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Full text of "Handbook to the public picture galleries of Europe; with ... the history of the various schools of painting .."

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tfl^ SCHd.Jj 




HARVARD COLLEGE 
LIBRARY 



,™S^ 




FROM THE FUND OF 

CHARLES MINOT 

GLASS OF i8a8 




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A 

HANDBOOK 

TO THE 



PUBLIC PICTURE GALLERIES 

OF 

EUROPE. 



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HANDBOOK 



TO THE 



PUBLIC PICTURE GALLERIES 



OF 



EUROPE. 



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

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

KATE THOMPSON. 



THIRD EDITION, WITH ILLUSTRATIONS. 



LONDON: 
MACMILLAN AND CO. 

1880. 

Ml Sightt Beterved, 

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SEP191880 



LONDON: 
FBINTED BT WILLUM CLOWES AND BONB, LIMITED, 

RAmoas nBBBT add ohariho csoss. 






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PREFACE TO THE FIRST EDITION. 



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

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



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PREFACE TO THE FIRST EDITIOK 



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

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

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

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



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PREFACE TO THE FIRST EDITION. vtt 



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

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

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

Kate Thompson. 

35 Wimpole Street, London. 
July 1B77. 



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PEEFACE TO THE SECOND EDITION. 



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

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



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X PREFACE TO THE SECOND EDITION. 

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

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

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

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

K. T. 

AprUlSlS, 



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PREFACE TO THE THIRD EDITION. 



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

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

K. T. 
Apra 1880. 



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CONTENTS. 



PAGS 

List of Illustrations xv 

List of Museums, Gallbbibs, and otheb places catalooued xxv 

List qf Authobities oonsulted xxvii 

List of Abbbeyiations xxviii 

The Bisb and Pbogbess of Paintino in— 

Italy 1 

Flandbbs 94 

Holland 116 

Gebmant 145 

Spain 159 

Fbakce ,174 

England 190 

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

Italy , . 207 

Belgium 271 

Holland 278 

Germany 293 

AusTBiA 836 

HUNGABY 350 

Spain 355 

Fbanoe 364 

England and Scotland 383 

BUSSLA 410 

Index . . . . * 423 



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LIST OF ILLUSTRATIONS. 



PLATE L, iofoM p. 6. 

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

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

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



PLATE n., to face p, 10. 



1. Duooio DA Siena . 

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



Entry into Jerusahntj part of altaipieoe in 

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

QaJXeTjf London. 
Triumph of Death, the Last Judgment 

and HeU, in the Campo Santo, Pisa. 



PLATE m., to /ooe p. 18. 

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

Paris. 

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

Borne. 

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

Oastiglione d'Olona. 

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

Carmine, Ebrence. 



PLATE IV., to face p. 22. 

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

Carmine, Florence. 

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

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



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xvi LIST OF ILLUSTRATIONS, 

\/ 
PLATE \S,—widinwd. 

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

rence. 

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

the Garmine, Florence. 

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

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

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

Louvre, Paris. 

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

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

rence. 

^PLATE VL, to face p. 27. 

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

Pisa. 

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

Borne. 

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

CESOA Gallery, London. 

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

^LATE Vn., to face p, 29. 

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

Florence. 

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

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

VrvABiNi Venice. 

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

London. 

^LATE Vin., to face p, 82. 

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

Venice. 

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

Venice. 

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

Venice. 



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LIST OF ILLU8TBATI0N6. 



xvU 



PLATE IX., to face p. 84. 



1. Giovanni Bellini 

2. Manteqna . . . 



Doge Loredano, in the National Gallery, 

London. 
Triumph of JuUua Cx8ar, in the Palace, 

Hampton Court. 

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

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

Academy, Venice. 



PLATE X., to face p. 89. 

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

Cittk delle Pieve. 

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

Chapel. 

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

Berlin. 

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

GaUery, Bologna. 



PLATE XL, to face p. 43. 



1. Leonardo da Vinci 

2. „ „ 

3. Bebnabdino Luini 

4. LoBENZo Costa 



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

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

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

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

Paris. 



PLATE Xn., to face p. 47. 



1. Fba Babtolohmeo 

3. 0. Allobi . . . 

4. Gabofalo (Tisio) . 

5. Bazzi (II Sodoma) 

6. M «. 



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

Madonna entlironed, in the Uffizi, Flo- 
rence. 

Judiih, in the Pitti, Florence. 

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

S, Sebastian, in the UflSzi, Florence. 

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

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xviii 



LIST OF ILLUSTRATIONS, 



PLATE Xm., to face p, 48. 

1. MiOHABL AnOELO . 



3. 

4. 



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



PLATE XIV., to face p. 49. 



1. Andbea del Sabto 
2. 

4. S. DEL PlOMBO . . 

5. G. A. POBDENONS . 



Four saints, in the Academy, Florence. 

Charity, in the Louvre, Paris. 

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

ziata, Florence. 
Raising of Lazarus, in the National 

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



1. Bafhael 
2. 

3. „ 

4. „ 

5. „ 

6» 9, 



PLATE XV., to face p. 51. 

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

Marriage of the Virgin, in the Brera, 
Milan. 

Entowhment, in the Borghese Palace, 
Borne. 

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

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

The Transfiguration, in the Vatican, Borne. 

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

1 Bapbael Theology, in the Vatican, Borne. 

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

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

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

Dresden. 

^PLATE XVn., to face p. 61. 

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

2. „ Entombment, in the Louvre, Paris. 

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

Venice. 

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

London, and at Madrid. 

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



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LIST OF ILLUSTRATIONS, xix 

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

1. Titian Sacred and profane low, in the Borghese 

Palace, Bomo. 

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

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

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

Venice. 

^ PLATE XIX., to face p, 66. 

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

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

Berlin. 

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

in the Academy, Venice. 

4. MoBONi The tailor, in the National Gallery, 

London. 

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

^PLATE XX., to face p, 70. 

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

Venice. 

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

Florence. 

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

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

Venice. 

'^ PLATE XXL, to face p. 73. 

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

Dresden. 

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

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

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

Paris. 

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

Etok Ghent 

IT 

PLATE XXTT., to face p. 76. 

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

Bologna. 

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

Borne, 



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K LIST OF ILLUSTBATI0N8, 

"^ PLATE XKlh continued. 

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

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

PLATE XXm., to face p. 78. 

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

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

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

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

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

•^ PLATE XXIV., to face p. 80. 

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

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

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

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

Luca, Bome. 

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

LETTO) 

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

Petersburg. 

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

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

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

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

Gallery, Munich. 

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

Burgundy, 

^LATE XXVI., to face p. 101. 

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

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



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LIST OF ILLUSTRATIONS. xxi 

•^PLATE XXVII., to face p, 106. 

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

Antwerp. 

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

lery, London, and at Madrid. 

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

Berlin. 

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

Louvre, Paris. 

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

6 Portraits of himself and Isabella Brandt, 

in the Gallery, Munich. 

PLATE XXVIIJ., to face p, 112. 

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

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

Museum, Brussels. 

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

Brussels. 

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

in the Museum, Brussels. 

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

Brussels. 

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

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

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

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

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

Amsterdam. 

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

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

Gallery, London. 

'^ PLATE XXX., tofUcep. 128. 

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

sterdam. 

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

Hteengracht Gallery, the Hague. 

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

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

Vienna. 

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

Amsterdam. 

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LIST OF ILLUSTRATIONS. 





PLATE XXXI., to face 'p. 130. 


1. 


G. Tkbburg . . . 


Officer presenting gold to a woman, in the 
Louvre. 


2. 


»♦ ... 


The despatch, in the Gallery, the Hague. 


3. 


N. Maas .... 


The Dutch hoiisevnfe, in the National 
Gallery, London. 


4. 


PiBTER DB HOOGHE . 


Interior, in the Gallery, Munich. 


5. 


G. Dow . . . . . 


The guack doctor, in the Gallery, Munich. 


6. 


>♦ ..... 


The doctoi's visit, in the Louvre. 




PLATE XXXU., to face p, 134. 


1. 


A. Cotp 


Landscape, in the National Gallery, 
London. 


2. 


Stephan Lochneb . . 


Dombild, in the Cathedral, Cologne. 


3. 




Portraits of himself and his wife, in the 
Gallery, Dresden. 


4. 


Ph. WoUWEttMAN . . 


The loaiering-place, in the Gallery, 
Munich. 


5. 


Paul Potter . . . 


The young huU, in the Gallery, the Hague. 




PLATE XXXni., to face p. 140. 


1. 


KUYSDAEL .... 


Landscape, in the Museum, Brussels. 


2. 


HOBBEMA .... 


Landscape, in the Museum, Brussels. 


3. 


L. Cbanaoh . . . 


Adam and Eve, in tho Museum, Brussels. 


4. 


H. Memlinq . . . 


Diptych, in the Gallery, Antwerp. 


5. 


A. S. COELLO . . . 


Female portrait, in the Museum, Brussels. 


6. 


Jan Fyt .... 


Greyhounds, in the Gallery, Antwerp. 


7. 


D. Tenders, younger 


Village doctor, in the Museum, Brussels. 


8. 


Rubens 


Adoration of the magi, in the Gallery, 
Antwerp. 


9. 


J. Wtnants . . . 


Landscape, in the Museum, Brussels. 




PLATE XXXIV., to face p. 150. 


1. 


Hans Holbein . . . 


TJie Madonna, of the Burgomaster Meyer, 
in the Gallery, Dresden. * 


2. 


» »> • • • 


Portrait of the goldsmith Morett, in the 
GkiUery, Dresden. 


3. 


L. Cranaoh . . . 


Woman taken in adultery, in the Gallery, 
Munich. 


4. 


Albreoht Durer . . 


Adoration of the kings, in the Uflfizi, 
Florence. 


5. 


H. Holbein . . . 


Portrait of Oeorge Oyzen, in the Museum, 
Berlin. 



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LIST OF ILLUSTRATIONS. xxiil 



*^PLATE XXXV., tofaeep, 164. 

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

Madrid. 

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

London. 

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

Madrid. 

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

*^ PLATE XXXVL, tofaeep, 168. 

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

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

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

Seville. 

4. „ .... Beggar-boy, in tlie Louvre. 

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

'^PLATE XXXVn., tofaeep. 176. 

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

Academy de S. Fernando, Madrid. 

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

3. Le Nain . . 

4. Nicolas Poussin 
o, „ t« 

6. MUHILLO . . 



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

^PLATE XXXVIIL, tofaeep. 180. 

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

Gallery, London. 

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

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

Louvre. 

4. Watteau .... Venetian festival. 

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

PLATE XXXIX., to /ace jj. 195. 

1. Davtd Sabine women, in the Louvre. 

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

London. 

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

Dulwich. 

4. Grxuze The broken pitcher, in the Louvre. 



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LIST OF ILLUSTRATIONS. 



PLATE XXKIX.— continued, 

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

Gallery, London. 

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

tion, in the Hermitage, St. Petersburg. 

PLATE XL., to face p, 197. 

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

London. 

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

London. 

8. BoMNET Lady Hamilton, in the National Grallery, 

London. 

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

National Gallery, London. 

5. Opie Death of Rizxio, 

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

Court. 



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( XXT ) 



LIST OF MUSEUMS, GALLEEIES, AND OTHER PLACES 
CATALOGUED. 







Bomb. 


. . Villa Fameiina, 




ITAIT. 


»» 




. , VUla LudoviH. 


Abezzo . 


. Municipal Gallery, 


»» 




. . BotpiglioH Palace, 


Beboamo . 


. Accademia Carrara. 


M 




, . Sciarra Palace, 


Bologna . 


. PinacoUca. 


>♦ 




. . Spada Palace, 


Bbkcia . 


. Museo Civico, 


>» 




. . Vatican Collection, 


FiBBAKA . 


. Ateneo. 


SlEHA 




. . GaReria deUeheOe AHi, 


Flobkncb 


. Accademia deUe heUe 


>» 




. Palazzo Putblico. 




Artu 


TuBm. 




. Pinacoteca, 


ft 


. Mweum at 8, Marco, 


Venice 


, Accademia delle heOe 


9) 


. PiUi Palace. 




ArH, 


w 


. Bayai GaUery of the 


>» 


. Correr Museum. 




Uffizi. 
. Palazzo Brignoli, 


»> 


. . Ducal Palace. 


Gbhoa 


n 


. . Scuola di San Bocco. 


LUCOA . 


. Communal QdUery, 


Vebona 


, , Pinacoteca, ' 


Mahtua . 


. Palazzo del Ti, 




. . Museum. 


»♦ • 


. Ducal Palace, 






» 


. CJaHeOo di Corti. 




BSIAIUIL 


HiLAH . 


, Ambrosiana, 




. . Museum, 


HODENA . 

Kaplbs 


. Brera, 

. GdOeria Estense, 

, Boyal Museum, 


Bbugbs 

BbU6SEL8 


, . Academy of Pictures, 
. Hospital of S. John, 
. Musee National 


Padua . 


. Museo Civico, 






Pabma 
Pkbugia 


. Pinacoteca, 
. Pinacoteca, 




EOLLAHB. 


M 


, 8ala del Camhio, 


AHSTBBDi 


.M . Museum of the Trippen- 


Pba . 


. Accademia, 




huis. 


n 


. Campo Santo. 


>» 


. Van der Hoop Museum, 


Pbato 


, , Municipal GaUery, 


»« 


, Six van HiUegom Col 


Bomb. 


, , Accademia di San Luca, 




lection. 


ft 


. . ViUaAJhani, 


» 


. Townhall. 


>» 


, . Barherini Palace, 


Haablbm. 


. Toumhall 


y* • 


. . Borgheae Palace, 


»> 


. Hofje van Beresteyn. 


w 


. GaUery of the Capitol 


Hague 


, Musee Communal. 


9* 


, CoUmna Palace, 


n 


, Boyal Museum. 


>» • 


, , Conini Palace, 


99 




w • 


, , Doria Palace. 


Leidbn . 


. Stedelyh Museum. 


ti • « 


. Famese Palace, 




»DA] 


IK . Museum. 



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xxvi 



0ALLEBIE8 CATALOGUED. 



OEBMAHT. 

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

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

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

,y . Moritz-KapeUe. 

Stuttgabt . Boyal ChUery of Pio- 

twres, 

AtrSTBIA. 

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

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

EUITGABT. 
Buda-PestH . ChUery of Pictures, 



sPAnr. 

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

7SAHCE. 



Bordeaux 


. Museum, 


Lille . 


. GaUery of Pictures. 


Ltonb 


. Museum, 


Marseilles 


, GaUery of Pictures. 




Paris . . 


. Louvre. 


ENeLAHB AHD SCOTLAKD. 


Dulwich . 


. Gallery of Pictures. 


Edinbubgh 


. Natimal GaUery. 


Glasgow. 


. Gallery of Pictures. 


Greenwich 


. The Hospital. 


Hampton 

CJOURT 


Collection in the Palace, 
) 


LlTERPOOL 


, Boyal Institution, 


London . 


. National Gallery. 


» 


. PoHrait Gallery, 


n 


. Soane's Museum. 




BtrssiA. 


St. Peteb8-\ Gallery of the Hermi- 


BUBG • 


) tage. 



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( 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 



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OF PAINTING IN ITALY. 



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

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

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

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

B 2 



The early 
crucifixes 



Berlifi' 
ghieri. 



Siena and 
Pisa, ISth ' 
century. 
Guido, 



Giunt<u 



Margari' 
tone. 



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THK RI&S AND FMOGRESS 



Margari' 
tone. 



The Cos- 
matt and 
Oavallini. 



School of 
Florence^ 
ISth cm' 
fury, 
dmabue^ 



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

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

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



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OF FAINTUfG m HALT. 



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

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

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

t^OtmSSSTTB CKKTURT. 

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



Oimabm. 



School of 
Siena, Idth 
century, 

Ducdo di 
Siena, 



UgoUno 
and Segna. 



Florentine 
school f l^ih 
century. 



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e 



^HE niSB Am) TMOOBmS 



Florentine 
school, lUh 
century, 

Giotto, 



At Assisi* 



AtPadua^ 



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



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OF* PAINTING IN ITALY. 



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



OioHo, 
At Padua. 



At Mom. 



At Fh- 
renci. 



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TBE BISE AND PFOGMESS 



Giotto: 



School of 
Giotto. 

Taddeo 
Gaddi. 



Agnoto 
OaddU. 



Ghttino, 



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

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

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



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

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

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

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

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

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



QiottifUk 



Qiowmni 
da MUouuK 



VenizkaUK 



School of 
ArezxOf 
Uth 
century^ 



J.di 
Casentino. 



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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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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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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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THE RISE AND PB00BE88 



School of 
Botogna^ 
'i4tth eery- 
tury. 



School of 
Modenoj 
14th cen- 
tury. 
Tommaso. 



Bamdba. 



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

Tnrino 
Vannu 

Nuzu 



School of 
VeronOf 
14th cen- 
tury, 

Altichiero 
and 
Avanzi 
Veronese, 



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

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

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

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

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



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15 



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

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

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

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



Altichiero 
and 
Avcmzi 
Veronese, 



Qiusto and 
Guariento. 



School of 
Venice, 
lUkcen' 
tury. 



Paulus* 



Lorenzo* 



Stefano. 



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THE BI8S AND PBOaRESS 



J3mit«>oh. 



School of 

Florence^ 

Ibthcen" 

tury, 

Fra Ange- 

lico da 

Fiesole, 



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

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

FinXENTH CENTURY, 

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

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

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



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

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

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



Pesello and 
Pesellino, 



Baidovi' 
netti. 



Antonio 
and Pietro 
PoUajuolo, 



Verrocchio, 



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THE RISE AND PB0GBES8 



Sandra 
Botttcelli. 



Filippino 
Lippi. 



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

pupils, of whom the most eminent was Sandro Filipepi, 

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

to paint subjects from the ancient classical mythology. 

But his treatment of them showed the restraint and 

quaintness of the mediaeval manner, with the careful finish 

of accessories belonging to it. An excellent early example 

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

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

The IJffizi contains another, most beautiful in sentiment 

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

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

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

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

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

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

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

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

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

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

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

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

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

Chapel. There are several pictures at Berlin, of which 

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

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

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

Munich Pinacothek, No. 666. In our National Gallery 

are two specimens of classical subjects in the style above 

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

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

which there is a very interesting painting by him, a 

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

work. No. 184. 

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



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

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

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



Filippmo 
Lippi, 



X, di Credu 



Domenico 
Ghirlan- 
dajo. 



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THE BISE AND PB0QBE88 



Pomenico 
Ghirlan- 
dajo. 



Granacci. 



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

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



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

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

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

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

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

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



MamardL 



Luca 
SigrwrelH, 



Bart, della 
Gatta. 



Benozzo 
Gozzoli. 



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THE BI8E AND PROGRESS 



Benozzo 
Gozxoli. 



Cosimo 
Hosselli, 



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

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



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

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

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

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

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

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



Cosimo 
EosteUu 



P,di 
Cosimo, 



Raf: del 

Gcu'bo, 



Piero della 
Francesca, 



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28 



THE RISE AND PB0QBE88 



PierodeUa 
Francesco, 

Umbrian 
schooly 15th 
century, 
Melozzo da 
Forli, 



Paimez' 
zano. 



Giovanni 
Santi, 



Origin of 
the Vene- 
tian school. 



Gentile da 
Fabriano, 



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

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

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

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

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



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

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

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



GetUOeda 
fabriano. 



Antonello 
da Messina, 



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THE BI8E AND PB00BE88 



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



The 7it?a- 
rf'ni. 



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

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



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

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

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



The Viva* 
rmt. 



Carlo 
Crivelli, ' 



Venetian 
school f loth 
century. 
The 
Bellini. ' 



Oentile. 



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QentUe 
Bellini. 



Qiowxnni 
Bellini, 



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

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

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

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

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



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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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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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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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THE BI8E AND PB0GBES8 



School of 

Ferrari^ 

15th cen' 

tury. 

Stefano and 

Cosmo 

Tura. 



Cossa, 



School of 
Vicenzet, 

iwy, 
Montagna, 



Bwyncon- 
aigli. 



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



Bonsignori, 



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

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

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

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



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

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

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

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

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

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



Btmsignori, 

2). Morone 

and 
F, MoroM, 



Dai LihrL 



Carotd, 



Cavazzola, 



School of 
Parma^ 
15th ceU' 
tury. 



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THE BISE AND PB00BE8S 



School of 
Parma, 
15th cen- 
tury. 



Sienese 
school, \5th 
century. 
Samodi 
Pietro. 



Matteo. 



XTmbrian 
school, 15th 
century. 



Niccolb 
Alunno. 



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

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

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

But the interest of the Umbrian tsdiool henceforth is 



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



BcnfigliL 



Fiorenzo di 
Lorenzo. 



Perugmo. 



Frescoes, 



Oil 
paintings. 



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THE B18E AND PB0QBES8 



Perugino, 



Pinturic 
Ohio, 



Lo Sj^agwu 



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

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

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

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

Giovanni di Pietro, called Lo Spagna, being a Spaniard 



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

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

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



Lo Spagna, 



Bolognese 
achooly IM 
century, 
Marco 
Zoppo. 



Francesco 
Francia, 



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THE RISE AND PROGRESS 



F Francku 



G. Franoia. 



Lorenzo 
Costa, 



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

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

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



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



Lambctrd 

9chool,15th 

century, 

Leonardo 
da Vinci. 



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THE BI8E AND PB0GBE8S 



Leonardo 
da Vinci, 



Bernardino 
Zuini, 



Frescoes. 



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

It is difficult to determine the authorship of some works 
of this period, which might equally belong to Leonardo 
and to his best pupil, Bernardino Luini (about 1460-1530) ; 
it will therefore be well to consider the latter at the same 
time. Luini was most celebrated as a fresco-painter. His 
finest works of this kind are in the church at Saronno, re- 
presenting scenes from the history of the Virgin ; those in 
the Church of S. M. degli Angeli at Lugano; and the 
frescoes which decorate the inner and outer Church of S. 
Maurizio Maggiore at Milan (Plate XI., 3). All these are 
very remarkable productions, especially the first and last, 
whether we regard composition, colour, or execution. 
Those in the Church of the Madonna at Saronno are in a 
state of high preservation, and rank among the best pro- 
ductions of the master. Of the four chief subjects there, 
the 'Marriage of the Virgin' may be regarded as the 
choicest example : it is placed between the choir and the 
altar on the left. Besides these, there is a fine fresco in a 
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Christ,' of which the centre oompartment at least is the work 
of Luini. Of his works in oil, a very fine one, exquisitely 
painted, is the ' Madonna with the roses,' No. 89 in the Brera, 
Milan. Others are, the ' Beheadal of the Baptist,' No. 1135 in 
the XJffizi, and a ' Holy family with saints,' No. 173 in the 
gallery at Buda-Pesth. Lnini is seen to great advantage in 
the Lonvre, three of the examples there being very admir- 
able : a • Holy family,' No. 230 ; a ' Sleeping Jesus,' No. 231 ; 
and a ' Salome with head of the Baptist,' No. 232. Some 
frescoes are also to be seen in the hall through which the Sa- 
lon Carre is entered. But not less beautifal are the examples 
bj this master in the Hermitage, St. Petersburg — ^viz., a 

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

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

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

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



£, Luini, 

on 

paintings. 



BorgO" 
gnone. 



Andrea 
Solario, 



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THE RISE AND PBOQBESS 



Andrea 
Solario, 

Beltraffio. 



Gavdenzio 
Ferrari, 



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

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

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

SIXTEENTH CENTURY. 

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

These are followed by others in some respects but little 



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

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

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

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

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



Florentine 
school, leth 
century. 
Fra Barto- 
lommeo, 



Albertinellu 



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



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THE RISE AND FB0GRES8 



Bugiardinu 



Franoia 
Bigio. 



Angelo, 



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

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



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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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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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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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byGoogk 



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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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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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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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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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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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 

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

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



VeneUan 
9chool, end 
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Tintoretto, 



Paul 
Veronese, 



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

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

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

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

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

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

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



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

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



Paid 
Veronese* 



J, Bassano. 



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TSE B18E AND PROGRESS 



J, Bassano, 



L. Bassano, 



Correggio. 



Sacred 



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

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

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



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



Correggio, 



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THE RISE AND PROGRESS 



Correggio, 

Mythologi- 
cal subjects. 



Portraits. 



School of 
Correggio, 



Parme' 
gianino. 



Baroccio. 



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

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

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

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

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

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

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



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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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THE BI8E AND PB0GRE88 



Lodovico 
Caracci, 

Agostino, 



Annibale, 



Domenir 
chino. 



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

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

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

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



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

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

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

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



Domeni' 
chino. 



Guido 
Reni, 



Early 
period. 



Second 
period. 



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THE BI8E AND PB00BE88 



Qwdo, 



Third 
peribd. 



Smaller 
works. 



Albani, 



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

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

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

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

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

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



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

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

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



Albani, 



Andrea 
Sacchi, 



Maratta. 



Querdno, 



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THE BI8E AND PBOGRESS 



Guercino, 



Zanfranco, 



Schedone, 



Pietro da 
Corixma, 



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

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

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

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



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

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

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

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

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



Tiarini and 
Sjpacku 



Sassofer- 
rato. 



Guido 
Cagnacci, 



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Ouido 
Cagnacci^ 

E, Sirani, 



Eclectic 
schools of 
Cremona 
and Milan, 

The Pro» 
caccinit 



Eclectic 
school of 
Borne. 



Cigoli, 



a Allori, 



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

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

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

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



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OF PAINTING IN ITALY. 



