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PURCHASED  FOR  THE 

UNIVERSITY  OF  TORONTO  LIBRARY 

FROM  THE 

CANADA  COUNCIL  SPECIAL  GRANT 


m 


FOR 

HISTORY  OF  ART 


CATALOGUE 

OF 

DUTCH  AND  FLEMISH  DRAWINGS 


CATALOGUE 

OP 

DRAWINGS 

BY 

DUTCH  AND  FLEMISH  ARTISTS 

PRESERVED  IN   THE 

DEPARTMENT  OE  PRINTS  AND  DRAWINGS 

IN   THE 

BRITISH    MUSEUM 


VOL.  V 

DUTCH  AND  FLEMISH  DRAWINGS  OF  THE 
XV  AND  XVI  CENTURIES 

BY 

A.  E.  POPHAM,  B.A. 

ASSISTAirr-KEEPER   IN   THE   DEPARTMENT  OF   PRINTS   AND   DRAWINGS 


PRINTED  BY  ORDER  OF  THE  TRUSTEES 

SOLD  AT  THE  BRITISH  MUSEUM 

AND   BY 

^Messrs.  Bernard  Quaritch,  Ltd.,  11,  Grafton  Street,  W.  1 ; 

Oxford  University  Press,  Amen  Corner,  E.G.  4; 

Messrs.  Kegan  Paul,  Trench,  Trubner  &  Co.,  Ltd.,  38,  Great  Russell  Street,  W.C.  1. 

1932 
l^All  rights  reserved^ 


MAPK  AHD  PSWTED  IS  OBKAT  BWIAIB  BV 
WlUJAM  CtOWW  ASP  SOWS,  LiMITEP,  IXWTOOK. 


NC 


B7 


PREFACE. 


The  fifth  and  final  volume  of  the  Catalogue  of  Drawings  by  Artists  of 
the  Netherlands,  entirely  written  by  Mr.  A.  E.  Popham,  completes  a 
work  of  which  the  first  four  volumes  are  from  the  pen  of  Mr.  A.  M.  Hind. 

Though  in  historical  order  it  might  have  been  expected  that  the 
volume  describing  drawings  of  the  XV  and  XVI  Century  should  be  the 
first  and  not  the  fifth,  it  was  explained  in  the  preface  to  Volume  I, 
published  in  1915,  that  the  necessity  for  prolonged  and  careful  research 
required  that  the  appearance  of  this  section  should  be  deferred  to 
the  end. 

Mr.  Popham  has  fully  explained  in  his  Introduction  the  system 
on  which  the  results  of  his  minute  study  of  the  early  Dutch  and  Flemish 
drawings  in  the  Department  are  presented  to  the  reader. 

CAMPBELL  DODGSON. 


TABLE     OF    CONTENTS. 


Introduction 

Chronological  List  of  Artists  ....... 

Notes  on  the  Method  Followku  in  thk  Cataloouk  . 

List  op  Works  Consulted         ....... 

Catalogue — 

I.  Drawings  by  known  Artists  of  the  XV  and  earlier  XVI  Century 

II.  Anonymous  Drawings  of  the  XV  and  earlier  XVI  Century  : 

A.  Flemish  School        ....... 

B.  Dutch  School 

III.  Drawings  by  known  Artists  of  the  later  XVI  Century    . 

'     IV.  Anonymous  Drawings  of  the  later  XVI  and  beginning  of  the 
XVII  Century  : 

A.  Flemish  School        ..... 

B.  Dutch  School 

V.  Natural  History  Drawings  .... 

VI.  Anonymous  unmounted  Drawings  of  the  XV  Century 

Corrections,  Annotations  and  Additions 
Index  of  Artists 
Index  op  Subjects 
List  op  Plates 
Plates  I-LXXXIII     . 


PAGE 
IX 

xiii 

XV 

XV  ii 


59 
79 

89 


199 

206 

208 
221 
226 
231 
235 
247 
257 


INTRODUCTION. 


In  the  picture  at  Munich  attributed  to  Roger  van  der  Woydeu  of  St.  Luke 
painting  the  Virgin  and  Child  the  saint  is  represented  making  a  minute 
study  of  the  divine  group  with  silver  point  on  a  tablet.  The  medium 
employed  by  the  Evangelist  was  certainly  that  commonly  used  by  the 
painter  of  the  picture,  his  predecessors  and  his  contemporaries,  and  may  be 
regarded  as  the  characteristic  graphic  method  of  the  XV  Century  in  the 
Netherlands.  Such  detailed  studies  of  heads  and  figures  would  probably  be 
made  after  the  painter  had  sketched  the  composition  of  his  picture  as  a  whole, 
and  would  serve  as  studies  from  which  to  work  on  the  panel.  But  the  actual 
surviving  drawings,  having  such  a  relation  to  known  pictures,  can  be  counted 
on  the  fingers  of  one  hand.  In  the  case  of  Jan  van  Eyck  there  is  the  unequi- 
vocal study  for  the  portrait  of  Cardinal  Albergati ;  in  that  of  Roger  van  der 
Weyden  the  study  of  the  Magdalene  (in  the  present  collection)  for  the  Louvre 
triptych.  Such  connections  are  the  only  ones  which  can  afford  us  a  solid 
basis  for  the  attribution  of  XV  Century  drawings  :  tradition  is  either  non- 
existent or  obviously  quite  valueless.  But  these  connections  with  pictures 
are  so  few  that  it  is  impossible  by  their  help  to  di.stinguish  the  varying  hands 
responsible  for  what  drawings  have  survived.  We  can  only  say  that  a 
drawing  is  in  the  style  of  a  particular  painter  or  group  of  paintings  ;  we  can 
never  be  certain  that  it  is  by  the  hand  of  the  master  himself,  though  more 
frequently  its  quality  enables  us  to  say  definitely  that  it  is  a  copy. 

In  addition  to  silver  point,  pen  and  ink,  and  less  frequently  black  chalk, 
were,  of  course,  employed  in  the  XV  Century,  but  these  materials  would  be 
used  more  for  composition  studies  or  sketches.  Such  composition  studies 
are  even  rarer  than  the  silver  point  detail  studies,  and  I  can  recall  no  instance 
of  one  which  certainly  served  as  a  preparation  for  a  known  picture.  Drawings 
of  the  type,  of  less  obvious  beauty  and  delicacy  of  execution,  were  even  less 
likely  to  survive.  When  their  purpose  had  been  served,  they  would  be  thrown 
aside  and  perish.  In  the  Netherlands  there  was  little  of  the  personal  interest 
in  artists  which  in  Italy  was  a  factor  in  preserving  drawings.  The  artist  was 
for  the  most  part  an  anonymous  craftsman,  and  his  drawings  were  only- 
treasured  by  his  successors  in  so  far  as  they  seemed  likely  to  be  of  use. 
Utilitarian  motives  account  for  the  preservation  of  finished  drawings  and 
cartoons,  especially  of  those  for  glass  and  tapestry.  Of  the  rest  most  have 
perished,  so  that  our  view  of  draughtsmanship  in  the  Netherlands  during  the 


Introduction. 


XV  Century  must  be,  not  only  fragmentary,  but  lop-sided.  Wc  have  no 
drawings,  for  example,  which  can  certainly  be  ascribed  to  Dierick  Bouts,  to 
Geertgen  tot  Sint  Jans  or  to  Memling  ;  while  the  attributions  to  Hugo 
van  der  Goes  and  to  Gerard  David,  though  reasonable,  are  not  beyond  dispute. 
Hieronymus  Bosch,  in  fact,  is  the  first  painter  of  whose  original  drawings  a 
considerable  number  has  survived. 

With  the  draughtsmen  of  the  first  half  of  the  XVI  Century  we  are  better 
acquainted,  but  again  the  incidence  of  preservation  is  misleading.  There  is 
still  a  preponderance  of  drawings  for  glass  and  tapestry  and  a  dearth  of  the 
painters'  studies  of  which  such  large  numbers  by  Italian  and  German  artists 
are  preserved.  No  Flemish  or  Dutch  painter  seems  to  have  treasured  and 
arranged  his  own  drawings  with  the  methodical  care  of  a  Diirer,  while  col- 
lectors of  drawings  only  began  to  be  active  in  the  second  half  of  the  century. 
Enough,  nevertheless,  has  been  preserved  to  give  us  a  clear  idea  of  the 
manner  of  drawing  of  the  more  important  masters,  with  the  notable  exception 
of  Quentin  Matsys.  liucas  van  Leyden  (of  whose  drawings  the  British  Museum 
possesses  by  far  the  most  important  collection),  Jan  Gossaert,  Bernard 
van  Orley,  Pieter  Koecke,  Jan  van  Scorel,  and  the  Antwerp  mannerists, 
particularly  the  last-named  group,  are  represented  by  numerous  examples. 
But  the  drawings  of  minor  men  like  Dierick  Vellert,  Jan  Swart,  and  the 
presumed  Ardt  Ortkens,  all  mainly  designers  for  glass  and  hardly  known  as 
painters,  are  very  much  more  numerous. 

The  drawings  of  the  latter  half  of  the  century  are  preserved  in  increasingly 
large  quantities,  and  the  difficulty  here  is  not  lack  of  material,  but  the  absence 
of  any  systematic  study  of  a  period  to  which  little  attention  has  hitherto 
been  devoted.  The  later  XVI  Century  has  been  regarded  as  a  barren  desert: 
with  a  single  oasis,  Pieter  Bruegel,  and  on  him  alone  has  interest  been  focussed. 
But  the  period  between  1550  and  the  emergence  of  Rubens  as  an  artistic  force 
is  now  beginning  to  evoke  the  interest  which  its  historical,  if  not  its  esthetic, 
importance  deserves.  Separate  studies  of  many  of  the  later  Romanists  and 
mannerists,  Floris,  Montfoort,  Goltzius,  Wttewael,  and  others  have  appeared. 
But  a  vast  amount  of  preliminary  research  remains  to  be  done  before  the 
outlines  of  the  various  artists  and  artistic  tendencies  of  the  period  can  be 
drawn  with  clearness  and  precision.  The  most  important  contribution  to  the 
study  of  the  drawings  of  the  later  XVI  Century  is  undoubtedly  the  catalogue 
of  the  Albertina  by  Dr.  Otto  Benesch.  The  drawings  of  the  period  in  this 
collection  are  numerous  and  representative,  their  attributions  in  many 
cases  old  and  obviously  authentic,  so  that  the  material,  admirably  catalogued 
by  Dr.  Benesch,  affords  an  invaluable  basis  for  testing  attributions. 

The  collection  of  drawings  of  the  XV  and  earlier  XVI  Centuries  in  the 
British  Museum  (the  part  covered  by  Sections  I  and  II  of  the  present  cata- 
logue) must  rank  as  one  of  the  three  most  important  existing.  It  is  probably 
surpassed  in  extent  and  interest  by  that  at  Berlin  and  at  least  equalled  by 
by  that  at  Paris,  but  no  other  museum,  with  the  possible  exception  of  the 
Albertina,  can  be  said  to  approach  it.     Its  importance  is  due  less  to  the 


Introduction.  xi 


older  collections  which  formed  the  nucleus  of  the  Museum,  than  to  judicious 
purchases  extending  from  the  time  of  the  Lawrence  and  Woodburn  sales  in 
1854  and  1860  up  to  the  present  time.  The  drawings  from  the  Sloane 
collection,  numbering  about  forty,  are  on  the  whole  disappointing  ;  they 
include  a  drawing  by  Gossaert  (No.  1),  two  drawings  by  Orley  (Nos.  2  and  3), 
one  by  Scorel  (No.  2),  and  some  interesting  anonymous  Flemish  drawings 
(Nos.  7,  8,  11  and  12) ;  the  collection  bequeathed  by  William  Fawkener  in 
1769  comprised  two  roundels  by  Jacob  Cornelisz  (Nos.  1  and  2)  and  one 
important  anonymous  Flemish  drawing  (No.  6),  while  the  bequests  of  the 
Rev.  C.  M.  Cracherode  and  of  Richard  Payne  Knight  added  a  few  drawings 
of  importance,  the  latter  especially  the  beautiful  drawing  of  the  Magdalene 
by  Roger  van  der  Weyden  (No.  2)  already  referred  to. 

The  purchases  at  the  Woodburn  and  Lawrence  sales  included  a  drawing 
by  Bosch  (No.  1),  one  by  Pieter  Koecke  (No.  2),  and  one  attributed  to 
Memling  (No.  1),  as  well  as  the  outstanding  Antwerp  drawing  of  the  Madonna 
painted  by  St.  Luke  (Anon.,  No.  22).  From  the  Hugh  Howard  collection, 
sold  in  1874,  came  the  portrait  of  a  young  woman  by  Roger  van  der  Weyden 
(No.  1),  and  from  the  Fountaine  sale  in  1884  the  three  silver  point  drawings 
of  Roger  van  der  Weyden's  school  (Nos.  3-5)  ;  from  the  Sunderland  sale  of 
1883  the  lovely  miniaturists'  drawings  (Anon.,  Nos.  1  and  13).  But  the 
most  important  single  acquisition  was  that  in  1892  of  the  album  of  Lucas 
van  Leydeu  drawings,  which  contained  seven  undoubted  originals,  four  of 
quite  outstanding  beauty,  by  this  master,  as  well  as  drawings  of  exceptional 
interest  by  other  artists.  The  contribution  of  the  Malcolm  collection,  which 
was  acquired  by  the  British  Museum  in  1895,  to  the  series  of  early  Dutch  and 
Flemish  drawings,  though  not  so  remarkable  as  that  to  other  sections  of 
the  department,  was  still  very  great.  It  contained  such  unique  examples  as 
the  wonderful  portrait  of  a  gentleman,  ascribed  to  Jan  van  Eyck  (No.  1),  the 
exquisite  Grerard  David  study  of  a  monk  (No.  1),  the  Religious  Procession 
of  the  school  of  Roger  van  der  Weyden  (No.  6),  and  the  anonymous  drawings 
of  the  Adoration  of  the  Kings  (No.  3),  the  Two  Ladies  (No.  10),  and  the 
St.  Augustine  (No.  69).  The  acquisition  of  single  drawings  or  groups  of 
drawings  since  that  dat«  by  gift,  by  licquest,  or  by  purchase,  has  continued 
and  includes  the  signed  drawing  by  Jan  de  Beer,  of  unique  historical  interest, 
the  fine  Antwerp  drawing  of  St.  Jerome  (Anon.,  No.  22),  the  signed  landscape 
by  Jan  Scorel  (No.  1),  no  less  than  nine  roundels  by  Dierick  Vellert,  Bernard 
van  Orley 's  Dives  and  Lazarus  (No.  1),  Jan  Gossaert's  Woman's  Bath  (No.  2), 
and,  most  recent  of  all,  Jan  de  Beer's  Aristotle  and  Phyllis  (No.  3). 

The  later  XVI  Century  drawings,  in  contrast  to  the  earlier  ones,  derive 
more  largely  from  the  old  Museum  collections.  The  most  generously  repre- 
sented single  artist  in  this  section  is  the  otherwise  practically  unknown  Arent 
van  Bolten  of  ZwoUe,  by  whom  there  are  over  400  drawings  in  an  album 
coming  from  the  Sloane  collection.  That  collection  also  accounts  for  the 
similarly  bound  album  of  natural  history  drawings  with  145,  mostly  Flemish, 
and  for  78  other  drawings  in  the  mounted  series,  very  few  of  which,  however. 


xii  Introduction. 


are  of  outstanding  quality.  The  few  Payne  Knight  drawings  have  more 
distinction,  but  again,  as  in  the  earlier  section,  the  most  important  single 
drawings  are  comparatively  recent  acquisitions.  Three  out  of  the  four 
certainly  original  Bruegel  drawings  are  recent  purchases,  and  the  best  out  of 
the  fine  series  of  Goltzius  drawings  come  from  the  Malcolm  collection. 

But  with  the  exception  of  the  drawings  of  these  two  artists  it  must  be 
confessed  that  the  series  of  later  XVI  Century  drawings  is  by  no  means  equal 
in  quality  to  that  of  the  earlier  ones  taking  into  account,  of  course,  the  fact 
that  the  artists  themselves  are  of  less  account.  Not  only  do  many  of  the 
drawings  fall  below  the  standard  of  achievement  of  which  these  artists  were 
really  capable,  but  their  attribution  is  most  uncertain.  A  large  proportion  of 
them  is  entered  in  the  general  inventory  made  in  1837  without  name  or  even 
nationality.  Attributions  first  appear  in  the  separate  MS.  catalogues  of  the 
old  collections,  Sloane,  Fawkener,  Cracherode  and  Payne  Knight,  which  are 
dated  1845.  Unless  the  compiler  of  these  catalogues  had  access  to  traditional 
information  not  recorded  in  the  inventory  of  1837,  he  must  have  invented 
the  attributions,  which  are  in  many  cases  obviously  absurd,  but  in  some 
speciously  misleading.  In  only  a  few  instances  are  his  shots  even  reasonably 
near  the  mark. 

The  present  volume,  which  has  been  in  preparation  for  some  considerable 
time,  follows  in  its  general  arrangement  that  of  the  preceding  volumes  by 
Mr.  A.  M.  Hind.  Though  the  problems  confronting  the  student  of  the  earlier 
drawings  differ  from  those  which  face  the  student  of  the  XVII  Century,  it 
seemed  better  to  conform  to  the  alphabetical  arrangement  already  familiar 
by  usage.  But  from  many  points  of  view  the  arrangement  by  schools 
adopted  by  Dr.  Benesch  in  his  catalogue  of  the  Albertina  drawings  of  the 
same  period  is  a  more  satisfactory  one.  The  actual  names  of  so  many  artists 
are  unknown  that  the  section  of  anonymous  drawings  remains  dispropor- 
tionately large  and  some  sort  of  classification  of  these  by  schools  has  to  be 
attempted.  From  this  classification  similar  drawings,  which  happen  to  be 
named,  are  separated.  The  division  into  periods  also,  necessary  and  helpful 
as  it  is  on  the  whole,  must  give  rise  to  anomalies  in  detail,  and  I  am  conscious 
that  these  have  not  been  entirely  avoided  in  the  present  volume. 

I  am  under  obligation  to  numerous  scholars  in  England  and  abroad  for 
valuable  suggestions  and  help  of  various  kinds,  and  such  obligations  are,  as 
far  as  possible,  acknowledged  in  detail  in  the  text  of  the  catalogue.  Finally, 
every  student  of  early  Flemish  art  in  general  is  under  a  constant  debt  to 
Geheimrat  Max  J.  Friedlander,  whose  researches  have  done  so  much  to 
elucidate  the  history  of  painting  in  the  Netherlands  in  the  XV  and  early 
XVI  Centuries. 


CHRONOLOGICAL   LIST   OF  ARTISTS  ARRANGED 
ACCORDING  TO  DATE  OF   BIRTH. 


An  artist,  whose  date  of  birth  is  not  even  approximately  known,  is  place<l 
as  if  bom  twenty-five  years  liefore  the  first  known  date  of  activity. 


Datkh. 
b.  1390  ?.  d.  1441 
b.  1400  ?.  d.  1464 
b.  1445  r.  d.  1404 
b.  1450.  d.  l.^>16 
b.  1460  ;.  d.  1523 
b.  1468,  d.  1533 
b.  1470  ?.  d.  1553 
b.  1475  ?.  d.  before  1536 
b.  1478  ?.  d.  about  1535 
b.  1485  ?.  d.  after  1544 
Worked  about  1513  31 
b.  1490?.  d.  after  1542 
b.  1403.  il.  1542 
b.  1404.  d.  1533 
b.  1405.  d.  1562 
Worked  about  1532  1553 
b.  140M.  d.  1562 
b.  1408.  d.  1574 
b.  1490.  d.  1502 
b.  1500.  d.  1550 
b.  1500  ?.  d.  1554 
b.  1502.  d.  1550 
Worked  1527-1.553   . 
b.  1606.  d.  1566 
b.  1608.  d.  1.573  ?      . 
b.  1500,  d.  before  1548 
b.  1610  ?,  d.  1570 
b.  1510  ?.  d.  1500      . 
Worked  1538-1540   . 
b.  1614,  d.  1575 
b.  1518  ?,  d.  1570 
b.  1618  ?.  d.  1573 
b.  1520,  d.  after  1568 
b.  1620  ?,  d.  1571 
b.  1623.  d.  1605 
b.  1624  T,  d.  1580  ?  . 


XaM1C8. 

.1.  vail  Kyek. 

K.  van  der  Weyden. 

H.  Memling. 

H.  lloath. 

C.  David.. 

V.  KngebrechtMz. 

.1.  Comeliiut. 

.1.  de  Beer. 

J.  Cioasaort. 

1).  Vellert. 

\.  OrtkenH. 

V.  ConieliMZ. 

H.  van  Orley. 

L.  van  Leydeii. 

J.  van  Score!. 

.1.  Swart. 

.\.  Claen. 

M.  HeeinHken-k. 

.M.  Coxeie. 

.1.  C.  Venneyen. 

J.  van  Ainatel. 

P.  Koeeke. 

C.  Teuniaaen. 

L.  Lombard. 

I*.  Aertsen. 

M.  Cock. 

H.  Cock. 

A.  de  Weerdt. 

V.  Sellaer. 

C.  Florin. 

F.  Floris. 

H.  Liefrint-k. 

L.  Sustris. 

L.  van  Noort. 

J.  van  der  Street. 

C.  van  den  Broeck. 


xiv.     Chronological  List  of  Artists  arranged  according  to  Bate  of  Birth. 


Dates. 
b.  1525  ?,  d.  1590   . 
b.  1525  ?,  d.  1589   . 
b.  1527,  d.  after  1604 
b.  1530  ?,  d.  1569   . 
b.  1531  or  2,  d.  1609 
b.  1532,  d.  1583 
b.  1534,  d.  1593 
Worked  from  1561,  d.  1590  ? 
b.  1540,  d.  1619 
b.  1540  ?,  d.  after  1599 
b.  1540  ?,  d.  after  1620 
b.  1542,  d.  1600 
b.  1544,  d.  1607 
b.  1544  ?,  d.  1628   . 
b.  1545,  d.  1581 
b.  1546,  d.  1611 
b.  1548,  d.  1606 
b.  1549  ?,  d.  after  1615 
Worked  1575 
b.  1554,  d.  1626 
b.  1556,  d.  1629 
b.  1558,  d.  1617 
b.  1560  ?,  d.  1591   . 
b.  1561,  d.  1631 
b.  1562,  d.  1638 
b.  1562,  d.  1641 
b.  1564,  d.  1635 
b.  1564,  d,  1651 
b.  1565,  d.  1607 
b.  1565,  d.  1629 
b.  1565  ?,  d.  1637   . 
Worked  about  1590-1600 
b.  1566  ?,  d.  1638   . 
b.  1567,  d.  after  1630 
b.  1569,  d.  1625 
b.  1570,  d.  1629 
b.  1570  ?,  d.  1629   . 
Worked  1595-1612  . 
b.  1571,  d.  1628 
b.  1571,  d.  1631 
Worked  1596,  d.  after  1616 
Worked  1597,  d.  1629 
b.  1573,  d.  1647 
b.  1573,  d.  after  1649 
b.  1578.  d.  1629 
Worked  1605  ? 
Worked  1605  ? 
b.  1581,  d.  1642 


Names. 
J.  Grimmer. 
H.  de  Cleef. 
•T.  Vredeman  de  Vries. 
P.  Bruegel  I. 
M.  de  Vos. 

A.  van  Montfoort. 
H.  Bol. 

W.  P.  Crabeth. 
D.  Calvart. 

F.  Sustris. 
P.  Stevens. 
J.  Hoefnagel. 

G.  van  Coninxloo. 
P.  de  Witte. 

F.  Pourbus  I. 

B.  Spranger. 

K.  van  Mander  I. 
J.  Wierix. 
J.  Speckaert. 
P.  Bril. 
O.  van  Veen. 
H.  Goltzius. 
J.  de  Backer. 
T.  Verhaeght. 

C.  Cornelisz. 
A.  van  Noort. 
J.  de  Momper. 
A.  Bloemart. 
J.  Saenredani. 
J.  de  Glieyn. 

C.  van  de  Passe  I. 
A.  van  Bolten. 

J.  A.  Wttewael. 

P.  Vredeman  de  Vries. 

P.  F.  Isaaksz. 

H.  de  Clerck. 

A.  Sadeler. 

H.  van  der  Elst. 

J.  H.  Muller. 

J.  Matham. 

G.  van  Vakkenboreh. 
F.  van  Valckenborch. 
S.  Vranpx. 

H.  Hondius  I. 

D.  Vinckeboon.s. 
F.  Wyntgis. 

P.  Verboom. 
F.  Francken  II. 


NOTES  ON  THE  METHOD  FOLLOWED  IN 
THE  PRESENT  CATALOGUE. 


The  drawings  catalogued  in  the  present  volume  are  arranged  in  two  main 
divisions  :  the  first  comprises  the  work  of  artists  of  the  XV  Century  and  of 
those  whose  main  activity  falls  in  the  first  half  of  the  XVI  Century ;  the 
second  division  that  of  artists  of  the  later  XVI  Century.  Within  these 
divisions  artists  are  arranged  alphabetically,  anonymous  drawings  of  the 
corresponding  period  being  catalogued  after  each  alphabetical  series.  These 
anonymous  drawings  are  subdivided  into  Flemish  and  Dutch  and  chrono- 
logically arranged  within  these  subdivisions.  The  catalogue  of  later 
XVI  Century  anonymous  drawings  is  followed  by  a  section  dealing  with 
Natural  History  drawings,  which,  though  of  various  periods  and  by  various 
handi!,  are  mounted  together  in  an  album,  and  are  most  conveniently  treated 
in  a  separate  section.  The  catalogue  ends  with  a  section  comprising  copies 
and  drawings  of  minor  importance,  which  have  not  been  mounted  and  which 
forms  what  the  Germans  call  a  "  ztceiie  Garnitur." 

The  dimensions  of  each  drawing  are  given  in  inches  and  centimetres; 
the  first  dimension  cited  referring  to  the  1.  side,  the  second  to  the  lower  side 
of  the  drawing,  except  in  the  case  of  circular  drawings,  where  the  diameter 
is  given,  and  of  drawings  uf  irregular  shape,  where  the  dimensions  are  those 
of  the  greatest  height  and  width. 

The  drawings  catalogued  in  this  volume  are  mounted  in  three  sizes : 

Royal  (22  X  16  inches). 
Imperial  (27  X  20  inches). 
Atlas  (32  X  24  inches). 

By  far  the  greater  proportion  are  on  Royal  mounts,  and,  in  consequence, 
indication  of  size  of  mount  is  only  added  to  the  dimensions  of  drawings  in 
reference  to  Imperial  and  Atlas.  This  indication  of  size  of  mount  has, 
unfortunately,  been  omitted  from  Sections  I  and  II  of  this  catalogue  (printed 
in  1930  and  1931).  The  following  is  a  list  of  the  drawings  mounted  on 
Imperial  mounts  (none  are  on  mounts  of  larger  size)  in  these  two  sections  : 

p.  3.       Amstel,  Jan  van.  No.  1. 
p.  4.      Beer,  Jan  de.  No.  2. 
p.  18.    Gossaert,  Jan,  No.  2. 


xvi       Notes  on  the  Method  Followed  in  the  Present  Catalogue. 

p.  20.  Heeraskerck,  Martin  van,  No.  4. 

p.  24.  School  of  Pieter  Koecke,  Nos.  9-11. 

p.  25.        „        „        „  „       No.  12. 

p.  34.  Orley,  Bernard  van,  Nos.  5,  6. 

p.  42.  Swart,  Jan,  No.  1. 

p.  57.  School  of  Roger  van  der  Weyden,  No.  6. 

p.  74.  Anonymous  Flemish  School,  No.  38. 

In  the  description  of  the  medium  of  each  drawing,  the  terms  light  brown, 
dark  brown,  grey  and  black  ink  are  used  in  place  of  sepia  and  Indian  ink 
employed  in  previous  volumes  of  this  catalogue.  The  term  ink  is  used  to 
indicate  that  the  medium  is  applied  with  the  pen  and  must  not  be  taken  to 
imply  any  particular  chemical  composition. 

Reference  to  watermarks  or  their  absence  is  usually  made,  but  no 
absolutely  consistent  method  has  been  followed.  The  greater  number  of 
drawings  have  been  taken  up  from  their  mounts  and  the  backs  examined, 
but  in  a  number  of  cases,  where  the  sheet  was  heavily  backed  or  of  minor 
importance,  this  was  thought  unnecessary. 

The  Plate  Numbers  given  without  further  reference  under  the  heading 
"  Reproductions  "  in  the  description  of  the  drawings  are  those  of  the  plates 
in  the  present  catalogue. 

Drawings  have  been  selected  for  illustration,  not  for  their  intrinsic  merits 
or  even  for  their  historical  interest,  but  on  the  principle  of  reproducing  those 
which  have  not  before  been  illustrated.  The  exceptions  to  this  rule  are 
mostly  to  be  accounted  for  by  the  fact  that  the  illustrations  to  the  present 
work  were  selected  and  photographed  some  time  ago,  and  have  in  some  cases 
been  published  elsewhere  in  the  meantime.  Where  the  number  of  plates  and 
their  size  were  strictly  limited  it  seemed  better  only  to  illustrate  unpublished 
drawings  rather  than  to  reproduce  again  material  already  available  elsewhere. 
The  plates,  therefore,  give  a  very  misleading  idea  of  the  collection,  as  the 
greater  part  of  the  more  interesting  and  beautiful  drawings  had  already  been 
reproduced. 


LIST   OF  THE  CHIEF  WORKS  CONSULTED  AND 
THE   ABBREVIATIONS   USED   IN   REFERENCE. 


Series  of  reproductions  illustrating  separate  collections  are  not  given  in  this 
list.  They  are  referred  to  as  "  Berlin,"  "  Frankfurt,"  etc., ''  Reproductions," 
and  will  be  easily  identifiable.  Books  and  articles  on  individual  artists  will 
be  found  cited  under  their  names  : — 


Abbreviations  (if  used). 


Title  or  Work. 


B. 


Benescl) 


B«rUn  Catalogue 

Briquet 
FriedUkniier 
Kleinmann 
Lugt 
Malcolm  Cat. 

Pophani    . 
Schdnbrunner-Meder 

Thieme-Becker 

Van  Mander 

Vasari 

Wurzbach 


Adam  Bartach,  Le  Petntre  Graveur.  21  vols.  Vienna, 
1803-21.     (Dutch  and  FlenuHh  Schools.  Vols.  I-V.) 

Beachreibender  Katalog  der  Handzeichnungen  der  graph- 
iachen  Sainmlutig  Albertiiia.  Band  II.  Die  Zeichnungen 
der  Niederlandisi-heii  Schulen  des  XV  und  XVI  Jahr- 
hundert«.     Bearbeitet  von  Otto  Benesch.    Vienna,  1928. 

Staatliche  Museen  su  Berlin.  Die  NiederlAndiwhen  Meister. 
Beachreibendea  VeneichniH  HAmtlicher  Zeichnungen  mit 
220  Lichtdnicktafeln.  Bearbeitet  von  Klfried  Bock  und 
Jacob  Roaeoberg.    2  BAndo.    Berlin.  1930. 

C.  M.  Briquet,  Lea  Filigranea.  Dictionnaire  historique  dea 
marquee  de  papier.     4  vols.     Paria,  etc.,  1907. 

M.  J.  Friedl&nder.  Die  AltniederlAndiache  Malerei.  9  vols. 
1924,  etc.  (in  progreaa). 

Handzeichnungen  alter  Meister  der  Holl&ndischen  Schule. 
Published  by  H.  Kleinmann  and  Co.    Haarlem,  n.  d. 

Frits   Lugt,    Lea   Marquee   de   Collectiona   de   Deaaina   et 
d'Elstampea.     Amsterdam,  1921. 

Dearriptive  Catalogue  of  drawings  by  the  Old  Masters, 
forming  the  collection  of  John  Blalcolm  of  Poltalloch, 
Eaq..  by  J.  C.  Robinson.     London,  1876  (2nd  edition). 

A.  E.  Popham.  Drawings  of  the  early  Flemish  School. 
London,  1926. 

J.  Schdnbrunner  und  J.  Meder.  Han<lzeichungen  alter 
Meister  aus  der  Albertina  und  anderen  Sammlungen. 
Vienna,  1896,  etc. 

Ulrich  Thieme.  Felix  Becker,  Fred  C.  Willis  and  Hans 
Vollmer.  Allgemeinee  Lexikon  der  bildenden  KOnstler. 
Leipzig,  1907,  etc.  (in  progress). 

Le  Livre  des  Peintres  de  Carel  van  Mander.  Traduction, 
notes  et  commentaires  par  Henri  Hymans.  2  vols. 
Paris,  1884. 

The  Vasari  Society  for  the  Reproduction  of  Drawings  by 
Old  Masters.  First  Series,  10  parts,  1906-16.  Second 
Series.     1920,  etc.  (in  progress). 

Alfred  von  Wurzbach,  Niederl&ndisches  Kiinstler-Lexikon . 
3  vols.     Vienna  and  Leipzig,  1906-11. 


¥ 


CATALOGUE. 


J.  van  Aitistel—J.  de  Beer. 


I. 

DRAWINGS  BY  KNOWN  ARTISTS  OF  THE 
XV™  AND  EARLIER  XVI™  CENTURY. 

AMSTEL,  Jan  van,  called  DE  HOLLANDER  (b.  about  1500;  d.  before 
1544).  Painter  :  born  at  Amsterdam  ;  moved  to  Antwerp,  where  he 
married  Adriana  van  Doomicke,  sister-in-law  of  the  painter  Pieter 
Koecke  van  Alost;  master  in  the  Guild  of  8t.  Luke  at  Antwerp,  1528. 
The  identification  of  the  Master  of  the  Brunswick  Monogram  as  Jan 
van  Amstel,  proposed  by  Gustav  Gliick,  is  now  generally  accepted  ; 
that  of  F.  Graefe,  who  believed  the  monogrammist  to  have  been  Jan 
Sanders  van  Hemessen,  rejected. 

Lit. :  van  Mander,  I,  154  ;  G.  Glttck  in  Thieme-Becker,  KHMter- 
lexikon.  Vol.  I  (Jan  van  Amstel)  and  Vol.  IV  (Hraunschweiger  Mono- 
grammist) ;  F.  Graefe,  Jan  Samderi  t-an  Hrmetsen  und  $eine  Identifiea- 
tion  mil  dem  Brauntehweiger  Monogrammu'i-n,  Leipzig,  1909. 

1.  Thk  Month  or  Aran. :    a  Gbmtuucam  asto  k  Woman  Miuumq. 

The  woman  sito  on  the  ground  facing  U>wanl«  the  r.  :  the  gentleman 
advances  from  the  r.  toward*  her  with  arma  out«tretched  ;  to  the  r.  f urt  her 
back  a  woman  churning  outside  a  cottage  door  ;  ahepherds  with  itheep  in 
the  background  on  the  I.  ;  a  bull,  the  sign  of  the  month,  in  a  circle  at  the 
top  slightly  to  the  r. 

II5|  X  19  in.    30  X  48- 1  cm.]     The  outline*  drawn  with  the  point  of  the 
ruHh  in  black,  the  interior  modelling  in  grey  wanh.     Backed  :   no  water- 
mark vitiiblo. 
Collection  :  Sloone. 
S23e-26. 
Reproduction  :  PI.  I. 

One.  presumably,  of  a  series  of  the  twelve  months  intended  perhaps  as 
a  cartoon  for  stained  glass,  though  the  format  is  unusual. 

Milking  oiul  churning  are  the  typical  occuitationB  for  April  ;  cf.  the 
calendar  illustrations  of  MS8.  of  the  "  Ghent-Hrugrs  "  school  and  H.  8. 
Beham*8  woodcut«  (I'auli  1202  and  1213).  The  attribution  of  this  drawing 
to  the  Master  of  the  Urunswiek  Monogram  it*  the  writer's.  It  rests  on 
the  resemblance  its  style  shows  to  pictures  such  as  the  Scene  in  an  Inn  in 
the  Antweqj  CJallery  {cf.  i>artic'ularly  the  women's  heads)  and  the  Pair  in  a 
Cornfield  in  the  Brunswick  Museum. 

BEER,  Jan  de  (b.  about  1475 ;  d.  before  1536).  Painter  :  pupil  of  Gillis 
van  Everen  at  Antwerp,  1490  ;  master  there,  1504  ;  dean  of  the  Guild 
of  St.  Luke,  1515  ;  father  of  the  glass  painter  Amould  (Aart)  de  Beer. 
Tentatively  identified  by  Friedlander  as  the  master  responsible  for  the 
pictures  which  he  designates  the  "  B  "  group,  on  the  strength  of  the 
resemblance  shown  by  the  signed  drawing,  No.  1  below,  to  the  pictures 
of  that  group. 

B  2 


Dutch  and  Flemish  Drawings. 


Lit.  :    M.  J.  Friedlander,  Die  Antwerpener  Manieristen  von  1520, 
Prussian  Jahrbuch,  XXXVI  (1915),  p.  65. 

1.  Studies  of  Heads. 

On  the  I.  the  head  of  a  man  in  a  hat  in  profile  to  the  r.  (?  for  a  St.  Luke 
painting  the  Virgin)  ;  centre,  a  bearded  head  with  a  halo  (?  St.  John  the 
Baptist)  ;  seven  smaller  heads. 

[7|  X  lO^g  in.  ;    20  X  25-9  cm.]     Point  of  the  brush  and  black  chalk  on 

lilac   prepared   paper,   heightened  with  white  ;    signed  in   top   1.   comer 

Jan  de  Beer.     No  watermark  visible. 

Collection  :   Cremer  (Sale,  Amsterdam,  June  15th,  1886,  lot  227). 

Purchased,  1886.7.6.7. 

Reproductions  :   Onze  Kunst,  Vol.  Ill  (1903),  p.  94  (as  Patinir)  ;   Popham. 

pi.  52. 

The  drawing  has  on  the  back  in  a  contemporary  hand  Jochem  depatinier, 
followed  by  two  hieroglyphics,  the  first  representing  a  man  satisfying  a 
natural  need,  the  second  in  the  form  T.  With  regard  to  the  first  of  these, 
van  Mander  records  that  Patinir  was  in  the  habit  of  introducing  somewhere 
into  his  pictures  such  a  figure  by  way  of  signature  ;  of  the  second  I  can 
offer  no  explanation.  The  appearance  of  Patinir's  name  on  the  back  of 
this  drawing  would  be  most  naturally  explained  by  assuming  that  it 
belonged  to  him.  Diirer  is  known  to  have  made  drawings  of  a  St. 
Christopher  as  models  for  him  ;   de  Beer  might  well  have  done  the  same. 

The  discovery  of  the  minute  signature  of  Jan  de  Beer  is  due  to  M. 
Hulin  de  Loo.  Above  the  actual  signature  and  partially  cut  are  some 
more  letters  or  figures,  and  after  the  signature^  but  a  little  higher  up,  what 
appears  to  be  a  minuscule  •  h  •  with  a  dot  on  either  side. 

2.  Unkkown  subject  :     a  Child  drawing  lots  from  a  Vessel  in  the 

PRESENCE    of   A   KiNG. 

The  king  or  emperor  enthroned  on  the  1.  under  a  canopy  and  flanked  by 
coimsellors,  points  with  his  sceptre  to  a  basin  held  by  a  man  kneeling  on 
the  steps  of  the  throne  ;  from  the  basin  a  boy  is  about  to  draw  a  lot  ;  he 
turns  his  head  away  and  is  supported  by  a  kneeling  lady,  on  whom  other 
ladies,  one  with  a  hawk,  attend  ;  on  the  r.  stand  men-at-arms,  and  in  the 
foreground  a  jester  seated  on  the  floor  shakes  hands  with  a  greyhound  ; 
other  figures  in  the  backgroimd  ;  the  scene  takes  place  in  a  columned 
hall,  the  roof  of  which  is  adapted  from  Diirer's  woodcut  of  the  Presentation 
in  the  Temple  (B.  88)  ;  on  the  foremost  column  on  the  right  is  a  tablet 
inscribed  with  tmdecipherable  (cabalistic  ?)  characters. 

[19^(5  X  14i  in.  ;   48-7  X  36-9  cm.  ;  made  up  of  two  pieces  of  paper  joined 

horizontally  across  the  drawing,  the  width  of  the  upper  being  21,  of  the 

lower  27-9  cm.]      Pen  and  black  ink  on  prepared  grey  surface  heightened 

with  white.     Spotted  all  over  by  damp,  but  not  reworked  ;    backed  with 

heavy  paper  so  that  no  watermark  is  visible. 

Bequeathed  by  Richard  Payne  Knight,  Esq.,  1824. 

Oo.  9—4. 

Reproductions  :    Onze  Kimst,  X  (1908),  p.  98  ;    Revue  de  I'art  ancien  et 

modeme,  XXI  (1907),  p.  395;  pi.  I. 

Lit.  :     M.    J.    Friedlander,    Prussian   Jahrbuch,    XXXVI    (1915),    p.   66, 

attributes  the  drawing  to  his  Antwerp  Mannerist   "  B  "  group,  Jan  de 

Beer(?)  ;  N.  Beets,   Onze  Kunst,  X  (1908),  p.  98,  attributes  it  to  Dirick 

Vellert. 

Formerly  attributed  to  Lucas  van  Leyden    (Inventory  of   1837)  and  to 

Comelis  Engelbrechtsen. 

There  is  a  contemporary  pen-and-ink  copy  in  the  collection  of  the  Earl 
of  Leicester,  Holkham  Hall,  of  the  main  part  of  the  drawing. 

Portions,  notably  the  king  and  his  seated  counsellor,  ar©  copied  in  a 
stained  glass  window,  representing  the  Judgment  of  Solomon,  in  the 
chapel  of  St.  John  the  Baptist  in  the  Church  of  St.  Gervais  at  Paris 
(illustrated  by  N.  Beets,  Revue  de  VArt,  loc.  cit.). 


J.  dc  Beer. 


The  present  drawing  is  of  admirable  quality  and  certainly  an  original 
from  the  hand  of  the  Antwerp  mannerist  identified  with  much  probability 
as  Jan  de  Beer.  The  fact  of  the  composition  having  been  copied  in  a 
window  might  suggest  that  the  drawing  was  also  intended  for  and  carried 
out  as  stained  glass,  and  further  that  it  was  prominently  displayed  and 
well  known. 

The  subject,  the  drawing  of  lots  by  a  child,  was  familiar  to  the  Romans, 
though  I  can  find  no  outstanding  instance  of  its  occurrence.  Raphel  in  the 
Loggia  represents  the  division  of  the  land  by  lot  to  the  children  of  Israel 
(Joshua,  xrV')  in  a  somewhat  similar  way.  Joshua  is  enthroned,  with 
Eleazar  a  step  below  on  his  r.,  under  a  canopv  in  the  o{)en  air.  while  a 
boy  tlraws  from  a  large  vessel  on  the  ground  below  the  throne  the  lots 
which  he  distributes  to  the  children  ol  Israel,  and  it  is  possible  that 
this  is  the  subject  here  represented.  Against  this  interpretation  is  the  fact 
that  the  scene  takes  place  in  a  Imll,  and  the  prominence  of  the 
woman  who  accompanies  the  child. 

3.   Abistotxe  and  Phyllis. 

The  sage,  bridled  and  bitted,  crawls  towards  the  1.  ;  Phyllis  mounted  on 
his  ba<.k  huKLs  the  reins  in  her  r.  hand  and  a  8wit<?h  in  her  I.  ;  Aristotle 
looks  pathetically  up  to  the  r.  ;  a  book  on  the  ground  to  the  r.  ;  in  an 
archway  in  the  distance  on  the  same  side  two  figures,  presumably  Alexander 
of  Macedon  and  his  father  Philip. 

[10|  X  7 J  in.  ;    27-4  X  19*2  cm.  (top  comers  rounded).]     Pen  and  brown 
ink.     Part  of  a  watermark,  a  bunch  of  grapes  on  1.  margin.     Inscribed  in 
lower  1.  comer  on  back  C.  36 ;   scribbles,  where  the  artist  was  trying  his 
pen,  also  on  the  back. 
Puirhased.  1920.4.10.1. 

Collections  :  Sir  T.  Lawrence,  A.  P.  Donnadieu  (stamp  on  back),  F.  Abbott. 
Sold  Christies,  Feb.  llth,  1929,  lot  8.  as  H.  Burgkmair. 
Reproduction  :   Vasari  Society.  2nd  Series,  Part  X  (1929),  Xo.  8. 

The  only  other  examples  of  the  subject  in  Netherlandish  art  to  which 
I  can  r^ar  are  the  woodcut  by  Lucas  van  Leyden  (fiublished  by  Campbell 
Dodgson  in  the  Prussian  Jalirbuch,  XVIII  (1K97),  p.  IHU,  with  an  iconology 
of  the  subject  and  references  to  German  prints)  and  a  glass  roundel  once 
in  the  possession  of  Dr.  N.  Beets,  apparently  Dutch  about  1510  and  forming 
one  of  a  series  of  man's  subjection  to  women  of  which  one  other,  Hercules 
and  Omphale,  was  also  preserved.  Neither  the  version  of  Lucas  van  Leyden 
nor  that  of  the  Dutch  glass  painter  l>ears  much  resemblance  to  the  present 
drawing. 

The  identity  of  form  and  handling  between  the  present  drawing  and 
one  of  the  Dance  of  Salome  at  Weimar  (reproduced  Prestel-Gesellschaft 

Eublication  I.  30)  and  the  other  drawings  attributed  by  Friedl&nder  to 
is  "  B  "  group  of  Antwerp  Mannerists,  leaves  no  doubt  that  it  is  the 
work  of  the  Master  of  that  group,  probably  identified  as  Jan  de  Beer. 

I  cannot  suggest  any  purpose  for  which  the  drawing  was  intended ; 
the  form  with  the  rounded  top  comers  is  peculiar. 

4.   Head  or  a  Man  wbabino  a  TtXRBAN. 

Head  }  1.,  turban  with  jewel  in  front,  fur  collar  fastened  by  jewel. 

[lOJ  X  7^g  in.  ;  26  X  18- 9  cm.]     Black  chalk  on  prepared  ochre  yellow 

ground ;    traces  of  white  on  forehead,  nose,  etc.   "  L  "  added  in  ink  in  r. 

bottom  comer.  Watermark    a  small  Gothic  P. 

Collection  :  Rev.  W.  H.  Bamard. 

Purchased,  1892.8.4.15. 

Reproductions  :      S.    Colvin,    Prussian    Jahrbuch    (Eine    Sammling    von 

Handzeichungen  des  Lukas  van  Leyden),  XIV  (1893),  p.  173. 

The  drawing  was  in  the  Lucas  von  Leyden  album  purchased  from  the 
Rev.  W.  H.  Bamard  in  1892.  It  is  described  by  Colvin  in  the  article  cited 
above.  No.  8,  and  accepted  by  him  as  by  Lucas.  He  draws  attention  to 
the  similarity  of  the  turban  with  those  in  engravings  by  Lucas  van  Leyden, 
but  Lucas  van   Leyden's  figures  wear  tlioir  turbans  in  a  quite  different 


Dutch  and  Flemish  Drawings. 


manner.  The  type  of  face,  of  the  drawing  of  the  ear  and  the  manner  of 
shading,  however,  show  a  very  great  similarity  with  those  in  the  signed 
sheet  of  drawings  by  Jan  de  Beer  in  the  Museum  (No.  1),  and  I  think  the 
present  drawing  may  be  attributed  to  him  with  some  confidence. 

The  head  would  appear  to  be  the  study  for  that  of  an  attendant  king 
in  an  Adoration  of  the  Magi. 

The  yellow  ground  is  unusual  as  also  is  the  use  of  chalk  in  conjvmction 
with  a  coloured  ground. 


BOSCH  (von  AEKEN),  Hieronymus  (b.  about  U50  ;  d.  1516).  Painter 
of  's  Hertogenbosch  (Bois-le-duc),  from  which  the  name  Bosch  is 
derived,  and  where  probably  his  whole  life  was  spent.  First  mentioned 
in  the  records  of  the  lAeve  Vrouwe  Broederschap  at  Bois-le-duc  in  1488  ; 
again  in  1493-4,  1498-99,  1504,  1508-09  and  1512  ;  in  1493  or  4 
furnished  designs  for  windows  in  a  chapel  of  the  Church  of  St.  John 
in  Bois-le-duc  ;  in  1504  was  commissioned  to  execute  a  large  triptych 
of  the  Last  Judgment  for  Philip  the  Fair,  Duke  of  Burgundy.  His 
most  important  paintings  are  in  Spain  ;  the  triptychs  of  the  Hay 
Waggon  and  the  Garden  of  Pleasures  in  the  Escorial,  that  of  the 
Adoration  of  the  Magi  in  Madrid.  Other  paintings  at  Berlin,  Ghent, 
St.  Germain-en-Laye,  Lisbon,  Princeton,  U.S.A.,  Paris,  Venice,  Vienna 
(Museum  and  Academy). 

Lit.  :  M.  G.  Gossaert,  Jerome  Bosch,  Lille,  1907 ;  Paul  Lafond, 
Hieronymus  Bosch,  Brussels  and  Paris,  1914.  Kurt  Pfister,  Hieronymus 
Bosch,  Potsdam,  1922 ;  Walter  Cohen  in  Thieme-Becker,  KiXnstler- 
lexikon,  1910 ;  M.  J.  Friedlander,  Altniederldndische  Malerei,  Vol.  V, 
Berlin,  1927  ;  Karl  Justi,  Die  Werke  des  Hieronymus  Bosch  in  Spanien, 
Berlin  Jahrbuch  X,  (1889),  121  ;  H.  Dollmayr,  Hieronymus  Bosch  und 
die  Darstellung  der  vier  letzten  Dinge,  Vienna  Jahrbuch,  XIX  (1898), 
284  ;  L.  von  Baldass,  Die  Chronologic  der  Gemalde  des  Hieronymus 
Bosch,  Berlin  Jahrbuch,  XXXVIII  (1917),  p.  177. 

For  drawings  formerly  attributed  to  Bosch,  see  anon,  drawings 
(1859-7-9-2822),  anon.  German  drawings,  XVth  cent.  (1847-3-6-12). 

1.   A  Fool  about  to  be  shaved  by  a  Nun. 

The  fool  seated  on  a  basket  in  the  centre  holds  a  napkin  and  a  basin  under 
his  chin  with  his  1.  hand,  while  he  raises  the  nun's  skirt  with  his  r.  ;  she 
stands  behind  him,  holds  a  wafer  iron  in  her  1.  hand  and  touches  his  chin 
with  her  r.  :  she  wears  a  fur  cap  on  top  of  her  hood  ;  to  the  1.  and  behind 
the  first  nun  is  a  second  who  looks  towards  the  fool  and  brandishes  in  her 
r.  hand  a  pair  of  tongs,  in  her  1.  a  gridiron,  which  she  is  beating  together 
and  to  the  soiuid  of  which  she  is  dancing  ;  through  a  window  on  the  r. 
a  man  leans  playing  on  a  pipe  ;  below  the  window  is  a  fool's  bauble  leaning 
against  the  wall. 

[6|  X  8 A  in.  ;    17' 4  X  20*8  cm.]     Pen  and  brown  ink  ;    additions  in  ink 
of  a  lighter  brown  are  the  shadows  round  the  basket,  some  scribbling 
round  the  shaving  nun's  r.  arm  ;    in  wash,  some  work  on  her  headdress 
and  right  sleeve.     Watermark,  a  Gothic  P. 
Collection  :  Woodbum. 
Purchased,  1854.6.28.46. 

Reproductions  :  Paul  Lafond,  op.  cit.  facing  p.  72  (slightly  enlarged) ; 
Popham,  op.  cit.,  pi.  30  ;   K.  Pfister,  op.  cit..  Abb.  4. 


H.  Bosch— A.  Cla€S2. 


Lit.  :     P.   Lafond,  op.  eit.,  p.   88 ;  M.  J.   Friedlander,  AUnied.   Malerei, 
Vol.  V,  p.  126  ;    Otto  Beneech,  Albertina  Catalogue,  p.  12,  No.  75. 

The  present  group  is  incorporated  as  the  r.  hand  portion  of  a  drawing 
in  the  Albertina  (Benesch,  No.  75),  engraved  by  Pieter  van  der  Heyden 
and  published  by  Hieron>Tnus  Cock  in  1567.  The  Albertina  drawing  and 
the  engraving  are  both  reproduced  by  Lafond  facing  p.  66  and  p.  96 
respectively.  The  Albertina  drawing  was  probably  executed  by  some 
artist  in  the  emploj-raent  of  Hieronymas  Cock  for  the  engraving  by  van 
der  Heyden.  Only  the  portion  which  reproduces  the  British  Museum 
drawing  is  certainly  after  Bosch,  though  other  elements,  e.g.,  the  dog 
standing  on  his  hind  legs,  are  borrowed  from  him. 

The  subject  of  the  present  drawing  is  by  no  means  clear.  Benesch 
says  it  illustrates  the  Flemish  proverb,  "  Hij  is  in  dem  rechten  b£U'biers- 
winkel,  daar  men  hem  wel  fijntjee  zal  poetsen."  It  might  equally  well 
have  reference  to  **  Tscheers  quallc  ghewet/deii  baert  qualio  ghenet  ,eii 
ruide  handen  /doen  menigen  nuui  cnjseltand«i,"  the  French  equivalent  of 
which  Franvois  Goedthals  (Le^  proverbes  anciens  jtameng«,  Antwerp,  156S. 
p.  35)  gives  as  "  Barbier  qui  n'a  main  seure,  pouroit  causer  gros  acci- 
dentfl."  But  the  paKicular  significance  of  the  woman  in  nun's  habit 
with  the  wafer  iron  who  stands  for  the  barber  as  well  bm  that  of  the  dancing 
mm  and  the  fool  blowing  on  the  peculiarly  shaped  pipe  have  yet  to  be 
explained. 

There  has  been  and  can  be  little  doubt  tliat  the  drawing  as  well  as  the 
composition  is  actually  Bosch's.  Tlie  weaknesses,  lack  of  relief  and  the 
rather  tentative  outline  are  characteristic  of  Beech's  drawing  and  in  no 
way  point  to  a  copy. 

The  picture,  for  which  tlie  drawing  must  have  been  a  study,  would 
have  been  of  the  type  of  the  Charlatan  at  S.  Germain -en  -  I<a  ye  or  the 
Operation  for  the  Stone  in  the  Prado  at  Madrid  and  have  belongeil  to  Boach'a 
later  period. 

CLAESZ,  Aert,  called  AERTGEN  VAN  LEYDEN  (b.  1498  ;  d.  1562). 
Painter  and  designer  for  glass :  pupil  of  Cornelis  Engebrcohtsz  in 
1516  and,  according  to  van  Mander,  influenced  by  Scorel  and  Hecms- 
kerck  ;  worked  in  Leyden.  Aertgen  is  known  only  from  van  Mander's 
biography  and  from  the  conflicting  evidence  of  old  inscriptions  on 
drawings.  The  attribution  to  him  of  the  two  following  drawings  is 
extremely  doubtful  and  rests  on  18th  century  inscriptions.  It  is  not 
inconsistent  with  the  attribution  to  him  of  a  picture  in  the  Binder 
Coll.,  Berlin  (Archiv  fUr  Kuustgesthichto,  I,  3),  made  on  the  strength 
of  van  Mander's  description  of  Aertgen's  style. 

Lit.  :    van  Mander,  I,  p.  321  ;  Walter  Cohen    in  Thieme-Becker ; 
Wurzbach. 

TWO  SCENES  FROM  THE  PASSION:    DESIGNS  FOR    STAINED 

GLASS  ROUNDELS. 

1.   The  Taking  of  Christ. 

Christ,  almost  in  the  centre,  is  seized  by  a  naked  soldier  on  the  1.,  while 
Judas  on  the  r.,  also  naked,  is  about  to  embrace  Him  ;  further  back  on  the 
r.  St.  Peter  is  attacking  the  servant  of  the  High  Priest. 

[Circular  :    diameter   13  in.  ;     33  cm.      The  paper  is  in  two  portions,   a 

segment,  7*2  cm.  at  its  greatest  extent,  being  added  at  the  top.]    Pen  and 

ink  outline  and  grey  wash  on  paper  tinted  pink.     Watermark,  Arms  of 

Nuremberg,  like  Briquet  925. 

Collections  :    Lawrence,  Woodbum,  Francis  Abbott,  Miller-Morrison. 

Purchased.  1920.4.20.6. 

Reproduction  :   Burlington,  XXXVIII  (1921),  facing  p.  26  ;   pi.  II. 


Dutch  and  Flemish  Drawiitgs. 


2.   Chkist  before  Pilatk. 

Christ  is  led  from  the  1.  by  two  naked  soldiers  before  Pilate  who,  naked 
also,  is  seated  on  a  throne  on  the  r.  ;  the  scene  takes  place  inside  a  renais- 
sance building. 

[Circular  :     diameter    13  in.  ;     33  cm.     The  paper  is  in   two  portions,   a 

segment,  7  •  1  cm.  at  its  greatest  extent,  being  added  at  the  top  ;  a  segment 

about   l'2cm.  wide  on  the  1.  missing.]     Pen  and  ink  outline  and  grey 

wash  on  paper  tinted  pink.     No.  321  at  bottom  in  a  17th  or  18th  cent. 

hand. 

Collections  :  as  No.  1. 

Purchased,  1910.4.20.7. 

Reproduction  :  as  No.  1. 

Both  drawings  are  published  and  fully  discussed  by  Mr.  Campbell 
Dodgson  in  the  Burlington  Magazine.  Since  the  publication  of  that 
article  four  other  sheets  (three  drawn  on  both  sides)  undoubtedly  by  the 
same  hand,  but  not  belonging  to  the  same  series,  have  come  to  light 
(published  Old  Master  Drawings,  II  (1927),  p.  37,  by  the  present  writer). 
These  show  more  markedly  than  the  present  drawings  affinities  with  the 
South  German  (Donau-)  School.  Ernst  Buchner  (Beitriige  zur  Geschichte 
der  deutschen  Kunst,  Bd.  I,  p.  255)  had  previously  attributed  the  two 
British  Museum  drawings  to  Abraham  Schopfer,  a  South  German  artist, 
but  I  do  not  think  that  the  attribution  to  that  artist  individually,  or  to 
the  South  German  School  generally,  can  be  maintained,  in  face  of  the 
close  connection  which  the  drawings  show  to  Scorel.  The  German  charac- 
teristics are  explicable  on  the  supposition  that  the  artist  visited  S.  Germany. 
In  the  case  of  Aertgen,  it  is  true,  van  Mander  is  silent  as  to  any  such  visit. 

COCK,  Mathys  (b.  about  1509  ;  d.  before  1548).  Landscape  painter  and 
draughtsman  :  born  and  died  in  Antwerp  ;  elder  brother  of  the 
publisher  and  engraver,  Hieronymus  Cock  {q.v.) ;  master  in  Antwerp 
by  1540  ;  appears  to  have  visited  Italy  before  this  date.  Van  Mander 
states  that  he  was  inspired  by  the  Italian  manner  and  that  his  designs 
•were  etched  by  his  brother  Hieronymus,  mentioning  particularly  the 
set  of  twelve  landscape  etchings  (1558).  The  attribution  to  Mathys 
rather  than  to  Hieronymus  of  a  group  of  landscape  drawings  (of  which 
that  described  below  forms  one),  some  of  which  have  the  old  inscription 
"  cocq  "  and  dates  ranging  from  1537  to  1544,  is  rendered  probable  by 
this  statement  of  van  Mander's,  as  their  style  agrees  very  closely  with 
that  of  the  etchings  in  question  and  Mathys  appears  to  have  been 
the  more  important  personality  artistically. 

Lit.  :  van  Mander,  I,  289  ;  M.  J.  Friedlander,  Jan,  Mathijs  und 
Hieronymus  Cock ;  Amtliche  Berichte,  XXXVI  (1914-15),  139 ; 
L.  Baldass,  Die  Niederldndische  Landschaftsmahrei  von  Patinir  bis 
Bruegel,  Vienna  Jahrbuch,  XXXIV  (1918),  147 ;  the  same,  Ein 
Landschaftshild  von  Matthys  Cock,  Zeitschrift,  LXI  (1927-8),  90. 

For  a  drawing  formerly  attributed  to  Mathys  Cock,  see  Pieter 
Koecke,  No.  8. 

1.  Landscape  with  the  Rape  or  Helek. 

Helen  in  the  foreground  on  the  1.  is  being  pulled  and  pushed  into  a  rowing 
boat  ;  in  the  background  to  the  1.  horses  crossing  a  bridge  and  furtlier  to 
the  r.  a  struggling  woman  being  carried  off  by  a  man  and  a  battle  in 
progress  ;  a  steep  rock  in  the  distance  to  the  1.  and  a  round  temple  on 
the  extreme  r. 


M.  Cock — Comelisz  van  Oostsaven. 


[8}  X  13|in.  ;    22.5  X  34.5  cm.]     Pen  and  brown  ink  and  blue  wash. 
Backed,  no  watermark  visible. 
Purchased,  1919.8.22.30. 

The  attribution  to  Mathys  Cock  is  due  to  M.  J.  Friedlander.  The 
drawing  comes  nearest  in  style  to  one  in  the  collection  of  Frits  Lugt, 
Maartensdijk  (illustrated  in  Zeitschrift.  loc.  cit.,  p.  93)  and  presumetl  by 
Baldass  to  date  from  the  very  end  of  Mathys's  career.  All  the  figures  in 
the  foreground,  except  the  youth  carrj'ing  a  vase,  the  ships  and  the  horses 
and  part  of  the  battle  are  copied  from  Marcantonio's  engraving,  Bartsch 
XIV,  170,  209. 

CORNELISZ  VAN  OOSTSANEN,  Jacob  (b.  before  1470;  d.  1533). 
Painter  and  engraver  for  woodcut  and  glass  :  born  in  Oostsanen  in 
the  Waterland ;  in  Amsterdam  by  1500 ;  probably  identical  with  a 
"  Jacob  van  Amsterdamme  "  inscribed  as  master  in  the  Guild  of  St.  Luke 
at  Antwerp  in  1507  ;  second  master  of  Jan  Scorel  {q.v.)  about  1512  ; 
pictures  by  him  dated  between  1506  and  1533.  Jacob  Cornelisz's  style 
seems  to  derive  from  the  school  of  Haarlem  and  particularly  from  the 
painter  known  as  the  Master  of  the  Martyrdom  of  St.  Lucia.  Attempts 
recently  made  by  M.  J.  Schretlen  to  attribute  to  Jacob  Comelisz  a  large 
mass  of  15th-century  woodcut  book  illustration  and  by  Prof.  J.  Six 
to  divide  the  hitherto  accepted  work  between  Jan  van  Hout,  Cornelis 
Buys  and  Jacob  Comelisz  himself,  appear  to  the  w^riter  unsuccessful. 

Lit.  :  Walter  Cohen  in  Thieme-Becker,  Kunstlerlexikon,  1922,  with 
list  of  authorities  up  to  that  date ;  Kurt  Steinbart,  Die  Tafelgemdlde  des 
Jacob  CornelUz  von  Amsterdam  (Studien  zur  deutschen  Kunstgeschichte, 
Heft  221),  Strassburg,  1922 ;  J.  Six,  Jan  van  Hout,  Comelig  Buys  en 
Jacob  Comelisz,  Oud  Holland,  XLII  (1925),  1  ;  M.  J.  Schretlen,  Dutch 
and  Flemish  Woodcuts  of  the  Fifteenth  Century,  London,  1925  ;  and 
also  in  Oudheidkundig  Jaurboek,  3rd  series,  V  (1925),  143. 

For  the  draunngs  specially,  see  M.  J.  Friedlander,  Eirie  Zeichnung 
Jacobs  van  Amsterdam ;  Amtliche  Bericht«,  XXX,  49 ;  Kurt  Steinbart, 
Paramente  nach  verschoUeun  Malereien  des  J.  C,  Kunst-chronik,  N.F. 
XXXIII  (1921),  931 ;  A.  E.  Popham,  Old  Master  Draunngs,  I  (1926), 
p.  39 ;  Kurt  Steinbart,  Nachlese  im  Werk  des  Jacob  Comelisz  (Mar- 
burger  Jahrbuch  fiir  Kunstwissenschaft,  Band.  V,  1929). 

For  a  drawing  formerly  attributed  to  Jacob  Comelisz,  see  anony- 
mous drawings  (Fl.  4-94). 

1.   A   Messenger  teluno   Abraham   or  the   Capture   of   Lot  and   the 
Mektino  of  Abraham  anu  Melchisedek  (Genesis,  XIV',  13  and  18). 

On  the  1.  under  a  portico  Abraham  stands  receiving  the  messenger  who  is 
kneeling  on  his  1.  knee  and  removing  his  can  with  his  r.  hand  ;  through  an 
opening  in  the  recesses  of  the  building  on  the  1.  is  seen  another  figure  ;  in 
the  background  on  the  r.  a  flock  of  sheep  with  oxen,  camels  and  men  ; 
farther  back  Abraham  and  Melchisedek  meeting,  and  further  back  still  a 
battle  in  progress. 

[Circular,  diameter  8jg  in.  ;    22*5  cm.]     Pen  and  brown  ink. 

No  provenance  recorded  :   in  collection  since  before  1837. 

Ff.  4—91. 

Reproduction  :  PI.  II. 

Lit.  :    Kurt  Steinbart,  Nachlese,  p.  16. 


10  Dutch  and  Flemish  Drawings. 

Desiga   for   stained   glass.     A   fine   roundel   exactly   reproducing   the 

E resent  drawing  is  in  the  Mug6a  Archeologique  at  Ghent  ;  another,  possibly 
elonging  to  the  same  series,  is  the  roundel  in  the  Victoria  and  Albert 
Museum  (H.  M.  Murray  Bequest)  of  Abraham  prostrating  himself  before 
the  Lord  and  the  circumcision  of  Isaac. 

Formerly  attributed  (by  Waagen  ?)  to  Geraort  of  Haarlem  (Geertgen 
tot  sint  Jans).  The  present  attribution,  which  is  the  writer's,  is  based  on 
the  resemblance  of  the  drawing  to  Jacob  Cornelis^.'s  woodcuts,  particxilarly 
to  the  series  of  the  "Round  Passion"  of  1512-1514.  The  legs  of  the 
messenger  in  the  drawing  should  be  compared  with  those  of  the  soldier  on 
the  1.  of  the  woodcut  of  Christ  rising  from  the  Tomb  (13.  12),  and  his  face 
with  that  of  the  man  raising  his  hand  on  the  1.  of  the  Kcce  Homo  (B.  8). 
Compare  also  the  figure  of  a  soldier  spearing  a  prostrate  enemy  in  the 
background  of  the  drawing  with  that  of  a  soldier  in  the  signed  woodcut 
of  the  Miracle  of  the  Jew  who  touched  the  Virgin's  coffin.  The  cutting, 
particularly  that  of  the  Round  Passion,  is  so  good  and  so  obviously  repro- 
duces Ja?ob  Cornelisz's  pen  drawing  with  accuracy  that  a  comparison 
between  a  woodcut  and  a  drawing  is  in  this  ca^se  feasible. 

2.   Susannah  and  the  Wicked  Elders  :    Verso  The  Annunciation. 

Susannah  is  seated  on  the  r.  on  the  edge  of  a  square  stone  trough  into 
which  water  is  thrown  from  a  hexagonal  Gothic  turret  surmounted  by  a 
group  of  two  putti  ;  on  the  edge  of  the  trough  beside  Susannah  stands  a 
flask  ;  the  two  elders,  the  foremost  of  whom  is  bearded  and  bareheaded, 
approach  irom  the  1. 

Verso.  The  Virgin  is  seated  on  the  r.,  both  her  hands  resting  on  a  book 
on  her  knees  ;  the  angel  Gabriel  stands  in  the  centre  of  the  roundel,  holding 
a  sceptre  in  his  I.  hand  and  giving  the  benediction  with  his  r.  ;  he  is  sup- 
ported by  two  angelic  acolytes. 

[Circular,  diameter  8§  in.  ;    21 '8  cm.]     Pen  and  brown  ink  ;    part  of  the 

dress   of   the   foremost   elder   (on   the   obverse)   washed   with   grey.     Na 

watermark. 

No  provenance  recorded  ;   in  collection  since  before  1837. 

Ff.  4—92. 

Reproduction  :    K.  Steinbart,  NachUse,  Abb.  34,  35  ;    PI.  II. 

Designs  for  stained  glass  roundels.  Formerly  attributed  (by  Waagen  ?)  to 
Geraert  of  Haarlem.  The  present  attribution,  like  that  of  the  preceding, 
with  which  it  has  been  associated  since  before  1837,  is  the  writer's,  and 
based  on  the  resemblance  which  the  drawing  shows  to  Jac  3b  Cornelisz's  style. 
The  angel  of  the  Annunciation  particularly  should  be  compared  with  an 
angel,  a  fragment  from  the  Altar  of  the  Sacraments  of  the  Heilige  Stede^ 
now  in  the  Rijksmuseum  at  Amsterdam. 

CORNELISZ,  Pieter,  called  KUNST  (b.  about  1490 ;  d.  after  1542). 
Designer  for  and  painter  of  glass  :  born  in  Leyden,  the  elder  son  of 
the  painter  Cornelis  Engebrechtsz  {q.v.) ;  pupil  of  his  father  in 
company  with  Lucas  van  Leyden  ;  mentioned  in  Leyden  archives 
in  1514,  1519  and  1523  ;  dates  on  drawings  now  accepted  as  his 
range  from  1517  (Oxford  and  Amsterdam,  the  latter  from  Rodrigues 
Coll.)  to  1542  (Stockholm  and  London),  his  style  of  drawing  during 
these  25  years  shows  remarkably  little  change,  except  that  in  the 
later  drawings  the  landscape  tends  to  become  more  important. 

Lit.  :  van  Mander,  I,  123 ;  F.  Diilberg  in  Oud  Holland,  XVII 
(1899),  66  note;  N.  Beets,  Pider  CorneliszKunst,  glas-schryver,  en. . . . 
i^chUder ;  Oudheidkundig  Jaarboek,  2nd  Series,  II  (1909),  10;  L.  voa 
Baldass,  Notizen  iiber  HoU/indische  Zeickner  des  XVI.  JahrhundertSy 
Pieter  Cornelisz,  Mitteilungen  XXVIII  (1915),  25;  F.  Winkler,  Old 
Master  Drawing.s,  IV  (1929),  27. 


p.  Cormlisz.  11 

For  a  drawing  formerly  attributed  to  Pieter  Cornelisz,  see  anony- 
mous drawings  (Sloane  5237-9). 

1.  One  or  THE  Acts  or  Mebct  :  Deuverikg  Pkisokers. 

In  the  centre  a  group  of  three  figures  ;  a  gentleman  on  the  1..  seen  in  profile, 
is  pacing  money  to  a  minister  of  justice  who  holds  a  staff  in  his  1.  hand  ; 
a  guard  with  a  halberd  behind  ;  a  dog  in  the  foreground  to  the  r.  ;  behind 
a  prison  from  which  a  prisoner  is  being  conducted  by  a  gaoler  with  a  bunch 
of  keys  ;  other  prisoners  are  visible  through  the  barred  windows  of  the 
building. 

[9{|  X  7}  in.  ;  25  X  19*5  cm.]  Pen  and  brown  ink  ;  signed  with  mono- 
gram on  buttress  of  prison  and  dated  1524. 

Collection  :    Rodrigues  (Sale.  Amsterdam,  July  12th-13th.  1921.  lot  57). 
Purcliased,  1921.10.12.5. 

Reproductions:  Oudiieidkundig  Jaarboek,  2nd  Series,  II  (1900),  14; 
Rodriguee  Sale  Catalogue,  pi.  XXI  ;   pi.  III. 

Design  for  stained  glass  ;  a  panel  executed  from  this  drawing  and 
published  by  Ileets,  Oudheidkundig  Jaarboek,  fee.  eit.,  is  in  the  Louvre. 
Another  drawing  belonging  to  the  same  series,  also  signed  with  monogram 
and  dated  152-1,  is  at  Amsterdam  (reproduced  Amstertlani  Drawings, 
plat«  99).  The  letter  **  f  "  on  the  present  drawing  refers  to  the  ortler  in 
theseriss  of  the  Acts  of  Mercy  (tlieBth).  "C\isto8 Decker, "in an  iHth  century 
hand,  is  an  old  and  erroneous  interpretation  of  the  monogram. 

2.  Josetb  receivixo  his  Ten  Brethren  in  Kgypt. 

On  the  r.  Joseph,  wearing  a  crown  and  holding  a  sceptre  in  his  1.  hand, 
stands  while  the  group  of  his  ten  brethren  kneels  before  him  on  the  1.  ; 
behind  Joseph  are  two  old  men  ;  the  scene  takes  place  in  the  courtyard 
of  a  chateau  ;  in  the  background  Joseph  is  seen  usneriiig  his  brothers  up 
a  flight  of  steps  leading  to  a  doorway. 

iIO^I  X  7i  in.  ;     27-3  x  20  cm.]     Pen    and    brown    ink.     The    paper   is 


Purchased  from  Mr.  W.  M.  Voynich,  1911.4. 15. 1. 
Reproduction  :  PI.  III. 

Probably  a  design  for  a  stained  glass  panel  ;  belonging  to  the  same 
series  apparently  as  drawings  at  Hamburg  (JoHcph  cast  in  the  well  ; 
25*9  X  20  cm.  ;  Prcstel  publication  of  Hamburg  drawings  XII,  No.  3)  and 
Munich  (Joseph  sold  to  Potijihar ;  25  x  20- 2  cm.;  Munich  drawings, 
104,  as  Lucas  van  Leyden).  The  divergence  in  height  may  be  accounted 
for  by  the  Hamburg  and  Munich  drawings  being  cut.  None  of  these 
drawings  is  signed  or  dated  :  their  style  resembles  most  nearly  that  of 
drawings  dated  1531-2  such  as  the  Burying  the  Dead  at  Berlin  (reproduced 
BaldasH,  loc.  cU..  Abb.  2). 

3.  Faith. 

She  stands  on  a  hillock  directed  to  the  r.,  holding  a  book  in  her  r.  hand 
and  a  chalice  in  which  is  the  holy  wafer  in  her  I.  ;   landscape  background. 

[^^   X  6}  in.  ;    23*4  X  17- 1cm.]     Pen    and    black    ink.    Watermark :  a 
shield  surmounted  by  a  crown,  on  the  shield  two  bendlets  and  in  chief 
three  fleurs-de  l3'8. 
Collection  :  Chariatte. 
Purchased,  1925.4.20.3. 
Reproduction  :  PI.  III. 

Probably  a  design  for  a  stained  glass  panel,  one  of  a  series.  Tlie 
treatment  of  the  land^ape  would  point  to  a  late  stage  in  the  artist's  career, 
about  1540. 

4.  St.  Christopher. 

Landscape  seen  from  the  entrance  of  a  cave  on  the  1.  of  which  sits  a  holy 
hermit,  a  lamp  in  his  1.  hand  and  a  crucifix  before  him  on  a  le<lgo  ;  on  the 
r.  is  a  bell  supported  between  two  trees  ;    wading  through  n  river  in  the 


12  Dutch  arui  Flemish  Drawings. 

distance  St.  Christopher  is  seen  carrying  on  his  shoulder  the  Infant  Christ 
seated  on  the  orb  of  the  world. 

[Circular,  diameter  9|  in.  ;    25*  1  cm.     Segments  of    the  circle  have  been 
cut  away  at  top  and  bottom  so  that  the  height  is  only  8j^  in.  ;    20-8  cm.] 
Pen  and  black  ink. 
Purchased,  1883.10.13.25. 
Reproduction  :  PI.  IV. 

Design  for  a  stained  glass  roundel.  A  drawing  of  exactly  similar  style 
of  the  Temptation  of  Our  Lord  is  at  Stockholm  ;  this  drawing  is  dated 
1542  and  it  is  to  be  presumed  that  this  same  date  inscribed  on  the  British 
Museum  drawing  in  a  different  ink  at  a  later  time  is  a  correct  copy  of  a 
date  which  has  been  cut  off.  The  "  Lucas  Cranic,"  inscribed  at  the 
bottom,  apparently  replaces  another  name  (in  the  same  ink  as  the  date) 
which  has  been  scratched  out. 

COXCIE,  Michiel  the  Elder  (b.  1499  ;  d.  1592).  Painter  and  designer 
of  tapestry  of  Malines  :  pupil  of  his  father,  an  otherwise  unknown 
painter  of  the  same  name  as  his  son,  and  of  Bernard  van  Orley  in 
Brussels ;  spent  many  years  in  Italy  and  Rome,  where  Vasari  met 
him  in  1532  ;  employed  by  Cardinal  Willem  van  Enckevoort  in  1531 
to  paint  the  Chapel  of  St.  Barbara  in  S.  Maria  dell'  Anima  in  Rome ; 
elected  member  of  the  Academy  of  St.  Luke  in  Rome  in  1534  ;  1539 
master  in  the  Guild  at  Malines  ;  1543  burgher  of  Brussels,  where  he 
lived  till  just  before  1563  ;  in  1557  made  a  copy  of  the  Van  Eyck 
altarpiece  at  Ghent  for  Philip  II ;  married  (1)  Ida  von  Hasselt  (d, 
1569),  (2)  Johanna  van  Schelle  ;  protected  by  the  Spaniards  during  the 
troubles  in  the  Netherlands  ;  died  as  the  result  of  a  fall  from  a  scaffold 
on  which  he  was  painting.  PhiUp  II  gave  him  the  title  of  "  King's 
Painter." 

Lit. :  van  Mander,  II,  33 ;  G.  J.  Hoogewerff  in  Thieme-Becker ; 
see  also  L.  Baldass,  Niederldndische  Tapisserientwiirfe  des  Romanismus, 
Vienna  Jahrbuch,  N.F.  II  (1928),  p.  247  i^". 

For  a  drawing  formerly  attributed  to  Michael  Coxcie,  see  anony- 
mous drawings. 

1-10.  Series  of  drawings  of  the  Loves  of  Jupiter  for  the  anonymous 
engravings  of  the  School  of  Marcantonio  (undescribed  ;  a  complete  set 
in  the  British  Museum).  It  is  recorded  by  Vasari  (ed.  Jlilanesi, 
Vol.  V,  p.  435,  6)  that  Coxcie  was  the  draughtsman  of  the  series  of 
prints  of  the  story  of  Cupid  and  Psyche  engraved  by  the  Master  of 
the  Die  and  Agostino  Veneziano.  The  present  series  must  also  date 
from  the  time  of  Coxcie's  stay  in  Italy  in  the  early  30's. 

1.   The  Rape  of  Ganymede  by  Jupiter. 

Ganymede  is  carried  aloft  by  the  eagle  ;    at  the  bottoni  on  the  r.  two 
nymphs  ;   on  the  1.  two  dogs. 

[7  X  6}  in.  ;     17-7  X  13- 7  cm.]     Pen  and  ink;    outlines  marked  with  a 

stylus  ;     numbered   in   contemporary   hand   above   Ganymede's   head    1  ; 

signed  with  Coxcie's  monogram  in  bottom  1.  comer. 

Purchased.  1851.1.12.1. 

Reproduction  :    Fine  Arts  Quarterly,  Vol.  Ill  (1864,  5),  facing  p.  104. 

The  figure  of  Ganymede  is  suggested  by  the  Adam  and  the  "  Ignudi  " 
on  the  roof  of  the  Sixtine  Chapel  with  the  help  of  Michelangelo's  drawing 


M.  Coxcie.  13 

at  Windsor  of  the  Rape  of  Ganymede  (dating  probably  from  about  1533) 
or  the  engraving  from  it.  The  mourning  nymphs  are  borrowed  from 
Michelangelo's  drawing  of  the  Fall  of  Phaethon  at  Windsor  or  the  eng^a^•- 
ings  from  it.  The  two  dogs  occur  in  an  engraving  of  Diana  and  Actaeon. 
catalogued  by  Bartsch  (XV,  40,  10)  as  school  of  Marcautonio. 

2.  JrrpiTER  AND  AunoPK. 

Antiope  seated  on  a  stone  pedestal  on  the  1.  receives  Jupiter,  under  the 
form  of  a  satyr,  approaching  from  the  r.  and  drawing  a  curtain  with  his 
1.  hand. 

[6|  X  5|  in. :    17*4  X  13' 5  cm.]     Pen  and  ink  ;   outlines  marked  with  the 
stylus  ;   numbered  2  in  old  hand  on  cornice  above  Jupiter's  head. 
Purchased,  1861.1.12.2. 

3.  JtTPITEB,  in  THK  FOKX  or  AuPHITBTON,  ENJOVTNO  the  IX>VB  or  AliCXKNA. 

The  pair  sit  embraced  on  a  stone  seat  on  the  I. ;  the  eagle  is  below  Jupiter's 
leg  ;  an  opening  with  a  landscape  on  the  r. 

[62  X  5^  in.  ;     17-5  X  13- 8  cm.]     Pen  and  ink;    outlines  marked  with 
the  stylus  ;  numbered  3  on  curtain  above  Alcmena's  head. 
Purchased.  1861.1.12.3. 

4.  JUPITEB  APPEARS  TO  SSXELE  ATTKMDBO  BY  THE  ClOUOS,  THE  LiQHTNINO 

AND  THE  Thunderbolt. 

Semele  is  seated  on  the  r.  in  front  of  a  column  ;  Jupiter  is  on  the  clouds 
to  the  1.  in  the  distance. 

[6i  X  5|  in. :    17*4  x  13-0  cm.]     Pen  and  ink  ;   outlines  marked  with  the 
styhiH  ;   numbered  4  to  r.  of  Jupiter's  I.  liand. 
Purt-hased,  1861.1.12.4. 

6.  Jupitkb,  in  the  roRx  or  a  Btnx,  carrying  orr  Eueopa. 

Europa  is  seated  towards  the  1.  on  the  lMu>k  of  the  bull,  which  is  swimming  ; 
three  women  are  gesticulating  on  the  bank  to  the  1. 

[7  X  5J,  in.  ;    17*8  x  13*8  cm.]     Pen  and  ink  ;   the  outlines  marked  with 

the  stylus  ;  numbered  6  above  Kuropa's  head  ;  signed  with  the  monogram 

in  1.  bottom  comer. 

Purchased,  1861.1.12.5. 

Reproduction  :   Fine  ArU  Quarterly,  Vol.  Ill  (1864,  5).  facing  p.  102. 

6.  Jupitkb,  as  a  Plaxe  or  Fire,  enjoytno  Aeoina. 

The  two  figures  are  on  a  bank  in  the  centre,  surrounded  by  flames,  the 
eagle  in  the  foreground. 

[6f|  X  &,7«  in.   ;    17  x  13- 8  cm.]     Pen  and  ink,  the  outlines  marked  with 

the  stylus  ;    numbered  6  in  the  centre  above  the  heads  of  Jupiter  and 

Aegina. 

Purchased,  1861.1.12.6. 

7.  Jupiter,  in  the  torm  or  a  Speckled  Serpent,  enjoying  Proserpina. 

Proserpina,  naked  except  for  some  drapery  over  her  r.  shoulder,  is  seated 
on  a  bank  under  some  trees,  facing  to  the  1.  and  holding  the  snake  in  her 
r.  hand. 

[6}  X  Sj';,  in.  ;     17-2  X  137  cm.]     Pen  and  ink;    the  outlines  marked 
with  the  stvlus  ;    numbered  7  above  Proserpina's  head. 
Purchased,*  1861 . 1 .  12 . 7. 

8.  JUPITBB,   IN  THE   POBM   Or  A   SWAN,   ENJOYING   LeDA. 

Leda  reclines  on  a  bank  on  the  1.  under  some  trees,  her  1.  hand  on  the 
swan's  neck  ;   a  pool  with  a  tree-stump  in  the  r.  foreground. 

[6fa  X  6,!^  in.  ;     17-3  X  13- 8  cm.]     Pen  and  ink;    the  outlines  marked 
with  the  stylus  ;   numbered  8  at  the  top  slightly  to  the  r. 
Purchased,  1861.1.12.8. 


14  Dutch  and  Flemish  Drawings. 

9.    JUPITEB,  StTRPRISED  BY  JtTNO,  TBA2fSFOBMS  lo  INTO  A  HeIFEB. 

Jupiter  on  the  1.  holds  lo,  who  has  already  suffered  a  partial  transformation 
into  a  heifer,  in  his  arms  ;  Juno  with  her  peacock  in  clouds  above  on 
the  r. 

[6f  X  5j7g  in.  ;     17-2  X  13- 8  cm.]     Pen   and   ink;     the   outlines   marked 
with  the  stylus  ;   numbered  9  in  centre  above  Jupiter's  head. 
Purchased,  1861.1.12.9. 

10.   Jupiter,  in  the  fobm  op  Diana,  enjoying  Callisto. 

Callisto,  reclining  on  a  bank  on  the  r.  xmder  some  trees,  is  approached  by 
the  disguised  god  :  the  lightning  and  the  thunderbolt  on  the  ground  on 
the  r. 

[6}g   X  5/fe  in.  ;     17-6  X  13- 4  cm.]     Black   chalk;     the   outlines   marked 
with  the  stylus  ;    numbered  10  to  the  1.  in  the  upper  part ;    signed  with 
monogram  in  lower  r.  corner  (partially  obliterated). 
Purcha.sed,  1861.1.14.10. 

The  fact  that  this  drawing  is  in  a  different  medium  from  the  remaining 
nine  suggests  that  it  may  be  a  copy.  Both  the  quality  of  the  drawing 
itself,  however,  the  apparently  genuine  monogram  and  the  fact  that  it 
was  used  by  the  engraver,  seem  to  me  to  show  that  it  is  also  the 
original  design. 

DAVID,  Gerard  (b.  about  1460  ;  d.  1523).  Painter  :  born  at  Oudewater, 
near  Gouda,  in  Holland  ;  entered  the  Painters'  Guild  at  Bruges  as  a 
stranger  in  1484;  "  Vynder "  of  his  guild  in  1487/8,  1498/9; 
"  dekin  "  1501/2  ;  given  commissions  by  the  town  of  Bruges  in  1488, 
1495  and  1498  ;  married  shortly  after  1496  Cornelia  Cnoop,  daughter 
of  the  head  of  the  Goldsmiths*^  Guild  ;  died  August  13th,  1523.  One 
of  the  two  pictures  executed  for  the  town  of  Bruges  of  the  history  of 
the  unjust  judge  Sisamnes  is  dated  1498  ;  the  important  picture  at 
Rouen  of  the  Virgo  inter  Virgines  is  recorded  to  have  been  given  as 
well  as  painted  by  the  Master  in  1511. 

Lit.  :  E.  Freiherr  von  Bodenhausen,  Geraert  David  und  seine 
Scheie,  Munich,  1905 ;  M.  J.  Friedlander,  Altniederldndische  Malerei, 
.Vol.  VI,  1926.  For  the  drawings,  see  also  Sir  Martin  Conway, 
Drawings  by  Gerard  David,  Burlington,  XVII,  p.  155 ;  F.  Winkler, 
Geraert  David  und  die  Brugger  Miniaturmalerei  seiner  Zeit,  ftlonatshef  te, 
VI,  p.  271 ;  the  same.  Das  Skizzenbnch  Gerard  Davids,  Pantheon,  III 
(1929),  271. 

1.   PoBTRAiT  Study  OF  A  Feanciscan  Fbiae. 

Half-length,  turned  three-quarters  to  1.,  the  hands  joined  in  prayer. 

[10j3g  X  7  in.  ;   25*9  X  17-9  cm.     The  top  comers  rovmded  and  made  up.] 

Silver  point  and  black  chalk  on  slate -coloured  prepared  ground. 

Collections  :  Robinson,  Malcolm. 

Purchased,  1895.9.15.999. 

Reproductions  :  Photo.   Braun   (as  Jan   van   Eyck)  ;     Popham,   op.   cit., 

pi.  31  ;   Vasari,  2nd  ser.,  IX,  7. 

Lit.  :     Malcolm  Catalogue,   No.   641  ;     attributed  to  Jan  van  Eyck  on 

the  strength  of  the  supposed  resemblance  to  that  artist's  drawing  at 

Dresden. 

Formerly  arranged  in  British  Museum  under  anonjinous  Netherlandish 
drawings  ;  published  as  school  of  Gerard  David  by  the  writer  and  sub- 
sequently in  the  Vasari  Society  as  by  David  himself.     The  quality  of  the 


G.  David — C.  Engebi'cchUz.  15 

drawing  seems  to  warrant  this  attribution,  which  was,  I  believe,  suggested 
by  Prof.  Friedrich  Winkler.  The  style  is  exactly  similar  to  that  of  the 
drawings  in  the  sketch-book  published  by  Conway  and  Winkler,  leaves  of 
which  are  in  the  collections  at  Frankfurt,  Paris  and  Cracow,  and  in  the 
collections  of  Baron  Edmond  de  Rothschild  and  Prince  Liechtenstein.  The 
main  differences  consist  in  the  larger  scale  and  the  slate-coloured  ground. 
The  latter  is  moet  common  in  drawings  of  the  so-called  Antwerp  Mannerists, 
but  was  certainly  used  in  Bruges  or  Ghent  in  the  last  years  of  the 
15th  century.  It  is  not  necessarj'  to  assume  therefore  that  the  present 
drawing  is  subsequent  to  David's  visit  to  Antwerp  in  1515,  though  on 
general  principles  it  must  be  dated  late,  after  1500. 

There  is  a  minute  inscription  to  the  r.  of  the  head,  which  has  been 
interpreted'  :  D[ominus]  Gerhert[us^  vander  mis«[en],  but  the  first  words  are 
uncertain.     It  is  doubtless  the  name  of  the  friar. 

There  is  a  connection,  though  not  a  very  close  one,  with  the  portrait 
of  an  ecclesiastic  in  the  National  Gallery  (School  of  Gerard  David.  No.  710) 
and  the  picture  in  the  Kann  Coll.  (Illustrated  Catalogue  of  Pictures  II, 
plate  10),  which  repeats  the  hands  and  body  of  the  National  Gallery  picture. 

COPY  AFTER  GERARD  DAVID. 

2.   The  Descent  from  the  Cross. 

A  bearded  figure  mounted  on  the  ladder  which  is  leant  against  the  Cross 
lowers  the  body  of  Christ  ;  Joseph  of  Arimathea  on  the  1.  supports  the 
weight ;  on  the  r.  the  Virgin  Mary  kisses  the  1.  hand,  while  beliind  are 
Mary  Magdalene  and  St.  John  ;  above,  to  the  I.,  part  of  the  study  of  a 
bearded  head. 

[10^  X  7|  in.  :    26-2  X  18- 7  cm.]     Point  of  the  brush  and  Indian  ink 
on  vellum  heightened  with  white. 
Collection  :  Sloane. 
621S-216. 

The  drawing  appears  to  be  a  copy  of  the  picture  by  David  formerly  in 
the  Car\'alho  Collection,  Paris  (Bodenhausen,  No.  43  and  plate).  There 
are  two  points  about  it  to  Ijo  noted  :  it  is  in  reverse  to  the  picture  and 
the  head  of  the  man  on  the  1.  of  the  drawing  is  Quite  different  and  much 
superior  to  that  on  the  r.  of  the  picture.  Boaenhausen  remarks  that 
this  obvioiisly  feeble  head  in  the  picture  is  the  work  of  an  assistant.  Was 
the  present  drawing  copied  from  another  lost  version  ?  In  the  version 
in  the  Frick  collection  wnich  Friedl&nder  (No.  192)  describef  as  the  original 
of  which  the  Carvalho  and  Vflizi  pictures  are  repetitions*,  the  head  is 
different  again.  I  can  offer  no  ex]>lanation  of  the  drawing  being  in  reverse 
to  the  pictures.  It  may  conceivably  have  been  traced  from  an  actual 
picture  ;  the  size  of  the  Carvalho  picture  is  practically  the  same,  supposing 
the  drawing  to  have  been  slightly  cut. 

The  mo<lcIling  of  the  body  of  Christ  in  fine  flicks  suggests  the  work 
of  an  artist  of  the  following  of  Hugo  van  der  Goes  (cf.  the  drawing  of  Jacob 
and  Rachel  at  Christ  Church,  Oxford),  perhaps  an  illuminator.  The 
draM-ing  may  have  been  projected  as  the  basis  for  an  illumination,  which 
was  never  carried  beyond  the  initial  stages.  A  drawing  on  vclliun  of  very 
similar  style  and  technique,  obviously  the  work  of  an  illuminator,  is  in  the 
Amsterdam  Prentenkabinet  (St.  Barbara  with  scenes  from  her  martyrdom. 
24  X  19-8  cm.,  from  the  Robinson  coll.). 

ENGEBRECHTSZ,  Cornelis  (b.  1468,  d.  1533).  Painter  of  Leyden  : 
mentioned  in  the  lists  of  the  Schiitzendienst  of  Leyden  from  1499-1519. 
Father  of  Cornelis,  Lucas  and  Pieter  Cornelisz  (Eunst)  {q.v.) ;  master 

'  By  M.  Fr^cric  Lyna,  of  the  Royal  Library  at  Brussels,  to  whom  I 
am  much  indebted. 

*  Yet    another    version,    closely     resembling    the    Carvalho     picture, 
•    belonged  to  M.  Laurent  Mecus  and  was  exhibited  at  the  Flemish  Exhibition, 
BtirJinpton  House,  1927,  no.  93. 


16  Dutch  and  Flemish  Braidings. 

of  the  latter  two,  of  Aert  Claesz  van  Leyden  [q.v.)  and  of  Lucas  van 
Leyden  {q.v.).  Two  of  his  most  important  and  characteristic  works 
are  in  the  Leyden  Museum,  a  triptych  with  Christ  on  the  Cross  executed 
shortly  after  1508  for  the  convent  of  Marienpoel,  near  Leyden,  and 
another  triptych,  painted  shortly  before  1526,  for  the  same  convent 
(both  of  these  are  mentioned  by  van  Mander).  A  number  of  drawings 
of  the  so-called  Antwerp  Mannerists  have  been  incorrectly  attributed 
to  him  in  the  past  [e.g.,  in  British  Museum,  Jan  de  Beer,  No.  2). 

Lit.  :  van  Mander,  I,  125  ;  Franz  Diilberg,  Die  Leydener  Maler- 
schule  (Berlin  Dissertation);  Walter  Cohen  in  Thieme-Becker ;  P. 
Wescher,  Zur  Chronologie  der  Gemalde  des  Cornelis  Engebrechtszeny 
Zeitschrift  f.  bild.  kunst,  LVIII  (1924),  96. 

For  drawings  formerly  attributed  to  Cornelis  Engebrechtsz,  see 
Jan  de  Beer  (No.  2)  and  anonymous  drawings  (1909.1.9.6). 

1.  St.  Donatus  (?) 

The  Saint,  wearing  episcopal  mitre  and  holding  the  crozier  in  his  1.  hand, 
is  seen  half-length  standing  in  front  of  a  well  into  which  the  end  of  his 
crozier  is  plunged  ;    a  ptilley  wheel  for  a  bucket  is  on  the  1. 

\S^g  X  7J  in.  ;    21-7  X  18-4  cm.     The  corners  cut  off ;    diameter  of  circle 

8J  in.  ;  21cm.]     Drawn  with  the  point  of  the  brush  on  prepared  grey 

silrface  ;    false  signature   L   at   bottom  on  r.     Design  for  stained  glass 

roundel . 

Collection  :  Rev.  W.  H.  Barnard. 

Purchased,  1892.8.4.81. 

Reproduction  :  PI.  IV. 

Lit.  :    Sir  S.  Colvin,  Prussian  Jahrbuch,  XIV  (1893),  p.  166. 

The  identity  of  the  Saint  is  doubtful.  The  only  sainted  bishop  connected 
with  a  well  mentioned  by  Husenbeth  is  St.  Donatus  of  Arezzo,  who  purified 
a  poisonous  well,  expelling  therefrom  a  dragon.  The  action  of  the  saint's 
crozier  here  is  appropriate  enough,  but  one  would  expect  the  presence  of 
the  dragon. 

The  drawing,  which  came  from  the  Lucas  van  Leyden  album,  corre- 
sponds so  exactly  in  style  with  that  of  Engebrechtsz,  as  shown  in  hia 
paintings,  that  the  attribution  to  him  may  be  confidently  accepted.  A 
good  example  for  comparison  is  the  St.  Martin  of  Tours  in  the  wing  of  the 
Leyden  altarpiece  with  the  Lamentation  of  about  1526. 

EYCK,  Jan.  van  (b.  about  1390  ;  d.  1441).  Painter  and  miniaturist : 
born  at  Maaseyck,  near  Maastricht ;  from  1422  to  1424  in  the  service 
of  John  of  Bavaria,  Count  of  Holland  ;  1425  court  painter  and  "  varlet 
de  chambre  "  to  PhiUp  the  Good,  Duke  of  Burgundy  ;  employed  by 
him  on  diplomatic  missions  1426-1428,  in  the  latter  year  to  Portugal ; 
1430  (?)-1432  at  work  on  the  Ghent  altarpiece  ;  1431  bought  a  house 
in  Bruges,  in  which  city  he  died. 

Signed  and  dated  pictures  by  Jan  van  Eyck,  in  addition  to  his 
share  of  the  Ghent  Adoration  of  the  Lamb,  are  the  "  Tymotheos  "  in 
the  National  Gallery,  1432  ;  Madonna  and  Child,  from  Ince  Hall,  in 
the  Melbourne  Gallery,  1433  ;  portrait  of  a  man  in  a  turban.  National 
Gallery,  1433 ;  Giovanni  Arnolfini  and  his  wife,  National  Gallery, 
1434  ;    altarpiece  with  St.  Donatian  and   St.  George  and  the  Donor 


J.  van  Eyck.  17 

Georges  van  der  Paele,  Academy,  Bruges,  1436  ;  Jan  de  Leeuw, 
Vienna,  1436  ;  St.  Barbara,  Antwerp,  1437  (unfinished) ;  Madonna 
by  the  fountain,  Antwerp,  1439,  and  portrait  of  the  artist's  wife, 
Margaret,  Academy,  Bruges,  1439. 

Lit. :  W.  H.  James  Weale,  Hubert  and  Jan  van  Eyck,  London, 
1908  (2nd  edition,  with  M.  W.  Brockwell,  1912)  ;  Max  Dvorak,  Das 
RaUel  der  KumI  der  BrUder  ran  Eyck,  Vienna  Jahrbuch,  XXXIV 
(1903),  161  ;  M.  J.  Friedlander  in  Thieme- Becker,  XI  (1915)  ;  the 
same,  AUniederlandUche  Malerei,  Vol.  I. 

SCHOOL  OF  JAN  VAN  EYCK. 

1.     POBTHAIT   OF   A    GENTLEMAN. 

Bust,  three-quarter  length,  wearing  chaperon. 

[&Jg  X  5}}  in.  :      21-5  X  14* 4 cm.]     Silver    point    on    prepared     cream 

coloured   surface.     Untouched   and   in   practically    perfect    pre8er\'ation. 

No  watermark. 

Collect iom  :      Kmile     Calichon     (Sale.      Paris,      1875.    May     10th- I4th). 

W.  Mitchell  (Sale.  Frankfurt,  F.  A.  C.  Prestel.  May  7th.   1890) ;    Malcolm 

(Catalogue.  Add.  28). 

Purchased.  1805.0.15.098. 

Reproductions  :  Garette.  XXII  (1867).  (acmg  p.  85  (engraving) :  Groavenor 

OailericH.    Winter    Exhibition    (1877-78),     Illustrated    Catalogue,    facing 

p.  80  ;   Vasari.  IX.  12  :   Popliam.  pi.  0. 

Variously  attributed  to  Jan  van  Kvck,  to  Simon  Marmion  (by  Michiels, 
QUote<l  by  K.  Galichon  in  Gazette  XXII  (1867).  p.  82).  to  Petrus  Cristiis 
(by  KarrVoll.  Die  Werke  dtn  Jan  mn  Ryck.  1900.  p.  123)  :  more  recently 
described  as  by  aii  unknown  artist  (notice  by  K.  M.  to  Vasari  reproduction). 
M.  J.  FriedUknder  {AUniederLlndutehe  MaUrei,  1,  p.  125)  aKcribos  it  with  a 
"  degree  leas  certainty  "  (than  the  Frankfurt  drawings,  of  a  nuin  with  a 
hawk  and  of  a  lady)  to  Jan  van  Kyck.  adding  that  it  would  have  to  be 

E laced  early  in  his  career.  The  drawing  appears  to  me  to  l^o  by  the  same 
and  as  the  |>ortrait  of  a  lady  at  Frankfurt  juttt  refcrrcil  to  (reproduced 
Frankfurt  Drawings,  XVI,  6).  and  to  differ  coii-sidcnibly  in  style  from  the 
undoubteil  |K>rtrait  of  Albergati  at  Dresden,  the  portrait  of  a  man  with  a 
liawk  at  Frankfurt  {Frank-furl  Drntringa,  XVI.  7),  the  portrait  head  of  a 
man  in  the  I..ouvre  (reproduced  Popham.  pi.  7)  attributed  by  FriodlAnder 
to  Jan  van  Kyck  himself.  The  draughtsman  of  the  present  work  and  of 
the  lady  at  Frankfurt  has  a  style  distinctly  less  advancml  than  that  shown 
in  the  |>ort raits  enumerated  above  :  there  is  a  hartlnoss  of  outline  and  a 
lack  of  surface  modelling  which  differentiate  him  from  Jan  van  Kyck  at 
any  stage  of  the  latter's  cartjcr.  There  is  no  question  of  the  stiffness  either 
of  this  or  the  Frankfurt  drawing  being  the  iriconifietcnco  of  a  copyist ;  they 
are  obviously  the  original  work  of  a  somewhat  primitive  artist.  He  would 
appear  to  have  l>een  employed  by  Jacqueline  of  Bavaria,  if  the  drawing 
at  Frankfurt  really  represents  that  princess,  as  seems  fairly  well  estabiishetl 
(see  G.  Gltick,  JUiUeilungen,  liK)5,  p.  1).  If  we  are  also  to  accept  the  date, 
1432,  on  the  back  of  the  copy  which  identifies  the  Frankfurt  drawing  as 
Jacqueline,  and  the  date  seems  a  probable  one,  we  can  add  that  the  artist 
was  probably  in  her  service  or  in  that  of  her  fourth  husband,  t'rank 
van  Borselen,  in  that  year.  The  present  drawing  would  seem  at  least  as 
early  as  this  ;  the  headdress,  for  which  I  can  find  no  exact  parallel,  belongs 
to  a  period,  the  first  twenty  or  thirty  years  of  the  15th  century,  before  the 
chaperon  became  standardized  in  form.  The  identification  of  the  per- 
sonage as  Duke  Philip  the  Good  of  Burgundy  (by  K.  Galichon,  in  Gazette, 
loc.  cit.)  seems  to  me  an  improbable  one  ;  the  features  bear  no  particular 
resemblance  to  those  of  the  Duke.  Without  the  aid  of  such  a  testimony  as  a 
named  picture  reproducing  the  drawing,  any  certain  identification  is  unlikely. 

For  drawings  formerly  attributed  to  QEERTGEN  TOT  SINT  JANS, 
see  anonymous  drawings  (1854.6.28.24)  and  Jacob  Comelis?:,  Nos.  1  and  2. 

C 


18  Dutch  and  Flemish  Drawings. 

GOSSAERT,  Jan,  called  MABUSE  (b.  about  1478  ;  d.  between  1533  and 
1536).  Painter,  engraver  and  designer  for  woodcut  and  stained 
glass  :  probably  born  in  the  castle  Duurstede,  near  Utrecht ;  master 
in  the  Antwerp  guild,  1503  ;  in  Rome  probably  by  1508,  certainly 
by  1509,  executing  commissions  for  Philip  of  Burgundy  ;  on  the 
latter's  appointment  as  Bishop  of  Utrecht  in  1517,  Gossaert  probably 
resided  in  that  town  ;  on  Philip's  death,  in  1524,  Gossaert  entered  the 
service  of  his  great-nephew,  Adolphus  of  Burgundy,  and  moved  to 
Middelburg,  where  he  died.  It  has  been  assumed  from  the  style  of 
Gossaert's  early  works  that  he  was  a  pupil  of  Geraert  David  {q.v.)  in 
Bruges,  but  his  visit  to  Italy  in  1508-9  and  his  adoption  of  Italian 
forms  and  models  were  the  main  factors  of  his  contemporary  fame. 
Though  generally  called  the  first  Romanist,  Gossaert's  technique  and 
traditions  remain  thoroughly  Flemish. 

Lit.  :  van  Mander,  I,  232  ;  E.  Weiss,  Jan  Gossaert  gen.  Mabuse, 
Parchim,  1913;  F.  Winkler  in  Thieme-Becker ;  L.  von  Baldass, 
Berlin  Jahrbuch,  XXXVI  (1915),  p.  225 ;  F.  Winkler,  BerUn  Jahr- 
buch,  XLII  (1919),  5. 

1.  The  VrBOiN  with  the  Infant  Christ  and  St.  John. 

The  Virgin  is  kneeling  on  one  knee  on  the  r.  and  holds  up  her  dress  with 
her  r.  hand  ;  the  Infant  Christ  and  St.  John  are  froUcking  with  a  lamb  in 
front  of  her  on  the  1. 

[Sj^'jj  X  6  in.  ;    13-5  X  15*2  cm.]     Pen  and  grey  ink.    The  foremost  child 

is  drawn  on  a  small  piece  of  paper  pasted  on  obviously  to  cover  up  a 

mistake  ;  the  face  and  r.  hand  of  the  Virgin  are  touched  up  by  a  later  hand 

in  browner  ink  in  a  style  resembling  that  of  Aertsen  ;   the  X)  on  a  tablet  on 

the  r.  is  also  an  addition. 

Collection  :   Sloane  (from  the  Diirer  album,  1637). 

5218-220. 

Reproduction  :  PI.  IV. 

The  attribution  to  Gossaert  is  the  writer's.  Of  the  connection  of  the 
drawing  with  that  master  there  can  be  no  doubt,  but  in  view  of  cert«an 
weaknesses  it  might  be  argued  that  it  was  rather  a  copy  from,  than  a 
drawing  by  him.  The  drawing  is  indeed  hesitating,  but  in  a  manner  so 
characteristic  of  Gossaert,  especially  in  his  earlier  period,  that  it  must  be 
his.  The  motive  of  the  Virgin  kneeling  on  the  ground  with  the  infants 
playing  at  her  feet  is  an  Italian  one  ;  Madonnas  by  Raphael,  such  as  the 
Holy  Family  with  the  lamb  (at  Madrid)  must  have  been  in  Gossaert's 
mind  ;  he  has  sought,  however,  to  improve  on  his  models  and  transformed 
the  decorous  gaiety  of  Raphael's  children  into  a  rough  and  tumble. 

2.  A  Woman's  Bath. 

Eight  naked  women  in  a  bath-house  ;  in  the  centre,  slightly  to  the  1.,  one 
standing,  combing  her  hair  and  holding  a  mirror  ;  behind  her,  a  woman 
seated  in  a  bath  on  the  ground  ;  two  other  women  seated  on  a  bench  which 
rims  round  two  sides  of  the  chamber,  the  one  on  the  1.  manicuring  her 
feet ;  another  beliind  her  looking  out  of  a  window,  and  one  in  front  seated 
on  the  ground  ;  on  the  extreme  r.  a  woman  with  her  back  to  the  spectator  ; 
another  standing  between  this  last  and  the  woman  combing  her  liair. 

[14J  X  19Jin.  ;    37-9  X  50-2  cm.]     Pen  and  ink  over  black  chalk,  faint 
traces  of  which  remain  ;   squared  for  enlargement  in  black  chalk.     Water- 
mark, a   jug   crowned   like   Briquet    12863-6.     On   back   some   partially 
obliterated  hieroglyphics  of  the  17th  or  I8th  century. 
Purfhasod  from  Miss  E.  C.  Allwood.  1924.5.12.1. 
l^production  :  Onzo  Kunst,  XLI  (1925),  209. 


J.  Gossaert — M.  van  Heeinskerck.  19 

Certainly  an  original  drawing  by  Gossaert.  The  handling  of  the  pen 
should  be  compared  with  that  in  the  drawing  of  the  Temptation  in  the 
Albertina  (Schonbrunner-Meder  1189:  Benesch  36).  It  belongs  pre- 
sumably to  the  period  of  Gossaert's  large  paintings  of  the  nude,  the  Neptune 
and  Amphitrite  at  Berlin,  the  Adam  and  Eve  at  Hampton  Court,  etc., 
i.e.,  about  1516-17.  The  figure  seated  on  the  bench  in  the  background, 
her  arm  resting  on  a  jug,  appears  in  a  shghtly  altered  form  in  the  engraving 
of  Hercules  and  Dejanira  (P.  Ill,  320,  5,  as  Baldung).  The  drawing  can 
hardly  be  regarded  as  consisting  of  studies  direct  from  life  as  is  Diiror's 
drawing  of  a  woman's  bath  at  Bremen  (L.  101),  with  which  comparison 
is  naturally  suggested.  The  women's  figures  here  are  too  like  Gossaert 
and  too  httle  like  life.  There  are  also  distinct  reminiscences  of  well-known 
Italian  works  ;  the  figure  on  the  r.  strongly  recalls  the  figure  of  the  goddess 
robing  herself  in  Marco  da  Ravenna's  engraving  after  Raphael  (B.  XIV, 
198,  246),  while  the  position  of  the  woman  lying  on  the  groiuid  on  the 
extreme  1.  is  curiously  Uke  that  of  the  river-god  in  the  same  engraving. 
The  woman  on  the  1.  manicuring  her  toe-nails  is  based  on  the  famous 
statue  of  a  boy  pulling  a  thorn  from  his  foot  in  the  Capitol  Museum.  The 
drawing  by  Dirick  Vellert  in  the  Louvre  of  a  woman  bath  attendant 
(reproduced  Popham,  pi.  56)  is  interesting  as  being  the  only  other  study 
by  a  Flemish  artist  of  a  similar  subject.  It  has,  however,  been  pointed  out 
that  the  Vellert  drawing  is  an  adaptation  from  the  figure  of  Eve  in  Dilrer's 
engraving  and  not  a  study  from  the  life. 

HEEMSKERCK,  Martin  van  (b.  1498  ;  d.  1574).  Painter,  engraver  and 
designer  for  woodcut :  b.  at  Heemskerk  ;  pupil  of  Cornelis  Willemsz. 
at  Haarlem,  and  of  a  certain  Jan  Lucasz.  at  Delft ;  influenced  strongly 
by  his  fellow  pupil  Scorel ;  visited  Rome  in  1532,  whence  he  returned 
to  Haarlem  in  1536  ;  dean  of  the  Guild  of  St.  Luke  at  Haarlem  in 
1540 ;  moved  temporarily  to  Amsterdam  in  1572  during  the  siege  of 
Haarlem  by  the  Spaniards  ;  d.  at  Haarlem.  Very  large  numbers  of 
Heemskerck's  drawings  are  preserved,  mainly  careful  drawings  for 
engravings,  but  also  drawings  of  Roman  remains,  etc.,  in  two  albums 
at  Berlin  (published  by  C.  Hiilsen  and  H.  Egger,  Dte  romischen  Skizzen- 
bucher  Marlins  van  Heemskerck,  2  vols.,  Berlin,  1913,  1916).  There  is 
a  catalogue  of  the  remaining  drawings  in  Leon  Preibisz,  Martin  van 
Heemskerck,  Leipzig,  1911,  and  of  the  prints  engraved  after  his  designs 
by  Thomas  Kerrich,  Catalogue  of  the  Prints  .  .  .  after  Martin  van 
Heemskerck,  Cambridge,  1829. 

For  drawings  formerly  attributed  to  Martin  van  Heemskerck,  see 
anonymous  drawings  (Sloane,  5236-163)  and  Aerdt  Ortkens  (no.  3). 

1.   The  Ei£ctob  of  Saxony,  Johk  Fbedebick,   sitkrenderino  hiiiself 
Pbisoner  to  the  Emperor  Charles  V.  after  having  been  defeated 

AND  wounded  at  THE  BATTLE  OF  MUHLBERO,   1547. 

The  Elector,  bareheaded,  holding  his  helmet  in  his  r.  hand,  approaches 
from  the  1.  ;  the  Emperor  mounted,  with  other  horsemen,  is  on  the  r. 
under  some  trees. 

[5}f  X  9^  in. ;    14-7  x  23-4  cm.]     Pen    and    ink,  signed    in    bottom    1. 

comer  on  tablet  :  Marlinus  van  Heemskerck  Inventor  1554. 

Pui'chased,  1853.8.13.50. 

Reproduction  :  Sir  W.  Stirling  Maxwell,  The  Chief  Victories  of  the  Emperor 

Charles  V.,  London,  1870,  p.  42. 

Engraved  in  reverse  as  no.  10  in  the  series  of  twelve  engravings  of  the 
acliievements  of  Charles  V.  by  Dirk  Volkertsz.  Coomhert,  first  published 
in  1556  (Kerrich,  p.  1 12).     Another  drawing  of  the  same  series  at  Hamburg 

c  2 


20  Dutch  and  Fiemish  Drawings. 

( Preibisz,  no.  30  :  Prestel  publication  of  Hamburg  drawings,  Niederl&nder, 
II,  7).  Transferred  February  22nd,  1854.  to  the  Department  of  Printed 
Books  and  inserted  in  a  volume  of  miniature  copies  from  the  prints  ascribed 
to  Giulio  Clovio  in  the  Grenville  Library.  Re -transferred  to  the  Depart- 
ment of  Prints  and  Drawings,  October  3rd,  1027. 

2.  EUJAH  DECLARrNO  THE  AnOER  OF  THE    LOBD   TO   AHAB   IN  THE  ViNKYARD 

OF  Naboth  (1  Kings,  x>i,  20-27). 

Elijah  on  the  1.  ;    on  the  r.  Ahab  rending  his  clothes  ;    soldiers  behind 

and  buildings  in  the  distance. 

[75  X  lOA  in.;     20  X  25-6  cm.]     Pen  and  ink,  the  outlines  marked  with 

a  stylus  for  transfer.     Signed  bottom  1.  comer  :   Martinus  txin  Htemakreck 

Inventor,  and  dated  near  the  bottom  on  the  r.  1561. 

Purchased,  1853.8.13.10. 

Reproduction  :  PI.  IV. 

fingraved  in  reverse  as  no.  5  of  a  series  of  six  prints  of  the  story  of  Ahab 
and  Naboth,  "  H.  Cock  excud."  (Kerrich,  p.  25,  26). 

3.  The  Baptism  of  Our  Lord. 

Christ  kneels  on  a  stone  in  the  centre,  while  St.  John,  a  little  to  the  1.,  pours 
water  over  His  head  ;  in  the  background,  on  the  1.,  men  and  women 
dressing  after  bathing  in  the  Jordan  ;  on  the  r.,  St.  John  talking  to  the 
Priests  and  Pharisees. 

[7f  X  10^  in.  ;     10*3  X  26- 7  cm.]       Pen   and    ink,   the  outlines  marked 

with  a  stylus  for  transfer.    Watermark,  a  bunch  of  grapes  with  initials  B.  F., 

like  Briquet  13170. 

Presented  by  W.  Mitchell,  Esq. 

1014.9.1.8. 

Reproduction  :  PI.  V. 

Engraved  in  reverse  by  Philip  Galle  as  no.  4  of  a  series  of  six  scenes  of 
the  life  of  St.  John  the  Baptist,  1564  (Kerrich,  p.  44). 

4.  A  Battle  with  Soldiers  plunderino  a  Temple. 

A  columned  temple  on  a  mound  in  front  of  which  horsemen  and  foot 
soldiers  are  engaged  in  battle ;  towards  the  r.  a  woman  is  being  carried 
off  and  handed  to  a  horseman  wearing  a  lion  skin. 

[8  X  21Jin.  ;  20-4  X  53- 8  cm.;  made  up  of  two  pieces  of  paper,  the  1.  one 
about    20,  the  r.  one  about  33  cm.  wide.)     Pen   and   ink  ;    signed  along 
the  lower  edge  towards  the  r.  :    Martijn   Van  Heeniskerck  Inventor,  and 
niunbered  •    5  •  (in  a  different  ink). 
Collection  :  Sloane. 
5236-161. 

Reproduction  :  PI.  V. 
Lit.  :  Preibisz,  no.  166. 

The  subject  of  this  drawing  is  imcertain.  It  is,  according  to  Preibisz^ 
the  pendant  to  a  drawing  at  Hamburg  of  a  similar  subject  dated  1673, 
Though  both  of  these  are  of  the  type  of  designs  for  engravings,  no  such 
engravings  appear  to  have  been  made  from  them.  Possibly  the  subject 
of  the  present  drawng  is  Hercules  fighting  against  Eurytus,  King  of 
(Kchalia.  and  carrj'ing  off  his  daughter  lole,  a  subject  engraved  by  H.  S. 
Beham  (B.  V'lII,  167,  99).  The  man  on  horseback  on  the  r.,  carrying  off 
the  woman,  wears  a  lion's  skin  over  his  head  which  suggests  Hercules. 

COPIES  AFTER  MARTIN  VAN  HEEMSKERCK. 

6.   Equestrian  Statue  of  Marcus  Aubeltus. 

Seen  directed  towards  the  I. 

(11  X  10}  in.  ;  27  X  27-2  cm. ;  the  drawing  has  been  cut  or  torn  irre- 
gularly round  the  top  and  restored,  as  well  as  a  strip  added  at  the  bottom  ; 
the  measuraments  £pven  are  thoae  of  the  original  pi^^er  without  the  restora- 


M.  van  Heemshcrch — P.  Koeckc.  21 

tions.]     Pen   and  brown   ink,   inscribed   in   old   (contemporary  ?)   hand  : 

....  aelio. 

Collections  :  Mariette,  Comte  de  Fries. 

Purchased,  1861.8.10.46. 

Literature  ;      Preibisz,    p.     101     (under    drawings    wrongly    ascribed    to 

Heemskerck. 

Though  quite  in  Heemskerck 's  manner,  this  drawing  has  a  flatness 
which  suggests  the  copyist.  A  comparison  with  the  vigorous  penmanship 
of  studies  of  the  legs  of  a  horse  in  the  Berlin  "Sketch  Book,"  leaves  no 
doubt.     It  may  be  a  copy  of  a  presumably  lost  drawing  by  Heemskerck. 

6.    The  Crucifixion. 

Composition  with  the  Three  Crosses,  the  Virgin  fainting,  supported  by 
St.  John  and  saints  on  the  1.,  and  the  soldiers  playing  dice  on  the  r. 

[15i  X  lOjJg  in.  ;    38-4  X  25-5  cm.  arched  top.]     Pen  and  ink  over  black 
chalk  ;    inscribed  in  old  hand  in  chalk  :    Hen  skerck,  and  on  old  mount 
Martin  van  Heemskerck  fecit. 
Presented  by  W.  Mitchell,  Esq. 
1914.9.1.9. 

Certainly  a  copy,  apparently  of  the  print  described  by  Kerrich,  p.  53,  54. 

KOECKE  or  COECKE,  Pieter,  van  Aelst  or  Most  (b.  1502  ;  d. 
1550).  Painter,  architect,  designer  for  tapestry  and  woodcut ;  b. 
at  Alost ;  pupil  of  Bernard  von  Orley  at  Brussels  1517-1521  ;  visited 
Italy  ;  returned  to  the  Netherlands  before  1527,  in  which  year  he 
was  inscribed  in  the  guild  of  St.  Luke  at  Antwerp  ;  in  1533  visited 
Constantinople  on  the  commission  of  the  Brussels  tapestry  weaver 
d'Armoyen ;  in  1534  again  in  Antwerp  ;  1537  dean  of  the  guild  at 
Antwerp  ;  1549  designed  the  decorations  for  the  entry  of  Charles  V 
and  his  son  Philip  into  Antwerp  (published  with  woodcuts  by  Cornelius 
Grapheus  at  Antwerp  in  1550).  There  is  no  actual  documentary 
evidence  for  the  ascription  to  Koecke  of  any  surviving  works  except 
the  woodcut  frieze  with  the  manners  and  customs  of  the  Turks 
published  by  his  widow  after  his  death  in  1553,  but  on  the  strength 
of  old  MS.  attributions  on  drawings  and  prints  a  number  of  other 
works  have  been  convincingly  attributed  to  him,  and  his  style  emerges 
with  some  distinctness. 

Lit.  :  van  Mander,  I,  184 ;  M.  J.  Friedlander,  Prussian  Jahrbuch, 
XXXVIII,  p.  73;  P.  Wescher,  Pieter  Coecke  als  Maler,  Belvedere, 
XII  (1928),  p.  27 ;  Sir  WilUam  Stirling  Maxwell,  Bart.,  The  Turks 
in  MDXXXIII,  privately  printed,  London  and  Edinburgh,  1873. 

For  drawings  formerly  attributed  to  Pieter  Koecke,  see  anonymous 
drawings  (Sloane  5226,  Nos.  162-167). 

1.   Studies  fob  Orpheus. 

The  figure  of  Orpheus,  richly  clad  in  the  costume  of  about  1540,  is  repeated 
three  times  :  on  the  1.,  seated  on  the  stump  of  a  tree  with  animals  to  the 
1.  ;  on  the  r.,  seated,  his  head  in  profile  to  the  r.  ;  and  further  still  to  the  r., 
seated,  with  his  head  turned  round  to  the  1. 

[7  X  10|  in.  ;     17-8  X  27  5  cm.]     Pen  and  dark  brown  ink  washed  with 
brown,  inscribed  in  an  old  (17th  cent.  ?)  hand  :   Peeter  van  Aelst.     Water- 
mark, a  unicorn,  like  Briquet  10186. 
Collections  :   Mariette,  de  Fries. 


22  Duieh  and  Flemish  Dravnngs. 

PurobaMd.  1857.0.0.32. 

Reproductionfi :   Onze  Kunst  II  (1902),  p.  168 ;   Popham,  pi.  66. 

Lit.  :   Friedl&nder,  loc.  cit.,  p.  87. 

No  piottiro  or  tapootry  for  which  this  drawing  might  have  served  as 
a  study  is  known.  Tho  old  attribution  to  Koecke  is  confirmed  by  the 
resemblance  to  other  drawings,  «uch  as  the  Paul  be/ore  Af^ripv"  ••«  the 
Albertina  (Friedl&nder,  loc.  cit..  Abb.  4). 

2.  Sketch  Design  for  a  Triptych  with  Scenes  from  the  Life  of  ISx.  Joux 

THE  Baptist. 

Centre,  Baptism  of  Christ ;  dexter  wing,  St.  John  preaching  :  reverse, 
Birth  of  St.  John  ;  sinister  wing,  Salome  s  dance  ;  reverse,  the  beheading 
of  St.  John. 

[Irregular  arched   top;     greatest  height,   8A  in.   20-9  cm.;     width   of 

centre,  6A  in. :    16  cm.;  width  of  each  of  the    wings,  in.;  7-9  cm.] 

Pen  and  Drown  ink  and  some  brown  wash,  the  frame  indicated  by  being 

painted  black. 

Collections  :   Lawrence,  Woodbum  (Sale  1854,  lot  1168). 

Purchased,  1854.6.28.38. 

Reproduction  :    Belvedere  XII  (1928).  p.  28;  PI.  V.,  VI. 

Lit.  :   L.  V.  Baldoss,  Prussian  Jahrbuch,  XXXVI  (1915),  p.  228,  Note  4. 

Mentioned  by  Baldass  as  near  to  Orley,  by  Wescher  as  probably  by 
Koecke  himself.  There  can  be  little  doubt  that  the  drawing  Ls  an  original 
design  and  that  it  is  by  the  same  hand  as  other  drawings,  such  as  the 
Patu  be/ore  Agrippa,  already  mentioned,  and  the  Defeat  of  the  Children  of 
I»rael  at  At,  in  the  Louvre  (No.  d'ordre  19,204:  ill.  Wescher,  loc.  cit.; 
Abb.  7). 

3-5.   Series  of  Three  Designs  for  Tapestries  of  the  History  of  David. 

Pen  and  brown  ink  and  grey  wosh. 

Purchased,  1853. 10.8. 14. .. 16. 

Collections  :    Crozat  (Description  sommaire  des  dessins  dee  grands  maistres 

du  cabinet  de  feu  M.  Crozat.     Par  P.  J.  Mariette,  Paris  1741,  No.  797), 

PaignonDijonval  (Catalogue    by  B^nard  pere,   1810,  No.   1206,   1  to  6). 

On  the  back  of  each  drawing,  usually  at  the  top  to  the  1.,  are  the  figures 

E.l,  probably  the  place  mark  of  a  collection. 

3.  In  the  foreground  on  the  r.,  David  refusing  Saul's  armour  ( 1  Samuel  xvii,40) ; 
on  the  I.,  slaying  Goliath  (1  Samuel  xvii,  49)  ;  in  the  background,  tents 
and  armed  men. 

[9,3,   X  lOJin.  ;    23-3  X  42-6cm.] 

1853.10.8.14. 

Reproduction  :   PI.  VI. 

On  the  back,  low  down  on  the  r.  hand  side,  a  small  crescent  in  pen  and 
ink  ;  on  the  r.  at  the  top,  what  appears  to  be  the  date  1531,  written  MD31, 
in  a  sprawling  but  certainly  contemporary  hand.  Watermark,  a  hand 
(type  of  Briquet  11399-11410). 

4.  In  the  foreground,  on  the  1.,  the  triumph  of  David  (1  Samuel  xviii,  6); 
David  bearing  on  the  point  of  his  sword  tlie  head  of  Goliath,  and  foUowcfl 
by  Saul  and  a  retinue  advances  to  the  gate  of  the  city  on  the  1.,  from  Miiich 
the  maidens  of  Israel  issue,  playing  on  various  instruments  ;  in  the  back- 
ground on  the  r.,  David  carrj'ing  the  head  of  Goliath  to  Saul,  who  stands 
liefore  his  tent  ( 1  Samuel  xvii,  68). 

[9J  X  15Jj  in.  ;    23- 1   X  42- 6  cm.] 

1853.10.8.15. 

Reproduction  :  PI.  ^'  I . 

Squared  for  enlargement.     On  the  back  the  crescent.     W^atermark,  a  hand, 

as  in  No.  1. 

A  tapestry  corresponding  in  all  essential  respects  with  the  above 
drawing  was  in  the  collection  of  Mr.  ffouike  at  Washington,  and  exhibited 
at  Brussels  in  1905  («ee  FriedlAnder,  13erlin  Jahrbuch,  XXX  (1909),  169, 
not«  6). 


p.  Koecke.  23 


5.  In  the  foreground,  Samuel  annointing  David  in  the  midst  of  his  brethren 
(1  Samuel  xvi,  13)  ;  in  the  background  on  the  1.,  David  summoned  while 
minding  the  sheep  in  the  centre  returning  with  the  messenger  (1  Samuel 
xvi,  12)  ;   on  the  r.,  being  presented  to  Samuel  by  Jesse  (1  Samuel  x\a,  12). 

[9  X  16y  in.  ;    22-8  x  42- 7  cm.] 

1853.10.8.16. 

Reproduction  :   PI.  VII. 

On  the  back  the  crescent.  Watermark,  a  coat-of-arms,  siu-mounted 
by  a  crown  charging  three  fleur-de-lys  within  a  bordure  (tvpe  of  Briquet 

1827). 

6-7.   Series  of  Two  Designs  fob  Tapestries  of  the  History  of  David. 

Medium  and  provenance  the  same  as  that  of  the  preceding  three  drawings. 

6.  Saul  arming  David  (1  Samuel  xvii,  38)  ;  in  the  background  to  the  r.,  Saul 
attacking  David  with  a  javelin  (1  Samuel  xviii,  11);  centre,  a  battle 
between  the  Israelites  and  the  Philistines  :  1.  David  bringing  Saul  200 
foreskins  of  the  Philistines  (1  Samuel  xviii,  27). 

[9i  X  16Jin.  ;    23-1   X  41 -9  cm.] 

1853.10.8.13. 

Reproduction  PI.  VII. 

Inscribed  on  back,  in  a  16th  cent,  hand  (Koecke's  own  ?)  peeler  Cooke 
tHin  Aisle  ;  undemeatli  this  a  little  to  the  r.,  in  the  same  ink,  a  small 
crescent  and  traces  of  a  sketch  in  black  chalk.    Watermark  as  No.  5. 

7.  In  the  foreground,  Saul  rewards  David  with  the  gift  of  his  daughter  ^lichal 
(1  Samuel  xviii,  27);  in  the  background,  on  the  1.,  Abimelech,  the  priest, 
gives  David  the  first  loaves  at  Nob  (1  Samuel  xxi,  1)  ;  on  the  r.  5lichal 
lets  David  escape  through  a  window  (I  Samuel  xix,  12). 

[9,V  X  16f  in.  ;    23  X  42 -5  cm.] 

1853.10.8.17. 

Reproductions  :    Photolithograph  made  for  Sir  William  Stirling  Maxwell, 

but  not  published  ;    PI.  VII. 

The  style  of  the  five  drawings  described  above  had  led  many  authorities 
to  abandon  the  traditional  attribution  to  Koecke  and  to  give  them  to 
Orley.  The  discovery  of  the  contemporary  inscription  peeler  Cooke  van 
Alste,  accompanied  by  a  small  crescent  on  the  back  of  no.  6,  and  of  the 
same  small  crescent  on  the  backs  of  the  remaining  four  drawings  appears 
conclusive  evidence  of  Koecke's  authorship,  unless  we  assume  that  the 
inscription  antl  the  mark  imply  only  that  Koecke  was  the  owner,  whicli 
seems  a  far-fetchetl  explanation.  It  should  be  remembered  that  Fried- 
l&nder,  in  his  article  on  Orley,  while  remarking  the  close  resemblance  of 
style  which  the  drawings  showed  to  that  artist,  emphasized  the  possibility 
of  the  old  attribution  being  correct  (Berlin  Jahrbuch,  loc.  cit.).  The 
crescent  which  appears  on  the  back  of  the  drawings  was  no  doubt  Koecke's 
mark.  His  coat-of-arms,  as  recorded  to  have  been  set  up  over  his  epitaph 
in  the  church  of  St.  G^ry,  Brussels,  is  given  as  azure  three  crescents  argent. 
I  do  not  feel  quite  certain  of  the  reading  of  the  date  1531  on  the  back  of 
no.  3,  though  there  is  nothing  to  make  such  a  date  improbable.  The  strong 
influence  of  Orley,  which  has  already  been  remarked,  would  point  to  an 
early  stage  in  Koecke's  career  when  he  was  associated  with  Orlej* — one 
might  have  thought  of  a  date  still  earlier. 

8.  Incident  in  the  Legend  of  St.  Christopher. 

On  the  1.  stands  the  giant  Christopher  holding  his  hat  in  his  1.  hand  ;  to 
the  r.  Satan  on  a  rearing  horse  :  in  the  background  to  the  r.  the  two  figures 
are  seen  again,  and  still  further  back,  in  the  distance  beyond,  a  wayside 
cross. 

[14]5  X  8  in.;     37-9  X  20- 2  cm.]     Pen  and  ink  and  grey  wash;    spots 
of  colour,  yellow,  blue  and  red.     Fragment  of  a  watermark  on  right  edge. 
Collection  :    Sloane. 
5214—240. 


24  Dutch  and  Flemish  Drawings. 

Reproduction  :  Mittcilungen,  1928,  p.  23  (L.  v.  Raldass,  Joachim  Patiniers 
Chrintophorus-Zeichnung). 

Tliis  drawin^r,  to  which  no  name  is  attached  in  the  Inventory  of  1837, 
was  subsequently  placed  with  drawings  by  Jan  Swnrt,  and  included  by 
L.  Baldass  in  his  liHt  of  that  nrtJAt'n  drawings  (Mitteilungon,  lUlH,  p.  19, 
no.  48).  It  waH  later  attributed  by  the  present  writer  to  Mathys  Cock 
on  the  strength  of  the  roHemblaiice  which  the  landscape  and  the  handling 
undoubtedly  shows  to  that  artist's  work.  Ualdass's  later  attribtition  to 
Koecke  seenos,  however,  to  be  the  correct  one.  The  figures,  with  their 
tapering  extremities  and  effect  of  dancing,  are  quite  in  his  manner,  and 
analogies  for  the  landscape  are  to  be  found  in  the  design  for  an  altarpiece 
descrioed  above  (no.  2). 

The  unusual  incident  is  the  subject  of  another  drawing  in  the  Depart- 
ment, formerly  ascribeii  to  Lucas  van  Leyden  (1892.8.4.17).  It  may 
be  explainetl  by  a  quotation  from  Mrs.  Jameson's  Legends  oj  the  Snintt. 
Christopher  having  met  Satan  and  his  host  in  the  desert  entere<i  his  service 
and  travelled  with  him.  "  Now  when  they  had  joumeyetl  a  long  way 
they  came  to  a  place  where  four  roads  met  and  there  was  a  cross  by  the 
wayside.  When  the  Evil  One  saw  the  cross  he  was  seized  with  fear  and 
trembled  violently  ;  and  he  turned  back  and  made  a  great  circuit  to 
avoid  it.  When  Christopher  saw  this  he  was  astonished,  and  enquired, 
"  Why  hast  thou  done  so  ?  "  and  the  devil  answered  not.  Then  said 
Christopher,  "  If  thou  tellest  me  not,  I  leave  thee."  So  being  thus  con- 
strained the  Fiend  replied,  "  Upon  that  cross  died  Jesus  Christ ;  and  when 
I  behold  it  I  must  tremble  and  fly,  for  I  fear  him."  It  will  be  observed 
that  Satan's  host  has  here  been  omitted  and  the  Fiend  is  represented  alone. 

SCHOOL  OF  PIETER  KOECKE. 

9-11.   Three  Fragments  of  Cartoons  for  Tapestries  of  the  History  of 
St.  Paul. 

9.   Head  of  St.  Paul. 

[18 J  X  14f  in. ;    46-9  X  37-1  cm.] 

10.  Soldiers  Fleeing. 
[20ixl7iin.  ;    51-4  X  44-4  cm.] 

11.  Head  of  a  Horse. 

[Irregular:      \A^„  x  13^„  in.  ;     37  X  33- 4  cm.]     Outlines    in    brush    and 
black,  coloured  with  distemper.     Pricked  for  transfer. 
Purchased,  1887.6. 13.65,. .  .66,. .  .64. 
Reproduction  :   PI.  VIII. 

No.  1  is  the  head  of  the  Saint  from  the  centre  of  St.  Paul's  sacrifice 
at  Lystra.  Examples  of  this  tapestry  are  preserved  in  the  Bayrisches 
Nationalmuseum  at  Munich  and  in  the  Castle  of  Friedrichshof  near 
Kronberg  (reproduced  Friedlander,  op.  cit.  Jahrbuch,  XXXVIII,  p.  89). 
The  work  l»ehind  the  head  of  St.  Paul  in  the  tapestry  at  Frie<lrich8hof 
differs  slightly  from  that  in  the  present  cartoon,  but  is  otherwise  exactly 
similar  in  reverse.  Nos.  2  and  3  are  portions  of  a  cartoon  for  the  Conversion 
of  St.  Paul,  of  which  an  example  is  preser\ed  in  the  Bayrisches  National- 
museum,  and  a  finished  sketch  in  the  Victoria  and  Albert  Museum  (Dyco 
Catalogue,  no.  190,  Pierino  del  Vago)  (also  smaller  copy  at  Berlin).  No.  2 
is  a  small  portion  of  the  backgrouncl  just  below,  and  to  the  r.  (in  the  pl^•  ' 
to  the  I.  in  the  tapestrj')  of  the  apparition  of  the  Lord,  with  soldiers  ' 
in  t<»rror,  holding  their  shields  above  their  heads.  No.  3  is  the  head  <>i  a 
horse,  immediately  below  the  Ijord,  galloping  with  its  rider  clinging  round 
its  neck. 

The  attribution  of  the  series  of  tapestries  of  the  History  of  St.  Paul 
to  Koecke  is  due  to  Friedlander.  backetl  by  an  old  attribution  on  a  drawing 
in  the  Albortina  (Paul  before  Agrippa,  ill.  Jahrbuch,  XXXVIII  (1917), 

ft84).     A  complete  cartoon,  that  of  the  beheading  of  St.  Paul,  in  the 
otel  de  Ville,  at  Brussels  (ill.  J.  Destri^,  Tapisseries  bruxelloiscs,  1906. 
pi.  XXVII)  is  characterisetl  by  FrieillAnder  as  being  in  all  probability  not 


p.  Koecke.  25 

an  original  cartoon,  but  a  copy  made  during  the  17th  cent.  It  appears 
to  me  to  belong  to  the  same  period,  and  to  show  precisely  the  same  handling 
and  technique  as  the  present  fragments,  and  to  belong,  like  them,  to  the 
first  half  of  the  16th  cent.  A  cartoon  of  this  extent,  especially  in  subsidiary 
portions,  would  hardly  be  carried  out  by  the  principal  designer  but  would 
naturally  be  entrusted  to  the  hands  of  assistants. 

12.  Vabious  Animai^  in  a  Wood. 

In  the  centre  a  rhinoceros  ;  to  the  1.  an  elephant  emerging  from  behind 
trees  ;  a  monkey  in  the  foreground  between  these,  and  another  climbing  up 
a  tree  on  the  1.  ;  camels  in  the  distance  on  the  r.  ;  a  lobster  in  the  foregroimd 
in  front  of  the  rhinoceros. 

