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tfl^ SCHd.Jj

HARVARD COLLEGE LIBRARY

,™S^

FROM THE FUND OF

CHARLES MINOT

GLASS OF i8a8

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A

HANDBOOK

TO THE

PUBLIC PICTURE GALLERIES

OF

EUROPE.

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HANDBOOK

TO THE

PUBLIC PICTURE GALLERIES

OF

EUROPE.

WTFR A BBIEF SKETCH OF THE HI8T0HT OF THE VARIOUS SCHOOLS OF PAINTING,

FROM THE 13th CENTURY TO THE 18tu INCLUSIVE. BY

KATE THOMPSON.

THIRD EDITION, WITH ILLUSTRATIONS.

LONDON: MACMILLAN AND CO.

1880.

Ml Sightt Beterved,

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SEP191880

LONDON: FBINTED BT WILLUM CLOWES AND BONB, LIMITED,

RAmoas nBBBT add ohariho csoss.

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PREFACE TO THE FIRST EDITION.

I WISH to say a few words as to the origin of this little book. During the last five years I luive accompanied my father, Sir Heniy Thompson, on his annual tour on the Continent, where, among other things, one of our main objects was to visit and study together the Picture Galleries in the great capitals of Europe. Following his advice, I began by making a few notes on the spot of each chief work, and by consulting authorities respecting them and the history of their painters. At the same time he sug- gested that I should make a chronological table of artists of all schools, adding a few chief biographical incidents relating to each as a pursuit for my own information and profit. It was not until this little exercise was nearly complete that it happened to be named in the hearing of my friend Mr. George Grove, who was pleased to think that I had collected materials for a small manual which might be of some service, at all events to the imtravelled tourist. Accordingly the whole manuscript was carefully revised and somewhat enlarged, with a view to meet this purpose. In working for this object I must be permitted to add that I have been greatly indebted to my father for hints and guidance both as to the arrangement and the matter of my work.

What I have tried to accomplish is then as follows : — 1. An examination of eveiy one of the chief Public Picture €kdleries of Europe, and most of the smaller ones, so as to be able to point out the principal and most in- teresting pictures in each ; invariably adding their niunbers

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PREFACE TO THE FIRST EDITIOK

and titles firom the local catalogues, in order to facilitate reference on the part of the traveller. I have placed at the end of the work a list for each gallery, or short catalogue, of these pictures. These will be found under the painters' names, which are arranged for convenience in alphabetical order.

2. I have endeavoured to give a brief historical sketch of each of the European Schools of Art from its earliest known origin to the end of the last centuiy. This necessarily comprises a few biographical records of each principal master, and I have examined and collated the best known as well as the most recent works for the facts and dates given. Then, in order to illustrate the work of each school or master, I have throughout invariably referred in the text to several pictures as typical examples, stating the number of each in the gallery to which it belongs. While the great majority of these examples is of course to be found in galleries and museums, not a few churches, especially in Italy, are also referred to. My object has not been to make a long list of painters, which would have been a very easy task, but, on the contrary, to limit as far as possible this elementary study to the con- sideration of those masters who were really famous or necessary to be mentioned in tracing the outlines of the history.

3. I have compiled with great care Chronological Tables containing the dates of birth and death, so far as they are known, of every painter of celebrity — that is, historically recognised as such— during the period already stated. At the same time I have endeavoured to ascertain the correct spelling of names, by no means an easy task, for the in- stances are not few in which two or more modes of spelling are supported on good authority.

4. Further, I ought to say that I have not mentioned any picture which has not been seen and noted by myself: many have been examined more than once or even twice. But I have not felt myself qualified to enter into the region of Art criticism, and have not aspired to do so.

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PREFACE TO THE FIRST EDITION. vtt

Still it has not heen found possible to see and compare so many fine works without oooasionall j expressing some sort of opinion here and there.

The most difficult problem perhaps which presents itself to the travelling Fine Art student is that of determining the authorship of certain pictures. Each gallery decides for itself — and naturally shows some partiality in doing so — ^the authenticity of the works in its own possession. In some few instances, in which the assumption of a great name was obviously unjustifiable, I have at once said the work ascribed to such a master is certainly not by his hand ; but in a certain proportion of doubtful examples — and they are numerous — ^I have felt it was not in my province to contest the name employed. On the other hand, in many cases throughout the catalogues I have intentionally denoted the existence of grave doubt by placing the words *' attributed to" after the painter's name.

5. Lastly, great pains have been taken to insure accuracy in reference to the catalogue numbers attached to pictures ; but in one or two places the catalogue is out of print — in another it is in course of construction, and the contents of the gallery are in coDfosion. I am conscious that, not- withstanding all my care, some few clerical errors may have crept in. I shall be very gratefdl for corrections of these, and indeed for any suggestions towards improving my little work, which occur to any one who may chance to use it.

Kate Thompson.

35 Wimpole Street, London. July 1B77.

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PEEFACE TO THE SECOND EDITION.

A Sbcjond Edition liaving been required, I determined at once to revisit the principal Continental galleries, so as to embody in the new work any changes and additions recently made. Boring the last year these have been unusually important. For example, the Brera at Milan has been recatalogued, the pictures have been numbered afresh, new space has been obtained and positions have been altered, so that some works are brought to light which were barely visible before. The Museum at Naples has been similarly rearranged; so has the Qullery of Parma, while some changes have been made in the Vatican collection, and the . pictures there are no longer distinguished by numbers as heretofore. An important portion of the collection in the Venetian Academy has been re-catalogued ; and a new issue, with altered numbers, has appeared of the catalogue to the Italian and Spanish schools in the Louvre.

The collection at Cassel has been just removed to a new and splendid gallery, and has of course an entirely new catalogue. A valuable small gallery has been lately established at Ijucca, and its chief contents are given in due order. The Gallery at Brunswick, interesting as containing a chef d'ceuvre by Jan van der Meer of Delft, finds a place in the new edition ; as also do the Galleries Czemin and of the Academy at Vienna, and of Esterhazy at Buda-PBsth, the latter, which I was prevented from ex- amining, having been done for me by friends on the spot. Every other gallery named in the volume has been visited

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X PREFACE TO THE SECOND EDITION.

by myself. The collections at Liverpool, Edinburgh, and Glasgow appear also for the first time. Besides these additions I have considerably extended the catalogues of several leading collections, such as those of Florence, Pisa, Verona, Vicenza, Bologna, Eome, Munich, Dresden, and Niimberg, after renewed careful examination of the galleries themselves.

Next, that portion of the body of the work which relates to the early history of Italian Art has been completely re- written ; and, brief as it still is, has been made more com- prehensive, extending to at least double its former limits. Some additions and corrections have been made to the other histories also. The contents of the work have been thus considerably augmented, but by diminishing the size of the type and compressing the material its former bulk has not been greatly exceeded.

I desire to express my obligation to the accurate and exhaustive researches of Messrs. Crowe and Cavalcaselle, having had at hand, throughout, their records for com- parison and verification. I am gi-ateful also to numerous correspondents, both in this country and abroad, for valuable suggestions, some of which have been adopted.

It remains for me only to hope that the labour I have bestowed upon it — which has been «ilways a labour of love — ^will render the second edition more worthy the approval with which an indulgent public has been pleased already to receive the first.

K. T.

AprUlSlS,

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PREFACE TO THE THIRD EDITION.

I HAVE endeavoured to improve the third edition by obtaining carefully prepared small outlines of some of the most typical works (nearly 200 in number) of the great masters, which may serve for those who have seen them to recall the details of the composition. Small as they are, the correctness of the original drawings is guaranteed, and the reproduction by the Typographic Etching Company has been faithfully accomplished. All have been m^de by a skilful artist expressly for this work, excepting only two Plates, Nos. XXVIII. and XXXIII. of pictures at Brussels and Antwerp, for which I am indebted to the kindness of an amateur, Mr. Harold Wright of Birmingham.

All the Galleries at Vienna have been personally re- visited, as well as the famous Esterhazy Collection now at Buda-Pesth, not included in the previous edition. Many other important Galleries have been also again examined by me, and the most recent additions catalogued.

K. T. Apra 1880.

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CONTENTS.

PAGS

List of Illustrations xv

List of Museums, Gallbbibs, and otheb places catalooued xxv

List qf Authobities oonsulted xxvii

List of Abbbeyiations xxviii

The Bisb and Pbogbess of Paintino in—

Italy 1

Flandbbs 94

Holland 116

Gebmant 145

Spain 159

Fbakce ,174

England 190

Intboduotobt Notes to the Catalogues .... 205 Catalogues of the Gallebies in —

Italy , . 207

Belgium 271

Holland 278

Germany 293

AusTBiA 836

HUNGABY 350

Spain 355

Fbanoe 364

England and Scotland 383

BUSSLA 410

Index . . . . * 423

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LIST OF ILLUSTRATIONS.

PLATE L, iofoM p. 6.

1. GuiDO DA SiKNA . . Madonna^ in S. Domenioo, Siena.

2. GiMABinB .... Madonna, in S. M. Novella, Florenee.

3, 4. Giotto . . . . /9. Francis in glory and 8. Francis uedded to Poverty f in 8. Franoesoo, AsgisL

PLATE n., to face p, 10.

1. Duooio DA Siena .

2. Qboaqna . . . 3,4. Tbm Lobenzetti?

Entry into Jerusahntj part of altaipieoe in

the Dnomo, Siena. Coronation of the Virgin^ in the National

QaJXeTjf London. Triumph of Death, the Last Judgment

and HeU, in the Campo Santo, Pisa.

PLATE m., to /ooe p. 18.

1. Fba Angelioo . . . Coronation of the Virgin, in the Lonvie,

Paris.

2. „ „ . . . /9. Lawrence giving alms, in the Yatioan,

Borne.

3. Masolino .... Saiome before Herod, in the chnrch at

Oastiglione d'Olona.

4. Masaocio .... The tribute-money, in the church Qf the

Carmine, Ebrence.

PLATE IV., to face p. 22.

1. Masagoio , , . . 8. Peter baptising, in the chnrch of the

Carmine, Florence.

2. Fnjppo LiFPi . . . Coronation o/ (^ Ftr^n, in the Academy,

Florence. 8. Sandbo BoTTiQUiLi Birth of Fentw, in the Uffizi, Florence.

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xvi LIST OF ILLUSTRATIONS,

\/ PLATE \S,—widinwd.

4. Sandbo BornOELLi . Madonna, and angelsy in the Uffizi, Flo-

rence.

5. FnJFFiHO LiPPi . . Martyrdom of 8. Peter^ in the church of

the Garmine, Florence.

1/ PLATE v., to face p. 24.

1 Yerbooohio . . . Baptism of Christ, in the Academy, Florence.

2. B. ^HiBLANDAJO . . The visit of Mary to Elizabeth^ in the

Louvre, Paris.

3. LuoA SiGNOBELLi . . Pan and Music, in the Musemn, Berlin.

4. D. GmBLANDAJO . . Bir{h of the Virgin, 8. M. Novella, Flo-

rence.

^PLATE VL, to face p. 27.

1. Benozzo Gozzou . . ^oa^ and AM/am%, in the Gampo Santo,

Pisa.

2. Melozzo da Fobu . Audience of Sixtus IV., in the Vatican,

Borne.

3. PnsBO DBLLA Fbak- Baptism of Christ, in the National

CESOA Gallery, London.

4. GoBiMO BossELLi . . Sermon on the Mouvi, in the Sistine Chapel.

^LATE Vn., to face p, 29.

1. Gentile da Fabbiano Adoration of the kings, in the Academy,

Florence.

2. Antonello da Messika Crucifixion, in the Museum, Antwerp.

3. Antonio AND Giovanni Madonna enthroned, in the Academy,

VrvABiNi Venice.

4. Oablo Cbivblli . . AUarpiece, in the National Gallery,

London.

^LATE Vin., to face p, 82.

1. Giovanni Bellini . Madonna and saints, in the Academy,

Venice.

2. VnroBB Oabpaooio . Presentation in the temple, in the Academy^

Venice.

3. Gentile Bellini . . Miracles of thetrm cross, mi^QAxssA&aiY,

Venice.

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LIST OF ILLU8TBATI0N6.

xvU

PLATE IX., to face p. 84.

1. Giovanni Bellini

2. Manteqna . . .

Doge Loredano, in the National Gallery,

London. Triumph of JuUua Cx8ar, in the Palace,

Hampton Court.

3. „ .... Madonna of Victory, in the Louvre, Paris.

4. GiMA DA CoNEGLiANO . Christy 8. Thomas and a saint, in the

Academy, Venice.

PLATE X., to face p. 89.

1. Pebugino .... Adoration of the magi, in S. M. di Biarichi,

Cittk delle Pieve.

2. „ .... Delivery of the keys to Peter, in the Sistine

Chapel.

3. Lo Spagna .... Adoration of the magi, in the Museum,

Berlin.

4. F. Fbancia . . Madonna and saints in adoration, in the

GaUery, Bologna.

PLATE XL, to face p. 43.

1. Leonardo da Vinci

2. „ „

3. Bebnabdino Luini

4. LoBENZo Costa

Last Supper, in the Refectory of S. M. delle

Grazie, Milan. The Mona Lisa, or La Joconde, in the

Louvre, Paris. Christ ai the column, in S. Maurizio Mag-

giore, Milan. Court of Isabella d*Este, in the Louvre,

Paris.

PLATE Xn., to face p. 47.

1. Fba Babtolohmeo

3. 0. Allobi . . .

4. Gabofalo (Tisio) .

5. Bazzi (II Sodoma)

6. M «.

Marriage of S, Catharine, in the Louvre, Paris.

Madonna entlironed, in the Uffizi, Flo- rence.

Judiih, in the Pitti, Florence.

Vision of S. Augustine, in the National Gallery, London.

S, Sebastian, in the UflSzi, Florence.

Ecstasy of S. Catharine, in S. Domenico, Siena.

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xviii

LIST OF ILLUSTRATIONS,

PLATE Xm., to face p, 48.

1. MiOHABL AnOELO .

3.

4.

Creation of light, in the Sistine Chapel. Creation of Adam, in the Sistine Chapel. Eoly family, in the Uffizi, Florence. The Delphic Sibyl, in the Sistine Chapel.

PLATE XIV., to face p. 49.

1. Andbea del Sabto 2.

4. S. DEL PlOMBO . .

5. G. A. POBDENONS .

Four saints, in the Academy, Florence.

Charity, in the Louvre, Paris.

Madonna del Sacco, in the S. M. Annnn-

ziata, Florence. Raising of Lazarus, in the National

Gallery, London. AUarpiece, in the Academy, Venice.

1. Bafhael 2.

3. „

4. „

5. „

6» 9,

PLATE XV., to face p. 51.

Madonna, La heUe Jardiniere, in the Louvre, Paris.

Marriage of the Virgin, in the Brera, Milan.

Entowhment, in the Borghese Palace, Borne.

Madonna ddla Sedia, in the Pitti, Flo- rence.

Christ hearing the cross, Lo Spasimo, in the Museum, Madrid.

The Transfiguration, in the Vatican, Borne.

"^PLATE XVI.. to face p, 53.

1 Bapbael Theology, in the Vatican, Borne.

2. „ School of Athens, in the Vatican, Bome.

3. „ 3fa<i<m«adtJ^oZtgfno, in the Vatican, Bome.

4. „ Madonna di S, Sisto, in the Gallery,

Dresden.

^PLATE XVn., to face p. 61.

1. TmAN T^^ri&ute-fnoney, in the Gallery, Dresden.

2. „ Entombment, in the Louvre, Paris.

3. „ Assumption of the Virgin, in the Academy,

Venice.

4. ,« FentMOfuI ^(ionis, in the National GhiUery,

London, and at Madrid.

5. „ Venus reclining, in the Uffizi, Florence.

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LIST OF ILLUSTRATIONS, xix

*^PLATE XVni., to face p, 68.

1. Titian Sacred and profane low, in the Borghese

Palace, Bomo.

2. „ Xavtnuiii?i<%/rut<,'m the Maseiun, Berlin.

3. , Jupiter and Antiope, in the Louyre, Paria.

4. Tintoretto . . . . Miracle of S, Mark, in the Academy,

Venice.

^ PLATE XIX., to face p, 66.

1. BoNiFAZio .... Finding of Moses, in the Brera, Milan.

2. MoBETTO .... Holy family and donatorsjin the 'M.uaevan,

Berlin.

3. Pabis Bobdone . . Fisherman prescfUing ^ ring to the doge,

in the Academy, Venice.

4. MoBONi The tailor, in the National Gallery,

London.

5. Palma Vecchio . . Three Graces, in the Gallery, Dresden.

^PLATE XX., to face p, 70.

1. TiNTOBETTO. . . . Marriage ai Caiui, in S. M. della Salnte,

Venice.

2. „ .... Vutcan^ Venus, and Cupid, in the Pitti,

Florence.

3. P. Tebonisb . . . Marriage at Cana, in the Louvre, Paris.

4. „ „ ... Feastin the hou^e of Levi, in ihe Academy,

Venice.

'^ PLATE XXL, to face p. 73.

1. Cobebggio .... The Nativity, La Notte, in the Gallery,

Dresden.

2. „ , . . . 2)a«ae, in the Borghese Palace, Rome..

3. „ .... JJfogr^atefircodiwgr, in the Gallery, Dresden.

4. „ .... Marriage of S, Catharine, in the Louvre,

Paris.

5. Hubebt and Jan van Adoration of the Lamb, in S. Bavon,

Etok Ghent

IT

PLATE XXTT., to face p. 76.

1. Agostino Cabacoi. ♦ Asiumption of the Virgin, in the Gallery,

Bologna.

2. DoMENiGHiNO • . . Cottimunum of S, Jerome, in the Vatican,

Borne,

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K LIST OF ILLUSTBATI0N8,

"^ PLATE XKlh continued.

8. Annibalb Oaraooi . 8. Boeh giving alvM, in the Galleiy^

Dresden. 4. DoMEHiOHEffo • • . i&. Cecilia, in the Louvre, Paris.

PLATE XXm., to face p. 78.

I.'Cabavaggio . . . Car(i-pZayer«, in the Gallery, Dresden, and in the Sdarra Palace, Rome.

2. Gttido Eeni . . . Fortuney in the Academy S. Lnca, Home.

8. „ „ ... Aurora, in the Eospigliosi Palace, Bome.

4. „ „ ... Massacre of the innocents, in the Gallery, Bologna.

6. CoBBEGGio • « « • JtfodonnajilCriomo, in the Ghtllery, Parma.

•^ PLATE XXIV., to face p. 80.

1. GtTEBCiKO . . . . Aurora, in the Villa Lndovisi, Bome.

2. „ .... Raising of 8ta, Petronilla, in the Capitol

Museum, Bome. 8. Albani Dance of cupids, in the Brera, Milan.

4. GuiDO Cagnaooi . . Tarquin and Lucretia, in the Academy S.

Luca, Bome.

5. BiBEBA (Lo Spagno- Jacob* s dream, in the Maseum, Madrid.

LETTO)

6. Salyatob Boba • . Prodigal son, in the Hermitage, Si

Petersburg.

*^PLATE XXV., to face p, 98.

1, 2. Hak8 Memltng . Arrival and martyrdom of 8, Ursula, in

the Hospital of 8. Johii, Bruges. 8. BoGnSB TAN DEB Wet- Adoration of the magi, in the Gallery,, DEN Munich.

4. „ „ 8, Luke painting the Virgin, in the

Gallery, Munich.

5. „ „ Xa<< •/ti(29*m«n<, in the Hospital at Beaune,.

Burgundy,

^LATE XXVI., to face p. 101.

1. Anton van Dtok . Charles L, in the Louvre, Paris.

2. QunmN Matsts . . Deposition, in the Gallery, Antwerp. 8. A. TAN Dtok . . . Crucifixion, in the Catiiedral, Mechlin. 4. QiTiMTiN Matsys • • The 'misers, in the Castle, Windsor.

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LIST OF ILLUSTRATIONS. xxi

•^PLATE XXVII., to face p, 106.

1. BuBENS Descent from the cross, in tlie Cathedral,

Antwerp.

2. „ Judgment of Paris^ in the National Gal-

lery, London, and at Madrid.

3. ., Children with fruit, in the Museum,

Berlin.

4. „ Marriage of Maria de* Medici, in the

Louvre, Paris.

5. „ Portrait group, in the Pitti, Florence.

6 Portraits of himself and Isabella Brandt,

in the Gallery, Munich.

PLATE XXVIIJ., to face p, 112.

1. OoRNEXiB DE Vos . . Portrait group, in the Museum, Brussels.

2. A. VAN Dyok . . . Portrait of Alexandre de la Faille, in the

Museum, Brussels.

3. Simon Vouet ... 5. Carlo Borromeo, in the Museum,

Brussels.

4. 8. DiERiOK Bouts . . Justice and Injustice of the Emperor Otho,

in the Museum, Brussels.

5. Jan Beueqhel . . . 8. Norbert preaching, in the Museum,

Brussels.

6. Fbans Hals . . . Portrait, in the Museum, Bnissels.

7. Lucas van Leiden . Ttoo parts of a triptych, in the Gallery,

Antwerp. 9. F. Snydebs . . . Dead gam>e, in the Museum, Brussels.

*^PLATE XXIX., to face p. 121.

1. Eembrandt .... The Monde de nuit, in the Trippenhuis,

Amsterdam.

2. „ .... -ino^owy Ze«8o», in the Gallery, the Hague.

3. „ . , , . Woman taken in adultery, in the National

Gallery, London.

'^ PLATE XXX., tofUcep. 128.

1. B. VAN DER Helst . Civic guard, in the Trippenhuis, Am-

sterdam.

2. D. Teniebs, younger Acts of m^rcy, in the Louvre, and in the

Hteengracht Gallery, the Hague.

3. A. VAN OsTADB . . T/ie^dd^r, in the Gallery, the Hague.

4. Jan Steen .... Peasants* wedding, in the Belvedere,

Vienna.

5. „ .... Feast of S. Nicholas, in the Trippenhuis,

Amsterdam.

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LIST OF ILLUSTRATIONS.

	PLATE XXXI., to face 'p. 130.
1.	G. Tkbburg . . .	Officer presenting gold to a woman, in the Louvre.
2.	»♦ ...	The despatch, in the Gallery, the Hague.
3.	N. Maas ....	The Dutch hoiisevnfe, in the National Gallery, London.
4.	PiBTER DB HOOGHE .	Interior, in the Gallery, Munich.
5.	G. Dow . . . . .	The guack doctor, in the Gallery, Munich.
6.	>♦ .....	The doctoi's visit, in the Louvre.
	PLATE XXXU., to face p, 134.
1.	A. Cotp	Landscape, in the National Gallery, London.
2.	Stephan Lochneb . .	Dombild, in the Cathedral, Cologne.
3.		Portraits of himself and his wife, in the Gallery, Dresden.
4.	Ph. WoUWEttMAN . .	The loaiering-place, in the Gallery, Munich.
5.	Paul Potter . . .	The young huU, in the Gallery, the Hague.
	PLATE XXXni., to face p. 140.
1.	KUYSDAEL ....	Landscape, in the Museum, Brussels.
2.	HOBBEMA ....	Landscape, in the Museum, Brussels.
3.	L. Cbanaoh . . .	Adam and Eve, in tho Museum, Brussels.
4.	H. Memlinq . . .	Diptych, in the Gallery, Antwerp.
5.	A. S. COELLO . . .	Female portrait, in the Museum, Brussels.
6.	Jan Fyt ....	Greyhounds, in the Gallery, Antwerp.
7.	D. Tenders, younger	Village doctor, in the Museum, Brussels.
8.	Rubens	Adoration of the magi, in the Gallery, Antwerp.
9.	J. Wtnants . . .	Landscape, in the Museum, Brussels.
	PLATE XXXIV., to face p. 150.
1.	Hans Holbein . . .	TJie Madonna, of the Burgomaster Meyer, in the Gallery, Dresden. *
2.	» »> • • •	Portrait of the goldsmith Morett, in the GkiUery, Dresden.
3.	L. Cranaoh . . .	Woman taken in adultery, in the Gallery, Munich.
4.	Albreoht Durer . .	Adoration of the kings, in the Uflfizi, Florence.
5.	H. Holbein . . .	Portrait of Oeorge Oyzen, in the Museum, Berlin.

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LIST OF ILLUSTRATIONS. xxiil

*^PLATE XXXV., tofaeep, 164.

1. Juan de Juanes . . §tephen before the couneil, iu the Museum,

Madrid.

2. ZuRBABAN . . . Monk at prayer, in the National Gallery,

London.

3. Velasquez .... Surrender of Breda, in the Museum,

Madrid.

4. „ .... Tapestry workers, in the Museum, Madrid.

*^ PLATE XXXVL, tofaeep, 168.

1. Veulsqxtez .... The Borrachos, in the Museum, Madrid.

2. „ .... Las Meninas, in the Museum, Madrid.

3. MuBiLLO .... Vision of S, Anthony, in the Cathedral,

Seville.

4. „ .... Beggar-boy, in tlie Louvre.

5. „ .... Woman and boy, in the Gallery, Munich.

'^PLATE XXXVn., tofaeep. 176.

1. MuBiLLO S, Elizabeth tending the poor, in the

Academy de S. Fernando, Madrid.

2. M. Valentin . . . Concert, in the Louvre.

3. Le Nain . .

4. Nicolas Poussin o, „ t«

6. MUHILLO . .

Blaeksmitli^ in the Louvre. Arcadian shepherds, in the Louvre. Bape of the Sabines, in the Louvre. Assumption of the Virgin, in the Louvre.

^PLATE XXXVIIL, tofaeep. 180.

1. Claude Lobbaine . . Ixinding of S, Ursula^ in the National

Gallery, London.

2. Lb Sueub .... Paul preaching at Athens, in the Louvre.

3. SUBLETBAS .... Christ in the house of Simon, in the

Louvre.

4. Watteau .... Venetian festival.

5. Chabdin .... The blessing, in the Louvre.

PLATE XXXIX., to /ace jj. 195.

1. Davtd Sabine women, in the Louvre.

2. HoGABTH .... His ovm portrait, in the National Grallery,

London.

3. Kbtnolds .... Portrait of Mrs. Siddons, in the Gallery,

Dulwich.

4. Grxuze The broken pitcher, in the Louvre.

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LIST OF ILLUSTRATIONS.

PLATE XXKIX.— continued,

5. HoGABTH .... Marriage a la mode, in the Nationsil

Gallery, London.

6. Betnolds .... Infant Hercules, from the large composi-

tion, in the Hermitage, St. Petersburg.

PLATE XL., to face p, 197.

1. Gainsborough . . . TTiewatering-place^iaihe'S&tiomlGalleTj,

London.

2, „ ... Parish clerk, in the National Gallery,

London.

8. BoMNET Lady Hamilton, in the National Grallery,

London.

4. Wbight of Dbbby . Experiment with the air pump, in the

National Gallery, London.

5. Opie Death of Rizxio,

6. B. West .... Death of Wolfe, in the Palace, Hampton

Court.

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( XXT )

LIST OF MUSEUMS, GALLEEIES, AND OTHER PLACES CATALOGUED.

		Bomb.	. . Villa Fameiina,
	ITAIT.	»»		. , VUla LudoviH.
Abezzo .	. Municipal Gallery,	»»		. . BotpiglioH Palace,
Beboamo .	. Accademia Carrara.	M		, . Sciarra Palace,
Bologna .	. PinacoUca.	>♦		. . Spada Palace,
Bbkcia .	. Museo Civico,	>»		. . Vatican Collection,
FiBBAKA .	. Ateneo.	SlEHA		. . GaReria deUeheOe AHi,
Flobkncb	. Accademia deUe heUe	>»		. Palazzo Putblico.
	Artu	TuBm.		. Pinacoteca,
ft	. Mweum at 8, Marco,	Venice	, Accademia delle heOe
9)	. PiUi Palace.		ArH,
w	. Bayai GaUery of the	>»	. Correr Museum.
	Uffizi. . Palazzo Brignoli,	»>	. . Ducal Palace.
Gbhoa	n	. . Scuola di San Bocco.
LUCOA .	. Communal QdUery,	Vebona	, , Pinacoteca, '
Mahtua .	. Palazzo del Ti,		. . Museum.
»♦ •	. Ducal Palace,
»	. CJaHeOo di Corti.		BSIAIUIL
HiLAH .	, Ambrosiana,		. . Museum,
HODENA . Kaplbs	. Brera, . GdOeria Estense, , Boyal Museum,	Bbugbs BbU6SEL8	, . Academy of Pictures, . Hospital of S. John, . Musee National
Padua .	. Museo Civico,
Pabma Pkbugia	. Pinacoteca, . Pinacoteca,		EOLLAHB.
M	, 8ala del Camhio,	AHSTBBDi	.M . Museum of the Trippen-
Pba .	. Accademia,		huis.
n	. Campo Santo.	>»	. Van der Hoop Museum,
Pbato	, , Municipal GaUery,	»«	, Six van HiUegom Col
Bomb.	, , Accademia di San Luca,		lection.
ft	. . ViUaAJhani,	»	. Townhall.
>»	, . Barherini Palace,	Haablbm.	. Toumhall
y* •	. . Borgheae Palace,	»>	. Hofje van Beresteyn.
w	. GaUery of the Capitol	Hague	, Musee Communal.
9*	, CoUmna Palace,	n	, Boyal Museum.
>» •	, , Conini Palace,	99
w •	, , Doria Palace.	Leidbn .	. Stedelyh Museum.
ti • «	. Famese Palace,		»DA]	IK . Museum.

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xxvi

0ALLEBIE8 CATALOGUED.

OEBMAHT.

AuGSBiTBa . GaUery of Pictures, Basle. . . Gcittery of Pictures* Bbbun . . Boyal Picture GaUery. Brtjnswiok . GiUlery of Pictures. Oabsel . . Gallery of Pictures. Cologne . . Museum WaUraf-Bieh-

artz. Dabmstadt . GdUery of Pictures, Dbesden . . Boyal ChUery of Pie-

tures, Fbankport . Stadd Picture Gallery, Munich . . Boyal Pinacotheh, l^UBNBBBG . German Museum,

,y . Moritz-KapeUe.

Stuttgabt . Boyal ChUery of Pio-

twres,

AtrSTBIA.

Vienna . . Boyal Academy of Arts, „ . . The Boyal Belvedere, . „ . . GaUery of Count Czer- nin. „ . Gallery of Count Har-

ra/ih, „ . . GaUery of Prince Liech- tenstein.

EUITGABT. Buda-PestH . ChUery of Pictures,

sPAnr.

Mapbtd . . Academia de San Fer- nando, „ . . Boyal Museum. Seville . . Museum,

7SAHCE.

Bordeaux	. Museum,
Lille .	. GaUery of Pictures.
Ltonb	. Museum,
Marseilles	, GaUery of Pictures.

Paris . .	. Louvre.
ENeLAHB AHD SCOTLAKD.
Dulwich .	. Gallery of Pictures.
Edinbubgh	. Natimal GaUery.
Glasgow.	. Gallery of Pictures.
Greenwich	. The Hospital.
Hampton CJOURT	Collection in the Palace, )
LlTERPOOL	, Boyal Institution,
London .	. National Gallery.
»	. PoHrait Gallery,
n	. Soane's Museum.
	BtrssiA.
St. Peteb8-\ Gallery of the Hermi-
BUBG •	) tage.

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LIST OP AUTHOEITIES CONSULTED.

Lives of the Paintebs. By YasarL Translated bj Mrs. Jonathan Foster. Bohn's edition. 1850.

Smith's Qatalooub Baisonk^. 1829.

Ankals of the Abtists of Spain. By Sir W. Stirling Maxwell, Bart. 1848.

Handbook of the Histobt of the Spanish and Fbenoh Schools of Painting. By Sir E. Head. 1848.

Illuminated Books of the Middle Ages. By Koel Humphrey. 1849.

The Schools of Painting in Italy. By Eugler. Translated by a Lady. Edited, with Notes, by Sir Charles L. Eastlake, P.B.A., F.B.a 1851.

HiSTOIBB DES PeINTBES DE TOUTES LBS ECOLES: ECOLB FbAN^AISE,

Par Charles Blanc, 1852. Geschichte deb Chbtstliohen Malebei. Yon Dr. Nikolans Sorg. 1853.

BiCnONNAIBE HiSTOBIQUB DES PeINTBES DE TOTTTES LBS l^COLES :

£coL£ Fban^aise. Par Adolphe Sivet. 1855. MusEES DB LA HoLLANDB. Par W. Borger. 1858, 1860. Baphabl d'Ubbin bt son P^e, G. Santl Par G. D. Passavant. 1860. Aknales DE LA Pbintcbb. Par Etieiuie Parrocel. 1862. The Epochs of Painting : a Biogbaphioal and Cbitical Essay on

PAENTINa AND PaINTEBS OF ALL TIMBS AND MANY PLACES. By

Kalph Nicholas Womum, Keeper and Secretary to the National Gallery. 1864.

Some Account of the Life and Wobks of Hans Holbein. By B.N. Womum, 1867.

A Centuby of Paintebs of the English School. By Blchard Bedgrave, B.A., and Samuel Bedgrave. 1866.

Histoby of Abt. By Dr. Wilhelm Liibke. Translated by F. E. Bunnfett, 1868.

Handbook fob Tbavbllbbs in Spain. By Bichard ^Ford, F.S.A. Fowrth Edition. 1869.

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xxviii AVTH0BITIE8 CONSULTED.

Handbook fob Tbatbllbbs in Spain. Bj B. Ford, F.S.A. Fifth Edition. 1878.

The Cioebone ; ob, Abt Guide to Painting in Italy, fob the usb OF Tbatbllbbs. By Dr. Jacob Burckhardt. Translated from the German bj Mrs. A. H. Cloagh. Edited by Dr. von Zaha 1873.

An Abt Toub to Nobthbbn Capitals of Eubofe. By J. Beavington Atkinson. 1873.

Antonio Allegbi da Oobbeggio, From the German of Dr. Julias Meyer. Edited, with an Introduction, by Mrs. Charles Heaton. 1876.

A Bbief Histobt of the Paintebs of all Sohools. By Louis Viardot and other writers. 1877.

A New Histobt of Painting in Italy fbom the Second to thb

Sixteenth Centuby. By J. A. Crowe and G. B. Cayalcaselle.

1864. A HiSTOBY OF Painting in Nobth Italy from the Foubteenth to

the Sixteenth Centuby. By J. A. Crowe and G. B. Caval-

easeUe. 1871. The Eably Flemish Painters : Notices of theie Lives and Wobks.

By J. A. Crowe and G. B. Cayalcaselle. Second Edition, 1872.

Titian : his Life and Times, with some Account of his Family ; chiefly fbom new and. unpublished Becobds. By J. A. Crowe and G. B. Cayalcaselle. 1877.

Renaissance in Italy : Fine Abts. By John Addington Symonds, 1877.

LIST OF ABBREVIATIONS.

The term "Madonna" is always held to include the Virgin and Child, while the term " Virgin *' implies the absence of the latter. Gds. Tab. . . Salle des Grands Tableaux. Ancs. Tab. . . Salle des Anciens Tableaux. Pets. Tab. . . Salle des Petits Tableaux. Attrib. . . . Attributed to. C. & C. . . . Crowe and Cayalcaselle.

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HANDBOOK

Tp TOM

^ttblit ipidw Wtm of fnropt

ODTUKES OF A HiSTOBlT OF W£ BISE AND PBOGRESS OF FAINTING IN ITALY.

Ih presentmg Ik brief 8]^^tp]i of tIl^ history of Pamtixig in Europe, wi4 of the chrowlpgy of ftrtfstp i» cpnnection tliorewitb, it 9eem6 Q^qe^at^y ^t tbe out^e^ to obaerve that, Altbongb it l^asb^n ^equentl^ the 9ll^tca^to cUe^ify them aqcording to the oeutupy in which they were bor?i, 1Mb mode of treatment i» n 8<;»|iewh9't arhitr^ary pnj9. Fo^' example, an artiBt bor?L towflrr^s th^ ^nA pf one oentury may more properly be^ng tp the ^e^t, ^ manifestly his influence i^ not felt wntil the latter ^^riod. It may l^e^e- ibre often be fomid advisable to regard ^ ar^ii^ti npt as belonging to lihe oej^twy of his birth, b^t to tj^at in which hia works were firpt i|een and known. Agftin, thp works of some artists belong eqn^Jly to two pentijrie^, the latter; part of one ajid the beginning pf the ft)llQwing. Next, it^ may be d^sjurable to remind ^me readers that fhe It^Uan mode of reckoning the c^»tury differ^ frp?n our own. Thus while ^e prepeut peptniy i3 for nfi the " nineteenth," the Italian names it ihe "eighteenth;" jao that the "Quattrocentisti" of the Itajian writers ar^ the cji^sters, not of the "fourteenth." but of qux "fifteeuth" peutury, and the term "Cinqmecento'' indicates the styl^ pf the "aixteeiith " century according tQ our l^ngujage.

Intro- ductory,

Term

" century.*

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TEE RISE AND PR0GBE88

Term

"* school,*'

The

Tuscan

school.

The early

orucifixest

There is another term, constantly employed in con- nection with the history of art, viz., " School," which also requires a word of explanation. Most commonly it is intended to distinguish a group of painters existing at any one place and following a more or less similar manner ; influenced by a great master, or by traditions belonging to the locality; which again might be narrow and of small repute, or, on the other hand, famous and extensive ; for examples, the Venetian school, or the school of Fabriano. Occasionally it denotes an institution for teaching, as the school of Squarcione, or that of the Caracci, but this is a rare and exceptional meaning.

The history of painting commences with Italy, because it was the first country in Europe in which the art was cultivated, and because it rapidly attained to the highest perfection there. Employing the term "century" now and henceforth according to the English usage, we may regard the twelfth and thirteenth centuries as embracing the dawn of native Italian painting as an art ; and this appears to have taken place in what at this eaxlj period is generally called the Tuscan school, including the painters of Florence, Pisa, Lucca, and Siena. These cities, how- ever, soon developed independent characters, and gave names to separate schools of their own.

Before this time all art-work had been largely influenced by Byzantine traditions, and was met with chiefly in the form of mosaics, and in elaborately finished illuminations for choir-books and manuscripts. Further than this, artistic sentiment expressed itself in the form of sculpture, and chiefly and most admirably at this time through the work of Niccola and Giovanni of Pisa. One of the earliest modes by which painting was developed was the fabrica- tion for the use of churches of large wooden crucifixes. On these were portrayed, not only by the chisel but by means of colour, the body of our Lord, often associated with representations of the various incidents of the Passion, and mostly with little figures of the Virgin and St. John, These crucifixes were rude and ungainly in proportion, and always exhibit the elongated forms and greenish shadows of Byzantine origin. Examples dating from the

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OF PAINTING IN ITALY.

eleventh, to the thirteenth centimes are still to he fonnd in many parts of North Italy; for instance, in the Eieniitani church at Padua. Others may he seen at Pisa, Lucca (in S. Michele is a fine example), and the neigh- bourhood, and in the Academy of Siena and at Arezzo.

Li the early part of the thirteenth century, the influence of the devotion and works of S. Francis of Assisi aflforded a fresh stimulus to the painter, by creating a new subject for his art. Thus at Pescia, in the church of S. Francesco, an altarpiece was found representing the saint, with in- cidents from his life, depicted on lateral panels (Messrs. C. and C). It was at first ascribed to Margaritone of Arezzo, but is now proved to be the work of one Bonaven- tura Berlinghieri, whose name occurs in the earliest records of the artists at Lucca.

Next in order should be named two early masters of Siena and Pisa, of whom the records are no doubt some- what uncertain. The first is Guido da Siena, whose name is associated with a large painting of the 'Madonna,' signed and dated 1221, and stiU preserved in S. Domenico at Siena, for which it was originally painted (Plate L, 1). Compared with the famous Madonna of Cimabue in S. M. Novella at Florence, this picture is of ruder workmanship throughout, while it is evident that the traits have been lost by repainting, which has imparted a character of a later date to the drawing and modelling, especially of the child. To Guido is also attributed a similar but smaller * Madonna' in the Sienese Academy, No. 6. The second is Giimta Pisano, of whose history somewhat more is known. His work, like that of all painters in Tuscany before Cimabue, was of an inferior order, and tends to confirm the view which awards to Florence the first place in painting at this period. There is a crucifix by Giunta in SS. Baineri e Leonardo at Pisa ; and some ruined frescoes from the lives of Christ and S. Francis, in the Upper Church of S. Francesco at Assisi, are also ascribed to his hand.

Another painter of this time must be mentioned before considering the Florentine school, namely, Margaritone of Arezzo, whose productions are in the lowest rank of art. An example, originally in S* Margherita at Arezzo, is now

B 2

The early crucifixes

Berlifi' ghieri.

Siena and Pisa, ISth ' century. Guido,

Giunt<u

Margari' tone.

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THK RI&S AND FMOGRESS

Margari' tone.

The Cos- matt and Oavallini.

School of Florence^ ISth cm' fury, dmabue^

in our Nfttidnal Oi^lterj, No. 5$4. Two works are in the Mnnicip&l Gallery «t Arezso, a *8. Francis/ No. 21, and a ' Madonna/ No. 88, fonoieriy in S. Franoesco, where l^h^i^e IB still a oolossal oruoifix by him, while another figure of S. Francis, a f aTOurite suhject, may be seen in the Acad^ny of Arts, Siena, No. 18.

About this time the Oosmati and Pietro <!lavi^ini worked in mosaic at Borne, and the lifter was long re- garded as the au^or of some frescoes a/t Assisi, Florence, and Orvieto, but recefnt inrestigaticms have shown this ▼iew to be erroneous.

No early names of any note are to be found associated with pictorial art in Fko^ence before Cimabue, except that of an able worker in mosaics of the thirteenth century, Andrea Tafi. With the famous Cimabue, bom in 1240, the Florentine school of planting began, and under him attained that high position among the other Tuscan schools Which it so long enjoyed. C^abue appears to have been the first to modify the exiirtang Byzantine style by a direct study of nature. The movement in this direction was not ^M^nsid^raHe, but the advance is nevertheless manifest. Several of his works are extant. The celebrated Madonna, which on its completion was removed with great pomp from the painter's studio to the Oapella Eueoelkti in S. Maria Novella, is still there (Plate I., 2). Two others, also well known, are the large * Madonna with angels,' in the Accademia, No. 2, and that in the Uffizi, No. 2, also at Florence. Somewhevt similar in trealanent are No. ,153 in the Louvre, and No. 5^ in our National Gallery, which if not entirely his work are examples of his style. The principal achievement of the master is a series of frescoes in the south transept of the Lower Church of S. Francesco at Assisi, where also is a MJadonna of large size in fresco. The aisle of the Upper Church contains frescoes by him, by Giotto, and probably by Filippo Rusutti and G«ddo Gaddi (Messrs. C. and C.), both of whom worked chiefly as mosaicists and have left examples of their skill at the church of S. Maria Maggiore at Rome. Some of the wall paintings at Assisi have recently been restored in some- what glowing oolottr. And here it may be remarked thai

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OF FAINTUfG m HALT.

{HX)bably very few fresooes mfiy pEreient the master's work nntoTK^ed, so many kare been tmted or strengthened, often at early periods^ to mamtain tbem in fit oondition for their purpose ; while recent restorations, it must be sadly confessed, harre sometimes whc^ly extinguished the ori^nal wtirk.

The only other scdiool which in the thirteenth century ia any degree rivalled that of Florenioe was the Sienese, hut it ncEvertheless remained second to the former in merit. Its most important master was Ducdo di Buoninsegna, whoy according to existing docaments, was an established painter at Siena, in and aftw 1282, and was therefore a Qebt^nporaiy of Cimabue. His greatest work is an altar- pieee, paintcKl for the chief altar in the Duomo at Siena, and carried there with much oerem<my in 1310 ; it is still preserved in that church, though since spUt in two, having been originally pidnted osk both aides. One represents the 'Md^esty of the Virgin,' and the oih^T is divided into twenty-six small compartments, on which are defected, with remarkably ability, various scenes from the history of the Pasdon (Plate II., 1). In the Sienese Academy two works may be seen by his hand — a triptych, much injured. No. 24, and a ' Madonna with saints,^ No. 23 ; while our National Gallery contains one example, No. 666.

Two artists of ^ieoka^ inferiodr to Ducoio, who painted at the same time, must be mentioned, namely, UgoUno and Seg^a. It is difficult to identify their works with certainty, but an altarpiece in the saoristy of S. Grooe, FloreiMse, and a large Madonna in the altar of Orcagna in Or San Michele, may be by TJgc^Lino. Messrs. Crowe and Cavalcaselle doubt his authorship of the ' Coronation,' No. 1 Anos. Tabl. in the Florentine Acoademia. The following may be attributed with more certainty to Segna ; a picture, 'Four saints,' dated 1305-6, now Na 25 in the Siena Academy, and a panel in our National Gallery, No. 567.

t^OtmSSSTTB CKKTURT.

Two principal schools may be distinguished in this century, the one chiefly associated with Florence, the

Oimabm.

School of Siena, Idth century,

Ducdo di Siena,

UgoUno and Segna.

Florentine school f l^ih century.

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e

^HE niSB Am) TMOOBmS

Florentine school, lUh century,

Giotto,

At Assisi*

AtPadua^

other with Siena ; and the former still maintains the first place during this period. It is difficult to say how far its influence extended in the thirteenth century, but early in the fourteenth Cimabue's great pupil Giotto gave a new impulse to art throughout Italy, from the Venetian to the Neapolitan territories. Though he was bom in 1276, his work belongs more strictly to the fourteenth century, of which he is the earliest and one of the greatest masters^ Like some others of the most distinguished of the time, his power and versatility were remarkable. A noble monument of his skill in architecture remains in the well- known Campanile at Florence, while his ability as s^ sculptor is shown in some of the statues which adorn it« He also designed, if he did not execute in mosaic, the • Navicella,* for the vestibule of S. Peter's at Eome ; and several crucifixes in wood were carved by him. But the works by which he is best known are the wall paintings in the Lower Church of S. Francesco at Assisi, the series of frescoes in the Church of the Madonna dell' Arena at Padua, and those in S. Croce, Florence. When young he began his labours at Assisi by painting scenes from the life of S* Francis on the aisle of the Upper Church, which are inferior to those in the Lower Church, executed at a later period. In the south transept of the latter are frescoes of the life of Christ and of S. Francis, but the most important are those of the ceiling, viz., four allegorical compositions depicting the Glorification of S. Francis; with the allegories of Poverty, Chastity, and Obedience, these being the three representative virtues of the Franciscan order (Plate I., 3, 4). Equally interesting is the series of wall decorations in the well-known Church of the Madonna delF Arena at Padua, where Giotto pro- bably worked in 1305. These consist of a * Laat Judgment * over the door of entry, the * Saviour in glory' at the opposite end above, and below it the * Annunciation,' while scenes from the lives of the Virgin and of our Lord adorn the walls in three rows of square compartments. Below are small figures of the Virtues and Vices in monochrome. The vaulted roof contains the heads of the Virgin, Christ and Prophets on a starred blue ground. Probably from

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^*^"^* 3^/acei>ape 6.

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OF* PAINTING IN ITALY.

Padua Giotto made Iiis way to Bavenna, where the ceiling of a chapel in S. Giovanni Evangelista is decorated in his style. Messrs. Crowe and Cavalcaselle consider these paintings as genuine, but altered by over-painting, which certainly appears to be the case; Kugler, however, en- tirely denies their authenticity. In like manner, the interesting fragments of frescoes in fair preservation re- lating to the seven sacraments, still to be seen in the Incoronata at Naples, and until lately attributed to Giotto, are proved to be the work of a follower. Giotto appears to have resided in Home from about 1298 to 1300, and a few works of this period still testify to his presence there. In the Church of S. Giovanni Laterano is a small well-preserved fresco on a pillar, representing the * Open- ing of the Jubilee of 1300 by Pope Boniface VIII.' It is interesting to remember in connection with this that Giotto met Dante for the first time during the Jubilee festivities, and a friendship was then commenced which, perhaps, influenced the works of both. From Home Giotto returned to Florence, where he was employed in 1301-2 to decorate the chapel of the Fodest4 or Bargello. These frescoes are in a ruined state, having been until 1840 covered with whitewash. The well-known portrait of Dante can, however, still be distinguished, though it has doubtless been almost repainted. Most of his latest and finest works are to be found in Florence, particularly in two chapels in S. Croce, although it is to be feared that their original character has been seriously altered by restoration. The Capella Peruzzi contains frescoes of the lives of S. John the Baptist and S. John the Evan- gelist, the most admirable being the ' Dancing of Salome * and the ' Eaising to life of Drusiana.* These were only recovered from whitewash a few years ago : while the adjoining chapel of the Bardi della Libertll is adorned with scenes illustrating the life of S. Francis, with S. Louis and other saints, and the three Franciscan Virtues. His exquisitely finished altarpiece, the * Coronation of the Virgin,' is now preserved in another chapel, that of the Medici. Giotto also executed with the help of Agnolo Gaddi and others some frescoes in the Carmine, none of

OioHo, At Padua.

At Mom.

At Fh- renci.

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TBE BISE AND PFOGMESS

Giotto:

School of Giotto.

Taddeo Gaddi.

Agnoto OaddU.

Ghttino,

which are there now, btit fragments are preserved in our National Gallery, two heads. No. 276, and in the Liverpool Institntioh, Nos. 5, 6. C(Hnparatiyely few genuine productions are in pubHc galleries; but the following examples are authentic, viz., the ' Madonna of Ognissanti,' now in the Florentine Accademia, No. 15 (the series of small paneld there, Nos. 4-14, long believed to be by the master, are now* regarded as the work of Taddeo Gkddi from Oiotto'O designs) ; a ' Madonna ' in tiie Brera at Milan, No. 310, of which the wings are in ^e Pina- GOteca at Bologna, No. 102; and an i^tarpiede with its predella, described by Yasari, of ' B. Francis of Assisi,' liow No. 192 in the Louvre. Thd small panels . Nos. 1073, 4 at Berlin can only b^ assigned to a f^lower of Giotto.

So famous a master had naturally a vast niunb^ of imitators and followers, who are known as the Giotteschi. Among these Taddeo Gaddi, the godson and chief assistant of Giotto, and later Agnolo Gaddi, Taddeo's son and scholar, rank first. The principal frescoes of Taddeo, re{)resenting (Scenes from the life of the Virgin, are in the Baroncelli Ohapel in 8. Croce at Florence. There is a well-preserved altarpieceby him in S. Felicitii at Fl(»:ence, besides th^ series of small panels in the Flor^itine Academy already mentioned. Others are in ^e Berlin Museum, Nos. 1064, 79, 80, 81 1 and three subjects, being portion of a pfedeUa, form No. 188 in the Louvre. By Agnolo Guddi is a series of frescoes in the choir of S. Croce, depicting the finding of the true cross, which manifest a strikiikg advance on the earliest work of tl^ School, as do also hi6 fine frescoes of the life of the Virgin, and those iUusttatii^g the legend of the sacred girdle, in the Capella del Sacro Cingolo in the Cathedral at Prato. There is a ' Madonna and saints ' by him, No. 1 in the Municipal Gull^ry, Prato, and the Aocademia at Florence possesses an altM[^ieee, No» 33 G^. Tal^. A pc»iel at B^liU) No. 1040, catalogued as Giotto's, is given to Agnolo by C. and C.

Another name often met with in the records of this time is that of Giottino^ sometimes called also Tommaso

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di Stefano, abottt wkom vety litiile is known, and it soeoiB prolmble ^oslI the works of more than one padnter tobj be included under this name. A w^-known Fieta hangs in the Uffizi^ No. 7, and frescoes are attributed to him in the Oaj>ella 84 SilTestro in S. Crooe, Florenee, in the Lower Church at Assisi, and in S« Chiara ihere, but the authOT of thede works is not jet identified* At any rate he was an imitator of Giotio, a&d it is not admitted that h^ has done muc^ for the adyanoement of ort^

We hare yet to consider two contMnporary artists, GioTanni Jacobi, called Oiovanni da Milano, who worked as assistant to Taddeo Oftddi, and Antonio Veniziano, who was influenced by Agnolo.

By Giovanni tiiere is a dated altarpieoe of the< year 1305, a Pieta in the Aocademia at Florence, No. 16 Gds. Tald., and an equally auth^itic production may be seen in the Gallery at Prato^ No* IV. Besides these, there is a work in the TJffid, No. 1293, while proofs of his capacity as a frescO painter al^ to be found in the Oapella Binuccini in S. Crooe. (C. and C), alth<>ugh Tasari says they 9M th* work of Taddeo and his as- sistants*

The best productions of Y eniziano are to be seen in his wall panitings at Hia Campo Santo, Pisa. In 1386 he oarried on and completed a Aeries of frescoes there firom the life of S. Baineri, begun in 1377 by one Andrea da Firenaiev The portion relating to the embarkation of the saint and to his sojourn and death in Pisa is by Veniziano, but itll are now much dilapidated. He is said to have restored and framed somd of the other wall paintings there. Yeniziano may have painted the ceiling of the large Capella degli Spagnuoli in S* Crooe.

Meanwhile Giotto's influence had made itself felt in other parts of Italy. In Arezzo we find some worthy followers in the persons of Jaoopo di Gasentino and his better known and more aeoomplished pnpil^ Spinello Aretino.

By th6 elder painter there is a dill^pidated fresco of a Hetii in S. Bartolommeo at Arezzo, besides which are a ptedella to be seen in the Uffizi, No. 1292, and an

QiottifUk

Qiowmni da MUouuK

VenizkaUK

School of ArezxOf Uth century^

J.di Casentino.

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TR£ ntSM ANt> PB00BJE88

J.cU Casentino.

Spinello Aretino*

Niocolb di Pjetro and Lorenzo Gerinu

Campo SantOf Pisa,

altarpieoe in our National Gallery, No. 580. He should be noted as the founder of the company of painters in Florence, in the year 1349.

Spinello worked and excelled chiefly as a fresco painter, and several of his minor works are still to be seen in his native town, as, for example, an 'Annunciation,' fine but much injured, in S* Francesco. Much more interesting is a series of frescoes illustrating the life of S. Benedict, painted in 1377, but now altered by restoration, in the sacristy of S. Miniato at Florence. His most important productions are the decorations of the Sala di Balia in the Palazzo Pubblioo of Siena, where he represented on a large scale various incidents of the struggle between Venice and the Emperor Barbarossa. These were exe- cuted in 1407-8. Before this, namely, in 1391, he had been employed to paint the miracles of SS. Ephesus and Potitus on the south wall of the Campo Santo of Pisa, which were completed in 1392. Of these only vestiges now remain. In the Accademia at Florence are two inferior specimens of his work on panel, viz., an altarpieoe dated 1391, No. 35 Ancs. Tabl., and the left compartment of an altarpieoe. No. 35 Gds. Tabl., of which the other two are by Niccol6 di Pietro and by Lorenzo di Niccolo Q^rini, father and son, and both Aretines. Frescoes by these painters are still extant, showing them to be followers of Giotto of an inferior rank«

It is necessary to describe in this record somewhat more fully the Campo Santo at Pisa, which holds such an im- portajit place in the art-history of the fourteenth century. It appears that in the very firat year of that century, the first decorative paintings were made on its walls by artists of whom little is known. Some time affcer this the brothers Pietro and Ambrogio Lorenaetti of Siena executed on the southern wall a fresco known as the ^ Fathers and hermits of the wilderness.' Francesco da Volterra is next in order, painting towards the middle of the century, at the opposite end of the same wall, frescoes of the life of Job, now much defaced. Others relating to the life of S. Eaineri have been already named as the work of Andrea da Firenze and Veniziano (p. 9), togetiier with those of

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SS. Ephesus and Potitus by Spinello Aretino, all of which were executed diiring the last quarter of the oenttiry. Quite at the end of the century, the history in Genesis was illustrated by Pietro di Puccio by frescoes formerly ascribed to Buffahnacco, and there are others on the east wall, greatly injured, the authorship of which is unknown. Besides these are three remarkable compositions on the south wall, depicting the * Triumph of Death,' the * Last Judgmemt,' and ' Hell,' which display an unusual amount of originality and more independent thought than is found in other works of this period (Plate 11., 3, 4). For this reason these frescoes were, until a comparatively recent date, assigned unhesitatingly to a notable painter of the fourteenth century, Andrea di Clone, commonly called Orcagna, or Arcagnolo, whose work will be treated of hereafter. But later critics, and in particular Messrs. Crowe and Cavalcaselle, have completely rejected this theory, on the ground that there is no resemblance between these works and the authentic productions by Orcagna in the Capella Strozzi in S. Maria Novella at Florence ; and that while Orcagna was a Florentine by birth and educa- tion, the disputed frescoes are essentially Sienese in type and feeling. They may, therefore, be the works of the Lorenzetti, whose illustrations of hermit life are close at hand for comparison, or by some unknown Sienese painter.* Lastly, it should be added that the works commenced by Pietro di Puccio were continued at a much later period (1469-85) in the famous series by Benozzo Gozzoli oc- cupying the north wall, and will be mentioned in connec- tion with his name hereafter.

There is no doubt that Orcagna was one of the greatest masters of his time ; and although necessarily influenced by Giotto, he cannot be classed as one of his followers, since his works manifest higher power of drawing the figure, and a perception of beauty peculiar to himself. Bis productions, executed in the middle of the fourteenth century, are chiefly in S. Croce, Florence, where, in the Strozzi Chapel, are preserved his important frescoes of the

* See the elaborate consideration of this questioa in toL L of the History of Painting, pp. 444--51.

Campo Santo.

Orcagna

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THE JMSr AND I'ROGRSSS

Orcagnou

School of Siena, 14ih century, Simone Martini,

lAppo JlemmL

' LdiSt Judgmeikt,' ' Fkradise^' and * Hell/ now much injured and restored, aiMi a fine altarpiaoe, dated 1357. A ' Zeno- bins in gtery' k to loe seen on a pier in the DuomOy Florence, and a larger composition, the ' Coronation of the Yirgin,' with nine smaller panels originally forming part of the same wo^k, but much restored, are now in our National Gallery, Nos. 569 to 578 inclusiye (Plate IL, 2). Orcagna was also a sculptor and architeott as he proved m. the elaborately adorned altar, finished in 1359g»for the church of Or San Michele at Florence.

It is now necessary to go back a little in point of tirne^ to trace the progress of the Sienese school in the fourteenth century. First is to be named Giotto's gifted ocmtemporary, Simone Martini of Siena (bom 1283), often erroneously called Simone Memmi, owing to his marriage with a sister of Lippo Memmi Not much inferior perhaps to his Florentine rival, Simcme's influence was greatdst in the Sienese school of ^e fourteenth century. His works in fresoO) both numerous and important, are principally to be found at Siena and AssisL The Palazzo Pubblico of his native town cotntaina a large wall painting by him of the ' Madonna with saints and evangelists,' executed in 1315, and an equestrian portrait in fresoo of Guidoriccia At Assisi, the entire Ci^lla di S. Martino in the Lower Church c^ S. Francesco is decorated with admirable and well-preserved frescoes by his hand. There also is a * Madonna and saints' in the southern transept of the Lower Church. Besides these, in the Uffizi at Florenoe is a fine altarpiece, Nos» 8^ 9, 10, interesting as the joint work of Simone and his brother-in-law, lappo Memmi, who also was a painter of some note. It is signed and dated 1333. A highly finished work in four panels is in the Antwerp Gallery, Nos. 257-60. An extremely valuable example of Simone's work, dated 1M2, is preserved in the Boyal Institution, Liverpool, Ko. 7. Simcme was intimate with Petrarch, visited him €it Yauduse, and painted frescoes at Avignon, mere fragments only of which are now visible.

Lippo, although often associated with Simone, yet executed some excellent work alone ; for example, the

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lai^ge wall fiftin&ig in the hall of ^e PalaBBO del Podest^ at 8. Gemignano. It was painted in 1317, and veetored by Benozeo €lezzoli in 1467. Tkis work reoaHs Simone's treatm^it of the same snbjeot at Simm jmst mentiofied.

There were yet some other importamt masters at Siena, eontemporaries of Simone, nam^y, the two brothers Lorenz^^, Pietro and Ambrogio. It is difficult to ascer- tain their respectiye works with eertainty, as they frequently assisted each other. Thus much has, how- e^rer, been proved, that the earliest production of Hetro, the elder brother, is an altarpieee of 1920 in 6. Ansano, a church situated outside the Pispini Oate at Biena, Also by hhxL are Nos. 55, 58, in the Academy at Siena, an altar- pieoe in iiie Pieve at Arezso, and sene pan^ in the Museo Oxiiriaano at the Vatican. Sti^ better than these is the ireaoo of *The fathers and hermits in the wilderness,' already mentioned as b^g m the Campo Santo at Pisa. The wall paintings in the north transept of the Lower Church at Asmsi, given by Vasari to Pietr6 Carallini, are 1^ Pietro Loarenzetti (C an4 C).

Two small fragments now alone ipemain of the earliest frescoes of Ambrogio, which he painted in 1831, in the second chapel of S. Francesoo at Siena. His later and best woiks, namely, the frescoes r^res^iting 'Justice,' 'Ooncord,' and 'Peace,' and the 'Effect of good and bad judgment,' were executed in 1337-39 in the Sala de Nove or della Pace in the Pala^so PubMico, but are now almost mined. An * Annunciation ' of 1344 is preserved in the sSienese Academy, No. 45, while there is a fine work in the Floxentine Accademia, the ' Presentation in the temple,' No. 17 Ods. TabL, painted in 1342.

The Sienese school was well represented by Taddeo ^artoH during the latter years of the fourteenth century and the fbrst q^uarter of the fifteenth. In his native city of Siena, we find an ' Annunciation ' in l^e Academy, No. 125 ; an altarpieee of 1404 in the Ohurch of the Servi, and some much restored frescoes of the years 1407 and 1414 in ike Chapel of the PaJazzo Pubbiico. In the gallery of Peragia is a fine Ancona, No. 45, dated 1403, and there is also a S. Peter in the Louvre, No, 55.

Lorenzettu

Pietro Lorenzettu

Ambrogio Lorenzettif

Taddeo Bartolim

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THE RISE AND PB00BE88

School of Botogna^ 'i4tth eery- tury.

School of Modenoj 14th cen- tury. Tommaso.

Bamdba.

Schools of Pisa and Fahriano, 14:th cen- tury,

Tnrino Vannu

Nuzu

School of VeronOf 14th cen- tury,

Altichiero and Avanzi Veronese,

We know little of the 'earliest names in the history of the Bolognese school during the fourteenth century. Like others, it was influenced by the works of Giotto; and some pictures of this age are extant in the Bologna Gallery and elsewhere under the names of Vitale, Jacopo Avanzi, or da Bologna, Simone Crocefissi, or da Bologna, Lam- bertini Michele or Matteo da Bologna, and Jacopo di Paolo* Works in the gallery by each of these are Nos, 10, 103, 104, 159, 160, 161, 162, and 203, which is an excellent example of Vitale. All these masters worked more in fresco than on smaller pictures.

In Modena also there existed painters of some note in the latter half of this century, namely, the brothers Tommaso and Bamaba da Modena, A small but beautiful panel of S. Catharine, dated 1361, which is No. 362 in the Venetian Academy, illustrates the style of Tommaso. There is also an altarpieoe by him in the Modena Gallery, No. 32, By Bamaba, who was superior to his brother, may be seen a ' Madonna,' No. 1 in ^e Stadel at Frankfort, of the year 1367, which is his earliest known production; and an example of the year 1368 at Berlin, No. 11 71,

Among the smaller towns which received the influence of Giotto may be mentioned Pisa, where Turino Vanni, one of a family of painters so named, worked in his style in the end of the fourteenth century. One example is in the Louvre, No, 425.

The painters of Fabriano were formed rather by the masters of Siena and Perugia. At Fabriano, Allegretto Nuzi flourished from 1346 to 1385, examples of whose work may be seen in his native town, in the Museo Cristiano at the Vatican, and at Berlin, Nos. 1076-8.

Better painters than these existed at Verona, and their chief work is to be seen at Padua. It has been ascertained that two masters of Verona, called Altichiero and Jacobus Avanzi or d'Avanzo Viaronese (not to be mistaken for Jacopo Avanzi of Bologna), were employed in 1377 to decorate the Capella S. Felice in S. Antonio at Padua. Some of the frescoes in question are much injured by restoration, but the most important, consisting of a Crucifixion and attendaij^t incidents, which occupy three

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15

large arclies of the wall behind the altar, are well preserved, and are extremely beautiful in composition, expression, and oolour, Messrs, Crowe and Cavaloaselle do not hesitate to speak of them as the '* noblest monument of the pictorial art of the fourteenth century in North Italy." Equally interesting is the Capella di S. Giorgio near S. Antonio, where numerous wall paintings, assigned to the same artists and executed soon after the preceding, were only freed from whitewash in 1837, Other frescoes may be seen in the baptistry there, attributed to a Florentine, Qiusto Giovanni, who lived at Padua during the latter part of the fourteenth century, A native artist, called Guariento (painted 1316-60), executed frescoes, still visible in the Eremitani at Padua.

Tie earliest records of a school of painting in Venice commence with the fourteenth century. The influence of Giotto's school was not at first greatly felt in the &mous Eepublic, owing to its close relations with the East and to the isolated position of the city in regard to the rest of North Italy, The large Ancona, in fourteen compart- ments, which hangs at the back of the high altar in S. Marco, is signed by one Paulus, with the date of 1345. The same name appears on an Ancona, of the * Death of the Virgin, with saints,' dated 1323, No. 10, Stanzino degli Antichi, in the Pinacoteca, Vicenza.

Lorenzo was another painter whose name is frequently met with. He worked from 1357 to 1879, in the manner of Paulus, The earliest signed picture is in the Florentine Academy, No. 5 Ancs. Tabl., but the best work by him is in the Correr Museum at Venice, and bears the date of 1369. Several panels of 1371, part of an altarpiece, are in the Venetian Academy, Nos. 373-5, 389, 391-3.

Works by Stefano, a priest, * Pievan di S. Agnese,' are extant ; a' good example is an altarpiece in several com- partments. No. 16, Venetian Academy; the centre of this, a * Coronation of the Virgin,' is signed Stefan, 1380 ; but in the catalogue the name of Semitecolo is more obvious, although he only painted the smaller portions. A * CJorona- tion of the Virgin,' No, 160 in the Brera at Milan, attributed there to Lorenzo, may, perhaps, be by Stefano

Altichiero and Avcmzi Veronese,

Qiusto and Guariento.

School of Venice, lUkcen' tury.

Paulus*

Lorenzo*

Stefano.

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THE BI8S AND PBOaRESS

J3mit«>oh.

School of

Florence^

Ibthcen"

tury,

Fra Ange-

lico da

Fiesole,

(0. aod 0.)* By the latter «^«o theire k a pao/^ dated 1869, in the Ckm&r JAuaenm, at YeHiee.

A more able ps^nter of the fourteenth ceBtuiy wa4Ei Niooolo Semiteeolo, whose earliest work is a * Coronation of the Virgin/ dated 1361, No. 894 in the Aoademy at V^oe. Another example is in the Cerrer MiMieam, dated 1400 i bat his best prodaotion U an altaa*pieoe, exeented in 1367, and now in ih/d Librarj of the Duomo, at Padua.

FinXENTH CENTURY,

The tie^pm Be^aissaivoe 1$ dually ^npl^^d to dfoiote &&% intftlloqtiial progress aeaociated with liberty of thooght which was gradually developed 1^ a fresh appueoiation of <Jieek and Momm literatiure, and which affiaoted the pratioe of art, first in Ita^y* diiring the fowrteen&, fiflbeenth, and eijtteenth eentwrfes.

In the oouTpe of the fif teen& o^crtury the pro^ceie of this ohaftge in relation to painting m&y b^ ohBear¥ed in the. works of many famous masters, known as the "Qisiattrpcentisti"; 'until it oulmiiwited ia the a^djieve- ments of Leon«pdo fla Ymei, Miehael Angela, Baphael, Titian, *nd their followers, in the end of this and in the beginning of the si?cteenth ^nturiee.

In the works of the pious monk Fra A»geUeo da Fiesole (1 387-1455), the inflijienoe of ^la^ioal lecMWag is scarcely to be traced, for he rigidly followed the wcient traditions of the <diuroh. All his works are pervaded by deep religious feeling; a»d the type of fiwje which h^ delineates is marked by picws fervour pr eqstasy. He painted witik extreme care, and althovi^h he geneerally introduces a large number of f mall figures into a picture, each one is highly and delicately 4niahed. His oareer seems to have commenced at Oortona, where e^cell^it examples of early work iire to be seen. He theox iiiesided at Fiesole durii^ eighteen years^ after whi<dsi he took his abode in S. Marco at Florence, where the numerous wall paintings still existing, and well preserved, testify to his remarkable skiU, induslay , aad devotional spirit* Among may be mentioned the Sim Crucifixion, with

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OF PAINTING IN ITALT,

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nnmetous samts, nearly life-fiize, in the chapter-honse, a work of great beauty, full of varied expression.* There are many ext^nples on panel in the Academy at Florence, among which should be mentioned a series, originally forming portions of presses, Nos. 11 and 24, some of which are very beautiful ; the fine * Deposition,' No. 34, of which the pilasters and pinnacles are by Lorenzo Monaco, a ' Madonna and saints,' No. 19, and a ' Last Judgm^it,' No. 41 .f In the Pitti is a fine triptych, No. 373 ; and in the Uffizi are an extremely beautiful ' Gor<Hiation of the Virgin,' No. 1290, and its predella in two parts, Nos. 1178, 1184. Many of his paintings are to be found in other galleries. There is a fine altarpiece, No. 7, in ike Stadel at Frankfort; in the Louvre is a large and exquisite painting of the * Coronation of the Virgin,' No. 182 (Plate III., 1); and in our National Gedlery M:e two examples, Nos. 582 and 663, of which the latter is an admirable illustration of Angelioo's style.

Among his best and latest works in fresco are those which decorate the ceiling of the Capella Brizio in the Cathedral of Orvieto, representing ' Christ in judgment, with saints and prophets.' They were executed in 1447, left incomplete, were finished by Signorelli, and have been much repainted since* Angelico was then sixty years of age, and soon after undertook the decoration of the Chapel of 6. Lorenzo for Nicolas V. at the Vatican. These wall paiutings are in excellent preservation, and are important compositions, testifying to the increased skill and knowledge of their author (Plate III., 2).

Fra Angelico had one able fellow-worker, whose pro- ductions have been somewhat overlooked or have been sometimes wrongly assigned to the master. This was Lorenzo Monaco, of the Camaldoles,, by whom there is a

* Ab tiie oonvent has recently been converted into a musenm, a brief account of the contents will be found among the galleries at the end of the volume, under the heading of * Florence.'

t In this picture it is interesting to observe that all the incidents on the side of Ihe damned are painted without finish, in a crude and hasty manner, as if the task were uncongenial to the nature of Angelico, while the centre and the Bide of the redeemed are elaborated m the most exquisite manner.

C

Fra An§9' lioo da Fiesoie.

Lorenzo Monaco,

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THE AlSE AND PROGRESS

Lorenzo

Moriaco.

Matolino.

Jfasaccio»

fine altarpiece in the»Capella Bartolini in S. Trinita at Florence; and in the Academy there is an Ancona by him, No. 30 Gds. Tabl. An 'Adoration,' attributed to Angelico in the Uffizi, No. 17, is by Monaco, the rest of the altarpiece being by Cosimo Eosselli (C. and C).

Two masters who were among the first to give a fresh impulse to art at this time were Tommaso di Cristo- foro Fini, called Masolino (1383-1440), and his scholar, Tommaso di San Giovanni, called Masaccio. Very little is known of the former, and there seems some reason to doubt whether he executed any of the frescoes in the Brancacci Chapel of the Church of the Carmine, at Florence, although one, the * Preaching of Peter,* has generally been considered as his. It is, however, certain that about 1428, Masolino painted a series of frescoes in the choir of the Church of Castiglione d'Olona, a village between Saronno and Varese. They are now almost effaced, and portions only can be seen, but of those which fill the triangular spaces of the apse, the • Sposalizio ' is the least injured. At the same time he decorated the adjoining baptistery with frescoes relating to the history of St. John the Baptist, of which the * Salome before Herod ' (Plate III., 3) and the * Baptism of Christ ' are in a state of fair preservation. The draped figures are carelessly drawn, while the nude figures in the * Baptism ' are well rendered in various positions, and all the heads are delicately coloured and highly finished.

Masaccio (1402-29) has left a great number of works, the product of a short life, and they show that he gradually freed himself from the conventional style of his predecessors, and formed one of his own from an inde- pendent and close study of nature. At an early date he painted some frescoes for the Chapel of S. Clemente, at Bome, now much altered by restoration. His principal work, however, a series of frescoes, is well preserved in the Brancacci Chapel, mentioned above, and comprise the following subjects: *The expulsion from paradise,' * The tribute money ' (Plate III., 4), considered to be the finest of the series, ' Peter baptizing' (Plate IV., 1), * Peter curing the blind and lame,' ' The death of Ananias/

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' Simon Magus,' and the * Eesnscitation of the king's son.' These frescoes mark a distinct advance in the progress of art in regard to composition, drawing, and the delineation of expression. Heads attributed to Masaccio in some galleries — ^as, for example, in the Ufl&zi, Corsini, Munich, and our National Gallery — ^are not genuine, hut may probably be by Botticelli or Filippino Lippi.

Paolo Doni, called Uccello (1396-1479) is celebrated for his application of the laws of perspective to painting. Among his earliest known works is a series of four panels, painted after 1416 and relating to war, one of which is in the XJflfizi, No. 29, another is in the Louvre, No. 166, and a third is in our National Gallery, the * Battle of Sant' Egidio,' No. 583. The Louvre also possesses a portrait group by him. No. 165. In 1436 he was employed to paint the equestrian portrait in fresco of Sir John Hawk- wood in the Duomo at Florence, and in 1446-8 he executed frescoes in the Chiostro Verde of S. Maria Novella there.

Two contemporaries of Uccello may be named, Andrea del Castagno (1390-1457) and Domenico Veniziano. The first was an earnest and able painter, but his types were common and treated with little taste. There is a head by him in the Fitti, Florence, No. 372, and there are three Saints in the Academy, Nos. 37, 8, 9. He painted some frescoes in S. Croce, of which a few figures remain. Domenico Veniziano, records of whose painting date from 1438, until his death in 1461, is chiefly interesting as being the master of Piero della Francesca. Only one painting can be referred to, formerly in S. Lucia de' Bardi, now No. 1305 in the Uflazi.

The next painter of importance of the Florentine school was Filippo Lippi (1412-69), a Carmelite monk, whose work is characterised by good drawing, subtle perception of colour, and by natural expression, often heightened by sentiment, in place of conventional re- ligious and ascetic types. His chief works are the large frescoes, begun in 1456, in the choir of the Duomo at Prato, of the history of S. Stephen, and that of John the Baptist. The two lower frescoes have been slightly but carefully restored, and are the most interesting.. That on

c 2

Masaccio.

P. Uccello.

A. del Castagno.

Domenico Veniziano,

Filippo Lippi.

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THE mSE AND PBOGBE8S

FUippo Lippi,

Fra Diamante.

Peselh and .PeselUno.

the left portrays a group of mourners over tlie body of Stephen, many being apparently portraits^ Opposite is the * Daughter of Herodias dancing before Herod.' The expression of the face, the morement of the limbs, and her transparent dress foreshadow the fature ftivourite type of Botticelli. There are three altarpieoes in the Municipal GuUery at Prato, all much injured. Later in life Filippo executed some frescoes in the apse of the •Duomo at Spoleto. In the Accadenda at Florence is his best easel picture, No. 41 Gds. Tabl., a ' Coronation of th© Virgin,' an important composition containing groups of very charming children as angels, painted in 1441 (Plate IV., 2). In tiie sam0 gallery will be found two small early wwks, Nos. 12 and 26 Pets. Tabl. The Pitti contains one of his finest Madonnas, No. 338, while in the Uffizi is a scarcely less excellent work, 'A Madonna in adoration,' No. 1307. There is a fine ' Madonna in adoration,' highly finished, a signed picture, Na 69 in the Boyal Museum, Berlin. An admirable example is a ' Madonna and saints,' in the Louvre, No. 221, of which the predella is in the Florentine Academy, No. 42. Perhaps more lovely works could not be found than the two semi-lunar panels in tempera in our National Gallery, Nos. 666, 667. For tender gradations of colour and modelling, and for delicate expression, they are remarh»We productions.

Fra Diamante may be mentioned as having often aided Filippo in his works^ as, for example, in the frescoes of Spoleto, which were completed by Diamante in 1470, after the death of the elder master. Giuliano d'Arrigo, called Pesello (1367-1446), and Francesco di Stefano, his grandson, called PeseUino (1422-r67), are mentioned here chiefly because they were instrumental, among others, in superseding the method, hitherto employed, of painting in tempera (that is, with water or size for the vehicle) by one of oil or other fatty medium. It is to be borne in mind, however, that their method was quite distinct from the better one, first practised by Ae Flemish masters, and brought to Italy subsequently by Antonello da Messina. Their works so much resemble each other that it is not

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easy always to distinguish them. Pesello probably painted an * Adoration,' No. 26 in the Uffizi, and an * Annunciation/ in S. Spirito, while to Pesellino may be given parts of a predella in the Florentine Academy, No. 48 Ods. Tabl., the remaining portions being in the Louvre, No. 287. Alessandro Baldovinetti (1422-99) was also an experiment- alist in oil medium, and painted a fresoo in the court of the Annunziata, Florence, now greatly injured. He is named here chiefly as the master of Ghirlandajo.

Like so many of the artists of Florence, Antcmio and Pietro PoUajuolo were sons of a goldsmith, and b^an life by practically acquiring the mysteries of that art, which they pursued with great success. Li painting they were closely associated, and it is difficult to define precisely their respective works. Antonio (1438-98) was probably the nacore accomplished artist of the two. His principal work is the * Martyrdom of S. Sebastian,' No. 292 in our National Gallery, where are two smaller pictures, Nos. 781 and 928. Li the Uffizi are three examples, probably of conjoint work by Antonio and Pietro ; one, a small panel illustrating two of the labours of Hercules, very finely drawn and finished. No. 1153, a large painting of three saints, Na 1301, remarkable for its force and character, and a life-size figure of Prudence, No. 1306, exquisitely finished. In the Pitti should be noted a large ' S. Sebastian ' by Antonio, No. 384, and in the choir of the Collegiate Church at S. Gemignano is a 'Coronation of the Yirgin,' dated 1483, by Pietro (1443-about 96).

Andrea Verrocchio (1432-88), another skilful goldsmith of Florence, was a sculptor in marble and in bronze, as well as a painter of original genius. He is famous also as the master of Leonardo da Vinci, Perugino, and Lorenzo di CredL The spirited equestrian bronze statue of Bart. CoUeoni in the Campo S. Giovanni e Paolo at Venice, is a magnificent example of his skill. Not many works in painting can be attributed to him : one, well known, is in the Aocademia at Florence, No. 43 Gds. Tabl. (see p. 43) (Plate v., 1) ; and another is in the Hermitage, St. Peters- burg, a * Madonna enthroned with angels,* No. 1. There is a * Madonna,' No. 104a, at Berlin.

Pesello and Pesellino,

Baidovi' netti.

Antonio and Pietro PoUajuolo,

Verrocchio,

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THE RISE AND PB0GBES8

Sandra Botttcelli.

Filippino Lippi.

It will be convenient here to return to Filippo Lippi's

pupils, of whom the most eminent was Sandro Filipepi,

called Botticelli (1447-1516). He was one of the earliest

to paint subjects from the ancient classical mythology.

But his treatment of them showed the restraint and

quaintness of the mediaeval manner, with the careful finish

of accessories belonging to it. An excellent early example

of this class, although much injured, is the large picture

of * Spring ' in the Accademia, Florence, No. 24 Ancs. Tabl.

The IJffizi contains another, most beautiful in sentiment

and execution, entitled the * Birth of Venus,* No. 39 (Plate

IV., 3). A small and highly finished work is the * Calumny

of Apelles,' No. 1182. The Tiirin Gallery possesses a

characteristic work, the VTriumph of Chastity,' No. 364 •

Of a different order are, a very lovely picture, the ' Madonna

crowned by angels,' No. 1289 (Plate IV., 4), and a fine

' Adoration of the kings,' No. 1286, while in the Pitti may

be noted a * Holy family,' No. 348, and the portrait known

as * La bella Simonetta,' No. 363. There is a characteristic

example in the Turin Gallery, * Tobit and the Angel,*

No. 98. His ability as a fresco painter may be seen in

three works, * Moses killing the Egyptian,' * Eebellion of

Korah,' and the * Temptation of Christ,' in the Sistine

Chapel. There are several pictures at Berlin, of which

Nos. 102 and 106 are the finest ; the latter is extremely

beautiful and in good condition. A good ' Madonna ' ia

No. 11 in the Stadel, Frankfort, and a fine * Pieta ' is in the

Munich Pinacothek, No. 666. In our National Gallery

are two specimens of classical subjects in the style above

referred to, Nos. 916, 16 ; but m'ore admirable is a circular

panel of the * Madonna with two angels,* No. 276 ; besides

which there is a very interesting painting by him, a

* Nativity,' No. 1034. The Louvre possesses a charming

work. No. 184.

Botticelli's pupil, Filippino Lippi (1460-1606), so called to distinguish him from his father or kinsman Filippo, is the next painter in order belonging to the Florentine school. Some of his best works are the frescoes in the Capella di Filippo Strozzi in S. Maria Novella, and those in the Brancacci Chapel of the Carmine at Florence

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executed about the years 1482-90, where lie also com- pleted some others left unfinished by Masaccio at his death. Those by Filippino are * The fall of Adam and Eve,' * Peter in prison/ ' The martyrdom of Peter ' (Plate IV., 5), *The liberation of Peter,' and a part of the ' Kesuscitation of the king's son.' Of his oil-pictures the finest is *The Virgin appearing to S. Bernardino,' in the Church of the Badia at Florence, which was painted as early as 1480, another youthful work being an. altar- piece of four saints in S. Michele at Lucca. The Uffizi possesses two important compositions, a large * Madonna and saints' of 1485, No. 1268, and an * Adoration of the magi ' of 1496, Na 1257. A fine altarpiece is in the Capella Nerli of S. Spirito, Florence, and two circular panels are preserved in the Palazzo Pubblico at S* Gemignano. An excellent ' Madonna,' full of grace and beauty, is No. 82 at Berlin : another is No. 35 at Dresden ; and a third work, of the year 1495, is No. 563 at Munich. In our National Grallery are two works in tempera by the master, a small ' Adoration of the magi,' No. 592, and a ' Madonna with saints,' No. 293.

Lorenzo di Credi (1459-1537), son of a goldsmith, was the pupil, asedstant, and friend of Verrocohio, and executed some good works in oil, marked by excessive care and minute finish, the best examples of which are a * Madonna with saints,' No. 156 in the Louvre ; a * Madonna,' No. 593, and another. No. 648, in our National Gallery; a * Madonna in adoration,' No. 100, and a ' S. Mary of Egypt,' No. 103, at Berlin. A good small * Noli me tangere,' a replica of No. 1150 in the Uffizi, is in the Louvre, No. 157. At Dresden are several works, of which Nos. 2385 and 2386 are the best. At Munich is a ' Nativity,' No. 553, of which No. 1287 in the Uffizi, Florence, is almost a replica. Another ' Nativity,' one of his later works, is No. 51 Gds. Tabl. in the Florentine Academy.

DomeniccBigordi, called Ghirlandajo (1449-98), a pupil of Baldovinetti, was another of the principal Florentine painters who flourished towards the end of this century, and who ranks high among his contemporaries. With a great knowledge of his art, the result of comprehensive

Filippmo Lippi,

X, di Credu

Domenico Ghirlan- dajo.

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THE BISE AND PB0QBE88

Pomenico Ghirlan- dajo.

Granacci.

study, and with peculiar aptitude for noble oomposition, he was essentially a fresco-painter. Some of his chief frescoes were executed in the Sistine Chapel when he was about thirty-five years of age, but these are now greatly damaged. Equally fine, and better preserved, are those in the Capella S. Fina, at 8, Gemignano, painted imme- diately after the preceding. Soon after; in 1486, he worked at the admirable series, representing events from the ' Life of S. Francis,' in the Sassetti Chapel in Santa Trinity at Florence, Finally he undertook the decoration of the Choir of S. Maria Novella, a great enterprise, re- quiring a considerable amount of aid, but of which the most important p(»*tions were by his own hand. This magnificent work may be considered as his masterpiece, and was completed before 1490 (Hate V., 4). Meantime he had painted several large works in oil. In these, as in other productions, he was assisted by his brothers, David and Benedetto, as well as by others to be mentioned here- after. One of his best paintings is an * Adoration,' No. 50 Gds. Tabl., Florentine Academy, where there is also an excellent * Madonna and saints,' No. 17 Ancs. Tabl. Others are, the * Adoration of the kings,' No. 368 in the Pitti, two altarpieces in the Uffizi, Nos. 1206, 7 ; another * Ador- ation of the magi,' extremely well-preserved, a picture of remarkable finish, painted in tempera in 1488, is in the Chapel of the Foundling Hospital at Florence, and there is a * Visitation' of 1491 in the Louvre, No. 202 (Plate Y., 2). It should be added that Ghirlandajo was also a worker in mosaics, and that he was for three years the master of Michael Angelo.

Francesco Granacci (1467-1643) was a scholar of Ghir- landajo, and painted T^th the master as well as separately much in his style. A joint work is a fine * Madonna and saints,' No. 88 in the Berlin Museum ; No. 97 is by Granacci himself. Also by him is a * Virgin in glory,* No. 1280 in the Uflfizi, a * Holy family,' No. 199 in the Pitti, and * Four saints,' at Munich, Nos. 633, 6, 6, 40. In the Hermitage, St. Petersburg, a ^ Madonna and saints in adoration,' No. 22, of excellent quality, is attributed to him. (By Ghirlandajo, C. and C.)

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Another scliolar of Ghirlandajo was Sebastiano Mainardi (died 1515), who assisted the master at Florence and 8. Gremignano. Most of Mainardi's works are in the latter town. The Palazzo Pubblico contains a ciroular panel, No. 9 ; some smaU frescoes, and an altarpiece in oil, are in S. AgostiQO there.

Luoa SignorelU of Cortona (1441-1521), a pnpilof Hero della Fxanoeaca, was one of the most original painters of his time. The impoirtant frescoes in the Capella Brizio in the Cathedral at iOrneto are his best works. They repreaent * The history of Antichrist,' * The resorrection of the dead,' * Hell,' and ' Paradise.' In b^ these the drawing of the figure is executed in a masterly manner, and with a freedom never before attained. One fresco may be seen in the Sistine Chapel at the Yatican ; and eight others, of the year 1497, now greatly injured, are in a cloister of the Convent at Monte Oliveto near Siena. Several of his altarpieces are in the churches of Cortona. A fine specimen is in the Gallery of Arezzo, No. 31. The Academy at Florence contains an excellent work. No. 54 Gds. Tabl. ; and in the Uffizi are some good examples^ a

* Holy family,' No. 1291, and a * Madonna^' No. 36. Two works are in the Brera, Nos. 304 and 306, and the Louvre possesses an admirable predella. No. 389, besides a group of seven life-size figures. No. 391. Very recently our National Gallery has acquired a fresco by him, representing

* The triumph of Chastity,' No. 910. A ' Madonna ' may be noted in the Liverpool Institution, No. 26. An import- ant work. No. 79i., *Pan and Music' (Plate V., 3), but unequal in quality, is at Berlin; where also are two others. A * H(dy family ' is to be seen at Dresden, No. 21.

Signorelli, like other masters who received numerous oomm^sions, had several subordinates in his employ. Among these the chief was Bartolommeo della Gatta, a native of Arezzo (1408-91), where some of his works may Btill be seen. There is ground for believing that he assisted Perugino and Signorelli with their frescoes in the Sistine Chapel in 1479-86.

Benozzo Gozzoli (1424-after 96), a Florentine by birth, was a pupil of Fra Angelico, and assisted him in 1447 with

MamardL

Luca SigrwrelH,

Bart, della Gatta.

Benozzo Gozzoli.

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THE BI8E AND PROGRESS

Benozzo Gozxoli.

Cosimo Hosselli,

the frescoes of the Capella Brizio at Orvieto before referred to. Soon after he painted on his own account, among other things, a fine altarpiece at Montefalco, now preserved in the Museum of S. John Lateran at Rome. His style, at first formed on that of his master, was modified in conformity with the demand for gorgeous decoration of interiors; and, although his drawing is sometimes defective, he succeeded in happily illustrating a variety of subjects with grace and spirit. See, for example, the beautiful frescoes of the * Adoration of the magi,' painted in 1469 in the chapel of the Palazzo Riccardi at Florence. His work in fresco may next be studied at S. .Gemignano, where he painted, in 1464-65, a series of seventeen subjects of varied size, three much injured, the rest exceedingly well preserved, all in the choir of S. Agostino, illustrating the history of the Patron Saint. In the same church there is also a large fresco over an altar, of * S. Sebastian interceding for the people,' a reminiscence of the great plague. He was aided here and elsewhere in S. Gemignano and its neighbourhood by Giusto d' Andrea. Commencing in 1469, he devoted himself to the great series of subjects from sacred history at the Campo Santo at Pisa, which occupied him more or less during sixteen years. The most perfect of these interesting works is the well-known composition of * Noah and his family * (Plate VI., 1). Few of his paintings are met with in galleries. There is a * Triumph of S. Thomas Aquinas ' in the Louvre, No. 199, and in our National Gallery are two examples, namely, a ^e ^ Madonna enthroned with saints,' No. 283, and a small panel of the * Rape of Helen,' No. 691. Among his assistants in the production of the Pisian frescoes it suffices to name Zanobi MacchiavelM.

A painter related to the preceding by a certain similar- ity of style was Cosimo Rosselli (1439»--1606). He worked as assistant for three years to Neri di Bicci, an inferior Giottesque of the school of Arezzo, but subsequently came under the influence of his contemporary, Gozzoli. His chief productions are four frescoes in the Sistine Chapel, of which the most successful is the * Sermon on the Mount ' (Plate VI., 4), and a fresco much injured in the

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Capella del Sacramento in S. Ambrogio at 'Florence. In S. Maria de' Pazzi there is an altarpiece, a * Coronation of the Virgin,' in good preservation. Some fair works are to be seen at Berlin, Nos. 69, 71 ; in the Louvre, No. 347 ; and in onr National Gallery, No. 227.

Piero di Cosimo (1462-1521) was a pupil of Bosselli. He is well represented in our National Gallery by the

* Death of Procris,' No. 692 ; at Berlin by a ' Venus and sleeping Mars,' No. 107 ; in the Louvre is a poor * Corona- tion of the Virgin,' No. 289 ; and in the Uffizi is a

* Perseus and Andromeda,' No. 1246. He was the master of Andrea del Sarto.

EafafeUino del Garbo (1466-1524) was an artist of small ability, taught by Filippino Lippi, named as having painted numerous pictures. The best are those at Berlin, a ' Madonna and angels,' No. 90, and a ' Madonna and saints,' No. 98 ; another example is in the Louvre, a ' Coronation of the Virgin,* No. 189.

Pietro di Benedetto, commonly called Piero della Francesca (about 1415-1509), an Umbrian by birth, was educated in Florence under Domenico Veniziano: he successfully combined the feeling of his school with the manner and the science of the Florentines. Endowed by nature with keen intelligence, he studied the principles of colour and drawing, and also discovered a better mode of using oil medium than those previously in vogue. The types of his figures, whether male or female, are always noble, and their action is dignified. The first works to be named is a series of frescoes which he executed for the choir of the Church of S. Francesco at Arezzo between 1452-54, the oeiling having previously been decorated by Bicci. They illustrate the history of the finding of the True Cross : the greater portion is well preserved, and they exhibit in a striking degree the qualities just named. Frescoes and other works are also to be found at Borgo S. Sepolcro, and some years later he painted important pictures at Urbino. Few examples are met with in galleries. Two portraits forming a diptych may be noted in the Uffizi, No. 1300 ; a small but admirable ' S. Jerome,' in the Venetian Academy, No. 419; the * Baptism of

Cosimo EosteUu

P,di Cosimo,

Raf: del

Gcu'bo,

Piero della Francesca,

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THE RISE AND PB0QBE88

PierodeUa Francesco,

Umbrian schooly 15th century, Melozzo da Forli,

Paimez' zano.

Giovanni Santi,

Origin of the Vene- tian school.

Gentile da Fabriano,

Christ,' No. 665 (Plate VI., 3), and the * Nativity/ No. 908, in our National Gallery.

Hero's influence extended to Umbria through his con- nection with Melozzo da Forli (1438-94), whose best pro- duction, a fresco transferred to canvas, an * Audience of Sixtus rV.,' in the Vatican, displays the characteristic quality of Piero's work (Plate VI., 2). A fragment of a fresco, * Christ among angels,' removed from one of the churches in Eome, is on the staircase of the Quirinal Palace there. Although a few works are attributed to Melozzo in various galleries, it is doubtful whether any are genuine.

Melozzo's principal pupil was Marco di Antonio Palmezzano (about 1456-1536). The leading character- istic of his siyle, as of that of his master, was accuracy in linear perspective, applied not merely to architecture but to the figure, which was treated in a stiff manner and with little sense of colour. His works are principally in Forli and its n^ghbourhood. The Lateran Museum contains two, one of the year 1537, and in the Uffizi is a * Crucifixion,' No. 1008. The Berlin Museum possesses an excellent work of 1503, No. 1129, and the Munich Pinacothek another of equal merit of 1513, No. 541. In the Louvre is a *Dead Christ,' No. 275, and in our National Gallery, No. 596, is an upper portion of an altarpiece of 1506 at Forli, where the latter still remains.

Another Umbrian painter who was influenced by the works of M^ozzo was Giovanni Santi (1435-95), the father of Baphael. In his style, marked by gentleness of expression, though defective as to colour, may be found some traces of the future characteristics of the son. Most of his works are in his native town of Urbino and at Fano. Besides these, there is an * Annunciation ' in the Brera, Milan, No. 184, and at Berlin is a ^ Madonna and saints,' No. 139.

It is necessary here to go back a few years in the history of art — ^namely, to the commencement of the fifteenth century — ^to describe the work of two painters who largely influenced the Venetian school about to be considered. The earlier of these was Gentile da Fabriano

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{about 1370 to 1450), by birth an Umbrian, and the pupil of Allegretto Nuzi of Gubbio. He lived and worked for some years at Venice, where he left his mark on the flchool through his pupil and friend Jacopo Bellini About 1422 Gentile da Fabriano went to Florence, and shortly after executed his finest work, the * Adoration of the kings,' No. 32 Gds. Tabl, in the Florentine Academy, a painting rich in ornament and daborate detail (Plate Yn., 1). Part of the predella of this picture, a small 'Presentation in the temple,' is now No. 170 in the Louvre. Very few other pictures by this painter are known, except those in the Brera at Milan, a * Glorification of the Virgin,' ^o. 155, and four single figures of saints, Nos. 186, 190^ 307, 309. Gentile, however, never lost the Umbrian quality of soft expression and pious feeling which was to continue a distinguishing mark of his school, as we shall see hereafter.

The seoond master was Antonello da Messina, bom during the first half of the century. He was so impressed with the beauty of the then new oil medium for pcdnting — Baid to have been first seen in Naples in an altarpiece by Jan van Eyck, sent to Eong Alfonso— that he made a journey to Flanders, learned the secret, and brought it^ back with him to Italy. For an example of portraiture with high finish see a small picture. No. 37 in the Louvre. Another exquisite excunple is No. 18 in the Berlin Museum, where also is a very fine ' Madonna,' No. 13. The little * Crucifixion ' in l^e Antwerp Museum, No. 1 7, is a well-known example of his realistic treatment of a sacred subject (Plate VIL, 2). His manner is seen again in the * Christ at the column,' No. 264 in the Venetian Academy. A * 6. Sebastian ' is ascribed to him at Dresden, No. 2382. An example, * Christ as Salvator Mundi,' is in our National GtiUery, No. 673, and is one of his earliest works. An altarpiece dated 1473 and some other pictures were executed by Antonello in Sicily.

At the very beginning of the fifteenth century two new schools of art appeared in North Italy — namely, the Yenetian and the Paduan. Although quite distinct in character, they influenced each other considerably.

GetUOeda fabriano.

Antonello da Messina,

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THE BI8E AND PB00BE88

Muranese painters, 15th cen- tury, Jacobeih del Fiore,

The 7it?a- rf'ni.

In the earliest records of Venetian art appears the name of Jacobello del Fiore, who painted between 1400 and 1439 ; he and his fellow-workers were inferior however to their contemporaries Jthe Vivarini, in the neighbouring island of Murano. Very little of his work can now be traced with certainty. One genuine example may be named, a * Madonna and saints ' of the year 1436, No. 22 in the Accademia at Venice. An altarpiece has long been attributed to him in the sacristy of S. Francesco della Vigna there, consisting of three saints, which is so superior to the preceding that it is believed to be by a later artist, possibly by the Vivarini (C. and C), whose work it certainly more resembles.

The earliest painters of Murano of whom trustworthy records exist are Giovanni and Antonio Vivarini, known as Giovanni and Antonio da Murano, and the former also as Johannes Alemannus, once supposed to be a distinct personage. They derived their style directly or indirectly from Gentile da Fabriano, and worked together from 1440-47, when they separated. The earliest example is a 'Coronation of the Virgin,* No. 8 in the Venetian Academy, dated 1440 ; later products of that period are Nos. 23 (Plate VII., 3), 681, 683. Others may be found in the churches of Venice, the best perhaps being in that of S. Zaccaria, where are three well-preserved Anconas. Subsequently appeared a very important work by Antonio, now in the Berlin Museum, an ' Adoration of the kings,* No. 6, full of figures, profusely adorned with gold ornaments in high relief. Soon after, Bartolommeo Vivarini joined his brother Antonio, and a fine example of their united work, of the year 1460, is an altarpiece. No. 206 in the Finacoteca at Bologna. At a still later date Bartolommeo left Antonio, and, painting by him- self, produced many works, of which the following are examples ; a * Madonna and four saints,' No. 1 in the Venetian Academy, dated 1463 ; a ' Madonna,' No. 284 in our National Gallery;^ a retablo in five panels. No. 68, Boom II. 1st floor, at Vienna ; and a fine ' Madonna and saints,' dated 1466, No. 6, Venetian School, in the Museum at Naples. Others are at Berlin, No. 1160, and

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at Bergamo. Luigi Vivarini, who had worked with Bartolommeo, gradually surpassed him, and executed numerous works in the latter part of this century; for examples, see the fine * Madonna and saints,' No. 561 in the Accademia at Venice, dated 1480, and an altarpiece, No. 38 in the Berlin Museum. The Vivarini left few followers; the first to be named here is Andrea da Murano, who did little for the advancement of art. Another was Carlo Crivelli of Venice (painted from about 1450 to end of century), said to have been a pupil of Jacobello del Fiore, but was probably more influenced by the Vivarini. His work is characterised by earnest and conscientious labour, often by a severe naturalism ; while his Madonnas especially are not without grace. He is nowhere better seen than in our National Gallery, where two altarpieces, Nos. 724 and 788 (Plate VII., 4), show how Crivelli loaded his pictures with elaborate detail, such as jewels, fruit, and raised gilt ornaments. Another large altarpiece, in the Brera at Milan, No. 277, is also very richly decorated. A small * Annunciation ' on two panels, Nos. 14, 15, shoidd be noted in the Stadel Museum, Frankfort.

But the chief founder of the Venetian school was Jacopo Bellini (about 1400-70), father of the more cele- brated Gentile and Giovanni Bellini. He was the pupil of Gentile da Fabriano, and but little now remains of his work. One example only, that of a ' Madonna,' No. 443 in the Academy at Venice, can be referred to. He painted numerous frescoes both at Venice and at Verona, which have now disappeared; a few fragments, quite ruined, may be traced in the semidome of a chapel in S. Zaccaria at the former place.

Bellini's two sons occupy a distinguished place in the history of Venetian art. Both learned of their father and ai»isted him, but gained much from their relations with other contemporary masters. Gentile, the elder (1421- 1507), produced large works, conspicuous for well-drawn architecture and numerous figures, excellent illustrations of which are, ' The preaching of S. Mark at Alexandria,' Ko. 164 in the Brera at Milan, and two large pictures in

The Viva* rmt.

Carlo Crivelli, '

Venetian school f loth century. The Bellini. '

Oentile.

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QentUe Bellini.

Qiowxnni Bellini,

the Venetian Academy, the * Miracle of the true cross/ No. 529 (Plate VIII., 3), and the " True cross borne in procession,' No. 555. In the same style is the ' Beception of Venetian ambassadors,' No. 60 in the Louvre. He also painted many highly finished portraits, of which a, few exist. A good example is that of a Doge in the Correr Museum, Venice, while two heads in one frame, very finely painted, No. 5^, are attributed to him in the Louvre.

Giovanni Bellini (14:26-1516), doubtless under the influence of Mant^na, his brother-in law, acquired a power of drawing 4he figure with severe precision. Besides this, he laboriously mastered the secrets of oil- painting, and by degrees developed that technical skill coml^ed with a richness of resource in colour which in great measure determined the future character of Venetian art. Among his chief productions are an admirable altar- piece in the sacristy of S. Mi^a dei Frari at Venice, of the exquisite finish of which it is impossible to speak too highly ; a large picture, ' Christ at ' Emmaus,' in S. Salvatore, and a ' Baptism ' of 1505 in S. Zaecaria there ; and a fine ' Transfiguration' in the Naples Museum, No. 7 Sala <jrande« Our National Gallery contains sev^ul works by the master; namely, the 'Death of S. Fet^r Martyr,' No. 812, anearly illustration of the importance of landscape in Venetian art ; a ' Madonna,' 280 ; and two very fine portraits, one of tiie Doge Loredano, No. 189 (Plate IX., 1), and one of *S. Peter Martyr,' No. 808. Four beautiful examples, a * Madonna with six saints and angels,' No. 38 (I^late VIII., 1), a ' Madonna,' No. 94, a

* Madonna and saints,' No. 424, a 'Madonna with a magdalen and S. Catherine,' No. 436, with several others, are in the Venetian Academy, besides a series of five very small allegorical paintings, Nos. 284-8. There is also a small but complete landscape with figures of the Virgin, saints, and others. No. 631 in the Uffiza, and a fine

* Dead Christ,' painted in grisaille. No. 583. A grandly painted *PietJt,' in warm colour, in which the head of Christ is very beautiful, is No. 4 at Berlin. A small work,

* Madonna and saints,' is No. 4 in ih^ Hermitage, St.

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OF PAINTING IN ITALY.

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Petersburg. The Ixmvre posBesBes a cliarmiiig specimen of the master, a 'Madonna with two saints/ No. 61. Bellini has long been famous as the reputed chief master of Titian, an honour of which recent investigations have partially deprived him.

Giambattista Cima da Conegliano (painted 1489-1517) was a painter of devotional subjects only, and was in- fluenced by Giovanni Bellini in manner, but in colour was not Venetian. His clear firm handling and high finish, with simple treatment of the figure and of the group, resulted in the production of many admirable works which are quite characteristic of the painter. In our National Gallery are three examples : a ' Madonna^' No. 300, the * Incredulity of S. Thoma48,' No. 816, and a * Madonna,' No. 634. Other paintings by him are in the Academy at Venice, two of which at least are most admirable, viz., * Christ, S. Thomas, and a saint/ No. 456 (Plate IX., 4), and a 'Madonna enthroned,' No. 582; there is also a fine * S. John the Baptist with saints ' in S. M dell' Orto. Two admirable and well-known altar- pieces are in the Grallery of Parma, a ' Madonna and two saints,' with a ruined temple. No. 361, and a ' Madonna enthroned and saints,' No. 360. At Berlin there are two fine pictures, 'Madonna enthroned with saints,' No. 2, and an admirable ' Miracle of S. Mark,' No. 15, in the manner of Gentile BellinL A good 'Madonna with saints ' is No. 152 in the Louvre.

Carpaccio (about 1450-1520), commencing in the school of the Vivarini, was subsequently influenced by Gentile Bellini, and painted large scenes with architecture and figures much in his manner. His most celebrated works, consisting of a series of nine such compositions, illustrating the life of S. Ursula, Nos. 533, 7, 9, 542, 4, 6, 9, 554, 60, in the Academy at Venice (described in the catalogue), are excellent productions of the school and time ; of which perhaps the best is the ' Eeception of the envoys,' No. 539. There also is a fine * Presentation in the temple,' No. 488 (Hate Vni., 2). An interesting series of his works in excellent preservation may be seen in the little church of 8. Giorgio dei Schiavoni, Venice, three relating to S.

Bettinu

Cima da Conegliano^.

CarpacciOt

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THE RISE 4ND PBOGBESS

CarpoGoio, Mansueti,

Catena, Basaiti,

Previtale ondBisaoh.

Padwm school, 16th century, Bquarcione.

Andrea Mantegna.

Jerome, two to the life of Chrijst, others to S. George and S. TriphonioB. Examples are to be seen in the Louvre, No. 113, and at Berlin, Nos. 14, 23. Mansueti (painted 1494-1500) may be named as the author of two picturee in the Venetian Academy, Nos. 540, 8, as almost contem- porary with Carpaccio, and as an inferior follower of his style. Vicenzo Catena (painted about 1495-1520), with no characteristic of his own, was in turn influenced by others, and is chiefly mentioned as a follower of the Bellini. For examples of his work see catalogues. Marco Basaiti (painted from 1490 to 1 520) was, like the preceding, much influenced by others, first by the Vivarini, subse- quently by the Bellini. His works are always of an inferior type; examples are in the Venetian Academy, Nos. 31, 534, and in our National Gallery, Nos. 281, 599. Two painters of the Bellini school, of no great mark were, Previtale and Bissolo. Their chief works are named in the catalogues.

The school of Padua can hardly be said to exist until the time of Francesco Squarcione (1394-1474). Being himself much more a teacher than a painter, he cherished an enthusiasm for art, and especially for the antique. He formed an Academy, which became Tery famous, and perhaps no other master had a greater number of pupils. Numerous works issued from his Academy, but it is difiGicult now to distinguish those which are really by his hand, if indeed there are any such in existence.

Among his numerous scholars the most renowned was Andrea Mantegna (1430-1506). This great painter, whose influence was felt in all the schools of Italy, was a Paduan by birth, but he finally settled in Mantua, where many of his principal works were executed. His style was characterised by severe precision of line, a careful application of perspective to every figure, so that it became rather statuesque than natural, a minute render- ing of all details far and near, with want of air and tone, a love of architecture and classical ornament. Among his earlier productions is the * St. Luke and saints,' Na. 187 in the Brera at Milan. He was less than thirty years of age when he painted the remarkable .frescoes in the Church of

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the Eremitaxii at Padua, representing Boenes &om the

* Life of S. Jacob ' and the * Martyrdom of S. Christoplier.* These illustrate the style described, which by degrees became modified by contact with the Bellinis, the younger of whom, Giovanni, acquired much of Mantegna's quality in return. There are many smaller works in various galleries ; two admirable specimens may be found in the Uflfizi, Florence, a triptych. No. 1111, and a * Madonna,' No. 1025, both marked by exquisite finish. A small

* 8. George ' of similar quality is No. 273 at Venice ; and

a fine *• Madonna enthroned with angels and saints ' may

be seen in the church of S. Zeno at Verona. There are

also two good examples, Nos. 274, 902, in our National

Gallery; while the * Madonna della Vittoria,* No. 261

(Plate IX., 3), the ' Christ between thieves,' No. 250, the

* Parnassus,' No. 252, and the * Expulsion of the Vices,'

No. 253, represent him in the Louvre. In the Stadel,

Frankfort, is a *S. Mark,* No. 13. At Berlin there are

two works, a small ' Madonna with cherubs,' No. 27, and

a * Presentation in the temple,' No. 29. A very fine ' Dead

Christ and two angels,' No. 28, life-size, long attributed

to him, is now regarded as the work of Giovanni Bellini.

The latter half of his life was spent at Mantua, where he

painted the frescoes now in the Castello there. It was

not untU after sixty years of age that he completed for

the Duke the famous * Triumph of Julius Csesar,' by many

regarded as his masterpiece (Plate IX., 2). This work,

now in Hampton Court Palace, consists of nine cartoons,

much injured by time. The small highly fini^ed studies

are in the Belvedere, Vienna, Nos. 42 to 45, and Nos. 47

to 50, Boom VI. Ist floor. Besides being celebrated as a

painter, Mantegna excelled as an engraver, and executed

several works with his own hand.

From the school of Squarcione issued a number of in- ferior painters, among the chief of whom was Gregorio Schiavone (painted middle of fifteenth century) ; he is represented by a ^Madonna enthroned,' No. 630 in our National Gallery. But the influence of Mantegna spread widely and may be traced in several schools. Thus, formed in part on his teaching was the style of Stefano

D 2

Mantegna.

Schiaoone,

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THE BI8E AND PB0GBES8

School of

Ferrari^

15th cen'

tury.

Stefano and

Cosmo

Tura.

Cossa,

School of Vicenzet,

iwy, Montagna,

Bwyncon- aigli.

School of Verona, 15th cm' tury. Liberate,

Bonsignori,

da Ferrara and Gosimo Tura, natives of Ferrara. There in a large and finely painted altarpiece in the Brera at Milfi^n by Stefano, No. 176 ; Cosimo is best represented in the Gallery and Cathedral of his native town, although there are three fair examples of his work in our National Gallery, Nos. 690, 772, 773. One of extraordinary beauty is in the Museum at Berlin, No. Ill, a * Madonna enthroned with saints,' full of elaborately painted detail, strongly suggesting the style of Mantegna. Three works by him in the Ferrara Gallery are Nos. 121, 2, 3.

Francesco Cossa was another follower of Mantegna who left Ferrara for Bologna, where an altarpiece in the Gallery, No. 64, entitles him to mention, Marco Zoppo, who was a pupil of Squarcione, went also to Bologna, and will be named in connection with that place.

Another school which was similarly inspired was that of Yicenza. Bartolommeo Mpntagna (about 1466-1503), an early master, was largely influenced by Mantegna, and subsequently in a less degree by the Venetians. His works are chiefly at Vicenza in the churches and in the Gallery there, those in the latter being in very bad condi- tion (see catalogue). A few only are elsewhere; for example, a flne altarpiece in the Brera, Milan, No. 163, another in the Yenetian Academy, No. 361, and a 'Madonna enthroned,' No. 44, at Berlin. Not much later was Gio- vanni Buonconsigli, who lived towards the end of the fifteenth century and the beginning of the sixteenth. His works also are chiefly seen at Yicenza, and as an example a ' Pietll ' may be named, No. 20, Stanza degli Yicentini, in the Gallery there.

Yerona in the former half of this century produced painters of small note, but there also Mantegna's fame gave an impulse to art, manifested by liberale da Yerona (1461-1616 ?), who imitated the master with some success. There are two examples of his work in the Brera, Milan, one of which, a * S. Sebastian,' No. 267, may be referred to. Soon after, Francesco Bonsignori (1466-1620) pur- sued a similar course, his late works all exhibiting the Mantegnesque type, of if^hich one. No. 166 in the Brera is.

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an example. There is a head, but in his early style, in our National Gallery, No. 736.

The two Morones, father and son (not to be confounded with the later master, Giambattista Moroni of Brescia), and Girolamo dai Libri are more important. Of Domenico Morone littie is known, but the work of his son Francesco may be seen in the Finacoteca at Verona, No. 275, an; altarpiece, and in the ceiling decorations and numerous portraits preserved on the walls of the sacristy of S. Maria in Organo there. Other examples are, a picture in the Brera, Milan, No. 290, a * Madonna,' No. 46, at Berlin, and. one in our National Gallery, No. 286.

Girolamo dai libri (1474-1566) was notably fond of introducing landscape into his pictures, the best of which are to be found at Yerotaa. In the Pinacoteca are two fine works, Nos. 276 and 278; another is in S. Giorgio^ Maggiore, and a fourth is in the sacristy of S. Maria in O^ano. There is a * Madonna enthroned,* No. 30, at Berlin.

Cfio^oto (1470-1540) was another Veronese painter whose works frequently bear a resemblance to Ihose of Mantegna, with whom he had worked at Mantua. Several examples are in the Verona Gallery, but the best are in the churches there; for instance, a 'Madonna and saints' in S. Fermo: Maggiore. Other works may be found at Berlin, No. 40, i and at Frankfort, No. 45.

Paolo Morandi, called Cavazzola (1486-1522), was a pupil of Morone, and a worthy master of this school. His works are chiefly in Verona, where in the Pinacoteca his best composition, an altarpiece in three parts, is preserved, Nos. 318, 19,. 20. The centre, a 'Deposition,' with a view of Verona in the background, is an admirable production. Our National Gallery contains two fair examples, Nos. 735 and 777.

Little is to be said of the early history of art in Parma. In the middle of the fifteenth century dim traces appear of the revival of taste in connection with Jacopo Loschi, whose work was nevertheless very rude. More worthy of mention is Filippo Mazzola, who painted in the end of the century, and his scholar Casella or Cristoforo of Parma :

Btmsignori,

2). Morone

and F, MoroM,

Dai LihrL

Carotd,

Cavazzola,

School of Parma^ 15th ceU' tury.

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THE BISE AND PB00BE8S

School of Parma, 15th cen- tury.

Sienese school, \5th century. Samodi Pietro.

Matteo.

XTmbrian school, 15th century.

Niccolb Alunno.

whose works belong to the end of the fifteenth and to the beginning of the sixteenth centuries. He also had a scholar, Araldi, whose works date somewhat later. An example of each will be found in the catalogue of the Gallery of Parma.

Few masters of merit existed at Siena in the fifteenth century, yet two ought to be mentioned, Sano di Pietro (1406-81) and Matteo da Siena (1435-95). The former executed numerous works which are considered to bear a resemblance to those of Angelico. No less than forty- seven are in the Siena Academy, of which No. 143 is the best. There is also a fresco of the * Coronation ' of 1445 in the Palazzo Pubblico there, and other examples are to be found at Dresden, Berlin, and in the Louvre. Matteo possessed greater ability, and his works are chiefly to be seen in his native town. The Academy contains, among others, his earliest painting, dated 1470, No. 170, and one of his best. No. 166. Besides these there are, an altarpiece in the Malevolti Chapel in S. Domenico, and a small * Madonna with angels,* an exquisite panel of 1484, in the Palazzo Pubblico. A * Massacre of the innocents,' dated 1418, may be seen in the Naples Museum, Tuscan school. No. 31.

Meanwhile another school, that of Umbria, already referred to, was now growing in importance and was destined to exercise great influence through Kaphael, whose earliest inspiration was derived from it. The art of Umbria appears to have had its source in deep religious enthusiasm, and so widely differed from Florentine art. The devotional character which marks the works of the first-named school, early seen in that of Gentile da Fabriano, and continued by men of less note, is manifested by a prominent master, Niccol6 di Foligno, known as Niccol6 Alunno (painted 1458-99). Some of his best works are an * Annunciation ' in the Accademia at Perugia, No. 75 ; a panel painted on both sides in the Bologna Gallery, No. 360 ; and two fine pictures in the Vatican collection. The Louvre possesses an example in the * Six scenes from the life of Christ,' No. 23.

But the interest of the Umbrian tsdiool henceforth is

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OF PAINTING IN ITALY.

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mainly associated with Pemgia. Two painters of that city were contemporary with Alimno. The first was Benedetto Bonfiglii (records exist between 1453 and 1496), many of whose works in the Academy there deserve notice, Nos. 1 and 18 being chief examples* Of great merit as regards composition and drawing are several frescoes, injured in parts, but untouched, in the Palazzo Pubblico, relating to S. Louis, S. Ercolano, and others. The * Death of S. Louis ' and the ' Miracle of the fish ' are the best. The second is Fiorenzo di Lorenizo (painted between 1472 and 1499), by whom several panelis may be seen in the same place. From these we pass to the great master of Perugia, Pietro Vannucci (1446-1524), called Perugino because he spent most of his life there, although bom at Gitt4 delle Pieve, a small neighbouring town. He is supposed to have been at first a pupil of Bonfiglii, studying afi^rwards at Florence and elsewhere. He acquired a remarkable power of expressing religious sentiment, with a certain grace in drawing the human figure, although but little varied in style, and a charm of colour together with great technical ability; — ^a combination not hitherto witnessed. His works are very numerous. Among the earliest and most important frescoes were those in the Sistine Chapel, two of which now remain, the best being * The delivery of the keys * (Plate X., 2). At a much later date were painted those which cover the walls of the Sala del Cambio at Perugia. And later still, he executed the large fresco of the 'Adoration of the magi,' in S. Maria di Bianchi at Gitt^ delle Pieve (Plate X., 1). Besides these, among works in oil should be named the following : in the Church of S. Pietro at Perugia, a grand * Piet^,' and three small and highly finished figures of saints. In the Academy, among several others cure the * Nativity,' No. 23, and the ' Baptism,' No. 41, the two centres of a double altarpiece painted for the Church of S. Agostino, between 1512 and 1517 ; the remaining portions of it are in this and in other galleries Elsewhere are finer examples than most of these, viz., the 'Madonna and four saints' in the Vatican; the 'S. Sebastian/ in the Sdarra Palace, Bome; a 'Madonna enthroned' in the Bologna Gallery, No. 197; a lovely

BcnfigliL

Fiorenzo di Lorenzo.

Perugmo.

Frescoes,

Oil paintings.

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THE B18E AND PB0QBES8

Perugino,

Pinturic Ohio,

Lo Sj^agwu

* Madonna/ No. 12, Room lU. 1st floor, at Vienna; a very- fine triptycli, of whicli the centre panel is a ' Madonna in adoration,* No. 288, and a large litarpiece, No. 1075, in our National Gallery ; an admirable * Deposition,' No. 164, belonging to his best period, among others in the Pitti ; the * Agony,' No. 53, and a ' Crucifixion,' No. 57 Gds. Tabl. in the Academy, Florence. The Louvre possesses two fair examples, a * Madonna with saints,' No. 426, one of his earliest productions, and a * Combat between Love and Chastity,' No. 429. A large * Ascension,' painted originally for S. lietro, is now in the Lycms Museum, No. 156 ; while the well-known * Marriage of the Virgin ' (from which Baphael drew his inspiration for the celebrated ' Lo Sposa- lizio ') is in the Caen Museum. Two characteristic and life- like profile heads, No. 18 Pets. Tabl. in the Florentine Academy, are excellent examples of what the» master could accomplish when not restricted by traditional rules. Perugino is distinguished also as the teacher of Baphael, who at first followed closely Hie master's style, as will be seen hereafter.

The ohie^ however, among his numerous followers who maintained the traditions of Perugia was Bernardino Pinturicchio (1454-1513), Li the earlier part of his career, he was the principal assistant ot partner of Perugino. Pinturiochio's style became more realistic than that of the latter, and he was less a devotional than an historical painter. His ten large and fine frescoes in the library, together with a few in the baptistry of the Daomo at Siena, all admirably preserved, constitute his most important works. The Academy at Perugia contains his masterpiece in oil, a fine altarpiece in several parts. No. 30. Another is the ' Coronation of the Virgin,* in the Vatican. The National Gallery has recently obtained an interesting fresco transferred to canvas, No. 911, by Pinturicchio, besides three other works, illustrations of the story of Griselda, Nos. 912, 13, 14. Similar compositions are the

* History of Tobias,' Nos. 142, 149 at Berlin ; where there is also a large ' Adoration of the magi,' No. 132 ; another

* Adoration* is in the Pitti at Florence, No. 341»

Giovanni di Pietro, called Lo Spagna, being a Spaniard

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by birth (painted 1507-28), is the next important follower ci Pemgino. A fellow papil of Baphael, and working under Pintxiricehio, he was influenced by both, and some of his works have been attributed to those masters. He afterwards painted by himself at Spoleto, where most of Ms frescoes are still to be seen. Others are in the church of S. M. degli Angeli near Assisi. There is a large * Adora- tion of the magi,' No. 150 at Berlin (Plate X., 8), which is attributed to Baphael by Passavant, Waagen and Kugler, but is given to Lo Spagna by Crowe and Cavalcaselle. A good *' Madonna and saints,' No. 25, in the Grallery of Perugia, a * Madonna ' formerly given to Pinturicchio in the Louvre, No. 404, axid also a * Nativity,* No. 403, deserve notice. Another of the last-named subject is preserved in the Vatican. One of his best productions is the * Madonna enthroned ' in the Chapel of S. Stefano in the Lower Church of S. Francesco at Assisi. Our National Qallery possesses two examples, a * Glorification of the Virgin,* No. 282, and an ' Ecce Homo,' No. 691.

The Bolognese school became famous at the end of the fifteenth century through the works of Francia, who has generally been regarded as the pupil of Marco Zoppo, a scholar of Squarcione. This belief is, however, now odled in questicm. Zoppo went to reside at Bologna, as also did another and far abler painter, Lorenzo Costa, of the Ferrarese school, hereafter to be considered. Of Zoppo it will suffice to say that his works date chiefly between 1471 and 1498, and that not many are extant. There is a good example in our National Gallery, No. 597.

Francesco Francia (1450-1517), bom at Bologna, was at first a goldsmith and engraver on metal. Subsequently he studied painting, and having become a friend of Costa, leoeired instruction from him. In course of time Francia surpassed Costa, whose style was influenced in its turn by the elder painter. His compositions are marked by warmth and richness of colour ; his figures are full of tmdemess and devout resignation, and are moreover graceful, often recalling those of Peragino, while they are less constrained in their action, and have more indivi-' duality of character. In S. Qiacomo Maggiore at Bologna

Lo Spagna,

Bolognese achooly IM century, Marco Zoppo.

Francesco Francia,

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THE RISE AND PROGRESS

F Francku

G. Franoia.

Lorenzo Costa,

there is one of the finest altarpieces of the master : and at S. Cecilia there are some important frescoes, besides several altarpieces in the Pinacoteca, of which the best is a ' Madonna with saints,' No. 78, others there being almost mined by repainting, such as No. 81 (Plate X., 4). There is a fine altarpiece in the Gallery of Parma, a ' Deposition,* No. 123 ; another is a * Madonna enthroned,' No* 130 ; a third is in the Pinaooteca at Munich, No. 677; and a fourth is a * Madonna enthroned,' No. 69 in the Hermitage, St. Petersburg. There also is a good ' Madonna,* No. 68 ; and another may be seen in the Borghese Palace at Eome, No. 43, Boom II. Some works are attributed to him at Berlin, of which one only. No. 127, need be noted, a 'S. Stephen and John the Baptist,' and this has been much restored. In the Louvre a fine portrait. No. 523, by some attributed to Francia, is given to Bugiardini by O. Mtindler ; and our National Gallery has two ad- mirable specimens, a 'Pieta,'No. 180, and an altarpiece, No. 179.

Giacomo Francia (1434-1567), son of Francesco Francia, feebly copied his father's style, although some of his best productions have passed for inferior works of the latter. A fair example is a 'Madonna and saints,' No. 84 at Bologna, while a good head by him may be seen in the Pitti, No. 195. He had a brother Giulio who also assisted his father.

