Weale, Sans Memlinc, &Q., p. 6. t This claim is not universally admitted. For the curious history of the Dantzig picture, and for fn elaborate description of it. see Crowe and Caval- caselle (Gesch : der Altniederlandischen Malerei, pp, 282-292), who dcclafe for the authorship of Memlinc. t Weale, Hans Memlinc &c., p. 10, note, who considers the triptych to have been painted in that year, during which K. Edward IV., with many adherents of the House of York, was at Bruges ; though he admits that it may be of later date. . 378 MEMLINC. are singularly fine, the draperies are noble in their sweep, and show nothing of Van der Weyden's angularity. The remark- able panel at Munich in which, under the title of " The seven Joys of Mary," various scenes in her own life and that of her son are disposed in one wide-stretching landscape, was the centre of a triptych given to the Corporation of Tanners at Bruges by Peter Bultync in 1480. From 1484 dates the large altar-piece in the church of St. Jacques at Bruges, painted for the Moreel family. The charming diptych in the Hospital of St. John, with the half-length portrait of the young Martin van Nieuwenhoven in prayer on one side, is dated 1487. In the same precious collection is the wonderful Reliquary of St. Ursula, a shrine in the form of a rich Gothic Chapel, painted on the sides, gable ends, and roof with miniature scenes from the history of the Saint and ideal sacred subjects. These were completed in 1489. Not easily assignable to any precise date are The Seven Sorrows of Mary in the Turin Gallery ; the Deposition triptych, and the Adoration of the Magi, in St. John's Hospital ; the splendid votive picture belonging to Count Duchatel in Paris ; pictures in the Louvre, at the Hague, at Liibeck, Frankfort, Berlin and Vienna ; at Palermo, Florence and Rome (the exquisite Entombment in the Doria Palace) and Madrid. Amongst these are several portraits. A vast number of works accredited to MEMLINC are by scholars or imitators only. .No. 686. The Virgin and Infant Christ, enthroned, in a Garden. On her right an angel playing on a guitar ; on her left St. George with the dragon at his feet. In front the donor is kneeling before the Divine Infant, who, while listening to the music of the angel, is with his left hand turning over the leaves of a book held before him by his mother. In the distance is a view of the sea, with shipping. On wood, 2] J in. h. by 14| in. w. Purchased at Cologne, at the sale of the pictures of Mr. J. P. Weyer, in 1862. * MM. Crowe and Cavalcaselle, op. cit., give a long list of works by and ascribed to Memlinc. MEMLINC-MENGS. ,370 No. 709. The Madonna and Infant Christ. The child naked and held in its mother's arms, is seated on a white cushion placed on a table in front of her ; behind is a curtain. On oak, 16 in. A. by 11^ in. w. Formerly in the Wallerstein Collection. Presented by Her Majesty Queen Victoria, in fulfilment of the wishes of H.R.H. the Prince Consort. ASCRIBED TO BZEIVXXiXNC. No. 747. St. John the Baptist holding a lamb on his left arm. St. Lawrence, Deacon, holding a gridiron by his side. Small f ull-lengih figures with landscape backgrounds. On oak, 1 ft. \0\ in. h. by 6J in. w. each. On the backs of these pictures ascribed to Memlinc are painted some storks or cranes with bright red crests on their heads, and on one of the panels a coat-of-arms Shield gules, two chevrons argent, accompanied by three pairs of compasses, surmounted by a helmet with, mantling, gules and argent. Crest, a man's arm and hand in particoloured sleeve holding a pair of compasses. Purchased in Paris from M. San in 1865. MENGS (ANTON RAPHAEL), 1728-1779. This artist, who, in the second half of the 18th century, achieved a European reputation, was born May 12, 1728, at Aussig on the Elbe in Bohemia, near the Saxon frontier. His father, Ismael, a Dane by birth, a painter chiefly in miniature and enamel, was at that time court-painter at Dresden. This man, with views of art beyond those of his time, resolved to instil them into his son ; and the young ANTON .RAPHAEL (named after Correggio and the great Urbinate) was taken by him to Rome at the age of 13, and set to study the works of the great masters. Both returned to Dresden in 1744 ; the son already a proficient beyond example in crayon- painting. His talent was recognized by the King (Augustus III.), who bestowed upon him a stipend of 600 thalers. Two years later father and son again repaired to Rome ; 380 MENGS. and RAPHAEL painted there a Holy Family which drew forth universal plaudits. He now joined the Church of Rome, and married the beautiful giil who had been his model for the Madonna. In 1749 he visited Dresden, became court-painter, and received numerous commissions. But his heart remained in Rome, and thither he returned in 1752. Somewhat later he became President of the Academy of St. Luke, and, what was of more import in his life, acquired the friendship of Winckelmann. That devoted student of classic art led MENGS to share his love for it, who had not hitherto looked for sources of inspiration save in the masters of the 16th century. His new studies had a considerable effect in enlarging his views and chastening his style. His fresco, the Parnassus (Apollo, Mnemosyne, and the Muses), on a ceiling in the Villa Albani, and still more his fresco decorations in the Gabinetto di Papiri in the Vatican, if cold, are 'far removed from the bombastic emptiness, the super- ficial flutter, and the modish triviality which in great part constituted Italian art at that time. MENGS, in truth, if no genius, was an earnest Northern, looking with serious eye on the great problems of art, though vainly seeking in eclecticism what Nature alone could have afforded him. Yet in his portraits he showed that he could comprehend and interpret her well. In 1761 he was invited to Spain by Charles III., appointed court- painter, and charged with many commissions, some of which were unfinished when he went back to Rome in 1771, and executed the works above mentioned in the Vatican Library. The climate of Madrid tried his constitution, and after another effort to bear it, and complete his engagements there, he returned to Rome, where, in 1779, death overtook him in his 51st year. MENGS'S writings have been published in many Italian editions, as well as in translations into most other European languages. * Mengs naturally took a lively interest in the excavations which, begun in 1755, were laying bare the buried city of Pompeii. The question of the method in which the mural paintings within the houses there and in Herculaneum were executed occupied his attention ; and after having passed the winter of 1772-3 at Naples, he announced his conviction that that method was no other than "buon fresco." His profound and practical knowledge of the various processes of his own art makes his opinion on this subject almost authoritative. More recent investigations, scientifically condiicted, now seem to confirm beyond cavil the general soundness of his conclusion. See Abhandlung fiber die antikcn Wandmalereien in techriischer Bezlehung, by Otto Donner prefixed to Helbig's Wandgemdlde der vom Vesuv verschtittiten StSdte Companiens. Leipzig 1868. MENGS MERIAN. 381 No. 1O99. The Virgin and Child with St. John the Baptist. The Virgin, whose figure is seen to the waist, sits supporting the Infant Christ (undraped), who lies asleep on her Knees. On the right stands the youthful St. John bearing a cross. Cartoon executed in black chalk, circular form, 2 ft. 4 in. in diameter. Bequeathed by Miss Harriet Kearsley in 1881. IttERIAN (MATTH^US), JNR., 1621-1687. The son of the Swiss engraver and painter, Matthaeus Merian, was born at Basle in 1621. He was carefully educated by his father, and then placed under Joachim von Sandrart who took him at the age of 19 to Holland. From thence the young artist visited Flanders, France, Italy and England. In France he made acquaintance with Lesueur and Vouct ; in Italy with Sacchi, under whose guidance he studied the works of the great masters ; and with Maratta, whose warm friendship he gained. In England he came into friendly relations with Van Dyck, and took that painter as his model in the art of portraiture. This art he soon had occasion to practice on a large scale, for, being at Nuremberg during the treaty of peace in 1650, when numbers of Imperial, Swedish and French officers of high rank were there assembled, his services as a portrait painter were extensively, required, and in a princely manner renumerated. The elder Merian had established himself at Frankfort as a book and print- seller ; thither the son was suddenly called to his father's death- bed, and now he had to assume the management of the business, and to continue the publication of the " Theatrum Europseum," begun by his father. In 1652 MERIAN married, and in the same year painted the Martyrdom of St. Lawrence for the high altar of Bamberg Cathedral. Yet notwithstanding the many claims upon him as painter he prosecuted the business of his establishment with energy, and produced, besides, several engravings. The coronation of the Emperor Leopold I. at Frankfort, in 1658, again called into play MERIAN'S powers in portrait-painting, and led to his being invited to Vienna, where 382 MERlAN METSU. he painted the Emperor on horseback, and some of the electoral piinces. He found especial favour with the Elector of Branden- burg and the Margraves of Baden and Durlach, the first and the last of whom conferred upon him the title of state-councillor His last work appears to have been a large plan of Frankfort on four copper-plates, completed m 1682. He died in 1687, leaving a son, Johann Mattbseus, who practised painting in pastel. Ko. 1012. Portrait of a Man. Aged about 30 ; seated ; seen in nearly full face ; the head resting on the left hand. The dress is of black velvet, of the fashion of about 1665-70 ; the full shirt-sleeves being seen from the bend of the arm downwards. On canvas, 3 ft. 2 in. h. by 2 f X 7 in. w. It was ascribed to Vandyck in the Wynn Ellis Collection. Ths Wynn Ellis Bequest. 1876. MESSINA. (See ANTONELLO.) METSU (GABRIEL), 1630-1637. METSU, a native of Leyden, was born in 1630. He had the advantage of Gerard Dou's tuition, and already in 1644 had become a member of the Leyden Guild of Painters. In 1650 he removed to Amsterdam, where he fell under the influence of Rembrandt. In the subjects which he selected for his art scenes from domestic town life, chiefly among the wealthier classes he was unsurpassed in his fine observation of character and gtsture, in his exquisite and expressive drawing of bands, in his delicate manipulation and finit-h, in the spirituel touch of his penci 1 , and in the refinement and beauty of his colouring. His comp' si' ions are faultless in arrangement and in balance of parts. In r<-*pect of chiaroscuro, if that term be applied, as it often i< witli us, not merely to the management of light, shadow, and reflex, hut to that of lights and darks generally in their mutual relations and values as local colour. METSU was a master METSU. 383 of the first order. When his pictures have escaped the ordeal of ruthless cleaning they are pervaded by the finest tone, and the whites in them have that delicate glow which distance and atmosphere lend to snowy peaks. It is ob'ions that he caressed this least manageable of colours with unceasing love. Altogether his works ha%e a quality of distinction rare in those of any school. Almost all the great northern g tileries, public and private, contain examples of his skill. The Louvre is particularly 7ieh in this respect. The galleries of Dresden, Amsterdam and the Hague have each some of the choicest specimens. ID England, the Royal Collection, the Wallace Collection, and others, can show some of equal merit. The painter died at Amsterdam at the early age of seven-and-thirty, and was interred there October 24, 1667. No. 838. The Duet. Interior of a chamber. A lady in a scarlet jacket, holding a piece of music in her hand on her lap, is seated at a table covered with a Turkey carpet on which a bass viol i* lying ; behind is a gentleman tuning his violin. By the lady's side is a spaniel. Signed G. Metsu. On wood, 1 ft. 4 in. h. by 1 ft. 2J in. w. Engraved in the Choiseul Gallery. Formerly in the Choiseul, Praslin. and Talleyrand Collections. Im- ported by Mr. Buchanan. Purchased with the Peel Collection in 1871. No. 839* The Music Lesson. A lady holding a piece of music is seated at an open virginal conversing with a gentleman holding a glass of wine in his hand ;. a jug is on the floor and a fiddle is lyitig on a t ib'e by his side. On the wall in the background are two pictures, one in a gilt and the other in an ebony frame. Signed G. M<-t.iu. On canvas, 15 in. h. by 12 in. w. Etched by Rajon for the "Portfolio." Formerly in the collections of Mr. Bryan and Lord Radstock. Pur- chased with the Peel Collection in 1871. * Communication by M. Charles M. Dozy, from the Amsterdam Burial Registers in the Archiefvoor Nicderlandsche Kunstgesehiedenis, Deel V., p. 14. 384 METSU MEULEN. No. 97O. The drowsy Landlady. A woman in a scarlet gown and white apron is sleeping in an arm-chair holding a clay pipe in her hand ; she is seated near a table on which are playing cards and other objects ; a spaniel in front is watching her. Two men are in the background, one endeavouring to wake her by tickling her neck with the end of his clay pipe. Signed on the slate, G. METZU. On oak, \\\ in. //.. by 12 J in. w. From Mr. A. D. Acraman's collection at Bristol. Greffier Fagel, 1801. Willett Willett, 1813. The Wynn Ellis Bequest. 1876. (ADAM FKANS VAN DER), 1632-1690. Was born at Brussels on the llth January 1632 and was a pupil of Pieter Snayerr. He early acquired a great facility in painting landscapes, hunting scenes, and battle pieces. His skill in the latter subjects was the cause of his fortune. Some of his pictures, which had found their way to France, came under the notice of the painter Le Brun who advised Colbert to invite the painter to Paris. Here he was assigned an apartment in the Gobelins, and a salary of 2,000 francs a year. He accompanied Louis XIV. on his campaigns and sketched incessantly the scenes of battle, sieges, and encampments, and from these studies made numerous pictures recording the history of Louis' victorious career in Flanders. He was intimately allied with Le Brun and married his niece in second marriage. VAN DER MEULEN'S pictures are faithful renderings of the scenes which he painted, and are treated with much sense of atmosphere and of the picturesque, qualities which were of value, as he was thus able to impart artistic feeling to the grtat battle scenes and perspective of sieges with which he had to deal, many of which would have otherwise degenerated into mere formal diagrams and bird's-eye views. His figures and horses are full of animation ;' the latter especially are painted with much skill. He was made a member of the French Academy in 1673 and died at Paris on the 15th October 1690. His works are principally to be found in the Louvre and at Versailles. MEULEN MICHELE. 385 No. 1447. A Hunting Party. A carriage with six white horses is drawn up at the foot of a rising ground covered with trees. A personage of importance, possibly Louis XIV., is seated at the window of the carriage, and two horsemen approach him hat in hand ; the carriage is surrounded by a suite of persons on horseback and on foot, all bareheaded, and on the right, at the side of the road, is a group of dogs in charge of a hunting valet apparently asleep. An open country with blue distance, and sky with flying clouds form the background. Signed : On panel, 1 ft. 11 in. h. by 2 ft. 7 in. w. Purchased in 1895 at the sale of the Lyne Stephens Collection. MICHELANGELO. (See BUONARROTI. MICHELE DA VERONA. Fainting 1500. MICHELE was a contemporary and sometimes an assistant of Cavazzola (Paolo Morando) at "Verona, and, like the latter, belonged to the school of Domenico Morone. The period of his activity may be inferred from dates on his works extending from 1500 to 1523. Of the year 1500 is a large Crucifixion, formerly in the refectory of S. Giorgio at Verona, now in S. Stefano at Milan. The same subject (1506) with little variation is in S. Maria in Vanzo, at Padua, where MICHELE is thought to have also worked at the frescoes in the Scuola del Santo, in company with Titian. In Santa Chiara, at Verona, is a fresco, much , injured, of 1509 ; others are in S. Maria della Vittoria Nuova and in Sant' Anastasia. An altar-piece, the Madonna enthroned 1 and Saints, dated 1523, in the church of Villa di Villa near Este, is probably the best work by MICHELE. His style altered and softened somewhat during his career, but always bears the Veronese stamp, and frequently shows the influence of Cavazzola^ 2J640 2 B 386 MICHELE MIERIS. though it is not combined with the coloristic harmony to be found in that master's work. But MICHELE'S landscape back- grounds are often of great excellence. No. 1214, The meeting of Goriolanus with Volumnia and Veturia. Coriolanus, clad as a Roman warrior, kneels in the foreground to greet his wife, who is also on her knees with a boy by her side, while Veturia and two other women stand behind her. Close to Coriolanus is a soldier holding his horse. On the right are two mounted soldiers. In the background a hilly landscape, with a river flowing past a town which is seen on the left. On the right a lofty cliff surmounted by buildings. In the distance a range of mountains across the tops of which fleecy clouds are drifting. Figures about one fourth the size of life. On canvas, 3 ft. h. by 3 ft. lOf in. w. Purchased in 1886 from Dr. J. P. Richter out of the "Walker Bequest." MIERIS (FRANS VAN) Senior. 