[llj:  X  20j^(5  in.  ;     28*4  X  52-2  cm.]     Pen  and  brown  ink,   washed  with 
grey,   squared  for  enlargement  in  black  chalk  ;    inscribed  in  1.   bottom 
comer  in  17th  or  18th  cent,  hand  :   P  V  Aelst  fe  1549. 
Purchased,  1900.6.13.1. 
Reproduction  :    PI.  IX. 

This  drawing  appears  to  be  the  design  for  a  tapestry  of  the  type 
illustrated  in  H.  Goebel,  Wandteppiche  Erster  Teil.  Niederlande,  1923, 
Bd.  IT,  Abb.  162.  An  inscription  in  a  16th  cent,  hand  on  the  back  of 
the  drawing  (covered  by  a  backing)  has  measurements  which  niight  refer 
to  the  tapestry  ;  ///  elle  and  VI  elle  seem  to  occur.  The  old  attribution 
to  Koecke  himself  cannot  be  maintained  ;  the  drawing  of  the  animals, 
even  when  not  copied,  aa  in  the  case  of  the  rhinoceros  from  Diirer's 
woodcut,  is  lifeless  and  conventional,  in  marked  contrast  to  the  spirited 
rendering  of  animals  in  the  drawing  of  Orpheus  (No.  1)  or  in  the  woodcut 
with  the  Turks.  The  drawing  is,  however,  quite  in  the  manner  and 
technique  of  Orley  and  Koecke's  designs  for  tapestry,  must  conae  from 
that  school  and  date  from  about  1550. 

13-15.  Three  Roundels  op  Scenes  in  the  Life  op  Chbist:   Copies. 

13.  The  Miracle  of  the  Loaves  and  Fishes. 

Christ  in  the  centre  blesses  a  platter  of  two  fishes  and  a  basket  of  bread 
carried  by  a  boy  to  the  1.  ;  three  men  further  to  the  1.  ;  on  the  r.,a  man 
distributing  a  loaf  to  a  group  of  men,  women  and  children  reclining  under 
a  tree  ;  in  the  background,  a  man  holding  out  a  basket  of  bread  to  a  group  ; 
landscape  with  other  figures,  a  rock  and  trees. 

[10,\  X  lOJin.  ;     26-3  X  27-3  cm.  ;     the   comers    cut    off;     the   actual 
composition  is  contained  in  a  circle  11^  in.,  28*  3  cm.  in  diameter.]     Pen 
and  Indian  ink  outline  washed  with  grey  ;    some  brown  ink  and  stains  of 
red  paint.     Watermark,  a  hand  like  Briquet,  Nos.  11399-11414.     Inscribed 
on  back  (in  a  16th  (?)  cent,  hand)  :   n  zuUy  or  guely. 
Collection  :    Sloane. 
5226—182. 
Reproduction  :   PI.  IX. 

A  glass  roundel  exactly  corresponding  to  this  in  the  Mus^e  du 
Cinquantenaire  at  Brussels  (No.  556,  a  very  small  etching  of  it  in  J. 
d'Huyvetter,  Objets  tares,  Ghent,  1829,  pi.  XXII),  and  another,  later  in 
date  and  varying  slightly,  formerly  in  the  hands  of  Mr.  Maurice  Drake. 
This  and  the  two  following  drawings  are  obviously  copies  or  tracings 
worked  up  from  a  series  of  glass  rovmdels  of  the  life  of  Christ,  other  examples 
of  which  are  at  Amsterdam  (pub.  F.  Hudig,  Onze  Kunst  XL  (1922),  37  ff.) 
and  the  S.  Kensington  Museum,  the  designs  for  which  can  be  attributed 
to  the  school  of  Koecke  (see.  on  this  subject,  P.  Wescher  in  Belvedere  XII 
(1928),  p.  27,  note).  Whether  the  inscription  on  the  back  has  any  relevance, 
I  cannot  determine.  It  is  conceivable  that  it  is  the  name  of  the  copyist, 
some  unrecorded  English  or  French  glass  painter,  or  a  former  owner. 

14.  Christ   at  Meat  in   Bethany   in   the   House   of   Simon  the    Leper 

(Mark  xxiv,  3). 
The  woman  with  the  alabaster  box  of  ointment  advances  from  the  r.  and 
pours  the  contents  over  the  head  of  our  Lord  who  is  seated  at  table  with 
five  other  persons  ;   another  figure  in  the  background  on  the  r. 


26  Dutch  and  Flemuh  Drawings. 

[Roughly  circular;    diameter   11  in. ;    27*0 cm.]    Pen  and  Indian  ink 
washed  with  t)ie  same  ;  no  watermark.    Partially  obliterated  inscriptions 
in  red  chalk  on  the  back. 
Ck>Uection  :   Sloane. 
5226—181. 

I  know  of  no  gloss  roundel  corresponding  to  this  drawing. 

16.   Christ  and  the  Disciples  at  Emmaus. 

Our  Lord,  seated  at  table  on  the  r.,  breaks  bread  ;  the  two  disciples  at 
table  to  the  1.,  one  of  whom  is  standing,  the  other  seated  ;  in  the  distance 
the  two  disciples  meeting  our  Lord  :  a  serving  man  in  an  opening  on  the  r. 

[Roughly  circular;    diameter,   Oi^a  in.  ;    23* Gem.]     Pen  and  Indian  ink 
washed  with  the  same  ;  no  watermark.     On  the  back  some  half  obUterated 
scribbling  in  black  chalk  and  a  sketch  of  a  mosque  in  red  chalk. 
Collection  :    Sloane. 
5226—183. 
Reproduction  :   PI.  IX. 

A  glass  roundel  corresponding  closely  to  this  drawing  was  in  the  bands 
of  Mr.  M.  Drake  in  1926. 

LEYDEN,  Lucas  Jacobsz  van  (b.  1494  ;  d.  1533).  Painter,  engraver, 
and  designer  for  woodcut  and  stained  glass  :  pupil  first  of  his  father 
Huig  Jacobsz  and  subsequently  of  Cornelis  Engebrechtsz  {q.v.),  both 
painters  in  Jjeyden.  His  earliest  dated  work  is  the  engraving  of 
Mahomet  and  the  monk  Sergius  of  1508,  when  he  was  fourteen  years 
old.  This  and  his  engravings  up  to  about  1512  are  in  Engebrechtsz's 
style  ;  later  he  was  influenced  by  Durer's  engravings,  and  this  influence 
was  emphasized  by  his  personal  contact  with  the  German  artist  in 
1521  at  Antwerp.  He  subsequently,  about  1530-33,  was  influenced 
by  the  work  of  Raphael  as  interpreted  in  Marcantonio's  engravings. 
His  most  important  picture  is  the  Last  Judgment  commissioned  by 
the  town  of  Leyden  in  1526  and  now  in  the  Museum  of  that  town. 

The  collection  of  drawings  by  Lucas  van  Leyden  in  the  British 
Museum  is  by  far  the  largest  and  most  important  in  existence.  Its 
richness  is  due  to  the  acquisition  in  1892  of  the  album  bound  in  black 
leather  with  Lucas  Teekeninge  1637  in  gold  letters  stamped  on  the  side. 
Of  the  sixteen  drawings  contained  in  this  volume  no  less  than  seven 
are,  in  my  opinion,  genuine  works  by  Lucas.  Of  the  remaining  nine 
two  are  signed  works  by  H.  L.  Schiiufelein,  one  is  an  anonymous 
drawing  of  the  Augsburg  school  (Death  receiving  the  Pope)  and  another 
(portrait  of  a  young  man)  South  German  or  Swiss.  The  five  others  by 
Jan  de  Beer,  Cornelis  Engebrechtsz,  the  Master  of  1499  and  anony- 
mous Dutch  find  a  place  in  the  present  catalogue.  For  a  discussion 
<»f  the  provenance  of  the  album  and  its  companions  the  article  by  (Sir) 
Sidney  Colvin  in  the  Prussian  Jahrbuch  (Eine  Sammlung  von  Hand- 
zeichnungen  des  Lukas  van  Leyden,  XIV  (1893),  p.  173)  should  be 
consulted.  The  album  of  Lucas  van  Leyden  drawings  was  never,  as 
.stated  by  Beets,  in  the  Sloane  Collection  (like  the  similar  Dttrer  album), 
but  was  in  the  collection  of  the  Rev.  W.  H.  Barnard. 

Lit. :  F.  Diilberg,  Die  Personlichkeit  des  Lucas  van  Leyden,  Cud 


L.  van  Ley  den.  27 

Holland  XVII  (1899),  p.  65 ;  Lucas  van  Leyden,  Handzeichnungen, 
Stiche  und  Gemalde  (Kleinmann  &  Co.),  Haarlem,  1903/04 ;  N.  Beets, 
Lucas  de  Leyde,  Paris  and  Brussels,  1913;  L.  Baldass,  Die  Gemalde 
des  Lucas  van  Leyden,  Vienna,  1923 ;  Kosy  Kahn,  Die'  Graphik  des 
Lucas  van  Leyden  (Zur  Kunstgescliichte  des  Auslands),  Strassburg, 
1918 ;  M.  J.  Friedliinder,  Lucas  van  Leyden  (Meister  der  Graphik), 
Leipzig,  1924 ;  the  same  in  Von  Eyck  bis  Bruegel,  2nd  Ed.,  Berlin, 
1921 ;  P.  Wescher  in  Thieme-Becker,  XXIII. 

For  drawings  formerly  attributed  to  Lucas  van  Leyden  see  Jan 
de  Beer  (no.  4),  anonymous  drawings  (1892.8.4.17  and  1892.8.4.10) 
and  anonymous  German  drawings. 

The  arrangement  of  the  drawings  is  chronological. 

1.  The  Menias  escaping  from  Pbison  Disguised  in  their  Wives'  Clothes. 

A  group  of  six  men  disguised  in  women's  clothes  advance  froni  the  prison 
gate,  which  is  being  closed  by  the  jailor,  towards  the  r.  ;  through  a  barred 
window  on  the  1.,  behind  the  jailor,  are  seen  the  wives  confined  in  their 
husbands'  place. 

[U^'g  X  Sin.  ;    28'2  X  20-2  dta.]      Pen  and  black  and  brown  ink;    the 

clothing  of  the  principal  figures  in  brown,  the  rest  in  blcu;k  ink.     Inscribed 

in  a  16th  (?)  cent,  hand,  along  the  bottom  margin  to  the  1.  :  Lucas  vii  Leyd 

a°  1511  (or  possibly  1531).     Watermark,  a  jug  surmounted  by  a  crown  hko 

Briquet  12612  following. 

Collection  :  Paignon  Dijonval  (Catalogue  by  Benard  pere,  1810,  No.  1808). 

Purchased,  1887.7.23.13. 

Reproduction  :    Kleinnmnn,  Serie  II,  Bl.  25  ;  pi.  X. 

The  subject  is  drawn  from  Boccaccio,  Z)e  C'fctrwAfu/*cr»6u«,Chapt.XXIX. 
The  Meniae  (or  Myniae),  a  company  of  noble  men,  who  had  accompanied 
Jason  in  the  quest  of  the  Golden  Fleece,  settled  on  their  return  in  Lacedae- 
monia,  and  there  married  noble  wives.  Thoy  however  conspired  against  the 
State,  were  imprisoned  and  condemned  to  death.  On  the  evening  before  the 
day  fixed  for  their  execution,  their  wives  obtained  access  to  the  prison,  and 
exchanged  clothes  with  their  husbands,  who  were  thus  enabled  to  effect 
their  escape.  A  woodcut  illustrating  the  scene  appears  on  fol.  31  vfrao 
of  Johann  Zainer's  edition  of  De  Claris  Mulieribus,  Ulm,  1473  (Proctor 
2496).  This  corresponds  roughly  in  general  arrangement  with  the  present 
drawing,  and  it  is  possible  that  Lucas  van  Leyden  had  used  either  this  or 
the  Clerman  translation  issued  by  Zainer  with  the  same  woodcuts  (Proctor 
2497). 

The  style  of  the  drawing  is  that  of  the  engravings  of  1508  and  1609, 
hardly  later. 

On  the  back  of  the  drawing  are  (in  the  order  of  their  execution)  : 

1 .  A  coat-of -anns  having  in  the  dexter  point  a  cross  cro.sslet  within  a  borduro  ;  in 
the  sinister  point,  the  capital  letter  A  ;  and  in  the  base  point,  a  lion  saliant. 
This  is  in  black  chalk  and  probably  by  the  artist,  though  very  slight  and 
much  effaced.  2.  A  poem  of  four  lines  in  Dutch,  referring  to  the  subject 
of  the  drawing  on  the  front.  The  first  line  of  this  is  written  over  the 
point  of  the  shield.  The  hand  is  one  of  the  early  16th  cent.,  and  the  poem 
runs  as  follows  : — 

Seer  pryslic  ware  dese  vrouwe  ghetelt 

Die  gheui'ighen  blevc  om  [en  and  daer  crossed  out]  huer  mae  [Otfi  and 

otghinghe  crossed  out]  tonthouwc 
(En  hebben  haer  lijf  in  perikel  ghestelt 
[TTaer  om  ay  van  alien  de  prya  ontfinghe  crossed  out] 
Wye  sach  meer  trous  in  enighen  vrouwen 
vel  sic  (in  the  margin)  Dus  hebbe  sy  prys  bout-  alien  vrouwe. 

The  above  may  be,  as  the  words  and  lines  crossed  through  suggest,  an 


28  Dutch  and  Flemish  JJrawings. 


aUempt  at  translating  into  Dutch  verse  the  French  poem  below.  8.  A 
poem  of  four  lines  in  French  in  a  faint  brown  ink,  underneath  the  poem 
in  Dutch,  and  of  the  same  substance.  It  may  be  anterior  to  the  Dutch  : 
the  hand  is  very  similar  : — 

Moult  prisables  fuK't  les  dues 
qui  pour  lamour  de  leur  maris 
en  peri  ont  mises  corps  bii'-B  et  ames 
Ceste  loyaulte  emporte  le  pris. 

4.  Coata-of-arms  sketchcil  in  pen  and  ink  ami  an  inscription.  A  coat-of- 
arms  in  the  right  hand  upper  comer  bears  a  chevron  and  has  notes  on  the 
tinctures,  as  does  another  larger  one  towanls  the  bottom  on  the  right, 
which  may  be  blazoned  thus  :  Party  per  pale  1.  Or  a  pale  vert  2.  Party 
per  fess  1/two  St.  Andrew's  crosses  (?)  2  a  mullet. 

An  inscription  of  four  lines  at  the  bottom  in  the  same  ink  as  the  coat- 
of-arms  is  partly  erased  and  almost  illegible.  The  writing  would  seem  to 
be  of  the  late  16th  or  early  17th  cent. 

6.  A  number  of  childish  heraldic  scribblings  in  red  ink  with  a  very  broad 
pen. 

Watermark,  a  jug  surmounted  by  a  crown,  like  Briquet  12612  following. 

2.  Bust  of  a  Young  Man  in  a  Fur  Hat. 

Head  and  bust  three-quarters  to  r.,  wearing  a  fur  hat,  from  which  depends 
a  scarf. 

[8,^  X  e,';,  in.  ;     20" 5  X  16  4  cm.]      Black    chalk,    washed    over    with    a 
tint  of  yellow.     Genuine  signature  L  at  bottom  to  1. 
Collection  :   Rev.  W.  H.  Barnard. 
Purchased,  1892.8.4.11. 

Reproductions  :  Colvin,  loc.  cU.,  p.  168  ;  Reproductions  of  Drawings  .  .  . 
in  the  British  Museum,  Part  III  (1892)  2  ;  Kleinmann,  Serie  IV,  Bl.  43. 
Watermark,  a  Gothic  p ;  on  the  back,  part  of  a  sketch  in  black  chalk, 
so  slight  and  so  much  effaced  as  to  be  unintelligible. 

The  type  of  face,  reminiscent  of  that  in  the  Chess  Players  of  about  1508, 
in  the  Kaiser  Friedrich  Museum  at  Berlin,  as  well  as  the  handling,  indicate 
an  early  date  for  this  drawing. 

3.  Daniel  in  the  Lions'  Den. 

Daniel  kneels  on  the  1.,  in  front  of  a  lion,  three  other  lions  farther  back  ; 
the  "  den  "  is  represented  as  the  ruined  courtyard  of  a  castle  on  a  rock  ; 
from  the  top  of  a  tower,  on  the  farther  side  of  which  Darius  and  an  attendant 
look  down  ;  in  the  sky  on  the  r,  an  angel  is  carrying  the  prophet  Habbacuc 
by  the  hair  of  his  head  to  reUeve  Daniel's  hunger  (Apocrypha,  Bel  and  the 
Dragon,  Verses  33  ff.). 

[Circular;  diameter  8}  in.  ;  22*7  cm.]  Pen  and  brown  ink.  Xo  water- 
mark. 

Bequeathed  by  the  Rev.  C.  M.  Cracherode,  1799. 
Ff.  4—93. 
Reproductions  :   Kleinmann,  Serie  IV,  Bl.  42  ;    Popham,  pi.  41. 

Backed  with  modem  paper  ;  through  this  is  visible  a  small  part  of 
another  roundel  drawn  on  the  back  in  which  what  appears  to  be  the  blade 
of  a  sword  is  distinguishable. 

The  attribution  of  this  drawing  to  Lucas  van  Leyden  is  subsequent  to  the 
inventory  of  1837  :  it  is  an  attribution  which,  though  disputed,  appears  to 
me  convincing,  as  a  comparison  of  it  with  the  engravings  of  Da\nd  playing 
before  Saul,  of  about  1509  (B.  27),  and  Hagar  and  Ishmacl  of  about  the 
same  date  (B.  17)  will  show.  The  pose  of  the  principal  figure,  the  drawing 
of  the  landscape,  of  the  tree  and  of  the  foreground  rocks  all  seem 
characteristic.  Design  for  stained  glass,  presumably  one  of  a  series 
illustrating  the  history  of  Bel  and  the  Dragon. 

4.  David  Ccttino  Oft  the  Head  or  Goliath. 

The  giant  lies  obliquely  across  the  foreground,  his  head  towards  the  1. ; 
David  stands  with  his  1.  foot  on  his  chest  and  is  cutting  off  the  head  which 


L.  van  Lei/den.  29 

he  holds  by  the  beard  ;  in  the  distance,  on  the  r.,  figures  are  seen  coming 
through  a  natural  arch  ;    other  figures  on  the  hill  above. 

[lOf  X  7f  in.  ;    27*2  X  19-4  cm.]     Drawn  with  the  point  of  the  brush  in 

Indian  ink,  and  washed  in  places  with  grey.    Backed,  no  watermark  visible. 

Collection  :   Rev.  W.  H.  Barnard. 

Purchased,  1892.8.4.18. 

Reproductions  :    Colvin,  loc.  cit.,  p.  175  ;    Kleinmann,  Serie  II,  Bl.  26. 

Colvin,  Xo.  10,  wrongly  describes  it  as  drawn  with  the  pen,  but 
justly  says  it  should  be  compared  with  the  large  woodcut  Samson  and 
Delilah  (B.  6),  the  style  of  which  it  so  exactly  resembles  that  it  must  date 
from  the  same  period,  probably  about  151 1.  Whether  the  present  drawing 
was  intended  for  a  woodcut  is  doubtful  ;  it  might  equally  be  a  design 
for  glass. 

5.  The  Circumcision. 

The  Child  on  an  altar,  slightly  to  the  1.,  is  being  operated  on  by  the  priest 
on  the  r.  ;   a  woman  holding  a  torch  on  the  1.,  and  numerous  other  figures. 

[7M  X  5/j5  in.  ;    19-8  X  13-9  cm.]      Drawn  with  the  point  of  the  brush 

and  Indian  ink  ;   signed  with  L  in  top  1.  comer.     Backed  ;   no  watermark 

visible. 

Collections  :    Sir  J.  Revnolds,  Henry  Belward  Ray  (purchased  at  his  sale 

at  Christie's  1856,  lot  53). 

Purchased,  1856.7.12.991. 

Reproductions  :    Kleinmann,  Serie  II,  Bl.  55. 

An  original  characteristic  drawing  of  about  1514,  in  style  closely 
connected  with  the  smaller  woodcut  series  of  Biblical  heroines.  Compare 
especially  the  woman  in  profile  on  the  1.  of  the  drawing  with  the  figure  of 
Jezebel  in  Jezebel  and  Ahab  (B.  11). 

6.  Allegorical  Figures  seated  ox  a  Globe. 

A  nude  male  figure  seated  on  a  globe  slightly  directed  to  the  r.,  but  the 
head  inclined  three-quarters  1.  ;  the  1.  arm  extended,  holding  a  rod  or 
sceptre  to  the  bottom  of  which  is  attached  a  tablet  with  the  initial  L  ; 
a  sprig  of  vine  with  a  bunch  of  grapes  attached  is  held  in  the  r.  hand  ; 
seated  back  to  back  is  another  figure,  holding  an  oar  in  his  r.  hand  ;  a  lion 
is  dozing  behind  to  the  1.  ;   the  globe  supported  by  clouds. 

[lOJ  X  8  in.  ;  27-6  X  20" 3  cm.]  Silver  point  on  prepared  cream  coloured 
surface.  Watermark,  a  shield  on  which  is  a  wheel,  surmounted  by  a  crown, 
flanked  by  illegible  initials  (presumably  the  arms  of  the  archbishopric  of 
Mayence,  more  usually  figuring  as  a  quartering  with  that  of  the  archbishop 
for  the  time  being,  see  Briquet,  No.  2153  ff.  On  back  along  1.  margin,  in 
17th  or  18th  cent.  hand.  No.  37. 
Collection  :  W.  H.  Barnard. 
Purchased,  1892.8.4.9. 

Reproductions  :  Colvin,  loc.  cit.,  p.  167  ;  Kleinmann,  Serie  IV,  Bl.  56  ; 
Popham,  pi.  42. 

Colvin,  No.  3,  suggests  the  year  1526  as  the  probable  date  of  this 
drawing.  If  compared  with  a  drawing  of  approximately  that  date, 
i.e.,  the  Virgin  and  Child  (No.  10),  it  will  be  seen  that  the  drawing  is  closer 
in  texture  and  less  mannered.  The  drawing  of  the  r.  hand  of  the  front 
figure,  with  the  short  fat  fingers,  closely  resembles  that  in  the  small  woodcut 
series  of  Biblical  heroines  (dated  by  Friedlander  1514,  but  possibly 
rather  later,  1518).  For  the  drawing  and  proportions  of  the  figure  compare 
that  of  Adam  in  the  small  woodcut  of  the  Temptation  (B.  2).  The  sprig 
of  leaves  concealing  the  figure's  nakedness  is  borrowed  from  the  similar 
motive  in  Diirer's  Adam  and  Eve  (B.  1). 

7.  Head  of  an  Elderly  Man, 

Nearly  in  profile  to  r.,  wearing  hat. 

[3fJ  X  3j3g  in. ;  9-4  x  8-1  cm.  (the  corners  cut  off.)]  Silver  point  on 
prepared  cream  coloured  ground,  with  touches  of  pen  and  ink,  i.e.,  on 
lower  part  of  cheek,  chin,  end  of  nose,  hair.     No  watermark. 


30  Dutch  and  Flemish  Drawings. 

CioIleoUoii :  Rev.  W.  H.  Barnard. 

Purchased.  1892.8.4.8. 

Reproduction  :  Colvin,  loc.  eit.,  p.  166,  No.  1. 

Colvin,  No.  2.  The  drawing  represents  one  of  Lucas's  unmistakeable 
types  current  from  about  1512  onwards,  though  the  particular  head  does 
not  occur  in  his  paintings  or  engravings.  Compare  such  hecKls  as  that  of 
Ahasuerus  in  the  Esther  before  Ahasuorus  (B.  31),  1618. 

8.  An  Old  Man  brawino. 

Seen  full-face  to  tlie  waist,  wearing  a  cap  and  a  coat  with  long  sleeves ; 
he  is  seated  in  front  of  a  table  at  wliich  he  is  drawing  on  a  small  piece  of 

aer  held  do^m  with  tlie  left  hand  ;    there  are  spectacles  on  his  nose ; 
ind,  to  the  right,  a  very  slight  sketch  of  a  woman's  head  and  hand. 

[10}]^  X  10}^)  in. ;  27  2  X  27  2  cm.]     Black  chalk  ;    spurious  L  in  ink  in 
r.  bottom    comer.     Watermark :    Gothic   p  ;    on  back.  No.   36  in  same 
hand  as  on  back  of  No.  6. 
Collection  :  Rev.  W.  H.  Barnard. 
Pimihased,  1892.8.4.16. 
Reproductions  :  Colvin,  loc.  cU.,  p.  171. 

Colvin,  No.  6,  suggests  comparison  with  the  engraving  of  St.  Mark 
(B.  100).  The  drawing  would  appear  to  be  a  study  for  an  evangelist  and 
to  date  from  about  the  same  time  as  this  engraving,  i.e.  1618. 

9.  Bust  of  a  Woman  with  a  Man's  Read  behind. 

A  yoxmg  woman,  wearing  a  headdress  and  a  necklace  and  a  low-necked 
dress  ;   on  the  r.  is  seen  the  head  of  an  old  man  lightly  sketched. 

[9|  X  7}g  in.  ;    24-5  X  19-8  cm.]      Black  chalk,  the  face  of  the  woman 

washed  with  grey  ;   signed  with  L  and  dated  1519  in  the  r.  bottom  comer, 

the  L  certainly  genuine,  the  date  not  so   certainly.     Watermark,  a  high 

crown. 

Collection  :  Rev.  W.  H.  Barnard. 

Purchased,  1892.8.4.14. 

Reproductions  :  Colvin,  loc.  cit.,  plate  facing  p.  168  ;  Kleinmann,  serie  II, 

Bl.  68  ;    Beets,  op.  cit.,  facing  p.  66  ;    Popham,  p.  53. 

Cohin,  No.  1,  "  obviously  from  life,"  which  applies  to  the  bust  of  the 
woman,  but  not  to  that  of  the  man.  There  is  no  real  connec-tion  between 
the  drawing  and  the  engraving  of  St.  Mary  Magdalene  enjo>'ing  the 
pleasures  of  the  world  of  1519  (B.  122),  that  is  to  say,  that  the  drawing  was 
vised  neither  for  the  Magdalene  and  her  companion  as  stated  by  Colvin, 
nor  for  the  woman  and  her  lover  seated  behind  a  stone  on  the  r.  ;  the  pose 
of  the  woman's  head,  details  and  expression  of  costiune,  all  are  different, 
though  imdeniably  there  is  a  reminiscence  in  the  engraving  of  the  drawing. 
For  style  the  drawing  should  be  compared  \»-ith  one  reproduced  by  Meder 
(Die  Gmpliischen  Kiinstc,  XLIII  (1920),  p.  37,  39)  in  red  chalk;  the  head 
of  a  man  on  the  recio  of  this  was  used  in  the  engraving  of  Esther  before 
Ahasuerus  of  1518,  B.  31. 

On  the  verso  is  the  inscription  Lucas  van  Leyen  in  a  formal  hand  and 
sketches  of  a  Triton  (?),  the  head  of  a  young  woman  and  a  medaUion  with 
the  head  of  a  boy  by  a  Dutch  artist  of  the  end  of  the  16th  century  whose 
style  recalls  that  of  Blockland. 

10.  A  MoTHEB  orrERiNa  the  Breast  to  heb  Child. 

The  mother,  seen  full  face  to  the  waist,  holds  the  child,  which  stands  on  a 
table  or  window-sill  in  front  of  her,  with  her  r.  hand,  while  she  offers  him 
her  left  breast. 

[8J  X  6J  in.  ;  21  X  17 '1  cm.]  Black  chalk  ;  signed  with  L  in  r.  bottom 
comer.  Watermark  :  a  shield,  Biirrnountecl  by  a  crown  ;  at  the  ftoint  of 
the  shield  a  Gothic  r  ;  on  the  shield  a  capital  L  flanked  by  two  fleurs-de- 
lys  and  surmounted  by  a  crown.  The  sanae  type  of  watermark  occurs  on 
drawings  attributed  to  Aertgen  van  Leyden,  see  Old  Master  Drawings,  II 
(1927),  p.  37. 
Collection  :  Rev.  W.  H.  Barnard. 


L.  van  Leydcn — L.  Lomlard.  31 

Purchased,  1892.8.4.15. 

Reproductions  :  Colvin,  loc.  cit.  p.  174  ;    Kleinmann,  Serie  JV,  Bl.,  41  ; 

Popham,  pi.  45. 

Colvin,  No.  9,  dates  it  about  1525.  It  is  undoubtedly  the  preliminary 
study  for  the  Madonna  and  Child  in  the  Langaard  Collection  at  Oslo 
(reproduced,  Lucas  van  Leyden,  Kleinmann  et  C ',  Haarlem,  1 903/04)  formerly 
in  the  Kaufmann  Collection  at  Berhn.  There  are  many  minor  variations 
of  pose  and  dress,  but  the  general  identity  is  unmistakable. 

On  back  in  r.  hand  bottom  comer  an  old  inscription  in  black  chalk  : 

II.   Judith  with  the  Head  of  Holofernes. 

Judith,  a  little  to  the  1.  of  the  centre,  places  the  head  in  a  bag  held  by  her 
attendant,  who  is  on  the  right  seen  from  behind  ;  to  the  1.  at  the  back  is 
the  pavilion  with  Holofemes'  botly  in  tlie  bed  ;  his  scimitar  lies  on  the 
groiuid  before  Judith's  feet ;  in  the  distance  on  the  r.  are  seen  the  walls 
of  Bethulia  with  the  head  displayed  from  a  tower  ;  cannon  and  gabions  in 
the  middle  distance. 

[9  J  X  8J  in.  ;    24*8  X  20 -5  cm.]     Pen  and  brown  ink;    no  watermark. 
Purchased,  1854.6.28.39. 

Collection:  S.Woodbum;  purchased  at  his  sale,  Jime  2l8t,  1854,  lot  1168. 
Reproduction  :    PI.  X. 

Exactly  engraved  in  reverse  by  Jan  Saenredam  (Bartsch,  III,  p.  264, 
No.  108),  the  only  addition  being  an  L,  which  is  placed  on  the  rock  in  the 
foreground,  and  shows  that  Saenredam  believed  the  drawing  to  be  by 
Lucas  van  Leyden.  There  is  a  companion  engraving  of  Jael  and  Sisera 
by  Saenredam  (B.  107)  from  a  drawing  now  at  Amsterdam. 

There  is  a  replica  of  the  British  Museum  drawing  at  Brunswick.  In 
style  the  drawings  approach  the  engraving  of  Virgil  in  the  Basket  (B.  136) 
of  1525  so  closely  that  one  must  conclude  them  to  have  been  made  in  this 
year.  A  comparison  with  the  preceding  drawing  of  about  the  same  period, 
though  the  difference  of  medium,  of  scale  and  of  purpose  have  to  De  dis- 
counted, certainly  does  not  disprove  a  dating  in  that  year.  The  study  for 
the  engraving  of  Virgil  in  the  Basket,  at  Lille,  reproduced  by  Beets,  op.  cit., 
facing  p.  92,  tends  further  to  confirm  the  date  and  the  attribution  to  Lucas 
van  Leyden.  The  drawing,  which  shows  no  sign  of  having  been  trans- 
ferred, is  obviously  a  finished  design,  probably  for  stained  glass.  In  the 
church  of  Yamton,  Oxfordshire,  is  a  fragment  of  17th  century  Dutch  glass 
reproducing  this  drawing  or  more  probably  the  engraving  by  Saenredam. 

LOMBARD,  Lambert  (b.  1506  ;  d.  1566).  Painter,  architect  and  designer 
for  glass  :  born  at  Liege  :  said  to  have  been  the  pupil  of  the  glass 
painter  Arnold  de  Beer  at  Antwerp  and  of  Jan  Gossaert  at  Middelburg ; 
1537  visited  Italy  in  the  suite  of  Cardinal  Pole  at  the  instance  of  his 
patron  Erard  de  la  Marck,  prince  bishop  of  Liege  ;  he  appears  to  have 
visited  Venice  as  well  as  Rome  and  to  have  purchased  antiquities  for 
the  adornment  of  Erard  de  la  Marck's  newly-built  palace ;  returning 
to  Liege  in  1538  or  the  following  year,  Lombard  remained  there  till  his 
death  in  the  greatest  esteem  as  a  painter  and  teacher,  numbering 
among  his  pupils  Frans  Floris,  Willem  Key  and  his  brother-in-law,  the 
engraver  Lambert  Suavius.  Lombard's  style,  founded  on  a  study  of 
Roman  sculpture,  represents  a  second  phase  in  the  Italianizing  of 
Netherlandish  art,  a  reaction  against  and  simplification  of  the  naive 
elaboration  of  classical  motives  in  Gossaert,  Orley  and  the  Antwerp 
mannerists. 

Lit.  :  van  Mander,  I,  207  ;  Dom.  Lampsonius,  Lamberti  Lombardi 


32  Dutch  and  Flemish  Dramnys. 

. . .  vita,  Bruges,  1565 ;  A.  Goldschmidt,  Lambert  Lombard, 
Jahrbuch,  XL  (1919),  206;  M.  J.  Friedlander  in  Thieme-Becker, 
XXIII  (1929).  On  the  drawings  Marthe  Kuntziger,  Les  dessins  de 
Lambert  Lombard,  Gazette,  IV  (1921),  185. 

1.  Christ  and  the  Woman  or  Samaria. 

The  woman  of  Samaria  stands  on  the  1.,  tier  I.  Iiand  on  a  ewer  which  rests 
on  a  classical  sculptured  well-head  ;  Christ,  seated  on  a  block  of  stone  on 
the  r.,  raises  his  r.  hand  ;    tree  trunks  on  the  extreme  r. 

[9|  X  14^  in.  ;   24*5  X  35*9cm.]     Pen  and  brown  ink  washed  with  grey  ; 
signed  in  an  Italian  minuscule  on   the  foreground   to  the  r.   Lambertus 
Lombard ;  in  the  middle,  along  the  lower  margin,  in  a  Flemish  hand  (also 
Lombard's  autograph  ?)  :     Voer  langhe  peire.    Watermark,  a  five-petalled 
flower  crowned,  like  Briquet  6406-6421. 
Collections  :    Robinson,  Malcolm  (Catalogue,  no.  545). 
Purchased.  1895.9.15.1013. 
Reproduction  :  PI.  XI. 

The  inscription  Voer  langhe  peire,  "  for  long  peter  "  must  be  the  record 
of  an  otherwise  unknown  correspondence  between  Lambert  Lombard  and 
Pieter  Aertsen. 

2.  The  Last  Supper. 

The  Saviour,  in  the  centre  behind  the  table,  with  St.  John's  head  resting 
in  his  lap  ;  on  the  1.  a  group  of  five  apostles,  on  the  r.  six,  one  of  whom,  in 
front  of  the  table,  is  starting  up  ;  the  1.  portion  of  an  elaborate  renaissance 
archway  behind. 

[5f  X  7}  in.  ;    14-4  X  19' 7  cm.]     Pen  and  brown  ink  and  brown  wash. 
Collection  :  Sloane. 
5226-10. 
Reproduction  :  PI.  XI. 

Design  for  a  stained  glass  window.  The  attribution  of  the  drawing, 
which  was  among  anonymous  Italian  drawings,  to  Lombard  is  that  of  the 
present  writer.  It  should  be  compared  with  the  rapid  drawings  in  the 
album  in  the  Mus^  d'Ansembourg  at  Livge  (r/.  that  reproduce*!  by 
Kuntziger,  Gazette,  p.  190). 

MEMLING,  Hans  (b.  between  1440  and  1450;  d.  1494).  Painter, 
probably  a  German  by  birth  :  pupil  of  Roger  van  der  Weyden ; 
worked  exclusively,  so  far  as  is  known,  at  Bruges.  Among  his 
numerous  surviving  pictures  may  be  mentioned :  triptych  ordered  by 
Sir  John  Donne,  probably  in  1468  (Duke  of  Devonshire),  Last  Judgment, 
altarpiece,  before  1473  (Marienkirche,  Dantzig),  the  Adoration  of  the 
Magi,  1479,  the  Shrine  of  St.  Ursula,  about  1488  (Hospital  of  St.  John, 
Bruges),  and  the  Crucifixion,  altarpiece,  1491  (Marienkirche,  Lttbeck). 
Drawings,  besides  those  mentioned  below,  which  may  be  connected 
with  Memling  are  : — two  crucified  thieves,  back  and  front  of  a  sheet 
at  Berlin,  for  the  Liibeck  or  Buda-Pesth  crucifixion  (Vol!.,  op.  cit., 
p.  XL  and  XLi),  head  of  a  saint  (St.  Benedict  ?),  for  the  St.  Christopher 
triptych  at  Bruges,  Paris  (Voll.,  op.  cit.,  p.  xxxii),  St.  Barbara, 
St.  Catherine  and  St.  Margaret,  Paris  (Popham,  op.  cit.,  pi.  21). 

Lit.  :  L.  Kacmraerer,  Memling  (Knackfuss,  Kttnstler-Mono- 
graphien),  Leipzig,  1899 ;  K.  Voll,  Memling  (Klassiker  der  Kunst), 
Stuttgart,  1909. 


H.  Memling — B.  Orley.  33 

1.   Group  from  a  Mount  of  Calvary. 

On  the  1.  the  swooning  Virgin  is  supported  by  St.  John  and  a  saintly 
woman  ;  to  the  r.  of  this  group  kneels  St.  Mary  Magdalene  ;  a  figure  on 
horseback  on  the  r.  is  directing  the  two  mounted  soldiers,  who  are  about 
to  pierce  the  Saviour's  side  with  the  lance  ;  these  are  behind  the  group 
with  the  Virgin  ;  fotu"  soldiers,  three  of  whom  are  mounted  (one  on  a  camel) 
and  one  unmounted  are  on  the  r. 

[lOJ  X  11 1  in.  ;    25-7  X  28*9  cm.,  corners  cut.]     Pen  and  dark  and  light 

brown  ink  over  black  chalk. 

Purchased,  1854.6.28.32. 

Collections  :    Woodburn  (Sale,  1854,  lot  1136). 

Reproductions  :     British  Museum  photograph  (by   Roger  Fenton)    1854  ; 

Le  Beffroi,  Vol.  Ill  (1866-70),  facing  p.  348  ;    Kaemmerer,  op.  cit..  Abb. 

105  ;    Voll.,  op.  cit.,  p.  xlii  ;    pi.  XI. 

Mentioned  by  Waagen,  Galleries  and  Cabinets  of  Art  in  Oreat  Britain, 
London,  1887,  Vol.  IV,  p.  34  ;  Le  Beffroi,  Vol.  Ill,  p.  348  ;  Kaemmerer, 
op.  cit.,  p.  130. 

It  is  impossible  to  be  definite  about  this  drawing  in  its  present  condition. 
It  appears  to  have  been  originally  executed  in  black  chalk,  and  to  have 
been  worked  over  in  pen  and  ink  by  a  later,  but  almost  contemporary,  hand. 
Flemish  drawings  of  this  period  in  black  chalk  are  not  so  uncommon  as 
might  be  supposed,  and  a  number  of  them  can  be  connected  with  Memling. 
They  include  an  important  drawing  of  the  Crucifixion  at  Berlin  (Berlin 
Drawings,  Nr.  216)  of  the  School  of  Roger  van  der  Weyden,  with  passages 
recalling  Memling  ;  a  shepherdess  with  the  coat -of -arms  of  Enghien  de 
Kestervat  of  Brussels,  also  at  Berlin  (Nr.  218),  probably  by  Slemling 
himself  ;  and  an  unpublished  drawing  at  Dresden  (Niederl.  Schule,  Nr.  40) 
of  the  history  of  Susanna  in  the  manner  of  the  narrative  pictures  at  Munich 
and  Turin  (partly  inked  over). 

The  present  drawing  is  obviously  connected  with  the  central  panel  of 
the  altarpiece  by  Memling  at  Liibeck  (Voll,  pi.  102)  and  the  variant  of  this 
at  Buda  Pesth  (Voll,  pi.  146/147),  but  differs  from  both  of  these  so  con- 
siderably that  it  must  either  be  an  original  drawing  by  Memling  of  about 
the  same  period,  or  a  copy  from  a  lost  picture  by  him.  The  second 
hypothesis  has  been  generally  adopted,  and  is  perhaps  the  more 
probable  one. 

ORLEY,  Bernard,  or  Barend  van  (b.  about  1493 ;  d.  1542  new  style). 
Painter,  etcher  (?)  and  designer  for  tapestry  and  glass:  son  of  the 
painter  Valentin  van  Orley  (1466-1532)  and  his  wife  Margaretha 
van  Pynbroeck  (married  1490,  d.  1510) ;  in  1515  received  commissions 
to  paint  the  six  children  of  Philip  the  Fair  as  a  present  for  the  King 
of  Denmark,  and  for  an  altarpiece  for  the  Church  of  St.  Walburga  at 
Fumes  (one  wing  of  the  latter  is  preserved  at  Turin) ;  May  23rd,  1518, 
appointed  court  painter  to  Margaret  of  Austria,  Regent  of  the  Nether- 
lands ;  1519,  Portrait  of  Dr.  Zelle,  signed  and  dated  (Brussels)  ;  1521, 
Job  altarpiece,  signed  and  dated  (Brussels)  ;  altar  with  Last  Judgment 
for  the  Chapel  of  the  Almoners  in  Antwerp  Cathedral,  finished  1524 
(Antwerp) ;  altar  for  the  Hanneton  family  before  1528  (Brussels)  ; 
October  13th,  1532,  appointed  painter  to  Mary  of  Hungary,  In  the 
latter  part  of  his  career  Orley  was  more  especially  employed  as  a 
designer  of  tapestry.  The  best  known  series  of  these  which  can  be 
certainly  assigned  to  him  are  those  of  the  twelve  "  Chasses  de  Maxi- 
milicn  "  in  the  Louvre  (presumably  before  1528  ;  drawings  in  the 
Louvre   and  in   the  Albertina),  of  the    Battle   of    Pavia   at   Naples 


34  Ihitch  and  Flemish  Drawings. 

(drawings  in  the  Louvre) ;  a  series  of  the  Counts  and  (.(»iini«'.s.sf.s  of 
Nassau  is  known  only  by  four  drawings  at  Munich  an  1  there  are 
numerous  other  designs  for  ta])estry  at  Dresden,  Vienna,  Berlin, 
and  in  the  present  collection.  Orley  is  known  to  have  furnished 
the  designs  for  most  of  the  windows  in  the  Chapel  of  the  Holy  Sacra- 
ment in  Ste.  Gudule  at  Brussels.  Orley's  early  style  continues  the 
traditions  of  Brussels  painting  inaugurated  by  Roger  van  der  Weyden. 
The  pictures,  up  to  1522,  show  a  gradually  increasing  independence 
under  the  influence  of  Gossaert  and  Raphael  (the  latter  known  only 
through  engravings  and  cartoons  ;  there  is  no  evidence  that  Orley 
visited  Italy).  Raphael's  influence  becomes  predominant  after  1532, 
and  Orley's  style  from  that  date  to  his  death  appears  to  have  r<'i)i;«ini^d 
much  the  same. 

Lit.  :  van  Mander,  I,  127 ;  M.  J.  Friedliinder,  Bernaeil  can 
Orley,  Prussian  Jahrbuch,  XXIX  (1908),  225,  XXX  (1909),  9, 
89,  155. 

1.  The  Parable  of  Dives  and  Lazabus. 

In  the  centre  a  table  placed  under  an  open  loggia  ;  behind  the  table  Divesr 
and  on  either  side  a  lady  ;  behind,  a  buffet  and  two  8er\'inR  men  ;  on  the  1., 
Lazarus  is  represented  sitting  at  the  gate  with  the  dogs  licking  his  sores  : 
above  his  soul,  in  the  form  of  a  child,  taken  up  to  heaven  by  two  angels  ; 
on  the  r.,  the  death  of  Dives  in  a  chamber  adjoining  the  loggia  in  which 
the  feast  takes  place  ;  below,  his  soul  tormented  by  demons  while  Lazarus 
in  the  bosom  of  Abraham  looks  on. 

[15^g  X  21Jin.  ;  38-6  X  64  cm.]  Pen  and  brown  ink  and  grey  wash 
on  grey  preparcKi  surface  heightened  with  white  ;  both  top  comers  damaged 
and  made  up  ;  a  portion  on  upper  margin  above  right  hand  columns  about 
25  cm.  deep  and  a  strip  about  16  cm.  deep  by  5  cm.  wide,  25  cm.  from  1. 
margin,  made  up.  Backed.  (The  drawing  was  restored  in  1899  by  Mr. 
Frank  Nowlan,  but  according  to  Sir  George  Clausen  the  central  strip  was 
already  made  up  before  this  date.) 

Purchased  from  Mr.  (now  Sir)  George  Clausen,  1899.7. 13.216. 
Collections :  An  unkno^vn  collector's  mark,  a  stylised  flower,  is  stamped  blind 
on  the  front  of  the  drawing. 

Reproductions  :  Kleinmann,  Serie  I,  Bl.  8  ;  Prussian  Jahrbuch,  XXX 
(1909),  plate  facing  p.  92  ;    Popham,  pi.  64. 

Original  design  for  the  triptych  in  the  Brussels  Gallery,  representing 
the  trials  of  Job  and  the  parable  of  Dives  and  Lazarus,  signed  and  dated 
4th  May,  ,1621.  In  the  picture  the  triptych  with  the  shutters  open 
represents,  in  the  centre,  the  destruction  of  Job's  children,  on  the  1.,  Job's 
flocks  being  driven  away,  on  the  r..  Job  and  his  friends  ;  on  the  outside  of 
the  shutters,  on  the  1.,  the  Feast  of  Dives  with  Lazarus  at  the  gate,  on  the 
r.  the  death  of  Dives,  and  Dives  in  hell.  The  present  drawing  was  therefore 
either  a  design  for  the  outside  of  the  shutters,  intended  to  be  seen  as  a 
continuous  picture,  when  these  were  closed  together,  or,  as  first  conceived, 
the  triptych  was  differently  arranged  and  the  Divee  and  Lazarus  was  to 
have  occupied  the  central  panel.  The  latter  seems  the  more  probable 
hypothesis,  as  the  placing  of  such  an  incidental  subject  as  the  dcKtruction 
of  Job's  children  in  the  centre  panel  was  a  most  unconventional  arrange- 
ment, which  can  only  have  been  gradually  evolvetl.  We  nmy  probably 
then  regard  the  drawing   as   the  discartled  design  for  the  tcntral  panel 

parilv  used  subsequently  for  the  outside  of  the  shutters.     T' ' 

ence  Detween  the  drawing  and  these  is  not  very  close  ;   the  ' 

his  soul  tormented  in  hell  watcheil  by  I^zarus  in  Heaven  i~  . 

the  picture,  but  the  feast  of  Dives  occupying,  as  it  does,  a  central  puHitiun 

in  the  drawing  is  completely  different  from  the  scene  on  the  1.  shutter. 


B.  Orley.  35 

The  differences  are  not  such  as  a  copyist  or  imitator  would  be  Ukely  to 
introduce  ;  they  are  obviously  the  independent  conception  of  the  designer 
of  the  picture,  and  the  admirable  quality  of  the  drawing  confirms  this. 

2.  Story  of  Appius  Claudius  and  Virginia. 

In  the  centre  Appius  Claudius  £is  Tribune  is  seated  on  a  throne  ;  on  the 
1.  Marcus  Claudius  is  endeavouring  to  abduct  Virginia  ;  in  the  centre 
Virginia,  Virginius  and  the  nurse  before  Appius  ;  on  the  r.  Virginius 
stabbing  Virginia  with  a  knife  ;  in  the  background,  on  the  r.,  Virginius, 
the  body  of  V^irginia  and  a  crowd  lamenting ;  further  back,  Virginia 
escaping  from  the  minions  of  Appius  Claudius  ;  in  the  background,  on  the 
1.,  a  crowd  among  whom  are  Virginius,  "  Vigilio,"  and  "  Avocato." 

\\2\  X  17|  in.  ;   31  "2  X  45*2  cm.]     Pen  and  brown  ink  and  grey  wash  on 

yellowish  (discoloured)  paper. 

Collection  :    Sloane. 

5214—294. 

Reproduction  :   PI.  XII. 

Design  for  a  tapestry,  of  which  no  version,  so  far  as  I  can  ascertain,  exists. 
It  cannot  belong  to  the  same  series  as  the  drawings  of  episodes  of  Roman 
History  at  Munich  (ill.  Friedlander,  loc.  cit..  Abb.  41-43),  though  the 
difference  in  size  (the  Munich  drawings  measure  about  34*5  X  55  cm.) 
might  be  accounted  for  by  the  present  drawing  being  cut,  which  it  certainly 
has  been  to  a  certain  extent.  The  close  resemblance  which  exists  between 
the  style  of  the  Mtmich  drawings  (signed  and  dated  1524)  and  that  of  the 
present  drawing  would  point  to  the  latter  belonging  to  about  the  same 
period.  It  is  curious  that  the  names  of  the  persons,  inscribed  on  the  hems 
of  their  garments  in  most  cases,  should  be  in  the  Italian  form. 

3.  A  Company  of  Ladiks  and  Gentlemen  in  a  Garden. 

In  the  foreground  four  seated  females  playing  (from  1.  to  r.)  the  harp, 
singing,  playing  the  lute,  the  viol  ;  further  back,  a  kneeling  gentleman 
crowned  by  a  lady  among  a  group  of  persons  ;  on  the  r.  a  fountain  ;  further 
back  still  three  nude  figures,  the  Graces  ;  the  garden  is  bounded  by  a  fence 
in  which  there  is  a  gate  ;    on  the  1.,  at  the  top,  is  an  empty  cartouche. 

[10^''j5  X  10  J  in.  ;  26-8  X  27*5  cm.,  on  two  pieces  of  paper  pasted  together, 

the  1.  hand  one  6* 9  cm.  wide  ;    the  r.  hand  one  2*5  cm.  wide.]     Pen  and 

brown  ink  and  wash  on  yellowish  (discoloured)  paper.     On  back  in  black 

chalk  in  old  hand,  15  f.,  presumably  the  price.     No  watermark. 

Collection  :    Sloane. 

5237—144. 

Reproduction  :  Friedlander,  loc.  cit.,  facing  p.  162  ;  Popham,  pi.  65. 

The  protruding  lower  jaw  of  the  kneeling  figure  suggests  that  the 
personage  is  intended  for  the  Emperor  Charles  V.  The  scene  may  be 
supposed  to  represent  Parnassus  with  the  Coronation  of  Charles  V.  by  the 
Muses,  with  the  Graces  in  attendance.  It  would  appear,  in  comparison 
with  other  drawings  by  Orley,  to  be  a  design  for  tapestry,  though  the  shape 
is  a  little  unusual,  and  to  date  from  about  the  same  period  as  No.  3. 

4.  Allegory  of  War. 

In  the  centre  an  armed  woman  on  a  rearing  horse  threatens  with  her  spear 
a  group  on  the  1.,  consisting  of  an  Emperor  before  whom  kneel  a  king 
and  two  females  (Darius  and  his  family  before  Alexander  ?)  ;  behind  this 
group  Samson  and  the  lion,  a  man  stabbing  himself  and  a  woman  running 
on  a  sword  and  other  groups  ;  on  the  r.,  under  the  forelegs  of  the  rearing 
horse,  a  prostrate,  nearly  naked  man  with  a  scythe  ;  three  other  figures, 
including  Mercury  with  his  caduceus  fleeing  before  the  horsewoman  ;  behind 
these  are  groups  of  Samson  smiting  the  Philistines  (?),  and  men  fleeing 
before  a  warrior  ;  in  the  distance,  in  the  centre,  two  warriors  standing  on 
a  hill. 

[14f  X  21^  in.  ;    37*2  X  54-4  cm.]     Pen  and  brown  ink  ;   all  four  corners 

damaged  and  made  up,  as  well  as  a  hole  in  the  centre  towards  the  top. 

Backed. 

Collection  :    Rodrigues. 

D    2 


36  Dutch  and  Flemish  Dratvings. 


Purrhaaed.  1921.10.12.6. 

ReprtKluctions  :  Onze  K.xmBi.  Dirick  Jacobaz.  Vellert,hy  X.  Beets,  IV,  fig.  1  ; 
Ho<lri);ue.s  Sale  Catalogue,  MuUer,  Amsterdam,  July  12th-13th,  1921, 
lot  186;  PI.  XIII. 

Design  for  tapestry  belonging  to  a  series  of  which  others  are  at  Dresden 
(37  X  56- 1  cm.,  ill.  Friedlftnder,  loc.  cit.  IV,  Abb.  44)  and  Vienna  (36-5  X 
53*6  cm.,  ill.  Vienna  Catalogue,  No.  43).  The  drawing,  though  hasty  in 
detail  and  unpleasing  in  its  effect,  shows  Orley's  style  exactly,  and  must  be 
regardetl  as  his  work.  The  minuscule  "  b  "  in  a  different  ink  at  the 
bottom  of  the  sheet  must  refer  to  the  order  of  the  design  in  the  series  ; 
if  the  letter  "  F  "  on  the  Vienna  drawing  is  to  be  trusted,  the  series  must 
have  comprised  at  least  six  designs. 

COPY  FROM  BERNARD  VAN  ORLEY. 

5,  6.  Two  Shcttebs  of  a  Triptych  :   l.  the  Pbesentation,  b.  The  Lamen- 
tation. 

Left  shutter :  in  a  classical  building  entered  through  an  arch  on  the  r.  behind 
a  circular  table  supported  on  columns  the  Child  is  held  by  the  High  Priest 
who  is  attended  by  six  other  personages  ;  in  the  foreground  a  youth  lifting  up 
a  large  candelabrum,  and  a  woman  kneeling  ;  two  women  carrying  children 
approach  through  the  arch  ;  in  the  distance  the  Flight  into  Egypt. 
Right  shutter  :  the  body  of  Christ  in  the  foreground  supported  and  sur- 
rounded by  seven  persons,  conspicuous  among  whom  is  St.  John  on  the  1. 
wildly  gesticulating  ;  in  the  background  towards  the  r.  under  a  rock  sup- 
ported on  natural  columns  the  body  is  being  entombed. 

[L.    wing,     15}x6iin.  ;      402  X  166  cm.  ;      r.    wing,     15^«  X  6|  in.  ; 
39*6  X  16-5  cm.]     Pen  and  grey  ink  and  grey  wash.     Backed. 
Collection  :  Sioane  (from  the  Diirer  album,  1637). 
5268-196. 
Reproduction  :  PI.  XII. 

The  Presentation,  as  was  first  pointed  out  by  Prof  Fr.  Winkler,  is  a 
close  copy  from  a  drawing  at  Hamburg  (reproduced  Prestel  publi<ation  of 
Hamburg  drawings,  Neue  Folge,  1926,  Nr.  5)  of  the  same  size  and  certainly 
by  Orley.  The  Lamentation  must  obviously  be  a  copy  of  a  corresponding 
drawing  which  appears  to  be  lost.  Professor  Pauli,  in  his  notice  of  the 
Hamburg  drawing,  has  pointed  out  the  various  borrowings  from  Diirer  ; 
those  in  the  Lamentation  are  less  conspicuous.  The  two  subjects  must 
have  formed  either  the  1.  and  r.  interior  paintings  on  the  wings  of  a  triptych 
or  possibly  the  Lamentation  was  intended  to  o<cupy  the  outsitle  of  the 
shutter  of  which  the  Presentation  would  occupy  the  inside.  The  centre 
panel  (or  carving)  may  have  represented  the  Adoration  of  the  Magi,  but 
as  has  been  noticed  in  connection  with  No.  1,  Orley's  arrangement  of 
triptychs  was  sometimes  unconventional.  The  designs  are  obviously  late 
in  Orley's  career,  probably  after  1530. 

SCHOOL  OF  BERNARD  VAN  ORLEY. 

7.   The  Judgment  of  Solomon. 

Solomon  sits  on  a  throne  in  the  centre  ;  the  child  lies  on  the  ground  in 
front  of  him,  while  to  the  1.  and  r.  the  two  mothers  kneel  ;  further  to  the  1. 
the  executioner  holding  up  the  child  by  one  arm  ;  on  the  extreme  r.  a 
bearded  man  accompanied  by  a  younger  man  ;  councillors  grouped  round 
Solomon's  throne  to  the  1.  and  r. 

(10}  X  16^  in.  ;      276  x  41-2  cm.]      Pen    and    ink    and    bluish    wash. 

Backed,  no  watermark  visible. 

Colle<'tion  :  Sioane. 

5214-24.'). 

Reproduction  :  PI.  XIII. 

The  figure  of  Solomon  is  almost  identical  with  that  of  Saul  in  the 
drawing  by  Pieter  Koecke  (describetl  above,  No.  7).  The  present  drawing 
is   obviously    neither   by   Orley   nor   by    Koecke.    biit    the   work   of   some 

£(ioiiyiiioiiH  pupil.     It  is  preeumaliU'  ••  <J<'sii»i>  for  iiUH'.strv. 


A.  Orthens.  37 

ORTKENS,  Ardt  or  Aerdt  (Ort  or  Hort).  Glass  painter  and  designer  : 
working  at  Antwerp  1513-1531  ;  born  at  Nimuegen ;  mentioned  by 
Guicciardini  with  Dirick  Vellert  and  Theodore  Stas  van  Campen  as 
one  of  the  principal  Antwerp  glass  painters.  Friedlander  has  tenta- 
tively identified  Ortkens  as  the  artist  previously  known  as  the  blaster 
of  the  Leipzig  Cabinet  (from  the  place  where  a  number  of  his  drawings 
are  preserved).  The  identification  rests  on  the  inscription  on  the 
drawing  described  below,  No.  1. 

Lit.  :    M.  J.  Friedlander,  Amtliche    Berichte,  XXXVIII  (1917), 
161  fE. 

1 .  The  Rape  of  Helen  with  the  Judgment  of  Paris  and  Priam  in  cotrNCiL. 

The  foreground  and  centre  are  occupied  by  the  "  island  of  Cytherea,"  on 
which  is  the  temple  of  Venus  ;  from  this  the  Trojans  under  Paris  are  carry- 
ing prisoners  and  treasures  to  their  ships  on  the  1.  and  r.  ;  the  central 
group  is  formed  by  Helen  kneeling  and  Paris  ;  in  the  1.  top  corner  is  repre- 
sented the  judgment  of  Paris  ;  in  the  corresponding  r.  corner  Priam  in 
council  ;  in  the  r.  bottom  comer  a  small  pavilion  in  which  is  a  prophet 
or  seer. 

Many  of  the  figures  are  inscribed  by  the  artist  with  their  names  ;  these 
are,  reading  from  1.  to  r.  (unless  otherwise  specified)  : — Judgment  of  Paris  ; 
juno  mercur  paUas  ventia,  with  paris  below  ;  council  scene  priam  (in  centre) 
hector  dthenor  paris  eneaa  ;  the  main  scene  :  deiphojbua  (in  ship  on  1.) 
anthejnor  (standing  behind  woman  whom  Dciphobus  is  dragging  to  tlie  ship) 
troilua  (standing  behind  the  kneeling  Helen  in  the  centre)  paris  (standing 
holding  Helen's  dress)  eneas  (?)  forcing  a  woman  into  the  ship  on  the  r. 
athenr  (?)  (Ant«nor  ?)  underneath  the  prophet  on  the  r.  ;  t^nus  against  the 
statue  in  the  temple. 

[lOf  X  15 J  in.  ;  27  X  38*7  cm.].  Pen  and  brown  ink.  The  drawing  had 
been  folded,  crumpled  and  torn  along  the  edges.  It  is  now  backed.  Inscribed 
in  17th  or  18th  century  hand  on  pedestal  of  pavilion  to  r.  Adam  van  Ort  1424. 
Purchased,  1905.10.19.11. 

Reproductions:  Onze  Kunst,  XIII  (1908),  p.  186  (as  Dirick  Vellert); 
pi.  XIV. 

Lit.  :  M.  J.  Friedlander,  Amtliche  Berichte,  XXXVIII  (1917),  162. 

The  representation  seems  to  be  based  on  the  version  of  the  Trojan 
legend  compile*!  by  Raoul  le  F^rre  (ed.  Lyons,  1529,  Book  III,  feuillets  iv,  v 
and  vi),  though  in  this  version  Polydamas  not  Troilus,  as  here,  is  mentioned 
as  the  fourth  member  of  the  expedition  which  carrietl  off  Helen. 

On  the  inscription  Adam  van  Ort  on  this  drawing  Friedlander  has  based 
his  ingenious  theory  that  Aerdt  Ortkens  is  the  author  of  this  and  the  other 
drawings  in  the  same  style.  He  regards  it  as  a  misreading  by  a  later 
copyist  of  a  correct  attribution  to  Aert  or  Aerdt  Ort,  by  a  reference  to  an 
artist  of  whom  he  had  heard,  the  glaxs  painter  Adam  van  Oort.  This 
theory,  which  has  been  generally  accepted,  seems  to  fit  the  known  facts 
about  the  group  of  drawings,  except  that  Aerdt  Ortkens  is  not  recorded 
to  have  been  a  designer  for  tapestrj',  but  only  for  glass.  Still,  the  very 
great  majority  of  the  drawings  are  indubitably  for  gleiss  roundels,  and 
only  the  present  example  and  another  at  Berlin  indubitably  for  tapestry. 

What  appears  to  be  a  capital  letter  B  (top  cut  off)  above  Priam  on  the  r. 
may  possibly  denote  that  this  is  the  second  in  a  series  of  tapestries  of  the 
history  of  Troy.  No  tapestry  corresponding  to  the  drawing,  or  probably 
belonging  to  the  series,  has  so  far  as  I  know  been  identified.  The  series 
of  the  Aeneid  at  Hampton  Court  is  perhaps  from  Ortkens'  designs  and 
may  possibly  have  formed  a  complementary  set. 

2.  Men  setting  up  or  taking  down  a  Statue. 

Three  men  standing  on  two  ladders  are  engaged  in  placing  on  a  column 
decorated  in  renaissance  style  a  statue  of  a  man  holding  a  sceptre  ;  another 
man  stands  at  the  foot  of  the  column  and  seems  to  be  directing  ;   to  the  1. 


38  Dutch  and  FUmith  Drawings. 


is  a  man,  holding  a  ladder,  in  conversation  with  an  elderly  bearded  man  ; 
on  the  r.  in  the  distance  is  another  man  carrying  a  ladder. 

[Circular,  diameter  8} 3  in.  ;    22'6cm.]      Pen   and    brown  ink  ;    a  tear  on 
the  1.  margin,  about  55  cm.  long  by  20  cm.  deep,  has  been  restored. 
Provenance  unrecorded  ;    perhaps  Lot  10  in  C.  M.  Metz's  Sale,  May  4th, 
1801,  "  Hans  Holbein,  Artificers  erecting  a  statue." 
1913.3.31.204. 
Reproduction  :  PI.  XIV. 

A  very  characteristic  example  of  the  stylo  of  the  supposed  Aerdt  Ortkens 
and  of  the  type  of  drawings  tor  glass  roundels  which  ho  was  very  largely 
employed  in  supplying. 

3.   Christ  brought  before  the  High  Priest. 

The  High  Priest,  wearing  a  mitre,  sits  enthroned  on  the  1.  ;  Christ  is 
brought  before  him  by  two  soldiers,  the  foremost  one  fantasticnlly  attired  ; 
on  the  1.  St.  Peter  is  seen  departing  hastily,  and  in  a  hall  in  the  backgromul 
to  the  1.  he  is  seen  conversing  before  the  fire  with  a  soldier,  while  the  cock 
is  crowing  in  the  middle  distance  ;  on  the  bank,  a  woman  seated  on  n 
throne,  wearing  an  elaborately  decorated  cuirass  having  a  shield  on  her  1. 
arm  and  the  branch  of  a  rose  tree  in  her  r.  hand. 

m  X  6i  in.;     157  X  16-9cm.     Diameter   of     circle   6^  in.  ;     ISScm.] 
Pen  and  brown  ink  over  black  chalk,  of  which  only  traces  are  visible. 
Purchased,  1877.5.12.271. 
Reproduction  :  PI.  XIV. 

Formerly  attributed  to  M.  van  Heemskerck.  Such  passages  as  the  head 
of  Chiist  and  the  soldier  in  armour  are  so  typical  of  the  supposed  Ortkens 
that  the  drawing  must  be  his  ;  the  unusually  small  scale  is  responsible 
for  certain  differences  which  are  apparent  ;  there  is  none  of  the  slackness 
of  a  copy.  I  do  not  know  what  the  purpose  of  a  round  drawing  of  this 
size  may  have  been.  The  figure  on  the  back  was  part  of  a  design  for  a 
glass  roundel  of  the  usual  size  as  the  segment  of  the  surrounding  line  in 
black  clialk  at  the  top  makes  clear. 

COPY  AFTER  AERDT  ORTKENS. 

4.     BCRYINO  THE  DEAD. 

The  coffin  supported  by  ropes  held  by  figures  on  the  r.  and  1.  is  being 
lowered  into  the  grave  ;  a  priest  behind  the  coffin  in  the  centre  holds  an 
asperge  in  his  r.  and  a  pastoral  crosft  in  his  1.  hand  ;  to  the  r.,  a  priest 
reading  ;    to  the  1.,  acolytes  holding  holy  water. 

[Circular  ;    diameter  Oj^^  in.  ;  23  cm.]     Pen  and  brown  ink. 

Collection  :    Sloane  (found  loose  by  W.  Y.  Ottley  in    Diirer  Sloane  album, 

Mav  13th,  1833,  and  pasted  in  by  him). 

5218-227. 

Reproduction  :  PI.  XV. 

Presumably  one  of  a  series  of  the  seven  acts  of  mercy.  In  the  style 
of  the  supposed  Aerdt  Oitkens,  but  certainly  one  of  the  fairly  numerous 
copies  which  exi.st  (c/.  diawing  in  the  Ashmolean  of  Samuel  anointing 
David,  which  is  a  copy  of  a  drawing  at  BerUn,  No.  4425). 

SCOREL,  Jan  van  (b.  1495  ;  d.  December,  1562).  Painter  ;  naiu<a.  x-ii 
of  a  priest,  Andreas  Ouckeyn  ;  born  at  Scorel,  near  Alkmaar ;  edu- 
cated at  the  school  in  that  town  till  his  fourteenth  year,  about  \lt9, 
then  apprenticed  to  Willem  Cornelisz  Buys  till  1512;  aftenvards 
pupil  of  Jacob  Cornelisz  (q.v.)  at  Amsterdam  ;  worked  for  a  time 
under  Jan  Gossaert  (q.v.)  at  Utrecht  in  1517  or  1518 ;  travelled 
through  Germany  in  1518  and  executed  a  triptych  for  the  family  of 
Frangipani,  in  the  Church  of  Obervellach  in  Carinthia,  dated  1520; 


J.  van  Scorcl.  39 


proceeded  to  Venice  and  thence  to  the  Holy  Land,  whence  he  returned 
in  1521  ;  put  in  charge  of  the  collection  of  sculpture  in  the  Belvedere 
by  Adrian  VI ;  returned  to  the  Netherlands  in  1524  ;  vicar  of  St.  Mary 
at  Utrecht  and  later  (October  16th,  1528),  Canon  of  Utrecht.  Scorel, 
though  he  retained  the  canonry  until  his  death,  continued  to  paint  and 
had  as  pupil  Antonis  Mor.  He  was  also  known  as  an  architect,  a 
scholar,  a  musician  and  a  poet. 

Scorel's  style,  essentially  Dutch  and  showing  an  unmistakable 
derivation  from  that  of  Jacob  Cornelisz  in  the  triptych  of  Obervellach 
of  1520,  underwent  a  great  change  aft^r  his  visit  to  Italy.  He  absorbed 
very  completely  the  manner  of  Raphael  and  his  followers,  particularly 
Giulio  Romano,  though  he  never  degenerated  into  a  mere  imitator. 
The  influence  of  this  later  style,  marking  the  second  and  more  com- 
plete stage  of  "  Romanism  "  in  Netherlandish  art,  was  enormous  and 
hardly  any  painter  of  the  later  16th  century  escaped  it. 

Lit.  :  van  Mander,  I,  306  ;  G.  J.  Hoogewerff,  Jan  van  Scorel, 
The  Hague,  1923  ;  L.  Scheibler  and  W.  Bode,  Jan  van  Scorel  (with 
list  of  his  pictures  by  Karl  Justi) ;  Jahrbuch,  II  (1881),  193. 
On  Scorel's  drawings :  L.  von  Baldass,  Notizen  zu  holldndischen 
Zeichnem  des  xvi.  Jahrhunderts.  II.  Jan  van  Scorel ,  Mitteilungen, 
XXXIX  (1916)  4  ;  F.  Winkler,  An  unpublished  drawing  of  the  "  Trans- 
fguration"  at  Bremen,  Old  Master  Drawings,  I  (1926),  15  ;  F.  Winkler, 
Biblische  Darstellungen  ScoreU  aus  seiner  italienischen  Zeit,  Oud- 
HoUand,  XLVII  (1930),  30. 

1.  A  Fantastic  Mountain  Landscape  with  a  Bridge. 

A  bridge  spanning  a  ravine;  a  tower  protecting  the  bridge  on  the  I.; 
fantastic  crags  rising  to  the  r.,  with  a  group  of  buildings  nestHng  among 
them  ;  a  castle  on  a  rock  is  seen  under  the  arch  of  the  bridge  in  the  distance 
verso,  study  of  a  castle  among  crags. 

£8^  X  6jJ),  in.  ;    20-7  X  15-5  cm.]      Pen  and  brown  ink,  signed  in  bottom 

r.  comer  of  recto  10  SCO  divided  by  a  housemark. 

Purchased,  1909. 1.9.7  (from  Messrs.  Obach  and  Co.,  No.  51  in  exhibition 

held  by  them  Nov.-Dec,  1908). 

Reproductions:     Hecto,  Vasari,  VI,  17;    Mitteilungen,  X  (1916),  4;    verao. 

Old  Master   Drawings,  Vol.  I  (1926),  PI.  21  ;  Oud -Holland,  XLV  II  (1930), 

34;  PI.  XV. 

The  only  signed  drawing  by  Scorel  known.  It  must  date  from  the 
«arly  part  of  his  career,  most  probably  from  the  period  of  his  journey 
through  Germany.  Though  the  drawing  on  the  recto  is  obviously  an 
imaginary  landscape,  that  on  the  verso  might  well  be  an  actual  study  from 
a  real  place. 

2.  View  of  Bethlehem. 

A  group  of  ruinous  buildings,  among  which  is  to  be  distinguished  the 
Convent  of  the  Nativity  to  the  1. 

[6J  X  lljin.  ;  17-1  X  29 '9  cm.]  Pen  and  blackish  ink  ;  inscribed  in  the 
artist's  hand  in  centre  at  top  bethleem  ;  on  the  extreme  1.,  ecclesia  nicolai. 
Collection  :    Sloane. 

5234 — 89  (transferred  from  Dept.  of  MSS.  1928  and  given  the  departmental 
.register  mark  1928.3.10.100). 


40  Dutch  and  Flemish  Drawings. 


Reproduction:  Old  Master  Drawings,  III  (1919),   PL  56;  Oud-Holland, 

XLVII(ie31),  30. 

Lit. :   British  Museum,  Catalogue  of  MSS.  Maps,  Vol.  Ill  (1861),  p.  278. 

From  an  album  mainly  containing  drawings  of  Persian  and  near  Eastern 
subjects  by  G.  Hofstede  van  Essen,  and  formerly  attributed  to  that  artist. 
Agrees  very  closely  in  style  of  draughtsnmnship  with  the  preceding  ;  the 
drawins  of  tlie  foreground  here  especially  Khould  be  compared  with  that 
of  the  foreground  on  the  verao  of  the  other,  and  the  small  figures  on  the  1. 
here  'with  those  on  the  bridge  on  the  recto.  Scorel,  who  was  in  the  Holy 
Land  in  the  winter  of  1520-21,  is  recorded  by  van  Mander  to  have  drawn 
views  of  places  and  things  seen  during  his  voyage  in  a  book,  of  which  this 
may  have  formed  a  part.  No  other  record  in  the  form  of  drawings  of 
Scorel's  pilgrimage  exists.  The  church  of  St.  Nicholas,  where  the  annuncia- 
tion by  the  angel  to  Joseph  is  supposed  to  have  taken  place,  was  already 
in  ruins  in  1520  ;  whether  this  is  represented  by  the  vtigue  indications 
on  the  extreme  1.,  or  whether  it  has  been  cut  off  (the  drawing  is  certainly 
clipped),  it  is  not  possible  to  determine. 

ATTRIBUTED  TO  JAN  VAN  SCOREL. 

3.    PORTKAIT   OF   A   GiRL. 

Full  face  to  waist,  head  turned  slightly  to  the  r.  ;   hair  plaited  uud  braided 
round  the  forehead  ;   arms  apparently  crossed. 

[Hi  X  7|  in.  ;    286  X  19-5  cm.]     Red  chalk  with  traces  of  black  chalk 

imdemeath  ;    an  oil  stain  on  the  hair  to  I.  of  r.  eye. 

Purchased,  1895.9.15.995. 

Collections  :   Sir  J.  C.  Robinson,  Malcolm  (No.  689  in  Malcolm  Catalogue). 

Reproductions:    Vasari,  IX,    13;    Popham,  pi.  47;   Munchener  Jahrbuch, 

VI  (1929),  p.  212. 

Attributed  in  the  Malcolm  Catalogue  to  Holbein,  also  to  the  Florentine 
and  German  schools.  The  attribution  to  Scorel,  tentatively  made  by 
Prof.  A.  M.  Hind  in  the  text  to  the  Vasari  Society  reproduction,  seems  to 
me  to  be  very  near  the  truth.  Prof.  Fr.  Winkler  has  suggested  that  it 
may  be  a  youthful  work  by  Antonis  Mor.  While  admitting  the  possibility, 
I  do  not  see  the  particular  reason  for  this  attribution.  Nor  can  I  see  any 
conclusive  evidence  in  favour  of  Benesch's  recent  attribution  to  Jan 
Comelisz.  Vermeyen  (Munchener  Jahrbuch,  VI  (1929),  p.  213).  In  the 
absence  of  any  portrait  drawing  certainly  attributable  to  Scorel,  with  which 
the  drawing  can  be  compared,  certainty  is  not  possible.  A  point  which 
may  add  some  weight  to  the  Scorel  attribution  is  the  fact  that  the  features 
very  strongly  resemble  those  of  the  young  girl  in  the  family  group  supposed 
to  represent  Daniel  de  Hertoghe,  his  wife  and  children  (at  Groningcn,  ill. 
Hoogewerff,  op.  cit.,  pi.  32  :  much  damaged  and  repainted),  though  it 
would  be  rash  to  conclude  positively  that  the  rather  older  girl  in  the 
drawing  is  the  same  person  as  the  yoiuig  girl  in  the  picture.  1  have  not 
seen  the  picture  and  do  not  know  whether  Hoogewerff's  attribution  to 
Scorel  can  be  maintained. 

SWART,  Jan,  van  Gronin gen  (working  about  1522-1553).  Painter  and 
designer  for  glass  and  woodcut.  According  to  van  Mander  was  born 
at  Groningen ;  was  working  at  Gouda  about  1522-3,  and  was  there 
the  master  of  Adrien  Pietersz  Crabeth  ;  visited  Italy,  spending  some 
time  in  Venice  at  a  period  not  stated.  Though  not  indicated  by 
van  Mander  it  would  appear  probable  from  the  accuracy  of  his 
delineation  of  Turkish  costume  and  his  woodcut  of  Soliman  the 
Magnificent,  dated  1526,  that  he  extended  his  voyage  to  Constanti- 
nople and  that  the  journey  took  place  about  1525.  Perhaps  identical 
with  a  Jan  de  Hollandere  inscribed  in  the  Antwerp  Guild  in  1522 
immediately  after  Lucas  de  Hollandere  (Lucas  van  Leyden). 


J.  Swart  van  Groningen.  41 


The  chronology  of  Swart 's  drawings  presents  some  difficulties  owing 
to  their  uniform  character.  Works  which  can  be  dated  exactly  or 
approximately  are  the  set  of  woodcuts  representing  Soliman  the 
Magnificent  and  his  cortege,  dated  1526  ;  the  three  woodcuts  which 
appeared  in  a  "  Postille  "  in  Dutch,  printed  at  Basel  in  1528  ;  the 
woodcut  illustrations  to  Vorsterman's  Bible  printed  at  Antwerp  in 
the  same  year ;  the  drawing  of  the  Descent  of  the  Holy  Spirit  (No.  9 
below),  dated  1533,  and  the  series  of  ten  engravings  of  the  Life  of 
St.  John  the  Baptist,  one  of  which  has  the  date  1553  (almost  certainly 
the  date  of  the  design). 

Baldass,  following  Burchard,  places  the  journey  to  Italy  soon  after 
1530,  and  assumes  that  drawings  heightened  with  white  on  a  dark 
ground  shows  a  resulting  Italian  influence  and  are  necessarily  late. 
Certainly  the  Massacre  of  the  Innocents  (No.  26  below)  must  belong 
to  the  end  of  Swart's  career  on  the  ground  of  the  similarity  of  its  style 
to  that  of  the  engravings  of  1553,  but  it  would  be  unwise  to  assume 
that  drawings  in  the  same  technique  were  necessarily  late.  Neither 
is  the  method  a  peculiarly  Italian  one  nor,  as  pointed  out  above,  was  the 
visit  to  Venice  undertaken  late.  All  Swart's  work,  as  we  know  it, 
with  the  possible  exception  of  the  drawing  at  Berlin  (Baldass,  No.  3) 
belongs  ta  a  period  subsequent  to  his  Italian  (and  Eastern)  voyage, 
so  that  there  is  no  abrupt  change  of  style  between  1526  and  1553. 
There  is  a  tendency  shown  in  the  engravings  of  1553  to  an  exaggera- 
tion and  violence  of  movement  which  may  be  due  to  the  direct  influence 
of  Heemskerck,  whose  work  was  extremely  popular  at  the  period. 
It  seems  hardly  possible  to  arrange  in  chronological  order  with  cer- 
tainty the  drawings  between  about  1530  and  the  period  when  this 
Heemskerck  phase  began,  presumably  about  1550.  The  drawing  of 
1562  at  Berlin  attributed  by  Curt  Benedict  to  Swart  has  nothing  to 
do  with  that  artist  (for  a  drawing  by  the  same  hand  see  under  Pieter 
Aertsen).  The  drawings  are  arranged  chronologically  so  far  as  is 
consistent  with  the  above  proviso. 

Lit.  :  van  Mander,  1, 253  ;  N.  Beets,  Oud  Holland,  XXXII  (1919),  1; 
C.  Dodgson,  Mitteilungen,  1910,  33,  and  1911,  8;  L.  Burchard,  Mit- 
teilungen,  1914,  1  ;  L.  Baldass,  Mitteilungen,  1918,  11  (with  catalogue 
of  drawings) ;  Curt  Benedict,  Zeilschrift,  LVIII  (1924),  174  and  240 
(Jan  Swart  van  Groningen  als  Maler) ;  N.  Beets,  De  Houtsneden  in 
Vorstermans  Bijbel,  Amsterdam,  1915. 

..   The  Beheading  of  St.  George  and  Scenes  from  his  Martybdom. 

Before  a  tree  trunk  in  the  centre  the  Saint  kneels  blindfolded  towards 
the  1.  ;  the  executioner  to  the  r.  swings  his  sword  for  the  blow  ;  further  to 
the  r.  two  men,  one  of  whom  kneels  on  a  square  stone,  hold  cords  attached 
to  St.  George's  feet  ;  on  the  1.,  on  a  lower  plane,  Dacian,  the  proconsul,  on 
horseback  with  a  semi-Oriental  cortege  ;  in  the  background  from  1.  to  r., 
beginning  at  the  top,  scenes  from  the  story  of  the  Saint,  (i)  St.  Georg© 
brought  to  the  temple  of  Apollo  to  worship  ;  underneath,  confined  in 
prison,  he  is  comforted  by  Our  Lord,     (ii)  St.  George  drinking  the  cup  of 


42  Dutcli  and  Flemish  Draivings. 

poison  offered  him  by  the  enchanter,  (iii)  Hung  on  a  scaffold  and  torn 
with  iron  hooks,  (iv)  Destruction  of  tho  temple  of  Apollo  (the  same 
temple  Hccn  in  (i)  )  at  the  prayer  of  St.  George,  (v)  Bound  on  a  wheel  full 
of  sharp  bladen,  which  is  destroyed  by  divine  intervention,  (vi)  Placed 
in  a  caldron  of  boiling;  leatl.  (vii)  (middle  distance  on  the  1.)  Dragged  to 
execution  at  a  horse's  tail. 

[11}  X  2Uin.  ;    29'7  X  54cm.]     Pen  and  brown  ink  washed  with  grey 

and  light  brown.     Backed  ;    no  watermark  visible  ;    Bemaert  van  Orley 

in  an  old  hand  inscribed  on  back,  visible  through  the  backing  against  the 

light. 

Purchased,  1863.1.10.3. 

Reproduction  :    PI.  XVI. 

First  attributed  to  Bernard  van  Orley  ;  then,  in  the  Register  of  1863, 
to  Pieter  Koecke  ;  later  lettered  on  the  mount,  Bernard  van  Orley  ;  finally 
attributed  by  M.  J.  Friedl&nder  (note  on  mount)  to  Swart.  Not  included 
in  Baldass's  catalogue. 

For  the  fluctuations  in  the  attribution  there  is  some  excuse,  but  I  think 
that  Friedlander's  attribution  to  Swart  can  be  accepted.  The  cortfege  to 
the  left  of  Dacian  with  its  fantastic  Oriental  trappings  is  quite  in  that 
artist's  style.  The  handling,  particularly  in  the  background,  is  unlike  that 
of  Swart  in  the  other  drawings  catalogued  below,  which  belong  to  a  later 
period,  and  are  with  one  exception  cartoons  for  glass,  but  not  at  all  dis- 
similar to  that  of  the  early  signed  drawing  at  Berlin  (Berlin  Reproductions 
II,  228).  The  armed  warrior  with  the  shield  on  his  back,  in  the  backgroimd 
to  the  1.,  is  almost  identical  with  one  of  tho  riders  in  the  woodcut  frieze  of 
Soliman  and  his  cortege  of  1526.  The  composition  also  recalls  in  its 
arrangement  the  woodcut  of  the  Preaching  of  Christ  (B.  VII,  492,  1),  as 
well  as  the  picture  at  Mmiichof  the  Preachingof  St.  John  the  Baptist.  The 
drawing  may  have  been  intended  as  a  design  for  a  picture,  a  woodcut,  or 
possibly  a  tapestry  ;  it  is  one  of  the  few  drawings  by  Swart  for  any  purpose 
out  glass. 

2-5.  Four  Incidents  from  the  Book  of  Joshtta. 

Pen  and  black  ink  and  grey  wash  over  black  chrtlk.  with  some  details 
(except  in  No.  1 )  faintly  washed  in  light  brown. 
Purchased,  1879.5.10.327  .  .  .  330. 

Upright  oblongs  with  arched  tops  ;  designs  for  stained  glass. 

2.  Joshua,  recognisable  by  his  helmet,  ornamented  with  a  dragon,  and  by 
his  long  spear,  stands  in  the  centre  with  his  back  to  the  spectator  in 
conversation  with  a  man  standing  before  him  ;  a  roc-k  surmounted  by 
trees  behind  to  the  1.,  and  in  the  distance  r.,  siege  operations  against  a 
town  being  carried  on  in  a  rather  half-hearted  manner. 

lArched  top,  greatest  height   HJ  in.,  width  71  in.  ;    37-4  X  19-4  cm.] 

Backed.     Part  of   a  watermark,  a  fleur-de-lys  from  a  coat -of -arms  (7) 

indistinctly  visible. 

1879.5.10.330. 

Reproduction :  PI.  XVI. 

Lit. :  Baldass,  loc.  cit..  No.  53. 

May  represent  the  siege  of  Ai  (Joshua  viii,  7),  though  the  details 
do  not  accord  very  closely  with  the  description  ;  it  must  represent 
some  siege  under  Joshua,  who  is  clearly  intended  as  the  figure  with  the 
lance. 

3.  Joshua,  on  horseback  on  the  1.,  is  piercing  with  his  lance  a  fugitive  kine. 
also    mounted,  who   holds  a  banner  on  which  is  a  crescent ;  < 

ground  is  another  king,  who,  wit  h  his  horse,  has  been  thrown  to  i 

other  figures  behind  Joshua  and  the  fleeing  king  ;   in  the  distune  «■  mi  tm- 

1.,  a  burning  town  ;    a  rocky  eminence  crowned  with  vegetation  behind 

on  tho  r. 

i^Vrchod  top,  greatest  height,  13|S  in. ;  width  7^4  in.;    35-4  x  20- 1  cm.J 


J.  Siuart  van  Groningen.  43 

Some  portions  r.   and  1.   project  beyond  the  rectangle  of  the  frame. 

Backed  :   watermark,  a  crowned  jug,  type  of  Briquet  12862. 

1879.5.10.327. 

Lit.  :  Baldass,  loc.  cit.    No.  51. 

Represents  Joshua's  battle  against  the  five  kings  to  rescue  Gibeon 
(Joshua  X,  9,  10). 

4.  On  the  r.  Joshua,  holding  the  long  spear  in  his  1.  hand  and  accompanied 
by  his  shield  bearer,  gives  orders  for  the  five  kings  who  stand  under 
guard  on  the  1.,  to  be  hanged  ;  in  the  background,  three  of  them  are  seen 
suspended  from  the  branches  of  trees. 

[Arched  top,  greatest  height  13}|  in.,  width  7}-^  in.  ;   35*4  X  19*8  cm.] 

Backed  :   watermark,  a  crowned  jug,  like  Briquet  12865. 

1879.5.10.327. 

Reproduction  :   PI.  XVI. 

Lit. :  Baldass,  loc.  cit..  No.  50. 

Represents  the  five  kings  brought  before  Joshua  (Joshua  x,  23). 
This  drawing  is  inferior  in  quality  to  the  other  three  of  the  series,  and 
appears  to  be  a  copy. 

o.  On  the  1.  stands  Joshua,  distinguished  by  his  helmet  and  holding  a 
shield  ;  his  armour  bearer  stands  beside  him  holding  the  spear  ;  before 
them  is  the  wheel  of  a  chariot  in  flames  ;  behind,  rather  to  the  r.,  is  a 
complete  wheeled  chariot  which  is  being  set  on  fire  ;  further  back  still, 
on  the  1.,  the  horses  are  being  houghed. 

[Arched  top,  greatest  height,    14  in.,   width   7|  in.  ;    35'4  X  20' 1cm.] 

Backed  :    no  watermark. 

1879.5.10.329. 

Reproduction  :    Popham,  pi.  49. 

Lit. :  Baldass,  loc.  cit..  No.  52. 

Joshua  xi,  9. 

The  type  of  Joshua  and  the  dry  and  rather  lifeless  drawing  of  this 
series  connect  it  with  the  woodcut  illustrations  to  Vorsterman's  Bible  of 
1528,  and  to  this  period  it  would  seem  to  belong. 

6-7.  Two  Scenes  of  Old  Testajient  History. 

Pen  and  black  ink  and  grey  wash  over  black  chalk,  with  touches  of  light 
brown  wash.  Upright  oblongs  with  arched  tops  of  the  same  format 
as  the  history  of  Joshua  described  above.    They  appear  to  be  copies. 

6.  Moses  Striking  Water  from  the  Rock. 

Moses  in  the  centre  stands  holding  up  a  wand  ;  the  water  gushes  from 
a  rocky  bluff  on  the  1.,  and  is  gathered  in  vessels  by  a  naked  child 
and  a  kneeling  woman  ;  on  the  r.,  a  woman  holding  a  child  ;  in  the 
distance,  men  leading  camels. 

[Arched    top,    slightly    cut,    13|  x  8  J  in.  ;     35x21- 6  cm.]     Backed: 

watermark,  the  arms  of  the  city  of  Troyes,  like  Briquet  1051. 

1895.5.10.326. 

Lit. :  Baldass,  loc.  cit..  No.  49. 

7.  Samson  drinking  from  the  Ass's  Jawbone. 

Samson  kneels  on  one  knee,  supporting  himself  on  his  r.  hand,  while  the 
liquor  spouts  from  a  cavity  in  the  jawbone  from  which  he  has  removed 
a  tooth  ;   in  tlie  background  to  the  1.  he  is  seen  smiting  the  Philistines. 

[Arched  top,  slightly  cut,  14J  x  8|  in.  ;    36  x  21-5  cm.]      Backed;    no 

watermark. 

1879.5.10.331. 

Lit.  :  Baldass,  loc.  cit.  No.  54. 

These  two  drawings  illustrate  occasions  on  which  the  Lord  succoured 
the  thirsty  ;  they  may  have  been  complete  in  themselves,  intended  as 
pendants  to  an  illustration  of  the  Act  of  Mercy,  giving  the  thirsty  to 
drink,  or  belonged  to  a  series  of  parallel  scenes  of  the  Old  and  New 
Testaments.     The  parallel  to  the  Moses  striking  water  from  the  rock  is 


44  Dutch  and  Flemish  Drawings. 

the  piercing  of  Christ's  side.     I  do  not  know  that  SamRon  drinkinp  from 
the  ass's  jawbone  was  employed  as  a  parallel. 

8.  Scene  from  the  Stobv  of  Tobit. 

Tobit,  wearing  a  chaperon,  lies  on  the  ground  under  the  wall  of  a  renai''^«'""> 
palace,  on  a  cornice  of  which  is  the  swallow  on  her  nest ;   a  dog  lien 
up  in  the  foreground  to  the  r.  ;    through  an  opening  in  the  building    i 
is  seen  at  meat,  on  the  1.  under  a  porch  distributing  alms,  and   in   tlte 
distance  to  the  I.  burying  the  dead. 

[Arched  top,   ISf  x  7}  in.  ;    34-7  x  10-7  cm.]     Pen  and  black  ink  and 
grey  wash.     Backed  ;   no  watermark  visible. 
Purchased.  1913.12.16.1. 
Lit.  :  Baldass,  loc.  cit..  No.  42. 

The  general  arrangement  of  the  composition  is  borrowed  from  a  very 
much  earlier  verwion  of  the  story  of  Tobit  by  an  artist  of  the  school  of 
Hugo  van  der  Goes.  The  incidents  represented  on  the  .present  drawing 
are  foUnd  arranged  in  exactly  the  same  way  in  a  gla.s8  roundel  in  the  Mus^ 
du  Cinquantenaire  at  Brus.sels,  which  though  actually  of  about  1500  or 
1510  appears  to  be  a  close  copy  of  an  original  of  about  1480.  The  dog  in 
this  roundel  is  almost  textually  copied  here  by  Swart.  A  series  of  eight 
drawings  by  Swart  at  Leipzig  (Baldass,  loc.  cit.  nos.  32-39)  also  represent 
the  story  of  Tobit. 

9.  The  Descent  of  the  Holy  Spirit. 

The  scene  takes  place  in  a  vaulted  hall,  with  square  columns  ;  festoons 
descend  from  a  ring  in  the  centre  of  the  arch  and  arc  supported  by  putti  ; 
on  a  central  tablet  suspended  from  the  ring  is  the  date  1.533  ;  the  Virgin  is 
seated  on  a  low  stone  seat  in  the  centre  turned  to  the  r.  ;  the  apostles  stand 
and  kneel  around  her  ;  the  dove  is  seen  above  in  the  centre  surroimded 
by  clouds. 

[Arched  top,   13f  x  7iin.  ;    34*5  X   19'7cm.]      Pen  and  black  ink  and 

grey  wash  ;  rather  rubbed  and  crumpled.     Watermark,  a  housemark  on  a 

shield,  like  Briquet  9865. 

Collections  :   Sir  Peter  Lelv,  Sir  Thomas  I^awrence. 

Purchased,  1860.6.16.55  (Lot  508  in  the  sale  of  S.  Woodbum,  June  6th» 

1860,  as  H.  Holbein).     On  the  back  some  very  slight  sketches,  a  seated 

figure,  a  draped  standing  figure,  and  another. 

Important  as  being  one  of  the  few  dated  drawings  by  the  artist. 

10.  Unknown  Subject  ;  a  Kino  enthroned  while  a  Banquet  is  in  progress. 

A  youthful  king  is  seated  on  a  throne  under  a  pavilion  ;  to  r.  and  1.  in  the 
distance  battles  in  progress  ;  in  the  foreground  seven  men,  two  in  the 
costume  of  landskne<-hts,  are  seated  at  a  table  carousing. 

[Arched  top,  14J  x  8  in.  ;    36-2  X.   20-4  cm.]      Pen  and    brown   ink  and 
grey  wash  ;  inscribed  on  back  at  centre  of  top  "  f  "  presumably  indicating 
that   it  was   the    sixtli    of   a  series  ;    bottom    r.   hand    comer    :  li.h.   26. 
Watermark,  a  small  jug  crownetl. 
Purchased,  1863.5.9.941. 

Collections  :  Sir  P.  Lely  and  Bicknell  (Lot  421  in  sale  1863  as  Holbein). 
Lit.  :  Baldass,  loc.  cit..  No.  55,  who  suggests  that  it  may  be  a  pair  to  the 
drawing  at  Dresden  representing  the  son  of  Sisamncs  sitting  in  judgment 
on  the  skin  of  his  father.  The  two  compositions  are  ver>'  similar,  but  the 
subject  of  the  present  drawing  does  not  af>pear  to  be  an  illustration  of  a 
just  or  unjust  judge. 

11.  The  Stoning  of  the  Wicked  Elders. 

The  Klders  are  bound  to  a  column  in  the  centre  ;  in  the  foreground  on  the 
1.  is  a  man  stooping  to  collect  stones  in  a  basket ;  on  the  r.,a  bearded  man 
in  a  classical  breastplate  holds  a  large  stone  in  both  hands  ;  further  back 
to  1.  and  r.  other  figures  stoning  ;  a  colonnade  behind  to  the  r.  ;  to  the  1. 
the  infant  Daniel  and  other  figures. 


J.  Swart  van  Groningen. 


[Arched  top,  14^  X  8J  in.  ;  36  X  20-9  cm.]  Pen  and  brown  ink  and 
grey  wash  with  touches  of  yellow.  Watermark,  a  housemark  on  a  shield, 
like  Briquet  9837-9872. 

Purchased,  1929.5.16.8. 

12-15.   Series  of  Vices  and  Virtites  (incomplete). 

Pen  and  brown  ink  and  grey  wash. 
Purchased,  1872-10. 12. 3311... .14. 

All  b£u;ked  with  thick  paper  so  that  no  watermark  is  visible. 

12.  Pride. 

Represented  as  a  fashionably-dressed  youth  seated  on  a  rocky  knoll 
holding  a  peacock,  at  which  he  looks,  on  his  1.  hand,  his  r.  hand  on  his  hip. 

[9 J  X  7^„in.  ;    24  X  18-9  cm.] 
Reproduction  :    Baldass,  loc.  cit..  Abb.  7. 
Lit.  :  Baldass,  loc.  cit..  No.  46. 

13.  Glutton V. 

Represented  as  an  elderly  harsh -feature<l  peasant  seated  astride  a  hog  ; 
he  holds  a  tankard  in  his  r.  hand  and  a  piece  of  bread  in  liis  1. 

[9f  X  7iin.  ;  24-4  X  19  cm.] 

Reproduction  :  PI.  XVII. 

Lit.  :  Baldass,  loc.  cit..  No.  45. 

14.  Anoeb. 

Represented  as  a  fierce-looking  woman  seated  sideways  on  n  bear 
directed  to  the  r.  ;    a  sword  is  stuck  through  the  woman's  throat. 

[9A  X  7|in.  ;  24-3  X  18-6  cm.] 
Lit.  :  Baldass,  loc.  cit.,  No.  43. 

15.  Temperance. 

Represented  as  a  woman  richly  clad  seated  on  the  ground  by  a  clump 
of  trees,  holding  in  her  r.  hand  a  bridle  and  bit,  in  her  1.,  which  is  extended, 
an  hour-glass. 

[9J  X  7iin.  ;  24-4  X  18-7  cm.] 
Lit.  :  Baldass,  loc.  cit..  No.  44. 

The  series  would  presumably  have  originally  comprised  all  the  seven 
virtues  and  seven  vices. 

16.   A  Knight  in  Armour. 

He  stands  in  complete  plate  armour  with  plumed  helmet,  of  which  the 
visor  is  raised,  turned  three-quarters  to  r.,  holding  a  two-handed  sword,  of 
which  the  point  rests  on  the  ground,  at  arm's  length  in  his  1.  hand,  and  the 
poniard  at  his  waist  in  his  r. 

[lOJ  X  7iin.  ;  27*3  X  18-5  cm.]      Pen  and  brown  ink  and  brown  wash, 

with  touches  of  faint  red  on  the  sash,  handle  of  poniard,  etc. 

Inscribed  on  back  in  16th  (?)  cent,  hand  (only  visible  through  the  backing 

when  held  up  to  the  light) :  Swart  (?)  Jan.   Backed,  no   watermark  visible. 

Pvu-chased,  1871.12.9.2067. 

Reproduction  :  PI.  XV. 

Lit.  :  Baldass,  loc.  cit..  No.  47. 

17-20.   Four  Scenes  from  the  Life  of  Joseph. 

[Each  10|  X  6Y,i  in.  ;  27  X  17  cm.]     Pen  and  black  ink  and  brown  wash. 
All  heavily  backed,  so  that  no  watermarks  are  visible. 
Bequeathed  by  Mr.  F.  W.  Smith  through  the  National  Art-Collections  Fund. 
1923.1. 13. 6....9. 

17,   Joseph  interpreting  his  Two  Dreams  to  his  Father.     (Gen.  xxxvii, 
7-10.) 

Jacob  stands  on  the  1.  leaning  on  a  staff ;  Joseph,  surrounded  by  his  brothers, 
stands  before  him  explaining  the  dreams  ;  Jacob  is  seen  asleep  in  a  domed 


40  Dutch  and  Flemish  Draioings. 


building  on  the  1.,  with  the  sun  and  moon  surrounded  by  atara  and  th» 
sheaves  of  com  ;  in  the  background  on  the  r.,  Jacob  instructing  Joseph 
to  go  after  hia  brethren. 

IK.  Joseph's  Brkthren  Thbustino  Hih  in  the  Well.     (Qen.  xxxvii,  24. > 

Joseph  is  in  the  act  of  falling  into  the  circular  well,  into  which  a  bearded 
brother  is  pushing  him  with  his  knee  ;  another  brother  to  the  1.  pulling 
him,  and  one  behind,  wearing  a  turban,  brandishing  a  stick  ;  in  the  back- 
ground to  the  1.  two  of  the  brothers  are  slaughtering  a  ram  ;  cattle  in 
the  background  and  Joseph  asking  his  way  of  a  shepherd. 

The  principal  group  is  imitated  from  a  well-known  cycle  of  the  history 
of  Joseph,  one  version  of  which  is  preserved  in  the  circular  panel  at  Berlin 
by  the  "  Master  of  the  Legend  of  Joseph." 

19.  JOSKPH     TAKEN    OUT    OF    THE    VV'ELL    AND     SOLD    TO    THE    ISHKAKLITES. 

(Gen.  xxxvii,  28.) 

On  the  1.  Joseph  is  being  hauled  out  of  the  woU  by  three  of  his  brothers  ; 
behind  a  bearded  man  is  paying  money  to  one  of  the  brothers  who  wear.4 
a  homi ;  on  the  r.  two  men,  one  of  whom  points  at  Joseph;  further  back 
camels,  and  in  the  distance  on  the  r.  a  group  of  four,  with  one  man 
drinking  ;   on  the  1.  the  bloodstained  coat  shown  to  Jacob. 

Reproduction  :  PI.  XVII. 

The  general  composition  is  again  borrowed  from  that  of  the  older 
history  of  Joseph  ;  the  camels  and  the  group  with  one  man  drinking  are 
fairly  close  copies. 

20.  Joseph  Sold  to  Potiphar.    (Gen.  xxxix,  1.) 

The  liearded  man  seen  in  the. last  drawing  pu-shes  Joseph  towards 
Potiphar,  a  bearded  turbaned  figure  who  advances  from  the  r.  and  pays 
money  from  a  bag  into  the  merchant's  hand  ;  behind  Potipliar  on  the  r. 
a  man  with  a  halberd  and  Lehind  him  a  classical  building  ;  further 
btick  to  the  1.,  men  on  camels. 

Reproduction  :   PI.  XVII. 

In  a  roundel  belonging  to  Mr.  F.  E.  Sidney,  representing  Potiphar's 
wife  showing  Joseph's  cloak  to  her  husband,  the  same  arcade  and 
Potiphar  and  his  attendant  with  the  halberd  similarly  attii-ed  occur. 
Mr.  Sidney's  roundel  must  be  based  on  another  drawing  of  the  present 
series  :   it  was  obviously  not  designed  as  a  roundel  but  as  a  square. 

1-24.    FOUB  FtTRTHER  SCENES  FROM  THIS  LiFE  OF    JOSEPH,  A  DIFFERENT  SERIES. 

[Each  101  X  7^  in.  ;    25-6  X  20  cm.]     Pen  and  black  ink  and  grey  wash. 
Heavily  backed  so  that  no  watermarks  are  visible. 

Bequeathed  by  Mr.  F.  W.  Smith  through  the  National    Art-Collectiona 
Fund,  1923.1.13.10.  .  .  13. 

21.  Joseph  receivino  His  Brethren  and  Benjamin.     (Gen.  xliii,  29). 

Joseph,  who  wears  a  doge's  cap  surrounded  by  a  coronet  and  carries  a 
8cei>tre,  stands  on  the  r.  attended  by  two  men-at-arms  :  before  him 
kneel  ten  brethren,  while  the  eleventh  stands  on  the  extreme  1.  carrying 
a  tray  of  fruit  on  his  head.  Benjamin  kneels  in  the  front  rank  between 
two  bearded  brothers  :  behind  is  a  hall  in  which  a  banquet  is  being 
prepared. 

22.  Joseph  recei^'ino   His  Brethren  and   Benjamin.     (Gen.  xliii,  29)  ; 
apparently  an  alternative  version  of  the  preceding. 

Joseph,  wearing  a  doge's  cap  and  holding  a  sceptre,  is  seated  on  the  r. 
on  a  throne  on  either  side  of  which  are  curtains  ;  the  eleven  brothers 
kneel  or  prostrate  themselven  at  the  steps  of  the  throne.  Benjamin  is 
seen  nearest  to  Jotteph,  his  arms  crossed  on  his  chest. 


J.  Sioart  van  Groningen.  47 


23.  The  Cup  found  in  Benjamin's  Sack.     (Gen.  xliv,  12.) 

Joseph's  steward  holding  a  halberd  in  his  1.  hand  kneels  behind 
Benjamin's  open  sack  and  holds  up  the  cup  in  his  r.  hand  :  to  the  r. 
and  1.  on  each  side  are  two  brothers  in  different  attitudes  of  amazement 
and  dismay  ;  others  moxinted  on  asses  in  the  middle  distance,  and  in  the 
distance  on  the  r.  Joseph  directing  the  hiding  of  the  cup  in  Benjamin's 
sack. 

Reproduction  :   PI.  XVII. 

The  composition  again  borrowed  from  the  older  history  of  Joseph. 
A  very  fine  roundel  of  this  subject,  of  about  1480,  on  which,  or  some 
replica  of  which.  Swart  based  the  present  drawing  was  sold  in  the 
Oppenheimer  Sale  at  Berlin  (28th,  29th  Oct..  1914,  lot  155).  The  posi- 
tion of  the  sack,  Joseph's  steward,  and  the  general  arrangement  are 
almost  the  same  in  both  ;    Swart  has  altered  the  costumas. 

24.  The  Meeting  of  Jacob  and  Joseph.     (Gen.  xlvi,  29). 

Joseph  on  the  r.  kneels,  and  is  being  raised  up  by  Jacob,  who  advances 
from  the  1.  :  Joseph's  doge's  cap  and  sceptre  on  the  ground  in  front ; 
behind  Jacob  two  of  his  sons  ;  in  the  distance  on  the  r.  a  covered  waggon 
with  two  horses,  and  a  scene  in  front  of  a  palace. 

25.  Group  of  Fioubes  from  a  Cbucifixion. 

On  the  1.  the  Virgin  supported  by  St.  John  ;  behind  a  soldier  on  horseback  ; 
in  the  centre  Mary  Magdalene  clasps  the  foot  of  the  Cross  ;  in  the  fore- 
ground on  the  r.  three  soldiers  kneeling,  casting  dice  ;  behind  them  two 
mounted  soldiers  (th3  upper  portion  with  the  figure  of  Christ  on  the  Cross 
wanting). 

fSJ  X  lliin.  ;    22-6  X  28 -3  cm.]     Pen  and  ink  coloured  in  distemper. 

Backed,  no  watermark  visible. 

Collections  :    Hugh  Howard,  Earl  of  Wicklow. 

Purchased,  1874.8.8.86. 

Named  Swart  when  purchased  in  1874,  but  subsequently,  for  some 
reason  unknown,  attributed  to  Pieter  Vlerick,  with  whom  it  has  nothing 
whatever  to  do. 

26.  The  Massacre  of  the  Innocents  :  Studies  on  both  sides  of  the  sheet. 

ifecto.  In  the  bockgroimd  Herod  with  his  staff  stands  under  a  portico 
directing  the  si  .  /rhter  ;  in  the  foreground  on  the  1.  a  man,  with  his  r. 
foot  on  a  prostr ;  o  mother,  brandishes  liLs  sword  in  his  r.  hand  ;  to  the  r. 
a  kneeling  woman  with  outstretcheid  arms  bewailing  her  dead  child  ; 
other  figures  in  the  middle  distance. 

Verso.  At  the  top  of  a  flight  of  five  steps  in  the  background  Herod 
is  seen  with  a  councillor  ;  various  groups  of  executioners  and  fleeing  women 
on  the  same  plane  ;  in  the  foreground  on  the  r.  a  naked  executioner 
fistride  a  crouching  woman  who  bites  his  leg,  aims  a  javelin  at  the  child  she 
holds  in  her  arms  :  to  the  1.  a  woman  kneeling  on  one  knee  is  attacked  by 
a  man,  who  stands  behind  her  with  a  poniard  ;  other  groups  on  the  same 
plane. 

[8rV  X  Hi  in.  ;   205  X  29-1  cm.] 

Collections  :   Lely,  Lankrink  and  Richardson,  senior. 

Pvu-chased,  1861.8.10.44. 

Reproductions  :    Baldass,  loc.  cit.,  p.  20  (details  only);  pi.  XVIII  {verso). 

Baldass  (loc.  cit..  No.  57)  rightly  regards  this  eis  among  the  latest  of 
Swarfs  drawings.  Were  it  not  for  a  certain  similarity  with  the  series  of 
engravings  of  the  life  of  St.  John  the  Baptist  of  1553  one  might  doubt 
Swart's  authorship,  so  forced  and  exaggerated  is  the  movement  and 
grouping,  so  near  to  Heemskerck  the  feeling.  The  composition  suggests 
a  knowledge,  not  only  of  Marcantonio's  famous  engraving  of  the  subject, 
but  also  of  those  by  Marco  Dente  and  J.  B.  de  Cavalleriis  after  two  different 
compositions  by  Baccio  BandineUi. 


48  Dutch  and  Flemish  Drawings. 


CX)PY  OR  TRACING  FROM  JAN  SWART. 

27.  Illustration  or  the  Parable  or  the  Marriage  or  the  Kiko's  Son. 

A  man  stands  under  the  porch  of  a  mansion  on  the  I.  and  beckons  to  a 
number  of  men  and  women,  two  of  whom  are  ascenilin^  the  steps  ;  on  the 
extreme  r.  a  man  with  a  wooden  leg  ;  on  the  extreme  1.  an  old  woman  with 
a  stick  ;  the  gate  of  the  city  is  seen  behind,  and  above  the  ramparts  a 
burning  town. 

[lOA   X  7  in.  ;   26*1   X  17*8  cm. 1     Pen  and  brown  ink  outline  ;   inscribed 
on  back  in  an  old  hand  :    Swart  Jan  ;    no  watermark. 
Collection  :    Sloane. 

The  rather  broken  outline  suggests  a  tracing  ;  it  is  obviously  related 
to  such  drawings  of  the  late  period  as  the  meeting  with  St.  Elizabeth  at 
Berlin  (Baldass,  No.  13).  The  scene  is  that  described  in  Matthew  xxii,  10 
and  7  ("  and  burned  up  their  city  "). 

COPY  FROM  JAN  SWART. 

28.  The  Return  or  the  Prodioai.  Son, 

The  prodigal  son  kneels  on  the  1.  and  is  being  raised  up  by  his  father, 
who  wears  a  large  turban  :  on  the  r.  is  an  attendant  carrying  a  cloak  and 
hat ;  in  the  background  to  the  r.  the  fatted  calf  (which  looks  more  like 
a  pig)  is  being  slaughtered,  and  a  banquet  is  seen  in  progress  through  a 
window  in  the  house  on  the  1. 

[Arched  top,  lOJ  x  7^  in.  ;  27*3  X  18*2  cm.]  Pen  and  brown  ink  and 
grey  wash  with  red  for  the  fleeh  parts. 

TEUNISSEN  (THONIS),  Cornells  Anthoniszoon  called  (working 
1527-1553,  in  which  year  he  probably  died).  Painter,  etcher,  designer 
for  woodcut  and  woodcutter  (?),  cartographer  and  publisher  ;  worked 
in  Amsterdam  ;  perhaps  took  part  in  Charles  V's  expedition  to  Algiers 
1541  ;  was  present  at  the  siege  of  Terouanne  in  1553.  Signed  pictures 
by  him,  a  "  Schutzenstuck,"  dated  1533,  and  a  view  of  Amsterdam 
1536,  are  in  the  Amsterdam  town  hall.  A  few  etchings  and  a  number 
of  woodcuts  signed  with  his  initials  are  known. 

Lit.  :  E.  W,  Moes,  De  Amslerdamsche  Boekdrukkers  en  uitgeiers  in 
de  zestiende  eeuw,  Amsterdam,  1900,  Deel  I,  187  ;  Meyer,  Kunstler- 
lexikon,  II,  97 ;  P.  Wescher,  Beitriige  zu  Cornells  Teunissen  von 
Amsterdam,  Oud  Holland,  XLV  (1928),  p.  33. 

1.   Allegory  or  III  Fortune. 

Ill  Fortune,  in  the  shape  of  a  woman  with  di.sordere<l  dress,  is  seatetl  on 
a  bench  which  is  collapsing  under  her  weiglit,  holding  in  her  I.  hand  an 
eel  by  the  tail  :  on  the  1.  are  broken  wheels,  a  burst  cask,  etc.  :  ruins  and 
a  conflagration  in  the  distance,  dying  cattle  and  a  ship  in  distress  on  the  r. ; 
an  empty  tablet  in  the  foreground. 

[14f  X  ll^^ijin.  ;     37*2  X  29- 1cm.]      Outline    in    i>en    and    brown    ink, 

washed  witn  grey  and  squared  in  red  chalk. 

Collections  :    W.  Mayor,  E.  Rudrigues. 

Presented  by  J.  G.  Lousada,  Esq.,  through  the  National  Art-Collections 

Fund.  102 1.1 0.8.1 9. 

Repro<luction8  :    Rodrigues  Sale  catalogue,  July  12th-13th,  1921,  lot  143  ; 

Oud  Holland,  loc.  cit.,  p.  36  (incorrectly  tiescribe<l  in  the  text  as  being 

in  the  Victoria  and  Albert  Museum)  ;    pi.  XVllI. 

Exhibited  :  Utrecht,  1913,  No.  2  of  Catalogue  of  Drawings. 


C.  A.  Teunissen—D.    Vellcrt.  49 

The  attribution  to  Teunissen,  made  by  Dr.  N.  Beets,  rests  on  the  resem- 
blance in  style  which  the  drawing  shows  to  the  signed  woodcuts,  especially 
to  the  Mucius  Scaevola  (Bartsch  2)  1536,  and  to  the  Vanitas  (Wurzbaeh  18). 
"^wo  drawings  by  the  same  hand,  roundels,  are  in  the  Masson  Collection, 
Ecole  des  Beaux-Arts,  Paris  {see  Wescher,  loc.  cit.). 

VELLERT  (or  FELAERT),  Dierick  Jacobssone  (b.  about  1485,  d.  after 
1544).  Painter,  engraver  and  designer  for  woodcut,  but  primarily  glass 
painter  and  designer.  Received  vrijmeeMer  in  the  Guild  of  St.  Luke 
at  Antwerp  1511  ;  received  apprentices  in  1512,  in  1514,  in  1525  (2), 
in  1528  and  in  1530  ;  was  dean  of  the  Guild  in  1518  and  again  in  1526, 
on  both  occasions  in  company  with  Jan  Leers,  glaesmakere  ;  in  that 
year  he  designed  a  woodcut  device  for  the  Guild  ;  mentioned  in  the 
accounts  of  0.  L.  Vrouwekerk  van  Kersmis  at  Antwerp  in  1539-40, 
as  having  probably  painted  a  window  for  that  church  ;  referred  to  by 
Guicciardini,  in  company  with  Aerdt  Ortkens  and  Theodore  Stas,  as 
one  of  the  principal  glass  painters  in  the  Netherlands  ;  mentioned  by 
Diirer  in  his  diary  three  times,  on  the  last  occasion  as  having  given 
him  a  magnificent  entertainment  on  May  r2th,  1521  ;  dates  on 
Vellert's  works  range  from  April  21st,  1517  (glass  roundel  in  the 
Musee  Cinquantenaire  at  Brussels)  to  1544  (engraving  of  the  Flood, 
B.  2),  Drawings  by  Vellert,  almost  exclusively  cartoons  for  glass 
roundels,  are  numerous ;  in  addition  to  the  eleven  catalogued  below 
there  are  fifteen  drawings  actually  by  Vellert  in  Gluck's  list,  while 
Beets  adds  twenty-two  authentic  drawings  ;  a  few  others,  such  as 
the  Conversion  of  Saul  at  Berlin,  presented  by  Dr.  N.  Beets  in  1924, 
may  be  added. 

Lit.  :  G.  Gluck,  Beitrdge  zur  Geschichte  der  Antwerpner  Malerei  im 
XVI.  Jahrhundert,  1.  Der  wahre  Name  des  Meisters  D*V,  Vienna 
Jahrbuch,  Bd.  XXII  (1901),  Heft  1  ;  N.  Beets,  Dirick  Jacobsz.  Vellert 
schilder  van  Antwerpen,  Onze  Kunst,  X  (1906),  137,  XI  (1907),  109, 
XII  (1908),  165,  XXII  (1912)  133,  XL  (1922/3),  65  ;  L.  Baldass,  Dirk 
Vellert  als  Tafelmaler,  Belvedere  I  (1922),  162  ;  A.  E.  Popham,  The 
Engravings  and  Woodcuts  of  Dirick  Vellert,  Print  Collector's  Quarterly, 
XII  (1926),  343 ;  A.  E.  Popham,  Notes  on  Flemish  Glass  Painting, 
Apollo,  IX  (1929),  152. 

1.  A  Donor  presented  by  St.  Barbara  to  the  Virgin  and  Child  and 
St.  Anne. 

St.  Anne,  who  holds  the  Infant  Christ,  and  the  Virgin  are  seated  on  a 
double  throne  on  the  1.  ;  the  donor,  apparently  an  ecclesiastic,  kneels 
before  them  in  the  centre  ;  behind  him  stands  St.  Barbara,  recognisable 
by  the  church  tower  in  the  distance  at  her  back. 

[9  X  8^5(5  in.  ;   22-9  X  21  ■  1  cm.,  corners  cut  off ;   diameter  of  circle,  9  in.  ; 
22  •  7  cm.]     Drawn   with   the  point  of  the  brush  on  salmon-coloured  pre- 
pared surface,  heightened  with  white  ;   damaged,  torn  and  backed  ;   signed 
with  initials  and  six  pointed  star  in  bottom  r.  corner. 
Collection  :  Canon  Henn. 
Purchased,  1897.5.12.1. 

Reproductions  :   Gliick,  loc.  cit..  Fig.  11  ;    Kleinmann,  Serle  IV,  Bl.  54. 
Literature  :  Gliick,  loc.  cit..  No.  12. 

K 


50  DutcJi  and  Flemish  Drawings. 


GlQck  has  no  doubt  about  the  correctness  of  the  attribution  of  this 
drawing  to  Vellert.  The  Bignature,  though  in  a  slightly  different  form  to 
that  in  the  drawings  of  1523  and  the  engravings,  appears  perfectly  genuine, 
and  the  style,  though  near  to  that  of  the  Antwerp  Mannerist  group,  shows 
individualities  of  Vollert  ;  the  drapery  of  St.  Anne  with  its  Mantegnesque 
folds  is  typical  of  him.  Differences  ilue  to  difference  of  ter-hnique  must  be 
discount«d  ;  except  the  drawing  for  the  engraving  of  Christ  and  St.  Peter 
at  Amsterdam,  this  is  the  only  example  of  Vellert 's  drawing  with  the  brush. 
Gluck's  remarks  about  its  feeble,  hesitating  quality  are  hardly  justifiable  ; 
the  drawing  is  (^uite  an  accomplished  piece  of  work.  We  must,  however, 
date  it  early  owing  to  the  absence  of  any  renaissance  motives  in  the  archi- 
tecture and  may  follow  GlQck  in  placing  it  about  1510-1516. 

2.  The  Flight  into  Egypt. 

The  Virgin  Mary  on  the  1.  and  Joseph  on  the  r.  advance  to  the  front  and  1. 
with  the  Infant  Jesus  between  them  ;  further  on  the  r.  Joseph's  ass  laden 
with  baggage. 

[Circular:    diameter  llAin.  ;    28*4  cm.]      Pen  and  brown  ink  and  grey 
wash  ;  signed  with  initials  and  star  at  centre  of  top  and  dated  1523  IVLI II. 
Bequeathed  bv  Mr.  F.  W.  Smith,  through  the  National  Art-Collections 
Fund,  1923.1.13.3. 
Reproduction  :  Vasari,  VIII,  19. 

3.  The  Massacre  of  the  Innocents. 

In  the  foreground  on  the  1.  a  soldier  is  dragging  a  child  from  its  mother,  who 
has  fallen  on  the  ground  ;  to  the  r.  a  soldier  is  piercing  with  his  sword  a  naked 
child  which  he  holds  in  his  1.  hand,  while  behind  a  woman  kneels  with  out- 
stretched hands  before  the  body  of  another  infant  ;  in  the  background  to 
the  r.  Herod  on  horseback  attended  by  two  men  on  foot ;  another  group  to  1. 

[Circular:    diameter  11,',  in.;     28-4  cm.]      Pen  and  brown  ink  and  grey 
wash  ;  signed  w^ith  initials  and  star  in  the  centre  at  the  bottom  and  dated 
1523.     A  portion  of  a  watermark  at  bottom  to  1.  is  undecipherable. 
Bequeathed    by  Mr.  F.  W.    Smith   through  the   National  Art-Collections 
Fund,  1923.1.13.2. 
Reproduction  :  Vasfui,  VIII,  20. 

4.  The  Marriage  Feast  at  Cana. 

In  the  foreground  on  the  r.  a  domestic,  seen  from  the  back,  is  pouring  wine 
from  one  of  six  jugs  standing  on  a  pedestal  further  to  the  r.  ;  the  table  is 
on  the  1.  and  runs  at  right  angles  to  the  axis  of  the  scene  ;  the  bride, 
recognisable  by  her  crown,  sits  in  the  centre  on  the  1.  hand  under  a  canopy  ; 
just  beyond  her  is  Our  Lord  in  the  act  of  blessing  ;  behind  the  first  serving 
man  is  a  second  with  a  large  tart ;    beyond  to  the  r.  is  seen  the  kitchen. 

[Circular:  diameter  llj*(,in.  :  28*9  cm.]  Pen  and  brown  ink  and  grey 
wash  ;  a  small  portion  on  the  r.  made  up  ;  signed  with  initials  and  star  on 
edge  of  tlireshold  in  the  centre  of  the  bottom  and  dated  :  1.'523  SOVE  25. 
Bequeathed  by  Mr.  F.  W.  Smith  through  the  National  .\rt-ColltHtinn.«<  Fund. 
1923.1.13.4. 
Reproduction  :  PI.  XVIII. 

6.  Naaman  bathing  vs  the  Jordan  (2  Kings,  v,  14). 

On  the  1.  Naaman  stands  in  the  river  up  to  his  knees  and  pours  water  over 
his  head  ;  on  the  bank  to  the  r.  kneels  an  attendant,  and  behind  him  two 
armed  men  on  foot  and  two  on  horseback  ;  in  the  background  to  the  I. 
Naaman,  attended  by  horsemen,  kneels  before  Elisha  at  the  door  of  the 
latter 's  house. 

[Circular:    diameter  ll^in. ;    28*5  cm.]      Pen  and  brown  ink  and  grey 

wash  ;    signed  with  initials  and  star  in  centre  at  bottom  and  dated  1523 

.^OFi;  2H  in  the  sky  to  the  r. 

Bequeathed  by  Mr.  F.  W.  Smith  through  tlie  National  Art-Collections  Fund. 

1U23.1.13.5. 

Reproduction  :  Popham,  PI.  58. 


D.    Vellei't.  51 


6-7.   Two  Roundels  forming  Part  of  a  Series  of  the  Life  of  the  Virgin. 

Two  others  of  the  series  are  at  Weimar  (Birth  of  the  Virgin,  Weimar  Repro- 
ductions, II,  27  ;  Birth  of  Christ,  Gliick,  op.  cit.,  Xo.  9,  Tafel  IV)  and 
one  at  Vienna  (The  Adoration  of  the  Magi,  Schonbrunner-Meder  312,  GUick, 
No.  11).  All  are  in  a  more  or  less  unfinished  condition.  The  date  of  the 
whole  series  is  settled  by  that  of  the  Vienna  drawing,  which  has  the  date 
1532. 

6.  The  Presentation  in  the  Temple. 

The  Virgin  Mary  and  St.  Joseph  advance  from  the  1.  to  an  altar  on  which 
stands  a  taper  ;  behind  the  altar  is  the  high  priest  who  holds  the  Infant 
Christ  ;  on  the  r.  kneels  an  elderly  woman  holding  a  cage  with  a  dove,  and 
behind  her  are  two  women  and  an  elderly  man  ;  in  the  foreground  are  two 
boys,  a  dog,  a  large  ball  and  a  lamb  with  its  feet  tied  together  ;  the  back- 
ground is  formed  by  an  elaborately  decorated  renaissance  portico. 

[Circular  :  diameter  10 J  in.  ;  27*7  cm.]  Pen  and  ink  outline  in  dark 
brown,  weished  in  parts  with  brown  ;  marked  in  the  foreground  on  the  1. 
with  an  arrow  and  a  small  crescent.  Watermark,  a  small  crowned  jug, 
type  of  Briquet  12629.  Inscribed  on  back  in  a  17th  century  (?)  hand  : 
teekening  antijck  1  patacon. 

Collection  :     Earl   of   Essex,   Cassiobury   Park   (sold   in   a   volume    at 
Hodgson's,  November  24th,  1922,  lot  875). 
Purchased,  1923.4.17.4. 
Reproduction  :  PI.  XIX. 

Should  be  compared  with  the  drawing  at  Weimar  of  the  Birth  of  the 
Virgin,  referred  to  above,  which  shows  almost  exaitly  the  same  degree 
of  finish. 

7.  The  Marriage  of  the  Virgin. 

St.  Joseph  stands  slightly  to  the  1.  and  takes  hold  of  the  hand  of  the 
Virgin,  who  stands  to  the  r.  ;  the  priest,  wearing  a  mitre,  stands  behind 
them  and  places  his  hand  on  theirs  ;  on  the  r.  stands  a  man  wearing  a 
hat  with  a  feather,  his  back  turned  to  the  spectator  ;  a  group  of  three 
men  and  one  woman  further  to  the  r.,  and  two  men  on  the  extreme  1.  ; 
the  ceremony  takes  place  in  a  courtyard  with  an  elaborate  renaissance 
gateway  at  the  back. 

[Circular  :    diameter,  lOJ  in.  ;  27  cm.]        Pen  and  ink  outline  ;    marked 
in  the  foreground  on  the  1.  with  an  arrow  and  a  small  crescent.     Water- 
mark, a  small  crowned  jug,  type  of  Briquet  12629.     Inscribed  on  back 
in  17th  century  (?)  hand  :    teekening  antick  1  patacon. 
Collection  :  As  No.  6. 
Purchased,  1923.4.17.3. 

Obviously  a  tracing,  but  probably  by  Vellert  himself,  who  apparently 
traced  a  drawing  or  glass  roundel  and  then  altered  and  worked  up  the 
tracing  as  in  the  examples  described  below.  I  cannot  explain  the  ^  i. 
which  occurs  on  this  and  the  drawing  described  above,  on  anotlier 
Antwerp  drawing,  and  also  on  a  drawing  by  Jean  Cousin  from  the  same 
album. 

8-9.   Two  Scenes  from  the  History  of  Abraham. 

Though  the  subject  of  the  first  is  by  no  means  clear  to  me,  I  feel  certain 
that  it  miist  represent  an  episode  in  the  story  of  Abraham  ;  the  costume 
of  the  elderly  bearded  man  is  exactly  the  same  as  that  of  Abraham  in  the 
second  roundel ;  the  style  of  the  two  is  exactly  similar  and  closely  resembles 
that  of  the  drawings  previously  described  (Nos.  6,  7)  ;  they  are  certainly 
later  than  the  series  of  1523,  and  we  may  provisionally  date  them  about  1532. 

8.  Abraham  and  Pharaoh  (?). 

Abraham  kneels  on  the  r.  and  looks  up  towards  a  cloud  to  the  1.  ;  behind 
him  stands  a  king  (Pharaoh  ?),  a  woman  (Sarah)  and  a  man  in  a  turban 
(Lot  ?)  ;    in  the  centre  sheep  and  oxen  are  being  driven  to  the  1.  ;    in 

E   2 


52  IhUch  and  FUmisfi  Drawings. 


the  diHtance  on  the  1.  »  me— onger  approaches  Abraham  and  Sarah; 
through  an  archway  in  a  renaissance  building  is  seen  the  same  king 
seated  under  a  canopy  with  a  man  standing  beside  him  ;  behind  a 
nake<i  woman  on  a  bed. 

(Cinular :     diameter    10|  in. :     27*4  cm.]     Coarse   pen    and    ink    and 

brown  wash  over  an  outlinedrawing  Hke  No.  7.    Inscribed  1 1  on  a  tablet 

in  the  foreground.     Watermark,  a  small  crowned  jug,  ty{)e  of  Briquet 

12629.     Inscribed  on  back  :  Uckening  antijck  5  achellingen . 

Collection  :  Karl  of  Essex. 

Purchased.  1923.4.17.1. 

Reproduction  :   Onze  Kunst,  XLI  (1925),  p.  206. 

A  mark  H  at  the  bottom  to  the  I.  corresponds  to  the  arrow  and 
crescent  on  the  other  drawings  from  the  Earl  of  Essex's  collection.  The 
outline  drawing  underneath,  though  it  differed  considerably  from  that 
superimposed,  apfiears  to  have  represented  the  same  subject  ;  it  seems 
probable  that  Vellert  worked  up  a  tracing  from  an  old  glass  roundel. 
The  composition  strongly  recalls  the  usual  arrangement  of  Augustus 
and  the  Sybil. 

9.   The  Lord  appeakino  to  Abraham  and  Abraham  kntkrtaivivi:  thk 
Anoels. 

Abraham  is  seated  on  the  r.  in  a  hexagonal  building  and  Iooks  over  ins 
shoulder  at  the  Lord,  who  appears  in  a  cloud  above  to  the  I.  ;  in  the 
background  to  the  I.  Abraham  is  serving  the  two  m"l"')'^  xt  table  under 
a  tree,  while  Sarah  looks  through  a  door  beyond. 

[Circular:    diameter  10|  in.  ;    26*9  cm.]     Coarse  pen  hiki  mk  and  brown 

wash  over  an  outline  drawing  like  No.  7.  Backed  ;   no  watermark  visible  ; 

a  i)iece  at  the  top  and  some  patches  on  the  r.  macle  up. 

Collection  :   Sloane. 

5226—184. 

Reprotluction  :   Apollo  IX  (1929),  p.  157;  PI.  XIX. 

The  drawing,  over  which  that  visible  was  made,  differed  in  many 
respects';  the  figure  of  the  Lord  instead  of  being  among  the  clouds  was 
standing  on  the  ground  to  the  1.  of  Abraham  ;  in  the  background  on  the  r., 
the  Lord  with  Abraham  behind  him  was  appearing  to  Sarah.  Formerly 
attributed  to  Frans  Crabeth,  though  it  bore  no  name  in  the  inventory 
of  1837. 

10.   Unknown  Biblical  Subject. 

In  the  centre  a  man,  carrying  a  lance  over  his  I.  shouhler,  stejw  towards  an 
old  man  whom  he  appears  to  be  arresting  ;  two  men  beyond  nuining  ;  in 
the  middle  distance  to  the  1.  two  men  on  camels,  and  further  back  a  group 
of  horsemen  in  front  of  some  tents  in  a  wood  ;  further  back  in  the  centre 
a  captive  led  by  a  soldier  and  the  walls  of  a  city. 

[Circular  :  diameter  lOj  in.  ;   26  cm.]     Coarse  pen  and  ink  and  light  brown 
wash  over  a  fine  traced  pen  and  ink  outline.     Watermark,  a  small  crowned 
jug,  type  of  Briquet  12629.     Inscribed  on  back  in  17th  century  (7)  hand  : 
teektning  antij  I  patacon.      Made  up  at  the  bottom,  most  of   the  central 
soldier's  r.  foot  being  a  restoration. 
Collection  :   Earl  of  Essex. 
Purchased.  1923.4.17.2. 
Reproduction  :   PI.  XIX. 

The  way  the  drawing  is  su{)erimpo«ed  on  a  lightly  trHced  \yeu  outhno  is 
similar  to  No.  9,  but  the  tlifferences  between  the  original  drawing  and  the 
final  version  are  not  so  great  as  in  that  case.  There  is  a  more  considerable 
use  of  the  y)en  for  shading  than  is  usual  with  Vellert,  but  the  style  is 
nevertheless  his.  The  incident  repre»ente<l  has  not  be<«n  exi>lained.  The  old 
roan's  costume  is  similar  to  that  of  Abraliam  in  the  preceding  drawings  ; 
the  presence  of  camels  would  seem  to  imply  an  Old  Testament  subject. 


D.    Vdlert  —  J.  C.    Vermei/en.  53 


II.   The  Martyrdom  of  the  Quatuor  Coronati. 

One  of  the  anonymous  martyrs  kneels  blindfolded  in  the  centre,  while  the 
executioner  to  the  r.  raises  his  sword  to  strike  ;  in  front  is  seen  the  head  of 
another  saint,  and  behind,  the  headless  body  ;  further  back  is  another 
kneeling  with  an  executioner  behind,  and  a  fovirth  from  whose  back  the 
executioner  is  pulling  back  the  shirt  ready  for  the  sword  ;  further  back  is 
seen  an  altar  surmounted  by  an  image  before  which  men  and  women  kneel, 
and  on  the  1.  a  man  standing  holding  a  crucifix. 

[12|^  X  7f  in.  ;    32*7  X  18-7  cm.]     Pen   and  brown  ink  and  brown  wash  ; 

rubbed,  stained,  damaged  and  made  up  in  the  left-hand  bottom  corner. 

Collections  :    Sir  Willoughby  Rooke,  Miss  Muriel  Williams. 

Purchased,  1927.4.11.1. 

Exhibited  at  the  Flemish  Exhibition,  Burlington  House,   1927,  No.  519 

in  catalogue. 

Belongs  in  style  to  the  period  of  about  1520-25  ;  the  execution  is  not 
very  good,  and  it  may  be  a  tracing  done  in  Vellert's  workshop.  It  is 
presumably  a  design  for  glass,  either  a  small  octagonal  panel  or  a  light  of  a 
larger  window. 

VERMEYEN,  Jan  Comelisz  (b.  1500  ;  d.  1559).  Painter,  etcher  and 
designer  of  tapestry  ;  born  at  Beverwyck  near  Haarlem  ;  court  painter 
of  Margaret  of  Austria,  Regent  of  the  Netherlands,  and  of  the  Emperor 
Charles  V  ;  took  part  in  the  latter's  expedition  against  Tunis  in  1535, 
and  was  commissioned  to  design  a  series  of  twelve  tapestries  com- 
memorating the  campaign  ;  Vermeyen's  cartoons  are  preserved  at 
Vienna  and  the  tapestries  woven  from  them  at  Madrid.  The  only 
drawings,  as  far  as  I  know,  which  have  been  attributed  to  Vermeyen 
are  of  a  young  woman  playing  the  spinet  at  Berlin,  a  study  for  or 
copy  from  the  etching  (Popham  20),  the  portrait  of  a  girl  described 
above  under  Jan  Scorel  (no,  3),  which  Benesch  attributes  to  him,  and 
the  siege  of  Africa  (Aphrodisium),  described  below  under  Georg  Hoef- 
nagel.  An  article  by  Dr.  Kurt  Steinbart  on  the  artist  had  not 
appeared  at  the  time  of  going  to  press. 

Lit.  :  van  Manner,  I,  225  ;  A.  E.  Popham,  Catalogue  of  Etchings 
by  Jan  Cornelisz.  Vermeyen,  Oud  Holland,  XLIV  (1927),  174  ;  Otto 
Benesch,  Jan  Vermeyen  als  Bildnismaler ,  MUnchener  Jahrbuch,  VI 
(1929),  204  ;  M.  Crick  Kuntziger,  UAuleur  des  Cartons  de  "  Vertumne 
et  Pomone;'  Oud  Holland,  XLIV  (1927),  159. 

1.   Two  Galleys  in  Action. 

Two  galleys  rowing  towards  the  r.,  and  firing  from  their  bow  guns  ;   both 
have  masts  and  numerous  flags  and  pennants. 

[5f  X  lOJ  in.  ;      14-3  X  27 -3  cm.]     Body    colour    on    prepared    surface; 
inscribed  in  a  small  italic  hand  (of  the  16th  cent.  ?)  in  bottom  r.  corner  ; 
Joanea  Maiua  f. 
Collection  :    Sloane. 
5214—72. 

The  galleys  are  of  exactly  the  same  type  as  those  in  the  cartoons  for  the 
tapestries  of  Charles  V's  expedition  to  Tunis  1535,  and  there  seems  no 
reason  to  doubt  the  old  attribution  of  this  drawing  to  the  author  of  those 
cartoons.  The  Joanes  Mains  was  formerly,  however,  interpreted  as  Giovanni 
Maggi  (b.  about  1566,  d.  after  1620),  an  Italian  etcher  who  also  Latinizes 
his  name  Johannes  Maius.  I  think  the  style  and  apparent  date  point  to 
the  elder  Maius. 


54  DulcJt  and  Flemish  Draioings. 


WEYDEN  (DE  LA  PASTURE),  Roger  van  der  (b.  between  1397 
and  1400,  d.  1464).  Painter,  born  at  Tournai,  the  son  of  a  sculptor  ; 
pupil  of  Robert  Carapin  (the  Master  of  Flemalle)  at  Tournai  from  1427 
to  1432  ;  master  in  the  Guild  at  Tournai  in  the  latter  year,  although 
he  is  mentioned  as  master  as  early  as  1426  ;  town  painter  at  Brussels 
by  1436  ;  visited  Italy  1449-50.  Among  his  more  important  pictures 
are  the  following  (in  rough  chronological  order) ;  Christ  taken  down 
from  the  Cross  (Escorial) ;  polyptych  with  the  Last  Judgment  painted 
for  Nicholas  Rolin  (Beaune) ;  Madonna  with  Saints  (Frankfurt)  and 
Entombment  (Uffizi),  both  dating  probably  from  about  1450  ;  triptych 
with  Adoration  of  the  Kings  (Munich) ;  altarpiece  with  the  Seven 
Sacraments  (Antwerp) ;  triptych  with  the  Saviour,  St.  John,  the 
Virgin  and  two  Saint«  (Louvre)  painted  about  1451-2,  besides  a  number 
of  portraits. 

Lit.  :  Friedrich  Winkler,  Der  Meister  von  Flemalle  und  Rogier  van 
der  Weyd^n  (Zur  Kunstgeschichte  des  Auslandes,  Heft  103),  Strassburg, 
1913  ;  M.  J.  Friedlander,  Von  Eyck  bis  Bruegel,  2nd  edition,  Berlin, 
1921  ;  the  same,  AUniederldndische  MaJerei,  II,  Berlin,  1924  ;  Willy 
Burger,  Rogier  van  der  Weyden,  Leipzig,  1923.  On  the  drawings,  in 
addition  :  F.  Winkler,  Some  Early  Nelherhnd  Drawings,  Burlington, 
XXIV  (1914),  p.  224  ;  M.  J.  Friedlander,  A  Drawing  by  Roger  van  der 
Weyden,  Old  Master  Drawings,  I  (1926/7),  p.  29. 

1.     POBTBAIT  OF  A  YoUNG  WOMAN. 

She  is  seen  to  the  waist,  turned  three-quarters  to  1.,  and  wears  a  Hnen 
headdress  ;  at  the  bottom  the  study  of  a  hand  which  has  no  connection 
with  the  portrait. 

[6.85  X  4^(5  in.  ;  16-6  X  11*6  cm.]  Silver  point  on  prepared  cream- 
coloured  surface.  No  watermark.  Inscribed  on  back  :  Israel  Samena  (?)/ 
Tedesco  liSO/Luca  d'Olanda/(m  18th  or  19th  cent,  hand)  Ruggero  di  ButeUej 
1460  (in  a  17th  cent.  hand). 

