EDWARD
DEWITT
TAYLO
UCSB
DESCRIPTIVE AND HISTORICAL
CATALOGUE
OF TIIK
PICTURES
IK
'i NATIONAL GALLERY :
13iogiavfHf.il jilotirrs of tfir
FOREIGN SCHOOLS.
BY
RALPH N. WORNUM.,
REVISED BY SIR CHARLES LOCK EASTI&KE, P.R.A.
THIRTY-SEVENTH EDITION.
LONDON:
PRINTED BY GEORGE EDWARD EYRE AND WILLIAM SPOTISWCODE
PRINTERS TO UHE QUEEN'S MOST EXCELLENT MAOTRSTT.
FOR HER MAJESTY'S STATIONERY OFFICE.
1863.
[10,419. 1009 12/62.]
*
NOTICE.
IN using this catalogue in the Gallery, reference should be
made from the painter's name on the frame of the picture
to the corresponding name at the head of the page in the
catalogue, where the order is alphabetical. When more
than one designation occurs, as for example, Sebastiano del
Piombo, the name to be looked for in the catalogue may
be found by referring to the number in the Index list,
page 8, corresponding with the number of the picture. The
same list may be consulted, if the name of the master on
the picture-frame should not be easily legible.
The plan of the catalogue is historical, as well as descrip-
tive. Biographical notices of the several painters precede,
in most cases, the descriptions of their works : the history,
as far as known, of each picture is also given ; together
with its dimensions, the material on which it is executed,
and other details which may sometimes serve to identify
it. Among the sources of information which have reference
to the history of the art, the opinions of eminent critics
on the merits of particular masters, and of remarkable
works, have not been overlooked.
A certain degree of historical knowledge, as regards both
the art itself and its criticism, is perhaps indispensable
for the due appreciation of some works ; the merit of which,
depending on the time and circumstances of their produc-
tion, is in a great measure relative. The information thus
offered, without superseding individual predilections, may
sometimes assist in the formation of a correct judgment,
which is the basis of a correct taste.
6202. A 2
4 NOTICE.
The present catalogue is thus designed, not merely as a
book of reference for visitors in the Gallery, but also as a
guide to the history of painting, as represented by the
examples in the collection : it may be used likewise, so
far as it extends, as a Biographical Dictionary of Painters.
The first edition, printed in 1846, was published in the
beginning of 1847. To^this edition are now first added the
painters' monograms and signatures, engraved in. wood, from
copies in fac-simile made by me in October J 862. I have
omitted some few, which are too obscure for reliable repro-
duction ; most of them are of the size of the originals, the
very large only have been reduced.
The Gallery is open to the public on Mondays, Tuesdays,
Wednesdays, and Saturdays ; and on Thursdays and Fridays
to students only. It IK open from Ten to Five from Octo-
ber until April 30, inclusive ; and from Ten to Six from
April until the middle of September. Jt is wholly closed
during the month of October.
The Vernon Collection and other pictures of the British
School are for the present exhibited at South Kensington.
Of these a separate catalogue is published, which comprises
also an account of the Turner Collection now exhibited in
the Gallery, Trafalgar Square.
THE
NATIONAL GALLERY.
THE British National Gallery of Pictures was founded in
1824, during the administration of the Earl of Liverpool,
by the purchase of the collection of 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 accomplishment of this
object. Lord Dover first brought the subject before Par-
liament 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 Angerstein collection, consisting of thirty-eight
pictures, j was accordingly secured to the nation, and a
grant of Parliament of 60,000?., proposed by Government,
was voted April 2, 1824, to defray the charge of purchase
and the expense incidental to the preservation and public
exhibition of the collection for that year 57,000?. fcr the
pictures, and 3,000?. for the incidental expenses.
* Hansard, Parliamentary Debates, speech of Sir C. Long, April 2, 1824.
f Hansard, Parliamentary Debates, July 1, 1823 ; Cur.ningham, Lives
of the most Eminent British Painters, fyc. ; Sir George Beaumont, vol. vi.
| The entire collection was not included in the Government purchase ; a few
pictures were excepted. See the Catalogue of the Pictures of J. J. Angerstein ,
Esq., with Historical and Biographical Notices, by John Young, fol. 1823,
which contains etchings of all the pictures.
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.
6 THE NATIONAL GALLERY.
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 the collection was increased by the
munificent donation to the Trustees of the British Museum
for the National Gallery, of sixteen pictures from Sir George
Beaumont, as well as by further purchases on the part of
the Government. In 1831 it was enriched by the valuable
collection (consisting of thirty-five pictures) which was
bequeathed to the Trustees of the British Museum, to be
placed in the same building with the Angerstein pictures, by
the Rev. William Holwell Carr; * and from that time to this,
works have been constantly added to it, by donation, by
bequest, and by Government purchase.
The principal donations and bequests, besides those
already mentioned, are : six pictures presented in 1836
by William IV. ; fifteen bequeathed, in 1838, by Lord
Farnborough j eleven bequeathed, in 1846, by Richard
Simmons, Esq. ; eight bequeathed, in 1854, by Lord Col-
borne; twenty bequeathed, in 1859, by Jacob Bell, Esq.;
and six presented at different times by the Governors of the
British Institution. The " Corn Field," by John Constable,
R.A., " Serena rescued by Sir Calepine/' by William Hilton,
R. A, and " Jerusalem," by Thomas Seddon, were purchased,
by subscription, by the respective fiiends of the painters,
from their executors, and presented by them to the National
Gallery.
Of the 424 pictures which now constitute the national
collection, exclusive of the Vernon and Turner pictures, 203
have been presented or bequeathed, f the remaining 221
have been purchased by Government, by grants of Parlia-
ment: the number of pictures in the National Gallery,
including all the works of the British School, is now 68 6. J
* The Farnborough bequest -was also made to the Trustees of the British
Museum for the National Gallery.
f Complete lists of the pictures purchased, as well as of donations and bequests,
are given at the end of the Catalogue. The pictures of the British School are
separately catalogued, and are at present exhibited at South Kensington.
J Of these, 38 are for the present removed from the walls owing to want of
space. It may not be uninteresting to the reader to compare the number of
pictures in the National Gallery, with the number, according to the published
catalogues, in the several principal national collections in Europe. In Rome,
in the gallery of the Vatican, there are only 37 pictures ; in that of the Ca-
pitol there are 225 ; at the academy of Bologna there are about 280 ;
the Brera of Milan has 503 ; at Turin there are 569; at Venice 688; at
Naples, there are 700, exclusive of the ancient paintings from Pompeii and
THE NATIONAL GALLERY. 7
The building in which the Collection Foreign Schools-
is at present deposited was erected at the national expense,
expressly for the purpose, after a design by William Wilkins,
R.A., architect. It was commenced in 1832, and was opened
to the public April 9, 1838.*
Ilerculaneum ; in the Stiidel Institution, at Frankfort, there are about 380 ; in
the Berlin Gallery, recently established, there are about 1,350 pictures; in
the Pinacothek, at Munich, there are about 1,270; in the gallery of the
Belvedere, at Vienna, there are upwards of 1,300 ; in the Imperial Gallery
of Florence (Degl' Uffizj), there are upwards of 1,200, and about 500 hi the
Pitti Palace. At Amsterdam, there are 386 ; at the Hague, in the Museum,
there are 304. The collection of Antwerp contains 584 pictures; and
at Brussels there are upwards of 400. There are upwards of 1,800 in
the Louvre, 543 of which are Italian ; in the Museo of the Prado, at
Madrid, there are 1,833 ; and the celebrated gallery of Dresden contains
about 2,000 pictures, exclusive cf the pastel collection At Versailles, there
are about 3,300 works of art, chiefly paintings, and almost exclusively illus-
trative of French history. The Borghese Gallery at Rome, which is the best
private collection in Europe, contains 526 pictures. In the Grosvenor Gallery
there are 157 ; in the collection of the Duke of Sutherland, 323 ; in the
Bridgewater Gallery, belonging to the Earl of Ellesmere, there are 318;
and in that of Burghley House, Northamptonshire, belonging to the Marquis
of Exeter, there are upwards of 600 pictures.
* The number of visitors to the National Gallery has, with one or two
exceptions, annually increased from the date of its opening up to the present
time. It has already been visited in a single year by upwards of 1,000,000
persons. See the National Gallery Reports.
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 Sebastiano del Piombo
2 Claude
'^ Titian
Claude
7 Correggio
8 Michelangelo
9 Carracci, An.
10 Correggio
1 1 Guido
12 Claude
13 Murillo
14 Claude
15 Correggio
16 Tintoretto
17 Sarto, Andrea del
18 Firacz, Leonardo da
19 CZcwcfe
20 Sebastiano del Piombo
21 Bronzino
22 Guercino
23 Correggio
24 Sebastiano del Piombo
25 Carracci, An.
26 Feronese, Paolo
27 Raphael
28 Carracci, Lod.
29 Barocci
30 Cteadfe
31 Povssin, G.
32 Ttft'arc
33 Parmigiano
Titian
35 Poussin, G.
37 Correggio
38 Rubens
39 V
40 J J
41 Giorgione
42 Poussin, N.
43 1
/ c > Rembrandt
45 J
46 Rubens
47 Rembrandt
No.
48 Domenichino
5 Q I Vandyck
51 Rembrandt
52 Vandyck
53 C?<2/p
54 Rembrandt
55 Claude
56 Carracci, An.
57 Rubens
58 C7arfe
59 Rubens
61 Claude
62 Poussin, 'N.
63 Carracci, An.
64 Bourdon, Sebastien
65 Poussin, N.
661
,.-. ^
68 Poussin, G.
69 .1/oZa, P. F.
70 Padovanino
71 -BofA
72 Rembrandt
73 Ercole da Ferrara
74 Murillo
75 Domenichino
76 Corregyio
77 Domenichino
81 Garofalo
82 Mazzolini
84 .Rosa, Salvutor
85 Domenichino
88 Carracci, An.
91 Poussin, N.
94 I Carracci, An.
95 Poussin, G.
97 Feronese, Paolo
98 Poussin, G.
ion
102
103
104J
127 Canulelto
138 Pannini
Lancret
INDEX TO NAMES OF MASTERS.
9
No.
140 Vander Heist
148 I C arracc *} Ayoslino
150 } Vandevelde > W '
152 Vander Neer, A.
153 Maas, Nicolas
Teniers
154 \
155 /
156 Vandyck
157 Rubens
158 Teniers
159 Maas, Nicolas
160 Mo/a, P. F.
161 Poussin, G.
163 Canaletlo
165 Poussin, N.
166 Rembrandt
167 Peruzzi, Baldaasare
168 Raphael
169 Mazzolini
170 Garofalo
172 Caravaggio, M. da
173 Bassano, Jacopo
174 Maratti, Carlo
176 Murillo
177
iso rf ranc ^ a
181 Perugino, Pietro
1 84 Moro, Antony
186 Eyck, J. Van
187 Rubens
189 Bellini, Giovanni
190 Rembrandt
191 Gwido
192 Dow, Gerard
193'Gmdo
194 Rubens
195 Unknown, p. 262
196 Guido
197 Velazquez
198 Carracci, An.
199 Schalcken
200 Sassoferrato
202 Hondecoeter, M.
204 Bakhuizen
205 Dietrich
206 Grew.se
207 Maas, Nicolas
209 BoA awd Poelcnburg
210 Guardi
211 Huchtenbury
212 JCeyser, T. De
213 Raphael
214 Gtarfo
, Tadcfeo
No.
218 Peruzzi, B.
221 Rembrandt
222 VanEyck,J.
223 Bakhuizen
224 Tift'aM
225 Romano Giulio
226 Botticelli, Sandro
227 Rosselli, Cosimo
228 Bassano, J.
230 Zurbaran
232 Velazquez
234 Bellini, School of
235 Spagnoletto
236 Feme*, C. J.
237 Rembrandt
238 Weenix, J.
239 Fancier A T cer
240 Berchem
242 Temers
243 Rembrandt
244 Spagnoletto
245 Diirer, ^4/oerf
246 Pacchiarotto
247 Alunno, Niccolo
248 Lippi, Fra Filippo
249 Sara Severino, L. di
2^1 > TAe Miister Von Liesboi'n
264 Vander Meire
266 Lombard, Lambert
268 Feroraese, Paolo
269 Gioraione
270 Tift'an
271 Gm'do
272 Pordenone
274 Manteyna, Andrea
2/5 Botticelli, Sandro
276 Gi'otfo
277 Bassano, J.
280 Bellini, Giovanni
281 Basaiti, Marco
282 Spaana, Lo
283 Gozzoli, Benozzo
284 Vivarini, Bartolommeo
285 Libri, Girolamo dai
286 Tacconi, Francesco
287 Veneziano, Bartolommeo
288 Peruyino, Pietro
289 Rembrandt
290 Ifyc/fc, J. Faw
291 Cranach, Lucas
292 Pollajuolo, Antonio
293 Lippi, Filippino
294 Veronese, Paolo
295 Matsys, Quintin
296 Ghirlandajo, Domcnico
10
INDEX TO NAMES OF MASTERS.
Xo.
297 Romanino
298 Borgognone
299 Moretto
300 Cima da Conegliano, G. B.
Turner, J. M. W.
Orcagna, Andrea
564 Margaritone
565 Cimabue
566 Duccio
567 Segno.
568 Giotto, School of
569'
570
571
572
573
574
575
576
577
578
579'Gaddi, Taddeo
580 Casentino, Jacopo di
581 Spinello, Aretino
582 Angelica, Fra Giovanni
583 Uccello, Paolo
585 Francesco, Pietro della
5861 T . . ...
tjgg f Z/tp/n, Fra Filippo
590 Twra, Cosimo
591 Gozzoli, Benozzo
592 Lippi, Filippino
593 Credi, Lorenzo di
594 Emmanuel
595 Ze/otfi, Battista
596 Palmezzano
597 Zojopo
598 Lippi, Filippino
599 Basaiti
600 Dyckmans
602 Crie//i
623 Treviso, Girolamo da
624 Romano, Giulio
625 Moretto
626 Masaccio
fi28 f
629 Costa, Lorenzo
No.
630 Schiavone, Gregorio
631 Bissolo, F.
^.oo r Santacroce, G. da
634 Cima, G. B.
635'
637
638
639
640
641
642
643
644
645
648
649
650
652
653
655
656
657
658
659
660
661
663
664
665
Bordone, Paris
Francia
Mantegna, Francesco
Dossi, Dosso
Mazzolini
Garofalo
r Romano, Giulio
Albertinelli
Crerfi, Lorenzo di
Pontormo, Jacopo da
1 . , 7
? tironzino, Angelo
Salviati, F. del
r Vander Weyden
Orley, Bernard van
Mabuse, Jan de
Cornelissen, Jacob
Schoen, Martin
Rottenhammer
Clouet, Francois
Raphael
Angelica, Fra Giovanni
Vander Weyden
Francesco, Pietro della
Lippi Fra Filippo
668
669 L'Ortolano
670 Pontormo, Jacopo da
671 Garofalo
672 Rembrandt
673 Messina, AntoneHoda
674 Bordone, Paris
679 Bol
680 Vandyck
685 Hobbema
686 Memling
687 William of Cologne
690 Sarto, Andrea del
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 com-
mencement 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 in-
dicate 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.
Tabular View of the Schools of Painting, as represented by
the Pictures in the National Gallery.
,^
/ >
TUSCAN OR, FLORENTINE SCHOOL.
Commencement in the thirteenth century, in Florence, in ;
Pisa, and in Siena.* Distinguished chiefly for form.
* The Sienese school may be considered to have a character of its o-sra, but
as it is represented, as yet, in the National Gallery, by unimportant specimens
only, it is for the present comprehended in the Florentine school.
12 THE NATIONAL GALLERY.
Thirteenth Century.
Margaritone D'Arezzo, 1236 1313. Cimabuc, 1240, living 1302.
Duccio di Buoninsegna, painted 1282 1339.
Fourteenth Century.
Segna di Buenaventura, painted 1305 1319.
Giotto, 12761336. Taddeo Gaddi, 13001366.
Andrea Orcagna, 1315 1376.
Jacopo di Casentino, about 1310 1390.
Spinello Aretino, about 1330, living 1408.
Fifteenth Century.
Fra Giovanni Angelico, 13871455. Paolo Uccello, 13961479.
Masaccio, 1402 1428-9. Fra Filippo Lippi, 14121469. Benozzo
Gozzoli, 1424, living 1485. Antonio Pollajuolo, 14301498.
Domenico Ghirlandajo, 1449 1498. Cosimo Eosselli, 1439
1506. Sandro Botticelli, 1447 1515. Leonardo Da Vinci, 1452
1519. Filippino Lippi, 1460 1505. Lorenzo di Credi, 1459
1537.
Sixteenth Century.
Albertinelli, 1475 1520. Michelangelo, 1475 1564. Baldassare
Peruzzi, 1481 1536. Andrea del Sarto, 1488 1530. Jacopo
Pacchiarotto, 1474 1540. Jacopo da Pontormo, 1493 1558.
Angelo Bronzino, 1502 1572. Salviati, 15101563.
Seventeenth Century.
CristoforoAllori, 15771621.
UMBRIAN SCHOOL.
Commencement in the thirteenth century, in Assisi,
Perugia, Gubbio, and other cities of Umbria. Distin-
guished for colour and sentiment.
Fifteenth Century.
Lorenzo di San Severino, painted 1416
Pietro della Francesca, about 1415 1494.
Niccolo Alunno, painted from 1458 to 1499.
Pietro Perugino, 14461524.
Sixteenth Century.
Lo Spagna, painted 1503 1530.
SCHOOL OF THE ROMAGNA.
Marco Palmezzano, about 1456 1537.
SCHOOLS OF PAINTING. 13
ROMAN SCHOOL.
Established in the sixteenth century. Distinguished for
form and expression.
Sixteenth Century.
Raphael, 14831520.
Giulio Romano, 14921546. Barocci, 15281612.
Seventeenth Century.
Michelangelo da Caravaggio, 1569 1609.*
II Sassoferrato, 16051685. Carlo Maratti, 16251713.
Eighteenth Century.
Paolo Pannini, 16911764.
VENETIAN SCHOOL.
Commencement in the thirteenth century. Distinguished
chiefly for colour.
Fifteenth Century.
Antonello da Messina, about 1414 1496.
Giovanni Bellini, 14261516.
Carlo Crivelli, painted 14681493.
Bartolommeo Vivarini, painted 1459 1498.
Marco Basaiti, painted 1470 1520.
Giambattista Cima, painted 1489 1517.
Sixteenth Century.
Giorgione, 14771511. Titian, 14771576.
Bissolo, painted 1 500 1528.
Romanino, about 1480 1560.
Pordenone, 14831539.
Sebastiano del Piombo, 1485 1547.
Bartolommeo Veneziano, painted 1505 1530.
Girolanio dai Libri, 1472 1555.f
Girolamo da Santacroce, painted 1520 1548.
II Moretto, about 14901560.
Paris Bordone, 15001571.
Girolamo da Treviso, 1497 1544.
Jacopo Bassano, 15101592. Tintoretto, 15121594.
Paolo Veronese, 15281588. Battista Zelotti, 153292.
* According to the sense, before explained, in -which the word school is here
used, it must be apparent that individual painters may sometimes have but
slender claims to the characteristic attributes of those chiefly constituting the
school.
f Strictly of the school of Verona.
THE NATIONAL GALLERY.
Seventeenth Century.
Padovanino, 15901650.
Eighteenth Century.
Canaletto, 16971768. Guardi, 17121798.
SCHOOL OF PADUA.
Established in the fifteenth century.
Fifteenth Century.
Andrea Mantegna, 1431 1506.
Gregorio Schiavone, painted 1470.
Francesco Mantegna, living 1517.
BOLOGNESE SCHOOL.
Commencement in the fourteenth century. Distinguished,
in its later and chief period, for execution, or general tech-
nical excellence.
Fifteenth Century.
Marco Zoppo, painted 1471 98. Francia, about 1450
1518. Lorenzo Costa, 1460 1535.
Sixteenth Century.
Lodovico Carracci, 1555 1619.
Agostino Carracci, 1558 1601. Annibale Carracci, 1560
1609.
Seventeenth Century.
Domenichino, 1581 1641. Guido, 1575 1642.
Guercino, 15921666. Pier Francesco Mola, 16121668.*
FERRARESE SCHOOL.
Established in the fifteenth century.
Fifteenth Century.
Cosimo Tura, living 1481.
* For a concise history and account of the above Italian schools of paint-
ing, see the articles " Bolognese," " Roman," " Tuscan," and " Venetian "
Schools of Painting, in the Penny Cyclopa-din.
SCHOOLS OF PAINTING. 15
Sixteenth Century.
Mazzolini da Ferrara, 1481 1530.
Garofalo, 14811559. Ercole da Ferrara, 14621531.
Dosso Dossi, 14801560.
PARMESE (LOMBARD) SCHOOL.
Commencement in the fifteenth century. The Parmese is
one of several subdivisions * of the Lombard School, which
is distinguished chiefly for chiaroscuro. -f
Sixteenth Century.
Correggio, 1494 1534. Parmigiano, 1503 1540.
CREMONESE (LOMBARD) SCHOOL.
Established in the fifteenth century.
Fifteenth Century.
Francesco Tacconi, painted 1464 1490.
MILANESE (LOMBARD) SCHOOL.
Established in the fifteenth century.
Ambrogio Borgognone, painted 1490 1522.
NEAPOLITAN SCHOOL.
Commencement in the fifteenth century.
Seventeenth Century.
Spagnoletto, 15881656.
Salvator Rosa, 16151673.
GREEK OR BYZANTINE SCHOOL.
Established in the fifth century. Distinguished for its
strict adherence to traditionary forms and practice.
* Lanzi, in his History of Painting in Italy, treats of five several schools
of Lombardy the Mantuan, the Modenese, the Pannese, the Cremonese, and
the Milanese. Storia Pittorica delf ItaHa, vol. iv.
f Chiaroscuro (literally light-dark) means the mutual relation of bright and
obscure masses ; it is therefore not limited to light and shade, but comprehends
also light and dark colours.
10 THE NATIONAL GALLEKY.
Seventeenth Century.
Emmanuel the Priest, living 1660.
FLEMISH SCHOOL.
Commencement in the fourteenth century.
Fifteenth Century.
Jan Van Eyck, about 13901440.
G. Vander Meire, painted about 1450.
Roger Vander Weyden, the elder, 1400-64.
Memliiig, deceased, 1495.
Roger Vander Weyden, the younger, 1450 1529.
Quintin Matsys, 14601530-1.
Jan de Mabuse, 14701532.
Sixteenth Century.
Bernard Van Orley, 14701541.
Lambert Lombard, 1506 1560.
Antony Moro, 1525 1581.
Seventeenth Century.
Rubens, 15771640. Vandyck, 15991641.
Teniers, 16101694 Huysman, 16561696.
Nineteenth Century.
J. L. Dyckmans, IcSll
DUTCH SCHOOL.
Commencement in the fifteenth century.
Sixteenth Century.
Jacob Cornelissen, 14801560.
Seventeenth Century,
C. Poelenburg, 15861666.
T. De Keyser, between 1595 and 1660.
Rembrandt, 16081669.
Both, 16101656. Cuyp, 16051683.
Gerard Dow, 1 61 3 or 1 5981 680. Vander Heist, 1 61 31 670.
Ferdinand Bol, 161181.
INDEX TO NAMES OF MASTERS. 17
A. Vander Neer, about 16131691.
Nicholas Berchem, 1624 1683. Nicolas Maas, 1 6321 693.
M. Hondecoeter, 16361695.
W. Vandevelde, 16331707.
Jacob Ruysdael, about 1625 1681.
Hobbema, living, 1669. Jan Weenix, 1644 1719.
Schalcken, 16431706. Huchtenburg, 16461733.
L. Bakhuizen, 16311709. Vander Plaas, 16471704.
GERMAN SCHOOL.
Established in the fifteenth century.
Fourteenth Century.
William of Cologne, died, 1378.
Fifteenth Century.
The Meister Von Liesborn, painted about 1445 1465.
Martin Schoen, 14201488.
Sixteenth Century.
Albrecht Diirer, 14711528.
Lucas Cranach, 1472 1553.
Seventeenth Century.
J. Rottenhammer, J 564 1 623.
Eighteenth Century.
C. W. E. Dietrich, 17121774.
SPANISH SCHOOL.
Commencement in the fourteenth century.
Seventeenth Century.
Velazquez de Silva, 15991660.
Esteban Mnrillo, 1618 1682. Zurbaran 15981662.
B
SCHOOLS OF PAINTING.
FRENCH SCHOOL.
Commencement in the fifteenth century.
Sixteenth Century.
Francois Clouet, 15101574.
Seventeenth Century. .
N. Poussin, 15941665. Claude Lorrain, 1600-1682.
G. Poussin, 16131675.
Sebastien Bourdon, 16161671.
Eighteenth Century.
Nicolas Lancret, 16901743.
Claude Joseph Vernet, J 71 4 1789.
'Jean Baptiste Greuze, 1725 1805.
CATALOGUE.
ALBERTINELLI.
MABIOTTO ALBERTINELLI, a pupil of Cosimo Rosselli,
became the intimate friend and assistant of Fra Bartolom-
meo ; he was born at Florence about the year 1475. When
Fra Bartolommeo, under the influence of Savonarola, gave
up painting and took to a monastic life, Albertinelli com-
pleted some of his unfinished pictures, and acquired much
of the style of II Frate, especially his taste for tone or
chiaroscuro. Albertinelli was of an impatient character,
and being offended with the criticisms which were passed
on his works, for a time gave up painting, says Vasari, and
turned publican. He died at Florence about 1 520, having
shortened his life by dissipation.*
No. 645. THE VIRGIN AND CHILD, seated ; entire small
figures.
On wood, 6 in. h. by 4 in. w.
Purchased from M. Edmond Beaucousin at Paris, in 1 860.
ALLORI.
CRISTOFORO ALLORI, the son of Alessandro, was bom
at Florence in 1577, and was sometimes called Bronzino,
after his great uncle. He left his father to study under
Gregorio Pagani, one of the reformers of the Florentine
school, and a good colourist. Cristoforo had a dislike to the
anatomical school of Michelangelo, to which his father be-
longed. He was fastidious in his execution, and exceed-
ingly elaborate ; his style was well suited to portraits, in
which he was excellent ; he was also a skilful landscape
painter, and he is said to have made some copies, with
slight alterations in the back -grounds, of Correggio's Mag-
dalen, which have passed as duplicates by Correggio. His
pictures are not numerous ; among his masterpieces is the
* Vasari, Vite de' Pittori, 8fc.
B 2
20 ALUNXO.
"Judith with the Head of Holophernes/' in the Pitti
Palace, iu which the Judith is said to have been painted
from his own mistress, and the head of Holophernes from
himself; the picture was in the Louvre in 1814, and was
engraved by Gandolfi for the " Muse'e Napoleon." Cristoforo
died at Florence in 1621.*
No. 21. PORTRAIT OF A LADY, in a white bodice with
red sleeves, and a head-dress richly ornamented with gold :
the red sleeves are relieved by a green curtain, which con-
stitutes the back-ground.
Engraved by J. Jenkins, for Jones's National Gallery. On
panel, 1 ft. 1 1 in. h. by 1 ft. 6| in. w.
From the collection of the Duke of San Yitale, at Parma,
whence it was procured by the Rev. W. IT. Carr, who bequeathed
it, in 1831, to the National Gallery.
ALUNNO.
NlCCOLO ALUNNO (Nicolaus Alumnus) of Foligno, painted
from 1458 to 1499. There are several pictures bearing the
signature " Nicolai Fulginatis opus/' but as there was
apparently another Niccolo of Foligno called Deliberatore
living at the same time, it is not always possible to dis-
tinguish their works with certainty. Niccolo was one of
the principal Umbrian painters of his time ; the pictures
attributed to him are in tempera, (he did not paint in oil,)
and are bright and pure in colour: he painted directly from
nature, then an unusual practice, and the few works that
remain have great merit for their period. There are still some
remnants of the Pieta in the Cathedral of Assisi, in which
were the weeping angels admired by Vasari in the life of
Pinturicchio. One of his best remaining pictures is a Madonna
and child with a choir of angels, in the gallery of the Brera
at Milan, and engraved in Rosini's History of Italian Painting
with the date 1465 : another is still in San Niccolo di Foligno,
the predella of which is in the Louvre at Paris. Rumohr
attributes all pictures signed " Nicolai Fulginatis opus,''
or similar signature, to Alunno ; who is further, by Mariotti,
assumed to have been the master of Pietro Pemsrino.
* Baldinucci, Notizie dc Professor! del Diseyno, be. ; Lanzi, Storia Pit-
torica, $c. ; Fiorillo, Geschichte der Malerei in Twcana, vol. I.
ANGELICO. 21
Pinturicchio and Andrea di Luigi are also supposed to have
been the scholars of Niccolo Alunno.*
No. 247. " ECCE HOMO." Christ crowned with thorns ;
the hands crossed on his breast: bust on a blue ground.
In the glory around the head are the letters YHS. XPS.
NAZ. Jesus Christ of Nazareth : and on the outer edge of
the ground, the words of the Vulgate from Paul's Epistle
to the Philippians. IN NOMINE JEU OMNE GENU FLECT. :
CELESTIUM TERRESTRIUM ET INFENO. : In nomine Jesu omrie
genii flectatur, ccelestium, terrestrium, et infernorum.t
In tempera on wood, 8 ink. by 8^ in. w. Purchased in 1854
at the sale of M. Joly De Bammeville's Collection.
ANGELICO, FKA GIOVANNI.
GIOVANNI DA FIESOLE, commonly called from his
great piety, L'ANGELICO, and II Beato Angelico,J was born
near the Castello di Vicchio, in the Mugello, in ] 387 :
his family name was Guido. He joined the Order of the
Predicants at Fiesole in 1407, and began his career in
art, as an illuminator of manuscripts.
Fra Giovanni left Fiesole in 1409, in the pontificate of
Alexander V., and practised as a fresco painter for several
years at Cortona, where several of his best pictures are
still preserved. In 1418 he returned to Fiesole, where he
resided until 1436, when he was invited to Florence to
decorate the new Convent of St. Mark, then assigned to
the Predicants as their abode. For this convent Fra
Giovanni executed his most important works, which occu-
pied him about nine years. His brother, Fra Benedetto,
is said to have assisted him in some portions.
In 1445 he was invited to Rome by Pope Eugenio IV.,
who employed him in the Vatican, where he also painted a
chapel for that pope's successor, Nicolas V. While engaged
for Nicolas V., he was invited to Orvieto to paint the
* Mariotti, Lettere Pittorlche Perugine, &c. 8vo. Perugia, 1788. Eumohr,
Italienische Forschungen, 3 vols., 8vo., Berlin, 1827-31.
f " At the name of Jesus every knee should bow, of things in heaven, and things
in earth, and things under the earth." Phil. ii. 10. See note, p. 68, on the title,
' Ecce Homo."
J The beatification of a deceased person eminent for piety is a solemn dis-
tinction conferred by the church, and is second only to canonization.
22 ANGELICO.
chapel of the Madonna di San Brizio, in the cathedral,
which he undertook, and commenced in 1447, but left it
incomplete. He did not return to Orvieto after the autumn
of that } r ear. The chapel was completed many years after-
wards by Luca Signorelli.
Fra Giovanni returned to Rome in September 1447, and
remained there until his death in 1455. He was buried in
the Church of Santa Maria Sopra Minerva ; and the follow-
ing inscription was placed on his tomb.
Hie JACET YEN. PICTOR FR. lo. DE FLOR. ORD. P.
MCCCCLV.*
Fra Giovanni Angelico, says Vasari, was a man of such
fervent piety, that he never commenced painting without
prayer. He is still well represented in the Convent of
St. Mark, at Florence, and the Florentine academy possesses
fine collection of his smaller works. Engravings also
from his paintings are numerous.
No. 582. THE ADORATION OF THE MAGI ; OR, THE
WISE MEN'S OFFERING.
" Now when Jesus was born in Bethlehem of Judea, there came wise men
from the East" " And when they were come into the house they saw the
young child with Mary his mother, and fell down and worshipped him : and
when they had opened their treasures, they presented unto him gifts ; gold,
and frankincense, and myrrh." Matthew ii. 1,11.
A rocky landscape with a small building on the spectator's
right, near which the Virgin is seated holding the child on
er knees. Composition of many small figures.
In tempera, on wood, 7^ in. A. by 1 ft. 6^ in. w.
Formerly in the Collection of Professor Rosini, at Pisa.
Purchased from the Lombardi-Baldi Collection, at Florence,
in 1857.
No. 663. CHRIST with the Banner of the Resurrection
in his left hand, in the midst of a choir of Angels, some
blowing trumpets, others playing various musical instru-
ments. On the two sides are kneeling a great crowd of
the Blessed: the Patriarchs; the Prophets; the Madonna;
the Apostles ; and the saints and martyrs of both sexes :
at the extreme ends are the "Blessed" or Beati of the
* Vasari, Vite rfe' Pittori, $c. Ed. Le Monnier, Flor. 1846, et seq. Marchese,
Memoric dei piu insigni Pittori, fyc. Domenicani. Florence, 1845; and San
Marco Convento deiPadri Predicatori in Firenze, illustrate e inciso principal -
mente nei dipinti del B. Giovanni AnyeHco, $c. Folio, Flor., 1852.
1UKHUIZEN. 23
Order of the Dominicans, in their black robes. Altogether
two hundred ar;d sixty- six figures or portions of figures ;
many with their names attached ; " so beautiful/' says
Vasari, " that they appear to be truly beings of Paradise."*
In tempera, on wood, in five compartments each 12^ in. h. by
8^ in. 2 ft. 1 in. w. the sides respectively, and 2 ft. 4^ in w. the
centre picture.
Formerly the Predella of an altar-piece in San Domenico at
Fiesole, and sold by the monks about 50 years since to Signor
Valentini, the Prussian Consul at Rome. Purchased from his
nephew, Signor Gioacchino Valentini, at Rome, in 1860.f
BAKHUIZEN.
LUDOLF BAKHUIZEN was born at Emden, Dec. 18, 1631.
His father was a government secretary at Emden, and
Ludolf acted as his clerk until 1650, when he was placed
with a merchant at Amsterdam, to learn commercial busi-
ness. 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.
Bakhuizen'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, Bakhuizen also gave lessons in writing, in which
he had introduced a new and approved method. He died
at Amsterdam, in 1709. Ludolf Bakhuizen, called the
younger, a battle-painter, was the nephew of the subject of
this notice.
* Vasari, Ed. Le Monnier, vol. iv. p. 29.
f Rumohr in his Italienische Forschungen, ii. 253-4, notices the admirable
state of preservation, and the beautiful surface of these tempera pictures.
J That part of the Zuider Zee on which Amsterdam is situated.
Houbraken, Groote Schouburg der Nederlantsche Kunstschilders, Sfc. Am-
sterdam, 1718-21. Immerzeel, De Levens en Werhen der Hollandschc en
Vlaamsche Kunstschilders, &c. Amsterdam, 1842-3.
24 BAROCCI.
No. 204. DUTCH SHIPPING. A Dutch ship of war,
tiring a salute ; with fishing-boats, and other vessels, in a
fresh breeze, off the Dutch coast.
On canvas, 3 ft. 4$ in. h. by 4 ft. 6 in. w.
Bequeathed to the National Gallery, in 1846, by Mr. Richard
Simmons.
Sined and dated
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. ol in. /*. by 3 ft. o^ in. w.
Bequeathed to the National Gallery by Mr. Charles L. Bredel,
in 1851.
BARO'CCL*
FEDERIGO BAROCCI, called also BAROCCIO, was bom at
Urbino, in the Papal State, in 1528. His father Anibrogio
Barocci, a sculptor, originally of a Milanese family, gave
him his first instruction in design ; he was .afterwards
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, Avho taught him perspective, to Pesai o,
then under the dominion of the Dukes of Urbino ; 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.
After his return to Urbino, he painted several pictures
which gained him great reputation.
In 1560, he returned to Rome, and was employed in
* The mark here inserted against the second vowel is not an accent, but
merely a guide to the emphasis in pronunciation of the name, as on all other
occasions where it so occurs in this catalogue. It may not he superfluous to
add, for the benefit of the reader unacquainted with Italian pronunciation, that
in all Italian words c before e or i is pronounced ch, and t as the letter e in
English, as ci-che ; cli on the contrary in Italian is pronounced as k, and e as a
in English, a* che-Aa.
BAROCCI. 25
the following year by Pius IV., with Federigo Zuccaro, in
the Vatican. While engaged in this work he was nearly
poisoned, by some rival, as supposed. Though the attempt
failed, it wholly 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 it
impossible for him to work for more than two hours in the
day. From the period of this misfortune, with the exception
of three years passed at Perugia, and 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 merits and reputation.
Barocci painted almost exclusively religious subjects; he
executed several large and excellent 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.
Barocci is generally said to have founded his style upon
the works of Raphael and Correggio : his works have con-
siderable resemblance to those of Correggio 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-niarine.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/ "+ 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
* Mengs, Hinterlassne Werke, vol. i. p. 252.
t Bellori, Vite de' Pittori, Scultori, ed Arcliitetti moderni, $c. Home, 1672.
Baldinucci, Notizic de 1 Profcssori del Discgno da Cimabue in qua. Florence,
1681-88.
Sir J. Reynolds, Notes on Du Fresnoijs Art of PainUny, notelv.
26 BASAITI.
into the picture. Though the subject is 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
Virgin, 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.
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. H. Carr, who bequeathed it, in
1831, to the National Gallery. There are several old copies of it.
BASAITI.
MARCO BASAITI, a Venetian painter, was born in Friuli
according to some writers, of Greek parents. He was
the contemporary, and in some respects the rival, of
Giovanni Bellini ; the circumstances of his life are unknown.
His pictures, several of which are preserved, are signed
M. Baxit, Marcus Baxaiti, and Marcus Basaiti. He
painted from about 1470 until 1520: Moschini mentions
a picture with the latter date. An altar-piece, representing
the " Callingof St. Peter and St. -Andrew," painted in loll,
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 back-grounds, which,
according to Zanetti, he contrived to unite with his figures
more skilfully than his contemporaries. As one of the
early Venetian oil-painters he may be regarded as having
BASSANO, J. 27
successfully adopted the del acy and brilliancy of the
Flemish masters of the fifteenth century.*
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, 18 in. h. by 13 in. w.
Purchased from M. Marcovich, in Venice, in 1855.
No. 599. THE INFANT CHRIST ASLEEP ON THE LAP OF
THE VIRGIN, who is seated on the ground in a meadow and
adoring the child. Behind are some goats and cattle pas-
turing ; in the back-ground 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 Signer Acliille Farina in 1858.
BASSA'NO, JA'COPO.
JACOPO DA PONTE, commonly called II 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 Par-
migiano, 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 engage-
ments required. He died at Bassano, Feb. 13, 1592.f
The works of Bassano are conspicuous for Venetian ex-
cellence of colour, and for masterly chiaroscuro ; and some
of his best pictures are not unworthy of Titian. In a few
years, however, he forsook what may be termed the grand
style, for one more in unison with untutored apprehensions,
* Zanetti, Delia 'Pittura Veneziana, p. 73. Moschini, Guida per la
Citta di Venezia, vol. 1 . p. 11.
t Ridolfi, Le Maraviglie dell' Arte, ovvero le Vite degli illustri Pittori Veneti,
e dello Stato. Venice, 1648 ; Verci, Notizie intorno alia Vita e alle Opere de
Pittori, Scnltori, ed Intagliatori della citta di Bassano. Venice, 1775 ; Lanzi,
Storia Pittorica dell' Italia. Florence, 1822.
28 BASSANO, J.
and characterised by the introduction of all sorts of familiar
objects, whatever may be the subject of the picture. He
was perhaps the earliest Italian (/e?M'e*-painter. Even
when he painted religious subjects from the Old or New
Testament, which he frequently did, he treated them as
familiar scenes of his own time. He excelled in land-
scape and animals, particularly the latter, in which he took
great delight, introducing them on all occasions when ad-
missible with, or even without, propriety. His works are
very numerous in the Venetian State, and they are not
uncommon in picture-galleries generally : his masterpieces
are considered the Nativity, at San Giuseppe, and the
Baptism of Santa Lucilla, at Santa Maria, delle Grazie, in
Bassano. Portraits by Jacopo Bassano are comparatively
rare. Of his four sons Francesco, Giainbattista, Leandro
arid 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. 11 in. //. by 3 ft. 2 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,
* Genre is a term borrowed from the French, for "which we have no equi-
valent in English. As it is a term of frequent occurrence in works which treat
of painting, an explanation of it may not be out of place here. Strictly speaking
a peintre de genre, or //cnre-painter, signifies a painter ef any particular class
of subject ; and, according to some explanations, any painter except an his-
torical painter but this is a meaning too vague for any critical purpose. Com-
mon usage has now limited the signification of the term genre-painting to a less
elevated class of painting. The full expression is apparently peintre du genre
has, painter of a low class of subjects, which occasionally occurs (Millin, Dic-
tionnaire des Beaux-Arts, vol. iii. p. 1GO). It does not however follow that a
genre-picture is low in its subject ; yet, it must be a picture of some familiar
object, or ordinary custom or incident ; and every such picture which does not
belong to any other recognised class of paintings, as history, portrait, animal,
landscape, marine, fruit and flower, or still-life, but which may nevertheless be
something of all, is a genre-picture.
The Dutch have hitherto b<:en the great genre- painters; indeed, their pictorial
lame is so closely associated with this class of painting, that genre and the Dutch
style are nearly synonymous.
BELLINI, G. 29
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. /*. 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
Leviteis seen in prayer behind.
On canvas, 3 ft. 4 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. Kogers's pictures, in 1856.
BELLI'NI, GIOVA'NNI.
GIOVANNI BELLINI, the most distinguished of the quattro->
centisti, or painters of the fifteenth century, at Venice, was
born in that city about 1426. He was the son and pupil ot
Jacopo, and the younger brother of Gentile, Bellini, both
distinguished painters in their time, but inferior to Giovanni.
Bidolfi observes, that the style of Giovanni was an aggregate
of al I that was beautiful in painting in his time ; and Lanzi
remarks, that had his outline been less hard, he would have
been a just representative of even the modern or cinquecento
style that of the great masters of the sixteenth centuiy.
His style is individual, and rather full than meagre in
form ; it is positive in colour, and is distinguished for much
detail of costume and ornament. His works, which are still
very numerous, though probably many have perished, range
in their dates from 1464 to 1516. The celebrated pictures
described by Vasari, which he painted with his brother
Gentile and with Luigi Vivarini, in the Sala del Gran Con-
siglio, in the ducal palace of Venice, were destroyed by fire
in 1 577. They were, however, replaced by others painted
by the great Venetian masters of the sixteenth century.
Giovanni Bellini's earlier works were executed in. tem-
pera ; but upon seeing some of the oil pictures of Antonello
da Messina, who settled in Venice about 1470, he perceived
the great advantage of the new method, and, according
to a story told by Ridolfi, he disguised himself as a Vene-
tian cavaliere, sat to Antonello for his portrait, and by
watching the paintf v' s proceedings during the sittings, con-
30
BELLINI, G.
trived to discover his secret.* Bellini's best works are in oil,
and consist chiefly of Madonnas and portraits. The last
picture painted by Joannes Bellinus, as he wrote his name,
is the Madonna of Santa Giustina at Padua, mentioned by
Brandolese and others, which bears the date 1516. Ridolfi
erroneously states that his last picture was the Bacchanalian
piece, painted in 1514 for Alfonso I. of Ferrara, long pre-
served subsequently in the Aldobrandini Villa at Rome, and
now in the collection of the Duke of Northumberland.
Giovanni died without finishing it, and it was completed
by Titian, who painted the landscape back-ground to it.
Giovanni Bellini died at the advanced age of 90, November
29, 1516.f Albert Diirer, who was in Venice in 1506,
describes him in a letter to Pirkheimer, though very old,
as the best of all the Venetian painters. Giorgione and
Titian were two of his many eminent scholars.^
No. 189. BUST PORTRAIT OF THE DOGE LEONARDO
LOREDANO, IN HIS STATE ROBES. He died in 1521, having
filled the office of Doge from 1500. Joannes Bellinus is
written on an unfolded scrip of paper, or cartellino :
* It must have been after 1473 that Giovanni practised the new method ;
for according to Zanetti, the first oil picture known to have been executed in
Venice by a Venetian master was painted in that year, by Bartolommeo Vivarini,
for the church of SS. Giovanni e Paolo. It does not appear that Antonello
executed many pictures in Venice during his first visit there on his return from
Flanders, about 1445 ; and Domenico Veneziano, to whom he communicated
his secret about 1451, was soon invited to Florence, where he was afterwards
employed. Lanzi (vol. i.) appears to think that Domenico painted several
pictures in Venice after his acquaintance with Antonello. Had this been the
case, or had Antonello made known his secret at once to others besides
Domenico (as Vasari in one place seems to say), oil painting must have been
practised in Venice much earlier than 1473. The first oil pictures known to
have been executed in Italy by Italian artists, in consequence of Antonello's
communication, were those (now no longer existing) by Domenico Veneziano
and Andrea del Castagno on the walls of the Portinari chapel in Santa Maria
Nuova, at Florence. The execution of those works must have taken a con-
siderable tune, the middle period of which may have been about 1460.
f Cadorin, Dello Amorc ai Veneziani di Tiziano Vecellio, Venice, 1833.
j Vasari, Vite, &c., and Schorn's translation Leben der ausgezeichnetsten
Maler, &c., Notes ; Ridolfi, Le Maraviglie deW Arte, &c. ; Zanetti, Delia
Pitlura Veneziana, e delle opcre pubbliche de' Veneziani Maestri, Venice,
1771 ; Lanzi, Storiu Pittorica dell Italia; Von Murr, Journal der Kunstge-
sckichte, vol. x. p. 7.
BELLINI, SCHOOL OP BERCHEM.
On wood, 2 ft. h. by 1 ft. 5| in. w.
This picture was formerly in the Grimani Palace at Venice,
whence it was brought to England by the late Lord Cawdor. It
passed subsequently into the possession of Mr. Beckford, from
whom it was purchased 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. Landscape back-ground. Inscribed on
an unfolded scrip of paper, on a coloured marble screen
below, JOANNES BELLINUS, P.
10HNUE
vslf
On wood, 2 ft. 1 If in. h. by 2 ft. 1^ in. w. Engraved by L. Boscolo.
Purchased from the Baron Galvagna, in Venice, in 1 855.
OF THE SCHOOL OF GIOVANNI BELLINI.
No. 234. A WARRIOR ADORING THE INFANT CHRIST.
On the left is the Virgin seated, with the Infant Christ
on her knees ; St. Joseph leans on a low wall behind. In
the centre of the picture a knight in armour, with a turban
on his head, is represented kneeling on a carpet in the act
of adoring the divine infant : in the back ground to the
right, behind a parapet wall, is a servant holding the horse
of the Knight, in the distance a hilly landscape, with a
church and probably a convent. Six figures, small life-
size.
On canvas, 5 ft. 1 in. h. by 8 ft. 7 in. w.
Formerly in the collection of Mr. Samuel Woodburn, by whom,
as well as by many others, it was attributed to Giorgione. Con-
noisseurs are agreed that it is, at all events, of the School of
BeDini, and it is therefore for the present, so classed. It was
purchased for the National Gallery at the sale of Mr. Woodburn's
collection in 1853.
BERCHEM.
NICOLAS BERGHEM, or rather BERCHEM as the Dutch
write it, was born at Haarlem in 1624 ; where he also died,
Feb. 18, 1683. He had many masters, aroong whom were
32 BISSOLO.
his father Pieter Klaasze, Jan Van Goyen, J. B. Weenix,
and Jan Wils, whose daughter he married. Bercham
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 sup-
posed 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 after,
noon, 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, and which are very scarce. Berchem was a nick-
name or surname that originated with himself: it is
variously accounted for.*
No. 240. CROSSING THE FORD, a hilly scene with clumps
of trees ; figures and cattle, sheep, &c. crossing a stream in
the fore-ground : sunset.
On wood, 11 J in. h- by 1 ft. 5* in. ID.
Bequeathed to the National Gallery by Lord Colbornc, in 1854.
Signed- ( g
AJfrrAem. in.* tr~
BISSO'LO.
FRANCESCO BISSO'LO, of the school of Giovanni Bellini,
painted at Venice in the early part of the sixteenth century,
about 15001528. Very few of his pictures are known,
but these are distinguished for a delicacy of execution and
a fine feeling for colour. The Venetian Academy possesses
* Houbraken, Groote Scliouburg der Nederlantsclie KoTistschilders, &c.,
3 vols., 8vo., Amsterdam, 1719. Van Eynden ard Vander Willigen, Ges-
chicdenis der Vaderlandsclie Schiller kvnst, sedert de helft der X V1I1. teuw,
4 vols., 8vo., Amsterdam, 1842. Immerzeel, De Let-ens en Werken der
Hollands-he en Vlaumsclte Knnstscliilders, &c., 3 vols., 8vo., Amsterdam,
1842-3. Bartseh, Pelntre-Ururrur, 21 vols., 8vo., Vienna aud Leipzig,
1803-21, vol. v.
BOL. S3
a fine picture of " Christ exchanging the crown of thorns
of St. Catherine of Siena for a crown of gold ;" it is signed
Franciscus Sissolo, 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 MDXXVIIL*
No. 631. PORTRAIT OF A LADY, with blond hair con-
fined in a net, and in a rich dress of embroidered Byzantine
stuff. Bust.
On wood, 14^ in. h. by 12 in. w.
Pin-chased from M. Edmond Beaucousin, at Paris, in 1860.
BOL.
FERDINAND BOL was born at Dort in 1611, and became
the pupil of Rembrandt at Amsterdam, where he acquired
the rights of a burgess on the 24th of January 1C52. He
is distinguished chiefly as a portrait painter, and his
pictures are remarkable for a prevailing yellow tone. He
died rich at Amsterdam, in 1681.f He generally signed Sol
or Sol fecit, the B being composed of an F and a B combined.
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. k. by 4 ft. 41 in. w.
Presented in 1862 by Miss E. A. Benett.
Signed
* Zanetti, Delia Pittura Veneziana, Sfc. ; Moschini, Guida di Venezia. In
some accounts Bissolo's Christian name is given as Pier Francesco.
f Houbraken, Groote Schouburg, &c. Scheltema, Rembrand. Redevoering, &c.
p. C9 ; French Translation of Burger, p. 53.
C
34 BORDONE.
BORDONE.
PARIS BORDONE, Cavaliere, of a noble family of Treviso,
was born in 1 500, and learnt painting for a short while in
the school of Titian at Venice. He became an imitator of
Giorgione, and obtained great distinction for his female
portraits, and about 1538 was invited by Francis I. to
France, where he painted many of the ladies of the French
court ; and he had the art, says Ridolfi, of making such
works appear more like fancy pictures than portraits,
Bordone painted also historical pictures as well as portraits;
his masterpiece is the large picture in the Venetian Aca-
demy, of " The Fisherman presenting the Ring of St. Mark
to the Doge." He died at Venice on the 19th of January,
1571, and was buried in the church of San Marziale.
No. 637. DAPHNIS AND CHLOE, a Greek shepherd and
shepherdess, seated on a bank among some trees ; Chloe,
who holds the pipes of Daphnis in her hand, is about to be
crowned by Cupid with a wreath of myrtle. From the
Greek of Longus.
On canvas, 4 ft. 5^ in. h. by 3 ft. 11 in. ?.
Purchased from M. Edmond Beaucousin, at Paris, in 1860.
No. 674. PORTRAIT OF a LADY, of the Brignole family
of Genoa ; she has yellow hair, is dressed in a crimson
gown with a low body and long sleeves, and has on a pearl
necklace ; her right hand rests on her side, in her left she
holds a chain; in the back-ground is seen a portion of a
hospital at Genoa. Inscribed ^ETATis. STL.E . ANN. xvim. ;
and lower down PARIS . B. O. Front view, half length
life size.
On canvas, 3 ft. 5 in. h. by 2 ft. 9 in. to.
Purchased from the Duca di Cardinale, at Naples, in 1861.
PARIS
o-
BORGOGNONE.
AMBROGIO BORGOGNONE, called also Ambrogio da Fos-
sano, from his birthplace in Piedmont, was born probably
about 1455. He was distinguished as architect and painter,
and was employed on the faade of the Certosa or Carthu-
sian convent near Pavia very early in his career, but
BORGOGNONE. .*}.>
scarcely before 1475.* The earliest known date on any of
his paintings is 1490 : he appears to have been engaged
many years at Pavia, from about 1475 to 1493.
Lanzi, and others, have assumed Ambrogio da Fossano,
the architect, and Ambrogio Borgognone, the painter, to
have been distinct persons, but existing signatures on pic-
tures show that they are designations of the same artist :
the altarpiece of the " Crucifixion," in the Certosa of Pavia,
by this painter, is signed Ambrosius Fosanus,pinxit 1490,
May 14 ; a picture of the " Baptism of Christ," in the
sacristy of the church of Melegnano, is signed Ambrogio da
Fosano Brgognone; and an "Assumption of the Virgin,"
in the Brera at Milan, is signed and dated Ambrosio
Bgogoj, 1522. In the Berlin Gallery is a " Madonna and
Child enthroned," which was formerly in the Solly collec-
tion, signed Ambrosii Bergognoni, op.
Borgognone's works, scarce out of the Milanese, a,re in
fresco and in tempera ; they are very refined in their
forms, and delicate and pallid in their colouring. There is
no satisfactory account of him by any early writer ; Lo-
mazzo merely mentions him as a Milanese painter worthy
of being celebrated, though he executed several considerable
works at Milan, some of which are still preserved, as in
San Simpliciano, Sant' Ambrosio, San Satiro, Sant' Agos-
tino, and other churches.f
No. 298. THE MARRIAGE OF ST. CATHERINE OF ALEX-
ANDRIA. The Virgin is taking the hand of and presenting
St. Catherine of Siena to the Infant Christ, who, standing
on his mother's knee, holds a ring in each hand. While
placing one ring on the finger of St. Catherine of Alex-
andria, standing on his right, he extends the other towards
St. Catherine of Siena, habited as a nun, on his left. The
virgin is seated between the two saints, enthroned under a
marble canopy of rich cinquecento architecture. . Four
figures small life-size.
In tempera, on wood, 6 ft. 7 in. h. by 4 ft. 3 in. w.
Originally in the chapel of Robecchino, near Pavia, and for-
merly under the rule of the Certosa : purchased out of that
chapel from Signor Carlo Taddeo of Pavia, in 1857.
* Malaspina, Guida di Pavia, 1819, p. 113, says about 1473, but considering
that Borgognone was painting in 1522, this date, which is not fixed by docu-
ments, appears to be too early.
t Lomazzo, Trattato della Pittura, &c., ed. 1844, vol. iii. p. 297 ; Torre, 11
Ritraito di Milano, 1714, pp. 48, 173 ; Pirovano, Milano Nuovamente descritta,
&c., 1824 ; Rio, Leonard de Vinci et son Ecole, 1855, ch. 3.
36 BOTH.
BOTH.
JAN or JOHN BOTH was born at Utrecht about 1610. He
and liis younger brother Andries, or Andrew, botli learnt
the first rudiments of their art under their father, a painter on
glass, who placed them afterwards with Abraham Bloemart.
The two brothers visited France and Italy together, and
spent some time in Rome. Jan was an excellent landscape
painter, and Andries embellished his landscapes with figures
and cattle, which his brother had little skill in painting.
Andries Both fell into a canal at Venice, and was drowned,
in 1650; Jan returned to Utrecht, and died there in 1656.*
No. 71. LANDSCAPE, A PARTY OF MULETEERS, WITH
LADEN MULES: MORNING. Mountain scenery ; a dark
picturesque rocky fore-ground, with a lake in the middle-
ground, and blue mountains in the distance, contrasting
forcibly with the fore-ground.
Engraved by W. Byrne; and by J. C. Bentley, for Jones's
National Gallery, On canvas, 3 ft. 9 in. h. by 5 ft. 3 in. w.
Signed, J. Both,/.
Presented to the nation, in 1826, by Sir George Beaumont.
No. 209. LANDSCAPE, WITH FIGURES. A rocky and
woody landscape, with figures by Cornelis Poelenburg,f
representing the Judgment of Paris.
On canvas, 3 ft. 3 in. h. by 4 ft. 3 in. w. Signed, J. Both.
Bequeathed to the National Gallery, in 1846, by Mr. -Richard
Simmons.
* Sandrart, Teutsche Academie, 167"). Houbraken has corrected the mistakes
of some writers respecting these painters, in his Groote Schouburg der Neder-
lantsche Konstschilders, Sec., Amsterdam, 1718-21; Descamps, La Vie <les
Peintres Flamands, Allemands et HoUandois, Paris, 1753-63.
f Poelenburg was born at Utrecht in 1586, and studied first under Abraham
l*l,,i,nvirt nnrl nftdrwnrrU in Ttalv Tip rlipd fit TTtrpfht in
LOTTICELLI. 37
BOTTICELLI.
SANDRO or ALESSANDRO FILIPEPI, commonly called
BOTTICELLI, after his first master, who was a jeweller, was
born at Florence in 1447. He studied painting under Fra
Filippo Lippi, and became one of the most celebrated
painters of the fifteenth century, though all his works are
characterized by that hardness of manner common to most
of the painters of this time, and known among the Italians
by the term quattrocentismo. He was one of those employed
at Rome about 1480-84, to decorate the Vatican Chapel,
then recently completed by Pope Sixtus IV., and which was
afterwards known by the name of the " Sistine Chapel."
Botticelli's competitors on this occasion were Cosimo Rosselli,
Domenico Ghirlandajo, Luca Signorelli, and Pietro Perugino.
The three frescoes of Botticelli, illustrating the life of Moses
and the temptation of Christ, are still in a good state of
preservation.
The pictures of this painter, in tempera, and nearly all on
wood, are generally distinguished for the appropriate ex-
pression and the fine drawing of the faces. Many of his
best works are still preserved in the public galleries of
Florence.
He died poor at Florence in 1515, and was buried in the
church of Ognissanti.*
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, kneeling by her side, is
adoring the Divine Infant. Five figures, small life-size.
In tempera, on wood, circular ; 3 ft. 8^ in. in diameter.
Formerly in the possession of the Polli family, at Florence,
where it was purchased for the National Collection of Mr.
J. H. Brown, in 1855.
No. 275. THE VIRGIN AND CHILD, ST. JOHN THE
BAPTIST AND AN ANGEL. The Virgin richly dressed in
gold brocades, is holding the Child to her bosom. St.
John and the Angel are standing one on each side, a little
behind the Virgin, in the act of adoring the Divine Infant.
Half-figures, small life-size.
In tempera, on wood ; circular, 2ft. 9 in. in diameter.
* Yasari, Vite de Fitlori, Sfc. Ed. Flor. 184G et seq.
38 BOURDON.
This picture appears to have originally belonged to the cele-
brated architect Giuliano da San Gallo ; his name, in the manner
and orthography of the 16th century, is written on the back
M. Giuliano da San Ghallo.* In the last century it was the
property of the Abate Carlo Bianconi, Secretary of the Academy
of the Arts at Milan, who died in 1802 ; when the picture passed
into the possession of Professor Gio. Giuseppe Bianconi of Bologna,
from whom it was purchased for the National Collection in
October 1855. It is mentioned in Bassani's Guida per Bologna,
1816, as a work of Ghirlandajo.
BOURDON.
SEBASTIEN BOUKDON was born at Montpellier in 1616.
He was instructed by his father, and exhibited great ability
at a very early age ; he painted a ceiling in fresco in a chateau
near Bordeaux, in his fourteenth year. He studied afterwards
at Paris, and subsequently three years at Rome ; and obtained
great reputation, in 1643, by his celebrated picture of the
Crucifixion of St. Peter, which was originally placed in the
Cathedral of Notre Dame, at Paris, but is now in the Louvre.
Bourdon was a Protestant, and being anxious to avoid the
troubles of the civil wars of the time, he went in 1652 to
Sweden, where he was appointed by Christina her principal
painter. On the abdication of Christina he returned to France,
and in 1663 again settled in Paris, where he executed many
works in different styles, history, landscape, and genre, by
which he added greatly to his reputation. He was one of
the original twelve anciens of the old academy of painting
established at Paris in 1648 : he died rector of the academy
May 8, 1671.
The landscapes of Bourdon somewhat resemble those of
Salvator Rosa, and have a wild melancholy character. In his
historical works colour and effect appear to have engrossed
more of his attention than form ; his less finished works, says
D'Argenville, are his best. Bourdon has also executed many
masterly etchings, the most celebrated of which are the
" Seven Acts of Mercy." f
* Vasari, Vitc, $r., notices San Gallo as a possessor of -works of Art in two
instances ; in the life of the brothers San Gallo, and (in the first edition) in the
life of Masaccio.
( D'Argenville, Abrfye de la Vie des plus fameux Peintres, Paris, 1745-52 ;
Gault de Saint-Germain, Les Trois Siecles de la Peinture en France, Paris,
1808. Robert Dumesnil, Le Peintre- Graveur Franqais, vol. i. 1835, describes
forty-four etchings by Bourdon.
BRONZING. 30
No. 64. THE BETURN OF THE ARK FROM CAPTIVITY.
The Philistines " took two milch kine, and tied them to the cart . . ., and they
laid the ark of the Lord upon the cart, and the coffer with the mice of gold, and
the images of their emerods. And the kine took the straight way to the way of
Beth-shemesh, and went along the highway, lowing as they went, and turned not
aside to the right hand, or to the left ; and the lords of the Philistines went after
them unto the border of Beth-shemesh. And they of Beth-shemesh were
reaping their wheat harvest in the valley : and they lifted up their eys, and
saw the ark, and rejoiced to see it. And the cart came into the field of Joshua,
a Beth-shemite, and stood there, where there was a great stone." 1 Samuel,
vi 10-14.
A dark rocky landscape, intersected by a large river : in
the middle-ground is the " great stone of Abel," and by the
side of it is the city Beth-shemesh. The ark is represented in
the fore-ground as having crossed the river ; the car having
stopped near the " great stone " : the five lords of the Phi-
listines are on the bridge over which the ark has passed :
the Beth-shemites are rejoicing, and returning thanks for its
restoration-
Engraved by J. C. Varrall, for Jones's National Gallery. On
canvas, 3 ft. 5 in. h. by 4 ft. 5 in. w.
This picture was long in the possession of Sir Joshua Reynolds,
and was much admired by him. He instanced it, and a picture of
"Jacobs Dream" by Salvator Rosa, as happy examples of the
poetical style of landscape, in his discourse on the character of
Gainsborough to the students of the Royal Academy in 1788.
It was bequeathed by Sir Joshua to Sir George Beaumont, by
whom it was presented to the nation in 1826.
BRONZFNO, ANGELO.
ANGELO BRONZI'NO was born at Monticelli, in the neigh-
bourhood of Florence, in 1502. Having acquired the rudi-
ments of his art from an obscure painter, he became the
scholar, first of RafFaellino del Garbo, and subsequently of
Jacopo da Pontormo, some of whose works, left unfinished,
Bronzino completed. He executed several works, in fresco
and in oil, in the public buildings of Florence and its
vicinity ; but is now, though not a good colorist, most
appreciated as a portrait painter, in which capacity he was
much employed by the Grand Duke Cosmo I. Many of
Bronzino's portraits of the Medici family are still preserved
at Florence. Of his more important works now remaining,
the picture of "Limbo," or "The Descent of Christ into
Hell," in the Gallery of the Uffizj at Florence, is the most
celebrated. He was a devoted admirer of Michelangelo,
and was also the intimate friend of Vasari. Bronzino died
40 CANALETTO.
at Florence, towards the close of the year 1 572, aged sixty-
nine, He was both poet and painter, and was a member of
the Florentine academy.*
No. 65 O. PORTRAIT OF A LADY, in the rich costume of
he sixteenth century, holding up her hand before her ; she
s dressed in a gold-quilted white satin bodice, with a blue
velvet gown, the body and sleeves of which are embroid-
ered with gold ; on her neck is a pearl necklace supporting
a cross. Three-quarter length, life-size.
On canvas, 3 ft. 8 in. h. by 2 ft. 7 in. IP.
No. 651. YEXUS, CUPID, FOLLY, AND TIME. AN
ALLEGORY. Venus with the apple of Discord in her hand
is reclining on a piece of blue drapery on the ground, and
turning her head to kiss Cupid, kneeling behind her ; Folly
unconsciously treading on a thorn is preparing to throw a
handful of roses at them ; behind is Time unveiling Envy
and other evils ; a Harpy offering a piece of honeycomb in
one hand is holding her sting behind her in the other. In
one lower corner are some doves, in the other human masks.
Seven figures, life-size.
On wood, 4ft. 9 in. h. by 3 ft. 9 in. w.
Both purchased from M. Edmond Beaucousin at Paris, in
1860. The latter was originally painted for Francis I. of
Francef : it was subsequently in the collection at Althorp.
CANALE'TTO.
ANTONIO CANAL, commonly called CANALETTO, was born
in Venice, in 1697. His father, Bernardo Canal, was a
scene-painter, and Antonio practised the same art for several
years : he, however, gave it up while still young, and went
to Rome, where he devoted the whole of his time to the
study of architectural views and ancient ruins. He was
accompanied while at Rome by his nephew and pupil,
Bernardo Bellotto, who painted similar pictures to those of
his uncle, and is known by the same name ; whence the
works of the two are often confounded together. After his
* See Vasari, Vite, fee., among the notices of the Academicians; and Borghini,
JlHiposo, vol. iii. p. 79. Borghini mentions that some of Bronzino's burlesque
pieces were published with the works of Berni in 1723, at Naples, but with
Florence on the title page.
t See Vasari, Vite, &c. Ed. Le Monnier, vol. xiii. p. 164, where he
describes it as a picture of singular beauty, quadra di simjolare bellezza.
CANALETTO. 41
return to Venice, Canaletto painted pictures of that city,
one of the most remarkable of which is a view on the
Grand Canal, in which he has substituted a design by
Palladio for the Rialto instead of the actual scene ; he took
also other liberties with the disposition of the buildings.
Tiepolo occasionally painted the figures in his pictures.
In 1746 he came to England, and remained here two
years. Walpole possessed an interior of King's College
Chapel, Cambridge, hy him. His nephew was in the same
year made a member of the Academy of Dresden, Avhere
he was known by the title of Count Bel lotto. He painted
many pictures there : twenty-five of them are still pre-
served under the name of Canaletto, in a distinct collection
at Dresden. He died at Prague in 1780. Canaletto, the
uncle, died at Venice in 1768, aged 71.* Many of his
works have been engraved, especially his Venetian views, of
which there are three sets, one by himself, another by
Vicentino, and a third by Fletcher and Boitard.
The two Canaletti painted so much alike that it is very
difficult to distinguish their works. Bellotto being long
the pupil of his uncle, completely acquired his manner of
execution. Canaletto's style is architectural portraiture,
distinct in forms, individual in colour, and effective in light
and shade ; it displays so much or so little of contrivance,
that, as Lanzi has remarked, the common observer perceives
nature, and the artist art in his works. He used the camera
lucida, which, says Lanzi, he was the first to apply to its
proper use, to the linear perspective only ; aerial effects he
commonly painted from nature.
No. 1Z7. A VIEW IN VENICE. In the fore-ground are
the sheds and yard of a stone mason ; in the middle distance
are a quay and a portion of the grand canal, with gon-
dolas upon it ; beyond these are various -buildings, the most
conspicuous is a tall cainpanile, next to which are the old
buildings of the Scuola della Carita erected in 1349, now
much altered, and known as the Accademia delle Belle
Arti.
* Zanetti, Della Pittura Veneziana, &c. ; Lanzi, Slorta Pittorica, &c. ;
Matthay, Beschreibuny der ncu errichteten Sammlung Vatcrlandischer Prospecte
von Alexander Thielc und Canaletto, Dresden, 1834.
42 CAHAVAGGIO, M. DA.
Engraved by II. Le Keux, in the series of prints published for
the 'Associated Engravers;' and by E. Challis, for Jones's National
Gallery. On canvas, 4 ft. h. by 5 ft. 4 in. w.
Presented to the nation, in 1826, by Sir George Beaumont, Bart.
No. 163. A VIEW ON THE GRAND CANAL, VENICE. The
church, which is a principal feature in this picture, was
built in the early part of the last century, (I^IS-SS,) from
the designs of Giovanni Scalfarotto ; it is dedicated to Saints
Simon and Jude, Apostles, and is known by the name of
San Simeone Piccolo.
On canvas, 4 ft. 1 in. h. by 6 ft. 8^ in. w.
Bequeathed to the National Gallery, in 1838, by Lord Farn-
borough.
CARAVA'GGIO, M. DA.
MICHELANGELO MERI'GI was born at Caravaggio in the
Milanese, in 1569, and on this account is generally known
as Michelangelo da Caravaggio. His father was a mason.
He maintained himself for about five years painting
portraits at Milan ; he then went to Venice. From
Venice he proceeded to Rome ; but there, owing to his
poverty, he could not procure the requisite materials to
produce a picture ; he therefore entered the service of the
Cavaliere Cesare d'Arpino, who employed him in painting
fruit and flowers and other ornamental parts of his own
works. Caravaggio at length produced the celebrated pic-
ture of " II Giuoco di Carte/' or the Card-players, which
was purchased by the Cardinal del Monte. He also painted
about this time several oil pictures for the Contarelli Chapel,
in the Church of San Luigi de' Francesi. His first altar-
piece in this chapel, " St. Matthew writing the Gospel," was
removed by the priests as too vulgar for such a subject:
Caravaggio painted a second, which gave satisfaction, and
the first was purchased by the Marchese Vincenzio
Giustiniani. His masterpiece at Rome is " The Pieta/' or
Deposition of Christ, formerly in the Chiesa Nuova de'
Padri dell' Oratorio, or Santa Maria in Vallicella, now in
the gallery of the Vatican ; a copy was substituted in the
church for the original, and there is a mosaic of it in the
Chapel of the Sacrament in St. Peter's.