1635-1681. Was born at Leyden 12th April 1635. His father was a goldsmith and diamond cutter and FRANS was one of a family of 23 children. He studied first with A. Torenvliet the glass- painter, at Leyden, and subsequently with Gerard Dou. In 1658 he entered the G-uild of St. Luke in his native town, and afterwards served in his turn as Dean of that Corporation. His works are generally of small size ; the subjects, taken from every-day life among the upper and middle classes, display great preception of character and a considerable sense of humour. Like all the best Dutch painters he paid especial attention to the drawing and expression of hands. His execution, at once spirited and to the last degree refined, vies with that of Metsu and of their common master, Gerard Dou. FRANS MIERIS, in fact, through the vivacity of his productions and their ex- quisite technical qualities, takes a high place among the " Little Masters " of Holland. And be was appreciated in hie day ; the MIERIS. 387 Grand Duke of Tuscany visited him at Leyden, and the Arch- duke Leopold William desired to attract him to Vienna. MIERIS, however could not be induced to leave Leyden ; he remained there till his death on the 12th of March 1681. His sons Willem and Frans practised what they called painting. No. 840. A Lady in a Crimson Jacket. Seated, feeding a parrot on its perch. On copper, 9 in. h. by 7 in. w. Formerly in the collections of M. De Gaignat, the Duke de Praslin, Prince Talleyrand, and Mr. Beckf ord at Fonthill. There are repetitions of this picture in His Majesty's collection and in the Munich Gallery. Purchased with the Peel collection in 1871. MIEBIS (WILLEM VAN), 1662-1747. The son of Frans, born at Leyden in 1662, was taught painting by his father. In 1684 he married Agnes Chapman with whom he lived 60 years ; she died in 1744. Frans van Mieris, the younger, was their son. WILLEM lived to his 85th year and died at Leyden, 27th January 1747, having been blind the last few years of his life. He etched a few plates, and like- wise modelled in wax. He was but a poor imitator of his father and of Gerard Dou. The debased taste of his day, overlooking his bad drawing and other feeblenesses, liked the laborious trifling of his pencil, and mistook slavish imitation of insigni- ficant details for true finish. No. 841. A Fish and Poultry Shop. The mistress within is bargaining with a fisherman for some fish. Various provisions exposed for sale. Below the shop window is an elaborate bas-relief from marine mythology, and a tortoiseshell cat immediately in front is eyeing a duck, whose head hangs from the window-sill ; whence this picture is sometimes called the cat, " Le Chat." Signed W. van Mieris, ft. Anno 1713. On wood, 1 ft. 7} in. h. by 1 ft. 4 in. w. Engraved by Burnet. Formerly in Sir Simon Clarke's collection. Purchased from Sir Robert Peel in 1871. 25640 2 B 2 388 MILANESE SCHOOL MOCETTO. MILANESE SCHOOL: XV. OR EARLY XVI. CENTURY No. 1052. Portrait of a Young Man. In a black cap and a gown lined with spotted lynx fur over a crimson doublet. He wears a gold chain round his neck, and a gold ring on the thumb of his left hand. On wood, 2 ft. 1 in. h. by 1 ft. 7 in. w. Bequeathed by Miss Sarah Solly in 1879. No. 130O. The Virgin and Child. In a landscape, the central portion of which is occupied by a tree in full leaf, the Virgin, clad in a crimson robe and blue mantle, sits bearing on her lap the Infant Christ, who with a playful action turns from his Mother's breast towards the spectator. In the middle distance is a hamlet, beyond which rises a lofty cliff of fantastic shape. On wood, 1 ft. 11 in. h. by 1 ft. 5 in. w. Purchased from M. Edmond Beaucousin at Paris, in 1860. No. 1438. Head of John the Baptist. The head of the Saint, of great baauty of expression and features, lies in a dish of white faience standing on a high foot, which is placed on a red marble slab. On the dark background is the inscription in large capitals : MDXI. II. KL. FEB. 5 On panel, 1 ft. 5 in. h. by 1 ft. 3 in. w. Purchased in 1895 of Mr. James C. Watt, who bought it from the collection of the late Prof. Geromini of Cremona. Earlier it was in the collection of Cardinal Stoppani of Rome. MOCETTO (GJROLAMO), Painting 1490-1514. A native of Murauo, studied painting at Venice and became an assistant to Giovanni Bellini. Vasari, mentioning a picture of the Dead Christ in S. Francesco della Yigna at Venice says * A replica of this picture bearing on a cartellino, the date "1511 die 24 Nov. in the Borromeo Collection at Milan. MOCETTO. 389 that, although it bore the signature of Bellini, it was considered by many to be for the most part the work of MOCETTO. In SS. Nazario e Celso, at Verona, is a Madonna enthroned, with attendant saints and worshippers ; in the gallery of Vicenza, a Madonna ; and, in the Modena Gallery, a portrait of a young man. All these are signed by MOCETTO, but undated. These are the only pictorial works of this artist which can be identified ; regarded purely as paintings they are deficient in technical qualities. His claims to distinction rest rather on his engravings, executed under the inspiration of Giovanni Bellini and Mantegna, and in several instances copied from their designs.* Impressions of MOCETTO'S plates are rare, and no collection appears to contain a complete series of them. The ascertained dates 1490 and 1514 afford some indication of the period of this artist's activity. No. 1239. The Massacre of the Innocents. King Herod, seated towards the right under a stately portico of variegated marbles, directs the slaughter, which his soldiers have already begun. Mothers seem to appeal to the king in vain. On the pedestal of one of the supporting columns is the signature : HEROL EMO MOCETo P. In tempera, on wood, 2 ft. 2 in. h. by 1 ft. 5 in. w. No. 1240. The Massacre of the Innocents. In a splendid marble hall with a lofty arched opening through which the distant country is seen the soldiers of Herod are engaged in seizing and slaying the children, whom the mothers endeavour to protect, or whose loss they bewail. * Two of the best of Hocetto's engravings, Judith and her maid with the head of Holophernes,&n& Bacchus seated by a vine, are after designs by Mantegna. M. Georges Duplessis says of Mocetto : " His burin has a certain harshness, but " his drawing is learned and precise. He shows himself particularly attentive ' to beauty of form and elegance of line, to fulness in drapery, and delicacy, ' in the extremities of his figures ; he strives after style, and generally attains ' it. When inspired by the example of Giovanni Bellini, or when directly ' copying that master's works, he adapts himself to the special mode of treat- rnent required, and transmits to the metal not only the composition, but also ' the imposing aspect of the originals." Histoire de la Gravure, &c., p. 57, Paris 1880. 390 MOCETTO MOLA. In tempera, on wood, 2 ft. 2 in. h. by 1 ft. 5 in. 10. This and the foregoing subject, which represent another scene in the same tragedy, seem to have formed the wings of a triptych. They were once in the collection of the Yte. de Janze in Paris, and at an earlier period in that of Sir Robt. Strange, British Envoy at Venice. No. 1239 is engraved in outline on a very small scale by D'Agincourt ; Storia dell' Arte, &c. Tav., CLXII. Both were purchased from Dr. J. P. Richter in Florence in 1888. JVIOIiA. (PiETRO FRANCESCO) 1612-1668. Was born in or near Milan f in 1612. He went very early with his father Gio. Battista Mola, an architect, to Rome, where he studied painting under the Cavaliere d'Arpino. He removed while still young to Venice, where he dwelt some time ; but he afterwards returned to Rome, then visited Milan, and subse- quently Bologna, where he adopted the style of the Bolognese painters, imitating especially Albani, whose landscape pieces embellished with figures were particularly suited to the taste of MOLA. He settled finally in Rome in the latter part of the ponti- ficate of Innocent X., and died there in 1668.J He had held the office of President of the Academy of St. Luke, and had been invited to settle in Paris as court-painter to Louis XIV. MOLA painted large and small figures but excelled in landscape : in light and shade he was much influenced by the style of Guercino. A certain idyllic character in MOLA'S works renders them extremely attractive and of more true artistic value than the majority of works produced in his day. He etched some plates. No. 69. St. John Preaching in the Wilderness. The Saviour is seen approaching in the distance : "The next day John seeth Jesus coming unto him, and saith, Behold the Lamb of God, which taketh away the sin of the world. This is he of whom I said, After me cometh a man which is preferred before me, for he was before me." John i., 29, 30. * Emile Galichon in Gazette des Beaux Arts. 1859. P. II., p. 332. t Lanzi says, Como ; in Goethe's W.nekelmann und sein Jahrhundert, it is stated that he was born at Coldre, in Italian Switzerland. t Passeri, Vite de' Pittori, &c. Pascoli, a more modern writer, says 1666 : but Passeri, Mola's contemporary, is the better authority. MOLA MOLENAER. 391 Landscape, with five small figures. On canvas, 1 ft. 8 in. A by 2 ft. 2 in. w. Formerly in the Robit collection at Paris : bequeathed to the National Gallery in 1831, by the Rev. W. Holwell-Carr. No. 160. The Repose. Landscape with small figures. The " Holy Family," during the flight into Egypt, is reposing under the shade of some trees ; three angels are hovering over the sleeping infant who is watched by its mother ; in the distance is a shepherd tending his flock. This subject, which is often treated by the Italian painters, is commonly called the Riposo. Engraved by J. Ccelemans. On canvas, 1 ft. A. by 1 ft. 6 in. w. Formerly in the Orleans collection ; bequeathed to the National Gallery in ] 838, by Charles Long, Lord Farnborough. IviOIiENAER (JAN MIENSE), 1610? -1668. Little is known of the life of this painter, who was born at Haarlem, probably before 1610, and was there buried on the 19th of September 1668. In July 1636 he married at Hamstede near Haarlem the paintress Judith Leyster, and there is presumptive proof that in the following year he took up his abode in Amsterdam. His earlier works, painted in and shortly after 1630, afford distinct evidence of the tutelage of Franz Hals. In those of a later period the influence of that master gradually disappears, while the all-powerful example of Rembrandt shows itself in a greater compactness of grouping, and in a more economic distribution of high light and positive colour amidst broad masses of warmly neutral shade. The pigment is used thinly in the shadows ; the execution is deft and easy. Examples of MOLENAER'S earlier manner are the Spinet-players in the State Museum at Amsterdam, the Itinerant Dentist in the Brunswick Gallery, and the picture described below. Works of later date 1650 to 1661 may be found in the galleries of the Hague, Berlin, Brussels, and Copenhagen. Very many are in private possession, more particularly in Sweden. The subjects are for the most part scenes from village life. JAN MOLENAER'S 392 MOLENAER MONTAGNA. ordinary signature is peculiar, being a Monogram composed of the letters J. M. R. ; but occasionally, the surname appears in full. No. 1293. Musical Pastime. In a handsome wainscotted room a young man and a young woman are seated on chairs, singing ; they accompany themselves, he on a theorbo, she on a cither. The lady rests her unslippered right foot on a chaufferette ; a music-book lies open on her knees ; beside her crouches a little dog. On the gentleman's right is a richly carved stool or low stand on which are a flagon and wineglass. More in the background, to the spectator's right, a serving woman places a roast fowl on the table ; against the table leans a viola da gamba, the neck of which is covered by the gentleman's plumed hat. A portrait of one of the princes of Orange hangs on the wainscot behind. The costume of the figures is that of about 1 630. Signed on the side of the chaufferette. On canvas, 2 ft. 2 in. h. by 2 ft. 8J in. w. Purchased in London from Messrs. P. and D. Colnaghi in 1889, out of the interest of the " Clarke Bequest." MONTAGNA (BARTOLOMMEO). 1450? -1523. MONTAGNA, though domiciled at Yicenza, was Brescian by parentage if not also by birth.f He may have been born about 1450. Between 1470 and 1480 he was a recognised painter. Vasari, whether upon a tradition or by inference merely, classes him among the immediate pupils of Andrea Mantegna. The assumption is probably groundless ; while there can be as little doubt of the influence of the great Paduan as of that of Giovanni Bellini, and, though more superficially, of that of Carpaccio, in forming the style developed by MONTAGNA. But the grand * The B must be taken to represent the final letter of the surname. Upon the curious signature of the Brunswick picture, in which the painter has added olenaer to the monogram, so that the whole reads JMRolenacr see W. Bode, Studicn zur Gesch. der Holl. Malerei, p. 199. See also the controversy on the subject in Eepertorium fur Kunstwissenschaft, VII., p. 215, p. 488, and VIII., p. 137. t Strictly speaking Antonio, Bartolommeo's father, was from Orzinovi, just within the south-western confines of the Brescian territory. MONTAGNA. 393 austerity which characterizes the works of this painter cannot have been imitative ; rather must it have proceeded from his own inner nature. MONTAGNA worked elsewhere then at Yicenza. He was employed at Bassano in 1484, and a few years later at Padua and Praglia. From Padua he was called to Verona, where he painted in fresco the walls of the oratory of S. Biagio in the church of SS. Nazario and Celso, as well as an altar-piece consisting of several parts, some of which remain, though now transferred to various parts of the church. The grandest production of his now existing is the altar-piece in the Brera Gallery at Milan painted for the Squarzi chapel in S. Michele at Vicenza. It bears the date 1499, and presents MONTAGNA at the height of his powers. Here the nobleness of the enthroned Madonna, the simple dignity of the saintly attendants, the native charm of the three angels who make music at the foot of the throne, the play of colour and light and shadow throughout, and the stateliness of the whole composition, arched in by its lofty vault, leave a profound impression on the mind. It is the triumph of an exalted naturalism where a certain sharpness of outline and a strong definition of the shadows harmonize with the general solemnity. This work is fully Venetian in character. If it is wanting in the tenderness of Bellini, it surpasses Cima in masculine force, and Carpaccio in largeness of style. Another work of Venetian type is the Pre- sentation in the Museo Civico at Vicenza. Here all the personages but the Infant kneel in front of the altar, which is surmounted by a semidome of blue starred in gold. The Virgin's figure is exquisitely designed. Gilding is used in the nimbi, in Mary's dress, and in the decorations of the altar. In the same gallery are other deeply interesting works of the master, especially a large altar-piece with the enthroned Madonna and Child, and four saints, and a Presepio of singular charm from its tender feeling, the novelty of its colouring, and the finish of its details. The pilgrimage church on Monte Berico, close by Vicenza, contains a Pieta of solemn and touching character. It would be impossible here to mention the many other existing works of MONTAGNA, in churches and public and private collections, or to enumerate those which are on record but have disappeared/- Lists more or less * A noble Enthroned Madonna in the Berlin Gallery may, however ho indicated as well as a characteristic Eccc Homo in the Louvre. 