Collection  :    Hugh  Howard  ;    acquired  from  his  descendant  the  Earl  of 
W'icklow  in  1874. 
Purchased,  1874.8.8.2266. 

Reproductions  :  F.  Winkler,  Der  Meister  von  Fli'tnalk  .  .  .  Abb.  25  ; 
Popham,  pi.  II  :   Vasari,  2nd  Ser.,  VII  (1926),  12. 

This  exquisite  drawing  was  ascribed  by  Winkler  {op.  cit.,  p.  54  note)  to  an 
artist  midway  between  Jan  van  Eyck  and  the  Master  of  Flemalle,  in  the 
note  to  the  Vasari  Society  reproduction  by  the  present  writer  to  Roger  van 
der  Weyden.  The  quality  of  the  drawing  in  its  extreme  precision  and 
almost  metallic  hardness  point  to  Roger  as  the  author  rather  than  the 
Master  of  Flemalle,  the  only  other  artist  of  whom  there  can  be,  to  my 
mind,  any  question.  Its  style,  however,  indicates  an  early  stage  in  Roger's 
career,  the  period  of  the  Berlin  portrait  of  a  lady  (No.  546d),  when  he  was 
dependent  on  the  Master  of  Flemalle. 

The  existence  of  two  other  versions  of  the  portrait,  the  one  at  Leyden 
(reproduced  J.  de  Gelder,  Oude  Teek-eningen,  Leyden,  1920,  No.  1),  and 
the  other  in  the  present  collection  (described  below,  No.  7)  points  to  a  well- 
known  picture  having  been  painted  from  which  the  two  other  versions 
were  probably  copied.  I  do  not  now  think  that  the  Leyden  drai^-ing,  as  I 
8tat«a  in  the  Vasari  Society,  is  as  late  as  1500  or  German.  It  appears  to 
be  a  NetherlandiRh  drawing  of  the  15th  cent. 

The  SI  >,  that  the  personage  represented  is  Jeanne  de  Presles, 

mistress  '  >  lie  (ioo<i  and  motlier  of  the  Grand  B&tard,  is  one  which 

requires  i......v.  <.  wdence  for  its  substantiation,  though  there  is  a  decided 


B.  van  der   Weyden.  55 


reeemblance  to  the  portrait  of  her  in  the  Recueil  d' Arras  (photo.  Giraudon 
366).  The  headdress  and  the  costume,  as  well  as  the  style  of  the  drawing, 
point  to  a  date  before  1450  ;  on  the  latter  grounds  we  might  well  place  it 
twenty  years  earlier. 

The  inscriptions  on  the  back  indicate  that  the  drawing  was  in  Italy 
probably  as  early  as  the  17th  cent.  Hugh  Howard's  collections  were 
indeed  largely  of  Italian  provenance. 

2.   Study  of  St.  Mary  Magdalene. 

She  is  seen  to  the  waist  directed  to  the  1.,  wears  a  curious  turban-like 
head-dress,  fastened  under  the  chin  by  a  scarf,  and  holds  the  pot  of  ointment 
in  her  r.  hand  while  also  supporting  it  with  her  1. 

[6Ji  X  5^  in.  ;    17.6  X  13  cm.]     Silver  point  on  prepared  cream-coloured 

surface.     Bticked ;     no    watermark    visible.     Inscribed    on    the    back    in 

18th  cent.  (?)  hand  5-7d/6-6d/Jan  van  Eykf/geb:  te  Mazeyk  1370./Ai/  vond 

1410  te  wyse/om  in  Olyverfte  achUderen — (f)/en  was  Discopeljvan  zyn  Broedersj 

Hub:  V  Eyk. 

Bequeathed  by  Richard  Payne  Knight,  E^q.,  1824. 

Oo— 9— 2. 

Reproductions:    Le  Beffroi  I  (1863),  facing  p.  61;    Vasari  II,   18;    W. 

Burger,  op.  cit.,  pi.  41 ;  Popham,  pi.  12. 

Lit.  :   Dr.  Waagen,  Trecumres  of  Art  in  Great  Britain,  London,  1854,  Vol.  I, 

p.  228  ;   M.  J.  Friedl&nder,  Altniederldndische  Malerei,  II,  p.  82. 

Study  for  the  figure  of  the  Magdalene  on  the  r.  wing  of  the  triptych, 
with  Christ,  the  Virgin  and  St.  John  in  the  centre,  and  St.  John  the  Baptist 
and  St.  Mary  Magdalene  on  the  wings,  now  in  the  Louvre  (No.  2195)  from 
the  collections  of  the  Duke  of  Westminster  and  Lady  Theodora  Guest. 
The  triptych  has  on  the  outside  of  the  shutters  the  names  and  arms  of  the 
donors  "  Bracque  et  Braban,"  and  can  be  dated  1451-2,  as  Jean  do  Bracques 
married  Catherine  de  Brabant  shortly  before  1451  and  died  in  1452.  Waagen 
was  the  first  to  notice  the  connection  of  the  drawing  with  the  picture,  and  it 
has  from  that  time  been  almost  unanimously  regarded  as  an  original 
drawing  by  Roger.  Friedl&nder  (loc.  cit.),  however,  argues  that  it  is  a 
copy  from  the  picture,  while  not  excluding  the  possibility  of  its  being  a 
copy  by  Roger  himself.  He  adduces  the  character  of  the  landscape  in 
the  drawing,  which  he  argues  is  unintelligible  without  a  knowledge  of  the 
picture.  The  quality — it  is  among  the  most  beautiful  of  early  Flemish 
drawings  extant — the  precision  and  the  absence  of  that  mechanical  appear- 
ance which  betrays  even  the  most  accomplished  copy,  seem  to  me  to  out- 
weigh the  force  of  Friedlander's  contention.  It  must  be  conceded  that  the 
existence  of  the  Salting  drawing  (described  below),  so  obviously  a  copy, 
has  tended  to  enhance  the  merits  of  the  present  drawing.  The  copy  of  the 
picture  of  the  Magdalene  in  the  Renders  Collection  (exhibited  BurUngton 
House,  1927,  No.  42)  has  no  significance  in  connection  with  this  drawing 
or  the  Salting  copy. 

SCHOOL  OF  ROGER  VAN  DER  WEYDEN. 
3.   Head  of  the  Madonna. 

The  head  of  the  Virgin  is  turned  three-quarters  to  the  1.  and  inclined 
downwards  ;  part  of  her  hands,  joined  in  prayer,  are  visible  as  well  as  the 
1.  hand  of  the  Infant  Saviour  on  the  extreme  1. 

[5^^  X  3}3  in.  ;    12 '9  X  10  cm.]      Silver  point  on  prepared  white  siuiace. 

Beuiked  ;  no  watermark  visible. 

Collection:    Sir  Andrew  Fountaine  (1676-1753);    sale  of  the  collections 

formed  by  him,  Christie's,  July  7th,  1884,  lot  860. 

Purchased,  1884.7.26.27. 

Reproductions  :    F.   Winkler,  Der  Meister  von  Fl(frnalle  .  .  .,   pi.  XXIV ; 

Vasari,  2nd  ser.  VIII,  8  ;    pi.  XX. 

Lit.  :   Winkler,  op.  cit.,  p.  130  ;   Friedlander,  AUniederlandische  Malerei,  II, 

p.  83. 

Friedlander  regards  this  as  one  of  the  drawings  which  come  into  serious 
consideration  as  originals  by  Roger,  though  he  is,  on  the  whole,  incUned 
to  think  it  a  copy.     Beautiful  as  it  is  it  appears  to  lack  the  qualities  which 


56  Dutch  and  Flemish  Di'avnngs. 


to  mj  mind  make  the  originality  of  the  Magdalene  unquestionable,  com- 
parea  with  which  it  is  flat  and  insignificant.  The  type  of  face  approxi- 
noatee  closely  to  that  of  the  early  pictures,  like  the  Visitation  of  Lut«chena 
and  the  St.  Catherine  of  Vienna,  with  which  Winkler  associated  it.  It 
has  no  real  connection  with  the  Infant  Saviour  described  below,  though 
coming  from  the  same  collection.  The  composition  might  have  been  a 
a  St.  Anno  with  the  Infant  standing  on  her  lap  adored  by  the  Virgin.  The 
hand,  obviously  that  of  the  Child,  does  not  allow  of  his  being  in  her  lap  as 
in  the  Madonna  in  the  Mancel  Collection  of  Caen  (Friedliinder,  pi.  36).  No 
composition  corresponding  with  the  drawing  appears  to  exist. 

4.  The  Infant  Christ  in  the  Act  or  Blessing. 

He  is  seen  turned  three-quarters  to  r.,  the  head  thrown  back  and  the  r. 
hand  raised  in  blessing. 

[5  X  3U  in.  ;    12-7  X  9-4  cm.]      Silver  [>oint  on  prepared  white  ground. 

Backed  ;  no  watermark  visible. 

Collection  :    Sir  Andrew  Fountaine  (Sale,  lot  860,  with  preceding). 

Purchased.  1884.7.26.28. 

Reproduction  :  PI.  XX. 

Corresponds  fairly  closely  with  the  Infant  Christ  in  a  number  of 
Madonnas  by  Roger,  particularly  with  those  in  the  picture  in  the  Mancel 
Collection  at  Caen  (ill.  Friedlander,  pi.  31)  and  in  the  school  picture  at 
Berlin  (No.  549a).  The  copyist  has  made  the  hair  longer  and  added  the 
garment.  Very  close  in  style  to  the  preceding  and  probably  by  the  same 
hand,  though  the  scale  does  not  allow  of  its  having  formed  part  of  the 
same  composition,  while  it  is  distinctly  inferior  in  quality  especially  in  the 
drawing  of  the  hand. 

5.  Dives  tormented  by  Demons  in  Hell. 

Dives,  who  is  naked,  points  with  his  r.  hand  to  his  parched  tongue  while 
his  r.  hand  is  outstretched  ;  two  demons  on  the  1.  are  pulling  on  a  cord  or 
chain  fastened  to  a  collar  round  their  victim's  neck,  while  two  others  on 
the  r.  are  pulling  in  the  opposite  direction. 

[4^4  X  11  in.  ;    11-5  X  28  cm.]      Silver  point  on  prepared  white  surface. 

Backed  ;  no  watermark  visible. 

Collection  :  Sir  Andrew  Fountaine  (Sale,  lot  866). 

Purchased,  1884.7.26.29. 

Reproduction  :  Popham,  pi.  14. 

Another  version  of  this  drawing  is  in  the  Louvre  (No.  d'ordre,  18,784, 
formerly  attributed  to  Schongauer,  15-7  x  29-6  cm.).  It  is  in  the  same 
technique  and  almost  exactly  similar,  except  that  the  chain  attached  to 
Dives'  neck  is  clearly  indicated  and  that  there  is  considerably  more  space 
at  the  top  with  suggestions  of  rocks. 

The  types  of  Dives  and  of  the  devils  and  the  drawing  are  so  close  to 
Roger's  that  we  must  ckssume  a  lost  work  by  him  from  which  the  two 
drawings  are  copied.  In  a  French  Book  of  Hours  of  about  1490-1600  in 
the  Fitzwilliam  Museum,  Cambridge  (James  101,  fol.  121)  is  a  miniature 
of  the  subject  in  which  the  figure  of  Dives  corresponds  almost  exactly 
with  that  in  our  drawing.  French  Books  of  Hours  such  as  that  printed  for 
8.  Vostre,  Paris,  1492,  also  contain  a  cut  of  the  subject  which  is  verj-  similar. 

The  present  drawing,  which  is  slightly  superior  to  the  Louvre  version, 
is  clof'e  in  style  to  the  two  drawings  previously  described  and  noay  be  the 
work  of  the  same  copyist. 

6.  A  Religious  Procxssion. 

On  the  1.  hand  portion  a  group  of  ladies  and  gentlemen  coming  out  through 
the  gate  of  a  town  or  castle  ;  a  blind  beggar  with  a  dog  is  seated  on  the  1., 
and  a  gentleman  is  taking  money  from  his  purse  to  give  him.  On  the 
larger  r.  hand  portion  LepiniiiHK  from  the  r.  a  group  of  three  eccleaiastica, 
the  foremost  of  whom  carries  the  (.ross,  the  next  two  banners  ;  following 
these  are  a  group  of  choristers,  one  of  whom  holds  a  choir  book  ;  another, 
who  is  mounting  the  steps,  carries  an  amice  over  his  1.  arm  while  another 


B.  van  der   Werjden.  '  57 


behind  him  wears  it  on  his  head  ;  at  the  foot  of  the  steps  an  ecclesiastic, 
bare-headed  and  wearing  an  embroidered  cope,  holds  up  the  Holy  Sacra- 
ment in  a  pyx  ;  he  is  accompanied  by  a  deacon  and  a  sub -deacon  ;  the 
ecclesiastics  are  followed  by  nine  persons  including  one  lady  ;  a  richly 
clothed  gentleman  wearing  a  beard  is  given  a  prominent  position  ;  houses 
behind  with  spectators  at  a  window. 

[In  two  portions,  which  do  not  fit  together,  a  piece  being  obviously 
missing;  the  1.  hand  portion  measures  11^  X  4|  in  (29"2  X  12"4cm.); 
the  r.  hand  portion  of  the  same  height  measures  IBf  in.  (41"  7)  in  width.] 
Originally  drawn  with  a  very  line  pen  in  light  bro^^^l  ink  ;  traces  of  a 
drawing  in  black  chalk  underneath.  Watermark,  faintly  visible  through  the 
backing,  apparently  a  Gothic  p. 

Collections  :  Sir  T.  Lawrence  (according  to  the  Malcolm  catalogue,  but 
without  his  stamp  ;  perhaps  the  drawing  described  in  the  MS.  inventory 
of  Lawrence's  collection  belonging  to  the  Burlington  Fine  Arts  Club, 
95  Portfolio  D  (Case  12,  Drawer  4,  ''  One  the  Procession  of  the  Hosts, 
J.  von  Eyck  ")  ;  Woodburn  (Sale  June  4th,  1860,  lot  382)  ;  Sir  J.  C. 
Robinson,  Malcolm  (Catalogiie,  No.  943). 
Purchased,  1895.9.15.1001. 

Reproductions  :  Le  Beffroi  II  (1864/5),  facing  p.  177  ;  F.  Winkler,  Der 
Meister  von  Flemalle  .  .  .  ,  pi.  XXII  ;    Popham,  pi.  15,  16. 

Attributed  by  Winkler  (op.  cit.,  p.  124)  to  the  "  Master  of  the  Exhuma- 
tion of  St.  Hubert  "  in  the  National  Gallery,  an  attribution  which  found 
general  acceptance  until  Friedlander  pronounced  the  picture  from  which 
the  artist  derived  his  name  the  work  of  Roger  himself.  The  drawing  may 
either  be  a  copy  after  a  picture  by  Roger  of  the  period  and  character  of  the 
altarpiece  with  the  Seven  Sacraments  at  Antwerp  or  an  original  drawing 
by  the  close  follower  who  painted  the  Marriage  of  the  Virgin  in  Antwerp 
Cathedral  (which  has  for  long  been  associated  with  the  Exhumation  of 
St.  Hubert  and  the  "  Edelheer  "  copy  of  the  Escorial  Deposition  at  Louvain), 
The  latter  seems  to  me  the  more  probable,  though  a  definite  pronounce- 
ment, in  view  of  the  condition  of  the  drawing  is  impossible.  It  is  certainly 
not  the  work  of  the  artist  responsible  for  the  drawings  of  the  Seven 
Sacraments  at  Oxford  and  in  Baron  Edmond  de  Rothschild's  collection 
(reproduced  Vasari,  VIII,  15,  16,  17,  18),  who  has  recently  been  connected 
by  Professor  Hulin  de  Loo  with  the  Brussels  painter  V'rancke  van  der  Stockt 
(Biographie  Nationale  de  Belgique,  Vol.  XXIV,  1926/7),  nor  is  it  recog- 
nisable as  the  work  of  any  of  the  illuminators,  such  as  the  Master  of  the 
Girart  de  Roussillon,  working  in  the  manner  of  Roger. 

The  scene,  interpreted  by  Weale  as  a  procession  returning  to  the  Church 
with  the  Holy  Viatic,  must  be  some  definite  historical  event  and  the 
gentleman  with  the  beard  a  historical  character.  Beards  went  entirely 
out  of  fashion  at  the  end  of  the  1 4th  century,  and  no  artist  would  represent 
a  contemporary  wearing  one  ;  also  the  costume  is  distinctly  antiquated 
as  compared  with  those  of  the  lady  or  the  other  laymen,  which  are  in  the 
fashion  of  about  1440-50.  It  is  impossible  to  say  whether  the  artist 
intended  to  represent  a  potentate  of  early  mediaeval  times  or  some  com- 
paratively recent  prince  like  Louis  de  Male,  Count  of  Flanders. 

COPIES  AFTER  ROGER  VAN  DER  WEYDEN. 

7.   Portrait  of  a  Lady. 

Half-length  three-quarters  to  1.,  wearing  a  linen  headdress. 

[7f  X  5|  in.  ;     19-4  X  14-3  cm.]      Silver   point    on   cream-coloured   pre- 
pared  surface  ;    the   1.  cheek   badly  damaged  and  restored  ;    inscribed  in 
modern  hand  in  pencil  with  Diirer's  monogram  and  Anna  Maria  frau  (?) 
Duerin  1528.     No  watermark  ;    inscribed  on  back  in  old  hands  :    N  43 
(black  chalk)  30  L  (black  chalk)  N  6  (red  ink). 
Collections  :    Carderera,  Robinson,  Malcolm  (Catalogue,  No.  542). 
Purchased,  1895.9.15.1000. 
Reproduction  :  PI.  XX. 

A  close  copy  of  the  lost  picture  for  which  the  drawing  described  above 
No.  1,  is  the  study.     The  difference  in  the  expression  of  the  face  is  due 


58  "  Dutch  and  Flemish  l/ramngs. 

partly  to  bad  drawing  on  the  part  of  the  copyist,  but  mainly  to  the  unskilful 
restoration  of  the  cheek.  The  headdress  correspomis  almost  exactly  with 
that  in  the  original  drawing,  but  additional  details,  such  as  the  folds  in  the 
sleeves  and  the  rosary  at  the  girdle,  make  it  probable  that  it  is  a  copy  from 
the  finished  picture,  not  from  the  drawing.  The  style  is  not  that  of  the 
usual  copies  from  Roger,  and  would,  without  the  evidence  of  the  original, 
have  pointed  to  the  school  of  van  Eyck. 

8.  St.  Maby  Magdalene. 

Copy  from  the  picture  for  which  No.  2  is  the  original  study. 

[6\\  X  4|  in.  ;    16*9  X  12*4  cm.]      Silver  point  on  prepared  white  surface 
with  touches  of  red  on  the  lips,  the  cheeks  and  the  eyes.     Part  of  water- 
mark visible  on  the  1.  side. 
Collection  :  Salting. 
Bequeathed,  1910.2.12.204. 
Reproduction  :  Vasari,  II,  20. 
Lit.  :  As  for  No.  2. 

A  copy  from  the  picture  in  the  Louvre,  not  from  the  drawing  described 
above. 


Flemish  ScJwol.  59 


11. 

ANONYMOUS  DRAWINGS  OF  THE  XV^«  AND 

EARLIER  XVF"  CENTURY. 

^.—FLEMISH  SCHOOL. 

FRANCO-FLEMISH  SCHOOL,  beginning  of  the  XVth  century. 

1,   Christ  taken. 

In  the  centre  Our  Lord  is  seized  by  a  soldier,  one  of  a  group  of  six  in 
Oriental  costume  advancing  from  the  r.  ;  the  squire  Malthus,  who  has 
been  thrown  to  the  ground,  lies  on  his  back  in  front  of  Our  Lord  and  is 
attacked  by  St.  Peter,  who  is  seen  from  the  back  on  the  1.  of  the  composi- 
tion ;    behind  St.  Peter  are  two  disciples. 

[4^j  X  5]^  in.  ;     11-7  X  13  cm.]     Silver  point  on  prepare<l  green  surface, 

heightened  with  white.     There  is  an  irregular  vertical  crack  to  the  r.  of 

Christ  which  extends  nearly  the  whole  height  of  the  drawing,  and  another, 

parallel  to  the  first  and  about  1  cm.  to  its  1.,  about  3  cm.  long,  from  the 

top  edge.     The  drawing  is  backed. 

Collections  :   Uuonfiglio   of   Bologna,   Sagredo,   John  Udney,  Sunderland 

(Sale,  Christie's,  June  15th.  1883,  lot  41,  including  No.  15  of  anonymous 

Flemish  drawings  below). 

Purchased,  1883.7.14.77. 

Reproductions  :   Popham,  pi.  2  ;   Vasari.  2nd  series,  XI,  8. 

Lit.:  F.  Winkler,  Prussian  Jahrbuch,  XLIV  (1923),  p.   139;    the  same, 

article  on  Pol  de  Limbourg  in  Thieme- Becker,  KUnstlerUxikon,  XXIII,  1930. 

In  a  note  at  the  beginning  of  the  sale  catalogue  of  the  Sunderland 
Collection  it  is  stat«d  that  the  drawing  was  mounted  in  one  of  four  albums, 
bearing  the  arms  of  the  Sagredo  family,  which  were  broken  up  for  the 
purposes  of  the  sale  ;  that  these  drawings  had  been  bought  by  Procurator 
Sagredo  in  1734  from  the  Buonfiglio  family  at  Bologna  and  that  Consul 
John  Udney  had  purchased  them  in  1763  from  the  heirs  of  Sagredo  and 
brought  them  to  England.  It  also  mentions  a  letter  in  Lettere  PiUoriche, 
Vol.  Ill,  from  Zanetti  to  Professor  (Jaburri  at  Florence,  referring  to 
Sag^do's  purchase.  No  such  letter  is  printed  in  Vol.  Ill  of  the  Lettere 
Pittoriche.  A  letter  on  p.  171  from  Zanetti  to  Gaburri,  dated  April  26th, 
1726,  mentions  the  sale  by  Lorenzo  Ciambi  of  drawings  to  the  value  of 
100  sequins  to  Sagredo.  The  volumes  were  certainly  at  Blenheim  and  were 
dispersed  with  the  Sunderland  Collection,  but  if  they  were  brought  to 
England  only  in  1763  they  obviously  cannot  have  formed  part  of  the 
original  collection  formed  by  Charles  Spencer,  3rd  Earl  of  Sunderland 
(1674-1722). 

The  drawing  Is  obviously  an  original  study  by  a  very  able  miniaturist 
of  about  1400-1410.  The  attribution  to  Pol  de  Limbourg  made  by  Winkler 
in  his  recent  article  in  Thieme-Becker  htis  much  in  its  favour.  Though 
there  is  no  definite  link  which  makes  the  connection  indisputable,  the  style 
is  very  near  to  that  of  the  principal  miniaturist  of  the  Breviary  of  Jean 
sans  Peur  in  the  British  Museum  (Harley  2897  and  Add.  35,311  ; 
cf.  particularly  full  page  miniature  on  fol.  333  verao  of  the  latter)  identified 
by  Durrieu  and  Winkler  as  Pol  de  Limbourg.  The  drawing  more  closely 
resembles  the  miniatures  in  the  Breviary  than  those  in  the  "  Tres  Riches 
Heures  "  at  Chantilly,  or  those  in  the  "  Heures  d'Ailly  "  in  the  collection 
of  Baron  Edmond  de  Rothschild,  and,  if  by  Pol  de  Limbourg,  must  be 
regarded  like  the  Breviary  as  early  work.  The  representation  of  the  subject, 
according  to  the  Gospel  of  St.  John,  is  unusual. 


60  Dulcli  and  Flemish  DraiDings. 


FLEMISH  SCHOOL,  XVth  century. 

2.  Thk  Virgin  in  Adoration. 

She  is  represented  half-length  towards  the  r.,  looking  up  ;  the  hands  are 
only  slightly  indicated. 

[6fi  X  4|  in.  ;      17  X  12*5  cm.]     Silver  point  on  prepared  white  ground. 

the  high  lights  in  the  hair  rendered  by  the  indentations  of  a  stylus,  the 

lips  and  cheeks  touchetl  (by  a  later  hand)  with  red  chalk.     Inscribed  in 

pencil,  top  1.  comer,  A.M.  H.'il  by  a  later  liand. 

Collections  :  Ploos  van  Amstel  (Sale,  March  3rd,   1800;    LI.  60,  p.  194  in 

the  catalogue,  as  by  Antonello  da  Messina),  R.  Payne  Knight  (purchased 

by  him  at  the  sale  of  an  unnamed  collection  held  bv  Philipe  in  London, 

April  24th,  1801,  lot  113). 

Bequeathed  bv  Richard  Pavne  Knight,  Esq.,  1824. 

Pp.  1—17. 

Reproduction  :    Vasari,  II,  20. 

Lit.  :   Dr.  Waagen,  Treasures  of  Art  in  Great  Britain,  London,  1854.  Vol.  I. 

p.  228  ;    F.  Winkler,  Der  Meiater  von  Flemalle  und  Rogier  van  der  Weyden. 

Strassburg,  1913,  p.  130.  note  3. 

Attributed  in  the  inventory  of  1836  to  Antonello  da  Messina  ;  by  Colvin. 
in  his  notice  to  the  Vasari  reproduction,  called  a  copy  by  a  pupil  after  some 
unidentified  picture  by  Roger  van  der  Weyden  or  his  school.  The  drawing, 
which  does  not  appear  to  me  to  be  by  the  same  hand  as  the  Salting  copy 
of  the  Magdalene  by  Roger  van  der  Weyden  (No.  8),  as  stated  by  Colvin, 
reproduces  the  upper  half  of  the  figure  of  the  Virgin  in  a  composition  of 
the  Virgin  kneeling  before  the  Crucifix  with  a  donor  on  the  r.  This  com- 
position, of  which  versions  exist  in  the  Church  of  St.  Sauveur,  Bruges, 
and  in  the  collection  of  Don  Jos^  Lazaro.  Madrid  (from  the  R.  Traumann 
'  collection)  and  in  the  Brussels  Gallery  (the  Crucifix  only),  is  the  work  of 
an  unidentified  painter,  a  contemporary'  of  the  van  Eycks  and  the  Master 
of  F16malle.  The  pictures  at  Bruges  and  in  the  Lazaro  collection  are  re- 
produced in  the  Burlington  Magazine.  Vol.  I.  facing  p.  52.  The  hands,  faintly 
visible  in  the  drawing,  correspond  more  closely  with  those  in  the  Lazaro 
than  with  those  in  the  Bruges  version.  The  drawing,  which  is  undoubtedly 
of  the  15th  cent.,  cannot,  however,  have  been  copied  from  the  former,  which 
appears  to  be  of  the  16th  cent. 

3.  The  Adoration  of  the  Kings. 

The  Virgin  supporting  the  Infant  Christ  on  a  cushion  on  her  lap  is  seated 
in  the  centre  ;  an  elderly  bald-headed  king  kneels  on  the  r.  and  kisses  the 
Infant's  1.  hand  ;  a  second  king,  wearing  a  turban,  stands  behind  the  first, 
further  to  the  r.  ;  the  thirtl  king  approaches  from  the  1.,  bending  his 
knee  and  removing  his  hat  with  his  1.  hand  ;  St.  .Joseph  stands  behind 
holding  his  hat  in  both  hands  ;  the  ox  and  the  ass  are  behind  on  the 
extreme  1.,  and  two  shepherds  look  through  an  arch  on  the  r. 

[12^  X  lOA  in.  ;   31-8  x  27-7  cm.]    Pen  and  dark  brown  ink  for  the  central 
group  of  the  Virgin  and  bald  kneeling    king,  light    brown  ink  for    the 
remainder,  except   the  two  shepherds,  who  are  outlined  with  a  coarser 
pen  and  redder  ink.     False  signature  M  +  S  and  date  1479  adde<l  at 
the  bottom  in  the  centre.    The  drawing  has  been  folded  vertically  down  the 
centre  and  twice  horizontally.     Watermark  Gothic  p  with  flower. 
Collection  :  Malcolm  (Catalogue,  No.  548). 
Purchased,   1895.9.15.1000. 
Reproductions  :   British  Museum  postcard  (Set  LX,  13)  ;   PI.  XXI. 

The  drawing,  which  is  all  by  the  same  hand,  with  the  exception  of  the 
two  shepherds  in  the  background  and  perhaps  some  of  the  outlines  of 
the  Virgin  and  of  the  bald  knet'ling  king,  appears  to  be  a  careful  con- 
temporary copy  from  a  picture  of  about  1450-60.  The  central  group  is 
obviously  imitated  from  Roger  van  der  Weyden's  Munich  Epiphany, 
though  it  is  by  no  means  a  close  copy.  The  precision  of  itm  drawing, 
the  sharpness  and  character  of  the  draperies  are  also  >■  '  '  it  of  his 
style.     The  other  figure*;,  in  addition  to  their  being  in  oloured 

ink,  which  naturally  disturbs  the  balance,  seem  not  to  ii.nn  -...  intoprul 


Flemish  School.  61 


part  of  the  composition  ;  the  Oriental  king  on  the  r.  in  paiticular  is  on 
too  large  a  scale  and  is  awkwardly  placed,  while  the  king  on  the  1.  and 
St.  Joseph  are  nearer  in  style  to  van  Eyck  than  to  van  dor  Weyden.  If 
these  figures  are  not  additions  by  the  draughtsman — and  the  fact  of  the 
overlapping  of  the  bearded  king's  robe  shows  that  this  figure  was  not 
— there  was  a  lack  of  coherence  in  the  picture  from  which  he  was  copying, 
which  would  denote  some  artist  influenced  alike  by  the  van  Eycks  and 
van  der  Weyden.  Petrus  Cristus  in  the  stage  shown  in  the  Lamentation 
at  Brussels,  with  its  textual  copying  of  passages  from  van  der  Weyden, 
is  such  an  artist,  though  it  would  be  rash  to  assume  that  he  was  the 
painter  of  the  original  of  the  drawing.  The  delicate  character  of  the  pen 
work,  particularly  in  the  central  group,  resembles  silver  point  copies  after 
van  der  Weyden  (cf.  copy  of  wing  of  Columba  altar  in  the  Wallraf- 
Richartz  Museum,  Cologne). 

4-5.   Two  PoBTiONS  or  Designs  fob  Tapestby. 

4.   Alexander  Receiving  the  Keys  of  a  City. 

Alexander,  wearing  armour  and  the  imperial  crown,  advances  on  horse- 
back from  the  1.,  followed  by  a  band  of  armed  and  mountetl  men  and 
receives  the  keys  from  a  man,  one  of  a  group  issuing  from  the  gate 
of  a  city  (Babylon  ?)  on  the  r.  ;  two  other  civilians  kneel  in  the 
foreground  on  the  1. 

6.   The  Death  of  an  Empebob. 

The  Emperor  (Alexander  ?)  lies  on  a  couch  diagonally  across  the  picture 
and  holds  a  sheaf  of  arrows  from  which  a  man  behind  the  couch  draws 
one  ;   six  men,  one  of  whom  is  a  negro,  are  grouped  in  front  of  the  bed. 

|4.  12f  X  6Jin. ;  32-3  X  14-6  cm.  (cut  iriegularly  at  top  to  1.).     5.  12J  X 

6}in. ;  32-2  X  14-7  cm.]  Pen  and  ink  and  washes  of  blue  and  red,  on  vellum. 

Collection  :    Malcolm  (Catalogue,  No.  440). 

Purchased,  1 895 . » .  1 5 .  893. 

Reproduction  :    Burlinqton,  XLV  (1924),  facing  p.  60. 

Lit.  :    ibid.  p.  60  ff.,  206,  250. 

The  two  drawings  are  probably  fragments  of  designs  for  lost  portions 
of  the  series  of  tapestries  of  the  Life  of  Alexander,  of  which  four  are 
preserved  in  the  Doria  Palace  at  Rome.  In  these  tapestries  Alexander 
is  represented  wearing  a  similar  c^ow^l  and  armour  and  mounted  on 
a  Bucephalus  with  the  peculiar  ram's  horns  seen  in  the  drawing,  while 
many  other  details  correspon<l  exactly.  These  tapestries  have  been 
identified  by  Betty  Kurth  (Die,  Bliitezeit  der  Bildwerkerkunst  zu  Tournai 
und  der  Burgundische  Hof.  Vienna  Jahrbuch,  XXXIV  (1916),  p.  90) 
with  the  series  for  which  Philip  the  Good  of  Burgundy  paid  Pasquier 
Grenier  of  Tournay  5,000  ecua  d'or  in  1459.  If  the  drawings  are  designs 
for  the  tapestries  they  could  thus  be  dated  some  years  before  1459, 
but  it  is  possible  that  they  are  only  contemporary  copies  from  them.  At 
what  stage  in  the  manufacture  of  a  tapestry  or  for  what  exact  purpose 
these  and  the  somewhat  similar  series  of  the  history  of  Troy  in  the 
Louvre  were  made,  requires  elucidation. 

The  style  of  the  tapestries,  as  was  pointed  out  by  Betty  Kurth, 
resembles  that  of  the  miniaturist  named  bv  F.  Winkler  [Eine  flandrische 
Lokalachule  urn  1420-60.  Vienna  Jahrbuch,  XXXIII  (1915),  306)  the 
Master  of  the  Privileges  of  Flanders  and  Ghent  and  that  of  the  present 
drawings  even  more  closely,  though  the  draughtsman  and  the  miniaturist 
are  certainly  not  identical.  It  may  be  noted  that  Phyllis  Ackermann 
(Zeitschrift  fiir  bildende  Kurntt,  LIX  (1925-6),  303)  has  found  on  the 
Cinquantenaire  tapestry  of  the  Crucifixion,  as  well  as  on  the  Doria 
tapestries,  what  she  supposes  to  be  the  signature  of  a  certain  Piat  van 
Roome,  recorded  as  employed  in  the  preparations  for  the  wedding 
festivities  of  Charles  the  Bold  and  Margaret  of  York  in  1476,  and 
mentioned  specifically  as  having  carried  out  some  wood  carving.  This 
theory,  like  that  of  the  existence  of  so  many  signatures  of  primitives, 
is  hard  to  accept. 


62  Dutch  and  Flemish  Drawiiigs. 


0.  The  VntoiN  and  Child  appeabino  to  St.  Gboroe. 

Design  for  a  three  light  window  ;    the  composition  is  enclo«ed  in  an  oval 

inside  a  parallelogram  in  the  corners  of  which  are  represented  the  flint 

and  steel,  the  device  of  Philiu  the  Good  and  Charles  the  Bold  of  Burgundy. 

On  the  1.  kneels  St.  George,  his  horse  behind  him,  receiving  his  lance  from 

the  hand  of  the  Virgin,  ■wx\o  stands  in  the  centre  under  a  canopy  supporteti 

by  two  angels  ;   on  the  r.  two  more  angels  support  the  Cross.     An  inwrip- 

tion,  numing  across  the  three  lights  at  tlie  bottom  of  the  oval  and  numbere<l 

iij,  explains  the  incident;  Asia  qttoq(ue)  vice  in  codetn  Ilinere  ftibi  heata  virgo 

apparuit   et  minuiterio  angelorum    crucem  filii  nui   o(>ite)ndit   cujun   virtute 

dr(icone(m)  superaret  eique  clipeum  aigno  crucis  signatum   et  lancea  ad  hec 

ministravit.     Further  inscriptions  numbered  i,  ii,  iiii,  v,  vi  and  vii,  giving 

an  account  of  the  history  of  St.  George  and  the  ravages  of  the  dragon  are, 

with  the  exception  of  ij  (and  of  iij  transcribed  above),  shortened  versions 

of  the  text  of  the  Legenda  Aurea  ;  ij  and  iij,  which  expands  ij,  the  story  of 

the  Virgin  having  api>eared  to  St.  George,  and  consecrated  his  arms,  does  not 

appear  in  the  ordinary  versions  of  the  Legenda  Aurea.    The  following  is  the 

transcription  of  the  texts.     S{an)ctu{s)  georgi{tu)  tribun{us)  ex  rapadociaj 

oiiundus  vir  providus  et  tniUs/atrenuus  cui  ob  nobilitate(m)   d{omi)nium/in 

capadocia    cellalum    {nc    for    ceaaatum)    eat,    quadamlvice    cattsa    urgente 

mittitur(?)uaq(ue)    in!aylena(m)    civitate(m)  p(ro)vincie   lihie  perjvexit  {F)  a 

civib(u8)  capadocie  p{ro)pt{er)  amoire{m)  flebiliter  permiama.     i. 

Cui  beata  virgo  in  I tinere /apparuit  eumq(ue)  ne  ampliua ;mundo  Sed  magis 

deo  niili/tarel  a{m)monuil  et  ita  eum  dei  militem  ronaecrnvit .     ii. 

Juxta  civitate{m)  »yl€na(m)  p{ro)fata(m)  erat  Htagnu(m)  aquaru{m )  in  quo  draco 

peati/fer  latitabat  qui  auo  flatu  ad  mu/roa  citntaiia  accedent  aepe  pluri/moa 

inficiebat  compulai  ob  hoc/civea  duos  oves  cotidie  ei  daha(n)t.     iiii. 

factu(m)  eM  aute(m)  cu{m)  ja(Tn)  oves  pene jdeficerent  inito  conailio  ovem/eum 

adjuncto  homine   tribue/bant,  Sicqve  aorte  o{mn)i{u)m  filii  et  filie}dant{ur) 

adeo  ut  jam  fere  omneaeaaent  conau(m)pti.     v. 

Qttada(m)  vice  unica  regia  filia  aorte  e(at)jdep(re)henaa  draconiq(ue)  adjudictUa 

q{ua)lde  re  co(n)triatatu8  rex  ait  :  tollite  au/ru{m)  arge(n)tu{m)  et  ditKidiu{m) 

regni  mei  filijam  aut(em)  mea(m)  michi  dimittite  cui  p(o)p{u)l{u)aiminime 

acqu(i)evit  Sed  octo  dier{um)  ap<iciu{m)  lu/ge{n)ti  earn  i{m)petravit .     vi. 

Quo  finito   reveraua  p(o)p(u)l(u)a   cu{m)  furorejait.  quare  p(ro)pter  tua(m) 

filia{m)     populu(m)     perdia     univer9u(m).     En     o{mn)ea    a   flcUujdraconia 

Tnorim{ur)  ?      Vide(n)a     aut{em)    Rex    q(uod)/ea(m)    liberare    no{n)    posaet 

i{ri)duta(m)  regajlibu(a)  veatib{u8)  lacrimantem  dimiait.     Hi. 

[12i  X  7J  in.  ;    31-1   X  19-9  cm.]     Pen  and  brown  ink  ;    the  drawing  has 

been  folded  down  the  centre  and  across  just  above  the  Virgin's  crown,  and 

is  rubbed  in  places,  particularly  the  I.  hand  top  comer. 

Collection  :   Fawkener. 

Bequeathed  by  William  Fawkener,  Esq.,  1769. 

5213-29. 

Reproduction  :   Old  Maater  Drawinga,  II  (1927),  pi.  10. 

Lit.  :    Dr.  Waagen,  Treasures  of  Art  iri  Great  Britain,  I  (1864),  228  ;    Old 

Master  Drawinga,  II  (1927),  10. 

The  style  of  this  important  and  beautiful  design  nearly  resembles  that 
of  the  miniaturist,  Philippe  de  Mazerolles,  who  was  in  the  employ  of 
Charles  the  Bold,  but  does  not  display  any  of  the  characteristic  peculiarities 
which  would  allow  us  to  identify  it  as  actually  Mazerolles'  work.  Another 
drawing  certainly  by  the  same  hand  is  at  Dresden,  the  design  for  a  funeral 
monument  of  a  member  of  the  family  of  Lalaing.  The  fact  that  the 
inscription  on  the  present  drawing  only  brings  the  story  of  St.  George 
down  to  the  time  when  the  princess  is  led  out  to  the  dragon  suggests  that 
the  legend  was  to  be  continued  in  other  windows,  and  that  a  cycle  of 
St.  George's  history  was  either  coniplete<l  or  in  contemplation.  On  what 
occasion  such  designs  were  prepared  cannot  be  determined  ;  they  were 
presumably  intended  to  decorate  a  church  or  chapel,  and  were  obviously 
commissioned  by  Philip  the  Good  or  Charles  the  Bold  (moxt  probably 
the  latter),  whose  devices  of  the  flint  and  steel  this  drawing  displays. 
Was  it  possibly  an  offering,  like  that  of  the  silver  statuette  of  himself  and 
St.  George  by  Gerard  Loyet,  given  by  Charles  to  the  cathedral  of  Li^ge 
in  1471,  in  expiation  of  the  cruelties  he  had  pefpetmted  at  the  siegn  of 
Dinant  and  Li^ge  ? 


Flemish  School.  63 


7.  Two  Studies  of  Drapery  :  verao.  Two  further  Studies. 

On  the  1.  a  man  in  a  mantle  reaching  to  the  ground,  his  I.  hand  on  his 
hip  and  his  mantle  bunched  up  with  his  r.  ;  on  the  r.  a  similar  study  of 
a  man  turned  slightly  to  the  1.  with  both  hands  on  his  hip,  the  1.  hand 
gathering  up  the  drapery.  On  the  verso  two  similar  studies  ;  on  the  1. 
the  drapery  is  gathered  up  in  both  hands  and  falls  in  a  fold  in  front  ;  on 
the  r.  the  r.  hand  is  on  the  hip  while  the  1.  holds  a  stick. 

[5 J  X  5|^    in.  ;      13-3  X  13-4    cm.]     Pen    and    light    brown    ink,    partly 

retouched  with  the  brush  and  sepia.     The  drawing  was  di%'ided,  presumably 

as  early  as  the  time  of  Lankrink,  who  put  his  stamp  on  each  portion. 

Collections  :   P.  H.  Lankrink,  Sloane. 

5237—92,  93. 

Reproduction  :  recto  PL.  XXI. 

Lit. :    Old  Master  Drawings,  I  (1926),  p.  46. 

The  drawings  are  obviously  original  studies  of  drapery  made  from  the 
model.  The  long  mantles  were  not  garments  of  everyday  use  at  this 
time,  the  last  quarter  of  the  15th  century.  They  are  either  :  (a)  studies 
for  figures  of  Christ  or  the  Apostles  ;  (b)  for  knights  of  the  Golden  Fleece 
or  some  other  order  ;  (d)  for  pleureurs  or  mourners.  The  last  seems  the 
most  probable,  as  a  peculiarly  heavy  mantle  falling  in  thick  folds  was 
in  use  for  this  purpose,  and  pleureurs  are  represented  holding  up  their 
mantles  in  a  manner  exactly  similar.  The  drawing  of  a  pleureur,  quite 
different  in  style,  in  the  collection  of  Mr.  Walter  Gay  at  Paris  (reproduced 
Socicte  de  reproduction  des  Dessins  de  Maitres,  1909)  should  be  compared 
for  the  attitude.  The  absence  of  the  characteristic  hood  of  the  pleureur 
in  the  present  studies  may  be  accounted  for  by  the  fact  that  they  are 
preliminary  studies  from  the  model. 

The  retouching,  possibly  the  work  of  Rubens,  obscures  the  style.  The 
original  work  under  the  heads  is  visible  with  the  aid  of  ultra-violet  rays, 
however,  and  the  retouching  follows  fairly  closely  the  original  outline. 
The  manner  of  drawing  is  very  close  to  that  of  the  draughtsman  of  the 
St.  George  (No.  6),  and  may  possibly  be  his  work.  As  has  been  pointed 
out,  this  artist  made  a  design  for  the  tomb  of  a  Lalaing,  and  these  figures 
may  be  for  the  pleureurs  on  a  similar  monument.  The  apparent  difference 
in  style  between  the  angular  draperies  of  the  St.  George  drawing  and  the 
thick  folds  of  these  studies  may  be  explained  by  the  latter  being  actual 
studies  from  a  different  and  heavier  material. 

8.  St.  Martha. 

She  stands,  turned  slightly  to  the  r.,  holding  in  her  r.  hand  a  small  basket 
in  her  1.  a  holy  water  sprinkler. 

[6j»i5  X  2f  in.  ;     15-7  X  6-9  cm.]      Very  fine  pen  and  light  brown  ink; 

gone  over  at  two  different  periods,  first  in  darker  brown  ink,  secondly  in 

black  ink.     Inscribed    in    a    15th   or  early  16th  cent,  hand  maurta.     On 

rather    coarse    grained    paper.      No    watermark.     On     the    back    in    an 

uneducated  hand  of  the  17th  or  18th  cent.  Spean. 

Collections  :    P.  H.  Lankrink,  Sloane. 

5237—95. 

Reproduction  :   PI.  XXII. 

Lit.  :   Dr.  Waagen,  Treasures  of  Art  in  Great  Britain,  I  (1854),  228. 

The  original  pen  work  where  visible,  as  on  the  hair  to  the  I.,  suggests 
comparison  with  the  drawings  previously  described  (Nos.  6  and  7),  but 
the  proportions,  the  size  of  the  head  and  hands,  seem  rather  to  point  to  p, 
different  school,  possibly  that  of  Bruges  and  such  artists  as  the  Masters 
of  the  Ursula  and  Barbara  Legends.  The  condition  of  the  drawing, 
however,  makes  any  exact  attribution  out  of  the  question. 

9.  Study  of  a  Man  :    verso,  A  Bbogar. 

The  man  faces  to  the  front  and  "his  hands,  concealed  in  his  large  sleeves, 
are  joined  in  front  of  his  body  ;  he  wears  a  headdress  of  coarse  fur  or  leaves  • 
on  the  1.  parts  of  two  dogs.  On  the  verso  a  beggar  with  a  staff  in  profile 
to  the  r.  holding  his  cap  and  looking  up. 


64  iMfch  and  Flrmisii  Di'awings. 

[4^,  X  2/«  in.;     11*6  X  S- 8   cm.]     Silver   point   on   prepared   surface: 

the  f*rito  completely  gone  over  by  a  later  hand  with  a  brush  and  Indian 

ink.     No  watermark  visible. 

Collections  :    Robinson,  Malcolm  (Catalogue,  No.  533). 

Punl»LHe«l.  1 8»r) .  9 . 1 5 .  980. 

Reproduction  :    PI.  XXII. 

The  drawing,  attributed  in  the  Malcolm  Catalogue  to  Hans  Holbein 
the  Elder,  resembles  a  sheet  with  silver  point  drawings  on  both  sides  in 
the  Albortina  (rcproducetl  Schonbrunner-Moder,  503)  and  another  in  the 
Uonnat  Collection  at  Uayonne  (Bonnat  publication.  No.  24a  and  n),  and 
may  be  a  fragment  of  the  same  sketch  book.  The  drawing  on  the  vrmo 
is  entirely  reworke<l.  The  drawing  on  the  recto  recalls  the  fragments  of 
the  sketch    book  of  Geraert   David   (at   Paris,   Frankfurt,  Cracow,  etc., 

Eublished  F.  VVinkler,  Pantheon,  III  (1929),  271),  but  the  resemblance  may 
e  fortuitous.     The  costume  of  the  figure  on  the  recto  is  curious  :    it  is 
possibly  some  huntsman's  uniform. 

10.  Two  Kneeling  Ladies. 

The  foremost  lias  her  hands  joined  in  praj'er.  the  second  her  arms  creased 
over  her  body  ;  both  kneel  towards  the  r.,  and  wear  umi-nml  licadrl reuses 
far  back  on  their  foreheads,  which  are  shaved. 

flOj  X  7ii»g  in.;  258  x  192  cm.]    Pen  and  dark  Ijiowi.  h.k  »m.i  oim  ^  <halk 

(of  which  traces  remain  along  the  back  of  the  foremost  figure). 

Collection  :  Malcolm  (Catalogue,  no.  550). 

Reproductions:     Kunstchronik,   N.F.,   XXXIII   (1922),    p.   615,  Abb.  3; 

Popham,  pi.  27. 

Lit.:     F.    Winkler,    Kumtchronik,    N.F.,    XXXIII    (1922).    p.    616  fl.; 

L.  Demonts,  OazeUe,  XIV  (1926),  16  ;  A.  E.  Popham,  ApoUo,\l\  (1928),  177. 

The  drawing,  of  which  there  is  an  old  copy  in  the  Mtwson  Collection, 
ficole  des  Beaux -Arts,  Paris,  is  the  work  of  a  glass  painter  whom  I  have 
named  (Apollo,  loc.  cit.)  the  Master  of  the  Storj'  of  Tobit.  A  dravring 
in  the  Pierpont  Morgan  Library,  New  York  (reproduced.  Fair/ax  Murray 
Collection  of  Drawings,  1904,  pi.  224),  is  obvioasly  not  only  the  work  of 
the  same  artist,  but  a  companion  study.  Another  drawing  with  which 
l)oth  are  closely  connected  is  the  roundel  of  Joseph  and  Potiphar's  \rife 
at  Oxford  (reproduced,  Apollo,  loc.  cit.,  p.  178).  There  is  al.so  a  resemblance, 
too  close  to  be  fortuitous,  between  the  foremost  lady  andAsenath  in  the  Meeting 
oj  Joseph  and  Asenath,  one  of  the  roimd  pictures  by  the  Master  of  the  Legend 
of  Joseph  at  Berlin  (No.  539  D),  while  the  New  York  kneeling  lady  is  like 
Potiphar's  wife  in  another  picture  of  the  series  also  at  Berlin  (No.  539  B). 
In  the  article  in  Apollo  referred  to  I  put  forward  the  theory  that  the 
pictures  at  Berlin  derived  from  glass  roundels  by  the  Ma.ster  of  Tobit.  In 
one  case  we  have  both  a  drawing  from  the  roundel  and  the  picture  of  the 
same  subject  (Joseph  sold  to  the  Ishmaelites,  No.  539  A)  :  the  ratio  of 
difference  between  these  two  is  the  same  as  that  which  differentiates  the 
two  present  drawings  from  the  portions  of  the  two  pictiu^es  which  they 
resemble,  and  it  is  justifiable  to  assume  that  these  two  drawings  are  studies 
(or  copies  of  studies)  used  for  the  glass  designs.  I  hesitate  to  regard  either 
of  the  drawings  in  question  (or  most  others  of  the  series)  as  original 
studies.  The  me<'hanical  definition  of  their  outlines  anti  the  apfiearance 
they  have  of  being  taken  out  of  a  comjMwition  seem,  in  spite  of  their  vivid- 
neMt  to  preclude  such  a  view.  The  foremost  of  the  Briti.sh  M\iseum  ladies 
seems  indeed  to  derive  (in  reverse)  from  the  Abigail  in  Hugo  van  der  (Joes' 
fresco,  preserved  in  copies,  of  the  meeting  of  David  and  Abigail,  probably 
through  an  intermediate.  The  marked  superiority  in  quality  of  the  main 
figures  in  roundels  of  the  series  of  Joseph,  such  as  the  Joseph  anil  Potiphar's 
wife  at  Oxford,  over  the  subsidiary  figures,  suggests  that  the  former  are 
copies  and  the  latter  the  copyist's  own  invention.  -V  parnll'-'  *'  •  ••  h  a 
practice  is  provi<le<l  by  the  drawing  for  a  glass  roundel  in  i  on 

of  M.  Andre  de  Heve«y  at  Paris,  where  the  figure  of  the  ,         I   is 

slavishly  copied  from  the  drawing  of  Jacob  and  Rachel  by  Hugo  van  der 
Goes  at  Oxford  (or  the  picture  painted  from  tills  drawing),  wliile  the  rest 


Flemisk  ScJwol.  65 


is  the  copyist's  own  very  feeble  invention.  The  hand  of  M.  de  Hevesy's 
drawing  is  not  the  same  as  that  of  the  present,  though  it  was  trained  in 
the  same  school. 

11.   Jason  seizing  the  Golden  Fleece. 

In  the  foreground  Jason,  fully  armed,  stoops  to  lift  up  the  Golden  Fleece, 
which  lies  inside  a  low  stone  enclosure  with  an  entrance  in  front ;  to  the  1. 
in  the  middle  distance  Jason  is  taming  the  dragon  ;  to  the  r.,  slightly 
further  back,  are  the  armed  men  sown  from  the  dragon's  teeth,  among 
whom  Jason  throws  a  stone  ;  behind  them  are  the  bulls  with  horns  and 
feet  of  brass,  and  on  a  rock  in  the  distance  to  the  1.  Aeetes  with  ladies  and 
gentlemen  on  horseback. 

[9/s  X  6JJ  in.  ;    24-2  X  17  cm.]     Pen  and  brown  ink.     False   monogram 

of  Heemskerck  on  end  of  wall  to  1.  and  name  M  hetnskerck  in  darker  brown 

ink  in  bottom  r.  comer. 

Watermark,  a  Grothic  p  surmounted  by  a  quatrefoil  flower. 

Collection  :  Sloane. 

5236-163. 

Reproduction  :  PI.  XXII. 

The  composition,  which  was  surrounded  by  a  circle  drawn  free  hand 
(diameter  about  8}  in.  ;  22  cm.),  has  been  cut  into  on  either  side.  It  is 
probably  a  copy  from  a  drawing  or  roundel  by  the  draughtsman  of  the 
two  kneeling  ladies  (No.  10).  A  comparison  with  that  artist's  style  of 
composition,  as  in  the  drawing  of  Tobit  and  the  Fish  at  Windsor  (repro- 
duced, Apollo,  VII  (1928),  p.  176),  or  Joseph  sold  to  the  Midianites  at 
Berlin  (No.  1982),  with  successive  scenes  arranged  in  an  exactly  similar 
manner,  make  the  attribution,  which  is  not  at  once  obvious,  extremely 
probable.  The  style  of  armour  and  the  headdresses  of  the  ladies  in  the 
background  suggest  a  date  for  the  original  not  later  than  about  1490. 
The  quality  of  the  present  drawing  does  not  permit  of  its  being  regarded 
as  anything  but  a  copy. 

Contemporary  repre.sentations  of  the  same  subject  are  the  engraving, 
now  at  Boston  (published  by  Max  Lehrs,  Mitteilungen,  1921,  p.  1),  repro- 
ducing a  miniature  in  a  MS.  at  Paris,  and  the  miniature  in  the  splendid  MS. 
of  the  Roman  de  la  Hose  in  the  British  Museum  (Harley  4425,  folio  86).  In 
the  latter,  where  only  the  taming  of  the  dragon  is  represented,  the  figure 
of  Jason  and  the  enclosure  of  the  Golden  Fleece  are  somewhat  similar. 

12.  Two  Studies  of  St.  Maby  Magdalene. 

In  both  studies  the  saint  stands  turned  three-quarters  to  r.,  holding  a  book 
in  her  r.  and  a  pot  of  ointment  in  her  1.  hand  ;  in  the  1.  hand  study  the 
book  is  closed,  in  the  r.  hand  one  it  is  held  open. 

[7i  X  6j|in-:    19*5  X  17-3  cm.]     Pen  and  brown  ink. 

Collection  :  Sloane. 

5237-66. 

Reproduction  :  PI.  XXII. 

The  drawing  appears  to  be  by  the  same  hand  as  no.  10,  but  must 
be  an  original  study.  It  shoulcl  be  compared  with  the  drawings  at 
Berlin  (No.  4555)  and  from  the  Poynter  Collection  (reproduced,  Vasari 
Society,  V,  17),  which  are  obviously  by  the  same  hand.  The  figures  are 
strongly  reminiscent  of  the  female  saints  on  the  sinister  shutter  of  Hugo  van 
der  Goes'  Portinari  altarpiece  at  Florence. 

13.  The  Virgin  and  St.  Joseph  being  refused  Admittance  to  the  Inn  at 

Bethlehem. 

Design  for  a  border  surrounding  the  text  of  a  manuscript ;  at  the  bottom 
St.  Joseph  and  the  Virgin,  followed  by  an  ass  and  an  ox,  advance  towards 
an  inn,  the  hostess  of  which  makes  a  gesture  of  refusal  ;  the  figures  of  the 
Virgin  and  St.  Joseph  are  repeated  above  in  the  place  where  the  text  would 
appear  ;  in  the  r.  border  are  angels  and  a  lighted  house  ;  angels  and 
shepherds  are  also  represented  along  the  upper  margin. 

[4|  X  3|;  in.  ;  11  X  7- 9  cm.]  Point  of  the  brush  on  dark  grey  prepared 
surface,  heightened  with  white. 

F 


66  Dutch  and  Flemish  Drawings. 


Collections  :   Buonfiglio  of  Bologna ;   Sagredo  ;  John  Udney ;  Sunderland 
(Sale,  Christie's,  June  15th,  1883,  lot  41,  including  No.  1  above). 
Purchased,  1883.7.14.78. 

Reproductions  :  Art  in  America,  XVI  (1928),  facing  p.  139  :  PI.  XXIII. 
Lit.  :  A.  E.  Popham,  as  above,  p.  134  ff. 

The  style  of  the  drawing  is  that  of  the  miniatunst  called  by  F.  Winkler 
(Die  jUimiache  Buchmalerei,  Leipzig,  1925,  p.  103),  the  Master  of  Mary  of 
Burgundy.  I  cannot  point  to  any  miniature  by  that  artist  founded  on 
the  present  drawing,  but  the  border  in  substantially  the  same  form  occurs 
in  manuscripts  by  other  artists  of  the  Ghent-Bruges  School  ;  in  the  Croy 
Book  of  Hours  at  Vienna  (Codex  1858,  fol.  56),  in  the  Mayer  van  den  Bergh 
Breviary  at  Antwerp  (fol.  132  verso  ;  repr.  Gazette  des  Beaux-Arta  IX,  (1924), 
facing  p.  194),  and  in  a  small  Book  of  Hours  in  the  Library  of  the  Duke  of 
■  X>evonshire  at  Chatsworth,  fol.  38.  The  last  in  size  and  arrangement  corre- 
sponds most  closely  with  the  drawing.  Two  other  drawings  by  the  same 
hand  are  in  the  Masson  Collection  in  the  £cole  des  Beaux -Arts  at  Paris 
(reproduced  and  discussed  in  the  article  quoted  above). 

FLEMISH  SCHOOL,  beginning  of  the  XVIth  century. 

14.  The  Visitation. 

The  figures  are  half  length  ;  on  the  1.  is  the  Virgin,  with  her  cloak  drawn 
over  her  head,  to  whom,  on  the  r.,  St.  Elizabeth,  wearing  a  curious  head- 
dress, advances  holding  out  her  1.  hand  ;  a  gate  and  towers  in  the  back- 
ground. 

[4S  X  3|  in.  ;  12*5  X  8- 6  cm.]  Brush  drawing  on  grey  prepared  surface, 
heightened  with  white. 

Collection  :    S.  Woodburn  (Sale,  June  21st,  1854,  lot  1170). 
Reproduction  :    PI.  XXIII. 

The  group,  whole  length  or,  as  here,  half  length,  constantly  occurs  in 
manuscripts  of  the  Ghent-Bruges  school.  Of  the  half-length  repetitions 
those  in  the  Breviary  in  the  Maj'er  van  den  Bergh  Museum  at  Antwerp 
and  in  a  detached  miniatvire  from  Captain  Spencer  Churchill's  collection 
sold  at  Sotheby's,  May  21st,  1928  (lot  8,  ill.  in  Sale  Catalogue),  resemble  the 
present  drawing  most  closely.  It  is  certainly  the  working  drawing  of  a 
miniaturist  of  the  school,  but  more  probably  a  copy,  than  the  work  of  a 
chej  (T^cole  like  the  preceding. 

15.  St.  John  the  Baptist  and  hi.s  Disciples.    "  Ecce  Aqnus  Dei.  "  Verao  : 
St.  Matthew. 

St.  John  the  Baptist  with  a  group  of  disciples  behind  him  stands  on 
the  1. ;    in  the  distance,  to  the  r.,  is  Jesus. 

Verso  :  St.  Matthew  is  seated  at  a  desk  facing  towards  the  1.,  the  angel 
behind  him  ;  in  a  bedroom  opening  out  of  that  in  which  the  saint  sits,  a 
man  is  kneeling. 

[5J  X  3j\  in.  ;    12-9  X  8-  1  cm.]     Pen  and  brown  ink.     Inscribed  on  the 

recto  at  the  bottom  :  6  Stuy  "  six  stuyvers  (?)." 

Collection  :  Sloane. 

5226-93. 

Reproduction  :  PI.  XXIII. 

The  miniature  of  the  "  Ecce  Agnus  Dei  "  in  the  Grimani  Breviary 
(fol.  594)  is  very  similar  ;  in  fact,  the  figures  of  St.  John  and  of  Christ  are 
almost  line  for  line  the  same  as  in  the  drawing,  but  the  position  of  the 
trees  and  the  disciples  of  St.  John  are  different.  No  doubt  the  scene  alsTi 
occurs  in  other  MSS.  of  the  school.  I  have  not  found  the  St.  Matthew. 
The  drawings  may  be  sketches  or  patterns  for  miniatures.  The  inscrip- 
tion "  6  stuyvers  '  might  be  contemporary  and  refer  to  the  price  for  the 
miniature  as  carried  out  ;  or  it  may  be  an  actual  leaf  of  a  cheap  book  of 
hours  on  paper,  with  uncoloured  illustrations,  though  I  think  that  the 
St.  Matthew  and  the  Ecce  Agnus  would  hardly  be  likely  to  occur  on  rec4o 
an«l  verso  of  the  same  sheet. 


Mmter  of  U9d~Flcmish  School.  67 

"MASTER  OF  1499." 

16.  The  Virgin  Annunciate. 

The  Virgin  kneels  towards  the  r.  at  a  window  seat,  on  which  is  a  book 
resting  on  a  cushion  ;  the  Holy  Spirit  descends  from  above  on  the  1.  ; 
the  room  beyond  is  divided  by  a  row  of  columns  ;  in  the  1.  hand  bay  is 
a  bed. 

[Arched  top,  SJ  X  6^in.  ;    21-7  X  15 -8  cm.]     The  Virgin  drawn  in  pen 

and  brown  ink,  her  face  and  hands  washed  with  colour  ;    the  rest  partly 

in  pen  and  darker  ink  and  partly  drawn  with  the  point  of  the  brush  with 

washes.     Inscribed  in  a  later  hand  B.H.  1510. 

Colle<-tion  :     Rev.   W.    H.    Barnard   (from   album   of   Lucas   van   Leyden 

drawings,  1637). 

Purchase<l,  1892.8.4.20. 

Reproduction  :    PI.  XXIV. 

Lit.  :   S.  Colvin,  Prussian  Jahrbuch,  XIV  (1893),  p.  166. 

The  drawing  corresponds  almost  exactly  with  the  r.  half  of  a  diptych 
of  the  Annunciation  in  the  Kaiser  Friedrich  Museum,  Berlin  (No.  548, 
16  X  9  cm.),  but  is  slightly  larger  in  size.  Other  differences  are  the 
absence  from  the  drawing  of  a  lily  in  a  vase  on  the  1.  and  of  slippers  in  the 
foreground  which  appear  in  the  picture  :  the  absence  of  the  Holy  Spirit 
and  the  bed  in  the  backgromid  on  the  1.  in  the  picture.  The  diptych 
has  been  discussed  by  F.  Winkler  (Amtliche  BerichU,  XXXVII  (1915),  p.  69), 
who  groups  tiie  work  of  the  artist,  a  close  follower  of  Hugo  van  dor  Cloes. 
Friediftiider  (AUniederlandutche  Malerei  IV,  p.  76)  names  him  tlie  Bruges 
Master  of  1499. 

The  drawing,  closely  as  it  resembles  the  picture,  n\ay  be  an  original 
work  by  the  artist.  The  technique  is  that  of  the  drawings  of  the  miniaturists 
of  the  Ghent-Bruges  School,  and  the  Master  of  1499  in  the  manner  of  his 
painting  recalls  a  miniaturist  of  tliat  type. 

On  the  ledge  of  the  window  in  front  of  the  Virgin  is  wliat  appears  to 
be  a  flower.  This  resembles  the  mark  which  Jan  vnnden  Moere  ap|>ended 
to  the  do<*umont  of  1501  in  the  archives  of  the  Bruges  Corporation 
(Facsimile  in  Charles  vanden  Haute,  Ln  Corporation  dts  Peintrea  de  Bruges, 
Bruges,  n.d.  fa<-ing  p.  88).  This  well-known  document  of  the  Corporation 
enacts  that  illuminators  (verlecteres)  should  sign  their  works  with  a  mark 
to  be  registered  in  the  document.  The  twelve  nwrks,  including  that  of 
Symon  Bening,  which  were  appended,  have  never  been  found,  as  far  as 
I  know,  on  any  miniature.  Nothing  further  is  known  of  Jan  vanden  Moere. 
The  identification  of  the  flower  on  the  drawing  and  that  in  the  document 
must  however  be  regarded  as  extremely  doubtful. 

FLEMISH  SCHOOL,  beginning  of  the  XVIth  century. 

17.  The  Creation  ok  Auah. 

God  appears  three  times,  hovering  in  the  air  on  the  I.  under  an  arcade 
of  Flemish  Renaissance  architectiu^,  on  the  r.  a  little  higher  up  and 
kneeling  on  the  grouiid  below  on  the  r.  ;  Adam  is  seated  against  a  tree 
below  on  the  I.  ;  landscape  with  a  uiiicorn  and  a  stag.  The  drawing  is 
on  two  sections  of  paper  fcistened  together  down  the  centre  ;  the  arcade 
does  not  extend  into  the  r.  hand  portion. 

[9|  X  6|  in.  ;    24  X  16' 3  cm.]     Pen  and  brown  ink.     Backed,  watermark 

a  crowned  shield  with  throe  fleurs-de-lys. 

Collection  :    S.  Woodblu^l  (Sale,  June  21st,  1854,  lot  1170). 

Purchased,  1854.6.28.43. 

Reproduction  :    PI.  XXIV. 

The  careful  formal  style  of  drawing,  the  stubby  types  of  the  figures 
and  their  archaism  as  compared  with  the  Renaissance  architecture  (which 
can  hardly  be  earlier  than  1520)  recall  the  Ghent-Bruges  school  of  illumi- 
nation. The  type  of  the  features  with  the  accentuation  of  the  lower  line 
of  the  upper  lid  and  the  shadow  under  the  lower  lip,  resembles  that  of  the 
Master  of  1499.  If  by  him  it  would  be  a  later  work  than  the  drawing 
previouslv  described  or  the  pictures  hitherto  recognised  as  his. 

F    2 


68  Dutch  and  Flemish  Dramnys. 

18.  Trk  Adoration  or  the  Shepherds. 

To  the  1.  of  the  centre  kneels  the  Virgin  in  front  of  the  Child,  who  lies 
in  a  small  sarfophagns  to  the  r.  ;  round  this  are  three  angels  and  three 
amorini ;  on  the  r.  is  St.  Joseph  holding  his  hat  and  a  lamp,  and  on  the  1. 
two  shepherds,  one  with  a  bagpipes  ;  above  hover  four  angels  and  higher 
up  four  amorini ;   behind  is  the  choir  of  a  ruined  church. 

[llj^fl  X  lOJ  in.  ;  28*7  X  26-2  cm.  ;  a  piece  about  J  in.  deep  added  along 
the  top].  Pen  and  brown  ink,  retouched  in  places  with  darker  brown  and 
black  ink.  Watermark,  a  shield  with  three  fleurg-de-lys  with  a  bend  sinister 
for  difference,  a  crown  above  and  the  letter  C  at  the  point,  like  Briquet  1814. 
Collection  :  S.  Woodbum  (Sale  I860,  June  2l8t,  lot  563  as  Hans  Memling). 
Purchased,  1860.6.16.65. 
Reproduction  :   PI.  XXIV. 

The  drawing  is  obviously  a  copy  from  a  picture  (cf.  the  unfinished 
portion  between  the  shepherds  and  the  Virgin).  The  type  of  the  Virgin's 
face  and  that  of  the  angels  is  strongly  reminiscent  of  Colijn  de  Coter's, 
while  the  figures  on  the  1.  and  r.  and  the  composition  rather  suggest  an 
Antwerp  origin.  The  curious  position  of  the  Virgin's  hands  occur  in  a 
pictiu*  formerly  in  the  Kaufmann  Collection  (pi.  XV  of  the  publication) 
and  in  a  picture  by  B.  Bruyn  in  the  same  Collection  (pi.  XXXIII). 

19.  Susannah  Accused  by  the  Wicked  Elders. 

In  the  centre  a  bearded  judge  is  seated  on  a  raised  throne  ;  Susannah,  who 
raises  her  1.  hand  as  if  to  vr\pe  away  her  tears,  stands  on  the  1.  ;  on  the 
r.  are  the  two  elders,  bare-headed  and  with  tonsures,  holding  up  their 
r.  hands  in  the  act  of  benediction  ;  a  dog  in  front  of  the  judge's  seat  is 
barking  at  the  elders. 

[Circular  ;  diameter  9 J  in.  ;   23 -.3  cm.]     Silver  point  on  dark  grey  prepared 

surface,  heightened  with  white.     A  segment  at  the  top  reaching  to  the 

judge's  head  is  made  up  and  the  whole  is  much  restored. 

Collection  :  W.  Mavor  (Catalogue,  1875,  No.  392,  as  Roger  van  der  Weyden). 

Purchased,  1876.12.9. 633. 

Reproduction  :    PI.  XXV. 

Design  for  glass  roundel.  The  extensive  and  careful  restoration  of  the 
foreground  figures  makes  it  difficult  to  form  a  judgment  of  the  style. 
There  is  some  resemblance  to  the  paintings  in  St.  Rombout  at  Malines 
of  the  story  of  that  saint,  particularly  to  those  by  Colin  de  Coter.  In 
its  main  lines,  however,  the  composition  probably  goes  back  to  an  earlier 
work.  A  glass  roundel,  belonging  recently  to  Mr.  M.  Drake,  shows  exactly 
the  same  arrangement  of  the  scene,  and  though  this  roundel  is  not  itself 
necessarily  of  earlier  date,  the  costumes  show  it  to  be  a  fairly  close  copy 
from  a  work  of  about  1480.  I  do  not  know  why  the  elders  are  represented 
with  tonsures  nor  the  exact  significance  of  the  blessing.  It  may  be 
intended  as  a  satire  on  the  monks. 

20.  Incident  in  the  Legend  of  St.  Christopher. 

The  giant  Christopher  stands  on  the  1.  facing  to  the  front,  a  lialberd  over 
his  r.  shoulder  ;  a  wayside  cross  is  behind  him  to  the  1. ;  Satan  on  horseback 
on  the  r.  has  turned  away  and  is  speaking  to  Christopher  over  his  shoulder  ; 
his  cavalcade  is  seen  making  a  detour  round  a  tree  and  away  to  the  1.  ; 
a  castle  on  a  hill  is  seen  in  the  flistance  on  the  1. 

[lOi  X  7|in.  ;    25-8  x  18-8  cm.]     Finished  drawing  in   pen  and  brown 
ink,  washetl  with  greenish  yellow  (background,  legs  of  Christopher,  etc) 
and  pale  blue  (Christopher's  tunic),  the  outlines  pricket!  for  transfer. 
Collet'tion  :     Rev.   W.   H.    Barnard   (from   album   of   Lucas   van    I^yden 
drawings,  1637). ' 
Purcha«e<l.  1892.8.4.17. 
Reproduction  :    PI.  XXV. 
Literature  :   S.  Colvin,  Prussian  Jahrhueh,  XIV  (1893),  p.  116. 

As  was  pointed  out  by  Colvin,  the  drawing  is  certainly  not  by  Lucas 
van  Leyden.      TJw  iii«lii..n.»»  of   Diirer's  engravings  is  evident  :    the  legw 


Flemish  School — School  of  A  it  twerp.  69 


of  Christopher,  for  example,  are  obviously  imitated  from  the  Little  Standard 
Bearer,  B.  87  (Flechsig,  Diirer,  1928,  p.  445,  notes  that  the  type  of  shoe 
with  the  sides  turned  (lown  was  a  fashion  only  prevalent  in  the  years  about 
1500-1505,  occurring  in  but  a  few  works  :  cf.  also  F.  Winkler,  Old  Master 
Drawings,  III  (1928),  p.  13,  14,  with  reproduction  of  n  drawing  by  Kulmbach 
at  Bremen,  where  the  position  of  the  legs  is  very  similar)  ;  while  the  horse, 
with  its  tail  decorated  with  oak  leaves,  recalls  the  horse  in  the  St.  George, 
B.  54,  and  Christopher's  cloak  that  of  Christ  in  the  Little  Passion 
Resurrection,  B.  17,  of  1512.  The  draughtsman,  though  skilful  as  such,  is 
obviously  an  unoriginal  artist.  The  flat  tapestry-like  treatment  of  the 
figures,  something  in  the  features  of  St.  Christopher  and  the  drapery, 
are  strongly  reminiscent  of  Quentin  Matsys.  The  drawing  might  well 
be  by  such  an  artist  of  Matsys's  entourage  as  the  Master  of  the  Mansi 
Magdalene,  who  certainly  copied  freely  from  Diirer.  The  drawing  by  him 
at  Berlin  (reproduced  Berlin  Jahrbuch,  XXVI  (1915),  p.  9)  hardly  affords 
a  basis  for  comparison,  as  it  is  rather  a  painting  in  body  colour  than  a 
drawing. 

For  another  drawing  of  this  subject,  see  Pieter  Koecke,  No.  8,  where 
the  legend  is  explained. 

21.  Satebical  or  Proverbial  Subjectt. 

On  the  1.  a  woman  kneels  on  the  ground  on  one  knee,  holding  a  cat  ;  a 
man  with  a  fool's  cap  and  staff  stands  on  the  r.  and  holds  a  spoon  out  to 
the  woman  ;  behind  her  are  a  man  playing  the  bagpipes  and  another 
pointing  to  his  1.  eye  ;   a  tree,  with  a  castle  beyond,  in  the  background. 

[8  X  5  in.  ;    20-2  x  12- 7  cm.]     Pen  and  brown  ink;    a  triangular  piece 

is  made  up  on  the  bottom  at  the  r.     The  watermark  is  indistinct. 

Collection  :   Sloane. 

5236— 3». 

Reproduction  :    PI.  XXV. 

Placetl,  subsequently  to  the  inventory  of  1837  and  the  MS.  catalogue 
of  1854,  with  drawings  by  the  elder  Pieter  Brueghel,  with  who.se  style 
the  drawing  has  little  in  common.  The  method  of  cross  hatching,  the 
way  in  which  the  shadows  are  cast,  the  drapery  of  the  woman  and  details 
in  the  dress  of  the  man  with  the  fool's  cap,  resemble  those  of  the  supposed 
Aerdt  Ortkens,  though  the  hand  is  certainly  not  the  same  as  that  of  other 
drawings  attributed  to  him.  There  is  some  likeness  also  to  a  drawing  in  the 
Ashmolean  of  an  ass  playing  on  the  organ  (roundel  for  glass).  I  can  offer 
no  explanation  of  the  subject. 

SCHOOL  OP  ANTWERP,  first  quarter  of  the  XVIth  century. 

22.  St.  Luke  painting  the  Virgin. 

The  Virgin,  with  the  Child  on  her  lap,  is  seated  on  a  throne  decorated  with 
Cothic  tracery,  on  the  1.  ;  St.  Luke,  \n  profile  to  the  1.,  is  seated  at  his  easel 
on  the  r.  ;  his  emblem,  the  bull,  with  a  shield  on  which  are  three  escutcheons 
hung  round  its  neck,  lies  behind  the  easel ;  in  the  backgroiuid  on  the  r. 
is  an  angel  grinding  colours. 

[Diameter,  11 J  in.  ;   29  cm.]     Point  of  the  brush  on  grey  prepared  surface, 

heightened  with  white,  pricked  for  transfer. 

Collections  :  C.  M.  Metz  (Sale,  May  6th,  1801,  lot  88  as  Lucas  van  Leyden), 

Sir  T.  Lawrence,  S.  Woodburn  (Sale,  Christie's,  June  4th,  1860,  lot  529). 

Purchased,  1860.6.16.57. 

Reproduction  :  C.  M.  Metz,  Imitations  of  Ancient  Drawings,  1798  (aquatint 

in  reverse)  ;   Popham,  pi.  53. 

Literature  :   Old  Master  Drawings,  V  (1930),  54,  55. 

A  companion  drawing  in  the  same  technique  and  pricked  through  in 
the  same  manner  is  at  Lille  (reproduced  Old  Master  Drawings,  hoc.  cit., 
pi.  35).  It  represents  St.  Luke  and  the  Vision  of  Zacharias,  but  is  smaller  in 
size.  Both  are  probably  designs  for  gleiss  roundels,  though  it  is  possible  that 
they  were  intended  for  an  embroidered  altar  frontal  or  vestment.  The  subject 
and  the  arms  of  a  guild  of  St.  Luke,  presumably  that  of  Antwerp,  point  to 


70  Dutch  and  Flemu/i  Drawings. 


both  drawings  having  been  intended  for  the  decoratioi  qiel  or  h*U 

of  X\\f  laiild.     The  St.  Luke  painting  the  Virgin,  whicli  <-d  in  1802 

by  Martin  de  Vo«.  for  the  altar  of  the  rhapel  of  tl:'  >  Antwerp 

Cuthctiral.  ix  tto  similar  in  its  arrangement  and  in  hoi>  irit  detaibi 

that  it  must  be  nresumed  that  Blartin  de  Vos  knew  i..  .:-.Miig  or  the 
completed  roundel.  This  fact  strengthens  the  assumption  that  the  drawing 
was  connected  ^^-ith  the  Antwerp  Guild. 

The  drawing  shows  eleinentA  of  the  **  mannerist "  style  but  not  yet 
fully  developed.  It  must  be  the  work  of  an  able  and  distinguished  artist 
of  «  generation  slight! v  older  than  Jan  de  Deer.  X.  ik>et«  {Diriek  Jacobn. 
Vdiert,  rv.  in  Ome  Kun/tt  XXII  (1912).  133)  attnbutes  the  Lille  drawing 
to  Vellert.  M.  J.  FrietlUinder  (Berlin  Jahrhuch,  XXXVI  (1916),  p.  76)  to 
his  A  and  B  group  of  Antwerp  MunneriHt.s  (Jan  de  Beer  7).  Neither 
meotionB  the  present  drawing. 

28.  St.  Jbbomx  ik  Pknitbmcb. 

The  saint  kneels  in  penitence  before  an  altar  on  the  I.  in  an  extensive 
landscape :  the  lion  is  lying  in  the  foreground  on  the  I.  ;  the  cardinal's 
hat  ana  cloak  are  hung  on  a  tree  on  the  r. 

[U|  X  10,2«  in. :    37-2  X  26-2  cm.]     Point  of  the  brush  on  groenish-grey 
prepared  siurfai-e,  hei{zhtone<l  with  white. 
PrsMnted  by  LoopoUl  Hirach.  FL^q..  1012.12.14.6. 
Reproduction  :   Popham,  pl.  54. 

By  an  able  Antwerp  artist  of  about  1520.  The  landscape  is  very 
similar  to  those  in  Vellert's  engravings  and  drawings  of  1523,  but  the 
figure  and  the  drapery  are  not  in  his  style. 

24.  Christ  shown  to  the  People. 

Christ  stands,  with  His  hands  boun<l.  on  the  I.  at  the  tu|i  of  u  flight  of 
three  steps ;  He  is  held  at  the  end  of  a  rope  by  a  gaoler  and  Pilate  stands 
on  His  1. ;  a  group  of  fantastically  armed  warriors  is  on  the  r.  ;  a  child  in 
the  foreground  is  throwing  a  stone  for  a  dog. 

[712  X  15J  in.  ;   19- 8  X  38-6  cm.]    Point  of  the  bnwh  on  very  thin  brown 
paper,  heightened  with  white. 
Purchased.  1862.7.12.48. 
Reproduction:   PI.  XXVI. 

25.  Christ  taken  down  fbom  thk  Cross. 

In  the  centre  is  the  stem  of  the  Cross,  against  which  are  two  ladders  :  the 
body  of  Christ  is  he--  '  -     l.-d  by  a  fig\u«  on  the  ladder  to  a  m  "    n 

turban,  seen  from  i  a  third  man  with  a  |x>inted  hoo<i  s 

feet ;    a  woman  in  i  ^  on  the  I.  and  a  group  of  the  fainii..^  \  ..^.a 

with  8t.  John  and  two  women  is  on  the  r.  ;  behind  the  Cross  is  a  large  rock. 

IH|   X   16^    in.:     20-6  x  S8-9   cm  I     !•"...<    of   the   brush   on   verv   thin 
brown  paiwr.  heightened  with  whi 
PurehMed,  18(i2.7. 12.49. 
lUproduetioo :  PL  XXVI. 

^Theaetwo  drnwings.  whirh  belong  together,  were  purchaaed  as  print*. 
The  brown  tn.  h  they  are  drawn  is  peculiar  at  ao  early 

•  °***;    '^^>  ■"  •"**  shape  as  three  drawings  on  canvas 

at  BerUn  of  iiuiueniM  m  tiic  i.nc  of  Christ  (Nom.  4284.  4283.  4686)  in  the 
•^J'J*  «•'  *•*•  "  B  "  or  Jan  de  Beer  group,  but  have  not  the  same  touch, 
•^  ^y  "•.,«*»»«'d««l  ••  copies  from  lost  drawings  of  the  series.  The 
••'^^  ."??*"!"?  *•  "*"**'  *®  *«»^  ^  **»•  drawing  of  the  Meeting  of  Abraham 
and  IMebiasdelc  at  Vienna  (Benesch  34  :  8chonhninnor.Mo.lor  h3o) 

20.   Visiox  or  AI70DST0S  and  thk  Sybil. 

The  Kmneror  kneels  on  the  I.,  his  crown  and  sceptre  on  the  ground  befort; 
him^behind  stand  a  man  in  full  armour  holding  a  lance  and  five  other 
PJwoMjthe  Sybil  stands  on  the  r.  and  points  upwards  with  her  r.  hand  ; 
three  womao  and  a  man  with  a  halberti  are  grouped  behind  her ;  there 
are  tmo  srrolh  in  the  sky. 


School  of  Antwerp.  71 


[Arched  top,  ISjig  X  lOf  in.  ;    33-2  X  26-2  cm.]     Pen  and  black  ink  on 
very  thin  brown  paper,  heightened  with  white. 
Collections :  Sir  T.  Lawrence,  Sir  J.  C.  Robinson. 
Purchased,  1909.1.9.6. 
Reproduction  :   PI.  XXVI. 

Exhibited  at  the  Galleries  of  Obach  &  Co.,  November,  1908  (No.  11 
in. catalogue),  where  it  was  attributed  to  Cornelis  Engebrechtsz.  It  is 
obviously  much  nearer  to  drawings  of  the  Antwerp  School,  especially  to 
the  two  previously  described.  The  technique,  except  that  the  pen  instead 
of  the  brush  is  used,  and  the  thin  brown  paper  are  almost  exactly  the  same 
as  in  these. 

27.  The  Viboin  ascending  the  steps  of  the  TebJple. 

In  the  centre  of  a  courtyard  of  fantastic  renaissance  buildings  stand 
Joa«him  and  Anna  ;  the  Virgin  is  ascending  the  steps  to  a  fancifully 
decorated  porch  in  which  the  High  Priest  and  others  wait  to  receive  her  ; 
groups  of  people  stand  to  1.  and  r.  of  Joachim  and  Anna  ;  two  children 
and  a  dog  are  in  the  foreground,  and  in  the  distance,  seen  through  an 
archway,  the  annunciation  to  Joachim  takes  place. 

[11  X  7|  in.  ;  27.9  X  19.3  cm.]  Pen  and  brown  ink.  The  same  mark 
^  ^  as  on  the  drawing  by  Dirick  Vellert  (No.  7)  is  in  the  bottom  1.  hand 
comer.     Watermark,  a  Gothic  p  ,  like  Briquet  8532. 

Collection  :  Earl  of  Essex,  Cassioburv  Park  (sold  in  a  volume  at  Hodgson's, 
Nov.  24th,  1922,  lot  875). 
Purchased,  1923.4.17.5. 
Reproduction  :   Onze  Kunst,  XLI  (1925),  207. 

A  typical  and  excellent  example  of  the  Antwerp  mannerist  style.  It 
appears  to  be  by  the  same  hand  as  a  drawing  of  the  beheading  of 
St.  Catherine,  sold  in  the  Rodrigues  Sale  (July  12th-13th,  1921,  lot  171. 
illustrated  in  Sale  Catalogue ;  now  at  Amsterdam)  and  the  drawing 
formerly  at  Wilton  House  of  Joachim's  offering,  which  Friedlander  (Die 
Niederltindische  Manieristen,  Bibliothek  der  Kunstgeachichte,  Band  3,  1921, 
pi.  10),  for  reasons  which  I  do  not  understand,  attributes  to  Jan  de  Cock. 
The  present  drawing  is  very  near  in  style  to  the  supposed  Jan  de  Beer,  and 
may  even  be  his  work. 

28.  The  Annunciation. 

In  the  interior  of  a  renaissance  building  the  Virgin  kneels  at  a  prie-dieu  on 
the  r.  and  looks  round  towards  the  angel  who  hovers  above  on  the  1. 

[6i  X  4JI    in.;     17- 2  X  12-2    cm.]     Pen    and    dark    brown    ink.     False 
monogram  of  Altdorfer  on  the  1.     Backed,  no  watermark  visible. 
Collection  :    G.  Fairholme  (from  a  volume  mainly  of  Swiss  designs  for 
glass,  purchased  at  Berne  in  1829). 
Purchased,  1899.1.20.21. 
Reproduction  :   PI.  XXVII. 

29.  The  Adoration  of  the  Magi. 

The  Virgin  is  seated  on  the  ground  in  a  courtyard  with  renaissance  buildings 
in  the  background  ;  one  king  kneels  before  her  on  the  1.,  a  second  stands 
on  the  r.  behind  her  and  holds  a  chalice  while  Balthasar  stands  in  the 
background  on  the  1. 

[6J  X  5  in.  ;    17*2  X  12-6  cm.]     Pen  and  dark  brown  ink.     Backed,  no 

watermark  visible. 

Collection  :   G.  Fairholme  (as  above). 

Purchased,  1899 . 1 .  20 .  22. 

Reproduction  :   PI.  XXVII. 

These  two  drawings  are  by  the  same  hand,  that  of  a  good  Antwerp 
mannerist  of  about  1510-20. 

30.  The  Crucifixion  :    Verao,  Lot  and  his  Daughters. 

The  three  Crosses  are  seen  from  an  angle  ;  that  on  which  the  repentant 
thief  hangs  is  in  the  foregrovmd  on  the  1.  ;  beneath  it  is  the  Virgin  supported 


72  Dutcli  and  Flmiish  Drawings. 

by  St.  John  and  a  holy  woman  ;  Christ  on  the  Cross  is  in  the  centre  further 
back  with  Bfary  Magcmlene  to  the  r.  kneeling  at  its  foot ;  the  cnws  of  the 
■econd  thief  in  in  the  diHtance  on  the  r. ;  horsemen  and  other  figures  are 
further  back. 


Verao.  Lot,  seated  on  a  stone  under  a  tree  towards  the  r.,  holdi«  out  a 
cup  into  which  one  of  his  daughters  on  the  1.  pours  wine  ;  the  other 
daughter,  seated  beside  Lot,  puts  her  arm  round  his  neck  ;  Lot's  wife  and 
thebuming  cities  in  the  distance  on  the  r. 

X  3)  in. ;   13*1   X  9  cm.]      Pen  and  light  brown  ink.      No  watermark, 
ftions  :    Rev.  Frank  Parker,  Truro  Cathedral  Library. 
Purchased,  1 930 . 4 . 1 4 . 2. 

I>etached  from  an  extra-illustrated  Macklin's  Bible  formed  by  the 
Rev.  Frank  Parker  and  presented  by  him  to  the  Bishopric  of  Truro  in 
1883.     The  drawing  is  a  fairly  good  example  of  Antwerp  work  of  about  1620. 

31.  Ths  Martyrdom  or  the  Ten  Thousand  Christians. 

The  Km|>eror,  on  whoae  r.  hand  stands  an  Oriental  with  a  sword,  is 
enthroned  on  the  1.  and  superintends  the  decapitation  of  two  Christians, 
one  of  whose  heads  has  already  fallen  ;  on  the  r.  are  two  soldiers,  one 
seated  and  the  other  standing,  and  a  group  sttmds  behind  the  Kmperor*8 
throne  ;  in  the  distance  Christians  are  undergoing  various  forms  of 
martyrdom. 

[5|  X  8J  in.  ;    14  1        Jl  1  cm.]      Pen  and  brown  ink.     Old  attribution  to 

(iiorgione  bottom  r. 

HiM^iicathed  by  F.  W.  Smith,  Esq.,  through  the  National  Art-Collections 

Fund. 

1923.1.13.1. 

A  late  mad  feeble  drawing  m  the  Antwerp  mannerist  style. 

32.  T«  Vision  or  St.  Bbbmabd. 

The  Virgin,  who  prenea  her  breast  with  her  r.  hand,  sits  enthroned  under 
a  canopy  on  the  I. :  St.  Bernard  kneels  at  the  foot  of  the  steps  leading 
to  the  throne  on  the  r.  ;  a  stool  stands  in  front  of  the  throne  on  the  I. 
with  a  |iot  of  flowers. 

[Ui  ■<  6}  in. ;  233  X  IS-  9  cm.]     Pen  and  black  ink  for  the  1.  hand  portion, 
made  up  by  a  later  hand  in  brown  ink  on  the  r.     False  monogram  of 
Lwrns  van  Leyden.     No  watennark. 
CoUectiou  :  Sloaue. 

5ts»-ei. 

Reproduction  :  PI.  XXVII. 

By  a  feeble  Antwer])  mannerist.  Only  the  1.  hand  portion  and  the  head 
of  St.  Bernard  are  original ;  the  rest  is  an  even  feebler  addition.  The  Virgin 
and  Child  and  the  throne  are  partly  imitated  from  the  roundel  No.  22. 

SCHOOL  OP  ANTWERP,  first  half  of  the  XVIth  century. 

33.  AixBooBY  or  CHAKiry. 

A  matron  bokiii  ■  il«l  on  her  1.  arm  stands  faiiiig  the  sttectator,  her 

r.  foot  on  •  s<i  .•,  her  I.  on  an  armillary  i«phcrt>  ;  a  i)c>anlc<l  man 

folding  a  stick  i..  ^.r.  i  iiaud  stands  on  the  I.  and  takex  nourishment  from 
the  woman's  breast ;  a  child  on  the  r.  trioH  to  attract  the  attention  of  the 
woman  ;  at  the  top  on  the  1.  is  a  Ubiet,  inscribed  :  IKANQZ  BlOZElZ 
rHPOBOlKflN  TOY!  rONElZ;  another  on  tlw?  r.  beam  the  inscription  : 
MANOATUM  DO  VOBIS  VT  DILIQATIS  INVICEM  SICVT  DILEXI  VOS. 
■"i  ''i/oi:  27-6  X  17*3cm.]  PSn  and  black  ink  and  red  waah  ;  the 
iw  .  i!>H<  ri|.tiuiiJt  and  the  tablet  on  the  I.  as  well  an  additions  to  the  woman's 
htmii  aiul  the  flames  (?)  surroti'  u'roup  in  light  brown  ink.     Water- 

marfc«  part  of  a  bunch  o(  grape  ..tls  at  the  side,  like  Briquet  13 114- 

13138,  appamlty  almosi  exolusivpiv  ireaeh. 


Scliool  of  Antwerp — Flemish  School.  73 

Collections  :  Sir  Joshua  Reynolds,  John  Thane  (?),  W.  Esdaile,  Frederick 

D.  Harford. 

Purchased,  1911.4.12.2. 

Reproduction  :  PI.  XXVII. 

The  handling  of  this  drawing,  which,  while  in  Esdaile's  collection,  was 
thought  to  be  the  work  of  Diirer,  is  very  close  to  that  of  the  Antwerp 
"  mannerist  "  draughtsmen,  particularly  to  that  of  the  supposed  Jan  de  Beer. 
It  should  be  compared  with  the  drawing  of  Aristotle  and  Phyllis,  described 
under  Jan  de  Beer  above,  No.  3.  The  child  on  the  1.  is  also  very  similar 
to  the  child  in  the  large  drawing  by  the  same.  No.  2.  In  spite  of  these 
resemblances  the  whole  conception  of  the  drawing  is  obviously  quite  unlike 
that  of  the  Antw'erp  artist  and  shows  a  profound  and  direct  Italian  influence. 
Leonardo  and  his  school,  or  more  precisely  Sodoma  influenced  by  Leonardo, 
seem  to  have  inspired  the  draughtsman.  A  connection  with  Siena, 
Sodoma's  birthplace,  is  further  indicated  by  the  fact  that  the  woman  with 
the  two  children  is  apparently  inspired  by  Jacopo  della  Quercia's  statue 
of  Acca  Laurentia  on  the  Fonte  Gaia  in  Siena.  This  is  a  figure  which 
Sodoma  also  knew  and  copied.  A  direct  Milanese  influence  is  observable 
in  some  Antwerp  artists  of  the  period,  notably  Quentin  Matsys  and  Joos 
van  Cleve,  but  the  present  drawing  is  obviously  not  by  either  of  these,  and 
if  by  Jan  de  Beer,  in  a  phase  of  which  we  know  nothing.  All  that  can  be 
said  is  that  it  is  probably  the  work  of  an  Antwerp  artist  who  visited  Italy 
and  dates  from  about  1530  or  possibly  a  little  later. 


FLEMISH  SCHOOL,  first  half  of  the  XVIth  century. 

34.  The  Visitation. 

St.  Anne  advances  from  the  r.  towards  the  Virgin,  who  holds  out  her  r. 
hand  in  an  explanatory  gesture  while  she  gathers  her  cloak  about  her  with 
her  1.  hand. 

[8f  X  5Jin.  ;    22-2  X  13- 4  cm.     The  corners  cut  off.]     Pen  and  ink  and 

grey  wash  ;   on  the  r.  and  1.  the  base  of  a  column  indicated  in  light  brown 

ink  ;      pricked     for    transfer.       Backed  ;      watermark     very    indistinct, 

apparently  a  flower. 

Collections  :  P.  H.  Lankrink,  P.  Sandby. 

Stamped  1869.6.12.29,  but  this  does  not  correspond  with  the  entry  in 

the  Register. 

The  traditional  arrangement  of  the  two  figures  contrasted  with  the 
Renaissance  architecture  points  to  a  rather  archaistic  Flemish  artist  of 
about   1530. 

35.  St.  Catherine  with  a  Kneeling  Lady. 

St,  Catherine,  wearing  an  elaborate  costume  and  headdress,  stands  on  the 
1,  and  holds  the  sword  in  her  1.  and  a  book  in  her  r.  hand  ;  behind  her  are 
the  broken  wheel  and  the  infidel  king  ;  a  lady,  her  hands  joined  in  prayer, 
kneels,  facing  her,  on  the  r.  ;  in  the  background  is  a  rock  surmounted  by 
a  castle. 

[Circular,  diameter  8|  in.  ;  21  "4  cm.]  Pen  and  brown  ink  and  brown 
wash,  with  red  for  the  flesh  parts.  A  segment  on  the  r.  is  a  restoration 
and  small  portions  have  also  been  made  up  at  the  top  and  on  the  1.  Water- 
mark, a  Gothic  p. 

Bequeathed  by  the  Rev.  C.  M.  Cracherode,  1799. 
Ff.  4—90. 
Reproduction  :  PI.  XXVIII. 

Design  for  glass  roundel.  The  elaboration  of  the  costume  and  draperies 
and  the  rather  stubby  forms  recall  Gossaert's  style  of  the  period  of  the 
Malvagna  triptych  and  the  technique  is  near  to  that  of  the  drawing  in  the 
Uffizi  of  St.  John  on  Patmos  (design  for  a  three-light  window  ;  photo. 
Braun  997).  The  present  drawing  cannot,  however,  be  regarded  as 
anything  but  a  copy. 


74  Dutch  a)id  Flemish  Draioinys. 

SS.  Av  EocLBSuano  khikuno  before  St.  Qboboe. 

St.  Ctoorge  stands  on  the  I.  in  full  armour,  holding  a  lance,  on  which  is  • 
pennant,  in  his  r.  hand  :  the  eccleniait  ic  with  hands  joined  in  prayer  kneels 
on  the  r.  and  IooIca  up  towards  the  saint. 

[Cin-ular.  diameter  K|  in.  :   21  cm.]     Pen  and  brown  ink  and  brown  wash. 

Watermark,  a  Rinall  crowned  jug. 

Collection  :  Sloane. 

621H— 229. 

Reproduction  :  R.  XX VIII. 

Design  for  glass  roundel. 

37.  A  Momc  KKncuMO  between  St.  Maboabet  and  St.  Fbanois. 

On  the  1.  stands  St.  Margaret,  holding  a  palm  in  her  1.  hand  and  a  lamb 

on  a  lead  in  her  r. ;    the  monk  kneels  towards  the  1.  with  an  open  book 

on  the  groimd  before  him  ;    St.  Francis  stands  behind  on  the  r.  and  places 

his  I.  hand  on  the  monk's  shoulder  ;  in  the  distance  to  the  r.  is  St.  Francis's 

sleeping  companion. 

[Circular,  diameter  8)  in.  ;  20-8  cm.]     Pen  and  brown  ink  and  brown  wash. 

No  watermark. 

Collection  :  Sloane. 

6218—228. 

Reproduction  :  PI.  XXVIII. 

Design  for  glass  roundel. 

Companion  piece  to  the  preceding  and  by  the  same  hand.  Both  data 
from  about  1530-40.  and  are  iierhaps  Flemish,  but  more  probably  of  the 
Cologne  school.     In  any  case  they  are  poor  copies. 

58.  Thb  Brnni  or  the  Viroin  or  or  a  Saint. 

The  mtrther  lie«  in  bed  on  the  r.  ;    on  her  r.  stands  a  woman  who  offers 

her  a  saucer  :   another  woman,  of  whom  only  the  face  and  fingers  appear, 

on  the  other  side  of  the  bed  offers  her  a  plate  ;   on  the  1.  in  the  foregrotuul 

a  midwife  is  washing  the  child  ;  three  other  women,  eating  and  drinking  at 

a  taUe.  are  seen  through  an  opening. 

116  X  14  in.  ;   40-5  x  35-4  cm.]     The  outlines  drawn  with  the  bnuih  over 

black  chalk  ;    the  interior  modelling  in  brown  wash  ;    two  lines  in  red 

chalk  ruled  across,  possibly  to  indicate  the  wiring  in  the  glass.     Backed, 

no  watermark  visible. 

CoUeciion :   Fawkener. 

Beoueaihed  by  William  Fawkener,  Esq..  1769. 

Reproduction  :    PI.  XXIX. 

Fragment  of  a  cartoon,  presumably  for  stained  gUus.  The  paper  <m 
which  it  is  drawn  was  stuck  together  beforehand,  and  if  sheets  of  a  normal 
•ixo  were  used  we  might  expect  an  cxtcnwion  on  the  1.  of  about  21  in.,  of 
about  2|  on  the  r.  and  of  8  in.  to  the  height,  unless  more  sheeta  were  added. 

The  style  of  the  woric  seems  to  approach  that  of  Oriey,  but  it  is  difficult 
to  judge  what  may  be  a  subsidiary  portion  of  a  large  caKoon.  The  artist 
haa  borrowad  mottvas  from  DOrer's  woodcut  of  the  birth  of  the  Virgin 
(B.  80) of  which  tha  woman  bathing  the  child  and  the  woman  drinking  out  of 
the  jug  are  obvioos  rwrninjaoanoaa. 

59.  OuanmqvM  Head  or  ▲  Man  Shoutino. 

Tha  haad  is  turned  thrae-quartars  to  1.,  the  mouth  open  and  tha  eyas 

tumad  opwarda. 

llSxMin. ;     SS  x  lS*5em.1    Greyish    black   chalk   on   white   paper. 

FalM  "  X  "  of  Loeaa  van  Laydan  bottom  I.    No  watarmark. 

OoUaetioas:    8.    Woodbum.   Sir  J.   C.    Robinson.   Blalcolm   (Catalogue. 

N0.6M). 

Fnwihaasd.  1896.9.16.1010. 

Raptodaetkm :   PI.  XXIX. 


Flemish  School.  75 


The  unusual  size  and  subject  of  this  drawing  make  it  difficult  to  place. 
Hulin  de  Loo  and  W.  J.  H.  Weale  in  a  MS.  note  in  the  Malcolm  catalogue, 
suggested  that  it  was  by  van  Orley.  It  does  indeed  show  considerable 
resemblance  to  heads  such  as  those  in  the  Trials  of  Job  at  Brussels  of 
1521  and  the  tapestries  of  the  "  Hiuits  of  Maximilian  "  in  the  Louvre.  But 
for  its  spotless  condition  it  would  have  appeared  to  be  a  fragment  of  a  full- 
size  cartoon  for  tapestry.  The  suggestion  (made  in  pencil  on  the  moimt  in 
a  hand  not  known  to  me)  that  Marinus  van  Romersweiel  is  the 
draughtsman  is  a  specioxis  one,  but  I  think  the  technique  is  nearer  to 
the  time  of  van  Orley. 

40-43.   Series  of  designs  illustrating  the  Acts  of  the  Apostles. 

Pen  and  brown  ink  and  brown  wash.     No  watermarks. 
Collection  :   Sloane. 

5236—2 3.* 

Reproduction  :    PI.  XXX. 

40.  St.  Peter  delivered  from  Prison  by  an  Angel. 

Four  soldiers  are  sleeping  in  the  foreground  ;  furtlier  back  in  the  centre 
St.  Peter  and  the  Angel  are  seen  through  the  window  of  the  prison  and 
on  the  r.  departing  together. 

[lOA  X  4i  in.  ;     25-8  X  12*  5  cm.]     Traces   of   an    iiiscription   P.    van 

Aem  in  a  later  hand  in  the  lower  1.  comer. 

5236—2—1. 

41.  An  Apostle  preaching  is  apprehended  by  Soldiers. 

He  stands  in  the  centre  and  raises  his  r.  hand  ;  a  soldier  approaching 
from  the  r.  seizes  him  from  behind  ;  men,  women  and  children  are 
grouped  round  him,  many  seated  on  the  ground  ;  other  figures  are  in  the 
background  on  the  1. 

[8fS  X  4J  in.  ;    22*7  X  12-5  cm.]     Inscribed  in  lower  1.  comer  P.  van 

Aem. 

5236—3. 

42.  The  Apostles  setting  out  on  their  Journey. 

Four  apostles,  carrying  staves,  followed  by  others  are  leaving  the  gate 
of  a  city  on  the  1. 

[lO^Sg  X  4|in.  ;    26-2  X  12-5  cm.]    Inscribed  lower  1.  comer  Peeter  .  .  . 

AeUt. 

6236—2—3. 

43.  Simon  the  Sorcerer  trying  to  bribe  St.  Philip  (?). 

An  apostle  on  the  1.,  on  whom  a  soldier  is  laying  hands,  makes  a  gesture 
of  protest ;  a  man,  in  the  centre,  wearing  a  turban,  points  to  a  casket 
which  is  held  by  a  soldier  on  the  r.  ;  other  soldiers  further  to  the  r.  and, 
in  the  background,  the  apostle  preaching  approached  by  a  group  of 
soldiers. 

[lOJ  X  4J  in.  ;     26  X  12*  1cm.]     Inscribed  in   lower  r.   comer  P.   van 

Alt,  and  on  back  in  a  17th  cent,  hand  peeter  van  aelst. 

5236—2—2. 

The  format  of  the  four  drawings  suggests  that  they  were  intended  as 
designs  for  the  front  and  back  of  the  wings  of  an  altarpiece.  The  attribution 
to  Pieter  Koecke  himself,  though  it  goes  back  to  the  17th  cent.,  cannot  be 
accepted.  The  style  of  drawing  is  quite  different  to  that  acknowledged 
to  be  his  and  approaches  nearer  to  that  of  the  Master  of  the  Prodigal  Son. 
Several  peculiarities,  however,  the  dress  bunched  up  in  the  middle,  the 
long  tapering  legs  and  the  architecture  and  landscape  show  distinctly  the 
influence  of  Koecke  (cf.  especially  the  drawing  of  St.  Christopher,  No.  8), 
and  the  artist  must  be  a  pupil,  though  an  independent  one. 


76  Dutch  and  FleiuiaJi  Dramiigs. 

MASTER  OP  THE  PRODIGAL  SON,  working  in  Antwerp  about 
1530-50.  The  artist  is  so  called  from  a  picture  of  the  subject  at 
Vienna ;  others  are  at  Antwerp,  Ghent,  Toumai,  etc.,  and  drawings 
at  Berlin  (No.  126)  and  in  the  collection  of  Mrs,  Alfred  Noyes,  London. 
He  has  been  identified  by  Orete  Rintr  as  a  certain  T^naert  Kroes 
mentioned  by  van  Bfander. 

Lit.  :  G.  Hulin  de  Loo,  Calalvym-  dn  Mnxee  </«•«  Jieaiix-ArU  de 
Gand,  Ghent,  1909,  p.  55;  Crete  Ring,  Der  Meinter  den  cerlorenen 
Sohne$,  Jan  Mandyn  und  Lenaerl  Kroeti,  Jahrbuchfur  KumttnMemrhaft, 
1923,  p.  196  ff. 

44-48.    SnUES  OF    DESIGNS   VOB   GLASS   BOUKOBLS.      ThB   ApOCBTPHAI.  STOBT 

or  Joseph  and  Asenath. 

[Each  about  10}  x  lOin.  ;  26-5  x  25- 5  em.  ;  diamet«r  of  circlee  10^  in. ; 
26  cm.] 

Drawn  with  the  point  of  the  brush  and  dark  brown  colour  shaded  with 
Hphter  brown  ;  touchcH  of  red  for  the  blood  ;  the  circle  drawn  in  red  chalk. 
Watermark  on  each,  a  Rmall  dolphin,  like  Briquet  5841. 
Collection  :   Sloane. 
5216—162 166. 

44.  The  bos  of  Phaiuoh  with  Dan  and  Gad  attempts  to  carry  off  Asenath, 
THE  wife  of  Joseph  ;  Asenath  and  Benjamin  escape  in  a  chabiot. 

Numbered  xii  at  bottom  in  contemporary  hand. 
Reproduction  :   PI.  XXXI. 

46.  81MBOV  AND  Levi  pubsdb  tbb  am bubhebs  and  kill  mant  or  them  ;  Dan 
AND  Oad  escape  IN  THE  REEDS  (they  are  seen  on  the  1.). 

Numbered  xiii  at  bottom  in  contemporary  hand. 

46.  Benjamin,  seated  with  Asenath  in  treib  chariot,  hurls  a  stone  at 

PhaBAOH'S    boh,  who  is  COmNO  TO  TAKE  ASENATH,   AND  FELLS  HIM   FBOM 

BIS  bobsb;  Simeon  and  Lbvi  in  pubsoit  or  Dan  and  Gad  appeab  oh 

THE  SCENE. 

Numbered  xiiii  at  bottom,  in  conteroporarj*  hand. 

47.  Simeon  and  Levi  (or  Dan  and  Gad)  bind  up  the  woiNUh  or  Puahaiih  »  bu.s. 
Numbered  xv  at  bottom  in  contemporary  hand. 

48.  SmaoM  and  Levi  being  Phabaoh's  Son  bbfobb  his  Fathkb. 

Numb«i«d  xvi  in  contemporary  hand  (cut). 
Reproduction  :   PI.  XXXI. 

The  Mcond  part  of  the  storv  of  Asenath  (the  firat  part  relates  her 
niMTiagB  with  Joseph)  illuiitrated  here,  will  be  found  in  Vincent  of  Beauvais' 
Sptofdum  HistoriaJe,  Liber  I,  end  of  chapter  rxxiii  and  beginning  of 
chapter  cxxiv,  the  text  of  which  ih  followc^l  fairly  cloeely.  Whether  the 
«1«VM)  roundelii  preceding  these  rcfcmv)  f Xflti«<i\-c1y  to  the  Story  of  Aaenath 
or  included  the  Biblical  story  fi   "  •  Hay.  or  how  many 

followed  aftor  No.  xvi.     The  at  -  to  the  Master  of 

the  Prodifal  Son  is  due.  1  belicx-.  ■••  numi  •■•■  i.oo.  i  i.ey  also  are  referred 
to  bv  Orsto  Ring  in  the  article  cited  above  p.  199,  note  2,  whwe  the 
number  is  wrongly  given  as  four. 

FLEMISH  ARTIST  IN  ITALY. 

40  (K).   Seaiiu*  or  ni.KVKN  tiRAutvo*  or  Hkads  akd  onb  or  Skvllm. 

.*<iKrr  |>oint  citi  V-  No  watermarks  viaible. 

lifHiurnttMxIhv  I  i>     kiht.  Esq.,  1624. 

I*|>    1-30 f»«t, 


Flemish  School.  77 


49.  Head  of  Christ. 

Head  and  bust  in  profile  to  1. 

[Sj^s  X  6  in.  ;   20-5  X  1.5-2  cm.]     Dated  1532  top  1. 

Pp.'  1-39. 

Reproduction  :   PI.  XXXI. 

50.  Head  of  Dante. 

Head  and  bust  in  profile  to  1.,  wearing  hood  surrounded  by  olive  wreath. 
[Sj^g  X  5JI  in.;    20*5  X  15  cm.]     Inscribed  along  top  margin   Ritratto 
di  .  .  .  .  (obliterated  by  damp). 
Pp.  1-41. 

51.  Head  of  Michelangelo. 

Head  and  bust  nearly  in  profile  to  r,  head  inclined  downwards. 

[7 J  X  6  in.  ;    20  X  15-2  cm.]     In  outline  only. 

Pp.  1-49. 

Reproduction  :   PI.  XXXII. 

The  identity  of  the  personage  as  Michelangelo  appears  to  me  beyond 
question.  It  derives  from  the  bronze  bust  by  Daniele  da  Volterra, 
examples  of  which  are  in  the  Bargello  at  Florence,  in  the  Mus6e 
Jacquemart-Andr6  at  Paris  and  elsewhere  (illustrated  Ernst  Steinmann, 
Die  Portratdarstellungen  dea  Michelanyelo.  Leipzig,  1913,  pi.  54  ff.). 
This  bust  was  completetl  by  Daniele  in  1565  though  the  wax  model  was 
already  finished  in  the  previous  year.  The  most  obvious  difference  is 
that  in  the  drawing  the  beard  is  shorter. 

52.  Head  of  an  elderly  Man. 

Head  and  bust  in  profile  to  1.,  wearing  a  cap  of  the  fashion  of  about 
1500-10. 

rSi  x5Jin.  ;    20-6  X  14-9  cm.] 
iPp.  1-44. 

The  cap,  the  hair  and  the  profile  recall  the  portrait  of  Quentin  Matsys 
engraved  by  Wierix  in  Jerome  Cock's  Pictorum  aliquot  celebrium  Effigies, 
Antwerp,  1572. 

53.  Head  of  a  Man  wearing  a  Cap. 

Head  and  bust,  three-quarters  to  r.  ;   he  wears  a  moustache  and  a  curious 
small  cap  tilted  forward. 

[8  X  5}g  in.  ;   20-3  X  14- 8  cm.] 
Pp.  1-42. 

54.  Head  of  a  Swiss  Papal  Guard. 

Head  and  bust  in  profile  to  the  1.  ;   wearing  cap  with  fur  crown. 

[8  X  5}^!  in.  ;    20-3  X  14-8  cm.]     The  paper  has  been  torn  right  across 

and  mended. 

Pp.  1-43. 

Reproduction  :    PI.  XXXII. 

Apparently  the  copy  of  a  drawing  in  the  Pierpont  Morgan  Collection 
(see  note  below). 

55.  Head  of  a  Man  wearing  a  large  plumed  Hat. 

Head  and  bust,  three-quarters  to  r. ;  wearing  a  plumed  hat  on  the  1.  side 

of  his  head. 

[8^  X  5].^  in.  ;   20-  5  X  15- 1  cm.] 

Pp.' 1-45. 

The  costume  appears  to  be  that  of  a  Swiss  or  German  soldier  of 
1520-30. 


78  Dutch  and  Flemish  Drawingt. 

66.   Hbad  of  a  Man  wkahino  a  suall  pluird  Caf. 

Head   and  buHt.  three-qiiartera  to  1. ;    he  has  a  beard  and  moustache 
and  looks  to  the  front  and  wears  a  small  flat  rnp  with  a  plume. 

m  X  6in. ;  20-6  x  16-2  cm.] 

Pp.  1-46. 

Reproduction  :   PI.  XXXII. 

The  costume  is  that  of  about  1530-40. 

57.  Hkad  of  a  Woman  wearino  a  Helmet. 

Hea<l  and  bust  in  profile  to  the  1.  ;   she  wears  a  helmet  decorated  with  a 
Hon's  mask  and  a  plume,  and  a  man's  shirt. 

[8  y  5U  in.  :   20*3  x  15- 1  cm.]      Inscribed  to  I.  in  a  later  hand  Bello 
and  with  other  unintelligible  scribbles. 
Pp.  1-47. 

58.  Head  of  a  Woma.s. 

Head  and  bust  in  profile  to  1. ;   her  hair  is  braided  and  her  head  partly 
covered  by  a  veil  looped  up  over  the  ear  and  on  the  forehead. 

[7M  X  6}  in.  ;   20-2  X  14-9  cm.] 
Pp.  1-48. 

The  head  is  Michelangeleeque  in  character  euid  recalls  the  so-called 
Marchesa  di  Peecara  drawing  (Prey  289). 

59.  HXAD   OF   AN    OLD    MaN. 

Head  and  bust  slightly  to  1.,  looking  down  ;    he  has  a  long  beard  and 
a  hood. 


[8^  X  5j^i  in. ;   20-6  x  15- 1  cm.] 

The  bead  recalls  that  of  the  old  man  on  the  r.  in  the  fresco  by 
Michelangelo  of  the  Crucifixion  of  St.  Peter  in  the  Cappella  Paolina, 
which  was  opened  in  1549. 

60.  TmucE  HUMAN  Skuixb. 

One  is  in  profile  to  the  1.  in  the  foreground  on  the  r.,  two  others,  further 
back  on  the  1.,  face  to  the  r. 

(7|  X  6  in. ;     in-5  x  15*2  cm.]     Largely  gone  over  by  a  later  hand 

in  pencil. 

Pp.  1-60. 

Reproduction:   IM.  .\.\.\il. 

The  drawing  corresponds  exactly  with  a  portion  of  an  etching  signed 
B.F.V.  IS.  (Battista  Franco)  and  with  the  monogram  of  the  publiabMr 
Niccolo  Nelli  and  the  date  1563  (Bartach  XVI.  15,  54). 

A  series  of  seven  drawinn,  one  of  which  appears  to  be  the  original  of 
No.  54.  ware  sold  in  the  Skene  Sale  at  Sotheby's.  April  15th.  1898. 
loU  112-119,  and  wefe  bou^t  1^  Mewrs.  Coinaghi.  Five  of  these  passed 
into  the  Habich  Cdileciion  and'were  sold  nt  Stuttgart.  .April  27th.  1899. 
lots  15-19.  Of  these  five,  two  wwe  acquired  by  Fairfax  Murray  and  are 
now  in  the  Pierponi  Morgan  Library  in  New  York.  Another  of  the 
drawings  from  tne  Skene  Sale  enteied  the  Pierpont  Morgan  collection 
by  a  oifierBni  route.  I  do  not  know  the  present  whereabouts  of  the 
remaining  four  drawing.  A  comparison  between  the  reproduction  of  the 
Pieniont  Mornn  drawing  ''"  -^  \  Murray  C"  •  o(^  Drawings.  HKM. 
pi.  z61)  and  No.  54  len  room  for  <  t  the  former  is  the 

original  il  (itivht  the  tecl.:..^..v  ..:.i.i  the  hanill...,.  - :  tie  two  drawingn  are 
»lmi>  il.    The  eleven  other  Payne  Knight  drawings  are  uniform 

with.  •  crtainly  by  the  same  hand  aa  No.  54.     It  seems  probable. 

thorsforc,  tltat  otheia  of  the  aerv  m>  copies  and  in  fart  the  cleiw^riptions 

of  two  td  the  lost  drawinn  in  t  i  ii  Sale  exactly  (its  two  of  the  ravne 

Knight  drawinos.  (Lot  18,  Kopj  rtnen  jum^tm  Mmm«»  mit  phmUastiteJtem 
Hflm.  narh  Hnk;  15  x  IS  em.,  with  No.  67 ;  lot  19,  WtibUditr  Kopf  naeh 
hnlji.  da*  //I'lr  »mi  rintm  Sddtiar  mmwicktUt  17  y  |2)  em.,  with  No  5K.) 


i 


Flemish  Schoul — Dutch  School.  79 


Though  No.  49  has  an  apparently  genuine  date,  1532,  it  is  difficult  to 
accept  this  as  the  actual  date  of  the  whole  series  for  the  following  reasons  : — 
(i)  No.  51  appears  to  be  taken  from  Daniele  da  Volterra's  bust  of  Michel- 
angelo which  was  not  completed  till  1565.  (ii)  No.  59  shows  the  influence 
of  the  frescoes  by  Michelangelo  in  the  Cappella  Paolina,  which  was  not 
opened  till  1549.  (iii)  No.  60  is  the  copy  of  a  portion  of  an  etching  with 
Battista  Franco's  initials,  those  of  the  publisher  Niccolo  Nelli  and  the 
date  1563  (the  latter's  initials  and  the  date  may  be  additions,  it  is  true, 
but  no  state  without  them  is  recorded).  The  costumes  of  three  of  the 
Skene-Habich  drawings,  which  are  quite  clearly  portrait  sketches  from 
life,  are  those  of  1530-40  and  the  date  1532  would  be  quite  appropriate 
to  that  series.  This  date  then  may  have  been  copied  by  the  Payne  Knight 
draughtsman  from  his  original.  On  this  assumption  Nos.  51,  59  and  60, 
referred  to  above,  could  not  be  copies  from  the  series  of  1532  but  would 
be  additions  by  the  Payne  Knight  artist. 

Both  the  earlier  series  and  the  present  copies  seem  to  have  been  drawn 
in  Italy.  The  first  contains  named  portraits  of  Italians,  Roberto  Guald- 
erotti,  Giuliano  da  Zorraglia  and  Giovanni  Maria  Corbinelli,  and  the  three 
drawings  in  the  second,  which  we  have  presumed  to  be  independent  of 
the  first  series,  are  copies  or  imitations  of  Italian  originals.  But  in  neither 
is  the  technique  or  the  handling  Italian  in  character.  The  draughtsmen 
of  both  series  were  apparently  Flemings  working  in  Italy,  like  Lambert 
Lombard,  Martin  Heemskerck  and  Frans  Floris. 

The  Fairfax  Murray  publication  attributes  the  drawings  to  Barthel 
Beham,  while  the  Skene  and  Habich  catalogues  named  them  Italian  School. 
The  Payne  Knight  Drawings  were  absurdly  attributed  to  Leonardo  and 
as  such  entered  the  Museum.  Five  of  them  were  photographed  by  Braun 
under  this  name  (Nos.  73291-73296). 


5.— DUTCH    SCHOOL. 

DUTCH  MINIATURIST,  first  half  of  the  XVth  century. 

61-66.   Six  Scenes  fbom  the  Passion. 

61.  The  Betrayal.  62.  Christ  before  Pilate.  63.  The  Flagellation. 
64.  Christ  carrying  the  Cross.  65.  The  Descent  from  the  Cross.  66.  The 
Entombment. 

[Each  4  X  3in.;     10-2  X  7-7  cm.]     Pen  and  ink  and  light  green  wash 

on  vellum.     Latin  text  on  the  back  of  etw-h. 

Collection  :    S.  Woodburn  (Sale,  Christie's,  June  21st,  1854,  lot  1133). 

Purchased,  1854.6.28.26....31. 

Reproduction  (No.  62)  :  PI.  XXXIII. 

Cut  from  a  Latin  Book  of  Hours  probably  executed  at  Delft  about 
1430-40.  The  style  of  the  miniatures  corresponds  very  closely  with  that 
of  the  MS.  at  Brussels  (Biblioth^que  Royale,  21696  :  reproduced  A.  W. 
Byvanck  and  G.  J.  Hoogewerff,  Noord-Nederlandsche  Miniaturen,  The 
Hague,  1922-5,  pis.  168,  209,  figs.  51-53),  which  has  the  inscription  "  Iste 
liber  scriptus  et  illuminatus  est  in  monsisterio  Vallis  Josa[phat],"  the 
Monastery  of  St.  Agneten,  near  Delft.  The  text  of  the  rubrics  at  the 
bottom  of  each  page  on  the  backs  of  the  miniatures  is  as  follows  : — 
61.  Sequuntur  hore  see  crucis.  62.  Ad  primam.  63.  Ad  tertiam.  64.  Ad 
aextam.  65.  Ad  vesperas.  66.  Ad  completoriuni.  The  arrangement  corre- 
sponds very  exactly  with  that  of  the  Brussels  MS.  except  that  the  Annun- 
ciation, which  there  follows  the  Betrayal  and  the  Crucifixion  which  follows 
the  Carrying  of  the  Cross,  are  wanting  here.  The  Betrayal  closely  resembles 
the  representation  of  the  subject  in  the  Dutch  Book  of  Hours  in  the 
Bibliotheque  Mazarine,  Paris  (MS.  500  ;  repr.  W.  Vogelsang,  Hollandische 
Miniaturen,  Strassburg,  1899,  p.  86),  the  only  difference  being  in  the 
costume.     The  present  miniature  seems  the  better  version  from  which  the 


80  Dutch  and  Flemiih  Drawings. 

otiiar  was  copied.  In  spito  of  this  close  correspondenoe  the  actual  style 
of  the  drawinKH  appears  so  cloi'te  to  that  of  the  Brussels  MS.,  from  which 
ioonographically  it  differs,  that  the  draughtsman  may  probably  be  reganliMl 
•a  the  same. 

DUTCH  SCHOOL,  XVth  century. 

»>7.    TnK  Tkkk  ok  Ji'Issk. 

JetuM*.  hiH  head  restins  on  his  I.  hand,  is  asleep  seated  on  a  throne  in  the 
centre  under  a  baldachin,  the  curtains  of  which  are  withdrawn  on  the  r. 
by  Aaron,  who  wears  a  mitre  ;  to  the  1.  is  a  prophet  wearing  a  turban  with 
a  tassel :  to  the  I.  and  r.  of  these  two  are  two  other  prophetic  or  patriarchs 
wearing  a  skull  <>ap  and  a  turban  respectively  :  all  four  carry  blank  scrolls  ; 
the  throne  of  Jesse  is  decorated  on  the  fore  edge  of  the  I.  and  r.  arms  with 
figures  of  Adam  and  Kve  in  relief,  lower  down  with  KtotuetteH  of  the  Angel 
of  the  Kxpulsion  on  the  I.  and  the  Tree  of  Knowledge  on  the  r.,  and  at  the 
base  with  reliefs  the  subjects  of  which  are  not  discernible,  but  which. 
on  the  analog\''  of  the  similarly  decorated  throne  in  the  engraving  by  the 
'*  Blaster  of  the  Banderoles  "  (Lehrs  80)  may  be  assumed  to  represent 
the  Old  and  New  I^w  ;  on  the  upper  part  of  the  baldachin  is  written  the 
number  xxxij.  a  number  not  easy  to  explain,  unless  it  in  an  error  for  2M 
(which  might  be  written  ijxxx),  the  uumlier  of  the  generations  from  Jesse 
to  Jesus  ;  in  a  dire<'t  line  above  .Jesse.  Kcatetl  on  a  branch  of  tho  •••  '> 
■temmed  branch  growing  from  the  latter's  shouldern.  with  her  feet  r< 
on  a  crescent  moon,  is  the  Virgin  holding  the  Infant  ChriKt  :  to  the  r.  . 
of  her  arranged  in  two  rows  and  groupH  of  three  are  the  twelve  kingM  uf 
Judah.  the  only  one  of  whom  recognisable  by  an  attribute  is  David  with  his 
harp  (it  does  not  seem  jtiHtifiable  to  asHume  that  the  arrangement  of  the 
twelve  kings  is  identical  with  that  in  the  engraving  by  the  '*  Master  of 
the  Banderoles."  referred  to  above,  where  the  name  of  each  is  attested 
l^  lettering,  ax  the  attributes  differ,  although  David  in  each  case  occupies 
the  same  position). 

[lOi  X  IS^in. :     26-6  x  34-3  cm.]     Pen  and   dark    brown   ink   on  blue 

ptepared  surface  heightened  with  white. 

C^Iections :   Sibthorpe,  Robinson,  Malcolm  (Catalogue,  No.  647). 

Purchased.  180.5. ».  1.5. 1005. 

Reproduction:  PI.  XXXIII. 

A  drawing  exactly  corresponding,  in  rw&ne,  to  the  present  was  illustrated 
in  the  Catalogue  of  R.  W.  P.  de  Vriee.  Amsterdam.  1929,  No.  85. 

The  composition  bears  a  general  resemblance  to  the  ensraving  by  the 
M^*-*^  of  the  Banderoles  (Lehra  80  ;  badiv  reproduced  in  Krwin  Vischer, 
FormteknitU  .  .  .  .  zu  Karltnihe,  Straasbiuy.  1912.  pi.  21).      The  figure  of 

itmHt^  his  throne,  the  baldachin,  the  figure  of  Aaron  withdr-- - ho 

curtain*  are  all  ver\'  similar,  but  there  are  twelve  instead  of  fom  -^ 

and  prophets  on  the  lowest  line,  and  the  arrangement  of  tl  i-. 

different.  The  draficries  of  the  Virgin  and  of  Jesse  are  practically  idcnt  i<  .il 
with  those  of  corresponding  figtires  on  the  wing  of  a  triptych  pnitiTi  i  m 
1513  for  the  Abbey  of  Tongerloo  by  a  Master  Jean,  formeriy  in  t '  >, 

of  Notre  Dame,  Ter  Heyden,  and  now  in  the  Antwerp  Museum  I 

Uaaette  des  Beaux-Arts.  IV  (1911).  p.  429),  an  identit 
that  both  as  wall  as  the  engraving  by  the  Master  of  t 

from  the  same  original.     Further,  the  figure  of  the  tin: 

to  the  I.  ol  Jesse's  thnmc  in  the  same  as  a  figure  in  the  border  oi  < 

papt  oH  a  laripe  thrr«*-v<>lume  Bible  in  the  BritJNh  Miurum  (A<i 

the  illuminattonii  in  which  probably  date  from  VUv  .M.S. 

was  at  Liige  in  16.57  and  the  miniatures  may  I  t^nl  in  that 

town  or  possibly  in  Holland. 

From  the  rsrurreoee  of  fragmsnts  of  the  composition  in  these  various 
plaeas.  wa  may  aasuroa  the  e»istsnca  of  a  Tree  of  Jesse  not  necessarily 
MSDtioal  with  tha  present  dimwing,  but  possibly  so.  In  what  form  or 
where  thb  original  composition  was  made  there  is  little  to  indicate  The 
uwiiit  flrawing  in  its  handling  snaests  eomparison  with  drawingi«  in 
Dutch    illtMtmtcd  bibles,  such   as  Add.  S8,LSi,  in  the   Bntish  Museum. 


Dutch  School.  81 


dated  by  Byvanck  and  Hoogewerff  about  1425,  and  supposed  to  have  been 
executed  at  Utrecht,  and  with  the  Dutch  block  books  of  the  Biblia 
Pauperum  and  Speculum  humane  salvationis.  It  is  certainly  not  as  early 
as  1425,  and  may  probably  date  from  about  1470-80  or  later  ;  the  technique 
on  blue  prepared  surface  is  one  of  which,  as  far  as  I  know,  there  is  no  other 
example  in  the  Netherlands  before  the  16th  century. 

We  may  summarize  the  results  of  the  preceding  notes  by  saying  that 
the  drawing  is  almost  certainly  Dutch,  probably  about  1470-80,  copied 
from  a  composition,  also  possibly  Dutch,  which  already  existed  before  1450. 

68.  A  Prophet. 

He  stands  turned  three-quarters  to  the  I.,  wearing  a  close-fitting  cap  and 
a  voluminous  cloak  ;  both  hands  clasp  the  belt  in  front,  and  from  behind 
the  r.  hand  issues  a  scroll  which  reaches  nearly  to  the  ground. 

[lOA  X  5/j5  in.  ;    26-8  X  13-1  cm.]     Pen  and  brown  ink. 

Collections  :    C.  M.  Metz  (Sale,  May,  1801,  lot  78  (?)  ),  Thane,  W.  Esdaile 

(Sale,  June  18th,  1840,  lot  480  "  Israel  van  Meek,  A  Man  with  a  Scroll"), 

Malcolm  (Catalogue,  No.  544). 

Purchased,  1895.9.15.1002. 

Reproduction  :  PI.  XXXIII. 

The  drawing  appears  to  be  a  copy  from  a  picture.  The  tj'pe  and 
details  of  costume  suggest  Albert  van  Ouwater  or  Dierick  Bouts.  There 
is  a  certain  resemblance  to  the  drawings  at  Berlin  (No.  12,324)  and  Dresden, 
presumed  by  Friedliinder  to  be  copies  from  Ouwater  (AltniederUindiache 
Malerei,  III,  p.  60). 

69.  St.  Augustine. 

The  saint  is  seated  on  an  X-formed  stool  resting  on  the  bodies  of  three 
armed  men  ;  one  of  these,  on  the  r.,  bites  his  1.  hand  while  he  brandishes 
a  sword  in  his  r.  ;  another,  on  the  1.,  plunges  a  dagger  into  the  throat  of 
the  third  with  his  r.  hand  and  points  a  spear  at  him  with  his  1.  ; 
St.  Augustine  is  clothed  in  a  chasuble  over  a  dalmatic  under  which  is  an 
alb  ;  a  humerale  is  round  his  neck  ;  he  wears  a  mitre  with  infulas  and  holds 
the  pastoral  staf?  with  panisellus  in  his  1.  hand  and  delivers  a  blessing 
with  his  r. 

[10|  X  7^  in.  ;    26-5  X  18  cm.]     Silver    jjoint    on   prepared   light    cream- 
coloured  siu-face.     Backed,  no  watermark  visible. 
Collections  :    Sir  J.  C.  Robinson,  Malcolm  (Catalogue,  No.  551). 
Purchased,  1895.9.15.1009. 
Reproduction  :  Popham,  PI.  35. 

This  important  original  drawing  recalls  the  work  of  an  artist  of  Bois- 
le-duc,  after  whom  the  engraver  Alart  du  Hameel  worked  and  whose 
oeuvre  has  been  assembled  by  F.  Winkler  {Prussian  Jahrbuch,  XLIV  (1923), 
p.  136  ff.).  The  resemblance  between  the  heads  of  the  figures  beneath  the 
saint's  feet  and  those  in  du  Hameel's  engravings  such  as  the  Vision  of  the 
Emperor  Constantino  (Lehrs  5)  is  particularly  close,  but  this  might  be 
explained  by  a  common  imitation  of  Hieronymus  Bosch.  The  face  of 
the  Saint,  in  its  gentleness  and  suavity,  rather  recalls  Gerard  David's 
types. 

The  identification  of  the  Bishop  as  St,  Augustine  is  that  of  W.  H.  J. 
Weale  ;  I  can  point  to  no  similar  representation.  He  is  usually  depicted 
holding  a  heart,  as  in  the  picture  by  Robert  Campin  at  Aix-en-Provence. 

70.  Christ  disputing  with  the  Doctoiis. 

On  the  1.  is  seated  a  doctor,  who  raises  his  r.  hand  in  argument  and  holds 
a  paper  at  his  side  with  his  1.  ;  behind  him  is  a  priest  wearing  a  mitre 
and  on  the  r.  another  doctor  seated  in  profile  to  the  1.  ;  between  him  and 
the  priest  stands  the  youthful  Jesus  ;  in  the  background  Joseph,  followed 
by  Mary,  is  seen  descending  some  steps  from  the  choir  into  the  nave  of 
the  Gothic  chiu-ch  in  which  the  scene  takes  place  ;  behind  the  mitred 
figvire  is  an  attendant  and  parts  of  two  figures  are  visible  on  the  r.  of  the 
drawing,  which  is  cut. 

G 


82  DutiJi  and  Flemish  I^rawinyg. 

111}  X  8|  in. :  28*6  X  21- 1  cm.]  Point  of  the  brush  and  two  shades  of 
brawn,  only  the  doctor  on  the  1.  being  completely  finished.  Wstmrmaric, 
•  bull's  heed  surmounted  by  a  star-like  Briquet  14,236.  On  the  verso 
is  en  outline  sketch  (or  offset  from  such  a  sketch)  in  black  clialk  representing 
•pperently  the  lower  half  <rf  a  seated  draped  figure  with  a  book  on  its  knees. 
CoUection  :  S.  Woodbum  (lot  1132,  with  three  others,  in  his  sale  June  21st, 
1864). 

Purahased,  I8M.6.28.24. 
Reproduction  :   Popham.  PI.  34. 

By  the  same  hand  appear  to  be  two  drawings  of  apostles  at  Beiiin, 
St.  Bartholomew,  No.  2137.  and  St.  Andrew,  No.  2138. 

The  drawing,  according  to  a  note  on  the  old  mount,  was  attributed  by 
Waagen  to  Ueertgen  tot  Sint  Jans.  It  is  without  question  Dutch  of  about 
1490-1500,  but  I  do  not  think  it  possible  to  attribute  it  to  any  particular 
master.  Its  style  shows  resemblance  to  that  of  the  Master  of  Delft  and 
also  to  that  of  the  Cologne  Master  of  St.  Severin,  who  obviously  received 
his  training  in  Holland.  The  theory  of  its  comiection  with  a  feeble  little 
picture  in  the  style  of  Lucas  van  Leyden  in  the  National  Gallery  (No.  3459), 
which  I  put  forward  when  publishing  the  drawing  in  1926,  should  be 
abandoned. 

MASTER  OF  ABSOLOM.    Designer  for  stained  glass  and  possibly  of 
woodcuts  ;   worked,  perhaps  at  Haarlem,  about  1490-1510. 

Lit.  :  A.  £.  Popham,  A  Dutch  designer  for  glass  in  Manges  Hulin 
de  Loo,  Paris.  1931. 

71.  Trb  DacNXKimsa  or  Noah. 

Noah  lies  asleep  against  a  rock  on  the  I. ;  Shem  (or  Japhet)  kneels  before 
him  to  the  r.  and  covers  his  nakedness,  while  Ham  and  Japhet  (or  Shem) 
stand  in  the  background  on  the  r.  and  point  at  Noah. 

(Circular,  diameter  8J  in. ;    21cm.:    a  segment  about   1|  in.  deep  torn 
from  the  top.]     Pen  and  brown  ink. 
Collection  :   Dr.  J.  Law  Adam. 
Purchased,  1927.10.10.52. 
Reproduction  :   PI.  XXXIV. 

Design  for  a  stained  glass  roundel. 

72.  Thx  Month  of  March  :    Prunino. 

A  husbandman,  wearing  a  hat  on  top  of  his  hood  and  gloves,  stands  facing 
to  the  r.  engaged  in  cutting  a  branch  from  a  tree  with  a  pruning  knife  ; 
a  man  further  back  on  the  1.  is  similarly  occupied  ;  a  woman  ranying  a 
bundle  o(  faggots  on  her  bead  is  in  the  distance  on  the  r. ;  still  further 
back  is  another  man  and  a  cottage. 

(11  X8lin.:     S7'9  X  S0'9em.:     diameter   of    circle,    7i  in. :     20cm. ] 

Point  of  the  bnish  on  veiy  darit  grqr  prepared  surface,  heightened  with 

light  blue. 

Purchased.  1930.5.12.2. 

Reproduction  :   PI.  XXXIV. 

Design  for  a  stained  glass  roundel,  one  of  a  seriea  of  the  occupations  of 
the  months,  pretnimably  March,  which  is  generally  represented  by  pruning 
vines.  Ihr  drawing  was  not  known  to  me  when  tne  article  cited  was 
written,  but  it  i»  obviounly  by  the  same  artist.  The  technique  resembles 
that  of  the  drawing  of  Absokxn  in  the  Louvre  (No.  19,218). 

DUTCH  SCHOOL,  beginning  of  the  XVIth  century. 

73.  Tm  MoKTH  or  Jcwb  :   Mowixo. 

A  husbandman,  facing  to  the  r.  is  mowing  hay  with  a  scythe ;  a  wattle 
faoee  boonda  the  meadow  ;  further  back  are  trees  and  a  castle  on  a  hill. 


Dutch  ScJiool. 


[Circular,  diameter  7  J  in.  ;  19 -6  cm.]  Point  of  the  brush  on  brown 
prepared  surface,  heightened  with  white  ;  much  faded  and  partly  restored. 
Presented  by  J.  Caboum  Simonds,  Esq.,  1922.6.29.1. 

Design  for  stained  glass  roundel,  one  of  a  series  of  the  occupations  of 
the  months.  The  technique  and  details,  such  as  the  drawing  of  the  tree 
on  the  r.  and,  to  some  extent,  that  of  the  man's  features,  are  very  similar 
to  those  in  the  drawing  previously  described  and  it  is  possibly  by  the  same 
hand,  though  certainly  not  belonging  to  the  same  series. 