Caravaggio was now fully established ; but his disposi-
tion was violent and his habits peculiar. He was playing
CARAVAGGIO, M. DA. 43
at tennis with an acquaintance, and he became so violent in
a dispute that he killed his companion. He immedi-
ately fled to Naples, whence, after executing a few pic-
tures, he proceeded to Malta, where he obtained the favour
of the Grand-master Vignacourt, who sat to Caravaggio
for two .portraits, and made him a knight of the Cross of
Malta. Here again his temper was his enemy, he quar-
relled with one of the knights, and was cast into prison ;
he contrived, however, to escape, and fled to Syracuse.
He afterwards visited Messina and Palermo : having ex-
ecuted a few pictures in those cities, he returned to Naples,
where, after a little tune, he hired a felucca and set out for
Rome, having by means of his friends at length procured
the'pope's pardon for the offence which caused his flight from
that city. On his way, however, he fell in with a Spanish
coast-guard, who arrested him, mistaking him for another
person, and when he was at length liberated he found that
the people of the 'felucca had gone off with all his property.
He wandered despondingly along the coast until he came to
Porto Ercole, where, partly from his disappointment and
partly from the extreme heat of the weather, he was seized
with a fever and died in a few days, in 1609, aged only
forty.*
The followers of Caravaggio have been called naturalists:
their style, which was founded on a literal imitation of
the model, was thus opposed to that more ideal view of
nature which is founded on selection. He had a host of
imitators among the younger painters of the age ; even
Guido and Domenichino were not exempt from the influ-
ence. Guercino in part adopted his style, but Bartolo-
meo Manfredi, Spagnoletto, Carlo Saracino, Valentin, and
Gerard Honthorst (Gherardo della Notte) became his de-
cided imitators.
No. 172. CHRIST AND THE TWO DISCIPLES AT EMMAUS.
As he sat at meat with them, "He took bread and blessed it, and brake and
gave to them. And their eyes were opened, and they knew him." Luke xxiv.
30, 31.
A composition of four half-length figures. Christ break-
ing bread is seated between the two disciples at a table, on
which is spread an Italian meal ; the fourth figure behind
is the cook or host. Ramdohr, in his account of the pic-
* Bellori, Vite <ie' Pitiori, Scultori, eJ Architetti Modern i. &c., Home, 1672.
44 CA1WACCI, AG.
tares and statues in Rome iu 1784, notices the masterly
manner in which the accessory objects in this picture are
executed.*
On canvas, 4 ft. 7 in. h. by 6 ft. o.j in. w.
Bellori mentions three pictures of this subject, which were painted
by Caravaggio, all slightly different. The first, containing five
figures, was painted at Rome, for the Marchese Patrizj ; the second
was painted likewise at Rome, for the Cardinal Scipioue Borghese ;
and the third at Zagarolo, near Palestrina, after Caravaggio's flight
from Rome, for the Duke Marzio Colonna. The picture in this col-
lection is the second mentioned ; it constituted part of the Borghese
Gallery at Rome, until the great dispersion of pictures which took
place in Italy in consequence of the French occupation of that
country. It came eventually into the possession of Lord Vernon,
who presented it, in 1839, to the National Gallery.
CARRA'CCI, AGOSTT'NO.
AGOSTINO CARRACCI was born at Bologna of an old family
of that place, in 1558.f His father Antonio was a tailor.
He was placed first with a jeweller, then, by the advice of his
cousin Lodovico, with Prospero Fontana, the master of
Lodovico, and afterwards with Domenico Tibaldi and Cor-
nelius Cort, under whom he advanced greatly in engraving
an art with which he was always more occupied than with
painting. He studied also some time at Parma and at Venice,
and after his return to Bologna, in 1589, was the most active
teacher in the celebrated school of the Carracci, then first
established there. When Annibale was engaged on his
frescoes in the Famese Palace at Rome, Agostino joined
him, and, for a time, assisted him : he executed the Triumph
of Galatea, and the Cephalus and Aurora of that series.
According to Malvasia, he was not only the painter but the
designer of those compositions, and their success appears
to have caused the separation of the two brothers ; it was
* Ramdohr, Ueber Malerei und Bildhauerarbeit in Horn, fur Liebhader des
Schonen in der Kunst, Second Edition. Leipzig, 1798.
f Agostino's age and the date of his death are thus inscribed on a monu-
mental tablet in the cathedral of Parma :" OB. V. ID. MART. M.DCI. JET.
SILE. AN. XLIIL," Bellori, who gives the whole inscription, writes by
mistake 1602. His transcript, which professes to be faithful to the marble
tablet, is inaccurate in other respects. If the dates in that monumental
record are to be regarded as infallible, the year of Agostino's birth, ostensibly
quoted by Malvasia from the baptismal register at Bologna, August 16, 1557,
must be a misprint for August 16, 1558. Lanzi, Giordani, and others have
followed Malvasia in this particular. Bellori, Le Vile de' Pittori, &c., Ronia,
1672, p. 113.; Malvasia, Felsina Pittrice, Bologna, 1678, p. 455.
CARRACCJ, AG. 4."
reported that the engraver (for as such Agostino was
chiefly known) had surpassed the painter in the Farnese.
This is said to have excited the jealousy of Annibale ;
differences arose between them, and Agostino left Koine
for Parma, where he entered the service of the Duke
Ranuccio, brother of the Cardinal Odoardo Farnese ; after
painting a few pictures, he died there on the llth of March,
1601, in his forty-third year only. He was buried in the
Cathedral of Parma ; his funeral was, however, celebrated with
great pomp at Bologna, by the artists of that school, and a
description of it. was published by Vittorio Benacci, in 1603.*
Agostino was painter, engraver, poet, and musician, and
well versed in the arts and sciences generally. He was also
fond of the society of the great, and tliis disposition was,
according to Malvasia, the principal cause of his separation
from Annibale while engaged in the Farnese Gallery ; the
immediate ground of offence being a caricature of their
father and mother engaged in their tailor's work, which
Annibale put into the hands of Agostino while surrounded
by some of his distinguished acquaintances.
Agostino is allowed to have been the most learned of the
Carracci, in the principles of art ; he is said by Malvasia to
have been at all times more correct than Annibale, and
sometimes more correct than Lodovico. His masterpiece
is the communion of St. Jerome, formerly in the church of
the Certosa, now in the gallery of the Academy at Bologna ;
it is said to be the only picture on which lie wrote his
name.f He left an unfinished engraving of it, which was
completed by Francesco Brizzio. Agostino's prints are very
numerous ; one of the earliest, largest, and best of them is
the "Crucifixion," painted 'by Tintoretto for the Scuola of
San Rocco in Venice. That engraving, completed in Venice
in 1589, received the highest encomiums from Tintoretto
himself. The print after the St. Jerome of Varmi is also
one of Agostino's earliest and best works.!
* Reprinted, without the cuts, in the Felsina Pitbice of Malvasia.
f Giordani, Catalogo del Quadri ntlla Pinacoteca dclla Pontificia Accademia
di Belle Arti in Bologna, 1835.
J See, besides the works of Bellori and Malvasia already quoted, the following
works on engravings : Gandellini, JVotizie Ixtoriche dcyf Intagliatori, Siena,
1771, reprinted in 1808; Heineken, Dictionnaire des Artistes dont nous avons
des Estampes ; avec une notice dttaillee de leurs ouvrages graves, 4 vols. 8vo. to
DIZ. only, Leipzig, 1768-90; Bartsch, Le Peind e- Gravcur, Vienna, 1803-21.
40 CARRACCI, AG.
No. 147. CEPHALUS AND AURORA. Ceplmltis, while on a
hunting expedition on Mount Hymettus, is forcibly carried
off by Aurora, who was enamoured of him. The aged
Tithonus, her husband, is represented in the foreground
sleeping.* Figures larger than life.
A cartoon, 13 ft. 4 in. w. by 6 ft. 8 in. h.
No. 148. GALATEA. The sea-nymph Galatea is borne on
the ocean by Glaucus, or some other marine deity, preceded
by a Triton blowing his horn, and surrounded by Nereides
and Cupids on dolphins. Some of the Cupids, bearing
torches and bow and arrow, are sporting in the air ; one of
them, as if stunned by the noise made by the marine horn
of the Triton, holds his hands to his ears.
A cartoon, 13 ft. 7^ in. w. by 6 ft. 8^ in. 7^.
These cartoons, which formed part of the celebrated collection
of drawings belonging to Sir Thomas Lawrence, are the original
designs made by Agostino Carracci, for the frescoes of the two
principal lateral compartments of the vault of the Carracci Gallery,
in the Farnese Palace at Rome. This Gallery has been engraved
in whole and in part, several times. The first set of prints exe-
cuted from it was by Carlo Cesio, published at Rome in 1657, in
thirty sheets, and with the descriptions of Bellori, Galleria nel
Palazzo Farnese in Roma, &c. It was subsequently engraved by
Pietro Aquila, Galericn Farnesiance Icones, &c., and by others.
In the explanations accompanying Cesio's prints, f the principal
figure is named Galatea or Venus, but in the life of Annibale
Carracci, published fifteen years later, Bellori describes the sub-
ject definitely as the Triumph of Galatea. Both cartoons were
presented to the National Gallery, in 1837, by the Earl of Elles-
mere, by whom they were purchased from Messrs. Wooclburn.
CARRA'CCI, ANNI'BALE.
ANNIBALE CARRACCI, the younger brother of Agostino,
born ac Bologna in 1560. His father intended to bring
him up to his own business, and employed, him in his shop ;
but his decided ability and taste for painting, led him, with
the aid of his cousin Lodovico Carracci, to adopt that art as
his profession ; and Lodovico, who was five years his senior,
was his first and only master in the art. In 1580 he visited
Parma, and studied the works of Correggio there for about
* Ovid, Met.vii. 701.
f Argomento della Galleria Farnese dipinta da Annibale Carracci, disegnata
cd intagliata da Carlo Cesio. Ncl quale spiegansi et riduconsi allegoricamente
itlla moralita, k Favole Poetiche in cssa rappresentate. It is reprinted by Mal-
vasia in his Felsina Pith-ice.
CABRACCI, AN. 47
three years. It seems that he was joined at Parma by his
brother Agostino, who, however, left Annibale to go to
Venice, where they again met, and dwelt a considerable
time. Agostino did not return to Bologna until 1589 ;
Annibale returned somewhat earlier. The three Carracci
opened their academy in 1589. After executing, together
with Lodovico and Agostino, several public and private
works in Bologna, Annibale was invited, about 1600, to
Rome, by the Cardinal Odoardo Farnese, who, says Bellori,
received and treated him as a gentleman granting the
usual table allowance of a courtier, for himself and two
attendants, and a monthly salary. He was assisted in the
frescoes of the Farnese Palace, as already stated, by his bro-
ther Agostino, who arrived shortly after Annibale at Rome,
by Lanfranco, and by Domenichino, then a very young man.
The whole works of the Farnese must have been completed
before or about 1604 ; for, according to a letter of Annibale's
intimate friend, Monsignore Agucchi, in whose arms he died,
he painted scarcely anything (quasi niente) during the last
five years of his life. He died July loth, 1609, and was
buried near Raphael, in the Pantheon. Malvasia says that
Annibale was assisted also by Lodovico in the Farnese ; but,
as Lodovico was only a fortnight in Rome, from May 31st
to June 13th, 1602, he could scarcely have afforded any
great assistance beyond his 'advice. The altar-piece and
frescoes of the chapel of San Diego, in the church of San
Giacomo degli Spagnuoli, were probably also completed in
1604 ; they were all designed by Annibale, but he painted
the altar-piece only ; the frescoes were executed by Albani.*
Annibale Carracci engraved a few plates.
The Farnese gallery was preferred by Poussin to all the
works in Rome after those of Raphael. It is superior in
form to those executed previously by the Carracci, but is
inferior in colour to the works of the Sala of the Signori
* Annibale contracted to paint these works for 2,000 scudi, 1,000 of which
he gave to Albani, though it was his wish that Albani should receive 1,800,
reserving only 200 for himself, which, he maintained, was as much as his
designs were worth. Albani, however, would not accept more than the half.
The account of the remuneration which Annibale received for the Parnese
gallery is unsatisfactory. He is said to have been paid only 500 scudi, through
the interference of Don Juan de Castro, a courtier of the cardinal's. Baglione,
however (Vite de' Pittori, &c. Borne, 1642), mentions this sum as a present
(regalo), and, therefore, as over and above his salary (10 scudi a month), which
it doubtless was.
48 CARRACCI, AN.
Magnani at Bologna, Aunibale's portrait, by himself, from
the Orleans gallery, is in the collection of the Earl of
Carlisle, at Castle Howard, where there are also several
other excellent pictures by him, from the same gallery.*
No. 9. CHRIST APPEARING TO SIMON PETER AFTER HIS
RESURRECTION. St. Peter, according to a legend of the
Roman church, when flying from Rome to avoid persecution,
was surprised on the Appian Way by a vision of Christ
bearing his cross ; and on asking " Lord, whither goest
thou ?" was answered, " To Rome, to be crucified again/'
Feeling thus rebuked for his own pusillanimity, he returned
to the city, and was shortly afterwards crucified, about the
year 64 or 65, during the reign of the Emperor Nero.f
The keys are attached to the girdle of St. Peter. Small
full-length figures.
Engraved by G. Clmsteau ; in a large size by G. T. Doo, R.A., for
the series of prints published for the Associated Engravers;
and, small, by J. "W. Shaw, in Jones's National Gallery, &c. On
wood, 2 ft. 6 in. h. by 1 ft. 9 in. w.
A picture of this subject, which was often treated by the early
Italian painters, is generally described under its Latin title as a
" Domine, quo vadis ?" the words of the question of St. Peter to
the Lord. Before the French Revolution, this picture was in the
apartments of Prince Aldobrandini in the Borghese Palace at
Rome, and is described by Ramdohr in his account of the Paintings
and Sculptures of Rome, in 17S.4.J It was brought to England
by Mr. Day in 1800, and passed subsequently into the possession
of Lord Northwick and of Mr. Hamlet, and was purchased from
the latter for the National Gallery in 1826.
No. 25. ST. JOHN IN THE WILDERNESS.
" And the child grew, and -waxed strong in spirit, and was in the deserts till the
day of his showing unto Israel." Luke i. 80.
A rocky picturesque landscape ; St. John is reclining upon
a skin, and holds in his left hand the standard of the Lamb,
the symbol of his mission; while, with his right he is catching
water in a cup from a stream which flows from the rocks.
Whole figure, less than life size.
* The Orleans collection was brought to England in 1792, and was disposed
of by private and public sales, in 1798, 1799. and 1800. The principal works
contained in it are engraved in La Galerie du Palais Royal, Paris, 2 vols.
fol. 1786. See the list of the Italian and French pictures in Mr. Buchanan's
Memoirs of Painting, fyc.; and in Passavant's Kunstreise durch England, &c.
Dr. Waagen also has given a nearly complete catalogue of the collection in
his Kuntswerhe und Kiinstler in England, vol. i. Appendix B.
f Eusebius, Hist. Ecclcs., 1. ii. c. 20.
j Von llaradohr, Ueber Malerti und Bildhauerarbeit in Horn, &e.
CARRACCI, AN. 49
Engraved by Le Cerf in the Galerie du Palais Royal ; also
in Young's Catalogue of the Angerstein Collection; and in Jones's
National Gallery. On canvas, 5 ft. 5 in. h. by 3 ft. 1 in. w.
Formerly in the Orleans collection, from which it passed, in 1799,
into the possession of Mr. Angerstein, from whose son it was
purchased for the nation, in 1824.
No. 56. LANDSCAPE, WITH FIGURES. A lake or river
scene, with much foliage, and mountains in the distance. On
the water are parties of pleasure ; in the fore-ground are an
angler and another figure conversing.
Engraved by H. Wallis, for Jones's National Gallery. On
canvas, 3 ft. 1 ^ in. h. by 4 ft. 4-| in. w.
Formerly in the collection of Prince Cellamare, at Naples, whence
it came into the possession of the Rev. W. H. Carr, who bequeathed
it, in 1831, to the National Gallery.
No. 63. LANDSCAPE, WITH FIGURES. A rocky and woody
landscape, with mountains in the distance, and a party of
figures on foot and on horseback ; supposed to represent Prince
Giustiniani and attendants returning from the chase : in the
middle distance, to the light, is a villa situated upon a rocky
eminence.
Engraved in Jones's National Gallery. On canvas, 3 ft. 5 in.
h. by 4 ft. 5 in. w.
Formerly in the Giustiniani Palace at Rome, whence it was
procured by the Rev. W. H. Carr, who bequeathed it, in 1831, to
to the National Gallery.
No. 88. ERMINIA TAKES REFUGE WITH THE SHEPHERDS.
From the story of Erminia, in Tasso's Jerusalem Delivered.
Erminia, daughter of the King of Antioch, having disguised
herself in the armour of the heroic Clorinda, leaves Jerusalem,
and attempts to gain the tent of the wounded Tailored, but
being discovered by some Christian soldiers, she is pursued,
and escapes with difficulty, eventually taking refuge among
some shepherds. The picture represents that part of the story
when Erminia, startled by the sound of pastoral music from
the first repose which she had taken after her flight, rises, and
attracted by the rustic strains, discovers an old shepherd,
whilst tending his flock, busy making curd-baskets, and
listening the while to the music of three children :
" Risorge, e la s'indrizza a passi lenti,
E vede un uom canuto all' ombre amene
Tesser fiscelle alia sua greggia accanto,
Ed ascoltar di tre fanciulli il canto."
La Gcrusalemme, c. vii. st. 6.
Engraved in Young's Catalogue of the Angerstein Collection,
nnd by G. Presbury, for Jones's National Gallery. On canvas,
4 ft. 10 in.//, by 7 ft. w.
D
50 CABRACCI, AN.
This picture was formerly in the Camuccini Collection at Eome,
from which it was purchased by Mr. Irvine in 1804 as a work by
Annibale Carracci, but while in the possession of Mr. Angerstein,
it was attributed to Domenichino ; upon the removal, however, of
the collection into the present building, it was again assigned to
Annibale Carracci. As Annibale occasionally employed Domeni-
chino to execute some of his designs, both masters may have had
a share in the painting of this picture.* It was purchased with
the other works of the Angerstein collection in 1824.
No. 93. SILENUS GATHERING GRAPES. Two fauns are
raising Silenus on a skin to enable him to pluck some grapes
from a vine above his head : on each side is a stripling boy
or young faun climbing the supports of the vine with a similar
object. The autumnal colour of the leaves is assisted with
gold leaf.
Engraved by W. Bromley, for the series of prints published for
the Associated Engravers; and, on a small scale, for Jones's
National Gallery. On wood, 1 ft. 9^ in. h. by 2 ft. 11 in. w.
No. 94. PAN TEACHING APOLLO TO PLAY ON THE PIPES.
Such is the title Lanzi gives to this picture. Ramdohr
describes it as BACCHUS PLAYING TO SILENUS. Both figures
are musicians, for the pipes of Silenus are hanging on the
stem of a tree behind him ; and a double flute is suspended
to the tree by the side of the younger musician, who has the
pipes in his hands, and appears to be watching the effects of
his notes upon his companion.f
Engraved by D. Cunego for Hamilton's Sckola Italica ; and by
J. Rolls, for Jones's National Gallery. On wood, 1 ft. 2 in. //.
by 2 ft. 8 in. w.
These two pictures, purchased at Rome by Mr. Irvine for
Mr. Buchanan in 1804, used to hang in the Lancellotti Palace
there, together with the " Lot " and the " Susannah " of Guido, in
this collection. No. 94 is described both by Ramdohr and Lanzi
as a painting a colla, or in distemper, but it is now saturated with
oil. Ramdohr says, that the "Silenus" decorated the top of a
harpsichord, and he supposed that the "Apollo" or "Bacchus"
decorated the front of the same instrument. Lanzi speaks highly of
the second picture, :f which formed part of the Angerstein collection,
and was purchased by Parliament in 1824. The "Silenus" was in
the collection of the Rev. "W. H. Carr, and was added to the National
Gallery, with the rest of that gentleman's bequest, in 1831.
* Passeri, Vite de' Pittori, &c. p. 12.
j- Pan is represented by Greek writers as having the legs of a goat, and horns.
Compare Lucian's Dialogues of the Gods, xxii., and Lord Bacon's exposition of
the fable of Pan. Works, vol. i.
J Kamdohr, Ueber Malerei und Bildhauerarbeit in Rom, &c. (1784), vol. iii.
p. 75 ; Lanzi, Storia Pittorica delf Italia, vol. v. p. 76. The Marchese Mel-
chiorri, in his Guida Metodica di Roma of 1836, apparently copying earlier
accounts, speaks of the Silenus as still in the Lancellotti Palace.
CARRACCI, L. 51
No. 198. THE TEMPTATION OF ST. ANTHONY IN THE
DESERT. The Saint, tempted on each side by demons, is
reclining on his back, and appears engrossed at the moment
by a vision above of the Saviour supported by angels. At his
feet is a crouching lion.
Engraved by G. Audran and by B. Farjat. On copper, 1 ft. 7
In. h. by 1 ft. 11 in. -w.
This picture was formerly in the Borghese Gallery at Rome,
where it was much admired by Mengs, who said of it, that with
Italian composition and drawing, it combined the execution of the
Netherlands school.* It was some time in the collection of Lord
Radstock, and was purchased for the nation in 1846 of the Earl
of Dartmouth.
CARRA'CCI, LODOVI'CO.
LODOVICO CARRACCI, the founder of the eclectic school of
Bologna, was born at Bologna, April 21st, 1555. He was
placed with Prospero Fontana; and while in his school his
,'vpprehension appeared to be so slow, that like Domenichino
afterwards he was called by his companions the ox, il bue.
He afterwards entered the school of Passignano at Florence,
and studied the works of Correggio and Parmigiano at
Parma, those of Giulio Romano at Mantua, and those of
Titian at Venice. The works of these and other masters
afforded the elements of the eclectic style of the Carracci, as
expressed in the well-known sonnet of Agostino.f
The school of the Carracci was opened in 1589, and car-
ried on by the cousins conjointly up to 1600, from which
time it was conducted by Lodovico alone, until his death
(December 13th, 1619), which is said to have been consi-
derably hastened by some errors in the fresco of the Annun-
ciation, in the Cathedral of Bologna, his last work. The
frescoes of the Convent of San Michele in Bosco, from the
life of St. Benedict, commenced in 1602, after Lodovico's
* Ramdohr, Ueber Malderei und Bildhauerarbeit in Horn, &c. vol. i. p. 294.
f " Let him who wishes to be a good painter acquire the design of Rome,
Venetian action, and Venetian management of shade, the dignified colour of
Lombardy ; the terrible manner of Michelangelo, Titian's truth and nature, the
sovereign purity of Corregio's style, and the just symmetry of a Raphael ;
the decorum and well-grounded study of Tibaldi, the invention of the learned
Primaticcio, and a little of Parmigiano's grace ; but, without so much study
and toil, let him only apply himself to imitate the works which our Nicco-
lino has left us here." The last sentence, which is a mere compliment,
refers to Niccolo del Abate. This sonnet sufficiently explains the principles
of the electic school, and, at the same time, shows their mere technical
tendency.
D2
52 CARRACCI, L.
short visit to Rome, and which were generally considered
his masterpieces, have long since perished, though the
designs are preserved in the prints of G. M. Giovannini, II
claustro di San Michele in Bosco di Bologna, &c. } published
in 1694, with descriptions by Malvasia. There are thirteen
pictures by Lodovico Carracci in the gallery of the Academy at
Bologna, including some of his most celebrated worksin oil.*
In the opinion of Sir Joshua Reynolds, no painter knew
how to harmonize the treatment of a picture with its sub-
ject better than Lodovico Carracci. " Style in painting/'
says Sir Joshua, " is the same as in writing, a power over
materials, whether words or colours, by which conceptions
or sentiments are conveyed. And in this Lodovico Car-
racci, I mean in his best works, appears to me to approach
the nearest to perfection. His unaffected breadth of light
and shadow, the simplicity of colouring, which, holding its
proper rank, does not draw aside the least part of the atten-
tion from the subject, and the solemn effect of that twilight
which seems diffused over his pictures, appear to me to
correspond with grave and dignified subjects better than
the more artificial brilliancy of sunshine which enlightens
the pictures of Titian." f
The scholars of the Carracci produced a change in all
the schools of Italy ; but the qualities of their works, in con-
tradistinction to those of the great masters of the preceding
century, are strictly technical or material. They remained
as much below the great masters of Rome and Florence
in expression, composition, and character, as they surpassed
them in general execution. The most distinguished masters
of this school were Domenichino, Guido, Albani, and Lan-
franco.
No. 2.8. SUSANNAH AND THE TWO ELDERS, in the Gar-
den of Joachim, at Babylon. Susannah; an entire figure, is
kneeling in the fore-ground, and is holding back her gar-
ment from the rough touch of one of the elders. Apo-
cryphal Boole of Susannah.
Engraved by J. H. "Watt for the Associated Engravers ; also
by A. L. Romanet in the Galerie du Palais Royal ; in Young's
* Malvasia, Felsina Pittrice ; Lanzi, Storia Pittorica, ffc. Belvisi, Eloyio
Storico del Pittore Lodovico Caracci, 8vo. Bologna, 1825. Giordani, Catahyo
dci Quadri nella Pinacoteca di Bologna.
f Discourse II.
CASKNTINO, J. DI. 53
Catalogue of the Angerstein Collection ; and in Jones's National
Gallery. On canvas, 4 ft. 8 in. h. by 3 ft. 7 in. w.
Formerly in the Orleans collection, from which it passed in 1799
into the possession of Mr. Angerstein, from whose heir it was pur-
chased for the nation, in 1824.
CASENTINO, JACOPO DI.
JACOPO LANDINI, of Prato Vecchio, in the Casentino,
where he was born about 1310, was a pupil of Taddeo
Gaddi, and painted in a very similar style. He was an
established painter at Florence in 1350, when he 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
fourteenth 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 ; $ 011 the left are, Saints Bernard, Scholastica,
Benedict, and John the Baptist ; on the right, Saints Peter,
Romualdo, Catherine, and Jerome. Immediately over the
centre picture, is Christ risen from the Dead, the gates of
hell cast down on one side, and on the other the donor
* The term fresco is used by Vasari and others, in describing the -wall
paintings of the early Italian masters, but the method of buon fresco was not
in use till the close of the 14th century. See note p. 106.
f Vasari, Vite de" Pittori, &fc. Ed. Le Monnier, Flor. 1846, et seq.
\ " Post IIEDC jr.xta altare foveam quadratam fieri jussit et terrain extra
ecclesiam jactari. In quam beatus Evangelista descendens expansis manibus
gratias Deo egit, et orationem devotissimam fudit. Qua finita tanta lux super
turn emicuit quod a nemine Yideri potuit. Recedenteque lumine, fovea reperta
est Manna repleta." &c. See the Golden Legend. St. John Evan. p. 27 ; and
Peter de Natalibus, Catalogus Sanctorum, ii. 7.
In the open book held by St. Jerome is written Penilenciam agere, est pcr-
/x'lrata main, peragcre, et perugendo non perpetrare : to do penance is to work
out sins,' and in working them out to sin no more.
54 CIMA DA CONEGLIANO.
and his family presented to him by St. John the Evangelist
and St. John the Baptist ; over the left picture is the arch-
angel Michael, and over the right, the archangel Raphael
with Tobias. In the three upper pictures are represented,
in the middle the Trinity, and 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
EmperorDomitian; and at the extreme ends, St. Apollonia,*
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. w., sides 3 ft. 9 in. h. by 2 ft. tc. ; cnspidi, or upper pictures,
centre 1ft. 4^ in. h. by 11 in. w., sides 1 ft. 4 in. h. by 10 in. w. ;
predella pictures 1 ft. h., centre 1 ft. 10^ in. w., sides 1 ft. 9^ 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.
CIMA DA CONEGLIANO.
GlAMBATTlSTA CIMA DA CONEGLIANO was the contempo-
rary, and one of the principal rivals, of Giovanni Bellini at
Venice, but while equally as brilliant in colouring, he was
more skilful, more vigorous, and more various in his drawing
and composition than Bellini. The editors of the "Le
Monnier " Vasari term Giambattista Cima the Masaccio of
the Venetian school. He was born at Conegliano, near
Treviso, but his exact time is uncertain. His pictures bear
dates from 1489 to 1517. He signed his name JOANNES
BAPTISTA and JOANNES BAPTISTA CONEGLIANENSIS. He
was, according to some accounts, the scholar of Giovanni
* 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.
CIMABUE. 55
Bellini.* The Castello di Conegliano, Cima's native place
is often represented in the back-grounds of his pictures, the'
landscapes of which he treated with unusual skill for the
period. His son, Carlo Cima, imitated his works, genuine
examples of which are rare out of Venice.
No. 300. The INFANT CHRIST STANDING ON THE KNEES
OF THE VIRGIN, who is sitting on a marble seat, and holding
the child with her right hand, while she supports one of
his feet with her left. A hilly landscape, with a town in
the back-ground. Inscribed JOANNES BAPTISTA, p. in the
lower corner to the spectator's right.
^JOANNES BAPTISTA
On wood, 2 ft. 3 in. li. by 1 ft. 10-^- in. w.
Purchased from M. Roussel in Paris, in 1858.
No. 634. MADONNA, WITH THE INFANT CHRIST STAND-
ING ON HER KNEES, who holds a goldfinch in his hand ; a
hilly landscape, with the view of a town in the background.
Signed JOANES. BAPTISTA. CONEGLA S . p.
S
P ^-fs
On wood, 1 ft. 8^ in. h. by 1 ft. 5 in. w.
Purchased at Paris, from the collection of M. Edraond Beau-
cousin, in 1860. Formerly at Powerscourt Castle, where it was
known as the Madonna del Cardellino ; subsequently in the col-
lection of Mr. William Coninghatn, M.P.
CIMABUE.
GIOVANNI GUALTIERI, or CIMABUE, regarded by Vasari
as the father of modern painting, was born at Florence
in 1240. Though not the first of the Italians to forsake
the conventional habits of the Byzantine School, he was
the most successful of the painters of the thirteenth cen-
tury in combining the study of nature with the traditionary
art of his time. His reputed master was Giunta of Pisa,
a crucifix by whom, painted in 1236, is still preserved in
Santa Maria Degli Angeli at Assisi.f Whether, as Vasari
* Vasari, Ed. Le Mourner, vol. vi. pp. 100 and 118; Zanetti, Pittura
Veneziana, 1771, p. GO.
j- Traced in llamboux's Outlines from old Christian Paintings in Italy,
UmrisNC :ur Veranscliaul.icfiuinj alt Christlicher Kunst in Italian, vom Jahre
1200 bis 1600, &c., folio.
56 CIMABUE.
states, Cimabue executed any of the frescoes in the upper
church of San Francesco at Assisi, is doubtful.
Two well-authenticated pictures by him are the Madonna
with Angels, in the Academy at Florence, (formerly in the
church of the SS. Trinita,) and the colossal Madonna still
in the Rucellai chapel, in the church of Santa Maria
Novella at Florence. The last named is not only the best
of the remaining works ascribed to him, but, compared with
contemporary and even some later productions, has merits
sufficient to entitle him to the distinguished place which
Vasari assigns to him. The tradition, preserved by the
biographer, that the Rucellai Madonna was carried in a
procession with great festivity from the painter's house to
the church, is supposed to have been embellished as regards
some of the incidents ; but there seems no reason to
doubt that such a work, intended for a religious purpose
should, at the time, have excited general enthusiasm.
Cimabue's additional claim to distinction is that of having
discovered and trained the superior abilities of Giotto.
In 1302 it appears that he was occupied on a mosaic
in the Duomo at Pisa, and as the work was left unfinished,
that date may, with probability, be assigned as the year of
his death.*
No. 565. THE MADONNA AND CHILD ENTHRONED,
ANGELS ADORING. The Virgin is seated, and holds the
child sitting on her left knee : on each side, behind the
throne, are three angels in adoration. Half-figures, larger
than life.
In tempera, on wood, with a gable top, 6 ft. 3 in. h. by 5 ft.
6 in. w.
This picture is described by Vasari as having been attached to
a pilaster in the choir in the church of Santa Croce at Florence.
It was still in its place in 1591 ;j~ but in 1677 it had been
deposited elsewhere in the convent of Santa Croce, in conse-
quence of alterations in the church ;| it remained in the con-
vent until it came into the possession of the Signori Lombard!
and Baldi, from whose collection, at Florence, it was purchased
for the National Gallery in 1857.
* Vasari, Vite, &c. Ed. Le Monnicr, Flor. 1846, ct se<j.
f Bocchi, Le Bctlczze delta Cittu di Fiorenza, p. 153.
f Cinelli, Lc Dcllezzc dclla Cittu di Firenze, $"., ampliale cd acci-ut>ciulL.
Flor. 1677, p. 316.
CLAUDE. 57
CLAUDE.
CLAUDE GELE'E or GILLE'E, called Claude de Lorraine,
or le Lorrain, and also Claude Lorrain, was bom in Lorraine,
at Chateau de Chamagne, near Charmes, department des
Vosges, in the year 1600. His parents were very poor, and
as Claude showed no disposition to learn to read or write
he was placed with a baker and pastry-cook. The cooks
of Lorraine were celebrated in the time of Claude's youth,
and according to his friend and biographer, Sandrart, Claude
travelled to Rome in the company of some of these cooks,
like them, to seek employment there. He found it with
Agostino Tassi, and the circumstance of his master being a
punter appears to have first inspired Claude with a fond-
ness 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 both
prepared his master's meals and ground his colours for
him ; but he acquired at the same time the rudiments of
his art.*
How long Claude was engaged in this menial capacity is un-
certain, but probably some years after his repeated efforts in
art. Tassi's principal works were those of the Lancellotti and
Quirinal palaces, executed during the pontificate of Paul V.
(1605-21), and it must have been during their progress that
* Sandrart, from whose Teutsche Academic, &c., or Accademia Todesca, the
above account is taken, was the intimate companion of Claude, and his work
was published during Claude's lifetime (1675); it is therefore most probably
correct, or at least must be of more r.-.'Vority than the account in the post-
humous volume of Baldinucci, who lived at Florence, and was probably not
even acquainted with Claude. This subject is noticed here, as Baldinucci
(Nbtizie del Prqfessori del Disegno, &c.) is represented in the Bioyraphie
Universette, and elsewhere, 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 Rome. 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 subsequently accompanied
a lace-merchant, his relation, to Home. 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 month during their repeated inter-
course and sketching excursions together when in Rome (Lebenslauf Joachims
von Sandrart, &c., p. 12, and in the second volume of the Academia Todesca
p. 332). In the Latin translation of Sandrart, which was published in 1684,
nine years after the original work, there is a mis-print in the text of pictori for
jiistori, by which Sandrart is made to say that Claude's master was a painter of
pies instead of a baker of pies (jnctori cuidam artoereatum} ; 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
58 CLAUDE.
Claude Was Tassi's servant. In the pontificate of Urban VIII.
(1623-44), he was already known at Rome as a great land-
scape-painter. The intervening pontificate of Gregory XV.,
therefore, was about the period that he was struggling for
the obscure independence noticed by Sandrart, and he ap-
pears at this tune to have visited his native country. He
visited also Venice and Naples, and in the latter place he
is said to have received some instruction from a landscape-
painter of the name of Gottfried Vals. Sandrart first taught
Claude to paint from nature In 1630 he appeared as an
engraver : of the several etchings ascribed to him, about
one-half bear dates from 1630 to 1663,* the rest are with-
out dates. His earliest pictures 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, whic.h he called Libra di
Veritd, or Book of Truth ; and on the backs of some of
these drawings are written the dates of the completion of the
pictures, and the names of the purchasers. This remarkable
collection of drawings is now in the possession of the
Duke of Devonshire. f
Claude was extremely slow and careful in his execution.
Sandrart says that he often painted for a week or a fort-
night on one part of a picture, without showing any pro-
gress. He always had a great difficulty in painting or
drawing the human figure or animals, though he drew
much from the life, and attended the Academy of Rome
many years. He generally procured the assistance of
F. Lauri, J. Courtois, A. Both, and others, in executing this
part of his pictures.
Claude's chief excellence is in aerial perspective, and in
the management of light generally. He died at Rome in
* Robert Dumesnil, in Le Peintrc-Graveur Franfais, describes forty-two
etchings by Claude, and gives fac-similes of eighteen of his signatures, no two
of which are alike. lie wrote his Christian name generally in the Italian form
Claudio, and sometimes in the Latin form Claudius. His surname is written in
a variety of ways ; Gillee seems to be the most constant.
'f It -was engraved by Richard Earloiu, for John Boydell, under the following
t i t l e; "Liber Veritutis; or, a Collection of Two Hundred Prints after the
original designs of Claude le Lorrain, in the Collection of his Grace the Duke of
Devonshire, London, 1777." Copied by Ludovico Caracciolo, Roma. 1815.
Caracciolo, in a Life of Claude prefixed to his work, pretends to correct pre-
vious writers by referring to the (misprinted) Latin passage in iSaudrart above
quoted.
CLAUDE. 59
1682, and was buried in the church of La Trinita de' Monti.
The two Poussins and Salvator Rosa were contemporary
with him at Rome.* There is a good collection of Claude's
drawings in the British Museum,
No. 2. PASTORAL LANDSCAPE, WITH FIGURES, illustrating
the reconciliation of Cephalus and Procris. The principal
feature of this picture is a large cluster of trees in the centre ;
at the left is a stream, with cattle wading through it ; a
bridge through which the stream flows and forms a small
cascade, and a castellated height behind it, constitute the
back-ground on this side ; on the other is a distant view
of a champaign country, bordered by mountains. To the
right, Cephalus is receiving from Procris the presents of
Diana, the hound Lelaps, and the fatal dart with which
she was subsequently killed.
Engraved by E. Earlom, in the Liber Veritatis, No. 91 ; by
J. Browne, for Boydell, in 1779 ; by J. Pye, for the series of prints
published for the Associated Engravers; and small, in Jones's
National Gallery. On canvas, 3 ft. 4 in. h. by 4 ft. 5 in. w.
Painted, according to the date upon it, in 1645, for some person
residing in Paris. It was brought to England by Mr. Delahante,
und formed subsequently part of the Angerstein Gallery, and
was purchased, with that collection, in 1824. Signed
V
6 f 5"
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
fore-ground are several figures, variously occupied. To-
wards 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 E. Goodall, for the series of prints published
* Sandrart, L'Accadeaiia Todesca; or, Teulsclie Academic dcr eil/en Iian-
Biid-und Muicrey-Kuuste, 4 vols. folio, Niirnberg, 1675-79; 1'ascoli, Vile </<-.'
Pittori, Scullori,cd Architetti Modcrni, Rome, 1736; D'Argeuville, Abreyedu
la Vie des plus fameux Peintres, Paris, 1745.
60 CLAUDE.
for the Associated Engravers, On canvas, 3 ft. 3 in. It. by 4 ft.
3 in. to.
This picture is dated 1644: it was painted for the Cardinal de'
Medici. It was imported into this country by Mr. Delahank 1 ,
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 of Adullam. Also called Sinon brought
before Priam.
' And David longed, and said, Ob, that one would give me drink of the
water of Betb-lehem, which is by the gate !
"And the three mighty men brake through the host of the Philistines, and
drew water out of the well of Beth-lehem, that was by the gate, and took it
and brought it to David." II. Samuel, xxiii. 16.
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 fore-ground the principal dark
mass of the picture, and giving distance to the woody cas-
tellated eminence in the middle-ground behind. Imme-
diately before the trees two warriors are hastening to join
the assemblage around David. The distance is an. exten-
sive and varied country. Several groups of small figures
are interspersed about the picture. Signed CLAUDIO
GILLEE i.v. HOLE, 1658.
Engraved in the Liber Veritatis, No. 14o ; and by J. C. Van-all,
for Jones's National Gallery. On canvas, 3 ft. 9 in. h. by 6 ft.
2 in.
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 pos-
session 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. H. Carr, who bequeathed it in 1831
to the National Gallery.
No. 12. LANDSCAPE, WITH FIGURES, representing the mar-
riage festival of Isaac and Rebecca. 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 moun-
tains. On each side are lofty spreading trees, and behind
those on the left is seen a waterfall : in the fore-ground is a
bridge of a single arch, with cattle drinking from the stream
which flows under it ; to the right arc the figures celebrating
the marriage festival of Isaac and Rebecca, according to the
CLAUDE. Cl
inscription on the picture itself "Manage d' Isaac arec
Rebecca."
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. /*. by 6ft. 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 "// 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-.*
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 represented 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 de-
scending a broad flight of steps on this side, 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 fore-ground.
The words La Heine de Saba va trover Salomon, nearly
obliterated, are written in the right corner of the picture.
LA- RHINE -DE- SABA VA-
(T"1
TROV E !V OALOMON'
* 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 con-
siderable variations in all parts of the two pictures. The figures are very different.
C2 CLAUDE.
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.
h. by 6 ft. 7 in. w.
This picture is known as the Bouillon Claude, from the Duke de
Bouillon, with whose name it is inscribed in the left corner, and
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
Gil" -IV- FAl'cT.POVfVSON'ALTESSL-LE.IDVC'DE'
BVILLON'AIROMA'
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, occu-
pying the whole left, is separated from the bright sky of
the rest of the picture by a castellated eminence and more
distant foliage in the middle-ground. The distance to the
right represents a bay of the sea, with a small town on
either side, and is bounded by mountains. There is also
a small cluster of trees to the right of the picture. The
fore-ground 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 in-
scription 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. UR-
SULA. The water in this picture is a small basin or harbour ;
on the left side is a perspective view of a rich pile of archi-
tecture, on the other are harbour works and foliage, and the
ships about to conduct St. Ursula and her followers on
their pilgrimage. The saint, 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 fore-ground
are various figures busily occupied, some with merchandise,
CLAUDE. 63
others with their boats. " The effect of the breeze upon
the water and upon the trees, and the freshness of the
morning atmosphere, in this picture/ 5 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 178? ; 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. Jt.
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.
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 dis-
cerned a town on the border of a small lake ; a deer is
also very prominently introduced descending a hill which
leads towards the lake. In the fore-ground 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 Veritatis, 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 fore-
ground is a goatherd, 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. w.
Presented to the nation in 1826 by Sir George Beaumont, Bart.
* Descriptive Catalogue of the Pictures in the National Gallery, &c. London,
1832.
f The pilgrimage of St. Ursula and her attendant virgins is the subject of
the beautiful paintings by Memling, on the celebrated Shrine or Chasse de
St. Ursule, preserved in the Hospital of St. John, at Bruges. St. Ursula,
according to the legend, was an English princess ; she and her followers
suffered martyrdom at Cologne, in the third century. In some accounts the
number of virgins is not specified, in others 11,000 are mentioned, but the
figures XI.M.V. might be explained as Undecim Martyrum Virginum, eleven
martyr virgins, with much more probability than as Undecim Millia Virginum,
eleven thousand virgins. See Notice des Tableaux de f Hopital Civil dc
S, Jean a Bruges, 1842 ; also Baron Keversberg, UrsuJe, Princesse britannique,
cFapres la Legende, et les Peintures d'Hemling ; and the Article MEMLING, in
the Supplement to the Penny Cyclopedia.
G4 CLOUET.
No. 1. LANDSCAPE, WITH FIGURES, supposed to re-
present either the Annunciation or the Angel appearing to
Hagar. The figures are in the fore-ground to the left ; on
each side of the picture is foliage, that to the right covering
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 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 life-time ;
it was restored to the National Gallery, upon Sir George's death,
by his widow, Lady Beaumont, in 1828.
CLOUET.
FRANCOIS CLOUET, born in France, probably at Toui-s,
about 1510, was the son of Jean Clouet, a Fleming settled
in France, commonly called Jeannet, and his wife, Jeanne
Boucault, a native of Tours : Jeannet was painter and varlet
de chambre ordinaire to Francis I. as early as 1518, but
as he had never been naturalized, when he died, in 1541,
his property was forfeited to the king. This property was
restored to FranQois Clouet, his heir, who had then the same
rank as his father, in the month of November of 1541.
FranQois was the fourth painter of this family ; his grand-
father Jean had also settled in France, at Tours, and an
uncle (a brother of John) was painter to Margaret and
Henry of Navarre, at a salary of 200 francs the year.
They appear to have been all employed and distinguished
as portrait painters. Franois was still living January 1st,
1571, but was already dead in 1574-.*
No. 662. A MAN'S PORTRAIT, in the costume of the
sixteenth century. Small figure, bust. Dated 1543.
On wood, 12 in. li. by 9 in. w.
Purchased from M. Edmond Beaucousin, at Paris, in 1860.
* Le C' De Laborde, La Renaissance des Arts u In Cour de. France,
Peinture, 1850-5.
CORNELISSEN. 65
COKNELISSEN.
JACOB CORNELISSEN, or CORNELISZ, was born at East
Zaandam, in North Holland, about 1475 1480, and died,
very old, at Amsterdam, about 1555 1560 ; he was still
painting in 1553. Van Mander speaks of him as a great
painter, and mentions some altar-pieces by him : he was the
master of Jan Schoorel, and he had a son Dirk, who was
likewise a good painter, especially of portraits ; he died in
1567. Jacob Cornelissen was also an engraver. There are
still some prints preserved by him, the " Life of Christ "
and others, dated 1517 and 1518.*
No. 657. PORTRAITS OF A DUTCH GENTLEMAN AND
LADY, kneeling, with their patron saints, Peter and Paul,
standing behind them. Small full-length figures.
On wood, each panel 2 ft. 8 in. h. by 10^ in. w.
Formerly the doors of a small altar-piece. Purchased from
M. Edmond Beau cousin, at Paris, in 1860.
CORREGGIO.
ANTONIO ALLEGRI, commonly called CORREGGIO from his
birth-place, a small town now constituting part of the
duchy of Modena, was born probably in the winter of 1493-4;
the exact date is not known. His father, Pellegrino Allegri,
was a merchant in good circumstances. The whole youth
of Antonio is involved in obscurity; but he is supposed to
have been first instructed in painting by Antonio Bartolotti,
a painter of Correggio. He executed several good pictures
in his native place. In 1519 we find him a master of
established reputation at Parma. The celebrated cupola of
San Giovanni was commenced in the following year; and
two years later, 1522, he contracted for the great works of
the dome of the cathedral of that place. The works of these
two churches are painted in fresco. In the church of San
Giovanni he has represented the Ascension of Christ ; and
in the cathedral, the Assumption of the Virgin, the apostles
being witnesses of both events.f
* Van Mander, Net Leven der Schilders, &c., vol. i. ed. 1764.
| Engraved by G. B. Vanni. A new series of admirable prints from these
and from the frescoes of San Giovanni were in the course of being engraved by
the late Cav. Toschi ; it is to be hoped that the undertaking will be continued
by his numerous and able scholars.
E
66 CORREGGIO.
The frescoes of the cathedral were left unfinished by
Correggio. He contracted to paint the whole dome and
choir for 1000 ducats,* but he did not complete even the
dome ; it was finished by his pupil, Giorgio Gandini. He
died of a fever at Correggio, on March the 5th, 1534, in
his forty-first year, being survived by his father, his wife,
his son Pomponio, and one of three daughters.
Correggio was married, in 1520, to Girolama Merlini, a
young lady of Mantua, with whom he received a con-
siderable dowry. She is supposed to have been the
original of the Madonna in the Holy Family, known as
La Zingarella.^ Correggio's great reputation rests chiefly
upon the frescoes mentioned above, but he is the master
likewise of many of the most celebrated productions of
oil-painting extant; and some of these were painted at
Correggio before his visit to Parma in 1519, when he was
then only in his twenty-sixth year ; as the St. George and
the St. Sebastian, now two of the principal ornaments of
the magnificent gallery of Dresden. The celebrated pictures
of the " Notte," and the " Magdalen Reading," are also in
that collection.
Correggio's frescoes, and even some of his oil pictures, are
remarkable for violent, but skilful foreshortenings. His
proverbial grace apparent, not only in his undulating
forms and soft transitions, but in the action and expression
of his figures, is a distinctive characteristic of his works ;
and he is still unrivalled in a certain harmony which results
from delicate gradations of light and shade.
The pictures of Correggio were so exclusively conspicuous
for these qualities before the rise of the modern school of
Bologna, that the first sight of some of his works forced
Armibale Carracci, in a letter to his cousin Lodovico, to
declare that in comparison with them the St. Cecilia of
Raphael appeared to be wooden. He says, in a letter .to his
cousin, dated Parma, April 18th, 1580, "Tibaldi, Niccolino,
* This and other circumstances, shown by documents published by Pungileoni
in his Memoir of Correggio, prove that the common report, circulated by
Vasari about Correggio's poverty, is more than doubtful. He appears on all
occasions to have been well paid for his works. One thousand ducats are equal to
about five hundred pounds sterling, and must, at that period, have been equiva-
lent to the value of at least three or four thousand pounds at the present day.
f Pungileoni, Memorie Isforiche di Antonio Alleyri defto il Correggio, Parma,
1817-21 ; Sketches of the Lives of Correggio and Parmigiano. London, 1823.
CORREQGIO. 67
I would almost say Raphael himself, are not to be compared
[with Correggio]. The St. Jerome, the St. Catherine, the
Madonna della Scodella, I would rather have any one of
them than the ' Saint Cecilia/ How much grander, and
at the same time more delicate is St. Jerome, than
that St. Paul,* which at first appeared to me to be a
miracle ; but now I feel as if it were made of wood, it is
so hard !"f
No. 7. GROUP OF HEADS. Ten various views of heads,
representing apparently part of a choir of angels. These
are marked as being " after Correggio/'
Engraved in Jones's National Gallery. On canvas, 5 ft. h. by
3 ft. 6 in. w.
This picture and its companion, No. 37, were formerly in the
possession of Christina, Queen of Sweden : they subsequently
passed into the Orleans collection, with which they were brought
to this country, and were purchased by Mr. Angerstein. They
were probably taken to Sweden as part of the plunder of Prague,
when that city was captured by the Swedes under Count Konigs-
mark, July 15, 1648, and the pictures collected by the Emperor
Rudolph II. were carried to Stockholm. Among these pictures
were several by Correggio, which had been presented to the
Emperor by Federigo Gonzaga, Duke of Mantua, for whom they
had been originally painted.^
No. 10. MERCURY INSTRUCTING CUPID IN THE PRESENCE
OF VENUS. Mercury, dressed only in his winged cap
(Petasus) and sandals (Talaria), is seated on the ground,
and is endeavouring to teach Cupid his letters, of which,
according to a Greek myth, he was the inventor. The little
god, standing by his side, appears to be paying due attention
to his lesson. Venus, here represented as winged, has taken
temporary charge of Cupid's bow. which she holds in her
left hand, and appears to be entertained with the novel
spectacle. The back-ground of dark foliage contrasts finely
with the well-rounded nude of the figures. Entire figures
nearly of the natural size.
Engraved on a large scale by Arnold de Jode, in 1667, and in
small, in 1786, by Le Villain, for the Galerie du Palais Royal,
* The figure of Paul in the picture of St. Cecilia.
t Malvasia, Felsina Pittrice, vol. i. p. 365. The St Jerome is now in the
Gallery of the Academy of Parma. There are prints of it by Ag. Carracci,
C. Cort, and Sir R. Strange. Annibale was only twenty years of age when he
wrote this letter ; he would probably not have used such expressions after his
acquaintance with the works of Raphael in Rome. They, however, explain the
tendency of the rising school of Bologna ; it was sensuous and technical
J Winckelmann, WerJtc, vol. i. p. 70.
E 2
68 CORREGGIO.
in which there was a duplicate of this composition. On canvas,
5 ft. 1 in. h. by 3 ft. w.
This picture, one of Correggio's masterpieces, was formerly in the
possession of Charles L, who purchased it of the Duke of Mantua
with the rest of that prince's collection in 1630. It was bought,
after the dispersion of the King's effects (it brought 800/. at the
sale), by the Duke of Alva : it was subsequently the property of
the Prince of Peace, in whose collection it was at the time of the
occupation of Madrid by the French, when in 1808 it fell into
the possession of Murat, afterwards King of Naples, and it was
thus, after a lapse of two centuries, restored to Italy. Its next
possessor was the Marquis of Londonderry, who obtained it,
together with the "Ecce Homo," No. 15 in this collection, of
the ex-Queen of Naples, at Vienna ; and both pictures were
purchased from the Marquis of Londonderry, in 1834, for the
National Gallery.
No. 15. CHRIST PRESENTED BY PILATE TO THE PEOPLE,
called the " ECCE HOMO."
" Then came Jesus forth, wearing the crown of thorns, and the purple robe.
And Pilate saith unto them, Behold the man !"* John xix. 5.
The greater part of the picture is occupied by the figure
of our Saviour, behind whom, to the left, is Pilate, pointing
with his right hand to Christ, and uttering the words
which constitute the title of the subject. On the right is
seen the head of a Roman soldier, and in the fore-ground,
to the left, the Virgin Mary is represented in a swoon,
supported in the arms of St. John. Half-length figures, of
the natural size.
Engraved in 1587 by Agostino Carracci, of which print there
are several copies ; more recently by P. Bettelini, and by G. T.
Doo, II. A. ; and in small, in Jones's National Gallery. On wood,
3 ft. 2i in. A. by 2ft. 7i in. w.
This picture, formerly in the possession of the Counts Prati
of Parma, was subsequently long in the Colonna Palace in Rome,
and it was, according to Ramdohrf the best picture by Correggio
in that city (in 1784). It is noticed also by Mengs, who supposed
it to be one of the painter's earlier works-! It was purchased
of the Colonna family by Sir Simon Clarke, who, being unable to
remove it from Italy, sold it to Murat, then King of Naples, and,
as already mentioned, it was purchased, with No. 10, from the
Marquis of Londonderry, in 1834.
No. 23. THE HOLY FAMILY. The infant Saviour is
seated on the lap of the Virgin. In the back-ground is
St. Joseph occupied as a carpenter planing a board. In the
* Et dicit eis : Ecce Homo ! in the words of the Latin Vulgate, whence the
common title of " Ecce Homo " to a picture of this subject
f Ueber Malerei und Biltihauerarbeitin Horn, Sec., vol. ii. p. 85.
j Hinterlasane Werke, vol. iii. p. 157.
CORREGGIO. G9
fore-ground, to the left, is a small toilet-basket whence this
picture is known on the continent as " La Vierge an
Paiiier." " This picture/' says Mengs, "shows that Correggio
was the greatest master of aerial perspective of his time."*
Engraved by Diana Ghisi in 1577 ; by F. F. Aquila in 1691 ; and
recently by G. Faccioli ; by G. T. Doo, R.A., for the Associated
Engravers; and in Jones's National Gallery. On wood, 1 ft.
1^ in. h. by 10 in. w.
Formerly in the royal collection at Madrid, from which it passed,
by the gift of Charles IV., to Emanuel Godoy, Prince of Peace.
After falling into various hands during the French invasion of
Spain, it was brought to England by Mr. Buchanan in 1813,
and was purchased in 1825, for the National Gallery.
No. 37. GROUP OF HEADS AND FIGURES. Nine various
views of heads and figures, constituting probably a part of
the same composition as its companion piece, No. 7, described
at page 81. In the lower part of the picture, to the left, is
the head of a lamb.
On canvas, 5 ft. 1 in. h. by 3 ft. 6 in. w.
No. 76. CHRIST'S AGONY IN THE GARDEN.
" And he was withdrawn from them about a stone's cast, and kneeled down
and prayed, saying, Father, if thou be willing, remove this cup from me ; never-
theless not my will, but thine, be done.
"And there appeared an angel unto him from heaven, strengthening him."
Luke xxii. 41-43.
The effect of light in this picture is peculiar. The time
is in the night, and our Saviour is lighted directly from
heaven, while the angel is illuminated by the light reflected
from the Lord.f The angel points with his right hand to
a cross and crown of thorns lying upon the ground, as
emblems of the approaching consummation of the passion of
Christ ; with the left he points to heaven, intimating the
will of the Father. In the background, to the right, the three
disciples are seen asleep, and beyond them is the Jewish
crowd, led on by Judas.
Engraved by B. Corti in 1640; by Volpato; by S. Cousins; and
others. On wood, 1 ft. 2 in. h. by 1 ft. 4 in. w.
This picture is a repetition or copy of the original, now in the
possession of his Grace the Duke of Wellington, which is said to
have been painted by Correggio for an apothecary to whom he was
indebted four scudi ; it was sold shortly afterwards for 500 scudi.J
It was subsequently in the royal collection at Madrid, and was pre-
sented by Ferdinand VII. to the Duke of Wellington. The picture
in this gallery formed part of the Angerstein collection, with which
it was purchased for the National Gallery in 1824.
* Wer/te, vol. iii. p. 156.
f See Mengs, Werkc, iii. 156.
j Gandellini, Notizie, 8fc., degl' Intayliatori, article Corti, B.
70 COSTA.
COSTA.
LORENZO COSTA was born at Ferrara in 1460, where he
is supposed to have been the pupil of Francesco Cossa ; and
he is said, by Vasari, to have studied painting with Benozzo
Gozzoli, in Florence. He afterwards became the friend and
assistant of Francia, in Bologna. Costa resided in Bologna
many years, and subsequently settled in Mantua, where he
entered the service of Francesco Gonzaga, from whom he
received an estate, and an annual pension from 1510 until
his death. He died of a fever in his house in the Contrada
Unicorno, at Mantua, on the oth of March, 1535.*
Costa was an imitator of Perugino and of Francia, and
was fond of introducing landscapes as the back-grounds of
his pictures. His principal works remaining are at Bo-
logna the frescoes of the Bentivoglio Chapel, in San
Giacomo Maggiore, painted in 1488; and the St. Sebastian,
in San Petronio, painted in 1492. Costa left two sons,
painters, Ippolito and Girolamo. Lorenzo Costa, the
younger, was the son of Girolamo ; he died in 1583, aged 46.|
No. 62.9. THE MADONNA AND CHILD ENTHRONED
WITH ANGELS : on the spectator's left, St. John the Baptist
and St. Peter ; on the right, St. John the Evangelist and
St. Philip. Small figures.
Transferred from wood to canvas,:}; in five compartments,
centre picture 5 ft. 5i in. h. by 2 ft. 5 in. w. Side pictures 1 ft
9^ in. and 3 ft. 7 in. h. by 1 ft. 10| in. u\ Signed
LAVRENTiVS COSTA - F
This picture was formerly over the principal altar of the
Oratorio delle Grazie, at Faenza (now a post house). In 1780 it
formed part of the Hcrcolani collection in Bologna, from which
* This is ascertained from an entry in the Necrologio, or Register of Deaths
of Mantua, published in the Memorie of Gualandi, Serie iii. .p. 8, 1842. But
as the Italians at that time commenced the year with the 25th of March, the
correct year is 1536.
| Baruffaldi, Vite de' Pittori, &c., Ferraresi ; Gualandi, Memorie Oriyinali,
&c. Serie iii. ; Vasari, Vite, &c., Ed. Le Monnier, vol. iv. ; Laderchi,
Pittura Ferrarese, p. 39, 1856.
J It is painted on fine linen, renso, which was attached to wood ; this renso
is now lined with canvas in the place of the original tarula ; it was transferred
at Antwerp in 1 848.
It is described in the Hercolani Catalogue by Calvi, Versi e Prose, &c.
Bologna, 1780, p. 10, as the best of Costa's pictures on wood (in Tavola) ;
Calvi terms it uno stupore. This picture is noticed also as an admirable example
of the master, by Rio, in his life of Leonardo Da Vinci, Art Chretienne,
vol. ii.
CBANACH. 7J
it passed, in 1837, into the possession of Mr. Wigram, at Rome.
In 1848 it became the property of M, Van Cuyck, who sold it in
the following year to M. Reiset, from whom it was purchased for
the National Gallery in 1859.
CRANACH.
LUCAS SUNDER, commonly called LUCAS CRANACH, from
his birthplace, was born in 1472 at Cronach, near Bamberg,
in Bavaria. In 1495 he was appointed court painter to
the Elector of Saxony, and then took up his' residence in
the Electoral palace of Frederick the Wise at "Wittemberg ;
Cranach had accompanied that prince on his pilgrimage to
the Holy Land two years previously. He served three
Saxon Electors in the capacity of court painter, and lie was
so much attached to John Frederick, the Magnanimous,
that when that prince was taken prisoner by the Emperor
Charles V. after the battle of Miihlberg in 1547, Cranach
preferred sharing with him his five years' captivity at Inns-
bruck to accompanying the Emperor to the Netherlands.
They returned to Wittemberg in 1552, when Cranach
retired to Weimar, where he died on the 16th of October
in the following year, aged 80.
Cranach lived at an eventful period ; his principal works
were painted between 1506 and 1540 ; he was the intimate
friend of Luther and painted his portrait several times ;
he is said to have brought about the marriage of Luther
and Catherine Bora, of which he was one of the witnesses.
Cranach was twice burgomaster of Wittemberg. After his
death a medal was struck to his honour, with his portrait
on one side, and on the other the arms granted to him by
the Elector Frederick the Wise in 1508, consisting in a
crowned winged serpent on a gold ground. This crest was
the ordinary mark Cranach used on his pictures and prints.
He was not only a painter, but also an engraver in copper
and wood, and an illuminator of manuscripts. His bio-
grapher, Heller, enumerates, as his accredited works, up Wards
of 800 prints, chiefly woodcuts.*
* Lucas Cranach' s Leben und Wcrke. 2nd ed. Niirnberg, 1854. See also
Lucas Cranach. des Aelteren Leben und Werke, by Christian Schuchardt.
2 vols. small 8vo. Leipsig, 1851.
72 CREDI.
No. 291. PORTRAIT OF A YOUNG LADY in a red dress
with slashed and puffed sleeves, gold chain, and necklace ;
her gloves slashed for rings. Small figure, half-length.
On wood, 14 in. h. by lOin.w.
The painter's mark, the crowned serpent or dragon, is seen
in the lower corner to the spectator's left. Purchased at the
sale at Alton Towers in 1857.
CREDI.
LORENZO DI CREDI was born at Florence in 1459, and
was the fellow pupil of Leonardo da Vinci and Pietro
Perugino, in the School of Verrocchio. He owes his
celebrity to his works in painting ; it appears, however,
that he was not unskilled in sculpture also, since his
master, Verrocchio, expressed a desire in his will (in
1488) that Lorenzo might be employed to finish the
colossal equestrian statue of Bartolommeo Colleoni at
Venice, which Verrocchio had left incomplete.
Lorenzo is distinguished for the careful execution and
elaborate finish of his works. The " Adoration of the
Shepherds," formerly in Santa Chiara at Florence, now
in the Academy there, is an admirable example of his
style. The " Madonna and Child, with Saints Julian and
Nicolas," noticed by Vasari as his masterpiece, is now in
the Louvre. He died at Florence, on the 1 2th of January,
1537*
No. 593. THE VIRGIN AND CHILD, seated under a
portico in a garden ; the Virgin holding the Child to her
breast.
On wood, 2 ft. 3 in. h. by 1 ft. 7 in. w,
Formerly in the possession of the Cavaliere Mancini of
Florence. Purchased at Florence from the Lombardi-Baldi
Collection, in 1857.
No. 648. THE VIRGIN ADORING THE INFANT CHRIST.
The child is resting on a pillow on the ground ; the Virgin
lo kneeling before him in adoration. Landscape back-
ground, with a ruin, and the angel appearing to the shep-
herds in the distance.
* Vasari, Vite de" Pittori, fyc., Ed. Lc Monnier, vol. viii. ; Gaye, Carhyyiu
Inedito <FArtis(i, vol. i.
CRIVELLI. 73
On wood, 2 ft. 10 in. h. by 1 ft. ll in. w.
Formerly in the Northwick collection, at Thirlstane House,
Cheltenham. Purchased from M. Edmond Beaucousin, at Paris,
in 1860.
CRIVELLI.
CARLO CRIVELLI, Gavaliere, was born at Venice in the
early part of the fifteenth century, and is said to have
studied under Jacobello del Fiore, who was still painting as
late as 1436, when, however, CriVelli was most probably
only a boy.
Though of a Venetian family, Crivelli appears to have
lived and worked chiefly at Ascoli and its neighbourhood ;
his pictures are invariably signed Oarolus Crivellus Venetus,
but he rarely added the date ; the earliest year yet known
is 1468, which is inscribed on an altar-piece in the church
of San Silvestro at Massa, between Macerata and Fermo ;
the latest is 1493, found on a picture in the Oggioni col-
lection at Milan CAROLUS CRIVELLUS VENETUS MILES
PINXIT M.CCCC.L.XXXXIII. Miles is a title he added to
his signature in 1 490, when he was ennobled (knighted) by
Ferdinand II. of Naples. Crivelli was a good colourist, but
one of the hardest in his forms of the quattrocento painters ;
he is also distinguished for his introduction of fruit and
flowers in the accessaries of his compositions. He painted
only in tempera*
No. 602. THE DEAD CHRIST, A PIETA. Two infant
angels supporting the body of Christ, seated on the edge of
the tomb. Half-figure.
In tempera, on wood, 2 ft. 4^ in. h. by 1 ft. 10 in. w.
Part of an altar-piece, formerly in the church of the Frati
Conventuali Riformati a.t Monte Fiore, near Fermo. Purchased
in Rome, from Cavaliere Vallati in 1859. Signed
CAROLVS- CRfVELLVS-VENETVS-PfNSfTx^:-
No. 668. THE BEATO FERRETTI,! kneeling in a rocky
landscape, in adoration ; a vision of the Virgin and Child,
* Ridolfi, Le Maraviglie, &c. ; Orsini, Guida D' Ascoli, Perugia, 1790;
Carboni, Memorie intorno i Letterati e gli Artisti Ascolani, Ascoli, 1830, p. 1 19 ;
Ricci, Memorie Storiette delle Arti, fyc. della Marco, di Ancona, Macerata, 1834,
vol. i. p. 228.
f The present Pontiff, Pius IX., Giovanni Maria Mastai Fcrretti, is of the
family of the Beato Ferretti.
74 CUYP.
surrounded by the Mandorla or Vesica glory, is seen above;
on the ground before him is an open book. The background
to the right is a village street, and in the foreground to the
left are two ducks on a piece of water, near which are
lying a pair of clogs; in the upper part of the picture is a fes-
toon of fruit.
On wood, in tempera, 4 ft. 7^ in. h. by 2 ft. 10^ in. w.
Purchased from Mr. Alexander Barker in 1861. Sined
CUYP.
ALBERT CUYP was born at Dort in 1605. The date of his
death is not known, but he was still living in the beginning
of 1683. He was taught painting by his father, Jacob
Gerritz Cuyp, but his true instructor was nature. Cuyp was
by trade a brewer, and it is perhaps partly owing to this
circumstance that he was so much underrated as a painter
during his lifetime, and indeed for many years after liis
death. Though known chiefly as a landscape-painter, lie
executed also some good portraits. The management of light
Aras Cuyp's great power, and he has been called the Dutch
Claude. Though among the best of cattle-painters, his
highest excellence is his treatment of atmospheres, Avhether
that of the misty morning, of the glowing noon, or of the
golden evening. He painted likewise birds, fish, fruit,
flowers, still life, and executed also a few etchings.*
No. 53. LANDSCAPE, WITH CATTLE AND FIGURES ;
EVENING. A man dressed in a red coat, seated on a gray
horse, conversing with a female standing near him, and
pointing to the opposite side of the picture, is a very pro-
minent feature in this composition; some cattle and sheep
add to the beauty of the group. The figures are finely
relieved by foliage, and a sloping hill behind, which is
made to retire by the branches of a wide-spreading tree
* Houbrakcn, Groote Srhouburg der ffederlandscne Kanstschilders, &c. ; Van
Eynden and Vander Willigen, Geschiedenis der Vaderlandsche Scbuder-
kunst, i. 382 ; Immerzeel, De Levens en Werfcen Hollandsche en Vlaamsche
Kunstschilders, &c., Amsterdam, 1842,
DIETRICH. 75
overhanging this part of the picture. On the opposite side
is a picturesque sheet of water, at the farther bank of
which three horsemen are refreshing their steeds : the dis-
tance is bounded by low hills ; two dogs, a goat, and the
stump of a tree occupy the fore-ground on this side. A
sunny atmosphere pervades the whole picture.
Engraved by J. C. Bently, for Jones's National Gallery ; and
by E. Goodall, for the series of prints published by the Asso-
ciated Engravers. On canvas, 4 ft. 4 in. h. by 6 ft. 6 in. w.
Signed
Formerly in the collection of Sir Lawrence Dundas, and subse-
quently in that of Mr. Angerstein, with which it was purchased
by Parliament in 1824.
DIETRICH.
JOHANN WlLHELM ERNST DIETRICH was born at Weimar
in 1712, where his father, Johan Georg Dietrich, wan
court-painter. After acquiring the rudiments of his art
from his father, he was sent to Dresden to pursue his
studies under the celebrated landscape-painter Alexander
Thiele. Dietrich was of such precocious talent, that he
was appointed, when only in his eighteenth year, couil-
painter to Augustus II. King of Poland and Elector of
Saxony. In 1741 he received a similar appointment from
Augustus III., who, in 1743, sent him to Rome, in order
that he might become acquainted with the great production';
of Italian art.
In 1746 he was appointed keeper of the celebrated Dresden
gallery of pictures ; he was likewise one of the professors
of the Academy of the Arts at Dresden, and director of the
school of painting attached to the porcelain manufactory of
Meissen. He died at Dresden, April 24, 1774.
