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^^'^^i^^^.&^^r^^^^^^^B^^B^^ 







DESCRIPTIVE AND HISTORICAL 

CATALOGUE 

OF THE 

PICTURES 

IN 

I THE NATIONAL GALLERT 







wixn 




FOREIGN SCHOOLS. 

BY 

RALPH N. WORNUM. 

REVISED BY SIB CHARLES LOCK EASTLAKE, P.RJL 





THIRTY'SEVJENTH EDITION. 

LONDON: 

PBINTBD; BY GB0BK5B BDWABJ) BYBB AND WILLIAM SPOTTISWOODE, 

PRINTERS TO THB QXTEEN'S MOST EXCELLENT MAJESTY. 

BOB HEB MAJESTY'S STATIONEBY OFFICE. 

1863. 



) 




Price One Shilling, 





DESCRIPTIVE AND HISTORICAL 

CATALOGUE 

OF THE 

PICTURES 

IN 

THE NATIONAL GALLERY : 



WITH 



ISiogtrayl^iral 0otitet of tbt IPainter0. 



FOREIGN SCHOOLS. 



BY 

RALPH N. WORNPM. 

RBYISED BY SIR CHARLES LOCK BASTLAKB, P.R.A. 




Mp ^uQoritj?* 



THIBTT'SEVENTH EDITION, 



LONDON! 

PRINTED BY GEORGE EDWARD EYRE ANDMTILIiIAM SPOTISWCODE 
PRINTEBS TO THE QUEBN'S MOST EXCELLENT MAJESTY. 
POR HER MAJESTY'S STATIONERY OPPICE. 

1863. 






V 



FdGG MUSEUM LIBRARY 
HARVARD UNIVERSITY 



i I 



[IM19 — lOOd.u.ll/62.3 



v\ 



* 



NOTICE. 



««w*wnMw«iww 



In using this catalogue in the OaJlery, reference should be 
made from the painter's nemt on the frame of the piotnre 
to the corresponding name at the head of the page in the 
catalogue, where the order is alphabetical. When more 
than one designation occurs, as for eitample, Sebastiano del 
Piombo, the name to be looked for in the catalogue may 
be found by referring to the number in the Index list, 
page 8, corresponding with the number of the picture. The 
same list may be consulted, if the name of the master on 
the picture-frame should not be easily legible. 

The plan of the catalogue is historical, as wdl as descrip'^ 
tiva Biographical notices of the several painters precede, 
in most cases, the descriptions of their works : the history, 
as £5ir as known, of each picture is also given ; together 
with its dimensions, the material on which it is executed, 
and other details which may sometimes serve to identify 
it. Among the sources of information which have reference 
to the history of the art, the opinions of eminent critics 
on the merits of particular masters, and of remarkable 
works, have not been overlooked. 

A certain degree of historical knowledge, as regards both 
the art itself and its criticism, is perhaps indispensable 
for the due appreciation of some works ; the merit of whieli, 
depending on the time and circumstances of their produc- 
tion, is in a great measure relative. The information thus 
offered, without superseding individual predilections, may 
sometimes assist in the formation of a correct judgment, 
which is the basis of a correct taste. 

6202. A 2 



i 



4 NOTICE. 

The present catalogue is thus designed, not merely as a 
book of reference for visitors in the Gallery, but also as a 
guide to the history of painting, as represented by the 
examples in the collection: it may be used likewise, so 
far as it extends, as a Biographical Dictionary of Painters. 
The first edition, printed in 184!6, was published in the 
beginning of 1847. To this edition are now first added the 
painters' monograms and signatures, engraved in wood, fi-om 
copies in fac-simile made by me in October J 862. I have 
omitted some few, which are too obscure for reliable repro- 
duction ; most of them are of the size of the originals, the 
very large only have been reduced. 

The Gallery is open to the public on Mondays, Tuesdays, 
Wednesdays, and Saturdays ; and on Thursdays and Fridays 
to students only. It is open from Ten to Five from Octo- 
ber until April 30, inclusive ; and from Ten to Six from 
April tintil the middle of September. It is wholly closed 
during the month of October. 

The Vernon Collection and other pictures of the British 
School are for the present exhibited at South Kensington. 
Of these a separate catalogue is published, which comprises 
also an account of the Turner Collection now exhibited in 
the Gallery, Trafalgar Square. 



THB 



NATIONAL GALLERY. 



wKwwN<w>wi>»»WiW»»>»wimw»w 



The British National Gallery of Pictures was founded in 
1824, during the administration of the Earl of Liverpool, 
by the purchase of the collection of the late John Julius 
Angerstein, Esq., which thus formed the nucleus of the 
present national collection. 

The establishment of a National Gallery had long been 
desired, and His Majesty George IV. is said to have been 
the first* to suggest the propriety of purchasing the 
Angerstein collection. Sir George Beaumont, also, and 
the late Lord Dover, then the Hon. George Agar Ellis, 
took an active part towards the accomplishment of this 
object. Lord Dover first brought the subject before Par- 
liament in 1823; "I* and Sii* George Beaumont was so 
desirous to see a National Gallery established, that he 
offered to give his own pictures to the nation as soon as 
the Government should allot a proper place for their 
reception. 

The Angerstein collection, consisting of thirty-eight 
pictures, f was accordingly secured to the nation, and a 
grant of Parliament of 60,000?., proposed by Government, 
was voted April 2, 1824, to defiray the charge of purchase 
and the expense incidental to the preservation and public 
exhibition of the collection for that year — 57,000?. for the 
pictures, and 3,000?. for the incidential expenses.§ 



* Hansard, Parlicmentary Debates, speech of Sir C. Long, April 2, 1824. 

f Hansard, Parliamentary Debates, July 1, 1823 ; Cur.mngham, Lives 
of the most Eminent British Painters, ^c, ; Sir George Beaumont, vol vi 

I The entire collection was not included in the Goyemment purchase ; a few 
pictures were excepted. See the Catalogue of the Pictures of J. J, Angerstein, 
Esq,, with Historical and Biographical Notices, by John Young, fol. 1823, 
which contains etchings of all the pictures. 

§ Hansard, ParUamentarv Debates, April 2, 1824 ; and the Report from 
the Select Committee on liatumal Monuments and Works of Art, wim the 
MinvUes of Evidence and Appendix, \^\, Appendix* 



6 THE NATIONAL GALLERY. 

A National Gallery was thus established. It was opened 
to the public, in the house of Mr. AngersteiQ, in Fall Mail, 
May 10, 1824«. In 1826 the collection was increased by the 
munificent donation to the Trustees of the British Museum 
for the National Gallery, of sixteen pictures from Sir George 
Beaumont, as well as by further purchase on the part of 
the Government. In 1831 it was enriched by the valuable 
collection (consisting of thirty-five pictures) which was 
bequeathed to the Trustees of the British Museum, to be 
placed in the same building with the Angersteui pictures, by 
the Rev. William Holwell Carr;* and from that time to this, 
works have been constantly added to it, by donation, by 
bequest, and by Government purchase. 

The principal donations and bequests, . besides those 
already mentioned, are : six pictures presented in 1836 
by William IV. ; fifteen bequeathed, in 1838, by Lord 
Famborough; eleven bequeathed, in 1846, by Richard 
Simmons, Esq. ; eight bequeathed, in 1854, by Lord Col- 
borne ; twenty bequeathed, in 1859, by Jacob Bell, Esq. ; 
and six presented at different times by the Governors of the 
British Institution. The **Com Field,'' by John Constable, 
R.A., *' Serena rescued by Sir Calepine,'' by William Hilton, 
R. A., and ** Jerusalem,^' by Thomas Seddon, were purchased, 
by subscription, by the respective fiiends of the painters, 
from their executors, and presented by them to the National 
Gallery. 

Of the 424 pictures which now constitute the national 
collection, exclusive of the Vernon and Turner pictures, 203 
have been presented or bequeatiied,f the remaining 221 
have been purchased by (Jovemment, by grants of Parlia- 
ment: the number of pictures in the National Gallery, 
including all the works of the British School, is now 686.$ 

* The Famt>orougli bequest was also made to the Trustees of the British 
Mnsenin for the National G-allery. 

f Complete lists of the pictures purchased, as well as of donations and bequests, 
are given at the end of the Catalogue. The pictures of ^tae British SdMX>l are 
sepatately catalogued, and are at present exhibited at South Keosington. 

X Of thege, 8S are fbr the present removed from the walte owing to want of 
space. It may not be uninteresting to the reader to compare the number of 
pictures in the National Gallery, with the number, according to the published 
catalogues, in the several principal national ooUeetiooa in Europe. In Rome, 
in the gallery of the Vatican, there are only 87 ^etnres $ in that of the Oa^ 
jHtol there are 225 ; at the academy of Bologna tiiere are *bont 280 ; 
the Brera of Milan has 508 ; at Turin there are 589} at Yenioe 888; at 
Naples, there are 700, exdusire of the ancient pain^gs from Pompeii and 



THE NATIONAl. GALLERY. 7 

The building in which the Collection — ^Foreign Schools- 
is at present deposited was erected at the national expense, 
expressly for the purpose, after a design by William Wilkins, 
RA., architect. It was comI^Mloe<J in 1832, and was opened 
to the public April 9, 1838 * 

Hercnlaneum ; in the Stadel Institution, at !Fnuikfi>rt, there are about 380 ; in 
the Berlin Gallery, recently established, there are about 1,350 pictures; in 
the Pinacothek, at Munich, there are about 1,270; in the gallery of the 
Belvedere, at Vienna, there are upwards of 1,300 ; in the Imperial GaPery 
of Florence (Degl' Uflzj), there are upwards of 1,200, and ^bput 500 ip the 
Fitti Palace. At Amsterdam, there are 386 ; at the Hague, in ihe Museum, 
there are 304. The collection of Antwerp contains 584 pictures; and 
at Brussels there are upwards of 400. There are upwards of 1,800 in 
the Louvre, 543 of which are Italian; in the Museo of the Prado, at 
Madrid, there are 1,833; and the celebrated gallery of Dresden contains 
about 2,000 picturefi, exclusive of the pastel collection. At Versailles, there 
are about 3,300 works of art, chiefly paintings, and almost exclusively illus- 
trative of French history. The Bor^ese Gallery at Bome, which is the best 
private collection in Europe, contains 526 pictures. In the Grosvenor Gallery 
there are 157 ; in the collection of the Duke of Sutherland, 828 ; in the 
Bridgewater Gallery, belonging to the Earl of Ellesmere, there are 818; 
and in that of Burghley House, Northamptonshire, belonging to the Marquis 
of Exeter, there are upwards of 600 pictures. 

* The number of visitors to the National Gallery has, with pne or two 
exceptions, annually increased from the date of its opening up to the present 
time. It has alrisady ))een visited in a single year by upwar4s of 1,000,000 
persons.— /S^^e the National Gallery Reports, 



itt*it*^ft*H***^*^tt**'r**f******^*^*f^* 



INDEX 



TO THE NAMES OF THE MASTERS OF THE PICTURES IN THE 
NATIONAL GALLERY, FOREIGN SCHOOLS. 

AXRAXQSD ACCORDING TO THB NUMBEBS OF THB PICTURES. 



No. 
1 Sebastiano del Piombo 
-4-fi Claude 

^ \ 'HHan 

f ^ \ Claude 

7 Correggio 

8 Michelangelo 

9 Carracci,An, 

10 Correggio 

11 Gttido 
J-12 Claude 
Ms Munllo 

14 Claude 

15 Correggio 

16 Tintoretto 

17 Sarto, Andrea del 

18 Vinci, Leonardo da 

19 Claude 

20 Sebastiano del Piombo 

21 Bronzino 

22 Guercino 

23 Correggio 

24 Sebastiano del Piombo 
26 Carracci, An, 

26 F(er(Mic*e, Paolo 

27 Raphael 

28 Carracci, Lod, 

29 Barocd 

30 C2atu2e 

31 Pemssiw, G. 

32 HWan 

33 Parmigiano 

3J}ra«m 

36 Pottssin, G. 
. 37 Correggio 
-f^ Enbens 

AQ VPoussvn, N, 

41 Giorgione 

42 PotM^n, N. 

46 12ii5a» 

47 Rembrandt 






No. 

48 Domenichino 

Q J- Vandyck 

51 Rembrandt 

52 Fawrfycife 

53 C»yp 

54 Rembrandt 

55 Claude 
b^ Carracci, An. 

-^7 Bwiaiw 

58 C/aucTe 

59 12tt6eit« 

61 Claude 

62 Poi««i», N. 

63 Carracci, An, 

64 Bemrc^, Sebastien 

65 Poussin, N, 

^M > Rubens 

68 Pofi^sjn, G. 

69 MoZfl, P. F. 

70 Padovanino 

71 Bo^A 

72 Rembrandt 

73 Ercole da Ferrara 

74 MttW/fo 

75 Domenichino 

76 Correggio 

77 Domenichino 

81 Garofalo 

82 Mazzolini 

84 l{o«a, Salvator 

85 Domenichino 
88 Carracci, An, 
91 PotuWn, A^. 

94 I ^^^^^^* ^^' 

95 Poitfnn, G. 

97 Fero»c*«, Pao/o 

98 Poussin, G, 

ion 

102 

103 

104 J 

127 Canaletta 

138 Pannmt 



' Loner et 



._.J 



INDEX TO NAMES OF MASTERS. 



-f4 



No. 

40 Vander Heist 

\g V Carracd, Agostino 

^^\Vandef>elde, IV. 

52 Vander Neer, A , 

53 Maas, Nicolas 

r r > Tenters 

56 Vandyck 

57 Rubens 
68 Teniers 
59 Maas, Nicolas 
GO Mola, P. F. 
61 Poussin, G, 
63 Canaletto 

65 Poussin, N. 

66 Rembrandt. 

67 Peruzzi, Baldassare 

68 Raphael 

69 Mazzolini 

70 Garofalo 

72 Caravaggio, M. da 

73 Bassano, Jacopo 

74 Maratti, Carlo 

76 Murillo 

77 G»»e2o 

QQ |-Franc»a 

81 Perugino, Pietro 
84 Moro, Antong 

86 %cib, J. Fan 

87 l{«6eii« 

89 Bellini, Giovanni 

90 Rembrandt 

91 Gtttdfo 

92 Doto, Gerarrf 

93 Gttuio 

94 JRtt^en^ 

95 Unknoum, p. 262 

96 Gtnido 

97 Velazquez 

98 Carracci, An, 

99 Schalcken 
200 Sassoferrato 
202 Hondecoeter, M, 

204 Bakhuizen 

205 Dic^rtcA 

206 Grew^c 

207 iVfoof, Nicolas 

209 Bo^A anci Poelenburg 

210 Guari/t 

211 Huchtenburg 

212 liCey^er, T. I)e 

213 Raphael 

214 GtiM^o 



No. 
218 
221 
222 
223 
224 
225 
226 

227 
228 
230 
232 
234 
235 
236 

237 
238 
239 
240 
242 
243 
244 
245 
246 

247 
248 
249 
260 
261 
264 
266 
268 
269 
270 
271 
272 
274 
275 
276 

277 

4-^78 
279 
280 
281 
282 
283 
284 
285 
286 

287 
288 
289 
290 
291 
292 
293 
294 
295 
296 



Peruzzi, B. 

Rembrandt 

Van Eyck, /. 

Bakhmzen 

Titian 

Romano Giulio 

BotticeUi, Sandro 

Rosselli, Cosimo 

Bassano, J, 

Zurbaran 

Velazquez 

Bellini, School of 

Spagnoletto 

Vemet, C. J. 

Rembrandt 

Weenix, /, 

Vander Neer 

Berchem 

Teniers 

Rembrandt 

Spagnoletto 

Durer, Albert 

Pacchiarotto 

Alunno, Niccolo 

Lippi, Fra Filippo 

San Severino, t. di 

V The Meister Von Liesbotfi 

Vander Meire 

Lombard, Lambert 

Veronese, Paolo 

Giorgione 

Titian 

Guido 

Pordenone 

Mantegna, Andrea 

BotticeUi, Sandro 

Giotto 

Bassano, J. 

Rubens 



} 



Bellini, Giovanni 
Basaiti, Marco 
Spagna, Lo 
Gozzoli, Benozzo 
Vivarini, Bartolommeo 
Jjibri, Girolamo dai 
Tacconi, Francesco 
Veneziano, Bartolommeo 
Perugino, Pietro 
Rembrandt 
Eyck, J, Van 
Cranach, Lucas 
Pollajuolo, Antonio 
Lippi, FUippino 
Veronese, Paolo 
Matsys, Quintm 
Ghirlandajo, Domenico 



10 



IKJ>£K TO KAMSS OF MAST£KS. 



No. 

297 Romanino 

298 Borgognone 

299 Moretto 

300 Cma da ConeglianQ, O. JB. 

^go V Turner, J, M, W, 

564 Margaritone 

565 Cimabue 

566 Duccio 

567 Segfna 

568 Gio«o, School o/ 
569' 
570 

571 

572 

573 

ey^ SOrca^^na, Andrea 

575 
576 

577 

578J 

579 Gaddi, Taddeo 

580 Casentino, Jacopo di 

581 Spinelh, Aretino 

582 AngeUco, Fra Giovqnni 

583 I7cce/to, Paoto 
585 Francesca, Pietro delta 

ggg I Li/>pt, l^fl Filippo 

590 I\*ra, Cosimo 

591 Gozzoli, Benozsso 
"-^92 Lippi, Filippino 

593 Crcc?», Lorenzo di 

594 ^mmanutfZ 
• 595 ZelottiyBattkta 

596 Palmezzano 

597 Zoppo 

598 Lippi, Filippino 

599 Basaiti 

600 Dyckmans 
602 CrtVcKi 

623 Treri^o, Girolamo da 

624 Romano, Giidio 

625 Moretto 

626 Masaccio 

fi2H I R^ysdael 
629 Costa, Lorenzo 



No. 

630 
631 
632 
633 
634 
635 
636 
637 
638 
639 
640 
641 
642 
643 
644 
645 
648 
649 
650 
651 
652 
653 
654 
655 
656 

657 
658 
659 
660 
661 
663 
664 
665 
666 

667 
668 
669 
670 

671 
672 
673 
674 
679 
680 
685 
686 

687 
690 



Schiavone, Qr0|rana 
Bissolo, f. 

y Santacroce, G. da 

Cima, O. B, 



} 



Titian. 



Bordone, Paris 

Francia 

Mantegna, Francesco 

Dossi, Dqsso 

Mazzolini 

Garofalo 

f Romano, Giulio 

Albertinelli 
Credi, Lorenzo di 
Pontormo, Jacopq da 

> Bronzino, Angelo 
Salviati, F. del 

> Vander Weyden 

Orley, Bernard t7aii 
Mahuse, Jan de 
Comelissen, Jacob , 
Schoen, Martin 
Rottenhammer 
Clouet, Francois 
Raphael 

AngeUco, Fra Giovamni 
Vander Weyden 
Francesca, Pietro 4tUa 

Lippi Fra Filippo 

Crivelli 

L'Ortolano 

Pontormo, Jacopo.da 

Garofalo 

RemJbrandt 

Messina, AntoneUo da 

Bordone, Paris 

Bol 

Vandyck 

Hobbema 

Memling 

William of Cologne 

Sarto, Andrea 4d 






} 



^yKgWX^t^MMMMWWXMMXOOOOOW^^WM*** 



THE SCHOOLS OF PAINTING. 



»t>0imii0»m0»» f »mfrimmti m tmt*m*» n t * mttmt m 



The word " schoor^ has various significations with writers 
on art: in its general and widest sense it denotes all the 
painters pf a given country, without special reference to time 
or sub-divisions of styla ; as, the ItaliAu School. In a more 
restricted sense,it refers to the characteristic style which may 
distinguish the painters of a particular locality or period ; 
as, the Bolognese School. In its most limited sense, it signifies 
the distinctive style of a particular master; as, the School 
of Raphael: whence it is also applied to the scholai*s or 
imitators of an individual, who are said to be of the school 
of such master. 

In the following table, the word is used in its wider senses. 
With regard to the chronology there observed, it must be 
apparent that it is impossible to fix with precision the com- 
mencement of any school. There are isolated facts of Texy 
remote dates, connected with the history of painting in 
many countries ; but such facts cannot be assumed to in- 
dicate the existence of a class of painters having a more or 
less common and definite style. It is only when such a class 
exists that a school can be said to be established ; and when 
there is evidence of the practice of painting in a more limited 
degree, yet tending to such development, the school may h^ 
said to have commenced. 