Lorenzo Costa (1460-1536), originally a Ferrarese, became, as already shown, influenced by the elder Francia, and ranked after him as the most important painter of this school. He assisted Francia in the S. Cecilia frescoes, and painted much at Bologna and afterwards at Mantua ; his work, however, was always much inferior to that of Francia. Two of his best productions are now in S. Giovanni in Monte at Bologna, while in the Gallery there No. 65 is the principal example. An important work, a * Presentation in the temple,' is No. 112 at Berlin. Equally so is the * Baptism of Christ,' No. 437 at Dresden. Another is • The court of Isabella d'Este,' No. 154 in the Louvre (Plate XL, 4). An altarpiece forms No. 629 in our National Gallery.

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The last sohool to be oocBidered before commencing the sixteenth centary is the Lombard or Milanese, which owes its existence and its character to the remarkable genius of Leonardo da Yinci, whose influence is henceforth largd.y felt throughout North Italy. Bom at Yinci near Florence (1452-1519), he holds a middle position between the quattrocento and the cinquecento masters, for although he far excels the former, yet he cannot be altogether classed with those who carried art to its highest state of perfection in the sixteentb century. Leonardo was one of the most accomplished men of the time, and was not only painter, but sculptor, musician, and poet. He also gave much time to the study of anatomy, mechanics, and mathematics; and he effected considerable improTcments in military science and engineering : painting was perhaps his most prominent pursuit He was a pupil of Andrea Verrocohio, by whom there is a well-known picture in the Florentine Academy, No. 43, of the * Baptism of Christ ' (Plate Y., 1), which contains a single figure, an angel, painted by Leonardo, the superiority of which to the rest of the composition is striking. Some of his productions are still extant, but probably most of those attributed to him were executed by his followers. His most famous work is the ' Last Supper,' on a wall in the Dominican Convent of the Madonna delle Grazie at Milan (Plate XL, 1). Haying been originally painted in oil and not in fresco, it has long been a wreck, and very little of the original beauty now remains. There is a copy of it by one of Leonardo's followers, Marco d'Oggione, in the Boyal Academy of London. Another celebrated work by the master was the great cartoon of the ' Battle of the standard,' long since destroyed. In the Uffizi, Florence, is a large and unfinished altarpiece, the ' Adoration of the magi/ No. 1252. The following are examples of Da Vinci's authenticated easel pictures : a female head known as the *Nun,' No. 140 in the Pitti, Florence ; a half-length figure of • John the Baptist ' in the Louvre, No. 458 ; the celebrated • Mona Lisa,' or * La Joconde,' No. 462 (Plate XL, 2), and No. 461, another female head, * La belle F6ronni^re,' exquisitely finished, may also be by his hand. The two

Lambctrd

9chool,15th

century,

Leonardo da Vinci.

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THE BI8E AND PB0GBE8S

Leonardo da Vinci,

Bernardino Zuini,

Frescoes.

beautiful half-lengtlis, a picture entitled * Vanity and Modesty/ in the Sciarra Palace, Eome, are also attributed to him. A charming profile portrait of Maria Bianca, the second wife of Maximilian I. of Austria is preserved, together with some drawings in red chalk, in the Ambrosiana, at Milan. In the Hermitage, St. Petersburg, is a highly finished work, a 'Madonna and saints,' No. 14, beautiful both for expression and execution. Two other paintings there are attributed to him by Waagen, both of exquisite quality — a beautiful semi-nude female, somewhat resembling the 'Mona Lisa' in the Louvre, No. 15; and a small * Ma- donna,' No. 13a (said by Crowe and Cavalcaselle to be by his scholar Zenale). The marvellous * Columbine/ No. 74 in the Hermitage, St. Petersburg, formerly catalogued as L. da Vinci, since attributed to Luini by Waagen,' is con- fidently given to Solario by Messrs. Crowe and Cavalcaselle. For charm of expression, perfection' of modelling, and delicate finish, this exquisite portrait must certainly rank among the finest productions of any age. Another small ' Madonna,' exhibiting marvellous finish, is ascribed to him at Dresden, No. 30.

It is difficult to determine the authorship of some works of this period, which might equally belong to Leonardo and to his best pupil, Bernardino Luini (about 1460-1530) ; it will therefore be well to consider the latter at the same time. Luini was most celebrated as a fresco-painter. His finest works of this kind are in the church at Saronno, re- presenting scenes from the history of the Virgin ; those in the Church of S. M. degli Angeli at Lugano; and the frescoes which decorate the inner and outer Church of S. Maurizio Maggiore at Milan (Plate XI., 3). All these are very remarkable productions, especially the first and last, whether we regard composition, colour, or execution. Those in the Church of the Madonna at Saronno are in a state of high preservation, and rank among the best pro- ductions of the master. Of the four chief subjects there, the 'Marriage of the Virgin' may be regarded as the choicest example : it is placed between the choir and the altar on the left. Besides these, there is a fine fresco in a room in the Ambrosiana at Milan, of the ' Scourging of

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Christ,' of which the centre oompartment at least is the work of Luini. Of his works in oil, a very fine one, exquisitely painted, is the ' Madonna with the roses,' No. 89 in the Brera, Milan. Others are, the ' Beheadal of the Baptist,' No. 1135 in the XJffizi, and a ' Holy family with saints,' No. 173 in the gallery at Buda-Pesth. Lnini is seen to great advantage in the Lonvre, three of the examples there being very admir- able : a • Holy family,' No. 230 ; a ' Sleeping Jesus,' No. 231 ; and a ' Salome with head of the Baptist,' No. 232. Some frescoes are also to be seen in the hall through which the Sa- lon Carre is entered. But not less beautifal are the examples bj this master in the Hermitage, St. Petersburg — ^viz., a

* Madonna,' No. 71 ; a * S. Catherine,' No. 72 ; and a life-size *S. Sebastian,' really a portrait of the Ihike of Sforza, No. 73. In our National Grallery the well-known painting

* Christ disputing with the doctors * (" School of Leonardo da Yinci," No. 18) is a fine example of Luini's power. It is impossible to examine these beautiful works, especially those in Milan, without feeling the highest admiration for the genius of their author.

After Luini, two painters greatly influenced by Leonardo were Ambrogio Borgc^none and Andrea Solario. Borgo- gnone (1455-1625), early known by his works at the Certosa of Pavia, subsequently painted some fine frescoes for the dome of S. Simpliciano at Milan. There is an altar- pieco in the Brera, No. 72, an inferior example. Some of his best works are at Berlin, No. 51, a * Madonna,' and No. 52, a * Madonna enthroned.' One in our National Gallery (from the neighbourhood of the Certosa of Pavia) is No. 298, a 'Marriage of S. Catherine'; two smaller works are Nos. 77&, 80.

Solario (1458-1530), educated in the Milanese school, ^as influenced to some extent also by Florence and by Venice. He gradually attained technical power of a very high order, and some of his productions have been classed under the names of Da Yinci and Luini. Illustra- tions of his work may be seen in the Louvre, the Ma- donna «au coussin vert," No. 394, the jxjrtrait of Charles i'Amboise, No. 395, and the ' Crucifixion,' No. 396 ; others are in the Certpsa of Pavia. There are two portraits, one ,

£, Luini,

on

paintings.

BorgO" gnone.

Andrea Solario,

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THE RISE AND PBOQBESS

Andrea Solario,

Beltraffio.

Gavdenzio Ferrari,

signed, one attributed to this master, in our National Gallery, Nos. 734 and 923.

A less important follower of Leonardo da Vinci, Giovanni Antonia Beltraffio, who was, it is said, an amateur, must not on that account be omitted here. A charming painting of its kind by him is in our National Gallery, No. 728, another good example is in the Louvre, No. 72, and a third is in the Gtdlery at Buda-Pesth, No. 175 ; but naturally his works are not frequently met with.

Another painter of the Lombard school, but somewhat influenced by the Florentine and Boman schools, was Gaudenzio Ferrari (1484-1549), a Piedmontese by birth. Some important frescoes by him are preserved in the Brera at Milan, where there is also one of his largest oil- paintings, the * Martyrdom of S. Catherine,* No. 104, a daring composition, full of life and action* The Minorite Church at Yarallo contains other frescoes by Gaudenzio of the ' History of Christ.' Lastly, the cupola of the church at Saronno, just] referred to in connection with Luini, is profusely decorated by him. An immense number of angels playing on musical instruments represents *' the heavenly host in adoration." This work also is well- preserved.

SIXTEENTH CENTURY.

The history of Art during the past two centuries de scribes the stages by which it progressed towards what are usually regarded as its highest achievements in the famous sixteenth century, or the age of the *' Cinquecento." It was at this period that a group of distinguished pain- ters appeared who, in the variety and extent of their acquirements, not only sui*passed all predecessors, but have never been rivalled to the present day. Taking them in the order of their advent, Michael Angelo, Titian, and Baphael (all bom at the commencement of the last quarter of the jBfteenth century) are placed in the first rank. A little earlier in date is Fra Bartolommeo, whose genius is feeble when compared with that of the three great masters just named.

These are followed by others in some respects but little

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inferior — viz., Falma Veccliio, Giorgione, Sebastdano del Piombo, Andrea del Sartb, Correggio, Tintoretto, and Paolo Veronese, who were bom dtiring a period comprised by the end of the fifteenth century and the beginning of the sixteenth.

Fra Bartolommeo, or Baccio della Porta (1469-1517), was a scholar of Cosimo Bosselli, but was much infinenced by the works of Leonardo da Vinci, and snbseqnentlj through his friendship with BaphaeL Owing to Baocio's great grief at the death of Savonarola, he gave up painting, and entered th« Dominican Convent of S. Marco ; but after an interval of six years he resumed his favourite occupa- tion. One of his finest altarpieces is the ' Madonna della Misericordia,' at Lucca; another is the 'Magdalen and S. Catharine in adoration,' both in the Kew Communal Gallery there, Nos. 3 and 10; an admirable small work is in the Duomo, all well-preserved. In the Pitti Palace at Florence may be seen a * Deposition,' No. 64, a fine

* Holy family,' No. 256, the well-known figure of • S. Mark,' No. 125, and others. An altarpiece, * Madonna enthroned with saints,' in the Church of S. Marco, Plorence, and a

* Presentation in the temple,' in the Belvedere at Vienna, No. 29 Room IV. Ist floor, are other good examples of his work. Li the Uffizi is an admirable large altarpiece, which the master never lived to complete, representing the * Madonna enthroned with saints,' No. 1265 (Plate XII., 2). An example should be noted in the Louvre, a *Marrij^e of S. Catharine,' No. 57 (Plate XH., 1). Fra Bartolommeo is said to be the first painter who used the lay-fignre as a means of studying drapery.

Mariotto Albertinelli (1474-1515) was a scholar and assistant of Fra Bartolommeo, and they painted some pictures jointly. His own works much resemble those of the master. Examples are, a * Visitation,' No. 1259 in the Uffizi, Florence; a * Nativity,' No. 365 in the Pitti; and a * Madonna ' in our National Gallery, No. 646. A fine * Madonna and saints,' is No. 21 in the Hermitage, St.

Florentine school, leth century. Fra Barto- lommeo,

Albertinellu

A contemporary and assistant of Mariotto, Bugiardini Bugiardim, (1471-1554), without originality or great ability, painted I

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THE RISE AND FB0GRES8

Bugiardinu

Franoia Bigio.

Angelo,

some good panels in the manner of other masters ; one of the best being a 'Madonna,' No. 213 in the U£&zi. A much inferior work is his ' Marriage of S. Catharine,' No. 26 at Bologna. Another pupil was[Francia Bigio (1482— 1525), a painter of higher rank than the preceding, whio became a friend, if not a partner, of Andrea del Sarto. His frescoes in the Scalzo, Florence, and elsewhere, obtained him much credit ; and his portraits, which were numerons, have pcuBsed in several galleries for works of EaphaeL Of the latter, the following shall be named, in the Pitti, No. 43, and in the Museum of Berlin, No. 236. Another in the Louvre, No. 372, attributed to Eaphael by Passavant and others, is given to Bigio by Messrs C. and C.

Six years after the birth of Fra Bartolommeo, and twenty-three after that of Leonardo, was bom Michael Angelo Buonarroti (1475-1564). Like Leonardo, he was at once a sculptor, painter, architect, and poet, besides being also a learned anatomist. At first he was apprenticed to Domenico Qhirlandajo in paintii^, but soon devoted him«- self to the practice of sculpture. His earliest known work in painting, now lost, was the celebrated cartoon of Pisa, executed in 1504; and by his contemporaries it was considered his masterpiece. Soon afterwards he unwil« lingly undertook the decoration of the Sistine Chapel, which he is said to have accomplished without any con* siderable assistance in the space of three years. This magnificent series of frescoes is without doubt his most perfect achievement ; they are remarkable for 'a dignity and grandeur in composition and in conception of the human figure never before attained in this form of art (Plate Xin., 1, 2, 4). After completing these he was en- gaged on architectural works, and it was not until ids sixtieth year that he was commissioned to paint the ' Last Judgment ' on the end wall of the Sistine Chapel. Very few oil-paintings are catalogued under the name of Michael Angela The only Holy family probably by his hand is in the Tribune of the UflSzi, No. 1139 (Plate XIII., 3). Two studies in tempera, in an unfinished state, are attri- buted to him in our National Gallery, Nos. 790 and 809. The last years of Michael Angelo's life were devoted to

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Plate XUI.

To face page 48.

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Platk XIV. Ta face page 49.

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OF PAINTING IN ITALY.

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supermtending tho building of S. Peter's at Borne, for which he received no remuneration; he died, however before his designs were completed.

The chief of his immediate scholars viras Daniele da Yolterra, whose principal altarpiece is a ' Descent from the cross' in the Trinity di Monti at Borne. A good example of his wor^ is the 'Massacre of the innocents' in the Tribune of the Uffizi at Florence, No. 1107. The Louvre contains an uninteresting work, 'David and Goliath,' painted on both sides of a slab of slate, No. 333.

Another celebrated Florentine painter living at the beginning of the sixteenth oentury, who was mucji in- fluenced by the works of Fra Bartolommeo and Michael Angeb, was Andrea Vannucohi or d'Agnolo, called " Del Sarto" (1488-1530). He was a pupil chiefly of Piero di Cosimo, and afterwards was closely associated vdth Francia Bigio. His style was the product of various influences, those of Da Yinci and of Bartolommeo being perhaps the chief. His work is marked by correct drawing, with softness of contour and delicate modelling, a peculiar greyness in the shade ws^ and a certain type of physic^omy which is rarely absent. Among his earliest productions are three frescoes in the court of the Gompagnia del Scalzo at Florence, representing scenes from the life of John the Baptist; after which como the fine frescoes (commenced by Cosimo Bosselli, who died soon afterwards), illustrating the life of S. Filippo Benizzi, in the Court of S. Annunziata, Florence. Over a doorway leading from this church into a cloister is a celebrated *Holy family,' known as the * Madonna del Saoco' (Elate XIV., 3) ; while equally worthy of notice is a * Last Supper,' painted for the refectory of S. Salvi near Florence. The following admirable works in oil are all at Florence, viz., the well-known * Four saints,' No. 69 Gds. Tabl., in the Accademia (Plate Xiy., 1) ; a beautiful altarpiece in the Tribune of the tFfiBzi, No. 1112 ; a ' Madonna with S. John and S. Elizabeth,' composed in that pyramidal form which the master so frequently affected, and of which it is a good example, No. 81, and a 'Disputa della Trinita,' No. 172 in the Pitti. A ♦Holy &mily,' No, 327, in the Dulwich G^dlery, is almost identiqal

Michael Angela.

Daniele da Volterra.

Andrea del Sarto.

Freaooea.

Oil paint' ings.

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THE BI8E AND PB0GBE88

Andrea del Sarto.

Ponhrmo* Bronzino.

Vasari^

with that in the Pitti just named, and is supposed to be a fine copy. Another example is a * Holy family,' No. 380 in the Louvre. In his later style is a ' Carita,' exe- cuted in France while on a visit to Francis the First, now preserved in the Louvre, No. 379|(Plate XIV., 2). Also two important paintings are a * Madonna enthroned with saints,' in the Berlin Museum, No. 246 ; and a ' Sacrifice of Abra- ham,' No. 44 in the Dresden Gallery. In the Hermitage, St. Petersbui^,two finished works may be noted, both rather small — a ' Holy family,' No. 24, and a * S. Barbara,' No. 25. At Madrid are some fine examples, particularly No. 385, and No. 383, which is a very charming portrait of his wife : somewhat similar is that at Berlin, No. 240. In our National GaUery are attributed to him a *Holy family,' No. 17, and a good portrait of himself. No. 690.

After the death of Michael Angelo it was the ambition of the Florentine painters to study anatomy, and to produce works in his style. As a natural consequence they became more or less mannered, and were fettered by their sense of the importance ef emphasising anatomical details in draw- ing the figure* A few, however, still maintained some originality and spirit in their works. Among these may be mentioned Jacopo Pontormo (1494-1556) and Angiolo Bronzino (1502-72), both pupils of Andrea del Sarto, and both saccessfal as portrait-painters. Three compositions by Pontormo may be seen in the TJffizi, Nos, 1198, 1282, 1284 ; a fine portrait is in the Pitti, No. 149, and another is in the Louvre, No. 143, while our National Gallery contains an excellent example, a portrait of a youth. No. 649. Here also is the finest work of Bronzino, a picture entitled * Venus, Cupid, Folly, and Time,' No. 651, and a * Knight of S. Stephen,' No. 670 ; but equally good perhaps is a * Venus and Cupid,' No. 182 in the Gallery at Buda- Pesth. An admirably painted ^ Dead Christ,' is No. 102 Gds. Tabl., in the Florentine Academy ; in the TJffizi and Pitti are some portraits, and another excellent example of portraiture is No. 125 in the Hermitage, St. Petersburg. Bronzino was an intimate friend of Giorgio Vasari of Arezzo (1512-74), one of the important men of his time, to whom we are chiefly indebted for excellent biographies of the

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Plate XV. To foxe page 51.

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OF PAINTINa IN ITALY,

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principal Italian painters, a work wliich is the foundation pf much of our faiowledge of Early Italian art. Vasari executed numerous large oil-pictures, none of which have much merit ; a fair but not pleasing example of his work is in the Pinacoteca at Bologna, No. 198.

The great painter, who is regarded as possessing not only the best qualities of his contemporaries, but an un- rivalled power of composition and a remarkable perception of beauty, together with a certain grace peculiarly his own, was Eaphaei Sanzio, the son of Giovanni Santi of Frbino (1483-1620). It was from his father that Kaphael received the first instruction in art, but at the early age of twelve he was placed under the care of Pietro Perugino. It has been usual to classify the productions of Eaphael's short but active life in three categories. The first com- prehends those works which were executed probably under the eye of his master, Perugino, and were certainly more or less distinguished by his manner* This period closes at about 1503, when he was in his twentieth year. The second period dates from the impressions received during his residence at Florence, and extends to about the year 1508, when he went to Eome. The third period compre- hends the execution of the frescoes and other works in that city, and was spent chiefly in the service of Julius II., terminating only with the death of the painter in 1520, at the early age of thirty-seven.

Very little is known of the first period of his life, but there are several easel pictures, chiefly Madonnas, well authenticated as belonging to this time. In the Berlin Museum are, a * Madonna with Baptist,' No. 247a, said to bave been painted in 1505, and the * Colonna Madonna,' No 141, both strongly Peruginesque in character. Two of the most beantiful of the early examples of Eaphael's work are *Lo Sposalizio, or the Marriage of the Virgin,' No. 305 in the Brera at Milan (Plate XV., 2) and the * Coronation of the Virgin,' in the Vatican. The small picture of a * Knight dreaming,' No. 213 in our National GhiUery ; the beautiful little * S. George and the dragon,' painted for Henry VII. of England, No. 39 in the Hermitage, St. Petersburg ; and the small * Holy family del Cordero,' No*

£ 2

VMari,

Roman school, 16th century,

Raphael,

The first period.

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THE RISE AND PB0GRE88

The second period.

The third or last period.

364 in the Madrid Museum, are also said to belong to the same period. Works of a similar character are a ' S. Michael ' and a * S. George,' Nos. 368, 9, in the Louvre.

A new era in Baphaers career began after 1504, when he visited Florence ; and his style became gradually freed from the mannerism of Perugino's schooL After a short stay he returned to Perugia, and besides other works executed a fresco for the Church of S. Severe there, which is, although in an injured state, still to be seen in an adjoining house. The heads of the three saints on either side of the group of which the figure of Christ is the centre are full of expression and of noble character. It is in- teresting to see here how far the pupil had already sur- passed the master, for underneath are three saints added by Perugino, in 1621, the execution of which is greatly inferior to the upper portion of the fresco. On Eaphael's return to Florence, where he stayed some years, he became intimate with Fra Bartolommeo, who had then resumed his profession. Michael Angelo's great cartoon, the ' Pisan soldiers bathing,' also appeared about this time, and while under the influence of these masters his second style was developed. Baphael during this time produced the cele*- brated ' Entombment,' No. 38 Boom II. in the Borghese Palace (Plate XV. 3) ; the ' Vierge au Chardonneret,' No* 1129 in the Tribune of the TJflazi at Florence ; the ' Belle Jardiniere,' No. 362 in the Louvre (Plate XV., 1); the 'Garvagh Madonna,' No. 744, and the 'S. Catharine,' No. 168, in our National Gallery; the 'Madonna del Baldacchino,' No. 165, and the ' Madonna del Gran Duca,' No. 266, in the Pitti Gallery at Florence ; the ' Madonna k la Verdure,* No. 55 Boom III. 1st floor in the Belvedere, Vienna ; and lastly the ' Madonna della Tenda,' No. 547 in the Munich Gallery. All of these works belong to Baphael's second or Florentine style.

During the year 1508 he v^ras called to Bome by Pope Julius n. to decorate the state apartments of the Vatican, and here commences the Hiird stage of the master's history, when he painted in what is generally termed his Boman style. During the whole period of his residence in Bome, till his death in 1520, he was occupied on this important

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Plate XVI. To face page 53.

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OF PAINTING IN ITALY. 58

work, and it was during the exeoution of this that be attained possession of his greatest power. The principal frescoes then painted in the Vatican are the ' Theol<^y/ someidmee known as the ' Disputa del Sacramento * (Plate XVI., 1) ; * Poetry/ or the * Pamassns * ; and • Philosophy/ or the * School of Athens * (Hate XVI., 2)-.all of which are in the second stanza called Delia Segnatnra. The largest freseo in the third stanza, fh>m which it takes its name, is the ' Expn)si(m of Hdiodorns from the temple of Jerusalem.' The first stanza contains the ' Incendio del Borgo/ chiefly the work of scholars from Baphael's designs ; but the fonrth stanza, known as the Sala di Costantino, did not receive its decoration nntil after his death, when it was executed from his drawings by Giulio Eomano, Penni, and Baphael del OoUe. Besides the frescoes of the stanze, Baphael was also employed on two other works for the Vatican — namely, the decoration of the Lo^e, and the designs for the ten tapestries of the Sistine Chapel, seven of the cartoons for which are now in the South Kensington Museum, London. Very few, if any, of the small compositions in the Loggie were painted by Baphael himself; but he furnished the designs to be executed by Giulio Bomano and his assistants. Baphael also painted the charming frescoes of the 'Sibyls in S. Maria della Pace at Borne, as well as the famous frescoes of the 'Gkilatea' in the Famesina. Many of Baphael's most beaulifnl oil-paintings belong to this latest period : among the earliest of these, according to Passavant, is the famous ' Madonna and S. John/ known as the ' Casa d' Alba,* No. 38 in the Hermitage, St. Petersburg, although the character of the work itself belongs to the middle style ; later works are the ' Madonna di Foligno ' in the Vatican (Plate XVI., 3); the * Madonna della Sedia,' No. 79 in the Pitti at Plorenoe (Plate XV., 4) ; the ' S. Cecilia,' No. 152 in the Bologna Gallery ; the Madonna di San Sisto,' No. 67 in the Dresden Gallery (Plate XVI., 4) ; * Lo Spasimo di Sicilia/ No. 366 (Plate XV., 6); the * Madonna del Pesce,' No. 365, the * Madonna del Lagarto,' No. 371, the very beautiful * Madonna della Bosa,' No. 370, and the ' Holy family, La Perla/ No. 369, all at Madrid, Besides these

Raphael.

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THE RISE AND PROGRESS

Raphael,

Portraits.

Critilio Romano,

are the ' Archangel Michael,' No. 370, and the * Holy family of Francis 1/ No. 364, both in the Lonvre at Paris; and, lastly, the ' Transfiguration,' which he did not live to com- pletely finish, now preserved in the Vatican (Plate XV., 6).

Eaphael, besides these numerous works, executed many fine portraits. Among the most celebrated of these are the so-called *Maddalena Doni,' No. 1120 in the Tribune of the XJffizi ; the two portraits in one frame in the Doria Gallery at Bome ; those of Pope Julius 11., No. 151 in the Pitti at Florence, of Pope Leo X., No. 63, of Tommaso Inghirami, No. 171, besides others there, all admirable examples. No less worthy to be noted alao are the two portraits in the Louvre, Nos. 371 and 374.

A magnificent female head, known as the ' Fomarina,' warm in colouring and exquisite in finish^ is in the Tribune of the UfGizi, No. 1123; it has long been attributed to Eaphael, and is so classed in the catalogue. But the author- ship has also been contested by many,, and the honour has been awarded by some to Sebastiano del Piombo. Finer work in any cafi& it is scarcely possible to imagine.

It should also be remembered that, in addition to iBaphael's other engagements, he was appointed successor to Bramante as architect of S. Peter's; and while thus overwhelmed by his manifold labours he died of fever after a few days' illness, and was buried with great magnificence in the Pantheon at Bome.

Giulio Bomano (about 1492-1566) ought to be mentioned here as being the most important of Baphael's followers and scholars, and a& having assisted him much during the later and busier part of his life. Among his principal works in oil are the ' Martyrdom of S. Stephen,' an altar- piece in the church dedicated to that saint at Genoa, and a ' Holy family,' in the Dresden Gallery, No. 82. There is a 'Madonna,' No. 1144 in the TJffizi, Florence. The ' Infancy of Jupiter,' No. 624 in our National Gallery, is the only example to be noted there. Two important compositions are Nos. 291, 3 in the Louvre. Three works hang in the Hermitage, St. Petersburg, of which No. 4?, a copy of the ' Lagarto ' of Baphael at Madrid, is the best. Some four years, after Baphael's death Giulio Bomano was.

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intrusted with the design and decoration of the Duke of Mantua's residence, the Palazzo del T^ at Mantna, where many of his frescoes yet remain. In the paintings which adorn the room known as the Camera di Psyche, Ginlio's qualities as an artist are seen to the best advantage. The Docal Palace at Mantua also contains frescoes by him.

During and after the time of Giulio Bomano many less important scholars worked more or less successfully in the style of Baphael* It is unnecessary to do more than briefly mention a few.

Innocenzio da Imola copied the master closely. Ex* amples may be seen at Bologna and elsewhere.

Timoteo Yiti of XJrbino executed some good works in Baphael's style which may be seen at Bolc^a and Milan.

Giovanni Francesco Penni, " II fottore,'* and his brother- in-law, Perino del Vaga, were others whose close imita- tions are not unfrequently met with in European galleries. The former aided G. Bomano in the * Madonna di Monte Luce/ in the Vatican,

Francesco Primaticcio designed Baphaelesque bas-reliefs for the Ducal Palace, Mantua, and executed frescoes there and in France.

Polidoro da Caravaggio in his early works was influenced by Baphael, but eventually adopted the manner of the Neapolitans. One of his largest compositions is in the Naples Museum, ' Christ bearing the cross/ No. 46 Boman BchooL

Baphael's influence, however, was not oonflned to the Boman school, but made itself felt in all parts of Italy, as, for instance, among the Ferrarese, particularly in the works of the two most important painters of that school, Benvenuto Tisio, called Garofalo, and Dosso Dossi, still to be seen in their native city of Ferrara. In the Ateneo there, are several examples of the former painter, Garofalo (1481-1559) ; and a pleasing work is in the Galleria Estense at Modena, No. 189 ; still finer is a * Deposition,' No. 26 Sala Grande in the Naples Museum ; a similar oomposition being in the Borghese Palace, Bome, No. 9 Boom n. ; a good small work, among others, is No. 415 in the Louvre ; another is No. 43 in the Stadel, Frankfort :

OitUio Somano.

Followers of Raphael.

School of Ferrara^ l^thoen- tury.

Garofalo,

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TEE BISE AND PB0GBE88

Garofalo,

Dosso Dossi,

Sienese school, 16th century.

Bazzi, or II Sodoma.

Frescoes,

similar examples are'in the Hermitage, St. Petersburg, Nos. 59^ 60, 1. A large and fine * Marriage of Bacchus and Ariadne * (said to be after a design by Baphael) is No. 142 at Dresden : and some good specimens may be seen in oar National Gallery, Nos. 81 (Plate XII., 4), 170, 642, 671.

By Dosso t)os8i (about 1474-1658) there is a large altar- piece, a ' Madonna enthroned with saints and evangelists,' No. 47, chiefly remarkable for its glowing and powerful colouring, in the Ateneo at Ferrara. Another important composition, *The fathers of the church,' is No. 185 at Dresden, where several other of his works may be found, and a good painting, * Christ in the house of Simon,' is ascribed to him in the Brussels Gallery, No. 185.

In the commencement of the sixteenth century the characters of the Sienese school were becoming gradually modified by the growing importance of other schools, and especially by the neighbouring one of Perugia. The names of Pacchiarotti and Del Pacchia are associated with work illustrating this remark, while Bernardino Fungai, who was somewhat earlier, maintains the old type with little change.

But at this period a young Sienese, who had been educated under Leonardo's influence, became known as a fresco-painter of remarkable talent. Studying subse- quently at Home, his style was modified by the works of Baphael. This was Bazzi or Eazzi, called II Sodoma (1477-1549), who has doubtless been somewhat overlooked in consequence of the fame of his great contemporary. Although inferior to Baphael in important points, it may still be said that Bazzi was unrivalled in the singular beauty and grace of his female heads. His principal works are frescoes: two beautiful examples are in the Yilla Famesina at Home, representing * Alexander's marriage with Eoxana ' and the ^ Wife of Darius imploring mercy of Alexander.' Bazzi was also employed by Pope Julius 11. in the decorations of the Vatican, but few of these works now remain. On his return to Siena, Bazzi executed many frescoes for the churches there. In the Oratory of S. Gaterina in the Church of S. Domenico, for instance, there are three scenes from the life of S. Catharine, which are

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marvellons for beauty of expression, particularly those on either side of the altar, each containing three female fignree (Plate XII., 6) ; and in the Oratory of S. Bernardino are an * Assumption of the Virgin ' and a • Presentation,' with others less well-preserved. Besides these frescoes there are, a fine * Soly family,' in the Chapel of the Palazzo Pubblico, at Siena; a remarkable *S. Sebastian' in the Uffizi at Florence, No. 1279 /Plate XII., 5), and a * Holy family ' in the Turin Gallery, No. 60 ; but eas^ pictures by the master are rare.

Bazzi had some Sienese schdars and followers, one of whom it is necessary to refer to here.

Baldassare Peruzzi (1481-1537), first taught in North Italy, was early influenced by Bazzi at Siena. Excellent fresoo-painting by him still exists on the ceiling of the Stanza del Eliodoro in the Yatican. More important are the decorations of the Famesina Palace. A large work in oil hangs beneath the dome of S. M. della Pace, also at Borne, besides some small frescoes in a chapel there, too dark to be well seen. Very few works are met with in galleries ; one may be found in the Pitti, No. 375, and another is in our National Gallery, No. 218.

Another school, the Venetian, received a new impulse at this period from the genius of its two great masters, Gidrgione and Titian. They were bom in the same year, but Giorgione is considered first, for he died at the early age of thirty-four, whereas Titian lived to the age of ninety-nine years.

Warmth of colour had always been a characteristic feature of the Venetian school, just as beauty of form and harmonious composition were the distinguishing qualities of the works produced at F lorence and at Bome. Giorgione and Titian were the first at Venice, following Giovanni Bellini, to &ee themselves from the formality of an earlier age, and to combine flexibility of form, grace, and academic knowledge with richness of colouring.

Giorgio Barbarelli, called Giorgione (1477-1511), was a pupil of Giovanni Bellini, and seems to have been one of the earliest, following his master, to illustrate the old themes from Scripture and from the ancient mythology.

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by representations of well-bred and richly dressed con- temporaries, occupied in amusement or enjoying luxurious ease amidst summer landscape scenery. That his power in relation to colour, expression, and drawing was of the highest order, and that his name is associated with some of the best achievements of the Venetian school, is universally admitted. Nevertheless, examples are ex- cessively rare, most of the works bearing his name in public galleries having been assigned to him without sufficient evidence. The chief genuine example extant is the well-known altarpiece at his native place, Castel- franco ; a study for one of its figures, that of S. Liberale, is No. 269 in our National Crallery. Two other works, now assigned to him without question, are the exceedingly fine * Concert,' No. 185 in the Pitti, Florence, and the * Three astronomers ' in a landscape, Ist floor. No. 57, 2iid room in the Belvedere, Vienna. A beautiful painting of a ^Madonna and two saints,' No. 341 in the Madrid Museum, there catalogued as G. A. Pordenone, is con- sidered on good authority to be a fine and rare example of Giorgione. The well-known works under his name in the Louvre, at Madrid, Vienna, Munich, and Dresden, besides the 'Entombment ' at Treviso, are now regarded as the productions of such painters as Pordenone, Paris Bordone, Cariani, Bonifazio, and others; for which see catalogues at the end of the volume.* No doubt exists that Giorgione was a portrait painter also of the highest rank, yet no examples can be assigned to him with certainty. Perhaps the ' Knight of Malta,' No. 622 in the Uf&zi, has more claim to be genuine than most of the canvases which aspire to be so. Moreover, he was largely occupied in painting frescoes which have disappeared long ago. Those on the canal front of the Fondaco de' Tedeschi, Venice, were the most celebrated ; of these but a trace or two remain, which may be seen by looking to the right from the north side of the Eialto.

♦ In a diflferent style, and much Injured hy repainting, are two small landscapes with figures, Nos. 621 and 680 in the Uffizi, Florence, resembling a panel of Giovanni Bellinfs, close by — ^which Messrs. Crowe and Gayalcaselle attribute to Giorgione also. Belatiye to the whole subject, see History of Painting in North Italy, vol. II. chap. iiL

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Giorgione's principal scholar was Sebastiano Lnciani, called del Piombo (1485-1647), but he possessed, owing to the influence of Michael Angelo, some of the character- istics of the Florentine school. His chief work in the Venetian style is an altarpiece in S. Giovanni Crisos- tomo at Venice. Sebastiano's largest work, the * Baising of Lazarus,' is in our National Qullery, No. 1 (Plate XIY., 4). Michael Angelo assisted in designing it. A composition almost equal to the preceding is the famous ^Deposition,' No. 18 in the Hermitage, St. Petersburg ; where also is a fine ' Christ bearing the cross,' No. 17. A still ' grander version of the latter subject is No. 2390 at Dresden. A very masterly production is the 'Madonna,' No. 2 Sala di Correggio, in the Naples Museum. Other fine works are a * Dead Christ,' No. 237 at Berlin ; a * Visitation of the Virgin,' No. 229 in the Louvre ; and a * Martyrdom of S. Agatha,' No. 179 in the Pitti at Florence. There are also several portraits by this master : ' Cardinal Pole,' No. 19 in the Hermitage, St. Petersburg ; a ' Man with a red cross on his breast,' No. 259a at Berlin ; a fine female portrait. No. 22 in the Stadel, Frankfort ; a female head. No. 24 in our National Gallery ; a male portrait. No. 191 in the Bergamo Gallery ; the superb * Fornarina,' in the Uffizi, long attributed to Baphael (see p. 54) ; and tbe exceedingly grand portrait of Andrea Doria in the Doria Palace at Bome are among the finest examples.

Jacopo Palma,^ called II Vecchio (1475-1528), should be considered before Titian, as having been a more immediate contemporary of Giorgione. One of his largest and finest works is an altarpiece in the Church of S. M. Formosa at Venice, presenting a m^^ificent figure of * S. Barbara ' with small accompanying saints. An admirable example is in the Accademia at Venice, ' Christ and the woman of Canaan,' No. 84; besides a *^S. Peter and three saints,' No. 593. A large altarpiece, the ' Adoration of the magi,' is No. 168 in the Brera, Milan. Another fine work is Uie 'Three Graces,' No. 243 at Dresden, painted by Palma from his daughters, who were so celebrated for their beauty (Plate XIX., 5). In the same gallery may be seen

Sebastiano del piombo.

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Titian,

His early works. Sacred subjects.

three of his most charming ' Holy families with saints,' Nos. 242, 6, 55. No more perfect work of this kind exists than that of Naples, No. 28 Sala Grande. The Belvedere at Yienna contains some excellent works by the master ; particularly to be noted is a ' Visitation,' No. 2 Boom II. 1st floor ; a female portrait, No. 49 Boom VII. 1st floor ; a portrait of his daughter Violante, No. 11 in the same room, much injured by repainting ; and that of a * Young hero,' No. 10 Boom 1. 1st floor. Several examples are at Berlin, of which the best is a beautiful bust of one of his daughters, No. 197a. In the Hermitage, St. Petersburg, are three fine examples, Nos* 90, 1, 2. An admirable ' Adc^ration of the shepherds ' is in the Louvre, No. 274. The beautiful portrait of a Venetian woman in the Sciarra Palace at Bome, long considered to be by Titia^i, and still catalogued tmder his name, has been since proved to be a genuine work by Palma (C. and C).

Tiziano Vecellio of Cadore (1477-1676) issaid by Vasari to have been the pupil of Giovanni Bellini. It appears that little is known of his early history. Probably he received instruction both from Giovanni and Gentile, but he cultivated close relations with Giorgione and Palma Vecchio, by whom, especially the latter, he was much influenced, as the feeling and style of his earlier works clearly testify. To this class belong a charming ' Madonna,' No. 41 Boom 11. 1st floor in the Belvedere at Vienna ; a

* Madonna' in an architectural recess, suggesting the style of Bellini) No. 9S in the Hermitage, St. Petersburg ; a ' Madonna with three saints,' and the exquisite ^ Vierge au Lapin,' Nos. 439, 40 in the Louvre. S(»newhat similar to these in the Louvre, and painted at about the same early period, the beginning of the sixteenth century, are two * Holy families with saints,' at Vienna, Nos. 39 and 64 Boom IL 1st floor. Titian executed a few years later — ^namely, from 1508-12 — a * Madonna with saints,' No. 633 in the Uffizi at Florence, and a ' Madonna with S. Bridget and another saint,' No. 236 in the Madrid Museum, there catalogued under the name of Giorgione. A noble

* Holy family with saints ' also is at Dresden, No. 223. The highly finished portrait of the Doge Maroello, now in

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the Yatioan, and the celebrated representation of ' S. Mark enthroned and surrounded by saints ' in the Church of S. M. della Salute at Venice, were painted about 1512. One of the most beautiful and most celebrated of Titian's early works, however, is the * Tribute money,' No. 222 in the Dresden Gallery (Plate XVIL, 1). The exact date of its completion is unknown, but it is certain that it closely followed those already mentioned. Other great examples of his best work, painted during the years 1518^23, are, first, the * Assumption of the Virgin,' No. 24 in the Venetian Academy (Plate XVII., 3); the magnificent 'Entombment ' No. 446 in the Louvre (Plate XVH., 2) ; the * Santa Conversazione' in the Vatican; and the 'Presentation of the Virgin in the temple,' No. 487 in the Venetian Academy. Somewhat later he executed three grand altarpieces : * S. Peter Martyr,' formerly in the Church of SS. Giovanni e Paolo at Venice, but since destroyed by fire ; the * Martyrdom of S. Lorenzo ' in the Jesuits' Church there, now so darkened as to be almost invisible ; and the superb Pesaro altarpiece, ' Madonna with saints and dona- tors,' still preserved in the Church of the Prari at Venice. Besides these large works there are some smaller paintings of the master which belong to this period. Such are the 'Noli me tangere,' No; 270, the very lovely group, 'Madonna with S. Catharine and infant John,' in a fine landscape. No. 635, both in our National Gallery; and a heautifol *Holy family,' No. 441 in the Louvre at Paris. One of the noblest altarpieces by Titian, completed in ^^22, is in the Church of SS. Nazzaro e Celso at Brescia. It is in five compartments, the centre filled by the rising Christ: the other compartments on the right and left contain a fine figure of S. Sebastian and Averoldo in armour ^th patron saints. In two smaller panels above are half- length figures of the Virgin and of the Angel Gabriel. Several years later, namely, about 1543, he executed the ceiling paintings in S. Spirito at Venice, and the same year saw the production of the large * Ecce Homo ' at Vienna, No. 19 Eoom II. 1st floor. The Louvre contains two paintings of a later period, the * Christ at Emmaus,' No. 443, and the * Christ crowned with thorns,' No. 445.

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There were also some single figures executed during the years 1552-63: the charming *S. Margaret/ No. 469 at Madrid ; the fine ' Baptist in the desert/ No. 366 in the Venetian Academy ; and the * S. Jerome/ No. 244 in the Brera at Milan. Belonging to the same late period of this great master's life are the two small heads, the

* Virgin of grief and the ' Ecce Homo/ Nos. 468, 89 in the Madrid Museum. There also are the large compositions of the * Trinity/ No. 462, and an allegorical picture, a royal commission. No. 470, painted when Titian was nearly ninety years of age. The last work on which he was occupied when he was cut off hy the plague in 1576 was the Piet^, No. 33 in the Venetian Academy.

Titian's marvellous power as draughtsman and as colourist, his perception of human heauty, and his wonder- ful technical skill as a painter are hest seen in his re- presentations of suhjects from ancient mythology, or in his allegorical compositions. Among the earliest of these is the painting entitled ' Sacred and Profene Love ' (Plate XVIII., 1), which, together with a later work, * Venus, Cupid, and Graces,' is in the Borghese Palace at Borne, Boom X. Nos. 21, 2. While the former is still one of the most magnificent productions of the master, the latter is but a splendid wreck. To this class belong two important mythological compositions in our National CkiUery; the grand ' Bacchus and Ariadne,' No. 35, and a good replica of the * Venus and Adonis,' No. 34 (Plate XVIL, 4), the original of which was painted for the Famese Palaoe at Eome, but has disappeared* Another replica is to be seen in the Madrid Museum, No. 455. The Louvre possesses a very beautiful work, the * Jupiter and Antiope,' No. 449 (Plate XVIII., 3); and there is a charming small oval picture of the same subject in the Pinacothek at Munich, a masterpiece of its kind. No. 1238. But Madrid possesses some of the finest of Titian's works. The superb ' Baccha- nalia,' No. 450, is painted in his best manner ; and the

* Feast of cupids in honour of Venus,' No. 451, is perhaps the finest representation of laughing, frolicking children in existence, marvellous alike for natural grouping, draw- ing, expression, and colour. Moreover, the preservation is

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perfect, and the fleshotints as fresh and brilliant as if painted hut yesterday. Titian also executed numerous studies of the nude female figure, usually reclining, and known as Venuses and Danaes. The subject was fre- quently repeated, both by Titian himself and by several followers, with or without slight alterations. Two of the most famous of those by the master are in the Tribune of the Uffizi, Nos. 1108, 17 (Plate XVII., 5), exquisite in colour and form. Two others are to be seen at Madrid, Nos. 459, 60, the first original, the other only a copy ; here also is a study of a ' Danae,' No. 456. A more finished and finer representation of the ' Danae ' is in the Naples Museum, No. 5 Sala di Correggio. A fine replica, full of lovely colour, is No. 100 in the Hermitage, St. Petersburg. A gimilar work is in the Darmstadt Museum, No. 620, but it is inferior to the examples at Florence ; another is in the Dresden Gallery, No. 225 ; and in the Belvedere at Vienna another is No. 36 Eoom IT. 1st floor. There is a magnificent ' Venus with cupids holding a looking-glass,' No. 99 in the Hermitage ; it is painted in a large manner with rich impasto, in splendid flesh tints, relieved from dark crimson velvet, fur, and embroideries.

Titian's powers, like those of other great piasters, were very varied, and he has rarely been surpassed as a portrait- painter or in his ideal heads. Among the most striking of these are the female heads usually known in catalogues as the ' Bella di Tiziano.' A beautiful example is in the Louvre, No. 452, which is perhaps a portrait of Laura Dianti, while the man holding the mirror is that of Alfonso d'Este. A similar Venetian beauty is in the Dresden Gallery, No. 229 ; and another, in the Uffizi at Florence, is catalogued under the name of 'Flora,' No. 626. Three other examples may be mentioned : the finest is in the Ktti at Florence, No. 18 ; one is in the Hermitage, St. Petersbui^. No. 105 ; and the third is in the Belvedere at Vienna, No. 35 Eoom 11. 1st floor. Of the frequently repeated representations of the *Eepentant magdalen,' that in the Pitti, No. 67, is the finest; there are others in the Naples Museum, No. 36 Sala Grande, and in the Hermitage of St. Petersburg, No. 98. Several portraits of

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2itian*8

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Frescoes,

Bonifazio,

superb quality are extant of Titian's daughter Lavinia. She is to be seen at Dresden, holding a leaf-fan, No. 230 ; at Berlin, holding a basket of fruit. No. 166 (Plate XYIU., 2) ; and at Madrid as * Salome with the head of the Baptist,' No. 461. Titian's male portraits are very numerous ; a few of the most important only can^ therefore be enumerated. Portraits of himself at different periods of his life occur at Vienna, No. 48 Boom IL 1st floor ; at Berlin, No. 163 ; and at Madrid, No. 477. The Madrid Museum is rich in portraits by Titian, among which that of Charles V., No. 457, ranks first. It is generally con- sidered the finest equestrian portrait known. Another canvas in the gallery represents the same monardi stand- ing with his dog. No. 453 ; and besides these there is a superb full-length of Philip II. of Sx>ain, No. 454. Some fine portraits are to be found in the Naples Museum : for example, of Pope Paul IIL, and a noble full-length of Philip IL, Nos. 8, 11 Sala di Correggio. Other admirable examples are the portraits of the Duke and Duchess of Urbino in the Uffizi, Nos. 605 and 599 ; of Ippolito de' Medici and Aretino in the Pitti, Nos. 201 and 54 ; Admiral Mauro, No. 161 at Berlin; and of Isabella d'Este in the Belvedere af Vienna, No. 29 Boom II. 1st floor. The Louvre possesses a splendid portrait of Francis I., No. 450, * L'homme au Giant,' No. 454, and a fine group, represent- ing the Marquis del Yasto and his wife treated alle- gorically, No. 451. Two similar groups are at Vienna, No. 6 Room L and No. 59 Boom IL 1st floor.

Titian painted some frescoes, long since destroyed, in 1507-8 at the Fondaco, Venice, with Giorgione, which enhanced his reputation ; in 1511 those at Padua, which are not important; and Anally in 1523, the S. Christopher on a staircase in the Ducal Palace, Venice.

Lastly, Titian gave a new importance to landsci^, in* troducing it frequently in the backgrounds of his pictures, not merely as an accessory, but evidently because he was a true lover of natural scenery, and he used it too with happy art as a poetical setting to his figures.

Titian's best pupil was Bonifazio (1494-1563): his chief works in great number are in the Venetian Academy.

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The following should be noted : a very fine one, regarded as a masterpiece, is the ' Rich man at table/ No. 500, ' The Saviour enthroned,' No. 505, an ' Adoration of the magi,' No. 572, besides several pictures of * Holy families ' and 'Saints.' Two examples are at Vienna, Nos. 24, 6, Room VII. 1st floor ; one is at Dresden, No. 262 ; two are in the Louvre, Nos. 74, 5 ; and another is in the Hermitage, St. Petersburg, No. 109, an ' Adoration of the shepherds.' One of his most pleasing compositions is in the Brera at Milan, No. 205, the * Finding.of Moses,' beautiful in colour, although somewhat defective in drawing (Plate XIX., 1) ; another fine work is the ' Adoration of the magi,' No. 141 in the Galleria Estense at Modeua ; and a third is in the Church of S. M. in Organo at Verona.

A distinguished contemporary of Palma and Titian was Giovanni Antonio Idcinio, called Pordenone (1483-1539). His reputation was at first gained chiefly as a fresco- painter, and in this capacity he closely rivalled Titian. Unfortunately those frescoes which he executed in Venice have now disappeared. There is an altarpiece by him in the Venetian Academy, No. 486 (Plate XIV., 5); another good example is No. 490. The well-known * Woman taken in adultery' is in the Berlin Museum, No. 196. His works are not numerous, and are still mostly in the cathe- drals for which they were painted. A * Santa Con- ^ereazione,' No. 52, is in the Pitti at Florence; a note- worthy example of portraiture is No. 116 in the Hermitage, St Petersburg ; and an excellent portrait of a * Lady in mourning' is in the Dresden Gallery, No. .252. Other examples of excellent portraiture attributed to Giorgione and Titian have doubtless been the work of Pordenone, to whom, for example, it is now believed belong the fine 'Woman with a mirror,' No. 490 at Munich, catalogued under the name of Giorgione, and a noble male portrait. No. 455 in the Louvre, attributed to Titian by Messrs. Crowe and Cavalcaselle.

Bernardino da Pordenone (1520-70), doubtfully regarded as a brother of the preceding, painted in his manner. One of his best works is a large * Adoration of the magi,' No. 119 in the Hermitage, St. Petersburg. There is also an

Bonifazio.

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B,da Pordenone.

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Pordenone.

Schiarxme.

Ikyrenzo Lotto.

Moretto,

example at Hampton Court, No. 152, catalogued under the name of the hrother (C. and C).

Andrea Schiavone (1522-82) was also a follower of Titian. He painted some good works, of which the 'Jupiter and lo,' in a remarkably fine landscape in the Hermitage, No. 121, is a striking example. He is represented in the Belvedere, Vienna, by several paint- ings ; among them No 47 Eoom I. and No. 19 Boom VII. Ist floor may be noted.

Lorenzo Lotto (1480-1558), who spent most of his life in Bergamo, for which reason he is sometimes known as *' n Bergamasco," executed some good work in the Venetian n^anner. Two fine altarpieces, each a 'Madonna with saints,' are in the Churches of S. Spirito and S. Bartolommeo at Bergamo; another is No. 47 Boom II. 1st floor at Vienna ; and a picture with two saints is No. 323 in the Berlin Museum, where also are several portraits. Our National Gallery contains a splendid specimen, a family group. No. 1047, and two portraits No. 699 ; an excellent example is in the Hermitage, St. Petersburg, No. 115; another is in the Brera, Milan, No. 250; and his own portrait is to be seen in the Berlin Museum, No. 320.

Alessandro Bonvicino di Brescia, known as 11 Moretto (1500-47), the next painter of importance of this school, was not a Venetian by birth, but studied first under Titian and subsequently became a follower of Baphael. Partly perhaps from combination of these two influences, Moretto formed a style of his own, the characteristics of which are very distinct. Thus we generally find in his works that the glowing Venetian colour is exchanged for a tender silver^rey tone; although there are a few exceptional examples which possess the golden hues of the Venetian school. Moretto was chiefly celebrated for his altarpieces, most of which are still preserved in his native city of Brescia, which should be visited in order to appreciate them rightly. There are no less than three examples in the Church of S. M. delle Grazie there, the finest of which is a ' Madonna and three saints.' In SS. Nazzaro e Celso there is a good * Coronation of the Virgin,' and in S. M. dei Miracoli a fine work, • S. Nicholas presenting children to

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the Virgin.' The Church of S. Clemente contains five compositions by the master, of which the most pleasing is the * Five virgins,' a charming group of beautiful women. Two fine tempera paintings by Moretto, the * Fall of Simon Magus ' and • S. Peter and 8. Paul,' originally in the Church of S. Pietro in Oliveto at Brescia, are now temporarily removed to a room in the Palazzo Vescovile there. Lastly in S. Giovanni Evangelista may be seen the frescoes executed by Moretto in competition with his so-called rival, a painter also of Brescia, II Bomanino. These are not among the best productions of Moretto, but their raperiority cannot for a moment be doubted : those executed by Bomanino are in many respects unpleasing, as well as defective in quality. Of Moretto's works not at Brescia the hest are, a * Madonna with S. Anthony and 8. Sebastian ' in the Stadel at Frankfort, No. 25; a '8. Justina' at Vienna, No. 7 Eoom II. ; a beautiful woman, magnificently painted in his best style, called 'Faith,' No. 113 in the Hermitage, St. Petersburg : a fine * Judith ' there, No. 112, is attributed to him also, although some consider it to be by the school of Eaphael ; a beautiful • Holy family with two donators ' in the Berlin Museum, No. 197 (Plate XIX., 2); and a * S. Peter ' and * S. John Baptist,' Nos. 261, 7 in the Venetian Academy. A fine portrait has recently been acquired by our National Gkllery, No. 1025 ; this picture formerly belonged to the collection of the Fenaroli Palace, Brescia, which has lately been dispersed.

Giiolamo Komani, or II Bomanino (1486-1560). Not niany pictures by this painter are extant^ but a better work than those referred to above may be seen in S. Fran- cesco at Brescia, a * Madonna enthroned with saints ; ' three examples are at Berlin, Nos. 151, 5, 7, and there is a large altarpiece by him in our National Gallery, No. 297. One of his finest productions is an altarpiece now in the Museo Civioo at Padua, No. 1215.

Giovanni Battista Moroni (1510-78), the pupil of 11 Moretto, was without doubt one of the greatest portrait- painters of his time. His portraits are very numerous, particularly at Florence: in the Uffizi, Nos. 586, 629, and 642 are very fine examples. Our National Gallery

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Pellejrino.

Paris Rordone,

Venetian schbolj end of leth century.

poBsessQS several whicli are excellent, viz., a nobleman, No. 1022; an ecclesiastic. No. 1024; a lawyer. No. 742 ; a tailor. No. 697 (Plate XIX., 4) ; and a lady, No. 1023. Moroni is also well represented in the Accademia Carrara at Bergamo by several admirable portraits, among which is that of a child, No. 144, most delicately rendered. Another fine example is No. 27 in the Stadel at Frankfort ; in the Hermitage there is a good male portrait, No. 154; and his own portrait is in the Museum at Berlin, No. 193, among several others. He was less successful in his altarpieces, which are rare : Mr specimens are in the Brera at Milan, Nos. 214, 62, besides two well-painted male portraits, Nos. 210, 46.

Martino da TJdine, or Pellegrino da San Daniele, one of the most important of the Fiiulian painters, was a pupil of Giovanni Bellini. He is represented in the Brera at Milan by a fine picture, * S. Ursula and virgins,' No. 169, and in our National Gallery by a * Madonna enthroned,' No. 778.

The last bi^t not least of these followere A Giorgione and Titian was Paris Bordone (1500-76), distinguished alike as a painter of historical pictures and of portraits. Of his larger works the most celebrated are, the * Fisher- man presenting the ring of S. Mark to the doge of Venice ' in the Venetian Academy, No. 492 (Plate XIX., 3) ; the picture of the * Tiburtine sibyl,' No. 428 ; a * Baptism,' No. 208 in the Brera, Milan; a good altarpiece. No. l&l at Berlin ; and a ' Madonna and saints,' a group of Venetian beauties. No. 110 in the Hermitage, St. Petersburg. Several of Bordone's female portraits are to be seen in the galleries of Berlin, St. Petersburg, Munich, Vienna, and Florence. Our National Gallery contains two good examples of the master's work in the portrait of a Genoese lady and the ' Daphnis and Chloe,' Nos. 674 and 637 ; and in the Louvre there is a fine male portrait. No. 82.

These are the most important painters of the Venetian school who flourished in the beginning and middle of the sixteenth century. Towards the end of the century, when the other principal schools of painting in Italy had already fallen into decay, that of Venice still flourished, its repu-

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tation being maintained by the two great masters of that time, Tintoretto and Paul Veronese.

Jacopo Eobusti (1612-94), called Tintoretto because his father was a dyer, studied first under Titian, but sub- sequently followed Michael Angelo, desiring, as he him- self expressed it, to unite the colour of Titian with the drawing of Michael Angelo, Tintoretto showed himself in bis best work to be a consummate master of the figure and almost without a rival in composition. In both qualities he was marked by originality and daring ; hence, wMle some of his productions command the highest admiration, others are disfigured by grotesque attitudes and by exaggerated action. Two illustrations of this defect among several which might be noted will suffice, namely, the ' Pool of Bethesda * and the * Last Supper,' both in the Scuola di S. Eocco, Venice, which latter is con- ceived simply as a scene of wild excitement ! In relation to colour his results are very unequal. Among the most important of his earliest and finest works are two oil- pictures : the * Miracle of S. Mark,' No. 45 in the Venetian Academy (Plate XVIII., 4), and the ' Marriage at Cana ' in the Church of S. M. della Salute at Venice, of which there is a smaller replica, No. 617 in the Uflfizi, Florence (Plate XX., 1). There are also some other paintings on a smaller Bcale which ought to be classed with the best eflforts of themasfer — namely, the ' Vulcan, Venus, and Cupid ' in the Pitti Palace at Florence, No. 3 ; the * Saints at the cross,' No. 226 in the Brera, Milan; an altarpiece, * Madonna and saints,* in SS. Giovanni e Paolo at Venice ; a spirited battle-piece, No. 411, and a * Baptism of Christ,' No, 413 in the Madrid Gallery ; a • Madonna enthroned with saints,* No. 287 at Dresden ; and a ' Madonna in glory,' No. 300 at Berlin. There is a magnificent life-size •Andromeda,' No. 135, vnth a * Birth of John the Baptist,' Ko. 132, among others, in the Hermitage, St. Petersburg ; and a * S. George and the dragon,' of no great importance, may be found in our National Gallery, No. 16. In the Ducal Palace, Venice, however, some of Tintoretto's choicest work maybe seen ; for example, the four admirable figure subjects of the small saloon, known as the Anti-

VeneUan 9chool, end of leth century. Tintoretto,

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THE BI8E AND PBUGBE88

Tintoretto,

Paul Veronese,

Collegio, two of which, the * Ariadne * and the * Grfices,' are of rare beauty. To a later period belong the numerous paintings of large size which adorn the largest halls of the Ducal Palace and the Scuola di S. Eocco at Venice : the celebrated ' Paradise ' belongs to the former, and the

* Crucifixion ' forms part of the collection at the Scuola. Tintoretto's reputation appears in great part to be due to these enormous pictures, but we still venture to think that his finest productions are the smaller works already referred to.* An admirable specimen of decorative paint- ing is * Luna and the Hours,' No. 310 at Berlin, There is a study for the * Paradise ' in the Madrid Museum, No. 428 ; and another hangs in the Hermitage, No. 133. He also executed many admirable portraits, examples of which exist in most European galleries, and may be found in the catalogues at the end of this volume.

The second of these two Venetian masters, Paolo Caliari (1628-88), was called Veronese from the place of his birth. The characteristic features of Veronese's paintings are the brilliancy yet perfect harmony of his colours, the ex- cellent grouping of numerous figures in the foreground, and the advantageous use of fine architectural backgrounds. As this style of composition is particularly adapted to the representation of subjects of a festive nature, so one of Paolo's finest and most successful works is the

* Marriage at Cana ' in the Louvre, No. 95 (Plate XX., 3). In this grand work, and in the perhaps scarcely inferior ' Feast in the house of Levi ' in the Venetian Academy, No. 547 (Plate XX., 4), the high qualities of Veronese's work are fully displayed. In the Louvre the following also deserve notice, 'Jupiter destroying Ciime,' No. 100, the

* Supper at Emmaus,' No. 99 (of which there is a repetition at Dresden, No. 309), and * Christ at tho feast of Simon,' No. 96. Our National Gallery contains a smaller masterpiece, the

* Eamily of Darius at the feet of Alexander,' being portraits of the Pisani family, No. 294, besides two inferior works, an 'Adoration of the magi,' No. 268, and the 'Con- secration of S. Nicholas,' No. 26. At Madrid ' Josus and

'*' See remarks on the pictures at the Scuola di S. Rocco in the catalogues ut the end of the work.

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the centurion/ No. 528, is a fine composition, and in a different style is a * Venus and Adonis,' No. 626, At Vienna may be noted * Christ entering the house of Jairus,' No. 52 Boom I. 1st floor, and at Turin two large com- .positions, Nos. 157, 234. In the Hermitage, St. Petei-s- burg, the V Repose in Egypt,' No. 140, the well-known *Piet^,' No. 145, the 'Marriage of S. Catharine,' No. l46, a fine ' Mars and Venus,' No. 151, and a good portrait, No. 152, illustrate the master. At Dresden Veronese's compo- sitions abound: among them are the following large and fine works — a ' Madonna enthroned with saints and donator,* No. 301 ; an ' Adoration of the kings,' No. 299 ; a * Marriage at Cana,' No. 300 ; * Christ on the way to Calvary,' No. 302 ; and a * Finding of Moses,' No. 304. Some of his most important religious paintings are those which represent scenes from the life of S. Sebastian in the Church of S. Sebastiano at Venice, the burial-place of Veronese. The fresco of ' S. Sebastian going to the place of execution ' is remarkable for its dramatic power. To a later period belong the numerous mythological paintings preserved in the Ducal Palace, among which are two well- known works, the 'Rape of Proserpine,' in the Anti- CoUegio, and * Venice crowned by Fame,' on the ceiling of the Sala del Maggior Consiglio. There are also two fine altarpieces at Verona and Brescia : a * Martyrdom of S. George ' in S. Giorgio Maggiore at Verona, and a * Martyr- dom of S. Afra ' in the church of that saint at Brescia.

Belonging to this group in the sixteenth century is another painter, Jacopo da Ponte, surnamed 11 Bassano (1510-92), who may be considered to some extent as the originator in Italy of a style of painting now commonly characterised as " genre." Thus, in many of his paintings be introduced animals and still-life, the basis of the compo- sition being often landscape. The pictures of ' Moses and the bush,' No. 593, and the * Family concert,' No. 695, both in the Uffizi at Florence, are fair examples of this style. One of his best and most important productions is the ' Raising of Lazarus,' No. 3 Sala Grande at Naples. Three pictures are attributed to him in our National Gallery, of which No, 277, the 'Good Samaritan,' is an excellent

Paid Veronese*

J, Bassano.

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TSE B18E AND PROGRESS

J, Bassano,

L. Bassano,

Correggio.

Sacred

specimen : while good pictures at Madrid are Nos. 22, 3, 9. At Vienna is a different version of the * Good Sama- ritan,' No. 12 Eoom I. 1st floor. Two fair works are Nos. 298, 300 in the Louvre. Other works are to he seen in his native town, Bassano. He excelled also in por- traiture, of which a fine example is in the Berlin Museum, No. 315; which also contains one of his hest sacred compositions, a * Crucifixion,' No. 324.

Bassano had fotir sons, all of whom assisted him in the execution of his works, and, like him, devoted themselves to the study of this particular manner of painting. One of them, Leandro Bassano, has left some works of merit, among which the ' Baising of Lazarus,' No. 494 in the Academy at Venice, may be natned.

At the end of the fifteenth century was bom Antonio AUegri (1493-1634), called Correggio after his native village, one of the most accomplished artists of his time, and who belonged to no school. Little is known of his history, except that he spent a life of labour in his art at Parma, having apparently little intercourse with other painters. He is considered the greatest master of chiaro- oscuro, the management of which became a marked characteristic in the works of his followers. His csom- positions possess high qualities in regard to drawing and expression, and exhibit also certain admirable effects of light and shade ; besides which they display a grace and spirit peculiarly his own. Occasionally, and this is more particularly observable in sacred subjects, these latter qualities are too prominent, so that even the Madonna is represented as merely pretty, affected, and quite wanting in repose and dignity. Some of his earlier works suggest the influence of Leonardo da Vinci : for instance, the * Madonna enthroned, with four saints,' No. 161 in the Dresden Gallery; and the *Rest after the flight into Egypt,' in the Uffizi at Florence, No. 1118. Parma is rich in Correggio's works, so that there only can he be efficiently studied, many of his finest being in the Pinacoteca. First and foremost is the celebrated altarpiece known as the * San Girolamo,' No. 351, sometimes from its brilliancy spoken of as * II Giorno ' in contrast with the * Notte,* No. 164 at

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Dresden. This masterpiece is perhaps one of the finest works of its kind in existence. Most lovely even among his heantiful creations is the prominent figure of the kneeling Magdalen, as she bends forward to kiss the hand of the infant Christ (Plate XXIII., 5). Second in import- ance is the * Madonna della Scodella,' No. 360. Next come two pictures which exemplify Correggio's close study of nature even when the subjects are painful — viz., the * Descent from the cross,' No. 352, and the * Martyrdom of S. Placida and S. Flavia/ No. 353 : in the first of these the fainting virgin is delineated with marvellous power. His earliest works at Parma are the well-known 'Amorini,' which occupy oval compartments in a room of the convent of S. Paolo. Subsequently he painted the cupola of the Church of S. Giovanni in fresco, representing * Christ in gloiywith the apostles.' Later still was executed his greatest work of this kind, the * Assumption of the Virgin,' in the dome of the cathedral. Besides the qualities already referred to, his power of drawing the figure, and of foreshortening, is marvellously displayed in this fresco, especially in the figures of the rising Madonna and of the descending archangel. All these frescoes are greatly injured by time, but excellent copies by Toschi and his pupils may be seen in the Pinacoteca. An admirable study, small and finished, for the * Assumption ' forms a circular panel, No. 82 in the Hermitage, St. Petersburg, The best among the other sacred works of Correggio are to be found at Dresden : the celebrated * Nativity ' or * Notte,' No. 154 (Plate XXI., 1) ; a ' Madonna with saints,' known as the ' S. Sebastian,* No. 152 ; and another called * S. George,' No. 155. There is also the fine but not large canvas, the * Marriage of S. Catharine,' an admirable example, in the Louvre, No. 19 (Plate XXI., 4); the *Ecce Homo' is No. 15 in our National Gallery ; a charming * Madonna,* is No. 178 in the Gallery at Buda-Pesth, and the beautiful * Madonna del Latte,' No. 81, is in the Hermitage, St. Peters- Wrg. The small * Magdalen reading,* so well and widely known, the best of his few small pictures, is in the Dres- den Gallery, No. 153 (Plate XXI., 3) ; another example of the class is the *Holy family' of our National Gallery,

Correggio,

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THE RISE AND PROGRESS

Correggio,

Mythologi- cal subjects.

Portraits.

School of Correggio,

Parme' gianino.

Baroccio.

No. 23 ; others are at Naples, Florence, and Munich, some replicas, or possibly only copies.

Mythological subjects naturally afford this master ample opportunities of displaying his love of grace and beauty. To this class belong the * Danae,' Boom III. No. 40 in the Borghese Palace, Eome (Plate XXI., 2) ; the * Education of Cupid by Venus and Mercury,' No. 10 in our National Gallery ; the * Jupiter and Antiope * in the Salon Carre of the Louvre, No. 20; the*Leda' at Berlin, No. 218; the

* lo ' and the * Ganymede ' at Vienna, Nos. 19, 21 Eoom VI. 1st floor.

Two portraits only can be referred to, both fine : one at Dresden, No. 166 ; the other at Vienna, No. 10 Eoom VI. 1st floor.

Correggio had numerous imitators at the end of the sixteenth century, although he had few pupils, owing to his quiet life and small reputation. Of these the most worthy of mention is Francesco Mazzuoli, or Mezzuola, surnamed * II Parmegianino ' (1504r^0). One of his earliest and best productions is the * Vision of S. Jerome,' No. 33 in our National Gallery. The following may ako be noted : an altarpieoe in the Bologna Gallery, known as the 'Santa Margherita,' No. 116; a 'Madonna' in the Pitti at Florence, No. 230; two portraits in the Museum of Naples, Nos. 12, 16, Lombard school ; an important series of frescoes in the Church of S. M. della Steccata at Parma, where is also the celebrated figure of ' Moses breaking tlie tables of the law,' and a charming * Madonna ' in S. Pietro at Perugia.

Fedeiigo Baroccio, bom at Urbino in 1528, exercised some influence on the Sienese and Florentine painters of his time. He was a careful student of his art, and a better draughtsman than colourist. In style, Correggio appears to have been his model, and he painted several large sacred works. Examples are, a portrait of the Duke of Urbino, No. 1119 and a 'Madonna interceding,' No. 169 in the Uffizi at Florence; two subjects in the Vatican; a large

* Crucifixion and saints ' in S. Lorenzo at Genoa ; a * Noli me tangere' at Munich, No. 494; and in our National Gallery a * Madonna,' No. 29. Two similar works are in

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the Hermitage, St. Petersburg, Nos. 128, 9 ; where also is a very good portrait, No. 130. Several are at Dresden, one of the best being a * Madonna with saints,' No. 87. A good example in the Louvre is No. 53, * A Madonna in glory, with saints.'

SEVENTEENTH CENTURY.

About this period, that is, towards the end of the sixteenth and beginning of the seventeenth centuries, the tide of the Eenaissance influence first began to ebb, and a certain reaction appeared in favour of the older modes of devotional feeling, hitherto diminished by the spirit of the Reformation, and thus a fresh impulse was given to art. This feeling, combined with the still growing influence of the antique, led to an endeavour to cease from that servile following of dead masters which had paralysed the schools of Italy during the latter half of the sixteenth century.

At liiis time two distinct styles were developed. One class of painters desired to combine the characteristics of the great cinquecento masters with a closer study of nature : these were distinguished as "Eclectics." Another class discarded all traditional teaching, and professed to study solely from nature : these were called " Naturalists." The Eclectic school originated in Bologna, where it flourished for some time under the leadership of its founder, Lodovico Caracci (1555-1619). He was one of the first to appre- ciate the truth and beauty which characterised the works of Correggio. Lodovico established a large academy of painting at Bologna, which subsequently acquired a great reputation. He was more celebrated as a teacher than as an artist, yet the Bolognese Gallery contains some important works from his pencil. Among them are a ' Madonna with S. Francis and S. Jerome,' and a * Conversion of S. Paul,' Nos. 42, 7. He also executed, with the assistance of his nephews, Agostino and Annibale Caracci, a series of frescoes in the Convent of S. Michele in Bosco, Bologna, representing scenes from the lives of S. Benedict and S. Cecilia. Further may be mentioned his * Madonna,' No. 139 in the Louvre, and his ' Christ bearing the cross/

Baroccio,

Eclectics,

Bolognese

school, nth

century,

Lodovico

Caracci.

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THE BI8E AND PB0GRE88

Lodovico Caracci,

Agostino,

Annibale,

Domenir chino.

No. 165 in the Hermitage, St. Petersburg. There is also an example in our National Gallery, No. 28.

The elder of the brothers, Agostino (1558-1601), devoted himself more especially to engraving, and to the instruction of the students in the academy. There is, however, a fine picture by him in the Galleiy at Bologna, No. 35, *The Assumption of the Virgin ' (Plate XXII., 1) ; another much esteemed is * The communion of S. Jerome,' No. 34.

Of the three Caracci, Annibale (1560-1609) was undoubtedly the greatest painter. His best works are certainly the frescoes which adorn the ceiling of a spacious room in the Farnese Palace at Eome. The well-known picture of * S. Eoch distributing alms* is No. 452 at Dresden (Plate XXII., 3), where, among others, is a fine * Madonna enthroned, with saints,' No. 451. Besides these should be named a 'Madonna and saints,' at Bologna, No. 36 ; a small but pleasing * Last Supper,' No. 38 in the Ateneo at Ferrara ; and in the Hermitage, among others, a 'Christ anointed after death,' No. 166, a *Dead Christ and angels,' No. 172, and * Christ with the three Marys,' No. 174. In the Tribune of the UflSzi is a fine * Bacchante,' No. 1133, and a 'Piet^' may be noted in the Naples Museum, No. 1 Sala Grande. The following are in the Louvre : No. 119, the ' Madonna with the cherry ' ; No. 120, the * Sleeping Christ ' ; No. 121, ' Appearance of the Virgin to S. Luke '■; No. 132, • Diana and Calisto,' a good example of landscape; No 134, the 'Fishers'; and No. 135, 'The chase ' ; with several others. In our National Gallery the best are No. 9, • S. Peter meeting Christ,' and Nos. 25, 56, 88. It should be remembered that Annibale Caracci was one of the first masters to study landscape for its own sake, and to make it an important feature in his works. A few genre picturea by him have been preserved : one example may be named, viz., ' The greedy eater,' in the Colonna Palace at Eome.

The Caracci had a large number of scholars and followers. The most important of these were Domenico Zampieri, called Domenichino, and Guide Eeni. Domenichino (1581- 1641) comes first in order. His masterpiece, ' The com- munion of S. Jerome,' in the Vatican, is a fine production

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of the scliool (Plate XXIL, 2). Another large picture is the * Martyrdom of S. Agnes ' in the Gallery of Bologna, No. 206. There are besides some important frescoes by Domenichino in the church at Grotto Ferrata near Rome, representing the history of S. Nilus; others of the four Evangelists in S. Andrea della Valle at Rome ; and, lastly, those in S. Luigi de' Francesi of the life of S. Cecilia. Domenichino also executed several oil-pictures, such as a half-length figure of * S. John,' of which there are several repetitions ; a figure of * S. Roch ' in the Palazzo Brignoli at Genoa ; a * S. Cecilia,' No. 474 (Plate XXIL, 4), and No. 473, a good small picture, in the Louvre at Paris ; and * Diana and her nymphs,' No. 15 Room V. in the Borghese Palace, at Rome, where there is also a * Sibyl' by him. No. 2 Room IV. The landscape holds a prominent position in the ' Diana ' picture. In our National Gallery he is represented by four small works, of which * S. Jerome and the angel,' No. 85, is the best.

The most gifted and independent painter of this time and school was Guido Reni (1575-1642), whose works exhibit much delicacy of execution, and a certain type or ideal of heauty founded on a study of the antique. Thus a strong resemblance to the famous Niobe may be traced in almost all his female heads. Guide's productions vary much according to the time of life at which they were painted, and may be classified under three periods as follows : —

To the first belong the * Crucifixion of S. Peter ' in the Vatican ; the ' Madonna della Piet^,' No. 134, a ' Crucifixion,' No. 136, and a * Massacre of the innocents,' No. 135, in the Bologna Gallery (Plate XXIIL, 4) ; * Two saints' at Berlin, No. 373; a 'S. Sebastian,' No. 321 in the Louvre; and the * Coronation of the Virgin,' No. 214 in our National Gallery. These are distinguished by the power- ful form of the figures, and by strong contrasts of light and shade in the composition.

To the second period belongs Guide's masterpiece, the celebrated fresco painted on the ceiling of one of the rooms in the Palazzo Rospigliosi at Rome, representing * Aurora attended by Phoebus and the Hours' (Plate XXIIL, 3). It is a work full of grace and life, distinguished by warm

Domeni' chino.

Guido Reni,

Early period.

Second period.

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THE BI8E AND PB00BE88

Qwdo,

Third peribd.

Smaller works.

Albani,

and delicate coloTiring. Besides the ' Aurora,' and executed about the same time, may be mentioned the well-known portrait of Beatrice Cenci in the Barberini Palace, Eome ; the * Nessus and Dejanira,' No. 326 in the Louvre ; the

* Eace of Atalanta,' No. 47 Sala Grande, Naples Museum ;

* The Nativity,' an altarpiece in the Church of S. Martino at Naples ; and a fresco in S. Domenico at Bologna. Very lovely works, and in his best style, are *S. Joseph and Infant Christ,' No. 184, and the * Madonna with S. Francis/ No. 185 in the Hermitage, St. Petersburg. There also are his famous ' Dispute of the fathers,' No. 187, a noble com- position ; the * Virgin and eight young maidens,' No. 191 ; and several others.

During the third period Guide's colouring became more cold, and at last his figures lacked their former character, ex- pression, and grace. The * Assumption of the Virgin,' No. 141 in the Bologna Gallery, is a grand work, and certainly by far the best of this time. Examples of this may generally be identified by the defects named, and need not be cited here. No doubt many inferior works thus ascribed to the master are really the productions of his numerous followers.

Among Guide's smaller works, chiefiy single figures, may be mentioned a finely conceived ' Crucified Christ * in the Galleria Estense at Modena, No. 149 ; a magnificent ' Venus and Cupid ' in the Dresden Gallery, No. 470 ; the ' Cleopatra ' in the Pitti at Florence, No. 178 ; a « Fortune ' in the Academy S. Luca, Eome (Plate XXIIL, 2) ; a * Mag- dalen,' No. 319 in the Louvre ; a similar representation, No. 177 in our National Gallery ; and two admirable works in the Dulwich Gallery, a * S. John in the wilder- ness,' No. 331, and a * S. Sebastian,' No. 339. A fine single head of Christ, No. 271, is in our National Gallery; and the Madrid Museum possesses some good works of the master — particularly to be mentioned are Nos. 259, 60, 1.

Another but less important master of the Caracci school was Francesco Albani (1578-1660), whose numerous allegorical oil-paintings display much sameness of treat- ment, but are remarkable for the landscape. Good examples are Nos. 11 to 14 Boom V. in the Borghese Palace at Eome, representing the 'Four seasons;' No.

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323 in the Brera, Milan (Plate XXIV., 3); and Nos. 260, 4, 71, 4 in the Turin Gallery representing the *Four elements.' Of his larger works on sacred subjects the best are an * Annunciation ' in S. Bartolommeo at Bologna, and a * Baptism of Christ' in the Pinacoteca there, No. 2. There is another excellent * Baptism,' No. 203 in the Hermitage, St. Petersburg ; where also is a fine example, * Europa and the Bull,' No. 204. Several of his works are at Dresden : among the best are Nos. 494, 5, 7, and 500. Several also are in the Louvre, of which Nos. 11, 12 may be referred to as good examples.

Albani had several scholars : among others, Andrea Sacchi the Roman (1598-1661), one of the better masters of that school. His works are remarkable for breadth and Bimplicity of treatment. His best work by far is in the Vatican, • S. Eomualdo and his brethren*' Towards the middle of the seventeenth century he had one pupil of note, Carlo Maratta* (1625-1713), whose drawing was ex- cellent : otherwise his art was not of a high order, and his work often displayed mannerism and affectation. During the latter half of the seventeenth century he was attached to the Papal Court, and painted numerous Madonnas, chiefly in the manner of Guide. There is a work of his. No. 71 in the Pitti ; an important composition is to be seen *t Vienna, No. 1 Eoom III. 1st floor ; a good head is in the Corsini Palace at Eome; another is No. 426a in the Museum at Berlin ; a very fine female portrait is No. 256 in the Louvre; and a portrait may be seen in our National Gallery, No. 174. The Hermitage, St. Petersburg, possesses many of his works, among which may be noted a fine portrait of Pope Clement IX., No. 307, and an * Adora- tion of the shepherds,' • No. 297. Fair examples are, a 'Madonna with cherubs,' No. 118 at Dresden; and an 'Apollo and Daphne,' No. 234 at Brussels.

Francesco Barbieri, called Guercino (1590-1666), is classed among the Eclectics, although he was partly influenced by the Naturalists. His works show close adherence to nature, and his models were often unpleasing and vulgar. Perhaps his best production is the fresco of the ' Aurora ' in the Villa Ludovisiat Borne (Plate XXIV., 1) ;

Albani,

Andrea Sacchi,

Maratta.

Querdno,

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THE BI8E AND PBOGRESS

Guercino,

Zanfranco,

Schedone,

Pietro da Corixma,

but his most important oil-picture, a work of gigantic dimensions, is the ' Baising of S. Petronilla from the tomb ' in the Muiseum of the Capitol (Plate XXIV., 2). A large composition, and regarded as one of his best, is an ' As- sumption of the Virgin,* No. 239 in the Hermitage, where several other works of his may be found. An important example is a subject from the history of Semiramis, No. 511 at Dresden; another is 'S. Bruno and his companion in the desert,* No. 13 at Bologna. More characteristic illustrations of Guercino's style are the * Marriage of S. Catharine ' in the Gallery at Modena, No. 355 ; and the * Turning away of Hagar,' No. 328 in the Brera at Milan : both treated in a commonplac3e manner. A small picture, regarded as fine, is No. 22 in our National Gallery, ' Angels weeping over the dead body of Christ * ; while tJxe Louvre contains several examples of his work — among others, the large and fine ' Madonna with the patron saints of Modena,' No. 46 ; the well-known * Circe ' and * S* Cecilia,' Nos. 48, 51 ; and a good portrait of himself. No. 58. A fine * Cleopatra ' is in the Palazzo Brignoli at Genoa ; the * Samian sibyl ' is No. 1114 in the Dffizi, and a good specimen is No. 112 in the Brussels Museum.

The last of the chief pupils of the Caracci was Giovanni Lanfranco (1581-1647), whose most important works are the frescoes in the cupola of S. Andrea della Valle at Bome* Most of his compositions show a want of originality, and are marked by a cold and spiritless mannerism^ A ' Liberation of S. Peter,' in the Colonna Palace at Rome, is one of his more successful oil-pictures. Other examples of his work may be seen in the Louvre and at Madrid.

Bartolommeo Schedone (1580-1615) followed in part the school of the Caracci, but was influenced by the works of Correggio. His best paintings are in the Naples Museum. Good examples are in the Hermitage, St. Petersburg, among which may be mentioned No§. 271, 2.

Pietro da Cortona (1596-1669) must be mentioned. His best work was decorative, in illustration of which it sufGices to mention that in the Barberini Palace at Eome. Two good examples, among many in the Hermitage, are Nos. 280, 1. Two others are Nos. 64, 7 in the Louvre.

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Less ii)a|)or;fca;rit masters of the Bolognese school, who possessed some iixdividtial merit, were Alessandro Tiarini (1577-1668) and Lionello Spada (1576-1622). Some of the works of Tiarini are executed in quiet tones, and are tmnsually free from the exaggerated expression and forced action so prevalent amoag the painters of the time. Good examples are the *Kepentance of S. Joseph,' No. 410 in the Louvre; the 'Marriage of S. Catharine/ No, 183 in the Bologna Gallery, with several others; an altarpiece in S. Pelronio there; and a large compo- sition, * S. Domenico restoring a child to life,' in the church dedicated to that saint at Bologna. The same chapel contains one of the best works of Lionello Spada, a * Burning of heretical books by S. Domenico.* A good example is in the Louvre, No. 400, a * Martyrdom of S. Christopher.'

Later still in the seventeenth centxiry there was another painter of note who received some of his inspiration from the Bolognese masters, Giovanni Battista Salvi, called Sassoferrato (1605-85). He was nevertheless, by com- parison with contemporaries, a painter of some taste, and free from the prevailing bias. Some pf his besf productions are representations of the 'Madonna'; for instance, the

* Madonna del Eosario' in S. Sabina at Home: a fine

* Madonna ' in the Vatican (the same subject, surrounded hy cherubs, being No. 113 at Dresden); others are in the Hermitage, St. Petersburg, Nos. 257, 9 ; a charming example may be seen in the Louvre, No. 355, where is also a fine 'Assumption of the Virgin,' No. 356. Li the Borghese Palace at Home a * Head of the Virgin,' Room VL No. 18, and in our National Gallery, a * Madonna,' No. 200, should be noted.

A foUower of Guide Reni's style wap Guide Cagnacci (1601-81), some of whose works show considerable power. Examples are to be found in the Louvre, a * S. John the Baptist,' No. 108 ; in the Liechtenstein Gallery at Vienna, a * Jacob and Laban,* No. 74 Hoom III. ; in the Hermitage, St, Petersburg, an * ^sumption of the magdalen,' No. 194 : a mfisterpiece in the Accademia di S. Luca, Borne, the •Tarqxun and Lucretia' (Plate XXIV., 4); in the Pitti

Tiarini and Sjpacku

Sassofer- rato.

Guido Cagnacci,

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THE BI8JB AND PB0GBES8

Ouido Cagnacci^

E, Sirani,

Eclectic schools of Cremona and Milan,

The Pro» caccinit

Eclectic school of Borne.

Cigoli,

a Allori,

another * Assumption of the Magdalen,' No. 75 ; and in the UflBzi, a * Jupiter and Ganymede/ No. 71.

Elisabetta Sirani (1638-63) copied Guida closely, parti- cularly his latest manner, and produced chiefly weak imitations. A large example is No. 175 at Bologna, -while small works are, in the Belvedere at Vienna, a * Martha and Mary,' No. 34 Boom V. 1st floor ; in the Liechtenstein Gallery, two studies of Cupids, Nos. 339, 342 Boom II. 2nd floor; and in the Hermitage two specimens, Nos. 199, 200,

Two or three less important Eclectic schools sprang up at the same time as that founded by the Caracci ; one, for instance, at Cremona, under the leadership of Giulio Campi ; and another at Milan, at whose head were Ercole Procaccini (1520^90) and his sons Camillo and Giulio Cesare, followed by others of the name, and for the most part painting feebly in imitation of Correggio. By Camillo good examples may be seen in the Liechtenstein at Yienna, No. 621, and in the Hermitage, St. Petersburg, No. 262, a * Holy family ' ; where also is a * Marriage of S. Catharine,' No. 264, by Giulio Cesare. Both brothers are represented at Berlin, £^d other examples are at Dresden, for w^hich see catalogues. By G. Cesare are two works at Munich, Nos. 426, 1237, and a * Madonna with saints,' No. 305 in the Louvre.

But a third school had arisen in the sixteenth century at Kome under Baroccio, whose influence was most felt by two Florentine painters, Ludovico Cardi da Cigoli (1559- 1613) and Cristofano AUori (1577-1621). Both these masters show much power in single figures, but their art was limited in composition and design. Some of the best examples of Cigoli's work are a * Martyrdom of S. Stephen,' No. 1276 in the Uffizi ; a * S. Francis,' No. 290, a portrait. No. 30, and an excellent ' Ecce Homo,' No. 90, all in the Pitti at Florence. Other good works are Nos. 244-7 in the Hermitage, St. Petersburg. By Cristofano Allori there is the magnificent ' Judith with the head of Holo- femes,' No. 96 in the Pitti, one of the finest productions of the time (Plate XII., 3) : a fair replica is in the Hermit- age, No. 248, and inferior copies are numerous. In the Uffizi an 'Adoration of the kings,' No. 1265,

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OF PAINTING IN ITALY.

notice. The Louvre contains an historical work by this master, No. 22, ' Isabella of Milan interceding with Charles Tm. for her father.'

Domenico Feti (1589-1624) was a pnpil of Cigoli, but worked afterwards at Borne and at Mantua. The Hermit- age contains some excellent works by him : No. 231, a * David and Goliath,' evidently portraits; No. 236, a 'Daedalus and Icarus '; and others. Several examples are at Dresden, of which * David with the head of Goliath,' No. 94, is one of the best In the Louvre he is well re- presented by the * Melancholy,' No. 180, and others.

The last painter of merit of the Eclectic school was Carlo Dolci (1616-86); after him the old mannerism prevailed, and a period of decadence followed. Carlo Bold's type of beauty is associated with sentimentality and affectation, as may be seen in several Magdalens and heads of saints in foreign galleries. His most successfal pro- duction is * S. Andrew praying before his execution,' No. 270 in the Pitti at Florence, where there is also a good example of a 'Madonna,' No. 302. In the Uffizi a 'Magdalen,' No. 186; *Herodias with the head of John Baptist,' No. 61, and * S. Cecilia,' No. 62 in the Dresden Gallery ; * S. John writing his Gospel,' a striking instance of affectation, No. 423, in the Berlin Museum; *S. Catharine,' No. 264, and 'S. Cecilia,' No. 255, in the Hmnitage, St. Petersburg, ought to be mentioned among lus principal works.

While the Eclectic school had thus made its influence felt in all parts of Italy, its contemporary but antagonistic school, that of the Naturalists, flourished principally in the kingdom of Naplas, where it had taken its rise.

Michael Angelo Amerighi da Caravaggio (1569-1609) was

its originator, and in his works we see for the first time

realistic treatment of the subject, with close imitation of

the model under the influence of brilliant light and dark

rfiadows, often in powerful and animated action ; and the

striking effects thus attained were subsequently recognised

as the characteristic of the school. This style, formed as

I it was from the direct imitation of nature in all her aspects,

I was best suited to the representation of domestic scenes,

I G 2

a AUori.

D. Feti,

C, Dolci.

Natwch

lists.

The Naples

school^ nth

century.

(kxravaggio.

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84

THE BIBB AND PB0GBE88

CaraoaggiQ,

Btbera, or

Spagno-

letto.

Sdvator Rosa,

but became Teptdsiye wbea applied to the represexitation of sacred Bubjeots.

In Caravaggio's best style are the ' False card-players * in the Scdarra Pakoe at Borne (Plate XXIIL, 1); the

* Fortune-teller ' and a portrait of iiie ^ Grand master of Malta/ Nos. 25, 7 in the Louvre; and the *Two men drinking' in the Gallery at Modena, Nos, 205, 12 — ^all of which are striking and sucoessftil. A fine work is a *Boy playing on a guitar,' No. 217 in the Hermitage, St. Petersburg ; «o is the * S. Matthew and an angel,' No. 365 in the BerHn Museum. Admirable examples are the

* Card-players,' No. 177 (Plate XXIIL, 1), and a* Gipsy fortune-telling,' No. 178, at Dresden. A good 'Lute- player ' is No. 61 in the Liechtenstein Gallery, Vienna. In a different style, but also among his most miocessful works, are the * Supper at Emmaus,'' No. 172 in our National Gallery, the * Christ crowned with thorns,' No. 215 in the Hemiitage, and a ^ Pieta ' in the Yatican« His most important historical works of a sacred character are the frescoes representing scenes from the life c^ S. Matthew in S. Luigi de' Francedi at Home. As an example of a subject characteristic «of this paiirter, re- pulsive in matter aoid treatment, but masterly in execn- tion, may be noted a * Crucifixion of S. Peter,' No. 216 in l^e Hermitage.

In the prodnctians of Giuseppe Bibera, called ''Lo Spagnoletto," (1588-1656), a native of Valencia in Spain, the characteristic features of the school ai^e still more pronounced. His masterpiece is a * Descent from the cross' in S. Martino at Naples, where there is also another of his best works, an ' Adoration of the shepherds ; ' and in the Museum, among others, is a fine and boldly executed < S. Sebastian,' No. 12 Sala di Correggio (see, for further notice the section relating to Spanish Painters).

Bibera's principal pupils were Salvator Eosa (1615-73), the landscape-painter, and Luca Giordano. The former received some of his earliest instructions in the school of Aniello Falcone, who was the first to make a reputation as a painter of battle-pieces. From him doubtless Salvator Bosa derived his love of ^enre })ainting ; but it is with

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OF PAINTING IN ITALY.

85

his landscapes thai; his fame as a painter has been usually associated. He studied wild scenery under strong e^Feots of light and shade, and often selected banditti for his figures. One of his best pictures is 'Mercury and the dishonest woodman/ No. 84 in our National Gallery; admirable landscapes of this character are Nos. 2413, 14 at Dresden ; two good pictures are No. 344, a battle-piece, and No. 345, a landscape, in the Louvre ; the Dooria Palace at Eome contains several examples : others are to be found in the Pitti at Florence, Nos. 133, $, 306, 453, 70; in the Berlin Museum, No. 421 ; and in tbe Colonna Palace at Borne. The Hermitage at St. Petersburg contains many fine works by him : among them the ' Prodigal,' a life-size figure, No. 220 (Plate XXIY., 6) ; a group of figures. No. 223; and some excellent portraits. Three good ex- amples of battle-pieces, by the master are in the Belvedere at Vienna, No. 56, 7, Eoom IIL 1st floor, and No. 12 Boom lY. ground floor. Among historical compositions the most important is tbo * Conspiracy of Catiline/ No. Ill in the Hlti.

The other pupil of Blbera, the gifted but careless Luoa Giordano (1632-1705), earned for himself the surname of "Fa Presto" firom his powers of rapid execution. His works are Tcry uneq^ual in merit; some are finely con- oeived and painted — as, lor instance, a ' Massacre of the iimooents ' in the Munich Gallery^ No. 442 ; some large and admirable mythological subjects, as a ^ Judgment of Paris,' No. 441 at Berlin; a replica with slight difference, No. 294 in the Hermitage; a 'Sleeping Bacchus and nymphs,' No. 293, and others, in the latter collection also. By his hand are some frescoes in S. Mstrtino, at Naples ; while others decorate the ceiling of the sacristy in the Cathedral of Toledo, Spain. A *Des.oent from tlie cross,' No. 571 in the Academy at Yenice, and a * Madonna and saints,' No. 39 Sala Grande in the Naples Museiun, should be mentioned. There are some fine works by him in the Dresden Gallery, while others there show misapplication of his high gifts. One of the former is the *Heroules and Omphale,' No. 568. No less than sixty-four pictures of Taried quality are catalogued under his name in the

Saivator Rosa,

Luca Oiordano.

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86

THE mSE AND TB0QBE88

Luca Giordano*,

School of

Venice,l6th

century.

Canaletto,

Bcllotto.

Madrid Museum ; and one fair specimen is in the Louvre, No. 191.

EIGHTEENTH CENTDKY.

We have already observed the decline of the schools of the Eenaissance throughout Italy, and that a somewhat mechanical realism was the chief characteristic of the painters of the seventeenth century. The development of this tendency led to a new and interesting style of art in the beginning of the eighteenth century in Venice, where the three masters, Antonio Canale, called Cana- letto (1697-1768), and his followers, Bernardo Bellotti a nephew, and Francesco Guardi, execated nemerous views of the city and her canals. A large number of works erroneoasly attributed to the eldest master are to be found in the galleries of Europe, but authentic and fine examples are not so often met with. One of Canale's greatest works is the admirable view of the Church of S. M. della Salute at Venice, No. 105 in the Louvre. Quite as fine are the ' Eeception of Count Gergi,' No. 318, and its pendant, the 'Marriage of the doge with the Adriatic,* No. 319, both in the Hermitage, St. Petersburg. Four execellent Venetian scenes are Nos. 490, 3, 501, 3, at Berlin. Among others in the Stadel, Frankfort, No. 35 may be noted. Our National Gallery contains many good examples of the master, Nos. 127, 163 {in which the figures are by Tiepolo), 937 and 939. A charming small view of Venice is in the Turin GkUery, No. 257 bis, and another is in the Gallery at Bergamo, No. 38. Canaletto resided for some time in England, and executed many paintings in London and elsewhere, which are now chiefly in private collections. One of Eton CoU^e is No. 942 in our National Gallery.

Works by Bellotti, or Bellotto (1720-80), also sometimes called Canaletto, are generally rare. The Dresden Gallery contains good examples in great number; and in the Finacothek at Munich there is an excellent view of the old city of Munich, No. 476. Two interesting but hardly characteristic small landscapes by him are Nos. 205, 6 in the Brera at Milan, both simple country scenes. Fine

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OF PAINTING IN ITALY. 87

views of Turin are Noe. 283, 8 in the Gbdlery there. A lai^ painting of the Bialto, one of his very finest works, is No. 320 in the Hermitage, St. Petersburg. A good smaller picture is Na 503 at Berlin.

Compared with Canaletto, the works of Guardi (1712-93) are less precise in outline, while his colour is more harmonious, and his aerial perspective is better than that of the older master. Some of his best works aria to be found in the Louvre : most excellent are the pictures of the ' Doge proceeding in state to the Salute,' No. 208 ; the ^Doge going in state to S. Zacharias,' No. 211; and a 'Ssdoon in the Ducal Palace, Venice,' No. 212. A good view of the * Piazza of S. Marco ' is in our National Gallery, No. 210; and several small but charming Venetian scenes are in the Bergamo Gallery.

One marked exception to the influence of the Naturalistic school was Giovanni Battista Tiepolo (1692-1769), whose light and dexterous style was adapted for decorative work, in which he produced some showy pleasing pictures. A really fine example is to be seen in the Hermitage, the 'Feast of Cleopatra,' No. 317. There is a small specimen, No. 459b in the Berlin Museum; besides two others, Nos. 454, 9. The Stadel, Frankfort, possesses a group. No. 32 ; at Munich is an * Adoration of the magi,' No. 1397; and in the National (Jallery, Edinburgh, is the 'Finding of Moses,' No. 78. A single small work now represents him in the Louvre, a *Last Supper/ No. 411.

BeUotto.

Chuirdi,

Tiepolo.

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88

THE RISE AND PROGRESS

A OHKONOLOGIOAL TABLE

EMBRACINGi THE DATES Of BdltH AN0 DftATli 6* TH^ PllttltjipAli PAlirrERS

ot THK viitious BOHbk)LS 6* Italt.

School.		Birth.	Deiih.
Siencse • .	Guide da ^ieiia, dated pictuve 1221
Pisan. . .	Giunta Pisano : .	m^	12158
Lucca . .	Bonaventdia Beiiingfiiefi^ .signed
	and datted picture 1235 , ; . Margantone d' Arezzo ....	—
Arezzo . .	1236	1313
Florentine .	Cimabufe (Giovanni Gnaltieri) . .	1240	—
t	„ L8«t record 1801-2 . .	—	—
Roman . .	Pietro Cavallipi	12597	1344
Sienese . .	Duccip di Buonihs^gna, painted
	1282-1820	•:-.	..
Sienese . .	Ugolitio, painted end of 13th
	century	. —	—
Florentine .	Giotto (di Bondone)	1276	1336
Florentine .	Bnlfidmacoo (Buonainioo dl Cristo-
Sienese . .	fmo\ Dainljed 1802-13,51 ? . . Segn£k di Buonaventura, painted 1305-19	z	""■
Sienese . .	Simone di Martino (Menuni) . . .	1283	1344
Paduan, * .	Guariento, painted 1316-60 . . .	—	—
Sienese . .	Lippo Memmi, painted 1317 . .	—	1556
Florentine .	TaddeoCh^di	1300
	„ ,4 Last record 1366 . .		._
Sienese . .	Pietro Lorenzetti
	„ First record 1305 .	—	1348?
Arezzo . .	Jacopo di Ckeentino	1310	1890
Arezzo . .	Spiuello Aretino, about ....	1316	1408
Bolognese . Venetian	Vitale da Bologna, painted 1320-45 Paulus, pinted 1323-46 . . . .	—	—
Sienese . .	Ambrogio Lorenzetti, painted 1331- 48?	1324
Florentine .	Giottino (Tommaso)
Florentine .	Agnolo Gaddi	1325	1396
Paduan . .	Justus of Padua		1400
Florentine .	Andrea di Clone, Orcagna, painted
	1340		1389
Fabriano. .	Allegretto Nuzi, painted 1346-85 .	—
	Puccio Oapanua, painted 1349 . .	—	— .

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OF PAINTING IN ITALY.

Venetian.

Venetian. Veronese Modenese

Florentine

Florentine Modenese

Bolognese

Venetian . Bolognese

Florentine

Arezzo • Pisan. .

Veronese.

Veronese

Sienese .

Florentine

Umbrktn.

Neapolitan

Venetian.

Arezzo .

Flereiitine

Florentine

Pflidaan .

Venetian.

Florentine

Sienese .

Arezzo .

Florentine

Umbrian .

Venetian.

Florentine

Veaetian.

Venetian.

Niccolo Semiteoolo, painted 1851-

1400

Lorenzo Yeniziano, painted 1357-7d Tiirone, painted ISoO . . . . Tommaso of Modena, painted 1850^

60 *..;.....

Giosto GioYaimi, painted abont

1363-80 .• . . .• .... Andreit da Milano, painted 1365 . Bamabac of Modena, painted 1867-

8a

8imone Crocefissi, dated picture

1370.

Btefano, painted 1869>-81 . : . . Jacopo Avanzi, painted 1370-30 . Francesco da Tolterra, painted 1370 Antonio* Veniziano, painted 1870-

88

NIocolb di Pietro, painted 1392 . . Tnrino Yanni, pamted end of l4th

century ;;;;;;.. Alticbiero, painted -end of 14th

century . v ^ v . • • • Jdcope Avanzij painted end of 1 4th

century -•'.-.-.••.. Taddeo Bartoli . v •. . . .

Gluliano Pesello ;

Gentile da Fabriano^ aboui . • . Antonio Solario (U Zingaro) . . Jacobelk) del Fior4, p^ted 1400-

89 ............

Lorenzo di- Nicool6 Gerini, painted

1401 -. *

Lorenza Monaco^ painted 1410 . .

Masolino . ; *.

Fra Angelico (Gioyanni Guiilo) . •

Anilrea del Castagno

Francesco Squarcione .... Jacopo Beliini •.;..... Paolo Uccello i . ; . . . .

Masac^io

Sano di Pietro

Bartolommeo della Gatta . . •

Fra FUippo Lippi

Piero della Francesca, about . .

Gentile Bellini

Pesellino

Alessandro BaldoVinetti .... Domenico Yeniziano^ painted 1438 . Gioyanni Yiyarini (da Murano),

painted 1440-47

Antonio Yivarini, painted 1440*-70

1362 1367 1370 1382

1372

1422 1446 1-450 1455

1383	144a
1387	1455
1390	1457
1894	1474
1395	1470
1396	1479
1402	1429
1406	1481
1408?	1491
1412	1469
1415	1509
1421	• 1507
1422	1457
1422	1499
— •	1461

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90

TEE BI8E AND PROGRESS

School.

Death.

Padnan . Venetian.

Florentine XJmbrian.

Umbrian.

Pannese . Venetian. Venetian.

Venetian.

Bolognese Umbrian •

Venetian. Florentine Venetian . Ferrarese Paduan . Florentine Florentine Sienese . Umbrian. Umbrian . Florentine Veronese.

Parmese . Florentine Florentine Umbrian. Florentine Florentine Bolognese Venetian . Veronese. Lombard. Umbrian . Venetian .

Parmese . Venetian. Venetian.

Venetian. Venetian.

Venetian.

Gregorio ScbiaTone, painted 1450-70 Bartolommeo Vivarini, painted

1450-1500 •

Fra Diamante, painted 1470 • « Benedetto Bonnglii^ painted 1453-

96

Niccol5 Alnnno (di Foligno), paint- ed 1458-99 .

Jacopo Loschi, painted 1462 « • . Luigi Vivarini, painted 1464-1503 . Antonello da Messina, painted 1465-

95?

Carlo Crivelli, painted about 1468-

95

Maroo 2iOp|po, painted 1471-98 . • Fiorenzo ax Lorenzo, painted 1472-

99

Mansneti, painted 1494-1500 . . Benozzo Grozzoli ••..«. Giovanni Bellini •••...

Coeimo Tura

Andr^ Mantegna. . . « . • Andrea Verroocbio ..... Antonio PoUajuolo » . . . . Matteo da Giovanni

Giovanni Santi ......

Melozzo da Forli, about • • • .

Gosimo Bosselli , *

Domenioo Morone of Verona. . . „ n Last record 1503«

Filippo Mazzola

Luca Signorelli %

Pietro PoUajuolo

Perugino (Pietro di Vannucci) , .

Sandro BottioelH • ^

Domenioo Gbirlandajo ....

Francesco Francia . . . . .

Vittore Oarpaccio, about ....

liberale da Verona « . . . •

Leonardo da Vind

Pinturiccbio (Bernardino di Betto).

Oima da Oonegliano, painted 1489- 1517 ....

Cristoforo OaseUa, painted 1499

Marco Basaiti, painted 1490-1520 .

Vicenzo Catena, painted 1495-1520 .

Macrino d'Alba. painted 1496-1508

Marco Belli, painted 1511 • . .

Bissolo, pabited beginning of 16tb century

Previtale, painted beginning of 16th century

1424 1426 1480 1431 1432 1433 1435 1435 1438 1439 1442

1441 1443 1446 1447 1449 1450 1450 1451 1452 1454

1496?

1516

1496

1506

1488?

1498

1495

1494

1506

1503

1521

1496?

1524

1515

1498

1517

1520

1536

1519

1513

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OF PAINTING IN ITALY.

91

School.

Death.

Umbrian.

Yioenza •

Lombard.

Umbrian.

Lombard.

Florentine

Sienese .

Lombard.

Bolognese

Florentine

Farmese .

Florentine

Lombard.

Florentine

Urbino •

Veronese.

Umbrian.

Florentine

Veronese.

Florentine

Sienese .

Veronese.

Ferrarese

Venetian.

Florentine

Venetian.

Sienese .

Florentine

Sienese •

Venetian.

Lombard.

Venetian.

Bergamo.

Sienese .

Ferrarese

Boman .

Venetian.

Florentine Lombard. Venetian. Veronese. Sienese . Brescian . Boman . Florentine Boman . Boman .

Lo Spagna (Gioyanni di Pietro),

painted 1507-28

Ftanxseaco Bonsignori • . » • Bartolommeo Montagna .... Ambrogio Borgognoae, abont , • Marco Palmezzano, ab9ut . . . Andrea da Solano, abont. • . .

Lorenzo di Oredi

Filippino Lippi ......

Bernardino Fnngai ;...•. Bernardino Lnini, abont ....

Lorenzo Costa

Piero di Oosimo •«....

Araldi, abont

Eaffaellino del Gkirbo

Giovanni Antonio B^traffio . . . Fra Bartolommeo ••..,.

TKmoteoViti

Giovanni Garoto ......

L'Ingegno (Andrea Lnigi) . . .

Giuliano Bugiardini

Franoeaoo Morone

Mariotto AlbertinelU

Sebastiano Mainardi • . . . .

Pacchiarrotti

Girolamo dai libri , . . . ,

Dosso Dossi, abont

Jacopo Palma (II VeccMo) . . • Michael Angelo (Bnonarroti) • . Giorgio Barbarelli (Giorgione) . . Girolamo del Paccnia. . . ^. . Francesco Granacci ♦ . . . .

Bazzi (II Sodoma) . . . ^ . Tlziano VeceUio ... . . . .

Cesare da Sesto ......

Gariani, abont ,

Lorenzo Lotto .........

Baldassare Peruzzi ... . . .

Benvenuto Tisio (II Qarpfalo) . .

Eaphael Sanzio

Giovanni Antonio Licinio (Per- denone) . ,. . ... . . .

Bidolfo Gbirlandf^'o . . . . .

Gandenzio Ferrari

Sebastiano del Rombo .... Paolo Morandi (Cavazzola) . . .

Domenico Beocafumi

Girolamo Bomanino ..... Giov. Francesco Penni .... Andrea Yannuccbi del Sarto . .

Innooenzio da Imola

Francesco Primaticcip . . * . .

1455	1520
1455?	1523
1455	1525
1456	1586
1458	1530
1459	1537
1460	1505
1460	1516
1460	1530
1460	1535
1462	1521
1465	1528
1466	1524
1467	1516
1469	1517
1470	1523
1470	1546
1470	1556
1471	1554
1473	1529
1474	1515
—	1515
1474	1540
1474	1556
1474	1558
1475 1475	llf.A;-.
1477	1511^<MCt^v
1477	1535
1477	1543
1477	1549
1477	1576
1480	1521
1480	1541
1480	1558
1481	1537
1481	1559
1483	1520
1483	1539
1483	1560
1484	, 1549
1485	1547
1486	1522
1486	1551
1486	1560
1488	1528 ;
1488	1530
1490	1549
1490	1570

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TEE jniBS AND PltOQIlE88

Bcbool.

Death.

Roman ,

Parmese .

Florentine

Venetian.

Boman .

Brescian .

Bresoian •

Boman .

Venetian.

Oremonese

Venetian.

Florentine

Parmese .

Lombard.

Florentine

Bergamo .

Venetian .

Florentine

Venetian.

Lombard.

Venetian.

Boman .

Florentine

Venetian.

Lombard.

Bolognese

Lombard.

Bologbese

Florentine

Bolognese

Florentine

Boman .

Neapolitan

Bolognese

Florentine

Bolognese

Florentine

Bolognese

Boman .

Bolognese

Boman .

Neapolitan

Florentine

Bolognese

Venetian.

Bolognese

Neapolitan

Giulio Bomano or Pippi, about . . Antonia Allegri, Qoxreggio . . .

Jaoopo Poniormo »

Bonifazio Veneziano

Polidoroda>Caravaggio .... Girolamo Sayoldo, painted 1540. . Alessandro BonYio&io(il Biotetto) . Perino del Va^ %««... Galisto da Lodi, about ....

Ginlio Gampi .

Paris Bordone • ^

Bfonzino . ^ ^, % « . . . Parmigianino (Francesco MftStuoli) Bemaroino Laninil <..... Daniele da Volterra ..... Giovanni Battista Moioni . . . Jacopo da Ponte (H Bassanio) . .

GKorgio Vasari ...

Jacopo Bobusti (n Tintoretto) . . Bernardino da Pordenone . . . fircole Proeacoini . .....

Andrea Scbiavono. ^

Paolo Galiari,Veione86 . * . . Federigo Baiocci or Barooolo . .

Alessandro AUori

Jaoopo Palma (II Giovane) . . . Omillo Procaocini . . • . . Giulio Gesare Prooaocini . . •

Lodorioo Garacci

Giovanni Battista Grespi. .. . .

Agostino Garacci * .

Ludovieo Gardi da Gigoli . . .

Annibale Garacci •

Francesco Vanni • . • . . .

Oesare D'Arpino

Michael Angelo Amerigfai da Gara-

vaggio

GuidoBeni ... . .^ . •

Lionello Spada .......

Oistofano Allori ......

Alessandro TiArinl

Matteo BosseUi ......

Francesco Albani

Bartolommeo 8ched(me .... Domenico Zampieri (Domeaiohino) Giovanni Lanfranco ..... Bibera (Lo Spagnoletto) ....

Domenico Feti

Giovanni da San Giovanni . . . Alessandro Varotari. (B Padovanino) Francesco Baibieri (Guercino) . . Aniello Falcoae

1492 .	. 1556
1493	1584
1494 .	, 1556
1494 .	. 1563
1495	1543
1500	1547
1500 -	1547
1500	1561
1500 .	. 1572
1500	1576
1502	1572
1504	1540
1508	1678
1509	1566
1510	1578
1510	1692
1612.	. 1574
1512	1594
1520	1570
1520	1590
1522	1582
1528	1588
1528	1612
1535	. 1607
1544	1628
1546	1626
1548	1626
1555	1619
1557	. 1633
1558	1601
1559	1613
1560	1609
1563	1609
1567	1640
1669	1609
1575	1642
1676	1622
1577	1621
1677	1668
1578	1650
1578	1660
1580	1615
1581	1641
1681	1647
1588	1656
1689	. 1624
1590	1636
1690	1650
1590	1666
1594	I 1665

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OF FAINTING IN ITALY,

SchooL		Birth.	Death.
Boman . .	Pietio da Oortona	1596	1669
Roman . .	Andrea Saochi	1598	1661
Bologneae .	Guido Gagnacci	1601	1681
Bolognese .	Giovanni Battista Salvi (Sassofer-
	rato)	1605	1685
Bologneae .	S. Oantarini	1612	1648
Itoman . .	Pietro Fmnoesoo Mola ....	1612	1668
Neapolitan .	SalvatorRcea	1615	1673
FloientiDe .	GadoDolei	1616	1686
Roman .	Carlo Maratta	1625	1713
KeapoUtan .	Lnca Giordano (Fa Presto) . . .	1682	1705
Bolognese .	£lisabetta Sirani	1688	1665
Venetian. .	Sebastiano Riooi	1662	1734
Venetian. .	GioY. Battista Tiepolo ....	1692	1769
Venetian. .	Antonio Oanale (Oanaletto) . . .	1697	1768
Venetiaii. .	Fmnoeeco Zncoherelli	1702	1788
Venetian. .	Francesco Guarfli . .....	1712	1793
Venetian. .	Bernardo Bellotto	1720	1780

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THE EI8E AND PBOGBESS

Illumina- tions,

Fourteenth

Van cTAsselt

Mattoel.

BroedeT" lam.

THE RISE AND PROGRESS OF PAINTING IN FLANDERS.^

In most countries, as will be seen hereafter, the art of illuminating missals, and subsequently the practice of painting miniatures, preceded the larger style which was adapted to mural decoration. At a very early date there was a school of artists in miniature in Flanders, and a few wall paintings of the thirteenth and fourteenth centuries are still extant. Some records of Flemish painters belonging to the last-named period have come down to our time, principally in the chronicles of the different guilds or companies to which they belonged. No dates before the end of the fifteenth century can be ac- cepted as trustworthy : still, owing to the fact that the best painters were appointed to ofi&cial posts by their re- spective patrons, some historical data have been obtained. The first painter known to have held such a post was Jc^n van d*Asselt, who entered the service of Count Louis de Male in 1365, and continued in it until 1381. During this period he is said to have assisted in the decoration of a chapel in Notre Dame de Courtrai which was intended by the Count as a mausoleum for himself and his successors, and to have executed there some of the portraits of the Count's predecessors. In 1386 he appears to have received an order from the Cordeliers of Ghent for an altarpiece, which is the last-known date relating to hinu

Philip the Hardy, Duke of Burgundy and the next Count of Flanders, had two ofi&cial painters attached to his court — ^viz., Jean Malwel, or Malouel, and Melcbior Broederlam, or Broederlain. The former of these was employed from 1402-7 in the decoration of the Carthusian Monastery at Dijon ; but more is known of the Fleming Broederlam, whose most important works (in which he was assisted by one Jacques de Baerse) are the shrine paintings

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OF PAINTING IN FLANDEB8,

95

now preserved in the Museum at Dijon. Most intwesting are these examples in the history of Flemish art, since they exhibit the earliest efforts to produce a fekithful representation of nature, and that minute attention to detail which eir^ntually became a leading characteristic of this school.

In the year 1366 was bom at Maeseyck Hubert van Eyck, the first great name in the annals of Netherlandish art, who perhaps did more than any other master to advance the practice of painting in his native land. He not only introduced a hitherto unknown mode of painting in oil, and improved the existing colours, but in the treat- ment of his subjects he formed a style differing &om that of his predecessors, because he was not content with re- peating the old conventioif&l characters, but aimed in his work to produce a close imitation of Nature. Hubert's greatest production is the celebrated ' Adoration of the Lamb,* a large altarpiece in the Vydts Chapel of the Cathedral of St. Bavon at Ghent (Plate XXI., 6). With the exception of the original wings, formed by six beauti- M tall panels, painted on each face, now in the Berlin Mnseum, Nos. 512-23, and the two outer compartments wliich are in the Brussels Museum, No. 15, the whole of this grand v«rork remains in its original situation. The missing portions, which, however, are very important — are replaced at Ghent by copies made by Michael Coxie. It was begun by Hubert in 1420, but upon his death in 1426 Jan van Eyck, his younger but not less distinguished brother, and also his best pupil, undertook to finish the work, and completed it in 1432. Certain it is that this was the finest production of the age both as regards com- position and colouring ; while the delicacy of the modelling and the careful rendering of detail prove the painter to have been a master in his art. Not only are the larger figures grandly and broadly painted, although remarkable for high finish, but the landscape also, which forms a large part of the work, is executed in the most admirable manner. A composition only inferior to this (but smaller in size) is the painting of the ' Fount of Salvation,* or rather ' Triumph of Christianity,' in the Madrid Gallery, No. 2188, the

Broeder- lam. '

Hubert van Eyck,

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THE BISE AND PB0€fBE88

Hubert van Eyck,

Fifteenth century.

Jan van Eyck,

authorship of which has be^i disputed. Passavant And Liibke assign it to Hubert, while 0. Mundler and .Crowe and Cavalcaselle attribute it ^o Jan van Eyck. It may be a difficult point to decide, for the Madrid picture bears a close resemblance to the * Adoration of the Lamb/ in con- ception, technical treatment, and colour. Th^ rending of rich robes and sparkling jewels is similar and oqually marvellous in both pictures.

Jan van Eyck (about 1386-1440-1), who was tweniy years younger than Hubert, carried his brother's style of vvorjc to still higher perfection. In such productions lis the marvellously executed 'Madonna enthroned with saints' in the Museum at Bruges, No. 1, of which the head of the kneeling donator on the right is perhaps the finest portion; and the exquisite small triptych, a ' Madonna with saints,* at Dresden, No. 1713 — the travelling shiine of Charles the Fifth — the varied genius and skill of the master are powerfully manifested. In the Hermitage at St. Petersburg also there is an extremely fine ' Annuncia- tion,' Jf 0. 443. There is a small ' Madonna,' No. 52ob at Berlin (on which some doubt as to authorship is thrown by Messrs. Crowe and Cavalcaselle) ; and the well-known and exqtiisite 'Madonna del Lucca' is in the Stadel, Frankfort, No. 59. There are, a * Madonna ' in his beat manner. No. 411, and a somewhat inferior replica (or copy?) of the Bruges picture. No. 412, in the Antwerp Musexun; where j^so. is a beautiful drawing by him, in the finest pencil line, of * S. Barbara,' No. 410. An ' Adoration of the kings,' not equal to his best work, is ascribed to him in the Brussels Gallery, No. 14. One of his most im- portant small works is in our National Gallery, containing portraits of Jean Amolfini and of his wife Jeanne de Chenany, No. 186, a jewel of workmanship in point of finish and minute detail. Another example is the ftdl- length of 'The Madonna and chancellor RoUin' in the Louvre, No. 162. Other beautiful portraits and works of this order are extant : for instance, the portrait of his wife, finished in 1439, in the Museum at Bruges, No. 2 ; those of Jan van der Leeuw, and of Jodocus Vydts, so called, Nos. 13, 42, Boom II. 2nd floor in the Belvedere at

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Vienna ; and a fine life-size * Head of Christ,' No. 528 at Berlin. Portraits of a man with red head-dress and of a man in a green hood are Nos. 222, 290 in oar National Gallery.

It is not surprising that the influence of the Yan Eyeks made itself felt throughout the Netherlands, and that many followed in their footsteps, some perhaps as careful imitators, others in the spirit of independence. Of the fonner some of the best are still known: among them should be mentioned Petrus Christus (records 1444 71), a natiye of Bruges. His best productions are a ' Madonna ' in the Stadel, Frankfort, No. 66 ; two panels, the 'Annuncia- tion ' and the ' Last Judgment,' Nos. 529a and b in the Berlin Museum ; two wings of a triptych, a * Crucifixion * and a ' Last Judgment,' marvellously full of figures, with high finish. No. 444 in the Hermitage, St. Petersburg ; and a panel in four parts. No. 1291 in the Madrid Gallery.

Three other but more independent masters of this time, although largely influenced by the Van Eycks, were Gerard van der Meire (records 1447-74), Hugo van der Goes, and Jnstus of Ghent. A large altarpiece by the first is in S. Bavon at Ghent, and a good work by him (0. and C.) is the 'Exhumation of St. Hubert,* No. 783, ascribed to Dierick Bouts in the catalogue of our National Gallery, while the ' Count of Hennegau with his patron saint,' No. 264, may also be considered as genuine. An altarpiece, Nob. 383-7, is in the Antwerp Museum. The authorship of the celebrated Grimani miniatures in the Library of the Ducal Palace, Venice, has been attributed to Van der Meire, but it is probable that they are the work of Gerard Horem- hout, and other painters of later date.

Hugo van der Goes (died 1482) also executed several important works, but unfortunately only one can now be ascribed to him with certainty (C. and C), although his name appears in several European galleries as in our National Gallery, where two are attributed to him. The work referred to is a large and important altarpiece in three compartments, now in the Collection belonging to the Hospital of S. M. Nuova at Florence. The centrepiece represents the * Adoration of the shepherds,' the figures

Jan van Eyck,^

Petrtts Christus,

Gerard van der Metre,

Hugo van der Goes,

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n8

THE BI8E AND PBOGRESS

Hugo van der Goes.

Junius of Ghent

Rogier t?an derWeyden,

approaching lifensize : these with the numerous details are all finely painted and highly finished. Not only have his works disappeared, but those also of Justus of Ghent, whose only existing known picture of merit is the * Last Supper * in S. Agatha at Urbino. Two panels are attributed to him at Antwerp, Nos. 223, 4.

W© now return to a much greater master, Rogier van der Weyden (1400-64), bom at Tournai, who became the head of a school almost as influential as that of the Van Eycks. The realism of his art was even more exact and uncwnpro- mising than theirs, and thus his subjects sometimes contain matter which is repulsive. He exceeded his predecessors in attention to minute detail, and applying this to the themes which he most affected — always sorrowful and painful, he closely delineated the outward signs of mental and bodily pain. Among his earliest known works is a triptych, a ' Piet^ ' in the centre, with the * Nativity ' and the * Resurrection,' preserved in the Berlin Museum, No. 534ji. In the same museum there is another beautiful triptych by him containing scenes from the life of the Baptist, No. 534b, of which a smaller replica by the master is No. 62 in, the Stadel, Frankfort. One of his grandest works is a ' Last Judgment,' painted in nine panels for the Hospital at Beaune in Burgundy (Plate XXV., 5). In this century some interchange of ideas took place between the artists of Flanders and those of Italy. Antonello of Messina had visited the Netherlands about the middle of the century, whence he returned with the secret of oil medium to Venice. Bogier van der Weyden made a long tour in Italy, and came back, with his manner little if at all changed, to execute some of his finest works. Examples of these are, an exceedingly fine ti'iptyoh, now No. 535 in the Berlin Museum : two in the Pinacothek at Munich', ' S. Luke painting the Virgin,' No. 634 (Plate XXV., 4), and a triptych, Nos. 627, 8 (Plate XXV., 3), 9 ; a fine triptych in the Belvedere, Vienna, No. 81 Boom I. 2nd floor, and another of larger size at Madrid, No 2189, the centre a

* Crucifixion ' with the ' Seven sacraments,' on one wing the • Expulsion from Eden,' No, 2190, and on the other the

* Last Judgment,' No. 2192. A beautiful small 'Madonna

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PtATE XXV. 2b faiae page 98.

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OF PAINTING IN FLANDERS.

99

with saints/ No. 61, i^ ia the Stadel, Frankfort, and a small * Entombment ' is No. 795 in the Uffizi, Florence. A ' Deposition ' ascribed to bim in the Hague Museum, No. 226, is not improbably from the hand of the master, but does not rank with bU finest works. Many inferior pro- ductions of bis school are ascribed to him in various European galleries: one of the best of these is in our National Gallery, No. 664.

Hans Memling (1430 ?-95), a highly gifted pupil of Van der Weyden, surpassed his master in the extreme delicacy and finish of his work. Very few facts respecting him. are known, but several examples of his work remain. His earliest picture known was painted in 1470, and is No. 640, Munich Finacothek. That which gained him a greater re- putation than any other is the celebrated altarpiece depict- ing the ' Marriage of S. Catharine,' now in the collection at the Hospital of S. John at Bruges, No. 1, and painted in 1479. Previous to this (1473) he executed the large altarpiece of the 'Last Ji;dgment' in the Cathedral of Bantzig, now mudi spoiled by restoration. But the Hospital at Bruges contains other fine works of this master, and notably one, No. 2, painted at a later period, the * Shrine of S. IJrsula,' perhaps the most perfect specimen extant of early Flemish art. Certainly, for composition and dramatic power as understood at this period, and for perfection of workmanship, it is unrivalled. The history occupies six compartments, besides two ends, and panels on the top all finished with the same care (Plate XXV., 1, 2). No. 3, a triptych, centrepiece the ' Adoratiwi of the Ungs,' in which the distant landscape is exceedingly heautiftil. No. 4, a diptych, the * Madonna and donator.' No. 6, a • Sibyl,' dated 1480, is less excellent. Of No. 6, a triptych, the best part is the outside of the lateral panels. In the Academy at Bruges Nos. 4 to 8 constitute a fine and large triptych. In the Uffizi is a beautiful 'Madonna,' Ko. 703, and in the Doria Palace, Eome, is a small ' De- pcwition.' In the Munich Pinacothek, No. 655 is an interesting example, the * Seven joys of the Virgin ' ; and in the Turin Gallery, No. 368, is the * Seven sorrows of the Virgin ' — ^both are remarkable for the number of incidents

H 2

Rogier van derWeydeik

Hans Memling.