Dietrich painted almost all subjects, and was remarkable
for the facility and fidelity with which he imitated any
76 DOMENICHINO.
style or any manner. His pictures are very numerous, and
there are likewise many etchings by his hand.*
No. 2.O5. THE ITINERANT MUSICIANS. An old man playing
the fiddle, and a boy accompanying him on the bagpipes,
are standing under a doorway, and entertaining a small
rustic audience ; some rich foliage in the back-ground.
Etched by Dietrich himself; admirably engraved by J. G. Wille
in 1764; also by J. F. Bause and others. On wood, 1 ft. 5 in. h.
by 1 ft. 1 in. iv. Signed and dated
*j -fecit. /,/fj:
Bequeathed to the National Gallery in 1846 by Mr. Richard
Simmons.
DOMENICHTNO.
DOME'NICO ZAMPIE'RI, commonly called DOMENICHINO,
was born at Bologna in 1581. Having studied some time in
the school of Denis Calvart, he entered that of the Carracci.
He was invited in the beginning of the seventeenth century
by Albani, to Home, where he lived for some time in his
friend's house, and he soon earned a reputation equal to
that of any of his competitors for fame. He acquired great
honour for a fresco of the " Flagellation of St. Andrew,"
painted opposite to a fresco by Guido, representing the same
saint going to martyrdom, in the church of San Gregorio
at Rome. It was at first a question which was the superior
production, but Domenichino appears to have finally secured
the general voice on his side. When Annibale Carracci was
asked his opinion of the two works, he answered, " That
Guido appeared to be the master, and Domenichino the
scholar, but that the scholar was more able than the
master."
The most celebrated picture by Domenichino is " The Com-
munion of St. Jerome in the Church at Bethlehem," painted
about 1614, now in the Vatican, hanging opposite to the pic-
ture of " The Transfiguration," by Raphael. The "Martyrdom
* Mcusel, Miscellaneen Arlistischcn Infutlts, Erfurt, I77!t; lleineken, Nwie
Nachrichtcn von Kiinstlern und Kiinstsachen, Dresden, 1786; and his Diction-
naire lies Artistes dont tutus avons dcs Eslampes, vol. iv. Dietrich is said, about
1733, after his visit to Italy, to have written his name Dietricy.
DOMENIOHINO. 77
of St. Sebastian/' formerly in the chapel of that saint in
St. Peter's, is likewise one of this painter's masterpieces ; it
is now in the church of Santa Maria degli Angeli, and a
mosaic has been substituted for it in St. Peter's.
The " Communion of St. Jerome,"* considered by Sacchi
and Poussin the best altar-piece in Borne, with the single
exception of Raphael's " Transfiguration," was painted by
Domenichino for fifty scudi, about ten guineas. He adopted
in this picture, says Bellori, Agostino Carracci's treatment
of the same subject. Domenichino was engaged from 1630
chiefly in the Cappella del Tesoro at Naples ; but the works
there were n ot completed : he was much persecuted by his
rivals both at Rome and at Naples, and especially by the
notorious triumviratef known as the " Cabal of Naples."
He died at Naples, April 15, 1641, not without suspicion of
having been poisoned by the agents of this CabaL Do-
menichino is generally accounted the ablest of all the
scholars of the Carracci : he excelled in design, in compo-
sition, and in expression.^
No. 48. LANDSCAPE, WITH FIGURES, representing the story
of Tobias and the angel, from the apocryphal book of ' Tobit/
Tobias, directed by the angel, is drawing out of the water the
flsh that had attacked him. The landscape is intended to
represent a view on the banks of the Tigris. Tobit vi. 4, 5.
Engraved in Jones's National Gallery. On copper, 1 ft. 5^ in. h.
by 1 ft. lj in. w.
Formerly in the Colonna Palace at Rome. Bequeathed to the
National Gallery by the Rev. W. H. Carr, in 1831.
No. 75. LANDSCAPE, WITH FIGURES, representing the story
of St. George and the Dragon. The saint, mounted on
* Engraved by Cesare Testa, J. Frey, B. Farjat, and A. Tardieu.
f Belisario Corenzio, Guiseppe Ribera (Spagnoletto), and Giambattista
Carracciolo. See Dominici, Vitc de' Pittori, fyc., and Lanzi.
f Bellori, Vite de' Pittori, fyc. ; Passeri, Vite de' Pittori, fyc.
This was a dragon which dwelt in the time of Diocletian, in a marsh near
the city of Lysia, in the province of Lybia, and was appeased only by two sheep
daily ; when all the sheep were exhausted, human victims were offered to him,
their fate being decided by lot. At length it came to the lot of the King's daughter
to be given to the dragon, and after much useless resistance, the King finally
delivered her, clad in her royal robes, to the people, who exposed her to the
dragon and looked on from the walls. St. George passing at the time, and learning
from the lady the cause of her distress, immediately resolved to become her
champion. Accordingly, when the monster made his appearance, St. George
mounted his steed, and couching his lance, attacked him vigorously, and having
given him a fatal wound, he dismounted and cut off the dragon's head with his
sword. See the account, from Peter de Natalibus, in Lord Lindsay's Sketches
of the History of Christian Art, vol. i.
78 DOSSI.
his charger, is on the point of spearing the dragon ; the
princess is running from the spot. The landscape, to which
the figures are merely accessory, is a picturesque country ;
on the right is the view of a fortified town, before which is
a sheet of water. The inhabitants are watching the result
of the combat from the walls.
Engraved by A. W. Graham in Jones's National Gallery. On
wood, 1 ft. 8 in. h. by 2 ft. 1 in. w.
Formerly in the Collection of Prince Lucien Bonaparte. Be-
queathed to the National Gallery, in 1831, by the Rev. W. H. Carr.
No. 77. THE STONING OF ST. STEPHEN.
" Then they cried out with a loud voice, and stopped their ears, and ran upon
him with one accord, and cast him out of the city, and stoned him ; and the
witnesses laid down their clothes at a young man's feet, whose name was Saul."
Acts vii. 57, 58.
The scene is taking place immediately outside the walls,
which occupy a large portion of the picture ; above them are
seen the upper parts of some buildings, and a few figures are
distributed on the ramparts, witnessing the tragedy enacting
beneath. Seven small figures/
Engraved in Jones's National Gallery. On canvas, 2 ft. 1 in. //.
by 1 ft. 7 in. w.
Formerly in the Collection of Prince Lucien Bonaparte. Be-
queathed to the National Gallery, in 1831, by the Rev. W. H. Carr.
No. 85. ST. JEROME AND THE ANGEL. The saint is repre-
sented seated in a cave, occupied in the study of his books
and manuscripts ; his attendant lion is crouching at his feet ;
the apparition of the angel seems to imply the special mission
of St. Jerome as the interpreter of the Scriptures : his version
of the Old and New Testaments into Latin is the first
translation that was made into that language ; it is known
as the Vulgate of the Roman church. St. Jerome died
about the year 420, at an advanced age, in the monastery
of Bethlehem, near Jerusalem. The red robe, and the
Cardinal's hat, placed against a skull, upon the piece of
rock which serves him as a table, indicate his rank as a
Cardinal of the Church.
Engraved in Jones's National Gallery. On canvas, 1 ft. 8 in. h.
by 1 ft. 3i in. w.
Formerly in the Aldobrandini Collection at Rome. Imported
into this country by Mr." Day. Bequeathed to the National
Gallery, in 1831, by the Rev. W. H. Carr.
DOSSI.
Dosso DOSSI was born about 1480, at Ferrara, or at
Dosso, near Cento ; his father was in the service of the
Duke Ercole I., of Ferrara. Dosso and his brother, Giain-
DOW. 79
battista, who generally worked together, were pupils of
Lorenzo Costa ; they studied also eome years at Rome and
Venice. Dosso excelled in figures, and especially portraits ;
Giambattista was excellent in landscape. Dosso died about
1560, having survived his brother some years. Giambat-
tista had an attack of apoplexy, Nov. 1st, 1545, but
he survived, without working, until 1549. Both are men-
tioned by Ariosto (Canto xxxm. St. 2).
" E quei che furo a nostri di, e son ora
Leonardo, Andrea Mantegna e Gian Bellino,
Duo Dossi, e quel che a par sculpe e colora
Michel piu che mortale angel divino."
Several of Dosso's frescoes are still preserved in the
Castello di Ferrara : his master-pieces are said to be the
" Madonna and Child enthroned, with various Saints," in
the Gallery at Ferrara, formerly in the Church of Sant'
Andrea there ; and the " Four Doctors of the Church, with
San Bernardino/' in the Dresden Gallery.*
No. 640. THE ADORATION OP THE MAGI. A hilly land-
scape, with trees in the background, the star of the
Epiphany above. One of the kings appears to be attacked
by a robber.
On wood, arched at the top, 17 in. h. by 12^ in. w.
Purchased from M. Edmond Beaucousin, at Paris, in 1860.
DOW.
GERARD Dow or rather Don, one of the most celebrated
of the Dutch genre- painters, was born at Leyden, in 1613
or 1598.f His father was a glazier, and Gerard was at
first brought up to be a painter on glass, but afterwards
entered the school of Rembrandt at Amsterdam, and
remained with that painter three years. He attained
wonderful mastery in delicate execution ; his works are re-
markable at once for high finish and for lightness of
handling. He died at Leyden, in 1680, not, however,
before he had reaped ample fruits from his great repu-
tation. An amateur of the name of Spiering paid the
* Baruffaldi, Vite de' Pittori Ferraresi, &c. Laderchi, Pittura Ferrarese.
f This appears to be the correct date from the signature on the picture of
Ihe " Femme Hydropique " in the Louvre " 1663 G. DOV. OVT 65 JAER"
showing the painter's name to be Dou; the same form of the capital U is used
in the word out OVT, old or aged.
80 DUCCIO.
painter annually, a thousand florins, alone a good income,
for the mere privilege of having the first offer of his pictures,*
which have steadily increased in value up to the present
time. Schalcken, Mieris, and Metsu, were pupils of Gerard
Dow.
No. 192. THE PAINTER'S OWN PORTRAIT. He holds a
pipe in his hand. Signed G. DOV, that is DOU.
On wood ; an oval, 7^ in. h. by 5| in. w. Signed
Cbov. /
/
Formerly in the Collection of M. Paignon Dijonval, at Paris.
Purchased for the National Gallery, at the sale of Mr. J. Har-
man's Collection, in 1844.
DUCCIO.
DUCCIO Di BUONINSEGNA of Siena was born about 1260;
the earliest accounts of him are from 1282,f the latest are
said to extend down to 1339.J He is the first of the
Sienese painters who forsook the Byzantine manner and
strove to imitate nature. His earliest works were illumi-
nations of manuscripts, but already in 1285 Duccio must
have been a painter of reputation, as in that year he
entered into a contract at Florence to paint, for 150 florins,
an altar-piece for the chapel of the Virgin, in the church
of Santa Maria Novella. His masterpiece, however, the
high altar-piece of the Cathedral of Siena, which is still
in existence, was painted many years later. It occupied
him between the 9th of October 1308, and the 9th of
June 1310, when it was carried with great pomp to the
cathedral. Duccio executed it for the small pay of sixteen
soldi or eight pence the working day, paid to him in
monthly instalments of ten lire or francs ; but he was at
no expense for the materials, which, owing to the quantity
* Houbraken, Groote Schouburg, Sfc.; Immerzeel, Levens en Wer/ten tier
Hollandsche Kwistschilders, Sfc.
f Delia Valle, Letterc Scnesi, p. 277.
j Vusari, Vile tlei Pittori, ffc. Ed. Le Monnier, Flor. 1846, ct seq.
Milanesi, Document! per la Storia delC Arte Sencse, vol. i. p. 169.
DURER. 81
of gold and ultramarine used, raised the cost of the altar-
piece altogether to upwards of 3,000 gold florins.*
Duccio is mentioned by Yasari as the artist of the
Sgraffiti or Chiaroscuri of the pavement in the Cathedral
at Siena, but Rumohr has shown that those designs were
not commenced until a century after the death of Duccio.f
No. 566. THE MADONNA AND CHILD WITH ANGELS ;
and DAVID with six Prophets above. ST. DOMINIC and
ST. CATHERINE of Alexandria, on the doors. A Triptych.
In tempera, on wood, 2 ft. h. by 2 ft. 7 in. w.
Formerly in a gallery at Pisa. Purchased at Florence from the
Lonabarcli-Baldi Collection in 1857.
DURER.
ALBERT or ALBRECHT DURER was born at Nuremberg,
May 20, 1471. His father was a Hungarian goldsmith,
who had settled in that city in 1455, and had married
Barbara the daughter of the Nuremberg goldsmith, Jerome
Haller. Albert was the third of eighteen children by this
marriage, three only however attained to maturity ; his
mother survived till 1514. Though brought up to be a
goldsmith, he, at an early age, adopted painting as his
profession, and was first apprenticed in 1486, with Martin
Schoen or Hiipsh (Schongauer), at Colmar, but as this
master died shortly afterwards, he became the scholar of
Michael Wolgemuth, a painter of Nuremberg, with whom he
remained three years ; he then travelled for four years.
These seven years were Albert's Lehr- and Wander-jahre.$
* Tura del Grasso, the writer of an old Sienese Chronicle, says, "fu la piu
bella tavola che mai si vedesse et facesse et chosto piu di tremila fiorini
d'oro." It was similar in plan to the altar-piece by Jacopo di Casentino in
this Collection ; consisting of centre, upper pictures, pilasters, and predella.
The centre was double or painted on both sides, front and back : on the
front was represented the Virgin and Child enthroned, with Angels ; on
the back, the Life of Christ in many small pictures. It is still in the
Cathedral at Siena, but was removed from the high altar in 1506, and the
principal picture has been separated into two ; the front and the back being
distinct pictures : they were executed at different times, and according to
separate contracts, which are still preserved. The Life of Christ being in
thirty-eight stories, for which Duccio was to receive two and a half gold
florins each. Milanesi, Documenti, fyc., vol. i. p. 178.
f Rumohr, Italienische Forschungen, ii. p. 33.
j It has been stated, on his own authority, by German writers, that Albert
never saw Martin Schoen, as the latter died before Albert's arrival at Colmar ;
but a document quoted by Passavant in the Kunstblatt for 1846, p. 168, shows
F
82 DURER.
Albert Diirer distinguished himself equally as painter
and as engraver on copper and on wood ; as an engraver
he was, perhaps, superior to all men of his time in the
practical execution of his work ; in painting also, apparently
a secondary study with him, his execution was extremely
elaborate, but at the same time very hard, and his forms
are inelegant ; he had, however, great powers of invention.
On Feb. 2, 1494, he married Agnes Frey, the pretty
daughter of a Nuremberg singer and player on the harp, and
with her he received a dowry of 200 florins ; but for which,
says an old writer quoted by Arend, he had afterwards at
least 2,000 unhappy days. She is said to have been
imperious, avaricious, and fretful, constantly urging him to
work, to make provision for her after his death.
In January 1506, Diirer visited the north of Italy: in
Venice he painted a picture of the Martyrdom of St. Bar-
tholomew, or, according to some, the Coronation of the
Virgin ; and he remarks in a letter to his friend Pirkheimer :
" The Venetian painters abuse my style, and say that it is
not after the antique, and therefore that it is not good
Nock schelten sy es und sagen, es sey nit antigiach art, dozu
sey es nit gut ;" but they praised his beautiful colouring.
He admired the works of Giovanni Bellini, who was then
very old, and speaks of him as the best Venetian painter.
Albert outlived the taste of his earlier years, under the
influence of which he had sometimes painted in a crude
and florid manner. He himself confessed to Melancthon
that he did not admire his own early pictures as at first, and
that they often made him sigh when he looked upon them.*
He was well pleased with his visit to Venice ; he executed
several pictures there, and writes to his friend Pirkheimei
with satisfaction, that there he was a gentleman, while at
home he was but a parasite. Afterwards, in 1525, writing
to the town council of Nuremberg, he complained that
during the thirty years he had worked in that city he had
not received 500 flerins of Nuremberg money, that his
commissions were from princes and strangers, and that he
spent strange money in the town, while he might have
that Martin died in 1488, two years later than was commonly reported, so that
there must have been some other reason than Martin's death for Albert's not
becoming his apprentice. Albert visited Colmar in his wanderjahre in 1492.
* Epistolae I), Erasmi Roter. Et Ph. Melanchthonis. &c., folio, London, 1642 ;
quoted by Fiissli, A0.gemein.es Kiinstier Lexicon.
DURER. 88
remained at Venice with an annual grant of 200 ducats
from the Signory, and that he had received a similar offer
of 300 florins and free lodging from Antwerp, all of which
he had declined out of love to his native place. The
Emperor Maximilian appointed him court-painter, and the
same dignity was continued to him in 1 520 by Charles V. ;
the emolument was, however, only 100 florins a year.
Albert was certainly the most distinguished artist of his
time north of the Alps, and in 1515 an interesting exchange
of drawings took place between him and Raphael. One of
the great Roman painter's drawings is still preserved at
Vienna in the collection of the Archduke Charles ; it
represents two figures drawn in red chalk from the life,
and on the paper is written by Albert: ''1515, Raphael
of Urbino, who has been so highly esteemed by the Pope,
drew these naked figures, and sent them to Albrecht Diirer
in Nuremberg, to show him his hand."
In Whitsun-week, 1520, he set out with his wife and
her maid for a visit to the Netherlands, where he remained
during a considerable portion of 1521. His diary of this
journey is preserved, and contains many interesting details.*
He was chiefly occupied in visits, and negotiating the sale
of his prints ; he also drew several pencil portraits, for
which he appears to have been commonly paid a florin, or
twenty pence English ; but two or three pence a day were
the ordinary wages even of a skilled workman at that time
in the north of Europe : the price was therefore not a
contemptible one.
Diirer's pictures are not numerous, though there are
some works of note in most of the German galleries, as
at Munich, Vienna, Prague, and Nuremberg. The most
celebrated perhaps of his paintings are the two panels in
the Munich gallery, containing respectively St. John and
St. Peter, St. Paul and St. Mark, painted in 1526, and pre-
sented by Albert to the council of Nuremberg. In portrait
he was often very successful ; his most celebrated picture of
* It is remarkable that Arend, Albert's townsman, and the author of the
earliest monograph on Diirer, should have asserted that he made this journey
to escape from his wife. In the very first sentence of the Diary he mentions
that she accompanied him, and he notices her frequently afterwards. See Reise-
journal Albrecht Diirers. von seiner Niederldndischen Reise, 1520 und 1521. E.
Bibliotheca Ebneriana. In Von Murr's Journal zur Kunstgeschichte, vol. vii.
Niirnberg, 1779 ; and also in the Reliquien von Albrecht Diirer, Niirnberg, 1828.
F 2
84 DtfRER.
this class is that of Jerome Holtzschuer* at Nuremberg, also
painted in 1526 ; there are likewise good portraits of
Frederick der Weise, Melanchthon, Erasmus, and his own
intimate friend Pirkheimer. His series of woodcuts have,
however, a more extended European reputation; namely,
the " Apocalypse," sixteen cuts, 1498; the "Life of the
Virgin," twenty cuts, 1511 ; and about the same time the
" History of Christ's Passion," twelve large cuts. The last
is known as the " Grosse Passion." There is another series
in thirty-seven small cuts, known as the " Kleine Passion."
Of his copper-plate engravings, which are exquisitely finished,
may be mentioned, " St. Hubert," " St. Jerome," " Adam
and Eve," the "Christian Knight," "Melancholy," and
" Fortune." All his works are generally marked with the
same monogram, a large A with a small D in the middle
of it, below the bar of the A.
Albert was also sculptor as well as painter and engraver,
and, according to the inscription on his tomb, without a
rival in either art Artium lumen, sol artijicum; pictor,
chalcographus, sculptor, sine exemplo. He was the author
of several works, on Human Proportion, on Geometry, <kc.,
on Fortification; and was unquestionably a man of
remarkable attainments ; even Melanchthon had said, that
painting was the least of his accomplishments.
This celebrated German artist died at Nuremberg, April 6,
1528, leaving to his wife, notwithstanding his general
poverty, a little fortune of 6,000 florins. He had joined
the Reformers under Luther, but he appears to have died,
according to Pirkheimer, a member of the Roman church. f
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 back-ground, with the date 1514,
and the painter's usual monogram, a D within an A.
* Engraved by Fr. Wagner.
( Sandrart, Accademia Todesca, &c. Arend, Das Gcdechtniss der ehren eines
derer voll/iomnesten Kiinstler seiner und oiler nachfolgendenZeiten,AlbrechtDiireri>,
&c., 12mo., Gosslar. 1728. Von Murr, Journal zur Kunstgeschichte, vols. vii.
and x. containing the letters of Diirer and Pirkheimer, 12mo., Niirnberg,
1779-81. Heller, Das Leben und die Werke Albrecht Diirers, 8vo., Leipzig,
1831, vol. ii., the works only. Von Itettberg, Niirnbery's Kunslleben in seiner
Dcnkmalen dargestellt; 8vo., Stuttgart, 1854.
DYCKMANS EMMANUEL. 85
On wood, 1 ft. 11 in. h. by 1 ft. 7 in w.
D
Purchased for the National Gallery, in 1854, at the sale of
M. Joly De Bammeville's collection.
DYCKMANS.
JOSEPH LAURENS DYCKMANS was born at Antwerp in
1811, and is still living.
No. 600. THE BLIND BEGGAR. A blind old man is
standing in the sunshine by a church door ; before him,
holding out her hand, is a young girl asking alms of the
passers by ; and coming out from the church is an old lady
feeling in her pocket for a sou : some other figures are seen
in the porch, at their devotions before a crucifix. Small
three-quarter figures. Modern Flemish school.
On wood, 1 ft. 7-j in. h. by 1 ft. 6 in. w. Engraved by
W. H. Simmons.
Painted at Antwerp. Signed J. Dyckmans, 1853. Bequeathed
by Miss Jane Clarke in 1859.*
EMMANUEL.
EMMANUEL, a Greek priest and painter. He signs
himself in the example of his work in this collection
Em'manouel, priest of Tzane. Laiizi 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
* Exhibited for the present at South Kensington.
f The period of a Byzantine picture cannot always be ascertained from its
style, as the Greek Christian Art is purely conventional, and has been 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, ^p/jajifia TTJS {wypaQtKTJs, 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'Iconograpkic Chretienne,
Grecquc et Latinc, avcc une Introduction et des notes. Traduit du MS.
Bi/zantin, " Le Guide de la Peinture," par le Dr. Paul Durand.
There is also a German translation by Dr. Schafer. Das Handbuch der
Malerei vom Berge Athos, &c., 8vo., Trier, 1855. In this remarkable guide are
given, not only the subjects to be represented, and their orthodox treatment,
bul even i lie costume, age, and lineaments of the characters introduced ; and
it is as mdi6i>ensable to the Greek painter as his palette and brushes.
86 ERCOLE DA FERRARA.
No. 594. SAINTS COSMAS AND DAMIANUS, receiving
the Divine blessing, according to the Greek rite.* The
Lord surrounded by the Vesica Piscis or Ichthusfi is repre-
sented above. Inscribed O c A' rW/Aaj, O' A' Aa/xiavor, and
signed x F>t 'EpfwwouijA 'ispsu)? TOW r^avs. The hand of
Emmanuel, priest of Tzane.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. Pur-
chased in Florence from the Lombardi-Baldi Collection, in 1857.
EB/COLE DA FERRA'RA.
ERCOLE GRANDI, commonly called Ercole da Ferrara, was
born in Ferrara, about 1462. He was, according to Vasari,
the pupil of Lorenzo Costa, at Bologna, where he chiefly
resided and executed his best works. Costa and Ercole
were contemporaries and friends ; but it is more probable
that Francesco Cossa was his master. He died at Ferrara,
in 1531. His pictures are very rare; his greatest works,
the frescoes of the Garganelli Chapel in San Pietro in
Bologna, were destroyed with the Chapel in 1605. There
are a few specimens in the Costabili Gallery of Ferrara.
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 back-ground.
Engraved in Jones's National Gallery. On wood, 1 ft. 11 in. h.
by 2ft. Sin. w.
Formerly in the Aldobrandini Collection at Rome. Bequeathed
to the National Gallery, in 1831, by the Rev. W. H. Carr.
* In the Greek mode of blessing the hand attempts to form the monogram
of Christ 1C. XC, or the fir^t and last letters of the name of Christ, 'iTjo-oiJC
XpwrdC ; the first finger is straight, the second slightly curved, the thumb
holding down the third, forming the X, and the fourth slightly curved. See
the Greek "Guide," German translation, p. 418.
f See page 133, note, for the explanation of the Ichthus.
\ The Saints Cosmas and Dauiianus, martyrs of the fourth century, are called
from their practising medicine gratuitously, <5i ayioi avdpyvpoi -lite holy money
despisers. They are represented always together and in three different modes,
in Greek art one mode being peculiar to two saints of Rome, July 1st,
another to two of Asia (Minor?), November 1st, and a third to two of Arabia,
October 7th. The saints of this picture are the Roman pair. See the German
translation of the Greek " Guide " before mentioned, p. 320.
BarufTaldi, Le Vite de' Viu Insiyni Pitlori e Scultori Ferraresi, Ferrara,
1846-8; Vasari, Ed. Le Monuier vol. iv. ; Laderchi, Pittura Ferrarese, 1856.
EYCK, J. VAN. 87
VAN EYCK.
JAN or JEAN VAN EYCK was born probably at Alden
Eyck, near Maas Eyck, on the Maas, about 1390, the
exact date being doubtful. His elder brother, Hubert, was
born, according to Van Mander, in 1366 : this leaves a long
interval between the births of the two brothers, though
longer intervals occasionally occur, especially in cases of first
and second marriages. There is sufficient historical evidence
to show that John was many years younger than Hubert :
in their portraits in the Gallery of Berlin, on one of the
wings originally belonging to the altar-piece of the Adora-
tion of the Lamb, in St. Bavon's, at Ghent, Hubert looks
at least old enough to have been John's father; and accord-
ing to Markus Van Vaernewyck, in his 'History of Belgium/
published in 1565, John Van Eyck was still young when
he died. Making due allowance for the diversity of opinions
as to when a man ceases to be young, it may be assumed
that he was not much more than fifty at his death ; and as
it is now established that he died on the 9th of July, 1440,*
he may have been born shortly before 1390, but hardly
later. His brother Hubert died September 18, 1426. The
third brother Lambert survived John some years. Of a
sister, Marguerite, little is known.
The Van Eycks resided chiefly at Ghent and Bruges,
where they founded a great school. Both Hubert and John
were granted the freedom of the profession by the Corporation
of Painters of Ghent, in the year 1421. f They are particularly
distinguished as the inventors (or improvers) of OilPainting;
general repute gives the credit of this discovery to John,
but from all the circumstances, Hubert appears to have a
better claim to the invention. The whole of the upper part
of the interior of the " Adoration of the Lamb," their master-
* See the documents published by W. H. James Weale in his Notes sur
Jean Van Eyck, &c., Londres, Barthes and Lowell, 1861 ; rectifying some
mistakes in the Abbe Carton's -work, Les Trois Freres Van Eyck, Sfc., Bruges,
1848. The following publications (anterior to the discovery of facts now
established) may be consulted for other particulars. Dr. Waagen, Kunstblatt,
1859, No. 25. De Bast, Messager dts Sciences et dcs Arts, Gand, 1824. The
Kunstblatt, 1826, No. 78, &c. Passavant, Kunstreise durch England und
Belgien, Frankfort, A.M. 1833. Rathgeber, Annalen der Niederldndischcn
Malerei, fyc., Gotha, 1842. Michiels. Peintres Brugeois, 1846. The Author's
Epochs of Painting, 1859, ch. xxiii.; and Eastlake's Materials for a History of
Oil Painting, 1847.
f Busscher, Notice sur L'Ancienne Corporation das Peintres at Sculpteurs a
Gand. Brussels, 1853.
88 EYCK, J. VAN.
piece, except perhaps the wing containing the " Singing
Angels," was painted by Hubert, who was thus evidently
complete master of the method ; and at the date at which
Van Mander fixes the discovery, 1410, Hubert was already
forty-four years of age, while John was still but a youth.
This celebrated picture, painted for Judocus Vyd, was
finished by John in 1432, six years after the death of his
brother, and in the inscription on the work the chief merit
is given to Hubert, who is called the greatest in art, while
John is styled the second.* The external pictures represent-
ing the Annunciation, St. John the Baptist, St. John the
Evangelist, and the donors, are by John.
Vasari's general statement that John Van Eyck was the
inventor of oil painting or literally varnish painting, was
formerly much impugned, as it was known that the mere
immixture of oil with colours was practised in Germany and
elsewhere long before the time of Van Eyck. Vasari, how-
ever, in his Life of Agnolo Gaddi, intimates that oil painting,
though sometimes adopted by the earlier masters, was not
employed by them for figures, but for decorative purposes
only.f
No. 186. PORTRAITS OF JEAN ARNOLFINI AND JEANNE
DE CHENANY HIS WIFE}, standing in the middle of an apart-
ment with their hands joined. In the back -ground are n,
bed, a mirror, and a window partly open; the objects in
the room, and even beyond that portion of it represented
in the picture, for a door and two additional figures may
* The inscription is as follows, the last line containing what is termed a chrono-
gram, the Koman capitals making together, according to their value as numerals,
the date 1432, on the sixth of May of which year the picture was fixed in its
place :
Pictor Ilubertus eEyck, major quo nemo repertus
Incepit ; pondusque Johannes arte secundus
Frater perfecit, Judoci Vyd precefretus
VersV seXta Mai Vos CoLLoCat aCta tUeri.
The two central divisions of this picture are all that now remain in the church
at Ghent. The eight wings, with the exception of the figures of Adam and Eve,
are in the Gallery of Berlin. The figures of Adam and Eve (the latter not
the most fortunate of the upper scries, though extolled by Albert Diirer) were,
in 1860, placed in the Gallery at Brussels. The alterpiece is engraved in out-
line in Passavant's Kunstreise, &c., in Crowe and Cavalcasellc's Early Finnish
Painters, London, 1857, and in Waagen's Handbuch der Deutschcn and Aidcr-
liindischen Malerschulen. Stuttgart, 1862. It was copied by Michael Coxie for
Philip II. of Spain, in 1559 ; it occupied him two years, and he received 4,000
florins for his labour.
f Compare the Life of Antouello da Messina in this Catalogue.
j Weale, Notes, &c. p. 27.
EYCK, J. VAN.
89
be distinguished, are distinctly reflected in the mirror. A
branch brass chandelier hangs from the ceiling, with a
candle still burning in it ; in the fore-ground is a small
poodle. In the frame of the mirror are ten minute circular
compartments, in which are painted subjects relating to
the Passion of Christ ; immediately above the mirror is
written "Johannes de Eyck fuit hie," with the date 1434
below.*
On wood, 2 ft. 9 in. h. by 2 ft. ^ in. w.
This picture belonged in 1516 to Margaret of Austria, to whom
it was presented by Don Diego de Guevara ; it was also in her
possession in 1524 : the picture originally had shutters on the out-
side of which the arms of Don Diego were painted. f Afterwards,
according to Van Mander, it passed into the possession of a
barber-surgeon at Bruges, who presented it to the then Regent of
the Netherlands, Mary, the sister of Charles V., and Queen
Dowager of Hungary. This princess valued the picture so highly,
that she granted the barber-surgeon in return, a pension, or office
worth 100 florins per annum-! The picture belonged to her in
1556; it is even included in the list of valuables which she
carried with her to Spain. Its subsequent history, however,
shows that it either did not go to Spain or returned again to
Flanders : there it must have passed into obscure hands ; it was
discovered by Major-Gen. Hay, in the apartments to which he
was taken, in 1815, at Brussels, to recover from wounds he
had received in the battle of Waterloo. He purchased the picture
after his recovery, and disposed of it to the British Government
in 1842, when it was placed in the National Gallery.
No. 222. A MAN'S PORTRAIT, in a cloak and fur collar,
with a red handkerchief twisted round the head as a turban.
In small.
* The researches of Mr. Weale having proved beyond all question who the
personages represented in this picture were, there can no longer be any am-
biguity in the meaning of the words " fuit hie." Why the presence of the
painter should be so recorded, must be left to conjecture.
f Weale, Notes, &c., p. 27.
| Van Mander, Het Schilder Bocc/t, 1618, p. 126.
C. I. Nieuwenhuys, Description de la Galerie des Tableaux de S. M. Le Rui
dvs Pays-Bus, Bruxelles, 1843, p. 4, note. Kugler's Hand-book, &c., revised
by Waagen, London, Murray, 1860, vol. L p. 70.
90
EYCK, J. VAN.
o
H
*!
c
I
&a
FRANCESCA. 91
On wood, 10 in. h. by 7 in. w.
Tliis picture was apparently, from the inscription on the back,
" Ex Collectione Arundeliana," formerly in the Arundel Collec-
tion: it was lately in that of Viscount Midleton, at Pepper-harrow.
It was painted, according to an inscription on the lower part of
the frame, Oct. 21, 1433.* Purchased for the National Gallery,
from Mr. H. Farrer, in 1851.
No. 290.. A MAN'S PORTRAIT, in a dark red dress with
a green head-covering, the ends of which hang down on
the sides; in his hand he holds a paper with writing
upon it. The lower part of the picture represents a stone
parapet, on which is inscribed in Greek characters what
appears to be meant for T/jao'9=of, Timothy ; below is
written LEAL SOUVENIR, and under this the painter's sig-
nature as follows: Factu ano. Dm. 1432. 10. die Octobris.
a Joh. de Eyck.
On wood, 13 in. h. by 7^ in. w.
Purchased from Herr Carl Ross at Munich in 1857.f
PIETRO DELLA FRANCESCA.
PIETRO, called DELLA FRANCESCA after his mother,:}:
and also Pietro Borghese, was born at Borgo San Sepolcro
* The original inscription, given in fac simile opposite, is Joh'es + de + Eyck
+ me-t-fecit + anno + MCCCC + 33 + 21 Octobris. On the upper part of the
frame are the three words ALS LXH XAN (als ich kan), signifying, as well
as I can, -which appear from several examples still extant to have been often
written by Van Eyck on tne frames of his pictures ; they are the first words of
an old Flemish proverb, As I can, but not as I will. See 1'Abbe C. Carton,
Les trois Frcres Van Eyck. p. 73, Bruges, 1848.
f The brothers Van Eyck appear to have resided in Ghent while they were
employed on' the altar-piece of St. Bavon. After the death of Hubert, John
Van Eyck remained in that city till May 1432, when the work was completed.
In August of the same year (as is proved by a document) he had returned to
Bruges. A picture by him in the possession of Mr. Weld Blundell, of Ince
Hall near Liverpool, is supposed to have been the first work painted by the
master after his return : it has the date 1432, with, the addition Brugis. The
portrait above described, dated October 1432, ranks next or possibly before it
in chronological order. Weale, Notes, &c., p. 9, note. In the Kunstblatt,
October 19, 1854, there is a careful description of this picture by Dr. E. Forster.
More than one copy of the portrait exists, whence it may be interred that the
personage represented was of some note.
\ Vasari, Vite, &c. explains this by informing us that Pietro was born after
the death of his father. The name of the latter is supposed to have been
Benedetto. The mention of "Pietro di Benedetto dal Borgho a San
Sepolchro," which occurs in a document hereafter to be noticed, is the
plausible ground for this conclusion, but a similar expression sometimes
implies a different relation, such for example, as that of master and scholar.
It is not to be overlooked that Fra Luca Pacioli, the contemporary and
scholar of Pietro, invariably calls him Pietro de' Franceschi and Petrus de
Franciscis. The present descendants of the painter are called Marini-
Franceschi.
92 FRANCESCA.
about 14)15.* 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 dis-
tinguished of the Umbrian masters.
His earliest productions are no longer to be traced. In
1439 he assisted Domenico Venziano in some wall paintings
in the church of Santa Maria Nuova in Florence.f In
1450, and probably for some time previously, he was
occupied with the same master at Loretoj, and in 1451,
independently, at Rimini, where a fresco by him with that
date still exists. His inaturer works in his native city of
Borgo San Sepolcro, appear to have been executed during
a period comprehending the year 1460. 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 UrbiDO : the portraits
of Federigo da Montefeltro and Battista Sforza, now in
the Gallery of the Uffizj in Florence, must have been
painted after 1460, in which year the marriage of those
personages took place. The age of the lady in that picture
* The annotators of the Le Monnier edition of Vasari, (vol. iv., p. 13.) place
the birth of Pietro della Francesca in the " first years " of the fifteenth
century. Hitherto no evidence has come to light which can suffice to establish
a precise date, but various circumstances seem to render it necessary to
assume a period later than 1410. E. Harzen, in an essay in the Archiv
fur den zeichnenden Kiinste, Leipzig, 1856, after concluding that Vasari's
^statements must, by inference, place Pietro's birth in 1398, selects 1426 as
a more convenient date. For this considerable alteration there seems to be
no sufficient reason ; indeed, according to the assumption Pietro must have
been a recognised painter at the age of thirteen. A document in the
archives of Santa Maria Nuova in Florence, quoted by Harzen, shows that
in 1439 Pietro was employed, apparently as the assistant of Domenico Vene-
ziano, when that master was painting in the chapel of Saint Egidio in the
church referred to. It is in this record that Pietro is called " di Benedetto."
The birth of Domenico Veneziano is placed by the annotators of Vasari
after 1410 ; and Pietro, as the scholar, can hardly be supposed to be the elder
of the two. Compare the life of Antonello da Messina in this Catalogue.
f See the preceding note.
j Compare Vasari's life of Domenico Veneziano with that of Pietro della
Francesca. The ceiling of the sacristy at Loreto, though not completed by
them, gained Domenico, as the principal painter, considerable reputation,
whence it may be inferred that the work must have occupied some time. The
resemblance between the two remaining works of Domenico Veneziano in
Florence (especially in the character of the Madonnas' heads), and the style
of Pietro della Francesca, has been noticed by many observers, and may
perhaps be accounted for by the circumstances above detailed.
A fresco of San Lodovico, ascribed to Pietro, in a hall of the Tribunale
in Borgo San Sepolcro, has the date 1460. Dragoinanoi, Vita di Pietro della
Francesca, Firenze, 1835, p. 22.
FRANCESCA. 93
indicates a later period as its date* ; and the presence of
Pietro in Urbino in 1469, when he appears to have been
the guest of Giovanni Santi,f may possibly coincide with
the time when that work and another, still preserved in
the sacristy of the Duomo at Urbino, J 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 for the works of Raphael, cannot be precisely
defined. His frescoes relating to the history of the Cross,
in the church of San Francesco at Arezzo, are also of un-
certain date, although the magnitude of the series supposes
a residence of some years.|| The partial or total blindness
* 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
Urbino, London, 1851, vol. i., pp. 86, 114, 204. At p. 207 will be found
an accurate engraving of the portraits.
f Passavant, Raphael d'Urbin, Paris, I860, tome 1, p. 392; Pungileoni,
Elogio Storico di Giovanni Santi, Urbino, 1822, pp. 12, 75. In the extract
from a document dated April 8, 1469, with an account of disbursements for
Pietro by Giovanni Santi, it appears that the former was to have painted an
altarpiece 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.
J 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
Flagellation 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 Federigo. The picture bears the
inscription OPUS PETIU DK BUKGO Sci SEPULCHRI.
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 frescoes 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 dipinti 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.
|| 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 chro-
nology 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 often. It is, however, not impossible that
the aged artist may have painted for Guidobaldo ; the date of Pietro's blindness
being uncertain.
94 FRANCESOA.
with which this painter was afflicted, as Vasari states, in
his " old age," * is quite reconcileable with the ascertained
or probable dates of the works above-mentioned as com-
pared with the assumed year of his birth. Pietro was,
beyond doubt, still living in 1494 ;f the year of his death
is as yet unknown.
Among his scholars Vasari names Pietro Perugino and
Luca Signorelli. Luca Pacioli was his pupil in geometry
and in scientific investigations generally 4
The mathematical studies of this remarkable painter,
which appear to have been occasionally prosecuted 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 to pre-
pare the way for the more accomplished masters who suc-
ceeded him.
No. 585. PORTRAIT, SUPPOSED TO BE THAT OF ISOTTA
DA KIMINI, fourth wife of Sigismondo Malatesta. || Head
in profile.
In tempera, on wood, 1 ft. 4^ in k. by 11^ in w.
As Pietro painted the portrait of Sigismondo Malatesta in 1451,
this portrait of his wife may have been executed in the same year.
* Elsewhere the biographer says that Pietro became blind in his sixtieth
year. This, as various writers have shown, is hardly consistent with his
own narrative taken in connexion with the known dates of some of the
master's works.
f See Luca Pacioli Sitmma de Arithmetica, published in 1494, p. 68. The
passage is quoted in the Le Monnier Vasari, voL iv. p. 24, note 1.
J In a M.S. catalogue of pictures, which is preserved in private hands in
Urbino, a portrait is mentioned as the work of Luca del Borgo. This may
have been Luca Pacioli (called by Vasari, Luca del Borgo) who, as the
scholar of Pietro della Francesca, probably acquired some knowledge of
painting as well as much of scientific subjects. He became a Franciscan
monk in 1487. On the question of his supposed plagiarism of Pietro" s
writings, an accusation rashly brought against him by Vasari, see the autho-
rities quoted by Dragomanni, Vita, &c., p. 19 ; Gaye, Kunstblatt, 1836,
No. 69 ; and the Essay before referred to, by Harzen. Bossi, Del Cenacolu
di Leonardo da Vinci, 1810, p. 17, states that he himself was in possession
of an original MS. on perspective by Pietro della Francesca.
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.
|| Dennistoun, Memoirs of the Dukes of Urbino, vol. i., pp. 181, 185 note.
FRANCIA. 95
It was formerly in the possession of the Marchese Carlo Gkric-
cinrdini of Florence. Purchased at Florence from the Lombardi-
Baldi collection in 1857.
No. 665. THE BAPTISM OF CHRIST, in the River
Jordan.
" And it came to pass in those days, that Jesus came from Nazareth of
Galilee, and was baptized of John in Jordan. And straightway coming out
of the water, he saw the heavens opened, and the Spirit like a dove descending
upon him." Mark i., 9-10.
Christ is standing in the river, under the shade of a
pomegranate tree, receiving the water on his head from the
cup of John ; 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 river, in the back-
ground. Composition of six principal figures.
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 sup-
pressed in 1807 the picture was removed to the sacristy of the
Cathedral, where it formed the centre portion of an altar deco-
ration, 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.*
FRANCIA.
FRANCE'SCO KAIBOLI'NI, commonly called FRANCIA, was
born at Bologna about the year 1450 : his father, Marco di
Giacomo Raibolini, was a carpenter. He assumed the name
of Francia from his master, the goldsmith to whom he was
apprenticed ; he was originally a goldsmith, and die and
niello engraver, in which profession he was very eminent.
He must, however, have attained also some distinction as
a painter before the year 1490, as he was then employed
on several important works, both in oil and in fresco, espe-
cially for the Bentivogli family. He frequently signed his
pictures Aurifex, jeweller ; and on his jewellery he inscribed
himself Pictor, painter.
Francia died, according to a document discovered by
J. A. Calvi, on the 6th of January, 1517-t This date agrees
* Dragomanni, Vita di Pietro della Francesco, &c., Florence. 1835.
f The date as in the document in question is 1517, the old custom of begin-
ning the ecclesiastical and legal year on the 25th of March was never esta-
blished at Bologna. This custom prevailed very generally in Europe, not
excepting England, at that time and until 1752. Much confusion occasionally
96 FRANCIA.
with the time assigned for his death by Vasari, though tlie
circumstance to which that writer imputes the cause of his
death may be doubted. Vasari states, that Francia died of
grief, at seeing himself so much surpassed in painting by
his young friend Raphael, who had consigned to the
Bolognese painter his picture of St. Cecilia, painted for the
church of San Giovanni in Monte, requesting him to repair
any damage that might have happened to it, or to correct it
if necessary, and to superintend the placing of it in the
church.
Though Francia appears to have died soon after the arrival
of the St. Cecilia at Bologna, there is hardly a necessity for
accounting for the coincidence in any extraordinaiy way, as
he was then nearly seventy years of age.
Francia is the greatest painter of the earlier school of
Bologna ; his works are considered the most perfect specimens
extant of that intermediate style of painting which the
Italians term the antico-tnodemo, and which immediately
preceded the more complete development of the art, which
distinguished the great masters of the sixteenth century ;
the latter is known as the cinquecento style, in contradis-
tinction to the quattrocento, or the antico-moderno*
No. 179. THE VIRGIN WITH THE INFANT CHRIST, AND
ST. ANNE ENTHRONED, SURROUNDED BY SAINTS. Before the
throne in the front is the little St. John witli the standard
of the Lamb, pointing to the infant Saviour above ; on the
left are St. Sebastian and St. Paul; ori the right, St. 0;i\v-
rence and St. Romualdo. The picture is marked Francia
Aurifex Bononiensis P. Full-length figures, nearly of the
natural size.
On wood, 6ft. 6^ in. h. by 6ft. w.
FRAUCIA- AVRJFEX-BONON1ESIS P.
resulted : in the year '1667 there were two Easters, the first on the 25th of April,
and the second on the 22d of March following. Similar confusion occurred
in the dates of State documents. See Granger's Biographical History of
England, Preface. Vasari, to avoid mistake, has given the date according to
both systems, in his notice of the death of Michelangelo. See L'Art de Verifier
les Dates.
* Vasari ; Malvasia ; Lanzi ; and Calvi, Memorie della Vita e delle Opere
di Francesco Raibolini drlto il Francia, Bologna, 1812 ; see also Passavant,
Rafael von Urbino, &c.
GADDI, TADDEO. 97
No. ISO. THE VIRGIN" AND TWO ANGELS WEEPING OVER
THE DEAD BODY OF CHRIST. A Pieta ; formerly the lunette
of the picture described above.
On wood, 3 ft. 2 in. h. by 6 ft. w.
These two pictures constituted formerly one altar-piece, and
were originally placed in the Buonvisi chapel in the church of
San Fridiano at Lucca, for which they were painted. They
were subsequently purchased by the Duke of Lucca, and were
placed in the palace. They were finally brought to England with
the rest of the Duke of Lucca's Collection in 1840, and became
the property of Mr. E. G. Flight, from whom they were purchased
for the National Gallery in 1841. There is an old copy or
repetition of No. 180 in the Gallery of Berlin.
No. 638. THE VIRGIN AND CHILD, WITH TWO SAINTS.
The child standing on a stone parapet is supported by his
mother behind him ; his hand is in the attitude of bene-
diction. On each side is a Saint ; the child entire, the
others half figures. Landscape back-ground.
On wood, 2 ft. 8in. Ji. by 2 ft. l in. w.
Purchased from M. Edmond Beaucousin, at Paris, in 1860.
GADDI, TADDEO.
TADDEO, the son of Gaddo GADDI, was born at Florence,
according to Vasari, in the year 1300. He was the godson
and pupil of Giotto, with whom he lived twenty-four years ;
and he became the most eminent of that painter's numerous
scholars. He enlarged somewhat upon the style of Giotto,
though he preserved its general character ; but he surpassed
his master, says Vasari, in colour, and, in some of his
works, even in expression. Taddeo, however, adhered
strictly to the prevailing symmetrical 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 GiugDi (formerly
Baroncelli) chapel, in the church of Santa Croce at
Florence.* But his most extensive works were the frescoes
of the Cappella degli Spagnuoli, in the church of Santa
Maria Novella, now much decayed.
* They are engraved by Count Lasinio in his Affreschi Celebri del xiv. e XT.
Secolo, Firenze, 1841.
Q
98 GADDI, TADDEO.
Taddeo was equally distinguished as painter and as
architect ; he built the present Ponte Vecchio, and also the
Ponte della Trinita, which was destroyed by a flood in
1557 : he also constructed the famous Campanile of Florence,
from the design of Giotto.
The date of Taddeo's death is not known ; but he was
still living in 1366, as shown by Rumohr, from a document
respecting a commission undertaken by him on the 20th of
August of that year, connected with the building of the
present cathedral of Florence.*
Taddeo Gaddi 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, who was the master of Cennino 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. Romualdo.
On wood, 5 ft. 10 in. h. by 3 ft. 4^ in. w.
These pictures, painted in tempera, appear, from the corre-
sponding 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.
No. 579. THE BAPTISM OF CHRIST IN THE RIVER
JORDAN.
" An<\ straightway coming up out of the -water, he saw the heavens opened,
and the spirit like a dove descending upon him : and there came a voice from
Heaven, saying, Thou art my beloved Son in whom I am well pleased.
Marki. 10-11."
. 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 cuspidi or upper pictures
above, is, in the centre, the Almighty; on the left, the
* Arch, dell' op. del Duor.io di Fir., 1363-1396, fo. 71 Euniolir, Ilalienisecfi
Forschungen, ii. p. 82.
GAROFALO. 99
Virgin ; on the light, Isaiah holding a scroll containing the
words Ecce virgo concipiet.
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. Romualdo ; in all, eleven pictures.
Altar-piece in tempera, on wood, 1 1 ft. h. by 6 ft. 7 in. w. Of
the principal pictures, the centre 5 ft 3-| in. h. by 2 ft. 6 in. w. r
the sides 4 ft. -|in. h. by 1 ft. 2^ in. w. ; of the upper pictures, the
centre 2 ft. 1 in. h. by 10 in. w., the sides, 1 ft. 11 in. h. by 10 in.
iv. ; the predella pictures, 1 ft. 1 in. h. by 2 ft. 3 in. iv.
According to an inscription, now partly obliterated, on the
principal picture, this work was painted for Filippo Neroni, in 1337.
Formerly in the Abbey del Sasso di Camaldoli, in the Casentino.
Purchased at Florence from the Lombardi-Baldi collection in
1857.
* GARO'FALO.
BENVENU'TO TISIO, commonly called GARO'FALO, from
the monogram (the Gilliflower) with which he marked his
pictures, was born in the Ferrarese in 1481. He had many
masters. He was at first the pupil of Domenico Panetti, at
Ferrara, and studied afterwards under his uncle, Niccolo
Soriani at Crem on a. In 1 500 he visited Rome, and remained
there fifteen months with Giovanni Baldini ; he studied sub-
sequently under Lorenzo Costa at Mantua, and was finally,
in 1508, engaged by Raphael at Rome, to assist him in the
frescoes of the Vatican.
Garofalo had remained some years with Raphael in Rome,
when his family affairs called him to Ferrara, whither he
went, with the intention, however, of returning to Rome as
soon as his occupations might permit ; but circumstances
detained him in Ferrara, and he never afterwards quitted
it. He was employed by Alphonso I., with the two Dossi,
at Belriguardo and elsewhere. He died at Ferrara in 1559,
having become quite blind a few years previously.
Garofalo is the chief of the Ferrarese painters. His small
easel pictures are universally admired. In these works he
was a close imitator of Raphael's style, a Raphael in minia-
ture ; and these small pictures are sometimes attributed to
his great master.
Several of his frescoes are still extant at Ferrara, the
o 2
100 GAROFALO.
principal of which, painted about 151 9-21, are in the
church of San Francesco ; among them is the Slaughter of
the Innocents. Other frescoes by Garofalo are still pre-
served in the Palazzo del Magistrate at Ferrara.*
No. 81. THE VISION OF ST. AUGUSTIN. Augustinus, one
of the four " Doctors " of the church, and bishop of Hippo,
in Africa, f relates, that while engaged on a work on the
Trinity, he had a vision in which he saw a child endeavouring
with a ladle to empty the ocean into a hole which he had
made in the sand ; and upon the saint pointing out the
futility of his labour, the child retorted by observing how
much more futile must be his efforts to explain that which it
had pleased the Deity to make an inscrutable mystery. The
picture illustrates the moment of the dialogue ; St. Catherine
is represented behind the saint, and in the clouds above is a
vision of the Holy Family attended by a choir of angels :
the back-ground is a varied rocky landscape, with a view
of the sea.
Engraved by P. "W. Tomkins ; and by J. Holism Jones's National
Gallery. On wood, 2 ft. \\ in. h. by 2 ft. 8 in. w.
Formerly in the Corsini palace at Rome ; subsequently in the
Ottley collection : bequeathed to the National Gallery in 1831,
by the Rev. W. H. Cam
No. 170. THE HOLY FAMILY, WITH ELIZABETH AND THE
YOUNG ST. JOHN, and two other saints : above is a vision of
God the Father surrounded by a choir of angels.
On canvas, 2ft. 6^ in. h. by 1 ft. 11^ in. iv.
Formerly in the collection of Mr. Beckford, from whom it was
purchased for the National Gallery, in 1839.
No. %. CHRIST'S AGONY IN THE GARDEN. Above
is an angel bearing the cup and cross ; the three apostles
are asleep in the fore-ground : a crowd with torches is ap-
proaching from behind. Luke xxn., 41-48. (See No.
76.)
On canvas, from wood, 19 in. h. by 14 in. w.
Purchased at Paris, from M. Edmond Beaucousin, in 1860.
No. 671. THE MADONNA AND CHILD ENTHRONED, under
a canopy ; on their left are standing Saints Francis and
Anthony ; on their right, Saint Guglielmo in armour, with
his right hand resting on a shield, and St. Clara holding
* Yasari, Vile de' Pittori, &c. ; Lanzi, Storia Pittorica, &c.
f He was horn at Tagasta, in Africa, in the year 354, and died at Hippo
in 430. Ada Sanctorum, vol. vL, Aug. 28.
GHIRLANDAJO.
a crucifix. The back-ground represents an architectural
interior. Figures small life-size.
On wood arched at the top, 7 ft. 11 in. h. hy 6 ft. 10\ in. 10.
Engraved by G. Domenichini.
Originally the principal altar-piece of the church of San
Guglielmo at Ferrara, hut from which it was removed in 1832,
when the convent was suppressed, to the cathedral, and thence to
the residence of the archbishop. Purchased from the Count
Antonio Mazza in 1861.*
GHIRLANDAJO.
DOMEXICO BIGORDI, commonly called GHIRLANDAJO, was
born at Florence in 1449. His father, Tominaso Bigordi,
a goldsmith, had acquired the name of II Ghirlandajo, from
his celebrity for the manufacture of children's garlands.
Domenico was brought up as a jeweller and goldsmith ;
but became at an early age also one of the most distin-
guished painters of his time. He surpassed all his Floren-
tine contemporaries in the precision of his drawing and the
delicacy of his execution. When little more than thirty,
about 1480-84, he was invited by Sixtus IV. to Rome, to
assist in the decoration of the Sistine Chapel. In 1488 lie
received Michelangelo, then in his fourteenth year, as an
apprentice for three years.
The principal works of Domenico GLirlandajo, botli in
fresco and in tempera, are to be seen at Florence, as the
series of frescoes in the Sassetti Chapel, in the Church of
the Trinita, consisting of scenes from the life of St. Francis,
completed in December 1485 ; and those of the Choir of
Santa Maria Novella, finished in 1490. The first series
contains portraits of Lorenzo de' Medici and other eminent
Florentines ; and in the last series, in that portion illus-
trating the life of the Virgin,f is the celebrated portrait of
Ginevra de' Benci, a young Florentine lady distinguished
for her beauty. The altar-piece of the Sassetti Chapel, in
tempera, representing the " Nativity/' is now in the Gallery
of the Academy4 Another important tempera picture,
* Baruffaldi, Vitc, &c., vol. i. p. 362 ; Laderchi, Pittura Ferrarese, &c.,
p. 91. A copy of this picture by Alessandro Candi of Ferrara is now in the
church of San Giuseppe a' Cappucini in Bologna.
f. Engraved by Carlo Lasinio. The '' Death of St. Francis," one of this
series, is considered by Rumohr the painter's masterpiece.
J Engraved in the Galleria delle Belle Arti di Firenze, 1845. Domenico has
introduced his own portrait among the shepherds in this picture.
102 GIORGIONE.
attributed to this master, is the round panel in the TJffizj,
representing the " Adoration of the Kings ; " it is dated
1487.*
Ghirlandajo worked also in mosaic ; the latest of his
known productions is an " Annunciation," executed in this
method, over one of the doors of the Cathedral at Florence,
the completion of which was interrupted by the death of
Lorenzo de' Medici, in 1492. Ghirlandajo was already
dead in 1498, and as he was born in 1449, he did not
exceed the comparatively early age of 48.f He was the
father of Bidolfo Ghirlandajo ; David and Benedetto were
his brothers.
No. 296. THE VIRGIN ADORING THE INFANT CHRIST,
with an Angel standing on each side of her. The Virgin,
very richly dressed, is seated with her hands raised together,
as if in prayer, and is regarding the child who is lying
upon her knees, and holding a raspberry to its lips.
Landscape back-ground. Half figures, nearly life-size.:}:
In tempera, on wood, 3 ft. 2 in. h. by 2 ft. 3^ in. w.
Originally in the possession of the Contugi family, of Volterra.
Purchased at Florence from M. L. Hombert, in 1857.
GIORGIO'NE.
GIORGIO BARBARELLI, commonly called, from his large and
handsome stature, GIORGIONE, was born of parents in good
circumstances, in the neighbourhood of Castelfranco, in 1477.
He was the fellow-pupil of Titian with Giovanni Bellini at
Venice, and early distinguished himself for his beautiful
colouring, and his effective treatment of light and shade.
He was further distinguished for a general objective truth of
representation, which he acquired by his practice of referring
* Engraved in Rosini's Storia Jella Pittura, c., and in the " Keale Gal-
leria degli Uffizj." This picture is by some connoisseurs supposed to be a
work by Botticelli.
f Gaye, Carteggio Inedito, &c. Vasari, Ed. Le Monnier, vol. v.
I Vasari's statement that Antonio Pollaiuolo acquired the art of painting
from his brother Piero should, perhaps, be understood to relate to oil-painting.
The biographer speaks of no works by Antonio in tempera ; yet it is probable
that he, like other masters of the time, began with that method in which,
indeed, a greater finish was considered attainable. In consequence of the
silence of Vasari, the tempera pictures of Antonio Pollaiuolo can only be
discovered by their style. Several are now believed to exist under other
names, and among them, not impossibly, may hereafter be classed the picture
above described.
GIORGIONE. 103
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 liis ability,
he decorated the front of his house with subjects in fresco: he
was, in consequence, employed on other works of the kind.
Like many artists of the period, h^ was also in the habit of
painting panels for various articles of ornamental furniture ;
for these he generally chose his subjects from Ovid, enriching
them with appropriate landscape back-grounds. Giorgione's
frescoes have perished, and few even of his oil pictures are
now in existence. The works by which he is at present
most generally known are his portraits, in some of which
he is still unsurpassed. Du Fresnoy observes of Giorgione's
pictures of this class, " He dressed his figures wonderfully
well : and it may be truly said, that, but for him, Titian
would never have attained that perfection which was the
consequence of the rivalship and jealousy which prevailed
between them."*
This great painter died hi 1511, 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, Giovanni
da TJdine, Francesco Torbido, and others.f
No. 41. THE DEATH OF PETER MARTYR or MARTIRE.
St. Peter the Dominican, a native of Verona, was an active
agent of the Inquisition in the thirteenth century ; and
having, as such, made many enemies, he was at length
assassinated by one of these, named Cavina, at the entrance
of a wood on the road from Milan to Como. He was
attended by a single brother of his order, who is seen
attacked by another assassin in the middle-ground to the
right.
Engraved in Jones's National Gallery. On canvas, 3 ft. 4^ in.
h. by 4 ft. 9^ in. iv.
Formerly in the possession of Christina, queen of Sweden, and
subsequently in the Orleans collection. Bequeathed to the National
Gallery, in 1831, by the Rev. TV. H. Carr.
(See No. 234, BELLINI, SCHOOL OF.)
* Du Fresnoy's Sentiments, printed -with Sir Joshua Reynolds's Notes on
his Poem.
t Vasari, Vite de 1 Pittori, -c.; Ridolfi, Le Maraviglie ddV Arle, Sfc.
] 04 GIOTTO.
No. 269. A KNIGHT IN ARMOUR. A small figure com-
pletely armed with the exception of the head ; in his left
hand he holds his lance. A dark background.
On wood, 1 ft, 3 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 Castel Franco. 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 Castel Franco
altar-piece, which, he observes, was said to represent Gaston de
Foix. Formerly in the collection of Benjamin West, P.R.A.
Bequeathed to the National Gallery by Mr. Samuel Rogers, in
1855.
GIOTTO.
GIOTTO, or MAGISTER JOCTUS, called also Giotto di Bondone,
from his father's name, was born in 1276, in the commune
of Vespignano in the Val del Mugello, fifteen miles north-
east of Florence; his occupation as a boy was to tend
sheep.
About the year 1286 the celebrated painter Cimabue,
being in that neighbourhood, surprised the young Giotto,
while keeping his father's sheep, in the act of sketching one
of his flock upon a stone. Astonished at the ability of the
effort, he took the boy, with the father's consent, back
with him. to Florence and instructed him in the art of
painting.
Few of Giotto's works remain ; his earliest were executed
in the Badia or Abbey of Florence. The fresco of the Last
Supper in the refectory* of the church of Santa Croce at
Florence, is now admitted to be the work of a later hand,
and probably by his scholar Taddeo Gaddi. But a Corona-
tion of the Virgin by Giotto, in the Baroncelli chapel in
the same church, and some smaller works removed from
thence to the academy, with a large Crucifix in the church
of Santa Maria Novella, are still preserved.
Giotto also decorated the walls of the chapel of St. John
the Baptist, in the church of Santa Maria del Carmine, at
Florence; the chapel was destroyed by fire in 1771. Por-
tions of the paintings, such, for instance, as the two half
figures below mentioned, were, however, saved.
* Now (1856) a carpet manufactory.
GIOTTO. 105
At the close of the 13th century, Giotto appears to have
been in the service of Pope Boniface the 8th, for whom, in
1298,* he executed the mosaic of the Disciples in the Storm
known as the " Navicella " of Giotto, which, much altered
and modernized, is now in the portico of St. Peter's at
Rome.
Early in the 14th century he executed extensive works
in the church of San Francesco at Assisi. In 1306, we find
him engaged at Padua, where he painted a comprehensive
series of subjects from the Life of the Virgin and the Passion
of Christ, with other representations, in the Scrovegni
chapel in the church of the Madonna deir Arena. The greater
part of these still exist.f
From Padua Giotto proceeded to Avignon, whence he
returned to Florence in 1316 ; and from this time he appears
to have devoted his attention to architecture and sculpture
as much as to painting. In 1322 he visited Lucca, and in
t !327 painted a chapel for King Robert in the Castel Nuovo
at Naples, which has been destroyed. He died at Florence
in 1336, and was buried with great pomp in the cathe-
dral.}
Giotto was a great innovator in the practice of art. He
wholly forsook the traditionary remains of the Byzantine
style, and studied nature. Some of the best specimens of
decorative art, partaking of the same vigour which charac-
terizes this period, are also attributed to him. The Cam-
panile of Florence was carried out, after the design of Giotto,
by his scholar Taddeo Gaddi, who lived twenty-four years
with him and completed his unfinished works.
* See Baldinucci. Notizie dei Professori del Disegno. Decenn, IV., sec. 1.
f These wall-paintings are now being engraved and published by the Arundel
Society. Dante visited Giotto while engaged on these works ; the poet mentions
the painter in the following terms in his Purgatory:
" In painting Cimabue once believed
He held the field : now Giotto has the cry,
So that he dims the reputation of the first."
Pollock's Dante, Purgatorio, Canto XL
J "Vasari, Vite, Sfc., Ed. Le Monnier, Florence, 1846, et neq.
There is a saying, " rounder than the O of Giotto." This, according to
Vasari, has reference to a mechanical feat performed by the painter before he
went to Rome. Pope Boniface, wishing to decorate St Peter's, sent an envoy
to Florence and Siena for artists of whose ability he required specimens.
Giotto sent a circle, drawn without the aid of compasses, with a brush, in red
colour. This, it is said, appeared in the eyes of His Holiness more wonderful,
than any other specimens of skill ; but it is probable that he was guided by the
safer evidence of Giotto's fame.
106 GOZZOLI.
No. 276. Two APOSTLES, one with the hands clasped ;
half figures, under life size ; a fragment.
Engraved by Thomas Patch in 1772.* Painted in sccco,^ on
plaster ; 19 in. square.
This is a fragment from one of the wall paintings formerly in
the chapel of San Giovanni Battista, in the church of Santa
Maria del Carmine, at Florence. The subject of the composition
to Avhich these figures belong was the burial of St. John the
Baptist. This and two portions from other paintings of the
series, now in the institution at Liverpool, were saved from the
fire which destroyed this chapel in 1771, and became the property
of Mr. Thomas Patch, the engraver. They were brought to
England by Mr. Townley. This fragment was subsequently in
the collection of the Right Hon. C. Greville, from whom it passed
into the possession of Mr. Rogers, and at the sale of his pictures
in 1856 was purchased for the National Gallery. Some other
fragments are preserved in the Cappella dell' Ammannati, in the
Campo Santo at Pisa. From some chronological evidences re-
ferred to by Patch, it appears that the wall paintings in question
must have been painted within the last five years of Giotto's life,
and not, as Vasari states, at an earlier period.
SCHOOL OF GIOTTO.
No. 568. THE CORONATION OF THE VIRGIN. The Virgin
is inclining her head to receive the crown from the hands
of Christ : four angels are kneeling below, in front of the
o <_ '
throne, two of them hold golden vessels in their hands.
The principal figures are small life-size.
In tempera, on wood, 5 ft. 11 in. h. by 3 ft. 1 in w.
Painted about 1330. Formerly in the Convent of the Minori
Osservanti of San Miniato, near Florence. Purchased at Florence
from the Lombardi-Baldi collection in 1857.
GO'ZZOLI.
BENOZZO GO'ZZOLI was born at Florence in 1424; he was
the son of Lese di Sandro, and the scholar of Era Angelico
* Selections from the works of the Florentine painters Masaccio, Fra Bar-
tolommeo, and Giotto, Tart III., pi. 7. Florence, 1770, 1772.
f For a description of the method called secco, or fresco secco, as opposed to
buon fresco, see Eastlake's " Materials for a History of Oil Painting," 1847,
p. 142. Secco is thus described by Theophilus : "When figures or other
objects are drawn on a dry wall the surface should be first saturated with
water till it is quite moist. While the wall is in this state the colours are to be
applied, all the tints being mixed with lime, and drying as the wall dries, in
order that they may adhere." Div. Art. Schedala. 1. 1, c. 15. Buon fresco
cannot be executed on a large surface without joinings in the plaster. Secco
may be executed without joinings, but the colours have not the brilliancy
of fresco. The earliest example of buon fresco is supposed to be a work by
Pietro D'Orvieto, painted in 1390, in the Campo Santo at Pisa.
. GOZZOLI. 107
da Fiesole, whom he assisted in some works in the Cathedral
of Orvieto. His style, for some time, nearly resembled
that of his master ; but in his later works, as in the Campo
Santo at Pisa, his own natural talent displayed itself, which
was as decidedly objective as Fra Angelico's was subjective.
His known works extend over a period of thirty- eight
years, from 1447 to 1485, after which date we have no
accounts of him.
His last are his greatest works, the extensive series of
frescoes in the Campo Santo, commenced in 1469, repre-
senting twenty-four scenes from the Old Testament, from
the time of Noah to the visit of the Queen of Sheba
to Solomon. These frescoes he contracted to paint, three
a year, for the moderate remuneration of 66 lire or about
ten ducats each ; at that time, however, worth perhaps
about <>] 00 of our present money. Benozzo displays the
most varied resources in these works, in the rich landscape
backgrounds, in the architectural accessories, and in the
introduction of all kinds of birds and animals, especially
dogs. The Drunkenness of Noah, the Marriage of Re-
becca, and Moses in the Wilderness, are perhaps the best
of all the Campo Santo frescoes.* The works of Masaccio
in the Brancacci Chapel seem to have been his models
in the style of his figures, which are often graceful and
natural, though inferior in dignity to the earlier works
of the Brancacci Chapel. Benozzo evidently delighted
in the beauty of the material world ; his landscapes
are more varied and circumstantial than any previous
representations of their class, and his scenes are filled
with charming and natural incidents. The painter gave
so much satisfaction to the authorities during the progress
of these frescoes, that they presented him in 1478 with a
tomb, that his body might repose amidst the glorious
achievements of his life ; and the commemorating inscription
led to the error that Benozzo died in that year : Hie
tumulus est Benotii JFlorentini, qui proxime has pinxit
historias. Hunc sibi Pisanorum donavit humanitas-
MCCCCLXXVIII.
The tomb was a personal gift to the painter in thatyear.f
* See the engravings in Count Lasinio's Pit hire a fresco del Campo Santo di
Pisa, large oblong folio, Florence, 1812.
f Vasari, Vite de" Pittori, <?., ed. Florence, 1846, et seq. ; Kumohr, Italienische
Forschungen ; Gaye, Carteggio Inedito d' Artisti.
108 GOZZOLI.
No. 283. THE VIRGIN AND CHILD, ENTHRONED. Behind
the throne, above the screen forming the background, are
five angels with extended wings. On the right of the
Virgin are St. John the Baptist, and St. Zenobius dressed in
an embroidered chasuble ; on the left St. Peter and
St. Dominic ; 111 front St. Jerome and St. Francis kneeling ;
all the saints with their names inscribed. Two small birds,
goldfinches, are represented on the step of the throne.
Composition of thirteen figures, small life size.*
In tempera, on wood, 5 ft. 2^ in. h. by 5 ft. 7^ in. w.
The original contract for this picture, dated 23d Oct. 1461, is
still preserved ; it was published in Florence in 1855.f The
figure of the Virgin is in this contract specially directed to be
made similar in mode, form, and ornaments to the Virgin En-
throned, in the picture over the high altar of San Marco, Florence,
by Fra Giovanni da Fiesole, and now in the Academy there.
It is also directed, " that the said Benozzo shall at his own cost
prepare with gesso, and diligently gild the said panel throughout,
both as regards figures and ornaments ; and that no other painter
shall be allowed to take part in the execution of the said picture,
neither in the PredellaJ nor in any portion of the same." Then
follows the description of the picture.