>^ v^ \ • v> v« X^ v/ i« \ X I V *y^ w *• K/"\/"\/"^X*- ■^^X' 



l^dlmlar View of the Schools ofPamtmg, oa repreeeTUed by 
the Pict'wreB m the Natiimal OaUery, 



TUSCAN OR FLORENTINE SCHOOL. 

Commencement in the thirteenth century, in Florence, in 
Pisa, and in SSena.* Distinguished chi^y for form. 



* TheSieneseiKJnpiiP^becoiMatoed tpliave a cluraoter of its own, bat 
as it is represented, as yet, m the National Gallery, hj unimportant specimens 
only, it is for fU pn^sent c(iif)r^Bdid in tibie f^enitxme t^ebidi. 



12 THE NATIONAL GALLERY. 

Thirteenth Century. 

Margaritone D'Arezzo, 1236—1313. Cimabue, 1240, living 1302. 
Duccio di 'B\iomn9>Qgti2L, painted 1282 — 1339. 



Fourteenth Century, 

Segna di Buonaventura, painted 1305 — 1319. 

Giotto, 1276—1336. Taddeo Gaddi, 1300—1366. 

Andrea Orcagna, 1315 — 1376. 

Jacopo di Casentino, about 1310 — 1390. 

Spinello Aretino, about 1330, living 1408. 

Fifteenth Cenim/ry. 
Fra Giovanni Angelico, 1387—1455. Paolo Uccello, 1396—1479. 
Masaccio,1402— 1428-9. FraFilippo Lippi, 1412—1469. Benozzo 
Gozzoli, 1424, living 1485. Antonio P^Uajuolo, 1430—1498. 
Domenico Ghirlandajo, 1449 — 1498. Cosimo Rosselli, 1439 — 
1506. Sandro Botticelli, 1447—1515. Leonardo Da Vinci, 1452 
—1519. FiHppino Lippi, 1460—1505. Lorenzo di Credi, 1459 
—1537. 

Sixteenth Centv/ry. 

Albertinelli, 1475— 1520. Michelangelo, 1475— 1564. Baldassare 
Peruzzi, 1481 — 1536. Andrea del Sarto, 1488—1530. Jacopo 
Pacchiarotto, 1474 — 1540. Jacopo da Pontormo, 1493 — 1558. 
AngeloBronzino, 1502— 1572. Salviati, 1510—1563. 

Seventeenth Century. 
Cristoforo Allori, 1577—1621. 



•■\^ ty *.•*■* •\y S^\j v/» '■X/v/ VW/X/" 



UMBRIAN SCHOOL. 

Commencement in the thirteenth century, in Assisi, 
Perugia, Gubbio, and other cities of Umbria. Distin- 
guished for colour and sentiment. 

Fifteenth CeTvtv/ry. 

Lorenzo di San Severino, paimUd 1416— 
Pietro della Francesca, about 1415—1494. 
Niccolo Alunno, paj/rvted from 1468 to 1499. 
Pietro Perugino, 1446 — 1524. 

Siocteemth Cefifvtwry. . 
Lo Spagna, painted 1503 — 1530. 



•V-\/V"VN/> 



SCHOOL OF THE ROMAQNA. 
Marco Palmezzano, about 1466—1537. 



SCHOOLS OF PAINTING. 13 

ROMAN SCHOOL. 

Established in the sixteenth oentory. Distin^ished for 
form and expression. 

Siacteenth Century. 

Raphael, 1483—1620. 
Giulio Romano, 1492—1546. Barocd, 1528—1612. 

SeventeeTith Century, 

Michelangelo da Caravaggio, 1569 — 1609.* 
II Sassofenato, 1605—1685. Carlo Maratti, 1625—1713. 

Eighteenth Cemtwry, 
Paolo Pannini, 1691—1764. 

VENETIAN SCHOOL. 

Commencement in the thirteenth century. Distinguished 
chiefly for colour. 

Fifteenth Century. 

Antonello da Messina, about 1414 — 1496. 

Giovanni Bellini, 1426—1516. 

Carlo Crivelli, painted 1468—1493. 

Bartolommeo Vivarini, painted 14i59 — 1498. 

Marco Basaiti, painted 1470 — 1620. 

Qiambattista Cima, painted 1489 — 1517. 

Sixteenth Ceniury. 

Giorgione, 1477—1511. Titian, 1477-4576. 

Bissolo, painted 1 500 — 1 528. 

Romanino, about 1480 — 1560. 

Pordenone, 1483—1539. 

Sebastiano del Piombo, 1485 — 1547. 

Bartolommeo Veneziano, painted 1505 — 1530. 

Girolamo dai Libri, 1472 — 1555.t 

Girolamo da Santacroce, painted 1520 — 1548. 

II Moretto, about 1490—1560. 

Paris Bordone, 1500—1571. 

Girolamo da Treviso, 1497 — 1544. 

Jacopo Bassano, 1510—1592. Tintoretto, 1512—1694. 

Paolo Veronese, 1528—1588. Battista Zelotti, 1532—92. 

* According to the sense, before explained, in which the word Rchool is here 
used, it ninst be apparent that individual painters may sometimes have bnt 
Blender claims to the characteristic attributes of those chiefly constituting the 
school. 

t Strictly of the school of Verona. 



14 THE NATIOITAL OAtiLKRY. 

Seventeenth Oentury. 
Padotranino, 1590—1650. 



Highteerdh Oentury. 
Canaletto, 1697—1768. Gtiardi, 1712—1798. 



SCHOOL OF PADUA. 
EetabKBhed in the fifteenth century. 



Fifteenth Century. 

Andrea Mantegna, 1481-— 1506. 

Gregoirio Schiavone, 'pwi/nted 1470. 

Francesco Mantegna, living 1517. 

BOLOGNESE SCHOOL. 

Commencement in the fourteenth century. Distinguished, 
in its later and chief period, for execution, or general tech- 
nical excellence. 



Fifteenth O&nPwry. 

Marco Zoppo, painted 1471 — 98. Francia, about 1460- 
1618. Lorenzo Costa, 1460—1586. 



Sixteenth Century. 

Lodovico Carraoci, 1566 — 1619. 
Agostino Carracci, 1558 — 1601. Annibale Carracci, 1560 

—1609. 



Seventeenth Gefrdury. 

Domenichino, 1581—1641. Guido, 1676—1642. 
Guerdno, 1592—1666. Pier Francesco Mola, 1612—1668.* 

FERRARESB SCHOOL. 
Established in the fifteenth century. 

■ 

Fifteenth Century. 
Cosimo Tura, ^imtigr 1481. 

* TVm* a concise historf and account of tlM abot« Italian vSaxxSA of paint- 
ing, see the articles "Bolognese," "Roman," "Tuscan,** and "VenttSaA" 
Schools of Fainting, in the Penny Cyclopcedia, 



SCfHOOLS OF PAINTING. 1^ 

Siocteenth Century. 

Mjiizolini da Ferrara, 1481 — 1580. 
Garofalo, 1481—1559. Ercole da Ferrara, 1462—1631. 

Dosso Dossi, 1480—1560. 



^ * »» .' V>'\. • '. V. » W -■% ^ '4* *^ K 



PARMESE (LOMBARD) SCHOOL. 

Commencement in the fifteenth century. The Parmese is 
one of several subdiYisions * of the Lombard School, which 
is distingoished chiefly for chiadroscuro.f 



Siocteenth Gentv^ry. 
Correggio, 1494—1534. Parmigiano, 1503—1540. 



•»<»#»jW0»w»»t^»taw^»^»i^»i»w>*»»WMW<»tf<il^wr[O 



CREMONESE (LOMBARD) SCHOOL. 

Established in the fifteenth century. 



Fifteenth Century. 
Francesco Taoconi, painted 1464 — 1490. 

MILANESE (LOMBARD) SCHOOL. 

Established in the fifteenth century. 

Ambrogio Borgognone, jpaiTifeci 1490 — 1522. 



^y^^^ V* N^X^*. ^ K^ \."V> V.'^^V«'>k^V.'\^S^ ^ Vi'^.'S^ %^K^\. 



NEAPOLITAN SCHOOL. 

Commencement in the fifteenth century. 



Seventeenth Gefitnry. 

Spagnoleito, 1588—1656. 

Salvator Rosa^ 1615—1673. 

GREEK OR BYZANTINE SCHOOL. 

Established in the fifth century. Distinguished for its 
strict adherence to traditionary forms and practice. 



* Lanzi, in his History tyf Ptamtmg in liafy^ tre&te of five seyeral schools 
of LomlMurdj — the Mantmm, the Modenese, the Parmese, the Cremonese, and 
the Mihmese. — Sioria Pittoriea deW Italia, toI. it. 

t (fiufldrascon) (lilerafly Ughi^dark) neaas the mutual relation of hrightani 
obscure masses ; it is therefore not limited to light and shade, but comprehends 
also light and dark colours. 



16 THE NATIONAL GALLEBV. 

Seventeenth Century, 
Emmanuel the Priest, living 1660. 



t*»m*tit>fm»t i»\»^»»»»«w«»»^»««v>iv«i»i»i^» 



FLEMISH SCHOOL. 
Commencement in the fourteenth century. 



Fifteenth Century. 

Jan Van Eyck, about 1390—1440. 

G. Vander Meire, pai/nted about 1450. 

Roger Vander Weyden, the elder, 1400-64. 

Memling, deceased, 1495. 

Roger Vander Weyden, the younger, 1460 —1529. 

Quintin Matsys, 1460—1530-1. 

Jan de Mabuse, 1470—1632. 



Sixteenth Centv/ry. 

Bernard Van Orley, 1470 — 1541. \ 

Lambert Lombard, 1506 — 1560. | 

Antony Moro, 1626—1581. \ 



Seventeenth Centwry. 

Rubens, 1577—1640. Vandyck, 1599—1641. 

Teniers, 1610—1694 Huysman, 1656—1696. 



Nineteenth Century, 
J. L. Dyckmans, 1811- 



DUTCH SCHOOL. 
Commencement in the fifteenth century. 



Siocteenth Century, 
Jacob Comelissen, 1480 — 1560. 



Seventeenth Cemjt/u/ry. 

C. Poelenburg, 1586—1666. 
T. De Keyser, between 1595 and 1660. 
Rembrandt, 1608—1669. 
Both, 1610—1656. Cuyp, 1605—1683. 
Gerard Dow, 161 3 or 1598— 1680. Vander Helst,161 3—1670. 

Ferdinand Bol, 1611—81. 



INDEX TO NAMES OP MASTERS. 17 

A. Vander Neer, about 1618 — 1691. 
Nicholas Berchem, 1 624—1 683. Nicolas Maas, 1 632—1 693. 

M. Hondecoeter, 1636—1695. 

W. Vandevelde, 1633—1707. 

Jacob Ruysdael, a^xmt 1626—1681. 

Hobbema, living, 1669. Jan Weenix, 1644 — 1719. 

Scholcken, 1643—1706. Huchtenburg, 1646—1733. 

L. Bakhuizen, 1631—1709. Vander Plaa*, 1647—1704. 



i 



GERMAN SCHOOL. 
Established in the fifteenth century. 



FouHeeiith Century. 
William of Cologne, died, 1378. 



Fifteenth Century. 

The Meister Von Liesbom, painted about 1445 — 1465. 

Martin Schoen, 1420—1488. 



Siocteenth Century. 

Albrecht Diirer, 1471—1528. 
Lucas Cranach, 1472 — 1553. 



Seventeenth Centui^y. 
J. Rottenhammer, 1564 — 1623. 



Eighteenth Century. 
C. W. K Dietrich, 1712—1774. 



SPANISH SCHOOL. 
Commencement in the fourteenth century, 



Seventeenth Century. 

Velazquez de Silva, 1599—1660. 
EstebanMnrillo, 1618— 1682. Zurbaran 1598—1662. 

B 



11 SCHOOLS OP PAIOTTNQ. 

FRENCH SCHOOL. 

Commencement in the fifteenth century. 



Siotteenth Century, 
Francois Clouet, 1610—1574 



Seventeenth Century, 

N. Poussin, 1594—1666. Claude Lorrain, 1600—1682. 

G. Poussin, 1613—1675. 
♦ Sebastien Bourdon, 1616—1671. 



Eighteenth Century. 

Nicolas Lancret, 1690—1743. 
Claude Joseph Vemet, J 714—1789. 
'Jean Baptiste Greuze, 1725 — 1805. 



CATALOGUE. 



ALBERTINELLI. 

Mabiotto Albertinelli, a pupil of CoBimo Boaselli, 
became the intimate friend and assistant of Fra Bartcdom-^ 
meo ; he was bom at Florence about the year 1475. When 
Fra Bartolommeo, under the influence of Savonarola, gave 
up painting and took to a mona&tic life, Albertinelli com- 
pleted some of his unfinished pictures^ and acquired much 
of the style of U Frate, espeoiailly his taste for torn or 
chiaroscuro. Albertinelli WBJSt of an impatient charttoter^ 
and being offended with the criticisms which were passed 
on his works, for a time gave up painting, says Vasari, and 
turned publican. He died at Florence about 1 520, having 
shortened his life by dissipation.* 

No. 64S. The Vibqin and Child, seated ; entire small 
figures. 

On wood, 6 in. k. by 4 in. to. 

Purchased from M. Edmond BeaucouBin at Paris, in 1860. 



ALLORI. 

Obistofobo Allori, the son of Alessandro, was bom 
at Florence in 1677, and was sometimes called Bronzino, 
after his great uncle. He left his father to study under 
Gregorio Pagani, one of the reformers of the Florentine 
school, and a good colourist. Cristoforo had a dislike to the 
anatomical school of Michelangelo, to which his father be- 
longed. He was fastidious in his execution, and exceed- 
ingly elaborate ; his style was well suited to portraits, in 
which he was excellent ; he was also a skilful landscape 
painter, and he is said to have made some copies, with 
s%ht alterations in the back-grounds, of Correggio's Mag- 
dalen, which have passed as duplicates by Correggio. His 
pictures are not numerous ; among his masterpieces is the 



* Vasari, Vite de* Pittorf, j-c. 

B 2 



JO ALUNNO. 

"Judith with the Head of Holophernes/' in the Pitti 
Palace, in which the Judith is said to have been painted 
from his own mistress, and the head of Holophemes from 
himself; the picture was in the Louvi'e in 1814, and was 
engraved by Gandolfi for the " Mus^e Napoleon." Cristoforo 
died at Florence in 1621 * 



No, 21. Portrait of a Lady, in a white bodice with 
red deeves, and a head-dress richly ornamented with gold : 
the red sleeves are relieved by a green curtain, which con- 
stitutes the back-ground. 

Engraved by J* Jenkins, for Jones's National Gallery. On 
panel, 1 ft. 1 1 in. A. by 1 ft. 6| in, w. 

From the collection of the Duke of San Vitale, at Parma, 
whence it was procured by the Rev. W, H. Carr, who bequeathed 
it, in 1831, to the National Gallery. 



ry "v^v/*' 



ALUNNO. 

NICC'OLO Altjnno (Nicolaus Alumnus) of Foligno, painted 
from 1458 to 1499. There are several pictures bearing the 
signature " Nicolai Fulginatis opus/' but as there was 
apparently another Niccolo of Foligno called Deliberatore 
living at the same time, it is not always possible to dis- 
tinguish their works with certainty. Niccolo was one of 
the principal Umbrian painters of his time ; the pictures 
attributed to him are in tempera, (he did not paint in oil,) 
and are bright and pure in colour : he painted directly from 
nature, then an imusual practice, and the few works that 
remain have great merit for their period. There are still some 
remnants of the PietS, in the Cathedral of Assisi, in which 
were the weeping angels admired by Vasari in the life of 
Pinturicchio. One of his best remaining pictures is a Madonna 
and child with a choir of angels, in the gallery of the Brera 
at Milan, and engraved in Rosini's History of Italian Painting 
with the date 1465 : another is still in San Niccolo di Foligno, 
the predella of which is in the Louvre at Paris. Rumohr 
attributes all pictures signed " Nicolai Fulginatis opus," 
or similar signature, to Alunno ; who is fiirther, by Mariotti, 
assmned to have been the master of Pietro Peruedno. 

* Baldinucci, Notizie de* Professori del Di^egnO, ^c. j Lanzi, Storia Pit- 
toricUf ^c. ; Fiorillo, Geschkhte der Malerei in T<w:ana, f ol. L 



AN6ELICO. 21 

Pintiiriochio and Andrea di Luigi are also mipposed to have 
been the scholars of Niccolo Alunno.* 



No. 24b7. " EccE Homo/' Christ crowned with thorns ; 
the hands crossed on his breast: bust on a bine ground. 
In the glory around the head are the letters — YHS. XPS. 
NAZ. — Jesus Christ of Nazareth : and on the outer edge of 
the ground, the words of the Vulgate from Paul's Epistle 
to the Philippians. In nomine Jtu omnb genu flbct. : 
Celestium Terrestbictm et Infeno.; — In nomine Jesu omne 
genu fiectatur, coelestiumy terrestrium, et infemonim.t 

In tempera on wood, 8i in h, bj Si in. w. Purchased in 1854 
at the sale of M. Jolj De Bommeville^s Collection. 



ANGELICO, FRA GIOVANNI 

Era Giovanni da Fiesole, commonly called from his 
great piety, L'Angelico, and II Beato Angelico,$ was bom 
near the Castello di Vicchio, in the Mugello, in 1387: 
his family name was Guido. He joined the Order of the 
Predicants at Fiesole in 1407, and began his career in 
art, as an illuminator of manuscripts. 

Fra Giovanni left Fiesole in 1409, in the pontificate of 
Alexander V., and practised as a fresco painter for several 
years at Cortona, where several of his best pictures are 
still preserved. In 1418 he returned to Fiesole, where he 
resided until 1436, when he was invited to Florence to 
decorate the new Convent of St. Mark, then assigned to 
the Predicants as their abode. For this convent Fra 
Giovanni executed his most important works, which occu- 
pied him about nine years. His brother, Fra Benedetto, 
is said to have assisted him in some portions. 

In 1445 he was invited to Rome by Pope Eugenio IV., 
who employed him in the Vatican, where he also painted a 
chapel for that pope's successor, Nicolas V. Wliile engaged 
for Nicolas V., he was invited to Orvieto to paint the 



* Mariotti, Letters Pittorkhe Pemgine^ &c, Sro. Perugia^ 1788. fi]]ino]ir» 
Italienische Forschungen^ 3 vols., 8vo., Berlin, 1827-31. 

-f ** At the name of Jesus every knee should how, of things in heaven, and thmgt 
in earth, and things under the earth." Phil. ii. 10. See note, p. 68, on the title, 
« Ecce Homo." 

X The beatifieation of a deceased person eminent for piety is a solemn dis- 
tinction conferred hy the church, and is sooood only to canonixation. 



£2 Ai^esiiioo. 

ehapel of the Madonna di San Bmio/ in the cathedral, 
which he undertook, and commenced in 1447, but left it 
incomplete. He did not return to Orvieto after the autumn 
<of that j'^ear. The chapel was completed many yeaxs after- 
wards by Luca Signorelli. 

Fra Giovanni returned to Rome in SeptembOT 1447, and 
remained there until his death in 1455. He was buried in 
the Church of Santa Maria Sopra Minerva ; and the follow- 
jlng inscription was placed on his tomb. 

Hic JACBT Ven. Pictor Fb. Id. db Flor. Ord. P. 

MCCCCLV * 

Fra Giovanni Angelico, says Vasari, was a man of such 
fervent piety, that he never commenced painting without 
prayer. He is still well represented in the Convent of 
St. Mark, at Florence, and the Florentine academy possesses 
a fine collection of his smaller works. Engravings also 
from his paintings are numerous. 

No. 882- The Adora.tion of the Magi ; or, the 
Wise Men's Offering. 

'* Now when Jesas was bom In Bethlehem of Judea, there came wise men 
from tiie East" *^ And when they were come into the house they saw the 
foumg child inQx Hary his mo^er, and fell down and worshipped lum: and 
wh/^ they had opened their treasures* they presented unto hun gifts ; gold, 
and frankincense, and myrrh," — Matthew ii. 1, 11. 

A rocky landscape with a small building on the spectators 
right, near which the Virgin is seated holding the child on 
er knees. Composition of many small figures. 

In tempera, on wood, 7-^ in. h. by 1 ft. 6^ in. w. 