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

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

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

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

Michael Angelo Amerighi da Caravaggio (1569-1609) was 

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

realistic treatment of the subject, with close imitation of 

the model under the influence of brilliant light and dark 

rfiadows, often in powerful and animated action ; and the 

striking effects thus attained were subsequently recognised 

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

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

I was best suited to the representation of domestic scenes, 

I G 2 



a AUori. 



D. Feti, 



C, Dolci. 



Natwch 

lists. 

The Naples 

school^ nth 

century. 

(kxravaggio. 



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84 



THE BIBB AND PB0GBE88 



CaraoaggiQ, 



Btbera, or 

Spagno- 

letto. 



Sdvator 
Rosa, 



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

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

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

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

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

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



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OF PAINTING IN ITALY. 



85 



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

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



Saivator 
Rosa, 



Luca 
Oiordano. 



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86 



THE mSE AND TB0QBE88 



Luca 
Giordano*, 



School of 

Venice,l6th 

century. 

Canaletto, 



Bcllotto. 



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

EIGHTEENTH CENTDKY. 

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

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



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OF PAINTING IN ITALY. 87 



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

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

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



BeUotto. 



Chuirdi, 



Tiepolo. 



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88 



THE RISE AND PROGRESS 



A OHKONOLOGIOAL TABLE 

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

ot THK viitious BOHbk)LS 6* Italt. 



School. 




Birth. 


Deiih. 


Siencse • . 


Guide da ^ieiia, dated pictuve 1221 






Pisan. . . 


Giunta Pisano : . 


m^ 


12158 


Lucca . . 


Bonaventdia Beiiingfiiefi^ .signed 








and datted picture 1235 , ; . 
Margantone d' Arezzo .... 


— 





Arezzo . . 


1236 


1313 


Florentine . 


Cimabufe (Giovanni Gnaltieri) . . 


1240 


— 


t 


„ L8«t record 1801-2 . . 


— 


— 


Roman . . 


Pietro Cavallipi 


12597 


1344 


Sienese . . 


Duccip di Buonihs^gna, painted 








1282-1820 


•:-. 


.. 


Sienese . . 


Ugolitio, painted end of 13th 








century 


. — 


— 


Florentine . 


Giotto (di Bondone) 


1276 


1336 


Florentine . 


Bnlfidmacoo (Buonainioo dl Cristo- 






Sienese . . 


fmo\ Dainljed 1802-13,51 ? . . 

Segn£k di Buonaventura, painted 

1305-19 


z 


""■ 


Sienese . . 


Simone di Martino (Menuni) . . . 


1283 


1344 


Paduan, * . 


Guariento, painted 1316-60 . . . 


— 


— 


Sienese . . 


Lippo Memmi, painted 1317 . . 


— 


1556 


Florentine . 


TaddeoCh^di 


1300 







„ ,4 Last record 1366 . . 





._ 


Sienese . . 


Pietro Lorenzetti 








„ First record 1305 . 


— 


1348? 


Arezzo . . 


Jacopo di Ckeentino 


1310 


1890 


Arezzo . . 


Spiuello Aretino, about .... 


1316 


1408 


Bolognese . 
Venetian 


Vitale da Bologna, painted 1320-45 
Paulus, pinted 1323-46 . . . . 


— 


— 


Sienese . . 


Ambrogio Lorenzetti, painted 1331- 
48? 


1324 




Florentine . 


Giottino (Tommaso) 





Florentine . 


Agnolo Gaddi 


1325 


1396 


Paduan . . 


Justus of Padua 




1400 


Florentine . 


Andrea di Clone, Orcagna, painted 








1340 





1389 


Fabriano. . 


Allegretto Nuzi, painted 1346-85 . 


— 






Puccio Oapanua, painted 1349 . . 


— 


— . 



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OF PAINTING IN ITALY. 




Venetian. 

Venetian. 
Veronese 
Modenese 

Florentine 

Florentine 
Modenese 

Bolognese 

Venetian . 
Bolognese 

Florentine 

Arezzo • 
Pisan. . 

Veronese. 

Veronese 

Sienese . 

Florentine 

Umbrktn. 

Neapolitan 

Venetian. 

Arezzo . 

Flereiitine 

Florentine 

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 



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90 



TEE BI8E AND PROGRESS 



School. 



Death. 



Padnan . 
Venetian. 

Florentine 
XJmbrian. 

Umbrian. 

Pannese . 
Venetian. 
Venetian. 

Venetian. 

Bolognese 
Umbrian • 

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

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

Parmese . 
Venetian. 
Venetian. 

Venetian. 
Venetian. 

Venetian. 



Gregorio ScbiaTone, painted 1450-70 
Bartolommeo Vivarini, painted 

1450-1500 • 

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

96 

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

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

95? 

Carlo Crivelli, painted about 1468- 

95 

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

99 

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

Coeimo Tura 

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

Giovanni Santi ...... 

Melozzo da Forli, about • • • . 

Gosimo Bosselli , * 

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

Filippo Mazzola 

Luca Signorelli % 

Pietro PoUajuolo 

Perugino (Pietro di Vannucci) , . 

Sandro BottioelH • ^ 

Domenioo Gbirlandajo .... 

Francesco Francia . . . . . 

Vittore Oarpaccio, about .... 

liberale da Verona « . . . • 

Leonardo da Vind 

Pinturiccbio (Bernardino di Betto). 

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

Cristoforo OaseUa, painted 1499 

Marco Basaiti, painted 1490-1520 . 

Vicenzo Catena, painted 1495-1520 . 

Macrino d'Alba. painted 1496-1508 

Marco Belli, painted 1511 • . . 

Bissolo, pabited beginning of 16tb 
century 

Previtale, painted beginning of 16th 
century 



1424 
1426 
1480 
1431 
1432 
1433 
1435 
1435 
1438 
1439 
1442 



1441 
1443 
1446 
1447 
1449 
1450 
1450 
1451 
1452 
1454 



1496? 

1516 

1496 

1506 

1488? 

1498 

1495 

1495 

1494 

1506 



1503 

1521 

1496? 

1524 

1515 

1498 

1517 

1520 

1536 

1519 

1513 



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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 



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TEE jniBS AND PltOQIlE88 



Bcbool. 



Death. 



Roman , 

Parmese . 

Florentine 

Venetian. 

Boman . 

Brescian . 

Bresoian • 

Boman . 

Venetian. 

Oremonese 

Venetian. 

Florentine 

Parmese . 

Lombard. 

Florentine 

Bergamo . 

Venetian . 

Florentine 

Venetian. 

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 



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SchooL 




Birth. 


Death. 


Boman . . 


Pietio da Oortona 


1596 


1669 


Roman . . 


Andrea Saochi 


1598 


1661 


Bologneae . 


Guido Gagnacci 


1601 


1681 


Bolognese . 


Giovanni Battista Salvi (Sassofer- 








rato) 


1605 


1685 


Bologneae . 


S. Oantarini 


1612 


1648 


Itoman . . 


Pietro Fmnoesoo Mola .... 


1612 


1668 


Neapolitan . 


SalvatorRcea 


1615 


1673 


FloientiDe . 


GadoDolei 


1616 


1686 


Roman . 


Carlo Maratta 


1625 


1713 


KeapoUtan . 


Lnca Giordano (Fa Presto) . . . 


1682 


1705 


Bolognese . 


£lisabetta Sirani 


1688 


1665 


Venetian. . 


Sebastiano Riooi 


1662 


1734 


Venetian. . 


GioY. Battista Tiepolo .... 


1692 


1769 


Venetian. . 


Antonio Oanale (Oanaletto) . . . 


1697 


1768 


Venetiaii. . 


Fmnoeeco Zncoherelli 


1702 


1788 


Venetian. . 


Francesco Guarfli . ..... 


1712 


1793 


Venetian. . 


Bernardo Bellotto 


1720 


1780 



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THE EI8E AND PBOGBESS 



Illumina- 
tions, 



Fourteenth 



Van 
cTAsselt 



Mattoel. 



BroedeT" 
lam. 



THE RISE AND PROGRESS OF PAINTING IN FLANDERS.^ 

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

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



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95 



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

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



Broeder- 
lam. ' 



Hubert van 
Eyck, 



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THE BISE AND PB0€fBE88 



Hubert van 
Eyck, 



Fifteenth 
century. 

Jan van 
Eyck, 



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

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



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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 1 444 71), a 
natiye of Bruges. His best productions are a ' Madonna ' 
in the Stadel, Frankfort, No. 66 ; two panels, the 'Annuncia- 
tion ' and the ' Last Judgment,' Nos. 529a and b in the 
Berlin Museum ; two wings of a triptych, a * Crucifixion * 
and a ' Last Judgment,' marvellously full of figures, with 
high finish. No. 444 in the Hermitage, St. Petersburg ; 
and a panel in four parts. No. 1291 in the Madrid Gallery. 

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

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



Jan van 
Eyck,^ 



Petrtts 
Christus, 



Gerard van 
der Metre, 



Hugo van 
der Goes, 



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n8 



THE BI8E AND PBOGRESS 



Hugo van 
der Goes. 

Junius of 
Ghent 



Rogier t?an 
derWeyden, 



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

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

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

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



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PtATE XXV. 2b faiae page 98. 



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OF PAINTING IN FLANDERS. 



99 



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

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

H 2 



Rogier van 
derWeydeik 



Hans 
Memling. 



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100 



THE BI8E AND PROGRESS 



Meniiing, 



Dierick 
Bouts, 



Oherardt 
David. 



Patinir. 



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

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

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

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



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Plate XXVI, To face page 101. 



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OF PAINTING IN FLANDERS. 



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, 



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102 



TffE ni&E A^D PEdaM8& 



Semctrd 
van Orley, 



Michael 
Qoxie, 



mann. 



Floris. 



Antonio 
Moro, 



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

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

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

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



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

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

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

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

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



Peter 
Pourbus. 



Frans 
Pourbus 
the elder. 



Frans 
Pourbus 
the younger. 



The 
Bruegheis. 



Pieter 
Brueghel 
the elder. 



Jan 
Brueghel. 



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TEE BI8E AND PB0GBE88 



fan 
JBrueghel, 



Pieter 
Brueghel 
the younger. 



M. de Vos. 



C. de Vos. 



Paid BrU, 
M. BrU. 



Seventeenth 
century, 

Bubens. 



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

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

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

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



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OF PAINTING IN FLANDERS. 105 



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

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



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TRM MISS AND PB0<}RS88 



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



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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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TEE RISE AND PR00BE8S 



Rtibens^ 



Portraits* 



Landscape 

and 

animals* 



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

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

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



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

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

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

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



StAens. 



Frans 
Snyders. 



Jan Fyt 



Jacob 
Jordaens, 



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THE BISE AND PROGRESS 



Jaccb 
Jordaens, 



Van Dych 



Sacred 
subjects. 



Portraits. 



Charles L 



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

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

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



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



Van Dyck. 



ChUdren. 



Equestrian 
ani others. 



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THE BI8E AND PB0GBE88 



Vanl>yck, 



J, Stater- 
moms. 



Qaspard de 
Grayer, 



P.deCham^ 
paigne. 



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

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

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

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



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

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

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

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

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



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

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

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



P. de Cham- 
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THE ni8E AND PB0GBE88 



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



School. 



Deft^. 



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

Ghent . 

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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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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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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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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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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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. 



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

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



The De 
Heems, 



Kalf, 



Mignon, 



R, Buysch. 



Van 



Painters of 
game and 
poultry, 
Honde" 



Jan 
Weenix* 



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

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



A, 9an 
Ottade, 



/. van 
Ostade, 



D, Teniers f 
the elder ^ 



D, Teniers^ 
theyounger. 



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THE BI8E AND PB0GBES8 



D, Teniers 
theymnger. 



Jan Steen, 



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

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



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

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

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

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

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

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

K 



Jan BUin, 



HonthorsU 



Luxurious 
interiors. 



Terburg. 



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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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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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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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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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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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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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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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THE RISE AND PR0QBE88 



JPynacker, 
Lingelhach, 

Marine' 
painters. 



Babk- 
kmzen. 



Willem van 
de Velde. 



Vande 
Capelle, 



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

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

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

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



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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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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 . 

AlVmftft f 

Dort . . 



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

Ferdinand Bol 

Bartholomaiis van der Heist. . 

Pieter van Laer 

Gerhard Dow 

Govert Flinck 

Gabriel Metsu, about .... 

Lgaak van Ostadd 

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

Philip de Koning 

Gomelis Bega 

Willem van Aelst 

Jan Battista Weenix .... 

Adam Pynaoker 

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

Cornells de Heem 

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

Paul Potter 

Jacob Ruysdael ..... 

Jan Lingelbaoh 

Jan Steen 

Samuel van Hoogstraten . . . 

Earel du Jardin 

Willem Kalf 

Job Berckheyden 

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

Abraham Mignon 

Gaspard Netbcher 

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



1610 


1685 


1610 


1688 


1610 


1694 


1611 


1681 


1613 


1670 


1613 


1673 


1613 


1675 


1615 


1660 


1615 


1667 


1617 


1671 


1619 


1668 


1619 


1683 


1619 


1689 


1620 


1664 


1620 


167a 


1621 


1660 


1621 


1673 


1621 


1674 


1621 


1675 


1623 


-— 


1624 


1683 


1625 


1654 


1625 


1681 


1625 


1687 


1626 


1679 


1627 


1678 


1630 


1678 


1630 


1693 


1630 


1698 


1631 


1709 


1G32 


1693 


1632 


1695 


1633 


1686 


1633 


1707 


1635 





1635 


1681 


1636 


1695 


1686 


1708 


1637 


1712 


1638 


1693 


1G38 


1709 


1H39 


1672 


1(139 


1679 


1639 


1684 


1640 


1691 


1641 


1698 


1643 


1706 


1644 


1688 



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TBE RISE 4ND PnOGBESS 



School. 



Amsterdam . Jan, Weenix 

Kotterdam . Michael yan Mussoher 

Haarlem . . Jan, van Hugtenbnrg 

Bottordam . Adrian van der Werff 

Haarlem . . Gomelis Dnsart 

Leiden . . Wil}em van Mieris 

Amsterdam . BacholRuysoh 

Amsterdam . Jan van Hnysmn 

lieiden . . Frans van Mieris, younger 

Hague . . Jan van Os 



BiTth. 



Death. 



164^ 
1645 
1646 
1651 
1660 
1669 
1664 



1689 
1744 



1719 
1705 
1733 
1722 
1704 
1747 
1750 
1749 
1768 
1808 



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OF PAINTING IN GERMANY, 



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THE RISE AND PROGRESS OF PAINTING IN GERMANY. 

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



Fourteenth 
century. 
Wilhelm 
von Kdln. 



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THE BI8E AND PB0GBE88 



Fifteenth 

century. 

Loethener. 



The Master 
of the 
Lyvers^g 
' Passion,' 



Master of 
Liesbom, 



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

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

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



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

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

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

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

L 2 



MaUer of 



MasUrof 
the'Deaik 
of the 
Virgin* 



Sfffobian 
school. 



At Colmar, 

Schon' 

gauer. 



At Ulm, 
Zeitblom, 



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

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

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

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



ffoibeinthe 
younger. 



Burgkmair, 



Amiberger, 



Bruyn. 



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THE BI8E AND PB0GBE88 



Fratkxmian 
school. 



Wohlge- 
muth. 



A, Durer, 



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

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



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

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



A. DUrer. 



EngrG" 
vings, ^c. 



Altdorfer, 



The 
JBehcttns, 



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THM BI8E AND PB0GBE88 



The 
Behams, 



Fencz, 



Lucas 
Cranach, 



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

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



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

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

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

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



Lwxu 
Cranach* 



Cranach 

the 

younger. 



Seventeenth 
century. 



Rotten- 
hammer. 



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THE BI3E AND PB0GBE88 



Elzheimer^ 



SandrarU 



Boos. 

Eighteenth 

century, 

Denner, 



Dietrich, 



Baphael 
Mengs. 



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

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

Johann Heinrich Eoos (1681-85) was an animal-painter 
of note in the latter half of the century, and his works may 
be found in most continental galleriea 

Commencing with the eighteenth-century group, Denner, 
the earliest of these (1685-1749), was most celebrated 
as a portrait-painter. He worked in a minute style, re- 
producing every peculiarity of the sitter with the greatest 
faithfulness, entirely sacrificing breadth of execution and 
grace of form. Characteristic examples of Denner's work 
are Noa 767, 79 at Munich, No. 117 in the Louvre, and 
others at Dresden. Several examples are in the Hermit- 
age : see catalogue. 

Christian Dietrich (1712-74) was a painter of marvellotis 
fertility and varied powers. He lived principally at Dres- 
den, and executed a large number of works, mostly copies of 
old masters, chiefly Dutch, in which he achieved a greater 
success than as an original painter. Li our National 
Oallery the 'Itinerant musicians,' No. 205, is a good 
example ; but at Dresden there are no less than fifty-one 
works by him, painted expressly for the King Augustus 
III. in virtue of his appointment as court painter ; and 
several others are in the Hermitage. 

Anton Baphael Mengs (1728-78) was one of the best 
painters of his time. He began to study his art at a very 
early age, his father taking him to Dresden first, and then 
to Eome, for that purpose. He spent much of his after- 
life in Eome, occasionally travelling back to Saxony and 
paying a visit to Spain, at both of which courts he held 
appointments. Most of his best works are now to be 



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found at Madrid. The large ' Apotheosis < of Trajan' 
decorates the dining-room of the Boyal Palaoe there ; and 
his masterpiece, an ' Adoration of the shepherds,' No. 1435, 
with several other works, is in the Museum at Madrid. 
He is] also well represented in the Hermitage ; the best 
example being a large * Judgment of Paris,' No. 1302 ; for 
several others, including his own portrait, see catalogue. 
His own portrait occurs again in the Uffizi, No. 656, and 
at Munich, No. 153. A large representation of ' Apollo 
and the Muses ' in the Yilla Albani at Home is a good 
example of the master's fresco-painting. 

Angelica Kaufmann (1742-1808) gained a wide-spread 
reputation in her lifetime, chiefly as a portrait-painter. 
She went to study in Italy, and came subsequently to 
England, where she was elected one of the thirty-six 
original members of the Royal Academy, so highly was 
she esteemed here. Her works show no originality, nor 
any great power of execution, and while sometimes grace- 
ful, are generally weak and insipid. Her own portrait 
may be seen in our National Portrait Gallery, S. Kensing- 
ton, at Munich, No. 152, and also in the Uffizi, No. 471. 
Three good specimens of her works are at Dresden, Nos. 
1978, 9, 80. Three small examples are in the Hermitage, 
Nos. 1304, 5, 6 ; and one work, with two life-size figures, 
is in the Louvre, No. 678. At Hampton Court a full- 
length portrait. No. 502, may be mentioned. 



R, Mengs. 



Angelica 
Kaufmann, 



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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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THE RISE ANP PROGRESS OF PAINTIKG IN SPAIN. 

The enterprise and wealth of Spain in the fourteenth and 
fifteenth centuries attracted artists to its capital both from 
Italy and the Low Countries. Following the demand for 
pictures which royal patronage and the Church originated, 
schools arose in different parts of the country, chiefly in 
Toledo, Castile, Valencia, and Seville. The earliest native 
artists, most of whom belonged to the priesthood, appeared 
at the commencement of the fifteen^ century; Toledo 
beiog perhaps the first spot in which a school was deve- 
loped. The earliest names of note, however, are those of 
men who lived in the latter half of the fifteenth century. 
Two only can be mentioned : Antonio del Rincon (1446- 
1600) and Berruguete, the latter beginning to paint in the 
commencement of the sixteenth century. Of the former 
no works exist in any public gallery, unless a doubtful 
'Madonna,' No, 345 in the Hermitage at St. Petersburg, 
attributed to him by Dr. Waagen, can be admitted. 
Portraits of Ferdinand and Isabella in a dark chapel of the 
Cathedral at Granada, ascribed to him, are probably copies 
bj a later hand. 

Berruguete (1480-1661) is best known as an architect 
and aculptor : numerous examples of his admirable talent 
may be found throughout Spain, especially in marble. No 
works are extant in any gallery, although several paintings 
by bis pupils maybe found in that of Madrid, Nos. 2142-8 : 
and these doubtless indicate the style of the master. 

Vice^te Joapes, or Juan de Juanes (1506-79), was a 
painter of note at Valencia, Several works are attributed 
to him Vfi the Madrid Museum, No. 755, a ' Last Supper,' 
being the principal. The drawing and expression are 
good : the head of Christ, pleasingly rendered, is repeated 
by itself more than once, Nos, 759, ?0 ; and of these he is 



Fifteenth 

century, 

Rincon, 



Sixteenth 

century. 

Berruguete, 



Joanes. 



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THE RISE AND PHOOBESS 



Joanes, 



Luis 
Morales, 



Sanchez 
Coello, 



Becerra, 
Mavarrete, 



known to have painted several replicas. There is also a 
series relating to the history of S. Stephen, Nos. 749-63 
(Plate XXXV., 1). A good portrait example is No. 754. 
A small work of high finish is No. 758. An excellent 
composition is No. 602 at Dresden. Two good examples 
are in the Hermitage, St. Petersburg, No. 328, a * S. Anna/ 
and No. 329, a * S. Dominic' His finest works are in the 
Museum and in the churches at Valencia. 

Luis Morales (1510-86) was a painter of sacred subjects 
exclusively, and generally treated in an ascetic spirit- 
hence called " El Divino." Pictures are attributed to him 
in the Madrid Museum, Nos. 847-51 ; but they have little 
to recommend them, and are faulty in drawing and colour. 
So also is a ' Piedad ' in the Accademia de S. Fernando at 
Madrid. These works do not fairly represent his power. 
He is better seen in the Hermitage, St. Petersburg, in 
No. 400, a ' Madonna,' and No. 401, a * Mater dolorosa': of 
these the first named is the best. There is a good * Ecce 
Homo,* No 601, at Dresden, and a characteristic 'Christ 
bearing the cross,' No. 537 in the Louvre. 

Alonso Sanchez Coello (about 1515-90), pupil of Antonio 
Moro, was a portrait-painter of great ability. In the 
Madrid Museum, No. 1032, Don Carlos, and No. 1033, his 
sister, are good examples : the latter is very finely and 
delicately painted, with high finish and admirable 
execution of details. No, 1036 is also' well worthy of 
study. A portrait of Margaret of Parma, No. 402 in the 
Hermitage, St. Petersburg, is attributed to him by 
Dr. Waagen: the face appears to have been retouched. 
Three excellent and characteristic female portraits by 
him are in the Brussels Gallery, Nos. 157, 8,9 (Plate 
XXXin., 5); and a full-length of PhiHp 11. of Spain is 
ascribed to the master in our National Portrait Gallery, S. 
Kensington. 

Becerra (1520-70) and his deaf and dumb pupil 
Navarrete, hence called " El Mudo " (1526-79), must be 
named. The former was a fresco-painter and sculptor. 
The latter studied in Italy during many years, and is said 
to have been a pupil of Titian. After his return to Spain 
he became painter to Philip I., for whom he chiefly 



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worked. Three works are attributed to him in the 
Madrid Mnsetim, Nos. 905, 6, 7. His finest pictures are 
not now to be seen : several have perished, others are in 
oolleotions not open to the public. 

Luis de Yargas (1502-68) should be remembered as the 
first to introduce oil-painting into Seville, and as an early 
painter of that school. A well-known work by him, 
entitled the ' Generation of Jesus Christ,' painted in 1561, 
is in the Cathedral of Seville, often called ' La Gamba,' 
owing to the fine drawing of the leg of Adam, prominently 
se^ in the foreground. Frescoes painted by him on the 
outer wall of the Court of Oranges and in niches of the 
Giralda Tower have now disappeared* 

Pablo de Ceapedes (1538-1608), of Cordova, was a man 
of great erudition and of many talents. He is said to 
hare been a sculptor and architect as well as a painter. 
Moreover, he was a poet, and, like De Vargas and Roelas, 
a divine by profiession. All his works are lost except a 
* Last Supper ' at Cordova. 

Domenico Thec^iocoimli (1548-1626), better known as 
"II Greco," belongs to the Italian school by education, 
but is usually dasaed with the painters of his adopted 
country, Spain, where he lived for nearly fifty years, and 
died at Teredo. His works want colour and are very 
unattractive. Examples may be seen at Madrid, but 
superior to any of these is the study of a h&ad in the 
Hermitage, St, Petersburg, No. 411. 

Francisco de Eibalta (about 1550-1628) was one of the 
chiefs of the school of Valencia, and the master of Eibera. 
In the Museum and churches of Valencia his best works 
are still to be found. In the Madrid Museum four are 
attributed to him. No, 947, * S. Francis of Assisi,' is a 
good example, and illustrates the rigid naturalism in details, 
an'd is conspicuous for the deep dark shadows, of his school. 
The angel in the picture is necessarily conventional, and 
looks as if borrowed from an Italian source. In the 
Hermitage, St. Petersburg, are two fair examples, Nos. 
338, 40. His son Juan (1597-1628), who died early, was 
a promising painter, and his works are often confounded 
with those of his father. 



Navarrete. 



Luis de 
Vargas, 



Pablo de 
Cespedes, 



Domenico 
Theotoco* 
ptUi, 



Eibaita. 



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THEBISE AND PB0GBE88 



Seventeenth 

century. 

Bibera, 



Pacheco. 