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100

THE BI8E AND PROGRESS

Meniiing,

Dierick Bouts,

Oherardt David.

Patinir.

depicted and of figures introduced into a moderate-sized canvas, yet every detail is finished with elaboration and care. There is a large work by Memling, an altarpiece in the Cathedral of Llibeck, p^ainted in 1491, which has not the attractive qualities of his smaller works : it was his last production of any importance. Our. National Gallery possesses two examples of the master — No. 686, a 'Ma- donna,' somewhat injured by cleaning ; and No. 747, the ' Baptist and S. Lawrence ' ; others with his name are works of his school. In the Louvre are two fine panels, Nos. 288, 9, a « S. John* and a ' Magdalen.' At Brussels are good portraits of William Moreel and his wife, Nos. 21, 2 ; while atT^rankfort is a portrait. No. 63. At Dresden is a small panel, a 'S. Christopher and Infant Christ,' No. 2417; at Antwerp is a diptych, Nos. 155, 6 (Plate XXXIIL, 4); and at Berlin is a small 'Madonna,' No. 528b.

Dierick Bouts, or Stuerboudt (painted 1450-75), is another painter of the Van Eyck school who, born at Haarlem, studied art in Flanders, as his pictures testify. The most important are a ' Last Supper ' in S. Pierre at Lou vain, and two pictures of a legendary subject, painted for the Town Hall there, but now in. the Museum at Brussels, Nos. 30, 1 (Plate XXVIII., 4, 8). Two ex- cellent examples are at Berlin, Nos, 533-9 ; and another is No. 58a in tiie Stadel, Frankfort. Several works in dif- ferent European galleries catalogued as Memling's were probably painted by Dierick Bouts.

After the death of Memling the purity of Netherlandish art declined, and the style became changed through inter- course with the schools of Italy. A few still retained the influence of Weyden and Memling, of whom Gherardt David (record 1487-1528) may be mentioned. A triptych, the ' Baptism of Christ,' No. 5 in the Bruges Apademy, painted in 1507, is believed to be by him, so also is the beautiful work in our National Gallery, No. 1045. An authentic altarpiece of the year 1509 is preserved in the Eouen Museum, and another example is No. 573 at Berlin.

His pupil, Joachim de Patinir (painted 1515-24), ex- ecuted several works characterized by minute detail and

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Plate XXVI, To face page 101.

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OF PAINTING IN FLANDERS.

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carefully painted landscape. Examples are to be found at Berlin, Nos. 608, 20; at Madrid, Nos. 16, 19, 23; and in our National Gallery, No. 717.

But at the end of the fifteenth century appeared Qnintin Matsys, or Massys (1466-1559), who first gave to the Antwerp school an influential position. His finest work, painted in 1508, in three compartments, the centre a ' Deposition,* is in the Antwerp Gallery, Nos. 245-9, and it gained for him a great reputation (Plate XXYI., 2). A triptych, nearly as fine, ' S. Anne,* formerly at Louyain, has jii8t been acquired by the Brussels Museum. In a different style, being warmer in tone and fuller in colour, is a large oomposition of numerous figures, depicting the * Virgin in glory with saints below,* No. 449 in the Hermitage, St. Petersburg. He executed also several genre pictures, ex- liiHting <deTer delineations of character. Of these there is a fine example, well known as the ' Two misers,' belonging to the Queen at Windsor (Plate XXVI., 4). Others of a similar character are to be seen in the Louvre, No. 279 ; in the Palazzo Doria at Borne ; and in the Dresden Gallery, Ko. 1721. There is also a portrait by him, No. 37 Room IL 2nd floor, in the Belvedere at Vienna.

Jan Gossaert, or Mabuse (1470-1532), was a master of this time who seems to have followed the style of Matsys imtil he visited Italy, when, like many other Flemish artists, such as Bernard van Orley and Michael Coxie, he greatly changed his manner under southern influence. Mabase's finest work, an ' Adoration of the kings,' is in the Castle Howard Collection. An important triptych re- presenting ' Christ in the house of Simon,' may be noted at Brussels, No. 15. A good example is in the Louvre, a

* Madonna,' No. 278; others are at Munich, in the Pina- cothek. No. 99 ; and at Vienna, Nos. 9, 10 Boom II. 2nd floor.

Of B. van Orley (1470-1541), an important panel, the

* Desecration of the temple by Antiochus Epiphanes,' and the 'Descent of the Holy Ghost,' No. 59 Boom 11. 2nd floor, may be seen in the Belvedere at Vienna. At Brussels, among three works by him, a portrait of the Doctor Zelie, No. 27, and an altarpiece in five parts, illustrating

Patinir,

SixUenth century, Quintin Matsys,

Jan

Mabuse,

Bernard van Orley,

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102

TffE ni&E A^D PEdaM8&

Semctrd van Orley,

Michael Qoxie,

mann.

Floris.

Antonio Moro,

the * Trials and patience of Job,' No. 368, may be men- tioned. An * Adoration of the kingg,' No. 464, in which he was aided by Joachim de Patinir, is in the Antwerp Gallery ; and a fine ' Descent from the cross ' is No. 474 in the Hermitage, St. Peterabnrg.

M. Coxcyen, or Goxie (1499-1692), was a pnpil of Orley. His principal work was an excellent copy of the Van Eyok altarpiece in S. Bavon, Executed for Philip II. of Spain, of which the chief parts ate liow at Munich and Betlin, while the side-wings replace in S. Bavoli the originals, which are at Berlin also (see p. 95).

Other masters of this period were Ltonbert Lombard, or Sustermann, Antonio Moro, Petet Pdnrbns, FranS Pomrbus the elder and ydunget, and Panl Bril, who lived jnst before the time of Bubens. Of Snstermann little need be said, except that his style was foimed in Italy. For examples of his work, No. 491 in th^ Hermitage, No. 20 at Brussels, two compositions, Nos, 649^ 60, ih the Lille MnSenift, and No. 266 in our National Gallery miiy be m^itioned. His pnpil Franfl Flotis wa6 a painte5r of Sdtoe talentj by whom there are, in th6 Uffisi, Floreiicei an 'Adam and Eme,' No. 670, a similstf work in the Belvedere, Vienna, Nos. 16, 17 Room IIL 2nd floot, and a triptych at Brussels, No. 196.

Moro (1626-81) andl^e Pontbnses became famons as portrait paititers, and as ^uoh had benefited by their knowledge of Italian arti Some good portraits by Moro are at Madrid: No. 1484 is interesting as being that of Qneen Mary married to Philip 11. of Spain. Eqnally fine and interesting aii6 those of Sir Thomas Gtebham and his wife, Nos. 480> 1 in the Hermitage. There is » good portrait of a dwarf of Chatles V., No. 842 in the Lonvre. A portrait by Moro is in onr l^atlonal Gallery, No. 184; one of Sir T. Gresham occurs in the National Portrait GktUery ; two are at Dresden, Nos. 1085, 1086A ; another, No. 1293, in the Pinaco&ek at Munich, and two in the Belvedere at Vienna, Nos. 49, 62 Boom VII. 1st floor, besides his own portrait. No. 462 in the TJffizi. Moro re- sided several years in England, was appointed painter to Qneen Mary, and became Sir Alithony More.

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Peter Pourbus (1610-83) was the head of a family of painters, examples by whom are frequently met with. Among several by him at Vienna, Nos. 23, 4 Room III. 2nd floor may be noted ; while in the Academy at Bruges are two of his best works, a 'Last Judgment' and a triptych of the 'Descent from the cross,' Nos. 17, 18. In Ihe Louvre there is one picture, the 'Resurrection,' No. 391.

Peter's Bon, Frans Pourbus (1546-80), surpassed his fether in jrortraiture ; good specimens may be seen at Vienna in Nos. 13, 14, 19 Room III. 2nd floor. There is also a portrait of Queen Elizabeth, No. 310 in the Trippenhuis at Amsterdam.

"Ftsjib the younger (1570-1622), son of the preceding, painted portraits with equal success, and some large com- positions also. Good examples are Nos. 268, 9 in the Museum at Brussels, No. 212 at the Hague, and No. 30 Boom 111. 2nd floor in the Belvedere, Vienna. Two cantasefi, containing three heads each, finely painted, are Nos. 487, 8 in the Hermitage. Numerous iUustrations are in the Louvre, of which four are portraits. No. 396 being the best. There also is his masterpiece, a ' Last Supper,' No. 392.

The Brueghels were nearly contemporary with the last- named group. The works of Pieter Brueghel the elder (1530-69) are well known, but his son Jan Brueghel was more celebrated. There is a good specimen of the father at Hampton Court, a simple genre scene, although known as the * Miafisaere of the innocents,* No. 748. In such works he always depicted the peasants and their life at his time ; hence he Was distinguished as " Peasant Brueghel." The hest collection oS his pictures, in this style, is to be found in the Belvedere, Vienna : see Nos. 1, 9, 11, 44 Boom III. 2nd floor, among many others. In the Mtinich Pinacothek are two similar works, Nos. 784 and 801 ; in the Brussels Museum is another, No. 2 ; and at Madrid is a remarkable picture of the ' Triumph of Death,' No. 1221.

Jan Brueghel, known also as *' Velvet Brueghel " (1568- 1625), painted witii extreme care and minuteness animals of all kinds and flowers in landscape, and was often

Peter Pourbus.

Frans Pourbus the elder.

Frans Pourbus the younger.

The Bruegheis.

Pieter Brueghel the elder.

Jan Brueghel.

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TEE BI8E AND PB0GBE88

fan JBrueghel,

Pieter Brueghel the younger.

M. de Vos.

C. de Vos.

Paid BrU, M. BrU.

Seventeenth century,

Bubens.

associated with other painters in the same work. Examples may be seen in numerous galleries ; as Nob. 58, 9 in tho Louvre ; an excellent one, No. 200, in the Hague Museum ; others in the Tiippenhuis at Amsterdam, Nos. 66, 7, 70 ; and another in the Brussels Museum, No. 129 (Plate XXVin., 6) ; also two in the Heimitage, Nos. 613, 14 ; while at Munich, Berlin, and Vienna there are several specimens, for which see catalogues at the end of the volume. In the Madrid Gallery no less than fiffcy-two large works, crowded with minute details, are attributed to this master, while upwards of thirty are ascribed to him at Dresden I His brother, the younger Pieter Brueghel (1564-1637), was an artist of less ability, and, from his fondness for depicting grotesque figures and demons, obtained the name of " Brueghel d*Enfer." An ei^ample of his style may be seen in the Brussels Museum, No. 3.

A contemporary of Pieter Brueghel the elder was Martin de Vos (1531-1603), who studied in Italy. Many of his crowded compositions are to be found in the Gallery at Antwerp, Nos. 71 to 103. Here also Nos. 104:, 7 are good pictures by Comelis de Vos, who lived fifty years later ; a fine example is No. 832 at Berlin, At Brussels works by both are to be found — by Martin some portraits, Nos. 341, 2 ; and by Comelis an admirable portrait group, No. 453 (Plate XXVIII., 1).

Paul Bril (1556-1626) was one of the early Flemish landscape-painters; he spent most of his life at Eome with his elder brother Matthew, and died there. One of his best works, * Tobias and the angel,' is in the Gallery at Dresden, No. 784, where there are also two landscapes by Matthew, Nos. 777, 8. A fine specimen of Paul is at Munich, No. 805 ; another is No. 714, at^ Berlin. Several are in the Louvre, others in the Turin Gallery and in the Uffizi at Florence.

The commencement of the seventeenth century witnessed a development of art in the Flemish school, differing fcom any that had preceded it in the Netherlands and Brabant, through the genius of Peter Paul Kubens, who was bom at Antwerp in 1577. His works rapidly attained an extra- ordinary celebrity, and his pupils and followers were

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OF PAINTING IN FLANDERS. 105

numerous and enthusiastic. His fertility of conception was remarkable, and he produced large and important works with a facility hitherto unknown. They are characterised by boldness of design, powerful dramatic action, with great knowledge of the figure and a brilliancy of colouring peculiar to the master. At the same time it is impossible to overlook the fact that many well-known examples exhibit drawing which is flagrantly incorrect, colouring which is crude and unnatuial, vulgarity of form, and even coarseness or bad taste in the subject. Much of ibis faultiness is doubtless due to the very large share which his pupils had in the production of the great works which bear the master's name. Furthermore, it should be remembered that some of these were painted to be seen at considerable distance from the eye, and not at the close range within which they are placed in museums. Abundant illustrations of the accuracy of these remarks may be seen in the large canvases which fill the Salle de Bubens in the Pinacothek at Munich, those particularly of the * Last Judgment,' No. 258, ' Fallen angels,' No. 250, * Massacre of the innocents,' No. 269, and ' La femme apocalyptique,' No. 281. Here may be seen numerous nude figures, designed from repulsive models, and more- over badly drawn and crude in colour; while in an adjacent cabinet some small and slight studies, designs in fact for the larger works, from the hand of Bubens himself, are in most instances infinitely finer than the completed pictures. See Nos. 889, 908, 1 7, &c. Numerous examples of this class are found in the Hermitage, St. Petersburg, Buchas Nos. 557, 69, 70, 2, 3, 90, 3 ; besides which should be noted six fine sketches made in 1635 for triumphal arches to grace the entry of the Infante Ferdinand of Spain into Antwerp, Nos. 561-6. Two small works of this order are at Berlin, of which No. 780 is worthy of note.

Bubens received his first instruction from Otho van Veen, or Otto Vsenius, an Antwerp painter, but when twenty-three years of age he went to Italy, and remained there seven years, chiefly at Venice, closely studying the works of Paolo Veronese, whose style he emulated. On his return he executed an almost incredible number of

Subena,

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TRM MISS AND PB0<}RS88

lai^e pictures, which testify to his having been a most rapid and powerfal painter. First among his productions ranks the far-famed * Descent from the cross/ now in Antwerp Cathedral, a truly magnificent composition, finely drawn and harmonious in colour (Plate XXVIL, 1). Eubens's other large work there, the ' Kaising of the cross,' which hangs as its J>endant, is inferior, although the Christ is especially grand : the small painting of the *Eesurreotion' is Still less pleasing. The Gallery at Antwerp contains several examples of the master, three of which are among his best works: the great * Crucifixion,' No. 318, realistic to a painful degree ; the * Adoration of the magi,' No. 298, remarkable for its brilliant colouring (Plate XXXIII., 8) ; and the Well-known * Christ on the cross,' No. 297. The ' Incredulity of S. Thomas,' N6. 307, is a less important painting. In the Cbnrch of S* Jacques there is a large * Holy family ' over the high altar, into which Eubens has introduced the members of his fiamily. The diurches at Mechlin are itlso rich in altarpieces by Eubens. In tlmt dedicated to S. John is a large 'Adoration of the magi/ with two wings painted on both sides ; and in Notre Dame is a similar altarpieoe, of which the centre panel finely represents the * Draught of fishes.' Large compositi<ms of the same character by Eubens are so numerous in foreign galleries that only a few of the most important can be enumerated. The Belvedere at Vienna, among several, contains an * Assumption of the Virgin,' * S. Ambrose 1^ fusing the Empei:^ Theodosius entrance to the church,' ' S. FrauQois Xa'vi^ working miracles,' and ' Ignatius Loyola casting out devils,' forming Nos. 2, 8, 3, 1 Eoom IV. ; and a large votive altarpieoe of S. Ildephonse, No. 1 Eoom V* In the Liechtenstein Gallery, Vienna, there are several works and excellent portraits ; but especially to be noted is £k series of paintings decorating a large haU, Nos. 89 to 94, relating to the death of Decius. He is re- presented at Berlin by a fine composition, the * Eaising of Lazarus,' No. 783. In the Hermitage, St. Petersburg, may be noted a good ' Descent from the Oross,' No. 546 ; a ' Madonna with saints,' No. 541 ; and an * Adoraticni of the kings,' No. 636, in which the Madonna is a porteait of

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OF PAINTING IN FLANDERS.

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Helena Fourment, among several others. Three very fine large works are at Madrid, an ' Adoration of the kings/ No. 1659, the 'Brazen serpent,' No. 1558 (of which there 18 a small repetition in our National Gallery, No. 59), and a dashing * S. George and the dragon,' No. 1565. There is a good * Flight of Lot,' No. 425 in the Louvre. Two large canvases are in the Lyons Museum, of which the

* Adoration of the magi,' No. 83, is the finer. Two pidtures are at Cassel, a ' Holy ftimily with saints,' No. 187, and a ' Flight into Egypt,' No. 176.

Besides those works of which the subjects havd been chiefly taken from sacred history, Eubens ^Lecuted numer- otu historical, mythological, and allegorical paintings. Our National Gallery contains two fair exaiiipks in the *Bape of the Sabines,' No. 38, and the * Judgment of Paris,' No. 194, of which latter there is a fine repetition at Madrid, No. 1590 (Plate XXVIL, 2). Iti the Salon Carr6 of the LottvW is the large composition * Tomyiis and the head of Gyr^s,* No. 433.

A number of fanciful compositions, demanded at that time by the taste of toyalty, in a style which associated pwtraitilre with mythological chatacte^d, is Well exem- {Aifted in the Louvre by twenty^ue large oftnvases illus- trating the history of Maria de' Medici, No. 434 to No. 454 (Plate XXVIL, 4). These were designed by the master, and largely executed by his Scholars. A good * Venus and Vtiloan* is No. 292 in the Brussels Museum. Two fine compositions, smaller and superior to the foregoing, are at Madrid — ^viz., the ' Garden of Love/ No. 1611 (repetitions of which occur at Dresden and Vienna), iand the * Peasants' dance,' No. 1612. Mythological tiubJQotB abound in the DresdeoL Musfeum, among which should be mentioned

* Diana and nymphs,' No. 826, At Vienna, in the Belve- dere, may be noted a * Feast of Venus,' No. 7 Boom V., and the * Four quarters of the globe,* No. 10 Room IV.; in the Pitti at Florence the * Horrors of war/ No. 86 ; and in the Hermitage at St. Petersburg figures of * Abundance and the river Tigris,' Ko. 554^ besides several small works, such as Nos. 549, 552. Bather larger and particularly fine are a ' Group of children and fruit,' No, 779 (Plate

Bubena

Mythologi* cdl toorksy

AUegorical toorka.

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TEE RISE AND PR00BE8S

Rtibens^

Portraits*

Landscape

and

animals*

XXVIL, 3), and a * Perseus and Andromeda,' No. 786 at Berlin. At Madrid important works by Enbens are numerous: for example, 'Perseus and Andromeda,' No. 1684; * Ceres and Pomona,' No. 1685; * Ceres and Pan,' No. 1693, in which the fruit is by Snyders; and the ' Legend of Eodolf I. of Hapsburg,' Na 1666.

Bubens was scarcely less powerful as a portrait-painter. His first and second wives, Isabella Brandt and Helena Fourment, were very frequently painted by him. Of the first there is a good portrait at Munich, seated with Bubens himself. No. 266 (Plate XXVIL, 6); another seated is No. 676 in the Hermitage ; and one is at the Hague, No. 213. Those of his second wife are to be found in almost every gallery of Europe — at Tienna, Munich, Paris ; and at the Hague there is an especially pleasing likeness. No. 214; but the most magnificent one, lifensize and full-length, is Na 676 in the Hermitage. Other portraits are in the Louvre, of which most worthy of note are Nos. 460, 6, 6, 60. In the Pitti at Florence there is an admirable portrait group, comprising Bubens himself and the philosophers Lipsius and Grotius, No. 86 (Plate XXVIL, 6). .Our National Gallery possesses a well-faiown example in the * Chapeau de poil,' No. 862. A pair of excellent portraits deserve attention at Brussels, Nos. 294, 6. Numerous and good examples of portraiture are to be seen in the Madrid Gallery, Nos. 1606, 9, 10 ; and two equestnan portraits, Nos. 1607, 8. Very fine portraits are to be foun4 in the Hermitage : a full-length of Philip IV., No. 669, and three admirable portraits, Nos. 678, 80, 1, should be mentioned, among many others. Many striking examples are at Dresden, among which may be noted Nos. 846, 7, 9.

Landscapes and animal pieces are often to be met with by this fertile master. At Vienna Nos. 13, 19 Boom V., and No. 7 Boom IV., and at Munich Nos. 916, 22, are all good examples. With these should be classed his ' Lions,' No. 692 in the Hermits^e ; and his ' Tigress and lion,' No. 834 at Dresden. One of the best of these is at Madrid, No. 1583 ; and No. 1594 is a representation of ' Mercury and Argus,' in which the landscape is prominent. Two admirable landscapes may be seen in the Hermitage,

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No8. 594, 5, the first with the rising moon, the second with a rainbow. Others are Nos. 9, 14 in the Pitti. A grand view of the Escorial is No. 836 at Dresden. A fine ^Antunm' landscape is in our National Gallery, No. 66.

In representations of animals Bubens was surpassed by Frans Snyders (1579-1657), one of the most vigorous and talented portrayers that ever lived of hunted animals. In the Hague Gallery there is a good example of a stag-hunt, No. 222, the landscape in which is by Bubens. At Brussels, No. 314, and at Antwerp, No. 835 (Plate XXVm., 9), are fine works of Snyders, as are also Nos. 297, 305, 17 in the Munich Pinacothek, and Nos. 270, 1 in the Trippenhuis at Amsterdam. At Madrid are several very fine works, especially Nos. 1677, 84. In the Hermitage are some of his chief large canvases : among them should be noted the * Fruit-seller,' the "Vegetable-seller,* the * Fish- dealer,' and the * Game-shop,* each with figures of life-size, Xoe. 1312 to 1315. Others are in the Louvre, at Berlin, at Dresden, rich in good specimens, and elsewhere, for which see catalogues.

Jan Fyt (1625-71) was another Flemish artist who excelled particularly in painting dead game, as well as flowers and fruit. Of the latter several fine specimens are extant; for exanople. No, 225 in the Turin Gallery, ^ny excellent studies of the first-named subjects are to be found in the Antwerp Gallery, Nos. 171, 2 (Plate XXXin., 6) ; in the Pinacothek at Munich, Nos. 325, 39, 41; and in the Madrid Gallery, Nos. 1369, 70. Other examples are to be found in the Louvre, at Vienna, and one in our National Gallery, No. 1003.

Jacob Jordaens (1593-1678) was one of Eubens's most distinguished scholars and followers: he was most suc- cessful in his reproductions of low life, and these were generally wanting in the nobler qualities of his master. A few of the larger and best of his works can alone be einnmerated. Some of the finest of these are at Brussels, Nob. 216 to 221 ; No. 217, an allegory, being perhaps the chief. At Munich, in the Pinacothek, No. 324 is a good example. The Hermitage contains many works, among

StAens.

Frans Snyders.

Jan Fyt

Jacob Jordaens,

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THE BISE AND PROGRESS

Jaccb Jordaens,

Van Dych

Sacred subjects.

Portraits.

Charles L

which Nos. 647, 51, 2, 3, his own portrait, may be men- tioned. Numerous examples are at Dresden, of which No. 961 is one of the best. In the Louvre are several exc^ent works, Nos. 251 to 257. In the Trippenhuis at Amsterdam, No. 202 ; in the Antwerp Museum, Nos. 215 to 222 ; in the Belvedere at Vienna, No. 27 Eoom VI. Ist floor ; in the Madrid Gallery, Nos. 1404, 5, 7, 10; and in the Gassel GaUery, No. 266.

By far the greatest of Eubens's pupils was the re- nowned Anton van Dyck (1599-1641), one of the first masters of portraiture that ever lived, although his pro- ductions were not confined to this branch of art alooe. One of his finest is the large * Crucifixion ' in the Cathedral of Mechlin (Plate XXVI., 3) ; and a small picture of the same subject is in the Church of S. Jacq^ues at Antwerp. Two altarpieces are at Vienna, Nos. 2, 8 Eoom IIL 1st floor ; and another is the • Incredulity of S. Thomas,' No. 607 in the Hermitage, St. Petersburg. A favourite subject with the master is the ' Dead Christ' : one of these is in the Berlin Museum, No. 778, where there is also a * Christ (Towned with thorns,' No. 770 ; while at Antwerp, Nos. 403, 4, and at Munich, Nos. 203, 12, are similar examples. Eepresentations of the Holy family by Van Dyck are to be found in many galleries : as, for instance, that fine work in the Louvre, No. 137; one at Vienna, No. 33 Eoom III. 1st floor; the admirable one known as the *Vierge aux Perdreaux,' No. 603 in the Hermitage, of which there is almost a replica in the Pitti ; in the Turin collection. No. 384 ; and in the Accademia di S. Luca at Eome, No. 13.

But it is in portraiture that he has rarely been equalled, for delineation of character, ease of pose, charm of expres- sion and pictorial quality, and works of this class best display the great talents of the master. Examples are to be seen in almost every European gallery, for Van Dyck was held in great esteem by the aristocracy oi Italy, England, and Spain. At these three oour^ he passed his life, occupied in painting the portraits of some of the best-known men of the time. Several are pre- served of Charles I. and of his family, which may first

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be mentioned. The King is represented in a grand portrait in the Louvre, No. 142 (Plate XXVI., 1) ; at Hampton Court, No. 86 ; at Dresden, No. 985, No. 986 being Queen Henrietta Maria; in the Hermitage, St. Petersburg, No. 609, with its pendant, the Queen, No. 610 ; and ^ the Pitti at Florence, together with his Queen, Henrietta Maria, No. 150. Perhaps the most charming of Yan Dyck's productions is a group of the three children of Charles I., No. 338 in the Turin Gallery, a masterpiece of composition, colour, and technical power, which alone is worth a journey to Turin to see. A similar group, but less pleasing, is at Dresden, No* 987 ; another, very beauti- ful, No. 790, is at Berlin ; a small study is in the Louvre, No. 143 ; a portrait of William of Orange as a boy. No. 611, and a girl and boy of the Wharton family. No. 618 are both in the Hermitage ; and the portraits of two children are at Amsterdam in the Trippenhuis, No. 102. There are two noble equestrian portraits by Van Dyck which should be remembered : one at Turin of Prince Thomas of Savoy, No. 363 ; and the other in the Tribune of the Uffizi at Florence of Charles V., No. 1128. Equally fine portraits — some full-length and others smaller — are those of Prince Thomas of Carignan and of the Infanta Isabella of Spain, Nos. 782, 88, among many admirable examples in the Berlin Museum ; of Cardinal Bentivoglio, No. 82 in the Pitti; of Jean Monfort, No. 1115 in the Uffizi; of Charles Malory, No. 209, among several others at Munich ; and of Alexandre de la Faille, No. 192 at Brussels (Plate XXVIII., 2). A large number of good examples are ia the Hermitage, mostly English portraits, such as those of Earl Danby and Sir Thomas Wharton, Noa. 616, 17 ; Archbishop Laud, No. 612 (a replica of the picture at Lambeth Palace) ; Inigo Jones, No. 626 ; and many others, which will be found in the catalogue. In the Liechten- Btein Gallery, Vienna, are several others, of which Nos. 115, 18 are the best. The Madrid Gallery contains several fine portraits : especially remarkable are Nos. 1320, 2, 7, 8, 9, 30 (the well-known double portrait of A. van Dyck and the Count of Bristol), and No. 1331. Among many in the Cassel Gallery also Nos. 291, 3, 7 should

Van Dyck.

ChUdren.

Equestrian ani others.

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THE BI8E AND PB0GBE88

Vanl>yck,

J, Stater- moms.

Qaspard de Grayer,

P.deCham^ paigne.

be noticed ; also some splendid portraits in the Palazzo Brignoli at Genoa. In the Louvre are many excellent specimens, Nos. 145 to 155, among which Nos. 148 to 160 are particularly fine ; so also at the Hague are Nos. 203-6, and at Antwerp No. 405 ; two or three are in our National Gallery — No. 52, the so-called ' Head of Q^vartius,' beiog the best. Two admirable examples are in the National Gallery, Edinburgh, Nos. 318, 19. Besides all these there is the magnificent collection of portraits in the possession of the Queen at Windsor Castle.

Justus Sustermans (1597-1681), the friend of Van Dyck, like him, succeeded best in portraiture. He studied and painted much in Italy. The Pitti possesses an ad- mirably painted 'Infant prince,' No. 190: other examples are in the Lucca Gallery, Nos. 6, 7, 8, and elsewhere.

Gaspard de Grayer must be named here, although bom in 1582, some years before Van Dyck. He was a con- temporary of Eubens, and an excellent portrait-painter in his own style, which possessed the drier manner of the German school, and strongly contrasted with that of the great colourist. Later in life he painted some important sacred subjects, examples of which are to be seen in the Museum of Brussels, Nos. 167, 9, 413 being the best among many. There is a 'Madonna and saints,' No. 314 at Munich; and another is in the Louvre, No. 102, where also is an equestrian portrait, No. 103.

Philippe de Champaigne (1602-74) was a Fleming by birth and early education, but afterwards studied and resided chiefly in France. Examples of his works, which were partly religious compositions, but chiefly portraits, may be seen as follows. Of the first class, some of the most important are, in the Museum of Lyons, the ' Finding of the relics of S. Gervais,' No. 105 ; the 'Moses and the law,' No. 664 in the Hermitage; an 'Adam and Eve weeping over Abel,' No. 2 Boom 1. 1st floor in the Belvedere, Vienna ; and the ' Christ in the house of Simon,' No. 76 in the Louvre. Several portraits are also to be found here, among which Nos. 83, 8, 94 are the best. The master is nowhere better seen than at Brussels : of his works there may be mentioned a series from the legend of S. Benedict,

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Nos. 142-146, and two fine single figures of saints, Nos. 140, 1.

It can scarcely be said that a Flemish school of distinct character existed after the era of Rubens and his immediate followers. The names of a few who may be held to merit, at all events to some extent, the appellation of " Flemish," may follow here.

In portraiture may be noted Marc Gerard, Gonzales Cocques, Jacques van Oost, the elder and younger.

Painters of historical or mythological subjects may be noted : Erasmus QueUinus, Theodore van Thulden, Abraham van Diepenbeck — all three pupils of Eubens; Pieter Snayers; Theodor Eombouts; J. G. de Lairesse; and Van der Meulen, the historical painter of Louis XIV., whose works are in the Louvre.

Architecture: Pieter Neefi», the elder, whose church interiors are admirable ; Bnd the youQgor ; Hendrik van

Landscape : Eoelandt Savery, Jacques d'Arthois, J. F. Millet (Francisque), Gomelis Huysmans.

Still-life: Adrian v. Utrecht, Alexander Adriaenssen, the younger, Jan van Essen, Daniel Seghers, Glara Peeters.

Illustrative works by all these will be found noted in the numerous catalogues at the end of this volume.

P. de Cham- paigne.

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THE ni8E AND PB0GBE88

A TABLE Of thb Datbb of the Pbinoipal Paintbbb of thb Flsmish School.

School.

Deft^.

Bruges '. Bruges . Toumai . Brages . Bruges . liOuyaiu .

Ghent .

Bruges .

Antweip . Antwerp . Brussels . Mechlin . Li^ge Antwerp . Antwerp . Utrecht . Brussels . Antwerp . Antwerp . Antwerp . Antwerp . Bruges . Brussels . Brussels . Antwerp . Antwerp .

Jean yan der Asselt, records 1364- 1386

Melchior Broederlam, or Breeder- lain, records 1382 -1401 . . .

Jean Malwel,or Melouel, first record 1392

Hubert Tan Eyck

Jan Tan Eyck, about . . . * .

Bogier Tan der Weyden ....

HaosMemling ......

Petrus GhristuSy records 1444-71 .

Dierick Bouts, or Stuerboudt, first record 1450

Gerard Tan der Meire, records 1447- 74

Hugo Tan der Goes . . . . .

Justus of Ghent

Gherardt DaTid, first record 1487 .

Joachim de Vatinir, painted 1515- 24

Quiutin Matsrs

Jan Gossaert Mabuse ....

Bernard Tan Orley

Michiel Gozcyeu, or Goxie . . .

Lambert Lombaid, or Sustermann .

Peter Pourbutt

FransFloris

Antonio Mor, or Moro ....

Pieter Brueghel, elder . . . .

Martin de Vos

Fraus Pourbus, elder ....

PaulBril

Otho Tan Yeeu, or Ynnins • . .

Marc Gtorard

Pieter Brueghel, younger « • .

Jan Brueghel, ** Velvet " . . .

Frans Pourbus, younger ....

Pieter Kee&, elder, about . . .

Boelandt Savery

1366 1386 1400 1430?

1468

1466 1470 1470 1499 1506 1510 1520 1525 1530 1531 1540 1556 1558 1561 1564 1568 1570 1570 1576

1415 1426 1440-1 1464 1495

1475

1482 1523

1529 1532 1541 1592 1566 1583 1570 1581 1569 1603 1580 1626 1629 1635 1637 1625 1622 1651 1639

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SchobL						Birth.	Death.
Antwerp . .	Peter Paul RubeM	1577	1640
Antwerp .	Prans Snydera . ,					1579	1657
♦Antwerp . .	David Teniers, elder					1582	1649
Antwerp . ,	Gaspard de Grayer					1582	1669
Antwerp. .	Gomelis de Yob . <	t *				1585?	1661
Antwerp . .	Daniel Seghers . ,					1590	1661
Antwerp . .	Pieter Snayera . , Jacob JordaenB . .					1593	1670?
Antwerp . .					1593	1678
Antwerp . .	Theodor Bombonts					1597	1637
Antwerp . .	Justus Sustermans .					1597	1681
Antwerp . .	Anton van Dyek . .					1599	1641
Antwerp. .	Adrian t. Dtreoht					1599	1652
Broges . .	Jacques yan Ooet, elder .				1600	1071
Antwerp . .	Pieter Neefs, younger Philippe de Ghampaigne				1600	1675
BmsBels .				1602	1674 !
	Jan Tan Essen . .				1607	1662
Antwerp. .	Abraham t. Diepenbeok Theodore Tan Thulden				1607	1675
Antwerp . .				1607	1676 i
Antwerp. .	Erasmus Quellinus .				1607	1678
Antwerp . .	DaTid Teniers, youngs				1610	1694
Bnissels . •	Jacques d*ArthoiB				1613	1684
Antwerp . .	Gonzales Cocques				1614	1684
Antwerp. .	JanPyt . . . .				1625	1671
Antwerp. .	Abraham Teniers . .				1629	1671
Bmsaels . .	Anton F. Tan der Meulen			1634	1690
Brages . .	Jacques Tan Oost, younger			1639	1713
Li^ . .	J. G. de Lairesse . . .			1640	1711
Antwerp . .	J.P.Millet(Pranci8que)			1642	1680
Antwerp . .	Comelis Huysmans . .			1648	1727
	A. Adriaenssen, younger .			—	1685
	Olara Peeters, 17th century . . .	"""	"~~

* The three Teniers, although Flemish by birth, were so closely allied in style to the Dutch school, that their history and works will be considered under that heading.

1 2

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THE BISE AND PE0GBE88

Fifteenth century.

Geerrit van Haarlem.

EngeU hertsz.

THE RISE AND PROGRESS OF PAINTING IN HOLLAND.

It is impossible to speak with certainty of the origin of painting in Holland. That a very early school did exist is not doubtful : traces of ancient mural decorations are extant, and furthermore there is reason to believe that, among the numerous pictures known to have been destroyed by zealous fanatics, certain works of the four- teenth and fifteenth centuries were altogether lost, and with them the names of their authors. The earliest of whom trustworthy records remain are Albert van Ouwater and his pupil Gerhard or Geerrit van Haarlem, both bom at Haarlem, and probably painting about the middle of the fifteenth century. The Belvedere at Vienna has two panels representing a ' Dead Christ and mourners * and ' Scenes from the legend of the body of John the Baptist,' Nos. 68, 60 Boom 11. 2nd floor, ascribed to the latter ; and there is also a triptych at Munich so named, Nos. 84, 5, 6 ; but it must be admitted that no works of either are now extant which can be regarded with certainty as authentic. The influence of the Yan Eycks gave a great impulse to the practice of pictorial art in Holland towards the end of the fifteenth century ; and at Leiden are to be found the earliest examples of the Dutch school. These are the works of Cornells Engelbertsz (1468-1533), two of which are preserved in the Stedelijk Museum there, Nos. 9, 10. The former is an altarpiece in three compartments, the centre, a * Crucifixion,' in excellent preservation, is a large and crowded composition, suggesting the style of Eogier van der Weyden, with much warmth of colour and minute finish of rich costume, doubtless learned from the Van Eycks. The wings depict the ' Sacrifice of Isaac * and the * Brazen serpent.' Beneath the centre is a small and quaint predella. No. 10 is a * Deposition/ similarly treated ; the

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centre compartment is flanked by some admirably painted Grothio tracery containing six small and highly finished scenes from the Passion in a brownish grisaille. Other subjects occupy the wings, which have figures in grisaille on their exterior. A small panel, No. 714, is attributed to him in our National Gallery.

Lncas van Leiden (1494-1533), the next great name in this school, is known almost exclusively as an engraver. Nevertheless he executed some excellent work as a painter, examples of which are very rare. The chief is the 'Last Judgment' at Leiden, No. 17 in the Stedelijk Museum, hanging between the two pictures just described. It is a large and important altarpiece in three compartments. The colours are light and bright, with little shadow ; out- lines firm and distinct; the nude figures, which abound throughout, well drawn and highly finished; positions, some easy, some affected. The subject occupies the three compartments. On the outer surfaces of these are two admirable figures, about three feet high, of S. Peter and S. Paul, drawn and painted in a broad and masterly style. There is a good example in the Stadel, Frankfort, No. 70a, a * Christ on the cross ' ; a triptych is at Antwerp, Nos. 108, 9, 10 (Plate XXVIIL, 7) ; and a * Madonna ' is ascribed to him at Munich, No 743.

Another painter of this time was Jan Schoorl or Schoorel of Utrecht (1496-1562), who spent much of his time in Italy, and was the master of Antonio Moro the Fleming. Two panels in our National Gallery, Nos. 720, 1, are attributed to him. Two admirable portraits are Nos. 478, 9 in the Hermitage, St. Petersburg \ two others are Nos. 66, 7 Boom II. 2nd floor in the Belvedere at Vienna. His pupil, Martin van Heemskerck, is represented in the Hermitage by a fine * Crucifixion,' No. 490.

About this epoch the painting of devotional subjects gradually ceased, while portraiture, especially in connec- tion with the ancient guilds of Holland, and in the form of scenes from domestic life, chiefly occupied the Dutch painters of the end of the sixteenth century and sub- sequently. But before considering these, an artist of some merit must be briefly noticed, Comelis Comelisz, or Van

berUz.

L, van Leiden,

Sixteenth century, Jan Schoorl.

Heems- kerck,

CorneUs v, Haarlem.

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THE BISE AND PROGRESS

GomdHsv, Haarlem,

Dutch por- traiture.

Mierevelt,

Moreelse,

Ravesteyn,

Seventeenth centurjf, Frans Hals.

Haarlem (1662-1638), who painted the nude figure with grace and apparently under the influence of Italian art. Two good examples are in the Hermitage, — ^No. 605, a

* Baptism,* and No. 506, ' Cimon and Iphigenia ' : one of his best is a * Bathsheba/ No. 734 at Berlin ; two large pictures are Nos. 19 and 19 bis at the Hague.

Of the great school of portrait-painters in Holland, Michiel van Mierevelt (1567-1641) and his pupil Paul Moreelse (1571-1638) were attiong the earliest. Examples of Mierevelt may be seen in the Trippenhuis, Amsterdam. No. 244 is remarkable, among others. Several portraits are at the Hague, Nos. 76-84. Pour fine portraits maybe found in the Hermitage, Nos. 740-3 ; and one of the Earl of Southampton in our National Portrait Gallery. An example of Moreelse, among others at Amsterdam, is the

* Little princess,' No 267 ; others are at the Hague. Two good portraits are Nos. 744, 6 in the Hermitage ; one is at Dresden, Nos. 2424.

Jan van Bavesteyn (1572-1657), formerly an obscure artist of the Hague, deserves to be letter known than he appears to be, for he executed some excellent portraits. The best of these are to be seen in the Mus6e Commimal at the Hague, and in the Koyal Museum there, which has re- cently acquired several fine examples. "Works "by him in other galleries are rare. That of Munich contains two portraits, Nos. 182, 4 ; and that of Brussels two, Nos. 275, 6. The Museum at Berlin has a male portrait No. 767a ; and one is ascribed to him at Dresden, No. 1106.

Frans Hals (1584-1666) came next. His work can be seen and studied best at Haarlem, his native place, where in the Stadhuis are no less than eight very large examples of his vigorous and masterly style — most of them contain- ing eleven or twelve figures. The painting of some of these is so slight, yet at the same time so effective that they should be described rather as magnificent sketches than as pictures. On the other hand, some of his work is highly finished. The Ho§e van Beresteyn at Haarlem possesses four single figures by the master; but the beautiful picture of a girl there, is now thought by some authorities to be the work of Jan van Bavesteyn. Three

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admirable paintings by Hals are in tbe Trippenbuis at Amsterdam, Nos. 134, 5, 6, of wbicb tbe first named, a portrait of bimself and bis wife f ull-lengtb, is a brilliant specimen^ besides others in tbe Six and Yan der Hoop Collections, and a large work in tbe Stadbuis tbere. Quite different from tbese is a small portrait of a cavalier sitting, painted in a careful yet masterly manner, No. 416 in the Brussels Museum (Plate XXVIII., 6). At Cassel are several examples, Nos. 222-8 ; at Dresden four, Nos. 938 -40 and No. 2368, portraits ; in tbe Hermitage, St. Peters- burg, are five, Nos. 770-4: and in tbe Berlin Museum, among otber works, Nos. 800, 1, 801c, e, and f, are tbe best A fine fdU-lengtb portrait is No. 150 in tbe Lieobtenstein Gallery, Vienna. Tbe Stadel, Frankfort, possesses a fine female portrait, No. 160, among others. In tbe La Gaze Collection at tbe Louvre are two portraits, Nos. 66, 6 ; in tbe Louvre one, No. 190 : in our National Gallery, tbe portrait of a woman. No. 1021 ; and at Hampton Court two, not easily seen, a small bold sketob of a man. No. 676 ; and tbe bead of a boy langbing, No. 682, one of bis favourite subjects.

Contemporary witb Frans Hals were two masters of portraiture, Daniel My tens of tbe Hague (about 1590-1656) and Tbomas de Keyser, often called Tbeodore (about 1595-1 660). My tens was better known in England as a portrait-painter tban in bis own country. He worked here for some time in bis capacity of court painter to Charles I., and was eventually superseded by Van Dyck. Among several examples of bis work at Hampton Court, the portrait of James, Marquis of Hamilton, No. 44, deserves mention. Mytens bad a grandson of tbe same name, called tbe younger, by wbom tbere are portraits at Amsterdam and elsewbere. Tbomas de Keyser executed some excellent small groups and single portraits. At tbe Hague, Nos. 61, 2, and in tbe Trippenbuis at Amsterdam, No. 207, are good examples of botb kinds. Our National Gallery possesses a fair specimen, a * Mercbant and bis clerk,* No. 212. Two fine lifensize portraits witb others are in tbe Museum, Berlin, Nos. 750b, 753b : at Diurmstadt Nos. 356, 7, and at Brussels Nos. 424, 5, are good portraits.

Several pcdnters of civic portraiture flourished at this

Fh»ni Hal8.

Thomas de Keyser,

Civic portraiittre.

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THE BI8E AND PBOGBESS

Civic portraiture.

Rembrandt,

period in Holland. As they display little originality in technical treatment, it suffices to name the following : Jan de Bray (died 1697), many of whose large portrait groups are to be seen in the Townhall, Haarlem, which also contains several examples of Jan Verspronck (died 1662). C, W. Eversdyck, who painted in the same century, may be studied in the Eotterdam Museum.

Following these in order of date are Kembrandt, Fer- dinand Bol, Bartholomaus van der Heist, and Govert Flinck.

Kembrandt van Kyn of Leiden (1607-69), the great master of the Dutch school, differs from all others, and is pre-eminent by his wonderful and diverse talents. The first characteristic of his style is his mode of distributing the light and shade of the composition, A strong light illuminates the central object, whether a figure or group, while all the rest is bathed in deep warm shadow, relieved only by faint secondary radiations from the centre light. This system constitutes essentially his style, and it per- vades equally the large paintings, his poi*traits, his small highly finished pictures, and many of his etched works, which are numerous and well known.

The earliest work of Eembrandt was minutely finished, yet it exhibited the same breadth and chiaroscuro as that of his later period, which was marked by more free and masterly handling. A remarkable example of the former is the ' Simeon in the temple,' No. 114 in the Hague Museum, a canvas of small size, painted when he was twenty-four years of age. Similar examples are the * Woman taken in adultery,' No. 45 in our National Gallery (Plate XXIX., 3); and the * Angel Eaphael leaving Tobias,' No. 404, the * Pilgrims of Emmaus,* No. 407, a * Philosopher in meditation,' No. 408, and a ' Cottage interior,' No. 410, all in the Louvre. Belonging to this group should be noted the * Parable of »'the labourers,' No. 798, among others by him in the Hermitage ; also, though quite different in subject, the * Kape of Proserpine,' a re- markable work. No. 823 at Berlin. Very beautiful is a 'Descent from the cross,' No. 849 in the Pinacothek at Munich, forming part of a series there of six scenes from

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the life of CJirist. Another work on a larger scale with nnmeroius figures, but intermediate in size between these and the next class, is the * Descent from the cross,' No. 800 in the Hermitage, St. Petersburg, in which the body of Christ is beautifully illuminated by a torch, screened by a cap from the spectator. At Dresden two Old Testament subjects of large size are to be seen, Nos. 1217, 20. In the Hermitage, which possesses the best and largest col- lection of Eembrandt's works in Europe, there is a 'Sacrifice of Isaac/ one of the finest of this class, No. 792 ; also the * Abraham entertaining angels,' No. 791, the 'Return of the prodigal,' No. 797, both of the highest rank, and two less admirable, the * Coat of many colours,' No. 793, and the • Denial of Peter,' No. 799. At Berlin ' Moses breaking the tables of the law,' No. 811, a * Sampson and his father-in-law,' No. 802, and in the Cassel Museum * Jacob blessing Ephraim and Man^seh,' No. 367, must be pamed. So also should the frequently repeated *Bath- sheba,' No. 116 in the Hague, and again in the Steengracht Collection there. In the Hermitage is a * Holy family,' No. 796, consisting of an admirably painted Dutch interior with peasants, and an infant in a cradle in the foreground. All these sacred subjects abound in anachronisms of dress and local incident, and faithfully reproduce Dutch type and character, but adhesion to archaeological truth was not at this period regarded as any part of a painter's duty.

Of the large works painted in Kembrandt's more matured but still early style, one of the very finest, dated 1632, is the famous 'Lesson in anatomy,' No. 115 at the Hague — a picture in which the light seems almost to pro- ceed from the oanvas itself; and so admirable is the management of it, and so perfect is the composition, that for these qualities alone it deserves a careful study (Plate XXIX., 2). The celebrated so-called ' Ronde de nuit,' which is really a daylight subject, No. 348. in the Trippen- huis at Amsterdam, was painted in a larger manner in 1642 (Plate XXIX., 1). There also. No. 349, is the splendid group of the ' Syndics,' painted in 1661 in the same manner ; it is difficult to conceive a more perfectly executed group of portraiture. A masterly production in

Bembrandt.

Large works.

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TBE BI8E AND PROGRESS

RembrancU,

Portraits,

Small portraits.

the Van der Hoop Museum, Amsterdam, No: 95, known as the ' Betrothed Jewess,* is believed to be his last work. Eembrandt attempted a lifensize •Danae,' and produced a grand compositipn, rich in colour and in magnificent accessories ; but the figure is, as might be expected, short and without grace, coarsely conceived and executed : it is No. 802 in the Hermitage.

His single portraits are very numerous, almost always life-size. There are many of himself at various periods of his life; for example, two are in our National Gallery, Nos. 221, 672 ; and, among other excellent heads, there are several in the long gallery of the Louvre, Nos. 412, 13, 14, 15, and others. An admirable one is in the Hague Museum, No. 118. Another, painted in 1637, is No. 811 in the Hermitage. Rembrandt's very grand half-lengths of the Burgomaster Six and his mother are still in the Six Collection, Amsterdam. A fine composition in his best manner is the portrait of himself, with his wife, at Dresden, No. 1225. In the gallety at Cassel are no less than twelve excellent specimens, of which Nos. 347, 56, his first wife when young, 358, 9, are very fine, and there is a noble full-length portrait, No. 364. Equally good are the portraits of Govert Flinck and of his wife, Nos. 323, 9 in the Pinacothek, Munich ; several excellent examples are at Vienna, the best that of his mother, No. 39 Eoom 1. 1st floor ; and there is a fine work at Madrid, a representation of his wife as Q^ieen Artemisia, No. 1544. Many portraits are in the Dresden Gallery ; most admirable is that of his wife holding a pink in her hand. No. 1219 : others will be found in the catalogue. In the Dtil>*9ich Gallery the portrait of his servant-maid, No. 206, and the so-called portrait of Philip WouwermaJn, No. 2S2, are admirable. Our National Gallery possesses the well-known and marvellous portrait of an t^ld lady in a white cap and ruff, No. 775, besides other examples Nos. 190, 237, 243, 850.

Rembrandt occasionally, but very rarely, painted small fafeads in a more finished manner : a beautiful ^xitmple of a man in a velvet cap on a panel less than a foot square is in the little Museum at liinspruck ; another similar in size is in the Turin Gallery^ No. 382 ; one in the Czernin

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Gallery at Vienna, No. 232 ; and a fourth at Dulwich, No. 189. His finest small portraits are in the Hermitage; that of his mother, No. 807, is a perfect gem for finish and colour, and no less perfect is that of a woman £Bustening an earring. No. 817. Two of the same size are attributed to the master in the Antwerp Gallery, Nos« 294, 5, but are muoh inferior, as also is one in the Louvre, No. 418.

Hembrandt painted a few landiscapes in a broad style, with dark effects, of which the following may be observed : Nos. 368, 72 at Cassel, No. 688 at Brunswick, No. 1232 at Dresden, a specimen of small merit. No. 830 in the Hennitage, a ' Jacob's dream,' No. 179 at Bulwich, and in our National Gallery, No. 72.

The pupil who most nearly approached Bembrandt in feeling and general effect was Gerbrandt van den Eeckhout or Eckhout (1621-74). His works are frequently met with in public galleries, but only a few can be enumerated. Single examples are to be seen at the Hague, No. 36 ; at Amsterdam, in the Trippenhuis, No. 106, in the Van der Hoop Museum, No. 36 ; at Dresdf^n, No. 1397 ; at Vienna, No. 49 Boom II. 1st floor; in the Louvre, No. 168; at Munich there are at two specimens, Nos. 204, 871 ; and in the Hermitage four, Nos. 753, 837, 8, 40. At Berlin are two pictures by him, Nos. 820, 9. In the Darmstadt Gallery there are two good portraits, Nos. 386, 7.

Two good specimens of Bol (1611-81) are the portraits of Admiral de Bmyter and of himself, Nos. 42, 4 in the Trippenhuis; but his masterpiece is a large painting * The four regents,' in a room of the Stadhuis at Amster- dam. There are some good specimens in the Brussels Museum, Nos. 119, 20, 1, 2. In the Lo«vre are four por- traits, of which No. 41, * A mathematician,' is fine. In our Natioiud Gallery is a portrait, No. 679. But his best work is to be seen in th« Hermitage, St. Petersbni^, where, among others, are no less than eight portraits of unusual excellence, Nos. 846, 8, 9, 60-4. At Berlin No. 809 is a very fine female portrait. At Dresden are three compositions from sacred history, Nos. 1266, 7, 8.

Van der Heist (1613-70) is best seen in his fine picture in the Trippenhuis at Amsterdam of the ' Banquet of the

Bemkrandi,

Land- scapes,

Eeckhout

F.Bol,

Van der HehU

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THE BI8E AND PB0GBE88

Yonder Hehi,

Flinch,

StiU'Ufe.

Flower- painters,

De Heein,

civic guard,' No. 141 (Plate XXX., 1) ; where also are, the important group of the ' Arquebusiers,' No. 142, and many portraits by him. A similar group in the Stadhuis is inferior, while the family groups of portraits, life-size, Nos. 777, 8, 9 in the Hermitage, are in his best manner. Two good single portraits, Nos. 205, 6, are at Brussels. In the Louvre is a beautiful specimen of finished work, * The arquebusiers,' No. 197— a small study for the well-known large painting mentioned above — and some portraits. Our National Gallery contains one portrait of a lady by him. No. 140.

Govert Flinck (1615-60) painted both portraits and historical works, and was a worthy pupil of Rembrandt, whose manner he successfully adopted. A large but not unpleasing example of portraiture is the 'Feast of the civic guard,' No. Ill in the Trippenhuis at Amsterdam; where there is also one of his historical subjects, * Isaac blessing Jacob,' No. 110. Another somewhat similar is at Munich, No, 213 ; and good portraits may be seen in the Brussels Museum, No. 414, and in the Dresden Gallery, No. 1314. The Louvre contains two examples, Nos. 171, 2. An interesting picture of William of Orange as a boy, with Jacob Cats, is No* 842 in the Hermitage.

The painting of still-life has also been one of the most favourite occupations of the Dutch painter. In no other school has it been so much studied or accomplished so successfully. Its presence is not only always to be recognised in all his genre subjects, but it forms the chief motive of an immense number of works, and the exclusive subject of many.

To the latter class belong the productions of the famous flower-painters, among whom may be named, in order of time, the De Heems, Willem Kalf, Abraham Mignon, Eachel Kuysch, and Van Huysum as the most distin- guished. Jan David de Heem (1600-74) may be seen at the Hague, where there is a fine specimen in the Gallery, No. 38. In the Trippenhuis at Amsterdam are two good works, Nos. 139, 40 ; in the Madrid Gallery No. 1391 is a fine example ; others are at Berlin and Vienna ; in the Hermitage are Nos. 1353, 6, 75 ; in the Louvre are two,

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Nos. 192, 3 ; and in the Brussels Museum there^s one, No. 203, and also a fine work by Clornelis de Ileem, the brother, No. 418. Their cousin Jan de HBem painted the same subjects. Kalf (1630-93) executed some superb studies of still-life which are seldom mej with. Among the best are, at Amsterdam, No. 203 ; in the Louvre, No. 259; at Munich, No. 1384; in ''the Hwmitage, No. 1369; and at Dresden, No. 1454. Mignon (1639-79) is to be 8669 in the Trippenhuis at Amsterdam, Nos. 257, 9, and in the Van der Hoop Museum, No. 77. Several specimens are at Turin, where there is a very fine collection of the works of Dutch flower and fruit-painters. Some of his choicest works are at Dresden, Nos. 1492, 8, 6, 7, 1505 ; and two are in the Hermitage, Nog. 1358, 9. Bachel Buysch (1664r-1750) has a lovely work, exquisite in finish, broiid in effect, and tender in colour, in the Hague Museum, No. 120. Another is at Amsterdam, No. 344. Examples are to be found at Munich, Dresden, Vienna, Berlin, Turin, and in several other galleries. By Jan van Huysum (1682- 1749) there is a good example at Antwerp, No. 427. In the Trippenhuis at Amsterdam, No. 191, and in the Van der Hoop Museum, No. 57, are two admirable specimens. Two similar pieces are in the Hermitage, Nos. 1378, 9. Here are several in the Louvre, Nos. 231-40 ; and two in ow National Gallery, Nos. 796, 1001.

Besides these flower- and fruit-painters, there were in Holland, equally talented painters of live or d^ad game; rach, for instance, were Melchior Hondecoeter (1^36-95) and Jan Weenix (1621-60). The former was most success- fill in representations of domestic poultry and birds. *Our National Gallery contains a good specimen, No. 202; ex- cellent also are Nos. 49, 50 at the Hague, Nos. 420, 1 at Brussels, and Nos. 1480, 1 at Dresden. But Hondecoeter's finest work is in the Trippenhuis at Amsterdam, well known as the ' Floating feather,' No. 178. Nos. 171, 4, 7 there are all good examples. So are Nos. 1339, 40, 2 in the Hermitage. Jan Weenix (not to be confused with his fiither, Jan Battista Weenix, by whom there are works at Antwerp, in the Louvre, and at Dresden) was a most vigorous and truthful painter of dead game. He is well

The De Heems,

Kalf,

Mignon,

R, Buysch.

Van

Painters of game and poultry, Honde"

Jan Weenix*

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TEE BIBE AND PMOGBESS

Jan Weenix.

Painters of

peasant

life.

Adrian Brouwer,

A. tan Ostade.

seen at Munich, particularly in Nos. 217, 320, 332,340,.all splendidly executed. . In his very best manner are Noe. 1347, 8, 9, particularly the last named, in the Hermitage. In our National Gallery No. 238 is an excellent example. At the Hague there is a noble study of a dead swan, No. 173. In the Trippenhuia at Amsterdam, Nos. 447, 8, 9, and in the Galleries of Brussels, the Louvre, and Dresden there are several works by this master.

The most characteristic form of Dutch art, however, is that which represents, in a spirit of absolute realism without compromise, scenes from the peasant life of the country. The subjects usually chosesi are interiors of wayside inns, filled with figures mostly coarse and vulgar, who are drinking, smoking, playing cards, or amusing thamselves -with practical jokes. Sometimes it is a fSte-day or fair, and the strbgeot is transferred to the open air; itinerant quacks, tap-boys, and dancing villagers, always rude and imgainly, occupy the scene

Adrian Brouwer of Haarlem (1608^1) and Adrian van Ostade (1610--85), both pupils of Frans Hals, were among the earliest representatives of this form of art, which the two Teniers pursued witk equal success. The latter must be classified, by tiiieix style, with the Dutch school; for, although m a certain sense they should be r^arded as Flemings, tiie school of Flanders is generally regarded as gradually merging after this time in that of Holland.

Good examples of Adrian Brouwer are to be found in the Hague Gallery,. No. 102 ; in the Amsterdam GhJlery, Nos. 64, 5 ; and in the Uf&zi at Florence, Nos. 955, 9. Two such are in thfi Hermitage, St. Petersburg, Nos. 937, 41. Several others are at Munich and Dresden. One is Na 44 in the La Cajae Collection at the Louvre. Of Adrian van Ostade two examples are in the Hague Museum, Nos. 104, 5 (Plate XXX., 3). At Amsterdam there are three good works in the Yam der Hoop Museum, another in the Six Collection, and one in the Trippenhuis, a ' Baker blowing his horn,' No. 291. There is a good example in the Antwerp Museum, No. 466 ; one in ike Brussels Museum, No. 259; and several others at Munich and Dresden. The Hermitage contains many, among which Nos. 945 to

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954 deserve notice. In the Louvre are several, of whioh Nos. 369, 70, 1 are excellent. One, No. 846, in our National Gallery is a good specimen. In the Brussels Museum there are also two works worthy of note by Isaac van Ostade, the brother, Nos. 260 and 433 ; and another good example by him occurs in the Trippenhuis at Amsterdam, No. 292. An important one is No. 962 in the Hermitage. In the Louvre are four works, Nos. 376-9 ; and three in onr National Oallery, No. 963 being a good example.

David Teniers, the elder (1582-1649), may be seen in the Hague Gallery, at Dresden, in the Belvedere at Vienna, and in the Hermitage, St. Petersburg : see catalogues at the end of this volume. Our National Gallery possesses three works by the elder Teniers, Nos. 949, 50, 1. Those of the younger and grater Teniers (1610-94) may be fonnd in the Trippenhuis at Amsterdam, where are four £ne examples, Nos. 390, 1, 2, 3 ; and in the Hague Gallery, Nos. 223, 4. In the gallery of the Steengracht family in the same town there is one of his most celebrated works, the * Acts of mercy' (Plate XXX, 2). In the Van der Hoop Museum at Amsterdam Nos. 116, 17 are good speci- mens; as are also Nos. 325 (Plate XXXIIL, 7), 449, 50 in the Museum at Brussels. Our National Gallery contains excellent examples — namely, Nos. 242, 805, 862, re- markable for the finely painted still-life; No. 817, a favourite outdoor subject; and four charming small pieoes, Nos. 857-60. Numerous similar works are at Hiinich, No. 229 is particularly interesting. At Dresden examples abound, among which Nos. 915, 19, 23, 8, 34 may he r^arded as good and characteristic. The Hermitage, Si Petersburg, has the richest collection of these works in Ewope. Here is the famous 'Feast of the archers and halberdiers at. Antwerp,' No. 672, supposed to be his masterpiece : after this may be named the ' Kitchen of the chateau,* No. 699 ; the ' Guard-room,' No. 673, in which the armour and accoutrements are by Kessel ; the ' Eermess,' twioe, Nos. 674, 5; a fine 'Bridal feast,' No. 677; the * Card-players,' No. 688 ; a • House and farmyard,' No. 700, unusually warm in tone ; and a rare subject, viz., a ' Sea* port and ships,' No, 710, with fully thirty other works.

A, 9an Ottade,

/. van Ostade,

D, Teniers f the elder ^

D, Teniers^ theyounger.

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THE BI8E AND PB0GBES8

D, Teniers theymnger.

Jan Steen,

A few good examples are at Berlin. At Yienna should be noted tke ' Tir au perroquet/ No. 51 Eoom VI. 1st floor, a large and important composition ; for others, see catalogue. The Louvre contains several important examples, among them especially Nbs. 512, 13 (Plate XXX., 2), 14, 18. A very fine work, the * Deliverance of S. Peter,' No. 117, is in the Lyons Museum ; and an equally good example is in the Mus6e Fabre at Montpellier, No. 480 ; while at Madrid, among many inferior works, Nos. 1721, 4, 32, 44, 54 are really fine.

After these Jan Steen (1626-79) pursued the same style of art, which in his hands was marked by an unusual power of delineating character, in scenes of humour or of excitement, with some extravagances no doubt of feature and gesture. Added to this he possessed remarkable ability as a painter. It must^ however, be admitted that no genius or quality of workmanship can excuse the vulgarity and coarseness displayed in some examples* With him also as with others the interiors of kitchens and small shops were depicted for the display of uteiisils, vegetables, game, poultry, fish, &c., introduced in any quantity for the purpose. These works are to be found in almost every gallery, and it is Scarcely necessary to do more than name a few of the best as examples. Those most worthy of notice at the Hague are Nos. 138, 9 : the former an example of his family groups so often repeated ; the second, known as * La vie humaine,* or as the * Oyster feast,' is one of his finest productions. Among many in the Trippenhuis at Amsterdam Nos. 376, 7 (Plate XXX., 5), 8, 9 especially deserve attention. Some examples are in the Van der Hoop Museum and the Six Collection there* Both at Antwerp and Brussels there are some of Steen's works, while in our National Gallery No. 856 is a good example, and in the Louvre there is another, No. 500. In the Uffizi at Florence there is a fine work. No. 977 ; others are at Munich, Nos. 842, 55 ; at Vienna, in the Belvedere, No. 9 Eoom Vl. 1st floor (Plate XXX., 4); and at Dresden, Nos. 1463, 4. One of his finest productions is in the Cassel Gallery, the ' Bean-feast,' No. 576. In the Hermitage Nos. 897, 8 may be named, and among others

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an important but curious work, the * Esther and Ahasuerus,' No. 895*

It is to be observed that of all these- masters a few fine examples only have been given in illustration. The reader should bear in mind that their names^are unfortun- ately applied in European galleries to numerous works which have no pretension to the honour claimed for them.

Gerhard van Honthorstr (1592-1660) was one of the first Dutch masters to depict genre subjects, but, unlike the group of painters just considered, almost always on a scale of lifeHsize. He is chiiefly remarkable, however, for ohoosing subjects illuminated by artificial light. Examples are, at Dresden, No. 1122 ; a portrait of William 11. of Orange, No. 61 in the Gallery at the Hague j and * Christ before the High Priest,' No. 746 in the Hermitage, besides No. 752, and several' portraits*

Another species of genre, peculiar to the Dutch school, u that which adopted as its favourite subject the interiors of weU-fumished houses, tenanted by women in satin, silks, and furs, with cavaliers in th^fcdl dress of the time : thus a music lesson, or a doctor's visits or a traveller's call and the offer of refreshment, ico^^ formed occasions for the most highly finii^ed studies of drapery, ftirniture, glass, and other objects, with effects of light and shade according io the taste of the paints.

Qerhard Terburg was one of the earliest as he was one of the most sucoessM of this school. Oerhard Dow and Gabriel Metsu followed^ each in his own manner, who again were succeeded by Nicholiu» Maas, Comelis Bega, Frans van Hieris, and others. Godfried Schalken painted the same subjects under effects of candlelight

By Terburg (1608-81) there are numerous fine works : such as the ' Ouitar lesson,' No. 864, and the celebrated * Treaty of Mtknster,' No. 896, both in our National Gallery. A beautiful exs^nple is at Amsterdam, known as the ' Oonseil patemel,' No. 396. Three somewhat similar are at Berlin, Nos. 791, 7910, and Dresden, No. 1242. Another fine example is in the Hc^e Gallery called * The despatch,' No. 144 (Hate XXXI., 2), where is also a small foU-lengih portrait of himself^ No. 146. The Trippenhuis

K

Jan BUin,

HonthorsU

Luxurious interiors.

Terburg.

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TBE BISE AND PB0GBE88

Teifntrg.

O.Dow.

Pieter de Hooghe.

contains two excellent portraits of himself and of his wife, Nob. 394, 5 ; while other works are in the Six Collection. There are some charming specimens in the Louvre, Nos. 526 (Plate XXXI., 1), 7, 8 ; at Munich, Nos. 243, 1062; and in the Uffizi at Florence, No. 968. In the Lyons (Jallery is a fine work by him, No. 116 ; in the Musee Fabre at Montpellier is another, No. 482; and again in the Cassel Gallery, Nos. 384, 6. The Hermitage, St. Petersburg, which is particularly rich in fine examples of the Dutch school, contains several of this master. The ' Guitar lesson,' No. 874, stands at the head of the list, followed by Nos. 872, 3, 6, and others. Two excellent full-lengths, small, are Nos. 662, 3 in the Liechtenstein Gallery at Vienna.

Gerhard Dow's (1613-75) small highly finished works are very numerous. One example is in the Uflfizi, No. 786 ; another is in the Van der Hoop Museum at Amsterdam, Na 30 ; while three well-known works are in the Trippen- huis, Nos. 86, 7, 9. But his finest production is perhaps that at the Hague, No. 28. Several capital examples are in the Louvre — especially good are Nos. 121 (Plate XXXI., 6), 3, excellent specimens also are Nos. 126-9; while in the Mus6e Fabre at Montpellier may be seen a good one. No, 131. A larger painting in the same-style is at Munich, No. 876 (Plate XXXI., 5). Many works of high quality are in the Hermitage : among them several very fine, as Nos. 903., 4-7. Others are at Berlin. In our National Gallery are three, Nos. 192, 826, 968 ; and at Dulwich two, Nos. 86 and 106.

One man about this time was pre-eminent in a similar style, but with a higher aim than that of executing faithful representations of textile fabrics by patient labour. Pieter de Hooghe, of whom it is only known that he worked between 1628 and 1671, painted interiors and conrryards with effects of light and shade of the most subtle kind, and produced successful results in colour and composition, attained in an equal d^ree by no other Dutch artist, Jan van der Meer of Delft excepted. Ex- amples of De Hooghe's work should never be passed without careful examination by the student. Our National G^ery,

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Plate XXXI. To face page 130.

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OF PAINTING IN HOLLAND.

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to b^n with, possesses three of the finest of liis produc- tions, Nos. 794, 834, 5. In the Louvre are also two charming works, Nos. 223, 4. At Amsterdam, in the Trippenhuis, is a fine example known as the ' Buttery hatch,' No. 185. In the Van der Hoop Museum are Nos. 49, 50, 1, 2, 3: the two last named being especially admirable, and a fair specimen is in the Six Collection. In the Pinaoothek at Munich there is one example, No. 1122 (Plate XXXI., 4); and the German Museum, Numberg, possesses an excellent work. Three interesting pictures, but not equal to his finest, are in the Hermitage, Nos. 860, 1, 2. But the greatest work perhaps of this master is an interior, of larger size than usual, superbly lighted by warm sunlight, No. 820b in the Berlin Museum. Not less admirable ate the few existing works by that gifted master Jan van der Meer, or Vermeer, of Delft (1632^95), regarding whose history little is known, although there is no doubt that pictures by him were greatly esteemed by his Dutch contemporaries. Yan der Meer's works are very scarce, but desefve the closest attention. In vigour, truth, and colour he excelled Pieter de Hooghe, while in style of composition and in ohiaro- oscaro there is much resemblance between them. First at the Hague there is a * View of Delft,' No. 72, taken from outside the town, with its red-brick buildings reflected in the canal. In the Six Collection, Amsterdam, there are two splendid works by him. One is an open-air scene in Delft with marrellous strength and purity of colour, broken nevertheless by a variety of tints. The other is an interior with a woman pouring out milk, most simply yet most forcibly presented. In the Van der Hoop Museum there is a less powerful but charming work. No. 129. Two are in the Dresden Gallery, Nos. 1432, 3 ; the former of these, painted when he was twenty-four years of age, is extremely interesting, as being the only known work in which the figures are life-size. The Queen possesses a very fine interior, a 'Woman playing on a harpsichord,' recently shovm at one of the Exhibitions of Old Masters at Burlington House. A remarkable study of 'Dead game,' highly finished and admirable in colour,

K 2

PUterde Hooghe.

Van der ' Meer (^ Delft.

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TEE BI8E AND PROGRESS

Vander Meet.

JUtm.

N.Maas,

No. 1338 in the Hermitage, is attributed to this painter by Dr. Waagen. An important signed composition of splendid workmanship and great beauty, representing Jan van der Meer painting from a model in his studio, may be seen in the Gzemin Gallery at Vienna, No. 96, there exhibited under the name of Pieter de Hooghe. There cannot be the slightest question as to its origin, any more than it can be doubted that the small and very pleasing group of a woman peeling a.pple8 with her child, catalogued as Terburg, No. 16, Green Cabinet in the belvedere, Vienna, is a genuine production of this master. Both are mentioned in M. Burger's list of his works. In the Berlin Museum are three very interesting examples: a 'Boy blowing bubbles in a courtyard,' No. 912a ; a * Ck)ttage with trees and figures,' No. 796c ; and a ' Girl dressing before a glass,' No. 912b. The Brunswick Gallery possesses an interior with three figures, known as the ' Coquette,' No. 611, a painting of the yery highest quality, and marvellous for tender gradations of tone. The Louvre has recently acquired a small but beautiful work : a ' Girl making lace,' No. 695.

Gabriel Metsn (1615-after 1667), one of the most attractive painters of this class, executed many highly finished works, generally smalL Our National Gallery contains two fSedr spedmens, the ' Music lesson,' No. 839, and the ' Duet,' No. 888. In the Louvre are several good works : the best is a • Cavalier receiving a young lady,* No. 293 ; and the small gallery at Montpellier contains two, Nos. 327, 8. At Brussels, in the Museum, No. 239 ; at Amsterdam, in the Trippenhuis, Nos. 239, 40 ; and in the Hague Gallery^ No. 74 should be observed. Other ex- cellent examples are Nos. 68, 9 in the Van der Hoop Museum at Amsterdam, Nos. 1305-11 inclusive at Dresden, and No. 9 in the Green Cabinet at Vienna. One fine work by Metsu is in the Cassel Gallery, No. 448. None are finer than the three in the Hermit£^e, Nos. 878, 80, 1* The rarity of a life-size portrait by this painter makes it neoessary to mention No. 792b in the Museum at Berlin.

Nicholas Maas (1632-93) of Dordrecht was a pupil of Eembrandt, whose influence is frequently indicated by the

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strong effects of chiaro-oscuro wldoh mark the genre subjects treated by him. In our National Gallery the 'Cradle,' No. 158, the * Dutch housewife/ No. 159 (Pkte XXXL, 3), and the 'Idle servant/ No. 207, illustrate his style well. Elsewhere some of the more important works of Maafi are, in the Brussels Museum, No. 232 ; in the Louvre, No. ^76 ; in the La Caze Collec^tion at the Louvre, No. 78 ; and in the Munich Pinaoothek, two port mi ts. Nob. 190, 1. The Steengraoht (Collection at the Hague possesses a single work. In the Tiippenhuis at Amsterdam there are two, Nob. 235, 6, and in the Six Collection the same, while in the Yan der Hoop Mtiseum No. 66 is a good example. There ate two in the Hermitage, of which the finer is No. 857. At Berlin he is represented by a lifensize figure, the * Philosopher,' No. 819.

A fe^ only of the chief followers of these masters can be mentioned. Comelis Bega of Haarlem (1620-64) executed some excellent works somewhat in the style of Gerhard Dow, but remarkable for low tones of colour. Such, for example, are No. 24 in the Trippenhuis, Amsterdam ; No. 7 in the Van der Hoop Museum ; Nob. 886, 969, 986 in the Uffizi at Florence; and No. 13 in the Louvre. Two admirable interiors are Nos. 970, 1 in the Hermitage. Three good examples are at Berlin, Nos. 871, 2, 4, and two in the St&del, Frankfort, Nos. 227, 8. Next in chrono- logical order is Frans van Mieris of Leiden (1635-81), the elder, so called to distinguish him from a grandson, also named Frans. The elder Frans painted some excellent interiors with figures very much in the manner of his master, G. Dow, and was followed by his son Willem van Mieris, who painted with less skill in the father's style. In the hands of the younger Frans the manner was repeated, but more feebly. Hence pictures of very different quality with the name of Mieris attached are numerous in most European galleries, especially in the Dutch, Louvre, Munich, Berlin, Dresden, St. Petersburg, and Uffizi Galleries; for which see catalogues at the end of the volume. Gaspar Netscher (1639-84), bom at Heidelberg, painted in a smooth and highly finished style, and executed some excellent small portraits: Noa. 282, 3 in the

N.Maas.

C, Bega,

VoM Mieris.

Netscher.

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THE BI8E AND PB0GBE88

Netsoher,

Van Slinge'

iandcmd

Dusart,

Schalkcn.

Vcmder Werff.

Landscape' painters.

CnsfP.

Trippenhuis, Amsterdam, are good examples of his work. Two interiors, Nos. 368, 9, are in the Louvre; three fine portraits are in the Hermitage, Nos. 882, 3, 4 ; other good works are at Dresden, of which the best are Nos. 1627, 30 (Plate XXXII., 3) -32 ; and, among others in our National' Gallery, the best is No. 843, *Boys blowing bubbles.* Pieter van Slingeland and Comelis Dusart were worthy followers respectively of Dow and Ostade. Good examples of both are in the Trippenhuis at Amsterdam and at Dresden, but a very fine work by Dusart is in the Six Collection at Amsterdam. Slingeland is represented in the Louvre by No. 486, a ' Dutch family.' The works of that clever portrayer of candlelight, Godfried Schalken (1643-1706), are often met with; perhaps that in the Hague Gallery, No. 128, is one of the best. Another of his finest is No. 923 in the Hermitage. Good examples are Nos. 1666, 6 at Dresden. In the Louvre he is represented, among others, by a ' Holy family,' No. 478, and a candle- light subject. No. 480. In our National Gallery the best are Nos. 997, 9. His well-known portrait of William III. of Orange, by candlelight, is No. 424 in the Darmstadt Gallery. The last of these masters of genre was Adrian van der Werif (1651-1722), whose small works are characterised by an extreme smoothness which has the effect of painting on china. Pictures of a higher quality, however, larger than those just referred to, are in the Hermitage and at Munich ; such are Nos. 984, 6, 7, besides others, in the first-named gallery ; while in the second an entire cabinet is devoted to the master. Others are at Amsterdam, the Hague, Dresden, and several are in the Louvre.

Having noticed the chief Dutch masters of portraiture, still-life, genre, and historical painting, we have yet to consider another important group — ^namely, the landscape- painters.

One of the earliest and best of those who studied land- scape for its own sake, and not merely as an accessory, was Albert Cuyp of Dordrecht (1606-91), whose power of reproducing certain charming atmospheric -effects is re- markable. Our National Gallery contains excellent works,

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Plate XXXII. to face page 134.

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OF PAINTING IN HOLLAND.

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Nos. 53, 960 (Plate XXXIL, 1) : so also does the Dulwich Gallery, where Nos. 163, 9, 239 may be noted. There is one in the Trippenhnis, No. 77; in the Van der Hoop Mnseum one. No. 29 ; and in the Six Collection there are two beautiful worics by him, one a moonlight scene — all at Amsterdam. An admirable landscape with cows, No. 104, is in the Louvre. Sometimes Cnyp depicted poultry, cattle, &c. ; as in the Museum at Brussels, No. 1^0, in the Trippenhnis, No. 80, at Kotterdam, among others, Nos. 41, 2, 3, 5, in the Lyons Museum, No. 212, and in the Munich Pinacothek, No. 1036. Sometimes he introduced figures and horses into his open-air scenes; as in Nos. 105, 6 in the Louvre, No. 21 at the Hague, and No. 2355 at Dresden. In the Hermitage there are good small examples of cows and horses, Nos. 1101, 4, 5, 7 ; a ' Sea-piece with boats,' No. 1102 ; and a ' Moonlight at sea,* No. 1106. Cuyp painted some excellent portraits also. One is in our National Grallery, No. 797. Others are in the Louvre, Nos. 107, 8.

Jan and Andries Both (about 1610-56), who generally worked together, were also very successful in rendering the warmth and glow of summer sunlight in their Italian landscapes. Li the Trippenhnis No. 49 is the best example ; in the Van der Hoop Museum No. 20 is one of their finest works ; while at the Hague there are two, Nos^ 17, 18. Good examples are in the Louvre, particularly Ko. 43 ; in our National Gallery, at Dulwich, Munich, and Dresden ; and to be noticed as fine works are N o. 26 in the Antwerp Museum, Nos. 50, 1 in the Trippenhnis, and No. 124 in the Brussels Museum. Li most of these the land- scape i^ by Jan, and the figures are by Andries* While the Boths chose their subjects from Italy, Jan van Goyen (1596-1656) executed many views of his native canals, generally in a tender grey tone with misty atmosphere. Such are Nos. 121, 2 in the Amsterdam Gallery, No. 173a at Frankfort, and No. 1378 in the Munich Gallery. Other works are to be seen in the Louvre, at Berlin, in the Hermitage, and at Dresden.

Three Dutch landscape-painters, who were intimately connected in their works, may be considered at the same time. These are Jan Wynants and his two pupils, Philip

CVkp.

Both,

Van Qoyen,

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136

TSB ^BWE AND PR0QBE88

Wynanti,

man.

Wouwerman and Adrian van de Velde. Wynants (about 1600-77) chiefly executed small and carefully finiahed landscapes. Among others at Munich Nos. 309, 319, 1118 are the best; amd in the Hermitage Nos, 1112-16. An excellent small work is in the Amsterdam Museum, No. 476, and similar examples are Nos. 350 (Plate XXXIIL, 9), 1, 2 in the Brussels Museum, while No. 455 there is in a larger style. Three fine specimens are in the Louvre, Nos. 679, 80, 1 — -in the first two the figures are by Adrian van de Velde; aaid a good one is No. 198 at Frankfort. In our National GaHery are two excellent small landscapes, Nos. 971, 2; and at Dulwich, Nos. 11, 12.

Philip Wouwerman (1619-68) was a clever painter of groups of horsemen, and his subjects were generally chosen for the purpose of introducing them. Accordingly battles and hunting-pieces were favourite productions. His landscape was often admirable, and was sometimes not merely sub- servient to the figures, but formed the motive of the work. The pictures are generally of small size and highly finished, but a fjBBT greater number than he could possibly have ^painted are catalogued under his name in European ^Ueries. Many of these must have been the work either •of hifl two brothers, Pieter and Jan Wouwerman, or of flome mare obscure followers, who copied the originals with or without slight alteraJtion to supply lihe demand for such works. For instance, at Dresden «irty pictures are given to Philip, at Munich seventeen, and in the Hermitage no less than fifty, and so on in most other galleries. It is impossible to notice all the best examples of Wouwerman's work, but a few may be mentioned. In the Trippenhuis, Amsterdam, Nos. 462, 5, 6, 8, 70 are excellent : so also is a large one in the Six Collection. Some good pictures are at the Hague, Nos. 184, 5, 6, 8 ; in the Louvre, Nos. 565, 7, 70 ; and in our National Gallery, Nos. 878, 80, 976. Among several at Munich the ' Staghunt,' No. 208, and the 'Watering place,' No. 998 (Plate XXXII., 4), are named. In the Hermitage, St. Petersburg, the finest are Nos. 995, 8, 1006, 21, 7, 34, but many others might be noticed, for which see catalogues at the end. At Dresden, among several, Nos. 1368, 75 are the best.

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Adrian van de Velde (1639^72) ezeonted many excellent works, both in landscape and figures. In the Trippenhuis at Amsterdam are two fine examples, Nos. 427, 8, admirably painted. In the Hagne Museum No. 165 may be noted ; one of the most perfect small works of the master is in the Six Collection at Amsterdam ; and in the Yan der Hoop Museum may be seen an excellent work. No. 121. Other good examples are in our National Gallery, at Dulwich, in the Louvre, at Berlin, in the Hermitage, and at Dresden.

Two landscape-painters of this time, whose works are always highly finished, though too often wan ting in interest, were Nicholas Berchem and his pupil Kalrel du Jardin. They both visited Italy and painted chiefly small Italian laodsoapes, introducing figures and cattle. Selreral good examples of Berchem (1624-83) are in the Amsterdam Trippenhuis; ei^ecially so is No. 31. Hemarkably fine works are in the Hermitage, and in great number; fat example, Nos. 1070-84 inclusive. Numerous wotks are at Dresden, and in the Louvre, for which see catalogues. By Karel du Jardin (1630-78) there is a large work. No. 195 at Amsterdam, much inferior: to some smaller specimens, such as Nos. 193, 6, ^. Both masters are well represented at the Hague, in the Louvi^, in our Kaftional Gallery, in the Dulwich Gallery, and indeed in motft (rthets.

In striking contrast to these somewhat conventional painters is the young and vigorous Paul Pottet (1626-64), whose admirable studies of animals gained for him a place among the best Dutch masters of this period. Everybody knows the famous * Young bull ' of life-size iin the Hagtie Gallery, No. Ill (Plate XXXII., 5) ; but his smaller works, such as No. 113 there, for*instaaice, are, we think, still m6!re deserving of admiration. In the Trippenhuis at Amsterdam are some excellent examples of the master's power in land- scape, Nos. 305, 6, 7, 8 ; and in the Van der Hoop Museum two small works, Nos. '90, 1. In quite anoi^er style is the large equestrian portrait of Professor Tulp in the Six Collection. The Louvre contains four good works, Nos. 399-400, and two without numbers ; the Munich Gallery one excellent specimen, No. 1103; and our National Gallery two, Nos. 849 and 1009. At St. Petersburg are

Adrian van ck Velde,

Berchem,

JC.du Jardin*

Paid Potter.

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THE BI8E AND PB0GBE88

Faul FoUer,

JRuysdaei. Mobbema,

many works, of whioli should be noted a ' Woman with a oow,' No. 1051, perhaps his finest work, although not large ; another ' Landscape,* No. 1056 ; a noble ' Dog and kennel,' No. 1065; a small *Bull,' No, 1057; and a remarkable picture in several compartments and highly finished, the 'History of a hunter and his dogs,' No. 1059 : the hunter is successful at first, but is at last taken by the animals, tried before the elephant and lion, condemned and executed by the bear, while the dogs are hanged. In the Museum at Berlin is a picture of marvellous finish, of the wood at the Hague with hunters, No. 872a.

During the middle and end of the seventeenth century, two most important landscape-painters flourished in Holland — ^namely, Jacob Rujsdael of Haarlem (1625-^1) and his pupil Meindert Hobb^na (1638-1709). These were more truly masters of landscape proper than any of the painters already mentioned. Buysdael sought scenes of more stirring character than the flats of Holland afforded, and found in Norway the waterfalls and rocks which form so many of his subjects. Hobbema's forest scenes are remarkable, equally with those of his master, for patient labour and careful rendering of the foliage and other details. Ruysdael's works are usually colder and more sombre in tone than those of Hobbema, whose some- what greater warmth of colour gives additional charm to his landscape : which is, moreover, less conventional, and studied from nature under more varied aspects. Many of their best works are now in private collections, but a suffi- cient number of admirable examples are to be found in public galleries to illustrate their styles. In our National GuUery there are fine specimens of both, especially a ' Landscape in showery weather,' No. 685, and the admirable * Avenue Middelhamis,' No. 830, by Hobbema; and by Buysdael two, Nos. 627 and 854. The Brussels Gallery possesses a very important landscape, No. 296, by Buysdael (Plate XXXIIL, 1), in which the figures are by Adrian van de Velde, and also a fine work of Hobbema, No. 419 (Plate XXXIII., 2). In the Trippenhuis at Amsterdam there is a dioice specimen, the ' Watermill,' No. 159, by Hobbema;

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and by Euysdael Nos. 337, 8 are characteristic, but Nos. 339, 41 are beautiful small works. Landscapes by both masters are to be seen in the Van der Hoop and Six Collec- tions. The Belvedere at Vienna contains good works also — ^by Hobbema No. 67 Room II. let floor ; and by Euysdael Nos. 6, 29, 36 in the same room. At Dresden, among many by Euysdael, No. 1436, known as the 'Hunt,' No. 1437, known as the * Jews' cemetery,* and No. 1443, known as the 'Monastery/ are excellent examples. A number of Ruysdael's finest works are in the Hermitage ; among them may be mentioned Nos. 1136, 9, 43, 8. As excep- tional examples of very small work and high finish, rarely met with, are two in the Museum at Berlin — ^No. 885o, Haarlem in the distance with minute details in the fore- ground ; and No. 899d, a landscape. At Munich again we find works by both painters — ^a landscape with a charming distance by Hobbema, No. 1036 ; and numerous works by Euysdael, of which Nos. 1038, 45 are the best. The Louvre possesses several works by Euysdael, Nos. 470, 2, 3, and one by Hobbema, No. 206.

Philip de Koning (1619-89) of Amsterdam was an ex- cellent painter of distant and extensive landscape. He is well represented at Amsterdam in the Trippenhiiis by two works, Nos. 210, 11 ; and in our National Gallery by good examples, Nos. 836, 974.

This brief notice of Dutch landscape-painters cannot be closed without a mention of such men as Artus van der Neer of Gorcum, the painter par excellence of moonlight scenes : see Van der Hoop Museum, Amstei'dam Museum, the Hermitage, where there are no less than nine fine examples, Berlin Museum, Brussels Museum, and our National Gallery* Lastly must be named Jan van der Heyden, also of Gorcum, the faithful portrayer of Dutch streets with their red-brick houses bordering on the canals —see the Louvre, National Gallery, the Hague, Amsterdam, and the Hermitage fbr examples — and the two Dutch painters Adam Pynacker and Lingelbach, of whom it is only necessary to say that they both studied for some time in Eome, and also frequently painted the figures in the landscapes of other Dutch masters. For examples of their

Huysdaei, Hobbema,

De Koning,

Van der Neer,

Van der

Pynacker. Lingelbach,

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140

THE RISE AND PR0QBE88

JPynacker, Lingelhach,

Marine' painters.

Babk- kmzen.

Willem van de Velde.

Vande Capelle,

work, see the Hague, Amsterdam, the Hermitage, the Dulwich Gallery, and the Louvre.

Dt only now remains to speaik of the Dtitch marine- painfters, of whom but three rose to the first rank. These were Ludolf Backhuizen, Willem van de Velde, dalled the younger to distinguish him from his father, a painter of the same name, and Jan van de Oapelle. ^here are five works by Backhuizen (1631-1709) in our National Gallery — two are important, Kos. 204, 8lfi. At Amsterdam is a fine * Embarkation of Jan de Witt,* No. % and in the Six Collection is a remarkable painting of a boat tossing on the sea in a storm. He is wcilll represented in the Belvedere at Vienna, in the Munich Gallery, No. 230, ^nd in the Louvre. Willem van de Velde (1633^1707) tisually chose to render the sea under its calm and peaceful aspects, and his works are clearer and lighter in 1;pne than those of Backhuizen. Such a ' Calm ' is No. 168 at the Hague ; and two in our National Gallery, respectively a ' Calm ' and a * Stonn,' Nos. 149, 50, a're excellent specimens. In the Amsterdam Museum Nos. 421, 2 are small examples, and No. 420 ia very large. In the Van der Hoop Museum Nos. 124, 7 mUst be noticed. In the Louvre No. 642 is an admirable work. Van de Capelle (bom 1636) is nowhere better seen than in our National Gallery, where Nos. 964, 6 are the best. A fine example is 876a in the Mu^um at Berlin.

The Dutch school is remarkable for the great numbe;r of artists who, within the limit of its scope, attained a certain amount of celebrity, and whose works are found in the museums not only of Holland but elsewhere on the Con- tinent. The value of work which consisted mainly in copying the pictures of the first Dutch masters, or in re- producing their style in pieces somewhat varied from the originals, whether in still-life, domestic scenes, or land- scape, is not sufficient to make the citation of examples necessary.

A few names, however, of the best of these " little Dutch masters " may be appended, and their dates are giVen in the following Table, while illustrative examples of their work win be found by reference to the catalogues at the end of this volume.

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OF FAINTma IN HOLLAND. HI

In portraiture the following may be noted : Cor- nells Janssen, Michael Tan Musscher, Adrian van d^r Venne.

In genre the following : Poelenbnrg, Bloemart, TJohter- veld, fi. van der Poel, Moncheron, David Ryckaert, Bre- kelenkamp, Hoogstraten, Salomon Eoning, A. de Vols.

Landscape, marine, architectural, &o. : Dirk van Deelen, Hackaert, Emanuel de Witte, Job Berckheyden, Gerrit Berckheyden, Dierick Stoop, Hugtenburg, H. C. Vroom, Van Everdingen, Hoeckgeest, Hendrik van Vliet, H. van Steenwyk (father and son), A. Waterloo, Swanevelt, Simon de Vli^er, Pieter vaA Laer.

Still-life, &c.: Jan van Os, Willem van Aelst*

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THE BI8S AND PB0GRE88

A TABLE Of thb DatIss Of m Principal PAnrrfeBs bv rstE Dutch School.

School.

Birth.

Death.

Haarlem •

Leiden . Leiden . Utrecht . Baarlem . Haarlem » Haarlem . Delft . . Amsterdam Utrecht . Hague .

Antwerp , Haarlem . Utrecht . Delft . . Hague . Utrecht . , Amsterdam .

Amsterdam .

Leiden • .

Utrecht . .

Haarlem . ,

Utrecht . .

Botterdam .

Delft . . .

Dordrecht .

Leiden . .

Haarlem . .

Haarlem • . Amsterdam . Utrecht . .

Albert Yftn Ouwater . . . » »

Gerhard or Geerrit yan Baarlem, or

of 8t Jans

Gomelis Engelbertsz

Lucas van Leiden

Jan Schoorel, or Schoorl . . » . Martin van Heemskerck . . » . C!omelis van Haarlem ....

Hendrik Vroom ......

Michael Janszoon, Van Mierevelt . Abraham Bloemart, about . . . Paul Moreelse ..•»...

Jan Tan Bavesteyn

Hendrik van Steenwyk, about . . David Teniers, elder . * . . »

Frans Hals »

Cornells van Poelenbufg. . . . Adrian van der Venne .... Daniel Mytens, elder^ about . « . Gerhard van Hontborst .... Thomas de Keyser (often miscalled

Theodore)

Cornells Janssen

Jan van Goyen ......

Jan David de Heem

Jan Wynants, about . * . » .

Jan de Heem

Simon de Vlieger, about ....

Hendrik Vliet, about

Albert Cuyp

Eembrandt van Ryn

Emanuel de Witte . . . . :

Adrian Brouwer

Pieter de Hooghe. painted 1628-71

Gerhard Terburg

Salomon Koning ....44 Jan Both and Aiidries Both, about .

^0 date known, but
probably about the
middle of the 15th
century.
1468	1533
1494	1533
1495	1562
1498	1574
1562	1638
1566	1640
1567	1641
1567	1647
1571	1638
1572	1657
1580	1648
1582	1649
1564	1666
1566	1667
1689	1662
1690	1656
1692	1660
1595?	1660
1595?	1665
1596	1656
1600	1674
1600	1677
1603	1650
1604	—
1605	1661
1605	1691
1606	1669
1607	1692
1608	1640
1608	1681
1609	1668
1610	1656

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143

Death.

Haarlem . Dordrecht Antwerp. Amsteraam Haarlem . Haarlem . LeSden . Amsterdam Leiden . Haarlem . Haarlem . Amsterdam Amsterdam Haarlem . Delft. . Amsterdam Delft. . Amsterdam Alkmaar . Utrecht . Botterdam Haarlem . Amsterdam Haarlem . Amsterdam Leiden . Dordrecht Amsterdam Amsterdam Haarlem . Amsterdam Dort . . Delft. . Amsterdam Amsterdam Amsterdam Leiden . Utrecht . Amsterdam Amsterdam Haarlem .

Amsterdam Utrecht . Hague . Leiden . Leiden .

AlVmftftf

Dort . .

Adrian van Ostade .... Dirk Stoop, ahout .... David Teniers, younger . . .

Ferdinand Bol

Bartholomaiis van der Heist. .

Pieter van Laer

Gerhard Dow

Govert Flinck

Gabriel Metsu, about ....

Lgaak van Ostadd

Philip Wonwerman .... Artus van der Neer ...»

Philip de Koning

Gomelis Bega

Willem van Aelst

Jan Battista Weenix ....

Adam Pynaoker

Gerbrandt van den Eckhout . . Aldert van £verdingen . . .

Cornells de Heem

£. van der Poel, painted 1646-54 Nicholas Berchem ....

Paul Potter

Jacob Ruysdael .....

Jan Lingelbaoh

Jan Steen

Samuel van Hoogstraten . . .

Earel du Jardin

Willem Kalf

Job Berckheyden

Ludolf Baokhuizen .... Nicholas Maas, or Maes . . . Jan van dm Meer .... Frederik Moucheron .... Willem van de Velde .... Jan van de Gapelle .... Frans van Mieris, elder . . . Molchior Hoadecoeter . . . Jan Hackaert, about .... Jan van der Heyden .... Gerrit Berckheyden .... Meindert Hobbema .... Adrian van de Velde ....

Abraham Mignon

Gaspard Netbcher

Pieter van Slingeland . . . Adriau de Vols, about • . . Dirk vau Deelen, 17th century . Brei<elenkamp, 17th oeutnry Godfrled Schalken . . . . Daniel Mytens, younger, about .

1610	1685
1610	1688
1610	1694
1611	1681
1613	1670
1613	1673
1613	1675
1615	1660
1615	1667
1617	1671
1619	1668
1619	1683
1619	1689
1620	1664
1620	167a
1621	1660
1621	1673
1621	1674
1621	1675
1623	-—
1624	1683
1625	1654
1625	1681
1625	1687
1626	1679
1627	1678
1630	1678
1630	1693
1630	1698
1631	1709
1G32	1693
1632	1695
1633	1686
1633	1707
1635
1635	1681
1636	1695
1686	1708
1637	1712
1638	1693
1G38	1709
1H39	1672
1(139	1679
1639	1684
1640	1691
1641	1698
1643	1706
1644	1688

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TBE RISE 4ND PnOGBESS

School.

Amsterdam . Jan, Weenix

Kotterdam . Michael yan Mussoher

Haarlem . . Jan, van Hugtenbnrg

Bottordam . Adrian van der Werff

Haarlem . . Gomelis Dnsart

Leiden . . Wil}em van Mieris

Amsterdam . BacholRuysoh

Amsterdam . Jan van Hnysmn

lieiden . . Frans van Mieris, younger

Hague . . Jan van Os

BiTth.

Death.

164^ 1645 1646 1651 1660 1669 1664

1689 1744

1719 1705 1733 1722 1704 1747 1750 1749 1768 1808

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THE RISE AND PROGRESS OF PAINTING IN GERMANY.

There was an early period in the history of German art when, although its eflForts were rude and tincouth, it was unaffected by foreign influences, and soon developed estimable qualities of its own. A taste for pictorial representation was manifest in the Ehenish provinces, and a school was established of which the centre was Cologne. Certain records have been found there of one Wilhelm von Koln, or Master Wilhelm — the earliest notice of his ex- istence appearing soon after the middle of the fourteenth century (1358) — ^who appears to have been greatly esteemed, and who was appointed painter to the city. Many productions of this early Ehenish school are attri- buted to him — among them two pictures now in the Museum Wallraf-Eichartz at Cologne — ^with probability, but not with absolute certainty. There is more evidence, however, to connect his name with some slight remains of frescoes formerly in the Cologne Eathhaus, now in the same museum. The two pictures referred to are Nos. 40, 1, a small triptych of the ' Madonna,' and a large and flne work, * Christ on the cross, the Virgin and eight apostles.' The heads are remarkable for being finely modelled from nature; the extren4ties are less finished; the limbs of Christ, of extreme tenuity. The head of each saint has an elaborately painted aureola bearing his name. The work, like that of the early Cologne school generally, is marked by softness of contour, blending of light and shade, and high finish in the features and hair. Another of these rare works is No. 160 in the Museum of Darmstadt, a votive picture in five parts; where also are several examples of the school. A considerable collection of similar works are in the Pinacothek at Munich^ in Cabinet I.

Fourteenth century. Wilhelm von Kdln.

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THE BI8E AND PB0GBE88

Fifteenth

century.

Loethener.

The Master of the Lyvers^g ' Passion,'

Master of Liesbom,

The next prominent name is that of Stephen Loethener, or Loohner, or '^ Master Stephen," who came from Constance to Cologne, and took np his abode there in 1442. The large triptych of the * Adoration of the magi/ known as the ' Dombild,* in the Cologne Cathedral, tinqnestionably a very fine work, is believed to be a masterpiece of Loe- thener, and shows a decided advance on the work of Wilhelm in regard to the realistic treatment of the subject (Plate XXXIL, 2). Another example by him is a small picture of the * Madonna of the Bosary,' No. 118, among others, in the Cologne Museum. Another is ascribed to him at Darmstadt, No. 168.

After Lbethener the school declined for some time, until the influence of the great Flemish advance in art under the Van Eycks and Bogier van der Weyden made itself largely felt here as elsewhere. The earliest signs of this influence in different parts of Germany may be traced in several works of the period (end of the fifteenth and beginning of the sixteenth century), some of which have been attributed, although without foundation, to Israel von Meckenen, who was an engraver, but almost certainly was not a painter. Among others, a l€u:ge oompoiition, formerly in the Lyversberg Gallery at Cologne, and now in the museum there, is no longer attributed to Meckenen, but to a painter unknown, and henoe referred to as the " Master of the Lyversberg ' Passion ' " (painted 1463-90). The series consists of eight fine panels, Nos. 151-t8, well preserved, full of interesting detail, quaintness of character, and painted with a finish and colour which point to the influence of the Yan Eycks. Catalogued under the same name are a * Conversion of S. Hubert,' No. 352 in the National Gallery, Edinburgh ; and a * Presentation in the temple,' No. 706 in our National Gallery. Other exaxaplBS — ^namely, six panels, portions of an altarpiece, Nos. 613-18 — are wiiJi several other examples of the school in the Pinacothek at Munich.

Some excellent works belonging to a master, n^m^ unknown, were executed for the Monastery of Liesbom, Westphalia, in 1465. He is spoken of therefore a/B the ** Master of Liesborn," and two panels by him may be seen

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in our National Gallery, Nos. 260, 1 ; and one in the National Gallery, Edhiburgh, No. 850, all originally forming part of iJie Lieebom altarpieoe, which was hk cliief work.

Another master obtains distinction firom a tr^>tyoh of the < Death of the Virgin," Na 207 in the Cologne Museum, a highly interesting picture, painted early in the fifteenth century. Other fine illustrations of the Cologne school, by artists of great merit, whose names are miknown, are Nos. 159 and 199. A beautiful example by the Master, of the * Death of the Virgin,' is a triptych. No. 578 at Berlin ; another is No. 5 Scorn IL 2nd floor in the Belyedere, Vienna ; a third is at Munich, Nos. 661, 2, 3 ; and a fourth is in the Stadel, Frankfort,. No. 99.

The old cities of Colmar, Ulm, and Augsburg were at about this x^eriod centres of a school of art recognised as the Swabian, which received Flemish influence through the Oologne sohooL The earliest painter and engrayer of note at Colmar was Martin Schongauer, or Schon (1420-99), ^0 studied under Van der Weyden, and thus ultimately carried Flemish feeling, through his pupil Wohlgemuth, into the future Ntlrnberg sohooL Some fine paintings by Schongauer exist: the * Ms^nna' in S. Martin's Church at Colmar is generally regarded as his mastei^iece. The * Death of the Virgin' in our National Gallery, No. 658, is also a remarkable ei^ample of this master. Several works at Darmstadt are ascribed to him, of which Nos. 217, 18 should be noted. Two others are attributed to him in the Moritz-Kapelle, Numberg, Nos. 66, 111.

At Ulm a worthy representative of the school was Bartholomaus Zeitblom (records 1450-1517), some of whose best works are in the Stuttgart Museum — ^via., parts of an altarpieoe, <&c., Nos. 421-7, and others: of which No. 422 is the ' Visitation,' dated 1496. (See also tiie catalogue at tibe end of the volume.) The predella of the altarpieoe is in the Berlin Museum, No. 606a ; where also are ^e two panels ' S. Peter ' and ' S. Anne,' Nos. 561a and 561b. He may be studied in the Moritz-Eapelle at Nnmberg, Nos. 58, 65. An excellent work, in four panels of large size, is the 'History of S. Valentine' in the

L 2

MaUer of

MasUrof the'Deaik of the Virgin*

Sfffobian school.

At Colmar,

Schon'

gauer.

At Ulm, Zeitblom,

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148

THE BISE AND PB0GBE88

Zeitbhm.

At Augs- hirg^

Holbein the eider.

Sixteenth century, Holbein the younger.

At Basle,

Augsbxirg Gallery, Nos. 79-82. Four works also may be seen in the Cathedral there. There are several figures of saints at Munich by him, and one at Darmstadt, a * S. Lawrence,' No. 223.

At Augsburg this school commences with the Holbeins, who flourished as painters during three generations. Of the first it is unnecessary to speak in detail, the second and third alone being famous as "Holbein the elder" and "Holbein the younger." The former (1460-1624) exe- cuted some good pictures in the manner of the school, several examples of which are in the Museum at Augsburg, the three principal being altarpieces, Nos. 26-7, Nos. 84-6, and Nos. 683-6. Four other works are in the dathedral there. There are numerous panels, parts of an altarpiece from S. Catharine's, Augsbuxg, now at Mimich, of which Nos. 16, 16, and 17 are the best. These, painted about 1616, were formerly supposed to be early works of the younger Holbein, but are now regarded as the work of the elder, probably assisted by his sons, or by his brother, Sigismond. Other examples are in the Moritz-Kapelle, Niimberg ; and in the Stadel, Frankfort, there is a series of seven panels relating to the Passion,. Nos^. 76-82.

But the style attained its highest perfectiom in the works of Hans Holbein the younger (1497-1643), one of the greatest painters Germany has produced. Until lately an altarpiece of four sides painted in 1612 — ^the two inner with S. Ulrich and S. Wolfgang, and the 'Death of S. Catharine ; ' the outer a ' Martyrdom of S. Peter ' and a 'Madonna* — in the Augsburg Gallery, Nos. 673-6, was regarded as his earliest production ; but most critics are now in favour of ascribing it to the father, whose work it certainly resembles.

The younger Holbein painted soon after this date an altarpiece, now in the Pinacothek at Munich, of which the finest portion is the * Martyrdom of S. Sebastian,' No. 17. He next settled in Basle, where in the Gallery may be found many important early paintings, besides a large number of drawings in pencil, tinted, and in pen and ink. The preservation of these is due to the zeal of Holbein's friend, Amerbach, a lawyer, and great lover of art, who

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OF PAINTING IN GEBMANY,

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devoted many years to the acquiBition of Holbein's works. Some of his earliest portraits are here, one of the most admirable being that of Amerbacsh himself, No. 13, painted in 1519, and among others, a group of Holbein's wife with two children, on one panel. No. 20, supposed to have been painted in 1629. Of later portraits a fine example is that of 'Erasmus writing,' No. 16; another, that of a merchant, No. 35, besides which are two highly finished portraits of the same woman, the first, • Lais Corinthiaca,' painted in 1526, No. 22; the second, less excellent, as a Venus, No. 23. But nothing in the Museum is more re- markable than the life-size painting of a corpse, No. 19, fine in drawing and colour, and studied with extraordinary fidelity, entitled a 'Dead Christ,' signed and dated 1521. There also are his well-known scenes from the Passion, a Bmall altarpiece in eight compartments. No. 26^ marked bj onide colour, intermingled with gilding, and highly finished in every detail after the manner of the time. The drawings in another room are well worthy of study. Among them may be found his own portrait in pastel. No. 15. During hia residence at Basle, Holbein probably executed the drawings for the well-known wood engrav- ings of the * Dance of Death,' a subject which had been treated long before, among other places, in fresco at the Bomenican Church at Basle, remains of which are still preserved in the old chapter-house at the Cathedral. At the same time he executed some wall paintings for the Town Hall of Basle^ a few fragments of which are pre- served in the Museum, Nos. 27-33. Later still, when Holbein was about thirty years of age, he painted one of his finest devotional pictures, the * Madonna ' of the Burgo- master Meyer, now in the Eoyal Palace of Darmstadt. This work, although less gexievally known than the popular and beautiful picture in the Dresden Museum, No. 1809 (Plate XXXIV., 1}, is superior to the latter, which, since the Holbein Exhibition at that city a few years ago, is acknowledged not to be from the master's hand. The picture at Darmstadt is free from the uniform dull red tint of the Dresden work, is full of varied colour, has more light and shade, finer modelling, and the expression

HoOmn, the younger.

Later toorksm

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150

TBE nWE AND PROOBESS

ffolbehi the Portraits,

erf the figure is more perfectly rendered.* About 1626 it appears tlujtt Holbein first visited England, where he soon became attached to the Court of Heniy VIIL, and spent modt of the remaining seventeen years of his life. Here he worked chiefly in portraiture, in which branch of art he was a master of the first rank, a6 tho exquisitely finished poi4;raits by him in many European gall^ies and in numerous English manfiions testify. It may be said in- deed that he founded a school of porteaiture, ma,rked by a thorough study of the sitter's charaoter, and by earnest work in the reproduction of its feAtuires both physical and mentaL The fi>llowing Ikt <df eiamples may be noted :^^

While no '^dSfk of Holbeiin oxists in out National Gallery, tuatij are attributed to him at Hamptcm Court> nearly twenty according to ihd csatalogtm, of whioh some six or seirett may be genuine^^mobtly early works : such are the pair of panels •Frobeniits' the printer, No. 603^ and ' Jiraemufi,' No. 59fr ; * Erasmus writing/ No 504j and the portrt^itd of his fotbet and toother on ooe panel, No. 608. There i* a fine collection of otayon portraits, nearly ninety in number. In her Majesty's collection at WindsOT, chiefly of personages of the court of Henry YIII. The so- called i^ictnre of the * Ba^beif (Surgeons' is still pteserved in the Court-^ootn of Ihe Barbers' Oompany, MonkweU Street, London. A fine small early portrait of a young man in red is No. 226 in the Dannstadt Galleiy ; alid another early exailaple is No. 88 in the StMel at Fiankfort t two small portraits are Nos. 52b and 52i) in the Morit2-Eapelle, Nlitnberg. The LouVre is v^ty rich in fine examples; among them are the renowned pori^aits of Erasmus, No. 208, Nicholas Kratzer, No, 20^, painted in 1528, Archbishop Warham, No. 207, Sir Thomas More, No. 210, Anne of Cleves, No. 211, and Sir Bichard Southwell, No. 212 (a replica of one in the Uffid, No. 765) ; at the Hague may be seen the admirable likeness of Gheseman, falconer to Henry VITI., No. 238; at Dresden is that splendid example of the goldsmith Morett, No. 1810 (Plate XXXIV.» 2); a

* Tlie wtiter hdd the advatitage of maMn^ eareftil exianiiiatioDS of both pictures, irith a tery fisw days' interral l^tween the tiro.

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Plate XXXIV. To face page 150.

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OF PAIlfTlNG IN GEBMANT.

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notable one among others which are doubtful, in the Museum of Berlin, is the magnificent half-length of George Cryzen, No. 586, with details marvellously executed (Plate XXXIT., 5) ; in the Belvedere, Vienna, the portrait, among others, Of the physician Chambers, No. 6fi ; of a young man, unnamed, No. 85, and the splendidly exeetited Jane Seymour, No. 61 Room I. 2nd flOot.

Atigsburg also produced abotit this time, besides the HolbeinS, two worthy artists, Hans Burgkmair(1472--1 559) and Christopher Ambelrget (1490-1568). The former executed numerous woodcuts, the best known being the * Triumph of the Emp^x)r Maximilian.' Many paintings by him are at Munich ; among th^n h fine * S. John at Patmos,' No. 65. At Dresden is an altarpieoe. No. 17S9. At Vienna the *Life and passion of Christ,* a most elaborate and comprehensive work, containing, besides the centre-piece, ^ 'Cimcifixion,' no less than 156 small scenes from the gospel narratives $ it is No. 60 Boom I. 2tid floor. Of several example* in the Augsbui^ GaUety^ the best ate Nos. 19^22 and 24; othet^ ate in the Moritz- Eapdle at Ntimberg, and in the Getmitn Museum there, iis a Verf fine ' Madonna,' ditted 1509.

Ambetger distinguished himself as a poiistdt-p^dnter in the manner of Holbein. T\f o fine examples are attributed to him in the Beriin Gallery — ^portraits of Charles the Fifth and of Sebastian MtinSter, Nos. 656, 83 ; another is Ko. 84 at Frankfbrt ; other works are at Amberg. There is a be^utifal altarpieoe by Mm in a chapel at the east end 6f the Ciithedral at Angsbnrg* another is ascribed to him in the Moritz-Kapelle, Nfenberg. One portrait, in the Gallery at Augsburg^ long assigned te him, has recently been git^en to B. Beham : see ciitalogue.

A third and irery able portrait-painter of this period may be mentioned here^ viz., BartholomHus Bruyn, of Cologne (1 492-1 556). Examples of his Work in portraiture are to be found at Berlin, No. 588 ; at Frankfort, Nos. 101, 2, 3 ; at Cologne, No. 356 ; at Brussels, Nos. 4, 5 ; tind in the Hermitage, St* Petersburg, Nos. 470, 1 — all admirable productions. Parts of an altarpieoe by him ai^ Nos. 687, 8 at Munichr

ffoibeinthe younger.

Burgkmair,

Amiberger,

Bruyn.

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THE BI8E AND PB0GBE88

Fratkxmian school.

Wohlge- muth.

A, Durer,

Meanwhile, besides the Swabian, another equally im- portant school, which has been termed the Franconian, took its rise in the picturesque old city of Ntimberg, already the home of Adam Kraft and Peter Vischer, men famous in the history of German plastic art. The master- spirit of this school was Albrecht IMirer, but before con- sidering his work we may first notice the productions of his master, Michael Wohlgemuth (1434-1519). Most of these are characterised by warmth and brightness of colour, by forms and features which are unpleasing, often re- pulsive, and by action which in some cases is almost grotesque. In illustration may be named an altaxpiece, dated 1465, including a famous * Crucifixion,' Nos. 22, 7, 34, 9 in the Pinacothek at Munich, several panels in tbe Moritz-Kapelle, and a fine triptych in the Frauenkirohe at Numberg.

Albrecht Dtirer (1471-1528) studied under Wohlgemuth for three years, and then travelled abroad before he finally settled as a painter and an engraver in Numberg in 1494. His most important works, however, the number of which testify to his great activity, were executed after a. visit to North Italy in 1506. Belonging to the earliest period of his life is a series of woodcut designs illustrative of the Bevelation of S. John ; after this he painted the portrait of his father. No. 720, and that of himself No. 716 (at thirty years of age), now in the Pinacothek at Munich. Another early portrait of his father is No* 87 in the Stadel, Frankfort. At a somewhat later period he executed the beautiful 'Adoration of the kii^s,' No. 1141, in the Tribune of the XJflfizi at Florence (Plate XXXIV., 4). In the Belvedere, Vienna, there are two very large composi- tions of the master full of delicately finished figures — namely, the * Martyrdom of christians in Persia,' No. 15, and a representation of the * Trinity surrounded by angels,' No. 18 Boom I. 2nd floor. Into both these works Diirer has introduced his own portrait ; and in the latter there is some beautiful landscape beneath. At Dresden may be seen a fine * Christ on the cross,' No. 1722a, dated 1500. Belonging to a later period is a ' Madonna,' No. 851 in the Ufi&zi at Florence ; where also is a fine portrait of himself

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OF PAINTING TN OEBMANY,

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at twenty-six years of age, No. 434, of wbioh there is an equally good repetition at Madrid, No. 1316. Many of his most famous portraits were painted about this time ; for example, the well-known head of his friend Pirkheimer, that of Wohlgemuth, No. 731, and those of the Baum- gartners, Nos. 1, 3 in the Munich Finaeothek. Another fine example is No. 29 Boom L 2nd floor at Vienna. Our National Gallery has one portrait only. No. 245, that of a senator. Two grand full-length figures of Charlemagne and Sigismund, recently in the Eathhaus, are now in the Qerman. Museum, Ntirnberg; where also is the highly finished portrait of Holtzschuher, dated 1526. Then there is a magnificently painted head of an earlier date, an ' Ecce Homo,' No. 102 in the Moritz-Kapelle of that city. At Madrid also are two fine single figures of Adam and Eve, Nos. 1314, 15, which illustrate his work of the middle period. Among his most celebrated and his latest works are the two- panels containing life-size full-lengths of the Apostles • SS. John and Peter,' ' SS. Paul and Mark,* Nos. 71, 6 in the Pinaootbek at Munich. They are dignified figures, painted in a broad style, and in this particular differ from his earlier and more minutely finished pictures. But Dfirer's powers are also equally displayed in numerous engravings and woodcuts, some of which rank among his best productions. Such are the two series of woodcuts of the • Great and Little Passion,' the * Life of the Virgin,' the well-known engravings of the ' Enight of Death,' the 'Melancholy,' and others* Also must be mentioned the prayer-book decorated by him for the Emperor Maximilian, now in the Eoyal Library at Munich.

Albrecht IMrer had several followers in Nlimberg : the chief of these was Albrecht Altdorfer ( 1485-1538), who snhsequently became influenced by Italian art; He exe- cuted some altarpieees, of which a fine example is that, Nos. 47 to 51, in the Gallery at Augsburg, essentially German in its feeling and manner. There is a good work, dated 1529, at Munich, No» 761. Others are in the Moritz- Kapelle, Nlimberg. After Altdorfer were the two Behams, Hans Sebald (1500-50), and Bartholomaus (1496-1540) and Georg Pencz. The first executed engravings; but

A. DUrer.

EngrG" vings, ^c.

Altdorfer,

The JBehcttns,

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THM BI8E AND PB0GBE88

The Behams,

Fencz,

Lucas Cranach,

there art two good pictures by B. Bebam in the Pinaoothek at Munich, Nos. 72 and 98; and one in the AugBburg Gkillery, No 696. An example, No. 435 in the GWlery at Stuttgart, 'S. Benedict in a landscape/ must be noted. Three sihall and wdll-inodelled portraits are attribttted to him at the Hague, Nos. 281$ 2, 3, of which No. 232 appears to be the besti A curiout^ Work by Hans Bebald Beham k the * History of David,' No. 14 in the Louvre, motinted as the top of a tAble. Pe6<i* (1500-50) was ati excellent pottrait^paintet in the style of Diitet. Three portndts are in the (German Mtiseum, Nfitnberg ; one is in the Uffin, Florence, No. 436 ; one at Vienna, No. 54, and a tripiydi, Nos. &, 8 Boom I. 2ndf[oot; Itnd thrae othets areatBerlin^ Nos. 582, 5, 7.

The best amotig Albi^<^t l>urer*43 pupils Was Ltoas Oranach (1472-1558), 6r pw]i)eriy Lucas Sund^, who established a school of {)aintiiig in Saxony, and was appoilited court painter. He <eftecuted several itfipottant works, chiefly iftltarpieces : fot example, one in a church at Bchneeberg; Another in the Meissen Cathedral; and at Weimar a third, in Whioh Oranach has intiVjdUoed his own portrait^ ^ weU as th&t of Luther, fbt* whom he had 4 great -feneration. Many of Crattach's umAller works, although bearing his nanie, wert pArtly ^xebuted by his pupils. A ' Holy family' ito th^ Palaazo Sdi^irfft at Borne is probably by Cranach hitnself. Besides these cdmpositions^ h^ vwy frequently pointed the fitide figtire in a mafinier whteh was often rather grotesque than beautiful. For this pti^pded he chose the isubject of Adatn 4nd Eve, severiAl representa- tions of which are to be seen i& Eui'o^ean galleri^a. The best perhaps are those in the Ttibimd dT the V&id at Florence, Nod. 1138, 42, and l^os^ at Btue^is, Nos. 365, 6 (Plate XXXIII., 8), while sotne othea^s are vety.ttneoutii. Several of this order atiB ^t Berlin. A bettef figure ^an ustlal is that of a * VeUus with Oupid,' of liffe-si26. No. 461 in the Hermitage, St. Petersbui^g ; th^re also is a gboi •Madonna tihder sai iijple-tree,' No. 450, with several portraits. The Munich Galleiy possesses some of his b^t ptoductioni^, both small and large : of the former a * Madonna,' No. 734, and an » Adam and Eve,' No. 7^9, and

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of the latter the * Woman taken in adultery/ No. 66 (Plate XXXIV., 3), may be mentioned amotig others. In the Gallery at Buda-Festh are several excellent and oharac- teristio examples, of whidi perhaps the best is an * HettKiia%* No. 36. The Gallery at Dreaden contaiwi a large number of Granaoh's works; among many in the Belredei-e, Vienna, is a * Christ appearing to the holy women/ No. 71 Boom 1. 2nd floor ; two smitll compositions, from Scriptil^e subjects, are ' Pharaoh's host desttoyed in the Bed Sea,' No. 13, and a *Sa(arifloe of Isaac^' No. 16, in the Augsburg Gallery; a larger work, dated 1637, is No. 348 at Brunswidk ; while his skill M a portrait-painter is fiia&ifeBted by the poartraits of Luther and of the Elector of Saxony, repeated at Paris, liunich^ Ntimberg, Vienna, Dt^^en and Florence. *rhere is one small portrait in our National Galleiry, No. 291; «nd two g6od oties are at Darmstidt, Nos. 244, 8.

Gmnach had one son of liie same name, called *' the younger" (16lS-^6), some of whose paintings are to be seen at Vienna. One large work is at Berlin, No. 693, another is at ifounswick, dated 1549, No. 361, and a good portndt of Frederii^ III. of Saxony is No* 261 in the Darmstadt Gallery. But after the elder Cranach the Saxon school gradually d-ecaycd.

No 6ther names of importance appear during the idx- ieeniii ceiiiury in the history of painting m G(^rmaiiy ; and it wa6 not until the se^^enteenth century that some more or lees worthy i^epresetitativefe appeared in the persons of Bottei^ai^mer, El^heimer, Sa^rartj and Boos, among others who beloto^ed to that period; while Balthas^ Behner, Christian Diettich, Baphael Mengs, and Angelica Kaufmanti flourished in the eighteenth century*

Of the first-named group, Johann Bottenhammer (1564- 1623) painted works of very varying siee and quality, chiefly religious, some mythological, fie is best seen at Munich and Vienna. Our National Crallery contains one small example, No. 66d, with ■% backgrotind painted by Velvet Brueghel, a cotnbination not uncommoti. Two good Moall examples ai^ in the Hermitage, Nos. 610^ 11; ^d one is in the Louvre, No. 424.

Lwxu Cranach*

Cranach

the

younger.

Seventeenth century.

Rotten- hammer.

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THE BI3E AND PB0GBE88

Elzheimer^

SandrarU

Boos.

Eighteenth

century,

Denner,

Dietrich,

Baphael Mengs.

Adam Ekheimer (1574-1620) painted chiefly in Italy, where he was known as Adamo Tedesco. His subjects were landscapes, often illuminated by artificial light, or moonlight scenes. Examples of the former are in the Louvre, No. 159, and in our National Gkdlery, No. 1014. Others are at Munich and Vienna.

Joachim Sandrart (1606-88) painted few pictures worthy of note, but was the author of a voluminous work on the history of art. There are paintings by him at Munich and Vienna, and a portrait in the Aihsterdam Trippenhuis*

Johann Heinrich Eoos (1681-85) was an animal-painter of note in the latter half of the century, and his works may be found in most continental galleriea

Commencing with the eighteenth-century group, Denner, the earliest of these (1685-1749), was most celebrated as a portrait-painter. He worked in a minute style, re- producing every peculiarity of the sitter with the greatest faithfulness, entirely sacrificing breadth of execution and grace of form. Characteristic examples of Denner's work are Noa 767, 79 at Munich, No. 117 in the Louvre, and others at Dresden. Several examples are in the Hermit- age : see catalogue.

Christian Dietrich (1712-74) was a painter of marvellotis fertility and varied powers. He lived principally at Dres- den, and executed a large number of works, mostly copies of old masters, chiefly Dutch, in which he achieved a greater success than as an original painter. Li our National Oallery the 'Itinerant musicians,' No. 205, is a good example ; but at Dresden there are no less than fifty-one works by him, painted expressly for the King Augustus III. in virtue of his appointment as court painter ; and several others are in the Hermitage.

Anton Baphael Mengs (1728-78) was one of the best painters of his time. He began to study his art at a very early age, his father taking him to Dresden first, and then to Eome, for that purpose. He spent much of his after- life in Eome, occasionally travelling back to Saxony and paying a visit to Spain, at both of which courts he held appointments. Most of his best works are now to be

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found at Madrid. The large ' Apotheosis < of Trajan' decorates the dining-room of the Boyal Palaoe there ; and his masterpiece, an ' Adoration of the shepherds,' No. 1435, with several other works, is in the Museum at Madrid. He is] also well represented in the Hermitage ; the best example being a large * Judgment of Paris,' No. 1302 ; for several others, including his own portrait, see catalogue. His own portrait occurs again in the Uffizi, No. 656, and at Munich, No. 153. A large representation of ' Apollo and the Muses ' in the Yilla Albani at Home is a good example of the master's fresco-painting.

Angelica Kaufmann (1742-1808) gained a wide-spread reputation in her lifetime, chiefly as a portrait-painter. She went to study in Italy, and came subsequently to England, where she was elected one of the thirty-six original members of the Royal Academy, so highly was she esteemed here. Her works show no originality, nor any great power of execution, and while sometimes grace- ful, are generally weak and insipid. Her own portrait may be seen in our National Portrait Gallery, S. Kensing- ton, at Munich, No. 152, and also in the Uffizi, No. 471. Three good specimens of her works are at Dresden, Nos. 1978, 9, 80. Three small examples are in the Hermitage, Nos. 1304, 5, 6 ; and one work, with two life-size figures, is in the Louvre, No. 678. At Hampton Court a full- length portrait. No. 502, may be mentioned.