394 MONTAGNA MOR. complete may be found in Crowe and Cavalcaselle, Hist, of Painting^ North Italy ; in Malanesi's edition of Le Opere di G. Vasari, Vol. III., 672 ; and in the last English edition of Kugler's Handbook, etc. MONTAGNA lived till October, 1523. He left a son, Benedetto, also a painter, though better known as an engraver. No. 802. The Madonna and Child. The Infant is seated on a book, holding a strawberry ; a rocky landscape in the background, with a church and other buildings on the margin of a lake. On wood, 2 ft. 1 in. h. by 1 ft. 9 in w. Formerly in the collection of Count Carlo Castelbarco. Purchased at Milan from Signer Giuseppe Baslini in 1869. This work is ascribed by some critics to Giovanni Speranza, a Vicentine painter contemporary with Montagna. The earlier productions of both these artists have often been confounded. No. 1O98. TJie Virgin and Child. The Virgin, whose figure is seen at half-length, stands in an attitude of devotion beside the infant Christ, who lies asleep before her, reclining on a window-sill. Figures nearly life size. On panel, 1 ft. lOf in. h. by 1 ft. 7f in. w. Purchased at Milan in 1881, from Signor Giuseppe Baslini. IffOR OR mORO (ANTONY), 1512?-1576-8. Commonly called in this country SIR ANTONIO MORE (though it is not known when or where he was knighted), was born at Utrecht, in 1512, as is supposed, and was the scholar of Jan Scorel. In 1547 he became a member of the Guild of St. Luke at Utrecht. He studied also in Italy, and he became eventually the most distinguished of the Dutch and Flemish portrait painters of his time. MOR was when still young taken into the service of * But probably some years later. According to Van Mander he died in 1581, aged 56. Now he was certainly dead in or before 1578, so that if Van Mander's statement of his age be accepted, he must hive been born not earlier tnan 152L Besides, Mor was not made free of his guild until 1547 : and considering his ability, and the early age at which so many of the Dutch painters were enrolled as masters, it is highly improbable that his admission was delayed until his 35th year. MOR. 3 the Emperor Charles V., for whom, in 1552, he visited in his capacity of portrait painter Madrid and Lisbon, and also England, whither he was sent in 1553 to take the portrait of Queen Mary, who appointed him her painter. After the Queen's death in 1558, MOR remained in the service of her husband, Philip II. of Spain, and visited Madrid a second time : besides portraits, he executed some copies of Titian for that monarch. Having made himself obnoxious to the Inquisition, MOR was compelled to leave Madrid. He finally established himself at Antwerp ; and, though invited back to Madrid by Philip, he did not venture to return to Spain. MOR was also an historical painter. Van Mander mentions an unfinished picture of the Circumcision of Christ by him, for the Cathedral of Antwerp, as one of his most successful works. The prices MOR received for his portraits were very large, varying from one hundred to two hundred ducats in Portugal, and reach- ing one hundred pounds in England, where he was very much employed as a portrait painter in the reign of Queen Mary. Of MOR'S earlier manner, resembling that of Scorel, a remarkable example is the picture in the Berlin Museum, containing half- length portraits of two Canons of Utrecht, and dated 1544. From this dry style MOR completely emancipated himself, and his portrait of Cardinal Granvelle (1549) at Vienna is already a masterpiece. Keeping nature before him. he developed a noble and sincere style of his own. An unpretentious dignity charac- terizes his portraits, equally removed from stiffness and from familiarity. The execution is careful yet free ; the flesh-tints are warm, tempered by fine greys ; the impaste is smooth, with sufficient variety of surface to discriminate substances, as the diverse stuffs used in clothing, etc., with the utmost nicety. ANTONY MOR'S portraits are numerous in the Madrid Gallery, and in that of Vienna. Very many are in England in private collec- tions ; a particularly fine one is that of himself at Althorp. The museums of the Hague, Brussels, Cassel, Paris, and St. Petersburg contain excellent examples. In the collection of portraits of painters by themselves in the Uffizi at Florence, is one of MOR. He died at Antwerp between 1576 and 1578.f * It was Cardinal Granvelle (or Granvella) who introduced Mor to Charles V. t F. J. van den Branden ; Geschiedenis der Antwerpsche Schilderschool, 1883, p. 277. Van Mander says that Mor designated himself "Van Dashorst," after a property which he owned, and in order to distinguish himself from the members of another family of his name at Utrecht. 396 MOK MORALES. No. 1231. Portrait of a Man. Life size ; bust length ; three-quarter face turned to the left. Dressed in a black satin doublet, with a high collar encircling the throat, and disclosing the edge of a white frill above. The dark brown hair of the head is short and bushy. The bifurcated beard and moustaches are of a lighter hue. Greenish-grey background. On panel, 1 ft. 6* in. h. by 1 ft. 3 in. w. Purchased (out of the " Walker Bequest ") in London in 1887. ASCRIBED TO XVXOR. No. 1094. Portrait of a Man. Bust length ; dressed in a black doublet, with an upright lace collar round the throat. Life size, three-quarter face, with a soft short fair beard. Dark background. On panel, 1 ft. 11| in. h. by 1 ft. 7 in. tv. Presented by the Trustees of the British Museum in 1880. MORALES (Luis DE), Early in 15 1586. Was born early in the 16th century at Badajoz, where a Madonna of his painting is still to be found, dated 1546. He probably learnt his art in Toledo or Yalladolid ; he afterwards practised it in various parts of the old kingdom of Castile. In 1564 he was called to Madrid by Philip II., but, after a short residence there and the execution of one picture for the King, he retired from the new capital, returned finally to Badajoz, and died, very poor, in 1586. MORALES earned the sobriquet of " el Divino," less from any high qualities shown in his art than from the subjects which exclusively occupied his pencil. These, always devotional, were mostly of the saddest, as the Saviour in His hours of suffering, or dead in His mother's arms, or the weeping * It is however, related by Palomino that five years before the death of the painter, the King, being at Badajoz, and seeing his age and poverty, granted him a pension. MORALES MORANDO. 397 Madonna. The figures are generally seen at half-length. The object is to excite devotion through images of pain, and to this end the forms are attentuated and the faces disfigured by the marks of past or present anguish. Of beauty there is little, of dignity less. The drawing is faulty, although there is a laboured effort at anatomical precision. These deficiences are in some measure atoned for by warm and not unpleasing geueral colour, though the flesh is modelled in a monotonous brown. MORALES shows some traces of the influence of early Flemish art, many examples of which had been introduced into Spain. But he was unable to imitate its refinement, though an exception to this remark may be found in the small picture described below, where tenderness of feeling and delicacy of colouring and modelling show him above his ordinary level. His pictures exist in many Spanish cities ; in the Madrid Gallery they are numerous. The Louvre, the Galleries of Dresden and St. Petersburg also possess examples, as do private collections in England and elsewhere. No. 1229. The Virgin and Child. Small figures, half length. The Virgin seated, and facing towards the left, looks down upon the Infant Saviour whom she holds in her arms. He looks upwards at his mother, and thrusts his right hand into the bosom of her dress. On wood, 10J in. h. by 7f in. tv. Presented by Mr. G. F. de Zoete in 1887. * MORANDO (PAOLO), 1486-1522, Commonly called CAVAZZOLA after his father Taddeo, 8 wa born at Verona in 1486, and died there on the 13th of August, 1522, as recorded in the Register of the Confraternity of SS, Siro e Libera, to which he belonged. He died therefore in his thirty-seventh year. Early works of his bear the impress of his supposed master, Domenico Morone, by whose son Francesco * But he does not seem, to have used that name himself. At least his works are signed either " Paulus Veronensis " or " Paulus Morandus. 1 ' The latter was the nam=> of his great grandfather. 398 MOEANDO. he was certainly influenced also. But at any rate MORANDO was a pure growth of the native "Veronese school, drawing his oourishment from it alone and developing during his short life the highest qualities it ever produced before the appearance of its great scion Paolo Caliari. The Museo Civico of Verona now affords the best material for the formation of a judgment on his powers, though the churches of SS. Nazario e Celso and Sant' Anastasia still contain works by his hand. The pieces of fresco transferred to canvas, now in the Museo, are clumsily repaired. In advance of these are the paintings removed to that Gallery from S. Bernardino. The chief parts of this series represent scenes from the Passion of our Lord. Of these the most striking is the Deposition, a work of great merit, pathetic in feeling, contentrated in composition, rich, if somewhat cold in colour, and showing more of style than is usual with MORANDO : some of the heads in it are fine in character. Another altar-piece of large size is the Madonna in Glory, Saints standing below, painted in the last year of the artist's life, and transferred from S. Bernardino, where a hard modern copy now fills its place. Examples of MORANDO'S work are also to be seen in Bergamo, Dresden, Milan, and in the Collection of Sir George Donaldson in London. MORANDO'S colouring though often brilliant is rather cold ; the pale flesh-tints, glossy in surface, are shadowed with grey, and even the lake reds introduced in garments tend towards that purplish hue which the best colourists avoid. But his landscape distances are most pleasing and the* effect of his pictures is light. MORANDO never left Verona and his works are scarcely to be found elsewhere, excepting the two catalogued below. One of these the St. Rock is unusually warm in tone. No. 735. St. Rock with the Angel. The Saint, a full-length figure, life-size, is baring his thigh and showing the plague spot to an angel soaring above his head ; at his foot is his little dog ; in the background are an oak and hie pilgrim's staff and hat. On canvas, 5 ft. If in. h. by 1 ft. 9 in. w. * Vasari, in the Lives of Fra Giocondo and Liberate da Verona (Edit. Milanesi V p 314)i says that Cavazzola was the pupil of Francesco. But see Bernasc- co'ni, Studiisulla pittura, p. 274. There is no doubt, however, that these two paiuteri worked together for a time. MORAXDO MORONE. 399 Signed PAULUS MOEADTJS, V. P. (Veronensis Pinxit), and formerly dated MDXVIIL, but the last five figures have been obliterated. PAVLVS MORADVS Formerly over the Cagnoli altar in the church of Santa Maria della Scala ; subsequently in the Caldana Gallery, at Verona. Purchased from Dr. Cesare Bernasconi in 1864. No. 777. The Madonna and Child, with St. John the Baptist and an Angel, in a Landscape. The Baptist is offering a lemon to the Infant Christ, seated in the lap of his mother. With the exception of the child, half length figures, nearly life-size. Signed PAULUS V P. On canvas, 2 ft. 6 in. h. by 2 ft. 2 in. w. Purchased at Verona in 1867, from the Couut Ludovico Portalupi. MORETTO DA BRESCIA. (See BONVICINO. 1KORONE (DOMENICO), 1442- ? A Veronese painter born in 1442, of whom but little is known. He was locally nicknamed Pelacane, his father having been a tanner or currier. The frescoes which he executed in the Chapel of Sant' Antonio da Padova in S. Bernardino at Verona (long under whitewash, and now seriously damaged), afford, in their present condition, no safe test of his capabilities. Vasari, however, praises their design and colouring. They consisted of scenes from the life of Sant' Antonio, of figures of the four Evangelists in the vault, and of various saints on the pilasters. 400 MORONE. The date of their production is not recorded. In 1491, DOMENICO was a burgess of Verona. In 1503 he contracted to paint the Library of the Convent of S. Bernardino ; but the work now existing there is scarcely by his own hand. Time and vicissitude have effaced many recorded works of his. Two pictures, how- ever, exist authenticated by his signature. The one is a small well-preserved Madonna and CJnld in the Berlin Gallery. The other, which is in the possession of Signer Fochessati at Mantua, represents the slaying of Rinaldo Buonacolsi by the Gonzaghe ; but it is sadly wrecked and over-painted.f These pictures offer sufficient indications of DOMENICO'S manner and tendencies to warrant the ascription to him of the two small subjects described below. The date of his death is unknown. He was the father of the more eminent Francesco Morone. No. 1211. Scene at a Tournament. In the foreground the tilting lists. Two knights have met in the shock. The one, behind the dividing barrier, falls from his rearing horse, while the victor, on this side, still in course, brandishes his broken lance. A herald sounds his trumpet. Groups of mounted squires and spectators are beyond the barrier. In the centre, behind and above these, a young prince sits on a chair of state, surrounded by courtiers, under a high canopy, which is topped by a red banner with a black eagle for device. On each side of the throne extends a bank of flowering turf, on which rows of ladies are seated under a gay awning. Further behind is seen an unfinished building with its scaffolding, in the dissance blue hills. No. 1212. Scene at a Tournament. The same locality. The prince here stands before his seat with a richly -dressed lady beside him. His courtiers have disappeared ; but a young man on his right seems to be addressing him. The flowery bank on each side is now the scene of a dance performed by the ladies and young men. Two youths, one on a ladder, ascend to join them ; a third is vaulting the barrier, apparently with the same object in view. Behind the barrier, to the left, a knight in golden armour, but bare-headed, rides off flourishing bis sword. In front of the * Signed " Dominicus Moronus pinxit die xxviii Aprilis MCCCC(L)XXXIII." t Signed " Dominicus Moronus Veronesi pinxit MOCCCLXXXXIIII." MORONE. 401 barrier, and facing the throne, a knight in full harness, save his helmet, sits on a white horse, while his mounted squire hands the helmet to a young man on foot. Each of these compositions is enclosed in a rich arabesque border, both probably formed the sides or part of the front of a cassone or wedding-chest.* On wood, each 1 ft. 5 in. h. by 1 ft. 6| in. w. Purchased in 1886 from Dr. J. P. Richter, out of the "Walker Bequest." IVIORONE (FRANCESCO), 1473-1529, Son of Domenico Morone, the subject of the foregoing notice, was born at Verona 1473, and instructed in painting by his father. Although he lived well into the 16th century he remained little influenced by the newer views of style which in Verona, as elsewhere, were beginning to prevail. His greatest work in fresco was the decoration of the sacristry, walls and vault, of S. Maria in Organo, in which he appears as a master of high merit. In the same church is an altar-piece by him of singular beauty, dated 1503, representing the Madonna and Child enthroned under a lofty canopy adorned with flowers, while an angel on each side sings and plays ; below, ia episcopal robes and mitres, stand St. Augustine and St. Martin,, grave and majestic figures. This work is extraordinarily attrac- tive from the loveliness of the heads of the Virgin and the Angels, the dignity of the saints, and the fine colouring and unsparing finish of the whole. f Another important altar-piece is that in S. Bernardino, in which is seen the Saviour on the cross, with the Virgin and St. John on either hand ; a work of the painter's 25th year. Other pictures by his hand are in S. Fermo and in the Museo Civico, Verona. Amongst those in the Museo a transferred fresco of the Enthroned Madonna with attendant Saints, dated 1515, shows impressions derived * These compositions have oeen supposed to represent festivities which took place at the nuptials of Gianirancesco Gonzaga of Mantua and Isabella d'Este. However, there are difficulties in the way of this interpretation ; for instance, as Signor A. Venturi, of Modena, has pointed out, the eagle on tke banners belongs to neither of the houses represented on that occasion. But other objections may be urged, and it is possible the subjects are either purely imaginary or borrowed from some romance current in the 15th century. t This picture, the figures in which are much under life size, is painted on a finely-woven fabric said to be silk, now strengthened by a canvas backing. 