Jo86 de Eibera of Valencia (1588-1656), snmamed in 
Italy " Lo Spagnoletto " (see also Italian schools, p. 84), 
spent much of his time in that country, and chiefly studied 
under Caravaggio there. A large number of his works is in 
the Madrid Museum, Nos. 955 to 1012, chiefly single heads 
on small canvases, of apostles and saints, but evidently 
painted from models, and more or less portraits. The best 
examples of these are Nos. 956, 9, 63, 78. A * Magdalen/ 
No. 981, is less happy. A good illustration of the strong 
effect of light with dark shadows which marked the 
Neapolitan school is seen in No. 1006, a ' Hermit at prayer.* 
The following are examples of his most powerful work in 
large compositions. The * Martyrdom of S. Bartholomew,' 
No. 989, a fine picture for drawing and composition. 
No. 977 is an admirable single figure. No. 982, * Jacob's 
dream,* is finely painted (Plate XXTV., 5). In No. 983, 
' Isaac blessing Jacob,' the drapery and details are admirably 
rendered. In the Academia de S. Fernando at Madrid are 
two excellent single figures of saints and a small ^ Head of 
the Baptist.' Some fine examples are in the Hermitage, 
St. Petersburg : particularly worthy of notice is No. 331, 
a 'S. Sebastian after martyrdom,' a grand and large 
composition finely painted ; also Nos. 330, 2, 3, 4. In the 
Louvre is an ' Adoration of the shepherds,' No. 648, besides 
two others, Nos. 549, 50. Several good examples are in the 
Dresden Gallery, particularly Nos. 608, 10, 18. Those inonr 
National Gallery, Nos. 235, 44, are not good specimens. 

Francisco Pacheco (1571-1654), of the school of Seville, 
flourished about the same date as Eibera, and is interesting 
not only on account of his own excellent and very care- 
ful work, but' as being the master and fitther-in-law of 
Velasquez. He is represented by four small pictures in the 
Madrid Museum, Nos. 916-19 ; by a fine work, the ' Miracle 
of S. Pedro Nolasco,' No. 16 in the Seville Gallery ; and 
by an ' Annunciation ' over the high altar of the University 
Chapel at Seville. His masterpiece, an enormous ' Last 
Judgment,' painted for the Nunnery of S. Isabel, is no 
longer preserved. 

Also of the school of Seville was Juan de las Eoelas 
(1558-1625), the master of Zurbaran. His work is chiefly 



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to be seen in his native city. In the Cathedral is a 
vigorous painting of ' Santiago overthrowing the Moors/ 
and in the Gallery the * Martyrdom of S. Andrew/ No. 89. 
Three good examples of the master are in the University 
Chapel ; and in the Church of S. Isidoro is a large com- 
position representing the death of the saint, ' El Trdnsito/ 
generally considered as the masterpiece of the painter. 

The two Herreras of Seville, fother and son, mnst next 
be mentioned : their works are frequently met with 
in Spain, although examples in other European countries 
are rare. Francisco de Herrera el Viejo (bom 1676) is 
represented by several vigorous pictures in the Seville 
Gallery, and by a large canvas of the ' Last Judgment ' in 
8. Bernardo there. A good example is in the Louvre, 
No. 636.. Also in the Seville Gallery are some of Herrera 
"el Mozo/* or the younger (1622-85), and in the Cathedral 
alargealtarpiece of the * Apotheosis of S. Francis,' weakly 
conceived and executed. Better still is the ' Assumption 
of the Virgin ' in the Church of our Lady of Atocha at 
Madrid. There is a finished work in the Hermitage, St. 
Petersburg, No. 389, * Legend of the portrait of S. Dominic' 

A gifted scholar of Pacheco was Alonso Cano, of Granada 
(1601h67), who gained a reputation as sculptor, painter, 
and architect, on which account he has sometimes been 
regarded as the "Michael Angelo" of Spain. In the 
Seville Cathedral there is a small and beautifully rendered 
* Madonna* by him, and in the University Chapel at 
Seville are two single figures over the high altar. Li the 
Madrid Museum are several good examples of his work, 
especially a ' Dead Christ and angel,* No. 672 ; the figure 
of *S. Benito Abad,* No. 668 ; and a 'Madonna,* No. 670. 
In the Academia de S. Fernando is a ' Crucifixion ' by Cano. 
At Munich there is a ' Madonna and S. Anthony,' No. 353. 
In the Hermitage, St. Petersburg, two good examples of 
the master may be seen, the * Legend of the portrait of S. 
Dominic,' No. 354, and a replica of the 'Madonna* at 
Seville, No. 352. An excellent specimen is a ' S. Agnes,* 
No. 414b at Berlin. 

Francisco Zurbaran, a native of Seville (1598-1662), is 
known for simplicity, correctness, and breadth in treat- 

M 2 



Soehs, 



The 
Herreras. 



Alonso 
Cano. 



Zurbaran. 



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TEE ni8E AND PBOOBESS 



Zurbaran, 



Velasquez, 



At Madrid, 



ment of Bisgle figures, mostly monks, of whioh numerous 
examples exist. Tke draperies in large and massiTs folds 
are often well rendered. He is best seen in the Gallery at 
Seville, where his principal work, the ' Apotheosis of St. 
Thomas Aquinas,' No. 1, is far in €tdyanoe of other examples 
of the master there — in some of which the tiieatment of 
the subject and draperies is stiff and hard. Such, for 
instance, are Nos. 46, 67, 74. A good series of five single 
monks is in the Academia de S. Fernando at Madrid. 
'the series relating to Hercules is in the Madrid Museum, 
where also is an admirable figure, of a sleeping youtb, 
called * A Christ,' No. 1133. Two examples, Nos. 351, 73, 
are at Munich ; and one is at Dresden, No. 627. A very 
fine life-size £^ure, in warm colour with high finish, is 
the S. Lawrence,' No. 349 in the Hermitage, St. Peters- 
burg ; there also is the ' Child- Virgin praying,* No. 348, an 
excellent small work. Specimens of fair quality are in the 
Louvre, Nos. 555, 6, 7, and in the National Gallery, Edin- 
burgh, No. 98. A vetry fine figure of a monk at prayer, 
No.,230, is in our National Gallery (PlateXXXY., 2). Zur- 
baran became painter to the Ung before he was thirty- 
five years old, and executed for him at Buen Betiro the ten 
pictures of the ' Labours of Heroules ' referred to above. 

Spain's greatest master, D(m Diego Velasquez de Silva, 
was bom at Seville in 1599, and studied under Herrera el 
Yiejo and Facheco. The power of reproducing human 
character, great knowledge of ohiaroK)scuro, vigorous 
drawing, and broad masterly execution are evident in all 
his works. As a yonth he closely studied still-life [and 
the human model as he found them in the streets, and an 
example, one of his earliest and most fgjnous works, is the 
* Water-carrier,* belonging to the Duke of Wellington. 
The finest compositions of Velasquez are at Madrid, for he 
worked almost exclusively for his patron, Philip IV. of 
Spain, and in its Museum alone the master can be ade- 
quately studied. No less than thirty important works 
are there, including portraits, &c., besides numerous other 
less remarkable examples, sixty-four in all. Of these 
perhaps none is so full of vigour, so rich in colour, and 
so admirably composed as the celebrated * Borrachos,' No. 



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1058, a groap of Spanish peasants making merry at a 
vintage festival (Plate XXXVI., 1). This fine work, 
executed when he was only twenty-five years old, is 
painted solidly and carefully, And in this respect yields to 
none of his later and more matured compositions, many 
of which are slight in structure, although masterly in 
execution. Next in order to the * Borrachos,' but much 
later in date (1646-48), comes the grand 'Surrender of 
Breda,' No. lOeO (Plate XXXV., 3). It would be impossible 
to admire too much the pose of the two central figures, or 
the knightly bearing and sympathetic expression of the 
victor as he receives his former foe, whose deportment 
while tendering the keys is rendered with equal grace 
and intelligence. The best portrait known of the master 
himself is found in the figure with a plumed hat to 
the extreme left. In the no less fine composition * Las 
Meninas,' No. 1062, so called from the maids of honour, 
who with two dwarfs amuse the Infknta, the mastfr's 
power of ohiaro-oBouro is very striking (Plate XXXVI., 2). 
The figure of Velasquez himself at his easel is prominent, 
while the background is admirably relieved by a looking- 
glass which reflects the figures of the King and Queen, 
whose presence in the chamber is thus made known. 
It was painted in 1056, and was bis last great work ; 
wlule occupied (m it, it is said that Philip IV. took the 
painter's brush and decorated his portrait with the 
Bed Cross of Santiago. The fourth of the large works 
here is *Lai& Hilanderas,' or *The Tapestry-workers,' 
No. 1061, marvellous for freedom and mastery of the 
bnifih, ftdl of Bjx and light, and a fine study of com- 
position and colour (Plate XXXV., 4). In these works 
wd see Velasquez at his best : he loved io delineate truth- 
fully all objects around him in the ordinary circumstances 
of daily life, and thus the intense realism of his style 
prevented him from excelling equally in representations 
of mythological scenes and in religious pictures, for which 
latter his famous contemporary Murillo, as we shall see 
hereafter, was so celebrated. An example of a mytho- 
logical subject inadequately treated by Velasquez is the 
* Forge of Vulcan,' No. 1059, painted at Bome, during a 



Velasquez. 
Large 
composi* 
tioM, 



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THE BI8E AND PB0GBE88 



Velasquez, 

Sacred 

subjects. 



Single 
figures. 



Equestrian 
portraits. 



Landscape, 



J*ortraits, 



visit to Italy, about 1629-30 ; while equally unsuccessful 
are an early 'Adoration of the kings/ No. 1054, and a 
' Coronation of the Virgin,' No. 1056, On the other hand, 
the fiamous single figure of ' Christ on the cross,' No. 1055, 
painted in 1639, although treated entirely in a naturalistic 
manner, becomes a grand work in his hands. Some of 
the single figures and portraits in the Madrid Museum 
are marvellously powerful. First come the two life-size 
and well-known figures of -^sop and Menippus, Nos. 
1100, 1. Then the admirable and life-like representation 
of the * Dwarfs of Philip IV.,' No. 1095, and its pendants, 
Nos. 1096, 7« Also the characteristic studies of semi- 
idiocy. No. 1098, known as 'El Nino de Vallecas,' and 
No, 1099, ' El Bobo de Coria.' There are four large and 
fine equestrian portraits by him in the Museum : the boy 
Prince Biiltasar Carlos, No. 1068 ; the Duke of Olivaree, 
No. 1069 ; Philip IV. and his Queen, Isabella of Bourbon, 
Nos. 1066, 7. Portraits of Philip IV. often occur. Perhaps 
the best is No. 1074, where he is represented standing 
with his dog ; No. 1080 is a head, similar to that in our 
National Gallery, No. 745. Another fine replica is in the 
Hermitage, St. Petersburg, No. 420. Two full-lengths of 
Dona Mariana and of the young Infanta Maria Teresa 
of Austria are also in the Madrid Museum, Nos. 1078, 84; 
the latter being the more delicate in treatment. Other 
portraits here not to be passed over are Nos. 1073, 6, 6, 
86, 91, 2. Examples of landscape are Nos. 1106, 8, and 
others; the 'Aranjuez' was painted in 1642, which was 
also probably the date of the ' Boar-hunt ' named later on. 
Out of Spain, works by Velasquez are but rarely met 
with in public galleries. It is commonly said that there 
is only one work by him in Italy, namely, the grand life- 
size portrait of Innocent X. seated, in the Doria Grallery 
at Eome ; but there is undoubtedly another, a fine head, 
hung rather high in the Gallery of the Capitol* A fine 
study, doubtless from the life, of the Pope's head, is. now 
in the Hermitage, No. 418. In the Louyre are a beautiful 
portrait of the Infanta Margaret of Austria, No. 551, and 
another of Philip IV., No. 552; and in the Collection La 
Caze one is ascribed to him of the Jnfanta Maria Teresa, 



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No. 37. In our National Gkdlery is a ' Boar-lmnt at 
Aranjnez/ No. 197, his finest work of the kind, and an 
* Adoration of the shepherds ' is attributed to him, in his 
early style, No. 232. In the Dulwich Gallery is a possibly 
genuine portrait of Philip lY ^ No. 309 ; a fine full-length 
of the King hangs in the Hermitage, No. 419, and a grand 
one of the Duke of Olivares, No. 421, is there also ; an 
excellent head of the latter is No. 422. A very striking 
full-length portrait, life-size, is that of a Spanish admiral, 
No. 413a in the Berlin Museum. But the Belvedere at 
Vienna contains the largest number of works, Madricl 
excepted. The most important composition here is a 
group of the 'Painter and his family,' No. 14 Boom VII. 
1st floor. No. 6 is a youthful portrait of Baltasar Carlos ; 
No. 13, one of the Infanta Margaret ; No. 15, a full-length 
of the Infanta Maria Teresa; No. 47, the same; and 
No. 40 is a laughing idiot. These are all in the same 
room. Another good replica of the Infanta Maria Teresa 
is No. 6lA in the Stadel, Frankfort ; where No. 61 is a 
head of Cardinal Borgia. Three portraits are to be seen 
in the Munich Pinacothek, No«. 366, 366a, 367. 

Juan dePareja (1610-70), the faithful slave of Velasquez, 
after studying painting in secret during many years, 
ultimately received his freedom. He became a portrait- 
painter of no great merit. He is represented at Madrid 
by a single large picture. No. 935, 'The calling of 
Matthew/ and in the Hermitage, St. Petersburg, by one 
portrait. No. 427. 

Juan Bautista Martinez del Maze (died 1667), a favourite 
pupil and th^e son-in-law of Velasquez, is represented at 
Madrid by fifteen works, chiefly landscapes, Nos, 788 to 803. 
He followed his master's style, for whose work Maze's 
copies are sometimes mistaken. 

Bartolom^ Esteban Murillo (1618-82) was bom at 
Seville : in his twenty-fourth year he arrived in Madrid 
and became a scholar of Velasquez. The large number of 
important paintings, besides smaller works to be found in 
many European galleries, are evidences of Murillo's great 
fertility and steady labour. Just as Velasquez achieved 
the highest excellence in Spain by a realistic although 



Velasquez* 



Portraits. 



Pareja. 



Del Mazo. 



Mitrilh. 



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THE BI8E AND PMOGBESS 



Murilh. 



His three 
styles. 

Peasants. 



At SevUle. 

Sacred 

composi' 

turns. 



subtle study of nature, so Murillo is the most perfect 
representative of Spanish ideal art. This remark is not 
intended to apply to the earlier works of Murillo— for 
nothing can be more naturalistic both in subject and ex- 
ecution than his wonderful studies of beggar-boys— but 
to later and more matured compositions, when his pencil 
was occupied solely with religious subjects. The different 
styles which Murillo adopted at various periods of his life 
are commonly known as l^e " Frio," or cold style ; the 
" Calido," or warm style ; and the " Vaporoso,*' ot atrial 
style. To find examples of Murillo's early work we must 
look to galleries out of Spain, for not one of the ' Beggar- 
boys ' remains in his native country. In the Louvre, 
No. 547 is an exceDent example (Plate XXXVI., 4). In 
the Dulwioh GsJlery there are two fine ^intings of 
Spanish peasant-boys, Nos. 283, 6, fl^d an admirably 
painted flower-girl, No^ 248* In the Munich Gallery 
there are three groups of Spanish boys, Nos. 348 (the 
best), 349, 357; besides two other paintings, one of 
peasant-girls, the oth^ a woman and boy, Koe. 368, 376 
(Plate XXXVL, 5). The Hermitage, St. Petersburg, 
possesses three excellent examples in No. 376, ' Boy and 
dog,' No. 877, * Feasant laughing at a dog,' and No. 378, 
* Girl wi^ fruit.' It is at Seville, however, that tbe 
master's finest oompositiona are still to be fotind. The 
Cathedral contains one of his magterpieces, the ' Infant 
Christ appearing to S. Anthony of Padua* (Plate XXXVL, 3), 
a wonderful work in the '' warm style."* In the Museum 
some twenty *four works by Murillo are preserved. Chief 
among these is the well-known *S. Thomas of Yfllanueva dis- 
tributing alms,' No. 84, which is perhaps the most complete 
of all Murine's compositions, although the *S. Elizabeth 
of Hungary attending to the poor* may be preferred by some 
(Plate XXXVIL, 1). Certainly the * S. Thomas ' conveys 
an admirable lesson to any student of art in the grouping 
of the figures and the masterly arraogement of light and 
shade. Another of the best works in the Museum is a 

* This is the picture from which the figure of S. Anthony was not 
long ago cut out and carried away to America. It was recovered, and 
has been well replaced. 



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beautiful * Assumption of the Virgin/ No. 66, better known 
bs a ' Conoeption,* a subject whioh Murillo often chose and 
always painted in his " yaporoso " style. Two others are 
here also — a colossal painting, No. 68, and another of the 
ordinary size, No. 93. Two fine male figures, SS. Leandro 
and Baenaventnra, No. 83, and the two female saints 
Jnsta and Eufina, No. 96, are admirable examples of his 
second style. Equally good are four separate representa- 
tions of ' Saints with the Infant Chript,* Nos. 46, 63, 60, 92. 
Alio a 'Madonna with St. Felix,' No. 90; the famous 
'Mad(Hma,' No. 62, called ' La Servilleta,' from an erro- 
neous tradition that it was painted cm a napkin; and 
the fine early picture of the ' Madonna and S. Augustine,' 
Ko. 59. Other important canyases Mre still to be seen in 
the Hospital of the Santa Caridad at Seville, although 
five of the eight which originally formed the series, 
painted 1670-4, have been dispersed* In the ohapel there 
hang two very fine works by MuriUa— ' Moses striking the 
rock,* and lis pendant^ the * Miraole of the loaves and 
fishes.' Besidei these are the following : a smaller work 
in the dark style approadiing much to that of Kibera, and 
known as ' S. Juan de Dios '; a fine ' Coiteeption '; and two 
snuOl panels of an ' Infant Christ ' and the ' Child S. John.' 
Many excellent examples are in the Madrid Museum. 
Particularly fine compositions ore the ' Virgin appearing 
to 8. Bernard ' and the ' Yii^in ireeeiving S. Ildefonso,' Nos. 
868,9. The * Holy family del Fajarito' and the * Adora- 
tion of the shepherds,' Nos. S64, 9, ave specimens of ihQ 
master^s more naturalistic style. Three fine ' Conceptions ' 
are here, each one different, Nos. 878, 9, 80» The charming 
and well-known picture of the ^ Child Jesus and 8. John,' 
or *Los Nines de la Concha,' No. 866, is with many others 
well worthy of notice. In the Academia de S. Fernando 
is the afore-mentioned fine work of Murillo, ' S. Elizabeth 
of Hungary attending to the poor' (Plate XXXVIL, 1). 
There besides are two large semilunar canvases, both noble 
compositions, relating to the miraole of the snow ; of which 
the ' Dream,' the finer of the two, is regarded as the first 
example of his " vaporoso " style. The Hermitage, St. 
Petersburg, is very rich in iJie master's works, among 



Muriih. 

Sacred 
composi- 
tions. 



At Madrid. 



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TEE BISE AND PB0GRES8 



MurUlo, 

Sacred 

composi' 

tions. 



Se^Histian 
Gomez, 



J)e Tobar. 



De 
Miranda. 



which the following may be noted : No. 360, * Isaac bless- 
ing Jacob/ a large canvas, chiefly landscape ; No. 361, an 
' Annunciation ' ; No, 362, one of his * Conceptions,' a good 
example, but not of the finest rank. A painting of extreme 
beauty is a * Holy family,' or * Repose in Egypt,' No. 367 : 
a large and good composition, the * Deliverance of Peter,' is 
No. 372; a S. Antony and child,' No. 373, is a lovely 
picture ; while in his darker style, but a fine work, is the 
' Martyrdom of Pedro Arbuez,' No. 374. * An Adoration 
of the shepherds,' No. 363, presents a charming infant 
amidst a group of rude Spanish peasants. Besides these 
there are several small beautiful works. Our National 
Gallery contains admirable examples in the * Holy family,' 
No. 13, and in the well-known * S. John and the Lamb/ 
No. 176, of which there is a fine replica in the Hermitage, 
No. 379 : the Dulwich Gallery possesses the ' Madonna del 
Rosario,' No. 347. In ;the Louvre are three fine * Con- 
ceptions,' in the " vaporoso " style, Nos. 638, 639, 541 
(Plate XXXVIL, 6) ; also a beautiful * Holy family/ 
No. 643, similar to that in our National Gallery ; and a 
•Madonna,' Na 642, in his "cold" style. Another 
•Madonna,* of his best period is No. 40 in the Pitti. 
An admirable * S. Anthony and child ' is No. 414 at 
Berlin. A fine work, the * Apotheosis of S. Rodrigue,' 
forms No. 633 in the Dresden Gallery. Murillo's last 
picture was a * Marriage of S. Catharine/ an altarpieoe 
for the Church of the Capuchins at Cadiz, where it 
remains, still unfinished: he stumbled on the scaffold 
while painting it and received an injury of which he 
soon after died. . 

Sebastian Gomez (about 1620) was Murillo's slave, and 
painted after his master's manner: bxl example is Ko. 
386 in the Hermitage, St. Petersburg. But a closer and 
more accomplished imitator of l^Iurillo was Alonso Mignel 
de Tobar (1678-1768). Some of his productions iavfi 
doubtless passed for those of the master : he is chiefly seen 
in some churches in Spain. 

J. Carreno de Miranda (1614-86) painted numerous 
religious pictures and some excellent portraits. He be- 
came on^ of the painters to Philip IV., and subsequently to 



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Charles II. Examples of his portraiture may be seen in 
the Madrid Museum : note Nos. 690, 2. 

Diego Gonzales de la Vega (1622-97) was also a 
court painter, but his works are feeble and need not be 
enumerated. 

Juan de Yaldes Leal (1630-91) painted religious pictures 
of considerable note. Examples of his work are to be 
found in the Hermitage Nos. 391-4 ; at Dresden, No. 636 ; 
and at Madrid, Nos. 1049, 50. 

Claudio Coello, of the school of Castile (1635-93), has 
rightly been termed in Spain the *last of the old masters '; 
for after him Spanish monarchs engaged foreign painters 
to adorn their palaces, instead of employing native artists. 
Coello held this post in the household of Charles U., for 
whom he executed his principal work, the * Collocation 
of the Host,' still preserved in the Escorial. His own 
portrait is No. 481 in the Hermitage. 

A long list of painters of very inferior merit, living in 
the latter part of the seventeenth wid in the beginning of 
the eighteenth centuries, might follow here ; but a study 
of their works is neither interesting nor instructive. Sir 
W. Stirling Maxwell's very complete * Annals of the 
Artists of Spain' will furnish all necessary details re- 
specting them, if the reader wishes to pursue the subject 
farther. 

The last painter to be mentioned here is Francisco Goya 
y Lucientes (1746-1828). Without systematic instruction 
io his art, he studied the old masters almost solely and by 
himself, and became a prolific painter. His nature appears 
to have been [.wild and eccentric, but he produced some 
excellent works of different kinds, among them some large 
compositions and some capital portraits. Several of the 
former are found in the Madrid Museum, one salon there 
being entirely devoted to large designs for tapestry. 
Among the portraits are those of Charles IV. and Dona 
Maria Luisa, which frequently occur. An admirable full- 
length portrait of a man seated, No. 634, may be found in 
the Louvre, and three characteristic examples are in the 
Museum at Lille, Nos. 242, 3, 4. 

It may not be out of place to say here, in reference to 



De 
Miranda, 

Dela. 



Leai, 



Claudio 
Coello, 



Eighteenth 

century, 

Goya, 



I 



Portugal, 



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THS ni8B AND PBOGBESS 



Portugal. 



any school of paiBting proper to Portugal, that the existence 
of one has never been recognised* ' In fact, a history of the 
schools of painting in Spain covers the art-history of the 
entire Peninsula. There are moreover in Portugal no 
public galleries worthy of mention ; and almost the only 
known Portuguese painter is Gran Vasco, who flourished 
probably in the earlier part of the sixteenth century, and 
to whom some productions of thftt age are chiefly 
attributed. 



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A TABLE 
Of the Dates of the Pbinoipal Paintebs op the Spanish Schools. 



School, 



Birth. 



Death. 



Toledo . 

Oastile . 

Seville . 
Valencia . 

Toledo . 

CaBtile . 

Oastile . 

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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THE RISE AND PB0GBE88 



Fifteenth 
century^ 



E^e of 
Anjou, 



Jean 
Fouquet. 



Sixteenth 
century. 
School of 
Fontaine' 
bleau. 



THE RISE AND PROGRESS OF PAINTING IN FRANCE. 

It was not a distinguishing feature of the French nation 
or genius to produce early painters of great excellence, 
like those who flourished in Italy, the Netherlands, and 
Germany, during the thirteenth and fourteenth centuries. 
It is true that a school of illuminators and miniaturists 
existed in France from the time of Charlemagne (who 
first encouraged this branch of painting) and continued 
without interruption during several centuries, and that it 
was modified by Italian influence on the removal of the 
Papal See to Avignon by Pope Clement V.,,in 1306, In 
the fifteenth century the painter ceased to be an illumina- 
tor only; and the names [of two artists were then dis- 
tinguished, namely, E6n^ of Anjou (1408-80) and Jean 
Fouquet of Tours, the latter of whom was evidently 
influenced by the school of Van Eyck, and was illuminator 
to Louis XI. The former was not exclusively a miniaturist, 
but has left paintings which are now in Aix Cathedral, 
at Villeneuve near Avignon, and in the Musee Cluny at 
Paris. By Fouquet, besides numerous elaborately iUns- 
trated manuscripts, there is a * Madonna ' at Antwerp, No* 
132; while in the Louvre two life-size portraits have 
recently been attributed to him, Nos. 662, 3. Four panels 
also, the authors of which are unknown, are there exhibited, 
No. 650 as work of the end of the fourteenth century, No. 
651 and others as work of the fifteenth. 