R, Mengs.

Angelica Kaufmann,

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THE BI8E AND PB0GBE88

A TABLE

Of the Dates qf the Principal Paintebs of the Gebmah Sohools.

SchooL

De^ith.

Cologne . .

Bwabian . .

Niimberg .

Westphalian.

Westpbalian.

Cologne . .

Ulm . . .

Augsburg .

Bwabian . .

Niimberg .

Saxon . .

Augsburg , Niimberg

Augsburg .

Cologne . .

Augsburg . Niimberg Niimberg

Niimberg .

Ulm . . .

8axon . .

Wilhelm Yon ^oln, first reoord 1358

Stephan Loclmer, or Loethener, first reoord 1426 .......

Martin Sohongauer, or Sohon . .

Michael Wohlgemuth ....

Israel von Meokenen

Master of Liesbom, date of altai^ piece 1465

Master of Lyversberg, painted 1463- 90

Master of tiie * Death of the Virgin,*

15th century

Bartholomaus Zeitblom, first record

1450

Hans Holbein, dder

Matth'aus Grilnewald, about . . Albreoht Diirer ......

Lucas Cranach, or Sunder . . .

Hans Burgkmair

Albrecht Altdorfer . . . » . Christopher Amberger ....

Bartholomaus Brayn

Heois Holbein, younger Bartholomaus Behain . Hans Sebald Beham . Geor^ Penoz . . . Martin Schaffiier

1420 1434 1440

1378

1451 1499 1519 1503

Lucas Cranach, younger . Johann Bottenhammer Adam Elzheimer .

Joachim Sandrart . .

Johann H. Boos . . .

Balthasar Denner . . .

Christian Dietrich . .

Anton Baphael Mengs .

Angelica Eanfinann . •

1460

1471

1472

1485

1490

1492

1497

1496

1500

1508

1515

1564

1574

1606

1631

1685

1712

1728

1742

1517

im'

1530 1528 IS-SS 1559 1538 1568 1556 1543 1540' 1550

1550

1535

1586

1623

1620

1688

1685

1749

1774

1778

1808

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THE RISE ANP PROGRESS OF PAINTIKG IN SPAIN.

The enterprise and wealth of Spain in the fourteenth and fifteenth centuries attracted artists to its capital both from Italy and the Low Countries. Following the demand for pictures which royal patronage and the Church originated, schools arose in different parts of the country, chiefly in Toledo, Castile, Valencia, and Seville. The earliest native artists, most of whom belonged to the priesthood, appeared at the commencement of the fifteen^ century; Toledo beiog perhaps the first spot in which a school was deve- loped. The earliest names of note, however, are those of men who lived in the latter half of the fifteenth century. Two only can be mentioned : Antonio del Rincon (1446- 1600) and Berruguete, the latter beginning to paint in the commencement of the sixteenth century. Of the former no works exist in any public gallery, unless a doubtful 'Madonna,' No, 345 in the Hermitage at St. Petersburg, attributed to him by Dr. Waagen, can be admitted. Portraits of Ferdinand and Isabella in a dark chapel of the Cathedral at Granada, ascribed to him, are probably copies bj a later hand.

Berruguete (1480-1661) is best known as an architect and aculptor : numerous examples of his admirable talent may be found throughout Spain, especially in marble. No works are extant in any gallery, although several paintings by bis pupils maybe found in that of Madrid, Nos. 2142-8 : and these doubtless indicate the style of the master.

Vice^te Joapes, or Juan de Juanes (1506-79), was a painter of note at Valencia, Several works are attributed to him Vfi the Madrid Museum, No. 755, a ' Last Supper,' being the principal. The drawing and expression are good : the head of Christ, pleasingly rendered, is repeated by itself more than once, Nos, 759, ?0 ; and of these he is

Fifteenth

century,

Rincon,

Sixteenth

century.

Berruguete,

Joanes.

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THE RISE AND PHOOBESS

Joanes,

Luis Morales,

Sanchez Coello,

Becerra, Mavarrete,

known to have painted several replicas. There is also a series relating to the history of S. Stephen, Nos. 749-63 (Plate XXXV., 1). A good portrait example is No. 754. A small work of high finish is No. 758. An excellent composition is No. 602 at Dresden. Two good examples are in the Hermitage, St. Petersburg, No. 328, a * S. Anna/ and No. 329, a * S. Dominic' His finest works are in the Museum and in the churches at Valencia.

Luis Morales (1510-86) was a painter of sacred subjects exclusively, and generally treated in an ascetic spirit- hence called " El Divino." Pictures are attributed to him in the Madrid Museum, Nos. 847-51 ; but they have little to recommend them, and are faulty in drawing and colour. So also is a ' Piedad ' in the Accademia de S. Fernando at Madrid. These works do not fairly represent his power. He is better seen in the Hermitage, St. Petersburg, in No. 400, a ' Madonna,' and No. 401, a * Mater dolorosa': of these the first named is the best. There is a good * Ecce Homo,* No 601, at Dresden, and a characteristic 'Christ bearing the cross,' No. 537 in the Louvre.

Alonso Sanchez Coello (about 1515-90), pupil of Antonio Moro, was a portrait-painter of great ability. In the Madrid Museum, No. 1032, Don Carlos, and No. 1033, his sister, are good examples : the latter is very finely and delicately painted, with high finish and admirable execution of details. No, 1036 is also' well worthy of study. A portrait of Margaret of Parma, No. 402 in the Hermitage, St. Petersburg, is attributed to him by Dr. Waagen: the face appears to have been retouched. Three excellent and characteristic female portraits by him are in the Brussels Gallery, Nos. 157, 8,9 (Plate XXXin., 5); and a full-length of PhiHp 11. of Spain is ascribed to the master in our National Portrait Gallery, S. Kensington.

Becerra (1520-70) and his deaf and dumb pupil Navarrete, hence called " El Mudo " (1526-79), must be named. The former was a fresco-painter and sculptor. The latter studied in Italy during many years, and is said to have been a pupil of Titian. After his return to Spain he became painter to Philip I., for whom he chiefly

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worked. Three works are attributed to him in the Madrid Mnsetim, Nos. 905, 6, 7. His finest pictures are not now to be seen : several have perished, others are in oolleotions not open to the public.

Luis de Yargas (1502-68) should be remembered as the first to introduce oil-painting into Seville, and as an early painter of that school. A well-known work by him, entitled the ' Generation of Jesus Christ,' painted in 1561, is in the Cathedral of Seville, often called ' La Gamba,' owing to the fine drawing of the leg of Adam, prominently se^ in the foreground. Frescoes painted by him on the outer wall of the Court of Oranges and in niches of the Giralda Tower have now disappeared*

Pablo de Ceapedes (1538-1608), of Cordova, was a man of great erudition and of many talents. He is said to hare been a sculptor and architect as well as a painter. Moreover, he was a poet, and, like De Vargas and Roelas, a divine by profiession. All his works are lost except a * Last Supper ' at Cordova.

Domenico Thec^iocoimli (1548-1626), better known as "II Greco," belongs to the Italian school by education, but is usually dasaed with the painters of his adopted country, Spain, where he lived for nearly fifty years, and died at Teredo. His works want colour and are very unattractive. Examples may be seen at Madrid, but superior to any of these is the study of a h&ad in the Hermitage, St, Petersburg, No. 411.

Francisco de Eibalta (about 1550-1628) was one of the chiefs of the school of Valencia, and the master of Eibera. In the Museum and churches of Valencia his best works are still to be found. In the Madrid Museum four are attributed to him. No, 947, * S. Francis of Assisi,' is a good example, and illustrates the rigid naturalism in details, an'd is conspicuous for the deep dark shadows, of his school. The angel in the picture is necessarily conventional, and looks as if borrowed from an Italian source. In the Hermitage, St. Petersburg, are two fair examples, Nos. 338, 40. His son Juan (1597-1628), who died early, was a promising painter, and his works are often confounded with those of his father.

Navarrete.

Luis de Vargas,

Pablo de Cespedes,

Domenico Theotoco* ptUi,

Eibaita.

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THEBISE AND PB0GBE88

Seventeenth

century.

Bibera,

Pacheco.

Jo86 de Eibera of Valencia (1588-1656), snmamed in Italy " Lo Spagnoletto " (see also Italian schools, p. 84), spent much of his time in that country, and chiefly studied under Caravaggio there. A large number of his works is in the Madrid Museum, Nos. 955 to 1012, chiefly single heads on small canvases, of apostles and saints, but evidently painted from models, and more or less portraits. The best examples of these are Nos. 956, 9, 63, 78. A * Magdalen/ No. 981, is less happy. A good illustration of the strong effect of light with dark shadows which marked the Neapolitan school is seen in No. 1006, a ' Hermit at prayer.* The following are examples of his most powerful work in large compositions. The * Martyrdom of S. Bartholomew,' No. 989, a fine picture for drawing and composition. No. 977 is an admirable single figure. No. 982, * Jacob's dream,* is finely painted (Plate XXTV., 5). In No. 983, ' Isaac blessing Jacob,' the drapery and details are admirably rendered. In the Academia de S. Fernando at Madrid are two excellent single figures of saints and a small ^ Head of the Baptist.' Some fine examples are in the Hermitage, St. Petersburg : particularly worthy of notice is No. 331, a 'S. Sebastian after martyrdom,' a grand and large composition finely painted ; also Nos. 330, 2, 3, 4. In the Louvre is an ' Adoration of the shepherds,' No. 648, besides two others, Nos. 549, 50. Several good examples are in the Dresden Gallery, particularly Nos. 608, 10, 18. Those inonr National Gallery, Nos. 235, 44, are not good specimens.

Francisco Pacheco (1571-1654), of the school of Seville, flourished about the same date as Eibera, and is interesting not only on account of his own excellent and very care- ful work, but' as being the master and fitther-in-law of Velasquez. He is represented by four small pictures in the Madrid Museum, Nos. 916-19 ; by a fine work, the ' Miracle of S. Pedro Nolasco,' No. 16 in the Seville Gallery ; and by an ' Annunciation ' over the high altar of the University Chapel at Seville. His masterpiece, an enormous ' Last Judgment,' painted for the Nunnery of S. Isabel, is no longer preserved.

Also of the school of Seville was Juan de las Eoelas (1558-1625), the master of Zurbaran. His work is chiefly

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to be seen in his native city. In the Cathedral is a vigorous painting of ' Santiago overthrowing the Moors/ and in the Gallery the * Martyrdom of S. Andrew/ No. 89. Three good examples of the master are in the University Chapel ; and in the Church of S. Isidoro is a large com- position representing the death of the saint, ' El Trdnsito/ generally considered as the masterpiece of the painter.

The two Herreras of Seville, fother and son, mnst next be mentioned : their works are frequently met with in Spain, although examples in other European countries are rare. Francisco de Herrera el Viejo (bom 1676) is represented by several vigorous pictures in the Seville Gallery, and by a large canvas of the ' Last Judgment ' in 8. Bernardo there. A good example is in the Louvre, No. 636.. Also in the Seville Gallery are some of Herrera "el Mozo/* or the younger (1622-85), and in the Cathedral alargealtarpiece of the * Apotheosis of S. Francis,' weakly conceived and executed. Better still is the ' Assumption of the Virgin ' in the Church of our Lady of Atocha at Madrid. There is a finished work in the Hermitage, St. Petersburg, No. 389, * Legend of the portrait of S. Dominic'

A gifted scholar of Pacheco was Alonso Cano, of Granada (1601h67), who gained a reputation as sculptor, painter, and architect, on which account he has sometimes been regarded as the "Michael Angelo" of Spain. In the Seville Cathedral there is a small and beautifully rendered * Madonna* by him, and in the University Chapel at Seville are two single figures over the high altar. Li the Madrid Museum are several good examples of his work, especially a ' Dead Christ and angel,* No. 672 ; the figure of *S. Benito Abad,* No. 668 ; and a 'Madonna,* No. 670. In the Academia de S. Fernando is a ' Crucifixion ' by Cano. At Munich there is a ' Madonna and S. Anthony,' No. 353. In the Hermitage, St. Petersburg, two good examples of the master may be seen, the * Legend of the portrait of S. Dominic,' No. 354, and a replica of the 'Madonna* at Seville, No. 352. An excellent specimen is a ' S. Agnes,* No. 414b at Berlin.

Francisco Zurbaran, a native of Seville (1598-1662), is known for simplicity, correctness, and breadth in treat-

M 2

Soehs,

The Herreras.

Alonso Cano.

Zurbaran.

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TEE ni8E AND PBOOBESS

Zurbaran,

Velasquez,

At Madrid,

ment of Bisgle figures, mostly monks, of whioh numerous examples exist. Tke draperies in large and massiTs folds are often well rendered. He is best seen in the Gallery at Seville, where his principal work, the ' Apotheosis of St. Thomas Aquinas,' No. 1, is far in €tdyanoe of other examples of the master there — in some of which the tiieatment of the subject and draperies is stiff and hard. Such, for instance, are Nos. 46, 67, 74. A good series of five single monks is in the Academia de S. Fernando at Madrid. 'the series relating to Hercules is in the Madrid Museum, where also is an admirable figure, of a sleeping youtb, called * A Christ,' No. 1133. Two examples, Nos. 351, 73, are at Munich ; and one is at Dresden, No. 627. A very fine life-size £^ure, in warm colour with high finish, is the S. Lawrence,' No. 349 in the Hermitage, St. Peters- burg ; there also is the ' Child- Virgin praying,* No. 348, an excellent small work. Specimens of fair quality are in the Louvre, Nos. 555, 6, 7, and in the National Gallery, Edin- burgh, No. 98. A vetry fine figure of a monk at prayer, No.,230, is in our National Gallery (PlateXXXY., 2). Zur- baran became painter to the Ung before he was thirty- five years old, and executed for him at Buen Betiro the ten pictures of the ' Labours of Heroules ' referred to above.

Spain's greatest master, D(m Diego Velasquez de Silva, was bom at Seville in 1599, and studied under Herrera el Yiejo and Facheco. The power of reproducing human character, great knowledge of ohiaroK)scuro, vigorous drawing, and broad masterly execution are evident in all his works. As a yonth he closely studied still-life [and the human model as he found them in the streets, and an example, one of his earliest and most fgjnous works, is the * Water-carrier,* belonging to the Duke of Wellington. The finest compositions of Velasquez are at Madrid, for he worked almost exclusively for his patron, Philip IV. of Spain, and in its Museum alone the master can be ade- quately studied. No less than thirty important works are there, including portraits, &c., besides numerous other less remarkable examples, sixty-four in all. Of these perhaps none is so full of vigour, so rich in colour, and so admirably composed as the celebrated * Borrachos,' No.

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1058, a groap of Spanish peasants making merry at a vintage festival (Plate XXXVI., 1). This fine work, executed when he was only twenty-five years old, is painted solidly and carefully, And in this respect yields to none of his later and more matured compositions, many of which are slight in structure, although masterly in execution. Next in order to the * Borrachos,' but much later in date (1646-48), comes the grand 'Surrender of Breda,' No. lOeO (Plate XXXV., 3). It would be impossible to admire too much the pose of the two central figures, or the knightly bearing and sympathetic expression of the victor as he receives his former foe, whose deportment while tendering the keys is rendered with equal grace and intelligence. The best portrait known of the master himself is found in the figure with a plumed hat to the extreme left. In the no less fine composition * Las Meninas,' No. 1062, so called from the maids of honour, who with two dwarfs amuse the Infknta, the mastfr's power of ohiaro-oBouro is very striking (Plate XXXVI., 2). The figure of Velasquez himself at his easel is prominent, while the background is admirably relieved by a looking- glass which reflects the figures of the King and Queen, whose presence in the chamber is thus made known. It was painted in 1056, and was bis last great work ; wlule occupied (m it, it is said that Philip IV. took the painter's brush and decorated his portrait with the Bed Cross of Santiago. The fourth of the large works here is *Lai& Hilanderas,' or *The Tapestry-workers,' No. 1061, marvellous for freedom and mastery of the bnifih, ftdl of Bjx and light, and a fine study of com- position and colour (Plate XXXV., 4). In these works wd see Velasquez at his best : he loved io delineate truth- fully all objects around him in the ordinary circumstances of daily life, and thus the intense realism of his style prevented him from excelling equally in representations of mythological scenes and in religious pictures, for which latter his famous contemporary Murillo, as we shall see hereafter, was so celebrated. An example of a mytho- logical subject inadequately treated by Velasquez is the * Forge of Vulcan,' No. 1059, painted at Bome, during a

Velasquez. Large composi* tioM,

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THE BI8E AND PB0GBE88

Velasquez,

Sacred

subjects.

Single figures.

Equestrian portraits.

Landscape,

J*ortraits,

visit to Italy, about 1629-30 ; while equally unsuccessful are an early 'Adoration of the kings/ No. 1054, and a ' Coronation of the Virgin,' No. 1056, On the other hand, the fiamous single figure of ' Christ on the cross,' No. 1055, painted in 1639, although treated entirely in a naturalistic manner, becomes a grand work in his hands. Some of the single figures and portraits in the Madrid Museum are marvellously powerful. First come the two life-size and well-known figures of -^sop and Menippus, Nos. 1100, 1. Then the admirable and life-like representation of the * Dwarfs of Philip IV.,' No. 1095, and its pendants, Nos. 1096, 7« Also the characteristic studies of semi- idiocy. No. 1098, known as 'El Nino de Vallecas,' and No, 1099, ' El Bobo de Coria.' There are four large and fine equestrian portraits by him in the Museum : the boy Prince Biiltasar Carlos, No. 1068 ; the Duke of Olivaree, No. 1069 ; Philip IV. and his Queen, Isabella of Bourbon, Nos. 1066, 7. Portraits of Philip IV. often occur. Perhaps the best is No. 1074, where he is represented standing with his dog ; No. 1080 is a head, similar to that in our National Gallery, No. 745. Another fine replica is in the Hermitage, St. Petersburg, No. 420. Two full-lengths of Dona Mariana and of the young Infanta Maria Teresa of Austria are also in the Madrid Museum, Nos. 1078, 84; the latter being the more delicate in treatment. Other portraits here not to be passed over are Nos. 1073, 6, 6, 86, 91, 2. Examples of landscape are Nos. 1106, 8, and others; the 'Aranjuez' was painted in 1642, which was also probably the date of the ' Boar-hunt ' named later on. Out of Spain, works by Velasquez are but rarely met with in public galleries. It is commonly said that there is only one work by him in Italy, namely, the grand life- size portrait of Innocent X. seated, in the Doria Grallery at Eome ; but there is undoubtedly another, a fine head, hung rather high in the Gallery of the Capitol* A fine study, doubtless from the life, of the Pope's head, is. now in the Hermitage, No. 418. In the Louyre are a beautiful portrait of the Infanta Margaret of Austria, No. 551, and another of Philip IV., No. 552; and in the Collection La Caze one is ascribed to him of the Jnfanta Maria Teresa,

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No. 37. In our National Gkdlery is a ' Boar-lmnt at Aranjnez/ No. 197, his finest work of the kind, and an * Adoration of the shepherds ' is attributed to him, in his early style, No. 232. In the Dulwich Gallery is a possibly genuine portrait of Philip lY ^ No. 309 ; a fine full-length of the King hangs in the Hermitage, No. 419, and a grand one of the Duke of Olivares, No. 421, is there also ; an excellent head of the latter is No. 422. A very striking full-length portrait, life-size, is that of a Spanish admiral, No. 413a in the Berlin Museum. But the Belvedere at Vienna contains the largest number of works, Madricl excepted. The most important composition here is a group of the 'Painter and his family,' No. 14 Boom VII. 1st floor. No. 6 is a youthful portrait of Baltasar Carlos ; No. 13, one of the Infanta Margaret ; No. 15, a full-length of the Infanta Maria Teresa; No. 47, the same; and No. 40 is a laughing idiot. These are all in the same room. Another good replica of the Infanta Maria Teresa is No. 6lA in the Stadel, Frankfort ; where No. 61 is a head of Cardinal Borgia. Three portraits are to be seen in the Munich Pinacothek, No«. 366, 366a, 367.

Juan dePareja (1610-70), the faithful slave of Velasquez, after studying painting in secret during many years, ultimately received his freedom. He became a portrait- painter of no great merit. He is represented at Madrid by a single large picture. No. 935, 'The calling of Matthew/ and in the Hermitage, St. Petersburg, by one portrait. No. 427.

Juan Bautista Martinez del Maze (died 1667), a favourite pupil and th^e son-in-law of Velasquez, is represented at Madrid by fifteen works, chiefly landscapes, Nos, 788 to 803. He followed his master's style, for whose work Maze's copies are sometimes mistaken.

Bartolom^ Esteban Murillo (1618-82) was bom at Seville : in his twenty-fourth year he arrived in Madrid and became a scholar of Velasquez. The large number of important paintings, besides smaller works to be found in many European galleries, are evidences of Murillo's great fertility and steady labour. Just as Velasquez achieved the highest excellence in Spain by a realistic although

Velasquez*

Portraits.

Pareja.

Del Mazo.

Mitrilh.

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THE BI8E AND PMOGBESS

Murilh.

His three styles.

Peasants.

At SevUle.

Sacred

composi'

turns.

subtle study of nature, so Murillo is the most perfect representative of Spanish ideal art. This remark is not intended to apply to the earlier works of Murillo— for nothing can be more naturalistic both in subject and ex- ecution than his wonderful studies of beggar-boys— but to later and more matured compositions, when his pencil was occupied solely with religious subjects. The different styles which Murillo adopted at various periods of his life are commonly known as l^e " Frio," or cold style ; the " Calido," or warm style ; and the " Vaporoso,*' ot atrial style. To find examples of Murillo's early work we must look to galleries out of Spain, for not one of the ' Beggar- boys ' remains in his native country. In the Louvre, No. 547 is an exceDent example (Plate XXXVI., 4). In the Dulwioh GsJlery there are two fine ^intings of Spanish peasant-boys, Nos. 283, 6, fl^d an admirably painted flower-girl, No^ 248* In the Munich Gallery there are three groups of Spanish boys, Nos. 348 (the best), 349, 357; besides two other paintings, one of peasant-girls, the oth^ a woman and boy, Koe. 368, 376 (Plate XXXVL, 5). The Hermitage, St. Petersburg, possesses three excellent examples in No. 376, ' Boy and dog,' No. 877, * Feasant laughing at a dog,' and No. 378, * Girl wi^ fruit.' It is at Seville, however, that tbe master's finest oompositiona are still to be fotind. The Cathedral contains one of his magterpieces, the ' Infant Christ appearing to S. Anthony of Padua* (Plate XXXVL, 3), a wonderful work in the '' warm style."* In the Museum some twenty *four works by Murillo are preserved. Chief among these is the well-known *S. Thomas of Yfllanueva dis- tributing alms,' No. 84, which is perhaps the most complete of all Murine's compositions, although the *S. Elizabeth of Hungary attending to the poor* may be preferred by some (Plate XXXVIL, 1). Certainly the * S. Thomas ' conveys an admirable lesson to any student of art in the grouping of the figures and the masterly arraogement of light and shade. Another of the best works in the Museum is a

* This is the picture from which the figure of S. Anthony was not long ago cut out and carried away to America. It was recovered, and has been well replaced.

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OF PAINTING IN SPAIN.

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beautiful * Assumption of the Virgin/ No. 66, better known bs a ' Conoeption,* a subject whioh Murillo often chose and always painted in his " yaporoso " style. Two others are here also — a colossal painting, No. 68, and another of the ordinary size, No. 93. Two fine male figures, SS. Leandro and Baenaventnra, No. 83, and the two female saints Jnsta and Eufina, No. 96, are admirable examples of his second style. Equally good are four separate representa- tions of ' Saints with the Infant Chript,* Nos. 46, 63, 60, 92. Alio a 'Madonna with St. Felix,' No. 90; the famous 'Mad(Hma,' No. 62, called ' La Servilleta,' from an erro- neous tradition that it was painted cm a napkin; and the fine early picture of the ' Madonna and S. Augustine,' Ko. 59. Other important canyases Mre still to be seen in the Hospital of the Santa Caridad at Seville, although five of the eight which originally formed the series, painted 1670-4, have been dispersed* In the ohapel there hang two very fine works by MuriUa— ' Moses striking the rock,* and lis pendant^ the * Miraole of the loaves and fishes.' Besidei these are the following : a smaller work in the dark style approadiing much to that of Kibera, and known as ' S. Juan de Dios '; a fine ' Coiteeption '; and two snuOl panels of an ' Infant Christ ' and the ' Child S. John.' Many excellent examples are in the Madrid Museum. Particularly fine compositions ore the ' Virgin appearing to 8. Bernard ' and the ' Yii^in ireeeiving S. Ildefonso,' Nos. 868,9. The * Holy family del Fajarito' and the * Adora- tion of the shepherds,' Nos. S64, 9, ave specimens of ihQ master^s more naturalistic style. Three fine ' Conceptions ' are here, each one different, Nos. 878, 9, 80» The charming and well-known picture of the ^ Child Jesus and 8. John,' or *Los Nines de la Concha,' No. 866, is with many others well worthy of notice. In the Academia de S. Fernando is the afore-mentioned fine work of Murillo, ' S. Elizabeth of Hungary attending to the poor' (Plate XXXVIL, 1). There besides are two large semilunar canvases, both noble compositions, relating to the miraole of the snow ; of which the ' Dream,' the finer of the two, is regarded as the first example of his " vaporoso " style. The Hermitage, St. Petersburg, is very rich in iJie master's works, among

Muriih.

Sacred composi- tions.

At Madrid.

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TEE BISE AND PB0GRES8

MurUlo,

Sacred

composi'

tions.

Se^Histian Gomez,

J)e Tobar.

De Miranda.

which the following may be noted : No. 360, * Isaac bless- ing Jacob/ a large canvas, chiefly landscape ; No. 361, an ' Annunciation ' ; No, 362, one of his * Conceptions,' a good example, but not of the finest rank. A painting of extreme beauty is a * Holy family,' or * Repose in Egypt,' No. 367 : a large and good composition, the * Deliverance of Peter,' is No. 372; a S. Antony and child,' No. 373, is a lovely picture ; while in his darker style, but a fine work, is the ' Martyrdom of Pedro Arbuez,' No. 374. * An Adoration of the shepherds,' No. 363, presents a charming infant amidst a group of rude Spanish peasants. Besides these there are several small beautiful works. Our National Gallery contains admirable examples in the * Holy family,' No. 13, and in the well-known * S. John and the Lamb/ No. 176, of which there is a fine replica in the Hermitage, No. 379 : the Dulwich Gallery possesses the ' Madonna del Rosario,' No. 347. In ;the Louvre are three fine * Con- ceptions,' in the " vaporoso " style, Nos. 638, 639, 541 (Plate XXXVIL, 6) ; also a beautiful * Holy family/ No. 643, similar to that in our National Gallery ; and a •Madonna,' Na 642, in his "cold" style. Another •Madonna,* of his best period is No. 40 in the Pitti. An admirable * S. Anthony and child ' is No. 414 at Berlin. A fine work, the * Apotheosis of S. Rodrigue,' forms No. 633 in the Dresden Gallery. Murillo's last picture was a * Marriage of S. Catharine/ an altarpieoe for the Church of the Capuchins at Cadiz, where it remains, still unfinished: he stumbled on the scaffold while painting it and received an injury of which he soon after died. .

Sebastian Gomez (about 1620) was Murillo's slave, and painted after his master's manner: bxl example is Ko. 386 in the Hermitage, St. Petersburg. But a closer and more accomplished imitator of l^Iurillo was Alonso Mignel de Tobar (1678-1768). Some of his productions iavfi doubtless passed for those of the master : he is chiefly seen in some churches in Spain.

J. Carreno de Miranda (1614-86) painted numerous religious pictures and some excellent portraits. He be- came on^ of the painters to Philip IV., and subsequently to

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Charles II. Examples of his portraiture may be seen in the Madrid Museum : note Nos. 690, 2.

Diego Gonzales de la Vega (1622-97) was also a court painter, but his works are feeble and need not be enumerated.

Juan de Yaldes Leal (1630-91) painted religious pictures of considerable note. Examples of his work are to be found in the Hermitage Nos. 391-4 ; at Dresden, No. 636 ; and at Madrid, Nos. 1049, 50.

Claudio Coello, of the school of Castile (1635-93), has rightly been termed in Spain the *last of the old masters '; for after him Spanish monarchs engaged foreign painters to adorn their palaces, instead of employing native artists. Coello held this post in the household of Charles U., for whom he executed his principal work, the * Collocation of the Host,' still preserved in the Escorial. His own portrait is No. 481 in the Hermitage.

A long list of painters of very inferior merit, living in the latter part of the seventeenth wid in the beginning of the eighteenth centuries, might follow here ; but a study of their works is neither interesting nor instructive. Sir W. Stirling Maxwell's very complete * Annals of the Artists of Spain' will furnish all necessary details re- specting them, if the reader wishes to pursue the subject farther.

The last painter to be mentioned here is Francisco Goya y Lucientes (1746-1828). Without systematic instruction io his art, he studied the old masters almost solely and by himself, and became a prolific painter. His nature appears to have been [.wild and eccentric, but he produced some excellent works of different kinds, among them some large compositions and some capital portraits. Several of the former are found in the Madrid Museum, one salon there being entirely devoted to large designs for tapestry. Among the portraits are those of Charles IV. and Dona Maria Luisa, which frequently occur. An admirable full- length portrait of a man seated, No. 634, may be found in the Louvre, and three characteristic examples are in the Museum at Lille, Nos. 242, 3, 4.

It may not be out of place to say here, in reference to

De Miranda,

Dela.

Leai,

Claudio Coello,

Eighteenth

century,

Goya,

I

Portugal,

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THS ni8B AND PBOGBESS

Portugal.

any school of paiBting proper to Portugal, that the existence of one has never been recognised* ' In fact, a history of the schools of painting in Spain covers the art-history of the entire Peninsula. There are moreover in Portugal no public galleries worthy of mention ; and almost the only known Portuguese painter is Gran Vasco, who flourished probably in the earlier part of the sixteenth century, and to whom some productions of thftt age are chiefly attributed.

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A TABLE Of the Dates of the Pbinoipal Paintebs op the Spanish Schools.

School,

Birth.

Death.

Toledo .

Oastile .

Seville . Valencia .

Toledo .

CaBtile .

Oastile .

Seville .

Toledo . Seville

Valenela .

Oastile .

Seville .

Oastile .

Seville .

Oastile .

Toledo .

Valencia . Valencia .

Seville .

GastUe .

Seville .

Castile .

Griaoada .

Seville .

Madrid .

Seville .

Oastile .

Seville .

Seville Oastile Seville Castile Seville Madrid

Antonio del Rinoon

Alonso Bennguete

Luis de Vargas

Vicente Joanes, about .... Luis de Morales, el Divine . . . Alonso Sanchez Ooello, about . . Ghtspar Becerra . . . . ' . . Juan F. Navarrete, el Mudo . .

Pablo de Oespedes

Dom. Tbeotoec^uli, ^ n Gnco " A. Vasquez, paintird about 1380*

1610

Fiancisoo de Ribalta

Juan Pantoja de la Orui ....

Juan de las Boelas

Francisco Pacheco

Vicente Carduoho

Francisco de Henera, el Viejo . .

Eu^enio Oaxes

Lms Tristan

Pedro Orrente

Jos^ de Bibera, Lo Spagnoletto . .

Juan de Bibalta

Francisco Zurbaran

Oollantes

Diego Velasquez de Silva . . . J. B. Martinez del Maze . . .

Alonso Cano

Antonio del Castillo

Francisco Rizzi

Pedro deMoya

Juan Pareja

Juan Oarrefio de Miranda . . . Bartolom^ Esteban Murillo . . . Sebastian Gromez, ** Mulatto de

Murillo/' about

Qriarte

Francisco de Herrera, el Mozo . . Diego Gonzales de la Vega . . . Joan de Valdes Leal . • • .

Claudio Coello

Alonso Miguel de Tobar .... Francisco Qoya

1446	1500
1480	1561
1502	1568
1506	1579
1510	1586
1515	1590
1520	1570
1526	1579
1538	1608
1548	1625
1550	1628
1551	1609
1558	1625
1571	1654
1572	1639
1576	—
1577	1642
1586	1640
—	1644
1588	1656
1597	1628
1598	1662
1599	1656
1599	1660
—	1667
1601	1667
1603	1667
1608	1685
1610	1666
1610	1670
1614	1685
1618	1682
1620
1620	1685
1622	1685
1622	1697
1630	1691
1635	1693
1678	1758
1746	1828

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THE RISE AND PB0GBE88

Fifteenth century^

E^e of Anjou,

Jean Fouquet.

Sixteenth century. School of Fontaine' bleau.

THE RISE AND PROGRESS OF PAINTING IN FRANCE.

It was not a distinguishing feature of the French nation or genius to produce early painters of great excellence, like those who flourished in Italy, the Netherlands, and Germany, during the thirteenth and fourteenth centuries. It is true that a school of illuminators and miniaturists existed in France from the time of Charlemagne (who first encouraged this branch of painting) and continued without interruption during several centuries, and that it was modified by Italian influence on the removal of the Papal See to Avignon by Pope Clement V.,,in 1306, In the fifteenth century the painter ceased to be an illumina- tor only; and the names [of two artists were then dis- tinguished, namely, E6n^ of Anjou (1408-80) and Jean Fouquet of Tours, the latter of whom was evidently influenced by the school of Van Eyck, and was illuminator to Louis XI. The former was not exclusively a miniaturist, but has left paintings which are now in Aix Cathedral, at Villeneuve near Avignon, and in the Musee Cluny at Paris. By Fouquet, besides numerous elaborately iUns- trated manuscripts, there is a * Madonna ' at Antwerp, No* 132; while in the Louvre two life-size portraits have recently been attributed to him, Nos. 662, 3. Four panels also, the authors of which are unknown, are there exhibited, No. 650 as work of the end of the fourteenth century, No. 651 and others as work of the fifteenth.

In the beginning of the sixteenth century, Francis I. invited painters, . chiefly from Italy, to decorate, his palaces, and in particular that of Fontainebleau. Among those who painted there were II Eosso in 1530-41, with Luca Penni and Bagnacavallo; Primaticcio worked in 1531 and long afterwards; Pacchiarotto in 1535, and Niccol6 del' Abate. Their works, since destroyed, in-

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fluenced to a great extent the style of suooeeding French painters, who, if they did not visit Eome, studied these Italian productions at Fontainebleau.

At the same period the school of the Clonets arose in portraiture, which was dereloped independently of the former school and maintained a distinct style of its own. There were three painters of this name — Jean or Jehan Glouet, the father; his son, also called Jean; and his grandson, Frangois Clouet. The father came originally from Flanders, and brought with him to France much of the manner and the feeling of the Van Eyoks. Jean, his Bcm (1485-1545), painted small and delicately finished portraits, of which may be mentioned those of Francis I., one in the Louvre, No. 109, painted in 1528, the other in the Uffizi, No 667, painted in 1524. By Fran9ois (about 1510-74), the most important of the three, a few exquisite portraits are still in existence. In the Louvre he is repre- sented by two portraits of Charles IX. and of Elizabeth of Austria, Nos. 107, 8. Some other small works are attri- buted to him there, and to his followers. There is a fine portrait by the master, No. 1487, in the Hermitage, St. Petersburg; one of Francis IL of the year 1547 is No. 33 at Antwei-p; and two at Berlin, Nos. 472, 5, are catalc^ued as of his school. Good small portraits are Nos. 561, 631 at Hampton Court, and No. 2420 at Dresden. Still smaller, and like a gem for brightness and beauty, is No. 429, the portrait of a lady, in the Stadel, Frankfort.

Jean Cousin (about 1501-89), bom at Soucy near Sens, was a man of cultivated taste, and is generally considered as the founder of the national French school of painting. It is known that he worked as a sculptor and architect, and also wrote a book on the proportions of the human body. His largest undoubted work is the painting of the ^ lAst Judgment,' No. 137 in the Louvre.

The two brothers Antoine (about 1593-1648) and Louis Le Nain (about 1588-1648), inasmuch as they, like Cousin, preserved the French characteristics and were not affected either by the Fontainebleau or Flemish schools, must be named first. They often painted together under the surname of Le Nain^ choosing subjects from peasant

School of Fontaine' bleau.

The Clouets,

Jean,

Frangois^

J, Cousin,

Le Nain,

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THE RISE AND PBOGBESS

Le Nain,

Fr^mnet.

Seventeenth

century,

Vauet,

Blanckard.

Valentin.

life studied faithfully from nature. Examples are to be seen in the Louvre, the best beiiag the ' Blacksmith/ No. 375 (Plate XXXVII, 3), and a» * Adoration of the shepherds,' in the Uffizi, No. 659.

Martin Fr^minet (1567-1619) was one of the first to be attracted by Italian eclecticism. A work by him is in the Louvre, * Mercury, ^neas, and Dido,' No. 211 ; and at Fontainebleau he painted the oeiling of the chapel.

Simon Vouet (1590-1649) studied much in Eome, and there admired and imit<ated auccessfully the works of the Bolognese school. On his return to France he established a large academy of painting, and thus influenced most oi the priucipal French painters of the seventeenth and eighteenth centuries. Among his pupils were Lcoirent de La Hyre, Le Sueur, Le Brun, Mignard, aaad Dufiresnoy. His own works are numerous; among them may be mentioned two in the Louvre^ Nos. 641, 7, and a good com- position in the Brussels Museum, * S. Carlo Borromeo praying for those stricken by the plague,' Na 343 (Plate XXVIIL, 3),

A contemporary painter, and in some degree rival of Vouet, was Jac<jue» Blanchard (1600-38). He was most esteemed as a oolourist, and took the works of the late Venetian school as his models. Examples of his style may be found in the Louvre, Nos, 14-17.

The next group comprises men who, although French by nationality, were educated chiefly in Italy. Among them may be named Valentin, La Hyre, Nioolaa PoassiD, Gaspar Dughet (often erroneously called Gaspar Poussin), Claude Gelee (known as Claude Lorraine), Du&c8noy,and S6bastien Bourdon.

Moise Valentin (1601-32) left France at an early agefor Eome, where he studied and remained all his life. There he was a friend and contemporary of Vonet, (}el6e, and Poussin, but he painted with great technical ability in the manner of Caravaggio. The examples of his work in the Louvre are not first rate, with the exception of the * Concert,' No. 586 (Plate XXXVIL, 2), and the ' Fortune- teller,' No. 688. Two excellent canvases in this style are in the Hermitage, Nos. 1490, 1, and a good composition is

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in the Museum at Nantes. He succeeded best, like many Italian artists in the seventeenth century, when he con- fined himself to unambitious subjects. A large work by him is in the Vatican, the ' Martyrdom of S. Frocesso ' : the subject although drawn with care and skill is coarsely tinted and is unpleasant in colour. Somewhat similar is a large * Martyrdom of S. Lawrence,' No. 2075 in the Museum at Madrid.

Laurent de La Hyre (1606-56) was a painter of little originality who followed in turn the styles of several masters. Two of his works may be noted in the Louvre, Nos. 286, 90, and another is in the Belvedere, Vienna, No. 41 Green Cabinet

Nicolas Poussin (1594-1665), bom in Normandy, is perhaps the greatest master of the French school. When Btill young, and in spite of many dif&culties, he succeeded in making his way to Eome, and there enrolled himself among the pupils of Andrea Sacchi ; but he formed his style chiefly from the stud^ of the antique and of the works of the great Eenaissance masters. He usually chose subjects which could be treated classically, and executed them with due regard to historical truth in dress and details. His works are generally wanting in effective distribution of light and shade, in depth, and in warmth of colour. Li consequence of the correctness of his com- position and his excellent grouping, he has been termed the * Painter of Litelleot.' Poussin is seen to the greatest advantage in the treatment of mythological subjects. Numerous works by the master are in the Louvre : Nos. 448-51 are representations of the four seasons, illustrated by subjects taken from the Old Testament history. His own portrait, No. 447, is interesting. Examples of mythological subjects are a * Bacchanalia,* No. 440 ; the ' Triumph of Flora,' No. 443 ; the * Shepherds of Arcadia,* No. 445 (Plate XXXVIL, 4) ; and a subject from Eoman history, No. 436 : while the ' Diogenes,* No. 453, is a good specimen of Poussin's landscape-painting. Besides these the Louvre contains some large canvases of subjects from sacred history: for example, 'Meazar and Kebecca,' No. 415; two compositions of the * Finding of Moses,' Nos. 416, 17 ;

N

Valentin.

La ffyre.

Nicolas Poussin,

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THi: itlSk A^D PBOGRUSS

N, P^fussin,

Gaspar Dughet,

Claude Lorrqine.

the * Ecstasy of S. I^nl,' No. 483 ; and 'inaiiy ottiera. One fihe example of Ponissih, among many poor bties, in tiie Madrid Gallery, is the * Chase of Melea^er,' ]N"o. 2051. A (e^ average exampleis are to }ye fbtmd at Berlin. He is ^ell seen in the Hermitage, St. Petersburg, in the ' Triumph of Galatea/ No. 1400, ind otiiebs ; and at Dresden, where No. 648 may be noted. In the Vatican there is a large and powerful composition, the * Martyrdom of S. Erasmns,* but it is nnpleasing in colour and too uni- form in tone. Good illustrations from mythology are in our National Gallery: a 'Bacchanalian dance,' No. 62; and a * Bacchanalian feast,' No. 42. At Dulwich similar woits are Nos. 305, 15. Foussin spent but a short portion of his time in France, ahd returned to Eome for the re- maining years of his life, 'whfei^e he died in 1665.

Gaspar Dughet (1613-75) Was bom in Rome, of TVencli parents; his sister mairied Nicolas Foussin, so that the two painters were ihtimatel;^ connected. Gaspar became a landscape-painter, and doubtless received instruction both from Nicolas Foussin and Paul Bril, the Flemish landscape-painter. He studied effects from nattfire, and iras especially fond of representing storms and hurricanes. There are some characteristic works by him in our National Gallery, rather dark and sombre in tone, Nos. 31, 6, 95, 161. At Dresden, among many that are good, one may be noted, No. 656a ; and in the Pitti Palace at Florence Nos. 421, 36, 41 are noble londscapea Others are to be seen at Madrid and at Munich.

But Claude Gel6e (1600-82), called Lorraine from his native province, has ia far ^eater reputation as landscape- painter than Gaspar iDughet. He executed classical land- s^pes and seaside pictures, and often gave a poeiicaX ch&rik to an othei^se nninteresting subject. In the Louvre are some fine works by the master : the ' Landing of Cleopatra at Tarsus,' !No. 228^ successful ada^)tationof an historical event ; the • Ulysses,' No. 225 ; a * Sea-port,' No. 226 ; the • Village fair,' No. 221 ; and No. 224, 'David anointed king by Samuel.' Still better works than these are to be found in our National Gallery, notably ibe • Embarkation of the Queen of Bheba,' or the * Bouillon

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Claude/ m. l4; 'DftVM'lrt th^'dave ^ AduHoiA/ khown as the *Cliigi Olatt^,' l^o. 6, 6ind thi^ • Bibl)ArfcAlioii of S. Uf»ala,' No. 30 (Plate XXXVIIt, 1). Tftie * Marriage of Liaac tHth Bebeeca/ i^^o. 12, is a repetition of th^ larjgtt woric in tlie Boiria Palace at Botne. Nos. 5, 30, 55 skouldr also be iio%ic€ki. In the Dalwich Gallery he is fairly re- presented by Nos. 244, 70, 6. Ri the Madrid Mnseum a ' Hei^mit at prayer' *tad a • Magdalen,' Nos. 1989, 92, are excelletit works ; (to also are the very fine exampieig in the Hermitage at St. Petersbni'g — ^namely, fonr representations of ' Morning,' ' Noon,' * fivehkig,' and * Night,' Nos. 1428- 31. There are two ncWe landscapes in the tjffizi, Nos. 774, 848 ; (»ie in the Brussels Mtsenm, No. 199 ; two in the Ditesden Gallery, N^. '&54, 5 ; and fotir at Munich, Nos. 3©1, 9, 40^7, 16.

Chiles Aiitoine Ihifreisnoy (1=611^5) is better known as il!ite anthor of ti t)oem on paihtihg thata as an artist. He was very intimate with Pietre MigiiAi'd at Borne, and aided hiin in some frescoes in the ctipola of the VaWe-Grftce at Paris. Two of has woits are in the Lotivi'e, Nos. 212, 13. S^basiien Bonrdon (1616-71) adopted the style of Podssin, and likewise studied at Botne. His best work is the * Martrydom of S. Peter,' now in the Louvre, No. 42 ; besides this are a * Descent from the cross,' No. 40, and two good examples of portraiture, Nos. 47, 8. In the Cassel Gallery, No. 456, a ' Vivandi^ tind officers,' is a chaTacteristio work. Another is in the ftermitage, the •Death of Dido,' No. 1421. He wai, moreover, a land- i^jte-painter, and is i^ptesented by ia gooA 6Jyecime!n in our National Galleiy, No. 64.

Eustache Le Sueur (1616-55) was the first French painter of note who studied chiefly in Paris, atid did iQot visit Bcime. During his short and uneventful life, his talents were little appreciated, ^nd wefe overshadowed by the greater feme of his ambitious rival Chariels Le Brun. Le Sueur executed numerous compositions, the most important of which are to be seen iti the Louvre. One of his eartiest works is the series of twenty-two paintings relating to the * History of S. Bruno,' Nos. 525-47. They are for the most part commonplace both in design and

N 2

CknOe LorraiM.

Dufretnoy,

Bourdon,

Le Sueur.

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THE RISE AND PB0QBE88

Le Suew,

Le Brun,

Mignard,

execution ; Nos. 625, 7 being superior to the others. His masterpiece is the well-known * Preaching of S. Paul at Ephesus,' No. 621 (Plate XXXVIIL, 2). The * Christ bearing the cross,' No. 617, and the * Descent from the cross,* No. 618, are works of smaller size, but of excellent quality. As examples of Le Sueur's paintings of another character, the * Nine Muses,* Nos. 658-62, and his latest work, the * JEistorj of Love,* Nos. 651-6, should be noted.

Charles Le Brun, bom at Paris (1619-90), went to Italy when young and entered the school of Poussin. On his return he was appointed to fill some important posts by Louis XIV. For the King he painted several vigorous pictures of subjects from the 'Life of Alexander the Great,' now preserved in the Louvre, Nos. 70-4^ which possesses all his best works, excepting the * Massacre of the innocents,' No. 252, and ' Horatius keeping the bridge,' No. 319, in the Dulwich Gallery. Among those in the Louvre there are several sacred subjects, the * Sleeping Jesus,' No. 66, a * Holy family,' known as the * Benedicite,' No. 57, and four from the « Life of Christ,' Nos. 68-61. In the 'Descent of the Holy Ghost,' No. 64, Le Brun has painted his own portrait as que of the assembled disciples ; and his * Bepentant magdalen,' No. 66, is said to have been a portrait of Madame de la Yalli^re. The same subject is repeated in the Munich Gallery, No. 392, with others, and an excellent family group is at Berlin, No. 471. Examples are to be found at St. Petersburg, Dresden, Vienna, and in the Uffizi.

A rival and successor of Le Bran in the King's favour was Pierre Mignard (1610-95), best known as a portrait- painter. He resided for a long period at Bome, and obtained the name of 'Le Bomain' to distinguish him from his elder brother, Nicolas Mignard, called d' Avignon (1605-68), who worked chiefly as engraver. The fomons * Vierge k la Grappe,' by Pierre, No. 349 in the Louvre, was painted under the influence of the Italian school; another fine work is a large canvas in the Hermitage, St Petersburg, • Darius at the feet of Alexander,' No. 1456. His principal work of this kind, however, is tiie fireeoo of the * Paradise,' in the Val-de-Gr&ce at Paris, finished in

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Plate XXXVIU. To face page 180.

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OF PAINTING IN FRANCE,

181

1663. The following ^re examples of portraiture, a large group of Louis the Dauphin (son of Louis XIV.), his wife and children, No. 358, and his own portrait, No. 360, in the Louvre. Others are Nos. 670, 88 in the Uflfizi ; No. 4651 at Berlin ; and in the Madrid Gallery, Nos. 2021, 3,4,5.

Noel Coypel (1628-1707) was the chief of a family of painters of small note. He was one of the few French masters who painted in a more simple and natural style than that which prevailed at this time, which was the result of a high regard for Italian eclecticism. The Louvre possesses five of his works, of which No. 142 may be named.

Boullongne was the name of a family of which many members were painters. Louis (1609-74), the father, chiefly copied the old masters, and taught his two sons, Bon .Boullongne (1649-1717) and Louis (1654-1733). They worked together on the cupola of the Invalides, Paris, and some paintings by the elder are in the Louvre.

Jean Jouvenet (1644-1717) was a pupil of Le Brun, and rose to an important position as a painter. His master- piece, a * Deposition,' is No. 301 in the Louvre, which contains other examples. Many of his works are to be found in the Provincial Museums of France.

Jean-Baptiste Santerre (1651-1717) gained a reputation in his time chiefly as a painter of single figures, often nudes, and seldom attempted large compositions. He is represented in the Louvre by a * Susanna in the bath,' and a 'Female portrait,' Nos. 496, 7.

Three painters of battle-pieces in the style of Falcone and Salvator Eosa may be mentioned here: Jacques Courtois, called Bourguignon (1621-76), his pupil Joseph Parrocel (1648-1704), and Charles Parrocel, the son (1688-1782). The first named executed a large number of works, of which examples are to be found in most public galleries. They display much sameness of treatment, and it suffices to note those in the Louvre, of which No. 132 is the best. By Joseph Parrocel there are two sketches in the Louvre, Nos. 393, 4, and some large works by Charles are preserved at Versailles. There were several painters of this name of inferior merit.

Mtgnard,

Noel Coypel,

TheBoul' longnes.

Jouvenet,

Santerre.

BourguiQ' non and the Parroceh.

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THE R^E AND PBOGBESS

Le ^oim*

StMeyras,

Jitgqiu^

ZargiUih'e.

C, tan Loo,

J, B, van

Loo.

Fri^nigoifl Jjq 'iS.ou^ (1688-1737) was 9k ix^annerist of the Frauco-](taliaijL scbopl of ^oleotioism before re&ired tp, and painted hbtory ii^ a feeble ^tyliO, not without a certain elegance. One work by him i^ in t^e Louvre, Nqj. 3^61 ; another is in the La Ca»3 Colleption, No, 225.

Pierre Subleyras (1699-1749) painted religious subjects with Gonsid,erable power, and w^ iipiudL e^teen^ed djxp-ing his lifetime.^ On© of his chief vorks ^ th^ ' ^a^^ of S. Baffll,' No. 508 in the Lpuyre, whioh was reprodi^oed in mosaio in S. Peter's, I^m^, bi^t hi^. masterpiece, also in tbe LouYre, is No, 504, * Christ ift th^ \Qim^ of Simon,' daljecl 1739 (Plate X;XXyHL, 3).

An able Fyenph portrait-painter wag HyJMcinthe ^iigaud (16^9-1743), who executed ^ larg^ nun^ber o( pprtrsitif pf Lo^is XIV. «^n4 hiu cpurtiers. L^ i^h^ Lpuvre tb^r^ i§ a poirtrait of the Dftoi^iarch hinji^, No. 475 ; of Bosj8uet, No. 477 ; a^ of Chairies Le Brun and Pierre ]!iil(ignard on one canviMP^ No. 48Q. Bignand'^ portraits are frequently is^^i with, There ^re three in tho Dulwich GaUeary, Nob. 2, 98, 118 ; Q?i^ in ow N^timal Q^Jlery.No, 903 ; at Pres4^ G^% No, 6.76; w4 at Yi^^W. wotfier, No, 73 Green

A contemporaa^y c^Ejga^4 '"Wft La^gilli^re (10$&-174^), one of the most successful pprtywt-p^inters of tbe time : an example in the Lpuyre ii^ Nq. 3J?Q. ^ portrait of Chiffl®* Le JBrun ; an4 in tbe Lai O^f^ (JoHectilon a^e % portrait groijip, Nq. 224» apprtwt. No. ?21, f^d a.sipa^U sti^dy, ^ 216, for the large picture of thp * Cpnferen^/ IjTg. Xb^'l ii| the Hei?mitage, St. Petcflrsburg.

Carle van Loo (1705-t65), th^ mQs:t t^ented^ of a^ fii^n^y which produced jpeveiral pawt^ys, was c^ pupil of L^ IM^ine. He pwite4 a larg^ nwnbex of mythological si^bjeots aj^d some good portraits. In the L<>%vre, is a full-length por- trait of Marie, Quee» of Louis XY., No. 3>30, besides Qtber works. His elder brother, J. B. van Lop (1684-1744), V^o worked much in It^y, is repre^ented by s^ large pictu^ in the Louvre, No. 324, and by two portraits at Ham(P^>* Court.

Li tl^e end of the s^yentee^th oentiai^ <j^ specsi^ of genre painting originated iQ Pa^is i^hic^ W(^ ^ore er

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OF PAJNTINQ IN J'RANCE. 183

les§ successfully cuXtiyate4 by a group pf clever artists, and wldcli has always beeiji regarded as ch^ractei:istio of th^ Frenck achooL Autoine Watteau (1?84-1721), bom at Valenciennes, was the ftrst exponent of the new style, and many follpwed at more or less distaijice in his step^. He ciune to ^*aris at the ^rty ^g^ of i^ii^te^n, fi^nd shortly after apprenticed himself to GiUot, who was then chief decorator and costumier at iJiiQ ppera. Frpn^ th^s maeter Wattefin learoied the technical portion of his art, and the time sp^nt as his i^istant behind, th^ ^cene^ doubtless suggested s^g^ groups and qo^t^m^fi a;^ §ul^eQl^ hx his composition^ The experience thus acqivixed enabled him to imagine and depict with ^miyablQ graCQ ^nd vivacity ** r^uniqnsi " apd "f(§te& galan^";. cro:vy;ding his small canvaACQ "^i^ith groupi^ of ladi^^ and gentlemen in, brilliant an,d liekncy costumes, love-making, dancing pi^ the green tuxf^ or saunteriijig in omamentali grou;nd^, L^ th^se. i^ubj^ts Wa^^teaii gaifli©4 ^eserypdly a gre^t repi^tation, bi^t in, th^ handfl 9^ imitators of inferior Ija^tp such ^ f orm of art easily b^aj^e degra,ded, Mo$t of Watteau's works, havi^ th^ qjUaJULty of eo^o^lleip^t grou^ppig, and contain som^ gpQiJ landscape ;. all ^^ye tl^^, 9ha^9i of fresh i^parklin^ PpJloitf, A fine example is i^ the Loijvre, Ijf o. 6^9 ; others ai;e i^ the L£^ Caze^ Collection, lSi,o^, 260, $. Characteristic yioj)^. are in the Pul^wich G^Jile^y, Kos. 197, 210; ti?^p s^iaH p^Jtur^s in the Natip?;iai Gallery, ^Idinburgh, ^o^, 6^, 81 ; at Berlin, Nos. ^68, 70, 1\^ y «^d two similar at Dresden, No6. 687, 8. ^t li^adrid there are two charming speeini^nQ u( the master, Nos. 208?^ 4,; otl^ers axe tp bp seen in the Ufliri, at Florp^ee, No. 671 ; and 8^t HHiimich, Np. 1312. Wattpai^ h^d numtproii^ fo^olyer^, none of whom pos^ps^ed bis; brilliant quajitiea. Tijyerp, a^-e thiree who, although inspired by him, cannot be considered a9 servile copyibte^ namely, KicoUa Ijanc^et, J. ft Joseph Pater, and ^rai^yois Bouchpr, perhaps the V^t ^npwn pf the three*

Lanciret (1690-1743), wjiile ^opting thp form pf Wattea^'^ ^, ^t^died aivl faithfully i^eproduopd the maiUiiiei^s, djipas, and amu^pme^ts pf the mem^bers of the *' Belle Spciete" at the Court of :^i0uia XIV. He lap^ced the imagination ^?id dpUcacy pf Watteau, but hi^ yirortei

Watteau.

Lancret,

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184

THE BI8E AND PB0GBE88

Lancret,

Pater.

Boucher,

Fragonard,

Animal" painters.

Desportes. Oudry,

display more correctness in drawing and detail. A series of no great merit, representing ' Infancy, Youth, Manhood, and Old Age,' is in our National Gallery, Nos. 101-4 ; ten examples may be found in the Louvre and the La Caze Collection ; and three are at Dresden, Nos. 696, 7, 8. He is well seen in the Hermitage in three important works, Nos. 1607, 8, 10.

Pater (1695-1736), a native of Valenciennes, was poor and uneducated, but possessed marvellous technical facility. He occupied a very different position from that of Watteau at the opera, or that of Lancret in society, and his works accordingly differ, He chose his subjects from low comedy or burlesque, and imparted to them a certain amoimt of humour. Examples may be found at Dresden, in the La Caze Collection at the Louvre, and in the National Gallery, Edinburgh.

Fran9ois Boucher (1704-70) began his studies under Le Moine, but soon found that the theatre had more attractions for him. He therefore forsook all teaching and sought for models among actresses and ballet girls, whom he called Yenuses or Shepherdesses and placed in landscapes equally theatrical and false. He decorated china, and produced numerous designs for tapestry, ceilings, &c. Of his cabinet pictures there are- fair examples in the Louvre. A 'Diana and nymphs,* No. 24, a *Einaldo and Armida/ No. 23, and a larger ' Vulc9.n and Venus,' No. 25, should be noted, besides others in the La Caze Collection. There is a small portrait in the National Gallery, Edinburgh, No. 70. J. Honore Fragonard (1782-1806), one oi Boucher's scholars, was a rapid and fertile painter. Some of his works are in the Louvre. For abundant illustra- tions of work by this group of artists see the catalogues at the end of this volume.

The animal-painters of the French school must not be omitted. There were two contemporary with Watteau, and who appeared somewhat to emulate the style of Snyders, and executed some studies of game and hunting- pieces. These were Fran5ois Desportes (1661-1743) and J. B. Oudry (1686-1765). Several works of both masters are to be seen in the Louvre ; among those by Desportes

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OF PAINTING IN FBANCK

185

are studies of dogs for Lords XIV. ; Oudry succeeded him at court, and painted dogs for Louis XV. Examples of Desportes are Nos. 164, 80, 1 ; and of Oudry are Nos. 386, 7, 8.

One painter of flower-pieces, whose work recalls that of the Dutch masters, was J. B. Monnoyer (1634-99), generally called "Baptiste." He is best seen in the Louvre. Several examples are at Hampton Court.

It is a pleasure to turn from these somewhat mannered and artificial works to the truly admirable and charming studies of genre and still-life by J. B. Simfen Chardin (1699-1779), one of the most successful portrayers of " nature morte " belonging to his own or any other school. All the works by him in the Louvre, and there are many, are worthy of close study, although only a few of the finest can be enumerated here. A genre painting, known as the * Blessing ' (Plate XXXVm., 5), and a * Dead rabbit with hunting-gear,' Nos. 99, 100, are two of the best in this gallery. In the La Caze Collection his works are still more numerous. There is a somewhat inferior version of the * Blessing,' No. 170, but the still-life merits the highest praise — ^note particularly Nos. 174, 5, 6, 9, 80, 1, 4. It is interesting to observe the di£ferent methods Chardin adopted in treating these subjects; for example. No. 180 is for the most part thinly painted in transparent colour ; while in No. 184 the colour is solidly laid on, and forms throughout a thick impasto. Two works are attributed to the master in the Dulwich Gallery, Nos. 27 and 308. An admirable portrait of Madame Geoffrin is in the Mus^e Fabre at Montpellier, No. 79, and a piece of still-life is in the Museum at Kouen. In the Hermitage is a charming small picture, the * Washer-woman,* No. 1614 ; and there is a replica of the * Blessing,' less good than the preceding, Ko. 1613. The Liechtenstein Gallery, Vienna, possesses four beautiful little works, Nos. 667-60.

Another painter of genre subjects and portraits was J. B. Greuze (1724-1806). One of his best works is perhaps the * Village betrothal,' No. 260 in the Louvre ; but equally good are the 'Paternal curse,' No 261, and the * Broken jug,' No 263 (Plate XXXIX., 4), the study for which is in

Desportes, Oudry.

Monnoyer,

Chardin.

Greuze.

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18&

THE EI6E AND P^OQEESS

Greuze,

Vemet,

T%en.

David.

thfd I^atipjial Gallery, Edinburgh, No. 82. 5^6 gained a grecit reputation in his MfeMmo as a painter of congle female headfi, wbidh are gei^erally marked by affectation, and display much mannerism. Numerous studies in thii^ btyl« are in the Louvre. Tbree portrai,ti^ are in our ^ation^d Gallery, N03. 206, 1019, 1020; one at Hampton Coiprt> No. 4,13 ; and in th^ National Gallery, Edinburgh, fiw works m«^y b^ ftoted, Np^. 63, 112, 118, 37Q. Sev^i^l exiunplea are to be found in the Mus^e Fabr^ at Montpellieif, especially l^o^. 241, 6. A large compositipi^ the * Death of the p^alytic,' 11^ No. 1520 in Ijhe Hermitage. Most of the mafi^r*s pi^oduQtiQUs ^e, however, ii^ priy^t^ gallpries.

The best marine-painter of the French sphool w^ Claude, Jo^ph Vep^et (1714-89), whose works ocpnr in most European [^allei^iesp Our National Qallei^ oontaii^ a fine pimple, %/ Yiew of S. Angelo, Eopae,' No* 236. N9 fever th%A fo^-ty of \h compositions, chiefly marine- piecps, are pi^sprv^d in the Louyi:p, pf which Noi^ 69^, 615, 1,7, 2^ j^^p ^p bpi|t, Othejcs may l?e found s^t Djresdpft, Mui^kicbi !por€^iqpt %n,d Mad^^d^ Ipt^t tl^y are ^ % rulp ipii^tere^tiisLg.

Jo^ppii If^v^ Vien, (^71^18pfli) ^uld bp remegoabpi^ as haying bpeo;:^ the ^t to awaken a love for anpipnt cla^ art, a§ a reaction agaJqn^t ^p misprable prettio^ps^ pf thd Boucher ifchppl. i|xa^^ples of ^ wpr^ are ii[L the Lpi^yre, Npfi^ 6^-4-7, of which; the ftn^t named is thp bppt.

Jacques !^ouifi| Dayid (1748-1825) parried 01^ i^p nptpvp- mpnt commenced Vy Yien, and took the rpm^iiji^ pif fireek ai^ Eoi]^an art 9^ ij^odels for figui^ps and acppssorips ioii hia pictureSf Piiring the ^irst i^mpire thi^ taste waa ca;i;rie4 tp pn ej^ti^eme,^ and dominatpd, not onJ^y the produpt^?^ of thp artist, bi^^ tjho^ pf the art-wprkman of evpry g]^e. Of David'^ poi?i^posi1ipp^ in the J^puyre, fourtee]^ 9^ 9j^ the ' Oath of the Hpi^atii^' NPf 150, wp/8 onp of the parlip^t.. The * ^binp wome^,' No. 149 (Plate XXXIX., iXorp?^ a great fifensatip^ whw it ^ppared, but tp the prei^capi t^tp W ^ppear9 tp, exhil^it a^ aff^ptatiiO^ of classical:, knpiwlp^ge, anA 1» W ^99 fcwed i^ action, govip pop- tifait^ a^ %l§o in l^e Louvre : onp of ]i|l(a<^me B^oamier,

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OF PAINTlNt} IN FRANCE. 187

No. 160, and another of Pius VII., No. 159, should be noted.

The names of a few other French masters of minor importance may be recorded here. Some of their works, enumerated in the catalogues, are meritorious and im- portant, but do not appear to be sufficiently so, or to XKNSsess enough originality, to warrant the introduction of any notes respecting the painters thejnselve^ into o^r history.

Historical, Decorative : Jacques Callot, Jacques Stella, Nicolas Le Noir,^ the ComeiUes, Charles de La Fosse, Nicola^s Colombel, Antoine Coypel, J. £ao\u(, Trioson, J. F. de Troy, Casanova^

Landscape : Pierre PateL

Portraits : Claude Lef6bvre, J. M. Nattiei^, Louis Tocque, J. B. yan Loo, Antpine Pesne.

Genre, Still-life : Gillot, Etienne Jeaurat^ Bpland de la Porte.

David.

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188

THE RISE AND PBQGBE88

A TABLE

Of the Dates op the Principal Paintbbs of the Pkenoh School.

School.

Birth.

Death.

Bdn^ofAnjon

Jean Fonquet, first half of the 15th

century .

Jehan Clouet, elder, settled in Tours

about 1480

Jehan Glouet, younger .... Jean Oousin, ahout . • • . . FrauQois Glouet, about ....

Martin Fr^ninet

Antoine Le Nain, about ....

Simon Vouet

Jacques Callot

Louis Le Nain, about ....

Nicolas Poussin

Jacques Stella

Jacques Blanchard

Claude Gelfe (Lorraine) . . . .

Moise Valentin

Paris Oorneille

Nicolas Mignard

Laurent de La Hyre .....

Louis de Boullongne

Pierre Mignard

Charles Dufresnoy

Gaspar Dughet (Poussin) . . . Eustache Le Sueur . . . . .

S^bastien Bourdon

(Charles Le Brun i . . . . .

Pierre Patel

J. Courtois (Bourguignon) . . .

Nicolaa Le Noir

NoelCoypel

Claude Lef^bvre ......

Jean Baptiste Monnoyer ....

Charles de La Fosse

JeanJouvenet

Michel Comeaie ......

Nicolas Colombel

Joseph Parrocel

1408

1485

1501

1510

1567

1588

1590

1592

1593

1594

1596

1600

1601

1603

1605

1606

1609

1610

1611

1613

1616

1616 ,

1619

1620

1621

1624

1628

1633

1635

1636

1644

1646

1648

1480

1545 1589 1574 1619 1648 1649 1635 1648 1665 1657 1638 1682 1632 1664 1668 1656 1674 1695 1665 1675 1655 1671 1690

1676 1679 1707 1675 1699 1716 1717 1708 1717 1704

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School.

Birth.

Death.

Bon BouUongne

J. B. Santerre

L. de BouUongne, younger . . .

Nicolas de La^Ui^e

Hyacinthe Bigaud

Antoine Coypel

Francois Desportes

Gillot

JeanBaonx

Jean Fran9ois de Troy ....

Antoine Pesne

Antoine Watteau

J. B. van Loo

J. Marc Nattier

J.B. Oudry

Franyois Le Moine

Charles Parrocel

Nicolas Lanoret

J.B. Pater

L.Tocqu^

P. Subleyras

Sim^n Ghardin

Etienne Jeaurat ......

Fran9ois Boucher

Carle van Loo

Claude Joseph Yemet ....

Joseph Marie Yien

Boland de la Porte

Jean Baptiste Greuze

Fr. Casanova

Jean Honors Fragonard .... Jacques Louis David

1649 1651 1654 1656 1659 1661 1661 1673 1677 1679 1683 1684 1684 1685 1686 1688 1688 1690 1695 1696 1699 1699 1699 1704 1705 1714 1716 1724 1724 1727 1732 1748

1717 1717 1733 1746 1743 1722 1743 1722 1734 1752 1757 1721 1745 1766 1755 1737 1752 1743 1736 1772 1749 1779 1789 1770 1765 1789 1809 1793 1805 1805 1806 1825

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TH^ BI8E, AND PROGRESS

Illumina- tions.

Miniatures,

Sixteenth century,

Hilliard, TheOlivers,

THE RISE AND PROGRESS OF PAlirtPrfrG IN ENGLAND.

No native school of painting, in the ordinary sense of the term, existed in Engliand Wfofe tiie ifeign of Charles I., who encouraged and patronised art in this conntry as no monarch had done, before him. In a iettain department of painting, however — ^that of illnmitiation — there had been a long line of successful painters, by whom we podHsefis many &ne exapiples, Bome dating as far back as the sixth and eighth centufieB. Later on, under Kbg Alfred and then under the Conqneror, a flourishing school existed which attained to a peft^feotion jperhaps nnequalled by any other European cotmtry in the eleventh, twelfth, and thirteenth centuries. At this period, however, much of this art- work was closely allied to that of " miniature- painting ;" so that it is dificult to determine precisely the date at which this latter style commenced. At all events it occupied a high 'pbsitioA in the end of the sixte^ith century, when Nicholas Hjlliard and Isaac Oliver were accomplished representatives of the art, and painted numerous portraits in miniature with great success. They were succeeded by Oliver's son Peter, and by John Hoskyns, who maintained the character of the school, after which it declined.

The kings of England prior to the time of Charles I^ like those of France, invited foreign artists of celebrity to visit their courts, and gave them commissions to execute. Henry VII. employed Jan Mabuse in this manner; and in, Henry the Eighth's reign Hans Holbein took up his residence in England, and remained here during the last seventeen years of his life. Under Queen Mary, Queen Elizabeth, and James I. several Flemish painters — viz., Gerard Horembout, Sir Antonio Moro, Lucas de Heere, Cornells Janssens, and Daniel Mytens — occupied posts at

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OF Painting fev England.

iJ>i

cofirt;*aiid iSi the reign of OhJttl^s L, Eubenft &nd Van Dyck tviBT^ bit)ttght 6ve(r, th^ latfiet residing h^re for a long f>^riod. Btit in thife i^ign th^r^ appearfed ftlbo Some native artists ^hos6 nam6te are wortty to be placed on reCoM. FiiBt must be tramed k miniature-painter of great ^11, Samnel Cdoper (1^0^-72), ^»7b0se wotkis were in much demand 'botb in this c<rtintry and abroad. He painted a t^ell-known portrait of the Protector. At the same time two other painters app^red who were inspired by Van Dyck, aiid proved Worthy followers of that great master — ^namely, Williafti Ibbecto akid Henry Stone, called "Old Stone."

Dobsoti (1610-46) Wa;« an iexkJelleh^ painter of portraits, thfe best of which are now in private collections. Affcet the death of Van Dyck he became one of the King's painters. Portraits of himself and his wife in one frame are in the Gallery at Hampton Court, N6. 876. Hi& oWh portrait and that of Francis Quarles may be seen in our National Portrait Gallety, South K^nsin^on; while a head, in- ter^ting as being that of the keeper Of the gallery of King Charles I,, is preserved in the Hermitage, St. Petersburg, No. 1387.

Stone (1616-fe8) worked both as scillptor and painter. A good copy by him of Titian's * Comai^o family ' may be seen at Hampton Court, No. 444. His copies of some of Van Dyck*s portraits are perhaps among the best of his productions, and jBome are 6o good, indeed, «U3 to have passed for works of the master.

After Van Dyck two foreign painters sttbceeded him at coutt. Th^se wei*e Sir Peter Lely and Sir Godfrey Kneller.

Lely (1618-80), a Westphalian by birth, but of Dutch extraction, gained a gfeat reputation in England as a painter of female portraits, and was employed by Charles n. to paint the reigning beauties of the day. These works are still in the Hampton Court Gallery. GkK)d examples of portraiture by Lely may Itte ifeen in our National Porlirait Gallery; thosfe of Mary Davis, Nell Gwynn, the Countess of Shrewsbury, and the Duke of Buckingham may be particularly mentioned.

Samuel Cooper.

Seventeenth

century.

Dobson.

Stone.

Lely

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THE RISE AND PB0GBES8

Kneller.

Walker,

Biley.

JRichardson,

Jervas,

ThomhiU,

Godfrey Kneller (1646-1723) was a native of Llibeck, but worked chiefly in this country, where he painted most of the notable men of his time, and in particular some of the members of the " Kit-Kat Club." Many good specimeDs of portraiture are in the Hampton Court Gallery, among which may be mentioned a fall-length of Peter the Great in armour, No. 57. Some of his portraits may be seen in our National Portrait Gallery, those of the Duke of Bedford and William Congreve being the best ; and there is one in our National Gallery, No. 273. Two portraits in the Hermitage may also be noted— one of Locke, No. 1388; the other of Gibbons the sculptor, No. 1389.

An Englishman, Bobert Walker, painted portraits in the seventeenth century, especially of the chiefs of the Commonwealth. One of Cromwell is in the Hermitage, No. 1386 ; and others may be foimd in our National Portrait Gallery. A portrait of himself may be seen at Hampton Coxirt, No. 365.

Sir Peter Lely had one pupil of some note — ^namely John Kiley (1646-91), bom in London, by whom there is a portrait at Hampton Court, No. 372. He was the master of Jonathan Kichardson (1665-1745), who is better known as a writer on art than as a painter. Both these painters are represented in our National Portrait Gallery : the former by portraits of Lord Eussell and King James IL ; the latter by portraits of Anne Oldfield and Matthew Prior. There also, among the portraits of great lawyers recently presented by Serjeants' Inn, is one of Lord Chief Justice Pi»tt by Kichardson.

Charles Jervas (1675-1739), bom in Lreland, may be named here as a pupil of Kneller, whose style he adopted. An interesting portrait of Dean Swift by him may be seen in our National Portrait Gallery* His friendship with Pope should not be forgotten.

Sir James Thomhill (1676-1734) attained a certain reputation by his large works. They possess, however, no particular merit, being chiefly decorative, and following the conventional style of the age. Examples are to be seen on the ceilings of Hampton Court, in the cupola of St. Paul*s, and in the great hall of Greenwich HospitaL

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William Hogarth (1697-1764), the son-in-law of Thomhill, was educated as a painter and engraver, and pursued his art in a style peculiar to himself. With him it may be said that the English school began. It was his object to expose certain follies, fashions, and political usages then current in society. This he did in several series of paintings and engravings, by which he depicted, in a powerful manner and dramatic form, occurrences illustrative of the evils he desired to satiiise. The famous series of paintings called the * Marriage a la mode,' now Nos. 113-18 in our National Gallery, are among his most successful works, and, apart from their value as satires, show Hogarth's mastery in grouping, expression and colour (Plate XXXIX., 6). The first series that appeared was that of the * Harlot's progress,' six in number ; these were followed by the ' Eake's progress,' eight in number, now to be seen in Sir J. Soane's Museum, Lincoln's Inn Fields; but many of his original paintings have been destroyed, and remain to us only in the form of prints. The same Museum contains a series of four fine pictures, illustrat- ing an Election, admirable examples not only of his humour but of his talents as a painter. Hogarth also painted a few portraits. That of himself, which he repeated more than once, is in our National Gallery, No. 112 ; where also is a small portrait of his sister Mary, No. 675, and an interesting work, * Sigismunda with the heart of Gruiscardo,' No. 1046. A charming small portrait of himself seated at his easel may be seen in our National Portrait Gallery. Two examples of less merit are in the National Gallery, Edinburgh, Nos. 267, 70. The well- known portrait of Captain Coram is still preserved in the Foundling Hospital.

After Hogarth came Allan Eamsay (1713-84) and Thomas Hudson (1701-79), who were good portrait- painters of this period. The former worked in Edinburgh, where in the National Gallery two examples of his work are preserved, Nos. 43, 266. Hudson derives celebrity chiefly from having been the master of Sir Joshua Eeynolds, who was destined to succeed Eamsay as painter to George III., and whoge fame soon overshadowed that of less

Eighteenth

century.

Hogarth,

Eamsay. Hudson,

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THE RISE AND PROGRESS

Rainsay, Hudson.

Reynolds,

favoured rivals and contemporaries. Two examples of Hudson's work will suffice — ^namely, the portrait of Handel in our National Portrait Gallery, and that of Lord Chief Justice Willes, which forms one of the new collection of lawyers' portraits there.

Eeynolds (1723-92) was bom at Plympton in Devonshire, and at eighteen came to London to study under Hudson. Before taking up his residence here, however, as a pro- fessional painter, he spent some three yeai-s in travelling on the Continent, where he saw and commented on the masterpieces of Italian and Flemish art. Reynolds rapidly gained reputation on his return to London in 1752, and was employed to paint the portraits of most of the celebrated men and many of the beauties of the day, who considered it a privilege to sit to him. On the formation of the society of painters which became the Royal Academy of Arts, Reynolds was appointed first president, and delivered in that capacity his well-known 'Discourses on Art.* Reynolds's power displayed itself in a fine appreciation of colour, and in a knowledge of the art of most gracefully posing a sitter and very happily- anrangiug the accessories of a portrait. No doubt his drawing Was weak, and in the extremities often quite neglected; but his mastery of the brush, largeness of style, and cleverness in hinting what he would not stay to define, sufficed in great measure to cover the defect. His style was particularly suited to express the delicate traits and unrivalled beauty of English women, especially of those belonging to our noble families. His canvases still charm us by their grace and elegance, although not a few have lost the original tints with which they were finished. Many of them, now pale and colour- less, are reduced to the white and warm greys of the first painting, because in many instances he depended entirely upon thin glazes for the flesh-tints, and these were often fleeting in their character. Sir Joshua also made many experiments with vehicles of different kinds, in attempting to obtain a thick and rich impasto, and the cracking of these has fiitally damaged several works. Those examples of the master which are preserved in our National Gallery, and they number twenty-three in all, are, however, for

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Plate XXXIX. lb face page 196.

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OF PAINTING IN ENGLAND,

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the most part in excellent preservation. One of the most important of these is the pleasing composition known as the * Graces decorating a terminal figure of Hymen/ No. 79, portraits of the three daughters of Sir William Montgomery, all beautiful women and admirably grouped. A specimen of his 'Holy families' occurs in the Gallery, No. 78 : it is simply a domestic group of English type. Of the well-known * Infant Samuel' there is an example here. No. 162; but the subject was often repeated— one is in the Dulwich Gallery, No. 285, and another may be seen in the Mus6e Fabre at Montpellier, France, No. 416. Similar to the 'Samuel' in size and treatment are two other works in our National Gallery: the carefully ex- ecuted but somewhat faded ' Age of Innocence,' No. 307 ; and a girl with a robin and cage, known as ' Robinetta,' No. 892. Another work to be noted is the ' Snake in the grass,' No. 885 : and last, but not least, the Gallery possesses several admirable male portraits. Perhaps the most striking of these is the life-like and vigorous portrait of ' Lord Heathfield holding the key of Gibraltar,' No. Ill ; while scarcely less excellent as an example of honest portraiture is that of two gentlemen in one frame. No. 754. These testify to the power possessed by Reynolds of seizing and reproducing on canvas the character — in these ex- amples so different — of his various sitters. The famous portrait of Samuel Johnson, No. 887, and of his biographer, James Boswell, No. 888, deserve close attention. The fine head of the * Banished lord,' No. 107, and the study of a man's head in profile. No. 106, are illustrations of his rich and powerful colouring. Finally there are two portraits of Reynolds himself, Nos. 306 and 889 ; while a third occurs in the Dulwich Gallery, No. 146 ; a fourth is in our National Portrait Gallery; and another is in the Uffizi at Florence, No. 540. In the Dulwich Gallery is also the famous portrait of Mrs. Siddons as the ' Tragic Muse,' No. 340 (Plate XXXIX., 3), said to be a repetition of that in the Grosvenor Gallery. It is in good preserva- tion, and is one of the master's noblest productions, alike as regards drawing, expression, and colour. The * Mother and her sick child,' No. 143, and the study from the larger

0 2

Reynolds,

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TEE RISE AND PROGRESS

Reynolds,

Gains- borough.

work of the * Death of Cardinal Beaufort/ No. 254, both at Dulwich, and the portraits of the Earl of Bath and Lord Keppel in the Portrait Gallery, must not be passed without mention. Eeynolds was honoured by a commis- sion from the Empress Catharine of Eussia to paint a composition of his own choice for her gallery at St Petersburg. After much consideration, he produced the ' Infant Hercules strangling the serpents,' now in the Hermitage at St. Petersburg, No. 1391, without doubt one of his most successful compositions (Plate XXXIX., 6). The same gallery contains two less happy works of the master, a * Venus and Cupid,' No. 1390, and the 'Continence of Scipio,' No. 1392. Most of Eeynolds's works are naturally in private collections in this country, many being still in the possession of the families for whose ancestors they were originally painted.

But Eeynolds, in spite of his great reputation, was not without successful rivals in his own branch of art — that of portraiture. Two painters of note shared with him the public favour — ^namely, Thomas Gainsborough and George Eomney.

Gainsborough (1727-88) was bom at Sudbury in Suffolk, and when still young came to London and studied under Francis Hayman, a painter of small note, who produced some historical pictures. Both master and pupil were original members of the Eoyal Academy. Gainsborough's portraits are generally less pleasing in colour than those of Sir Joshua, and have an undue predominance of blnish grey in the flesh-tint ; nevertheless they are always grace- ful productions. He executed a great number of works of various kinds, and in landscape was one of the first masters in the English school. Most of his paintings are in private galleries ; as, for instance, the Grosvenor, which possesses two of the best known — the famous ' Blue-boy' and the * Cottage-door.' Our National Gallery contains some important works of the master both in portraiture and in landscape. Among the single portraits, that of Mrs. Siddons seated, in a blue striped dress, No. 683 ; that of Dr. Schomberg, No. 684 ; and that of the Parish clerk, No. 760 (Plate XLV., 2), are the best; while No. 789 is

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Platr XL. To face page 19 ^.

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OF PAINTING IN ENGLAND. 197

an example of Gainsborough's portrait groups. The land- scapes here are admirable, and exemplify the different styles which the master adopted. That known as a * Wood scene, with the village of Cornard in Suffolk,' No. 925, is treated in the style of the Dutch masters, and in the carefully executed foliage and grey-brown tone reminds one of Hobbema; but the distance is rendered with far more tenderness and delicacy than is visible in Hobbema's work. The ' Market-cart,' No. 80, illustrates an entirely different style. Gainsborough has in it paid more attention to chiaro-oscuro than to highly finished detail, and the general tone is dark and brownish in colour. The * Water- ing-place,' No. 109, again differs in treatment from those already noticed, and is distinguished by colour almost Titianesque in its richness, and by large masses of dark broadly executed trees (Plate XLV., 1). Gainsborough is better seen as a worthy rival of Sir Joshua in the admir- able family portraits in the Dulwich Gallery. The well- known and charming group of the two daughters of Thomas Linley — namely, Mrs. Sheridan and Mrs. Tickell ^-No. 1, is one of his best works. Portraits of their father and of two other members of the Linley family are Nos. 358, 61, 2. Another very pleasing example is No. 366, ' Portraits of Mrs. Moodey and her children.' His finest work, however, is without doubt the beautiful fult-length ' Portrait of the Hon. Mrs. Graham,' now in the National Gallery, Edinburgh, No. 269.

George Eomney (1734-1802) also was much celebrated as a portrait-painter in his day, in spite of the popularity of Reynolds and Gainsborough. He was born in Lanca- shire, and, after studying some years at Kendal, came to London, where he lived and worked, with the exception of a visit to Italy, till his death in 1802. His works, like those of other English masters, are rarely found in public galleries, and it is only in the collection of ** Old Masters " exhibited each winter at ^the Eoyal Academy that the public has an opportunity of forming a fair estimate of their worth. A single portrait by Eomney is in our National Gallery, that of the beautiful Lady Hamilton, No. 312 (Plate XLV., 3). Another of the same lady and

Gains- borough,

Bomney,

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198

THE ^ISE AND FBOORESS

Homney,

WUson.

Wright of Derby,

Hoppmr,

one of Eichard Cumberland should be mentioned in our National Portrait Gallery. But he was also distinguished by his historical works and by his cartoons, some of which, eighteen in number, are Nos. 150-67 in the Royal Institution, Liverpool.

Eichard Wilson (1713-82), bom at Pinegas in Mont- gomeryshire, was another gifted painter of the same period. He began with portraiture, but his taste inclined to landscape-painting, and with the intent of studying this branch of art more especially he went to Eome and resided there six years. On his return to London he was made a member of the Eoyal Academy, but never attained wealth or reputation during life, as many of his contemporaries did. His landscapes are chiefly Italian, harmonious in colour and poetic in feeling, and, with the exception of Gainsborough, he ranks as the first landscape paiiiter of his day. One of his finest productions is in our National Gallery, a 'View of the ruins of the Villa MsBcenas at Tivoli,* No. 108 — a subject which he frequently repeated when it had become a favourite with the public. One replica is to be seen in the Dulwich Gallery, No. 215. Another admirable composition, also in our J^ational Gallery, is a * Landscape with the destruction of Niobe's children,' No. 110 ; besides many small Italian views, Nos. 267, 301-4, 1064, 71. The South Kensington Museum contains one small and very charming example of landscape by evening light. No. 246.

Joseph Wright (1734-97), called from his native town Wright of Derby, worked first under Hudson the portrait- painter, but his strength was in landscape and genre. One portrait may be mentioned — ^namely, that of himself in our National Portrait Gallery. A large example in his characteristic style is in our National Gallery, a party witnessing an experiment on the air-pump, by candlelight, No. 725 (Plate XLV., 4). Artificial light effects were attractive to him.

Some able portrait-painters flourished a few years later than the three already mentioned : John Hoppner^ John Opie, and Henry Baebum.

Hoppner (1753-^1810) was bom in London^ but did not

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OF FAINTING IN ENGLAND,

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begin to study as an artist till his twenty-second year, when he became a student at the Eoyal Academy. Some of his portraits are at Hampton Court, and three are in our National Gallery — No. 133, the portrait of Mr. Smith the actor; No. 233, that of William Pitt; and No. 900, that of the Countess of Oxford. Others may be seen in our National Portrait Gallery: note in particular those of Lord Grenville and of Lord Lansdowne.

John Opie (1761-1807), bom near Truro in Cornwall of humble parents, showed signs of much talent when still young, and came to London to be introduced to Sir Joshua. He worked both as an historical and as a portrait-painter, and ultimately succeeded Fuseli as Professor of Painting to the Eoyal Academy, having previously been made a member. The ' Death of Eizzio ' (Plate XL V., 6) was one of his most important works, and be produced several drawings for literary illustration. One portrait by him is to be seen in our National Gallery, that of William Siddons, No. 784, and a composition, *Troilus and Cressida,' No. 1026. Opie's own portrait is preserved in the Dulwich Gallery, No. 3, as well as in our National Portrait Gallery, South Kensington.

Henry Eaebum (1756-1823) was bom near Edinburgh, and became one of Scotland's best portrait-painters. He worked chiefly in the North, after visiting London and making a journey to Italy, and became a member of the Boyal Academy in 1814. His portraits are truthful repre- sentations of his sitters' characteristics, and he succeeded best in depicting the well-marked features of his own countrymen. The National Gallery, Edinburgh, contains several fine works, among which may be noted Nos. 2, 23, 39, and 45. Neither our National Gallery nor the Dulwich Gallery possesses any of his works ; but three good por- traits may be seen in our National Portrait Gallery, and the painter is often represented at the Winter Exhibition of Old Masters.

John Singleton Copley (1737-1815), bom in America, had to contend with many difficult circumstances in the beginning of his artistic career, but, nothing daunted, he worked steadily as a portrait-painter till he left America

Hoppner.

Opie.

Raehum.

Copley,

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THE BI8E AND FBOGRESS

in 1774. He then travelled to England, the Low Countries, and Italy, but finally settled in London for the remainder of his life. His ;two finest works are in our National Gallery : the well-known * Death of Chatham,' No. 100, in .which the assembled members of the House of Lords are portraits ; and the admirable composition, the * Death of Major Pierson,' No. 733. Besides these large works there is a small study for the painting at Guildhall of tho * Siege and relief of Gibraltar,' No. 787. These and several Other important historical works Copley executed in London, but he chiefly exhibited portraits in the Koyal Academy, of which he was a member. As examples of portraiture a stTidy of Lord Heathfield and a fine full-length of Lord Mansfield should be noted in our National Portrait Gallery.

Benjamin West (1738-1820) was also an American by birth. His talent for painting showed itself at a very early age. At eighteen he worked independently as a portrait-painter, a few years later went to Eome, and after a stay of three years came to London, which he decided to make his home. He was appointed President of the Royal Academy on the death of Sir J. Eeynolds, and exhibited a large number of works every year. He painted chiefly historidal subjects, both sacred and classical. Some of these are now in our National Gallery: for example, 'Pylades and Orestes brought as victims to Iphigenia,* No. 126 ; * Cleombrotos banished by Leonidas 11. , King of Sparta,* No. 121 ; and a large canvas, * Christ healing the sick in the temple,' No. 131. One of West's best works is the ' Death of General Wolfe,* which belongs to the Duke of Westminster : a replica. No. 320, may be seen in the Queen's drawing-room at Hampton Court among other large canvases (Plate XLV., 6). West was bold enough in this work to make a great innovation — namely, that of dressing his characters in modem costume, instead of representing them in classical dress according to the custom of the day.

James Barry (1741-1806) was bom at Cork, and studied art in Dublin, when Edmund Burke helped him to go to England and to Italy to finish his studies. He eventually settled in London, became a member of the Koyal Academy,

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OF PAINTING IN ENGLAND. 201

and subsequently the Professor of Painting. His chief works were those he executed for the Society of Arts at the Adelphi. They are six in number, and illustrate the history of the civilisation of man. Barry was a warm advocate for the introduction of large paintings as a decoration of St. PauFs, and was much annoyed at the rejection of his suggestion by the Bishop of London. Another example of the master's wotk may be seen in the South Kensington Museum, an ' Adam and Eve ' of no great merit ; his own portrait is in our National Portrait Gallery. Barry died in 1806, after a short illness, and was buried in St. Paul's Cathedral.

Henry Fuseli (1741-1826), a Swiss by birth, who succeeded Barry as Professor of Painting, deserves a few words, although both he and William Blake lived into the first quarter of the nineteenth century, of which it is not within the scope of our design to speak. Fuseli is better known as a critic on art than as a painter, and his addresses delivered to the students of the Academy were interesting and valuable. His pictures, for the most part historical, were remarkable for extravagance in design and conception. He painted many subjects in illustration of the dramas of Shakespeare, but no example of these or any other of his works is in our National Gallery or in the Bulwich Gallery. A Shakespearian subject may be, seen in the Liverpool Institution, No. 148.

William Blake (1757-1828) was the author of several poetical works, and in order to illustrate them made numerous drawings, most of which are extremely defective as works of art, although some display a curiously wild and original treatment of the subjects. He also illustrated the book of Job, Young's ' Night Noughts,' and some of Milton's works ; one of his best productions is the ' Canterbury pilgrims,' painted in water-colour.

There are two animal-painters who must be noticed before bringing this sketch to a close : namely, George Stubbs of Liverpool (1724-1806) and George Morland of London. The former had a remarkable talent for drawing horses, and wrote a work on their anatomy.

Morland (1763-1804) painted small landscapes chiefly

Barry.

Fuseli.

Blake,

8tul}bs.

Morland,

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THE RISE AND PR0GBE8S

Morland,

for the purpose of introducing different domestic animals, in the portrayal of which he greatly excelled. His favourite subjects were pigs, horses, and village interiors; but his career was ruined by dissolute and reckless habits, and he died in the prime of life. As examples, may be cited an excellent work, * Interior of a stable,' No. 1030 in our National Gallery ; a small portrait of himself in our National Portrait Gallery, and three admirable and characteristic works in the South Kensington Museum, the ' Beckoning,' No. 237, * Horses in a stable,' No. 403, and * Sea-shore and fishermen,' No. 1404, the two last named having been painted in 1791.

Following the plan adopted with other schools, the names of a few English painters will be mentioned, respecting whom particulars are unnecessary.

• Historical : Fr. Hayman.

Portraiture: George Jameson, Michael Wright, J. Zoffany, David Allan, Nathaniel Dance.

Landscape: George Smith of Chichester, P. J. de Loutherbourg, F. Zuccarelli, Francis Bourgeois.

It suffices simply to name the following who painted miniatures in the seventeenth century : Thomas Flatman, Alexander Browne, and a little later Lewis Crosse. Early in the eighteenth century, Bernard Lens, and later Jarvis Spencer, followed by Nathaniel Hone.

The great English school of water-colour painting took its rise in the latter part of the eighteenth century. It is no part of our design to illustrate its history, but belonging to that period must be mentioned in connection with landscape the names of those able artists Paid Sandby, John Cozens, and Thos. Girtin.

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A TABLE

Of the Dates op the Pbincipal Painters op the English Schooijs.

School.

Birth.

Death.

Nicholas Hilliard

Isaac Oliver

George Jameson

Peter Oliver

Samuel Cooper

William Dobson

Henry Stone

Sir Peter Lely

Robert Walker, painted 1650 . .

John Riley

Sir Godfrey Kneller

Michael Wright

Jonathan Richardson .... Charles Jervas ......

Sir James Thomhill

WilUam Hogarth

Thomas Hudson

P. Zuccarelli

Francis Hayman . . . . . .

Richard Wilson

Allan Ramsay

George Smith of Chichester . . .

Sir Joshua Reynolds

George Stubbs

Francis Cotes

PaulSandby

Thomas Gainsborough ....

Nathaniel Hone

Nathaniel Dance

Joseph Wright of Derby . • .

George Romney

JohannZoffany

John Singleton Copley ....

Benjamin West

P. J. de Loutherbourg ....

James Barry

Henry Puseli .......

David Allan

John Cozens

1547 1555 1586 1594 1609 1610 1616 1618

1646 1646

1665 1675 1676 1697 1701 1702 1708 1713 1713 1714 1723 1724 1725 1725 1727 1730 1734 1734 1734 1735 1737 1738 1740 1741 1741 1744 1752

1619 1617 1644 1654 1672 1646 1653 1680 1660 1691 1723 1700 1745 1739 1734 1764 1779 1788 1766 1782 1784

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END OF ENGLISH SCHO

OL.

School.

Birth.

Death.

John Hoppner

Fr. Bourgeois

Henry IfiSebum

William Blake

John Opie

George Morland

Thos. Girtin

1753 1756 1756 1757 1761 1763 1773

1810 1811 1823

1828 1807 1804 1802

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NOTES TO TBB CATALOOVM^. 205

INTRODUCTOEY NOTES TO THE CATALOaUES.

The following pages are occupied with the condensed or abbreviated catalogues (already referred to in the Preface) of all the European Public Galleries of any note, and of the chief collections in private mansions open to the public in Italy and Holland.

The writer's object has been to point out the best works of the leading masters, especially noting pictures which are typical of a style or date or school. It has not been deemed necessary to mention all the works bearing the names even of the greatest painters. Thus some pictures have been omitted : firstly, because, although genuine, they are of minor value or unnecessary for the purpose of illustration ; secondly, because they are works of doubtful origin about which critics are not agreed; and, lastly, because as sometimes happens they have no claim whatever to the name by which they are catalogued.

As a striking instance of the last-named error, from at least a hundred such which might be mentioned, let one be taken from the Hampton Court Gallery, where, of all the works ascribed to Palma Vecchio, certainly not more than one is genuine.

On the other hand, when a picture is fine and worthy to be observed, although it is obviously not by the author indicated, the picture is noted, but the words ** attributed to " are appended. Thus, continuing the reference to Hampton Court, one of the so-called Palma Vecchios is (on the

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'206 NOTES TO THE CATALOGUES,

authority of Crowe and Cavalcaselle *) a fine Jacopo Bassano.

For the purpose of enabling the reader to find the catalogues easily, they have been arranged in the order in which the schools themselves have been considered. The Galleries of Italy head the list, and are followed by those of Flanders. Holland, Germany, Austria, Hungary, Spain, France, England and Scotland, and Eussia ; and under the heading of each country the towns containing Galleries are aiTanged in alphabetical order.

* As heretofore, when the opinion of these erudite critics is specially referred to, the initials (C. and C.) will be appended to denote the authority quoted.

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( 207 )

CATALOGUES.

THE PICTUEE GALLEEIES OF ITALY.

THE MUNICIPAL GALLERY AT AREZZO.

Pictures last examined in 1877.

There is a first room wliich contains some fragments of frescoes. The large hall contains between forty and fifty pictures, a manuscript catalogue of which is supplied to the visitor.

No.

2 4, 24, 6 C. P. Benvenuti

Cartoons of Mark, Luke^ John Hie EvangeiUty

and John the Baptist. — ^Heroic size. 8. Bocco praying to the Virgin to remove the

plague from Arezzo, 8. Bocco at prayer. Madonna in glory and saints. Madonna delta misericordia, and predeUa. — Much restored. 21 Margaritone . . , , 8. Francis of Assist

9 Girolamo della Gatta

12 G, Vasari . . . 15 Parri Spinello . .

Andrea of Arezzo 31 Luca Signorelli . .

33 Margaritone . . .

40 Rafaelliuo del Garbo 44 Filippo Lippi . .

Madonna and saints^ vsith predeUa.

A large altarpiece; Madonna in glory; David

playing on the harp, with saints and angels. —

In good condition. Madonna. — ^Removed from the church of S.

Francesco. Annunciation. — ^Much injured. Madonna with flowers.

THE ACCADEMIA CARRARA AT BERGAMO.

Pictures last examined in 1875. No.

Baaaiti, M — Sead of Christ,— D&ied 1517.

Bellini, Gentile, attrib. . . Idd Portrait of Loredano,— By Catena:

andO.

0.

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BERGAMO.

Bellini, Giovanni

Bonconsdglio . Borgognone . Canaletto. . Oarpaccio, V. Orivelli, Carlo Diirer, Albrecht Fogoliao, Marcello Foppa, Vincenzo

Francia, attiib. . Giorgione, attrib.

Guardi, Francesco Jaoobello del Fiore Lotto, Lorenzo .

Mansueti .

Mantegna, Andrea

»» »>

Marcos Yenetos, or Marco

BelU . . Marziale, Marco Montagna, B. Morone, Fr. . Moroni, Giambattista

Palma Yecchio • . „ „ attrib.

Piombo, Sebastiano del Previtali

No.

216 Madonna, 4 A Pieta.

— S.Sebastian.

— Madonna.

38 A view of Venice,

217 A Natimtg. 194 Madonna.

106 Christ hearing the cross. 223 Monks chanting a mass. 112 Crucifixion.

— 8. Jerome. 104 Ecce Homo,

157 Portrait of a lady.— By Cariani : C. and Of

171 P(yrtrait.—-By Melone: C anji C.

187 PoHraU.—By Calisto di Lodi : C. and C.

31, 32, 63 VieuDS in Venice.

17 An altarpiece. 154 Holy family. 222 The marriage of S. Catharine.

220 S. Jerome.

221 A Pieta.

187 Madonna.— Smali, — A portrait.

Baphael, attrib. . . . Santa Groce, Franc . . „ „ Girolamo . Tnra, Gosimo . . . Velasquez, Diego, attrib.

>» 1* »»

Vicentino, Girolamo Vivarini, Antonio , .

,, Bartolommeo

209 The Madonna in a landscape.

— Madonna and donor.

— Madonna and ttoo saints. — ^Dated 1487.

— Virgin and saints. — Dated 1520. 158, 185, 196, 212 Male portraits, 185, 196, 221 Female poHraits.

144 Portrait of a child.

156 Madonna with the Baptist and the magdalen,

285 Holy family and saints, — Perhaps by A.

Schiavone : G. and C. 191 PoHrait. 142 Madonna and sainte.-— Dated 1506 ; and

others. 135 8. Stephen.

— Several examples.

— Madonna enthroned. 28 PoHrait

169 Sketch of a decapitated head.

— Christ hearing the cross, 309, 10 Two saints,

218 Madonna. — ^Dated 1486 ; and another work.

Digitized

byGoogk

BOLOGNA.

209

THE PINACOTBCA AT BOLOGNA.

Pictures Icut examined in 1878.

GATALOors OF 1876.

Albani, Francesco . . .

» >» ...

Almmo, Niccolb. . . .

Aflperfini, Amioo . . . Avanzi, Jacopo da Bologna

Bugiardini, Giuliano Cantarini, S. . . Caracci, Agofitino

Annibale

Lodoyico

Oavedone di Sassuolo . Oima da Oonegliano

Cossa, Francesco . .

CcNsta, Lorenzo . . .

Cremona, Niccolo da IXymenichino (Zampieri)

»» »»

:Francia, Francesco . .

No.

1 Madonna and sainU. 82 Baptism of Christ, 860 Ancona painted on both sides. On one an Annundationvjith the Eternal and angels in lunette above. Reverse : Madonna and saintSt lunette as before, ^97 Adoration vnth saints and donators.-^Qxeoily injured,

159 An Ancona, Scenes from the life of Christ. —

Mnch injured.

160 2%e crucifixion,

161 An Ancona in several compartments. 26 Marriage of 8. Catharine,

29 Assumption and saints,

34 'The last communion of 8, Jerome.

85 The Assumption.

86 Madonna with saints in adoration.

87 Madonna enthroned and saints. 89, 40 The Annunciation.

42 Madonna arid saints,

45 Birth of John the Baptist.— And others.

47 Conversion of 8. Paul.

55 Madonna appearing to 8. Peter,

61 Madonna,

64 Madonna and saints, — ^Dated 1474.

65 8. Peter as Bishop of Borne and saints, —

Dated 1502 ; and others. 122 A Pieta,

206 The martyrdom of 8, Agnes.

207 Madonna of the rosary,

78 Madonna, saints, and donators. — Dated

1493.

79 Annunciation with Baptist and 8, Jerome,

80 Madonna, Baptist, and 8. Augustine.

81 Madonna in adoration, saints, and donators.

— Almost rained by repainting. 83 Dead Christ and two angels.

P

Digitized

byGoogk

210		BOLOGNA.
	No.
Francia, Francesco . .	. 371 TheAnnunciationandsainU.— DsAed 1500;
	almost ruined by repainting.
»> » •	. 372 Madonna with 8, Paul and 8. Francis. .
»» w	. 373 Crucifixion.
„ Giacomo .	84 Madonna and sainU.— Dated 1526.
»» »» • •	87 Madonna in glory and saints.
Giotto	102 Four saints. — The wings of No. 310 in the
	Brera, Milan.
Gneicino	12 The Duke of Aquitaine receiving ffie fiodk
	of 8. Felix.
	13 8. Bruno and his companiwi in the desert. —
»» . . . . .	And others.
Tmola, Innocenzo da	89 Madonna in glory and 8. Michad.
Jaeopo di Paolo . . .	10. \l The CrudfixUm and Coronation.
» » • •	. 328 8. Selena.
Matteo da Bologi	la \ 103 A Pieta and saints. An Jlncona.— Dated j 1462.
(Lambertini) . .
.. » » '	. 104 Madonna.-Da.ted 1469.
Parmegianino . . .	. 116 Madonna and saints.
Perugino, Pietro . .	. 197 Madonna enthroned with saints.
BaDhael . ^	52 8. CecUia.
Reni, Guido		. 134 Madonna deUa Pieth.
?♦ "		. 135 Massacre of the innocents.
>» M		. 136 Christ erucifiedi
« »		137 8amson victorious.
}> f»		138 Madonna of the rosary.
■		.. 139 8.. Andrea^ bishop of Fiesole.
		, 140 8. 8et>astian.
„ ,.		141 Coronation of the Virgin.
»» »»		, 142 Ecee Somo.--Gr9.joj1.
Simone da Bologna .	. 162 Crucifixion and saints.
» >»	. . 163 An Ancona.
Sirani, Elisabetta .	175 8. Antony adoring the Madonna.
Tiarini, Alessandro .	. 183 Marriage of 8. Catharine. — And others.
Vasari, Giorgio . .	. 198 iS^. Ghregory the Great and the poor.
Vitale da Bologna ,	.. 203 Madonna and saints.
Viti,Timoteo . .	. 204 Magdalen.
Vivarini, Antonio ai	ad \ 205 Altarpiece in several compartments.— Doied j 1450.
Bartolommeo . .
N.B.— In Corridor C	is a frame containing a niello by Brizzi and two nielU
by Fr. Francia.

Digitized by VjOOQIC

BBE8CIA AND FfiBBABA.

211

THE GALLEEIA T08I OB MUSEO CIVIOO AT BBESCIA.

Pictures last examined in 1875.

Anteroom. No.

Moretto — Ecee Homo,

Bomanino — The supper at Emmaus, — ^Fresco^

,) — Magdalen in the house of Simon, — Fresco.

Boom I. Moretto . — An AnnundaHon, — Small.

Boom II,

Lotto, Lorenzo .... — The Nativity,

Moretto — The supper at Emmaus,

Moretto and Moroni . . — Portraits,

Boom III,

Moretto and Moroni . . — Portraits,

Baphael — Christ toith wounded side, — Small.

Boom on the Qround Floor,

Moretto — An aUarpieoe.

„ — The Madonna in glory and saints.

Moroni — An aUarpiece,

THE ATENEO AT FEBBABA,

Pictures last examined in 1875.

Catalogue op 1875.

All the pictures in this gallery appear to have been recently cleaned and Tarnished.

No.

19 The marriage at Cana.

38 The Last Supper.

37 The burial of the Virgin.

46 The Annuneiaiion.

47 Madonna enthroned with saints,.

63 The Madonna '♦ del pHastro."

64 Adoration of the kings.

65 Jesus at Oethsemane,

P 2

Bononi, Carlo . Caraod, Annibale Carpaccio, Yittore DossiyDosso •

Garo&lo (Tisio)

Digitized

byGoogk

212

FLOREIWE: THE ACADEMY,

Garofalo (Tisio) . . Mazzolino, Ludovico Scarsellino . . . Turn, Oosimo . . »» »» • •

Viti, Timoteo . .

No.

68 Massacre of the innoeents,

— Adoration and saints, 113 The marriage at Cana, 121, 2 8, Jer(me,

123 A dead Christ,

124 The assumption of 8. Mary of Egypt,

THE ACADEMY OF FINE AETS AT FLOBENOE.

OATAIiOaUB OF 1875.

Pictures la$t examined in 1877.

l.—SaXte de$ Grands Tableaux*

Albertinelli, Mariotto . Angelioo, Fra(Fiesole) Bartolommeo, Fra (Porta)

»> n »»

>♦ >» *»

Botticelli, Sandro

„ attrib.

Bronzino, Angelo . Oardi, L. (OigoU) . Oastagno, Andrea del Oimabne .... Oredi, Lorenzo di . Gaddi, Agnolo . .

„ Taddeo . .

„ attrib.

Gentile da Fabriano

Ghirlandajo, Domenioo „ Siichele

Wo.

70 Holy Trinity.

72 Madonna enthroned toUh saints. 34 Depositian, — The side pilasters and the

pinnacles are by Lorenzo Monaco. 66 Madonna and saints, 69 8, Vincent.

78, 82 8aints, — ^And others in fresco. 47 Coronation of the Virgin,

49 ThepredeUa,

&2 Madonna with saints,

46 Madonna and satwfs.— Probably by Andrea

del Gastagno : 0. and 0. 102 Dead Christ,

115 8. Francis receiving the stigmata, 37, 8, 9 Three saints, 2 Madonna wiGi eight angels. 51 The Nativity, 33 Madonna and saints, £c.— Large Ancona

in several compartments. 4^13 History of 8, jPrancw.— Painted after

Giotto's designs. 18-29 Scenes from the life of Cfefirf.— From

designs by Giotto. 81 An Entonibment—Bj Niocolb di Pietro

Gerini: G. and 0. 32 Adoration of the magi, vnth predeUa, — Dated 1423.

50 Adoration of the shepherds, 76 Marriage of 8, Catharine,

Digitized

byGoogk

FLOBENOE: THE ACAVEMJ.

213

Giotto di Bondcme •

GioYanni da Milano . Granaoci, Francesco Lippi, Filippo . .

lippi, Fillppino Lorenzetti, Ambrogio

Lorenzo Monaco • .

Lorenzo di Niccol5 .

Masaccio'. . . . Paolino, Fra . . . Pemgino (Vannucci)

Pesellino .

Bafaellino del Garbo Santi di Tito . • . Barto, Andrea del Signorelli, Luca . . Yerrocchio, A. del .

No.

15 Madonna with $aints and angtk,^J^tQittk

the OgnissantL

16 Pitfta.— Dated 1365.

75 Madonna in glory wiOi saints,

41 Coronation of (he Virgin.

42 A predella. — Belongs to the Madonna and

saints. No 221 in the Louvre.

57 A Deposition, — ^Lower part by Perugino.

17 The presentation in the temple. — Dated

ia42. 30 Annunciation, — ^Ancona in three compart- ments.

35 Coronation of the Virgin. — ^Anoona in

three compartments. The panel to the right IB painted by Nicoolo di Pietro, the panel to the left by SpineUo Aretino.

36 Madonna^ and 8, Anna in glory, 71 Virgin appearing to 8, Thomas,

53 The Agony,

55 Assumption of (he Virgin,

56 Christ on the cross,

58 Dead CAria^.— Altered by repainting.

48 Part of a predella. The remainder is No.

287 in the Louvre. 67 A Besurrection. 100 A Pieth.

59 Four saints,

54 Madonna with saints,

43 Baptism of Christ, — The first angel on

the left was painted by Leonardo da Vinci.

II. — 8aUe des Anciens Tableaux,

AngeHco, Fra (Fiesole)

»> »» »»

Baldovinetti, A. . . Botticelli, Sandro . Ghirlandajo, Domenioo Giusto d'Andrea Lorenzo Yeniziano .

Paoehiarotto . . . Signorelli, Luca . .

No. 19 Madonna with saints.

22 Madonna with saints,

2 Crucifixion. — Much injured. 24 AUegory of spring. — ^An early work. 17 Madonna with saints and predeUa.

23 Madonna (Md saints,

5 Ancona, — In three compartments.-

Dated 1364. 16 A VintaUon,

6 Crticijixion,

Digitized

byGoogk

214

FLORENCE! CONVENT ^ OF 8. MAHCO,

Spinello Aretino XJgolino da Siena

No.

35 Altarpiece.-^In three compartments. ' Dated 1391. 1 Coronation of the Virgin.

IIL-Sdae dee Petite Tableaux.

Angelico, Fra (Fieaole)

Bartolonmieo, Fra Oredi, Lorenzo di Lippi, Filippo .

Lorenzetti, Ambrogio Perugino • . , Puccio di Simone Signorelli, Luca

There is a small room Bartolommeo and others.

No.

11 Five panels with eighteen mnall scenes from the life of Christ.

19 A predella.

20 Madonna. — ^Injured. 24 Three panels in seventeen compartments. —

40 An Entombment.

41 The Last Judgment. . 28 Portrait of Savonarola.

13 An Adoration.

12 Madonna in adoration with saints, — Early work.

26 A Nativity. — ^Early work.

60, 6 Two panels. — ^Much injured.

18 Two profile portraits.

4 Altarpiece. — ^la five compartments.

1 A predella. beyond this containing some good cartoons by Fra

THE CONVENT OF S. MAEOO AT FLORENCE. Paintings last examined in 1877.

This building is now termed a *' Museo," and contains chiefly the works of Fra Angelico da Fiesole.

Among them in the first cloister are a fresco of ' Christ on the cross,' and a figure of S. Domenid^in a lunette. Opening out of the cloister is the old Chapterhouse. The wall opposite the door is filled by a grand work in &esco, the * Crucifixion/ nearly life-size, and in fine preservation.

Close by is the large refectory with a fresco by Sogliani at one end. In the small refectory is a fresco of the * Last Supper ' by D. Ghirlandajo. Going upstairs to the first floor, the corridor and its cells are entered. In the corridor itself are three frescoes by Angelico, an * Annunciation,' • Christ on the cross,' and the *■ Madonna enthroned with saints.' The remaining frescoes, together with the three mentioned, twenty-six in number, are in the cells. While all are well worthy of study, the finest perhaps are those in cells 2, 6, 7, 8, 9, 24, and 25. In a cell at the extreme end is also an excellent * Adoration of the magi.' Three beautifully finished reliquaries are to be seen by Angelico,^ as well as a splendid collection of illuminated books in the library.

Digitized

byGoogk

FLORENCE: THE PITTL 215

THE PITTI PALACE AT FLORENCE,

Catalogue op 1875. Fidurea last examined in 1877.

The pictures are numbered but not named, and they bang, in numerical order : hence the catalogue will be more easily used if so arranged, and not alphabetically.

No.

1, 20 Albrecht Diirer . . Adam and Eve.

3 Tbitoretto VtHcan, Venus, and Cupid,

5 Garofalo (Tisio) , . . . 8. James,

6 B. Manfred! The fortune-teller,

11 F. Bassano Martyrdom of 8, Catharine,

12 Borgognone A battle,

13 Matteo Rosselli .... Triumph of David,

14 P. P. Eubens A landscape,

16 Bembrandt Portrait of an old man.

17 Titian Marriage of 8, Catharine,

18 „ '' JBeOa di Tiziano,"

19 Ribera(Spagnoletto). . . Martyrdom of 8, Bartholomew. 38 Palma Vecchio .... Pilgrims at Emmaus.

41 Cristofeno Allori .... Hospitality of 8, Julian, 40 Murillo Madonna,

42 Perugino Magdalen,

43 Francia Bigio Male portrait,

49 Tiberio Titi Portrait of Leopold de* Medici as infant,

51 L. Card! (II Cigoli) . Deposition,

52 G. A. Pordenone .... Madonna and saints,

54 Titian Portrait of ^re^tno.—Painted in 1545.

56 Murillo Madonna of the rosary,

57 Qiulio Romano .... Copy of the Lagarto Holy family by

Raphael, No. 371 at Madrid.

58 A. del Sarto Deposition,

59 Raphael ...... Portrait of Maddale^na Doni.

61 „ Portrait of Angela Doni,

60 Rembrandt Kis ovm portrait,

62 A. del Sarto Holy family,

63 Raphael Portrait of Leo X,

64 Fra Bartolommeo . . . Deposition,

65 Tintoretto Male portrait.

67 Titian Magdalen.

Digitized

byGoogk

216 FLOBENCE: TEE PITTL

No.

71 Carlo Maratta . , . , 8, Philip Neri.

75 Gaido Gagnaoci .... Assumption of the magdalen,

79 Baphael Madonna delta Sedia,

80 Titian PoHrait of Vesalifu.

81 A« del Sarto .... Holy family,

82 A. van Dyok .... Portrait of Cardinal Bentivoglio,

84 PalmaYeocliio . . . . Holy family,

85 Bubens Portraits of Rubens, his brother, Lipsius,

and Qrotius,

86 „ Hie effects of war,

87, 8 A. del Sarto . . . TJie history of Joseph,

89 Paris Bordone .... The repose in Egypt,

90 L. Cardi (11 Cigoli) . . Ecce Homo. 92 Titian Male portrait,

94 Baphael Holy family ^^ delV Impannata,**

96 Cristofano Allori . . . Judith with the hfod of Holof ernes.

99 Gnerdno 8, Sebastian,

109 Paris Bordone .... Female portrait,

110 Titian, attrib Copy of a part of the ^Baeehus and

AriadneJ

111 SalvatorBosa .... Conspiracy of Catiline, 113 Michael Angelo, attrib. . The Fates,

118 A. del Sarto His own portrait and that of his wife,

122 Garo&lo Augustus and the 8ibyl,

123 A. del Sarto Madonna in glory and saints,

125 Fra Bartolommeo , . . 8, Mark,

128 Domenico Morone . . . Female portrait,

181 Tintoretto Portrait of Viscount Zeno,

132 G. M. Crespi HdyfamUy,

133, 5 Salvator Bosa . . . BatOe-pieces,

140 L. da Vinci . .... Portraie.— Known as * Leonardo's nun.*

148 Dosso Dossi A group,

149 Pontormo Portrait of Ippolito de* Medieu

150A«vanDyck .... Portraits of Charles I. and Henrietta Maria,

151 Baphael PortraU of Pope Julius II,

152 Andrea Schiavone . . . Death of Abel, 154 Carlo Dplci Sleeping 8. John,

156 Guercino Madonna with the swallow,

157 Lorenzo Lotto .... Three ages of man, — ^Damaged.

158 Baphael^ Portrait of Cardinal Bibiena.

159 Fra Bartolommeo . . . Bis&n Christ with saints,

161 Giorgione, attrib. . . . Finding of Moses, — ^Is a fine BonifaKio :

C. and C.

164 Pemglno Deposition,

165 Baphael ...... Madonna <' del .Boleiaoc^tno."— Unfinished.

167 Giulio Bomano ... . Dance ofApoUo and the Muses* .

Digitized

byGoogk

FLORENCE: THE PITTL 217

No.

171 Baphael Portrait of Tommaso Inghirami,

172 A. del Sarto DiaptUe of the Trinity.

174 Eaphael Fiawm of EzekieL

176 Domenichino .... M€tgdcUen.

178 GuidoEeni Cleopatra.

179 Sebast del Plombo . . . Martyrdom of 8. Agatha,

184 A. del Sarto Portrait

185 Giorgione (Barbarelli) . A concert,

186 P. Veronese Baptism of Christ.

188 Salyator Bosa .... His own portrait.

190 Justus Sustermans . . . Portrait of Frederick III.'s son,

191 A. del Sarto Assumption. — Unfinished^

195 Giacomo Fianoia . . . Male portrait.

199 Granacoi Hcly family.

201 Titian Portrait of Ippdito de^ Medici.

202 GioTanni Biliverti . . Tobias and the angeL 204,6 Bronzino Portraits.

207 L. da Tinci, attrib. . . . Portrait of a jeweller.

208 Fra Bartolommeo and

Haxiotto Madonna enVironed.-^A large altarpiece.

214 F. Barocdo . ... Copy of Oorreggio's ** II Girolamo/' gallery

ofParma,No. 351.

216 P. Veronese Portrait of D. Barharo^

218 Salvator Bosa . . . . A warrior.

219 Perugino Madonna and 8, John in adoration.

223 Holbein, younger, attrib. . Mcde portrait.

224 Bidolfo Ghirlandajo. . . Femtde p(yrtrait,

225 A. del Sarto Assumption.

229 Baphael, attrib.. , . . . A findy painted head, * La donna velata.'

230 Parmegianino .... Madonna ^ au long cou.**

243 Velasquez Equestrian portrait of Philip IV.

244 Franz Pourbus, younger A portrait

246 Garofalo ^ La nngarella.^' — ^By Boooaooino da Cre- mona : G. and G.

248 Tintoretto Deposition. — And others,

254 PalmaVecchio .... Holy family.

255 B. van der Heist . . Male portrait.

256 Fra Bartolommeo * Holy family.

257 Paris Bordone .... Ttburtine 8ibyl and Augustus.

265 A. del Sarto John the Baptist

266 Raphael Madonna del Gran Duca.

269 P. Veronese Presentation in the temple.

270 Carlo Doloi Martyrdom of 8. Andrew.

290 L. Cardi (II Cigoli) . . . 8. Francis.

297 Paris Bordone .... PoHrait of Paul III.

301 L. Cardi Male portrait,,

Digitized

byGoogk

218 FLOBENCE: THE PITTL

No.

302 Carlo Dolci Madonna.

306 Salvator Boea .... Landscape.

307 A. del Sarto Madonna with saints,

316 Carlo Dolci Tortrait cf a young man,

318 Lanfranco Vision of 8. Margaret.

338 Filippo Lippi .... Madonna ; Birth of Virgin in distance,

841 Pintimochio Adoration of the magi.

345 Bald. Pernzzi .... Holy family,

348 Bottioelli Holy family and angels.

353 M Portrait hnoum as '^ La bella Simonetta.**

355 Luca Sigoorelli .... Holy family.

357 Botticelli Holy family.

358 Domenico Ghirlandajo . . Adoration of the kings.

359 Beocafumi Holy family.

363 Garofelo HolyfamUy.

365 Mariotto Albertinelli . . Holy family.

371 Piero della Francesca . . Female portrait. — ^Believed to be by Bon-

signori of Yeiona: C. and C.

372 Andrea del Castagno . . Male head.

373 Fra Angelico . . . : Madfmna with saints. 376L. Co8ta MalepoHraU.

377 Fra Bartolommeo . . . Ecoe Homo.

384 Antonio Pollajuolo ... 5. Sebastian.

388 Filippino Lippi .... Death of Lucretia.

394 Scarsella (Lo Scaraellino) . JBiHh of a child.

400 Hondeooeter Domestic poultry.

404 Carlo Doloi Portrait of the Duchess of jBorera.— And

others.

409 Sebast del Piombo . . . Male portrait.

421 Gaspar Dughet .... Landscape.

423 Titian, attrib Jesus adored by shepherds^^Bj G.&ekYo\do:

O. and C.

436, 41 Gaspar Dnghet . . . Landscapes.

453 Salvator Bosa .... Peace btmiing arms.

455 Baohel Bnysch .... Flotoers and fruit.

461, 76Domenichino. . . . Small mythological paintings.

462 Jan van Hnysum . Flowers and fruit,

470 Salvator Bosa .... Diogenes.

487 Dosso Dossi Bepose in Egypt.

Digitized

b^Googk

FLORENCE: THE UFFIZL

219

THE ROYAL GALLERY OP THE UFFIZI AT FLORENCE. Catalogue of 1876.

Albani, Francesco

Alberiinelli, Mariotto AUori, Cristofano

Angelico, Fra

Baldovinetti . « Baroocio, Federigo

Bartolommeo, Fra

Bassano (Jacopo da Ponte)

w >» >»

Bega, CcHmelis .

»> >»

>f »>

Bellini, Giovanni

Bigio, Francia . Boidone, Paris . Botticelli, Sandro

Tictures last examined in 1877.

No.

1044 Dance of genii, 1094 The rape of Europa. 1259 The Visitation, 1149 Copy of the Magdalen by Correggio, No.

153 in the Dresden Gallery. 1165 Infant Christ 1285 Adoration of the kings, 17 Madonna^ — By Lorenzo Monaco: C. andC. 1162 Birth of John the Baptist. 1178 Marriage of the Virgin . ,\ Predellas of 1184 Death of the Virgin ... J No. 1290. 1290 The coronation of the Virgin, 1294 The predella of No. 17. 31 Madonna and saints in adoration,

169 Virgin interceding for the poor,

212 A noli me tangere, 1119 Portrait of the Dtihe of Urhino, 1126 The prophet Isaiah. 1130 Job,

1161 Two small paintings, 1265 Madonna enthroned with patron saints — In grisaille.

593 Moses and the burning bush.

595 The paintei's family.

726 Group of 'ptayers,

969 A man playing the lute,

986 A woman playing the lute,

583 Dead Christ.-^ln grisaille.

631 Madonna and saints in a landscape.

854 A portrait of himself, 1223 Temple of Hercules,

607, 13 Portraits,

89 The birth of Venus. 1156, 1158 Judith and Holof ernes. 1182 Calumny of ApeUes. 1267 bis Madonna with angels.

Digitized

byGoogk

220

FLORENCE: THE UFFIZL

Bottioelli, Sandro

Bondher, Fr. . . Bronzino, Angelo

Brouwer, Adrian Braeghel, Jan (Velours)

Brueghel, Pieter, elder . . Bugiardini , . . . . Oaliari, Carletto .... Ganale, Antonio (Ganaletto)

Garaod, Annibale . . Cardi, Lodovico (Cigoli) Casentino, Jao. di Ohampaigne, P. de Chimenti, Jaoopo Claude Lorraine .

» »» •

Clouet, F.. attrib.

Correggio (All^gri)

Cranach, Luoag .

Gredi, Lorenzo di

Dolci, Carlo . .