74.  Angels  scourging  a  prostrate  Man. 

The  man  lies  on  the  groimd  his  head  towards  the  1.  and  holds  up  his  1. 
hand  to  protect  himself  from  the  angel  who  is  striking  him  with  a  scourge  ; 
to  the  1.  is  a  second  angel  also  armed  with  a  scovu"ge  on  horseback,  and 
further  back  to  the  r.  a  riderless  horse  gallops  away. 

[Circular,  diameter  8  in.  ;   20 '2  cm.]     Pen  and  brown  ink. 

Bequeathed  by  the  Rev.  C.  M.  Cracherode,  1799. 

Ff.  4—88. 

Reproduction  :    PI.  XXXIV. 

Design  for  a  stained  glass  roundel.  In  the  inventory  of  1837  no  attri- 
bution is  given.  It  was  subsequently  attributed  to  Lucas  van  Leyden  and 
recently  to  Aerdt  Ortkens.  Though  certain  passages,  like  the  head  of 
the  fallen  man,  are  reminiscent  of  the  latter,  the  handling  is  quite  different 
and  much  nearer  to  that  of  Jacob  Comelisz  (ef .  especially  Susannah  and  the 
wicked  Elders,  No.  2)  and  the  drawing  probably  belongs  to  his  school. 
The  horse  on  the  r.  is  the  same  in  reverse  as  that  in  the  drawing  of  the 
Death  of  Absolom  in  the  Louvre  by  the  artist  whom  I  have  named  from 
that  drawing  (cf.  No.  71).  The  subject  can  hardly  be  the  scourging  of 
Heliodorus  (2  Maccabees,  in,  25),  as  this  took  place  in  the  temple  at 
Jerusalem,  but  I  can  offer  no  other  explanation  of  it. 

75.  St.  Michael. 

The  winged  Archangel,  in  armour  surmounted  by  a  cloak,  raises  his  r. 
arm  to  spear  the  dragon,  on  which  he  stands  ;   his  shield  is  in  his  1.  hand. 

[8  J  J  X  5J  in.  ;  22-1  X  15  cm.]     A  large  piece  torn  from  1.  hand  top  comer  ; 
1.  hand  bottom  comer  injured  by  damp. 
Collection  :    Sloane. 

5227 18. 

Reproduction  :    PI.  XXXIV. 

Formerly  with  anonymous  Italian  drawings.  It  is  apparently  the  work 
of  a  close  follower  of  Jacob  Comelisz. 

DUTCH  SCHOOL,  first  quarter  of  the  XVIth  century. 

76.  Christ  in  the  House  of  the  Pharisee. 

In  a  rectangular  room  behind  a  table  on  the  r.  are  seated  Christ  and  two 
Ph  .risees  ;  a  man  seen  from  the  back  is  seated  on  a  chair  in  front  of  the 
table  ;  a  serving  nian  stands  on  the  1.  and  Mary  Magdalene  kneels  on  the 
floor  and  wipes  the  Saviour's  feet  with  her  hair. 

[8;^  X  6J^in.  ;    20-9  X  16- 7  cm.]     Pen  and  grey  black  ink.     Inscribed  on 

a  step  at  the  bottom  on  the  r.  :   Lucas  7  cap". 

Collections  :  Padre  Resta,  Somers,  McGowan,  Rev.  Frank  Parker,  Bishopric 

of  Truro. 

Purchased,  1930.4.14.1. 

Reproduction  :    PI.  XXXV. 

Detached  from  an  extra -illustrated  Macklin's  Bible  formed  by  the  Rev. 
Frank  Parker  and  presented  by  him  to  the  Bishopric  of  Truro  in  1883. 
Attributed  by  Padre  Resta  to  Aldegrever.  A  note  on  the  back  in  his  (?) 
hand,  however,  expresses  doubt  whether  the  drawing  is  by  Aldegrever 
or  Agnes  Diirer. 

The  style  of  the  drawing  shows  some  resemblance  to  that  of  Pieter 

G   2 


84  DutcJi  and  Flemish  Di'atnn^s. 

Coraeliai  Kunat,  and  is  probably  Dutch  about  1610-20.  The  figure  of 
the  Magdalene  in  reprMented  in  almost  exactly  the  same  position  in  u 
glaae  roandel  of  the  subject  at  iierlin  (No.  1672)  which  is  repro<iuced  in 
an  engFsxnng  by  the  Master  "  S  "  (Passavant  III.  60.  149). 

77.  The  Lamkntation. 

The  body  of  Christ  in  a  diagonal  line  is  supported  by  the  Virgin ;  behind 
on  the  r.  a  kneeling  nun  holds  His  1.  hand  ;  behind  her  an  angel  and  to  the 
I.  St.  John  ;  underneath  Et  tua[m]  ip*t[i*»]  <^n}i{m}am  pertra[n^ibi*  gladi{u»}. 

[5  X  3A  in. :    12-6  x  0- 1  cm.]     Outlined  in  pen  and  red  and  black  ink 
and  coloured  in  water  and   bo<Iy  colour.     Part  of  a  watermark  with  the 
arms  of  Troyes  and  the  initiult>  IP  (?)  like  Briquet  1048. 
Purchaaed,  1856.2.9.70. 

There  is  little  to  indicate  where  this  crude  illustration  for  a  cheap  MS. 
praver  book  was  made.  It  was  presumably  executed  for  a  nun  at  the 
beginning  of  the  16th  cent.,  possibly  in  Ilnilaiul  whore  su(l»  inexpensive 
MsIb.  appear  to  have  been  common. 

7S.  The  Tbinitv. 

God  the  Father,  with  the  Uoly  Ghost  at  His  r.  ear,  is  seated  on  a  throne 
and  supports  the  crucified  Savioiir  in  front  of  Him. 

[4J  X  3,"g  in.  :    12-5  x  9- 1  cm.]     Outlined  in  pen  and  ink  nnd  coloured  in 
water  and  bo<lv  colour  and  gold  on  vellum. 
Purchaaed,  1K56.2.9.78 

On  the  back  is  writing  of  the  17th  or  18th  cent. ;  S'  KeUharina  Haus, 
twii'p  r(>(>«it<><1.  aiul  four  lines  of  Dutch  or  Flemis)>  Wtjimung  : — 

Vrust  den  heer  en  daet  hem  e< 

111  the  «>ainc  crude  style  as  the  preceding  and  tliuugli  on  vellum,  not 
like  it  on  paper,  possibly  from  the  same  book.  Cheap  volumes  were  often 
made  tq)  of  paper  with  vellum  for  the  outside  of  the  quires. 

79.  AtJorsTrs  and  the  Tibubtink  Sibyl  :  Fbaoment. 

The  sibyl,  on  the  I.  seen  from  the  back,  points  upwards  with  her  r.  hand: 
Augustus's  imperial  crown  is  on  the  ground  to  the  I.  ;  on  the  r.  stand 
four  women,  one  of  whom  carries  a  hawk  ;  all  are  richly  and  fantastically 
dressed. 

116^  X  9|in. ;    88-7  X  23 -8  cm.]     Silver  point  on  prepared  light  green 

ground,  squared  for  enlaigement.     Folded  horizontally  across  the  centre 

and  cracked  in  places. 

OoUeetiooa:  Sir  T.  Lawrence,   8.  Woodbiu^  (Sale,  Christie's,  Jan.   4th, 

IMO,  lot  862,  as  Israel  van  Meckenem). 

PnrdiMed.  1860.6.16.134. 

Reproductionii :   Onze  Kunst,  X  (1008),  p.  96  ;   PI.  XXXV. 

Fiaanent  of  a  <!— '  r  stained  glaas,  as  shown  by  the  veriu-Ml  hnf^i 

down  tM  centre  ar  .'-r  side,  representing  the  ties.    Then  is  little 

jwrtiflnatioo  for  th*- .  >n  to  Velleit  made  by  Beets.    Though  the  fan- 

taetie  heartrlreasM and luntuntee resemble thoeeof  the  Antwcqi " roannerista " 
it  should  not  be  forgotten  that  these  also  occur  in  Holland,  in  paintings 
by  Jacob  Cornelias  and  Cornelia  Engebrechtsen.  and  the  present  drawing 
MM  none  of  the  grace  and  liveliness  of  touch  to  be  found  in  Antwerp 
drawingk  The  uooainly  profiles  of  the  ail^l  and  the  woman  on  the  r.  are 
more  Dutch  than  FicmiNii. 

There  ia,  aa  pointcii  out  by  Beeta,  a  conneetion  with  a  picture  on  linen 
of  the  same  •ubieet  in  the  Vienna  Academy  (No.  068).  Formeriy  given  to 
Lorai  van  Leyden  it  is  now  catalosued  aa  Antwerp  S<-hool.  The  main 
flgom  are  diflhreatly  arranoed,  but  the  group  of  women  on  the  r..  jiarticu- 
teriythe  woman  seen  full  face,  corresponds  closely  with  the  drawing. 

">»^twhnimie  (silver  point)  and  the  light  green  colour  of  the  ground  are 
*  in  a  cirawing  of  this  site  and  character. 


Dutch  School. 


80.  One  of  the  Acts  of  Mercy  :    Giving  Drink  to  the  Thirsty. 

A  gentleman  stands  in  the  centre  pouring  liquor  from  a  jug  into  a  cup  which 
he  is  passing  to  a  grotesquely  clothed  child  ;  a  beggar  with  a  crippled 
leg  stands  on  the  1.  and  behind  him  a  woman  drinking  ;  in  the  foreground 
is  a  barrel  and  a  basket,  and  in  the  background,  on  the  r.,  two  gentlemen 
seated  in  a  hall,  are  distributing  bread. 

[9|  X  7f  I  in.  ;    23-7  X  20- 2  cm.]     Peii  and  brown  ink.     Xo  watermark. 

Inscribed  on  the  back  in  a  17th  or  18th  cent,  hand  Lucas  inn  Leiden  f. 

Collection  :  Sloane. 

5237—9. 

Reproduction  :    Popham,  PI.  48. 

Probably  a  design  for  a  stained  glass  panel.  Formerly  attributed  to 
Lucas  van  Leyden  and  then  to  Pieter  Comelisz  Kunst,  imder  which  name 
it  was  published  by  me.  Though  probably  a  work  of  the  Leyden  School 
of  about  1520  it  shows  none  of  Pieter  Conielisz's  individual  peculiarities, 
and  is  certainly  not  by  him. 

81.  Unexplained  Subject. 

In  the  foreground  a  young  shepherd,  holding  a  staff  and  followed  by  a 
dog,  is  striding  to  the  r.  ;  further  back,  on  the  r.  two  men  in  semi-Oriental 
costume  are  talking  together,  and  in  the  distance  is  a  hall  through  the 
open  arcaded  side  of  which  men  are  seen  at  table  ;  in  the  backgroimd, 
on  the  1.,  are  an  old  man  supporting  himself  on  a  staff,  and,  further  back 
again,  two  men  and  a  woman  dancing  hand  in  hand. 

[6i  X  5|  in.  ;   17-2  X  14- 3 cm.]     Pen  and  ink  outline,  washed  with  grey. 
The  comers  are  cut  off. 
Collection  :  Sloane. 
5226-85. 

A  poor  copy  of  a  design  for  glass,  probably  a  roundel,  of  about  1520-30. 
The  original  was  perhaps  by  the  artist,  influenced  by  Lucas  van  Leyden, 
who  drew  the  roundel  of  a  prisoner  brought  before  a  judge  sold  by  F.  MuUer, 
Amsterdam,  June  1 1-14th,  1912,  lot  77,  and  illustrated  in  the  sale  catalogue. 

MASTER  OF  1527.     Painter  and  draughtsman,  strongly  influenced  by 
Lucas  van  Leyden  and  probably  working  in  Leyden.     He  has  been 
so  called  from  a  drawing  in  the  Louvre  (No.  20893)  with  the  date  1527. 
Lit.  :   P.  Wescher  in  Oud-Holland,  XLV  (1928),  p.  251  ff. 

82.  Crucified  Thief. 

The  cross  is  turned  slightly  to  the  1.  ;.  the  thief  is  suspended  by 
the  wrists  ;  his  hair  has  fallen  over  his  eyes  and  his  1.  leg  is  tru-ssed 
up  under  him. 

[11 J  X  6|in.  ;  30-2  X  17- 1cm. — including   a   small   strip   added   at   the 
top.]     Pen  and  brown  ink  and  red  wash. 
Bequeathed  by  William  Fawkener,  Esq.,  1769. 
5211—21. 
Reproduction  :  PI.  XXXV. 

The  present  drawing,  which  was  placed  until  recently  with  Italian 
drawings  under  the  name  of  Antonio  Tempesta,  should  be  compared  with 
that  of  the  Adoration  of  the  Kings  at  Berlin  (repr.  P.  Wescher,  loc.  cit.. 
Abb.  6).  It  also  shows  some  resemblance  in  the  pen  work  to  Pieter 
Comelisz  Kunst' s  drawings. 

MASTER  OF  THE  MIRACLES  OF  THE  APOSTLES.  Painter  (?) 
and  designer  for  glass  ;  probably  a  pupil  of  Lucas  van  Leyden  and 
working  in  that  city  about  1520-30  and  possibly  later.  Only  drawings 
can  certainly  be  attributed  to  his  hand,  but  one  of  these  at  Brunswick 
is  the  design  for  a  painted  triptych,  while  pictures  at  Hampton  Court 


86  Dutch  and  Flemish  Drawings. 

(Nos.  456,  596  and  602)  and  Amsterdam  (No.  1452),  attributed  to 
Lucas  van  Leyden,  are  very  near  in  style  and  may  be  his  work.  Two 
of  the  drawings  described  below  are  additions  to  the  list  published 
by  P.  Wescher. 

Lit.  :   P.  Wescher,  Ovd-HoUand,  XLV  (1928),  245. 

83.  A  Sqvibk  holding  a  Horse. 

The  squire  stands  looking  toward  the  spectator,  his  body  turned  slightly 
to  the  I.,  and  holds  the  horse,  which  is  in  profile  to  the  1.,  by  the  bridle. 

[101  X  10  in.;  26-4  X  25- 4  cm.]     Dark   brown    chalk   over   lighter  gr^ 
chalk.     Inscribed  in  a  17th  or  18th  cent,  hand  in  ink  at  top  Jasper  van 
Gendt ;  in  a  contemporary  hand  in  ink  above  the  man's  head  Ick  bi  simt 
Jnri**,  and  in  the  same  hand  along  the  lower  margin  (cut)  ....  ben 
ktiecht  Joh<l  frericson  ....     No  watermark. 
Collections  :   Sir  J.  C.  Robinson,  Malcolm  (Catalogue  616). 
Purcliased.  1 895 . 9 . 1 5 .  969 . 
Reproduction  :    PI.  XXXVI. 

No  such  artist  as  Jasper  van  Ghent  is  known  ;    the  attribution  to 
Burgkmair  in  the  Malcolm  catalogue  may  also  be  dismissed.    The  drawing 
appears  to  be  by  the  same  liand  as  one  in  the  Louvre  of  monks  in  a  kr 
(black  chalk  22-8  x  16- 1cm.;    no.  d'ordro,  21,008).     This  last  dr. 
has  been  given  by  P.  Wescher  {loc.  cU.)  to  his  Master  of  the  Miracles  < 
Apostles.    Though  the  connection  between  the  present  drawing,  a  ?•! 
from  nature  in  black  chalk,  and  the  two  which  follow  is  not  imme<l; 
obvioiii<.  there  are  links  which  make  tluK  connection  probable,  the  dr. 
at    Pari8    above    roferretl    to,   the    Esther    before  Ahasuerus   at     lij..;.. 
wick  (Pre«tel  Oe«eII»chaft  Publication,  VII,  no.  51)  and  the  series  of  the 
Miracles  of   the  Apostleti  at  Berlin   (Berlin  Catalogue,  11993   repr.)  and 
Paris  (No.  18899.  Oud  Holland,  loc.  cU.,  Abb.  4). 

84.  ScKKB  raou  the  Story  or  Tobft  (Tobit,  Ch.  2). 

In  the  foreground  Tobit,  accompanied  by  a  dog,  is  carrying  a  corpse  on 

bin  s»houldcr  ;    in  the  background  to  the  1.  Tobias  is  seen  addressing  Tobit 

anil  his  family,  who  are  at  table;  in  the  background  on  the  r.  Tobit  is 

putting  the  corpue  into  a  grave. 

[IIA  X  7{in.  :  28-7  X  20  cm.]    Pen  and  brown  ink  outline,  the  modelling 

renaered  with  the  |K>int  of  the  brush  and  grey.    Watermark,  t)>"  nniw  n? 

Bile  with  the  initials  H.  N.  and  M.  almost  identical  with   Bn 

The  mark   is  that  of  the    Heusner  family  of  i>a|)er  makers,  a< 

Briquet. 

Collection  :  Sloane. 

62Jft— 71. 

Reproduction:    PI.  XXXVI. 

Obviounh' bv  the  Hame  haiKl  «^  tin- MTio  cit  t  i       \',  ■     .  f  :  ■       \|n.stl.-s 

at  Berlinan.l  PariK  (ill.  P.  W.-.luT.  .'.H.  .,/..  AM  i  1      .    tlu-j^- 

the  present  drawing  is  probably  a  d«wigu  fur  gUtiv,.  dtiil  ik-  ikm.!.;  uinncfi 
pert  of  a  seriea.  The  Bile  watermark  on  the  paper  sugg'-t^  li  Ncthcr- 
lendi^ artist  workingin  Switcerlandlike  David  Joriss  (1601  I  ^^-W  i.  as  |m|HT 
with  s|Myiflrally  Swiss  or  Oerman  watermarks  is  very  seldom  fdoinl  (lsc<1 
by  Dutch  or  FW»mi«h  dmughtmnen.  There  is  no  absolutely  autlHMitH-at*-*! 
work  by  Jon^  tuber  of  drswinn,  obviou.^l.v  not  nil 

by  the  same  I  <>  him.    The  olcust  appears  to  )h-  on 

the  drawing  at  itfriin  ySn.  ii->.:i.  lafel  29  in  the  Berlin  catalogue)  of 
Christ  and  the  Osptain  of  Ca|>en>num.  and  this  drawing  is  not  unlike  the 
nrsMMit  ill  ntvle.  But  tho  iKiii.t  nutst  not  be  stressed.  Jorisa  did  not  mo  to 
it&l.  t4.  and  t  t^  of  the  Master  of  the  Miracles  of  the 

AfH-  .1.1  «p|tc«r  i  torn  some  years  rarlirr. 

W.  Jvorm  DBCArrrATrao  Hotontaints. 

Judith,  seen  from  the  back,  is  on  the  r        '     ' 
bad  imide  the  tent,  by  the  hair  ami 


Dutch  School.  87 


the  1.  peers  round  the  corner  of  the  tent  ;  in  the  distance  are  notables  in 
conclave  before  their  tents  and,  farther  back,  Bethulia  on  a  hill. 

[lOJ^  X  6|  in.  ;   25-7  X  17-5  cm.]     Pen  and  dark  brown  ink,  the  modelling 

rendered  with  the  point  of  the  brush  and  grey. 

Collection  :    F.  Abbot  (Sale,  Christie's,  FeD.  11th,  1929,  lot  9). 

Presented  by  H.  van  den  Bergh,  Esq.,  through  the  National  Art-Collections 

Fund. 

1929.5.11.29. 

Reproduction  :    PI.  XXXVI. 

Though  this  drawing  differs  from  the  preceding  and  others  of  the  group 
in  the  backgromid  being  drawn  in  pen  and  ink  only  and  in  its  more  careless 
handling,  it  is  certainly  the  work  of  the  same  artist.  Compare,  for  example, 
the  drawing  of  the  decoration  above  the  tent  with  that  in  the  Berlin 
drawing  (Wescher,  loc.  cit..  Abb.  3).  A  drawing  at  Brunswick  (reproduced 
Brunswick  Publication  52)  of  Judith  kneeling  before  Holofernes,  and 
there  attributed  to  Bemaert  van  Orley,  is  certainly  by  the  same  hand 
and  possibly  a  companion  piece,  though  it  is  slightly  larger  (26-5  X  19-8 
as  against  25-7  X  17-5  cm.)  and  the  faces  are  washed  with  red. 

DUTCH  SCHOOL,  1529. 

86.  Pilate  washing  his  Hands, 

Pilate  sits  on  a  throne  on  the  1.  while  an  attendant  behind  him  to  the  r. 
pours  water  over  his  master's  hands  ;  Christ  held  by  a  bearded  man  in 
armour  stands  before  Pilate  on  the  r.  ;  on  the  1.  in  front  of  the  throne  an 
attendant  steps  forward  with  a  towel. 

[Circular,  diameter  7j'g  in.  ;   19-8  cm.]     Pen  and  brown  ink,  dated  on  back 

of  Pilate's  throne  1529. 

Bequeathed  by  the  Rev.  C.  M.  Cracherode,  1799. 

Ff.  4—94. 

Reproduction  :    PI.  XXXVII. 

Design  for  a  stained  glass  roundel.  In  the  inventory  of  1837  no 
attribution  is  given  :  it  was  later  (by  Colvin)  attributed  to  Jacob  Cornelisz, 
with  the  style  of  whose  certain  drawings  it  has  little  in  common.  It  must, 
however,  be  remembered  that  the  paintings  of  Cornelisz's  last  years,  like 
the  Witch  of  Endor  at  Amsterdam,  are  very  different  from  his  earlier 
work  and  it  is  probable  that  his  drawing  underwent  a  similar  change. 

The  present  design  is  influenced  by  Diirer's  engraving  of  Christ  before 
Annas  in  the  Little  Passion  (Bartsch  7). 

DUTCH  SCHOOL,  first  half  of  the  XVIth  century. 

87.  The  Cbxjcifixion  with  Saints  and  Donobs. 

In  the  centre  stands  the  Cross,  the  foot  of  which  is  embraced  by  St.  Mary 
Magdalene  ;  to  the  1.  stand  the  Virgin,  St.  Christopher  carrying  the  Infant 
Jesus  and  a  bishop  with  a  kneeling  donor  ;  to  the  r.  St.  John  (?),  St.  Mary 
of  Egypt  (?)  and  an  abbot  with  a  second  kneeling  donor  ;  in  the  background 
is  a  view  of  Jerusalem. 

[8J^J  X  15^  in.;    22  X  38-5  cm.]     Pen  and  brown  ink  and  brown  wash 

over  black  chalk  on  cream  coloured  paper. 

Collections  :   P.  H.  Lankrink,  R.  Houlditch,  W.  Fawkener. 

Bequeathed  by  William  Fawkener,  Esq.,  1769. 

5210—16. 

Reproduction  :    PI.  XXXVII. 

The  drawing,  imtil  recently  with  anonymous  unmounted  Italian  draw- 
ings, is  the  work  of  an  artist,  presumably  Dutch,  who  had  visited  Italy. 
The  reminiscences  of  Italian  art  are  obvious.  The  Christ  on  the  Cross 
recalls  the  same  figure  in  the  Louvre  Crucifixion  by  Mantegna,  the 
St.  Christopher  the  saint  in  the  large  woodcut  Trionfo  della  Fede  after 
Titian,  and  the  St.  John  a  figure  by  Polidoro  da  Caravaggio  preserved  in 
various  copies  (e.g.  British  Museum,  1900.5.15.2). 


88  IhUeh  and  Flemish  Drawings. 


The  view  of  •  town  with  the  two  mominen*  buiWingw  surmounted  by 
creecente  ot*rura  in  two  anonymoua  Netherlandish  engravinge ;  the  one, 
of  the  Cnicitlxioii.rocalU  the  stylo  of  Frans  Crabbe  (BritishMuaeum,  E,  1 168, 
undeerribed).  the  other,  of  the  Descent  from  the  Cross,  is  an  etching  of 
about  1550  (UritiMh  Museum,  1930.11.12.5.  also  undesoribed).  It  is 
obviously  intended  for  Jerusalem,  but  is  quite  different  from  the  authentic 
view  in'Soorors  Lochorst  triptych  (see  Oud-HoUand,  XLVI  (1929).  73). 
It  seems  possible  that  the  prominence  given  to  the  view  of  the  city  indicates 
that  the  donors  were  members  of  a  confraternity  of  Jerusalem,  like 
tlint  at  Utrecht,  for  which  Scorel  painteil  the  wcll-knowii  series  of  portrait*. 

The  costume  of  St.  Mary  Magdalene  with  it«  slashed  sleeves  points  to 
a  fairly  early  date  about  1530. 

88.  Head  or  a  Younq  Mam. 

Boat,  three-quarters  to  the  r.,  wearing  a  flat  cap  with  ear  flaps. 

[5|l  X  5Jin. ;     14-8  X  13-3  cm.]     Black  chalk.     Underneath  in  a   16th 

or  I7th  cent,  hand  :   DcU  heejt  Luycas  van  L  ghematcht,  1512. 

Collection  :   Rev.  \V.  H.  Barnard. 

Purchased,  1892.8.4.10. 

Reproductions:     Prtu»ian    Jahrbuch,    XIV     (lMi3),     Ki'J  ;      Kioiiunaim. 

Serio  IV,  Bl.  44  (as  Lucas  van  Leyden). 

Lit.  :   S.  Colvin,  loc.  cit..  No.  5  (with  incorrect  measurements). 

The  costume,  the  small  flat  cap  with  ear-flaps,  the  frilled  edge  of  the 
shirt  projecting  over  the  collar  of  the  tunic,  or  rather  the  manner  in  idiich 
theae  are  worn,  as  well  as  the  fact  that  the  younf;  man  is  growing  beard 
and  moustache,  point  to  a  date  considerably  later  tlian  1512,  rather  to  the 
yean  between  1540  and  1550,  and  therefore  after  Lucas  van  Leyden's 
fleftth.  It  shotild  be  compared  with  such  portraits  as  those  in  the 
"  SehOtzenstQck  "  of  1554  in  the  Rijksmuseiun,  Amsterdam.  The  handling 
of  the  chalk  is  in  any  case  not  that  of  Lucas  van  I>eyden  ;  it  shows  none 
of  his  characteristic  mannerisms,  is  altogether  too  sharp  in  its  contrasts 
of  light  and  shade  and  lias  too  little  continuity  of  line. 

89.  Thk  FAini.Y  or  the  VmoiN. 


To  the  r.  of  the  centre,  seated  ou  a  stone  bench  which  runs  right 
the  composition,  is  the  Virgin  with  the  Infant  Christ  ;  to  the  1.  St.  Anne,  who 
ofTere  Him  a  bimch  of  grapes  ;    in  the  foreground  on  the  I.  seated  on  the 
ground  is  a  woman  with  four  children  and  on  the  r.  a  corresponding  figure 
with  two  children  ;   behind  the  bench  stand  seven  figures,  St.  Joseph  with 
hix  floworingstafl  behind  the  Virgin  and,  what  appears  to bea  donor,  to  hisr. 
[11|  X  12)  in.  :   29*5  X  31 -2  cm.]     Pen  and  brown  ink  and  brown  wash, 
Qiarited  with  the  stylus  for  transfer.     The  false  signature  JAN    VAN 
KALKERE.F  on  a  piece  of  paper  inserted  to  fill  a  tear  at  the  bottom  in 
the  centre.     Watermark,  a  Hmall  crowned  jug.  like  Briquet  12629. 
Renoduction  :    PI.  XXXVII. 
CoUeotions  :  Sir  Peter  Leiy,  Sloane. 
8»7— 7. 

Other  drawings  by  the  same  hand  are  at  Rotterdam  (reprodaoad 
Kleinmann,  Uant^iehnungen  aUtr  MeitUr  der  AoUtfiwiueAc*  ScMils,  Bd. 
II.  Seria  VI.  Bl.  19).  at  Berlin  (No.  2863),  at  Weimar  (according  to  the 
Berlin  Oatalogue)  and  in  the  Blasson  Collection  in  the  £cole  des  Beaux-Arts, 
Paris  (the  Cnicifixion  with  the  two  thieves).  The  Rotterdam  drawing 
has  a  17th  or  iHth  cent,  attribution  to  Aertgen  van  Leyden.  This 
attribution,  though  not  intriniiically  inipr<>>">>><"  .••>•>•^Mt  be  aooe^ted 
without  qtMStion,  as  it  is  one  of  a  number  of  iis  on  drawtnfli 

differing  so  markedly  one  from  another,  that  oil  be  the  work 

of  the  same  artiHt.     Tlioro  seenui  to  be  no  ■        .m  ,.u  evidence  of  what 
Aert^Dn  van  Leyden's  style  actually  was.  In  fa\  >•  .i  ><:  i  he  attribution  to  him 


present  drawing 
1  inseripUons  in  Dutch  in  a  contemporary  hand,  which  appear  to  be 
•slinetsfrom  the  Gospels. 


p.  Aertsen.  89 

III. 

DRAWINGS  BY  KNOWN  AKTISTS  OF  THE 
LATER  XVP«  CENTURY. 

AERTSEN,  Pieter  (Lange  Pier)  (b.  1508  ;  d.  1573  or  1575).  Painter 
and  presumably  designer  for  stained  glass  :  pupil  of  a  certain  Alaert 
Claessen  in  Amsterdam  (not  to  be  identified  with  Aertgen  van 
Leyden) ;  master  in  the  Antwerp  Guild,  1535  ;  burgher  of  Antwerp, 
1542  ;  married  Katelyne  Beuckelaer  in  the  same  year  ;  returned  to 
Amsterdam  about  1555  and  became  a  burgher  of  that  city  in  1563  ; 
d.  there  and  was  buried  in  the  Oude  Kerck. 

Aertsen  was  commissioned  by  the  magistracy  of  Amsterdam  to 
paint  altar-pieces  for  both  the  Oude  and  the  Nieuwe  Kerck  there, 
and  also,  according  to  Foppens,  writing  in  1662,  furnished  the  designs 
for  the  windows  still  in  existence  in  the  former  church. 

Lit. :  Johannes  Sievers,  Pieter  Aertsen,  Leipzig,  1908. 

ATTRIBUTED  TO  PIETER  AERTSEN. 

1.  The  Continknce  of  Scipio. 

Scipio,  a  youthful  figure,  stands  on  the  r.  and  looks  towards  a  young  woman, 
who  is  brought  into  his  presence  by  two  soldiers  ;  other  figures  are  grouped 
behind  the  woman,  and  classical  buildings,  including  an  obelisk,  form  the 
background. 

[11  X  9|  in.  ;     28  X  26-2  cm.]     Pen   and   brown   ink   and   brown   wash: 
dated  on  the  shield  of  the  soldier  to  the  1.,  1662  ;   numbered  in  an  18th  (?) 
centtury  hand,  N.  332  ;   no  watermark. 
Purchased,  1929.1.14.6. 
Reproduction  :    PI.  XXXVIII. 

By  the  same  hand,  of  the  same  curious  shape  and  of  the  same  date  as 
a  drawing  at  Berlin,  representing  the  departure  of  the  Prodigal  Son 
(No.  11655  ;  reproduced  Tafel  10  of  of  the  Berlin  Catalogue).  The  Berlin 
drawing,  earlier  attributed  to  Jan  Swart  {Zeitschrift  f.  bild.  Kunst,  LVIII 
(1924/5),  p.  247),  is  given  by  the  Berlin  Catalogue  to  Aertsen,  on  the 
strength  of  the  resemblance  which  it  shows  to  a  design  for  stained  glass  at 
Hamburg  (reproduced  Prestel  publication  of  Hamburg  drawings,  VIII, 
pi.  3).  F.  Lugt  (Prussian  Jahrbuch,  LII  (1931),  p.  37)  doubts  the  attribu- 
tion to  Aertsen  of  both  the  Berlin  and  Hamburg  drawings,  on  the  grounds 
that  a  religious  subject  so  late  in  Aertsen's  career  is  imlikely.  The  present 
drawing,  with  ita  companion  at  Berlin,  seems  to  me  to  reproduce  faithfully 
the  style  of  Aertsen's  pictures.  It  may,  however,  be  the  work  of  one  of 
Aertsen's  close  followers  like  Beuckelaer,  as  P.  Wescher  is  reported  by 
F.  Lugt  {loc.  cit.)  to  hold.  The  peculiar  shape  of  the  drawing,  a  circle 
cutting  a  rectangle,  is  to  be  explained  by  its  function  as  a  design  for  glass  : 
it  was  so  arranged  that  it  could  serve  equally  well  for  a  circular  pane  or 
for  a  rectangular  one. 

COPY  FROM  PIETER  AERTSEN. 

2.  The  Adoration  of  the  Shepherds. 

The  Child  lies  on  straw  on  a  wooden  bench  to  the  r.  ;  the  Virgin  is  seated 
behind  Him,  while  an  angel,  in  the  attitude  of  prayer,  is  seen  further  back  ; 
on  the  1.  a  shepherd  kneels,  and  behind  him  stands  a  peasant  woman  with 


90  Dutch  and  FUmiih  Drwimmg: 


«  baakei  of  poultry  on  her  head  ;  on  the  extreme  1.  are  the  heads  of  the  ox 

and  the  aat. 

[Circular,  diam.  I0|  in. ;    26-5  om.]     Black  chalk,  the  outline*  gone  over 

ui  part  with  pen  and  ink. 

PrMentad  by  Sir  W.  C.  Trevelyan. 

1871.12.9.6336. 

The  drawing,  which  was  placed  with  anonymous  Italian  dmrnrnfn,  is 
clearly  near  to  Aerteen,  though  its  quality  i>r«v|iidp8  its  being  anything  but 
a  copy. 

BACKER,  Jacob  de  (b.  about  1560;   d.  about  1591).    Painter:    b.  at 

Antwerp ;    pupil   of   A.   van   Palermo   and   afterwards   of   H.   van 

Steenwyck  I ;   painted  a  picture  of  the  Last  Judgment  for  the  tomb 

of  Christopher  Plantin  (d.  1589)  in  Notre  Dame  at  Antwerp. 

1.  Thk  Last  Judgment. 

Christ  is  seated  on  the  rainbow  above  in  the  centre :  the  Virgin  kneels  to 
the  I.,  and  other  figures,  including  angels  blowing  trumpets,  are  gro«q>6d 
on  either  hand  ;  below,  on  the  1.,  stand  the  blessed,  while  on  the  r.  the 
danmed  are  being  cast  into  Hell  fire  by  two  demons. 

[0|  X  8^  in.;    24-2  X  20-5  cm.]     Pen  and  brown  ink  and  brown  wash: 
watermark,  an  "  M  "  surmounted  by  a  merchant's  mark. 
Collection  :    Sloano. 
6226—68. 

No  attribution  in  inventory  of  1837  ;  M.  de  Vos  in  the  MS.  oatalogne 
of  the  Sloane  Collection,  1845.  The  attribution  to  de  Backer  rests  on  HM 
similarity  of  style  to  a  drawing  of  the  same  subject  in  the  Albertina 
(Benosch  216)  anciently  and  convincingly  given  to  de  Backer. 

BLOEMART,  Abraham  (b.  1564  ;  d.  1651).  Painter  :  b.  at  Dordrecht ; 
pupil  of  his  father  Comelis,  of  Gerrit  Splintersz  and  of  Joost  de  Beer  ; 
about  1580  in  Paris,  where  he  worked  with  Jerome  Francken,  returning 
in  1583  to  Utrecht ;  moved  to  Amsterdam  in  1591  and  married  there, 
returning  to  Utrecht  in  1593 ;  here  'he  remained  for  most  of  the 
remainder  of  his  life. 

Lit. :  G.  Delbanco,  Der  Maler  Abraham  Bloemarl,  Strassburg,  1928. 
Two  drawings,  signed  with  the  monogram  AB,  formerly  attributed  to 
Bloemart  (Ladies  and  geittlemm  at  the  top  of  a  flight  of  stairs ; 
1895-9-15-1124;  Malcolm  Collection  Catalogue,  No.  663;  and 
Statuaria,  Cracherode  Collection,  Suppl.  100,  reproduced  by  G. 
Delbanco,  op.  cU.,  Taf.  10,  XXII),  are  in  fact  by  Augustin  Braun 
of  Cologne,  and  are  now  placed  with  German  drawings. 

The  drawings  are  here  arranged  according  to  their  subject,  a 
chronological  arrangement  appearing  to  me  impossible. 

1.  Thji  Dkluub. 

On  the  r.  a  man  tries  to  shelter  a  woman  and  child  with  his  mantto ;  to  the 
1.  figures  climbing  on  to  a  roek  ;  further  back  to  the  1.  the  ark  floating  on 
the  watws. 

[ftA  X  Sin.:    13*2  x  20*4 em.]    Pen  and  brown  ink  over  black  chalk, 
WMMd  with  brown,  on  yeUowish  paper. 
OoDaotion:   Skwne. 
6tt4— M. 

AMfibnftion  in  inventory  of  1837.  Late  in  Bkiemart's  career,  probably 
after  1620. 


A.  Bloeinart.  91 


2.  Lot  and  his  Daughters. 

Lot  is  on  the  1.  ;  one  daughter  is  seated  in  the  centre  with  her  back  to  the 
spectator,  while  the  other  stands  and  pours  wine  into  a  bowl  held  out  by 
her  father  ;  the  scene  takes  place  in  a  cave,  through  the  entrance  of 
which  on  the  r.  Lot's  wife  is  seen. 

[8|  X  lOJin.  ;     21-2  X  27 -3  cm.]     Brown    wash    over    black    chalk    on 
sUghtly  yellowish  paper,  heightened  with  white  :    signed,  top  1.  comer, 
A.  Bloemart,  and  dated,  bottom  1.  comer,  1649,  in  ink  (more  recent  hand 
over  obliterated  chalk  ?). 
Collection  :    Sloane. 
5236 — 40. 

The  date  is  no  doubt  correct. 

3.  The  Children  that  Mocked  Elisha  Devoured  by  Bears. 

The  two  she-bears,  advancmg  from  the  1.,  are  devouring  the  children,  two  of 

whom  are  trying  to  escape  ;   the  legs  of  another  child  are  prominent  in  the 

foreground  ;   Elisha  is  seen  in  the  distance  on  the  r. 

[3S  X  61  in.  ;  9-9  X  15-9  cm.]     Pen  and  ink  over  black  chalk  on  cream- 

coloureci  paper,  washed  with  green  and  heightened  with   white,  outlines 

indented  for  transfer. 

Purchased,  1 859 . 7 . 9 .  28 1 9. 

Presumably  engraved. 

4.  The  Annunciation  to  the  Shepherds. 

On  the  1.  is  a  group  of  cattle  and  sheep,  behind  which  are  two  shepherds, 
one  of  whom  raises  his  hands  towards  the  angel  in  the  sky  on  the  r. 

[5f|  X  8j9jj  in.  ;    14-8  X  21 -7  cm.]     Pen  and  ink  over  black  chalk,  washed 

with  brown  and  heightenetl  with  white,  outlines  indented  for  transfer. 

Collection  :    Sloane. 

6224—84. 

Reproduction  :    PI.  XXXVIII. 

Attribution  in  inventory  of  1837.     Presumably  engraved. 

6.  The  Adoration  of  the  Shepherds. 

The  Virgin,  kneeling  on  the  1.,  uncovers  the  Infant  Christ  to  the  view  of 
four  shepherds  on  the  r.,  the  foremost  of  whom  has  knelt  down  ;  St.  Joseph 
stands  behind  the  Virgin,  and  the  ox  and  the  ass  are  seen  on  the  extreme 
1.  ;    a  glory  with  cherubs  descends  from  above. 

[8 J  X  6  in.  ;   22-5  X  15-3  cm.]     Pen  and  brown  ink  and  brown  wash  over 
black  chalk  on  yellowish  paper,  heightened  with  white. 
Collection  :    Cracherode. 
Ff.  4—99. 

No  attribution  in  inventory  of  1837  ;  first  in  MS.  catalogue  of  Cracherode 
Collection,  1845.     Obviously  a  late  drawing. 

6.  A  Female  Anchorite. 

She  kneels  towards  the  1.,  a  crucifix  leaning  against  a  stone  in  front  of  her. 

[5  X  3|  in.  ;    12-7  X  8-6  cm.]     Pen  and  ink  and  brown  wash  on  yellowish 
paper,  neightened  with  white. 
Collection  :   Sloane. 
5227—100. 

Similar  to  the  engravings  of  female  anchorites  in  the  Sacra  Eremus 
Aacetriarum  series,  engraved  by  B.  a  Bolswert  after  Bloemart,  but  not 
actually  among  them. 

7.  A  Priest  at  the  Altar. 

He  stands  towards  the  1.,  holding  the  chalice  with  his  1.  hand  and  raising 
his  r.  in  benediction ;  an  acolyte,  kneeling  behind,  holds  the  chasuble  with 
his  1.  and  a  bell  with  his  r.  hand. 


92  Dutch  and  Finnish  Drawings. 


[M  X  SI  in. ;    IS  X  8-8  otn.1    Pen  and  red  ink  ovor  hUu-k  chalk, 
wiUi  red  and  hei^ taped  with  white, 
runlwaed.  186S.8.1S.45. 

Appears  to  have  been  intended  for  an  engraving. 

8.   Mkbcuby  Slaving  Abous. 

Merrur>',  who  has  ju«t  unsheathed  his  sword,  is  in  the  centre,  his  back 
titrnml  to  the  spectator  ;  Argus  is  asleep  at  the  foot  of  a  tree  further  back 
to  the  1.  :  on  the  r.  are  four  goats ;  on  the  I.  in  the  distance,  a  cow. 

(Imp.,  16A  X  22}^||  in.  ;  41-2  X  68-3  cm.]     Pen  and  brown  ink  and  brown 
wash  over  olack  chalk  on  cream-colourwl  paper,  heightened  with  white. 
Presented  by  J.  Deffet  Francis,  Esq. 
187S.12.13.125. 

0.  Hbad  or  AN  Olx>  Man. 

The  head  is  turned  throe -quartorii  to  the  r.  and  slightly  inclined  in  the  same 

direction  ;    the  throat  is  bare. 

[161  X  ll}lin. :   41-5  X  29-7  cm.]     Black  chalk  on  greenish  tinted  paper, 

washed  with  grey  and  heightencxl  with  white. 

Collection  :   Fawkener. 

S224 — 65  and  Fawkener  Add.  42. 

Engraved  in  reverse  on  a  smaller  scale  in  iho  "  Konstryk  Token- 
bock  "  of  Abraham  Hloomart,  pi.  104  in  the  earlier  edition,  pi.  48  in  the 
edition  of  1740. 

10.  Stcdiks  or  Woxkn's  Heads. 

Six  heads  of  claasioal  typo,  with  kerchief  headdresses  agitated,  with  the 

exception  of  the  centre  one,  by  the  wind. 

(7A  X  6)  in. :    I0>3  x  16  cm.]  Pen  and  brown  ink  over  red  chalk,  washed 

with  brown  and  heightened  with  white. 

Purchased,  1853.8.13.43. 

The  three  lower  heads  are  engraved  in  reverse,  at  the  top  of  plate  23 
of  Bloeinart's  "  Konstryk  Tekenboek,"  edition  of  1740. 

1 1 .  Rtcdibs. 

Above,  the  bodv  and  I.  arm  of  a  nude  man  seated,  seen  from  the  back  ; 
below,  two  studies  of  a  bearded  head. 

[8}  X  ftfi  in.  ;  21   X  151cm.]    Brush  and  sepia  on  oiled  ptHP^i  l**ifl^**B^ 
with  white  oil  colour. 
Purchased.  185U.  7.4.2820. 

The  studies  bear  some  resemblance  to  those  in  the  "  Konstr}'k  Taken- 
boekf"  bat  are  not  engraved  there,  and  the  attribation  to  Bloemart  is  not 
beyond  qoeation.    The  technique  is  like  that  of  drawings  by  Simon  Dubois. 

12.  Two  Bora  Sdcoino. 

T'  '<u  front  is  ban<-h(^e<i  and  hoUlM  a  paper,  his  hat  and  a  fancy  roll 

I  '  him  ;   another  boy,  wearing  a  liat,  looks  over  the  r.  shoulder 

«..  .  .  •'I . 

I'm  1}  in. :    14-8  X  ll-5cmj     Pen  and  brown  ink  and  brown  wash 

n\.  r  t'l.i'  k  c-hnik,  touehed  with  Chinese  white  and  squared  for  transfer. 
<  "ii-  ti..t,s      I^eamlmMMn  (Sale.  Amsterdam,  March  6ih,  18M,  k>t  89), 
v|m!.<.|„,  (('.itnlogDe.  MS). 
I-  If  h.^.l.  IH95.0.15.11SS. 

I  '.r  a  v«f|  in  reveno  by  Cornelia  Bloemart  (Le  Blanc  292).  The  engraving 
hi    ) . :  .w  it  the  ftdlowing  two  ojqilaaatoiy  lines: — 

H  ij  trirngtm  watt  wai  wiwwst,  tm  htbbtn  noeh  ecM  bu^ 
JCsii  kratkHmg  U  on*  wintt ;    matr  MtdUttn  mott  Mrtt  net. 


A.  Bloemart.  93 


13.  A  Shepherdess  and  a  Sportsman. 

A  shepherdess  in  classical  costume  stands  on  the  r.,  her  back  turned  to  the 
spectator,  and  points  out  to  a  sportsman,  concealed  among  some  stumps, 
a  bird  on  the  wing. 

[5f|f  X  8f  in.  ;    14' 8  X  21 -9  cm.]     Pen  and  brown  ink  over  black  chalk, 

the  outlines  indented  for  transfer. 

Collection  :    Sloane. 

5224—85. 

Reproduction  :   PI.  XXXVIII. 

Etched  in  reverse  by  Frederik  Bloemart  as  No.  1  of  a  series  of  fifteen 
etchings  (Le  Blanc  234-248),  inscribed  Abrahamus  Bloemaert  Inven  : 
F.  B.  filius  fecit  N.  Visscher  exc. 

14.  A  Crippled  Beggar. 

He  sits  on  the  ground  holding  out  a  bowl  for  alms  in  his  r.  hand  ;  his 
r.  leg  is  supported  by  a  bandage  ;  a  crutch  is  in  front  and  a  jug  behind 
to  the  r. 

[4J^g   X  3i^g  in.  ;    12-2   X  8-1  cm.]     Pen  and  brown  ink  over  black  clialk. 

Collection  :    Sloane. 

5224—82. 

Attribution  in  the  inveutorj'  of  1837.  In  the  style  of  the  etchings  in 
the  "  Konstryk  Tekenboek.'' 

15.  A  Peasant  Woman  with  a  Basket. 

She  is  seated  on  a  boulder,  holding  the  basket  on  her  knee  with  her  1.  hand ; 
her  r.  arm  is  extended. 

[4J  X  3i^'b  in.  ;    12-3  X  8-1  cm.]     Pen  and  brown  ink. 

Collection  :    Sloane. 

5224—83. 

Attribution  to  Bloemart  in  the  inventory  of  1837.  Companion  to  the 
preceding. 

16.  A  Dovecote. 

The  dovecote,  a  ruinous  hexagonal  builduig,  is  on  the  1.  ;  behind  it  are  a 
haystack  and,  further  back  on  the  r.,  a  cottage. 

[6|  X  7|in.  ;    16-2  X  19 -9  cm.]    Black  chalk,  faintly  washed  in  the  fore- 
ground with  Indian  ink,  and  with  touches  of  brown. 
Collection  :    Sloane. 
5214 — lie. 
Reproduction  :    PI.  XXXIX. 

The  attribution,  which  first  appears  in  the  MS.  catalogue  of  the  Sloane 
Collection  of  1845,  seems  to  be  correct. 

17.  Landscape  Composition  with  Two  Trees. 

On  the  1.  are  two  figures  reclining  below  two  large  trees,  which  lean  over 
to  the  r. ;  against  their  trunks  are  a  scythe  and  a  hay-rake ;  in  the  distance 
to  the  r.  is  a  cottage. 

[11|  X  9^  in.  ;    30- 1  X  24- 1  cm.]     Pen  and  brown  ink  and  brown  wash  and 

water-colour  for  the  foreground,  black  chalk  and  wash  for  the  distance  : 

dated  1650. 

Purchased,  1877.5.12.266. 

Reproduction  :    PI.  XXXIX. 

18.  View  of  Stables  and  Cottages. 

A  long  low-roofed  barn,  open  in  front,  is  in  the  foreground  ;    behind,  the 

roof  of  a  cottage  ;    in  the  foreground  on  the  r.,  two  figures,  one  standing 

and  one  sitting. 

[4J  X  13|  in.  ;     10-5  X  34  cm.]     Pen  and  dark  ink  and  pale  washes  of 

colour. 

Purchased,  1927.4.11.3. 


94  Dutch  and  Flemish  Drawings. 


lU.   View  or  a  Vuxaoe. 

nieoentreM  occupied  by  a  thatchod  cottage  with  a  chimney  aiid  a  l<aii'to 

CO  the  r. ;  ft  standing  6guro  is  in  the  foreground  to  the  I.  and  two  fM-atfyi 

figure*  to  the  r. 

[S  X  13|  in. ;     12-8  X  34-3  cm.]     Pen  and  brown  ink  and  pale  waahea 

of  colour. 

Purchaaed.  1027.4.11.2. 

Tho  two  drawings  were  on  the  same  sheet  of  paper,  that  of  the  stablea 
above,  that  of  the  village  below,  as  is  shown  by  the  drawing  of  a  tree  (in 
the  same  techniaue)  extending  across  the  back  of  both  sheets.  The  water- 
mark, an  eagle  displayed  with  the  arms  of  the  duchy  of  Bar  (two  fishes) 
on  its  breast  and  the  monogram  CN  below,  like  Briquet  2096,  is  also 
divided  between  the  two  sheets. 

BOL,  Hans  (b.  1534 ;  d.  1593).  Painter  in  water-colour,  draughtsman 
and  etcher  :  b.  at  Malines  ;  pupil  of  his  uncles  Jacob  I  and  Jan  Bol ; 
worked  for  two  years  at  Heidelberg,  whence  he  returned  to  Malines, 
to  be  received  master  in  the  Guild  of  painters  there  in  1560 ;  fled 
to  Antwerp,  on  the  capture  of  Malines  by  the  Spaniards,  and  became 
master  in  the  Guild  there  in  1564  ;  obliged  to  leave  Antwerp  in  1584 
owing  to  the  war  ;  took  refuue  in  Holland,  and  Wcame  a  burpher 
of  Amsterdam  in  159' < 
1.  Tax  Flood. 

On  an  insulated  plot  of  ground,  on  which  is  a  tree,  groups  of  people  and 
a  cow  are  assembled  ;  numbers  of  people  and  cattle  are  swimming  in  the 
water  and  crowding  on  to  pieces  of  land  ;  the  ark  is  seen  in  the  back- 
ground and,  beyond,  a  rocky  mountain  with  a  town  at  its  foot. 
[7j  X  lljin. ;  19>6  X  28*6  cm.]  Pen  and  brown  ink  with  touches  of 
violet  wash  :  signed  and  dated  on  a  cloud  at  the  top  in  the  centre, 
H  Bol  1608. 

Colleotion  :  8.  Woodbum  /Sftl««.  .Tmip  21«t.  isfiO.  lot  1134). 
Purchaaed.  1860.6.16  110 
Reproduction  :    PI.  XL. 

Another  of  the  same  serie*  is  probably  the  drawing  at  Leipzig  of 
Abraham  entertaining  the  angels  (Leipzig  Drawings,  1894,  pi.  XIV), 
dated  in  the  same  3rear,  but  there  is  also  at  Berlin  a  second  drawing  of  the 
Flood  very  similar  to  the  present  one  dated  1579,  so  that  there  may  have 
been  two  or  more  Genesis  series. 

t.  Turn  Vnoor  with  Two  Holy  Womkn  at  thx  Foot  or  xhb  Cxoss. 

The  Viigin,  seated  on  the  ground  in  the  centre,  is  supported  by  a  wtmian. 
who  kneels  behind  her  on  the  I. :  two  other  women  kneel  in  attitudes  of 
prayer  oo  the  r. ;  the  atem  of  the  Cross,  with  ladders  on  either  side,  is 
m  the  centre. 

(6|  X  7^,  in.;   14-2  X  lV'Scm.1    Pen  and  black  ink.  waslied  with  violet : 
sifDad  and  dated  oo  the  atem  of  the  Cross,  HASH  BOLjlilO. 
CoUaetton  :  Chariatte. 
Purehaaed.  1990.4.20  17. 

9.  Mabch  :  PutKTmo  Vnrxs. 

Two  trsea  are  in  the  centre  of  the  compo»iiiv>ii .  •■■  n.>iii  uuu  iu  the  r.  of 
•hsM  to  a  vinavanl,  in  wfaieh  rix  man  are  at  work  nlanting  and  propping 
viaaa ;  oo  the  L  to  a  aiao  oanying  a  basket  and  two  bundJea  of  sttoks. 

(ftf  X  10^  in. ;     17-2  x  20'9em.1      Pen   and    brown    ink   on    brownish 
paper :    s^ned  and  dated  HAS8  BOL  l.')73  nt  the  bottom  on  the  I. 
BainMathed  ^  Qeoffe  Salting,  Esci. 

lUpra^ietiott  t   PL  XL. 


H.  Bol  95 

From  a  series  of  the  Months,  to  which  drawings  at  Brunswick  (Brunswick 
Drawings,  54)  and  Berlin  (Berlin  Catalogue,  No.  534),  both  signed  and 
dated  1573,  belong.  All  three  drawings  show  close  resemblances  in  detail 
to  the  corresponding  months  in  the  small  circular  engravings  by  Hans 
CoUaert  after  Bol. 

4.  The  Preaching  of  St.  John  the  Baptist. 

The  saint  stands  at  the  foot  of  a  large  tree  on  the  1.  ;  his  audience  is  grouped 
before  him,  mainly  to  the  r.,  and  includes  two  men  on  horseback,  soldiers 
and  country  men  and  women  ;  further  back  is  a  waggon  with  two  horses, 
and  in  the  distance  on  the  r.  a  river  on  which  is  a  raft. 

[8^(5  X  6^(5  in.  ;  20-5  X  15-7  cm.]  Pen  and  light  brown  ink  and  faint 
washes  of  pink  and  green,  the  outlines  indented  for  transfer  :  inscribed 
by  the  artist  (in  reference  to  a  dead  branch  projecting  from  the  tree  under 
which  St.  John  stands)  Pegel  (=  measure),  and  in  the  centre  at  the 
bottom,  Mathys  3  ;  H.  Bol  in  a  later  hand  in  bottom  1.  corner,  and 
N.  31  top  1. 

Collection  :    H.  Bolward  Ray  (Sale,  Christie's,  1856,  lot  53). 
Purchased,  1856.7.12.992. 

The  style  of  the  drawing  differs  from  that  of  most  of  those  of  Bol  in  its 
greater  freedom.  It  however  closely  resembles  a  drawing  in  the  collection 
of  Sir  Robert  Witt  of  the  meeting  of  Jacob  and  Laban,  which  is  signed  and 
is  the  original  drawing  for  the  etching  (van  der  Kellen,  8). 

5.  View   of   Antwerp   from  the   Scheldt.      Verao  :    Studies   of  Eight 
Ships  and  View  of  Delfsghouw. 

[SA   X  16  in.  ;      12-8  X  40-5  cm.]      Silver    point    on    prepared    cream- 
coloured  surface  :    inscribed  on  recto,  above  the   church  tower  on  the  1., 
St.  Andriea  ;    above  that  next  to  it,  St.  michiels  abdye,  and  still  further  to 
the  r.,  Antwerpen  ;   on  verso,  against  a  ship,  een  bussche. 
Collections  :    Bohm,  Grahl,  Malcolm  (Catalogue,  Add.  21). 
Purchased,  1895.9.15  983. 

Reproductions  :  Recto,  C.  Ephrussi,  Albert  Dilrer  et  aes  Deaaina,  Paris, 
1882,  p.  269  ;    verao,  ibidem,  pp.  289,  293. 

Lit.  :  C.  Dodgson,  Eine  Zeichnung  Hans  Bola,  Mitteilungen  aua  den 
Scichmachen  Kunstaammlungen,  III  (1912),  p.   1. 

The  view  on  the  recto  is  taken  from  a  boat  on  the  Scheldt  and  com- 
prises a  portion  of  the  river  frontage  north  of  the  citadel  with  the  towers 
of  St.  Andrew  and  St.  Michael.  The  drawing  was  regarded,  when  in  the 
Grahl  and  Malcolm  Collections,  as  part  of  Diirer's  Netherlands  sketch-book, 
and  so  published  by  Ephrussi.  Mr.  C.  Dodgson  recognised  that  the  view 
of  a  canal  on  the  verao  was  used  in  the  gouache  painting  by  Hans  Bol  at 
Dresden,  representing  the  meeting  of  Abraham  and  the  Angels  (No.  826). 
A  finished  drawing  by  Bol  of  the  same  subject,  with  the  same  background 
(pen  and  ink  and  wash,  10  X  28-2  cm.),  belonged  in  1928  to  Mr.  Malcolm 
Laing. 

6.  Landscape  Composition. 

On  a  hill  on  the  1.  stand  two  gibbets  ;  on  the  extreme  r.  is  a  tree,  at  the 
foot  of  which  are  two  figures  carrying  packs  and  a  child  ;  on  the  1.  are 
four  other  figures,  and  a  waggon  is  descending  a  road  in  the  centre  ;  an 
extensive  landscape  beyond. 

[4jg  X  l^in.;  12-5  X  19- 1cm.]  Silver  point  on  prepared  white 
surface,  washed  with  grey  :  signed  bottom  r.  H.  Bol ;  a  date  underneath 
is  illegible  except  for  the  last  figure,  3  ;  numbered  top  r.  comer  in  a  con- 
temporary hand,  41. 

Collections  :   Klinkosch,  Malcolm  (Catalogue,  Add.  24). 
Purchased,  1895.9.15.1038. 
Reproduction  :    PI.  XL. 

Lit.  :  C.  Dodgson  in  Mitteilungen  aus  den  Sdchsischen  Kunstaamm- 
lungen, III  (1912),  p.  3. 


90  Dutch  and  Flemish   lJnnri,ii/s. 


Mr.  Dodgnn  rogards  (he  drswing  m  Mtoiher  <-teh- 

book  ••  No.  8.    The  No.  41  in  the  top  ofwner  of  1 1     .  i>*  in 

•  veiy  aimil&r  hand  to  that  on  the  verto  of  No.  5  (iiliipM),  but 
aeeme  to  mo  hartlly  ostablished. 

BOLTEN  VAN  ZWOLLE,  Arent  van.  Goldamith  and  draughtsman 
of  ZwoUc,  probably  working  about  1580-1600.  Two  repoussi  silver 
dishes  by  Bolten,  belonging  to  the  wine  merchant  Albert  Martensz 
at  Amsterdam,  were  sold  on  Bfay  21st,  1621.  In  the  inventory  of 
Thomas  Cruse  at  Delft,  drawn  up  on  October  23rd,  1624,  No.  10,  Ls 
a  small  Hercules  in  wax  by  Arent  van  Bolten  (A.  Bredius,  Kunstler- 
inventare.  Vol.  IV  (1917),  p.  1457).  Apart  from  these  two  references, 
knowledge  of  Bolten  rests  on  the  volume  of  drawings  described  below, 
though  I  am  informed  that  there  are  four  drawings  attributed  to 
him  in  the  Ashmolean  Museum,  Oxford  (Douce  Collection).  One  of 
these,  however,  appears  to  be  a  copy  of  No.  158  below,  while  a  second, 
of  three  bird  grotesques,  is  said  to  be  the  work  of  another  hand.  It  is 
possible  the  two  remaining  are  also  copies  of  drawings  described  below. 
Two  drawings,  the  portrait  (No.  1)  and  a  soldier  (No.  301),  have  the 
name,  the  latter  being  a  signature.  The  fact  of  his  being  a  native 
of  ZwoUe  is  apparently  only  stated  on  the  cover  of  the  present  album. 

Something  can  be  deduced  about  their  author  from  a  study  of 
the  drawings.  The  two  large  carnival  scenes  are  unmistakably  Italian 
and  probably  point  to  Bolten  having  visited  Italy  (perhaps  Bologna  ; 
see  under  Nos.  414,  415),  though  they  might  be  adaptations  or 
elaborations  of  drawings  supplied  by  another  artist.  The  costumes 
in  those  and  other  drawings  of  figures  in  contemporary  dress  point  to 
n)>out  1580-1600  for  the  period  in  which  the  artist  worked.  The 
style  of  the  drawings  finds  its  nearest  parallel  in  that  of  the  Haarlem 
mannerists,  particularly  Karel  van  Mander  and  Cornclis  Comelisz. 
There  is  also  some  analogy  to  works  of  Joos  van  Winghe  (cf.  No.  407) 
in  the  elongated  proportions  and  small  heads  of  the  figures. 

Arent  van  Bolten  has  nevertheless  a  thoroughly  indt\ndual  style 
of  drawing,  as  well  as  an  amazing  sureness  of  hand  and  a  facility 
surprising  in  one  who  would  appear  to  have  been  primarily  a  silvtr 
smith  and  to  whom  contemporary  references  are  so  scanty.  The  ni«>><t 
striking  thing,  however,  about  Bolten  is  his  peculiar,  even  abnormal, 
imagination  in  the  invention  of  monstrosities,  horrors  composed 
ratber  on  the  principle  of  the  game  of  "  heads,  bodies  and  legs  "  of 
every  variety  of  animal  and  human  l>eing.  Their  character  is  so 
constant  and  so  individual  and  their  number  so  great  that  a  psychiatrist 
might  lie  able  to  make  deductions  from  them  about  the  mental  and 
ph)incal  condition  of  their  creator. 

A  number  of  the  drawings  in  the  book  were  engraved,  but  l>\ 
whom  is  not  known.  In  the  earlier  states,  of  which  five  are  in  the 
Britisli  Mitseam,  there  is  no  name  of  engraver  or  publisher.    In  the 


A.  van  Bolten  van  Zioolle.  97 


later  states  some  have  the  name  of  Firens  as  publisher.  These 
engravings  appear  to  be  very  rare.  Apart  from  the  five  iu  the  British 
Museum,  there  are  eighteen  in  the  Kungl.  Biblioteket,  Stockholm, 
five  in  the  Berlin  Kunstgewerbemuseum,  and,  according  to  Guilmard 
[Les  Maitres  Ornemanistes,  Paris,  1880,  pp.  45, 46),  six  in  the  Bibliotheque 
de  I'Arsenal  at  Paris.  At  the  end  of  the  volume  described  below  are 
pasted  tracings  of  four  engravings  of  the  series,  one  of  which  is  at 
Stockholm,  but  of  which  the  others  are  new.  Owing  to  the  kindness 
of  Dr.  Colijn  I  have  been  able  to  compare  photostats  of  the  Stockholm 
engravings  with  the  drawings.  I  have  not,  unfortunately,  been  able 
to  collate  those  at  Berlin  and  Paris.  From  the  material  at  my 
disposal,  it  appears  that  there  are  in  existence  at  least  twenty-two 
different  engravings,  and  there  are  probably  more.  All  except  a  very 
few  are  from  drawings  in  the  book. 

ALBUM    CONTAINING    425    DRAWINGS. 

The  volume,  measuring  28J  X  lOJ  in.,  is  bound  in  black  leather.  On 
the  front  cover  is  stamped  in  gold  BOLTEN  VAN  SWOL  TEEKENINGE 
and  1637.  It  is  one  of  the  series  of  albums  from  the  Sloano  Collection 
and  elsewhere,  comprising  the  Diiror  album,  the  albiun  of  animal  drawings 
(lescribed  below,  and  others.  The  early  provenance  remains  uncertain. 
For  an  account  of  the  volumes,  see  the  article  by  Sir  Sidney  Colvin  on 
the  Lucas  van  Leyden  albiun  (Prussian  Jahrbuch,  XIV  (1893),  p.  173  ff.), 
and  the  Introduction  to  Vol.  IV  of  the  present  Catalogue,  pp.  xiii  to  xv. 
There  is  a  summarv  description  of  the  present  album  by  Lionel  Cust  in 
Oud  Holland,  VII  (1889),  p.  224. 

Note  is  made  of  those  drawings  which  I  know  to  be  engraved,  and  a 
reference  given  to  the  place  where  the  engraving  is  (Stockholm,  B.M.). 

A  certain  number  of  drawings  do  not  appear  to  be  by  Aront  van  Bolton. 
These  are  Nos.  179,  283,  371,  382,  383. 

Though  the  number  of  the  last  drawing  in  the  book  is  424,  there 
are  actually  425  drawings,  one  number  (165)  being  repeated. 

The  arrangement  of  the  drawings  in  the  album  is  probably  that  made 
in  1637.  There  is  at  any  rate  no  obvious  sign  of  any  alterations  having 
been  made. 

This  arrangement  is  roughly  as  follows  : — 
1,2.  Portraits. 
3-58.  Silversmith's  work,  mainly  frames  and  cartouches. 
69-68.  Clusters  of  fruit. 
69-109.  Masks,  with  some  details  for  silversmith's  work. 

110.  Large  frame. 
111-138.  Silversmith's  work  ;   lamps,  cups,  sauce-boats,  etc. 
139-209.  Monsters  and  dwarfs  (one  design  for  spoons.  No.  196). 
210,  211.  Nude  figures. 
212-240.  Cherubs. 

241-270.  Apostles  and  small  single  figures. 
271-389.  Figures  and  groups  in  contemporary  costvuno,  naked  figures 

and  mythological  subjects  (one.  No.  380,  Biblical). 
390-401.  Christ,  the  Virgin  and  the  Apostles. 
402-406.  Outline  drawings. 

407.  Masquerade. 
408-411.  Amnon  and  Tamar. 
412,  413.  Biblical  subjects  (large). 
414,  415.  Carnival  scenes  (large). 

416.  Flemish  carousal  (large). 

417.  Apollo  and  the  Muses  (large). 

418.  The  Last  Judgment  (large). 
419-424.  Pairs  of  peasants  and  musicians. 

H 


98  Dutch  and  Flemish  Drawings. 


\\'\wn>  not  otherwiw  stated  tho  intxlium  of  a  drawing  is  pen  and  brown 
ink  and  brown  wash. 

CoIle<-tion  :   Sloanc 
3217.     1-424. 

Portrait,  rREsuMAi.  Artiut. 

Ho  is  seen  half-length,  tunu>d  throe-quarters  to  t!  .  hand  resting 

on  a  skull ;   he  is  bare-headed  and  wears  a  ruff. 

[Oval,  9  X  7i  in.  ;   23  X  19-6  cm.]     Pen  and  brown  ink  and  brown  wash. 

over  black  chalk:  inscribed  bottom  to  r.,  A.  BolUn. 

Reproduction  :  Oud  Holland,  loc.  cit.,  facing  p.  224. 

The  costume  is  that  of  about  1580-90.  The  st^lo  of  the  drawing  is  not 
convincingly  like  that  of  Bolton;  it  recalls  drawmgs  by  Crispin  \.>ii  <!•• 
Passe,  especially  one  at  Vienna,  No.  217. 

Head  of  a  M\\   and  Study. 

Ho  wears  a  plumed  can  of  the  fashion  of  about  1550  ;    ho  ia  tun>o<l  tlmn*- 

quarters  to  1.  and  looks  down  ;    to  the  1.  a  small  half-length  of  a  man 

woAring  a  turban. 

(6,T«  X  6]  in. ;    16-3        IT    I     in.  j     Black  and  red  chalk. 

ResombloMan  imaginary  iH)rt  rait  of  a  man  with  n  skull,  signed  y.  MVLLElt 
(soki  SothebyX  February-  15th.  16th.  1021.  lot  21,  and  illustrated  in  Sale 
Catalogue).  In  stylo  and  technique  like  No.  378  below.  Tlicre  is  no 
reason  to  doubt  the  attribution  to  Bolton  in  either  case. 


DKM<i.N>«     mm;      \ii    i\i,     \\im;!\ 

3.  Four  Hakducs  or  Vks^i  i^ 

it;    ■   5|  in.  ;    20  ik  and  grey  wash. 

4.  LKrr  Half  of  a  Cartoucmk. 

[41   X  3|  in.  :    12-4   X  9*3  cm. 1     Pon  and  trr«>\    ink  an<l  erov  wash. 

5.  Left  Hai.f  of  a  Cartouchr. 
Circular,  with  a  small  mask  at  t'i>   top 
\Af^  X  3^«  in.  :    11-6  X  9cm.] 

6.  Lkft  Half  of  a  Cartoccrr. 

Oval,  decorated  with  a  winged  ape-like  creature  at  the  side  and  a  ram's 
head  at  the  bottom. 

144  X  3,»,in.  ;    10-5  x  n 

7.  Lkft  Hai^  of  a  (' 

Rectangular,  with  lu-nun  m  i mmnM  ai  top  f  nmer  nnd  ai  "i 
and  a  grotesque  mask  at  middle  of  top. 

•'^       ■"-  11  X  9-2  cm.] 

:.,...  K^   OF  Two  CARTOt7CHES. 

i  I  at  on  the  I.  is  decorated  with  a  cherub  facing  to  the  1. ;   that 
>A  iiii  a  cherub's  head  at  the  top  in  the  centre. 

(5|i,  y  5(1  in. ;    1S*9  x  14-4  cm.]    Pen  and  gny  ink  and  grey  wash. 


Lkft  Halvks  of  Two  CARTOUOnH. 

That  on  the  I.  is  oval  and  has  a  grote 
fai  deeoralad  with  gtUtae. 

(41  11-2  X  18  cm.]    Pm  and  grsy  ink  and  grey  wash. 


That  on  the  I.  is  oval  and  has  a  grotMque  mask  at  the  t   i> .  that  <>n  th. 
fai  deeoralad  with  gtUtae. 


A.  van  Bolten  van  ZiooUe.  99 


10.  Left  Halves  of  Two  Cabtouohes. 

That  on  the  1.  has  a  cherub  at  the  top  and  contains  the  sketch  of  a  coat- 
of-arms  ;    that  on  the  r.  is  decorated  with  roll  work. 

[5J  X  5|  in.  ;    13*  1  X  14-3  cm.]     Pen  and  grey  ink  and  grey  wash. 

Engraved  in  reverse,  together  with  Nos.  19  and  49  (Stockholm). 

11.  Left  Half  of  an  Ornament. 
It  contains  a  grotesque  mask. 
[5^g  X  ^\  in.  ;    14-2  X  9  cm.] 

12.  Left  Halves  of  Two  Cartouches. 

That  on  the  1.  has  a  cherub's  mask  at  the  top  and  a  cherub  as  decoration 
along  the  side  ;  that  on  the  r.  has  roll-work  and  an  animal's  mask  at  the  top. 

[4J^g  X  5^g  in.  ;    12*2  X  14*  1  cm.]     Pen  and  grey  ink  and  grey  wash. 

13.  Two  Handles. 

That  on  the  1.  is  decorated  with  a  female  hecul  and  bust ;  that  on  the  r.  is 
in  the  form  of  an  "  h." 

[5/^  X  5^  in.  ;    31*5  X  12*9  em.]     Pen  and  brown  ink  and  grey  wash. 

L.   hand  one    engraved   in   reverse,  together  with   Nos.   60   and    128 
(Stockholm). 

14.  Left  Halves  of  Two  Cartouches. 

That  on  the  1.  has  a  sort  of  projecting  ear  with  two  lobes  at  the  top  ;  that 
on  the  r.  has  a  similar  but  narrower  and  more  pointed  projection. 

[6J  X  5J  in.  ;    14  X  14-7  cm.]     Pen  and  brown  ink  and  grey  wash. 

16.   Two  Handles. 

That  on  the  1.  is  pointed  at  the  bottom,  while  that  on  the  r.  ends  in  a  scroll. 
[6|  X  6j»a  m.  ;    13-6  X  14- 1  cm.]     Pen  and  brown  ink  and  grey  wash. 

16.  Left  Half  of  a  Cartouche  and  Ornament. 

The  ornament  on  the  r.  is  decorated  with  a  grotesque  head  ;    a  sketch  in 
pencil  of  a  spoon  between  it  and  the  cartouche. 

[5 J  X  5\%  in.  ;    13  X  14*8  cm.]     Pen  and  brown  ink  and  grey  wash. 

17.  Two  Handles. 

The  1.  hand  one  has  a  man's  head  at  the  top  ;    the  r.  hand  one,  the  head 
and  body  of  a  woman. 

[6|  X  4Jin.  ;    14-2  X  11-5  cm.] 

18.  Left  Half  of  a  Cartouche  and  of  an  Ornament. 

The  cartouche  is  decorated  with  roll-work  and  has  four  balls  dependent 
from  it  ;    the  omanient  resembles  a  grotesque  head. 

f6J  X  6J  in.  ;    14-6  X   16  cm.]     Pen  and  brown  ink  and  grey  wash . 

19.  Left  Half  of  a  Cartouche  with  Feet. 

Decorate<l  with  the  half-length  of  a  woman  who  holds  a  bunch  of  fruit. 

[5J  X  4  in.  ;    14  X  11-2  cm.]     Pen  and  brown  ink  and  grey  wash. 
Reproduction  :  PI.  XLI. 

Engraved  in  reverse,  together  with  Nos.  10  and  49  (Stockholm). 

20.  Left  Half  of  a  Cartouche  with  Foot. 
Decorated  with  roll-work. 

\%^  X  3J  in.  ;    16-7  X  7-9  cm.]     Pen  and  brown  ink  and  grey  wash. 

H   2 


100  DuUik  ami  Flemish  Drawings. 


SI.  Lot  Halt  or  a  Cabtooohb  with  Foot. 

Deeoroted  with  a  naked  woomui  with  goat's  legs. 

(6|  X  SA  in. ;   14*9  X  0.1  em.]    Pen  and  brown  ink  and  grey  waah. 

it.  Loot  HAi.r  or  a  Cabtouohx  with  Foot. 
Decorated  with  a  naked,  winged  wonuin. 
[4^<  X  6f  in.  ;    10-2  X  I4Scm.1 

2.1.  LxrT  Haut  or  a  Cabtouchh. 

Decorated  at  the  top  with  a  cherub's  hoful  looking  down,  tmd  at  the  bottom 

with  one  looking  up. 

(0}  X  4|  in.  ;    14-9  X  ITS  cm.]     Pen  and  grey  ink  and  grey  waah. 

24.  Lhtt  Halt  or  a  Cabtoucue  with  Foot. 

Decorated  with  a  hermaphroditic  creature  with  goat's  legs. 
[5}g  X  Sfg  in. ;    14-8  X  9-3  cm.] 

25.  Larr  Haut  or  a  Cartouchb. 

Decorated  with  cherube'  heads  at  the  bottom  and  top. 

[6|  X  3}  in.  ;    16-7  X  9-5  cm.]     Pen  and  grey  ink  and  grey  waah. 

26.  LxrT  Halt  or  am  Orkamsmt. 

In  the  form  of  a  grotesque  head  wan  wuio-open  mouth. 

[•J  X  3,»4  in.  ;    15-7  x  8- 1  cm.]     Pen  and  grey  ink  and  grey  wash. 

27.  Lxrr  Haup  or  a  Cabtocche. 
Decorated  with  a  C-scroIl  at  top  to  I. 

[6x.4|in.  ;    15*3  x  10-8  cm.]     Pen  and  grey  ink  and  grqr  WMh. 

28.  A  Hakdlb  akd  thk  Lkft  Halves  or  Two  ORNAJoam. 
The  ornaments  are  bell-shaped. 

[6i  X  5|m. :    13-4  X  14-6  cm.] 

29.  A  Cabtouchk  on  Lkos. 

Deoomted  with  cherubs*  hcad«  at   the   top  and  bottom  and  with  fewo 

lioos'  feet. 

(5}  X  71  in. :    14-6  X  18-2  cm.] 

90.  Lkw  Haut  or  a  Cabtocchjc  wtth  Foot. 
Decorated  with  a  cherub  in  profile  to  the  1. 
(6|  X  7|  in. :    18>S  x  19-8  cm.]    Pen  and  brown  ink  and  blue  waah. 

31.  LKrr  Halvks  or  Two  Caktouchcs. 

The  I.  hand  one  is  compoaed  of  two  intersecting  scrolls  ;  the  r.  hand  one  in 
hi^  and  narrow. 

(6|  X  7|  in.  :    IS'0  X  IO*t  em.]     Pen  and  brown  ink  and  bhie  waah. 

32.  Lot  Haut  or  a  Castooobb. 

Compoawd  of  interiaoiiig  scroll-work  with  a  cherub's  head  at  the  top. 
(«A  ^  ^i  b>-      ^^'f  X  IB' 7  c">*l    P'M  and  brown  ink  and  blue  wash. 

SS.  Bmnaan  ov  tm  Bobobb  or  a  Den. 

Daeoratad  with  a  eherub's  head  and  a  tkMA. 

rnmit«Rt  height  and  width,  4|  X  1|  in.      10-6  X  4-9  cm.] 


A.  van  Bolten  van  Zwolle.  101 


34.  The  Border  of  a  Dish. 

Decorated  with  cherubs'  heads  and  fruit. 
[Circular;  diameter,  4J|  in.  ;    11 -9  cm.] 

35.  Segment  of  the  Border  of  a  Dish. 
Decorated  with  fruit,  masks  and  a  shield. 

[Greatest  height  and  width,  2\  X  4J  in.  ;    5-8  X  10-4  cm.l 
An  alternative  design  to  No.  33. 

36.  Left  Halves  of  Three  Ornaments. 

[5f  X  7  in.  ;    14- 3  X  17- 9  cm.]     Pen  and  brown  ink  and  blue  wash. 

37.  Three  Ornaments. 

That  in  the  centre  has  a  goat's  foot;   that  on  the  r.  is  in  the  form  of  a  mask. 
[6JJ  X  7|  in.  ;    15- 1   X  18'  1  cm.]     Pen  and  brown  ink  and  blue  wash. 

38.  Left  Halves  of  Two  Cartouches. 

One  above  the  other  ;   the  smaller  one  above  in  pen  and  ink  only. 

[7j^  X  4^3  in.  ;    18*3  X  10-7  cm.]     Pen  and  brown  ink  and  grey  wasli. 

39.  l^iOHT  Half  of  a  Cabtouche. 

Decorated  with  roll- work  and  with  guttae. 

[7  X  4J  in.  ;    15*8  X  10- 8  cm.]     Pen  and  brown  ink  and  grey  Wlash. 
Reproduction  :  PI.  XLI. 

40.  Left  Half  of  a  Cartouche. 
Decorated  with  cherubs'  heads  and  fruit. 
[7|  X  3J  in.  ;    19-4  X  9-8  cm.] 

41.  Left  Half  of  a  Cartouche  on  a  Foot. 

Decorated  with  a  cherub's  head  and  fruit  and  supported  by  a  crouching 
child  with  goat's  legs. 

[7i  X  Vff  in-  ;    18-4  X  11-2  cm.] 

42.  Left  Halves  of  Two  Cartouches. 

The  upper  one  narrow  ;    the  lower  one  wider,  with  a  projecting  ear. 
[8^  X  4i  in.  ;    21*7  X  10-9  cm.]     Pen  and  grey  ink  and  grey  wash. 

43.  Left  Halves  of  Two  Cartouches. 

The  upper  one  narrow,  with  an  ear-like  projection ;  the  lower  one  containing 
a  grotesque  mask. 

[%\  X  4  in.  ;    21  X  10' 2  cm.]     Pen  and  brown  ink  and  grey  wash. 

44.  Two  Brackets. 

That  on  the  r.  is  shorter  and  decorated  with  a  cherub's  head. 
[7i  X  4Jin.  ;    18  X  12-5  cm.] 

45.  Left  Half  of  a  Cartouche  with  Leg. 

Decorated  with  roll-work  and  a  grinning  mask  at  the  top . 
[6J  X  3|in.  ;    16-9  x  9-5  cm.] 

46.  A  Leo  or  Bracket. 

Decorated  with  the  head  and  bust  of  a  winged  woman. 
[7x339^  in.  ;    17-7  X  9  cm.] 


102  DulA  and  FUmuh  Drawing$. 


47.  LsfT  Halt  or  A  VnsBL. 

Deeotrnted  with  an  armlom,  winged  rhild  and  oupportod  on  a  goat's  foot. 
[7|  X  4in.  ;    10*1  X  10-3  cm.] 

48.  Lxrr  Halt  or  a  Cabtouohb  on  a  Foot. 
Decorated  with  a  winged  female  figure  in  profile  to  I. 

[8J  X  4|  in.  ;   20-9  X  11*3  cm.]     Pen  and  brown  ink  tiu<i  Kruy  waah. 

49.  Two  Hakdlxs. 

That  on  the  I.  is  formed  by  a  winged  child  ;  that  on  the  r.  by  the  head,  bust 
and  arms  of  a  woman  leaning  forward. 

(V<  X  Vein.;    13- 1  X  11-6 cm.] 

Engraved  in  reverse,  together  with  Noe.  10  and  19  (Stockholm). 

00.   A  Braokxt  AMD  Two  Handles  or  Legs. 

The  bracket  is  in  the  form  of  a  mask  ;   the  handles  are  in  that  of  boys. 
[S|  X  5i  in.  :    14-8  X  139  cm.] 

OeDtre  one  engraved  in  reverse,  together  with  Nos.  13  and  50  (Stockholm). 

51.  Lett  Haut  or  an  Ornament,  a  Handub  and  Lett  HAi.r  or  a  Cabtouchk. 

The  handle  is  formed  by  the  upper  half  of  a  man  with  his  arms  in  front 
of  him. 

[6(1  X  6{  in.  ;    14-5  X  14*9 cm.]     Pen  and  brown  ink  and  grey  wash. 

The   handle   engraved   in    reverse,  together   with   Nos.    68   and    125 
(Stoekhofan). 

ftt.  TmoB  Handles  or  Legs. 

A  narrow  one  on  the  I.  is  formed  by  an  angel  with  wings  folded  in  front ; 
that  in  the  centre  by  the  bust  of  a  wonum  ;  that  on  the  r.  by  the  upper 
half  of  a  man  with  his  arms  in  front  of  him. 

[6^  X  5|  in.  ;    15-7  X  14*2  cm.]     Pen  and  brown  ink  and  grey  wash. 

53.  Three  Handles  or  Legs. 

A  narrow  one  on  the  1.  has  a  cherub's  head  ;  a  broader  one  in  the  centre  also 
•  cherub's  bead,  with  wings  extended;  that  on  the  r.  is  formed  by  the 
complete  figure  of  a  man. 

[6^  X  ^f%  *!*•  i    15- 7  X  15-8  cm.]     Pen  nnd  grey  ink  and  grey  wash. 

54.  Two  Handles  or  Legs. 

Both  are  formed  of  the  upper  halves  of  men  :  tliat  on  the  1.  has  a  pillow 
oo  bia  bead  ;    that  on  the  r.  supports  his  head  in  his  hands. 

(6|  X  3|  in.  ;    14-2  x  9-5  cm.]     Pen  and  brown  ink  and  grey  waah. 

56.  A  SoBou..  A  Handle  or  Leo  and  a  Bracket. 

The  handle  is  formed  by  the  upper  half  of  a  man  in  an  attitude  of  prayer. 
[6|  X  6^  in.  ;    14*8  X  16'  1  cm.]    Pea  and  brown  ink  and  grey  wash. 

66.   A  Braokbt  and  a  Handle  or  Leo. 

The  handle  is  formed  by  a  man  holding  a  cushion  above  his  head. 
(6^  X  4|  in.  ;    16*7  x  11*4  cm.]    Pen  and  brown  ink  and  grqr  wadi. 

57.  Terse  HAjroun  or  Laos. 

Tbe  1.  hand  one  is  in  the  form  of  a  satyr  w. .».  ii..i.  goat's  legi ;  the  centre 
one  in  tfant  of  the  apper  half  of  n  fvoman,  and  the  r.  hand  one  in  that  of  a 
faoB  tenninatii^  In  Ilia  trunk  of  a  palm  trse. 

(f|  X  6|  in. :  16*6  x  14*8  em.]    Psn  and  brown  ink  and  grey  waah. 


A.  van  Bolten  van  Zwolle.  103 


58.  Three  Handles  or  Legs. 

The  1.  hand  one  is  in  the  form  of  a  satyr  with  his  arms  above  his  head  ;  the 
centre  one  in  that  of  a  fat  armless  man  terminating  in  a  tree -trunk ;  the 
r.  hand  one  in  that  of  a  woman's  body  and  head  without  arms. 

[5|  X  6J  in.  ;    14' 9  X  15 -9  cm.]     Pen  and  brown  ink  and  grey  wash. 

The  r.  hand  one  engraved  in  reverse,  together  with   Nos.  51  and  125 
(Stockholm).  • 

CLUSTERS   OF   FRUIT   AND   VEGETABLES. 

59.  Cluster  of  Fruit. 

[4  X  5f  in.  ;    10-2  X  14-2  cm.]     Pen  and  brown  ink  and  grey  wash. 

<>0.   Four  Clusters  op  Fruit. 

Three  above  and  one  below,  the  latter  conneetod  with  the  outside  ones 
in  the  upper  row. 

[6  X  l^g  in.  ;    15*2  X  18' 6  cm.]     Pen  and  brown  ink  and  blue  wash. 

«)1.   A  Grotesque  Upright  between  Two  Clusters  of  Fruit. 

The  clusters  are  supported  by  ties  from  either  side  caught  up  in  the  mouth  ' 
of  the  grotesque  face,  which  forms  the  upper  part  of  the  centre. 

iH  X  TjSgin,  ;    14-8  X  18-4  cm.] 

62.   Three  Clusters  of  Fruit'  and  Vegetables. 

They  are  in  line,  suspended  from  ribbons  connected  horizontally. 

[5|  X  1^^  in.  ;    15  X  18  cm.] 
Reproduction  :   PI.  XLII. 

H3.   Three  Clusters  of  Fruit  and  Vegetables. 
They  are  in  line,  suspended  from  separate  ribbons. 
[5J  X  7iin.  ;    15  X  18-4  cm.] 

H4.   Two  Clusters  of  Vegetables. 

The  upper  one  mainly  made  up  of  carrots  and  turnips  ;  the  lower  one  of 
a  Jerusalem  artichoke  and  loaves. 

[9J  X  5f  in.  ;   24*8  X  14*4  cm.]     Pen  and  brown  ink  and  grey  wash. 

H5.   A  Cluster  of  Fruit  suspended  from  a  Cherub's  Head. 
U\  X  4j7ffin. ;    18-5  X  11-2  cm.] 

00.   Two  Clusters  of  Fruit  and  Flowers. 
Suspended  one  above  the  other. 
[7f  X  5j3g  in.  ;    19-4  X  13- 1  cm.]     Pen  and  brown'ink  and  grey  wash. 

07.   Two  Clusters  of  Fruit,  Vegetables  and  Flowers. 
Suspended  one  above  the  other. 
[7 J  X  4|  in.  ;    19- 1  X  12-4  cm.]     Pen  and  grey  ink  and  grey  wash. 

68.  Two  Clusters  of  Fruit  and  Vegetables. 
Suspended  one  above  the  other. 

[7j^  X  3f  in. ;    18x9-5  cm.]     Pen  and  grey  ink  and  grey  wash. 

69.  Ornajient. 

In  the  form  of  a  grotesque  hmnan  face  with  wide-open  mouth. 

[3^  X  2\  in.  ;    8*2  X  5*7  cm.]     Pen  and  brown  ink  and  grey  wash. 


104  Dutch  and  Flemish  Drawings. 


70.  Two  8cBou«. 

The  1.  one  ha*  •  grotesque  (ace  with  open  mouth  facing  to  tli 

r.  one  has  an  open  mouth  to  the  I. 

|4|  X  4}jt  in.  ;    11*4  X  12- 'Kill.  I     I '•■ii  and  brown  ink  and  grey  waati. 

71.  Ornaioemt. 

In  the  form  of  a  grotesque  Ituiiiuu  fu^o  with  closed  eyes  and  mouth. 
[3^  X  31  in.  ;   9-1  X  8' 8  cm.]     Pen  and  brown  ink  and  grey  wasli. 

72.  Mask. 

In  the  lorm  of  a  grotesque  satyr  with  horns. 
[S}i  X  Si  in.  ;    14*7  X  0-8  cm.]     Lead  pencil. 

73.  Two  BIA8K8. 

The  upper  one  in  profile  to  1.  ;   the  lower  one  full-face. 

[7|  X  3J  in.  :    IS  ^  S-2cm.]     Lead  pencil. 

74.  Mask. 

In  the  form  of  h  ^rt>ti-.M{uc  ape-like  face,  the  chin  prolonged  into  two  scrolU. 
[5|  X  3]>n  in.  ;    13-7  X  7*8  cm.]     Lead  pencil. 

75.  A  Chercb's  Head  ksd  Two  Masks. 

An  elongated  mask  with  open  mouth  ni    tir     .   .ii.iu  .-    nbovo,  a  broad 
mask,  and  at  the  top  the  cherub's  head. 

[71  X  3|  in.  :    19'4  X  Q'.lcm.]     IVn  nnd  hrown  ink  outline,  shaded  with 
le»d  pencil. 

76.  Thbkb  Handles  for  Vbsskub. 

One  above  on  the  1.  in  the  form  of  a  cherub  ;   above,  on  the  r.,  n  ^  iivi  »<> 
with  goat's  legs  ;   below,  a  handle  in  the  form  of  a  greyhound. 

[7*3  X  6|  in. ;    20-2  x  13-6  cm.]     Pen  and  brown   ink  outline,  shaded 
with  lead  pencil. 

77.  Two  CHKRtTBs'  Hea  Cluster  or  Frctt. 

Tbe  cherub  above  hai<  wingH  on  his  head  as  well  as  on  his  shouldon* ;   tlmt 
below  has  wings  on  his  shouUers  and  in  front. 

18  X  4|  in.  :    2n-n    ■    117  < m."!     Pen  and  brown  ink  outline,  xhade^l  with 
leadponeil 

7H.  Two  Handlbh. 

That  on  the  1.  in  the  form  uf  m\  armlow  winged  woinitn.  her  legs  terminating 
in  tails  :  that  on  the  r.  in  the  form  of  a  cherub. 

[6|  ;•    '  i»       II    ■■ .  -n  1 

79.  Two  «iproRT». 

That  on  tbe  1.  a  goat-lagged  winged  chiki  in  profiK  i..  i .  .   that  on  tbe  r.  a 
winfsd  man  with  arms  crossed. 

(ft|  X  4Aii). :    13-3  X  11cm.] 

MO.    A  MaAK  AMD  AX  OKKAJOtNT. 

Tha  mask  on  the  I.  is  an  elongatfld,  grotoMiue  heatl  in  profile  to  the  r.  ; 
tha  omament  is  in  the  form  of  a  woman  with  an  arrow  in  her  belly. 
(At  X  3f|  in. :    15-AxOT<in.]     Pen  and  brown  ink  and  grey  wash. 


A.  van  Bolteii  van  Zivollc.  105 


81.  Two  Masks. 

The  upper  one  in  full-face  ;    the  lower  one,  with  a  ring  in  its  mouth,  in 

profile  to  the  1. 

[6J^  X  4:\  in.  ;    15-6  X  10-5  cm.]     Pen  and  grey  ink  and  grey  wash. 

82.  Obnament. 

In  the  form  of  a  woman,  terminating  in  foliage,  with  oxt-ended  arms. 
\Q^g  X  m  in.  ;    16  X  9-4  cm.] 

83.  FiNIAL. 

In  general  form  like  a  fleur-de-lys,  with  a  mask  in  the  centre. 

[5i  X  3|g  in.  ;    14-5  X  9- 3  cm.]     Pen  and  brown  ink  and  grey  wash. 

84.  Two  Ornaments. 

That  on  the  1.,  in  the  form  of  an  elongated  bell,  has  a  mask  at  the  top  ; 
that  on  the  r.  is  the  1.  half  of  an  irregularly  shaped  ornament  with  a  mask 
in  the  centre. 
[5f  X  6/5  in.  ;    14-7  X  16-3  cm.]     Pen  and  grey  ink  and  grey  wash. 

85.  FiNIAL. 

In  the  form  of  a  grotesque  head  in  profile  to  the  1. 

[4|  X  3^  in.  ;    12*3  X  8*9  cm.]     Pen  and  brown  ink  and  grey  wash. 

86.  Five  Heads  of  Cherubs  and  a  Cluster  of  Fruit. 

Three  heads  in  a  row  above,  from  the  centre  one  of  which  a  cluster  of 
fruit  is  suspended. 

[5J§  X  6J2  in.  ;    15  X  16-3  cm.]     Pen  and  brown  ink  and  grey  wash. 

87.  Two  Ornaments. 

That  above  to  the  1.,  in  the  form  of  a  crescent  moon,  has  a  mask  in  its 
concave  side  ;  that  on  the  r.  terminates  in  a  large  ape -like  head  in  profile 
to  the  r. 
[7ix4iin.  ;    18-1  X  10-9  cm.] 

88.  Left  Half  of  a  Mask  and  Two  Clusters  of  Fruit. 

The  mask  has  an  ear-like  extension  on  the  1.  and  at  the  bottom  ;    the 
clusters  of  fruit  are  below. 

[7iix4iin.  ;    19-8  X  10-8  cm.] 

89.  Ornament. 

In  the  form  of  a  grotesque  lion's  mask  with  enormous  open  jaws. 
[6f  X  4^  in.  ;    16-2  X  10-5  cm.]     Pen  and  brown  ink  and  grey  wash. 

90.  Two  Masks. 

The  upper  one  human  and  grinning,  the  lower  one  leonine  and  winged. 
[6|  X  3Jin.  ;    16-2  X  8- 9  cm.] 

91.  Two  Masks. 

That  on  the  1.  is  of  an  old  man  and  has  an  ornamental  projection  below  the 
chin ;  that  on  the  r.  has  horns. 

[5J  X  5|  in.  ;    14-6  X  14-6  cm.]     Pen  and  brown  ink  and  grey  wash. 

92.  Two  Ornaments. 

That  on  the  1.  in  the  form  of  a  woman  in  profile  to  the  r.,  with  wings 
projecting  above  her  head  and  her  arms  to  her  sides  ;    that  above  to  the 
r.  in  the  form  of  a  grotesque  mask. 
\1^^  X  4|  in.  ;    18-3  X  12  cm.]     Pen  and  brown  ink  and  brown  wash. 


106  iJiUeh  and  Flemish  Dratoings. 

9S.  Ornament. 

In  the  form  of  «  grotesque  head  in  profile  to  the  1.,  the  neck  terminating 

in  foliage  and  rolls. 

[6}ix4iin. ;    17-3  x  11-4  cm.]    Pen  and  brown  ink  and  grey  waah. 

94.   Two  Ornamknth. 

That  on  the  I.  has  a  grotesque  mask  in  profile  to  the  I.  and  wings  at  the 

top  ;   that  on  the  r.  is  spoon -shaped  with  a  mask  at  the  top. 

(6|  X  4|  in.  ;    16*5  X  11*8  rin.l     Pr>n  and  brown  ink  and  ffrey  wash. 

M.  Two  Gbotesquk  Hkads. 

That  on  the  I.  is  a  ram's,  in  full-faco  ;   that  on  tbo  r.  is  in  profile  to  the  I. ; 
between  arc  two  other  lieads  lightly  sketched  in  pencil. 

[4  X  7  in.  ;    10*2  X  17*7  cm.]     Pen  and  brown  ink  and  brown  waah. 

90.   Mask. 

Has  homed  eycbrowR  nnd  flaps  depending  from  either  side  of  the  nose. 
[S|  X  4|  in.  ;    It'!        11*5  cm.]     Pen  and  brown  ink  and  grey  waah. 

97.   Two  Masks. 

That  on  the  I.  is  tunietl  three-quarters  to  the  r. ;  that  on  the  r.  is  in  profile 
to  the  I. 

I6J  X  6Ain.  :    I  <        I.l-Scm.] 

90.  Two  Masks. 

That  on  the  1.,  in  full  face,  has  a  vegetable  finial  above  ;    that  on  the  r. . 
in  profile  to  the  I.,  it  a[>e-like  in  type. 

(6|  X  %\l  in.  :    13-0  x  16*6  cm.]     Pen  and  brown  ink  and  grey  wash. 

99.  Two  Masks. 

They  face  each  other  ;   that  on  the  I.  has  horns. 

[5^  X  6|  in. ;    13*3  X  16*4  cm.]     Pen  and  grey  ink  and  grey  wash. 

100.  A  Mask  and  thk  Left  Side  or  an  Ornament. 
The  mask,  human  in  type,  has  a  wide-open  mouth. 

[5|  X  5^  in.  :  14  X  13' 4  cm.]     Pen  and  brown  ink  and  grey  wash. 
Kngravod  in  revcno.  tofiethor  with  No.  131  (Stockholm). 

101.  Obmaxxnt. 

Decorated  with  a  maak  having  a  horn  in  the  centre  of  its  forehead. 
[5|  X  4]|  in.  :    14-3  x  12*2  cm.]     Pen  and  brown  ink  and  grey  wash. 

lot.  Two  Masks. 

That  cm  the  I.  is  turned  three-quarters  to  the  I.  :   that  on  the  r.  is  in  profile 
to  the  I. 

(S|  X  4)2  in.  :    14-S  x  12-6  cm.]    Pen  and  brown  ink  and  grey  wash. 

103.  Two  Ornaments. 

Both  with  masks  in  profile,  facing  each  other ;    the  noae  of  that  on  the  1. 
is  prolonged  into  a  scroll ;  that  on  the  r.  has  moustaches. 

l^A  X  71  in.;  1S*7  x  194  cm.]    PMiandbrojin  ink  and  blue  waah. 

104.  Tmrxb  Marks. 

Thai  on  the  I.  Is  turned  three-quarters  to  the  r.  :    tluit  above  to  the  r.. 
thrse-quarlers  to  the  I. ;  that  below  is  full-face. 

\^\l  X  61  in.:    14-4  X  16-0 em.] 

The  1.  hand  ona  aacmved  in  rwrwa,  loflhar  with  No.  177  (Stockholm). 


A.  van  Bolten  van  Zwolle.  107 

105.  Three  Ornaments  and  Two  Cherubs'  Heads. 

An  inverted  C-shaped  ornament  with  a  mask  on  the  1.  ;  below  it  a  shield  ; 
in  the  centre  a  cherub's  head  with  a  cluster  of  fruit  depending  from  it  ;  on 
the  r.  another  cherub's  head,  and  below  it  an  ornament  with  a  mask. 

mi  X  6Jin.  ;    14-5  X  16-6  cm.] 

106.  Two  Busts  and  Four  Masks. 

The  bust  of  an  old  man  on  the  1.  has  a  close-fitting  cap  ;  to  the  r,  the  bust 
of  a  child  ;  on  the  extreme  r.  an  elongated  mask,  and  below  three  more 
masks. 

{o\^  X  6^  in.  ;    15  X  16-5  cm.] 

107.  Three  Masks. 

The  two  on  the  1.  face  each  other  ;  that  on  the  r.,  with  horns  and  closed 
eyes,  faces  to  the  front. 

[6  X  7iin.  ;    15-2  X  18  cm.] 

The  two  1.  hand  masks  engraved  in  the  same  direction,  together  with 
No.  183  (Stockholm). 

108.  Three  Masks. 

That  on  the  1.  has  an  enormous  open  mouth  ;  that  m  the  centre  wears  a 
sort  of  horse-collar  ;   that  on  the  r.  is  Mongol  in  type  with  long  ears. 

[6  X  7iin.  ;    15-2  X  19  cm.] 

109.  Four  Masks. 

One  in  the  centre  with  open  mouth  is  in  full-face  ;  one  on  each  side  in 
profile  facing  this  ;  another  one,  with  lateral  projections,  below :  verso  : 
studies  of  two  men  with  sticks. 

[5i  X  7f  in.  ;    14-6  X  18-8  cm.] 

110.  A  Frasie. 

Oval  within  a  rectangle.  The  decoration  consists  of  two  female  figures 
facing  outwards  and  terminating  in  foliage  ;  on  the  1.  is  a  trophy  of  writing 
instnunents  ;    on  the  r.  one  of  musical  instruments. 

[In  two  halves:  total  measurements,  15J  X  18|  in.  ;  40*3  X  47*8  cm.] 
Pen  and  brown  ink  and  brown  wash. 

The  drawing  appears  to  be  the  design  for  a  carved  wooden  frame.  It 
differs  somewhat  in  style  from  the  other  drawings  by  Bolten  and  may  be 
by  another  hand. 

SILVER  VESSELS,  Etc. 

111.  A  Jug,  a  Handle  and  a  Mask. 

The  jug,  at  the  top,  is  partly  in  pencil  ;  below,  to  the  1.,  what  appears  to 
be  the  handle  of  a  spoon,  and  to  the  r.  a  mask. 

[7^  X  3J  in.  ;  19  X  14*6  cm.]  Pen  and  brown  ink  and  brown  wash  and 
lead  pencil. 

112.  A  Sauce-Boat  and  a  Spoon. 

The  sauce-boat  has  the  handle  decorated  with  the  bust  of  a  woman. 
[5f  X  7|  in.  ;    14-5  X  19- 1  cm.]     Old  number  53  top  1. 

113.  A  Cup. 

The  stem  is  formed  by  a  child  playing  the  bagpipes :  verso  :  a  mask,  an 
arabesque  and  a  handle. 

[5]-g  X  7j5g  in.  ;  15*1  X  18 -6  cm.]  Pen  and  brown  ink  and  brown  wash 
and  lead  pencil. 


108  Dutch  and  FlemUh  Drawings. 

114.  A  FoBK.  A  Spoom  and  a  Handlk. 

The  fork  i«  on  the  I. ;  tho  spoon,  with  a  very  large  bowl,  to  the  r.,  and  Uie 

handle,  decorated  with  a  cherub's  head,  above. 

Wk  X  6|  in. ;    14*  1  X  16' 6  cm.]    Pen  and  brown  ink  and  grey  waah. 

115.  A  Lamp. 

In  the  form  of  a  Roman  lamp  ;  the  handle  decorated  with  a  cherub's  head. 
[3ij  X  6|  in. ;    10  X  14-6  cm.]     Pen  and  brown  ink  and  grey  wash. 

116.  A  Cup. 

With  handle  at  top  in  form  of  a  kneeling  winged  child. 

[5|  X  6^1  in. ;    13- 1  X  14-8  em.]     Pen  and  brown  ink  and  grey  wasli. 

117.  A  SArcK-BoAT. 

Tho  handle  is  formed  by  the  body  of  a  woman  leaning  back  with  her  arms 
above  her  head. 

M^fk  ^  <^j8  in-  ;    13- 1  X  15- 1  em.] 

118.  A  SArcE-BoAT. 

The  handle  is  a  closed  one,  decorated  with  the  head  of  a  cherub. 

[4}|  X  6^  in. ;    12*  1  X  16* 7  cm.]     Pen  and  brown  ink  and  grey  wash. 

110.   A  Lamp. 

In  the  form  of  a  Roman  lautp  ;    tlie  handle  is  formed  by  the  IxkIv  -><  •• 

winged  child. 

[6|  X  6|  in.  :    M        16-5  cm.]     Pen  and  brown  ink  and  grey  waali. 

120.  A  Lamp. 

In  the  form  of  a  Roman  lamp  ;    the  handle  decorated  with  scrolls  ;    a 

mask  on  tho  cover. 

[4i  X  6^2  in.  ;    11-5x17  cm.]     Pen  and  brown  ink  and  grey  wash. 

121.  A  Sauob-Boat. 

Shallow  and  pointed  ;   the  handle  decorated  with  a  cherub's  head. 
[4|  X  6||  in. ;    11-4  x  17-3  cm.]     Pen  and  brown  ink  and  grey  tnMh. 

Its.  Uppkr  Half  or  an  Ewer  wrra  Handle. 
The  handle  is  decorated  with  a  cherub. 

[5J^   X  4J  in.  ;     14  •  1     •     I  I  ■  -l  <•«"  l      IVh  mwl  hrown  ink  niul  pr«>v  u-anli. 

123.  Bowl  or  a  Spoc*s 

It  has  two  short,  curved  projections  in  place  of  a  handle. 

(4|  X  6|  in.  :     ITT        It  em.]     Pen  and  brown  ink  and  grey  wash. 

124.  A  HavcB'Boat. 

It  has  a  handle,  to  the  r.,  decorated  with  a  mask  seen  in  profile. 
[41  X  6iin.  :    123  X  15-9  cm.] 

125.  A  Joo. 

The  handle,  to  the  I.,  is  decorated  with  a  cherub's  head,  and  the  jog  itaelf 
with  a  mask. 

(4)1  X  6|  in. :    1S*5  X  14*5  cm.]     Pen  and  brown  ink  and  grey  wash. 

Kngraved  in  reverae,  together  with  Nos.  51  and  58  (Stockholm). 


A.  van  Bolteii  van  Zwolle.  109 

126.  A  Saxjce-Boat. 

The  handle,  to  the  1.,  is  formed  by  a  woman's  body  with  wings. 

[4|  X  6J  in.  ;    12*  1  X  15-5  cm.]     Pen  and  brown  ink  and  grey  wash. 

127.  A  "Toby  "  Jug. 

In  the  form  of  the  body  of  a  fat,  bearded  man  ;  the  handle  is  not  seen . 
[5i  X  4^5  in.  ;    13-7  X  10-7  cm.] 

128.  A  "  Toby  "  Jug. 

The  handle  is  to  the  r.  ;   the  jug  is  in  the  form  of  an  old  woman  with  goafs 
legs,  her  arms  crossed  over  her  breast. 

[5/g  X  6iin.  ;    13-8  X  16-5  cm.] 

Engraved  in  reverse,  together  with  Nos.  13  and  50  (Stockholm).     There 
is  also  a  19th  century  line  engraving  of  this  drawing. 

129.  A  Jug. 

The  handle,  to  the  1.,  is  decorated  with  a  cherub's  head  ;    the  front  of  the 
jug  with  a  mask. 

[5Jg  X  4/5  in.  ;    14-7  X  11-3  cm.] 

130.  Three  Spoons. 

The  two  to  the  r.*  cross  one  another  to  form  an  "  X." 

[4f  X  6|  in.  ;    12  X  13-5  cm.]     Pen  and  brown  ink  and  grey  wash. 

131.  A  Lamp. 

In  the  form  of  a  Roman  lamp,  seen  foreshortened  from  the  wick  end. 
r^H  X  4iJ  "1- ;    11*9  X  11 -9  cm.]     Pen  and  brown  ink  and  grey  wash. 
Engraved  in  reverse,  together  with  No.  100  (Stockholm). 

132.  An  Eweb. 

Decorated  in  front  with  a  mask  ;   the  handle  is  to  the  r. 

[7^  X  Z\l  in.  ;    18-2  X  9-4  cm.] 
Reproduction  :    PI.  XLI. 

133.  A  Cup  and  Two  Saucb-Boats. 

The  cup,  of  which  only  the  handle,  turned  to  the  r.,  is  finished,  is  at  the 
top  ;   below,  the  two  sauce-boats  with  handles  to  the  1. 

[9f  X  6J  in. ;    24*4  X  17-2  cm.]     Pen  and  brown  ink  and  grey  wash  and 
pencil. 

134.  An  Ewer. 

The  handle  is  to  the  r.  ;    it  has  a  cover. 

[6JI  X  4J  in.  ;    17  X  10-5  cm.]     Pen  and  brown  uik  and  grey  wash. 

135.  A  Cup  with  Cover. 

On  top  of  the  cover  a  female  figure  with  a  spear  ;    the  cup  is  decorated 
with  oval  panels  alternately  filled  with  cherubs'  heads  and  bunches  of  fruit. 

[12^g  X  6^  in.  ;   31-8  X  15-5  cm.]     Pen  and  brown  ink  and  lead  pencil. 

136.  A  Chalice. 

The  upper  half  of  the  bowl  is  plain  ;    the  lower  half  richly  decorated  with 
masks,  fruit,  etc. 

[lOi  X  5f  in.  ;     26  X  14-3  cm.]     Pen  and  brown  ink  shaded  with  lead 

pencil. 

Reproduction  :    PI.  XLI. 


110  DtUek  and  Flemish  Dravfings. 


IS7.  A  Cop  with  Ck>vBB. 

Deooraiod  on  the  bowl  and  cover  with  arabesques. 

[10|  X  4  J  in. ;   27  X  121  cm.]     Pen  and  brown  ink  and  lead  pencil. 

138.  A  Cup  with  Cover. 

Decorated  with  strapwork,  masks,  etc.  ;    in  the  centre  is  an  oval  with  the 

bust  of  a  woman. 

[17)  X  6|  in. ;    45  X  16*8  cm.]     Pen  and  brown  ink  and  lead  pencil. 


MONSTERS.  DWARFS,  Etc. 

130.    BlRO>UKJS  MONSTBB. 

The  body  is  that  of  a  woman,  the  legs  those  of  a  bird,  the  head  ape-liko  ; 
the  creature  is  marching  to  the  r. 

[6i  X  6Jin. ;    15-6  X  14  cm.] 

Engraved  in  reverse,  together  with  No.  158  (Stockholm). 

14)1.    Two  Monsters  with  Birds'  Legs. 

The  one  on  the  1.  has  a  single  horn,  the  body  of  a  woman  and  wings ;  it 
walks  to  the  I. ;  the  one  on  the  r.  has  a  head  like  a  pig's  and  wings  and 
walks  to  the  r. 

[5{  X  6|  in. :    14-6  X  15-9  cm.]     Pen  and  brown  ink  ntid  black  chalk. 

141.  Two  Masks  and  a  Monster. 

The  masks  face  in  profile  to  the  r. ;  tho  monster,  which  has  no  body,  the 
claws  of  a  bird  and  a  tail,  walks  towHrM^  tlw*  I. 

[5{  X  7|in. :    14-9  X  18  cm.] 

The  upper  1.  hand  mask  is  engraved  in  roverso,  together  with  Nos.  205 
and  148  (B.M.). 

142.  Three  Masks  and  a  Monster. 

The  two  masks  on  the  1.  face  towards  tho  r.  ;  tho  monster,  which  lias  th«> 
horns  and  head  of  a  devil,  wings,  and  tho  logs  and  tail  of  a  cow,  advitncos 
to  the  I. 

t6}|  X6^,  in. ;    15- 1  x  16- 1cm.] 

The  I.  hand  mn  '  i''(l  from  the  I.  hnmi  one  in  No.  104,  and  the  whole 

drawing  is  probal>i  :  bor  imtul.     Tho  lower  r.  hand  mask  is  ongravc<l 

in  ravene,  togeUii>t  ^.-.    ^.'-'.  117  11:1!  !"" '^•■- ■' '- hn). 

143.  Two  MOHSTBBS. 

Only  the  one  on  tlto  1.  is  finished  :    it  h«>  <rd  and 

manrhea  to  the  1. ;   it  has  an  ape-like  fn-'v  t  .  ..  .a^a  ;  tho 

otlMr  creature  is  blowing  a  pipe. 

[ftA  X  ftiVin-S    14*2  x  16-3  cm.] 

Engraved  in  revene,  together  with  No.  154  (B.M.  and  Stockholm). 

Ill    A  Mommm. 

It  has  a  head  like  a  boar,  no  bo<ly,  and  le^s  like  a  cat's. 

[4|  X  4|  in. ;    11-4  X  11 -4  cm.]     Pen  and  brown  ink  and  lead  pencil. 

14d.  A  Mask  amd  a  MovmR. 

Tbemonstoriionther.  •ndwalkstother. ;  it  has  a  curious  noae  like  a  slug. 
mt  X  ftA  in. ;  lt'6  X  13-2  cm.]     Pen  and  brown  ink  and  blue  waah. 


A.  van  Bolten  van  Zwolle.  Ill 


146.  Two  Monsters. 

That  on  the  1.,  walking  to  the  r.,  has  a  bird's  legs  ;    that  on  the  r.,  walking 
to  the  1.,  has  those  of  a  lion. 
[5^Q  X  4|in.  ;    13-1   X  12  cm.] 

147.  A  Monster. 

It  has  a  semi-bird-like  head,  wings,  pendent  breasts  and  the  legs  of  a  goat 

and  advances  to  the  r. 

[5f  X  Gj^g  in.  ;    14-6  X  15-7  cm.] 

Engraved  in  reverse,  together  with  Nos.  142  and  170  (Stockholm). 

148.  A   MOKSTER. 

It  has  a  partially  human  face  with  pointed  ears  and  dewlaps,  no  body, 
and  the  legs  and  tail  of  a  lion  and  stands  in  profile  to  the  1. 

[6|  X  Gj-ig  in.  ;    14-6  X  15-7  cm.] 

The  head  engraved  in  reverse,  together  with  Nos.  141  and  148  (B.M.). 

149.  A  Monster. 

It  stands  in  profile  to  the  r.  holding  a  spear  ;  it  is  clothed  and  has  on  its 
back  a  pack  on  which  a  cock  is  perched. 

[6ji„  X  6|in.  ;    15-3  X  16-2  cm.] 

Engraved  in  reverse  (B.M.). 

160.   A  Monster. 

It  has  a  mouth  like  a  fish,  minute  arms  and  an  egg-shapod  body  and  marches 
towards  the  1.  with  a  cudgel  on  its  shoulder. 

[6j^ff  X  6/5  in.  ;    15-4  X  16-3  cm.] 

151.  A  Monster. 

It  advances  to  the  r.,  has  a  duck-like  head  and  neck,  the  haunches  of  a 
mammal  and  the  feet  of  a  bird. 

[55  X  6Jin.  ;    14-9  X  16-6  cm.] 

Engraved  in  reverse,  together  with  No.  152  (B.M.  and  Stockholm). 

152.  A  Monster. 

It  advances  to  the  1.,  has  a  reptilian  head  and  neck,  the  shell  of  a  tortoise 

and  the  legs  of  a  mammal. 

[5J  X  6J  in.  ;    14-7  X  16-5  cm.]     Pen  and  brown  ink  and  brown  wash. 

Engraved  in   the   same  direction,  together  with  No.   151    (B.M.  and 
Stockholm). 

153.  Two  Monsters. 

That  on  the  1.  is  turned  to  the  r.,  has  the  hind  legs  and  head  of  a  lion, 
with  a  horn  in  the  middle  of  its  forehead,  but  no  body  ;  that  on  the  r. 
faces  to  the  1.,  has  a  bird- like  head  and  body,  but  the  hind  legs  of  an  ox. 

[5Jx7Jin.;    14-9  X  19- 1  cm.] 

Engraved  in  reverse  (B.M.  and  Stockholm). 

154.  Two  Monsters. 

That  on  the  1.  is  turned  to  the  1. ;  it  has  an  ape-like  head  with  a  horn,  no 
body,  the  hind  legs  of  a  lion  and  bird's  claw.s  ;  that  on  the  r.,  turned  to 
the  front,  has  a  semi-human  face  and  wings. 

[51  X  7  in.  ;    15  X  17-7  cm.] 

Engraved  in  reverse,  together  with  No.  143  (B.M.  and  Stockholm). 


112  Dutch  and  Flemish  Draunnys. 

155.    A  MOMSTKR. 

li  M  tamed  to  the  1..  has  an  indeflcribable  head  with  horns,  tusks  and 
dongsted  ears,  no  bo<ly,  and  tho  hind  1^^  of  a  Hon  with  hoofs. 

[4|  X  4^i  in. ;   1 1  >  6  X  12-  6  cm.]     Pen  and  dark  brown  ink  and  blue  wasli. 

150.    A  MOKSTBR. 

It  is  tumod  to  the  I.,  has  the  head  of  a  dovil,  bird's  legs  but  no  body. 
[4|  X  4^  in. ;   10'  7  X  11-4  cm.]     Pen  and  dark  brown  ink  and  blue  wasli. 

157.  A  MOKSTEB. 

It  is  turned  to  tho  1.,  has  a  leonine  head  terminating  in  scrolls  and  volutes, 
the  body  and  wings  of  a  bird  and  tho  hind  logs  of  an  ox. 

[*^«  X  48  in.  ;    15-7  X  11-8  cm.] 

158.  A  Monster. 

It  is  tumod  to  the  r.,  has  a  swine>like  head,  the  body  of  a  bird  and  the 
legs  of  a  deer. 

[6i  X  5|in. ;    15-6  X  14-3  cm.] 

Engraved  in  reverse,  together  with  No.  189  (Stockholm). 

150.  TiniEB  Handles. 

Tliat  at  tho  bottom  to  tho  I.  is  formed  of  two  C-shapeci  scrolls  ;  that  in 
the  ccntro  is  decorated  with  a  cherub's  head  facing  to  the  1.  ;  that  on  the 
r.  is  soon  full -face. 

[8|  X  5|  in. ;   20' 5  X  14  cm.]     Pen  and  grey  ink  and  grey  wash. 

160.  A  ScBOix  AMD  Two  Monsters. 

The  monster  on  the  1.  is  seen  full -face,  has  wings,  hands  and  tufts  on  its 
eyebrows ;  that  on  tho  r.,  in  profile  to  the  1.,  has  a  swine-like  head,  the 
breasts  of  a  woman  and  the  legs  and  the  tail  of  a  cock. 

[6|^  X  7A  in. ;  15*4  X  I8'6cm.]  Pen  cmd  brown  ink  and  brown  and 
grey  wash. 

161.  A  Monster. 

It  is  turned  to  the  r. ;  its  body  is  formed  from  a  scroll ;  it  has  a  human  face 
and  bird's  logs. 

[5fi  X  41  in. :    14-8  X  11-2  cm.] 

165.  A  MOMSTKB. 

It  is  turned  to  the  r.,  has  a  htunan  face,  bird's  legs  and  ear-like  projections 
at  each  side. 

[5|  x4Ain. :    14-3  X  11-6 cm.] 

163.  A   MOXSTEB. 

It  is  turned  to  the  r.,  has  a  semi-human  face  with  horns,  the  body  of  a 
bird  and  lion's  feet. 

[6|iy  X  61  in. :   15-5  X  15-6  em.] 

Engraved  in  revMse,  together  with  No.  186  (Stockholm). 

164.  A  MoNarsR. 

It  facaa  to  the  front,  has  a  half -htaman,  half  pig-like  tmee,  human  body  and 
arms,  oat's  legs  and  bat's  wings. 

(5|x6|in. ;    ISO  X  16-8  om.] 

166.  A  Ummrmm. 

Xi  is  tttmad  to  the  r.,  has  a  dog's  head,  kmg  neck  and  htunan  legs. 
C6  X  H^-i    lS-7  X  17- 1cm.] 


A.  van  Bolten  van  Zwolle.  113 


165*.  Two  Monsters. 


They  are  bird-like  in  form,  but  that  on  the  1.,  which  attacks  the  other, 
has  arms  :   verso  :   two  naked  women  dancing. 

[6i  X  7^(5  in.  ;  15-5  X  19-2  cm.]  Pen  and  brown  ink  and  grey  wasli 
and  pencil  for  the  verso. 

166.  Two  Monsters. 

They  face  each  other  ;  that  on  the  1.  has  its  head  partly  formed  of  a  scroll, 
the  body  of  a  bird,  breasts  of  a  woman  and  legs  of  a  deer  ;  that  on  the  r. 
has  a  cock's  tail  and  the  legs  of  an  ox. 

[5|  X  6j7„  in.  ;  15  X  16*  3  cm.]  Pen  and  brown  ink  and  bine  wash. 
Xumbered  top  1.  "  1." 

Engraved  in  reverse,  together  with  No.  365  (Stockholm). 

167.  A  Monster. 

It  is  turned  to  the  r.,  has  a  human  head  and  wears  a  kind  of  architectonic 
hood  ;   it  has  human  arms,  bird's  legs  and  woman's  breasts. 

[5JI  X  6Jin.  ;    14-7  X  15-5  cm.] 

168.  Two  Monsters. 

They  face  each  other  ;    that  on  the  1.  has  an  ape-liko  head  protracted  into 
foliage,  from  which  guttae  depend,  and  the  legs  of  a  deer  ;    that  on  the  r. 
has  an  ape -like  head  and  the  body  and  legs  of  a  bird. 
[5 J  X  6f  in.  ;     14-9  X  16-7  cm.]     Pen   and   brown   ink   and   blue   wash. 
Numbered  top  1.  "2." 

169.  Two  Monsters. 

They  face  each  other  ;  that  on  the  1.  has  a  bird's  body,  himian  legs  and 
duck-like  head  ;  that  on  the  r.  has  bird's  legs  continued  into  wings,  an 
ape-liko  head  and  no  body. 

[5 J  X  6Jin.  ;    14*9  X  17 -4  cm.]     Pen  and  brown  ink  and  blue  wash. 

170.  A  Monster. 

It  is  in  profile  to  the  1.,  has  a  dragon's  head  with  wings  and  long  ears,  the 
body  of  a  goat  and  the  legs  of  a  bird. 

[5}|  X  5^  "^- ;    15-1  X  12-9  cm.] 

Engraved  in  reverse,  together  with  Nos.  142  and  147  (Stockholm). 

171.  A  Monster  with  its  Young. 

The  pair  advance  to  the  1.  ;  the  father  has  a  head  with  a  long  snout,  but 
is  otherwise  hvunan  ;   the  young  one  has  wings  instead  of  arms. 

[5|  X  5  in.  ;    14-9  X  12-7  cm.]     Pen  and  brown  ink  and  blue  wash. 

172.  A  Monster. 

It  is  in  profile  to  the  1.,  has  the  head  of  a  devil,  a  human  body  with  wings 

in  place  of  arms  and  goat's  legs. 

[5|  X  4|  in.  ;    14-9  X  11- 1  cm.]     Pen  and  brown  ink  and  blue  wash. 

173.  Two  Monsters. 

They  face  each  other  ;  that  on  the  1.  has  a  bird's  body  and  legs  and  a  pig-like 
head  ;   that  on  the  r.  has  the  head  of  a  poodle,  no  body  and  the  hind  legs 
of  a  goat. 
[5/ff  X  6|in.  ;    13-8  X  16-7  cm.] 

I 


114  Ihitch  and  Flemish  Dramngs. 


174.    A  MONSTKB. 


It  IB  in  profile  to  tho  r.,  has  a  duck's  bill,  a  body  resembling  that  of  a  cook, 

and  cat  8  legs. 

[6|'  X  6|tn. ;    13-7  x  15- 5  cm.]     Pen  and  brown  ink  and  blue  waah. 

175.  Thxkk  Monstebs. 

That  on  the  1.,  in  profile  to  the  r.,  has  wings,  a  tail  and  binln  legs,  but  is 
otherwise  human  ;  that  in  the  centre,  seen  from  the  back,  is  human  except 
for  bird's  legs ;   that  on  the  r.  also  has  bird's  legs  and  is  turned  to  the  1. 

[5}  X  6^  in. ;    14-6  X  15-7  cm.] 

Engraved  in  reverse  (Stockholm). 

176.  A  Female  and  a  Male  Monster  Makinu  Love. 

The  female  monster,  seated  on  the  1.  on  a  rock,  makes  advances  to  the 

male  seated  on  the  ground  in  front  of  her. 

[ft}  X  6|in. ;    14-9  X  16- 7  cm.]     Pen  and  brown  ink  and  blue  wash. 

177.  A  Mask  and  a  Monster. 

The  mask,  on  the  1.,  is  in  profile  to  the  1.  ;  the  monster,  with  the  head  of 
a  demon,  the  legs  of  a  goat  and  no  body,  faces  in  tho  same  direction. 

[6}  X  6iin. :    14-6  x  17- 1cm.] 

The  maak  engraved  in  reverse,  together  witii  v      '    '    ^toi-kholm). 

178.  Two  Monsters. 

That  on  the  1.,  turned  to  the  r.,  has  a  bill,  human  armless  body  and  lion's 
legs  :  that  on  the  r.,  seated,  has  a  woman's  head  and  arms  terminating  in 
bird's  feet. 
[6}  X  7^  in. ;    14  X  18*8  cm.]     Pen  and  brown  ink  and  blue  wash. 

170.  A  Satyr. 

He  advances  to  the  1.,  carr>-ing  a  basket  of  fruit  on  his  head  and  a  cornu* 
copia  under  his  r.  arm. 

[6JJ  X  5  in.  ;  16-6  X  12-7  cm.]  Pen  and  grey  ink.  »luulo<l  witli  crcv  and 
the  point  of  the  brush.     Numbered  "  4." 

Not  by  Arent  van   Bolten  ;    earlier  in  date,  anu  m    -.. ,.m,,,^ 

Com^is  Floris.     By  the  same  hand  as  No.  371,  below. 

180.  A  MOKSTKR. 

It  is  turned  to  the  I.,  hax  th<>  honcl  of  n  devil,  wings,  and  human  legB6tidiiig 

in  lion's  feet. 

[7^  X  6iin. :    186  x  13-3  cm.] 

181.  Two  MOMSTKM  FlORTIKO. 

Both  are  anned  with  swords  and  shields  :   that  on  the  I.  has  the  head  of 
an  ape ;  that  on  the  r.  lion's  legs. 
l^A  X  6|^  in. ;   tOS  X  15*4  cm.] 
Engraved  in  nrrvrae  (Stockholm). 

18S.    Two  MOKtTBM. 

Both  (aoe  to  the  I. ;  the  front  one  ia  male,  has  horns  and  bird's  leg.> . 
baek  one  \m  faaaele  and  ateo  has  bird's  kg*. 

[84  X  M  fai. ;  SO-7  x  lS-6  cm.]    Pen  and  brown  ink,  diaded  with  pencil. 
"      :  PI.  XLIII. 


A.  van  Bolten  van  ZwoUe.  115 

183.  A  Maxe,  a  Female  and  a  Child  Monster. 

The  male  on  the  1.,  full-face,  wears  a  helmet  and  carries  a  club  ;  the  female 
is  in  profile  to  the  1.  with  her  child  behind  her :  verso :  a  monster  with  a 
horse  8  head,  wings  and  lion's  legs,  turned  to  the  1. 

[8  X  6Jin.  ;    20-3  X  15-9  cm.] 
Reproduction  :  PI.  XLIII. 

Recto    engraved  in   reverse,    together   with    the    masks    in    No.    107 
(Stockholm).  Fcr«o  engraved  in  reverse,  together  with  No.  184  (Stockholm). 

184.  A  Monster  carrying  a  Sack. 

It  advances  to  the  r.,  supporting  itself  on  two  sticks  ;  on  the  sack  are  two 
small  figures  :  verao  :  a  man  with  three  children. 

[Si  X  6iin.  ;    20-6  X  15-5  cm.] 

Beclo  engraved  in  reverse,  together  with  No.  183  verao  (Stockholm). 

185.  Two  Monsters  Fighting. 

That  on  the  1.  is  bird-like  in  form  but  has  a  dragon's  head  ;  that  on  the  r., 
with  bird's  legs,  tail  and  beak,  has  arms  in  addition. 

[SjV  X  8JJin.  ;    12-8  X  22- 1cm.] 
Reproduction  :  PL  XLII. 

186.  A  Monster. 

It  faces  to  the  r.,  has  a  devil's  head,  woman's  body  and  bird's  legs  and  is 
armed  with  a  club. 

[0^  X  6t  in. ;    15-8  X  15-9  cm.]     Pen  and  brown  ink  and  blue  wash. 
Engraved  in  reverse  (Stockholm). 

187.  A  Monster. 

It  faces  to  the  1.,  has  a  devil's  head,  man's  body  and  lion's  legs  and  is 
armed  with  shield  and  club. 

im  X  ^  "^-  ;    14-5  X  15-4  cm.]     Pen  and  brown  ink  and  blue  wash. 

188.  A  Male  and  a  Female  Monster. 

The  female,  on  the  1.,  is  in  profile  to  the  r.  ;  the  naale  is  turned  to  the  front  ; 
both  have  clubs. 

[6  X  7jig  in.  ;    15-2  X  18  cm.]     Pen  and  brown  ink  and  blue  wash. 

189.  A  Male  and  a  Female  Monster. 

Both  have  birds'  legs  and  carry  clubs  ;  the  female  is  on  the  I.  ;  the  male 
also  holds  a  fish  in  his  r.  hand. 

[6^  X  7|in.  ;    15-7  X  19-9  cm.]     Pen  and  brown  ink  and  blue  wash. 

190.  A  Monster  carrying  a  Sack. 

It  has  an  ape's  head  and  advances  to  the  1.,  supporting  itself  on  two  sticks ; 
on  top  of  the  sack  is  perched  a  small  ape-like  creature. 

[6i  X  7f  in.  ;    15-5  X  19-7  cm.]     Pen  and  brown  ink  and  blue  wash. 

191.  Two  Monsters. 

That  on  the  1.  is  egg-shaped  with  liuman  legs  ;  that  on  the  r.,  in  profile  to 
the  1.,  has  a  bird's  body  and  legs  and  ape's  head. 

[5|  X  6J|in.  ;  15  X  17-6  cm.]  Pen  and  brown  ink  and  grey  wash. 
Numbered  top  1.  "  4." 

1  2 


1 1 )',  Dutek  and  FUmitk  Drmomgi. 


192.     A   MONSTKK. 

It  •dvaiices  to  the  1..  >ia«  goat's  legs  aiid  carries  •  stick  over  its  ahoaldar. 
[5}  X  S{|  in. ;    14-9  x  14-8  rm.]     Pen  and  brown  ink  and  grey  wash. 

103.  Two  FmAUC  Monsters. 

That  on  the  1.  is  in  full-face  and  has  a  pig's  head  and  lion's  feet ;  that  on  the 

r.  walks  towards  the  r.  and  has  bird's  cbws. 

[6^  X  8|  in. :    15-6  x  21*3  cm.]    Pen  and  brown  ink  and  blue  wash. 

104.  Two    MONSTKRS. 

Both  are  crowned  with  vines  and  advance  towards  the  r. ;  the  foremost 
one  has  a  pig's  snout  and  goat's  feet. 

[6}  X  8/>«  in.  ;    16  X  20-8  cm.]     Pen  and  brown  ink  and  blue  wash. 

106.   A  Monster. 

It  advances  to  the  r.,  has  a  homed  head,  wings,  a  tail  and  bird's  legs. 
[6  X  7j^  in.  ;    15-3  x  17-9  cm.]     Pon  and  brown  ink  and  blue  wash. 

106.  Five  Spoons. 

The  pair  on  the  I.  are  crossed  ;   the  handles  variously  decorated. 

(6  X  7{  in.  ;    15-3  X  10*9  cm.]     Pen  and  brown  ink  and  blue  wash. 

Apparently  engraved.     I  have  not  seen  the  engraving,  but  a  tracing  of 
it  is  inserted  at  the  end  of  the  volume. 

107.  A  Monster. 

It  is  in  profile  to  the  r.,  has  bonis,  goat's  legs  and  holds  a  sort  of  trident. 
{6J  X  7J  in. ;    I6-6  X  IH- 1  om.]     Pen  and  brown  ink  and  blue  wash. 

108.  Two  Monsters. 

They  advance  to  the  r.,  carrying  arms  nloped  over  their  shoulders  and 
wearing  helmets  ;  the  rroaturo  on  tho  1..  wliic-h  has  an  ape-like  face,  also 
carries  a  bottle. 

[6/.  X8|in.;  16'3  X  SlUiin.]  iVn  mmI  l>r..\vM  ink  aixl  blue  wash. 
Numbered  top  1.  "  3." 

100.  A  Monster  w^rra  an  Abqvbbuse. 

He  walks  to  the  r.,  carrying  the  arquebuso  over  his  shoulder  and  holding 
a  fuse ;  in  the  distance  to  the  r.  another  creature  climbing  some  rocks. 

[6|  X  8|  in. :    15-0  x  21 '6  cm.]     Pen  and  brown  ink  and  blue  wash. 

200.  A  Femauc  Monster  Attacking  Another. 

She  advances  towards  the  r.  against  a  satyr-Uka  oreaturs  aeated  on  the 
ground  ;  she  haa  wings  and  bird's  legs  and  claws  on  her  arms. 

161  X  7Ain. ;    14-0  x  18-2 cm.]    Pcu  rown  ink  and  bhie  wA. 

Numbered  top  I.  "  6." 

201.  A  Pkmalb  Monster. 

She  is  tamed  to  the  r.  mud  IooLm  u).  iu  »  i-iuua  irom  which  the  sun  breaks 
oat :  she  hae  the  head  and  body  of  a  woman,  bird's  wings  and  claws  on 
hands  and  feet  and  the  legs  of  a  cow. 

|6|  X  8iin. :     16*6  x  21*7  em.]    PMi   and    brown  ink  and  blue  wash. 

NiiniU-rtHl  top  I.  "  20." 


202. 


The  one  oa  the  1.  walks  in  that  direetion  mistng  both  arms ;   the  eeoond 
one  carries  a  baidcet. 

(6,',  II  1  X  17-0  em.] 


A.  van  Bolten  van  Zwolle.  117 

203.  A  Male  and  a  Female  Dwarf. 

The  male,  who  is  on  the  1.,  wears  a  turban  and  has  a  staff ;    the  woman  is 
naked  and  turned  to  the  1. 

[5  X  6in.  ;     12-7  X  15-2  cm.] 

204.  A  Male  and  a  Frmat.p:  Monster. 

The  male,  who  has  an  ape-like  head,  wings  and  goat's  legs,  advances  to  the 
r.  and  smells  an  apple  held  out  to  him  by  the  female. 

[5f  X  6f  in.  ;    14-9  X  16-2  cm.]     Pen    and    brown   ink  and    blue  wash. 
Numbered  top  1.  "  10  "  (?). 

205.  A  Monster  and  a  Female  Dwabf. 

The  female  is  on  the  1.  and  faces  the  monster,  who  has  a  horned,  ape-like 
head  and  carries  a  jug  and  glass. 

[5J3  X  7in.  ;    14-7  X  17-7  cm.] 

Engraved  in  reverse,  together  with  Nos.  141  and  148  (B.M.). 

206.  A  Dwarf. 

He  advances  to  the  front  and  wears  a  cloak,  plumed  hat  and  sword. 
m  X  5iin.  ;    15-6  X  13-4  cm.] 

207.  A  Male  and  a  Female  Monster. 

The  male,  on  the  I.,  has  wings,  but  is  otherwise  more  or  less  human  ;    the 
female,  who  has  legs  like  an  ox  and  wings,  walks  away  to  the  r. 

[6J  X  7J  in.  ;    15-9  X  20  cm.]     Pen  and  brown  ink  and  blue  wash. 

208.  A  Female  Dwarf. 

She  is  turned  three-quarters  to  the  r.,  wears  a  hood  and  cloak  and  carries 
a  distaff. 

[5J  X  6|  in.  ;    13-9  X  17-4  cm.]     Pen  and  brown  ink  and  grey-blue  wash. 

209.  Three  Dwarfs. 

They  advance  to  the  l.,a  lady  and  gentleman  fashionably  dressed,  followed 
by  another  gentleman  with  his  hat  in  his  hand. 

[5J  X  6J^|  in.  ;    14-9  X  17-3  cm.]     Pen  and  brown  ink  and  grey -blue  wash. 

210.  Two  Children. 

That  on  the  1.  holds  a  golf  club  ;   that  on  the  r.  some  birds. 
[5|  X  Sfin.  ;    14-9  X  14-9  cm.] 

211.  Woman  and  Child. 

She  is  naked,  seated  on  the  ground  facmg  towards  the  r.  and  combing  her 
hair  ;    the  child  stands  behind. 

[6|  X  5f  in.  ;    13-6  X  13-6  cm.]     Pen  and  brown  ink  and  brown  wash  and 
pencil.  , 

CHERUBS. 

212.  Three  Cherubs'  Heads  and  Two  Masks. 

The  three  heads  in  a  line  above,  the  two  masks  below. 

[43»g  X  6  in.  ;     11-6  X  15-1  cm.]     Pen  and  ink  outline  shaded  with  lead 

pencil. 

213.  Three  Cherubs. 

One  above  holds  a  flageolet. 
[6  X  6|in.  ;    15-1   X  17-1  cm.] 


118  DvXek  and  Flemish  Drawings. 


214.  Tbbec  Cherubs*  Heads. 

Thono  above  and  to  the  r.  are  in  profile  to  the  1. 

[6^  X  6|  in.  ;    15-7  X  15-0  cm.]     Pen  and  brown  ink  and  grey  wash. 

215.  Three  Cherubs. 

The  one  below  has  arms ;   the  other,  two  wings  only. 
[5lx7iin.:    14-9  X  18Icm.] 

216.  Two  Cherubs. 

The  one  to  the  1.  holds  a  ribbon  ;    thu  one  to  tli«'  i.    is    turiK-d  in  profile 
to  the  1. 

[8J  X  8,'g  in.  ;    IS- 8  X  21'4o?ii.]     Pen  and  brown  ink  and  blue  wash. 

217.  Two   CHERUBii. 

Both  pla^  on  flageolets  ;   that  on  the  I.  wears  a  halo  and  is  in  full-face. 
[5{  X  7}  in. ;    15  x  19- 1  cm.]     Pen  and  brown  ink  and  blue  wash. 

218.  Cherub  playing  the  Flute. 

He  is  seen  full-face  and  has  drapery  over  his  shoulders. 
[5i  X  5^  in.  ;    13  X  13-5  cm.] 

210.   Cherub's  Head. 

Surrounded  by  wings. 

[5|  X  5A  in.  :     14-7  X  12-9  cm.] 

220.  Head  asd  Bust  of  a  Winged  Womav. 

The  head  is  turned  in  profile  to  the  I. 

|6,7,  X  Sj^in.  ;    16-4  x  13*5  cm.] 
Reproduction  :  PI.  XLII. 

221.  A  Mask,  a  Cherub  and  a  Leo. 

The  mask,  an  elongated  one  with  open  mouth,  on  the  1. ;  the  cherub  in  the 
centre,  and  the  leg  with  lion's  foot  below. 

[61  X  6i  in.  ;     I  I    ''         l<)-5  rrn.] 

222.  Two  Cherubs  Kmbracinu. 

The  onn  on  tlio  r.  has  logs  terminating  in  wings. 
(5  12-6  X  18cm.] 

2S3.  Chkrub  playing  the  Lute. 