The painter engages to complete the work within a year from
the date of the contract.
This picture was originally the altar-piece of the Compagnia
di San Marco, Florence. It is mentioned by Vasari, 1550; and
is noticed by Richa in 1757, as being in the refectory of the
Spedale del Melani or de' Pellegrini, in Florence. It became
eventually the property of the Rinuccini family, and was pur-
chased in Florence for the National Gallery, from the agent of
the heirs of the Rinuccini estate, in 1855.
No. 591. THE RAPE OF HELEN. A rocky landscape
with an inlet of the sea ; on the spectator's right is a small
temple in which is seen a gilt statue of one of the Greek
deities. From this temple, Helen the beautiful wife of
Menelaus, king of Lacedsemon, and the ladies of her court,
are being earned off to a ship, by the Trojan Paris and
his companions.
The panel on which this painting is executed may not im-
probably have formed the cover or end of some box or cassettone,
such as were used for wedding gifts. Composition of many small
figures in the costume of the fifteenth century.
* On the hem of the Virgin's mantle is written, AVE REGINA CELOROI.
MATER ANGELORUM. SANCTA ES QUA MUXDO LUX EST ORTA."
f Alcuni documenti artistici non mai stampati, ~c. Florence, Le Monuier,
1855, p. 12.
J This portion of the altar piece, more particularly described in the contract
afterwards, has disappeared.
Notizie Istoriche delle Chiese Florentine, c., vol. v. p. 335.
GEEUZE. 109
In tempera, on an octagonal panel, 1 ft. 7^ in h. by 2 ft. w.
Formerly in the possession of the Marchese Albergotti, of
Avezzo. Purchased at Florence, in 1857, from the Lombardi-
Baldi collection, in the catalogue of which it was called " The
Rape of the Venetian Brides."
GREUZE.
JEAN BAPTISTE GREUZE was born at Tourrms, near Macon,
in Burgundy 21 st August 1725. He was at first the pupil of
Grandon or Gromdon, at Lyons ; he studied afterwards in
the academy at Paris, and at Rome. 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 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 sub-
jects were illustrations of the affections or domestic duties,
their observance or violation. He is unique in the French
school, and is sometimes termed the Lachause'e of Painting,
and sometimes, but very inappropriately, the French
Hogarth. Among his most celebrated pieces are The
Village Bride (L'Accordee de Village); The Broken Pitcher
(La Cruche Gassee) ; The Little Girl with the Dog (La
Petite Fille au Chieri), 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. Greuze
etched a few plates.*
No. 206. THE HEAD OF A GIRL.
On wood, 1 ft. 6 in. h. by 1 ft. 3 in. to.
Bequeathed to the National Gallery, in 1846, by Mr. Richard
Simmons.
* Gault de Saint-Germain, Les trois Siecles de la Peinture en France, 1808 ;
Yillot, Notice des Tableaux exposes dans les Galeries du Louvre, 1861 ;
Baudicour, Le Peintre-Graveur Frangais continue, 1859.
110 GUARDI GUERCINO.
GUARDI.
FRANCESCO GUARDI, born in Venice in 1712, was the
scholar and imitator of Canaletto, 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.
He 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, whicn 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.
GUERCI'NO.
GIOVA'NNI FRANCESCO BARBIE'RI, Cavaliere, commonly
called, from his squinting, GUERCINO, was born of very
humble parents at Cento, near Bologna, Feb. 2. 1592; his
father carried supplies of wood and faggots to the towns,
and Guercino 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 Cara-
vaggio,* and became a decided imitator of his style ; but, in
consequence of the impetuous temper of that painter, soon
avoided his society. Having executed several honourable
commissions 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 Bo-
logna, where he died in very affluent circumstances in 1 666. 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
* See the notice of Caravaggio in this Catalogue.
f Passeri, Vite de' Pittori, &c. ; Malvasia, Felsina Pittrice. A Life of
Guercino was published by J. A. Calvi at Bologna in 1808. Notizia della
Vita, &c., di Gio. Francesco Barbieri.
GUIDO. HI
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 masterpiece
is the great picture of Santa Petronilla,* in the Capitol of
Rome. It was painted for one of the chapels of St Peter's,
where there is now a mosaic of it : the body of the saint is
being deposited in the vault prepared for it in the Via
Ardeatina outside the walls of Rome : above is a vision of
the Saviour, with angels, receiving the soul of the saint.
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. Freeman in Jones's National Gallery, On copper, 1 ft.
2'^ in. h. by 1ft. 5^ in. w.
Formerly in the Borghese Gallery at Rome. Ramdohr, in his-
account of that collection (1784), notices this picture as one of
the productions of Guercino's best time.f It was bequeathed
to the National Gallery, in 1831, by the Rev. W. H. Carr.
GUIDO.
GUIDO RENI, commonly called GUIDO, was born at Calven-
zano, near Bologna Nov. 4, 1575. His father was a musician,
and Guido was himself intended for the same calling ; but
evincing at an early age a decided taste for painting, he was
placed in the school of Denis Calvart, whence he removed,
about the year 1595, to that of the Carracci, and became one
of their most distinguished pupils. In the beginning of the
seventeenth century he, with Albani, followed Annibale Car-
racci to Rome, where he attracted universal notice, and he
obtained great distinction there in the pontificate of Paul V.
(Borghese). After a residence of about twenty years in
Rome, including a short visit to Naples, Guido returned to,
and settled in, Bologna. He left Rome abruptly, during the
pontificate of Urban VIII., in consequence of an offensive
reprimand which he received from the Cardinal Spinola.
Guido had been commissioned to paint one of the altar-
* Santa Petronilla, or Periiia, was the reputed daughter of St. Peter the
t ,postle. Guercino's picture has been engraved by Frey and by Dorigny.
f Mahrei und Bildhauerarbeit in 7?o?n, &c.
112 GUTDO.
pieces of St. Peter's, and had received 400 scudi in advance ;
but having allowed a few years to pass without even com-
mencing the picture, he was rather harshly reminded by
Cardinal Spinola of the money that he had received, for
which he had done nothing. Guido immediately restored
the 400 scudi, and in a few days left Rome : all attempts
to induce him to return were vain. He from this time
settled in Bologna, where he lived in great splendour, and
established a celebrated school.* He died at Bologna.
o y
August 18, 1642, and was buried with great pomp in the
church of San Domenico. Notwithstanding the princely
income of which Guido was in receipt for many years, he
died in debt : his embarrassed circumstances are attributed
to his habit of gaining, and a profuse and indiscriminate
liberality. It was during the latter unhappy period of his
career, according to his well-informed biogi'apher, Malvasia,
that he sold his time at a stipulated sum per hour, to
certain dealers, one of whom tasked the painter so rigidly,
as to stand by him, with watch in hand, while he worked.
Thus were produced numbers of heads and half figures
which, though executed with the facility of a master, had
little else to recommend them. Malvasia relates that such
works were sometimes begun and finished in three hours,
and even in. less time, f
Guido painted in various styles ; his earlier works were
painted much in the forcible style of Caravaggio. This
style he laid aside during his residence in Rome for one
more graceful but of an ornamental character, of which the
Aurora,| of the Rospigliosi Palace, is an excellent example ;
it is by some considered his masterpiece. Latterly he was
engrossed by a species of ideal, of form rather than of
character, of which the Niobe appears to have been a
standard example with him : he was absorbed by this
ideality, and at the same time he adopted a very slight mode
of painting, and a cold silvery tone of colour. Of his
numerous scholars, Simone Cantarini, called II Pesarese, is
* Passeri mentions the following as Guide's charges -when he settled in
Bologna: for an entire figure, 100 scudi, about twenty guineas; for a half-
length, 50 scudi ; and for a simple head, 25 scudi, or five guineas. He raised
them afterwards to five times the amount.
f Felsina Pittrice, torn. ii. p. 46.
j Engraved by Frey and Morghen.
GUIDO. 113
the most distinguished : there is an admirable head of Guido,
by this painter, in the Gallery of Bologna.
Guido painted very few portraits ; his pictures are chiefly
sciiptural or mythological : of these there are between two
and three hundred in the various collections of Europe.
Many etchings are attributed to this celebrated painter. *
No. 11. ST. JEROME kneeling before a crucifix, and
beating his breast with a stone. Large half-length figure.
Engraved by B. Coriolano ; by D. Cunego, for Gavin Hamilton's
Schola Italica Pictures, fyc. ; by "YV. Sharp ; by Schiavonctti ;
and by J. Fussell, in Jones's National Gallery. On canvas,
3 ft. 101 in. A.by 3 ft. w.
Formerly in the possession of Gavin Hamilton. Bequeathed to
the National Gallery, in 1831, by the Rev. "VY. H. Carr.
No. 177. THE MAGDALEN. Half-length, of the natural size.
Engraved by J. Bouillard, in the Galerie du Palais Royal ; and
by W. Sharp. This subject was often repeated by Guido, with but
slight variations ; and the prints after these pictures are very
numerous. On canvas, 2 ft. 7 in. h. by 2 ft. 3 in. w.
Formerly in the Orleans Gallery. Purchased by Parliament
for the National Gallery, at the sale of Sir Simon Clarke's pictures,
in 1840.
No. 191. THE YOUTHFUL CHRIST EMBRACING ST. JOHN.
Two heads.
Engraved by J. B. Cecchi. On canvas, 2 ft. 3 in. h. by 1 ft. 7 in. w.
Formerly in the Camuccini Collection at Rome ; it was bought
by Mr. Irvine for Mr. Buchanan in 1805, and purchased for the
National Gallery, at the sale of Mr. J. Harman's pictures, in 1844.
No. 193. LOT AND HIS DAUGHTERS LEAVING SODOM.
" And Lot -went up out of Zoar, and dwelt in the mountain, and his two
daughters with him." Gen. xix. 30.
Three half-length figures of the natural size.
Engraved by D. Cunego for the Schola Italica, $c. On canvas,
3 ft. 9i in. h. by 4ft. 10^ in. w.
No. 196. SUSANNAH ASSAULTED BY THE Two ELDERS,
in the garden of her husband Joachim, at Babylon.
Apocryphal Book of Susannah.
Three half-length figures of the natural size.
Engraved by Corn. Visscher ; and by P. Beljambe for the Galerie
du Palais Royal. On canvas, 3 ft. 10 in. h. by 4 ft. 11^ in. w.
* Passed, Vite de' Fittori, Sfc.; Malvasia, Felsina Pittrice ; Lanzi, Sioria
Pittorica, ffc. ; Laudon, Vies et CEuvres ties Peintrcs, 8fc. ; Baitsch, Le Peintre-
Graveur.
H
1 1 4 HOBBEMA.
These two pictures, probably painted as companions, were, until
the French Revolution, in the Lancellotti Palace at Rome : they
are both described by Raindohr, in his account of the pictures
of Rome in 1784.* They were brought to England by Mr. Irvine
for Mr. Champernowne, passed subsequently into the possession
of Mr. Penrice of Norfolk, and were finally purchased for the
National Gallery; the "Lot," in 1844, and the "Susannah" in
the following year. There was a duplicate of the " Susannah "
in the Orleans Gallery. There are several repetitions of it.
No. 214. THE CORONATION OF THE VIRGIN. The Virgin
Mary, with a glory of stars around her head, and attended
by cherubim, is borne upwards by angels ; a heavenly choir
surrounds her, some singing, others performing on various
musical instruments. The heavens above are opened, and
two cherubim descend from the midst of the divine glory,
bearing the crown of the Virgin, the emblem of her glorifi-
cation. The whole composition is symmetrically arranged.
On copper, 2ft. If in. h. by 1 ft. 6|in. w.
This picture appears to be an early work of the master, and was
painted probably before his visit to Rome. It was formerly in the
Royal Collection at Madrid, and subsequently in the possession of Sir
Thomas Lawrence, from whom it was purchased by the late William
Wells, Esq., who bequeathed it, in 1847, to the National Gallery.
No. 271. The ECCE HOMO/' The head of Christ
crowned with thorns.
" And Pilate saith unto them, Behold the man !" John xix. 5.
Engraved by William Sharp, with the inscription, "Behold
and see if there be any sorrow like unto my sorrow." An oval,
on wood. 1 ft. 9^ in. h. by 1 ft. 4 in. w.
Formerly in the collection of Benjamin West, P.R.A. Be-
queathed to the National Gallery by Mr. Samuel Rogers, in 1855.
HOBBEMA.
The circumstances of the life of MEINDERT or MINDER-
HOUT HOBBEMA are almost wholly unknown ; it is not
even known whether he was a painter by profession or an
amateur only ; some accounts assume him to have been the
scholar of Jacob Ruysdael, and others his master. The city
of Haarlem, the town of Koeverden, and the village of
Middelharins, in Holland, are each said to have been his
birth-place ; and he is reported to have lived some time in
* Makrei und Bildhauerarbeit in Rom, v., iii. 74.
HOBBEMA. 115
Amsterdam.* The earliest date on his works in 1G50; the
year 1663 is inscribed on two of his finest pictures, one in
the possession of Lord Hatherton, and the other in the
collection of Mr. Holford, in Hyde Park. The latest
acknowledged date is 1669, but a fine work by the master
in the collection of Sir "Robert Peel is said to be inscribed
with the year 1689.f
The landscapes of Hobbeina 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 sometimes 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 realize very large prices at
auctions.
No. 85. LANDSCAPE, SHOWERY WEATHER. Rain and
sunshine are both represented, and everything seems 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.
* See Van Eynden en Vander Willigen, Geschiedenis der Vaderlandsche
Schilderkunst, &c., 4 vols., 8vo., 1816-1842. These writers give, in their
supplement or fourth volume, p. 101, a statement that Meindert Hobbema was
the son 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 of August 1654, when he was grown up therefore. They also notice a
drawing attributed to him, bearing the date 1647.
f See Smith, Catalogue. Eaisonnte, ffc. Of the 142 pictures attributed to
Hobbema in this work, 16 only are dated, and of these five had the same year
1663.
H 2
11C HONDECOETER HUCHTENBURG.
HONDECOETER.
MELCHIOR DE HONDECOETER, one of the most distin-
guished of the Dutch painters of birds and animals, foreign
and domestic, was born at Utrecht in 1636. He was first
instructed by his father, Gysbert de Hondecoeter, and after
his death in 1653, by his uncle, J. B. Weenix. Melchior
died at Utrecht, April 3, 1695.*
No. 202. DOMESTIC POULTRY ; a beautiful brood of
young chickens in the fore-ground. The cock was Hoii-
decoeter'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.
HUCHTENBURG.
*
JOHAN VAN HUCHTENBURG, or HUGTENBURG, a distin-
guished Dutch battle-painter, was born at Haarlem in 1646.
He went to Rome in 1667, to join his brother Jacob, a
landscape-painter, upon whose death, in 1669, he removed
to Paris, and there studied a short time under Vander
Meulen. He returned to Holland in 1670, and died at
Amsterdam in 1733, but he resided chiefly at the Hague.
Huchtenburg was commissioned, in 1708, or the following
year, by Prince Eugene, to paint pictures of the recent vic-
tories which that prince, the Prince of Orange, and the Duke
of Marlborough had obtained over the French. There are
etchings of these battles by Huchtenburg himself : f there
are also many other etchings by the hand of this painter,
some after Vander Meulen .J
No. 211. A BATTLE ; in the fore-ground a cavalry fight,
with a town burning in the distance.
On wood, 1 ft. 4f in. h. by 1 ft. 11 in. w.
Brought to England by Mr. Bryan in 1801. Bequeathed to
the National Gallery by Mr. Richard Simmons, in 1846.
* Houbraken, Grootc Schouburg der Kunstschilders, &c.; Immerzeel, Levens
en Werken, &c.
f In the Beschrijving der Veldslagen van Prins Eugenius van Savoije, den
Pi ins van Oranje, en den Hertog van Marlborough. 's Hage, 1727.
J Van Gool, Nieuwe Schouburg der Kunstschilders, &c. ; Bartsch, Peintre-
Gniveur.
DE KEYSER LANCRET. 117
DE KEYSER.
THEODORE DE KEYSER, son of the sculptor and architect
Hendrick de Keyser, was born about 1595, probably at
Amsterdam. He is distinguished as a portrait-painter, both
in large and small, but especially in his full-length portraits
of a small size : his execution is very exact and elaborate.
There are several capital pictures by De Keyser in the
museums of Amsterdam and the Hague. He died at
Amsterdam about the year 1660.*
No. 2.12,. A MERCHANT WITH HIS CLERK ; a portrait.
The " merchant," dressed in riding costume, is seated at a
table in a private apartment which bespeaks affluence in the
owner : the back-ground is a costly piece of tapestry. On the
table are a plan, books, a guitar, and other objects.
The " clerk" is standing with Ms 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 mantel-
piece, with the painter's monogram composed of T. D. K., and
dated 1627.
AN. 1627.
Bequeathed to the National Gallery by Mr. Richard Simmons,
in 1846.
LANCRET.
NICOLAS LANCRET was born at Paris 22d Jan. 1690. He
was the pupil of Pierre d'Ulin, but he adopted Watteau as
his model. He soon distinguished himself in this style, aud
became the rival of his model : he was elected a member of
the French Academy of Painting in 1719, as a painter of
Fetes Galantes. He died at Paris 14th Sept. 1743.
The pictures of Lancret have not the facility of those of
Watteau, but they are more finished, f
Nos. 101-4. THE FOUR AGES OF MAN.
* Van Eynden en Vander Willigen. Geschiedenis der Voder la ndsche Schil-
derkunst, frc., 1842.
t LVArgenville, Abrgge de la Vie des plus Fameiix Peintres, &c ; Villot,
Notice des Tableaux, $c., du Louvre, 1861.
118 LIBRI.
No. 101. INFANCY. Groups of gaily-dressed children,
at play, under a stately arcade or portico.
No. 102. YOUTH. An assemblage of young people of
both sexes, who appear to be contemplating the adornment
of the person : a group of seven figures in a garden pavilion.
No. 103. MANHOOD. A party of pleasure, some reclining
upon the green-sward : two archers are shooting at the
popinjay. A composition of ten figures : the arrangement
of the grouping indicates the age of courtship.
No. 104. AGE. An old woman spinning, with another
asleep in a chair by her side : of the male portion of the
group, one old man is caressing a 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. 5^ in. 10. each picture.
They are mentioned by D'Argenville among the principal works
ot'Lancret. Bequeathed to the National Gallery, in 1837, by Lieut.
Col. Ollney.
DAI LIBRI.
GIROLAMO DAI LiBEl was born at Verona in 1472. His
only known surname of Dai Libri he inherited from the
occupation of his father, who was an illuminator of manu-
scripts, and known as Francesco Dai Libri. In the church
of San Giorgio Maggiore, at Verona, is a picture by
Girolamo, painted in 1526, signed HIERONYMUS A LIBRIS.
Girolamo was one of the most distinguished masters of his
time at Verona, both as a painter of altar-pieces and as a
miniature painter and illuminator of books for church
service. But though he lived long in the sixteenth century
he always painted more in the taste of the fifteenth. He
died at Verona July 2d, 1555. Several of his principal
works are still preserved at Verona. He left a son, Fran-
cesco clai Libri the younger, who was also a distinguished
illuminator. Girolamo was the instructor of Giulio Clovio
in miniature painting.*
No. 285. MADONNA AND CHILD, the Virgin seated
with the child in her arms, and holding an apple in her
hand. Behind is a red curtain on a rod, extending half
* Vasari, Vite, frc., Ed. Le Monnier, Florence, 1846 et seq. vol. ix. p. 210.
LIESBOBN, THE MEISTER VON. 119
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, Avas attributed to
Pellegrino da San Daniele. A comparison, however, of this
specimen with the works of Girolamo dai Libri has led to the
conclusion that it may be more fitly ascribed to that master.
THE MEISTER VON LIESBORN.
THE MEISTER VON LIESBORN (Master of Liesborn) is the
designation given by the Germans to an unknown painter
of Westphalia who executed some considerable works, about
the year 1465, for the Benedictine Abbey of Liesborn, near
Miinster : he is the chief or caposcuola of the Westphalian
school of German painting, and one of the principal German
artists of the fifteenth century. The school is evidently
allied to that of the Van Eycks, and to the school of Cologne.
The principal work of this master was the Crucifixion,
formerly the high altar-piece of the second convent church
of Liesborn ; it was sold and cut in pieces in 1807, when
the convent was suspended, and Napoleon established the
modern kingdom of Westphalia. Some of the pieces were
afterwards lost, others were obtained by different col-
lectors, and some portions which were acquired by Herr
Kriiger of Minden have now found a place in this gallery.
This altar-piece was a picture in several compartments,
of which the centre represented Christ on the cross, and
four angels receiving the blood from the hands, side, and
feet in golden vessels ; by the side of the cross, on a field
of flowers, were standing St. John, St. Scholastica, St. Be-
nedict, St. Cosmas, St. Damianus, and the Virgin Mary.
On either side were represented, in four compart-
ments, the Annunciation, the Nativity, the Adoration
of the Kings, and the Presentation in the Temple ; the
Resurrection, the Ascension, the Descent of the Holy Ghost,
and the Last Judgment. Of these compartments there are
in the Gallery now only the upper portions of the six saints.
These pictures are painted on canvas primed with chalk,
120 LIPPI, FILIPPO.
and stretched 011 wood, and are executed partly in tempera
and partly in oil colours.*
No. Z60. THREE SAINTS. St. John the Evangelist, St.
Scholastica, and St. Benedict. Busts, small-life size, gold
ground.
No. 261. THREE SAINTS. St. Cosmas and St. Damianus,
martyrs, and the Virgin Mary ; the martyrs holding vessels
of ointment. Busts, small-life size, gold ground.
Companion pieces, in tempera and in oil, on canvas stretched on
wood, 1 ft. 10 in. h. by 2 ft. 4 in. iv.
These two pictures are corresponding portions of the centre
compartment of the high altar-piece of the Liesborn convent,
consecrated in 1465 ; representing the upper portions of the
saints standing on either side of the cross. Purchased by Govern-
ment, with the other pictures by the same mastei', of Ilerr Kriiger,
of Minden, in 1854.
FRA FILIPPO LIPPI.
FlLiPPO LIPPI, or FRA FILIPPO, as he is called, to dis-
tinguish him more clearly from his son Filippino Lippi,
died in 1469, about the age of fifty-seven. The date of his
death is proved by documents,! that of his birth is uncer-
tain. His life is a romance. Born in Florence, probably
in 1412, he lost his parents in childhood, and being left in
indigence, was placed by an aunt in the Carmelite convent,
where, at the age of eight, he began his noviciate as a
brother of the order. His aptitude for drawing soon mani-
festing itself, the prior afforded him the means of following
what seemed to be his favourite occupation, and at an early
age he painted some figures in fresco in the precincts of the
church and convent. Of those first productions nothing
now remains ; they were finally destroyed by fire with the
building in 1Y71.}
* Passavant, Kunstreise durch England und Belyien, 8vo., Frankfurt, 1833;
Kunstblatt, No. 90, 1843, No. 6, 1847 ; the latter number containing a compre-
hensive notice of the Westphalian school by Dr. E. Forster. See also Ver-
zeicknfss der Gemaelde-Sammluitg dex Geheimen liegierungs-Rathes Kriiger zu
Minden. 8vo., ph., Miuden, 1848.
f Vasari, Vife, ffc., Ed. Le Monnier, 1846, et seq. vol. iv., p. 128, note.
j Vasari may be quite correct in affirming that Filippo Lippi derived his
first inspirations from Masaccio. The biographer states that the former
painted in terra verde, in the cloisters of the convent, " The Confirmation of
the Rules of the Carmelites," next to the " Consecration of the Church," by
Masaccio. As the portrait of Lorenzo RidoLfi -was introduced into the last-
named painting " at the time when Lorenzo was ambassador to Venice," that i*,
in 1425, the picture must have been painted in that year. The " Confirmation
of the Rule?" abqve-mentioned -was probably one of Filippo'r, earliest works.
LIPPJ, F1L1PPO. 121
Fra Filippo left the convent about 1 430, and during an
excursion at sea near Ancona, he and his companions were
taken by some Moorish pirates and carried as slaves to
Barbary. After eighteen months captivity in fetters, Fra
Filippo found opportunity to draw a whole length portrait
of his master, with charcoal, on a white wall. This display
of a skill so unknown in those regions excited general
wonder and procured the painter's release from chains ;
and upon his subsequently executing some coloured works
for his Moorish patron he was set at liberty. Whether he
visited Naples immediately on his return to Italy, or after-
wards, is uncertain. He left a picture in Naples, and in
1438 was occupied on one of his best works for the sacristy
of Santo Spirito, in Florence.
In Prato, before undertaking the celebrated frescoes of
the choir of the cathedral, he painted various pictures.
While occupied on an altar-piece, representing the nativity,
for the nuns of Santa Margherita, he became enamoured
of Lucrezia Buti, then residing in the convent, either in-
tended for a nun or as a ward of the nuns. He requested
to be allowed to introduce her portrait in the picture, as
the Madonna.* Eventually he carried her off from the con-
vent in 1458, and by this desperate act exposed himself to
endless troubles. His frescoes in Prato were begun in 1456,
and after many interruptions were completed about 1464.
His latest works were the frescoes in the choir of the
cathedral at Spoleto. He died there, as was supposed by
poison, October the 8th, 1469. The unfinished frescoes in
Spoleto were completed by his scholar and assistant Fra
Diamante, in 1470.f
No. 248. 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
* The picture, in an injured state, is now in the Louvre. Vasari states that
Fra Filippo threw aside the habit of a monk at the age of seventeen ; but the
painter, in two of his letters, the latest of which is dated 1457, signs himself
" Frate." In the altar-piece of Sant' Ambrogio, now in the Gallery delle Bette
Arti in Florence, his portrait has the friar's tonsure ; and in the record of his
death, preserved in the annals of the Carmelite Convent in Florence, he is
named "Fr. Philippus."
f Delle Pitture di Fra Filippo Lippi nel coro delta Cattedrale di Prato, by the
Canonico Baldanzi, Prato, 1836; Delia chiesa Cattedrale di Prato, Descrizione
corredata di noiizie Storiette, Sfc., Prato 1846; Vasari. Vile, fyc.; Baldinucci,
Nbiizie, v. ; and Gave, Carteygio Ineditod'Artisti.
122 LIPPl, FILIPPO.
desk is some paper and a leathern ink bottle ; by his side
are some books. The Virgin, surrounded by angels, ap-
pears before him.*
In tempera, on a hexagonal panel, the upper corners of a square
being cut away, 3 ft. 2 in. //. by 3 ft. 5^ in. w.
Vasari states that Fra Filippo painted two pictures to be
placed over doors in the Palazzo delta Signoria at Florence. The
subject of one was the Annunciation ; of the other a St. Ber-
nard. The date of the latter picture is fixed by a record quoted
by Baldinucci from the register of the Provvediton 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. 586. THE MADONNA AND CHILD ENTHRONED,
SURROUNDED 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, a monk and a bishop on the left, St. Bartholomew
and a nun 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 I ft. 10^ in. w.
* " St. Bernard was remarkable for his devotion to the Blessed Virgin : one
of his most celebrated works, the Missus est, was composed in her honour as
Mother of the Redeemer ; and in eighty sermons or texts from the Song of
Solomon, he set forth her divine perfection. . . . Accordingly, the Blessed
Virgin regarded her votary with peculiar favour. His health was extremely
feeble ; and once, when he was employed in writing his homilies, and was so ill
that he could scarcely hold the pen, she graciously appeared to him, and com-
forted and restored him by her divine presence." Mrs. Jameson, Legends of
the Monastic Orders, p. 1 52.
f Baldinucci, vol. v., p. 353. As the painter received 1200 lire for the
altar-piece of Sant Ambrogio before mentioned, it may be inferred that 40 lire
was the price of one and not of both the works noticed by Vasari. The picture
in question is about the width of a door, and the peculiar form of its upper
portion is explained by its adaptation to the architecture. Fra Filippo appears
to have frequently painted subjects relating to St. Bernard. The picture of the
Death of the Saint is still preserved in the Cathedral at Prato. In the church
Delle Murate at Florence, now suppressed, he painted incidents from the lives
of St. Benedict and St. Bernard. At Arezzo he painted the altarpiece for the
Chapel of St. Bernard ; the same Saint is introduced in one of the specimens
in the Berlin Gallery, and to these instances is to be added the picture above
described.
J It is difficult to come to a decision respecting the three saints here not
named ; they may be St. Dominic, St. Zenobius, and St Scholastica, or as
the picture was originally painted for an Augustine convent, St. Nicholas of
Tolentino, St. .\ ugustine, and St. Monica. St. Bartholomew is introduced
apparently on account of the name of the donor, Gherardo di Bartolommeo
Barbadori.
LIPPI, FILIPPO. 123
This is supposed to be the picture painted in or before 1438,
when Fra Filippo was 25 years old, for Gherardo di Barto-
lommeo Barbadori, to be placed in the church of Santo Spirito,
at Florence. Formerly in the convent of Santo Spirito, where
it was placed, when removed from the sacristy, 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.*
No. 589. THE VIRGIN MARY SEATED, AN ANGEL
PRESENTING THE INFANT CHRIST TO HER. Tinder ail 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. 7^ in. w.
Formerly in the possession of Sig. Zambrini of Imola. Pur-
chased at Florence from the Lombardi-Baldi collection in 1857.
No. 666. THE ANNUNCIATION. The Virgin Mary is
seated in a richly furnished chamber, and in a garden oppo-
site to her, on the spectator's left, is the angel Gabriel,
announcing the birth of Christ.
" The Holy Ghost shall come upon thee, and the power of the Highest shall
overshadow thee, therefore also that holy thing which shall be bom of thce
shall be called the Son of God." Luke, i. 35.
In the centre of the picture a dove, proceeding in a ray
of glories from a hand above, is approaching Mary. Small
entire 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 Metz-
ger, about 15 years ago.f
Presented to the National Gallery by Sir Charles Lock East-
lake, P.R.A., in 1861.
No. 667. ST. JOHN THE BAPTIST WITH Six OTHER
SAINTS ; on his right are Saints Francis, Lawrence, and
Cosmas ; on his left, Saints Damianus, Anthony, and Peter
Martire : all seated on a marble bench in a garden. Small
entire figures.
* Vasari, Vite, Sfc., Ed. Le Monnier, vol. iv. p. 119, note 4. The annotators
of Vasari here quoted, in affirming the identity of this work with the Barba-
dori altar-piece, deny the similar pretensions of a characteristic specimen of
Fra Filippo now in the gallery of the Louvre. Notwithstanding the high
authority of the critics referred to, it may reasonably be questioned not only
whether the picture above described is the identical work referred to, but
even whether it is to any great extent by the hand of the master. The pro-
bability is that the Madonna and Child are partly by Fra Filippo, and that the
angels below, as well as the side figures, are by Alessio Baldovinetti.
f Vasari, Vite, Sfc., Ed. Le Monnier, vol. iv., p. 118.
124 LIPPI. FTLIPPJNO.
On wood, in tempera, a lunette, 2 ft. 2 in h. by 4 ft. 11^ in w.
Companion picture to No. 666, described above. Purchased
from Mr. Alexander Barker, in 1861.
FILIPPINO LIPPI.
FILIPPO, commonly called FILIPPINO LIPPJ, the son of Fra
Filippo and Lucrezia Buti, was born at Florence in 1460.
In consequence of the death of his father when Filippino was
still a child, he became the scholar of Sandro Botticelli. He
soon acquired celebrity, and was employed about 1485 to
complete the frescoes of the Brancacci Chapel in the Church
del Carmine in Florence, which had been left unfinished
by Masolino da Panicale and Masaccio.* His works in
this chapel exhibit great dramatic power in composition,
and prove Filippino to have been one of the best masters of
his time. His pictures are also distinguished for their rich
architecture, their costume, and their ornamental accessories.
He subsequently painted some frescoes in the Strozzi
Chapel, in the Church of Santa Maria Novella at Florence.
In 1492 Filippino visited Rome, and executed some fres-
coes there for the Cardinal Caraffa, in the Church of Santa
Maria Sopra Minerva. He also left some works at Prato.
Filippino died, and was buried at Florence on the 13th of
April 1505, aged only forty-five. He signed his name
Philippinus Florentinus, Philippines de Lippis, and also
Filippus de Lipis.f
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
* The works of Filippino in the Brancacci Chapel are : "The Restoring
a Youth to Life," part of wh,ich was painted by Masaccio ; 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. Paul 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." See Kuglcr, Handbook
of Painting, Italian Schools ; Rumohr, Italienische Forschungen ; Gaye, Car-
leggio Ineditod' A rtisti; and Vasari, Vile, Sfc., Ed. Le Monnier, note, voL iii.
p. 190.
f Vasari, Vite, ffc., Ed. Le Monnier, voL v., p. 24!i.
LOMBARD. 12.")
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
Sin. h. by 7ft. 9 in. to.
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 re-
moved to the Palazzo Rucellai, where it remained until it was
purchased of the Cavaliere Giuseppe Rucellai, in 1857, for the
National Gallery.
No. 592s. THE ADORATION OF THE MAGI ; OR, THE
WISE MEN'S OFFERING. Matthew ii. 1, 11. 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 contemplating a small
crucifix ; above on each side five angels playing musical
instruments. Inscribed below HUNG SEQUANTUR, HUIC
JUNGANTUR, QUI EX EGYPTO EXEUNT, IN QUO NOBIS CLARA
LUCE VEXILLA REGIS PRODEUNT, and dated A.D. Mccccxcu.f
Gold back-ground.
In tempera, on wood, 19-^ in. h. by 12^ in. 10.
Formerly in the collection of the Marchese Giovanni Costabili,
at Ferrara, from which it was purchased for the National Gallery
in 1858.
LOMBARD.
LAMBERT or LAMPRECHT LOMBARD, commonly called
Lambert Lombardus, was born at Lidge, of humble parents,
* Vite dei Pittori, fyc., Ed. Le Monnier, vol. v., p. 245.
f " Let those who depart out of Egypt follow him, and be 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 Romanum Venetiis
impressum arte et impensis Andree de Torrcsanis de Asula MCCCCXCV.," &c.
Hunc sequantur,
Huic jungantur,
Qui ex JEgypto exeunt,
In quo duce
Clara luce
Vexilla Regis prodeunt.
126 LOMBARD.
in 1506, and was the scholar of Jan de Mabuse and Arnold
Beer. He married when very young, and travelled in
Germany and France, and visited Italy in the suite of the
English cardinal Pole, when 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 Lie'ge, in 1538, he was compelled to return home,
where his example, however, says 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 Lie'ge, in 1560 : he was three times married
and had children by each wife, which imposed burdens upon
him that the art-patronage of 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 they are
executed in a manner somewhat peculiar to himself: the
drawing is in the first instance elaborately and delicately
denned, and the colours and shadows are only very
slightly scumbled over the light ground. In 1565 a life of
Lambert Lombard was published by Dominicus Lamp-
sonius, 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. 266. THE DEPOSITION FROM THE CROSS. 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 in. h. by 2 ft. 3 in w. Purchased with
the collection of Herr Kriiger of Minden, in 1854.
* Lamberti Lombard! apud Eburones Pictoris celeberrimi Vita, 8vo., Brugen
Hubert Golzius, 1565. Kathgeber, Annalen dcr Niederldndischen Malerei, $c.
folio, Gotha, 1843. Van Mander, Het Schilder Boeh. Michiels, Histoire de la
Pcinture Flamande et Hollandaisc, vol. iii., 8vo., Brussels, 1846. Though we
have so early a life of Lombard by one of his own scholars, there are few facts
supported by documents ; the dates both of his birth and death are found only
on engraved portraits of him. The works 6f Rathgeber and Michiels contain
lists of his pictures.
MAAS- MABUSE. ] 27
MAAS.
NICOLAS MAAS or MAES,* a distinguished Dutch portrait
and genre painter, was born at Dort, in 1632. He was the
pupil of Rembrandt. In 1678 he settled at Amsterdam,
where he died in 1693. He etched a few plates.*f-
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 beer-jug, so often intro-
duced into the pictures of this master. Signed, and dated
1655.
On wood, 13^ in. h. by 11^ in. w.
Both pictures were bequeathed to the National Gallery, in 1838,
by Lord Farnborough.
No. 2O 7. 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. Another servant standing by her side, with a beer-
jug in her hand, is laughing at the disorder around. In
an inner apartment in the back-ground, the family is seen
at dinner. Signed, and dated 1655.
On wood, 2 ft. 3^ in. h. by 1 ft. 9 in. w.
Bequeathed to the National Gallery, in 1846, by Mr. Richard
Simmons.
MABUSE.
JAN GOSSAERT, commonly called JAN DE MABUSE, from
his birthplace, now Maubeuge, and within the French
frontier, was "born about 1470 : he sometimes signed him-
* Both pronounced broad, like the a in Mars ; the former is now the com-
mon Dutch form, though the painter signed his name Maes.
t Houbraken, Groote Schoubury, &c. ; Bartsch, Le Peintre- Graveur.
1 28 MANTEGNA, A.
self JOANNES MALBODIUS. Mabuse visited Italy, -and he
resided some time in this country, when he was employed
by Henry VII. At Castle Howard, the seat of the Earl of
Carlisle, is one of the master-pieces of Mabuse, represent-
ing the " Adoration of the Kings :" it is one of the most
elaborate and admirable works of the Flemish school. He
died at Antwerp Oct. 1, 1532*
No. 656. PORTRAIT OF A MAN DRESSED IN BLACK,
with fur over his shoulders. He has a rosary in his hand
and appears to be standing in a church. Architectural
background. Half-length, small life size.
On wood, 2 ft. 3 in. h. by 1 ft. 7 in. w.
Purchased at Paris, from M. Edmond Beaucousin, in 18(JO.
MANTEGNA.
ANDREA MANTEGNA, Cavaliere, was born of an obscure
family, in the neighbourhood of Padua, in 1431 ; the exact
locality is not known ; his father's Christian name was
Biagio or Blaise.f The youth of Mantegna is said to have
resembled that of Giotto ; according to Vasari he was a
shepherd boy; and having early displayed great aptitude
for drawing, he was placed with the celebrated Squarcione
of Padua, who was so struck with his ability that he adopted
him, and entered his name, in 1441, in the register of
painters as follows: Andrea fiuolo de M. Francesco
Squarzon depentore. It was Squarcione's intention to make
him his heir; but Mantegna is said to have forfeited the
friendship of his patron, by marrying Nicolosia, the daughter
of Jacopo Bellini, Squarcione's rival. This story is doubtful :
his wife appears to have been of the Mantua family of the
Nuvolosi.J
In 1468, Mantegna entered the service of Lodovico
Gonzaga, Marquis of Mantua, with an allowance of 75 lire
per month, about 30. a year, at that time a considerable
salary. At a later period the Marquis presented him with
* Van Mander, Het Leven der schilders, &c.
f The date of Mantegna's Lirth is ascertained from the following inscription
on a picture now lost, formerly in the church of Santa Sofia in Padua: Andreas
Mantinea Patavinus aim. se.ptcm ct deccm nalus sua manu pinxit MCCCCXLVIII.
It is preserved in Scardeone's Antiquities of Padua. Moschini, Delia Orii/hti',
fyc. Delia Pittura in Padoua, p. 35. Padua, 1826.
J Codde, Pitturi Mautovani, &c., Mantua, 1837.
MANTEGNA, A. 129
a small piece of land near the church of San Sebastiano,
upon which, in 1476, Mantegna built himself a house.
This house is said by Ridolli to have been decorated with
frescoes by Mantegna himself; but these and other of the
painter's more important works in the Castle of Mantua
greatly suffered in the pillage of the city by the Imperial
troops in 1630, during the war of the disputed succession
to the dukedom. The collections of the earlier Gonzagas
were dispersed on this occasion ; many works were carried
to Pi-ague, and many passed into the possession of Christina,
Queen of Sweden ; the latter eventually formed part of
the Orleans collection. It was this dispersion of the art
treasures of Mantua that enabled Charles I. of England to
become the possessor of the celebrated series at Hampton
Court, the nine tempera pictures on cloth of the " Triumph
of Julius Caesar," completed in 1492, for the palace of San
Sebastiano at Mantua. Vasari notices this " Triumph " as
Mantegna's best work.*
Mantegna was invited by Innocent VIII. to Rome, and
in 14S8-90-f- he executed some frescoes there in the chapel
of that Pope on the Belvedere of the Vatican ; this chapel
was afterwards destroyed by Pius VI. to enable him to
carry out certain alterations. Mantegna's works of every
kind are now scarce, but he is fairly represented in this
country. The Marquis Selvatico has enumerated, inde-
pendently of frescoes, only thirty-three certain pictures
by this painter, including the Hampton Court " Triumph."
Several of them are in tempera and on cloth.
Mantegna died at Mantua September 13, 1506^ and
was buried in his own chapel of St. John the Baptist, in
the church of Sant' Andrea. He was painter, engraver,
sculptor, poet, and architect. His engravings, among the
earliest Italian examples of the art, resemble those of
Marcantonio. Nearly sixty prints altogether are attributed
* " Lamiglior cosa che lavorasse mai." Vite, vol. v. p. 170. Ed. Le Monnier,
Florence, 1846, et scg. It \vas engraved in wood by Andrea Andreani in 1599 ;
in copper by R. Van Audenaert in 1692 ; and again by S. Clarke in 1712.
f Mantegna visited Rome in the summer of 1488. A letter from Frr.ncesco
Gonzaga, introducing him to the Pope, is dated June the 10th of that year.
See Gaye, Carteggio Inedito, &c. III. p. 561. He returned to Mantua, Sep-
tember the 6th, 1490. Moschini, Delia Origine, Sec. p. 43.
Mantegna's death -was announced to the Marquis Francesco Gonzaga by
his sou Francesco on the 15th of that month as having taken place on the pre-
ceding Sunday, this -was the 13th. The letter was published by Zani, Material*
per servire alia Storia dell' Incisione, &c., Parma, 1 802.
I
130 MANTEGNA. A.
to him, but not half that number with certainty. The
works of this great master are imbued with the highest
grandeur of feeling ; his manner is hard and severe, but his
drawing is correct, his modelling fine, and his execution of
the utmost vigour and finish. His colouring, in his best
specimens, is also powerful and harmonious. His draperies
are particularly well elaborated. Like his master Squarcione
he was a diligent student of the antique ; and in his acces-
sories he displays unusual care and power.
He left by his wife Mcoiosia two sons and a daughter.
He was aided in some of his works by his second son
Francesco, by a favorite scholar known as Carlo del Man-
tegna,* and by Giovanni Francesco Carotto.-f-
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 back-ground consists chiefly of orange
and citron trees. On a scroll attached to the cross held by
St. John is written Ecce agnws Dei, ecce qui tollit peccata
mundi ;j and on the inner side of the scroll above is the
painter's signature Andreas M<r/iitiuia G P.F. (Civis
Patavinus fecit).
Engraved in Aliprandi's Private Gallerie Milanesi.^ In
tempera, on canvas, 4 ft. 6^- in. h. by 3 ft. 9^ in. w.
This picture is described and extolled by various Italian writers
on art, including the authors of several guide-books of Milan. [j
* See the Commentary of the Marquis Selvatico in the edition of Yasari's
Lives published by Le Monnier, Florence, 1846 ct seq., vol. v.
f Vasari, Vita di Fra Giocondo, &c.
% " Behold the Lamb of God, -which taketh away the sin of the world."
John i. 29.
Haccolta delle Migliori Dipinture die si conscrvano nclh private Gallerie.
Milanesi. Milan, 1813.
|| Le Vite, $c., di Giorgio Vasari. Firenze, le Monnier, vol. v. 1849,
p. 188. The passage referred to is in the commentary, by Selvatico, on the
life of Mantegna, -with a list of his works.
Storia delta Pittura Italiana, Sfc., da Giovanni Rosini. Pisa, vol. 3, 1841,
p. 262.
Milano Nuovamente Descritta del Pittore Francesco Pirovano. Milano, 1822,
p. 256.
II Forestiere in Milano, de Bartolommeo Borroni. 1808, vol. 1. p. 49.
Nuova Guida di Milano. Milano, 1796, 2 d<> edizione, p. 119.
MANTKGNA, F. J31
It is stated by Borroni to have formed part of the collection
of the Cardinal Cesare Monti, who was Archbishop of Milan
from 1G32 to 1650. The principal part of that collection was
bequeathed by him to his successors in office, and a consider-
able portion is now deposited in the Brera Gallery ; but the
picture in question remained with the Monti family, having
been placed by the same prelate as early, according to tradition,
as 1610 in the private chapel of the Palazzo Monti. After the
extinction of the Monti family, in the last century, the mansion,
and the Mantegna with it, became the property of the Andreani
family, when the picture was removed from the chapel to one
of the apartments. The families of Mellerio and Somaglia
succeeded as proprietors. From the representative of the last-
named house the picture, having been first bought by Signer
Baslini, passed into the possession of Signer Roverselli, from
whom, in the autumn of 1855, it was purchased for the National
Collection.
MANTEGNA, FRANCESCO.
FRANCESCO MANTEGNA, the second son of Andrea, was
born at Mantua about 1470. He was the pupil and assistant
of his father, and completed some works left unfinished
by him. Francesco was still living in 1517.* Andrea
Mantegna, son of Lodovico, and grandson of the painter,
placed a monument, in 1560, in the family chapel in Sant'
Andrea, at Mantua, to his father, his grandfather, and his
uncle, Francesco, with the following inscription : OSSA
ANDREAE MANTINEAE FAMOSISSIMI PICTORIS CUM DUOBTJS
FILIIS IN HOC SEPULCRO PER ANDREAM MANTINIAM
NEPOTEM EX FILIO CONSTRUCTO REPOS1TA MDLX.f
No. 63d- CHRIST AND MARY MAGDALEN IN THE GARDEN,
called a " Noli me tangere," touch me not. John xx. 17.
A vine of purple grapes hanging over the figure of Christ,
is supported on a dead tree ; on the other side a bird is
seen defending its nest against a snake which has crept up
the tree ; on the left is a bee-hive.
On wood, 16| in,, h. by 12 in. w.
Formerly in the Duroveray Collection. Purchased at Paris,
from M. Edmond Beaucousin, in 1860.
* Moschini, Delia origine della Pittura in Paduva, &c.
f Codde, Piftori, &c., Mantovani.
132 MABATTI.
MARATTI.
CARLO MARATTI, Cavaliere, was born at Camurano, be-
tween Loreto and Ancona, May loth, 1625. He went early
to Rome, where he entered the school of Andrea Sacchi. He
soon became the most distinguished pupil of that master ;
and after the deaths of Pietro da Cortona and Sacchi, he was
for nearly half a century the most eminent painter in Rome.
He was honoured with the favour of six successive popes
Clements IX and X., Innocent XL, Alexander VIII., Inno-
cent XII., and Clement XI. He was appointed superin-
tendent of the Vatican Chambers by Innocent XI. ; and in
the years 1702 and 3, he restored with the sanction of
Clement XI. (Albani) the frescoes of Raphael there, which
had been suffered to fall into a state of decay and immi-
nent ruin. He died in Rome Dec. loth, 1713, at the
advanced age of eighty-eight.*
Maratti was considered by Mengs to have arrested at
Rome the general decline of painting which prevailed at
the close of the seventeenth century.-f- He was an ardent
admirer of Raphael, whose style, though weakened in his
hands by the eclecticism of the Carracci, he endeavoured to
uphold, in opposition to the then prevailing school of Cor-
tona, and the macchinisti generally. Maratti painted little
in fresco ; his chief works, which are very numerous, are
easel pictures in oil. A " Baptism of Christ " by him, now
in the church of Santa Maria degii Angeli at Rome, has
been executed in mosaic for the altar of one of the chapels
of St. Peter's. From his frequent pictures of the Virgin,
he acquired the name of Carlo delle Madonne. His pictures
are distinguished for their academic precision of design, but
are more conspicuous for the general absence of defects,
than for any particular excellence. There are several
etchings by this painter.
No. 174. PORTRAIT OF CARDINAL CERRI, seated. Half-
length, of the natural size.
On canvas, 3 ft. 1 1 in. h. by 3 ft. 2 in. w.
Presented to the National Gallery, in 1839, by Mr. Henry
Gaily Knight.
* Lioni, Ritrattl di alcuni cclebri Pittori del secolo X VII., &c., Roma, 1731 ,
which contains Maratti 's life, by Bellori; Pascoli, Vite de' Pittori, &c.
f Lanzi, Storia Pittorica, &o..; Men^s, Hinterlassne Werke, vol. i. p. 304.
MARGARITONE. 133
MARGARITONE.
MARGARITONE DI MAGNANO,* of Arezzo, painter, sculptor,
and architect, was a distinguished master in his time. He
was born at Arezzo in 1 236, and, as appears evidently from
his works, was a student of the Byzantine school of paint-
ing. Being an older painter than Cimabue, he was unin-
fluenced by the innovations of that great master upon the
traditionary practice of the time.
Vasari describes many works by Margaritone, at Arezzo
and elsewhere, but most of them have long since perished.
He was employed at Home by Pope Urban IV. to decorate
the portico of the old Basilica of St. Peter ; this Pope died
in 1265.
The best of all Margaritone's works, says Vasari, is the
monument in marble of Pope Gregory X., executed shortly
after 1276, in the episcopal palace at Arezzo. This monu-
ment contains a likeness of the Pope from the life, which is
still in a good state of preservation.
In the convent De' Zoccoli at Sargiano, there is still a
picture of St. Francis of Assisi, signed MARGARIT DE ARITIO
PINGEBAT.f
He died at Arezzo in 1313, aged seventy -seven, and
weary of life, says Vasari, having quite outlived the art and
taste of his own time, which had then been completely
superseded by the school of Giotto.j
No. 564. THE VIRGIN AND CHILD, WITH SCENES FROM
THE LIVES OF THE SAINTS. The Virgin is seated in the
centre with the Child in her lap, and surrounded by the
Ichthus or Vesica Piscis glory, within which are also two
* In the only document known concerning this painter, bearing the date 1262,
are the words, inclaustro Sancti Micltaelis (in Arezzo) coram UTargarito pictorc,
Jilio quondam Magnani. Vasari, Ed. Le Monnier, vol. 1, p. 302, note.
f This picture is said by Vasari to be ritratto di naturale, an expression
often used by him, meaning that the likeness was authentic, not, in every case,
that it was taken directly from nature. St. Francis died in 1226. The picture
referred to is engraved in the Etruria Pittricc. As an architect Mai'garitone
superintended the works of the episcopal palace of Arezzo, and carried out
some buildings at Ancona.
J Vasari, Vile, fyc., Ed. Le Monnier, Flor. 1846, et seq.
This glory or aureole represents the acrostic symbol the fish, derived
from the circumstance of the common Greek word for fish, Ix&vs (ichthus),
containing the initials of the following sentence: "iTjcroDs Xpivrbs, &tov fios,
2corty>, Jesus Christ, the Son of God, the Saviour. This glory, -which is
given only to Christ, or to the Virgin holding the infant Christ, is called
by Italian writers on art, including Vasari, the Mandola or Mandorla from its
almond shape.
134: MASACCIO.
angels, and around the glory outside are the four symbolic
images of the four Evangelists' the angel, the ox, the
lion, and the eagle. The hand of the infant Christ is in
the act of blessing according to the Greek rite.*
Eight small pictures are arranged, four on each side of the
vesica : the Nativity and Annunciation to the Shepherds ;
St. John the Evangelist liberated from the cauldron of
boiling oil ; St. John resuscitating Drusiana ; St. Benedict
rolling himself among thorns, to resist the temptations of
the evil spirit ; the martyrdom, and burial of St. Catherine
on Mount Sinai ; St. Nicholas of Bail exhorting the sailors
to throw into the sea the vase given them by the Devil ;
the same Saint liberating the condemned ; and St. Margaret
in prison swallowed and disgorged again by the Dragon
unhurt. The picture is signed, Margaritde Aritio mefecit.-^
The annotators of the recent (Le Monnier) edition of Vasari
express the opinion that " among the few paintings by
Margaritone which now remain, this is, on every account,
the most characteristic and important."
In tempera, on linen cloth attached to wood, 2 ft. 9 in. h. by
5 ft. 9 in. W.
An altar front, formerly in the church of Santa Margherita
at Arezzo. Purchased at Florence from the Lombardi-Baldi
collection in 1857.
we peeper v
MASACCIO.
ToMMASO GUIDI, commonly called MASACCIO from the
slovenliness of his habits the consequence of an absorbing
attention to his studies was born at Castel San Giovanni
in the upper Valdarno in 1402,:j: and was the son of Ser
* See No. 594, Emmanuel, note, p. 86, -where this form is explained.
t The small pictures have their subjects inscribed over them, but two of
these inscriptions are nearly illegible. They appear to be as follows :
1. De Partu Virginis Marie et Adnuntiatione Pastoram. 2. Hie Beat. Johes
Evg. a fervore olei liberatur. 3. Hi Scs Johes Evg. suscitat Drusianam. 4
His. Bnedict. jecit sel spinas fugiens Diaboli tetatioem. 5. Hi Sea Cattarina
suscepit martyrium et in montem Siny ab angelis cvecta? 6. Hi Scs
Nicolaus precepit Nautis ut vas oblatum a DiaboloTmari jicerent. 7. Hi
Scs Nicolaus liberal condemnatos. 8. Hi Sea Margarita ingurgitatur a
Dracone et ruptis visceribus exit illesa.
J The earliest authorities state that Masaccio died at the age of twenty-six.
Accordingly, later writers, having assumed that 1443 was the year of his
death, placed his birth in 1417. The publication by Gaye (Cartcggio (PArtifiti.
Pirenze, 1839, torn. i. p. 115) of a document proving that in 1427 Masaccio
MASAC'CIO. ] 35
Giovanni di Simone Guidi. He is supposed to have been
the pupil of Masolino da Panicale who was about his own
age. Masaccio continued the series of frescoes commenced
by that painter in the Brancacci chapel in the church of
the Carmine at Florence : he appears to have been em-
ployed in the church and its convent from 1425 till his
departure for Rome in 1427.
The frescoes assigned to Masaccio in the Brancacci
chapel are the Expulsion from Paradise ; the Tribute
Money; St. Peter baptizing; the Apostles restoring the
Youth to life (completed by Filippino Lippi) ; and the
Infirm cured by the Shadow of St. Peter.* Another in-
teresting work of the master, the subject called the Italian
Trinity, with the Madonna, St. John, and the portraits of
the donors, was brought to light in the church of Santa
Maria Novella in 1857/f" The principal portions are well
preserved, and by means of this fresco the only undoubted
production of the painter besides the works in the Bran-
cacci chapel the latter can be more accurately distinguished.
The frescoes ascribed to Masaccio in the church of San
Clemente in Rome a Crucifixion, and a series relating to
was twenty-five years of age, necessarily fixed the date of his birth in 1402;
but the impossibility of reconciling the pre-arranged chronology of certain
works of art with the inference that Masaccio died in 1428, led historians
to treat as erroneous the limitation of his life to twenty-six years. His
existence was therefore prolonged to the age of forty-one ; the old date of
of 1443 being retained as the year of his death. A diligent investigator of
the archives of Tuscany has recently published some documents relating to
various Florentine painters, which set this question at rest. From those ex-
tracts it appears that Masaccio died in Rome in 1428 or at latest in 1429 ; that
is, when about the age of twenty-six. It farther appears that Masolino da
Panicale, who painted in the Brancacci chapel previously to Masaccio, may
have begun that work in 1423-1424 ; that he quitted it, in consequence of
having received an offer of employment in Hungary, about 1425 ; that
Masaccio continued the Brancacci frescoes till 1427, when he repaired to
Rome where he shortly afterwards died. Milanesi, in the Giornale Storico degli
Archivi Toscani, anno iv. Luglio Settembre, 1860.
* The number of frescoes above allotted to Masaccio (and some writers
include more) may require re- consideration, when it is remembered that bis
whole labour in the chapel must be restricted to two years. The frescoes ascribed
to Masolino are three only ; yet in his case it is not absolutely impossible that he
may have worked in the chapel again at a later period. He appears to have
returned to Italy, from Hungary, in 1427. He painted some frescoes, partly
similar in treatment to those in the Carmine, in the neighbourhood of Como,
in 1435, and is supposed to have died in 1440. See the documents before
noticed, published by Milanesi.
j- Vasari describes this work carefully and correctly, but, strange to say,
within two years after the (second) publication of his biographies, it was
covered by a gigantic mannered picture of his own. The fresco has been
removed, on a solid portion of the wall itself, to another part of the church,
where it can now be well seen. Deutsches Kunstllatt, 1858, p. 293.
136 MASACOIO.
the history of St. Catherine, with other wall paintings
are in an earlier and drier manner than his Florentine
works and inferior to them in all respects. If the state-
ment of Vasari with regard to the San Clemente series is
to be admitted in any sense, it may be understood to refer
to some designs furnished by Masaccio, but executed by a
far inferior hand. The shortness of his residence in Rome
before his death tends to confirm this view. The tempera
picture representing the Madonna and Child with St. Anne,
now in the gallery of the academy in Florence, though
mentioned by Vasari, cannot in its present state be re-
garded as an unquestionable specimen of the master.*
The impulse given by Donatello to sculpture was ac-
complished in painting by Masaccio, who forsook traditionary
art for the study of nature ; he gave individuality of
character to his heads, and great natural ease to his figures
and draperies. These qualities are, at the same time
accompanied in his works by a breadth of treatment which,
were his date unknown, might be judged to belong to a
much later period. The certainty now established, that
those works were produced from 1425 to 1427 must
increase the admiration connected with his name, and
confirm the praises which, according to Vasari, were be-
stowed on his productions by the best painters of the
fifteenth century. Though much in the Brancacci series of
frescoes has by modern criticism been justly assigned to
Filippino Lippi, who completed the chapel more than half
a century after the death of Masaccio, enough remains to
the latter, even without reference to the recently discovered
fresco in Santa Maria Novella, to entitle him to the
eloquent encomium of Sir Joshua Reynolds, that " he
appears to be the first who discovered the path that leads
to every excellence to which the art afterwards arrived,
and may, therefore, be justly considered one of the great
fathers of modern art. ''f
Masaccio died in Rome in 1428 or 14294
* Engraved in the Galleria dell' Accademia Delle Belle Arti, Firenze 1845.
f Discourse XII.
j See the documents before referred to in the Giornale Storico Jeyli Archivi
Toscani, &c., Vasari, Vile, &c., and the commentary on his life of Masaccio in
the Le Monnier edition, vol. iii. p. 1 65. The Brancacci frescoes arc engraved
by Lasinio ; and some of the heads by Thomas Patch ; Masaccio, sua Vita c
di 24 teste ; parts are also given in the Etruria Fittrice.
MATSYS. 137
No. 626. His OWN PORTRAIT, a head, Iront view.*
On wood, 14 in. h. by 11 in. w.
Purchased at the sale of the Northwick pictures in 1859.
MATSYS.
QUINTIN MATSYS, known also as the Smith of Antwerp,
was born at Louvain'f' about 1460 ; he was brought up
as a blacksmith, and was distinguished for his skill in
ornamental ironwork. At Louvain and its neighbourhood,
and in Antwerp, where he eventually settled, there are still
shown several good specimens of his skill in wrought iron.
He was admitted a member of the Academy of Antwerp in
1491-2.
In Antwerp, as it is popularly recorded, Quintin fell in
love with a painter's daughter, and to obtain her hand
he forsook the anvil for the palette : he not only gained
his suit, but became the most distinguished painter of the
city, raising the school of Antwerp to a celebrity equal to
that of Bruges. His masterpiece, "The Taking down from
the Cross/' painted in 1508, for the altar of the chapel
of the Joiners' Company, in the cathedral, is now one of
the principal treasures of the Antwerp Museum. It was
purchased by the city in 1577 for fifteen hundred florins.
Quintin had received for it only the moderate sum of 300
florins, about 251. sterling.
This picture, like all the other works of the painter, is
distinguished for careful execution, which he elaborated to a
perfection in some instances rivalling that of John Van Eyck.
RathgeberJ has enumerated 78 works by, or ascribed to.
Quintin Matsys in various European collections ; they are
chiefly of religious subjects, but he painted some portraits,
and the so-called " Misers/' (of which a fine example is in
the Royal collection at Windsor) he repeated with variations,
several times. Portraits of himself and of his second wife
* The traditional designations of works of art are sometimes, for various
reasons, retained, when sound criticism might suggest their alteration. The
portrait still called that of Masaccio in the gallery of the Uffizj at Florence, is
now generally admitted to be the work of Filippino Lippi, and probably his
own portrait. The portrait above described, whoever it may represent, also
appears to be the work of Filippino. The opinion here expressed may how-
ever require the confirmation of time.
t L. Guicciardini, La Description des Pays-Bas, 1569, p. 131.
j Annalen Jer Niederlandischen Malerei, fyc., pp. 205-437.
138 MATSYS.
are in the gallery of the Uffizj, at Florence.* His wife's is
dated 1520, the year in which he was visited at Antwerp
by Albert Durer. He was twice married.
Quintin died in 1530-31, it is said of the suette in the
Carthusian convent at Antwerp.f He rarely placed his sig-
nature on his pictures ; and when it does occur, his name
is .variously written. A " Holy Family/' in the church of
St. Pierre at Louvain, is signed Quinte Metsys, screef dit.
1 509 ; and a " St. Jerome " in the Lichtenstein Gallery at
Vienna, has the signature Quintin Masys, f. 1513. The fine
picture of the " Banker and his Wife," in the gallery of the
Louvre, is signed Quintin Matsyss schild 1 , 1 5 1 8, "" Quintin
left a son, JAN MATSYS, by whom there are several pictures
extant : in the Vienna Gallery is a panel signed Joannes
Masiis faciebat, 1 5 644
No. 295. SALVATOE MUNDI, AND THE VIRGIN MARY. The
Saviour holds in his left hand a crystal globe surmounted
by a golden cross ; with his right he is blessing. The
Virgin has her hands joined in adoration. Bust figures,
small life size, on a gold ground.
On wood, with circular tops, each panel, 1 ft. 11 in. h, by 1 ft.
1 in. w.
There are two similar pictures to the above, but showing less
of the figures and slightly varying in the action and accessories, iu
the Museum at Antwerp. Copies of the Antwerp pictures, once
in the possession of Erasmus, are now at Heidelberg. A third
pair, also resembling the Antwerp pictures, is in the gallery of
the Academy at Turin. The pictures above described were for-
merly in Madrid, whence they Avere brought back to the Nether-
lands in 1816 and subsequently formed part of the King of Hol-
land's gallery at the Hague, where they were purchased, in 1857,
from the Commissioners appointed to dispose of the remainder
of that collection.
* Rcale Galleria di Firenze. S. III. vol. i. p. 27, engraved by G. Rossi.
j- Quintin Matsys was originally buried in the cemetery of the Carthusians ;
but Cornells Van der Ghest removed his remains a century afterwards, and
had them reburied in front of the Cathedral. The spot is marked by the
simple memorial M.Q.M. obiit 1529 ; and in the wall of the Cathedral is a slab
with the inscription " Quintino Matsys, Incomparabilis artis pictori, admira-
trix grataque Posteritas anno post obitum Sseculari cio.ioc.xxix. posuit.
Connubialis amor de Mulcibre fecit Apellem." Quintin, though still living in
July 1530, was already dead on the 12th October 1531. See Catalogue du
Musee d'Anvcrs, 1857.
J Van Mander, Het Lemn der Schilders, &c., Ed. 1764 ; Von Mechel, Cata-
logue de la Galerie de Vienne ; Schnaase, Niedcrlandische Briefe, 1834; Mi-
chiels, Histoire de la Peinture Flamande, $c. ; Nieuwenhuys, Description de la
Galerie, frc., de S.M. le Hoi desPays-Bas, 1843.
Nieuwenhuys, Catalogue, Sec., p, 61.
MAZZOLINI. 130
MAZZOLI'NI.
LODOVI'CO MAZZOLI'NI, sometimes called Ma/zoliui da
Ferrara, and Lodovico Ferrarese, was born, at Ferrara about
1481. He was the scholar of Lorenzo Costa; and after
Garofalo, whom he somewhat resembles in style, may per-
haps be considered the most distinguished of the Ferrarese
painters. He died at Ferrara in 1530.* His pictures are
remarkable for the architectural back-grounds which he
frequently introduced into them. His masterpiece is pro-
bably the large picture of Christ disputing with the Doctors,
in the Gallery of Berlin ; it was painted in 1524.
No. 82. THE HOLY FAMILY, with Saint Francis adoring
the infant Christ ; behind, are Elizabeth and Saint John.
The little Saint John is protecting a lamb from a monkey
which appears to menace it. The back-ground is an archi-
tectural elevation, adorned with bassi-riKevi.
Engraved in Jones's National Gallery. On wood, 1 ft. 9 in. h.
by 1 ft. 3 in. tv.
Formerly in the Durazzo Palace at Genoa. Bequeathed to the
National Gallery, in 1831, by the Rev. W. H. Carr.
No. 169. THE HOLY FAMILY, with St. Nicholas of
Tolentino adoring the infant Saviour ; St. Joseph is present-
ing him with cherries. Immediately above the Virgin is the
Dove in a glory of light, the symbol of the Holy Ghost, and
in the upper part of the picture is a vision of the Father
surrounded by a choir of angels.
The whole is symmetrically arranged ; the back-ground
of the composition is an architectural elevation, enriched
with bassi-rilievi.
On wood, 2 ft. in. h. by 1 ft. 6| in. w.
Formerly in the Lercari Palace at Genoa : brought to England
by Mr. A. Wilson in 1806. Purchased for the National Gallery
from Mr. Beckford, in 1839.
No. 641. THE WOMAN TAKEN IN ADULTERY. The scene
represents the interior of the Temple, in which are many
people on the floor and in the galleries. Christ has just
* The works of this painter are frequently attributed to other masters, his
own name being, through Vasari's omission of him, comparatively unknown.
He is only slightly noticed by Vasari under the name of Malini, whence, says
Lanzi, he has been divided into two Malini and Mazzolini. His name is also
sometimes confounded with that of Ma/zolino, a name given by Lomazzo to
Parmigiano Mazzuoli, of which Mazzolino is a diminutive, or what tire
Italians call a vezzeggiativo. A picture in the Costabili collection at Ferrara
is signed Lodovico Mazzolii, 15 1. Laderchi, Descrizione della Galleria
Costabili. Ferrara, 1838, p. 45.
1 40 MEMLING.
completed the writing on tlie pavement, " He that is with-
out sin among you, let him cast first a stone at her," and
the guilty Scribes and Pharisees are self- convicted, and
about to turn away from him. John, ch. viii.
On wood, 18 in. h. by 12 in. to.
Formerly in the collection at Fonthill. Purchased at Paris,
from M. Edmoncl Beaucousin, in 1860.
MEMLING.
HANS or JOHN MEMLING, called also HEMLING, was one of
the ablest of the early Flemish masters ; the circumstances
of his life are as yet little known, but one account assumes,
from an old chronicle, that he was born at Constant, in
1439 ; and he is supposed to have been the scholar of Roger
Vander Weyden. Memling was, however, already, in 1479,
living at Bruges, in his own house, in the Rue St. George,
as an established painter; and he was then a citizen of
property and consideration, and was one of those who in 1480
contributed to the city loan towards defraying the expenses
of the war between the Emperor Maximilian and France.
His picture of the " Adoration of the Magi," in the
Hospital of St. John at Bruges, is dated 1479 ; that known
as the Sibyl Lambertka in the same collection was painted
in the following year ; and the admirable triptych, by him,
in the Academy of Bruges is dated 1484. In 1487 he lost
his wife, Anne, by whom he had two sons and a daughter ;
and on the 10th of December 1495 he himself also was
dead, his children being then still minors.*
The Hospital of St. John at Bruges possesses, besides the
" Adoration" referred to above, two other of Memling 's best
works, the fine altar-piece of the " Marriage of St.
Catherine," and the celebrated " Chasse of St. Ursula/'
with the history of the martyrdom of that saint and her
companions. The comparatively large picture of " The Joys
and Sorrows of the Virgin/' with the journey of the three
Kings from the East, in the gallery at Munich, is also one
of Memling's most remarkable productions ; it is a work of
* Weale, Journal des Beaux-Arts, 3rd year, p. 21, &c., and Catalogue du,
Musee de I'Academie de Bruges, 8vo., 1861.
MESSINA. 141
extraordinary labour and finish. Rathgeber enumerates
about a hundred works attributed to this painter.*
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, 2l in. h. by 14| in. w.
Purchased at Cologne, at the sale of the pictures of Mr. J. P.
Weyer, in 1862.
ANTONELLO DA MESSINA.
ANTONELLO DEGLI ANTONJ, commonly called ANTONELLO
DA MESSINA, is distinguished among the painters of the
1 5th century chiefly as having been the means of intro-
ducing into Italy the Flemish system of oil painting.
Various writers, on both sides of the Alps, have had no
difficulty in proving that the mere use of oil in painting
was known at an earlier period in Italy as well as in the
north. It is, however, no less certain that the earlier,
partial practice of oil painting had so far failed to re-
commend it that even after superior examples of the Flemish
method, by Van Eyck and Roger Vander Weyden the
elder, had been seen and admired in Italy,f the Italian
painters generally still continued for many years to work
in tempera.
Vasari's account is the chief source of the history of
Antonello. That narrative requires frequent correction in
dates ; but the leading statements, except where they are
irreconcileable with ascertained facts, have been generally
adopted.
Antonelio was born about the year 1414, and according
to the best authorities, at Messina, where his father
* Passavant, Kunstreise durch England und Belgien, 1835 ; Rathgeber,
Annalen der Niederliindischen Malerei ; Michiels, Histoire de la Peinturc
Fltimande, fyc. See also note to Claude, No. 30 in this catalogue.
f Facius, Dz Viris lllustribus, pp. 46, 48. This work, published in the
last century, was written in 1456.