In the beginning of the sixteenth century, Francis I. 
invited painters, . chiefly from Italy, to decorate, his 
palaces, and in particular that of Fontainebleau. Among 
those who painted there were II Eosso in 1530-41, with 
Luca Penni and Bagnacavallo; Primaticcio worked in 
1531 and long afterwards; Pacchiarotto in 1535, and 
Niccol6 del' Abate. Their works, since destroyed, in- 



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fluenced to a great extent the style of suooeeding French 
painters, who, if they did not visit Eome, studied these 
Italian productions at Fontainebleau. 

At the same period the school of the Clonets arose in 
portraiture, which was dereloped independently of the 
former school and maintained a distinct style of its own. 
There were three painters of this name — Jean or Jehan 
Glouet, the father; his son, also called Jean; and his 
grandson, Frangois Clouet. The father came originally 
from Flanders, and brought with him to France much of 
the manner and the feeling of the Van Eyoks. Jean, his 
Bcm (1485-1545), painted small and delicately finished 
portraits, of which may be mentioned those of Francis I., 
one in the Louvre, No. 109, painted in 1528, the other in 
the Uffizi, No 667, painted in 1524. By Fran9ois (about 
1510-74), the most important of the three, a few exquisite 
portraits are still in existence. In the Louvre he is repre- 
sented by two portraits of Charles IX. and of Elizabeth of 
Austria, Nos. 107, 8. Some other small works are attri- 
buted to him there, and to his followers. There is a fine 
portrait by the master, No. 1487, in the Hermitage, 
St. Petersburg; one of Francis IL of the year 1547 is No. 
33 at Antwei-p; and two at Berlin, Nos. 472, 5, are 
catalc^ued as of his school. Good small portraits are Nos. 
561, 631 at Hampton Court, and No. 2420 at Dresden. 
Still smaller, and like a gem for brightness and beauty, is 
No. 429, the portrait of a lady, in the Stadel, Frankfort. 

Jean Cousin (about 1501-89), bom at Soucy near Sens, 
was a man of cultivated taste, and is generally considered 
as the founder of the national French school of painting. 
It is known that he worked as a sculptor and architect, 
and also wrote a book on the proportions of the human 
body. His largest undoubted work is the painting of the 
^ lAst Judgment,' No. 137 in the Louvre. 

The two brothers Antoine (about 1593-1648) and 
Louis Le Nain (about 1588-1648), inasmuch as they, like 
Cousin, preserved the French characteristics and were not 
affected either by the Fontainebleau or Flemish schools, 
must be named first. They often painted together under 
the surname of Le Nain^ choosing subjects from peasant 



School of 
Fontaine' 
bleau. 

The 
Clouets, 



Jean, 



Frangois^ 



J, Cousin, 



Le Nain, 



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THE RISE AND PBOGBESS 



Le Nain, 



Fr^mnet. 



Seventeenth 

century, 

Vauet, 



Blanckard. 



Valentin. 



life studied faithfully from nature. Examples are to be 
seen in the Louvre, the best beiiag the ' Blacksmith/ No. 
375 (Plate XXXVII, 3), and a» * Adoration of the 
shepherds,' in the Uffizi, No. 659. 

Martin Fr^minet (1567-1619) was one of the first to be 
attracted by Italian eclecticism. A work by him is in the 
Louvre, * Mercury, ^neas, and Dido,' No. 211 ; and at 
Fontainebleau he painted the oeiling of the chapel. 

Simon Vouet (1590-1649) studied much in Eome, and 
there admired and imit<ated auccessfully the works of the 
Bolognese school. On his return to France he established 
a large academy of painting, and thus influenced most oi 
the priucipal French painters of the seventeenth and 
eighteenth centuries. Among his pupils were Lcoirent de 
La Hyre, Le Sueur, Le Brun, Mignard, aaad Dufiresnoy. 
His own works are numerous; among them may be 
mentioned two in the Louvre^ Nos. 641, 7, and a good com- 
position in the Brussels Museum, * S. Carlo Borromeo 
praying for those stricken by the plague,' Na 343 (Plate 
XXVIIL, 3), 

A contemporary painter, and in some degree rival of 
Vouet, was Jac<jue» Blanchard (1600-38). He was most 
esteemed as a oolourist, and took the works of the late 
Venetian school as his models. Examples of his style may 
be found in the Louvre, Nos, 14-17. 

The next group comprises men who, although French 
by nationality, were educated chiefly in Italy. Among 
them may be named Valentin, La Hyre, Nioolaa PoassiD, 
Gaspar Dughet (often erroneously called Gaspar Poussin), 
Claude Gelee (known as Claude Lorraine), Du&c8noy,and 
S6bastien Bourdon. 

Moise Valentin (1601-32) left France at an early agefor 
Eome, where he studied and remained all his life. There 
he was a friend and contemporary of Vonet, (}el6e, and 
Poussin, but he painted with great technical ability in the 
manner of Caravaggio. The examples of his work in 
the Louvre are not first rate, with the exception of the 
* Concert,' No. 586 (Plate XXXVIL, 2), and the ' Fortune- 
teller,' No. 688. Two excellent canvases in this style are 
in the Hermitage, Nos. 1490, 1, and a good composition is 



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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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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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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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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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TH^ BI8E, AND PROGRESS 



Illumina- 
tions. 



Miniatures, 



Sixteenth 
century, 

Hilliard, 
TheOlivers, 



THE RISE AND PROGRESS OF PAlirtPrfrG IN ENGLAND. 

No native school of painting, in the ordinary sense of the 
term, existed in Engliand Wfofe tiie ifeign of Charles I., 
who encouraged and patronised art in this conntry as no 
monarch had done, before him. In a iettain department 
of painting, however — ^that of illnmitiation — there had 
been a long line of successful painters, by whom we 
podHsefis many &ne exapiples, Bome dating as far back as 
the sixth and eighth centufieB. Later on, under Kbg 
Alfred and then under the Conqneror, a flourishing school 
existed which attained to a peft^feotion jperhaps nnequalled 
by any other European cotmtry in the eleventh, twelfth, 
and thirteenth centuries. At this period, however, much 
of this art- work was closely allied to that of " miniature- 
painting ;" so that it is dificult to determine precisely 
the date at which this latter style commenced. At all 
events it occupied a high 'pbsitioA in the end of the 
sixte^ith century, when Nicholas Hjlliard and Isaac 
Oliver were accomplished representatives of the art, and 
painted numerous portraits in miniature with great 
success. They were succeeded by Oliver's son Peter, and 
by John Hoskyns, who maintained the character of the 
school, after which it declined. 

The kings of England prior to the time of Charles I^ 
like those of France, invited foreign artists of celebrity to 
visit their courts, and gave them commissions to execute. 
Henry VII. employed Jan Mabuse in this manner; and 
in, Henry the Eighth's reign Hans Holbein took up his 
residence in England, and remained here during the last 
seventeen years of his life. Under Queen Mary, Queen 
Elizabeth, and James I. several Flemish painters — viz., 
Gerard Horembout, Sir Antonio Moro, Lucas de Heere, 
Cornells Janssens, and Daniel Mytens — occupied posts at 



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iJ>i 



cofirt;*aiid iSi the reign of OhJttl^s L, Eubenft &nd Van 
Dyck tviBT^ bit)ttght 6ve(r, th^ latfiet residing h^re for a 
long f>^riod. Btit in thife i^ign th^r^ appearfed ftlbo Some 
native artists ^hos6 nam6te are wortty to be placed on 
reCoM. FiiBt must be tramed k miniature-painter of great 
^11, Samnel Cdoper (1^0^-72), ^»7b0se wotkis were in 
much demand 'botb in this c<rtintry and abroad. He 
painted a t^ell-known portrait of the Protector. At the 
same time two other painters app^red who were inspired 
by Van Dyck, aiid proved Worthy followers of that great 
master — ^namely, Williafti Ibbecto akid Henry Stone, called 
"Old Stone." 

Dobsoti (1610-46) Wa;« an iexkJelleh^ painter of portraits, 
thfe best of which are now in private collections. Affcet 
the death of Van Dyck he became one of the King's painters. 
Portraits of himself and his wife in one frame are in the 
Gallery at Hampton Court, N6. 876. Hi& oWh portrait 
and that of Francis Quarles may be seen in our National 
Portrait Gallety, South K^nsin^on; while a head, in- 
ter^ting as being that of the keeper Of the gallery of King 
Charles I,, is preserved in the Hermitage, St. Petersburg, 
No. 1387. 

Stone (1616-fe8) worked both as scillptor and painter. 
A good copy by him of Titian's * Comai^o family ' may be 
seen at Hampton Court, No. 444. His copies of some of 
Van Dyck*s portraits are perhaps among the best of his 
productions, and jBome are 6o good, indeed, «U3 to have 
passed for works of the master. 

After Van Dyck two foreign painters sttbceeded him 
at coutt. Th^se wei*e Sir Peter Lely and Sir Godfrey 
Kneller. 

Lely (1618-80), a Westphalian by birth, but of Dutch 
extraction, gained a gfeat reputation in England as a 
painter of female portraits, and was employed by Charles 
n. to paint the reigning beauties of the day. These works 
are still in the Hampton Court Gallery. GkK)d examples 
of portraiture by Lely may Itte ifeen in our National 
Porlirait Gallery; thosfe of Mary Davis, Nell Gwynn, the 
Countess of Shrewsbury, and the Duke of Buckingham 
may be particularly mentioned. 



Samuel 
Cooper. 



Seventeenth 

century. 

Dobson. 



Stone. 



Lely 



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THE RISE AND PB0GBES8 



Kneller. 



Walker, 



Biley. 



JRichardson, 



Jervas, 



ThomhiU, 



Godfrey Kneller (1646-1723) was a native of Llibeck, 
but worked chiefly in this country, where he painted most 
of the notable men of his time, and in particular some of 
the members of the " Kit-Kat Club." Many good specimeDs 
of portraiture are in the Hampton Court Gallery, among 
which may be mentioned a fall-length of Peter the Great 
in armour, No. 57. Some of his portraits may be seen in 
our National Portrait Gallery, those of the Duke of Bedford 
and William Congreve being the best ; and there is one in 
our National Gallery, No. 273. Two portraits in the 
Hermitage may also be noted— one of Locke, No. 1388; 
the other of Gibbons the sculptor, No. 1389. 

An Englishman, Bobert Walker, painted portraits in 
the seventeenth century, especially of the chiefs of the 
Commonwealth. One of Cromwell is in the Hermitage, 
No. 1386 ; and others may be foimd in our National 
Portrait Gallery. A portrait of himself may be seen at 
Hampton Coxirt, No. 365. 

Sir Peter Lely had one pupil of some note — ^namely 
John Kiley (1646-91), bom in London, by whom there is 
a portrait at Hampton Court, No. 372. He was the master 
of Jonathan Kichardson (1665-1745), who is better known 
as a writer on art than as a painter. Both these painters 
are represented in our National Portrait Gallery : the 
former by portraits of Lord Eussell and King James IL ; 
the latter by portraits of Anne Oldfield and Matthew 
Prior. There also, among the portraits of great lawyers 
recently presented by Serjeants' Inn, is one of Lord Chief 
Justice Pi»tt by Kichardson. 

Charles Jervas (1675-1739), bom in Lreland, may be 
named here as a pupil of Kneller, whose style he adopted. 
An interesting portrait of Dean Swift by him may be seen 
in our National Portrait Gallery* His friendship with 
Pope should not be forgotten. 

Sir James Thomhill (1676-1734) attained a certain 
reputation by his large works. They possess, however, no 
particular merit, being chiefly decorative, and following 
the conventional style of the age. Examples are to be 
seen on the ceilings of Hampton Court, in the cupola of St. 
Paul*s, and in the great hall of Greenwich HospitaL 



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William Hogarth (1697-1764), the son-in-law of 
Thomhill, was educated as a painter and engraver, and 
pursued his art in a style peculiar to himself. With him 
it may be said that the English school began. It was his 
object to expose certain follies, fashions, and political 
usages then current in society. This he did in several 
series of paintings and engravings, by which he depicted, 
in a powerful manner and dramatic form, occurrences 
illustrative of the evils he desired to satiiise. The famous 
series of paintings called the * Marriage a la mode,' now 
Nos. 113-18 in our National Gallery, are among his most 
successful works, and, apart from their value as satires, 
show Hogarth's mastery in grouping, expression and 
colour (Plate XXXIX., 6). The first series that appeared 
was that of the * Harlot's progress,' six in number ; these 
were followed by the ' Eake's progress,' eight in number, 
now to be seen in Sir J. Soane's Museum, Lincoln's Inn 
Fields; but many of his original paintings have been 
destroyed, and remain to us only in the form of prints. The 
same Museum contains a series of four fine pictures, illustrat- 
ing an Election, admirable examples not only of his humour 
but of his talents as a painter. Hogarth also painted a 
few portraits. That of himself, which he repeated more 
than once, is in our National Gallery, No. 112 ; where 
also is a small portrait of his sister Mary, No. 675, 
and an interesting work, * Sigismunda with the heart of 
Gruiscardo,' No. 1046. A charming small portrait of 
himself seated at his easel may be seen in our National 
Portrait Gallery. Two examples of less merit are in 
the National Gallery, Edinburgh, Nos. 267, 70. The well- 
known portrait of Captain Coram is still preserved in the 
Foundling Hospital. 

After Hogarth came Allan Eamsay (1713-84) and 
Thomas Hudson (1701-79), who were good portrait- 
painters of this period. The former worked in Edinburgh, 
where in the National Gallery two examples of his work 
are preserved, Nos. 43, 266. Hudson derives celebrity 
chiefly from having been the master of Sir Joshua Eeynolds, 
who was destined to succeed Eamsay as painter to George 
III., and whoge fame soon overshadowed that of less 



Eighteenth 

century. 

Hogarth, 



Eamsay. 
Hudson, 



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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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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 

2 



Reynolds, 



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TEE RISE AND PROGRESS 



Reynolds, 



Gains- 
borough. 



work of the * Death of Cardinal Beaufort/ No. 254, both 
at Dulwich, and the portraits of the Earl of Bath and 
Lord Keppel in the Portrait Gallery, must not be passed 
without mention. Eeynolds was honoured by a commis- 
sion from the Empress Catharine of Eussia to paint a 
composition of his own choice for her gallery at St 
Petersburg. After much consideration, he produced the 
' Infant Hercules strangling the serpents,' now in the 
Hermitage at St. Petersburg, No. 1391, without doubt one 
of his most successful compositions (Plate XXXIX., 6). 
The same gallery contains two less happy works of the 
master, a * Venus and Cupid,' No. 1390, and the 'Continence 
of Scipio,' No. 1392. Most of Eeynolds's works are 
naturally in private collections in this country, many 
being still in the possession of the families for whose 
ancestors they were originally painted. 

But Eeynolds, in spite of his great reputation, was not 
without successful rivals in his own branch of art — that 
of portraiture. Two painters of note shared with him 
the public favour — ^namely, Thomas Gainsborough and 
George Eomney. 

Gainsborough (1727-88) was bom at Sudbury in Suffolk, 
and when still young came to London and studied under 
Francis Hayman, a painter of small note, who produced 
some historical pictures. Both master and pupil were 
original members of the Eoyal Academy. Gainsborough's 
portraits are generally less pleasing in colour than those 
of Sir Joshua, and have an undue predominance of blnish 
grey in the flesh-tint ; nevertheless they are always grace- 
ful productions. He executed a great number of works 
of various kinds, and in landscape was one of the first 
masters in the English school. Most of his paintings are 
in private galleries ; as, for instance, the Grosvenor, which 
possesses two of the best known — the famous ' Blue-boy' 
and the * Cottage-door.' Our National Gallery contains 
some important works of the master both in portraiture 
and in landscape. Among the single portraits, that of 
Mrs. Siddons seated, in a blue striped dress, No. 683 ; that 
of Dr. Schomberg, No. 684 ; and that of the Parish clerk, 
No. 760 (Plate XLV., 2), are the best; while No. 789 is 



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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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THE BI8E AND FBOGRESS 



in 1774. He then travelled to England, the Low Countries, 
and Italy, but finally settled in London for the remainder 
of his life. His ;two finest works are in our National 
Gallery : the well-known * Death of Chatham,' No. 100, in 
.which the assembled members of the House of Lords are 
portraits ; and the admirable composition, the * Death of 
Major Pierson,' No. 733. Besides these large works there 
is a small study for the painting at Guildhall of tho 
* Siege and relief of Gibraltar,' No. 787. These and several 
Other important historical works Copley executed in London, 
but he chiefly exhibited portraits in the Koyal Academy, 
of which he was a member. As examples of portraiture 
a stTidy of Lord Heathfield and a fine full-length of Lord 
Mansfield should be noted in our National Portrait Gallery. 

Benjamin West (1738-1820) was also an American by 
birth. His talent for painting showed itself at a very 
early age. At eighteen he worked independently as a 
portrait-painter, a few years later went to Eome, and after 
a stay of three years came to London, which he decided to 
make his home. He was appointed President of the Royal 
Academy on the death of Sir J. Eeynolds, and exhibited 
a large number of works every year. He painted chiefly 
historidal subjects, both sacred and classical. Some of 
these are now in our National Gallery: for example, 
'Pylades and Orestes brought as victims to Iphigenia,* 
No. 126 ; * Cleombrotos banished by Leonidas 11. , King of 
Sparta,* No. 121 ; and a large canvas, * Christ healing the 
sick in the temple,' No. 131. One of West's best works is 
the ' Death of General Wolfe,* which belongs to the Duke 
of Westminster : a replica. No. 320, may be seen in the 
Queen's drawing-room at Hampton Court among other 
large canvases (Plate XLV., 6). West was bold enough 
in this work to make a great innovation — namely, that 
of dressing his characters in modem costume, instead of 
representing them in classical dress according to the 
custom of the day. 

James Barry (1741-1806) was bom at Cork, and studied 
art in Dublin, when Edmund Burke helped him to go to 
England and to Italy to finish his studies. He eventually 
settled in London, became a member of the Koyal Academy, 



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OF PAINTING IN ENGLAND. 201 



and subsequently the Professor of Painting. His chief 
works were those he executed for the Society of Arts at the 
Adelphi. They are six in number, and illustrate the 
history of the civilisation of man. Barry was a warm 
advocate for the introduction of large paintings as a 
decoration of St. PauFs, and was much annoyed at the 
rejection of his suggestion by the Bishop of London. 
Another example of the master's wotk may be seen in the 
South Kensington Museum, an ' Adam and Eve ' of no 
great merit ; his own portrait is in our National Portrait 
Gallery. Barry died in 1806, after a short illness, and 
was buried in St. Paul's Cathedral. 

Henry Fuseli (1741-1826), a Swiss by birth, who 
succeeded Barry as Professor of Painting, deserves a few 
words, although both he and William Blake lived into the 
first quarter of the nineteenth century, of which it is not 
within the scope of our design to speak. Fuseli is better 
known as a critic on art than as a painter, and his 
addresses delivered to the students of the Academy were 
interesting and valuable. His pictures, for the most part 
historical, were remarkable for extravagance in design and 
conception. He painted many subjects in illustration of 
the dramas of Shakespeare, but no example of these or any 
other of his works is in our National Gallery or in the 
Bulwich Gallery. A Shakespearian subject may be, seen 
in the Liverpool Institution, No. 148. 

William Blake (1757-1828) was the author of several 
poetical works, and in order to illustrate them made 
numerous drawings, most of which are extremely defective 
as works of art, although some display a curiously wild and 
original treatment of the subjects. He also illustrated the 
book of Job, Young's ' Night Noughts,' and some of Milton's 
works ; one of his best productions is the ' Canterbury 
pilgrims,' painted in water-colour. 

There are two animal-painters who must be noticed 
before bringing this sketch to a close : namely, George 
Stubbs of Liverpool (1724-1806) and George Morland of 
London. The former had a remarkable talent for drawing 
horses, and wrote a work on their anatomy. 

Morland (1763-1804) painted small landscapes chiefly 



Barry. 



Fuseli. 



Blake, 



8tul}bs. 



Morland, 



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THE RISE AND PR0GBE8S 



Morland, 



for the purpose of introducing different domestic animals, 
in the portrayal of which he greatly excelled. His 
favourite subjects were pigs, horses, and village interiors; 
but his career was ruined by dissolute and reckless habits, 
and he died in the prime of life. As examples, may be 
cited an excellent work, * Interior of a stable,' No. 1030 in 
our National Gallery ; a small portrait of himself in our 
National Portrait Gallery, and three admirable and 
characteristic works in the South Kensington Museum, 
the ' Beckoning,' No. 237, * Horses in a stable,' No. 403, 
and * Sea-shore and fishermen,' No. 1404, the two last named 
having been painted in 1791. 

Following the plan adopted with other schools, the names 
of a few English painters will be mentioned, respecting 
whom particulars are unnecessary. 

• Historical : Fr. Hayman. 

Portraiture: George Jameson, Michael Wright, J. 
Zoffany, David Allan, Nathaniel Dance. 

Landscape: George Smith of Chichester, P. J. de 
Loutherbourg, F. Zuccarelli, Francis Bourgeois. 

It suffices simply to name the following who painted 
miniatures in the seventeenth century : Thomas Flatman, 
Alexander Browne, and a little later Lewis Crosse. Early 
in the eighteenth century, Bernard Lens, and later Jarvis 
Spencer, followed by Nathaniel Hone. 

The great English school of water-colour painting took 
its rise in the latter part of the eighteenth century. It is 
no part of our design to illustrate its history, but belonging 
to that period must be mentioned in connection with 
landscape the names of those able artists Paid Sandby, 
John Cozens, and Thos. Girtin. 



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A TABLE 

Of the Dates op the Pbincipal Painters op the English Schooijs. 



School. 




Birth. 


Death. 




Nicholas Hilliard 

Isaac Oliver 

George Jameson 

Peter Oliver 

Samuel Cooper 

William Dobson 

Henry Stone 

Sir Peter Lely 

Robert Walker, painted 1650 . . 

John Riley 

Sir Godfrey Kneller 

Michael Wright 

Jonathan Richardson .... 
Charles Jervas ...... 

Sir James Thomhill 

WilUam Hogarth 

Thomas Hudson 

P. Zuccarelli 

Francis Hayman . . . . . . 

Richard Wilson 

Allan Ramsay 

George Smith of Chichester . . . 

Sir Joshua Reynolds 

George Stubbs 

Francis Cotes 

PaulSandby 

Thomas Gainsborough .... 

Nathaniel Hone 

Nathaniel Dance 

Joseph Wright of Derby . • . 

George Romney 

JohannZoffany 

John Singleton Copley .... 

Benjamin West 

P. J. de Loutherbourg .... 

James Barry 

Henry Puseli ....... 

David Allan 

John Cozens 


1547 
1555 
1586 
1594 
1609 
1610 
1616 
1618 

1646 
1646 

1665 
1675 
1676 
1697 
1701 
1702 
1708 
1713 
1713 
1714 
1723 
1724 
1725 
1725 
1727 
1730 
1734 
1734 
1734 
1735 
1737 
1738 
1740 
1741 
1741 
1744 
1752 


1619 
1617 
1644 
1654 
1672 
1646 
1653 
1680 
1660 
1691 
1723 
1700 
1745 
1739 
1734 
1764 
1779 
1788 
1766 
1782 
1784 



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END OF ENGLISH SCHO 


OL. 




School. 




Birth. 


Death. 




John Hoppner 

Fr. Bourgeois 

Henry IfiSebum 

William Blake 

John Opie 

George Morland 

Thos. Girtin 


1753 
1756 
1756 
1757 
1761 
1763 
1773 


1810 
1811 
1823 

1828 
1807 
1804 
1802 



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NOTES TO TBB CATALOOVM^. 205 



INTRODUCTOEY NOTES TO THE 
CATALOaUES. 



The following pages are occupied with the condensed or 
abbreviated catalogues (already referred to in the Preface) 
of all the European Public Galleries of any note, and of the 
chief collections in private mansions open to the public in 
Italy and Holland. 

The writer's object has been to point out the best works 
of the leading masters, especially noting pictures which are 
typical of a style or date or school. It has not been deemed 
necessary to mention all the works bearing the names even 
of the greatest painters. Thus some pictures have been 
omitted : firstly, because, although genuine, they are of minor 
value or unnecessary for the purpose of illustration ; secondly, 
because they are works of doubtful origin about which critics 
are not agreed; and, lastly, because as sometimes happens 
they have no claim whatever to the name by which they are 
catalogued. 

As a striking instance of the last-named error, from at 
least a hundred such which might be mentioned, let one be 
taken from the Hampton Court Gallery, where, of all the 
works ascribed to Palma Vecchio, certainly not more than 
one is genuine. 

On the other hand, when a picture is fine and worthy to 
be observed, although it is obviously not by the author 
indicated, the picture is noted, but the words ** attributed to " 
are appended. Thus, continuing the reference to Hampton 
Court, one of the so-called Palma Vecchios is (on the 



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'206 NOTES TO THE CATALOGUES, 

authority of Crowe and Cavalcaselle *) a fine Jacopo 
Bassano. 