He  is  turned  throe -quarters  to  r. 
[4(1  X  e|in. :    12-6  x  16-6  cm.] 

224.  A  CumcB. 

In  profile  to  r.,  tun  imutin  mim.Hl  HI  an  atlitudu  ot  HurjiniM^. 
(6|  X  6|in. ;    14-6  x  15*7  cm.] 

225.  AChsrub  with  Two  FLA0BOLn>4. 

OiM  is  raised  above  his  head,  the  other  hokl  low. 
[«i  X  5iin. ;    I6'5  v  Ulcm.] 

220.   A  CanuB  PLA\  I  .<    \  KijioBoucT. 

Th*  flafsolet-pUyer,  on  the  1.,  is  in  profile  tu  the  r. 
(ft^X  <!'"•(    IS-5  X  17-2cro.] 


A.  van  Bolten  van  Zwolle.  119 

227.  A  Chebub. 

He  is  in  profile  to  the  1.,  his  1.  arm  extended. 

[5i  X  6j\  in.  ;    14- 1  X  15-  7  cm.]     Pen  and  brown  ink  and  grey  wash. 

228.  A  Cherub. 

He  is  full -face,  his  hands  joined  in  prayer. 

[6 J  X  5|  in. ;    15-9  X  13-6  cm.]     Pen  and  brown  ink  and  grey  wash. 

229.  A  Chebub  with  Two  Flageolets. 
He  is  turned  there-quarters  to  the  1. 
[5J  X  5^5  in.  ;    14-9  X  13-7  cm.] 

230.  A  Cherub. 

He  is  in  profile  to  the  I. 

[5}  X  4^f  in. ;    14*5  X  12*5  cm.]     Pen  and  brown  ink  and  grey  wash. 

231.  Two  Chebubs. 

Both  have  flowers  in  their  hands ;   the  upper  one  is  seen  from  the  back, 
the  lower  one  is  turned  three-quarters  to  tne  1. 

[9fa  X  7f  in.  ;    23*6  X  19*4cm.] 

232.  Head  and  Bust  of  a  Woman  with  Seraph's  Winqs. 
She  is  seen  full-face  looking  down. 

[*A  '^  Va  i"* ;    ^^'"^  ^  16  cm.] 

233.  A  Cherub. 

With  two  pairs  of  wings  ;   turned  three-quarters  to  the  1. 
[6jf|f  X  5iin.  ;    16  X  14-6  cm.] 

234.  A  Chebub. 

With  four  wings  ;   in  profile  to  the  r. 
[6iin.  X  6j9gin.  ;    15*9  X  16*7  cm.] 

235.  A  Cherub. 

In  profile  to  the  1.,  holding  a  rosary  in  his  1.  hand. 
[61  X  S^gin.  ;    17*5  X  13*2  cm.] 

236.  A  Cherub. 

He  has  fovu*.wings,  is  turned  three-quarters  to  the  1.  and  plays  on  a  flageolet. 
[8|  X  7iin.  ;    21*2  X  18-4  cm.] 

237.  A  Chebub. 

In  addition  to  wings  on  his  shoulders  his  legs  are  continued  into  wings. 
[8f  X  6iin.  ;    22  X  16*4  cm.] 

238.  A  Chebub. 

He  has  four  wings,  looks  down  towards  the  1.,  has  his  arms  folded  and 
holds  a  rosary  in  his  1.  hand. 
[8|  X  5|in.  ;    22-6  X  14-2  cm.] 

239.  A  Cherub. 

He  has  four  wings,  is  in  profile  to  the  r.  and  looks  up. 
[7  X  7iin.;   17*7  X  18*4  cm.] 


120  Dutdi  and  Flemish  Draunngs. 


U\i.  A  CHmvB. 

He  haa  four  wings  ;  his  head  is  inclined  and  turned  three-quarters  to  the  1. 
te|  X  Sin. ;    17-4  X  20-4 cm.] 


841-253.  Skriks  of  Chbist  and  the  Twelve  Apostles. 

pBaoh  3|  to  3i  X  If  to  liin. :    8-6  to  8-9  x  4-2  to  4-8 cm.]     Pen  and 
brown  ink  and  brown  or  blue-grey  waBh. 

241.  Chbist. 

He  stands  full-face,  holding  the  globe  in  his  I.  IkukI. 

242.  St.  Pbteb. 

In  profile  to  the  1.,  holding  the  keys. 

243.  St.  Andrew. 

Full-face,  standing  behind  the  cross. 

244.  St.  John. 

Full-face,  holding  the  chalice  in  front  of  him. 

245.  St.  James  the  Greater. 

Walking  to  the  r.,  liolding  the  staff  in  his  r.  hand. 

246.  An  Apostle. 

Standing  full-faro,  without  attributes  by  which  to  distinguish  him. 

247.  .\n  Apostle. 

Standing  wrapped  in  a  large  cloak  and  wearing  a  turban ;  no  attributes. 

iAH.   As  Apostle. 

Standing  in  profile  to  the  1.,  weeu-ing  a  skull  cap ;    no  attributes.     Nuunbered 
top  1.  "  2." 

St.  Bartholoiuew. 

Standing  in  profile  to  the  ].,  holding  the  knife  in  his  1.  hand. 

250.  Ah  Apostle. 

His  head  turned  in  profile  to  the  r. ;  wearing  a  large  cloak  ;    no  attributes. 

261.  St.  lUrraxw  7 

He  has  a  book  subtended  from  his  waist. 
252.   St.  Simon. 

In  profile  to  the  r..  the  saw  against  his  1.  shouldor. 

268.  8t.  pAri.. 

Full  fnrf".  liLl.tiiic  tin'  >.\V(>r>l  in  lii«  r..  the  book  m  ln^^  I.  IihikI. 

264-S70.  Snun  or  Small  Full  Lknotm  Fiocrkh. 

[Each  3|  to  3|  X  l|  to  If  in.  :    K-5  to  S!t        t    I   to   I   :><in.]     IVn  niul 
>rown  ink  and  brown  or  grey-blue  wsmH. 

254.  A  figure  seen  from  behind,  wearing  turban. 

266.  A  man  in  profile  to  1.,  with  a  book  under  his  r.  arm. 

266.  A  wooMui.  fnlMaoe,  wrapped  in  a  large  cloak. 

267.  A  woman  in  profile  to  I.,  with  a  book  in  her  I.  hand. 

268.  A  man.  full-face,  wearing  a  chaperon  and  holding  n  Htiik  in  Iuh  I.  hand. 

S6«.  A  woman  in  profile  to  the  I.,  both  hands  raised. 

260.   A  woman  in  profile  to  tli'-  I  .  Iit  1.  hand  raised  ^<<  Ikt  fiuo.     Xnnil«>r<^<l 
top  r.  ••  7/- 


A.  vail  Bolten  van  Zwolle.  121 

261.  A  woman,  full-face,  her  hands  joined  in  attitude  of  grief. 

262.  A  woman,  naked  but  for  a  cloak  over  her  shoulder.    Numbered  top  r.  "  4." 

263.  A  man,  naked,  seen  from  the  back. 

264.  A  classical  warrior,  armed  with  shield  and  sword. 

265.  A  naked  man  in  profile  to  the  r.,  holding  a  sceptre  in  his  1.  hand. 

266.  A  naked  man  standing  with  a  club  in  his  r.  hand.    Numbered  top  r.  "  3." 

267.  A  woman,  wearing  a  long  mantle,  in  profile  to  the  r.     Numbered  top  r.  "  6." 

268.  A  man  in  profile  to  the  1.,  holding  a  bucket  in  his  r.  hand.     Numbered 
top  r.  "  5." 

269.  A  woman  in  profile  to  the  r.,  wearing  a  hood  and  holding  a  book. 

270.  An   apostle    (St.   Thaddeus  ?).     He   stands   turned   three-quarters   to    1., 
holding  a  staff  or  club. 

There  seems  to  be  some  confusion  between  this  series  and  that  of  the 
apostles.     Those  with  the  old  niunbering  do  not  seem  to  form  a  recognisable 


271.  Jacob  and  Esau. 

Jacob  on  the  1.,  in  profile,  grasps  Esau's  hand  and  offers  him  a  bowl ;  both 
are  seated  on  stones. 

[5 J  X  7^\in.  ;    14-9  X  18-2  cm.] 

272.  Justice. 

She  stands  facing  to  the  front  and  holds  up  a  balance  in  her  1.  hand  ;  a 
dagger  is  attached  to  her  r.  wrist. 

[Si  X  5f  in.  ;    21-7  X  14- 2  cm.] 

273.  An  Italian  Coubtesan. 

She  is  fashionably  dressed,  carries  an  ostrich  feather  fan  in  her  r.  hand  and 
wears  high  pattens. 

[7  X  5rVin.  ;    17-7  X  12-9  cm.] 

Soniewhat  different  in  style  from  most  of  the  drawings  in  the  volume, 
but  like  No.  380. 

274.  Group  of  Four  Persons  and  a  Child. 

All  are  naked  except  a  woman  on  the  1.,  who  wears  a  skirt  and  a  turban 
and  shakes  the  hand  of  a  man  on  the  r.  facing  her  :  verso  :  two  men  walking 
towards  the  1.,  the  second  carrying  a  basket. 

[8j»g   X  6iin.  ;    20-5  X  15-8  cm.] 

275.  A  Woman  and  a  Naked  Man. 

The  woman  advances  from  the  1.  and  points  with  her  r.  hand  to  the 
ground  ;   the  man  stands  facing  to  the  front. 

[8-^  X  6  in.  ;  20*5  X  15-2  cm.]  Pen  and  brown  ink  and  brown  wash 
and  pencil. 

276.  A  Group  of  Four  Men. 

They  wear  costumes  of  the  type  found  in  Lucas  van  Leyden's  engravings ; 
three  are  conversing  together  ;  a  fourth,  wearing  a  turban,  is  behind  on  the 
r.  :  verso  :  a  monster  with  the  head,  neck  and  tail  of  a  dragon  and  the 
hind  legs  of  an  ox. 

[8  X  ejin.  ;   20-3  X  15-9  cm.] 


122  IhUeh  and  Ifemith  Dramiufs. 

277.  A  Man   am>   a  (hilu. 

The  man,  w)i<>  is  naktHl.  knoeU  in  profile  to  the  I. ;  the  child  stands  facing 
to  tbb  front,  holding  a  stick  in  his  1.  hand. 

[Si  X  5|  in.;    14-9  X  14-6  cm.] 

278.  A  KyKEUKO  Man. 

He  kneels  towards  tlio  I.,  but  his  head  and  body  arc  tuniod  away  iroin  the 
spectator ;  another  kneeling  figure,  sketched  in  pencil,  is  on  the  r. 

16|  X  5iin.  :    14-9  x  13-3  cm.] 

Probably  studies  for  an  annunciation  to  the  shepherds. 

279.  A  Skraph. 

He  is  represented  ui  the  clouds,  flying  towards  the  r.  ;    wings  grow  from 
his  hips  and  from  the  imder-sidee  of  his  arms. 

ISA  X  7Jin. ;    21-4  x  19- 1  cm.] 

280.  Ax  Anoei.. 

She  is  flying  towards  the  I.,  her  r.  arm  raised  above  her  head. 
[9  X  6iin. ;    22-9  X  16-5  cm.] 

281.  Mkbcury. 

He  stands,  facing  to  the  front,  holding  the  caducous  aloft  in  his  1.  hand  ; 
he  wears  the  winged  hat  and  a  cloak  thrown  over  his  shoulders. 

L10|V  X  efin. ;   25-6  x  16>8cm.] 

282.  Hntcaun. 

He  stands,  facing  to  the  front,  his  head  turned  in  profile  to  the  r. ;    he 
the  club  in  his  r.  hand  and  the  lion's  skin  over  his  shoulders. 


[7^  X  41  in. :    18-3  X  11-2  cm.] 

283.  A  Woman  with  a  Horx. 

She  stands,  facing  to  the  front,  holding  a  hunter's  horn  in  her  r.  hand; 
she  is  richly  dressed  and  wears  a  turban  with  a  decoration  in  front. 

[7^  X  Si  in. ;    19-2  X  14-9  cm.]     Numbered  bottom  r.  "23." 

In  a  somevrtiat  different  style  and  on  different  paper  from  most  of  the 
drawings  in  the  volume. 

284.  Two  Naucd  Mkn. 

One  OD  the  1..  facing  to  the  front,  wears  a  lion '8  skin  and  appears  to  be 
Hetvulea ;  the  other  is  in  profile  to  the  I. 

[8^  X  e^in. ;   20*8  X  15*8  cm.] 

285.  HSBCUUM. 

He  faces  to  the  front,  wears  the  lion's  skin,  and  has  his  hands  crowed  in 
front. 

(Sixe^in.  ;    216  X  15-4  cm] 

288.  Mmmcvmy. 

Ha  faeea  to  the  front,  standing  on  an  orb  surmountetl  bv  a  cross,  and  holds 
tiM  mdatamm  in  his  1.  hand. 

[8  X  4|in. :    19-9  X  12-4  cm.] 

287.  MnovKY. 

Akaost  Msntfaal  with  the  prsoeding  exoept  thai  he  wears  the  winged  hat. 
[•I  X  4Afai. ;    15-8  X  10-7  em.]    P»n  and  brown   ink  outline,  shaded 


A.  van  Bolten  van  Zwolle.  123 

288.  Caryatid. 

In  the  form  of  a  naked  man,  facing  to  the  front,  with  a  pillow  on  his  head. 
[7|  X  4,3gin.  ;    18-7  X  10-7  cm.] 

289.  Hercules. 

He  is  standing,  in  profile  to  the  1.,  his  r.  arm  raised  ;  he  wears  the  lion's 
skin  over  his  r.  shoulder. 

[6JI  X  4|  in.  ;  17*4  X  11-8  cm.]  Pen  and  brown  ink,  shaded  with  lead 
pencil. 

290.  Seated  Woman. 

She  is  seated  on  a  rock,  her  ba«k  to  the  spectator  and  both  arms  raised. 
[8  X  6|in.  ;    20-4  X  16-3  cm.] 

291.  Two  Figures. 

The  1.  hand  one,  turned  to  the  front,  wears  a  turban  and  is  wrapped  in 
a  large  cloak  ;  the  r.  hand  one  is  a  soldier  in  fantastic  costume  carrying 
a  spear  over  his  shoulder  and  advancing  to  the  1.  :  verso  :  an  old  man 
between,  on  the  1.,  a  seated  woman  and,  on  the  r.,  a  young  man  kneeling. 

[6  X  7|in.  ;    15-2  X  18-8  cm.]    Numbered  top  1.  "  21." 

292.  Boys  seated  at  a  Table. 

Four  are  seated  at  a  round  table  studying  books  ;  a  man  stands  behind  : 
verao  :  a  peasant  pulling  at  a  tree-stvmip  and  a  figure  like  an  apostle. 

[5i  X  6|in.  ;     13-9  X  16-2  cm.] 

293.  Two  Soldiers. 

The  1.  hand  one  is  walking  towards  the  1.,  carrying  a  spear  over  his  r. 
shoulder  ;  the  r.  hand  one  faces  to  the  front  and  carries  a  spear  over  his 
I.  shoulder. 

[5Jg  X  7Jin.  ;    15-1  x   19- 1  cm.] 

294.  A  Saint  led  to  Martyrdom. 

He  is  led  by  a  cord  tied  round  his  wrists  by  a  figure  seen  from  the  back  ; 
two  figures  on  the  r.  follow  the  saint. 

[5Jg   X  7iin.  ;    15-1   X  19  cm.] 

295.  Two  Figures. 

A  woman  seated,  seen  from  the  back,  is  on  the  1.  ;  she  carries  a  shield  and 
a  sword  ;  a  man,  crowned  with  a  wreath,  is  seated  on  the  r.  facing  to 
the  front. 

[5}f  X  7^  in.  ;    15- 1  X  19- 1cm.] 

296.  An  Old  Man  Blessing  a  Young  One. 

The  0I4  man  is  seated  in  profile  to  the  r.  and  places  his  1.  hand  on  the  head 
of  the  young  man,  who  kneels  before  him  ;    two  men  stand  behind. 

[5H  X  7|in.  ;    15-1  X  18-7  cm.] 

297.  The  Goddess  of  War. 

She  stands  in  profile  to  the  1.,  her  r.  hand  on  a  shield,  her  1.  hand  holding 
a  fusee  ;   a  cannon  and  other  arms  behind. 

[6A  X  7j<i5in.  ;    15-7  X  17-9  cm.] 

298.  A  Monk  and  a  Woman. 

He  is  on  the  1.  and  turned  in  the  same  direction  ;  she  walks  to  the  r.  carry- 
ing a  basket  :    verso  :  an  ornament. 
m  X  6J|in.  ;    14-9  X  17-6  cm.] 


124  LhUch  and  FlemWi  Drawings. 


29i».    Twu  SOLOtKRS. 

The  1.  hand  one  carries  a  halberd  in  his  1.  hand ;    the  r.  hand  one,  in 

Srofile  to  the  I.,  carries  a  musket  over  his  1.  shoulder :  vtrto :  a  man  in  profile 
D  the  r.  and  a  hand. 
[5Jj  X  6|in. ;    15-1  X  17-2  em.] 

300.  A   SOLDIKR. 

He  is  in  profile  to  the  1.,  carries  a  sword,  holds  a  halberd  in  hL- 
and  wears  a  plumed  helmet. 

[6^(  X  41  in. ;    16-7  x  11- 1  cm.]     Pen  and  brown  ink  and  blue  wash. 

301.  A   SOLDIEB. 

He  is  in  profile,  walking  to  the  1.,  carrying  a  pike  over  his  r.  shoulder,  wearing 
a  plumenl  hat,  scarf  and  sword. 

[7|  X  6}  in. ;    18*9  X  13-9  cm.]     Signed  bottom  r.,  arent  van  BoUen  feeit. 

302.  A   SOLDIKR. 

He  stands  in  profile  to  the  1.,  his  1.  hand  on  the  hilt  of  his  sword,  his  pike 
hdd  at  the  trail  in  his  r.  hand. 

[51  X  5,^in. :    140  X  13-2  cm.] 

303.  A  Naked  Mak. 

He  is  turned  to  the  front,  wears  a  cloak  over  his  shoulders  and  holds  a  small 

hoop  in  his  I.  hand. 

[6}jJ  X  Sin.  :    13  r.        12- 7  cm.] 

304.  A  Soldier. 

He  advances  to  the  1.,  carrying  a  musket  over  his  1.  shoulder  and  holding  a 
rest  in  his  r.  hand. 

[1  X  5^in.;    17-8  x  13-2  cm.] 

306.  An  Orient  \  i 

He  is  in  prutilo  tu  ilio  r.,  wears  a  turban,  short  kilt  and  cloak  and  leans 
with  his  r.  hand  on  a  table  in  front  of  him. 

IV«  >'^  6i«n.;    19-1  X  13-4  cm.] 

906.   MKRcrRY,  Venus  and  Cupid. 

Mercury  is  in  profile  to  the  r.  facing  Venus,  who  holds  an  apple  in  her  r. 
hand ;  Cupid,  with  his  bow  and  quiver,  is  reclining  on  the  ground  to  the  r. 

[7|  X  6|in. ;    18-7  X  17-2  cm.] 

307.  HsRCVUn,  a  Woman  and  a  Man. 

Hercules,  wearing  the  lion's  akin,  advances  from  the  I.  and  points  to  a  naked 
man  tdio  is  aeated  on  the  ground  leaning  against  a  rock  :  a  woman,  wiUi 
a  cloak  over  her  shoulders.  Rtan<Iri  farther  back  between  thctn. 


306.    Two  OMUmKTJOM. 

Tliey  are  in  eonversation      <•  •       '  un  tlu'  1.  U  mvu  full  t...     :   tii<<  one  to 
ther.  ia  in  profile  ami  in  d  other  ;  to  the  r.  a  nnk-.i  ihmti  huncho<i 

up  on  the  ground  (in  mitl 

300.  A  Max  an 

The  HMUi  is  :  to  the  I.,  in  the  forngronnd, 

a  tree  ehinni. 

(7A  y  Sin.:     18-3  >..] 


A.  van  Bolten  van  Zwolle.  125 


310.  Mercury,  Mars  (?),  Venus  and  Cupid. 

Mars,  seated  on  a  bed,  holds  Venus  on  his  knees  ;  Mercury  hovers  above, 
while  Cupid  watches  from  behind  a  pillow  on  the  r. 

[7Jx5fJin.  ;    18-4  X  15-7  cm.] 

311.  Mercury,  Venus  and  Cupid. 

Venus  is  seated  on  the  ground  to  the  1.  under  a  tree,  Cupid  in  front  of  her 
to  the  r.  ;  Mercury  advances  from  behind  a  rock  at  the  back  :  verso  :  a 
fantastic  monster  ;    numbered  bottom  r.  "  7." 

[8i  X  e/e  in.  ;    20-7  X  15-4  cm.] 

312.  Venus  and  Cupid. 

Venus  is  seated  on  a  tree-stump,  apparently  weepmg  ;  Cupid  stands  behind 
her  to  the  r.  and  holds  up  an  arrow  in  his  1.  hand.  . 

[5i  X  6Jin.  ;    14-8  X  17  cm.] 

313.  Two  Women. 

One,  naked,  is  in  profile  to  the  1.  and  holds  a  spear  ;  the  other,  to  the  r., 
advances  in  that  direction. 

[6^  X  6J3  in.  ;    15-4  X  17-3  cm.]     Pen  and  brown  ink  and  blue  wash. 

314.  An  Old  Man. 

He  is  in  profile  to  the  r.,  naked  except  for  a  cloak  over  his  1.  shoulder,  and 
holds  a  staff  in  his  r.  hand. 

[9i  X  7i  in.  ;    24  X  19-1  cm.]     Pen  and  brown  ink  and  blue  wash. 

315.  A  Sick  Man  attended  by  a  Physician. 

He  lies  on  a  couch,  his  feet  to  the  1.  ;  the  physician,  who  wears  a  turban, 
leans  over  him  from  behind  the  couch  ;    behind,  a  woman  and  boy. 

\5l  X  7iin.  ;    14-9  X  19  cm.]     Numbered  top  1.  "  38." 

316.  A  Man  kneeling  in  front  of  a  Child. 

The  child  lies  against  a  rock  on  the  1. ;  the  man,  in  profile  to  the  1.,  kneels  in 
front  of  him  ;   behind,  seated  on  a  rock,  a  naked  woman. 

[5|  X  7Jin.  ;    14-9  X  18-1  cm.]     Numbered  top  1.  "  9." 

317.  Three  Fioubes. 

A  bearded  man.  in  profile  to  the  r.,  kneels  on  the  1.  ;  a  boy,  facing  him  and 
also  kneeling,  is  struggling  with  a  cloak  ;  atiother  boy  on  his  hands  and 
knees  is  partly  visible. 

[6|  X  7f  in.  ;    16-2  X  19-8  cm.]     Pen  and  brown  ink  and  blue  wash. 

318.  Boys  Writing. 

Three  boys,  wearing  hats,  are  seated  on  stools  round  a  table  writing  ;  to 
the  r.  an  old  man,  wearing  spectacles,  directs  them  and  two  others  stand 
behind. 

[6^^  X  8^  in.  ;    16-7  X  20-9  cm,]     Pen  and  brown  ink  and  blue  wash. 

319.  A  Man  and  a  Woman. 

The  woman,  on  the  1.,  is  in  full-face,  wears  peasant  costume  and  holds  a 
rosary  in  her  r.  hand  ;  the  man,  on  the  r.  in  profile  to  the  1,,  takes  hold  of 
her  1.  hand. 

[6J  X  6J  in. ;    16' 8  X  17 -4  cm.]     Pen  and  brown  ink  and  blue  wash. 


126  Dutch  and  Flemish  Drawings. 


SfO.  CkicrKtc-. 

A  man  on  the  I.,  in  full-face,  is  addressing  the  ball  with  his  club  ;  another 
is  in  profile  to  the  I.  holding  his  club  ;  a  dwarfish  figure  behind  to  the  r. 
(51  X  6}|  in. :  14-0  X  17'6cm.]  Pen  and  brown  ink  and  grcy-blue  wash. 
Numbered  top  1.  "  14." 

521.  Thxkb  Mkn. 

Tim  are  in  conversation  ;   the  num  in  the  centre  wears  a  turban  ;  the  one 

on  the  r.  carries  a  spiked  club. 

[6|  X  7|  in. ;    16-9  X  18-4  cm.]     Pen  and  brown  ink  and  blue  wash. 

522.  Two  Peasants. 

They  face  each  otiier  ;  the  oii<<  on  the  r.  holds  up  an  axe  in  front  of  his  face  ; 

the  other  has  one  under  his  r.  arm. 

'[*A  X  7i  in- ;    15'4  X  18-5  cm.]     Pen  and  brown  ink  and  blue  wash. 

323.  Three  Fiocres. 

The  one  on  the  1.  is  that  of  an  elegant  young  gentleman  with  sword  and 
cloak  ;  he  is  turned  to  the  front ;  another  on  the  r.  is  in  profile  to  the  1. 
[6^  X  7^  in.  ;    16  X  18- 6  cm.]     Pen  and  brown  ink  and  blue  wash. 

324.  Three  Fioitrbs. 

On  the  I.  is  a  monk,  who  stands  behind  a  stout  woman  seated  on  a  rock  ; 
an  old  man  behind  another  rock  on  the  r. 

(6|  X  5ii"i-:    ^^'"^  ^  14-5 cm.] 

325.  A  WOICAN  AHD  Chuj}. 

They  advance  to  the  1. ;   the  lady  is  elegantly  dressed  and  is  mounted  on 

pattens. 

[6|  X  7(1  in. ;    Id'l  X  19 '6  cm.]    Pen  and  brown  ink  and  blue  wash. 

826.  Two  Pilgrims. 

They  advance  towards  the  r.,  wear  hoods  and  cloaks  and  carry  staves. 
['A  X  6^in. ;    18-6  X  16-4  cm.] 

327.   Bacchxts. 

He  is  seated  on  a  barrel  and  drinks  from  a  goblet  of  wine  which  he  holds 
in  his  1.  hand. 

[7|  X  5J^ia.i    18-5  X  13-4cm.] 

SS8.    PBASAim  MARKETTNO  THEIR  WaRKs. 

Two  are  seated  at  a  low  table  on  the  I.  mui  two  Htand  beiunu  -,  u  tmrrci  wiui 

badMta  to  the  r. 

[6^  X  7{in. :    16*3  x  20  cm.]     Pen  and  brown  ink  and  grey -blue  wash. 

329.  A  Pbolah  Robrko  by  a  Child. 

A  pedlar  seated  on  a  tree-stump,  his  I.  arm  leaning  on  a  rock  in  front  of 
hiiB  ;  a  child  takes  something  from  the  purse  at  his  girdle  ;   another  man 
oRMdiing  in  the  background  to  the  r. 
m  X  7|in. :    I6-5  x  19-9  cm.] 

330.  Two  iimm  by  tkb  Bkimiidk  or  AiromR. 

The  bed  is  on  the  1. :  a  man  to  the  r.  gesticulates  to  the  man  in  the  bed ; 
anoUmr  nkan  slanda  behind  to  the  r. 

(ft^  X  4|in.;    13'6  X  12  em.] 


A.  van  Bolten  van  Zwolle.  127 

331.  A  Woman,  a  Shepherd  and  a  Child. 

The  woman,  who  is  dressed  iii  a  long  cloak,  stands  facing  to  the  r.  and 
holds  the  I.  hand  of  the  shepherd,  distinguishable  by  his  crook  ;  a  child 
behind  the  shepherd  is  removing  something  from  his  purse. 

[6/;,   X  7Jin.  ;     16-1  X  19-7  cm.] 

332.  Cupid  and  Three  Women. 

The  one  on  the  1.,  who  is  naked,  stands  on  a  phallic  emblem  ;  behind  her 
is  Cupid,  and  to  the  r.  two  women  seated  on  the  ground. 

[SJ  X  6in.  ;    13-4  X  15-2  cm.] 

333.  Three  Women  looking  in  a  Mirror  held  by  Cupid. 

A  naked  woman  kneels  on  the  1.  and  looks  in  the  mirror  which  is  held  by 
Cupid  on  the  r.  ;    two  other  women  kneel  behind  the  first. 

[5|  X  5iin.  ;   14-5  X  14-6  cm.] 

334.  Venus  and  Cupid. 

Venus,  on  the  1.  in  profile,  is  seated  astride  a  log  and  raises  her  arms  as  if 
to  threaten  Cupid,  who  stands  in  front  of  her  on  the  r. 

[7i  X  6Jin.  ;    19  X  15-6  cm.] 

335.  Venus  and  Cupid. 

Venus  is  seated  on  some  tree-trunks  below  some  rocks,  her  1.  leg  crossed 
over  her  r.  ;   Cupid  is  behind  to  the  r. 

[SjJg  X  6jij  in.  ;    20-4  X  15-4  cm.]     Numbered  top  1.  "  30." 

336.  Cupid. 

He  stands  facing  the  spectator,  his  head  turned  to  the  1.,  the  bow  in  his 
r.  hand,  his  1.  hand  on  his  hip. 

V^i'c,   X  5^m.  ;    18-5  X  14-1  cm.] 

337.  A  Group  of  Naked  Men  and  Women. 

A  woman  on  the  1.  stands  facing  the  spectator  and  is  embraced  by  a  man 
who  stands  on  the  r.  ;   two  other  women  and  a  man  behind  on  the  r. 

[7i  X  6|in.  ;    18-2  X  17-6  cm.] 

338.  A  Man,  an  Old  Woman  and  Four  Children. 

The  man,  who  wears  a  turban  and  a  large  cloak,  stands  on  the  1.  and  offers 
a  child,  in  front  to  the  1.,  a  fruit ;  the  old  woman,  who  advances  from  the  r., 
seems  to  expostulate  ;  a  child  is  squatting  on  the  ground  to  the  r.  and 
another  stands  between  the  man  and  the  woman. 

[7^5  X  6Jin.  ;    18-2  X  15-8  cm.] 

339.  An  Old  Man  and  a  Woman. 

The  old  man,  who  is  naked,  reclines  on  a  cloak  against  a  rock  on  the  1. ;  the 
woman  kneels  before  him  on  the  r. 

\6\l  X  Sin.  ;   14-7  X  20-3  cm.] 

340.  Neptune  and  a  Mermaid. 

Neptune  is  seated  against  a  rock  on  the  1.,  holding  his  trident  in  his  1.  hand ; 
a  mermaid  in  the  water  on  the  r.  holds  up  a  mirror  to  him. 

[6i  X  8f  in.  ;    16-6  X  21-8  cm.]     Numbered  top  I.  "  31." 


128  Dutch  and  fUmish  Drawliujs. 


341.  Two  Buxo  Mkn. 

They  advance  towards  the  1.,  tho  foremost  one  with  his  hands  outotretohed ; 
the  ■eoond  holding  on  to  the  first. 

[e^xS/fin.;    16-6  X  13-9 cm.] 

342.  A  Man  akd  a  Sleeping  Woxan. 

She  lies  on  the  (p-ound  against  a  rock,  her  feet  towards  the  r.  ;  tho  inau, 
yiho  wears  a  tunic  and  cloak,  bends  over  her. 

[6,^  X  Tin. ;   13-6  X  17-7  cm.] 

343.  Cupio  AND  Psyche  (T). 

She  lies  on  tho  ground,  her  feet  towards  the  1. ;  Cupid  leans  over  her.  holding 
a  lamp  in  his  r.  hand. 

[^  X  T^in. ;    13-8  X  18-5  cm.] 

344.  MaBS,  VeKUS  AMD  CXTPID. 

Man  advances  from  tho  r.  and  raises  his  r.  arm  to  thrash  Cupid,  whom  he 
holds  in  front  of  him  ;    Venus  is  seated  on  a  rock  on  the  I. 

[5J  X  71  in. ;    14-9  X  18-8  cm.]     Numbered  top  1.  "  23." 

345.  Vknus,  Mercury  and  Copid. 

Venus,  who  holds  a  flask,  is  seated  on  a  rock  to  the  I.  beside  Mercury,  who 
holds  the  caducous  in  his  I.  hand  ;   Cupid  runs  forward  to  Uiem  from  the  r. 

[5}  X  7^  in.  ;  15  x  10  cm.]  Pen  and  brown  ink  and  blue-grey  wash  : 
numbered  top  I.  "  15." 

34<l.   A  Man,  a  Woscan  and  a  Cbzld  among  the  Cix>ud8. 

Tho  man  and  woman  aro  sido  by  side  flying  towards  the  I. ;  a  boy,  partially 
hidden  by  a  rioud,  is  on  the  I. 

[51  X  7^  in   :    1  »    t  X  19-1  cm.]    Numbered  top  1.      I'o.  ' 

347.  A  Mak  ScouBGiNU  a  Woman. 

She  is  seated  on  a  rock  on  the  1.  ;  ho  approaches  hor  with  a  scourge  in 
his  r.  hand. 

[51  X  1^  in.  :    15  X  18-5  . m.)      N'umbore<l  top  I.  "  16." 

Two  Men  anh  \  (Hild. 

One  man  is  seated  on  a  rock  on  tho  1.  :  another,  standing  behind  him,  is 
searching  his  hair ;  tho  child  approaches  from  the  r. 

15}|  X  T^in. ;     I  >    I         18-5  cm.] 

349.  The  Jcdombkt  or  Paris. 

Paris  is  seated,  in  profile  to  the  r.,  under  a  clump  of  trees  on  the  L,  and 
Imncbi  the  apple  to  Venus,  who  stands  before  him  ;  Juno  and  Minenraare 
txshind  her  and  Cupid  kneels  in  front. 

15}  X  71  in. :    15  X  19-3  cm.]     Numbered  top  1.  "40." 

S50.  Am  Elderly  Womam  at  hkr  Totuer. 

81m  is  in  the  oentre,  in  Pfoflle  to  the  1.,  seated  ;  a  boy  kneeb  in  front  of 
bar  and  cata  bar  toe-nMla  while  a  woman  massages  her  back;  another 
boy  babind  to  the  r.  reaobaa  for  a  bottle  from  the  top  of  a  cupboard. 

(A|  X  7^in. ;    14-9  x  19 cm.]    Numbered  top  I.    '  IT.  ' 

351.  A  Last  axo  Gejctleman. 

Hmv  are  fashionably  dressed  and  advance  towards  the  I. ;    the  lady  is 
babtod  and  in  advance  of  the  gentleaian. 
(ftl  X  4]  in.;   14-9  X  ll-Sem.] 


A.  van  Bolten  van  Zwolle.  129 


362.   A  Gentleman  follo\ved  by  a  Page. 

He  advances  to  the  1.  wrapped  in  a  cloak  ;  the  very  small  page,  with 
plumed  hat  and  sword,  follows  him. 

[5J  X  6Jin.  ;    14-9  X  15-9  cm.] 

353.  Two  Peasants. 

The  one  in  front,  who  wears  a  hood,  is  in  profile  to  the  1.  ;  the  further  one, 
with  a  turban,  carries  a  basket  in  his  r.  hand. 

[6J  X  5J  in.  ;  17-1  X  13-9  cm.]  Pen  and  ink  outline  shaded  with  lead 
pencil. 

354.  Thbee  Tbavellebs. 

They  advance  to  the  r.  ;  on  the  1.  is  a  man  in  a  hat  and  cloak  ;  behind 
and  to  the  r.  a  man  with  a  basket,  a  stick  and  a  pack,  and  further  back 
and  to  the  r.  a  small  boy  with  a  large  pack. 

[5J  X  ejin.  ;     14-9  X  15-8  cm.] 

366.   A  Woman  and  a  Dwabp  cabbyino  a  Child. 

The  woman  advances  to  the  1.  and  carries  a  basket ;  the  dwarf  walks 
behind  her  and  carries  a  pack  with  a  small  child  in  it. 

[6|  X  7iin.  ;    16  X  18-1  cm.] 

356.  A  Man  and  a  Boy. 

The  man  is  in  profile  to  the  r.  and  leans  on  a  stick ;  the  boy  stands  in 
front  and  touches  one  of  his  hands. 

[5J  X  6 J  in.  ;    15  X  15-6  cm.] 

357.  Two  Men  and  a  Boy. 

In  the  centre  a  man,  wearing  a  hat  and  wrapped  in  a  cloak,  is  turned 
three-quarters  to  the  r.  ;  to  the  1.,  behind,  a  boy  wearing  a  turban  ;  another 
man  behind  to  the  r. 

[6J  X  ejin.  ;    14-9  X  15-9  cm.] 

358.  Two  Naked  Men  and  Two  Naked  Women  Running. 

A  woman  in  profile  on  the  r.  is  followed  by  a  man  ;  a  woman  and  another 
man,  on  the  1.,  are  running  in  the  same  direction. 

[6J  X  8JI  in.  ;    16-5  X  20- 1  cm.] 

369.   An  Old  Woman. 

She  is  turned  three-quarters  to  the  1.  and  wears  a  hat,  ruff  and  cloak. 
[6J  X  4Jin.  ;    14-9  X  12-3  cm.] 

360.  An  Old  Shephebd. 

He  advances  to  the  1.  holding  a  crook  in  his  1.  hand,  a  basket  in  his  r.  and 
a  pack  on  his  back. 

[5|  X  6in.  ;    14-9  X  15-3  cm.] 

361.  A  Man  with  a  Stick. 

He  is  in  profile  and  leaning  over  to  the  r.  holding  a  stick  in  his  r.  hand 
and  raising  his  1. 

[5  J  X  5j'g  in.  ;   14-9  X  13-2  cm.]     Pen  and  brown  ink  and  blue-grey  wash. 

362.  An  Old  Man  leaning  on  a  Stick. 

He  is  in  profile  to  tlie  I.,  wears  a  hat  and  leans  with  both  hands  on  a  stick. 
[5J  X  5|in.  ;  14-9  X  13-6cra.] 

K 


130  Dutch  and  Flemish  Drawings. 


SOS.  A  Man. 

He  standi  facing  to  the  1.,  hi*  arms  above  his  head  in  an  attitude  of  iii>Mpair. 
[6,T^  X  61  in.  :  16-3  X  13-9  cm.]  Pen  and  brown  ink  and  brown  wash 
and  pencil. 

364.  A  Pou:. 

He  stands  facinR  to  tho  I.,  wearing  a  fur  cap,  a  long  coat  with  falling 
sleeves  and  holding  a  stick  in  his  r.  hand. 
[6AX6|in. ;    16-7  x  13-9 cm.] 

365.  A  Paie  or  Dwarfs. 

They  stand  turned  towards  the  1.,  the  man  in  front,  with  their  arms  round 

each  other. 

[5|  X  6J  in.  :    15  X  14  cm.]     Numbered  top  1.  "  27." 

Engraved  in  reverse,  together  with  No.  166  (Stockholm). 

366.  An  Old  Woman. 

She  stands  facing  to  the  front,  her  r.  hand  held  out,  her  1.  huliiing  u  Mtick. 
[6^  X  6|  in. ;  16-5  X  14*2  cm.]  Pen  and  b^ow^l  ink  and  brown  wash 
and  lead  pencil. 

367.  Two  Monsters. 

A  female  on  the  1.  with  a  fore-arm  like  a  bird's  claw  attacks  a  male  creature 
seated  facing  her  ;  he  has  the  legs  of  a  goat  and  also  arms  with  bird's  claws ; 
trecfl  and  rocks  behind. 
(6J  >   sj  in.  :    16-5  y  21 -9  cm.]     Numbered  top  I.  *' 29." 

36«.   Cupid. 

He  is  walkuig  towards  tho  I.,  holding  a  large  arrow  in  his  r.  hand,  the  point 

on  the  ground. 

(^A  X  ^8>"-;    13H  X  12-5  cm.] 

369.  A  Chxrcb. 

He  is  repre«entc<l  in  profile  to  tho  I.,  in  flight ;  he  has  wing*  growing  from 
his  hips  as  well  as  from  his  shoulders. 

[6|  X  4}2  in.  :    14-3  x  12-5  cm.] 

370.  Two  Old  Dwarfs. 

A  woman  to  the  I.,  hokls  a  distaff  in  her  r.  hand  ;  a  man  in  front  to  the  r. 
hokis  a  stick  in  his  1.  hand. 

[6}  X  6}  in. :  ITi  y  17 -5  cm.]  Pen  and  brown  ink  and  blue  wash. 
Numbered  top  I 


371.   A  Corrn  noLDiKti  a  IIuun  or  Plrnty. 

He  stands  turned  to  the  1.,  holding  up  the  horn  of  plenty  in  both  hands. 
(7^  X  64  in.;     18-S  x  lS-9cm.]     Pen  and  black  ink  and  grey  wash: 


numbered  to  r.  of  Cupid's  foot  "  1." 

Not  bv  Arent  van  Bolten ;  earliei 
Kloris.    By  tho  same  hand  as  No.  179  abo^-c 


Not  bv  Arent  van  Bolten;  earlwr  in  date,  and  in  stylo  recalling  Cornel  is 


372.    A  Woman  and  Child. 

Th«  woman,  who  has  a  large  sack  on  her  back,  advances  to  the  I.,  preceded 
by  a  naked  chikL 

r.^|    >    Al  in    !     13. «    .     IT    1  .  m.J 


A.  van  Bolten  van  Zivolle.  131 

373.  GBOtrp  of  Children. 

They  stand  round  a  tree-stump  ;  one  on  the  r.  is  held  round  the  waist  by 
another  standing  behind  him  ;  another  on  the  1.  seems  to  be  forcing  the 
first's  head  down. 

[6J  X  7|in.  ;    15-8  X  20  cm.] 

374.  Three  Men, 

Two  on  the  1.  have  only  loin-cloths  and  their  hands  bound  behind  their 
backs  ;   the  third,  on  the  r.,  appears  to  be  holding  the  first  two. 

\.m  X  6Jiiin-;    14-i5  X  17-4  cm.] 

375.  An  Old  Man  and  a  Young  One. 

The  old  man,  on  the  1.,  holds  a  stick  in  his  r.  and  a  book  in  his  1.  hand  ; 
the  other,  on  the  r.  in  profile  to  the  1.,  wears  a  hat,  cloak  and  sword. 

[6f  X  7{|in.  ;    16-2  X  20-1  cm.] 

376.  A  Soldier  and  a  Wild  Man  Fightino. 

The  soldier  on  the  1.,  armed  in  the  Roman  fashion  with  shield  and  sword, 
attacks  the  wild  man,  who  swings  a  club  above  his  head. 
[6j9g  X  Sj-'gin.  ;    16-7  X  20-7  cm.] 

377.  Two  Soldiers. 

Both  are  armed  in  the  Roman  fashion  with  sword  and  shield  ;  the  one  on 
the  r.  has  a  plumed  lielmet,  while  the  one  on  the  1.  wears  a  turban. 

[^i^s  X  7ifin-;    16-7  x  20-1  cm.] 

378    Venus  and  Cupid. 

Venus  is  seated  on  the  1.  and  holds  an  arrow  in  her  r.  hand,  while  she  puts 
her  1.  on  Cupid's  head  ;   another  seated  figure  on  the  r.,  lightly  sketched. 
[7fJ  X  10  in.  ;    19-5  X  25-3  cm.]     Pencil  and  red  chalk. 

Resembles  No.  2  above  in  style  and  technique.     There  is  no  reason  to 
doubt  Bolten's  authorship  in  either  case. 

379.  A  Groui»  of  Masqueraders. 

The  central  figure  is  that  of  a  man  wearing  a  hood,  with  a  bagpipes  stuck 
in  his  belt ;  two  other  men,  one  holding  up  a  bottle,  are  to  the  r.,  and  three 
behind  to  the  1. 

[8j^  X  6J  in.  ;    20-5  X  15-5  cm.]     Numbered  top  1.  "  22." 

380.  A  Masquerade. 

Three  figures  are  seated  in  front  with  their  backs  to  the  spectator  ;  the 
most  prominent  figures  beyond  are  a  couple  dancing  and  a  man  playing 
the  lute. 

[7|  X  6i5,  in.  ;    20  X  16  cm.] 

381.  A  Female  Monster. 

She  has  wings  attached  to  lier  shoulders  and  goat's  legs  and  looks  down 
towards  the  1.  at  a  mirror  propped  against  a  stone. 

[^\  X  8  in.  ;    15-5  X  20*3  cm.]     Pen  and  brown  ink  and  blue  wash. 

382.  A  Male  and  a  Female  Satyr. 

The  male  satyr  lies  on  the  groimd,  his  feet  towards  the  r.  ;  the  female  stands 
behind  to  the  r.  holding  an  enormous  basket  of  fruit. 

[9X  X  7j5g  in.  ;  23-9  X  18-6  cm.]  Pen  and  grey  ink  and  grey  wash  over 
red  chalk.     Numbered  bottom  r.  "  13." 

Apparently  by  a  different  hand  from  Bolten's, 

E   2 


132  Duich  and  Flemish  Drawings. 

S8S,  Tbb  IfBBTiNO  or  Jacob  and  Esau. 

The  two  brothers  embrace  in  the  foreground  ;  on  the  r.  are  a  group  of  men 
with  spears  and  swords  ;  on  the  1.  two  women,  sheep  and  camels. 
(SJy  X  6|  in. ;  20*4  X  16'4cm.l  Watermark:  a  crowned  shield  witi» 
a  neur.de-lys  and  the  initials  W.R.  like  Briquet  7210 :  indented  for  transfer. 
Not  by  Boltcn.  Probably  Dutch,  about  1670  or  80,  in  a  style  suggesting 
a  follower  of  Con»cli«  Tounissen. 


384.  A  Musical  Pahih    \m>  Masquksaob. 

A  party  of  musicians  playing  lutes,  a  fiddle  and  a  flute  are  seated  or  standing 
roond  a  table ;  in  the  foreground  to  the  1.  a  man  kneeling  on  the  ground 
casting  dice  ;  to  the  r.  a  man  in  a  mask  with  a  torch. 

[8i  X  6A  in.  :    20-6  x  16- 2  cm.] 

385.  FouB  Peasants  Dancing. 

They  wear  conical  fur  caps ;    two  to  the  1.   face   one  another,  two   to 
the  r.  are  turned  in  that  direction  ;  in  the  background  to  the  1.  a  fiddler 
and  other  men. 
[5,»,  X  7,^  in.  :     12ft  y  l7-9cm.] 

386.  Thbek  Men. 

The  man  on  the  I.  »  in  the  costume  of  about  1540  ;    the  one  in  the  centre 
is  muffled  in  a  large  cloak  :   the  one  on  the  r.  wears  a  plumed  hat  and  is  in 
profile  to  the  1. 
(6  X  7f  in.  ;    16-3  X  19-4  tin.) 

387.  A  Lady  and  a  Gentleman. 

They  are  fashionably  dressed  in  the  costume  of  about  1600  and  wmlk 
towards  the  1. 

[6|  X  7|iii    :    I  »   »•,  X   18-7  cm.l 

388.  Trrbb  Men. 

The  raaa  on  the  1.,  scon  full-face,  has  a  cap  with  plumes ;   the  one  in  the 
centra  walks  towards  the  1. ;  the  one  on  the  r.,  seen  full-face,  holds  a  stick 
in  hto  raised  I.  hand. 
[6  X  7i»,  in. ;    16-3  x  19-3  cm.] 

389.  Thbee  Men. 

One  on  the  1.  has  a  b4ton  in  h'w  r.  hand  ;  one  in  the  centre  is  seated  on  a 
barrel ;   the  man  on  the  r.  is  in  profile  to  the  I. 

(frf  X  7ji  in.;    14-5  X  18- 1  cm.] 
S90-401.    SlKUtS  or  ChKIST,  the  ViBGIN  M  •  hi:   .\r..^ri.Ks  (  I  St  MMiLKTK). 

390.  Chemt. 

He  stands  full- face,  holding  tl  nil   (reading  on  <l< 

serpent. 

(7}|  X  5|in. :    19-8  X  13Icm.J 

391.  9r.  Psm. 

He  stands  in  profile  to  the  r.,  holding  up  a  key  in  his  1.  hand. 
W$  X  4|  in. :    16*3  x  12  cm.]     Pen  aiid  brown  ink  and  brown  wash  on 
Dffown  paper  heighteDad  with  white. 
Bekia^i.  with  No.  398.  to  a  difforent  i 

S9t.  Tn  VtRoiN  Maby. 

Bbm  stand  fuU-face.  both  arms  extended. 
(61  X  3|in.:    16*9  X  9-9  em.] 


A.  van  Bolten  van  Zwolle.  133 


393.  St.  Peter. 

He  stands,  turned  slightly  to  the  1.,  holding  a  book  in  his  r.  and  crossed 
keys  in  his  1.  hand  ;    in  the  background  to  the   1.,  his    crucifixion  ;    in 
ornamented  oval. 
[7J  X  4jgin.  ;   20  X  12-3  cm.] 

394.  St.  Matthew. 

He  stands,  his  back  turned  to  the  spectator. 

[6i  X  4^  in.  ;  16-4  X  11 -4  cm.]     Inscribed  bottom  r.  4,  Mateus  (crossed 

through)  and  3. 

395.  St.  John. 

He  stands  in  profile  to  the  r.,  holding  the  cup  in  his  1.  hand. 

[6f  X  SjJg  in.  ;    16-8  X  12-9  cm.]     Inscribed  bottom  r.  Johannes  4. 

396.  St.  Bartholomew. 

He  stands  in  profile  to  the  1.,  holding  the  knife  m  his  1.  hand. 

[6J  X  4|   in.  ;     15-5  X  11-8    cm.]     Inscribed    bottom    r.    bartolomeun    6  : 

indented  for  transfer. 

397.  St.  Thomas. 

He  stands  in  profile  to  the  r.,  holding  the  spear  in  liis  1.  hand. 
[6f  X  4J  in.  ;    16-8  X  10-4  cm.]     Inscribed  bottom  r.  <Ao?na^  7. 

398.  St.  Paul. 

He  stands  facing  to  the  front,  wrapped  in  a  largo  cloak,  his  1.  hand  resting 
on  the  sword. 

[6|  X  5J  in.  ;    16-1  X  12  cm.]     Pen  and  brown  ink  and  brown  wash  on 
brown  paper,  heightened  with  white. 

Belongs,  with  No    391,  to  a  different  series. 

399.  St.  Simon. 

He  stands  in  profile  to  the  1.,  holding  the  saw  in  his  1.  hand. 

[6f  X  4Jin.  ;    16-2  X  10-8  cm.]    Inscribed  bottom  r.  Simon  10. 

400.  St.  James. 

He  stands,  facing  to  the  front,  his  head  turned  to  the  r.,  leaning  on  the 

fuller's  club. 

[6J  X  4|  in.  ;    16*8  X  11-1  cm.]    Inscribed  bottom  r.  Jacobus  11. 

401.  St.  Paul. 

He   stands  facing  to  the  front,  his  1.  hand  restuig  on  the  sword. 
[6^g   X  3|  in.  ;    15-7  X  9-8  cm.]    Inscribed  bottom  r.  paulus  12. 


402.  A  Man  Strangling  a  Serpent. 

He  is  seated  on  a  cushion  on  a  rock,  turned  to  the  r.,  and  holds  a  small 
snake  in  both  hands. 

[6^5  X  5|  in.  ;    17-6  X  13-6  cm.]    Pen  and  brown  ink  outline  over  pencil. 

403.  St.  Mary  Magdalene  in  Penitence. 

She  stands  in  front  of  a  rock  on  the  r.  ;   on  this  are  a  cross  and  a  book  ;   she 
is  naked  except  for  a  cloak  over  her  shoulders. 

[5|  X  4J  in.  ;    14-9  X  12 -4  cm.]    Pen  and  brown  ink  outline  over  pencil. 

404.  A  Man  and  Woman  Making  Love. 

She  is  seated  turned  to  the  1.  ;   the  man  is  behind  and  embraces  her. 

[6 J  X  4Jg  in.  ;    15-6  X  12-2  cm.]    Pen  and  brown  ink  outline  over  pencil. 


184  Duieh  and  Flemuh  Drawings. 

4(M.  A  WoMAW  AMD  Child  AKD  ▲  ICah. 

The  woman,  niio«e  back  is  turned,  roclines  on  the  ground,  her  feet  to  the  r. ; 
the  man  Mlvanoee  from  the  r.  and  kneels  beside  her. 

[5{  X  7|  in. :   14-9  X  18*4  cm.]      Pen  and  brown  ink  outline  over  pencil. 

406.  A  Mam  amd  Wokam  Rkstino. 

The  num.  wfaoee  back  is  turned,  lies  on  the  ground,  his  feet  to  the  1. ;  the 
woman  lies  behind,  her  back  propped  against  a  rock. 

[61  X    6}|  in. ;    14-0  X  14*5  cm.]    Pen  and  brown  ink  outline  over  pencil. 

407.  A  ScKNB  or  Masqukradk. 

In  the  centre  an  old  man  is  lying  ill ;  to  the  r.  kneels  a  num  with  claq>ed 
hands  ;  behind  are,  from  1.  to  r.,  a  mask  using  a  broom  as  a  trumpet,  a 
mask  with  a  lute,  a  mask  using  a  gridiron  as  a  guitar,  a  mask  holding 
up  a  bottle  ;  in  the  foreground  to  the  1.,  another  mask. 
[11}  X  S^in. ;  30-2  X  20- 7  cm.]  Watermark:  a  crowned  shield  with  a 
fleur-de-lys  and  the  initials  Wli,  like  Briquet  7210.  Signed  bottom  r.  with 
monogram  AB. 

The  characters  seem  to  be  those  of  the  Venetian  Commedia  deWArte.  The 
old  man  dying  appears  to  be  The  Magnifico  (later  Pantaleone).  For  the 
^roup  of  musicians  in  the  background,  cf.  two  musicians,  playing  on  a 
gridiron  and  a  pair  of  bellows  respectively,  in  J.  J.  Boiasard's  Mcuearades, 
1597.  The  figure  playing  on  the  gridiron  occurs,  practically  unchanged, 
in  an  engraving  by  Jan  Sadeler  after  Joos  van  Winghe. 

408-411.   Sebibs    or    Four    Dbawikos  illustrating    the    Story    or    Ammom 
AND  Tamar  (2  Samuel,  ch.  xin). 

[Kach  71  X  10|  in. ;  19-4  X  27  cm.]  Pen  and  brown  ink  and  brown 
wash  on  brown  paper*  heightened  with  white. 

408.  Amnon  Ravishes  Tamar. 

.\mnon  in  bed  on  the  r.,  facing  the  spectator,  seizes  Tamar,  who  stands  by 
the  bed  to  the  1. ;  in  the  foregroimd  to  the  1.,  a  table  with  a  meal  laid  on 
it  and  a  chair. 

400.  Ammom  srmds  Tamar  rROM  his  Chamber. 

Amnon  lies  in  bed  on  the  1.  and  puts  his  1.  hand  on  Tamar*s  shoulder ; 
Amnon's  servant  has  hold  of  her  dress  and  is  leading  her  to  a  door  on  the  r. 

410.  Jonathan  Comforting  Tamar. 

Tamar  stands  on  the  1.  tearing  her  hair  ;  Jonathan,  in  a  plumed  liat  and 
furred  cloak,  stands  to  the  r. ;  through  a  door  on  the  r.  another  figure  is  seen. 

411.  Jonathan's  Servants  Slayino  Amnon  at  the  Feast. 

Aiiiiion  is  seated  on  a  bench  at  table,  his  bark  to  the  spectator  ;  a  man 
iulvuncing  from  the  1.,  with  drawn  sword  in  his  1.  hand,  seir<-~>  >>■■"  *>v  the 
shoulder;  Jonathan  is  seated  behind  the  table  opposite  Anr  there 

are  five  other  persons  at  table  and  two  serving-men  ;  two  ci>i  4<]>ort 

the  roof  of  the  hnll  in  which  the  banquet  take*  pla<»9. 

From  ttip  fnrt  that  the  Rcr\'ant  in  No.  41 1  holds  his  sword  in  the  I.  hand, 
one  M  'ule  that  the  drawings  were  intended  to  be  engraved.   There 

w.  h<  sign  of  the  outlines  having  boon  indented,  and  I  can  find  no 

com>M|...iiiiiiij»  engravings.  In  style  and  technique  these  drawings  verj* 
cliMcly  re«M>mhle  Martin  de  Vcm'h  designs  for  illustrations.  I  think. 
ncvcrtheleM,  that  they  arc  by  A  rent  van  Bolton. 

412.  The  Widow  and  Child  mebtino  the  Prophet  Kluah. 

I'ndrr  a  largo  clump  of  trees  on  the  1.  the  prophet  stands  holding  a  staff 

in  his  I.  hand  ;    the  widow  stands  on  th-  -    ' -  'im.  Iiolding  a  bundle 

of  sticks  in  her  1.  hand  ;    between  th<  k.  the  child  kneels 

gathering  sticks ;  behind  to  the  r.  are  l>< 

(17||  X  IS^in. :  4S-7  X  33-7rm.1    Bonn  ink  and  blue  wash. 


A.  van  Bolt&ii  van  Zwolle.  135 


413.  The  Adobation  of  the  Magi. 

The  Virgin  is  seated  on  the  1.  and  holds  the  Child  out  to  the  eldest  king, 
who  kneels  before  Him,  holding  His  turban  in  his  1.  and  a  chalice  in  his  r. 
hand  ;  his  train  is  held  by  a  page  on  the  r.,  behind  whom  stands  Balthasar  • 
the  third  king,  with  attendants,  camels,  etc.,  is  further  back  in  the  centre, 
and  St.  Joseph  stands  behind  the  Virgin  on  the  1. 

[18^g  X  13i|in.  ;    47-1  X  35-3  cm.] 
Reproduction  :  PI.  XLIV. 

414.  An  Italian  Carntval. 

A  party  of  masqueraders,  including  musicians,  a  courtesan  wearing  high 
pattens,  and  others,  are  coming  out  of  a  building  on  the  1.  ;  to  the  r.  a  man 
with  a  bearded  mask  plays  a  flageolet  and  another  with  spectacles  the 
bagpipes,  while  further  back  a  man  and  a  woman  dance  and,  in  the 
distance,  a  play  is  being  acted  on  a  stage. 

[17fx23iin.  ;    44- 1  X  58-9  cm.] 

In  the  MS.  catalogue  of  the  Sloano  Collection,  1845,  this  is  described  as 
"  Scene  in  the  Streets  of  Bologna  during  the  Carnival."  This  may  be  the 
case,  but  I  can  find  no  confirmation  of  it.  The  costumes  seem  rather 
Venetian  ;  the  high  pattens,  in  particular,  were  apparently  characteristic 
of  Venetian  courtesans.  The  play  enacted  in  the  background  appears  to 
be  that  represented  in  No.  407,  an  old  man  dying  with  men  dancing 
round  hun. 

416.  An  Italian  Carnival. 

In  the  centre  is  a  man  wearing  a  mask  and  beating  a  sieve  with  a  spoon  ; 
behind  him,  an  old  man  playing  the  bagpipes,  and  to  the  1.  a  fool  who  has 
removed  the  spigot  from  a  barrel  which  a  soldier  carries  under  his  1.  arm  ; 
in  the  foreground  to  the  r.,  a  lady  and  gentleman  in  masks  and  two  dogs 
standing  on  their  hind  legs,  and,  further  Dack,  a  boar  being  led  by  a  boy. 

[17i  X  24Jin.  ;    44-4  X  61- 1cm.] 
Reproduction  :  PI.  XLIV. 

Companion  to  the  preceding  drawing. 

4 It).   A  Peasant  Mebbymakino. 

Eight  peasants  are  seated  at  a  table  under  an  awning  spread  between 
trees  on  the  1.  ;  to  the  r.  are  two  couples  dancing,  a  man  playing  the 
bagpipes  and  one  playing  the  clarionet ;  in  the  background,  an  inn  and  a 
haystack. 

[17^  X  24J  in.  ;    44-5  X  61-1  cm.]     The  outlines  indented  for  transfer. 

Probably  the  engraving  described  by  Wurzbach  as  by  Laurens  van 
Bolten  is  from  this  drawing. 

417.  Apollo  and  the  Muses. 

Apollo  is  seated  in  the  centre  playing  a  fiddle  ;  a  Cupid  flying  down  from 
the  r.  places  a  wreath  on  his  head  ;  to  the  r.  six  Muses,  three  in  front 
singing,  the  other  three  playing  respectively  the  harp,  the  flute  and  the 
harpsichord  ;  of  the  six  on  the  1.  three  behind  play  on  lutes,  while  the 
three  in  front  play  respectively  on  a  cymbal,  a  viol-de-gamba  and  a  flageolet. 

[12^  X  19  J  in.  ;  30-8  X  48-8  cm.]  Pen  and  brown  ink  and  brown  wash, 
the  four  Muses  on  the  1.  washed  with  blue. 

418.  The  Last  Judgment. 

In  the  centre  an  angel  stands  on  the  ground,  while  two  others  hover  above 
to  r.  and  1.  blowing  trumpets  ;  Christ  is  seated  on  the  rainbow  above  these  ; 
in  the  foreground  to  the  1.  men  and  women  are  rising  from  their  graves 
and  being  wafted  up  to  Heaven,  while  on  the  r.  are  the  flames  of  Hell,  into 
which  lost  souls  are  being  pulled  by  a  devil  with  an  enormous  hook. 

[16,9ff  X  24f  in.;    42-1   X  63  cm.] 


186  Dutch  and  Flemish  Drawiiufs. 


419-414.  Sbehs  or  Mcsiciaks  aitd  Dancimo  Pbasamtb. 

419.  Two  MunoiAXs. 

They  stand  side  by  side  leaning  against  a  tree  on  the  r. ;  the  foromottt 
one  plays   the   bagpipes,  the  other   the   drum ;   a  cottage   in  the  back- 
ground to  the  1. 
114^  X  12»g  in. ;    36-3  X  32-8  cm.]     Drawn  with  the  brush  in  blue  and 
irown  on  blue  paper,  heightened  with  white. 

420.  A  Man  and  a  Woman  Dancing. 

They  advance  to  t)ie  1.,  the  man  a  little  in  front  of  the  woman  ;   he  wears 
a  flat  cap  with  a  feather,  slashed  sleeves  and  hose  and  carries  gloves  in  his 
r.  hand  ;   beliind,  to  the  1.,  peasants  at  a  table,  and  to  the  r.  a  church. 
mi  X  12}  in. ;   37*8  x  32 -7  cm.]     Drawn  with  the  brush  in  brown  and 
blue  on  blue  paper,  heightened  with  white. 

421.  Two  MtJSiciANH. 

Tliey  stand  side  by  side  under  a  tree  to  the  r.,  facing  to  the  i.  ;  the  one  un 
the  i.  plays  the  bagpipes  ;  the  one  on  the  r.  carries  a  small  drum  slung  from 
his  neck  and  plays  a  flageolet ;  peasants  with  a  flask  in  the  background 
to  the  I. 

[ISJ  X  121  in.  ;  38*7  X  32  cm.]  Drawn  with  the  brush  in  brown  and 
blue  on  blue  paper,  heightened  with  whiti  . 

422.  A  Peasant  and  a  Wokas  Dancing. 

They  face  to  the  1.  ;    the  man  appears  to  be  drunk  and  staggering ;    the 

woman  turns  to  him  and  places  her  1.  hand  on  his  shoulder. 

(UJ,  X  13in.  ;    36-7  X  33  cm.]     Drawn  with  the  brush   in   brown  and 

blue  on  blue  paper  heightened  with  white. 

Reproduction  :    PI.  XLIII. 

423.  A  Peasant  and  a  Woman  Dancing. 

Thev  face  each  other,  the  man  holding  the  woman's  raised  r.  hand  with 

hiA  i. ;   he  is  on  the  r.  and  wears  a  cutlass  at  his  waist ;  a  cottage  behind 

to  the  I. 

[14i  X  12Z  in. ;    36-2  x  32-7  cm.]     Drawn  with  the  brush  in  blue  and 

brown  on  blue  paper  heightened  with  white  and  with  washes  of  blue  and 

green. 

424.  A  Peasant  and  a  Woman  Dancing. 

They  face  each  other,  the  woman  on  the  1.,  the  man  on  the  r.,  and  dan(*e 
with  hands  on  hips  ;   a  cottage  in  the  background. 

(13|  X  12}  in. :  34  x  30-7  cm.]  Drawn  with  the  brush  in  blue  and  brown 
on  blue  |Mi|>cr  heightened  with  white. 

The  series  is  reminiscent,  but  in  no  sense  a  copy,  of  that  by  Hans  Sobald 
l)eham.  The  MS.  catalogue  of  the  Sloone  Collfy-t'ion,  1845,  states  that  the 
series  is  not  by  Arent  van  lkjlt<«n.  It  certainly  differs  in  technique  from 
the  other  drawings  in  the  book,  but  the  style  neems  to  be  similar,  and  I 
Nce  no  reason  for  assuming  that  they  are  not  his.  Thoy  arc  reminiscent 
of  the  peasant  subjects  by  Karel  van  Mander  the  KIder.* 


BRIL,  Paolus  (b.  1654;  d.  Io^h;.  i'aiiiHT ;  I*,  at  Antwirp  and  pupil 
there  of  Daniel  Wortclmans,  a  painter  of  harpsichords  ;  went  in 
1674  to  Rome,  where  he  prosumahly  n-ssistcd  hi.s  brother  Matthys 
in  frescoes  in  the  VaiicaD  ;  lived  in  Komc  until  his  death. 

A  Urge  number  of  ngncd  and  dated  drawings  by  Paul  Bril  are 
to  be  found  in  all  large  collections.  The  style  of  these  is  absolutely 
uniform  and  differs  markedly  from  that  of  a  number  of  drawings  of 
the  same  type  which  it  has  been  customary  to  attribute  to  him. 


p.  Bril.  137 

Lit. :  Anton  Mayer,  Matthans  und  Paul  Bril,  Leipzig,  1910 ; 
Rudolf  Baer,  Paul  Bril,  Studien  zur  EntwicTdungsgeschicUe  der 
Landschaftsmalerei  urn  1600  (Dissertation),  Munich,  1930. 

A  drawing  formerly  attributed  to  Paulus  Bril  {View  of  the  I'emple 
of  the  Sibyl  at  Tivoli)  has  been  placed  under  Gillis  van  Valckenborch , 
No.  1. 

1.  Jonah  Thbown  to  the  Whale. 

The  ship,  of  which  the  foremast  lias  broken,  is  on  the  1.  ;    tlio  whale 

approaches  it  from  the  r.  in  a  threatening  manner  ;    cliffs  surmounted  by 

a  tower  are  on  the  r. 

[8jf  X  14  m.  ;     22-7  X  35-6  cm.]     Pen    and    brown    uik,    washed    with 

brown  and  blue. 

Collection  :    Sloane. 

5214-233. 

Reproduction  :   PI.  XLV. 

Lit.  :   Baer,  op.  cit.,  p.  31. 

Formerly  with  unmounted  drawings  by  Antonio  Tempesta.  The 
drawing  corresponds  almost  exactly  with  the  fresco  by  Paul  Bril  in  the 
Scala  Santa  at  Rome  (ill.  A.  Mayer,  op.  cit.,  Tafel  XVI6),  dating  from  about 
1589,  and  is  presumably  the  original  design  for  tliat. 

2.  A  Wood. 

A  large  tree,  of  which  one  of  the  main  branches  lias  been  broken  off  and 
the  roots  of  which  are  partly  exposed,  is  on  the  1.  ;  in  the  distance  to  the 
r.  a  path  through  the  wood  and  a  figure. 

[9  X  Q^c  in.  ;    22-8  X  16-4  cm.]     Pen  and  brown  ink  over  black  chalk, 

with  washes  of  grey  :    signed  with  initials  and  dated  1699  in  bottom  1. 

corner;    no  watermark. 

Collections  :   J.  Richardson,  senr.,  J.  Barnard. 

Bequeathed  bv  the  Rev.  C.  M.  Cracherode,  1799. 

Gg.  2—224. 

Reproduction  :   A.  Mayer,  op.  cit.,  Tafel  XLIX6. 

On  the  verso  is  a  sketch  in  pen  and  ink  of  a  round  mirror,  with  the 
inscription  Dit  is  een  spieghelrey  In  peper  .  .  .  (last  word  illegible). 
Underneath  this  is  a  drawing  of  a  reed  pipe  with  the  inscription  in  Paul 
Bril's  hand,  dit  dint  voor  een  kermis  aen  M  Danel  de  voos. 

3.  A  Tree. 

A  large  oak  tree  with  roots  exposed. 

[Imp.,  16}^ J   X   14|  m. ;   42-4  X  37-1  cm. J     Pen  and  brown  ink  over  black 
chalk  :   watermark,  something  in  a  circle,  indistinct. 
Collections  :   C.  H.  Jennings,  Malcolm  (Catalogue,  Add.  31). 
Purchased,  1895.9.15.1373. 
Reproduction  :   PI.  XLV. 

As  a  detail  study  the  drawing  would  be  most  uncommon  in  Bril's 
work,  but  it  is  to  be  regarded  rather  as  an  unfinished  drawing  than  as  a 
study  ;  it  is  obviously  not  drawn  from  nature.  It  is  difficult  to  dato  with 
any  certainty,  but  would  appear  to  be  of  about  1600. 

4.  Landscape  Composition  :    Tbees  at  the  Edge  of  a  Pool. 

The  pool  extends  right  across  the  composition  ;  on  the  1.  the  outlying 
trees  of  a  wood,  through  which  a  path  runs,  overhang  this  pool ;  in  the 
distance  are  fields  with  cattle  grazing. 

[6^5  X  8J  in.  ;  15-7  X  22-5  cm.]  Pen  and  brown  ink  and  brown  and 
grey  wash :  signed  1.  hand  bottom  corner,  Pa.  Bril  1609  J"-  Romae  : 
backed,  no  watermark  visible. 


138  Dutch  and  Flemish  Dravjings. 


Collections  :  Wells  of  Redleaf,  Robinson,  Malcolm  (Catalogue,  No.  571). 
Purchased,  1895  9.15.1029. 
Reproduction  :   PI.  XLV. 
Lit.  :   R.  Baer,  op.  cit.,  p.  61. 

Baer  suggests  that  the  Jn  (for  invenit)  in  the  signature  implies  that  it 
was  meant  to  be  engraved. 

5.  Trees  and  a  Waterfall. 

On  the  1.  a  group  of  three  trees  ;  in  the  distance  on  the  r.  a  wooded  hill, 
on  which  is  a  house  and  down  which  leaps  a  waterfall  crossed  by  a  bridge. 

[8|  X  5|  in.  ;    21 -2  X  14-7  cm.]     Pen  and  brown  ink  and  brown  wash: 
no  watermark. 
Collection  :    Sheepshanks. 
Purchased,  1836. 
Sheepshanks,  Addenda  5. 

Though  similar  in  composition  to  No.  2  of  1599,  the  style  of  the  drawing 
points  to  a  later  date,  about  1610  :  inscribed  on  the  back  in  a  hand  which 
is  contemporary  but  not  Bril's,  paulus  hruel  {!)  In  Ventoer. 

ATTRIBUTED  TO  PAULUS  BRIL. 

6.  Wooded  Landscape  with  the  Rest  on  the  Flight  into  Egypt. 

At  the  1.  is  a  stream  falling  into  pools  ;  parallel  to  it,  nearer  to  the  centre, 
is  a  road  running  through  a  forest ;  to  the  r.  the  view  of  a  lake  with  a 
villa  on  a  promontory  in  the  distance  ;  the  Holy  Family  are  resting  on  a 
bank  in  the  foreground. 

[8JJ  X  12fin.  ;     22  X  31 -4  cm.]     Pen   and   black   ink   and   grey   wash: 
backed,  watermark  not  decipherable. 
Collection  :    Sloane. 
5236—41. 

The  actual  handling  is  not  that  of  Paul  Bril's  signed  drawings,  but  it 
is  probably  a  copy  from  a  genuine  work.  Attributed  in  the  inventory  of 
1837  to  A.  Bloemart,  who  might  conceivably  be  the  copyist. 

7.  View  of  the  Forum  of  TrAjan  at  Rome. 

On  the  1.  is  Trajan's  column  ;  to  the  r.,  beyond  some  houses,  the  dome 
of  S.  Maria  di  Loreto. 

[7^J  X  10}|  in.  ;    19-5  X  27 -7  cm.]       Pen    and    brown    ink    and    brown 
and  blue  wash  :    inscribed  at  the  bottom  to  the  1.  Roma  20  Juli  1603  in 
a  contemporary  hand  ;   further  to  the  1.  in  a  later  hand,  P.  Brill. 
Collections  :  Richardson,  Barnard  (according  to  the  MS.  catalogue  of  1850). 
Bequeathed  by  the  Rev.  C.  M.  Cracherode,  1799. 
Gg.  2—225. 

Reproductions  :     A.    Mayer,    op.    cit.,    Tafel    La  (a)  ;    Hermann    Egger, 
Eimische  Veduten,  Band  II,  Vienna,  1931,  Tafel  46. 
Lit.  :   Baer,  op.  cit.,  p.  96. 

The  drawing,  accepted  by  Mayer  and  Baer  as  Paul  Bril's,  is  regarded 
by  Egger  as  a  copy  of  a  lost  original.  In  support  of  this  he  adduces  the 
existence  of  another  copy  in  the  Albertina  (II  Garnitur,  No.  31). 

8.  View  of  the  Island  on  the  Tiber. 

The  view  is  taken  from  a  point  just  opposite  the  Ponte  Rotto,  a  portion 

of  which  is  seen  on  the  1.  ;    the  island,  the  two  bridges  and  the  bank  in 

the  distance. 

[4 J  X  7^^i5  in.  ;     10-8  X  18 -3  cm.]     Pen   and   brown    ink   and   washes   of 

brown  and  reddish  brown  :    no  watermark. 

Collection  :    From  an  album  of  miscellaneous  drawings  sold  in  Sotheby's 

Sale,  July  8th,  1853,  lot  292. 

Purchased,  1853.8  13  42. 

The  handling  shows  no  particular  resemblance  to  that  of  Paul  Bril. 


p.  Bril.  139 


9.   View  of  an  Imaginary  City. 

The  city  is  seen  from  above  ;  it  is  situated  on  a  river  or  arm  of  the  sea, 
spanned  by  a  bridge  with  a  tower  at  either  end  ;  to  the  1.  are  a  round 
temple  and  a  column. 

[6-|  X  lOj^g  in.  ;     15-5  X  26 -8  cm.]     Pen  and  brown  ink  and  brown  and 
blue  wash :  watermark,  a  Gothic  P  surmounted  by  a  quatrefoil. 
Collection  :    Sloane. 
5214—80. 

No  attribution  in  the  inventory  of  1837  ;  P.  Bril  in  MS.  catalogue  of 
the  Sloane  Collection,  1845.  The  resemblance  to  Philip  Galle's  engraving, 
after  M.  Heemskerck,  of  Jonah  seated  imder  the  gourd,  looking  at  the 
city  of  Nineveh,  and  the  fact  that  the  tree  on  the  1.  seems  to  be  bearing 
gourds,  make  it  almost  certain  that  the  drawing  was  intended  as  a  landscape 
for  a  representation  of  the  same  subject.  The  handling  is  not  that  of 
Paul  Bril  in  his  signed  drawings,  and  there  seems  no  particular  reason 
for  connecting  it  with  him.  The  type  of  phantasy  rather  suggests  Hendrick 
van  Cleef,  but  again  the  drawing  is  not  like  his.  The  watermark  is  not 
Italian. 

10.  A  Ruined  Tower  on  a  Rock. 

The  rock  with  its  ruined  tower  is  in  the  foregromid  to  the  1.  ;  beyond  to  the 
r.  is  a  bay  on  which  are  ships  and  which  has  buildings  on  its  further  shore. 

[5f  X  Q^'^jj  in.  ;     14- 7  X  24  cm.]     Pen    and    brown    ink   and   grey   wash: 

watermark,  a  pair  of  scales  in  a  circle  surmounted  by  a  star(?).      The 

drawing  must  have  been  considerably  cut. 

Collection  :   Sloane. 

5236—65. 

Reproduction  :   A.  Mayer,  op.  cit.,  Tafel  XLIX6  (c). 

The  attribution  to  Paul  Bril  goes  back  at  least  as  far  as  the  inventory 
of  1837.  The  drawing  is  accepted  by  Mayer  and  dated  by  him  about 
1606,  but  its  style  is  certainly  not  Bril's,  and  it  is  either  a  copy  or  the  work 
of  an  independent  artist.  A  drawing  obviously  by  the  same  hand  was 
sold  in  De  Vries'  Sale,  Amsterdam,  December  9-lOth,  1930,  lot  58. 

11.  Landscape  Composition  with  a  Sportsman. 

On  the  1.  is  a  moiuid  with  trees,  past  which  to  the  r.  runs  a  path  on  which 
are  the  sportsman  and  a  dog  ;  in  the  distance  to  the  r.  are  two  natural 
rock  arches  with  a  tree-surmounted  rock  beyond. 

[6^f,  X  Hi    in.  ;      16-6  X  28-3  cm.]     Pen   and   brown   ink:    dated   in   1. 

bottom  comer  1612. 

Collection  :   Sloane. 

5236-62. 

Reproduction  :   A.  Mayer,  op.  cit.,  Tafel  XLVIII6. 

Given  in  the  inventory  of  1837  to  Matthys  Bril,  but  accepted  by  Mayer 
and  Baer  (op.  cit.,  pp.  54  and  97)  as  the  work  of  Paul.  Benesch  (Albcrtina 
Catalogue,  No.  255)  regards  it  as  the  work  of  an  anonymous  artist, 
influenced  by  Coninxloo,  Jacques  Savery,  Stevens  and  the  Brils,  who 
drew  the  two  landscapes  (Nos.  255  and  256)  in  the  Albertina.  Without 
being  quite  convinced  that  the  Albertina  and  British  Museum  drawings 
are  by  the  same  hand,  I  certainly  think  the  latter  is  not  the  work  of  Paul 
Bril.  The  manner  of  drawing  is  quite  different  from  that  of  the  recognised 
drawings  of  Bril's  earlier  or  later  period.  It  is,  however,  obviously 
strongly  influenced  by  him  and  may  be  classed  as  of  his  school. 

12.  Fantastic  Landscape. 

In  the  foreground  on  the  1.  a  path  crosses  a  chasm  on  a  wooden  foot-bridge 
and  passes  through  an  archway  in  the  rock  beyond  ;  the  rock  is  crowned 
with  trees  ;  the  ground  slopes  down  to  a  valley  on  the  r.  ;  through  this 
runs  a  river  on  the  banks  of  which  are  buildings,  including  a  round  tower. 


140.  Dutch  and  Flemish  Drawings. 


[8|  X  Hi   in.;     21-2  X  28-6   cm.]     Pen   and   brown   ink:     watermark, 

a  bunch  of  grapes. 

Collection  :   Sloano. 

5236—63. 

Reproduction  :   PI.  XLVI. 

Attributed  to  Paul  Bril  iu  the  inventoiy  of  1837  ;  later  given,  I  believe 
on  the  authority  of  Dr.  Abraham  Bredius,  to  Martin  Ryckaert,  an 
attribution  for  checking  which  I  have  no  data.  The  drawing  shows 
affinities  with  Bril,  with  Momper  and  with  Verhaeght  (whose  pupil  Ryckaert 
was).  Under  the  circumstances  it  seems  preferable  to  keep  it  under 
the  traditional  name. 

COPIES  AFTER  PAUL  BRIL. 

13.  View  of  an  Imaginary  Harbour. 

On  the  r.  in  the  foreground  is  a  tree  ;  beyond  are  steep  rocks  surmounted 
by  a  tower  and  other  buildings,  rising  from  a  beach  on  which  boats  are 
discharging  cargo  ;  in  the  distance  to  the  1.  is  a  rocky  promontory  with 
buildings  on  it. 

[3|  X  8|-  in.  ;  9-8  X  20-7  cm.]  Pen  and  brown  ink  outlines,  with  water- 
colour  washes. 

Bequeathed  by  George  Salting,  Esq. 
1910.2.12.161. 

The  drawing  is  a  copy  of  the  upper  half  of  the  landscape  painting  by 
Pau^  Bril  at  Vienna,  signed  and  dated  1600  (reproduced  Vienna  Jahrbuch, 
XV  (1894),  Tafel  XIX).  The  drawing  was  formerly  attributed  to  Joos 
de  Momper,  with  whose  technique  it  has  nothing  in  common. 

14.  Landscape  with  Reapers. 

In  the  centre  is  an  enormous  tree,  to  the  r.  of  which  is  a  field  of  corn  with 

reapers  at  work  and  farm -buildings  beyond  ;    to  the  1.  is  a  cross  and  a 

valley  with  a  winding  river  ;    in  the  centre  of  the  foregrovtnd  is  a  man 

carrying  a  scythe. 

[8^g.  X  12Jin.  ;  21- 1  X  31  •1cm.]     Pen  and  brown  ink  on  yellowish  paper. 

Collection  :   Sloane. 

5236—61. 

Attributed  in  the  inventory  of  1837  to  Matthys  Bril,  for  which  there 
appears  to  be  no  particular  reason.  Not  only  this  drawing,  but  No.  6, 
dated  1612,  is  given  to  Matthys  Bril.  It  appears  to  be  a  copv  from 
Paul  Bril. 


BROECK^  Crispin  van  den  (b.  about  1524  ;  d.  between  1588  and  1591). 
Painter  and  illustrator  :  b.  in  Malines  ;  pupil  of  Frans  Floris  in 
Antwerp  ;  master  in  the  Antwerp  Guild,  1555  ;  employed  by  the 
printer  Christopher  Plantin  to  illustrate  books  from  his  press. 

1.   The  Adoration  of  the  Shepherds. 

The  Infant  Christ  lies  in  a  basket  on  the  1.  ;    to  the  r.  and  in  front  of  Him 

kneels  the  Virgin,  and  further  still  to  the  r.  a  shepherd  with  two  others 

behind  ;    on  the  1.,  behind  the  Child,  a  woman  with  a  baby  and  two  other 

figures  ;    ruins  in  the  background  and  three  cherubs  singing  and  playing 

above. 

[16  X  lOJ  in.;    40*7  X  26-1  cm.]     Pen  and  brown  ink  outlines,  washed 

with  blue  and  shaded  with  pen   and  blue  ink ;    some  white  used  for 

corrections  :   no  watermark. 

Collections  :     P.  H.  Lankrink,  P,  Crozat  (Lugt  474)  and  (according  to 

the  register)  W.  Y.  Ottley. 

Purchased,  1861.8.10.45. 

Reproduction  :   PI.  XLVI. 


G.  van  den  Broeck.  141 


Probably  a  study  for  a  picture,  as  the  outlines  are  not  indented  for 
transfer. 

2.   The  Expulsion. 

Adam  and  Eve,  in  the  centre,  are  in  flight  from  the  Angel,  who  comes  from 
the  1.,  brandishing  a  sword  ;    landscape  with  animals  to  the  r. 

[\0^s  X  9j3jj  in.  ;    26-9  X  24-3  cm.]     Pen  and  brown  and  grey  ink  and 
grey  wash  on  paper  tinted  yellow,  heightened  with  white. 
Collections  :    Reynolds,  Payne  Knight. 
Bequeathed  by  Richard  Payne  Knight,  Esq.,  1824. 
Oo.  11—263. 

Attributed  to  Gerard  de  Lairesse  in  the  inventory  of  1837  and  catalogued 
under  that  name  in  Vol.  Ill,  p.  132,  No  2,  of  Mr.  A.  M.  Hind's  catalogue. 
The  attribution  to  van  den  Broeck,  first  made,  I  believe,  by  Dr.  Elisabeth 
Valentiner,  is  certainly  correct.  The  drawing  probably  formed  one 
of  a  series  of  which  a  drawing  of  Adam  and  Eve,  formerly  in  the  Fairfax 
Murray  Collection,  may  be  another. 

3-5.   Three  Illustrations  of  the  New  Testament. 

Presented  by  Dr.  Percy,  F.R.S. 
1858.4.17.1563,  1564,  1565. 

3.  The  Visitation. 

The  scene  takes  place  under  an  open  portico  with  a  street  in  the  back- 
ground ;   the  Virgin  is  on  the  r.,  St.  Elizabeth  on  the  ]. 

[6j3j  X  4j^5  in.;  15-8  X  11-5  cm.]  Pen  and  brown  ink,  washed  with 
grey,  the  outlines  indented  for  transfer. 

4.  The  Circumcision. 

The  Infant  Christ  is  on  an  altar  under  a  canopy  in  the  centre ; 
St.  Joseph  stands  behind  and  holds  Him,  while  the  high-priest  is  on 
the  r.  ;  the  Virgin  stands  in  the  foreground  on  the  1.  and  the  woman 
with  the  offering  of  doves  kneels  on  the  r. 

[6f  X  4,»j  in.;  16- 9  X  11-6  cm.]  Pen  and  brown  ink  with  a  little 
wash,  the  outlines  indented  for  transfer  :  signed  on  the  step  of  the 
altar  with  the  monogram  CVB  and  dated  1570,  in  reverse. 

5.  EccE  Homo. 

Christ  stands  on  a  balcony  on  the  1.  ;  in  the  foreground  to  the  r.  stands 
a  man  with  his  hand  on  his  hip  ;  on  the  1.  is  a  reclining  soldier  ;  other 
men,  one  of  whom  holds  up  the  Cross,  and  women  are  behind  on  the  1. 

[6|  X  4^9g  in.;  17'1  X  11'6  cm.]  Pen  and  brown  and  grey  ink  with 
a  little  wash,  the  outlines  indented  for  transfer. 

No.  5  is  engraved  in  reverse  in  Arias  Montanus,  Humanae  Salutis 
Monumenta,  Antwerp,  C.  Plantin,  1571,  Q3.  It  is  curious  that  the  other 
two  drawings,  which  appear  to  belong  to  the  same  set,  are  indented  for 
transfer  and  one  of  which  has  the  date  1570,  are  not  used  in  this  work. 
The  Visitation  and  Circumcision,  which  figure  as  illustrations  in  that  work 
and  are  also  designed  by  Crispin  van  den  Broeck,  are  quite  different. 

6.   The  Crucifixion. 

The  Cross,  on  which  is  the  Saviour,  is  in  the  centre,  St.  John  to  the  1. 
and  the  Virgin  on  the  r.,  while  St.  Mary  Magdalene  kneels  behind  tho 
Cross  and  clasps  its  foot. 

[8^  X  6  in.  ;   22  X  15-3  cm.]     Pen  and  brown  ink  for  the  outlines,  shaded 
in  blue  wash  and  with  the  point  of  the  brush,  the  outlines  indented  for 
transfer  ;    the  head  of  the  Virgin  is  on  a  separate  piece  of  paper  inserted. 
Collection  :    Sloane. 
5226—82. 


142  Dutch  and  Flemish  Dravnngs. 


No  attribution  in  the  inventory  of  1837  ;  Martin  de  Vos  in  the  MS. 
catalogue  of  the  Sloane  Collection  of  1845.  The  attribution  to  Crispin 
van  den  Broeck,  made  by  Dr.  G.  Delbanco,  is  obviously  right.  A  corre- 
sponding engraving  probably  exists,  but  is  not  in  the  British  Museum. 


BRUEGEL,  Pieter,  I.  (b.  about  1530 ;  d.  1569).  Painter,  etcher  and 
draughtsman  for  the  engraver  :  pupil  of  Pieter  Koecke  van  Alost ; 
received  master  in  the  Antwerp  Guild  in  1551  ;  visited  Italy,  probably- 
going  by  way  of  France  and  returning  by  the  Tyrol,  1552-1553  ; 
worked  in  Antwerp  on  his  return  for  the  publisher  Hieronymus  Cock  ; 
married  the  daughter  of  Pieter  Koecke  in  1562  and  moved  to 
Brussels.;    d.  there  1569. 

Lit.  :  E.  van  Bastelaer  and  Gr.  Hulin  de  Loo,  Pierre  Bruegel  Vancien, 
2  vols.,  Brussels,  1907 ;  M.  J.  Friedlander,  Pieter  Bruegel,  Berlin  [1921]; 
Karl  Tolnai,  Die  Zeichnungen  Pieter  Bruegels,  Munich,  1925  ;  idem, 
Beitrage  zu  Bruegels  Zeichnungen,  Berlin  Jahrbuch,  L  (1929),  195  ; 
Edouard  Michel,  Pierre  Bruegel,  Paris,  1931. 

1.  Landscape   Composition  with  a  Fortified  Town. 

An  extensive  landscape  terminated  by  a  range  of  hills  and  a  stormy  sky  ; 
the  middle  distance  is  occupied  by  a  large  walled  town,  beyond  which 
rises  a  castle  on  an  eminence  ;  cattle  and  figures  in  the  foreground  to  the 
1.  ;    two  trees  closing  the  composition  on  the  r. 

[Oj-'j,   X  13j3^  in. ;   23-6  X  33 -5  cm.]   .Pen  and  brown  ink  :  signed  p  brueghel 

and  dated  1553  on  tablet  bottom  r.     Top  corners  made  up  ;   no  407,  visible 

through  the  backing  at  the  top  to  the  1.  ;    the  initials  J.  B.  R.  and  Genn. 

1628,  as  well  as  traces  of  a  watermark,  can  also  be  made  out. 

Pvirchased,  1909.4  6.1. 

Reproductions  :    Tolnai,  5  ;    Michel,  pi.  66. 

Lit.  :    Tokiai,  p.  68  ;    Michel,  pp.  92  and  131. 

Like  No.  2  probably  intended  as  a  design  for  an  engraving  in  the  style 
of  the  series  of  large  landscapes  published  by  Cock.  The  old  numbers  406 
and  407  in  red  chalk  on  the  backs  of  this  and  No.  2  show  that  they  were 
associated  probably  as  early  as  the  17th  century.  I  can  see  no  reason 
for  the  doubts  about  the  authenticity  of  this  drawing  expressed  by  Michel. 

2.  Landscape  Composition  with  a  River. 

On  the  1.  is  a  tall,  slender  tree,  near  which  are  four  travellers  ;  others,  two 
movmted,  are  on  the  path,  which  continues  downwards  to  the  r.,  past  some 
cottages  ;  beyond,  a  river  on  which  are  boats,  and  a  wooded  mountain 
surmounted  by  a  castle. 

[9  X  13J  in.  ;   22-8  X  33-7  cm.]     Pen  and  rather  light  brown  ink  :   dated 

bottom  1.  1553  ;   watermark,  a  circle  apparently  containing  a  coat-of  arms 

in  which  two  stars  can  be  made  out ;    inscribed  on  back  top  1.  in  red  chalk, 

No.  406  ;   in  ink  in  centre,  .£?  iV  29  ;   along  r.  margin,  Paese  di  brughel. 

Bequeathed  by  Richard  Payne  Knight,  Esq.,  1824. 

Oo.  9.9. 

Reproductions  :    Tolnai,  6  ;    Michel,  pi.  67. 

Lit. :  Bastelaer,  p.  173,  No.  17;  Michel,  pp.  93  and  131. 

Regarded  by  Bastelaer  as  a  copy  of  a  drawing  in  the  Louvre,  which  he 
reproduces  (Vol.  I,  facing  p.  60).  Tolnai,  rightly  in  my  opinion,  regards 
the  present  drawing  as  the  original  and  the  Louvre  one  as  the  copy.  The 
watermark  in  this  drawing,  though  not  exactly  decipherable,  is  distinctly 
Italian  in  type  and  may  point  to  the  drawing  having  been  made  in  Italy 
or  on  the  return  journey.  Most  likely  with  No.  1  intended  as  a  design  for 
an  engraving  in  the  style  of  the  large  landscapes  published  by  Cock. 


p.  Bruegel.  143 

3.  "  Elck  "  OB  "  Everyman." 

In  the  centre,  in  front  of  a  pile  of  bales  and  miscellaneous  merchandise, 
Everyman,  a  bearded  old  man  wearing  spectacles,  is  examining  a  lamp  ; 
in  the  foreground  on  the  r.  he  is  seen  again,  holding  his  lamp,  inside  a  large 
barrel,  and,  further  back  on  the  1.,  examining  the  contents  of  a  basket,  and 
again  searching  inside  a  large  sack  ;  in  the  background  on  the  r.  he  is 
engaged  in  a  tug-of-war  with  himself,  and  he  is  visible  twice  again  in  the 
distance  on  the  1.,  where  there  are  an  army  and  tents  ;  a  picture  of  a  fool, 
hanging  on  a  wall  behind  the  man  pulling,  is  inscribed  underneath 
nyment  en  ekent  si/  selve  and  (in  reverse)  nemo. 

[8J  X  11 J  in.  ;  20*9|  X  29-3  cm.]  Pen  and  brown  ink  on  brown  dis- 
coloured paper,  the  outlines  indented  with  a  stylus  :  signed  bottom  1. 
corner,  Brueghel  1558  (partially  cut)  ;  backed;  watermark,  a  small  imperial 
eagle  (rather  indistinctly  visible).  The  paper  has  cracked  in  various  places 
and  there  are  a  few  slight  restorations. 
Collections  :  S.  Woodburn  (Sale,  June  16th,  1854,  lot  1165). 
Purchased,  1854.6.28  36. 

Reproductions  :  Bastelaer,  Vol.  I,  facing  p.  90  ;  Tolnai,  38  ;  Michel,  pi.  80. 
Lit.  :  Bastelaer,  Vol.  I,  p.  89,  Vol.  II,  p.  197,  No.  96  ;  Tolnai,  p.  62  ; 
Michel,  pp.  98  and  131. 

Finished  drawing  in  reverse  for  the  engraving  by  Pieter  van  der  Heyden 
(Bastelaer,  152).  The  engraving  corresponds  exactly  except  that  it  omits 
the  signature,  the  date  and  the  inscription  nemo.  Bastelaer  gives  an 
explanation  of  the  subject  and  relates  it  to  the  morality  play  of  Elkerlyc, 
which  formed  the  theme  of  an  Ommeganck  at  Antwerp  in  1563.  It  repre- 
sents Everyman  searching  unsuccessfully  for  his  own  advantage,  that  is, 
himself.  According  to  Tolnai,  quoting  Haberditzl,  there  is  a  copy  of  the 
drawing  in  the  Corsini  Gallery,  Rome. 

4.  Avarice. 

Avarice  is  seated  in  the  centre  beside  a  coffer,  into  which  a  creature  with 
the  body  of  a  man  and  the  face  of  a  reptile  pours  money  ;  behind  Avarice 
is  a  fantastic,  ramshackle  hut  ;  various  half -human  creatures,  pursuing 
symbolic  occupations,  surround  the  central  group. 

[9  X  lljin.  ;    22-8  X  29-8  cm.]     Pen  and   grey -brown  ink:    signed  and 

dated  bottom  r.  brueghel  1556  ;   inscribed  luider  the  central  figure,  auaritia, 

and  along  lower  margin,  Eere  beleestheyt  schaemte  noch  godlijch  vermaen 

En  siet  die  scrapende  gierichhyt  niet  aen.     This  text  is  in  a  different  ink 

from  the  rest  of  the  drawing  and  is  obviously  written  by  a  professional 

scribe  ;    it  corresponds  to  the  text  on  the  engraving. 

Collections  :    Baron  Denon,  C.  Fairfax  Murray  (Sale,  January  30th,  1919, 

lot  87). 

Purchased,    1920.2.16  1. 

Reproduction  :    Tolnai,  30. 

Lit.  :  Tolnai,  p.  71  ;  Michel,  pp.  98  and  131. 

Finished  drawing  for  the  engraving  by  Pieter  van  der  Heyden,  1558 
(Bastelaer  128),  in  the  series  of  the  Seven  Deadly  Sins,  for  which  all  the 
drawings  are  now  known. 

ATTRIBUTED  TO   PIETER  BRUEGEL  I. 

5.  Farm  Buildings  and  a  Pond. 

On  the  1.  is  a  group  of  four  cottages  and  barns  ;  on  the  r.  a  tall  cottage 
and  a  bam  ;  the  two  groups  of  buildings  are  connected  by  an  embank- 
ment ;   in  front  of  them  is  a  pond  ;   a  bank  with  shrubs  is  on  the  r. 

[6^3^  X  llf  in. ;    15-7  X  29 -5  cm.]    Pen  and  brown  ink  :    inscribed  bottom 

r.  corner,   15Q5 /BREVOHEL  ;    backed,  watermark  indistinct. 

Collection  :    Sloane. 

5236—60. 

Reproduction  :    Onze  Kunst,  I  (1892),  p.  80  ;    Popham,  pi.  72. 

Lit.  :   Bastelaer,  No.  15  ;   Tolnai,  p.  72. 


144  Dutch  and  Flemish  Drawings. 

One  of  a  group  of  drawings  connected  with  the  engravings  issued 
by  Hieronymus  Cock  (Multijariarum  Casularum  Euriumque  Lineamenta 
curiose  advivum  expressa.  1559  and  Proediorum  Villarum  et  Rusticorum 
Icones  Elengantissimae  ad  vivutn  in  aere  deformatae.  Libro  Secundo.  1561). 
No  name,  except  that  of  Cock  as  publisher,  is  attached  to  the  original  issue 
of  either  series  or  to  the  second  edition  of  both  together,  pubhshed  in 
1561.  In  the  third  edition  the  title  is  as  follows  :  Regiones  et  Villae  Rusticae 
Duratus  potissinium  Brahantiae  in  Pictorum  gratiam  artificiose  depictae  a 
Gornelio  Curtio  :  a  Theodora  Oallaeo  excusae  et  in  lucem  editae.  Antwerpiae 
MDCI.  Only  on  a  series  said  to  include  twenty-six  copies  from  the  above 
and  issued  by  N.  J.  Visscher  at  Amsterdam  in  1612  is  the  name  of  Pieter 
Bruegel  found.  It  will  be  seen,  therefore,  that  before  the  name  of  Cornelis 
Cort  appeared  as  the  author  of  the  drawings  forty  years  had  elapsed,  while 
the  first  mention  of  Bruegel  is  on  copies  issued  by  a  publisher  at  Amsterdam 
eleven  years  after  that.  This  last  evidence  is  indeed  practically  worthless, 
but  Theodore  Galle's  attribution  of  the  series  to  Cort  in  1601  is  in  a  different 
category.  Theodore  was  the  son  of  Philip  Galle,  still  alive  in  1601,  and  the 
latter  had  in  all  probability  been  personally  acquainted  with  Hieronymus 
Cock,  with  Bruegel  and  possibly  with  Cort.  In  1601  Cort  would  be 
remembered  as  an  engraver  after  Titian,  Muziano  and  Zuccaro,  and  there 
would  be  no  reason  for  Theodore  Galle  to  attribute  to  him  a  series  of 
Flemish  landscapes.  Cort's  European  reputation  as  an  engraver  might 
have  suggested  to  an  unscrupulous  publisher  the  idea  of  affixing  his  name 
as  engraver  to  the  re-issue  of  a  series  of  landscapes  ;  it  would  surely  not  have 
occurred  to  him  to  try  to  pass  off  the  series  as  drawn  by  Cornelis  Cort,  unless 
he  had  some  definite  evidence  to  support  the  statement. 

The  present  drawing  is  not  actually  engraved  in  either  of  the  two  series 
referred  to,  if,  as  I  assume,  these  are  completely  reproduced  by  Bastelaer 
(none  of  the  editions  is  in  the  British  Museum).  It  is,  however,  so  close 
in  style  to  other  drawings,  especially  to  that  in  the  Metropolitan  Museum, 
New  York  (reproduced  Vasari  Society,  1st  Series,  III,  14),  which  are 
engraved,  that  its  place  in  the  series  cannot  be  doubted. 

The  following  is  a  list  of  the  drawings  definitely  used  in  the  engraved 
series,  which  are  known  to  me  (all  in  reverse  to  the  engravings)  : — 

1.  A  road  with  a  farmhouse  on  the  1.,  13  X  20  cm.,  for  Bastelaer  34, 
Chatsworth,  No.  844a  (exliibited  Flemish  Exhibition,  1927, 
No.  532a,  and  illustrated  in  the  Memorial  Volume). 

2.  A  road  with  ducks  and  farm  buildings  on  the  r.,  12-5  X  19-5  cm., for 
Bastelaer  22,  Chatsworth,  No.  843a  (reproduced,  Chatsworth  Draw- 
ings, as  Jan  Bruegel,  No.  646). 

Note. — There  are  three  other  pages  belonging  to  the  same  sketch- 
book as  No.  2  also  at  Chatsworth  : — 

(a)  View  of  a  town  with  a  church  tower  seen  from  across  water 
(No.  843b  ;   reproduced,  Chatsworth  Drawings,  646). 

(b)  The  walls  of  a  town  with  ladies  and  gentlemen  playing  musical 
instruments  on  the  banks  of  a  pond  (No.  842a  ;  Chatsworth 
Dra%vings,  60a). 

(c)  View  of  houses  with  peasants  throwing  sticks  at  a  goose  hung 
on  a  pole  (No.  842b  ;    Chatsworth  Drawings,  60b). 

3.  Barns  with  houses  on  the  r.  of  a  road,  13-4  X  20-3  cm.,  for  Bastelaer 
37,  Berlin,  Kupferstichkabinett  (No.  719). 

4.  A  village  with  a  bam  in  the  foregromid  on  the  1.,  9-9  X  30- 9  cm., 
1.  hand  portion  only  used  for  Bastelaer  51  (Vasari  Society,  1st  Series, 
III,  14),  Metropolitan  Museum,  New  York. 

5.  A  village  street,  1 8  •  2  X  25-5  cm.,  for  Bastelaer  55,  Artaria  Collection, 
Vienna  (Schonbrunner-Meder,  1226). 

The  three  drawings  at  Chatsworth  belonging  to  the  same  sketch-book  as 
No.  2,  and  obviously  by  the  same  hand,  have  been  little  noticed.  The  style 
of  the  figures  in  (b)  and  (c)  is  very  near  to  that  of  Hans  Bol  (cf.  the  round 
engravings  of  the  Months  by  Hans  Collaert  after  him).     They  should  also 


p.  Bruegel.  145 

be  compared  with  the  drawing  belonging  to  Franz  Koenigs,  signed  and 
dated  1557  (Old  Master  Drawings,  I  (1927),  pi.  62),  and  the  silver  point 
drawing  of  Antwerp  in  the  present  collection  (No.  5).  What  appears  to  be 
an  authentic  signed  drawing  by  Cort  (Vasari  Society,  1st  Series,  VI,  18) 
of  an  Italian  landscape  is  certainly  not  by  the  same  hand.  In  spite, 
therefore,  of  Theodore  Galle's  evidence  in  favour  of  Cort,  I  should  be 
inclined  to  regard  the  draughtsman  as  Hans  Bol,  unless,  as  is  possible,  the 
drawings  for  the  engravings  were  the  work  of  various  hands.  In  view, 
however,  of  the  old  attribution  to  Bruegel  of  the  present  drawing  and 
the  doubt  which  surrounds  the  whole  question,  I  have  thought  it  best 
to  keep  the  drawing  under  the  traditional  name. 

COPIES  FROM  PIETER  BRUEGEL   I. 

6.  Landscape  Composition  with  St.  Jerome. 

The  saint  kneels  under  a  tall  tree  on  the  1.,  the  lion  beside  him  ;  on  a 
rocky  eminence,  also  to  the  1.,  is  a  large  castle  ;  below  to  the  r.  a  rock- 
bound  inlet  of  the  sea,  which  widens  and  extends  to  the  horizon  ;  on  a 
path  on  the  extreme  r.  is  another  figure. 

[12^  X  le^in.  ;  30-9  X  42cm.]  Pen  and  brown  ink:  false  signature 
BRVEGEL  and  date  1566  at  bottom  to  1 ;  backed ;  watermark,  an  anchor  in 
a  circle,  not  corresponding  to  any  of  the  types  in  Briquet. 
Collection  :  Exhibited  at  Obach  and  Co.'s,  168  New  Bond  Street, 
December  1908  ;  Heberle,  Cologne  (if  the  drawing  is  that  referred  to  by 
Bastelaer,  p.  223). 
Purchased,  1909.1  9.8. 

Reproductions  :   Vasari  Society,  V,  18  ;   Tolnai,  84. 
Lit.  :   Michel,  pp.  108  and  131. 

The  drawing  corresponds  almost  exactly  (in  reverse)  with  the  engraving 
published  by  Hieronymus  Cock,  S.  Hieronymus  in  Deserto  (Bastelaer  7). 
It  is  rightly  rejected  by  Tolnai  as  a  copy  on  the  grounds  of  its  quality 
and  handling.  It  must,  however,  be  a  very  faithful  reproduction  of 
Bruegel's  lost  drawing  for  the  engraving.  Michel's  view,  "  peut-etre 
original  repris,"  does  not  appear  to  me  convincing.  The  drawing  shows 
no  sign  of  having  been  reworked. 

7.  The  Bee-Keepebs. 

Three  figures,  wearing  long  coats  with  hoods  and  basket-work  masks  ; 

the  1.  hand  one  carries  a  hive  under  his  r.  arm  ;  the  centre  one  is  walking 

to  the  1.  ;    one  further  to  the  r.  is  dealing  with  a  hive  ;    a  boy  is  up  a  tree 

to  the  r. 

\1^^  X  llfin.  ;    19-1   X  29-6  cm.]     Pen   and   brown    ink:     considerably 

cut,  especially  at  the  1.  and  top  ;    no  watermark. 

Collection  :    Sloane. 

5236—59. 

Reproduction  4    Onze  Kunst,  I  (1893),  p.  192. 

Lit.  :   Bastelaer,  p.  199,  No.  100  ;   Tolnai,  p.  74. 

A  very  careful,  almost  line -for -line  copy  of  the  drawing  at  Berlin  (signed 
and  dated  MDLXV,  Bastelaer  100,  Tolnai  50).  Only  the  signature,  the 
date  and  the  inscription  dye  den  nest  Weet  dye  Weeten  /  dyen  Bost  drje 
Heeten,  which  appear  in  the  original,  are  here  omitted  (or  cut  off). 

8.  The  Painter  and  the  Amateur. 

The  painter,  who  wears  a  skull-cap,  is  turned  to  the  1.  and  at  work  on  a 
picture,  which  is  however  not  seen  ;  the  amateur  stands  behind  on  the  r. 
and  looks  over  the  painter's  shoulder  at  the  latter's  work. 

[10^  X  8J  in. ;  26-1   X  20-7  cm.]     Pen  and  brown  ink  :  inscribed  bottom  1. 

P.  Br eugel  fecit.     Top  comers  cut  off. 

Collections  :   J.  Richardson,  senr.,  P.  Sylvester,  Welleslev  (Sale,  June  25th, 

1866,  lot  148),  Malcolm  (Cat.  553). 

Purchased,  1895.9.15.1011. 

Lit.  :    Bastelaer,  p.  201,.  No.  104. 

L 


146  Duteh  and  Flemish  Draivings. 

Close  copy  of  a  drawing  in  the  Albertina  (Bastelaer,  104  ;  Tolnai, 
frontispiece).  The  style  of  the  hatching  is  rather  more  regular  and 
mannered  than  in  the  original.  This  must  have  been  cut  down  at  an 
early  date,  for  the  present  copy  is  probably  at  least  as  early  as  the  17th 
century. 

9.   A  Fool  Tbying  to  Hatch  an  Empty  Egg. 

He  is  seated  astride  the  egg,  facing  to  the  1.,  and  holds  a  glass  to  his  lips 
with  his  r.  hand  ;   a  fool's  bauble  is  seen  through  a  hole  in  the  egg. 

[6^5  X  7^  in.  ;     17-6  X  17 -9  cm.]     Pen   and  grey -brown  ink:    dated   in 

centre  below,  1569  ;    backed,  watermark  indistinct. 

Purchased,  T.  15—69. 

Lit.  :   Bastelaer,  p.  200,  No.  102. 

In  the  same  direction  as,  and  a  copy  from,  the  engravmg  by  Hieronymus 
Wieiix  in  the  Twelve  Flemish  Proverbs  (Bastelaer  182).  Other  drawings 
conesponding  with  the  engravings,  like  the  hay  running  after  the  horse, 
at  Berhn  (Bastelaer,  drawings,  101),  are  probably  also  copies.  The  present 
drawing,  though  near  to  Bruegel  in  style,  is  certainly  too  feeble  and 
hesitating  to  be  actually  his  work. 

10.  A  Monk  Standing  befoke  a  Closed  Door. 

The  monk  faces  to  the  1.  ;  in  the  background  another  monk  knocking  at  a 
closed  door. 

[Circular;  diameter,  6|  in.  ;  16 -3  cm.]  Pen  and  brown  ink:  old  inscrip- 
tion Jean  swart  de  Oroningue  at  bottom. 

Collection  :    S.  Woodbum  (Sale,  June  21st,  1854,  lot  1170). 
Purchased,  1854.6  28.42. 
Lit.  :    Tolnai,  p.  74. 

A  late  copy  from  the  engraving  by  Hieronymus  Wierix  in  the  Twelve 
Flemish  Proverbs  (Bastelaer  182,  "  On  mendie  en  vain  a  la  porte  du 
sourd  "). 

11.  A  Castle. 

The  building  has  a  tall  central  tower  with  a  turret ;  on  the  1.  is  a  lofty, 
slender,  round  tower  and  on  the  r.  a  tall  square  tower. 

[5^  X  8f  in.  ;    14  X  22-2  cm.]        Pen    and     brown    ink;     false    signature 

BREUGHEL  twice  in  1.  bottom  comer,  surrounded  by  black,  blue  and 

yello     lines;  backed,  no  watermark  visible. 

Collection  :    Sloane. 

5236—58. 

Reproduction  :    PI.  XL VI. 

Not  mentioned  by  Bastelaer  or  Tolnai.  Possibly  by  Jacob  Savery  : 
compare  the  drawing  formerly  in  the  Fairfax  Murray  Collection,  signed  and 
dated  1603. 

12.  Dancers  at  a  Village  Wedding. 

On  the  1.  is  a  stream  bordered  by  trees  ;  in  the  middle  distance  on  the  r. 
at  a  table  under  a  tree,  with  a  cloth  hung  at  her  back,  the  bride  is  seated  ; 
the  church  ahd  other  buildings  behind  ;  in  the  foreground  four  couples 
dancing  and  other  groups. 

[9^  X  15  in.  ;    24-1   X  38  cm.]     Pen  and  brown  ink  and  brown  wash  over 

black  chalk,  the  outlines  indented  for  transfer  :     watermark,  three  balls 

surmoionted  by  a  housemark,  type  not  in  Briquet. 

Collections  :   B.  Suermondt  (Sale,  Frankfort,  May  5th,  1879,  lot  30). 

Purchased,  1880  2  14  25. 

Reproduction  :   PI.  XLVII. 

Lit.  :   Bastelaer,  Vol.  I,  p.  84,  note  I. 

The  drawing,  as  pointed  out  by  Bastelaer,  is  a  compilation  ;  the  groups 
of  dancers  and  other  figures,  except  the  three  men  standing  on  the  extreme 
r.  and  the  group  of  seven  persons  on  the  1.,  are  taken  from  the  engraving 


p.  Bruegel—D.  Calvart.  147 


by  P.  van  der  Heyden  after  Braegel  (Bastelaer  210),  with  very  slight 
modifications,  while  the  tree  and  buildings  on  the  r.,  the  stream,  the  mill 
and  the  tower  on  the  distant  hill  are  all  copied  from  the  drawing  of  the 
Bee-Keepers  at  Berlin  (cf .  No.  6).  The  group  on  the  1.  corresponds  with 
a  drawing  at  Budapest  (reproduced  Schonbrunner-Meder,  1135),  but  this 
in  its  turn  is  also  a  copy  W.  Hollar  in  his  etching  (Parthey  597,  Bastelaer 
212)  used  this  drawing,  and  the  indentation  of  the  outlines  was  probably 
made  by  him. 

In  a  note  on  the  mount  Tolnai  has  suggested  that  Hans  Bol  is  the 
draughtsman.  The  style  does  not  seem  to  me  to  warrant  this  attribution, 
and  Bol,  though  often  influenced  by  Bruegel,  was  never,  like  the  author 
of  this  drawing,  a  slavish  copyist. 

13.  Three  Blind  Pilgrims. 

The  pilgrims  advance  towards  the  r.  ;    the  one  on  the  1.,  who  holds  his 

stafT  in  his  r.  hand,  turns  his  head  back  ;   the  one  in  the  centre  grasps  his 

staff  in  both  hands  and  holds  his  head  back  ;    the  one  on  the  r.    leans 

forward  and  holds  his  staff  in  his  1.  hand ;    in  the  distance  on  the  r.  four 

other  pilgrims  on  a  road. 

[8  X  lOy^jj  in.  ;     20-4  X  26 -5  cm.]     Pen  and  brown  ink  and  blue  wash: 

inscribed  bottom  r.   bruegel  1566:   no  watermark:   inscribed  on  the  back 

in  capitals  in  an  old  hand,  P.  BRVEGEL  7. 

Bequeathed  by  George  Salting,  Esq.,  1910.2.12.124. 

Reproduction  :   Vasari  Society,  VIII,  21. 

Lit.  :   Bastelaer,  p.  133  ;   Tolnai,  p.  74  ("  apokryphe  Compositioneh  "). 

As  suggested  by  Mr.  Dodgson  in  the  note  to  the  Vasari  reproduction, 
the  drawing  is  probably  a  copy  from  a  lost  original.  The  signature  and 
the  date  are  obviously  close  imitations.  The  style  and  the  blue  wash  are 
reminiscent  of  Jan  Bruegel  the  elder,  and,  though  he  is  not  known  to  have 
imitated  his  father,  the  drawing  might  be  by  him  or  possibly  by  Vinckeboons. 

14.  Soldiers  in  a  Landscape. 

A  large  tree  is  in  the  centre,  to  the  r.  of  which  are  three  soldiers  ;  in  the 
distance  a  landscape  with  an  estuaiy. 

[10|  X  15i  in.  ;     26-2  X  39-9  cm.]      Pen     and     brown    ink:      inscribed 

bottom  1.  novrn  89  ?    bottom  r.  Brugell :  watermark,  a  crown  surmounted 

by  a  fieur-de-lys,  like  Briquet  4844. 

Collection  :   Sloane. 

5236—53. 

Lit.  :   Tolnai,  p.  73. 

A  copy  from  the  engraving  Milites  Requiescentes  (Bastelaer  17),  but 
in  the  reverse  direction.  It  might  therefore  be  a  copy  from  Bruegel's 
drawing  for  the  engraving,  but  in  any  case  the  quality  is  very  poor  and 
the  pen-work  far  from  Bruegel's. 


CALVART,  Denis  (Dionysius)  (b.  1540;  d.  1619).  Painter:  b.  in 
Antwerp  ;  pupil  there  of  Corstiaen  van  Queborn,  1556  ;  went  to 
Italy  and  was  patronized  by  the  Bolognini  of  Bologna  ;  pupil  there 
successively  of  Prospero  Fontana  and  of  Lorenzo  Sabbatini ;  with 
the  latter  he  went  to  Rome  in  1570,  but  returned  to  Bologna  in  1572  ; 
here  he  opened  a  school,  which  was  attended  by  Domenichino,  Guido 
Eeni  and  Francesco  Albani,  among  other  famous  artists. 

Lit.  :  Simone  Bergmans,  Denis  Calvart,  Antwerpsche  Schilder, 
stichter  der  Bologneesche  school  der  XV I e  eeuiv.  Onze  Kunst,  XLV 
(1928),  p.  202  if.  The  same,  Catalogue  critique  des  ceuvres  du  peintre 
Denis  Calvart,  Brussels,  1931. 

L  2 


148  Dutch  and  Flemish  Draioings. 


1.   The  Makbiaoe  Feast  at  Cana. 

Christ  is  seated  in  the  centre,  facing  to  the  r.,  and  blesses  a  pitcher  of 
water  brought  to  Him  by  an  attendant  ;  other  servants  and  men  samphng 
the  wine  are  to  the  r.  ;  on  the  1.,  in  the  foreground,  is  an  elderly  woman  ; 
further  back  the  table  at  which  the  bride  and  the  guests  are  seated  ; 
musicians  in  a  gallery,  and  to  the  r.  the  kitchen. 

[lOjL.  X  7j§in.  ;     25-6  X  20-1  cm.]     Red    chalk    with    some    corrections 

in   Chinese  white :     signed  and   dated  in  ink  on   the  step  in  the  centre, 

DIONISIO  CALVART  1591. 

Collections  :    Hoofdman,  Leembruggen  (Sale,  March   5th,  1866,  lot    139), 

Malcolm  (Catalogue,  556). 

Purchased,  1895.9.15.1014. 

Reproduction  :    Onze  Kunst,  XLV  (1928),  facing  p.  212. 

Lit.  :    Bergmans,  Catalogue,  No.  86. 

According  to  Mile.  Bergmans  no  picture  connected  with  this  drawing 
is  known. 

2.  The  Judgment  of  Solomon. 

Solomon  is  seated  on  a  throne  slightly  to  the  r.  ;  on  the  1.  stands  a  soldier, 
holding  up  a  child  by  the  leg  ;  one  mother  stands  between  him  and 
Solomon,  while  the  other  kneels  in  the  foreground  in  the  centre  ;  to  the 
r.  a  group  of  soldiers  mostly  armed  with  halberds,  one  holding  a  dog  ; 
to  the  1.  two  half-length  figures  and  a  dwarf. 

[9  X  lOin.  ;      22-9  X  25-5  cm.]     Pen   and    brown   ink,    heightened   with 

white :  signed  bottom  r.  comer,  Dionisio  Calvart. 

Collection  :    Sloane. 

5236—114. 

Reproduction  :    PI.  XLVII. 

Lit.  :    Bergmans,  Catalogue,  No.  87. 

A  finished  pen  drawing  in  the  style  of  an  engraving.  There  are  passages, 
such  as  the  dwarf,  which  recall  Stradanus,  but  it  should  be  compared  with 
the  engraving  of  the  Massacre  of  the  Innocents  byG.  Sadeler  after  Calvart. 
It  is  possible  that  it  is  an  engraver's  copy. 

ATTRIBUTED  TO  DENIS   CALVART. 

3.  St.  Margaret. 

She  escapes  towards  the  1.,  holding  up  a  small  cross  in  her  r.  hand  and 
looks  back  at  the  dragon  behind  her. 

[Ill  X  9^  in.  ;    28-3  X  23-4  cm.]     Pen  and  brown  ink  and  brown  wash, 

heightened  with  white,  over  black  chalk:    dated  bottom  1.  corner   1589 

and  inscribed  Dionisio  (cut)  ;    backed,  no  watermark  visible. 

Collection  :    Sloane. 

5236—113. 

Reproduction  :   PI.  XLVII. 

Lit.  :   Bergmans,  Catalogue,  No.  85. 

The  connection  with  Calvart  is  not  obvious,  but  the  old  attribution 
may  be  right. 

CLEEF  (CLEVE),  Hendrickvan  (b.  about  1525  ;  d.  1589).  Landscape 
painter  and  draughtsman  :  pupil  of  Frans  Floris,  for  whose  pictures 
he  is  said  to  have  painted  landscape  backgrounds  ;  visited  Italy  ; 
master  in  the  Antwerp  Guild,  1551.  Drawings,  generally  signed  with 
his  name  as  well  as  his  monogram,  and  often  dated,  are  in  most 
collections,  including  the  Albertina,  Amsterdam  and  the  Louvre. 

1.    Landscape  Composition. 

In  the  centre  a  group  of  three  connected  hills,  surmounted  by  buildings, 


H.  van  Cleef — H.  de  Glerck.  149 

rise  from  the  sea  ;  on  the  r.  is  a  harbour,  partly  closed  by  a  tongue  of 
land,  on  which  are  ruins  ;  to  the  r.,  at  the  base  of  the  harbour,  a  classical 
shrine  ;    a  galley  in  the  harbour  and  other  ships  on  the  sea. 

[7J|   X  12,%  in.  ;    20-1   X  31-2  cm.]     Pen  and  brown  ink  and  blue  and 

pink   wash :     signed   in    bottom   r.    corner,    h.  cleve    and   also    with    the 

monogram. 

Collection  :   F.  C.  Winby, 

Purchased,  1928.5.16.2. 

Reproduction  :   PI.  XLVIII. 

The  group  of  three  hills  connected  by  viaducts  occurs,  in  a  very  similar 
form,  in  No.  32  of  the  Ruinarum  Varii  prospectus  Depingebat  Henricus  a 
Cleve,  issued  by  Philip  Galle,  without  date,  under  the  title  of  Inventio 
pictoria  Henrici  Clivensis. 

2.   The  Aqua  Claudia,  near  Tor  Fiscale. 

Recto,  three  complete  arches  ;  verso,  on  the  1.  a  block  of  masonry,  with 
two  pairs  of  superimposed  arched  openings. 

[8^jj  X  ll^^g  in.  ;     21-1   X  29  cm.]      Pen  and  brown  ink  and  brown  and 
green  wash  :    inscribed  on  the  recto  in  pen  and  ink,  in  a  hand  of  the 
17th  or  18th  century,  Keerom  (turn  over)  ;    on  the  verso  in  an   18th  (?) 
century  hand,  H.  van  Cleef ;  watermark,  a  fleur-de-lys  in  a  circle. 
Collections  :    Rev.  Frank  Parker,  Bishopric  of  Truro. 
Purchased,  1930.4.14.4. 

Apparently  a  leaf  of  a  sketch-book,  no  doubt  dating  from  the  period 
of  van  Cleve's  visit  to  Rome  before  1551. 

CLERCK,  Hendrick  de  (b.  1570 ;  d.  1629).  Painter :  b.  in  Brussels ; 
pupil  of  Martin  de  Vos,  whose  style  he  closely  imitated;  court 
painter  to  the  Archduke  Albert  and  the  Archduchess  Isabella,  1606  ; 
d.  in  Brussels. 

1.  The  Martyrdom  of  a  Saint. 

The  saint  kneels  in  the  foreground,  in  the  centre,  while  three  men,  one 
on  either  side  and  one  behind,  beat  him  with  cudgels  ;  in  the  background 
on  the  1.  an  emperor  on  horseback,  attended  by  soldiers. 

[lOJJ  X  9,^   in.;    27-1  X  23  cm.]      Pen  and  brown  ink  and  washes  of 
water-colour  :    signed  with  monogram  HDC  in  centre  ;    squared  in  pencil. 
Collections  :    Rev.  Frank  Parker,  Bishopric  of  Truro. 
Purchased,  1930.4.14.3. 

The  scene  represented  may  be  the  martyrdom  of  St.  Sebastian,  who 
after  being  shot  with  arrows  was  finally  clubbed  to  death  by  order  of 
Diocletian,  or  that  of  St.  Valentine,  who  was  beaten  to  death  with  cudgels 
under  Claudius  III.  The  body  of  St.  Valentine,  it  may  be  mentioned, 
was  sent  by  the  Pope,  Gregory  XV,  to  Count  Louis  Egmont  in  1623  and 
deposited  in  the  church  of  Hamme  in  Flanders.  The  present  drawing 
may  be  a  design  for  an  altar-piece  in  that  church. 

2.  The  Elector  of  Saxony  Surrendering  to  the  Emperor  Charles  V 
IN  1547. 

The  Emperor,  distinguishable  by  the  Order  of  the  Golden  Fleece 
which  he  wears,  and  a  shield  with  the  Imperial  arms,  held  by  a  page 
behind  him,  stands  slightly  to  the  1.  of  the  centre  ;  the  Elector  kneels 
to  the  r.,  holding  his  hat  in  his  1.  hand  and  supported  by  a  bearded 
soldier  ;  around  them  are  soldiers  in  antique  armotu"  ;  a  battle  with 
artillery  is  in  progress  in  the  background  to  the  r.  and  troops  are  fording 
a  river  to  the  1. 

[Imp.,  11  X  20|  in.  ;  28  X  52-8  cm.]  Pen  and  brown  ink  and  brown 
wash  over  black  chalk. 


150  Dutch  and  Flemish  Drawings. 

Purchased,  1877.5.12.252. 
Reproduction  -.   PI.  XLVIII. 

The  style  so  closely  resembles  that  of  the  previous  drawing  that  it 
may  safely  be  regarded  as  the  work  of  Hendrick  de  Clerck  and  not  of 
Martin  de  Vos,  to  whom  it  was  formerly  attributed.  The  subject  is 
explained  by  a  comparison  with  the  engraving  by  D.  V.  Coornhert  after 
Martin  Heemskerck  in  the  series  of  the  victories  of  Charles  V.  De  Clerck, 
as  painter  to  the  Archduke  Albert,  might  well  have  recorded  such  an 
incident  in  the  history  of  his  patron's  ancestor  for  a  triumphal  arch  on 
the  occasion  of  a  joyeuse  entree. 


COCK,  Hieronymus  (b.  about  1510  ;  d.  1570).  Painter,  engraver  and 
publisher  :  b.  in  Antwerp  ;  master  in  the  Guild  there  as  painter, 
1545 ;  visited  Rome  about  1546-8 ;  on  his  return  to  Antwerp 
started  business  as  a  publisher  of  engravings  ;   d.  in  Antwerp. 

Of  original  designs  from  Cock's  hand  little  is  known,  but  the  word 
invenit  after  his  name  on  the  Procession  engraving  seems  conclusive 
evidence  that  he  was  the  draughtsman  and  that  the  drawing  (No.  19) 
is  actually  by  him.  Many  of  the  etchings  of  Roman  ruins,  dated 
1550  and  1551,  are  signed  H.  COJK  FE,  and  they  may  be  from  his 
own  drawings  or  from  those  of  his  brother  Matthys.  Otherwise  his 
name  appears  only  as  that  of  a  publisher. 

1.  Part  of  the  Funeral  Procession  of  Charles  V. 

A  group  of  fourteen  trumpeters  advance  towards  the  1.,  preceded  by  two 
drummers  ;  all  wear  tall  hats  with  bands  and  to  the  instruments  of  the 
trumpeters  are  attached  flags  with  the  imperial  eagle. 

[Q\  X  13JJ  in.  ;    15-9  X  34-7  cm.]     Pen  and  brown  ink  and  brown  wash  : 

numbered  bottom  r.  corner  in  an  18th  or  19th  century  hand  369  ;  backed, 

no  watermark  visible. 

Collections  :     Leembniggen   (Sale,   March   5th,    1866,    lot   616),   Malcolm 

(Catalogue,  No.  559,  as  Stradanus). 

Purchased,  1895.9.15  1017. 

Reproduction  :    PL  XLVIII. 

Apparently  the  original  drawing  for  the  plate  numbered  2  of  the 
Ftmeral  Procession  of  Charles  V,  1559,  engraved  in  32  sheets  by  Johannes 
and  Lucas  a  Duetecum,  from  the  design  of  Hieronymus  Cock 
(HIERONIMUS  COCK.  INVE  1559  on  plate  32).  It  corresponds 
closely  to,  and  is  in  the  same  direction  as  the  engraving,  but  the  freedom 
of  its  line  and  its  quality  preclude  any  idea  of  its  being  a  copy. 

COPY  FROM  HIERONYMUS  COCK. 

2.  View  of  the  Island  on  the  Tiber. 

The  Ponte  Quattro  Capi  is  on  the  1.  and  the  island  to  the  r.  ;   a  bank  is  in 

the  foreground. 

\1^^  X  12^;1    in.;     18-9  X  32-8   cm.]     Pen   and   brown   ink:     inscribed 

top  1.  in  a  contemporary  hand,  Pons  Fabritius  :    backed,  no  watermark 

visible. 

Collection  :    Sloane. 

5214—91. 

Reproduction  :   H.  Egger,  Romische  Veduten,  Vol.  I,  1911,  Tafel  60. 

No  attribution  in  the  inventory  of  1837;  Paul  Bril  in  the  MS. 
catalogue  of  the  Sloane  Collection,  1845.  As  pointed  out  by  Egger, 
it  is  a  close  copy  of  the  etching  by  H.  Cock  (signed  and  dated  H.  COCK  F, 
1550). 


G.  van  Coninxloo — C.  Cornelif^z.  151 

CONINXLOO,  Gillis  van  (b.  1544 ;  d.  1607).  Landscape  painter  : 
probably  b.  at  Antwerp  ;  pupil  of  Lenaert  Kroes  (the  Master  of 
the  Prodigal  Son  ?)  and  of  Gillis  Mostaert ;  visited  France,  but 
returned  to  Antwerp  by  1570  ;  in  consequence  of  religious  persecution 
left  Antwerp  in  1585  and  went  first  to  Zealand  and  then  to  Frankenthal  ; 
returned  to  the  Netherlands,  to  Amsterdam,  in  1595  and  d.  there. 
Lit.  :  Eduard  Plietzsch,  Die  Frankenthaler  Maler,  Leipzig,  1910. 

ATTRIBUTED  TO  GILLIS  VAN  CONINXLOO. 

1.  Wooded  Landscape  with  a  Village. 

The   composition  is  closed   by  trees  on  either  side  ;    to  the  r.  is  a  wood 

from  which  the  ground  slopes  down  to  a  valley,  in  which  is  a  village  with  a 

castle. 

[11 J  X  ISjfg.   in.;     29-8  X  39-6   cm.]     Pen   and  brown  and  blue  wash: 

watermark,   arms   of    Baden   Hochberg,   type    of    Briquet    1073-5,   with 

monogram  HB. 

Purchased,  1859.7.9.2821. 

Reproduction  :    PI.  XLIX. 

Attributed  to  Paul  Bril  in  the  register  of  1859.  The  style  is  near 
to  that  of  the  drawing  attributed  to  Coziinxloo  at  Dresden  (reproduced, 
Dresden  Drawings,  IV,  15).  The  German  watermark  is  a  small  point  in 
favour  of  Coninxloo  during  his  exile  in  Frankenthal. 

SCHOOL  OF  GILLIS  VAN  CONINXLOO. 

2.  Woodland  Landscape. 

On  the  r.  is  a  stream  bordered  by  large  trees  ;  in  the  middle  distance  on 
the  1.  is  a  chateau,  surrounded  by  a  moat ;  in  the  centre  of  the  foreground 
a  stump. 

[7JI  X  12JJ  in.;     20-2  X  32-2   cm.]     Pen   and  black  ink,  washed  with 

water-colours  :   watermark  indistinct. 

Collection  :    Sloane. 

5214—135. 

Reproduction  :   PI.  XLIX. 

No  attribution  in  the  inventory  of  1837  ;  Paul  Bril  in  the  MS. 
catalogue  of  the  Sloane  Collection,  1845.  Though  obviously  only  an 
inferior  imitation  or  copy,  the  type  of  landscape  and  the  composition  are 
those  of  Coninxloo. 

3.  A  Wood. 

The  composition  is  closed  by  trees  on  either  side  ;  a  road  in  the  centre 
disappears  into  the  interior  of  the  wood  ;    a  lake  is  on  the  1. 

[7i  X  14|  in.  ;    18-5  X  37-1  cm.]     Pen  and  brown  ink  and  blue  and  grey 
wash  :    the  watermark,  an  object  in  a  circle,  is  indistinct. 
Bequeathed  by  the  Rev.  C.  M.  Cracherode,  1799. 
Gg.  2—227. 

Attributed  to  P.  Bril  in  the  inventory  of  1837,  to  R.  Savery  in  the  MS. 
catalogue  of  the  Cracherode  Collection,  1845.  Compare  drawings  of 
similar  type  in  the  Albertina  (Catalogue,  248-250)  attributed  by  Benesch 
to  Coi^inxloo. 


CORNELISZ,  Cornells,  of  Haarlem  (b.  1562  ;  d.  1638).  Painter  : 
b.  at  Haarlem  ;  pupil  of  Pieter  Pietersz,  the  son  of  Pieter  Aertsen, 
at  Amsterdam  ;  went  to  France  in  1579  and  was  for  a  time  in  Rouen  ; 


152  Dutch  and  Fleniisli  Drawings. 

then  for  some  years  with  Gillis  Congnet  in  Antwerp  ;  from  1583  until 
his  death  working  in  Haarlem,  where  he  was  a  member  of  van  Mander's 
Academy. 

ATTRIBUTED   TO  COENELIS   CORNELISZ. 

1.    Groups  op  Figures  in  Conversation. 

Sixteen  figures  in  all ;  on  the  1.  a  man  in  profile  to  the  1.,  talking  to  a  man 
facing  the  spectator  ;  in  the  centre  a  man  wearing  a  tall  cap  and  a  cloak 
in  profile  to  the  1.  ;  on  the  r.  further  back  a  group  of  seven  figures  mostly 
wearing  long  garments  and  hoods. 

\1\  X  12J  in.  ;    19  X  31  cm.]     Pen  and  brown  ink  :    inscribed  bottom  1. 

corner   in   an   old   hand,  Miest.  Cornelis,  and   on   verso   in   black  chalk, 

M.  Cornelis  Haerl  (?). 

Collection  :   Sloane. 

5236—104. 

Reproduction  :   PI.  XLIX. 

By  the  same  hand  and  belonging  to  the  same  series  as  a  drawing  at 
Berlin  (No.  767,  attributed  to  N.  de  Bruyn)  and  one  sold  in  Hollstein 
and  Puppel's  Sale,  Berlin,  May  4th,  1931,  lot  944  (ill.  in  Sale  Catalogue). 
The  attribution  on  the  back  of  the  present  drawing  is  old  and  probably 
contemporary  and  groups  of  a  similar  type  are  not  unparalleled  in  Cornelisz' 
work,  as  shown  by  the  engraving  of  the  Antrum  Platonicum  (Bartsch,  III, 
p.  234,  No.  39)  and  the  picture  of  Judah  and  Thamar  at  Haarlem,  dated 
1598.  The  attribution  to  de  Bruyn,  the  engraver,  made  by  the  authors 
of  the  Berlin  Catalogue,  on  the  strength  of  the  resemblance  to  the  figures 
in  his  engravings,  may  be  correct,  but  the  evidence  does  not  appear  to 
me  strong  enough  to  outweigh  the  old  attribution. 


CRABETH,  Wouter  Pietersz,  I  (d.  shortly  before  May  28th,  1590). 
Glass-painter  of  Gouda  :  signed  windows  in  the  church  of  St.  John 
there,  dated  1561  to  1566. 

1,  2.   Two  Illustrations  of  the  Parable  of  the  Good  Samaritan. 

Pen  and  brown  ink  and  lighter  brown  wash,  squared  for  enlargement  in 
black  chalk. 

Bequeathed  by  F.  W.  Smith,  Esq.,  through  the  National  Art-Collections 
Fund. 

1923.1.13.17,  18. 
Reproductions  :    PI.  L. 

1.  The  Samaritan  Carrying  the  Wounded  Man  on  his  Horse. 

He  wears  a  pseudo -classical  costume  and  a  turban  and  walks  towards 
the  1.  leading  his  horse,  on  which  is  the  wounded  man  ;    two  half-length 
figures  are  in  the  middle  distance  on  the  1.  and  farm  buildings  beyond. 
[lOg  X  15JI  in. ;   27  X  40-  2  cm.]    Signed  W  Crabeth  in  bottom  r.  comer. 

2.  The  Samaritan  Paying  the  Innkeeper. 

He  is  on  the  extreme  r.,  holding  his  horse  by  the  bridle,  and  places  a 
coin  in  the  outstretched  hand  of  the  innkeeper,  who  stands  with  his 
back  to  the  spectator  and  is  accompanied  by  a  dog  ;  to  the  1.  the  wounded 
man  is  being  carried  into  the  inn  by  a  man  and  a  woman. 

[10|  X  15i  in.  ;    27- 1  X  40  cm.] 

The  two  drawings  would  appear  to  be  designs  for  glass,  though   the 
oblong  shape  is  unusual. 


H.  van  der  Elst — G.  Floris — F.  Floris.  153 

ELST,  Hieronymus  van  der  (working  1595  to  1612).  Draughtsman: 
working  in  Bremen,  but  presumably  of  Dutch  or  Flemish  origin. 
Another  drawing  by  him  in  the  Kupferstichsammlung,  Weimar  (from 
the  Klinkosch  Collection),  is  dated  1595  and  inscribed  Bremen.  His 
work  shows  affinities  to  that  of  Hans  von  Aachen  and  the  Netherlandish 
artists  working  for  Rudolf  II. 

1.   Mars  and  Venus. 

Mars  is  seated  on  the  1.,  holding  a  drawn  sword  in  his  r.  hand  ;  Venus  is 
seated  on  his  knee,  her  r.  arm  round  his  neck  ;  in  the  distance  to  the  r. 
is  a  figure  standing  with  arms  outstretched,  seen  from  the  back,  and 
other  figures  are  lying  on  the  ground. 

[5i|  X  7|  in.  ;     14-8  X  18-8  cm.]     Pen  and  black  ink  and    blue  wash  : 
signed  below  to  the  1.  Jheronimus  Vander  elst. /a'  1594. 
Purchased,  1928.4.17.1. 


FLORIS  (DE  VRIENDT),  Cornells  (b.  1514;  d.  1575).  Sculptor, 
architect  and  designer  :  master  at  Antwerp,  1539  ;  visited  Italy  ; 
in  Antwerp  again,  1547  ;  dean  of  the  Guild,  1549,  in  which  year  he 
took  part  in  the  decorations  for  the  entry  of  Philip  II  into  Antwerp  ; 
undertook  various  important  funeral  monuments  for  Denmark  and 
Konigsberg,  the  tabernacle  at  Leau  and  the  rood  screen  at  Tournai ; 
was  architect  of  the  town  hall,  the  hall  of  the  Hanseatic  merchants 
and  other  buildings  in  Antwerp. 

Lit.  :   Robert  Hedicke,  Cornelis  Floris,  Berlin,  1913. 

ATTRIBUTED  TO  CORNELIS  FLORIS. 