142 MESSINA.
Salvadore and even some among his ancestors, the Antonj.
it is said, had practised painting.* After studying in Italy,
and probably in Rome, he returned to Messina, but was
soon afterwards attracted to Naples by the fame of a
picture by John Van Eyck, painted, as Vasari states, for
Alphonso, king of Naples. The impression produced by
this work on Antonello was such that, " putting aside
every other avocation and thought/' he at once undertook
the journey to Flanders in order to see and ingratiate
himself with the painter.f
Alphonso having only begun to reign in 1442, after Van
Eyck's death, it may be assumed that it was King Re'ne' of
Anjou (supplanted by Alphonso) whom the biographer
meant. It is indeed probable, on many accounts, that
Re'ne' may have recommended Antonello to the Flemish
master.:}: The biographer tells us that Antonello, " arrived
in Flanders, assiduously cultivated the friendship of
Giovanni " (John Van Eyck). The result was that the
latter communicated to him the method of painting in oil.
John Van Eyck died in July 1440. Granting Antonello
a year to win. the favour of the Flemish master and learn
his process, he must have been about twenty-five when he
reached Bruges. After Van Eyck's death lie is supposed to
have remained in Flanders, gradually mastering the new
art, for some years. In, or soon after, 1451 he may have met
Domenico Veneziano in Venice, and to him he communi-
cated the Flemish process of oil painting;
* Memorie de Pittori Messinesi, in Messina, 1821.
f Vasari, Vita di Antonello da Messina.
j Kunstblatt, 1826, No. 84. Puccini, Memorie Istorico-Critiche di Anlonello
d?gli Antonj, Firenze, 1809, p. 37. Lanzi, Storia Pittorica (Firenze, 1822)
torn, ii., p. 245. Facius (p. 26) describes a triptych by Van Eyck in tile-
possession of King Alphonso. This -was probably the picture which Antonello
saw ; but whether it was originally painted for Rene or for Alphonso (before
the latter acquired the sovereignty of Naples) can only be matter of con-
jecture.
The dates in Domenico's life which affect his relations with Autonello may
be here recorded. In 1439 he was painting the principal chapel (of Sant'
Egidio) in the church attached to the hospital of Santa Maria Xuova in
Florence, with Pietro della Fraucesca as his assistant. (See an original
document quoted by Harzen, Archivfilr den ZeichnendenKOnste, 1856, p. 232.)
In 1441 he was again at work in the same chapel withBicci di Lorenzo. (See
the document quoted byMilanesi in the Giorna/e Storico degli Arc/iivi Toscani,
Luglio Settembre 1860.) He was subsequently employed together with
Pietro della Francesca at Loreto ; they both quitted Loreto on account of the
plague (Vasari, Vita di Pietro della Francesca, consequently about 1450.
Pietro went to Rimini where he painted a fresco dated 1451 ; Domenico
MESSINA. 143
Vasari tells us that Domenico was afterwards invited to
Florence on account of his newly acquired art, and was
employed by the Portinari to paint in oil one side of the
principal chapel in Santa Maria Nuova.*
Meanwhile, Antonello appears to have established himself
at Milan. The statement of an early writer, that he ac-
quired great reputation there, indicates a stay of some
years.f His return to his native Messina may not have been
uninfluenced by the news of the untimely death of his
friend Dominico. The assassination in Florence of that
painter, by his rival Andrea dal Castagno, appears to have
happened in 1463.$ The following year may be considered
the commencement of Antonello's second residence in
Messina. The picture by him about to be described (which,
coming from Naples, may be supposed to be of Sicilian
origin) is dated 1465. The latest of the various works
appears to have re-visited his native Venice. If, therefore, he made the ac-
quaintance of Antonello in Venice, as Vasari states, no more probable time
can be assigned for their intercourse than between 1451 and 1455 ; indeed, as
Domenico is named as a referee in a contract dated Perugia, December 1454,
he may have been then in Florence.
* That is to say, the same chapel of Sant 1 Egidio in Santa Maria Nuova,
where, as we have seen, Domenico had been employed for at least two years
at an earlier period. The conclusion is, that his previous works there (which
must have been either in fresco or in tempera) were destroyed. Future re-
searches among contemporary documents may explain this ; there can,
however, be no doubt that the later wall paintings of Domenico in that chapel
were in oil. Vasari, Vita di Andrea dal Castagno e Dom. Veneziano, not
only states this distinctly, but says, as if from his own comparison of the
works, that Andrea showed no less skill than Domenico in the management of
oil colours. The remaining side of the chapel was allotted, according to the
biographer, to Alessio Baldovinetti, who practised a method allied to oil
painting.
f " Mediolani quoque fuit percelebris." These words, ascribed to Maurolyco
(Lanzi, torn. ii. p. 242), are quoted by that writer from an earlier authority.
(See Memorie de' Pittori Messinesi, p. 7, note 1.)
\ In the contract before referred to (Mariotti, Lettere Perugine, Perugia,
1788, p. 132), dated Perugia, 1454, three referees are named, one of whom was
to be consulted ; either Fra Filippo Lippi, or Domenico Veneziano, or Fra
Angelico da Fiesole. The fact that Fra Filippo visited Perugia in September
1461 (not in 1464, as misprinted in the Le Monnier, Vasari, vol. iv. p. 149,
note 1,) to determine the doubtful question, may be explained by his being the
first named ; it is not necessary to infer that Domenico (like Fra Angelico)
was then deceased. The architect Filarete, whose MS. preserved in Florence
belongs to a period between 1460 and 1464 (Gaye, Carteggio d'Artisti, Firenze,
1839, torn. i. p. 205,) states in that work that Domenico Veneziano was
" recently deceased." Sandrart (Acad. Pict. p. 106) informs us that Do-
menico was assassinated when Antonello was 49 years of age ; consequently, if
the date of Antonello's birth has been rightly guessed, in 1463.
But a few years since it was remarked, with reference to the chronological
order of Antonello's works. " Between the years 1445 and 1474 a gap occurs,
and we possess no pictures ; the first in the order of dates being one men-
tioned by Lanzi, dated 1474." Crowe and Cavalcaselle, The early Flemish
Painters, Sfc., London, 1857, p. 217.
144 MESSINA.
painted by him in Messina seems to be that which w<is a
few years since, and probably still is, in the church of San
Gregorio in that city : it bears the date 1473.* Antonello
must have returned to Venice in that year. A Venetian
writer, without any reference to this question, states that
the earliest known oil picture in Venice is that by Barto-
lommeo Vivarini, in the church of SS. Giovanni e Paolo,
dated 1473.f A portrait by Antonello now in the posses-
sion of the Duke of Hamilton, and which was formerly in
Venice, is dated 1474. The celebrated portrait which also
came from Venice in the Pourtales collection bears the date
1475. The Rinuccini (now Trivulzi) portrait, that of
1476. Another, noticed by Zanetti, 1478 4 Vasari refers
to various pictures by Antonello, including the often
described altar-piece of San Cassiano, now lost, and speaks
of a work allotted to him in the Ducal Palace of Venice,
which considered in connexion with other circumstances,
supposes Antonello to have been still practising his art in
1 49 3. His death may have taken place a few years later. |
* Memorie de Pittori Messinesi, p. 15. The author gives the inscription
entire. Guida per la Citta di Messina, Siracusa, 1826, p. 20.
f Zanetti, Delia Pittura Veneziana, in Venezia 1771, p. 24.
j Zanetti, p. 21.
Puccini, Memorie, ffc., p. 55.
|| In reviewing the less questionable particulars of Antonello's history, the
following circumstances may be noticed: His early oil pictures with dates
are extremely rare. ^Vith the exception of a portrait in the gallery at Berlin,
dated 1445, and possibly the Antwerp Crucifixion (the date of which is
variously read 1475, 1445), no certain specimen before his return to Messina
is at present known. Yet he painted in oil for more than twenty years
before that period, in Flanders, in Venice, and in Milan. The probability,
therefore, is that he was not then in the habit of signing his pictures, and
that many really by him are ascribed, in collections, to other painters. In
his latest works also, even when his signature appears, the date is omitted. As
yet, no specimen is known with a later date than 1478. The author of the Me-
morie de' Pittori Messinesi, p. 19, cites indeed, on hearsay, a picture in theRifor-
mati at Catania with a much later date, but he appears to have been misinformed.
Another remarkable circumstance is that Antonello's works in oil painted
in the north of Italy during the period referred to, had not the effect of
exciting any Italian painter, Domenico Veneziano excepted, to adopt the
Flemish method. This is hardly to be explained by the jealousy with which
that method may have been kept secret, as the result in pictures might have
been imitated to some extent by ardent admirers. It is rather to be ascribed
to the reluctance of the tempera painters generally to abandon their traditional
process The change was, however, effected by time ; Antonello, on his
re-appearance in Venice found willing converts. Ridolfi, Le Maraviylie dell'
Arte, Ven. 1648, i. p. 49,) even relates that Giovanni Bellini, the better to
observe the Sicilian painter's process, sat to him for a portrait, in the disguise
of a Venetian senator. The story is improbable, but there seems no reason
to doubt that Antonello's influence greatly accelerated the introduction of
oil painting into Venice towards the close of the century.
MICHELANGELO. 1 45
673. CHRIST AS THE SAVIOUR "&ALVATOR 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 crimson tunic ; a portion of blue 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 penti-
mento 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 misinformed 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.
MICHELANGELO.
MICHELANGELO BUONARRO'TI was born at Castel Caprese,
in the diocese of Arezzo in Tuscany, March 6, 1475 :f his
father Lodovico Buonarroti was governor of the castles
Caprese and Chiusi. On the 1st of April 1488, he was
apprenticed by his father to the celebrated painter Domenico
Ghirlandajo, for three years, during which period Michel-
angelo was to receive 24 norms for his services, an unusual
arrangement.
* See p. 160, note, an instance of similar ambiguity in a memorandum by a
Ferrarese painter, L'Ortolano.
f This date is commonly given as 1474, because the Florentines commenced
their year at that time with the 25th of March, the Annunciation day. This
practice was introduced by the Florentines about the tenth century. See L'Art
de Verifier les Dates.
K
146 MICHELANGELO.
Michelangelo soon distinguished himself from the other
pupils of Ghirlandajo, and evinced such superior ability in
his drawings and models, made in the garden, or so-called
academy, of Lorenzo de' Medici, near the church of San
Marco, that that eminent patron of the arts took him under
his especial protection, and employed Michelangelo to exe-
cute several pieces of sculpture : Michelangelo devoted his
attention for many years from this time chiefly to sculpture.
After the death of Lorenzo in 1492, to avoid the distur-
bances which ensued upon the accession of his son Pietro
to the government of Florence, Michelangelo removed for
a short time to Bologna ; he returned however to Flo-
rence in the following year, in 1494. Very shortly after
this period, in consequence of the remarkable excellence of
a " Sleeping Cupid" which he produced after his return to
Florence, and which was sold at Rome as a veritable antique,
he was persuaded to try his fortunes in the papal capitnl :
and it was during this first visit to Rome that he produced
his celebrated Pieta* or group of the dead Christ on the
knees of the Virgin, which is now in the Church of St. Peter.
He returned again to Florence about the year 1501, and
there executed his colossal statue of " David," now in the
Piazza del Granduca. About 1503 he received a commis-
sion from Soderini, then Gonfaloniere of Florence, to deco-
rate one end of the Council Hall ; the opposite wall being
intrusted to Leonardo da Vinci.f Leonardo began but
did not complete his picture. Michelangelo's does not
appear to have been commenced ; but his cartoon, well
known as the " Cartoon of Pisa," was finished about the
year 1506 : it represented some Pisan soldiers, while bathing
in the Arno, surprised by Florentines. Both designs pre-
sented so many various and masterly views of the human
figure, that they became, to use the words of Benvenuto
Cellini, " The School of the World."! During the progress
of this cartoon, Michelangelo paid a second visit to Rome
by the invitation of Julius II., recently elected to the papal
chair, who commissioned him to make a design for a
* The representation of the Virgin Mary weeping over the dead Christ was
called a Pieta, as that of the enthroned Saviour or enthroned Virgin was
called a Macula.
t See the notice of Da Vinci in this catalogue.
f Vita di Benvenuto Cellini, Milan, 1806, p. 31. Gaye, Carteggio, fyc:, v. ii.
p. 90. Vasari, Life of Michelangelo.
MICHELANGELO. 147
mausoleum which that Pope intended to erect for himself
in the church of St. Peter. Michelangelo, however, returned
again to Florence in 1505, having taken offence at certain
treatment from one of the Pope's servants ; but lie was
reconciled to the Pope at the close of the following year,
at Bologna ; he there made the well-known statue of
Julius II., which was afterwards destroyed, then cast as a
cannon, and used against the Pope by the Bolognese. In
1508 Michelangelo returned to Rome.
In this year he was commissioned by Julius to paint the
ceiling of the Sistine Chapel. He commenced this task very
reluctantly, and adverted to Raphael, whose fame was
already great, and who was then about to commence his
series of frescoes in the Vatican Stanze, as a more fit person
to execute the work. Michelangelo commenced his designs
in 1508, and the ceiling was finished on All Saints' Day
(Nov. 1), 1512.* The painting, says Vasari, was executed
by Michelangelo alone, in the short space of twenty months :
but it need not be assumed that these were consecutive
months, especially as a writer quoted by Fea speaks of the
ceiling as already begun in 1509.-J* In any view of the
question, the greater part of the time above specified must
have been employed on the designs and cartoons. The
frescoes represent the creation of the world and of Man; his
Fall ; and the early history of the world, with reference to
Man's final redemption and salvation.}
These extensive frescoes necessarily caused Michelangelo
to suspend his labours for the mausoleum of Julius; and as
the Pope died shortly after their completion, in 1513, the
monument was never finished.
During the whole pontificate of Leo X., the successor of
Julius II. (nearly nine years), Michelangelo was employed
in the unworthy occupation of procuring marble from the
' * There is a document in the possession of the Buonarroti family at Flo-
rence which purports to be an original contract made by Michelangelo
with the Pope, respecting the commencement of his designs for this ceiling ; it
is dated May 10, 1508. The whole work, therefore, occupied Michelangelo
about four years, for his scaffolding was still not removed from the chapel by
Christmas-day, 1512, as noticed in the Diary of Paris de Grassfs, quoted by
Pungileoni, Elogio Storico, c. p. 131 ; and by Passavant, Rafael von Urbinn,
i. p. 167. See also the Kunstblatt, No. 105, 1844.
f Franc, de Albertinis, Mirab. Ronuc, lib. iii. Fea, Notizie, Sfc. p. 27.
\ There is an outline of this ceiling in the English translation of Kugler's
Handbook of Painting, Italy, vol. i. See the Editor's notes on the subjects of the
frescoes, pp. 203, 206, 216.
K2
148 MICHELANGELO.
quarries of Pietra Santa, for the facade of the church of San
Lorenzo at Florence. During the pontificate of Leo's suc-
cessor, Adrian VI., and part of that of Clement VII., he was
employed on the works of the Medici Chapel in the Church
of San Lorenzo at Florence : in the tenth year, however, of
Clement's pontificate, 1533, thirteen years after the death of
Raphael, he commenced his cartoons for the celebrated fresco
of the Last Judgment, on the altar wall of the Sistine
Chapel. It was continued during the pontificate of Paul III.,
and was finished in 1541.* Michelangelo did little more in
painting from this period; the frescoes of the Cappella
Paolina, built for Paul III., were his last works of the
kind : they were finished in 1549, when he was seventy-
four years of age. He had been appointed, in 1547, to
succeed Antonio da San Gallo, as architect of St. Peter's,
which, though the first stone had been laid by Julius II. in
1506, was still very little advanced: the original architect
was Bramante. Michelangelo undertook the responsibility
without salary. He continued architect throughout the
pontificates of Paul III., Julius III., Marcellus II., Paul IV.,
and Pius IV., until his death ; he carried the building to the
base of the cupola.
Michelangelo died at Rome, February 17, 1564 ;-f- his
body was taken to Florence, and, on the 14th of March
following, was buried in a vault in the church of Santa
Croce.
The opinions concerning Michelangelo are so uniform in
their expressions of praise, and so well known, that to quote
them would be superfluous ; that of Raphael, however, may
be here recorded : this prince of painters is said to have
* This great fresco measures 47 feet in height by 43 in width. The Cappella
Sistina, or Sistine Chapel, was built by Baccio Pintelli, for Sixtus IV. in 1473,
whence its name of Sistine. There are a ground plan and sections of the chapel
in Appendix XIV. to the Third Report of the Commissioners on the Fine Arts.
The chapel is of an oblong shape, with a vaulted roof; is 133 feet long, 43 wide,
and 58 high. It is reserved for the especial use of the Popes : the church cere-
monies of the first Sunday in Advent and of the Holy Week take place in it.
The scrutiny also of the votes for the papal dignity takes place in this chapel,
when the cardinals hold their conclave in the Vatican.
f He lived 88 years 11 months and 15 days, whence he must have been born
in 1475, for Vasari expressly states that he died February 17, according to the
Florentine mode of reckoning in 1563, but, according to the Iloman, in 1564.
Vita di Michelangelo, Vile, pt. iii. The Romans appear to have always com-
menced their year with January. See the Kalendarium Gregorianum Perpetuum,
Rome, 1582.
MICHELANGELO. 149
often exclaimed, that he thanked God he was born in the
days of Michelangelo.*
To his acquirements already noticed, Michelangelo added
the cultivation of poetry.f As a painter he is almost exclu-
sively known by his productions in fresco : he executed a
few works in distemper, one of which, a Holy Family in
the gallery of Florence, painted for Angelo Doni, is well
authenticated-!
No. 8. A DREAM OF HUMAN LIFE. A naked figure,
seated, is reclining against a globe ; he appears to be roused
by the sound of a trumpet which an angel is blowing
immediately above him. Beneath his seat is a collection of
masks illustrating the insincerity or duplicity of human
dealings, and around him are visions of the many vices
and depravities of mankind.
Engraved by J. Bonasone, the contemporary of Michelangelo ;
also by others ; and recently in Jones's National Gallery. On
wood, 2 ft. 1 in. h. by 1 ft. 9 in. w.
This picture, of which there are several repetitions, was painted
from a design by Michelangelo, by one of his scholars, and was
formerly in the Barberini Palace at Rome. It was bequeathed to
the National Gallery, in 1831, by the Rev. W. H. Carr.
* Condivi, Vita di Michelangelo Buonarroti, &c. Ivii. Flor. 1746 (Ed. Prin.
Rome, 1553). Duppa, Life of Michelangelo, London, 1816. Sir Joshua Rey-
nolds' last discourse, the Fifteenth, consists chiefly of a recommendation to study
the works of Michelangelo. The following are the concluding words of this
discourse, and the last uttered by Sir Joshua in the Academy : " If the high
esteem and veneration in which Michelangelo has been held by all nations and
in all ages should be put to the account of prejudice, it must still be granted that
those prejudices could not have been entertained without a cause: the ground of
our prejudice then becomes the source of our admiration. But, from whatever it
proceeds, or whatever it is called, it will not, I hope, be thought presumptuous hi
me to appear in the tram, I cannot say of his imitators, but of his admirers. I
have taken another course, one more suited to my abilities, and to the taste of the
times in which I live. Yet, however unequal I feel myself to that attempt, were
I now to begin the world again, I would tread in the steps of that great master ;
to kiss the hem of his garment, to catch the slightest of his perfections, would be
glory and distinction enough for an ambitious man.
" I feel a self-congratulation in knowing myself capable of such sensations as
he intended to excite. I reflect, not without vanity, that these discourses bear
testimony of my admiration of that truly divine man ; and I should desire, that
the last words which I should pronounce in this academy, and from this place,
might be the name of Michelangelo."
f His poems, chiefly sonnets, were first published by his great-nephew
Michelangelo Buonarroti, at Florence, in 1623, and again by Bottari in 1726
Select specimens have been translated into English by Mr. J. E. Taylor, Michel-
angelo considered as a philosophic Poet; with translations, Sfc.\ 8vo., London,
1840. A Life of Michelangelo by Mr. J. S. Harford was published in 1856.
London, 2 vols. 8vo., with a folio of plates.
J Lanzi, Storia Pittorica, fyc.
150 MOLA.
MOLA.
PIETRO FRANCESCO MOLA was born in or near Milan,* 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 after-
wards returned to Rome, and then visited Milan, and sub-
sequently Bologna, where he adopted the style of the
Bolognese painters, imitating especially Albani, whose land-
scape pieces embellished with figures were particularly suited
to the taste of Mola, He settled finally in Rome in the latter
part of the pontificate of Innocent X., and died there in
1668.f He had held the office of President of the Academy
of St. Luke, and he had been invited to settle in Paris as
Court-painter to Louis XIV. Mola painted large and small
figures, and excelled in landscape : in light and shade he
was much influenced by the style of Guercino. He etched
a few 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, tor he was before
ine." John i. 29, 30.
Landscape, with five small figures.
On canvas, 1 ft. 8^ in. h. by 2 ft. 2 in. w.
Formerly in the Robit I collection at Paris : bequeathed to the
National Gallery, in 1831, by the Rev. W. H. 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.
* Lanzi says Como ; in Goethe's Winkelmann und sein Jaftrhundert, it is
stated that he was born at Coldre, in Italian Switzerland.
f Passeri, Vite de' Pittori, &c. Pascoli, a more modern writer, savs 16C6 ;
but Passeri, Mola's contemporary, is the better authority.
J Mr. Buchanan's Memoirs of Painting contains a catalogue of this and of
many other valuable collections, which were dispersed at the period of tbo
French Revolution
MORETTO. 151
Engraved by J. Coelemans. On canvas, 1 ft. h. by 1 ft. 6 in. w,
Formerly in the Orleans collection ; bequeathed to the National
Gallery, in 1838, by Lord Farnborough.
IL MORETTO.
ALESSANDRO BONVICINO, commonly called II Moretto da
Brescia, where he was born about the year 1490, was one
of the greatest painters of the sixteenth century. He first
studied under Fioravante Ferramola, a painter of Brescia,
and afterwards with Titian at Venice. In the earlier period
of his career, Moretto was an imitator of Titian, and was
likewise an admirable portrait painter ; but later in life he
became an enthusiastic admirer of the works of Raphael,
though it is not known that he ever visited Rome, and he
endeavoured to paint in the style of the great Roman
master. The works of Moretto range from 1524 until
1556.* The year of his death as well as that of his birth,
is unknown, but he died probably about 1560.
Lanzi remarks that Moretto was better as an oil than as
a fresco painter. He has left great works in both depart-
ments of the art ; as the series of frescoes in the Villa
Martinengo at Novarino, near Brescia, and several altar-
pieces still preserved in the principal churches of Brescia,
besides others in some of the public galleries in Europe.
The following are the most celebrated of his works at
Brescia. The " Five Virgin Martyrs," and the " Ascension
of the Virgin," in San Clemente ; the " Coronation of the
Virgin," in SS. Nazaro e Celso ; " St. Joseph," in the church
of the Madonna delle Grazie ; and " St. Nicholas of Bari,"
in Santa Maria de' Miracoli. In the Gallery of Vienna is
a " Sta. Justina," formerly attributed to Pordenone.f The
Galleries also of Berlin and Frankfort possess fine examples
of this painter. In Santa Maria della Pieta at Venice,
is a picture by Moretto, signed Alex. Morettus Brix. F.
M.D.XLVIIIL He was the master of the celebrated
portrait painter Moroni.j
* Brognoli, Nuova Guida per la Cilia di Brescia, 1826, p. 228. ,*
f Engraved as such by Rahl.
\ Ridolfi, Vite, Sfc. Baron von Ransonnet, Zeitschrift fur Oestreichisclie
Literatur und Kunst ; and the Kunstblatt, 1844, p. 160.
152 MORO.
No. 299. PORTRAIT OF AN ITALIAN NOBLEMAN, Count
Sciarra Martinengo Cesaresco, of Brescia, seated, leaning
his head upon his right hand. Half length, life-size. On
the cap is a label, inscribed TOT MAN I1O0& - " By the
desire of the extreme," referring to his anxiety to avenge
the death of his father, who was assassinated. Count Sciarra
was killed in France in the Huguenot campaign which
closed with the battle of Moncontour, Oct. 3rd, 1569.*
On canvas, 3 ft. 8^ in. h. by 3 ft. 1 in. w.
Formerly in the collection of Count Lechi, at Brescia, from
which it passed into the possession of Mr. Henfrey, at Turin,
from whom it was purchased for the National Gallery in 1858.
When in the Lechi gallery it was attributed to Moretto's scholar,
Moroni.
No. 625. ST. BERNARDINO, of SIENA, with St. Jerome
St. Joseph, St. Francis, and St. Nicholas of Bari ; theVirgin
and Child, with St. Catherine and St. Clara, appearing in
the clouds above. St. Bernardino is holding up in his right
hand a circle containing the monogram of Christ, i.H.S.,f in
his left an open book, with the words " Pater manifestavi
nomen tuum hominibus (Father I have manifested thy name
to men) ;" at his feet are three mitres, inscribed with the
names of the three cities of which he is said to have re-
fused the bishoprics Urbino, Siena, and Ferrara. He was
canonized in 1458.
On canvas, 1 1 ft. 7. in. h. by 7 ft. 6 in. w.
Formerly in the possession of Dr. Faccioli at Verona, from
whom it passed in 1852 into the collection of Lord North wick, at
Cheltenham. Bought at the sale of the Northwick pictures in
1859.
MORO.
ANTONIJ MORO, commonly called in this country Sir
Antonio More (though it is not known when or where he
was knighted), was born at Utrecht in 1525, and was the
scholar of Jan Schoorel. He studied also in Italy, and he
became eventually the most distinguished of the Dutch and
Flemish portrait painters of his time. Moro was when still
young taken into the service of the Emperor Charles V.,
for whom, in 1552, he visited in his capacity as portrait
painter Madrid and Lisbon, and also England early in the
* Rossi, Elogi Historici di Bresciani Illustri, Brescia, 1620.
t Interpreted both as Jesus (IH2OT2), and as Jesus Hominum Salvator :
See the inscription on the picture by Segna di Buenaventura, p. 216,
where they signify Jesus.
MURILLO. 153
reign of Queen Mary, who appointed him her painter.
After the Queen's death in 1558, Moro remained in the
service of her husband Pliilip 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, Moro
was compelled to leave Madrid. He finally established
himself at Brussels, where he had secured the protection of
the Duke of Alva ; and though invited back to Madrid by
Philip, he did not venture to return to Spain.
Moro was also an historical painter. Van Mander men-
tions an unfinished picture of th ' Circumcision of Christ "
by him, for the Cathedral of Antwerp, as one of his most
successful works. He died rich at Antwerp in 1581. The
prices Moro received for his portraits were very large,
varying from one hundred to two hundred ducats, in Por-
tugal, and one hundred pounds in England, where he was
very much employed as a portrait painter in the reign of
Queen Mary.* His own portrait is in the Painters' Gallery
at Florence.f
No. 184. POBTRAIT OF JEANNE D'ARCHEL, of the
House of Egmont, in her eighteenth year, dressed in red,
with a gold chain on her neck. Count Egmont was be-
headed by the Duke of Alva in 1568.} Three-quarter
length, life size.
On canvas, 2 ft. 5 in. k. by 2 ft. 1^ in. w.
Dated 1561. Formerly in the collection of Mr. Beckford in
Fonthill Abbey, from which it passed in 1823 into the possession
of Colonel Hugh Baillie. Purchased for the National Gallery
from M. C. J. Nieuwenhuys in 1858.
MURILLO.
BARTHOLOME' ESTE'BAN MUKILLO was born at Seville,
and baptized on January 1, 1618. After receiving some
* Moro, says Walpole, " remained in England during the reign of Mary, and
was much employed ; hut having neglected, as is frequent, to write the names
on the portraits he drew, most of them have lost part of their value, by our
ignorance of the persons represented. The poorest performers have it in their
power to add so much merit to their works as can he conferred by identifying
the subjects, which would be a little reparation to the curious world, though
some families should miss imaginary ancestors." Anecdotes of Painting, p. 141,
Ed. 1849.
f Van Mander, Het Leven der Schilders ; Amsterdam, 1764, vol. 1, p. 172.
Walpole ; Anecdotes of Painting, &c.
J Clouet, Eloge historique du Comte d 1 Egmont; Brussels, 1825.
154 MURILLO.
education, he was placed with Juan del Castillo, a relation,
to learn painting, for which he had shown a decided 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 Vandyck,
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 ; soon the death of Vandyck, 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 him to offer.
In the year 1644, Murillo had made such progress that
Velazquez recommended him then 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 ;
and, 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, and
which he completed in 1674: they represent Moses striking
the rock ; the miracle of the loaves and fishes ; the Return of
the Prodigal Son ; Abraham visited by the Angels ; * Christ
healing the Sick of the Palsy (commonly called the Pool
of Bethesda) ;f the Angel liberating St. Peter from Prison ;
and the two following illustrating charity, San Juan de
Dios bearing a poor man upon his back ; and Santa Isabel,
Queen of Hungary, healing the sick poor; the last picture
* These two pictures are now in the possession of the Duke of Sutherland,
f Now in the possession of Mr. George Tomline.
MURILLO. 155
went by the name of El Tinoso, 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 Tinoso is at
Madrid.
Murillo's last Avork was the large altar-piece of St. Cathe-
rine, 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, and died there 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 illustrative of humble life ;
his latter works, with equal truth, are in a more elevated
and chaste style, and are almost exclusively scriptural or
religious in their subjects. He occasionally painted land-
scapes. His favourite masters were Spagnoletto, Vandyck,
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 : and, after passing through various hands,
was in 1837 purchased 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. 7<t. 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.
* Cean Berinudez, Diccionario Historico 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 iu Davies's Life of Murillo, Londou,
1819.
156 ORCAGNA.
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; pre-
sented to the National Gallery in 1826 by Mr. M. M. Zachary.
No. 176. ST. JOHN AND THE LAMB. An image of the
divine mission of the Baptist. St. John, a child, embraces the
Iamb, and with his left hand points towards heaven : an illus-
tration 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 back-ground.
Engraved by V. Green, F. Bacon, and others. On canvas, 5 ft.
5 in. h. by 3 ft. 7 in. w.
Formerly in the collection of M. Robit, from which it passed
into the possession of Sir Simon Clarke, at the sale of whose pic-
tures, in 1840, it was purchased for the National Gallery.
ORCAGNA.
ANDREA DI CIONE ARCAGNUOLO, commonly called OR-
CAGNA, one of the most distinguished of the early Florentine
artists, as painter, sculptor, and architect, was born in
Florence about 1315. Having acquired the rudiments of
his art from his father, who was a goldsmith, he became the
pupil of Andrea Pisano.
When still young he was engaged with his brother
Bernardo in Santa Maria Novella. The Heaven and Hell,
painted by the two brothers, from Dante in the Strozzi
chapel in that church, are still preserved. They executed
similar subjects ' in the Campo Santo at Pisa ; Andrea
painting "the Triumph of Death," and "the Last Judg-
ment;" he afterwards repeated the same subjects in
Santa Croce at Florence, but these have long since
perished. Besides these considerable works in fresco,
Orcagna painted several altar-pieces in tempera ; one for
the Strozzi chapel in Santa Maria Novella, signed and dated
1357, which is still preserved, and is one of his best works ;
he executed about the same time the great example in
this collection.
As an architect, Orcagna constructed the church of Or San
Michele, and its Tabernacle in 1359 ; he also designed the
celebrated " Loggia de' Lanzi " in the Piazza del Granduca
at Florence, which, though decided upon by the authorities
OKCAGNA, 157
in 1356, was not actually commenced until twenty years
later ;* Orcagna died before it was completed. The accounts
of him do not reach later than 1376 ; and in that year he
was dead.f According to Vasari, he died aged only
sixty.
Orcagna was in the habit of signing his name differently
on his sculpture and in his pictures ; on the former he wrote
Fece Andrea di done, Pittore, and on the latter Fece
Andrea di done Scultore. Francia adopted a similar
practice. The principal scholar of Andrea was Francesco
Train! : his brothers Bernardo and Jacopo, who survived
him, completed his unfinished works ; Bernardo the pictures,
and Jacopo the sculpture.
No. 569. THE CORONATION OF THE VIRGIN, ANGELS
AND SAINTS IN ADORATION. A large altar-piece in three
divisions. In 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,
kneeUng 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.^
* It was begun September- 22nd, 1376, and finished June 5, 1377. Gaye,
Carteggio, T., vol. i. pp. 526-8.
f Bonaini, Menwrie inediti, p. 105. Vasari, Ed. Le Monnier, vol. ii.
p. 134.
J 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,
1. St. Peter.
2. St. Bartholomew.
3. St. Stephen.
4. St John the Evangelist.
5. An Apostle.
6. St. Sigismond.
7. St. Ambrose.
8. St. Francis.
9. Mary Magdalen.
10. St. Philip.
11. St. Cosmas?
12. St. Blaise.
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 ?
158 ORCAGNA.
In tempera, on wood, the centre picture, 6 ft. 9^ in h. to tho
point of the arch, by 3 ft. 9^ in. w. ; the side pictures, 5 ft. 6^ in.
h. by 3 ft. 8| in w. ; the Gothic frame, 9 ft. 7 in. /*. 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.* It was inherited from
the Delia Rena family by the Marchese Roberto Pucci, from whom
it passed into the possession of the late proprietors in 1846.
Purchased at Florence from the Lombardi-Baldi collection in
1857.
The following nine pictures also were portions of this altar-
piece, being originally placed over the three principal pictures
described above.
No. 57O. THE TRINITY. The Holy Spirit, in the form
of a dove, is descending upon a crucifix, which is supported
by the Almighty.
Nos. 571,572. ANGELS ADORING, constituting the sides
of No. 570.
In tempera, on wood, 2 ft 10 in. h. by 1 ft. 3 in. w.
No. 573. THE NATIVITY, and the Annunciation to the
Shepherds. The child is lying in the manger, over which is
hovering a choir of Angels.
No. 574. THE ADORATION OF THE KINGS OF THE EAST,
camels and attendants in the background. St. Joseph is
receiving a golden vessel, one of the presents, from the hand
of the child. Immediately over the stable is a star.
No. 575. THE RESURRECTION OF CHRIST, who is ascend-
ing with a standard marked witli a red cross, in his hand ;
below, the Roman guards are asleep around the tomb.
No. 576. THE " THREE MARIES" AT THE SEPULCHRE,
Mark xvi. 1. Mary Magdalene, Mary the mother of James,
and Salome, are standing with vases of sweet spices in their
On the spectator's right,
1. St. Paul.
2. St Matthew.
3. St Lawrence.
4. St. John the Baptist.
5. St. Damianus ?
6. A youth with sword.
7. St. Nicholas of Bari.
8. St. Dominic.
9. St Catherine of Alexandria.
10. St James the Greater.
11. An Apostle.
12. A Monk with purple scull cap.
13. St Bernard.
14. St Antony Ahbot
1 5. St. Agnes.
16. An Apostle.
1 7. St Mark.
18. St. Marcellinus?
19. St. Augustine.
20. St Jerome. .
21. St. Scholastica.
22. St Zenobius.
23. A youth with sword.
24. St Reparata ?
* Cinelli, Bellezze della Cilia di Firenze, life., p. 354.
OELEY. ] 59
hands, by the side of the vacant tomb ; 011 the opposite side
are two angels.
No. 577. THE ASCENSION OF CHRIST, the Virgin and
Apostles grouped in a circle below regarding the ascending
Saviour.
No. 578. THE DESCENT OF THE HOLY SPIRIT.
" And suddenly there came a sound from Heaven as of a rushing mighty
wind, and it filled all the house where they were sitting. And there appeared
unto them cloven tongues like as of fire, and it sat upon each of them. And
they were all filled with the Holy Ghost, and began to speak with other tongues
as the spirit gave them utterance."
" Now, when this was noised abroad the multitude came together, and were
confounded, because that every man heard them speak in his own language."
Acts ii. 2.
The composition is in two divisions, the descent of the
Holy Spirit being represented above, and below, the multi-
tude confounded, every man hearing his own language.
In tempera, on wood, eacli 3 ft. l in. h. by 1 ft. 7 in. w.
Portions of No. 569. Purchased at Florence - from the
Lombardi-Baldi collection in 1857.
ORLEY.
BERNARD VAN ORLEY, called also Bernard van Brussel,
was born at Brussels, 1470-1, and studied under Raphael,
in Rome ; he and Michael Cocxie had the superintendence
of the manufacture of the tapestries of the Vatican made
from Raphael's cartoons for Leo X. Van Orley died at
Brussels, January Gth, 1541. He painted in oil, and in
tempera, and for glass. Some of the windows of St.
Gudule, at Brussels, are from Van Orley 's cartoons. The
brillianc}^ of his colour in some of his oil pictures is
attributed to their being painted upon a gilt ground. He
was in the service of Margaret, Regent of the Nether-
lands, and had also the title of court painter to the
Emperor Charles V., and lie is said to have visited Eng-
land. There are a few engravings by his hand. His
pictures are scarce.*
No. 655. THE MAGDALEN, READING. She is dressed
in crimson velvet, and looking into an illuminated book ;
* Het Leven, &c. ; Michiels, La Peinture Flamande, &c., vol. iii. ; Walpole,
Anecdotes, &c.
1 60 L'ORTOLANO PACCHIAROTTO.
on the table before her is a vase. Half-figure, small life
size.
On wood, 16 in. h. by 141 i n . w.
Purchased at Paris, from M. Edmond Beaucousin, in 1860.
L'ORTOLANO.
GIOVANNI BATTISTA BENVENUTI, of Ferrara, called
L'Ortolano, from his father's occupation, who was a gardener,
is said to have studied the works of Raphael and Bagmi-
cavallo at Bologna about 151213.* The circumstances of
his life are, however, very little known, his works and his
biography being confounded with that of Garofalo. He is
supposed to have died about 1525, but he must have been
still young at that date.
No. 669. ST. SEBASTIAN, ST. ROCK, and ST. DEME-
TRIUS. St. Sebastian is in the centre of the picture, tied to
a tree and pierced with arrows ; in the foreground is lying
a cross-bow. On his right is St. Rock as a pilgrim, and on
his left St. Demetrius, in armour. The background is a
landscape ; on the left are seen some horsemen near a village,
and in the distance is a walled town. Entire figures, life-
size.
On wood, 7 ft. 7 in. h. by 5 ft. 1^ in. w.
Originally, and as lately as 1844, the altar-piece of the paro-
chial church of Bondeno, near Ferrara, where it was generally
considered the painter's masterpiece. Purchased in 1861 of Mr.
Alexander Barker, who procured the picture from Sig. Ubuldo
Sgherbi, and brought it to England.
PACCHIAROTTO.
JACOPO PACCHIAROTTO, the son of Bartolommeo, was
born at Siena in 1474. His career was troubled and unfor-
tunate ; in 1525 he pleaded a numerous family, and great
poverty, as a justification of his receiving alms from the
authorities of the city ; he had then six daughters : in 1526
he received an aid of twelve scudi from the municipality.
* Or 1507-8. This fact is ascertained from the title of a book of sketches
noticed by Baruffaldi "Studio di me Zoane liapta d. Benvegnu fatto in
Bologna suxo le dipinture del Bagnae e del Sangio da TJrbino, a li anni
MI). VII. et MD.VIII." These dates are otherwise re'ad as MDXII., MDXIII.
See Lanzi, Storia Pittorica, ffc., voL v. p. 202 ; Baruffaldi, Vite de" Pillori. fyc.,
vol. i. p. 168 ; and Laderchi, Pittura Ferrarese, p. 93.
PADOVANINO. 161
Pacchiarotto executed considerable works at Siena ; but
as he is omitted by Vasari, he has been neglected and
forgotten also by posterity, and his best works have been
attributed to Pietro Perugino.
His troubles seem to have continued : in 1535 he was
involved in a conspiracy against the authorities, by which
he endangered his life, and he is said to have fled from
Siena to France, where he was protected by II Rosso, who
employed him on the extensive works which Francis I. was
then carrying out at Fontainebleau : he was again in
Siena in 1536. In 1539, however, he was banished and
outlawed by the Government, but through the intercession
of his wife, Girolama, he was pardoned and restored to his
family August 17, 1540 : from this date nothing further
is known of him.
Pacchiarotto's principal work is the fresco in the church
of Santa Caterina of Siena, of that saint visiting the body
of Saint Agnes, of Montepulciano, which, says Speth, can be
compared only with Raphael ; and he adds, that to describe
Pacchiarotto as of the school of Perugino is only magni-
fying the injustice he has already undergone in having
had some of his best works attributed to that master. His
forms are fuller than Perugino's, and though his taste is
that of the quattrocento, some of his heads have great
beauty of feature, and sweetness of expression ; his colour-
ing has very considerable force. He is distinct from the
Girolamo di Pacchia slightly noticed by Yasari in the
" Life " of II Sodoma *
No. Z46. MADONNA AND CHILD. The Virgin, in a blue
hood and mantle, seated, with the Child on her knees ;
landscape back-ground. Half-length, small life- size-
On Avood, in oil, 2 ft. 5 in. h. by 2 ft. w. Purchased for the
National Gallery at the sale of M. JolyDe Bammeville's collection,
iu 18o4.
PADOVANI'NO.
ALESSANDRO VAROTA'RI, commonly called PADOVANINO,
from his birth-place Padua, j* where he was bora in 1590, was
* Gaye, Carteggio fnedito cf Artisti ; Lanzi, Storia Pittorica, &c.; and Spetb,
Kunst in Italien, voL n. p. 57. Vasari, Vite, $-c., Ed. Flor., 1846 et seq. vol. xi.
) In Italian, Padova.
162 PALMEZZANO.
the son of Dario Varotari, a Veronese painter. Alessandro
lost his father when very young, and went early to Venice,
where he became a diligent student of the pictures of Titian,
and he is accounted one of the most successful imitators of
that painter. He lived alternately at Venice and Padua, and
his pictures are seldom seen out of these places. He died in
1650.
Padovanino excelled in painting children, and often intro-
duced them into his pictures : he was also a good landscape-
painter. His masterpiece is the " Marriage at Cana," formerly
in the monastery of San Giovanni di Verdara at Padua, now
in the Academy at Venice. Like many of the Venetian
painters, he was more remarkable for facility of execution
and for colouring than for correctness of form.*
No. 70. CORNELIA AND HER CHILDREN. Cornelia,
daughter of the elder Scipio Africanus, and " mother of the
Gracchi," when asked by a Campanian lady, who was osten-
tatious of her jewels, to show her her ornaments, pointed
to her two sons, Tiberius and Caius, just then returning from
school, and said, " These are my ornaments."! Composition
of four figures, of the natural size.
On canvas, 4 ft. 8 in. h. by 4 ft. w.
Bequeathed to the National Gallery, in 1837, by Lieut. Col.
Ollney.
PALMEZZANO.
MARCO PALMEZZANO, one of the principal painters of the
Romagna, was born at Forli in or about the year 1456 $ he
was the scholar of Melozzo da Forli, and occasionally
signed his name Mardius de Melotius, as in a picture in
the Church del Carmine at Forli, and in another in the
Church of San Francesco dei Zoccolanti at Matelica ; the
latter example is dated 1501. His ordinary signature was
* Ridolfi, Le Maraviglie deJf Arte, ffc. ; Orlandi, Abecedario Pittorico, Bologna,
1719 ; Lanzi, Storia Pittorica, Sfc.
f See Plutarch's lives of the Gracchi; the anecdote is told by Valerius
Maximus.
$ The Palmezzani family at Forli is in possession of a portrait of this
painter, on the frame of which is inscribed MARCUS PALMESANUS NOB.
FOKOL. SEBIETIPSDM piNxii OciAVA ^TATis SU2B 1536. Memorie intomo
a Marco Palmezani da Forli e ad alcuni suoi dipinti Forli 1844. See also
Vasari, Ed. Le Monnier, Commentario alia Vita dei Genga, vol. xi. p. 108.
PANNINI. 163
Marcus Palmezanus Pictor Foroliviensis faciebat He
was still living in 1537; a picture signed by him and
bearing that date was formerly in the Ercolani Gallery at
Bologna.
His works are generally characterized by the prevailing
hardness of style of the fifteenth century, but are not
deficient in feeling or expression.
No. 596. THE DEPOSITION IN THE TOMB. The dead
Christ is. being placed in the tomb by the Virgin, Mary
Magdalen, and St. John the Evangelist ; the Virgin, on
the right, is supporting the body in a sitting posture, while
the Magdalen, on the same side, is kneeling, holding the left
arm of Christ, and compassionately regarding the wounded
hand. On the other side is St. John, clasping his hands in
sorrow. To the spectator's right is standing San Mercu-
riale, first bishop of Forli, holding the Guelphic banner of
the Church, a red cross on a white flag : on the extreme left
is San Valeriano with the standard of Forli, a white flag
striped with blue. In the foreground is a green cloth, hanging
on the side of the tomb in front. Half figures life-size.*
On wood, 3 ft. 3 in. h. by 5 ft. 5^ in. w.
Originally of a semicircular shape, but subsequently shortened
and piecened so as to form a quadrangular picture.
This picture was the lunette of an altar-piece, representing
" Christ administering the sacrament to the Apostles," now in the
gallery at Forli, and which was placed in the Cathedral of Forli
in 1506. Purchased in Borne from Signor Gismondi in 1858.f
PANNI'NL
GIOVA'NNI PA'OLO PANNINI, Cavatiere, was born at
Piacenza in 1691, but lived chiefly at Home, where he at-
tained a great reputation by his views of ruins and other
architectural pictures. He died at Home in 1764.J His
shadows are considered generally too dark and too brown for
exteriors.
* See a detailed description of this picture in Eeggiani's Alcune Memorie
intorno il Pittore Marco Melozzo da Forli, p. 16, Forli, 1834, where it is erro-
neously attributed to Melozzo da Forli.
f Though the principal picture, which is engraved in Kosini's Storia deUa
Pittura Italiana, pL 141, is signed Marcus Palmezanus faciebat, it is described
by Vasari, ed. Le Monnier, vol. xi. p. 93, together with the lunette and predella,
as the work of Rondinello of Kavenna. Vasari's error was corrected by
Scannelli as early as 1657. See // Microcosmo della Pittura, p. 281.
\ Lanzi, Storia Pittorica, Sfc.
L 2
1 64 PARMIGIANO.
No. 138. ANCIENT RUINS, WITH FIGURES. The pyramid
of Cestius in the middle-ground. A composition.
On canvas, 1 ft. 7^ in. h. by 2 ft. 1 in. w.
Bequeathed to the National Gallery, in 1837, by Lieut.-Col.
Ollney.
PARMIGIA'NO.
GIRO'LAMO FRANCESCO MARIA MAZZO'LA, commonly
called PARMIGIA'NO, and sometimes PARMIGIANI'NO, from
his birth-place Parma, was born Jan. 11, 1503.* In conse-
quence of the death of his father, Filippo Mazzola, when he
was still very young, he was brought up by his uncles Michele
and Pietro Ilario, who, as well as his father, were both
painters, and Parmigiano was determined to follow the same
profession. When Correggio visited Parma in 1519, Par-
migiano was much struck with the works of that great mas-
ter, and he became a successful imitator of his style. After
acquiring considerable distinction in Parma, he went in 1523
to Rome, where he was well received by Clement VII. He
was at Rome during the memorable sack of the city by the
soldiers of Charles V. under Bourbon, in 1527 ; and the
picture of St. Jerome in this collection was painted there
at that period.
Parmigiano left Rome shortly after this event, and resided
some time at Bologna. In 1531 he returned to Parma, and
was engaged to execute some extensive frescoes in the choir of
the church of Santa Maria della Stecoata, to be completed
by the 10th of November 1532, Parmigiano having received
half payment (200 gold scudi) in advance ; but, owing to his
repeated delays, having scarcely commenced the frescoes after
a lapse of five or six years from the time of the original agree-
ment, lie was thrown into prison by the authorities of the
church for breach of contract. Instead of prosecuting the work
after his release from prison, according to his promise, he fled
to Casal Maggiore, in the territory of Cremona, where he died
very soon afterwards, August 24, 1540, in the thirty-seventh
year of his age.
The well-known figure of *' Moses breaking the Tables of
the Law," is a part of the unfinished frescoes of the Steccata.
* According to the Register, or 1504 according to the present mode of
reckoning ; 1504 is the year given by Vasari .
TABMIGIANO. 165
Sir Joshua Beynolds* says of this figure, We are at a
loss which to admire most, the correctness of the drawing or
the grandeur of the conception." The most celebrated of Par-
migiano's altar-pieces is the Santa Margherita in the academy
at Bologna : it was preferred by Guido to the St. Cecilia of
Raphael. Of the easel-pictures of this master, the most
admired is the "Cupid making a Bow," painted about 1536
for Francesco Boiardi, and now in the gallery at Vienna : it is
well known in prints and copies, and was commonly attributed
to Correggio. Parmigiano etched a few plates, and is said
also to have executed several wood-cuts. His drawings are
celebrated, f
No. 33. THE VISION OF ST. JEROME. Such is the title
given to this picture by Vasari. John the Baptist, kneeling
on one knee on the ground, is pointing upwards to a vision of
the Virgin with the infant Saviour ; in the middle-ground
is St. Jerome lying on his back, asleep ; his figure is much
foreshortened. Composition of four figures, somewhat larger
than the life.
Engraved by J. Bonasone, the painter's contemporary ; and by
W. T. Fry, in Jones's National Gallery. On wood, ] 1 ft. 6 in. h.
by 5 ft. w.
This picture was painted at Rome, in 1527, in Parmigiano's
twenty-fourth year, for Maria Buffalina, to be placed in her family
chapel, in the church of San Salvatore cli Lauro, at Citta di
Castello: he was in the act of completing the work when the
city was stormed by the Imperialists under the Constable Bourbon.f
It remained in Citta di Castello until 1780, when the church of
* Discourse XV.
j- Vasari, Vite de' Pittori, 8?c. ; Affo, Vita, del Graziosissimo Pittorc, Francesco
Mazzola, detto il Parmigianino, Parma, 1784 ; Sketches of the Lives of Correggio
and Parmigiano, London, 1823.
{ The anecdote related by the Padre Affo is a modern counterpart to more
than one classic story of the kind, resembling more particularly that of the
painter Protogenes, who, we are told, pursued his occupation in tranquillity
while Ehodes was stormed by Demetrius Poliorcetes. " Parmigiano was ear-
nestly engaged in giving the last touches to the picture for La Buffalina, when
the walls of Rome having been scaled and the city itself taken by the invaders,
the wild soldiery ran from house to house intent on spoil. The painter absorbed
in his occupation, paid no attention to the roar of the artillery, the tumult of
the people, or the shouts of the military, till some of the enemy rushing into
the very house and searching every corner, suddenly entered the room where
the artist was at work. The amazement of the soldiers on seeing him thus
quietly pursuing his labours was greater than his own on finding himself sur-
rounded by lawless and hostile men. Fortunately the leader of the band, who
had meanwhile taken possession of the house, happened to be an amateur of
painting. He felt an interest for the artist, and contented himself by only
requiring tyra to execute a good number of drawings." Affo, Vita, <$r., p. 60.
166 PERUGINO.
San Salvatore was ruined by an earthquake, and the picture was
purchased by an English collector, and brought to this country.
After passing through different hands, it was finally purchased
by the Governors of the British Institution, at the sale of
Mr. G. Watson Taylor's pictures, in 1826, and by them presented
to the National Gallery. There are several old copies of the
picture extant.
PERUGI'NO.
PIETRO VANNU'CCI, commonly called IL PERUGINO, was
born at Citta della Pieve about 1446 : he was established in
the neighbouring city of Perugia, where he had the right
of citizenship, whence his surname of Perugino.* His first
master is unknown ; but Vasari states that when in Florence
he studied under Andrea Verocchio : this is confirmed by
various circumstances. Perugino's first works of note were
painted in Florence ; he afterwards distinguished himself by
his works at Siena, Vallombrosa, the Certosa di Pavia, Naples,
Borgo San Sepolcro, Bologna, and Rome. He executed several
works for Pope Sixtus IV. in the newly-built Cappella Sis-
tina, and in the Stanze of the Yatican. He began his frescoes
in Rome about 1480, four years before the demise of Sixtus,
and appears to have been employed there altogether about ten
years. In 1495, after having executed some works in Florence,
he was again engaged in Perugia, and it was then that
Raphael, a boy of twelve years of age, was placed by his
uncles with the great painter ; for Pietro was now the most
celebrated of all the TJmbrian masters.
After this period, Perugino executed several works for
Florence, and other places ; but the great cinquecento style,
which was now rapidly superseding that of the earlier schools,
began to obscure the reputation of the older painters ; and
when Pietro saw the Cartoons of Michelangelo and Leonardo
Da Vinci at Florence, in 1506, he felt that his own star was
declining, and accordingly set himself against the innovation.
He made no secret of his distaste for the new style, and
having unreservedly expressed his opinions in the presence of
Michelangelo, the imperious innovator called him a dunce\ in
art ; Pietro took him before a magistrate for the affront, but,
* He is sometimes called Petrus de Castro Plebis, and Civis Perusinus.
Mariotti, Lettere Pittoriche Perugine.
f Goffo nelT arte : literally, iaexpert. Vasari, Vite de* Pittori, Sfc,
PERUGINO.
167
according to Vasari, the dispute ended with little honour to
the complainant.
Perugino returned to Perugia, where he married a young
wife; and after executing several works there and in the
neighbourhood, he died, possessed of considerable property,
at Castello dl Fontignano, in 1524, at the advanced age of
seventy-eight.*
Perugino was one of the principal quattrocento masters. As
an oil-painter his example was important. Vasari, in the
Proemio or Introduction to the third part of his Lives of
the Painters, speaks of the great sensation produced on the
artists of the time by the rich and forcible colouring of
Perugino and Francia, an excellence then, in a great mea-
sure, new; since those masters were among the first Italian
oil-painters. The scholars of Perugino were numerous, and
no pupils probably have been more faithful to the style of their
master : with the single exception of Raphael, they all perse-
vered in the quattrocentismo, or that peculiarity of taste in
design which had prevailed from the time of Masaccio to that
of Michelangelo and Raphael; but as regards colouring most
of his imitators were inferior to him.
No. 181. THE VIRGIN AND INFANT CHRIST, WITH ST.
JOHN. Landscape back-ground. Three small figures; the
Virgin and St. John half-length.
On wood, 2 ft. 21 in. h. by 1 ft. 5| in. w.
This picture, which is painted in tempera, was obtained by
the late Mr. Beckford at Perugia, and was purchased of him
for the National Gallery, in 1841. It has been attributed to
Lo Spagna, a fellow-scholar of Raphael with Perugino. Petrus
Peruginus is inscribed in gold on the hem of the mantle of the
Virgin.
* The memoirs of Perugino are numerous ; besides the notice of Vasari there
are a notice in the Vite de' Pittori Perugini, by Pascoli, 1732 ; Mariotti,
Lettere Piltoriche Perugine, 1788 ; Orsini, Vita, Elogio e Memorie dell' Egregio
Pittore Pietro Perugino e degli Scolari di esso, Perugia, 1804 ; and Mezzanotte,
Delia. Vita e dette Opere di Pietro Vanuucci da Castello della Pieve, Commen-
tario Ittorico, Perugia ; 1836,
168 PERUGINO.
No. 288. THE VIRGIN ADORING THE INFANT CHRIST.
Three principal portions of an altar-piece. The centre
picture represents the Virgin adoring the Infant, who is
presented to her by an angel ; three distant angels, stand-
ing on clouds and singing, appeal- above. The compart-
ment on the left of the spectator represents the Archangel
Michael ; that on the right, the Archangel Eaphael with
the young Tobias.
On wood, each compartment 4 ft. 2 in. h. ; the centre compart-
ment 2 ft. l^in. w. ; the side pictures each 1 ft. 10^ in. w.
This picture was painted by Perugino, as recorded by Vasari,
for the Certosa, or Carthusian convent near Pavia. The entire
altar-piece consisted of six compartments. Above the three
portions already described were in the centre, a figure of the
Almighty, which is still in its original place in the Certosa ; on
the sides, the subject of the Annunciation, the Angel on tho
left of the spectator, the Virgin on the right ; all these were half
figures. The two last-named have disappeared ; but their place*,
as well as the places of the three portions now in this collection,
have long been supplied by copies. The three principal pictures
above described were purchased from the Certosa at Pavia by
one of the Melzi family in 1786, and were bought for the
National Gallery of Duke Melzi of Milan in 1856.*
The left compartment is inscribed below:
PETRVS plfRVSINVS
FINXIT
* Some connoisseurs have assumed that Eaphael assisted his master in this
work. Rumohr has stated various reasons for concluding that Raphael aided
in its execution. " To me," he observes, "it appeared throughout Raphaelized;
in the general treatment as in the parts, altogether re-cast." He speaks of the
improved action of the St. Michael, as compared -with that of the same saint iu
an altar-piece of Vallombrosa, painted by Perugino in 1500 ; and remarks that
" the hand on the shield is very happily drawn from nature, not in the cus-
tomary manner of Perugino, but true and graceful." Italieniscke Forschungen,
Dritter Theil, 1831, p. 27.
Passavant (Rafael von Urbino, #e. i. p. 59), speaks of the picture as follows :
" The truly Raphaelesque feeling which pervades every part ; the more accurate
study of nature (as compared with Perugino's manner), which is especially
remarkable in the hands, have often given rise to the opinion that Raphael
must have assisted his master to a considerable extent in this work. This
opinion receives an additional confirmation from a drawing from nature as a
study for the Archangel Raphael with the young Tobias, formerly in the
Lawrence Collection, and which appears to be by Raphael. From the great
merits of the picture it must be assumed that if Raphael really assisted in its
production its date could not be earlier than 1503." At that date Raphael was
twenty years of age.
The drawing in question is now in the Randolph Gallery at Oxford ; it is
thus described by Dr. Waagen: "No. 75, Tobias and the Angel, on tinted
paper, with silver point. Study for that part of Perugino's altar-piece for the
Certosa, at Pavia, which Raphael executed, and which is now in the possession
PERUZZI. 169
x'
PERUZZI.
BALDASSA'RE PERUZZI, sometimes called Baldassare da
Siena, was born at Accajano, near Siena, in the beginning
of the year 1481. His master is not known. His first work of
merit was executed at Volterra ; and he distinguished himself
at Rome, in the beginning of the pontificate of Julius II.
(1503-13). At Rome, having attracted the notice of Agostino
Chigi, of Siena, he turned his attention to the study of per-
spective and architecture, in which he obtained no less distinc-
tion than in painting. For Agostino Chigi he built a villa
the well-known Farnesina on the western bank of the Tiber.
From this period his time was chiefly devoted to architecture.
He was appointed by Leo X., in 1520, the successor to
Raphael as architect of St. Peter's; the salary, however, of
this post was only 250 scudi per annum. At the sack of
Rome, in 1527, he was plundered of all he possessed by
the Imperial soldiers, and was forced to paint a picture of
their general, the Constable Bourbon, who had been killed
in the first assault of the city.* After the completion of
this picture, he escaped to Siena, where he was well received
by his fellow-citizens. He was made city architect, was
employed in the superintendence of the fortifications, and
received a pension from the authorities. After a few years
he returned again to Rome, and died there in his fifty-sixth
year, at the close of 1536, not without suspicion of having
been poisoned. He was buried in the Pantheon, near the
tomb of Raphael. Antonio da San Gallo succeeded him as
architect of St. Peter's. |
Though Peruzzi excelled in draAving, his occupations were
too various to admit of his acquiring the reputation of a great
painter ; but as an architect, he ranks with the artists of the
highest class.
of Duke Melzi of Milan. Of delicate feeling for nature, and most elevated
in the expression of melancholy in the head of the angel. About 1501."
Treasures of Art in Great Britain, Sfc. Murray, 1854, vol. ii. p. 56.
The glowing colouring of this work characterizes the best period of Perugino.
The art of oil painting was, even at this date, not universally adopted in Central
Italy, but in the hands of Perugino and Francia the gradation and fusion of
tints which were the result, according to Vasari, attracted universal admira-
tion. Vasari, Le Vite, <c., Proemio alia terza parte ; see also the " Introduzione,"
c. 21.
* Benvenuto Cellini claims the merit of having killed this general. See
his autobiography.
f Vasari, Vite de' Pittori, Sfc. ; Delia Valle, Lettere Sanesi; Milizia, Memorie
dcgli Architetti Antichi e Moderni ; Lanzi, Storia Pittorica, frc, ; Plainer and
Bunsen, Beschreibung der Stadt Rom, Sfc. ; Gaye, Carteggio Inedito d'Artisti.
170 POLLAJUOLO.
A
No. 167. THE ADOHATION OF THE KINGS. The Magi,
or Kings, are approaching with their presents, and their
retinues, from both sides of the picture. In the centre, near
a picturesque ruin, of which a great arch is the principal
feature, is seated the Holy Family, attended by the adoring
shepherds. The Father appears above the infant Redeemer,
surrounded by a glory of angels. The back-ground is an
extensive rocky landscape. A. drawing in chiaroscuro.
Engraved nearly the same size, in several sheets, by Agostino
Carracci, in 1579. On paper, 3 ft. 8 in. h. by 3 ft. 6 in. w.
This drawing was made at Bologna, in 1521, for Count Giovanni
Battista Bentivogli. Girolamo da Trevigi painted an excellent
picture from it for the same nobleman. The drawing was presented
to the National Gallery, with a print from the plate engraved from,
it by Agostino Carracci, by Lord Vernon, in 1839.
No. 218. THE ADOKATION OF THE MAGI. See above,
No. 167.
Engraved by Agostino Carracci, in 1579. On wood, 4 ft. 8^ in. h.
by 4 ft. IT? in. w.
This may possibly be the picture painted by Girolamo da Trevigi,
in the year 1521, from Baldassare Peruzzi's drawing for the Count
G. B. Bentivogli, unless the report be true that Girolamo's pic-
ture was lost at sea : it appears, however, to have been copied
several times ; a copy was made from it by Bartolomeo Cesi, which
was formerly in the possession of the Rizzardi family at Bologna.*
The Three Magi are portraits of Titian, Raphael, and Michel-
angelo. Presented in 1849 by Mr. Edmund Higgiuson : it was
formerly in the Lapeyriere and Gray Collections.
POLLAJUO'LO.
ANTONIO POLLAJUO'LO, painter, sculptor, goldsmith, and
engraver, was born in Florence about 1430 ; the exact date
is uncertain.f He was placed by his father, says Yasari,
with the goldsmith Bartoluccio,^: the stepfather of Lorenzo
Ghiberti ; and Lorenzo having discovered the ability of
Antonio, employed him as one of his assistants in modelling
the ornaments of the architrave of the central gates of the
* Lanzi, Storia Pittorica, Sfc. t voL L
j- The dates vary from 1426 to 1433. According to Vasari, who has pre-
served 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 1457 by Antonio's father Jacopo del Pollajuolo, 1433 was the
year of his birth ; and according to a similar return made by Antonio himself
in 1480, he was born in 1431. See Gave, Carteygio Ineditod'Artisti. 1.265.
J This can scarcely have been before 1445, when Bartoluccio, if living, must
have been upwards of eighty years of a^e.
POLLAJUOLO. 171
baptistery of Florence, completed in 1452. Shortly after
this time Antonio Pollajuolo worked on his own account as
a goldsmith.
He became a celebrated sculptor in bronze, was distin-
guished 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 Pollajuolo
turned, his attention to painting, and in this art also he
became one of the ablest masters of the fifteenth century.
He executed several celebrated works conjointly with his
brother Piero, ten years the junior of Antonio, and who
had studied painting under Andrea del Castagno.
In 1484 Antonio was invited to Rome by Pope Innocent
VIII., and after executing some important monumental
works in St. Peter's, he died there in the beginning of the
year 1498, and was buried in the church of San Pietro
in Vinculis. By his will, dated November 4th, 1496, he left
to each of his two daughters the handsome fortune of
5,000 golden ducats.*
No. 292. THE MARTYRDOM OF ST. SEBASTIAN. The saint
is seen in the middle of the picture, bound to the trunk 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, and two stooping and charging their cross-bows.
Behind the saint are two others in the act of shooting, and
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
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. HI.
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.
* Vasari, Vite, fyc. Ed. Le Monnier, vol. v. Gaye, Carteggio Inedito
(TArtisti.
-f- The saint is said to be a portrait (Rittratto dal vivo) of Gino Capponi,
who, however, was dead before the painter was born ; if a portrait, therefore,
it must have been copied from an earlier work.
172 PONTORMO PORDENONE.
PONTORMO.
JACOPO CARUCCI, commonly known as JACOPO DA PON-
TORMO, where he was born in 1493, was the scholar of
Andrea del Sarto, and became eventually an imitator of
the style of Michelangelo : he was also an excellent por-
trait painter, He died at Florence in 3558. 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 Michel-
angelo, and they have been long since whitewashed over.
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.*
N9- 649. PORTRAIT OF A BOY, in a crimson and black
dress, holding in his left hand the hilt of his sword. Stand-
ing, full-length, life-size.
On wood, 4 ft. 2 in /*. by 2 ft. w.
Formerly in the collection of the Duke of Brunswick.
Purchased at Paris from M. Edmond Beaucousin, in 1860.
No. 670. A KNIGHT OF MALTA, in his robes, and with
the red cross on his breast. Full length life-size, standing ;
his right hand holding a book and resting on a table, richly
carved in the taste of the sixteenth century in Italy (cin-
quecento).
On wood, 6 ft. 9JL in. h. by 3 ft. 10 in. w.
Presented in 1861 by Mr. George Frederick Watts.
POKDENO'NE.
GIOVANNI ANTONIO LICINIO, Cavaliere, commonly called,
from his birth-place in the Friuli, IL PORDENO'NE, was born
in 1483. He is called also Cuticelli, the name of his mother,
and De Regillo. He died at Ferrara in 1539. The works
of Pordenone are scarce. He was the scholar of Pellegrino
da San Daniele, but was influenced by the example of
Giorgione ; and, both as a fresco painter and oil painter,
* Vasari, Vite, &c.
POUSSIN, o. 173
became one of the most distinguished masters of the
Venetian school ; having been for a time a powerful rival of
Titian. Two fine pictures at Burghley House, " The Find-
ing of Moses," and "The Adoration of the Kings," attributed
respectively to Titian and Bassan, are, according to Dr.
Waagen, works of Pordenone. Bernardino Licinio, Giovanni
Maria Calderari, and Pomponeo Amalteo, Pordenone's son-
in-law, were scholars and imitators of this painter. He
signed his name ANTONIUS PORTUNAENSIS and DE POR-
TUNAONIS.*
No. 272. AN APOSTLE. A portion of a colossal figure,
seated over an arch.
On canvas, 4 ft. 11 in. h. by 3 ft. 9 in. w.
Said to have been formerly in a church near Venice.
Presented to the National Gallery by the Cavaliere Vallati of
Rome, in 1855.
POUSSIN, GASPAR.
GASPARD, or GASPAR DUGHET, commonly called after his
brother-in-law, POUSSIN, was born of French parents at
Rome, in 1613. He is called by the Italians Gasparo Duche,
and he has inscribed his name thus on his etchings. He is
called Gaspre Poussin by the French. He was the pupil of
Nicolas Poussin, who afterwards married his sister. He died
at Rome in 1675.
The works of this celebrated landscape-painter are very
uniform in character. Ramdohr observes, that they impel the
mind to reflection, and convey impressions of solemnity and
melancholy. Owing to his habit of painting upon dark
grounds, his pictures have become low in tone; and have,
perhaps, thus acquired a greater character of gloom than was
originally intended. He etched a few plates.f
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
* Ridolfi, Le Maraviylie dell' Arte, fyc. ; Lanzi, Storia Pittorica, Sfc.\ Maniago,
Storia delle Belle Aril Priulane, 4to, Venice, 1819.
f Pascoli, Vite cle' Pittori, Sfc. ; llamdohr, Malerei und Bildhauerarbeit in
Horn, cSfc. ; Robert Dumesnil, Peintre-Graveur Franyais.
174 POUSSIN, G.
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-dis-
tance below, the two servants of Abraham are awaiting his
return.
Engraved by Giuseppe Cunego ; by P. Parboni ; by J. Pye ; and
by "VV. Radclyffe, for Jones's National Gallery. 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 Eome, 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 out-
skirts of a forest occupies the fore-ground ; an oak in the
middle of this part of the picture haf 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 power-
fully 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.
Subsequently in the Delm6 and 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. H. Carr.
POUSSIN, G. 175
No. 95. LANDSCAPE, WITH DIDO AND ./ENEAS TAKING
SHELTER FROM THE STORM. Virgil, JEneis, 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.
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 GaUery, in 1831, by the Eev. W. H. Carr.
No. 98. VIEW <pr LA RICCIA. A small town, situated
on a rock, fourteen miles south-east of Rome. Horace spent
the first night at this place on his journey from Rome 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 fore-ground,
and in the distance is a view of the Roman Campagna,
bounded by the Apennines. A solitary tree in the fore-
ground 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. TV. H. Carr.
No. 161. AN ITALIAN LANDSCAPE. Mountain scenery,
with the view of a town on the slope of a hill, and a cascade
in the middle-ground ; snow is visible on the distant moun-
tains. Some figures and a couple of dogs are seen in the
fore-ground, to the left of which is a rocky bank covered
with trees.
On canvas, 2 ft. 8 in. h. by 5 ft. 5 in. ?.
Formerly in the Colonna Palace at Rome. Bequeathed by Lord
Farnborougb, in 1838.
176 POUSSIN, N.
POUSSIN, NICOLAS.