Formerly in the Collection of Professor Rosini, at Pisa. 
Purchased from the Lombardi-Baldi Collection, at Florence, 
in 1867. 

No. CC34 Christ with the Banner of the Besurrection 
In his left hand, in the midst of a choir of Angels, some 
blowing trumpets, others playing various musical instru- 
ments. On the two sides are kneeling a great crowd of 
the Blessed: — the Patriarchs; the Prophets; the Madonna; 
the Apostles; and the saints and martyrs of both «iexes: 
at ihe exti^me ends are the '"Blessed" orBeati of the 



II t*wt* H j ' I WW I M» 



* YtaaxifVUe de* Pittori, ^e. Ed. Le Monnier, Flor. 1846, et seq. IVf^H^hftse^ 
Memorie din piu insiani Pittori, ffc. Domenicani. Florence, 1845; and iSbn 
Murce Omventb deiPadri Predicatari in Firenee^ illuHrai» e imiso principal- 
mente nei dipimti dtH B, Giif^tmi An^ltcoj {fie. Folio, FicH*., 1852« 



3AK9UIZEN. • |3 

Order of the Pominioans, in their black robes. Aitogether 
two hundred and sixty- six figures or portioxis of figureg ; 
many with their names attached ; '^ so beautiful, says 
Vasari, " that they appear to be truly beings of Paradise,"* 

In tempera, on wood, in five compartments — each 12^ in, h. by 
8^ in. 2 ft. 1 in, tr. the sides respectively, and 2 ft. 4^ in to, ^e 
centre picture. 

Formerly the Predella o£ an altar-piece, in San Domenlco at 
Fieeole. and sold by the monj^s ab^ul 50 years since toSignor 
ValentmL tlvB Prussian Oonsul at Rome, FUrchasjgd from his 
nephew, Signop Qioacchino Valentini, at Borne, in 1860;^ \. ^ 



BAKHUIZEN. 

LuDOLP Bakhuizen was bom at Emden, Deo. 18, 1631. 
His fatiier was a government secretary at Emden, and 
Ludolf acted as his clerk until 1650, when he was placed 
with a merchant at Amsterdam, to learn commercial busi- 
ness. While thus engaged, Bsikhuizen commenced making 
drawings of ships from nature, for wbidi he soon found 
willing purchasers. He eventually studied painting under 
Albert van Everdingen, and he recdved also some instruc- 
tion in the style which he had chosen from the marina- 
painter Hendrik Dubbels. 

Bakhuizen's favourite subjects were wrecks aaid stonny 
seas, which he frequently sketched from nature in. an open 
boat, at the great peril of himself and the boatmen. He 
engraved a &w pieces : there are some etchings of the 
T,$ and other marine views, executed by him when old. 
He made also many constructive drawings of ships for the 
Czar Peter the Great, who took lessons of the painter, and 
frequently visited his painting-room. Among his other 
avocationfi, Sakhuizen also gave lessons in writing, im which 
he had introduced a new and approved method. He died 
^t Acp^tardam, in 1709. Ludolf Bakhui^en, called the 
younger, a battle-painter, was the nephew of the subject of 
this notioe,§ 



♦ Vasad, Jld. Le Moxmier, vol. iv. p, 29. 

f Bumohr in his Jtalienische Forscnungen, ii. 253-4, notices the admirable 
sti^te of preservation, and the beauti&I sur&ee of these tempera pictures. 

i That part of the Zuider Zee on which Amsterdam is situated. 

§ ^ouhraken, Groote Schouhurg der Nederlantsche Kttnstsckilders, ^. Am- 
sterdai^i, 1718-21. Immerzeel, De livens en Werken der HdUaidiche en 
VJaamsche KunstschUderSf &c. Amsterdam, 1842-3. 



34 BAROCOI. 

No. 204. Dutch Shipping. A Dutch ship of war, 
' firing a salute ; with fishing-boats, and other vessels, in a 
fresh breeze, off the Dutch coast. 

On canvas, 3 ft. 4f in. h. by 4 ft. 6J in. w. 

Bequeathed to the National Gallery, in 1846, by Mr, Richard 
Simmons. 

Signed and dated*— 



j6h 



JL>ji(ikSul xJnsD 



No. 223. Dutch Shipping. A frigate, with a yacht 
saluting, a boat, and many small vessels ; in a fresh breeze, 
oflF the Dutch coast. * 

On canvas, 2 ft. 5^ in. A. by 3 ft, o\ in. w. 
Bequeathed to the National Grallery by Mr, Charles L. Bredel, 
in 1851. 



•^ rx'^rW»^'«/X'\^>-'V/\.*x/N,^\/N/>»'-»'V/X/\^^W^'> 



BARO'COL* 
Federigo Barocci, called also Baroccio, was born at 
Urbino, in the Papal State, in 1528. His father Ambrogio 
Barocci, a sculptor, originally of a Milanese family, gave 
him his first instruction in design ; he was afterwards 
placed with the distinguished painter Battista Franco, who 
spent some time at Urbino in the service of the Duke 
Guidubaldo 11. After the departure of Franco, Barocci also 
left Urbino, and accompanied his uncle Bartolomeo Genga, 
the duke's architect, who taught him perspective, to Pesaro, 
then under the dominion of the Dukes of Urbino ; his 
uncle procured him permission to copy some pictures by 
Titian in the ducal gallery there. 

lu 1548, in his twentieth year, Barocci visited Borne, and 
remained there a few years, devoting his time chiefly to the 
study of the works of Raphaeh 

After his return to Urbino, he painted several pictures 
which gained him great reputation. 

In 1660, he returned to Rome, and was employed in 

• 

* The mark here inserted against the second vowel is not an accent, bnt 
merely a gaide to the emphasis in pronunciation of the name, as on all other 
occasions* where it so occurs in this catalogue. It may not be superfluous to 
add, for the benefit of the reader unacquainted with Italian pronunciation, that 
in all Italian words c before e or t is pronounced cA, and i as the letter e in 
English, as ci-cAe; ch on the contrary in Italian is pronounced as ^ and e as a 
in English, as che-Aa. 



BAKOOCI. 25 

tlie foHowing year by Pius IV., with Federigo Zuccaro, in 
the Vatican. While engaged in this work he was nearly 
poisoned, by some rival, as supposed. Though the attempt 
failed, it wholly incapacitated Barocci for painting, for four 
years, and afficted him for the remainder of his life, fifty- 
two years, with a disease of the stomach which rendered it 
impossible for him to work for more than two hours in the 
day. From the period of this misfortune, with the exception 
of three years passed at Perugia, and during which he paid 
a short visit to Florence, Barocci spent the remainder of 
his long life at Urbino, where he died of apoplexy on the 
last day of September, 1612, aged 84 : he was buried there 
in the ehurch of San Francesco, with all the ceremony due 
to his great merits and reputation. 

Barocci painted almost exclusively religious subjects j he 
executed several large and excellent altar-pieces, some of 
which he etched himself — as the Pardon of San Francesco 
d'Assisi, at Urbino, in 1581 ; and The Annunciation, at 
Loreto^ a few years later ; two of his masterpieces. 

Barocci is generally said to have founded his style upon 
the works of Baphael and Correggio : his works have con- 
siderable resemblance to those of Correggio in delicacy of 
light and shade. In colouring he was peculiar ; Mengs * 
has observed, that his works are deficient in yeUow tints. 
Bellori has also pointed out the defects of his colouring, 
remarkiDg that he used too much vermilion and too much 
ultra-manne.*!" Beynolds observes that he " falls under the 
criticism tliat was made on an ancient painter, Hhat liis 
figures looked as if they fed upon roses.' "^ His style had 
considerable influence upon the painters of his time, both 
at Rome and Florence. Of all his followers, the most 
distinguished was Lodovico Cardi, commonly called Cigoli, 
who, partly through thfi example of Barocci's works, 
became a r^onner of the then degenerate Florentine school. 

No. 29. A " Holy Family," known as " La Madonna 
del Gatto,'' from the circumstance of a cat being introduced 



* Mengs, Hinterlassne WerkCf vol. i. p. 252. 

f Bellori, Vite de* Pittoriy ScuUorij ed Archiktti modemi, ^c, Home, 1672. 
Baidinucci, Notizie de* Professori del Disegno da Cimahue in qua, Florence, 
1681-88. 

% Sir J. Beynolds, Notes on Du Fresno^s Art ofPaintinyy notelv. 



<26 . BASAITI. 

into the picture. Though the subject is ostensibly holy, it 
is here treated merely as an ordinary domestic scene. The 
little St. John, leaning with his left arm upon the lap of the 
Virgin, is playfully teasing a cat, by holding up a little bird 
beyond its reach. The Madonna is poiating with her right 
hand to the cat, as if to direct the attention of her infant 
son, who has just turned from the breast, to the incident. 
Behind is Joseph, who, with his left hand resting upon a 
table, i3 leaning forward, and appears to be equally engrossed 
by the trivial circumstance. 

Engraved by C. Cort, in 1577 ; and by A. Garden, and others. 
On canvas, 3 ft. 9 in. A. by S ft, w. 

A ^< Madonna del Gatto " is noticed by Bellori, and he appears 
to .allude to this picture, though he calls the little bird a swallow, 
and mentions that it is tied with a piece of string, which is not 
evident at present, and the bird is a goldfinch. Bellori terms the 
composition a scherzo {a playful piece), and adds that it was 
painted for the Count Antonio Brancaleoni. The picture above 
described was long in the Cesarei Palace at Perugia, whence it was 
procured by Mr. Irvine for Mr. Buchanan in 1 806, of whom it 
was purchased by the Rev. W. H. Carr, who bequeathed it, in 
1831, to the National Gallery. There are several old copies of it. 



.-^v 



BASAPTI. 

Marco Basaiti, a Venetian painter, was born in Friuli 
according to some writera, of Greek parents. He was 
the contemporary, and in some respects the riTal, of 
Giovanni Bellini ; the circumstances of his life are unknown. 
His pictures, several of which are preserved, are signed 
M. Baxit, Marcus Bazaiti, and Marcus BasaitL He 
painted from about 1470 until 1520: Mosohini mentions 
a picture with the latter date. An altar-piece, represei^tiag 
the '^ Calling of St. Peter and St. Andrew," painted in 1511, 
formerly in the Certosa, and nolv in the Academy of the 
Fine Arts at Venice, was once considered his masterpieoe ; 
but another specimen in the same gallery — " Christ in the 
Garden with his Disciples" — is now justly preferred to it. 
Basaiti's works, when well preserved, are brilliant in colour, 
and display great abiKty in the general management of the 
accessories, especially in the landscape back-grounds, which, 
according to Zanetti, he contrived to unite with his figures 
more skilfully than his contemporaries. As one of the 
early Venetian oil-painters he may be regarded a« having 






BASSANO, J. 27 

isuccessfiiUy adopted the del acy and briUiancy of the 
Flemish masters of the fifteenth century.* 

No. 281. St. Jebome Reading. The saint is seated, 
reading a folio volume which rests upon his knee. A small 
figure in a rocky landscape, with a distant view of aTortified 
town. 

On wood, 18 J in. A. by 13 in. w. 

Purchased from M. Marcovich, in Venice, in 1855. 

No. 599. The Infant Christ asleep on the Lap of 
THE Virgin, who is seated on the ground in a meadow and 
adoring the child. Behind are some goats and cattle pas- 
turing \ in the back-ground is a convent on a hill, with 
mountains in the distance. On the left is an eagle perched 
on a dead or leafless tree, watching a contest between a 
stork and a snake iat iJhe foot of the tree. 

On wood, 2ffc. 2 in. h. by 2 ft. 9 in. w. 

Purchased in Florence from Signor Achille Farina in 1858. 



BASSA'NO, JA'COPO. 

. Jacopo BA Ponte, commonly called II Bassano, or 
Jacopo da Bassano, from his native place, in the Venetian 
State, was born in 1610. His father Francesco da Ponte, 
who was a painter of the school of the Bellini, was his first 
instructor in letters and in the arts ; he studied afterwards 
under Bonifazio at Venice After a short stay in Venice, 
which he spent chiefly in copying the drawings of Par- 
migiano, and the pictures of Bonifazio and of Titian, 
Jacopo returned, in consequence of the death of his father, 
to Bassano, where he established himself for the remainder 
of his life, visiting neighbouring places only as his engage- 
ments required. He died at Bassano, Feb. 13, 1692.t 

The works of Bassano are conspicuous for Venetian ex- 
cellence of colour, and for masterly chiaroscuro ; and some 
of his best pictures are not unworthy of Titian. In a few t^ 

years, however, he forsodk what may be termed the gjand • 
a^le, for one more in unison with imtutored apprehensions. 



* Zaoetti, DeOa Pittura Venestiana, p< 78. MoBchini, Guida per la 
ViUa di Venezia, toL I, p. 11. 

t Ridolfi, Le Maraviglie deW Arte^ ovvero le Vile degli iUustri Pittori Veneti, 
e deUo Stato, Venice, IMS; Verci, Notizie intomo aUa Vita e (dU Opere de 
PUtotiy Scidtori, gd Jnta^iaion deUa cittddi Bassano. Venice, 1775 ; Lanzi, 
Storia Pittorica delP Italia, Florence, 1822. 



28 BAHSANO^ J. 

and characterised by the introduction of all sorts of familiar 
objects, whatever may be the subject of the picture. He 
was perhaps the earliest Italian grcnre*-painter. Even 
when he painted religious subjects from the Old or New 
Testament, which he frequently did, he treated them as 
familiar scenes of his own time. He exceUed in land- 
scape and animals, particularly the latter, in which he took 
great delight, introducing them on aU oocaaions when ad- 
missible with, or even without, propriety. His works are 
very numerous in the Venetian State, and they are not 
uncommon in picture-galleries generally: his masterpieces 
are considered the Nativity, at San Giuseppe, and the 
Baptism of Santa Lucilla, at Santa Maria delle Grazie, in 
Bassano. Portraits by Jacopo Bassano are comparatively 
rare. Of his four sons — Francesco, Giambattista, Leandi*o 
and Girolamo, all of whom he brought up as painters, 
Francesco, the eldest, was the most distinguished. 



No. 173. Portrait of a Gentleman, standing, dressed 
in a black robe trimmed with ftir ; his right hand rests on 
a table placed before an open window, and on which is a 
silver vase containing a sprig of myrtle ; in his left hand 
he holds a black cap. Three-quarter length. 

On canvas, 3 ft. 11 in. A. by 3 ft. 2 in. w. 
Presented, in 1839, by Mr. Henry Gaily Knight. 

No. 228. Christ driving the Money Changers out 
OF the Temple. A crowded composition of men and 
animals, representing the expulsion of " all them that sold 
and bought'' — money-changers, (dealers in cattle, sheep. 



♦ Genre is a term borrowed from the French, for which we have no equi* 
valent in English. As it is a term of frequent occurrence in works which treat 
of painting, an explanation of it may not be out of place here. Strictly speaking 
a peintre de genre, or jjrenre-painter, signifies a painter of any particular class 
of subject ; and, according to some explanations, any painter except an liis- 
torical painter — but this is a meaning too vague for any critical purpose. Com- 
mon usage has now limited the signification of the term genre-painting to a less 
elevated class of psdnting. The full expression is apparently peintre du genre 
bag, painter of a low class of suljects, which occasionally occurs (Millin, Die- 
tionnaire des Beaux- ArU, vol. iii p. 160). It does not however follow that a 
genre-picture is low in its subject ; yet, it must be a picture of some &miliar 
object, or ordinary custom or incident ; and every such picture which does not 
belong to any other recognised class of paintinge;, as history, portrait, animsU, 
landscape, marine, fruit and flower, or stUl-life, but which may neverthdess be 
something of all, is a genre'pieturt. 

The Dutch have hitherto been the great ^em'«-painters ; indeed, their pictorial 
fame b so closely associated with this class of painting, that genre and the Dutch 
style are nearly synonymous. 






BELLINI; G. 29 

goats, birds, &a — ^from the interior of the " Temple/' a 
spacious building, of ordinary Italian architecture. Small 
figures on a dark ground. 

On canvas, 5 ft. 3 in. h, bjr 8 ft. 9 in. tr. 

Brought to England by Mr. A. Wilson in 1806. Presented, in 
1853, \^ Mr. P. L. Hinds. 

No. 277. The Good Samaritan, in a crimson dress, 
raising the wounded Jew to place him on his mule ; by his 
side is a sUver flask ; two dogs are in the foreground ; the 
Leviteis seen in prayer behind* 

On canvas, 8 ft. 4j^ in. A. by 2 ft. 7^ in. w. 
. Formerly in the Pisani Palace, Venice ; subsequently in the 
collection of Sir Joshua Kejnolds, who is said to have kept it 
always in his studio. Purchased for the National Gallery, at the 
sale of Mr. Rogers's pictures, in 1856. 

BELLI'NI, GIOVA'NNL 

Giovanni Bellini, the most distinguished of the quattrch 
ceTdistiy or painters of the fifteenth century, at Venice, was 
bom in that city about 1426. He was the son and pupil ot 
Jacopo, and the younger brother of Gentile, Bellini, both 
distinguished painters in their time, but inferior to Giovanni. 
Bidolfi observes, that the style of Giovanni was an aggregate 
of all that was beautiful in painting in his time ; and Lanzi 
jcemarks, that had his outline been less hard, he would have 
been a just representative of even the modern or cinquecento 
style — ^that of the great masters of the sixteenth century. 
His style is individual, and rather fiill than meagre in 
form ; it is positive in colour, and is distinguished for much 
detail of costume and ornament. His works, which are still 
very numerous, though probably many have perished, range 
in their dates from 1464 to 1516. The celebrated pictures 
described by Vasari, which he painted with liis brother 
Gentile aiid with Luigi Vivarini, in the Sala del Gran Con- 
siglio, in the ducal palace of Venice, were destroyed by fire 
in 1 577. They were, however, replaced by others painted 
by the great Venetian masters of the sixteenth century. 

Giovanni Bellini's earlier works were executed in tem^ 
pera ; but upon seeing some of the oil pictures of Antonello 
da Messina, who settled in Venice about 1470, he perceived 
the great advantage of the new method, and, according 
to a story told by Ridolfi, he disguised himself as a Vene- 
tian cavaliere, sat to Antonello for his portrait, and by 
watching the painter^s proceedings during the sittings, con- 



3(V BELLINt, a. 

trived to discover his secret.* Bellini*B best works are in oO, 
and consUt chiefly of Madonnas and portraita. The last 
picture painted by Joannes BdUnua, as he wrote hia name, 
is the Madonna of Santa Giustina at Padua, mentioned by 
Erandoleae and others, which bears the date 1616. Kidolfi 
erroneously states that his last picture was the Bacchaualiau 
piece, painted in 1514 for Alfonso I. of Ferrara, long prci 
served subsequently in the Aldobrandini Villa at Rome, and 
now in the eoUection of the Duke of Northumberland. 
Giovanni died without finishing it, and it was completed 
by Titian, who painted tJie landscape baok-ground to it. 
Giovanni Bellini died at the advanced age of 90, November 
29, 1516.t Albert Durer, who was in Venice in 1606, 
describes him in a Icitter to Pirkheimer, though very old, 
as the best of all the Venetian painters. Giorgione and 
Titian were two of his many eminent scholars-J 

No. 189. Bust Portrait of the Doge Lewnardo 
LoREDANO, IN HIS Si'AiE RoBES. He died in 1621, having 
fQled the office of Doge from 1600, Joannes BeUinus ia 
written on an unfolded scrip of paper, or cartellino : 



• It must have been after 1473 that Gioyanni practised the new method ; 
for according to Zanetti, the first oil picture koowa to have been executed in 
Venice by a Venetiaji master was painted in tliat year, by Bartolommco ViTarini, 
for tQe church of BS. Giovanlu u Paolo. It does not appear that ADtoQello 
executed mwiy pictures in Tenice dnring his first visil there on hia retura from' 
Flanders, about 1415; and Domenico Venezisno, 10 whom he eommunicated 
his secret aboot 1431, vas booh invited to Florence, where he was afterwards 
employed. Lanii (vol. 1) appetira to think that Domenico painted severU 
pictures in Tenice after his acquaintance with Antonello. Had this been the 
case, or bad Antonello made known his secret at once to others besides 
Domenico (as Vasari in ooe ^ace seems to aay), oU paiiitin^ most have been 

iractised in Venice much earDer than 1473. The first oil pictures known to 
ave been executed in Italy by Italian artists, in consequence of Antonello's 
eonunuuicaliou, were tliose (now no longer eiisling) by Domenico Venesiano 
and Andrea del Caelagno on the walls of the f ortinarl chapel in Santa Uaria 
Nuova, at Florence. The execution of those works must have taken a con- 
siderable IJnie, the middle period of which may have been abont 1460. 

t Cadorin, Delia Amare ai Venexiani di T'lziono VeceUio, Venice, 1833. 