1.  Ornamental  Panel. 

The  1.  hand  side  only  ;  on  the  extreme  r.  part  of  an  oval  containing  a 
figure  of  Bacchus  (?)  ;  this  oval  is  in  fi'ont  of  a  quadrangular  frame  con- 
taining a  landscape  ;  to  the  1.  a  fantastic  chariot  propelled  behind,  by  a 
woman,  in  front  by  a  satyr  ;    on  the  extreme  1.  a  caryatid. 

[4f  X  9|  in.;     11-8  X  25 -1   cm.]     Pen  and  brown  ink  and  grey  wash, 
squared  for  enlargement  in  black  chalk  :   watermark,  a  basilisk,  resembling 
Briquet  2701-2709. 
Purchased,  1887.6.13.67. 
Reproductions  :    PI.  L. 

The  type  of  decoration  is  that  invented  by  Cornelis  Bos  and  Cornelis 
Floris  about  1550.  The  hand  of  the  present  di-awing  does  not,  however, 
appear  to  be  that  of  the  ornamental  intials  in  the  Antwerp  Liggeren,  which 
are  the  work  of  Cornelis  Floris,  1546-7.  It  may  be  that  of  Cornelis  Bos.  The 
only  drawings  by  the  latter  that  have  certainly  been  identified  in  the 
library  of  Christ  Church,  Oxford  (reproduced,  Burlington  Magazine,  XXIX 
(1916),  p.  325),  do  not  afford  much  basis  for  comparison.  But  Bos's  series 
of  friezes  with  chariots,  issued  by  Cock  in  1552,  shows  closer  points  of 
resemblance  to  the  present  drawing  than  anything  of  Floris. 


FLORIS  (DE  VRIENDT),  Frans  (b.  between  1516  and  1520 ;  d.  1570). 
Painter  :  brother  of  Cornelis  Floris  ;  pupil  of  Lambert  Lombard  in 
Liege,  1538  ;  master  in  the  Antwerp  Guild,  1540 ;  went  to  Italy 
about  1542,  returning  to  Antwerp  before  1547  ;    engaged  on  work 


154  Dvtch  and  Flemish  Drawings. 


for  the  entry  of  Charles  V  into  Antwerp  in  1519,  and  for  that  of 
Philip  II  in  1556  ;  became  the  most  prominent  Antwerp  painter  and 
is  said  to  have  had  120  pupils ;  in  1563  bought  land  in  Antwerp 
and  began  to  build  himself  a  magnificent  house,  designed  by  Cornelis 
Floris  ;  d.  very  much  in  debt,  as  a  result  of  this  building,  in  Antwerp. 

Lit.  :  Dora  Zuntz,  Frans  Floris,  Strassburg,  1929. 

For  drawings  formerly  attributed  to  Floris,  see  below.  Anonymous, 
No.  10.  Another,  representing  Mercury  and  a  woman  (1927.4.11 .4), 
previously  exhibited  at  the  Flemish  Exhibition,  1927,  No.  555,  has 
been  placed  with  anonymous  Italian  drawings  of  the  17th  century. 

1.  The  Rape  of  Proserpine. 

The  nymph  Cyane  kneels  in  the  foreground  and  clutches  at  the  leg  of 

Proserpine  whom  Pluto,  mounted  in  his  four -horse  chariot,  holds  in  his 

arms. 

[Hi  X  7|  in.;     28-2  X  19-5   cm.]     Drawn  with   the   brush  in  blue   on 

cream-coloured  paper,  heightened  with  white,  the  outlines  strengthened 

with  the  pen  :  signed  lower  1.  FF  iv  :  watermark,  a  goat  with  an  inscription 

on  a  scroll  beneath,  type  of  Briquet  2862-2870. 

Presented  by  W.  J.  M.  Hawksworth,  Esq. 

1922.6.27.1. 

Reproduction  :    PI.  LI. 

Compare  the  series  of  four  engravings,  illustrating  the  story  of  the 
Rape  of  Proserpine,  after  Floris,  dated  1565.  Though  the  corresponding 
scene  is  differently  treated,  the  types  show  a  distinct  resemblance.  The 
colouring  and  the  technique  of  the  drawing  suggest  that  it  was  intended 
as  a  design  for  a  chiaroscuro  woodcut,  like  the  David  before  Saul  or  the 
Bear  and  Bull  Himts  (the  first  two  dated  1555).  The  signature  FF  iv 
{invenit)  implies  either  that  it  was  to  be  engraved  and  the  signature 
reproduced  or  that  the  drawing  itself  was  the  copy  of  a  pupil.  The 
former  seems  to  be  the  more  likely  explanation,  in  view  of  the  quality 
and  handling  of  the  drawing,  which  point  to  Floris  himself. 

SCHOOL  OF  FRANS  FLORIS. 

2.  A  Frieze  with  a  Battle  of  Horsemen. 

On  the  1.  two  horsemen  are  attacking  each  other  as  they  pass,  the  one  on 

the  1.  with  a  spear,  the  one  on  the  r.  with  a  sabre  ;    in  the  centre  a  horse 

has  fallen  to  the  ground  ;   to  the  r.  a  man  with  a  lance  on  a  rearing  horse 

and  a  prostrate  warrior. 

[Imp.,  llf  X  21j^='jj  in.  ;    28-9  X  54-8  cm.]     Pen  and  brown  ink  on  orange - 

coloured  paper,  heightened  with  white  :    backed. 

Bequeathad  by  the  Rev.  C.  M.  Cracherode,  1799. 

Ff.  1—74. 

Reproduction  :    PI.  LI 

Attributed  in  the  inventory  of  1837  to  Domenico  Brusasorci,  with 
whose  style  it  can  have  nothing  whatever  in  common.  It  is  obviously 
northern  and  is  very  near  to  Frans  Floris  in  style  ;  cf .  especially  the  large 
chiaroscuro  woodcut  of  the  Bull  Hunt,  1555.  A  drawing  of  the  frieze  of 
the  Arch  of  Constantine  in  the  Louvre  (No,  20,618),  attributed  there  to 
Floris,  but  according  to  P.  Wescher,  who  was  kind  enough  to  send  me  a 
photograph  of  it,  not  by  him,  may  be  by  the  same  hand. 

3.  MUCIUS    SCAEVOLA. 

Porsenna  is  seated  on  a  throne,  raised  on  three  steps,  on  the  1.  ;  Mucius 
Scaevola  stands  on  the  r.  and  holds  his  r.  hand  in  the  flames  on  top  of  an 
altar  ;  the  scene  takes  place  in  a  tent  outside  which  is  a  group  of  warriors  ; 
a  city  in  the  distance  :  verso,  the  same  subject  similarly  treated,  but 
reversed. 


F.  Floris—F.  FrancJxen.  155 

[9 J  X  9|  in.  ;  24  X  25- 1  cm.]     Pen  and  brown  ink  and  blue  wash  :  num- 
bered 4  at  bottom  to  1.  :  the  verso  in  black  without  wash  :  no  watermark. 
Collection  :    Sloane. 
5226—67. 

The  style  of  the  recto  is  very  near  to  Floris's  (of.  No.  1).  The  drawing 
on  the  verso  is  apparently  by  another  ai'tist  who  has  made  a  correction 
in  Mucius  Scaevola's  leg  on  the  recto.  Not  apparently  a  design  for  stained 
glass,  as  might  at  first  be  supposed. 

4.  St.  Philip  Baptising  the  Eunuch. 

Under  a  tree  towards  the  1.  St.  Philip  stands  and  lays  his  r.  hand  on  the 

head  of  the  Eunuch  who  kneels  before  him,  one  foot  in  a  stream  ;    in  the 

background  to  the  r.  is  the  Eunuch  in  a  chariot  drawn  by  two  horses, 

and  this  appears  again  on  the  1.  behind  the  tree  ;   above,  St.  Philip  carried 

up  to  Heaven  by  an  angel ;   in  the  distance  a  fortified  city. 

[11  j5,  X  16^jj  in.  ;   28-7  X  40-8  cm.]     Pen  and  brown  ink  and  brown  wash 

over    black    chalk  :      inscribed    bottom    r.    in    an     18th    century    hand, 

Francis  floris  f  .    watermark,  a  small  jug  surmounted  by  two  quatrefoils. 

Collection  :   Sloane. 

5236—131. 

Reproduction  :    PI.  LI. 

The  drawing  has  none  of  Floris's  own  peculiarities  of  handling,  but  is 
by  a  close  follower.     Near  to,  but  not  by,  Crispin  van  den  Broeck. 

COPY  FROM  FRANS  FLORIS. 

5.  The  Foub  Evangelists. 

St.  Luke  is  seated  on  the  1.,  astride  his  symbolical  bull ;  St.  John,  with  his 
eagle,  is  in  discussion  with  St.  Mark,  whose  lion  is  under  a  table,  at  which 
the  two  saints  sit ;  on  the  r.  St.  Matthew,  with  the  angel,  writing  on  a  tablet 
which  he  holds. 

[7J  X  11  in.  ;     19*  1   X  28  cm.]     Pen   and    brown   ink   and   brown   wash: 
stained  :   inscribed  in  centre  at  bottom  in  old  hand,  F.  Flor[us]. 
Collection  :    Sloane. 
.5236—132. 

The  drawing,  attributed  as  early  as  the  middle  of  the  18th  century 
to  Floris,  is  obviously  a  copy  of  poor  quality.  The  composition  is 
reminiscent  of  the  Four  Evangelists  by  P.  Aertsen  in  the  Elisabeth- 
Waisenhaus  at  Culemborg,  but  the  types  seem  nearer  to  those  of  Floris. 


FRANCKEN,  Prans,  II  (b.  1581,  d.  1642).  Painter:  son  and  pupil 
of  Frans  Francken  I ;  master  at  Antwerp,  1605  ;  dean  of  the  Guild, 
1615  ;   d.  in  Antwerp. 

1.   A  Witch's  Sabbath. 

On  the  r.  is  a  fireplace  and  chimney,  from  the  top  of  which  a  witch  on  a 
broomstick  emerges  ;  in  front  of  the  fireplace  is  a  table,  on  which  a  woman 
kneels  ;  to  the  1.  a  group  of  men  and  women  seated  on  the  ground  ;  in 
the  background  numerous  men,  women  and  devils,  including  a  man 
dancing  in  a  magic  circle  ;    ruins  behind. 

[8j9.-  X  6j5(j  in.  ;     21-8  X  16-1  cm.]     Pen   and   brown   ink    and   grey   and 

blu^  wash. 

Bequeathed  by  the  Rev.  C.  M.  Cracherode,  1799. 

Gg.  2—223. 

No  attribution  in  the  inventory  of  1837  ;  subsequently  given  to  Pieter 
Bruegel  II.  That  Frans  Francken  II  is  the  draughtsman  a  comparison 
with  the  signed  drawing  in  the  Albertina  (reproduced,  Schonbrunner- 
Meder  855)  puts  beyond  doubt. 


156  Dutch  and  Flemish  Draivings. 

GHEYN,  Jacob  de,  II  (b.  1565;  d.  1629).  Engraver,  etcher  and 
painter :  b.  at  Antwerp  ;  pupil  of  his  father,  Jacob  de  Gheyn  I,  a 
glass-painter,  in  Utrecht  or  Amsterdam,  then  of  Hendrick  Goltzius 
in  Haarlem  (1585)  ;  in  Amsterdam  1591-94  ;  member  of  the  Guild 
of  St.  Luke  in  the  Hague,  1594  ;  in  Leyden,  1597-98  ;  received  gifts 
from  various  corporations  in  return  for  his  series  of  engravings  of 
musquetry  exercises,  1606-7  ;  sent  his  son  of  the  same  name  on  a 
business  journey  to  Sweden,  1620 ;  was  with  him  in  London,  1622  ; 
living  with  Constantijn  Huygens  in  Amsterdam,  1627  ;  d.  in  the  Hague. 

1.   Allegorical  Composition. 

Under  a  pavilion,  the  flaps  of  which  are  drawn  to  each  side,  is  a  picture 
of  the  Last  Judgment ;  in  a  niche  beneath  this  is  a  child  blowing  bubbles  ; 
to  the  1.  stands  a  peasant,  to  the  r.  an  emperor  ;  underneath,  two  decaying 
corpses  lying  head  to  foot ;  two  medallions  in  the  upper  corners  have 
representations  of  the  Fall  of  Man  and  of  the  Crucifixion. 

[Imp.,     ISjig  X  13fin.  ;      45-9  X  34-9  cm.]     Pen    and    brown    ink    and 
brown  wash  ;    the  figure  of  the  child  is  drawn  on  a  piece  of  paper  which 
has  been  inserted  :    signed  bottom  1.  DO  (monogram)  heyn  in.  1599. 
Collections  :   Robinson,  Malcolm  (Cat.  573). 
Purchased,   1895.9.15.1031. 
Reproduction  :    PI.  LIT. 

The  inscriptions  are  as  follows  : — 

1 .  Round  the  top  of  the  pavilion  : — 

MORS  SCEPTRA  LIGONIBVS  AEQVAT. 

2.  In  exergue  round  the  medallion  of  the  Fall  : — 

Primus  Adam,  letho  mutavit  in  arbore  vitam,, 

Et  sua  serpentis  sub  juga  colla  dedit.  H.  Orotius. 

3.  In  exergue  round  the  medallion  of  the  Crucifixion  : — 

Alter  Adam  vita  mutavit  in  arbore  lethum, 

Et  sua  serpentis  sub  juga  colla  dedit.  H.  Grotius. 

4.  On  a  tablet  underneath  the  picture  of  the  Last  Judgment  : — 

Quaenam  erit  ilia  dies,  caeli  cum  Templa  Tribunal 
Cum  Christus  Judex,  cum  Reus  Orbis  erit  ? 

Post  Mortem  Mortis  nunquam  morientis  in  aeviim 
Ne  vivas,  vivus  nunc  age  disce  mori. 

H.  Grotius. 

5.  Above  the  niche  in  which  the  child  sits  : — 

HOMO  BULLA. 

6.  On  either  side  of  the  niche  : — 

QUIS/EVADET 
OMNES  UNA  I  MANET  NOX 
ET  CALCANDA  SEMEL  /  VIA  LETHI 

7.  On  the  base  of  the  niche  : — 

Mors  sola  fatetur 

Euantula  sint  hominum  corpuscula 
MEMENTO  MORI 


J.  dc  Gheyn.  157 

8.  On  three  tablets,  each  containing  a  quatrain,  across  the  bottom 
of  the  drawing  (the  bottom  lines  of  each  quatrain  damaged  by  a  crease 
and  in  part  illegible)  : — 

Ecce  duos  Terrae  dominum,  Terraeq;  ministrmn 

Disparili  aequato  munere  Terra  tegit 
I  nunc,  aut  suda,  aut  vanos  praesume  Triumphos 

Quam 

Sudando  vitae  nullus  sibi  protulit  horam. 

Omnia  vincenti  cedere  Parca  negat. 
Ad  sua  jura  vocat  non  effugienda  colonos 

ad  sua  jura  I'ocat. 

Nee  contra  communi  Forum  praescribere  cuiquam 
Nee  proferre  diem,  lis  ubi  scripta  datum  est. 

Mors  cuncta  occidens  nunquamq ;  occidere  cessans 
Aut  nulli  aut  soli  parcere  docta  sibi  est. 

H.  Qrotius. 

Orginal  drawing  for  the  engraving,  Passavant,  III,  p.  120,  No.  67. 
The  inscriptions  are  in  the  autograph  of  Hugo  Grotius  (1583-1645), 
obviously  something  of  a  youthful  prodigy. 

2.  Landscape. 

A  precipitous  rock  in  the  form  of  a  semi-circle  rises  in  the  centre  ;  a  road 
winds  up  from  the  1.  corner,  crossing  a  river  on  a  bridge,  to  a  fortress  on 
a  rock  at  the  base  of  the  semi-circular  formation  ;  figures  are  on  the  road 
and  in  a  meadow  on  the  r.  ;  to  the  r.  also  is  the  sea  with  a  galley  and 
distant  rocks  and  islands. 

[Imp.,  12j^g  X  16f  in.  ;     30*9  X  41-6  em.]     Pen  and  brown  ink:     signed 
DG  (monogram)  heyn.  in  1600.  in  top  1.  corner. 
Collection  :   P.  H.  Lankrink. 
Purchased,  1909.4.6.2. 
Reproduction  :  Vasari  Society,  V,  19. 

In  its  main  lines  the  drawing  is  a  copy  from  a  picture  by  Joachim 
Patinir  in  the  Duensing  Collection,  Boizenburg  (illustrated  M.  J.  Fried- 
lander,  AltniederUindische  Malerei,  IX  (1931),  Tafel  CI).  The  large  rock, 
the  bridge  in  the  foreground  and  the  winding  path  are  unmistakably 
the  same. 

3.  A  Lady  on  her  Death-Bed  with  a  Gentleman  standing  by. 

The  body  of  an  elderly  woman  lies  in  a  bed,  the  hands  crossed  on  the 
coverlet ;  green  curtains  surround  the  bed  and  at  its  head  to  the  1.  is 
a  table,  on  which  are  placed  a  candle  in  a  gold  candlestick  and  a  minute 
book  bound  in  red  ;  at  the  foot  of  the  bed  on  the  r.  stands  a  gentleman, 
dressed  in  black,  holding  his  hat  to  his  hip  with  his  1.  hand  and  pointing 
with  his  r.  to  the  body. 

[S^j.  X  llx'jj  in.  ;   20-8  X  28 -7  cm.]    Finished  miniature  painting  in  colours 

on  vellum  :   signed  on  the  top  of  the  table,  IDO  (monogram)  heijn.  fee.  1601 . 

Collection  :    Thomas  Holbein  (Sale,   Sotheby's,  May  8th  and  9th,   1865, 

lot  308). 

Purchased,  1865.6.10.1311. 

Reproduction  :    PL  LII. 

A  careful  pen  and  ink  study  of  the  woman  is  in  the  Prenten-Kabinet, 
Amsterdam  (reproduced,  Amsterdam  Drawings,  I,  34).  The  features 
of  the  man  resemble  those  of  de  Gheyn  himself  engraved  in  H.  Hondius's 
Pictorum  aliquot  celebrium  .  .  .  Effigies  (1610  ?),  and  it  is  probable  that 
it  is  a  self-portrait.  It  is  suggested  in  the  Exhibition  Catalogue  of  1895 
(p.  65,  No.  330)  that  the  woman  is  the  artist's  mother,  but  I  can  find  no 
particulars  about  her  death. 


158  Dntrh  and  Flemish  JDrawinr/s. 

4.  Thk.ee  Studies  of  a  Negro. 

He  is  represented  on  the  1.,  half-length,  standing  turned  three-quarters  to 
the  r.,  holding  a  parrot  on  his  r.  fist ;  in  the  centre,  in  profile  to  the  1., 
and  on  the  r.  full-face,  seated  writing  at  a  table. 

[7|  X  12f  in.  ;  20-1  X  32  cm.]     Pen  and  brown  ink  on  light  cream-coloured 

paper. 

Purchased,  1869.6.12.594. 

Reproduction  :    PI.  LIII. 

For  the  style  compare  the  sheet  at  Berlin  (No.  2456)  with  nine  studies 
of  the  head  of  a  young  man. 

5.  A  Man  Wearing  a  Cloak. 

He  stand  in  profile  to  the  r.,  bare-headed  and  bare-footed,  draped  in  a 
heavy  cloak. 

[10  X  5jJ  in.;    25*5  X  14- 5  em.]     Pen  and  dark  brown  ink  on  cream- 
coloured  paper  :   inscribed  in  later  hand  in  bottom  r.  corner,  D :  Gheyn  : 
no  watermark. 
Collection  :    R.  Cosway. 
Purchased,  1872.10.12.3279. 
Reproduction  :    PI.  LIII. 

6.  A  Man  Holding  a  Horse  by  the  Bridle. 

The  head  of  the  horse  is  in  profile  to  the  1. ;  the  man,  seen  only  to  the 
waist,  stands  inside  a  wooden  balustrade  and  holds  the  bridle  with  his  r. 
hand,  turning  away  his  head. 

[7f  X  6|  in.  ;    19- 7  X  16-3  cm.]     Pen  and  dark  brown  ink  over  a  sketch 
in  black  chalk,  on  light  cream-coloiu-ed  paper  :    no  watermark. 
Collection  :    R.  Cosway. 
Purchased,  1872.10.12.3280. 
Reproduction  :    PI.  LIII. 

On  the  verso  a  word  written  in  black  chalk,  probably  by  de  Gheyn, 
but  not  legible. 

7.  Three  Mounted  Trumpeters. 

They  are  riding  to  the  r.,  blowing  their  trumpets,  to  which  flags  are  attached. 

[6^"^  X  7^5  in.  ;    15-4  X  20-2  cm.]     Pen  and  brown  ink  and  grey  wash. 
Purchased,  1865.1.14.834. 

Original  drawing  for  the  engraving  in  the  series  of  cavalry  published 
by  C.  Visscher,  1640.  Other  drawings  of  the  same  series  are  in  the 
Albertina  (Benesch  393  and  394),  in  the  Louvre  (Lugt,  Catalogue,  Nos.  277 
and  278),  and  in  the  Boymans  Museum,  Rotterdam. 


GOLTZIUS,  Hendrick  (b.  1558 ;  d.  1617).  Engraver,  draughitsman 
and  painter  :  b.  at  Miihlbreclit  near  Venloo  ;  pupil  of  the  engraver 
D.  V.  Coornhert  about  1575,  whom  he  accompanied  to  Haarlem  in 
1577  ;  worked  at  first  for  the  Antwerp  engraver  and  publisher,  Philip 
Galle  ;  began  to  publish  his  own  engravings  in  1582,  and  had  pupils 
as  early  as  1584  ;  in  Italy,  1590-91,  returning  by  way  of  Munich  ; 
began  to  paint  about  1600  and  only  engraved  occasionally  after  that 
date  ;  d.  in  Haarlem  and  was  buried  in  the  church  of  St.  Bavo. 
Goltzius  was  associated  with  Cornells  Cornelisz  and  Karel  van  Mander 
in  the  foundation  of  the  Haarlem  Academy,  to  which  he  probably 
introduced  the  work  of  Spranger,  the  most  important  element  in  the 
formation  of  this  mannerist  style. 


H.  Goltzms.  159 

Lit.  :  0.  Hirschmann,  Hendrick  Goltzius  als  Maler,  The  Hague, 
1916  ;  the  same,  Hendrick  Goltzius  (Meister  der  Graphik,  Bi.  VII), 
Leipzig,  n.d. ;  the  same,  Verzeichnis  des  graphischen  Werks  von 
Hendrick  Goltzius,  Leipzig,  1921. 

The  drawings  are  arranged,  as  far  as  possible,  chronologically. 
The  following  drawings,  formerly  attribued  to  Goltzius,  have  been 
distributed  as  follows  : — 

Ihe  Ihree  Graces  (1895.9.15.1018:  Malcolm  Catalogue,  560). 
Italian  drawings,  XVIth  cent.  ;   near  to  Fr.  Salviati. 

Head  of  Michelangelo  (1895.9.15.1025  :  Malcolm  Catalogue,  567). 
Italian  drawings,  XVIth  cent.  ;   by  B.  Passerotti  or  an  imitator. 

Bacchus  and  Ceres,  see  below,  copy  from  B.  Spranger,  No.  5. 

Mars  and  Venus  and  Woman  on  Bed,  manner  of  B.  Spranger, 
Nos.  6  and  7. 

Holy  Family,  see  Joachim  Wttewael  below.  No.  2. 

Three  Drawings  of  a  Man's  Head.     Verso  :   Half-Length  of  a  Young 
Man. 

The  man,  bearded  and  wearing  a  hat  and  ruff,  is  represented  three  times  : 
on  the  1.,  nearly  in  profile  to  the  1.  ;  on  the  r.,  turned  three-quarters  to 
the  1.  ;  and  above,  in  profile  to  the  r.  Verso  :  A  young  man  standing, 
bare-headed,  turned  three-quarters  to  the  1. 

[5|  X  5j3g  in.  ;    15  X  13-2  cm.]     Metal  point  on  cream-coloured  prepared 

siu-faoe  on  vellum  :    signed  with  monogram  H.G.  on  recto  to  1.  and  in  the 

same  position  on  the  verso  ;    inscribed  huigh,  in  the  artist's  hand  on  the 

young  man's  coat,  on  the  verso. 

Collections  :    C.  Searisbrick,  Robinson,  Malcolm  (Cat.  563). 

Purchased,  1895.9.15.1021. 

Reproductions  :   Vasari  Society,  IX,  14,  15  {recto  and  verso). 

The  features  closely  resemble  those  in  the  engraving  (or  rather  print 
from  an  engraved  oval  plate  made  for  decorative  purposes),  Bartsch  200, 
Hirschmann  232.  This  is  not  named  but  has  the  inscription  (in  reverse), 
MODERATA  DURANT.  AETATIS  SVAE  32.  H.  Goltzius  fee.  1580. 
According  to  Hirschmann  it  possibly  represents  Gysbrecht  van  Duven- 
voorde,  but  this  identification,  previously  made  by  Weigel  and  van 
Someren,  rests  merely  on  the  strong  family  resemblance  the  features 
show  to  those  of  Jan  van  Duvenvoorde,  whose  portrait  was  engraved  by 
Goltzius  (Hirschmann  182).  Gysbrecht  and  Jan  were  not  however 
brothers,  as  Hirschmann  states,  but  distant  cousins  (cf.  Simon  van 
Leeuwen,  Batavia  illustrata.  The  Hague,  1685,  p.  1159).  According  to 
this  authority  Gysbrecht  died  in  1580,  aged  forty,  so  that  the  identification 
is  impossible.  Nor  can  the  engraving  represent  the  admiral  Jan  van 
Duvenvoorde,  as  suggested  by  me  in  the  note  to  the  Vasari  Society,  for 
it  differ  from  the  named  engraving  of  him  by  Goltzius,  referred  to  above. 

The  inscription  in  a  later  hand  along  the  top  margin,  Hendrick  Goltsius 
ipse  fecit  1580  oude  52  jaar,  cannot  be  taken  seriously.  The  heads  have 
none  of  the  appearance  of  self-portraits,  nor  do  they  resemble  the  genuine 
self-portrait  (No.  12). 

The  young  man  on  the  verso  appears  to  be  holding  a  pike  or  standard 
and  recalls  the  series  of  standard-bearers  (H.  251-255),  and  more  especially 
the  small  unidentified  engraving  (B.  193,  H.  236)  inscribed  STANT- 
VASTICH  TEN  EYNDE.  AETAT.  XX.  1579.  The  name  Huigh  on 
the  jerkin  is  apparently  that  of  the  young  man,  but  he  cannot  be  further 
identified,  as  the  registers  of  the  Haarlem  Guilds  are  not  preserved  before 
1594.  In  the  r.  bottom  corner  is  written  in  the  same  hand  as  on  the  recto  : 
Huig,  vaandrig  (ensign)  der  Burgey  v.  Haarlem,  which  is  probably  merely 
an  intelligent  amplification  of  the  name  on  the  doublet. 


160  Dutch  and  Flemish  Drawings. 

2.  Head  of  a  Boy  and  Study  of  Hands. 

The  head  three-quarters  to  the  r.  is  on  the  1.,  the  liands  on  the  r. 

[2f  X  3jg  in.  ;   6-9  X  10  cm.]     Silver  point  on  yellow  prepared  sui-face  on 

vellum. 

Collections  :    Leembruggen  (Sale,  March  26th,  1866,  lot  262  ?  "  Portrait 

d'un  garQon  "),  Malcolm  (Cat.,  No.  564). 

Purchased,  1895.9.15.1022. 

Reproduction  :   PI.  LIV. 

The  similarity  in  technique  to  No.  1  implies  that  it  belongs  to  about  the 
same  date,  1580.  It  may  have  formed  part  of  a  sketch-book  with  it.  I 
cannot  find  that  the  head  was  any^A^here  used.  Hands  in  a  similar  position 
occur  not  infrequently.  They  most  nearly  resemble  those  of  a  woman 
on  the  extreme  r.  in  J.  Saenredam's  engraving  after  Goltzius,  B.  Ill, 
p.  244,  77,  though  the  relation  of  the  hands  to  one  another  is  different. 

This  and  other  similar  drawings  are  described  in  the  Malcolm  Catalogue 
as  drawn  on  prepared  ass-skin.  This  may  be  correct  ;  the  material, 
where  visible,  is  some  sort  of  vellum,  but  to  distinguish  the  exact  sort  is 
obviously  impossible. 

3.  Two  Studies  of  Boys'  Heads. 

The  boy  on  the  1.  wears  a  low  collar  and  looks  down  to  the  r.  ;  the  boy 
on  the  r.  wears  a  ruff  and  looks  down  to  the  1. 

[5  X  7^  in.  ;    12-7  X  18-1  cm.]     Black  and  red  chalk  on  vellum. 
Collection  :   From  an  album  sold  at  Sotheby's,  July  8th,  1853,  lot  292. 
Purchased,  1853.8.13.46. 
Reproduction  :   PI.  LIV. 

The  attribution  to  Goltzius,  which  dates  at  least  as  early  as  the  register 
of  1853,  is  probably  correct.  Like  most  of  the  drawings  in  red  and  black 
chalk,  it  most  likely  dates  from  the  90's  of  the  16th  century. 

4.  Head  of  a  Bearded  Man. 

He  is  bare-headed,  in  profile  to  the  1.  ;  the  part  of  the  sleeve  visible  is 
slashed. 

[3jig^  X  2^^va..;    1-1  >i  5- 9  cm.]     Black  and  red  chalk. 
Collections  :   H.  Belward  Ray  (Sale,  Christie's,  1856,  lot  47). 
Purchased,  1856.7.12.989. 
Reproduction  :    PI.  LIV. 

Probably  dates,  like  the  preceding,  from  the  90's  of  the  16th  century. 
It  is  meant  to  represent  someone  of  the  first  half  of  the  16th  centiuy,  to 
judge  from  the  costume. 

5.  "  Sine  Cerere  et  Baccho  friget  Venus." 

Venus,  almost  naked,  stands  in  the  centre  in  front  of  a  tree  ;  above  her 
head  are  two  doves ;  to  the  1.  stands  Bacchus,  attended  by  a  small  faun  ; 
both  hold  bunches  of  grapes  ;  to  the  r.  is  Ceres  holding  a  sickle  in  her  1. 
hand  and  a  cornucopia  under  her  r.  arm ;  Cupid  lies  at  full  length  on 
the  ground  in  front  and  blows  a  fire  through  a  tube. 

[Atlas,  24|  X  19 J  in.  ;    63-1   X  49 -5  cm.]     Drawn  in  pen  and  brown  ink, 

in   the  style  of   an  engraving,  on  vellum :    signed  bottom  r.  H.  Goltzius. 

fecit.     ^°.  1593. 

Purchased,  1861.6.8.174. 

Reproductions  :   Oud-Holland,  XXXIII  (1915),  facing  p.  84  ;  Hirschmann, 

Hendrick  Goltzius  (Meister  der  Graphik),  Taf.  XLVI ;  PI.  LV. 

Lit.  :  O.  Hirschmann  in  Oud-Holland,  loc.  cit. 

The  drawing  is  mentioned  by  van  Mander  in  the  Schilderboek  (ed. 
HjTnans,  II,  pp.  192-3) :  "  II  a  fait  sur  parchemin  un  certain  nombre  de 
pieces  grandes  et  petites,  entre  autres  un  Bacchus,  Ceres  et  V^nus,  com- 
position ou  Ton  voit  I'Amour  allumant  un  feu  qui  se  reflete  sur  les 
personnages.  Je  crois  que  cette  ccuvre  est  a  Rome."  It  is  also  referred 
to,  and  at  greater  length,  in  the  "  Grondt  der  edel  vry  Schilder- Const  " 
(quoted  by  Hirschmann,  loc.  cit.). 


H.  Goltzius.  161 


6.  Seated  Woman. 

She  is  seated  on  the  base  of  a  column  and  looks  towards  the  front ;  in 
her  1.  hand  she  holds  what  appears  to  be  a  torch. 

[10^^  X  7f  in.  ;     26-6  X  IS- 7  cm.]     Pen    and    brown    ink    on    pale    blue 
paper :  signed  with  monogram  and  dated  1593  in  bottom  r.  corner. 
Bequeathed  by  Richard  Payne  Knight,  Esq.,  1824. 
Oo.  9—12. 
Reproduction  :    PI.  LVII. 

The  drawing  has  some  connection  with  the  three  engravings  of  virtues 
by  J.  Saenredam  after  Goltzius,  B.  Ill,  p.  257,  Nos.  116-118,  particularly 
with  No.  118,  Patientia.  I  cannot  explain  the  action  of  the  hands  or 
what  quality  the  figure  is  meant  to  represent.  The  series,  as  originally 
planned,  may  have  been  more  extensive  and  this  drawing  may  represent 
the  sketch  for  another  virtue. 

7.  The  Temptation. 

Eve,  to  the  1.,  reclines  on  a  bank  at  the  foot  of  the  Tree  of  Knowledge, 
and  with  her  1.  hand  offers  the  apple  to  Adam,  who  is  seated  on  the  same 
bank,  facing  to  the  front  ;  a  goat  is  in  the  foreground  to  the  1.,  a  cat 
(copied  from  that  in  Diirer's  Adam  and  Eve)  in  the  centre  and  a  dog  on 
the  r.  ;   the  serpent,  with  the  head  of  a  woman,  is  coiled  round  the  tree. 

[7JI  X  5/^  in.  ;    20- 1  X  13 -8  cm.]     Pen  and  brown  ink  and  brown  wash, 

heightened  with  white,  the  two  figures  colovu"ed  :    signed  with  monogram 

above  goat's  horns  to  1. 

Collections  :    Robinson,  Malcolm  (Cat.  561). 

Purchased,  1895.9.15.1019. 

Reproduction  :    PI.  LVIII. 

Lit.  :    O.  Hirschmann,  Hendrick  Ooltzius  (Meister  der  Graphik),  p.  142. 

The  original  drawing  (in  reverse)  used  by  Saenredam  for  the  engraving. 
B.  Ill,  p.  234,  No.  40.  The  engraving  is  dated  1597,  which  gives  a 
terminus  ante  quern  for  the  drawing,  most  probably  of  about  the  same  date. 

8.  Venus,  Ceres  and  Bacchus. 

Venus  is  seated  on  a  bed  in  the  centre  between  Bacchus  on  the  r.  and 
Ceres,  who  has  her  back  tiu-ned,  on  the  1.  ;  Bacchus  holds  a  wine-glass  in 
his  1.  hand  ;  a  table,  on  which  stand  a  bottle  and  a  bowl  of  fruit,  is  on 
the  r.  ;  the  curtains  of  the  bed  are  held  back  by  two  putti,  and  two  others 
on  clouds  above  to  the  1.  support  a  cluster  of  grapes  ;  Cupid,  also  holding 
a  btmch  of  grapes,  is  in  the  foreground  to  the  1. 

limp.,   17  X  12|  in.;    43-1  X  32  cm.]      Elaborate   painting   in  grisaille: 
signed  on  tablet  at  bottom  to  r.,  H  Ooltzius  fecit.  /  A°.  1599. 
Collections  :   Verstolk  van  Soelen  (Sale,  March  22nd,  1847,  lot  181),  T.  H. 
Hawkins  (not  sold  in  his  sale  April  29th,  1850,  but  privately  to  Colnaghi). 
Purchased,  1861.8.10.14. 
Reproduction  :    PI.  LVI. 

Another  version  of  the  subject  treated  in  No.  5.  It  was  engraved  by 
Saenredam,  B.  Ill,  p.  243,  No.  69,  with  the  date  1600,  but  the  present 
painting  is  too  elaborate  to  have  been  intended  merely  as  a  design  for  the 
engraver.  A  picture,  also  in  grisaille,  at  Aix -en-Provence  repeats  the 
present  drawing  in  reverse.  It  is  probably  a  copy  from  Saenredam's 
engraving. 

9.  Head  op  an  Old  Man. 

In  profile  to  r.,  bare-headed. 

[Corners  cut,  6J^  X  5 J  in.  ;     17  X  13 -9  cm.]     Pen  and  dark  brown  ink; 
signed  1.  with  monogram  and  dated  1600  (possibly  added  later). 
Collections  :    Leembruggen  (not  in  Sale  Catalogue  of  March  26th,  1866), 
Malcolm  (Cat.  565). 
Purchased,  1895.9.15.1023. 

Belongs  to  a  group  of  imaginary  heads  of  old  men,  of  which  No.  14 
is  another  example. 

M 


62  Butch  and  Flemish  Drawings. 


10.  Portrait  of  an  Artist. 

He  is  represented  half-length,  facing  to  the  r.  ;  he  wears  a  hat  and  a  wide 
ruS  and  holds  a  tablet  on  a  tablet  in  front  of  him  with  his  1.,  a  silver  point 
or  etching  needle  with  his  r.  hand  :    verso,  a  kneeling  camel. 

[5J  X  4^jj  in.  ;  14-5  X  10 -3  cm.]  Silver  point  on  prepared  yellow  surface 
on  vellmn  ;  the  man's  doublet  tinted  :  inscribed  with  monogram  top  1. 
corner  (perhaps  a  later  addition)  ;  on  verso  in  an  old  hand  in  chalk, 
hendrick  Goldsius. 

Collections  :     Verstolk   van    Soelen    (Sale,   March   22nd,    1847,    lot   366  : 
"  Portrait  d'un  graveui'.     Dessin  d'un  grand  fini  a  la  mine  de  plomb  "). 
Leembruggen  (Sale,  March  26th,  1866,  lot  258),  Malcolm  (Cat.  562). 
Purchased,  1895.9.15.1020. 
Reproduction  :  PI.  LVII. 

The  identification  of  the  person  as  Jacob  Matham,  which  fii'st  appears  in 
the  Leembruggen  Sale  Catalogue,  is  probably  due  to  a  confusion  with  the 
preceding  lot  in  the  Verstolk  van  Soelen  Sale  (No.  365,  "  Henri  Goltzius,  Son 
propre  portrait  et  celui  de  son  gendre  Jacques  Matham  ").  There  is  little 
resemblance  between  the  subject  of  the  present  drawing  and  Matham,  as 
he  appears  in  Cornells  de  Bie's  Het  Gulden  Cabinet,  1661,  p.  475,  or  in 
S.  Frisius'  engraving.  Nor  is  there  any  conclusive  reason  for  regarding 
him  as  an  engraver  ;  the  tablet  might  be  a  copper-plate  and  the  sharp 
instrument  an  etching  needle  ;  they  might,  however,  equally  well  be  a 
piece  of  board  and  a  silver  point.  There  is  some  resemblance  to 
Bartholomeus  Spranger  in  the  portrait  engraved  by  J.  MuUer  after  Hans 
von  Aachen,  1597  (B.  21),  but  the  likeness  is  not  sufficient  to  be  conclusive. 
If  it  represented  Spranger,  it  would  date  from  1602,  when  that  artist 
returned  to  the  Netherlands  on  a  visit.  In  any  case  the  drawing  seems 
to  date  late  in  Goltzius's  career.  On  the  verso  is  part  of  the  sketch  of  a 
kneeling  camel,  presumably  the  same  animal  represented  in  the  large 
drawing.  No.  11.  This  also  connects  the  drawing  with  a  sheet  at  Munich 
(reproduced  Old  Master  Drawings,  v  (1930),  pi.  37,  38),  on  the  front  and 
back  of  which  are  drawings  of  kids  and  the  fore  part  of  a  camel.  This 
drawing  was  attributed  by  Mr.  Byam  Shaw  to  de  Gheyn,  but  it  wotdd 
seem  to  form  a  portion  of  a  sketch-book  with  the  present.  The  writing 
on  the  Munich  drawing  is  like  that  of  Goltzius  in  the  letter  catalogued 
below  (No.  13). 

11.  A  Camel. 

The  animal  is  in  profile  to  the  r.  and  has  a  halter  ;  there  is  a  landscape 
background. 

[llf  X  16|  in.  ;      29-8  X  41 -6  cm.]     Black    and    red    chalk    on    cream- 
coloured  paper  :    signed  with  monogram  HO  on  the  animal's  back  :    no 
watermark  :    inscribed  on  verso  at   top    to    1.  No.  11515,  and    at   bottom 
ho'  30  Oct.  1773. 
Purchased,  1875.4.10.557. 
Reproduction  :  PI.  LVI. 

Another  study,  presumably  of  the  same  camel,  is  on  the  verso  of  No.  10. 
Van  Mander  (ed.  Hymans,  II,  p.  182)  relates  a  story  of  Goltzius's  drawing 
camels  and  elephants  on  the  walls  of  his  house  as  a  boy,  but  the  present 
drawing  must  of  course  be  later.  It  may  have  been  drawn  from  an  animal 
brought  to  Holland  or  from  one  seen  on  the  Italian  joui'ney. 

12.  Selp-Portrait. 

He  is  bare-headed,  turned  three-quarters  to  the  r.  ;  he  wears  a  soft  collar 
and  a  cloak  over  the  1.  shoulder. 

[3 J  X  2^  in.  ;    8-8  X  6-3  cm.]     Silver  point  on  prepared  greenish  tablet  : 

inscribed  at  top,  ^TAT.  47.  A°.  1605  ;  signed  with  monogram  to  the  1.  ;  on 

tablet  imdemeath, HenricMS  OoUzius,  Johanln}i  Engel/brecht  Amide  (sic)  ergo 

D.  Dicavit. 

Collection  :  W.  Esdaile. 

Purchased,  1854.11.13.230. 


H.  Goltzius.  16o 


Reproductions :  O.  Hirschmann,  Verzeichnis  des  graphischen  Werks 
Hendrick  Goltzius,  Leipzig,  1921,  Frontispiece  ;  PI.  LIV. 

Compare    the    self-portrait   in  the  Albertina    (No.   375    of    Benesch's 
Catalogue). 

13.  Head  of  a  Man  and  Part  of  a  Letter. 

The  head,  that  of  an  elderly  man,  is  turned  three-quarters  to  the  r.  ;  he 
wears  a  fur  tippet  in  the  style  of  the  first  half  of  the  16th  century. 

[3^jf  X  7^*5  in.  ;    9-7  X  18-3  cm.]      Pen    and     brown    ink:    the    drawing 
signed  with  the  monogram  and  dated  A°  1606. 
Purchased,  1890.4.15.125. 
Reproduction  :  PI.  LV. 

The  text,  obviously  part  of  a  letter,  reads  as  follows  : — 

Nieus  en  heb  ick  dit  mael  niet, 
daeromme  wille  ick  hier  bij  laeten 
ende  U.  Edele  sarnbt  alle  goede 
Vrunden  hertelyrken  (jroeten  ende 
den  Almochenderi  in  sijnen 
genadighen  schuts  behoeden. 
Amen 

Bij  U.  L.  rrundt 

Heindrick  Goltzius. 

14.  Head  of  an  Old  Man. 

Bust,  the  head  turned  three-quarters  to  the  1.,  the  shirt  open  at  the  neck, 
the  head  bare  ;  in  an  opening  in  the  wall,  against  which  the  head  is  shown, 
is  a  crucifix. 

[Imp.,  ISy^jj  X  14J  in.  ;    46-9  X  37- 5  cm.]     Pen  and  brown  inlc  on  vellum  : 

signed  top  r.  with  monogram  HG.  fecit,  and  dated  A°.  1608. 

Collections  :    Vinde,  Paignon  Dijonval  (Catalogue  by  Benard  pere,   1810, 

No.  1841),  S.  Woodburn  (Sale,  June  21st,  1854,  lot  1161). 

Purchased,  1854.6.28.35. 

Reproduction  :  PI.  LVIII. 

One  of  a  group  of  drawings  of  imaginary  heads  of  old  men  in  the  costume 
of  the  early  16th  century  (cf.  Nos.  4,  9  and  13). 

15.  A  Seated  Woman. 

She  is  turned  three-quarters  to  the  I.  and  appears  to  be  playing  on  the 
virginals. 

[633^  X  4  in.  ;   15-8  X  10-2  cm.  (a  portion  cut  out  top  1.)]     Pen  and  brown 
ink  :    signed  bottom  r.  corner  with  monogram  and  dated  1614. 
Presented  by  Mrs.  Robert  Low. 
1910.2.18.4. 
Reproduction  :  PI.  LVII. 

Perhaps  intended  for  a  Saint  Cecilia  ;    cf .   an  anonymous  engraving 
after  Goltzivis  representing  her. 

16.  Winged  Female  Figure. 

A  three-quarter  length  figure,  apparently  seated  ;  she  is  directed  to  the  1 . , 
but  her  head  is  turned  three-quarters  to  the  r.  ;  her  elbow  rests  on  a 
pedestal. 

[7j3r  X  6g  in.  ;    18-3  X  15-5  cm.]     Pen  and  very  pale  brown  ink. 
Collections  :    Sir  J.  Reynolds,  P.  Sandby,  H.  Belward  Ray  (Sale,  Christie's, 
1856,  lot  53). 
Purchased,  1856.7.12.997. 

The  drawing,  though  not    signed    and    apparently  unconnected  with 
any  known  work  by  Goltzius,  clearly  shows  his  style. 

M    2 


164  Dutch  and  Flemish  Drawings. 

ATTRIBUTED  TO  HENDRICK  GOLTZIUS. 

17.  Study  of  the  Nude. 

The  torso  of  a  seated  male  figure,  seen  from  the  back. 

[7  X  5^5  in.  ;    17-9  X  13 -5  cm.]     Pen  and  brown  ink. 

Collection  :  Sloane. 

5236—144. 

18.  Study  of  the  Nude. 

The  torso  of  a  standing  male  figure,  seen  from  the  back. 

[7  X  5^3^  in.  ;    17-8  X  13-2  cm.]     Pen  and  brown  ink. 

Collection  :  Sloane. 

5236—145. 

The  attribution  of  these  two  drawings  to  Goltzius,  which  goes  back  at 
least  to  the  inventory  of  1837,  appears  doubtful.  Their  poor  quality  points 
rather  to  some  young  engraver  of  the  school. 

19.  Head  of  a  Man. 

He  is  turned  three-quarters  to  the  1.,  has  a  beard  and  wears  a  hat  turned 
back  in  front. 

[^5  ^  2^7^.  in.  ;    10-6  X  6-2  cm.]     Pen  and  brown  ink. 

Collection  :  Sloane. 

5224—28. 

No  attribution  in  the  inventory  of  1837  ;  first  attributed  to  Goltzius  in 
the  MS.  catalogue  of  the  Sloane  Collection  of  1845.  The  drawing  has  a 
certain  bravura  characteristic  of  the  late  16th  century,  otherwise  it  might 
have  been  regarded  as  the  work  of  an  Antwerp  mannerist  of  1530.  In  any 
case  the  attribution  to  Goltzius  must  be  regarded  as  extremely  doubtful. 

20.  Head  of  a  Woman. 

She  is  turned  three-quarters  to  the  r.  and  looks  up. 

\l^^y.  6j<g  in.  ;     18-5  X  15-4  cm.]     Red  chalk:    inscribed  in  an  I8th  or 

early    19th    century    hand    in    1.    bottom    corner,    Goltshis  ;     backed,    no 

watermark  visible. 

Collection  :    From    an  album  bought   at   Sotheby's  Sale,  Jvily  8th,  1853, 

lot  292. 

Purchased,  1853.8.13.47. 

Probably  by  a  Haarlem  mannerist  of  about  1590,  but  there  is  nothing 
in  the  drawing  particularly  characteristic  of  Goltzius.  Cornelis  Cornelisz 
might  possibly  be  the  draughtsman. 

COPY  FROM  HENDRICK  GOLTZIUS. 

21.  Half-Length  Figure  of  a  Man. 

He  faces  to  the  front,  but  his  head  is  turned  three-quarters  to  the  r.  ;  he 
wears  a  plumed  hat  and  a  fur  tippet  ;  his  1.  hand,  which  holds  a  glove, 
rests  on  a  table  in  front  of  him. 

[12  X  7|^  in.  ;    30-4  X  20-2  cm.]     Pen  and  black  mk  for  the  head,  hat 

and  shirt,   brown   ink   for  the  remainder  :     inscribed   bottom   1.  A°   HG 

(monogram)  1607. 

Collection  :   Malcolm  (Cat.  566). 

Purchased,  1895.9.15.1024. 

Lit.  :    O.  Hirschmann,  Hendrick  Goltzius  (Meister  der  Graphik),  p.  141. 

The  drawing  is  a  copy,  almost  a  facsimile,  of  the  woodcut  by  Cornelis 
van  Sichem  after  Goltzius,  only  van  Sichem's  signature  being  left  out. 
It  is  probably  a  comparatively  modern  forgerj',  possibly  made  in  Italy. 


J.  Grimmer — J.  Hoefnagel.  165 


GRIMMER,  Jacob  (b.  about  1525  ;  d.  1590),  Landscape  painter  :  b.  at 
Antwerp  ;  pupil  of  Gabriel  Bouwens  in  1539,  and  also,  according  to 
van  Mander,  of  Matthys  Cock  and  of  Christian  van  Queeckboorne  ; 
master  in  the  Guild  in  1547  ;  d.  at  Antwerp. 

For  a  drawing  formerly  attributed  to  Jacob  Grimmer,  see  anony- 
mous draw  ngs  of  the  later  XVIth  century,  No.  28. 

1.   Landscape  Composition. 

To  the  1.  is  a  group  of  large  trees  surrounding  a  pond  ;    to  the  r.  is  a  village 

street  with  a  man  driving  a  cow  ;     in  the  distance  on  the  r.  is  a  hill 

surmounted  by  a  castle. 

[7f  X  ll^in.  ;    19-3  X  29-3  cm.]     Painted  in  body-colour  :   signed  bottom 

to  1.  J  AC.  GBIEMAR. 

Collection  :    J.  H.  Hawkins  (not  sold  in  his  sale,  April  29th,   1850,  but 

privately  to  Messrs.  Colnaghi,  from  whom  it  was  purchased). 

Purchased,  1861.8.10.43. 

Reproduction  :    PI.  LIX. 

HOEFNAGEL,  Joris  (George)  (b.  1542  ;  d.  1600).  Miniature  painter 
and  draughtsman  :  b.  in  Antwerp  ;  had  no  regular  artistic  training, 
but  is  supposed  to  have  been  the  pupil  of  Hans  Bol ;  travelled  in 
France  and  Spain,  1561-67  ;  in  England,  1569  ;  left  Antwerp  after 
the  "  Spanish  fury  "  in  1576  and  entered  the  service  of  Duke  Albert  V 
of  Bavaria  ;  visited  Italy,  1577  ;  returned  to  Bavaria  and  remained 
in  the  service  of  its  rulers,  but  at  the  same  time  worked  for  the 
Archduke  Ferdinand  of  the  Tirol ;  subsequently  entered  the  service 
of  the  Emperor  Rudolph  II  (after  1590),  and  d.  in  Vienna. 

Lit.  :  E.  Chmelarz,  Georg  und  Jakob  Hoefnagel,  Vienna  Jahrbuch, 
XVII  (1896),  p.  275  fE. 

A  drawing  formerly  attributed  to  Hoefnagel  (Design  for  a  cabinet, 
1881.6.11.162)  has  been  transferred  to  Italian  drawings,  Gregorio 
de  Ferrari. 

ATTRIBUTED   TO  JORIS  HOEFNAGEL. 

1.   The  Capture  of  Africa  (Aphrodisium,  Mahadiah)  by  the  Spaniards 
UNDER  Andrea  Doria,   1550. 

The  city,  oil  a  promontory  extending  into  the  sea  to  the  r.,  is  invested 
by  artillery  and  troops,  who  are  pouring  through  a  breach  in  the  walls 
on  the  landward  side,  and  by  galleys  from  the  sea  :  inscribed  at  top, 
AFRICHA  ;  minute  inscriptions  also  refer  to  the  various  bodies  of  troops, 
SPAGNOLI,  SCHIAVI,  GUASTATOR[I],  and  to  the  galleys, 
TALIANI. 

[10  X  16|  in.  ;    25-3  X    42-3  cm.]     Pen  and  brown  ink  and  brown  wash, 

with  touches  of  colour. 

Collection  :    Sloane. 

5214—74. 

Reproduction  :    PI.  LIX. 

No  attribution  in  the  inventory  of  1837 ;  given  to  J.  C.  Vermeyen  in  the 
MS.  catalogue  of  the  Sloane  Collection  of  1845.  This  attribution  probably 
rests  on  the  assumption  (explicitly  made  in  the  printed  Catalogue  of 
Manuscript  Maps,  Charts  and  Plans  in  the  British  Museum,  Vol.  Ill, 
London,  1861,  p.  410)  that  the  drawing  represented  an  incident  in 
Charles  V's  conquest  of  Tunis  in   1535,  commemorated  by  Vermeyen  in 


166  Dutch  and  Flemish  Drawings. 


the  well-known  series  of  tapestries.  That,  however,  the  superscription 
AFRICHA  on  the  present  drawing  refers  to  the  town  of  that  name, 
not  to  the  continent,  is  obvious  on  comparison  with  the  views  published 
in  Juan  Christoval  Calvete  de  Estrella,  De  Aphrodisio  expugnato  Gom- 
tnentarius,  Antwerp,  1551,  and  in  Braun  and  Hogenberg's  Civitates  Orbis 
Terrarum,  Vol.  II,  fol.  57.  The  present  drawing  does  not,  however,  appear 
to  be  the  work  of  an  eye-witness  ;  it  does  not  correspond  exactly  either 
with  Calvete  de  Estrella's  account  of  the  siege  or  with  his  (no  doubt 
accurate)  view.  For  example,  the  gun  platform  moxmted  on  two  galleys 
is  represented  in  the  drawing  at  the  eastern  extremity  of  the  town,  while 
in  the  plan  and  in  the  account  by  Estrella  it  is  placed  on  the  south  side, 
where  it  was  used  for  outflanking  the  western  defences.  Its  form  in  the 
drawing,  as  a  platform  across  the  bows  of  two  galleys  which  retain  their 
masts  and  oars,  is  a  quite  impracticable  one  and  in  direct  opposition  to 
Estrella's  circumstantial  and  credible  description. 

The  drawing  is  similar  in  style  to  the  view  of  the  Piazza  of  St.  Mark's 
at  Venice  by  Hoefnagel  (Frankfort,  Staedelsches  Kunstinstitut ;  repr., 
Frankfort  Drawings,  XV,  7)  and  is  very  probably  by  him.  The  Frankfort 
drawing,  as  the  engraving  in  the  Civitates  Orbis  Terrarum  which  reproduces 
it  tells  us,  was  made  in  1578.  The  possibility  of  its  being  the  work  of 
one  of  the  other  draughtsmen  employed  for  the  Civitates  Orbis  Terrarum, 
whose  style  would  probably  closely  resemble  Hoefnagel's,  cannot  be 
excluded. 

HONDIUS,  Hendrick,  the  Elder  (b.  1573  ;  d.  after  1649).  Draughtsman 
and  publisher  :  b.  at  Duffel  in  Brabant  ;  pupil  in  Brussels  of  a  gold- 
smith, Godefroy  van  Gelder,  and  in  Antwerp  of  Jan  Wierix  and  of 
Jan  Vredeman  de  Vries  ;  in  1597  became  a  member  of  the  painters' 
guild  at  the  Hague,  in  which  town  he  remained  for  the  rest  of  his  life, 
except  for  short  visits  to  Cologne,  Paris  and  London. 

1.  Portrait  of  Hans  Holbein  II. 

He  is  represented  half-length,  turned  three-quarters  to  the  1.,  holding  a 
brush  (?)  in  his  1.  hand,  his  r.  hand  raised  ;  in  the  background  to  the  1.  is 
a  copy  of  part  of  one  of  the  Dance  of  Daath  woodcuts,  Death  and  the  Nun. 

[6J  X  4|  in.  ;     15- 9  X  12-3   cm.]     Pen   and  brown  ink   on  blue  paper, 
washed  with  blue  and  heightened  with  white. 
Piirchased,  1870.10.8.2386. 
Reproduction  :   PI.  LX. 

Described  in  the  register  of  1870  as  a  portrait  of  van  Sichem  by  himself. 
It  is,  however,  engraved  in  reverse  in  H.  Hondius's  Pictorum  aliquot 
celebrium  praeciptie  Germaniae  inferioris  Effigies,  Pars  I,  The  Hague 
(1610  ?),  with  the  inscription  JO  A  A^iV^JS  HOLBENUS,  BASILENSIS, 
and  the  verses  : — 

Egregius  pictor  magno  qui  gratus  Erasmo. 

His  quantu  accrevit  laus,  Basilea,  tua  ! 
Divisus  nostra  te  suscipit  orbe  Brittannus 

Holbene.  orbe  uno  laus  tua  non  capitur. 

The  engraving  is  signed  Hh  (monogram),  ex.  It  is  reasonable  to  suppose 
that  Hondius  made  the  drawing  for  the  engraver. 

2.  Elijah  Fed  by  Ravens. 

The  prophet  kneels  by  the  edge  of  a  stream  towards  the  r.  ;  the  ravens, 
carrying  loaves,  fly  down  to  him  from  above  ;  to  the  1.  are  large  trees,  and 
under  them  three  stags. 

[11^  X  16|  in.  ;    28-5  X  41*6  cm.]     Pen  and  brown  ink  and  blue  wash  : 
signed  bottom  1.  corner,  Hh  (monogram),  fecit ;    watermark  (indistinct), 
an  imperial  eagle  with  a  coat-of-arms  on  its  breast. 
Purchased,  1847.3.6.7. 
Reproduction  :    PI.  LIX. 


H.  Hondius — L.  G.  Horehout — P.  F.  Isaaksz.  167 


ATTRIBUTED  TO  HENDRIK  HONDIUS  I. 

3.   A  Lady  and  Gentleman  in  an  Avenue  in  front  of  a  House. 

The  avenue,  which  stretches  into  the  distance,  is  slightly  to  the  1.  of  the 
centre  ;  the  lady  and  gentleman  stand  in  the  foreground  ;  to  the  r.  in 
the  distance  is  a  square  chateau,  surrounded  by  a  moat  a  river  or  canal 
to  the  r. 

[Tj'jj  X  llj  in.  ;    18-6  X  29-9  cm.]     Pen  and  brown  ink  and  blue  wash  : 
verso,  head  of  a  bearded  man  in  profile  to  the  r. ;   no  watermark. 
Collection  :   Sloane. 
5214—140. 

First  attributed  to  Hondius  in  the  MS.  catalogue  of  the  Sloane  Collection 
of  1845.  This  attribution  is  rendered  at  least  plausible  by  the  resemblance 
to  the  signed  drawing,  No.  2. 


HOREBOUT,  L.  G.  (working  about  1600).  Draughtsman  :  possibly  a 
descendant  of  the  well-known  Ghent  family  of  illuminators  and 
painters,  but  obviously  working  in  Germany.  A  solander  of  twenty 
drawings,  or  rather  offsets  from  drawings  coloured  by  hand,  some 
signed  G.  J.  Horebout  or  with  initials,  which  are  referred  to  in 
the  index  of  Dutch  and  Flemish  Artists,  have  now  been  transferred 
to  German  drawings,  as  the  style  is  clearly  German  and  a  number 
have  inscriptions  in  German  (referred  to  by  Nagler,  Monogrammisten, 
III,  p.  946,  No.  2438). 


ISAAKSZ,  Pieter  Pransz  (b.  1569  ;  d.  1625).  Painter :  b.  at 
Helsingfors,  the  son  of  a  burgher  of  Haarlem  ;  pupil  of  Cornells  Ketel 
at  Amsterdam  and  of  Hans  von  Aachen  at  Munich  ;  accompanied  the 
latter  to  Italy  ;  at  Amsterdam,  1593  ;  went  to  Denmark,  probably 
in  1607,  and  worked  for  Christian  IV  ;  in  Holland  again  in  1610  ; 
returned  to  Denmark,  1614,  but  was  banished  for  three  years  in 
1616  ;  pardoned,  however,  in  the  following  year  and  returned  to 
Copenhagen  ;    d.  at  Helsingfors. 

ATTRIBUTED   TO  PIETER  ISAAKSZ. 

1.    Christian  IV  of  Densiark  (1577-1648). 

He  is  represented  standing  whole-length,  turned  three-quarters  to  the  r., 

his  1.  hand  on  his  hip,  his  r.  holding  a  cane. 

[Hi  X  15{|  in.  ;    29-8  X  14-8  cm.]     Black  chalk,  the  paper  spotted  with 

oil-colour. 

Bequeathed  by  the  Rev.  William  Fawkener,  1769. 

5213—32. 

Reproduction  :   PI.  LXI. 

The  attribution  to  Isaaksz  would  seem  to  be  that  of  Dr.  Bredius  and 
to  rest  on  the  personage  being  probably  Christian  IV.  Other  court  painters 
of  the  Danish  king,  like  Karel  van  Mander  II,  might  be  considered.  The 
drawing  has  the  appearance  of  being  the  working  sketch  for  a  picture. 
Compare  the  engraving  of  the  king,  after  Isaaksz,  by  Jan  Miiller,  dated 
1625.  The  present  drawing  appears  to  be  of  about  the  same  date.  The 
statement  in  the  MS.  catalogue  of  1845,  that  the  drawing  is  the  study  for 
a  portrait  of  the  king  at  Hampton  Court  (now  attributed  to  K.  van  Mander, 
No.  98),  is  quite  erroneous. 


168  Dutch  and  Flemish  Drawings. 


LIEPRINCK,  Hans,  I  (b.  1518  ?  ;  d.  1573).  Engraver  and  publisher  : 
perhaps  b.  at  Augsburg  ;  member  of  the  Guild  at  Antwerp  in  1538, 
dean  1558  ;   buried  at  Antwerp. 

1.  POBTRAIT    OF    ChABLES    IX    OF    FrANOE. 

Bust,  turned  three-quarters  to  the  1.,  wearing  hat  with  phime  and  small  ruff. 

[9jg  X  8 A  in.  ;    25-2  X  21  cm.]     Black  and  red  chalk  :    inscribed  top  r. 
Carolus  Gallorum  Bex  and  bottom  1.  Hans  Liefrinck  Fee: 
Purchased,    1900.7.17.34. 
Reproduction  :    PI.  LX. 

L.  Dimier  (Histoire  de  la  Peinture  de  Portrait  en  France  au  XVI  siecle. 
Paris,  1925,  Vol.  II,  p.  334,  No.  1354)  writes  :  "  Liefrinck  n'est  pas 
I'auteur  de  ce  crayon  ;  une  gravure  d'ou  sans  doute  on  I'aura  tire,  aura 
porte  cette  signature."  The  signature  appears  to  me  to  be  genuine.  As 
no  other  drawings  by  Liefrinck  are  known,  it  is  certainly  rash  to  assume  that 
this  is  not  by  him.  Some  connection  with  Liefrinck  is  assured  by  the  small 
full-length  engraving  of  Charles  IX  by  A.  de  Bruyn,  published  by  Liefrinck. 
The  head  of  this  exactly  reproduces  the  drawing  in  reverse  on  a  smaller 
scale.  If  this  is  the  engraving  to  which  M.  Dimier  refers,  why  should 
the  copyist  have  added  Hans  Liefrinck  Fee:  when  the  engraving  has 
H.  Liefrinck  ex  as  well  as  the  well-known  monogram  of  A.  de  Bruyn  ? 
M.  Dimier  further  refers  to  the  drawing  as  a  copy  of  his  No.  471,  a  drawing 
of  Charles  IX,  without  a  beard,  at  Petrograd.  He  appears  to  have  intended 
to  refer  to  his  No.  476,  Charles  IX  at  the  age  of  twenty-two,  a  drawing  in 
the  Bibliotheque  Nationale  (ill.  Dimier,  Vol.  I,  pi.  31),  from  which  type  the 
present  drawing  certainly  derives,  without  being  a  direct  copy  of  the 
Paris  drawing  (cf.  for  example  the  feather  in  the  cap).  This  drawing  and 
the  following  one  are  referred  to  and  accepted  as  Liefrinck's  by  W.  Stechow 
in  his  article  in  Thieme-Becker's  Kiinstlerlexikon. 

2.  Portrait  called  "  Dux  Andegavensis." 

Bust,  turned  three-quarters  to  the  r.,  wearing  hat  with  plume  and  small  ruff. 

[lOf  X  8f  in.  ;      26-3  X  21 -9  cm.]     Black     and     red     chalk:      inscribed 

top  r.  Dux  Andegauensis ,  and  bottom  1.  Hans  liefrlck/Fec : 

Purchased,  1900.7.17.35. 

Reproduction  :    Kleinmarui,  Serie  IV,  Bl.  45  ;    PI.  LX. 

Companion  drawing  to  the  preceding.  L.  Dimier  (op.  cit..  Vol.  IF, 
p.  335,  No.  1358)  has  the  same  remark  to  make  about  the  attribution  to 
Liefrinck,  with  the  addition  of  "  mauvais  "  in  reference  to  the  quality  of 
the  drawing.  He  says  it  represents  Charles  IX,  not  Henry  III  as  Duke  of 
Anjou,  and  is  a  copy  of  his  No.  472,  which  turns  out  to  be  a  portrait  of 
Queen  Marguerite  of  Navarre.  His  No.  471,  to  which  he  may  have  intende<l 
to  refer,  a  portrait  of  Charles  IX  at  Petrograd,  is  in  the  reverse  direction. 
The  drawing  does  in  fact  seem  to  represent  Charles  IX,  not  Henry  III. 
and  to  be  derived  from  the  type  of  Dimier's  No.  1339,  a  drawing  in  the 
Bibliotheque  Nationale,  though  not  an  actual  copy  of  this. 


MANDER,  Karel  van,  the  Elder  (b.  1548;  d.  1606).  Painter  and 
writer  :  b.  at  Meulebeke  near  Courtrai ;  pupil  of  Lucas  de  Heere  in 
Ghent  and  of  Pieter  Vlerick  in  Courtrai  up  to  1569  ;  visited  Italy  in 
1573  and  met  Bartolomeus  Spranger  in  Rome  ;  returned  to  the 
Netherlands  in  1577,  working  at  Vienna  with  Spranger  for  a  short 
time  on  the  journey  ;  moved  to  Holland  in  1583,  owing  to  the  troubles 
in  Flanders,  and  settled  at  Haarlem,  where  he  remained  until  1604, 
when  he  moved  to  Amsterdam.  With  Goltzius  and  Cornelis  Coruelisz 
van  Mander  was  the  founder  of  the  Haarlem  "  Academy  "  about  1583. 


K.  van  Mander — J.  Matham.  169 


Lit. :  Elisabeth  Valentiner,  Karel  van  Mander  als  Maler,  Strass- 
burg,  1930. 

A  drawing  previously  attributed  to  Karel  van  Mander  the  elder 
has  been  transferred  to  drawings  by  Karel  van  Mander  III  (XVIIth 
century). 

1.  St.  Maby  Magdalene  in  Penitence. 

She  is  seen  half-length,  turned  to  the  r.,  praying  before  a  book  open  in 

front  of  her  ;    tree-trunks  behind  to  the  1.,  and  in  the  distance  to  the  r.  a 

small  representation  of  her  wiping  the  Saviour's  feet  ;  two  oherubs  with 

harp  and  lute  above  in  a  clovid. 

[l^s  X  5JJ  in.  ;    18-9  X  14-5  cm.]     Pen  and  brown  ink  and  brown  wash 

and  Chinese  white  :   signed  with  monogram  KM  centre  bottom. 

Collection  :    E.  Peart. 

Presented  by  Basil  Gray,  Esq. 

1931. 10. 5. L 

Reproduction  :    PI.  LXI. 

Drawing  for  the  engraving  No.  4  in  the  series  of  the  Repentant  Sinners 
of  the  Old  and  New  Testaments,  published  by  Jacob  de  Gheyn  (Valentiner, 
p.  99,  No.  4,  and  p.  37).     Fraulein  Valentiner  dates  the  series  about  1595. 

ATTRIBUTED  TO  KAREL  VAN  MANDER   I. 

2.  Prometheus. 

He  is  bound  to  a  tree-stuinp  ;  the  eagle  attacks  him  from  the  1.  ;  an  old 
man  on  the  r.  looks  up  in  horror  as  he  hurries  by  ;  a  bridge  over  a  canal 
in  the  distance  on  the  1. 

[3/g  X  4|  in. ;  8-8  X  11-1  cm.]     Pen  and  brown  ink  and  blue  wash,  the 

outlines  indented  for  transfer. 

Collection:    S.  Woodburn  (Sale,  June  21st,  1854.  lot  1168). 

Purchased,  1854.6.28.41. 

Reproduction  :    PI.  LXT. 

3.  A  Ship  Attacked  by  a  Swokd-Fish. 

A  sailing  vessel  with  an  elephant  figure-head  is  attacked  by  a  sword-fish 

from  the  1.  ;    the   sailors   are  attempting  to  ward   off   the  danger  with 

boat-hooks. 

[3/g   X  4j'j,  in.  ;     8-4  X  11 -2  cm.]     Pen    and    brown    ink  and    blue  wash. 

the  outlines  indented  for  transfer. 

Collection  :    As  above. 

Purchased,  1854.6.28.41. 

Reproduction  :    PI.  LXI. 

Both  drawings  described  by  Fraulein  Valentiner  {loc.  cit.,  p.  127, 
No.  11,  and  p.  126,  No.  6)  who  rightly  says  neither  is  by  Karel  van  Mander 
the  elder,  but  wrongly  that  the  two  are  by  different  hands  and  that  No.  2 
is  "  offenbar  Ausschnitt  aus  einer  grosseren  Komposition."  Both  are 
in  fact  the  original  drawings  for  illustrations  to  J.  C.  Vondel's  Den 
Gulden  Winckel  der  Konstlievende  Nederlanders,  Amsterdam,  1613,  No.  1 
on  p.  9  and  No.  2  on  p.  70.  The  plates  are  already  very  much  worn  in 
this  publication  and  must  have  been  used  before.  The  style  points  to 
Antwerp  and  a  follower  of  Martin  de  Vos  rather  than  to  Holland. 


MATHAM,  Jacob  (b.  1571  ;  d.  1631).  Engraver,  draughtsman  ami 
publisher  :  b.  at  Haarlem  ;  pupil  of  his  stepfather,  Hendrick  Goltzius  ; 
visited  Italy  about  1593-97  ;  member  of  the  Haarlem  Guild  1600, 
dean  1605  ;   d.  at  Haarlem. 


170  Butch  and  Flemish  Drawings. 


ATTRIBUTED  TO  JACOB  MATHAM. 
1.   Vulcan. 

He  is  naked,  seated  astride  an  anvil,  his  body  to  the  front  but  his  head  in 
profile  to  the  1.  ;  his  r.  hand,  which  grasps  a  hammer,  rests  on  the  brick- 
work of  the  forge  ;   view  through  an  opening  on  the  r. 

[I5/5  X  11^3(5  in.  ;  38-6  X  28-4  cm.]  Pen  and  reddish  brown  ink: 
inscribed  on  the  verso  in  an  18th  century  hand  golchius,  and  at  bottom, 
in  pencil,  Matham. 

Presented  by  J.  Deffett  Francis,  Esq.,   1874.12.12.166. 
Reproduction  :   PI.  LXIII. 

I  do  not  know  the  grounds  for  the  attribution  to  Matham,  which  appears 
in  the  register  of  1874.  It  certainly  belongs  to  that  school  as  the  drawing 
of  the  landscape  shows,  but  it  is  a  conscious  imitation  of  the  style  of 
drawing  of  Bandinelli  and  Passerotti.  It  is  not  unlike  Matham's  style  in 
his  engravings  after  Italian  pictures,  such  as  that  after  Tintoretto,  B.  192. 


MOMPER,  Joos  (Jodocus)  de  (b.  1564  ;  d.  1635).  Paiuter  and  etcher  : 
b.  at  Antwerp  ;  journeyed  in  Italy  and  Switzerland,  entering  the 
Antwerp  Guild  on  his  return  in  1581  ;  dean  of  the  Guild,  1611  ; 
collaborated  with  many  other  artists,  Hendrick  van  Balen,  Frans 
Francken  II,  Ambrosius  Francken,  Hieronymus  Francken,  Joris 
Paludaen,  Hans  Snellinck  I,  Juliaen  Teniers,  Tobias  Verhaeght  and 
Sebastian  Vranx. 

For  a  drawing  formerly  attributed  to  Momper,  see  copy  after 
Paul  Bril,  No.  13. 

1.  Landscape  with  a  View  of  the  Sea. 

On  the  1.  and  r.  are  wooded  banks  ;    a  road  runs  from  the  foreground  back 

to  the  r.  ;   beside  it,  on  the  1.,  is  a  farm  building  ;  mountains  m  the  distance 

on  the  r.,  and  on  the  1.  the  sea  with  the  setting  sun. 

[8|  X  13j-g  in.  ;    22-5  x  35 -4  cm.]     Pen  and  brown  ink  and  brown  and 

grey  wash  :    signed  and  dated  in  bottom  r.  corner,  Joes  de  mompere /I^IO  : 

watermark,  a  shield  with  a  post-horn. 

Bequeathed  by  Richard  Pavne  Knight,  Esq.,  1824. 

Oo.  9-48. 

Reproduction  :    PI.  LXII. 

2.  The  Sea  Coast  with  Fishing  Boats  and  a  Castle. 

On  the  bank  on  the  1.  three  men  are  engaged  in  cooking  fish  at  a  fii-e  ; 
their  boat  is  moored  to  the  bank  ;  further  in  the  distance  is  a  castle  on 
a  promontory  ;  to  the  r.  other  fishing  boats  and  part  of  the  coast  with  fisher- 
men casting  nets. 

[lOjS,  X  16|  in.  ;  26-1  X  42 -6  cm.]  Pen  and  brown  ink  and  brown  and 
grey  wash  over  black  chalk  :  inscribed  bottom  r.  corner,  Mompert  in  a 
later  hand. 

Collection  :    Fairfax  Murraj^ 
Purchased,  1920.10.12.3. 
Reproduction  :  PI.  LXII. 

3.  A  Mountain  Road  with  a  Castle  in  the  Distance. 

The  road  winds  round  the  edge  of  a  cliff  on  the  1.  ;    the  ctastle  is  in  the 

valley  below  to  the  r.  ;   mountains  sloping  down  to  the  sea  in  the  distance. 

|7f  X  12  Jin.  ;     19-4  X  30-7  cm.]     Outlines  drawn   with   the  brush   and 

washed  with  brown  :    watermark  not  decipherable. 

Collection  :    Sloane. 

5214—139. 

Reproduction  :    PI.  LXII. 


J.  de  Momper — Monogrammists  Jgf  ami  S.V.GH.  171 


Two  other  versions  of  the  same  subject  are  in  the  BerUn  Kupferstich- 
kabinett,  one.  No.  5718,  with  figiires  on  the  road,  the  other.  No.  704, 
without.  A  picture  of  the  same  landscape,  with  minor  variations,  was  sold  in 
the  Goldschmidt  Sale,  Berlin,  1909. 

A  Lajstdscape  with  a  Ruined  Gateway. 

On  the  r.  is  a  cliff  ;   a  road  from  the  foreground  passes  through  a  solid 
archway  in  the  middle  distance  ;    water  and  low  hills  beyond. 

[6f  X  8  in.  ;    16-8  X  20-3  cm.]     Pen  and  black  ink  and  coloured  washes. 

Collection  :    Sloane. 

5214—115. 


MONOGRAMMIST   BSJ  :   otherwise  unknown ;   presumably  working  in 
Utrecht  or  Liege,  about  1559. 

1.   The  Adobation  of  the  Kings. 

The  Virgin,  seated  in  profile  on  the  1.,  holds  out  the  Infant  to  a  kneeling 
bearded  king,  behind  whom  stand  the  other  two  kings  with  their  gifts 
and  their  attendants  ;  the  scene  takes  place  in  a  ruined  building  reminiscent 
of  the  baths  of  Diocletian. 

[llf  X  10|  in.;    29-6  X  26-5  cm.]     Pen  and  brown   ink   washed   with 

grey  and  heightened  with  white  :    signed  with  monogram  and  dated  1559 

on  the  pier  above  the  Virgin's  head. 

Collection  :  Sloane. 

5236—162. 

Reproduction  :  PI.  LXIII. 

Lit.:   L.  Preibisz,  Martin  van  Ueemskerck,  Leipzig,  1911,  p.    102   (among 

drawings  wrongly  attributed  to  Heemskerck). 

No  attribution  in  the  inventory  of  1837  ;  M.  van  Heemskerck  in  the  MS. 
catalogue  of  the  Sloane  Collection,  1845.  The  monogram  is  certainly  not 
that  of  Heemskerck  :  it  consists  of  the  letters  M,  C  and  H  (though  not 
necessarily  in  that  order).  The  artist  is  obviously  strongly  influenced  by 
Scorel  and  the  drawing  should  be  compared  with  the  pictmres  of  the  subject 
by  Scorel  himself  (Chapel  of  the  Castle  of  Nieuwenbroek  ;  illustrated 
by  G.  J.  Hoogewerff,  Jan  van  Scorel,  The  Hague,  1923,  pi.  24)  and  by  his 
imitators  in  the  Utrecht  Museum  (F.  Diilberg,  Frlthhollander,  II,  Tafel 
XXII)  and  at  Valenciennes  (signed  with  the  monogram  KMD  and  dated 
1555  :  illustrated,  Kunstwerke  aus  dem  besetzten  Nordfrankreich,  1918, 
pi.  117).     The  method  of  using  the  pen  is  like  that  of  Lambert  Lombard. 


MONOGRAMMIST  S.V.GH:  otherwise  unknown ;  presumably  Flemish, 
working  about  1600-20. 

1.    A  Flemish  Fair. 

A  road  crosses  obliquely  from  the  top  1.  to  the  bottom  r.  corner  ;  along  it 
pass  two  carriages  full  of  people  ;  to  the  1.  of  it  are  men  and  women  selling 
apples,  and  a  piece  of  water  on  which  are  three  boats  ;  to  the  r.  of  it  a 
village  with  booths,  peasants  dancing,  etc. 

[8^  X  14 J  in.  ;    21-7  X  37-4  cm.]     Pen  and  brown  ink  and  brown  and 
blue  wash :  signed  on  a  board  in  the  water  to  the  1.  ;    watermark,  a  stag 
saliant,  type  of  Briquet  3287. 
Collection  :  Sloane. 
5236—55. 

No  attribution  m  the  inventory  of  1837  ;  Vinckeboons  in  MS.  catalogue 
of  the  Sloane  Collection,  1845.  The  initials  have  been  ingeniously  inter- 
preted as  those  of  H.  G.  van  Scheyndel,  taking  them  as  reversed,  but 
this  is  not  the  case.  They  are  certainly  to  be  read  S.  V.  OH.  The  artist 
would  appear  to  be  Flemish,  near  in  style  to  Jan  Breughel  I. 


172  Dutch  and  Flemish  Drawings. 


MONTFOORT,  Anthonie  van,  called  BLOCKLANDT  (b.  1532  ; 
d.  1583).  Painter :  b.  at  Delft ;  pupil  of  his  uncle  Hendrick 
Assuerisz  there  and  of  Frans  Floris  at  Antwerp  ;  returned  to  Delft 
in  1582  ;  made  a  short  visit  to  Italy  in  1572,  and  on  his  return  settled 
in  Utrecht ;   he  was  much  influenced  by  the  work  of  Parmigiano. 

For  a  drawing  formerly  attributed  to  Montfoort,  see  Copy  from 
Michel  Coxcie  I  (Corrections,  etc.,  p.  226). 

1 .   AGLAtTRos,  Daughter  of  Cecbops,  showing  Erichthonius  to  her  SieTBKS. 

All  three  sisters  are  naked  and  seated  in  a  group  under  some  trees  ;  Aglauros, 
on  the  r.,  holds  the  basket  containing  Erichthonius  and  the  serpent  and 
points  to  it  with  her  1.  hand  ;  another  sister  on  the  1.  makes  a  languid 
gesture  of  surprise. 

[7f  X  10]-|  in.  ;    19-7  X  27-5  cm.]     Pen  and  brown  ink  and  brown  wash  : 

inscribed  bottom  1.  in  an  old,  probably  contemporary,  hand,  Anthoniu-i 

blocklant. 

Collection  :  Sloane. 

5236—43. 

Reproductions  :   Oud-Holland,  XL VIII  (1931),  p.  75  ;   PI.  LXIV. 

Mme.  Vuik,  loc.  cit.,  compares  the  style  to  that  of  the  series  of  Adonis, 
engraved  by  Galle.  The  handling  of  the  present  drawing  is  less  free  than- 
that  of  the  obviously  genuine  drawing  at  Amsterdam  (repr.  M.  D.  Henkel. 
Le  Dessin  hollandais,  Paris,  1931,  PL  XII)  and  is  perhaps  a  copy.  I  do 
not  think  the  name  is  necessarily,  as  Mme.  Vuik  supposes,  a  signature. 


MULLER,  Jan  Harmensz  (b.  1571  ;  d.  1628).  Engraver :  b.  at 
Amsterdam  ;  pupil  of  his  father  Harmen  Jansz  Miiller  and  of  Hendrick 
Goltzius  ;   worked  at  Amsterdam  and  perhaps  at  Antwerp. 

1-4.    Series  of  Four  Drawings  of  Gods  of  Nature. 

[Each,  Uj%  X  83-Oj  in.  ;    33-8  X  21-7  cm.]     Pen  and  black  ink. 
Ptu-chased,  1862.12.13.556  .   .   .  559. 
Reproduction  :    PI.  LXIV  (No.  2). 

1.  AuTUMUS  {sic)  Tempus  /  Fructuum. 

The  bearded  god  stands  facing  to  the  front,  his  r.  hand  on  a  tall  basket 
of  fruits  which  stands  on  a  stone  ;  in  his  1.  hand  he  holds  a  cucumber  ; 
behind  to  the  r.  is  a  vase  also  containing  fruits. 

Inscribed  as  above  top  1.  ;    signed   bottom    r.,  Johannes  Hermani  / 
fecit  den  30  novebrj  f  Anno  1585. 

2.  Triptolomus.  /  Dispensator  Frugum. 

The  bearded  god  holds  a  sieve  or  basket  under  his  1.  arm  and  a  trmicheon 
in  his  r.  hand  ;   he  advances  towards  the  1.,  his  r.  foot  on  a  large  stone. 

Inscribed  as  above  top  r.  ;    signed  bottom   r.  on   tablet,    Johannes 

Hermani  I  fecit  anno  1586  /  in  Julio. 

Watermark,  coat-of-arms  of  the  University  of  Paris,  like  Briquet  1846. 

3.  Aristeus  Inventor.  /  Mellis. 

The  bearded  figure  advances  towards  the  1.,  holding  a  bee-hive  in  both 
hands  in  front  of  him  ;   he  wears  a  cloak  over  his  shoulder. 

Inscribed  as  above  top  1.  ;    signed  bottom  1.   on    tablet,  Johannes  / 
Hermanni  /fecit  datum  /  29  septemhri  1586. 


./.  H.  Muller — A.  van  Noort — L.  van  Noort.  173 


4.     CyPAEISSUS.    /   DiLECTUS    SiLVANO. 

He  stands  facing  to  the  front,  his  head  turned  three-quarters  to  the  r.  ; 
he  carries  a  quiver,  and  his  bow  is  on  the  ground  to  the  I.  ;  his  head, 
hands  and  feet  are  being  transformed  into  leaves,  branches  and  roots. 

Inscribed  as  above  top  1.  ;    signed  bottom    1.    on   tablet,   Johannes 
hermanni  /fecit  Anno  1586  /  den  22  Januarij  (=  Jan.  22,  1587,  N.S.). 

The  style  of  the  four  drawings  is  very  unlike  that  of  Jan  Harmensz 
Miiller  as  we  know  it  from  his  engravings,  and  the  signatures  Johannes 
Hermanni,  "  John  son  of  Hermann,"  might  be  those  of  some  unknown 
artist  or  amateur  with  those  laot  unusual  names  :  it  does,  however,  resemble 
that  of  the  engravings  by  Jan  MuUer's  father  and  master,  Harmen  Muller, 
and,  as  in  1585  Jan  was  only  fourteen,  they  may  well  be  his  work  at  this 
early  age.  They  are  either  drawings  in  the  style  of  engravings  or  actual 
copies  of  engravings  after  originals  by  Frans  Floris  or  one  of  his  immediate 
imitators.  I  can  find  no  reference  to  any  corresponding  engravings 
after  Floris. 


NOORT,  Adam  van  (b.  1562;  d.  1641).  Painter:  sou  and  pupil  of 
Lambert  van  Noort ;  visited  Italy  ;  master  in  the  Antwerp  Gruild, 
1587  ;  dean,  1597  ;  more  than  thirty  pupils  are  recorded  in  the 
Antwerp  Liggeren  as  having  entered  his  studio ;  Rubens  and  Jacob 
Jordaens,  the  latter  of  whom  became  his  son-in-law,  were  his  pupils. 

Lit.  :  F.  M.  Haberditzl,  Die  Lehrer  des  Rubens,  Vienna  Jahrbuch, 
XXVII  (1907-8),  p.  167  ff. 

A  drawing  (Sloane  5226-26)  of  Christ  in  the  house  of  Simon, 
formerly  attributed  to  Adam  van  Noort,  has  been  placed  with  drawings 
by  Jan  van  Bouchorst  (XVIIth  century). 

ATTRIBUTED  TO  ADAM  VAN  NOORT. 

1.    Lot  and  his  Daughters. 

The  scene  is  a  cave  ;  there  is  a  large  tree  on  the  1.,  from  which  a  drapery 
in  hung  ;  Lot,  who  is  naked,  is  seated  to  the  r.  with  one  of  his  daughters, 
also  naked,  on  his  knee  ;  the  other  daughter  stands  further  to  the  r., 
behind  a  table,  and  pours  wine  into  a  goblet. 

[6f  X  9  in.  ;    16-3  X  22-9  cm.]     Pen  and  brown  ink  and  brown  wash  on 
cream-coloured  paper,  heightened  with  white  :    watermark,  an  anchor  in 
a  circle,  like  Briquet  567  (Briquet  regards  the  type  as  Venetian). 
Collection  :  Sloane. 

5226 24. 

Reproductions  :    Vienna  Jahrbuch,  XXVII  (1907-8),  p.  178  ;   PI.  LXIV. 

The  attribution,  which  rests  on  a  cei'tain  resemblance  to  the  engraving 
of  Man  and  the  Five  Senses  by  Hans  CoUaert  after  Adam  van  Noort,  and 
first  appears  in  the  MS.  catalogue  of  the  Sloane  Collection  of  1845,  must 
be  regarded  as  extremely  doubtful.  The  Italian  paper  suggests  some 
Flemish  or  even  German  artist  working  in  Venice,  as  does  the  coiffure  of 
the  most  prominent  of  Lot's  daughters. 


NOORT,  Lambert  van  (b.  about  1520  ;  d.  1571).  Painter,  architect 
and  designer  for  glass  :  b.  at  Amersfoort  near  Utrecht ;  member  of 
the  Antwerp  Guild,  1549  ;  burgher  of  Antwerp,  1550 ;  supplied 
cartoons  for  six  of  the  windows  in  the  church  of  St.  John  the  Baptist 
at  Gouda,  dated  1560,  1561  and  1562  ;    d.  at  Antwerp.     His  style 


174  Dutch  and  Flemish  Dravjiwjs. 


shows  the  influence  rather  of  Lambert  Lombard  than,  as  has  been 
stated,  of  Floris. 

1.  Esther  before  Ahasxjerus. 

Ahasuerus,  wearing  a  turban,  is  seated  on  a  throne  on  the  r.  and  holds  out 
his  sceptre,  which  Esther,  kneeUng  before  him,  kisses  ;  an  attendant  holds 
up  Esther's  train  and  other  women  stand  behind  her  ;  fovir  men  are 
grouped  behind  Ahasuerus'  throne. 

[11|  X  9,1^  in.  ;     30-1  X  23   cm.    (bottom  1.  corner  torn  off).]     Pen  and 
brown  ink,  washed  with  grey,  yellow  and  blue  :    signed  on  the  step  of  the 
throne,  L.)0(.N.  (practically  obliterated)  and  dated  below,  1558. 
Collection  :  Sloane. 
5214—296. 
Reproduction  :  PL  LXV. 

Formerly  attributed  to  Lucas  de  Heere  and  catalogued  under  this 
name  in  Mr.  Binyon's  Catalogue,  of  Drawings  by  British  Artists  and  Artists 
of  Foreign  Origin  working  in  Great  Britain,  Vol.  II,  1900,  p.  28.  Van 
Noort's  signature  was  perfectly  clear  on  the  application  of  chemicals. 

2.  Christ  Disputing  with  the  Doctors. 

The  youthful  Saviour  is  seated  on  a  stone  bench  somewhat  to  the  r.  of 
the  centre  and  turned  to  the  1.  ;  a  bearded  doctor  is  seated  on  a  lower 
level  in  profile  to  the  r.  and  reads  from  a  large  book  ;  two  seated  and  two 
standing  rabbis  and  the  Virgin  with  St.  Joseph  are  behind  ;  the  scene 
takes  place  in  a  large  vaulted  building  with  Corinthian  columns. 

[Imp.,  19 J  X  13|^  in.  ;    49-6  X  34-3  cm.  (made  up  of  four  pieces  of  paper 

pasted  together).]     Pen  and  brown  ink  and  brown  wash  :    old  inscription 

HD  Wrieso  on  step  of  Christ's  seat  :    backed  :    watermark,  a  small  shield 

with  a  crown  above  and  a  scroll  below,  indistinctly  visible. 

Collection  :  Sloane. 

6237—126. 

Reproduction  :  PL  LXV. 

The  drawing  appears  to  be  a  preliminary  design  for  the  window  in  the 
chxirch  at  Gouda  of  the  same  subject,  signed  by  Lambert  van  Noort  and 
dated  1560.  The  drawing  of  the  figures  is  quite  in  the  same  style  as  that 
in  the  signed  drawing  described  above  and  in  other  drawings  in  the  Alber- 
tina  (Benesch  111  and  112).  The  old  attribution  to  Jan  Vredeman  de 
Vries  probably  rests  merely  on  the  fact  that  the  drawing  is  mainly  archi- 
tectural. But  van  Noort  was  also  an  architect,  and  there  is  no  reason  for 
supposing  that  de  Vries  collaborated  in  the  design  of  the  windows.  The 
drawing  corresponds  roughly  with  the  three  L  hand  upper  lights  of  the 
window  (reversed  in  the  engraving  by  P.  Tanje).  In  the  window  there  is 
a  standing  figure  to  the  1.  of  the  seated  doctor,  and  the  other  figures  are 
grouped  somewhat  differently  ;  the  capitals  of  the  columns  are  Ionic 
instead  of  Corinthian  and  the  end  of  the  transept  is  open  instead  of  being 
closed  by  an  arcade. 


PASSE,  Crispin  van  de,  the  Elder  (b.  about  1565 ;  d.  1637). 
Apparently  a  pupil  of  Dirk  Volckertsz  Coornhert  in  Haarlem  ;  first 
dated  engraving  1589  ;  master  in  the  Antwerp  Guild,  1585  ;  subse- 
quently worked  in  Cologne,  then,  some  years  before  1613,  in  Utrecht. 

1.   Equestrian  Portrait  of  George  William,  Elector  of  Brandenburg 
(1595-1640). 

He  wears  an  ermine  cloak  and  a  coronet,  and  his  horse,  which  is  rearing, 
is  directed  to  the  1.  ;  he  holds  the  reins  with  his  r.  hand,  and  his  L,  from 
which  a  key  hangs,  is  on  his  hip  ;  a  blank  shield  at  the  top  to  the  r.  ;  in 
the  distance  on  the  1.  is  a  bridge  over  a  river  with  a  town  on  the  far  bank. 


C.  van  de  Passe — F.  Pourbus.  175 

[13  X  10^'^in.  ;      33  X, 25 -9  cm.]     Black    and    red    chalk,    the    outlines 
indented  for  transfer  :   watermark,  an  imperial  eagle  ;    on  the  verso,  studies 
of  the  back  legs  of  a  horse,  partly  traced  through  from  the  recto,  and  of 
the  rider  and  the  inscription  Crispin[us]  j  vanden  Brouch. 
Presented  by  Mrs.  A.  S.  Hartrick. 
1928.5.23.1. 

Drawing  used  for  the  engraving,  Franken  395,  one  of  the  series  of  the 
Emperor  and  the  Electors  on  horseback  (in  reverse).  As  other  engravings 
of  the  series  (e.g.  Ferdinand,  Bishop  of  Cologne)  are  signed  Crispinus' 
Passaeus  junior  and  this  one  Crispinus  Passaeus  fecit,  it  can  be  assumed 
that  this  is  the  work  of  the  elder  de  Passe.  I  cannot  explain  the  inscription 
Crispin\us]  vanden  Brouck,  which  is  in  de  Passe's  writing  (cf.  drawing  at 
Amsterdam,  repr.  Amsterdam  Drawings,  II,  61).  The  set  of  engravings 
must  date  from  after  1619,  when  Ferdinand  II,  who  is  included,  became 
Emperor. 

2.  Portrait  of  a  Young  Man. 

He  is  represented  half-length,  turned  three-quarters  to  the  r.,  behind  a 
table  on  which  his  r.  arm  rests  ;  his  1.  hand  is  on  his  hip  ;  on  the  table 
to  the  r.  is  a  watch  and  to  the  1.  a  rose  and  a  pink. 

[9|  X  7|^in.  ;    23-7  X  19  cm.]     Pen  and  brown  ink  on  vellum,  carefully 

finished  in  the  style  of  an  engraving  :    signed  in  the  centre  at  the  bottom, 

C.  de  pas. 

Collection  :   Richard  Bull  (Sale,  Sotheby's,  Mav  23rd,  1881,  lot  100). 

Purchased,  1881.6.11.175. 

Reproduction  :    PI.  LXVI. 

The  watch  on  the  table,  to  which  the  young  man  is  pointing,  and  the  flowers 
probably  allude  to  the  passage  of  time  and  the  fading  of  youth  :  the  watch 
is  not  intended  as  an  indication  of  the  man's  trade.  In  the  Bull  Sale 
Catalogue  it  was  described  as  a  self-portrait,  for  which  there  seems  to  be 
no  justification.  The  date,  to  judge  from  the  costume,  is  about  1620-30. 
and  it  must  remain  doubtful  whether  it  is  the  work  of  the  younger  or  of 
the  elder  Crispin. 

ATTRIBUTED   TO   CRISPIN  VAN  DE  PASSE   I. 

3.  Portrait  of  a  Lady. 

She  is  represented  half-length  and  "turned  three-quarters  to  the  1.  ;  her 
1.  hand,  which  holds  a  handkerchief,  rests  on  a  table  in  front  of  her  ;  on 
her  r.  hand  is  perched  a  bird  ;  she  wears  a  low-necked  dress  with  an  open 
lace  collar,  puffed  and  slashed  sleeves  and  jewellery. 

[6J  X  4^J  in.  ;     15-8  X  11 -9  cm.]     Pen  and  brown  ink  in  the  style  of  an 
engraving  :    backed,  no  watermark  visible. 
Collection  :    Sloane. 

5227 2. 

Reproduction  :    PI.  LXVI. 

No  attribution  in  the  inventory  of  1837  ;  L.  Vorsterman  in  the  MS. 
catalogue  of  the  Sloane  Collection,  1845.  The  drawing  is  in  the  style  of  a 
Dutch  or  Flemish  engraver  of  about  1580-90,  but  the  attribution  to  C. 
van  de  Passe  must  be  regarded  as  extremely  doubtful.  There  is  no  clue 
to  the  identity  of  the  lady  represented,  if  indeed  the  drawing  is  a  portrait. 


POURBUS,  Frans,  I  (b.  1545 ;  d.  1581).  Painter :  b.  at  Bruges ; 
son  of  Pieter  Pourbus  I  ;  pupil  of  his  father  at  Bruges  and  of  Frans 
Floris  at  Antwerp  from  1562  ;  master  in  the  Guild  at  Antwerp,  1569  ; 
married  Susanna  Floris,  daughter  of  the  sculptor  Cornells  Floris,  in 
the  same  year  ;   d.  at  Antwerp. 


176  Dutch  and  Flemish  Drawings. 

1.   The  Flood. 

The  ark  is  seen  floating  on  the  water  in  the  middle  distance  ;  above  it 
flies  the  dove  with  the  ohve  branch  ;  the  the  foreground,  on  the  earth 
which  the  falling  waters  have  left  exposed,  lie  the  bodies  of  men,  womeji 
and  children. 

[Oval,   \\\  X  lOJin.  ;    28-3  X  25-8  cm.]     Pen  and  brown  ink  and  blue 
wash  :    signed  at  bottom,  F  Pourbus  Fe{cit)  :    no  watermark. 
Collection  :   Sloane. 
5237 59. 

Reproduction  :   PI.  LXVII. 

A  similar  representation  of  the  subject  in  this  rather  unusual  phase 
is  the  design  for  a  glass  roundel  by  Lambert  van  Noort  sold  in  the  Duval 
Sale,  Amsterdam,  June  22nd  to  23rd,  1910,  lot  272  (ill.  in  Sale  Catalogue). 
The  present  drawing  is  also  presimiably  a  design  for  glass. 

ATTRIBUTED   TO  FRANS  POURBUS  I. 

2.    Portrait  of  an  Elderly  Lady. 

Bust,  turned  three-quarters  to  the  r.,  wearing  a  small  ruff  and  a  cap. 

[7|  X  6^1  in.  ;    20  X  17-6  cm.]     Black  and  red  chalk  and  a  slight  yellow 

wash  for  the  hair. 

Bequeathed  by  Richard  Payne  Knight,  Esq.,  1824. 

Oo.  9—6. 

Reproduction  :   PL  LXVI. 

The  portrait,  to  judge  from  the  costume,  dates  from  about  1580. 
The  attribution  to  F.  Pourbus  appears  in  the  inventory  of  1837  ;  in  the 
MS.  catalogue  of  1850  the  artist  is  identified  as  the  younger  Frans  Pourbus, 
but  the  apparent  date  as  well  as  the  style  point  to  the  elder  Frans  (the 
yoimger  was  only  born  in  1569  or  70).  The  attribution  may  rest  on  some 
sound  tradition  ;   it  is  at  any  rate  a  reasonable  one. 

SADELER,  Aegidius  (Gillis)  (b.  about  1570 ;  d.  1629).  Engraver  : 
b.  at  Antwerp  ;  brother  of  Jan  Sadeler,  with  whom  he  went  to  Rome 
in  1593  ;  in  Munich,  1595  ;  summoned  to  Prague  by  the  Emperor 
Rudolf  II,  1600  ;  served  the  Emperors  Matthias  and  Ferdinand  II 
after  Rudolf's  death  ;   d.  at  Prague. 

1.  Narcissus. 

He  is  seated  on  a  bank,  holds  a  spear  in  his  r.  hand  and  looks  at  his  reflection 
in  a  pool  on  the  1. 

[7f  X  5JI  in.  ;     18-7  X  14 -8  cm.]     Pen  and  brown  ink  and  brown  wash 
on  blue  paper,  heightened  with  white  :    signed  at  bottom   to    1.    Egidins 
Sadeler  Fecit  Praga  1601. 
Purchased,  1877.5.12.273. 
Reproduction  :   PI.  LXVII. 

In  this  drawing  Sadeler  shows  himself  a  close  imitator  of  Hans  von 
Aachen,  Rudolf's  court  painter  at  Prague. 

2.  Portrait  of  a  Gentleman. 

In  oval,  turned  three-quarters  to  the  1.,  wearing  armour  ;  a  coat-of-arms, 
indistinctly  sketched,  is  on  the  1. 

[5j7g  X  3J^  in.  ;     13-7  X  10  cm.]     Pen  and  brown  ink  and  brown  wash, 

the  face  elaborately  finished,  the  body  sketched  in  ;    a  falling  collar  has 

been  drawn  in  over  a  ruff. 

Collections  :    Verstolk  van   Soelen,   Leembruggen   (Sale,    1866,   lot   557), 

Malcolm  (Cat.  570). 

Purchased,  1895.9.15.1028. 

Reproduction  :    PI.  LXVII. 


A.  Sadeler — J.  Saenredam.  177 


The  inscription,  if  not.  a  signature,  must  be  contemporary.  The 
drawing  was  presumably  made  for  an  engraving,  but  this  I  have  not  been 
able  to  identify. 

3.    St.  Jerome  in  the  Wilderness. 

The  saint  kneels  towards  the  r.,  before  a  crucifix  on  a  rock;  he  turns 
back  to  look  at  the  angel,  who  descends  from  the  1.  ;  the  lion  lies  on  the 
ground  in  front  to  the  r.  and  the  cardinal's  hat  is  to  the  1. 

[9^    X  Bj^g  in.  ;   24  X  16-4  cm.]     Pen  and  brown  ink  over  black  chalk,  the 

background  and  the  angel  unfinished. 

Bequeathed  by  William  Fawkener,  Esq.,  1769. 

5211—47. 

Reproduction  :    PI.  LXVIII. 

The  attribution  to  Sadeler,  which  dates  at  least  as  early  as  the  inventory 
of  1837,  probably  rests  on  an  authentic  tradition.  The  drawing  is  obviously 
the  work  of  an  engraver.  It  would  appear  to  be  an  original  composition 
by  Sadeler,  in  the  manner  of  Palma  Giovane. 


SAENREDAM,  Jan  (b.  about  1565  ;  d.  1607).    Engraver  :  b.  at  Saerdam  ; 
pupil  of  Jacob  de  Gheyn  and  of  Hendrick  Goltzius  ;   d.  at  Assenfeldt. 

1-3.   Three  Illustrations  of  the  Story  of  Lot. 

Bequeathed  by  F.  W.  Smith,  Esq.,  through  the  National  Art-Collections 

Fund. 

1923.1.13.14. ..16. 

1.  Lot  Receiving  the  Angels. 

Lot  kneels  on  the  1.,  holding  his  turban  in  his  r.  hand,  while  with  his 
1.  he  grasps  the  1.  hand  of  the  second  of  the  two  angels  who  stand  on  the 
r.  ;   buildings  and  three  figures  in  the  background  on  the  1. 

[13  X  llj\  in.  ;      33  X  28- 7  cm.]     Black    and    red    chalk    on    cream- 
coloured  paper,  heightened  with  white  :    signed  along  bottom  edge  to  1. 
Joan.    Saenredam  fecit  and  numbered  1.  at  bottom,  a  little  to  the  r.  of 
centre:     watermark,  a  hand  :    slight  sketch  on  verso. 
Reproduction  :    PI.  LXVIII. 

2.  Lot  Rescued  from  the  Men  of  Sodom. 

Lot,  issuing  from  his  door  in  the  background  in  the  centre,  is  restrained 
by  the  two  angels  ;  the  men  of  Sodom  on  the  r.  are  threatening  him 
with  their  fists  and  with  clubs  ;  in  the  foreground  on  the  1.  a  youth 
leaning  on  a  spear. 

[13  X  llf  in.  ;  33  X  29-4  cm.]  Same  technique  as  No.  1  :  signed 
middle  bottom,  I  S  fecit,  and  numbered  to  the  r.  2. 

3.  The  Angels  Conducting  Lot  out  of  Sodom. 

Lot,  on  the  extreme  1.,  is  led  by  an  angel,  who  steps  forward  holding  a 
staff  in  his  1.  hand  ;  the  other  angel  is  seen  from  the  back  towards 
the  r.  ;    other  figures  are  in  the  background. 

[13Jjj  X  ll^Sg  in.  ;    33-1   X  29-4  cm.]     Same  technique  as  Nos.  1  and  2  : 
signed   bottom   r.  corner,  J  Sae''  fe  (the  initials  J   and    S    forming    a 
monogram)  ;    numbered  3  in  the  r.  bottom  corner. 
Reproduction  :    PI.  LXVIII. 

The  fourth  of  the  series,  representing  Lot  and  his  daughters,  is  in  the 
Albertina  at  Vienna  (No.  396  of  Benesch's  Catalogue).  The  drawings 
appear  to  have  been  made  for  engraving,  as  the  figures  are  represented 
left-handed  (e.g.  in  No.  1),  but  the  engravings  were  not  carried  out. 

N 


178  Dutcli,  and  Flemish  Draivings. 

COPY  FROM  JAN  SAENREDAM. 

4.    Bacchus,  Venxts,  Cebes  and  Cupid. 

The  figures  are  half-length  ;  Venus  is  in  the  centre  ;  Bacchus,  to  the  1. 
behind  her  with  one  hand  on  her  shoulder,  holds  up  a  bunch  of  grapes,  for 
which  Cupid  reaches,  with  the  other  ;  Ceres,  holding  a  sickle  in  her  1. 
hand,  is  on  the  r.  in  profile  to  the  1. 

[9i  X  7|in.  ;      23-1   X  19 -9  cm.]     Pen    and    black    and    brown    ink    on 

vellum. 

Presented  by  J.  H.  Anderdon,  Esq. 

1872.6.8.527. 

The  drawing,  excellent  as  it  is,  can  be  nothing  but  a  copy  from  the 
engraving  by  Jan  Saenredam  after  Abraham  Bloemart  (Bartsch,  III, 
p.  229,  25),  with  which  it  exactly  corresponds.  For  other  versions  of 
this  subject,  "  Sine  Cerere  et  Baccho  friget  Venus,"  see  drawings  by 
Goltzius  (Nos.  5  and  8). 

SPECKAERT,  Jan  (Hans)  (working  1575).  Painter:  b.  at  Brussels; 
said  to  have  been  a  pupil  of  Hans  von  Aachen  ;  worked  at  Florence 
and  at  Rome  ;   on  April  3rd,  1575,  he  is  described  as  paralysed. 

1.   The  Cikcumcision. 

The  Child  is  held  by  St.  Joseph  on  the  r.,  while  the  high-priest,  seated  to 
the  1.,  operates  ;  a  man  holding  a  torch  stands  on  the  1.,  and  the  building 
in  which  the  ceremony  takes  place  is  filled  with  spectators. 

[8JJ  X  7^  in.  ;    22-1  X  18-1  cm.]     Pen  and  brown  ink  and  brown  wash, 

the  outlines  indented  for  transfer. 

Collection  :    Lord  Spencer. 

Bequeathed  by  Richard  Payne  Knight,  Esq.,  1824. 

Reproduction  :    PI.  LXIX. 

The  drawing,  very  much  cut  on  the  r.  and  at  the  bottom,  is  the  original, 
in  reverse,  for  the  engraving  by  Gillis  Sadeler,  with  the  inscription  under- 
neath :    ET  POSTQUAM  CON  SV  MM  AT  I  SVNT  DIES  OCTO 

PBIVS  QVAM  IN  VTEBO  COCIPEB  (impression  in  the  Staedelsches 
Kunstinstitut,  Frankfort). 

SPRANGER,  Bartolomeus  (b.  1546  ;  d.  1611).  Painter  :  son  of  an 
Antwerp  merchant ;  pupil  of  Jan  Mandyn  (1557),  of  F.  Mostaert  and 
of  Cornelis  van  Dalem,  with  the  last  of  whom  he  remained  four  years  ; 
went  to  Paris  in  1564  and  worked  under  Marc  Duval  and  an  unnamed 
painter  ;  went  from  France  to  Italy  and  worked  under  Bernardino 
Gatti  in  Parma  ;  went  to  Rome  in  1567  and  was  patronised  by  the 
Cardinal  Farnese  and  by  Pius  V,  whose  painter  he  became  ;  called  to 
Vienna  in  1575  and  thence  in  1580  to  Prague,  where  he  became  court 
painter  to  the  Emperor  Rudolf  II  ;  granted  arms  in  1588  and  ennobled 
in  1595  ;  visited  the  Netherlands  in  1602  ;  d.  in  Prague.  Spranger's 
exaggerated  and  mannered  style,  derived  from  Parmigiano  and  the 
Zuccari,  had  a  great  influence  on  his  contemporaries,  especially  in  the 
Netherlands,  where  it  was  disseminated  by  the  engravings  of  Goltzius. 
Lit.  :  E.  Diez,  Der  Hofmaler  Bartholomims  Spranger,  Vienna 
Jahrbuch,  XXVIII  (1909),  p.  93  ff.  ;  A.  Niederstein,  Bartolomeus 
Spranger  als  Graphiker  in  Repertorium  fur  Kunstwissenschaff,  LII 
-    (1931),  p.  1  ff. 


B.  Spr anger.  179 

For  two  drawings  formerly  attributed  to  Spranger,  The  Virgin  and 
Child,  1895.9.15.1015  (Malcolm  Catalogue  557)  and  The  Rest  on  the 
Flight  to  Egypt,  1895.9.15.1016  (Malcolm  Catalogue  558),  see  Italian 
drawings,  XVIth  century.  The  former  has  an  old  attribution  to  Giorgio 
Vasari.  A  third  drawing.  The  Holy  Family  with  an  Angel,  N".  7-52, 
has  been  placed  with  German  drawings,  attributed  to  Hans  von  Aachen. 

1.  A  Man  Embracing  a  Woman. 

The  figures  are  half-length  ;  the  woman  (Venus  ?)  is  on  the  r.  ;  the  man 
(Mars  ?)  is  behind  and  puts  his  r.  arm  round  her  bosom  and  his  1.  on  her 
shoulder. 

[4 J  X  3/5  in.  ;    11-4  X  9-1  cm.]     Pen  and  dark  brown  ink,  washed  with 

grey  and  heightened  with  white  ;    touches  of  red  chalk  on  the  faces,  etc. 

Collection  :  Sloane. 

5226-51. 

Reproduction  :  PI.  LXIX. 

First  attributed  to  Spranger  in  the  MS.  catalogue  of  the  Sloane 
CoUeciion,  1845.  Though  not  mentioned  by  Niederstein  the  attribution 
appears  to  me  probably  right  on  comparison  with  other  drawings, 
especially  the  Venus  and  Cupid  with  Mercury  at  Bale  (repr.  Niederstein, 
Abb.  2). 

2.  Venus  and  Cupid. 

Venus  is  seated  on  a  low  stool,  over  which  drapery  hangs,  and  holds  Cupid 
against  her  with  her  r.  arm  ;  he  holds  an  arrow,  with  which  he  threatens 
his  mother,  in  his  r.  hand. 

[7|  X  7f  in.  ;     19-7  X  19 -5  cm.]     Pen  and  brown  ink  and  brown  wash, 

heightened  with  white. 

Collection  :  Sloane. 

5226—143. 

Reproduction  :  PI.  LXIX. 

Attributed  in  the  inventory  of  1837  to  Paolo  Farinati,  and  placed 
since  with  unmounted  drawings  by  that  artist.  The  attribution  to 
Spranger,  which  is  that  of  the  present  writer,  rests  on  stylistic  resemblance 
to  other  drawings  such  as  the  Venus  and  Cupid  on  a  dolphin  in  the  Albertina 
(Benesch,  No.  279  ;    Niederstein,  No.  2). 

3.  Cupid  and  Psyche. 

Psyche  is  seated  on  a  stool  on  the  1.  beside  a  bed  with  hangings  ;  Cupid 
has  alighted  by  her  side  and  embraces  her. 

[6f  X  5/5  in.  ;    16-9  X  13 -9  cm.]     Pen  and  brown  ink  and  brown  wash, 
heightened  with  white. 
Collection  :  Sloane. 
5226-144. 

Formerly  with  anonymous,  unmounted  Italian  drawings.  The  attri- 
bution to  Spranger  is  that  of  the  writer.  For  the  style  compare  the 
drawing  of  Fame  at  Brunswick  (Niederstein,  No.  17,  Abb.  6)  and  of  Cupid 
at  Nuremberg  (Niederstein,  No.  25,  Abb.  12). 


COPY  FROM  BARTOLOMEUS  SPRANGER. 

4.   St.  John  the  Evangelist. 

Half-length,  in  profile  to  the  r.,  supporting  a  book  with  the  r.  and  holding 
a  pen  in  the  1.  hand  ;   the  eagle  is  to  the  1. 

i^A   X  9^in.  ;    15-7  X  24-2  cm.  (top  corners  cut).]     Pen  and  light  brown 
ink  ;    backed,  no  watermark  visible. 


180  Dutch  and  Flemish  Drcaoings. 

Collection  :  Sloane. 

5236—5. 

Reproduction  :   Old  Master  Drawings,  II  (1927),  PI.  II. 

Lit.  :   Niederstein,  p.  31,  No.  67. 

Excellent  as  the  drawing  is,  it  seems  impossible  to  regard  it  as  anything 
but  a  copy  from  the  etching  by  Spranger  (in  the  same  direction).  It 
hardly  seems  likely  that  both  an  original  drawing  and  the  etching  taken 
from  it  would  be  in  the  same  sense,  especially  when  in  the  etching  the 
signature  is  reversed  and  the  saint  holds  his  pen  in  his  1.  hand.  K.  T. 
Parker,  in  the  notice  in  Old  Master  Drawings,  suggests  that  it  might  be 
a  copy  by  J.  de  Gheyn,  which  is  an  attractive  theory. 

5.  Bacchus  akd  Ceres. 

The  figures  are  half-length  ;  Bacchus  is  in  the  centre  in  profile  to  the  r.  ; 
with  his  1.  hand  he  holds  the  r.  hand  of  Ceres,  who  is  behind  to  the  r.  ;  parts 
of  the  figures  of  Venus  and  Cupid,  warming  themselves  before  a  fire,  are 
visible  in  the  background  to  the  1. 

[9J§  X  13^  in.  ;    25  X  34-3  cm.]     Pen  and  brown  ink,  washed  with  brown 

and  heightened  with  white  ;    the  principal  figiires  have  subsequently  been 

partly  painted  over  in  white  and  grey  oil-colour  :    inscribed  in  bottom  r. 

corner,  Golsius. 

Collection  :     William    Sharpe    (inscribed    on    mount,   "  Bought    in    Paris 

November  1822  "). 

Purchased,  1898.12.16.4. 

The  drawing,  which  has  figured  since  its  purchase  in  1898  as  the  work 
of  Goltzius,  is  a  copy  of  the  upper  half  of  Jan  MuUer's  engraving  after 
Spranger  (Bartsch,  III,  p.  288,  No.  74)  with  the  title  Sine  Cerere  et  Baccho 
friget  Venus.  There  is  no  justification  for  the  attribution  to  Goltzius. 
Possibly  a  previous  owner  identified  it  as  the  drawing  of  the  same  subject 
by  Goltzius  described  by  van  Mander  and  now  in  the  British  Museum 
(Goltzius,  No.  5).  The  present  drawing  is  too  close  to  the  engraving  and 
too  feeble  in  style  to  be  the  work  of  Spranger  himself  ;  it  was  not  used  for 
the  engraving,  and  there  seems  no  reason  therefore  to  regard  it  as  Muller's 
work.  The  retouching  is  probably  by  a  different  artist,  who  had  not  the* 
engraving  in  front  of  him. 

Pictures  of  the  same  composition  attributed  to  Spranger  are  in  the 
Vienna  Gallery  (repr.  Vienna  Jahrbuch,  XXVIII  (1904),  p.  116)  and  in  the 
Cleveland  Museum  of  Art,  Ohio.  Both  differ  in  points  of  detail  from 
the  engraving  and  from  each  other. 

MANNER  OF  BARTOLOMEUS  SPRANGER. 

6.  Mars  and  Venus. 

Venus  lies  on  a  bed,  her  head  to  the  1.,  and  is  embraced  by  Mars,  who  is 
seated  behind  supporting  her  ;  to  the  r.  are  two  putti  engaged  in  drawing 
the  curtains  in  front  of  the  bed  ;  in  the  centre  in  front  is  Cupid  with  the 
shield,  sword  and  helmet  of  Mars. 

[Imp.,    15f  X  20|  in.  ;     39  X  52-4  cm.]     Pen    and    brown    ink    on    light 
brown  paper,  heightened  with  white  :    on  the  edge  of  the  step  below  the 
bed  on  the  r.  are  the  traces  of  a  signature,  which  has  been  scratched  out. 
Collection  :  Sloane. 
5214—300. 
•Reproduction  :  PI.  LXX. 

The  drawing,  formerly  attributed  to  Goltzius  (first  in  the  MS.  catalogue  of 
the  Sloane  Collection  of  1845),  only  resembles  Goltzius  when  engraving  after 
Spranger.  The  signature  does  not  appear,  however,  to  have  been  that  of 
Spranger,  and  the  drawing  must  be  put  down  to  an  anonymous  follower. 

7.  A  Naked  Woman  on  a  Bed. 

Her  feet  are  to  the  r.  ;  she  leans  on  her  r.  elbow  and  her  head  is  thrown 
back. 


B.  Spranger — P.  Stevens.  181 

[6f  X  lOj^jj  in.  ;     17-2   X  26 -8  cm.]     Pen  and  brown  ink  on  rough,  light 

brown  paper. 

Bequeathed  by  the  Rev.  Wilham  Fawkener,  1769. 

5212—65. 

Attributed  in  the  inventory  of  1837  to  Annibale  Carracci  ;  in  the  MS. 
catalogue  of  1845  toHendrick  Goltzius.  It  shows  none  of  the  characteristics 
of  the  drawings  of  Goltzius,  but  obviously  belongs  to  the  circle  of  man- 
nerists influenced  by  Spranger  and  may  most  conveniently  be  catalogued 
under  that  name. 


STEVENS,  Pieter,  called  Stephani  (b.  about  1540;  d.  after  1620). 
Landscape  painter  :  b.  at  Malines  ;  a  member  of  the  Guild  there, 
1560  ;  court  painter  to  the  Emperor  Rudolf  II  at  Prague  from  1590 
to  1612  ;  d.  at  Prague. 

1.  Landscape  Composition. 

In  the  centre  is  a  rocky  islet  surmounted  by  trees  ;    to  the  r.  and  1.  are 

miountain  streanis  spanned  by  wooden  bridges  ;    in  the  distance  to  the  r. 

are  hills  crowned  by  fir-trees. 

[8f^   X  ISj'^gin.;  22-1   X  34- I  cm.]     Pen  and  light  brown  ink  :  watermark, 

a  "  K  "  in  a  circle,  like  Briquet  8268. 

Collection  :  Dr.  J.  Law  Adam. 

Purchased,  1921.7.14.3. 

Reproduction  :  PI.  LXX. 

The  name  P.  Stefanus,  in  an  18th  century  hand,  was  written  on  the  old 
mount.  The  style  of  drawing  and  the  type  of  landscape  are  exactly  those  of 
drawings  anciently  attributed  to  Stevens  at  Vienna  and  of  the  engravings 
from  his  designs. 

2.  Studies  or  Two  Seated  Women. 

The  woman  on  the  1.  is  in  profile  to  the  r.  and  is  engaged  in  lace-making  (?); 

the  woman  on  the  r.,  in  profile  to  the  1.,  is  bending  over  some  work  on 

her  knee. 

[5  X  8|  in.  ;    12-6  X  22-6  cm.]      Pen  and  brown  ink  and  brown  wash  : 

no  watermark. 

Collection  :     From    an   album   of   miscellaneous    drawings    purchased    at 

Sotheby's  Sale  of  July  8th,  1853,  lot  292. 

Purchased,  1853.8.13.54. 

Reproduction  :  PI.  LXX. 

The  attribution  to  Stevens,  which  occurs  in  the  register  of  1853,  is  not 
an  obvious  one  and  may  be  presumed  to  rest  on  some  reliable  tradition. 
Though  no  other  figure  drawings  by  him  seem  to  be  known,  the  handling 
is  not  inconsistent  with  the  style  of  his  landscape  drawings.  If  the  attri- 
bution to  Stevens  is  to  be  dismissed,  one  might  suggest  Anthonie  van 
Montfoort.  On  the  verso,  H.  Rogman  is  written  in  black  chalk,  but  this  is 
obviously  out  of  the  question  as  an  attribution. 

3.  Landscape  Composition  :  The  Month  or  November. 

In  the  foreground  on  the  r.  a  woman  is  leaning  down  to  lift  a  basket  ; 
another  woman  to  the  1.  has  her  back  turned  ;  further  back  on  the  1.  are 
other  figures  and  a  herd  of  swine. 

[8f  X  12^5  in.  ;    22  X  31-6  cm.]     Drawn  with  the  point  of  the  brush  in 
sepia,  with  the  addition  of  water-colour  and  white  :    no  watermark. 
Collection  :  Baron  Fagel. 
Purchased,  1847.7.23.110. 
Reproduction  :  PI.  LXXI. 

Bought  as  by  Jan  van  der  Straet  (Stradanus).  The  attribution  to 
Stevens  is  made  by  the  writer  on  comparison  with  the  drawings  at  Vienna 
(Benesch,  Nos.  352  to  355),  some  of  which  are  engraved.  This  would  also 
appear  to  be  a  design  for  one  of  a  series  of  the  Months  and  may  also  be 
engraved. 


182  Dutch  and  Flemish  Drawings. 


STRAET,  Jan  van  der  (Giovanni  Stradano,  Stradanus)  (b.  1523  ; 
d.  1605).  Painter  and  designer  for  illustration  and  tapestry  :  b.  at 
Bruges  ;  pupil  of  his  father,  of  Maximilian  Franck  and  then  at  Antwerp 
of  Pieter  Aertsen,  with  whom  he  remained  three  vears  ;  master  at 
Antwerp,  1545  ;  went  to  Lyons,  where  he  worked  with  Corneille  de 
la  Haye  ;  then  to  Venice  and  Florence,  where  he  became  acquainted 
with  Vasari  and  made  tapestry  designs  for  the  Flemish  weavers  and 
worked  in  the  ducal  palace  ;  also  worked  at  Reggio  and,  in  1559,  in 
the  Belvedere  at  Rome  in  company  with  Salviati ;  returned  to 
Florence  and  worked  with  Vasari  in  the  Palazzo  Vecchio  and  at  Poggio 
a  Cajano  ;   d.  at  Florence. 

For  a  drawing  formerly  attributed  to  Jan  van  der  Straet,  see  above, 
Pieter  Stevens,  No.  3. 

1.  The  Arts  of  Painting  and  Sculpture. 

In  the  centre  a  sculptor  on  a  high  pedestal  is  at  work  on  a  group  of  a 
seated  Victory  with  a  river  god  and  the  wolf  with  Romulus  and  Remus 
at  her  feet  ;  to  the  1.  a  painter  is  working  at  a  large  fresco  of  a  battle  ; 
in  the  foreground  on  the  r.  are  an  old  man  dissecting  a  figure  suspended 
from  a  rope,  and  throe  boys  drawing  from  a  skeleton,  also  suspended  ;  in 
the  centre  is  a  man  modelling  a  horse,  and  to  the  1.  two  men  seated  at  a 
table  on  which  is  a  statuette  of  Venus. 

[174  X  IH  in.  ;    43-7  X  29-3  cm.]     Pen  and  light  brown  ink  and  brown 

wash    on    cream-coloured    paper,    heightened    with    white  :     inscribed    in 

reverse    along    the    bottom,   10   STRADENSIS   FLANDRUS   IN    1573 

CORNELIE  GORT  EXGV. 

Collection  :  Sloane. 

.5214—2. 

Reproduction  :  PI.  LXXII. 

The  drawing  was  engraved  in  reverse  by  Cornells  Cort  with  the  date 
1578  and  a  dedication  by  the  publisher,  Laurentius  Vaccarius,  to  Jacobus 
Boncampagnus  in  Rome.  In  the  engraving  the  various  groups  are 
elucidated  by  inscriptions.  Thus,  the  book  of  the  man  at  the  table  is 
labelled  ARCHITECTURA,  and  the  sheet  of  paper  in  front  of  the  other 
man  Typorum  aeneorum  Incisoria,  and  the  seat  of  the  boy  drawing  from 
the  skeleton  Tijrones  picturae. 

2.  Unexplained  Subject  :   A  Priest  Paying  Soldiers. 

In  the  centre  a  young  man,  wearing  a  surplice,  pays  money  from  a  bag  to 
a  group  of  soldiers  to  the  r.  ;  seven  elderly  men  (Scribes  or  Pharisees  ?), 
most  of  them  seated,  are  on  the  1.  ;  another  soldier  and  subsidiary  scenes 
in  the  background  on  the  r.,  and  a  dog  in  the  foreground. 

[6|  X  9f  in.  ;     17-2  X  24-8  cm.]     Pen  and  light  brown  ink  on  cream- 
coloured  paper,  heightened  with  white. 
Bequeathed  by  the  Rev.  William  Fawkener,  1769. 
Fawkener  Addenda,  45. 

The  subject  is  explained  in  the  MS.  catalogue  of  1850  as  Judas  receiving 
the  thirty  pieces  of  silver,  but  the  young  man  is  paying,  not  receiving, 
money.  The  drawing  was  obviously  intended  for  engraving  ;  it  appears 
to  be  cut  down,  as  it  is  smaller  than  the  standard  size  of  van  der  Street's 
illustrations. 

3.  The  Creation  of  Eve. 

Adam  is  seated  under  a  tree  towards  the  1.  ;  Eve  stands  before  him,  her 
arms  crossed  over  her  bosom,  while  God  stands  to  the  r.  and  places  His  r. 
hand  on  Eve's  shoulder  ;  on  the  extreme  1.  are  a  horse  and  a  camel ;  there 
are  various  other  animals  and  an  extensive  landscape  in  the  background. 


J.  van  der  Stract — F.  Sustris.  183 

[Imp.,   12J  X  21|  in.;     31-9  X  55   cm.]     Pen   and   brown   ink  and  grey 

wash. 

Purchased,  1928.4.17.8. 

The  figures  are  copied  from  Raphael's  fresco  of  the  subject  in  the 
Stanze.     The  drawing  appears  to  be  a  design  for  tapestry. 

4.    A  Sea  Fight. 

In  the  centre  is  a  four-masted  vessel,  flying  at  the  mainmast  the  royal 
standard  of  England  (?)  ;  she  is  attacked  from  the  1.  by  a  galley,  flying 
at  her  foremast  the  St.  Andrew's  Cross  of  Spain  ;  two  other  galleys  come 
out  of  a  harbour  behind  a  rocky  headland  on  the  1.  ;  on  the  r.  are  three 
other  galleons. 

[Imp.,    14  X  44 J    in.  ;     36-4  X  87    cm.]     Pen    and    brown    ink    outlines, 
washed  with  grey  :    old  attribution  to  Salvator  Rosa  in  the  bottom  r. 
corner  ;    no  watermark. 
Purchased,  1872.1.13.374. 

The  attribution  is  that  of  the  writer  ;  it  was  formerly  placed  with 
drawings  by  W.  van  de  Velde  the  Younger. 

SUSTRIS  (ZUSTRIS),  Frederik  (b.  about  1540  (?);  d.  after  1599). 
Painter  and  architect  :  b.  at  Amsterdam  as  the  son  of  Lambert 
Sustris  ;  pupil  of  Vassari  at  Florence,  1563-69  ;  designed  tapestries 
for  the  rooms  of  the  Duchess  Eleanora  of  Toledo  there  ;  worked  for 
Hans  Fugger  in  Augsburg,  1569-73  ;  painter  and  architect  of  William  V, 
Duke  of  Bavaria,  at  Munich  ahd  Landshut  from  1573  to  1599. 

Lit.  :  Kurt  Steinbart,  Die  Niederlnndiscken  Hofmaler  der  Bairischen 
Herzoge,  Marburger  Jahrhuch  fiir  Kunstwissenschaft,  Bd.  IV. 

A  drawing  formerly  attributed  to  Frederik  Sustris,  Christ  shown 
to  the  People.  1853.10.8.18,  has  been  transferred  to  French  drawings, 
XVIth  century. 

1.  Mercury  and  Pallas  Crowning  a  Young  Man. 

The  young  man,  seated  in  the  cent^-e,  holds  a  spear  in  his  r.  hand  and 
takes  fruit  from  a  horn  of  plenty  at  his  1.  side  ;  Pallas  on  the  1.  and  Mercury 
on  the  r.  each  hold  one  side  of  a  laurel  crown  over  his  head  ;  bases  of 
columns  to  the  1.  and  r. 

[7 J  X  12 J   in.;     18-5  X  31-9   cm.]     Pen   and    brown    ink,    washed   with 

violet  over  a  sketch  in  black  chalk  :    no  watermark. 

Collection  :  Sloane. 

5226—21. 

Reproduction  :  PI.  LXXI. 

No  attribution  in  the  inventory  of  1837  ;  Sustris  in  MS.  catalogue  of 
the  Sloane  Collection,  1845.  The  style  of  the  drawing  is  that  of  Sustris 
and  his  circle  working  at  Munich,. and  the  design  may  be  that  of  a  fresco 
in  the  Munich  Residence.  (Cf.  drawings  illustrated  by  Steinbart,  loc.  cit., 
Abb.  40,  etc.) 

2.  Salome's  Dance. 

Salome  is  on  the  r.,  pirouetting  on  her  1.  foot,  her  r.  arm  extended  ;  Herod 
is  seated  at  table  with  other  guests  on  the  1.  ;  two  bearded  men  stand 
behind  and  three  musicians  are  on  some  steps  in  the  background. 

[13j3^  X  6f  in.  ;    33-5  X  16-9  cm.]     Pen  and  brown  ink  and  brown  wash. 

Collection  :  A  blind  stamp  in  the  r.  bottom  corner,  not  apparently  recorded 

by  Lugt. 

Presented  by  A.  E.  Popham,  Esq. 

1931.12.17.2. 

Reproduction  :  PI.  LXXI. 


184  Dutch  and  Flemish  Drawings. 

The  attribution  on  the  18th  century  mount,  LAMBERT  SUTTER 
MANNS,  dit  Lomb  :  de  Liege  Pit.  fiam.  eel.  1506/1565,  obviously 
arises  from  the  common  confusion  between  Lambert  Lombard,  wrongly 
called  Suttermans,  Lambert  Sustris  of  Amsterdam  (q.v.)  and  the 
latter's  son  Frederik.  This  confusion  was  almost  universal  until 
the  matter  was  cleared  up  by  R.  A.  Peltzer  in  his  article  on  Lambert 
Sustris.  The  style  of  the  present  drawing  is  nearer  to  that  of  Frederik 
than  to  that  of  Lambert,  as  a  comparison  with  the  drawings  previously 
and  subsequently  described  will  show. 

ATTRIBUTED   TO  FREDERIK  SUSTRIS. 

3.   St.  John  the  Baptist. 

He  is  represented  naked  standing  leaning  with  his  r.  elbow  on  a  rock,  and 

holding  a  shepherd's  crook  in  his  1.  hand  ;    to  the  r.  is  a  lamb. 

[8f  X  6^   in.  ;     21-9  X  15 -5   cm.]     Pen  and  brown  ink  and  blue  wash: 

watermark,  a  small  hand. 

Collection  :    Lord  Egmont  (Sale,  1859,  lot  85). 

Purchased,  1859.3.16.1082. 

The  old  attribution  to  Jan  Saenredam  is  inexplicable.  The  style  of 
the  drawing  is  obviously  near  to  that  of  Sustris. 

SUSTRIS,  Lambert  (b.  about  1520 ;  d.  after  1568).  Painter  :  b.  at 
Amsterdam  ;  went  early  to  Venice,  where  he  is  said  to  have  been  the 
pupil  of  Titian  ;  moved  to  Padua  after  1560  ;  father  of  Frederik 
Sustris. 

Lit.  :    R.   A.   Peltzer,   Lambert  Stistris  von  Amsterdam,   Vienna 
Jahrbuch,  XXXI  (1913),  pp.  221  fi. 

1.    The  Rape  of  Proserpina  ? 

The  god's  chariot,  drawn  by  four  horses,  is  plunging  through  the  sea  to 

the  1.  ;    he  holds  the  reins  in  his  r.  hand  while  the  woman,  seated  in  the 

chariot,  clings  to  him  ;    a  nymph  in  the  water  on  the  r.  holds  on  to  one 

of  the  wheels  of  the  chariot. 

[8^  X  12  in.  ;    20-9  X  30*5  cm.]     Pen  and  brown  ink  and  brown  wash  : 

watermark,  a  pair  of  shears  in  a  circle. 

Collection  :  Sloane. 

5226—79. 

The  drawing  was  with  unmounted,  unnamed  Italian  drawings.  The 
attribution  to  Sustris  rests  on  the  unmistakable  i-esemblance  to  the  print 
of  the  subject  by  J.  L.  Delignon  (reproduced  by  Peltzer,  loc.  cit..  Fig.  3). 
Though  the  positions  of  the  principal  figures  and  of  the  horses  are  different 
in  detail,  the  whole  is  very  similar  and  the  drawing  is  either  a  preliminary 
study  for  the  picture  engraved  by  Delignon  or  possibly  for  a  companion 
picture  of  some  other  mythological  rape. 

VALCKENBORCH,  Frederik  van  (d.  1629).  Painter  :  son  of  Maerten 
van  Valckenborch  of  Louvain  ;  probably  a  pupil  of  Paolo  Fiamniingo 
at  Venice  ;  burgher  of  Frankfurt,  1597  ;  from  1602  at  Nuremberg,  of 
which  he  became  a  burgher  in  1605,  until  his  death. 

1.   The  Deluge. 

The  composition  is  bounded  by  trees  on  either  side  ;  on  the  1.  are  ten  naked 
men  and  women,  one  of  whom  holds  a  child,  while  another  has  climbed  the 
tree  ;  on  the  r.  another  group  including  an  old  man  lying  on  the  ground 
near  the  centre,  a  woman  on  the  extreme  r.  and  a  man  standing,  trj'ing 
to  protect  himself  from  the  rain  ;  in  the  distance  on  the  1.  the  ark  floating 
on  the  waters. 


F.  van    Valcheiiborch — G.  van  Valckenhorch.  185 


[Imp.,  16|  X  22|  in.  ;    42-8  X  57-8  cm.]     Pen  and  ink  and  brown  wash, 
heightened    with    white  :     signed    bottom    centre    with    monogram     ^ 
in  Fraiss  (?)  in  Mert  1588  ;    watermark,  a  crown  surmounted  by  a  five- 
pointed  star,  Uke  Briqviet  4835,  presumably  Itahan. 
Collection  :    Sloane. 
5214—301. 

There  are  signed  drawings  by  Frederik  van  Valckenhorch  in  the 
Albertina  and  in  Berlin.  On  the  verso  is  a  faint  sketch  in  red  chalk  of 
the  old  man  lying  on  the  ground,  who  appears  on  the  recto,  and  of  other 
figures. 

VALCKENBORCH,  Gillis  van  (d.  after  1616).  Painter  :  son  of  Maerten 
van  Valckenborch  and  brother  of  Frederik  ;  burgher  of  Frankfurt 
1596  ;  probably,  like  his  brother,  pupil  of  Paolo  Fiammingo  at  Venice  ; 
also  at  Rome  in  1590  (views  in  the  Academy  at  Vienna,  published 
by  H.  Egger,  Romische  Veduten,  II,  Vienna,  1931,  pi.  17,  45,  73,  81). 

1.  View  of  the  Temple  of  the  Sibyl  at  Tivoli. 

On  the  1.  are  rocky  eminences  surmounted  by  a  building  ;  the  temple 
of  the  Sibyl  is  seen  rising  on  a  hill  in  the  distance  ;  bushes  and  a  tree-stump 
in  the  foreground. 

[lOJJ  X  m^g  in.  ;    27-2   X  42-1   cm.]     Pen  and  brown  ink  and  pale  blue 

wash  :    on  the  verso  is  a  faint  sketch  of  a  landscape  composition  in  black 

chalk. 

Bequeathed  bv  Richard  Pavi^e  Knight,  Esq.,  1824. 

Oo.  9—16. 

Reproduction  :    A.  Mayer,  Das  Leben  und  die  Werke  der  Brllder  Mathcius 

und  Paul  Bril,  Leipzig,  1910,  Tafel  LVIIc. 

Attributed  to  Paul  Bril  in  the  iTiventory  of  1 837,  an  attribution  accepted 
without  question  by  Mayer.  Portions,  however,  exactly  correspond  with 
a  drawing  in  the  Albertina  (No.  317  in  Benesch's  Catalogue)  singed  by  Gillis 
van  Valckenborch.  The  Vienna  drawing  is  an  agglomeration  of  various 
ruins,  but  the  temple  of  the  Sibyl  is  practically  identical  with  that  in  the 
present  drawing,  as  are  also  the  bank  on  the  1.,  the  tree  and  other  details. 
It  would  of  course  be  possible  to  suppose  that  the  present  drawing  was  by 
Bril  and  that  Valckenborch  had  used  it,  but  the  style  does  not  resemble 
any  signed  drawing  by  Bril  and  appears  identical  with  that  of  the  Vienna 
drawing. 

A  drawing  of  the  same  size  and  technique,  a  view  of  the  Monte  Cavallo, 
also  attributed  to  Bril,  is  reproduced  in  the  Prestel-Verlag  Publication  of 
Brunswick  Drawings,  No.  56.  It  appears  to  be  by  the  same  hand  as  the 
British  Museum  drawing  and  perhaps  with  it  formed  part  of  a  series. 
A  second  drawing  of  Tivoli,  in  the  National  Gallery  at  Edinburgh,  is 
probably  also  by  the  same  artist  (photo.,  Witt  Library). 

ATTRIBUTED   TO   GILLIS   VAN  VALCKENBORCH. 

2.  View  of  an  Alpine  Valley. 

On  the  1.  in  the  foreground  is  a  group  of  trees  ;  below,  a  river  in  a 
narrow  valley  running  down  into  a  broader  valley  past  a  town  ;  mountains 
beyond. 

[7^  X  ll{'c,  in.  ;    19-1   X  28-7  cm.]     Pen  and  brown  ink  and  brown  and 

blue  wash. 

Purchased,  1930.11.12.2. 

3.  Imaginary  Landscape. 

From  the  centre  of  the  foreground  a  bridge  winds  away  to  the  1.,  through 
a  ruined  gateway,  into  a  sort  of  amphitheatre  in  a  hill  ;  on  top  of  this 
hill  to  the  r.  is  a  castle  ;    children,  a  dog  and  other  figures  on  the  road. 


