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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 

f oldi n g 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 borrow ad 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 eo mp a ri son 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 represe n ted 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 

j wrt i fl na t ioo for th*- . >n to Velleit made by Beets. Though the fan- 

taetie he a rtrlr easM 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 
c reec en te 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 




pr ese n t drawing 
1 i n se ri p U ons 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 wi w wst, tm htb b tn 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. ; 
be t wee n 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 
e y ebrow s ; 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 Fr mat.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 dr e s se d 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 m da tamm in his 1. hand. 

[8 X 4|in. : 19-9 X 12-4 cm.] 

287. MnovKY. 

Akaost M s n tfaa l 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, n iio«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^- g fe i'.^^ 





•^ 



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, 



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1- ' -^ 



f I'M-v-^x^' 







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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- ^ Xi" 













27 X 38-7 





diam. 22-6 



15-7 X 16-9 



ORTKENS 



XV 





XVI 




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f/flV, ; 



■f ^ , 









£,*W 



29-7 X 54 





37.4 X 19-4 



XVII 





13 25-6 X 20 




27 X 17 




SWART 



XVIII 



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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 



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15-7 X 6-9 



11-5 X 5-8 9 OBV. 



w:i 



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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^  



l^i^j^J'^'^T.-^ 




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17-2 X 12-6 



29 



7 lU--.-- fO-- 









1^ 



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^^^-'^^K^-:^- 



23-3 X 15-9 




ANTWERP SCHOOL, EARLY XVI CENT. 



XXVII 




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XXIX 



r 








^ 


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■<^^ 













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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it- 






%f-}^ ^^'' 










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--^ 



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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 




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12-7 X 18-1 




21 . A p 

!-8 X 6-3 12 




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LV 



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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 








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t 




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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 

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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 




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49'6 X 34'3 



L. VAN NOORT 



LXVI 




LXVII 






LXVIII 



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LXIX 






LXX 




12-6 X 22-6 









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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 



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"'^-..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