»» » • • Domeniohino (Zampieri] Domenioo Yeneziano Dossi, Dosso • . Dow, Gerhard . Diirer, Albrecht •

Dyck, Anton van

»» >» Floria, Frans. . Francia, Francesco

No. 1286 Adoration of the kings, 1289 Madonna crowned by angeU. 1299 Figure of Foroe, 1303 Madonna,

656 Infant Christ and 8. John,

154, 9 MaHe and female portraits. 1266 MalepoHrait. 1271 The descent into limbo.

959 Drinkers,

761 Landscape.

884 The fottr elements,

892 Christ bearing the crosSp

213 Madonna nursing,

604 Madonna in glory and saints, 1064 View of the bucaZ PcUaoe. 1077 View in Venice.

1133 A bacchante,

1276 MaHyrdom of 8, 8tephen, 1292 A predella in five parts.

695 Male portrait 1261 8, IveSf protector of orphans.

774 A sea-port.

848 Landscape,

667 Francis J. on horseback.-— SmoXL By Jean Clouet, according to Charles Blanc. 1118 The repose in Egypt

1134 Madonna in adoration.

847 Portraits of Luther and Melanclhon, 1138, 1142 Adam and Eve. 1150 Christ appearing to the magdalen. — A

replica is in the Louvre, No. 157. 1160 Annunciation of ihe Virgin. 1163 Portrait of Andrea Verroechio, 1146, 66, 8, 1287 are good examples.

165 Madonna appearing to a monk,

186 Magdalen. 1109 Portrait of Cardinal Agucchia, 1305 Madonna with saints.

995 Massacre of the innocents.

786 The schoolmaster.

Ill, 8 88. James and Philip, 1141 Adoration of the kings, 1115 Portrait of John Montfort 1128 Portrait of Charles V,ona white horse.

760 Adam and Eve, 1124 Portrait of 8cappi,

Digitized by VjOOQIC ,

FLOBENCE: THE UFFIZL

221

Grerino da Pistoia .

Ghirlandajo, Domenico

„ Bidolfo

Giorgio, Fr. di, attrib. Giorgione, attrib. .

Giottino (Tomaso 8te&no) . . . Giotto, attrib. . . Gk>e8, Hugo van der GkMSZoli, Benozzo. . Granaoci .... Gaeroino (Barbieri) .

di

Heyden, Jan van der Holbein, Hans . .

„ attrib. . . . Honthorst, Qerhard van

Horemans, Pieter . Lanfiunco, Giovanni Leiden, Lnoas van Lippi, Fili]^ .

»» » • •

Lippi, Filippino.

Loo, Carle van . Lorenzo Monaco . Lotto, Lorenzo . Lnini, Bernardino Mantegna, Andrea

„ „ attrib. .

Martini, Simone, andLij^ol Memmi . . . . / Maiacoio, attrib.

Memling, Hans ....

No.

41 Mudofma enthroned with taiA^a.— Dated 1529. 1295 Adoration of (he Mn^s.— Dated 1487. 1297 Madonna with sainte. 1275 Mirade of 8, Zenohius, 1277 Memoval of the body of 8. Zencbiue. 1804 A predella. 571 Portrait of a general,

621 Legend of Moees. 630 Judgment of 8olomon,

622 Portrait of a knight of itfa/to.— Might be by del Yecchia, according to O. MUndler.

7 The deposition, 6 Agony in the garden, 698 Madonna. 1302 A predella. 1280 Madonna in glory. 1114 The Samian 8ibyh 1137 Endymion asleep. 891 View in Amsterdam, 765 Portrait of Richard iSbti^weK.— Replica

in the Louvre, No. 212. 784 Portrait of Zuinglius. 148 Theeupper. 190 Adoraiion of the magi. 836 Card^yers. 1106 8. Peter.

1143 Christ crowned with thorns. 1179 8. Augustine. 1307 Madonna with angels. 1257 Adoration of the kings.— Dtkied 1496. 1268 Madonna ufith sainis.— Dated 1485. 657 Madonna. 20 Adoration of the magi, 575 Holy family. 1135 Beheadal of John the Baptist. 1025 Madonna on a rock. — Small. 1111 Triptych.

1121 Female portrait. — ^Believed to be by Bonsignori of Verona : 0. and 0. 8, 9, 10 AnnuneicUion toith saints. — ^Dated 1333. 1167 Portrait of an fM man.— Probably by

Botticelli : 0. and 0, 703 Madonna^

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222

FLORENCE: THE VFFIZL

Hemling, Hans Metsn, Gabriel

Angelo

Miohael anoti) Miens, Frans van

Mignard, Pienre . Mignon, A. . . Milano, Giovanni da Moretto (Bonvicini) Moroni, Gio. Battista Nain, Antoine Le Neefs, Pieter. . Neer, Eglon van der Palma Yeochio .

(Bnon-

attrib.

No.

769 ^cHeportraiU 918 Domeatic scene. 972 Lady and cavalier,

1139 Holy family.

854 The charlatan.

941 A young woman,

952 The old lover.

954 The drinkers. , 976 His own portrait.

981 The painter and his family.

670, 8 PoHraiU.

792 Fruit. 1293 An Aneona in several compartments.

592 The death of Adonis.

586, 629 Male poHraits.

659 Adoration of tlie shepherds.

702, 17 Church interiors. — And others.

893 Landscape.

619 Judith. — Much injured by restoring.

623 Holy famUy.^Jifot by Palma : C. and C.

650 Portrait of a mathematician. — ^Dated 1555.

Palma died in 1528. 1008 A crucifixion. 1122 Madonna and two saints.

25 Annunciation.

26 Adoration of the magi. 1246 Perseus and Andromeda. 1250 A Conception and saints.

1300 Portraits of the Duke of Urhino and of his wife.

627 A warrior. — The authorship is questioned :

0. and C. 574 Madonna and 8. Francis. 1153 Two small panels of Hercules.

1301 Three saints. 1306 Figure of Prudence.

All these works are attributed to the two brothers, Antonio and Pieio conjointly, by 0. and 0,

. 1198 Birth of 8. John BapOsL

. 1282 Joseph presenting his family to Pharaoh.

. 1284 Venus kissed hy Love,

616 Conversion of PawZ.— In the style of Boni- fazio : 0. and G. . 1120 Portrait of a young woman.

Palmezzano . . Perugino (Vannuooi) Pesello, G. . .

Piero di Gosimo .

w »»

Piero della Francesca

Piombo, Sebast. del .

Polidoro Yeniziano . Pollajuolo, Antonio.

Pontormo (Carucci)

»» ♦>

n »»

Pordenone, attrib. . Baphael Sanzio . .

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FLORENCE: THE UFFIZL

223

Baphael Sanzio, attrib.

No.

Ha^ or Bazzi (H Bembrandt van Byn

Beni, Gnido .

Bibera, Jos^ . Bomano, Gitdio Bosa, Salvator Bubens, P. P.

Bujscb, Bachel Salaino, A. del

Sarto, A. del (Vannuccbi)

Sassoferrato (Salyi) . SaToldo, Girolamo . Schalken, Gedfned . Signorelli, Liica

Slingeland, Pieter van Snydeis, F. . Steen, Jan . Sostermans, J, Teniere, D., elder . Terbnrg, Gerhard . Tintoretto (Bobnsti)

Titian (Vecellio)

1123 Portrait of the FomaHna. — ^Belieyed to be by Sebastiano del Piombo: G. and C, and others. 1125 The Madonna ""del Tozzor 1127 8. John in the desert. 1129 The Madonna of the goldfinch. 1181 PoHrait of Pope Julius IL Sodoma) 1279 8. 8ebastian.

922 Domestic interior.

979 Landscape.

203 8ubjectfrom the Orlando Furioso.

998 Madonna with 8. John. 1113 The Madonna. 1104 8. Jerome. 1144 The Madonna. 1005 Landscape.

140 Battle of Iffry.

147 Entry of Henry IV. into Paris.

180 Portrait of Hdena Fourment.

197 PoHrait of Isabella Brandt.

812 Venus and Adonis.— BeoaU. 1140 Hercules between Vice and Virtue.

953 Fruit and flowers.

211 Copy of L. da Yinors Madonna and 8.

Anne, No. 459 in the Louvre. 1112 Madonna with saints, 1176 His own portrait, 1254 8. James and tvoo children.

191 The sorrowing Virgin.

645 The Transfiguration.

934 W(man sewing by candlelight. 86 Madonna and shepherds. 1291 HolyfamUy, 1298 A predella.

888 The soap-bubbles.

220 Boar-hunt.

977 The repast.

163 PoHrait of Galileo.

705 The doctor.

958 A Dutch lady.

617 Marriage at Cana. — A smaller replica of that in 8. Salute, Venice.

638 PoHrait of 8ansovino,

590 Madonna. [Urbino.

599, 605 PoHraits of the Duchess and Duke of

609 8tudy for the battle of Cadore.^A copy: 0. andO.

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2^4

FLORENCE: TSE XJFFIZL

Titian (YeoelUo;.

Uooello, Paolo . "Vaimi . . . Velasquez, Diego Vemet, 0. J. . Veronese, Paolo (Caliari;

No.

. 614 Fortran €f Giovanni de' JfecZtei.— Painted

in 1546. 613 Madonna. — Unfinished. 625 Madonna with 8. Catharine, . 626 JFWa.— Painted about 1523. . 633 Madonna and mintg, . 648 Fortrait of Cattarina Cornaro. — Painted

1542. . 1002 Madonna.—Smo.n, . 1108 Venm with Cupid and flowers. . 1116 The prelate BecoadeUi.— -Fainted in 1552, . 1117 Venus.

29 A combat of hnighta. . 1283 A DeposUion. . 210 Equegtrian portrait of FhUip IV. . 655, 665 Examples. . 579 AnnundaUon. . 589 Martyrdom of 8. Justina. . 603 Man's head. . 1136 Holy family ioith 8. Catharine. . 1252 Adoration of the kings, — Unfinished. . 1157 A maie portrait, , 1159 Medusa's head. . 1288 Annunoiation. . 1107 The massacre of the innocents. . 811 The Crucifixion. . 671 Cavaliers and a lady, , 905 The judgment of Solomon, . 985 Adoraiion of the shepherds. . 795 The EnUmibment.

Two rooms are occupied with the portraits of ancient and modem painters of all schools, presumed to be painted by' themselves, which, however, is not the case in all instances. This interesting collection contains nearly 350 canvases : some of them are masterly studies. The numbers commence at 225 and end at 571, and the names of the most celebrated ancient masters—ending with men of the present time — ^are given in alphabetical order in the catalogue of the gallery. The following, hung within reach of the eye, are well worthy to be seen : —

Vinci, Leonardo da

attrib.

Volterra, Daniele da Voe, Martin de . . Watteau, Antoine . Werff, Adrian van der

» »»

Weyden, Eogier van der

No.

223 Van Dyck. 228 Eubens. 237 Q. Matsys. 280 A. del Sarto. 288 Baphael.

292 L. da Vinci

293 8alvator Bosa.

No.

354 Giovanni Bellini. 384 Titian. 439 Albrecht Diirer. 449 G. Dow. 549 Eliz. Louise La Bmn.

Vig^e by Le

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GENOA.

225

THE PALAZZO BRIGNOLI OR ROSSI AT GENOA.

Pictures last examined in 1874.

Room L No. Guerciao ...... — Cleopaira.

Babens — MarSj VenuSj and Cupid.

Stanza di Primavera, JNo.

Bordone — Portrait of a wan in red sleeves. — And

others.

Moretto — Portrait of a botanist.

VanDyok — Portraitn.

lUxmllL

CaravBggio — Raising of Lazarus,

Gaeicino — Death of Cato.

Roam IV.

Bonibzio — Adoration of the kings.

Guercino — Holy family and saints.

Saito, Andrea del . . . — Holy family,

RoamV.

VanDyck ..... — Christ and the pharisees. Veronese — Judith.

Room VI. Van Dyck — Portraits.

There are several smaller collections of pictures in the palaces of Genoa which are open to the traveller, such as the Palazzo Reale, the Palazzo Balbi, the Palazzo Durazzo della Scala, the Palazzo Spinola, the Palazzo Adomo, and the Palazzo Doria. In these are a few good pictures, and many also which are inferior. Several excellent portraits by Van Dyck are scattered throughout these galleries, which contain besides chiefly examples of the eclectic and natoralistic schools of Italy.

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226

LUCCA,

THE COMMUNAL GALLEBY AT LUCCA, IN THE DUCAL PALACE.

Pictures last examined in 1877.

This gallery has been recently formed, and no oatalogne, except hand-lists in the rooms, has appeared at present The collection contains some very fine works ; and for the most part, pictures of uncertain authorship are so marked, a mode of treating them &r from common, which cannot be too highly commended.

Entrance HaXL No. 9 Samson,

3 The *' Madonna delta Miserfcordia.*' — A large altarpiece. Dated 1515.

10 8. Catharine and (he magdalen in adoration^ the Eternal above, — ^A large altarpiece, dated 1509. 2 Madonna loith saints,.

Baiall.

10 Martyrdom of S, Lorenzo.

4 A martyrdom,

2 Portrait of cardinal G, C. de* Medici, 6 Portrait of cardinal Leop, de* Medici. 8 Portrait of a young lady.

Domenichino, . . Bartolommeo, Fra .

Paolino, Fra Pletro

Lanfranco . . . Paolino, Fra Pietro . Sustermans, Justus

Lippi, Filippo

Aspertini, Amico Bronzino, Angelo

Dutch school GuidoEeni . . Paolino, Fra Pietro Perugino, school of Pontormo . . Teiburg, attrib. .

SiOain.

12 Madonna with four saints and the Eternal in a lunette above, — An altarpiece in four compartments.

Sola Grande IV.

37 Madonna and four saints,

23, 5 Portraits of two children of the Medici

family. 70 Portrait of Cosimo de* Medici. 31 Portrait of a boy. 20 Christ on the cross and two saints. 63 The Nativity. 42 Madonna and two saints,

5 Portrait of Giuliano de' Medici. 26 Portrait of a youth.

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MANTUA AND MILAN. 227

No.

Tintoretto 10 The miracle of 8, MarJc—A mf^terly

stady (8 ft by 6 ft.) for his large painting in tbe Venetian Academy, No. 45.

„ 40 A male portrait.

Yasari, Giorgio .... 27 8» Eustachio.

,, ,f .... 29 The conception^ — ^An altarpieoe.

„ .... 30 i6^. Biagio,

THE PALAZZO DEL TE AT MANTUA. Pictures last examined in 1875.

Contains much work of Ginlio Komano.

Camera dei CavdUi. — Six life-size horses by G. Bomano.

Camera di Psyche, — ^Decorated by G. Bomano.

Other rooms follow, containing firescoes as well as friezes designed by G. Bomano and executed by Primatiocio.

Sola dei Giganti. — Decorated in part by G. Bomano, but chiefly by Binaldo Mantoyano.

Iq all these works G. Bomano's scholars largely shared.

THE DUCAL PALACE AT MANTUA. Numerous apArtments decorated by G. Bomano and scholars.

THE CA8TELL0 DI COBTI AT MANTUA. Li the Cotmcil-room are frescoes by Andrea Mantegna.

THE AMBBOSLINA AT MILAN

Pictures last examined in 1877. Sala delta Santa Corona,

No. Luini, Bernardino . . . — A fresco of Christ crovmed vjith thorns.

First Floor,

Bassano, Jacopo. . . . 161 The repose during the flight

Beltrafflo — Portrait,

Cesare da Sesto .... — Head of Christ,

Q 2

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MILAN: THE BftEBJL

No.

47 Madonna,

25 PartraU of Henrietta Maria. 33 Portrait of OoZwn.— Dated 1548.

— Adoration of the magi. 46 PoHrait of Clement XIII.

193 Portrait of a nobleman.

— Cartoon for the School of Athens.

— Adoration of the she'pherde.

— Profile ^portrait in oil of Bianca Maria, second wife of Maximilian I. of Austria.

— P(yrtrait of the Dtt^.— Unfinished.

There are besides two portraits in pastel, by L. da Yinci, and several heads of good quality, attributed to Luini and to Andrea Solano.

Doloi, Oarlo .... Byok, A. van . . . Holbein, school of . . Leiden, Lnoas van, attrib. Mengs, Baphael . . Moroni, G. B. . . .

Baphael

Titian, attrib. . . . Vind, Leonardo da . .

attrib..

THE BBEBA AT MILAN,

Albani, P. . .

»» • *

Alunno, Niccold

Baroccio, P. Bassano, J.

Bellini, Gentile .

„ Giovanni

„ „ attrib.

Bellotti, Bernardo . Bonifeizio Yeneziano

Bonsignori, Francesco

Bordone, Paris . . Borgognone, A. . . Brueghel, J. (Velours) Cairo, Francesco del Qampi, Antomo« „ Bernardino •

Catalogue of 1875, Pictures last examined in 1877.

No. . 323 Cupids dancing. . 459 8S. jRoch and Sebastian. . 156, 7. 76, 9, 96, 308, 17 An aUarpiece in

fourteen parts. — ^Dated 1465. . 402 Martyrdom of S. Fttofo.— Dated 1583. . 219 S. Bocco visiting those smitten with the

plague. , 164 S. Mark prea^ing in Alexandria. — ^Finished

by Giovanni Bellini. . 291 Jtfiwionna.— Dated 1510. . 278 A Pieth. . 349, 50 Landscapes. ^ 205 The finding of Moses. . 211 Christ and His disciples at Emmaus. . . 166 SS. Loms and Bernard^ tcith monogram of

Christ. . 208 Baptism of Christ.

72 An assumption. — ^Dated 1522. . 366 A birds* concert . 138 His own portrait. . 425 Madonna and saints. . 426 Pieta,

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MILAN: TEE BBEBA.

229

Oaraoci, Annibale

„ Ludovico

Gaiiani, Giovanni

Carpaccio, Vittore Catena, Y. . . Cima da Conegliano

Gontarini, G.. . Gorreggio, school of Gortona, Pietro da Costa, Benedetto „ Lorenzo . Crespi, Daniele . Crivelli, Carlo .

Domenichino. Dobsi, DoBSO . Dyck, A. Tan

Ferrari, Gaudenzio

* Foppa, Vincent. Francia, Francesco Pyt,J. . . . Garo&lo . . . Gentile da Fabriano

Giordano, Luca . Giotto di Bondone

Gnercino (Barbieri). Libende, U, da Yerona

Longhi, Laca Lorenzo Yeniziano

Lotto, Lorenzo .

No.

460 Christ and the tooman of Samaria,

458 Chriit with the woman of Cattaan,

206 Madonna and seven saints,

258 Dedication of the Virgin,

260 Marriage of the Virgin,

282 8, Stephen disptUing toith the doctors,

233 S, St^hen,

188 S, Peter Martyr and saints. 294 S. Peter in glory,

280 S, Jerome and other saints,

227 S. Jerome at prayer,

316 Madonna and saints,

399 Madonna enthroned wHih saints,

113 The Cireumoision.

325 Adoration of the mogt'.— Dated 1499.

110 Christ led to Calvary,

277 Madonna with saints,

161 SS, Jerome tmd Augustine,

189 Madonna,

453 The Madonna enthroned.

330 S. Sd>astian.

439 Madonna and S, Anthony. 443 Portrait of a lady,

24 Adoration of the kings (in fresco). — And others. 104 The martyrdom of S, Catharine,

68 S. Sebastian.

331 The Annunciation, SG7»7S Dead game.

337 Crucifixion and saints.

155 OlorifioaUon of the Virgin.

186, 190, 307, 309 Four saints,

392 Madonna and saints,

310 Madonna,— Oenixe of an altarpieoe. The

wings are in the gallery at Bologna^

No. 102. 328 The tuming-OAoay of Hagar. 80 Madonna enthroned toith saints. — Dated

1502. 265 S. Sebastian,

476 Madonna enthroned and saints. 160 Coronation of the Virgin, — By Stefano:

C. and 0. 249 Portrait of a young lady, 250, 1 PortraiU, 240 Pieta.

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230

MILAN: THE BnEBA.

Laini, Bemaidmo

Mansaeti . . . Mantegna, Andrea

»» »»

Marco d'Oggione Mengs, Raphael . Montagna, Bartolommeo Moretto (Bonyioino)

Morone, Francesco Moroni, Giov. Battista

Palma Vecchio

Palmezzano, Marco

Pietrino, Gian Preyitali . . . Raphael Sanzio . Bembrandt . . Beni, Guide . . Bomanino . . Bondindli, N. . Bofla, Salvator . Bubens,P. P. . Salaino, Andrea. Sahneggia, U . Sauti, Giovanni . Saesoferrato, attrib. Sayoldo, Girolamo Soarsellino .- .

Sesto, Oesare da Signorelli, Luca

No.

79 Noah cmd his sons,

89 Madonna wUh the roses (in oil). — And seTeral good examples in fresco, of which the following are the best, Nos. 18, 46, 53, 69, 70, and four single figures of saints, Nos. 54, 7, 61, 4.

95 Madonna and saints. — ^Dated 1515. 259 8, Mark baptising, 301 Dead Christ and Maries, 187 S. Luke and other «wne#.— Early, 1454.

93 Three archangds and Saian, 429 Male porttaiL—DAied 1752. 163 An aUarpieoe — Madonna and saints, 202 Madonna in glory with saints. 255 8S. CUtra and Catharine, 247 S. Jerome and an aposUe, 231 S. Francis of Assisi. 235 The Assumption of the Virgin. 290 Madonna and saints. 214 Assumption. 252 Madonna. 210. 46 Portraits.

168 Adoration of the magi. — ^An altarpieoe. 284 8. Helen, 8. Constantine^ and others. — An

altaipiece in three compartments. 174 Coronation of <^ Virgin. 181 Madomna a/nd saints.

97 Magdalen.

298 Oi^TM^ on <^ Ynotm^.— Dated 1513. 805 Marriage €f the Virgin — Lo 8pesaUzio. 446 Female poHrait.—T>a,idd 1632. 821 88. Paul and Peter. 220 Madonna in adoraUon. 173 8 John appearing to GaUa Plaeida. 388 8. Paul in the desert. 444 The Last 8upper.

85 M€idonna and saints. 486 Madonna and «at7i<«.— Dated 1604. 184 Annunciation. 412 Madonna. 230 Madonna enthroned with saints and angels,

88 Madonna and saints. 475 The doctors of the <Aursh.

303 Madonn<i.

304 Madonna. •

^OQ FlageUation of our Lotrd.

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MODENA.

231

Snyders, F. . . Solario, Andrea .

» » •

Stefano da Ferrara Sableyras, Pleire

Tintoretto . ,

Titian . . »> • • • Veronese, Paolo .

Tind, Leonardo da

'jt school of . Viti, Timoteo . Vivarini, John and Antonioi

daMniano . . . / Wyck, T. . . ZoDale, Bernardo

Zoccarelli

No.

881 A itag-hunt.

300 Male portrait

103 Madonna wilh $aintft. — Retouched.

175 Madonna enthroned tcith $airU$.

403 8, Jerome,

404 Cruoifixion, 213 A Fieta.

226 Saints with the cross.

244 8, Jerome in the desert.

243, 5 Studies of heads.

209 Chriet in the house of the pharisee.

215, 17 Large altarpiece in three compartments.

223 8. Antonio with saints.

308 Eeee Homo. — ^Drawn in pastel.

102 Madonna, — ^Unfinished.

191 Annunciation and tvoo saints.

158 MsJidonna and saints. — An altarpiece in

fourteen compartments. 359 The alchemist. 73-5 Saints. — Three panels, each in two parts,

much injured. 348 8, John preaching.

THE GALLERIA IfiSTENSE AT MODENA.

Pictures last examined in 1875. Cataloqub of 1875.

No. Abate, Niccolb dell* . . 67, 71, 8, 83, 8, 9, 94» 5,100 Nine of the twelve

cantos of the JEneid. — In had condition. 107 A concert with portraits. 141 Adoration of the magi', 241 A seorport 205, 12 Officers drinking. 50 Madonna and 8, John.

Boni&zio Yeneziano Canale, Antonio Caravaggio (Amerighi) Garoto, Francesco . Gavedone (Giacomo di

suolo) .... Gima da Oonegliano Glaude (Lorraine) . Gorreggio (Allegri) . DoBsi, DoBSO . . .

397 The Crucifixion. 143 A Deposition, 237 Landscape, 60 The rape of Qanynnede. 173 Portrait 176 The Nativity. 181-4 Chnre scenes.

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232

NAPLES: THE MUSEUM,

Dosfii, D088O . . Franda, Franceaco Garofalo (Tiaio) . Giorgione, attrib. Guerci no (Barbieri) Pagano, Gaspar . Palma Yecdiio, attrib.

Pollajuolo^ Antonio Eeni, Guide . . Scarsellino . Spada, Lionello . Tintoretto . .

Tommase da Modena

No.

866 Madonna with SS, Michael arid Oeorge,

36 T?ie AnnuncUjUon, 189, 90 Madonna and tainU, 123 Portrait of a young lady, 355 T?ie marriage of 8, CkUharine. 404 The marriage of 8. Catharine. 129 Madonna with saints, — ^An injured copy : 0. and C.

57 8. Sebastian, 149 Christ on the cross,

— Several.

108-12, 115-18 Paintings of Ovid's Meta- morphoses, 82 ^2tor29tec6in«ixjx(rfo.-^Repainted.

THE NAPLES MUSEUM.

Pidtwres last examined in 1877.

Contents of Musenm recently rearranged, with new catalogues affixed to* the walls ; no others. 1877.

Soman Sehool,

No.

27 Sassoferrato Nativity,

46 Polidoro da Oaravaggio. . Christ hearing the cross.

47, 53 Pannini ..... Visit of Charles III. to Some.

51 Eaphael Mengs .... Portrait,

Parmese and Genoese Schools,

1, 7 Simon Vouet .... Angels.

2 B. Strozzi . . . . , A monk.

16 Schidone. ..... Christian charity, ,

21 ,y A cupid,

39 ,f Madonna in glory and saints^

40 Gastiglione 8. John in a landscape,

Lombard and Parmese Schools.

. Two portraits,

. Annunciation,

. Madonna and donors,

, Adoration of the kings.

. Infant Christ and 8. John.— After L. da

Vinci.

. Holy family. — After L. da Vinci. ^

12, 16 Parmegianino . 13 „ . .

15 School of L. da Vinci

17 Gesare da Sesto . .

18 Beltraffio ....

19 Niccolo deir Abate

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NAPLES: THE MUSEUM.

233

No.

33 Schidone PoriraU,

.34 M • . • . . Ma$9(U!re of the innocenti.

Venetian School,

1 Lxiigi Yiyarini . . . 5 Bartolommeo Yivarini .

McuUmna with two monks, — ^Dated 1485. Madonna enthroned with four saints. — Dated 1465. 8 Sebast. del Plombo . • . PoriraU of Pope Clement, — 0. and 0. 11 Jaoopo Ba8Bano . . . • Female portrait 20 Titian ...... Pavl IIL and attendants.— VnOniahedL

32 Maretto Christ at (he ooZtfmn.— Small.

40 School of Mantegna . . Christ with instruments of the Pcusion.

43 Giiolamo de S. Croce . . Martyrdom ofS. Xauwcfice.— Beplica of No.

214, at Dresden. 46 Mantegna . . . . « j8f. JTup^emio.— Dated 1454.

48 n Greco PortraU.

52 Garo&lo Adoration of the magi.

56 Lorenzo Lotto .... Madonna and S. Peter Martyr. Several Yenetian scenes here are attributed to Bellotti.

Sola di Correggio.

1 Salyator Bosa .... Christ and (he doctors.

2 Sebast. del Piombo . . . Madonna.

3 0)rTeggio Madonna deUa Zingardla.

4 Yan Dyck . . . , . Male head.

5 Titian Banae.

7 Correggio Marriage of S. Catharine.— Small.

8 Titian Portrait of Paul III.

9 Correggio Pielh. — ^A study.

11 Titian PortraU of Philip U. of Spain.

12 Spagnoletto S. Sebastian.

13 „ ..'.,. 8. Jerome.

14 M S. Jerome.

15 Guercino Magdalen.

In the next room are cartoons by Michael Angelo and Raphael.

1^ Sola Grande. A Pieta.

The raising of Lazarus. Madonna deUa OattcL — ^A variation of the

Perla of Bapbael at Madrid. The Transfiguration. Portrait of Christopher Columbus. Copy of Michael Angelo's Last Judgment. Madonna. Crucifixion.

1 Annibale Caracd 3 Jacopo Bassano . 5 Giulio Bomano .

7 Giovanni Bellini

8 Bapbael, attrib. .

10 Maicello Yenusti

11 Pemgino* . . 14 Bernardo Gatti .

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284

NAPLES: THE MUSEUM.

No.
15 Luini	. Madonna,
17 Raphael, attrlb. . .	. Portrait of TtbaUio.
19 „	. LeoX.cmd cardinah.—A copy by Andrea
	del Sarto.
21 „ ,. . . .	. PoHrait of Cardinal Passerini.
.22 „ ,. . .	. . Madmna dd Divino uAtnore.— Painted by
	Ginlio Romano, or by some other pnpil.
24 Monrealese . . .	, . The THnity.^
26 Garofalo ....	The Deposition. .
28 Palma Vftochio . .
80 Domenichino . . .	. The guardian angd^
32 Claude Lorraine	. Landscape.
34 Pintnrioohio . . .	. Ammption.
36 Titian	. Magdalen.
39 Lnoa Giordano • .	, . Madonna and sadntt.
41 Parmegianino . .	, . Female portrait.— Audi oihen.
44 Andrea da Salerno .	. . S.Benedict and saints..
45, 9 Borgognone . .
47 Gnido Reni . . .	. . The race of Atalanta.
53 A. del Sarto, attrib. .	. . Tioo portraits.
55 SalvatorRoea . .	. . BaUle-piece.
56 Sebast. del Piombo .	. . Aperirait.
57 Palma Giovane . .	. . Madowna and saints.
59 Spagnoletto (Ribera)	. . SOenus.
60 Annibale Oaraoci .	. . Satyr and bacchante.
61 Fra Bartolommeo .	. . Assumption.
	Hall of the Venuses.
11 Gnido Reni . . .	. . Four seasons.
20 Luca Giordano . .	. . Venus adeep.
22 Gnarino da Solofra . .	. Susannah at the hath.
23 Tintoretto . . . .	. Venus and the Oraoes.

4 Cosimo RoBBelli, attriK

27 Lorenzo di Gredi . .

30 Ghirlandajo . . . .

31 Matteo da Siena. . .

32 Botticelli, attrib. . .

37 Filippo Lippi . .

1 Lavinia Fontana 7 Gnido

Tuscan School.

. Marriage of the Virgin. — ^By Zaganella : C. andO.

. Madonna and others inddoration,

. Madonna enthroned and tujo saints,.

. Massacre of the innocents. — Dated 1418.

. Madonna and angds. — Oonyerse position of No. 1307 in the Ufflzi by Filippo LippS, who is probably the author of this.

. Annvmiation and tti^asainto.-^Injared.

Bclognese Scbcd. . Christ at the wdl. . Ii^aint Christ.

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NAPZE8: THE MUSEUM. 235

No.

9 Giiido Nausicact,

12 lADfranco Angel overihrowing Baian. — And others.

33 Annibale Oaraoci . . . Holy family. — And others.

Agostinoand Lodovico. . Some examples.

44 Guido Vanity and Modesty.

Neapolitan School, 14^^,15^, 16^ ceniuri€9.

1, 3 Piero Donzello . . . The latter a Crucifixion, 7 Antonio Solario (Lo Ziu- garo)

18, 23 Ippolito Donzello 21, 5 Simone Papa . . 32 „ „

24, 33 Andrea da Salerno

Madonna and sainU. — ^Large altarpiece.

Crucifixion and an aitarpieee, — ^And others.

Two panels.

S, Michael wiHh $aint§.

Examples.

Leading out of this is a small room, containing vtery few works of the same school, among which are two examples of an early Neapolitan painter, Silvestro di Bnoni, Nos. 1, 7, a Magdcden and Baptist. A second smiall room opening out of the large hall contains Byzantine and early Tuscan works, among which may be noted nine portions of an altarpiece attributed to Andrea del Verrocchio, Nos. 8, 13, 14, 19, 20, 40, 57, 58, 62 ; a triptych, dated 1336, by Agnolo Gaddi, No.. 47; a small altarpiece by N€n di Bicd, Nos. 60, 2, 5.

Neapolitan School, 16{h, 17th, ISih centwrie$.

Contains several inferior canvases by Luca Giordano, of which the smaller are the beet. There are also several by Micoo Spadaro, interesting as relatitig to events in the histoty of Naples in the seventeenth century. Several by Paceoco di Bosa, of which one may be noted, the Meeting of Jacob and Radiel, No. 15.

Dutch and Flemish Schools. — Boom J. 3 Lucas d'Olanda .... Adoration. — ^Triptych. 1, 6 Niocolo Frumenti . . Two wings.

31 Purer, attrib Adoration otkI donors, — ^By some early

Flemish master. 37, 8, 42, 3 Portraits of early Dutch and German schools. 44 Van Eyck, attrib. . . . S. Jerome Qnd the lion. — ^By some unknown

Flemish painter. 51 Holbein, attrib. , . , . A portrait.

53 Early Flemish , , , . A triptych.

54 Peter Brueghel, elder . . The Uind leading the Hind,

Dutch and Flemish SchooL — Boom II,

12 Van Dyck Male portrait,

73 Hiere^t. .-.••. Male portradt.

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236 PADUA AND PARMA,

THE MUSBO OrVIOO AT PADUA. Pictures lad examined in 1877.

Among a number of piotnreB there are few here worth seeing except the following. It may be added that several canvases are not visible, owing to alterations in the gallery, and will not be exhibited for about a year. (1877.)

No. Basaiti, Marco .... 18 Madonna with taints.

Bonifazio, attributed to Catena, V. . . . German school . . Lotto, Lorenzo, attrib. Morone, Pr. . . . Palma Yecchio, attrib.

22 Holy family, 668,9 Two saints, 485 A panel. 12 Madonna, saints, and donator, 36 Madonna. 480 Madonna and ttoo donators, — ^Perhaps by Previtali: 0. and 0. „ „ „ 25 Madonna and two saints. — SmalL

Previtali 106 A AgaJOia.

Bomanino, G 1215 Madonna enthroned with saints and angels.

— ^A large altarpiece.

„ 765 Madonna enthroned hetween two saints.

..... 770 The Last Supper, Speranza, attrib. . . . 649 Madonna and 8. Catharine.

The chief iftttraction for the art-student at Padua is of coarse the celebrated series of frescoes by Giotto in the church of S. M. dell* Arena. Very interesting also are the beautiful frescoes by Altichiero and Jacopo Avanzi Veronese in the Oapella S. Felice of S. Antonio and in the Oapella di S. Giorgio close by. At the same time should be mentioned the fine frescoes by Mantegna and assistants in the church of the Eremitani, close to the Oapella dell' Arena.

, THE PINADOTEOA AT PAEMA. Catalogue or 1875. Pictures last examined in 1877.

In this gallery there are many inferior pictures, and the names of great painters are freely appended to some of them, those of Eaphael, Titian, Van Dyck, and Velasquez without the slightest warrant.

No. Angelico, Fra . ; • . 429 Madonna, — ^In bad condition. Araldi (early painter of

Panna) 45 The Annunciation.— J>eiied 1514,

Bellini, Giov., attrib. . . 180 S. John,

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PEBUGIA.

237

Gasella or Cristoforo (early \ painter of Parma). . .i Oima da Oonegliano . .

>» n • •

Gorreggio (Antonio Allegri)

Francia, Francesco

Garofalo . Giotto, attrib.

Heist, Bart, van der Holbein, Hans, attrib. Mantegna, Andrea .

Mazzola, FiUppo (early \

painter of Paima). • /

Melchiore . .

Moro, Antonio . Mnrillo, attrib. . Pannegianino

tf •

Piombo, Sebast. del Schedone, Bart. .

»» j» •

Toschi and bis pupils

Yinci, L. da, attrib. .

No.

50 Madonna and two 8a%nt$» — Painted before 1489 : G. and G.

360 Madonna enthroned mth sainU,

361 Madonna and saints with the ruined temple, 31 The Madonna '*deUa8eala:*—hifteQco.

350 The Madonna deUa SoodeOa.

351 The Madonna di8. Oirolamo—'' II Giomo:*

352 The Deposition.

353 Martyrdom of 88, Flavia and Placidus, 123 The Deposition,

130 Madonna enthroned with saints. — Dated

1515. 359 Madonna and little 8, John. 366, 9 Two smaU examples, 431 The death of the Virgin.—lB by Niccolb di

Pietro: G. and G. 378 Maie portrait, 355 Portrait of Erasmus, 437 SmaU study in oil for the frescoes in the

Eremitani, 46 Madonna enthroned with saints. — Dated

1491. 460 AUarpiece in Jive compartments.-^igned

and dated 1271. 300 Portrait of Alessandro Famese in youth. 364 Figure cf Job, 68 Three saints,

192 The marriage of 8. Catharine, 302 Pope Clement giving the blessing. 120 Deposition,

133 The three Maries at tlie sepulchre. — Drawings of Gorreggio*s works in tbe

cbnrches and elsewhere at Parma. 862 Female head in monochrome.

THE PINAGOTECA AT'PBEUaiA.

No Catalogue.

Pictures last examined in'lS77. No. Alfani, Domenico ... 5 An aiUarpiece.

„ and Anselmi di Giovanni ....

Alunno, Niccolo. . . .

59 Holy family. — Painted from an original drawing by Baphael, now in the museum at Lille.

75 The Annunciation,

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PERUGIA.

ADgelioOy Fia • .

Bartok), Domenico •

Bernardo di Penif^ia Boocati da Gamenno

n »>

Bonfigli, Benedetto .

f» »> •

Ensebio di S. Giorgio

W n

Fabriano, Gentile da Fiorenzo di Lorenzo.

Gozzoli, Benozzo Lo Spagna . . . Manni, Giovanni Mantegna, school o( attrib,

Margaritone . . Meo da Siena Pemgino . . .

Piero della Franoesca

Pintnriocbio . . . Baphael, attrib. . . Siena, early school of Taddeo Bartoli . .

„ „ attrib.

„ Gaddi, attrib.

No.

211-232 Portiom of an aUarpieee, formerly in 8, Domenieo, and predella,

— Ancona in five parts and predella. — Dated

143a

44 Coronation.

3,4 AUarpiece and predeUa,

21 Madonna and angeh.

1 Virgin and 8. Bernard; people of Perugia

praying hetow. 18 Adoration of the ma^'.— And others. 8 Adoration of the magi, 87 An altarpiece, 165 Madonna. — ^Injnred. 13 Five oompartments of a large double aJiar- piece.

29 A thrir^.

50 A Nativity. — ^And others. 206 AUarpieee and predella.— J>n,ied. 1456.

25 Madonna and saints.

26 Christ in glory and numerous saints.

— Eight studies in tempera.— By Bonfigli and

Fiorenzo di Lorenzo : 0. and 0. 188 Colossal orucifix. . .

105 Ancona in numerous compartments.

2 Transfigurcttion. — ^Injured.

23 A Nativity.— TbiB with Nos. 41, 66 are parts of the famous altarpiece painted for S. Agostino. Other portions' are dis- tributed in churches at Perugia, and lin three provincial French galleries. Painted between 1512-17. 27, 8 Large panel padnted on two sides^ a crucifix

^ • on one.

83 Madonna and saimts.

35 Madonna.

41 Baptism of Christ.

56 Two saints.

47 An Ancona in five compartments with Annunciation above.

30 An altarpiece in several compartments.

— Madonna^ 106, 114 Anconas.

45 Ancona in five compartments. — ^Dated 1403.

22 Ancona in five compartments. 67 A large Ancona.

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PEBUGIA AND PISA.

239

THE SALA DEL OAMBIO AT PEBUGIA.

Decorative frescoes by Perugino, comprising a * Nativity' and •Transfigura- tion,' Sibyls, Prophets, Sages, and JSeroes.

Also Perugino's own portrait at the age of 54.

In the chapel adjoining are frescoes and an altaipiece by Giannieeola Manni.

THE ACCADEMIA AT PISA.

Pictures last examined in 1877.

This small gallery is chiefly interesting for its examples of early work of the fourteenth century, some of which are rude, and all are in bad condition. There is no catalogue, and no numbers can be quoted. The names given here rest principally on the authority of Messrs. Crowe and Cavalcaselle.

Bruno, Giovanni . . . Deodati, Orlando, of Lucca

Boom J. No.

— S. Ursula and her companions,

— Madonna and saints in five arched compart- ments,—Ihied 1301.

Gimabue — Madonna, with incidents at the side, and 8.

Martin on horseback, helovo the throne. i^ttrib — Five half-length figures in . arched com- partments.— Probably by a third-rate Luccheee : G. and G

BamabaofModena. . .

„ » • • •

Ceeco di Pietro ....

Simone Martini, or da )

Siena )

Traini, Francesco . . .

Ambrogio d'Asti . . . Benozzo Grozzoli . . .

Boom U,

- Madonna enthroned with six ongfeZs.— Life-

size.

- Two wings of another aUarpiece.

- A Crucifixion and saints. In several com-

partments and with predeUa, — Dated 1380.

- A single saint and seven small panels of

saints form4ng a pediment,

- Large figure of 8, Domenic,

Boimlll,

- Saviour enthroned—centre part of an altar-

piece. — ^Dated 1514.

- A Conception,

- Madonna enthroned with saints.

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240

PISA,

Benozzo Gozzoli • •

Gentile da Fabriano, attrib,

Machiavelli, Zanobi . .

Masaccio, attrib. . . .

Thom^ Luca . . .

Bazzi (II Sodoma) . .

Filippo Lippi . . * .

No.

— Study for the freteo of the • Visit of the

Queen of Sheba * in the Campo Santo,

— Coronation of the Virgin, — ^Ferliaps by Neri

di Bicci : 0. and 0.

— Madonna and saints,

— S. Paul with the sword ar^ hook, — More like

the work of a scholar : C. and G.

— A OtMJt^ajton.— Dated 1366.

Room IV.

— Madonna and saints,

— Madonna loith saints and angels. — Life-

size.

THE CAMPO SANTO AT PISA.

Frescoes last examined in 1877.

The Campo Santo is in the form of a parallelogram, bounded by two long walls and two short ones : the former face north and south, the latter east and west. The interior is entered by the left of two gates on the south wall ; turn to the right and walk to the beguming at the eastern end of tiie southern wall, where are three large frescoes of the ' Triumph of Death,' the * Last Judgment,' and * Hell,^ long supposed to be by Orcagna, but now assigned, together with the large fresco of * Hermit life ' which follows, to the Loren- zetti. Proceeding farther westward an * Assumption of the Virgin* may be seen over the gateway, and beyond along the same wall are the frescoes of the life of S. Raineri, by Andrea Firenze and Ant. Yeniziano, now smaller, and in two rows instead of one ; then those of the lives of SS. Ephesus and Potitus, by Spinello Aretino ; and lastly, at the extreme western end, those of the history of Job, by Francesco da Volterra. A great portion of the lower tier of these is invisible. The frescoes on the west wall are ruined, but occupying the first space of the north wall at the western end is a large &ncifiil. scheme of the Creation, a series of circular rings, by Pietro Puccio, who continued the History of Genesis along the upper range of the north wall as £ar as to the door of the Capella dei tutti Santi. The lower range is filled by the fine works of Benozzo Gozzoli, the best of which are at this end, nam^y, *Noah and his family,' the * Curse of Ham,* and the * Building of Babel.' Over the door just alluded to are an ' Annunciation' and an ^ Adoration' by the same painter ; while the large remainder of the north wall is also covered with frescoes by his hand, these being for the most part less admirable than those already noted. The frescoes on the east wall, like those on the west, are almost destroyed, and are out up by monuments. The Capella dei tutti Santi contains some fragments of frescoes originally executed by Giotto and assistants for the church of the Carmine at Florence.

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PBATO AND ROME: THE ACCADEMIA,

241

THE MUNICIPAL GALLERY AT PRATO.

Pidures last examined in 1877.

A single room with about forty pictures, of which a few are iiitereBtinc. Hand-catalogues only, 1877. °'

Andrea da Firenze .

Castagno, Andrea del Gaddi, Taddeo . .

Ginsto d' Andrea Lippi, Filippo .

Milano, Giovanni da Pacino di Bonaguida

No.

19 Madonna enthroned.— An Ancona in three

compartments with a predella.

20 A Crttcifixion. — A small panel.

2 History of the girdle of the Virgin.— The girdle belongs to Prato, and i^ the subject of the frescoes by Agnolo Gaddi in the cathedral there; the same incidents are similarly treated by both artists. A predella in seven parts. 14 Madonna enthroned and. saints,

11 Virgin presenting girdle to 8. Thomas with

other saints. — ^Injured,

12 A ^orfmYy.— Originally fine, but much

injured.

21 Madonna arid two saints^ with family of

donators, 18 Madonna toith numerous saints. — ^An Ancona

with predella, greatly injured. 1 Madonna and saints, — Ancona in five parts.

THE ACCADEMIA DI SAN LUCA AT ROME. No CataIiOGUe OB Numbers. Pictmes last examined in 1877.

The Long Gallery, No.

Bonifazio — Female portrait.

Dughet, G. (Poussin) . . — Bacchus and Ariadne.

Dyck, Van — Holy family,

9, „ — Child's head.. — Study in crayon.

Lorraine, Claude ... — Landscape. Luti, B. ...... . — Cupid and Psyche,

Maratta, C — Head of Cardinal Cerru

Mola — Female bust

Titian, attrib — S. Jerome,

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242

BOME: THE VILLA ALBANh

No. Titian, attrib. .... — Venw reclining, ** Omnia Vanitas** — ^Much

repainted, by an imitator, perhaps by Cesare Vecoelli : C. and 0.

Vernet — Several landscapes.

Veronese, P — Venn$ with the mirror.

Baphael

attrib.

Bomano, Giulio Sassoferrato . Spagnoletto . Titian, attrib.

Veronese, P. .

Sola di Baphaelo. — Tarquin and Luoretia,

Cagnacoi, Gnido . .

Canaletto — A scene.

Guido Reni — Figure of Fortune.

„ „ — Bacchus and Ariadne.

» —A cupid.

Palamedes — An interior.

Pussiui — CJopy of Titian's Bacchus and Ariadne, in

the National Gallery, London.

— A chUd. — ^In fresco.

— 8. Luke painting Hie Ftrgrtn.— Much re- painted. Probably by Timoteo Viti, founded on a sketch of the master: C. and G.

— Copy of the Oalatea of Baphael.

— Madonna.

— S. Jerome and the Jewish priest.

— Caliste and nymphs.

— FeincUe portrait. — ^Not by Titian.

— Tribute money .—The original is at Dresden, No. 222.

— Marriage of 8. Catharine.

— iSusannc^ at the hath.

THE VILLA ALBANI AT ROME.

In the Gkklleria Nobile the tseiling is painted by Raphael Mengs: subject is the * Parnassus.'

In an adjacent room :

No. Perugino, Pietro ... — An Adorationf and other subjects.

the

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BOME: THE BARBERINI AND BOBGHESE,

243

THE BARBERINI PALACE AT ROME. Hand-catalogues only.

Pictures last examined in 1877.

Boom L No.

CaraYaggio 9-4 Pieta,

Pomerancio 15 Magdalen.

• , . 11 The Pope 8, Urban in glory.

Youet, Simon

Bellini, Giovanni, attrib.

Masaccio, attrib. . . Saechi, Andrea . . . Bodoma, U, attrib. . .

Botticelli, attrib.

Caiavaggio . Bomenichino Biirer, A. GnidoReni . Ponssin, Nicolas Baphael, attrib. Sarto, A. del Titian, attrib.

Boom IL 58 Jlfodowna.— Probably by Pasqualino : C

andC. 67 A head, — ^Not gennine. 33 Portrait 54 Madonna, — ^Not genuine.

Boom III,

93 Annunciation, — Small.

Bl Mother of Beatrice Cenoi,

74 Adam and Eve,

79 Christ among the doctors.— Dated 1506.

85 PortraU of Beatrice Cenci.

86 Dea4;h of Germanicus, 82 TheFomarina.

90 Hdy family.

72 Female portrait, known as the ^ Slaved — By Palma Vecchio; 0. and C.

THE BORGHESE PALACE AT ROME.

Hand-catalogues only.

Pictures last examined in 1877. Boom I,

No.

1 Botticelli Madonna, 8. John, and an^eZs.— Large

circular.

2 Credi, Lorenzo di . . . Holy family.

32 Vinci, L. da, school of . . 8, Agatha.

33 „ ,, „ . . 8alvator Mundi.

B 2

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244

ROME: THE B0BGEE8E.

No.

34 Perngino, Pietro

85 Baphael, attrib. .

43 Prancia, Fr., attrib.

44 Grivelli, Carlo, attrib.

48 Pemgino ....

49, 57 Pinturicchio . .

54 Credi, L. di., attrib.

61 Francia, Fr., attrib.

69 PoUajuolo, Antonio . 72 Spinello Aretino. .

Madonna,

His own portrait — Not genuine. In

the manner of Ridolfo Ghirlandajo: G.

and a Madonna, A Crucifixion, — By Fiorenzo di Lorenzo :

C. and 0. S. Sebastian,

Panels of the history of Joseph, 8, Joseph and Madonna in adoration, — Of

his school : G. and 0. S, Anthony, — By Giacomo Francia : C.

andC. Holy family, AnnuneiaUon,

Room IL

6 GaroMo Holy family,

9 „ Deposition,

18 Giulio Romano .... Copy of RapTiaeVs Julius IL

21, 6 Baphael, attrib. . . . Portraits,

24 „ copy of . ►. . Holy family,

29 Giulio Romano .... Venus,

32 PeruzziyB Holy family,

38 Raphael The Entombment.

40 Bartolommeo, Fra, attrib. . Holy family,

43 Franda, Fr Madonna,

51 „ , 8, Stephen, — Of his pre-Perugineeque

period : G. and 0.

55, 6 Garofalo .iSmoK jKinafo.— And others,

59 Mazzolino of Ferrara . . Adoration of the magi,

65 Giulio Romano .... Copy of ihe Barberini Fomarina,

Room III,

1 Solano, Andrea .... Christ hearing the cross.

11 Dossi, Dosso Circe,

21 Parmegianlno , . , , S, Catharine,

40 Gorreggio The Danae,

42 BronzinOi A Portrait of Cosimo de* Medici,

(Christ <U the column, — ^A small replica of the large work in S. Pietro in Montorio. A copy by a later painter : G. and G.

Several works are attributed to Andrea del Sarto, of which none are genuine.

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HOME: TEE BOROEESB.

245

No.

1 Caracci, Annibale

2 Domenichino

3 Garaod, Lndovico 15 Gagnaoci, Guido.

20 Guido . . .

21 Sirani, Elisabetta 28 Oaracoi, Annibale 36 Dolci, Carlo . . 43 Sassofenato . .

5 Gaetano, Sdpio 11-14 Albani . 15 Domeniohino 21 Molo, Ft.. .

25 Zncchero, F.

26 Caravaggio .

27 Padovanino .

28 Cay. d'Aipino

BotmlV.

DepoHUon.

The Cumaani

8, Catharine of Siena,

Sibyl

Eead of Joeeph.

Lncretia.

S, Francis,

Madonna,

Boom V,

Holy family. The four seasons. The chase of Diana. Liberation of S. Peter. Deposition, Holy family, Venus attiring. Battle-piece,

Boom VI.

1 Gneroino Mater dolorosa,

5 „ ...... Betum of the prodigal.

10 Spagnoletto (Bibera) . . S. Stanislas and infant Christ,

12 Valentin, Moiae. . . . Moses interpreting the dream.

13 Saasoferrato Copy of the *' Three Ages,** hy Titian.

14 Garayaggio Portrait.

18 Sassofenato . . . . . Madonna. .

22 Barocdo Burning of Troy,

Boom Vn,

Contains decorative work, the flowers by Mario dei Fieri (died 1673), and the Pntti by Ciroferri.

Boom IX,

1, 2 Bapha^lf school of 3 «• «« .

Marriage of Alexander and Boxana. Group of archers, — Said to be designed by

Michael ' Angelo. Frescoes transfeiTed

from the Villa Borghese.

Boom X,

2 Titian Venus, Cupid, and Graces. — Discoloured.

9 Pordenone, attrib. ... J. portrait, — Is by Lorenzo Lotto : 0.

andO.

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24e

ROME: THE BORiJfHESE.

No.

13 Giorg^one, attrib.

14 Veronese, P. 16 Titian . . 19 Bassano, Jacopo

21 Titian . .

22 Spada, Lionello 30 Bassano, Leandro 36 Bellini, Giovanni

1 Lotto, Lorenzo . 3 Titian, attrib. .

15 BonitiGtzio

16 „

19 Venetian school ....

20 Veronese,?

27 Bellini, Giovanni, attrib. .

31 H V ♦♦

32 Palma Vecchio and as-

sistants

33 Pordenone, B. Licinio da .

39 Bellini Giovanni, attrib.

David and Saul. — ^Probably by Delia

Veochia : 0. and 0. John the Baptist preaching, 8. Dominie, Portrait.

Sacred and Profane Love. A concert.

The Trinity.— Small, Madonna,

Boom XL

Madonna with a saint arid a bishop, —

Dated 1508. Madonna. — By a German or Fleming,

imitating Venetian manner : G. and 0. Christ in the Jiouse of Zebedee. Betum of the prodigaL Madonna, saintSy and donors, — ^Probably a

gennine Cariani : G. and G. Venw and Cupid, Male head, — Perhaps by Pasqnalino or

Antonello da Messina : G. and G. Madonna and S. Peter.

Holy family and saints.

Portrait of an artist and his family.— Gonnterpart of the picture at Hampton Gourt, No. 104, attributed to G. A. Pordenone, but really by his brother.

Female bust. — Of a later date : G. and G.

Boom XI I.

1 Dyok, A. van .... Christ on the cross. — Small.

7 „ „ An Entombment.

20 Holbein, attrib Male portrait.

22 Potter, Paul Landscape and cattle.

23 Backhuizen Sea-piece.

27 Dyck, Van Portrait of Maria de' Medici.

41 Honthorst, G Lot and his daughters,

44 Granach, Ijucas . , . . Venus and Cupid.

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ROME: TEE CAPITOL MUSEUM.

247

THE GALLERY OF THE CAPITOL AT EOME. No Catalogue.

Pictures last examined in 1877.

No.

Albanl '. 9 Magdalen,

........ 142 NativUy.

Bartolommeo, Era, attrib. . 27 Presentation in the temple, — ^Not unlike

Giaoomo Franoia : C. and C. Bellini, GentUe .... 186 So-caUed portrait of Petrarch,

„ Giovanni . . . 182 A male head,

„ „ attrib. . 207 Female head, — ^By Ercole Grande: G.

andC. „ „ ,, . . 79, 87 88, Sebastian and Nicholas, — ^Moio like

DoBso Doed : C. and C.

Bonatti, G 70 Madonna and saints, — &op7 of No. 519 in

the Venetian Academy by Veronese. Oaracci, Ludovico . . . 119 i9. Sebastian,

Caravaggio — The fortune-teller.

Gortona, Pietro da . . . — Several examples. Domenichino .... 20 The Cumxan Sibyl, Dyok, A. van .... 100 Two portraits in one frame. „ „ .... 106 Two portraits in one frame.

Garo&lo (Tisio) . . . SO Holy family, „ „ .... 161 Annunciation,

„ „ .... 164 Madonna in glory,

Guercino ...... — The Persian Sibyl.

„ — S, PetroniUa raised from the tomb,

„ 13 ifif. John the Baptist,

^ 117 Cleopatra and Octavius.

Guido 116 i9. Sebastian.

Michael Angelo, attrib. . 134 His own portrait,

Pemgino, attrib. • . . 127 Madonna arid tujo angels, — ^By a follower of

L. da Credi ; C. and C.

Bnbens 89 Bomulus and Remus,

Sirani, Elisabetta ... 81 dree and Ulysses,

Tintoretto 26 Magdalen,

„ 108, 114. 176 SubjecU/rom the Passion.

Titian, attrib 124 Baptism of Christ,

Velasquez 8 His own portrait,

Veronese, P. 224 Rape of Europa.—Ueplioa. of that in the

Ducal Palace, Venice.

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248

BOME: TEE COLONNA.

THE COLONNA PALACE AT ROME.

No CATALOaUES OB NUMBEBS.

P^ures last examined in 1877.

There are three rooms ooonpied with tapestry. The next room commences the gallery proper, and will be called No. !• Pictures will be found in the order in which they are named.

Boom I. No. Santi, Giovanni . . , , — A hoy in profile with red cap, Bugiardini ..... — Madonna. — Much repainted. Avanzi, Jacopo da . . , ^ A Crudfiaion, — On a gold ground. Gentile da Fabriano» attrib. — Madcmna with roses and angels.— By

Ste&no da Verona : C. and C. BassanO) Jacopo ... — Holy family.

Boom 11. — Tapestries,

Titian . . . . Girolamo da Treviso Albani, Fr. . . Lo Spagna . . Caracci, Annibale Bordone, Paris . Holbein, attrib. . Bonifazio . . .

Boom III.

— Male portrait. ,

— Portrait of a'manmth a medal.

— Bape of Enropa.

— 8. Jerome,

— The greedy eater.

— B.otyfam^ afid 8. 6eba>$tian,

— Portrait of Lorenzo Colonna.

— Holy family and saints.

Rubens . . Albani, Pr. . Van Dyck Mola . . . Lotto, Lorenzo Palma Vecchio Titian, attrib. Moroni . . Caravaggio . Salvator Rosa Tintoretto Alunno, Nicoolo

Long Gallery.— Commencing on the left. ^

— Assumption.

— Ecce Homo.

— Equestrian portrait.

— Two subjects.

— Portrait of Pompeo CoUmna.

— Holy family.

— Holy family.— ^y Bonifazio: C. and C.

— Portrait of a man and dog,

— Man drinking,

— The Baptist. — ^And others.

— A portrait group.

— Virgin saving a child from the devil.

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BOME: THE C0R8INL 249

THE CORSINI PALACE A^ BOME. . Hand-oatalogubs.

Pictures la$t examined in 1877.

Room I. No. Battoni — A Nativity,

Boom U, Garacd, Ludovico ... 20-4 Fieta,

BoomllL

Bartobmmeo, Fra ... 26 Holy family,^J)Ated 1516.

Caiayaggio 18 Madonna.

^ y. , , , . 27 8. Peter paying the tribute money.

Gignani, Carlo .... 51 Infant Christ and 8. John.

Dolci, Carlo . . . » . 49 H. ApoUinaria.

„ n 88 Ecee Home.

Dyck, A. van, attrib. . . 21 Madonna.

Guercino 1 Ecee Homo*

Saraceni .52 Vanity.

Sarto, A. del, attrib. . . 9 Madonna. — ^Dated 1509. Manner of Bugi-

ardini : C. and C.

Teniers, attrib. . , . , 55 Interior.

Titian, attrib. .... 50 PortraU of Philip II.

Vaaari 61 Holy family.

Boom IV.

Baroccio, F. . . ^ . . 22 Christ appearing to the magddlen. Diirer, A, attrib. ... 44 Study of a hare and stiU-life. GnidoBeni ..... 11 Daughter of Herodias.

„ „ 19 8tudyfor the crucifixion of 8. Peter.

Lanfianoo 82 Assumption of the magddlen. — Small.

Haratta, C 43 Holy family.

Romano, Giulio, attrib.. . 41 Copy of the Fomarina. Titian, attrib. . . . , 21 8ons of Charles F.— By a painter of the

17th century : C. and C. „ „ .... 28 iS^. /erome.— A Venetian picture of the 17th

century : C. and C. Opening put of this room is a small cabinet, chiefly containing early and unknown work after the manner of the 14th century.

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250

BOME: THE C0B8INL

Boom Y. No, Dolci, 0. ..... . 12 R -4gme».

Guercino 24 Ghriii at the well.

Guido Beni 87, 8, 9^ Ecce Bomo, MxUer dolorosa, 8. John.

Diiper, A., attrib.

»» »

Dyck, A. van, attrib. Gaetano, Scipio . Maratta,0. . . MuriUo, attrib. .

Angelico, Fra

Oaracci, Ludovico Dughet, G. (Poussin) Garofalo ' . . Giordano, Luca Murillo . . Orizzonte. . Bubens . .

Boom VL

84 Birth of the Virgin, — Small.

43 Portrait.

32 Portrait,

36 Portrait.

— Head known as*^La Pittura"

26^ Ahead.

Boom VIL

22 Descent of the Holy Ghost.

23 Last Judgment.

24 The Ascension.

26 Martyrdom of 8. Bartholomew.

13 Large landscape.

18 Christ bearing the eross,

21 Jesus with the doctors.

11 Madonna.

. — Severai landscapes.

15 8. 8dHistia/n.

Boom VJIl.

Ercole Grande .... 12 6. Cteorge and the dragon, Guercino ...... 24 R Jerome.

Gnido Beni 113 Contemplation.

Spagnoletto 25 /8^v Jerome.

Titian, attrib. .... 30 TTomon taiken in aduHtery. — By

Marconi : C. and C.

Bocoo

Gantarini . . Cignani, Carlo Giorgione, attrib. Poussin, Nicolas Titian, attrib.

Boom IX.

48 Holy family.

40 Mater dolorosa.

SO* Two heads. 6 Triumph of Ovid.

36 Female portrait.— By a Venetian of the 17th century : 0. and 0.

55 Jupiter and Antiope. — A copy with variety of that in the Louvre. By a painter of the 17th century : 0. and O.

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BOME: THE DOBIA. 251

THE DORIA PALACE AT ROME.

Hahd-oatalogubs only.

Fictwes last examined in 1877.

In this large collection the greater number of pictures are without interest, but there are a few extremely good, and others which should be noted. The first room contains landscapes chiefly. Leaving it to the left, we enter the lieoond room, where the catalogue begins.

Meom 11.

No. 5 Giovanni Bellini, copy of . The Circumcision. — ^Much injured. 15 Mantegna, attrib. . . . Part of a predella. — is by Parantino of

Modena: C. and 0. The two other parts of it are in the Sala Orande.

23, 9 Pesellino Tioo small 'panels.

28 Filippo Lippi .... Annunciation,

43 Rondinelli Madonna.

80 Perugino, attrib. ... 5. Sebastiam. — By Marco Basaiti : C. and C.

Ream V,

21 Beocafumi ..... Marriage of 8. Catharine.

22 Titian, attrib. .... Madonna and shepherd. — ^Manner of a

Trevisan painter : C. and C.

Boom VI. 13 Oulo Maratta .... Madonna.

Boom Yin. 22 Ludovico Caracci . . . 8^ Sebastian. Passing through Rooms IX. and X. we arrive at the

Sola Grande. This is composed of four corridors, of which three contain pictures.

Corridor I,

U Titian ...... Male portrait.

— Copy of the Three ages of Titian.

— Honthorst Several examples.

26 Garofelo The Visitation.

45 Guido Madonna.

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252 ROUE: THE PALACES,

Corridor IL No.

— Gioyanni Bellini, attrib. . Madonna and Baptist. — ^Probably by Ron-

diDelli : O. and 0. 6 Franda, attrib Madonna and two saints.

— Basaiti, attrib Madonna and four saints. — ^ByBoccaccino :

0. and C.

13 Mazzolino Christ loith (he doctors.

15 Oaracoi, attrib. . . . . 8. Jerome. — By Lorenzo Lotto : C. and C.

17 Titian, manner of . . . Male portrait. — Suggests Bomaniuo : C.

and 0.

— Giorgione, attrib. . . . Daughter of Herodias. — ^Is by Pordenone :

C. and 0.

18 Pordenone Male portrait.

26 Titian, attrib Sacrifice of Isaac—Bj Bembrandt's con- temporary, Lievens : 0. and 0.

25, 30, 60, 65 Brueghel, J. . The four elements.

34 Lorenzo Lotto .... Portrait.

52 Titian Portrait of Jansenius.

56 „ • Magdalen. — ^Beplica, with alterations, of

that in the Pitti.

69 Gorreggio A cartoon.

Corridor IIL 12 Claude Lorraine. . . . Landscape, called 17 itfoZtno. 18 Annibale Caraoci . . . A Pieta. 17, 22^ Gerard van der Meire . Two panels.

23 Claude Lorraine. . . . Landscape, called the TempZa o/^|)oZZo. 26 Mazzola ...... Portrait.

Opening out of this is a small Cabinet, which contains the gems of the

gallery : —

Memling — ^ Deposition.

Quiatin Matsys, school of . — The two misers.

Baphael — Two portraits in one frame.

Sebastiano del Piombo , . — Portrait of A. Doria^ Diego Velasquez ... — Portrait of InnocetU X. And a Dutch candlelight effect. .

THE FABNESE PALACE AT BOME.

The Long Gallery is celebrated for its fine frescoes, which are well preserved. The vaulted ceiling is decorated by Annibale Caracci and his assistants^ and contains numerous classical compositions, of which the centre is the * Triumph of Bacchus and Ariadne.' A large fresco at one end, of 'Perseus and

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BOME: THE PALACES, 253

Andromeda/ is by Guido Beni; a similar one at the opposite end, of * Perseus with the head of Medusa,' is by Giulio Romano. Several small medallions on the walls below the ceiling are by Domenichino.

The Large HaU of the Guards is covered with frescoes by Salvlati on one side, by Vasari opposite, and by Zucchero at either end.

THE FARNESINA PALACE AT ROME.

Entrance HaU contains frescoes of the history of Cupid and Psyche, painted by the scholars of Raphael under the direction of the master.

HaU n. of the Ckdatea, — Frescoes of the roof in the centre, of * Perseus and Medusa,' &c., with numerous figures in the vaultings, and architectural spaces below, are by Baldassare Peruzzi, The lunettes are painted by Sebastiano del Piombo, the one excepted containing the charcoal head by Michael Angelo. On one of the walls is the famous fresco of the ' Galatea ' by Raphael. The landscape paintings, also on the walk, are by Gktspar Pughet.

HaU UL — ^Paintings without interest.

Upper HaJh, L — Ceiliog painted by Peruzzi, vnth architectural decorations and classical incidents.

Hall II. — ^Frescoes by Bazzi (II Sodoma) of ' Alexander and Roxana ' and the * Family of Darius before Alexander.' Others of less interest.

THE VILLA LUDOyiSI AT ROME.

In the Casino, on the ground floor, a &mous fresco by Guerdno, * Aurora driving away Night*

In a saloon to the left small paintings on the ceiling by Guerdno and Domenichino.

In an upper saloon a fresco on the ceiling by Gueroino, ' Fame with Force and Virtue.*

THE ROSPIGLIOSI PALACE AT ROME.

In the Casino in the garden, on the roof of the middle hall, is the famous fresco of the * Aurora attended by the Hours ' by Guide Reni.

In the hall to the right ;

No. Domenichino .... — Adam and Eve in Paradise,

In the hall to the left :

Domenichino .... — The triumph of David,

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254 HOME: THE PALACES.

THE SCIAREA PALA€E AT ROME.

The Palace has of late been closed to the public, and is so' for the present, and the pictures no longer occupy their former places. 1877.

Bartolommeo, Fra, and ^®-

Mariotto — Madonna and 8, John,

Bril, Paul — Two landscapes,

Caravaggio — The card-players,

Claude Gtelee (Lorraine) . — Two small landscapes,

Cranach, Lucas .... — Holy family.

Giorgione, attrib. ... — Herodia^ and other figures, — Is by Porde-

none: 0. and 0. Goes, Hugo van der. . . — Death of the Virgin.

Mantegna — Male portrait,

Perugino — S, Sebastian,

Raphael — The vioUn-player.

Sirani, Elisabetta ... — A "CariHa. — ^After the manner of Guido

Reni.

Titian — Madonna with John the Baptist,

„ attrib — ** ia Bella di Tiziano:'—l3 a fine Palma

Vecchio : C. and 0. Vinci, L. da — Modesty and Vanity,

THE SPADA PALAGE AT ROME.

Hand-catalogues only. Pictures last examined in 1877.

Passing through Rooms I. and n., where there are no pictures of interest, we enter Room III.

No.

24 Guercino The death of Dido,

31 Titian, attrib Male portrait — Looks like Girolamo da

Treviso : 0. and C.

42 „ „ Male portrait, with violin, — Not genuine.

49 Palmegiani ..... Christ hearing the cross. — ^An altarpieoe.

48 „ T^c ^terwai.— The lunette.

51 Titian, attrib. ^ . . . ' Portrait of Cardinal Spada. — ^Probably by

Scipio Gaetano : 0. and C.

63 Guido Reni The rape of Helen,

66 Titian, attrib. . . . . Portrait of Orazio Spada, — Not genuine. 71 Moroni A portrait.

Digitized

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ROME: THE VATICAN.

955

Boom IV.

No.

— Guido Portrait of Cardinal Spada.

3 Teniers, attrib Figures in a tncvyy landscape,

17 Venetian school .... Woman taken in adultery. — A copy of

Lorenzo Lotto : 0. and C.

30 Caravaggio 8. Cecilda.

31 Maratta Portrait of Cardinal Spada.

, 54 French school Female portrait.

THE VATICAN COLLECTION AT ROME.

No Catalogue.

The pictures, now tmnumhered, toere last examined in 1877.

Angelico, Fra

Bonifazio . . . Gesare da Sesto . Crivelli, Carlo . Garo&lo . . Gozzoli, Benozzo Mantegna, Andrea, attrib.

Hurillo . Perugino . Baphael .

Vind, Leonardo da .

Domenichino. Baphael . .

Almmo, Nlcoolo .

n 1* -

Gaiavaggio . . Gnercino . . .

Boom L No.

— 8. Nicholas of Pari. — Predella in two parts.

— Madonna and angels. — Small.

— Holy family and saints.

— Madonna and saints.

— A Pieta. — ^A lunette.

— Holy family.

— Miracles of 8, Jacinto.

— A Pieta. — Assigned to Giovanni Bellini by

C. and 0.

— Marriage of 8. Catharine. — And two others.

— Three saints.

— Theological virtues, — In monochrome.

Small.

— 8cenes from the Passion, — A predella;

— 8. Jerome, — ^In monochrome.

Boom II.

— The last communion of 8. Jer(yme.

— The Transfiguration.

— The Madonna da Foligno.

Boom III.

— Crueifizion and saints, — ^An altarplece.

— Altarpiece in fourteen parts, and predella.

— The Entombment.

— The incredulity of 8, Thomas.

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256

ROME: THE VATICAN.

Guido . . . Melozzo da Forli Perugino • • .

Pinturicchio

Raphael Sanzio . . . . Bomano, Giulio, and Fran- cesco Penni ....

Sassoferrato

Spagna, Lo, attrib. . . .

No.

Guercino — 8. Margaret of Cortona.

„ — Ma>gdcUen,

— Madonna in glory and two saints,

— Audience ofSixtus IV, — ^In firesoo.

— The Besurrection,

— Madonna with four saints. — ^Tt is snpposed the hand of Raphael may be seen in both these works.

— Coronation of the Virgin,

— Coronation of the Virgin. — ^Earlywork.

— Assumption of the Virgin ^di Monte iMee**

— Madorma with angels.

— The Adoration. — A work of the time and school of Raphael, of which the author-

ship is doubtful.

Spagnoletta — Martyrdom of 8. Lawrence,

Titian — MadonrM in glory, 8. 8eb(utian and other

saints below. — Injured. ^ — Portrait of a Doge of Venice,

Room IV. Baroooio, F — 2%e Annunciation.

— The eestasy of 8. Miehelina,

— The Redeemer in glory.

— The crucifixion of 8. Peter.

— Madonna enthroned with two saints,

— Martyrdom of 8. Erasmus,

— 8. Romualdo and Ms brethren.

— 8. Gregory and others.

— Martyrdom of two saints,

— 8. Elena.

The LoGGiE are decorated by pupUs of Raphael aflier designs of the master.

Three of the Stanze were painted principally by Raphael, and one by Giulio Romano, Penni and Raphael del CoUe, after the death of the master.

I. — 8tama of (Tie Incendio del Borgo, No.

— The Incendio det Borgo, — Opcupies the wall opposite the window.

„ „ . . — Justification of Leo III. before Charle-

Tnagne. — Occupies the spaces round the window.

„ „ . . — TTte coronation of Charlemagne by Leo IH,

., „ . . — The victory of Leo TV,

The four medallions on the ceiling are by Perugino.

Correggio, attrib. Guide. . . Moretto . . Poussin, Nicolas Bacchi, Andrea

M »>

Valentin, Moise Veronese, P. .

Raphael and scholars

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BOME: TBE VATICAN. 257

11. — Stanza delUa SegnaiMra,

No.

Baphael — Theology, or ihe DUjmta del Saeramento.

„ — Poetryy or Mount PamoMtw.— Opposite the

chief window.

„ — Fhtlotophy^ or the School of Aihevis,

„ — Jurisprudence. — Bound the chief window.

The circular and square compartments of the ceiling are by Baphael.

iJI. — Stanza of Heliodorus.

Baphael — The expulsion of Heliodorus from the

Temple.

„ — The mirade of J?oZ»ena.--Opposite the chief

window.

— Leo L preventing AttHa^s entrance to Rome.

J, ...... —The deliverance of S. Peter.— Over the chief

window. The ceUing is by Baldassare Peruzzi.

IV. — Sala of Constantine. QinUo Bomano .... — Victory of Constantine at the Milvian

bridge. M „ .... — The cross appearing to Constantino.

FrancesooPenni. ... — Thehaptism of Condantino. Baphael del GoUe ... — Constantine presenting Borne to the Pope.

A private door from this Sala leads into a large room, splendidly decorated by Baphael and his pupils. Beyond is the little Oapella di S. Lorenzo, famous for the frescoes it contains, painted by Fra Angelico when he was sixty years of age for Nicholas V. They are in admirable preservation, are among the finest of his works, and relate to the histories of S. Stephen and S. Lawrence.

In the SiSTiKE Chapel are the celebrated frescoes by Michael Angelo.

The roof is occupied with numerous subjects, from the * Creation of the world,' to the * Deluge.'

At the four comers are the following incidents from Jewish history : (1) *The brazen serpent'; (2) 'Punishment of Haman'; (3) * David and Goliath ' ; (4) ' Judith and Holofemes.'

Besides these there are twelve seated figures of the Prophets and Sibyls in compartments around ; and subjects from the history of the Virgin occupy the arches above the wihdows.

Lastly, the end wall exhibits the final work of the great series— namely, the frejBCQ of the ' Last Judgment.'

On the side walls are two sets of frescoes, six in each, one of subjects from the Old Testament, the other from the New Testament. Each commences at

s

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258

SIENA,

1 Lnca Signorelli „

2 Sandro Botticelli

3 Ooaimo Bosselli .

4 Signorelli . . ^ BotticelU . . 6 0, BoBselli . .

the end of the chapel nearest the 'Last Judgment.' The Old Testament series is on the right and commences with No.

The Circtmicision,

Moset and the daughters of Jethro, &c. Fharaoh and his host in the Bed Sea, PubUeaiion of the laio and death of Moses. BeheUion of JSlorah,

Israelites bringing their jewels, <ifu2 Moses giving the Commandments. The New Testament series is on the left, and commences with No.

1 Peragino The Baptism of Christ.

2 Botticelli. . . . . . ITie Temptation.

3 D. Ghirlandajo .... Calling of the disciples.

4 G. Bosselli The sermon on the mount.

5 Perugino ._ . . . . . Delivery of the keys to S, Peter.

6 G. Bosselli The Last Supper.

Occupying the wall at the opposite e^d to the * Last Judgment ' are two frescoes much damaged, the < Besurrection'* by Ghirlandajo and the ' Arch- angel Michael ' by Salviati.

JTJHE PALAZZO PDBBLIGO AT SIENA. PaifUings last examined in 1877. .Sola dei TribunaUM Bicchema,,

Bazzi, or II Sodoma

No.

Sano di Pietro ,,.... — Fresco of the coronatiofi of ths Virgin. Stanza del Chnfaioniere..

— Fresco of the BesurrecHon, Sola del Coneistoro.

Beccaf umi — Frescoes on ceiling.

Sola di Balia. Spinello Aretino . . . — Fresco of the procession^ of Emperor

Frederich Barbarossa and Pope Jlex^ ,afider III. In the Vestibule h^ngs a fine small * Madonna and angels,* by Matteo da Siena, dated 148i4.

ScUa ,del Qonsiglio.

Bazzi, or Sodoma . . . — Three frescoes of saints and cherubs.

Siinone Blartini . . . . — Fresco of Madonna and saints.

„ „ .... — The equestrian portrait of Gnidoriccia

Lorenzetti, \ — Two battle-pieees, — In brown mono-

Ambrogio attrib. .

chrome.

Digitized

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SIENA. 259

In the chapel adjoining is a fine * Holy family ' by Sodoma, and freacoes hy Taddeo Bartoli, much restored.

Bala deUa Pace. Ambrogio Lorenzetti . , — Freiooes representing ihe advantages of

Justice and Peace, and ihe effects of good and bad Judgment. — ^Almost rained.

THE GALLEBY OF FINE ABTS AT SIENA.

Catalogue op 1872.

Pictures last examined in 1877. «

The pictures are numbered but not named, and they hang in numerical Older ; hence the catalogue will be more easily used if arranged in that order and not alphabetically. -

Corridors and Rooms of (he Sienese School. No.

6 Guide da Siena .... Madonna.

8 Unknown Christ seated. — Curious as being in. low

relief, on wood.

14 „ A crucifix.

18 Margaritone d* Arezzo . . Portrait of S. Francis.

23 Duccio Madonna toith saints.

24 ^ attrib. . . . _ . A smaU triptych.

25 Segna Four saints.SignQd.

33 Gilio A crucifix.

41 Bernardo Daddi . . . A triptych.—'DQ.ied 1886.

42 „ ^ ... Madonna and angels. — ^Part of a triptyqh,

45 Ambrogio Lorenzetti . . The Annunciaiion. — Dated- 1344.

46 „ „ . . An aUarpiece.

55 Pietro ,, . . Madonna enthroned,

56, 7 „ „ . . Parts of a predella.

58 „ „ . . Madonna wOh angels.

66 Segna A cnict/Jx.— Dated 1345,

79 Bartolo di Fredi . . . Adoraiion of the magi.

81-5 „ „ . . . . Portions of an aUarpiece.

90 lippo Memmi ... * Madonna enthroned with saints and angels.

109 Jacopo di Mino . . . • Madonna and saints. — ^Dated 1362.

117, 18 Martino di Bolgarini • AUarpiece and predeCLa.

121 Bartolo di Fredi. . . • PredeOa.

125 Taddeo Bartoli ... * Annunciaiion and others. — Small.

133 Domenico di Bartolo . * Madonna and angels. — Dated 1433.

134 Giovanni di Paola . . . Predella.

135 „ „ ... AUarpiece,^T)6Mili5fi.

a 2

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260

SIENA,

No.

143, 4 Sano di Pietro

145

151

152

166 Matteo da Siena .

167 „ ,. .

168 „ „ •. 170 „ „ .

186 Vecchietta . .

187 Sano di Pietro . 205 Bazzi (Sodoma) . 219, 20 Luca Signorelli 236 Spinello Aretino . 239 Sano di Pietro . 255 Matteo da Siena . 294 Sano di Pietro , 297 Luca Thome' .

341 Bazzi (II Sodoma)

342 „ 344 Fungal and Pacchiarotto

Altarpiecet Assumption of the Firgftn.— Dated

1479, and predelle^ AUarpieee in three compartments. — ^Dated

1449. AUarpiece in three compartments, — Dated

1444. AUarpiece in three compartments. Madonna and saints.

Madonna and saints. I

Madonna and saints. \

Madonna and angels, — Dated 1470. His

earliest work. AUarpiece.

AUarpiece in three compartments. Christ at the column, — Fresco. Siege of Troy. Coronation of the Virgin, Madonna and saints. Madonna, saints, and angels. Madonna and saints.

Altarpiecein five compartments. — ^Dated 1367. The Agony. — ^In &esoo. Descent into limbo. — In fresco.

AUarpiece hy latter ; lunette hy former, 352 Beccafumi ..... Madonna and saints. — A circular. 373 Delia Pacchia . . . . Annunciation and Visitation. 377 Bazzi (Sodoma) .... Descent from the cross.

379 Fungal . . . . . . Assumption.

380 , Thepredella.

A room for works of other schools. 32 SalvatorBosa .... Two figures.

36 Caravaggio Five figures.

37 Padovanino The rape of Europa.

39 D. Morone . . ^ . . A portraiL

45 Pinturicohio Holy family. — Circular.

49 B. Strozzi A monk.

54 0. Amberger Portrait of Charles V.

63 Beccafumi ,. . . . . S. Catharine receiving the stigmata. — Altar- piece.

The predella.

Holy family.

A Nativity. — Circular.

Tujopands.

Annunciation,

In another room are some of the original cartoons for the marble payement of the cathedral of Siena, by Beccafumi.

64, 5, 6 „ . .

81 Palma Vecchio . 85 Bazzi (II Sodoma) 86, 7 „ „

90 Paris Biordone .

Digitized

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TUBIN.

261

THE ROYAL PINACOTECA AT TURIN.

Albani, Francesco . Angelicoy Fra

>♦ » • ' Badile, Antonio . Barnaba da Siena Bassano, Francesco .

>» »

Bazsd (B Sodoma) .

Bellini, Giovanni Bellotto, Bernardo . Bembo, Bonifazio Bigio, Francia . . Botticelli, Sandro

f, „ attrib.

Bronzino, Angelo . Brueghel, Jan (Velourc) Bngiardini, 6. . Ganale, Antonio. . Caracci, Agostino

„ Annibale . Christns, Petms . . Gignani, Carlo . . Credi, L. di . . Creepi, G. B. (II Cerano) . Crespi, G. (Lo Spagnuolo).

Dow, G

Dnghet,G.

Dyck, A. van . . . .

Engelbertsz, Gomelis Ferrari, Gaudenzio . FlinQk,G. . . . Francia, Francesco . Fyt,Jan ....

Pictures lent examined in 1878.

No.

260, 4, 71, 4 The four elemente.

93 Madonna,

94, 6 Angels adoring, 140 Presentation of Virgin in the temple. 784 Madonna,^D&ted 1319. 167 A kitchen, 245 Rape of the Sabines.

50 Holy family, 376 Lucretia, 779 Madonna. 283, 8 Views of Turin, 136 The three Oraees, 121 The Annunciation,

98 Tdbit and the angel,

99 Madonna, 8, John and angel, 369 Triumph of Chastity, 374 Madonna,

127 Portrait of Eleanor of Toledo. 380 Marine-piece, 106 Holy family. 257 bis View in Venice, 160 Peasants. 158 S, Peter, 359 Madonna,

286 Charity, 103, 356 Madonnas, 170 Saints and the Virgin,

287 8. Giovanni Nepomuceno. 391 A young Dutch woman. — Dated 1662. 237 The f aids at Tivoli. 838 The three children of Charles I, 351 Princess Isabella of 8pain. 363 Equestrian portrait of Prince Thomas of

8avoy, 384 Holy family. 306 Christ on Calvary. — Triptych. 49 8, Peter. 382 A burgomaster. 101 A Pieia.— Re-touched. 225 Fruit 231 bis Animals and fruit.

Digitized

byGoogk

262 TUBnr.

No.

Gandolflno 41 Triptych,— Daied 1493.

G^arofalo 108 Jemu and the doctors.

Giovanone, G. . . . . 42 Triptych.

Giotto 91 Madonna and angels.

Griffier, G 451, 2 Views.

Guercino 289 8. Franeesca.

„ ..... 242 EcceBomo,

Heem, Jan David de . . 228, 365 Flowers and fruit,

Holbein, Hans .... 386 Portrait of Erasmw.

Honthorst G 385 Samson taken by the Philistines,

Lanino, B 51 Boly family,

„ „ 62 Madonna and saints. — And others.

lieyens 377 bis Interior wtth figure.

Lomi, Orazio .... 244 The Annunciaiian. Macrino d'Alba .... 39 fl^. Francis and a monk.

n „ .... 50 bis Madonna with saints. — And others^

Mantegna, Andrea, attrib. . 355 Madonna and saints,

Memling, Hans .... 358 The seven sorrows of the Virgin.

Mieris, F. van 379 His own portrait,

Mignon, A 227 Flowers.

Moretto (Bonyicino) . . 116 Madonna.

Mytens, D 415 Charles I. of England,

Neefs, P., elder .... 418 Church interior,

„ „ younger . 444 Church interior,

Netscher, G 39^ The Uackmnith of Antwerp.

Pannini, G .284 Interior of 8. Petei^s, Rome.

289,^4 Views in Bome.

Penni, P 122 The Entombment.

Pollajuolo, Antonio . . . 97 Tobias and the angel.

Potter, P. ..... 377 CatOe in a landscape.

Raphael, attrib 373 The Madonna ddla Tenda.

Ravesteyn, J. van . . . 367 Portrait of a princess.

Bembrandt 430 Portrait.

Beni, Guide 235 ApoUo and Marsyas.

„ n 236 Group of cherubs.

Bibera (Spagnoletto) . . 397 8. Paul the hermit.

Sanredam, P 361 Church interior.

Slallaert, A 398 Procession at Brussels.

Savoldo, Girolamo . . . 118 Holy family.

„ „ ... 119 Adoration of the shepherds^

Sesto, Cesare da, attrib. . . 71 Madonna,

Sirani, Elisabetta . . . 241 Cain and Abel.

Strozzi, B 251 Homer.

Teniers, D., younger . . 364 Interior of an inn,

„ - „ . . 423 A tavern.

N „ . . 428 Peasants playing cards.

Digitized

byGoogk

Velasquez, D. Veroneee, P. .

Werff; Ad. van der Wonwennan, P. Zachleven . .

VBNIClS.

No.

392 Bead of Philip IV, cf Spain.

157 Queen of Shtiba and SoUmoth

234 Christ at the feast of Simon,

896 SmaU eompo$ition,

366 Abattie,

448 Landecape,

THE ACADEMY OP FINE ARTS AT VENICE.

Catalogue or 1877*

Antonelb da Messina Avanzi Veronese Basaiti, Marco

Baasano, Jaoopo „ Leandro

Bellini, Jacopo „ Gentile

Giovanni

Benedetto Diana Bissolo, P. . .

Boccaccino da Cremona Bonifazio Veneziano

Pictures last examined in 1878. No.

264 Christ at the column. 410 A Pieea.— Small, dated 1367. 4, 6 Two iainU, 7 A dead Christ, surmounting No, 8.

31 CaUing of the sons of Zebedee, 534 T/m Agony in the garden.— -DtML 1510. 484 A Mint blessing Vie faithful, 494 Raising of Ixuarus, 443 Madonna. — ^Early work and injured. 529 Miracle of the true cross, 543 T%« 8^rtn6.— Much injured. 555 Procession in the Piazza of S, Marco.

38 Madonna with six saints.

94 Madonna.—B&t&d 1487. 313 Madonna ^^ of the AdmirdUy magistrate.^ —

Betouched. 234-238 Allegories. 372 Madonna and the sleeping Christ. 424 Madonna and SS. Paul and George. 436 Madonna with the magdalen and S. Catha- rine, 580 Madonna enthroned with saints. 186 Madmna. 337 Madonna and saints. 435 Madonna and saints. 541 The coronation of S. Catharine. 132 Madonna and saints.

26-29 Figures of saints.

57 The adoration of ^ magi. 326 Holy family and saints. 483 Madonna in glory and saints. 500 The rich man. 505 The Saviour enthroned^

Digitized

byGoogk

1264

VENICK

Bonifazio Yeneziaiio

Bordone, Paris

Buonooxisiglii, Giov. Garpaccio, Y.

Catena, V.

attrib.

Cesare da Sesto . . Cima da Oonegliano

GoDtarini, Giovatmi. . '. Cordegliaghi, Andrea, attrib.

DyckfA. van

Engelbreohflten, Oomelis, attrib.

No.

516 Christ and Eis apostles, 524 Massacre of the irmoeents, 572 AdorcUion of the magi. 586 S8. Benedetto and Sebastian. -^Ajid others.

428 The TibuHine Sibyl

492 Fisherman presenting the ring to the Doge

of Venice, 272, 601, 2 Portions of large %Borks. 488 Presentation in the temple, 539 The ambassadors of England before the

Moorish king, 533 Dream of S, Ursula.— Veied 1475. 537 The king dismisses the English ambas-

sfidors, 549 2^ English ambassadors return to their

king with the answer, 542 The English prince takes leave of his father,

-^Dated 1495. 546 8, Ursula received at the gate of Home by the

Pope, 544 S, Ursula and the virgins arrive at Cologne.

—Dated 1490. Inferior. 554 Martyrdom of S, Ursida and the virgins, 560 8, Ursula in glory,— Dated 1491. *

This completes the series of nine subjects. 552 Meeting of Joachim and AnncL — Dated

1515. 559 Crucifixion of ten thousand martyrs, 564 Casting out a devil. — ^Retouched. 11, 13 88. Augustine and Jerome,

124 Madonna and two saints,

385 Madonna with saints, — By Benedetto

Diana : G. and G. 262 Madonna,

125 Madonna ujith saints,

421 Jfodonna.— Replica of No. 17 at Berlin and oi No. 300 in our National Gallery.

429 A Pietk.

456 TJie Saviour, 8, Thonuu, and another saint.

582 Madonna enthroned,

347 Excellent small copy of Titian's Venus.

110 Madonna and saints.

260 Small portrait of a child.

315 Crucifixion,

Digitized

byGoogk

VENICE,

265

Feti, Domenioo . Garofalo (Tisio) . Gentile da Fabriano Giambono, M. . Gi<»daiio, Luca . Holbein, Hans, attrib. Hondecoeter . . Jaoobello del Fiore Lazari, S.. . . LeBnm,a . . Lorenzo Yeniziano

and BissoL

Hansneti .

Mantegna, A. Marconi, Bocoo

r» >»

Marziale, Marco Matteo da Bologna

Mierevelt, M. . . Modena, Tommaso da Montagna, Bartolommeo Moretto (Bonvioino)

Moroni, G. B. . . PadoTanino (Yaiottari)

PalmaGiovane . Palma Veccbio .

Pellegrino da Udino

Piero dell^ Francesca Pietio da Gortona

No.

95 MeditaUon,

452 Madonna (md Mints. — Dated 1518. 882 Madonna.

3 Saviour and four saints, 571 The Descentfrom the cross. »

266 Portrait of a youug woman. 280, 1 FouUry.

22 Madonna and two saints. 545 Miracle of the holy cross. 597 Christ in the house of Simon. 373, 4, 5 Figures of saints. 389 Annunciation.— DQ.iQdi 1371. 391, 2, 8 Saints.

5 Annunciation. — ^Dated 1357. 538 SS. Mark and Aniano. 540 S. Mark preaching at Alexandria. 548 Miracle of the cross. 584 SainU. 273 S. George— Small.

60 Christ and Upo saints. 495 Descentfrom the cross.

96 The supper at Enfmaus.—T>B,tedl50e.

2 AUarpieee in many compartments, with a predeUa, 388 FortraU.

352 S. CathaHne.--'D&^xd 1351. 361 Madonna enthroned vnth tvjo saints. 261 S.Feter. 267 S. John Baptist. 438 Male portrait.

47 Marriage at Cana,

87 Orpheus and Euryddce. 134 Hie rape of Proserpine. 481 Descent of the Holy Ghost. 591 S. Diacre recovering his sight. 595 Madonna in glory.

40 Death on the pale ?y)rse. 593 S. Peter enthroned with other saints. — ^Much restored.

84 Christ heals the daughter of the Canaanitish woman.

59 The Assumption. 532 The angel Gabriel. 562 The Virgin annunciate. 419 S. Jerome. — Small ; mncb injured. 478 Daniel in the lionf^ den.

Digitized

byGoogk

266

VENICE

Fordeaone, B. . . Savoldo, Girolamo .

»»	. . . .
SteeiijJaii . • . . . Tintoretto (J. Bobusti). .
"	»»
»»	»» * •
»»	J» • ■ .

Titian

Veronese, Paolo

Yicentino, Andrea .

Yiyarini, Bartolommeo

Vivarini, Giovanni and

Antonio, known also

as G. and A. da Mu-

rano

Vivarini, Luigi, " elder/* attrib

yonnger.

No.

486 Madonna and saints.

490 Four mints. — Others attributed to him here are by other painters : G. and 0.

258 88. Peter and Paul.

16 Coronation of the Virgin in the centre. — By Ste&no, signed Ste&n Flebanos, and dated 1881. The small compartments are by Semitecolo.

259 Madonna^

394 Coronation of the Virgin. — Signed and

dated 1351. 342 An interior.

25 Fall of man*

45 The miracle of 8. Mark.

51 Portrait of a doge, 503 Madonnn with senators.

568 Descent from the cross.

569 Two senators. 575 Ttco senators.

24 The Assumption of the Virgin. 33 The EntonifmenL—GhiefLy Titian, but finished by Palma Giovane, being Titian's last work. 366 8. John in the desert,

487 The presentation in the temple. 489 An AnnuncicUion.

519 Madonna and saints. 547 The repast at Levies house. 603 An Assumption. — And others. 30 The Eternal and saints. 1 Madonna and four saints. — ^Dated 1463.

23 Madonna and the four doctors. 8 Coronation of the Virgin. 581 The angd Gabriel. 583 The Virgin annunciate.

10, 15-20 8ingle figures of sadnts.—These more probably belong to the ^* School of Luigi,'' the existence of an elder Luigi being doubtful : 0. and G.

354 8. Mark enthroned.

561 Madonna and fatnfo.— Dated 1480.

Digitized

byGoogk

VENICE. 267

THE CORREB MUSEUM.

No Gatalogub.

Fidures last examined in 1878.

There are a few pictures of interest here, among many others which have no claim to be noticed.

No. Bellini, Gentile .... — Head of the doge Foseari*

— Portrait of a doge,

— The Saviour enthroned.— B&ted 1369.

— Madonna.— B&ted 1369.

— 8. Anthony of Padua. — Small. A * Madonna and saints/ signed N. Semitecolo, and dated 1400, is con- sidered to be by that master by 0. and 0., although not named as such in the museum.

Giovanni Lorenzo Yeniziano Ste&no . . . Yivarini, Luigi

THE DUCAL PALACE AT VENICE. Paintings last examined in 1878.

On the first floor is the Great Hall of Council. Its walls are covered with paintings, among which is the eelebrated * Paradise ' by Tintoretto ; others are by the sons of Paul Veronese ; by L. and E. Bassano, Palma the elder and younger, Tintoretto, II Vicentino, and others. The frieze is adorned by portraits of the * Doges,' chiefly by Tintoretto. .

The paintings on the ceiling are by P. Veronese, Tintoretto, both of which are particularly flne, by the younger Palma, and the two Bassanos.

The Hall of Scrutiny, on the saihe floor, contains, among many others, wall paintings by Tintoretto, Vicentino, Bellotti, F. Bassano, and Palma the younger. The ^ Last Judgment,' occupying one end of the hall, is one of the chief works of the last-named painter.

In the Library is the famous ' Grimani Breviary,* said to have been illus- trated by Memling, Gerard van der Meire, and other early masters.

On the second floor are several apartments. In a small room by the entrance-chamber of the Three heads of the Council of Ten is a good ' S. Christopher and two saints,' by Bonifazio, and a * Madonna and saints,' by Catena. The Hall of the Four Doors contains among other works the &mous picture of the *Doge Grimani kneeling before Faith,' by Titian, much restored, but still flne.

In the Hall of the Senate is a large painting by Tintoretto occupying the end wall above the throne, which cannot be regarded as one of his best works. At the opposite end is another of the younger Palma's best achieve- ments, ' Christ adored by two doges.' Besides these there are other decorative paintings on the walls and ceiling.

Digitized

byGoogk

268 VENICE AND VERONA.

In the ante-ohamber leading to the chapel is a work by Bonifazio not easily seen, and some well-painted saints by Tintoretto. In the Sala del Oollegio a fine painting by Paul Veronese adorns the end wall oyer the throne ; works by Tintoretto and others are on the side walls. Perhaps few more admirable examples of ceiling decoration exist than the ceiling of this hall, which is entirely the work of Veronese. In the small Anti-Gollegio are four works of Tintoretto, superior to anything else by him in Venice. The first, inferior to the rest, is the * Forge of Vulcan '; opposite to it is * Pallas repelling Mars '; by one window the *• Three Graces and Mercury '; lastly, opposite to it, and most beautif al of all, ' Bacchus and Ariadne, Venus descending to crown the latter.' In the same room are Veronese's 'Bape of Europa,' and a good example of Jacopo Bassano.

THE SOUOLA DI SAN ROCOO AT VENICE.

Paintings last examined in 1878.

This building contains a large collection of Tintoretto's works, which occupy the lower hall, and the apartments upstairs ; almost all great compositions from the history of Our Lord. On the landing of the staircase is a small picture by Tintoretto, hung high, and an ' Annunciation ' by Titian o|^)06ite. Many of these paintings are not easily seen, from want of light. By some they are held in very high estimation. In quality of workmanship it cannot be denied that they are greatly inferior to choice examples at the Ducal Palace and elsewhere. They have little or no claim to beauty of colour. The painter's power of drawing the human form in every attitude is indisputable ; exemplified as it is here by the energetic action which characterises almost every figure. To a student of the present day this predominance of action is incompatible with the repose and dignity which many of the subjects require. A most notable instance is aficArded by the excessive movement, noise, and bustle displayed in the *Last Supper.' The 'Pool of Bethesda,' and the ' Brazen serpent,' among others, exhibit a confusion of figures in every variety of contortion. One of the best is the • Assumption ' on the ground floor. The most £unou8 is the *Orucifixiou* in the Sala dell* Albergo on the second floor, a crowded composition containing all the incidents of the narrative.

THE PINACOTEOA AT VERONA.

Pidures last examined in 1877.

Old GoLLEonoN.

No.

Badile, Giov 350 AUarpiece, Madonna and saints in seven

compartments. — Signed. Benaglio, Giov. .... 349 AUarpiece, Madorma and saints in Utree

compartments^ and a predeUa, Bonsignori, Francesco . . — Crucifixion,

Digitized

byGoogk

VERONA.

269

No.

Caroto, Francesco

Ca?azzola (P. Moiandi)

251 8, Francis and saints. 263 8. Catharine.

272 Madonna in adoration.

273 Madonna and saints. 297 Christ washing the disciples* feet.

277 Large altarpiece.

299 Christ at the column.

300 Christ washing the feeL 319 Deposition^ Verona in the distance. A

centre-piece. — Dated 1517. 318, 20 Tvjo wings^ the Agony and hearing the

cross. 307 Madonna and saints. 339 A series of small suhjeets, thirty in number ,

from ihe Creation to the Acts of the

apostles. — On gold gronnd, very early

and quaint work. 43 Madonna with afigels. — His early manner. 322 Augustus and the 8ibyl. 276 Madonna with two saints.

278 Madonna under a laurel-tree. 275 An altarpiece. 331 A smdU altarpiece in several compartments,

highly ornamented. — Signed and dated 1360. ' 257 An Etitombmmt A large room contains nam^rons fteaooes, including one by Fr. Morone, and others from the Palazzo Gontarini.

Under the same roof is the collection of Dr. Bemasconi, which contains few works of merit; the names attached to most of the pictures are not to be accepted. The following examples may be noted.

No. Bellini, Giovanni, attrib. . 86 Presentation in the temple. Bonsignori, Fr. . * . . 148 Madonna.

Correggio 93-4 child's head,

Dyck, Van, attrib. . . Francia, Fr., attrib. . .

Cima da Conegliano Cimabne, attrib.

Crivelli, Carlo . Falconetto, G. M. libri, Girolamo dai

Morone, Francesco Turone . . .

Veronese, Paolo

A school-piece. The the master's name is

47 Female portrait, 155 Holy family.

signature of

recent Parmegianino .... 153 Holy family. Schidone, B., attrib. . . 28 Nativity. — The child in the centre is finely

painted, and may be accepted; the

surrounding figures are inferior. Tiepolo ...... 70 8aints in adoration.

Titian 52 Holy family. — Injured by cleaning.

Digitized

byGoogk

270 VICENZA,

THE MUSEUM IN THE PALAZZO CHIERIOATI AT VICENZA.

Pictures last examined in 1877.

Scattered amidst a large number of worthless canvases, to which good names are fireely attached, there are a few pictures of interest, and these only to a student of the history of art. They are chiefly examples of early painters of Yicenza, and are aU in bad condition.

Sola, No. Bassano, Jacopo ... 2 Madonna adored hy senators and others.

Stanza dd Cima.

Albani, Ft 51 Child asleep.

Bellini, Giovanni, attrib. . 15 Madonna and saints. Cima da Conegliano . 54 Madonna and two saints, — In tempera.

Much injured.

Btanzino degli Antichi,

Antonello da Messina . . 12 Head of Christ crowned with thorns,

'* Bernardino da Murauo/' (2 Madonna enthroned with four saints, —

attrib. { Probably by the school of Montagna:

I C. and 0. Eyck, Van, school of . . 1-4 Crucifixion.

Paulus Veniziano ... 10 .in Ancona, Death of the Virgin and

numerous compartments, — ^Datedl323.

Stanza degli Vicentini,

Battista da Vicenza . . 4 Ancona, Buonconsiglio .... 20 J. Pietd, — ^In tempera.

Fogolino 22 Adoraiion of the magi, — ^Ruined.

Montagna, Bartolommeo 2 Madonna enthroned with saints, — Large

altarpiece with predella. „ „ 8 Madonna in adoration and tvio saints,

— A large altarpiece, an early example. M 6 Madonna in adoration. — ^A small half-

length. „ ., 8 Presentation in the temple,

„ „ 18, 19 Altarpiece with predella.

Digitized

byGoogk

ANTWERP: THE MUSEUM.

271

THE PICTURE GALLEEIES OP BELGIUM.

THE MUSEUM AT ANTWERP. Catalogue of 1875.

Aelst, W. van . . Angelico, Fra . . Antonello da Messina

. attrlb.

Backhtdzen, L. . Berokbeyden, G. Bles, H. de . . Boeyermans, Tb.

Botb, J. and A. . . . Bouts, D., or Stuerboudt

Braegbel, P., younger Clouet, Fr. . . . Gongnet, G. . . . Coxie, M. . . .

Craesbeeck, J. van Cranacb, L., elder

>» »»

Grayer, G. de . Dyck, Anton van

,. „ and Jan Fyt Dunwege^ V. and H. Eyck, Janvan . .

Pictures last examined in 1877.

No. . . — Fruit. . . 8 8. Bomualdo and Otho III,

4 Crucifixion*

5 Portrait. 7 A war vessel.

11 View of Amsterdam,

47 Bepose in Egypt.

21 Pool of Bethesda.

22 The visit, 26 Balian landscape,

28 Madonna,

29 8. Christopher, 81 Christ carrying the cross, 83 Portrait of Francis IX—Painted in 1547. 35 A drummer,

371, 2 Martyrdom of 8, Sebastian and 8.

George, 377 Interior, 42 Adam and Eve,

48 Charity. 53 Elijah in the desert,

401 Christ on the cross,

403 Christ taken dovmfrom the cross,

404 The Entombment,

405 Por^rati.— Full length. 407 Child and dog, 123 Holy family,

410 8, Barbara, — ^In grisaille.

411 Madonna, — Small.

Digitized

byGoogk

272

ANTWERP: THE MUSEUM.

Eyok, Jan van attrib. . copy of

FUnck, G. Floris, Frans Fonquet, Jean Fyt, Jan . .

Hals, Frans . Heem, J. de . Hobbema, M. Holbein, H., younger Hondecoeter, M. Jordaens, J. . . Justus of Ghent

n »>

Lucas van Leiden

Mabuse, Jan Gossaert

Martini, Simoae

Matsys, Quintin

Meire, G. van der . Memling, Hans . . „ „ attrib.

Mostaert, J. . . Mytens, J. . Mussclier, M. van Neer, Art. van der Orley, B. van . „ „ and Patinir

Ostade, A. van . . . .

Bembrandt

„ attrib. . . . Bubens

No. 412 Madonna, S. George, and doncUor. — Copy of

the picture in the Bruges Academy. 413-24 The 8, Bavon altarpieee.

131 Portraits.

112 Fall of the angeU,

132 Madonna,

171 Eagles feeding,

172 Two greyhounds, 188 A fisher-hoy,

54 Flowers,

— Landscape,

198 Portrait of Erasmus.

— Poultry,

221 Adoration of the shepherds. — ^And others.

223 The Nativity,

224 The Benediction,

208, 9, 10 rrtpeycA.— Centre, AdmaUm o} the magi,

179 The four Maries.

180 The just judges.

181 EceeHomo. 184 Female portrait,

257-60 Four panels— Annunciation, Crucifixion,

Deposition, 241, 2 Head of Christ and of the Virgin. 245-9 Triptych— Entombment of Christ. 383-7 Altarpieee, 255. 6 Diptych, 253, 4 Portraits.— Both these are by followers

of B. van der Weyden : C. and 0. 263, 4 Male and female portraits, 266 Female portrait,

— Family group, 390 Moonlight. 461, 2 PortraiU,

464 Adoration of the Tnagi, — Two wings, No&

65, 7, by De Bycker. 466 The maker, 293 Female portrait, 29i, 5 Small poHraits.

297 Christ between two thieves,

298 Adoration of the magi,

299 8, Therfisa, a scene in purgatory,

300 Triptych.— Centre, Dead Christ "a la

paiUe,** 805 Communion of /3. Francis,

Digitized

byGoogk

JBBU0E8. 278

No.

Bnbens ' 306 8. Anna and the Virgin.

„ W7 Triptychr^Ineredtdity of 8. Tlumas,

, 812 Hoiy family,

„ HIS The Crucifixion,

„ 315 Study for deecentfrom the cross.

,, 316, 17, 18 Three studies.

„ ....... 650 Portrait of Gevartius. '

„ and Brueghel . 819 A Pic^a.— Small.

Rnysdael, J 646 T^ torrent.

Ryng, P. de 641 Still-Ufe.

Seghers, D 3H1 Garland offloujers.

Snydeis, Fians .... 885 Sujons and dogs.

„ „ .... 836 Dead game.

Steen, Jan 838 8amson insulted by the Philistines.

M „ 839 YiUage wedding.

Tenien, D., younger . . 844 Panorama.

„ „ . . . 846, 7, 8 SmaU panels.

Terburg 849 The mandolin-player.

Titian 857 The pope presents a bishop to 8. Peter.

Valentin, M 358 The cardrplayers.

Veen, Otho van . . . . 481, 2 The deeds of 8. Nicholas. Voe, M^dv, elder 77-81 Triptych. — And many others.

,, G. de 104 Portrait of Abraham Orapheus.

„ „ 107 & Norbert receiving the Host.

"Weenix, J. B 497 Vieio of an Italian port.

Weyden, B. van der . . 893-5 Triptych — The seven 8aoraments.

„ „ . . 896 Annunciation.

„ „ . . 397 Portrait of Philip the Good.

Wouwerman, P 500 Halt of horsemen.

Wynants and A. van de

Velde 508 Landscape and animals.

Unknown eurly master. • 530, 1 A double diptych.

THE ACADEMY AT BRUGES.

Catalogue op 1875. Pieiures last examined in 1875.

It contains a fine specimen or two of Jan van Eyok and of Memling, but few other works worthy of notice.

No. Eyok, Jan van .... 1 Madonna with two saints and donator. „ „ .... 2 Portrait of his wife,

T

Digitized

byGoogk

274

BRUGES AND BBUSSELS.

Kemling, Hans .

Gherardt DaWd Pourbns, Peter .

No.

4 Triptych, — Centre, 8, Christopher and

Infant Christ, with two saints. On the wings, donator and aons^ and wife and daughters with patron-saints,

5 Baptism of Christ. — A triptych.

17 The Last Judgment,

18 TheDepo9ition.—Airiptjck.

THE MUSEUM IN THE HOSPITAL OF S. JOHN AT BRUGES.

Oatalooub of 1869.

Pictures last examined in 1875. No. Memlittg, Hans .... 1 The marriage of 8. Caiharine,-^A triptych. „ ,,.... 2 The Chdsse, or Reliquary of 8, Ursula.— A

chest, consisting of three panels on each side, painted with scenes &om the life of the saint. There is a panel at each end ; one is painted with a figore of S. Ursola, the other with a figure of the Yirgui. The chdsse has a slanting roof adorned by six medallions.

3 Adoration of the magi,

4 Madonna and donator, — ^A diptych.

5 The8ibyl8amhetha.

6 Descent from the cross,

11 A philosopher in meditation,

12 Descent from the cross, — ^And others. — Several examples.

Van Oost, Jacqnes, elder

»» »» »>

,. „ younger

MUSfiE NATIONAL AT BRUSSELS.

Oatalootte of 1875.

Pictures last examined in 1877. No. Aertsen, Pieter .... 409 The cook, Albani, F. . . . . . 99 Adam and Eve-^he FaH.

Alsloot, Van 302, 3 Processions,

Amberger, G 362 Portrait of a man.

Arthois, J. d* .... 100-4 Landscapes.

Berchem, N 410 Landscape and cows.

Bol/F. 119, 20 Male and femaie portraits,

n ...... 121 Woman's portrait.

Digitized

byGoogk

BRUSSELS: THE MUSEUM,

275

Bd,F.. • . , Both, J. and A. . Bouts, or Stuerboudt, Dirk.

>» jt » •

Brueghel, J. (Velours)

„ P., elder .

„ younger

Bruyn, Bart. . • Champaigne, P. de

f» Claude Gel^ (Lorraine] Coello, A. 8. . Gonixloo, 0. van Oozie, Michael

GranaohyL. .

» •

Grayer, G. de

Guyp, A. • BoesiyDosso . Bow, G. . . Dughet, Gaspar Dutch School Dyck, A. van

Eyck, H. and J. van

J, Jan van Flemish School

Flinok, Govert FloriSjFrans G^ermon School

No.

122 PhUoaopher in meditation,

124 Landscape,

30 Injustice of the Emperor Otho,

81 Justice of the Emperor Otho. 129 S. Norhert preaching,

2 Mcusaare of the innocents,

3 Fall of the rebel angels,

4, 5 Male and female portraits.

140,1 SainU.

142-51 Legend of S^ Benedict,

199 Landscape.

157, 8, 9 Female portraits,

367 The parentage of the Virgin,

163 AUarpiece,

164 Death of the Virgin, 364 Portrait of an old man. 365, 6 Adam and Eve,

167 The draught of fishes,

168 Martyrdom of a saint, 169^ Assumption of S, Catharine, 170, 1 Saints, — ^And others. 180 Cow in stable with fowls,

185 Christ in the house of Simon,

186 Interior by candlelight,

187 Landscape. 458, 9 Portraits,

188 Crucifixion of S, Peter,

189 A satyr.

192 Portrait of Alexander de la FaiUe,

13 Adam and Eoe. — Part of the Adoration of

the Lamb in S. Bavon at Gheni

14 Adoration of the magi.

42 Madonna, — ^May be by Petrus Christns : C. andC.

51 Head of a man,

370 Christ and mourners, — ^A triptych. 378, 9, 84 A triptych. 382 Female portrait, 414 Female portrait* 19Q Last Judgment. — A triptyob.

84 The Crucifixion,

85 Scourging of Christ and the Ascension. —

These panels bear much resemblance to the Liversberg 'Passion ' at Ologne.

403 Madonna enthroned with ^ints.

404, 5 Life-size figures of saints, .

T 2

Digitized

byGoogk

276

BBUSSjEHS: TBE MUSEUM.

German School . . .	No. . 406 Chria and the aposOes.^A pred^la.
Gaeroino . . . . .	. 112 Madonna^ and patron-Mints.
Gysels.?. . . . .	. 202 Dead game.
Hals, FranB . . . .	. 415 Mah poHmit.
t» ,,....
Heem, J. de . . . .	. 208 Fr«€<.— Several others.
„ 0. de . . . .	. 418 Study of fruit.
Heist, B. van der 4 .	. 205, 6 Male and female poHraiU.
Hobbema,M. . . .	. 419 Landscape.
Holbein, Hans . . .	. 1& Fortran of Sir T. More.
Hondecoeter, M. . •	. ^^ Peacock and pouUry.
>• • ■•
Hngtenburg, J. van .	. Wl,^22 BatUe-pieces.
Hnysmans, 0. . . .
J.B. . .	. 209 Landscape.
Jordaens, Jacob . . .	. 216 The miracle of S. Martin.
11 »> • . •	. 217 An allegory.
jf »» • •	. 218 A «a<yr.— And others.
Keyser, Th.de . . .	. 424, 6 Female poHraits.
Lombard, Lambert .	20 Last Supper.
Maas^N	. . 282 A unman reading.
Mabnse, J. (Gossaert) .	15 Jesus in the house of Simon.^^nptych.
Maratta,C. ...	. 234 Mythological subject.
Matsys, Quintin	— History of S. Anne.— Triptych.
Meert,P. . . .	. 287 Portrait group.
Memling, Hans . .	. 21 PoHraitofWahelmMored.
>i t> . .	. . 22 PcyrtraUofhiswife.
„ attrib.	. . 23 MalepoHraiL
Met8u.G. . . .	. . 2S9 The collation.
Menlen, A. van der.	. . 240 T^ army of Louis XIV. hefore Toumai.
Mieris, W. van . .	. . 243 Susannah and the elders.
Mostaert, Jan . .	24 ^ diptych.
Mnrillo . ...
Neef8.P	. . 253 Interior of Antwerp cathedral.
Neer, Art. van der .	. . 234 MoatdigU.
>» f»	. . — Shating scene. — Unnumbered.
Nienlant, Adrian van	. . 256 Ckimival at Antwerp.
Orley, B.van . .	. . 25 Bead Christ.— A triptych.
»» it • •	. . 27 Portrait of George de ZeOe.
»> >t • •	. . m^ AUarpiece in five panels.
Ostade, Adrian van .	. . 259 Peasant eating herrings.
„ Isaac van .
♦» ti'	. . 433 Genre scene.
Palaraedes . . .	. . 261 Male portrait.
Pannini . . .	. . 263 Architectural ruins.
Penigino . . . .	. . 334 Modmma with S. John.

Digitized

byGoogk

BBU88EL8: THE mfSBUM,

277

Pourbns, F., younger

»> n

Pynacker, Adam Bavesteyn, Jan yan Bembrandt . Bubena^ P. P.

Buysdael, J. . Byckaert,D. Sallaert . . Schalken, G. Schoen, Martin Seghers and Quellinus Siberechts, Jan Smeyers . Snayers . Snyders, F. Steen, J. .

Steenwyck, H. ¥»n Stoop, Dieriok . Teniers, D., younger

Tilborg . . Tintoretto . Veronese, Paolo Vos, Gornelis de n Martin de Vonet, Simon Weenix, Jan .

J. B., attrib.

Weyden, Bogier van der .

„ „ attrib.

Witte,Em. de . . . .

Wynants, J

No.

268 Male poHrait

269 8. Matthew and an angd, 278 Landscape,

275,6 Female portrait

277 Mcde portrait

285 Chrigt on the vfay to Calvary,

287 Assumption of the Vir^,

288 A Pieth.

290 Adoration of the moyt. 292 Venus and Vuloan,

294, 437 Male portraits,

295, 438 Female portraits,^And others. 296 Landscape ; Figures by A, van de Vdde, 298 Interim,

800, 1 Processi(ms. 806 Candidight effeei, 29 Ecoe Homo. 274 Flowers and figures. 811 Farmyard,

812, 18 Large works, and others. 441-5 BaUle-pieces, 314 Swan, deer, peaco<skt and fruit.

318 The rhetoricians,

319 The operator,

820 The feast of kings. 447 Interior with figures,

821 Church interior.

823 Landscape with figures,

824 The five senses,

825 VUlaLge doctor,

449 Flemish kermess,

450 Interior of a picture gallery,

—^ Hut and landscape, — Unnumbered* 331 Procession, 281, 2 PoHraiU, 130 Decorative panel, — Large.

453 Portrait group, 341, 2 PoHraiU.

348 8. Carlo Borromeo praying,

454 Dead game and fruit,

345 Dutch lady at her toilette, 33 Head of a weeping woman, 34-41 Scenes from the life of Christ

346 Interior of the ehurdi at Delft 350, 1, 2, 455 Landscapes.

Digitized

byGoogk

278

AmTEBDAM: THE TBIPPENHUI8.

THE PICTtEE GALLEEIES OF HOLLAND.

THE MUSEUM OF THE TRIPPENHUIS AT AMSTEEDAM. Catalogue of 1876.

Asselyn, J. van Backhoizen, L.

Beerstraten

Bega'io. .

»» •

Berchem, N.

„ and Van

Hagen Berckheyden. Bol, Ferdinand

Both, Jan and Andriea

» » »

Bray, Jan de . . Brekelenkamp . . • Brouwer, Adrian

t> »»

Bmeghel, J. (Yelours)

>» »

Oa3rp, Albert . •

der

Pictures lad examined in 1877.

No. 4 The enraged stoan. — An allegory.

8 Embarkation of Jan de Witt

9 Port o/^nwferdom.— Dated 1673. 11 The Zuiderzec—BtAed 1694:. 20 Old eocchange of Amsterdam,

22 Naval eombat

23 The philosopher,

24 Peasants* concert, 27 Winter landscape.— "Daied 1647.

29 The three flocks of sheep,

30 Catae crossing a /ord.— Dated 1656.

31 TheferryAnxU,

33 Landscape and figures, 35 Village of Haarlem, 42 His oum portrait.

44 Portrait of Admiral Bwyfer.— Dated 1667.

45 Mother and two children, 49 Italian landscape. 51, 2 Landscapes. 58 The «2/ndw».— Dated 1675. 60, 1 Interiors.

64 A milage revel,

65 Peasants fighting,

66 jPotm o?i t^ &afi/:« of a river, 70 ixin(2«cap6 and figures,

77 lAifulacape.

78 Shepherds in a landscape. . 80 Cock and turkey fighting. Sl_A Dutch family.

Digitized

byGoogk

AMSTERDAM: THE TBIFPENHVI8.

S7d

Does, S. van der Dow, G. . . .

,, and Berchem Dacq, J. le . . . DughetjG. . . . Durer, copy of . . Dnsart* Oomelis

No. 82» 3 ShepherdesseB.

86 His oum portrait.

87 Thenight-sehool.

88 A hermit

89 Curiosity. '

90 Portraits in a landscape. 93 Cavalry stabU.

94, 5 Landscapes,

96 PoHrait of Pirkheimer.

97 StroOing musicians,

98 The fish-market.

99 Village hermess.

100 ViUageinn.

101 FuOA&ngth portrait

102 Portraits of two children of Charles L

106 Woman taken in aduUery.

107 WaterfaU.

91 Herodias with the h^ad of the Baptist.

110 Jacob blessing 7«aac.^Dated 1638.

111 The civic guard.— Dsiied 1645. 113 Abdication of Charles V.

117 Peter the Great

121 A rtwr.— Dated 1645.

122 View of Dordrecht

129 Massacre of the innocents.

130 Adam and Eve,

131 The avenue.

132 The forest. .

133 jDutoA landscape. «

134 Portraits of himself and of his wife.

135 The jester.

136 The joUy fellow.

138 StiUrlife.

139 Flowers and fruit.

141 Banquet of the civic gfuard.— Dated 164a

142 STfce syndics of the orgt«65tt«ier«.— Dated

1657.

143 Admiral van JVa*.— Backgronnd by Back-

huizen.— 1668.

144 Wife of Admiral van Nes.

145 Portrait of Princess Maria. 1^6, 7 Male and female portraits.

149 Portrait of A. Bicker.— J>Aied 1642.

156 The drawbridge.

157 A Dutch canal.

Dyck, Anton yan .

» >» w •

Eeokhont, 6. van den Everdingen, Van • Fabritiufl, C. . . Flinck, Govert . .

Francken, H., elder . Gelder .... Goyen, J. van . .

Haarlem, Cornells van

« >» »>

Hackaert and A. van de

Velde .... Hadkaert and Lingelbach Hagen, J. van der . Hals, Frans . . .

Heem, Jan de .

„ J. David de Heist, B. van der

Heyden, Jan van der

Digitized

byGoogk

290 AM8TEBDAM: THE TBIPPENHUTS,
Hobbema,M. . . .	No. . 159 The waier^m.
Hondeooeter, H. . .	. 171 Dead hirde.
„ ...	. 173 The phUosophie magpie.
» • • •	. 174 The villa.
»» ...
»» ...
„ ...	. 178 The floating feather.
Honthorat, G. . . .	. 181, 2 Two portfaite.— Dated 1650.
Hooghe, Pieier de .	184 Hie oum portrait.
f* ff • •	, 185 The huUery hatch.
Hugtenburg, J. Tan. .	. ISii^ PoHraH of WiUiam III.
Huysom, J. Tan. . .	. 190, 1 FruU ond^twrB.— Dated 1723.
Jardin, Karel du . .	. 193 His oum park-ait.— V&ied 1662.
*f >» • • •	. 194 PoHraU of Q. Beynst.
tf »t • • • •	195 The syndiee.— Bated 1669.
n f> • • •	. 198 The muleteers.
tt »» • • •	196, 9 Landscape and cattte.
Jordaens, J	. 202 A satyr.
Kalf,WiUem . . .	. 203 StiOrlife.
Keyser, Th. de ....	205 Family poHraits.
M .«» ...	207 Admiral Pieters and family.
Koning, Fh.de . . .	210 Lan^tfr^i^.— Dated 1676.
»» t» ...	. 211 Entry to the forest.
Lairefise, G. de . . .
liing^lbachy Jan .	. 229 The riding-sehool.
rr w • • •	. 230 The camp.
Liotard	233n The countessof Coventry. -Inpsatel. And
	many others.
Maas, Nicholas ....	235 The dreamer.
M »f ....	236 Woman spinning.
Meer, J. t. d., of Haarlem	238 Sleeping shepherd.— D9.ied 1678.
Met8u,G	239 The breakfast.
»» ....	240 The old drinker.
MiereTelt, M. Tan . . .	244 Prince of Nassau.— And others.
Mieris, F. Tan . . .	252 The lute-player.
w »» * • •	253 Fragility.
^ W.Tan . . . .	254 Po«ttry-««er.— Dated 1733.
Mignon, A	257 Fhwets in a vase.
*» ....	259 Fruit.
Moeyart	260 Choosing a lover.
Moreelae, P	265 Female portraU.
M . . rf . .	267 The littU princess.
Moucheron and Ad. Tan d<	i
Velde	270 Italian landscape.
MnriUo	272 .innu/ie^/ofi.
Myten8,A	274, 5 Portraits of Admiral Tramp and wife.

.Digitized

byGoogk

AMSTEBDAM: TBE TBIPPENmHS.