For the purpose of enabling the reader to find the catalogues 
easily, they have been arranged in the order in which the 
schools themselves have been considered. The Galleries of 
Italy head the list, and are followed by those of Flanders. 
Holland, Germany, Austria, Hungary, Spain, France, England 
and Scotland, and Eussia ; and under the heading of each 
country the towns containing Galleries are aiTanged in 
alphabetical order. 

* As heretofore, when the opinion of these erudite critics is specially 
referred to, the initials (C. and C.) will be appended to denote the 
authority quoted. 



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( 207 ) 



CATALOGUES. 



THE PICTUEE GALLEEIES OF ITALY. 



THE MUNICIPAL GALLERY AT AREZZO. 

Pictures last examined in 1877. 

There is a first room wliich contains some fragments of frescoes. 
The large hall contains between forty and fifty pictures, a manuscript 
catalogue of which is supplied to the visitor. 

No. 

2 4, 24, 6 C. P. Benvenuti 



Cartoons of Mark, Luke^ John Hie EvangeiUty 

and John the Baptist. — ^Heroic size. 
8. Bocco praying to the Virgin to remove the 

plague from Arezzo, 
8. Bocco at prayer. 
Madonna in glory and saints. 
Madonna delta misericordia, and predeUa. — 
Much restored. 
21 Margaritone . . , , 8. Francis of Assist 



9 Girolamo della Gatta 

12 G, Vasari . . . 
15 Parri Spinello . . 



Andrea of Arezzo 
31 Luca Signorelli . . 

33 Margaritone . . . 

40 Rafaelliuo del Garbo 
44 Filippo Lippi . . 



Madonna and saints^ vsith predeUa. 

A large altarpiece; Madonna in glory; David 

playing on the harp, with saints and angels. — 

In good condition. 
Madonna. — ^Removed from the church of S. 

Francesco. 
Annunciation. — ^Much injured. 
Madonna with flowers. 



THE ACCADEMIA CARRARA AT BERGAMO. 

Pictures last examined in 1875. 
No. 

Baaaiti, M — Sead of Christ,— D&ied 1517. 

Bellini, Gentile, attrib. . . Idd Portrait of Loredano,— By Catena: 

andO. 



0. 



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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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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. 









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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) 



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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, 



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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, 



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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. 



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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. 



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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* . 



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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,, 



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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. 



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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. 



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220 



FLORENCE: THE UFFIZL 



Bottioelli, Sandro 



Bondher, Fr. . . 
Bronzino, Angelo 



Brouwer, Adrian 
Braeghel, Jan (Velours) 



Brueghel, Pieter, elder . . 
Bugiardini , . . . . 
Oaliari, Carletto .... 
Ganale, Antonio (Ganaletto) 



Garaod, Annibale . . 
Cardi, Lodovico (Cigoli) 
Casentino, Jao. di 
Ohampaigne, P. de 
Chimenti, Jaoopo 
Claude Lorraine . 

» »» • 

Clouet, F.. attrib. 

Correggio (All^gri) 

Cranach, Luoag . 

Gredi, Lorenzo di 



Dolci, Carlo . . 

»» » • • 
Domeniohino (Zampieri] 
Domenioo Yeneziano 
Dossi, Dosso • . 
Dow, Gerhard . 
Diirer, Albrecht • 

Dyck, Anton van 

»» >» 
Floria, Frans. . 
Francia, Francesco 



No. 
1286 Adoration of the kings, 
1289 Madonna crowned by angeU. 
1299 Figure of Foroe, 
1303 Madonna, 

656 Infant Christ and 8. John, 

154, 9 MaHe and female portraits. 
1266 MalepoHrait. 
1271 The descent into limbo. 

959 Drinkers, 

761 Landscape. 

884 The fottr elements, 

892 Christ bearing the crosSp 

213 Madonna nursing, 

604 Madonna in glory and saints, 
1064 View of the bucaZ PcUaoe. 
1077 View in Venice. 

1133 A bacchante, 

1276 MaHyrdom of 8, 8tephen, 
1292 A predella in five parts. 

695 Male portrait 
1261 8, IveSf protector of orphans. 

774 A sea-port. 

848 Landscape, 

667 Francis J. on horseback.-— SmoXL By 
Jean Clouet, according to Charles Blanc. 
1118 The repose in Egypt 

1134 Madonna in adoration. 

847 Portraits of Luther and Melanclhon, 
1138, 1142 Adam and Eve. 
1150 Christ appearing to the magdalen. — A 

replica is in the Louvre, No. 157. 
1160 Annunciation of ihe Virgin. 
1163 Portrait of Andrea Verroechio, 
1146, 66, 8, 1287 are good examples. 

165 Madonna appearing to a monk, 

186 Magdalen. 
1109 Portrait of Cardinal Agucchia, 
1305 Madonna with saints. 

995 Massacre of the innocents. 

786 The schoolmaster. 

Ill, 8 88. James and Philip, 
1141 Adoration of the kings, 
1115 Portrait of John Montfort 
1128 Portrait of Charles V,ona white horse. 

760 Adam and Eve, 
1124 Portrait of 8cappi, 



Digitized by VjOOQIC , 



FLOBENCE: THE UFFIZL 



221 



Grerino da Pistoia . 

Ghirlandajo, Domenico 

„ Bidolfo 

Giorgio, Fr. di, attrib. 
Giorgione, attrib. . 



Giottino (Tomaso 
8te&no) . . . 
Giotto, attrib. . . 
Gk>e8, Hugo van der 
GkMSZoli, Benozzo. . 
Granaoci .... 
Gaeroino (Barbieri) . 



di 



Heyden, Jan van der 
Holbein, Hans . . 

„ attrib. . . . 
Honthorst, Qerhard van 



Horemans, Pieter . 
Lanfiunco, Giovanni 
Leiden, Lnoas van 
Lippi, Fili]^ . 

»» » • • 

Lippi, Filippino. 

Loo, Carle van . 
Lorenzo Monaco . 
Lotto, Lorenzo . 
Lnini, Bernardino 
Mantegna, Andrea 



„ „ attrib. . 

Martini, Simone, andLij^ol 
Memmi . . . . / 
Maiacoio, attrib. 

Memling, Hans .... 



No. 

41 Mudofma enthroned with taiA^a.— Dated 
1529. 
1295 Adoration of (he Mn^s.— Dated 1487. 
1297 Madonna with sainte. 
1275 Mirade of 8, Zenohius, 
1277 Memoval of the body of 8. Zencbiue. 
1804 A predella. 
571 Portrait of a general, 

621 Legend of Moees. 
630 Judgment of 8olomon, 

622 Portrait of a knight of itfa/to.— Might be 
by del Yecchia, according to O. MUndler. 

7 The deposition, 
6 Agony in the garden, 
698 Madonna. 
1302 A predella. 
1280 Madonna in glory. 
1114 The Samian 8ibyh 
1137 Endymion asleep. 
891 View in Amsterdam, 
765 Portrait of Richard iSbti^weK.— Replica 

in the Louvre, No. 212. 
784 Portrait of Zuinglius. 
148 Theeupper. 
190 Adoraiion of the magi. 
836 Card^yers. 
1106 8. Peter. 

1143 Christ crowned with thorns. 
1179 8. Augustine. 
1307 Madonna with angels. 
1257 Adoration of the kings.— Dtkied 1496. 
1268 Madonna ufith sainis.— Dated 1485. 
657 Madonna. 
20 Adoration of the magi, 
575 Holy family. 
1135 Beheadal of John the Baptist. 
1025 Madonna on a rock. — Small. 
1111 Triptych. 

1121 Female portrait. — ^Believed to be by 
Bonsignori of Verona : 0. and 0. 
8, 9, 10 AnnuneicUion toith saints. — ^Dated 
1333. 
1167 Portrait of an fM man.— Probably by 

Botticelli : 0. and 0, 
703 Madonna^ 



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222 



FLORENCE: THE VFFIZL 



Hemling, Hans 
Metsn, Gabriel 



Angelo 



Miohael 
anoti) 
Miens, Frans van 



Mignard, Pienre . 
Mignon, A. . . 
Milano, Giovanni da 
Moretto (Bonvicini) 
Moroni, Gio. Battista 
Nain, Antoine Le 
Neefs, Pieter. . 
Neer, Eglon van der 
Palma Yeochio . 



(Bnon- 



attrib. 



No. 

769 ^cHeportraiU 
918 Domeatic scene. 
972 Lady and cavalier, 

1139 Holy family. 

854 The charlatan. 

941 A young woman, 

952 The old lover. 

954 The drinkers. 
, 976 His own portrait. 

981 The painter and his family. 

670, 8 PoHraiU. 

792 Fruit. 
1293 An Aneona in several compartments. 

592 The death of Adonis. 

586, 629 Male poHraits. 

659 Adoration of tlie shepherds. 

702, 17 Church interiors. — And others. 

893 Landscape. 

619 Judith. — Much injured by restoring. 

623 Holy famUy.^Jifot by Palma : C. and C. 

650 Portrait of a mathematician. — ^Dated 1555. 

Palma died in 1528. 
1008 A crucifixion. 
1122 Madonna and two saints. 

25 Annunciation. 

26 Adoration of the magi. 
1246 Perseus and Andromeda. 
1250 A Conception and saints. 

1300 Portraits of the Duke of Urhino and of his 
wife. 

627 A warrior. — The authorship is questioned : 

0. and C. 
574 Madonna and 8. Francis. 
1153 Two small panels of Hercules. 

1301 Three saints. 
1306 Figure of Prudence. 

All these works are attributed to the two brothers, Antonio and Pieio 
conjointly, by 0. and 0, 

. 1198 Birth of 8. John BapOsL 

. 1282 Joseph presenting his family to Pharaoh. 

. 1284 Venus kissed hy Love, 

616 Conversion of PawZ.— In the style of Boni- 
fazio : 0. and G. 
. 1120 Portrait of a young woman. 



Palmezzano . . 
Perugino (Vannuooi) 
Pesello, G. . . 



Piero di Gosimo . 

w »» 

Piero della Francesca 

Piombo, Sebast. del . 

Polidoro Yeniziano . 
Pollajuolo, Antonio. 



Pontormo (Carucci) 

»» ♦> 

n »» 

Pordenone, attrib. . 
Baphael Sanzio . . 



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FLORENCE: THE UFFIZL 



223 



Baphael Sanzio, attrib. 



No. 



Ha^ or Bazzi (H 
Bembrandt van Byn 

Beni, Gnido . 



Bibera, Jos^ . 
Bomano, Gitdio 
Bosa, Salvator 
Bubens, P. P. 



Bujscb, Bachel 
Salaino, A. del 



Sarto, A. del (Vannuccbi) 



Sassoferrato (Salyi) . 
SaToldo, Girolamo . 
Schalken, Gedfned . 
Signorelli, Liica 



Slingeland, Pieter van 
Snydeis, F. . 
Steen, Jan . 
Sostermans, J, 
Teniere, D., elder . 
Terbnrg, Gerhard . 
Tintoretto (Bobnsti) 



Titian (Vecellio) 



1123 Portrait of the FomaHna. — ^Belieyed to be 
by Sebastiano del Piombo: G. and C, 
and others. 
1125 The Madonna ""del Tozzor 
1127 8. John in the desert. 
1129 The Madonna of the goldfinch. 
1181 PoHrait of Pope Julius IL 
Sodoma) 1279 8. 8ebastian. 

922 Domestic interior. 

979 Landscape. 

203 8ubjectfrom the Orlando Furioso. 

998 Madonna with 8. John. 
1113 The Madonna. 
1104 8. Jerome. 
1144 The Madonna. 
1005 Landscape. 

140 Battle of Iffry. 

147 Entry of Henry IV. into Paris. 

180 Portrait of Hdena Fourment. 

197 PoHrait of Isabella Brandt. 

812 Venus and Adonis.— BeoaU. 
1140 Hercules between Vice and Virtue. 

953 Fruit and flowers. 

211 Copy of L. da Yinors Madonna and 8. 

Anne, No. 459 in the Louvre. 
1112 Madonna with saints, 
1176 His own portrait, 
1254 8. James and tvoo children. 

191 The sorrowing Virgin. 

645 The Transfiguration. 

934 W(man sewing by candlelight. 
86 Madonna and shepherds. 
1291 HolyfamUy, 
1298 A predella. 

888 The soap-bubbles. 

220 Boar-hunt. 

977 The repast. 

163 PoHrait of Galileo. 

705 The doctor. 

958 A Dutch lady. 

617 Marriage at Cana. — A smaller replica of 
that in 8. Salute, Venice. 

638 PoHrait of 8ansovino, 

590 Madonna. [Urbino. 

599, 605 PoHraits of the Duchess and Duke of 

609 8tudy for the battle of Cadore.^A copy: 0. 
andO. 



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2^4 



FLORENCE: TSE XJFFIZL 



Titian (YeoelUo;. 



Uooello, Paolo . 
"Vaimi . . . 
Velasquez, Diego 
Vemet, 0. J. . 
Veronese, Paolo (Caliari; 



No. 

. 614 Fortran €f Giovanni de' JfecZtei.— Painted 

in 1546. 
613 Madonna. — Unfinished. 
625 Madonna with 8. Catharine, 
. 626 JFWa.— Painted about 1523. 
. 633 Madonna and mintg, 
. 648 Fortrait of Cattarina Cornaro. — Painted 

1542. 
. 1002 Madonna.—Smo.n, 
. 1108 Venm with Cupid and flowers. 
. 1116 The prelate BecoadeUi.— -Fainted in 1552, 
. 1117 Venus. 

29 A combat of hnighta. 
. 1283 A DeposUion. 
. 210 Equegtrian portrait of FhUip IV. 
. 655, 665 Examples. 
. 579 AnnundaUon. 
. 589 Martyrdom of 8. Justina. 
. 603 Man's head. 
. 1136 Holy family ioith 8. Catharine. 
. 1252 Adoration of the kings, — Unfinished. 
. 1157 A maie portrait, 
, 1159 Medusa's head. 
. 1288 Annunoiation. 
. 1107 The massacre of the innocents. 
. 811 The Crucifixion. 
. 671 Cavaliers and a lady, 
, 905 The judgment of Solomon, 
. 985 Adoraiion of the shepherds. 
. 795 The EnUmibment. 

Two rooms are occupied with the portraits of ancient and modem painters 
of all schools, presumed to be painted by' themselves, which, however, is not 
the case in all instances. This interesting collection contains nearly 350 
canvases : some of them are masterly studies. The numbers commence at 225 
and end at 571, and the names of the most celebrated ancient masters—ending 
with men of the present time — ^are given in alphabetical order in the catalogue 
of the gallery. The following, hung within reach of the eye, are well worthy 
to be seen : — 



Vinci, Leonardo da 



attrib. 



Volterra, Daniele da 
Voe, Martin de . . 
Watteau, Antoine . 
Werff, Adrian van der 

» »» 

Weyden, Eogier van der 



No. 

223 Van Dyck. 
228 Eubens. 
237 Q. Matsys. 
280 A. del Sarto. 
288 Baphael. 

292 L. da Vinci 

293 8alvator Bosa. 



No. 

354 Giovanni Bellini. 
384 Titian. 
439 Albrecht Diirer. 
449 G. Dow. 
549 Eliz. Louise La 
Bmn. 



Vig^e by Le 



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GENOA. 



225 



THE PALAZZO BRIGNOLI OR ROSSI AT GENOA. 

Pictures last examined in 1874. 

Room L 
No. 
Guerciao ...... — Cleopaira. 

Babens — MarSj VenuSj and Cupid. 

Stanza di Primavera, 
JNo. 

Bordone — Portrait of a wan in red sleeves. — And 

others. 

Moretto — Portrait of a botanist. 

VanDyok — Portraitn. 

lUxmllL 

CaravBggio — Raising of Lazarus, 

Gaeicino — Death of Cato. 

Roam IV. 

Bonibzio — Adoration of the kings. 

Guercino — Holy family and saints. 

Saito, Andrea del . . . — Holy family, 

RoamV. 

VanDyck ..... — Christ and the pharisees. 
Veronese — Judith. 

Room VI. 
Van Dyck — Portraits. 



There are several smaller collections of pictures in the palaces of Genoa 
which are open to the traveller, such as the Palazzo Reale, the Palazzo Balbi, 
the Palazzo Durazzo della Scala, the Palazzo Spinola, the Palazzo Adomo, and 
the Palazzo Doria. In these are a few good pictures, and many also which are 
inferior. Several excellent portraits by Van Dyck are scattered throughout 
these galleries, which contain besides chiefly examples of the eclectic and 
natoralistic schools of Italy. 



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226 



LUCCA, 



THE COMMUNAL GALLEBY AT LUCCA, IN THE DUCAL 
PALACE. 

Pictures last examined in 1877. 

This gallery has been recently formed, and no oatalogne, except hand-lists 
in the rooms, has appeared at present The collection contains some very fine 
works ; and for the most part, pictures of uncertain authorship are so marked, 
a mode of treating them &r from common, which cannot be too highly 
commended. 

Entrance HaXL 
No. 
9 Samson, 

3 The *' Madonna delta Miserfcordia.*' — A 
large altarpiece. Dated 1515. 

10 8. Catharine and (he magdalen in adoration^ 
the Eternal above, — ^A large altarpiece, 
dated 1509. 
2 Madonna loith saints,. 

Baiall. 

10 Martyrdom of S, Lorenzo. 

4 A martyrdom, 

2 Portrait of cardinal G, C. de* Medici, 
6 Portrait of cardinal Leop, de* Medici. 
8 Portrait of a young lady. 



Domenichino, . . 
Bartolommeo, Fra . 



Paolino, Fra Pletro 



Lanfranco . . . 
Paolino, Fra Pietro . 
Sustermans, Justus 



Lippi, Filippo 



Aspertini, Amico 
Bronzino, Angelo 



Dutch school 
GuidoEeni . . 
Paolino, Fra Pietro 
Perugino, school of 
Pontormo . . 
Teiburg, attrib. . 



SiOain. 

12 Madonna with four saints and the Eternal 
in a lunette above, — An altarpiece in four 
compartments. 

Sola Grande IV. 

37 Madonna and four saints, 

23, 5 Portraits of two children of the Medici 

family. 
70 Portrait of Cosimo de* Medici. 
31 Portrait of a boy. 
20 Christ on the cross and two saints. 
63 The Nativity. 
42 Madonna and two saints, 

5 Portrait of Giuliano de' Medici. 
26 Portrait of a youth. 



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MANTUA AND MILAN. 227 

No. 

Tintoretto 10 The miracle of 8, MarJc—A mf^terly 

stady (8 ft by 6 ft.) for his large 
painting in tbe Venetian Academy, 
No. 45. 

„ 40 A male portrait. 

Yasari, Giorgio .... 27 8» Eustachio. 

,, ,f .... 29 The conception^ — ^An altarpieoe. 

„ .... 30 i6^. Biagio, 



THE PALAZZO DEL TE AT MANTUA. 
Pictures last examined in 1875. 

Contains much work of Ginlio Komano. 

Camera dei CavdUi. — Six life-size horses by G. Bomano. 

Camera di Psyche, — ^Decorated by G. Bomano. 

Other rooms follow, containing firescoes as well as friezes designed by G. 
Bomano and executed by Primatiocio. 

Sola dei Giganti. — Decorated in part by G. Bomano, but chiefly by Binaldo 
Mantoyano. 

Iq all these works G. Bomano's scholars largely shared. 



THE DUCAL PALACE AT MANTUA. 
Numerous apArtments decorated by G. Bomano and scholars. 



THE CA8TELL0 DI COBTI AT MANTUA. 
Li the Cotmcil-room are frescoes by Andrea Mantegna. 



THE AMBBOSLINA AT MILAN 

Pictures last examined in 1877. 
Sala delta Santa Corona, 

No. 
Luini, Bernardino . . . — A fresco of Christ crovmed vjith thorns. 

First Floor, 

Bassano, Jacopo. . . . 161 The repose during the flight 

Beltrafflo — Portrait, 

Cesare da Sesto .... — Head of Christ, 

Q 2 



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MILAN: THE BftEBJL 



No. 

47 Madonna, 

25 PartraU of Henrietta Maria. 
33 Portrait of OoZwn.— Dated 1548. 

— Adoration of the magi. 
46 PoHrait of Clement XIII. 

193 Portrait of a nobleman. 

— Cartoon for the School of Athens. 

— Adoration of the she'pherde. 

— Profile ^portrait in oil of Bianca Maria, 
second wife of Maximilian I. of 
Austria. 

— P(yrtrait of the Dtt^.— Unfinished. 

There are besides two portraits in pastel, by L. da Yinci, and several heads 
of good quality, attributed to Luini and to Andrea Solano. 



Doloi, Oarlo .... 
Byok, A. van . . . 
Holbein, school of . . 
Leiden, Lnoas van, attrib. 
Mengs, Baphael . . 
Moroni, G. B. . . . 

Baphael 

Titian, attrib. . . . 
Vind, Leonardo da . . 



attrib.. 



THE BBEBA AT MILAN, 



Albani, P. . . 

»» • * 

Alunno, Niccold 



Baroccio, P. 
Bassano, J. 



Bellini, Gentile . 

„ Giovanni 

„ „ attrib. 

Bellotti, Bernardo . 
Bonifeizio Yeneziano 

Bonsignori, Francesco 

Bordone, Paris . . 
Borgognone, A. . . 
Brueghel, J. (Velours) 
Cairo, Francesco del 
Qampi, Antomo« 
„ Bernardino • 



Catalogue of 1875, 
Pictures last examined in 1877. 



No. 
. 323 Cupids dancing. 
. 459 8S. jRoch and Sebastian. 
. 156, 7. 76, 9, 96, 308, 17 An aUarpiece in 

fourteen parts. — ^Dated 1465. 
. 402 Martyrdom of S. Fttofo.— Dated 1583. 
. 219 S. Bocco visiting those smitten with the 

plague. 
, 164 S. Mark prea^ing in Alexandria. — ^Finished 

by Giovanni Bellini. 
. 291 Jtfiwionna.— Dated 1510. 
. 278 A Pieth. 
. 349, 50 Landscapes. 
^ 205 The finding of Moses. 
. 211 Christ and His disciples at Emmaus. 
. . 166 SS. Loms and Bernard^ tcith monogram of 

Christ. 
. 208 Baptism of Christ. 

72 An assumption. — ^Dated 1522. 
. 366 A birds* concert 
. 138 His own portrait. 
. 425 Madonna and saints. 
. 426 Pieta, 



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MILAN: TEE BBEBA. 



229 



Oaraoci, Annibale 

„ Ludovico 

Gaiiani, Giovanni 



Carpaccio, Vittore 
Catena, Y. . . 
Cima da Conegliano 



Gontarini, G.. . 
Gorreggio, school of 
Gortona, Pietro da 
Costa, Benedetto 
„ Lorenzo . 
Crespi, Daniele . 
Crivelli, Carlo . 



Domenichino. 
Dobsi, DoBSO . 
Dyck, A. Tan 



Ferrari, Gaudenzio 



* Foppa, Vincent. 
Francia, Francesco 
Pyt,J. . . . 
Garo&lo . . . 
Gentile da Fabriano 



Giordano, Luca . 
Giotto di Bondone 



Gnercino (Barbieri). 
Libende, U, da Yerona 



Longhi, Laca 
Lorenzo Yeniziano 

Lotto, Lorenzo . 



No. 

460 Christ and the tooman of Samaria, 

458 Chriit with the woman of Cattaan, 

206 Madonna and seven saints, 

258 Dedication of the Virgin, 

260 Marriage of the Virgin, 

282 8, Stephen disptUing toith the doctors, 

233 S, St^hen, 

188 S, Peter Martyr and saints. 
294 S. Peter in glory, 

280 S, Jerome and other saints, 

227 S. Jerome at prayer, 

316 Madonna and saints, 

399 Madonna enthroned wHih saints, 

113 The Cireumoision. 

325 Adoration of the mogt'.— Dated 1499. 

110 Christ led to Calvary, 

277 Madonna with saints, 

161 SS, Jerome tmd Augustine, 

189 Madonna, 

453 The Madonna enthroned. 

330 S. Sd>astian. 

439 Madonna and S, Anthony. 
443 Portrait of a lady, 

24 Adoration of the kings (in fresco). — And 
others. 
104 The martyrdom of S, Catharine, 

68 S. Sebastian. 

331 The Annunciation, 
SG7»7S Dead game. 

337 Crucifixion and saints. 

155 OlorifioaUon of the Virgin. 

186, 190, 307, 309 Four saints, 

392 Madonna and saints, 

310 Madonna,— Oenixe of an altarpieoe. The 

wings are in the gallery at Bologna^ 

No. 102. 
328 The tuming-OAoay of Hagar. 
80 Madonna enthroned toith saints. — Dated 

1502. 
265 S. Sebastian, 

476 Madonna enthroned and saints. 
160 Coronation of the Virgin, — By Stefano: 

C. and 0. 
249 Portrait of a young lady, 
250, 1 PortraiU, 
240 Pieta. 



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230 



MILAN: THE BnEBA. 



Laini, Bemaidmo 



Mansaeti . . . 
Mantegna, Andrea 

»» »» 

Marco d'Oggione 
Mengs, Raphael . 
Montagna, Bartolommeo 
Moretto (Bonyioino) 



Morone, Francesco 
Moroni, Giov. Battista 



Palma Vecchio 



Palmezzano, Marco 

Pietrino, Gian 
Preyitali . . . 
Raphael Sanzio . 
Bembrandt . . 
Beni, Guide . . 
Bomanino . . 
Bondindli, N. . 
Bofla, Salvator . 
Bubens,P. P. . 
Salaino, Andrea. 
Sahneggia, U . 
Sauti, Giovanni . 
Saesoferrato, attrib. 
Sayoldo, Girolamo 
Soarsellino .- . 