X Tasari, Vile, Sic, and Schom's translation — Lehen der aiugezeichnetaten 
MaUr, &c, Notes ; Ridolfi, U Maramglie delP Arte, &c ; Zanetti, DeUa 
PiUuTa Veneziaaa, e deUe opere pabblahe de' Veneziani Maealri, Venice, 
1T?1 ; I.anzi, Storia Fittorica deWltalia) Von Murr, Jottmal der Kvnstgt- 
scAicktt, ToL X. p. 7. 



BELLINI, SCHOOL OF — BKRCHEM. 



SI 



. On wood, 2 &. h.\jy 1 ft 5^ in. w. 

TMq picture was formerly in the Grimani Palace at Venice, 
whence it was brought to England bj the late Lord Cawdor. It 
passed subsequently into the possession of Mr. Beckford, from 
whom it was purchased for the National Gallery, in 1844, 

No. 280. Madonna and Child. The Virgin with the 
Child on her knee. In her left hand she holds an apple, on 
which the right hand of the Child rests ; her right hand 
supports the Child. Behind is suspended a green cirrtadn 
vnth a red border. Landscape back-ground. Inscribed on 
all tinfolded scrip of paper,- on a coloured marble screen 
below, Joannes Bellintjs, P, 




Oh wood^ 2 ft. 11| in. h, hj 2 ft. 1^ in. w. Engraved by L. Boseolo. 
Purchased from the Baron Galvagba, in Venice, in 185^. 



OF THE SCHOOL OF GIOVANNI BELLINL 



No.*34. A Wabrioe adoring the Infant Christ. 
On the left is the Virgin seated, with the Infant Christ 
on her knees ; St. Joseph leans on a low "wall behind. In 
the centre of the picture a knight in armour, with a turban 
on his head, is represented kneeling on a carpet in -the act 
of adoring the divine infant ; in the back ground to the 
right, behind a parapet wall, is a servant holding the horse 
of the Knight, in the distance a hilly landscape, with a 
church aa/probably a convent. SiJ figures, ^sikaU life- 
size. 

On canyas, 5 ft. 1 in. h, by 8 ft. 7 in. w. 

Formerly in the collection of Mr. Samuel Woodburn, by whom, 
as well as by many others, it was attributed to Giorgione. Coh-4 
noissettrs are agreed that it is, at all events, of the School of 
Bellini, and it is therefore for the present, so classed. It was 
purchased for the National Gallery at the sale of Mr. Woodbura's 
collection in 1853. 



#».WW»»\W»*»**»»»wtiM\>w»»^WWXVy<^» 



BERCHEM. 

Nicolas Berghem, or rather Berchem as the Dutch 
write it, was bom at Haarlem in 1624 ; where he also died, 
Feb. 18, 1683. He had many masters, among whom were. 



32 BISSOLO. 

his fiither Pieter Klaasze, Jan Van Goy en, J. B. Weenix, 
and Jan Wils, whose daughter he married. Bercham 
painted in several styles — portrait, figure (large and small), 
battles, and landscape with cattle and small figures, in 
which last dass he is chiefly distinguished. His pictures are 
remarkable for their composition, their careful finish, and 
at the same time freedom of handling ; and for their 
warm tone of colour and brilliant lighting. He is sup- 
posed by some, from the nature of his scenes, to have studied 
in Italy. At the height of his reputation, in 1665, Berchem 
sold his labour, from early moiining until four in the after, 
noon, for 10 florins a day : his wife is said to have suflered 
him to keep very little money ; he appears to have been 
prone to spend it too fi*eely on Italian drawings, . At the 
sale of his effects after his death his pictures produced 
12,000 florins, and his sketches 800. Berchem also etched ; 
there are in aU 56 plates attributed to him, chiefly of 
animals, and which are very scarce. Berchem was a nick- 
name or surname that originated with himself: it is 
variously accounted for.* 

No. 24:0a Crossing the Ford, a hilly scene with clumps 
of trees ; figures and cattle, sheep, &;c. crossing a stream in 
the fore-ground : sunset. 

On wood, llf in. A. by 1 ft. 5^ in. w. 

Bequeathed to the National Gallery by Lord Colborne, in 1854. 
Signed- ^^ • 



BISSO'LO. 

Francesco Bisso'lo, of the school of Giovanni Bellini, 
painted at Venice in the early part of the. sixteenth century, 
about 1500 — 1628. Very few of his pictures are known, 
but these are distinguished for a delicacy of execution and 
a fine feeling for colour. The Venetian Academy possesses 



* Houbraken, Groote Schouhurg der Nederlantsche Konstschilders, &c., 

3 vols., 8vo., Amsterdam, 1719. Van Eynden ard Vander Willigen, Ges- 
chiedenis der Vaderlandsohe Schilderkunst, sedert de helft der XVIIL eeuw, 

4 vols., dvo., Amsterdam, 1842. Immerzeel, De Levens en Werken der 
HoUandsche en Vlaamsche Kunstschilders, &c, 3 vols., 8vo., Amsterdam, 
I842-J!. Bartsch, Peintre-Graveur, 21 vols., 8vo., Vienna and Leipzig, 
1803-21, vol. V. 



BOL. 3d 

a fine picture of " Christ exchanging the crown of thorns 
of St. Catherine of Siena for a crown of gold ;" it is signed 
Franoiacys Bissolo, and was formerly in the church of San 
Pietro Martire at Murano. In San Floriano, near Castel- 
Franco, is a picture by him, signed and dated mdxxvui * 



No. 631. PoBTRAiT OF A Lady, with blond hair con- 
fined in a net, and in a rich dress of embroidered Byzantine 
stuff. Bust. 

On wood, 14^ in. A. by 12 in. w. 

Purchased fi-om M. Edmond Beaucousin, at Paris, in 1860. 



•V/\/>y\^V/Ay\/-k. »y V \.>.^»«<^*/^'~'V/N. ^.•*'W>^N»■ 



BOL. 

Ferdinand Bol was born at Dort in 1611, and became 
the pupil of Rembrandt at Amsterdam, where he acquired 
the rights of a burgess on the 24th of January 1652. He 
is distinguished chiefly as a portrait painter, and his 
pictures are remarkable for a prevailing yellow tone^ He 
died rich at Amsterdam, in 1681. f He generally signed Bol 
or Bol fecit, the B being composed of an F and a B combined. 

No. 679. The Portrait of an Astronomer? half- 
length, seated before a table, on which are an open book 
and two globes. Signed, and dated 1652. 

On canvas, 4 ft. 1^ in. A.- by 4 ft. 4^ in. w. 
Presented m 1862 by Miss E. A. Benett. 
Signed — 




* Zanetti, Delia Pittwra Veneztana, ffc, ; Moechini, Gruida di Venezia, In 
some accounts Bissolo^s Christian name is fsWen as Pier Francesco. 

f Houbraken, Groote Schouburgt &c. Scheltema, Bembrand. Redevoertng, &c. 
p. 69 ; French Translation of BUrger, p. 53. 

C 



84 BOB£H>NK 

BOBDONE. 
Paris Bordone, Gavalim% of a noble family of Treviso, 
was born in 1600, and learnt painting for a short while in 
the school of Titian at Venice. He became an imitator of 
'Giorgione, and obtained great distinction for his female 
portraits, and about 1538 was invited by Francis I. to 
France, where he painted many of the ladies of the French 
court ; and he had the art, says Ridolfi, of making such 
works appear more like fiincy pictures than portraits. 
Bordone painted also historical pictures as well as portraits; 
his m^isterpiece is the large picture in the Venetian Aca- 
demy, of " The Fisherman presenting the Ring of St. Mark 
to th(9 Doge/' He died at Venice on the 19th of January, 
1571, and was buried in the church of San Marziale. 



No. 637. Daphnis and Chloe, a Greek shepherd and 
shepherdess, seated on a bank among some trees ; Chloe, 
who holds the pipes of Daphnis in her hand, is about to be 
crowned by Cupid with a wreath of myrtle. From the 
Greek of Longus. 

On canvas, 4 ft. 5^ in. A. by 3 ft. 11 in. w» 

Purchased from M. Edmond Beaacousin, at Paris, in 1860. 

No. 674. Portrait of a Lady, of the Brignole family 
of Genoa ; she has yellow hair, is dressed in a crimson 
gown with alow body and long sleeves, and has on a pearl 
necklace ; her right hand rests on her side, in her left she 
holds a chain ; in the back-ground is seen a portion of a 
hospital at Genoa. Inscribed iETATis. su^ . ANJf . XYtiiL ; 
and lower down Paris . B. O. Front view, half length 
life size. 

On canvas, 3 ft. 5J in. A. by 2 ft. 9 in, to. 

Purchased from the Duca di Cardinale, at Naples, in 1861. 

PARIS >E' 

o- 

BORGOGNONE. 

Ambrogio Borgognone, called also Ambrogio da Fos- 
sano, from his birthplace in Piedmont, was bom probably 
about 1455. He was distinguished as architect and painter, 
and was employed on the fa9ade of the Certosa or Carthu- 
sian convent near Pavia very early in his career, but 



BORaOGNONE. 35 

scarcely beiEbre 1475 * The earliest known date on any of 
his paintings is 1490 : he appears to have been engaged 
many years at Pavia, from about 1475 to 1493. 

Lanzi, and others, have assumed Ambrogio da Fossano, 
the architect, and Ambrogio Borgognone, the painter, to 
have been distinct persons, but existing signatures on pic- 
tures show that they are designations of the same artist : 
the altarpiece of the " Crucifixion," in the Certosa of Pavia, 
by this painter, is signed Ambrosius Fosanusypincdt 1490, 
May 14 ; a picture of the " Baptism of Christ,'' in the 
sacristy of the church of Melegnano, is signed Ambroffio da 
Fosano Brgognone; and an "Assumption of the Virgin," 
in the Brera at Milan, is signed and dated Ambrosio 
^gogojy 1522* In the Berlin QaJlery is a '' Madonna and 
CSbild enthroned," which was formerly in the Solly collect 
tion, signed Ambrosii Bergognoni, op. 

Borgognone's works, scarce out of the Milanese, are in 
fresco and in tempera ; they are very refined in their 
forms, and delicate and pallid in their colouring. There is 
no satisfactory account of him by any early writer ; Lo- 
laBzm merely mentions him as a Milanese painter worthy 
of being celebrated, though he executed several considerable 
works at Milan, some of which are still preserved, as in 
San Simpliciano, Sant' Ambrosio, San Satiro, Sant' Agos- 
tino, and other churches.t 

No. 298. The Marbuge of St. Catherine of Alex- 
andria. The Virgin is taking the hand of and presenting 
St. Catherine of Siena to the Infant Christ, who, standing 
on his mother's knee, holds a ring in each hand. While 
placing one ring on the finger of St. Catherine of Alex- 
andria, stai^ding on his right, he extends the other towards 
St. Catherine of Siena, habited as a nun, on his left. The 
virgin }» seated between the two saints, enthroned under a 
marble canopy of rich cinquecento architecture. Four 
figures small life-size. 

In tempera, on wood, 6 ft. 7 in. h. by 4 ft. 3 in. w. 

Originally in the chapel of Rebecchino, near Pavia, and for- 
merly under the rule of the Certosa : purchased out of that 
chapel from Signor Carlo Taddeo of Pavia, in 1857. 

* Malaspina, Guida di Pavia^ 1819, p. 118, says about 1473, bnt oonsideriiig 
that Borgognone iras painting in 1522, this date, which is not fixed by docn- 
ments, appears to be too early. 

t Lomazzo, Tratiato delta Pittura^ &c., ed. 1844, vol. iii. p. 297 ; Torre, 11 
Ititratto diMUano, 1714, pp. 48, 173 ; I^vovkslo, JBAilano Nuovamente descrittay 
&c., 1S24 ; Bio, Leonard de Vinci et son Scale, 1865, ch, 3. 

C 2 



36 BOTH. 

BOTH. 
Jan or John Both was bom at Utrecht about 1610. He 
and his younger brother Andries, or Andrew, both learnt 
the first rudiments of their art under their £ither, a painter on 
glafis, who placed them afterwards with Abraham Bloemart^ 
The two brothers visited France and Italy together, and 
spent some time in Eome. Jan was an excellent landscape 
painter, and Andries embellished his landscapes with figures 
and cattle, which lus brother had little skill in painting. 
Andries Both fell into a canal at Venice, and was drowned, 
in 1650; Jan returned to Utrecht, and died there in 1656.* 



No. 71. Landscape, a Party of MuiiEteebs, with 
Laden Mules: Morning. Mountain scenery ; a dark 
picturesque rocky fore-ground, with a lake in the middle- 
ground, and blue mountains in the distance, contracting 
forcibly with the fore-ground. 

Eugraved by W. Byrne; and by J. C« Bentley, for Jones's 
National GaUery^ On canvas, 3 ft. 9 in. h, by 5 ft. 3 in. w. 
Signed, J, Both,/, 

Presented to the nation, in 1826, by Sir George Beaumont. 

No. 209. Landscape, with Figubes. A rocky and 
woody landscape, with figures by Cornells Poelenburg,t 
representing the Judgment of Paris. 

On canvas, 3 ft. 3 in. h. by 4 ft. 3^ in. w. Signed, J. Both. 
Bequeathed to the National Gallery, in 1846, by Mr. liichard 
Simmons. 




* Sandrart, 7VutecAe^ca^2»nt>, 1675. Houbraken has corrected the mistakes 
of some writers respecting these painters, in his Groote Sckouburgder Neder- 
kmische Konstschmers, &c, Amsterdam, 1718-21 ; Descamps, La Vie des 
Peintres Flamandst AUemands et HoUandois, Paris, 1753-63. 

f Foelenburg was bom at Utrecht in 1586« and studied first under Abraham 
Bloemart, and afterwards in Italy. He died at Utrecht in 1666. 



BOTTICELLI. 37 

BOTTICELLI. 

Sandro or Alessajndro Filipepi, commonly called 
Botticelli, after his first master, who was a jeweller, was 
bom at Florence in li^?. He studied painting under Fra 
Filippo Lippi, and became one of the most celebrated 
painters of the fifteenth century, though all his works are 
characterized by that hardness of maimer common to most 
of the painters of this time, and known among the Italians 
by the term quattrocentiamo. He was one of those employed 
at Rome about 1480-84, to decorate the Vatican Chapel, 
then recently completed by Pope Sixtus IV., and which was 
afterwards known by the name of the " Sistine ChapeL" 
BotUcelli^s competitors on this occasion were Cosimo Rosselli, 
Domenico Ghirlandajo, Luca Signorelli, and Pietro Perugino, 
The three frescoes of Botticelli, illustrating the life of Moses 
and the temptation of Christ, are still in a good state of 
preservation. 

The pictures of this painter, in tempera, and nearly all on 
wood, are generally distinguished for the appropriate ex- 
pression and the fine drawing of the faces. Many of his 
best works are still preserved in the public galleries of 

Florence. 

He died poor at Florence in 1615, and was buried in the 
church of Osmissanti.* 



No. ZZ€m The Virgin and Child, St. John the 
Baptist and Angels. The Virgin is seated in a garden, 
with the Child on her knees; two Angels are holding a 
crown over her head. St. John, kneeling by her side, is 
adoring the Divine Infant. Five figures, small life-size. 

In tempera, on wood, circular ; 3 ft. 8 J in. in diameter. 

Formerly in the possession of the PoUi family, at Florence, 
where it was purchased for the National Collection of Mr. 
J. H. Brown, in 1855. 

No. a7S- The Virgin and Child, St. John the 
Baptist and an Angel. The Virgin richly dressed in 
gold brocades, is holding the Child to her bosom. St. 
John and the Augel are standing one on each side, a little 
behind the Virgin, in the act of adoring the Divine Infent. 
Half-figures, small life-size. 

In tempera, on wood ; circular, 2 ft. 9 in. in diameter. 

_ ■ ""' * -■-. . ^ 

^ i/ > ■■ — 

* Yasari, Vite de' Pittori, j*c. Ed. Fior. 1846 et seq. 



38 BOUBDOK. 

This picture appears to have originally belonged to the cele- 
brated architect Giuliano da San Gallo ; his name, in the manner 
and orthography of the 16th century, is written on the back — 
M. Giuliano da San Ghallo.* In the last century it was the 
property of the Abate Carlo Bianconi, Secretary of the Academy 
of the Arts at Milan, who died in 1802 ; when the picture passed 
into the possession of trofessor Gio. Giuseppe Bianconi of Bologna, 
from whom it was purchased for the ^National Collection in 
October 1855. It is mentioned in Bassani's Guida per Bohgna^ 
1816, as a work of Ghirlandajo. 



BOUEDON. 

Sebastien Bourdon was bom at Montpellier in 1616. 
He was instructed by his father, and exhibited great ability 
at a very early age j he painted a ceiling in fresco in a chateau 
near Bordeaux^ in his fourteenth year. He studied afterwards 
at Paris, and subsequently three years at Bome; and obtained 
great reputation, in 1643, by his celebrated picture of the 
Crudfixion of St. Pet^, which was originally placed in the 
Cathedral of Notre Dame, at Paris, but is now in the Louvre. 
Bourdon was a Protestant, and being anxious to avoid the 
troubles of the civil wars of the time, he went in 1652 to 
Sweden, where he was appointed by Christina her principal 
painter. On the abdication of Christina he returned to France, 
and in 1663 again settled in Paris, where he 'executed many 
works in different styles, historyj landscape, and genre, by 
which he added greatly to his reputation He was one of 
the original twelve cmciens of the old academy of painting 
established at Paris in 1648 : he died rector of the academy 
May 8, 1671. 

The landscapes of Bourdon somewhat resemble those of 
Salvator Rosa, and have a wild melancholy character. In his 
historical works colour and effect appear to have engrossed 
more of his attention than form ; his less finished works, says 
D'ArgenviUe, are his best. Bourdon has also executed many 
masterly etchings, the most celebrated of which ^re the 
'* Seven Acts of Mercy'" t 



I f ' rl I 



* Vasari, Vite, ^c, notices San Gallo as a posseilSor ci 'vrorks of Art In tiro 
instances ; in the life of the brothers San Gallo, and (in the first edition) in llie 
life of Masaccio. 

f D'Argenville, -46r^;7^ de la Vie des plus furaeux PeintreSf Paris, 1745-52 j 
Ganlt de Saint-Germain, Les Trois Siecles de la Peinture en France, Paris, 
1808. Robert Dumesnil, Le Peintre- Graveur Frangais, vol, i, 1835, describes 
forty-four etchings by BourdoQ. 



BRONZING. SO 

No. 64. The Retcrn of the Ark from Captivity. 

The Piiilistines ** took two milcli kine, and tied them to the cart . . ., and they 
laid the ark of the Lord upon the cart, and the coffer with the mice of gold, aiid 
the images of their emerods. And the kine took the straight way to the way of 
Beth-shemesh, and went along the highway, lowing as they went, and turned not 
aside to the right hand, or to the left ; and the lords of the Philistines went after 
them nnto the border of Beth-sheihesh. And they of Beth-shemesh were 
reaping their wheat harrest in the valley : and they lifted up their eyes^ and 
saw the ark, and rejoiced to see it And the cart came into the field of Joshua, 
a Beth-shemite, and stood there, where there was a great stone."-*! Samuel^ 
vi 10-14. 

A dark rocky landscape, intersected by a large river: in 
the middle-ground is the "great stone of Abel," and by the 
side of it is the city Beth-shemeslL The ark is represented in 
the fore-ground as having crossed the river ; the car having 
stopped near the '* great stone": the five lords of the Phi- 
listines are on the bridge over which the ark has passed : 
the Beth-shemites are rejoicing, and returning thanks for its 
restoration. 

Engraved by J. C. Varrall, for Jones's National Gallery, On 
canvas, 3 ft. 5 in. A. by 4 ft. 5 in. w> 

This picture was long in the possession of-Sir Joshua Reynolds, 
and was much admired by him. He instanced it, and a picture of 
"Jacob's Dream" by Salvator Rosa, as happy examples of the 
poetical style of landscape, in his discourse on the character of 
Grainsborough to the students of the Royal Academy in 1788. 
It was bequeathed by Sir Joshua to Sir George Beaumont, by 
whom it waa presented to the nation in 1826. 