186  Dutch  and  Flemish  Draicings. 


[7J§  X  10|  in.  ;    19-8  X  30-1  cm.]      Pen  and  brown  ink  and  washes  of 
brown  and  blue. 
Purchased,  1930.11.12.3. 

These  two  drawings  formed  part  of  a  series  all  attributed  to  Lucas 
van  Valckenborch  and  of  which  seven  were  sent  to  the  British  Museum. 
The  obviously  impossible  attribution  to  Lucas  van  Valckenborch  may 
conceal  a  real  tradition  in  favour  of  one  of  the  family,  and  in  the 
impossibility  of  studying  the  other  drawings  of  the  series  it  is  safer  to 
keep  to  this  attribution.  The  style  of  the  drawings,  especially  No.  2, 
shows,  however,  the  closest  resemblance  to  that  of  Hendrick  van  Cleef, 
with  its  central  ruin  on  a  hill  so  typical  of  Cleef 's  manner  of  composition. 
Even  the  other  can  be  paralleled  in  the  signed  view  of  Florence  at  Hamburg 
(Prestel  Publication  of  Hamburg  Drawings,  VIIT,  4). 

VEEN,  Otho  van  (Otto  Venius)  (b.  1556  ;  d.  1629).  Painter  and 
poet :  b.  at  Ley  den  ;  pupil  of  Isaac  Claesz  Swanenburg  ;  Otho's 
father,  a  partisan  of  the  Spaniards,  left  Leyden  in  1572  for 
Antwerp,  moving  thence  to  Aix  and  Liege,  in  the  latter  of  which 
places  Otho  was  a  pupil  of  Dominic  Lampsonius  and  of  Jean  Eamey  ; 
in  1575  he  went  to  Italy  and  was  for  five  years  a  pupil  of  Federico 
Zuccaro  at  Eome  ;  returned  to  Liege  in  1583  and  was  page  to  the 
Archbishop  Ernest  of  Bavaria  and  visited  the  court  of  the  Emperor 
Rudolf  II  ;  appointed  court  painter  to  Alexander  Farnese,  Governor 
of  the  Netherlands,  in  1585  ;  came  to  Antwerp  in  1592  after  Farnese's 
death  ;  master  in  the  Guild  there,  1593  ;  appointed  court  painter 
to  the  Archdukes  Ernest  and  Albert,  successively  Governors  of  the 
Netherlands  ;   d.  at  Antwerp. 

Lit.  :    F.  M.  Haberditzl,  Die  Lehrer  des  Rubens,  Vienna  Jahrbuch, 
XXVII  (1907-8),  p.  191  ff. 

1.    A  Painter  and  a  Poet. 

The  poet,  wearing  a  wreath,  is  seated  on  the  1.  and  writes  on  a  scroll  with 
his  1.  hand  ;  the  painter,  seated  on  the  r.,  on  a  stool  with  lion's  feet,  is 
painting  a  picture,  of  a  winged  sphinx-  on  a  panel  placed  on  an  easel  ;  in 
the  background  to  the  1.  is  a  physician  examining  a  bottle,  and  further 
back  still  a  forge  ;    the  scene  takes  place  in  a  chamber. 

|6|  X  5^ J  in.  ;    17'5  X  14-4  cm.]     Grisaille  painting  in  oil  on  paper. 

Bequeathed  by  Richard  Payne  Knight,  Esq.,  1824. 

Oo.  9—7. 

Reproduction  :    PI.  LXXII. 

Lit.  :   Vienna  Jahrbuch,  XXVI  (1907-8),  p.  222. 

As  pointed  out  by  Haberditzl,  the  drawing  is  a  preliminary  study  for 
the  engraving  in  Q.  Horati  Flacci  Emblemata.  Imaginibus  in  aes  incisis, 
Notisque  illustrata.  Studio  Othonis  Vaeni  Batauolugdunensis,  Antwerp,  1607, 
p.  147,  illustrating  "Cui que  suum  studium."  The  engraving  is  in  reverse 
and  there  are  many  differences,  chief  among  which  is  the  fact  that  the 
poet  is  writing  at  a  table  and  that  the  figvires  are  in  the  open  air. 

The  inscriptions  on  the  drawing  (not  reproduced  in  the  engraving) 
are  as  follows  : — 

humano  capiti  feruis  (t)  pictor  equinam.  (at  the  top  of  the  panel); 
Otho  V.  .  .  .  /.  (at  the  bottom);  and  pictoribus  atque  poetis  /  quid 
lihet  audendi  (?)  (on  the  scroll  on  which  the  poet  is  writing). 

Twelve  original  designs  for  the  Emblemata  are  in  the  Pierpont  Morgan 

Librarj%  New  York  (reproduced,  Pierpont  Morgan  Drawings,  III,  146-157), 

but  these  correspond  exactly  with  the  engravings  and  do  not  form  a  series 

'    with  the  pre-sent  drawing.     Two  more  are  in  the  Albertina  (Benesch  223-4). 


p.    Verhoom—T.    Verhaeght.  187 

VERBOOM,  Pieter  (working  early  17th  century).  The  signature  on  the 
present  drawing  constitutes  the  only  record  that  I  can  find  of  the 
artist.  He  can,  of  course,  have  nothing  to  do  with  the  well-known 
landscape  painter,  Adriaen  Verboom. 

1.    The  Virgin  and  Child  with  St.  Anne  and  St.  Joseph. 

The  Virgin  is  seen  half-length,  seated  in  profile  to  the  1.,  holding  the  Infant 

Christ  on  her  lap  ;  St.  Anne,  behind  on  the  r.,  holds  out  a  bunch  of  grapes 

to  Him  ;    St.  Joseph  is  behind  to  the  1. 

[11 J  X  If^;    28-6  X  19-2  em.]     Red  chalk  :    signed  at  the  bottom  to  the 

r.  p'   Verboom  fecit  ;    watermark,  two  crossed  C's  surmounted  by  a  crown, 

type  of  Briquet  9320-9330. 

Collection  :    Sloane. 

5236—109. 

The  style  points  to  some  Antwerp  mannerist  of  the  beginning  of  the 
17th  century. 


VERHAEGHT,  Tobias  (b.  1561  ;  d.  1631).  Landscape  painter  :  b.  at 
Antwerp  ;  visited  Italy  and  was  employed  at  Florence  by  the  Grand 
Duke  of  Tuscany  ;  master  in  the  Antwerp  Guild,  1590  ;  dean  of  the 
Guild,  1591  ;  had  numerous  pupils,  among  them  P.  P.  Kubens  ; 
d.  at  Antwerp. 

Lit.  :   F.  M.  Haberditzl,  Die  Lehrer  des  Ruhens,  Vienna  Jahrbuch, 
XXVII  (1907-9),  p.  162  ff. 

1.  Landscape  Composition  with  a  Road. 

View  of  an  extensive  valley  broadening  out  in  the  distance  ;  there  are 
rocks  on  either  side  of  it  with  castles  and  buildings  ;  a  road  winds  down 
the  valley  on  the  r.,  crosses  the  foreground  and  dips  down  again  on  the  1. 

[9JI   X  15|  in.  ;    24-6  X  39-1  cm.]     Pen  and  brown  ink  and  brown  and 

blue  wash. 

Purchased,   1929.7.15.4. 

Reproduction  :    PI.  LXXIII. 

2.  Alpine  Landscape  with  a  Lake. 

The  lake,  in  the  centre,  is  connected  with  the  distant  sea  by  a  river  which 
flows  down  a  broad  valley  ;  rocks  and  mountains  to  r.  and  1.  ;  in  the  fore- 
ground the  stump  of  a  fir. 

[7|  X  141^  in.  ;     19-6  X  37-9  cm.]      Pen    aiad    brown    ink   with   washes 
of  brown  and  blue  :   inscribed  on  back,  siti  naturali  di  tician. 
Purchased,  1928.4.17.7. 

This  and  the  preceding  drawing  are  characteristic  examples  of 
Verhaeght's  very  individual  style. 

3.  Landscape  Composition  with  Caves. 

On  the  1.  is  a  tree,  and  below  it  a  hut  ;  to  the  r.,  a  hill  in  which  three  caves 
have  been  excavated  ;   landscape  with  a  river  to  the  1. 

[7Jg   X  Ill's  "^-  '    20-2  X  29  cm.]     Pen  and  brown  ink  and  brown  wash, 
crumpled  and  stained  ;   backed,  no  watermark  visible. 
Collection  :    Sloane. 

5214 92. 

Reproduction  :   PI.  LXXIII. 

Attributed  to  Momper  in  the  inventory  of  1837  ;  the  handling,  however, 
is  obviously  that  of  Verhaeght  ;  cf.  especially  the  distant  mountains  and 
the  sky. 


188  Dutch  and  Flemish  Drawings. 


Landscape  with  a  Spoktsman. 

On  a  road  on  the  1.  is  a  man  on  horseback,  accompanied  by  another  on 

foot  with  a  brace  of  hounds  ;    the  road  passes  through  a  wood  on  the  1.  ; 

to  the  r.  is  a  stream  and  in  the  distance  a  castle  on  a  hill  and  a  town. 

[7j\  X  lOf  in.  ;    18-5  X  26-3  cm.]     Pen  and  brown  ink,  stained  with  oil. 

Collection  :    Sloane. 

5236—64. 

Attributed  to  Momper  in  the  inventory  of  1837.  The  attribution  to 
Verhaeght,  due,  I  believe,  to  Dr.  Karl  Tolnai,  seems  to  me  not  beyond 
doubt. 


VINCKEBOONS,  David  (b.  1578  ;  d.  1629).  Painter,  miniaturist  and 
draughtsman  for  the  engraver  :  b.  at  Malines  ;  pupil  of  his  father, 
Philip  Vinckeboons,  who  moved  to  Antwerp  in  1580  and  after  1586 
to  Amsterdam,  accompanied  by  his  son ;  David  remained  at 
Amsterdam  and  d.  there ;  he  painted,  and  drew  for  the  engraver, 
subjects  mainly  taken  from  peasant  life. 

1.   The  Garden  of  Eden. 

Adam  is  seated  under  a  tree  to  the  r.  ;    Eve  stands  before  him  to  the  1.  ; 

they  are  surrounded  by  all  sorts  of  animals,  including   a  unicorn  on    the 

extreme  1.  and  a  lion  in  the  foreground  on  the  r. 

[6f  X  6f  in.  ;    17-5  X  16-8  cm.]     Pen  and  brown  ink  and  grey  and  blue 

wash  :     signed  with  monogram  DVB    in    bottom  1.   corner  ;    watermark 

(indistinct),  a  large  coat-of-arms. 

Bequeathed  by  F.  W.  Smith,  Esq.,  through  the  National  Art-Collections 

Fund. 

1923.1.13.19. 

2-5.    Series  or  Drawings  illustrating  the  Parable  of  the    Prodigal 
Son. 

Pen  and  brown  ink  and  brown  and  grey -blue  wash,  the  outlines  indented 
for  transfer  :   backed,  no  watermarks  visible. 
Collections  :    B.  West,  Beckford. 
Purchased,  1848. 11 .25.4  ...  7. 

2.  The  Prodigal  Son  Takes  Leave  of  his  Father. 

He  is  on  horseback,  going  out  of  the  gate  of  his  father's  house,  on  the  r. ; 
his  father  stands  beside  him  and  has  just  handed  him  a  bag  of  money  ; 
two  ladies,  a  man  in  a  hat  and  a  serving-man  are  on  the  r.,  and  a  groom 
holds  the  horse's  bridle  ;  in  the  distance  to  the  1.  beyond  a  stream,  a 
man  on  horseback  and  another  on  foot. 
[8f  X  ll||in.  ;  22  X  30-3  cm.] 
Reproduction  :   PI.  LXXIV. 

3.  The  Prodigal  Son  Dissipating  his  Inheritance. 

On  the  1.  is  a  company  of  men  and  women  seated  at  a  table  in  an  arbour ; 
an  old  woman  on  the  extreme  1.  marks  up  the  score  ;    on  the  r.  are  a 
man  and  a  woman  dancing  ;    in  the  background  the  Prodigal  Son  being 
driven  from  the  inn  by  women  with  brooms. 
[8/g  X  12|in.  ;    21-8  X  31-3  cm.] 

4.  The  Prodigal  Son  as  a  Swineherd. 

He  kneels  beside  the  trough,  out  of  which  the  swine  are  eating  (imitated 
from  Diirer),  on  the  1.  ;   on  the  r.  he  is  seen  again  in  conversation  with  a 
man  and  two  children  in  front  of  a  cottage ;  further  back,  a  figure  passing 
through  a  gate  ;    landscape  with  a  church  beyond. 
[8|  X  111  in.  ;    22  X  30-2  cm.] 
Reproduction  :    PI.  LXXIV. 


B.   Vinckeboons.  189 


5.   The  Prodigal  Son  Received  by  his  Father. 

He  kneels  on  the  r.  and  is  embraced  by  his  father,  who  has  come  out  of 
the  mansion  on  the  1.  ;  two  pages  carrying  garments  follow  the  father, 
and  a  young  lady  stands  in  the  doorway  on  the  1.  ;  beyond,  the  fatted 
calf  being  killed  and  the  banquet  in  progress  under  an  arcade. 

[8f  X  111  in.  ;    22  X  30-3  cm.] 

The  four  drawings  are  for  the  series  of  engravings  by  J.  C.  Visscher, 
of  which  the  first  has  on  a  stone  to  the  1.  DV Boons  Inventor  ;  to  the  r. 
J.  C.  Visscher  fecit  W.  Jans  :  exc.  ( Wurzbach  35  ;  published,  according  to 
him,  in  1( 


6.    The  Agony  in  the  Garden. 

Landscape  composition  with  small  figures  ;  the  Saviour  kneels  in  a  clearing 
in  a  wood  on  the  r.  and  three  apostles  are  stretched  on  the  ground  at  some 
little  distance  from  Him  ;  in  the  foreground  on  the  1.  is  a  marshy  stream, 
and  in  the  distance  the  soldiers,  led  by  Judas,  are  coming  through  a  gate  ; 
Jerusalem  is  seen  beyond. 

[13  X  19  in.  ;    33-1   X  48 -3  cm.]     Pen  and  black  ink  and  grey  wash,  the 

outlines  indented  for  transfer. 

Collections  :    Rev.  Frank  Parker,  Bishopric  of  Truro. 

Purchased,  1930.4.14.5. 

The  drawing  is  for  the  engraving  by  Jan  Londerseel  (Wurzbach  20  ; 
more  fully  described  by  Zani,  Enciclopedia,  Part  II,  Vol.  VII,  p.  180), 
The  engraving,  signed  David  Vinckeboons  Inventor.  Joan.  Londerseel  sculptor, 
is  in  reverse. 

7.  Peasants  Carousing  outside  a  Cottage. 

On  the  1.  at  a  table  are  seated  three  couples,  drinking  and  making  love  ; 
to  the  r.  a  man  and  a  woman  dancing,  preceded  by  a  child  ;  in  the  door  of 
the  cottage  behind,  a  man  playing  the  bagpipes  and  a  woman. 

[4ji(r  X  6f  in.  ;     10-3  X  16' 1cm.]     Pen  and  brown  ink  and  brown  and 

grey  wash. 

Purchased,   1847.3.18.66. 

The  drawing  corresponds  almost  exactly,  in  reverse,  with  the  etching 
signed  with  the  monogram  and  attributed  to  Vinckeboons  himself  (not 
described  by  Wurzbach).  Only  a  figure  of  Death,  which  appears  running 
across  the  field  in  the  background  to  the  1.  of  the  drawing,  has  been  omitted 
from  the  etching. 

8.  Beggars  at  the  Door  of  a  House. 

A  gentleman,  inside  the  door  of  his  house  on  the  r.,  distributes  alms  to  a 
woman  with  a  child  ;  three  other  beggars,  one  a  cripple,  and  three  children 
approach  from  the  1. 

[7^  X  9j^5  in.  ;    18-3  X  23-6  cm.]     Pen  and  black  ink  and  grey  and  blue 
wash  :    signed  bottom  1.  with  monogram  DVB  and  dated  1609. 
Collections  :    Robinson,  Malcolm  (Cat.  572). 
Purchased,  1895.9.15.1030. 
Reproduction  :    PI.  LXXIV. 

Underneath  is  the  following  inscription,  in  a  formal  hand  : — 

Als  Gij  Aelmissen  doet  so  laet  u  slincker  hant  niet  weeten  wat  u  rechter 
handt  doet  Op  dat  u  Aelmisse  verborgen  sij  /  sod  ....  ben  uaeden  diet 
int  verborgen  aensiet  /  salt  u  int  openbaer  vergelden.  /  Enz  geet  niet  der  gedeijl- 
saemheijt  /  V  bant  met  soedaenige  qfferhanden  behaechtmen  Goode. 

9.  A  Wedding   Feast. 

The  feast  takes  place  in  the  open  air  ;  on  the  l.'are  cottages,  to  the  r.  a 
church  ;  the  bride  sits  at  table  in  front  of  a  cloth  on  the  r.  ;  in  the  space 
between  peasants  are  drinking  and  dancing. 


190  Dutch  and  Flemish  Draioings. 

[6j5g  X  9|  in.  ;     16  x  25- 1  cm.]     Rapid  sketch  in  pen  and  brown  ink  with 
washes  of  colour. 
Collection  :   E.  Rodrigues. 
Purchased,  1927.7.12.13. 

Compare  a  drawing  at  Berlin,  reproduced  on  pi.  21 1  of  the  Berlin  Catalogue. 

ATTRIBUTED  TO  DAVID  VINCKEBOONS. 

10.   A  Wood  with  a  River  and  a  Castle  in  the  Distance. 

To  the  r.  of  the  centre  are  two  trees  crossing  each  other  and  a  similar  pair 
on  the  extreme  1.  ;  in  the  distance  to  the  1.  is  a  river  crossed  by  a  bridge 
which  leads  to  a  chateau  ;    a  stream  crossed  by  a  bridge  is  on  the  r.  also. 

[6^g  X  83^].  in.  ;   15-7  X  20-8  cm.]     Pen  and  brown  ink  washed  with  brown 
and  blue  :  inscribed  R:  Savrij  in  r.  bottom  corner  in  a  19th  century  hand  ; 
no  watermark. 
Purchased,   1872.10.12.3308. 

There  is  an  old  attribution  D:  V:  Boons  in  ink  on  the  verso,  an  attribu- 
tion which  is  certainly  worth  more  serious  consideration  than  the  later  one 
to  R.  Savery.  It  is  true  that  there  are  none  of  Vinckeboon's  unmistakable 
tricks  of  drawing  to  be  found  here,  but  the  type  of  landscape  is  quite  like  his. 


VOS,  Martin  de  (b.  1531  or  2  ;  d.  1603).  Painter  and  draughtsman  for 
the  engraver  :  b.  at  Antwerp  ;  pupil  of  his  father  and  of  Frans  Floris  ; 
visited  Italy,  probably  in  1552  ;  pupil  of  Tintoretto,  whose  landscape 
backgrounds  he  is  said  to  have  painted  ;  master  in  the  Antwerp  Guild, 
1558  ;  dean,  1572  ;.  d.  at  Antwerp.  De  Vos  was  largely  occupied  in 
providing  drawings  for  engravers  ;  large  numbers  of  these  drawings 
and  countless  engravings  after  his  designs  exist. 

For  drawings  formerly  attributed  to  Martin  de  Vos,  see  above, 
Hendrick  de  Clerck,  No.  2,  and  below,  Pieter  de  Witte,  No.  1. 

1-20.    Series  of  Twenty  Drawings  illustrating  the  Life  of  Christ. 

[Varying  between  7f  x  5^  in.  (19-3  X  13  cm.)  and  l^g  x  4f  in.  (18  X 
12- 1  cm.)]  Pen  and  brown  ink  and  brown  wash,  in  some  cases  heightened 
with  white  ;    the  outlines  of  most  marked  with  a  stvlus  for  transfer. 

Purchased,  1906.7.23.4 23. 

Reproduction  (No.  4)  :    PI.  LXXV. 

1.  The  Nativity  [1]. 

2.  The  Last  Supper  [3]. 

3.  Christ  Washing  the  Feet  of  the  Disciples  [4]. 

4.  The  Agony  in  the  Garden  [5]. 
Signed  bottom  r.  M  D  VOS  •  ii"  •  1589. 

5.  The  Soldiers  come  to  take  Christ  are  Struck  Down  [6]. 

6.  The  Kiss  of  Judas  [7]. 

7.  Christ  before  Caiaphas  [9]. 

8.  Peter's  Denial  of  Christ  [8]. 

9.  Christ  Brought  before  Pilate  [10]. 
10.    Christ  before  Herod  [11]. 


3f.  de   Vos.  191 

11.  Christ  Scourged  [12]. 

12.  Christ  Crowned  with  Thorns  [13]. 

13.  Christ  Shown  to  the  People  [14]. 

14.  Christ  Carrying  the  Cross  [16]. 

15.  Christ  on  the  Cross  [18]. 

16.  The  Harrowing  of  Hell  [21]. 

17.  Christ  Taken  Down  from  the  Cross  [19]. 
Signed  bottom  1.  F.  M.  Z)— 1589. 

18.  The  Entombment  [20]. 

19.  Christ  Rising  from  the  Tomb  [22]. 

20.  Christ  Appearing  to  St.  Mary  Magdalene  (not  engraved). 

All  except  one  (No.  20)  are  engraved,  in  reverse,  and  appear  in  the 
collection  Thesaurus  Novi  Testamenti  elegantissimis  iconibus  expressus 
continens  historias  atque  miracula  dni  nostri  lesu  C'hristi,  no  date,  most 
of  the  plates  in  which  bear  the  name  of  Gerard  de  Jode  as  publisher.  This 
was  almost  certainly  not  their  first  appearance  ;  they  may  have  been 
commissioned  as  illustrations  to  some  hturgical  work  or  issued  as  a  separate 
series  of  plates.  The  engraving  corresponding  to  No.  15  (as  well  as  others, 
the  drawings  for  which  are  missing)  bears  the  name  of  Petrus  de  Jode 
as  engraver  ;  none  has  any  name  of  designer.  The  number  of  the  corre- 
sponding engraving  is  added  in  brackets  after  each  drawing. 

21-28.    Series  of  Eight  Drawings  illustrating  the  Acts  of  the  Apostles. 

[Varying  between  7  X  5j=\  in.  (17-7  X  13-2  cm.)  and  6|  X  4^g  in. 
(16-7  X  12-2  cm.)]  Pen  and  brown  ink  and  brown  wash,  heightened 
with  white  ;    the  outlines  indented  for  transfer. 

Purchased,  1906.7.23.24 31. 

Reproduction  (No.  24)  :    PI.  LXXV. 

21.  The  Descent  of  the  Holy  Spirit  [1]. 

22.  The  Death  of  Ananias  and  Sapphira  [3]. 

23.  The  Baptism  or  the  Eunuch  by  Philip  [5]. 

24.  The  Escape  of  St.  Paul  in  a  Basket  [12]. 
Signed  bottom  r.  VOS  1590. 

25.  St.  Paul  Cured  of  his  Blindness  [7]. 

26.  St.  Peter  Delivered  from  Prison  by  an  Angel  [9]. 

27.  The  Sacrifice  at  Lystra  [11]. 

28.  Paul  and  Silas  Cast  out  a  Devil  from  a  Woman  and  are  Beaten  [10]. 

All  are  engraved  and  appear  in  the  same  collection  as  the  preceding 
series,  each  with  two  lines  of  Latin  verse  undei'neath.  There  are  twelve 
engravings  in  the  series,  so  that  the  drawings  are  not  complete. 

29.    Illustration  to  the  Song  of  Solomon. 

Christ,  as  the  bridegroom,  holding  the  Cross,  stands  on  the  1.  outside  the 
temple  and  touches  the  bride,  who  is  seated  within,  on  the  shoulder  ;  a 
priest  and  congregation  in  the  interior  of  the  tem})le. 

[7|  X  10  in.  ;     18-8  X  25-4  cm.]     Pen  and  brown  ink  and  brown  wash, 
heightened  with  white. 
Purchased,  1872.10.12.3324. 
Reproduction  :    PI.  LXX\'. 


192  Dutch  and  Flemish  Drawings. 


Engraved,  in  reverse,  as  No.  2  of  a  series  of  five  engravings  illustrating 
the  Song  of  Solomon.  The  engraving  has  eight  explanatory  lines  of  Latin 
verse  underneath  :    Quam  vero  egregiis  .   .   .  dum  supplicet. 

COPY  AFTEK  MARTIN  DE  VOS. 

30.    The  Sanguine  Temperament. 

Half-length   figures  of   a  lady  and  gentleman  seated  in  front  of  a  table 

on  which  are  flowers  in  a  vase,  fruit  and  a  book  ;    the  gentleman  plays 

the  lute,  and  the  lady,  who  is  on  the  1.,  holds  a  song-book  and  leans  on  the 

gentleman's   shoulder  ;     in   the   distance   various   scenes   illustrating   the 

sanguine  temperament. 

[7  X  8|  in.  ;    17-8  X  21 -4  cm.]     Pen  and  dark  brown  ink. 

Collection  :    Sloane. 

5237—83. 

No  attribution  in  the  inventory  of  1837  ;  Goltzius  in  the  MS.  catalogue 
of  the  Sloane  Collection,  1845.  The  drawing  is  in  fact  a  copy  of  the 
engraving  by  P.  de  Jode  after  Martin  de  Vos  in  the  series  of  the  Four 
Temperaments. 

VR  ANCX,  Sebastian  (b.  1573  ;  d.  1647).  Painter  :  b.  and  d.  at  Antwerp  ; 
pupil  of  Adam  van  Noort ;  visited  Italy,  1597  ;  master  in  the  Antwerp 
Guild,  1600 ;  captain  in  the  Antwerp  militia,  1626  ;  painter  of 
military  subjects. 

1.   Reaping. 

The  reapers  are  seated  at  their  meal  in  a  distant  field  on  the  1.  ;    to  the 

r.  in  the  foreground  is  a  man  with  a  scythe,  accompanied    by  a  woman 

with  a  rake  and  preceded  by  a  child  and  a  dog  ;    to  the  1.  and  r.  are  other 

figures. 

[8f  X  13  in.  ;    21-9  X  33-1  cm.]     Pen  and  brown  ink  and  brown  wash  : 

monogram  ^  in  bottom  1.  corner;   watermark,  a  fool's  cap. 

Collection  :    Sloane. 

5214—262. 

The  monogram  looks  genuine,  but  the  drawing  is  so  feeble  that  it  can 
hardly  be  an  original,  unless  it  is  entirely  reworked.  Compare  the  signed 
drawings  at  Brunswick  (reproduced,  Prestel  Publication,  No.  66)  and  Weimar 
(do.,  II,  29).  Possibly  the  original  of  the  present  drawing  formed  one  of 
a  series  of  Seasons  with  the  Weimar  drawing. 

VREDEMAN  DE  VRIES,  Jan  (Hans)  (b.  1527  ;  d.  after  1604). 
Painter,  architect  and  designer  :  b.  at  Leeuwarden  ;  pupil  of  a  glass- 
painter  there,  Reyer  Gerritsen  ;  worked  at  Campen  and  Malines  ; 
engaged  in  Malines  and  Antwerp  on  decorative  work  for  the  triumphal 
entries  of  PhiUp  II  in  1549  ;  worked  in  Antwerp  for  Hieronymus  Cock 
and  other  pubhshers  about  1563 ;  took  refuge  from  the  Alvan 
persecution  in  Aix,  1570  ;  went  thence  to  Liege,  but  returned  to 
Antwerp  in  1575  and  was  employed  by  the  city  as  engineer  of  the 
fortifications  until  the  capture  of  the  place  by  Parma  in  1585  ;  entered 
the  service  of  the  Duke  of  Brunswick  at  Wolfenbiittel,  1589  ;  at 
Hamburg,  1591  ;  employed  by  the  city  of  Dantzig,  1596  ;  then  at 
Prague  in  the  service  of  the  Emperor  Rudolf  II  ;  returned  to  Hamburg, 
then  at  Amsterdam  and  the  Hague,  and  finally  again  at  Hamburg. 

For  a  drawing  formerly  attributed  to  Jan  Vredeman  de  Vries,  see 
above,  Lambert  van  Noort,  No.  2. 


./.    Vredeman  de  Vries — F.   Vredeman  de  Vries — A.  de   Weerdt.    193 


ATTKIBUTED   TO  JAN  VREDEMAN  DE  VRIES. 

1.     A    COTJRTyARD. 

On  either  side  are  the  large  piers  ;  further  back  a  wide  central  arch  with 
two  smaller  flanking  arches  ;  through  the  central  arch  there  is  a  view 
of  a  courtyard,  at  the  end  of  which  is  a  building  with  a  clock  ;  figures 
in  the  foreground. 

[6f  X  SjJg^  in.  ;    16' 1   X  20 -4  cm.]     Pen  and  bi'o^vn  ink  and  brown  wash 

over  black  chalk. 

Collection  :   Sloane. 

5214—145. 

Reproduction  :   PI.  LXXIII. 

The  attribution  to  Vredeman  de  Vries,  which  goes  back  to  the  inventory 
of  1837,  appears  very  doubtful.  The  costume  of  the  man  in  the  foreground 
on  the  r.  looks  like  that  of  the  second  quarter  of  the  17th  century. 
Nor  does  the  architecture  show  any  vmmistakable  characteristics  of  de 
Vries'  style :  it  is  on  the  contrary  rather  reminiscent  of  that  of  Dirk  van 
Delen. 


VREDEMAN   DE    VRIES,    Paul  (b.  1567  ;   d.  after  1630).    Painter, 

architect  and  designer  :  b.  at  Antwerp  ;  burgher  of  Amsterdam,  1604  ; 

worked  in  company  with  his  father  for  the  Emperor  Rudolf  II  at 

Prague. 

» 
1.   Interior  of  a  Room. 

Doors  are  in  the  r.  hand  wall,  the  wall  facing  the  spectator  and  the  1. 
hand  wall,  through  the  last  of  which  a  newel  staircase  is  visible  ;  a  chimney- 
piece  is  on  the  r.,  beyond  the  door,  a  dresser  on  the  1.  and  windows  in  the 
1.  hand  and  end  walls. 

[7^-Sjj  X  10^"^  in.;    18-6  X  26-1  cm.]     Pen  and  brown  ink  and  grey,  brown 

and  blue  wash  :    signed  over  door  to  the  r.  with   initials   PA   VR  ;     no 

watermark. 

Collection  :  W.  Mayor  (A  Brief  .  .  .  Description  of  a  Collection  of  Original 

Drawings  .  .  .  formed  by  the  late  Mr.  William  Mayor,   London,   1875, 

No.  866  as  P.  de  Hoogh). 

Purchased,  1876.12.9.626. 

Reproduction  :   Kleinmann,  Serie  II,  Bl.  33  (reversed  ;    as  P.  de  Hoogh). 

The  architecture  and  decoration  of  the  room  agree  very  closely  with 
similar  interiors  by  Jan  Vredeman  de  Vries  ;  cf .  the  signed  picture  at 
Hampton  Comt  (No.  648)  of  Christ  in  the  house  of  Martha.  There  is  no 
record  of  Paul's  signature  in  exactly  this  form,  but  Wurzbach  gives  a 
monogram  composed  of  the  same  letters  PA  VR,  and  there  can  be  little 
doubt  that  it  belongs  to  Paul  Vredeman  de  Vries. 


WEERDT,  Adriaen  de  (b.  about  1510  ?  ;  d.  1590).  Painter :  b.  at 
Brussels  ;  pupil  of  Christiaen  van  den  Queborne  at  Antwerp  ;  visited 
Italy,  where  he  was  influenced  by  Parmigiano,  returning  before  1566  ; 
took  refuge  from  the  Spaniards  at  Cologne  and  d.  there. 

a1:tributed  to  adriaen  de  weerdt. 

1.   Christ  Disputing  with  the  Doctors. 

He  is  seated  on  a  throne,  raised  on  two  steps,  on  the  r.  ;  one  doctor  with 
a  book  stands  on  the  extreme  r.  ;  the  others  are  seated  on  the  1.,  facing 
Jesus  ;   other  figures  in  the  background. 

O 


194  Dutch  and  Flemish  Drawings. 


[7  X  9iin.  ;     17-8  X  23-2  cm.]     Pen   and   brown   ink   and   light  brown 

wash  :    inscription  at  the  bottom   cut   and  undecipherable  ;    watermark, 

a  coat-of-arms,  a  tree  on  a  triple  mount  (della  Rovere),  like  Briquet  969. 

Collection  :   Sloane. 

5236—101. 

Reproduction  :  PI.  LXXV. 

The  attribution,  first  found  in  the  MS.  catalogue  of  the  Sloane  Collection, 
1845,  appears,  on  comparison  with  the  engravings  after  de  Weerdt,  a 
perfectly  reasonable  one.  The  handling  however  seems  to  differ  from 
that  of  the  four  drawings  at  Vienna  (Benesch  134-137),  which  are  certified 
by  engravings.  I  cannot  make  "  de  Weerdt  "  of  the  cut  inscription  at  the 
bottom.  The  artist  is  certainly  a  Netherlander,  strongly  influenced  by 
Parmigiano,  and  probably,  to  judge  from  the  Italian  paper,  working  in 
Italy.  Possibly  the  compiler  of  the  1845  catalogue,  whose  attributions 
of  16th  century  Flemish  drawings  are  generally  quite  wild,  had  in  this 
case  some  tmdisclosed  and  substantial  tradition  for  naming  the  drawing 
de  Weerdt, 

WIERIX,  Jan  (b.  about  1549  ;  d.  after  1615).  Engraver  and  draughts- 
man :  b.  at  Antwerp  ;  master  in  the  Guild  there,  1572  ;  married 
Elisabeth  Bloerasteyn,  1576  ;  at  Delft  with  his  brother  Jerome,  1578  ; 
d.  at  Antwerp. 

1-19.   Nineteen  Illustrations  to  Genesis. 

[3 J  X  4|  in.  ;    9-5  X  12'3cm.  ;    subjects  enclosed  in  rectangular  frames, 
^A  X  4JJ  in.  ;   9-1  X  12  cm.]     Pen  and  brown  ink  on  vellum. 

Purchased,  1848 . 2 .  12 .  87 105. 

Reproductions  (Nos.  15  and  16)  :   PI.  LXXVI. 

1.  God  Creating  the  Heavens. 

Signed  bottom  to  r.  lohan  wiricx  inuentor. 

2.  God  Dividing  the  Waters. 
Signed  bottom  to  r.  lohan  wiricx  inue. 

3.  God  Creating  the  Earth  and  its  Fruits. 
Signed  bottom  to  1.  lohan  wiricx  inue. 

4.  God  Creating  the  Lights  in  the  Firmament. 
Signed  bottom  r.  lohan  wiricx  inventor. 

5.  God  Creating  the  Animals. 
Signed  bottom  1.  loha  wiricx  inue. 

6.  God  Creating  Adam  and  Eve. 

Signed  on  tablet  bottom  1.  lohan  wiricx  inue. 

7.  God  Addressing  Adam  and  Eve  after  the  Creation. 
Signed  bottom  to  r.  lohan  W  inue. 

8.  Eve  Tempting  Adam. 

Signed  bottom  to  r.  lohan  wiricx  inue. 

9.  Adam  and  Eve  Seeking  to  Hide  themselves. 
Signed  bottom  to  r.  lohan  wiricx  inue. 

10.  The  Expulsion. 

Signed  bottom  1.  lohan  wiricx  Inue. 

11.  Adam  Building  himself  a  Habitation. 
Signed  bottom  centre,  lohan  wiricx  inue. 


J.    JVierix.  195 

12.  Adam  Tilling  the  Eabth. 

Signed  bottom  to  r.  lohan  wiricx  inuentor. 

13.  The  Sacrifice  of  Cain  and  Abel. 
Signed  bottom  r.  lohan  iviricx  in'ue. 

14.  Men  become  Workers  of  Metal. 

Signed  on  parapet  to  1.  lohan  iviricx  inuentor  anno  1606, 

15.  God  Speaking  with  Noah. 
Signed  bottom  to  1.  lohan  wiricx  inue. 

16.  Noah  and  his  Family  going  into  the  Ark. 
Signed  bottom  centre,  lohan  iviricx  inuentor. 

17.  The  Deluge. 

Signed  below  centre  of  lower  margin,  lohan  iviricx  inuentor. 

18.  Noah,  his  Family  and  the  Animals  going  forth  from  the  Abk. 
Signed  bottom  centre,  lohan  wiricx  i  .  .  . 

19.  Noah's  Sacrifice. 

Signed  on  tablet  bottom  1.  corner,  lohan  iviricx  inuentor  1606. 

The  series  lacks  at  least  one  subject,  Cain  killing  Abel.  In  the  inventory  of 
the  Archduke  Leopold  of  Austria,  1659,  are  included  twenty  small  pen 
drawings  with  representations  of  the  Creation  of  the  World  up  to  the  Flood, 
in  ebony  frames,  by  Johann  Wificx  (Vienna  Jahrbuch,  I  (1883),  II  Tail, 
p.  clx  :  No.  160).  Whether  the  present  drawings  are  identical  with  those 
described,  which  are  not  now  in  any  of  the  Vienna  collections,  cannot  be 
certainly  decided.  The  series  of  the  Passion,  Nos.  20-26  following,  are 
repetitions  of  a  similar  set  at  Vienna,  and  Wierix  may  also  have  drawn  two 
sets  of  the  Creation.  In  fact,  six  of  a  set  are  at  Berlin  (Nos.  13599-13604  ; 
pen  and  ink  on  vellum,  9-5  X  12-5  cm.),  and  the  fact  that  this  includes 
three  of  the  same  subjects  as  in  the  present  set  shows  that  it  formed  part 
of  another  series,  which  may  equally  well  be  that  described  in  the  Archduke's 
inventory. 

For  a  description  of  this  type  of  drawing  in  imitation  of  engraving,  see 
Arpad  Weixlgartner,  Ungedruckte  Stiche  in  Vienna  Jahrbuch,  XXIX 
(1910-11),  p.  358  f?. 

The  compositions  are  original  though  largely  influenced  by  the  series 
designed  by  Martin  de  Vos  {Boni  et  Mali  Scientia,  Antwerp,  1583  ;  engraved 
and  published  by  Jan  Sadeler). 

This  series  and  the  seven  following  were,  when  purchased,  contained 
together  in  a  volume. 

20-26.    Seven  Scenes  from  the  Life  of  Christ. 

[4|   X  4|  in.  ;   10-5  X  10-5  cm.  ;  without  circles,  diameter  4  in.  ;  10-1  cm.] 

Pen  and  brown  ink  on  vellum. 

Purchased,  1848  2   12.106  .   .   .   112, 

Reproductions  :  No.  25,  PI.  LXXVII ;   No.  26,  PI.  LXXVI. 

20.  Christ  Washing  the  Feet  of  His  Disciples. 
Signed  bottom  centre,  lohan  Wiricx  inuentor. 

21.  The  Last  Supper. 

Signed  on  ground  at  bottom  to  1.  lohan  Wiricx  inuentor. 

22.  The  Agony  in  the  Garden. 

Signed  on  stone  in  centre  at  bottom,  lohan  Wiricx  inuentor. 

23.  The  Taking  of  Christ. 

Signed  bottom  centre,  lohan  Wiricx  inue. 

o  2 


196  Dutch  and  Flemish  Drawings. 

24.  Christ  Carrying  the  Cross. 

Signed  bottom  to  r.  lohan  Wiricx  inue. 

25.  The  Crucifixion. 

Signed  bottom  to  1.  lohan  Wiricx  inue. 

26.  Christ  on  the  Cross. 

Signed  on  stone  at  bottom,  lohan  Wiricx  inuentor. 

A  series  of  ten  rovuidels  of  exactly  the  same  size  by  Jan  Wierix  are  in 
the  Albertuia  (8  :  Benesch  203-210)  and  in  the  Ktmsthistorisches  Museum 
(2),  Vienna.  This  series  includes  Christ  before  the  High  Priest,  Christ  before 
Pilate,  Ecce  Homo,  Pilate  washing  his  hands,  and  the  Scourging,  which  do 
not  appear  in  the  present  series,  while,  on  the  other  hand,  Christ  washing 
the  feet  of  His  Disciples  and  one  version  of  the  Crucifixion  are  not  repre- 
sented there.  The  Last  Supper,  the  Agony  in  the  Garden,  Christ  taken, 
Christ  carrying  the  Cross,  and  the  Crucifixion,  at  Vienna,  are  very  similar  to, 
though  not  identical  with,  the  corresponding  subjects  in  the  present  series. 
Seven  of  the  Vienna  roundels  are  dated  1599  ;  it  would  be  impossible  to 
say  whether  they  are  later  or  earlier  than  those  in  the  British  Museum . 

JAN  AND  JEROME  WIERIX. 

27-29.   Three  Scenes  from  the  New  Testament. 

[Oval,  2,1^  X  2}g  in.  ;  5-2  X  7-2  cm.]     Pen  and  light  brown  ink  on  vellum. 
Collections  :  Dimsdale    (stamp    on   back),    Mercer,    Whitehead,    Malcolm 
(Catalogue,  874  a,  b,  c). 
Purchased,  1895.9.15.1349 1351. 

27.  The  Annunciation. 

Signed  bottom  centre,  lohan  Wiricx  inue. 

28.  The  Betrayal. 

Signed  between  legs  of  soldier  to  r.  lohan  Wiricx  inventor. 

29.  Christ  Crucified  between  the  two  Thieves. 
Signed  bottom  a  little  to  the  r.  h  wiricx  inventor. 

It  would,  without  the  signature,  which  had  remained  unnoticed,  have 
been  quite  impossible  to  distinguish  between  the  work  of  Jan  and  his 
brother  Jerome  (Hieronymus). 

JAN  WIERIX. 

30.   Whole-Length  Portrait  of  a  Lady. 

She  stands  tiu-ned  slightly  to  the  1.  and  holds  a  fan  in  her  r.  hand  and  a 

handkerchief  against  her  body  in  her  1.  ;    she  is  dressed  in  an  elaborate 

costume  with  slashed  and  puffed  sleeves  and  a  skirt  embroidered  with  a 

pattern  of  flames  ;   a  book  is  attached  by  a  cord  to  her  waist. 

f9J  X  6^J  in. ;    24- 1  X  17  cm.]     Pen  and   ink  on  vellum  :    signed   to   1. 

johan  W.  F.  1584. 

Collections  :    James  West  (Sale,  Christie's  ?  lot  768),  Malcohn  (Catalogue, 

Add.  23). 

Purchased,  1895.9.15.1352. 

Reproduction  :  PI.  LXXVII. 

The  drawing  is  said  to  represent  the  wife  of  Jean  Pilier,  of  whom  there 
is  an  engraved  portrait  by  Wierix  (Alvin  2014).  As,  however,  the  engraving 
is  dated  1605  and  the  sitter's  age  given  as  twenty -one,  she  must  have  been 
bom  in  1584,  which  is  the  date  of  the  present  drawing,  and  the  identi- 
fication must  be  ruled  out  in  spite  of  a  real  resemblance  in  feature  between 
the  two  women. 


./.    Wierix—P.  de  Witte.  197 

ATTKIBUTED  TO   JAN   WIERIX. 

31.  The  Descent  into  Limbo  (after  Diirer). 

[4^  X  2Jg  in.  ;    11 -5  X  7 -4  cm.]     Pen  and  light  brown  ink. 
Bequeathed  by  Richard  Pavne  Knight,  Esq.,  1824. 

00.  9—3. 

A  very  close  and  careful  copy  of  the  engraving,  B.  16.  The  attribution 
to  Wierix  occurs  in  the  inventory  of  1837  and  may  represent  a  sound 
tradition.  It  is  obviously  impossible  to  decide  such  a  point  on  stylistic 
grounds. 

32.  A  Kneeling  Negro  Page  (after  Diirer). 

[4f  X  2|  in.  ;    11-7  X  7-3  cm.]     Pen  and  brown  ink. 
Bequeathed  by  Henry  Vaughan,  Esq. 
1900.8.24.136. 

Copy  of  a  figure  in  the  engraving  of  Pilate  Washing  his  Hands,  B.  60. 
The  attribution  to  Wierix  is  a  recent  conjecture. 

33.  Christ,  His  Disciples  and  the  Virgin. 

He  is  seated  on  a  seat  raised  on  a  step  to  the  r.,  with  St.  John  (?)  on  His  r. 
and  St.  Peter  on  His  1.  ;   the  Virgin  enters  the  room  through  an  arch  to  the 

1.  ;  three  doctors  are  on  the  1.  by  a  table,  a  chair  is  in  the  middle  foreground, 
and  another  disciple  to  the  r. 

[3Jjt  X  2131  in.  ;    9-4  X  6-8  cm.]     Pen  and  brown  ink  and  brown  wash, 
heightened  with  white. 
Collection  :  Sloane.  » 

5224—59. 

The  attribution  first  occurs  in  the  MS.  catalogue  of  the  Sloane  Collection, 
1845.  It  is  obviously  an  engraver's  drawing,  but  the  attribution  to  any 
of  the  Wierix  family  is  doubtful. 

WITTE,  Pieter  de  (Candido)  (b.  about  1540  or  1548;  d.  1628). 
Painter:  b.  at  Bruges;  was  in  Florence  as  early  as  1559  designing 
tapestry  ;  went  in  1564  to  Rome  with  Vasari,  whom  he  assisted  in 
the  painting  of  the  great  staircase  in  the  Vatican  ;  also  helped  Vasari 
with  the  painting  of  the  dome  in  the  Duomo  at  Florence,  1577  ; 
entered  the  service  of  Duke  Albert  V  of  Bavaria  in  the  same  year  ; 
after  the  latter's  death  in  1586  worked,  with  Hans  von  Aachen  and 
Frederik  Sustris,  for  his  successors,  William  V  and  Maximilian  I  ; 
d.  at  Munich. 

Lit.  :  Kurt  Steinbart,  Die  Niederlandischen  Hofmaler  der  Bayrischen 
Herzoge,  Marhurger  Jahrbuch  fiir  Kmistwissenschaft,  IV. 

1.   The  Descent  from  the  Cross. 

The  body  of  Christ,  in  the  centre  at  tlie  foot  of  the  Cross,  is  supported  by 
Joseph  of  Arimathea  ;  on  the  r.  stands  an  elderly  man  carrying  the  crown 
of  thorns,  while  St.  Mary  Magdalene  kneels  in  front  and  wipes  the  feet 
of  the  Saviour  ;  in  the  background  to  the  1.  is  the  Virgin  supported  by 
St.  John  and  two  other  women. 

[13|  X  10|  in.  ;    34  X  27-5  cm.]     Point  of  the  brush  and  black  on  pinkish 

prepared  surface  :  inscribed  on  the  ground  to  the  1.  martin  de  vaux  iuenit  (sic) 

et  fecit. 

Collections  :   J.  Thorne,  Sir  W,  Murray  (Sale,  Sotheby's,  April  27th,  1927 

lot  76). 

Purchased,  1927.5.18.5. 

Reproduction  :  PL  LXXVIII. 


198  Dutch  and  Flemish  Draivings. 

The  attribution  to  Martin  de  Vos  (if  by  "  de  vaux  "  he  is  intended), 
though  apparently  old,  cannot  be  maintained.  There  is  little  resemblance 
between  the  style  of  this  drawing  and  the  well-known  and  characteristic 
manner  of  de  Vos.  The  rather  vmusual  technique  for  a  drawing  of  this 
date  seems  to  be  characteristic  of  de  Witte  ;  cf.  the  drawings  for  tapestry 
at  Munich,  reproduced  Steinbart  loc.  cit.  Abb.  95  and  98,  which  have  a 
precisely  similar  touch  and  technique,  to  judge  from  the  small  reproductions. 
The  types,  the  drawing  of  the  hands,  etc.,  also  accord  well  with  de  Witte  ; 
cf.  especially  the  composition  of  the  Last  Supper  in  half-length  figures 
engraved  by  Jan  Sadeler. 

2.   The  Adoration  of  the  Shepherds. 

The  Infant  Christ  lies  on  a  couch  in  the  centre  ;  the  light  emanates  from 
Him  ;  to  the  1.  kneels  the  Virgin  ;  on  the  r.  is  a  kneeling  shepherd  in  profile 
and  a  large  dog  ;  to  the  1.  a  shepherd  seen  from  the  back,  holding  a  child 
by  the  hand  ;  above,  three  cherubs  hover  holding  a  scroll  with  the  legend 
GLORIA   IN  EC CI  DE PAX. 

[13|  X  IO3J5  in.  ;    35  X  25 -5  cm.]     Pen  and  brown  ink  and  light  brown 
wash  ;   squared  in  black  chalk  :   no  watermark. 
Presented  by  Sir  W.  C.  Trevelyan. 
1871.12.9.6324. 

The  attribution  to  De  Witte,  that  of  the  writer,  rests  on  the  resem- 
blance of  the  composition  to  the  engraving  of  the  same  subject  by  Lucas 
Kilian  after  De  Witte.  In  spite  of  difference  in  detail  the  general  treatment 
is  so  similar  that  the  same  artist  must  be  responsible  for  both.  Details 
of  drawing  also  resemble  those  in  the  previous  number  ;  cf .  the  foregi'ound 
and  the  faces  in  the  background  in  each.  On  the  verso  is  a  slight  sketch 
of  an  arm  and  part  of  another  limb,  in  red  chalk. 


WTTEWAEL  (UYTEWAEL),  Joachim  Anthonisz  (b.  about  1566  ; 
d.  1638).  Painter  :  b.  at  Utrecht,  the  son  of  a  glass-painter  whose 
pupil  he  was  ;  then  about  1584  pupil  of  Joost  de  Beer,  a  pupil  of 
Floris  ;  visited  Italy,  where  he  remained  four  years,  and  also  France  ; 
returned  to  Utrecht  in  1592  and  remained  there  until  his  death. 

Lit.  :  C.  M.  A.  A.  Lindeman,  Joachim  Anthonisz  Wtteivael,  Utrecht, 
1929. 

1.  Design  for  a  Piece  of  Plate. 

The  piece  is  in  the  form  of  a  two-storied  temple,  surmounted  by  a  dome,  on 
which  is  a  female  figure  ;  the  dome  is  supported  by  eight  satyrs  as 
caryatids  ;   in  the  lower  story  is  a  female  figure  of  Fame  with  a  trmnpet. 

[14  X  8J  in.  ;    35*6  X  22-3  cm.]     Pen  and  brown  ink  and  grey  wash  on 

paper  tinted  grey,  heightened  with  white  :    signed  along  cornice  between 

upper  and  lower  orders,  Joachim  Wte  Wael  fecit  anno  1608. 

Collection  :  Sir  Thomas  Lawrence. 

Pvirchased,  1872.10.12.3322. 

Reproductions  :   Lindeman,  op.  cit.,  PI.  XXXVII ;   PI.  LXXVII. 

Lit.  :   Lindeman,  op.  cit.,  p.  257,  No.  2. 

2.  The  Rest  on  the  Flight  into  Egypt. 

The  Virgin,  with  the  Child  on  her  lap,  is  seated  on  the  grovmd  and  takes 

some  grapes  from  a  basket  with  her  r.  hand  ;    behind  to  the  r.  Joseph 

saddling  the  ass. 

[14|  X  Hi  in.  ;    37-7  X  30*1  cm.]     Pen  and  brown  ink  and  brown  wash  : 

watermark,  an  eagle  displayed  with  the  arms  of  BA.le  on  its  breast,  like 

Briquet  1370. 

Bequeathed  by  the  Rev.  William  Fawkener,  1769. 

5210—55. 


,/.  A.    Wtteivael — E.    Wyntgis — Anonymous  Flemish  School.     199 


No  attribution  in  the  inventory  of  1837  ;  B.  Spranger  in  the  MS. 
catalogue  of  the  Fawkener  Collection,  1845.  Dr.  Rosenberg's  attribution 
to  Wttewael,  made  on  the  mount,  appears  to  be  the  right  one.  It  would 
belong  to  his  earlier  period. 


WYNTGIS,  Eevert.  Draughtsman,  working  about  1600 ;  only  known 
from  the  drawing  described  below  ;  possibly  related  to  the  collector 
Melchior  Wyntgis  of  Middelburg,  often  referred  to  by  Karel  van 
Mander  in  his  Schilderhoeck. 

1.   A  Card  Party. 

Half-length  figm-es  seated  round  a  table  ;  on  the  1.  is  a  man  wearing  a 
plumed  hat  and  slashed  doublet  ;  in  the  centre  an  old  lady,  wearing  a 
large  ruff,  with  her  back  to  the  spectator,  holding  a  wine-glass  in  her 
r.  hand  ;  on  the  r.  a  monk  in  profile  to  the  1 ;  behind  on  the  r.  an  attendant 
standing,  another  lady  at  the  table. 

[Imp.,  11 J  X  20|  in.  ;  28-5  X  52-9  cm.]  Pen  and  brown  ink  and  water- 
colours  :  signed  at  bottom  to  1.  Eeuert  Wijntgis  fecit  ;  watermark,  two 
shields  surmounted  by  a  mitre,  with  a  crozier  and  the  initials  VD,  like 
Briquet  2199. 

Purchased,  1882.1.14.199. 
Reproduction  :    PI.  LXXVIII. 

The  style  of  the  pen -work  recalls  that  of  the  Haarlem  mannerists  of 
about  1600,  but  the  subject  rather  suggests  one  of  the  Dutch  Caravag- 
giesque  painters  like  Dirk  van  Baburen. 


IV. 

ANONYMOUS  DRAWINGS  OF  THE  LATER  XVI™ 

AND    BEGINNING  OF  THE  XVII™  CENTURY. 

A.— FLEMISH  SCHOOL. 

Arranged  in  chronological  order. 

1.    Sketch  Design  for  a  Painted  Four-Light  Window. 

Under  an  arcade  supported  by  arches  and  Corinthian  columns  and  sur- 
mounted by  a  pediment,  imder  which  reclines  a  figure  of  Abundance, 
the  Virgin,  holding  the  Infant  Jesus,  is  seated  facing  to  the  1.  ;  two  angels 
crown  her  ;  in  front  of  her  to  the  1.  kneels  an  armed  knight,  wearing  a 
surcoat  on  which  are  his  arms  (quarterly,  1  and  4,  a  lion  rampant,  2  and  3, 
a  cross  engrailed)  ;  St.  John  the  Baptist  stands  on  the  extreme  1.  with 
his  1.  hand  on  the  knight's  shoulder  ;  behind  and  between  the  Virgin  and 
the  donor  stand  a  cowled  saint  with  a  chalice  and  a  cross  (St.  Thomas 
Aquinas  ?)  and,  on  the  extreme  r.,  another  cowled  saint,  holding  a  sword 
in  his  1.  hand  and  having  a  knife  stuck  in  his  head  (St.  Thomas  of 
Canterbury)  ;    below  are  eight  blank  shields  arranged  in  two  rows. 

[lOJ  X  4|  in.  ;    27  X  10-8  cm.]     Pen  and  brown  ink  and  pink  and  blue 

wash  over  red  chalk. 

Collection  :    G.  Fairholme  (from  a  volume  mainly  of  Swiss  designs  for 

glass,  purchased  at  Berne,  1829). 

Pmxjhased,  1899 . 1 .  20 .  43. 

Reproduction  :    PI.  LXXIX. 


200  Dutch  aiid  Flemish  Drawings. 


The  arms  on  the  sixrcoat  of  the  kneeling  donor  are  probably  (as  Mr.  A. 
Van  de  Put  has  informed  me)  those  of  the  family  of  Witthem  ;  quarterly, 
1  and  4,  sable,  a  lion  rampant,  or  (Brabant)  ;  2  and  3,  argent,  a  cross 
engrailed,  azure.  The  person  represented  might  be  Jean  de  Witthem, 
Baron  de  Beersele  et  de  Bautershem,  Grand  Veneur  of  Brabant,  1577  and 
1578  (d.  1588).  The  presence  of  St.  John  beside  the  donor  would  probably 
imply  that  the  latter's  Christian  name  was  also  John. 

The  architecture  and  the  arrangement  of  the  figures  is  similar  to  that 
in  windows  in  St.  Gudule  at  Brussels,  especially  to  that  with  Louis  II 
and  Mary  of  Hungary,  1547  (lower  part).  The  form  of  the  window,  with 
its  four  lights  and  complete  absence  of  tracery  above,  corresponds  with 
that  of  the  windows  in  the  church  at  Gouda,  rebtiilt  about  1553.  The 
rather  realistic  type  of  the  St.  John  recalls  the  type  of  Pieter  Aertsen, 
but  the  designer  is  more  likely  to  be  Flemish. 

2.  Moses  and  the  Bukning  Bush. 

Moses  is  seated  at  the  foot  of  a  tree  in  the  centre  and  removes  his  r.  shoe  ; 
the  Lord  appears  in  the  middle  of  a  cloud  above  a  tree  on  the  1.  ;  a  flock 
of  sheep  is  on  the  1.  and  an  extensive  landscape  in  the  background. 

[7 J  X  11 J  in.  ;    18-5  X  28-3  cm.]     Pen  and  rather  reddish  brown  ink: 

inscribed  in  bottom  r.  corner,  pena  di  ticiano  ucelli  ;   watermark,  the  arms 

of  Saxony. 

Collection  :   A.  von  Wurzbach. 

Purchased,  1927.5.18.1. 

Reproduction  :   PI.  LXXIX. 

The  drawing,  which  at  first  sight  seems  to  belong  to  the  school  of 
Patinir,  is  probably  later,  about  1550-60  ;  cf.  especially  the  cross-hatching 
on  the  tree,  which  recalls  the  manner  of  Hans  Bol.  The  watermark 
suggests  a  German  origin  for  the  drawing,  but  certainly  the   inspiration 

is  Flemish. 

3.  Chbist  in  the  House  of  Simon. 

Christ,  seated  on  the  r.,  stretches  out  his  r.  hand  to  an  apostle  who  holds 
a  plate  with  two  fishes  ;  ten  other  apostles  are  grouped  behind  ;  in  the 
background  on  the  r.  is  the  kitchen,  with  a  figure  at  a  cupboard. 

[lOJI  X  7JI  in.;     27-8  X  20*1   cm.]     Pen  and  brown  ink  outline  over 
black  chalk  :  inscribed  in  bottom  r.  corner  in  a  later  hand,  Michil  Cocxilfe  ; 
in  the  centre  at  the  top,  8  in  red  chalk  ;   watermark,  a  hand. 
Collection  :   Sloane. 
5236—107. 

Design  for,  or  tracing  from,  a  stained-glass  panel.  The  attribution  to 
Coxcie,  though  it  dates  from  the  17th  or  18th  centmy,  is  without  justifi- 
cation.    The  style  points  rather  to  Pieter  Pourbus  the  elder. 

4.  A  Nightmare. 

A  sleeping  man,  at  the  door  of  a  building  in  the  background  on  tlie  1., 
is  supposed  to  be  dreaming  the  fantastic  shapes  which  sui-round  him  ; 
prominent  among  these  are,  on  the  1.,  a  sort  of  lamp  partly  composed  of 
a  praying  nun,  supported  on  a  single  sptured  human  foot ;  on  the  r.,  a 
creature  with  a  crozier  passing  through  its  belly,  mounted  on  a  horse,  and 
an  armless  creature  composed  in  part  of  a  pair  of  bellows. 

[9JJ  X  14j3g   in.;     24-6  X  35-7  cm.]     Pen  and  grey -black  ink,   washed 
with  grey  ;    squared  for  enlargement  in  black  chalk,  the  squares  at  the 
top  numbered  ;    backed,  no  watermark  visible. 
Purchased,  1859.7.9.2822. 
Reproduction  :   PI.  LXXX. 

The  drawing,  attributed  to  Bruegel  in  the  register  of  1859,  was  sub- 
sequently placed  luider  Bosch's  name.  It  is  obviously  an  exercise  in  the 
Bosch  genre  by  an  artist  of  about  1550-60.  The  style  suggests  a  copy  ; 
it  may  be  an  engraver's  drawing  from  a  picture,  though  there  is  no 
indentation  for  transfer.  The  artist  obviously  has  a  strong  anti-clerical 
bias  ;    cf.  the  nun  on  the  1.  and  the  mait  with  the  crozier  on  the  r.     He 


Anonymous  Flemish  School.  201 

might  possibly  be  Cornelis  Matsys,  who  is  known  to  have  made  Bosch 
imitations.  It  is  by  none  of  the  identifiable  Bosch  imitators,  Mandyn, 
Huys  or  Verbeeck. 

5.    Fools  Gaping  up  a  Chimney  and  Butting  their  Heads  against  a  Wall. 

On  the  1.  is  a  large  chimney-piece,  up  which  a  group  of  men  and  women, 
wearing  fools'  caps,  are  gazing  ;  to  the  r.  a  group  of  four  fools  are  butting 
their  heads  against  the  wall ;  a  fool  looks  through  a  door  in  the  further 
wall  to  the  r.,  and  two  men,  in  the  costume  of  about  1500,  look  through  a 
window  to  the  1  ;   verso,  portrait  head  of  Jean  sans  Pem-,  Duke  of  Burgundy. 

[Sjig^  X  llf  in.  ;    20-5  X  28-8  cm.]     Pen  and  dark  brown  ink  and  grey 

wash  with  brown  wash  for  the  faces  :   dated  1566  at  the  bottom  to  the  r.  ; 

watermark,  a  Gothic  P. 

Collections  :    ?  Thomas  Holbein  (Sale,  Sotheby's,  May  8th  and  9th,  1865, 

lot  309  :    "  Portrait  of   Charles  Duke  of  Burgundy  with  fools  trying  to 

outgape  the  oven  on  reverse  by  Vertue  ")  ;    Cremer  (Sale,  Amsterdam, 

Jxme  15th,  1886,  lot  205). 

Purchased,  1886.7.6.6. 

Reproductions:   PI.  LXXX;   verso;   PI.  LXXXI. 

The  drawing  on  the  recto  illustrates  two  Flemish  proverbs  :  Het  is  te 
vergeefs  tegen  de  oven  te  gapen  (P.  J.  Harrebomee,  Spreckivoordenboek  der 
Nederlandsche  Taal,  Vol.  II,  Utrecht,  1861,  p.  157),  and  Hij  loopt  met  zijn 
hoofd  tegen  den  tnuur  (ibid..  Vol.  I,  p.  327).  They  are  inscribed  in  a  slightly 
different  form  underneath  :  die  onwetende  sotten  gapen  teghen  den  houen 
to  the  1.  and  die  haestighe  ondiscrete  sotten  loopen  metten  hoofde  [teghen 
den  muur  ?]  to  the  r.  Five  lines  of  Flemish  verse  on  either  side  expand 
each  proverb  further.  Those  on  the  r.  are  hardly  legible  owing  to  damp  ; 
those  on  the  1.  read  as  follows  :-.— 

Alle  die  haer  seluen  quellen  /  dSer  o\n]wetenh[ijt]  groot. 
met  and[e]r  lien  afftenen  /  dieseivils  o[n]danck  betrape[n] 
[d]en  schatel  vol  pappe[n]  waer  haer  goet  finder  noet 
0[ot]  hare[n]  mont  te  stoppen  /  e[n]  da[n]  gaen  ligghe[n]  slapen 
[tv]ant  scalte  v[er]gf/iee/s  tege[n]  den  houen  gapen. 

Both  proverbs  are  illustrated  in  Bruegel's  picture  of  Flemish  Proverbs  at 
Berlin,  but  are  treated  by  him  very  differently. 

The  drawing  conforms  closely  in  subject  and  size  to  engravings  after 
Bruegel  and  others  published  about  the  same  date  by  Hieronymus  Cock 
in  Antwerp  (cf.  the  anonymous  engraving  called  "  Lippe  Loer  ").  In 
style,  however,  it  appears  to  approach  more  closely  two  etchings  by  Pieter 
van  der  Borcht  the  elder,  published  by  Bartholomaeus  de  Mompere, 
especially  .that  of  the  shoemaker's  shop  and  infants'  school  combined, 
dated  1559.  Bvit  it  would,  I  think,  be  rash  to  ascribe  the  drawing  on  these 
grounds  to  van  der  Borcht  (cf .  on  the  subject  of  another  drawing  doubtfully 
ascribed  to  van  der  Borcht  a  note  by  the  writer  in  Old  Master  Drawings, 
III  (1928),  p.  30).  The  early  16th  century  costumes  of  the  men 
looking  through  the  window  may  imply  that  the  drawing,  like  No.  6,  is  a 
copy  of  a  picture  of  that  date,  but  it  appears  to  have  been  the  fashion 
to  dress  the  participants  in  this  type  of  satirical  print  in  antiquated 
costumes,  as  the  genre  derived  more  or  less  directly  from  Bosch. 

The  portrait  of  Jean  sans  Peur,  Duke  of  Burgundy,  on  the  verso 
(wrongly  described  as  that  of  Philippe  le  Bon  in  the  Cremer  Sale  Catalogue), 
is  obviously  a  copy  of  a  contemporary  portrait,  like,  but  not  identical 
with,  the  original  of  the  engravings  of  Suyderhoef  and  Soutman.  It  is 
obviously  by  a  different  hand  from  the  drawing  on  the  recto,  but  more  or 
less  contemporary  with  it.  The  curious  statement  in  the  Holbein  Sale 
Catalogue  that  both  drawings  are  by  Vertue  must  be  a  mistake,  unless 
the  drawing  there  described  was  in  fact  a  copy  of  the  present  drawing 
made  by  Vertue,  not  the  drawing  itself. 

6.   The  Bellows-Mender. 

He  sits  on  a  chair  before  a  bench  on  the  r.  and  holds  a  pair  of  bellows 
in  his  1.  hand  ;  an  old  woman,  accompanied  by  a  small  child,  approaches 
from  the  1.  and  touches  his  elbow  ;    behind  her  to  the  1.  another  woman 


202  Dutch  and  Flemish  Drawings. 

holding  a  pair  of  bellows,  and  on  the  extreme  1.  a  man  looking  through 
a  door  ;  in  a  niche  in  the  wall  on  the  r.  is  an  owl  holding  a  dead  bird,  and 
on  the  wall  a  picture  of  "  niemant." 

\l\l  X  lljjin.  ;  19-8  X  29-6  cm.]  Pen  and  brown  ink  and  brown  wash  : 
in  a  roundel  in  the  window  is  a  pair  of  bellows  with  the  initials  m.  a.,  and  in 
the  bottom  r.  corner  the  date  1570  ;  underneath,  four  lines  of  Flemish 
verse  : — 

Meester  zoe  bidick  dan  Voer  myn  nicht 

hare  blaesbalch  en  is  oock  nz  dicht, 

Dit  oude  leer  is  drooghe  en  Verrompen 

ick  en  ben  leech  om  dat  te  Verpompen. 

Backed,  no  watermark  visible. 

Collections  :     Paignon-Dijonval    (Catalogue  by  B6nard  pere,  No.    1011), 

S.  Woodburn  (Sale,  June  21st,  1854,  lot  1170). 

Purchased,  1854.6.28.47. 

Reproduction  :   PI.  LXXX. 

Attributed  in  the  Paignon-Dijonval  and  Woodburn  catalogues  to  H.  de 
Bles,  presumably  because  the  owl  in  the  niche  was  regarded  as  his  signature. 
The  drawing  is  actually,  as  pointed  out  to  me  by  M.  Edouard  Michel,  a 
copy  from  a  pictixre  in  the  Tournay  Museum  (or  a  replica  of  this).  Compo- 
sitions in  the  manner  of  Bosch  found  a  ready  sale  in  Antwerp  in  the  period 
1560-70,  and  the  greater  number  of  these  was  issued  by  Hieronymus 
Cock,  who,  it  has  been  suggested,  was  possibly  named  after  the  painter  of 
Bois-le-Duc  and  whose  father,  Jan  de  Cock,  v,-as  also  the  author  of 
Diableries.  The  resemblance  in  style  between  this  and  the  drawing  by 
Hieronymus  Cock  previously  described  (p.  150,  No.  1)  suggests  that  he 
was  possibly  the  actual  draughtsman  of  this  also.  The  drawing  looks  as 
if  it  had  been  intended  for  engraving,  though  no  such  engraving  apparently 
exists.  An  engraving  of  a  lute-mender  by  F.  Huys,  an  engraver  much 
employed  by  Cock,  appears  to  have  been  imitated  from  the  same  picture. 
The  arrangement  is  very  similar,  but  in  reverse.  I  cannot  explain  the 
initials  in  the  window.  They  probably  i-efer  to  the  subject  rather  than  to 
the  artist. 

7.  Cain  Killing  Abel. 

Cain  places  his  r.  foot  on  Abel's  chest  and  raises  the  bone  in  his  r.  hand, 

while  he  holds  Abel  with  his  1.  ;    on  the  r.  is  a  tree. 

[7^  X  10|  in.  ;     18  X  27-2  cm.]     Pen  and  brown  ink  and  brown  wash  : 

inscribed  at  the  bottom  to  the  \.  M  H  kerck  ;    watermark,  a  fieur-de-lys 

siu-mounted  by  a  quatrefoil  with  a  scroll  with  the  name  J  ?    NIVELLE, 

like  Briquet  7089,  underneath. 

Collection  :    Sloane. 

5214—251. 

The  drawing  has  nothing  to  do  with  Heemskerck  ;  the  types  are  rather 
those  of  Pieter  Koecke  and  his  followers  in  the  second  half  of  the  century. 
It  has  the  look  of  an  engraver's  drawing. 

8.  Head  of  a  Man  and  Study  of  Chbist. 

The  head,  tiu-ned  three-quarters  to  the  r.,  is  on  the  1.  ;  the  study,  on  the 
r.,  is  for  a  Chi-ist  at  the  Column. 

[5Jg  X  3|  in.  ;  •15'1  X  9- 8  cm.]  Pen  and  brown  ink.  No  register  mark 
or  note  of  provenance. 

Described  in  the  MS.  catalogue  of  1850  as  by  Frans  Floris.  It  is  a  very 
slight  sketch  by  some  artist  certainly  influenced  by  Floris. 

9.  The  Prodigal  Son  Wasting  his  Inheritance. 

He  is  seated  vuider  a  tree  to  the  1.,  embraced  by  a  woman  beside  him  ; 
a  table,  supported  by  winged  sphynxes,  is  before  them  to  the  r.  ;  behind 
the  table  is  a  group  of  two  men  and  a  woman  singing  from  a  book  and  a 
man  standing  playing  the  flute  ;  to  the  r.  a  woman  and  a  man  drinking  and 
holding  a  lute  are  seated  ;  on  the  extreme  1.  an  old  woman  is  chalking 
up  the  score. 


Anonymous  Flemish  School.  203 

[lOf  X  17|in.  ;     27-3  X  43 -4  cm.]     Pen  and  grey  ink  and  grey  wash: 
inscribed  bottom  1.  comer,  VIII  zo.  brg  ;  an  inscription  below  the  pedestal 
of  the  table  has  been  scratched  out ;   watermark,  a  small  crowned  jug. 
Purchased,  1864.5.14.251. 
Reproduction  :   PI.  LXXXI. 

The  attribution  to  Frans  Floris  in  the  register  of  1864  cannot  be  taken 
seriously.  There  is  no  resemblance  in  style  or  subject.  It  is  much  nearer 
to  Lambert  van  Noort  and  may  be  by  him.  It  should  be  compared  with  the 
drawing  of  Esther  and  Ahasuerus  by  van  Noort  described  above  (p.  174, 
No.  1). 

10.   A  Man  Directing  Building  Operations. 

A  gentleman  is  seated  at  a  table  in  the  open  air,  facing  to  the  front ;  he 
points  with  his  1.  hand  to  workmen  engaged  on  the  roof  timbers  of  a  house 
in  the  distance  on  the  1.  ;  a  workman  holding  a  saw  stands  in  profile  to 
the  1.  in  front  of  the  table  in  the  foreground  ;  in  the  distance  on  the  r.  men 
are  engaged  in  thatching  a  barn. 

[10 J  X  lOJin.  ;    27-2  X  26  cm.  ;   in  a  circle,  diameter  lOi  in.  ;    26-1  cm.] 

Pen  and  brown  ink  and  red  and  grey  wash  :    watermark,  a  dolphin,  like 

Briquet  5841. 

Collection  :   Sloane. 

5226—172. 

Reproduction  :    PI.  LXXXI. 

Obviously  a  design  for  a  stained-glass  roundel,  perhaps  representing 
"  Architecture  "  in  a  series  of  the  Arts.  Its  style  is  not  unlike  that  of 
the  second  Joseph  series  described  below,  but  it  is  definitely  superior  and 
not,  like  them,  a  tracing  or  a  copy. 

11-17.   The  Story  of  Joseph. 

[Varying  between  11|  X  7Jin.  (29-8  X  19- 7  cm.)  and  llj^^  X  7^%  ^^• 
(28-4  X  19cm.);  the  drawings  have  rectangular  outlines  with  arched 
tops  about  11^  X  7|^in.  (29-2  X  19cm.)  in  size.]  Pen  and  brown  ink 
outlines  over  black  chalk  :  watermarks  on  Nos.  1,  3,  4  and  6,  the  mono- 
gram IC  surmounted  by  a  crescent  and  crown,  like  Briquet  5313. 
Collection  :  Sloane. 
.5226— 173...  179. 

11.  Joseph  with  his  Father;    in  the  background,  Joseph  Relating 
HIS  Dreams. 

On  the  verso  the  letter  "  a  "  and  the  second  of  two  lines  of  Flemish  verse, 
partly  cut  and  difficult  to  read :  .  .   .  synen  droom  .  .  .  ;    also  the  draft 
of  a  letter  in  Flemish,  in  a  different  hand,  having  no  connection  with  the 
drawing. 
5226—178. 

12.  Reuben  Looking  into  THE  Well  ;  the  other  Brothers  Slaughtering 
the  Kid,  and,  in  the  background,  Joseph's  Coat  Shown  to  Jacob. 

On  the  verso  : — 

Ruben  siet  in  den  puten  en  vindt  Joseph  niet 

sy  toone  skints  rocJc  bebloet  met  svaders  groot  verdiet. 

6226—173. 

13.  Pharaoh's  Dream. 

On  the  verso  : — 

De  coninck  droomt  eene  swaren  droom  waer  om  hy  soegt 
onder  den  gh.eleerd{en)  ivat  dien  beduden  moegt. 

5226—174. 


204  Dutch  and  Flemish  Drawings. 

14.  Pharaoh  Gives  Joseph  his  Ring. 

On  the  verso  the  latter  "  g  "  and  : — 

als  ioseph  sconincs  droom  Jiadde  gheexponeert 

streckt  hij  hem  eene[n']  rinck  aen  enheesten  hoch  gheeert. 

5226—175. 

15.  The  Cup  put  in  Benjamin's  Sack,  and,  in  the  background,  the 
Cup  found  there. 

On  the  verso  : — 

Den  cop  wordt  in  beniamins  sack  ghesteken 
josep  laet  hem  kennen  en  wilt  sijn  vadr  spreken. 

5226—176. 

16.  Benjamin  Seized  at  Joseph's  Orders. 

On  the  verso  the  letter  "  1  "  and  : — 

Joseph  hout  snymon  ghevanghen  en  oorloost  den  rest 
weder  om  thuys  te  reysen  in  haer  ghetoeste. 

5226—177. 

17.  Joseph  Greeting  his  Father. 

On  the  verso  the  letter  "  m  "  and  : — 

Jacob  catnt  in  egepten  deur  groat  verlanghen 

en  wert  van  ioseph  met  grooter  vreugden  ontfanghen. 

5226—179. 
For  stained-glass  panels.  The  series  is  obviously  incomplete  and  should 
have  comprised  twelve,  as  the  last  of  the  number  letters  on  the  verso  is  "  m." 
The  drawings  are  of  poor  quality  and  either  copies  or  tracings  from  actual 
glass  panels.  The  style  points  to  Lambert  van  Noort,  who,  to  judge 
from  the  niunber  of  drawings  for  glass  by  him  still  existing,  was  largely 
occupied  as  a  designer  of  this  type  of  glass  panel.  Compare  the  grouping 
and  the  architecture  in  these  drawings  with  the  signed  drawing  of  Esther 
before  Ahasuerus  (p.  174,  No.  1). 

18-22.   The  Story  of  Joseph  :    Roundels. 

[Diameter  of  circles  about  11  in.  ;    28  cm.]     Pen  and  brown  ink,  washed 
with  red. 

Collection  :   Sloane. 
5226— 167...  171. 

18.  Joseph  Relating  his  Dreams  to  his  Family. 

[lOJj  X  lO^Jin.  ;     27-1  X  27-1  cm.]       Letter   "A"(?)   in   bottom   r. 

comer  ;   no  watermark. 

5226—170. 

19.  Joseph's  Brethren  Showing  Joseph's  Coat  to  Jacob. 

[10j3j  X  lOJin.  ;   26-3  X  26  cm.]      Watermark,  the  name    PINETTE 

on  a  scroll,  like  Briquet  12061. 

5226—167. 

20.  Joseph  Sold  to  Potiphar. 

[lOjOj.  X  lOJin.  ;    26-9  X  26- 7  cm.]     Letter  "D"  bottom  r.  ;    water- 
.  mark,  as  No.  19 ;  on  the  verso  : — 

Joseph  de  drotnere 
putifer  coopt  Joseph  niet  dur  om  ghelt 
en  Jieeft  over  syn  gheheel  huys  ghestelt. 

5226-171. 


Anonymous  Flemish  School.  205 

21.  Joseph  and  Potiphar's  Wife. 

[Cut  circular;   diameter,  10  in.  ;  25-4  cm.]    On  the  verso  a  rough  sketch 
of  the  same  subject  and  of  an  ornament,  and  the  inscription  : — 

putifers  wyf  was  om  boeleren  met  Joseph  gheq{uelt) 
verlaet  syn  elect  en  omloopt  haer  met  gheivelt. 

5226—168. 

22.  Joseph  Taken  to  Prison. 

[10^1  X  lOjOg  in.  ;   27-4  X  26-8  cm.]     Letter  "  f  "  in  bottom  r.  corner  ; 
no  watermark  ;    inscribed  on  verso  : — 

Die  vrouwe  beschuldicht  Joseph  met  om  verstranghen{t) 
en  wert  onnosel  syner  nogtans  ghevanghen. 

522&— 169. 

The  series,  designs  for  or  copies  or  tracings  from  glass  roundels,  are  m 
the  style  of  Floris  and  his  followers,  about  1560. 

23.  A  seated  Oriental  Soldier. 

He  is  in  profile  to  the  r.,  seated  on  the  ground,  and  holds  a  scimitar  in 
his  r.  hand  ;  a  helmet  lies  on  the  ground  to  the  1.  ;  behind,  sketched  in 
chalk,  is  a  standing  soldier  with  sword  and  spear. 

[6  X  4^^^  in.  ;     15-2  X  10-7  cm.]     Pen  and  brown  ink  on  green  paper, 
heightened  with  white  :   inscribed  bottom  r.  Solimano. 
Collection  :  Sloane. 

K237 88 

Reproduction  :  PI.  LXXXII. 

The  two  figures  occur  on  a  smaller  scale,  in  reverse,  on  an  engraving 
of  the  Resurrection,  marked  C.  de  Pas.  exc,  with  four  lines  of  Latin  verse 
underneath  :  Non  manet  in  Terris  .  .  .  reserare  fores.  This  engraving 
obviously  belongs  to  a  series  of  illustrations,  but  I  have  not  been  able  to 
identify  these  or  ascertain  the  name  of  the  designer  of  the  engraving. 
They  would  in  all  probability  be  repetitions  on  a  smaller  scale,  and  very 
likely  reversed,  of  a  larger  series,  from  which  the  present  drawing  might 
well  be  copied.  I  do  not  think  that  the  designer  was,  as  is  often  the  case 
with  Crispin  de  Passe's  engravings,  Martin  de  Vos. 

The  drawing  was  without  a  name  in  the  inventory  of  1837,  was  attri- 
buted to  Cock  in  the  MS.  catalogue  of  the  Sloane  Collection,  1845,  and 
subsequently  placed  with  drawings  by  Pieter  Koecke. 

24.  Costume  Designs  for  Horsemen  in  a  Pageant. 

The  horseman  on  the  1.  advances  to  the  r.  ;  he  wears  classical  armour  and 
a  cloak  and  carries  a  baton  in  his  1.  hand  ;  the  horseman  on  the  r.,  who 
advances  to  the  1.,  carries  sword  and  shield  ;  on  his  helmet  is  a  figure  of 
Fortune  and  on  his  horse's  head  one  of  Cupid. 

[8J  X  llf  in.  ;    20-6  X  29-5  cm.]     Pen  and  brown  ink  and  brown  wash  : 
watermark,  a  pilgrim  in  a  circle,  type  of  Briquet  7574. 
Collection  :  Sloane. 
5226—56. 

No  attribution  in  the  inventory  of  1837  ;  Jan  Walter  van  Assen  in 
the  MS.  catalogue  of  the  Sloane  Collection,  1845.  Martin  de  Vos  has 
subsequently  been  suggested.  It  is  still  nearer  to  Hendrick  de  Clerck, 
but  I  doubt  in  fact  whether  it  is  Flemish  at  all.  The  watermark  is 
definitely  N.  Italian,  and  the  drawing  may  also  be. 

26.   View  of  Vessels  on  the  Scheldt,  with  Antwerp  in  the  Distance. 

Two  large  vessels,  one  on  the  1.  with  two  masts  and  lug  sails,  both  flying 
the  Spanish  flag,  pass  each  other  and  fire  salutes  ;  other  smaller  sailing 
and  rowing  vessels  surround  them  ;  in  the  distance  on  the  r.  is  the  city 
of  Antwerp,  connected  with  the  opposite  shore  by  a  bridge  of  boats. 


206  Dutch  and  Flemish  Drawings. 

[Circular;  diameter,  T^g  in.  ;  19 '3  cm.]     Pen  and  brown  ink,  reinforced  in 
places  with  black  ink  and  washed  with  faint  blue  :   watermark,  a  horn. 
Purchased,  1877.5.12.268. 
Reproduction  :  PI.  LXXXII. 

Attributed  to  Jacob  Grimmer  in  the  inventory  of  1837.  It  is,  however, 
utterly  different  in  style  from  the  signed  drawing  by  that  artist  described 
above  (p.  165),  appears  to  date  from  about  1600,  and  suggests  rather  the 
manner  of  Jan  Bruegel  the  elder.  The  information,  which  M.  A.  H. 
Cornette  was  so  kind  as  to  give  me  on  the  subject  of  the  bridges  made  at 
various  times  across  the  Scheldt,  further  proves  that  the  attribution  to 
Grimmer  is  impossible.  Obviously  the  bridge  here  represented  cannot  be 
that  constructed  by  the  Prince  of  Parma  in  1585,  for  this  was  at  some 
distance  from  the  city.  The  next  bridge  was  that  built  at  Spinola's  orders 
in  1605,  and  this  is  probably  the  one  represented.  Other  bridges  were 
constructed  in  1631  and  in  1640,  but  the  style  of  the  drawing  makes  the 
earlier  one  raore  probable. 

26.  A  Flemish  Village. 

In  the  centre  of  the  foreground  is  a  tall,  bare  tree,  used  as  an  archery 
butt ;  behind,  also  in  the  centre,  is  an  imposing  town  hall,  and  further 
back  to  the  1.,  at  the  end  of  a  street  planted  with  trees,  the  church  ;  to 
the  r.  a  potmd,  and  further  back  another  street  passing  the  town  hall. 

[7}  X  12|^  in.  ;    18-4  X  30-8  cm.]     Pen  and  brown  ink  and  grey  wash  : 
watermark  undecipherable  ;    inscribed  in  1.  hand  bottom  corner,  vander 
Heyde  copied  from  an  older  inscription  on  the  verso. 
Purchased,  1868.6.12.1602. 

The  old  attribution  to  van  der  Hey  den  is,  of  course,  out  of  the  question. 
The  style  of  the  drawing  is  that  of  the  Antwerp  landscape  painters  of  the 
first  half  of  the  17th  century.  It  recalls  Lucas  van  Uden,  but  is  slightly 
more  primitive  in  style. 

27.  The  Temptation  of  St.  Anthony. 

The  saint  kneels  on  the  r.,  facing  to  the  1.  ;  behind  him  to  the  1.  stands 
a  woman  ;  a  devil  is  in  a  tree  above  and  others  to  the  r.,  behind  him  ; 
another  is  conspicuous  in  the  foreground  on  the  extreme  1. 

[6JI  X  8J^  in.  ;    17' 7  X  20-7  cm.]     Pen  and  brown  ink  and  brown  wash 
on  brown-coloured  paper,  heightened  with  white  :    inscribed    bottom  r. 
WF  (mark  of  the  Rev.  W.  Fawkener  ?). 
Bequeathed  by  the  Rev.  W.  Fawkener,  1769. 
Fawkener,  Addenda  72. 

Attributed  in  the  MS.  catalogue  of  the  Fawkener  Collection,  1845,  to 
Pieter  Bruegel.  The  style  is  very  much  later  and  the  treatment  suggests 
the  entourage  of  Teniers.  It  would  more  appropriately  have  found  a  place 
with  the  drawings  of  the  17th  century. 

B.— DUTCH  SCHOOL. 

28.  St.  Mabtin  Dividing  his  Cloak. 

The  saint  is  on  horseback,  moving  towards  the  r.  ;  he  cuts  in  half  his 
cloak,  the  other  end  of  which  is  held  by  a  cripple  kneeling  on  the  1. 

[7J  X  4|  in.;     19-1  X  12-1   cm.]     Pen  and  black  ink  and  grey  wash: 
watermark,  a  fleur-de-lys  with  the  initials  CN,  like  Briquet  7049. 
Collection  :  Sloane. 
5226—135. 

No  attribution  in  the  inventory  of  1837  ;  Stradanus  in  the  MS.  cata- 
logue of  the  Sloane  Collection,  1845.  There  is  no  reason  for  this  attribution, 
and  the  watermark  is  Northern  in  type.  It  is  a  feeble  drawing,  recalling 
in  some  ways  Wttewael. 


Anonymous  Dutch  School.  207 


29.  FOBTUTSTE    AND    HOPK. 

Fortune  stands  on  the  1.  on  a  winged  globe  which  floats  in  the  sea  ;  Hope, 
holding  an  anchor,  stands  on  the  land  to  the  r.  ;  in  the  distance  on  the  1. 
are  burning  buildings,  in  the  centre  shipping,  and  on  the  r.  a  banquet  ; 
at  the  top,  in  the  centre  on  an  oval  tablet,  is  the  monogram  10  with  a 
housemark  ;  at  the  bottom,  in  the  centre  on  a  tablet,  lOHANNES. 
GODFRIDUS  ALIAS.  BIDDEN S.  1601. 

[Circular;  diameter,  llj  iii.  ;    28-2  cm.]     Pen  and  brown  ink  and  brown 

wash. 

Collection  :  Sloane. 

523&— 139. 

Design  for  a  glass  roundel.  The  style,  as  suggested  on  the  mount  by 
Dr.  Kurt  Bauch,  is  near  to  that  of  Karel  van  Mander,  but  it  is  too  weak 
to  be  actually  by  him. 

30.  Stttdies  of  Figures. 

On  the  1.  a  man  and  a  woman  in  conversation  ;  to  the  r.  a  woman  seated 
and  a  child  ;   higher  up,  a  man  kneeling. 

[5  X  Sj^^  in.  ;    12-7  X  14-1  cm.]     Pen  and  brown  ink  and  brown  wash  : 
on  the  verso  five  lines  of  accounts  in  Dutch. 
Collection  :  Sloane. 
5227—90. 

No  attribution  in  the  inventory  of  1837  ;  A.  van  Londerseel  in  the 
MS.  catalogue  of  the  Sloane  Collection,  1845.  This  attribution  seems  to 
have  been  made  merely  because  J^onderseel  was  known  to  have  engraved 
costumes.  Actually  the  drawing  seems  to  be  the  work  of  some  Dutch 
mannerist  of  about  1600,  like  Karel  van  Mander. 

31.  The  Triumph  of  David. 

Small  figures  in  an  extensive  landscape  ;  David,  in  the  centre,  advances 
along  a  road  to  the  1.,  followed  by  Saul  on  horseback  and  by  a  cavalcade 
which  stretches  back  into  the  distance  on  the  r.  ;  the  maidens  of  Israel 
come  dancing  out  from  an  arch  in  the  rock  on  the  1.  ;  spectators  are  in 
the  foreground  on  the  1. 

[Imp.,  9^  X  21i  in.  ;    23-2  X  54  cm.]     Pen  and  brown  ink  and  brown 

wash,  spotted  with  oil  and  colour. 

Bequeathed  by  the  Rev.  C.  M.  Cracherode,  1799. 

Ff.  4—36. 

No  attribution  in  the  inventory  of  1837  or  in  the  MS.  catalogue  of  the 
Crachei'ode  Collection,  1845  ;  subsequently  given  to  Hans  Bol,  with  whose 
style  it  has  nothing  in  common.  It  appears  to  be  Dutch,  about  1620, 
and  should  rather  have  been  catalogued  with  drawings  of  the  17th  century. 


208  Dutch  and  Flemish  Drawings. 

V. 

NATURAL   HISTORY   DRAWINGS. 

Album  bound  in  black  leather,  lettered  in  gold  on  the  cover  : — 

VISHEN 

VOGELEN 

DIEREN 

VRUCHTEN 

1637 

The  pages  measure  about  23x16  in.  (60-3  x 40-2  cm.).  The  watermark 
in  the  paper  of  which  the  album  is  made  up  is  a  coat  of  arms  with  a  fleur-de- 
lys,  surmounted  by  a  crown  with  the  monogram  WR  at  the  point  of  the 
shield.  The  volume  is  one  of  the  series  from  the  Sloane  Collection,  to  which 
reference  will  be  found  under  Bolten,  Arent  van,  on  p.  97.  All  the 
drawings  in  the  present  album,  numbered  1  to  142,  are  intact  and  in  the  order 
in  which  they  were,  when  checked  by  William  Young  Ottley  on  May  15th, 
1883,  except  that  a  Chinese  painting  of  a  monkey  (No.  141)  was  removed 
and  transferred  to  the  Sub-Department  of  Oriental  Prints  and  Drawings  on 
April  1st,  1927,  and  that  the  greater  part  of  another  drawing  (No.  107)  was 
torn  out  between  1833  and  1861.  When,  however,  Ottley  checked  the 
drawings,  two  numbers.  111  and  112,  were  missing.  Nos.  146  to  179,  scraps 
from  a  portfolio  labelled  "  Drawings  of  No  Importance,"  but  also  from  the 
Sloane  Collection,  and  also  representing  animals,  were  added  in  1927. 

All  the  drawings,  except  these  unimportant  additions,  are  here  for  the 
sake  of  completeness,  enumerated,  though  a  certain  number  are  certainly 
German  and  others  come  outside  the  limits  of  date  of  the  present  volume. 
A  few  drawings  (Nos.  76,  101,  134  and  135)  have  already  been  described  or 
referred  to  in  previous  volumes. 

Though  the  arrangement  follows  roughly  that  of  the  lettering  on  the 
binding,  it  is  possible  that  a  number  have  been  removed  and  others  inserted, 
for  there  are  many  blank  leaves  on  which  drawings  had  obviously  at  one 
time  been  pasted.  Many  drawings  uniform  in  style  with  those  still  in  the 
album  are  in  other  albums  from  the  Sloane  Collection,  5261  in  the  Department 
of  Prints  and  Drawings  and  5263-5266  in  that  of  Manuscripts.  Sir  Hans 
Sloane  may  have  been  responsible  for  this  re-arrangement ;  he  would 
naturally  have  wished  to  have  all  his  zoological  drawings  scientifically 
classified  according  to  species  in  a  single  series.  It  is  hard  under  this 
assumption  to  explain  why  the  drawings  of  birds  in  the  present  album 
(Nos.  59-73)  were  not  incorporated  with  the  others  in  the  "  Edwards  " 
albums  (Department  of  MSS.,  Sloane  5263-5266). 

The  signature  Veit  Spierincx  on  No.  82  makes  it  possible  to  attribute  to 


Natural  History  Drawings.  209 

this  otherwise  unknown  artist  a  number  of  other  drawings  of  fruit  and 
vegetables  with  some  confidence.*  It  is  possible  that  many  of  the  drawings 
of  fishes  and  birds,  which  are  in  a  similar  style  and  technique,  are  also  by 
him,  but  by  no  means  certain.  One  drawing  (No.  8)  is  dated  1597,  and  the 
majority  are  probably  also  of  about  the  same  date,  but  the  style  of  this 
drawing  differs  somewhat  from  that  of  the  signed  drawing  by  Spierincx  and 
may  not  be  him. 

One  might  have  expected  to  find  so  important  and  excellent  a  collection 
of  zoological  drawings  used  to  illustrate  works  on  natural  history,  but  I  have 
failed  to  find  that  any  have  been  so  used.  In  the  absence  of  such  named 
engravings  it  is  impossible  in  most  cases  to  identify  the  artist  of  drawings 
of  this  type. 

Unless  otherwise  stated  the  medium  of  a  drawing  is  body  colour  or 
gouache  on  paper.  The  word  "  Backed "  following  the  measurements, 
means  that  the  drawing  is  on  paper  mounted  on  linen.  A  number,  apparently 
uniform  in  style,  have  been  thus  mounted,  and  seem  to  belong  to  the  same 
series.  A  drawing  on  which  no  comment  is  made  is  to  be  regarded  as  Flemish 
of  the  end  of  the  16th  century. 

I  am  much  indebted  to  colleagues  of  the  Natural  History  Museum  for 
the  identification  of  the  species. 

Sloane,  5219,  1—179. 

1-18.   Fishes. 

1.  A  Perch  (?). 

[3fx7iin.  ;      9-3  X  18- 1  cm.]     Backed;      numbered     top     1.     II  g 
Perhaps  by  Spierincx. 

2.  Two  Studies  of  a  Dace  {Leuciscus  leuciscus)  (?). 
[6ix9iin.;     16-6  X  23-2  cm.] 

3.  Two  Studies  of  a  Perch  (Perca  fluvialis)  (?). 
[6385  X  lO^in.  ;    15-7  X  25-6  cm.] 

4.  A  Roach  (Rutilus  rutilus)  (?). 

[3j9ij  X  7j9^in.  ;    9-1   X  19-2  cm.]     Backed. 
Perhaps  by  Spierincx. 

5.  A  Herring  {Clupea  harengus). 

[4|  X  ^'%\n.  ;    12-3  X  25-2  cm.]     Water  and  body  colour  heightened 
with  gold. 

6.  A  Herring. 

[5|  X  11,^'^  in.  ;    14-9  X  28-3  cm.]     Water  and  body  colour,  heightened 
with  gold. 

7.  A  Herring  on  a  Platter. 

[633^  X,  10|-in.  ;    16-6  X  2 -75  cm.] 


*  Prof.  F.  Winkler  has  called  my  attention  to  the  existence  of  four  drawings 
of  grasses,  flowers,  etc.,  at  Wilhelmshohe,  attributed  to  Durer.  To  judge  from  the 
photographs,  which  he  has  been  kind  enough  to  send  me,  his  attribution  of  them  to 
Spierincx  is  certainly  correct. 


P 


210  Dutch  and  Flemish  Drawings. 


8.  Two  Herrings  on  a  Platter. 

[8i  X  12|in.  ;     21   X  32cm.]     Backed;     dated    on    platter    1597    and 
inscribed  Die  te  vreden  is  met  tsalste  das  hy  (?). 
Reproduction  :    PI.  LXXXIII. 

9.  Two  Studies  of  a  Flounder  (Flesus  flesus). 
[9i  X  Tfin.  ;    24-2  X  19-6  cm.] 

10.  A  Tench  {Tinea  tinea). 

[6i  X  lOfin.  ;    17-2  X  26-3  cm.]     Backed. 
Perhaps  by  Spierincx. 

11.  A  Bream  (Abramis  brama). 

[6i  X  lO^in.  ;     16  X  26-8  cm.]     Backed. 
Perhaps  by  Spierincx. 

12.  Two  Whitings  {Qadus  merlangus)  (?). 

[8i  X  123-'^  in.  ;    20-6  X  31 -6  cm.]     Backed. 
Perhaps  by  Spierincx. 

13.  A  Pike  (Esox  lucius). 

[3f  X  lljin.  ;    8-6  X  28-6  cm.]     Backed;    numbered  top  1.  6.c. 
Perhaps  by  Spierincx. 

14.  A  Pike. 

[3^  X  ll^in.  ;    8-8  X  29-3  cm.]     Backed;    numbered  top  1.  i3  6. 
Perhaps  by  Spierincx. 

15.  A  Pike. 

[7i  X  12Jin.;    18-1   X  31cm.]     Backed. 
Perhaps  by  Spierincx. 

16.  A  Trout  {Salmo  trutita). 

[4|  X  15^  in.  ;  11-1  X  38 -4  cm.]  Pen  and  brown  and  red  ink  and 
brown  wash. 

By  an  earHer  hand  than  the  drawings  of  fishes  already  described. 

17.  A  Pair  of  Haddocks  (Oadus  aeglifinus). 
[8ifXl4|in.  ;    22-7  X  37-5  cm.]     Backed. 

Perhaps  by  Spierincx. 

18.  A  Flying  Fish  (Exoeoetus  sp.)  ;   verso  :  A  Sloth. 

[7^1  X  llfin.  ;  19-8  X  29-8  cm.]  Black  chalk;  with  notes  as  to 
colour  on  the  recto  ;  numbered  on  the  verso  35  fee  ;  watermark,  like 
Briquet  15,927. 

By  the  same  hand  as  Nos.  39,  40  and  47  below. 

19.  A  Hare. 

[15^  X  lOin.  ;    39-4  X  25 -8  cm.]     Water-colovir  ;    watermark:    the  arms 
of  Strassburg. 

By  the  same  inferior  hand  as  Nos.  56  and  57  below. 

20.  A  Dead  Rabbit  Hung  Up. 

[17f  X  lOfin.  ;    44-7  X  26-4cm.]     Backed. 
Perhaps  by  Spierincx. 


Natural  History  Drawings.  211 

21.  A  Female  Mallabd  {Anas  platyrhyncha). 
[13i   X  9iin.  ;    33-7  X  23-1  cm.]     Backed. 

Perhaps  by  Spierincx  ;  vmiform  withNos.  22-25,  27,  28  and  59-73  below. 

22.  A  Male  Mallard  {Anas  platyrhyncha). 
[13fx8|m.  ;    34x21 -8  cm.]     Backed. 

Perhaps  by  Spierincx  ;  uniform  with  No.  22  above  and  Nos.  23-25,  27, 
28  and  59-73  below. 

23.  A  Female  Teal  {Anas  crecca). 

[6i  X  8f  in.  ;    15-9  X  21 -9  cm.]     Backed. 

Perhaps  by  Spierincx  ;  uniform  with  Nos.  21  and  22  above  and  24,  25, 
27,  28  and  59-73  below. 

24.  A  Siskin  {Spinus  spinus),  1.  ;    A  Great  Tit  {Parus  major),  r. 

[4f  X  9|in.  ;    11-7  X  25-1  cm.]     Backed. 

Perhaps  by  Spierincx  ;  uniform  with  Nos.  21-23  above,  25,  27,  28  and 
59-73  below. 

25.  A  Male  Teal  {Anas  crecca). 

ri2f  X  7Jin.  ;    32  X  19-2  cm.]     Backed. 

Perhaps  by  Spierincx  ;  uniform  with  Nos.  21-24  above  and  27,  28  and 
59-73  below. 

26.  Two  Scorpions. 

[3|  X  5}gin.  ;    9-3  X  15  cm.] 

By  a  different  and  later  hand  to  most  of  the  drawings  in  the  book. 

27.  A  Male  Teal  {Anas  crecca). 
[9x6|in.  ;    22- 9  X  17- 1  cm.]     Backed. 

Perhaps  by  Spierincx  ;  uniform  with  Nos.  22-25  above  and  28  and  59- 
73  below. 

28.  A  Female  Teal  {Anas  crecca). 

[6i  X  9iin.  ;    15-8  X  23 -2  cm.]     Backed. 

Perhaps  by  Spierincx  ;  uniform  with  Nos.  22-25  and  27  above  and  59-73 
below. 

29.  Various  Insects,  etc.,  including,  among  others,  a  Grasshopper,  a 
Snail,  a  Cockchafer  and  Robber-Flies. 

[4|  X  lOiin.  ;    12-3  X  25 -7  cm.]     Nimibered  top  1.  61a. 

Of  the  insects  represented  the  most  prominent,  the  grasshopper,  in  the 
centre,  is  copied  from  Jacob  Hoefnagel's  engraving  after  Joris  Hoefnagel 
{Archetypa  Studiaque  patris  Georgii  Hoefnagelii.  Frankfort,  1592,  Pars 
secunda,  PI.  10)  as  well  as  a  fly  at  the  top  to  the  r.  The  style  is  that  of 
the  Spierincx  drawings. 

30.  Two  Lizards,  Three  Frogs,  and  a  Butterfly. 
[71 J  X  10  in.  ;    19-6  x  25 -3  cm.]     Backed. 

Perhaps  by  Spierincx. 

31.  Copy  of  the  Above. 

[6J  x  10,3^  in.  ;    15-5  X  25-9  cm.] 

32.  A  Peacock  Butterfly  {Vanessa  io). 
[2i  X  4|in.  ;    7  X  11-1  cm.] 

Perhaps  by  Spierincx. 

p  2 


212  Dutch  and  Flemish  Lravnngs. 

33.  Ten  Insects,  including  Three  Species  op  Dragonfly,  a  Grasshopper, 
A  Wood-Wasp,  a  Frosted  Orange  Moth,  and  a  Cricket. 

[6|  X  7/5  in.  ;    17-5  X  18-2  cm.] 

The  grasshopper  at  the  bottom  on  the  1.,  the  butterfly  on  the  r.,  and  the 
spider  are  copied  from  the  work  by  Hoefnagel,  cited  above  (No.  29), 
Pars  prima,  PI.  10.     Perhaps  by  Spierincx. 

34.  A  Scarlet  Underwing  Moth,  a  Red  Admiral  Butterfly  and  Two 
Snails. 

[6J  X  8|  in.  ;    15-5  X  21 -9  cm.]     Body  colour  and  charcoal. 

Perhaps  by  Spierincx. 

36.   Four  Drawings  of  a  Marmoset  (Hapale  jacchus). 

[Irregular,     15|  X  lljin.  ;      40  X  28*3  cm.]     Pen    and    ink    (the    three 
studies  on  the  1.)  and  body  colotir. 

Earlier  in  date  than  the  "  Spierincx  "  drawings  ;   probably  German. 

36.  A  Pack -Ass. 

[2jS^  X  3|  in.  ;    6-5  X  9-5  cm.]     Oil  colour  on  paper;    signed  with  the 
monogram  AB  at  the  bottom  to  the  1. 

A  copy  from  the  etching  by  Marcus  Gheeraerts  I  in  De  Warachtige 
Fabulen  der  Dieren,  Bruges,  1567,  p.  86.  The  monogram  might,  according 
to  Nagler,  be  that  of  Augustin  Brami  of  Cologne. 

37.  A  Genet  (on  the  1.),  a  Civet  (on  the  r.),  and  a  Geunon  Monkey. 

V^Ts  ^  l^i  "^'  ♦   18'5  X  26  cm.]     Pen  and  light  brown  ink  and  grey  wash. 
Uniform  with  No.  38. 

38.  A  Genet  (?)  and  a  Porcupine. 

[6f  X  12  J  in.  ;   17-2  X  31  •  8  cm.]     Pen  and  light  brown  ink  and  grey  wash. 

Uniform  with  No.  37  ;  the  nationality  and  date  of  the  draughtsman  are 
not  clear. 

39.  Head  of  a  Boar. 

["^Iff  X  7|  in.  ;    18-6  X  18 -8  cm.]     Black  chalk,  with  notes  of  colour. 
Uniform  with  Nos.  18  above  and  40  and  47  below. 

40.  A  Beaver. 

[6j?B^  X  lOJin.  ;    18-6  X  18 -8  cm.]     Black  chalk,  with  notes  of  colour. 
Uniform  with  Nos.  18  and  39  above  and  47  below. 

41.  A  Dragon. 

[4  X  8 1  in.  ;    10- 1  X  20-6  cm.]     Pen  and  ink  and  washes  on  blue  paper  ; 
monogram  of  Diirer  and  hardly  legible  inscription  in  black  chalk. 

Presumably  a  copy  from  Diirer,  but  I  have  not  been  able  to  find  the 
original. 

42.  Head  of  a  Fox. 

[6^5  X  5f  in.  ;    16-7  X  14 -6  cm.]     Oil  colour  on  paper. 
Probably  17th  century,  Flemish  or  German. 

43.  A  Stallion  tethered  to  a  Tree. 

[7  X  73^5  in.  ;    17-8  X  IS- 7  cm.]     Pen  and  ink  and  water-colour  and  black 
chalk. 

German,  first  half  of  the  16th  century. 


Natural  History  Drawings.  213 

44.  Two  Studies  of  Calves'  Heads, 

[lOJ  X  Sj^j^in. ;  27-2  X  21 -4 cm.]    Numbered  top  1. 15  b  :  watermark  (cut), 
an  eagle  with  the  arms  of  Bale  on  its  breast. 

By  the  same  hand  as  No.  45  below  ;  probably  German  and  recalling  the 
style  of  Cranach. 

45.  Studies  of  Trotters. 

[9f  X  8^in.  ;    24-5  X  21-7  cm.] 

By  the  same  hand  as  No.  44  above. 

46.  A  Bundle  of  Sticks  and  a  Mouse. 

[l^j.  X  lljin.  ;    18-6  X  29-7  cm.]     Water-colour. 
German  (?). 

47.  Head  of  an  Ibex. 

[7|x7^fin.  ;      20x20 -2  cm.]     Black    chalk,    with    notes    of    colour; 
numbered  top  1.    32  be. 

Uniform  with  Nos.  18,  39  and  40  above. 

48.  A  Cat  Asleep. 

{4t\  X  S^^i^in.  ;    10-8  X  13-8  cm.]     Black  chalk  on  light  brown  paper. 
Flemish  (?)  17th  century,  like  No,  52  below. 

49.  Head  of  a  Dog. 

[Irregular,  6|  X  7  in.  ;    17-3  X  17 -8  cm.]     Painting  in  distemper. 

Possibly  a  fragment  of  a  tapestry  cartoon  ;  cf.  those  by  Pieter  Koecke, 
p.  24,  Nos.  9-11. 

50.  Head  of  a  Dog,  full  face. 
[Uf  X  lOJin.  ;    28-9  X  25-7  cm.] 

Possibly  German. 

51.  Head  of  a  Dog,  in  profile  to  the  l. 

[14J  X  11  in.  ;    35-8  X  28-2  cm.]     Distemper  on  linen. 
Possibly  German. 

52.  A  Sleeping  Dog. 

[4  J  X  6f  in.  ;    10-5  X  16 -2  cm.]     Black  chalk  on  bluish -green  paper. 
Like  No.  48  above. 

53.  Three  Studies  of  a  Lap-Dog  on  a  Cushion. 

[7J  X  6j|in.  ;    20  X  16-3  cm.]     Red  chalk. 

Able  work  by  a  Flemish  artist  of  the  mid  16th  century.     Pieter  Pourb\is 
and  Antonis  Mor  introduced  very  similar  dogs  into  their  portraits. 

54.  Head  of  an  Ox. 

[7f  X  10|  in.  ;    18-7  X  27-3  cm.]     Red  chalk  and  grey  wash. 

Difficult  to  place  ;    possibly  by  one  of  the  Haarlem  mannerists,  like 
Goltzius. 

55.  Two  Studies  of  Monkeys  (Capuchins  ?). 

[11|  X  12iin.  ;     30-2  X  31-2  cm.]     Drawn   with    the    brush    in    brown, 
heightened  with  white,  over  black  chalk. 

Perhaps  of  the  School  of  Rubens. 


214  Dutch  and  Flemish  Drawings. 

56.  A  Habe,  in  profile  to  the  l. 

[11  X  13fin.  ;    27-8  X  34  cm.]     Water-colour. 

By  the  same  hand  as  Nos.  19  above  and  57  below. 

57.  A  Habe,  in  profile  to  the  r. 

[lOi  X  ISiin.  ;   25-7  X  33-7  cm.]     Water-colour. 
By  the  same  hand  as  Nos.  19  and  56  above. 

58.  Two  Rabbits. 

[8  X  14iin.  ;    20-2  X  37  cm.]     Backed. 
Reproduction  :  PI.  LXXXIII. 

Probably  by  Spierincx. 

59-73.    Series  of  Birds. 

This  forms  part  of  a  large  and  uniform  series  by  the  same  artist,  perhaps 
Veit  Spierincx,  to  which  also  belong  the  drawings  of  mallards  and  teals 
(described  above,  Nos.  21-23,  25-28  and  No.  119  below),  and  the  drawing 
of  two  small  birds  (No.  24)  in  the  present  album.  The  greater  part  of  the 
series  is,  however,  in  the  Dept.  of  MSS.,  Sloane  5263-5266.  The  following 
is  a  list  of  these  drawings  i — - 

Sloane  5263.  Fol.  12,  16,  18(?),  59  (?),  62. 

Sloane  5264.  Fol.  4  (?),  13,  14,  27,  28,  55,  56,  57,  58,  81  (?),  102,  141. 

Sloane  5265.  Fol.  23,  25. 

Sloane  5266.  Fol.  120  (?),  121,  147  (?). 

59.  A  Redshank  {Totanus  calidris). 

[8  X  7  in.  ;    20-2  X  17-7  cm.]     Backed. 

60.  A  Female  Ruff  (Philomachus  pugtiax). 
Uii  X  7i|ih.  ;    19-5  X  18-3  cm.]     Backed. 

61.  A  Bab-Tailed  Godwit  (Limosa  lapponica). 
[lOi  X  8ji(jin.  ;    26-1  X  20-4  cm.]     Backed. 

62.  A  Common  Snipe  {Capella  gallinago). 

[7|  X  7i^in.  ;    18-8  X  19-8  cm.]     Backed. 

63.  A  Jack  Snipe  {Lymnocryptes  minitnus). 
i^H  X  '^r'Win.  ;    14-4  X  19-3  cm.]     Backed. 

64.  A  Ruff  {Philomachus  pugnax),  winter  plumage. 
[8/j.  X  8|in.  ;    21-1  X  21-9  cm.]     Backed. 

65.  A  Common  Snipe  (Capella  gallinago). 

[7j\  X  6igin.  ;    18-2  X  17-3  cm.]     Backed. 

66.  A  Dunlin  or  Curlew  Sandpiper. 

[Vs  X  6Jin.  ;    19-1   X  17-1  cm.]     Backed. 

67.  A  Snipe  (Capella  gallinago). 

m    X    8|in.  ;    20-3  X  21 -9  cm.]     Backed. 

68.  A  Woodcock  (Scolopax  rusticola). 

[9}%  X  11,3^  in.  ;    24-9  X  28-3  cm.]     Backed. 

69.  A  Dead  Woodcock. 

[7jf  X  13j=Vin.  ;    20-2  X  33-5  cm.]     Backed. 


Natural  History  Drawings.  215 

70.  A  Golden  Plover  (Charadrius  apicarius). 

[8f  X  8jgin.  ;    22-1   X  22 -7  cm.]     Backed. 

71.  A  Dead  Lapwing  (Vanellus  vanellus). 
[Ili3^x7in.;    28-4  X  17- 7  cm.]     Backed. 

72.  A  Lapwing. 

[10/g  X  9^in.  ;    25-6  X  24-1  cm.]     Backed. 

73.  A  Lapwing. 

[8J§  X  lOfin.  ;    22-7  X  26-4  cm.]     Backed. 

74.  VoRMELA  {Vormela  peregusna). 

[llf  X  22/jjin.  ;     29-5  X  57  cm.] 

By  a  different  hand  from  that  of  the  "  Spierincx  "  drawings  apparently, 
but  contemporary. 

75.  Studies  of  Bulls. 

[6|  X  SJg^in.  ;    17-5  X  22-4  cm.]     Pen  and  grey  ink  and  red  chalk. 

On  the  verso  is  a  sketch  of  a  Roman  warrior,  in  pen  and  ink,  and  of  men 
on  horseback  in  red  chalk.     Flemish  (?),  about  1580. 

76.  A  Lion. 

Copy  from  Rubens,  see  Vol.  IV,  p.  192. 

77.  A  Lion. 

[3^jr  X  4fin. ;      8-1   X  11- 1  cm.]      Pen     and    ink    and    water-colour     on 
vellum  ;    inscribed  bottom  r.  :    MA  (monogram)  Geerart  f. 

A  copy  of  No.  79  below. 

78.  A  Lion. 

[ejjXlOJin.  ;      17x26- 8  cm.]     Water-colom- ;     signed     bottom    1.     in 
chalk  :    HCL  (monogram)  oo  F. 

I  can  find  no  reference  to  any  artist  of  the  name  of  Loo  with  these 
initials.  The  drawing  is  a  feeble  production  of  the  first  half  of  the 
17th  century. 

79.  A  Lion. 

[Silhouetted,    9|  X  15|  in.  ;     23-8  X  40  cm.]     Oil    colour    on    paper. 

If  the  old  inscription  on  the  copy  of  this  drawing  (No.  77  above)  is 
correct,  this  must  be  an  original  drawing  by  Marcus  Gheeraerts  the  elder, 
who  was  famous  as  a  draughtsman  of  animals.     It  is  of  very  fine  quality. 

80-97.    Fruits  and  Vegetables. 

All  except  No.  89  would  seem  to  be  by  Veit  Spierincx,  whose  signature 
appears  on  No.  82.  Though  the  name  Spierincx  occurs  fairly  frequently 
in  the  Antwerp  Liggeren  and  at  Delft,  no  artist  with  the  rather  unusual 
Christian  name  of  Veit  is  found. 

80.  Vine  Leaves. 

[1239^  X  8  in.  ;    31-9  X  20-2  cm.]     Numbered  top  1.  19  d. 

This  is  the  preliminary  study  for  No.  82  below,  where  the  groups 
of  leaves  are  combined  to  form  a  continuous  branch. 

81.  Hop  Leaves  and  Buds. 

[2  X  ll^ffin.  ;    10-2  X  28-4  cm.]     Backed;    numbered  top  1.  41  d. 


216  Dutch  and  Flemish  Drawings. 

82.  A  Vine  Branch  with  Two  Bunches  of  Grapes. 

[8  X  20Jin.  ;     29-4  X  51cm.]     Backed;     numbered   bottom   r.    21  d 
signed  bottom  to  r.  :   jF(?)ei<  Spierincx. 
Reproduction  :    PI.  LXXXIII. 

See  note  on  the  drawings  on  p.  215. 

83.  A  Red  Cabbage. 

[8f  X  9 J  in. ;  22  X  23-2  cm.]    Backed;  numbered  bottom  1.  corner  17 /d. 
By  Spierincx. 

84.  A  Red  Cabbage  and  Four  Pumpkins. 

[7f  X  12|  in,  ;    18-8  X  32  cm.]     Numbered  bottom  1.  16/d. 

The  cabbage  is  a  repetition  of  that  in  No.  83  ;  the  pumpkins  of  those  in 
Nos.  96  and  97.  The  present  is  probably  the  original  study  by  Spierincx 
which  he  repeated  in  the  other  drawings  ;  it  certainly  bears  the  same 
relation  to  them  as  does  No.  80  to  No.  82. 

85.  Two  Pumpkins. 

[8  X  12^3^  in.  ;     20-5  X  31  cm.] 

By  Spierincx,  belonging  to  the  same  series  as  the  preceding ;  original 
of  Nos.  87  and  88  below. 

86.  Two  Cabbages. 

[9|  X  14f  in.  ;     24-7  X  27- 1cm.]       Backed;     number    in    bottom    1. 
corner  cut. 

By  Spierincx,  belonging  to  the  second  series. 

87.  A  Pumpkin. 

[9|  X  7|  in.  ;    24-4  X  18  cm.]     Backed:    numbered  top  1.  11 /d. 
By  Spierincx  ;    repetition  of  r.  hand  pumpkin  in  No.  85. 

88.  A  Pumpkin. 

[9|  X  6Jin.  ;    24-8  X  17-5  cm.]     Backed;    numbered  top  1.  12/d. 
By  Spierincx  ;    repetition  of  1.  hand  piunpkin  in  No.  85. 

89.  A  Bundle  of  Carrots,  a  Red  Cabbage,  a  Bundle  of  Turnips,  Two 
Gherkins,  and  a  Marrow. 

[8J  X  15f  in.  ;    21-7  X  39 -8  cm.]     Numbered  top  r.  ijd/52/a. 
Inset  is  a  fragment  of  a  drawing,  a  cherry. 

Not  by  Spierincx. 

90.  A  Marrow  (?) ;    verso  :  A  Different  View  of  the  Same. 
mu  X  "^iJin.  ;    22-3  X  19-5  cm.] 

91.  A  Melon. 

[9  X  6f  in.  ;    22-8  X  16-8  cm.]     Backed. 
By  Spierincx. 

92-95.   Apples  and  Pears. 

All  probably  by  Spierincx. 

92.  Three  Cut  Pears. 

[3j"jj  X  7  in.  ;    8-4  X  17-7  cm.]     Backed. 

93,  Four  Pears. 

[3^^  X  7^5  in.  ;    9-1   X  19-2  cm.]     Backed. 


Natural  History  Draivings.  217 

94.  Seven  Apples. 

[3^3  X  lOjSjin.  ;    9-7  X  27cm.]     Backed;    numbered  bottom  r.  SjcL. 

95.  Thkee  Peaks  and  Six  Apples. 

[Sj^V  X  llfin.  ;    9-1   X  29cm.]     Backed;    munbered  top  1.  7 Id. 

All  the  fruits  in  this  drawing  are  copied  from  Nos.  93  and  94,  but 
are  differently  arranged. 

96.  Two  Pumpkins. 

{^^^  X  SJin.  ;    8-5  X  21-7  cm.]     Backed. 
By  Spierincx  :   repetition  of  No.  84  above. 

97.  Two  Pumpkins. 

[3f  X  8|m.  ;    9-2  X  22 -3  cm.]     Backed. 

By  Spierincx  ;    repetition  of  No.  84  above. 

98.  Studies  of  an  Apple  Twig,  of  Thaee  Apples  on  a  Twig,  and   of  a 
Cut  Apple. 

[9J  X  13j3jcin.  ;   25  X  33 -5  cm.]     On  grey  ground. 

Probably  by  Spierincx  ;   certainly  by  the  same  hand  as  Nos.  99,  100, 
105,  115  and  140  below. 

99.  Studies  of  Three  Shells. 

[10  {gX  17j3jj  in.  ;    27-8  X  43-6  cm.]     On  purplish-grey  gromid. 

Probably  by  Spierincx  ;   certainly  by  the  same  hand  as  No.   98  above 
and  Nos.  100,  105,  108,  115  aYid  140  below. 

100.  Studies  of  Two  Shells,  Three  Quinces,  Red  and  White  Currants, 
A  Pear,  an  Apple,  Plums,  etc. 

[llg  X  17^in.  ;    28-9  X  44-3  cm.]     On  purplish-grey  gromid. 

Probably  by  Spierincx  ;  certainly  by  the  same  hand  as  Nos.  98  and  99 
above  and  105,  106,  115  and  140  below. 

101.  A  Dead  Goose. 
Catalogued,  Vol.  IV,  p.  142. 

102.  A  Frog. 

[1^  X  2,^5.- in.  ;    3-7  X  4-4  cm.]    Dated  1548. 
Uniform  with  No.   103. 

103.  A  Frog. 

[\\  X  liJin.  ;    3  X  4-2  cm.] 
Uniform  with  No.  102. 

104.  Studies  of  a  Child,  a  Dog  and  a  Cat,  and  Two  further  Studies  of 
A  Cat. 

\1\  X  lOJ^in.  ;     18-3  X  26-6  cm.]     Water-colour  and  red  chalk;     dated 
on  the  verso  in  red  chalk  1573. 

The  drawing  of  the  child  suggests  a  follower  of  Floris. 

105.  Studies  of  a  Kitten  and  of  the  Head  of  a  Dog. 

[8^^  X  6f  in.  ;    22  X  14- 3  cm.]     On  brownish  ground. 

Probably  by  Spierincx  ;    certainly  by  the  same  hand  as  Nos.  98  and  99 
above  and  106,  115  and  140  below. 


218  Dutch  and  Flemish  Drawings. 

106.  Head  of  a  Bird. 

[3|  X  4185  in.  ;    9-8  X  10-6  cm.]     Oil  colour  on  oiled  paper. 

Probably  by  Spierincx  ;  certainly  by  the  same  hand  as  Nos.  98,  99  and 
105  above  and  115  and  140  below. 

107.  Bill  of  a  Bird. 

Fragment  :    "  foimd  torn  off  30  March  1861." 

108.  A  Gudgeon  {Gobio  gobio),  a  Perch  (Perca  fluvialis),  and  a  Pope  or  Ruffe 
{Acerina  cernua). 

[6J  X  9J  in.  ;     15-8  X  24-1  cm.]     On  dark  grey  ground. 
Perhaps  by  Spierincx. 

109.  A  Tench  (Tinea  tinea),  a  Roach  (Rutilus  rutilus),  a  Burbot  (Lota  lota), 
AND  A  Carp  (Cyprinus  carpio). 

[16J  X  llf  in.  ;  41-9  X  29 -5  cm.]  Body  colour  on  prepared  surface 
over  a  15th-century  Latin  MS.  on  vellum. 

By  a  different  hand  to  that  of  the  "  Spierincx  "  drawings. 

110.  A  Cock  and  a  Baboon. 

[3 J  X  5/5  in.    9-8  X  13-8  cm.]     Pen  and  black  ink. 

Perhaps  by  the  German  engraver  j^  (X  Q '  w'^os®  family  of  monkeys 
(Wilshire  10)  is  similar  in  style. 
Ill  and  112  found  missing  by  W.  Young  Ottley,  May  15th,  1833. 

113.  A  Fox. 

[2|  X  4in.  ;    5-6  X  10-1  cm.]     Pen  and  black  ink. 

German,  early  16th  century  :  compare  the  engraving  Pass.  IV,  p.  294, 
No.  287  (Wilshire  G.  148),  and  the  article  by  Max  Lehrs  in  Chronik  Jiir 
vervielfdltigende  Kunst,  1888,  p.  69. 

114.  A  Cock. 

[2  X  l/j5  in.  ;   5x3-7  cm.]    Pen  and  black  ink. 

German,  early  16th  century  :  perhaps  by  the  same  hand  as  No.  114. 

115.  Two  Studies  of  the  Head  of  a  Young  Lion. 

[9J  X  13f  in.  ;     24-6  X  34-6  cm.]     On  grey  ground. 

Probably  by  Spierincx  ;  certainly  by  the  same  hand  as  Nos.  98,  99  and 
105  above  and  No.  140  below. 

116.  Skull  of  an  Ox. 

[9f  X  1^%  in.  ;   24-5  X  19-4  cm.]     Black  chalk,  heightened  with  white. 
Difficult  to  place  or  date. 

117.  A  Cow. 

[4J  X  6J  in.  X  11-5  X  17-2  cm.]  Pen  and  ink  over  pencil  on  mauve- 
coloured  paper. 

A  feeble  drawing  of  the  early  17th  century. 

118.  Six  Studies  of  Oxen. 

[4j5^  X  6f  in.  ;  10-9  X  16 -2  cm.]  Drawn  with  the  brush  in  brown  ink 
over  black  chalk  ;  two  studies  at  the  bottom  on  the  1.  are  on  separate 
pieces  of  paper  stuck  on. 

About  1600  ;    possibly  by  A.  Elsheimer. 

119.  Head  of  a  Male  Mallard  (Atius  platyrhyncha). 
[9i  X  6iin.  ;    23-1  X  16-4  cm.] 

Perhaps  by  Spierincx  ;   uniform  with  Nos.  22-25. 


Natural  History  Drawings.  219 

120.  A  Plant  of  Violets. 

[4|  X  4j-|in.  ;    12-3  X  12-2  cm.]     Water-colour. 

Probably  German  ;   in  the  style  of  Dtirer's  drawings  of  plants. 

121.  Head  of  a  Cock. 

[5^  X  6|in.  ;    12-9  X  16-2  cm.] 
Perhaps  by  Spierincx. 

122.  Wing  of  a  Bird  (Waxwing  :    Ampelis  garrulus). 
[2jf  X  5iin.  ;    7-5  X  13  cm.] 

Probably  German  ;   in  the  style  of  Diirer's  drawings  of  birds. 

122.*   A  Hermit  Crab. 

[4^1  X  6fin.  ;    12-5  X  17-1  cm.] 
Dutch,  17th  or  18th  century  (?). 

123.  A  Pope  or  Ruffe  {Acerina  cernua). 

[4}s   X  6fin.  ;    12-5  X  16-9  cm.] 
Dutch,  1.7th  or  18th  centmy  (?). 

124-127.    Series  of  Friezes  with  Hunts. 

[If  X  3J  in.  ;     3-6  X  9 -5  cm.]      Pen   and    brown    ink   and    brown    wash, 
indented  for  transfer. 

124.  Hunting  a  Dragon  with  Elephants  [No.  9]. 

125.  Wild  Horses,  Lions,  WoavES,  etc.  [No.  3]. 

126.  Hunting  wild  Boars,  Stags,  wild  Goats,  etc.  [No.  6]. 

127.  Hunting  wild  Boars,  Wolves  and  Bears  [No.  4]. 

Original  drawings  by  Marcus  Gheeraerts  the  Elder,  for  the  series  of 
nine  engravings  of  hunts,  etc.,  inscribed  :  Marcus  Oeerarts  inuen  Phlrs 
Qact  excu.  The  numbers  in  brackets  are  those  of  the  corresponding 
engravings. 

128-132.    Series  of  Friezes  of  Birds  and  Insects. 

[2i-|  X  Gj^g-in.  ;     7-2  X  21cm.]     Pen    and  brown   ink  and  brown  wash, 
indented  for  transfer. 

128.  Grasshoppers,  Butterflies,  etc.  [No.  12]. 

129.  Various  Birds,  including  Three  Views  of  an  Ostrich,  Eagles,  etc. 
[No.  1]. 

130.  Various  Birds,  including  Storks,  etc.  [No.  7]. 

131.  Cocks,  Hens,  Partridges  and  Butterflies  [No.  8]. 

132.  Swans  [No.  2]. 

Original  drawings  by  Marcus  Gheeraerts  the  Elder  for  the  series  of 
twelve  engravings,  with  the  inscription  :  Marcus  Oerardus  inv.  Henricus 
Hondius  excud.  1610  (in  the  same  direction).  The  ostrich  in  front  view  in 
No.  129  seems  to  derive  from  a  drawing  of  the  early  16th  century  (Orley 
or  Koecke  ?)  in  Sloane  5265,  fol.  128  (Dept.  of  MSS.).  The  numbers  in 
brackets  are  those  of  the  corresponding  engravings. 

133.   Various  Birds,  a  Cock,  Kites,  a  Goose,  a  Crane,  a  Spoonbill,  and 
AN  Eagle  Owl. 

[6^  X  7|in.  ;    15-5  X  19-7  cm.]     Pen  and  brown  ink. 

Reproduction  :    PI.  LXXXII. 


220  Dutch  and  Flemish  Drawings. 

The  drawing  is  probably  b}^  Marcus  Gheeraerts  the  Elder.  None  of 
the  birds  here  actually  correspond  with  those  in  the  Warachtige  Fabulen 
der  dieren  (Bruges,  1567),  but  so  closely  resemble  many  of  these  as  to  make 
the  attribution  probable. 

134.  A  Horse,  a  Dog,  and  a  Wolf  or  Jackal. 

Catalogued  Vol.  IV,  p.  56,  No.  6.     By  or  after  Roelandt  Savery. 

135.  An  Ox,  a  Dog,  and  a  Leopard. 

Catalogued  Vol.  IV,  p.  56,  No.  7.     By  or  after  Roelandt  Savery. 

136.  Head  of  a  Horse. 

[3^g  X  3  in.  ;    8-1   X  7-6  cm.]     Black  chalk. 

137.  Studies  of  the  Heads  of  Two  Oxen. 

[6JJ  X  3J  in.  ;    17x8-3  cm.]     Pen  and  ink  and  black  chalk. 
Dutch,  about  1600. 

138.  Head  of  a  Horse  ;   verso.  Hind -quarters  of  a  Horse. 

[5f  X  6J  in.  ;  14-2  X  15 -5  cm.]  Pen  and  brown  ink  and  red  chalk; 
monogram  of  Hans  Baldung  added  bottom  r.  corner.  • 

German,  first  half  of  the  16th  century. 

139.  A  Monkey  (Golden  Marmoset  ?)  holding  an  Apple. 

[13  X  8|in,  ;    33  X  22 -5  cm.]     Water-colour  and  black  chalk. 
Flemish,  17th  centvu-y. 

140.  Composition  of  Fruit  and  Vegetables  with  Hands. 

[28i  X  19iin.  ;    72-5  X  50  cm.] 

Probably  by  Spierincx  ;  certainly  by  the  same  hand  as  Nos.  98,  99,  105, 
106  and  115  above.  The  drawing  would  appear  to  be  a  detail  painted  by 
a  professional  fruit  and  animal  painter  for  the  use  of  another  artist.  This 
type  of  collaboration  was,  of  coui'se,  common  in  the  studio  of  Rubens. 

[141 ,  A  Monkey.  Chinese  drawing  transferred  to  the  Oriental  Sub-Department, 
April  1st,  1927.] 

142.  Sheet  of  Studies  with  Two  Stags  and  Birds  of  Various  Kinds. 
[12/g  X  16|in.  ;    31  X  42 -8  cm.]     Pen  and  brown  ink. 

German,  15th  or  early  16th  century. 

143.  A  Strawberry  Plant  with  Butterflies  and  a  Dragonfly. 

[9  X  6|  in.  ;    22-9  X  17-5  cm.]     Pen  and  brown  ink  and  water-colour. 
Flemish,  late  16th  century  (?). 

144.  The  Branch  of  a  Plum  Tree. 

[7|  X  12  J  in.  ;  19-9  X  31cm.]  Dark  grey  ground;  signed  bottom  r. 
J.  B.  and  dated  1623. 

Obviously  by  a  professional  flower  and  fruit  painter  ;  possibly  the  initials 
are  those  of  Jan  Breughel  I. 

145.  Branch  of  a  Plum  Tree  with  Four  Plums. 

[7^jj  X  llfin,  ;    19-2  X  29-8  cm.]     Dark  grey  ground. 
Companion  to  No.  144. 

146-179.  Miscellaneous  drawings  of  animals  of  various  date,  mostly  Dutch  and 
German,  added  to  the  album  May  5th,  1927.  They  are  of  very  little 
interest  and  fall  outside  the  scope  of  this  catalogue. 


Anonymous  Unmounted  Dravnngs.  221 


VI. 

ANONYMOUS   UNMOUNTED  DRAWINGS   OF 
TEE   XVI™   CENTURY. 

The  following  drawings,  which  are  of  little  or  minor  importance  and 
have  not  been  mounted,  are  arranged  according  to  subject.  All  drawings, 
unless  otherwise  specified,  come  from  the  Sloane  Collection. 

BIBLICAL  AND   KELIGIOUS  SUBJECTS. 

1.  The  Temptation  of  Adam  and  Eve. 

[6^1  X  4|  in.  ;    17-2  X  12-4  cm.]     Pen  and  brown  ink  and  brown  wash. 
5226—117. 

A  feeble  copy. 

2.  Adam  and  Eve  at  Work  after  the  Fall. 

[6f  X  5^\  in.  ;    16-8  X  13-2  cm.]     Pen  and  brown  ink. 
5226—101. 

Similar  to,  but  not  identical  with,  the  engraving  of  the  subject  in 
Marten  de  Vos's  Boni  et  Mali  Scientia. 

3.  Joseph  Interpreting  Pharaoh's  Dreams. 

[4|  X  6J  in.  ;    12-5  X  16-7  cm.]     Pen  and  blue  ink  and  blue  wash. 
5224—63. 

Copy  of  the  engraving  by  Lucas  van  Leyden,  B.  23. 

5.  SiSERA. 

[9|  X  6J  in.  ;   23-9  X  17- 1cm.]     Pen  and  ink  and  wash  over  black  chalk. 
5227—51. 

Copy  of  the  engraving  by  Jan  Saenredam  after  Goltzius,  B.  Ill, 
p.  236,  No.  43. 

6.  The  Angel  leaving  Tobit  and  his  Wife. 

[9^1  X  8J  in.  ;    24*6  X  21 -6  cm.]     Pen  and  brown  ink  and  grey  wash, 

squared. 

5226—34. 

Modified  copy  (in  the  same  direction)  of  part  of  the  engraving  after 
Marten  de  Vos  (in  P.  de  Jode's  Thesaurus  Sacrarum  Historiarum),  No.  6 
in  the  series  of  the  story  of  Tobit. 

7.  The  Adoration  of  the  Shepherds. 

[9j^s  X  lOJ^  in.  ;    23-6  X  25-8  cm.]     Pen  and  bro^vn  ink  and  brown  wash 

on  light  brown  paper,  heightened  with  white. 

5226—127. 

Obviously  a  copy  from  Frans  Floris,  though  I  have  not  been  able  to 
identify  the  original. 

8.  The  Adoration  op  the  Magi. 

[4^^  X  3f  in.  ;    11-9  X  9-2  cm.]     Pen  and  ink  and  brown  wash  on  brown 
paper,  heightened  with  white. 

6227—78. 


222  Dutch  and  Flemish  Drawings. 

No  old  attribution  :  given  by  Mile.  Simone  Bergmans  to  Denis  Calvart, 
whose  style  it  nearly  approaches.     It  has,  however,  at  the  top  to  the  1.  a 

monogram  ^5?    '  which  I  can  find  nowhere  recorded  but  which  cannot 

belong  to  Calvart. 

9,  10.   Two    Jllustrations  :     the    Pbesentation   in   the   Temple    and    the 
Circumcision. 

[Each  about  3 J  X  5 J  in.  ;    9-5  X  14  cm.]     Pen  and  brown  ink  and  brown 
wash,  the  outlines  indented  for  transfer  :   numbered  119  and  120. 
5226— 126...  128. 

Obviously  working  drawings  for  engravings  :  Flenaish  about  1570,  near 
to  Marten  de  Vos. 

11.  Jesus  and  the  Woman  taken  in  Adultery. 

[Oval,  9J  X  Tin.  ;    23-2  X  17 -8  cm.]     Red  chalk,  heightened  with  white 

(discoloured). 

5226—90. 

A  very  feeble  Dutch  (?)  design  for  glass  of  about  1600. 

12.  The  Kiss  of  Judas. 

[lOJ  X  7f  in.  ;    26-1   X  18-8  cm.]     Pen  and  brown  ink  and  blue  wash. 
5226—83. 

Possibly  for  glass  ;  by  some  extremely  feeble  follower  of  Marten  de  Vos. 

13.  Demons  and  Damned . 

[8^  X  6^  in.  ;    21-5  X  15 -9  cm.]     Pen  and  brown  ink  and  brown  wash. 
5224—79. 

Old  attribution  on  back  "  Polidoro  "  :  later  given  to  Crispin  van  den 
Broeck.  The  watermark  points  to  the  late  17th  or  to  the  18th  century,  and 
the  drawing  is  presumably  an  old  Dutch  forgery. 

14.  St.  Paul. 

[5J  X  3f  in.  ;    13-4  X  8-6  cm.]     Pen  and  brown  ink  and  brown  wash. 

Bequeathed  by  the  Rev.  W.  Fawkener,  1769. 

5212—7. 

Old  attribution  on  the  drawing  to  Paolo  Farinati  :  B.  Spranger  in  the 
MS.  catalogue  of  the  Fawkener  Collection,  1845  ;  obviously  much  too 
feeble  for  Spranger  himself,  but  somewhat  in  his  manner. 

15.  St.  Venebius. 

[6^  X  8J  in.  ;     16-4  X  20 -9  cm.]     Pen  and  brown  ink  and  point  of  the 

brush  in  grey  and  pink. 

5224—31. 

Poor  copy  of  the  engraving  by  Raphael  Sadeler  after  Marten  de  Vos, 
No.  21  in  the  Trophaeum  Vitae  Solitariae,  1598. 

GROUPS,   SINGLE  FIGURES,   ORNAMENTS,   Etc. 

16.  A  Kneeling  Peasant  Shooting  with  a  Cross-Bow. 

[10^  X  7  in.  ;    26-6  X  19*7  cm.]     Pen  and  brown  ink  and  grey  wash. 
Purchased,  1899.1.20.83. 

Copy  of  the  engraving  by  P.  Serwouter  after  D.  Vinckeboons. 

17.  Four  Heads. 

[5i  X  5  in.  ;    15  X  12-7  cm.]     Pen  and  light  brown  ink. 
Bequeathed  by  Richard  Payne  Knight,  Esq.,  1824. 
Oo.  9—5. 

Copy  from  heads  in  the  background  of  Lucas  van  Leyden's  engraving 
of  the  Adoration  of  the  Magi,  B.  37. 


Anonymous  Unmounted  Drawings.  223 


18.  Groups  of  Seated  and  Standino  Men  and  Women, 

\%^^  X  12f  in.  ;    20-5  X  32-4  cm.]     Pen  and  black  ink  and  brown  wash. 
5214—254. 

By  a  Flemish  imitator  of  Parmigiano  like  Jan  Speckaert. 