NICOLAS POUSSIN was born at Andely in Normandy, about
June 19, 1594, of a noble family of Soissons. He learnt
painting under Quiiitin Varin at Andely. At the age of
eighteen 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 thirtieth year. He
lived in the same house with Du Quesnoy, afterwards cele-
brated under the name of II Fiammingo : they were of mutual
aid to one another in their studies. It was probably owing
to his intimacy with Du Quesnoy, that Poussin paid so much
attention to the ancient bassi-rilievi : he modelled some of
those works. He also devoted some time to practical
anatomy, and he attended the Academy of Domenichino,
whom he considered the first master in Rome. Pie had,
however, to contend against poverty for a considerable
period, until the return to Rome of Cardinal Barberini from
his embassy in France and Spain : Poussin had been intro-
duced 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 acquired rapidly both fame and fortune. The
above pictures were followed by the "Martyrdom of
St. Erasmus;" the "Plague of Ashdod;" the "Seven Sacra-
ments ;" and others. The last-named works were painted for
the Commendatore Del Pozzo, and were, a few years after-
wards, 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 Avished to retain
him in his service : he gave him apartments in the Tuilleries,
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 (he married in 1629), departed in 1642,
with permission, for Rome ; but as Louis XIII. died shortly
* Both sets are now in England, the former in the collection of the Duke of
Rutland at Belvoir Castle, the other in that of the Earl of Ellesmere, in London,
known as the Bridgewater Gallery. They are engraved by Pesne. ^
POUSSIN, N. 177
afterwards, he never returned to his native country. He
continued to increase in wealth and reputation during twenty-
three years from this time : he died at Rome, on the 19th of
November, 1665, in his seventy-second year, and was buried
in the church of San Lorenzo in Lucina.* " No works of
any modern," says Sir Joshua Reynolds,! " have so much
of the air of antique painting as those of Poussin. His best
performances have a remarkable dryness of manner, which,
though by no means to be recommended for imitation, yet
seems perfectly correspondent to that ancient simplicity
which distinguishes his style. Like Polidoro, he studied the
ancients so much that he acquired a habit of thinking in their
way, and seemed to know perfectly the actions and gestures
they would use on every occasion."
Poussin excelled as a landscape as well as a figure painter.
His works are very numerous: the prints that have been
engraved after his principal pictures amount to upwards of
two hundred.
No. 39. THE 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.
Engraved by M. Pool. On canvas, 2 ft. 6^ 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 ; PHOCION. 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 fore-
ground to the left is a man in a plain, undyed robe, supposed
to represent Phocion ; \ he is washing his 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 third party is passing by
* Bellori, Vita di Nicolo Pussino in the Vite de' Pittori, fyc., Rome, 1672;
Felibien, Entretiens sur les Vies et sur les Ouvrayes des plus excellens Peintres,
Anciens et Modernes, Paris, 1685. Gault de St. Germain published t> life of
Poussin in 1806, and a Collection de Lettres de Poussin was published at Paris in
1824.
t Discourse V.
j Phocion, the contemporary of Philip and Alexander the Great, was a
favourite Athenian general and statesman ; he, however, died by poison, by the
decree of the Athenian people themselves. See Plutarch's Life of Phocion.
M
178 POUSSIN, N.
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. Baudet ; and by W. Radclyffe, for Jones's Na
tional 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 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 fjjun is pouring wine; and 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 Galley. On
canvas, 4 ft. 8 in. h. by 3 ft. 1 in. iv,
This is one of a series of three pictures said to have been painted
for the Duke de Montraorenci ; 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 >ANCE. Landscape, with
a group of fauns and bacchanalian nymphs, or bacchantes,
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 bend-
ing over and drinking from a large vase on the ground ;
two other infant bacchanals are contending for the juice one
of the bacchantes is squeezing from a 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 Engravers ;
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, u\
POUSSIN, N. 179
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. cle Calonne, by whom it was brought to this
country ;* it passed subsequently into the possession of Mr. Hamlet,
of whom it was purchased for the National Gallery, in 1826.
No. 65. CEPHALUS AND AURORA. Cephalus, 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 elevated scene of the
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.f In the back-ground is a naiad or
some mountain nymph ; and 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. h. by 4 ft. 3 in. w.
Bequeathed to the National Gallery, in 1831, by Mr. G. J.
Cholmondeley.
No. 91. VENUS SLEEPING, SURPRISED BY SATYRS.
While one of the satyrs lifts up the drapery of the goddess,
another rouses Cupid who has been sleeping by her side.
Composition 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. h. by 1 ft. 8 in. w.
Formerly in the collection of M. de Calonne, at Paris. Be-
queathed to the National Gallery, in 1831, by the Rev. "W". H. 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 fore-ground arc 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 arc
* See Buchanan's Memoirs of Painting.
f Ovid, Mtt. vii. 701. See No. 147, p. 46, No. 2, p. 59, and No. 55, p. 63,
of this catalogue.
J A somewhat similar group to this, hut much less gross in its details, was in
the celebrated picture by the Greek painter Artistides, which Alexander the
Great, at the sack of Thebes, claimed for himself, and sent to his palace at
M 2
180 RAPHAEL.
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. /*. by 6 ft. 8 in. w.
This is a repetition of a picture which was painted by Poussin
at 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 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 Northum-
berland in 1838.
RAPHAEL
RAPHAEL, or RAFFAELLof SANTI, or SANZIO, as the
modern Italians write his name, was born at Urbino in the
Contrada del Monte, April 64 1483. He was first instructed
in painting by his father Giovanni Santi, who was a good
painter for his period. After the death of his father in 1494,
(his mother died three years before,) Raphael was placed by
his uncles, Simone Ciarla and Bartolomeo Santi, with Pietro
Perugino, the most celebrated painter at that time in Umbria,
and then engaged on the frescoes of the Sala del Cambio
(Exchange) at Perugia. He remained with Perugino several
years, visiting various places during that period.
In October 1504, Raphael paid his first visit to Florence,
carrying with him a letter of introduction to the Gonfaloniere
Soderini from Johanna del la Rovere, Duchess of Sora, and
sister of the reigning Duke of Urbino. He appears to have
made Florence his chief place of residence from this time
until 1508, when he proceeded to Rome. With the exception
Pella. See the Author's Epochs of Painting. There is also a very similar group
in a design by Raphael, // Morbetto, known from the print of it by Marcantonio.
See the remarks of Fuseli, on the comparative merits of these groups, in his
first lecture.
* See Ramdohr, Ueber Malcrei, tfc., vol. ii. p. 106.
f There are copies of three letters of Raphael extant ; one only is a fac-simile t
and in it the writer has signed himself Raphaello. The English form RAPHAEL,
therefore, is nearer to this name than any of the modern Italian forms. Vasari
wrote Raffaello. See the works of Longhena and Tassavant, quoted in note,
p. 184.
J See note, p. 183.
I'ungileoni, Elogio Storico di Giovanni Stinti, Pittore c Pneta, padre ih-.l
yran Rajfaello da Urbino. Urb. 1822.
RAPHAEL. LSI
of a few months passed at Perugia iu 1505, and a short
interval at Bologna and Urbino in 1506, the whole period
was spent in Florence. He became acquainted with Francia
during his visit to Bologna, and ten years afterwards Raphael
consigned to Francia's charge the well-known picture of
St. Cecilia, which he painted at Rome for one of the
churches of Bologna.* Among the pictures painted by
Raphael, previous to his visit to Florence in 1504, may be
mentioned the " Coronation of the Virgin," f now in the
Vatican; and the celebrated " Spozalizio," J or " Marriage of
the Virgin," in the Gallery of the Brera at Milan. The
small picture No. 213, in this collection, belongs to the same
period. The works executed at this time are said to be iu his
first or Peruginesque manner; those produced between 1504
and 1508, (when he settled in Rome,) are said to be in his
Florentine manner. Among the works of this latter period
may be mentioned the " St. Catherine" in this collection ; the
" Entombment of Christ" in the Borghese Gallery at Rome ;
" La Belle Jardiniere"! in the Louvre ; and the "Madonna
del Baldachino " IF in the Pitti Palace at Florence. The
celebrated picture at Blenheim, painted in 1505," holds a
middle place between the two styles.**
Raphael had every opportunity of improving himself while
at Florence : he was intimate with Fra Bartolommeo di San
Marco, distinguished for his effective treatment of light and
shade, and for his colouring ; and the rival cartoons of
Leonardo da Vinci and Michelangelo were at that time the
common models in design of all the Florentine painters.
He was at length, through the recommendation of his
countryman, Bramante, invited by Pope Julius II. to Rome,
where he arrived about the middle of the year 1508.
From his arrival until the death of Julius in 1513, he was
almost constantly employed by that Pope. It was by the
order of Julius that Raphael commenced the frescoes of the
so-called Stanze of Raphael, in the Vatican. The first of
these works was the " Theology," commonly called the
Dispute on the Sacrament ; it was probably finished in the
year 1509, and is painted in Raphael's second or Florentine
* See the notice of FRANCIA in this catalogue.
t Engraved by E. Stobzel. J Engraved by Giuseppe Longhi.
Engraved by Volpato; and by S. Amsler, in 1832.
i| Engraved by N. Poilli. ^f Engraved by F. A. Lorenzinl
** Engraved by L. Gruner.
182 RAPHAEL.
manner. In the same apartment, called the Stanza della
Segnatura, are also the frescoes of "Poetry," or Mount
Parnassus ; " Philosophy," or the School of Athens ; and
"Jurisprudence." These were all finished in or before 1511.
In the second chamber, kno\vn as the Stanza dell' Eliodoro,
are the " Expulsion of Helioclorus from the Temple of
Jerusalem,"* the "Mass of Bolsena," the " Attila," and
" St. Peter delivered from Prison." The two former were
painted in 1512, during the lifetime of Julius ;-f the two
latter in 1513 and 1514, during the pontificate of Leo X.
The third chamber, called the Stanza dell' Incendio, was
painted almost wholly by Raphael's scholars ; and the
fourth, the Sala di Costantino, was completed from the
designs of Raphael after his death, under the direction of
Giulio Romano.
The slow progress of the Vatican frescoes, after the
painting of the Stanza dell' Eliodoro, was owing to the
numerous commissions with which Raphael was almost
overwhelmed, from Leo X. and other Roman patrons, and
from numerous admirers of his works in distant parts. He
executed in the meanwhile, besides many designs, portraits,
* Maccabees II. ch. ii. v. 25.
f Thus the principal frescoes of Raphael in the Vatican -were executed at least
as soon as those of Michelangelo on the ceiling of the Sistine Chapel. (See the
notice of Michelangelo in this catalogue.) Raphael, however, saw the grand
works of his rival in progress, as they were uncovered before the whole ceiling
was completed, and enlarged his style in consequence. That this was the com-
mon opinion in Rome at the time, appears not only from Vasari's general state-
ment, but also from the following interesting passage in a letter from Sebastiano
del Piombo to Michelangelo himself, written apparently just after the completion
of the ceiling of the Sistine Chapel, for the letter is dated October 15, 1512, and
Michelangelo was then in Florence : the observation is attributed to Pope Julius.
" Look at the works of Raphael, who, when he had seen the works of Michel-
angelo, suddenly forsook the manner of Perugino, and approached as near as he
could to that of Michelangelo ; but he is terrible, as you see ; one can do nothing
with him ; " (ma e terribile, come tu vedi, non si pol pratichar con lui). These
words refer to the character, not the style, of Michelangelo. Gaye, Carteggio
Inedito (FArtisti, Ap. vol. ii. p. 489.
The style of Michelangelo cannot have been new to Raphael when in Rome,
as he must have been well acquainted with the " Cartoon of Pisa ; " but the
great change in his own taste (though without a direct imitation of Michelangelo)
is most visible on comparing the fresco of the " Theology " with his other works
in the same apartment : the remark of Julius is borne out and exemplified by
that change. Vasari instances Raphael's Isaiah, in Sant' Agostino, executed
later, and his Sibyls in the Chiesa della Pace, painted in 1514, as exhibiting
direct evidence of an emulation of Michelangelo. But Vasari was perhaps in-
fluenced by the coincidence of the subjects with some of those on the ceiling
of the Sistine Chapel : as regards the style of the works in question, his obser-
vation is only just in reference to the Isaiah : on the whole, the judgment of the
Pope may be considered as better founded, and it confirms the received opinion.
RAPHAEL. 183
Holy Families, Madonnas, and Saints, the " St. Cecilia/'' at
Bologna ; the " Madonna di San Sisto," at Dresden ; the
" Spasimo," at Madrid ; the Cartoons, at Hampton Court ;
and the " Transfiguration," his last production, now in
the Vatican. In addition to all these occupations, he had
the superintendence, as architect, of the building of
St. Peter's, in which office he succeeded Bramante.
The whole of these works, including all the Vatican
frescoes, except the " Theology," are painted in what is
termed Raphael's third manner, or in that style which
peculiarly characterises him, and constitutes th'e Roman
school in its highest development ; it is distinguished for
its dramatic composition and expression, for its correct and
vigorous design, and, at least in the frescoes, for a grand
and appropriate tone of colouring.
Raphael died at Rome on his birthday,* April 6, 1520,
aged exactly 37 years ; and, after lying in state, was buried
with great pomp in the church of Santa Maria ad Martyres,
or the Rotonda, the ancient Pantheon.j
Raphael was of a sallow complexion, with brown eyes,
slight in form, and abput 5 ft. 8 in. high. He was never
married, but is said to have been engaged to Maria Bibiena,
the niece of Cardinal Bibiena : she preceded him to the
grave. He was said to have left property to the value of
16,000 ducats : he bequeathed all his painting materials and
works of art to his favourite scholars, Gianfrancesco Penni
and Giulio Romano, with the condition that they should
complete his unfinished works in the Vatican. The
numerous school of painters, formed by Raphael^at Rome,
was dispersed at the sack of that city in 1527,' but the
* The inscription by Cardinal Bembo on Raphael's tomb in the Pantheon is
perfectly clear on this point. The concluding lines are :
Vixit An. XXX VTL, Integer Integros.
Quo die natus est, eo esse Desiit
VHI. Id. Aprilis, MDXX.
That is, he lived exactly 37 years ; he died on the same day (of the year) on
which he was born, April 6. From the circumstance that April 6, 1520, was
Good Friday, Vasari, and others after him, were led into the erroneous notion
that Raphael, as he died on Good Friday, was also born on Good Friday, over-
looking the fact of this day being a moveable feast. Schorn and others, following
the vague assertion of Vasari, have inferred an error in the very particular
inscription of the Cardinal, who was the painter's intimate friend, and, doubtless,
well aware of the real facts of the case. See a communication on this subject,
by Mr. J. Dennistoun, in the Art-Union Journal of January 1842.
f His tomb was opened in 1838, and the skeleton, with all the teeth, found
entire : a mould was taken from the skull.
184 RAPHAEL.
elements of that school were spread over Italy ; his most
distinguished followers, besides those already mentioned,
were Pierino del Vaga, Polidoro da Caravaggio, and
Clarofalo.*
No. 213. THE VISION OF A KNIGHT. In the fore-
ground a young knight in armour is sleeping upon his
sliield at the foot of a laurel tree : on the left is a female
figure holding a sword and a book ; on the opposite side
is another younger female, holding a sprig of myrtle in
bloom. The back-ground is a varied landscape. Imme-
diately below the picture is the original pen-and-ink
drawing from which it was traced.
Engraved by L. Gruuei 1 . On wood, 7 in. square.
This picture belongs to Raphael's first period, probably to the
time when he was with Pietro Perugino. It was formerly in the
Borghese Gallery at Home, whence it was procured at the end
of the last century, by Mr. W. Y. Ottley ; it passed subsequently
into the possession of Sir Thomas Lawrence, and afterwards
became successively the property of Lady Sykes, and of the
Rev. Thomas Egerton/- from whom it was purchased for the
National Gallery, in 1847.
No. 168. ST. CATHERINE of Alexandria. St. Catherine,
a princess of Alexandria, a Christian, was, about the year
311, condemned by the Emperor Maxentius to be crushed
with wheels ; the apparatus, however, was broken to pieces
by an angel, and the saint Avas afterwards beheaded.f Sbe
is represented in the picture looking upwards, with an ex-
pression full of resignation, and is leaning with her left arm
on the wheel, the intended instrument of her martyrdom ;
the back-ground is a landscape. Small figure, three-quarter
length.
Engraved by A. Desnoyers in 1824. On wood, 2 ft. 4 in. h. by
1 ft. 9^ in. w. '
* The accounts of Raphael are very numerous : among the most prominent
are : Vasari, Vite de' Pittori, fyc. ; Bellori, Dcscrizione dclle Immagmi depinte
da Raffaello da Urbino, ncl Palazzo Vaticano, Sfc.; Duppa, Life of Raffaello
Sanzio, London, 1816; Rehberg, Rafael Sanzio aus Urbino, Miinchen, 1824 ;
Quatremene de Quincy, Histoire de la Vic et ties Ouvrages de Raphael, Paris,
1824; Longhena, Istoria dellaVita e delle Opere di Raffaello Sanzio da Urbino,
del Sig. Quatreiuere de Quincy, fyc., Milan, 1829 ; Pungileoni, Elogio Storico di
Raffaello Sanli da Urbino, Urbino, 1829-31 ; Plainer and Bunsen, Benchreibung
der Stadt Rom, vol. ii. 1832 ; and especially J. D. Passavant, liafael von Urbino
und sein Voter Giovanni Santi, Leipzig, 1839, -which contains an accurate
account of all Raphael's works.
f See the story of St. Catherine, from Peter de Natalibus, in Lord Lindsay's
Sketches of the History of Christian Art, vol. i.
RAPHAEL. 185
This picture was painted about the year 1507, and is in
Raphael's second style. It was formerly in the Aldobrandini
collection in the Borghese Palace at Home, from which it was
procured by Mr. Day at the close of the last century ; it passed
into the possession of Lord Northwick, who subsequently sold it
to Mr. Beckford, from whom it was purchased in 1839. An
original drawing by Raphael of this picture is in the possession
of the Duke of Devonshire, and there is a finished cartoon of it
in the Collection of Drawings in the Louvre at Paris.
No. 2*7. PORTRAIT OF JULIUS II., seated in a chair
Pope Julius II., previously known as the Cardinal della
Rovere, was elected to the papal chair in 1503, and died in
1513 ; he commenced the present church of St. Peter at
Rome. Three-quarter length, of the natural size.
Engraved by A. Chataigner ; by E. Horace ; and by R. Page, for
Jones's National Gallery. On wood, 3 ft. 6 in. h. by 2 ft. 8 in. w.
This portrait was repeated several times by Raphael, or his
scholars. The original and the finest is in the Pitti Palace.
Passavant enumerates nine repetitions, including the picture now
referred to, besides three of the head only. The Pitti portrait was
taken probably in 1511 or 1512, before Raphael executed the
fresco of " Heliodorus," in which Julius is introduced in much
the same attitude as in this portrait. The original cartoon is in
the Corsini collection at Florence.* This picture was formerly in
the Falconieri Palace at Rome ; and subsequently in the pos-
session of Mr. Angerstein, with whose collection it was purchased
in 1824.
No. 661. THE MADONNA DI SAN SISTO. A tracing by
Jacob Schlesinger made in 1822 from the celebrated pic-
ture by Raphael in the Dresden Gallery. In the centre,
the Madonna and Child in the clouds ; on her right is
kneeling St. Sixtus, Pope ; on her left St. Barbara ; two
angels below. Six figures, life-size.
Mounted on thick paper attached to canvas, 8 ft. 5 in. h. by
6 ft. 7 in. w.
Presented in 1860 by Messrs. P. and D. Colnaghi, Scott,
and Co.
REMBRANDT, f
REMBRANDT HERMANSZOON (son of Herman) VAN
* Passavant, Rafael von Urbino, ii. 119, 489.
f The half fabulous statements of Houbrakeu and Weyerman respecting
Rembrandt's life and character had been universally adopted by biographers
till within the last ten years. For the rectification of these errors by a careful
investigation of original documents, the public is chiefly indebted to M. Schel-
tema, Keeper of the Archives of North Holland. In May 1852, preparatory to
the ceremony of placing the statue of Rembrandt in Amsterdam, M. Schel-
186 REMBRANDT,
RYN* was born at Ley den, July 15, 1606, or according to his
own statement at his rnarraige in 1608.-f- His parents sent
him to the Latin School at Leyden, with a view to his sub-
sequently studying jurisprudence in the University of that
city; but his inclination for the art in which he was destined
to excel soon manifested itself so strongly that he was placed
with the painter Jacob Van Swanenburg, with whom he
remained three years ; he studied also for a short time under
Pieter Lastman, at Amsterdam, and under Jacob Pinas at
Haarlem. He returned home after an absence of about
four years, and became from that time a diligent and
exclusive student of nature. He appears to have met with
very early success: in 1630, at the age of twenty-two, he
settled in Amsterdam, where he remained till his death.
He there married, June 22, 1634, Saskia Uilenburg
a lady of good family, and possessed of some fortune.
She died in 1642 ; at a later period of his life he married
again; in what year is uncertain. In 1653 Rembrandt
incurred considerable debts; his difficulties went on in-
creasing, and in 1656 he was publicly declared insolvent.
This disaster has been commonly explained by the
impoverished condition of Holland the consequence
of more than one war at the period referred to, when,
as some writers state, upwards of two thousand houses
teina embodied in a discourse the result of his laborious researches. That
discourse was shortly afterwards published (N'devoering over hei Lsven en i'e
Verdiensten van Rembrand vein Ryn, Amsterdam, 1853), and "was commented
on in some of the leading European periodicals connected with art. It was
not, however, till 1859 that the pamphlet was translated into French, with an
introduction and notes by W. Burger, a name well known by many valuable
works on the Galleries of Europe. The dates and other circumstances in the
above short account of Rembrandt are in accordance with the well authenticated
statements of Scheltema : a few only of his conclusions being-modified by the
observations of his accurate editor, Burger. See Rembrandt, Discours sur *n
Vie et son Genie par le Dr. P. Scheltema. Traduit par A. Willems. Revu et
annote par W. Burger. Bruxelles, 1859.
* The name of Rembrandt's father was Hermann Gerritszoon (son of Gerrit)
van Ryn ; that of his grandfather being Gerrit Roelofszoon (son of Roelof )
ran Ryn. The name of Gerrit seems to have been erroneously transferred by
some writers to the great painter himself. A half length portrait by Rembrandt
of Dr. Matthys Kalkoen, dated 1632, has the inscription Rt. II." (Rembrandt
Hermanszoon) van Ryn. See a note by Burger in the translation of Scheltema's
pamphlet, above quoted, p. 73. See also the monograms in Immerzeel, De
Lerens enWerken der Hollandsche en Vlaamsche Kunstschilders, &c., 1842. It
may be observed that the form Rembrand adopted by some writers, though
possibly more correct, is not warranted by the artist's signatures.
t Orlers, Description dela Ville de Leyden. and other contemporary writers
give 1606 as the date.
BEMBKANDT. 1 87
in Amsterdam were untenanted, and distress was general.
Rembrandt's embarassments are, however, partly to be
accounted for by the fact, that in his passion for collecting
works of art he was sometimes utterly regardless of their
cost.* This, at the same time, is in itself a sufficient answer
to the absurd but often repeated stories, respecting his
supposed miserly habits. His misfortune appears to have
had no effect on his professional energies, his works produced
during and immediately after the period when it occurred
exhibit all his wonted powers. f
The earliest pictures by Rembrandt, with dates, are, the
"Presentation in the Temple/' in the Gallery in the Hague,
and a portrait of a young man, contributed from the royal
collection at Windsor, to the Manchester Exhibition, both
are dated 1631 4 The " Anatomical Lecture," painted in
1632, is also at the Hague. Of his maturer time, the
" Night Watch," as it is called, now in the gallery at Amster-
dam, dated 1642, is regarded as the prominent example ;
while the portraits of the " Syndics/' in the same gallery,
painted in 1661, is sometimes selected as the type of his
* Instances of the large prices he sometimes paid for such works are not
wanting. See Waagen, Handbook of Painting, the German, Flemish, and
Dutch schools; London, Murray, 1860; Part ii. p. 338.
One of the liabilities which must have pressed heavily on Bembrandt is not
to be overlooked. By the will of his first wife, the bulk of her fortune was
bequeathed to Rembrandt during his life, or till his second marriage, and then
to their only surviving son Titus. Scheltema, after speaking of the debts
above referred to, connects Rembrandt's actual insolvency with his second
marriage, which involved the necessity of paying his son Titus the amount
of Saskia's bequest. As already shown, the great painter's embarrassed cir-
cumstances may perhaps be traced to other sufficient causes, and the date of his
second marriage is uncertain. The sale of his property and valuable collection
of works of art, including numerous pictures by various masters, and more
than sixty by his own hand, besides his drawings and etchings, produced, in
consequence of the depressed state of the coutry, less than 5,000 guilden. The
inventory of his collection, first published in English by C. J. Nieuwenhuys, in
his instructive work, A Review of the Lives and Wvrks of some of the most emi-
nent Painters, London, 1834, shows that however decided Rembrandt's own
taste and practice were, he was capable, as a collector, of taking an interest in
fine examples of his art of whatever school. Waagen, Handbook &c., Part
ii. p. 338.
f Josi, in his Beredeneerde Catalogus der Werken van Rembrandt van Rhyn
en van Zyne Lecrlingen en Navolgeren, fyc., Amsterdam, 1810, preface p. 11,
indicates the fine etchings executed in the year of Rembrandt's disaster.
J Among the fac- similes of monograms before referred to in Immerzeel's
Dictionary, the date 1630 occurs, followed in one instance by the word pinxit,
but without reference to any particular work. In Kugler's Hundbuch der
Kunstgeschxhte, 1861, vol. ii. p. 468, note, a picture by Rembrandt is men-
tioned with the date 1627.
188 REMBRANDT.
later manner. The last work of the artist is supposed to
be the " Betrothed Jewess/' in the Van der Hoop gallery
at Amsterdam ; the date now effaced, is believed to have
been 1669.*
Rembrandt was equally distinguished as an etcher and
a painter. " He was/' says Fuseli, "a genius of the first
class, in whatever relates not to form. In spite of the
most portentous deformity, and without considering the
spell of his chiaroscuro, such were his powers of nature,
such the grandeur, pathos, or simplicity of his composition,
from the most elevated or extensive arrangement to the
meanest or most homely, that the best cultivated eye, the
purest sensibility, and the most refined taste, dwell on them
equally enth railed. "f
Rembrandt died at Amsterdam in 1669, and was buried
there (in the Wester Kerk) on the 8th of October of that
year.! He had two children by his first wife ; one of them
died young ; the other, Titus, was brought up as a painter,
but he possessed little ability and died before his father.
The name of Rembrandt's second wife has not been pre-
served ; of two children by her nothing is known, except,
that they survived him. Among his numerous scholars,
Gerbrand Van den Eeckhout was his best imitator m
Biblical subjects: Ferdinand Bol and Govert Flinck were his
rivals in portraiture ; and Bernard Fabritius sometimes closely
followed the bolder manner of the master. Rembrandt's
pictures are numerous ; his etchings, which amount to
nearly four hundred, are dated from 1628 to 1661.|J
* Burger, Muse'e.t <Ie la Hollande, Paris 1 860, p. ii.
f Lecture II.
j The original entry is " Dtynsdach, 8 October 1669. Rembrandt van Jtijn,
Schilder, op de Roosegraft, teyhenovcr het Doolhof. Laet na 2 Kyndcrs." That is,
Tuesday, 8th Oct., 1669, Rembrandt van Rhyn, Painter, on the Rosecanal oppo-
site the Labyrinth. Leaves behind two children. Scheltema, Redevoering, $<;.,
p. 86.
Burger, Musccs dc la Hollande, ii. p. 170.
|| Bartsch's Peintre-Graveur, Smith's Catalogue Raisonneofthe Works uf Dutch
and Flemish Painters, Rathgeber's Annalen der Niederlai'dischen Mulerei, Sfc.,
and Nagler's Kiinstler-Lcxicon, contain more or less complete lists of the
works of Rembrandt. In addition to the writers already referred to, the
following may be consulted. Van Ey'nden en Van der Willigen, Geschiedenis
der Vaderlandtche Schilderkunst, &c. 1842 ; Immerzeel Aanteekeningen op de
Lofrede op Rembrandt, 1841 ; Burnet, Rembrandt and his Works, 1848. See
also the list of authorities quoted by Waagen, Handbook, &c., 1860, Part ii.
p. 33G, note.
REMBRANDT. 189
No. 43. CHRIST TAKEN DOWN FROM THE CROSS. The
dead Christ is on the knees of the Virgin, who is sinking
back in a swoon : to the left is Joseph of Arimathea, and
beyond him are the three crosses, two bearing the thieves
who were crucified with Christ. In the back-ground is a
view of Jerusalem. A sketch in light and shade ; numerous
small figures.
Etched by Rembrandt himself; engraved by Picart ; by
J. B. Jackson; by J. Burnet, for the Associated Engravers; and
by Freeman, in Jones's National Gallery. On wood, 13 in. h.
by 1 1 in. w.
Formerly in the Collection of M. J. De Barry, at Amsterdam,
subsequently in the possession of Sir Joshua Reynolds ; at the
sale of whose effects in 1795, it was purchased by Sir George
Beaumont, and by him presented to the nation in 1826. There is
an original drawing by Rembrandt of this composition in the
British Museum.
No. 45. THE WOMAN TAKEN IN ADULTERY. The woman,
surrounded by her accusers, is kneeling before Christ, on the
floor of the temple, at the foot of a broad flight of steps
which lead to the great altar. The principal light of the
picture is concentrated around the figure of the woman ;
the rest of the picture, except immediately before the altar,
is enveloped in deep obscurity. See John, ch. viii.
Engraved by G-. H. Phillips ; by J. Burnet; and by W. T. Fry,
in Jones's National Gallery. On wood, 2 ft. 9 in. h. by 2 ft.
3 in. w.
This picture was painted for Jan Six, Heer van Vroinade,
the well-known patron of Rembrandt, and came afterwards into
the possession of the Burgomaster, Willem Six. It was sold by
auction by the descendants of the Burgomaster in 1734, and passed
eventually into the possession of Mr. Angerstein, with the rest of
whose collection it was purchased for the nation, in 1824. Signed
and dated
6 ran ak'f*
No. 47. THE ADORATION OF THE SHEPHERDS. The scene
is a dark stable, or cattle-shed ; the illumination of the
picture proceeding, almost entirely, as in the " Notte" of
Correggio, from the Infant Saviour. The effect of this
supernatural light is much enhanced by the comparative
faintness of the rays from the lantern in the hands of one of
the shepherds, and the principal group is forcibly relieved
1 90 REMBRANDT.
by the deep shadow of the kneeling figure in the fore-
ground ; a second group is just entering the shed on the
right; the remotest figure bearing another lantern. Com-
position of eleven principal figures.
Engraved by S. Bernard ; by R. W. Sievier ; by J. Burnet, for
the Associated Engravers; and by H. C. Shenton, for Jones's
National Gallery. On canvas, 2 ft. 1 in. h. by 1 ft. 10 in. w.
Formerly in the Angerstein collection, with which it was pur-
chased for the nation, in 1824. Signed
No. 51. PORTRAIT OF A JEW MERCHANT, seated, resting
his hands upon a stick; on his head is a turban. Half-length,
of the natural size.
Engraved by J. Burnet, for the Associated Engravers; by
G. Shenton ; by J. Rogers, for Jones's National Gallery ; and
printed in colours in the Supplement to the Pictorial Gallery of
Arts. On canvas, 4 ft. 5 in. h. by 3 ft. 5 in. w.
Presented to the nation, in 1826, by Sir George Beaumont,
Bart.
No. 54. A WOMAN BATHING. A woman, holding up her
dress, is standing in a brook or pool of clear water ; part
of her clothes are lying on the bank behind her.
Engraved by P. Lightfoot, for Jones's National Gallery. On
wood, 2 ft. h. by 1 ft. 6 in. w. Signed Rembrandt f. 1654.
It was formerly in the collection of Lord Gwydyr, at the sale
of whose pictures it passed into the possession of the Rev.
W. H. Carr, by whom it was bequeathed to the National Gallery,
in 1831. Sined
No. 72. LANDSCAPE, with figures representing the story
of Tobias and the Angel.* The two figures which give a
title to this landscape are near the middle of the picture, at
the edge of the river (the Euphrates) ; in the middle-ground
to the right is a dark clump of foliage, behind which are
light clouds ; some hilly broken ground occupies the left
of the picture.
* See No. 48, p. 77.
REMBRANDT. 191
Engraved by J. Appleton for Jones's National Gallery. On
wood, 1 ft. 10 in. h. by 2ft. 10 in. w.
Bequeathed to the National Gallery by the Rev. W. H. Carr,
in 1831.
No. 166. PORTRAIT OF A CAPUCHIN FRIAR. Bust, life-size.
On canvas, 2 ft. 101 i n . h. by 2 ft. l in. w.
Presented to the National Gallery by the Duke of Northumber-
land in 1838.
No. 19O. A JEWISH RABBI. Bust, life-size.
On canvas, 2 ft. 6 in. h. by 2 ft.'2 in. w.
Formerly in the possession of the Duke of Argyll, and subse-
quently in Mr. Harmans's collection, at the sale of whose pictures
in 1844, it was bought by Mr. Farrer, of whom it was purchased
for the National Gallery.
No. 221. THE PAINTER'S OWN PORTRAIT, at an advanced
age. He is in a brown cloak, with a brown cap on his
head ; his hands are clasped. Bust.
On canvas, 2 ft. 9 in. h. by 2 ft. 3^ in. w.
Purchased for the National Gallery at the sale of the collec-
tion of Viscount Midleton, Pepper-harrow, in 1851.
No. 237. PORTRAIT OF A WOMAN. In a high dark dress,
a white bodice underneath, long pearl ear-rings ; her hands
crossed, resting on a book ; in her right a white hankerchief.
Life-size, short half-length.
On canvas, 2 ft. 2^ in. h. by 1 ft. 11^ in. w.
This picture is signed " Rembrandt,/. 1666," and is accord-
ingly one of the latest of the painter's works. Bequeathed to
the National Gallery by Lord Colborne, in 1854.
No. 243. A MAN'S PORTRAIT. A stout elderly man,
with gray hair and a red cap on his head, seated at a table ;
his hands clasped before him. Half-length, life-size.
192 REMBRANDT.
On canvas, 3 ft. 3 in. h. by 2 ft. 8J w.
Signed and dated 1659. Bequeathed to the National Gallery by
Lord Colborne, in 1854.
a
CT)1
No. 289. THE AMSTERDAM MUSKETEERS, commonly
called the NIGHT WATCH. The picture represents an in-
terior with a company of the Burgher guard of Amsterdam
apparently just returned -from a shooting match. One of
the company, in the background, has created some alarm
by discharging his piece in the hall. The principal figures
are all portraits : * the two last to the spectator's left are
not now in the large picture at Amsterdam, but they are
in the print of it by Frey.
On wood, 2 ft, 2 in. h. by 2 ft. 9 in. w.
This is a small copy of the large picture of this subject in
the museum at Amsterdam, though it differs from it in some
slight details. That picture has become so exceedingly dark
and obscured through time, that, although it represents a
daylight scene, it has acquired the popular designation of the
Night Watch. This example was formerly in the collection of
Randon de Boisset, from which, in 1777, it passed into thai of
M. Lafitte, the banker in Paris. It was subsequently imported
into this country, and purchased by Mr. Gillow. It was be-
queathed to the nation as a work of Rembrandt, by the Rev.
Thomas Halford, in 1857.
No. 672. His OWN PORTRAIT when aged about 32,
the picture is signed and dated.*)- He is dressed in a dark
cap and over-coat, the latter edged with fur on the
* On the back of the picture is pasted a list of the persons represented, with
their names in full, said to be written by the hand of Van Coppenol, the writing
master and friend of Rembrandt. The following are the names of the officers :
Frans Banning Cock, captain ; Willem van Ruytenburg, lieutenant ; Jan
Visscher, ensign ; Rombout Kempen and Reynier Engel, sergeants , and Jan
van Kampoort, drummer.
f The word conterfeyct is an old Dutch term for portrait ; it was used also
by the Germans. Sandrart calls a portrait a rontrafavt.
ROMANINO. 193
shoulders, and is resting on his right arm, looking at the
spectator. Half-length, three-quarter face, life-size.
On canvas, 3 ft. 3 in. h. by 2 ft. 7^ in. u\
Formerly in the collection of General Dupont, at Paris ; pur-
chased from his heirs, MM. De Richemont, in 1861.
ROMANINO.
GIROLAMO ROMANI, called IL ROMANINO, was born at
Brescia about 1480, and was the scholar of Stefano Rizzi ;
he was an established painter in 1502, and was still painting
in Brescia in June 1541. The first date is found on the
frame of an altar-piece by him in San Francesco, one of the
painter's masterpieces ; the second is the date of a payment
for painting the organ doors of the cathedral at Brescia.
Romanino appears to have been an imitator of Giorgione and
Titian in his more mature works, as in the example in this
collection, one of his most celebrated productions. He was
the contemporary and rival of Moretto in Brescia, and is
considered superior to that painter in some respects, though
inferior to him in the choice and finish of his forms. He
died at an advanced age, about 1560. An " Ecce Homo " by
him in the cathedral at Cremona is signed HIER. RUMAN.
BRIX.,* that is, Hieronymus Rumanus Brixianus.
No. 297. THE NATIVITY. In the centre the Virgin and
St. Joseph, adoring the infant Christ, with a choir of angels
above ; on the sides, in separate compartments, St. Filippo
Benizio above, and St. Alessandro in armour on the left,
below ; on the right, St. Gaudioso, bishop of Brescia, above,
and St. Jerome in the desert, below.f Figures nearly life-
size.
* Ridolfi, Le Maraviylie dell' Arte, Sfc. ; Brognoli, Nuova Guida per la Citta
di Brescia, pp. 160, 299.
f Chizzola, Pitture e Sculturc di Bfescia, $c., 1760, p. 120; Brognoli,
Nuova Guida, v., p. 201, expressly notices the figure of St. Alessandro as
one of Romanino's capital works, capi cfopera.
N
194 ROMANO, GIULIO.
On wood, the central picture, 8 ft. 7 in. h. by 3 ft. 9^ in. w. ;
the upper side compartments, 2 ft. 5| in. h. by 2 ft. 1^ in. IP. ;
the lower compartments, 5 ft. 3 in. h. by 2 ft. l in. w.
Painted in 1525,* for the high altar of the church of Sant'
Alessandro at Brescia, where it remained until 1785, when it
passed into the possession of Count Avveroldi. Purchased at
Brescia from the Counts Angelo and Ettore Avveroldi in 1857.
ROMA'NO, GIU'LIO.
GIULIO PIPPI, or rather DE' GiANNUZZi,f commonly called
Giulio Romano, was born at Rome in 1492, according to
Vasari, but according to a document discovered at Mantua,
in 1498. He became early the pupil of Raphael, who
employed him on some important works in the Vatican,
during the pontificate of Leo X. After the death of Raphael
in 1520, Giulio and his fellow-pupil,, Gianfrancesco Penni,
to whom Raphael had bequeathed conjointly his implements
and works of art, were entrusted with the completion of
the frescoes of the Sala di Costantino, in the Vatican, com-
prising the " Battle of Constantino," the " Apparition of the
Cross," the " Baptism of Constantine," and the " Presenta-
tion of Rome to the Pope."
These works were completed in 1523, and in the latter
part of the following year \ Giulio Romano entered the
service of Federigo "Gonzaga, Duke of Mantua. He intro-
duced the style of Raphael into Mantua, and established a
considerable school of art there : Primaticcio was one of .
his pupils. His greatest works are the " Fall of the Giants,"
the " Story of Cupid and Psyche," and the other frescoes in
the Palazzo del Te, at Mantua ; the palace itself was
rebuilt by Giulio. The frescoes, however, appear to have
been executed chiefly by his pupils from his cartoons : of
these pupils, the principal were Benedetto Pagni, Rinaldo
* Cozzando, Istoria JBresciana, 1694, p. 120.
f Giulio's father was Pietro Pippi de' Giannuzzi, which in full is Pietro
di Pippo (or Filippo) de' Giannuzzi Peter the son of Philip Giannuzzi. It
was very common hi former times for a son to add his father's Christian name
to his own, as in this case, and thus the surname was often lost. Carlo D'Arco,
Istoria de.Ua Vita e delle Opere di Giulio Pippi Romano. Folio. Mantua, 1838.
And Kunstblatt, No. 31, 1847.
J Gaye, Carteggio Inedito d'Artinti, ii. 102.
Bottani, Descrizione Storica delle Pitture del Regio-Ducale Palazzo del T&,
fuori deUa Porta di Mantova detto Pusterla. Mantua, 1783. Some of these
frescoes are engraved by P. S. Bartoli ; by Diana Ghisi ; by Antonio Veneziano ;
and in Carlo d'Arco's Vita di Giulio Romano.
ROMANO, GIULIO. 195
Mantuano, and Primaticcio, who remained with Ginlio
Romano six years.
Giulio Romano was not less distinguished as a painter in
oil colours than as a fresco painter, -and he was equally cele-
brated as architect and painter. Among his most celebrated
oil-pictures may be mentioned, the Martyrdom of St. Stephen,
in the church of that saint at Genoa ; and a domestic " Holy
Family," known as " La Sainte Famille au Basin," in the
gallery at Dresden. Giulio is generally considered to have
been the most able of Raphael's scholars. He died at
Mantua, November 1, 1546, leaving a wife and two chil-
dren. His son Raphael died young; his daughter Virginia
was married to Ercole 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, f Seven figures.
Fresco, of semicircular form, 5 ft. 5 in. h. by 7 ft. 8 in. w.
Formerly in the church of the Trinita de' Monti, Rome. Ac-
cording to Titi,J Giulio Romano was aided by Gianfrancesco
Penni in the frescoes he executed in this church. Formerly in
the possession of M. Joly de Bamme ville. Presented to the National
Gallery, by Lord Overstone, in 1852.
No. 624. THE INFANCY OF JUPITER. A cradle con-
taining a sleeping infant attended by three women, on a
small verdant island, on the further side of which are two
* Vasari, Vite de' Pittori, fyc.
In the Archivio della Sanita of Mantua is the following entry against Nov. 1,
1 546 : " Sig. Giulio Romano, Superintendent of all the ducal buildings, after
fifteen days' illness, died of fever, aged forty-seven." According to which, he
was born in 1498 or 1499 ; but in this case he must have been but a boy when
he was first employed by Raphael in the Vatican. See Gaye, Carteggio Inedito
d'Artisti, and the Kumtblatt, No. 71, 1838, and No. 31, 1847.
f " Every day during the last years of her penance, the angels came down
from heaven and carried her up in their arms into regions where she beheld
the glory and the joy prepared for the sinner that repenteth." Provengal
legend, quoted by Mrs. Jameson, Sacred and Legendary Art, vol. i. p. 337.
See also Peter de Natalibus, L. vi. c. cxxiiii. For a list of painters who have
treated this subject see the first-mentioned work, p. 364, &c. This subject is
sometimes called the Assumption of the Magdalene ; but " The Assumption "
is strictly appropriated to the subject of the Madonna taken up to heaven.
The Magdalene, according to the legend, was favoured with visions of heaven
while in the body : the Assumption of the Virgin took place according to the
same authority after her burial.
t Nitovo Studio di Fitter a, Scoltura, ed Arcftitettura, nelle Chlese di Roma, fyc.
N 2
11)6 ROSA.
groups of figures playing musical instruments. The land-
scape is possibly by Giambattista 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 and 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 the fear 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 by the clashing of cymbals, lest Saturn
should hear the cries of the infant, and thus discover the
trick that had been imposed upon him ; he had swallowed
a stone instead of the young Jupiter.
Engraved by J. B. Patas for the Orleans Caller//. On wood,
3 ft. 5^ in. h. by 5 ft. 9 in. w.
Formerly in the Orleans Gallery, subsequently in that of Lord
Nortlnvick at Cheltenham, from which it was purchased in 1859.
No. 643. THE CAPTURE OF CARTHAGENA; AND THE
CONTINENCE OF PUBLIUS CORNELIUS SCIPIO. New Carthage
was taken by Scipio in 210, and he distinguished himself
by the generosity with which he treated the Spanish
hostages kept there by the Carthaginians.
Engraved by Nicolas Tardieu, and by Couche and Michel.
No. 644. THE ABDUCTION OF THE SABINE WOMEN ;
AND THE RECONCILIATION BETWEEN THE ROMANS AND THE
SABINES. See No. 38.
Engraved by Philippe Simoneau, and by Couche fils, and f7. B.
Racine.
On canvas from wood, each picture 14 in. h. by 5 ft. w.
Formerly in the Orleans Collection. Purchased at Paris from
Mr. Edmond Beaucousin, in 1860.
ROSA.
SALVATOR ROSA was born at Renella, in the neighbourhood
of Naples, July 21,1615. He adopted painting contrary to the
desires of his father, who was an architect: his first instructor
in the art which he preferred was Ciccio Fracanzano, a rela-
tion. Salvator's favourite subjects were landscapes, selected
chiefly from wild and romantic scenery ; and he was so much
encouraged by Lanfranco, who purchased some of his pictures
at Naples, that he was induced, in 1635, to try his fortunes
in Rome. Here he found a patron in the Neapolitan Cardinal
ROSA. 197
Brancacci, bishop of Viterbo. Salvator accompanied the
Cardinal to Viterbo, and painted several pictures for him
there. He returned to Naples, but owing to the great
applause with which his picture of "Tityus torn by the
Vulture " was received by the connoisseurs of Rome, he
finally settled in that capital of the arts in 1638. He died at
Rome, March 15, 1673 : his wife and one of two sons survived
him. " What is most to be admired in the works of Salvator
Rosa," says Sir J oshua Reynolds, "is the perfect correspon-
dence which he observed between the subjects which he
chose and his manner of treating them. Everything is of
a piece: his rocks, trees, sky, even to his handling, have the
same rude and wild character Avhich animates his figures."*
The energetic language of Fuseli is well suited to the
character of Salvator 's landscapes, " He delights," says
that writer, " in ideas of' desolation, solitude, and danger ;
impenetrable forests, rocky or storm-lashed shores ; in lonely
dells leading to dens and caverns of banditti, alpine ridges,
trees blasted by lightning or sapped by time, or stretching
their extravagant arms athwart a murky sky, lowering
or thundering clouds, and suns shorn of their beams. His
figures are wandering shepherds, forlorn travellers, wrecked
mariners, banditti lurking for their prey or dividing their
spoils."! Many of Salvator's best pictures are in this
country. He executed several etchings.^
No. 84. LANDSCAPE, WITH MERCURY AND THE DISHONEST
WOODMAN, from the fable of ^Esop. Mercury stands in a
stream in the fore-ground, which is shaded by a dark cluster
* Discourse V. There are many accounts of Salvator which contain much
that is improbable and fictitious: the whole has been collected and dwelt upon
at length, by Lady Morgan, in her well-known romance, called " The Lite of
Salvator Rosa." In the above brief notice the account of Salvator's friend
Passeri has been followed, Vite de' Pittori, Sfc. See also Salvini, Satire e
Vila, di Saloator Rosa, fyc. 8vo., Flor. 1833.
f Note in Pilkington's Dictionary of Painters. 1810.
j See Bartsch, Peintre-Graveur.
A woodman lost his axe in a stream sacred to Mercury, and while he was
weeping on the bank, the god appeared with a golden axe hi his hand, and asked
him whether it was the one he had lost ? " No," said the woodman ; on his dis-
claiming also a silver one, Mercury at last produced his own, and presented him
with the other two for his honesty. A fellow-labourer hearing the story from the
woodman, threw his own axe into the water, hoping for the same good fortune
as his companion ; but having claimed the golden axe immediately on seeing it,
the god rebuked him for his impudence, and left him unaided, to repent of his
folly.
198 ROSSELLI.
of overhanging trees to the right : an open hilly country
seen* on the left.
Engraved by P. Parboni. On canvas, 4 ft. 1| in. h. by 6 ft.
7 in. w.
Formerly in the Colonna Palace at Rome, and brought to Eng-
land at the close of the last century by Mr. Ottley, who sold it to
Sir Mark Sykes. It came subsequently into the possession of
Mr. Byng, of whom it was purchased for the National Gallery,
in 1837.
ROSSELLI.
COSIMO, the son of Lorenzo ROSSELLI, a Florentine mason,
was born at Florence in 1439;* he was taught painting
by Neri di Bicci, under whose charge he was placed when
14 years of age ; he remained with him three years, until
1456.
Cosimo early distinguished himself by some works for
the church of Sant' Ambrogio at Florence, especially in a
fresco, still in good preservation, representing the " Removal
of a miracle-working Chalice from the Church to the
Episcopal Palace/' in which are introduced a religious
procession and a crowd of spectators."}* He was one of
those invited, about 1480, by Pope Sixtus IV. to decorate
his new chapel in the Vatican the now celebrated Sistine
Chapel.]: The Pope had offered a prize to the most suc-
cessful, and Vasari relates that Cosimo Rosselli, conscious of
his inability to rival Ms more able competitors, among
whom were Domenico Ghirlandajo, Luca Signorelli, and
Pietro Perugino, and being equally doubtful of the judg-
ment of the Pope, loaded his figures with ultramarine
and gold, by which artifice he gained the Pope's admiration
and obtained the prize. These frescoes, representing
scenes from the Old and New Testaments, are still pre-
served^
Rumohr observes that Cosimo in the commencement of
bis career followed the paths which were opened out by
Fra Giovanni da Fiesole and Masaccio, but that after a few
* Gaye, Carteggio Inedito d'Artisti, 11. 457, note.
t Described by Richa, Chiese di Firenze, vol. ii., p. 244, engraved by Lasinio
and in part in the Etruria Pittrice of Lastri.
J See the article on Botticelli in this catalogue.
Vasari, Vite, 8fc., Ed. Le Monnier, vol. v., p. 30. Plainer and Bunsen,
Beschreibuny der Stadt Rom., vol. ii. pt. 1.
ROTTENHAMMER. 199
brilliant examples of his ability he forsook the study of
those masters and of nature, to follow a lifeless and
repulsive mannerism.*
Cosimo Hosselli was still living in November 1506. He
was the master of Fra Bartolomeo ; and the eccentric Piero
di Cosimo was his constant assistant.
No. 227. ST. JEROME IN THE DESERT KNEELING BEFORE
A CRUCIFIX, in a distinct compartment of the picture ;
standing at the sides, on the spectator's left, are Saints
Damasus and Eusebius, on the right Saints Paola and her
daughter Eustochia ; kneeling below are Girolamo Rucellai
and his son ; and on each side above are three angels. In
the predella beneath the principal pictures are, in four
compartments, incidents from the lives of the saints repre-
sented above, who were the contemporaries of St. Jerome,
with the arms of the Rucellai at each end. On a plinth
below the central compartment is inscribed S. DAMMASCJS,
S. EUSEBIUS, S. JERONIMUS, S. PAULA, S. EUSTOCIUM.
Five principal figures, half-life scale.
In tempera, on wood ; the principal picture 5 ft. h. by 5 ft. 8 in.
10. -, the predella 6^- in. h. by 7 ft. 4 in. w. It is in its original
frame.
Formerly an altar-piece in the Ruccellai chapel in the church
of the Eremiti di San Girolamo at Fiesole. This order was
suppressed by Clement IX. in 1668 : the church and convent are
now within the precincts of the Villa Eicasoli. In the Fiesole
Guide this picture is described as being " di buona antica
maniera." | It was purchased for the national collection of the
Conte Kicasoli at Florence in 1855.
ROTTENHAMMER
JOHANN ROTTENHAMMER was born at Munich in 1564,
and was the pupil of an obscure painter of the name of
Donauer ; he studied also in Rome, and in Venice, where
he executed two large altar-pieces, imitating Tintoretto,
then still living. Jan Breughel and Paul Brill frequently
painted the landscapes of his pictures. Rottenhammer
lived latterly at Augsburg, and died there in 1623.
* Italienische Forschunyen, ii. 265.
f Moreni, Notizie Istoriche dei contorni di Firenze. Flor. 1792, pt. iii.
p. 153. Can. A. M. Bandini, Leltere xii. nelle quail si ricerca e s'illustral'antica
e moderna situazione della citf.a di Fiesole, Sfc. Siana, 1800, p. 139.
Del Rosso, Guida di Fiesole, 1846, p. 52.
200 RUBENS.
He was much patronized by the Emperor Rudolph II., and
made a considerable fortune, but squandered it away, and
died poor. His small pictures are the most appreciated of
his works ; they are generally executed on copper.*
No. 659. PAN AND SYRINX. The nymph Syrinx, one
of the naiads, is pursued by Pan, and takes refuge among
some bulrushes ; the god thinking to grasp the nymph finds
only reeds in his hands, these he constructed into a rude
instrument, hence the name of Syrinx given to the Pan-
pipes.
On copper, 9^ in. h. by 7^ in. w.
The background of this picture appears to be by the hand of
Jan or Velvet Breughel, of Antwerp (1568 1625). Purchased
at Paris from M. Edmond Beaucousin, in 1860.
RUBENS.
PETER PAUL RUBENS was born* at Siegen, in Westphalia,
on the day of St. Peter and St. Paul, June 29, 1577. His
parents, John Rubens and Mary Pypeling, were natives of
Antwerp, but they had emigrated in 1568 on account of
the religious disturbances which prevailed in the Nether-
lands at that period. In 1578 they settled in Cologne,
where Rubens remained until 1587, when his father died,
and his mother returned with her family to Antwerp.
Rubens was destined by his mother to follow the law, the
profession of his father ; but he had such a decided taste for
the fine arts that he persuaded her to allow him to be a painter.
Accordingly, after he had received some instruction from
Tobias Yerhaagt and AdainVanNoort,he was placed with Otto
Van Veen (Otho Venius), the most celebrated painter of his
time at Antwerp. After studying for four years with Van
Veen he went in the spring of 1600 to Italy; there he
entered the service of Vincenzio Gonzaga, Duke of Mantua,
but much of his time was spent at Venice and Rome, where
lie copied several pictures for the Duke. In 1605 he was sent
on a mission by the Duke to Philip III. of Spain, and while at
Madrid he painted several portraits of the Spanish nobility.
Rubens returned to Antwerp, from Genoa, in the autumn of
* Nagler, Kiinstler Lexicon ; Sandrart, Accademia Todesca, &c.
RUBENS. 201
1608, after an absence from home of eight years and a half.
His return home was hastened by the illness of his mother,
but he did not arrive until after her death.
It was the intention of Rubens to return to Mantua, but
lie was induced to remain in Antwerp by the Archduke
Albert, then Governor of the Netherlands ; and he was
appointed court painter to Albert and Isabella in 1609. In
October of that year he married his first wife, Isabella Brant;
and in 1 6 1 he built himself a magnificent house at Antwerp.
In 1620 he visited Paris by the invitation of Maria de'
Medici, and there received the commission for his celebrated
series* of pictures for the new palace of the Luxembourg,
commemorating the marriage of that princess with Henry IV.
of France: the pictures were completed in 1625. In 1628
Rubens was sent by the Infanta Isabella, widow of the Arch-
duke Albert, on a diplomatic mission to Philip IV. of Spain :
and in the following year he was sent on a. similar mission
to Charles I. of England, by whom he was knighted in 1630.
He was knighted in the same year by Philip IV. of Spain.
In this year he married his second wife, Helena Fourment,
a beautiful girl, in her sixteenth year only : his first wife, by
whom he had two sons, died in 1626. Rubens himself died,
possessed of immense wealth, at Antwerp, on the 30th of
May 1640, and was buried with extraordinary pomp in the
church of St. Jacques. He had five children by his second wife,
who was afterwards married to Baron J. B. Broechoven, a
Flemish nobleman in the Spanish service in the Netherlands.!
Rubens's pictures are extremely numerous, amounting, it
is said, to several thousands, but many of them were painted
from his sketches by his scholars ; of whom the most cele-
brated are Vandyck, A. Van Diepenbeck, J. Van Hoeck,
T. Van Thulden, G. Zegers, Jordaens, Snyders, and Erasmus
Quellinus. Rubens executed a few etchings, but there are
altogether about 1,200 prints, engraved by various masters,
after his works.
* These pictures, twenty-one in number, are now in the Louvre at Paris.
Most of the Sketches, which were painted by Rubens himself, are now in the
Pinacothek at Munich. Sec La Gallerie du Palais du Luxembourg, peinte par
Rubens ; dessinee par les Sieurs Nattier et graves par les plus illustres graveurs
&fc. Folio, Paris, 1710.
f A portion only of Rubens' collections produced by private sale upwards of
20,000?. sterling. See the list printed by Dawson Turner. Catalogue of the
Wor/is of Art in the Possession of Sir P. P. Rubens, ^c. 8vo. Yarmouth.
202
RUBENS.
" Rubens/' says Sir Joslnia Reynolds,* " was, perhaps,
the greatest master in the mechanical part of the art, the
Lest workman with his tools, that ever exercised a pencil."
" This power, which Rubens possessed in the highest
degree, enabled him to represent whatever he undertook
better than any other painter. His animals, particularly
lions and horses, are so admirable, that it may be said they
were never properly represented but by him. His portraits
rank with the best works of the painters who have made
that branch of the art the sole business of their lives ; and of
those he has left a great variety of specimens. The same may
be said of his landscapes."
Fuseli observes-f- " What has been said of MichaelAngelo
in FORM may be said of Rubens in COLOUR : they had but
one. As the one came to nature and moulded her to his
generic form, the other came to nature and tinged her with
his colour the colour of gay magnificence. He levelled his
subject to his style, but seldom, if ever, his style with his
subject."
Rubens's masterpiece is generally considered "The Descent
from the Cross," at Antwerp ; painted a few years after his
return from Italy. He is still seen to great advantage at
Antwerp ; but probably the best idea of his great and
versatile powers is conveyed by the collection in the Pina-
cothek at Munich, in which alone are disposed 95 of his
works, several of them his masterpieces.
* Journey to Flanders and Holland. Character of Eubens.
f Lecture IX.
j The accounts of Rubens, both early and recent, from Sandrart downwards,
are numerous ; among the most valuable are the following : Lettres Inedites
de P. P. Rubens, publics par Emile Gachet, Bruxelles, 1840. These letters
are written chiefly in Italian, the language which Rubens seems to have preferred
after his residence in Italy; he generally signed his name Pietro Paolo.
Historische Levensbeschrijviny van P. P. Rubens, Ridder, Sfc., by Victor C. van
Grimbergen, Antwerp and Rotterdam, 1840, originally published in 1774; it
is referred to by Immerzeel in his Levens en Werken der Hollandsche en
Vlaamsche Kunstschilders, r., Amsterdam, 1843. A biography of Rubens
appeared also in Raumer's HistorischesTaschenbuch, Berlin, 1833, by Dr.Waagen;
it was translated into English by R. R. Noel, and edited by Mrs. Jameson, under
the title Peter Paul Rubens, his Life and Genius, London, 1840. Another
Life by M. Michiels has appeared in Paris Rubens et I'Ecole d'Anvers, 8vo.,
1854, and " Original unpublished Papers illustrative of the life of Sir P.
P. Rubens, as an artist and a diplomatist, Sec." has been lately published by
W. Noel Sainsbury, 8vo. London, 1859. Sir Joshua Reynolds's Journey to
Flanders and Holland contains some excellent remarks on the style and works
of Rubens.
RUBENS. 203
No. 38. THE ABDUCTION or THE SABINE WOMEN. A
tumultuous throng of men and women in violent struggle.
To the right, seated on a throne, is Romulus, directing the
sudden assault on his unsuspecting guests, whom he had
invited from the surrounding neighbourhood to witness some
games in honour of the god Census. At an appointed signal,
during the celebration of these games, the Romans carried off
by force all the unmarried women.* Composition of many
small figures, some on horseback.
Engraved by P. F. Martinasie ; by J. Stewart, for the Associated
Engravers; and by J. Outrim, for Jones's National Gallery. On
wood, 5ft. Tin. h. by 7ft. 9 in. w.
Formerly in the possession of Madame Boschaert at Antwerp ;
it formed subsequently part of the Angerstein collection, with
which it was purchased for the National Gallery, in 1824.
No. 46. PEACE AND WAR ; or PEACE AND PLENTY : an
allegory. Peace, nourishing her children from her bosom,
is surrounded by Abundance, Wealth, and Happiness ; while
War, with its attendants, Pestilence and Famine, are repelled
by Wisdom. Composition of fifteen figures, of the natural
size.
Engraved by C. Heath; by W. Greatbach, for the Associated
Engravers ; and by T. Garner, for Jones's National Gallery. On
wood, 6ft. Gin. h. by 9ft. 9 in. w.
Presented to Charles I. by Rubens when in England in 1630.
After the death of Charles it passed into the possession of the
Doria family at Genoa, where it was known as the " Family-of
Rubens."f It was purchased, in 1802, by Mr. Irvine for Mr.
Buchanan, and subsequently obtained by the Marquis of Stafford,
first Duke of Sutherland, who presented it to the National
Gallery, in 1828.
No. 57. THE CONVERSION OF ST. BAVON.J The saint,
about to enter the monastic life, is met on the steps of the
church of his convent by St. Amand, Bishop of Maestricht.
On the right is the worldly retinue of the noble penitent ;
to the left, his property is being distributed among the
poor : in a more elevated part of the picture, on this side,
is a group of ladies of the family of St. Bavon, returning
thanks for the mercy accorded him by his conversion. Com-
position of many small figures.
Engraved by P. Lightfoot, for Jones's National Gallery. On
wood, 3ft. 5^ in. h. by 5ft. 5^ in. u\
* See Plutarch's Life of Romulus,
f Vanderdoort, A Catalogue and Description of King Charles the First's
Capital Collection of Pictures, Sfc. London, 1757 Buchanan, Memoirs of
Painting, vol. ii. p. 108.
J A Brabant noble of the seventh century. Acta Sanctorum, vol. 2.
201 RUBENS.
Formerly in the Carrega Palace at Genoa, from which it was
purchased for Mr. Buchanan by Mr. Irvine in 1805. Bequeathed
to the National Gallery by the Rev. W. H. Carr in 1831. There
is a large picture of this subject, by Rubens, in the Church of.St.
Bavon at Ghent. It is engraved by F. Pilsen.
No. 59. THE BRAZEN SERPENT.
" And the Lord sent fiery serpents among the people, and they bit the people ;
and much people of Israel died.
" And the Lord said unto Moses, Make thee a fiery serpent, and set it upon
a pole: and it shall come to pass, that every one that is bitten, -when he
looketh upon it, shall live. And Moses made a serpent of brass, and put it upon
a pole, and it came to pass, that if a serpent had bitten any man, when he
beheld the serpent of brass, he lived." Numbers xxi. 6 9.
On the left are Moses and Eleazar, by the brazen serpent ;
before them, on the right, are the Jewish people, men,
women, and children, prostrated by the plague of serpents.
Composition of many figures, of the natural size.
Engraved by Bols\vert ; by F. Ragot ; by C. Galle ; and others.
On canvas, 6ft. 2 in. h. by 8ft. 9 in. w.
Formerly in the Marana Palace at Genoa : brought to England
by Mr. A. Wilson in 1806. Purchased for the National Gallery,
of Mr. T. B. Bulkeley 0\ven, in 1837- There is another picture by
Rubens of this subject in the gallery at Madrid.
No. 66. A LANDSCAPE, AUTUMN, WITH A VIEW OF THE
CHATEAU DE STEIN, the residence of Rubens, near Mechlin.
To the left is the chateau, surrounded by picturesque foliage ;
in the fore-ground below it, a two-horse waggon, carrying a
calf, is fording a brook. To the right is an extensive open
coj|pitry, with the view of a town in the distance : in the
immediate fore-ground is a sportsman, with his dog and
gun, creeping up to a covey of birds. The time is morning.
Engraved by G. Cooke ; and by G. B. Allen, for Jones's Na-
tional Gallery. On wood, 4ft. 5 in. h. by 7ft. 9 in. w.
Formerly in the Balbi Palace at Genoa, from which it was
purchased by Mr. Irvine for Mr. Buchanan in 1802. Presented
to the National Gallery by Sir George Beaumont, in 1826.
No. 67. A HOLY FAMILY, with Saint George, and other
saints. The figures are said to be portraits of Rubens and
his family. The group on the right, of children playing
with the lamb, has been introduced into several designs by
Rubens : the whole portion of this comp'osition to the right
of the columns was cut 011 a very large scale, in wood, by
Christopher Jegher, from a drawing on the block by Rubens
himself. Composition of nine small figures.
Engraved by P. Lightfoot, for Jones's National Gallery. On
canvas, 4 ft. 1 in. h. by 5 ft. 4 in. w.
Formerly hi the Angerstein collection, with which it was pur-
chased by Parliament for the National Gallery, in 1824.
RUBENS. 205
No. 157. A LANDSCAPE; SUNSET. A flat country, with
the view of a farm-house, and a village church in the distance.
Engraved by Bolswert. On wood, 1 ft. 7 in. h. by 2 ft. 9 in. w.
Bequeathed to the National Gallery by Lord Farnborough, in
1838.
No. 187. THE APOTHEOSIS OF WILLIAM THE TACITURN,
of Holland. A sketch of a picture in the possession of the
Earl of Jersey, at Osterley Park.
On wood, of a circular form, 2 ft. 1 in. in diameter.
Formerly in the possession of Sir David Wilkic, when it was
known as the Apotheosis of James I. Purchased in 1843.
No. 194. THE JUDGMENT or PARIS. At the nuptials
of Thetis and Peleus, an apple was thrown amongst the
guests by Discord, to be given to the most beautiful : Juno,
Minerva, and Venus, were competitors for the prize, and
Paris, the son of Priam, was ordered by Jupiter to decide
the contest. The Trojan shepherd, seated with Mercury by
his side, on the right, is on the point of awarding the apple
to Venus, who stands between her rivals ; on her right is
Juno, indicated by the peacock at her feet ; on her left is
Minerva, whose sacred bird, the owl, is perched on a tree
behind her ; the shield and arms of the goddess are seen
below. The decision of Paris was the cause of all the subse-
quent misfortunes of Troy : Discord is seen already hovering
in the clouds above, spreading fire and pestilence around.
Engraved by J. Couche and Dambrun for the Galerie du Palais
Royal. On wood, 4 ft. 9 in. h. by 6 ft. 3 in. w.
Formerly in the Orleans collection. Purchased for the National
Gallery, at the sale of Mr. Penrice's collection, in 1844. There is
a small copy of this picture in the Louvre.
No. 2.78. THE TRIUMPH or JULIUS CAESAR. A procession ;
to the left, dancing girls with flowers, and other figures
leading animals for the sacrifice ; on the right elephants
bearing fruit, and lighted candelabra ; and wild beasts for
the shows. In the back ground a hill surmounted by a
temple, with crowds of spectators.
On canvas, attached to wood, 2 ft. 11^ in. h. by 5 ft. 5 in. w.
This sketch was made from a portion of the same subject by
Andrea Mantegna, now at Hampton Court. It was in llubens'
possession at his death, and is thus noticed in the English cata-
logue of his effects :* " Three cloathes pasted uppon bord, beinge
the Triumph of Julius Cesar, after Andrew Mantegna, not full
* Privately printed by Dawson Turner, Esq. Catalogue of the Works of
Art in tine possession f Sir Peter Paul Rubens at the Time of his Decease, fyc.
2cl Ed. 8vo. 1 839.
206 RUYSDAEL.
made" It was subsequently in the Balbi Palace, Genoa; in
1802 it was bought by Mr. Irvine, and became the property of
Mr. Champernowne, from whose collection it passed to that of
Mr. Rogers, and at the sale of his pictures in 1856 it was pur-
chased for the National Gallery.
No. 279. THE HORRORS OF WAR. Mars leaving the
temple of Janus open, is held back by Venus, while Europe
bewails the inevitable miseries of war ; but he is drawn on
by the Fury Alecto, who is preceded by Plague and Famine:
the figure on the ground with the broken lute represents
Concord overthrown.* Mars and the two female figures
behind him are said to be the portraits of Rubens and his
two wives. A sketch.
On paper attached to canvas, 1 ft. 7^ in. h. by 2ft. 6^ in. w.
This sketch of the large picture painted in 1637 for his friend
Sustermans, and now in the Pitti Palace at Florence, was for-
merly in the Balbi Palace at Genoa, from which it Avas purchased
by Mr. Irvine in 1803 ; it was subsequently in the collection of
Mr. Champernowne, from which it passed to that of Mr. Rogers,
and at the sale of his pictures in 1856 it was purchased for the
National Collection.
RUYSDAEL.
JACOB RUYSDAEL, or RUISDAAL, the younger brother of
Solomon Ruysdael, was born at Haarlem about 1625. His
father, who was an ebony-frame maker, gave Jacob a good
education, and intended him for the medical profession : he
was formerly styled Doctor, sometimes. Ruysdael removed
early to Amsterdam where he is supposed to have received
some instruction in painting from Berchem. The figures
in his pictures are said to have been inserted generally by
Adrian Vandevelde, Ph. Wouvverman, or Lingelbach. He
died at Haeiiem, and was buried there November 16th
1681.
The landscapes of Ruysdael are generally simple natural
views, well selected, and somewhat resemble those of Van
Everdingen and Hobbema in style : his favourite subjects
were woody scenes and waterfalls. His touch is exceed-
ingly spirited and crisp, but his colours appear to have
darkened through time. The views chosen are generally
of a northern character, and some are assumed to be Nor-
* See the letter of Eubens, published in the account of Sustermans by
Baldincuci, in the Notizie dei Professori del Disegno, Dec. III. Sec. V.
SALVIATI. 207
wegian, though it is not known that Ruysdael ever visited
Norway. He sometimes painted marine pieces : there are
also a few etchings by his hand. Hobbema is supposed to
have been the scholar of Jacob Ruysdael ; Jan Van Kessel
and Jan Renier de Vries were his imitators.*
No. 627. LANDSCAPE WITH WATERFALL. The whole
fore-ground is occupied by the waterfall, a wooden bridge
and a cottage are in the middle distance, the cottage is
partly concealed by trees. Signed J. Ruysdael f.