¥>»t>»mm»m*»mm0i—»m»»0 » *m»tt>0»0im0*» 



BRONZI'NO, ANQELO. 

AKQEto Bronzi'no was bom at Monticelli, in the neigh- 
bourhood of Florence, in 1502. Having acquired the rudi- 
ments of his art from an obscure painter, he became the 
scholar, first of RafiaelKno del Garbo, and subsequently of 
Jacopo da Pontormo, some of whose works, left unfinished, 
Bronzilio completed. He executed severstl works, in fresco 
and in oil, in the public buildings of Florence and its 
vicinity ; but is now, though not a good colorist, most 
appreciated as a portrait painter, in which capacity he was 
mtich employed by the Grand Duke Cosmo I. Many of 
Bronzino's portraits of the Medici family are still preserved 
at Florence. Of his more important works now remaining, 
the picture of "Limbo,'" or "The Descent of Christ into 
Btell,*' in the Gallery of the Uffizj at Florence, is the most 
celebrated. He was a devoted admirer of Michelangelo, 
and was also the intimate friend of Vasari. Bronzino died 



40 CANALETrO. 

at Florence, towards the close of the yeai* 1572, aged sixty- 
nine. He was both poet and painter, and was a member of 
the Florentine academy.* 

No. 650. Portrait of a Lady, in the rich costume of 
he sixteenth century, holding up her hand before her ; she 
s dressed in a gold-quilted white satin bodice, with a blue 
velvet gown, the body and sleeves of which are embroid- 
ered with gold ; on her neck is a pearl necklace supporting 
a cross. Three-quarter length, life-size. 

On canvas, 3 ft. 8 in. A. by 2 ft. 7 in. w. 

No. 651. Venus, Cupid, Folly, and Time, An 
Allegory. Venus with the apple of Discord in her hand 
is reclining on a piece of blue drapery on the ground, and 
turning her head to kiss Cupid, kneeling behind her ; Folly 
unconsciQUsly treading on a thorn is preparing to throw a 
handful of roses at them ; behind is Time unveiling Envy 
and other evils ; a Harpy offering a piece of honeycomb in 
one hand is holding her sting behind her in the other. In 
one lower comer are some doves, in the other human masks. 
Seven figures, life-size. 

On wood, 4ft. 9 in. A. by 3 ft. 9J in. w. 

Both purchased from M. Edmond Beaucousiu at Paris, in 
1860. The latter was originally painted for Francis I. of 
Francef : it was subsequently in the collection at Althofp. 



CANALETTO. 

Antonio Canal, commonly called Canaletto, was born 
in Venice, in 1697. His father, Bernardo Canal, was a 
scene-painter, and Antonio practised the same art for several 
years : he, however, gave it up while still young, and went 
to Rome, where he devoted the whole of his time to the 
study of architectural views and ancient ruins. He waa 
accompanied wliile at Borne by his nephew and pupil, 
Bernardo BeUotto, who painted similar pictures to those of 
his unde, and is known by the same name ; whence the 
works of the two are often confounded together. After his 



♦ See Vasari, Fife, |rc., among the notices of the Academicians; and Borghini, 
Jl Biposo^ vol. Ui. p. 79. Borghini mentions that some of Bronsino's burksqne 
pieces were published with the works of Berni in 1723, at Naples, but with 
Florence on the title page. 

t See Vasari, Vite, &c Ed. Le Monnier, vol, xiii. p. 164, where h« 
describes it as a picture of singular beauty, quadro di sinyolare Mlezzn^ 



CANALETTO. 41 

return to Venice, Canaletto painted pictures of thtbt city, 
one of the most remarkable of which is a view on the 
Orand Canal, in which he has substituted a design by 
Palladio for the Rialto instead of the actual scene ; he took 
also other liberties with the disposition of the buildings. 
Tiepolo occasionally painted the figures in his pictures. 
In 1746 he came to England, and remained here two 
years. Walpole possessed an interior of King's College 
Chapel, Cambridge, by him. His nephew was in the same 
year made a member of the Academy of Dresden, Avhere 
he was known by the title of Count Bellotto. He painted 
many pictures there : twenty-five of them are still pre- 
sei*ved under the name of Canaletto, in a distinct collection 
at Dresden. He died at Prague in 1780. Canaletto, the 
uncle, died at Venice in 1768, aged 71.* Many of his 
MTorks have been engraved, especially liis Venetian views, of 
which there are three sets, one by himself, another by 
Vicentino, and a third by Fletcher and Boitard. 

The two Canaletti painted so much alike that it is very 
difficult to distinguish their works. Bellotto being long 
the pupil of his uncle, completely acquired his manner of 
execution. Canaletto's style is architectural portraiture, 
distinct in forms, individual in colour, and effective in light 
and shade ; it jdisplays so much or so little of contrivance, 
that, as Lanzi has remarked, the common observer perceives 
nature, and the artist art in his wodcs. He used the camera 
lucida, which, says Lanzi, he was the first to apply to its 
proper use, to the linear perspective only ; aerial effects he 
commonly painted from nature. 



No. 127. A View in Venice. In the fore-ground • are 
the sheds and yard of a stone mason ; in the middle distance 
are a quay and a portion of the grand canal, with gon- 
dolas upon it ; beyond these are various buildings, the most 
conspicuous is a tall campanile, next to which are the old 
buildiz^ of the Scuola delia Carit^ erected in 1349, now 
much altered, and known as the Accademia delle Belle 
Arti. 



* Zan^ti, Delia Pittura Veneziana, &c. ; Lanzi, Storia Pitforica, &c. ; 
Matthay, Beschreibung der neu erriekteten Sammluruf Vaterlandiseher Prospecte 
von Alexander Thiele und CeaicdeUOi Presden, 1834/ 



42 CAHAVAGOIO, M. DA. 

Engraved by H. Le Kenx, in the series of prints published for 
the * Associated Engravers;' and by E. Challis, for Jones'^ National 
Gallery. On canvas, 4 ft. h, by 5 ft. 4 in. w. 

Presented to the nation, in 1826, by Sir George Beaumont, Bart« 

No. 163. A View on the Qraistd Canal, Venice. The 
church, which is a principal feature in this picture, was 
built in the early part of the last century, (1718-38,) from 
the designs of Giovanni Scal&rotto ; it is dedicated to Saints 
Simon and Jude, Apostles, and is known by the name of 
San Simeone Piccolo. 

On canvas, 4 ft. 1 in. h. by 6 ft. 8^ in. w* 

Bequeathed to the National Gallery, in 1838, by Lord Farn- 
borough. 



. '-W -/■ v^V^^ -%rf^^». 'V^ S. 



CARAVA'OGIO, M. DA. 

Michelangelo Meri'gi was bom at Caravaggio in the 
Milanese, in 1569, and on this account is generally known 
as Michelangelo da Caravaggio. His father was a mason. 

He maintained himself for about five years painting 
portraits at Milan ; he then went to Venice. From 
Venice he proceeded to Rome ; but there, owing to his 
poverty, he could not procure the requisite materials to 
produce a picture ; he therefore entered the service of the 
Cavaliere Cesare d'Arpino, who employed him in painting 
fruit and flowers and other ornamental parts of his own 
works. Caravaggio at length produced the celebrated pic- 
ture of " II Giuoco di Carte,"' or the Card-players, which 
was purchased 'by the Cardinal del Monte. He also painted 
about this time several oil pictures for the Coniarelli Chapel, 
in the Church of San Luigi de' Francesi. His first altar- 
piece in this chapel, " St. Matthew writing the Gospel," was 
removed by the priests as too vulgar for such a subject: 
Caravaggio painted a second, which gave satisfaction, and 
the first was purchased by the Marchese* Vincenzio 
Giustiniani His masterpiece at Rome is " The Vieiii," or 
Deposition of Christ, formerly in the Chiesa Nuova de' 
Padri dell' Oratorio, or Santa Maria in Vallicella, now in 
the gallery of the Vatican ; a copy was substituted in the 
church for the original, and there is a mosaic of it in the 
Chapel of the Sacrament in St. Peter's. 

Caravaggio was now fully established ; but his Sisposi- 
tion was violent and his habits peculiar. He was playing 



1 



CABA-VAOGIO, M. DA. 48 

at teniiis with an acquaintanoe; and he became so violent in 
a dispute that he killed his companion. He immedi- 
ately fled to Naples, whence, after executing a few pic- 
tures, he proceeded to Malta, where he obtained the favour 
of the Grand-master Vigiiacourt, who sat to Caravaggio 
for two .portraits, and made him a knight of the Cross of 
Maltcu Here again his temper was his enemy, he quar- 
relled with one of the knights, and was cast into prison ; 
he contrived, however, to escape, and fled to Syracuse. 
He afterwards visited Messina and Palermo : having ex- 
ecuted a few pictures in those cities, he returned to Naples, 
where, after a little time, he hired a felucca and set out for 
Rome, having by means of his friends at length procured 
the pope's pardon for the offence which caused his flight from 
that dty. On his way, however, he fell in with a Spanish 
coast-guard, who arrested him, mistaking him for another 
person, and when he was at length liberated he found that 
the people of the felucca had gone off with all his property. 
He wandered despondingly along the coast until he came to 
Porto Ercole, where, partly from his disappointment and 
partly from the extreme heat of the weather, he was seized 
■with a fever and died in a few days, in 1609, aged only 
forty* 

The followers of Caravaggio have been called naiuralista: 
their style, which was founded on a literal imitation of 
the model, was thus opposed to that more ideal view of 
nature which is founded on selection. He had a host of 
imitators among the younger painters of the age ; even 
Gtddo and Domenichino were not exempt from the influ- 
ence. Guercino in part adopted his style, but Bartolo- 
meo Manfrfedi, Spagnoletto, Carlo Saracino, Valentin, and 
Gerlutd Honthorst (Gherardo della Notte) became his de- 
cided imitators. 



No. 172« Christ and the two Disciples at Emmaus. 

As he sat at meat with them, — **He took bread and blessed it, and brake and 
gftt# to theiiL Add their eyfes were opened, and they knew him." — Luke xxiv. 
SO, 81. 

A composition of four half-length figures. Christ break- 
ing bread is seated between the two disciples at a table, on 
tenich is spread an Italian meal ; the fourth figure behind 
is the cook or host* Ramdohr, in his account of the pic- 



* Bellori, Vite de Pimrt, Scultori, ed ArchiteUi Mod$rnu &c., Bome, 1672. 



44 



CAIUUCCI, AG. 



tares and statues in Rome in 1784?, notices the masterly 
manner in which the accessory objects in this picture are 
executed* 

On canvas, 4 ft. 7 in. A. by 6 ft. 5.j in. w. 

Bellori mentions three pictures of this subject, which were painted 
by Caravaggio, all slightly different. The first, containing five 
figures, was painted at Rome, for the Marchese Patrizj ; the second 
was painted likewise at Rome, for the Cardinal Scipione Borghese ; 
and the third at Zagarolo, near Palestnna, after Caravaggio's flight 
from Rome, for the Duke Marzio Colonna* The picture in this col-^' 
lection is the second mentioned ; it constituted part of the Borghese 
Gallery at Rome, until the great dispersion of pictures which took 
place in Italy in consequence of the French occupation of that 
countr3^ It came eventually into the possession of Lord Vernon, 
who presented it, in 1839, to the National Gallery. 



»»r<w»»#**w»^^*^»»»>^w#^w^^>^f<^^^w^»^»#*^^^» 



CARRA'CCI, AGOSTI'Nd 

Agostino CAKRACCiwas bom at Bologna of an old family 
of that place, in 1558.t His father Antonio was a tailor. 
He was placed first with a jeweller, then, by the advice of his 
cousin Lodovico, with Prospero Fontana, the master of 
Lodovioo, and afterwards with Domenico Tibaldi and Cor- 
nelius Cort, under whom he advanced greatly in engraving 
an art with which he was always more occupied than with 
painting. He studied also some time at Parma and at Venice, 
and after his return to Bologna, in 1589, was the most active 
teacher in the celebrated school of the Carracd, then first 
established there. When Annibale was engaged on his 
frescoes in the Famese Palace at Rome, Agostino joined 
him, and, for a time, assisted him : he executed the Triumph 
of Galatea, and the Cephalus and Aurora of that series. 
According to Malvasia, he was not only the painter but the 
designer of those compositions, and their success appears 
to have caused the separation of the two brothers ; it wa3 



* Bamdohr, Ueber Malerei und JBUdhauerarheit in Horn, fur LiebAader des 
Sekdnen in der Kunst, Second Edition. Leipzig, 1798. 

t Agostino's age and the date of his death are thus inscribed on a monu* 
mental tablet in the cathedral of Parma :— " OB. V. ID. MART. M.r)CL -fflT. 
SU-Sl AN. XTiTTT.,** Bellori, who gives the whole inscription, writes by- 
mistake 1602. His transcript, which professes to be faithiUl to the marble 
tablet, is inaccurate in other respects. If the dates in that monmnental 
record are to be regarded as infallible, the year of Agostino's birth, ostensibly 
quoted by Malvasia from the baptismal register at Bologna, August 16, 1557, 
must be a misprint for August 16, 1558. Lanzi, Gioi^ni, and others have 
followed MalTasia in this particular. Bellori, Le Vtte de* Pittori, &c, Roma, 
1672, p. 113. ; Maiyasia, Fekina Pittricey Bologna, 1678, p. 455. 



CAllRACC'J, Aa 45 

reported that the engraver (for as such Agostino was 
chiefly known) had surpassed the painter in the Famese. 
This is said to have excited the jealousy of Annibale; 
diflferences arose between them, and Agostino left Borne 
for Paima^ where he entered the service of the Duke 
jRanuccio, brother of the Cardinal Odoardo Famese ; after 
painting a few pictures, he died there on the 11th of March, 
1601, in his forty-third year only. He was buried in the 
Cathedral of Parma ; his fimeral was, however, celebrated with 
great pomp at Bologna, by the artists of that school, and a 
description of it was published by Vittorio Benacci, in 1603.* 
Agostino was painter, engraver, poet, and musician, and 
well versed in the arts and sciences generally. He was also 
fond of the society of the great, and tliis disposition was, 
according to Malvasia, the principal cause of his separation 
frcnn Annibale while engaged in the Farnese Gallery ; the 
immediate ground of offence being a caricature of their 
father and mother engaged in their tailor's work, which 
Annibale put into the hands of Agostino while surrounded 
by some of his distinguished acquaintances. 

Agostino is allowed to have been the most learned of the 
Carracci, in the^ principles of art ; he is said by Malvasia to 
have been at all times more correct than Annibale, and 
sometimes more correct than Lodovico. His masterpiece 
is the communion of St. Jerome, formerly in the church, of 
the Certosa, now in the gallery of the Academy at Bologna ; 
it is said to be the only picture on which he wrote liis 
name.t He left an unfinished engraving of it, which was 
completed by Francesco Brizzio. Agostino's prints are very 
numerous ; one of the earliest, largest, and best of them is 
the "Crucifixion," painted by Tintoretto for the Scuola of 
San Rocco in Venice. That engraving, completed in Venice 
in 1589, received the highest encomiums from Tintoretto 
himself The print after the St. Jerome of Vanni is also 
one of Agostino's earliest and best works. J 



* Reprinted, without the cuts, in the Felsina Pittrice of Malvasia. 

t Giordani, Catalogo dei Quadri nella Pinacoteca deUa Pontificia Accademia 
di BeUe Arti in Bologna, 1835. 

J See, besides the works of Bellori and Malyasia already quoted, the following 
works on engravings : — Gandellini, Notizie Istoriche deyV Intagliatori, Siena, 
1771, reprinted in 1808; Heineken, Dictionnaire d?^ Artistes dont nous avons 
des Estampes : avec tme notice dctaW,4e de leurs ouvrages graves t 4 vols. 8vo. to 
PIZ. only, Leipzig, 1768-90; 'Bartsch, Le Peintf e- Oraveur, Vienna, 1803-21. 



46 CABBACOI, AG. 

No. 14i7» Cephalus and Aurora. CephaltiB, while on a 
himtiag expedition on Mount Hymettus, ia forcibly carried 
off by Aurora, who was enamoured of him. The aged 
Tithonus, her husband, is represented in the foregroi^d 
sleeping.* Figures larger than Ufe. 

A cartoon, 13 ft. 4 in. w, by 6 ft. 8 in. h. 

No, 148a Qalatea. The sea-nymph Galatea is borne an 
the ocean by Glaucua, or some other marine deity, preceded 
by a Triton blowing his horn, and surrounded by Nereides 
and Cupids on dolphins. Some of the Cupids, bearing 
torches and bow and arrow, are sporting in the air ; one of 
them, as if stunned by the noise made by the marine horn 
of th^ Triton, holds hk hands to his ears. 

A cartoon, 13 ft. 7^ in. w, by 6 ft. 8^ in. A. 

These cartoons, which formed part of the celebrated collection 
of drawings belonging to Sir Thomas Lawrence, are the OFiginai 
designs made by Agostino Carracci, for the frescoes of the two 
principal lateral compartments of the vault of the Carracci Gallery^ 
in the Farnese Palace at Rome. This Gallery has been engraved 
in whole and in part, several times. The first set of prints exe- 
cuted from it was by Carlo Cesio, published at Rome in 1657, in 
thirty sheets, and with the descriptions of Bellori, Galleria nel 
Palazzo Farnese in Roma, &c. It was subsequently engraved by 
Pietro Aquila, Galeriof FarnesiancB Icones, &c., and by others. 
In the explanations accompanying Cesio's prints,f the principal 
figure is named Galatea or Venus, but in the life of Annibale 
Carracci, published fifteen years later> Bellori describes the sub- 
ject definitely as the Triumph of Galatea. Both cartoons were 
presented to the National Gallery, in 1837, by the Earl of Elles- 
mere, by whom they were purchased from Messrs. Woodbum. 



»»t***'<f^*'<f*^'**<l''I W *0Xt**fV*tl0l>»']tf» 



CARRA'CCI, ANNrBALE. 

Annibale Carracci, the younger brother of Agostino, 
was born ac Bologna in 1560. His father intended to bring 
him up to his own business, and employed him in his shop ; 
but his decided ability and taste for painting, led hbn, with 
the aid of his cousin Lodovico Carracci, to adopt that a^ as 
his profession ; and Lodovico, who was five years his senior, 
was his first and only master in the art. In 1580 he visited 
Parma, and studied the works of Corr^gio there for about 



♦ Ovid. Jlfet.vii. 701. 

t Argtmento ddla OaUeria Farnese dipirUu da Anmbah Carraceit dis^nata 
ed intagliata da Carlo Cesio, Nel quale spiegansi et riduconsi aHegoricamente 
alia moraltta^ le Favde Poetiche in essa rappresentate. It is reprinted by Mai- 
vasia in his Felsma Pittrice, 



CAHRACCI, AN. 47 

three years. It soams that he was joined at Parma hy his 
brother Agostino, who, however, left Axmibale to go to 
Venice, where they again met, and dwelt a considerable 
time. Agostino did not return to Bologna until 1589 ; 
Annibale returned somewhat earlier. The three Carracd 
opened their academy in 1589. After executing, together 
with Lodovico and Agostino, several public and private 
wovks in Bologna, Annibale was invited, about 1600, to 
Rome, by the Cardinal Odoardo Famese, who, says Bellori, 
received and treated him as a gentleman — granting the 
usual table allowance of a courtier, for himself and two 
attendants, and a monthly salary. He was assisted in the 
frescoes of the Famese Palace, as already stated, by his bro- 
ther Agostino, who arrived shortly after Annibale at Borne, 
by Lan&anco, and by Domenichino, then a very young man« 
The whole works of the Famese must have been completed 
before or about 1604 ; for, according to a letter of Annibale's 
intimate firiend, Monsignore Agucchi, in whose arms he died, 
he painted scarcely anything (qvxisi niente) during the last 
five years of his life. He died July 16th, 1609, and was 
buried near Eaphael, in the Pantheon. Malvasia says that 
Annibale was assisted also by Lodovico in the Famese ; but, 
as Lodovico was only a fortnight in Kome, from May 31st 
to June 13th, 1602, he could scarcely have afforded any 
great assistance beyond his advice. The altar-piece and 
frescoes of the chapel of San Diego, in the church of San 
Giacomo degli Spagnuoli, were probably also completed in 
1604 ; they were all designed by Aimibale, but he painted 
the altar-piece only ; the frescoes were executed by AlbanL* 
Aimibale Carracci engraved a few plates. 

