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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.
h 2
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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.
Digitized
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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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( xzyii )
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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4.
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
Digitized
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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.
Digitized
byGoogk
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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byGoogk
^*^"^* 3^/acei>ape 6.
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Digitized
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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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OF PAINTING IN ITALY.
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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10
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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Plats II. 2b /occ page 10.
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OF PAINTINCf ty ITALT. tt
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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12
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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OF PAmrma m ttalt.
13
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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14
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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OF PAINTING IN ITALY.
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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16
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,
17
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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Pi^TE IV. To face page 22.
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OF PAINTING IN ITALY.
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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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Plate VII. To foux page 29.
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OF FAINTING IN ITALY.
{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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30
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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OF PAINTING IN ITALY.
SI
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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THE BI8E AND PB0GBES8
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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Plate VIII. To face page 32.
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OF PAINTING IN ITALY.
33
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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u
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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Plate IX. To face page 34.
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OF PAINTING IN ITALY.
35
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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36
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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OF PAINTING IN ITALY.
37
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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38
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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Plate X. To face page 39.
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OF PAINTING IN ITALY.
39
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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40
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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OF PAINTING IN ITALY.
41
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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42
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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Plate XI. To face page 43.
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OF PAINTING IN ITALY.
43
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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44
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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OF PAINTING IN ITALY.
45
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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46
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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Platk XII. To J ace page 47.
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OF PAINTING IN ITALY.
47
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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48
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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|.::>^r;^^:^^.(^
Plate XUI.
To face page 48.
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Platk XIV. Ta face page 49.
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OF PAINTING IN ITALY.
49
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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50
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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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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54
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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OF PAINTIira IN ITALT.
55
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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56
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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OF FAJNTINQ IN ITALY.
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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.
Bazzi, or
H Sodoma,
Oil painU
ings.
Peruzzi.
Venetian
school, 16th
century.
Giorgione.
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58
THE BISE AND PB0GBES8
Giorgione*
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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OF PAINTING IN ITALY.
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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.
Palma
Vecchio,
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60
TEE EI8E AND PB00BES8
Palma
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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OF PAINTING IN ITALY.
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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.
Titian.
The mature
works.
Sacred
composum
turns.
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THE, BISE AND PB0GBES8
Titian, .
Titian's
allegorical
works and
mytholo-
gies.
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
Titvm.
Titum's
female
portraits.
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THE BI8E AND PROGRESS
Titian.
2itian*8
mode
portraits.
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.
G.A.
Pordenone.
B,da
Pordenone.
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66
THE BI8E AND PB0GBES8
B,da
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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67
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
F 2
Moretto.
Bomanino,
Moroni.
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68
THE BI8E AND PROGRESS
Moronu
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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OF PAINTINQ IN ITALY.
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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70
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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OF PAINTING IN ITALY.
71
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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72
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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OF PAiNTma m it alt.
73
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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74
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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OF PAINTING IN ITALY.
75
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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76
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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Plate XXn. 7b face page 16.
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Digitized
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OF PAmriNG IN TTALT. T7
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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78
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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Plate XXm. To face page is.
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OF PAINTING IN ITALT,
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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80
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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Plate XXIV. l^factvogtm.
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OF PAINTING IN ITALY,
81
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
Digitized
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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.
Digitized
byGoogk
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
Digitized
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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.
Digitized
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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 . .
—
— .
Digitized
byGoogk
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
Florentine
Florentine
Pflidaan .
Venetian.
Florentine
Florentine
Sienese .
Arezzo .
Florentine
Umbrian .
Venetian.
Florentine
Florentine
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
Digitized
byGoogk
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
1495
1494
1506
1503
1521
1496?
1524
1515
1498
1517
1520
1536
1519
1513
Digitized
byGoogk
OF PAINTING IN ITALY.
91
School.
Death.
Umbrian.
Yioenza •
Yioenza •
Lombard.
Umbrian.
Lombard.
Florentine
Florentine
Sienese .
Lombard.
Bolognese
Florentine
Farmese .
Florentine
Lombard.
Florentine
Urbino •
Veronese.
Umbrian.
Florentine
Veronese.
Florentine
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
Digitized
byGoogk
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.
Venetian.
Lombard.
Venetian.
Venetian.
Boman .
Florentine
Venetian.
Lombard.
Lombard.
Bolognese
Lombard.
Bologbese
Florentine
Bolognese
Florentine
Boman .
Neapolitan
Bolognese
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
Digitized
byGoogk
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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byGoogk
94
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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byGoogk
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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OF PAmTma in flandebs.
97
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,
Digitized
byGoogk
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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Digitized
byGoogk
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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byGoogk
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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Digitized
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Plate XXVI, To face page 101.
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OF PAINTING IN FLANDERS.
101
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,
Digitized
byGoogk
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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OF PAINTING m FLANDERS,
103
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.
Digitized
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104
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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106
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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Platb XXVn. ' To face page 106.
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OF PAINTING IN FLANDERS.