Sesto, Oesare da 
Signorelli, Luca 



No. 

79 Noah cmd his sons, 

89 Madonna wUh the roses (in oil). — And 
seTeral good examples in fresco, of 
which the following are the best, 
Nos. 18, 46, 53, 69, 70, and four single 
figures of saints, Nos. 54, 7, 61, 4. 

95 Madonna and saints. — ^Dated 1515. 
259 8, Mark baptising, 
301 Dead Christ and Maries, 
187 S. Luke and other «wne#.— Early, 1454. 

93 Three archangds and Saian, 
429 Male porttaiL—DAied 1752. 
163 An aUarpieoe — Madonna and saints, 
202 Madonna in glory with saints. 
255 8S. CUtra and Catharine, 
247 S. Jerome and an aposUe, 
231 S. Francis of Assisi. 
235 The Assumption of the Virgin. 
290 Madonna and saints. 
214 Assumption. 
252 Madonna. 
210. 46 Portraits. 

168 Adoration of the magi. — ^An altarpieoe. 
284 8. Helen, 8. Constantine^ and others. — An 

altaipiece in three compartments. 
174 Coronation of <^ Virgin. 
181 Madomna a/nd saints. 

97 Magdalen. 

298 Oi^TM^ on <^ Ynotm^.— Dated 1513. 
805 Marriage €f the Virgin — Lo 8pesaUzio. 
446 Female poHrait.—T>a,idd 1632. 
821 88. Paul and Peter. 
220 Madonna in adoraUon. 
173 8 John appearing to GaUa Plaeida. 
388 8. Paul in the desert. 
444 The Last 8upper. 

85 M€idonna and saints. 
486 Madonna and «at7i<«.— Dated 1604. 
184 Annunciation. 
412 Madonna. 
230 Madonna enthroned with saints and angels, 

88 Madonna and saints. 
475 The doctors of the <Aursh. 

303 Madonn<i. 

304 Madonna. • 

^OQ FlageUation of our Lotrd. 



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MODENA. 



231 



Snyders, F. . . 
Solario, Andrea . 

» » • 

Stefano da Ferrara 
Sableyras, Pleire 



Tintoretto . , 

Titian . . 
»> • • • 
Veronese, Paolo . 



Tind, Leonardo da 

'jt school of . 
Viti, Timoteo . 
Vivarini, John and Antonioi 

daMniano . . . / 
Wyck, T. . . 
ZoDale, Bernardo 



Zoccarelli 



No. 

881 A itag-hunt. 

300 Male portrait 

103 Madonna wilh $aintft. — Retouched. 

175 Madonna enthroned tcith $airU$. 

403 8, Jerome, 

404 Cruoifixion, 
213 A Fieta. 

226 Saints with the cross. 

244 8, Jerome in the desert. 

243, 5 Studies of heads. 

209 Chriet in the house of the pharisee. 

215, 17 Large altarpiece in three compartments. 

223 8. Antonio with saints. 

308 Eeee Homo. — ^Drawn in pastel. 

102 Madonna, — ^Unfinished. 

191 Annunciation and tvoo saints. 

158 MsJidonna and saints. — An altarpiece in 

fourteen compartments. 
359 The alchemist. 
73-5 Saints. — Three panels, each in two parts, 

much injured. 
348 8, John preaching. 



THE GALLERIA IfiSTENSE AT MODENA. 



Pictures last examined in 1875. 
Cataloqub of 1875. 

No. 
Abate, Niccolb dell* . . 67, 71, 8, 83, 8, 9, 94» 5,100 Nine of the twelve 

cantos of the JEneid. — In had condition. 
107 A concert with portraits. 
141 Adoration of the magi', 
241 A seorport 
205, 12 Officers drinking. 
50 Madonna and 8, John. 



Boni&zio Yeneziano 
Canale, Antonio 
Caravaggio (Amerighi) 
Garoto, Francesco . 
Gavedone (Giacomo di 

suolo) .... 
Gima da Oonegliano 
Glaude (Lorraine) . 
Gorreggio (Allegri) . 
DoBsi, DoBSO . . . 



397 The Crucifixion. 
143 A Deposition, 
237 Landscape, 
60 The rape of Qanynnede. 
173 Portrait 
176 The Nativity. 
181-4 Chnre scenes. 



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232 



NAPLES: THE MUSEUM, 



Dosfii, D088O . . 
Franda, Franceaco 
Garofalo (Tiaio) . 
Giorgione, attrib. 
Guerci no (Barbieri) 
Pagano, Gaspar . 
Palma Yecdiio, attrib. 

Pollajuolo^ Antonio 
Eeni, Guide . . 
Scarsellino . 
Spada, Lionello . 
Tintoretto . . 

Tommase da Modena 



No. 

866 Madonna with SS, Michael arid Oeorge, 

36 T?ie AnnuncUjUon, 
189, 90 Madonna and tainU, 
123 Portrait of a young lady, 
355 T?ie marriage of 8, CkUharine. 
404 The marriage of 8. Catharine. 
129 Madonna with saints, — ^An injured copy : 
0. and C. 

57 8. Sebastian, 
149 Christ on the cross, 

— Several. 

— Several. 

108-12, 115-18 Paintings of Ovid's Meta- 
morphoses, 
82 ^2tor29tec6in«ixjx(rfo.-^Repainted. 



THE NAPLES MUSEUM. 

Pidtwres last examined in 1877. 

Contents of Musenm recently rearranged, with new catalogues affixed to* 
the walls ; no others. 1877. 

Soman Sehool, 

No. 

27 Sassoferrato Nativity, 

46 Polidoro da Oaravaggio. . Christ hearing the cross. 

47, 53 Pannini ..... Visit of Charles III. to Some. 

51 Eaphael Mengs .... Portrait, 

Parmese and Genoese Schools, 

1, 7 Simon Vouet .... Angels. 

2 B. Strozzi . . . . , A monk. 

16 Schidone. ..... Christian charity, , 

21 ,y A cupid, 

39 ,f Madonna in glory and saints^ 

40 Gastiglione 8. John in a landscape, 

Lombard and Parmese Schools. 

. Two portraits, 

. Annunciation, 

. Madonna and donors, 

, Adoration of the kings. 

. Infant Christ and 8. John.— After L. da 

Vinci. 

. Holy family. — After L. da Vinci. ^ 



12, 16 Parmegianino . 
13 „ . . 

15 School of L. da Vinci 

17 Gesare da Sesto . . 

18 Beltraffio .... 



19 Niccolo deir Abate 



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NAPLES: THE MUSEUM. 



233 



No. 

33 Schidone PoriraU, 

.34 M • . • . . Ma$9(U!re of the innocenti. 



Venetian School, 



1 Lxiigi Yiyarini . . . 
5 Bartolommeo Yivarini . 



McuUmna with two monks, — ^Dated 1485. 
Madonna enthroned with four saints. — 
Dated 1465. 
8 Sebast. del Plombo . • . PoriraU of Pope Clement, — 0. and 0. 
11 Jaoopo Ba8Bano . . . • Female portrait 
20 Titian ...... Pavl IIL and attendants.— VnOniahedL 

32 Maretto Christ at (he ooZtfmn.— Small. 

40 School of Mantegna . . Christ with instruments of the Pcusion. 

43 Giiolamo de S. Croce . . Martyrdom ofS. Xauwcfice.— Beplica of No. 

214, at Dresden. 
46 Mantegna . . . . « j8f. JTup^emio.— Dated 1454. 

48 n Greco PortraU. 

52 Garo&lo Adoration of the magi. 

56 Lorenzo Lotto .... Madonna and S. Peter Martyr. 
Several Yenetian scenes here are attributed to Bellotti. 

Sola di Correggio. 

1 Salyator Bosa .... Christ and (he doctors. 

2 Sebast. del Piombo . . . Madonna. 

3 0)rTeggio Madonna deUa Zingardla. 

4 Yan Dyck . . . , . Male head. 

5 Titian Banae. 

7 Correggio Marriage of S. Catharine.— Small. 

8 Titian Portrait of Paul III. 

9 Correggio Pielh. — ^A study. 

11 Titian PortraU of Philip U. of Spain. 

12 Spagnoletto S. Sebastian. 

13 „ ..'.,. 8. Jerome. 

14 M S. Jerome. 

15 Guercino Magdalen. 

In the next room are cartoons by Michael Angelo and Raphael. 

1^ Sola Grande. 
A Pieta. 

The raising of Lazarus. 
Madonna deUa OattcL — ^A variation of the 

Perla of Bapbael at Madrid. 
The Transfiguration. 
Portrait of Christopher Columbus. 
Copy of Michael Angelo's Last Judgment. 
Madonna. 
Crucifixion. 



1 Annibale Caracd 
3 Jacopo Bassano . 
5 Giulio Bomano . 

7 Giovanni Bellini 

8 Bapbael, attrib. . 

10 Maicello Yenusti 

11 Pemgino* . . 
14 Bernardo Gatti . 



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284 



NAPLES: THE MUSEUM. 



No. 




15 Luini 


. Madonna, 


17 Raphael, attrlb. . . 


. Portrait of TtbaUio. 


19 „ 


. LeoX.cmd cardinah.—A copy by Andrea 




del Sarto. 


21 „ ,. . . . 


. PoHrait of Cardinal Passerini. 


.22 „ ,. . . 


. . Madmna dd Divino uAtnore.— Painted by 




Ginlio Romano, or by some other pnpil. 


24 Monrealese . . . 


, . The THnity.^ 


26 Garofalo .... 


The Deposition. . 


28 Palma Vftochio . . 




80 Domenichino . . . 


. The guardian angd^ 


32 Claude Lorraine 


. Landscape. 


34 Pintnrioohio . . . 


. Ammption. 


36 Titian 


. Magdalen. 


39 Lnoa Giordano • . 


, . Madonna and sadntt. 


41 Parmegianino . . 


, . Female portrait.— Audi oihen. 


44 Andrea da Salerno . 


. . S.Benedict and saints.. 


45, 9 Borgognone . . 




47 Gnido Reni . . . 


. . The race of Atalanta. 


53 A. del Sarto, attrib. . 


. . Tioo portraits. 


55 SalvatorRoea . . 


. . BaUle-piece. 


56 Sebast. del Piombo . 


. . Aperirait. 


57 Palma Giovane . . 


. . Madowna and saints. 


59 Spagnoletto (Ribera) 


. . SOenus. 


60 Annibale Oaraoci . 


. . Satyr and bacchante. 


61 Fra Bartolommeo . 


. . Assumption. 




Hall of the Venuses. 


11 Gnido Reni . . . 


. . Four seasons. 


20 Luca Giordano . . 


. . Venus adeep. 


22 Gnarino da Solofra . . 


. Susannah at the hath. 


23 Tintoretto . . . . 


. Venus and the Oraoes. 



4 Cosimo RoBBelli, attriK 

27 Lorenzo di Gredi . . 

30 Ghirlandajo . . . . 

31 Matteo da Siena. . . 

32 Botticelli, attrib. . . 



37 Filippo Lippi . . 

1 Lavinia Fontana 
7 Gnido 



Tuscan School. 

. Marriage of the Virgin. — ^By Zaganella : C. 
andO. 

. Madonna and others inddoration, 

. Madonna enthroned and tujo saints,. 

. Massacre of the innocents. — Dated 1418. 

. Madonna and angds. — Oonyerse position of 
No. 1307 in the Ufflzi by Filippo LippS, 
who is probably the author of this. 

. Annvmiation and tti^asainto.-^Injared. 

Bclognese Scbcd. 
. Christ at the wdl. 
. Ii^aint Christ. 



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NAPZE8: THE MUSEUM. 235 

No. 

9 Giiido Nausicact, 

12 lADfranco Angel overihrowing Baian. — And others. 

33 Annibale Oaraoci . . . Holy family. — And others. 

Agostinoand Lodovico. . Some examples. 

44 Guido Vanity and Modesty. 

Neapolitan School, 14^^,15^, 16^ ceniuri€9. 

1, 3 Piero Donzello . . . The latter a Crucifixion, 
7 Antonio Solario (Lo Ziu- 
garo) 



18, 23 Ippolito Donzello 
21, 5 Simone Papa . . 
32 „ „ 

24, 33 Andrea da Salerno 



Madonna and sainU. — ^Large altarpiece. 

Crucifixion and an aitarpieee, — ^And others. 

Two panels. 

S, Michael wiHh $aint§. 

Examples. 

Leading out of this is a small room, containing vtery few works of the same 
school, among which are two examples of an early Neapolitan painter, 
Silvestro di Bnoni, Nos. 1, 7, a Magdcden and Baptist. A second smiall 
room opening out of the large hall contains Byzantine and early Tuscan 
works, among which may be noted nine portions of an altarpiece attributed to 
Andrea del Verrocchio, Nos. 8, 13, 14, 19, 20, 40, 57, 58, 62 ; a triptych, dated 
1336, by Agnolo Gaddi, No.. 47; a small altarpiece by N€n di Bicd, Nos. 
60, 2, 5. 

Neapolitan School, 16{h, 17th, ISih centwrie$. 

Contains several inferior canvases by Luca Giordano, of which the smaller 
are the beet. There are also several by Micoo Spadaro, interesting as relatitig 
to events in the histoty of Naples in the seventeenth century. Several by 
Paceoco di Bosa, of which one may be noted, the Meeting of Jacob and 
Radiel, No. 15. 

Dutch and Flemish Schools. — Boom J. 
3 Lucas d'Olanda .... Adoration. — ^Triptych. 
1, 6 Niocolo Frumenti . . Two wings. 

31 Purer, attrib Adoration otkI donors, — ^By some early 

Flemish master. 
37, 8, 42, 3 Portraits of early Dutch and German schools. 
44 Van Eyck, attrib. . . . S. Jerome Qnd the lion. — ^By some unknown 

Flemish painter. 
51 Holbein, attrib. , . , . A portrait. 

53 Early Flemish , , , . A triptych. 

54 Peter Brueghel, elder . . The Uind leading the Hind, 

Dutch and Flemish SchooL — Boom II, 

12 Van Dyck Male portrait, 

73 Hiere^t. .-.••. Male portradt. 



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236 PADUA AND PARMA, 



THE MUSBO OrVIOO AT PADUA. 
Pictures lad examined in 1877. 

Among a number of piotnreB there are few here worth seeing except the 
following. It may be added that several canvases are not visible, owing to 
alterations in the gallery, and will not be exhibited for about a year. (1877.) 

No. 
Basaiti, Marco .... 18 Madonna with taints. 



Bonifazio, attributed to 
Catena, V. . . . 
German school . . 
Lotto, Lorenzo, attrib. 
Morone, Pr. . . . 
Palma Yecchio, attrib. 



22 Holy family, 
668,9 Two saints, 
485 A panel. 
12 Madonna, saints, and donator, 
36 Madonna. 
480 Madonna and ttoo donators, — ^Perhaps by 
Previtali: 0. and 0. 
„ „ „ 25 Madonna and two saints. — SmalL 

Previtali 106 A AgaJOia. 

Bomanino, G 1215 Madonna enthroned with saints and angels. 

— ^A large altarpiece. 

„ 765 Madonna enthroned hetween two saints. 

..... 770 The Last Supper, 
Speranza, attrib. . . . 649 Madonna and 8. Catharine. 

The chief iftttraction for the art-student at Padua is of coarse the celebrated 
series of frescoes by Giotto in the church of S. M. dell* Arena. Very interesting 
also are the beautiful frescoes by Altichiero and Jacopo Avanzi Veronese in 
the Oapella S. Felice of S. Antonio and in the Oapella di S. Giorgio close by. 
At the same time should be mentioned the fine frescoes by Mantegna and 
assistants in the church of the Eremitani, close to the Oapella dell' Arena. 



, THE PINADOTEOA AT PAEMA. 
Catalogue or 1875. 
Pictures last examined in 1877. 

In this gallery there are many inferior pictures, and the names of great 
painters are freely appended to some of them, those of Eaphael, Titian, Van 
Dyck, and Velasquez without the slightest warrant. 

No. 
Angelico, Fra . ; • . 429 Madonna, — ^In bad condition. 
Araldi (early painter of 

Panna) 45 The Annunciation.— J>eiied 1514, 

Bellini, Giov., attrib. . . 180 S. John, 



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PEBUGIA. 



237 



Gasella or Cristoforo (early \ 
painter of Parma). . .i 
Oima da Oonegliano . . 

>» n • • 

Gorreggio (Antonio Allegri) 



Francia, Francesco 



Garofalo . 
Giotto, attrib. 



Heist, Bart, van der 
Holbein, Hans, attrib. 
Mantegna, Andrea . 



Mazzola, FiUppo (early \ 

painter of Paima). • / 

Melchiore . . 

Moro, Antonio . 
Mnrillo, attrib. . 
Pannegianino 

tf • 

Piombo, Sebast. del 
Schedone, Bart. . 

»» j» • 

Toschi and bis pupils 

Yinci, L. da, attrib. . 



No. 

50 Madonna and two 8a%nt$» — Painted before 
1489 : G. and G. 

360 Madonna enthroned mth sainU, 

361 Madonna and saints with the ruined temple, 
31 The Madonna '*deUa8eala:*—hifteQco. 

350 The Madonna deUa SoodeOa. 

351 The Madonna di8. Oirolamo—'' II Giomo:* 

352 The Deposition. 

353 Martyrdom of 88, Flavia and Placidus, 
123 The Deposition, 

130 Madonna enthroned with saints. — Dated 

1515. 
359 Madonna and little 8, John. 
366, 9 Two smaU examples, 
431 The death of the Virgin.—lB by Niccolb di 

Pietro: G. and G. 
378 Maie portrait, 
355 Portrait of Erasmus, 
437 SmaU study in oil for the frescoes in the 

Eremitani, 
46 Madonna enthroned with saints. — Dated 

1491. 
460 AUarpiece in Jive compartments.-^igned 

and dated 1271. 
300 Portrait of Alessandro Famese in youth. 
364 Figure cf Job, 
68 Three saints, 

192 The marriage of 8. Catharine, 
302 Pope Clement giving the blessing. 
120 Deposition, 

133 The three Maries at tlie sepulchre. 
— Drawings of Gorreggio*s works in tbe 

cbnrches and elsewhere at Parma. 
862 Female head in monochrome. 



THE PINAGOTECA AT'PBEUaiA. 

No Catalogue. 

Pictures last examined in'lS77. 
No. 
Alfani, Domenico ... 5 An aiUarpiece. 

„ and Anselmi di 
Giovanni .... 

Alunno, Niccolo. . . . 



59 Holy family. — Painted from an original 
drawing by Baphael, now in the museum 
at Lille. 

75 The Annunciation, 



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PERUGIA. 



ADgelioOy Fia • . 

Bartok), Domenico • 

Bernardo di Penif^ia 
Boocati da Gamenno 

n »> 

Bonfigli, Benedetto . 

f» »> • 

Ensebio di S. Giorgio 

W n 

Fabriano, Gentile da 
Fiorenzo di Lorenzo. 



Gozzoli, Benozzo 
Lo Spagna . . . 
Manni, Giovanni 
Mantegna, school o( attrib, 

Margaritone . . 
Meo da Siena 
Pemgino . . . 



Piero della Franoesca 



Pintnriocbio . . . 
Baphael, attrib. . . 
Siena, early school of 
Taddeo Bartoli . . 

„ „ attrib. 

„ Gaddi, attrib. 



No. 

211-232 Portiom of an aUarpieee, formerly in 
8, Domenieo, and predella, 

— Ancona in five parts and predella. — Dated 

143a 

44 Coronation. 

3,4 AUarpiece and predeUa, 

21 Madonna and angeh. 

1 Virgin and 8. Bernard; people of Perugia 

praying hetow. 
18 Adoration of the ma^'.— And others. 
8 Adoration of the magi, 
87 An altarpiece, 
165 Madonna. — ^Injnred. 
13 Five oompartments of a large double aJiar- 
piece. 

29 A thrir^. 

50 A Nativity. — ^And others. 
206 AUarpieee and predella.— J>n,ied. 1456. 

25 Madonna and saints. 

26 Christ in glory and numerous saints. 

— Eight studies in tempera.— By Bonfigli and 

Fiorenzo di Lorenzo : 0. and 0. 
188 Colossal orucifix. . . 

105 Ancona in numerous compartments. 

2 Transfigurcttion. — ^Injured. 

23 A Nativity.— TbiB with Nos. 41, 66 are 
parts of the famous altarpiece painted 
for S. Agostino. Other portions' are dis- 
tributed in churches at Perugia, and 
lin three provincial French galleries. 
Painted between 1512-17. 
27, 8 Large panel padnted on two sides^ a crucifix 

^ • on one. 

83 Madonna and saimts. 

35 Madonna. 

41 Baptism of Christ. 

56 Two saints. 

47 An Ancona in five compartments with 
Annunciation above. 

30 An altarpiece in several compartments. 

— Madonna^ 
106, 114 Anconas. 

45 Ancona in five compartments. — ^Dated 1403. 

22 Ancona in five compartments. 
67 A large Ancona. 



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PEBUGIA AND PISA. 



239 



THE SALA DEL OAMBIO AT PEBUGIA. 

Decorative frescoes by Perugino, comprising a * Nativity' and •Transfigura- 
tion,' Sibyls, Prophets, Sages, and JSeroes. 

Also Perugino's own portrait at the age of 54. 

In the chapel adjoining are frescoes and an altaipiece by Giannieeola 
Manni. 



THE ACCADEMIA AT PISA. 

Pictures last examined in 1877. 

This small gallery is chiefly interesting for its examples of early work of 
the fourteenth century, some of which are rude, and all are in bad condition. 
There is no catalogue, and no numbers can be quoted. The names given here 
rest principally on the authority of Messrs. Crowe and Cavalcaselle. 



Bruno, Giovanni . . . 
Deodati, Orlando, of Lucca 



Boom J. 
No. 

— S. Ursula and her companions, 

— Madonna and saints in five arched compart- 
ments,— Ihied 1301. 

Gimabue — Madonna, with incidents at the side, and 8. 

Martin on horseback, helovo the throne. 
i^ttrib — Five half-length figures in . arched com- 
partments. — Probably by a third-rate 
Luccheee : G. and G 



BamabaofModena. . . 

„ » • • • 

Ceeco di Pietro .... 

Simone Martini, or da ) 

Siena ) 

Traini, Francesco . . . 

Ambrogio d'Asti . . . 
Benozzo Grozzoli . . . 



Boom U, 

- Madonna enthroned with six ongfeZs.— Life- 

size. 

- Two wings of another aUarpiece. 

- A Crucifixion and saints. In several com- 

partments and with predeUa, — Dated 
1380. 

- A single saint and seven small panels of 

saints form4ng a pediment, 

- Large figure of 8, Domenic, 

Boimlll, 

- Saviour enthroned—centre part of an altar- 

piece. — ^Dated 1514. 

- A Conception, 

- Madonna enthroned with saints. 



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240 



PISA, 



Benozzo Gozzoli • • 

Gentile da Fabriano, attrib, 

Machiavelli, Zanobi . . 

Masaccio, attrib. . . . 

Thom^ Luca . . . 

Bazzi (II Sodoma) . . 

Filippo Lippi . . * . 



No. 

— Study for the freteo of the • Visit of the 

Queen of Sheba * in the Campo Santo, 

— Coronation of the Virgin, — ^Ferliaps by Neri 

di Bicci : 0. and 0. 

— Madonna and saints, 

— S. Paul with the sword ar^ hook, — More like 

the work of a scholar : C. and G. 

— A OtMJt^ajton.— Dated 1366. 

Room IV. 

— Madonna and saints, 

— Madonna loith saints and angels. — Life- 

size. 



THE CAMPO SANTO AT PISA. 

Frescoes last examined in 1877. 

The Campo Santo is in the form of a parallelogram, bounded by two long 
walls and two short ones : the former face north and south, the latter east and 
west. The interior is entered by the left of two gates on the south wall ; 
turn to the right and walk to the beguming at the eastern end of tiie southern 
wall, where are three large frescoes of the ' Triumph of Death,' the * Last 
Judgment,' and * Hell,^ long supposed to be by Orcagna, but now assigned, 
together with the large fresco of * Hermit life ' which follows, to the Loren- 
zetti. Proceeding farther westward an * Assumption of the Virgin* may be 
seen over the gateway, and beyond along the same wall are the frescoes of the 
life of S. Raineri, by Andrea Firenze and Ant. Yeniziano, now smaller, and in 
two rows instead of one ; then those of the lives of SS. Ephesus and Potitus, 
by Spinello Aretino ; and lastly, at the extreme western end, those of the 
history of Job, by Francesco da Volterra. A great portion of the lower tier of 
these is invisible. The frescoes on the west wall are ruined, but occupying 
the first space of the north wall at the western end is a large &ncifiil. scheme 
of the Creation, a series of circular rings, by Pietro Puccio, who continued the 
History of Genesis along the upper range of the north wall as £ar as to the 
door of the Capella dei tutti Santi. The lower range is filled by the fine 
works of Benozzo Gozzoli, the best of which are at this end, nam^y, *Noah 
and his family,' the * Curse of Ham,* and the * Building of Babel.' Over the 
door just alluded to are an ' Annunciation' and an ^ Adoration' by the same 
painter ; while the large remainder of the north wall is also covered with 
frescoes by his hand, these being for the most part less admirable than those 
already noted. The frescoes on the east wall, like those on the west, are 
almost destroyed, and are out up by monuments. The Capella dei tutti Santi 
contains some fragments of frescoes originally executed by Giotto and 
assistants for the church of the Carmine at Florence. 