The Famese gallery was preferred by Foussin to aU the 
works in Eome after those of Raphael. It is superior in 
form to those executed previously by the Carracci, but is 
inferior in colour to the works of the Sala of the Signori 



* Annibale contraxsted to paint these works for 2,000 scudi, 1,000 of wliich 
he gave to Albani, though it was his wish that Albani should receive 1,800, 
reflerving only 200 for himself, which, he maintained, was as much as his 
designs were worth. Albani, however, would not accept more than the hali 
The account of the remuneration which Annibale received for the Famese 
gallerj is unsatisfiictory. He is said to have been paid only 500 scudi, through 
the interference of Don Juan de Castro, a courtier of the cardinal's. Baglione, 
however (Fife de* Pittori, &a Eome, 1642), mentions this sum as tk present 
Cregaio), and, therefore, as over and above his salary (10 scudi a month), which 
it doubtless was. 



48 



CABRACCil, AN. 



Magnani at Bologna. Annibale's portrait, by himself, from 
the Orleans gallery, is in the collection of the Earl of 
Carlisle, at Castle Howard, where there are also several 
other excellent pictures by him, from the same gallery * 



No. 9. Christ appearing to Simon Peter abter his 
Resurrection. St. Peter, according to a legend of the 
Roman church, when flying from Rome to avoid persecution, 
was surprised on the Appian Way by a vision of Christ 
bearing his cross ; and on afiking " Lord, whither goest 
thou?" was answered, "To Rome, to be crucified again.^' 
Feeling thus rebuked for his own pusillanimity, he returned 
to the city, and was shortly afterwards crucified, about the 
year 64 or 65, during the reign of the Emperor Nero.t 
The keys are attached to the girdle of St. Peter. Small 
full-length figures. 

Engraved by G. Chasteau ; in a large size by G. T. Doc, R. A., for 
the series of prints published for the Associated Engravers ; 
and, small, by J. W. Shaw, in Jones's National Gallery ^ &c. On 
wood, 2 ft. 6 in. h. by 1 ft. 9 in. w,. 

A picture of this subject, which was often treated by the early 
Italian painters, is generally described under its Latin title as a 
" DominCy quo vadis .*" the words of the question of St. Peter to 
the Lord. Before the French Revolution,«this picture was in the 
apartments of Prince Aldobrandini in the £orghese Palace at 
Rome, and is described by Ramdohr in his account of the Paintings 
and Sculptures of Rome, in 1 784. J It was brought to England 
by Mr. Day in 1800, and passed subsequently into the possession 
of Lord Northwick and of Mr. Hamlet, and was purchased from 
the latter for the National Gallery in 1826. 

No. 2S. St. John in the Wilderness. 

" And the child grew, and waxed strong in spirit, and was in the deserts till th6 
day of his showing unto IsraeL" — Lttke i. 80. 

A rocky picturesque landscape ; St. John is reclining upon 
a skin, and holds in his left hand the standard of the Lamb, 
the symbol of his mission ; whfle, with his right he is catching 
water in a cup from a stream which flows jfrom the rocks. 
Whole figure, less than life size. 



* The Orleans collection was brought to England in 1792, and was disposed 
of by private and public sales, in 1798, 1799. and 1800. The principal works 
contained in it are engraved in La Oalerie du PcUais JRoyalf Paris, 2 vols. 
foL 1786. See the list of the Italian and French pictures in Mr. Buchanan's 
Memoirs of Painting, ^c; and in Passavant's Kunstreise durch England, &c. 
Dr. Waagen also has given a nearly complete catalogue of the collection in 
his Kuntmverke und Kunstler in England^ vol. L Appendix B. 

t Eusebius, Hist Ecclcs., 1. iL c 25. 

^ Von Ramdohr, Ueber Malerei und Bildhauerarbeit in Bom, &c. 



CARRACCr, AIT. 49 

Engraved by Le Cerf in the Gdlerie du Palais Royal; also 
in Young's Catalogue of the Angerstem CoUeetion; and in Jones's 
NaUoncd Gallery, On canvas, 5 ft. 5 in. h. by 3 ft. 1 in. w. 

Formerly in the Orleans collection, from which it passed, in 1799, 
into the possession of Mr. Angerstein, from whose son it was 
purchased for the nation, in 1824. 

No. S6. Landscape, with Figukes. A lake or river 
scene, with much foliage, and mountains in the distance. On 
the water are parties of pleasure ; in the fore-ground are an 
angler and another figure conversing. 

Engraved by H. Wallis, for Jones's National Gallery, On 
canvas, 3 ft. 1^ in. A. by 4 ft. 4i in. w. 

Formerly in the collection of l*rince Cellamare, at Naples, whence 
it came into the possession of the Rev. W. H. Carr, who bequeathed 
it, in 1831, to the National Gallery. 

No. 63. Landscape, with Figures. A rocky and woody- 
landscape, with mountains in the distance, and a party of 
figures on foot and on horseback ; supposed to represent Prince 
Qiustiniani and attendants returning from the chase : in the 
middle distance, to the right, is a villa situated upon a rocky 
eminence. 

Engraved in Jones's National Gallery, On canvas, 3 ft. S in. 
h. by 4 ft. 5 in. te. 

Formerly in the Giustiniani Palace at Rome, whence it was 
procured by the Rev. W. H. Carr, who bequeathed it, in 1831, to 
to the National Grallery. 

No. 88. Erminia takes refuge with the Shepherds. 
From the story of Erminia, in Tasso's Jeruaal&m Delivered, 

Erminia, daughter of theKing of Antioch, having disguised 
herself in the armour of the heroic Clorinda^ leaves Jerusalem, 
and attempts to gain the tent of the wounded Tajicred, but 
being discovered by some Christian soldiers, she is pursued, 
and escapes with difficulty, eventually taking refdge among 
some shepherds. The picture represents that part of the story 
when Erminia, startled by the sound of pastoral music from 
the first repose which she had taken after her flight, rises, and 
attracted by the rustic strains, discovers an old shepherd, 
whilst i^Lg his flock, busy making curd-basket? and 
listening the while to the music of three children : — 

** Risorge, ela s'indrizza a passi lenti) 
E vede un uom canuto all' ombre amene 
Tesser fiscelle alllk sua greggia accanto, 
Ed aseoltar di tre fanciulli il canto.'' 

LaGeru8alemme,c^8t.6, 

JEngraved in Young's Catalogue of the Angerstein Collection ^ 
and by G. Presbury, for Jones's National Gallery. On canvas^ 
4 ft. 10 in. k, by 7 ft. w. 



60 QMXBMXSSf AK. 

Thii picture wan formerly in the Camucoim Cblleetioii ftt Bome, 
from which it WM parohased bj "Mr. Irvine in 1804 as a work l^ 
Annibale Carracd, but while in the poMession of Mr. Angerstein, 
it was attributed to Domenichino ; upon the removal, however, of 
the collaotion into the present building, it was again assigned to 
Annibale Carracci. As Annibale occasionally employed Domeni* 
chino to execute some of his designs, both masters may have bad 
a share in the painting of this picture.* It was purchased with 
the other works of the Angerstein collection in 1824. 

No. 93. SiLENUS GATHEBING Grapes. Two fituDfl are 
raising Sileixus on a skin to enable him to pluck some grapes 
from a vine above his head : on each side is a stripling boy 
or young &\m climbing the supports of the vine with a similar 
object The autumnal colour of the leaves is assisted with 
gold leaf. 

Engraved by W. Bromley, for the series of prints published for 
the Associated Engravers; and, on a small scale, for Jones's 
National Gallery. On wood, 1 ft. 9 J in, A. by 2 ft. 11 in. w. 

No. 94. Pajt teaching Apollo to play on the Pipb^. 
Such is the title Lanzi gives to this picture. Bamdohr 
describes it as BACCHUS playing to Silenus. Both figure* 
aj?e musicians, for the pipes of Silenus are hanging on the 
stem of a tree behind him ; and a double flute is suspended 
tp the tree by the 9ide of the younger musician, who haa the 
pipes in his hands, aad appears to be watching the effects of 
his notes upon his compamon.t 

Engraved by D. Cunego for Hamilton's Schola JUalica; and by 
Jt BoUa, for Jones's National Gallery. On woody 1 ft. 2 in. h. 
by 2 ft. 8 in. w. 

These two pictures, purchased at Rome by Mr. Irvine for 
Mr. Buchanan in 1804, used to hang in the Lancellotti Palace 
there, together with the " Lot " and the ** Susannah " of Guido, in 
jdiiB collection. No. 94 is described both by Ramdohr and Lanzi 
as a painting a colhy or in distemper, but it is now saturated with 
oiL Bamdohr says, that the ^'Silenus" decorated the top of a 
harpsichord, and he supposed that the "Apollo" or "Bacchus" 
decorated the front of the same instrument. Lanzi speaks highly of 
the second picture, J which formed part of the Angerstein collection, 
and was purchased by Parliament in 1824. The "Silenus" was in 
the collection of the Rev. W. H. Carr, and was added to the National 
Gallery, vrith the rest of that gentleman's bequest, in 1831. 



Ul» . n ^ 



* Passeri, Vite de* Fittori, See, p. 12. 

t Pan is represented by Greek writers as baving the legs of a goat, and horns. 
Compare Lucian's Dialogues of the Gods, xxiL, and Lord Bacon's exposition of 
the &ble of Pan. TForA», vol. i. 

X Bamdohr, IMerMalerei und Bildhawrurhett in Honh &c (17S4), voliiL 
p. 76 ; Lanzi, Storia Pittorica deW Italiat vol v. p* 76. The Ka^hes« Md- 
chiorri, in his Guida Metodica di Roma K>t 1836, apparently oopying earlier 
accounts, speaks of the Silenus as still in the Lan<^otti Palace. 



Na 198p Tun Temptation of St. Anthoky in the 

Desert. The 3aint, tempted on each side by demons, is 
reclining on his back, and appears engrossed at the moment 
by a vision aboye of the Saviour supported by angels. At his 
feet is a crouching lion. 

Engraved bv G. Audran and by B. Faijat. On copper, 1 ft. ^l 
in. h.l)j 1 ft. 1^ in. tv. 

This picture was formerly in the Borghese Gallery at Borne, 
where it wa« mach admired by Mengs, who said of i% that with 
Italian composition and drawing, it combined the execution of the 
Netherlands school.* It was some time in the collection of Lord 
Badstock, and was pnrch^ed for the nation in 1846 of the Earl 
of Dartmouth. 



■<MliO*M»»^«.W»»»<»»»«il«<W^IMM^M^ 



CARRA'CCI, LODOVrCO. 

LoDOViCO Cabeacci, the founder of the eclectic school of 
Bologna, was bom at Bologna, April 2lBt, 1665. He was 
placed with Prospero Fontana; and while in his school his 
apprehension appeared to be so slow, that like Domenichino 
afterwards he was oalled by his companions the ox, U bue. 
He afterwards entered the school of Passignano at Florence, 
and studied the wotks of Correggio and Parmigiano at 
Parma, those of GiuUo Romano at Mantua, and those of 
Titian at Venice. The works of these and other masters 
afforded the el^nents of the eclectic style of the Carraoci, as 
expressed iit the well-known sonnet of Agostino.t 

The school of the Carracci was opened in 1689, and car- 
riiwi on by the oousins conjointly up to 1600, from which 
time it was conducted by Lodovico alone, until his death 
(December ISth, 1619), which is said to have been consi- 
derably hastened by some errors in the fresco of the Annun- 
ciation, in the Cathedral of Bologna, his last work. The 
frescoes of the Convent of San Michele in Bosco, from the 
life of St. Benedict, commenced in 1602, after Lodovico's 

* Bamdolir, Ue^ Mahlerei und Bildhauerarbeit in Rom^ &c vol. 1. p. 294. 

f *f Let him who wishes to be a good painter acquire the design of Borne, 
Venetian action, and Venetian management of shade, the dignified colour of 
Lpmbardy ; the terrible manner of Michelangelo, Titian's truth and nature, the 
sovereign purity o€ Golregio's style, and the just symmetry of a Baphael; 
ibs dMiSrum and w^*grbuBded stody of Tibeldi, the invention of the learned 
Primaticcio, and a little of Parmigiano's grace ; but, without so much study 
and toil, let him only apply himself to imitate the worics which t>ur Nicco- 
lino has left us here.'*^ The last sentence, wfai6h is a mere oompliment, 
reiean to Nideolo del Abate. This sonnet sufficiently explains the principles 
of the electic school, and, at the same time, shows their mere t(Sohnical 
tendency. 

d2 



S2 OABRACCI, L. 

short visit to Rome, and which were generally considered 
his masterpieces, have long since perished, though the 
designs are preserved in the prints of G. M. Giovannini, 11 
claustro di San Michele in Bosco di Bolognxi, &a, published 
in 1694, with descriptions by Malvasia. There are thirteen 
pictures by Lodovico Carracci in the gallery of the Academy at 
Bologna, including some of his most celebrated worksin oiL* 
In the opinion of Sir Joshua Reynolds, no painter knew 
how to haiiionize the treatment of a pirture with its sub- 
ject better than Lodovico Carracci. " Style in painting/' 
says Sir Joshua, " is the same as in writing, a power over 
materials, whether words or colours, by which conceptions 
or sentiments are conveyed. And in this Lodovico Car- 
ra<5ci, I mean in his best works, appears to me to approach 
the nearest to perfection. His unaffected breadth of light 
and shiEtdow, the simplicity of colouring, which, holding its 
proper rank, does not draw aside the least part of the atten- 
tion from the subject, and the solemn effect of that twilight 
which seems diffiised over his pictures, appear to me to 
correspond with grave and dignified subjects better than 
the more artificial brilliancy of sunshine which enlightens 

the pictures of Titian.'' f 

The scholars of the Carracci produced a change in all 
the schools of Italy ; but the qualities of their works, in con- 
tradistinction to those of the great masters of the preceding 
tjentury, are strictly technical or material They remained 
as much below the great masters of Rome and Florence 
in expression, composition, and character, as they surpassed 
them in general execution. The most distinguished masters 
of this school were Domenichino, Guido, Albani, and Lan- 
franco. 



No. 28. Susannah and the two Elders, in the Gar- 
den of Joachim, at Babylon. Susannah, an entire figure, is 
kneeling in the fore-ground, and is holding back her gar- 
ment from the rough touch of one of the elders. — Apo- 
cryphal Book of Susannah. 

Engraved by J. H. Watt for the Associated Engravers ; also 
by A. L« Romanet in the Galerie du Palais Royal ; in Young's 

* Malvasia, Fdsina PUtrtce ; Lanzi, Storia Pittorica, ffv. Bdvisi, Ehgio 
Storico dd Pittore Lodooico Caracci, 8to. Bologna, 1825. Oiordtmi, Cataiogo 
del Quadri ndla Pinacoteca di Boiogna, 

t Discourse 11. 



CASSNTINO, J. DI. 53 

Catalogue of the Angerstein Collection ; and in Jones's National 
Gallery. On canvas, 4 ft. 8 in. h. by 3 ft. 7 in. w, 

Formerlj in the Orleans collection, from which it passed in 1799 
into the possession of Mr. Angerstein, from whose heir it was pur- 
chased for the nation, in 1824. 



OASENTINO, JACOPO DL 

Jacopo Landini, of Prato Vecchio, in the Caaentino, 
where he was bom about 1310, was a pupil of Taddeo 
Gaddi, and painted in a very sinailar style. He waft an 
established painter at Florence in 1350, when he assisted in 
the formation of the Florentine Academy of St. Luke ; he 
was enrolled one of the Company of Painters in 1351. " He 
was also an architect. 

Jacopo was distinguished chiefly as a fi-esco painter ; * he 
executed many frescoes in various places in Tuscany, some 
of which are highly spoken of by Vasari ; but few ti'aces of 
them now remain. He was the master of Spinello Aretino, 
who when young assisted him in some of the many works 
he executed in Arezzo. Jacopo di Casentino died at an 
advanced age, in his native place, towards the close of the 
fourteenth century, about 1390. Vasari states that he 
attained the age of eighty .f 

No. 980. St. John the Evangelist, lifted up into 
Heaven ; with various saints, and other scenes from the 
life of the Evangelist. In the centre is St. John lifted up 
by the Lord among the patriarchs and apostles of the 
cbureh;t on the 1^ are. Saints Bernard, Scholastica, 
Benedict, and John the Baptist ; on the right. Saints Peter, 
Bomualdo, Catherine, and Jerome.§ Immediately over the 
centre picture, is Christ risen from the Dead, the gates of 
liell cast down on one side, and on the other the donor 

* The term fresco is used by Vasari and others, in describing the wall 
paintings of the early Italian masters, bat the method of buon fresco was not 
in use ^the close of the 14th century. See note p. 106. 

t Vasari, Vite de* PiUori, j-c. Ed. Le Monnier, Flor. 1846, et seq. 

^/* Post hffic jiirta altare foveam quadratam fieri jussit et terram extra 
ecclesiam jactari. In quam beatus Evangelista descendens ezpansis manibus 
gratias Deo egit, et orationem deTOtissimam fadit Qua finita tanta lux super 
cum emiouit quod a nemine videri potuit. ]l^ecedenteque lumine, fovea repcrta 
est Manna repleta." &c. See the Golden Legend. St. John Evan. p. 27 ; and 
Peter de Natalibns, Catalogus Sanctorum, ii. 7. 

§ In the open book held by St. Jerome is written Penitenciam agere, est per- 
petrata mala peragere, et peragendo non perpetrare : to do penance is to work 
oat sins, and in working them out to sin no more. 



64 CIMA DA COKMLl&NO. 

and his family presented to Mm by St. John the Evangelist 
and St. John the Baptist ; over the left picture is the arch- 
angel Michael, and over the right, the archangel Raphael 
with Tobias. In the three upper pictures are represented, 
in the middle the Trinity, and the Virgin and the Angel of 
the Annimciation, at the sides. 

In the predella below, are St. John the Evangelist, 
distributing alms, and baptizing catechumens ; the vision 
in the Island of Patmos, in which four angels are bitiding 
four beasts, and the woman pursued by the serpent is flying 
into the wilderness ; St. John liberated ftom the cauldron 
of boilii^ oil, in which he was placed by the orders of the 
Empeiror Domitian ; aad at the extreme ends, St. ApoUonia,* 
and St. Verdiana. 

In the pilasters — on the left, are Saint Francis, St. 
Cosmas, and another saint above ; on the right, St. Margaret, 
St. Damianus, and St. Nicholas of Bari. In all, twenty-two 
pictures. 

In tempera, on wood. Principal pictures, centre 4 ft. A. by 2 ft, 
1 in. w., sides 3 ft. 9 in. h. by 2 ft. w. ; cuspidi, or upper pictures, 
centre 1 ft. 4^ in. A. by 11 in. «?., sides 1 ft. 4| in. h. by 10 in. «^» ; 
predella pictures 1 ft. k., centre 1 ft. 10^ in. w., sides 1 ft. ^ in. tt. 
Outside measure of the altar piece, 9 ft. 5 in. A. by 8 ft. 5 in. w. 
In its original frame, restored. 

Formerly in the church of San Giovanni Evangelista, at 
Prato Vecchio, in the Casentino. Purchased at Florence, from the 
Lombardi-Baldi collection, in 1857. 



- »l«l*^»W«X><»WW»«»WW<MWI»<|<M>«yi«>WOI>«»«>».WW 



CIMA DA CONEGLIANO. 

GiABCBATiidTA CulA DA CoNsauAJfO was the ciontempo- 
rary, and one of the principal rivals, of Giovanni Bellini at 
Venice, but while equally as brilliant in colouring, he was 
more skilful, more vigorous, and more various in his drawing 
and composition than Bellini. The editors of the **Le 
Monnier " Yasari term Giambattista Cima the Masaccio of 
the Venetian sehooL He was bom at Conegliano, near 
Treviso, but his exact time is uncertain. His pictures bear 
dates from 1489 to 1617- He signed his. name Joannes 
BApnsTA and Joannes Baptista Coneglianensis. " He 
was, according to some accounts, the scholar of Giovanni 



* Inscribed St ApoUonia, but the emblem, a female breast held by a pair 
of pincers, is generally that of St Agatha, l^he common emblem of St. 
ApoUonia is the tooth held in a pair of pincers. 



cniABtfB. 55 

Bellini.* The C^Mtello di Conegliaao, Oima's native plaoe 
is oflen represented in the badk-grounds of his pictures^ the' 
landscapes of which he treated with unnsxial skill for the 
period. His son, Oarlo Cima, imitated his works, genuine 
examples of which are rare out of Yenioe. 