107
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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108
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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OF PAINTINO IN FLANDERS.
109
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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110
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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OF PAINTING I^ FLANDERS.
Ill
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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112
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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Plate XXVni. 2b fact poffc 1 12.
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OF PATNTma m :FLAirDER8,
113
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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114
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 .
Ghent .
Ghent .
Bruges .
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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OF PAINTINO IN FLANDERS.
115
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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116
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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OF FAINTING IN HOLLAND.
117
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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118
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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OF FAINTING IN HOLLAND,
lid
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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120
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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Plate XXIX. lb face page 12\.
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Of painting in Holland.
121
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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12^
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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OF PAINTING IN HOLLAND.
123
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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124
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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OF PAINTING W HOLLAND.
125
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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126
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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OF PAINTING IN HOLLAND,
127
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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128
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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Platb XXX. 2b /ace page 128.
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OF PAINTINa IN HOLLAKD,
120
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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ISO
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.
131
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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182
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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OF PAINTIKG JK HOLLAND,
188
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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la^
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.
135
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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OF PAINTINQ im H01JLAND,
137
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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138
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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OF PAINTINQ IN HOLLAND,
189
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.
Digitized
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Plate XXXIII. To jact page 140.
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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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142
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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OF PAINTING IN HOLLAND.
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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144
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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OF PAINTING IN GERMANY,
145
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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146
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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OF PAINTING IN GEBMANY.
147
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,
149
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.
151
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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152
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,
153
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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154
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 PAINTING IN OBRMANl.
155
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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15G
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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OF PAINTING IN GEBMANY.
167
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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158
THE BI8E AND PB0GBE88
A TABLE
Of the Dates qf the Principal Paintebs of the Gebmah Sohools.
SchooL
De^ith.
Cologne . .
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
1460
1471
1472
1472
1485
1490
1492
1497
1496
1500
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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OF PAINTINO IN SPAIN.
159
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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160
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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OF FAINTING IN SPAIN.
161
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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162
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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OF PAINTING IN SPAIN.
163
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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164
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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OF PAWTINa m SPAIN.
165
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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166
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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OF PAINTING IN SPAIN.
167
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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168
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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Plate XXXVI. To face page 168.
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OF PAINTING IN SPAIN.
169
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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170
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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OF PAINTING IN SPAIN.
171
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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172
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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178
A TABLE
Of the Dates of the Pbinoipal Paintebs op the Spanish Schools.
School,
Birth.
Death.
Toledo .
Oastile .
Seville .
Valencia .
Toledo .
CaBtile .
Oastile .
Oastile .
Seville .
Toledo .
Seville
Valenela .
Oastile .
Seville .
Seville .
Oastile .
Seville .
Oastile .
Toledo .
Toledo .
Valencia .
Valencia .
Seville .
GastUe .
Seville .
Castile .
Griaoada .
Seville .
Madrid .
Seville .
Oastile .
Oastile .
Seville .
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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174
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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OF PAINTING IN FBANCE.
175
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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176
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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OF PAINTING IN FRANCE.
117
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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178
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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OP ^AiNTft/G IN FRANim,
179
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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180
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
1600
1601
1603
1605
1606
1609
1610
1611
1613
1616
1616 ,
1619
1620
1621
1624
1628
1633
1635
1636
1644
1646
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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OF PAINTING IN FRANCE.
189
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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196
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
Digitized
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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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192
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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OF PAINTING IN ENGLAND.
193
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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191
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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Digitized
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Plate XXXIX. lb face page 196.
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OF PAINTING IN ENGLAND,
195
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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1^
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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Digitized
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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,
199
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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200
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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202
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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OF PAINTING IN ENGLAND,
208
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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204
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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208
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.
— 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.
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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
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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^
Digitized
byGoogk
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 . .
Digitized
byGoogk
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.
Digitized
byGoogk
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
Digitized
byGoogk
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.
Digitized
byGoogk
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.
Digitized
byGoogk
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
Digitized
byGoogk
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,
Digitized
byGoogk
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.
Digitized
byGoogk
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.
Digitized
byGoogk
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.
Digitized
byGoogk
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.
— 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
Digitized
byGoogk
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 .
Digitized
byGoogk
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.
Digitized
byGoogk
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.
Digitized
byGoogk
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,
Digitized
byGoogk
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,
Digitized
byGoogk
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.
Digitized
byGoogk
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.
Digitized
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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.
Digitized
byGoogk
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,
Digitized
byGoogk
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
Digitized
byGoogk
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
Digitized
byGoogk
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,
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.
Digitized
byGoogk
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.
Digitized
byGoogk
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.
Digitized
byGoogk
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.
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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.
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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 .
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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.
— 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
Digitized
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
byGoogk
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
byGoogk
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
byGoogk
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
byGoogk
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
byGoogk
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.
Digitized
byGoogk
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.
Digitized
byGoogk
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. -
Digitized
byGoogk
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
byGoogk
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
Digitized
byGoogk
440
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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