25640 2 C 402 MORONE. from Mantegna.* FRANCESCO'S productions are rarely to be seen out of Yerona ; but the Brera at Milan contains two interesting works by him, and the Bergamo Gallery a damaged picture of 1520 : north of the Alps but two seem to have wandered, namely, that in the Berlin Gallery, and the very similar composition in our own. There is something peculiarly winning in the type chosen for the Madonna by this painter. The small, round, delicately-featured head, slightly thrown back, so that the eyes are cast down towards the worshipper, conveys a mingled impression of sweetness and dignity. The finish of his easel pictures is remarkable ; the eye is delighted by the intricate variegation or costly stuffs, where numerous tints "broken together resemble what nature has wrought on the wings -of some moths and butterflies. Such broken surfaces give additional value to the masses of whole colour where these ..more sparingly appear. FRANCESCO MORONE died at Verona, May 16, 1529. :No. 285. Madonna and Child. The Virgin seated with the child in her arms, holds an .apple in his hand. Behind is a red curtain on a rod, extending half across the picture : a town upon a rock in the distance. Figures half the scale of life. On wood, 2 ft. h. by 1 ft. 5 in. w. Purchased from Baron Galvagna in Venice in 1855. This picture, while in the Galvagna Collection, was attributed to Pellegrino da San Daniele ; and it has been since ascribed to Girolamo dai Libri : it is, however, certainly by Francesco Morone. It adorned the front of a house near tbe Ponte Navi in Verona until 18,4, when it was detached, transferred to canvas, and placed in the Museo, not without suffering in the process. It contains unmistakable reminiscences of Mantegna's great altar-piece in S. Zeno. The attitude of the child is like that of the corresponding figure in S. Zeno. The St. James on the lett answers to ?he St. Peter in MaStegna's work, and is clothed in drapery exactly similar in cast. St. Rock on the right repeats in position and in general line and turn of the body (though reversed), the grander and austerer Baptist of the Paduan The heavy festoons of fruit above form another point of similar it> , and another, again, the low point of sight in the perspective. But all this is on y to 8v that Mantegna's stupendous work, placed in S. Zen 9 about 14o9 powei- iully impressed, as it could not fail to do, the Veronese painters of the rest th : century. MORONI. 403 MORONI (GIAMBATTISTA), 1525 ?-1578. One of the most eminent of the Italian portrait painters, was born at Bondio near Albino in the territory of Bergamo, within the first quarter of the 16th century. He studied under Moretto at Brescia. MORONI painted several altar-pieces and other religious subjects, but his works in this class are only poor and soulless reflections of his master's. The bent of his mind was towards realism, and he found his true vocation in portraiture. In this branch of art he takes a distinguished place by reason of the accuracy with which he rendered the physical characteristics of his subjects, and the vitality and ease which he gave to his figures. But he formed no ideal of his sitters, herein differing from his more imaginative master, and from the keenly sympathetic Lorenzo Lotto. Yet it would be unjust to say that MORONI failed to represent intellectual qualities when these were apparent. His works will always be highly estimated by the painter, as they exhibit rare technical merits, perfect knowledge and command of means, facility of execution without display of dexterity, truth of colour, and the finest perception of the value of tones. He evidently restricted him&elf to using the fewest pigments possible, though he could manage the most brilliant at will, as in the rich and harmonious reds often introduced in the dresses of his sitters. In his best time he adopted as a background to his figures a silvery grey, inimitable in quality. His colouring, however, varied at different periods of his life ; at first it tended towards redness in the flesh-tints ; later developed itself a cooler and purer tone throughout ; last of all a little heaviness is apparent. MORONI seems to have resided exclusively at Bergamo, where his works are still to be found in great number, several of them in the Town Gallery. Others are scattered far and wide in Italy and the North. In England are many of his best portraits, sufficient to exemplify his variations of style. The most consummate of these is that of Ercole Tasso, in Stafford House, long ascribed (like many others by MORON r) to Titian. The Earl of Warwick's Spanish Warrior is a splendid specimen of character as a portrait and of colouring as a picture. The four * Not until about 1525, as Sgr. Giovanni Morelli concludes. Die Wer', e Italienischer Meistcr, &c., p 49. 25640 2 C 2 404 MORONI. male portraits in our own gallery may rank among the finest by the master ; of these The Tailor has acquired the greatest celebrity. 6 The full length female portrait here is not of equal value ; MORONI indeed was less happy in portraying the gentler sex, though the magnificent full-length of a self-possessed padrona in the Bergamo Gallery fixes attention and remains impressed upon the memory. Titian is reported to have advised the Bergamask nobility who came to him to be painted to go to their countryman for a true portrait. GIAMBATTISTA MORONI died at Bergamo on the 5th of February 1578. No. 697. The Portrait of a Tailor. Tagliapanniin a white doublet and red trunk hose, standing at his board with the shears in his hand, about to cut a piece of black cloth. Half-length life size. On canvas, 3 ft. 2J in. h. by 2 ft. 5^ in. w. Formerly in the Grimani Palace at Venice. Purchased at Bergamo in 1862, from Sig. Federigo Frizzoni de Salis. No. 742. Portrait of a Lawyer. He has on a black cap and black velvet suit, with white frill and wrist bands, and holds in his right hand a letter, to which he points with his left. The address on the letter is not legible. Half length, life-size. On canvas, 2 ft. 10 in. h. by 2 ft. 3 in. w. Formerly in the Pourtales collection. Purchased in Paris from M. Ch. Edmond de Pourtales in 1865. No. 1022. Portrait of an Italian Nobleman. Probably a member of the Fenaroli family of Brescia. He stands nearly in profile, turned towards the spectator's right, but looking out of the picture, and leans his left arm on a richly plumed helmet, which bears the device of a red sun. He wears his sword, and is clad in a close dress and trunk hose of black, with a buff jerkin, to which are attached pieces of chain-mail covering the * Ths Tailor, and the Ercole Tasso are both praised by Boschim in his Carta del Navegtfr. Of the former he says un Sartor, si belo, e si ben fato Che'l parla piu de qual se sia Avocato." Vento Quinto, p. 327, 1660. See Eidolfl, Le Maraviglie, &c. ; and Tassi, Vite de fittori, &c., Bergamaschi, 1793. MORONI. 405 shoulder and upper arm. His left foot appears to have been wounded, for it is attached by a kind of stirrup and black cord to a band above the knee. Pieces of plate-armour lie scattered on the pavement. The background is light grey architecture with a peep of sky, against which is seen the branch of a fig tree. On canvas, 6 ft. 7 in. h. by 3 ft. 5 in. w. Purchased with other portraits from Signor Giuseppe Baslini at Milan in 1876. No. 1023. Portrait of an Italian Lady ; said to . be the wife of the subject of the preceding portrait. Seated in an arm chair, and wearing an under-dress of gold tissue, over which is a robe of red satin. In her left hand is a fan. The figure is seen against a light grey wall, and a pavement of inlaid marbles. On canvas, 4 ft. 11 in. h. by 3 ft. 5 in. w. From the Fenaroli collection at Brescia. Purchased at Milan in 1876 from Signor Giuseppe Baslini. No. 1024. An Italian Ecclesiastic, with a full brown beard, half length. He holds in his hand a letter addressed to himself, by which we learn his name and quality, the Canon Ludovico di Terzi of Bergamo, and Apostolic Protonotary. Al molto R d o. M. Ludco. di. Terzi, Can, di B'gomo Dig , et Froth". Ape". Sig r . Mio Osn^r mo . B'gomo. Above to the right of th6 spectator is a glimpse of sky and a weed on a stone of the wall; the general tenor of the picture is light ; the dress is black. On canvas, 3 ft. 3 in. h. by 2 ft. 7 in. w. Bought from Signor Giuseppe Baslini at Milan in 1876, with the other Fenaroli portraits. No. 1316. Portrait of an Italian Nobleman. A life-size full-length figure, seen nearly in profile, but with three quarter face. Clad in a black jerkin, worn over a shirt of mail ; black trunk hose, stockings and shoes. He stands close to a wall, placing his right hand upon a steel helmet which rests on the top of a truncated marble column, while the fingers of his left hand lightly touch the hilt of his sword. The hair of 406 MORONI MOSTERT. his head is dark and cropped. The beard and moustaches are light brown, short and bushy. A gap in the recessed wall just above the column reveals a peep of blue sky crossed by white clouds. On canvas, 6 ft. h. by 3 ft. 3 in. w. Purchased in 1890, together with Nos. 1314 and 1315. out of the Longford Castle Collection. MOSTERT OR BXOSTAERT (J.VN), 1474- after 1549. Was born at Haarlem in 1474 and learnt his art under Jacob van Haarlem a painter of note in his day. He was for eighteen years painter to Margaret of Austria, Regent of the Netherlands, and during that period resided at the Court, to which he was attached also as a gentleman : he afterwards returned to Haarlem, where he died after 1549. MOSTERT paid much attention to land- scape and was a good portrait painter ; his ecclesiastical works have mostly perished, but a very delicate picture ascribed to him of the Virgin, with smaller representations of her seven sorrows, is still preserved in the church of Notre Dame at Bruges. But no known picture bears the signature of MOSTERT, and it must be confessed that all attempts to identify bis works are hazardous. The following subject is conjecturally assigned to him. No. 713- The Virgin and Child in a Garden. Seated under a tree ; by their side an earthen flower-pot with pinks. The mother holding the child with her left hand, is offering a flower with her right. Landscape background. On oak, 2 ft. h. by 1 ft. 7 in. w. Formerly in the Wallerstein Collection. Presented in 1863 by Her Majesty Queen Victoria, in fulfilment of the wishes of His Royal Highness the Prince Consort. * Van Mander, Leven der ScMlders, &c. ; Catalogue du Musee cFAnvers, 1875. L. Guicciardini. writing in 1566, enumerates a Frans Mostert among the then deceased painters of distinction, but does not notice Jan. Descrizione, &c., p. 129. MOUCHEROX MURILLO. 407 IVIOUCHERON (FREDERIC DE), 1633-4-1686. Of an Antwerp family was born at Emden in 1633 or 1634. He was the scholar of J. Asselyn at Amsterdam ; he studied also some time in Paris, and eventually settled at Amsterdam, where he married in 1659, and where his son Isaac, who was also a painter, was born in 1670. MOTTCHERON painted landscapes solely, and in a somewhat conventional style. He was buried at Amsterdam, January 5th, 1686. No. 842. A Garden Scene, bounded by trees. On the right, some figures are near a fountain ornamented with statues and shaded by poplars. In the middle ground is a jetting fountain, near which are various figures promenading, beyond is a balustrade, and a view of the open country. Signed Moucheron,/. The figures are ascribed to Adrian Yandevelde. On canvas, 2 ft. 4J in. h. by 3 ft. w. Purchased with the Peel Collection in 1871. No. 1352. Landscape with Ruins and Figures. On the left three columns support part of the entablature of a. ruined temple, while a huge mass of dislodged masonry lies at- their base. In the middle distance rise lofty poplar trees. Beyond, to the right, an extensive plain flanked by hills. In the foreground peasants and cattle -rest by the side of a stream. Above, white clouds drift across a summer sky. Signed : F DF On canvas, 2 ft. 3* in. h. by 2 ft. 1 in. w. Bequeathed by Mr. Richard W. Cooper, of Tulse Hill, in 1892. MUAXIiIiO (BARTOLOME ESTEBAN), 1618-1682. Was born at Seville and baptized on January 1, 1618. After receiving some education he was placed with Juan del Castillo, a relation, to learr painting, for which he had shown a decided 408 MURILLO. ability. In 1641, in his twenty-fourth year, having acquired a little money by painting heads of Saints and sacred pictures for South America, he was induced by Pedro de Moya, a former fellow student, who had studied in England under Van Dyck, to proceed to Madrid, with the intention, as some writers state, of going on to England and to Italy. Arrived at Madrid he was kindly treated by Velazquez, his paisano, or fellow townsman. The death of Van Dyck, his own limited resources, and the counsels of Velazquez, induced him to remain at Madrid, where every facility to finish his studies was procured for him by Velazquez which the high position of that master, as painter to the king, enabled lim to offer. In the year 1644 MURILLO had made such progress that Velazquez recommended him to prosecute his journey to Rome, and offered him letters of recommendation from the King ; MURILLO, however, now felt no desire to go to Italy, and he returned in the following year, 1645, to Seville. His first works in Seville were a series of pictures illustrating the life of St. Francis in the Franciscan convent of that city ; though unknown in his native place up to this time he thenceforth became the caposcuola, or head of the school of Seville ; his principal rivals being Francisco de Herrera the younger and Juan de Valdes Leal. In 1648 he married a lady of fortune of Pilas and from this time his house became a favourite resort of people of taste and fashion. In 1660 he established the Academy of Seville, of which he was in that year president, but he never filled the office after the first year. Among MURILLO'S principal works were eight large pictures, painted for the Hospital of St. George, called La Caridad which he completed in 1674 : they represent Moses striking the rnck ; the Miracle of the loaves and fishes; the Return of the Prodigal Son; Abraham visited by the Angels; Christ healing the Sick (commonly called the Pool of Bethesda} ;f the Angel liberating St. Peter from Prison; and the two following illustrating charity, Saw Juan de Dios bearing a poor man upon his^.back ; and Santa Isabel, Queen of Hungary, healing the sick poor; the last picture went by the name of El Tifioso, from the diseased head of the principal figure. Many of these pictures are now dispersed : some of them formed part of the acquisitions of Marshal Soult during the Peninsular war ; the Tifioso is at Madrid. These two pictures are now in the possession of the Duke of Sutherland, t Now in the possession of Mr. George Tomline 1 . ,, MURILLO. 409 MURILLO'S last work was the large altar-piece of St. Catherine, painted at Cadiz for the church of the Capuchins there : this picture he never completed ; owing to a fall which he had from the scaffolding while engaged upon it, he was forced to return to Seville, where he died not long afterwards, April 3, 1682. Two sons and a daughter survived him ; his daughter had taken the veil eight years before his death. MURILLO, in the latter part of his life, changed both his style and his subjects. His earlier pictures, which are painted in a forcible manner, are chiefly illus- trative of humble life ; his latter works, with equal truth, are in a more elevated and refined style, and are almost exclusively scriptural or religious in their subjects. He occasionally painted landscapes. His favourite masters were Spagnoletto, Van Dyck and Velazquez. No. 13. The Holy Family. The youthful Saviour, with the Virgin seated on the right, and Joseph kneeling on the left, is represented standing on the base of a ruined column : the Holy Spirit is descending upon him from above, where the Father is represented supported by angels. Engraved by A. Bridoux. On canvas, 9 ft. 6 in. h. by 6 ft. 10 in. w. This picture, which, is one of Murillo's last works, was painted at Cadiz when he was probably about sixty years of age. It belonged to the family of the Marquis del Pedroso until 1810, during the French occupation of Spain, when it was sold and brought to this country : after passing through various hands it was purchased in 1837 from Mr. T. B. Bulkeley Owen for the National Gallery. It is sometimes called the Pedroso Murillo : it is mentioned by Palomino, and by Cean Bermudez. No. 74. A Spanish Peasant Boy. A laughing boy, with one shoulder exposed, is leaning on his elbows, and appears to be looking out at a window. Engraved by J. Rogers, for Jones's National Gallery ; and by W. Humphrys for the Associated Engravers. On canvas, 1 ft. 9 in. h. by 1 ft. 3 in. w. Formerly in the collection of the Marquis of Lansdowne ; presented to the National Gallery in 1826 by Mr. M. M. Zachary. * Gean Bermudez, Diccionario Historieo de los mas Ilustres Profesores da las Bellas Artes en Espana, Madrid, 1800 ; and the Letter of the same author on the School of Seville, Cadiz, 1806 ; translated in Davies's Life of Murillo, London, 1819. 