Na 300. The Infant Chbist standing ON thb Ensics 

OF THE YiEQiN, who is sitting on a marble seat, and holding 
the child witli her right hand^ while she supports one of 
his feet with her left. A hilly landscape, with a town in 
the back-ground. Inscribed Joannes Baptista, p. in the 
lower comer to the spectator's right. 

< lOANNES BAPTISTA i^'P ^ 

Oft wood, 2 ft. 3 in. h, by 1 ft. 10^ in. w. 
Purchased from M, Koussel in Paris, in 1858. 

No. 634. Madonna, with the Infant Christ stand- 
ing ON HER Knees, who holds a goldfinch in his hand ; a 
hilly landscape, with the view of a town in the background. 
Signed Joanes. Baptista. Conegla*. p. 

(OANES-BAPTISTA'CONEaLA 'P^ 

On wood, 1 ft. ^ in. A. by 1 ft 5 in. w. 

Purchased at Paris, from the collection of M. Edmond Beau- 
cousin, in 1860. Formerly at Powerscourt Castle, where it was 
known as the Madonna del Cardellino ; subsequently in the col- 
lection of Mr. William Coningham, M.P. 



CIMABUE. 

GioVANNJ GuALTiERi, or QiMABUE, regarded by Vasari 
as the father of modem painting, was bom at Florence 
in 1240. Though not the first of the Italians to forsake 
the conventional habits of the Byzantine School, he was 
the most successful of the painters of the thirteenth cen- 
tury in combining the study of nature with the traditionary 
art of his time. His reputed master was Giunta of Pisa, 
a cracifix by whom, painted in 1236, is still preserved in 
Santa Maria Degli Angeli at Assisi-f Whether, as Vasari 



♦ Vasari, Ed. Le Monnier, vol. vi. pp. 100 and 118} Zanetti, PUtura 
Veneziana, 1771, p. 60. 

f Traced in Ramtoux's Outlines from old Christian Paintings in Italy, 
Umrisse zur V&ranschaulichung cUt Chrktlick&r Kunst in ItaHen^ vow Jahjre 
1200 bis 1600, ^c, foUo, 



56 CIMABU£. 

states, Cimabue executed any of the frescoes in the upper 
church of San Francesco at Assisi, is doubtfuL 

Two well-authenticated pictures by him are — rthe Madonna 
with Angels, in the, Academy at Florence, (formerly in the 
church of the SS. Trinita,) and the colossal Madonna still 
in the Bucellai chapel, in the church of Santa Maria 
Novella at Florence. The last named is not only the best 
of the remaining works ascribed to him, but, compared with 
contemporary and even some later productions, has merits 
sufficient to entitle him to the distinguished place which 
Vasari assigns to him. The tradition, preserved by the 
biographer, that the Rucellai Madonna was carried in a 
procession with great festivity from the painter's house to 
the church, is supposed to have been embellished as regards* 
some of the incidents; but there seems no reason to 
doubt that such a work, intended for a religious purpose 
should, at the time, have excited general enthusiasm. 

Cimabue's additional claim to distinction is that of having 
discovered and trained the superior abilities of Giotto. 

In 1302 it appears that he was occupied on a mosaic 
in the Duomo at Pisa, and as the work was left luifinished, 
that date may, with probability, be assigned as the year of 
bis death,* .. 



No. 565. The Mabonna and Child enthroned, 
Anqels adoring. The Virgin is seated, and holds the 
child sitting on her left knee: on each side, behind tlie 
throne, are three angels in adoration. Half-figures, larger 
than life. 

In temperoj on wood, with a gable top, 6 ft. 3 in. A. by 5 ft. 
6 in. w. 

This picture is described by Vasari as having been attached to 
a pilaster in the choir in the church of Santa Croce at Florence, 
It was still in its place in 1591 ;j- but in 1677 it had been 
deposited elsewhere in the convent of Santa Groce, in conse* 
quence of alterations in the church ;:J: it remained in the con- 
vent until it came into the possession of the Signori Lombardi 
and Baldi, from whose collection, at Florence, it was purchased 
for the National Gallery in 1857. 



* Vasari, Vite^ &c. Ed. Le Monnier, Flor. 1846, et acq, 
t Bocchi, Le Bellezze deUa Cittd di Fiorenza, p. 153. 
% Cinelli, Le Bellezze deUa Cittd di Firenze. &€,, ampliate ed acaetciute 
Flor. 1677, p. 316. 



CTAUDS. 57 

CLAUDE. 

Claude Gele'e or Qille'e, called Claude de Lorraine, 
or le Lorrain, and also Claude Lorrain, was bom in Lorraine, 
at CWtteau de Chamagne, near Charmes, department des 
Vosges, in the year 1600. His parents T^nere very poor, and 
as Claude showed no disposition to learn to read or write 
he was placed with a baker and pastry-cook. The cooks 
of Lorraine were celebrated in the time of Claude's youth, 
and according to his friend'and biographer, Sandrart, Claude 
travelled to Rome in the company of some of these cooks, 
like them, to seek employment there. He found it with 
Agostino Tassi, and the circumstance of his master being a 
painter appears to have first inspired Claude with a fond- 
ness for art. Tassi was a good landscape-painter (he had 
been the pupil of Paul Bril), and with this painter Claude 
engaged himself a« an ordinary domestic servant. He both 
prepared his master's meals and ground his colours for 
him ; but he acquired at the same time the' rudiments of 
his art.* 

How long Claude was engaged in this menial capacityis un- 
certain, but probably some years after his repeated efforts in 
art. Tafisi's principal works were those of the LanceUotti and 
Quirinal palaces, executed during the pontificate of Paul V. 
(1606-21), and it must have been during their progress that 

* Sandrart, from whose Teutsche Academie, &c., or Accademia Todesca, the 
above account is taken, was the intimate companion of Claude, and his work 
-was published during Claude's lifetime (1675); it is therefore most prohablj 
correct, or at least must be of more nuf^o^it7 than the account in the post- 
humous volume of Baldinucci, who lived at Florence, and was probably not 
even acquainted with Claude. This subject is noticed here, as Baldmucci 
{NoHzie dei Professori del Disegno, &c.) is represented in the Biographic 
UniveraeUe, and elsewhere, as contradicting Sandrart's account of Claude's 
ori^. Baldinucci does not contradict Sandrart; he merely gives a different 
account of Claude's journey to Rome. He states that Claude, after the death 
of his parents, who died when he was twelve years of age, joined an elder 
brother lu ALrace, who was a wood-engraver, and subsequently accompanied 
a lace-merchant, his relation, to Kome. This may have taken place after 
Claude had been some years with the pastry-cook with whom he was placed 
by his parents, according to Sandrart. But Claude's history was too remarkable 
for Sandrart not to have heard it from his own mouth during their repeated inter- 
course and sketching excursions together when in Rome {Lebenslauf Joachims 
von Sandrartj &c., p. 12, and in the second volume of the Academia Todeaca 
p. 332). In the Latin translation of Sandiart, which was published in 1684, 
nine years after the original work, there is a nds-print in the text of pictori for 
pistori, by wliich Sandrart is made to say that Claude's master was & painter of 
pies instead of a baker of pies (pictori cuidam artocreatum) ; the same mistake 
occurs in tlie marginal note, and in the index j and a few recent writers have been 
led into error by it The misprint, however, is quite evident merely from the 
context « 



66 GLAXTSHL 

Claude was Tassi's servant. In thd pontificate of Urban VIII. 
(1623-4i4), he was already known at Borne as a great land- 
scape-painter. The intervening pontificate of Gregory XV., 
therefore, was about the period that he was struggling for 
the obscure independence noticed by Sandrart, and he ap- 
pears at this time to have visited his native country. He 
visited also Venice and Naples, and in the latter place he 
is said to have received some instruction from a landscape- 
painter of the name of Gottfried Vals. Sandrart first taught 
Claude to paint from nature In 1680 he appeared as an 
engraver : of the several etchings ascribed to him, about 
one-half bear dates from 1630 to 1663,* the rest are with- 
out dates. ' His earliest pictures of note may have been 
painted from about 1630, the best, fifteen or twenty years 
later. He was in the habit of preserving sketches of his 
pictures in a portfolio or book, which he called Libro di 
Verita^ or Book of Truth ; and on the backs of some of 
these drawings are written the dates of the completion of the 
pictures, and the names of the purchasers. This remarkable 
collection of drawings is now in the possession of the 
Duke cf Devonshire.! 

Claude was extremely slow and carefiil in his execution. 
Sandrart says that he often painted for a week or a fort* 
night on one part of a picture, without showing any pro« 
gress. He always had a great difficulty in painting or 
drawing the human figure or animals, though he drew 
much from the life, and attended the Academy of Bome 
many years. He generally procured the assistance of 
F. Lauri, J. Oourtois, A. Both, and others, in executiog this 
part of his pictures. 

Claude's chief excellence is in aerial perspective, and in 
the management of light generally. He died at Rome in 



* Robert ' DuBQigftnil, in La Peintre'Graveur Franfais, describes forty-tiro 
etchings by Claude, and gives fao-simifes of eighteen of his signatures^ no two 
of which are alike. He wrote his christian name generally in tl^ Italian form--* 
Claudio, and sometimes in the Latin form — Claudius. His surname is written in 
a variety of ways ; Gillee seems to be the most constant. 

t It was engraved by Bichard Earlom, for John Boydeil, under the following 
title :-><*Zi6er Veritatis; or, a CoUectUm of Tioo Hundred Frinta after the 
original designs of Claude le Lorrain, in the CoQection of his Grace the Duke of 
Devonshire, Jy^ndon, 1777." Copied by Ludovico Caraodok), Boma, 1815. 
Caraocic^, in a Life of Claude prefixed to his work, pretends to correct pre* 
vioutf writers by referring to the (misprinted) Latin passage in Sandrart above 
quoted. » 



If (Hi 



eLkxmB. 50 

1682, and was buried in the church of La Trinity de' Monti. 
The two FoussinB and Salvator Bosa were contemporary 
with him at Eome.* There is a good collection of Claude's 
dxawingB in tbQ British Museum, 



* 

No. Z. Pastoral Landscape, wrm Fiaxmias, illustrating 

the reconciliation of Oephalus and Procris. The principal 
feature of this picture is a large cluster of treeli in the centre ; 
at the left is a stream, with cattle wading through it ; a 
bridge through which the stream flows and forms a small 
cascade, and a castellated height bfehind it, constitute the 
back-ground on this side^ on the other is a distant view 
of a champaign country, bordered by mountains. To the 
right, Cephalus is receiving from Procris the presents of 
TKana, the hound Lelaps, and the fatal dart with which 
fihe was subsequently killed. 

Engrayed by B. Earlom, in the Liber Veritatis, No. 91 ; by 
J. Browne, for Boy dell, in 1779 ; by J. Pye, for the series of prints 
published for the Associated Engravers ; and small, in Jones's 
Jfational Gallery, On canvas, 3 ft. 4 in. h. by 4 ft. 5 in. w. 

Painted, according to the date upon it, in 1645, for some person 
residing in Paris. It was brought to England by Mr. Delahante, 
and formed subsequently part of the Angerstein Gallery, and 
was purchased, with that collection, in 1824. Signed— 



ft- 



IV- ROMR. 



■ 

f J No. S. A Seapobt At Sunset. A composition On the 

left axe masses of Italian architecture in perspective ; on 
the extreme right a few ships are lying at anchor : in the 
f(Ore-ground are seTeral figures, variously odoupied. To^ 
wards the middle of the picture, the declining sun is already 
nearly level with the horizon. 

Engraved in the Liber Veritatis, No. 28 ; in Jones's National 
Gallery I and by E. Goodall, for the series of prints published 



* Bttiu^rt, JjAccddemia Tbdesea ; or, T^tsehe Academie (kr edien Bau' 
BUd^und Mukpejf^KumiSj 4 vols. Mo, Ndmberg, 1675-7(^} Fa^cofi, ViU de' 
PUUnriy Scidtori^ed ArchitetH Modenu, Komev 1736; D'Arfeuvilie, AMgede 
la Vie deaplusfameux Peintresy Paris, 1745. 



60 GLAUDJS. 

for the AMsociaied Engraver9. On canvas, 3 ft. 3 in. h. by 4 fL 

3 in. w. 

This picture is dated 1644 : it was painted for the Cardinal de* 
Medici. It was imported into this country by Mr. Delahante, 
and formed part of the Angerstein collection, with which it was 
purchased for the nation in 1824. Signed — • 

No. 6« Landscape, with Figures, supposed to represent 
David at the Cave of AduUam. Also called Sinon brought 
before Priam. 

*'And David longed, and said. Oh, that one woold give me drink of the 
water of Beth-lehem, which is by the gate ! 

" And the three mightj men hrake through the host of the Philistines, and 
drew water out of the well of Beth-lehem, that was by the gate, and took it 
and brought it to DavidL" — II. Samuel, xxiiL 16. 

On the right, behind the principal figures, is a broken 
rocky height, thinly covered with small trees and bushes; 
opposite this, towards the left, is a very prominent group 
of trees, constituting with its fore-groimd the principal dark 
mass of the picture, and giving distance to the woody cas- 
tellated eminence in the middle-ground behind. Imme- 
diately before the trees two warriors are hastening to join 
the assemblage around David. The distance is an exten- 
sive and varied country. Several groups of small figures 
are interspersed about the picture. Signed Claudio 

GiLLEE LV. ROM-fi, 1658. 

Engraved in the Liber VeritatiSy No. 145 ; and by J.C. Varrall, 
for Jones's National Gallery. On canvas, 3 ft. 9 in* A. by 6 ft, 
2iin. 

This picture, called the Chigi Claude, was painted in 1658 for 
Agostino Chigi, and was, up to the time of the French revolution, 
in the Chigi Palace at Rome, from which it passed into the pos- 
session of Mr. Sloane, an EngUsh banker there ; after his death 
it was sent by his family to England. It came subsequently into 
the possession of the lie v. W. H. Carr, who bequeathed it in 1831 
to the National Gallery. 

No. 12. Landscape, with Figuiies, representing the mar- 
riage festival of Isaac and Rebecca. A broad river, with a 
picturesque water-mill on the left hand, and a more distant 
bridge leading to a town on the opposite side, constitute 
the centre of the picture : the scene is bounded by moun- 
tains. On each side are lofty spreading trees, and behind 
those on the left is seen a waterfall : in the fore-ground is a 
bridge of a single arch, with cattle drinking from the stream 
wliich flows under it ; to the right are the figui'es celebrating 
the marriage festival of Isaac and Bebecca, according to the * 



CLATTDE. 61 

inscription on the picture itself — "Mariage d' Isaac avec 
Rebecca** 

.CWDIO-GiU- '^^ 

Engraved in the L^er VerilatUt No. 113 ; by J. Mafion, in 1748; 
by E. Groodall, for the series of prints published for the Associated 
Engravers; and small, in Jones's National Gallery. On canvas, 
4 fU 11 in. h. by 6 ft. 7 in. w. 

This picture» which, with the following, was painted in 1648, 
for the Duke de Bouillon, at Paris, is a repetition, with considerable 
variations in the details, of the celebrated Doria or PanfiU Claude, 
known as ^^H Molino^^ or Claude's Mill, and is of the same 
dimensions. There is a print of the Doria picture, by F. Vivares, 
engraved in 1766, and another by F. W. Gmelin, engraved in 
1804. The picture above described was subsequently in the 
Angerstein collection, with which it was purchased in 1824.* 

No. 14. Seaport, with Fioxjriss, represenfing the em- 
barkation of the Queen of Sheba, on the occasion of her visit 
to Solomon. The time appears to be the early morning, as 
the sun is represented only a little above the horizon ; on 
the left, in the fore-ground, and occupying the whole height 
of the picture, is a Corinthian ruin, behind which is seen 
8ome shipping ; on the right, extending back towards the 
centre of the picture, is a pile of Italian architecture, partly 
rdieyed by foliage : the queen and her attendants are de- 
scending a broad flight of steps on this side, to enter a boat, 
which is waiting to receive them. A ship is lying at anchor 
near the entrance of the port. Several figures to the right, 
and a boat in the centre, occupy part of the fore-ground. 
The words La Reme de Saba va trover Salomon, nearly 
obliterated, are written in the right comer of the picture. 

La* Reinede-SABA va- 

« 

TKov E a- ^Salomon- 

* Some coDDoiMetm have pronounced thia picture a copy of the Doria Claude, 
but a comparison of the above-mentioned prints will show that there are con- 
iriderable variations in all parts of the two pictnres. The figores are very different 



92 cuxnoz^ 

Engraved in the Liber Veriiatis, No. 114; by J. C. Varrall, for 
Jones's National Gallery ; and by J. Pye. On canvas, 4 ft. 11 in» 
h, by 6 ft. 7 in. w. 

This picture is known as the Bouillon Claude, from the Duke de 
Bouillon, with whpse name it is inscribed in the left corner, and 
for whom it was painted, together with No. 12, in 1648. Both 
pictures remained in the possession of the Bouillon family until 
the French revolution, when they were brou^t to fiogland, and 
were bought by Mr. Angcr«tein, with whose coU66tion t^ey were 
purchased for the nation, in 1824. The inscription referred to 
is— 

ClZ/DE Cif* -IV FAfcT'POYa*soN'ALJESSE-i.E,I>VC.pE. 

•BVILLOK' AROMA* l^-^^^ 

No. 19. Landscape, with Figures, represejxtmg tha 
story of Narcissus aiui Echo. This picture is almost equally 
divided into two principal masses : da^k shady foliage, oocu^- 
pying the whole leiBb, is separated from the bright sky of 
the rest of the picture by a castellated eminence and more 
distant foliage in the middle-ground. The* distance to the 
right, represents a bay of the sea, with a small town on 
either side, and is bounded by mountains. There is also 
a small cluster of trees to the right of the picture. The 
fore-ground is occupied by a transp^ent shady pool, on tlie 
farther side of which Narcissus is admiring his isiag^ in 
the water ; above him, to the left, are two nymphs, almost 
hidden by the trees, watching him. The nymph, lying at 
the extreme left on this side of the pool, is ap{>arenily the 
discoixsolate Echo, pining for the love of Narcissus. 

Engraved in the IM}€r Veritaeis, No. 77 ; by F. Vivares, in 
1743 ; and by W. B. Cooke, in Jones's National GulUry. On 
canvas, 3 ft« 1 in. h, by 3 ft, 11 in. w. There is an obscure m* 
scription in the left corner. 

According to the Liber Veritatis, this picture was painted for 
England in 1644. It was formerly in the possession of Mr. P. 
Delrn^ from whose collection it was purchased by Sir George 
Beaumont, who presented it, with other pictures, in 1826, to the 
National Gallery. 

No. 30. Seaport, with the Embarkation of St. TTr* 
SULA. The water in this picture is a sn&aU baidn or harl^ur ; 
on the left side is a pei^pectiye ^ew of a ridi pile "pf opchi- 
tecture, on the other are Jiarbour works and foliage, ^fid the 
ships about to conduct St. Ursula and her followers on 
their pilgrimage. Tlje saint, with a long'trajDF <5f virgins, 
is descending a flight of siteps to the boats, wKich are ready 
to convey thcB^ on board the ships. In the fore-ground 
are various figures busily occupied, some with mercbwdiwi^. 






CSUilTDM. 68 

others ynih their boats. " The effect of the breeze upon 
the water and upon the trees, and the freshness of the 
morning atmosphere, in this picture/' says Mr. Ottley,* 
'^ are expressed tvith a closeness of imitation bordering on 

illusion.'' t 

Engraved in the Liber Veritatis, No. 54 ; also by Dominiquo 
Barriere, at Bcmie, in 1665 ; by J. Fitler, in 1787 ; by H. Le Kegx, 
for the series of prints published for the Aftociated Engravers ; 
and small, in Jpnss's NaHowd Gallerj/i* On canvas, 3 ft. 8 in. h. 
by 4 ft. 1 1 in. to. Signed, but the signature is not legible. 