No. 628. LANDSCAPE WITH WATERFALL. In the mid-
dle distance a wooden bridge ; in the fore-ground a dead
tree lying in the water. Signed as above.
On canvas, each picture 3 ft. 4^ in. h. by 2 ft. 10 in. w. En-
graved, on a large scale, in mezzotint by J. G. Prestel.
Formerly in the collection belonging to Count Stolberg, at
Soder, near Hildesheim ; purchased at the sale of that collection,
at Hanover, in 1859.
SALVIATI.
FRANCESCO Rossi, called del SALVIATI, from his patron
the Cardinal of that name, was born at Florence in 1510.
He studied under Andrea del Sarto and other masters ; was
an imitator of Michelangelo, and the intimate friend of
Vasari. In 1540 he was in Venice, and there painted a
. portrait of Pietro Aretino, which the poet sent to Francis I.
Salviati visited France in 1554, in the reign of Henry II.,
but returned dissatisfied the next year. He painted much in
Rome, where he completed the Chigi altar-piece in Santa
Maria del Popolo left unfinished by Sebastiano del Piombo.f
He had settled in Rome in 1548, and. he died there,
November 11, 1563.
* Houbraken, Groote Schouburg, Sec. ; Immerzee), DeLevens en Werken, &c.,
Kathgeber, Annalen der Niederldndischen Mulei-ci, &c, 1844. 333 works
attributed to Ruysdael are described in Smith's Catalogue Raisonn6, pt. vi.
f Vite, Vasari, &c., vol. xii.
208 SAN SEVERING.
No. 652. CHARITY. A woman seated .offering her breast
to a child who has turned away, and is caressing another
child ; on her right is a third boy standing near a brazier
with live coal in it. ' Small figures.
On wood, 9| in. /*. by 7 in. w.
Purchased at Paris from M. Edmond Beaucousin, in 1860.
SAN SEVERFNO.
LORENZO DI SAN SEVERI'NO, with his brother Jacopo,
were painting in Urbino 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. DE.XVIII.
JULII. LAURENTIUS. DE. SANTO. SEVERING. ET. JACOBUS,
FRATER. EJUS. HOC. OPUS. FECERUNT.
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. The frescoes are hard and positive in colour; but,
if Lorenzo and his brother were established painters in
1416, it is, though possible, hardly probable, that they were
still painting in 1470.
The picture by Lorenzo lately added to this collection
appears certainly to belong to the later date, both from its
subject, the Marriage of St. Catherine, and from its execu-
tion ; the signature also, LAURENTIUS I.I. SEVERINAS PIsiT,
seems to indicate a second Lorenzo di San Severino,
Laurentius II. (secundus), who may have been the son of
the first Lorenzo, the painter of the Urbino frescoes, and a
better known master.
LAVR
ENWS-II-
PISIT
SANTACROCE. 209
No. 249. THE MARRIAGE OF ST. CATHERINE. 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. Catherine of Siena, on whose linger the infant
Christ is in the act of placing the ring. St. Catherine 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
DOMI. On the step of the throne are a fig or cucumber and
an apple ; and in a cartouche on the front of the step is the
signature given above. Gold ground, figures small life-
size.
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
SANTACBOCE.
GIROLAMO DA SANTACROCE, a scholar of Giovanni Bellini,
was painting at Venice between 1520 and 1548. He at
* Passavant describes it as there, in his life of Raphael Rafael von Urbino,
&c., 1839, vol. i. p. 428.
f There are two St. Catherines : 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. Cathe-
rine, p. 184. The later St. Catherine 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 pic-
ture 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. Catherine 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
the inscription : " Pius Pontifex Maximus Catherinam Senen. 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 pre-
cluding 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. Catherine, where she is represented by Pacchiarotto visiting the body
of St. Agnes of Montepulciano, almost a century before the solemn recog-
nition of St Agnes by the Church. The fact, therefore, that Catherine is here
represented as a saint is not absolute evidence of the corresponding later date
of the picture ; and the Laurentius IL Severinas of this work may still be the
Laurentius de Santo Severino who executed the fresoes of 1416 at Urbino.
210 SARTO, A. DEL.
first followed his master in style, but afterwards became
an imitator of Giorgione and Titian.*
No. 632. A SAINT, reading. Full length, small life size.
No. 633. A SAINT, holding a white standard with a red
cross in one hand, and in the other a Monastery or For-
tress. Full length, small life size.
On wood, each picture, 3 ft. 11 iu. k. by 1 ft. 7 in. w.
Formerly the doors of an altar-piece. Purchased from M.
Edmond Beaucousin, at Paris, 1860.
A. DEL SABTO.
ANDRE'A VANNU'CCHI, commonly called Andrea del Sarto,
from the occupation of his father, who was a tailor, was born
at Florence in 1488, and became the pupil of Piero di
Cosimo. After the exhibition of Michelangelo's celebrated
" Cartoon of Pisa," in 1506, he became a decided imitator
of that painter in design : in colour, and light and shade,
Fra Bartolommeo appears to have been his model. Having
earned a great reputation by his works in Florence, both
in oil and in fresco, he was invited by Francis I. to France.
He arrived in Paris in 1518, and was well received by the
King, but owing to the importunities of his wife, whom he
had left behind, he returned to Florence in the following
year, and having squandered away some money with which
Francis had entrusted him to purchase works of art, Andrea
never ventured to return to France. He died at Florence
of the plague in 1530, aged only forty -two. f
Andrea del Sarto was one of the most distinguished
painters of the sixteenth century. He is best known by his
Holy Families, in oil ; but he painted also many extensive
works in fresco ; the most celebrated are those of the convent
of the Santissima Annunziata at Florence :$ from the excel-
lence of these frescoes he was called Andrea Senza Err on
(Andrea without faults). Of his easel pictures, the Madonna
di San Francesco, now in the Tribune at Florence, is con-
sidered his masterpiece. Vasari, Jacopo da Pontormo,
* Zanetti, Delia Pittura Veneziana, &c.
t Vasari, Vite de' Pittori, fyc. ; Lanzi, Storia Pittorica, ffc. ; Biadi, Notizie
Inedite dclla Vita (f Andrea del Sarto, raccolte da Manoscritti Documents
tiutentici. Florence, 1830.
\ Engraved by Alchiari, 1832-33.
Engraved by P. Lasinio ; by Lorenzini ; and by J. Felsing.
SASSOFERRATO 8CHALCKEN. 211
Franciabigio, and Domenico Puligo, were all scholars of
Andrea del Sarto.
No. 17. THE HOLY FAMILY. The Virgin with the infant
Christ on her knees, and Elizabeth with the little St. John,
seated on her right hand.
Engraved by P. W. Tomkins ; and by S. Freeman, for Jones's
National Gallery. On wood, 3 ft. 6 in. h. by 2 ft. 8 in. w.
Formerly in the Aldobrandini Villa at Rome, from which it was
purchased for Mr. Buchanan by Mr. Irvine in 1805. Bequeathed
to the National Gallery, in 1831, by the Rev. W. H. Carr.
No. 690. His OWN PORTRAIT. Bust, life size. Signed
with the painter's monogram, A.V., Andrea Vannucchi.
On canvas, 2 ft. 4 in. h. by 1 ft. 10 in. w.
Purchased at Florence from the effects of Nicolo Puccini in
1862.
SASSOFERKA'TO.
GIOVANNI BATTISTA SALVI, commonly called, after his
birthplace, Sassoferrato, was born July 11, 1605. He was
the pupil of his father Tarquinio Salvi ; and belongs to the
so-called Carracceschi, or followers and imitators of the
Carracci and their scholars. In style and subject, though
not in elaborate finish, his works bear considerable resem-
blance to those of Carlo Dolci. Sassoferrato died at Rome,
August 8, 1685.*
No. 200. THE MADONNA IN PRAYER. Half length.
On canvas, 2 ft. 5 in. h. by I ft. 11 in. w.
Bequeathed to the National Gallery, in 1846, by Mr. Richard
Simmons.
SCHALCKEN.
GODPRIED SCHALCKEN, a distinguished Dutch genre-
painter, was born at Dort in 1643; his father was rector of
the Latin school there. He studied painting first under
I. van Hoogstraten, from whom he went to Gerard Dow.
Schalcken is chiefly distinguished for his pictures of candle-
* Lauzi, Storia Pittorica, frc.
O 2
212
SCHIAVONE.
light ; and he rivals his celebrated master in finish. He
died at the Hague i n 1706.*
No. 199. LESBIA WEIGHING JEWELS AGAINST HER
SPARROW.!
On wood, 65 in. h. by 5 in. w.
Bequeathed to the National Gallery, in 1846, by Mr. R. Simmons.
SCHIAVONE.
GREGORIO SCHIAVONE was a native of Dalmatia, and
studied painting in the celebrated school of Squarcione, at
Padua, where, about 1450, he was the fellow pupil of Andrea
Mantegna.
Schiavone, like Crivelli, was fond of decorating his pic-
tures with festoons and fruit ; but his works are less
advanced than those of Crivelli. He painted about 1470.
He appears to have had an affection for his master Squar-
cione as he added his name to his own in his signatures of
his works.t
No. 63O. THE MADONNA AND CHILD ENTHRONED, with
various Saints. The Madonna and Child in the centre ;
the dead Christ above ; Saints Bernard, John the Baptist,
Anthony of Padua, and Peter Martire at the sides ; Anthony
Abbot, Catherine, Sebastian, and Cecilia, below. Small
figures. Signed, OPUS. ScLAvoNi. DisiPULi. SQUARCIONI. S.
In tempera, on wood, in ten compartments. Centre picture,
3 ft. ^ in. h. by 13| in w. ; upper picture, 15 in. h. by 10^ in. w. ;
side pictures, 2 ft. 2 in. h. by 9 in. w. ; lower pictures, 12 in. h.
by 9 in. w.
Formerly in the Dennistoun collection. Purchased at Paris
from M. Edmond Beaucousin, in 1860.
* Houbraken, Groats Schouburg, Sfc.s Immerzeel, Levens en Wtrken, -c.
t Catullus, Carmen iii.
j Ridolfi, Lc. Maraviylie, &c., Art. Squarcione.
SCHOEN SEBASTIANO DEL PIOMBO. 213
SCHOEN.
MARTIN SCHOEN, or SCHONGAUER, was born at Ulm, about
1420; he was an established artist there in 1441. His
father, Barthel, was also an artist and probably originally
from Augsburg. Martin was apparently first an engraver,
but he studied painting at Antwerp under the elder Roger
Vander Weyden, called Roger of Bruges, and carried the
Flemish taste and method of colouring to Germany. Martin
was in Ulm in 1461, but settled shortly after that date at
Colmar, where he established a celebrated school, and where
he died February 2. 1488. He is known as Bel Martino
and Martino D'Anversa by the Italians. Lambert Lom-
bajrdus speaks of his merits and influence in a letter to
Vasari, dated Liege., April 27, 1565.* His engravings,
though crude in light and shade, are among the best of the
early productions of this class. His pictures are conspi-
cuous for their rich colouring.
No. 658. THE DEATH OF THE VIRGIN. The Virgin,
having received the last offices of the Church, is lying in a
bed, surrounded by the twelve Apostles attending on her ;
above is the Deity supported by angels, about to receive
her soul. A composition of many small figures in a cham-
ber with a window looking out upon a square.
On wood, 15 in. h. by 13^ in. w. Engraved by L. Fleming in
the Gazette des Beaux Arts, 1859.
Formerly in the collection of the King of Holland. Purchased
at Paris from M. Edmond Beaucousin, in 1860.
SEBASTIA'NO DEL PIO'MBO.
SEBASTIANO LUCIA'NI, commonly called Fra Sebastiano
del Piombo, from his office of keeper of the Leaden Seals,
was born at Venice in 1485. He was originally, says Vasari,
a musician, but having a decided taste for painting, he
became the pupil of Giovanni Bellini ; he studied nlso for
some time under Giorgione. He was invited, about 1512,
to Rome, by Agostino Ghigi, for whom he executed some
* Gaye, Carteggio Inedito <T Artisti, iii. 177. The dates of Passavant,
Keilrdge zur Kenntniss der alien Malersckuleji Deuischlandfi, Kunstbhut, 1846,
have been here followed ; but Dr. Waagen, in his Handbuch der Deutschen und
Neiderlandischen Malerschulen, vol. i., Stuttgart, 1862, has adopted 1440-92 as
the probable dates of the birth and death of this painter.
214 SEBASTIANO DEL PIOMBO.
frescoes In the Farnesina. He at the same time contracted
a friendship with Michelangelo, who employed him to paint
some of his designs. Sebastiano obtained so great a dis-
tinction through his own powerful colouring and Michel-
angelo'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 a head and hands. He
was appointed Frate del Piombo by Clement Y II. ; an office
which he held also under Clement's successor, Paul III.,
until his death. He died at Home, in 1547, in the sixty-
second year of his age.*
Sebastiano's masterpiece is generally considered the "Rais-
ing of Lazarus" in this collection. Of his portraits, that of
Andrea Doria, in the Doria Palace at Rome, is the most
celebrated.
No. 1. THE RESUERECTION OF LAZARUS.
" And when he had thus spoken, he cried with a loud voice, Lazarus, come
forth.
" And he that was dead came forth, bound hand and foot with grave-clothes:
and his face was bound about with a napkin. Jesus saith unto them, Loose him,
and let him go." John xi. 43, 44.
Christ is in the middle of the picture uttering the words,
" Loose him, and let him go;" Lazarus, on the point of being
freed from his grave-clothes, occupies the right of the com-
position : on all sides is a dense throng of curious spectators,
with astonishment and conviction depicted on their counte-
nances. 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. Com-
position of many figures, of the natural size. On a slab of
stone beneath the feet of Christ is written Scbastianus
Venetus Faciebat.
BAT-
Engraved by Delaunay ; by Vendramini ; and by R. W. Light-
foot, for Jones's National Gallery. Transferred in 1771 from
wood to canvas, 12 ft. 6 in. h. by 9 ft. 5 in. w.
Painted at Rome, in 1519, for Giulio de' Medici, bishop of
Narbonne, afterwards Pope Clement VII. The Transfiguration
* Vasari, Vite de! Pittori, Sfc. ; Biagi, Sopra la Vita ed i Dipinti di Fra Seb.
Luciani sopranominato del Piombo in the Atti del Ateneeo di Venezia, vol. i.,
1827.
SEBASTIAN O DEL PIOMBO. 215
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 Michel-
angelo in the design of parts of this picture. Jt was sent to the
Cathedral of 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 tha Orleans gallery,
and came into the possession of Mr. Angerstein, with whose
pictures it was purchased for the nation, in 1824.*
No. 2O. PORTRAITS OF SEBASTIANO DEL PIOMBO AND
THE CARDINAL IPPOLITO DE' 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 in 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.
Formerly in the Borghese Gallery at Rome, where it was
sometimes called Borgia and Macchiavelli, and was attributed to
Raphael. Ramdohr,f 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. H. Carr.
No. 2A. 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 accomplishments.
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 I., of France, who placed it in
his gallery at Fontainebleau, from which it was some time after-
wards lost. This picture, said to be the portrait in question was
painted in Rome ; it is signed F. SEBASTIANUS, VEN. FACIEBAT,
was formerly in the Borghese Gallery at Rome, and
* Sir Thomas Lawrence was in possession of several drawings of parts of this
composition, by Michelangelo, including two sketches of the figure of Lazarus :
they were subsequently in the collection of the late King of Holland at the
Hague.
f Ueber Malerei und BUdhauerarbeit in Rom, tyc., i. 289.
216 SEGNA LO SPAGNA.
bequeathed to the National Gallery, iu 1831, by the Rev. W. H.
Carr.
*F'SEBASTIANVS
FACIE BAT
A
1
A
SEGNA.
SEGNA DI BUONAVENTURA, the pupil of Duccio di Buon-
insegna, painted at Siena between the years 1305 and
1319.* His works are exceedingly rare ; in the Gallery tit
Siena is a portion of an altar-piece, containing the Virgin
and three Saints, in which Segna me fecit is inscribed on
the sword of St. Paul, one of the Saints represented, f
No. 567. CHRIST ON THE CROSS, with the Virgin and
St. John at the extremities of the side limbs of the cross.
A crucifix, with a projecting nimbus around the head of
Christ ; inscribed above, IHS. NAZARENUS REX JUDEORUM.
In tempera, on wood, 7 ft. 1 in. /*., by 6 ft. w.
Formerly in the Vanni Collection at Siena. Purchased at
Florence, from the Lombardi-Baldi Collection, in 1857.
LO SPAGNA.
GIOVANNI DI PIETRO, called Lo SPAGNA and Lo SPAGNOLO
(the Spaniard), was, after Raphael, the most distinguished
of the scholars of Pietro Perugino. Few of the circum-
stances of his life are known : he was an established painter
in Italy probably in 1503, and certainly in 1507. In 1516
he was made a citizen of Spoleto, and in the following year
he was elected head of the Society of Painters there
Capitano dell' Arte dei Pittori : he was still living in 1530.
* Vasari, Vile de Pittori, &c. Ed. Le Monnier. Flor. 1846.
f Engraved in Rosini's Storia della Pittura Ilaiiana, Sfc., vol. ii. \t. Itio.
2nd Ed. vol. ii. p. 4.
SPAGNOLETTO. 217
In his latest works Lo Spagna was an imitator of Raphael's
third -or Roman style ; his best performances are considered
those executed in the taste of his master Pietro Perugino.
The Madonna Enthroned, painted in 1516, and now in the
chapel of San Stefano, in the lower church of San Francesco
at Assisi, is accounted by Rumohr this painter's master-
piece.*
No. 282. THE GLORIFICATION 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 back-ground are seen a church, and distant
mountains.
On wood, 5 ft. 10 in. h. by 2 ft. 7 in. w., circular top.
Formerly in the Ercolani Collection at Bologna. Purchased
for the National Gallery at the sale of the Earl of Orford's pictures,
in 1856.
SPAGNOLET'TO.
GIUSEP'PE RIBE'RA, commonly called Lo SPAGNOLETTO
(the little Spaniard), was born in Spain, at Xativa, near
Valencia, January 12, 1588. He was destined by his
parents, says Cean Bermudez, for the pursuit of letters,
but his passion for the arts induced him to prefer the school
of Francisco Ribalta to the University. He went, when
still a youth, to Italy, and, in spite of extreme poverty,
prosecuted his studies as a painter with untiring energy,
though sometimes depending entirely for support on the
precarious charity of his fellow-students, in Rome. He
was at first engrossed by the works of Raphael and
Annibale Cariacci, but eventually adopted the forcible and
attractive style of Michelangelo da Caravaggio.
He studied also the works of Correggio at Parma ; but
on his return to Rome, finding that he could not agree with
his old companions, Ribera determined to try his fortunes
in Naples, where he married the daughter of a rich picture -
* Marriotti, Lctlere Pittoriche Perugine, p. 95 ; Vassari, Vile de' Pitlori, Sec. ;
Life of Pietro Perugino, ed. Le Monnier, vol. vi. p. 54 ; Rinnohr, Italienischc
Forschungen, vol. ii. p. 349.
218 SPAGNOLETTO.
dealer, and from this time entered upon a more important
professional career, being employed, through the interest of
his patron, the then Spanish Viceroy the Count de Monterey,
on many commissions for Philip IV. of Spain. In 1630 he
was elected a member of the Academy of St. Luke, at Rome,
and in this year he entertained Velazquez at Naples ; in
1644 be was decorated by the Pope with the insignia of the
Order of the " Abito di Cristo." Cean Bermudez, following
the account of Palomino, says that he died in Naples,
honoured and rich, in 1656; but Dominici, the Italian histo-
rian of the painters of Naples, states that Spagnoletto disap-
peared from the city in 1648, and was not again heard of:
this writer also claims him as an Italian, as a native of Galli-
poli, in the Neapolitan province of Lecce, though of Spanish
descent, an account contradicted by the Spanish historian,
who quotes the register of Ribera's baptism at Xativa.
Ribera was perhaps the most able of all the so-called
naturalist painters ; lie displays a remarkable power and
facility even in his most unpretending works : they are
correct in form, though it is of the most ordinary character ;
and, notwithstanding his excessive love of strong shadows,
his pictures are rich in colour. He had many imitators ; his
influence was felt tliroughout Italy and Spain, but more
especially at Naples ; and though he cannot dispute the
first place, in his style of art, with Caravaggio, the popularity
of that peculiar class of painters known as the Tenebrosi
and Naturalisti depended as much on the example of Ribera
as of Caravaggio.
Belisario Corenzio, a Greek, Giambattista Caracciolo, a
Neapolitan, and Ribera, formed a memorable cabal at
Naples, the object of which was, by intimidation or other-
wise, to banish all competing talent, whether native or
foreign, and to monopolize the chief patronage of the city
for themselves, a conspiracy in which they succeeded too
well for many years, until the death of Caracciolo in 1641.
Domenichino, Annibale Carracci, the Cavaliere D'Arpino,
and Guido, were all more or less victims of this cabal ;
Domenichino may be said to have died from the Vexations
it brought upon him. Luca Giordano and Salvator Rosa
were the most eminent of Ribera's pupils.*
* Cean Bermudez, Diccionario Hialorico de los mas ilustren jmifcsures tit las
Bellas Aries en Espaiia ; Dominioi. Vile de'Pittori, tgc. Napolitani, Naples, 4 vols.
8vo. 1840-46.
SPINELLO. 219
No. 235. THE DEAD CHRIST ; or the subject termed a
Pietd by the Italians the Virgin weeping over the dead
body of Christ ; in this instance she is accompanied by
St. John and Mary Magdalen. Four figures, of life size.
On canvas, 4 ft. 2 in. h. by 5 ft. 10 in. w.
Presented to the National Gallery, in 1853, by David Bar-
clay, Esq.
No. 244. SHEPHERD WITH A LAMB. Seated under a
tree ; in his left hand the crook. Full-length life size.
Probably a portrait.
On canvas, 4 ft. 4f in. h. by 3 ft. 6^ in. w.
Bequeathed to the National Gallery by Lord Colborne, in 1854.
SPINELLO ARETINO.
SPINELLO DI LUCA SPINELLI, commonly called SPINELLO
ARETINO, was born at Arezzo about 1330. He became the
pupil, before his twentieth year, of Jacopo di Casentino,
while that painter was engaged at Arezzo.
After having executed several works at Arezzo, which
have nearly aU perished, Spinello in 1361 was employed by
the Monks of Camaldoli, in the Casentino, to paint the
principal altar-piece of their church ; it remained in the
church until 1539, when it was removed to give place to
an altar-piece by Vasari.
He then painted some scenes from the life of St. Bene-
dict in the sacristy of the Monastery of San Miniato al
Monte, near Florence, which works are still in good pre-
servation. An Annunciation and some other subjects still
exist also in the Convent degl' Innocenti at Arezzo ; one of
which bears the inscription Hoc opus fecit fieri Clemens
Pucci, &c. Anno Domini 1377, die 15 rtiensis Martii.
In 1384 Spinello completed an altar-piece for the Convent
of Monte Oliveto near Florence, on which were inscribed
the names of Simone Cini, the carver, and Gabriello Sara-
cini, the gilder, of the frame, as conspicuously as that of
Spinello, the painter of the picture.*
From this time, owing to political disturbances at Arezzo,
Spinello resided in Florence, until about 1387-8, when he
* A part of this altar-piece is now in the Gallery of Siena. Vasari, Ed. Le
Monnier, vol. ii. p. 194, note.
220 SPINELLO.
was invited to Pisa to execute some frescoes in the Campo
Santo there. These works, subjects from the lives of Saints
Efeso and Potito, are by Vasari considered his master-
pieces.* He remained in Pisa until the murder of Pietro
Gambacorti, in 1392, when the disturbances arising from it
compelled him to leave Pisa and return to Florence ;t and
after a year's sojourn in Florence, says Vasari, Spinello re-
turned to his native place. This would be about 1394, and
Spinello was still in the vigour of life. He executed several
works at Arezzo after his return, of which the most re-
markable was the " Fall of the Angels/' in the church of
Santa Maria degli Angeli, preserved till very recently 4
There is also a " Coronation of the Virgin," in the Academy
at Florence, which was painted in 1401 ; and in 1404-5,
he painted the frescoes of the Church of San Niccolo at
Arezzo.
In 1405 Spinello was in Siena ; and on the 18th of June
of 1407 he contracted for himself and his son (Parri Spinelli)
to paint the series of frescoes still preserved in the Sala dei
Priori, in the Palazzo Pubblico there, illustrating the struggle
for supremacy between Pope Alexander III. and the Emperor
Frederick II., at the monthly pay of 15 golden || florins
for the two, besides maintenance. A payment was made on
the 4th of April 1408, but Spinello's name does not occur in
the accounts after the llth of July of that year.l He died
at a very advanced age at Arezzo ; the exact date is not
* These frescoes of the Campo Santo -were paid for in 1392. Spinello re-
ceived 150 gold florins (not 30/.) for three pictures. See Fb'rster, Beitriiye
zur neueren Kunstgeschichte, 1835, p. 118.
f Vasari, Vite, Sec. Ed. Le Monnier, vol. ii. p. 196. Professor Tomei of
Lucca is in possession of a picture of the Virgin with Saints, signed : Hoc
OPUS PINXIT SriNELLus LUCE BE AKiTio in A. 1391.
J A fragment of this wall-painting, transferred to cloth, and containing part
of the St. Michael, the principal figure, is now in the possession of H. A. Layard,
Esq. Engraved hy Carlo Lasinio in 1821. It forms plate XXVI. of the
Affreschi Cclebri del XIV. e XV. Secolo. 1841.
Engraved in the Galleria del I. e lieak Accademia delle Belle Arti di
Firenze, be. 1846.
|| The value of the gold florin varied at different times and in different places ;
but the modern Scudo or Francescone, about four shillings English, is
sufficiently near to it to give an adequate idea of a sum computed in gold
florins. The pay alone of Spinello on this occasion was nearly double that
received by Duccio for his altar-piece (without maintenance) just one hundred
years before. In the fourteenth century money had about twenty times its
present value. The gold florin was worth between three and four shillings.
^f Kuiuohr, Itulienische Fomduingen, vol ii. Milanesi, Dvcumenti per la Sloria
delC Arte Senese, vol. i. p 43, and vol. ii. p. 32, 1854.
TACCONI. 221
known. Vasari remarks that his drawings or sketches were
superior to his paintings. His execution is slight, but his
colouring is good, and his draperies are managed with
great skill.
No. 581. ST. JOHN THE BAPTIST with ST. JOHN THE
EVANGELIST and ST. JAMES THE GREATER. St. John the
Baptist holds a scroll inscribed Ego vos clamante in
deserto, Parate via* Three figures, small-life size.
In tempera, on wood. The entire picture 6 ft. 2 in. h., by 5 ft.
1 in. w. The separate compartments each 4 ft. 6 in. h. by 1 ft.
7 in. w.
Formerly in the Hospital Church of Santi Giovanni e Niccolo,
near Florence. Purchased at Florence from the Lombardi-Baldi
Collection, in 1857.
TACCONI.
FRANCESCO TACCONI, a distinguished painter of Cremona
in the fifteenth century, of whom very few works now
remain. Francesco and his brother Filippo Tacconi were
in 1464 honoured by their fellow citizens with an ex-
emption from personal taxes, on account of a Loggia
painted by them in the Palazzo Pubblico of Cremona.
In 1490 Francesco Tacconi was employed in the Church
of St. Mark at Venice, for which he painted the doors of
the organ then in use on the outsides the Adoration of
the Kings and of the Shepherds ; on the insides, the
Resurrection of Christ. These doors are still preserved,
but the paintings are injured. The recorded inscription,
O. FRANCISCI TACHONI CREMON. PICTORIS 1490 MAII 24,
is no longer preserved.!
No. 286. THE VIRGIN ENTHRONED ; holding the Child
upon her right knee, the right foot being raised on a foot-
stool : in the background a green curtain. Inscribed on a
plinth below, OP. FRANCISI TACHONI, 1489. OCTU. Figures
half-life scale.
On wood, 3 ft. 3 in. h. by 1 ft. 8^ in. w.
* Vox clamantis in deserto : Parate viam Domini. Matth. iii. 3.
t Moschini, Guida per la Cittu di Venezia, Ven. 1815, vol. i. p. 287. See
also the Dictionary of Grasselli, Abecedario Biografico, Milan, 1827, in which
the picture in this collection is mentioned. It is noticed likewise in the dic-
tionaries of the Abate de Boni, Ticozzi, and Nagler.
TENIERS.
Formerly in the Casa Savorgnan ; purchased, for the National
Gallery, at Venice, of the Baron Galvagna in 1855.
'OP-FRANCISI*
OCTV
TENIEKS.
DAVID TENIERS, the younger, was born at Antwerp in
1610. He was taught painting by his father, the elder
Teniers, whose style he adopted; he received also some
instruction from Adrian Brouwer. Teniers' success was
commensurate with his abilities : his works were in universal
request; the Archduke Leopold AVilliam, governor of the
Spanish Netherlands, appointed him his court painter and
one of his chamberlains ; and he bought himself a country
seat at Perth, a village between Antwerp and Mechlin,
which became a constant resort of the Spanish and Flemish
nobility : he gave Don Juan, of Austria, lessons in painting.
This prince painted the portrait of Teniers' son, and presented
it to the painter as a token of his regard. Teniers died at
Brussels in 1694, and was buried at Perck. He was twice
married: his first wife was the daughter of Velvet Breughel.*
Teniers, though a Fleming by birth, belongs rather to the
Dutch school in style: he is one of the principal of the
Dutch and Flemish ^/ire-painters ; his works, however, vary
very much, both in subject and in execution. Some of his
pictures are solidly executed, while others are painted so thinly
that the ground of the painting is in many parts barely
covered: he is said to have often commenced and finished
pictures of the latter class at a single sitting. His general
subjects are fairs, markets, merry-makings, guard-rooms,
beer-houses, and other interiors : he painted also landscapes.
Sir Joshua Reynolds particularly directs the attention of the
painter, who wishes to excel in execution, to the works of
Teniers. " His manner of touching," he says, " or what we
* Houbraken, Groote Schouburg, ftc.,- Immerzeel, Levens en Werken der
Hollandsche Kunstschilders, ffc.
TENIERS. 223
call handling, has, perhaps, never been equalled ; there is in
his pictures that exact mixture of softness and sharpness
which is difficult to execute."* The prints after this painter
are "very numerous ; there are also several etchings by his own
hand. Many of his best pictures are in this country.
No. 154. A Music PARTY; a woman, accompanied by
a man with a guitar, is entertaining some peasants with a
song. An interior ; seven small figures.
Engraved by W. Pether.
No. 158. BOORS REGALING ; a man, expressing some-
what boisterous merriment in his attitude, is holding out a
glass of ale at arm's-length ; by his side is an old woman
filling her pipe: a third figure is standing behind them.
An interior ; companion piece to the above.
On wood, both pictures, 10 in. h. by 14 in. w.
Bequeathed to the National Gallery, in 1838, by Lord Farn-
borough.
No. 155. THE MISERS, or MONEY-CHANGERS. A man
and his wife counting their money; they are seated at a
table covered with gold and silver coin, loose and in bags ;
some of the accessories seem to indicate considerable business
transactions.
Engraved by C. W. Sharpe. On canvas, 2 ft. % in. h. by 2 ft.
9 in. w.
Bequeathed to the National Gallery, in 1838, by Lord Farn-
borough.
J)AVID-TENIERS
No. 242. PLAYERS AT TRIC-TRAC, or Backgammon.
A Dutch interior, with eight small figures.
On wood, 1 ft. 2 in. h. by 1 ft. 9 in. w.
Bequeathed to the National Gallery by Lord Colborne, in
1854.
* Journey to Flanders and Holland.
224 TINTORETTO.
TINTORETTO.
JA'COPO ROBUSTI, commonly called Tintoretto, from the
trade of his father, who was a dyer (Tintore), was born at
Venice in 1512. He may be said to be self-taught, for the
few days which he attended the studio of Titian can scarcely
be said to constitute a pupilage under that great painter.
Titian dismissed Tintoretto without assigning any cause for
his disgrace.* This extraordinary rebuff appears to have
added vigour to the young painter's energies: he com-
menced a course of indefatigable application, depending
henceforth entirely upon his own resources. He bought
casts from the antique and from the works of Michelangelo ;
he devoted the day to painting, and in the night he made
drawings from his casts ; he professed openly to draw like
Michelangelo and to colour like Titian, and wrote the fol-
lowing line on the wall of his studio
" H disegno di Michelangelo ed il colorito di Tiziano. "
He undertook every commission which offered itself, and
frequently executed large works for the mere price of the
materials. Such persevering labour did not fail eventually
to procure him a high position among the painters of Venice ;
and, before he was forty years of age, he became the
acknowledged rival of Titian himself. The Miracle of St.
Mark, known as the " Miracolo dello Schiavo,"-f- Tinto-
retto's masterpiece, was painted when he was thirty-seven
years of age : it is now in the Academy of Venice. This
picture was painted for the Scuola di San Marco, with
three others, which are also among Tintoretto's best works.
The " Exhumation of the body of Saint Mark at Alex-
andria ;" the " Transport of the body to the ship ;" and the
" Miraculous preservation of a Saracen sailor, at sea, by the
Saint." These pictures are still in the Scuola di San Marco ;
and Pietro da Cartona is reported to have said that, if lie
lived at Venice, he would never pass a holiday without going
to see them.
Tintoretto painted other equally celebrated pictures for
the Scuola di San Rocco; among them is the Crucifixion,
* Titian's attention being attracted by some verj spirited drawings which
he saw in his studio, he inquired who made them ; and upon learning that
they were Tintoretto's, who had been with him only ten days, he ordered
one of his scholars to conduct the boy home. Ridolfi.
t Engraved by J. Matham.
TINTORETTO. 225
which was engraved by Agostino Carracci in 1589. The
" Miracolo dello Schiavo," this " Crucifixion," and the " Mar-
riage at Cana,"* painted for the Padri Crociferi, but now in
the church of Santa Maria della Salute, are the only pictures
to which Tintoretto put his name. He died at Venice in
1594, aged eighty-two. He left a son, Domenico, who died
in 1637 ; his daughter, Marietta, an excellent portrait-painter,
died before her father, in 1590, aged only thirty.
Tintoretto, from the rapidity of his execution, received the
nickname of il Furioso : Sebastiano del Piombo said that
Tintoretto could paint as much in two days as would occupy
him two years. He was very unequal in his execution ; the
Venetians used to say that he had .three pencils : one of
gold, one of silver, and a third of iron. Annibale Carracci
well expressed his inequality in the following words " if
he was sometimes equal to Titian, he was often inferior to
Tintoretto."f
No. 16. ST. GEORGE DESTROYING THE DRAGON. The
Saint, mounted on his charger, is in the act of spearing the
dragon, on the brink of the lake : on the ground before
the knight is the dead body of a man : the exposed princess,
for whom the knight ventured on his perilous exploit, is
kneeling in the fore-ground.:}:
Engraved by G-. Corbould, for Jones's National Gallery. On
canvas, 5 ft. 2 in. h. by 3 ft. 3 in. w.
Bequeathed to the National Gallery, in 1831, by the Rev.
W. H. Carr.
-,,,.-. , ,
TITIAN.
TIZIA'NO VECE'LLIO, commonly called TITIAN, was born
in 1477, at Capo del Cadore, a small town on the river
Piave, in the territory of Venice. He was placed, ah/wt the
age of ten, with Sebastiano Zuccati, to learn painting. He
quitted Zuccati for Gentile Bellini, but he left this painter
also shortly afterwards to study under his more eminent
brother Giovanni Bellini, with whom Giorgione, his future
rival, was his fellow-pupil. Titian first appeared as a great
* Engraved by Volpato, and by Fialletti.
f Ridolfi, Le Maraviglie dell' Arte, ovvero le Vile dcyli illustri Pittori Veneli,
Sec, ; Zanetti, Della Pittura Veneziana, e dellc opcre pubbliche de' Veneziani
Maestri ; Lanzi, Storia Pittorica, Sfc.
f See No. 75, p. 77, note.
226 TITIAN.
painter, in 1514, at the court of Alfonso I., Duke of Ferrara,
for whom he executed several celebrated works ; among them,
the " Bacchus and Ariadne," in this collection. It was during
this visit to Ferrara that he painted the portrait of Ariosto,
who thus commemorates the painter in his " Orlando
Furioso :"
Bastiano, Rafael, Tizian ch' onora
Non men Cadore, che quei Venezia e Urbino.*
After the death or owing to the great age of Giovanni
Bellini, Titian was employed to finish the works which that
painter had left incomplete in the Sala del Gran Consiglio,
in Venice, and the Senate was so well satisfied with the
manner in which he performed this task, that he was re-
warded with the office of La Senseria, with a salary of 300
crowns per annum, by which he was obliged to paint, for
eight crowns, the portrait of every Doge who might be
created in his time.f Titian now produced a succession of
celebrated works. In 1516 he painted his magnificent picture
of the " Assumption of the Virgin," for the great altar of
the church of Santa Maria de' Frari it is now in the
Academy at Venice; and in 1528 he added still more to his
reputation by the celebrated picture of " St. Peter Martyr,"
for the chapel of that saint in the church of SS. Giovanni e
Paolo. In 1530 he was invited to Bologna, by the Emperor
Charles V., who sat to him for his portrait : from Bologna
he went to Mantua, with the Duke Federigo Gonzaga, for
whom he executed several commissions. In 1532 he returned
to Bologna, and painted there a second portrait of the em-
peror, whom he is supposed to have accompanied into Spain.
Madrid still possesses some of Titian's master-pieces, which
may have been painted there during this visit. Cean Ber-
mudez assumes that Titian took leave of the emperor at Bar-
celona, ^n 1535, when the latter went on his expedition to
Africa. The emperor created Titian a Count Palatine of the
Empire, and a Knight of the order of St. lago : the patent
of nobility was dated at Barcelona, in 1535.J The whole
* Sebastiano (del Piombo), Raphael, and Titian who honours not less Cadore
than they Venice and Urbino. Cant xxxiiL st. 2.
f Titian painted, by virtue of this office, the portraits of Pietro Lando, Fran-
cesco Donato, Marcantonio Trevisano, and the Venieri ; the last two doges
of his time he was unable to paint on account of the infirmities of age.
{ Ridolfi says 1553 ; but Cean Bermudez, in his Diccionario, Sfc., has shown
that this is scarcely possible, and has conjectured that the date 1553 is an
error of the copyist for 1535.
TITIAN. 227
story of the visit to Spain is, however, doubted by Italian
writers. In 1543, when Pope Paul III. was at Bologna, he
invited Titian to that place to paint his portrait. Titian
painted Paul III, a second tune, two years afterwards, at
Rome, during the painter's only visit to the great capital of
the arts ; but in this second picture, one of the most cele-
brated of his portrait-pieces, he introduced the Cardinal, and
the Duke Octavio, Farnese, the pope's relatives. According
to Vasari, the pope offered Titian the place of Sebastiano
del Piombo, who died in 1547 ; but if the biographer is
correct, that offer must have been made after Titian's return
to Venice. He appears to have left Rome in May 1546.
The offer was declined.
During Titian's stay in Home, Michelangelo visited him,
in company with Vasari, in the Belvedere, where he was
engaged on a picture of Jupiter and Danae. Vasari states
that Michelangelo praised the picture very much when in
Titian's presence, and that he spoke highly of the colouring
and execution afterwards, but at the same time he expressed
his regret to Vasari that the Venetian painters had not a
better method of study, and were not early initiated in sound
principles of drawing ; adding " if Titian had been as much
assisted by art as he is by nature, nothing could surpass
him."
After the abdication of Charles V, Titian found as great
a patron in his son Philip II., and when, hi 1554, the painter
complained to Philip of the irregularity with which a pension
of 400 crowns granted to him by the emperor was paid to
him, the king wrote an order for the payment to the governor
of Milan, concluding with the following words : u You know
how I am interested in this order, as it affects Titian :
comply with it therefore in such a manner as to give me no
occasion to repeat it."
Vasari paid Titian a second visit in 1566, but this time
in Venice, and although he was then nearly ninety years of
age, Vasari found him with his pencil in his hand, and states
that he derived great pleasure from his conversation. This
great painter died at Venice, of the plague, in 1576, having
attained the unusual age of ninety-nine years.
To be enabled to appreciate fully the extraordinary powers
of Titian, it is necessary to examine his works at Venice;
after Venice he is seen to most advantage at Madrid. His
P2
228 TITIAN.
scholars were not numerous ; the most distinguished are Paris
Bordone, Bonifazio Vencziano, Girolamo di Tiziano, and his
own son Orazio Yecellio. Titian is said to have engraved
on copper and on wood.*
No. 3. A CONCERT, or a MAESTRO DI CAPPELLA GIVING
A Music LESSON. Five figures, half-length, of the natural size.
Engraved by H. Danckerts ; by J. Groenswelt; and by J. Garner,
for Jones's National Gallery. On canvas, 3 ft. 2 in. //. by 4 ft.
1 in. w.
Part of the Mantua Collection, purchased by Charles I., in 1630.
It is mentioned in Vanderdoort's Catalogue as a " Music Party."
Formerly in the Angerstein collection, with which it was pur-
chased by Parliament for the nation in 1 824.
No. 4. A HOLY FAMILY ; a Shepherd adoring : land-
scape, back-ground. Composition of four small figures.
Engraved by J. Rolls, for Jones's National Gallery. On canvas,
3 ft. 5i in. h. by 4 ft. 8 in. w.
Formerly in the Borghese Palace at Rome. Bequeathed to the
National Gallery, in 1831, by the Rev. W. H. Carr.
No. 32. THE RAPE OF GANYMEDE. Ganymede, son of
Tros, one of the early kings of Troy, was carried off by an
eagle to Olympus to be the cup-bearer of Jupiter. The
beautiful youth, represented naked, with a bow in his hand,
is being carried upwards by the eagle : a flowing red- coloured
scarf gives effect and lightness to the composition. Figure
of the natural size.
Engraved by G. Audran ; by D. Cunego, for the Schola Italica,
Sfc. ; and by J. Outrim, for Jones's National Gallery. On canvas,
an octagon, 5 ft. 8 in. each way.
Painted for a compartment of a ceiling ; it corresponds with the
description of the picture mentioned by Ridolfi originally in the
Casa Sonica at Padua, painted by Damiano Mazza, a scholar of
Titian's. That picture was generally reported to be by Titian,
and was sent elsewhere as such. The picture above described was
formerly in the Colonna Palace ; the back-ground is a restoration
by Carlo Maratta.f It was brought to England in 1800 by Mr.
Day, and subsequently formed part of the Angerstein collection,
with which it was purchased for the nation, in 1842.
* Vasari, Vile de' Pittori, fyc. ; Ridolfi, Le Maraviglie dell' Arte, Igc.; Zanetti,
Delia Pittura Veneziana, Sfc.; Cadorin, Dello Amore di Veneziani di Tiziano
Vecellio ; Cean Bermudez, Diccionario Historico, $c. ,- Northcote, The Life of
Titian, with Anecdotes of the distinguished persons of his time, London, 1830.
f Ridolfi, Maraviylie, &c. i. 290. Moschini, Delia Pittura in Padova, p. C9.
Raindohr, Ucber Malerei, $c., in Rom, ii. 72.
TITIAN. 229
No. 34. VENUS AND ADONIS ; sometimes described as
Cephalus and Procris: it was known under this title when in
the Colonna Palace at Rome.* Venus withholds Adonis
from the chase, while the young huntsman, holding his hounds
in a leash with one hand and his spear with the other, is
making an effort to free himself from the embrace of the
enamoured goddess : Cupid is seen asleep in the back-
ground.
Engraved on a large scale by Jul. Sanuto, the painter's con-
temporary ; in small, by R. Sadeler, sen. ; by Sir R. Strange ; and
by W. Holl, for Jones's National Gallery. On canvas, 5 ft. 9 in. h.
by 6 ft. 2 in. w.
Formerly in the Colonna Palace at Rome. Imported by Mr.
Day in 1800, subsequently in the collection of Mr. Angerstein,
with the rest of whose pictures it was purchased for the nation,
in 1824. Titian painted several repetitions of this picture, with
slight variations.
No. 35. BACCHUS AND ARIADNE. Ariadne, daughter of
Minos, king of Crete, deserted by Theseus, on the island of
Naxos, is discovered by Bacchus, when returning with a train
of nymphs, fauns, and satyrs from a sacrifice. The god no
sooner sees the hapless princess than he becomes enamoured
of her. Ariadne is on the left ; Bacchus is represented in the
centre of the picture leaping from his chariot to approach
her : to the right, in the boisterous train of the god, is seen
the drunken Silenus riding on an ass. Above Ariadne is the
constellation of the golden crown with which Bacchus pre-
sented her, on her becoming his bride.f The back-ground is
a glowing landscape, with a view of the sea, on which the
departing ship of Theseus is seen in the distance. Compo-
sition of ten figures.
Etched by G. A. Podesta ; and by J. Juster in 1691 ; and
engraved in small in Jones's National Gallery. On canvas,
5 ft. 9 in. h. by 6 ft. 3 in. w.
Painted in 1514, at Ferrara, for the Duke Alfonso I. It was
subsequently in the possession of the Barberini family, and after-
wards in the Villa Aldobrandini at Rome, from which it was
purchased by Mr. Irvine for Mr. Buchanan in 1 806, and brought
* Ramdolir, Ucber Malerci, r., in Horn, ii. 72.
f For the story of Bacchus and Ariadne, see Keightk-y's Mylitoloyy. This
composition appears to be taken from Catullus, car. L\iv. 251. See Notts'
Translation.
230 TITIAN.
to England. It passed into the possession of Mr. Hamlet, of whom
it was purchased for the National Gallery, in 1826.
No. 224. THE TRIBUTE MONEY.
"Tell us therefore, -what thinkest thou? Is it lawful to give tribute unto
Caesar or not?"
" And he saith unto them, Whose is this image and superscription ? They
say unto him, Caesar's. Then saith he unto them, Render therefore unto Crcsar
the things which are Caesar's; and unto God the things that are God's."
Matthew xxii 17 21.
Three figures, half-length.
Engraved by Martin Rota. On canvas, 4 ft. h. by 3 ft. 4-| in. w.
Purchased at the sale of Marshal Soult's collection, for the
National Gallery, in 1852.
No. 270. CHRIST APPEARING TO MARY MAGDALEN AFTER
HIS RESURRECTION, commonly called " NOLI ME TANGERE,"
from the words of the Latin Vulgate.
" Then saith Jesus unto her, Touch me not ; for 1 am not yet ascended to my
Father." John xx. 17.
The Magdalen is represented kneeling before Christ,
who is partially clad in white drapery, and with a hoe in
his hand. The scene is a landscape, in which a solitary tree
in the middle ground is a conspicuous object ; in the back-
ground, on a hill to the spectator's right, are some prominent
buildings ; on the left is a view of a distant country.
Engraved by Nicolas Tardieu. On canvas, 3 ft. 6^ in. //. by
2 ft, 111 in. w ,
From an autograph note to Mr. Rogers's catalogue, it appears
that this picture was formerly in the cabinet of the Muselli
family, at Verona ; it was afterwards in the Orleans collection,
whence it passed into the possession of Mr. Champernowne ; at
his sale, in 1820, it was purchased by Mr. Rogers, who bequeathed
it in 1855 to the National Gallery.
No. 635. THE MADONNA AND CHILD WITH ST. JOHN
THE BAPTIST AND ST. CATHERINE embracing the Divine
TEEVISO, G. DA. 231
Infant. A hilly landscape, evening ; the Angel appearing
to the Shepherds in the distance. Signed TICIAN. Small
figures.
On canvas, 3 ft. 3 in. h. by 4 ft. 7 in. w. Engraved badly
by Charles Andrau.
Formerly in the Sacristy of the Escurial, in Spain, where
it was possibly painted ; it has the Escurial mark N. 78 Di.
Titi. Subsequently in the Coesvelt Collection. Purchased at
Paris from M. Edmund Beaucousin, in 1860.
TICIAN
No. 636. PORTRAIT OF ARIOSTO, in a low crimson and
purple dress, showing his neck and shirt; with a gold
chain on his neck, and fur hanging over his shoulders, and
holding in his left hand, which rests on a book, a rosary.
In the background a laurel bush. Ariosto, the author of
Orlando Furioso, and the friend of Titian, who painted him
more than once,* was born on the 8th of September 1474 ;
he died June 6th, 1533. Half-length, full size.
Transferred from wood to canvas, 2 ft. 3^ in. h. by 2 it. w.
Apparently the portrait described by Ridolfii as then in the
possession of Niccolo Renieri. Transferred to canvas by Paul
Kiewert at Paris, in 1857. Formerly in the possession of Mr.
Tomline. Purchased at Paris from M. Edmond Beaucousin, in
I860.
TREVISO, G. DA
GIROLAMO DA TREVISO, the son and pupil of Piermaria
Pennacchi, was born atTreviso in 1497. He painted chiefly
in Bologna, Venice and Genoa ; was an imitator of Raphael,
and was a good portrait painter. He left Genoa on account
of the too powerful rivalry of Perino del Vaga, and
finally came to England, where he entered the service of
Henry VIII., as architect and engineer. There are a few
works by Girolamo still preserved at Bologna, but his
pictures are very scarce. The " Adoration of the Kings,"
painted by him from the drawing of that subject by
Baldassare Peruzzi, No. 167, which was presented to the
Gallery by Lord Vernon, is probably the picture from that
drawing, No. 218, in this collection. Girolamo was killed
by a cannon ball in 1544, near Boulogne, while acting as an
* The woodcut profile of Ariosto in the edition of the Orlando Furioso of
1532, copied in the edition of Mr. Panizzi of 1834, was from a drawing by
Titian. r
232 TUKA.
engineer in the service of Henry VIII., when in his 47th
year only.*
No. 623. THE MADONNA AND CHILD ENTHRONED, under
a canopy, with Saints Joseph, James, and Paul ; the last
is presenting the donor, the patron of the Boccaferri chapel,
to the infant Christ ; behind the throne are some angels
playing musical instruments. The view of a town in the
background.
On wood, 7 ft. 5^ in. h. by 4 ft. 10 in. w. Engraved on wood
by Gmo. Gandini.
Signed leronimus Trevisius P., and mentioned by Vasari as
the best of the painter's works " la migliore delle cose sue"
(vol. iv. p. 52, ed. Le Monnier). It was formerly the altar-piece
of the Boccaferri chapel in San Domenico in Bologna, from which
it was sold and removed to Imola between 1706 and 1733.f It
passed subsequently into the Solly collection. Purchased at
Cheltenham, at the sale of the Northwick pictures, in 1859.
IEROMIMVSTREVIS1VS f-
TURA.
COSIMO TURA, called COSME, was born in Ferrara about
1418,| and was the pupil of Galasso Galassi, whom he .sur-
passed in drawing, invention, and vivacity, but he did not
emancipate himself from the dryness of manner of his master.
He is called the Maiitegna of Ferrara.
Cosimo succeeded Piero della Francesca as painter to the
Duke of Ferrara, and he executed the fresco decorations of
the new palace of Schifanoja, or Scandiana, for the Duke
EJrcole. The works executed by Piero were destroyed
with the old palace in 1469. The decorations of Cosimo,
commenced about 1471, were in twelve divisions, illustra-
ting the achievements of Ercole's brother, the Duke Borso ;
they were long neglected, but seven of them were recovered
from whitewash and oblivion in 1840, by Sig. Al. Cam-.
* Vasari, Vite, $c. Federici, Memorie Trcvigiane su le opere di Disegno,
fee,., 1803, professes to correct Ridolfi who gives 1508 as the year of
Girolamo's birth.
j Zanotti, Le Pitlure di Bologna, ed. 1706, p. 241, where this picture is
described ; in the edition of 1733 the notice of it is omitted.
\ Assuming that he did not exceed the age of 63. See Baruflaldi, Vile, frc.
vol. i. p. 83 n.
Near Sant' Andrea, now a tobacco manufactory.
TURNER. 233
pagnoni.* Many of Cosimo's pictures also are preserved at
Ferrara in the Costabili collection, in which are the two
organ doors of the Cathedral, representing St. George and
the Annunciation, painted in 1469, and reputed by some to
be the painter's masterpieces. In the Strozzi Palace, at
Ferrara, is a portrait of Tito Strozzi, the poet, by Cosimo.
Cosimo Tura was still living on the 8th of February, 1481,
the date of a contract entered into by him ; he was buried
in San Giorgio, in Ferrara, at the entrance of the Cam-
panile, but the date of his death is not known.f
No. 590. CHRIST PLACED IN THE TOMB, by St. John
the Baptist and Joseph of Arimathea. Three small half-
figures.
Iii tempera, on wood, 10^ in. h. by 8 in. w.
Formerly in the possession of Professor llosini, at Pisa. Pur-
chased at Florence, from the Lombardi-Baldi Collection in 1857.
TURNER.
JOSEPH MALLORD WILLIAM TURNER was born in the
spring of 1775, in Maiden-lane, Co vent Garden, where his
father carried on the business of a hair-dresser ; he was
christened in St. Paul's, Covent Garden, in May of that
year. The friendship of Girtin, the water-colour painter,
and the privilege of copying a collection of drawings in the
possession of Dr. Monro, of the Adelphi, gave facilities for
the development of the young painter's talent at an early age.
Turner entered as a student of the Royal Academy in 1789,
and he exhibited a drawing the following year; in 1799
he was elected an associate, and in April ] 802 he became a
member of the Academy. In this year he visited France
and Switzerland. In 1807 he was elected Professor of
Perspective in the Royal Academy, in which office he suc-
ceeded Edwards. In 1807 he commenced to publish his
" Liber Studiorwm" or book of sketches in imitation of
Claude's " Liber Veritatis :" and for a few years during
* II Conto Laderchi, Dcscrizione del dipinti di Schivanoja, Ferrara, 1836, and
Baniffaldi, vol. i. p. 84, 1844.
f Baruffaldi, Vite de' Pittori e Scultori Fcrraretii, vol. i., Ferrara, 1844. II
Conte Laderchi, La Pittura Ferrarese, Ferrara, 1857.
234 TURNER.
this period of his life he painted in emulation of the style of
Claude. In 1812 he built a house in Queen Anne Street
West, No. 47, which he retained until his death, and in
which he had a gallery where he for many years exhibited
some of his pictures. Turner visited Italy three times :
in 1819, in 1829, and about 1840.
After a life of almost unrivalled success, and an industry
unsurpassed, this great landscape-painter died, unmarried,
and under an assumed name, at an obscure lodging at
Chelsea, December 19th, 1851. He was buried by the
side of Sir Joshua Reynolds, in the crypt of St. Paul's
Cathedral. His large fortune, both in pictures and in
funded property, he bequeathed to his country; his
finished pictures to the nation, on condition that the
Government should provide suitable accommodation for
them within ten years ; and his funded property towards
the establishment of an institution for the benefit of
decayed artists.*
Turner's career comprehends, independently of his imita-
tions of Claude, three distinct styles, in the first of which,
previously to 1802, he was more remarkable as a water-
colour painter ; his early drawings are conspicuous for their
careful completion, subdued colour, and effective light and
shade ; his earliest oil pictures resemble those of Wilson in
style. In middle life, from about 1802 until about 1830,
or his second visit to Rome, he was as distinguished for a
masterly and vigorous execution and an unrivalled brilliancy
of colouring ; the majority of his greatest works belong to
this time, from his "Calais Pier," 1803, to the "Ulysses
deriding Polyphemus," 1829. During the last twenty years
of his life, light, with all its prismatic varieties, seems to
have chiefly engrossed his attention, yet some few of his
finest works belong to this period, as his " Childe Harold's
Pilgrimage," exhibited in 1832, and the " Temeraire/'
exhibited in 1839. His later pictures are painted on a
white ground. Specimens of all his styles are numerous,
* The will -was disputed, but in accordance with a compromise between the
parties in litigation, it was decided by an order of the Court of Chancery, dated
March 19th, 1856, that all pictures, drawings, sketches, finished or unfinished,
by the hand of Turner, should belong to the nation, and that all engravings
should belong to the next of kin. The finished pictures thus acquired for the
National Gallery amount to about oue hundred in number.
UCCELLO. 235
independent of book illustrations and other small water-
colour drawings, for Turner was a large contributor to the
annual exhibitions of the Royal Academy, having exhibited
nearly 300 drawings and pictures on its walls.*
No. 479. THE SUN RISING IN A MIST, fishing-boats
arriving and unloading, fishermen cleaning and selling fish ;
guard-ship in the distance : tide low.
On canvas, 4 ft. 4 in. h. by 5ft. 10 in. w.
Engraved by J. C. Armytage, for the "Turner Gallery."
No. 498. DIDO BUILDING CARTHAGE. A river scene
with the sun in the centre of the picture ; a bridge in
front, and piles of classic architecture, completed and in
progress, on either side ; high banks and rocks in the back
ground. Dido, Queen of Carthage, is seen surrounded by
her people on the left.
On canvas, 5 ft. ^ in. h. by 7 ft. 5^ in. w.
Engraved by J. A. Prior and by E. Goodall, for the " Turner
Gallery."
These pictures were considered by Turner two of his best works,
and were bequeathed by him to the National Gallery, on condition
that they should be hung between two Claudes, now placed by
their side. " The Sun Rising in a Mist " was exchanged for the
" Shipwreck," painted in 1805, and purchased by Sir John F.
Leicester, afterwards Lord De Tabley, and at the sale of the DC
Tabley pictures., in 1827, it was repurchased by Turner. " The
Sun Rise" was exhibited in 1807, the "Carthage" in 18 15, and both
belong to the painter's most vigorous period. They were placed in
the gallery in 1853. On the extreme left of the Dido is inscribed,
with Turner's name and the date of the picture, " Dido Building
Carthage, or the Rise of the Carthaginian Empire."
UCCELLO.
PAOLO Dl DONO, commonly called, from his love of
painting birds, PAOLO UCCELLO, -f- was born at Florence
in 1396-7,| and was originally brought up as a goldsmith.
He was one of the assistants of Lorenzo Ghiberti in
* The Royal Acadamy Catalogues; Art Journal, Jan. 1852 and Jan. 1857 ;
Athenceum, Dec. 1851, Jan. 1852; also Turner and Ids Works; illustrated with
examples from his pictures and Critical Remarks on his Principles of Painting,
By John Burnet. The Memoir by Peter Cunningham. 1852. " The Turner
Gallery, a series of sixty engravings from the pnncipal works of J. M.
W. Turner. With a Memoir and illustrative text by Ralph Nicholson Wornum,
Sfc." Folio, London. 1861.
f Vasari, Vite, 8fc., Ed. Lc Monnier, vol. iii. p. 91.
I Gaye, Cartegyio Inedito d'Artisti, vol. i. p, 146.
236 UCCELLO.
preparing the first pair of the celebrated gates made by
Lorenzo for the Baptistery of Florence.
The majority of Paolo's works have perished. He painted
the stories of Adam and Eve, and of Noah, in one of the
cloisters of Santa Maria Novella, in Florence, of Avhich
traces still remain. And in the Cathedral of Florence there
is still a colossal equestrian figure of John Hawkwood, an
English adventurer and soldier of reputation, who died in
the Florentine service in 1393. It is a chiaroscuro in terra
verde : on the pedestal of the horse is written PAULI
UCCELLI OPUS.* He painted some giants in the same
method in the Casa de' Vitali in Padua, which, says Vasari,
were greatly admired by Andrea Mantegna.f
In the gallery of the Louvre is a panel by Paolo Uccello,
containing the heads, life-size, of Giotto, Donatello, Briujel-
leschi, Giovanni Manetti, and himself, representing painting,
sculpture, architecture, mathematics, and perspective.
Paolo read geometry with Manetti, and was passionately
devoted to the study of perspective, over which, says
Vasari, he wasted so much of his time, that he became
" more needy than famous. "| He does not, however, appear
to have been very poor, as he lived in his own house, which
lie bought, in 1434, for 100 florins. He died at Florence,
aged eighty-three, in 1479.
No. 583. THE BATTLE OF SANT' EGIDIO, July 7,
1416, in which Carlo Malatesta, Lord of Rimini, and his
nephew Galeazzo, were taken prisoners by Braccio di
Montone. II
* In 1 842, about four centuries after it -was painted, this picture was trans-
ferred from the wall to canvas, and is now placed over the door of one of the
aisles, in the Cathedral.
f Each giant was painted in a single day, and at the price of a ducat, very
high pay for a day's work, compared with the general accounts of the time.
Morelli, Notizia ifopere di Disegno, Sfc., 1800, p. 23.
{ His wife complained to her friends that he sat up the whole night studying
the rules of his favourite science, and that the only answer she got to her re-
monstrances was, Oft.' che dolce cosa e questa prospettiva, " What a delightful
thing is this perspective." -Vasari, Vite, Sfc., vol. iii., p. 99.
Gaye, Carteggin Inedito, tfc. Vasari, Vite, Sec.
jj This battle took place on a plain between Sant' Egidio and the Tiber, on
the road to Assisi, and Malatesta was captured during a repose in the fight,
when his men went down to the river to drink. Campanus hi Vita Brachii
Perusini. See Muratori, Rcrum Itnlicarum Scriptores, vol. 19, p. 529. and in
the Chronicon Forolivicnse, p. 883; also in the Cronaca Rimincse, vol. 15, p. 927.
See also the Annali of Muratori, vol. 13, p. 149.
VANDER HELST. 237
From the fragments of arms, &c., strewed upon the ground,
the battle has been already fought ; and the incident repre-
sented appears to be an attempt at rescue ; which supposition
is strengthened by the fact that Malatesta is marching under
a strange standard. Of the many armed knights on horse-
back represented, only four are engaged, but all except
Malatesta and his nephew have their faces concealed by their
visors. The young Galeazzo, not yet a knight, carries his
bassinet in his hand. The figure lying on the ground to the
left is an illustration of the painter's love of foreshortening.
In the background is a hedge of roses mixed with pome-
granate and orange trees, and some hilly ground behind.
In tempera, on wood, 6 ft. h. by 10 ft. 5 in. w.
One of four battle pieces originally painted for the Bartolini
family in Gualfonda ;* subsequently the property of the Giraldi
family in Florence, from whom it was obtained in 1844 by the
late proprietors. Purchased at Florence from the Lombardi-Baldi
Collection in 1857.
VANDER HELST.
BARTHOLOMETJS VANDER HELST, one of the most dis-
tinguished of the Dutch portrait-painters, was born at
Haarlem in 1613. His masterpiece, the Schuttersmaaltyd, in
the Museum at Amsterdam, is one of the most remarkable
productions of the Dutch School of Painters. It contains
thirty-five portraits of the natural size, twenty-four of which
are named on the picture, and represents a banquet given by
a company of tfre civil-guard of Amsterdam, in commemora-
tion of the Peace of Munster. in 1648: the Spanish Ambas-
sador is present at the feast. Sir Joshua Reynolds observes
of this work " This is, perhaps, the first picture of portraits
in the world, comprehending more of those qualities which
make a perfect portrait than any other I have ever seen."-f*
Vander Heist died at Amsterdam in 1670.J
No. 140. PORTRAIT OF A LADY, standing ; half-length.
On wood, 2 ft. 91 in. h. by 2 ft. 1\ in. w .
Dated 1647. Bequeathed to the National Gallery, in 1837, by
Lieut. Col. Ollney.
* Vasari, Vite, &:c., vol. iii., p. 96, note 2. The annotators notice the ex-
cellent state of preservation of this picture.
f Journey to Flanders and Holland.
| Houbraken, Groote Schouburg, Sfc. ; Immerzeel, Levens en Werhen, Sfc.
238 VANDER MEIRE.
VANDEE, MEIRE.
GERARD VANDER MEIRE, born probably at Ghent not
earlier than 1410, is said to have been the scholar of Hubert
Van Eyck. His name occurs in the list of the corporation
of Painters of Ghent first in 1452; and in 1474 he was
elected one of the two sworn members of the corporation
for that year. The earliest picture by him recorded is
the portrait of a nun of St. Clara, Collette, who died at
Ghent in 1447: he also painted a picture of the Virgin
for the church of St. John at Ghent. The chief of his re-
maining works is the altar-piece of St. Bavon, representing,
in the centre, Christ on the cross between the two thieves,
a composition of many figures ; on the right, the brazen
serpent, on the left, Moses striking the rock.
Vander Meire is considered to approach nearer to the
execution of the Van Eycks, or rather of Hubert, than
any of the school ; there is the same laborious elaboration
of costume, but his forms are considered elongated, his
light and shade weaker in effect, and his colouring inferior
to that of the Van Eycks. The landscape was an important
accessory in his works. He is probably the Gerard van
Ghent who contributed, with Meinling, to the miniatures of
the celebrated Missal in the Library of St. Mark at Venice
The majority of his pictures were destroyed by the icono-
clasts of the 16th century, during the religious disturb-
ances in the Netherlands.
Gerard had a brother, Jan Vander Meire, who died at
Nevers in 1471.*
No. 264. A COUNT OF HENEGAU WITH HIS PATRON SAINT,
AMBROSE. The count is represented as a Carmelite monk
praying, in bishop'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 cross in his left hand, and a scourge
in his right. The execution of the costume, jewellery, &c., is
extremely elaborate. Small figures, half-length.
*Busscher, Notice sur VAncienne Corporation des Peintres et Sculpteurs
a Gand, 8vo, Brussels, 1853 ; Passavant, Kunstreise durch England und
Belgien, fyc.; Rathgeber, Annalen der JYiederlandischen Makrei; Michiels, 7/i.v-
toire de la Peinture Flamande et Hollandaise,
VANDER NEER; A, 239
On wood, 2 ft. 41 in. h. by 9 in. w.
Purchased for the National Gallery with other pictures in the
Collection from Herr Kriiger of Minden, in 1 854.
VANDER NEER, A.
AART or ARTHUR VA.NDER NEER was born probably at
Gorinchem, about 1613 or 1619: the exact date is not
known ; nor is it known under what painter or painters he
studied. He lived chiefly at Amsterdam; but at the close of
his life he appears to have resided at Rotterdam, where he
was still living in 1691.*
Aart Vander Neer excelled in moonlight scenes. He was
the father of Eglon Yander 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.
Ji.G,
Engraved in the Galerie de Lucien Bonaparte. On canvas,
3 ft. 11 in. h. by 6 ft. 3^ in. w.
Formerly in the collections ofM.Erard, and Lucien Buonaparte.
Bequeathed to the National Gallery by Lord Farnborough, in 1838.
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. 6^ 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.
* Van Eynden and Vander Willigen, Geschiedenis der Vaderlandwhe
Schilderkunst, fyc. ; Immerzeel, Levens en Werken, Sfc.
240 VANDER WEYDEN.
VANDER WEYDEN.
ROGER VANDER WEYDEN the elder, called by Vasari Rug-
gieri da Bruggia, and Rogerius Gallicus by Facius,* was
a native of Brussels, where he was born at the close of the
fourteenth century : lie was already a painter of reputation
as early as 1430. Roger is considered the most able of the
scholars of the Van Eycks, whose style he carried to Brus-
sels and even to Italy ; he was appointed painter to the
city of Brussels in 1436, and in 1449 he visited Italy, and
was present at Rome at the celebration of the jubilee in
1450. He died at Brussels, June 16th, 1464, aged upwards
of sixty, and was buried in the church of Saint Gudule.
Vander Weyden, says Van Mander, greatly reformed the
Flemish style of design ; he was a great master of expres-
sion, and though his outline is generally harder than John
Van Eyck's, his heads are often much softer in their charac-
ter. He painted in distemper and in oil, and was the first
to paint on fixed canvases for the decoration of rooms, and
appears also to have been the first to prefer linen cloth to
wood, to paint upon.f
No. 664. THE DEPOSITION IN THE TOMB : Joseph of
Arimathsea, St. John, the Virgin Mary, &c. Composition
of eight small figures in a landscape ; woody distance.
In tempera on linen, 2 ft. 10 in. h. by 2 ft. 4 in. w.
Purchased in Milan from the representatives of the Guicciardi
family, in 1860.
VANDER WEYDEN.
ROGER VANDER WEYDEN the younger, probably the
son or grandson of the elder painter of that name, was
born at Brussels about 1450, and died of the Suette at
Antwerp in 1529. He was a member of the Academy
* De viris illustribus, &c., Flor. 1745, p. 48. Facius notices (1456) some
pictures by Roger, in the possession of Alphonso, King of Naples, on linen,
" nobiles in linteis pictura?,'' such probably as the present example is painted
on.
fVan Mander, Het Schiluer Votk, &c. ; Passavant, Kunstblall, 1843 ;
Michiels, Zes Pelntres Brugeois, 1846 ; Waagen, Handbook of Painting,
1860.
VANDEVELDE. 241
of Antwerp, but the circumstances of his life are not
known.*
No. 653. PORTRAITS OF HIMSELF AND WIFE ; the
painter wearing a red turban, his wife with a white cloth
on her head. Busts, life size.
On wood, each panel 16 in. h. by 11 in. iv.
No. 654. THE MAGDALEN, in a green dress, and gold
brocaded petticoat, seated, reading a book ; before her on
the floor is a small vase. Entire small figure.
On wood, 2 ft. h. by 1 ft. 8 in. w.
Both pictures purchased at Paris from M. Edmond Beaucousin,
in 1860.
VANDEVELDE.
WILLIAM or WILLEM VANDEVELDE the younger, a dis-
tinguished Dutch marine painter, was the son of the elder
"William Vandevelde, and was born at Amsterdam in 1633 ;
he was instructed by his father, and by a marine painter of
the name of Simon de Vlieger. Both the Vandeveldes were
established in England in the service of Charles II. in 1675.
They were each granted a pension of 1007. per annum by
the King ; the father " for taking and making draughts of
sea-fights," and the son " for putting the said draughts into
colours."! These painters lived at Greenwich, where the
father died in 1693, aged 83 ; the son died in London in
1707.