410 MURILLO. No. 176. St. John and the Lamb. The youthful St. John embraces the lamb, and with his left hand points towards heaven : an illustration of the words, " Behold the Lamb of God," John, i. 29. The standard of the Lamb is lying upon the ground : a dark rocky landscape forms the background. Engraved by V. Green, F. Bacon, and others. On canvas, 5 ft. 5 in. A. by 3 ft. 7 in. it). Formerly in the collection of M. Robit, from which it passed into the possession of Sir Simon Clarke, at the sale of whose pictures, in 1840, it was purchased for the National Gallery. No. 1257. The Nativity of the Virgin. In the centre of the group, the new-born babe is held by two women. Behind are two angels in adoration, and to the right, in front, a girl whose back is turned to the spectator kneels by a basin, and turns her head towards a woman who brings the swaddling-clothes ; farther back are two women by a chimney. On the left two boy-angels are busied with a basket of linen ; near them a little spaniel. On the same side, in the background, St. Anne lies in a be 3. Above, a choir of boy-angels float over the infant. On canvas, lunette, 9| in. h. by 17 in. w. This little picture, said to be the colour-sketch for the large com- position, No. 540 in the Louvre, was formerly in the possession of the Duchesse de Berri. It was presented to the National Gallery in 1888 by Lord Savile, G.C.B. No. 1286. A Boy Drinking. A life-size figure, seen to the waist. The boy, clad in rustic garb, with vine-leaves in his cap, leans on his elbow over a table looking towards the spectator. His left hand rest? on a square wine flask. With his right he raises a glass of wine to his lips. Dark background On canvas, 2 ft. \ in. h. by 1 ft. 6j in. iv. Bequeathed by Mr. John Staniforth Beckett, in 1889. NEEFFS NEER. 411 NEEFFS (PiETER), 1577-81657-61. An eminent architectural painter, was born at Antwerp a little after 1577. He was the pupil of the elder Steenwyck. In 161(> he was a member of the guild of painters at Antwerp, where he died between 1657 and 1661. Teniers, the two Francks, and other masters inserted the figures in his pictures. Flemish School. No. 92A, The Interior of a Gothic Church. On the spectator's right a group of figures is inspecting a conspicuous tomb in the style of Renaissance architecture. Signed : On wood, 2 ft. 3 in. h. by 3 ft. 2J in. w. Presented by Mr. H. H. Howorth, in 1875. NEER (AART VAN DER), 1603-1677. Was born at Amsterdam, in 1603. It is not known under what painter or painters he studied. He lived chiefly at Amsterdam, where he died November 9, 1677. It is singular that a land- scape-painter of such remarkable abilities and refined skill should have remained without appreciation in his lifetime. But the fact is so, and he died very poor. AART VAN DER NEER excelled in representing moonlight scenes, sunsets, outburst of fire, and winter landscapes with figures on the ice. He was the father of Eglon van der Neer. No. 152. A Landscape, with Figures and Cattle; Evening. A country-house is seen in the middle-ground ; beyond it to the right is a view of a town : shipping in the distance. The figures were painted by Cuyp, whose name is inscribed on the pail. ^T . G/ 412 NEER. Engraved in the 6talerie\de Lucien Bonaparte On canvas, 3 ft. 11 in. h. by 5 ft. 3J in. w. Formerly in the collections of M. Erard and Lucien Buonaparte, Bequeathed to the National Gallery by Charles Long, Lord Farnborongh, in 1883. Signed with the painter's monogram, A. V. D. N. No. 239. River Scene by Moonlight, with Shipping. On the left a town ; the moon rising in the middle-distance. Low-water. On wood, 1 ft. h. by 1 ft. 6J in. w. Formerly in the collection of R. Heathcote, Esq., sold in 1805. Bequeathed to the National Gallery, in 1854, by Lord Colborne. Signed with the painter's monogram. No. 732. Landscape with Figures ; a Canal Scene, Holland. A broad canal with buildings and trees on each side, a boat and a couple of swans in the foreground, and a drawbridge in the middle distance. On the left are a lady and three sportsmen, dogs and poultry. The figures are supposed to be by Lingelbach. Signed with the painter's monogram, as above. On canvas, 4 ft. 3 in. h. by 5 ft. 5J in. w. Purchased from the Earl of Shaftesbury in 1864, No. 969. Frost Scene. A frozen river, buildings on either side, to the left a bridge ; boats frozen in, and many skaters on the ice ; everywhere traces o snow. Signed with the painter's monogram, A.V.N. See No. 239. On oak, 10 in. h. by 15 in. w. The Wynn Ellis Bequest. 1876. NEER NETSCHER. 413 No. 1288. A Frost Scene. The outskirts of a hamlet lying on the banks of a canal or river, on the surface of which people are amusing themselves. On the left of the foreground, near some felled tree-trunks, a man and woman are walking with a dog. Leafless trees rise against a wintry sky filled with large cloud cumuli. On panel, 1 ft. f in. h. by 1 ft. 8J in. w. Bequeathed by Mr. John Staniforth Beckett, in 1889. NETSCHER (CASPAR), 1639-1684. Was born at Heidelberg in 1639, and studied under Koster at Arnheitn and Terburg at Deventer. In 1659 he started on a tour to Italy, but, having fallen in love with a young lady of Liege at Bordeaux, he gave up his Italian tour, married, returned to Holland, and settled at the Hague. He joined the guild of painters there in 1662, and died in that city January 15th, 1684. NETSCHER, who became very popular amongst the upper classes of the Hague, "painted scenes from their social indoor life, much in the manner of his principal master, Terburg, though with less breadth of treatment, if with great finesse and minute completeness. His handling often resembles that of Frahs Mieris, but in the higher qualities of his art he stands far below such leaders among the " Little Masters " of Holland as Terburg, Metsu, Dou and others. NETSCHER also painted portraits, which are often spoiled by the affectation of a pseudo- classic costume. His sons, Theodor and Constantine, were both painters. No. 843. Blowing Bubbles. Two children at an open window blowing bubbles ; one of the boys is attempting to catch a little floating globe on the top of his plumed cap. A green curtain is looped up on the right. Signed A 1670, G. Netscher. On wood, 12 in. h. by 9 in. w. Engraved in the Poullain Gallery. Formerly in the Poullain and Calonne collections ; subsequently in that of the Duchesse de Berri. Purchased with the Peel pictures in 1871*. Smith's Catalogue liaisonne 414 NETSCHER. No. 844. Maternal Instruction. A lady seated at a table before a window is teaching a child to read ; another child is playing with a dog on a chair. In the background over a cupboard is hanging in a black frame a small copy of Rubens' " Brazen Serpent," in this collection. On wood, 1 ft. 5 in. h. by 1 ft. 2 in. w. Engraved by De Launay. Formerly in the Orleans Gallery. Purchased with the Peel collection in 1871. No. 845. Lady seated at a Spinning Wheel. Signed G. Netscher, 1665. On wood, 8J in. k. by 6 in. w. Formerly in the collections of M. Blondel de Gagny and the Prince Galizin. Purchased with the Peel pictures in 1871. No. 1332. Supposed Portrait of George, 1st Earl of Berkeley. Small half-length ; nearly full face. A young-looking man clad in a black velvet cloak with ample sleeves, a ruffle and shirt cuffs of Venetian point lace. He wears a large light brown wig. He stands leaning his right elbow on a stone pedestal enriched with bas-relief carving, and rests his left hand on his hip. In the background is a curtain of brown and gold brocade, hung near an open window. Signed : On canvas, 1 ft. 6^ in. h. by 1 ft. 2 in. to. Presented by Lord Savile, G.C.B.. in 1891 NICCOLO DI BUONACCORSO. 415 NXCCOXiO DI BUONACCORSO, A painter of Siena, in the second half of the 14th century. He was probably the son of Buonaccorso di Pace, a painter whose name occurs in Sienese records. NICCOLO held office several times in Siena, and in 1381 was Gonfaloniere of the Terzo of S. Martino. Of his works none is now traceable save the small picture described below with two corresponding panels, and two pieces of a triptych in a little village church near Siena. One of these ruined and repainted fragments still bears the signature Nicholaus Buonachursi, me. pinxit, A. DNI. 1387. A few entries of payments made to NICCOLO shew that he did some work for the Duomo in 1376 and 1383. He died in May 1388.f No. 1109. The Marriage of the Virgin. In an open cortile, enclosed by arcaded buildings and carpeted with a cloth of Arabian design, the Virgin and St. Joseph stand before the High Priest, who is joining their hands. A crowd of figures are grouped around. Among them are two heralds blowing trumpets, and a youth playing ou the tymbals. Behind is an open gallery supported on an arch, through which are seen the conventional representations of a palm tree and shrubs relieved on a gold background. Below is the signature. On panel, 16| in. k. by 10 in. w. Purchased, 1881. * The picture in the National Collection is apparently the centre compart- ment of a triptych of which two other compartments exist : one, " The Pre- sentation of the Virgin in the Temple," which was formerly in the Hospital of S. Maria Nuova, in Florence, now removed to the Ufflzi Galleries and another "The Assumption of the Virgin," formerly in the Sciarra Collection. t G. Milanesi, Documenti per la Storia dell' Arte Senese, I., pp. 31, 3? Of Buonac- corso di Pace, the presumed father of Niccol6, Milanesi (idem, p. 50) cites some notices by which we learn that he married, November 27. 1348, Maddalena di Cecco di Nuccio ; and that he was Capitaao del Popolo' for the months of January and February, 1362 ; in which year he made his will and probably died 416 NICCOLO. NZCCOIiO DA FULIGNO, U30?-U92 Commonly, but incorrectly, called ALUNNO, was the son of a certain Liberatore di Mariano of Foligno, and was born about 1430. He is variously said to have been the pupil of Bartol. di Tommaso and of Pietro di Mazzaforte, local painters, of the latter of whom he became the son-in-law ; but it is likely that he derived more knowledge of bis art from Benozzo Gozzoli who, from 1452 until at least 1457, was working not far from Foligno, and who had carried into Umbria reminiscences of his own master Fra Angelico. Of such teaching or influence there are many traces in the works of NICCOLO in union with native tendencies. He was capable of giving much grace and soft beauty to female heads and heads of angels ; but in other heads, and in the action of figures, he often exaggerated the signs of passion and emotion even to grimace. His forms are very much those of Benozzo. His earliest dated work is the altar-piece at Diruta, painted in 1458. At Assisi he executed many paintings in fresco and on panel ; the fressoes have disappeared. The separated panels of an altar-piece of 1465 are in the Brera at Milan. The Madonna of the central panel, with long fair hair rolled back from the temples, is very gentle and girlish in character, the angels by her side have also much beauty. The Vatican Gallery contains a great altar-piece in two or three stages, of the same kind as the last-mentioned, dated 1466. Gualdo, Nocera, and Foligno, retain altar pictures of later years ; that at Foligno, in S. Niccolo, bears the latest possible date, 1492 ; its predella is now in Louvre. An interesting work of no great size is the standard painted on both sides, presented to the Pinacoteca at Bologna by Pius IX. NICCOLO made his will, August 12, 1492, and probably died in that -year, leaving a son Lattanzio, a painter also. His signatures vary in form as, Nicolai de Fulginea (opus) ; Nicolaus de Fulgineo ; Nicolaus Fulginas ; Nicolai Fulginatis (opus). The error had a curious origin. On a picture of the Nativity (probably Niccol6's last work) in S. Niccol6 at Foligno are some Latin lines in which the painter is metaphorically termed " Nicholaus alumnus Fulginiae " " Nurseling of Fulginia." Vasari, accepting aluinn us as the surname of Niccol6, rendered it in Italian Alunno. (Prof. Adamo Kossi, / Pittori di Fuligno &c., quoted in the notes to Milanesi's Opere di G. Vasaii, Tom. III., 508-9.) NICCOLO OOST. 417 No. 11O7. The Crucifixion, &c. (a triptych}. In the central compartment the Dying Saviour is seen on the Cross surrounded by four angels, who, in various attitudes denoting sympathy and grief, receive in gold vessels the blood which flows from the sacred wounds. Below St. Francis, in the habit of his order, kneels embracing the cross. On the right hand stands St. John, the beloved disciple, with clasped hands and averted head. On the left the Holy Virgin sinks fainting in the arms of two female Saints. Landscape back- ground. In the middle distance a fortified wall surrounding buildings. The side wings are each divided transversely into two panels, on which are represented successively : 1. The Agony in the Garden. 2. Christ bearing his Cross to Calvary. 3. The Descent from the Cross. 4. The Resurrection. Signed on a cartellino : M In tempera on wood. Central compartment, 3 ft. ft,, by 1 ft. 10J in. w. Side panels, each 1 ft. 4| in. A. by 9^ in. w. Formerly in the convent of Santa Chiara at Aquila, in Dmbria. Purchased at Rome in 1881, OGGIONNO. (See MARCO.) OOST (JACOB VAN) THE ELDER, 1600?-1671. This painter was born at Bruges, about the year 1600. His works are mostly to be found in that town, where they are very numerous. He painted principally religious subjects, and, being desirous of achieving greater perfection in this class of work, went in 1621 to Rome, where he remained for five years. His 25640 2 D 418 OOST ORCAGNA. work is very unequal, some of his pictures being formal and uninteresting and coarsely painted, while others, such as the " Calling of Matthew," in Notre Dame, at Bruges, which is his best work, are full of life and character. He also painted portraits, of which class of work there are two important specimens in the public gallery at Bruges. The portrait described below is probably his best. He died in 1671. No. 1137. Portrait of a Boy. Life size, half-length ; the face nearly in profile. Dressed in a black doublet buttoned on the chest, and a black cap orna- mented with a squirrel's tail. His long dark hair falls to his shoulders. The hands are concealed in a fur muff. Light brown background, on which are inscribed the words ^ETAT. SIL3E 11, 1650, and the painter's monogram, composed of the letters I, V, and O. On panel, 2 ft. 7 in. h. by 2 ft. w. Purchased in London, from Miss M. A. Thomas, out of the interest of the " Clarke Bequest," in 1883. ORCAGNA, 1308?-1368. ANDREA DI CIONE ARCAGNUOLO,* one of the greatest of the early Florentine artists after Giotto, was born about 1308. Highly gifted by nature, he attained celebrity as painter, sculptor and architect ; it is said that he also indulged in verse. His elder brother Nardof (Lionardo) was a painter, and probably the first instructor of ORCAGNA. Both shared in executing the great frescoes in the Strozzi chapel in S. Maria Novella. Nardo painting the Inferno after the description by Dante, while ANDREA occupied himself with the subjects of the Last Judgment and Paradise. The last is a work of singular grandeur in conception * By a gradual process of shortening ArMgnuolo became Arcagnio and Orcagno or Orcagna. t Incorrectly rendered by Vasari in this case Bernardo. He died in 1366. ORCAGNA. 