19.  A  Man  and  a  Woman  Meeting. 

\1^  X  lOf  in.  ;     19  X  26 -3  cm.]     Pen   and    brown   ink   and    brown   wash 

over  black  chalk. 

5226—134. 

By  a  Flemish  imitator  of  Parmigiaiio  like  Jan  Speckaert. 

20.  The  Death  of  Narcissus. 

[6|  X  9  in.  ;     16-1  X  22-9  cm.]     Pen  and  brown  ink  and  brown  wash 

on  greenish  paper,  heightened  with  white. 

5226-12. 

Recalls  the  manner  of  Marten  de  Vos. 

21.  Vanity. 

[9 J  X  6  in.  ;    23-5  X  15-2  cm.]     Pen  and  ink  and  grey  wash  :    on  the 

verso  a  feeble  drawing  of  a  man  on  horseback. 

5237-105. 

The  18th  century  attribution  to  Stradanus  on  the  recto  is  obviously 
impossible  :   it  is  much  too  feeble. 

22.  Cupid. 

[14  X  9  in.  ;    36-3  X  25  cm.]     Pen  and  black  ink. 
5218-158. 

Copy  of  a  figure  in  the  engraving  bv  Jan  Muller  after  B.  Spranger, 
B.  Ill,  286,  70. 

23.  Two  Studies  of  a  Statue  of  a  Woman  Combing  her  Hair. 

[10  X  7}J  in.  ;    25-5  X  19-5  cm.]     Pen  and  brown  ink  and  brown  wash  : 

faint  sketch  in  black  chalk  on  the  verso. 

5227-20. 

No  attribution  in  the  inventory  of  1837  ;  Jan  Saenredam  in  the  MS. 
catalogue  of  the  Sloane  Collection,  1845.  The  drawing  is  from  a  well- 
known  antique  type  of  which  there  are  many  variations.  There  is  no 
reason  for  connecting  it  with  Saenredam. 

24.  A  Satyr  Seated  Astride  the  Branch  of  a  Tree. 

[1\  X  5X  in.  ;    18-1   X  13-1  cm.]     Pen  and  brown  ink. 
5224-22. 

Attributed  to  Niccolo  dell'  Abbate  ;  by  a  Flemish  artist  of  the  middle 
of  the  16th  century,  possibly  Michiel  Coxcie. 

25.  Peasants  Dancing  in  a  Circle. 

f^Tff  X  Sj?^  in.  ;    8-2  X  13 -8  cm.]     Pen  and  brown  ink  outline  over  pencil. 
5236-51. 

Attributed  to  Pieter  Bruegel  I  ;  obviously  a  copy  from  a  picture  of 
the  Bruegel  circle,  but  this  I  have  been  unable  to  identify. 

26.  A  Kneeling  Lady. 

[Irregular,  7  X  6  in.  ;     19-4  X  15-8  cm.]     Pen  and  brown  ink  and  grey 

wash. 

5218-191. 

A  copy  or  imitation  by  a  16th  centiiry  artist  of  a  figure  from  a 
painting,  sculpture  or  tapestry  of  the  first  half  of  the  15th  century. 


224  Dutch  and  Flemish  Drawings. 


27.  Studies  of  Figures. 

[6^^  X  10 J  in.  ;    16-2  X  27-7  em.]     Pen  and  brown  ink  and  brown  wash  : 

verso,  slight  sketches  of  figures  in  black  chalk. 

5227-68. 

No  attribution  in  the  inventory  of  1837  :  J.  Matham  in  the  MS.  cata- 
logue of  the  Sloane  Collection,  1845.  The  drawing,  by  an  amateurish 
hand,  seems  to  be  a  copy  of  parts  of  a  pictvu-e  in  the  manner  of  Jan  Bruejrel  I. 

28.  Two  Kneeling  Figures. 

[4|  X  4iin.  ;    11-2  X  10-9  cm.]     Red  and  black  chalk. 
5226-159. 

A  copy  from  Abraham  Bloemart. 

29.  Part  of  a  Stable. 

[5|  X  1\  in.  ;    15  X  18-5  cm.]     Grey  wash  over  black  chalk. 
5214-117. 

Copv  of  a  part  of  the  engraving  by  J.  Saenredam  after  A.  Bloemart, 
B.  Ill,  "227,  25. 

30.  Boat  Building. 

[4^  X  7f  in.  ;    11-5  X  19-2  cm.]     Pen  and  brown  ink  over  red  chalk. 
5214-69. 

A  feeble  drawing  of  about  1600. 

31.  A  Lion. 

[4jf  X  6  in.  ;    12-5  X  15-1  cm.]     Pen  and  brown  ink. 
No  register  mark. 

Slight  sketch  on  the  back  of  a  rather  weak  impression  of  Lucas  van 
Leyden's  engraving  of  Joseph  interpreting  Pharaoh's  dreams,  B.  23. 
The  style  of  the  drawing  is  very  close  to  that  of  Lucas  van  Leyden  himself. 

32.  Various  Sketches  of  Ornament  and  Antique  Sculpture. 

[7^  X  lOJ  in.  ;    19  X  27-6  cm.]     Pen  and  brown  ink. 
Purchased,  1874.8.8.46. 

Attributed  to  Giulio  Romano.  The  hand  seems  to  that  of  one  of  the 
artists  in  the  "  Heemskerck "  sketch-book  at  Berlin,  "  The  Master  of 
the  Mantua  Sketch-Book." 

LANDSCAPE  DEAWINGS. 

33.  A  Village  Street. 

[4J5  X  7f  in.  ;    12-5  X  18-7  cm.]     Pen  and  brown  ink. 
5214-235. 

A  rather  feeble  little  drawing  of  the  first  half  of  the  16th  century, 
reminiscent  of  Heemskerck. 

34.  Part  of  the  Ruins  of  the  Colisseum  ? 

[7f  X  12|  in.  ;    19-8  X  31 -7  cm.]     Pen  and  brown  ink. 
5214-148. 

Reminiscent  of  Hieronymus  Cock's  etchings  Praecipua  aliquot  Anti- 
quitatis  Ruinarum  Monimenta,  1551,  but  not  identical  with  any  of  them. 

35.  A  Lane  with  Cottages. 

[5}  X  7^  in.  ;    13-4  X  18'6  cm.]     Pen  and  brown  ink  and  faint  washes  of 

grey  and  blue. 

5214-234. 

Near  in  style  to  Hendrick  van  Cleef  and  possibly  by  him. 


Anonymous  Unmounted  Drawings.  225 


36.  A  FiiEMiSH  Village  with  a  River  or  Canal  in  the  Foreground. 

[7J  X  ll^in.  ;    lS-6  X  29-3  cm.]     Pen  and  ink  and  brown  and  blue  wash. 
5214-143. 

A  feeble  di-awing  reminiscent  of  Jan  Bruegel  I. 

37.  L.CNDSCAPE  with  Diogenes  and  Alexander. 

[7^  X  12|:  in.  ;    19  X  31  cm.]     Pen  and  brown  ink  and  blue  wash. 
5214r-133. 

No  attribution  :    feeble  drawing  in  the  manner  of  Gillis  Coninxloo. 

38.  Landscape  with  Tobias  and  the  Angel. 

[Circular,  diameter  17|  in.  ;    19-5  cm.]     Pen  and  brown  ink  and  blue  wash. 
5214-137. 

Attributed  to  Pieter  Bruegel  I  in  the  MS.  catalogue  of  the  Sloane 
Collection,  1845.     A  feeble  drawing  in  the  manner  of  Jan  Brviegel  I. 

39.  Two  Trees. 

[7}  X  4|  in.  ;    18-4  X  12- 1  cm.]     Pen  and  brown  ink. 
5214-144. 

An  amateurish  drawing  of  about  1600  (?). 

40.  Roman  Ruins. 

[8J  X  6Jjr  in.  ;    21-6  X  15-4  cm.]     Pen  and  brown  ink  and  brown  wash. 
5214-146. 

No  attribution  ;    in  the  manner  of  G.  van  Valckenborch,  and  possibly 
by  him. 


226  Dutch  aivd  Flemish  Drawings. 


CORRECTIONS,   ANNOTATIONS   AND   ADDITIONS   TO 
SECTIONS   I   AND   II. 

{Printed  respectively  in  1930  and  1931.) 

p.  5,  No.  3.  Last  line  but  one  of  first  paragraph  of  note.  For  hears  read 
bears. 

p.  7.  AERT  CLAESZ.  Yet  another  drawing  by  the  same  hand  is  in  the 
Fitzwilliam  Museum,  Cambridge.  It  represents  the  Last  Supper,  and 
probably  belongs  to  the  same  series  as  those  published  in  Old  Master 
Drawings. 

p.  9.  JACOB  CORNELISZ.  No.  1,  and  p.  10,  No.  2.  Jor  No  provenance 
recorded  read  Bequeathed  by  the  Eev.  C.  M.  Cracherode,  1799. 

p.  12.  MICHAEL  COXCIE  the  Elder.  No.  1.  Fw  Purchased, 
1851.1.12.1  read  Purchased  1861.1.12.1. 

p.  14.    Add  after  No.  10  :— 

COPY   AFTER   MICHIEL    COXCIE. 

11.   Five  Heads  and  a  Hand. 

At  the  bottom  to  the  r.  is  the  head  of  Christ,  turned  three-quarters  to  the 
1.,  and  a  head  in  profile  to  the  r.  ;   above,  three  heads  and  a  hand. 

[10^  X  7JJ  in.  ;    26-7  X  19 -5  cm.       Pen  and  brown  ink  and  grey  wash  ; 

no  watermark. 

Collection  :   Sloane.  • 

5227 1. 

Reproduction  :   Oud-Holland,  XLVII  (1931),  p.  77,  Abb.  6. 

No  attribution  in  the  Inventory  of  1837  ;  subsequently  given  on  the 
authority  of  Dr.  Bredius,  to  Anthonie  van  Montfoort  (Blocklandt),  and 
published  by  Mme.  Vuik  in  her  articles  on  that  artist  in  Oud-Holland. 
The  attribution  rested  on  a  supposed  resemblance  of  the  heads  to  those  in 
the  Last  Supper  at  Dordrecht,  the  attribution  of  which  to  Blocklandt  has 
been  rightly  contested  by  P.  Wescher.  The  heads  in  the  present  drawing 
are,  in  fact,  copied  from  those  in  the  picture  of  the  Last  Supper  in  the 
Brussels  Gallery  (No.  118),  signed  by  Coxcie. 

p.  17.  JAN  VAN  EYCK.  No.  1.  2nd  line.  For  Bust,  three-quarters 
length  read  Bust,  three  quarters  to  1. 

p.  20.  13th  line  from  top;  For  Purchased,  1853.8.13.19  read  Purchased 
1853.8.13.49.  14th  line  :  DeZete  Reproduction:  PI.  IV.  17th  line  : 
The  Baptism  of  Our  Lord  should  be  numbered  3  not  2. 

p.  22.  PIETER  KOECKE.  No.  4.  5th  line  from  bottom  of  page.  For 
Waterwork  read  Watermark. 


Corrections,  Annotations  and  Additions  to  Sections  I  and  II.     227 

p.  36.     BERNARD  VAN  ORLEY.     After  No.  4  aU  ;— 
4a.    a  Hawking  Party. 

Group  of  five  figures,  a  huntsman,  and  two  ladies  in  slashed  sleeves,  on 
horseback  ;  another  huntsman  stands  in  front  of  the  foremost  lady  with 
his  hand  behind  her  saddle,  with  the  lady's  r.  hand  resting  on  his  shoulder  ; 
man  with  hawk  talking  to  the  second  lady  in  the  background  1.  ;  hounds 
lightly  indicated  1.  and  r.  background. 

[I5f  X  12^  in.  ;  40-4  X  30-8  cm.]  The  drawing  is  on  two  pieces  of  paper, 
a  square  portion  to  the  r.  and  an  L-shaped  piece  of  paper  to  the  1.  and 
bottom.  Pen  and  brown  ink  and  brown  wash,  with  touches  of  oil  colour. 
Collections  :    Lankrink,  Sloane. 

Reproductions  :   Vol.  I,  PI.  V  ;    Old  Master  Drawings,  I  (1926-7),  pi.  53. 
Lit.  :   Vol.  II,  p.  16,  No.  32  ;   Old  Master  Drawings,  I  (1926-7),  p.  45  f?. 

The  drawing,  already  described  by  Mr.  A.  M.  Hind,  was  republished  by 
me  (loc.  cit.).  The  original  portion  of  the  sheet  corresponds,  in  reverse, 
with  a  group  in  "  Le  bat  I'eau,"  one  of  the  tapestries  of  the  Belles  Chasses 
de  Maximilien  in  the  Louvre.  It  is  presumably  an  original  drawing  by 
Van  Orley,  which  has  been  added  to  and  retouched  by  Rubens.  It  remains 
with  drawings  by  Rubens. 

p.  36,  Nos.  5,  6.     For  5268—196  read  5218—196. 

p.  37.  ARDT  ORTKENS.  2nd  line  of  note.  For  Kaoul  le  Ferre  read 
Raoul  le  Fevre. 

p.  38,  No.  3.     5th  line  of  description.     For  bank  read  back. 

p.  40.     AfterNo.  3  a(?t?:  — 

SELLAER,  Vincent  (Working  1538-40).     Painter  ;  worked  atMalines. 

A  picture  signed  by  hina  and  dated  1538  is  in  the  Schleissheini 

Gallery  and  others  have  been  attributed  to  him  by  Wescher  and 

Steinbart. 

Lit.  :  Paul  Wescher,  Munich  Jahrbuch,  IV  (1927),  356  ;  Kvirt  Steinbart, 
Belvedere,  IX  (1930),  14. 

1.    Charity  (?). 

She  is  represented  lying  naked  on  a  bed,  her  feet  to  the  r.  ;  two  children 
embrace  her  ;  in  front  are  six  more  children  playing  various  games, 
and  behind  the  bed  another  three. 

[11   X  ISjJin.  ;   28-1   X  29-8  cm.]     Pen  and  brown  ink  and  brown  wash. 

Collection  :    Sloane. 

5214—242. 

Reproduction  :   Old  Master  Drawings,  VI  (1931),  pi.  47. 

No  attribution  in  the  Inventory  of  1837  ;  subsequently  placed  with 
unmounted  Italian  drawings.  The  attribution  to  Sellaer,  that  of  the 
writer,  published  in  Old  Master  Drawings  (loc.  cit.),  rests  on  the 
resemblance  to  various  pictures,  notably  that  in  a  private  collection  in 
Vienna  (Munich  Jahrbuch,  loc.  cit.,  p.  363)  and  to  the  signed  pictiire  at 
Schleissheim.  The  possibility  of  the  present  drawing  being  a  copy  is 
not  excluded,  but  it  certainly  reproduces  a  composition  by  Sellaer. 

p.  40.  JAN  SWART.  7th  line  of  biography.  According  to  Heinrich 
Kottinger  {Erhard  Schon  und  Niklas  Stor,  Strassburg,  1925,  p.  170) 
at  least  one  of  Swart's  Turkish  woodcuts  is  copied  from  a  corre- 
sponding woodcut  by  Erhard  Schon.     If  this  were  the  case  my  theory 

Q  2 


228  Dutch  and  Flemish  Drawings. 


of  Swart's  visit  to  the  East  would  fall  to  the  ground.  A  comparison 
between  the  corresponding  woodcuts  of  Schon  and  Swart,  however, 
convinces  me  that  the  latter  are  the  originals. 

p.  43,  No.  6.  2nd  line  from  bottom.  For  1895.5.10.326  read 
1879.5.10.326. 

p.  47,  No.  26.  After  measurements  add  Pen  and  black  ink  and  grey  wash 
on  brown  prepared  surface,  heightened  with  white.  After  pi.  XVIII 
read  (recto)  in  place  of  {verso). 

p.  48,  No.  27.     After  Collection  Sloane  add  5226—180. 

No.  28.  After  description  of  medium  add  Stamped  1872.12.14.329, 
but  this  mark  does  not  correspond  with  the  entry  in  the  Register. 

p.  53.  JAN  CORNELISZ  VERMEYEN.  To  Lit.  add  Kurt  Steinbart, 
Jan  Cornelisz  Vermeyen.  Marburger  Jahrbuch  fiir  Kunstwissenschaft 
VI  (1931). 

p.  60,  No.  3.  After  Collection,  12th  line  from  bottom  of  page,  add 
S.  Woodburn  {Sale,  Christie's,  June  16th,  1854,  lot  972)  ; 

p.  64;  No.  10.  After  Collection,  6th  line  down  from  Two  Kneeling 
Ladies,  add  C.  M.  Metz  (?)  (Sale,  May  6th,  1801,  lot  3,  "  Two  young 
womei],  kneeling,  by  ditto  (Roger  Vander  Weyde)  imitated  by 
Mr.  Metz  ")  ; 

To  Lit.,  9th  line  down  from  the  same  place,  add  A.  E.  Popham, 
Amtliche  Berichte  aus  den  pretfszischen  Kunstsammlungeyi ,  LII 
(1931),  73. 

p.  65,  No.  11.     7th  line  of  note /or  (No.  1982)  read  (No.  774). 

ADDITIONS   TO   SECTION   III. 

p.  90.  ABRAHAM  BLOEMART.  A  drawing  of  turkeys,  attributed  to 
Adriaen  van  de  Velde  and  described  in  Vol.  IV,  p.  81,  No.  48,  is,  as 
has  been  pointed  out  to  me  by  Mr.  I.  Q.  van  Regteren  Altena, 
certainly  the  work  of  Bloemart. 

p.  149.  HENDRICK  DE  CLERCK.  No.  1.  Note— I  am  informed, 
through  the  kindness  of  Mile.  Devigne,  of  the  Royal  Museum,  Brussels, 
that  no  picture  of  the  Martyrdom  of  St.  Valentine  exists  at  Hamme, 
nor  are  the  saint's  relics  preserved  there. 


INDEX 


INDEX    OF    AKTISTS. 


Aachen,  Hans  von,  153,  162,  167,  176, 

178,  179,  197. 
Abbate,  Niccolo  dell',  223. 
Aeken,  see  Bosch. 

Aertgen  van  Ley  den,  see  Claesz,  Aert. 
Aertsen,  Pieter,    18,  32,  89,  151,  155, 

182,  200. 
Albani,  Francesco,  147. 
Aldegrever,  Heinrich,  83. 
Amstel,  Jan  van,  3. 
Anthoniszoon,  see  Teunissen. 
Assuerisz,  Hendrick,  172. 

Baburen,  Dirk  van,  199. 

Backer,  Jacob  de,  90. 

Baldung,  Hans,  19,  220. 

Balen,  Hendrick  van,  170. 

Bandinelli,  Baccio,  47,  170. 

Beer,  Arnould  de,  3,  31. 

Beer,  Jan  de,  3,  70,  71,  73. 

Beer,  Joost  de,  90,  198. 

Beham,  Barthel,  79. 

Beham,  H.  S.,  3,  136. 

Bening,  Symon,  67. 

Beuckelaer,  Joachim,  89. 

Bles,  Herri  met  de,  202. 

Blocklandt,  see  Montfoort. 

Bloemart,  Abraham,  90,  138,  178,  224, 

228. 
Bloemart,  CorneUs,  92. 
Boissard,  J.  J.,  134. 
Bol,  Hans,  94,  144,  145,  147,  165,  200, 

207. 
Bol,  Jacob,  94. 
Bol,  Jan,  94. 
Bolswert,  B.  a,  91. 
Bolten  van  Zwolle,  Arent  van,  96. 
Bolten,  Laurens  van,  135. 
Borcht,  Pieter  van  der  I,  201. 
Bos,  Cornelis,  153. 
Bosch,  Hieronymus,  6,   81,   200,   201, 

202. 
Bouchorst,  Jan  van,  173.  . 
Bouts,  Dierick,  81. 
Bouwens,  Gabriel,  165. 
Braun,  Augustin,  90,  212. 
BriJ,  Matthys,  136,  139,  140. 
Bril,  Paulus,  136,  150,  151,  185. 
Broeck,  Crispin  van  den,  140,  155,  175, 

222. 
Bruegel,  Jan  I,  144,  147,  171,  206,  220, 

224,  225. 
Bruegel,  Pieter  I,  69,    142,  200,  201, 

206,  223,  225. 
Bruegel,  Pieter  II,  155. 


Brusasorci,  Domenico,  154. 
Bruyn,  Abraham  de,  168. 
Bruyn,  Nicolaes  de,  152. 
Burgkmair,  Hans,  5. 
Buys,  Cornelis,  9. 
Buys,  Willem  Cornelisz,  38. 

Calcar,  Jan  van,  88. 

Calvart,  Denis,  147,  222. 

Campin,  Robert,  54,  81. 

Candido,  see  Witte. 

Caravaggio,  Polidoro  da,  87,  222. 

Carracci,  Annibale,  181. 

Cavalleriis,  J.  B.  de,  47. 

Claessen,  Alaert,  89. 

Claesz,  Aert,  7,  16,  30,  88,  226. 

Cleef,  Hendi-ick  van,  139,  148,  186,  224. 

Clerck,  Hendrick  de,  149,  205,  228. 

Cleve,  see  Cleef. 

Cleve,  Joos  van,  73. 

Clovio.  Giulio,  20. 

Cock,  Hieronymus,  7,  8,  142,  144,  145, 

150,  192,  201,  202,  224. 
Cock,  Jan  de,  71,  202. 

Cock,  Matthys,  8,  24,  150,  165. 

Coecke,  see  Koecko. 

Collaert,  Hans,  95,  144,  173. 

Congnet,  Gillis,  152. 

Coninxloo,  Gillis  van,  139,  151,  225. 

Coornhert,  Dirk  Volkertsz,  19,  150,  158, 

174. 
Corneille  de  la  Haye,  182. 
Cornelisz,   Cornelis    (of   Haax'lem),   96, 

151,  158,  164,  168. 

Cornelisz  van  Oostsanen,  Jacob,  9,  38, 

39,  83,  84,  87,  226. 
Cornelisz,  Lucas,  15. 
Cornelisz,  Pieter,  10,  15,  84,  85. 
Cort,  Cornelis,  144,  145,  182. 
Coter,  Colijn  de,  68. 
Cousin,  Jean,  51. 

Coxcie,  Michiel  I,  12,  200,  223,  226. 
Crabbe,  Frans,  88. 
Crabeth,  Adriaen  Pietersz,  40. 
Crabeth,  Frans,  52. 
Crabeth,  Wouter  Pietersz  I,  152. 
Cranach,  Lucas,  12,  213. 
Cristus,  Petrus,  17,  61. 

Dalem,  Cornelis  van,  178. 
David,  Gerard,  14,  18,  64,  81. 
Decker,  Custos,  11. 
Delen,  Dirk  van,  193. 
Delignon,  J.  L.,  184. 
Dente,  see  Ravenna. 


232 


Index  of  Artists. 


Domenichino,  147. 
Dubois,  Simon,  92. 
Diirer,  Albrecht,  4,  18,  19,  25,  26,  29, 

36,  38,  49,  68,  69,  73,  74,  87,  95,  161, 

188,  209,  212,  219. 
Duetecum,  Lucas  a,  150. 
Duval,  Marc,  178. 

Elsheimer,  Adam,  218. 

Elst,  Hieronymus  van  der,  153. 

Engebrechtsz,   Cornelis,  4,   7,    10,   15, 

26,  71,  84. 
Everen,  Gillis  van,  3. 
Eyck,  Brothers  van,  12,  60. 
Eyck,  Jan  van,  14,  16,  54,  55,  57,  58, 

61,  226. 

Farinati,  Paolo,  179,  222. 

Ferrari,  Gregorio  de,  165. 

Fiammingo,  Paolo,  184,  185. 

Firens,  Pieter,  97. 

Floris,  Cornelis,  114,  130,  153,  175. 

Floris,  Frans,  31,  79,    140,    148,  153, 

172,    173,    174,    175,    190,    198,   202, 

203,  205,  217.  221. 
Fontana,  Prospero,  147. 
Franck,  Maxmilian,  182. 
Francken,  Ambrosius,  170. 
Francken,  Frans  II,  155,  170. 
Francken,  Jerome,  90,  170. 
Franco,  Battista,  78,  79. 
Frisius,  Simon,  162. 

Galle,  Philip,  20,   139,   144,   149,   158, 

172,  219. 
Galle,  Theodore,  144,  145. 
Gatti,  Bernardino,  178. 
Geertgen  tot  Sint  Jans,  10,  82. 
Gerritsen,  Reyer,  192. 
Gheeraerts,  Marcus  I,  212,  215,  219, 

220. 
Ghent,  Jasper  van,  86. 
Gheyn,  Jacob  I  de,  156. 
Gheyn,  Jacob  II  de,  156,  162,  177,  180. 
Giorgione,  72. 

Goes,  Hugo  van  der,  15,  64,  65. 
Goltzius,    Hendrick,    156,     158,    168, 

169,  172,  177,  180,  192,  221. 
Gossaert,  Jan,  18,  31,  34,  38,  73. 
Grimmer,  Jacob,  165,  206. 

Hameel,  Alart  du,  81. 

Heemskerck,  Martin    van,   7,   10,   38, 

41,  47,  65,  79,  139,  150,  171,  202,  224. 
Heere,  Lucas  de,  168,  174. 
Hemessen,     Jan     Sanders     van,     see 

Sanders,  Jan. 
Heyden,  Jan  van  der,  206. 
Heyden,  Pieter  van  der,  7,  143,   147. 
Hoefnagel,  Jacob,  211,  212. 
Hoefnagel,  Joris,  165,  211,  212. 
Hofstede  van  Essen,  G,  40. 
Holbein,  Hans  I,  64. 
Holbein,  Hans  II,  38,  44,  166. 


Hollar,  W.,  147. 

Hondius,  Hendrick  I,  157,  166.  219. 

Hoogh,  Pieter  de,  193. 

Horebout,  L.  G.,  167. 

Hout,  Jan  van,  9. 

Huygens,  Constantijn,  156. 

Huys,  Frans,  201,  202. 

Isaaksz,  Pieter  Fransz,  167. 

Jean,  Master,  80. 
Jode,  Petrus  de,  191,  192. 
Jordaens,  Jacob,  173. 
Jorisz,  David,  86. 

Ketel,  Cornelis,  167. 

Key,  Willem,  31. 

Kilian,  Lucas,  198. 

Koecke,  Pieter,  3,  21.  36,  42,  75,  142, 

202,  205,  213,  219,  226. 
Ki'oes,  Lenaert,  76,  151. 
Kulmbach,  Hans  von,  69. 
Kunst,    Pieter    Cornelisz,    called,    see 

Comelisz,  Pieter. 

Lairesse,  Gerard  de,  141. 

Lampsonius,  Dominic,  186. 

Leers,  Jan,  49. 

Ley  den,  Aertgen  van,  see  Claesz,  Aert. 

Leyden,  Lucas  van,  4,  5  10,  11,  16,  26, 

40,  67,  68,  69,    72,   74,    84,   85    86, 

88,  121,  221,  222,  224. 
Liefrinck,  Hans  I,  168. 
Limbourg,  Pol  de,  59. 
Lombard,  Lambert,  31,  79,  153,   171, 

174,  184. 
Londerseel,  Assuerus  van,  207. 
Londerseel,  Jan,  189. 
Loo,  H.  C,  215. 
Loyet,  Gerard,  62. 
Lucasz,  Jan,  19. 

Mabuse,  see  Gossaert,  Jan. 

Maggi,  Giovanni,  53. 

Mains,  see  Vermeyen. 

Mander,   Karel  I   van,   96,    136,    158, 

168,  207. 
Mander,  Karel  II  van,  167. 
Mandyn,  Jan,  178,  201. 
Mantegna,  Andrea,  87. 
Marcantonio,  9,  12,  13,  26,  47. 
Marmion,  Simon,  17. 
Master  of  Absalom,  82. 
Master  of  the  Banderoles,  80. 
Master  of  Bois-le-Duc,  81. 
Master  of  the  Brunswick  Monogram.  3. 
Master  of  the  Die,  12. 
Master      of      the      Exhumation      of 

St.  Hubert,  57. 
Master  of  Flemalle,  54,  60. 
Master  of  the  Legend  of  Joseph,  46,  47, 

64. 
Master  of  the  Legend  of  St.  Barbara, 

63. 


Indeoi  of  Artists. 


233 


Master  of  the  Legend  of  St.  Ursula,  63. 
Master    of    the    Leipzig    Cabinet,    see 

Ortkens,  Ardt. 
Master  of  the  Mansi  Magdalene,  69. 
Master  of  the  Mantua  Sketch-Book,  224. 
Master  of  the  Martyrdom  of  St.  Lucia,  9. 
Master  of  Mary  of  Burgundy,  66. 
Master  of  the  Miracles  of  the  Apostles, 

85. 
Master  of  the  Privileges   of  Flanders 

and  Ghent,  61. 
Master  of  the  Prodigal  Son,  75,  76,  151. 
Master  "  S,"  84. 
Master  of  St.  Severin,  82. 
Master  of  the  Story  of  Tobit,  64. 
Master  of  1499,  67. 
Master  of  1527,  85. 
Matham,  Jacob,  162,  169,  224. 
Matsys,  Cornells,  201. 
Matsys,  Quentin,  69,  73,  77. 
Mazerolles,  Philippe  de,  62. 
Meckenem,  Israhel  van,  81,  84. 
Memhng,  Hans,  32,  68. 
Messina,  Antonello  da,  60. 
Michelangelo,  12,  13,  77,  78,  79. 
Moere,  Jan  van  den,  67. 
Momper,  Joos  de,  140,  170,  187,  188. 
Mompere,  Bartholomaeus  de,  201. 

Monogrammist  h  OC   §»  218. 
Monogrammist  Qi?,X  222. 

Monogrammist  ]^,  171. 
Monogrammist  S.V.GH,  171. 
3Iontfoort,  Anthonie  van  (Bloeklandt), 

30,  172,  181,  226. 
Mor,  Antonis,  39,  40,  213. 
Mostaert,  Frans,  178. 
Mostaert,  Gillis,  151. 
Muller,  Harmen  Jansz,  172. 

Muller,  Jan  Harmensz,   98,   162,   167, 

172,  180,  223. 
Muziano,  Geronimo,  144. 

Noort,  Adam  van,  37,  173,  192. 
Nocfrt,  Lambert  van,  173,  176, 203,  204. 

Orley,  Bernard  van,  12,  21,  22,  23,  25, 

31,  33,  42,  74,  75,  87,  219,  227. 
Orley,  Valentin  van,  33. 

Oort,  Adam  van,  see  Noort,  Adam  van. 
Ortkens,  Ardt,  37,  49,  69,  83. 
Ouwater,  Albert  van,  81. 

Palermo,  A.  van,  90. 

Palma,  Jacopo,  Giovane,  177. 

Paludaen,  Joris,  170. 

Parmigiano,  172,  178,  193,  194,  223. 

Passe,  Crispin  van  de,  98,  174,  205. 

Passerotti,  Bartolomeo,  159,  170. 

Patinir,  Joachim  de,  4,  157,  200. 

Pietersz,  Pieter,  151. 

Pourbus,  Frans  I,  175. 

Pourbus,  Pieter  I,  175,  200,  213. 


Queborn,  Corstiaen  van,  147,  165,  193. 
Querela,  Jacopo  della,  73. 

Ramey,  Jean,  186. 

Raphael,  5,  18,  19,  26,  34,  183. 

Ravenna,  Marco  Dente  da,  19,  47. 

Reni,  Guido,  147. 

Roghman,  Roelandt,  181. 

Romano,  Giulio,  39,  224. 

Romerswael,  Marinus  van,  75. 

Roome,  Piat  van,  61. 

Rubens,  P.  P.,  63,  173,  187,  213,  220, 

227. 
Ryekaert,  Martin,  140. 

Sabbatini,  Lorenzo,  147. 

Sadeler,  Aegidius,  148,  176. 

Sadeler,  Jan,  176,  198. 

Sadeler,  Raphael,  222. 

Saenredam,  Jan,  31,  160,  161,  177,  184, 

221,  223,  224. 
Salviati,  Francesco,  159. 
Sanders,  Jan,  van  Hemessen,  3. 
Savery,  Jacques,  139,  146. 
Savery,  Roelandt,  151,  190,  220. 
Schaufelein,  Hans  Leonhard,  26. 
Scheyndel,  H.  G.  van,  171. 
Sehon,  Erhard,  227. 
Schopfer,  Abraham,  8. 
Schongauer,  Martin,  56. 
Scorel,  Jan  van,  7,  9,  38,  88,  171. 
Sellaer,  Vincent,  227. 
Serwouter,  P.,  222. 
Sichem,  Cornells  van,  164. 
Snellinck,  Hans  I,  170. 
Sodoma,  73. 
Soutman,  Pieter,  201. 
Speckaert,  Jan,  178,  223. 
Spierincx,  Veit,  208,  209,  210,   211, 

212,  214,  215,  216,  218,  220. 
Splintersz,  Gerrit,  90. 
Spranger,  Bartolomeus,  158,  162,  168, 

178,  199,  222,  223. 
Stas,  Theodore,  van  Campen,  37,  49. 
Steenwyck,  H.  van,  90. 
Stevens,  Pieter,  139,  181. 
Stockt,  Vrancke  van  der,  57. 
Stradanus,  see  Straet,  Jan  van  der. 
Straet,  Jan  van  der,  148,  150,  181,  182, 

223. 
Suavius,  Lambert,  31. 
Sustris,  Frederik,  183,  197. 
Sustris,  Lambert,  183,  184. 
Suttermans,  Lambert,  184. 
Suyderhoef,  Jonas,  201. 
Swanenburg,  Isaac  Claesz,  186. 
Swart,  Jan,  24,  40,  89,  146,  227. 

Tanj^,  P.,  174. 
Tempesta,  Antonio,  85,  137. 
Teniers,  David,  206. 
Teniers,  Juliaen,  170. 
Teunissen,       Comelis       Anthoniszoon, 
called,  48,  132. 


234 


Index  of  Artists. 


Tintoretto,  170,  190. 
Titian,  87,  144,  184. 

TJden,  Lucas  van,  206. 
Uytewael,  see  Wttewael. 

Vaga,  Perino  del,  24. 
Valckenborch,  Frederik  van,  184. 
Valckenborch,  Gillis  van,  185,  225. 
Valckenborch,  Lucas  van,  186. 
Valckenborch,  Maerten  van,  184. 
Vasari,  Giorgio,  179,  182,  183,  197. 
Veen,  Otho  van,  186. 
Velde,  Adriaen  van  de,  228. 
Velde,  Willem  II  van  de,  183. 
Vellert,  Dierick,  4,  19,  37,  49,  70,  71, 

84. 
Veneziano,  Agostino,  12. 
Venius,  see  Veen. 
Verbeeck,  Frans,  201. 
Verboom,  Pieter,  187. 
Verhaeght,  Tobias,  140,  170,  187. 
Vermeyen,  Jan  Cornelisz,  40,  53,  165, 

228. 
Vertue,  George,  201. 
Vinckeboons,    David,    147,    171,    188, 

222. 
Vinckeboons,  Phihp,  188. 


Vinci,  Leonardo  da,  73,  79. 

Visscher,  J.  C,  189. 

Visscher,  N.  J.,  144. 

Vleryck,  Pieter,  47,  168. 

Volterra,  Daniele  da,  77,  79. 

Vorsterman,  Lucas,  175. 

Vos,  Martin  de,  70,  90,  134,   142,  149, 

150,   169,  190,   195,    198,  205,  221, 

222,  223. 
Vranx,  Sebastian,  170,  192. 
Vredeman  de  Vries,  Jan,  166,  174, 192. 
Vredeman  de  Vries,  Paul,  193. 

Weerdt,  Adriaen  de,  193. 

Weyden,  Roger  van  der,  32,  33,  34,  54, 

60,  228. 
Wierix,  Jan,  166,  194. 
Wierix,  Jerome,  77,  146,  194,  196. 
Willemsz,  Cornells,  19. 
Winghe,  Joos  van,  96,  134. 
Witte,  Pieter  de,  197. 
Wortelmans,  Daniel,  136. 
Wttewael,    Joachim    Anthonisz,   198, 

206. 
Wyntgis,  Eevert,  199. 
Wyntgis,  Melchior,  199. 

Zuccaro,  Federico,  144,  178,  186. 


INDEX    OF    SUBJECTS. 


{The  contraction  (Unm.)  refers  to  Section  VI,  Anonymous  Unmounted  Drawings.) 

I.— OLD   TESTAMENT. 

Abraham  and  Pharaoh  (?)  :    (D.  Vellert),  p.  51,  no,  8. 
Abraham  entertaining  the  Angels  :    (D.  Vellert),  p.  52,  no,  9. 
Abraham  informed  of  the  capture  of  Lot  :    (J.  Cornelisz),  p.  9,  no.  1. 
Adam,  Creation  of  :   (Flemish  Sch.),  p.  67,  no.  17  ;   (J.  Wierix),  p.  194,  no,  6. 
Adam  and  Eve,  Creation  of  :   (J.  van  der  Straet),  p.  182,  no.  3  ;   (J.  Wierix), 

p.  194,  no.  G. 
Adam  and  Eve  addressed  by  God  after  the  Creation  :    (J.  Wierix),  p.  194, 

no.  7. 
Adam  and  Eve  in  the  Garden  of  Eden  :    (D.  Vinckeboons),  p.  188,  no.  1. 
Adam  and  Eve,  Temptation  of  :    (H.  Goltzius),  p,  161,  no.  7  ;    (J.  Wierix), 

p.  194,  no.  8  ;   (Unm.),  p.  221,  no.  1. 
Adam  and  Eve  seeking  to  hide  themselves  :    (J.  Wierix),  p.  194,  no.  9 
Adam  and  Eve,  Expulsion  of  :  (C.  van  den  Broeck),  p.  141,  no.  2.  ;  (J  Wierix), 

p.  194,  no.  10. 
Adam  tilling  the  Earth  :    (J.  Wierix),  p.  195,  no.  12  ;    (Unm.),  p.  221,  no.  2. 
Adam  building  himself  a  habitation  :    (J.  Wierix),  p.  194,  no.  11. 
Amnon  and  Tamar  :    (A.  van  Bolten),  p.  134,  nos.  408-411. 
Cain  and  Abel,  The  Sacrifice  of  :    (J.  Wierix),  p.  195,  no.  13. 
Cain  killing  Abel  :    (Flemish  Sch.),  p.  202,  no.  7. 
Creation  of  the  Heavens  :    (J.  Wierix),  p.  194,  no.  1. 
Creation  of  the  Lights  in  the  Firmament  :    (J.  Wierix),  p.  194,  no.  4. 
Creation  of  the  Earth  :    (J.  Wierix),  p.  194,  no.  3. 
Creation  :    Division  of  the  Waters  :    (J.  Wierix),  p.  194,  no.  2. 
Creation  of  Animals  :    (J.  Wierix),  p.  194,  no.  5. 
David  annointed  by  Samuel  :    (P.  Koecke),  p.  23,  no.  5. 
David  refusing  Saul's  amiour  :    (P.  Koecke),  p.  22,  no.  3. 
David  armed  by  Saul  :   (P.  Koecke),  p.  23,  no.  6. 
David  cutting  off  Goliath's  head  :    (L.  van  Leyden),  p.  28,  no,  4. 
David,  Triumph  of  :   (P.  Koecke),  p.  22,  no.  4  ;    (Dutch  Sch.),  p.  207,  no.  31. 
David  married  to  Michal  :    (P.  Koecke),  p.  23,  no.  7. 
Division  of  the  Land  (?)  :    (J.  de  Beer),  p.  4.  no.  2. 
Elijah  declaiming  the  anger  of  the  Lord  to  Ahab  :   (M.  van  Heemskerck),  p.  20, 

no.  2. 
Elijah  fed  by  ravens  :    (H.  Hondius),  p.  166,  no.  2. 
Elijah  with  the  widow  and  child  :    (A.  van  Bolten),  p.  134,  no.  412. 
Elisha,  the  children  that  mocked  :    (A.  Bloemart),  p.  91,  no.  3. 
Esther  before  Ahasuerus  :    (L.  van  Noort),  p.  174,  no.  1. 
Flood:   (A.  Bloemart),  p.  90,  no.  1;   (H.  Bol),  p.  94,  no.  1;   (F.  Pourbus), 

p.  176,  no.  1  ;   (F.  van  Valckenborch),  p.  184,  no.  1  ;   (J.  Wierix).  p.  195, 

no.  17. 
Jacob  and  Esau  :   (A.  van  Bolten),  p.  121,  no.  271  ;   p.  132,  no.  383. 
Jonah  thrown  to  the  whale  :    (P.  IBril),  p.  137,  no.  1. 

Jonah  seated  imder  the  Gourd,  Study  for  :   (attrib.  to  P.  Bril),  p.  139,  no.  4. 
Joseph  relating  his  Dreams  to  his  Father  :   (J.  Swart),  p.  45,  no.  17  ;  Flemish 

Sch.),  p.  203,  no.  11  ;    p.  204,  no.  18. 
Joseph's  Brethren  thrusting  him  into  the  Well  :    (J.  Swart),  p.  46,  no.  18  ; 

(Flemish  Sch.),  p.  203,  no.  12. 
Joseph's  coat  shown  to  Jacob  :   (Flemish  Sch.),  p.  204,  no.  19. 
Joseph  sold  to  the  Ishmaelites  :   (J.  Swart),  p.  46,  no.  19. 


236  Index  of  Stihjects. 

I.— OLD   TESTAMENT— continued. 

Joseph  sold  to  Potiphar  :    (J.  Swart),  p.  46,  no.  20  ;    (Flemish  Scli.),  p.  204, 

no.  20. 
Joseph  and  Potiphar's  wife  :    (Flemish  Sch.),  p.  205,  no.  21. 
Joseph  taken  to  prison  :    (Flemish  Sch.),  p.  205,  no.  22. 
Joseph  :   Pharaoh's  Dream  :    (Flemish  Sch.),  p.  203,  no.  13. 
Joseph  interpreting  Pharaoh's  dreams  :    (Unm.),  p.  221,  no.  3. 
Joseph  is  given  his  ring  by  Pharaoh  :    (Flemish  Sch.),  p.  204,  no.  14. 
Joseph  receiving  his  brethren  in  Egypt :  (P.  Cornelisz),  p.  1 1,  no.  2 ;  (J.  Swart), 

p.  46,  nos.  21,  22. 
Joseph:    the    cup    found   in    Benjamin's   sack:    (J.    Swart),    p.  47,  no.   23; 

(Flemish  Sch.),  p.  204,  no.  15. 
Joseph  orders  Benjamin  to  be  seized  :    (Flemish  Sch.),  p.  204,  no.  16. 
Joseph  and  Jacob,  Meeting  of  :    (J.  Swart),  p.  47,  no.  24  ;    (Flemish  Sch.), 

p.  204,  no.  17. 
Joshua  besieging  a  city  :    (J.  Swart),  p.  42,  no.  2. 
Joshua  fighting  against  the  five  Kings  :    (J.  Swart),  p.  42,  no.  3. 
Joshua  executing  the  five  Kings  :    (J.  Swart),  p.  43,  no.  4. 
Joshua  burning  the  Chariots  of  the  five  Kings  :    (J.  Swart),  p.  43,  no.  5. 
Judith  with   the   Head  of  Holof ernes  :    (L.   van  Leyden),   p.   31,  no.    11  ; 

(Master  of  the  Miracles  of  the  Apostles),  p.  86,  no.  85. 
Lot  receiving  the  Angels  :    (J.  Saenredam),  p.  177,  no.  1. 
Lot  rescued  from  the  men  of  Sodom  :    (J.  Saenredam),  p.  177,  no.  2. 
Lot  conducted  out  of  Sodom  by  the  Angels  :   (J.  Saenredam),  p.  177,  no.  3. 
Lot  and  his  Daughters  :    (Antwerp  Sch.),  p.  71,  no.  30  verso  ;    (A.  Bloemart), 

p.  91,  no.  2  ;    (attrib.  to  A.  van  Noort),  p.  173,  no.  1. 
Men  become  workers  of  metal  :    (J.  Wierix),  p.  195,  no.  14. 
Moses  and  the  Burning  Bush  :    (Flemish  Sch.),  p.  200.  no.  2. 
Moses  striking  water  from  the  Rock  :    (J.  Swart),  p.  43,  no.  6. 
Naaman  bathing  in  the  Jordan  :    (D.  Vellert),  p.  50,  no.  5. 
Noah,  God  speaking  with  :    (J.  Wierix),  p.  195,  no.  15. 
Noah  and  his  family  going  into  the  Ark  :    (J.  Wierix),  p.  195,  no.  16. 
Noah  and  his  family  leaving  the  Ark  :    (J.  Wierix),  p.  195,  no.  18. 
Noah's  Sacrifice  :    (J.  Wierix),  p.  195,  no.  19. 
Noah,  Drunkenness  of  :    (Master  of  Absalom),  p.  82,  no.  71. 
Samson  drinking  from  the  Ass's  jawbone  :    (J.  Swart),  p.  43,  no.  7. 
Sisera  :    (Unm.),  p.  221,  no.  5. 
Solomon,  Judgment  of  :    (Sch.  of  B.  van  Orley),  p.  36,  no.  7  ;    (D.  Calvart), 

p.  148,  no.  2. 
Solomon,  Song  of  (M.  de  Vos),  p.  191,  no.  29. 
Unexplained  subjects,  probably  Biblical :  (J.  de  Beer),  p.  4,  no.  2  ;  (A.  Ortkens), 

p.  37,  no.  2  ;    (J.  Swart),  p.  44,  no.   10  ;    (D.  Vellert),  p.  52,  no.   10  ; 

(Dutch  Sch.),  p.  83,  no.  74  ;    p.  85,  no.  81  ;    (Unm.),  p.  223,  nos.  18,  19. 

M.— APOCRYPHA. 

Asenath,  Story  of  :    (Master  of  the  Prodigal  Son),  p.  76,  nos.  44-48. 

Daniel  in  the  Lion's  Den  :    (L.  van  Leyden),  p.  28,  no.  3. 

Susannah  and  the  wicked  Elders  :    (J.  Cornelisz),  p.  10,  no.  2. 

Susannah  accused  by  the  wicked  Elders  :    (Flemish  Sch.),  p.  68,  no.  19. 

Susannah  :    Stoning  of  the  Wicked  Elders  :    (J.  Swart),  p.  44,  no.  11. 

Tobias  and  the  Angel  :    (Unm.),  p.  225,  no.  38. 

Tobit  burying  the  dead  :  (Master  of  the  Miracles  of  the  Apostles),  p.  86,  no.  84. 

Tobit  blinded  :    (J.  Swart),  p.  44,  no.  8. 

Tobit  and  his  wife  left  by  the  angel  :    (Unm.),  p.  221,  no.  6. 

111.— NEW   TESTAMENT. 

Ananias  and  Sapphira,  Death  of  :    (M.  de  Vos),  p.  191,  no.  22. 
Annunciation  :    (J.  Cornelisz),  p.  10,  no.  2  (verso) ;    (Master  of  1499),  p.  67, 

no.  16  ;    (Antwerp  Sch.),  p.  71,  no.  28  ;    (J.  Wierix),  p.  196,  no.  27. 
Annunciation  to  the  Shepherds  :   (A.  Bloemart),  p.  91,  no.  4. 
Apostle  preaching  :    (Flemish  Sch.),  p.  75,  no.  41. 
Apostles  setting  out  on  their  travels  :    (Flemish  Sch.),  p.  75,  no.  42. 
Christ's  Nativity  :    (M.  de  Vos),  p.  190,  no.  1. 


Index  of  Subjects.  237 

111.— NEW  TESTAMENT— continued. 

Christ  adored  by  the  Shepherds  :    (Flemish  Sch.),  p.  68,  no.  18  ;    (copy  from 

P.  Aertsen),  p.  89,  no.  2  ;  (A.  Bloemart),  p.  91,  no.  5  ;  (C.  van  den  Broeck), 

p.  140,  no.  1  ;    (P.  de  Witte),  p.  198,  no.  2  ;    (Unm.),  p.  221,  no.  7. 
Christ  adored  by  the  Kings  :    (Anon.),  p.  60,  no.  3  ;    (Antwerp  Sch.),  p.  71, 

no.  29  ;  (A.  van  Bolten),  p.  135,  no.  413  ;   (Monogrammist  Jgff ),  p.  171, 

no.  1  ;  (Unm.),  p.  221,  no.  8. 
Christ  circumcised  :    (L.  van  Leyden),  p.  29,  no.  5  ;    (C.  van  den  Bi'oeck), 

p.  141,  no.  4  ;    (H.  Speckaert),  p.  178,  no.  1  ;    (Unm.),  p.  222,  no.  10. 
Christ  presented  in  the  Temple  :    (copy  from  B.  van  Orley),  p.  36,  no.  5 ; 

(D.  Vellert),  p.  51,  no.  6  ;    (Unm.),  p.  222,  no.  9. 
Christ  ;  Flight  into  Egypt  :  (D.  Vellert),  p.  50.  no.  2  ;  (J.  A.  Wttewael),  p.  198, 

no.  2. 
Christ  disputing  with  the  Doctors  :  (Dutch  Sch.),  p.  81,  no.  70  ;  (L.van  Noort), 

p.  174,  no.  2  ;    (attrib.  to  A.  de  Weerdt),  p.  193,  no.  1. 
Chi'ist  baptized  :    (M.  van  Heemskerck),  p.  20,  no.  2. 
Christ  at  the  Marriage  Feast  at  Cana  :   (D.  Vellert),  p.  50,  no.  4  ;  (D.  Calvart), 

p.  148,  no.  1. 
Christ  performing  the  Miracle  of  the  Loaves  and  Fishes  :   (Sch.  of  P.  Koecke), 

p.  25,  no.  13. 
Christ  and  the  Woman  of  Samaria  :   (L.  Lombard),  p.  32,  no.  1. 
Christ  and  the  Woman  taken  in  Adultery  :   (Unm.),  p.  222,  no.  11. 
Christ  in  the  House  of  the  Pharisee  :    (Dutch  Sch.),  p.  83,  no.  76. 
Christ  in  the  House  of  Simon  :    (Sch.  of  P.  Koecke),  p.  25,  no.  14  ;    (Flemish 

Sch.),  p.  200,  no.  3. 
Christ  with  His  Disciples  :    (attrib.  to  J.  Wierix),  p.  197,  no.  33. 
Christ  washing  the    feet  of  the  Disciples  :     (M.    de  Vos),   p.    190,  no.   3  ; 

(J.  Wierix),  p.  195,  no.  20. 
Christ  :  Last  Supper  :  (L.  Lombard),  p.  32,  no.  2  ;  (M.  de  Vos),  p.  190,  no.  2  ; 

(J.  Wierix),  p.  195,  no.  21, 
Christ  on  the  Mount  of  Olives  :  (D.  Vinckeboons),  p.  189,  no.  6  ;  (M.  de  Vos), 

p.  190,  no.  4  ;    (J.  Wierix),  p.  195,  no.  22. 
Christ  :    soldiers  come  to  apprehend  Him  are  struck  down  :    (M.  de  Vos), 

p.  190,  no.  5. 
Christ  taken  :    (A.  Claesz),  p.  7,  no.  1  ;    (Franco-Flemish  Miniatiu-ist),  p.  59, 

no.  1  ;    (Dutch  Miniaturist),  p.  79,  no.  61  ;    (M.  de  Vos),  p.  190,  no.  6  ; 

(J.  Wierix),  p.  195,  no.  23  ;    p.  196,  no.  28  ;    (Unm.),  p.  222,  no.  12. 
Christ  before  the  High  Priest  :  (A.  Ortkens),  p.  38,  no.  3  ;  (M.  de  Vos),  p.  190, . 

no.  7. 
Christ  crowned  with  thorns  :    (M.  de  Vos),  p.  191,  no.  12. 
Christ  before  Pilate  :    (A.  Claesz),  p.  8,  no.  2  ;    (Dutch  Miniatvu-ist),  p.  79, 

no.  62  ;    (Dutch  Sch.),  p.  87,  no.  86  ;    (M.  de  Vos),  p.  190,  no.  9. 
Christ  before  Herod  :    (M.  de  Vos),  p.  190,  no.  10. 

Christ  scourged  :  (Dutch  Miniaturist),  p.  79,  no.  63  ;  (M.  de  Vos),  p.  191,  no.  11. 
Christ  shown  to  the  People  :    (Antwerp  Sch.),  p.  70,  no.  24  ;    (C.  van  den 

Broeck),  p.  141,  no.  5  ;    (M.  de  Vos),  p.  191,  no.  13. 
Christ  carrying  the  Cross  :   (Dutch  Miniaturist),  p.  79,  no.  64  ;   (M.  de  Vos), 

p.  191,  no.  14  ;    (J.  Wierix),  p.  196,  no.  24. 
Christ  crucified  :  (copy  from  M.  van  Heemskerck),  p.  21,  no.  6 ;  (Antwerp  Sch.), 

p.  71,  no.  30  :   (C.  van  den  Broeck),  p.  141,  no.  6  ;    (M.  de  Vos),  p.  191, 

no.  15  ;  (J.  Wierix),  p.  196,  nos.  25,  26  ;    (Jerome  Wierix),  p.  196,  no.  29. 
Christ  on  the  Cross  with  Saints  and  Donors  (Dutch  Sch.),  p.  87,  no.  87. 
Christ  taken  down  from  the  Cross  :    (copy  after  G.   David),  p.   15,  no.   2  ; 

(Antwerp  Sch.),  p.  70,  no.  25;  (Dutch  Miniaturist),  p.  79,  no.  65  ;    (P.  de 

Witte),  p.  197,  no.  1  ;   (M.  de  Vos),  p.  191,  no.  17. 
Christ  mourned  beneath  the  Cross  :    (copy  from  B.  van  Orley),  p.  36,  no.  6 ; 

(Dutch  Sch.),  p.  84,  no.  77. 
Christ,  Entombment  of  :   (Dutch  Miniaturist),  p.  79,  no.   66  ;    (M.  de  Vos), 

p.  191,  no.  18. 
Christ  rising  from  the  Tomb  :   (M.  de  Vos),  p.  191,  no.  19. 
Christ  appearing  to  St.  Mary  Magdalene  :   (M.  de  Vos),  p.  191,  no.  20. 
Christ  at  Emmaus  :   (Sch.  of  P.  Koecke),  p.  26,  no.  15. 
Christ's  descent  into  Limbo  :    (M.  de  Vos),  p.   191,  no.   16  ;    (attrib.  to  J. 

Wierix),  p.  197,  no.  31. 


.238  Index  of  Subjects. 

III.— NE  W  TES  TAME  NT— continued. 

Crucified  Thief  :   (Master  of  1627),  p.  85,  no.  82. 

Crucifixion,  Group  for  :  (H.  Memling),  p.  33,  no.  1  ;  (J.  Swart),  p.  47,  no.  25. 

Descent  of  the  Holy  Spirit  :    (J.  Swart),  p.  44,  no.  9  ;    (M.  de  Vos),  p.  191, 

no.  21. 
Massacre  of  the  Innocents  :  (J.  Swart),  p.  47,  no.  26;  (D.  Vellert),  p.  50,  no.  3. 
Parable  of  Dives  and  Lazarus  :    (B.  van  Orley),  p.  34,  no.  1. 
Parable  of  Dives  and  Lazarus  ;  Dives  in  Hell  :   (Sch.  of  R.  van  der  Weyden), 

p.  56,  no.  5. 
Parable  of  the  Good  Samaritan  :   (W.  P.  Crabeth),  p.  152,  nos.  1,  2. 
Parable  of  the  Marriage  of  the  King's  Son  :  (copy  from  J.  Swart),  p.  40,  no.  27. 
Parable  of  the  Prodigal  Son  ;  his  departure  :   (D.  Vinckeboons),  p.  188,  no.  2. 
Parable  of  the  Prodigal  Son  ;  he  dissipates  his  inheritance  :  (D.  Vinckeboons), 

p.  188,  no.  2  ;    (Flemish  Sch.),  p.  202,  no.  9. 
Parable  of  the  Prodigal  Son  ;    he  becomes  a  swineherd  :    (D.   Vinckeboons), 

p.  188,  no.  4. 
Parable  of  the  Prodigal  Son ;  his  return  :  (copy  from  J.  Swart),  p.  48,  no.  28  ; 

(D.  Vinckeboons),  p.  189,  no.  5. 
St.  Paul's  conversion  :    (Sch.  of  P.  Koecke),  p.  24,  nos.  10,  11. 
St.  Paul  cured  of  his  blindness  :    (M.  de  Vos),  p.  191,  no.  25. 
St.  Paul's  escape  in  a  basket  :   (M.  de  Vos),  p.  191,  no.  24. 
St.  Paul's  sacrifice  at  Lystra  :   (Sch.  of  P.  Koecke),  p.  24,  no.  9  ;   (M.  de  Vos), 

p.  191,  no.  27. 
St.  Paul  and  Silas  cast  out  a  devil  :   (M.  de  Vos),  p.  191,  no.  28. 
St.  Peter's  denial  of  Christ  :    (M.  de  Vos),  p.  190,  no.  8. 
St.  Peter  delivered  from  Prison  :   (Flemish  Sch.),  p. ^5,  no.  40  ;   (M.  de  Vos), 

p.  191,  no.  26. 
St.  Philip  baptizing  the  Eunuch  :    (Sch.  of  F.  Floris),  p.  155,  no.  4  ;    (M.  de 

Vos),  p.  191,  no.  23. 
St.  Philip  and  Simon  the  Sorcerer  :   (Flemish  Sch.),  p.  75,  no.  43. 
Salome's  Dance  :   (F.  Sustris),  p.  183,  p.  2. 

Virgin  and  St.  Joseph  refused  admittance  to  the  Inn  :   (Anon.),  p.  65,  no.  13. 
Visitation  :  (Flemish  Sch.),  p.  66,  no.  14  ;  p.  73,  no.  34  ;  (C.  van  den  Broeck), 

p.  141,  no.  3. 

LV.— CHRIST. 

Christ  :    (A.  van  Bolten),  p.  120,  no.  241  ;   p.  132,  no.  390. 

Christ,  Head  of  :   (Flemish  Sch.),  p.  77,  no.  49. 

Christ  scoiu-ged.  Study  for  :    (Flemish  Sch.),  p.  202,  no.  8. 

Christ,  Infant,  blessing  :   (Sch.  of  R.  van  der  Weyden),  p.  56,  no.  4. 

v.— VIRGIN   MARY. 

Virgin  :    (A.  van  Bolten),  p.  132,  no.  392. 

Virgin,  Head  of  :    (Sch.  of  R.  van  der  Weyden),  p.  55,  no.  3. 

Virgin  in  adoration  :    (Flemish  Sch.),  p.  60,  no.  2. 

Virgin  and  Child  :    (L.  van  Leyden),  p.  30,  no.  10. 

Virgin  and  Child  with  Donor  and  Saints  :   (D.  Vellert),  p.  49,  no.  1  ;   (Anon.), 

p.  199,  no.  1. 
Virgin  and  Child  with  infant  St.  John  :    (J.  Gossaert),  p.  18,  no.  1. 
Virgin  and  Child  with  St.  Joseph  and  St.  Anne  :    (P.  Verboom),  p.  187,  no.  1. 
Virgin  and  Child  painted  by  St.  Luke  :    (Antwerp  Sch.),  p.  69,  no.  22. 
Virgin  and  Child  with  St.  George  :    (Anon.),  p.  62,  no.  6. 
Virgin,  Birth  of  the  (?)  :    (Flemish  Sch.),  p.  74,  no.  38. 
Virgin  ascending  the  steps  of  the  Temple  :    (Antwerp  Sch.),  p.  71,  no.  27. 
Virgin,  Marriage  of  the  :    (D.  Vellert),  p.  51,  no.  7. 
Virgin  at  the  foot  of  the  Cross  :    (H.  Bol),  p.  94,  no.  2. 
Virgin,  Family  of  the  :   (Dutch  Sch.),  p.  88,  no.  89. 

VI.— SAINTS. 

Andrew  :   (A.  van  Bolten),  p.  120,  no.  243. 
Anthony,  Temptation  of  :   (Flemish  Sch.),  p.  206,  no.  27. 
Apostles,  Unnamed  :   (A.  van  Bolten),  p.  120,  nos.  246-248,  250. 
Augustine  :   (Dutch  Sch.),  p.  81,  no.  69. 


Index  of  Subjects.  239 

VI.—  SAINTS— continued. 

Bartholomew  :    (A.  van  Bolteii),  p.  120,  no.  249  ;   p.  133,  no.  396. 

Bernard,  Vision  of  :    (Antwerp  Sch.),  p.  72,  no.  32. 

Catherine  with  kneeling  lady  :    (Flemish  Sch.),  p.  73,  no.  35. 

Christopher  :    (P.  Cornelisz),  p.  11,  no.  4. 

Christopher  and  the  Devil  :    (P.  Koecke),  p.  23,  no.  8;  (Anon.),  p.  68,  no.  20. 

Evangelist,  Study  for  :    (L.  van  Leyden),  p.  30,  no.  8. 

Evangelists,  The  four  :    (copy  from  F.  Floris),  p.  155,  no.  5. 

Francis  with  St.  Margaret  and  kneeling  Monk  :    (Flemish  Sch.),  p.  74,  no.  37. 

George,  Martyrdom  of  :    (J.  Swart),  p.  41,  no.  1. 

George,  Virgin  and  Child  appearing  to  :    (Flemish  Sch.),  p.  62,  no.  6. 

George  with  kneeling  Ecclesiastic  :    (Flemish  Sch.),  p.  74,  no.  36. 

James  the  Greater  :    (A.  van  Bolten),  p.  120,  no.  245  ;   p.  133,  no.  400. 

Jerome  in  Penitence  :  (Antwerp  Sch.),  p.  70,  no.  23  ;   (copy  from  P.  Bruegel), 

p.  145,  no.  6  ;    (A.  Sadeler),  p.  177,  no.  3. 
John  the  Baptist  :    (attrib.  to  F.  Sustris),  p.  184,  no.  3. 
John  the  Baptist,  Scenes  from  the  Life  of  :    (P.  Koecke),  p.  22,  no.  2. 
John  the  Baptist  preaching  :    (H.  Bol),  p.  95,  no.  4. 
John  the  Baptist  and  Disciples  :    (Flemish  Sch.),  p.  66,  no.  15. 
John  the  Evangelist  :    (A.  van  Bolten),  p.  120,  no.  244  ;    p.   133,  no.  395  ; 

(copy  from  B.  Spranger),  p.  179,  no.  4. 
Luke  painting  the  Virgin  :    (Antwerp  Sch.),  p.  69,  no.  22. 
Margaret  :    (attrib.  to  D.  Calvart),  p.  148,  no.  3. 

Margaret  with  St.  Francis  and  kneeling  Monk  :    (Flemish  Sch.),  p.  74,  no.  37. 
Martha  :    (Flemish  Sch.),  p.  63,  no.  8. 
Martin  dividing  his  cloak  :    (Dutch  Sch.),  p.  206,  no.  28. 

Mary  Magdalene  :  (R.  van  der  Weyden),  p.  55,  no.  2 ;  (copy  from  R.  van  der 
'Weyden),  p.  58,  no.  8  ;    (Anon.),  p.  65,  no.  12  ;    (A.  van  Bolten),  p.  133, 

no.  403  ;    (K.  van  Mander),  p.  169,  no.  1. 
Matthew  :    (Anon.),  p.  66,  no.  15  verso  ;    (A.  van  Bolten),  p.  120,  no.  251  ; 

p.  133,  no. 394. 
Michael  :   (Dutch  Sch.),  p.  83,  no.  75. 
Paul  :    (Sch.  of  P.  Koecke),  p.  24,  no.  9  ;    (A.  van  Bolten),  p.  133,  nos.  398, 

401  ;    (Unm.),  p.  222,  no.  14. 
Peter  :   (A  van  Bolten),  p.  120,  no.  242  ;   p.  132,  no.  391  ;   p.  133,  no.  393. 
Quattuor  Coronati,  Martyrdom  of  :    (D.  Vellert),  p.  53,  no.  11. 
Saint,  Martyrdom  of  a    :    (H.  de  Clerck),  p.  149,  no.  1. 

Saints,  unnamed  :  (A.  Bloemart),  p.  91,  no.  6  ;  (A.  van  Bolten),  p.  123,  no.  294. 
Sebastian  (?),  Martyrdom  of  :    (H.  de  Clerck),  p.  149,  no  1. 
Simon  :    (A.  van  Bolten),  p.  120,  no.  252  ;   p.  133,  no.  399. 
Ten  Thousand  Christians,  Martyrdom  of  :    (Antwerp  Sch.),  p.  72,  no.  31. 
Thaddeus  (?)  :    (A.  van  Bolten),  p.  121,  no.  270. 
Thomas  :    (A.  van  Bolten),  p.  133,  no.  397. 
Valentine  (?),  Martyrdom  of  :    (H.  de  Clerck),  p.  149,  no.  1. 
Venerius  :    (Unm.),  p.  222,  no.  15. 

Yll.— RELIGIOUS   SUBJECTS. 

Acts  of  Mercy  ;    Burying  the  Dead  :    (copy  from  A.  Ortkens),  p.  38,  no.  4. 
Acts  of  Mercy  ;    Delivering  Prisoners  :    (P.  Cornelisz),  p.  11,  no.  1. 
Acts  of  Mercy  ;   Giving  drink  to  the  Thirsty  :    (Datch  Sch.),  p.  85,  no.  80. 
Augustus  and  the  Sibyl  :   (Antwerp  Sch.),  p.  70,  no.  26  ;   (Dutch  Sch.),  p.  84, 

no.  79. 
Cherubs  and  Angels  :    (A.  van  Bolten),  p.  104,  nos.  75,  77  ;    p.  105,  no.  86  ; 

p.  107,  no.  105;    p.  117,  nos.  212,  213;    p.   118,  nos.  214-226;    p.   119, 

nos.  227-239 ;    p.  120,  no.  240  ;    p.  122,  nos.  279,  280  ;    p.  130,  no.  369  ; 

(H.  Goltzius),  p.  163,  no.  16. 
Demons  and  Damned  :    (Unm.)  p.  222,  no.  13. 
Jesse,  Tree  of  :    (Dutch  Sch.),  p.  80,  no.  67. 

Last  Judgment  :   (J.  de  Backer),  p.  90,  no.  1  ;   (A.  van  Bolten),  p.  135,  no.  418. 
Priest  at  the  Altar  :    (A.  Bloemart),  p.  91,  no.  7. 
Prophet  :  (Dutch  Sch.),  p.  81,  no.  68. 

Religious  procession  :   (Sch.  of  R.  van  der  Weyden),  p.  56,  no.  6. 
Trinity,  The  :    (Dutch  Sch.),  p.  84,  no.  78. 


240  Index  of  Subjects. 

Will.— HISTORY. 

A. — Ancient. 

Alexander  and  Diogenes  :    (Unni.)  p.  225,  no.  37. 

Alexander  receiving  the  keys  of  a  city  :    (Flemish  Sch.),  p.  61,  no.  4. 

Alexander,  Death  of  (?)  :    (Flemish  Sch.),  p.  61,  no.  5. 

Appius  Claudius  and  Virginia  :    (B.  van  Orley),  p.  35,  no.  2. 

Aristotle  and  Phyllis  :    (J.  de  Beer),  p.  5,  no.  3. 

Marcus  Aurelius,  Equestrian   statue  of  :     (copy  after  M.  van  Heemskerck), 

p.  20,  no.  5. 
Meniae  escaping  from  Prison  :    (L.  van  Leyden),  p.  27,  no.  1. 
Mucins  Seaevola  :   (Sch.  of  F.  Floris),  p.  154,  no.  3. 
Scipio,  Continence  of  :    (P.  Aertsen),  p.  89,  no.  1. 

B. — Modern. 

Africa,  Capture  of,  1550  :  (attrib.  to  J.  Hoefnagel),  p.  165,  no.  1. 
Charles  V,  Funeral  Procession  of,  1559  :   (H.  Cock),  p.  150,  no.  1. 
Saxony,  John  Frederick,  Elector  of,  surrendering  to  Charles  V  :    (M.  van 
Heemskerck),  p.  19,  no.  1  ;    (H.  de  Clerck),  p.  149,  no.  2. 

1^.— MYTHOLOGY. 

Aglauros  showing  Erichthonius  to  her  sisters  :    (A.  van  Montfoort),  p.   172, 

no.  1. 
Apollo  and  the  Muses  :    (A.  van  Bolten),  p.  1J5,  no.  417. 
Aristeus  :    (J.  H.  Muller),  p.  172,  no.  3. 
Autumnus  :    (J.  H.  Mviller),  p.  172,  no.  1. 
Bacchus  and  Ceres  :    (copy  from  B.  Spranger),  p.  180,  no.  5. 
Bacchus  with  Venus  and  Cupid  and  Ceres  :  (H.  Goltzius),  p.  160,  no.  5  ;  p.  161 ; 

no.  8  ;    (copy  from  J.  Saenredam),  p.  178,  no.  4. 
Bellona  (?)  :    (Flemish  Sch.),  p.  78,  no.  57  ;    (A.  van  Bolten),  p.  123,  no.  297. 
Ceres  and  Bacchus  :    (copy  from  B.  Spranger),  p.  180,  no.  5. 
Ceres  and  Bacchus  with  Venus  and  Cupid  :    (H.  Goltzius),  p.   161,  no.  8  ; 

(copv  from  J.  Saenredam),  p.  178,  no.  4. 
Cupid  :   (A.  van  Bolten),  p.  127,  nos.  332-336  ;   p.  128,  nos.  343-345  ;    p.  130, 

nos.  368,  371  ;    p.  131,  no.  378  ;    (Unm.),  p.  223,  no.  22. 
Cupid  and  Psyche  :    (B.  Spranger),  p.  179,  no.  3. 
Cyparissus  :    (J.  H.  Muller),  p.  173,  no.  4. 
Ganymede,  Rape  of  :    (M.  Coxcie),  p.  12,  no.  1. 

Helen,  Rape  of  :    (M.  Cock),  p,  8,  no.  1  ;  (A.  Ortkens),  p.  37,  no.  1. 
Hercules  :    (A    van  Bolten),  p.  122,  nos.  282,  285  ;    p.  123,  no.  289  ;    p.  124, 

no.  307. 
Hercules  carrying  off  lole  (?)  :    (M.  van  Heemskerck),  p.  20,  no.  4. 
Jason  seizing  the  Golden  Fleece  :    (Anon.),  p.  65,  no.  11. 
Jupiter  and  Aegina  :    (M.  Coxcie),  p.  13,  no.  6. 
Jupiter  and  Alcmena  :    (M.  Coxcie),  p.  13,  no.  3. 
Jupiter  and  Antiope  :    (M.  Coxcie),  p,  13,  no.  2. 
Jupiter  and  Callisto  :    (M.  Coxcie),  p.  14,  no,  10. 
Jupiter  and  Europa  :    (M.  Coxcie),  p.  13,  no.  5. 
Jupiter  and  lo  :    (M.  Coxcie),  p.  14,  no.  9. 
Jupiter  and  Leda  :    (M.  Coxcie),  p.  13,  no.  8. 
Jupiter  and  Proserpina  :    (M.  Coxcie),  p.  13,  no.  7. 
Jupiter  and  Semele  :    (M.  Coxcie),  p.  13,  no.  4. 
Mars  :    (A.  van  Bolten),  p.  125,  no.  310  ;    p.  128,  no.  344. 
Mars  and  Venus  :   (H.  van  der  Elst),  p.  153,  no.  1  ;    (manner  of  B.  Spranger), 

p.  180,  no.  6. 
Mercury  :    (A.  van  Bolten),  p.  122  ;   nos.  286,  287  ;   p.  124,  no.  306  ;   p.  125, 

nos.  310,  311. 
Mercvuy  and  Pallas  crowning  a  young  man  :    (F.  Sustris),  p.  183,  no.  1. 
Mercury  slaying  Argus  :    (A.  Bloemart),  p.  92,  no.  8. 
Narcissus  :    (A.  Sadeler),  p.  176,  no.  1  ;    (Unm.),  p.  223,  no.  20. 
Neptune  :    (A.  van  Bolten),  p.  127,  no.  340. 
Orpheus  :    (P.  Koecke),  p.  21,  no.  1. 
Paris,  Judgment  of  :    (A.  Ortkens),  p.  37,  no.   1  ;     (A.  van  Bolten),  p.  128, 

no.  349. 


Index  of  Subjects.  241 


IX.— MYTHOLOGY— continued. 

Priam  in  Council  :   (A.  Ortkeas),  p.  37,  no.  1. 

Prometheus  :   (attrib.  to  K.  van  Maider),  p.  169,  no.  2. 

Proserpina,  Rape  of,  by  Plato  :   (F.  Floris).  p.  154,  no.  1  ;   (L.  Sustris),  p.  184, 

no.  1. 
Psyche  :   (A.  van  Bolten),  p.  128,  no.  343. 
Satyr  :   (Unm.),  p.  223,  no.  24. 
Triptolemus  :   (J.  H.  MuUer),  p.  172,  no.  2. 
Venus  :    (A.  van  Bolte.i),  p.  124,  no.  303  ;    p.  125,  nos.    310-312  ;    p.    127, 

nos.  334,  335;  p.  128,  nos.  344,  345;   p.  131,  no.  378;   (H.  van  der  Elst), 

p.  153,  no.  1. 
Venus  and  Cupid  :    (B.  Spranger),  p.  179,  no.  2. 
Venus  and  Capid  with  Cares  and  Bacshas  :    (H.  Goltzius),  p.  160,   no.    5  ; 

p.  161,  no.  8  ;    (copy  fro;n  J.  Saearedam),  p.  178,  no.  4. 
Vulcan  :    (attrib.  to  J.  Matham),  p.  170,  no.  1. 

:ii..— ALLEGORY. 

Allegorical  Figures  on  a  Globe  :    (L.  van  Leyden),  p.  29,  no.  6. 

Anger  :    (J.  Swart),  p.  45,  no.  14. 

Avarice  :    (P.  Bruegel),  p.  143,  no.  4. 

Charity  :    (Antwerp  Sch.),  p.  72,  no.  33. 

Death  and  Fame  :    (J.  de  Gheyn),  p.  156,  no.  1. 

Faith  :    (P.  Cornelisz),  p.  11,  no.  3. 

Fortune  and  Hope  :    (Dutch  Sch.),  p.  207,  no.  29. 

Gluttony  :    (J.  Swart),  p.  45,  no.  13. 

Ill  Fortune  :    (C.  Teunissen),  p.  48,  no.  1. 

Justice  :    (A.  van  Bolten),  p.  121,  no.  272. 

Painting  and  Poetry  :    (O.  van  Veen),  p.  186,  no.  1. 

Painting  and  Sculpture  :    (J.  van  der  Straet),  p.  182,  no.  1. 

Pride  :    (J.  Swart),  p.  45,  no.  J.2. 

Sanguine  Temperament  :    (copy  after  M.  de  Vos),  p.  192,  no.  30. 

Temperance  :    (J.  Swart),  p.  44,  no.  15. 

Vanity  :    (Unm.),  p.  223,  no.  21. 

War  :   (B.  van  Orley),  p.  35,  no.  4. 

X\. —DAILY  LIFE. 

Bath,  Woman's  :    (J.  Gossaert),  p.  18,  no.  2. 

Bee-keepers  :    (copy  from  P.  Bruegel),  p.  145,  no.  7. 

Card  Party  :    (E.  Wyntgis),  p.  199,  no.  1. 

Beggars  at  the  door  of  a  house  :    (D.  Vinckeboons),  p.  189.  no.  8. 

Boat  building  :    (Unm.),  p.  224,  no.  30. 

Flemish  Fair  :    (Monogrammist  S.V.GH),  p.  171,  no.  1. 

Ladies  and  Gentlemen  in  a  Garden  :    (B.  van  Orley),  p.  35,  no.  3. 

Ladies,  Two  kneeling  :    (Flemish  Sch.),  p.  64,  no.  10. 

Lady  on  Daath-bed  :    (J.  de  Gheyn),  p.  157,  no.  3. 

Man  directing  building  :    (Flemish  Sch.),  p.  203,  no.  10. 

Man  holding  Horses  :   (Master  of  the  Miracles  of  the  Apostles),  p.  86,  no.  83  ; 

(J.  de  Gheyn),  p.  158,  no.  6. 
Milking  :    (J.  van  Amstel),  p.  3,  no.  1. 
Masquerades  and  Carnivals  :   (A.  van  Bolten),  p.  131,  nos.  379,  380  ;   p.  132, 

no.  384  ;    p.  134,  no.  407  ;    p.  135,  nos.  414,  415, 
Mowing  :    (Dutch  Sch.),  p.  82,  no.  73. 

Painter  and  Amateur  :    (copy  from  P.  Bruegel),  p.  145,  no.  8. 

Peasants  dancing  :    (Unm.),  p.  223,  no.  25. 

Peasant  Wedding  :  (copy  from  P.  Bruegel),  p.  146,  no.  12  ;   (D.  Vinckeboons), 
p.  189,  no.  9. 

Peasants,  Studies  of  :    (Unm.),  p.  224,  no.  27. 

Peasants  dancing  and  carousing  :    (A.  van  Bolten),  p.  132,  no.  385  ;    p,  135, 
no,  416  ;    p.  136,  nos.  419-424  ;    (D.  Vinckeboons),  p.  189,  no.  7. 

Planting  vines  :    (H.  Bol),  p.  94,  no.  3. 

Procession,  Religious  :    (Sch.  of  R.  van  der  Weyden),  p.  56,  no.  6. 

Pruning  :    (Master  of  Absalom),  p.  82,  no.  72. 

Reaping  :   (S.  Vrancx),  p.  192,  no.  1. 

Shepherd  and  Dog  :    (Dutch  Sch.),  p.  85,  no.  81. 


242  Index  of  Subjects. 


XI.— DAILY  LIFE— continued. 

Shepherdess  and  Sportsman  :    (A.  Bloemart),  p.  93,  no.  13. 
Women  sewing  :    (P.  Stevens),  p.  181,  no.  2. 

Xn.— PROVERBIAL  AND  SATIRICAL. 

Bellows-Mender  :    (Flemish  Sch.),  p.  201,  no.  6. 

Blind  Pilgrims  :    (copy  from  P.  I3ruegel),  p.  147,  no.  13. 

Boys  singing  :    (A.  Bloemart),  p.  92,  no.  12. 

Everyman  :   (P.  Bruegel),  p.  143,  no.  3. 

Fool  about  to  be  shaved  by  a  Nun  :   (H.  Bosch),  p.  6,  no.  1. 

Fool  trying  to  hatch  an  empty  egg  :    (copy  from  P.  Bruegel),  p.  146,  no.  9. 

Fools  gaping  up  a  chimney  :    (Flemish  Sch.),  p.  201,  no.  5. 

Monk  standing  before  a  closed  door  :    (copy  from  P.  Bruegel),  p.  146,  no.  10. 

Nightmare  :    (Flemish  Sch.),  p.  200,  no.  4. 

Satirical  Subject  :    (Anon.),  p,  69,  no.  21. 

Witch's  Sabbath  :    (F.  Francken),  p.  155,  no.  1. 

XIIl.— MILITARY. 

Battle  of  Horsemen  :    (Sch.  of  F.  Floris),  p.  154,  no.  2. 

Horsemen  in  armour  :    (Flemish  Sch.),  p.  205,  no.  24. 

Knight  in  Armour  :    (J.  Swart),  p.  45,  no.  16. 

Oriental  Soldier  :    (Flemish  Sch.),  p.  205,  no.  23. 

Trumpeters,  Three  mounted  :    (J.  de  Gheyn),  p.  158,  no.  7. 

Soldiers  :    (A.  van  Bolten),  p.  124,  nos.  299-302,  304  ;    p.  131,  nos.  376,  377. 

Soldiers  fleeing  :    (Sch.  of  P.  Koecke),  p.  24,  no.  10. 

XTV.— SHIPPING. 

Galleys  in  action  :    (J.  C.  Vermeyen),  p.  53,  no.  1. 

Sea  fight  :   (J.  van  der  Straet),  p.  183,  no.  4. 

Ship  attacked  by  a  sword-fish  :    (attrib.  to  K.  van  Mander),  p.  169,  no.  3. 

Ships  :   (Flemish  Sch.),  p.  205,  no.  25. 

XV.— STUDIES    OF    SINGLE    FIGURES,    NUDE    AND    DRAPED,    AND 
GROUPS. 

Beggars  :    (Flemish  Sch.),  p.  63,  no.  9  verso  ;    (A.  Bloemart),  p.  93,  no.  14. 

Children  :   (A.  van  Bolten),  p.  117,  no.  210  ;   p.  131,  no.  373. 

Courtesan,  Italian  :    (A.  van  Bolten),  p.  121,  no.  273. 

Drapery,  Studies  of  :    (Flemish  Sch.),  p.  63,  no.  7. 

Figures,  single  :  (A.  van  Bolten),  p.  120,  nos.  254-260  ;  p.  121,  nos.  261-269  ; 
p.  124,  no.  305  ;  p.  129,  nos.  359-362  ;  p.  130,  nos.  363,  364,  366  ;  p.  133, 
no.  402  ;    (J.  de  Gheyn),  p.  158,  no.  5  ;    (Dutch  Sch.),  p.  207,  no.  30. 

Grotesque  Head  :    (Flemish  Sch.),  p.  74,  no.  39. 

Groups  of  two  or  more  figures  :  (A.  van  Bolten),  p.  121,  nos.  274-276  ;  p.  123, 
nos.  291-293,  295,  296,  298  ;  p.  124,  nos.  307-309  ;  p.  125,  nos.  315-319  ; 
p.  126,  nos.  320-326,  328-330  ;  p.  127,  nos.  331-333,  337-339  ;  p.  128, 
nos.  341-351;  p.  129,  nos.  352-358;  p.  130,  no.  372;  p.  131, 
nos.  373-377,  379-380  ;  p.  132,  nos.  385-389  ;  p.  133,  no.  404  ;  p.  134, 
nos.  405,  406  ;  (attrib.  to  C.  Cornelisz),  p.  152,  no.  1 ;  (Unm.),  p.  223,  no.  18. 

Heads  :   (J.  de  Beer),  p.  4,  no.  1  ;    (Unm.),  p.  222,  no.  17. 

Lady  kneeling  :    (Unm.),  p.  223,  no.  26. 

Man  and  woman  embracing  :    (B.  Spranger),  p.  179,  no.  1. 

Man,  whole  length  :   (Flemish  Sch.),  p.  63,  no.  9. 

Man  wearing  a  Turban,  Head  of  a  :   (J.  de  Beer),  p.  5,  no.  4. 

Monsters  and  Dwarfs  :  (A.  van  Bolten),  p.  110,  nos.  139-145;  p.  Ill, 
nos.  146-154;  p.  112,  nos.  155-158,  160-165;  p.  113,  nos.  165*-173  ; 
p.  114,  nos.  174-182;  p.  115,  nos.  183-191;  p.  116,  nos.  192-195,  197-202; 
p.  117,  nos.  203-209  ;   p.  130,  nos.  365,  367,  370  ;    p.  131,  nos.  381,  382. 

Negro,  Three  Studies  of  :   (J.  de  Gheyn),  p.  158,  no.  4. 

Negro  page  kneeling  :   (Attrib.  to  J.  Wierix),  p.  197,  no.  32. 

Nude  studies  :  (A.  van  Bolten),  p.  117,  no.  211  ;  p.  122,  nos.  277,  278,  284  ; 
p.  123,  no.  290  ;  p.  124,  no.  303  ;  p.  125,  nos.  313,  314  ;  p.  127,  nos.  332- 
335,  337  ;  p.  129,  no.  358  ;  (A.  Bloemart),  p.  92,  no.  11  ;  (attrib.  to 
H.  Goltzius),  p.  164,  nos.  17,  18  ;  (manner  of  B.  Spranger),  p.  180,  no.  7  ; 
(Unm.),  p.  223,  no.  23. 


Index  of  Sitbjects.  243 


XV.— STUDIES     OF    SINGLE    FIGURES,     NUDE     AND    DRAPED,     AND 
GEO  UPS— continued. 

Old  man  drawing  :    (L.  van  Leyden),  p.  30,  no.  8. 

Peasant  shooting  with  a  cross-bow  :    (Unm.),  p.  222,  no.  16. 

Peasant  woman  :    (A.  Bloemart),  p.  93,  no.  15. 

Women  seated  :    (H.  Goltzius),  p.  161,  no.  6  ;   p.  163,  no.  15. 

Women's  Heads  :    (A.  Bloemart),  p.  92,  no.  10. 

X.VI.— PORTRAITS   AND   PORTRAIT   STUDIES. 

A. — Known  Persons. 

Anjou,  Francois,  Duke  of,  called  :   (H.  Liefrinck),  p.  168,  no.  2. 

Bolten,  Arent  van  :  (A.  van  Bolten),  p.  98,  no.  1. 

Charles  IX  of  France  :   (H.  Liefrinck),  p.  168,  nos.  1,  2. 

Christian  IV  of  Denmark  :    (attrib.  to  P.  Isaaksz),  p.  167,  no.  1. 

Dante  :   (Flemish  Sch.),  p.  77,  no.  50. 

Duvenvoorde,  Gysbrecht  van  (?)  :    (H.  Goltzius),  p.  159,  no.  1. 

George  William,  Elector  of  Brandenburg  :   (C.  van  de  Passe),  p.  174,  no.  1. 

Goltzius,  Hendrick  :    (H.  Goltzius),  p.  162,  no.  12. 

Holbein,  Hans  II  :    (H.  Hondius),  p.  166,  no.  1. 

"  Huigh  "  :    (H.  Goltzius),  p.  159,  no.  1  verso. 

Matham,  Jacob  (?)  :    (H.  Goltzius),  p.  162,  no.  10. 

Matsys,  Quentin  (?)  :   (Flemish  Sch.),  p.  77,  no.  52. 

Michelangelo  :    (Flemish  Sch.),  p.  77,  no.  51. 

Presles,  Jeanne  de  (?)  :    (R.  van  der  Weyden),  p.  54,  no.  1. 

Spranger,  Bartolomeus  (?)  :   (H.  Goltzius),  p.  162,  no.  10. 

B. — Unknown  Portraits  and  Portrait  Studies. 

Artist  :    (H.  Goltzius),  p.  162^  no.  10. 

Bearded  Man,  Head  of  a  :   (H.  Goltzivis),  p.  160,  no.  4. 

Boys,  Heads  of  :   (H.  Goltzius),  p.  160,  nos.  2,  3. 

Elderly  Men,  Heads  of  :    (L.  van  Leyden),  p.  29,  no.  7  ;   (Flemish  Sch.),  p.  77, 

no.    52  ;    (Flemish    Sch.),  p.  78,  no.  59  ;    (A.  Bloemart),  p.  92,  no.  9  ; 

(H.  Goltzius),  p.  161,  no.  9  ;   p.  163,  no.  14. 
Elderly  Woman,  Head  of  an  :   (attrib.  to  F.  Pourbus),  p.  176,  no.  2. 
Franciscan  Friar  :    (G.  David),  p.  14,  no.  1. 
Girl,  Bust  of  a  :    (attrib.  to  J.  van  Scorel),  p.  40,  no.  3. 
Man's  Head,  Three  studies  of  :    (H.  Goltzius),  p.  159,  no.  1. 
Men,  Half-lengths  of  :    (Sch.  of  J.  van  Eyck),  p.   17,  no.   1  ;   (copy  from  H. 

Goltzius),  p.  164,  no.  21. 
Men,  Heads  of  :    (Flemish  Sch.),  p.  77,  nos,  53,  55;    p.  78,  no.  56  ;   (A.  van 

Bolten),  p.   98,  no.  2  ;  (H.  Goltzius),  p.   163,   no.   13  ;    (attrib.    to   H. 

Goltzius),  p.  164,  no.  19;    (A.  Sadeler),  p.  176,  no.  2  ;    (Flemish  Sch.). 

p.  202,  no.  8. 
Papal  Guard,  Head  of  a  :    (Flemish  Sch.),  p.  77,  no.  54. 
Woman,  Half-length  of  a  :    (attrib.  to  C.  van  de  Passe),  p.  175,  no.  3. 
Woman,  Whole-length  of  a  :    (J.  Wierix),  p.  196,  no.  30. 
Women,  Heads  of  :    (Flemish  Sch.),  p.  78,  no.  58  ;    (attrib.  to  H.  Goltzius), 

p.  164,  no.  20. 
Young  Man,  Half-length  of  :  (C.  van  de  Passe),  p.  175,  no.  2. 
Yoimg  Men,  Busts  of  :    (L.  van  Leyden),  p.  28,  no.  2  ;    (Dutch  Sch.),  p.   88, 

no.  88. 
Young  Women,  Busts  of  :  (L.  van  Leyden),  p.  30,  no.  9  ;  (R.  van  der  Weyden), 

p.  54,  no.  1  ;   (copy  from  R.  van  der  Weyden),  p.  57,  no.  7. 

XVII.— ARCHITECTURE    AND   ORNAMENT. 

Caryatid  :   (A.  van  Bolten),  p.  123,  no.  288. 

Courtyard  :   (Attrib.  to  J.  Vredeman  de  Vries),  p.  193,  no.  1. 

Frame  :   (A.  van  Bolten),  p.  107,  no.  110. 

Interior  of  a  Room  :   (P.  Vredeman  de  Vries),  p.  193,  no.  1. 

Masks  :    (A.  van  Bolten),  p.  104,  nos.  72-75  ;    p.  105,  nos.  81,  88,  90,  91  ; 

p.  106,  nos.  95-100,  102,  104;    p.  107,  nos.  106-109;    p.  110,  nos.  141, 

142,  145;   p.  114,  no.  177. 


244  Index  of  Subjects. 

XYU.— ARCHITECTURE  AND  ORNAMENT— continued. 

Ornament  and  Antique  Sculpture  :    (Unm.),  p.  224,  no.  32. 

Ornamental  Panel  :    (attrib.  to  C.  Floris),  p.  153,  no.  1. 

Silversmith's  work.  Designs  for  :    (A.  van  Bolten),  p.  98-103,  nos.  3-58,  69 ; 

p.  104,  nos.  70,  71,  76-80;  p.  105,  nos.  83,  84,  85,  87,  89,  92  ;    p.  106, 

nos.  93,  94,  100,  101,  103  ;   p.  107,  nos.  111-113  ;    p.  108,  nos.  114-125  ; 

p.    109,  nos.   126-136;    p.   110,  nos.   137,   138;    p.   112,  nos.   159,   160; 

p.  116,  no.  196  ;   (J.  A.  Wttewael),  p.  198,  no.  1. 
Stable  :    (Unm.),  p.  224,  no.  29. 

XVIII.— ^^/M^Z,>S   AND   HUNTS. 

Animals  in  a  wood  :   (Sch.  of  P.  Koecke),  p.  25,  no.  12. 

Birds  :    p.  211,  nos.  21-25,  27,  28 ;    p.  214,  nos.  69-69  ;    p.  215,  nos.  70-73  ; 

p.  218,  nos.   106,   107,   110,   114,   119;    p.  219,  nos.   121,   122,   129-133; 

p.  220,  no.  142. 
Boar  :   p.  212,  no.  39. 

Camel  :    (H.  Goltzius),  p.  162,  no.  10  verso  ;   no.  11. 
Cats  :   p.  213,  no.  48  ;   p.  217,  nos.  104,  105. 
Cattle:     p.    213,    no.    44,    54;     p.    215,    no.    75;     p.    218,    nos.    116-118; 

p.220,nos.  135,  137. 
Crab  :  p. 219,  no. 122*. 

Dogs  :  p.  213,  nos.  49-53  ;  p.  217,  nos.  104,  105. 
Donkey  :  p.212,  no.  36. 
Dragon  :   p.  212,  no.  41. 
Fishes  :  p.  209,  nos.   1-7  ;   p.  210,  nos.  8-18  ;   p.  218,  nos.  108,  109  ;   p.  219, 

no.  123. 
Frogs  :   p.  211,  nos.  30.  31  ;    p.  217,  nos.  102,  103. 
Hares  :  p.  210,  no.  19  ;   p.  214,  nos.  56,  57. 
Horses  :   p.  212,  no.  43  ;   p.  220,  nos.  134,  136,  138. 
Horse's  head  :   (Sch.  of  P.  Koecke),  p.  24,  no.  11. 
Hunts  :   p.  219,  nos.  124-127. 

Insects  :   p.  211,  nos.  26,  29,  30,  31,  32  ;   p.  212,  nos.  33,  34  ;   p.  219,  no.  128. 
Lions:  p.  215,  nos.  76-79  ;  p.  218,  no.  115  ;  (Unm.),  p.  224,  no.  31. 
Miscellaneous  small  mammals  :    p.  212,  nos.  37,  38,  40,  42  ;    p.  213,  nos.  46, 

47  ;   p.  215,  no.  74  ;   p.  218,  no.  113. 
Monkeys  :   p.  212,  no.  35  ;   p.  213,  no.  55  ;   p.  218,  no.  110  ;   p.  220,  no.  139. 
Rabbits  :   p.  210,  no.  20  ;   p.  214,  no.  58. 
Stags  :   p.  220,  no.  142. 

XIX.— STILL  LIFE. 

Fruit,  Vegetables  and  Flowers  :  (Spierincx),  p.  215,  nos.  80,  81  ;  p.  216,  nos. 

82-93  ;  p.  217,  nos.  94-98,  100  ;  p.  219,  no.  120  ;  p.  220,  nos.  140,  143-145. 
Fruit  and  Vegetables,  Clusters  of:     (A.   van  Bolten),  p.    103,  nos.  59-68 ; 

p.  104,  no.  77;   p.  105,  nos.  86,  88. 
Shells  :    (Spierincx  ?),  p.  217,  nos.  99,  100. 
Skulls  :    (Flemish  Sch.),  p.  78,  no.  60. 
Trotters  :   (Anon.),  p.  213,  no.  45. 

XX.— LANDSCAPES. 

Landscapes  :  (M.  Cock),  p.  8,  no.  1  ;  (J.  van  ScorelK  p.  39,  no.  1  ;  (A. 
Bloemart),  p.  93,  nos.  16,  17,  18  ;  p.  94,  no.  19;  (H.  Bol),  p.  95,  no.  6; 
(P.  Eril),  p.  137,  nos.  2-5  ;  (attrib.  to  P.  Bril),  p.  138,  nos.  6-8;  p.  139, 
nos.  9-12  ;  (copies  from  P.  Bril),  p.  140,  nos.  13,  14  ;  (P.  Bruegel),  p.  142, 
nos.  1,  2  ;  (attrib.  to  P.  Biuegel),  p.  143,  no.  5  ;  p.  145,  no.  6  ;  p.  146, 
no.  11  ;  p.  147,  no.  14  ;  (H.  van  Cleef),  p.  148,  no.  1  ;  (attrib.  to  and 
gch.  of  G.  Coninxloo),  p.  151,  nos.  1-3  ;  (J.  de  Gheyn),  p.  157,  no.  2  ; 
(J.  GnVirer),  p.  165,  no.  1;  (H.  Hondius),  p.  166,  no.  2;  (attrib. 
to  H.  Hondius),  p.  167,  no.  3  ;  (J.  de  Momper),  p.  170,  nos.  1-3  ; 
p.  171,  no.  4  ;  (P.  Stevens),  p.  181,  nos.  1,2;  (attrib.  to  G.  van  Valcken- 
fcorch),  p.  185,  nos.  2,  3  ;  (T.  Verhaeght),  p.  187,  nos.  1-3  ;  p.  188, 
no.  4  ;  (attrib.  to  D.  Vinckeboons),  p.  190,  no.  10  ;  (Flemish  Sch.), 
p.  206,  no.  26  ;    (Unm.),  p.  224,  nos.  33,  35  ;  p.  225,  nos.  36-39. 


Index  of  Subjects.  245 


X.XI.— TOPOGRAPH  Y. 

Africa  (Aphrodisium,  Mahadiah)  :    (Attrib.  to  J.  Hoefnagel),  p.  165,  no.  1. 

Antwerp  :   (H.  Bol),  p.  95,  no.  5  ;   (Flemish  Sch.),  p.  205,  no.  25. 

Bethlehem  :    (J.  van  Scorel),  p.  39,  no.  2. 

Rome,  Aqua  Claudia,  near  Tor  Fiscale  :   (H.  van  Cleef),  p.  149,  no.  2. 

Rome,  Colosseum  ?  :    (Unm.),  p.  224,  no.  34. 

Rome,  Forimi  of  Trajan  :    (attrib.  to  P.  Bril),  p.  138,  no.  7. 

Rome,'  Island  on  the  Tiber  :    (attrib.  to  P.  Bril),  p.   138,  no.  8  ;    (copy  from 

H.  Cock),  p.  150,  no.  2. 
Rome,  Ruins  :    (Unm.),  p.  225,  no.  40. 
Tivoli  :    (G.  van  Valckenborch),  p.  185,  no.  1. 

X.XI1.— DESIGNS     AND     CARTOONS     FOR      STAINED      GLASS      AND 
TAPESTRY. 

Stained  Glass  :  (J.  van  Amstel),  p.  3,  no.  1  ;  (A.  Claesz),  p.  7,  no.  1 ;  p.  8,  no.  2  ; 

(J.  Cornelisz),  p.  9,  no.  1 ;  p.  10,  no.  2  ;    (P.  Cornelisz),  p.  11,  nos.  1-4  ; 

(C.  Engebrechtsz),  p.  16,  no.  1  ;    (P.  Koecke),  p.  23,  no.  8  ;    (Sch.  of  P. 

Koeeke),  p.  25,  nos.  13-15  ;   (L.  van  Leyden),  p.  28,  no.  3  ;  p.  31,  no.  11  ; 

(L.    Lombard),  p.  32,  no.  2  ;    (A.  Ortkens),  p.    37,  no.  2  ;    (copy  from 

A.  Ortkens),  p.  38,  no.  4  ;    (J.  Swart),  p.  42,  nos.  2-5  ;  p.  43,  nos.  6,  7; 

p.  44,  nos.  8-11 ;  p.  45,  nos.  12-17  ;  p.  46,  nos.  18-22  ;  p.  47,  nos.  23,  24  ; 

(copy  from  J.  Swart),  p.  48,  nos.  27,  28  ;    (C.  Teunissen),  p.  48,  no.  1  ; 

(D.  Vellert),  p.  49,  no.  1 ;  p.  50,  nos.  2-5  ;  p.  51,  nos.  6-8  ;  p.  52,  nos.  9, 10 ; 

p.  53,  no.  11  ;    (Anon.),  p.  62,  no.  6  ;   p.  65,  no.  11  ;   p.  68,  nos.  19,  20  ; 

p.  69,  no.  22  ;  p.  73,  no.  35  ;  p.  74,  nos.  36-38  ;  (Master  of  Prodigal  Son), 

p.  76,  nos.  44-48  ;    (Master  of  Absalom),  p.  82,  nos.   71,  72  ;    (Anon.), 

p.  82,  no.  73  ;  p.  83,  no.  74  ;  p.  84,  no.  79  ;  p.  85,  nos.  80,  81  ;   (Master  of 

the  Miracles  of  the  Apostles),  p.   86,  no.  84  ;    (Anon.),  p.  87,  no.  86  ; 

(P.  Aertsen),  p.  89,  no.  1  ,*  (copy  after  P.  Aertsen),  p.  89,  no.  2  ;   (W.  P. 

Crabeth),p.  152,  nos.  1,2  ;  (L.  vanNoort),p.  174,  nos.  1,  2  ;  (F.  Pourbus), 

p.  176,  no.  1  ;    (Anon.),  p.  199,  no.  1  ;    p.  200,  no.  3  ;    p.  203,  nos.  10, 

11-13  ;   p.  204,  nos.  14-20  ;  p.  205,  nos.  21,  22  ;  p.  207,  no.  29  ;   (Unm.), 

p.  222,  nos.  11,  12. 
Tapestry  :   (P.  Koecke),  p.  22,  nos.  3,  4 ;  p.  23,  nos.  5-7  ;   (Sch.  of  P.  Koecke), 

p.  24,  nos.  9-11  ;    p.  25,  no.  12  ;    (B.  Orley),  p.  35,  nos.  2-4;  (Sch.  of  B. 

Orley),  p.  36,  no.  7  ;   (A.  Ortkens),  p.  37,  no.  1  ;   (Anon.),  p.  61,  nos.  4,  5  ; 

p.   74,  no.   39  ;    (J.  van  der  Straet),  p.   182,  no.  3  ;    p.  213,  no.  49  ; 

(B.  Orley),  p.  227,  no.  4a. 

XXni.— DRAWINGS   IN   SERIES  OF    THREE  OR  MORE. 

Amnon  and  Tamar  :    (A.  van  Bolten),  p.  134,  nos.  408-411. 

Apostles,  Acts  of  the  :   (Flemish  Sch.),  p.  75,  nos.  40-43  ;   (M.  de  Vos),  p.  191, 

nos.  21-28. 
Christ,  Life  of  :    (Sch.  of  P.  Koecke),  p.  25,  nos.  13-15  ;   (M.  de  Vos),  p.  190, 

nos.  1-20  ;    (J.  Wierix),  p.  195,  nos.  20-26. 
Dancers  and  Musicians  :    (A.  van  Bolten),  p.  136,  nos.  419-424. 
David,  History  of  :   (P.  Koecke),  p.  22,  nos.  3-5,  p.  23,  nos.  6-7. 
Genesis  :    (J.  Wierix),  p.  194,  nos.  1-19. 
Gods  of  Natm-e  :   (J.  H.  Muller),  p.  172,  nos.  1-4. 
Heads  :   (Flemish  Sch.),  p.  76,  nos.  49-60. 
Joseph  and  Asenath,  Apocryphal  story  of  :  (Master  of  the  Prodgial  Son),  p.  76, 

nos.  44-48. 
Joseph,  History  of  :  (J.  Swart),  p.  45,  nos.  17-20  ;  p.  46,  nos.  21-24  ;  (Flemish 

Sch.),  p.  203,  nos.  11-17  ;  p.  204,  nos.  18-22. 
Joshua,  History  of  :   (J.  Swart),  p.  42,  nos.  2—5. 
Jupiter,  Loves  of  :  (M.  Coxcie),  p.  12-14,  nos.  1-10. 
Lot,  History  of  :    (J.  Saenredam),  p.  177,  nos.  1-3. 
New  Testament  :   (C.  van  den  Broeck),  p.  141,  nos.  3-5  ;   (J.  and  J.  Wierix), 

p.  196,  nos.  27-29. 
Parable  of  the  Prodigal  Son  :    (D.  Vinckeboons),  p.  188,  nos.  2-5. 
Passion  :   (Dutch  Miniaturist),  p.  79,  nos.  61-66. 
Vices  and  Virtues  :    (J.  Swart),  p.  45,  nos.  12-15. 


LIST   OF   PLATES. 


Plate  I.— JAN   VAN   AMSTEL. 

a.  No.      1.     The  Month  of  April. 

JAN   DE    BEER. 

b.  No.     2.     Unknown  subject. 

Plate  II.— AERT   CLAESZ. 

a.     No.     1.     The  Taking  of  Christ. 

JACOB   CORNELISZ. 

h.     No.     2.     Susannah  and  the  Wicked  Elders. 

c.  ,,        1.     Abraham  informed  of  the  Capture  of  Lot. 

Plate  III.— PIETER   CORNELISZ    KUNST. 

a.  No.     L     Delivering  Prisoners. 

b.  „        2.     Joseph  receiving,his  Brethren  in  Egypt. 

c.  „        3.     Faith. 

Plate  IV.— PIETER   CORNELISZ    KUNST. 

a.  No.     4.     St.  Christopher. 

JAN   GOSSAERT. 

b.  No.      1.     The  Virgin  with  the  Infant  Christ  and  St.  John. 

CORNELIS   ENGEBRECHTSZ. 

c.  No.     1.     St.  Donatus  (?). 

Plate  V.— MARTIN   VAN   HEEMSKERCK. 

a.  No.     3.     The  Baptism  of  Our  Lord. 

b.  „        4.     A  Battle. 

PIETER  KOECKE. 

c.  No.     2.     Triptych  with  Scenes  from  the  Life  of  St.  John  the  Baptist. 

Pl^TE  VI.— PIETER    KOECKE. 

a.  No.     2  {rev.).     Wings  of  Triptych  with  Life  of  St.  John  the  Baptist. 

b.  „        3.     David  slaying  Goliath. 

c.  ,,         4.     The  Triumph  of  David. 

Plate  VII.— PIETER   KOECKE. 

a.  No.     7.     David  married  to  Michal. 

b.  ,,        6.     Saul  arming  David. 

c.  ,,         5.     Samuel  annointing  David. 

Plate  VIII.— SCHOOL   OF   PIETER   KOECKE. 

a.  No.   10.     Soldiers  Fleeing. 

b.  „      11.     Head  of  a  Horse. 

c.  „         9.     Head  of  St.  Paul. 


248  List  of  Plates. 

Plate  IX.— SCHOOL   OF   PIETER   KOECKE. 

a.     No.   13.     The  Miracle  of  the  Loaves  and  Fishes. 
h.       „      15.     Christ  and  the  Disciples  at  Emmaus. 
c.       „      12.     Various  Animals  in  a  Wood. 

Platk  X.— LUCAS   VAN   LEYDEN. 

a.  No.     1.     The  Meniae  escaping  from  Prison. 

b.  „      11.     Judith  with  the  Head  of  Holof ernes. 

Plate  XI.— LAMBERT   LOMBARD. 

a.  No.     2.     The  Last  Supper. 

b.  „        1.     Christ  and  the  Woman  of  Samaria. 

HANS   MEMLING. 

c.  No.     1.     Group  from  a  Mount  of  Calvary. 

Plate  XII.— BERNARD   VAN   ORLEY. 

a.  No.     2.     Story  of  Appius  Claudius  and  Virginia. 

COPIES   FROM   BERNARD   VAN   ORLEY. 

b.  No.     5.     The  Presentation. 

c.  ,,        6.     The  Lamentation. 

Plate  XIII.— SCHOOL  OF   BERNARD   VAN   ORLEY. 

a.  No.     7.     The  Judgment  of  Solomon. 

BERNARD   VAN   ORLEY. 

b.  No.     4.     Allegory  of  War. 

Plate  XIV.— ARDT   ORTKENS. 

a.  No.     1.     The  Rape  of  Helen. 

b.  „        2.     Men  setting  up  or  taking  down  a  Statue. 

c.  ,,        3.     Christ  brought  before  the  High  Priest, 

Plate  XV.— JAN   SWART. 

a.  No.   16.     A  Knight  in  Armour. 

COPY   FROM   ARDT    ORTKENS. 

b.  No.     4.     Burying  the  Dead. 

JAN   VAN   SCOREL. 

c.  No.     1  {rev.).     A  Castle. 

Plate  XVI.-^AN   SWART. 

a.  No.     1.     The  Beheading  of  St.  George. 

b.  „        2.     Joshua  besieging  a  City. 

c.  ,,        4.     Joshua  executing  the  four  Kings. 

PLA-bTE  XVII. —JAN    SWART. 

a.  No.   13.     Gluttony. 

b.  „      23.     The  Cup  found  in  Benjamin's  Sack. 

c.  ,,      19.     Joseph  sold  to  the  Ishmaelites. 

d.  „      20.     Joseph  sold  to  Potiphar. 

Plate  XVIII.-JAN   SWART. 

o.     No.  26  (obv.).     The  Massacre  of  the  Innocents. 

DIERICK   VELLERT. 

b.  No.     4.     The  Marriage  Feast  at  Cana. 

CORNELIS   TEUNISSEN. 

c.  No.     1.     Allegory  of  111  Fortune. 


List  of  Plates.  249 


Plate  XIX.— DIERICK  VELLERT. 

a.  No.     6.     The  Presentation  in  the  Temple. 

b.  „        9.     The  Lord  appearing  to  Abraham. 

c.  „      10.     Unknown  Biblical  Subject. 

Plate  XX.— SCHOOL    OF   ROGER   VAN   DER    WEYDEN. 

a.  No.     4.     The  Infant  Christ  blessing. 

b.  „        3.     Head  of  the  Madonna. 

COPY    FROM    ROGER   VAN    DER    WEYDEN. 

c.  ,,        7.     Portrait  of  a  Lady. 

Plate  XXI.— FLEMISH   SCHOOL,   XV   CENTURY^ 

a.  No.     7.     Studies  of  Drapery. 

b.  „        3.     Adoration  of  the  Kings. 

Plate  XXII.— FLEMISH    SCHOOL,   XV  CENTURY. 

a.  No.   12.     Two  Studies  of  St.  Mary  Magdalene. 

b.  ,,  9  (rev.).     A  Beggar. 

c.  „  8.     St.  Martha. 

d.  „  9.  (obv.).     Study  of  a  Maji. 

e.  ,,  11.     Ja.son  seizing  the  Golden  Fleece. 

Plate  XXIIL— FLEMISH   SCHOOL,    EARLY   XVI   CENTURY. 

a.  No.   15  {obv.).     St.  John  the  Baptist  and  his  Disciples. 

b.  „      15  (rev.).     St.  Matthew. 

c.  „      13.     The  Virgin  and  §t.  Joseph  at  the  Inn  at  Bethlehem. 

d.  „      14.     The  Visitation. 

Plate  XXIV.— FLEMISH   SCHOOL,   EARLY   XVI   CENTURY. 

a.  No.   17.     The  Creation  of  Adam. 

MASTER    OF    1499. 

b.  No.    16.     The  Virgin  Anmuieiate. 

FLEMISH    SCHOOL,    EARLY    XVI    CENTURY. 

c.  No.   18.     The  Adoration  of  the  Shepherds. 

Plate  XXV.— FLEMISH   SCHOOL,   EARLY   XVI   CENTURY. 

a.  No.  20.     Incident  in  the  Legend  of  St.  Christopher. 

b.  „     19.     Susannah  accused  by  the  Wicked  Elders. 

c.  „      21.     Satirical  Subject. 

Plate  XXVI.— ANTWERP   SCHOOL,   EARLY   XVI    CENTURY. 

a.     No.  26.     Vision  of  Augustus  and  the  Sibyl. 

6.       ,,      24.     Christ  shown  to  the  People. 

c.       ,,      25.     Christ  taken  down  from  the  Cross. 

Plate  XXVII.— ANTWERP    SCHOOL,   EARLY"    XVI   CENTURY. 

a.  No.  28.     The  Annunciation. 

b.  „      29.     The  Adoration  of  the  Kings. 

c.  ,,      32.     The  Vision  of  St.  Bernard. 

d.  „      33.     Allegory  of  Charity. 

Plate  XXVIII. —FLEMISH   SCHOOL,   EARLY   XVI   CENTURY. 

a.  No.  36.     An  Ecclesiastic  kneeling  before  St.  George. 

b.  „      35.     St.  Catherine  with  a  kneeling  Lady. 

c.  „      37.     A  Monk  kneeling  between  St.  Margaret  and  St.  Francis. 


250  List  of  Plates. 

Plate  XXIX.— FLEMISH   SCHOOL,   EARLY   XVI   CENTURY. 

a.  No.  39.     A  Grotesque  Head. 

b.  „      38.     The  Birth  of  the  Virgin  or  of  a  Samt. 

Plate  XXX.— FLEMISH    SCHOOL,    EARLIER    XVI    CENTURY. 

o.  No.  40.  St.  Peter  cleHvered  from  Prison. 

b.  ,,  4L  An  Apostle  preaching. 

c.  ,,  42.  The  Apostles  setting  out  on  their  Journey. 

d.  ,,  43.  Simon  the  Sorcerer  trying  to  bribe  St.  PhiUp  (?). 

Plate  XXXI.— FLEMISH   SCHOOL,   XVI   CENTURY. 
a.     No.  49.     Head  of  Christ. 

MASTER    OF   THE    PRODICAL    SON. 

6.     No.  44.     Pharaoh's  Son  with  Dan  and  Gad  attempt  to  carry  off  Asenath. 
c.       ,,      48.     Simeon  and  Levi  bring  Pharaoh's  Son  before  his  Father. 

Plate  XXXII.— FLEMISH   SCHOOL,    XVI   CENTURY. 

a.  No.  56.     Head  of  a  Man. 

b.  „      54.     Head  of  a  Swiss  Papal  Guard. 

c.  ,,      51.     Head  of  Michelangelo. 

d.  „      60.     Three  Skulls. 

Plate  XXXIII.— DUTCH   MINIATURIST,  XV  CENTURY. 

a.  No.  62.     Christ  before  Pilate. 

DUTCH    SCHOOL,  XV    CENTURY. 

b.  „      63.     A  Prophet. 

c.  „      67.     The  Tree  of  Jesse. 

Plate  XXXIV.— MASTER   OF   ABSALOM. 

a.  No.   71.     The  Drunkenness  of  Noah. 

b.  ,,      72.     March  :    Pruning  Vines. 

DUTCH    SCHOOL,    EARLY    XVI    CENTURY, 

c.  No.  74.     Angels  scourging  a  postrate  Man. 

d.  „      75.     St.  Michael. 

Plate  XXXV.— DUTCH    SCHOOL,    EARLY    XVI   CENTURY. 

a.  No.  79.     Augustus  and  the  Tiburtine  Sibyl. 

MASTER   OF    1527. 

b.  No.  82.     Crucified  Thief. 

DUTCH    SCHOOL,   EARLY    XVI    CENTURY. 

c.  Christ  in  the  House  of  the  Pharisee. 

Plate  XXXVI.— MASTER   OF   THE   MIRACLES   OF   THE   APOSTLES. 

a.  No.  84.     Tobit  biirying  the  Dead. 

b.  „      83.     A  Squire  holding  a  Horse. 

c.  ,,      85.     Judith  decapitating  Holofernes, 

Plate  XXXVIL— DUTCH    SCHOOL,   XVI   CENTURY. 

a.  No.  86.     Christ  before  Pilate. 

b.  „      87.     The  Crucifixion,  with  Saints  and  Donors. 

c.  „      89.     The  Family  of  the  Virgin. 


List  of  Plates.  251 


Plate  XXXVIII.— PIETER   AERTSEN. 

a.  No.      1.     The  Continence  of  Scipio. 

ABRAHAM   BLOEMART. 

b.  No.     4.     The  Annunciation  to  the  Shepherds. 

c.  ,,      13.     A  Shepherdess  and  a  Sportsman. 

Plate  XXXIX.— ABRAHAM   BLOEMART. 

a.  No.   17.     Landscape  Composition  with  two  Trees. 

b.  „      16.     A  Dovecote. 

Plate  XL.— HANS    BOL. 

a.  No.     1.     The  Flood. 

b.  „        3.     March  :    Planting  Vines. 

c.  ,,        6.     Landscape  Composition. 

Plate  XLI.— ARENT   VAN    BOLTEN. 

a.  No.   19.     Left  half  of  a  Cartouche. 

b.  „      39.     Right  half  of  a  Cartouche. 

c.  „    136.     A  Chalice. 

d.  „    132.     An  Ewer. 

Plate  XLIL— ARENT    VAN    BOLTEN. 

a.  No.  220.     Bust  of  a  winged  Woman. 

b.  „       62.     Clusters  of  Fruit  and  Vegetables. 

c.  ,,      185.     Two  Monsters  fighting. 

Plate  XLIII.— ARENT   VAN   BOLTEN. 

a.  No.  422.     A  Peasant  and  a  Woman  dancing. 

b.  „      183.     A  Male,  a  Female  and  a  Child  Monster. 

c.  ,,     182.     Two  Monsters. 

Plate  XLIV.— ARENT    VAN    BOLTEN. 

a.  No.  413.     The  Adoration  of  the  Magi. 

b.  „     415.     An  Italian  Carnival. 

Plate  XLV.— PAULUS   BRIL. 

a.     No.      1.     Jonah  thrown  to  the  Whale. 
6.       „        3.     A  Tree. 

c.  ,,        4.     Landscape  Composition  :   Trees  at  the  edge  of  a  Pool. 

Plate  XLVL— ATTRIBUTED   TO   PAULUS    BRIL. 

a.  No.   12.     Fantastic  Landscape. 

CRISPIN   VAN   DEN    BROECK. 

b.  No.     1.     The  Adoration  of  the  Shepherds. 

COPY    FROM   PIETER    BRUEGEL    I. 

c.  No.   11.     A  Castle. 

Plate  XLVIL— ATTRIBUTED   TO   DENIS    CALVART. 

a.  No.    3.     St.  Margaret. 

DENIS    CALVART. 

b.  No.     2.     The  Judgment  of  Solomon. 

COPY   FROM   PIETER    BRUEGEL    I. 

c.  No.   12.     Dancers  at  a  Village  Wedding. 


252  List  of  Plates. 

Plate  XLVIII.— HENDRICK  DE   CLERCK. 

o.     No.     2.     The  Elector  of  Saxony  surrendering  to  the  Emperor  Charles  V. 

HENDRICK   VAN   CLEEF. 
h.     No.     1.     Landscape  Composition. 

HIERONYMUS   COCK, 
c.     No.     1.     Part  of  the  Funeral  Procession  of  Charles  V. 

Plate  XLIX.— ATTRIBUTED   TO   GILLIS   VAN   CONINXLOO. 

a.  No.     1.     Wooded  Landscape  with  a  Village. 

SCHOOL    OF   GILLIS   VAN   CONINXLOO. 

b.  No.     2.     Woodland  Landscape. 

ATTRIBUTED    TO    CORNELIS   CORNELISZ. 

c.  No .    3.     Groups  of  Figures  in  conversation. 

Plate  L.— ATTRIBUTED    TO    CORNELIS   FLORIS. 

a.  No.     1.     Ornamental  Panel. 

WOUTER    PIETERSZ    CRABETH. 

b.  No.     1.     The  Good  Samaritan  carrying  the  womided  Man  on  his  Horse. 

c.  „        2.     The  Good  Samaritan  paying  the  Innkeeper. 

Plate  LI.— FRANS   FLORIS. 

a.     No.     \.     The  Rape  of  Proserpine. 

SCHOOL    OF   FRANS    FLORIS. 

6.     No.     4.     St.  Philip  baptizing  the  Eunuch, 
c.       „        2.     A  Frieze  with  a  Battle  of  Horsemen. 

Plate  LIL— JACOB   DE    GHEYN. 

a.  No.     3.     A  Lady  on  her  Death-bed  with  a  Gentleman  standing  by. 

b.  „        1.     Allegorical  Composition. 

Plate  LIII.— JACOB   DE    GHEYN. 

a.  No.     5.     A  Man  wearing  a  Cloak. 

b.  „        6.     A  Man  holding  a  Horse. 

c.  „        4.     Three  Studies  of  a  Negro. 

Plate  LIV.— HENDRICK   GOLTZIUS. 

o.  No.  2.  Head  of  a  Boy  and  Study  of  Hands. 

b.  „  3.  Two  Studies  of  Boys'  Heads. 

c.  ,,  12.  Self-portrait. 

d.  „  4.  Head  of  a  bearded  Man. 

Plate  LV.— HENDRICK   GOLTZIUS. 

a.  No.  13.     Head  of  Man  and  Part  of  a  Letter. 

b.  „        5.     "  Sine  Cerere  et  Baccho  friget  Venus." 

Plate  LVI.— HENDRICK   GOLTZIUS. 

a.  No.   11.     A  Camel. 

b.  „        8.     Venus,  Ceres  and  Bacchus. 

Plate  LVIL— HENDRICK   GOLTZIUS. 

a.  No.     6.     A  seated  Woman. 

b.  „      10.     Portrait  of  an  Artist. 

c.  „      15.     A  seated  Woman. 


List  of  Plates.  253 


Plate  LVIII.— HENDRICK   GOLTZIUS. 

a.  No.     7.     The  Temptation  of  Adam. 

b.  ,,      14.     Head  of  an  old  Man. 


Plate  LIX.— JACOB    GRIMMER. 

a.  No.      1.     Landscape  Composition. 

ATTRIBUTED   TO    JORIS    HOEFNAGEL. 

b.  No.      1.     The  Capture  of  Aphrodisium. 

HENDRICK   HONDIUS. 

c.  No.     2.     EUjah  fed  by  Ravens. 

Plate  LX.— HANS    LIEFRINCK. 

a.  No.     2.     Portrait  called  "  Dux  Andegavensis." 

HENDRICK   HONDIUS. 

b.  No.     1.     Portrait  of  Hans  Holbein. 

HANS   LIEFRINCK. 

c.  No.     1.     Portrait  of  Charles  IX  of  Fi-ance. 

Plate  LXI.— ATTRIBUTED    TO    PIETER   ISAAKSZ. 

a.  No.      1.     Christian  IV  of  Denmark. 

KAREL   VAN   MANDER. 

b.  No.     1.     St.  Mary  Magdalene. 

ATTRIBUTED    TO    KAREL   VAN   MANDER. 

c.  No.     2.     Prometheus. 

^  d.     No.     3.     A  Ship  attacked  by  a  Sword-Fish. 

Plate  LXII.— JOOS    DE    MOMPER. 

a.  No.     3.     A  Mountain  Road. 

b.  „        1.     Landscape  with  a  View  of  the  Sea. 

c.  „        2.     The  Sea  Coast  with  Fishing  Boats. 

Plate  LXIII.— ATTRIBUTED   TO    JACOB   MATHAM. 

a.  No.   1.     Vulcan. 

MONOGRAMMISTS  JgJ. 

b.  No.     1.     The  Adoration  of  the  Kings. 

Plate  LXIV.— JAN   HARMENSZ    MULLER. 

a.  No.     2.     Autumnus. 

ATTRIBUTED   TO    ADAM   VAN   NOORT. 

b.  No.     1.     Lot  and  his  Daughters. 

ANTHONIE    VAN   MONTFOORT. 

c.  No.     1.     Aglauros  showing  Erichthonius  to  her  Sisters. 

Plate  LXV.— LAMBERT   VAN   NOORT. 

a.  No.     1.     Esther  before  Ahasuerus. 

b.  ,,        2.     Christ  disputing  with  the  Doctors. 


254  List  of  Plates. 

Plate  LXVI.— CRISPIN  VAN  DE   PASSE. 

a.  No.     2.     Portrait  of  a  Young  Man. 

ATTRIBUTED   TO    FRANS    POURBUS    I. 

b.  No.     2.     Portrait  of  an  Elderly  Lady. 

ATTRIBUTED    TO    CRISPIN    VAN    DE    PASSE. 

c.  No.     3.     Portrait  of  a  Lady. 

Plate  LXVII.— AEGIDIUS    SADELER. 

a.     No.     2.     Portrait  of  a  Gentleman. 

FRANS    POURBUS    I. 
h.     No.     1.     The  Flood. 

AEGIDIUS    SADELER. 
c.     No.     L     Narcissus. 

Plate  LXVIII.— JAN    SAENREDAM. 

a.  No.      1.     Lot  receiving  the  Angels. 

AEGIDIUS    SADELER. 

b.  No.     3.     St.  Jerome. 

JAN    SAENREDAM. 

c.  No.     3.     The  Angels  conducting  Lot  oiit  of  Sodoin. 

Plate  LXIX.— JAN   SPECKAERT. 

a.  No.      L     The  Circumcision. 

BARTOLOMEUS  SPRANGER. 

b.  No.     2.     Venus  and  Cupid. 

c.  ,,         \.     A  Man  embracing  a  Woman. 

Plate  LXX.— PIETER    STEVENS. 

a.  No.     2.     Two  seated  Women. 

b.  ,,        1.     Landscape  Composition. 

MANNER    OF    BARTOLOMEUS    SPRANGER. 

c.  No.     6.     Mars  and  Venus. 

Plate  LXXI.— FREDERIK   SUSTRIS. 

a.  No.     2.     Salome's  Dance. 

b.  „        1.     Mercury  and  Pallas  crowning  a  Yoimg  Man. 

PIETER    STEVENS. 

c.  No.     3.     Landscape  Composition  :   November. 

Plate  LXXIL— OTHO   VAN  VEEN. 

a.  No.     L     A  Painter  and  a  Poet. 

JAN   VAN   DER    STRAET. 

b.  No.     \.     The  Arts  of  Painting  and  Sculp tvu'e. 

Plate  LXXIII.— ATTRIBUTED   TO   JAN   VREDEMAN   DE   VRIES. 

a.  No.     L     A  Courtyard. 

TOBIAS   VERHAEGHT. 

b.  No.     3.     Landscape  Composition  with  Caves. 

c.  ,,        1.     Landscape  Composition  with  a  Road. 


List  of  Plates.  255 


Plate  LXXIV.— DAVID   VINCKEBOONS. 

a.  No.     2.     The  Prodigal  Son  takes  leave  of  his  Father. 

b.  „        4.     The  Prodigal  Son  as  a  Swineherd. 

c.  ,,        8.     Beggars  at  the  Door  of  a  House. 

Plate  LXXV.— MARTIN  DE  VOS. 

a.  No.     4.     The  Agony  in  the  Garden. 

b.  „      24.     The  Escape  of  St.  Paul  in  a  Basket. 

c.  ,,      29.     Illustration  to  the  Song  of  Solomon. 

ATTRIBUTED   TO    ADRIAEN   DE    WEERDT. 

d.  No.  1.     Christ  disputing  with  the  Doctors. 

Plate  LXXVI.— JAN   WIERIX. 

a.  No.   15.     God  speaking  with  Noah. 

b.  „      26.     Christ  on  the  Cross. 

c.  ,,      16.     Noah  and  his  Family  going  into  the  Ark. 

Plate  LXXVII.— JOACHIM   ANTHONISZ    WTTEWAEL. 

a.     No.     1.     Design  for  a  Piece  of  Plate. 

JAN   WIERIX. 

6.     No.  25.     The  Crucifixion, 
c.       „      30.     Portrait  of  a  Lady. 

Plate  LXXVIII.— PIETER    DE    WITTE. 

a.  No.     1.     The  Descent  from  the  Cross. 

EEVERT   WYNTGIS. 

b.  No.     2.     A  Card  Party. 

Plate  LXXIX.— FLEMISH    SCHOOL,    LATER    XVI   CENTURY. 

a.  No.      1.     Design  for  a  Painted  Window. 

b.  „        2.     Moses  and  the  Burning  Bush. 

Plate    LXXX.— FLEMISH    SCHOOL,    LATER    XVI   CENTURY. 

a.  No.     4.     A  Nightmare. 

b.  ,,        5  {ohv.).     Fools  gaping  up  a  Chimney. 

c.  ,,        6.     The  Bellows -Mender. 

Plate  LXXXL— FLEMISH    SCHOOL,    LATER    XVI   CENTURY. 

a.     No.     5(rev. ).     Jean  sans  Peur. 

6.       ,,      10.     A  Man  directing  Building  Operations. 

c.       ,,        9.     The  Prodigal  Son  wasting  his  Inheritance. 

Plate  LXXXII.— FLEMISH    SCHOOL,    LATER    XVI   CENTURY. 

a.  No.  25.     Vessels  on  the  Scheldt  with  Antwerp  in  the  Distance. 

b.  ,,      23.     A  seated  Oriental  Soldier. 

MARCUS    GHEERAERTS  (?). 

c.  No.  133.    Various  Birds. 

Plate  LXXXIIL— VEIT    SPIERINCX  (?). 

a.  No.     8.     Two  Herrings  on  a  Platter. 

b.  „      58.     Two  Rabbits. 

VEIT    SPIERINCX. 

c.  No.  92.     A  Vine  Branch. 


PLATES 
I.-LXXXIII. 


JAN    VAN    AMSTEL 


W        / 


•■^^fri^g^-gfei'.^^ 


•^ 


r^Mi"    *■ 


48-7  X  36-9 


JAN    DE    BEER 


.-la*^" 


diam.  33 


V--  '^ 


diam.  21  -8 


diam.  22-5 


JACOB     CORNELISZ 


Ill 


P?^ 


jjil    '^M 


cv>^"^-  ii^^^iiitl  li- 


Y"  %>  ■-'^■ 


Ill 


m  T 


[4a*aaH 


"1, 


§S»^?fe^— *-"^ 


1-  '  -^ 


f  I'M-v-^x^' 


IV 


13-5  X  15-2 


GOSSAERT 


21-7  X  18-4 


ENGEBRECHTSZ 


"^*'    F^^ 


^., 


'    ^. 


19-3  X  26-7 


20-4  X  53-8 


HEEMSKERCK 


20-9  X  31  -8 


2  OBV. 


KOECKE 


VI 


20-9  X  15-8 


23-3  X  42-6 


23-1   X  42-6 


KOECKE 


VII 


23  X  42-5 


23-1   X  41-9 


22-8  X  42-7 


VIM 


IX 


26-3  X  27-3 


13 


diam.  23*6 


15 


SCHOOL     OF     KOECKE 


28-2  X  20-2 


24-8  X  20'5 


LUCAS     VAN     LEYDEN 


11 


XI 


14-4  X  19-7 


24-5  X  35-9 


LOMBARD 


25-7  X  28-9 


MEMLING 


XII 


31-2  X  45-2 


ORLEY 


W6*J«IV_>*  ' 


40-2  X  16-6 


5  3  9  ■  6   X   1  6  •  5 

COPIES     FROM     ORLEY 


XIII 


27-6  X  41-2 


SCHOQL     OF     ORLEY 


a^m^«,^-m^ii  *i  saia^S^^k 


'^r.^A  T 


37-2  X  54-4 


ORLEY 


XIV 


I  KiCy-    0  ^    Xi" 


27  X  38-7 


diam.  22-6 


15-7  X  16-9 


ORTKENS 


XV 


XVI 


t 


WWf 


f/flV, ; 


■f  ^  , 


£,*W 


29-7  X  54 


37.4  X  19-4 


XVII 


13  25-6  X  20 


27  X  17 


SWART 


XVIII 


pn 

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HtBi^^MlU^i.'- 

20-5  X  29-1 


SWART 


diam.  28-9 


37-2  X  29-1 


TEUNISSEN 


XIX 


diam-  26-9 


?i'^r^,'. 


diam.  26 


VELLERT 


XX 


XXI 


FLEMISH  SCHOOL,  XV  CENT. 


XXII 


#4 

V 

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1\    ^^ggB 

\ 

15-7  X  6-9 


11-5  X  5-8  9  OBV. 


w:i 


"^.' 


Bit"  '       <  '  „/<„;.  , 

24-2  X  17  11 

FLEMISH  SCHOOL,  XV  CENT, 


XXIII 


15  OBV. 


15  REV. 


11   X  7-9 


12-5  X  8-6 


FLEMISH  SCHOOL,  EARLY  XVI  CENT. 


XXIV 


XXV 


^  -T^NTif 


XXVI 


ANTWERP     SCHOOL,     XVI     CENT. 


XXVII 


Wlf#>lj^fWjg 


r^-^ZSL/f 


»>'   ' ' 


"■"^«^_i^      ■ 


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17-2  X  12-6 


29 


7     lU--.--  fO-- 


1^ 


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^-a 


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23-3  X  15-9 


ANTWERP     SCHOOL,     EARLY     XVI     CENT. 


XXVII 


/ 


XXIX 


r 

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,4"    ■ 

■<^^ 

33  X  23-5 


40-5  X  35-4 


FLEMISH     SCHOOL,     EARLY    XVI     CENT. 


XXX 


25-8  X  12-5  40 


22-7  X  12-5 


41 


FLEMISH     SCHOOL,     EARLIER     XVI     CENT 


w 


"r;^^?^ 


XXXI 


f^-' 


20-5  X  15-2  49 

FLFMISH     SCHOOL,     XVI     CENT. 


diam,  26 


yji^ 


diam.  26  48 

MASTER     OF    THE     PRODIGAL     SON 


XXXI 1 


20-6  X  15-2 


20  X  15-2 


1  9'5  X  15-2 


FLEMISH     SCHOOL,     XVI     CENT. 


XXXIII 


> 

i 

26-8   X   13-1 


DUTCH     SCHOOL,     XV     CENT. 


XXXIV 


71  diam.  20 


72 


diam.  20-2 


74 


22-1    X   15 


DUTCH     SCHOOL,     EARLY     XVI     CENT. 


XXXV 


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XXXVI 


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XXXVI 


22  X  38-5 


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29-5  X  31-2 


DUTCH     SCHOOL,     XVI     CENT. 


XXXVIII 


AERTSEN 


14-8  X  21-7 


BLOEMART 


XXXIX 


30-1    X  24-1 


17 


* 


■^ 

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16-2  X  1  9-y 


BLOEMART 


XL 


w^^^- 


'  '^^',^    ""*■  "^   -^-  '>^-- 


19-6  X  28-6 


17-2  X  25-9 


12-5  X  19-1 


BOL 


XL  I 


14  X  11-2 


19  15-8  X  10- 


\     i^ft--^ 


® 


--;-  -Tf.t;, 


26  X  14-3 


132 


A.  VAN   BOLTEN 


XLII 


16-4  X  13-5 


12-8  X  22-1 


A,    VAN    BOLTEN 


XLIII 


XLIV 


413 


44-4  X  61-1 


415 


A.     VAN     BOLTEN 


XLV 


42.4  X  37-1 


15-7  X  22-5 


XLVI 


40-7  X  26-1 


VAN     DEN     BROECK 


.W,4--^l»  i 


14  X  22-2 


'•Eg- 


COPY     FROM     BRUEGEL 


XLVII 


28-3  X  23-4  3 

ATTRIBUTED     TO     CALVART 


22-9  X  25-5 


1^%^ 


^W 


24-1   X  38 


^•li.  D'^'i^ifei*' 


COPY     FROM     BRUEGEL 


,."A'- 


XLVIII 


28  X  52 


DE     CLERCK 


20-1    X  31  -2 


VAN     CLEEF 


H.  COCK 


XLIX 


29-8  X  39-6 


ATTRIBUTED     TO     CONINXLOO 


20-2   X   32-2 


SCHOOL     OF     CONINXLOO 


If 


•vfe*.^"^-- 


19  X  31 


ATTRIBUTED    TO     CORNELISZ 


11-8  X  25-1 


ATTRIBUTED     TO     C.      FLORIS 


CRABETH 


27-1   X  40 


CRABETH 


\ 


LI 


SCHOOL     OF     F,     FLORIS 


LI  I 


Llll 


25-5  X  14-5 


20-1   X  32 


DE     GHEYN 


LIV 


6-9  X  10 


■^, 


■^., 


\. 


12-7  X  18-1 


21 .Ap 

!-8  X   6-3  12 


GOLTZIUS 


LV 


bit-'  '..f  t*.'        .'!-" 


r 


9-7  X  18-3 


.'Mifik'.i"'*^'^:  \,^ 


13 


63-1   X  49-5 


GOLTZIUS 


LVI 


29-8  X  41 -6 


43-1    X  32 


GOLTZIUS 


LVII 


LVIII 


46-9  X  37-5 


14 


GOLTZIUS 


LIX 


19-3  X  29-3 


GRIMMER 


■«►. 


"r*!di»  •"?^  -  '•-n  „x'^  j/ 


25-3  X  42-3 


ATTRIBUTED     TO     HOEFNAGEL 


28-5  X  41 -6 


LX 


LXI 


K                 , 

f '  /  . .' 

■^v^^                 ■■, 

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-.-.  "^       ^ 

■'^ 

■? 

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LXII 


19'4  X  30-7 


22-5  X  35-4 


26-1    X  42-6 


LXIII 


4 

'    * 

1 

Mir ''is 

,i«S    ^   . 

^fjm    ''""^'^" 

^mi 

■i 

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38-6  X  28-4 


ATTRIBUTED     TO     MATHAM 


29-6  X  26-5 


lONOGRAMMIST      jlg^ 


LXIV 


33-8  X  21 -7 


19-7  X  27-5 


MONTFOORT 


LXV 


K); 


49'6  X  34'3 


L.     VAN     NOORT 


LXVI 


LXVII 


LXVIII 


f^^^^M 

1 

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W^r^}. 

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1 ' 

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i^^^^^^^iIl*  -ja^HHI^KJ' ■:    S( 

LXIX 


LXX 


12-6  X  22-6 


^*, 


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''-*¥j 


-*•'— 


22-1    X  34-1 


STEVENS 


ff^^^]^' 


MANNER     OF     SPRANGER 


LXXI 


18-5  X  31-9 


F.     SUSTRIS 


22  X  31-6 


STEVENS 


LXXII 


17-5  X   14'4 


VAN     VEEN 


43-7  X  29-3 


LXXIII 


16-1   X  20-4  1 

ATTRIBUTED    TO    J.     VREDEMAN     DE     VRIES 


20-2  X  29 


24-6  X  39-1 


VERHAEGHT 


LXXIV 


18-3  X  23-6 


VINCKEBOONS 


LXXV 


18-8   X  25-4 


vos 


/mm'^^^'^& 


29 


^ 


17-8  X  23-2 


ATTRIBUTED    TO     DE     WEERDT 


LXXVI 


26 


LXXVII 


ra^    o 


"'^-..T^ 


LXXVIII 


'j£ai     //Z''-"^'/^ 


DE     WITTE 


28-5  X  52-9 


LXXIX 


27  X  10-8 


18-5  X  28-3 


FLEMISH     SCHOOL,     LATER     XVI     CENT. 


LXXX 


^^  ''''Ml 


24-6  X  35-7 


dS^'-' ■'" 


20-5 


1  y  ■  «    X    V  y  ■  b 


FLEMISH     SCHOOL,     LATER     XVI     CENT. 


LXXXI 


■'%*'^ 


'*^s 


28-8  X  20-5 


27-2  X  26 


27-3   X   43-4 


FLEMISH     SCHOOL,      LATER     XVI     CENT. 


LXXXII 


diam.  i  9-3 


25 


15-2  X  10-7  23 

FLEMISH     SCHOOL     LATER     XVI     CENT. 


15-5  X  19-7 


NATURAL     HISTORY     DRAWINGS 


LXXXIII 


21  X  32 


20-2  X  37 


29-4  X  51 


NATURAL     HISTORY     DRAWINGS