281

	No.
Neefs, Pieter, elder .	. . 278 Intmior of NOre Dame at Antwerp,
Neer, Artua yan der	. 280 Winter landicape.
NetBoher, G. . .	. . 282 Portrott.— Small.
M ...	. . 283 Moiker and her ehOdren,
Ostade^ Adrian van .	. , 2SS A studio.
)♦ >» *	, . 289 Travdler'B hoM.
» n	. . 290 The eharkUmn.
» n •	. . 291 Thehaker,
,f Isaac van	, 292 ViUageinn,
Peeters .....	. . 2^ DeetrtsctioncfEngluh fleet at Chatham,
Poel, E. van der	. 298 I/iterfor. '
Foelenburg, 0. . .	. 30a The hathere.
Potter, Paul . . .	. 805, 8 Shepherds and their flook$.
w »»••••	. . 307 Orpheus and his luU.
n »» • • •	. 309 The stravheutters.
Pynacker. . . .	. 312 Landscape,
Bembnmdt . . .	, 348 The night watch.
»t ...	, 349 Thesyndies,
Bomeyn, Willem .	, 331 Landscape and animcds.
Buysdael, Jacob	, 338 TA6 tcoler/btt.
»» >» •	. 339 Winter scene.
»> n	. . 340 Landscape.
„ SolomoD . .	. 341 View of Haarlem.
>♦ n '	. 342 liOikfocape.
Buysch, Baehel . .	. 344 73^ 6(m^tiet.
Sandrart	. 356 Portrait,
Sandvoort . . . .	. 857 Family group.
8avery,R. . . .	. 358 Po^e crowned by the animah.
Schalkeii,G. . . .	, 359 WWiam IIL with a candle.
»» . . *	. . 360, 3 Tastes differ.
Slingeland, P. van . .	. 368 The rehearsal.
» »» • •	, 369 The rich man.
»» n • •	. 370 Fruit and gcme.
W w *	. 371 I>ead game.
Spronck * . . . .	. 372 ifafo por«ra«.
Steen,Jan . . . .	. 375 His own portrait
» w . . .. .	, 376 The fete.
»» »♦ . . . .	. , 377 Thefite of 8. Niehdas.
>» ♦» . . . .	, 378 The parroVs cage.
»> »» . . . .	. 379, 84 Charlatans,
>♦ >» . . . .	, 380 riUogtf «oe(2dn»^
>» Jl . . . .	. 881 Tha happy retwm.
♦» ff . . . .	. 382 T^A&o^er.
Teniera, D., younger	. 390 T^ guard-room.
» »»	, 891 T^Ao«r</re6^
>• »	. 892 ViOage inn.

Digitized

byGoogk

282

AMSTERDAM: THE VAN DEB HOOP.

Tenien, D., yoimger Terburg, G. . . .

Yelde; Adrian van de

VHet, H. van Vols, Adrian de Weenix. J. B.

Werff, Adrian van der

Wouwerman, Philip

Wyck, T. Wynants, Jan

No.

393 Temptation of 8. ArUhpny.

394, 5 Portraits of the painter and his wife,

396 Paternal advice.

397 The peaae of MOnster.

427 The ferry-hooL

428 The hut.

420 Harhow of Amsterdam.

423 Taking of the * Boyal Prince.'

424 Bringing the * Boyal Prince * into port. 426 The breeze.

440 Old Ddft church. 442 The violin^yer.

447 The country-seat.

448 Chime and fruit

449 Dead game.

450 His own portrait.

453 Holy family.

454 Pielh.

462 The riding-school.

465 Stag-hunt.

466 Heron-hunting.

468 The spirited white horse.

469 The encampment.

470 The watering-place, 473 Bustie interior.

477 The farm.

478 Undulating landscape. 480 Interior.

Zorg

A special department in this Husenm is devoted to the care of the very complete collection of Rembrandt's etchings, ^hich may be seen on application to the keeper.

THE VAN DER HOOP MUSEUM AT AMSTERDAM. Catalogue of 1876.

Pictures last examined in 1877.

No.

Adrian van Utrecht . . 120 Still-life.

Asselyn, J. van .... 2 Balian landscape.

Backer, J 3 The syndics.

Backhuizen, L 4, 5 Seorpieces.

Bega, G S An interior.

Berchem, K 10 Italian landscape.

Digitized

byGoogk

AMSTERDAM: THE VAN DEH HOOP.

283

Berckheyden

» Bol. P. . . Both, J. and A.

n Jan, . Ouyp, A. .

n • •

Dow, G. . . I>yck, A. van

Sverdingen, A. van Hals, Dirk . „ Frans . Heyden and Van de Velde Hobbema, M^ • . Hooghe, Pieter de .

>» »

Hoogstraeten, S. van Huysum, Jan van Maas, Nicholas . . Meer, J. van der, of Delft Metsn, G. . . . Mierevelt, M. . . Mieiis, Frans van .

Mignon, A. . . . Hosscher, M. van . Keer, Artus van der

Netscher, G. . . Ostade, Isaac van Potter, Paul .

n » •

Bembrandt . Bubens . . Bnysdael, Jacob

Steen, Jan

Teniers, David, younger

No.

15, 16 Street m&uiB. 18 Church interior.

20 Fortran of Admiral Ruyter.

21 Artitt paintirui in a landscape.

22 Italian landscape,

29 CatUe,

30 View of Dordrecht,

31 Fishriooman, 86 PoHrait.

38 Landscape.

44 Woman at the harpsichord,

43 Portrait of a iccwwan.-~Dated 1639.

45 View of Amersfoort, 47, 8 Landscapes.

50, 1, 2 Interiors. 53 Dutch courtyard. 55 The sick lady. 58 Flowers and fruit. 67 Woman spinning. 129 Woman reading.

69 The hunters present.

70 Portrait of Jacob Cats.

73 Grocer* s shop.

74 The pharmacy. 77 Fruit.

80 FamUy party.

81 Skating scene.

82 Landscape. 85 A portrait. 88 Wayside inn.

90 Horses in afield.

91 Cows in a field.

95 Hie betrothed Jewess.

93 Portrait of Helena Fourment,

96 Landscape,

97 River scene,

98 Northern landscape,

99 Landscape,

105 Family feast.

106 The sick lady.

107 Family picture,

108 After drink.

109 The couple drinking,

115 Village fair.

116 Country work.

117 The dice-players.

Digitized

byGoogk

284

AMSTERDAM: THE SIX.

Terburg, G. . . Yelde, A. yan de

» >»

„ W. van de

Victors, J. .

Weenix, Jaa . Witte, E. de Wouwerman, Ph. Wynantfl, Jan Zorg, H. M. .

No.

118 Boy and dog.

121 The artist and hU family.

122 Shooting party. 124 The cannon shot 125, 6 Sea-pieces. 127 The beach.

131 ThedentUL ia2 The butcher. 136 Dead game. 141 Church interior. 144 Landscape. 145, 7, 8 Landscapes.

149 Ftsft-f»arXc6<.

150 Fish-woman,

THE SIX VAN HILLEGOM COLLECTION AT AMSTEEDAM.

No. 511 Heebenqbaoht.

Berchem, Nicholas Berckheyden, G Brekelenkamp Cuyp, Albert

»> >»

Dow, G. .

Dasart Hals, Frans Hobbema. Hooghe, Pieter de Koning, Salomon Maas, Nicholas . Meer, Jan van der, of

„ ...

Ostade, Adrian van Potter, Paul

Bembrandt

Bombouts, Theodore

Pictures last examined in 1875.

N©. . .

— One or two examples.

— One example.

— The three Ages.

— View of Dort.

— Moonlight scene.

— The dentist.

— A girl with a basket cf fruit.

— A candlelight effect.

— One example.

— The gtntar-player.

— Examples.

— The linen-pressJ

— Old man in his ^tudy.

— The eavesdropper. Delft — Woman pouring, out milk.

— View in Delft.

— The fish-wife.

— Life-size equestrian portrait of Ttdp.

— The dairymaid washing her miikpails.

— The bwgommter Six.

— The mother cf the burgomaster Six.

— Study in bistre.

— Landscape..

Digitized

byGoogk

AMSTERDAM AND HAABLEM.

285

Buysdael . . Steen, Jan . Teniere, Dayid Tepbiirg,G. .

Yelde, A. van de Wouwennan, Philip

and

No.

— ExamplcB.

— The marriage,

— The drwnmer, &c.

— The duet,

— A girl writing.

— Seorcoast at Scheveningen, — - AUabU.

— Landscape,

Buysdael — Lavidscape,

The pictures of the Van Loon Collection were dispersed during the year 1877, and haye all passed into private galleries.

THE TOWNHALL OF AMSTERDAM.

Fictwes last examined in 1875. No. Bol, Ferdinand .... — Four regents of the Leprosy Hospital,

Hals, Frans — Arquebusiers,

Heist, B. yan der ... — Arquebusiers,

THE TOWNHALL OF HAARLEM. Oatalooub of 1875.

Pictwres last examined in 1875.

Na

Bray, Jan de 12 Chroup of old ladies.

„ „ .... 18 Regents of the Leprosy Hospital.

„ „ .... 14 Group of old ladies.

Oomelis yan Haarlem . . 23 Feast of archers. — And others.

Hals, Frans 54 Feast of the archers of 8. George.

„ „ 55, 6, 7 Feast of the archers of 8. Adrian.

„ „ 58 Officers of the archers of 8. George.

„ „ 59 Regents of the Hospital of 8. Elizabeth.

„ „ 60 Regents of an Hospital. — nnfinisbed.

„ „ 61 Female regents. — ^Unfinished.

Heemskerck, Martin van . 63 8. Luke painting the Virgin.

„ „ 67 Scourging of Christ. — And others.

Heist, B. yan der, attrib. . 70 Officers of the archers of 8. Adrian. — ^This

may be by J. yan Ravesteyn.

Yerspronok, Jan. . . . 115, 16, 17 Porfrai<».

Yroom, Henrick Cornells . 124 Arrival of Leicester at Flushing in 1586.

Digitized

byGoogk

286

TffE HAGUE.

THE HOFJB VAN BEBESTEYN AT HAAKLEM. Pictures last examined in 1875.

No.

Hals, Frans — A portrait of Nicholas van Beresteyn.

„ „ — Sister of Nicholas van Beresteyn,

,, „ — A family group.

„ „ attrib. ... — Portrait of a young child, — ^This may be by

J. van Bavesteyn.

MUSEE COMMUNAL AT THE HAGUE.

Jan van Goyen . Jan van Ravesteyn

No.

— View of the Hague,

— Magistrates and arquebusiers in 1617-18.

— Magistrates of the Hague in 1636.

— Chief arquebusiers.

THE ROYAL MUSEUM AT THE HAGUE.

Oatalogub of 1877. , Pictures last examined in 1877.

The pictures are 'nnmbered but not named, and they hang in numerical order ; hence the catalogue will be more easily used if arranged in that order and not alphabetically. . _

Dutch School

No.

lA. (J.W.V.) .

3 Willem van Aelst

4 J. de Baen

5 L. Backhuizen 8 B. van Bassen

10 N. Berchem . 12 „ .

13, 14 Bloemart 15, 16 F. Bol . 17,18 J. and A. Both 19 Gomelis van Haarlem 1"b „ ,) „

21 A.Cuyp . • . .

22 Palamedes . . .

Salome.

StiU-life,

Portrait,

WiUiam III. disembarking.

Church interior.

The hoar-hunt.

The travelling coach.

Mythological subjects.

Portraits of Ruyter and his son,

Italian landscapes.

Massage of the innocents.

Mythological subject,

Salmon-fishing.

Meeting of the States General,

Digitized

byGoogk

	THE HAGUE. 287
No.
28 G.Dow	• The young mother.
29 n	. Young woman holding a lamp.
33 G. Tan Everdingen . .	. PortraiU.
34a, b, 0 H. GoltziuB .	Mercury f Hercules, Minerva,
38, 9 J. D. de Heem , .	. Fruit and flou)er$.
40 0. de Heem . . . .	. Fruit
40 bis, ter. M. vanHeemskc	)rok An oZtorpieM.— Painted on both sides.
41 J. van der Heyden . .	. View in a IhUeh town.
42 B. van der Heist . .	. Portrait of Paid Potter.
45, 6 G. van Hoeckgeest .	. Two church interiors.
47 M. Hondecoeter . . .	, The raven hereft of his borrowed plumes.
49.50 „ . . ,	. Poultry.
51 qnater G. Honthorst	. PortraiU.
52 S. van Hoogstraeten	. Dutch courtyard.
56, 7 J. van Huysum .	. Fruit and flowers.
58, 9 K. du Jaidin . . ,	, Landscapes,
61 Th. de Keyser . . .
62 „ „ . . .
68 J. Lingelbach . . .	. Peasants.
69 „ . . .	. March of WiUiam II. to Amsterdam.
70 „ . . .	, Charles II. leaving for England.
72 J. van der Meer, of Del	ft . View of Delft.
74 G. Metsu ....	. , The musical amateurs.
76-84 M.Mierevelt. .	. PoHraiU.
85 F. van Mieris . .	. The soap-bublbles.
86 „ „	, . A portrait.
87 „ .,	. . PoHraiU of (he painter and his wife.
88 W. van „ . .	. Grocer's shop.
95 Ant. More . . .	, . Male portrait.
95 bis, 96, 97 P. Moreelse	. . PoHraiU.
100 M. van Mnsscher .	. . PortraiU of himself and family.
lOObis P. Nason. . .	. . Portrait
101 G. Netscher . . .	. . PoHraiU of himself and family.
104 Ad. van Ostade . .	. . Peasant in an inn.
105 „ „ . .	. The fiddler.
106 A. de Pape . . .	. Old woman.
107 A. Pynacker • . .	. . The torrent.
Ill Panl Potter . . .	. . The young huU.
113 „ „ ...	. Meadows and cattle.
113b-113z J. van Ravesteyn	. A series ofpoHraiU.
114 Bembrandt . . .	. . Simeon in the temple.
115 „ ...	. . The anatomy lesson.
116 „ ...	. . Susannah in the bath.
117 „ ...	, . PoHrait of a youth.
118 „ ...	, His own poHrait in officet's dress.
120, 1 Baohel Buysch .	. • Flowers.

Digitized

byGoogk

288	THE HAt^WB.
No. 122 J. Ruysdael ....	. The vMterfaU, . .
123 „ ....	. TheheacK . .
124 „ ....	. View of Haarlem.
125 J. Savery ....	. . A fair.
128 G. Schalken . .	. Yotimg woman at her toilette.
129 „ ...	. Interior.
130 „ ...
134 J. Steen	. The dentid.
135 „ ....	. . The menagerie.
136,7 „	. The doetor*8 visit.
138 „ ....	. PoHraiU of his family.
139 „
	and as Xa vie hwmaine.
144 G. Terburg ....	. The despatch.
145	. His oum portrait
147-161B 0. Troost . .	. Numerous examples.
162 J. Uohtervelt . , .	. Thefuh-mark^
165 Ad. Tan de Velde . .	. ADntd^heach.
168 W. „ „ . .	. A calm.
169 H. W. van Vliet . . .	. Church interior.
173, 4 J. Weenix . . .	. Dead game.
175 Ad, van der Werff .	Male portrait
176 „ „ . .	. Flight into Egypt.
179 J. Wynants . . .	. Wood scene.
182 P. Wonwerman . .
184 „ ...
185 „ . .	. . The hay-eaH.
186 „ . .	. . Large hatHe-piece.
187 „ ...	. The camp.
188 „ . .	Hunters reposing.
196a Unknown ....	. PortraUofWiUiam in. of England.
	Flemii^SehooL
197 H. van Balen . .	. The ofering to Cyhde.
200 J, Brneghel (Velours)	. . Garden of Eden.
201 Ph. de Ohampaigne .	. . PortraU.
202 Gonzales Cooques	. . Interior of a picture gallery.
203, 4, 6 A. van Dyek .	, . Male and female portraits.
205 „ „	. Family group.
209 J. Jordaens . . .	FatM and nymph.
212 P. and F. Pourbus, younger Mo9e9 vaiih the tables of Ihe law.
213 Bubens ....	, . PoHrait of Isabella Brandt.
214 „	. Portrait of Helena Fourment.
215 .,	. Pmirait.
216	. Adam and Eve in Paradise. — ^Landscape by
	Bmegbel. .

Digitized

byGoogk

THE EAaUB.

No.

221 F. Snyders Dead game,

222 „ Stag-hunt — ^Landscape by Rubens.

223 D. Teniers, younger. . . The kitchen,

224 „ „ . . . The alchemist.

226 R. van der Weyden, elder . Deposition, ' \

231, 2, 3 B. Beham . . 237 H. Holbein, younger 238

241

copy of

German School,

, Portraits of children,

. Portrait of a young woman,

, Portrait of Bobert Cheseman,

, Maie portrait,

, Jane Seymour,

French School.

250 S. Bourdon A group of merchants.

252 0.J.Vemet PoH of Leghorn.

253 „ „ Tivoli.

Spanish School,

255 Murillo Madonna,

256 „ Portrait of k yoiUh,

257 Velasquez : . . . . Portrait of Dcm BaUasar as a chUd,

258 „ Landscape.

259 Matteo Zereso .... Magdalen.

B;alian School.

These are principally copies, and the museum contains no Italian pictures of great merit.

THE STEENGRAOHT COLLECTION AT THE HAGUE.

Hackaert and Wynants Hooghe, Pieter de Maas, Nicholas . Potter, Paul . . Bembrandt . . Rubens . . . Velde, Adrian van de

Pictures last examined in 1875.

Boom L Modem French Works.

Boom IL No.

— A landscape,

— An interior.

— Genre scene,

— Small example.

— Bathsheba.

— Infant Saviour,

— Small example.

Digitized

byGoogk

290

LEIDEN AND ROTTEBDAM.

Ostade, AdxiaiiTan Stoen,Jan • . . Teniers, D^ jonnger Yelde, Adrian van de Wouwerman, Philip

BoomUL

No.

— Examples.

— PortraUi of himself €md family.

— The vforki of merey»

— Two examples.

THE STEDELTK MUSEUM AT LEIDEN.

Gatalogct of 1876.

Pictures last examined in 1877.

Engelbertsz, Oomelis .

» >»

Lucas van Leiden

No. 9 AUarpieee in three oompartments : The Crueifixion in the centre ; The sacrifice of Isaac on one wing; The brazen serpent on the other wing.

10 AUarpieee in three parts: A deposition in the centre : 8. Cecilia and the mag- dalen on one wing; Gregory y bishop of Utrecht, and others, on the other wing.

17 AUarpieee in three oompartments: The Last Judgment On the enter side of the wings are Figures of 88, Peter and Paul,

There are no other works of importance in this mnsenm.

Aelst, W. yan Beerstraten, J. Berokheyden Bol, F. . . Both, Jan

THE MUSEUM AT ROTTERDAM.

Oatalogub of 1876.

Pictures last examined in 1877.

Dutch School.

No.

1 StiOAife.

9 Old siadhuis of Amsterdam, 11 Old exchange ai Amsterdam. 20, 1 !ZWporerat<«.— Dated 1652. 25 ItaUan landscape.

Digitized

byGoogk

BOTTERDAM: TSS MUSEUM.

291

Brackenborg, R. Ceulen, 0. yan . Ouyp, Albert

., j.a . . Deoker, 0. . . Deelen, D. -van . DelphioB, Jaoob . Eeokhout, G. yan den Everadyck, O, .

Fabritins, G. . . Flinok, G. . . Hackaert, J. . . Hals, Frans . . Heem, J. D. de . Heist) B. yan der Hobbema, M. Ealf, Willem Kessel, J. yan Koning, Ph. de . „ Salomon . Leeuw, P. yan der Maa8,N. .

Meer, J. yan der, of Haar- lem . . . Mieieyelt, M. yan Moreelse, P. . . Mytens, D. . . Nason, P. . . Netscher, G. . .

Poorter, Willem de Pynacker, A. Bembrandt . .

Bnyscb, Bachel Sandyoort . . Bteen, J., attrib. Temple, A. yan den

No.

329 Group of peaaanU, 3i PortraiL

40 Biverfcene^

41 Interior wUh a forge.

42 Tufo grey horses, 43, 4 Fruit.

45 Chme.

46 Poultry.

47 Study of a eou^s head, 37 Three children,

48 Landscape.

49 An inierior with figures.— Bs^ied 1636. 51 Pofiraa.— Dated 1612.

311 BoazandBulh.

60, 1, 2 Three portrait groups.— Dated 1616 to 1624.

65 PoHrait.

66 Tnw^S^rtirM.— Dated 1646. 75 Landscape.

77 FuOrlengih portrait. 80 Fruit, Ssc. 82, 3 Portraits. 87 Landscape. 97 Interior of a cottage. 100 A sluice at Amsterdam.

106 Landscape.

107 The yoW-wefSffc«r.— Dated 1654. 112 Landscape.

1 17 Family portraits. 119 Female portrait.

122 Landscape.— Jy^ied 1676.

128 A portrait.

140 Pomona and Vertumnus.

145 Group of regenU.—D&ted 1653.

147, 8 Portraits.

152 Family group.

154 A portrait.

173 Stimife,—J)&ied 1636.

176 Landscape.

181 Allegory — ^representing the Union of the

Proyinces. A 8ketch.^Dated 1640. 188 Flowers. 841, 2 Shepherds, 206, 7 Interiors. 213 Portraits.

V 2

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byGoogk

292

BOTTEBDAM: THE MUSEUM,

	No.
Velde, A. van de .
„ £. van de	217 Mem on honeback.
Verboom, A.	. 222 Landeeape.
Verkolye, J. . . .	. 224 The tportsman.
Vliet,H.van . . .	. 228 Church interior.
Waiaerts, A. . .	. 245 Biver §oene and figures.
Witte, Emantiel de .
Wyck,T	. 253 Interior,
Zanredam, P. . .	. . 822 ^ chweh.
Zorg, H. M. . . .	, , 324 View of the marlcet of Botterdam.

Other SchooU.

Ohampaigne, P. de . . . 309 Portraits,

Marcellia, 0 285 StaUife.

Murillo 272 Tujo hoy$ and a negro, — Small.

Digitized

byGoogk

AUGSBUBG: THE OALLEBY.

THE PICTUBE GALLERIES OF GERMANY,

THE OALLEBT OF PIOTUBES AT AUGSBUBG. Catalogub or 1869, by Pbov. Bxtd. Maboobaff.

AUdoifer, Albieoht

Amberger, OhriBtopher

at-

trib.

Barbary, Jacob de . . . - Bourguignon . . . . Brekelenkamp . . . . Braeghel, Jan, and Bubens Buigkmair, Hans . . .

Cianach, Lucas, elder

t» »♦ j>

»f »> f*

Pictures last examined in 1877.

No. . . 47-51. An important altarpieoe in five panels, of wbich the centre is a Cruet' flxion. The side panels represent each one of the thieves ; the outside panels the Annunciations Painted in 1517. 59 Adoration of the kings, ,696 So-called PortraU of Eenry VIII. of England, — This fine portrait is now be- lieved to be the work of Barth. Beham, and to represent the Elector Otto Hein- rioh of Bavaria. — ^Painted in 1535. 882 StiU'life.— Dated 1504. 813, 14 Two hatOe-pieoes, 534 The oo2»per-«nitU.— Dated 1654. 119 Landscape and figures, 6, 7, 8 An altarpiece. yln the centre Christ and Virgin toith angels and saints. On the side-wings patriarchs, prophets, and saints. Painted in 1507. Inferior to his later works. 19, 20, 1, 2 Four compartments for two of the Seven Churches of Bome, painted for a chapel in the convent. 24 Three panels for another of the Seven

Ohuiches. And other works. 18 The host of Pharaoh in the Bed 8ea.^

Dated 1580. 15 Sacrifice o/ Jtaoc.— Dated 1530. 692 Eoee Htmo,

Digitized

byGoogk

2SH BASLE: THE OALLEST.

No. Dyok, Anton van . . 101 Study of a man on honebcuik.

„ „ ... 118 PorkuU of the marine-painter Aertveli.

„ ^ ... 147 The four repentant 9inner$ before Christ.

Fyt, Jan 612 Dead birds.

Goyen, Van 569 Landscape,

M „ 585, 6 Landscapes.

Hobbema 601 Landscape,

Hdbein, Hans, elder « . 25, 6, 7 Three oompartments for one of the

Seven Chnrches of Rome, painted for a chapel in the convent. „ ^ ,, . . 84, ^, 6 A large aUarpiece in three parts.

„ ,, ,. • . 683, 4, 5 T^ Cruoifixion, The Descent. The

Entombment „ „ younger 672 Portrait of a tcoman. — ^Very small.

f673, 4, 5, 6 3^ Madonna and S. Anna. 8. Ulrieh and S. Wolfgang. Martyrdom of S. Peter. Beheadal of S. Catharine.— Painted in 1512. Attributed with hesi- tation in the catalogue to the youuger Holbein, these are still regarded by some as the work of the elder. Kneller, Sir Godfrey . . 169 Queen Henrietta Maria.— After Van Dyok.

Lastman, P 143 Ulysses and ^atMttcoa.— Dated 1619.

Moroni, G. a . . . . 274 Isabella of Portugal.

Os, Jan van 631 Flower-piece.

Piocaocini, CamiUo ... 237 Holy family.

Rembrandt 547 2%e .B««ttrr«rft(m.— Dated 1647.

Bibera 372 /S^. StSbaslian.

Schalken, G. 103 Mocking of Christ.

Steen, Jan 120 The viOage poet.

Tintoretto 265 Christ with Martha and Mary.

Vinci, L. da, attrib. . . 2SS Head of a girl. Wohlgemuth .... 42 The Besurredion. 99 .... 43 The Crucifixion.

Zeitblom,B. 79-S2 The history of S. Valentin.

Zurbaran 296 iSf. Francis.

?» ,t 1, at- trib

THE GALLERY OF PICTURES AT BASLE.

Oatalooub of 1876.

Pictures last examined in 1877.

Although Basle is in Switzerland, the collection of pictures contains little of value besides works of early German masters, and of these but few worth noting besides those of Hans Holbein, the younger, together with a few by the

Digitized

byGoogk

BASLE: TEE GALLERY.

295

elder. Henoe its most appropriate place seems to be that following the Gkdlery of Ansburg.

Among the early German masters may be named the following : three by N. M. Deutsch, Nos. 42, 3, 4; two by J. B. Grien, Nos. 75, 6; a head by Martin Schonganer, No. 65, among many others which are apocryphal ; a fine ' Coronation of the Virgin/ No. 104, by an unknown master, dated 1457 ; two fdll-length portraits by T. Stimmer ; and a fine half-length by Aldegrever, No. 148. There are i\ao a few inferior e^Amples of the Dutch school among numerous modem pictures.

No.

Holbein, Ambroise (brother

of Hans, the younger) *

Holbein, Hans, elder • .

„ „ younger .

38, 9, 40 Examples. 1 TU death of the Virgin. 2, 3, 4, 5, 6 may be early works, or executed

partly by the fisither or by the brother,

Ambroise. 7, 8 Tujo aehoolrngns. Rude and early. 9, 10 Tvjo heads of saints,

11 Adam and Eve, — On paper, dated 1517.

12 Fortrait of Georg Schioeiger,

13 Portrait of Amerbach, Painted 1519.

14 Portraits of the burgomcuter Meyer and his wife,

16 Portrait of Erasmus writing.

19 A dead Christ— D^ied 1521.

20 The wife and ttoo {Mdren of Holbein, Painted on paper.

21 Last Supper. Much injured, repainted, and a portion lost.

22 Lais Omn^ioea.— Painted 1526.

23 Portrait of the same as Venus. 24, 25 A diptych in grisaitle, 26 The Passion. An altarpiece in eight com- partments.

27-33 Fragments of frescoes from the Town HdU.

34 Portrait of Frdbenius, the prirUer,

35 Portrait of a London merchant.

There is a tolerable copy of Hans Holbein's famous ' Meyer Madonna* at Darmstadt, by GrUder, No. 41.

Digitized

byGoogk

BEBLIN: TSJS MUSMTM.

OYAL PIOTUBE GALLEBY AT BEBLIN. Gatalooub or 1878.

Ticturei last examined in 1877.

No.

975 StiOrlife.

556a Portmte.— Dated 1551.

638, 638a Two eanall worka.

566 Torlrait of CharUi 7.

583 Portrait of Sebastian Muntier.

60 Madonna, 8 Bead of 8. Sebastian,

13 Madonna,

18 Small portrait.— Dated U78. 934b FUyuoeri and stOlAife, 603a Altarpieee, 1122 Asswnption of the Virgin, 249 Assumption of the Virgin, — Probably

assisted by Albertmelli. 814 The good Samaritan, 815, 18 Male portraits, 824 Crucifixion. 871, 2, 4 Chnre subjects, 4 Dea4 Christ %oith Virgin and 8, John.

11 MadonTia,

28 Dead Christ and two angels, — In the style of Mantegna. 508 Ducal Palace, Venice, 207 8. Barbara, — ^And others. 887 Shepherds and flocks, 896 Italian landscape, 245 Male portrait,

48 The Besurrection.' 809 Female portrait.— D&ted 1642. 200 The woman taken in adultery. 169 Men playing chess, 177 Madonna and saints. 191 An altarpieee. 198 Portrait of a lady in a hat.

51 Madonna,

52 Madonna enthroned and saints, 868 Landscape,

^./o6anvon

BERLIN: THE MUSEVX,

297

Botticelli, S. .	No. . . . 102 Madonna and angels.
>» •	. . . 106 Madonna^ and two saints.
»» •	. . . 106a PwiraU of a tpoman.
>»	. . . 1124 ^en«M.— Study for the figure in the < Birth
	of Venus,' No. 39 in the Uflfizi, Florence.
w •	. . . 112S 8. Sebastian.
Boucher, F. . .	. . . 496a Vemts and Cupid.
Bouts, Dierick .	. . . 53S Elijah in the deseH.
»t »
Brekelenkamp .	. . , 796a The vegetahU seller.
Bill. Paul . .	. . . 714 Landscape.
Bronzmo, A.	. , . 388 Male portrait.
»	. . . 338a Portrait of Ugolino MarteUi. ' '
Brouwer, A. . .	. . . 853b Landscape.— And others.
Brueghel, Jan. .	, . 678 Venus and Fidcan.— Figures by H. van
	Balen.
»f »» • -"
» »» •	. . 688a a red vase with fimjo&rs.
>» »»	, . . 742 Landscape and birds.
„ Pieter, younger . 721 €hrUt on the road to Calvary.
Bruyn, Bart. . .	. . . 588 -4 \|)or<rat<.— Dated 1525.
Borgkmair, Hans	. . 584 Holy family.— Basted 1511.
Oalcar, Johan von	. . 19^ Male portrait— Da,ted 1535.
Canale, Ant. <Oanftletto) . 490, 3. 501, 3 Venetian scenes.
Cano, Alonso .	. . 414b S.Agnes.
Capelle, J. van de .	. . 875a a calm.
Garacci, Annibale ,	: . 370 Holy family.
i> »» '	. . 372 Landscape.
OaraYaggio(Amerighi). . 359 Christ and his disciples.
n >»	. . 305 8. Matthew and an angel
Caroto . . .	. . . 40 Madonna.
Carpaocip, V. . .	. . 14 Madonna and saints.
n "	. . 23 8. Peter and saints.
Garrefio, Juan de	. . 407 Poriraie.— Dated 1673.
Catena, V. . .	. . 32 Male poHrait.
Geiezo, Matteo . .	. . 408 Bepentant magdalen.
Ghristus, Petrus	. . 529a Annunciation and Adoration.
» 99	. . 529b Last judgment.
Clma da Conegliano	. . 2 Madonna enthroned yjith saints.
„ 9t	. . 7 Madonna and donator.
>* M	. . 15 Miracle of 8. Mark.
t* •>	. .' 11 Madmnu^^r-^^V^ic^ o^ ^o- ^^^ ^ P^
	National Gallery, and of No. 421 at
	Venice.
Claude Gel^ . .	. . 428 ul landscape.
Clouet, F., School of	. . 472, 5 Portraits.

Digitized

byGoogk

298

BERLIN: TEE UUSEVM.

Coello,A. S

Gologne,Wilhelm of, School

of

Cornelis van Haarlem . Correggio (Allegri) .

No.

Cosimoy Plero di

»» i>

Ooeta, Lorenzo

Coxie, Michael

» >» Cranach, Lucas, elder

„ ,, younger

Oredi, Lorenzo di

Cuyp,A.,

n J. a .

David, Gerhardt Deoner, B. . Dolci, Carlo .

D0B8i,D0fl80 .

Dow, G. . .

Duck, A. J. . Durer, A. attrib.

Dyck, Anton van

Eeckhout, G. van den . .

» w » •

„ „ School of

Everdingden, J. van . . Eyok, H. and J, van . .

406b FhiUp 11. of Spain. 1238 AUarpiece.

734 ^af^^e&a.— Dated 1617.

218 Leda and nympht.

216 A copy or replica of the lo at Yiennay No.

19 Boom YI. Ist floor. 107 Venus and deeping Mare. 204 A doration of the shepherds, 112 Presentation in the tempie.— Dated. 1502. 115 A Pictt.— Dated 1504.

524 Copy of Van Eyck's Adoration of the Lamb.

525 Another portion of the same. 590 A portrait. '

594, 1190 Venus and Cupid.— Aad others. 593 The fountain of youth. 100 Madonna in adoration* 103 Mary of Egypt. 861 8vmU landscape and cows. 861b River and cows. — Small. 743 ^noU fooman.— Dated 1624. 573 Crucifixion.

1014, 1014b 8maU poHraits. 423 8. John writing his Oospet. 264 The fathers of the church. 843 Repentant magdalen. 854 The larder. 864 Soldiers on forage.

7 A head.—Perh&pB by H. Baldung (Grun).

8 His own portrait.— A replica of the well- known original at Munich.

770 The mocldng of Christ. 778 A Pieth.

782 Portrait of Prince Thomas of Carigncm. 794 Descent of the Holy GhosL • School of 788 Portrait of Infanta Isabella of Spain.

„ 790 Children of Charles I. with do^f.— And

some small studies in brown. 820 Christ in the temple. 829 Mercury and Argus, 804 Jairus*s daughter. 852 Landscape. 512-17 Six panels belonging to the famoBS

altarpiece, the Adoration of the Lamb,

in S. Bavon, Ghent, as seen attached to

the wall.

Digitized

byGoogk

BERLIN: TBE MUSEUM.

299

No. Eyck, H. and J. van . . 518-23 The reverse sides, which maj be seen

by application to an attendant. M Jan van « . . . 528 A head of Christ.— Daiod. 1438. „ „ .... 525a Man with pinks. — ^Almost life-size.

,) „ attrib. . . 525b Madonna with a hedge of roses and a

fountain* Fiorenzo di Lorenzo * , 129 Madonna. Flinok, Govert . . ^ . 813a Female portrait

n „ .... 815 Abraham and Hangar.

Floris, Frans .... 698 Mars and Venus in the net of Vulcan. Forli, Melozzo da, attrib. . 54 Man kneeling before Wisdom. Franoia, Francesco ... 122 Madonna in ghry.—DBied 1502. n •, ... 125 HolyfamHyi.

n „ ... 127 88. Stephen and John Baptist.

Fyt, Jan 883a Dog and game.

n n ^ 967 Diana and dead game.

„ „ 989 The hunt.

GaddijTaddeo . . . . 1064, 79, 80, 1 /SmaZZ pancfo. Ghirlandajo, Dom. . . . 74, 5, 6 Portion of the altarpiece from the choir

of S. M. Novella, Florence; „ and Granacci . 88 Madonna and saints.

Giordano, Lnca .... 441 The judgment of Paris. — Similar to No.

294 in the Hermitage. Giorgione, attrib. . . . 152 Two portraits in one frame.

Giotto 1073, 4 SmaU panels.

Goyen J. van .... 865d Landscape. — ^Large. And others. Granacci, Francesco . . 97 Madonna and saints.

Greuze 494o A head.

Gmdo , 373 Madonna and two saints.

Haokaert 892 Landscape.— Figures by Van de Velde.

Hals, Frans 766, 7 i^moZZ j^or^raite.— Dated 1627.

„ „ 800,1 Male and female portraits,

„ „ 801a Boy with music.

„ „ . . . , . 801b Boy smoking and drinking.

„ „ 801o Woman vjith an owl. — ^HUle Bobbe, the

witch of Haarlem.

„ „ 801b Portrait of an old man.

„ „ 801» PoHrait—Bs^ied 1625.

„ „ 801o Nurse and child.

„ . „ 80lH Portrait.

„ „ younger . . . 905a StiU-Ufe.

Heem, 0. de 874a Fruit.

„ J. D. de . . . , 906 Fruit and flowers. Hecnnskerck, M. van . . 655 Mythological subject. — Dated 1561. Heerschop, H. .... 825 PoHrait of a JIfoor.— Dated 1659. Hobbona, M 886 SmaU landscape.

Digitized

byGoogk

300

BEBLIN: THE MUSEUM,

Holbein, Ham, younger

Hondecoeter • . Hooghe, Pieter de Hont, G. . .

Huysiim, J. van

» » Jardin, Earel du Keyaer, Theod. de

Eoning, Salomon

•> »t

Kolmbaoh, Hans von Lambert Lombard Lancret . . . Le Bmn, 0. . . Libri, Girolamo dai Lippi, Filippino

„ „ attrib.

„ Pilippo •

„ attrib. Lorenzetti, Ambrogio Lotto; Lorenzo .

Luoas van Leiden Maas, N. . , . Mabnse, J. ^Gossaert)

trib

Mainardi, S. . . . Mantegna, Andrea .

» »>

,, „ attrib.

Maratta, C. . . Master of the * Death of

Virgin' . . Matsys, Q. . .

at-^

the

Meer, Jan van der, of Delft

No.

586 Portrait of George Gyzen.-^D&ieA 1532.

586b Portrait of a young vMm. — Dated 1541.

586o Portrait of a young man^ — ^Dated 1533.

876a Pelican and poultry.

820b a Dutch interior,

807 Jacob hUseing Isaac,

824 The generotUy cf Seipio,

972a, B Fhiters. *.

998 Flower-piece.

848b a portrait.

750 Family group.

750b, 753b Idfe-^ze portraits.

750o TwomngeofanaUarpiece. — ^Donators.

821 PortraU.

826 0r<B9U8 and SdUm.

596a Adoration of the hinge, ^

653 Madonna,

473 Landscape andfigWres,

471 Family group, — ^Life-size.

30 Madonna enthroned with saints,

78 Male portrait,

82 Madonna.

96 Crucifixion,

69 Madonna in a wood.

58 Madonna. 284, 5 Small examples. 323 8S, Sebastian and Christopher,— D^ted

1531. 153, 182, .S20 PoHraiU, 584a S. Jerome, — Small. 819 A philosopher.— ^IMi^iaxid. 650 Madonna,

656a Woman weighing money, 640, 2, 6, 8, 61 Subjects nearly life-site, nude. .

86 Portrait,

27 Madonna.

29 Presentation in the temple.

9 Ahead. 426a Portrait,

578 Adoration and two saints, — A triptych.

561 ilfadonna.— Nearly life-size.

574b S. Jerome,

796o Cottage with trees and figures.

Digitized

byGoogk

BERLIN: THE MUSEUM. 301

No.

Meep, Jan van der, of Delft 912a A couHyard with a hoy blowing hubblei.

^ „ „ 912b Girl dressing before a glass,

Melzi, F. 222 Pomona and VertummM,

Memling, Hans .... 528b Madonna.

MetsUjG 192 A family group.

, 792a a cook.

792b Female portrait. — ^Life-size.

Mierevelt, School of . . . 14tS Female poHraiU

Mignard, P 465 Female portrait.

Mommers, H 845 Landscape and herds.

Montagna, Bartolommeo . 44 Madonna enthroned with saints.

Moretto 187 Adoration of the shepherds.

197 Madonna and 8. Elizabeth above, the

donaJUyrs bdow,

Moro, Antonio .... 585a Two heads. Moione, Francesco , . . 46 ^ Madonna.

Moroni 167 Portrait of a young man.

„ 193, 193a Portraits.

Murillo 410a Madonna.

414 8. Anthony and child.

Naaon,P 917 StiOrlife.

Neer, Van der . . . . 840 A eonjlagration.

. 840a a conflagration in Amsterdam.

. . . . 842a, b Moonlight scenes.

Ketscher, G 348 A cook in a kitchen.

Palamedes 15Sa A fite in a garden.

Palma Veoohio .... 174 Portrait.

.... 197a Portrait of one of his daughters.

Palmezzano ..... 1129 A good example.— Dated 1503. Patinir, Joachim de . . . 608 -4 Madonna in a landscape.

. . 620 8. Hubert in a landscape. Poncz, G. '. .... 582, 5, 7 PoHraits.

Penigmo 146 Madonna enthroned with saints.

Pe8ne,Antoine . . . . 494 2Vx) i>or«rattg.— Dated 1748.

Pieraon 948. 85a Still-life.

Pmtupicchio 142, 49 History of Tobias.

132 Adoration of the magi.

PiombiU.del * . . . 2BlAPieta. ^. ^ ,

. 259a Man toith red cross on hts breast.

I ',r atteib! . . 234 PortraU.— By Francia Bigio : C. and 0. PollajnolorPiero ... 7S An Annunciation.

Pordenone. School of . . 196 Woman taken in adtdtery.

Potter Paul . . • 372a The wood and hunters at the

Dated 1652.

„ Pieter ... • 921a Still-life.

Poii88in,N ^67 Infancy of Jupiter.

Digitized

byGoogk

802

BERLIN: THE MUSEUM,

Poii88m,N'

Procaooini, G. 0. . . Rafikellino del Garbo . .

»» i> • •

Bamenghi (H. Bagnaoa-

vallo)

Baphael Sanzio ....

„ „ attrib. Bavesteyn, Jan van . Bembiandt van Ryn

Bibera . .

„ attrib. .

Bing, L. Yan . Bomanino

Bosa, Salvator BoBselli, GoBimo

>» >»

Bubens, P. P.

Buyfioh, Baohel

No.

478a 8, Matthew in a landMope,

355 Jo8eph*$ dream,

90 Madonna and angeU,

98 Madonna enthroned and sainU,

238 Buhop, 8, Louie and Agne$.

141 The CoUmna Madonna,

145 A Madonna vnth 8. Joseph and a oardindl.

150 Adoration of the «ia^'.^In . tempera on

linen, much injured. Gonsidered as the work of Lo Spagna by G. and G. — The tapestries in the centre hall are after BaphaeFs designs in South KensingtoD.

247a Madonna^ the Baptist and another,— Painted 1505.

147 Madonna with 8, John.

757, 757a PoHraits.

802 SafMon and his faiher^in-law,

805, 6 Interiors,— Yerj small.— Dated 1645.

806a Landseapey BtUh and Boaz,

808, 10 His own portrait,

812 His wife iSb<X»a.— Dated 1643.

823 Bape of Proserpine, — Figures smalL

828a Portrait of a Bo&M.— Dated 1645.

403 8, Jerome,

405b 8. Sebastian.

416 Martyrdom of 8. Bartholomew, — ^A replica of No. 989 at Madrid.

708 Marriage at Cana — Details, of a kitchen,

151 Dead Christf women^ and apostHee. 155 Judith.

157 Madonna enthroned,

421 8ea dashing on a wHd coast

59 A Madonna in glory.

71 A dead Christ.

762 Coronaiion of the Virgin.

763 Head of a child,

779 Oroup of children with fruit,

780 Study for a Madonna and saints,

781 Helena Fourment cu 8. CedUa. 783 The raising of Lazarus,

785 Andromeda,

798f Male portrait — ^And sketches.

999 A flower-piece, — Numerous other flower- pieces by Segbers, Van Huysum, De Heem, and Quellinus.

Digitized

byGoogk

BERLIN: THE MUSEUM, 30«

No.

Bujsdael, Jacob . . • 885b Light and shade at tea,

y, 885o Haarlem in the distance,

jj 893 Cottage and trees,

„ 899o Bridge and trees.

„ 899d a wood,

Sacohi, Fr. 53 Orwipaion,

„ 116 8, Jerome,

Sallaert, Antonio 702 A view of Antwerp,

SaDtaCrooe 22 AdorcUion of the kings,

Santi, Giovanni .... 139 Madonna and saints,

Sarto, A. del 240 PoHrait of his wife,

„ „ 246 Madonna and saints.

Sassoferrato 458 Hoiy family,

Sayoldo, Girolamo , . . 307 Giri enveloped in a cloak,

Schalken, G 837 Boy fishing.

Signorelli, Lnca .... 79 Six saints.

„ ' ,,.... 79a Pan and Music

„ „ . , . . 79b Holy family, — C^rcolar.

Snydera 878 Fighting cocks.

„ 17^ Heads of dogs.

^ 774b Stm-life.

„ and Bnbens . . 774 A stag-hunt,

Steen, Jan 795 A garden scene,

jy 795b Quarrel ai play,

^ 795c Merry company,

Teniers, D., younger . . 853 The alchemist,

, , 856 The Iric-trac players.

, , S57 Portraits of himself and family,

, , 859 Temptation of S, Anthony,

. . 866b Music at a feast.

, , 866o A kermess, — ^And others.

Terbnrg, G. 791 2%e paternal counsel — ^Replica of No. 822

at Amsterdam.

n 791a, B SmaU portraits.

„ 791o 7^ constUtation.

„ 79lD Portrait.

^ 791b SmaUfuU'length portrait,

„ 791» The smoker,

„ 793 The smith's shop,

Thnlden, T. van ... 955 Tnumph of Galatea,

Tiepob, G. B 454, 9, b Three examples.

Tintoretto 300 A Madonna in glory and two aposOes,

„ 310 Luna and the Hours,

„ S16 S, Mark,—Daiied 1569. And a few por-

traits.

n . ^ . . . 160a Female portrait.

Digitized

byGoogk

804

BERLIN: THE MUSEUM,

Titian

„ Soiiool of

n »»

Tura, Cosimo

Yalkenborg, Martin van Velasquez, D.

Velde, A. van de

f> »>

Yenne, Ad. van de Verkolie,R. . . Veronese, School of

Verrocchio, Andrea Verspronck, Jan Victor, Jan , . Viti, Timoteo . Vivarini, Antonio

„ Bart. .

„ Lnigl . VUet, H. van . Vos, Gomelis de

n n

„ M. de, attiib.

„ Simon de .

Watteau, Ant. .

Weenix, Jan . . Werff, A. van der Weyden, Bogier van

der

Willaerts, Adam Witte, Eman. de Wouwerman, Ph. Zeitblom, Bart. .

No.

161 Portrait of Admiral Mauro*

168 His oum portrait, when old.

166 Hi8 daughter Lavinia, with fruit,

— Several portraits,

159, 60 Sketches of amorini,

170a, 17(te Two paraUes,—&meM studies.

Ill A Madonna and saints, with an elaborate

arcMtectural background. 781 The building of Baheh 413a Portrait of Alessandro del Borro, ^l^ Sister of PhUip IV, 884a Landscape, 922b Biver scene. 741a, b Summer and winter. 1012 The gift refused, 303, 4,; 9, 11 Fine decoraiive works from the

Fondaao, Venice,

— The panels on the ceiling of the room. 104a Madonna,

877a Female portrait, 826a Eli and Samuel. 120, 4 Two subjects.

5 Adoration of the kings. 1160 S. George and the dragon.—'DateA 1485, 38 Madonna enthroned with saints. 830a Church interior^

831 Portraits of a m4J.n and wife.

832 Portrait of his daughter. 709 Jonah cast to the whale. 704 Cupid chastised.

468, 70 Small examples. 474a The breakfast. . .

974a Dead hare and birds. 1001 A flower-piece. ,

— A few examples.

534a Triptych — Deposition, Nativity, and Be-

surrection, 534b Triptych— Life of S. John Baptist, 535 Triptych— The Nativity and the Epiphany

of the East and West, — Each centre and

wing has its subject complete and fall of

details. 711 Sea-shore,

904a Interior of a synagogue. 899 The riding school. — And others. 56lA, 561b S. Peter and S. Anne,

Digitized

byGoogk

BERLIN AND BBVN8WICK.

305

No. Zeitblom, Bart .... 606a AngeU toUh the head of 8. Veroniea,

Zurbaran 404a 8. Pedro Nolasco in hii oe«.— Dated

1629.

THE GALLEBY AT BBUNSWICK. Oatalooub op 1868, vbbt iiipebfbot.

Pictures last examined in 1877.

The gallery contains upwards of nine hundred pictures, of which the great majority consists of works possessing little interest or merit.

Adrian y. Utrecht Berohem, N. . . Bel, Fred. . . Brekelenkamp . Bronkborst, Jan Bmyn, B. Callot. . . . Ceulen, 0. van . Gomelis van Haarlem Gianach, L., elder

n »>

„ younger

Dietrich ....

Dow,G

Diirer, A., attrib. .

Dyck, A. van . .

»» >» • •

Eeckhout, G. van den

»♦ «

Fabritius, Bemhart .

Flinck, Govert . . Florentine, early school Carman, early school Giorgione, attrib. .

Hals, Frans . . Heem, J. D. de .

No.

864, 5 Fmit.

546 Pomona and Vertumnus. 141 Male portrait,

608 Old woman loith vegetables. — And others. 506, 7 Groups. 12, 13 Tm porfratte.— Dated 1539. 200 Plundering a hitchen. 149, 50, 1 Portraits. 440 The golden age. 848 Hercules and Omphale,— Bated 1537.

850 Adam and Eve.

851 John the Baptist preaehing. — ^A large por-

trait group, Melancbthon as the

Baptist. Dated 1549. 352 Herodias and the head of the Baptid. 401 Abraliamy 8ardh, and Hagar. 587 His oum portrait,

— Several examples, none genuine. 109 Male portrait.

473 Madonna.

155 Male portrait.

534 8olomon sacrificing to the gods,

532 Peter at Hie house of OnwZttw.— Dated

1653. 152 Female portrait.

— A few unimportant examples,

344 AUarpiece. — ^In three parts. And others. 225 Adam and Eve.—Bj Palma Vecchio: C.

andC. 119 Male portrait-— FxUl'length. 876 Fruit and crab.

Digitized

byGoogk

306

CA88EL: THE GALLEBY.

Heyden, J. van der . . Holbein^ yonnger

H „ attrib.

HoDdeooeter ....

Koning, 8

Lairesse, J. G. de . .

Largilli^e

Lievens

Meer, J. van der, p£ Delft

Metau, G. . . Mieris, W. van . Mignon, A. . . Moro, Antonio . Pencz, G. . . Pietio del Bomano Bavesteyn, J. van> Bembrandt . .

„ School of Beni, Guido, attrib. Bigand, H. . . Buysch, Bachel ^ Buysdael . . .

Schwarz, 0

Steen, Jan . .. „ „ attrib. Stevens . . . Teniers, younger Victors, Jan . .

No.

710- Landscape.

. 9 Maleporirait.r-JkAed 1533.

10 Male portf ait 882 Animals of the ark, 523 An old philosopher. 481 Achilles and the daughter of Lycomedes. 187 FuU-lengih portrait

515 Sacrifice of Isaac.

611 The coquette.— Known as the 'Girl with

the drinking-glass.' 590 A Dutch woman. 623 A cook with fish. 842 Flovoers. 118 Male portrait

15 Portrait of Erasmus.— Dated 1537. 2SGHolyfamay. 1-24 Family group. 130-. Family group. — ^Late work. 131 2 Two poHraits.— Dated 1631 and 1633.

133 Man in armour.— Dated 1658.

134 A warrior.

516 The Entombment.

518 Ncli me tangere.

519 A philosopher.

517 The Circumcision. 292 Procris and Cephales.

190 PortraU of Louis XIV.— And others.

887, 8 Flowers.

700 Landscape, — ^And others.

355 A man in a fur cap.

599 The signing of the marriage contract.

600 A party. — ^Not genuine. 420 Battle of the Amdlekites. 582 The alchemist

529 Esther and Haman,

THE GALLEBY AT OASSEL

Gatalooxtb of 1878.

Pictures last examined in 1873.

No.

Adriaenssen, A 608 Still-life.

Adrian van Utrecht . . 289 ^ kitchen.— D&ted 1629. Aelst, W. van . . . .504 Fruit-^Dated 1677.

Digitized

byGoogk

CA88EL: THE GALLEBT.

307

Aertsen, P. van Agricola, 0. L. Albin, Eleazar Apshoven, Th. AsselyB, J. . Backer, J. . Balen, H. van

10, Fr. . Jacopo

Bega,0.

BeUotti,B. . Berchem, N. Berckheyden, G. Biset, C. E. . Bourdon, S. . Bonrgoignon Breenberg, B.

Brouwer, A. Brueghel, J.

Gampbujsen, attrib Caraooi, Agostino ,, Annibale

Oaravaggio Gignani, 0.

Gima da Gonegliano Gologne School .

Gocques, Gonzales

»» »»

GomeliBsen van Oostzanen .

Granacb, L^ elder Grayer, G. de I)olci,Garlo . . Douven, J. F. van

No.

81 Vegetables and fr.uit^ 731,2 Landscapes, 914 Lazartu and the rich man, 411 Peasants dancing, 1021 Landscape. ,

383 Venus and Adonis, 121, 2 Diana and Acteon, >^

123 Herse and attendants, 106 Christ at Bethany, 63, 6 EnUmbments, 67 Male portrait,

462 Interior.

463 The cAemw<.— Dated 1661. 892, 3, 4 Views in Venice,

518 A forge,

583b Old gateway,

558 Almsgiving,

456,7 Interiors,

512, 13^ 14 Battle-pieces,

.493,5 Landscapes.

494 Camtllus and the schoolmasttr of Veil, — ^And

others. 380, 1 Peasants,

104 Winter landscape,

105 Sea-piece,

154, 5, 6 Landscapes,

233 Landscape,

120 Hagar and Ishmael,

125 Tobias.

126 Hercules,

148 9 A violin and a lute player.

543 Bacchus and Erigone.

544 Nero and the body of his mother,

545 AchiUes and Ulysses, . 327 Madonna.

49, 50 Male and female portraits. — Date 1525, 6.

458 Philosopher and his wife,

459 Family group.

58 Adoration of the magi.-^On the outer side

of the Tvings are saints by. L. Granaoh. 15 Male portrait, 230 Adoration of the shepherds, . 450 8, Cecilia, 685 ^a<^^&a.— Dated 1725. 789 Three Graces,

X 2

Digitized

byGoogk

CA88EL: THE GALLERY.

Dow.G. . DroBt. . DubbelB, J. Dubois, C. Dilrer, A. Djok, A. van

attrib. Philip yan

Elzheimer, A. Everdingen, A. van French School Fyt,J. . . Glauber (Polydor) Guido Rent Hackaert . Hals, Frans

Heem, J. D. de Heemskerck, M. van Heist, B. van der Hensch, W. de . Heyden, J. van der

Holstein, 0. . . Hondecoeter, G. M.

»> »

Honthorst, G. van Huysmans, 0. Janssens, A. Jardin, Elarel dn Jordaens, J.

Juncker, Justus

No.

430,1 Male and female portraits.

879 Ncli me tangere,

517 Calm at sea.

860 Wood and figures.

7 PoHrait of Elizabeth Ttfcfcer.— Dated 1499. 290 Portraits of Snyders and his wife.

291.4 Mah portraits, 293 FamUtf group.

295 Portraits of a man and his wife. 297 Lucas and Cornelius de Wad.

300 Portrait of an ecclesiastic.

301 Female portrait.^

304 An old wxwwan.— A fine work by Rubens.

764 Family group.

765 Repentant ma^dalen. 161 Elijah and Ohadiah.

1023 Landscape.

4, 16, 17, 18 Portraits. 532,3 AnimdU. 617 Jjandsfrape. — Examples,

862 Landscape and figures. 222 Laughing peasant.

224. 5 Portraits of a man and his wife. 226,7,8 Male portraits.

317, 18 Still-life.

48 Family group, 436 Male portrait— I)ei,tedUi2, 814 Landscape. 582 View in Brussels. 582a Landscape. 653 A bath-room, 221 Concert of Urds. 578 Cocks fighting, 579,80 Poultry. 258 Nymph and saJtyr. 678, 9 Landscapes. 196 Diana and nymphs. 565 Charlatans. 266 Pan and the peasant.

271 Education of Bacchus.

272 TJie bean-feast.

273 Merchant and a Moor.

819 A philosopher.

820 The artist teaching.— I)a,Ud 1752. And

others.

Digitized

byGoogk

CA88ELi TEE GALLERY.

809

Knnpfer, N. Laar, P. van Lairease, G. de

Looten, J. yan . Lya, J. (Pan) . Master of < Death

Viigia' . . MetBo, G. . .

of

the

MeuleD, A. F. yaa der MieriSy F. van, younger

„ Willem van Mignon, A. . . Molenaer, N. Moreelfi, J. . . . Moio» Antonio .

Moncheron, F. . Neefis, Pieter. . Neer, Art van der Netscher, G.

Nenchatel (Lncidel) Ostade, A. van .

» >» •

Palma Giovane .

»> » •

Parmegianino . Platzer, J. van .

tj n •

Poelembnrg, 0.

Poorter, W. de Potter, Paul .

PouBsin, Nicholas Bavesteyn^ J. van Bembrandt . .

No.

341 The seven toorki of mercy.

426 Fair.

602 Baeehandlian feast.

604 Male portraiL

568 Landscape and figures.

163 Drinking party.

6 Male portrait.

447 Giving alms.

448 Jjady playing on the zither. 560 Entry of Duke Alba to Brussels.

787 A baker.

788 Old tooman selling fruit. 706 A shop.

696, 7 FruiL

855 Landscape.

541, 2 5^TWt/e.— Dated 1675.

74, 7 Male portraits.

75, 6 Portraits of a man and his wife. — Dated

1559. 740, 1, 2, Landscapes. — Several cfiurch interiors. 874 A sunset.

586 Portrait of a ZcK^y.— Dated 1670.

587 Portrait of a young lady.

589 Portrait of a young 2a(2y.— Dated 1667.

591 Musicians.

592 Two ladies in masks.— DeMi 1668. 51 Male portrait

399 Peasants outside an tfin.— Dated 1676. 400, 1 Peasants drinking.

97, 101 Venus and Cupid.

98 Perseus and Andromeda.

60 Male portrait.

817 Bacchus and Ariadne.

818 Wedding feast. 237 Children dancing.

239 Madonna surrounded by a wreath. — ^And

others. 511 The CircumcisUm.

525 Landscape and cattle. — ^Dated 1648.

526 Landscape and cows. — Dated 1644.

527 Figures and ca<^.— Dated 1651. 280 Ba^ianaUan feast.

444, 5 Male and female portraits, 847 A young girl with a pink.

Digitized

byGoogk

810

CAB8EL: THE GALLERT.

No.

Bembruidt 348, 9 Male portraits.

„ 350 Portrait of an old man.— Dated 1656.

„ 351 Thepoet Jan XrttZ.-~Dated 1633.

„ 355,65 JfoZeiwrtratte.— Dated 1632.

„ 356 Portrait of his trt/c, Saskia.

„ 357 Jlfol€|>or<rat<.— Dated 1634.

„ 358 Portrait of Koppenoi,

„ 359 Nicolaus Bruynihk,

„ 360 His own portrait.

„ 364 Portrait of a man in WacA;.— Dated 1639.

„ ..... 366 ^t«)od-ct«tt«r>/am»7y.— Dated 1348.

„ 367 Jcuxb blessing Ephraim and Manassek. —

Dated 1656. 368, 72 Landscapes. 263 Mater <2o2oro8a.-- Dated 163a . 353,4 Landscapes. Boos, J. H. . . . . . 652 Angels appearing to the shepherds.— Aixd

many others. Kottenhammer, J. . . . — Several examples. .

BubenB 176 Flight into Egypt— DsAeA 1614.

„ 177 Jupiter and OoZisto.— Dated 1613.

„ 181 Drunken Silenus and faun.

, 183 Portrait of an oriental.

„ . 1%1 Holy family and saints.

188 An aUegory.

566 Landscape and Jtgures.^Daied 1647.

567 Bocky landscape. . 857 Wood with flocks. . .

Bibera (Spagnoletto) Boghman, B.

Bnysdael, Jacob

„ Salomon . .

Sassoferrato 344 Madonna,

8ohutz, G. G — Several^examples,

8ohalken, G 611 Female portrait. .

„ ..... 614, 15 Venus and Cupid.

Snyders, P 198 Game. in a kitchen.

8teen, Jan 576 T^ &ean-/ea8«.— Dated 1668.

Bteenwyok, H. van . , . — Several examples.

Temple, A. van den . . 460 Female portrait.

Teniers, D., elder . . . 216 Pecuants in a landscape. .

„ younger . . 404 A bath-room.

„ „ . . . 405 The dentist.

„ „ . . . 406, 7 Triumphal entries.

„ „ ... 408 Pilate and the Jews.

Terburg, G. 384 The lute-player.

„ 885 Lady and gentleman playing,

Tintoretto ..... 70 Male portrait.

Titian 25 Portrait of the Marquis del Vasto.

„ attrib. .... 23 Cleopatra.— Bj Geisare Veoelli : G. and C

Digitized

byGoogk

CAS8EL AND COLOGNE.

311

Tol,D. van . Trevisani, F.,

Unknown

Yelde, Ad. van de

ry n

Venne, A. van der Veronese, P.

Vliet, H. van Vols, Ad. de . Voa, C. de . Weenix, Jan Werff; A. van der

Witte, J. de

Wouwennan, Ph.

Wyck, Th. . Zeeman . . Zereso, Matteo Zoig, H. . .

No.

907 Girl with fowl

680 Triumph of Galatea.

683 Venus and naiads.

995 Male portrait. — Possibly by Antonio Moro.

593 Coast at Scheveningen.-^Bekted 1638.

594 Land8cape.--DB.ted 1662.

390 Sea-piece.— Bated 1653.

391 Coast scene. 245 Landscape.

88 Bdshazzar*8feast.

91 Female portrait. 858 Church interior. 607 Man smoking. 316 Male portrait, 625 Dead game, &c. 697 Flora. 699, 8 Genii.

723 Madonna and youthful Baptist. 12.4i Three maidens. 796, 7, 8, 9 T^ four seasons.— BeLted 175i-2

And others. 465 Starting for the hunt, 468 Sea-eoast. 474, 5 Bidets. 478 The corn-harvest. 452, 3, 4 Alchemists in their laboratories. 906 Large sea-piece. 562 John the Baptist. 507, 8 Dutch vegetable and fish markets.

THE MUSEUM WALLRA^-EICHARTZ AT COLOaNE. Catalogue of 1875. Pictures last examined in 1877. I 27*6 Cologne School.

No. Locliner, or Loethener,

8tephan 118 The Madonna of the rosary.

„ ..... 119 S. Ambrose and others.

„ 120 S. Mark and others. — ^A similar panel is

No. 705 in our National Grallery, and the centre portion is in the Darmstadt Gallery. „ attrib. ... 121 The Last Judgment. — A triptych.

Digitized

byGoogk

812

DARMSTADT: THE GALLEBT.

Meister Wilhelmyon Kela

Mastei of the 'Death the Virgin' . . .

of

Maater of th« Lyveraberg * Passion' . . . ^

No.

40 Madonna and ttoo aainU, — A triptych.

41 Christ on the eros$, Virgin, and eight apotUes,

207 Death tf the Virgin.— The Trork fiom which this unknown painter tAkes his title. On the wings are donators and patron-saints.

151 The Last Supper.

152 The Betrayal

153 Christ before PtUUe.

154 The Mocking of Christ.

155 Christ bearing the cross.

156 The Crucifixion.

157 The Descent and EntombmenL

158 The BesurrecUon. — The series from which this unknown

painter takes his title.

159 A Deposition.— Foiaied. 1480. 160,1 The wings. 199 Marriage of S, Catharine. — ^A triptych.

There are in a room below the ground floor remains of the frescoes origin- ally painted for the Bathhans by Wilhelm yon Koln.

There is a eollection of third-rate pictures on the first floor, chiefly Flemish and Dutch, among which may be noted the following :

Unknown Master

Fabritius, Earel Jordaens, Jacob . Moreelse,. Paul . Kuben% P. P. .

Titian, attrib.

Van Dyck, Anton

No.

654 a Male portrait. 633 Prometheus. 611, 12. 13 Portraits.

617 S, Francis receiving (he stignuxta.

618 Holy family.

810 A small copy of the great altarpiece of the Pesaro family in S. M. dtt Fran at Venice.

624 Male portrait

THE PICTUBB GALLERY AT DARMSTADT.

Catalogue of 1875.

Pictures last examined in 1877.

The chief source of interest in this Gallery, as in that of Cologne, is the collection of numerous excellent examples of early German masters, few of whom can be identified with certainty, although the dates of the works them-

Digitized

byGoogk

DARMSTADT: THE GALLERY.

313

selves are known. After the best of these have been noted, a few of the other pictures, chiefly Dutch and Flemish, which have any merit are named. The large remainder of nearly 700 pictures here will not repay the visitor's attention. *

No.

198 Female portrait

200 Christ on the cross,

167 AUarpiece with wings, — ^From the Church of Ort«iberg.

Bruyn, Bartholom&us . .

n In his manner . .

(Cologne, Ancient School of

Cologne, School of, under Flemish influence

Cranach, Lucas, elder

„ Johann Lucas

Holbein, Hans, younger .

Leiden, Lucas van . . .

Lochner, Stephan, or Loeth-

ener 168 Presentation in the

186 8. Bruno and his followers.

187 8. Bruno and his followers with the hermit. 244 Cardinal AWrecht von Brandenburg.

248 Female portrait

249 Madonna under an apple-tree. 251 Portrait of Frederick IIL of 8axony, 226 Portrait of a young man. 191 Madonna.

Memling, School of

Patinir, Joachim de . . Rhenish Middle School,

about year 1500 . . . Bhenish Middle School, with

the influence of the School

of Colmar 216 An altarpiece.

189 Madonna. — Closely approaching in quality to the master, and has been attributed to Gerhard Horembout.

193 Madonna in a landscape.

211-15 A fine altarpiece.

Bhenitih Lower School

Sdiongauer, Martin . .

« »> • •

Wilhelm von Koln . . . Wohlgemuth, M., School of

Zeitblom, Bart

Bellotti, Bernardo . . . Brueghel, Pieter, elder . . Canale, Antonio . . . Carraci, Annibale . . . Eeckhout, G. van den . . Gyssels, Pieter ....

Heda, W. 0 321 StiU-life.

Keyser, Thos. de . . . 356, 7 Portraits.

175 Christ on the cross.

182 Three panels in one frame.

185 Death of the Virgin.

196, 7 Female and male portraits.

209 Votive pictures. — ^And others.

217 TTie scourging of Christ

218 Dead Christ— And others. 160 Votive pictures in five parts, 229 Two wings of an altarpiece. 223 8. Lawrence, 631 Venetian scene. — ^And others. 271 Landscape. 619 Venetian scene, 541 Portrait of Domenichino. 386,7 Portraits. 390 Dead game.

Digitized

byGoogk

814 DARMSTADT AND DBESDEN,

No. Neer, A. yan der . . . 883 MooulighL Ostade, A. Tan .... 862 Peasanis dancing. Potter, P., attrib. ... 395 Interior of sioMe.

Bembrandt 347 Mocking of Christ,

„ ' 348 Female portrait. — A good copy.

Bubens, P. P 296 Diana and nymphs.

Santvort 350a Portrait of a girl,

Schalken, G. .... 424 Portrait of WiUiam UZ

Titian 520 Venus.

n attrib 519 Por<rot«.— Probably by Tintoretto.

THE BOYAL GALLEBY AT DBESDEN.

Catalogue of 1872.

Pictures last examined in 1877.

The 'following catalogae relates to the fine collection occupying the first floor of this gallery, and notes the numbers of the large series of views by Bernardo Bellotti, as well as the copies and other works by Dietrich which are placed on the ground floor. There also is a large series of works in pastel and a collection of miniatures.

Furthermore a large number of canvases is to be found on the upper story, very few of which are worth seeing, most being inferior copies wholly unworthy of Uie names attached to the frames.

No. Abate, Niccolb delP . . 169 Martyrdom of saints, Aelst. W. van ... . 1186 Fish, <ke.

Albani, F 494 Cupids dancing, <fec.

„ 495 Diana and nymphs,

„ 496 Galatea and cupids.

„ 497 Venus and Vulcan.

„ 500 Creation of Eve.

„ 602 Flight into Egypt

Antonello da Messina . . 2382 8. Sebastian.

Bagnacavallo (Bamenghi) . 84 Madonna in glory with saints.

Barocci, F. 85 Hagar in the desert.

N 87 Madonna and two saints.

Bassano, F 276 Christ cleansing the temple,

M 277 Adoration of the shepherds.

„ Leandro . . . 285 Male portrait

Battoni, P. G 129 Bepentant magdalen.

Bellini, Giovanni, attrib. . 210 Loredano, Doge of Venice.— By Catena : C.

andC.

Digitized

byGoogk

DRESDEN: THE GALLERY.

315

Bellini, Gioyanni, attrib, Bellotti, Bernardo

Berohem, N.

Beickheyden, J. Bigio, Francia Bol, Ferdinand

Bonoonsiglio . Bonifazio . .

n

Bordone, Paris Both, Jan Botticelli, Sandro BrU, Matthew n Paul . Bnieghel, Jan (Velours)

Brayn, B. . . Bnrgkmair, Hans Calvaert, D. . . Oano, Alonso Cantarini . . ' . Garacci, Aixnibale

Garavaggio (Amerighi)

Carducho, V. Catena, V. . . GaTazzola (Morando, Ceulen, 0. J. van Cignani, Carlo . Cima da Conegliano

»» »»

Cloaet, Fran9ois Coneggio . . .

No. . 2387 J3bty/anw7y.— By.PreTitale : C. and C. . 2325-42 Views of Dresden. . 2343-63 Views of Pirna. . 1404 Angels appearing to the shepherds. . 1405-7 Landscapes. — And- others. . 2366 Interior of cathedral at Haarlem. . 41 Bathsheha. . 1266 Repose in Egypt. . 1267 Jacoh*s dream.

. 1268 Joseph introduces his faiher to Pharaoh. . 212 Madonna and saints, . 261 Finding of Moses. . 262 MadonTia and saints. . 256 Diana and a nymph. . 1272 Landscape.

26a Miracle of S. Zenohius. . Ill, 8 Landscapes. . 784 Tobias and the angel. . 730, 5 Landscapes. • •

. 736 Carriages and horsemen at an inn. . 1^5 Landscape toith figures. . 156 Siege of a fortress. . 2363 Adoration of the magi.-— And many other

good examples. . 2418 Descent from (he cross. . 1739 Death of S. IZrstiZa.— Altarpiece.

69 Copy of Eaphaers S. Cecilia. . 631 ApostU S. Paul. . 525 Joseph and Potiphars wife. . 449 The Genius of glory. . 450 Assumption of the Virgih. . 451 Madonna enthrmed with saints. . 452 S. Roch distributing alms: . 175 S. Sebastian. . 176,7 Card-players. . 178 Fortune-telling. . 606 Three saints. . 211 Madonna with saints. . 2411 Female portrait. . 1212, 13 Portraits, . 528 Joseph and Potiphar's wife. . 215 Figure of Christ. . 216 Presentation of Mary in the temple. . 2^20 Female portrait.

. 151 The Madonna enthroned with four saints. . 152 Madonna in glory with tliree saints.

Digitized

byGoogk

816

DBESDJEN: THE GALLEBT.

Granaob, Luoas, elder

GrediyL. di

Ouyp, A.

Deoner, B. Dietrich, 0. Doloi, Carlo

Domenichino Doe8i,Do680 Dow.G. • Dughet, G. (Pousfiin)

Diirer, A.

No, Goireggio • . • . • 153 Repentant magdaUn,

„ Ib^ AdxmLtumcf the ihepherds,'' La Natter

» 155 Madonna enthroned with four sainU,

156 Correggio* 8 doctor,

— Numerous works are attributed to this master, many of which are very inferior, and need not be noted.

2385 Madonna in adoration,

2386 Madonna and saints, — And others. 2355 Hunting scene, 2427 PoHrait.

— Several portraits. 2257- 2309a Various examples.

61 Herodias with head of the Baptist.

62 8. CedUa playing upon an organ.

63 Our Saviour Ueseing the Elements, 482 ChaHty, 135 Fathers of the church,

1134-49 inclusive. Various examples. 656a JJandscape near Borne, 657-9 Landscapes, 1722a Christ on the cross, 1723 Christ hearing the cross, , 1725 Portrait of Bemhard de Kessen, , 1671,2 Genre, , 982 8, Jerome, . 985, 6 Charles J. and Henrietta Maria,

987 Group of their three children,

988 Portrait of a man in black, , 990 Portrait of the painter Martin Bychaert, , 991 PoHraU,

, 992 Portrait of a man in armour, , 994-8 Portraits,

, 1713 Triptych — Madonna with saints, , 2383 Madonna enthroned,

94 David and Goliath. — ^And others. . 1313a David and Uriah, , 1314, 16 PoHraits, , 530 Magdalen and looman. , 435 Apredella. , 436 Madonna and 8, John, , 437 Baptism of Christ, , 1032 Live game and stiU-life, , 1033 Dead game, , 2379 Dog, . 140 Mars, Venus, and Cupid,

Dusart, Gomelis . Dyck, Anton van

Eyck, Jan van • Fabriano, Gentile da Feti, Domenico . Flinck, Govert .

Franceschini, M. A. Francia, Francesco

Fyt, Jan

Garofalo (Tisio) .

Digitized

byGoogk

DRESDEN: TEE GALLERY.

317

Garofalo (Tisio)

Ghirlandajo, D. Giordano, Luoa

Giorgione, attrib,

Goyen, Jan van Giandi, Ercole

Grenze, J. B. Guercino . .

Hals, Frans

Heda, W. 0. . Heem, Jan Dayid de

>» >♦ »

„ Jan de

„ Comelifl de Heist, B. van der Heyden, J. van der Hobbema, M. Holbein, Hans, yonnger

Hondecoeter . . Hontboret, G. van Huysum, J. van Jordaens, Jacob

Joanes, Juan de Ealf, Willem

No.

141 Neptune and PdUas.

142 Marriage of BoAichut and Ariadne,

145 Madonna in adoraiion.

146 Madonna appearing to taints, 29 The Nativity,

568 Hercules and Omphale,

569 Perseus and the head of Medusa, 572 Lucretia and Tarquin,

575 The rejection of Hagar.

218 Ja^ioh saluting RoAihel, — Attributed to

Cariani : C. and 0.

219 Adoration of the shepherds,

220 Man and woman.

221 Supposed portrait of Aretino, 2389 Subject from * Orlando Furioso* 1131 Skaters on the ice, — ^And others.

148 Christ on the way to Calvary,

149 The Betrayal. T.Zll Family group,

506, 8 Venus finding the body of Adonis,

509 Cephale and the body of Procris,

510 Diana.

511 Semiramis.

512 The wounded Dorinda, 938-40 Portraits.

2368 Fish-sellers,

2425 Portrait,

2426 Still-life, 1156, 9, 61 StiO-life,

1164 Flowers in a vase,

1165 StiUrlife,

. 1166, 7 StiU'Ufe,

2430 Female portrait.

1512 View in a town. , 2375, 2435 Landscapes.

1809 Madonna and burgom>aster Meyer and

family.

1810 MorettJeweUer to Henry VIIL 1480, 1 Poultry,

1122 The dentist, 1704 Flowers:

954 Ariadne with fauns^ satyrs, dse, * 959 Presentation in the temple. , 961 Satyr and nymph, . 602 Death of the Virgin. 1454 StiU-life,

Digitized

byGoogk

818

DBESDEJST: THE GALLERY.

EaufmaiiD, Angelica

Lancret, Kioolas Lanfranco . . Lippi, Filippino Lorraine* Claude

Maas, N. . . Maratta, Garlo . Matsys, Quintin . Meer of Delfl, Jan y.

Memling, H. Metso, G.

Meulen, J. van der Mierevelt, P. Miens, Frans van

„ Willem van

Mignon, A.

Morales (El Diyino) Moreelse, P. . . Moretto (Bonvicino' Moro, Antonio . Moroni, G. B. . Murillo, Esteban

Neefs, Pieter Netscher, G.

Orley, B. van Ostade, A. van Padovanino, H Palma, Jacopo (Yecchio)

No. . 1978 A Sibyl. . 1979 A VettaX. , 1980 Ariadne abandoned hy Theseus,

696, 7, 8 Pastorcd dances. . 182 8. Peter repentant.

35 Madonna. , 654 Flight into Egypt. . 655 Landscape, &c . 2372 Two ujomen in a Tcitchen.

118 Madonna. — And others. . 1721 A banker and clients. . 1432 Group of four figures. — Life-size. . 1433 A young girl at an open toindow. . 2417 8. Christopher and Infant Christ. . 1305 Man and woman in an inn. . 1306 Man seUing a fowl. . 1308 Woman and game-dealer. . 1311 Woman reading. — And others- . 1044,5 Court of Louis XIV. . 1098, 9 Male and female portraits. . 1465-79. — Several good, especially Nos. 1471, 4,

5,6. . 1650-61.— Several good, especially Kos. 1650,

61. . 1492, 3, 6 Flowers and fruits. . 1497 Fruit and birds. . 1502 Game and fruit* . 1505 Dead game. — And others. . 601 Ecce Homo. . 2424 Male portrait.

254a Appearance of the Virgin. , 1085, 1085a Portraits. , 267 Male portrait. . 633 The apotheosis of 8. Bodrigue.

634 Madonna. , 1049 Interior of a church. . 1527 Lady and cavalier at a harpsichord, , 1529 Doctor and patient.

1530 Gentleman and lady with guitar,

1531 Portrait of Madame de Montespan.

1532 The same playing the harp.

1533 I^ady and dbg. 2421 Holy family.

1283, 7 Interiors with peasants. 340 Judith with the head of Holof ernes. 242 Holy family.

Digitized

byGoogk

DRESDEN: THE GALLEEY.

319

Palma, Jaoopo (Veochio)

Farmegianino

Pater. J. B. . . . Piombo, S. del . . Pordenone, Bernardino

G.A. . Pottenburg, 0. . . Potter, Paul . . .

Poussin, Nicolas Procacoini, CamiUo . G.C. .

Baphael Sanzio . . Bavest^yn, Jan yan» attrib. Bembrandt van Byn

Beni, Guido

Bibera (Lo Spagnoletto)

Rigaud, Hyaointhe Ring, P. do . . Bomano, Ginlio . Bosa, Salvator . BnbenSjP. P. .

No.

243 The three Ghraees^-r-Kis Qvm daughters*

244 Venus in a landscape.

245 Madonna and saints.

246 Madonna toith saints.

162 Madonna enthroned with saints.

164 Madonna ** deOa Rosa:"

699, 700 Dancers. 2390 Christ with the cross.

254 Portrait of a Venetian lady.

252 Lady in mourning. 2429 StilUlife.

1420 Fored and hunters. — ^An inferior repetition of No. 872a at Berlin. .

648 Venus and Cupid.

442 S. Roch healing the diseased.

443 Figures in a boat.

444 Holy family.

67 The ** Madonna di San Sisto.** 1106 Male portrait 1214 Bust of a young vjoman.

1216 Ganymede carried off by the eagle,

1217 Samson and others fegsting.

1219 Portrait of his wife.

1220 Manoe and his wife sacrificing, 1223, 8 Portraits of old men.

1225 Portrait of himself and wife. 1232 Landscape. 470 Venus and Cupid.

472 Ninus and Semiramis.

473 Madonna in adoration.

474 Christ crowned with thorns, 476 The risen Saviour and women.

478 Madonna enthroned with saints.

479 Christ crowned with thorns. — Oval. 608 S. Mary of Egypt and an angel, 610 An angel appearing to S. Francis. 612 Martyrdom of S. Lawrence,

613, 15 S. Paul the hermit.

618 Diogenes with his lantern.

619 Philosopher in meditation. — And others. 676 Augustus lU.^ King of Poland.

1170 Fruit, do.

82 Holy family, " delta Catina." 2413, 14 Landscapes. 825 Diana and her nymphs.

Digitized

by Google

820

DBE8DEN: THE GALLERY,

Bubens, P. P.

No. . 829 MyihologieaX gutted. . 880 8, Jerome.

. 881 Salome with head of the Baptist, . 832 Old tooman and hoys. . 834 Tigress and lion, , 835 8atyr$.

, 836 View of the Escurial, Spain, , 837 Boar-hunt. , 838 Judgment of Pam.— SmalL . 839 The garden of Lover , 840 Mereury and Argus, — Small. . 842 Study for the * Last Judgment: , 845 His two sons, Albert and Nicholas. , 846, 7 Female and male portraits, . 848 Portrait of a lady and her child, , 849 Portrait of a man, , 852, 3 Portraits of Helena Fourment, , 1436 Landscape, * The hunt' , 1437 Landscape, * Cemetery of the Jews^ . 1439, 2365 Land^apes. , 1443 Landscape, ' The monastery,* . 1447 Viefo of a castle, , 1016, 17 Peasants. , 1019 StiUMfe. , 214 Martyrdom of S. Lawrence,

43 Marriage of S. Catharine.

44 Sacrifice of Isaac— The original, or a fine

repetition : another is No. 387 at Madrid. . 113 Madonna with cherubs. — ^And others. . 1565, 6 Young girl with a light,

21 Holy family, , 1537 The interrupted lesson. , 1538, 9 Oenre, , 887, 9 Dead game, Ac, , 891 ^oar-^U7)t.— Figures by Bubens. . 892 Oame in a kitchen, — ^And others. . 1463 Marriage at Cana, , 1464 Woman feeding her child. , 2432 Abraham and Hagar, . 548 David and Bathsheba, , 549 David and Goliath, , 701 Christ in the house of Simon. . 907-913.— Various examples. . 915 Flemish kermess, , 919, 23 Peasants round a table, , 926 Peasants in a viUage inn.

Buysdael, Jacob

Byckaert, Dayid

*» t» •

Santa Croce, G. Sarto, Andrea del

Schalken, G. Signorelli, Luoa . Slingeland, Pieter van

»» w

Snyders, Frans .

Steen, Jan

Strozzi, B.

Subleyras, P. Teniers, D., elder

younger

Digitized

byGoogk

DBE8DEN: THE GALLERY.

321

Teniera, D., younger

Terburg, G.

Tiarini, Alessandro Tintoretto . .

Titian

Turchi, Alessandro Yaldes Leal, J. de Velasquez de Silva

„ „ attrib*

Yelde, Adrian yan d^

„ Willem yan de Vemet, 0. J. Veronese, Paolo

Vinci, Leonardo da Wattean, Antoine

No.

928 ThedlehemisL

929 Temptation of 8, AfUhony. 931 AviUagefHe,

934 A dentist,

1242 TfJDo soldiers. — ^An interior.

1243 Two female figures. — ^An interior.

1244 The lesson on the lute.

1245 A study for the* Paternal counsel* 489 Medor and Angelica,

287 Madonna enthroned with saints.

288 Two portraits.

289 Knight and two women.

290 The faUen angels,

293 The woman taken in adultery.

222 The tribute-money^' H Cristo deiOa moneta.*

223 Madonna vjith saints,

224 Holy family and donators,

225 Venus reclining with Cupid, and a young

man playing the lute.

226 Portrait of a young uioman,

227 A lady in hlaok.

228 PoHrait

229 A fair woman in white.

230 Lavinia, his daughter.

336 Venus and Adonis. — And others.

636 Miracle of a sainL

624 Portrait of a man in Hack, . 622, 3 Porfratte.— Probably copies. , 1521 A woman drifting,

1522 Landscape. . 1523 Buins. . 1524 Skating, . 1525 Landscape and etUtle, , 2434 Vessels on the sea. . 706 A conflagration, . 299 Adoration of the magi.

300 The marriage at Cana,

301 Madonna enthroned with saints,

302 Jesus on the way to Calvary. . 303 The centurion before Christ,

. 304 The finding of Moses. , 809 Jesus at Emmaus, . 314 Portrait of Daniel Barbaro. , 315 Presentation in the ten^le. — ^And dtliers. > 30 Madonna and 8, John. 687 View on a terrace with figures.

Y

Digitized

byGoogk

822

DRESDEN AND FJRANKFOBT.

Watteau, Antoine . Weenix,J. . . . Werfl^ Adrian van der

Weyden, Bogier Tan der,

attrib • • • Wonwerman, P.

Znrbaran, F.

No.

688 A file champHre, 1577, 9 Dead game, 1640 Magdalen. 1642 In/ant Jeeue and 8, John.

1645 Abraham and Hagar.

1646 A lady and gentleman playing chess.

1718 Chritt on the ero8$,

1825-89. Among these nnmerons works

following are the best : — 1339 Cavaliers at a forge. 1366 Departure for the hunt.

1356 Return from the hunt

1357 Horsemen at a vitlage inn, 1368 Hawking party.

1375 Cavalry skirmish, 627 A saint refusing the papal crown.

the

[ THE STiDEL PICTUBE GALLEBY AT FBANKFOBT. Catalogub 07 1873 Aia> a SuFFUEUEiarT of 1877. Pictures last examined in 1877.

Ambeiger, 0. • • • • Angelioo, Era, da Fiesole . Antonello da Messina . . Baldovinetti, Alessandro Bamaba da Modena . . Bega, Cornells ....

Bellini, Giovanni, School of

Berokheyden, G^rrit Bol, Ferdinand . Bottioelli, Sandro

Bronwer, Adrian

>» »

Bmyn, BertholomUns

n »>

Oanale, Antonio Oarpaocio, Vittore . Oeeaxe da Sesto . .

No.

84 Portrait of a young man. 7 Madonna enthroned wiOi angels.

16 Head of 8, Sebastian, 426 Madonna and saints in adoration. " 1 Madonnci. 227, 8 Interiors.

fl8 8, Jerome as a cardinal. — ^A good repetition of No. 694 in the National Gallery, London, also a school copy. 267 The stadhuis, Amsterdam,

150.1 Two portraits.

10 Large portrait in profUe.

11 Madonna with the Baptist. 233,4 Peasants,

234a a man tahing medicine.

101.2 Male portraits. 103 Female portrait.

33,5 Venetian scenes,

18a Madonna with 8. John.

36 8. Catharine.

Digitized

byGoogk

FRANKFORT: THE 8TADEL.

823

Cenlen, J. yan , Christus, Petrns Cima da Oonegliano Clonet, Francois Criyelli, Carlo . Ouyp, Albert . I>ow,G. . . . Durer, Albrecht

Dyok, Anton van Eeckhout, Gerb. van den Eveidingen, Aldert van Eyck, Jan yan . . Florentine School • Franda, Francesco . Garofalo (Tisio) • . German School, 16th

tmy .... Goyen, Jan yan . . Halfl^Frans . . .

No.

121 Portrait.

60 Madonna,

19 Madonna, 429 A 87naU portrait.

14,15 The Annuneiaiion, 166 PoHraitofahoy, 244a Candlelight scene,

86 Portrait of a girl,

87 Portrait of hi» father, 117 Portrait of a young man. 149 PortraU.

201 Landscape, 59 The Madonna, " del Luea:* 11a Portrait of a girl 41 Portrait of a young man. 43 Holy family.

Heem, Jan D. de Hobbema, Meindert. Holbem, Hans, elder

„ younger

Hondecoeter, Melchior Kalf. Willem . . . Kooing, Philip de . . Lippi, Fra Filippo . . Lochner, Stephan, attrib.

89-92 PortraiU, 173a a canal toOh loaU. 158,9 Portraits of a man and his tsife. 160 Female portrait. 270 Fruit-piece, 203, 203a Landscapes,

76-82 The history of the Passion.

83 PoHrait,

83a Portrate.— Probably early work.

276 Poultry,

277 8tiU-life, 155 Landwape,

8 A Crucifixion, 57, 58 Ttoo series of smaU works relating to the martyrdom of the twelve apostles, Lucas yan Leiden . . . 70a Christ on the cross. Macrino d*Alba .... 6 Three compartments in one frame. Mantegna, Andrea ... 13 8, Mark, Master of the ' Death of the

Virgin ' 99 Altarpiece icith icifigs,

Memling, Hans .... 63 Portrait, Millet, Fran9ois .... 55 Landscape.

Moretto 25, 6 Altarpieees.

Moroni, G. B 27 Portrait.

Neefs,Pieter 262,3 Church interiors,

Netscher, Caspar ... 236 Portrait,

Pemgino, P 39 Madonna with 8, John,

Piombo, Sebast. del . . 22 Female portrait

Bembiandt 144 A smaU 8eripture subject,

Y 2

Digitized

byGoogk

324 MUNICH: THE PINACOTHEK.

No.

Bibera, J 52 Susannah and the elders,

BnboDS, P. P 112 King David and the harp.

„ .... 113a Diogenes. — ^A sketch.

„ .... 115 Portrait of a child.

Bnysoh, B 273 A flttwer-piece,

Bnysdael, Jacob .... 191 A landscape.

Saasoferrato 45 Virgin praying,

Schalken, G 246 Candlelight subject.

Slingeland, P. van . . . 168 Interior of a slaughter -house.

Snyden, F 127 Fight of animals.

Steen, Jan 231 Man and woman joking.

n „ 232 An alchemist.

Stuerboadt, D., or Boats . 58a Augustus and the sibyl.

Teniers, Da?id, younger . 134 The smoker,

ft „ „ . 135 Landscape.

Terburg, G 235 Figure in an interior.

Tiepolo, G. B 32-4 group.

Titian, attrib 23 Portrait.

Velasquez, D 51 Portrait of Cardinal Borgia.

„ 51 A Portrait of the Infanta Maria Teresa.

Veronese, P 30 Mars and Venus.

Weenix, Jan 278 Dead game.

„ „ 279 Male portrait.

Weydeli, B. van der, elder , 61 Madonna and saints.

„ „ „ . 62 Three panels, fr<m the life of S. John

Baptist.— SmsM replicas of the larger work at Berlin, No. 534b. Weyden, B. van dtr,

* younger*^ 67-9 Three large panels. _",

„ „ ,, 70 The thief on the cross.

Wynants, Jan .... 198 Landscape.

THE BOYAL PINACOTHEK AT MUNICH. Catalogue of 1875.

Pictures last examined in 1877.

No.

Albani, F 1235 Venus and Adonis in a landscape.

Albertinelli, Mariotto . . 545 An Ajinunciation.

Altdorfer, Albrecht . . • 761 Alemndei^s victory over Daniw.— Dated

1629. Angelioo, Fra . . . . 1204, 5, 7, 8 PredeUa.

Digitized

byGoogk

MUNICH: THE PINACOTHEK.

325

Angelico, Fra, attrib. .	No. . 1203 The eternal in glory with angeU.—liiot
	genuine : C. and C.
Bartoli, Taddeo . . .	. 1143-4 tHptych—The Ascension.
Bassano, Jacopo . . .	. 1225 8. Jerome.
Barocoio, F	. 494 Saviour appearing to the magdalen. — ^Dated
	1590.
Bega,C. ....	. 950 Interior.
Beham, B	72 Woman brought to life in the presence of the
	true cross.
»» ....	. 98 The devotion of Marcus Curtius.
Bellini, Giovanni, attrib.	. 1196 His oum portrait.— 'Fiohahly by Gentile:
	0. and 0.
Bellotti, Bernardo . .	. 476 View of Munich.
Berchem, N. . . .	. 223, 8, 1023, 7, 30 Landscapes.
Bles, Hendrik de . .	. 683 Adoration of the magi.
Bol, F.	. 179 Sacrifice of Isaac.
Both, A. and Jan . .	. 173, 330, 479, 970 Italian landscapes.
BotticelU, S	. 555 The Entombment.
Bouts, Dierick . . .	. 636 Israelites gathering manna.
»> >» • • •	. 647 Meeting of Abraham and Melchisedek,
>» M • • •	. 650 The kiss of Judas.
Bril,Panl ....	805 Landscape.
Bionwer, A	. 273, 1107 Interiors.— And others.
Brueghel, Jan . . .	. — Several in Cabinets VIII. and IX.
„ Pieter . .	. 784 Preaching of John Baptist.
»> »> • • •	. 801 Village fair.
Bniyn, B	. 687,8 Wings of a triptych.
i»	. 704, 5, 6 Altarpiece.
Bnrgkmair, Hans . .	. 65 S. John on the Isle of Patmos.
>» » • •
Oanale, Antonio . .	. 1209, 10, 13, 14 Views of Venice.
Cano, Alonso . . .	. 353 Appearance of the Virgin to 8. Anthony.
Caraoci, Agostino . -	. 422 8. Francis receiving the stigmata.
„ Annibale . .	. 440 Susannah at the bath.
>» 99 • •	. 1252 A Pieth.
„ Ludovico . .	. 435 8. Francis,
Caravaggio ....	. 532 Christ crowned with thorns.
Cignani	. 1281 Magdalen.
Cima da Conegliano, School^ 1200 Madmna and «atnte.— Probably by Basaiti :
of	f 0. and C.
Claude Lorwdne . . .	. 391, 9, 407, 16, 32, 3 Landscapes.
CJoeUo, 0	. 379 Miracle of 8. Peter of Alcantara.
Cologne, Master of . .	. 630, 1, 2 ^ iHptych.
„ Wilhelm of .	. 607 8. Veronica.
„ School of . .	. 593-607 in cabinet I. illustrate the early masters
	of this school, between 1360 and 1460.

Digitized

byGoogk

326

MUNICH: THE PINACOTEEK.

	No.
Cologne, School of	. . . 609-26 in cabinet n. illastrate the early
	masters influenced by Flanders, between
	1460 and 1520. Among them is an altar-
	piece by the master of the LyTereberg
	PoMtbn Nob. 613-18.
Oittnach, Lnoaa, elde	r . . 56 Woman taken in aduUery,
>» t» M	. . 83 Xucfcfaa.— Dated 1524.
l> t* »>	. . 729 Adam and Eve,
»» »» >»	. . 733 Portraits of Luther and Melancfhon.
J» »» >»	. . 734 Madonna.
» »l »»	. . 736 Lot and hie daughters.
)» » »»	. . 749 !Z^ Crueifixion^A triptych.
„ manner	of . . 1282 Portrait.
Grayer, G. de . .	. . 314 Madonna enthroned with saints.
Ciedi, Lorenzo di	. . 553 il ^a<tt;%.-.Almost identical with No.
	1287 in the UflR7.i, Florence.
Cuyp, A. . . . .	. . 1004 Near a camp.
n ...	. . 1035 Fowh in a staUe.
Denner,R . .	. . 769, 79 Portraits.
IK)lci,0. . . .
>f ...	. . 471 Magdalen.
Dow.G	. . SQ4: His ovm poHrait.
>» . . . .	. . 869 Woman at her toilette.
»» • . . .	. . 876 7^ e^Waton.— And others.
Dughet, G. (Ponssin	) . . 1259 jLofKf«cap6.— And others.
Diirer, Albrecht .	. . 1 Portrait of Stephan Baumgartner.
>» »f • •	. , 2 The Nativity.
»» »»	. . 3 Lucas Baumgartner,
n »»	. . 71 88. John and Peter.
M »»	. . . 76 88. Paul and Mark.
»» »» •	. . 93 iacr6«<o.— Dated 1518.
»» »>	. . 712 Portrait of iTreK.— Dated 1499.
» »»	. . 716 His own jportrati.— Dated 1500.
» >»	. . 720 PoHrait of his father.— Da,idd 1497.
»> »»	. . 731 Portrait of Wohlgemuth.— Bsiied 1516.
»> »	. . 739 Portrait of a young man.— Dated 1500.
Dyck, Anton van	. . . 175 Holy family.
»» »	. . . 193 Portrait of Liberti, organist of Antwerp*
»» )»	. . . 198 8. 8ebastian,
»» »»	. . 203, 12 Pieths.
» >»	. . 206, 7 PortraiU,
»» f»	. . 209 Portrait of Charles MaUry.
»» >»	. . . 217 TwopoHraits.
»> >»
»♦ »»	. . . 333,4:5,7 Male portraits.
>» »»	. . . 927 Portrait of Maria de' Medici.

Digitized

byGoogk

MUNICH: THE PINACOTHEK.

327

Dyok, Anton van

Eeokhomt, G« yan den EngelbiecliBten . Eveidingen, Yan Eyck, Van, copy of Francis, P.

Fyt, J.

Garo&lo

Ghirlandajoi D.

Giordano, Lnca . Gioigione, attrib.

attrib.

Giotto, attrib.

Goes, Hogo van der Goyen, Jan van Granaoci . . Griinewald . Gnido Beni . Haarlem, G^hard van Halfl, Frans . Heem, J. de . Heist, B. van der . Hobbema, M. . . Holbein, Hans, elder

„ younger, attrib, Hondeooeter, M.

Honthorst, G. . .

ft Hooghe, Pietor de .

No. . 928 Portrait of Alexander Scaglio, . 929 Count Jo7m of NoMau. . 930 Ofutavua Adolphus of Sweden. « 9^ The painter Paiamedes. . 940 Count of WdUUmtein. . 1308, 1414 Female portraits. . 926, 7, 34, 5, 6 8maU 8tudie8.^Aud others.

871 Christ among the doctors. 91 Crucifiixion. . 225 Landseape, . 56, 61 Queen of heaven and 8. John Baptist.

575 Madonna. . 577 Madonna in adoration. . 825 Game guarded hy dogs. . 389 Boar-hunL . 841 Game. . 1172 Madonna, . 1833 Piet^ . 556, 7, 8 An aUarpieee.—'Foimesij in S. M.

Novella, Florence. . 538 Ptettt.— By Filippino Lippi : 0. and 0.

442 Massacre of the innocents. . 569 Christ at the weU.

. 582 Portrait.—By Pahna Vecchio : 0. and 0. . 470 Woman with the mirror.^-Jn the spirit of

Pordenone : C. and CL . 1148 The Last Supper. . 1152 Christ on the cross. . 1420 Christ in Umbo. . 635 Annunciation. . 1378, 1417 Landscapes. . 533, 5, 6, 40 Four sainU.

69 S, Matthew. — And others. . 527 Assumption of the Virgin.

84, 5, 6 -4 triptych. . 311 Family, group. . 933, 1012 Flowers and fruit. . 1002,1287 Ttoo poHraits. . 1036 Landscape.

15, 16, 17 An aUarpiecc^And several others. 97 Male portrait. . 219,844 Pottiet^. . 1298 A park with poultry. . 310,342 Tvjo subjects. . 328,1301 Tujo subjects. . 1122 An interior.

Digitized

byGoogk

328

MUNICH: THE PINACOTHEK.

No.

242 Figurei in alanddoape,

181 Ttodfth day, a banquet.

324 Satyr and peasant,

384 Stai'life.

152 Her own 'portrait, 1010 An tn^arior.— Dated 1658. 40-6 Two saints,

392 Bepentant magdalen, — Said to be a por- trait of Madame la Y alli^.

743 An aUarpieoe.

554 Annunciation^ 1169 Madonna,

563 Christ appearing to the Virgin,

552 Marriage of 8. Catharine,

565 8, Ca{harine.SjAiidie& Solario: G.andC.

6I37I8 An aUarpieoe. 190, 1 Portraits. 99 8, Michael and a donor, 633 Jupiter and Danoa.— Dated 1527. 707 Madonna. 549 Madonna and saints. — By Bono of Ferrara :

0. and G. 1230 Bleeping child,

44 A version of the ^* Misers,'* 1150 His oum portrait. — ^Not genuine. 1164 Annunciation. — ^Probably an early Fib'ppo Lippi : G. and G. Master of *Death of the

Virgin' 660,2,3 An aUarpieoe,

. Matsys, Qnintin .... 80 The money-changers, Melem, EEans van . . . 668-74 An aUarpiece.

Memling, Hans .... 640 i9. John ^|>ti8<.— Painted in 1470 : C.

andO. „ „ . . . . 641 Adoration of the magi,

„ „ .... 642 iS?. Christopher,

„ „ . . . . 665 TJie seven joys of the Virgin. — Painted in

1480.

Mengs, A. E 153 His oum portrait,

Metsu, G 957 Kitchen interior.

„ 1121 The feast.

Mieris, Frans van, elder . 879 The sick woman, „ „ „ . 988 " La botU de Mieris:*

„ „ . 1014 Interior.

„ „ „ . 1015 Lady before (he glass.

„ . 1040 The breakfast.

Jardin, Earel dn . . . Jorda^is, Jacob ....

Kalf,Willem . . . . Kanfmann, Angelica . Keyser, Th.de . . . . Kolmbach, Hans (Wagner) Le Bran, G

Leiden, Lucas van . . .

Lippi, Filippo .... >» >i ....

„ Filippino . . .

Lotto, Lorenzo ....

Lnini, B., attrib. . . .

Lyversberg 'Passion,' Mas- ter of

Maas, Nicholas ....

Mabose, Jan G^saert . .

Mantegna, Andrea, attrib. .

Maratta, Oarlo ....

Marinas •

Masaocio, attrib. . . . Masolino, attrib. . . .

Digitized

byGoogk

MUNICH: THE PINACOTBEK. 329

No. Miens, Frans van, elder . 1068 A man seated. — ^And others.

Mignon, A. 108, 11 Still-life.

Monnoyer 1324 Flowers,

Moietto 152 PoHraiL

„ attrib. . . ... 121 1 Porirat^.— Dated 1523.

Moro, Antonio .... 1293 Male portrait

Moroni 452 Portrait,

MuriUo 348, 9, 57 Beggar-hoys,

„ 368 Afruitrgirl,

n * 371 8. Francis healing a paralysed man.

„ ...... 376 An old woman and hoy.

Neefe, Pieter .... 1065 Church interior.

Neer, Artns van der . . 1379 Moonlight. „ Eglonvander . . 1055 A lady fainting.

Netscher, G 777 A concert.

n 780 An interior. — ^And others.

Nenchatel, N 1424 Female portrait.

Ostadoy A. van .... 835, 78 Interiors.— And others.

„ Isaac van . . . 843 The skaters. Palma Vecchio .... 588 Madonna worshipped hy 8. Boch.

Palmezzano 541 Madonna hetween saints, — ^Dated 1513.

Pantoja della Omz . . . 370, 8 Two portraits. Paudiss, Oh.. . . . . 113 Wolf devouring a lamb,

Perugino 561 Madonna appearing to 8. Bernard.

„ . . . . . . 590 Madonna in adoration.

Piombo, Seb. del, attrib. . 579 Three saints.— ^oi genuine. PoUajuoli, The .... 1157, 62, 7 Three small works in tempera.

Pordenone, G. A., attrib. . 482 A concert. — Suggests Florigerio : C. and C.

Potter, Paul 1103 Landscape with cattle.

Poussin, N 408 Midas and Ba^hus,

417 Pieta.

Procaccini, G, 0. . . . 426 H6l/y family, y, ... 1237 Madonna,

Pulzone, S 1227 Female portrait.

JRaphael Sanzio . . . . 5S^ Holy family ^^ del Canigiani.** „ „ . . . . 541 Madonna **deUaTenda:'

„ „ . . . . 585 Portrait.

„ „ . . , , 1206 Madonna ** di Tempi.'*

„ „ attrib. . . 1173, 80, 5 PredeUa.—By Perugino ; C. and C.

„ in the manner of . 1189 McuUmna, Baveeteyn, Jan van . . . 182, 4 Two portraits.

Kembrandt 196 His own portrait

„ 323, 9 Portrait of Covert Flinck and his

wife.

337, 43 Portraits.

„ 847 The Ascermon.

Digitized

byGoogk

830

MUNICH: THE PINACOTHEK,

Bembiandt

Beni, Guido .

Bibera, Jos^ (Spagnoletto)

Babens, P. P.

Bnyscb, Baohel

»> »

» >»

Buysdael, Jacob

Sarto, Andrea del, attrib.

No.

848 The Nativity,

849 The Deposition.

850 Christ raised an {he cross.

851 The Besurrection.

852 7%0 .^ntom6mM»e. 860 Autumn landscape. 882 JisMM in the temple.

1299 ITo^ /am%.— Dated 1663. 527 Assumption.

354 Deo^jk o/ /^eneea.— Dated 1645. 863 Martyrdom of 8. Andrew, 381, 5^ 6 Saints.

244 Count Arundd and his Moife.

245 The Uon-huni.

246 88. Peter and Paul. 250 FaU of the condemned. 253 Porirait of PhiUp IV.

255 8avMon and DelUah.

256 Portrait of himself and his wife. 258 Xa«< /ud^nMia.

260, 79, 920 PoHraits of Helena FaurmenL

262 Crucifixion.

263 8evenoupids. 267, 8 Tito portraits.

269 MoMsaore of the innocents.

271 Mdeager and Atalanta.

281 Tnump^ o/ Beligion over Vice.

284 j4 landscape.

287 J2«5efM a7»<2 Helena JPourmeni.

288,9 Two smaU studies.

291 2%6 daughters of Leucippe.

889 8tudyfor the Last Judgment.

908 The resurrection of the just.

916, 22 Landscapes.

917 J5a/<fe o/eAe ^Twozona. 1303 ^Mitt and Jaoo&. 1307, 85 Two studies.

862 Flowers in a crystal vom, 1001 SUmife. 1016, 1117 Flowers, die.

322 Landscape. 1038, 45 Xan(2«ca2)6«. 1096 Ftn^ «eene.— And otbers.

576 Pu«< o/ iS. Joseph.

548 Holy family. —A copy of that in the Lonyw, not genuine : C. and 0.

Digitized

byGoogk

MUNICH: THE PINACOTHEK.

831

Sarto, Andrea del, attrib.

No.

Schafi&ier, Martin Schidone, B. . . Schonganer, Martin Schnhlein, Hans Snyders,Frans.-.

Sodoma, H (Bazzi) Steen, Jan . .

Teniers, David, younger

1174, 5, 81, 6 Studies for the Scalzo fresooeB at Florence, — Authorship doubtful; 0. andO. 7, 21, 5, 36 Folding doors of an organ, 1219 Magdalen. 738 His ovm portrait, 11, 13 Farts of an aUarpieee, 205 StiU-Ufe,

297 Two lionesses pursuing a hid. 305 A lioness and a wild hoar. 317 A hoar-hwnt 1194 Holy family. 842 A quarrel. 855 The doctor's visit 299 Italian fair. »» „ „ 840 Peasants playing cards.

n » » . 844 Players and drinkers in an inn.

n „ „ .1125 Players and drinkers in an inn. — And

others.

Terburg, G 24S Interior of a peasants room.

„ 1029 Bay and dog.

1062 Interior. 433 A mythological subject. 1397 Adoration of the magi. 1223 PoHrait of Vesalius.

Titian 467 Male portrait.

„ ^96 Portrait of Charles V.—TMedlS^S.

„ 624 Venus and a ftacc^nfe.— Painted subse- quently to Titian's time : 0. and 0.

„ 587 Holy /aw%.— Painted between 1520-5 :

0. and 0.

„ 591 Madonna. — Late work.

„ 1238 Jupiter and Antiope.

„ 1329 The crouming with thorns.

„ attrib 489 A portrait.— Bj Tintoretto: C. and 0.

Valentin, M 406 Queen Artemisia and the hasket^aker.

„ 1399 Soldiers gambling.

Veen, Otho van .... 827-32 The triumph of the church, Velasquez ... . . . 366 His own portrait.

„ 366a A portraU,

„ 367 Portrait of Card. Rospigliosi.

„ ...... 1311 An infanta of Spain.

„ 1414a The Duke of Olivares.

Velde, A. van de . . . 194 Landscape and cattle,

Vemet, 0. J — Several examples.

Veronese, P 495 Bepose in Egypt^

Tiarini, Alessandro . Tiepolo, J. B. . . Tintoretto (Bobusti)

Digitized

byGoogk

332

MUNICH AND NURNBERG.

Yeronefle, P.

Yinoi, Leonardo da,

of ... . Yo«, Cornelis de . Waterloo, Ant. . Wattean, Antoine Weenix, Jan

Werff, Ad. van der Weyden, Bogier van der

Wohlgemuth, Michael

School

Wonwerman, P. »

»» •

Wynants, Jan .

»» »

M »>

Zeitblom, Bart. .

>» ♦»

Zurbaran, Francisco

No. 1224 Adoration of the magi. 1332 The centurion of Capernaum.

1335 Madonna.

231 A family group.

210,1375 Landscapes. 1812 Ladies and gentlemen in a park.

227, 34, 320 Dead game.

235 A hoar-hunt.

326 A dog overthrows a cage of pigeons.

332 Dead game and poultry,

340 Dead game and dogs. 1070-99, filling Cabinet XVI. .

627 The AnnunciatioT^.

628 Adoration of the magi.

629 Presentation in the temple. 634 8. Luke painting the Virgin.

22 Christ in the garden \

27 The Crucifixion. I

Z^ Descent from the cross. I 39 The Resurrection. J

82 TJie marriage of 8. Catharine. 1415 The tfoelve apostles departing, 1423 A crucifixion. 208 The stag-hunt. 989 Cavaliers in a stable. 998 The waiering place. 1011 ^ camp. — ^And others. 309 Landscape, morning. 319 Landscape, evening. 1118 Landscape. 714, 18 Two saints. 1373, 4 Two saints. — ^And others. 351 Return of the Virgin and 8. John from the

tomb. 373 A saint in meditalion.

An aUar- piece.

Parts of an aUarpiece. — Dated 1465.

THE GERMAN MUSEUM, NtJRNBEBG. Pictures last examined in 1877.

In the German Museum, Ntimberg, are numerous pictures, chiefly of the early G^erman schools, which are referred to in the general catalogue of the museum; the majority, however, are by unknown masters, and such art as they exhibit is of a rude kind. A few pictures are choice, and will be named with their numbers from the catalogue (date 1877). Very recently the

Digitized

byGoogk

NUMNBEBG: THE GALLERY.

as3

pictures formerly in the Rathhans have been remoyed to the museum ; but they are not yet catalogued, and have no numbers. At the end of the gallery are No. . . 1348 The portrait of Hieronymus Hohtchuher, — Dated 1526.

>, „ attrib. . 1851 A fine male head, n it 9i . 1349 A Hercules with how. — ^Muoh injured. Penez, G 1352, 3 Two poHraits.

Durer, Albrecht.

In the same gallery are a few heads, by Lucas Cranaoh, Nos. 1326-9, and some fair examples of the school of Wohlgemuth, Nos. 1343-7.

In another room, among the pictures from the Rathhaus, are two portraits, larger than life-size, of the Emperors Charlemagne and Sigismund, by Albrecht Diirer ; a fine Madonna, by Burgkmair, dated 1509 ; an Interior, by Pieter de Hooghe ; a Portrait of Erasmus, by G. Pencz ; a Head of a youths by Rembrandt ; several good portraits by Kupetzky ; among many others of less interest

THE ROYAL GALLERY IN THE MORITZ-KAPELLB, NCRNBERG.

Catalogue without Date.

Pictures last examined in 1877.

No.

4b Early German School

4o Wohlgemuth' . .

6 Israel van Meokenen 12 Albrecht Altdorfer . 12o Mabuse, attrib.

15 „ school of .

16 Engelbrechsten, C. . 19 J. H. de Bles . .

21 Martin yan Heeojskerc; 21b Cranach . . .

22 Jan van Eyck, attrib. 22b Lucas van Leiden .

23 Hans Memling . . 25 J. H. de Bles . . 27 Martin van Heeniskerck 83 „ „

35 Quintin Mateys, Httrib.

36 M. van Heemskerck 38 A. Altdorfer . . . 40b Holbein, elder, attrib. 44 Hans Burgkmair

S.HuheH,

8. Bridget.

Death of (he Virgin.

Martyrdom ofS. Stephen.

Allegory of life and death, — A diptych.

Presentation in the temple.

Descent from the cross.

A hinges retinue.

A votive altarpiecd.

Portrait of LiUher^

Male portrait,

A portrait.

The Besurrection.

A hing*s retinue.

A votive altarpiece.

Christ and the cross.

Crucifixion.

Crowning with thorns.

StepJien before the high-priest.

Madonna.

S, Christopher and Infant Christ.

Digitized

byGoogk

834

NUSNBEBG: THE OALLEBY,

ISO.

45, 53, 74, 80 Wohlgemuth

49, 50 Holbein, elder

52 Martin Sobaffiier 52b, 52o Holbein, younger 52o A. Altdorfer . . 55, 6 Holbein, elder . 57, 71 Hans Eulmbach (Wagner) . .

58 Zeitblom . . .

64 A. Diirer . . .

65 Zeitblom . . .

66 M. Schongauer or Sohon 69 L. Oranaoh . .

71b Borgkmair . 73 Oranach . . .

74b Wohlgemuth 76 G. Pencz . . .

77, 83 H. Sohaufelin

78, 9 M. Ostendorfer 89 Holbein, younger 98 G. Amberger. .

102 A. Dtirer . . . 107 Granaoh, younger 111 M. Schongauer . 114 A. Altdorfer . .

117 Granaoh, elder .

118 Hans Schopfer . 124 Baldung Grun . 124a Numberg painter 124jB Holbein . . . 129, 31 Granaoh, elder

134d School of Holbein .

SainU.

Martyrdom of 9ainU.

Adoration of the hinga,

Porlraits,

Orucifixioru

PortraiU.

SadnU,

8. Margaret.

Descent from the cross,

8. Ursula.

Joachim aud Anna teaching the Virgin.

Portrait.

8. 8eba8tian.

The womctn taJeen in aduUery. — ^An altered replica of No. 56 at Munich.

Crucifixion, •

Saint.

TtDo altarpieoes.

Martyrdom of ttoo saints.

Portrait of Calvin.

Martyrdom of 8. Sebastian. — ^Another sub- ject on the other side.

Eece Homo,

David in the desert.

Saints and ehUdren.

8. Jerome.

An old man and a girl.

Portrait.

Madonna.

Portrait,

Portrait of LiUher^s wife.

Two Depositions. — Chranach has painted himself as Joseph of Arimathea, and Luther as Nicodemus.

Portrait.

133, 5 Unknown DonatorSy father and son, mother and

daughters. 138 Burgkmair Marriage of the Virgin.

Digitized

byGoogk

Beham, Barth. . . Granach, Lncas, elder Vos, 0. von Ulm Zeitblom, Barth.

8TUTTQABT: THE GALLERY, 835

THE ROYAL GALLERY OF PICTURES AT STUTTGART.

Oatalooue of 1876.

Pictures last examined in 1877.

The chief object of a visit to this gallery is to attain a knowledge of the works of Bartholomans Zeitblom, the most distinguished master at Ulm of the Swabian school, as well as of some by his followers. A few other pictures will be mentioned among the 700 canvases, most of them without any merit, which form this collection.

Boom in. No.

485 8, Benedict in a landscape, 368, 457 Female and male portraits, 430-2 Sacred subjects, 411, 12, 29 John Baptist and dthers, 421-7 An altarpiece, of which the principal subject is the Visitation, dated 1496. The other subject is the Miracle of 8, Valentine, The remaining panels are saints. „ „ ... 42% 4:0, 3, 4:, 6 Figures of sainU,

„ „ ... 452 Birth of Christ,

In this room there are several good works by unknown masters of the Swabian schooL

Boom n, — BaXian Sdtool. No. Bellini, Giovanni, attrib. . 4 Dead Christ,

Titian, attrib 5 Bepentant ma^dalen. — ^A good school copy

of the Naples original.

Cabinet V. No. Does, J. van der ... 272 Sheep and dog.

Boom H, — Netherlandish School,

No.

Hobbema,M 362 Landscape,

Hondecoeter, M. . . . 259, 64 Fowls, Ac,

Murillo, attrib 316 Boy*s portrait.

Keer, A. van der . . . 334 Lar^dsoape.

Rubens, P. P. .... 262 Weeping magdalen.

Corridor, No. Netscher, G 561-73 Portraits.

Digitized

byGoogk

336 VIENNA: THE GALLERY.

THE GALLERY IN THE ROYAL ACADEMY OP ARTS

AT VIENNA.

Picturei last examined in 1879.

This collection contains a large namber of pictures of very inferior quality: all are at present without numbers, a new catalogue being in preparation. The w<»ks most worthy of notice are the following : —

Aelst, W. van .... Three studies of sUUrlife.

Bassano, J Moses striking ihe rock.

Bonifazio Two studies of saints.

Gamietto, Ant .... Single figure.

Cima da Conegliano 8. Mark and two saints.

Cranaoh, L. elder . . Female portrait — ^And others.

„ younger Deffelopment of childhood.

M „ . . Mode portrait.

Dyck, A. Tan .... FuU-length portrait.

Francia, F Madonna and saints.

Guaidi, F Several studies.

Heem,J.D. de .... StUl-life,

Heyde, J. van der . . . StUl-life.

Hondecoeter, M. . . . Fight between turkey and coclc.

M ... Hawk in a poultry yard. — ^And others.

Huysum, J. van . . . Flowers.

Jordaens, J Paul and Barnabas.

Meer, J. van, der, of Delft,^ Courtyard with ^ttre*.— Certainly not by J. van

attrib. . . . . / der Meer ; probably by Fieter de Hboghe.

Murillo Beggar-hoys.

Padovanino Venus reclining.

Rembrandt, attrib. . . . Female portrait.

Rubens Tigrees and cubs.

„ Several sketches.

Ruysch,R Two flower-pieces.

Ruysdael, J Landscape.

Veronese, P Decorative canvas.

Weenix, J. Dead birds and landscape.

'Wouwerman, Ph. . . . Horsemen.

Besides these there are several Early Florentiue panels, some canvases of no great merit attributed to Tintoretto, and many small works by Teniers, Van Goyen, Van Everdingen, J. Le Ducq, Em. de Witte, Van Vliet and others.

Digitized

byGoogk

VIENNA: THE BELVEDERE.

337

THE BELVEDERE GALLEBT AT VIENNA.

CATALOom or 1878»

Pietwefi last examined in 1879.

First Flow,

BaUan £Miodls.r-Bo(m L No. Basaano, Jaoopo .... 9 Small composition.

„ „ .... 12 The good SamoHtan.

Farinato, P. 40 Pagan eacrifioe,

Palma Vecchio .... 10 A young hero.

Sduavone, Anidrea ... 47 Adoration of (he shepherds.

Tintoretto 22 PoHraiL

„ 44 Portrait,

„ 53 Christ with (he cross, — ^And some portraits.

Titian 6 AUegorical portraiture.

„ 48 Portrait of a Venetian lady.

Veronese, P 23 Annunciation.

„ 94 Judith.

„ 46 i8^. Jerome.

,t 50 The Virgin, 8, Catharine, and nuns,

n ..... 52 Christ in the house of Jairus.

ViTarini, Lnigi .... 86 Madonna and angels, — ^Dated 1489.

Basaiti, Maroo . Bellini, Giovanni

» »»

Boni&zio . .

*» • •

Bordone, P. . .

Gatena, V. . .

Giorgione . .

9, attiib.

Liotto, Lorenzo Ifoietto • . Palma Vecchio

Boom II,

62 Calling of James and JbT^n.— Dated 1515. 43 A FentM.— Painted in 1515. 68 Madonna and saints.

8 Madonna and saints.

56 Two saints.

15,66 Decorative panels. 33 Man in a hlack cap,

57 The three mathemaiicians, — Said to have

been finished by Seb. del Piombo.

10 Touth attacked by a soldier, — Suggests

Gariani : C. and 0. 47 Madonna and saints, 7 8, Justina martyr, 2 Visitation of the Virgin, 6 Madonna with saints, — ^Injared.

9 A young Venetian lady,

11 Female portrait, — Injured by repainting.

12 Female portrait,

Z

Digitized

byGoogk

VIENNA : THE BELVEDEBE.

Palma Yeoohio Titian

„ attrib. Viyarini, Bart

No.

13 Lucretia,

14 A girl

19 Eeee Ho7no,^A large compoaition dated

1543. 27 Portrait of Oiacomo Strada. — Painted

1566.

29 Portrait of Isabella cPEste.

30 Young Jesuit ai prayer.

35 '' La heOa di Tiziano:*

36 Danae.

37 Por«rate.— About 1550 : C. and C.

39 Madonna with three saints, — ^Early work

and injured.

40 Portrait,

41 Madonna, — ^Early.

46 John Frederick of /Sioucony.— Painted in

1548. 48 Portrait of Titian at 50 years.

59 Allegorical portraiture.

60 Woman taken in aduUery. — ^Unfinished.

Probably not genuine : G. and C» 64 Holy family with cherries. 17 Diana and Calisto. — Probably by a

follower : G. and 0. 58 AUarpiece in Jive parts. — ^Dated 1477.

Boom in.

Garavaggio 5 David with the head of Goliath.

„ 27 Madonna ** of the Bosary.**

Gortona, Pietro da . . . 33 Hagar returns to Abraham.

Feti, D 10 Market toith many figures.

„ ...... 47 Marriage of 8, Catharine.

Maratta, Garlo .... 1 Death of Joseph, — ^And others.

Perugino ...... 12 Madonna and two saints.

n ^^ Baptism of Christ

„ 31 Madonna enthroned with saints,

Eapbael 55 Madonna. — ^Painted in 1505.

Bomano, Giulio .... 18 Allegory,

n „, ... 51 8. Margaret and the dragon.

Bosa, Salvator .... 56, 7 BatUe-pieces.

Sassoforrato 9 Madonna,

Allori, Gristofano Bartolommeo, Fra

Boom IV.

20 Judith and Holofemes.—A poor copy of

No. 96 in the Pitti. 29 Presentation.

Digitized

byGoogk

VIENNA: THE BELVEDERE.

Bazzi, (n Sodoma) Bionzino, A. • Dolci, Garlo . .

Florentine School Gozzoli, Benozzo Lnlniy B • . . Sarto^ Andxea del

18 Holy family. 21 Portrait.

6 Sifieerity, allegorical,

9 Madonna. 56 Ahead.

43 Madonna and $aint8. 12 HerodioB. — ^Muoh injuted.

4 Tobit and the anyeb.— Injured. The only genuine example here : C. and 0,

Room F.

Garaoci, Ag 17 8. Francis rec$iving the BtigvMUm.

n I^ 20 i9. FrancU in contemplation,

Cignani, Garlo .... 8 Madonna,

Francia, Francesco, attrlb. . IS Madonna toith M^nts.— Ruined by

painting : 0. and 0.

Guercino 30 Return of the prodigal,

» 32 Tlie prodigal 8on.

Beni, Guido 1 Baptism of Christ,

99 99 15 AUegory of the four seasons. ,

99 99 .... . 25 Madonna.

99 99 31 Ecce Homo. — And others.

Sirani, Elizabetta • . . 34 Martha and Mary,

Oaraod9 Ann. Gorreggio

Mantegna, Andrea

Antonello da Messina Boni&zio . .

Garpaocio, V. Gorr^^gio Giordano9 Luca Palma Yecohio

w »

Sohiayone, A. 6ignorelli9 Luca Tintoretto

Room VI. 12 Christ and the tooman of Samaria. 9 Madonna, " La ZingareUa,** 10 Male portrait 19 Jupiter and lo. 21 Ganymede carried by the eagle,

25 Ecce Homo. 46 8. Sebastian.

42-n5, 47-50 Studies for the * Triumph of Julius Cxsar.*

Roam VII, 60 Dead Christ and angels, — ^Betouched.

24 88. Francis and Andrew.

26 8. Jerome and the Baptist.

25 Christ adored by angels.— Dated 1496. 17 8. 8ebastian,^Bmt.

44 Archangel Michael and fallen angels,

12 Venetian girl.

49 Venetian lady,

19 Holy family, ,

7 Adoration. 46 Portrait^

Z 2 "

Digitized

byGoogk

340'

VIENNA: THE BELVEDERE.

VelaiKnieg, Dfego

No. 6 BaJtatar CarUn ob a d^tld.

13 In/atUa Margarita Tereta,

14 The family of Vekuquez. 19 IhfafUa Maria Teresa, 40 AnidioL

4T Infanta Maria Tereea.

Fintt Ftbar,

FlemisH and Dutch S€lhoell8.—Boom L

Backhuizaii^X. Bnuner, L.

No.