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PBATO AND ROME: THE ACCADEMIA, 



241 



THE MUNICIPAL GALLERY AT PRATO. 

Pidures last examined in 1877. 

A single room with about forty pictures, of which a few are iiitereBtinc. 
Hand-catalogues only, 1877. °' 



Andrea da Firenze . 

Castagno, Andrea del 
Gaddi, Taddeo . . 



Ginsto d' Andrea 
Lippi, Filippo . 



Milano, Giovanni da 
Pacino di Bonaguida 



No. 

19 Madonna enthroned.— An Ancona in three 

compartments with a predella. 

20 A Crttcifixion. — A small panel. 

2 History of the girdle of the Virgin.— 
The girdle belongs to Prato, and i^ 
the subject of the frescoes by Agnolo 
Gaddi in the cathedral there; the 
same incidents are similarly treated by 
both artists. A predella in seven parts. 
14 Madonna enthroned and. saints, 

11 Virgin presenting girdle to 8. Thomas with 

other saints. — ^Injured, 

12 A ^orfmYy.— Originally fine, but much 

injured. 

21 Madonna arid two saints^ with family of 

donators, 
18 Madonna toith numerous saints. — ^An Ancona 

with predella, greatly injured. 
1 Madonna and saints, — Ancona in five 
parts. 



THE ACCADEMIA DI SAN LUCA AT ROME. 
No CataIiOGUe OB Numbers. 
Pictmes last examined in 1877. 

The Long Gallery, 
No. 

Bonifazio — Female portrait. 

Dughet, G. (Poussin) . . — Bacchus and Ariadne. 

Dyck, Van — Holy family, 

9, „ — Child's head.. — Study in crayon. 

Lorraine, Claude ... — Landscape. 
Luti, B. ...... . — Cupid and Psyche, 

Maratta, C — Head of Cardinal Cerru 

Mola — Female bust 

Titian, attrib — S. Jerome, 



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242 



BOME: THE VILLA ALBANh 



No. 
Titian, attrib. .... — Venw reclining, ** Omnia Vanitas** — ^Much 

repainted, by an imitator, perhaps by 
Cesare Vecoelli : C. and 0. 

Vernet — Several landscapes. 

Veronese, P — Venn$ with the mirror. 



Baphael 



attrib. 



Bomano, Giulio 
Sassoferrato . 
Spagnoletto . 
Titian, attrib. 



Veronese, P. . 



Sola di Baphaelo. 
— Tarquin and Luoretia, 



Cagnacoi, Gnido . . 

Canaletto — A scene. 

Guido Reni — Figure of Fortune. 

„ „ — Bacchus and Ariadne. 

» —A cupid. 

Palamedes — An interior. 

Pussiui — CJopy of Titian's Bacchus and Ariadne, in 

the National Gallery, London. 

— A chUd. — ^In fresco. 

— 8. Luke painting Hie Ftrgrtn.— Much re- 
painted. Probably by Timoteo Viti, 
founded on a sketch of the master: C. 
and G. 

— Copy of the Oalatea of Baphael. 

— Madonna. 

— S. Jerome and the Jewish priest. 

— Caliste and nymphs. 

— FeincUe portrait. — ^Not by Titian. 

— Tribute money .—The original is at Dresden, 
No. 222. 

— Marriage of 8. Catharine. 

— iSusannc^ at the hath. 



THE VILLA ALBANI AT ROME. 

In the Gkklleria Nobile the tseiling is painted by Raphael Mengs: 
subject is the * Parnassus.' 

In an adjacent room : 

No. 
Perugino, Pietro ... — An Adorationf and other subjects. 



the 



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BOME: THE BARBERINI AND BOBGHESE, 



243 



THE BARBERINI PALACE AT ROME. 
Hand-catalogues only. 

Pictures last examined in 1877. 

Boom L 
No. 

CaraYaggio 9-4 Pieta, 

Pomerancio 15 Magdalen. 

• , . 11 The Pope 8, Urban in glory. 



Youet, Simon 

Bellini, Giovanni, attrib. 

Masaccio, attrib. . . 
Saechi, Andrea . . . 
Bodoma, U, attrib. . . 



Botticelli, attrib. 

Caiavaggio . 
Bomenichino 
Biirer, A. 
GnidoReni . 
Ponssin, Nicolas 
Baphael, attrib. 
Sarto, A. del 
Titian, attrib. 



Boom IL 
58 Jlfodowna.— Probably by Pasqualino : C 

andC. 
67 A head, — ^Not gennine. 
33 Portrait 
54 Madonna, — ^Not genuine. 

Boom III, 

93 Annunciation, — Small. 

Bl Mother of Beatrice Cenoi, 

74 Adam and Eve, 

79 Christ among the doctors.— Dated 1506. 

85 PortraU of Beatrice Cenci. 

86 Dea4;h of Germanicus, 
82 TheFomarina. 

90 Hdy family. 

72 Female portrait, known as the ^ Slaved — By 
Palma Vecchio; 0. and C. 



THE BORGHESE PALACE AT ROME. 

Hand-catalogues only. 

Pictures last examined in 1877. 
Boom I, 

No. 

1 Botticelli Madonna, 8. John, and an^eZs.— Large 

circular. 

2 Credi, Lorenzo di . . . Holy family. 

32 Vinci, L. da, school of . . 8, Agatha. 

33 „ ,, „ . . 8alvator Mundi. 

B 2 



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244 



ROME: THE B0BGEE8E. 



No. 

34 Perngino, Pietro 

85 Baphael, attrib. . 



43 Prancia, Fr., attrib. 

44 Grivelli, Carlo, attrib. 



48 Pemgino .... 

49, 57 Pinturicchio . . 

54 Credi, L. di., attrib. 

61 Francia, Fr., attrib. 

69 PoUajuolo, Antonio . 
72 Spinello Aretino. . 



Madonna, 

His own portrait — Not genuine. In 

the manner of Ridolfo Ghirlandajo: G. 

and a 
Madonna, 
A Crucifixion, — By Fiorenzo di Lorenzo : 

C. and 0. 
S. Sebastian, 

Panels of the history of Joseph, 
8, Joseph and Madonna in adoration, — Of 

his school : G. and 0. 
S, Anthony, — By Giacomo Francia : C. 

andC. 
Holy family, 
AnnuneiaUon, 



Room IL 

6 GaroMo Holy family, 

9 „ Deposition, 

18 Giulio Romano .... Copy of RapTiaeVs Julius IL 

21, 6 Baphael, attrib. . . . Portraits, 

24 „ copy of . ►. . Holy family, 

29 Giulio Romano .... Venus, 

32 PeruzziyB Holy family, 

38 Raphael The Entombment. 

40 Bartolommeo, Fra, attrib. . Holy family, 

43 Franda, Fr Madonna, 

51 „ , 8, Stephen, — Of his pre-Perugineeque 

period : G. and 0. 

55, 6 Garofalo .iSmoK jKinafo.— And others, 

59 Mazzolino of Ferrara . . Adoration of the magi, 

65 Giulio Romano .... Copy of ihe Barberini Fomarina, 



Room III, 

1 Solano, Andrea .... Christ hearing the cross. 

11 Dossi, Dosso Circe, 

21 Parmegianlno , . , , S, Catharine, 

40 Gorreggio The Danae, 

42 BronzinOi A Portrait of Cosimo de* Medici, 

(Christ <U the column, — ^A small replica of 
the large work in S. Pietro in Montorio. 
A copy by a later painter : G. and G. 

Several works are attributed to Andrea del Sarto, of which none are genuine. 



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HOME: TEE BOROEESB. 



245 



No. 

1 Caracci, Annibale 

2 Domenichino 

3 Garaod, Lndovico 
15 Gagnaoci, Guido. 

20 Guido . . . 

21 Sirani, Elisabetta 
28 Oaracoi, Annibale 
36 Dolci, Carlo . . 
43 Sassofenato . . 



5 Gaetano, Sdpio 
11-14 Albani . 
15 Domeniohino 
21 Molo, Ft.. . 

25 Zncchero, F. 

26 Caravaggio . 

27 Padovanino . 

28 Cay. d'Aipino 



BotmlV. 

DepoHUon. 

The Cumaani 

8, Catharine of Siena, 

Sibyl 

Eead of Joeeph. 

Lncretia. 

S, Francis, 

Madonna, 

Madonna, 

Boom V, 

Holy family. 
The four seasons. 
The chase of Diana. 
Liberation of S. Peter. 
Deposition, 
Holy family, 
Venus attiring. 
Battle-piece, 



Boom VI. 

1 Gneroino Mater dolorosa, 

5 „ ...... Betum of the prodigal. 

10 Spagnoletto (Bibera) . . S. Stanislas and infant Christ, 

12 Valentin, Moiae. . . . Moses interpreting the dream. 

13 Saasoferrato Copy of the *' Three Ages,** hy Titian. 

14 Garayaggio Portrait. 

18 Sassofenato . . . . . Madonna. . 

22 Barocdo Burning of Troy, 

Boom Vn, 

Contains decorative work, the flowers by Mario dei Fieri (died 1673), and 
the Pntti by Ciroferri. 

Boom IX, 



1, 2 Bapha^lf school of 
3 «• «« . 



Marriage of Alexander and Boxana. 
Group of archers, — Said to be designed by 

Michael ' Angelo. Frescoes transfeiTed 

from the Villa Borghese. 



Boom X, 

2 Titian Venus, Cupid, and Graces. — Discoloured. 

9 Pordenone, attrib. ... J. portrait, — Is by Lorenzo Lotto : 0. 

andO. 



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24e 



ROME: THE BORiJfHESE. 



No. 

13 Giorg^one, attrib. 

14 Veronese, P. 
16 Titian . . 
19 Bassano, Jacopo 

21 Titian . . 

22 Spada, Lionello 
30 Bassano, Leandro 
36 Bellini, Giovanni 



1 Lotto, Lorenzo . 
3 Titian, attrib. . 



15 BonitiGtzio 

16 „ 

19 Venetian school .... 

20 Veronese,? 

27 Bellini, Giovanni, attrib. . 

31 H V ♦♦ 

32 Palma Vecchio and as- 

sistants 

33 Pordenone, B. Licinio da . 



39 Bellini Giovanni, attrib. 



David and Saul. — ^Probably by Delia 

Veochia : 0. and 0. 
John the Baptist preaching, 
8. Dominie, 
Portrait. 

Sacred and Profane Love. 
A concert. 

The Trinity.— Small, 
Madonna, 

Boom XL 

Madonna with a saint arid a bishop, — 

Dated 1508. 
Madonna. — By a German or Fleming, 

imitating Venetian manner : G. and 0. 
Christ in the Jiouse of Zebedee. 
Betum of the prodigaL 
Madonna, saintSy and donors, — ^Probably a 

gennine Cariani : G. and G. 
Venw and Cupid, 
Male head, — Perhaps by Pasqnalino or 

Antonello da Messina : G. and G. 
Madonna and S. Peter. 

Holy family and saints. 

Portrait of an artist and his family.— 
Gonnterpart of the picture at Hampton 
Gourt, No. 104, attributed to G. A. 
Pordenone, but really by his brother. 

Female bust. — Of a later date : G. and G. 

Boom XI I. 



1 Dyok, A. van .... Christ on the cross. — Small. 

7 „ „ An Entombment. 

20 Holbein, attrib Male portrait. 

22 Potter, Paul Landscape and cattle. 

23 Backhuizen Sea-piece. 

27 Dyck, Van Portrait of Maria de' Medici. 

41 Honthorst, G Lot and his daughters, 

44 Granach, Ijucas . , . . Venus and Cupid. 



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ROME: TEE CAPITOL MUSEUM. 



247 



THE GALLERY OF THE CAPITOL AT EOME. 
No Catalogue. 

Pictures last examined in 1877. 

No. 

Albanl '. 9 Magdalen, 

........ 142 NativUy. 

Bartolommeo, Era, attrib. . 27 Presentation in the temple, — ^Not unlike 

Giaoomo Franoia : C. and C. 
Bellini, GentUe .... 186 So-caUed portrait of Petrarch, 

„ Giovanni . . . 182 A male head, 

„ „ attrib. . 207 Female head, — ^By Ercole Grande: G. 

andC. 
„ „ ,, . . 79, 87 88, Sebastian and Nicholas, — ^Moio like 

DoBso Doed : C. and C. 

Bonatti, G 70 Madonna and saints, — &op7 of No. 519 in 

the Venetian Academy by Veronese. 
Oaracci, Ludovico . . . 119 i9. Sebastian, 

Caravaggio — The fortune-teller. 

Gortona, Pietro da . . . — Several examples. 
Domenichino .... 20 The Cumxan Sibyl, 
Dyok, A. van .... 100 Two portraits in one frame. 
„ „ .... 106 Two portraits in one frame. 

Garo&lo (Tisio) . . . SO Holy family, 
„ „ .... 161 Annunciation, 

„ „ .... 164 Madonna in glory, 

Guercino ...... — The Persian Sibyl. 

„ — S, PetroniUa raised from the tomb, 

„ 13 ifif. John the Baptist, 

^ 117 Cleopatra and Octavius. 

Guido 116 i9. Sebastian. 

Michael Angelo, attrib. . 134 His own portrait, 

Pemgino, attrib. • . . 127 Madonna arid tujo angels, — ^By a follower of 

L. da Credi ; C. and C. 

Bnbens 89 Bomulus and Remus, 

Sirani, Elisabetta ... 81 dree and Ulysses, 

Tintoretto 26 Magdalen, 

„ 108, 114. 176 SubjecU/rom the Passion. 

Titian, attrib 124 Baptism of Christ, 

Velasquez 8 His own portrait, 

Veronese, P. 224 Rape of Europa.—Ueplioa. of that in the 

Ducal Palace, Venice. 



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248 



BOME: TEE COLONNA. 



THE COLONNA PALACE AT ROME. 

No CATALOaUES OB NUMBEBS. 

P^ures last examined in 1877. 

There are three rooms ooonpied with tapestry. The next room commences 
the gallery proper, and will be called No. !• Pictures will be found in the 
order in which they are named. 

Boom I. 
No. 
Santi, Giovanni . . , , — A hoy in profile with red cap, 
Bugiardini ..... — Madonna. — Much repainted. 
Avanzi, Jacopo da . . , ^ A Crudfiaion, — On a gold ground. 
Gentile da Fabriano» attrib. — Madcmna with roses and angels.— By 

Ste&no da Verona : C. and C. 
BassanO) Jacopo ... — Holy family. 

Boom 11. — Tapestries, 



Titian . . . . 
Girolamo da Treviso 
Albani, Fr. . . 
Lo Spagna . . 
Caracci, Annibale 
Bordone, Paris . 
Holbein, attrib. . 
Bonifazio . . . 



Boom III. 

— Male portrait. , 

— Portrait of a'manmth a medal. 

— Bape of Enropa. 

— 8. Jerome, 

— The greedy eater. 

— B.otyfam^ afid 8. 6eba>$tian, 

— Portrait of Lorenzo Colonna. 

— Holy family and saints. 



Rubens . . 
Albani, Pr. . 
Van Dyck 
Mola . . . 
Lotto, Lorenzo 
Palma Vecchio 
Titian, attrib. 
Moroni . . 
Caravaggio . 
Salvator Rosa 
Tintoretto 
Alunno, Nicoolo 



Long Gallery.— Commencing on the left. ^ 

— Assumption. 

— Ecce Homo. 

— Equestrian portrait. 

— Two subjects. 

— Portrait of Pompeo CoUmna. 

— Holy family. 

— Holy family.— ^y Bonifazio: C. and C. 

— Portrait of a man and dog, 

— Man drinking, 

— The Baptist. — ^And others. 

— A portrait group. 

— Virgin saving a child from the devil. 



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BOME: THE C0R8INL 249 



THE CORSINI PALACE A^ BOME. . 
Hand-oatalogubs. 

Pictures la$t examined in 1877. 

Room I. 
No. 
Battoni — A Nativity, 

Boom U, 
Garacd, Ludovico ... 20-4 Fieta, 

BoomllL 

Bartobmmeo, Fra ... 26 Holy family,^J)Ated 1516. 

Caiayaggio 18 Madonna. 

^ y. , , , . 27 8. Peter paying the tribute money. 

Gignani, Carlo .... 51 Infant Christ and 8. John. 

Dolci, Carlo . . . » . 49 H. ApoUinaria. 

„ n 88 Ecee Home. 

Dyck, A. van, attrib. . . 21 Madonna. 

Guercino 1 Ecee Homo* 

Saraceni .52 Vanity. 

Sarto, A. del, attrib. . . 9 Madonna. — ^Dated 1509. Manner of Bugi- 

ardini : C. and C. 

Teniers, attrib. . , . , 55 Interior. 

Titian, attrib. .... 50 PortraU of Philip II. 

Vaaari 61 Holy family. 

Boom IV. 

Baroccio, F. . . ^ . . 22 Christ appearing to the magddlen. 
Diirer, A, attrib. ... 44 Study of a hare and stiU-life. 
GnidoBeni ..... 11 Daughter of Herodias. 

„ „ 19 8tudyfor the crucifixion of 8. Peter. 

Lanfianoo 82 Assumption of the magddlen. — Small. 

Haratta, C 43 Holy family. 

Romano, Giulio, attrib.. . 41 Copy of the Fomarina. 
Titian, attrib. . . . , 21 8ons of Charles F.— By a painter of the 

17th century : C. and C. 
„ „ .... 28 iS^. /erome.— A Venetian picture of the 17th 

century : C. and C. 
Opening put of this room is a small cabinet, chiefly containing early and 
unknown work after the manner of the 14th century. 



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250 



BOME: THE C0B8INL 



Boom Y. 
No, 
Dolci, 0. ..... . 12 R -4gme». 

Guercino 24 Ghriii at the well. 

Guido Beni 87, 8, 9^ Ecce Bomo, MxUer dolorosa, 8. John. 



Diiper, A., attrib. 

»» » 

Dyck, A. van, attrib. 
Gaetano, Scipio . 
Maratta,0. . . 
MuriUo, attrib. . 



Angelico, Fra 



Oaracci, Ludovico 
Dughet, G. (Poussin) 
Garofalo ' . . 
Giordano, Luca 
Murillo . . 
Orizzonte. . 
Bubens . . 



Boom VL 

84 Birth of the Virgin, — Small. 

43 Portrait. 

32 Portrait, 

36 Portrait. 

— Head known as*^La Pittura" 

26^ Ahead. 

Boom VIL 

22 Descent of the Holy Ghost. 

23 Last Judgment. 

24 The Ascension. 

26 Martyrdom of 8. Bartholomew. 

13 Large landscape. 

18 Christ bearing the eross, 

21 Jesus with the doctors. 

11 Madonna. 

. — Severai landscapes. 

15 8. 8dHistia/n. 



Boom VJIl. 

Ercole Grande .... 12 6. Cteorge and the dragon, 
Guercino ...... 24 R Jerome. 

Gnido Beni 113 Contemplation. 

Spagnoletto 25 /8^v Jerome. 

Titian, attrib. .... 30 TTomon taiken in aduHtery. — By 

Marconi : C. and C. 



Bocoo 



Gantarini . . 
Cignani, Carlo 
Giorgione, attrib. 
Poussin, Nicolas 
Titian, attrib. 



Boom IX. 

48 Holy family. 

40 Mater dolorosa. 

SO* Two heads. 
6 Triumph of Ovid. 

36 Female portrait.— By a Venetian of the 
17th century : 0. and 0. 

55 Jupiter and Antiope. — A copy with variety 
of that in the Louvre. By a painter of 
the 17th century : 0. and O. 



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BOME: THE DOBIA. 251 

THE DORIA PALACE AT ROME. 

Hahd-oatalogubs only. 

Fictwes last examined in 1877. 

In this large collection the greater number of pictures are without interest, 
but there are a few extremely good, and others which should be noted. The 
first room contains landscapes chiefly. Leaving it to the left, we enter the 
lieoond room, where the catalogue begins. 

Meom 11. 

No. 
5 Giovanni Bellini, copy of . The Circumcision. — ^Much injured. 
15 Mantegna, attrib. . . . Part of a predella. — is by Parantino of 

Modena: C. and 0. The two other 
parts of it are in the Sala Orande. 

23, 9 Pesellino Tioo small 'panels. 

28 Filippo Lippi .... Annunciation, 

43 Rondinelli Madonna. 

80 Perugino, attrib. ... 5. Sebastiam. — By Marco Basaiti : C. and C. 

Ream V, 

21 Beocafumi ..... Marriage of 8. Catharine. 

22 Titian, attrib. .... Madonna and shepherd. — ^Manner of a 

Trevisan painter : C. and C. 

Boom VI. 
13 Oulo Maratta .... Madonna. 

Boom Yin. 
22 Ludovico Caracci . . . 8^ Sebastian. 
Passing through Rooms IX. and X. we arrive at the 

Sola Grande. 
This is composed of four corridors, of which three contain pictures. 

Corridor I, 

U Titian ...... Male portrait. 

— Copy of the Three ages of Titian. 

— Honthorst Several examples. 

26 Garofelo The Visitation. 

45 Guido Madonna. 



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252 ROUE: THE PALACES, 



Corridor IL 
No. 

— Gioyanni Bellini, attrib. . Madonna and Baptist. — ^Probably by Ron- 

diDelli : O. and 0. 
6 Franda, attrib Madonna and two saints. 

— Basaiti, attrib Madonna and four saints. — ^ByBoccaccino : 

0. and C. 

13 Mazzolino Christ loith (he doctors. 

15 Oaracoi, attrib. . . . . 8. Jerome. — By Lorenzo Lotto : C. and C. 

17 Titian, manner of . . . Male portrait. — Suggests Bomaniuo : C. 

and 0. 

— Giorgione, attrib. . . . Daughter of Herodias. — ^Is by Pordenone : 

C. and 0. 

18 Pordenone Male portrait. 

26 Titian, attrib Sacrifice of Isaac—Bj Bembrandt's con- 
temporary, Lievens : 0. and 0. 

25, 30, 60, 65 Brueghel, J. . The four elements. 

34 Lorenzo Lotto .... Portrait. 

52 Titian Portrait of Jansenius. 

56 „ • Magdalen. — ^Beplica, with alterations, of 

that in the Pitti. 

69 Gorreggio A cartoon. 

Corridor IIL 
12 Claude Lorraine. . . . Landscape, called 17 itfoZtno. 
18 Annibale Caraoci . . . A Pieta. 
17, 22^ Gerard van der Meire . Two panels. 

23 Claude Lorraine. . . . Landscape, called the TempZa o/^|)oZZo. 
26 Mazzola ...... Portrait. 

Opening out of this is a small Cabinet, which contains the gems of the 

gallery : — 

Memling — ^ Deposition. 

Quiatin Matsys, school of . — The two misers. 

Baphael — Two portraits in one frame. 

Sebastiano del Piombo , . — Portrait of A. Doria^ 
Diego Velasquez ... — Portrait of InnocetU X. 
And a Dutch candlelight effect. . 



THE FABNESE PALACE AT BOME. 

The Long Gallery is celebrated for its fine frescoes, which are well preserved. 
The vaulted ceiling is decorated by Annibale Caracci and his assistants^ and 
contains numerous classical compositions, of which the centre is the * Triumph 
of Bacchus and Ariadne.' A large fresco at one end, of 'Perseus and 



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BOME: THE PALACES, 253 

Andromeda/ is by Guido Beni; a similar one at the opposite end, of * Perseus 
with the head of Medusa,' is by Giulio Romano. Several small medallions on 
the walls below the ceiling are by Domenichino. 

The Large HaU of the Guards is covered with frescoes by Salvlati on one 
side, by Vasari opposite, and by Zucchero at either end. 



THE FARNESINA PALACE AT ROME. 

Entrance HaU contains frescoes of the history of Cupid and Psyche, painted 
by the scholars of Raphael under the direction of the master. 

HaU n. of the Ckdatea, — Frescoes of the roof in the centre, of * Perseus and 
Medusa,' &c., with numerous figures in the vaultings, and architectural spaces 
below, are by Baldassare Peruzzi, The lunettes are painted by Sebastiano 
del Piombo, the one excepted containing the charcoal head by Michael 
Angelo. On one of the walls is the famous fresco of the ' Galatea ' by Raphael. 
The landscape paintings, also on the walk, are by Gktspar Pughet. 

HaU UL — ^Paintings without interest. 

Upper HaJh, L — Ceiliog painted by Peruzzi, vnth architectural decorations 
and classical incidents. 

Hall II. — ^Frescoes by Bazzi (II Sodoma) of ' Alexander and Roxana ' and 
the * Family of Darius before Alexander.' Others of less interest. 



THE VILLA LUDOyiSI AT ROME. 

In the Casino, on the ground floor, a &mous fresco by Guerdno, * Aurora 
driving away Night* 

In a saloon to the left small paintings on the ceiling by Guerdno and 
Domenichino. 

In an upper saloon a fresco on the ceiling by Gueroino, ' Fame with Force 
and Virtue.* 



THE ROSPIGLIOSI PALACE AT ROME. 

In the Casino in the garden, on the roof of the middle hall, is the famous 
fresco of the * Aurora attended by the Hours ' by Guide Reni. 