419 and stateliness in arrangement. The figures of the Saviour and the Virgin, seated on a pinnacled throne which forms the apex of the composition, are full of majesty and grace. These \vorks show a decided advance in drawing, fore-shortening and the casting of drapery, as well as in the art of rounding forms by light and shadow ; and although the laws of perspective had not yet been discovered, an instinctive perception of them has begun to show itself. The great altar-piece of the same chapel, of which the principal group represents Christ in heavenly glory giving the keys to Peter and the book to Thomas Aquinas, is of later date namely 1357. Of the same period, or at least of the same class, is the altar-piece of S. Pietro Maggiore now in this Gallery. Other works, by tradition, and with probability, assigned to ORCAGNA are the S. Zenobw in the Duomo and the picture in Sta. Croce at Florence. On the fa9ade of the Duomo of Orvieto were mosaics by him ; but these have been entirely renewed. As to ANDREA in his capacity as sculptor it is stated by Vasari that he studied, while yet a boy, under Andrea Pisano. This, however, is open to some doubt, as it is certain that he did not matriculate in the guild of sculptors and wood-carvers until 1352, and then under the sponsorship of the sculptor Neri Fioravante. How soon after this OKCAGNA undertook to furnish the tabernacle for the church of Or San Michele is not apparent, but it was completed in 1359. In that great work he proved that his powers in sculpture and architecture were equal to those he possessed in painting. Not only is the general design of this, monument harmonious and imposing but the parts are in the highest degree beautiful, and the finish exquisite. The bas-reliefs, representing scenes from the life of the Virgin, interspersed with medillions enclosing figures of Faith, Hope and Charity, are of the noblest in design and execution. ANDREA was also engaged as architect in the works of the Duomo. He died in 1368. f * Milanesi, in Le Opere di Q. Vasari, Florence, 1878-1885, T. L, p. 591, note 1. ^t Vasari gives the date of Orcagna's death in 1389 ; but see Milanesi, op. cit. iiouriuuLeu 10 oiner nanus. see jxuianesi, op. CIL. m ins uuiuiiieuuiry on me Lives of Stefano Fiorentino and Ugolino da Siena, T. L, p. 467, where these Florence has now to be denied- Oreagna. 25640 2 D 2 420 ORCAGNA. No. 569. The Coronation of tlie Virgin, Angels and Saints in Adoration. A large altar-piece in three divisions. la the centre, Christ crowning the Virgin, with two Angels standing on each side of the throne, and ten others below, eight of them kneeling, some playing various musical instruments a keyed organ, harp, lute, viol, guitar and bag-pipes. In each of the side pictures are twenty- four Saints, kneeling in rows around the throne in adoration. On the spectator's left is St. Peter, supporting on his knee the model of the church of ."San Pietro Maggiore in Florence for which the picture was ^painted.* In tempera, on wood, the centre picture, 6 ft. 9 in. A. to the point of - the arch, by 3 ft. 9 in. w. ; the side pictures, 5 ft. 6J in. h. by 3 ft. 8 in. w. ; the Gothic frame, 9 ft. 7 in. h. by 13 ft. 1 in. w. Originally painted for the church of San Pietro Maggiore in Florence, where it was placed over the high altar ; in 1677 it had been removed to the Delia Rena chapel.f It was inherited from the Delia Reiia family by the Marchese Roberto Pucci, from whom it passed into the possession of the late proprietors in 1846. Purchased at Florence from the Lom- bardi-Baldi collection in 1857. As many of the Saints here represented are without their characteristic emblems, it is difficult to identify them all. They appear to be, however, as nearly as can be ascertained, the following : On the spectator's left, j, St. Peter. 2. gt. Bartholomew. #. St. Stephen. 4. St. John the Evangelist. 5. An Apostle. .-6. St. Sigismond. 7. St. Ambrose. : 8. St. Francis. 9. Mary Magdalen. 10. St. Philip. 11. St. Cosmas? ,12. St. Blaise. On the spectator's right. 1. St. Paul. -2. St. Matthew. 3. St. Lawrence. 4. St. John the Baptist. 6. St. Damianus ? .8. A youth with sword. 7. St. Nicholas of Bari. B. St. Dominic. 9. St. Catherine of Alexandria. 10. St. James the Greater. 11. An Apostle. 12. A monk with purple scull. 13. St. Gregory the Great. 14. St. Benedict. 15. St. Lucy. 16. An Apostle. 17. St. Luke. 18. St. Clement. 19. A Bishop. 20. Eastern King, Balthasar. 21. St. Elizabeth of Hungary, 22. Eastern King, Caspar. 23. Eastern King, Melchior. 24. St. Euphemia? 13. St. Bernard. 14. St. Anthony Abbot. 15. St. Agnes. 16. An Apostle. 17. St. Mark. 18. St. Marcellinus. 19. St. Augustine. 20. St. Jerome. 21. St. Seholastica. 22. St. Zenobius. 23. A youth with sword. 24. St. Beparata. f Cinelli, Bellezze dclla Citta di Fircnze, D'Arco, Istorla della Vita e delle Opcre di Giulio Pippi Romano. Polio, Mantua. 1838. And Kunstblatt, No. 31, 1847. t Gaye, Carteggio Inedito d' Artisti, ii., 102. J Bottani, Dcscrizione Storica delle Pitture del Rcgio-Ducale Palazzo del Tijuori della Porta di Nantova detta Pustcrla. Mantua, 1783. Some of these frescoes are- engraved by P. 8. Bartoli ; by Diana Ghisi : by Antonio Veneziano and in Carlo d'Arco's Vita di Giulio Romano. 448 PIPPI. Virginia was married to Errole Malatesta and survived her father many years. No. 225. The Beatific Vision of the Magdalene. Mary Magdalene borne upwards by angels to witness the joys of the blessed ; in accordance with the legend from which painters of various schools have borrowed subjects relating to her supposed history. Seven figures. Fresco, of semicircular form, 5 ft. 5 in. A. by 7 ft. 8 in. w. Engraved by Ant. Ricciani. Formerly in the church, of the Trinita de' Monti, Rome. According to Tita, Griulio Romano was aided by G-ianfrancesco Penni in the frescoes he executed in this church. Formerly in the possession of M. Joly de Bammeville. Presented to the National Gallery, by Lord Overstone, in 1852. No. 624. The Infancy of Jupiter. A cradle containing a sleeping infant attended by three women on a small verdant island, on the further side are two groups of figures playing musical instruments. The landscape is possibly by G-iambattista Dossi. This is an illustration of the classic myth relating to the infancy of Jupiter, the youngest son of Saturn and Rhea ; he was born in Crete, secreted by his mother, and nursed by the Melian nymphs to save him from his father who used to devour his sons as soon as they were born (from feir of the fulfilment of the prophecy that one of them would dethrone him, as he had dethroned his father). The figures in the background are the Curetes making a noise with horns and cymbals lest Saturn should hear the cries of the infant, and thus discover the trick that had been played upon him; he had swallowed a stone instead of the young Jupiter. Engraved by J. B. Patas for the Orleans Gallery. On wood, 3 ft. 5J in. h. by 5 ft. 9 in. w. Formerly in the Orleans Gallery, subsequently in that of Lord Northwick at Cheltenham, from which it was purchased in 1859. Vasari, Vite de' Pittori, &c. In the Archiyio della Sanita of Mantua is the following entry against Nov. 1, 1546: "Sig. Giulio Komano, Superintendent of all the ducal buildings, after fifteen day's illness, died of fever, aged forty-seven." According to \* hich, he was born in 1498 or 1499 ; but in this case he must have been but a boy when be was first employed by Raphael in the Vatican. See Gaye, Carteggio Inedito OY. He evidently considered himself as first and foremost a painter. t Scarcely buon fresco, but rather fresco-secco. 25610 2 P 450 PISANO. rnlera of his time, his services in portraiture being in eager demand. This is not the place in which to speak of PISANO'S medals,f though all his works should be studied together in order to gain a true conception of his varied powers. The belief that he studied painting under Altichieri da ZevioJ seems to be well- founded, though some conceive him to have sprung from the Veronese school of miniaturists, a view which many of his pen drawings perhaps suggest. He seems to have died in 1451 or 1452. || Stefano da Zevio and Bono of Ferrara were his scholars. No. 776. St. Anthony and St. George. On the left oE the spectator stands St. Anthony with his staff and bell ; his pig, here a wild boar, reposing at his feet ; opposite to him is St. George in rich armour, his head covered by a large Tuscan hat; at his feet lies the vanquished dragon : Behind St. George are two horses' heads; the sword and spurs of the Saint and the bits of the horses are embossed and gilt. The back- ground is a pine wood ; in the sky above is a vision of the Virgin Child in a glory. Inscribed Pisanus PI. In tempera, on wood, 18 in. h. by 11 J in. w. Formerly in the Costabilli collection at Ferrara. Presented to the National Gallery, in 1867, by Lady Eastlake. * In the Bergamo Gallery is a fine portrait of Leonello d'Este, which, though unsigned, has all the characterisrics of Pisano's hand. t Those who specially interest themselves in the subject know where to look for Pisano's medals and for the literary works which treat of them. But it may be useful here to refer to the work of M. Aloiss Heiss. Les Medailleurs de la Renaissance, lr. fascicule, Paris, J. liothschild, 1881, where Pisano's drawings are also treated of. fLermolieff" (Giov. Morelli), Die Werke Italienischer Meister, p. 395. The opinions there expressed cannot but haye great weight. 4 Crowe and Cavalcaselle. History, Ac., North Italy, II., 452, where the notion is, however, no more than a surmise ; though it is accepted by M. Ch. Ephrussi. Gazette del Beaux Arts. T. XXIV., Aug., 1881, pp. 173-4. I Milanesi's Vasari, UL, pp. 32-33, note. PISANO POEL. 451 In the frame of the picture are inserted casts from two of Pisano'a medals ; the one above is that of Leonello D'Este, his patron, inscri bed GE. R. AR. LEONELLAS MARCHIO ESTENSIS D. FERRARII, REGII, ET MTJTINE. Son-in-law of the King of Aragon, Leonello Marquis of Este, Duke of Ferrara, Reggio, and Modena. The lower medal represents a profile of the painter, inscribed PiSANUS PICTOR. No. 1436. The Vision of St. Eustace. The Saint seated on a horse covered with rich trappings sees before him a stag with the crucified Saviour between the horns. The background is a landscape of wood and rocks through which runs a small stream ; over the trees at the top of the picture is seen a lake or marsh. At the foot of the picture a greyhound is chasing a hare and other dogs are following. Various animals and birds are disposed about the landscape ; prominent among them is another stag on the left, and a bear among the rocks on the right. In the marsh above are aquatic birds. At the bottom of the picture is a scroll, on which no doubt the artist meant to have painted an inscription, an intention which, how- ever, was never carried out. The minute but unobtrusive finish of the picture is astonishing. Of the coats of the horse, dogs, stags, and other wild animals introduced every hair is drawn, and of the wild birds every feather ; nor are they less remark- able for the beauty of the drawing and the admirable character displayed, in which it may be truly said that this painter has never been excelled. Numerous studies of animals of the highest beauty are to be found in collections of drawings throughout Europe, some of them evidently done in preparation for this picture. In tempera, on wood, 1 ft. 9 in. h. by 2 ft. 1 in. w. Purchased from the Earl of Ashburnham in 1895. POEL (EGBERT VAN DER), 1621-1664, Was born at Delft, and, on the 9th of March 1621, baptized there. In 1650, on the 17th of October, he was made member of the Guild of St. Luke at Delft. He painted interiors, views of towns and the dunes, but his especial predilection was for conflagrations and effects of moonlight. Several pictures of * Fazio (Facius) the contemporary of Pisano, who so highly extols him, saya in pingendis equis cseterisque animalibus, peritorum judicio cseteros ante- cessit." De Viris illustribua. Florence, 1745, p. 45. 25640 2 F 2 452 POEL POELENBURGH. his exist representing either the explosion of a powder mill, which took place at Delft October 12th, 1654, or views of the town after that disaster. He spent the latter years of his life chiefly at Rotterdam, and was interred there July 29th, 1664. No. 1061. View in the neighbourhood of Delft after the Explosion of a Powder Mill on October 12, 1654. In the foreground are figures apparently carrying away chattels, and assisting those who have suffered from the calamity. Line of horizon low and broken by the roofs and towers of three churches in the distance. Sky dark and lowering. Signed : E. Vander Poel. 12 Octal. 1654. On panel, 1 ft. 2 in. A. by 1 ft. 7 in. w. Bequeathed by the late Mr. John Henderson in 1879. POELENBURGH (CoRNELis VAN), 1586-1667, Was born at Utrecht, in 1586, studied first under Abraham Bloemart, and afterwards in Italy, where he fell under the influence of Elsheimer. He was much patronized at Rome by persons of rank ; at Florence, too, he was employed by the Grand-Duke. In 1627 he returned to Utrecht, with still increasing reputation. Rubens is said to have visited him, and 1 his portrait was painted by Yan Dyck. He was three time* Dean of the Painters' Guild of Utrecht. Towards 1650 he visited London. POELENBURGH died at Utrecht, Aug. 12, 1667. He frequently helped landscape painters by adding figures to their pictures. His works are found in almost all collections. No. 955. A Ruin. Women Bathing. Under some ruins in an open wooded country a stream runs, in which some women are bathing ; others partly dressed form a group on the grass in the foreground. On canvas, 14 in. h. by 17 in. w. The Wynn Ellis Bequest, 1876. * A. Bredius, Catal : Lea Peintures du MustSe a Amsterdam. 1888. POLLAIUOLO. 453 FOXiXiAXUOIiO (ANTONIO and PIERO), 1429 7-1498. The elder of these two brothers, ANTONIO, painter, sculptor, goldsmith, and engraver, was born in Florence about 1429 ; the exact date is uncertain. He was placed by his father, says Vasari, with the goldsmith Bartoluccio, the stepfather of Lorenzo Ghiberti, who recognizing the ability of ANTONIO, employed him as one of his assistants in modelling the ornaments of the architrave of the central gates of the baptistry of Florence, completed in 1452. Shortly after this time ANTONIO POLLAJUOLO worked on his own account as a goldsmith. He became a cele- brated sculptor in bronze, was distinguished for his modelling, and is. said by Vasari to have been the first artist who had recourse to dissection of the dead subject for the purposes of art. Latterly ANTONIO turned his attention to painting, and in this art also highly distinguished himself ; he was one of the first of the Florentines who adopted an oil medium. With this vehicle are executed the Hercules and the Hydra, and the Hercules and Antceits, both in the Uffizi.f Vasari expressly ascribes to him alone the great Martyrdom of St. Sebastian, now in this gallery. But this statement contradicts that of Albertini, in whose "Memoriale," published as early as 1510,' the picture in question is given to PIERO, the younger brother. Now that PIERO (born in 1443) was a painter by profession is certain, whether he studied under Andrea dal Castagno as Vasari asserts or not.J On the other hand it is also certain that many pictures were the combined work of both the brothers, and it * The dates vary from 1426 to 1433. According to Vasari, who has preserved the inscription formerly on Antonio's tomb, in the Church of San Pietro in Vinculis at Rome, he was born in 1426 ; according to an assessment return made in the year 1430 by Antonio's father Jacopo del Pollajuolo, 1429 was the year of his birth ; by another return by the same in 14f>7, 1433 was the year ; and according to a similar return made by Antonio himself in 1480, he was born in 1431. See Gaye, Carteggio inedito cFArtisti, 1, 265 ; and Milaneai's Opere di G. Vasari, Vol. HE., p. 285, note. t These compositions, of small size, would seem to be reduced copies of two out of three which, according to Vasari, were painted for Lorenzo de' Medici, and measured flve cubits each. The subject of the third was the struggle with the Nemaean Lion. J It is of course possible that Piero may have entered the studio of Andrea dal Castagno when very young. But (as MM. Crowe and Cavalcaselle observe in this conjunction), Andrea died in 1457, when Piero was but 13 years old. Sgr. Giov. Morelli contends with force that Piero must rather have studied under Alesso Baldovinetti. Altogether, this author's lucid remarks on the Pollaiuoli should be read with attention. Die Werkt Italienischer Meister, &a^ 389-393 ; or, in the English translation, 351-353. 454 POLLAIUOLO. may be concluded that in such cases ANTONIO furnished, or aided in, the design, while PIERO put the same into colour. In the St. Sebastian we probably have a work so produced ; the severe and strenuous drawing of the elder brother, the sculptor and toreuta by profession, is visible throughout ; whether he shared in the painting, and if he did to what extent, may remain an open question. Undoubtedly he had no hand in the Coronation of the Virgin at S. Gimigniano, or in the Raphael and Tobias in the Gallery of Turin. The former is signed by PIERO and dated 1483 : in it the drawing is defective, though the modelling is powerful, and much attention is given to splendour of colour. In 1484 ANTONIO was invited to Rome by Pope Innocent YIIL, and, after executing some important monumental works in St. Peter's, died there on the 4th of February, 1498 ; he was buried in the church of San Pietro in Yinculis. PIERO was already dead in 1496.