. . - 37,

. . * 4*

... 48

■ Ghampaigne, Ph. de . . 2

B8,Van 14,

ninckjG 11

Fyt,Jan 20

» 24

Hamilton, J. G. . . . . 22

Hoogstraeten^S. van . . 9

Hbadeooeter ..... 21

Bembrandt 28

„^ ..-...• 38

40

..... 41

>»• »..••.• 42

45

Snydere,F: ..... 27

Sostennaiis, J. ..... 50

53 Bea-pieoee.

Tanit/^

InttabaOif.

Adam and Eve mamningfar Abel.

15 Fish, Ae. — ^Figoics by Jordaens.

An old man. -

Large compoeitioiu

Dead gaime. — An^ ottieis.

Sludy of horses.

Man looking out of a window.

BisdM.

8. Paul,

Portrait.

Portrait of his mother.

Portrait if a rich Dutchman.

Portrait of a young maai.

Portrait of himself at the age ofi5.

Portrait of himself in eld age.

Boar-hunt.

An old v3oman.

Boom II. Baokhtuzen, Lndolph . . — Several examples. Oapelle, Van de . . . . 54 Sea-pieee.

Hobbema 57 Landscape.

Moacherou 5, 8 Landscapes. — ^Figures by Van de

Velde. Neer, Artus van der . . 9, 16 Landscapes.

Buysdael, J 6, 29. 36 Landscapes.

Vemet,J 42 View of Bome!

Wynants ...... 55 Landscape.

Orayer, G. de Dyck, Anton van

Boom III. 14 Virgin and 8. Theresa.—And others. 2 Madonna and saints. 4, 5 Portraits.

Digitized

byGoogk

VIENNA: THE BELVEDERE.

341

Djcky Anton van

Rnbons, P. P.

No.

8 Virgin cmd donaior* 10 Portrait of a young man inarmoiu:. 18 Venui and Vidcan,

32 SavMon and DdUaK

33 Hdyfamay.

34 Magdalen. — And many portraits.

Boom TV.

1 The exorcism of 8. Ignatius Loyola.

2 The Assumption of the Virgin,

3 8. Francis Xavier working mirades. 4, 5, 6 Three figures.

7 Boar-hunt.

8 8. Ambrose and Theodoire the Great

10 The four quarters of the gkhe.

11 His own portrait at Ike age of 60. 13 A P4eth.

16 dmon and Iphigenia. • 22 Elizabeth, wife of Philip W. of Spain.- And many studies.

The White CkbinsL

Beeke, A. van ... . 19 StUUife.

Brueghel, J. (Velours) . 27 Flowers^ &e.

Heem, 0. de 24 Stm-life.

^ J. de 18, 21 Frtiit.

Huysum, J. van .... 16, 17 Flowsrs,

Ruysch, R 29 Flowers.

Savery, R, . . . . . 15 Flowers,

The Cheen'CabineL

Berchem, N. . . . Bmeghel, J. (Velours) Deelen, D. van Denner, B. Dow, G. .

»» • Ducq, J. le Dusart,0. Hyre, L. de La Metsu, G. Mleris, F. van

Keefe, Pieter, elder Bigaud, Hyacinthe Sohalken,G. . .

92, 3 Landscapes v>Uh herds, 45 Adoration of the ma>gu

1 Palace and gardens. 104 Portrait. 20 Doctor and old women. 52 Old wovnan at a window. 38 Interior- with figures. 98 Inn interior. 41 Assumption of the Virgin.

9 The lace-maker. ' 14 A shop. 18 The doctor^s visit. 68 Interior of a cathedral. 73 Duchess EUzabeth of Lorraine. 11 Candlelight scene.

Digitized

byGoogk

342

VIENNA: THE BELVEDERE.

Snayen • . . , Terbnrg, G., attrib. .

Werff, A. yan der

Balen, J. Tan

Dyok, A.Tan Bubens

Ehreubeig, W. Gk>yen, J. van Hals^Frans . H<mtboni,G. Byokaert . .

Teniere^ David, younger

Wouwennan, P.

No.

56 Bat£U-^pieoe. — And others.

16 Young vsovnan peeling an apple, — ^There is

little doubt that this is the work of Jan Tan der Meer of Delft.

17 TwrtraU.

Boom F.

2 Copy of Bvben^ Garden of Love. 25 Madonna and eainU.

16, 17 Portraits. 1 Betablo with two ufings. — 8., Bd^pfumeo,

3 Four (hUdren and a Umb. 7 Fead of Venus.

11 Portrait of Helena Fourment. 13 Large landscape. 19 View in a park,

21 Holy /amiZy.— Part of No* 1.— And inany others.

J2oom VL

47 Portrait of CkaHes IX. 52 Church interior. 39 Landscape^

4 Portrait of a young man. 46 Effeet of eandldighi,

24 Village festival,

28 Soldiers piOaging.— And others.

9 Peasants wedding.

3 PeasanUf wedding.

5 8€Uirifiee of Isaae.

7 Brigands piUaging. 10 Butcher's Shop.

15 Interior*

16 Kermess.

34 OciUery of pictures.

37 Dancing peasants'.

51 Popular festival at Brussels. — ^And others.

8 Cavaliers in a landscape.

Boom VII.

Bonrgnignon .... 15, 18 Battte-pieces,

Brueghel, Jan, and Botten-

hammer ..... 56 The four elements,

Diepenbeck . . . . * 2 AUegory,

Jordaens, J. .... . 21 A Dutch feasL

„ • • • . . 47 Mythological eompcsOion.

Drgitized

byGoogk

VIENNA : TEE BELVEDERE. 343

No.

Iienx 12 AUegory.

Moio, Antonio .... 8, 9, 49, 52 Porfraits.

Steen, Jan 32 Interiors

Second Floor*

Boom L

Amberger, C 78 Head of the BaptUL

^ .... 88, 94 3fa2e portraits, — ^And ofhers.

Asp6r,J. . ..... ^5 Portrait.

Burgkmair 50 Life and Passion of Christ,'^ A large

retablo.

M 104 Two portraits on one oanvas,

CxBDAch, L., elder ... 64 Portrait

M „ ... 71 Christ with the hbly women.'^Aod oi^^poi,

M younger . . — Several examples.

DQier» A 5 Portrait of Maximilian L

„ "i 5 King of Persia persecuting the Christians,

„ ...... 18 The Trinity surrounded by ofi^eb.— Dated

1511.

„ 26 Madonna,

,, ...... 28 Madonna.

„ 29 Young man^s portrait.

„ 30 Portrait of Johann meberger.—DeXed 1526.

Early Flemish School . . 96, 8 8maU triptych and vdngs.

German School .... 47 Fine altarpieee.

Grfinewald — Seyeral portraits.

Holbein, A, .... . 17 Portrait.

Holbein, Hans, elder . . 59 Portrait.

„ „ younger . 27 Portrait of a young tooman.-— Small.

„ „ „ . 61 Jane Seymour.

„ „ „ . 62 John Chambers.

„ „ „ 67, S Male and female portraits.

„ „ „ . 83 Geryek Tybis.

„ „ „ . 85 Portrait of a young man. — ^Dated 1541.

Memling, H 82 Diptych.

Mutina, Th. von ... 1 Madonna and saints,

Pencz, G. S4 Portrait.

„ 58 Triptych.

Schongauer.M HZ Holy family.

Weyden, B.Tander. . . 81 Triptych: Crucifixion in the centre.

Boom n.

Bles, H. de 20 Landscape.

Cock,M 77 Building of Babel.

Early Flemish School . . 75 Bepose in Egypt,

Eyck, Jan van .... 18 Jan van der Xeetiur.— Dated 1436.

Digitized

byGoogk

344

rnSNNA: THE BSLVSDMBE.

EjokfJanTan .... Goes, H. Tan der • . .

>» M • • .

H n attrib.. .

Haarlem, Gtorhard yan . .

n n • •

Ldden, L. Tan .... Maboae, J. GoBsaert . .

n •» • •

liaster of the * Death of the

Virgin'

Ifatsya^Q. .....

Memlingy Hans ....

Orley, B. yan ....

Patinir, J. de

Ponrbus, P., younger . . Sayeiy, B

Gatalogned as Cardinal

1A triptych by Mem- ling: C.andC.

Schoorl, Jan

Weyden, B. yan der, attrib.

No.

42 JodoouB Vydts.'

deUaCroce. 6 Madotma, 10 Twotamts. 61 Adam and Eve.

58 Ptea

60 Legend of 8, John Baptist. 39 Portrait. 9 Madonna. 10 TwoeainU.

5 Large iriptueh. 37 Portrait 12 Descent from the cross.

59 A large panel.

48 Baptism of Christ,

43 Portrait. 24 Landscape. 70 Animals.

66, 7 Male and female portraits.

Braeghel, Jan . .

M Peter, elder Floris, Frans . . . Franken, F., elder .

Moro, A

Ponrbns, F., eld^ .

„ yonnger

„ P., elder .

„ younger

Talkenburg, L. de .

JBoomllL 61 Landscape.

44 Peasants dancing. — ^And others. 16, 17 Adam and Eve. 33, 4, 5 Large works. 20, 9 Portraits. 13, 14, 19 PortraiU. 30 Portrait 28 Portraits. 23, 4 Portraits. 49, 50, 2 Landscapes.— And others.

Boom IV. 57 View of Borne. 90 His own portrait. Seyeral. . 79, 81 BatOe-pieces. And many inferior works.

Chround Floor. Boom L — Italian.

Bonifiazio 18. Jerome and 8. James.

Bordone, P 30 Women bathing.

Teronese, P. .... • 4 Adam and Eve. — ^And others.

Jnyenal . . Kupetzky Bottenhammer Bugendas

Digitized

byGoogk

VIENNA: THE CZEBNIN.

845

Boom IL No.

Ponssin, N. 4 Titw pillaging the temple*

Tiarim 1 Christ bearing the cross.

Boom III, — Flemish and Spanish,

Coello 29 Female portraiL-^J)atedl57U

Spamgh School .... 28 Female portrait.

THE GALLERY OP COUNT CZERNIN VON CHUDENITZ AT VIENNA.

Ho.

Pictures last examined in 1879,

4 N. Foneon The plague.

5 Sassoferrato Holy family,

18 Agostino Garacci , , . 8. Dominic,

38 Titian PoHrait of doge Venieri.

48 Murillo Christ on the cross.

50 Gneroino 8. Sebastian.

51 „ Harpagus and Mithridaies,

54 Tintoretto Portrait of a doge,

58 Pedro Moya Male portrait.

73 Jan Weenix, eWer . . . Departure of the prodigal son.

74, 5 R. Rnysch , . . . . Flowers and fruit,

76 J. de Heem 8tiU-life.

77 0. de Heem StiU-Vfe.

85 N. Berohem Landscape.

89 Gaspar Dnghet

96 Pieter de Hooghe, attrib.

97 Ph. Wonwerman .

98 A. Ouyp .... Ill Rembrandt, attrib. . 112, 13 A. van Everdingen

124 A. Pynacker . . .

125 Glande Gel^e . .

126 J. Ruysdael . . . 147 Rubens ....

150 J. van Huysran . .

151 M. Hondecoeter . . 180 J. Ruysdael . . .

197 J. van Artois . .

198 A. van Dyck . . 206, 7 D. Ryckaert . .

Laridscape.

Painter in his 8tudio.—-T\aA is a magnificent

work of Jan van der Meer of Delft,

and is signed. Betum from hunting. Landscape and^cows. Portraits of his family. Landscapes. Landscape. Wooded landscape. Storm at sea.

The women at the sepulchre. Flowers. Poultry, Landscape, Landscape, Male portrait. Interiors,

Digitized

byGoogk

346 VIEKNA; TSE ffAEBACH.

No.

218 B. van der Heist . . . Female portrait.

222 E. d6 Witte Church interior,

227 Primaticoio The three Graces,

230 A. Brouwer FeaeanU.

231 A. Tan Ostade .... Bmokw and drinker,

232 Bembiandt Portrait of his mother.-^mvUL

233G.M6t8V A smoker,

234 Teniert Apiper,

236 „ Gipsies and peasant,

239 0. Doflart Peasants.

242 P. van der Werflf . . . PortraU.

247 Jan y. Eyck, School of . . Presentation in the temple,

248 P. Verwilt Flight into Egypt,

261 A. yan der Keer * . . Fire at night

265 J. Bnyadael Landscape,

266 P. Potter Landscape and eotOe.— Dated 1647.

267 Hobbema Landscape.

272 G.Dow His oum portrait

273 ^ ...... Party playing (U cards.

275 J. Tan der Heyden . . . Landscape.

286 D. Teniers, younger . . Guard-room.

THE GALLEBY OP COUNT HABBACH AT VIENNA

Pictures last examined in 1879.

This gallery, oontainlng nearly 400 pictnrea, has few of any interest. Besides numerous canvases erroneously attributed to the best masters, there are some genuine examples of the small Dutch painters and one or two early Flemish and German. Among the Italian pictures may be noted a single Perugino, Madonna and two saints, and some studies by Paolo Veronese. The French school is represented by a large seaport by Claude, and by examples of Le Sueur and J. Vemet.

THE GALLEBY OF PBINCE LIECHTENSTEIN AT VIENNA Pictures last examined in 1879.

In this large gallery of 1500 pictures there are some very fine works, among a large proportion which it is unnecessary to notice. They are distributed throughout numerous rooms, and it will be more convenient to follow the order of ^these than to arrange the few works to be named in alphabetical order.

Digitized

byGoogk

VIENNA: TEE LIECHTENSTEIN.

347

Thb Fibst OB Pbikoipal Stobt.

Boom I. contains works of a decorative and mythological character, Nos. 1 to 13, by Marc Antonio Franceachini (1648-1729),

BoomIL No. Gnido Beni ..... 1^ 8. Jerome,

„ „ 23 Magdalen,

Garayaggio 30 Youth,

Dolce,G ^l Female head,

Moretto 34 HcHy family, -^rnsiXi,

Gnerdno ...... 35 Saint and angeU

Bellini, Gentile .... 3f»A A head.

Peragino, F 40 Madonna,

Boom IIL

Sasflofeirato 49 Virgin,

Bolognese School ... 50 Copy of Baphaei,

Pasinelli 51 Virgin,

8arto,A.del,attrib. . . 53 Head of the Baptid.

Maratta, Carlo .... 56 Bathsheba.

Garavaggio, A. . . . . 61 The lute-player.

Ooneggio, or Procaccini? . 65 Venue,

Baphael, attrib 67 PqHraiL

Gnido Beni 6S The Baptist,

Gagnacoi, G 74 Jacob and Lahan,

Gnido Beni 75 Adoration of the thepherde,

„ n 76 Antiope and Jupiter,

Gima da Oonegliano . . 77 Madonna.

Domenichino .... 78 Sibyl, — ^A replica or copy.

Bo(m TV, Bubois, F. P. , • » . S9-94t History of the death of the coneulDeeius,

— ^Designs for tapestiy, of which Ko. 91 is the finest.

Van Dyck, Anton

Boom V,

115, 51 Female portraits, 118 PoHrait of WdOensUin. 126 A Pieih,

142 An ecelesiastie,

143 A portrait of an old man.

146 A portrait of an old lady,

147 Duke Alhrecht of Austria.

148 Damd Byckaert.

Digitized

byGoogk

848 VIENNA: TEE LIECHTENSTEIN.

No.

Van Djok, Antcm . . . 149 An old man. And others.

Bnbens, P. P — Several sketches and studies.

Hals,IVans 150 FuU-length portraii.

Ponrbus, F. . . . . . 152 Female portrait.

Boom VL

Bnbens, P. P 168 Am^mpUon of the Virgin.

„ 177 Male portrait.

y, 191 Mythological eubjecL — Large.

„ 193 Head.

„ 194 Portraits of his two «on».— Beplica at

Dresden.

„ 195 Two heads.

„ 204 FentM ancZ ^ mirror.— And others.

Rembrandt van Byn . . 172 Diana and Endymion.

n yj . . 178 His own portrait when M.

„ „ . . 174 His own portrait when young.

Dow, G. . , . . . . 176 His own portrait.—lMe^ize.

Gelder, A. van .... 179 Portrait of a young man.

Keyser, Th.de. . . . 184 Portrait.

, W. van .... 188 Female head.

Boom VII.

Qnellinns 208 Esther and Ahasuerus.

Berchem, Nicholas ... 216 Death of Dido.

Terburg, G 230, 2 Small fuU-length portraits.

Dyck, A. van .... 239 Head.

The Seookd Stobt. Boom L

Fonqnet, Jean, attrlb. . . 276 Head. Volterra, D. da . . . . 277 Madonna and saints. Oaravaggio, Polidoro da . 278 Copy in grey o£ Raphael's Holy fc^mUy in

the Louvre.

Oanale, Ant 252, 3, 283-6 Views in Venice.

Bellotti, Bernardo . . . 289 View in Pima.

Boomll.

PoussiUjN son The flight into Egypt.

Bassano, Jaoopo. . . . 31^ Shepherd and flocks. Sirani, Elisabetta . . . 839,42 Cupids.

Boom III. Oaracci,Ann 387 Madonna.

And many inferior works.

dbyGoOgk

Digitized b

VIENNA: THE LIECHTENSTEIN.

349

Boom V. No.

Guido Reni 455 David and the head of Chliath,

Babens — Studies,

And many inferior examples of the Dutch SchooL

Boom Vt.

Es, Jacob van .... 553 FnUl-pieee.

Ghardin, J. B 557 Mother and her 8(m.— Dated 1739.

„ .... 558, 9^ QO Interiors loith figures.

Terburg, G 562, 3 Portraits of W. Marieriburg and mfe.

Fiocaccini, Oesare Ponssln, N. . .

Van Dyck, Ant. Neer, E. van der Poelenbnrg, 0. . Jordaens, Jacob . Beichem, Nicholad

Boom VII.

. 621 Angels.

. 637 Holy family. — And others.

JJoom VUL

. 693, 766 Two studies.

. 721 Lady seated.

. 723 Landscape.

. 778 Satyrs and animals.

, 781 Landscape. — ^And others.

And many inferior Dutch paintings.

Haysom, Jan van Teniers, D., younger

Dacq, A. le . . Byckaert, Dayid Ostade, Adrian van Buysch, Bachel . Migpion, Ab. Werff; A. . .

Eeckhout, G. van den Bembrandt, attrib. .

Boom IX.

821, 4 Flower-pieces.

822 Feasants playing cards.

823 At an inn. — ^And' others. 827 An adventure,'

883 Farty with music. 862 Feasants dancing. 878, 80 Flower-pieces. 891 Fruit. 893 Entmnbment.

BoomX.

929 A royal repast. 932 A calm sea.

Boom XI.

Holbein, younger, attrib. • 1043 Portrait. . Brueghel, Jan ..... IdSa lamdmjape. Oriey, B. T.V tttfa^ . • • 1112,14 Side panels of an aUarpieee, Several works attributed to early German and Flemish painter^

Digitized

byGoogk

350

VIENNA AND BUDA-PESTK

JRoamXn. No.

Hondeooeter 1151, 9 Poultry. — ^And others.

Fyt, Jan 1153, 63, 7 Live and dead game,-- And others.

Heem, J. D. de . . . . 1169, 70, 86 Fruit-pieces.

Weeniz, Jan 1180, 5, 7 Dead game.

Booms XHL, XIY., XY., and XVI. contain nnmerons works of no interest, chiefly of the Dutch and later French schools ; the only examples requiring notice are in Boom XIII., a * Feast of the gods,* No. 1239, by J. Rotten- hammer, and a ' Wooded Landscape,' No. 1258, by Karel du Jardin, and in Boom XVI. the * Portrait of an admiral,' No. 1396, by 0. Le Bran.

THE 6ALLEBT OF PICTUBES AT BUDA-PESTH, OB FORMER ESTEBHAZY COLLECTION.

Catalogue of 1879.

Pictures last examined in 1879.

Second Floor,

Boom I,

No. 1, 2, 3 H. Zeitblom . . 12, 18 Early Flemish . .

And many less important works of this school.

AUarpiece^ DeaXh of the Virgin and mints, Donators and 8, Nicholas,

18 L. Cranach .

20 B. van der Weydan

21 L. Cranach . 23 Hans Memling 26 L. Cranach . 29 30

31, 3 ;,

84 L. van der Leyden 35 L. Cranach .

37 Y.Heemskerk

38 Nurnberg School 51 H. Holbein, attrib. ^5 C. Amberger 61 N. Lucidel (Neufchatel)

Boom II,

Eerodias with the Baptises head.

The Crucifixion,

The woman taken in ckluZ^y.— Dated 1532.

Cructfioiion,

Old woman and a young man.

Marriage of 8, Catharine.

Madonna protecting saints.

Old man and a young girl,

Lucretia,

Eerodias vnth head of the Baptist

Christ before Pilate,

The Crucifixion,

Female portrait

Portrait,

Full length portrait— V&ied 1561,

Female portrait. And many inferior portraits and works of the early German School.

Digitized

byGoogk

JBUDA'PESTff,

851

No.

69, 70 Spinello Aretino 79 Giotto . . . .

83 GuidoocioOozzareli.

84 Nicool6 da Foligno . 86 Pinturiochio . . . 98 Pietro Lorenzetti, attrib.

104 Sienese School . .

120 School of FilippoLippi

121 Fr. Signorelli . .

123 G. Mansueti . . .

124 Carlo Grivelli . .

125 Oima da Oonegliano

126 Gentile Bellini • .

127 A. Borgognone . .

128 Girolamo da Tieyiso

129 A. Previtale . .

And seyeral paintings

131 Piero da Gosimo

133 Giovanni Bellini

134 Giacomo Francia

135 Bidolfo Ghirlandajo

136 Palma Vecchio

137 Marco Bello .

138 V. Catena . 141, 2 Bonifazio . 143 Giorgione, attrib.

145 Tintoretto .

146 Bonifazio . .

147 P. Veronese . 150 Andrea Sduavone

152 B. Tjioinio (Pordenone)

153 Polidoro T/anzani 156 Ft. Morone . . ir»7 Tintoretto . .

158 Titian . . .

159 Lorenzo Lotto .

160 P. Veronese . . 163 Fra Bartolommeo 168 Bngiardini . .

170 Unknown . .

171 Follower of C. da Sesto 173 Bernardino Lnini .

Boom IIL

. AUarptece and predella»

. Female head. — A fragment of fresco from

S. Francesco at Assisi. . Madonna and taints, — ^Dated 1486. . S, Bernard.— Bated 1497. . Madonna, — A small altarpieoe, . Hermits in the desert, . Diptych, . Holy family.

Subject from Boman history, , 8, Catharine.

, Madonna, r

. Madonna,

. Portrait of Catharine Comaro, , The Entombment, , John the Baptist, , Madonna, ascribed to the Early Sienese School.

Boom IV. . Madonna and S, Catharine, , Portrait of the doge Barberigo, , Madonna. . The Nativity. . Female portrait, , Madonna. , Holy family, . Holy families, . Two blind men, , Portrait. , Christ with the cross.

Portrait.

Madonna, . Female portrait, . Holy family. , Portrait.

Portrait,

Portrait of Cardinal Bembo,

Portrait ■ , Venice crowned.

Madonna,'

Madonna. . Portrait

8, John the Evangelist.

Madonna and two female saints.

Digitized

byGoogk

352 BUDA'PESTR.

No.

175 Beltraffio Madonna.

176B.Luini Mof/yfamUy.

177 G. Pedrini Madonna and 8^ Jerome.

178 Oorreggio Madonna,

179 Baphael, School of . . . Portrait of a yotUh.

180 Baphael Madonna and inf aid 8. John.

181 Fr. Francia Madonna and infant 8. John. — Small, in-

complete.

Boom V.

182 ADgelo Bronzino . . . Venut and Cupid.

183 n n ... Female portrait

184, 5 „ attrib. . . Entombment and Annunciation.

189 G. Vaaari The Utree Oraces.

195 0. Dolci The Virgin.

197 L. Cigoli Madonna.

203 Baphael, school of . . . Holy family.

205 Andrea da Salerno . . . AposUes surrounding the dead body of ike

Virgin.

206 F. Baroccio Holy family.

211 D. Feti A sleeping girl.

Boom VI.

219 Oorreggio Portrait.

225 Garayaggio Mis oum portrait.

233, 4 Zacoarelli . . . . . Landscapes.

Boom VII.

237 L. Giordano Venus and Adonis.

241 G. Billiverti Oopy of G.Cagn&ccVa Tarquin and Lucretia

in the Accademia S. Luca, Bome. 243 B. Strozzi ..... Woman praying. 245 L. Giordano Flight into Egypt.

Third Floor.

Boom VIII.

252 GuidoBeni Descent from the cross. — And several

attributed to the master. 258 0. Gignani ..... Adam and Eve.

263 B. Gennari Best in Egypt.

264 Fr. Albani . . . . • Nymph and faun. 268 F. Furini Venus and Adonis.

Boom IX. 278 Matteo Bosselli .... Chmrdian angel. 288 J. B. Tiepolo .... Ferdinand overthrowing the Moors, 298D. Bicci IaOc player.

Digitized

byGoogk

BUDA'PESTH.

SHH

No.

800 F. Solimena . 309 B. Strozzi . 311, 13 B. Bellottl 317 A. CJanaletto . 319, 20 J. Bassano

Madonna, • •

Christ and the Pharisee^ — And others.

Views of Fhrevice,

View in Venice,

Annunciation and Adoraiion,

Boom X.

331 K. du Jardin .... Landscape,

335 MoucheroD Landscape,'

336 N. Berchem Landscape, — ^And others.

339 W. Bomeyn CattXe and landscape,

345 C. de Witte Landscape:

347 A. Verboom A wood.

349 J. Both Landscape,

— Pynaoker Several examples.

Boom XL Contains many very inferior works by the'

434, 9 0. Netscher . 441, 2 Van der Werflf

Dutch School.

BoomXIL '

. . Portraits,

, , Two examples.

And several inferior pictures.

Bo(m XIIL

456 N. Largilliifere . . , . PoHrait.

463 S. Vouet ApoUo and the Muses,

480, 1 Ph. de Champaigne . . Portraits.

500, 2 J. B. Weenix .... Portraits.

501 G. Metsu Interior toith figures.

And many unimportant examples of the French and Dutch Schools.

Boom XIV, Several inferior examples of the French School.

532 M. Hondecoeter 536 D. Teniers . . 560 Ph. Wonwerman 563, 4 A. van der Neer 585 Albert Ouyp 589 „ „ . . 602 Jan Steen . . 607, 9 Mierevelt . .

Boom XV.

Poultry,

The viUage doctor.

Horsemen.

Two examples.

Landscape and cattle.

Portraits of himself and family.

Peasants feasting.

Portraits.

2 A

Digitized

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9H BUDA'PESTH.

Ho.

611 Van der Heist .... Portrait.

620 MobaMr PeasanU fecuting,

624 Dusart and Tan KeaaeH . « Fishvioman.

635 P. Bembrandt «... Fousg tfomanu^ a /an.— Dated 1660.

636 F. Hals PortraM.

638 Bembrandt Young woman.

641 A. Brouwer PeasanU.

642, 5 A. van Ostade . . . Interiors,

643 Bembrandt Man seated.— J>a.ied 1642.

BoomXVL

647 Bnbens Mutius Scxvola before Porsenna.

650 P. Snayers Camp scene.

652 Bnbens Three angels.

659 J. Jordaens ..... Portrait,

669, 70 Fr. Goya .... Two studies.

683 Alonso Cano, attrib. . • Christ and the magdalen.

686 „ „.„... 8. Thomas.

687 Mnrillo Holy family.

688 „ Madonna and angels.

689 „ Madonna and three missionaries.

690 Unknown Portrait.

692 Mnrillo Flight into Egypt.

694 „ His oum portrait.

695 Velasquez ..... Study of a man on horsehaek.

697 Pedro Moya Hit own portrait.

698 Lnis de Vargas .... Madonna,

705 Mnrillo S. Joseph and Infant Christ.Sm&lL

707 J. Bibera (Spagnoletto) . Martyrdom of 8. Andrea.

712 Fr. Zurbaran, attrib. . . The FtVgftn.— Dated 1661.

717 Bnbens Portrait of Ferdinand of Spain.

718 Dutch School .... Portrait.

721 B. van Leux .... Portrait.

722 A. van Dyck .... Male and female portraits. 724 Gonzales Cocqu* s , - . Family portraits.

726 0. de Vos Portraits of Miorevdt and his family.

Digitized

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MADRID: S4N FERNANDO AND THE MUSEUM. 855

THE PICTUEE GALLEEIES OF SPAIN.

ACADEMIA DE SAN FERNAKDO, MADRID.

Pictures last examined in 1876.

No. Cano, Alonso .... — ^ Crucifixion, Morales, Luis de ... — A Pieta.

Murillo — Queen Elizabeth of Hungary attending U>

the sick and poor,

» — Madonna appearing to the sleeping Roman,

>♦ • — The Roman explains his dream to the Pope,

»» — A female praying.

Ribera, Jos^ . .... — iS. /eroTwe and a pendant.

$9 » — Head of tlie Baptist in a dish,

Zurbaran — Five single figures of monks.

THE ROYAL MUSEUM AT MADRID. Catalogue of 1877.

Pictures last examined in 1876.

No. Adriaenssen, A. ... 1147 Dead game.

^ngelico, Era .... 14 Annunciation and predella, — Replica of

that in the Convent of S. Marco, Florence. Bassano, Jacopo ... 22 The covenant made to Adam by God.

23 The animals entering the ark. 31 Christ clearing the temple. Francesco ... 39 2^ adoration of the kings, Leandro ... 45 The prodigal son.

49 Assumption of the Virgin, 52 The forge of Vulcan. 60 Madonna with two mmfe.— Injured. 994 Virgin and saints.

2 A 2

Sellini, Giovanni, attrib. Bias del Prado . • .

Digitized

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856

MADRID: THE UUSmiM.

	No.
Ble0, Hendrik de .	. . 1171 rrtpfycfe— Small.
Bosch ....	. 1175 Adoraiion of the kings.
Brouwer, A. . . .	, . 1219 Interior.
Bnieghd, Pieter, elder	. 1221 The triumph of Death,
„ Jan (Velours)	. 1233 The four elements.
*» »> M	. 1244 Paradise,
>♦ ft »>	. 1245 Lan<focape,<fec
w, i> ))	. 12.58 Flowers,
»» f» «»	. 1277,8 Jfarrto^e/ecwfa.
>» >♦ >»	. 1279 Landscape in Holland,— And others.
Cano, Alonso . .	. 668 6. Benito in meditation.
» n • •	. . 670 Madonna in adoration.
♦> >» • •	. . 672 Dead Christ and angd.
Carrello de Miranda	. . 690 Full4ength male poHraU.
»> »>	. . 692 PoHrait of the buffoon of Charles II,
'» ♦»	. 703 Charles II,
Oazes, Engenio . •	. .697 English disembarking at Cadiz,
Christus, Petrus		. 1291 Annunciation,
Clande (Lorraine)
>» >» •		. 1987 Sea-port.
»> >» '		, 1989 Landscape wiHh an anchorite.
M »»		. 1991 Landscape by moonlight.
»♦ >»
Goello, Alonso Sanches;	. 1032 PoHraU of PHnce Carlos,
»♦ ♦> i>	, 1033 The sister of Prince Carlos.
M »» »»	, 1036 Female poHraU.
»» » »	. 1039 PoHrait.
Correa,D. . . .	. . 2154 Death of the Virgin.
Gorreggio (Ant Allegri	) . 132 Noli me tangere.
Oranach, L., elder .	, 1304, 5 Charles V. hunting.
Dnghet, G. (Poussin)	. . 151-5 Landscapes.
Diirer, Albrecht	. . 1314, 15 Adam and Eve.
„ „ attrib.	. 1316 His oton portrait. — A replica or copy of
	that in the Uffizi, Florence.
♦> »> >»	. 1317 Portrait
Dyck, Anton yan . .	. 1319 The crowning with (horns. — An altered
	copy of Titian's picture at Munich,
	No. 1329.
y> » •	. 1320 Portrait of David Byckaert.
•• »» •		. 1321 PoHrait
»» »» •		. 1322 The Countess of Oxford.
		. 1325 Charles I. on horsthaok.
»♦ •> •		. 1326 PoHrait of a lady.
»« »» •		. 1327 Count Henry de Berg.
<• M •		, . 1328, 9 Male portraits.
•» »»		, . 1330 Van Dyek and the Count of Bristol.

Digitized

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MADBID: THE MUSEtTM.

357

Dyck, Anton van

Xlscalante . . JSssen, Jacob van Eyck, Jan van . Palcone, Aniello

Pyt, Jan

Giordano, Luca Giorgione, attrib.

Goya y Lncientes

Gnercino Gnido Beni

Haarlem, Comelis van Heem, Jan David de Herrera, F. de, younger Holbein, School of Joanes, Vicente de

Jordaens, Jacob

Leal, Valdes J. .

liOtto, Lorenzo . Liuiniy Bernardino, attrib.

No. 1331 Henry Liberti, organist of Antwerp. 1335 The betrayal of' Christi ■

1337 5. FraneU.

1338 Female portrait,

— Infant Christ and 8, John. 1346, 7 Sim-life. 2188 The triumph of Christianity.

156 BaUle.

157 Combat between Turks and Christians.

1369 Dead game.

1370 StilUife.

1371 Hares pursued by dogs.

1372 Wildfowl.

. 1373 Dead game and fruit.

— Several attributed to him.

236 Madonna with S. Bridget and another saint. — An early Titian. . 731 Equestrian portrait of Charles IV. , 734, 5 Episodes of the French invasion. , 738 Dofla Maria Luisa. . 2164 Fernando F/I.— Young. . 2165 The Crucifixion.'-Tyeaigiis for tapestry in

the Sala de Goya ; and others. . 249 Susannah at the bath. . 254 Diana.

. 259 The Madonna of the '' Sitla:* . 260 S. Sebastian. . 261 S. James. . 1390 The tribunal of the gods. . 1391, 2 Fruit.

— Triumph of S. Hermenegildo.

. 1399, 1400 Por/rat78.— Dated 1531.

. 749-53 History of S. Stephen.

. 754 Male portrait.

. 755 The Last Supper,

. 756 The Vifdtation.

. 758 Coronation of the Virgin.

. 759, 60 Ecce Homo,

. 1404 The judgment of Solomon.' '

. 1405 The marriage of S. Catharine.

. 1407 Meleager and Atalanta.

. 1410 Family group,

. 1049 Presentation of the Virgin,

. 1050 Emperor Constantine.

. 288 Marsilio and his bride, and a cupid,

. 291 The daughter of Herodias,

Digitized

byGoogk

858

MADRID! THE MU8EU3L

Lnini, Bernardino^ attrib. Malombra, P. Mantegna, Andrea, attrib. Mazo, J. B. del .

Menendez . . Mengs, Anton Raphael Metsn, G. « , Mignard, Pierre Morales, Luis de

Moro, Antonio

Murillo, Eateban

Navarrete (El Mudo)

n »»

Neefs, Pieter, the elder Orrente,P. . . , Pacheoo, Frandaoo . Palma Yeochio, attrib.

Pantoja .... Pareja, Juan de . . Parmegianino » .

No. . 290 HolyfanUJy. , 292 Dog6 receiving an ambassador, . 295 The death of the Virgin. , 788 Vievf of Zarayoza, . 789 PoHraU.

790 Dofia Maria of Jus^rta.— And others. . 818. 28 SUn-Ufe.

. 1435 Adoration of the shepherds.-^Aiid others. . 1441 Dead game. . 2021, 3, 4, 5 PortraiU. . 847 Ecce Homo,

848 Maier dolorosa. . 1488 Portrait . 1484 Queen Mary. . 1485 Queen Catharine of Portugal. . 1487 Maximilian IL . 1488, 9, 90, 1, 2 Female poHraits. . --854 Holy family **drf PajaHto.** . '855"J?e6ec«» ai the well. . ^859 Adoration of the shepherds. . 861 Christy Virgin, and 8. Francis— ^^ La For-

duneulaJ' . * 864 Infant Christ. .'fSQ5-Thechild8.John. . ^866 Jesus and 8. Johrk-^ Los Niiios ch la

Concha:' . -^ ^7 '^Annunciation.

. -868 Appearance of the Virgin to 8* Bernard, . 869 Virgin appearing to 8, Hdefonao. . - 870 The Madonna •* of the Bof^ry," . -877, 8, 9, 80 Concepcions, . ^890 8. Franeisoo de Paula, . 895 Fcce H(mo. . 896 Mater dolorosa. . 897 Friar Cavanilles. . 905 The Baptim of Christ. , 906, 7 5; Paul.

. 500, 1 Church interiors. — ^And others. . 91^ Adoration of the sltepherds. . dlQ-19 Single figures of saints. . 322 Adoration of the shepherds.— By Bonifazio

Veronese. . 926 Margaret <tf Austria. . 935 The caUing of 8. MaUhew. . 332 Portrait. . 833 PoHrait group.

Digitized

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MADRID: THE MV8EVM,

359

Patmir, J. de

Peetere, Clara . . . . Piombo, Sebastiano del

»9 ,9 attrib.

Pordenone, G. A., attrib. .

Poussin, Nicolas Baphael Sanzio .

Eembrandt , . . Ribalta, Frandsco de

»> »»

Bibera, Jo8€ de . .

Rizi, Franoesoo . . Boelas, Juan de las, attrib. Bubens, P. P. . .

No.

1519 Best after the flight into Egypt 1523 Temptation of 8. Anthony, 1525 8, Franci9, 1526-9 8tudie8 of 8tiU4ife.

896 The descent cf Clirist to Umbo,

395 Christ hearing the cross,

341 Madonna and two saints, — ^Probably by

Giorgione.

342 Portrait. — ^By B. Lidnio Pordenone. 2043 Mount Parnassus,

2051 The chase of Meleager,

364 Holy family " del CorderoJ*

365 The Virgin •* del Pesce.*'

366 Christ hearing the cross— ^**Lo Spasimo di

SiciliaJ'

367 Portrait of« cardinal.-

368 The Visitation,

369 Holy family ^'la Pwto."— Designed by

Baphel and probably executed by a pupiL

370 Holy family " la Rosa,*'

371 Holy family " del iogforfo."— Designed

by Baphael tind probably ezeonted by a pupil. 1544 Queen Artemisia,

946 Christ aand angels,

947 8, Francis of Assisi, 956, 9, 63, 78 Single heads. 977 8, Bartholomew,

982 Jacob's dream,

983 Isaac blessing Jacob,

989 Martyrdom of 8, Bartholomew,

998 8, Francis, 1006 Hermit at prayer, 1011, 12 Heads,

1016 An '•AutodaFk*' in 1680. 1021 Moses and the hitler waters,

1558 The brazen serpent,

1559 AdoraHon of ^ kings, 1560, 1 Holy families,

1565 8. George and tiie dragon,

1566 Legend of BodoLph of Hapsburg, 1569 PoHrait,

1583 Atalanta and Meleager,

1584 Perseus and Andromeda, I 1585 Ceres and PomoMt,

Digitized

byGoogk

MADRID : THE MUSEUM,

		No.
Babens, P. P. * .	. . ]586 Diana and nymphs.
»♦			. 1590 Judgment of Paris.
»»			. 1591 The Graces,
9*			. 1592 Diana and Calisto.
»»			, 1593 Ceres and Pan.
>»			, 1594 Mercury and Argos.
•»»			, 1606,10 Female portraits.
„			. 1607, 8 Equestrian poHraits.
J,			, . 1611 The garden of Love.
»»			. 1612 PeasanU* dance.
♦»			. 1613 0)py of Titian's Adam and Eve.
»»			. 1614 Copy of Titian's Europa.
»»	attrib. .	. 1609 Portrait of Sir Thomas More,
Baysdael
Ryokaert,	David . !	, 1657 The alchemist.
Sarto, Andrea del . .	, 383 Poiirait of the painter*s uife.
N	»» • •	, 385 HolyfamUy and angeL
J»	>♦	* dSl The sacrifice of I«aac.— Beplica of No. 44 at Dresden.
t»	>» •	. 384. 8 HdyfamUies.
Snyders, Fraua .	, 1677 Dogs and eatables.
n	>♦ . . .	. 1684 Fruit and eotoWci.—And others.
Teuiers, David, younger	. 1721 A feast.
n	fi ft	, 1724 A soldier drinking.
>»	»» »»	, 1726 Smokers in an inn.
»»	t» »»	. 1730 The feast of Ungs,
>♦	H »»	. 1732 Interior of a kitchen.
i»	»» »>,	. 1733 The scullery m^id.
>»	»» l»	. 1744 Soldiers and armour.
»'	»♦ »>	. 1745 Armour arid a dog.
n	♦» "	. 1754, 5 The temptation of S, AnHiony,
Tintoretto	> • . • .
		411 Sebastiano Veniero.
>•	. . . .	. 412, 19, 29 Male portraits,: . 413 Tfee Bavtism of Christ,
»»		k 415 Purification of the Midianile cantiven
V		. 422 Joseph and Potiphars tjoife.
		. 428 Sketch fw the < Paradise * at Venice.
		. 434 Male portrait*
Titian		. 450 Tfte bacchanal.— Painted in 1520.
		. 451 The feast of Venus. — Painted before 1.51ft
T^		. 452 Portrait of Alfonso dEste.
		. 453 FuU'lenaQi of Charles V.
♦ 1		. 454 FuU'lenath of Philiv II. — ^Painted in 1551
r *		. 455 Venus and Adonis. Probablv aided bv
n '			Orazio: 0. and 0.. 1554.

Digitized

byGoogk

MADRID: THE MUSEUM. 861

No.

Titian A^ Adam and Eve,. .

„ ...... 467 CharUs F. on Aor«e6a<*.— Painted in 1548.

,j ...... 458 Danas. — ^Painted in 1554.

97 459 Venw with organ-player and dog,

f, 461 His daughter Lavinia as Salome,

9y ...... 462 The Trinity and heavenly hosts.

j» 463 Portrait of a knight of Malta,

>. 464 -4n Entombment— F&iaied in 1559.

»« 467 Ecce Homo.

.* 4^,75 Mater dolorosa.

i6d S. Margaret.

,>, 470 Allegory of Lepanto vnth Philip II. and

. his son. „ .... V . 476 Christianity succoured, hy Spain, — Chiefly

by a scholar : C. and C.

„ 477 His own portrait,

„ ....... 480 Male portrait.

„ 484 Adoration of the magi. — Painted in 1560.

„ 485 T^ .EiroprcM I«o56Ho.— Painted in 1544.

„ 487 Christ hearing the cross.

„ attrib 460 Venus with Cupid. — Not by him.

„ „ 465, 6 Sisyphus and Prometheus.— Co]^iea by S.

Coelio.

„ „ 478 S. Jerome. — Perhaps by L. Lotto.

Tobar, Alonso .... 1044 Portrait of Murillo.

Tristan, L. 1048 Portrait.

Vaccaro, A. . . . 515 Apotheosis of S. Oennaro.

Valentin, Mo'ise . . . 2075 Martyrdom of S. Lawrence.

Valkenbuig ' 1786 Landscape with figures.

„ 1788 View of a palace in Brussels.

Velasquez da Bil^a . . • 1054 Adoration of the kings. „ „ ... 1055 Christ on the cross.

„ „ . . . 1056 Coronation of the Virgin.

,. „ . . . 1057 SS, Anthony and Paul.

„ „ . . . 1058 Los Borrachos, or the drinkers.

„ „ . . . 1059 The forge of Vulcan.

„ „ . . . 1060 The surrender of Breda, " Las Lanzas^

„ ■ „ . . . 1061 Las Hilanderas, or the tapestry-workers.

„ „ . . . 1062 Las MeninaSy or the maids of honour.

„ „ . . . 1066 Equestrian poHrait of Philip TV.

„ „ . . . . 1067 Equestrian portrait of Queen Isabella.

„ r . . . 106S, 76, S3 PortraiU of PHnceBaltasar Carlos.

„ „ . . . 1069 Equestrian portrait of the Jhike of CHivares,

., . „ . . . 1078 Don Carlos as a hoy.

„ „ . . . 1074, 80 Portraits of Philip IV.

„ „ . . . 1075 Don Fernando of Afistria^ . , ,

Digitized

byGoogk

362

8EVILLS: THE MUSEUM.

Yelaaquez di Silva

Yemet, Glande Jofloph Yeionefle, Paolo

„ „ attrib.

Watteau, A. . , . . Weyden, Bogier Tan der

Wouwerman, P.

Znrbaran, Francisco de

No.

1078 DoHa Mariana of Austria, 1084 Dona Maria Teresa of Austria. 1086 The vnfe of Velasquez. 1090, 1, 2 Male portraits,

1095 El Primo.

1096 Don Sebastian de Mora,

1097 D. Antonio el IngUs.

1098 El Nino de VaUecas.

1099 El Boho de Coria. 1100, 1 ^sop and Menippus,

1106 View in the garden of VtHa Medici. 1108 View in Some. — ^And others. — Several.

526 Venus and Adonis,

527 Christ among the doctors.

528 Jesus and the centurion.

531 Madonna with saints,

532 Ma^alen.

534 Marriage ai Cana. '

540 Cain and his wife.

544 'Portrait of a young lady.

533 Moses saved from <7*e waiers, 2083, 4 Fites champHres.

2189-93 2Wp«ycfc.— In the centre a Crucifixion: the Last Judgment and Exptdsion of Adam and Eve on the wings.

1830, 1, 5 Hunting paHies.

1833 Hawking party.

1834 Departure from an inn.

1120 Vinon of S. Pedro Nolaseo.

1121 S. Peter appearing to S. Pedro Nolaseo. 1122-31 History of Hercules,

1132 Sta. Casilda.

1133 Sleeping Jesus,

THE PBOYIKCIAL MUSEUM AT SEVILLE. Gatalooub of 1876.

Pictures lasi examined in 1876.

No. Cano, Alonso .... 34 Souls in purgatory. Herrera^ P., el Yiejo . . — Several wcn'ks. „ el Mozo . . — Several works.

MuriUo ...... i:^ 8. Joseph and the ChiJdJeBUi.

Digitized

byGoogk

SKVILLE: THE MUSEUM.

363

Murillo

Pacheco, Francisco de Koelas, Joan de las Vasquez, Alonso

Zurbaran

No.

52 Madonna '*dela ServiUeta:'

53 8, Felix and the Child Jeaus. 55 A Coneepcion.

59 Madonna and 8, Augustine,

60 8, ArUhony and the Child Je8U8. 68 A Concepcion, — Colossal.

83 88» Leandro and Bonaventura,

84 8, Thomas of VUlanueva giving alms,

88 Christ on the cross and 8, Francis, 90 Madonna and 8, Felix,

92 8. Anthony of Padua with the Child,

93 A Coneepcion,

95 83, Justa and Bufina,

96 An Annunciation,

16 Legend of 8, Pedro Nolasco, .

89 Martyrdom of 8, Andrew.

26 Martyrdom of 8, 8erapio,

27 8, Pedro N, redeeming the captives,

1 The apotheosis of 8. Thomcu Aquinas, 7, 8 Single saints.

46 8, Bruno conferring with the Pope, 67 8. Hugo and the Carthusians, 74 Virgin and Carthusians,

Digitized

byGoogk

364

BOBDEATTX AND LILLE.

THE PICTUEE GALLEEIES OF FEANCE.

THE MUSEUM AT BORDEAUX.

The only work of any importance is by No. Perugino ...... — AUarptece.

THE GALLERY OP PICTURES AT LILLE.

Gataloouis op 1875.

Pictures last examined in 1877.

The mnsetun contains several good copies of the old Italian masters, chiefly Raphael and Guide.

Bouts, D., or Stuerboudt Clouet, Fr., attrib. . Costa, L., attrib. Crayer, Gaspar de Dyck, Anton van

Ghirlandajo, D. Goya y Lucientes

Goyen, J. van . . Hals, Frans . . . Heist, B. van der Hooghe, Pieter de . Lanfranco . . . Meer, J. van der, of Delft Ravesteyn, J. van . Rubens ....

No.

523 The symholic fountain.

119 Female portrait,

137 Female head. — ^Not genuine.

143 Martyrs buried alive. — ^And others.

193 Christ on the cross.

195 Female portrait.

196 Portrait of Maria de* Medici. 233 Madonna "a Veglantine."

242 Young girls.

243 Old women.

244 A criminal garotted.

245 Marine-piece.

257 Portrait of HtOe Bohhe.

267, 8 Male and female portraits.

279 Dutch interior.

310 S. Gregory.

344 An interior.

436, 7 Male and female portraits.

460 Descent from the cross.

461 Death of the magdalen. '

Digitized

byGoogk

LYONS: THE MUSEUM.

365

Itubens . . . * . Sasterman, Lambert

» »

Tilborg, elder XJnknown , .

Velde, W. van de "Veronese, Paul

No. . 462 S. Francis and the Virgin, — And others. . 649 Judith, . 650 Noli me tangere.

. 538 Village fete.

. 653 Child's portrait — Suggesting the manner

of Coello. . 550 A calm sea,

98 Martyrdom of S. George. . . 100, 1 Decorative paintings. . 558 Fowls and pigeons. . 571 P(yrtrait . 572-613 Numerous pictures and portraits.

A separate portion of the gallery is devoted to the celebrated collection of drawings by old masters which was left to the town of Lille by J. B. Wicar, a painter bom at Lille in 1762. These works, nearly 1500 in number, are admirably arranged and exhibited. Some of them are extremely interesting as studies for well-known pictures. No less than 67 are attributed to Eaphael, and there are a few by Perugino, Fra Bartolommeo, Titian,^ Guido, Carlo Dolci, and many others. Among them are nearly 200 by Michael Angelo, but these are chiefly architectural designs.

Victoors, J. Vries, A. de Vuez, A. de

THE MUSEUM AT LYONS.

No printed catalogue exists of this Museum. The following notes were made in 1876.

No. Brueghel, Jan (Velours) , 89, 90, 1, 2 The four elements, . Champaigne, Philippe de . 105 Finding the relics of S, Gervais, Oayp, Albert . . . .212 Nature morte. . Huysum, Jan van ... 150 Fruit, &c, Perugino, Pietro . . . 155 SS. James and Gregory.

„ „ ... 156 Ascension, uoUh the Virgin and apostles. —

The predella is at Bouen. Bubens, P. P. . . . . 82 iS^. Francis and saints protecting the world

from the vengeance of Christ

„ 83 Adoration of the magi,

Snyders, F. , . . . , 85 Dead game.

Tenters, D., younger . . Ill Deliverance of S. Peter,

Terburg, G 115 The messenger,

Veronese, P 177 Adoration, — Others here are not genuine.

There are many admirable Dutch flower-paintings in this Museum, exceeding in number and condition what are generally found in a collection of this size.

Digitized

byGoogk

MABSJBULLES AND MONTPELLIEB,

THE GALLEBY AT MARSEILLES. The only work of any importanoe is by Ho. Perugino • — Metdanna and 8ainU,

THE MUSEE FABRE AT MONTPELLIER.

Gatalogue or 1866. Pictures last eseamined in 1876.

Gbardin • • . Dow, G. . . . Dughet, G. (I^otissin) Grenze . . .

Hondeooeter, M. Hnysmans . Metsu, G.

Mieris, F., elder Poassin, Nicolas . Raphael, attrib. .

Reynolds, Sir Joshua Rosa, Salvator . Steen, Jan . . Teniers, D., younger

Terburg, G. . Wouwerman, P. . Wynants, Jan

No. 79 Madame Oeoffrin, 131 T?ie mousetrap, 203, 4, and others. 241 Qirl at prayer. 246 Bead.— ^And other examples. 273 Hen and iMekeM. 275, 275a Landtoapes,

327 Th6writet.

328 Fishwofnan. 834 Genre scene.

— Several.

404 Portrait of Lorenzo de* Medici.

405 Portrait of a young man, 416 Child Samud at prayer. 436 Landscape.

456 Family group.

480 Group of smckers.

481 Ctenre scene,

482 Girl seated^ pouring ofU wine. 524,7 Laihdscapee,

581 Lamdscape,

THE MUSEE BERNARD is a valuable collection of Dutch and modem pictures and numerous copies presented to the town of Montpellier in 1875, and at present (October 1876) without a catalogue. ... The following list contains the names of the principal masters represented

here : —

Berchem, Nicholas.

Brekelenkamp.

Brueghel, Jan (Velours)

Brouwer.

Obardin.

Dusart,C

Goyen, Van.

Netscher.

RuysdaeL

Schalken.

Wouwerman.

Zorg.

Also a few French works by Descamps and Lancrei.

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FABI8: THE LOUVBE.

867

THE GALLEBT OF THE LOUVBE AT PARIS.

CATALoevs or 1878.

PurfiMM Uit ewmiued in 1879.

FiBST Past. — Italicm and Spanish Schools,

	N<h
Albani, FrauoeBco .	. . 1 The mm-nal,—SmBn.
>» >♦ •
»» »> •	. . 11 The cmpids disarmed.
>» »» •	. . 12 Adonis, Venus, and cupids: — ^And oth^m.
Albertinelli, Mariotto	. . 16 S, Jerome adoring the Madonna,
Alloii, Gristofano .	. . 22 IsabeOa of Aragon before Charles VIIL
Almmo, Niccolo	. . 23 Six scenes from (he Ufe of Christ.
Angelioo, Fra . .
Anselmi, Michael Angdo . 86 Madowna with saints.
Antonello da Messina	k . . 37 MaUportraU,
Barocci,F. . . .	. . S2 The Cirewmcision.
99 • • .	. . 53 Madonna in glory with saints.
Bartolommeo, Fra .	. . 5Q The Salutation.
>♦ ♦>	. . 51 The marriage of S, Catharine.
Bartoli, T. * . .	. . 55 & Peter.
Bassano, Jacopo	. . 298 The marriage at Cana.
v» n •
Bellini. Gentile . .	. . 59 PoHraiU of himself and his brother.
»7 M • •
	stwitinopie.
9, Gioyanni	.4. 61 Madonna with two saints. .
Beltraffio. . . .	. . 72 Madonna with donators.
Boui&zio. . . .
9% ....
Bordone, Paris , .	. . 82 MalepoHrait.
Borgognone, Ambro^	rio . 84 Presentation in the temple.
Botticelli, Sanclro .	. . 184 Madonna and S. John.
Bronzino, Angelo .	. . 87 Male portrait. , .
Cagnacci, Guido	. . 108 John Baptist.
Canale, A. (Canaletl	o). . 105 View of S. Salute.
Cantarini ....	. . 110 Bepose of the Holy family.
Oaracci, Annibale	. . . 119 The Madonna of the " Cherry.*'
9* 99 '	. . 120 Madonna.
»♦ >» *	. . . 121 The Madonna appearing to S. Luke.
»» »	, . . 123 Dead Christ.
9i a	, . . ISO S. Sebadian.
99 f»	. • . 132 Diana and Calisto.
»» >»	» . . 134 The fishing.

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PABI8: THE LOUVBE.

Garaooi, Annibale • , „ Lodovico . . Carayaggio (Amerigbi)

Garpaocio, Yittore Cimabue . . . Cima da Oonegliano Gorreggio (Allegri)

»» »>

Oosta, Lorenzo Gredi, Lorenzo di

Bomenichino (Zampieri)

Doesi, D0880

Ferrari, Grandenzio . , . Feti, Domenico .... Florentine School, 15th

century

Francia, F. (Baibolini)

Gaddi, Agnolo ....

„ Taddeo ....

GaroMo (Tieio) . . . .

Gentile da Fabriano . .

"■.{

Ghirlandajo, Domenico Giordano, Luca . . Giorgione (Barbarelli), attrib. •

Giotto da Bondone . Gozzoli, Benozzo Guardi, Francesco .

Guercino (Barbierl)

No.

135 The hunting, — ^And others.

139 Madonna.

25 ThefoHune-tdler.

26 A concert.

27 Portrait of the Chrand Master of Malta. 113 iSL Stephen prea^ihing. — Lijured.

153 Madonna with angeU, 152 Madonna toith saints.

19 Mystie marriage of 8, Catharine.

20 Antiope a,steep.

154 Court of Isabella d^Este.

156 Madonna with saints.

157 Noli me tangere. — Beplica of No. 1150 in

the Uffizi.

469 Adam and Eve.

470 David playing the harp.

473 The ecstasy of 8. Paul.

474 8. CecUia.

477 The triumph of love.

478 RinalAo and Armida. — ^And others, 167 Hdy family.— SmaW.

Ill 8. Paid in meditation. 180 Figure of Melancholy.

496 Madonna enthroned with saints.

306 A Nativity.— Bmall.

307 The Crucifixion.— Reeiboied.

187 Annunciation,

188 PredeUa in three parts. 412, 13, 14 Small works. 415 Madonna. — And others.

170 Presentation in the tomple. — PredeUa of

Adoraiion in tiie Brera Ko. 155.

171 Madonna. — Small.

202 The visit of Mary to Elieaheth.

191 Mars and Venus. — Small.

38 Soly family with saints and donator. —

By Pellegrini da San Daniele: G. and C.

39 Bustio concert.— Not genuine.-

192 8. Francis of Assisi*

199 Triumph of 8. Thomas Aquinas. 208 Doge going in state to the 8aXute.

211 Doge going in state to 8. Za4iharia8.

212 Interior in ^the ^Ducai Palace.— And

others. • • •

40 Lot and his daugldevs. -

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FARI8: THE LOUVER

369

Gueroino (Barbieri) .	No.
»» »>	. . 46 Madonna and patron taint of Modena,
11 » •	. . 48 aree.
»» >» •	. . ^9 Hi8 0umpoHrait
99 »» •	. . 51 8, CecUia.
Italian Schools, 16th	cen- 523 Portrait of a young man.— This has been
tury.	assigned to Baphael, Bugiardini, Franoia
	and Franoia Bigio.
Lippi, Fra Filippo .	. . 221 Madonna vnth saints.— The predella is in
	the Florentine Academy, No. 42.
attri	b. . 220 A Nativity,-Uay be by the PeseUi: C.
	andO.
Lotto LoroDZo . .	. . 227 i9. Jerome in {he desert.
Laioi, Bernardino .	. . 230 HolyfamUy,
fj n	. . 231 Madonna.
99 »»	. . ^2 8al(me Wiethe head of ihe Baptist.
»> 99	. . — Several good frescoes in a room adjoining
	the Salon Carr^.
Mainardi, 8. . .	. . 243 EdyfamUy.
Mantegna, Andrea .	. . 250 Christ between the two thieves.
» w
W 99	. . 252 The Parnassus.
w »> •	. . 253 ExpuUUm of the Vices.
Maratta, Carlo . .	. . 256 Female p&rtrait.
Mola, Pietro Franc	. . 268 I%6 Baptist preaching.
» M » •	. . 269 Vision of 8. Brum.
Montagna, B. . .	. . 270 Ecce Homo.
Moretto (Uonviciuo)	. . 78, 9 SainU.
Palma Vecchio . .	. . 274 Adoration of the shepherds.
Palmezzano, Marco .	. . 275 il dead Christ.
Panini, Giovanni .	. . 283 Interior of 8. Peter*s at Rome.
»» >♦	. . 284 Concert given at Eomcy Ac.
»f >»	. . 285 Piazza Navona at Borne.
Ptrrugino . . .	. . 426, 7 Madonna with sainU.
>9 ...	. . 429 C<mAat between Love and Chastity.
Pesellino • . .	. . 287 Part of a predella. — ^The remainder is in
	the Florentine Academy, Ko. 48.
Pie^o di Gosimo	. . 289 Coronation of the Virgin.
Pietro da Cortona .	. . Qi BiHh of the Virgin.
>» »	. . 66 HolyfamUy.
19 » *	. . 67 Madonna and 8. Martin.
»> »>	. . 69 DidaafuJJS'necu.— And others.
Pinturicchio, B. .	. . 290 Madonna and saints.
Piombo, S. del . .	. . 229 Visitation of the Virgin.
Pontormo (Carucoi) .	. . 1 3 Portrait of a man.
Procaocini, G. C. .	• . 305 Madonna and saints.
	2 B

Digitized

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370

PABT8: THE LOVVBR

BafGftellino del Garbo Bapbael Sanzio .

attrib.

Beni, Gnido

Eioci, Sebastiano

>» w

Bicoio, Felice Bomano, Giulio

»» »>

Bosa, Salvator

Bosselli, Cosimo

Sacobi, P. F.

Sarto» A. del (Yannuocbi)

Sassoferrato •

Signorelli, Luca >» »

»> »>

Solano, Andrea

Spada, Lionello Spag^a, Lo .

Tiarini, Alessandro Tiepolo, G. B. . Tintoretto (Eobusti) Titian (VeceUio) .

No.

189 Coronation of the Virgin.

362 Madonna^ ** La heUe Jardinitre."*

363 Madonna in adoration.

364 Holy family.

368 8. Jtftc^ocZ.— Small.

369 8. (:?eor^«.— Small.

370 8. Michael overcoming 8atan.

371 Balthcuar Castiglione.

373 Princess of Aragon. — Cbiefly by Giulio

Bomano.

374 Portrait group.

372 Portrait of a young man, — ^By Francia

Bigio : 0. and C. 318 Eoce Homo. 319, 20 Magdalen. 321 8. Sebastian.

324 C<mhai of Hercules.

325 Nessus and Dejanira.

327 T^c raj)c o/ ^cfen.— And others.

331 Polyxenes before the tomb of Achilles.

332 The continence of Scipio. 334 Holy family.

291 TheNativUy.

293 Triumph of Titus and of Vespasian.

344 A large batHe-piece.

345 Landscape.

347 Madonna in glory.

354 The doctors of the c^wrcfe.— Dated 1516. 379 CharUy.

380, 1 Holy families.

355 The Madonna.

356 Assumption of the Virgin.

389 Birth of the Virgin.^ A predella.

390 Adoration of the magi.

391 Group of figures.

394 The Madonna "ot* Coussin vert.**

395 Portrait of Charles d*Amboise.

396 The Crucifixion.

397 Head of the Baptist— TMed 1607. 400 Martyrdom of 8. Christopher,

403 The birth of Christ

404 Madonna.

410 The repentance of 8. Joseph.

411 Last /S^tfpper.—Small. 337 His own portrait 439 Madonna with saints.

Digitized

byGoogk

PARIS: THE LOUVRK

371

Titian (Vecellio)

attriK

Tura, Gosimo UocellOjP. . .

»» TJnknown . . Vanni, Francesco „ Turino . Tasari, Giorgio . Veronese (Caliari)

Tinoi, Leonardo da

Volterra, Daniele da

No.

440 Holy family *• au Xapin."— Painted 1530.

441 Madonna with saints. — ^Perhaps partly by

Cesare : 0. and G. 443 Christ at Emmaus,

445 The crovming with thorns,

446 The EntwnbmenU

449 Jupiter and Antiope, •* Venus del PardoJ^*

450 Francis I.

451 Allegorical portraits of. Marquis del Vasto

and his mistress,

452 Portrait of Laura IHajdi at her toilette, —

Fainted 1523. 453, 4 Male portraits. 456 Portrait of the commander of MaUa. 455 Portrait. — ^Fine example of G. A. Porde-

none : G. and G.

442 Holy family. — Not genuine. 419 A monk.

165 Portrait group.

166 BaUle-pieoe. 523 Male portrait.

424 The martyrdom of 8. Irene. 426 Madonna and angels, 437 The angeVs salutaiion.

92 Esther before Ahasuerus.

93 Madonna with saints.

95 TJie marriage at Cana,

96 The feast in the house of Simon.

97 Christ hearing the cross. — Small. 99 The pilgrims of Emmaus.

100 Jupiter destroying Crime.

101 Female portrait. — ^And others

458 The Baptist.

459 Madonna and S. Anne. — ^UnfiDished.

460 !Z%e " Vierge aux Bochers."

461 Female portrait, ** La hdle Feronniei-e."

462 Portrait of Mona Lisa (La Joconde). 333 David and Goliath.

Spanish School. Gtoya, Pr. 534 Male portrait.—¥uIL length.

Herrera, P. el Viejo Morales, Lms (El Diyino) . Murillo, Esteban . .

536 S. BasU teojching.

537 Christ hearing the cross. 538, 9 Conceptions.

64:0 Birth of the Virgin. .

2 B 2

Digitized

byGoogk

372

FABI8: TEE LOVVRE.

Hurillo, Esteban

»» 91

>♦ >»

>9 n

Bibera, Joe^ . . » »» • • »i >» • •

Yelasqnez, Diego

»» »>

i» »

»» >»

Zurbaran, Fiandsoo

Ko.

541 Madonna in glory,

542 Madonna.

543 HolyfamHy,

546 Mirade of 8. Diego,

547 rA« beggar-toy.

548 Adoratim of the $hepherd8.^T)ai,ied 1050.

549 Ptfittf.— Life-size.

550 i9. PatiZ, e^ hermit

551 Infanta Margarita Teresa,

552 P^titp IF. o/ i^^Mitn.

553 Portrat«.— Dated 1633.

554 Group of portraits, — Small.

555 Legend of 8, Pedro Nolaeco.

556 The funeral of a bishop,

557 8, Pofonta.— SmaU.

Second Part. — German^ Flemish, and Dutch 8chooh.

Baokhuizen, Ludolf

»» »•

Bega, Gomelis . . Beham, Hans Sebald Berchem, Nicholas

Bol, Ford.

Both, Jan and Andries Bril,Paal • • , Brouwer, Adrian Brueghel, Jan (Velours)

Ohampaigne, Philippe de

Cranach, Luoas, elder Grayer, G. de . •

No. 5 The Duteh squadron, 7 Marine-pieee.

13 Interior,

14 The history of David. 17 View near Nice,

18, 21, 5, 7 Landscapes with figures, 19 Cows and figures, — Small. 24 CatOe, 39 Philosopher,

41 Portrait of a mathematician.

42 Portrait, — ^And others. 43,4 Landscapes,

67, 8 Landscapes, 47 Interior,

58 Paradise,

59 Myihologicdl piece,

60 Pa^^2« o/ ArhelUis, — ^And others. 76 Christ in the house of 8imon,

79 Dead Christ,

83 Portraits of two nuns,

86 Portrait of Louis XIII,

87, 91,3 Portraits,

88 Portrait of Bohert Amaud d^AndiUy.

94 Portraits of Mansard and PerrauU.

99, 100 Portraits,

102 R Augustine in ecstasy,

103 ^(grue«^ian jK>f <rai£.

Digitized

byGoogk

PABI8: THE LOUVBE,

373

v.uyp,-tt.. . » •

Denner, Baltl

Dow.G. . ,

»» • •

j» • • >» • " * . '

>» »

Duoq, J. le

Biirer, Albre<

Dyck, Anton

»» »»

»> »> »» »> »t »» >» >»

*9 >» »» >» » ♦» »» W »» »> »t M ?» »» >» »» ♦» »

Alzheimer, A Eyok, Jan ye Fliaok, Gove

»> >» Fyt, Jan .

w >» •

Goyen, Jan Hals, Fians Heem, Jan I Heist, Bart.

99 *l

Heyden, Jan

lasar .

yht . yan .

dam kn . rt .

yan

)ayid d van der

van de

»9

e

r

No.

104 Oowes in a Icmdseape.

105, 6 StaHingfor a ride,

107 Group of children,

108 Male portrait 117 Female portrait,

121 The visit of the doctor.

123 The viUage grocer,

124 The trumpeter,

125 The Dutch cook,

126 A vooman hanging up a cock,

127 The gold-weigher.

128 The dentist.

129 Beading Hie Bible.

130 Sis own portrait,

134 GuardrToom,

135 The brigands,

672 Jfon tn a red cop.— Dated 1520,

136 Madonna,

137 Madonna and donaiors.

138 Dead Christ,— SmsM,

139 i6^. Sebastian,

141 Binaldo and Armida,

142 OAarZe* I. o/ England.

143 Children of Charles I.— Small.

144 Two portraits in one frame.

145 Isabella of Spain.

146 ^gttcsfrtan jjortratf.

148. 9 Male and female portraits.

150 Blchardot and his son,

151 Duke of Btcihmond.

152 ^t8 own portrait.

153, 4, 5 Male portraits. — ^And others. 159 The flight into Egypt 162 Madonna and donator.

171 The angel and the shepherds.

172 PoHrait of a liUle girl.

177 GaTne and fruit,

178 Dead game.

181-4 Views in Hollandy Ac.

190 Portrait of Descartes.

192, 3 Fruits.

197 ITAtf ilrgue&usitfrs.— Study for No. 142 at

Amsterdam. 198, 9 Male and female portraits. 202 View in Amsterdam. 203, 4 2>uec^ towns.

Digitized

byGoogk

374

PABI8: THE LOUVRE.

Hobbema, Meindert Holbein, Hans, younger

Honthorst, G. .

»t Hooghc, Pieter de Huysom, Jan van Jaidin, Earel dn

Jordaens, Jacob

Kalf, Willem Lingelbacb, J.

Haas, Nicholas Mabnse, Jan Gossaert

» »♦

Matsys, Qnintin

„ „ attrib.

Meer of Delft, Jan van Mending, Hans

Metau, Gabriel

Menlen, Yan der

No.

205 Landscape, 675 Landscape.

206 NiohoUu Kratzer.

207 WiUiam Warham. . 208 Erasmus.

. 210 Sir Thomas More.

. 211 Anne of Cleves.

. 212 Sir Richard SouthvoeU.^^^^aSk of No. 7C5

in the Uffizi. . 213 Portrait of a man. , attrib. 209 A head.

215 Pilate washing his hands.

219 Portrait.

223, 4 Dutch interiors.

238, 9 Flowers and fruit.— And others.

243 Italian eharUUans.

245, 6 CatOe.

247 Landscape and animals,

249 The ford.

250 Portrait. — And others.'

251 Christ driving out the money-changers,

254 Infancy of Jupiter,

255 Feast of kings.

256 The concert after the feast, 259 Interior.

270 Market at Rome,

271 Italian port. 273 Landscape and figures.

276 Soldiers gaming.

277 PoHraU of Carmdelet.

278 Madonna.

279 Banker arid his wife. . 280 Descent from the cross.

der 695 Woman making laee.

288 S. John Baptist.

289 Magdalen. 680 Madonna and donators.

292 The market-place at Amsterdam,

293 An officer receiving a lady.

294 The music lesson.

295 Man at a window.

296 Dutch woman.

297 A cook.

301 Triumphal entrance of Ltmis XIV, 304 CofiH of Louis XIV. 308 Passage of (he Rhine,

Digitized

byGoogk

PARIS: THE LOUVRE.

375

Meulen, Yan der

»» j»

Mieris, F. van, elder

>» »>

„ Willem van

Mignon, A. . . Moro, Antonio . Neefe, Pieter Neer, Artus van der

» »»

Netacher, Gkispar

>» >»

Ob, Jan van . . Ostade, Adrian van

Isaac van

Potter, Paul .

Ponrbns, Pieter

„ Frans, younger

Bembrandt van Kyn

Bottenhammer Bubens, P. P.

No.

314 Vietjo of FontainebUau,

317, 18 Battle-pieces.

322 Portrait,

824 The tea,

326 The soap^buhhles,

327 TAe game-merchant,

328 The shop, 329. 34 Still-life,

342 Dwarf of Charles V. and dog, 347 Interior of a cathedral.

354 Dutch canal,

355 Moonlight.

358 The singing lesson,

359 The lesson on the viol.

368 Flowers and fruit,

369 Group of the painter's family.

370 The schoolmaster,

371 The fish market,

372 Interior of a cottage,

373 Man reading.

376 Arrival of travellers at an inn,

377 Wayside inn,

378, 9 Frozen canals in Holland.

399 Animals in landscape.

400 The field,

688 A grey horse,

689 Cattle under trees,

391 The Resurrection,

392 The Last Supper.

394, 5 FuU-length portraits.— BmaXL,

396 Portrait of Maria de* Medici.

397 Portrait.

404 T^ angfeZ Raphael leaving Tobias.

407 Ti^ pilgrims of Emmaus.—SmsM.

408, 9 Philosophers in meditation, — Small.

410 An interior,

412, 13, 14, 15 Portraits of Rembrandt,

416, 17, 18 Male portraits,

419 Female portrait.

690 i9ft£c{2^ in a slaughter-house,

424 Deorf^ of Adonis,

425 The flight of Lot

427 Adoration of the magi,

428 r^e Madonna *' awx anges.*^

429 FiVgiw m a garland of flowers. 432 Triumph of Religion,

Digitized

byGoogk

876

PABI8: THE LOUVRE,

Bnbena, P. P.

Bvysdael, Jacob

Kyokaert, D. Sohalken, G.

Slingeland, P. van

ft M

Snydera, F. .

Sprong, G. .

Steen, Jan

Tenien, David, younger

Terbmg, G.

Veen, Otho van . . Yelde, Adrian yan de

„ Willem Tan de y enne, Adrian van de

Verkolie, J. . . . Yoia, Ary de . . Weenix, Jan . . . Werff^ A. van der Weyden, B. van der

No.

433 TomyrU toilh the head of Cyrus.

434-54 Large works relating to Vie history of

Maria de* Medici, 450 Elizabeth of France.

455 Franfois de* Medici,

456 Jeanne d' Avtriehe,

460 Helena Fourment and two children.

461 Portrait of a lady,

462 VaiagefiU. 465 Landscape.

470 The forest

471 Sea-piece,

472 Landscape,* The thicket*

473 Landscape, *'Bay of sunlight' 693 A painter's studio,

478 Holy family. 480 Candlelight piece. 486 Dutch family,

488 StiU-lifc—J&mBXi,

489 Animals,

490 Animals entering the ark. 492 Boar-hunt.

498 Female portrait. 500 A Flemish feast

512 The prodigal son.

513 The toorks of mercy.

514 The temptation of 8. AnUiony.

515 A village fair.

516 Outside an inn. — ^Large. 518 Interior of an inn,

520 The heron-hunt, — ^And others.

526 An officer presenting gold to a woman.

527 The music lesson,

528 The concert

535 Group of himself and famfly,

536 The heach at Scheveningen,

539 Landscape and animcUs,

540 Figures and cows, 542 A marine-piece.

545 Feast in honour of the armietiee declared between the Dutch and Albert of Ausiricu 547 Dutch interior, 551 Full-length poHrait,Sms:^. 554, 5 Dead game. 557-69 Various examples, 698 A Pieth vfith three figures.

Digitized

byGoogk

PARIS: THE LOUVRE,

377

	No.
Wouwerman, Plulip	. . 565 The'B(Bufgra$:
>l M	. . 567 Hunting-party.
99 »»	. . 570 The riding-school.— And others.
Wynants, Jan . .	. . 579 Forest scene.
»» ♦» • •	. . 580, 1 Landscapes,
Zorg	. . 421 InUrior with stiOAife,
Third Pabt.--2%« French School,
Blanohard, J.	. . 14, 15 Holy families.
H	. . 16 CharUy.
»»	17 8. PauL
BoQoher, Francois .	. . 23 RinaMo and Armida.
#» »» •	. . 24 Diana leaving the hath.
»> »» •	, , 25 Venus applies to Vulcan for arms.
>» »» •	. . 26, 7 Shepherdesses.
BouUongne, Bon	. , 83 Hercules and the centaurs.
Bourdon, S^bastien .	. , ^0 Descent from the cross.
M »♦ •	. , 42 The martyrdom of S, Peter,
»> »»	. . 47 RenS Descartes.
>f »»	. . 48 PoHrait of the painter.
Boniguignon, Jacques	. . 132 Cavalry combat. — And seyeral others.
Bran, Charles Le .	. . 56 Infant Jesus asleep.
WW •	. . 57 Holy family, the " Benedieite:'
»» w	. . 58-61 Series from the life of Christ.
w »»	. . 62 Christ on the cross and angels.
»» w	. . 64 2%e descent of the Holy SpirU,
W 19	. . 65 The martyrdom of Stephen,
>» ♦»
» t> ' •	. . 70-4 Scenes from the history of Alexander.
»» »»	. . 75 Meleager and Atalanta,
CasanoTa, Francois	. . 91, 2 Battle-pieces.
Chardm,J.B. . .	. . 96 Kitchen utensils.
»»	. . 97 Fruits, animals, Ac.
»>	. . 99 The blessing.
»» •	. , 100 Dead rabbit and hunting-gear.
	. . 101, 2 Kitchen utensils. — And others num-
	bered and unnumbered.
Claude (Lorraine) .	. . 219, 26 Sea-poHs.
>» »	. . 220 View of tJie Campo Vaccino, Rome.
99 »»	. . 221 Village fair.
9» M	. . 223 TAe landing of Cleopatra at Tarsus.
99 »»	. . 224 David anointed Ung by Samuel.
>• >» •	. . 225 Ulysses restoring Chryseis to her father.
♦» 9*	. . 231 The ford.
Clouet, Fran90i8	, , 107 PortraU of Charles IX, of Franoe.

Digitized

byGoogk

378

FABI8: THE LOUVRE,

Glonet, Fran9oi8 . .

„ „ attrib,

M Jean . . .

„ P., School of GocJiereau . . . Gousin, Jean . . . Ooypel, Noel . . .

„ Antoine . . David, Jacques Lonis

Desportes, Francois

Dufresnoy, C.

Febvre, Claude le Fouquet, Jean, attxib. Fragonard . * Frdminet, Martin Fiench School, Early Greuze, J. B.

Hyre, Laurent de La

>» »»

Jouvenet, Jean .

Lancret, Nicolas Largilli^re, Nicolas Loo, Carle van .

„ Jean Baptiste van Mignard, Pierre . .

No.

108 The wife of Charles IX, of France, 115, 16 Male portraits,

109 PoHrait of Francis I. — Several good examples.

127 Students painting from a model. 137 The Last Judgment,

142 Cain the murderer,

143 Aihaliah turned out of tlie temple.

148 Leonidas at Thermopyhe,

149 The Sabine women.

150 The oath of the Horatii,

151 Brutus with the bodies of his two sons,

159 Pius VIL

160 Madame BSeamier, 162 His own portrait,

164 Wolf-hunt.

165 Boar-hunt,

166 ^ag-huni,

180, 1 Crame and dogs, — And others.

212 S, Margaret,

213 The nymphs, 195 Two 'portraits, 652, 3 PoHraiU,

208 Classical design for tapestry, 211 Mneas abandons Dido, 650, 1, 4 PoHraits,

260 The village bride,

261 The paternal curse,

262 The punished son.

263 The broken pitcher,

264 His own portrait.

265 PoHrait, 286 Madonna.

290 Pope Nicholas and the body of 8. Francis.

297 The draught of fishes.

298 The raising of Lazarus. 301 The Descent from the cross. 802 The Ascension.

306 P(yrtrait.

310-13 The four seasons.

320 Portrait of Charles Le Brun.

326 Marriage of Joseph and the Virgin.

329 Best from hunting.

830 Marie LeczinskOy Queen of France,

324 Institution of the order of the Holy Ghost,

349 Madonna with the grapes.

Digitized

byGoogk

PABI8: TEE LOUVRE.

»79

Mignaid, Pierre

Moine, F. Le Kain, Le

Oudry, J. B.

Parrocel, J. . Patel, Pierre Pater, J. B. . Porte, Eoland de la PoQssin, Nicolas

Bigaud, Hyacinthe

Santerre, J. B. . .

»» • •

Sableyras, P. . .

» •

Saeor, Enstache Le

No.

858 Group of Louis the Dauphin and family,

360 His own portrait,

361 Hereules,

875 Blacksmith at his forge, 377 A village scene. 878 Procession of priests, 886 Pointer.

387 Wolf-hunt

388 Dog guarding game. 393, 4 Sketches of battles. 895, 6 Landscapes,

403 Pustie feast,

413 StiU-life.

415 Eliezer and Bebecca.

416, 17 The finding of Moses.

421 Philistines stricken with the plague.

426 Healing the blind.

433 The ecstasy of 8. PauU

434 Mirade of 8. Francois Xavier,

436 Boman subject.

437 Pyrrhus sated, 440 Bacchanalia.

443 Triumph of Flora,

445 The shepherds of Arcadia.

446 Triumph of Truth,

447 His own portrait. 448-51 The four seasons. 453 Diogenes.

475 Louis XIV.

476 Philip V. of 8pain. ill Bossuet,

479 Desjardins.

480 Le Brun and Mignard.

496 8usannah at the bath.

497 Female portrait.

504 Christ in tlie house of 8imon. 508 Mass of 8. Basil. — ^And others.

517 Christ bearing the cross,

518 Descent from the cross.

519 Christ and the magdalen.

520 8aint8 refusing" to sacrifice to Jupiter.

521 TAe preaching of 8. Paul.

525-47 The history of 8. Bruno,— Sos. 525 and

527 are the best. 551-6 The history of Love. 558-62 Bepresentations of the nine Muses,

Digitized

byGoogk

880

PABI8: THE LOWER

Tooqn^ Louis . Tioy, J. P. de . Valentin, Moioe .

Vernet, Joseph

Yien, Joseph Marie

Youet, Simon

Wattean, Antoine

No. . 577 Maarie Leezintika, Queen of France. . 581 Henry IV, and eourtiers. — ^And others. . 583 Innooenee of 8u$annah. . 584 Judgment of Solomon, . 586 A concert, , 587 Oroup of musieiam, , 588 ThefoHune-teiler.

. 592-632 Views of French marine ports and marine pieces^ of which Kos. 596, 615, 17, 23 are the best . 634 68, Oermain and Vincent, , 636 The sleeping hermit, . 637 Cupids and flowers. . 641 Fresentation of Jesus in Uie temple. , 642 Holy family, . 645 Bornan charity, , 647 Allegory of riches, . 649 JEmbojrkation for the island of Cythera,

One of the lofty halls contains seyeral decorative works, chiefly by Boncher, Natoire, Yerdier, and others. Abo?e these hang four large works by G. Le Bmn.

The Oollbotion of M. Louis La Gaze.

Italian School, No. W'

Gnardi, Francesco ... 11 View of the Salute, Venice, Tintoretto (Bobnsti) . • 19 Portrait of a Venetian senator.

Spanish School, No.

Bibera, 3ob4 32 T7ie heggar,

Yelasqnez, Diego ... 39 Portrait of a young woman, „ „ attrib. . 37 The Infanta Maria Teresa,

Flemish, Dutch, and German Schools, No. Brekelenkamp .... 46 Tlhe doctor's visit, Brouwer, Adrian ... 44 The operation, Ohampaigne, Philippe de . 51 Jean Antoine de Mesme, Denner, Balthasar ... 5S An old woman,

Fyt, J 61 Dead game,

Hals, Fraos 65 The gipsy.

„ „ 66 Portrait of a woman,

Kair, Willem .... 76 StUUife,

Digitized

byGoogk

PARIS: TEE LOUVRE.

B81

No.

78 TJiellemng. 80 Hecid of a young man. 82 The drinker. 87 The schoolroom. 91 Landscape in mnter.

93 Landscape.

94 Female portrait. 96 i4 woman at the haih. 98 Mdfe portrait.

100 Portrait of Maria de* Medici.

116 ji ^ mercharU.

120 Ffuito.

122 The family meal

124, 8 Village fairs.

133 The ooUector of alms.

Terburg, G 145 T^ reading lesson.

Wouweiman, P 152 The pilgrims.

Maast^oholas • » Mol,P. van . . . Ostade, Adrian van » >» •

„ Isaac van Pynacker, A. . . Ravesteyn, Jan van Rembrandt van Byn

Kubens, P. P. Snjders, Frans

Steen, Jan . . . Teniero, David, youDger

French School.

Bonober, Francois .	. 161 VtUean and Venus.
» w •	. 162 The three Ghraces.
>» >t •	. 164 The forge of Vulcan.
Bourdon, S. . .	. 166 An interior.
Cbardm,J.B. . .	. 170 The blessing.
»»		. 171 Boy wUh car<f«.— Life-size.
>»		. 172 Monkey painting.
>» •		. 173, 4, 5, 7, 8 StiOAife.
>»		. IIQ The brass fountain.
»» •		. 179 Different uUneiU.
>» •		. 180 Fruit and glass.
»»		. 181 The stiver goblet.
>» •		. 183 The basket of grapes.
9t		. 184 Kitchen utemiU.
Fragonard	.-	. . 194 Bathers.
»> •		. . 196 Venus.
»» •		. . 198, 9 Studies.
Greuze, J. B.		. . 201 His own portrait.
t»		. . 206 Head of a young girl. — And others.
Lancret . .		. . 213 Dramatic scene.
LargUliere .		. . 216 Study for the ' Omference' mitage. . . 221 PortraU.	in the Her-

»♦		. . 224 Portrait group.
Home,F.Le		. . 225 Hercules and OmphdU,
Nam,Le. .		. . 227 PeasanUt repast.

Digitized

byGoogk

PARIS: THE LOUVBE.

No.

Pater, J. B 234 ^A rAtnion'of eomediarui,

„ 235 The toilette.

„ 236 Garden party.

Porte, Boland de la . . 238 StiO-life.

Bigand, H 241, 2 Foriraiis.

Watteau, Ant 260 Portrait of GiOes.

„ „ .... 261 L'lndiff^rmt

„ „ .... 263 An assembly in the park.

„ „ .... 264 Theeof^urer.

Digitized

byGoogk

DULWICH: THE GALLERY. 883

THE PICTUEE GALLEEIES OF ENGLAND.

THE DULWICH GALLERY AT DULWICH.

Catalogub of 1876.

Pictures lad examined in 1877. No.

Berchem, N 17 Landscape with figures,

„ 160 Wood seme.

„ 200 Landscape. — Called Le soir.

„ 209 Landscape. — Called 2^ m^t.

Both, J. and A. ... 30, 199, 205 Landscapes with figures.

„ „ .... SQ, ^l Landscapes with figures and catUe.

BroQwer, A. 54 Interior of an alehouse.

Chardin, S 27 Oirls at work.

„ 308 Woman with a hurdy^urdy.

Claude Gel^ (Lorraine) . 244 Landscape — Jacob and Lahan.

„ „ „ . 270 Embarkation of 8. Paula.

„ „ „ . 275 Seorport,

Cuyp, A. 9, 83, 163, 9 Landscapes with figures and

catUe.

„ 141 Landscape with figures.

„ 145 Winter scene.

„ 239 Landscape with caiUe.

„ 241 ViewofD(yrt.

Doloi, Carlo 337 MaJter dolorosa.

Domeniohino .... 226 Venus gathering apples.

Dow, G. ...... . 85 An eld woman eating porridge.

„ 106 A lady playing on a spinet.

Dnghet, Gaspar (Poussin) . 269 Destruction of Niobe and her children.

Dusart 104 An old building toith figures.

Dyck, A. van .... 135 Madonna.

„ „ .... 214 TAe Earl of Pembroke.

Gainsborough .... 1 Mrs. Sheridan and her sister.

„ .... 358 Thomas Linley.

^ .... 361 Samud Linley,

Digitized

byGoogk

884

DULWICH: THE GALLEBT.

GaiikBborough

Oneroino . GnidoBeni

ft n

Hobbema, M. Holbein, attrib.

HuysaiD, J. van Jaidin, Earel du

>» » Le Bruise.

HuriUo

Neefii, P., elder Neer, Artos van Opie, J. • . Ostade, A. yan

der

Poelenburg • Poussin, Nicholas

Pynacker Baphael .

Bembrandt

Beynolds, J.

Bigaud, H.

No.

362 Thomas Lirdey.

366 Mrs, Moodey and her chUdren,

324 8. CeeUia.

331 8. John in the wilderne$8,

839 8. 8ebaUian.

131 Landscape with a water-mUL

353 Portrait of an old man. — ^Ascribed to

Amberger by Mr. Womum. 140 Flowers,

62 Landscape with eattle and figures. 229 Smith shoeing an ox, 252 The massacre of the innocents, 319 Horatius Codes defending the hridje. 248 The Spanish flower-girl 283, 6 Spanish hoys, 347 The Madonna *' del Rosario,**

79 Interior of a cathedral, 112 Moonlight scene,

3 His own portrait, 107 An interior. 152 ^ man smoking, 190 Boors making merry,

14 Landscape with figures. 279 Landscape. 291 The adoration of the magi. 295 The inspiration of a poet, 300 Education of Jupiter. 305 Triumph of David. 310 The fiight into EgypL 315 Rinaldo and Armida, 336 Assumption of tlte Virgin. 130, 50 Landscapes and figures. 306, 7 Portions of a predella, belonging to an altarpiece painted in 1504 for the convent of S. Anthony at Perugia. 179 Jacob's dream. 189 PoHrait—QmaXi, 206 Portrait of his serving-maid. 282 Portrait. — Said to be that of Wonwerman. 143 Mother and her sick child, 146 His own portrait,

254 Sketch for the death of Cardinal Beaufort. 285 Samuel

340 Mrs. Siddons as the tragic Muse, 2 JLouis XIV, 98 Boileau.

Digitized

byGoogk

EDINBURGH: TEE NATIONAL GALLERY.

385

	No.
Rigand, H. . . .	. . US Male portrait
Rosa, Salvator . .	. . 159 Landscape.
»» >» • •	. . 271 Soldiers gaming.
Babens ....	351 Venus, Mars, and Cumd.
»» ....	. . 355 PortraU of his moiher.
Ruysdael ....	. . 154 ^ vxtterfalL
Sarto, A. del, attrib.	. . 327 Holy family.— ^nyipoBeA to be a fine copy
	of No. 81 in the Pitti, Florence.
Slingeland . . .	. . 151 Boy with bird's nest
Temers, David, elder	. . 18 Winter.
„ D., younger	. . 60 Sow and pigs.
»» >»	. . 116 A winter scene.
»» »♦	. . 119, S9 Landscapes with figures.
9* f*	. . 185 The^chaff'cutter.— And othen.
Tiepolo ....	. . 99 Joseph and Pharaoh.
»> ....	. . 238, 6 Sketches for a ceiling.
Yelde, A« van de	. . 72 Landscape with cattle.
„ W. van de .	. . 113, 86 A calm.
M »>	. . 166 Ahrisk gaU.
Velasquez, Diego, attr	Lb. . 194 Prince Baltasar Carlos.
»t w »»	. 309 Philip IV. of Spain.
Vernet, C. J. . .	. . 202 View near Rome.
Watteau, A. . .	. . 197, 210 Fites champitres.
Werff, Vander . .	. . 191 Judgment of Paris.
Wilson, B. . . .	. . 215 ViewofTivoli.
Wouwennan, P.	. . 137 The farrier and the convent.
»> •	. . 173, 228 Landscapes with figures.
Wynants, Jan . .	. . 11, 12 Landscapes.
)f »» • •	. . 278 Landscape.— FiguieB by A. van de Velde.
Znocarelli . . .	. . 231 Landscape and figures.

Allan, David

Gainsborongh Hogarth . .

THE NATIONAL GALLERY AT EDINBURGH.

Catalogub op 1878.

Pictures last examined in 1878.

British School to the end of the ISth century. No. , . . 3 His own portrait . . . 4 Portrait of James Tassie.

. . 5 Portrait of Mrs. Tassie. . . . 83 Origin of painting. — Small ovaL . . . 269 The Honourable Mrs. Graham. . . . 267, 70 ilfr. and Mrs. Dawson of Durham.

2 C

Digitized

byGoogk

386

EDINBUBGH: TEE NATIONAL GALLEBT.

No.
Eaebum, Sir H. . . . 2 Profesaor Wilson at the age of 20,
n •			19 Lady MiOer.
»> •			20 Francis Homer,
99 • It •			23 NeU Gow, 36 Mrs. ScoU Moncrieff.
»» •			38 Mrs. Hamilton.
t> •			39 Alexander Adam.
tt •			45 Mrs. Kennedy,
»»			47 Lord Newton,
			43 DavidHume, .
»t >f •			266 The artises wife.
Beynolds, Sir J.			12 Sir David Lindsay,
*> •			29, 30 Sir Th. and Mrs. Miller.
»> •			49 Edmund ^«rX^.— UnfiniBhed.
Rtmciman, J.			25 His own portrait.
Wilson, Bichard
»» It •			250 River scene.
II II •
Foreign Schools,
Baokhuizen, L 361 Sea-piece and hoots.
Ba88ano,J. . .		. . 90 McOeportraU.
Boni&zio, attrib.		. . 68 Last Supper,
Bordone, Paris .		. 106 Lady at her toilette.
Both, J. and A.		, . 110, 351, 92 Landscapes.
Boncher, Pr. . .		70 Madame de Pompadour,
Bourguignon, J.		. 80 SmaU hatOe-piece.
Oanaletto . . .		88 View in Venice.
Oaracd, L. . .		121 Death of Abel.
>» . . ,		. 330 Ecce Homo.— After Oorreggio.
Oastagno, A. del, attrib
	and Vecchietta : C. and 0.
Deelen, Van . . .	62 Architectural subject.
I>ucq,J. le . . .		. 404 Party at cards.
Dnghet, Gaspar		, 359 Land storm.
Dyck, A. van . .		. 315 Martyrdom of S. Sebastian.
» »> • •		. 818 MalepoHrait.
>» »» • •		. 319 The Lomellini family.
Furini,F. . . .		, 73 A poetess.
„ ...		. 85 S. Sebastian,
Pyt,J. ....		. 95 Dead wolf.
Garofalo ....		. 96 Christ purging the temple.
Giogione, attrib.		. 113 PoHrait. — A fine Delia Vecchia : C.
andO.
„ „ ... 373 Young noble and lady,^A donbtfnl Delia
			Vecchia : 0. and 0.

Digitized

byGoogk

EDINBUBGH: THE NATIONAL OALLEBT.

387

Grenze, J. B.

Guido Beni

Heist, B. van der Hobbema, M.

„ attrib,

JardiD, E. da . Liesborn, Meister von Lippi, Filippo . Lyyersberg, Master of Meulen, van der Michael Angelo .

Mnrillo, attrib. NeefiB, Pieter Pannini, G. P.

Pater, J. B. . .

Ponssin, K. . . Pynacker, A. Bembrandt, attrib. Bomano, G., attrib.

Bosa, Salvator .

Bnysdael, J. Sirani, Elisabetta SoyderSyF. . .

Steen, Jan . . Snstermans, J. . Teniers, D., younger Tiepolo, G. B. .

Tintoretto, attrib.

w >»

Titian . . .

attrib.

No.

63 Boy vfiih Usion hook,

82 Girl and piUAer.—^tadj for Ko. 263 in the

Louvre. 112 Tounggirl.

118 Oirl with dead canary.

370 Cottage interior with figures.

87 Venus and Graees, 384 Ecee Homo,

395 Male portrait 360 Wooded landscape, 357 Landscape,

368 HdU of horsemen,

350 Fragment of the Liesborn aUarpiece,

396 Saints,

352 Conversion of 8, Hubert

323 Progress of Louis XIV,

23, 4, 5 Wax models for figures in the Medici^ Chapel of 8, Lorenzo, Florence,

119 Boy drinking. 402 Cathedral interior,

67 Interior of basilica of 8, Paolo, 115 Interior of 8, Peter's,

79 Ladies bathing,

854 Copy of Bdlini^s * Gods upon earth.' 391 Forest scene, 349,67 Landscapes,

372 8tudy for part of the battle of Constantine in the Vatican,

74, 86 Soldiers in armiowr, 410, 11 Landscapes. 353, 405 Landscapes, 313 Infant S, John, 126, 8, 390 Bear-^ wolf-, and boar-hunts,

324 Mischievous monkeys, 362 Doctor* s visit.

102 Male portrait, 364 Peasants at skittles, 78 Finding of Moses, 383 Small sketch,

91, 214, 310 Winter^ Summer, and Autumn, 114 Jesus and the mother of Zd)edee*s children, 378 Ariadne in ^aaJo«.— BepUca of No, 450 at Madrid. 71 Holy family,

145 Adoration of the magi, — By Jacopo Bassano.

2 C 2

Digitized

byGoogk

GLASGOW: TEE GALLERY.

Titian, attrib.

Unknown Yelasqnez, attrib. Velde, W. van de

Veronese, P.

Wattean, Antoine

Werff, A. van der Znrbaran, F^

attrib. ,

No.

116 Landscape. — Flemish : C. and G. 874 Madonna and S, Catharine. 109 Male portrait.

69 SmaU study.

94 Naval engagement. 865 Fishing boats in a calm, 809 Mars and Venus. 877 .Venus and Adonis.

64 Pastoral.

81 Fete champetre.

72 Boy and girl at play. 855 Burgomaster and his wife.

98 Virgin in glory.

THE GALLERY OF PICTURES AT GLASGOW.

No oatalogaes. Unforiunately some of the paintings are for the present (1878) not visible.

Amiconi . . . Baroocio, F. . Bordone, P., attrib. Ganaletto. . . Gignani, 0. . . Correggio, copy of Giordano, L. Giorgione, attrib.

Gnardi, F. . Guercino, attrib. Gnido, after . Lncatelli . . Hola . • . Murillo . .X Procaccini, G. C. Raphael, after Ricci, S. . f Solimene S])ada, L. Titian, attrib.

No.

2,4 Cupids. 896 Madonna in glory.

— MadonnOy saints, and Lamb. 394 Piazzetta of S. Marco, Venice. 208 Death of Cleopatra.

424 AUarpiece of S. GircHamo, * II Giorno,*

— Triumph of Amphitrite.

401 Madonna enthroned, saints, and angeU. — By a painter of the 16th century: C. andC.

887 Island of 8. Giorgio.

397 Salvator Mundi.

— Mater dolorosa. 252 SmaU landscape.

— Landscape and figures.

— Repose in Egypt.

393 8. Michael and fallen angels.

— Holy family "dd Lagarto.*'

169 Elijah and the widow of Sarepta.

425 Justice and Pea^oe.

— A muse. — Small circular,

— Holy family.

Digitized

byGoogk

GREENWICH AND HAMPTON.

389

THE GBEAT HALL AT GREENWICH HOSPITAL,

This large hall is finely deoorated on the walls and ceiling by Sir James Thomhill. It contains also several paintings of naval engagements, among which should be noted two by P. J. de Lontherbourg and one by Turner, besides numerous portraits, painted by Sir P. Lely, Sir Godfrey Kneller, Sir J. Reynolds, Gainsborough, Opie, Bomney, Kathaniel Dance, Knapton, and Stone.

THE COLLECTION IN HAMPTON COURT PALACE.

Catalogub of 1876.

Pictures Uut examined in 1878.

A few pictures are referred to here as interesting on account of their

Illation to English history rather than as specimens of art work. In this

gallery the names of the great masters are attached without warrant to

numerous pictures.

No.

468 8tiU4ife,

72 A sculptor.

78 Portrait of a gentleman. 160 The deluge. 354 George III. reviewing cavalry,

117 His own portrait. — ^Injured. 5 Lord Anson. — And others.

137 Woman of Samaria. 146 The shepherd* s offering.

118 Madonna and donors* — By a follower: C. and C.

182 Portrait.

235 Lucretia. — Old copy of a Lucretia by Palma Vecchio at Vienna : C. and C. 66 Portrait of himself and family. 748 The massacre of the innocents. 539,44 Fruit. 9 I%e Colosseum at Rome.

Aelst, W. van . Bassano, Jacopo

Beechey, Sir William Bellini, Giovanni . Bookman BonifiiziO; attrib.

Bordone, P., attrib.

Bray, De . . .

Brueghel, Pieter, elder Campidoglio . . Canaletto Clouet, Francois (cata- logued as Janet) .

Clouet, School of Cornells . . . Dance, Wm. . Denner . Dobson, Wm.

561 The Queen of Francis I.

631 Mary Queen of Scots.

632 Francis II. of France. 566 Francis I. and lady. 564, 5, 7 PoHraits,

374 Bishop of Wincliester. 35, 6 Tioo heads.

376 Portrait of himself and wifc^^And others.

Digitized

byGoogk

890

HAMPTON COUBT: THE GALLERY.

Doasi, D088O, attrib. Dydk, Anton Tan

Eyck, Jan Tan, Sohool of Franoia, FranoeBoo .

Gainsborough . .

Gerhard, Maro . . Giorgione, attrib.

Grenze

Guido, attrib. Hals, Frans .

Heem, Jan DaTid de Heemskerck, M. Heere, L. da Heist, Van der Holbein, Hans

attrib.

Hondeooeter .

No.

80 MdleporiraU.

47 Mrs, Lemon,

85 Equestrian portrait of Charles L 387 Samson and DdUah, 590 Head of a young man. 307 The Baptism in Jor<2an.— Beplica of No.

437 at Dresden. 352 Fischer the musician, 853 Colonel 8t. Leger. 619 Queen Elizabeth,

60 Male head,

79 Holy family. — An inferior copy. 124 Mars, Venue, and Cupid. — "Bj a follower of

Bordone : 0. and C. 158 Portrait. — And others not genuine, such as

N08.73, 183. 413 Louis XFL of France, 429 Madame de Pompadour. 301 Judith and Holofemes. 676 Sketch cf a man, 682 Laughing, boy. 467. 9 StairUfe. 587 Death and Last Judgment. 635 Queen Elizaibeth in a fancy dress, 770 A Dutch gentleman. 594 Erasmus writing,

597 Erasmus,

603 Frdbenius (he printer.

608 Portraits ofhisfaiher and mother,

6 1 0 Reskemeer or Beskimer,

559 Countess of Lennox,

563 Henry VllL when young,

592 A French nobleman.

593 His own portraits

598 Francis J. of France.

606 Henry VIIL — Nnmerons others are ascribed to Holbein here which baTe no claim whatever to be regarded as his work. Some large compositions also in the Qneen's audience-chamber bearing his name are interesting con- temporary productions^ as containing costumes and illastrating eyents of the time: vide Nos. 331, 7, 9, 40, 2,5.

463 Poultry.

Digitized

byGoogk

HAMPTON COVBT: THE GALLERY,

391

Honthorst

n

Hoppner .

James

Eanfinann, Angelica Knapton .... Kneller, Sir Godfrey

Leiden, Lncas van, attrib. Lelj, Sir Peter . . .

„ „ attrib.

Longhi, Pietro . .

»» >f • •

Lotto, Lorenzo . .

M „ attrib.

Mabnse, J., attrib. .

BCantegna

Millans .... Monnoyer (Baptiste) Moro, A., attrib. Mytens ....

Palamedes . Palma Yeccluo

attrib.

No.

58 Duke of Buekingham and family, 330 Christian^ Duke of Brunswick, 355 FranoU, Duke of Bedford.

358 The Earl of Moira,

359 The eomie Muse,

883, 4, 5, 914, 19, 21, 3, 5 Views in and about Old London,

502 The Duchess of Brunsunek.

361 Family of Frederiek, Prince of Wales. 29 King WiUiam landing at Torhay. 40 Miss PiU.

46 DuehessofOrafton.' - 50 Countess of Dorset, 57 Peter the Qreai^ when young. — Several portraits of court beauties.

106 The Crueifixion,—A triptych.

190-207 Several portraits of the beauties of King Charles IL*s court; the Countess of Orammontf No. 207, is a good example.

185 Portrait of Lady Byron or of Lady BeUasys, — This fine portrait is more pro- bably by Jacob Huysman of Antwerp.

549 Blind man's buff,

551 Attending the sick.

148 Portrait of a souZptor.— Dated 1527.

144 A concert.

385 Adam and Eve. — Suggestive rather of the work of the Cranachs.

797 Nine cartoons, the Triumph of Julius CsRsar.

818 Child's portrait.

457, 9, 530, 4, 47 Flower-pieces.

633, 40, 2, 4 Por^ratte.— And others. 44 Portrait of the first Marqilis of Hamilton. — ^And others.

334 Coast at Scheveningen.

115 Holy family, — ^Perhaps by the mastei:. No other work assigned to him in the gallery can possibly be considered as genuine. 79 Not by Palma; but a second-rate copy of the Holy family of Titian, No. 236 at Madrid.

163 The shepherd^s offering.-^K fine Bassano : 0. and 0.

Digitized

byGoogk

892

HAMPTON COURT: THE GALLERY.

No. Piombo, S. del, attrib. . . 70 An Balian lady.— Spurions : C. and C. Pordenone, attrib. ... 71 Lady and spinet — By B. Lioinio : C. and G. „ „ . . . 92, 102 Male portraits,

„ „ . . . 104 Portraits of himself and famUy. — A

replica by Bernardino Lidnio of the original in the Borghese Gallery at Borne. Ponaain, Kicolas . . . 380 Mythological painting, Baphael, attrib. .... 710 A head.—Yerj finely painted, but is by

no means necessarily by an Italian master.

Bead 769 James L — ^Miniatnre.

Bembrandt, attrib. . . . H81, 2 Male and female portraits,

Biod, S 121 Healing the sick.

„ 131 Woman taken in adultery,

Biley, John 372 Mrs. ElUotL

Boestraten 744 StOUife,

Savoldo, G 139 Madonna and saints in adoration.

Snayers, P 329 Battle of the FoHy.

Somer, Paul van ... 98 Christian, King of Denmark, Stone, Henry, called "" Old

Stone" 444 A copy of the CS9maro/af?i%of Titian.

Thomhill, Sir James . . — The ceiling of the Queen^s bedroom,

Tintoretto 69 Esther and Ahasuerus,

„ 77 The Muses,

„ attrib. ... 91 Knight of Malta,

Titian 116 Titian* s unde,

„ 122 Marquis del Vasto and page.

,» ...... 149 Portrait of AUessandro de* Medici. —

Many others are attributed to Titian, but none of them, such as Nos. 109, 12, 33, can be admitted as genuine, and the foregoing are greatly injured by retouching.

„ attrib 113 Ignatius Loyola. — By a follower of Bor-

done : G. and 0.

„ „ 164 Venus. — Copy by Padovanino<rf the original

at Darmstadt.

Velasquez 82 Philip IV.

„ attrib.. . . 90 Queen of Philip IV.

Velde, W. van de, attrib. . — Numerous large naval battle-pieces in the

Queen's presence-chamber.

Verdussen 657 View of Windsor Castle,

Vinci, L. da, attrib. . . 61 Flora.— A copy.

„ „ „ . . . 64 Infant Christ and 8, John. — A replica.

Walker, Bobert . . . . SQ5 His oum portrait.

Digitized

byGoogk

LIVEBPOOL: THE INSTITUTION,

No. West ....... 320 Death of General Wolfe,

y, 318, 21 Full-length portraits. — ^And others.

Wright 369 John Lacy, comedian.

Zuochero, F 20 Queen ElizaheOCs porter.

,y 349 Queen Elizabeth infancy dress.

THE EOYAL INSTITUTION AT LIVERPOOL.

PictweB last examined in 1878.

Assereto, G

Bellini, Gentile, attrib.

„ Giovanni, attrib.

„ Jacopo, attrib.

Bol,F

Botticelli, S., attrib. . .

Bourdon, S

Canale, A., copy of . . . Caracci, Ludovico, attrib. . Oarpacoio, Y., attrib. . .

Catena, V

Cranach, Lucas .... Gredi, L. di, attrib. . . . Diirer, A., copy of . . . Eyck, J. van, School of FuseU, Henry .... Gentile da Fabriano, attrib. German School .... Giorgione, attrib. . . . Giotto and followers . .

Girolamo dai Libri, attrib. Holbein, H., attrib.

Hondecoeter, M. Hnysman. . . . Leiden, Lucas van . ' Lippi, Filippino

„ attrib.

No.

123 Christ and the doctors.

31 Madonna.— Jn the style of Pasqualino : C.

and 0.

32 Madonna and saints. — Beminiscent of

Santa Croce : C. and 0.

33 His own portrait.

30 Virgin and saints. — In the hard style of the Palmezzano School : C. and C. 130 Angel appearing to Hagar.

— Adventures of Ulysses. — ^Injured. 127 Bacchanalian scene. 120 The arsenaly Venice. 103 Magdalen.

34 Small pand. — ^Probably by Santa Croce.

87 Madonna and donator. — Early : C. and C. 50 A Venus or Diana.— BaM. 1634.

25 Madonna. — A school-piece : 0. and C. 47 Birth of the Virgin. 38 Entombment. 148 TJie nursery of Shakespeare. 13 SaintSy an altarpiece. 40b Virgin and Ecce Homo.

88 Male portrait. — Tuscan School.

5, 6 Fragments of fresco from the Carmine^

Florence. 87 Madonna and S. John,

55 Prodigal son.

56 Female portrait. 134b Poultry.

139 Landscape. 53 Portrait of a young nobleman,

22 Birth of S. John.

23 Madonna and angeU,

Digitized

byGoogk

394

LIVEBPOOL: THE INSTITUTION,

Lippi, Filippino, attrib.

Hans, F. H. . . . Mantegna, A^ attrib.

Margaritone, attrib. Martini, Simone

Hasaooio, attrib. Masolino, attrib. Matteo da Siena, attrib Michael Angelo, attrib. Korthcote, James Orley, R Tan, attrib. Pesellino .... Poussin, Nicolas

» n attrib.

Kaphael, attrib. . . Romano, G. . . .

Bomney, G.

Rosa di Tiyoli .

„ Salvator Rnbens, copy of . Santa Crooe . . Sassoferrato . . Signorelli, Lnca Silvestro, Don . Solimene, C. F. . Tintoretto, attrib.

Titian, attrib.

Vasari, G. . . . Velasquez, attrib. . Weyden, R. van der, attrib. Wohlgemnth . .

» • •

Wright of Derby, attrib.

No. 17, IS Two predeUa panels. — By Fr. di Giorgio : G. and C.

19 Female portrait. 133 Winter Bcene.

29 Pieth. — May be by Eroole Grandi : G. and 0. 4 Coronation of the Virgin. 7 Betum of Jeeue from the temple. — Dated

1342. 15, 16 Two works.— "Sat gennine. 14 Madonna. 24 Madonna and angels. 69 Christ at the well. — ^In monochrome. 147 His own portrait. 59, 60 Female saints.

20 8. Bernardino preaching. 126 Areadian shepherds. 126b Landscape and figures.

79 Holy /amt/y.— Probably by I. da Imola.

80 Processum of figures and animals. — Mono-

chrome. 149 Child^s ftead.— Sketch. 150-2 Orpheus and Eurydice.—CeaU)GDB. 153-9 Cupid and Psyche.— CartooBB. 137 Stag-hunt.

119 Xan<focap6.— Figures by Luigi Garad. 128 Christ on the cross,

86 T?ie Besurrection. 106 Female figure.

26 Madonna.

12 Birth of S. John, — ^A miniature. 118 Madonna and angels.

90 Court of flcawn.— Sketch, injured.

91 Entombment. 92a Last Judgment.

89 Bepose in ^gype.— Replica of the Friulian

School : 0. and 0. 72 Three saints. 124 A Spanish generoL 39 Triptych.

42 ChrUt before Pilate.

43 Deposition. 149b Buined casUe.

Digitized

by Google

LONDON: THE NATIONAL GALLERY.

895

THE NATIONAL GALLERY AT LONDON. CATALOGing OF 1877.

Pictures last examined in 1880.

Albertinelli, Mariotto Allori, Cristofano, attrlb, Alanno, Niocol6 Angelico, Pra Giovanni Antonello da Messina Backhnizen, L. .

Barocci, F. . . Basaiti, Marco .

»» t»

Bassano, Jaoopo

BelUni, Giovanni

attrib.

School of .

Beltraffio. . . . Benvenuto da Siena Berohem, N. . .

Bigio, Francia . . Bissolo, Francesco . . Ble8,H. de . . . Boccaccino, B. . . Bol, Ferd. . . . , Bono Ferrarese . . . Bonsignori, Francesco Bordone, Paris . .

>» >» • • «

Borgognone, Ambrogio

Foreign Schools.

No.

645 Madowna, 21 Portrait of a lady, 247 Eoce Homo. 663 Christ in glory with saints and angels^

673 The Saviour. 204 Dtstch shipping. 818 Coast scene,

1000 Shipping. 29 HoUffamUy ^'delGatto.**

281 S. Jerome,

599 Madonna.

228 Christ driving out the moneychangers.

277 The good Samaritan.

173 Male portrait.

189 The doge Loreda/no,

280 Madonna.

726 The Agony in the garden.— Early.

808 S, Peter Martyr^ the Dominican.

812 Martyrdom of S. Peter Martyr — Landscape,

694 S. Jerome in his study. — By Catena: 0. andG.

234 Warrior adoring Ihe Infant Christ. — By Catena : C. and C.

728 Madonna.

909 Madonna enthroned.

240 Crossing the ford,

820 Landscape. 1035 A knight of Malta.

631 Portrait of a lady.

718, 19 Ttoo subjects.

806 Procession to Calvary.

679 Portrait of an astronomer.

771 S. Jerome in the desert.

736 Portrait.

637 Daphnis and Chloe.

674 Portrait of a Genoese lady, 298 The marriage of S. Catharine.

Digitized

byGoogk

396

LONDON: THE NATIONAL OALLEBY,

Borgognone, Ambiogio .

Both, Jan . . Botticelli, Sandro

„ „ attrib.

Bonrdon, S^bastien Boats, Dieriok . Bramantino, attrib.

Bionzino, Angelo

Canale, Antonio

Capelle, Yau de

>i »»

Garacoi, Annibale

M Lodovico Oaravaggio, M. da Carpaocio, V. Gasentino, Jacopo di Champaigne, Philippe de Cima da Oonegliano

Cimabue .... Glaude Gelee (Lorraine)

No.

779, 80 Family portraits. Fragments of a siUc

standard, attached to wood. 1077 Triptych.

71 Landscape, — ^Figures by Poelenburg. 209, 959 Landscapes, 226 Madonna and angels. 275 Madonna^ 8. John, and angel.

782 Madonna.

915 Mars and Venus. 1034 The Nativity.

916 Venus reclining with cupids.

64 Betum of the ark from captivity.

783 ExhumaiUm of 8. Hubert.

729 Adoration of the kings. — By Foppa: C. andO.

650 Female portrait.

651 Venus, Cupid, FoUy, and Time. 670 A knight of 8. 8tephen.

704 Portrait of Cosmo L

127 View in Venice.

163 View on the Grand Canal.

937 The 8ouola di 8an iJcxxjo. — Figurea by

Tiepolo. 940 Ducal Pdlaee. 942 View of Eton College. 964, 5 River scenes. 966, 7 Shipping. 9 Legend of 8. Peter, ** Domine quo vadi* f *'

25 8. John in the wUdemess.

56 Landscape toith figures.

88 Erminia and the shepherds.

28 Susannah and the elders. 172 Christ at Emmaus. 750 Madonna enthroned, saints, and doge. 580 8. John lifted up into heaven. 798 Three portraits of Bichelieu on one canvas. 300 Jirado»na.— Beplica of No. 421 at Venice,

and of No. 17 at Berlin. 634 Madonna.

816 The incredulity of 8. Thomas. 565 Madonna enthroned with angels. 2 Pastoral landscape tvith figures.

5 A sea-port at sunset.

6 Landscape.—OsAled Chigi Claude,

12 Landscape with figures. — Altered replica of *< II Molino '* in the Doria, Borne.

Digitized

byGoogk

LONDON: THE NATIONAL GALLERY,

897

Claude Gel^ (Lorraine)

Clouet, Fraii9ois Cocqnes, Gk>nzale8

>» >»

Cologne, School of Correggio . .

Costa, Lorenzo . Cranach, Lucas • Credi, Lorenzo di

Crivelli, Carlo

Cuyp, A.

Deelen, Dirk yan Dietrich . . Domenichino

Dow, G.

Duccio da Siena Dughet, G. (Poussln)

Diirer, A. D jck, Van

No.

14 Embarkation of the Queen of 8hd)a, — Called

Bouillon Claude. 80 Embarkation of 8, Ursula. 61 Landscape and figures, 1018 Classical landscape. 660 Male portrait. 821 Family portraits. 1011 Female portrait, 705 Three saints, 10 Mercury instructing Cupid in the presence of Venus.

15 Ecce Homo.

23 Holy family ** au panier,"

76 The Agony in the garden, — Beplica or copy

of the original in possession of the Duke

of Wellington. 629 Madonna enthroned, 291 SmaU female portrait. 593 Madonna. 648 Madonna.

724 Madonna enthroned—^^ deUa Bondine." 602 A Pieta.

739 The Annunciation,— jynied 1486. 668 The Beato Ferretti adoring the Madonna, 788 Madonna enthroned with saints. — Dated

1476. 807 Madonna and saints.—BsAed 1491. 906 Virgin in ecatoty.— Dated 1492. 53 J^ventTi^.— Landscape with figures.

823 Water and cattle,

824 Buined casUe and hike.

960 Landscape with windmills,

961 CaUle,

1010 Architectural subject. 205 Binerant musicians.

48 Tobias and the angel. 85 8. Jerome and the angeL

192 His own portrait,

825 The poulterer*8 shop. 968 His wife^s portrait.

566 Madonna, saints, and others, — A triptych.

31 Landscape— Abraham and Isaac,

95 Dido and Mneas in the storm. 161 Italian landscape. 245 Portrait of a senator.

49 Portrait of Bubens.

Digitized

byGoogk

898 LONDON: THE NATIONAL GALLEBT.

No.

D jok, Van 50 Emperor Theodosiua and 8» AnArose.

„ n 52 8(HxiUed portrait of Gevartiua.

„ „ 680 Niraculotu draught of fishes. — Study.

„ „ 877 His oum portrait,

Elzheimer, Adam . . . 1014 Martyrdom of 8, Lawrence,

Eogelbertsz, attrib. . . 714 Madonna,

Eyok, Jan van .... 186 Portraits of Amolfini and his wife,

„ „ .... 222 A man in a green hood,

„ „ .... 290 A man in a red headdress*

Ferrarese School, 16th cent. 1062 Batile,

Flemiah School .... 1036 Male portrait

Franda, Francesco ... 179 Madonna and 8, Anne enthroned with

saints*

„ „ ... 180 A Pieta,'—A lunette.

„ „ ... 638 Madonna wiUi two saints,

Fyt, Jan 1003 Dead birds.

Gaddi, Taddeo, School <^ . 215, 16 8aints:

„ H t» • 579 Baptism of Christ,

GaroMo 81 Vision of 8. Augwtine,

n 170 Holy family.

n 642 Christ in the garden,

„ 671 Madonna enthroned with saints,

Gherardt, David . . . 1045 Canon of the church and patron saints,

Giorgione 269 A hniglU in armour, — Study for the figure

of S. Liberale in the Gastelfranco altar- piece.

Giotto 276 Two apostles, — ^A fragment of fiesco f^oni

the Carmine, Florence.

„ School of . . . • 568 Coronation of the Virgin,

Qoea, Van der . . • . 710 Portrait of a dominican,

„ „ .... 774 Madonna and saints,

Gozzoli, Benozzo . • . 283 Madonna enthroned,

„ „ ... 591 The rape of Helen,

Greuze 206,1019 Femaie heads,

„ 1020 Girl with an apple,

Guardi 210 View of Piazza di 8, MareOy Venice,

Guerdno 22 Angels we&ping over the dead Christ

Guide Beni 177 Magdalen.

,, „ 193 Lot and his daughters,

„ „ 214 Coronation of the Virgin,

„ , 271 Ecce Homo.

Hackaert and Berchem . 829 Hunting a stag,

Hals, Frans 1021 A woman's portrait,

Hemessen, Catharina van . 1042 Male portrait, — Dated 1552.

Heyden, Van der . . . 866 View in Cologne.

„ „ ... 992 Gothic and classic buildings.

Digitized

byGoogk

LONDON: THE NATIONAL GALLERY.

899

Hejden, Van der Hobbema, M.

Hondeooeter Hooghe, Pieter de

Hnysman, 0. Hnysmn, Van . Italian School . Jardin, Karel du

Justus of Padna Keyser, Th.de . Koning, Ph. de .

» •

Lancret . . . Lanini, B. Libri, Girolamo dai L'Ingegno (A. di Lnigi) Lippi, Filippino .

attrib.

Filippo

Ijochner, Stephai liotto, Lorenzo

»> »»

BIaa8,N. .

Mabnse, Jan Hantegna, A.

» •

„ Fr.

Haratta, Carlo

No.

994 Street scene,

685 Landscape — Showery weaiher.

830 The avenue at MiddethamUf EoUand.

831 Buins of a easUe,

832 ViOage and wai&r-miXU,

833 Forest scene.

995 Wood scene and cottages. 202 Domestic poultry.

794 Courtyard of a Dutch house. — Dated 1665.

834 Interior of a DtUch house.

835 CouH of a Dutch house.— BsAdd 1658. 954 Landscape.

796,1001 Vase with flow&rs. 1048 Portrait of a cardinal.

826 Figures and animaU.

827 Fording the stream. 985 Sheep and goats.

701 A triptych.

212 Merchant and clerk,

836 View in HoUand. 974 Distomt view.

101-4 The fowr ages of man. 700 flbty /am%— Dated 1543. 748 Madonna dnd S. Anne.

702 Madonna in glory. 293 Madonna with saints.

592 The adoration of the magi. 598 S. Francis in glory.— J)Ated 1492. 927 Angel.— Jjn fresco. 1033 Adoroition of the magi. — Oircular. 586 Madonna enthroned with saints. 589 Madonna and angel.

666 The Annunciation.

667 The Baptist with six saints. 705 Three saints.

699 Agostino and Nicoold della Torre. 1047 Family group.

153 The cradle.

159 The Dutch housewife.

207 The idle servant.

656, 946 Male portraiU.

274 Madonna enthroned with saints, , 902 The triumph of Scipio.

689 Noli me tangere. , 174 Cardinal Cerri.

Digitized

byGoogk

400

LONDON: TEE NATIONAL GALLERY.

Hai^garitone of Arezzo . Marziale, Marco . .

Master of Liesbom . . . Master of the Lyversberg

•Passion'

Matsys, Quiatin .... Mazzolino da Ferrara . . Meire, Van der . . . . Melozzo da Forli, attrib. .

vt >» »» •

Memling, Hans ....

Metsu, G.

Michael Angelo, attrib.

»> >» » • •

Mierls, Frans van . . .

„ Willem van . . .

Milanese School, 15th cent.

Morando (Cavazzola) . .

>» »» • • Moretto di Brescia

Moro, Antonio . Morone, Francesco Moroni, Giambattista

Moucheron Mnrillo .

Neer, Van der

Ketscher, G.

No.

564 Madonna. — ^With scenes from the lives of saints.

803 The Oircttmcmon.— Dated 1500.

804 Madonna enthroned vjtth saints. — Dated

1507. 260, 1 Saints.

706 PresentcUion in (he temple.

295 SaXvaior Mundi and Virgin.

169 Holy family.

264 Count of Hennegau and patron saint.

755 A female enthroned and man kneeling.

756 A companion stitject. 686 Madonna.

709 Madonna.

747 The Baptist and 8. Lawrence.

943 MalepoHrait.

838 The duet.

839 The music lesson. 970 The drowsy landlady. 790 The Entombment. 809 Madonna.

840 A lady feeding apaarot.

841 Fish-shop.— OsAled Le chat. 1052 Male portrait.

735 8. Roch and the anyeZ.— Dated 1518. 777 Madonna. 299 Count 8ciarra. 625 Madonna wUh saints. 1025 An Italian no&Zeman.— -Dated 1526. 184 Jeanne d^Archel. 285 Madonna. 697 Portrait of a tailor. 742 Portrait of a lawyer.

1022 An Italian nobleman.

1023 Portrait of a lady.

1024 Canon L. di Terzi.

842 A garden scene. 13 Holy family.

74 Spanish peasant-boy. 176 8. John and the Lamb. 152 Landscape and figures. 239 Moonlight. 732 Canal scene in Holland,

843 Blowing bttbbles.

844 Maternal instruction.

Digitized

byGoogk

LONDON: THE NATIONAL OALLEBY.