" William Vandevelde, the son," says Walpole,:}: " was the
greatest man that has appeared in this branch of painting ;
the palm is not less disputed with liaphael for history, than
with Vandevelde for sea-pieces."
No. 149. A CALM AT SEA.
On wood, 8 in. /*. by 11 in. w. Signed
w.v.v.
No. 150. A FRESH GALE AT SEA.
On canvas, 9 in. h. by 13 in. w. Signed
w.v.v,
Bequeathed to the National Gallery, in 1838, by Lord Farn-
borough.
* Van Mander, Het Leven der Schilders, &c.
f The "Draughts" alluded to, of the elder Vandevelde, were generally drawn
on prepared canvas, in pen-and-ink.
| Anecdotes of Painting,
Q
242 VANDYCK.
VANDYCK.
ANTONY VANDYCK was born at Antwerp, March 22, 1599.
His father, Frans Vandyck, 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 1007. He became the pupil of Hcndrik- Van Balen so
early as 1609 ; but Vandyck's great instructor was Rubens,
with whom he lived about four years. He was still acting
as Rubens'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 ad-
vice 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 Palermo.
Shortly after his return to Antwerp, in 1628, he painted a
picture of St. Augustin, for the church of the Augustines of
that city, which established his celebrity as one of the first
masters of his age ; this was followed by a still more cele-
brated work, the Crucifixion, for the church of Sfc Michael
at Ghent ; and he soon acquired an unrivalled reputation as
a portrait-painter.
About the year 1630-31, Vandyck appears to have visited
England, but not meeting with that reception which he hail
anticipated, he returned after a short time to his own country :
lie had already visited England before, in 1621, previous to
his journey to Italy. f In 1632, however, Charles I., who had
seen a portrait of Nicolas Laniere, his chapel-master, by
Vandyck, sent 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. Vandyck settled for the remainder of his life in
England, where his very successful career as a portrait-painter
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 magni-
ficently dressed, had a numerous and gallant equipage, and
* Catalogue du Muste d'Anvers, 1857.
f See W. Carpenter, Memoir of Sir Anthony Vandyck, Sfc. Luadon, 1844.
VANDYCK. 243
kept so good a table in his apartment, that few princes were
more visited or better served."*
Vandyck died in London, December 9, 1641, in the forty-
third year of his ago : 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 Lord Ruthven, Earl of Gowrie. Not-
withstanding his expensive style of living, Vandyck left pro-
perty to the value of about 20,0007. sterling, f Of the
numerous portraits executed by this painter the best are in
England ; there are also several etchings by his hand.J
No. 49. THE PORTRAIT OF RUBENS, half-length, stand-
ing, his left arm leaning on a table ; to the right are parts of
two other figures, pointing to a piece of sculpture.
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.
Formerly in the possession of Sir Joshua Reynolds, by whom
the picture was much prized. It passed subsequently into the
Angerstein collection, with which it was purchased in 1824.
No. 50. THE EMPEROR THEODOSIUS REFUSED ADMISSION
INTO THE CHURCH BY ST. AMBROSE. The Emperor Theo-
dosius, after the massacre of Thessalonica in the year 390, was
placed under the ban of the Church, and on his attempting
afterwards to. enter the Cathedral of Milan he was repulsed at
the door by the Archbishop Ambrose. Composition of, in
all, eleven, but only four principal figures.
Engraved by R. W. Sievier ; by J. H. Robinson, for the As-
sociated Engravers ; and by S. Freeman, for Jones's National
Gallery. On canvas, 4 ft. 10 in. h. by 3 ft. 9 in. w.
Copied, with slight alterations, from the original picture by
Rubens, in the Imperial Gallery at Vienna, of which there is a
large print by J. M. Schmutzer. This picture was formerly in tlie
possession of the Earls of Scarborough, from whom it passed into
that of Mr. Angerstein, and was purchased by Parliament for the
nation, with the rest of that gentleman's pictures, in 1824.
* Graham, Essay towards an English School, at the end of the Translation
of De Piles. London, 1706.
f Houbraken, Groote Schouburg, Sfc. ; Bellori, Vite de" Pittori, Sfc. ; Des-
camps, La Vie des Peintres Flamands, 8fc. ; Walpole, Anecdotes of Painting
in England, -c. ,- W. Carpenter, Memoir of Vandyck.
\ See the Catalogue in Carpenter's Memoir, fyc. For a list of his pictures,
see Smith's Catalogue liaisonne, T.
Gibbon, Decline and Fall, c. xxvii.
Q 2
24f4 VELAZQUEZ.
No. 52. PORTRAIT OF A GEXTLEMAX, commonly called
GEVARTIUS. It has been generally supposed to represent
Caspar Gevaerts, or Gevartius, the intimate friend of Kubens.*
Bust.
Engraved by Sievier ; by T. Woolnoth; by G. T. Doo, R.A., for
the Associated Engravers ; and by J. Rogers, for Jones's National
Gallery. On wood,f 2 ft. 7 in. h. by 2 ft. 2 in. w.
Formerly in the Angerstein collection. Purchased by Parlia-
ment for the nation in 1824.
No. 156. A STUDY OF HORSES. In the upper part of
the picture is the sketch of a zephyr's head. The painter
intended to represent in this study the horses of Achilles,
Xanthus arid Balius, the offspring of Zephyr.]: Equi Achillis,
and some other words now illegible, arc written on a scroll
in the lower corner of the picture to the left.
On wood, 3 ft. 6 in. //. by 2 ft. 11 in. w.
Formerly in the Delme collection ; afterwards in that of Sir
Joshua Reynolds. Bequeathed to the National Gallery, in 1838,
by Lord Farnborough.
No. 680. THE MIRACULOUS DRAUGHT OF FISHES.
Composition of eleven small figures, with two boats.
" Cast the net on the right side of the ship, and ye shall find. They cast
therefore, and now they wiire not able to draw it for the multitude of fishes."
John xxi. 6.
" And Jesus said unto Simon, Fear not ; from henceforth thou shalt catch
men." Luke v. 10.
On paper, 1ft. 9| in. h, by 2 ft. 9^ in. 10. Engraved the same
size by S. Bolswert.
Painted by Vandyck from the large picture by Rubens at
Mechlin, for the engraver Bolswert to work from. Bought from
the Cav. RaflTaele Carelli at Naples in 1861.
VELA'ZQUEZ.
DON DIEGO VELA'ZQUEZ DE SILVA was born at Seville
in the spring of 1599, and studied painting first under Fran-
* Caspar Gevartius was born in 1593; and if the picture represents this
person, it cannot have been painted by Vandyck, as the age of the original when
this portrait was taken must have been about sixty. The Canon John
Gevartius died in 1623, when Vandyck was quite a young man, and in Italy.
See Waagen Kunstwerhe und Kunstler in England. According to some
writers, the picture represents Cornelius Vander Geest, an amateur of the
arts and intimate friend of Kubens. See Dallaway, vol. ii. p. 186, note.
f The head, which is painted upon some other material and fixed upon
or in the wood, is supposed by some critics to have been painted by Rubens, and
the dress only by Vandyck. See Passavant, Kunstreise, &,~c., and Waagen, /. /.
I Homer, 77. xvi. 146*.
* Or, as Cean Bermudez says, more correctly, Don Diego Bodriguez de
Silvay Velazquez : his father's name was Juan Rodriguez de Silva, his mother's
Geronima Velazquez.
VELAZQUEZ. 245
cisco Herrera the elder. He left this master to enter the
school of Pacheco, whose daughter he afterwards married.
In 1622, Velazquez paid a visit to Madrid ; in the follow-
ing year he was invited to return to the capital by the Duke
of Olivares, who introduced the young painter to Philip IV.,
and from this time Velazquez was established as a royal
favourite : he was appointed court painter to the king. It
was in this year, 1623, that he painted a portrait sketch of
our Charles I. when Prince of Wales.
In the summer of 1629, Velazquez made his first visit to
Italy : he spent a year in Rome, and some time in Naples,
where he contracted a friendship with his countryman Spag-
noletto: he returned in 1631 to Madrid, and was presented
by Philip IV. with a painting-room in the royal palace. At
the close of the year 1648, the king sent him again to Italy to
purchase works of art for him, and it was on this occasion that
Velazquez painted his celebrated portraitof Pope Innocent X.,
now in the Doria Gallery at Rome. After his return, the
King created him his Aposentador Mayor* and decorated
him Avith the Cross of St. lago. This post rendered it neces-
sary for Velazquez to be a constant attendant on the King's
person whenever he left the capital ; and the duties of this
office were the immediate cause of his death : it was, probably,
in consequence of the exertions he made in providing the
royal quarters on the occasion of the conference at Irun, in
June 1660, which led to the marriage of Louis XIV. with
the Infanta Maria Teresa, that he was taken ill a few days
after his return to Madrid ; he returned July 31, and died
on the 7th of August following, in the sixty-second year of
his age. He was buried with great pomp in the church of
St. Juan, and his wife followed him to the grave seven days
afterwards. -f-
Velazquez, though eminent in history, portrait, and land-
scape, belonged, like most of the painters of Spain, to the
" naturalist" school : tkGAyuador, or water-carrier, is a cele-
brated picture of his early manner. His style of execution bears
much resemblance to that of his countryman Ribera, but he is
much more extensive in his range of subjects, His greatest
* It was the duty of the Aposentador Mayor (Quarter-master) to superintend
the personal lodgment of the King during excursions.
f Ceari Bennudez, Diccionario Historico de los mas ilustres jirofesores de las
Bellas Artes en Espana. There is a critical account of Velazquez in the Penny
Cyclopaedia, by Richard Ford. See also Cumberland's Anecdotes, c.
246 VENEZIANO.
works are still at Madrid, where alone he can be adequately
appreciated. He had such mastery in execution, says Mengs,
alluding particularly to his picture of The Women Spin-
ning, Las Hilanderas* that he appears to have painted with
his will only without the aid of his hand.f The works of
Velazquez consist chiefly of portraits, among the most cele-
brated of which is one of himself painting the Infanta Mar-
garita Maria, afterwards Empress of Germany.^
Xo. 197. PHILIP IV. or SPAIN HUNTING THE WILD
BOAR. The hunt is taking place in an enclosed piece of
ground, in the front of which are many spectators; hills and
foliage occupy the back-ground. Numerous small figures.
On canvas, 6 ft. 2 in. h. by 10ft. 3 in. w.
Formerly in the royal palace at Madrid, until it was presented
by Ferdinand VII. to the late Lord Cowley, of whom it was
purchased for the National Gallery, in 1846.
No. 232. The NATIVITY, or ADORATION OF THE
SHEPHERDS, commonly called "THE MANGER" the
Presepio of the Italians. The Holy Family is in the stall
on the left, the infant Christ lying in the manger near the
head of the ox; the Virgin is uncovering him; on the right
are the adoring shepherds bringing presents according to their
means, lambs, fowls, &c. In the distance is seen the guid-
ing angel as the star of the Epiphany. Nine figures of the
natural size.
On canvas, 7 ft. 7 in. h. by 5 ft. 6 in. w.
This picture was purchased for Louis Philippe, late King of the
French, by Baron Taylor, from the Count D'Aguilar, in whose
family it had remained from the time of its being painted. It is
an early work, in the simple naturalistic manner of the painter,
in the style of Spagnoletto. It was purchased for the National
Gallery at the sale of Louis Philippe's collection in London, in 1853.
VENEZIA'NO.
BARTOLOMMEO VENEZIA'NO, a Venetian painter of the
sixteenth century, by whom three pictures only, at
present, are known : A Virgin and Child, with a land-
* Engraved by F. Montanes.
t In his letter to Ponz; it is quoted by Cean Bermudez, Diccionario, frc.,
v. 177.
J This is the picture known, from the exclamation of Luca Giordano, as La
Teologia de la Pintura : there is a Spanish print of it by D. Francisco de Goya :
it is engraved also by P. Audouin.
VERNET.
247
scape background, in the -Villa Lochis,* inscribed Bartolo-
moBUS Venetus 1505 ; a female portrait, formerly in the
Manfrini Gallery at Venice, f inscribed with the same name,
and dated 1530 ; and the male portrait, now in this col-
lection, also of the year 1530, and inscribed as below.
No. 287. PORTRAIT OF A
Martinengo, in a red mantle
and cap, the latter with a
white ostrich feather in it, the
costume of the Compagnia
della Calza. The right hand
is raised and holding a glove ;
in the background is a green
curtain. The picture is in-
scribed on a white scroll
LUDOVICUM MARTI. ^ETATIS
SUM ANNO XXVI. BARTO-
LOM. VENETUS FACIEBAT
MDXXX. xvi. ZUN. Half-
figure, life size.
On wood, 3 ft. 5 in. h. by
2 ft. 4 in. w.
Purchased, for the National
Gallery, in Venice, of the heir
of the Conte Girolamo Marti-
nengo, in 1855.
YOUNG MAN. Lodovico
MARTI
I^TATIS
SV/3
AN-XX VI
BARTOLPJ
VENETVS
FACIEBA
VERNET.
CLAUDE JOSEPH VERNET, one of the most celebrated of
the French landscape and marine painters, was born at
Avignon, August 14, 1714. He was instructed by his father
Antoine Vernet, and Adrian Manglard, a landscape painter.
He went in 1732 to Italy, with a view of improving himself
in historical painting ; but the beautiful scenery of Genoa
and Naples induced him to devote himself entirely to marine
landscape. He remained in Italy, altogether, including a
short visit to Greece, about twenty years, during a consider-
able portion of which he was in a state of great poverty ; a
picture was sold at the sale of M. de Julienne for 5,000 francs,
* La Pinacoteca e la Villa Lochis, ffc. Milano, 1846, p. 59.
f Recently purchased by Mr. Barker, of Piccadilly.
248 VERONESE, P.
which Vernct had painted for a single suit of clothes. In
1752 he was invited by Louis XV., through M. de Marigny,
to Paris : he was elected a member of the French Academy
of Arts in the following year. It was in this year also, 1753,
that he was commissioned by the French Government to paint
his celebrated pictures of the sea-ports of France. He
painted in all fifteen views,* which occupied him the greater
part of ten years : he received for each picture, including his
travelling expenses, only 7,500 francs; the king, however,
gave him apartments in the Louvre.
Vernet died at Paris Dec. 3. 1789 : he was the grandfather
of the eminent painter, M. Horace Vernet.-}-
No. 2>3. CASTLE OF SANT'ANGELO, HOME, with the
Bridge of Sant'Angelo and neighbouring buildings, and a
fete on the Tiber, representing tilting in boats, and other
festivities. Numerous small figures.
On canvas, 3 ft. 3 in. h. by 4 ft. 7^ in. IP. Engraved by P. J.
Duret.
Painted at Rome in 17oO. Formerly in the collection of the
Marquis de Villette. Presented to the National Gallery by Lady
Simpkinson, in 1853.
Jose yo k
VERONESE, PA'OLO.
PA'OLO CALIARI, or CA'GLIARI, commonly called from
his birthplace Paolo Veronese, was born at Verona in 1528,!
and was taught the rudiments of design by his father, Gabriele
Caliari, who was a sculptor ; he learnt painting of his uncle,
Antonio Badilc. After executing several works at Verona,
Mantua, and other places in the neighbourhood, by which he
acquired considerable reputation, Paolo established himself
in Venice, where he ultimately became the rival of Titian,
Tintoretto, and other great masters of the Venetian school.
* They are engraved by Le Bas, and are now in the Louvre.
f Gault de Saint Germain, Lcs trois Sieclcs de la Peinture en France, Paris,
1808; Lcs Ports de France, peinis pur Joseph Vernet, r., Paris, IS 12 ;
Bioyraphie Univcrselle.
J According to Zanetti ; Ridolfi says 1532.
VERONESE, P. 249
After a few years' residence in Venice, he visited Rome about
1563, in the suite of Girolamo Grimani, Venetian ambassador
to the papal court. Some time after his return he was
invited by Philip II. to Spain to assist in the decorations of
the Escurial ; but he declined the invitation, on account of
his numerous engagements at Venice. This great painter
died at Venice, April 20, 1588. He was buried in the
church of San Sebastiano, in which he had executed some
of his most celebrated works, and a monument was there
dedicated to his memory by his two sons, Carlo and Gabriele,
and his brother Benedetto : they all followed the profession
of Paolo, and, with Battista Zelotti, were his principal scholars
and imitators. His brother, Benedetto Caliari, is said to
have executed the magnificent architectural back-grounds,
for which some of the pictures of this master are so con-
spicuous. " Paolo Veronese," says Count Algarotti, "was
the creator, as it were, of a new manner. Though careless
in design, and in costume extremely licentious, he had a
most noble fancy, and the utmost fertility of invention.
It is difficult to look upon his magnificent pictures without
longing to be a party in the scene ; and it may justly be
said of him, that even his faults are pleasing."* One of the
most celebrated works of this painter is the magnificent
picture of the "Marriage at Cana," now in the Louvre:
this great work contains about 120 figures or heads, com-
prising portraits of many of the most distinguished per-
sons of the time at Venice, not omitting its most eminent
painters.-}*
Xo. 26. THE CONSECRATION OP ST. NICHOLAS, Bishop
of Myra, in Syria, in the fourth century. The saint, sur-
rounded by ecclesiastics and other persons, is kneeling before
the altar of a church, and is consecrated by a bishop : an
angel brings him the mitre and crozier from above. Com-
position of ten figures of the natural size.
Engraved by E. Golding, for the Associated Engravers ; and
by H. C. Shenton, for Jones's National Gallery. On canvas,
9 ft. 5 in. h. by 5 ft. 9 in. w.
* "In quibusdam virtutes non habent gratiam, in quibusdam vitia ipsa
delectant" Quintilian, Inst. Oratur. xi. 3. Algarotti, Saggio sopra la Pittura
Opere, Venice, 1791.
t It is engraved by J. B. Vanni. Ridolfi, Le Marnviglie deW Arte, ffc.
Dal Pozzo, Vite de' Pittori Veronesi, T. ; Zanetti, Delia Pittura Veneziana,
frc. ; Lanzi, Storia Pitlorica, $c.
250 VERONESE, 1'.
Formerly in the church of San Niccolo de' Frari at Venice.
Presented to the National Gallery, in 1826, by the Governors of
the British Institution.
No. 97. THE RAPE OF EUROPA. Jupiter, enamoured
of Europa, a Phoenician princess, transformed himself into a
white bull, and mingled with her father's herds; the princess,
struck by the beauty and gentle nature of the beast, ventured
to seat herself upon his back, when the animal walked with
her to the sea, and plunging in, swam with her to the island
of Crete.*" Europa has just seated herself upon the bull,
who kneels to receive her ; her attendant women are ar-
ranging her dress. She is again represented in the middle-
ground about to enter the sea, and in the extreme distance
the bull is swimming with her towards the island.
Engraved by V. Le Febvre ; also by De Launay in the Galerie
du Palais Royal; and by H. Fernell, for Jones's National Gal-
lery. On canvas, 1 ft. 1 1 in. h. by 2 ft. 3 in. w.
This is the finished study of a large picture now in the Imperial
Gallery at Vienna ; it is also very similar in composition to the
magnificent picture of the same subject by this painter in the
ducal palace at Venice. This sketch was formerly in the Orleans
collection, and subsequently in that of the Rev. W. H. Carr,
who bequeathed it, with the rest of his pictures, to the National
Gallery, in 1831.
No. 268. THE ADORATION OF THE MAGI, OR THE WISE
MEN'S OFFERING.
" And Joseph also -went up from Galilee," " to be taxed with Mary, his
espoused wife. '
" And she brought forth her first-born son, and wrapped him in swaddling
clothes, and laid him in a manger ; because there was no room for them in the
inn." Luke ii. 4, 7.
" Now when Jesus was born in Bethlehem of Judsea, there came Wise Men
from the East." "And when they were come into the house they saw the young
Child with Mary his mother, and fell down and worshipped him : and when
they had opened their treasures they presented unto him gifts ; gold, and
frankincense, and myrrh." Matthew ii. 1, 11.
The picture represents a ruined building of Roman archi-
tecture, with pillars, a portion of which is roofed with
thatch, and has served as a stable. Under this roof, on the
right of the spectator, is seated the Virgin, somewhat ele-
vated on some loose blocks, and holding in her arms the
Infant, who is receiving the adoration of the three Wise
Men ; the foremost is kneeling; the second is behind him in
the same attitude ; and on the extreme left of the spectator
stands the third. A ray of light, with several winged
cherubs hovering along its course, falls upon the Infant ;
* See Keightley's Mythology.
VERONESE, P. 251
above is a group of Infant Angels. The retinue of the Magi
are behind, some bearing presents, others attending to their
horses and camel. Some peasants are looking down from
the ruins on the Divine Infant ; another figure is seen on
the right with some dogs. On the same side are the ox
and the ass ; some young lambs placed below the Infant
appear to be a shepherd's offering. The upper part of the
back-ground, on the left, is foi'med by a stately archway,
through which are seen distant mountains. Below, near
the right corner, is the date 1573. Composition of sixteen
figures, life size.
Engraved by Carlo Sacchi, 1649. On canvas, 11 ft. 7 in. h.
by 10 ft. 7 in. w.
Painted in 1573, and originally placed in the church of San
Silvestro, in Venice. This church having, about twenty years since,
required extensive repairs, the numerous pictures which it con-
tained, comprising works by Tintoret, the Last Supper by Palma
Vecchio, and the Adoration of the Magi, above described, were, in
1837, removed from the walls. The intention was to replace
these works when the repairs of the building should be completed ;
but it seems that in the course of restoration the internal
design of the church was so much changed that not one of the
larger pictures could be fitted to the new altars and compart-
ments. After much delay, a Papal decree, together with an
order from the local authorities, was obtained for their sale.
In August, 1855, they became the property of Signer Angelo
Toffoli, of Venice, from whom, in November, 1855, the Paolo
Veronese was purchased for the National Collection. This
picture is particularly mentioned in most of the guide books and
descriptions of Venice that have been published for the last two
centuries. From the following passage in the often reprinted
" Forastiero Illuminate della Citta di Venezia," it would appear
that so lately as 1792 it was the most attractive picture in the
church of San Silvestro : '' Many are the pictures (in this church)
by Tintoretto, by scholars of Titian, by Palma Vecchio, by
Antonio Bellucci, by Carlo Lotto, by Girolamo da Santa Croce,
&c. But among them all the famous Adoration of the Magi by
Paolo Veronese, which has been engraved by Carlo Sacchi, deserves
especial attention." Giornata guarta, p. 277. Ed. 1792.* Paolo
Veronese often treated this subject; the picture in Santa Co-
rona at Vicenza most resembles the composition above described.
A copy of a portion of this composition at Hampton Court,
attributed to Carlo Cagliari, was engraved by Gribelin in 1712.
* For other notices of this picture the reader is referred to Ridolfi, Le Mara-
viglie delVArte, 1648, p. 302, where it is spoken of in the highest terms; to
Sansovino, Venetia Citla Nobilissima, &c., 1581, p. 65 ; to Boschini, Riccke
Minere, p. 253, Ed. 1664, p. 269, Ed. 1733, where it is called the "Famosis-
sirao Quadro;" and to Zanetti, Delia Pittura Veneziana, 1771, p. 185. In
various modern guides it is equally extolled.
252 VINCI, L. DA.
No. 294. THE FAMILY OF DARIUS AT THE FEET OF
ALEXANDER, after the battle of Issus, B.C. 333. The royal
captives having mistaken Hephrestion for Alexander, the
queen mother Sisygambis implores pardon of the conqueror,
who, pointing to his friend, tells her she has not erred, for
that Hephsestion is another Alexander. The elder of the
two daughters, Statira, kneeling immediately behind her
mother, became the wife of Alexander ; she was, however,
subsequently put to death by Perdiccas, through the insti-
gation of Roxana, the second Persian wife of Alexander.
The captive family, presented to the king by one of the.
ministers of Darius, is kneeling in the centre of the picture,
Alexander and his generals Hephwstion and Parmenio,
being on the spectator's right. In the back-ground is a
marble arcade, from the top of which many spectators are
looking down. The principal figures are portraits of the
Pisani family.*
On canvas, 7 ft. 8| in. h. by 15 ft. 6^ in. w.
There is an inferior print by IS". JR. Cochin in the Tabella
selectee of C. C. Patina, folio, Padua, 1691 ; in which work this
picture is described as the most celebrated of all the works of
Paul Veronese.f
Painted for an ancestor of the Count Pisani. D'ArgenvilleJ
states, on the authority of the Procuratore Pisani of his time, that
Paul Veronese, having been detained by some accidental circum-
stance at the Pisani villa at Este, painted this woi'k there, and
leaving it in his room, afterwards informed the family that he had
left wherewithal to defray the expense of his entertainment.
Purchased at Venice of the Count Vittore Pisani, in 1857.
VINCI, L. DA.
LEONARDO DA VINCI was born at Vinci, in the Val
d'Arno, below Florence, in 1452. His father, Pietro da
* The following description is from the manuscript notes of Kumohr, author
of the Italicnische Forschungen, often quoted in this catalogue : " The celebrated
picture of the wife of Darius mistaking Hephsestion for Alexander. In excel-
lent condition ; perhaps the only existing criterion by which to estimate the
genuine original colouring of Paul Veronese. It is remarkable how entirely
the genius of the painter precludes criticism on the quaintness of the treatment.
Both the incident and the personages are, as in a Spanish play, romantically
travestied. The princesses with laced boddices and full Venetian gowns, have,
nevertheless, a charming and becoming appearance, while the male figures, in
their picturesque attire, look chivalrous, refined, and noble. The treatment of
colour, especially in the flesh, and the excellence of the execution, are such as
to render us almost unjust to other great colourists. In the presence of this
work vre forget for a time all other productions in painting."
| Inter eximia Pauli Veronensis opera, illud precipue apud venetos Procere
Pisanos emicat, in quo Alexander Magnus prostratas matrem uxorem et liberos
Darii benignissime excipiens expriniitur.
J Abrfyedela Vie des plus fameux Feintres, r. Paris, 1745, vol. 1, p. 182.
VINCI, L. DA. 253
Vinci, was a notary, and in 1484 notary to the Signory of
Florence. Leonardo was placed early with Andrea Veroc-
chio, a Florentine painter and sculptor, who, finding after a
short time that he was surpassed by his pupil in painting,
gave up the art in despair, and thenceforth confined himself
to sculpture, in which he attained great eminence.
Although Leonardo was completely devoted to painting,
his insatiable desire of knowledge led him to the study of
many other subjects : he excelled in sculpture, architecture,
engineering, and mechanics generally ; botany, anatomy,
mathematics, and astronomy ; he was also a poet, and an
admirable extempore performer on the lyre. The letter
which he addressed to Lodovico il Moro about the year 1483,
offering his services to that prince, gives an extraordinary
picture of the acquirements of one man : this memorable
letter contains the following passage : " I will also under-
take any work in sculpture ; in marble, in bronze, or in terra-
cotta : likewise in painting, I can do what can be done, as
well as any man, be he who he may." The duke took
Leonardo into his service, with a salary of 500 scudi per
annum. In 1485 he established an academy of arts at
Milan, which eventually had great influence on the develop-
ment of painting in Lombardy. About ten years afterwards
he executed his celebrated picture of the "Last Supper;"
it was painted in oil on the wall in the refectory of the
Dominican convent of the Madonna delle Grazie, and was
generally considered the greatest work that had appeared up
to that time in painting ; he thus more than warranted the
bold assertion in his letter, quoted above,* This was the last
work of importance executed by Leonardo at Milan, which
he left in 1499, when the Duke Lodovico fled before
Charles XII. of France. He returned to Florence, where
he was well received by the Gonfaloniere Soderini, who took
him into state employ at a fixed salary. He was commis-
sioned by Soderini, in 1503, to paint one of the ends of the
council-hall of the Palazzo Vecchio. The celebrated cartoon
of " The Battle of the Standard " was the result of this com-
* This great work, owing either to the injudicious selection of materials, or
the unfit state of the wall, was already half obliterated within ahout half a
century from the time when it was painted. It has been engraved by Frey,
Morghen, Wagner, and A. L. Dick ; there are also several copies of it extant, the
most valuable is that by Marco d' Oggione, now in the Royal Academy of Arts,
in London. See Bossi, Del Cenacolo di Leonardo da Vinci; Goethe, Pro-
pylacen ; and the Author's Epochs of Painting, ch. xvi.
254 VINCI, L. DA.
mission, but the painting was never completed. The so-called
" Cartoon of Pisa," by Michelangelo, was designed for the
opposite end of the same apartment.* The subject of Leo-
nardo's cartoon was the defeat of the Milanese under Nicolo
Picinino, by the Florentines? at Anghiari, near Borgo San
Sepolcro.-f-
Leonardo, after having visited Milan twice during his
second residence in Florence, set out, Sept. 24, 1514, for
"Rome ; he went in the train of Giuliano de' Medici, the
brother of Leo X., who introduced the painter to that Pope.
His residence in Rome, however, was very short. Leo had
commissioned him to execute some work in the Vatican, but
finding much apparatus for varnishes, &c., and no sign of
commencement, he exclaimed to his attendants "Ah! this
man will never do anything; he thinks of the end before the
beginning of his work."J This want of courtesy, and like-
wise a misunderstanding with Michelangelo, appear to have
made Rome unpleasant to Leonardo, and he is said to have
left it in disgust. He visited Francis I. of France, at Pavia,
and entered the service of that monarch with a salary of 700
crowns per annum. He accompanied Francis to France, in
Jan. 1517, but his health was now much enfeebled by age,
and he executed no new work in France ; the King could
not even prevail upon him to colour a cartoon of St. Anne
and the Virgin, which he had brought with him from Italy.
He died at Cloux, near Amboise, on the 2d of May 1519, in
his 67th year. ||
This great painter had three different styles of execution.
His earliest works were painted in the dry manner of the age ;
his second style is conspicuous for a much greater fulness of
* See the notice of Michelangelo hi this catalogue.
t There is a print of part of this design by Edelinck. Another, in the
Etruria Pittrice, professes to be more faithful to Leonardo's design.
f " Oime, costui non e per far nulla, dacche commiucia a peusare alia fine
Innanzi al principio dell' opera." Vasari, Vita di Leonardo.
This drawing is now in the Royal Academy of Arts, in London.
|| This date is from an old copy of Leonardo's will, once in the possession of
the Melzi family, on the back of which was written : Morse in Ambosa 2 Mag.
1519. Le Comte De Laborde, La Renaissance des Arts a la Cour de France.
Vasari relates that Leonardo da Vinci died in the arms of Francis I., who
happened to be with him at the time ; but this statement appears to be an
error, for the Court was then at St. Germain, and no journey was undertaken
on the day in question. Amoretti, Memoric storichc su la Vita, gli Studj, e le
Opere di Leonardo da Vinci, Milan, 1804 ; Brown, The Life of Leonardo da Vinci,
with a critical account of his worths, London, 1828; Vasari, Vile de' Pittori, Sfc. ;
Lomazzo, Trattato della Piltura, Milan, 1584 ; Gave, Carttggio Incdito d'Artisti t
Rigollot, Catalogue de L'.Oeuvre de Leonard de Vinci. Paris, 1849.
VINCI, L. DA. 255
form, and for such an original force, and, at the same time,
delicacy of light and shade, that he may be almost termed
the inventor of Chiaroscuro ; this is his Milanese style, and
it more or less distinguishes the works of the Lombard
painters generally: most of the genuine pictures which are
attributed to Leonardo belong to this second period. His
third or Florentine style differs little from his Milanese,
except that, as more mature, it exhibits greater freedom and
power. To this period belong his cartoons of " St. Anne,"
the " Battle of the Standard," his own portrait, now in the
gallery at Florence, and the celebrated " Mona Lisa," in the
Louvre.
Leonardo's principal work as a sculptor was the model of
an equestrian statue of Francesco Sforza, father of the Duke
Lodovico il Moro. This model was destroyed by the French,
after the departure of Lodovico from Milan, in 1499. Leo-
nardo da Vinci was also the author of numerous treatises,
many of which still exist, but very fe\v have been published.
The principal of these is the "Treatise on Painting," Trattato
della Pittura, of which there are several editions in several
languages.* His principal scholars were Bernardino Luini,
Francesco Melzi, Andrea Salaino, Marco d'Oggione, and
* The principal edition of this work is that published at Paris in folio, 1651,
by Du Fresne ; it is illustrated with drawings by Nicolas Poussin. The best
as regards the text, is that of Rome, 1817.
Leonardo's greatest literary distinction however, says Mr. Ilallam, is derived
" from those short fragments of his unpublished writings that appeared not many
years since ; and which, according at least to our common estimate of the age
in which he lived, are more like revelations of physical truths vouchsafed to a
single mind, than the superstructure of its reasoning upon any established basis.
The discoveries which made Galileo, and Kepler, and Maestlin, and Maurolicus,
and Castelli, and other names, illustrious, the system of Copernicus, the very
theories of recent geologers, are anticipated by ])a Vinci, within the compass of
a few pages, not perhaps in the most precise language, or on the most conclusive
reasoning, but so as to strike us with something like the awe of preternatural
knowledge. In an age of so much dogmatism, he first laid down the grand
principle of Bacon, that experiment and observation must be the guides to just
theory in the investigation of nature. If any doubt could be harboured, not as
to the right of Leonardo Da Vinci to stand as the first name of the fifteenth
century, which is beyond all doubt, but as to his originality in so many dis-
coveries, which probably no one man, especially in such circumstances, has
ever made, it must be on an hypothesis, not very untenable, that some parts of
physical science had already attained a height which mere books do not record."
Introduction to the Literature of Europe. The extracts alluded to were pub-
lished by Venturi at Paris in 1797, under the following title " Essai sur les
Ouvraycs Physico-Mathematiques de Leonard da Vinci, avei; det> Fragmens tire's
de ses Manuscrits apportes de fltalie." The MSS. in question were taken to
France by Napoleon, who is said to have carried these and Petrarch's ' Virgil '
to his hotel, himself, not allowing any one else to touch them, exclaiming
25G VIVABINI.
others : Gaudenzio Ferrari, though not actually Leonardo's
scholar, was one of the principal imitators of his style.
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.
Engraved by D. Cunego, for the Schola Ilalica, c.; and by
W. Radcliffe, for Jones's National Gallery. On wood, 2ft. 4^ in. /*.
by 2ft. lOin.w.
Formerly in the Aldobrandini apartments in the Borghese Palace
at Rome. It is mentioned by Ramdhor, who notices the fine ex-
pression of the head of Christ, and praises particularly the hands,
and the drawing generally. It was imported into this country by
Mr. Day in 1800, and was bequeathed to the National Gallery by
the Rev. W. H. Carr, in 1831. There are several old copies of it.
VIVARI'NI.
BARTOLOMMEO VIVARI'NI painted at Venice between 1459
and 1498, neither the precise date of his birth or death
being known ; he was of the family of the Vivarini of
Murano in the neighbourhood of Venice. It is recorded of
Bartolommeo that he painted the first oil picture that was
exhibited in Venice ; this was in 1473. This picture is
still in the Church of Santi Giovanni e Paolo. The new
process of painting was acquired from Antonello da Messina,
who, some years before, had learnt the method of the
Van Eycks at Bruges.*
Zanettif praises the colouring of Bartolommeo Vivarini,
but remarks, at the same time, on the hard and cutting
outline of his forms, both in his earliest and in his
latest works, several of which are still to be seen in the
Academy and churches of Venice, and in good preservation.
"Questi sono miei" (these are mine). These MSS. were afterwards restored
to Milan, where they are still preserved.
An interesting collection of Leonardo's anatomical studies is preserved in
the royal library at Windsor. They are small pen-and-ink sketches, made
apparently about the year 1490, while attending the demonstrations of Marc-
antonio della Torre at Pavia. These studies were doubtless made as memo-
randa for his own use only, in giving his instructions in the Milanese academy.
Some portions of the human body, supposed in the history of anatomy not to
have been known till a century later, are well defined in Leonardo's drawings ;
but though careful and minute they are not always correct, and very few could
be made serviceable to artists. A few of these sketches were published in a
volume by Chamberlain, with other drawings from the same collection, in 1812.
* See the notice of John Van Eyck in this catalogue.
f Leila Pitlura Veneziana, Sfc. Venice, 1771.
WEENIX. 257
No. 284. THE VIRGIN WITH THE CHILD IN HER ARMS,
the Child sitting upon a cushion. Behind, are standing,
one on each side, St. Paul holding a sword, and St. Jerome
with a book in his hands. Figures life size, gold ground.
Inscribed below OPUS BARTOLOMEI VIVARINI DE MURANO.
In tempera. On wood, 3 ft. 1 in. h. by 2 ft. 1 in. w.
Originally in the Contarini Gallery.* Purchased at Venice
from the Conte Bernardino Corniani degl' Algarotti, in 1855.
OPVStBnRTOME HAA RJ N I
WEENIX.
JAN WEENIX the younger was born at Amsterdam in
164i, and was the scholar of his father, Jan Baptista
Weenix, who, however, died when Jan was only sixteen
years old ; but even then he had completely acquired his
father's style, so that his earlier works cannot be dis-
tinguished from those of Jan Baptist Weenix; but he
eventually surpassed his father, especially in freedom of
execution, and in colouring. He painted a great variety of
subjects figures, animals, birds, landscape, ruins, fruit, and
flowers ; but his great name was acquired by his pictures of
hunts, and dead game. Many excellent examples of his
works are in England. He was much employed by John
William, Elector of the Palatinate. He died at Amsterdam,
September 20, 1719. His pictures have steadily increased in
value. Van Gool, writing in 1750, notices 300 florins as a
high price to be paid for a picture of dead game by Weenix ;
Immerzeel, less than a century afterwards, notices much
higher sums, up to 1,900 florins, being paid, even in
Amsterdam, for a similar piece, f
No. 238. DEAD GAME, AND DOG : landscape back-ground
with sportsman in the distance. A couple of hares, a stag,
and heron ; a fowling-piece, and other implements of the
chase, in the fore-ground.
On canvas, 5 ft. 7^ in. h. by 5 ft. H in. w.
* This picture is fully described in the Atti delF Accadenria di Venezia, 1817,
p. 43. note, and p. 51. note.
f Van Gool, Nieuwe Schouburg der Nederlantsche Kunstschilders, fyc. ; Immer-
zeel, Levens en Werken der Holla ndsche en Vlaamsche Kunstschilders,8j-c. t 1842.
R
258 WILLIAM OF COLOGNE.
Signed J. WEENIX, f. 1708. Formerly in the Lansdowne ? Col-
lection which was sold in 1806; bequeathed to the National
Gallery by Lord Colborne, in 1854.
WILLIAM OF COLOGNE.
WILLIAM of COLOGNE, or MEISTER WILHELM, a native of
Herle, a village near Cologne, whence he is also named
Wilhelmus de Herle, was the earliest distinguished master
of the school of the Lower Rhine, and the most renowned
painter of his time in the north. This school had attained
considerable celebrity at Cologne and Maastricht in the
fourteenth century, and even earlier.*
William bought a house at Cologne, and settled there in
1358, with his wife Jutta; 1372 is the last year in which
he appears by name in the public accounts of the city, and
it was then for the payment of a miniature. In 1378 he
died ; and his widow was married in the following year to
Henry Wynrich, of Wesel, also a painter, settled at Cologne,
and apparently Meister Wilhelm's scholar.
Several works are attributed to this old master, at
Cologne and elsewhere, wall paintings, and some good
tempera pictures on panel ; the principal of which is the
St. Clara altar-piece, now in the Johannis Kapelle, one of
the chapels in Cologne cathedral. Meister Stephan or
Stephen Lochner, the best master of this school, was the
scholar of William of Cologne.!
* Wolframb of Eschenbach, writing in the thirteenth century, says in his
" Parcival," speaking of the Knight that no painter of Cologne or Maas-
tricht could have made a better picture than he appeared on horseback. And
iu an old chronicle of Limburg is written, "Eodem tempore, 1380, Coloniae
erat pictor optimus, cui non fuit similis in arte sua, dictus fuit WJLUELMTJS,
depingit enim homines quasi viventes." Fiorillo, Geschichte der Zeich-
nenden Ktinste in Deutschland, 1815, vol. 1, p. 418 ; compare Passavant,
Kunstreise, fyc., p. 403 ; Schnaase, Geschichte der Bildenden Kunste, Sfc., vol.
vi., p. 423.
f J. J. Merlo, Nachrichten von dem leben und den Werken Kdlnischer
Kiinstler, Cologne, 1850-52; Schnaaee, Geschichte, fyc., vol. vi., 1861.
ZELOTTI. 259
No. 687. The SANCTA VERONICA, or Holy true
Image of our Lord. St. Veronica is represented holding
before her the SODARITJM,* a white cloth containing the
miraculous portrait of the Saviour, according to the
church legend, with a golden nimbus inscribed Xg. %.
(Christ Jesus). Head, life size.
In tempera, f on wood, 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. Weyer, in 1862.
ZELOTTI.
BATTISTA ZELOTTI was born at Verona about 1532, he
was the fellow scholar of Paul Veronese in the school of
Badile, and became afterwards the assistant and rival of
that great painter : according to Vasari, who mentions him
as Battista da Verona, he studied also with Titian. Zelotti
worked chiefly in fresco, and as he was much employed in
comparatively obscure provincial towns, his works, though
excellent, did not obtain him that distinction and com-
petence acquired by his more fortunate rivals, who were
employed in capital cities. He died in poor circumstances,
aged 60, about 1592. Many of his works have been
attributed to his more distinguished rival Paul Veronese.!
No. 595. PORTRAIT OF A LADY in a low green dress.
Bust, life-size.
On canvas, 2ft. 4-^ in. h. by 1 ft. 10 in. w.
Purchased at Rome, from Signer Menchetti in 1858.
* The legend of the Sancta Veronica, of Edessa, is; told by John Damas-
cenus, De Fide Orthodoxd, iv. 16; the miraculous "image" itself is first noticed
byEvagrius. Two of these miraculous cloths are mentioned ; that carried from
Christ by Ananias to Abgarus, King of Edessa, now said to be preserved in
the church of San Silvestro in Capite, at Rome ; and the other, the handker-
chief given by a woman (St. Veronica) to the Saviour to wipe his face -with,
while carrying his cross in the procession to Calvary, said to be in San Bar-
tolommeo at Genoa. For full details respecting this legend, see the author's
"EPOCHS OP PAINTING," p. 143, ed. 1859; consult Gretser, Syntagma de
Imaginibus manu nonfactis, *c., opera, vol. xv., p. 178, et seq.
t On the tempera employed by the Cologne painters, see Sir Charles
Eastlake's " Materials for a History of Oil Painting," 1847, p. 101.
% Ridolfi, Maraviglie, Sfc., vol. ii. p. 94, ed. 1835 ; Dal Pozzo, Pittori
Veronesi, Sfc. ; Vasari, Ed. Le Monnier, vol. xi. p. 134, where the error of
earlier commentators, in assuming Vasari, when speaking of Battista da
Verona, to allude to Battista Fontana, is repeated.
R 2
260 ZOPPO.
ZOPPO.
MARCO ZOPPO, born in Bologna in the earlier half of the
fifteenth century, was the fellow pupil of Mantegna in the
school of Squarcione at Padua ; in the Manfrini gallery at
Venice there is or was a Madonna signed Opera del Zoppo
di Squarcione. But he' can scarcely have been, as is
affirmed by Malvasia, the pupil of Lippo Dalmasio, of whom
the latest known work is of the date 1409. Marco Zoppo
was the first distinguished painter of Bologna ; his pictures
extend from 1471 to 1498; there is a Madonna enthroned,
with saints, in the gallery of Berlin, inscribed Marco Zoppo
da Bologna, pinx it MGGCCLXXI. in Venexia ; and some
fresco decorations of the Casa Colonna at Bologna are dated
1498. Pie was the master of Francia, and is called some-
times the founder of the school of Bologna : his style is
hard and dry, but he bestowed great labour on the finish of
the accessories of his pictures.*
No. 597. ST. DOMINIC, as the Institutor of the Rosary.
The saint is standing on a pedestal and pointing with his
right hand to a rosary suspended behind him ; in his left
lie holds an open book. Above is Christ in glory, sur-
rounded by angels bearing the instruments of the passion.f
Whole length figure, small life-size.
In tempera, on wood, 5 ft. h. by 2 ft. 11 in. u\
Formerly in the collection of the Marchese Giovanni Costabili
at Ferrara, from which it was purchased for the National Gallery
1858.
ZU'RBARAN.
FRANCISCO ZU'RBARAN was born at Fuente de Cantos, in
Estremadura, in the early part of November 1598. His
parents belonged to the agricultural labouring class, but
discovered early their son's ability, and sent him, when still
very young, to the school of Juan de Roelas, at Seville.
There he made rapid progress painting constantly from
* Malvasia, Felsina Pittrice, i. p. 37, &c., ed. 1841 ; Vasari, Vite, Sfc. ;
Waagen, Verzeichniss der Gemaelde Sammlung zu Berlin, $c.
f The figure of the saint in this picture, evidently copied from nature, is
supposed to be a portrait of Alanus de Rupe, an English Dominican mock
who, in 1460, in consequence of a vision, revived the use of the rosary, and the
prayers connected with it, as instituted by St. Dominic. See the " Rosario
della glorio ;rVirgine Maria," in Venetia, &c., MDLXlX. folio 10 b.
ZU'RBARAN. 261
nature, and adopting a forcible natural .style which acquired
him the name of " the Spanish Caravaggio ;" he probably
had opportunities of copying some of the works of that
master at Seville. Zurbaran's great altar-piece, now in the
museum at Seville, the celebrated picture of " St. Thomas
Aquinas/' painted for the church of the college of that Saint
at Seville, was executed before his thirtieth year.
He painted many other celebrated works in the fol-
lowing years at Seville ; and subsequently at Madrid, in
the Palacio Nuevo, and in the Buenretiro. He was ap-
pointed, about the year 1633, painter to Philip III. He was
painter also to Philip IV. He died at Madrid in 1662. His
principal scholars were Bernabe deAyala and the brothers
Polanco, distinguished painters of the school of Seville.
Zurbaran's works are uncommon out of Spain ; at Seville
they are numerous, and the early works from the life of
San Pedro Kolasco, at the Merced Calzada, at Seville, are
among the best ; they exhibit in perfection one of his
peculiar excellences, the skilful management of white
draperies. He made great use of the lay figure, and his
draperies are generally much studied ; the Carthusians were
favourite subjects with him. The museum at Seville pos-
sesses now the best collection of" his works, though not a
numerous one : that of the Louvre has been dispersed ; it
contained, according to the catalogues, ninety-two pictures
attributed to Zurbaran ; the collection of the Prado at Madrid
contains fourteen.* An admirable virgin and child, with
the infant St. John, by this painter, is in the collection of
the Duke of Sutherland, at Stafford House.
No. 230. A FEANCISCAN MONK, kneeling in prayer, and
holding a skull in his hands. Entire figure of the natural size.
Engraved by Alp. Masson. On canvas, 5 ft. 1 in. h. by 3 ft.
3 in. w.
This picture formed part of the Spanish Gallery of Louis
Philippe in the Louvre, procured for the late King, in Spain, by
M. Le Baron Taylor; it was generally considered by connois-
seurs one of the best pictures in that gallery ;f and at the sale
of the collection in London, in 1853, was purchased for the
National Gallery.
* Ccan Bermudez, Diccionario Historico, Sfc.
f See KollolF, Koniglichc Museen,Sfc. zu 1'aris, Paris 1841, who notices this
picture as " ein wahres Wunder von Ausdnick," a miracle of expression ; and
Stirling's Annals of the Artists of Spain, London, 1848.
262 UNKNOWN.
UNKNOWN.
No. 195. PORTRAIT OF A MEDICAL PROFESSOR. His
left hand rests upon a skull. Half-length.
On wood, 3 ft. 2 in. h. by 2 ft. 5 in. w.
Purchased for the National Gallery, in 1845. This picture was
bought as a work of Holbein. It has been attributed, by some
eminent connoisseurs, to Nicholas Lucidel, more properly called
Neufchatel, a portrait-painter, who resided chiefly at Nuremberg,
and who died about the year 1600. Specimens of his works are
in the galleries of Munich and Berlin.
263
LISTS OP PICTURES PURCHASED FOR, PRESENTED AND BE-
QUEATHED TO, THE NATIONAL GALLERY; ARRANGED
ACCORDING TO THE ORDER OF THEIR ACQUISITION.*
PICTURES PURCHASED.
No.
Subject.
Painter's Name.
When
acquired.
1
2
3
5
7
12
14
25
27
28
30
31
32
34
36
37
38
42
45
47
49
50
52
53
67
76
88
94
111
112
113
114
115
116
117
118
122
23
9
35
62
10
15
13
59
84
Seb. Del Piombo -
Claude - - - -
Titian - - - -
Claude - - N - -
Correggio - - -
Claude - - - -
An. Carracci - -
Raphael - - - -
L. Carracci - - -
Claude - - - -
G. Poussin - - -
Titian - - - -
G. Poussin - - -
Correggio - - -
Rubens - - - -
N. Poussin - - -
Rembrandt - - -
Vandyck - - -
Cuyp - - - -
Rubens - - - -
Correggio - - -
An. Carracci -
Sir J. Reynolds
Hogarth - - - -
Hogarth - - - .
SirD. Wilkie - -
Correggio - - -
An. Carracci - -
Titian - - - -
N. Poussin - - -
Correggio - - -
Murillo - - - -
Rubens -. - - -
Salvator Rosa - -
1824
1825
1826
1834
1837
Sea-port - _..
St John - - - - -
Julius IL ----.---
St. Ursula - -
Study of Heads -
Woman taken in Adultery - - -
Adoration of the Shepherds - - -
Portrait of Rubens ------
Erminia and the Shepherds - - -
Bacchus and Silenus -----
Lord Heathfield -------
Christ appearing to Peter - - - -
Mercury instructing Cupid - - -
Mercury and Woodman - - - -
* The collection of Robert Vernon, Esq., of 157 pictures of the British
School, presented to the Nation in 1847 is not comprised in these lists.
264
Pictures Purchased continued.
No.
Subject.
Painter's Name.
When
acquired.
168
169
170
176
177
179
180
181
186
187
189
190
191
192
193
194
195
196
197
198
213
221
222
224
230
232
234
245
246
247
248
249
260
261
265
266
226
227
268
274
275
276
277
278
279
280
281
282
283
284
285
286
St PatViprino
Raphael - - - -
Mazzolini - -
Garofalo . - - -
Murillo - - - -
Guido - .--
Franeia - - -
1839
1840
1841
1842
1843
1844
184r>
1846
1847
1851
1852
1853
1854
Rt Tnhn
Holy Family and Saints - - - -
Piptn
Pietro Perugino -
John Van Eyck -
Kubens - - - -
Gio. Bellini - - -
Rembrandt - - -
Guido - - - -
Gerard Dow -
Guido - - - -
Rubens - - - -
Unknown - - -
Guido - - - -
Velazquez - - -
An. Carracci - -
Raphael - - -
Rembrandt - - .
J. Van Eyck - -
Titian - ...
Zurbaran - -
Velazquez - - -
School of Gio. \
Bellini - - -J
Pacchiarotto -
Lorenzo di San "I
Severino - - J
Fra Filippo Lippi -
Niccolo Alunno -
Albert Diirer - -
The Meister von \
Liesborn - - J
Apotheosis of William the Taciturn -
Christ ' in d St Jolin * -
Lot- - - -
q 6 C J*
St. Antony --------
Man's Portrait -------
Franciscan Monk ------
Adoration of the Shepherds - - -
Warrior adoring the Infant Christ - 1
Marriage of St. Catherine - - -4
The Vision of St. Bernard - - -
Vander Meire - -
Lambert Lombard
Sandro Botticelli -
Cosimo Rosselli -
Paolo Veronese
Mantegna - - -
Botticelli - - -
Giotto - - - -
Jacopo Bassano -
Rubens - - - -
Giovanni Bellini -
Marco Basaiti - -
Lo Spagna - -
Benozzo Gozzoli -
Bart Vivarini
Girolamo dai Libri
Francesco Tacconi
1855
1856
The Virgin and Child, with angels, &c.
St. Jerome, -with Saints - - - -
Adoration of the Magi - - - -
The Virgin and Child, enthroned -
The Virgin and Child - - - -
Triumph of Julius Caesar - - -
Glorification of the Virgin - - -
The Virgin and Child, enthroned, "1
surrounded by angels and saints J
The Virgin and Child, St. Paul and j
Virgin and Child, enthroned - - - |
26$
Pictures Purchased continued.
No.
Subject.
Painter's Name.
When
acquired.
287
288
290
291
292
293
294
295
296
297
298
564
565
566
567
568
569
570
571
572
573
574
575
576
577
578
579
580
581
582
583
585
586
589
590
591
592
593 *
Portrait of Lodovico Martinengo
The Virgin adoring the Infant "1
Christ ; the Archangel Michael ; 1
the Archangel Raphael and [
TYVhinc
Bart Veneziano -
Pietro Perugino -
J. Van Eyck - -
Lucas Cranach
Antonio Pollajuolo
Filippino Lippi
Paul Veronese - -
Quintin Matsys
Domenico Ghir- 1
landajo - - J
G. Romanino - -
Borgognone - -
Margaritone of 1
Arezzo - - J
Cimabue - - -
Duccio da Siena -
Segna di Buona- 1
ventura - - - J
School of Giotto -
1
Andrea Orcagna -
TaddeoGaddi - -
Jacopo di Cascntino
Spinello Aretino -
Fra Giovanni An- 1
gelico - - - J
Paolo Uccello - -
Piero della Fran- \
cesca - - - /
> Fra Filippo Lippi
Cosimo Tura - -
Benozzo Gozzoli -
Filippino Lippi
Trfyrprizo Hi flrprH .
1856
1857
Martyrdom of St. Sebastian - - -
The Virgin and Child, with saints -
The Family of Darius at the Feet \
" Salvator Mundi " and the Virgin 1
The Virgin adoring the Infant \
Christ ----- - f
The Nativity, with Saints - - -
The Marriage of the twoSaintsCatherine
Virgin and Child, with scenes from 1
the lives of the Saints - - - - /
The Madonna and Child. > Angels \
The Madonna and Child St. Domi- 1
nic and St. Catherine - - - J
Coronation of the Virgin - - -
Coronation of the Virgin, with
Angels and Saints - -
The Trinity - - - - T - - -
The Adoration of the Kings - - -
The Resurrection of Christ - - -
The Three Maries at the Sepulchre -
The Ascension of Christ - - - -
The Descent of the Holy Spirit - -
The Baptism of Christ, and the Birth 1
and Death of St. John the Baptist j
St. John the Evangelist lifted up 1
St John the Baptist, St. John the 1
Evangelist, and St. James the I
The Adoration of the Kings - - - /
The Battle of Sant' Egidio 141G -
Portrait of Isotta da Rimini - - -j
The Madonna and Child surrounded
by Angels and Saints - - - -
The Virgin, an Angel presenting
the Child . - - - . - -
Christ placed in the tomb - - - -
The Rape of Helen - -
The Adoration of the Magi - - -
The Virgin and Child -
266
Pictures Purchased continued.
No.
Subject.
Painter's Name.
When
acquired.
594
184
299
300
595
596
597
598
599
602
623
624
625
626
627
628
629
630
631
632
633
634
635
636
637
638
639
640
641
642
643
644
645
648
649
650
651
652
653
654
655
656
657
658
659
660
663
Saints Cosmas and Damianus - -
Portrait of Jeanne <T Archel - -
Do. an Italian Nobleman - -
Infant Christ standing on the knees 1
Emmanuel - - -
Antony Moro - -
Moretto - -
Giambattista Cima
Battista Zelotti -
Marco Palmezzano
Marco Zoppo - -
Filippino Lippi
Marco Basaiti -
Carlo Crivelli - -
G. da Treviso .- -
Giulio Romano -
Moretto - - - -
Masaccio - - -
Ruysdael. - - -
Lorenzo Costa
Gregorio Schiavone
F. Bissolo - - -
G. da Santacroce -
Cima da Conegliano
Titian
Paris Bordone
Francia - - -
Francesca Man- "1
tegna - - -j
Dosso Dossi - -
Mazzolini - - -
Garofalo - - -
Giulio Romano
Albertinelli - -
Lorenzo di Credi -
J. da Pontormo -
Angelo Bronzino -
F. del Salviati - -
Vander Weyden -
1857
1858
1859
1860
Deposition in the Tomb - - - -
St. Dominic -------
Infant Christ asleep on the lap of!
"Pifvfo
Madonna and Child enthroned - -
Saint Barnardino of Siena, and!
Landscape with Waterfall - - -
Madonna and Child enthroned, &c.
TJiftn
Portrait of a Lady ------
Madonna and Infant Christ - - -
Madonna and Child, St. John and "I
fit PflfhoriTiA
Virgin and Child with Saints - -
Christ and the Magdalen in the 1
The Adoration of the Magi - - -
The Woman taken in Adultery - -
Christ's Agony in the Garden - -
The Capture of Carthagena ; and 1
the Continence of Scipio - - - /
The Rape of the Sabines ; and the 1
Reconciliation of the Sabines I
The Virgin and Child -
The Virgin adoring the Infant 1
Venus, Cupid, Folly, and Time - -
Portraits of himself and wife - -
The Magdalen, reading - - - -
The Magdalen, reading - - - -
Bernard Van Orley
Jan de Mabuse
J. Cornelissen - -
Martin Schoen
Rottenhammor
Fr. Clouet -
Fra Giovanni An- )
gelico - j
-
Portraits of a Man and his Wife - -
The Death of the Virgin - - - -
Christ surrounded by Angels, &c. \
267
Pictures Purchased continued.
No.
Subject.
Painter's Name.
When
acquire d
664
The Entombment of Christ - - - -1
Roger Vander ~|
Weyden the I
elder - - J
1860
671
The Madonna and Child enthroned, &c.
Garofalo - - -
665
The Baptism of Christ - - - _{
Piero della Fran- "1
cesca - - j
1861
667
St. John the Baptist and other Saints
Fra Filippo Lippi -
668
The Beato Ferretti ------
Crivelli - - - -
669
St. Sebastian and other Saints - -
L'Ortolano - - -
c*7O
TT* _-__- 1 > vtl'oit
T? TV^trt At-
D/49
C<70
Jticin DraiiCiL - -
Antonello da Mes- 1
O/O
sina - - - - J
fi74.
T*3.ris BordoBG *
O / rt
680
Miraculous Draught of Fishes - -
Vandyck - - -
AS*;
T n-r\Atsf*fiY\a
TT _ V1-. f.- rrk n
1 QCO
ooo
XlUUUcllld-
1 OU Ci
686
Madonna and Child enthroned - -
Memling - - -
687
The Sancta Veronica -----
William of Cologne
690
His own Portrait -----
Andrea del Sarto -
268
Pi CTURES PRESENTED. '
No.
Subject.
Painter's Name. By whom Presented. When.
19
40
43
51
55
58
61
64
66
71
99
106
108
110
126
127
74
107
26
33
131
109
121
46
105
119
78
80
132
100
120
143
142
144
129
147
148
133
136
130
165
166
167
171
172
173
174
175
178
*T
found
Landscape - - - - -
Landscape, Phocion - -
Claude - - -j
N. Poussin - -
Rembrandt - -
Claude - - -
Sir George Beau- "I
mont, Bart. J
1826
Jew Merchant- - - -
Small Landscape - - -
Ditto
Return of the Ark - -
S. Bourdon - -
Rubens - - -
Both -.--
Wilkie - - -
Reynolds -
Wilson - - -
West - -
Canaletto - -
Murillo - - -\
Reynolds - -
P. Veronese
Parmigiano - -
West - - - -
Gainsborough -
West - - - -
Blind Fiddler - - - -
Man's Head ....
Maecenas's Villa - - -
M. M. Zachary, )
Esq. - - -J
Rev. W. Long -
British Institution
Pylades and Orestes - -
View in Venice - - -
Spanish Boy ....
Banished Lord - - -
St. Nicholas - - - -
Vision of St. Jerome - -
Healing the Sick - - -
The Watering Place - -
LordFarnborough
W.Wilkins, Esq.
Marq. of Stafford -
Lady Beaumont
1827
1828
1829
1830
1835
1836
1S37
1838
1839
Peace and War - - -
Landscape - - - - -
Jacques and the Stag
Holy Family - - - ^
The Market Cart - -
The Last Supper - - -
Death of Chatham - -
Portrait of Nollekens
Lord Ligonier '.--,-
J. Kemble as Hamlet - -
Portrait of West - - -
Portrait of Mr. Angerstein
Cephalus & Aurora - -
Rubens - - -
Sir G. Beaumont
Reynolds - -
Gainsborough -
West - --.
Copley - - -
Beechey - -
Reynolds - -
Lawrence - -
Ag. Carracci
British Institution
George IV. - -
Lord Liverpool -
Rev.R.E. Kerrick
William IV. -
Lord Ellesmere -
Mr. Serjt Taddy
F. Robertson, Esq.
Bought by Sub- 7
scription - $
Duke of North- 1
umberland - j
Lord Vernon
British Institution
Lord Vernon
H. G. Knight,?
Esq. - -f
Portrait of an Actor - -
Portrait of a Lady - -
The Corn Field - - -
Plague at Ashdod - -
Capuchin Friar - - -
Adoration of the Kings -
Portrait of Sir J. Soane -
Christ at Emmaus - -
Male Portrait - - - -
A Cardinal - - - -
Portrait of Milton - -
Sir Calepine - - - -
ic Vernon donation and othei
in the catalogue of that portic
Hoppner
Lawrence -
Constable - - )
N. Poussin - - -j
Rembrandt - -
B. Peruzzi - -
Jackson - - -
M. da Caravaggio
J. Bassano - - ]
C. Maratti - -
D. Vander Plaas
Hilton - - - j
recent acquisitions
n of the collection.
C. Lofft, Esq. -
Bought by Sub- ?
scription - J
of the British School
1841
will bo
2G9
Pictures Presented continued.
No.
Subject.
Painter's Name.
By whom Presented.
When.
182
Study of Heads - - -
Reynolds - -
Lady W. Gordon
1841
183
Portrait of Wilkie - -
Phillips - - -
The Painter
_
185
Portrait of Sir W.Hamilton
Reynolds - -
*
1843
188
Portrait of Mrs. Siddons
Lawrence - -
Mrs. Fitz Hugh
215
Taddeo Gaddi - \
W. Coningham, )
1348
Esq. - - \
1 O*rO
216
217
Portrait of Wm. Woollett
Gilbert Stuart -
. Farrer , Esq.
1849
218
Adoration of the Magi -
B. Peruzzi - - \
E. Higginson, )
Esq. - - \
220
Portrait of John Hall -
Gilbert Stuart - j
Messrs. Graves )
and Co. - }
1850
225
Assumption of the Mag- )
dalen ----.-$
Giulio Romano -
Lord Overstone -
1852
228
Christ driving the S
Money-changers from >
J. Bassano - -
P. L. Hinds, Esq.
1853
the Temple - - - j
229
Portrait of Benjamin \
West - - - - -J
Gilbert Stuart - \
J. H. Anderdon, 1
_
233
Portrait of William Pitt -
Hoppner - - -
G. Moffatt, Esq.
_
235
Dead Christ - - - -
Spaguoletto - -
D. Barclay, Esq.
__
236
O7O
Castle of St. Angelo
C.J.Vernet- -
Lady Simpkinson
Ml J.
273
Portrait of John Smith -
1 ordcnoDG -
Sir G. Kneller -
Cav. Vallati
W. Smith, Esq. -
1855
1856
661
Madonna di San Sisto (a
\ ' /
P.&D.Colnaghi, 1
1 - r < i
tracing)
J \
Scott and Co. j
Io60
666
The Annunciation -
Fra Filippo Lippi
Sir C. L. Eastlake
1861
670
A Knight of Malta -
J. da Pontonno
G. F. Watts, Esq.
679
An Astronomer * . -
F. Bol - - -
MissE. A. Benett
1862
* Deposited by the Trustees of the British Museum and now temporarily exhibited
nt South Kensington.
270
PICTUKES BEQUEATHED.*
No..
4
6
8
11
16
17
18
20
21
22
24
29
41
48
54
56
57
63
68
69
72
73
75
77
81
82
85
91
93
95
97
98
124
65
39
128
139
70
101
102
103
104
123
138
140
79
149
150
151
152
153
154
155
156
Subject.
Painter's Name.
By whom Bequeathed. When.
Holy Family ....
Titian - - -
Claude - - -
Michelangelo
Guido - - -
Tintoretto - -
A. del Sarto
L. Da Vinci
Seb. del Piombo
C. Allori - -
Guercino - -
S. del Piombo -
Barocci - - -
Giorgione - -
Domenichino
Rembrandt - -
An. Carracci
Rubens - . -
An. Carracci -
G. Poussin - -
P. F. Mola - -
Rembrandt - -
Ercole da Ferrara
Domenichino
Rev. W. H. Carr
1831
A Dream --->,.
St. Jerome - - - -
Holy Family - - - -
Christ and the Pharisees
Ippolito de' Medici and )
SebastianodelPiombo }
Portrait of a Lady - -
Dead Christ - - - -
Giulia Gonzaga - - -
Holy Family - - - -
Death of Peter Martyr -
Tobias and the Angel -
Woman Bathing - - -
St. Bavon - - - - -
Landscape ------
>
St. John Preaching - -
Tobias and the Angel -
Conversion of St. Paul -
Stoning of Stephen - -
Vision of St. Augustin -
Holy Family - . , .
Garofalo - - -
Mazzolini - -
Domenichiuo
N. Poussin - -
An. Carracci
G. Poussin - -
P. Veronese
G. Poussin - -
Jackson - - -
N. Poussin - - \
Reynolds - -
A. Kaufmann -
Padovanino - -
Lancret - - -
Williams
Pannini - - -
Vander Heist -
Reynolds - -
Vandevelde - -
Sleeping Venus - - -
Silenus - - - -
Rape of Europa - - -
Key. W. H. Carr - - -
Cephalus & Aurora - -
Nursing of Bacchus - -
Portrait of Windham
An Allegory - - - -
G. J. Cholmon- >
deley, Esq. - J
J. Forbes, Esq.
Lt CoL Ollney
1835
1837
Vrmth -
Lord Blessington
LordFarnborough
1838
Ruins and Figures - -
Portrait of a Lady - -
The Graces - - - -
A Palm
A Gale ------
P. F. Mola - -
Vander Neer
Maas - - - -
Teniers - - -
Vandyck - -
The Cradle ....
A Music Party - - -
The Misers - - - -
Study of Horses - - -
The Turner Collection of 105 pictures acquired in 1856, and other recent bequests
of pictures of the British School will be found ia the British School Catalogue.
271
Pictures Bequeathed continued.
No.
Subject.
Painter's Name.
By whom Bequeathed.
When.
157
158
159
160
161
162
163
125
199
200
202
204
205
206
207
209
210
211
212
214
223
479
498
231
237
238
239
240
241
242
243
244
267
269
270
271
289
600
Rubens - - -
Teniers - - -
Maas - - - -
P. F. Mola - -
G. Poussin - -
Reynolds - -
Canaletto - -
Huysman - -
Schalcken - -
Sassoferrato
Hondecoeter
Bakhuizen - -
Dietrich - - -
Greuze - - -
Maas - - - -
Both and Poe- )
lenburg - }
Guardi - - -
Huchtenburg
De Keyser - -
Guido - - -
Bakhuizen - -
Turner - - -
Lord Farnborough
1838
Boors Regaling - - -
Dutch Housewife - - -
Infant Samuel - - - -
View in Venice - - -
Izaak Walton - - - -
Dr. H. Hawes -
R. Simmons, Esq.
1846
1847
1851
1853
Madonna -----
Domestic Poultry - -
A Gale
Itinerant Musicians - -
Head of a Girl - - -
The Idle Servant - - -
Landscape with Figures \
View in Venice - - -
A Battle -
Merchant and Clerk - -
Coronation of the Virgin
A Gale -
W. Wells, Esq. -
C. L. Bredel, Esq.
The Painter
The Sun rising in Mist -
The Building of Carthage
Portrait of Thomas )
Daniell, R.A. - - - J
Portrait of a Girl - - -
Dead Game, &c. - - -
Landscape, Moonlight -
Crossing the Ford - -
The Village Beadle - -
Players at Tric-trac - -
A Man's Portrait - - -
A Shepherd - - - -
Wilkie - - -
Rembrandt - -
Weeninx - -
Vander Neer -
Berchem - -
Wilkie - - -
Teniers - - -
Rembrandt - -
Spagnoletto - -
Wilson - - J
Giorgione - -4
Titian - - -
Guido - - -
Rembrandt - -
Dyckmans - -
Miss M. A. Fuller
Lord Colborne -
1854
Richard and ]
Miss C. J. I
Garnons - - J
Samuel Rogers, "1
Esq. - -/
Rev. T. Halford
Miss Jane Clarke
1855
1857
1859
A Knight in Armour
' Noli me Tangere ' - -
' Ecce Homo ' - - -
The Night Watch - -
The Blind Beggar - -
SCULPTURES
IN THE
NATIONAL GALLERY.
In the Hall.
SIR DAVID WILKIE, RA. Statue, in marble, by
Samuel Joseph. Presented to the National Gallery by an
association of gentlemen in 1844.
THETIS AND HER NYMPHS, RISING FROM THE SEA, TO
CONDOLE WITH ACHILLES ON THE LOSS OF PATROCLUS.
Alto relievo in marble, by Thomas Banks, RA. Presented
to the National Gallery in 1845 by the sculptor's
daughter, Mrs. Forster.
BUST OF THE EMPEROR NAPOLEON. Bronze. Be-
queathed to the National Gallery by Philip Champion
Crespigny, Esq., in 1851.
LONDON:
Printeil by GFOHOE E. EYRE and WILLIAM SPOTTISWOODE,
Printers to the Queen's most Excellent Majesty.
For Her Majesty's Stationery Office.
A 000 498 082 7