In the hall to the right ; 

No. 
Domenichino .... — Adam and Eve in Paradise, 

In the hall to the left : 

Domenichino .... — The triumph of David, 



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254 HOME: THE PALACES. 



THE SCIAREA PALA€E AT ROME. 

The Palace has of late been closed to the public, and is so' for the present, 
and the pictures no longer occupy their former places. 1877. 

Bartolommeo, Fra, and ^®- 

Mariotto — Madonna and 8, John, 

Bril, Paul — Two landscapes, 

Caravaggio — The card-players, 

Claude Gtelee (Lorraine) . — Two small landscapes, 

Cranach, Lucas .... — Holy family. 

Giorgione, attrib. ... — Herodia^ and other figures, — Is by Porde- 

none: 0. and 0. 
Goes, Hugo van der. . . — Death of the Virgin. 

Mantegna — Male portrait, 

Perugino — S, Sebastian, 

Raphael — The vioUn-player. 

Sirani, Elisabetta ... — A "CariHa. — ^After the manner of Guido 

Reni. 

Titian — Madonna with John the Baptist, 

„ attrib — ** ia Bella di Tiziano:'—l3 a fine Palma 

Vecchio : C. and 0. 
Vinci, L. da — Modesty and Vanity, 



THE SPADA PALAGE AT ROME. 

Hand-catalogues only. 
Pictures last examined in 1877. 

Passing through Rooms I. and n., where there are no pictures of interest, 
we enter Room III. 

No. 

24 Guercino The death of Dido, 

31 Titian, attrib Male portrait — Looks like Girolamo da 

Treviso : 0. and C. 

42 „ „ Male portrait, with violin, — Not genuine. 

49 Palmegiani ..... Christ hearing the cross. — ^An altarpieoe. 

48 „ T^c ^terwai.— The lunette. 

51 Titian, attrib. ^ . . . ' Portrait of Cardinal Spada. — ^Probably by 

Scipio Gaetano : 0. and C. 

63 Guido Reni The rape of Helen, 

66 Titian, attrib. . . . . Portrait of Orazio Spada, — Not genuine. 
71 Moroni A portrait. 



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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. 



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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. 



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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^ 



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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, 



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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. 



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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. 



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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. 



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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, 



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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. 



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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. 



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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. 



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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, 



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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 



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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. 



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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 



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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. 



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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. 



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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. 



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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, 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. 



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BOTTERDAM: TSS MUSEUM. 



291 



Brackenborg, R. 
Ceulen, 0. yan . 
Ouyp, Albert 



., j.a . . 
Deoker, 0. . . 
Deelen, D. -van . 
DelphioB, Jaoob . 
Eeokhout, G. yan den 
Everadyck, O, . 



Fabritins, G. . . 
Flinok, G. . . 
Hackaert, J. . . 
Hals, Frans . . 
Heem, J. D. de . 
Heist) B. yan der 
Hobbema, M. 
Ealf, Willem 
Kessel, J. yan 
Koning, Ph. de . 
„ Salomon . 
Leeuw, P. yan der 
Maa8,N. . 



Meer, J. yan der, of Haar- 
lem . . . 
Mieieyelt, M. yan 
Moreelse, P. . . 
Mytens, D. . . 
Nason, P. . . 
Netscher, G. . . 



Poorter, Willem de 
Pynacker, A. 
Bembrandt . . 



Bnyscb, Bachel 
Sandyoort . . 
Bteen, J., attrib. 
Temple, A. yan den 



No. 

329 Group of peaaanU, 
3i PortraiL 

40 Biverfcene^ 

41 Interior wUh a forge. 

42 Tufo grey horses, 
43, 4 Fruit. 

45 Chme. 

46 Poultry. 

47 Study of a eou^s head, 
37 Three children, 

48 Landscape. 

49 An inierior with figures.— Bs^ied 1636. 
51 Pofiraa.— Dated 1612. 

311 BoazandBulh. 

60, 1, 2 Three portrait groups.— Dated 1616 to 
1624. 

65 PoHrait. 

66 Tnw^S^rtirM.— Dated 1646. 
75 Landscape. 

77 FuOrlengih portrait. 
80 Fruit, Ssc. 
82, 3 Portraits. 
87 Landscape. 
97 Interior of a cottage. 
100 A sluice at Amsterdam. 

106 Landscape. 

107 The yoW-wefSffc«r.— Dated 1654. 
112 Landscape. 

1 17 Family portraits. 
119 Female portrait. 

122 Landscape.— Jy^ied 1676. 

128 A portrait. 

140 Pomona and Vertumnus. 

145 Group of regenU.—D&ted 1653. 

147, 8 Portraits. 

152 Family group. 

154 A portrait. 

173 Stimife,—J)&ied 1636. 

176 Landscape. 

181 Allegory — ^representing the Union of the 

Proyinces. A 8ketch.^Dated 1640. 
188 Flowers. 
841, 2 Shepherds, 
206, 7 Interiors. 
213 Portraits. 

V 2 



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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, 285 StaUife. 

Murillo 272 Tujo hoy$ and a negro, — Small. 



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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, 



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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 



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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. 



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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. 



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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. 



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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. 



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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. 



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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. 



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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 



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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 



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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, 

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. 



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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. 



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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 



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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 



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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. 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, 



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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 



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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, 


. 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. 



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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 



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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 



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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 



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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. 



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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 



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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 



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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 



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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 



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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 



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MADRID: S4N FERNANDO AND THE MUSEUM. 855 



THE PICTUEE GALLEEIES OF SPAIN. 



ACADEMIA DE SAN FERNAKDO, MADRID. 

Pictures last examined in 1876. 

No. 
Cano, Alonso .... — ^ Crucifixion, 
Morales, Luis de ... — A Pieta. 

Murillo — Queen Elizabeth of Hungary attending U> 

the sick and poor, 

» — Madonna appearing to the sleeping Roman, 

>♦ • — The Roman explains his dream to the Pope, 

»» — A female praying. 

Ribera, Jos^ . .... — iS. /eroTwe and a pendant. 

$9 » — Head of tlie Baptist in a dish, 

Zurbaran — Five single figures of monks. 



THE ROYAL MUSEUM AT MADRID. 
Catalogue of 1877. 

Pictures last examined in 1876. 

No. 
Adriaenssen, A. ... 1147 Dead game. 

^ngelico, Era .... 14 Annunciation and predella, — Replica of 

that in the Convent of S. Marco, Florence. 
Bassano, Jacopo ... 22 The covenant made to Adam by God. 

23 The animals entering the ark. 
31 Christ clearing the temple. 
Francesco ... 39 2^ adoration of the kings, 
Leandro ... 45 The prodigal son. 

49 Assumption of the Virgin, 
52 The forge of Vulcan. 
60 Madonna with two mmfe.— Injured. 
994 Virgin and saints. 

2 A 2 



Sellini, Giovanni, attrib. 
Bias del Prado . • . 



Digitized 



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^ . , , 



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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. 



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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, 



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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. ' 



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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. 



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MABSJBULLES AND MONTPELLIEB, 



THE GALLEBY AT MARSEILLES. 
The only work of any importanoe is by 
Ho. 
Perugino • — Metdanna and 8ainU, 



THE MUSEE FABRE AT MONTPELLIER. 

Gatalogue or 1866. 
Pictures last eseamined in 1876. 



Gbardin • • . 
Dow, G. . . . 
Dughet, G. (I^otissin) 
Grenze . . . 



Hondeooeter, M. 
Hnysmans . 
Metsu, G. 



Mieris, F., elder 
Poassin, Nicolas . 
Raphael, attrib. . 



Reynolds, Sir Joshua 
Rosa, Salvator . 
Steen, Jan . . 
Teniers, D., younger 



Terburg, G. . 
Wouwerman, P. . 
Wynants, Jan 



No. 
79 Madame Oeoffrin, 
131 T?ie mousetrap, 
203, 4, and others. 
241 Qirl at prayer. 
246 Bead.— ^And other examples. 
273 Hen and iMekeM. 
275, 275a Landtoapes, 

327 Th6writet. 

328 Fishwofnan. 
834 Genre scene. 

— Several. 

404 Portrait of Lorenzo de* Medici. 

405 Portrait of a young man, 
416 Child Samud at prayer. 
436 Landscape. 

456 Family group. 

480 Group of smckers. 

481 Ctenre scene, 

482 Girl seated^ pouring ofU wine. 
524,7 Laihdscapee, 

581 Lamdscape, 



THE MUSEE BERNARD is a valuable collection of Dutch and modem 
pictures and numerous copies presented to the town of Montpellier in 1875, 
and at present (October 1876) without a catalogue. ... 
The following list contains the names of the principal masters represented 

here : — 



Berchem, Nicholas. 

Brekelenkamp. 

Brueghel, Jan (Velours) 

Brouwer. 

Obardin. 

Dusart,C 



Goyen, Van. 

Netscher. 

RuysdaeL 

Schalken. 

Wouwerman. 

Zorg. 

Also a few French works by Descamps and Lancrei. 



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FABI8: THE LOUVBE. 



867 



THE GALLEBT OF THE LOUVBE AT PARIS. 

CATALoevs or 1878. 

PurfiMM Uit ewmiued in 1879. 

FiBST Past. — Italicm and Spanish Schools, 





N<h 


Albani, FrauoeBco . 


. . 1 The mm-nal,—SmBn. 


>» >♦ • 




»» »> • 


. . 11 The cmpids disarmed. 


>» »» • 


. . 12 Adonis, Venus, and cupids: — ^And oth^m. 


Albertinelli, Mariotto 


. . 16 S, Jerome adoring the Madonna, 


Alloii, Gristofano . 


. . 22 IsabeOa of Aragon before Charles VIIL 


Almmo, Niccolo 


. . 23 Six scenes from (he Ufe of Christ. 


Angelioo, Fra . . 




Anselmi, Michael Angdo . 86 Madowna with saints. 


Antonello da Messina 


k . . 37 MaUportraU, 


Barocci,F. . . . 


. . S2 The Cirewmcision. 


99 • • . 


. . 53 Madonna in glory with saints. 


Bartolommeo, Fra . 


. . 5Q The Salutation. 


>♦ ♦> 


. . 51 The marriage of S, Catharine. 


Bartoli, T. * . . 


. . 55 & Peter. 


Bassano, Jacopo 


. . 298 The marriage at Cana. 


v» n • 




Bellini. Gentile . . 


. . 59 PoHraiU of himself and his brother. 


»7 M • • 






stwitinopie. 


9, Gioyanni 


.4. 61 Madonna with two saints. . 


Beltraffio. . . . 


. . 72 Madonna with donators. 


Boui&zio. . . . 




9% .... 




Bordone, Paris , . 


. . 82 MalepoHrait. 


Borgognone, Ambro^ 


rio . 84 Presentation in the temple. 


Botticelli, Sanclro . 


. . 184 Madonna and S. John. 


Bronzino, Angelo . 


. . 87 Male portrait. , . 


Cagnacci, Guido 


. . 108 John Baptist. 


Canale, A. (Canaletl 


o). . 105 View of S. Salute. 


Cantarini .... 


. . 110 Bepose of the Holy family. 


Oaracci, Annibale 


. . . 119 The Madonna of the " Cherry.*' 


9* 99 ' 


. . 120 Madonna. 


»♦ >» * 


. . . 121 The Madonna appearing to S. Luke. 


»» » 


, . . 123 Dead Christ. 


9i a 


, . . ISO S. Sebadian. 


99 f» 


. • . 132 Diana and Calisto. 


»» >» 


» . . 134 The fishing. 



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PABI8: THE LOUVBE. 



Garaooi, Annibale • , 
„ Lodovico . . 
Carayaggio (Amerigbi) 



Garpaocio, Yittore 
Cimabue . . . 
Cima da Oonegliano 
Gorreggio (Allegri) 

»» »> 

Oosta, Lorenzo 
Gredi, Lorenzo di 



Bomenichino (Zampieri) 



Doesi, D0880 

Ferrari, Grandenzio . , . 
Feti, Domenico .... 
Florentine School, 15th 

century 

Francia, F. (Baibolini) 

Gaddi, Agnolo .... 

„ Taddeo .... 

GaroMo (Tieio) . . . . 

Gentile da Fabriano . . 



"■.{ 



Ghirlandajo, Domenico 
Giordano, Luca . . 
Giorgione (Barbarelli), 
attrib. • 

Giotto da Bondone . 
Gozzoli, Benozzo 
Guardi, Francesco . 



Guercino (Barbierl) 



No. 

135 The hunting, — ^And others. 

139 Madonna. 

25 ThefoHune-tdler. 

26 A concert. 

27 Portrait of the Chrand Master of Malta. 
113 iSL Stephen prea^ihing. — Lijured. 

153 Madonna with angeU, 
152 Madonna toith saints. 

19 Mystie marriage of 8, Catharine. 

20 Antiope a,steep. 

154 Court of Isabella d^Este. 

156 Madonna with saints. 

157 Noli me tangere. — Beplica of No. 1150 in 

the Uffizi. 

469 Adam and Eve. 

470 David playing the harp. 

473 The ecstasy of 8. Paul. 

474 8. CecUia. 

477 The triumph of love. 

478 RinalAo and Armida. — ^And others, 
167 Hdy family.— SmaW. 

Ill 8. Paid in meditation. 
180 Figure of Melancholy. 

496 Madonna enthroned with saints. 

306 A Nativity.— Bmall. 

307 The Crucifixion.— Reeiboied. 

187 Annunciation, 

188 PredeUa in three parts. 
412, 13, 14 Small works. 
415 Madonna. — And others. 

170 Presentation in the tomple. — PredeUa of 

Adoraiion in tiie Brera Ko. 155. 

171 Madonna. — Small. 

202 The visit of Mary to Elieaheth. 

191 Mars and Venus. — Small. 

38 Soly family with saints and donator. — 

By Pellegrini da San Daniele: G. and C. 

39 Bustio concert.— Not genuine.- 

192 8. Francis of Assisi* 

199 Triumph of 8. Thomas Aquinas. 
208 Doge going in state to the 8aXute. 

211 Doge going in state to 8. Za4iharia8. 

212 Interior in ^the ^Ducai Palace.— And 

others. • • • 

40 Lot and his daugldevs. - 



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FARI8: THE LOUVER 



369 



Gueroino (Barbieri) . 


No. 


»» »> 


. . 46 Madonna and patron taint of Modena, 


11 » • 


. . 48 aree. 


»» >» • 


. . ^9 Hi8 0umpoHrait 


99 »» • 


. . 51 8, CecUia. 


Italian Schools, 16th 


cen- 523 Portrait of a young man.— This has been 


tury. 


assigned to Baphael, Bugiardini, Franoia 




and Franoia Bigio. 


Lippi, Fra Filippo . 


. . 221 Madonna vnth saints.— The predella is in 




the Florentine Academy, No. 42. 


attri 


b. . 220 A Nativity,-Uay be by the PeseUi: C. 




andO. 


Lotto LoroDZo . . 


. . 227 i9. Jerome in {he desert. 


Laioi, Bernardino . 


. . 230 HolyfamUy, 


fj n 


. . 231 Madonna. 


99 »» 


. . ^2 8al(me Wiethe head of ihe Baptist. 


»> 99 


. . — Several good frescoes in a room adjoining 




the Salon Carr^. 


Mainardi, 8. . . 


. . 243 EdyfamUy. 


Mantegna, Andrea . 


. . 250 Christ between the two thieves. 


» w 




W 99 


. . 252 The Parnassus. 


w »> • 


. . 253 ExpuUUm of the Vices. 


Maratta, Carlo . . 


. . 256 Female p&rtrait. 


Mola, Pietro Franc 


. . 268 I%6 Baptist preaching. 


» M » • 


. . 269 Vision of 8. Brum. 


Montagna, B. . . 


. . 270 Ecce Homo. 


Moretto (Uonviciuo) 


. . 78, 9 SainU. 


Palma Vecchio . . 


. . 274 Adoration of the shepherds. 


Palmezzano, Marco . 


. . 275 il dead Christ. 


Panini, Giovanni . 


. . 283 Interior of 8. Peter*s at Rome. 


»» >♦ 


. . 284 Concert given at Eomcy Ac. 


»f >» 


. . 285 Piazza Navona at Borne. 


Ptrrugino . . . 


. . 426, 7 Madonna with sainU. 


>9 ... 


. . 429 C<mAat between Love and Chastity. 


Pesellino • . . 


. . 287 Part of a predella. — ^The remainder is in 




the Florentine Academy, Ko. 48. 


Pie^o di Gosimo 


. . 289 Coronation of the Virgin. 


Pietro da Cortona . 


. . Qi BiHh of the Virgin. 


>» » 


. . 66 HolyfamUy. 


19 » * 


. . 67 Madonna and 8. Martin. 


»> »> 


. . 69 DidaafuJJS'necu.— And others. 


Pinturicchio, B. . 


. . 290 Madonna and saints. 


Piombo, S. del . . 


. . 229 Visitation of the Virgin. 


Pontormo (Carucoi) . 


. . 1 3 Portrait of a man. 


Procaocini, G. C. . 


• . 305 Madonna and saints. 




2 B 



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370 



PABT8: THE LOVVBR 



BafGftellino del Garbo 
Bapbael Sanzio . 



attrib. 



Beni, Gnido 



Eioci, Sebastiano 

>» w 

Bicoio, Felice 
Bomano, Giulio 

»» »> 

Bosa, Salvator 



Bosselli, Cosimo 

Sacobi, P. F. 

Sarto» A. del (Yannuocbi) 



Sassoferrato • 

Signorelli, Luca 
>» » 

»> »> 

Solano, Andrea 



Spada, Lionello 
Spag^a, Lo . 



Tiarini, Alessandro 
Tiepolo, G. B. . 
Tintoretto (Eobusti) 
Titian (VeceUio) . 



No. 

189 Coronation of the Virgin. 

362 Madonna^ ** La heUe Jardinitre."* 

363 Madonna in adoration. 

364 Holy family. 

368 8. Jtftc^ocZ.— Small. 

369 8. (:?eor^«.— Small. 

370 8. Michael overcoming 8atan. 

371 Balthcuar Castiglione. 

373 Princess of Aragon. — Cbiefly by Giulio 

Bomano. 

374 Portrait group. 

372 Portrait of a young man, — ^By Francia 

Bigio : 0. and C. 
318 Eoce Homo. 
319, 20 Magdalen. 
321 8. Sebastian. 

324 C<mhai of Hercules. 

325 Nessus and Dejanira. 

327 T^c raj)c o/ ^cfen.— And others. 

331 Polyxenes before the tomb of Achilles. 

332 The continence of Scipio. 
334 Holy family. 

291 TheNativUy. 

293 Triumph of Titus and of Vespasian. 

344 A large batHe-piece. 

345 Landscape. 

347 Madonna in glory. 

354 The doctors of the c^wrcfe.— Dated 1516. 
379 CharUy. 

380, 1 Holy families. 

355 The Madonna. 

356 Assumption of the Virgin. 

389 Birth of the Virgin.^ A predella. 

390 Adoration of the magi. 

391 Group of figures. 

394 The Madonna "ot* Coussin vert.** 

395 Portrait of Charles d*Amboise. 

396 The Crucifixion. 

397 Head of the Baptist— TMed 1607. 
400 Martyrdom of 8. Christopher, 

403 The birth of Christ 

404 Madonna. 

410 The repentance of 8. Joseph. 

411 Last /S^tfpper.—Small. 
337 His own portrait 
439 Madonna with saints. 



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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 



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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 



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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. 



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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 



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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. 



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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. 



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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 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. 



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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. 



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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. 



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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, 



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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. 



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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 



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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 



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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 



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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. 



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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. 



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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 



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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 



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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 



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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. 



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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 



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INDEX, 



439 



Yeniziano, Lorenzo, 15 ; Works of, 213, 

229, 265, 267 
Yeniziano — see Bonifazio. 
Yenne, A. van der, 141 ; Works of, 304, 

311,' 376 
Yenusti, Marcello, Works of, 233 
Yerboom, A., Works of, 292, 353 
Yerdier, Works of, 380 
Yerdussen, Works of, 392 
Yerkolye, J., Works of, 292, 304, 376 
Yernet, Claude J., 186 ; Works of, 224, 

242, 289, 321, 331, 340, 346, 362, 380, 

385, 404 
Yerona, School of, 14th century, 14 
„ „ 15th „ 36 

„ Pinacoteca, 268 
„ Liberale da— see Liberale. 
„ Stefano da. Works of, 248 
Yeronese, Paolo, 69, 70; Works of, 

217, 224, 225, 231, 242, 246, 247, 256, 

263, 266, 267, 268, 269, 277, 304, 311, 

321, 324, 331, 332, 336, 337, 344, 346, 

351, 362, 365, 371, 388, 404, 421 
Yeronese — see Avanzi. 
Yerrocchio, Andrea, 21 ; Works of, 

213, 235, 304, 421 
Yerspronck, 120; Works of, 285, 304 
Yerwilt, F., Works of, 346 
Yicentino, Girolamo, Works of, 267 

„ Andrea, Works of, 266, 267 
Yicenza, School of, 15th century, 36 
,, Palazzo Chiericatl, 270 
„ Battista da, Works of, 270 
Yictors, J., Works of, 284, 304, 306, 365 
Yien, 186 ; Works of, 380 
Yienna, Academy, 336 
„ Belvedere, 337 
„ Czemin, 345 
„ Harrach, 346 
„ Liechtenstein, 346 
Yinci, Leonardo da, 43; Works of, 

213, 216, 224, 228, 231, 232, 237, 243, 

254, 255, 294, 321, 332, 371, 392, 404, 

421 
Yitale da Bologna, 14 ; Works of, 210 
Yiti, 55 ; Works of, 210, 212, 231, 242, 

304 
Yivarini, Giovanni, 30; Works of, 

231, 266 
Yivarini, Antonio, 30 ; Works of, 208, 

210, 231, 266, 304, 404 
Yivarini, Bartolommeo, 30 ; Works of, 

208, 210, 233, 266, 304, 338, 404 
Yivarini, Luigi, 30; Works of, 233, 

266, 267, 304, 337 
Vlieger, Simon de, 141 
Vliet, H. van, 141 ; Works of, 282, 288, 

292, 304, 311, 336, 348 
Vols. Adi-ian de, Works of, 282, 311 



Yois, Ary de. Works of, 376 
YoUerra, Francesco da, 10 ; Works of, 

240 
Yolterra, Daniele da, 49 ; Works of, 

224, 348, 371 
Yos, Martin de, 104; Works of, 224, 

273, 277, 304 
Yos, Comelis de, 104 ; Works of, 273, 

277, 304, 311, 332, 335, 354 
Yos, Simon de, Works of, 304 
Youet, 176 ; Works of, 232, 243, 277, 

353, 380 
Yries, A. de. Works of, 365 
Yroom, 141 ; Works of, 285 
Yuez, A. de, Works of, 365 

Walker, 192 ; Works of, 392, 408, 422 
Waterloo, 141 ; Works of, 332 
Watteau, 183; Works of, 224, 304, 321, 

322, 332, 362, 380, 382, 385, 388, 409, 

422 
Weenix, Jan, 125 ; Works of, 277, 284, 

288, 304, 311, 322, 324, 332, 336, 350, 

376, 422 

Weenix, J. B., Works of, 273, 277, 282, 

345,353 
Werff, Yan der, 134 ; Works of, 224, 

263, 282, 288, 304, 311, 322, 332, 342, 

346, 349, 353, 376, 385, 388, 422 
West, 200 ; Works of, 393, 406 
Weyden, Rogier van der, 98, 99 ; 

Works of, 224, 273, 277, 289, 304, 

322, 324, 332, 343, 344, 350, 362, 394, 

405 
Wicar, J. B., Works of, 365 
Willaerts, Works of, 292, 304 
Wilson, 198 ; Works of, 385, 406 
Witte, J. de. Works of, 311 

„ Em. de, Works of, 277, 284, 292, 

304, 336, 346, 405 
Witte, C. de, Works of, 353 
Wohlgemuth, 147. 152 ; Works of, 294, 

313, 332, a33, 334, 394 
Wouwerman, Philip, 136; Works of, 

263, 273, 282, 285, 288, 290, 304, 31 f , 

322, 332, 336, 342, 345, 353, 362, 377, 

381, 385, 405, 422 
Wouwerman, Pieter, 136 

„ Jan, 136 

Wright of Derby, 198; Works of, 393, 

394, 406, 408 
Wright, Michael, 202 ; Works of, 408 
Wyck, T., Works of, 231, 282, 292, 311 
Wynants, 135; Works of, 273, 277, 

282, 284, 288, 289, 324, 332, 340, 366, 

377, 385, 405, 422 ' 

Zachleven, Works of, 263 
Zaganella, Works of, 234 



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INDEX, 



Zanredam. P., Works of, 262, 292 

Zeeman, Works of, 311 

Zeitblom, 147 ; Works of, 294, 304, 305, 

332,335,350 
Zen&le, Bernardo, Works of, 231 
Zereso, Matteo, Works of, 289, 297, 311 
Zingaro— «^« Solario. 
Zofnuiy,202 
Zoppo, Marco, 41 ; Works o^ 405 



Zorg, Works of, 282, 284, 292, 311, 

377 403 
Zuccarelli, 202: Works of, 231, 352, 

385 
Zucchero, F., Works bf, 245, 253, 393. 

408 
Zurbaran, 164; Works of, 294, 305, 

322, 332, 354, 355, 362, 363, 372, 388, 

405,422 



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