401

Netsoher, G. . . Oroagna, Andrea

Os, Jan yan . . .

Ostade, Adrian yan .

,, Isaac yan

Pacchiarotto .... Padoyanino .... Palmezzano, Marco . .

Parmegianino . . Patinir, J. de ... i> ...

Pellegrino da San Daniele Pemgino, Pietro . ^

Perozzi, B. . . „ attrib.

Pesellino . . Piero di Goaimo . Piero della Francesca

Pintiiricohio, B.

Piombo, Sebastiano del

Pisano of Verona Poel, Edg. yan der . Poelenborg . . . Pollajuolo, Antonio .

Pontormo, Jacopo Potter, Paul . . Potissin, Nicolas

No.

845 Lady at a spinning'toheel. 569 Coronation of the Virgin, 570-8 Portions of an aUarpiece,

1015 Fruit, flowerSf Ac,

846 The alchemist

847 ViUage scene, 963 A frost scene, 246 Madonna,

70 Cornelia and her children, 596 The Deposition, — Lunette of an altarpiece

of 1506 at Porli. 33 Vision of 8, Jerome.

716 8, Christopher and Infant Christ,

717 8, John on the island of Patmos,

778 Madonna, saints, and donator.

181 Madonna toith 8, John,

288 In tbe centre panel Madonna in adora- tion,—8, Michael, and S. Raphael with Tobias, on the two side panels.

1075 Madorma and tioo saints, 167 Drawing for * Adoration of the hingsJ 218 Adoration of the magi, 727 The Trinity, 698 The death of Procris, 585,758 F&malepoHraiU, 665 Baptism of Christ, 908 The Nativity, 703 Madonna,^

911 Betum of Ulysses to Penelope, — ^Fresco. 912-14 The story of Qrisdda, 1 Baising of Lazarus, — ^Partly designed by Michael Angelo. . , 20 Portraits, attrib. 24 Portrait of a lady,

776 88. Anthony and George, 1061 Delft after the explosion of 1654. 955 Women h<tthing, 292 MaHyrdam of 8. 8ebastian. 296 Madonna in adoration,-— More probably by

L. diOredi: G and C. 781 Angel Baphael and Tobias, 928 ApoOo and Daphne. 649 Portrait of a youth. 849 Landscape and cattle. 40 Landscape, 42, 62 Bacchanalian festivals,

2 D

Digitized

byGoogk

402

LONDON: TEE NATIONAL GALIEBT

	No.
PrevitaU	. 095 Jliuloiifia.
Baphael	. 168 B, OaOwtrine of Alexandria.
>»
»> .....	. lUThe ''Gurvagh" or "^ AldofMramdinr
	MadonncL
„ after. . . .	27 Pope Jidim U.
ft >#.•••
Bembiandt ....	43 2>i$)Miiion.— Small study.
99 ....	45 Tke woman taken in adtiUery.
t» ....	54 Woman halhing.
» ....
W ....	. 190 A Jewish rabhi.
>t ....	. 221 Hie own portrait, when old.
>» ....	. 243 Portrait of (mold man.
M ....	, 672 Hie oum portrait at 82 yean of age.
t» ....	. 775 PortraU of an old lady. —Bated 1634.
It ....	. S50 MalepoHraU.
„ attrib. . .	. 289 The night tratefe.— A smaU copy.
» >» * •	. 757 Chriel blessing littU children.
Bigaud, Hyaointhe . .	. 903 Oardinal Fleury.
Bomanino, Gixolamo	. 297 The Nativity.
Bomano, Ginlio . . .	. 624 Tlie infancy of Jupiter.
„ attrib. .	. 643-4 Four smaU compositions.
Bomerswale, Marinus tan
Bosa, Salyator . . .
n tf ...
Boaselli, Gosimo, attrib.	. 227 6. Jerome and other saints.
BotteQhammer, J. . .	. 659 Pan and Syrinx.
Bubeiis,P. P. . . .	SS Ahdwjtion of the Sabine women.
>» ...	46 Peace and War.
M ...
>f ...	. 59 The brazen serpent.
„ ...
» ...	^ Hdy family and saints.
t1 ...	. 187 Apotheosis of WiUiam the TacUum.—
	Sketch.
»» ...	. 194 The Judgment of Paris.
»» ...	. 278 The triumph of Julius Ctewr.— After
	KaiitcgBa*0 cartoon at Hampton Oonrt
>♦ ...
	Pitti at Florence.
„ ...	. 852 Portrait known as the Chapeau de poU or
	Fdthat.
• • ...	. 853 Triumph of SOenus.
BuyBdael, Jacob. . .	. 627, 737 Landscapes.
»» »» • • •	. "854: Forest scene.

Digitized

byGoogk

LONDON: THE NATIONAL OALLEBT.

403

	No.
Buyadael, Jacob	. . 986,9 Water-miXU.*
>» »»	. . 990 View (yoer a etreUh of flat country.
»» >»	. . 991 The broken tree.
Santa Oroce . . .	. . 632, 3 Saints.
Santi, a, attrib. .	. . 751 Madonna.
Sarto, Andrea del .	. . GdO His own poHrait
„ „ attrit	. . 17 Holy family.
Sassoferrato . . .	. . 200 Madonna.
n attrib. .	. 740 Madonna.
Savery,B. . . .	. . 920 Orpheus.
Savoldo, Girolamo .	. 1031 Mary Magdalen going to the Sepulchre.
Schalken, G. .	. 997 Woman scouring a kettle.
9> . . .	. 998 The duet.
»> . . .	. 999 Candlelight.
Schiavone, G. . . .	. 630 Madonna enthroned vfith saints.
»> . . .	. 904 Madonna.
Schoen, Martin . .	. 658 Death of the virgin.
Sohoorel, Jan, attrib. .	. 720 Bepose in Egypt.
»» w » •	. 721 Portrait.
Segna di Bonaventura .	. 567 A crucifix.
Signorelli, Luca • . .	. 910 THumph of OAa»«%.— Fresco.
Solario, Andrea . . .
n »» • • •	. 923 A Venetian senator.
Sorg, Hendrik . . .	. 1055 Group of cardrplayers.
>» >t . . .	, 1056 Man and looman drinking.
Spagna,Lo . . . .	. 282 Glorification of the Virgin.
*f >!••••	. 691 Eece Homo.
Bpinello Aretino . .	. 581 Three saints.
Steen,Jan « . . .	. 856 The music-master.
Teniers, David, elder .	960 Dtito^ accne — a conversation.
»» »> »> •	. 951 Playing at howls.
„ younger
»» « »»	. 242 Players at trio-trac.
>» » »>	. S05 Interior — Woman peeling a pear.
>» >» »»	. 817 Chdteau of Teniers at PerOc.
» » »	. 857-60 The four seasons.
>» »» i«	. 861 River scene.
♦♦ •» »»	' . 862 The surprise.
» »» »	. 863 2>if7c«.— Known as Xe mauvais riche.
y* 71 **	. 952 Village fete.
Terburg, G	. 864 The guitar lesson.
„ ....	. 896 r^ \|)eacc of MUnster.
Tintoretto ....	16 5. George destroying the dragon.
Titian	4 Holy family with a shepherd adoring.
n	84 Feniw a»ki .4ifonw.— A replica.
	2 D 2

Digitized

byGoogk

404

LONDON: THE NATIONAL GALLERY.

	No.
Titian ....	. . 35 Bacchus and Ariadne,
	. . 270 Noli me tangere.
„..-..	. 635 Madonna, S, John^ and 8. Catharine.
>»	. 636 Ariosto,
Treviflo, Giiolamo da ,	. 623 Madonna enthroned.
Tara, Gosimo . . .	. 590 The Deposition.
»» »» • •	. 772 Madonna enthroned with angels.
>» »> • •	. 773 8. Jerome.
Uccello, Paolo . .	. 5SS Battle of 8 Egidio.
Umbrian School	. 1082 Agony in the garden.
»» >» • •	. 1051 Christ and saints.
Unknown . . .	. 947 Jlfofe portrait.
Velasquez, Diego .	. 197 Boar-hunt at Aranjuez.—jyams^ed.
>» >» •	. 232 Adoration of the shepherds.
» »> . ♦	. 745 P/it7tp IV. of 8pain.
Velde, Adrian van de	. 868 The ford.
»» »> »»	. 869 l?Vo8« scene.
	* >» >»	. 867 The farm.
	» »» »»	983 £ay horse, cow, and goats.
	»» »» >f	. 984 Cattle.
	„ Willemyande	, , 149 A calm at sea.
	» »» >f	. . 150 A gale at sea.
	» »» »»	. 870, 1 Shipping in a calm.
	» »» »»	. 872 Shipping off the coast.
	> « »»	. 873 Coast of Scheveningen.
	» >» »»	. 876 A gale.
	» »» »>	. 977 Ships at anchor.
	• »» ♦»	. 978 Biver scene.'
	»» >» >»	. . dSO Ships of war.
	>1 »» M	. 981 Ships in a storm.
Venetian School	. . 234 Holy famUy and knight.
Veneziano, B. . .	. 287 Male portrait.— Da,iGdl530.
„ Domenico	. 766, 7 Heads.
Vemet, Claude J. .	, . 236 CastleofS.AngelOyRome.
Veronese, P. . . .	. . 26 Consecration of 8. Nicholas.
>» ...	. 268 -Idoraiion o/ <^e moj^i.
» ...	. 294 Family of Danus before Alexander.^
	Portraits of the Pisani family.
f> ...	. . 1041 Vision of 8. Helena.
Vinci, L. da. School of	. . 18 Christ with the doctor*.— Generally con-
	sidered as a work of LuinL
Viyarini, Antonio .	. . 768 88. Peter and Jerome.— A iragment.
„ Bartolommeo	. . 284 Madonna wUh two saints.
Weenix, Jan , .	, . 238 Dead game and a dog.
Westphalia, School of,	16th
	cent	. . 1019 Crucifizion.

Digitized

byGoogk

LONDON: TBE NATIONAL GALLERY,

405

No.

Weyden, B. van der, elder . 667 The Deposition, — In tempera on linen.

* younger,' attrib*

Wilhelm von Koln Witte, Em. de Wouwerman, P.

. 653 Portraits of himself and of his wife, 711, 12 Mater dolorosa and Ecce Homo,

, 654 Magdalen,

. 687 The Santa Veronica.

, 1053 Church interior.

. 878 Halt of oj^rs.— Galled La heUe lattice. 879 Interior of a stable,

. 880 On the sea-shore.

, 975 Stag-hunt,

, 976 BatOe-piece,

, 1060 Two vedettes on the loatch. Wynant8,Jan .... 884 Landscape and figures.

, 971, 2 HiUy landscapes^ Zelotti, Battista .... 595 Female portrait. Zoppo, Maroo .... 597 S. Dominie. Zurbaran, F. .... 230 Franciscan monk.

* In our National Gallery these are attributed to a yoimger Rogler v. d. Weyden, of whom, however, nothing is known.

Copley, J. Singleton

Crome^ John

Ghdnsborongh

Hogarth, W.

THE NATIONAL GALLERY AT LONDON.

Oataloque of 1876. Pictures last examined in 1880. English Schools dawn to the end of the Eighteenth Century. No. , 100 Death of Lord Chatham, , 733 Death of Major Peirson. . 787 Siege and relief of OibraUar. . 689 Mousehold heath, , 897 View at Norwich, , 926 ThewindmUL , 1037 Landscape : slate quarries.

80 The market-cart. . 109,309 The watering-place. , 311 Bustic children, , 683 Mrs, Siddons. , 684 Dr, Schamberg, . 760 The parish clerk. . 789 Mr, BaUlie and family. , 925 Landscape with view of Comard in Suffolk. , 112 His own portrait. 113-18 Marriage h la mode.

Digitized

byGoogk

406

LONDON: THE NATIONAL GALLEBT.

Hogarth, W.

n

Hoppner, J.

Kneller, Sir Godfrey Lely, SirP. . . Morland, George

Opie, John . .

Beynoldfl, Sir J.

Bomney . .

» • West, Benjamin

»» i>

»» »>

Wilson, B.

Wright of Derby

No. . 675 Portrait of hit «i«tor.— Dated 1746. . 1046 Sigitmanda with the heart of Guiseardo. . 138 Mr. Smith, . 233 WHUamPitL . 900 Ths Counten of Oxford. . 273 John Smith.

916 Girl feeding a parrot. . 1030 Imide a UtMe. . 1067 Quarry and peasants. . 784 WilUam Siddons. . 1026 TroUut and Cremda.

78 HotyfamUy.

79 The Graoee decorating a figure of Hymen. —

Portraits. . 106 A man*i head. . 107 The banished lord. . Ill Lord Heaihfidd. . 162 Infant Samuel . 306, 889 His own portrait . 307 The age of innocence. , 754 Portraits of two gentlemen. • 885 I%««na^fn<^graM.— BeplicainSir John Soane's Hnsenm.

887 Dr. Samuel Johnson. . 888 James BosweU.

891 Portrait of a lady and child, . 312 Study of Lady Hamilton. . 1068 The parsot^s daughter. . 121 The banishment of Cleomhrotus. . 126 Pylades and Orestes before Iphigenia. . 131 Christ healing the sick. . 108 View near Tivoli.

110 Landscape— Destruction qf Ni4M9 children. . 802,8 Views in Italy.

304 Lake Avemus. . 1064 On the river Wye. . 1071 Landscape.

725 Experiment with the air-pump.

Digitized

byGoogk

KENSINGTON: THE POBTBAIT GALLERY.

i(fl

THE NATIONAIi PORTRAIT GALLERY AT SOUTH KENSINGTON.

No OATALOaUE,

Pictures hut examined in 1880.

This ooUeotion oontainB aeveral interesting portraits, among which the following may be named. The Chandos portrait of Shakespeare.

No.

Barry, James .... — ffi$ own perirait.

Beale, Mrs. — King Charles IL

M „ — Abraham Coudey, poeL

Coello, aUrib — P^iZip IT. o/ i^»n.—^Fiill length.

Copley, J. S -^ Lord Heafhfield,

„ .... -^ Earl of Mansfield.

Dance, Nathaniel ... — Lord ChaneeUor Camden,

Dobtoo, William . . . — His own portrait

„ „ ... — ' Francis QuarUs,

Dydc, A. Tan .... — Sir Kendm Digby,

„ „ School of . . — ChOdrcn of Charles L

Flemish School, 15th centory — Kitig Henry VIL

French „ .... — Mary, Queen of SeoU,^The Fraser Tytler

portrait.

Gerard, Maro .... — Lord BurgUey,

„ „ — Countess of Pembroke,

Hales — Samud Pepys,

Hilliard, N — Queen J^izo&et^.— Miniatore.

Hogarth, William ... — His onm portrait, — SmalL

„ „...'— Lord Lovat,

Holbein, H., School of . . — Edward VL

Hone, N. ..... — His own portrait,

Honthorst — Ekzaheth of Bohemia.

Hoppner — Lord GrenvtUe.

„ — Marguis of Lamsdowne.

Hndson — George F, HandeL

„ — Lord Chief Justice WiOes.

Hnysman — Colonel W, Legge,

Jervas — Jonathan Swift,

f^^nfmunj Angelica . . — Her oum portrait, Kneller, Sir Godfrey . . — Duke of Bedford.

„ „ . . — WiUiam Congreve,

^ „ , , •— Sir Christopher Wren,

„ ,-, . . — Viscount Torrington. ,

Digitized

byGoogk

408

KENSINGTON: THE PORTRAIT GALLERY.

Kneller, Sir Godfrey Lef^byre, 0. . Lely, Sir Peter

Loo, C, van .

»» n

Miereyelt, M. Mignard . . Morland, G«orge Horo, Antonio Kasmjth, Alex. Opiei John .

Oudry . . Baebnm, Henry

Beynoldfl, Sir Joehoa

of . . Biobardflon

Bigaud, H. Biley, John

Bomney .

Walker . .

>» Wright of Derby

Wright, J. M. Zucchero . . XJnknown

Scholar

No.

— Lord Chancellor Jeffreys,

— Dr. IftoMo Barrow.

— Duke of Albemarle,

— Duke of Buckingham,

— Mary Davis.

— Sir M. Grimston,

— NeU Gwynn,

— Countew of Shrewsbury,

— Thomas Stanley,

— Lady Russell,

— ViscouiU Cohham,

— Sir Rohert Walpole,

— Earl of Southampton,

— Duchess of Portsmouth, — ^ His oum portrait.

— Sir Thomas Gresham.

— Robert Bums,

— His ovm portrait,

— Thomas Hohroft,

— Mary, Queen of Scots,— VeSnted in 1578.

— Rev, John- Home,

— Henry Mackenzie,

— Sir John Sinclair,

— Earl of Bath.

— Viscount Keppel,

— His ovm portrait,

— Oliver Goldsmith,

— Anne Oldfield,

— Matthew Prior,

— Lord Chief Justice Pratt,

— Sir Richard Steele,

— Viscount Bdlinghroke*

— King James II,

— Lord RtisseU,

— Bishop of Bamet,

— Edmund Waller.

— Richard Cumberland.

— John Flaxman.

— Lady Hamilton,

— John Lambert.

— Ireton,

— His ovm, portrait.

— Thomas Hobhes,

— Sir Walter Raleigh.

— Dudley i Earl of Leicester.

Digitized

byGoogk

LINCOLN'S INN: THE MUSEUM. 409

No.

Unknown — King Henry VIIL

n — Princess, afterwards Qaeen Mary,

M — Queen Elizabeth,

}) — Oliver Cromwell,

SIR JOHN SOANE'S MUSEUM, 13 LINCOLN INN FIELDS.

Pictures last examined in 1878.

^ This Museum well deserves a yisit on account of the important paintings by Hogarth which it contains, together with a few others mentioned below.

Dining-room, No. Sir Joshua Reynolds . . — The snake in the grass.

Picture Boom,

Canaletto — Three views in Venice,

Fuseli ...... — The Italian count,

Hogarth — A series of four paintings, * The election.'

Watteau — The wedding.

Drawing-room,

Hogarth — .4 series of eight paintings^ • The rakers

progress,*

THE PICTURE GALLERIES OF DENMARK AND SWEDEN.

Two European Galleries only have not been visited by the author, viz., those of Copenhagen and Stockholm. Each has a collection of pictures which are of smaU importance. That of Copenhagen possesses about 700 works* of which more than two-thirds are attributed to old masters ; and among these the Dutch school is best represented. The National Museum of Stockholm contains upwards of 1000 works, chiefly attributed to masters of the seventeenth and eighteenth centuries; but without merit, a few Dutch and Flemish pictures excepted. The best examples in the two galleries are those by Rembrandt, Metsu, Ostade^ P. Potter, Ruysdael, Van Goyen, Rubens, and Teniers.

Digitized

byGoogk

410

8T. PETES8BURG: THE HERMITAOE,

THE PICTUEE GALLEBY OF BUSSIA.

THE GALLEBT OF THE HEBMITAGE AT ST. PETBBSBUBG.

Db. Waaosh's Gatalooub.

Fictwre$ lati examined in 1877.

Albani, Francesco

n »»

Albertinelli, Mariotto Allori, Cristo&no

AntolineK* JoB^ .

Baroocio, Federigo

Bartolommeo, Fra Bassano, Leandio Bega, Comelis • Bellini GioyanniJ Bellotto, Bernardo Berchem, Nicholas

Berc^eyden Bol, Ferdinand

Boni£Bizio Yeneziano

Ko. . 203 The Baptitm of Christ . 204 Europa and the buU, 21 Holy family and saints, 248 Judith and Holof ernes. — Inferior replica of No. 96 in the PittL

397 A sleeping Christ,

398 Peasants under a tree.—BmsiXL . 128 The Birthof Christ

. 129 Madonna, . 130 MaiepoHrait

20 McuUmna with angds.

158 Christ uiith Mary and Martha. . 970, 1 Interiors,

4 Madonna and saints, — Small. . 320 View of the BiaUo^ Veniee, . 1070 Angels appearing to the shepherds, — ^Large. . 1072 The rape of Europa, — ^Large. . 1073, 4, 5 Bdlian 8oen68.— Large. . 1076, 7, 8, 81, 2 Balian landscapes.— "Lar^e. . 1084 Balian peasants, — Small. . 1214 Houses on a canal. , 1215 Hawking party, , 845 The Countess of Nassau-Siegon,

848, 9 Portraits of a man and his wife* , 850 Male portrait , 851, 2, 3, 4 Portraits,

109 Adoration of the shepherds.

Digitized

byGoogk

ST, PETERSBURG: THE HERMITAGE.

411

Boidone, Paris . . » » • •

Borsnm, Abzaham van fiottioelli, Sandro, attrib. Boucher, Francois

Bourdon, S^lmstien Bourguignon Brekelenkamp .

Bionzino, Augelo Brouwer, Adrian

Brueghel, Jan (Velours) Bruyn, Bartholomaus

Gagnaoci,* Guide Oanale, Antonio

Gano^ Alonso

Gapelle, J. van de Gaxacoi, Annibale

„ Lodoyioo • Carayaggio, H (Amerighi)

Cardi, L. (H Cigoli)

Castillo, Antonio del Catena, Yinoenzo . Champaigne, P. de . Cbardin, Sim^n

No.

110 Madonna and sainU.

111 Portraits of a lady and ehUd. 1362 SttUrlife,

3 Jdoraiion of the kings, — Small. 1486 HcHy family.^Jjaxge. 1486a Venus and Adonis, 1421 The death of Dido. 630, 1 Studies for hatOe-pieees.

927 A hermit

928 Interior and sttflAifo. 124, 5 Portraits.

937 Tvoo figures.

941 Peasants in a hitohen. — ^And others.

513, 14 Landscapes.

470 Portraits of a man and his three sons.

471 Portraits of the wife and one daughter. 194 Assumption of Mary Magdalen,

318 The reception of Count Gergi at Venice.

319 The marriage of the doge with the Adriatic. 852 Madonna. — A good replica of that in the

Seville Cathedral. 354 Legend of the dominican painting the

portrait of S. Dominic. 831 Sea and boats. 166 Anointing the dead Christ. 169 Holy family.

172 Dead Christ and angels.

173 The ujoman at the sepulchre.

174 Christ and the three Maries,

176 His oum portrait

177 A sleeping maiden.

178 Landscape.

165 Christ hearing the cross.

215 Christ crowned with thorns.

216 The crucifixion of S. Peter. . 217 Boy playing on a guitar.

. 2iS Study of ahead.

. 244 David with the head of Goliath.

245 Tobias and the angel. . 246 The Circumcision of Christ, . 247 The marriage of S. Catharine. . 357 The Visitation.

9 Madonna and saints. . 66^ Moses with the tables of the law. . 1513 The blessing. . 1514 The washerwoman*

Digitized

byGoogk

412

8T. PETERSBUBGf: THB! EERMirAOE.

Ghristos, Petnis . » * Claude Lorraine (Gel^)

Glonet, Fran9oi8 . . , „ „ School of.

Godlo^ AloDBO Sanchez «

„ Olandio . . Comeli« Tan Haarlem

»> »

Coreggio, Ani . .

Cortona, Pietro da . Oranaoh, Lucas, elder

Grayer, Caspar de Crespi, 6. M.

Ouyp, Albert

Denner, Balthasar Dietrich • Dole!, Carlo

attrib.

Domeniohino

»» Dow, G, .

»» »> »» »> Ducq, J. le

Dnsart, Cornells Dyck, Anton yan

No.

444 A Crucifixion and the last judgment — Two wings of a triptych.

1428 Landscape — Morning,

1429 Landscape — Noon,

1430 Landscape — Evening.

1431 Landscape — Night.

1438, 9 Landscapes with figures. 1487 Portrait of the Due d'Alenfon, 1487a Mary, Queen of Scots.

402 Portrait of Margaret of Parma. — ^The face appears to have been retouched.

431 His own portrcat.

505 The Baptism of Christ.

506 dmon and Iphigenia.

81 The Madonna " dd Latte."

82 Study for the ^ Asmmption* in the dome of

the Cathedral of Parma. 82a ApoUo and Marsyas. — Small.

280 Christ and the ma^dalen.

281 The maHyrdom of S. Stephen. 459 Madonna under an apple-tree. 461 Life-size Venus and Cupid. 262, 3, 4 PortraiU.

598, 9 PoHraits.

313 Holy family.

314 The death of 8. Joseph, 1101, 4 Cows and toater. 1102 Sea and boats.

1105, 7 Horses and cows. 1106 Moonlight at sea. 1284-8 PoHraiU.

— Several works.

252 Themagdalen.

254 8. Catharine.

255 8. Cecaia. 180 Cupid,

179 Assumption of the magdalen. 903 The quach and patient. 904, 5 Thefish-seUers.

906 His own portrait.

907 Portrait of a man with a booh, 910, 11, 12 Bathers.

933 Interior of stables.— "Le^e. 934, 5, 6 Interiors. 966 Cottage and donkey. 603 Holy family »

Digitized

byGoogk

ST. PETEB8BURG: THE EEBMITAGE.

413

Dyok, Anton van

Eeokhont, G. Tan den

Esoalante, Joan Antonio Eyerdingen, A. van

Eyck, Jan van . Eaes, P. van der Feti, Domenico .

Elinck, Gk)vert . Francia, Francesco

Fyt, Jan . . Gaiofalo (Tisio)

Giordano, Luoa

No.

607 The incredulity of 8, TJumas,

608 The maHyrdom of 8, Sebastian,

609, 10 Charles I. and Henrietta Maria.—FulX length.

611 William of Orange as a hoy,

612 Arcihbishc^ Laud. — The original is at

Lambeth.

614 Study for the family picture of (he Herberts

at Wilton. — Another is in the possession of Lord Gamarvon.

615 Earl Danby.

616, 22, 4, 30, 2 Portraits.

617 Sir Thomas Wharton.

618 Two children of tlie Wharton family.

620 Sir Thomas ChaUoner.

621 Lord Wandesford. 626 Inigo Jones.

628, 38 Portraits.

633, 4 Portraits of English ladies.

635 A lady and child.

636 Naked boys blowing soap-hvhbles. 753 A candlelight subject.

837 CrcRsus and Solon.

838 Alexander and the family of Darius. 840 Interior with one figure.

433 8. Joseph and Infant Christ, 1133 A^vsaterfaU. 1135 A rough sea, with boats and town.

443 The Annunciation.

6^3y ^ Small fuU-length portraits.

231 David and Ooliath.

235 Dsedalus and Icarus.

236 PoHrait.

842 WiUiam III. as a youth with Jacob Cats.

68 Madonna,

69 Madonna enthroned and saints, 1334 Fruf% &c.

59 Adoration of the shepherds.

60 Holy family.

61 Christ bearing Hie cross. 291 A Pieta.

293 Sleeping Bcuschusy nymphs a/nd animals, 293e Diana and Calisto.

294 TAcittdgfrnen* 0/ Paris.— Eeplica of No. 441

at Berlin. —Another large work without a number.

Digitized

byGoogk

414

8T. PETER8BUBG: THE HEBMITAGE.

Qoltziiu, Hendrik

Gomez, 8. . . Goyen, Jan yan .

OranMoi, F^ ftttrib.

Greaze, J. B.

Greoo, H (Theotocopuli) Goeroino ....

GyseU, Pieter . .

Hackaert, Jan . .

Hals,Fraii8 . . .

Heem, J. D. de . .

»» w • •

Heemskerck, Martin Tan Heist, B. yan der

Herrera (el Mozo) . HeydeD, Jan van der

Holbein, Hans, yonnger,

attrib. . . .

„ School of Hondecoeter, M. Honthorst, G. .

Hoogfae, Pieter de

Horembont, Gerard Huyeum, J. van Janssens, 0. . . Jardin, Earel du Jones, Thomas Jordaens, Jacob

No.

495 Adam and Eve.

496 BapHmm of Christ, 386 S. Franeii.

1126 Sea-piece.— Jjorge, 1129 The ekaten. 22 Madonna and taints in adonUion, — ^By Ghirlandajo : G. and G. 1520 The death of the paralfftie. 1580 Head of a youth. — And others. 411 Portrait.

239 Assumption of the Virgin.

240 Martyrdom of S. Catharine.

241 8. Jerome.

1351 Fruit-piece on a terras. 1161 A wood and hunters.

lia^ 1, 2, 3, 4 Male portraits. \^S^^8tmAife. 1375 Flowers.

490 A Crucifixion and donators.

777 Group of portraits. — ^life-size.

778 Paul Potter and his family,

. 779 Family group. — Life-size. — ^And otheis. 889 Legend of the dominican painting the

portrait of 8. Dominic. 1207, 9, 10 Houses and figures. 1208 View of a town. 1213 Lofndsoape with ehdteau.

465 Erasmus. — ^Life-size. 467 8maU portrait of Edward VI. 1339, 40, 2 PouUry. 746 Christ before the High Priest. 752 Woman spinning. — ^And others.

860 On a garden terrace.

861 Am interior.

862 Woman making "Uuse.

458 A Piethj surrounded by flowers. 1378, 9 Flower-pieces.

641 Portrait of a lady. 1091 Landscape and animals. 1393 JBneas and Dido. — ^A landscape.

647 Paul and Barnabas at Lyslra.

649 Diana and nymphs.

650 Fahle of the man and satyr.

651 Portraits of his family*

652 A family group.

Digitized

byGoogk

8T. PETEBSBUBa: THE HEBMITAGE.

415

Jordaens, Jaoob . JuaneSy Yioente . Kalf,W. . . . Eaufmann, Angelica Keyser, Thomas de Eneller, Sir G. .

Lanoret, Nicolas

Largilli^re . . Leal, Juan de Yaldes

Le Brom Lingelbach

Lombard L. (Snstermann) , Loo, Jaoob Tan . .

Lotto, Lorenzo . Lnini, Bernardino

attrib.

Lnti, B. . .

Maas, Nicholas Maratta, Carlo

Matsys, Quintiu

Meer, J. van der, of Delft,

attrib. • . . MengB, Anton B.

Met8a,G.

Meulen, A. F. van der Mierevelt. • * *

No.

653 Hi$ own portrait

828, 9 8. Anna and 8, Dominie. 1369 StiU-life. 1804-6 Small works.

788 Portrait,

1388 Head ofLoa^.

1389 PortraU of Oibbons (he eculptor.

1506 The eong,

1507 i4/^.— Large.

1508 Nymphe InUhiTig, — Large. 1610 TuDo figures.

1587 A conferenoe.

391-3 Small works.

394 A female head, 1454 Chrisl on the orost, — Small. 1272 Marhet-plaee of an ItdUa/n town. 1276 Monnted horsemen, — ^And others.

491 Adoration of the hinge.

1252 On a terrace.

1253 Interior.

115 A male portrait.

71 Madonna.

72 8, Catharine,

73 8, 8ebasUan, — ^A portrait.

74 The Columbine. — ^A lovely girl. — ^Formerly

catalogued as L. da yinci« Attributed

to A. Solario by 0. and G. 289 Boy playing on a lute. 857 Interior — mother and ehUd. 297 Adoration cf the shepherds. 300 Holy family, 304 Mcidonna, — ^A copy of Guide.

306 Holy family.

307 PortraU of Clement IX,

449 Madonna in glory , saints^ and otTiers,

1338 Oame with a cat and dog, 1298 John the Baptist — Life-size.

1301 Perseus and Andromeda,— Uie^ize.

1302 ThejudgmentofParis.^lMe'mxe.

1303 His own portrait, — ^And others. 878 8iek woman and doctor,

880 Lady eating oysters.

881 Family at a meal

728, 9 Battle^eces.'^lMrge. 740-8 Portraits.

Digitized

byGoogk

416

BT, PETEB8BUBG: THE EEBMirAGE.

Mierifl, F. Tan, elder .	No. . 916 Interior— Lady and geaUeman,
yy n 11 '	. 91S PoHrait of a lady.
„ J. van . . .	. 1241 Surgeon dresHng a toound.
„ W.Tan . . .	. 1242 Ahrdham turning away Hagar.
	. 1245 Two women.
MignardP. . . , .	, 1456 Alexander and (he family of Darius.
MigQon, A	. 1358, 9 Flower-pieces.
Morales, Lnia de . .	. 400 Madonna.
	. 401 Mater dolorosa.
Moreelse, P. . . .	. 744, 5 PoHraOs,
Moretto	. 113 Faith.— A fine female portrait.
„ attiib. .	. 112 Judith and Holofemes.— This is by some
	considered as the school of BaphaeL
Moro, Antonio . .	. 480, 1 Sir Thomas Gresham and his wife.
Moroni. G	. 154 Portrait
Moncheron . . . .	. 1169 Landscape.
Moya, P. de . . . .	, 858 The Virgin.
	. -•359 JaeoVs ladder.
MoriUo '!....
	. 361 The Annuneiatton.


	. '366 S, Joseph and Infant Christ
	, -367 Holy family or Bepose in Egypt
	. 370 A Crucifixion.— SmaXi
	. . '372 The deliverance of 8. Peter.
	. -373 8. Anthony and Infant Christ
	. . 374 Death of the Inquisitor Don Pedro
	Arbuez.
	. 375 Two heads behind a grating.
11 ....	. 376, 7 Boy and dog.
	. . 378 Girl with fruit
	. . 379 8. John and the Lawifc.— Copy of No, 176 in
	our National Gallery.
	. 380 Three saints.
Neefs, Pieter. elder	. . 1201 Interior of a church.
Neer, Artus van der	. . 1117 Canal and mUU.
91 H 1*	. . 1119, 20, 1, 8, 4 JifoonZigf^«.
»» " ♦♦	. 1122 Skating.;
Netscher, Gonstantin	. . 888 Portrait
„ Gaspar .	. . 882 Queen Mary of Orange.
	. . 883 Portrait of the painter.
!!	. . 884 PoHrait of a lady.
Ochtervelt, Jacob .	. . 889, 90 Figures in a gateway.
..	. . 892 TuDO figures.
OoBt, J. van, elder .

Digitized

byGoogk

8T, PETEBSBUBG: THE HEBMITAQE.

417

Orley, B. Van. . Ostade, Adrian Van

,y Isaac van Falma Vecchio .

Pareja, J. de . . Piombo, Seb. del

attrib.

Poel, Van der Poelenbnrg, C.

Pordenone, G. A

Potter, Paul ,

Ponibns, F. . Ponssin, Nicolas

Procaccini, Camillo . ,, Giulio Gesaie

attHb.

rj^uaujiox-, auiuu
t> »>
>» >» Raphael Sanzio . .
» >»
>t »>
»» »>
>» >» •

Bembrandt

No.

474 Descent from Hie ero$$.

945 PecuanU with mwie and dancing,

947-50 Four single heads.

951-4 Interiors. — And others.

962 Landscape toith figures.

90 Adoration of the sheplierds.

91 Holy family and 8. Catharine.

92 Holy family and saints. 427 PoHraU.

17 Christ and the cross.

18 The DeposUion.

19 Cardinal Pole, — ^This may be of the school

of BaphaeL 978 Interior and stiU-Ufe. 757 Repose in Egypt, — Large. 761 Diana and CaHstc—Aad others. IIG Portraits of a man and woman. 117, 18 Decorative pictures.

119 Adoration of the magi.

120 Group of portraits, 1051 Woman and cow.

1055 A dog and kennel.

1056 Landscape,

1057 SmaU hull.

1059 History of a hunter and his dogs, 487, 8 Heads,

1394 Moses striking the rock, 1398 Holy family, 1400 Triumph of Galatea, 1418, 14 Landscape and figures. — And others.

262 Holy family and angeh.

263 Madonna.

264 Marriage of 8. Catharine.

1162 Barge on smooth waler.

1163 Italian scene, 1165 Landscape,

36e Madonna. — Conestabile.

37 Madonna and 8. Joseph — Inibarhe,

38 Madonna and 8. John — Casa d^AXba,

39 8, George and the dragon. — SmalL

40 Portrait of 8anazaro,

47-55 Frescoes. — Probably designed by Baphaeland executed by G. Bomano and others. ^

791 Abraham and the angels. — ^Large.

792 8acrifice of Isaac, — ^Large.

2 B

Digitized

byGoogk

418 8T. PETEB8BVRG: THE HEBMITAGE.

No.

Bembrandt • • . • . 793 Jacob with the eoai of many colours.

„ 794 Joseph and Potiphar*s wife,

„ . 796 Holy family,

„ ...... 797 Beturn of the prodigal — ^Large.

„ 798 Parable of the labourers,— ^msM.

„ 799 Denial of 8, Peter. — ^Large.

„ 800 Descent from the cross,

„ 801 Incredulity of 8. Thermos, — Small.

^ 802 Danae. — Large.

„ 803 Ashing a blsssing, — Small.

„ 805 An old woman, — ^Large.

„ 807 Mother of the painter, — Small,

„ 808 Portrait ofKoppenol,

„ ..... 809, 10, 13, 18, 21 Male portraits,

y, 811 His own portrait,

„ S12 PoHrait of 8askia.

,, 814 A small portrait,

„ . . . . 817 Female portrait, — Small.

„ 819, 23, 9 Female portraits,

„ ..... 820 Portrait of Manasseh Ben Israel.

M 826 Child with a broom,

„ ..... 880 Landscape,

„ 833 Lady with a glass, — ^And others.

Beni, Guido 181 David and Goliath,

y, ^ ISZ Adoration of the kings,

„ „ 184 8, Joseph and Infant Christ,

„ „ 185 Madonna and 8, Francis.

„ ,. 186 8. Peter.

f, „ 187 Dispute of the fathers cf the church.

>, „ 191 The youthful Virgin with maidens,

Beynolds, Sir Joshua . . 1390 Venus and Cupid.

y, „ . . 1391 Infant Hercides strangling the serpents.

„ ,> . . 1392 Th**, contincTice of 8cipio.

Bibalta, F. de . . . .338 Meeting of 88. Anna and Joachim,

„ .... 340 Apostles and saints at the tomb.

Bibera, Jos^ 330 8. 8ebastian taken doum after death.

„ „ 331 8, 8ebastian after martyrdom^ ^

„ „ 332, 3 8, Jerome, ,^"

„ „ .... 334 8, Processo of Bohemia,

Bigaud,H ..... IS3S PoHrait of FonteneOe.

Bincon, Ant. del, attrib. . 345 Madonna,

Boelas, J. de las . . . . 347 Communion of 8, Theresa.

BomanO; Giulio . . . . 43 Copy of the La^rto.HbZy /amtZy of Baphael

at Madrid. „ „ . , . . 56, 7 Madonnas,

BomboutSy T. . * . . . 601 Group of cardrplayers, — ^life-size.

Digitized

byGoogk

ST, PETEB8BUBG: THE HEBMITAGE.

419

Rombouts, T. Rosa di Tivoli Bosa, Salvator

Bottenhammer Rubens, P. P.

Buysdael, J.

Sarto, Andrea del

>» ft n

Sassoferrato • . ff attiib.

No.

602 Group in a hitcJien, 1280, 1 Laruiscapea and cattle,

220 The prodigal son, — Large.

221 Odysseus and Nausicaa.

222 Democriius.

223 Group of soldiers, 224, 5 Portraits.

226 A warrior, 510, 11 Small works.

535 Turning away of Hagar,

536 Adoration of the hings.—The Virgin is a

portrait of Helena Fourment.

540 Madonna and saints,

541 Madonna with saints, — Large.

543 Christ in the house of Simon, — ^Large. 546 Descent from the cross, — Large.

549 Venus and Adonis, — Small.

550 Ba,cchus and nymph — Large.

551 Drunken Silenus. — Small.

552 Perseus and Andromeda, — SmalL

554 Abundance and river Tigris. — Large.

555 Bape of Sabines, — ^Large. ^^^ Philip IV,

560 Elizabeth of Bourbon,

561-6 Sketches for triumphal arches,— "Miade in 1635 for the entry of the InfSante Ferdi- nand of Spain into Antwerp^

557, 69, 70, 90, 8 Studies for large works.

572, 3 Studies for the ceiling of WhitehaJL

575 Isabella Brandt seaied,

576 Helena Fourment, — Full-length* 578, 81 Female portraits,

580, 4 Male portraits,

591 Satyr and nymph — Portrait of Helena

Fourment.

592 Lions fighting,

594 Landscape with figures by moonlight.

595 Landscape and rainbow,

, 1136, 8, 9, 42 Landscapes with water.

1143, 4, 5 Landscapes.

1147 Mountain scenery, . 1148 Country road,

24 Holy family and saints,

25 S. Barbara, . 257 Madonna,

259 Madonna.

2 E 2

Digitized

byGoogk

420

8T. PETER8BUBG: THE HERMITAOE,

Bohalken, G.. Sohedone, B..

SohlATone, Andrea

Sohoorel, Jan Sirani, Elizabetta

Snyden, Frans

StaToren, J. A. Steen, Jan

Strozzi, B.

Teniers, David, elder

younger

Terburg, G.

Tiepolo, G. B. Tintoretto

No.

923 Theherring-BeOer.

266 The Baptist

271 Diana and Aetmon,

272 Cupid reclining.

221 Jupiter and Ic-^JjKadaoKpe.

122 3radonna enthroned.

478, 9 Portraits of a man and his wife,

199 A subject after Ouido.

200 Infant Christ

1312 Fruit-seUer.-^lAte-^ze.

1313 Fe^eto&2e-«eZZer.~Life-Bize.

1314 Ft«^-«efler.— Life-size.

1315 Game-seUer, — Life-size. 1317 Swan and other game, 1320 Thefish'Stallr-'lAfe-mze. 1324 A cortcert of birds,

926 The herring-seller. 895 Esther before Ahasuerus. 896, 8 Interiors and figures. 897 Music in a garden,

899 An invalid.

900 His oum portrait

901 Peasants wedding, 219 ro6ia«.

669, 70 Cottages and landscape.— -Jjatge.

672 JP*6a<£ o/ f^ archers and halberdiers

Antwerp. — His mastetpiece.

673 The guard-room. 674, 5 A kermess. eril A bridal feast

683 Landscape.

684 VilUige dance. 688 Card-players,

697 Interior and a figure,

699 Kitchen of his chdteau at Perch.

700 House and farmyard, 706, 7 Farmyard and animals, 710 Sea-port and ships,

685, 6, 9, 90-6 Small works.

871 The violin-player,

872, 3 The letter and messenger,

874 The guitar lesson,

875 Two figures.

876 PoHraU.

317 The banquet of deopaJtra. 132 Btrf^ 0/ ^ ^|)«M<.

at

Digitized

byGoogk

8T. PETEB8BUBG: THE HEBMITAaK

421

Tintoretto

Titian

), attrib. •

»> »> Tristan, Lnis Utreoh^ Adrian van Yaccaro, Andrea Valentin, Moise . Velasquez, Diego

Velde, Adrian van de

Veronese, Paolo

Venocchio, Andrea Vind, Leonardo da

attrib.

No.

133 Study for the 'Paradise* in the J>ucal

Palace at Venice.

134 8, Charge and the dragtm.

135 Perseus and Andromeda. — Several portraits.

93 Madonna in an arched recess,

95 Christ in benediction,

96 Madonna and magdalen,

98 itfa(/(ZaZen.— Painted in 1560.

99 Venus with looking-glass and eupids,'^

•• Barberigo Venus" — ^Portrait of Lanra

Bianti. 102 PoHrait of PoKavictno.— About 1545.—

C. and C. 105 The * Bella di Tiziano,* 100 Danae.

94 EcceMoTno,

104 Head of Lavinia,

413 Lope de V^a, 1350 Fruit

290 Magdalen, 1490, 1 Soldiers gaming,

418 Stuidy from life of Innocent X, for the

portrait in the Doria^ Borne,

419 FuU'Ungth portrait of Philip IV,

420 Head of PhUip IF.— Replica of similar

heads in our National Gallery, and at Madrid.

421 Full-length portrait of Duke Olivares.

422 Head of Duke Olivares. 1062 Landscape and cows, 1184b CJalm seorpiece,

1185 Biver and sea-piece, 138 Finding of Moses, — Small. 139, 49, 50 Small works. 140 Bepose in Egypt.

143 A banquet— SmeXi,

144 Christ on the cross, — Small.

145 A Pieth.

146 Holy family and 8, Catharine.

151 Mars and Venus.

152 Male portrait

1 Madonna enthroned with angels. 13a Madonna,

14 Madonna and two saints.

15 Nude bust of a woman.

Digitized

byGoogk

422

ST. PETER8BUBG: THE EEEMTFAGE.

"Walker, Bobert . Wattean . . Weenix, Jan . . Werff, A. van der

Woawennan, Ph.

Wynants, Jan Znrbaran, F. .

No. 1386 PoHrait of CrwhwdL 1503 The lute-flayer. 1347, 8, 9 Dead game.

984 A group.

986 Christ brought before the people.

987, 8 Depontione.

990 Magdalen reading.

992 His oum portrait.

995 Chase of the cat.

996 Riding party.

998, 1029 HawMng parties. 1001 Interior of a stable. 1002, 30, 7 Groups.

1006 Single horseman,

1007 Village inn. 1017 Landscape. 1021, 4 BatOe-pieces. 1025 A group of horsemen. 1027 27*6 franiiMter.

1033 Theford^Haiffhing.

1034 Landscape and hunting party.

1035 Dea^A o/ <Ae deer* 1043 T^/ord.— And othew. 1112, 13 Country with trees. 1114, 15, 16 Landscapes.

348 The chOdrVirgin praying.

349 5. Lawrence. — ^Large.

Digitized

byGoogk

i

( 423 )

INDEX.

Abate, Niccold dell', 174 ; "Works of,

231, 232, 314 Adriaenssen, 113 ; Works of, 306, 355 Aelst, Willem van, 141; Works of,

271, 286, 290, 296, 306, 314, 336, 389 Aertsen, Pieter, Works of, 274, 307 Agricola, C. L., Works of, 307 Albani, 78; Works of; 209, 219, 228,

245, 247, 248, 261, 270, 274, 314, 324,

352, 367, 410 Albertinelli, Mariotto, 47 ; Works of,

212, 217, 218, 219, 254, 324, 367, 395,

410 Albin, Eleazer, Works of, 307 Aldegrever, Works of, 295, 296 Alemannus— «^ Vivarini. Alfani, Domenico, Works of, 237

,. Anselmi di G., Works of, 237 AUan, David, 202 ; Works of, 385 AUori, Cristofano, 82 ; Works of, 216,

219, 338, 367, 395, 410 Aldoot, Van, Works of, 274 Altdorfer, 153; Works of, 293, 296,

324, 333, 334 Altichiero, 14 ; Works of, 236 Alunno, Niccolo, 38; Works of, 209,

228, 237, 248, 255, 351, 367, 395 Amberger, 151; Works of, 260, 274,

293, 296, 322, 334, 343, 350 Amiconi, Works of, 388 Amsterdam —

The Trippenhuis, 278 Van der Hoop Museum, 382 Six Van Hillegom Collection, 284 Townhall, 285 Andrea da Firenze, 9 ; Works of, 240,

241 Andrea da Salerno, Works of, 234, 235 „ Giusto d*, 26 ; Works of, 213,

241 Angelico, Era, 16 ; Works of, 212, 213,

214, 218, 219, 236, 238, 250, 255, 257,

261, 271, 296, 322, 324, 355, 367, 395 Anselmi, Mich. Aug., Works of, 367

Antolinez, Jos^, Works of, 410 Antonello da Messina, 29 ; Works of^

263, 270, 271, 296, 314, 322, 339, 367,

395 Antwerp, The Museum, 271 Apshoven, Th., Works of, 307 Araldi, 38 ; Works of, 236 Aretino— «ee Spinello. Arezzo, School of 14th centunr, 9

„ Muncipal Gallery, 207

„ Andrea of, Works of, 207 Arpino, Cav. d'. Works of, 245 Art, B. van. Works of, 296 Arthois, J. d', 113 ; Works of, 274, 345 Asper, J., Works of, 343 Aspertino, Amico, Works of, 209, 226 Asselt, Van d', 94 Asselyn, Jan van, Works of, 278, 282,

307 Assereto, G., Works of, 393 Asti, Ambrogio d*. Works of, 239 Augsburg, Gallery of, 293 Avanzi, Jacopo, 14; Works of, 209,

236,248 Avanzi Veronese, 15 ; Works of, 263

Backer, J., Works of, 282, 307 Backhuizen, 140; Works of, 246, 271,

278, 282, 286, 340, 372, 386, 395 Badile, Giovanni, Works of, 261, 268 Baen, J. de. Works of, 286 Baerse, Jacques de. Works of, 94 Bagnacavallo, 174 ; Works of, 302, 314 Baldovinetti, Alessandro, 21, 23;

Works of, 219, 322 Balen, H. van, 113; Works of, 288,

307,342 Balen, J. van. Works of, 342 Barbary, Jacob de. Works of, 293 Barbieri — see Guercino. Baroccio, 74, 82 ; Works of, 217, 219,

228, 245, 249, 256, 314, 325, 352,

367, 388, 395, 410. Barry, 200 ; Wwks of, 407

Digitized

byGoogk

484

INDEX,

Burtoli, Taddeo, 13; Works o^ 238,

259,296.325,367 Bartolo, Ilomaiioo, Works of; 238, 259

„ di Frwli, Works of, 259 Bartolommeo, Fn, 47 ; Works of, 212,

214, 215, 216, 217, 218, 219, 226, 234,

244^ 247, 249^254^ 296, 351, 365, 367,

410 BMftiti, 34; Works o^ 207, 236, 252,

268,337,395 Basle, OaUery of; 294 Bftssano, Jacopo II, 71 ; Works of, 219,

228, 233, 246, 248, 263, 268, 270, 296,

307, 325, 336, 337, 348, 353, 355, 367,

386,389,395 BMtano, Franoeseo, Works o^ 215, 261,

267, 307, 314, 355 Bassano, Leandro, 72 ; Works o^ 246,

263, 267, 296, 314, 355, 410 Basscn, B. yan, Works of, 286 Batt^LWorks of, 249, 314 Bazii (II Sodoma), 56 ; Works of,

223,240,253, 258, 260, 261, 339 B«ale, Mn^ Works o^ 407 Beocafbmi, Works o^ 218, 251,258, 260 Beoerra, 160

Boechey, Sir William, Works o^ 389 Beeke, A. yan. Works of, 341 Beentraten, Works of, 278, 291 Bega, Comelis, 129, 133; Works of,

219, 278, 282, 296, 307, 322, 325, 372,

410 Beham, Bartholomaus, 151, 153 ; Works

of, 289, 293, 325, 335 Beham, H. 8^ 153 ; Works of, 372 Belgium, Galleries of, 271 BelUni, Jacopo, 31 ; Works of, 263, 393 „ Gentile, 31, 60; Works of,

208, 228, 247, 263, 267, 325, 347, 351,

367, 393 Bellini, Giovanni, 31,32, 57, 68 ; Works

of, 208, 219, 224, 228, 233, 236, 243,

246, 247, 251, 252, 255, 261, 263, 267,

269, 296, 315, 322, 325, 335, 337, 351,

355, 367, 389, 393, 395, 410 BeUotto, 86; Works o^ 228, 233, 261, 267,

296, 307, 314, 315, 325, 348, 353, 410 Beltraffio, 46 ; Works o^ 227, 232, 296,

352, 367, 395 Bembo, B., Works ofl 261 Benaelio, Giovanni, Works of, 268 Benedetto, Diana, Works of, 263, 264 BenvenutL Works of, 207, 395 Berchem, 137 ; Works of, 274, 278, 282,

284, 286, 296, 305, 307, 315, 325, 341,

345, 348, 349, 353, 366) 372, 383, 395,

398, 410 Berokheyden, Gerrit, Works of, 271,

278, 283, 284| 290^ 307, 322, 410

Berckheyden, Job, Works of; 315

Bergamaseo^ TL—me Lotto.

Bergamo, Accademia Carrara, 207

BerUn, BjixytX GaUery, 296

Berlin^eri, 3

Bernardo di Pem^ Works o^ 238

Bermgoete, 159

Bicci, Neri di, 26, 27; Works o^ 23^

240 Bigio, Francia, 48 ; Works o^ 215, 219,

261, 296, 301, 315, 370 Biliverti, Giovanni, Works o^ 217, 352 Biset, C. K, Works of, 307 Bissolo, 34; Works o^ 263, 265, 296,.

395 Blake. William, 201 Blan<uiard, Jacques, 176 ; Worics o^ 377 Bias del Prado, Works of, 355 Bles, H. de. Works o^ 271, 325, 333,

343, 355, 395 Bloemart, 141 ; Works of, 286 Boccaccino da Cremona, Works o^ 217,.

252,263,395 Boccati da Camerino, Works o^ 238 Bockman, Works of, 389 Boeyermans, Th., Works of, 271 Bol, Ferdinand, 123 ; Works of, 275,.

278, 283, 285, 286, 290, 296, 305, 315,

322, 325, 372, 393, 395, 410 Bolgarini, Martino di, Works of, 259 Bologna, School of, 14tli century, 14 „ „ 15tli century, 41

„ Jacopo da, 14 „ Biatteo da, 14; Works of;

210, 265 Bologna, Simone da, 14; Works of, 210*

„ Pinacoteca, 209 Bonatti, G., Works of, 247 *

Bonconsiglio, Works of, 208, 315 Bonfiglii, Benedetto, 39 ; Works of, 238- Bonifazio Yeneziano, 64; Works of,

216, 222, 225, 228, 231, 236, 241,. 246, 248, 255, 264, 267, 268, 296, 315, 336, 337, 339, 344, 351, 367, 386, 389, 410

Bono da Ferrara, Works of, 328, 395 Bononi, Carlo, Works of, 211 Bonsignori, 36; Works of, 218, 221,.

228, 269, 268, 395 Bonvicino — see Moretto. Bordeaux, Museum, 364 Bordone, Paris, 68; Works of, 216.

217, 219, 225, 228, 248, 260, 264, 296, 315, 332, 337, 344, 367, 386, 388, 389, 395, 411

Borgognone, 45; Works of, 208, 215.

228, 234, 296, 351, 367, 395, 396 Borsum, A. van. Works of, 411 Bosch, Works of, 356

Digitized

byGoogk

INDEX.

42&

Both, Jan, 135 ; Works of, 271, 275,

278, 283, 286, 290, 296, 315, 325, 353,

372,383,386,396 Both, Andries, 135 ; Works of, 271, 275,

278, 283, 286, 296, 325, 372, 383, 386 Botticelli, 19, 22; Works of, 212, 218,

220, 221, 234, 243, 258, 261, 296, 297,

315, 322, 325, 367, 393, 396, 411 Boucher, 184; Works of, 220, 297, 377,

381,386,411 BouUongnes, The, 181 ; Works of, 377, Bourdon, 179 ; Works of, 289, 307, 377,

381,393,396,411 Bourgeois, Sir Francis, 202 Bourguignon, 181; Works of, 293, 307,

342,377,386,411 Bouts, Dierick, 100; Works of, 271,

275, 297, 324, 325, 364, 396 Brackenburg, R., Works of, 291 Bramantino, Works of, 396 Bramer, L., Works of, 340 Bray, Jan de, 120 ; Works of, 278, 285,

Breenberg, B., Works of, 307 Brekelenkamp, 141; Works of, 278,

284, 293, 306, 366, 380, 411 Brescia, Galleria Tosi, 211 Bril, Paul, 104, 178 ; Works of, 254,

297, 315, 325, 372 Bril, Matthew, Works of, 315 Brizzi, Works of, 210 Broederlam, 94

Bronkhorst, Jan, Works of, 305 Bronzino, 50 ; Works of, 212, 217, 220,

226, 244, 261, 297, 339, 352, 367, 396,411 Brouwer, Adrian, 126; Works of, 220,

278, 297, 307, 322, 325, 346, 353, 356,

366, 372, 380, 383, 411 Browne, Alexander, 202 Brueghel, Pieter, elder, 103 ; Works of, 220, 235, 275, 313, 325, 344, 856, 389 Brueghel, Pieter, younger, 103 ; Works

of, 271, 275, 297 Brueghel, Jan, 103, 155; Works of,

220, 228, 252, 261, 273, 275, 278, 288,

293, 297, 307, 315, 325, 337, 341, 342,

344, 349, 356, 365, 366, 372, 411 Bruges —

Academy, 273 Museum of S. John, 274 Brun — see Le Brun. Bruno, Giovanni, Works of, 239 Brunswick, Gallery of, 305 Brussels, Mus^e National, 274 Bruyn, B., 151 ; Works of, 275, 297,

305, 313, 315, 322, 325, 411 Buda-Pesth, Gallery of, 350 Bugiardini, 47 ; Works of, 209, 220,

248, 249, 261, 351

Buonarroti— s^ Michael Angelo. Buonconsigli, 36,; Works of, 264, 270 Buoni. Silyestro di. Works of, 235 Burgkmair, 151 ; Works of, 293, 297,,

315, 325, 333, 334, 343 Byzantine Influence, 2

Caqnaocji, Guido, 81 ; Works of, 242,

245, 347, 367, 411 Cairo, Francesco del, Works of, 228 Calcar, Johan von, Works of, 297 Caliari, Carletto, Works of, 220 Calisto di Lodi, Works of, 208 CaUot, 187 ; Works of, 305 Calvaert, D., Works of, 315 Camphuysen, Works of, 307 Campi, Giulio, 82

„ Antonio, Works of, 228 „ Bernardino, Works of, 228 CampidogUo, Works of, 389 Canaie [GEtnaletto], 86 ; Works of, 208,

220, 231, 242, 261, 297, 313, 322, 325,

348, 353, 367, 386, 388, 389, 393, 396,

409 411 Cano,' 163 ; Works of, 297, 315, 325,

354, 355, 356, 362, 411 Cantarini, S., Works of, 209, 250, 315,

367 Capelle, Van de, 140 ; Works of, 340,

396, 411 Caracci, Agostino, 75 ; Works of, 209,

261, 307, 325, 339, 345 Caracci, Annibale, 75 ; Works of, 209,

211, 220, 229, 233, 235, 245, 249, 252,

261, 297, 307, 313, 315, 325, 339, 348,

367, 396, 411 Caracci, Ludovico, 75 ; Works of, 209,

229, 245, 247, 249, 250, 251, 252, 325,

339, 368, 386, 393, 396, 411 Caravaggio, Polidoro da, 55; Works

of, 225, 232, 243, 297, 307, 348 Caravaggio, Amerighi da, 83 ; Works

of, 231, 245, 247, 248, 249, 254, 255,

260, 315, 325, 338, 347, 352, 368, 396,

411 Cardi, L.—see Cigoli. Carducho, Works of, 315 Cariani, 58; Works of, 208, 229, 246,

317, 337 Camieto, A., Works of, 336 Caroto, 37 ; Works of, 231, 269, 297 Carpaccio, 34; Works of, 208, 211,

229, 264, 297, 322, 339, 368, 393, 396 Carrefio — see Miranda. Carucci — see Pontormo. Casanova, 187; Works of, 377 Casentino, Jacopo di, 9; Works o^

220, 396 Cassel, Gallery of, 306

Digitized

byGoogk

426

INDEX.

Cassells, 37 ; Works of, 237 Castagno, Andrea del, 19 ; Works of,

212, 218, 241, 386 Castiglione, Works of, 232 Castillo, Ant del. Works of, 411 Catalogue to Galleries of —

Amsterdam, 278

Antwerp, 271

Areuo, 207

Augsburg, 293

Basle, 294

Bergamo, 207

Berlin, 296

Bologna, 209

Bordeaux, 364

Brescia, 211

Bruges, 273

Brunswick, 305

Brussels, 274

Buda-Pesth, 350

Cassel, 306

Cologne, 311

Darmstadt, 312

Dresden, 314

Dulwich^383

Edinburgh, 385

Ferrara, 211

Florence, 212

Prankfort, 322

Genoa, 225

Glasgow, 388

Greenwich, 389

Haarlem, 285

Hague, 286

Hampton Court, 389

Leiden, 290

LiUe,364

Liverpool, 393

London, 395

Lucca, 226

Lyons, 365

Madrid, 355

Mantua, 227

Marseilles, 366

Milan, 227

Modena, 231

Montpellier, 366

Munich. 324

Naples, 232

Niimberg, 332

Padua, 236

Paris, 367

Parma, 236

Perugia, 237

Pisa, 239

Prato, 241

Rome, 241

Rotterdam, 290

SeviUe,362

Catalogue to Galleries of— continued. Siena, 258 St. Petersburg, 410 Stuttgart, 335 Turin, 261 Venice, 263 Verona, 268 Vicenza, 270 Vienna, 336 Catena, Vicenzo, 34; Works of, 207,

229, 236, 264, 267, 297, 314, 315, 337,

351, 393, 395, 411 Cavallini, 4

Cavazzola, 37|; Works of, 269, 315,400 Cavedone di Sassuolo, Works of, 209,

231 Caxes, Eugenio, Works of, 356 Century, The term, 1

„ Thirteenth, Italian School

of, 2 Century, Fourteenth^ Schools of;

Italian, 5 ; Flemish, 94 ; German, 145 Century, Fifteenth, Schools of;

Italian, 16; Flemish, 94; Grerman,

145; Dutch, 116; Spanish, 159

French, 174 Century, Sixteenth, Schools of;

Italian, 46; Flemish, 101; German,

148; Dutch, 117; Spanish, 159

French, 174; English, 190 Century, Seventeenth, Schools of

Italian, 75; Flemish, 104; Grerman,

155 ; Dutch, 118 ; Spanish, 159

French, 174 ; English, 190 Century, Eighteenth, Schools of

Italian, 85 ;' German, 155 ; Spanish,

171 ; French, 192 Cesare da Sesto, Works of, 227, 230,

232, 255, 262, 264, 322, 351, 371 Cespedes, Pablo de, 161 Ceulen, C. van, Works of, 291, 305,

315 Ceulen, J. van, Works of, 323 Champaigne, P. de, 112; Works of,

220, 275, 288, 292, 340, 353, 365, 372,

380, 396, 411

Chardin, 185 ; Works of, 349, 366, 377,

381, 383, 411

Chimeiiti, Jacopo, Works of, 220 Christus, Petrus, 97 ; Works of, 261,

275, 297, 323, 356, 412 Chronological Tables of Painters :

Italian, 88; Flemish, 114; Dutch,

142; German, 158; Spanish, 173;

French, 188 ; English, 203 Cignani, Carlo, Works of, 249, 250,

261, 307, 315, 325, 339, 388 Cigoli, 82 ; Works of, 212, 216, 217,

220, 352, 411

Digitized

byGoogk

INDEX.

427

Cim&^see Conegliano.

Cimabue, 4; Works of, 212, 239, 269,

• 368,396

Cinquecento, The term, 1

Ciroferri, Works of, 245

Claude Lorraine, 178 ; Works of, 220,

231, 234, 241, 252, 254, 275, 297, 318,

325, 345, 346, 356, 377, 383, 397, 412 Clouet, Jean, elder, 174; Works of,

220 Clouet, Jean, younger, 174 ; Works of,

378 Clouet, rran9ois, 175 ; Works of, 271,

297, 315, 323, 342, 364, 377, 389, 397, 412

Cochereau, Works of, 378 Cock, M., Works of, 343 Cocques, 113 ; Works of, 288, 307, 354,

397 Coello, Alonso Sanchez, 160; Works

of, 275, 345, 356, 365, 407, 412 Coello, Claudio, 171 ; Works of, 325,

412 Colle — see Baphael. Cologne, School of, 145, 307, 313, 325,

397 Cologne Museum, Wallraf-Bichartz,

311 Cologne, Master of. Works of, 325

„ Wilhehn of. Works of, 325 Colombel, 187 'Conegliano, Cima da, 33 ; Works of,

209, 229, 231, 237,264, 269, 270, 297,

307, 315, 323, 325, 336, 347, 351, 368,

396 Congnet, G., Works of, 271 Conixloo, C. van. Works of, 275 Contarini, G., Works of, 229, 264 Cooper, S., 191

Copley, 200 ; Works of, 405, 407 Cordegliaghi, Andrea, Works of, 264 Comeille, 187 Cornells, Works of, 389 Comelissen van Oostzanen, Works of,

307 Correa, D., Works of, 356 Correggio, 72 ; Works of, 220, 229, 231,

233, 237, 244, 252, 256, 269, 298, 315,

339, 347, 352, 356, 368, 388, 397, 412 Cortona, Pietro da, 80 ; Works of, 229,

247, 265, 338, 369, 412 Cosimo, Piero di, 27; Works of, 222,

298, 351, 369, 401 Cosmati, 4

Cossa, 36 ; Works of, 209

Costa, Lorenzo, 41, 42 ; Works of, 209,

218, 229, 298, 364, 368, 39,7 Costa, Benedetto, Works of, 229 Cousin, Jean, 175 ; Works of, 378

Coxie, Michael, 101 ; Works of, 271,

275 298 Coypel, Noel, 181 ; Works of, 378

„ Antoine, 187 ; Works of, 378 Cozens, John, 202 Cozzareli, G., Works o^ 351 Craesbeeck, J. van, Works of271 Cranach, Lucas, elder, 154 ; Works of,

220, 246, 254, 271, 275, 293, 298, 305,

307, 313, 316, 326, 333, 334, 335, 336,

343, 350, 356, 372, 391, 393, 397,

412 Cranach, Lucas, younger, 155 ; Works

of, 298, 305, 313, 333, 336, 343, 391 Crayer, Gaspard de, 112; Works of,

271, 275, 307, 326, 340, 364^ 372 Credi, Lorenzo di, 23 ; Works of, 212,

214, 220, 234, 243, 244, 261, 298, 374,

316, 326, 368, 393, 397 Cremona, Niccolb da. Works of, 209

„ School o^ 82

Crespi, G. M., Works of, 216, 261, 412

„ G. B., Works of, 261

„ Daniele, Works of, 229 Cristoforo — see Casella. Crivelli, Carlo, 31 ; Works of, 208

229, 244, 255, 269, 323, 351, 397 Crocefissi, 14

Crome, John, Works of, 405 Crosse, Lewis, 202 Crucifixes, The early, 2 Cuyp, Albert, 134 ; Works of, 275, 278,

283, 284, 286, 291, 298, 316, 323, 326,

345, 353, 365, 373, 383, 397, 412 Cuyp, J. G., Works of, 291, 298

Daddi, Bernardo, Works of, 259 Dance, Nathaniel, 202 ; Works of, 389,

407 Dance, William, Works of, 389 Darmstadt, Gallery of, 312 David, Jacques Louis, 186 ; Works of,

378 David — see Gherardt. Decker, C, Works of, 291 Deelen, D. van. Works of, 291, 341,

386, 397 Delphius, Jacob, Works of, 291 Denner, 156 ; Works of, 298, 316, 326,

341, 373, 380, 389, 412 Deodati, Works of, 239 Descamps, Works of, 366 Desportcs, Francois, 184; Works of,

378 Deutsch, N. M., Works of, 295 Diamante, Fra, 20 Diana— 5^^ Benedetto. Diepenbeck, A. van, 113; Works of,

342

Digitized

byGoogk

428

INDEX.

Dietrich, 156 ; Works of, 305, 316, 397,

412 Divino, £1— M0 Morales. Dobeon, 191 ; Works of; 889, 407 Does, S. van der. Works of, 279 Dolci, Carlo, 83; Works of, 216, 217, 218, 220^ 228, 245, 249, 298, 307, 316, 326, 339, 347, 352, 365, 383^ 412 Domeniohino, 76; Works of, 209,

217, 218, 220, 226, 229, 234, 243, 245, 247, 253, 316» 347, 368, 383, 397, 412

Domenico — tee Yeniziano. Donzello, Piero, Works o^ 235

„ Ippolito, Works of, 235 Dossi, Dosso, 56 ; Works of, 211, 216,

220, 229, 231, 244, 247, 275, 298, 316,

368,390 Douven, J. F. van. Works of, 307 Dow, Gerhard, 130; Works of, 220, . 224, 261, 275, 279, 283, 284, 287, 298,

305, 306, 316, 323, 326, 341, 346, 348,

366, 373, 383, 397, 412 Dresden, Boyal Gallery, 314 Drost, Works of, 308 Dubbels, J., Works of, 308 Dubois, C, Works of, 338 Duccio da Siena, 5; Works of, 259,

397 Duck, A. J., Works of, 298 Ducq, J. le. Works o^ 279, 336, 341,

373, 386, 412 Ducq, A. le, Works of, 349 Dufresnoy, 176, 179 ; Works of, 378 Dughet, Gaspar, 178 ; Works of,

218, 241, 250, 253, 261, 275, 279, 316, 326, 345, 356, 366, 383, 386, 397

Dulwich, GaUery of, 383 Dunwege, V. and H., Works of, 271 Diirer, 152 ; Works of, 208, 215, 320, 324, 235, 243, 249, 250, 279, 305, 308, 316, 323, 326, 333, 334, 343, 356, 373, 393 397 Dusart, 134; Works of, 279, 284, 316,

341, 346, 354, 366, 383, 412 Dutch- Portraiture, 117 Still-life, 124 Marine, 140 Interiors, 129 Landscape, 134 Dyck, Anton van, 110; Works of, 216, 220, 224, 225, 228, 229, 233, 235, 236, 241, 247, 248, 249, 250, 261, 264, 269, 271, 275, 279, 283, 288, 294, 298, 305, 308, 312, 316, 323, 326, 327, 336, 340, 341, 342, 345, 347, 348, 349, 354, 356, 357, 364, 373, 383, 386, 390, 397, 398, 407, 412, 413 Dyck, Philip van. Works of, 308

Eclectics, The term, 75

„ The School of Boloraa, 75

„ The School of Cremona

and Milan, 82 Eclectics, The School of Rome, 82 Edinburgh, National Gallery, 385 Eeckhout, G. van den, 123 ; Works of,

279, 291, 298, 305, 313, 323, 327, 349,

413 Ehrenberg, W., Works of, 342 Elzheimer, 156 ; Works of, 308, 373, 398 Engelbertsz, 116; Works of, 261, 290,

398 Engelbrechsten, Cornells, Works of,

264, 327, 333 England, Painting in, 190 „ GaUeriesof, 383

Ercole Grande, Works of, 247, 250, 317,

394 Es, Van, Works of; 340, 349 Escalante, J. A., Works of, 357, 413 Essen, Jan van, 113

„ Jacob van. Works of, 357 Eusebio di S. Giorgio, Works o^ 238 Everdingen, A. van, 141 ; Works of,

279, 283, 308, 323, 327, 336, 345, 413 Everdingen, C. van. Works of, 287 „ J. van. Works of, 298

Eversdyck, 120 ; Works of, 291 Eyck, Hubert Van, 95, 116 ; Works of,

275 299 327 Eyck,' Jan van, 95; Works of, 235,

270, 271, 272, 273, 275, 299, 316, 323,

333, 343, 344, 346, 357, 373, 390, 393,

398, 413

Fabriano, School of, 14

GentUe da, 29, 30; Works of, 212, 229, 238, 240, 248, 265, 316, 368,393 Fabritius, C, Works of, 279, 291,

312 Fabritius, Bemhart, Works of, 305 Faes, P. van der. Works of, 413 Falcone, AnieUo, 84 ; Works of, 357 Falconetto, G. M., Works of, 269 Farinato, P., Works o^ 337 Febvre — see Lefebvre. Ferrara, School of, 15th century, 35 „ „ 16th century, 55

„ The Ateneo, 211 „ Bono— see Bono. „ Stefiino da, 35; Works o^ 295 Ferrari, Gaudenzio, 46 ; Works of, 229,

261,368 Feti, Domenico, 83; Works of, 265,

316, 338, 352, 368, 413 Fiore— »<?e Jacobello.

Digitized

byGoogk

INDEX,

429

Fiori, Mario dei, Works of, 245 Fiorenzo di Lorenzo, 39; Works of,

238, 244, 299 Firenze — see Andrea. Flanders, Painting in, 94 Fiatman. 202 Flinck, 124; Works of, 261, 272, 275,

291, 299, 305, 316, 340, 373, 413 Florence, School of, 13th century, 4,

305 Florence, School of, 14th century, 5 „ School of, 15th century, 16,

368 Florence, School of, 16th century,' 47,

339 Florence, Academy, 212

„ Convent S. Marco, 214 „ Pitti Palace, 215 „ Uffizi Gallery, 219 Florigerio, Works of, 329 Floris, Frans, 102; Works of, 220,

272, 275, 299, 344 Fogolino, Marcello, Works of, 208, 270 Fontainebleau, School of, 174 Fontana, Lavinia, Works of, 234 Foppa, Vincenzo, Works of, 208, 229,

396 Forli—see Melozzo. Fosse, G. de la, 187 Fouquet, 174 ; Works of, 272, 348, 378 Fragonard, 184 ; Works of, 378, 381 France, Painting in, 174 „ Galleries of, 364 Francesca, Piero della, 27 ; Works of,

218, 222, 238, 265, 401 Franceschini, Works of, 316, 347 Francia, Francesco, 55 ; , Works of,

208, 209, 210, 220, 229, 232, 237, 244,

252, 261, 269, 299, 316, 323, 327, 336,

339, 352, 368, 390, 398, 413 Francia, Giacomo, 42 ; Works of, 209,

217, 244, 247, 351 Francia, Jacopo, Works of, 351

„ Giulio, 42 Francken, H., Works of, 279 „ F., Works of, 344 Franconian School, 73 Frankfort, Stadel Gallery, 322 Freminet, 176 ; Works of, 378 Frumenti, Niccolb, Works of, 235 Fungai, 56 ; Works of, 260 Furini, F., Works of, 352, 386 Fuseli, 201 ; Works of, 393, 409 Fyt. Jan, 109; Works of, 229, 261,

272, 294, 299, 308, 316, 327, 340, 350,

357, 373, 380, 381, 386, 398, 413, 426

Gaddi, Taddeo, 8; Works of, 212, 238, 241, 299, 368, 398

Gaddi, Agnolo, 8 ; Works of, 212, 235,

241,368 Gaddi, Gaddo, 4 Guetano, Scipio, Works of, 245, 250,

254 Gainsborough, 196 ; Works of, 384,

385, 390, 405 Gandolfino, Works of, 262 Garbo, Rafaellino del, 27 ; Works of,

207, 302, 370 Garofalo, 55 ; Works of, 211, 212, 215,

216, 217, 218, 229, 232, 233, 234, 237, 244, 247, 250, 251, 255, 262, 265, 316, 317, 323, 327, 368, 386, 398, 413

Garzi, Luigi, Works of, 394 Gatta, Bart della, 25

„ Girolamo della, Works of, 207 Gratti, Bernardo, Works of, 233 Gaudenzio— see Ferrari. Gelder, Works of, 279, 348 Gel^e— see Claude. Gennari, B., Works of, 352 Genoa, Palazzo Brignoli, 225 Gerard, Marc, 113 ; Works of, 390, 407 Gerini, Niccolb di Pietro, 10 ; Works

of, 212 Gerini, Lorenzo di Niccolb, 10 ; Works

of, 213 Gerino, da Pistoia, Works of, 221 Germany, Painting in, 145 „ Galleries of, 293 Gherardt, David, 100; Works of, 274,

298, 398 Ghirlandajo, Domenico, 23; Works of,

212, 213, 214, 218, 221, 234, 258, 299,

317, 327, 364, 368, 414 Ghirlandajo, Michele, 25; Works of,

212 Ghirlandajo, Ridolfo, 24; Works of,

217, 221, 351 Giambono, M., Works of, 265 Gilio, Works of, 259 Gillot, 187

Giordano, Luca, 84; Works of, 229,

234, 235, 250, 265, 299, 317, 327, 339,

352, 357, 368, 3SS, 413 Giorgio, Fr. di, Works of, 221, 394 Giorgione, 57, 58. 64 ; Works of, 208,

216, 221, 232, 246, 250, 252, 254, 299,

305, 317, 327, 337, 351, 357, 368, 386,

388, 390, 393, 398 Giottino, 8; Works of, 221 Giotto, 6; Works of, 210, 213, 221,

229, 236, 237, 240, 262, 299, 327, 350,

368, 393, 398 Giotto, School of, 8 Giovanni da Pisa, 2

„ da Milano, 9 ; Works of, 213.

222, 241

Digitized

byGoogk

4S0

INDEX.

Giovanone, Works of, 262 GiroUmo — see Treviso.

,, „ Libri.

Girtin, 202 Giunta—- we Pisano. Giusto Gioyanni, 15 Glasgow Gallery, 388 Glauber [Polydor], Works of, 308 Goes, Hugo van der, 98; Works of,

221, 254, 327, 344, 398 Goltzius, Works of, 287, 414 Gomes, 170 ; Works of, 414 Gossaert, Jan — see Mabuse. Goya, 171 ; Works of; 354, 357, 364, 371 Goyen, J. van, 135; Works of, 279,

286, 294, 299, 317, 323, 327, 336,

342, 364^373,409,414 Gozzoli, Benozzo, 25 ; Works of, 221,

238, 240, 255, 339, 368, 398 Granacci, Franc, 24 ; Works of, 213

217, 221, 299, 327, 414 Grande— see Ercole. Greco, II — see Theotocopuli. Greenwich Hospital, 389 Greuze, 185 ; Works of, 299, 317, 366,

378, 381, 387, 390, 398, 414 Grien, J. B., Works of, 295 Griffier, G., Works of, 262 Griider, Works of, 295 Grun, Baldimg, Works of, 296, 334 Griinewald, Works of, 327, 343 Guardi, 87; Works of, 208, 336, 368,

380,388,398 Guariento, 15

Guarino da Solofra, Works of, 234 Guercino, 79 ; Works of, 210, 216, 221,

225, 229, 232, 233, 245, 247, 249, 253,

254, 255, 256, 262, 276, 317, 345, 347,

357, 368, 384, 388, 398, 414 Guido Reni, 77 ; Works of, 210, 217,

223, 226, 230, 232, 235, 242, 243, 245,

247, 249, 250, 251, 253, 254, 255, 256,

262, 299, 306, 308, 319, 327, 330, 339,

347, 349, 352, 357, 365, 384, 387, 388,

390, 398, 418 Guido da Siena, 4 ; Works of, 259

„ —see Cagnacci. Gysels, P., Works of, 276, 313, 414

Haarlem, Townhall, 285

„ Hofje van Beresteyn, 286 „ Geerrit van, 116 ; Works of,

327,344 Haarlem, Cornells van, 117 ; Works of,

279, 285, 286, 298, 305, 357, 412 Hackaert, J., Works of, 279, 289, 291,

299, 308, 398, 414 Hagen, Van der. Works of, 278, 279 Hague, Royal Museum, 286

Hague, Musee Communal, 286

„ Steengracht, 289 Hals, Frans, elder, 118; Works of, 272,

276, 279, 284, 285, 286, 291, 299, 305,

308, 317, 323, 327, 342, 348, 354, 364,

373, 380, 398, 414 Hals, F., younger. Works of, 299

„ Dirk, Works of, 283 Hamilton, J. G., Works of, 340 Hampton Court Palace, 389 Hales, Works of, 407 Hayman, 196

Heda, W. C, Works of, 313, 317 Hecm, Jan David de, 124 ; Works of,

262, 279, 287, 291, 299, 302, 305, 308,

317, 323, 336, 350, 357, 373, 390, 414 Heem, Comelis de, 125 ; Works of, 276,

287, 299, 317, 341, 345 Heem, Jan de, 125; Works of, 272,

276, 279, 317, 327, 341, 345 Heemskerck, Martin van, 117 ; Works

of, 285, 287, 299, 308, 333, 350, 390,

414 Heere, L. de, 190; Works of, 390 Heerschop, H., Works of, 299 Heist, Van der, 123 ; Works of, 217, 237,

276, 279, 285, 287, 291, 808, 317, 327,

346, 354, 364, 373, 387, 390, 414 Hemessen, C. van, Works of, 398 Herrera, The elder, 163, 164; Works

of, 362, 371, 414 Herrera, The younger, 163 : Works of,

357,362 Heusch, W. de. Works of, 308 Heyden, Van der, 139 ; Works of, 221,

279, 283, 287, 306, 308, 317, 336, 346,

373, 399, 414

Hilliard, Nicholas, 190 ; Works of, 407

Hire — see Hyre.

Hobbema, M., 38 ; Works of, 272, 276,

280, 283, 284) 291, 294, 299, 317, 323, 327, 340, 346, 374, 384, 387, 399

Hoeckgcest, G. van, 141; Works of,

287 Hogarth, 193; Works of, 385, 407,

409 Holbein, The elder, 148 ; Works of, 294,

295, 323, 327, 333, 343 Holbein, The younger, 148 ; Works of,

217, 221, 235, 237, 246, 248, 262, 265, 272, 276, 289, 294, 295, 300, 306, 313, 317, 323, 327, 334, 343, 349, 350, 357,

374, 384) 390, 393, 407, 414 Holbein, Ambroise, Works of, 295,343 Holland, Painting in, 116

„ Galleries of, 278 Holstein, C, Works of, 308 Hondecoeter, Melchior, 125 ; Works of,

218, 265, 272, 276, 280, 287, 300, 306,

Digitized

byGoogk

i

INVEX.

431

308, 317, 323, 827, 335, 336, 345, 350,

353, 366, 390, 393, 399, 414 Hondecoetcr, G., Works of, 308 Hone, Nathaniel, 202 ; Works of, 407 Honthorst, Gerhard van, 129 ; Works

of, 221, 246, 251, 262, 280, 287, 308,

317, 327, 342, 374, 391, 407, 414 Hooghe, Pieter de, 130 ; Works of, 280,

283, 294, 289, 300, 327, 333, 336, 345,

364, 374, 399, 414 Hoogstraeten, S. van. Works of, 283,

287 340 Hoppner, 198 ; Works of, 391, 406, 407 Horemans, Pieter, Works of, 221 Horembout, Gerard, 94, 190; Works

of, 414 Horst, G., Works of, 300 Hoskyns, John, 190 Hudson, Thomas, 193 ; Works of, 407 Hugtenburg, 141 ; Works of, 276, 280 Huysum, Jan van, 125; Works of,

218, 280, 283, 287, 300, 302, 317, 336,

341, 345, 349, 365, 374, 384, 399, 414 Huysmans, C, 113; Works of, 276,

308, 366, 393, 399 Huysmans, J. B., Works of, 276, 407 Hyre, L. de La, 228, 229 ; Works of,

341, 378

IMOLA, I. da, 55 ; Works of, 210, 394 Italy, Painting in, 1 „ Gralleries of, 207

Jaoobello del Fiore, 30, 31 ; Works

of, 268, 265 Jacopo di Paolo, Works of, 208 James, Works of, 391 Jameson, George, 203 [414

Janssen, Comelis, 141, 190; Works of, Janssens, A., Works of, 308 Jardln, K. du, 179 ; Works of, 280, 287,

300, 308, 328, 353, 374, 384, 387, 399,

414 Jeaurat, 187

Jervas, 192 ; Works of, 407 Jones, Thomas, Works of, 414 Jordaens, Jacob, 109 ; Works of, 272,

276, 280, 308, 312, 317, 328, 336, 342,

349, 354. 357, 374, 415 Jouvenet, 181 ; Works of, 378 Juanes, Vicente, 159 ; Works of, 317,

357, 415 Juncker, Justus, Works of, 308 Justus of Ghent, 98 ; Works of, 272

„ of Padua, Works of, 399 Juvenal, Works of, 344

Kalp, 125 ; Works of, 280, 291, 317, 323, 328, 374, 380, 415 I

Karel — see Jardin.

Kaufmann, 157; Works of, 318, 328,

391, 407, 415 Kessel, J. van, 127 ; Works of, 291, 354 Keyser, T. de, 119; Works of, 276,

280, 287, 300, 313, 328, 348, 399, 415 Knapton, Works of, 389, 391 Kneller, Sir Godfrey, 192 ; Works of,

294, 389, 391, 406, 407, 408, 415 Knupfer, N., Works of. 309 Koln, W. von, 145; Works of, 312,

313, 405 Koning, Philip de, 139; Works of,

280, 291, 323, 399 Koning, Salomon, Works of, 284, 29K

300,306 Kulmbach, Hans, Works of, 300, 328,

334 Kupetzky, Works of, 333, 344

Laer, P van, 141 ; Works of, 309 Lairesse, J. G. de, 113; Works of, 280,

306,309 Lambiertini — see Bologna, Matteo da. Lancret, 184 ; Works of, 300, 318, 366,

378, 381, 399, 415 Lanfranco, 80; Works of, 218, 221,

226,235,249,318,361 Lanini, B., Works of, 262, 399 Lanzani, P., Works of, 351 Largillifere, 182 ; Works of, 306, 353,

378, 381, 415 Lastman, P., Works of, 294 Lazari, S., Works of, 265 Leal, J. de Valdes, 171 ; Works of,

321, 357, 415 LeBrun, 176, 180; Works of, 224, 265,

300, 328, 350, 377, 380, 384, 415 Leeuw, P. van der. Works of. 291 Lefe'bvre, Claude, 187 ; Works of, 378.

408 Leiden, L. van, 117; Works of, 221,

228, 272, 290, 300, 313, 323, 328, 333,

344, 350, 391, 393 Leiden, Stedeiyk Museum, 290 Lely, Sir P., 191 ; Works of, 389, «91-

406 408 Le Moine, 182 ; Works of, 379, 381 Le Naln, Antoine and Louis, 176:

Works of, 222, 379, 381 Le Noir, 187 Lens, Bernard, 202 Leonardo— see Vinci. Le Sueur, 176, 179; Works of, 346, 37» Leux, Works of, 343, a54 Liberale da Verona, 48 ; Works of, 229 Libri, Girolamo dai, 37 ; Works of,

269, 300, 393, 399 Licinio— fee Pordenone*

Digitized

byGoogk

482

INDEX.

Lierens, Works of, S&2, 262, 306 Lille, Gallery of; 364 L*Ingegno, Works o^ 399 Lin^bach, 139; Works of; 279, 280,

287, 374, 415 Uotard, Works of; 280 Idppi, FiUppo, 19 ; Works of, 207, 213, 214, 218, 221, 226, 234, 240, 241, 251, 300, 323, 328, 351, 369, 387, 399 Lippi, FiUppino, 19, 22, 27 ; Works of, S13, 218, 221, 300, 318, 327, 328, 393, 394,399 Liverpool, Roval Institution, 393 Lochner, Stephan, 146 ; Works of, 311,

313, 323, 398 Lodi— SM Calisto. Loethener— M0 Lochner. Lombard, School of, 15th century, 43 „ Lambert-— S00 Sustermann. Lomi, Works of, 262 London, National Gallery, 395 „ South Kensington, 407 „ Soane's Museum, 409 Longhi, Luca, Works of, 229

„ Pietro, Works of, 391 Loo, C. van, 182 ; Works of, 221, 378,

408 Loo, J. B. van, 182, 187 ; Works of,

378 415 Looten, J. van. Works of; 309 Lorenzetti, Ambrogio, 10, 13 ; Works

of, 213, 214, 258, 259, 300 Lorenzetti, Pietro, 10, 13 ; Works of,

258, 259, 351 Lorenzo— see Yeniziano. „ —see Monaco. „ di Niccolb— aee Gerini. Lorraine — see Claude. Loschi, Jacopo, 37

Lotto, Lorenzo, 66; Works of, 208, 211, 216, 221, 229, 233, 236, 246, 248, 252, 255, 300, 328, 337, 351, 357, 369, 391, 399, 415 Loutherbourg, 202 ; Works of, 389 Lucatelli, Works of, 388 Lucca, Communal Gallery, 226 Luini, Bernardino, 44; Works of, 221, 227, 230, 234, 328, 339, 352, 357, 358, 369, 404, 415 Luti, B., Works of, 241, 415 Lyons, Museum, 365 Lys, Works of, 309

Maas, Nicholas, 129, 132 ; Works of, 276, 280, 283, ^ 291, 300, 318, 328, 374, 381, 399, 415

Mabuse, Jan, 133 ; Works of, 272, 276, 300, 328, 333, 344» 374, 391, 399

Macchiavclli, Zanobi, 26 ; Works of .240

Macrino d'Alba, Works o^ 262, 323 Madrid, Academia de San Fernando,

355 Madrid, Royal Museum, 355 Mainardi, 25 ; Works of, 300, 369 Malombra, Works of; 358 MalweL 94

Manfredi, B., Works o^ 215 Manni, Giovanni, Works of, 238

„ Gianniccola, Works o^ 239 Bfans, F. H., Works of, 394 Mansueti, 34 ; Works of, 208, 230, 265,

351 Bfantegna, Andrea, 34, 35, 36 ; Works

of, 208, 221, 227, 230, 233, 236, 237,

238, 251, 254, 255, 262, 265, 296, 300, 323, 328, 339, 358, 369, 391, 394, 399

Mantovano, Rinaldo, Works of; 227 Mantua, Pahizzo del Thy 227 „ Ducal Palace, 227 „ Castello di Corti. 227 Maratta, 104 ; Works of, 216, 241, 249,

250, 251, 255, 276, 300, 318, 328, 338 ,

347, 369, 399, 415 Marco Bello, Works o^ 351 MarceUis, O., Works of, 292 Marconi, Rooco, Works of, 250, 265 Marcus Yenetus, Works of, 208 Margaritone d'Arezzo, 3; Works o^

207,238,259,394,400 Marinus, Works of, 328 Mariotto— see Albertinelli. Marseilles, Gallery of, 366 Martini, Simone, 12 ; Works of, 221,

239, 258, 272, 394

Marzialc, Marco, Works of, 208, 265,

400 Masaccio, 18 ; Works of, 213, 221, 240,

243, 328, 394

Masolino. 18 ; Works of, 328, 394 Master of * Death of the Virgin,* 147 ;

Works of, 300, 309, 312, 323, 328,

344 Master of * Liesbom,' 147 ; Works of,

387,400 Master of * Lyversberg Passion,' 146 ;

Works of, 348, 312, 326, 328, 387,

400 Matsys, Quintin, 101 ; Works of, 224,

252, 272, 276, 300, 318, 328, 333, 344,

374, 400, 415 Matteo, da Siena, 38 ; Works of, 234,

258, 260, 394 Mazo, DeL^167 ; Works of, 358 Mazzola, Filippo, 37; Works o^ 237,

252 Mazzolino, Ludovico, Works of, 212,

244, 252, 400

Mazzuoli — see Parmegianino.

Digitized

byGoogk

INDEX.

483

Meckenen, I. von, 146 ; Works of, 333 Meer, Van der, of Delft, 131 ; Works

of, 283, 284, 287, 300, 301, 306, 318,

336, 342, 345, 364^ 374, 415 Meer, Van der, of Haarlem, Works o^

280 291 Meert, P., Works of, 276 Meire, Gerard van der, 97 ; Works of,

252, 267, 272, 400 Melchiore, Works of, 237 Melem, Hans van. Works of, 328 Melone, Works o^ 208 Melozzo da Forli, 28 ; Works o^ 256,

299 400 Melzi' F., Works of; 301 Memling, Hans, 99 ; Works of; 221,

252, 262, 267, 272, 274^ 276, 301, 313,

318, 323, 328, 343, 344, 350, 374, 400 Memmi, Lippo, 12; Works o^ 259 Menendez, Works of, 358 Mengs, Raphael, 156; Works of, 228,

230. 232, 242, 328. 358, 415 Meo da Siena, Works ofl 238 Metsu, G., 129, 132 ; Works of, 222,

276, 280, 283, 287, 301, 306, 309, 318,

328, 341, 346^ 353, 358, 366, 374, 400,

409, 415 Meulen, A. van der, 113; Works of,

276, 309, 374, 375, 387, 415 Meulen, J. van der. Works of, 318 Michael Angelo, 48y 69; Works of,

222, 233, 245, 247, 253, 257, 365, 387,

394, 400, 401 Michele, Lambertini, 14 Mierevelt, Michael van, 118 ; Works

of, 235, 265, 280, 283, 287, 291, 301,

353, 408, 415 Mierevelt, P. van. Works of; 318 Mieris, Frans van, elder, 129, 133;

Works of, 222, 262, 280, 283, 287, 318,

328, 329, 341, 366, 375, 400, 416 Mieris, Frans \&n, younger, 133;

Works of, 309 Mieris, Willem van, 133 ; Works of,

276, 280, 287, 306, 309, 318, 375, 400,

416 Mieris, J. van, Works of, 416 Mignard, Pierre, 176, 179, 180;

Works of, 222, 301, 358, 378, 379, 408,

416 Mignard, Nicholas, 180 Mignon, 125 ; Works of, 222, 262, 280,

283, 306, 309, 318, 329, 349, 375, 4ie Milan, Ambrosiana, 227

„ Brera, 228 MiltLno—see Giovanni da« Millans, Works of, 391 Millet, 113; Works of, 323 Mino, Jacopo di. Works of, 259

Miranda, De, 170 : Works of, 356, 297 Modena, School of, 14th century, 14 „ Galleria Estense, 231 „ Tommaso da, 14 ; Works of,

232, 265 Modena, Parantino da. Works of, 251 „ Bamaba da, 14; Works of,

239, 322 Moeyart, Works of, 280 Mola, Works of, 241, 245, 248, 369, 388 Molenaer, N., Works of, 309, 354 Mommers, H., Works of, 301 Monaco, Lorenzo, 17; Works of, 212,

213, 219, 221 Monnoyer, 185 ; Works of, 329, 391 Monrealese, Works of, 234 Montagna, Bart., 36 ; Works of, 208,

230, 265, 270, 301, 369 MontpelUer, Mus^e Fabre, 366

„ „ Bernard, 366

Morales, 160; Works of, 318, 355,

358, 371, 416 Morandi — see Cavazzola. M«reels, J., Works of, 309 Moreelse, 118; Works of, 280, 287,

291, 312, 318, 416 Moretto, II, 66; Works of, 211, 222,

225, 230, 233, 256, 262, 265, 301, 318,

323, 329, 337, 347, 369, 400, 416 Morland, 201 ; Works of, 406, 408 Moro, Antonio, 102; Works of, 190,

287, 287, 301, 306, 309, 311, 318, 329,

343, 344, 358, 391, 400, 408, 416 Morone, Domenico, 37; Works of,

216,260 Morone, Francesco, 37 ; Works of, 208,

230, 236, 269, 301, 351, 400 Moroni, Giov. Batt., 67; Works of,

208, 211, 222, 228, 230, 248, 254, 265,

294, 301, 318, 323, 329, 400, 416 Mostaert, J., Works of, 272, 276 Moucheron, 141 ; Works of, 280, 309,

340, 353, 400, 416 Moya, Pedro de. Works of, 345, 354, 416 Mudo, El — see Navarrete. Munich, Royal Pinacothek, 324 Murano, School of, 15th century, 30 „ Giov. and Anton, da — see

Yivarini. Murano, Andrea da, 31

„ Bernardino da. Works of,

270 MuriUo, 167; Works of, 215, 237, 250,

255, 276, 280, 289, 292, 301, 318, 329,

336, 345, 354, 355, 358, 362, 371, 384,

387, 388, 400, 416 Musscher, M. van, 141 ; Works of,

272, 283, 287 Mutina, Th. van, Works of. 343 2 F

Digitized

byGoogk

434

INDEX.

Mytens, Daniel, 119, 190; Works of,

262, 291, 391 My tens, younger, 119

„ J., Works of, 272

„ A., Works of, 280

Nain~ see Le Nain.

Naples, Museum, 232

Nasmyth, A., Works of, 406

Nason, P., Works of, 287, 291, 301

Natoire, Works of, 380

Nattier, 187

Naturalist, The term, 75, 83

„ The School of Naples, 83 Navarrete, 160 ; Works of, 358 Neefs, Pieter, elder, 113; Works ofj

222, 262, 276, 281, 309, 318, 323, 329,

341,358,375,384,387,416 Neefs, Pieter, younger, 113; Works of,

262 Neer, Artus van der, 139; Works of,

272, 276, 281, 283, 301, 309, 314, 329,

335, 340, 346, 375, 384, 400, 416 Neer, Eglon van der. Works of, 222,

329.349 Netscher, Gaspar, 133 ; Works of, 262,

281, 283, 287, 301, 309, 318, 323, 329,

335, 353, 375, 400, 401, 416 Netscher, Gonstantin, Works of, 416 Neuchatel, Works of, 309, 329, 350 Niccola da Pisa, 2

Nieulant, Adrian van. Works of, 276 Northcote, James, Works of, 394 NCUnberg, Museum, 332

„ Gallery of Moritz-Kapelle,

333 Nuzi, Allegretto, 14, 29

OCHTERVELT, Jaoob, Works of, 416 Oggione, Marco d*, 43; Works of, 230 OFanda, Lucas d'. Works of, 235 Oliver, Isaac, 190

„ Peter, 190 Oost, Jacques van, elder, 113; Works

of, 274, 416 Oost, Jacques van, younger, 113 ;

Works of, 274 Oostzanen — see Comelissen. Opie, John, 199 ; Works of, 384, 389,

406 408 Orcagna, 11 ; Works of, 240, 401 Orizzonte, Works of, 250 Orley, Bernard van, 101 ; Works of,

272, 276, 318, 344, 349, 394, 417 Orrente, Works of, 353 Os, Jan van, 141 ; Works of, 294, 373,

401 Ostade, A. van, 126, 127 ; Works of,

272, 276, 281, 284, 287, 290, 309, 314,

318, 329, 346, 354, 875, 381, 384, 401,

409,417 Ostade, Isaac van, 127 ; Works of, 276,

281, 283, 329, 375, 381, 401, 417 Ostendorfer, M., Works of, 334 Oudry, 184; Works of, 379, 408 Ou water, A. van, 116

Pacxjhia, Del, 56 ; Works of, 260 Pacchiarotti, 56, 174 ; Works of, 213,

260 401 Pacheco, 162, 164; Works of, 358, 363 Pacino di Bonaguida, Works of, 241 Padovanino, Works of, 245, 260, 265,

318, 336, 392, 401 Padua, School of 15th century, 34

„ Museo Civico, 236 Paeano, Gaspar, Works of, 232 Palamedes, Works of, 242, 276, 286,

301, 391 Palma Yecchio, 59 ; Works of, 208,

215, 216, 217, 222, 230, 232, 234,

236, 243, 246, 248, 254, 260, 265, 267,

301, 305, 319, 327, 329, 337, 338, 358,

369, 391, 417 Palma, The younger, Works of, 234,

265, 266, 267, 309 Palmegiani, Works of, 254 Palmezzano, 28; Works of, 222, 230,

301, 329, 369, 393, 401 Pannini, Works of, 232, 262, 276, 369,

387 Pantoja della Cruz, Works of, 829, 358 Paolino, Fra, Works of, 213, 226 Paolo, Jacopo di, 14

„ Giovanni di. Works of, 259 Papa — see Simone. Pape, O. de. Works of, 287 Pareja, 167 ; Works of, 358, 417 Paris, The Louvre, 367 Parma, School of 15th century, 38

„ Pinacoteca, 237 Parmegianino, II, 74; Works of, 210,

217, 232, 234, 237, 244, 269, 309, 319,

858,401 Parrocel, Joseph, 181 ; Works of, 379

„ Charles, 181 Pasinelli, Works of, 347 Pasqualino, Works of, 243, 246, 893 Patei, Pierre, 187 ; Works of, 379 Pater, J. B., 184 ; Works of, 319, 379,

382,387 Patinir, 100, 102; Works of, 272, 301,

313, 344, 359, 401 Paudiss, Ch., Works of, 329 Paulus, 15 ; Works of, 270 Pedrini, G., Works of, 352 Peeters, 113; Works of, 281, 859 Pellegrino, 68 ; Works of, 265, 868, 401

Digitized

byGoogk

INDEX.

435

Penca, 154; Works of, 301, 306, 333,

334,343 Peimi, G. Fran., 53, 55: Works of,

256, 257, 262 Penni, Luca, 174 Perugia, Pinacoteca, 237

„ Sala del Cambio, 239 Perugino, 39 ; Works of, 210, 213, 214, 215, 216, 217, 222, 226, 233, 238, 239, 242, 244, 247, 251, 254, 255, 256, 258, 276, 301, 323, 329,338, 346, 347, 364, 365, 369, 401 Peruzzi, 57 : Works of, 218, 244, 253,

257, 401

Pesello, 20 ; Works of, 222 Pesellino, 20; Works of, 213, 251, 369,

394, 401 Pesne, 187 ; Works of, 301 Pierson, Works of, 301 Pletrino, Oian., Works of, 239 Pietrb, Sano di, 38 ; Works of, 258, 260 „ Niccolo di, Works of, 237 „ Cecco di. Works of, 239 Pinturicchio, 40 ; Works of, 218, 334,

238, 244, 256, 260, 301, 351, 369, 401 Piombo, Sebastiano del, 59 ; Works of,

208, 217, 218, 222, 233, 234, 237, 244,

252, 301, 319, 323, 329, 337, 359, 369,

392, 401, 417 Pisa, School of, 13th century, 3

„ „ 14th century, 14

„ Campo Santo, 10, 240

„ Accademia, 239 Pisano Giunta, 3

„ of Verona, Works of, 401 Platzer, J. van. Works of, 309 Poei, E. van der, 141 ; Works of, 281,

401, 417 Poeienburg, 141 ; Works of, 281, 309,

349, 384, 396, 401, 417 Pollajuoio, Antonio, 21 ; Works of,

218, 222, 232, 244, 262, 301, 329, 401 Pollajuoio, Pietro, 21 ; Works of, 222,

301, 329 Pomerancio, Works of, 243 Ponte — see Bassano. Pontormo, Jacopo, 50 ; Works of, 216,

222, 226, 369, 401 Poorter, Willem de, Works of, 291,

309 Pordenone, Giovanni, 65; Works of,

215, 222, 246, 252, 254, 319, 327, 329,

359, 371, 392, 417 Pordenone, Bernardino, 65; Works

of, 246, 266, 301, 319, 351, 392, 417 Porta — see Bartolommeo. Porte, B. de la, 187 ; Works of, 379,

382 Portugal, Painting in, 171

Pottenburg, C, Works of, 319 Potter, Paul, 137; Works of, 246,

262, 281, 283, 284, 287, 289, 301, 309,

314, 319, 329, 346, 375, 401, 409, 417 Potter, Pieter, Works of, 301 Pourbus, Peter, 103; Works of, 274,

288, 344, 375 Pourbus, P., younger. Works of, 344 ,, Frans, elder, 103; Works

of, 344, 417 Pourbus, Frans, younger, 103 ; Works

of, 277, 288, 344, 348, 375 Poussin, 176, 177; Works of, 243,

250, 256, 301, 302, 309, 319, 329,

345, 349, 359, 366, 379, 384, 337,

392, 394, 417 Prato, Municipal Gallery, 241 Previtale, 34; Works of, 208, 230,

236,315,351,402 Primaticcio, 55, 174; Works of, 227,

346 Procaccini, Ercole, 82

„ Camillo, 82; Works of,

294, 319, 347, 417 Procaccini, Giulio Cesare, 82 ; Works

of, 302, 319, 329, 349, 369, 383, 417 Puccio, Pietro di, 11 ; Works of, 240

„ di Simone, Works of, 214 Pulzone, S., Works of, 329 Pussini, Works of, 242 Pynacker, 139; Works of, 281, 287,

291, 345, 353, 381, 384, 387, 417

QUATTROCElTTiSTi Masters, 16 „ The term, 1

Quellinus, 113; Works of, 277, 302, 343

Raeburn, 199 ; Works of, 386, 403

Rafaellino — see Garbo.

Kamenghi— see Bagnacavallo.

Ramsay, 193 ; Works of, 386

Raoux, 187

Raphael, 51; Works of, 208, 210, 211, 215, 216, 217, 222, 223, 224, 228, 230, 234, 238, 242, 244, 245, 252, 254, 255, 256, 257, 262, 302, .319, 329, 338, 347, 352, 359, 365, 366, 370, 384, 388, 392, 394, 402, 417

Raphael del CoUe, 53; Works of, 256 257

Ravesteyn, 118; Works of, 262, 277, 286, 287, 302, 306, 309, 319, 329, 364, 381

Read, Works of, 392

Rembrandt,. 120; Works of, 215, 223, 230, 262, 272, 277, 281, 282, 233, 284. 237, 289, 291, 294, 302, 306, 309, 310, 314, 319, 323, 329, 336,

Digitized

byGoogk

436

INDEX.

345, 348, 349, 354, 359, 375, 381,

384, 387, 392, 402, 409, 417, 418 Renaissance, The term, 16 Rene d'Aniou, 174 Reni — see Guido. Reynolds, Sir Joshua, 194 ; Works of,

366, 384, 386, 389, 406, 408, 409, 418 Ribalta, Francisco de, 161 : Works of,

359, 418 Ribalta, Juan de, 161 Ribera, Jos^ de [Spagnoletto], 84, 162 ; Works of, 215, 223, 233, 234,

242, 245, 250, 256, 262, 294, 302, 310, 319, 324, 330, 354, 359, 372,

380,418 Ricci, Sebastiano, Works of, 370,

388,392 Ricci, D., Works of, 352 Riccio, Felice, Works of, 370 Richardson, 192 ; Wt)rks oi\ 408 Rigaud, 182; Works of, 306, 319,

341, 379, 382, 384, 385, 402, ^)8, 418 Riley, 192 ; Works of, 392, 408 Rincon, 159 ; Works of, 418 Ring, L. van, Works of, 302 Rizi, F., Works of, 359 Robusti, Jacojpo—see Tintoretto. Roelas, 162 ; Works of, 359, 363, 418 Roestraten, Works of, 392 Roghman, R., Works of, 310 Romano, Giulio, 53, 54; Works of,

215, 216, 223, 227, 233, 242, 244,

249, 253, 256, 257, 319, 338, 370,

387, 394, 402, 417, 418 Romano, Pietro del, Works of, 306 Romanino, H, 67 ; Works of, 211, 230,

236, 252, 302, 402 Rom bouts, Theodore, 113 : Works of,

284, 419 Rome, School of, 16th century, 51

„ Accademia di San Luca, 241

„ Villa Albani, 242

„ Barberini Palace, 243

„ Borghese Palace, 243

„ Gallery of Capitol, 247

„ Colonna Palace, 248

„ Corsini Palace, 249

„ Doria Palace, 251

„ Famese Palace, 252

„ Famesina Palace, 253

„ Ludovisi Villa, 253

„ Rospigliosi Palace, 253

„ Sciarra Palace, 254

„ Spada Palace, 254

„ Vatican Collection, 255 Romerswale, M. van. Works of, 402 Romeyn, Willem, Works of, 281, 353 Romney, 198: Works of, 389, 394,

406,408

RondineUi, N., Works of, 230, 251 Roos, 156 ; Works of, 310 Rosa, Salvator, 84 ; Works of, 217, 218, 223, 224, 230, 233, 248, 260, 302,

319, 338, 366, 370, 385, 387, 394, 402, 419

Rosa di Tivoli, Works of, 394, 419 „ Pacecco di. Works of, 235

Rosselli, Cosimo, 23, 26, 27,47 ; Works of, 234, 258, 302, 370, 402

RosseUi, Matteo, Works of, 215, 352

Rosso, U, 174

Rottenhammer, 155 ; Works of; 297, 310, 342, 375, 402, 419

Rotterdam, Museum, 290

Rubens, 104; Works of, 215, 216, 223, 224, 230, 247, 248, 250, 272, 273, 277, 283, 288, 289, 302, 310, 312, 314, 319,

320, 324, 330, 336, 341, 345, 347, 348, 349, 354, 359, 360, 365, 375, 376, 381, 385, 394, 402, 409, 419

Rugendas, Works of, 345

Runciman, J., Works of, 386

Rusutti, 4

Russia, Galleries of, 410

Ruysch, 125; Works of, 218, 223, 281,

287, 291, 302, 306, 324, 330, 336, 341,

345 349 Ruysdael, Jacob, 138 ; Works of, 273,

277, 281, 283, 285, 288, 303, 306, 310,

320, 324, 330, 336, 340, 346, 360, 376,

385, 387, 402, 403, 409, 419 Ruysdael, Solomon, Works of, 281,

310, 346 Ryckaert, D., 141 ; Works of, 277,

320, 342, 345, 349, 360, 376 Rycker, D., Works of, 272 * Ryng, P. de. Works of, 273, 319

Sacchi, Fr., Works of, 303, 370

„ Andrea, 79, 177; Works of,

243, 256 Salaino, A. del. Works of, 223, 230 Salerno, Andrea da. Works of, 235, 352 Sallaert, Works of, 262, 277, 303 Salmeggia, II, Works of, 230 Salviati, Works of, 253, 258 Sandby, 202

Sandrart,156 ; Works of, 281 Sandvoort, Works of, 281, 291, 314 Santa Croce, Franc, Works of, 208

„ „ Girolamo, Works of, 208.

303, 393, 394, 403 Santerre, 181 ; Works of, 379 Santi, Giovanni, 28 ; Works of, 230j

248, 303, 403 Santi di Tito, Works of, 213 Sanzio — see Raphael. Saraceni, Works of, 249

Digitized

byGoogk

INDEX.

437

Sarto, Andrea del, 49 ; Works of, 213,

216, 217, 218, 223, 224, 225, 234, 243,

244, 249, 320, 330, 331, 347, 360,' 370,

385, 403, 419 Sassoferrato, 81 ; Works of, 223, 230,

232, 242, 245, 256, 303, 310, 324, 338,

345, 347, 370, 394, 403, 419 'Sassuolo— s^ Cavedone. Savery, 113 ; Works of, 281, 288, 341,

344 403 Savoldo, G., Works of, 218, 223, 230,

262, 266, 303, 392, 403 ScarseUino, Works of, 212, 218, 230,

232 Schaffner, Martin, Works of, 331, 334 Schalken, 134; Works of, 223, 277,

281, 288, 294, 303, 310, 314, 320, 324,

341, 376, 403, 420 Schaufelin, H., Works of, 334 Schedone, 80 ; Works of, 232, 233, 237,

269, 331, 420 Schiavone, Gregorio, 35; Works of,

403 ^— •

Schiavone, Andrea, 66 ; Works of, 208,

215, 337, 339, 351, 420 Schongauer, Martin [Sch6n.], 147 ;

Works of, 277, 295, 313, 331, 334, 343,

403 School, The term, 210 Schoorl, Jan, 117 ; Works of, 344, 403,

420 SchOpfer, Hans, Works of, 834 Schuhlein, Hans, Works of; 331 Schutz, C. G., Works of, 310 Schwarz, C, Works of, 306 Seghers, 302: Works of, 113, 273, 277 Segna, 5 ; Works of, 259, 403 Semitecolo, Niccolo, 16 ; Works of, 266,

267 Sesto, see Cesare. Seville, Provincial Museum, 362 Siberechts, Jan, Works of, 277 Siena, School of, 13th century, 3, 5 „ „ 14th „ 12

„ „ 15th „ 39

„ „ 16th „ 56

„ Palazzo Pubblico, 258 „ Gallerv of Fine Arts, 259 „ Barnaba da, Works of, 261 Signorelli, 17, 25; Works of, 207, 213,

214, 218, 223, 230, 258, 260, 303, 320,

339, 351, 370, 394, 403 Silvestro, Don, Works of, 394 Simone Papa, Works of, 235 Sirani, 103 ; Works of, 210, 245, 247,

254, 262, 339, 348, 387, 420 Slingeland, Van, 134; Works of, 223,

281, 330, 324, 376, 385 Smeyers, Works of, 227

Smith, 202

Snayers, Pieter, 113; Works of, 277,

342, 354, 392

Snyders, Frans, 109; Works of, 223,

231, 273, 277, 289, 303, 310, 320, 324,

331, 340, 360, 365, 381, 387, 420 Sodoma, II— se« Bazzi. Sogliani, Works of, 214 Solario, Andrea, 46; Works of, 228,

231, 244, 328, 370, 403, 415 Solario, Antonio (Lo Zingaro), Works

of, 235 Solimene, Works of, 353, 388, 394 Solofra, Guarino da. Works of, 234 Somer, Paul van. Works of, 392 Sorg — see Zorg. Spada, 81; Works of, 232, 246, 370,

388 Spadaro, Micoo, Works of, 235 Spagna, Lo, 40; Works of, 238, 248,

256, 302, 370, 403 Spagnoletto, ho— see Bibera. Spain, Painting in, 159

„ Galleries of, 355 Spencer, 202 Speranza, Works of, 236 Spinelk) Aretino, 10; Works of, 213,

214, 240, 244, 258, 260, 350, 403 Spinello, Parri, Works of, 207 Spronck, Works of, 281 Sprong, G., Works of, 376 Squarcione, 34

Staveren, J. A., Works of, 420 Steen, Jan, 167 ; Works of, 223, 266,

273, 277, 281, 283, 285, 288, 290, 291,

294, 303, 306, 310, 320, 324, 331, 342,

343, 353, 366, 376, 381, 387, 403, 420 Steenwyk, H. van, elder, 141 ; Works

of, 277, 306 Steenwyk, H. van, younger, 141 Stefano, Tommaso ai — see Giottino.

„ 15, 16 ; Works of, 229, 266, 267 SteUa, 187

Stevens, Works of, 306 Stimmer, T., Works of, 295 Stone, 191 ; Works of, 389, 392 Stoop, D., 141 ; Works of, 277 St. Petersburg, The Hermitage, 410 Strozzi, B., Works of, 232, 260, 262,

320, 352, 353, 420 Stubbs, 201

Stuttgart, Royal Gallery, 335 Subleyras, 182; Works of, 231, 320,

379 Sueur — see Le Sueur. Sustermann, Lambert, 102 ; Works of,

276, 365, 415 Sustermans, Justus, 112; Works of,

217, 223, 226, 340, 387

Digitized

byGoogk

438

INDEX.

Swabian School, 147 Swaneyelt, 141

Tafi, Andrea, 4

Tedesco — sm Elaheimer.

Temple, A. yan den, Works of, 291,

310 Tenien, The elder, 127; Works of,

223, 310, SdO, 385, 4a3, 420 Teniers, The younger, 127 ; Works of,

249, 255, 262, 273, 277, 282, 283, 285,

289, 290, 303, 306, 310, 320, 321, 324,

331, 336, 342, 346, 349, 353, 360, 365,

366, 376, 381, 385, 387, 403, 409, 420 Terburg, 129; Works of, 223, 226,

273, 282, 284, 285, 288, 303, 310, 321,

324, 331, 342, 348, 349, 365, 366, 376,

381, 403, 421 Theotocopuli, 161 ; Works of, 414 Thome, Luca, Works of, 240, 260 Thomhiil, Sir James, 192 ; Works of,

389,392 Thulden, Theodore van, 113; Works

of, 303 Tiarini, 81 ; Works of, 210, 321, 331,

345,370 Tiepolo, 87 ; Works of, 269, 303, 324,

331, 352, 370, 385, 387, 420 Tilborg, Works of, 277, 365 Tintoretto, 69; Works of, 215, 216,

217, 223, 227, 231, 232, 234, 247, 248, t 266, 268, 277, 294, 303, 310, 314, 321,

331, 336, 337, 339, 345, 351, 360, 370, 380, 387, 392, 394, 403, 421, 421

Tisio — see Garofalo.

Titi, T" ■ "• - of, 215

Titian, of, 215, 216, 217,

218, m, 233, 234, 242, 243, !48, 249, 250, 251, 252, 167, 268, 269, 273, 304, [21, 324, 331, 335, 337, J60, 361,365, 370, 371, J94, 403, 404, 421

Tobar, ks of, 361

Tocqut, .V,. , ., «x-.o of, 380 Tol, D. van, Works of, 311 Toorenvliet, 7 Toschi, 73 ; Works of, 237 Traini, Francesco, Works of, 239 Trevisani, F., Works of, 311 Treviso, Girolamo da. Works of, 248,

254, 351, 404 Trioson, 187

Tristan, Luis, Works of, 361, 421 Troost, C, Works of, 288 Troy, J. F. de, 187 jWorks of, 380 Tura, Cosimo, 36 ; Works of, 208, 212,

304, 371, 404 Turchi, Alessandro, Works of, 321

Turin, The Pinacoteca, 261 Turone, Works of, 269 Tuscan School, 2

UOCELLO, Paolo, 19; Works of, 224,

371,404 Uchterveid, 141 ; WoAs of, 288 . Udine — see Pellegrino. Ugolino da Siena, 5 ; Works of, 214 Umbrian School, 28, 38 Utrecht, A. van, 113; Works of, 282,

305, 306, 421

Vaocaro, Andrea, Works of, 361, 421

Yaga, Perino del, 55

Valentin, Moise, 176 ; Works of, 245,

256, 273, 331, 361, 380, 421 Valkenborg, Martin van. Works of, 304 Valkenburg, L. de. Works of, 344, 361 Vanni, Turino, 14; Works of, 224,371

„ Francesco, Works of^ 371 Vannuoci — see Perugino. Vargas, Luis de, 161 ; Works of, 354 Vasari, 50; Works of, 207, 210, 227,

249, 253, 352, 371, 394 Vasco, Gran., 172

Vecellio, Cesare, Works of, 242, 310 „ Orazio, Works of, 360 „ — see Titian. Vecchia, Del, Works of, 221, 246, 386 Vecchietta, Works of, 260, 386 Veen, Otho van, 105; Works of, 273,

331, 376 Vega, De la, 171

Velasquez, 164; Works of, 208, 217, 224, 247, 252, 263, 289, 304, 321, 324, 331, 340, 354, 361, 362, 372, 380, 383, 388, 392, 394, 404, 421 Velde, Adrian van de, 137, 138 ; Works of, 273, 279, 280, 282, 284, 285, 288, 290, 292, 299, 304, 311, 321, 331, 340, 370, 385, 404, 421 Velde, Wiliem van de, 140 ; Works of, 284, 288, 311, 321, 365, 376, 385, 388, 392 404 Velde, E. van de. Works of. 292 Venice, Origin of School, 28

„ School of 14th century, 15 School of 15th century, 31 16th „ 57 ;, 18th „ 86

„ Academy, 263 „ Correr Museum, 267 „ Ducal Palace, 267 „ Scuohi di San Bocco, 268 Veniziano, Domenico, 19 ; Works of,

404 Veniziano, Polidoro, Works of, 222 „ Antonio, 9 ; Works of, 240

Digitized

byGoogk

INDEX,

439

Yeniziano, Lorenzo, 15 ; Works of, 213,

229, 265, 267 Yeniziano — see Bonifazio. Yenne, A. van der, 141 ; Works of, 304,

311,' 376 Yenusti, Marcello, Works of, 233 Yerboom, A., Works of, 292, 353 Yerdier, Works of, 380 Yerdussen, Works of, 392 Yerkolye, J., Works of, 292, 304, 376 Yernet, Claude J., 186 ; Works of, 224,

242, 289, 321, 331, 340, 346, 362, 380,

385, 404 Yerona, School of, 14th century, 14 „ „ 15th „ 36

„ Pinacoteca, 268 „ Liberale da— see Liberale. „ Stefano da. Works of, 248 Yeronese, Paolo, 69, 70; Works of,

217, 224, 225, 231, 242, 246, 247, 256,

263, 266, 267, 268, 269, 277, 304, 311,

321, 324, 331, 332, 336, 337, 344, 346,

351, 362, 365, 371, 388, 404, 421 Yeronese — see Avanzi. Yerrocchio, Andrea, 21 ; Works of,

213, 235, 304, 421 Yerspronck, 120; Works of, 285, 304 Yerwilt, F., Works of, 346 Yicentino, Girolamo, Works of, 267

„ Andrea, Works of, 266, 267 Yicenza, School of, 15th century, 36 ,, Palazzo Chiericatl, 270 „ Battista da, Works of, 270 Yictors, J., Works of, 284, 304, 306, 365 Yien, 186 ; Works of, 380 Yienna, Academy, 336 „ Belvedere, 337 „ Czemin, 345 „ Harrach, 346 „ Liechtenstein, 346 Yinci, Leonardo da, 43; Works of,

213, 216, 224, 228, 231, 232, 237, 243,

254, 255, 294, 321, 332, 371, 392, 404,

421 Yitale da Bologna, 14 ; Works of, 210 Yiti, 55 ; Works of, 210, 212, 231, 242,

304 Yivarini, Giovanni, 30; Works of,

231, 266 Yivarini, Antonio, 30 ; Works of, 208,

210, 231, 266, 304, 404 Yivarini, Bartolommeo, 30 ; Works of,

208, 210, 233, 266, 304, 338, 404 Yivarini, Luigi, 30; Works of, 233,

266, 267, 304, 337 Vlieger, Simon de, 141 Vliet, H. van, 141 ; Works of, 282, 288,

292, 304, 311, 336, 348 Vols. Adi-ian de, Works of, 282, 311

Yois, Ary de. Works of, 376 YoUerra, Francesco da, 10 ; Works of,

240 Yolterra, Daniele da, 49 ; Works of,

224, 348, 371 Yos, Martin de, 104; Works of, 224,

273, 277, 304 Yos, Comelis de, 104 ; Works of, 273,

277, 304, 311, 332, 335, 354 Yos, Simon de, Works of, 304 Youet, 176 ; Works of, 232, 243, 277,

353, 380 Yries, A. de. Works of, 365 Yroom, 141 ; Works of, 285 Yuez, A. de, Works of, 365

Walker, 192 ; Works of, 392, 408, 422 Waterloo, 141 ; Works of, 332 Watteau, 183; Works of, 224, 304, 321,

322, 332, 362, 380, 382, 385, 388, 409,

422 Weenix, Jan, 125 ; Works of, 277, 284,

288, 304, 311, 322, 324, 332, 336, 350,

376, 422

Weenix, J. B., Works of, 273, 277, 282,

345,353 Werff, Yan der, 134 ; Works of, 224,

263, 282, 288, 304, 311, 322, 332, 342,

346, 349, 353, 376, 385, 388, 422 West, 200 ; Works of, 393, 406 Weyden, Rogier van der, 98, 99 ;

Works of, 224, 273, 277, 289, 304,

322, 324, 332, 343, 344, 350, 362, 394,

405 Wicar, J. B., Works of, 365 Willaerts, Works of, 292, 304 Wilson, 198 ; Works of, 385, 406 Witte, J. de. Works of, 311

„ Em. de, Works of, 277, 284, 292,

304, 336, 346, 405 Witte, C. de, Works of, 353 Wohlgemuth, 147. 152 ; Works of, 294,

313, 332, a33, 334, 394 Wouwerman, Philip, 136; Works of,

263, 273, 282, 285, 288, 290, 304, 31 f ,

322, 332, 336, 342, 345, 353, 362, 377,

381, 385, 405, 422 Wouwerman, Pieter, 136

„ Jan, 136

Wright of Derby, 198; Works of, 393,

394, 406, 408 Wright, Michael, 202 ; Works of, 408 Wyck, T., Works of, 231, 282, 292, 311 Wynants, 135; Works of, 273, 277,

282, 284, 288, 289, 324, 332, 340, 366,

377, 385, 405, 422 '

Zachleven, Works of, 263 Zaganella, Works of, 234

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INDEX,

Zanredam. P., Works of, 262, 292

Zeeman, Works of, 311

Zeitblom, 147 ; Works of, 294, 304, 305,

332,335,350 Zen&le, Bernardo, Works of, 231 Zereso, Matteo, Works of, 289, 297, 311 Zingaro— «^« Solario. Zofnuiy,202 Zoppo, Marco, 41 ; Works o^ 405

Zorg, Works of, 282, 284, 292, 311,

377 403 Zuccarelli, 202: Works of, 231, 352,

385 Zucchero, F., Works bf, 245, 253, 393.

408 Zurbaran, 164; Works of, 294, 305,

322, 332, 354, 355, 362, 363, 372, 388,

405,422

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