* No. 292. The Martyrdom of St. Sebastian. The saint is seen in the middle of the picture, bound to the truiik of a tree, and already pierced with arrows. In the fore- ground are four of his executioners, two in the act of shooting with bows, two stooping and charging their cross-bows. Behind the saint are two others in the act of shooting, several horsemen and foot soldiers are seen in the distance. The back- ground is an extensive landscape. Composition of seven principal figures, nearly life size.f In oil, on wood, 9 ft. 6 in. h. by 6 ft. 7$ in. w. Engraved in the Etruria Pittrice, and in Rosini's Storia della Pittura Italiana, Vol. III. This picture, mentioned by Vasari as the principal of Antonio's works in painting, was finished in the year 1475 (the year in which Michelangelo was born), for the altar of the Pucci chapel, in the church of San Sebastiano de' Servi at Florence. Purchased at Florence of the Marchese Pucci in 1857. * Milanesi's Op. di Vasari, III., pp. 298 and 299, notes. t The saint is said to be a portrait (ritratto dal vivo) of Gino Capponi, who however, was dead before the painter was born. POLLAIUOLO PONTE. 455 ASCRIBED TO ANTONIO POLLAIUOLO. No. 928. Apollo and Daphne. The nymph is in the embrace of the god, who has just caught her ; her two arms have already sprouted into laurels. On chestnut, \\\ in. h. by 7 in. w. Formerly, 1845, in the collection of Mr. W. Coningham. The Wynn Ellis Bequest. 1876. PONTE (JACOPO DA), 1510-1592. JACOPO DA PONTE, commonly called IL BASSANO, or JACOPO DA BASSANO, from his native place, in the Venetian State, was born in 1510. His father Francesco da Ponte, who was a painter of the school of the Bellini, was his first instructor in letters and in the arts ; he studied afterwards under Bonifazio at Venice. After a short stay in Venice, which he spent chiefly in copying the drawings of Parmigiano, and the pictures of Bonifazio and of Titian JACOPO returned, in consequence of the death of his father, to Bassano, where he established himself for the remainder of his life, visiting neighbouring places only as his engagements required. He died at Bassano, Feb. 13, 1592.* The works of BASSANO are conspicuous for Venetian excellence of colour and for masterly chiaroscuro ; and some of his best pictures are almost worthy of Titian. In a few years, however, he forsook what may be termed the grand style for one more in unison with untutored apprehensions, and characterized by the introduction of all sorts of familiar objects, whatever was the subject of the picture. He was perhaps the earliest Italian genre painter. Even when he painted religious subjects from the Old or New Testament, as he frequently did, he treated them as familiar scenes of his own time. He excelled in landscape, and animals particularly, in introducing these on all occasions when admissible with, or even without, propriety. His works are very numerous in the Venetian State, and they are not * Ridolfl, Le Ifarctviglie dell' Arte, ovvcro le Vite degli illustri Pittori Veneti, e dello Stato. Venice, 1643 ; Verci, Xotizie intorno alia Vita e Me Opere de Pittori Scultori, ed Intaglialori della cittd di Bassano. Venice, 1775 : Lanzi, Storia Pittorita dell' Italia. Florence, 1822. 456 PONTE. uncommon in picture-galleries generally : the Nativity at San Giuseppe, and the Baptism of Santa Lucilla at Santa Maria delle Grazie in Bassano are regarded as his masterpieces. Portraits by JACOPO BASSANO are comparatively rare. Of his four sons Francesco, Giambattista, Leandro and Girolamo, all of whom he brought up as painters, Francesco, the eldest was the most distinguished. No. 173. Portrait of a Gentleman. Standing, dressed in a black robe trimmed with fur ; his right hand rests on a table placed before an open window, and on which is a silver vase containing a sprig of myrtle ; in his left hand he holds a black cap. Three-quarter length. On canvas, 3 ft. 9 in. 7*. by 2 ft. 11 in. w. 'Presented, in 1839, by Mr. Henry Gaily Knight. No. 228. Christ driving the Money Changers out of the Temple. A crowded composition of men and animals, representing the expulsion of " all them that sold and bought " money-changers, dealers in cattle, sheep, goats, birds, &c. from the interior of the " Temple," a spacious building, of ordinary Italian architecture. Small figures on a dark ground. On canvas, 5 ft. 3 in. h. by 8 ft. 9 in. w. Brought to England by Mr. A. Wilson in 1806. Presented, in 1853, by Mr. P. L. Hinds. No. 277. The Good Samaritan. In a crimson dress, raising the wounded Jew to place him on his mule ; by his side is a silver flask ; two dogs are in the foreground ; the Levite is seen in prayer behind. On canvas, 3 ft. 4J in. h. by 2 ft. 7 in. w. Formerly in the Pisani Palace, Venice ; subsequently in the collection of Sir Joshua Reynolds, who is said to have kept it always in his studio. Purchased for the National Gallery, at the sale of Mr. Samuel Rogers's pictures, in 1856. PONTORMO. 457 PONTORMO (JACOPO DA), 1494-1557, Or PUNTORMO, so called from the place near Empoli where he was bora in May 1494, boro the family name of CARUCCI. His father Bartolommeo was a painter, who married at Empoli. By the death of his father in 1499, of his mother in 1504, and of other relations not long afterwards, JACOPO, who had received a pretty go&d education, was left to his own resources. According to Vasari he was placed successively with Da Vinci, Albertinelli and Piero di Cosimo, until he fell under the tutelage of Andrea del Sarto in 1512. His fresco of the Visitation, in the court of the Annunziata at Florence, is a wonderfully fine work, and quite in the spirit of Andrea himself. PONTORMO executed some extensive frescoes in the church of San Lorenzo in Florence, representing the Deluge and the Last Judgment. They occupied him eleven years ; but they were in the style of the mannered imitators of Michelangelo, and have long since been covered with whitewash. This mannerism, belonging more particularly to his later years, did not extend to PONTORMO'S portraits, which are powerfully painted, warm in colour, animated, and yet admirably finished : he painted some of the Medici family. He was the master of Angelo Bronzino, who assisted him in many of his works and completed those of San Lorenzo. PONTORMO died at Florence, and was buried in the Church of the Annunziata, January 2, 1557. No. 1131. Joseph and his Kindred in Egypt. A crowded composition. To the left of the foreground, and before the entrance to a building reached by steps, Pharaoh, sur- rounded by attendants, is met by Joseph and his brethren, who stand before him in attitudes of supplication. To the right, seated on a triumphal car drawn by naked children, Joseph is again represented stooping forwards towards a man who, kneeling by the side of the car, presents a petition. To the right is a circular building ascended by external steps. Towards the summit of this staircase, Joseph again appears leading one of his sons. Another child is received by his mother at the top of the stairs. The upper portion of this circular building is open, disclosing a hall or porch, * Milanesi's Op. di Vasari, VI., p. 288, note. 458 PONTORMO POOETER. in which Joseph is represented at the bedside of his dying father, to whom he presents the children, Ephraim and Manasseh. In oil, on canvas, 3 ft. 8 in. A. by 4 ft. 1 in. to. This picture is highly praised by Vasari, who regarded it as Pon- tormo's best work, and who relates that it was in his day in the mansion of Pierfrancesco Borgherini of Florence, and formed part of a series of which the remaining subjects were executed by Andrea del Sarto, Bachiacca* and Granacci. Vasari further states that the boy who is represented sitting on the steps in the foreground of Pontormo's picture is a portrait of the young Angelo Bronzino. Purchased in London at the sale of the Duke of Hamilton's pictures in 1882, out of the interest of the " Clarke Bequest." ASCRIBED TO PONTORMO. No. 1150. Portrait of a Man. Life-size ; seen to waist. A middle-aged man, with dark hair falling over the ears, moustache, and a short thick beard. He wears a black gown and a black cloth or velvet cap. The left hand is laid on the right breast. In his right is a roll of paper. In oil, on wood, 2 ft. 1J in. h. by 1 ft. 7J in. w. Purchased at Florence, of Mr. C. Fairfax Murray, in 1883. POORTER (WILLIAM DE), 16 ?-living 1645. Was born at Haarlem probably within the first ten years of the 17th century. The character of his works suggests that he studied under Rembrandt while that master was still resident at Leyden. DE POORTER painted scriptural, allegorical and mythological subjects on a small scale, and endeavoured to invest them with a certain air of mystery by the management of his light and shade : but of the true imaginative faculty he had little. His execution is neat, tending to hardness ; his tone cold. Of three pictures by this artist in the Dresden Gallery one is a copy of an early work by Rembrandt the Presentation in the Temple now at the Hague ; * Two of the series, by Bachiacca, are also in the National Gallery ; see under UBERTINI. POORTER POT. 459 the subjects of the two others are respectively the Adulteress before Christ, and Esther received by Ahasuerus. In the Berlin Gallery is the Capture of Sampson, in the Amsterdam Museum Solomon's Idolatry, and in the Gallery at Rotterdam an Allegorical Subject. The Galleries of Cassel, Brunswick and Copenhagen contain each a small work by DE POORTER. No later date than 1645 is found on his pictures. No. 1294. An Allegorical Subject. A young man whose head is encircled by a wreath, wearing a steel cuirass and a long brown cloak, stands before an architec- tural fragment, which appears to be the capital of the large stone pilaster. On its top are laid two crowns, one lying on his side ; a roll of paper or parchment and a globe, which the personage above-mentioned touches with a sceptre held in his right hand. On panel, 1 ft. 7 in. h. by 1 ft. 2 in. w. Presented by Mr. T. Humphry Ward in 1889. (?) POT (HENDRIK) " HP." living 1600-1656. This name has been associated by some writers with certain pictures, chiefly conversation-pieces and full-length portraits of cabinet size, having common characteristics of style and treat- ment and bearing the monogram HP. In a single instance that of a small full-length of our K. Charles I. in the Louvre the monogram is accompanied with a date. This date is 1632; and the fashion of costume presented in all the pictures here referred to affords proof sufficient that they were executed within the third and fourth decades of the 17th century. A painter of Haarlem, Hendrik Gerritsz Pot, who lived between 1600 and 1656, is reported by a writer of his own time to have visited England, and to have made portraits of the king, the queen and some of their courtiers. Whether this be the artist whose name is concealed under the monogram HP is the question. The recorded works of Hendrik Gerritsz Pot differ as much in subject, as the only one of these now traceable (but unfortunately devoid of signature^or 460 POT POTTER. date) differs in style from those which bear the aforesaid mono- gram. On the other hand instances are not wanting of painters who in the course of their lives so completely changed their line and style that no similarity remains between their earlier and their later works. No. 1278. A Convivial Party. A room, with a projecting chimney on the extreme right ; a table extends from near the chimney to the centre of the picture covered with a red cloth over part of which is spread a linen table-cloth with viands on it. Around it are grouped three men, military officers apparently, and three women, one of whom is old. This hag, her head and shoulders muffled in white, leans on the table on the further side filling a tobacco-pipe, and grins with toothless mouth at the dalliance of the pair to the left. More towards the chimney a young man, leaning back in his chair, lifts a glass of wine over the shoulders of a woman who, with her back turned to him, makes a gesture of refusal. Facing her, in the extreme right of the foreground with his back to the spectator, lolls a plumed and booted cavalier, his right hand in front of him insecurely holding an empty glass, while his left, dropped listlessly by his side, suffers the attention of a little white dog. Signed on the side of the projecting chimney. On oak, 12J in. h. by 7| in. w. Purchased in 1889 from Messrs. Lake, Beaumont & Co., out of the interest of the " Lewis Fund." POTTER (PAULUS), 1625-1654. The son of Pieter Potter, was baptized at Enkhuizen, Novem- ber 20, 1625. He studied under his father at Amsterdam, and under Jacob de Weth at Haarlem. From his 21st to his 23rd year he painted at Delft, then removed to the Hague, where he * In Dr. W. Bode's Studien zur Geschichte dcr hollandischcn Malerei the identifi- cation of the monogramist HP. is fully discussed though left unsettled. But the author shows that the alternative interpretation of HP as Horatius Paulyn is inadmissible on chronological grounds. The argument in favour of Pot ia strengthened by the circumstance that a picture in the Hampton Court collec- tion (No. 643) signed HP belonged to Charles I., and appears in the inventory of bis effects as the work of " Bott," a mistake easily made by an ignorant transcriber writing from dictation. See Mr. Ernest Law's Historical Catalogue of the pictures at Hampton Court Palace, 1881. POTTER. 461 married in 1650, and remained until the next year, when he took up his residence at Amsterdam. But consumption was wasting him. He made his will in January 1653, and on the 17th of the same month in the following year, was in his grave. In this short career, the latter part of which must have been hampered by disease, he produced an astonishing quantity of work not to be matched in its kind. When PAUL POTTER allowed him- self to attempt subjects on the scale of life, above all when he sought to rival the painters of the chase, he was not successful. Fortunately for his reputation he made few such efforts, In his pictures of moderate size he was at home among groups of cattle which pasture, or lazily ruminate, on scarcely undulating ground under a summer sky. Each of these pictures is a true work of art, a perfect whole, well thought out, harmonious in composition, every part exactly filling its place, whether in mass or line, in perspective, or in rhythmical play of light and dark, while in the thorough but masterly finish no detail is superfluous. Light and atmosphere are never wanting. POTTER'S work was already approaching maturity in his 21st year, and it continued on the whole to increase in excellence to the last. The famous Young Bull, at the Hague, painted in 1647, is usually considered his master-piece. But it by no means deserves that title ; rather is it a tour deforce, imposing from its unusual size, but somewhat wanting in those elements which go to the making of a work of art. Far superior to this, though on a more modest scale, is a similar subject in the royal collection at Buckingham Palace, painted two years later ; a work, indeed, of the first order. Sometimes POTTER took horses for his theme, which, as well as asses, he painted with a fidelity to nature, and with a fine observation of form that leave nothing to be desired. His pictures always tell at a distance, both from their admirable composition and from their truthful out-of-door aspect ; but, unlike Cuyp, he does not bathe his landscapes in the dreamy, sunny haze of morning or evening. His drawings and etchings are beautiful^ and in them is seen his knowledge of structure and his apprecia- tion of form. His works are scattered in various collections public and private as at Amsterdam, the Hague, St. Petersburg, Copenhagen, Schwerin, Montpellier, Paris, Turin and London. Some of the finest examples, indeed, are in English hands. The portrait of PAUL POTTER as he appeared in his last days, with his 462 POTTER. palette still on his thumb, painted by his friend Van der Heist, is in the Hague Museum ; a most interesting and touching presentment. No. 849. Landscape with Cattle. In a meadow near some farm buildings among trees are a man, four cows, a horse and some sheep ; one of the cows, white and spotted, is lying chewing the cud, and looking at the spectator. On the left, near the open door of a shed, are a horse and cart with two men and a dog. In the background is a corn field, with some cut sheaves of wheat. Signed Paulus Potter, ft. 1651. On wood, 1 ft. 10 in. h. by 1 ft. 8J in. w. Formerly in the Locquet collection at Amsterdam ; and in 1829 in that of Lord Gwydir. Bought with the Peel collection in 1871. No. 1009. The Old Grey Hunter. A huntsman holding the bridle of a grey horse, is lying asleep on the ground under an old tree ; his greyhound is also asleep. Another sportsman and two dogs are seen in the distance. On a piece of fencing to the right is the signature PAULUS POTTER/. On oak, 12 J in. h. by 10 J in. w. From Lord Clare's collection. The Wynn Ellis Bequest. 1876. POTTER (PiETER ?), 1597-1652. PIETER POTTER, the father of Paul Potter, was born at Enkhuizen in 1597, and died at Amsterdam in October 1652. About 1628 or 1629 he was residing at Leyden ; from 1631 he appears to have had his abode at Amsterdam, where, in 1639, he was director of a manufactory of gilt leather. In 1647 he was temporarily at the Hague. In his earlier days he painted on glass, and in a signature of his fin 1628), he calls himself " glaes-schrijver ooc POTTER POTJSSIN. 463 schilder," glass -annealer, also painter. He formed himself under the influence of Frans Hals, and painted various subjects, such as scenes in the guard-house, still life and landscape. No. 1008. Stag Hunt. A dense wood on the right ; an open country with a river on the left ; two stags and a hunting party in the middle ground. Signed P. Potter f. 165 . The last figure is illegible. On canvas, 3 ft. 7J in. h. by 4 ft: 10 in. w. The Wynn Ellis Bequest. 1876. POUSSIN (GASPAE). (See DUGHET.) FOUSSIN (NICOLAS), 1594--1665. This great French artist, of whom his countrymen are justly proud, was born at Villiers. near Les Andelyp, in Normandy, in June 1594, of a noble family of Soissons. He learned painting under Quintin Varm at Les Andelys. At the age of 18 he visited Paris, where he prosecuted his studies for a short time under some other masters, and greatly improved himself by drawing from casts and copying prints after Raphael and Giulio Romano. After various vicissitudes he at length visited Rome in 1624, in his 30th year. He lived in the same house with Du Quesnoy, afterwards celebrated under the name of II Fiam- mingo : they were of mutual aid to each other in their studies. It was probably owing to his intimacy with Du Quesnoy that Poussix paid so much attention to the ancient bassi-rilievi, many of which he modelled. He also devoted some time to practical anatomy, and attended the academy of Domenichino, whom he considered the first master in Rome. He had, however, to contend against poverty for a considerable period until the return to Rome of Cardinal Barberini from his embassy in France The above notice is taken from M. A. Bredius's Catalogue des Peintures du Musee de VEtat a Amsterdam. 1888. and contains the latest ascertained facts respecting Pieter Potter. 464 POUSSIN. and Spain : POUSSIN had been introduced to him before his departure from Rome by the poet Marino, who died shortly afterwards at Naples. This cardinal, soon after his return, commissioned POUSSIN to paint two pictures The Death of Germanicus and the Capture of Jerusalem ; the latter subject he painted twice. From this period he rapidly acquired both fame and fortune. The above pictures were followed by the Martyrdom of St. Erasmus ; the Plague of Ashdod ; the Seven Sacraments, and others. The last-named works were painted for the Commendatore Del Pozzo, and were a few years afterwards repeated by Poussin for M. de Chantelou at Paris. POUSSIN, after an absence of sixteen years, returned with M. de Chantelou to Paris in 1640, when he was introduced by Cardinal Richelieu to Louis XIII., who wished to retain him in his service : he gave him apartments in the Tuileries, and appointed him his painter in ordinary with a salary of 1201. a year. POUSSIN, however, wishing to have his wife with him in Paris (be married in 1629), departed in 1642, with permission for Rome ; but as Louis XIII. died shortly afterwards, he never returned to his native country. He continued to gain in wealth and reputation during twenty-three years from this time : he died at Rome, on the 19th of November 1665, in his 72nd year, and was buried in the church of San Lorenzo in Lucina.f His works are very numerous : the prints that have been engraved after his principal pictures amount to upwards of two hundred. It was perhaps well that POUSSIN'S longing to visit Rome was not indulged until his mind was matured. At 30 years of age r with a strong individuality, he was in less danger of falling under the leadership of some Italian eclectic or naturalist. Upou the antique remains of sculpture and painting (Roman indeed', not Greek), he built a style, severe, classic, and deliberate, though not unwarmed by imagination. In nature, the grand lines of the Latian landscape inspired him, and its whole character harmonized in his mind with his classic studies. * Both sets are now in England, the former in the collection of the Duke of Rutland at Belvqir Castle, the other in that of the Earl of Ellesmere, in London, known as the Bridgewater Gallery. They are engraved by Pesne. t Bellori, Vita di Nicol6 Pussino in the Vite de' Pittori, &c., Rome, 1672 Felibien, Entretiene sur les Vies et sur Its Ouvrages des plus exceUcns Peintres Anciens et Modernes, Paris, 1685. Gault de St. Germain published a life of Poussin in 1806, and a Collection de Lettrct de Poussin was published at Paris in 1824. POUSSIN. 465 Perhaps those works in which his native tendencies are most revealed are his heroic landscapes. He feared the fascinations of colour, and once wrote from Venice that he must flee from a place where they lured him too much. He did not know how needless was his alarm. POUSSIN strongly influenced French art, especially in the department of landscape painting through his brother-in-law and pupil, Gaspard Dughet. 3 No. 39. Tlie Nursing of Bacchus. Landscape, with nymphs and fauns tending the infant Bacchus, who is eagerly imbibing the juice of the grape which a Satyr is squeezing into a bowl. A. goat occupies a prominent place in the picture. Composition of six small figures. Engiaved by M. Pool. On canvas, 2 ft. 6J in. h. by 3 ft. 1 in. w. Bequeathed to the National Gallery by Mr. G. J. Cholmondeley, in 1831. No. 40. Landscape, with Figures. (" Phaeton"} A wooded spot in the neighbourhood of a city, which is seen at the base of a range of mountains in the distance. In the foreground to the left is a man in a plain, undyed robe, supposed to represent Phocion ; he is washing bis feet at a public fountain, as if to indicate the purity and simplicity of his life. On the opposite side is a monument, near which are two figures, seated, in conversation : a woman is passing by behind them. Towards the middle of the picture, another figure is reclining at full length at the foot of a large tree, on the stem of which are hanging some votive offerings. A small stream flows through this part of the picture. Engraved by E. Baudefc ; and by W. Badclyffe, for Jones's'^JVatioiial Gallery. On canvas, 2 ft. 6 in. h. by 3 ft. 7 in. w. Presented to the nation by Sir George Beaumont, Bart., in 1826, No. 42. A Bacchanalian Festival. A landscape with satyrs, fauns, centaurs, and animals, in wild revelry. To the left, the drunken Silenus is being placed under * See the biographical notice of Dughet in this Catalogue. 25640 2 G 466 POUSSIN. a temporary canopy by two fauns, one of whom is about to crown him with a wreath of flowers. On the opposite side a female satyr is supported by a faun upon the back of a goat which is attempting to throw her off. In the centre is a kneeling satyr on the verge of intoxication, still drinking from a bowl into which a faun is pouring wine ; the various phases of intemperance, boisterous mirth, contention and insensibility are forcibly pictured in the groups behind him. Engraved by T. Phillibrown, for Jones's National Gallery. On canvas. 4 ft. 8 in. h. by 3 ft. 1 in. w. This is one of a series of three pictures said to have been painted for the Duke de Montmorenci ; the other two were formerly in the possession of the Earl of Ashburnham. Bellori notices four " Bacchanals " by ' Poussin, which were painted at Paris in 1641-42, for Cardinal Richelieu. Formerly in the Barberini Palace, and subsequently in the Angerstein collection, with which it was purchased for the nation, in 1824. ,No. 62. A Bacchanalian Dance. Landscape, with a group of fauns and bacchanalian nymphs, or bacchante?, dancing in a ring, interrupted in their merriment by a satyr, who has thrown one of the nymphs on the ground, for which another nymph is striking him on the head with a cantharus : behind this group, near a thick cluster of trees, is a terminal figure of Pan decorated with flowers. Still further to the right on this side, an infant bacchanal is bending over and drinking from a large vase on the ground ; two other infant bachannals are contending for the juice one of the bacchantes is squeezing from 3 bunch of grapes which she holds above their heads ; a fourth is sleeping on the ground behind them. Engraved by G. T. Doo, R.A., for the Associated Engvavers ; by Van Merlen ; by R. Cooper ; and by S. S. Smith, for Jones's National ^Gallery. -On canvas, 3 ft. 3 in. h. by 4 ft. 8 in. w. This picture, one of the painter's master -pieces, is probably one of the four painted for Cardinal Richelieu : it formed part of the collection of M. de Calonne, by whom it was brought to this country (Buchanan Memoirs of Painting') ; it passed subsequently into the possession of Mr. Hamlet, of wham it was purchased for the National Gallery in 1826. No. 65. Gephalus and Aurora. Cephalns, before whom a little cupid holds up the portrait of his wife Procris, is endeavouring to free himself from the arms of Aurora ; behind is the winged Pegasus. The scene of the POUSS1N. 467 drama is indicated by the presence of a river god, probably Ilissus, as that river rises in Mount Hymettus, from which Cephalus was carried off. In the back ground is a naiad or some mountain nymph : Phoebus, in his chariot, is seen in the heavens just above the horizon ; all indicating the early morning. Engraved by W. Holl, for Jones's National Gallery. On canvas, 3 ft. 2 in. A. by 4 ft. 3 in. w. Bequeathed to the National Gallery, in 1831, by Mr. G. J. Choi- mondeley. No. 91. Venus Sleeping, surprised l>y Satyrs. While one of the satyrs lifts up the drapery of the goddess another rouses Cupid who has been sleeping by her sile. Com- position of four small figures. Engraved by M. Pool ; by J. Daulle ; and by W. T. Fry, for Jones's National Gallery. On canvas, 2 ft. 2 in. k. by 1 ft. 8 in. w. Formerly in the collection of M. de Calonne, at Paris. Bequeathed to the National Gallery, in 1831, by the Rev. W. Holwell-Carr. No. 165. The Plague among the Philistines at Ashdod. The Philistines having overcome the Israelites, removed the Ark of the Lord to Ashdod, and placed it in the Temple of Dagon ; on the next morning they found their idol fallen, and the city was afflicted with a loathsome plague. "And the head of Dagon and both the palms of his hands were cut off upon the threshold of the door." 1 Samuel, v., 4. The broken Dagon is seen before the Ark in the temple to the right, with a crowd of the citizens in consternation before it. In the foreground are the bodies of a woman and her child ; a second child is approaching the breast of its dead mother, while a man stoops down and gently averts it from the infectious corpse. Various groups of dead and dying are dispersed over the picture : the scene is a handsome street in Ashdod, with noble piles of architecture on each side, viewed in perspective. Engraved by E. Picart ; by J. Baron : and by C. Niquet. On canvas, 4 ft. 3 in. h. by 6 ft. 8 in. w. This is a repetition of a picture which was painted by Poussin ai Rome in 1630, and for which he received, says Bellori, only sixty scudi, about twelve guineas ; it came afterwards into the possession of Cardinal Richelieu, who paid 1,000 scudi for it ; it is now in the gallery of the Louvre at Paris. The picture above described was 25640 2 G 2 468 POUSSIN PREDIS. formerly in the Colonna Palace at Rome, from which it was purchased by Mr. Irvine for Mr. Buchanan : it was presented to the National Gallery by the Duke of Northumberland in 1838. PREDIS (AMBROGIO DE). End of 15th and beginning of 16th centuries. The discovery of this painter by Morelli added another name to the long list of scholars and followers of Leonardo da Vinci. This distinguished critic was the first to identify the signature on a portrait of the Emperor Maximilian in the Ambras collection at Vienna as that of DE PREDIS, and he gives a list of about twelve portraits which he attributes to the same painter, including the portrait of Francesco di Bartolommeo Archinto now in the National Gallery, his only other signed picture. To these may be added the two wings of the Viergc aux Rochers (Nos. 1661 and 1662 in this collection) originally forming part of the altar-piece in the church of S. Francesco at Milan, of which the Vierge aux Rochers by Leonardo was the centre panel. A document discovered by Sigr. Emilio Motta in 1893 shows that these wings were executed by AMB. DE PREDis.f Of his life scarcely anything is known. Morelli considers that he was born between 1450-1460, and supposes that he may have been a pupil of Cristoforo de Predis, a miniature painter of celebrity. He was apparently the favourite portrait painter of Lodovico Sforza, the portraits attributed to him including many members of the Sforza family. His signed pictures are dated 1494 and 1502 respectively. His name is mentioned in a document of 1482, and it is gathered that he accompanied Lodovico Sforza to Innsbruck in 1499, where he may probably have painted the portrait of the Emperor Maximilian referred to above, as well as that of his wife. The year of his death is unknown : if the portrait of Massimi-liano Sforza in the Morelli collection at Bergamo is rightly ascribed to him he was still painting about 1514 or 1515. * Italian Painters, by Giov. Morelli (London : John Murray, 1892), pp. 180-189. t See the Archivio Storico for 1894, p. 58. . PREDIS PREVITALI. 469 No. 1661. An Angel. The angel, dressed in dark green with dark hair and wings, stands in a niche playing a viol. On panel, 3 ft. 9| in. It. by 1 ft. 1 If in. w. No. 1662. An Angel. This angel similarly placed in a niche is playing on a mandoline. She is dressed in red and has gold coloured hair and wings. On panel, 3 ft. 9| in. h. by 1 ft. 11 J in. w. These two figures formed the wings of the altar-piece by Leonardo' da Vinci, described under No. 1093 in the National Gallery catalogue. Purchased in 1898 with the preceding picture from the Duke Jean Melzi d'Erie's collection at Milan. No. 1665. Portrait of a Young Man. He is represented at half length, almost full face with the eyes to the right. His long hair falls on his shoulders frdm under a black cap, and he wears a green coat trimmed with leopard's skin over a blue tunic, tied at the front with black ribbons, slightly open and showing a white pleated shirt. His right hand is placed on a parapet of variegated red marble, and holds a small scroll on which is the date 1494 and the words ANO. 20. and a monogram consisting of the letters A M PRED. On panel, 1 ft. 9-J in. h. by 1 ft. 2| in. w. Purchased in London from Mr. W. Fuller Maitland in 1898. FREVITAXiI (ANDREA). Painting 14..?-1528. Was born at Bergamo in the latter half of the fifteenth century, and perhaps entered the school of Giovanni Bellini in Venice. The earliest date on his works hitherto discovered is 1502 ; the date 1506 is on an altar-piece at Borgo Sant' Antonio, described 470 PEEYITALI PULZONE. by Tassi, which bears the further inscription Andreas Bergomtnsis dissipulus (sic) Jo. Bellini. A similar signature is found on an Annunciation at Ceneda. Probably his best work is the altar- piece of St. John the Baptist in Sto Spirito at Bergamo, signed Andreas Previtalus, 1525. He imitated Giovanni Bellini as closely as he could, and although he had little originality, yet the bright, clear colour, the light atmosphere, and the pleasant character of the landscape distances in his pictures, make them attractive. Very many of them are to be found in Bergamo. According to Tassi, he died of the plague at Bergamo in 1528.f No. 695. Madonna and Child, seated. The Madonna is seated with the Child on her knee and is placing her hand on the head of a Monk, who is adoring the Infant Christ. Landscape back -ground, with mountains and buildings ; St. Catherine stands by a ruin, to the right. On poplar, 1 ft. 9 in. h. by 2 ft. 3 in. w. Formerly in the Manfrini Gallery, Venice. Purchased from the pro- prietors of that collection in 1862. PULZ.ONE (SciPiONE, called GAETANO), 1550-1600? PULZONE was born at Gaeta in 1550, or as Zani states, 1562, he was a disciple of Jacopo del Conte. His most important pictures are the Assumption in the Church of San Silvestro, on Monte Cavallo in Rome, and a Pieta, in the Jesuits' Church in that city. He also painted portraits of the most illustrious persons of his time, and is called by Lanzi " The Roman Van Dyck." He died at Rome in 1588, or according to Zani, in 1600. 9 Andrea seems to have added Bcrgomensis to his signature as long as he remained at Venice, or till about (?) 1511. t Tassi, Vite dc' Pittori,&c., Bergamaschi, 1793 : Eidolfli, Le Maravlglie,