This picture was painted for Cardinal Barberini, in 1646, and 
remained in the possession of the Barberini family until 1760, 
when it was purchased by Mr. Lock, of Norbury Park. It formed 
subsequently part of the Angerstein Gallery, and was purchased 
with the other works of that collection, in 1824. 

No. S5« Landsoape, with Figurbs, representing the 
death of Frooris. The scene is in a forest ; the sun is still 
high. In the middle-ground, among the trees, may be dis- 
cerned a town on the border of a small lake ; a deer is 
also very prominently introduced descending a hiU which 
leads towards the lake. In the fore-ground Procris lies 
piercQd by the &tal arrow firom the hand of her husband 
Cephalus, who, followed by his hound, is hastening to her 
assistance. 

Engraved in the Liber Veritaiis, No, 100 ; of the full size, by 
J. Browne; and small, in Jones's Rational Gallery, On canvas, 
1 ft, 8 in. h. by 1 ft. 7 in, w. 

Presented to the nation in 1826 by Sir George Beaumont, Bart, 

No. S8. Landscape, with Goatherd and Goats ; 
sometimes called a study of trees. A large open cluster of 
trees constitutes nearly the whole picture : in the fore- 
ground is a goatherd, playing the pipes while tending his 
goats, 

Engraved by G* A, Chocarne for Jones's National Gallery. 
On canvas, 1 ft* 8^ in. A. by 1 ft, 4 in, w. 

Presented to the nation in 1826 by Sir George Beaumont, Bart, 

*I>e$€nptiM Catalogue ^ tk4 Picture* im the National Gallery, &e. London, 
1832. 

f The pilgrimage of St Urstda and her attendant yirgins is the subject of 
the beautifiil paintings by Memling, on the celebrated Shrine or Chasse de 
St Ursule, preserved in the Hosmtal of St John, at Bruges. St Ursula, 
according to the legend, iras an English princess ; she and her followers 
suffered martyrdom at Cologne, in tba third century. In some accounts the 
number of virgins is not specified, in others 11,000 are mentioned, but the 
figures XI.M.V. might be explained as TTndecim Martyrum Virginum, eleven 
martyr virgins, wiUi much more probability tlian as Undecim Millia Virginum, 
eleven, thousand virgins. See Notice des Tableaux de V Hdpital Civil de 
S. Jean a Bruges^ 1842 ; also Baron Keversberg, Ursule, Princesse britannique, 
d'aprts la Ligende, et le3 Peintures (TJSemUng ; and the Article Mbmlino, in 
the Supplement to the Penny Cyclopadia, 



64 OLOUET. 

No. 61. Landscape, with Figt^res, supposed to re- 
present either the Annimciation or the Angel appearing to 
Hagar. The figures are in the fore-ground to the left ; on 
each side of the picture is foliage, that to the right covering 
a great portion of the picture. The middle-ground is 
* occupied by a broad winding river, over which a single 
arch conducts to a high rock, occupying the centre of the 
middle distance, and which is surmounted by a castle or 
town. The view is bounded by low mountains. 

Engraved in the Liher Veritatis No. 106; by J. Pye, for the 
series of prints published for the Associated Engravers ; and by 
J. C. Varrall, in Jones's National Gallery, On canvas, 1 ft. 8 in. 
A. by 1 ft. 5 in. w. 

Presented to the nation in 1826 by Sir George Beaumont, Bart., 
with whom, however, this picture was so great a favourite, that he 
requested permission to have it returned to him for his life-time ; 
it was restored to the National Gallery, upon Sir George's death, 
by his widow, Lady Beaumont, in 1828. 



#»<^^»*W»A»<^W#W»<N»Wtf»rAW#>»l»»^»<<»WW^»<#<^>W» 



CLOUET. 



Francois Clouet, bom in France, probably at Tours, 
about 1510, was the son of Jean Clouet, a Fleming settled 
in France, commonly called Jeannet, and his wife, Jeanne 
Boucault, a native of Tours : Jeannet was painter and varlet 
de chambre ordinaire to Francis I. as early as 1518, but 
as he had never been naturalized, when he died, in 1541, 
his property was forfeited to the king. This jproperty was 
restored to Francois Clouet, his heir, who had then the same 
rank as his father, in the month of November of 1541. 
Fran9ois was the fourth painter of this family ; his grand- 
father Jean had also settled in France, at Tours, and an 
uncle (a brother of John) was painter to Margaret and 
Henry of Navarre, at a salary of 200 francs the year. 
They appear to have been all employed and .distinguished 
as portrait painters. Francois was still living January 1st, 
I57l', but was already dead in 1574.* 



No. 662. A Man's Pobtrait, in the costume of the 

sixteenth century. Small figure, bust. Dated 1543. 

On wood, 12 in. A. by 9 in. w. 

Purchased from M. Edmond Beaucousin, at Paris, in 1860. 

* Le C^*' De Laborde, La Renaissance des Arts d la Cour de France, — 
Peinture, 1850-6. 



COBNEUSSEN. 65 

CORNELISSEN. 

Jacob Cornelissen, or Cornelisz, was bom at Ea^ifc 
Zaandam, in North Holland, about 1475 — 1480, and died, 
very old, at Amsterdam, about 1555 — 1560 ; he was still 
painting in 1553. Van Mander speaks of him as a great 
painter, and mentions some altar-pieces by him : he was the 
master of Jan Schoore^ and he had a son Dirk, who was 
likewise a good painter, especially of portraits ; he died in 
1567. Jacob Cornelissen was also an engraver. There are 
still some prints preserved by him, the *' Life of Christ " 
and others, dated 1517 and 1518 * 



No. 6B7. Portraits of a Dutch Gentleman and 
Lady, kneeling, with their patron saints, Peter and Paul, 
standing behinud thent Small full-length figures. 

On wood, each panel 2 ft. 8 in. A. by 10^ in. w. 
Formerly the doors of a small altar-piece. Porchased from 
M. Edmond Beaucousin, at Paris, in 1860. 



CORREGGIO. 

Antonio Allegbi, commonly called Cobreqgio from his 
birth-place, a small town now constituting part of the 
duchy of Modena, was bom probably in the winter of 1493-4; 
the exact date is not known. His fiither, Pellegrino Allegri, 
was a merchant in good circumatance& The whole youth 
of Antonio is involved in obscurity; but he is supposed to 
have been first instructed in painting by Antonio Bartolotti, 
a painter of Correggio. He executed several good pictures 
in his native place. In 1519 we find him a master of 
established reputation at Parma. The celebrated cupola of 
San Giovanni was commenced in the folloMong year; and 
two years later, 1522, he contracted for the great works of 
the dome of the cathedral of that place. The works of these 
two churches are painted in fresco. In the church of San 
Giovanni he has represented the Ascension of Christ ; and 
in the cathedral, the Assiunption of the Virgin, the apostles 
being witnesses of both events.-]- 

* Van Mander, Het Leven dor SehUders, &c., voL i. ed. 1764. 

t Engraved bj G. B. YannL A new series of admirable prints from tbese 
and from the frescoes of San Giovanni were in the course of being engraved by 
the late Cav. Toschi ; it is to be hoped that the undertaking will be continued 
hj his numerous and able scholars. 

£ 



6$ coBESc^aio. 

The frescoes of the cathedral were left unfinished by 
Correggio. He contracted to paint the whole dome and 
choir for 1000 ducats,* but he did not complete even the 
dome ; it was finished by his pupil, Giorgio GandinL He 
died of a fever at Correggio, on March the 5th, 1534, in 
bis forty-first year, being survived by his father, his wife, 
his son Pomponio, and one of three daughters, 

Correggio was married, in 1620, to Girolama Merlini, a 
young lady of Mantua, with whom he received a con- 
siderable dowry. She is supposed to have been the 
original of the Madonna in the Holy Family, known as 
La Zvn/garella.^ Correggio's great reputation rests chiefly 
upon the frescoes mentioned abovQ, but he is the master 
likewise of many of the most celebrated productions of 
oil-painting extant* and some of these were painted at 
Correggio before his visit to Parma in 1519, when he was 
then only in his twentynsixth year ; ae ihe St. George and 
the St. Sebastian, now two of the principal ornaments of 
the magnificent gallery of Dresden. The celebrated pictures 
of the " Notte,'" and the " Magdalen Eeading,"" are also in 
that collection. 

Correggio'g frescoes, and even some of .his oil pictures, are 
remarkable for violent, but skilful foreshortenings. His 
proverbial gmce — apparent, not only in his undulating 
forms and soft tranidtions, but in the action and expression 
of his figures, — is a distinctive characteristic of his works ; 
and he is still unrivalled in a certain harmony which results 
from delicate gradations of light and shade. 

The pictures of Correggio were so exclusively conspicuous 
for these qualities before the rise of the modem school of 
Bologna, that the first sight of some of his works forced 
Annibale Carracci, in a letter to his cousin Lodovico, to 
declare that in comparison with them the St. Cedlia of 
Baphael appeared to be wooden. He says, in a letter to his 
cousin, dated Parma, April 18th, 1680, ^^Tibaldi, Niooolino, 



* This and other circumstances, shown by documents published by Pungileoai 
in his Memoir of Correggio, prove that the common report, circulated by 
Vasari about Correggio's poverty, is more than doubtful He appears on all 
occasions to have been veil paid for his works. One thousand duoats are equal to 
about five hundred pounds sterling, and must, at that period, have been equiva- 
lent to the value of at least three or four thousand pounds at the present day. 

t Pungileoni, Memorie Istoriche di Antonio AUegri detto U Correggio, Parma, 
1817-21 ; Sketches of the Lives of Correggio and Farmigiano. I^wdon, 1823. 



I 



V CORREOaiO. 67 

I would almost say Raphael himself, are not to be compared 
[with Correggio]. — The St. Jerome, the St. Catherine, the 
Madonna deUa Scodella, I would rather have any one of 
them than the 'Saint Cecilia.' How much grander, and 
at the same time more delicate is St Jerome, than 
that St. Paul,* which at first appeared to me to be a 
miracle ; but now I feel as if it were made of wood, it is 
so hard !''t 

No. 7» Group of Heads. Ten various views of heads, 
representing apparently part of a choir of angels. These 
are marked as being " afCer Correggio/' 

Engraved in Jones's Na4ifmdl GaUery, On canvas, 5 ft A* by 
3 ft. 6 in. w. 

This picture and its companion, No, 37, were formerly in the 
possession of Christina, Queen of Sweden : they subsequently 
passed into the Orleans collection, with which they were brought 
to this Gantry, and were purchased by Mr. Angerstein. They 
were probably taken to Sweden as part of the plunder of Prague, 
when that city was captured by the Swedes under Count K6nigs- 
xnark, July 15, 1648, and the pictures collected by the Emperor 
Rudolph U. were carried to Stockholm. Among these pictures 
were several by Correggio, which had been presented to the 
Emperor by Federigo. Gonzaga, Duke of Mantua, for whom they 
had been originally painted, j: 

No. 10« Mebcubt msTRTTcrma Oupid in the pbesence 
OF Venus. Mercxiry, dressed only in his winged cap 
(Petasus) and sandals (Talaria), is seated on the ground, 
and is endeavouring to teach Cupid his letters, of which, 
according to a Greek myth, he was the inventor. The little 
ggd, standing by his side, appears to be paying due attention 
to his lesson. Venus, here represented as winged, has taken 
temporary charge of Cupid's bow, which she holds in her 
left hand, and appears to be entertained with the novel 
spectacle. The back-ground of dark foliage contrasts finely 
with the well-roundea nude of the figures. Entire figures 
nearly of the natural size. 

Engraved on a large scale by Arnold de Jode, in 1667, and in 
small, in 1786, by Le Villain, for the Galerie du Palais Royaly 

- I I I I r I I 1 1 ■ ' — ' — -.^ 

* The figure of Paulm the picture of St Cecilia. 

t Malvasia, FMna PiUrice, yoI I p. 365. The St Jerome id now in the 
Gallery of the Academy of Parma. There are prints of it by Ag. Oarracci, 
C. Cort, and Sir B. Strange. Annibale was only twenty years of age when he 
wrote this letter ; he wo^d probably not haye used such expressions after his 
acquaintance with the works of Raphael in Borne. They, howerer, explain the 
tendency of the rising school of Bologna ; it was sensuous and technlcd. 

J Winckehnann, Werhe, vol. i. p. 70. 

E 2 



68 CORREGGIO. 

in which there WHs a duplicate of this composition. On canvas, 
5 ft. 1 in. A. by 3 ft. w. 

This picture, one of Correggio's masterpieces, was formerly in the 
possession of Charles L, who purchased it of the Duke of Mantua 
with the rest of that prince's collection in 1630. It was bought, 
after tlie dispersion of the King's effects (it brought 800/. at the 
sale), by the Duke of Alva : it was subsequently the property of 
the Prince of Peace, in whose collection it was at the time of the 
occupation of Madrid by the French, when in 1808 it fell into 
the possession of Murat, afterwards King of Naples, and it was 
thus, after a lapse of two centuries, restored to Italy. Its next 
possessor was the Marquis of Londonderry, who obtained it, 
together with the'^Ecce Homo,'' No. 15 in this collection, of 
the ex-Queen of Naples, at Vienna; and both pictures were 
purchased from the Marquis of Londonderry, in 1834, for the 
National Gallery. 

No. 15. Christ presentbd by Pilate to the People, 
called the " EccE Homo.'' 

** Then came Jesus forth, rearing the crown of thorns, and the ymt^ robe. 
And PHate saith unto them, Behold the man !"* — John xix. 5. 

The greater part of the picture is occupied by the %ure 
of our Saviotir, behind whom, to the left, is Pilate, pointing 
•with his right hand to Christ, and uttering the wordk 
which constitute the title of the subject. On the right is 
seen the head of a Eoman soldier, and in the fore-ground, 
to the left, the Virgin Mary is represented in a swoon, 
supported in the arms of St. John. Half-length figures, of 
the natural size. 

Engraved in 1587 by Agostino Carracci, of which print there 
are several copies ; more recently hy P. Bettelini, and by G. T. 
Doo, R.A. ; and in small, in Jones's National Gallery. On wood, 
3 ft. 2^ in. A. hy 2 ft. 7^ in. to. 

This picture, formerly in the possession of the Counts Prati 
of Parma, was subsequently long in the Colonna Palace in Rome, 
and it was, according to Ramdohrf the best picture by Correggio 
inthat city (in 1784). It is noticed also by Mengs, who supposed 
it to be one of the painter's earlier works. J It was purchased 
of the Colonna family by Sir Simon Clarke, who, being unable to 
remove it from Italy, sold it to Murat, then King of Naples, and, 
as already mentioned, it was purchased, with No, 10, from the 
Marquis of Londonderry, in 1834. 

No. 23. The Holy FaAily. The infant Saviour is 
seated on the lap of the Virgin. In the back-ground is 
St. Joseph occupied as a carpenter planing a board. In the 



* Et dicit eis : Ecce Homo I in the words of the Latin Vulgate, whence the 
common title of ** Ecce Homo " to a picture of this subject 

t Ueber Malerei und BUdhauerarbeitin Rom, &c., vol ii. p. 85. 
j Hinterlassne Werke, vol iii. p. 157. 



COBBBQGIO. 69 

fore-ground, to the left, is a small toilet-basket whence this 
picture is known on the continent as "La Vierge au 
Panier/' " This picture,'^ says Mengs, "shows that Correggio 
was the greatest master of aerial perspective of his time/'* 

Engraved by Diana Ghisi in 1577 ; by F. F. Aquila in 1691 ; and 
recently by G. Faccioli ; by G. T. Dec, R. A., for the Associated 
Engravers; and in Jones's National GaUery, On wood, 1 ft. 
1^ in. A. by 10 in. w. 

Formerly in the royal collection at Madrid, from which it passed, 
by the gift of Charles IV., to Emanuel Godoy, Prince of Peace. 
After falling into various hands during the French invasion of 
Spain, it was brought to England by Mr. Buchanan in 1813, 
and was purchased in 1825, for the National Gallery. 

No. 37. Group of Heads akd Figures. Nine various 
views of heads and figures, constituting probably a part of 
the same composition as its companion piece, No. 7, described 
at page 81. In the lower part of the picture, to the left, is 
the head of a lamb. 

On canvas, 5 ft. 1 in. A. by 3 ft. 6 in. w. 

No. 76- Christ's Agony in the Garden. 

** And he was withdrawn from them about a stone's cast, and kneeled down 
and prayed, saying, Father, if thou be willing, remove this cup from me ; never- 
theless not my wiU, but thine, be done. 

*' And there appeared an angel unto him from heaven, strengthening him." 
— Luke xxii. 41-43. 

The eflfect of light in this picture is peculiar. The time 
is in the night, and our Saviour is lighted directly from 
heaven, while the angel is illuminated by the light reflected 
jfrom the LorAt The angel points with his right hand to 
a cross and crown of thorns lying upon the ground, as 
emblems of the approaching consummation of the passion of 
Christ ; with the left he points to heaven, intimating the 
will of the Father. In the background, to the right, the three 
disciples are seen asleep, and beyond them is the Jewish 
crowd, led on by Judas. 

Engraved by B. Corti in 1640; by Volpato; by S. Cousins; and 
others. On wood, 1 ft. 2 in. h* by 1 ft. 4 in. w. 

This picture is a repetition or copy of the original, now in the 
possession of his Grace the Duke of Wellington, which is said to 
have been painted by Correggio for an apotheciiry to whom he was 
indebted four scudi ; it was sold shortly afterwards for 500 scudi. J 
It was subsequently in the royal qpUection at Madrid, and was pre- 
sented by Ferdinand VIL to the Duke of Wellington. The picture 
in this gallery formed part of the Angerstein collection, with which 
it was purchased for the National Gallery in 1824. 

♦ Werke^ vol iiL p. 156. 

f See Mengs, Werke, iii. 156. 

i GandelUni, Notizie, ^c.^ degl^ IniayliatorU article— Corti, B. 



70 COBTA. 

COSTA. 

Lorenzo Costa was bom at Ferrara in 1460, where he 
is supposed to have been the pupil of Francesco Cossa ; and 
he is said, by Vasari, to have studied painting with Benozzo 
Gozzoli, in Florence. He afterwards became the friend and 
assistant of Francia, in Bologna. Costa resided in Bologna 
many years, and subsequently settled in Mantua, where he 
entered the service of Francesco Gonzaga, from whom he 
received an estate, and an annual pension from 1510 until 
his death. He died of a fever in his house in the Contrada 
Unicomo, at Mantua^ on the 5th of Maxch, 1535.* 

Costa was an imitator of Perugino and of Francia, and 
wa& fond of introducing landscapes as the back-grounds of 
his pictures. His principal works remaining are at Bo* 
logna — the frescoes of the Bentivoglio Chapel, in San 
Giacomo Maggiore, painted in 1488 ; and the St. Sebastian^ 
in San Petronio, painted in 1492. Costa left two sons, 
painters, IppoUto and Girolamo. Lorenzo Costa> the 
younger, was the son of Girolamo ; he died in 1583, aged 46.t 

No. 629. The Madonna and Child Enthroned 
WITH Angels : on the spectator's left, St. John the Baptist 
and St. Peter ; on the right, St. John the Evangelist and 
St. Philip. Small figures. 

Transferred from wood to canvas,:f in ^t^ compartmentsL 
centre picttire 5 ft. 5^ in. h, \>j 2 ft. 5 in. w. Side pictures 1 ft? 
9^ in. and 3 ft. 7 in. h. hj 1 ft. 10^ in. w. Signed — 

LAVRENTiVS • COSTA • F - l^OS 

This picture was formerly over the principal altar of the 
Oratorio deUe Grassie, at Faenza (now a post house). In 1780 it 
formed part of the Hercolani collection in Bologna,§ from which 

I > i m- I ■ tTT — rT—m— ^ ■— ■-■— i ii— p-i— ■-■^■^■^i^.^i^p^ ^ 

* This is ascertained from an entry in the Necrologio, or Register of JDeaths 
of Mantua^ published in the Memorie of Gualandi, Serie iii. p. 8, 1842. But 
as the Italians at that time commenced the year with the 25th of March, the 
correct year is 1536. 

I Barnfialdi, Vite de* Pittori, &c., Ferraresi ; Gnalandi, Memorie OriginaHf 
&o. Serie iii. ; Vasari, Vite, &c., Ed. Le Monnier, vol. iv. ; Laderehi, 
Pittura Ferrarese^ p. 39, 1856* 

X It is painted on fine linen, renso, which was attached to wood ; this renso 
is now lined with canvas in the place of the original tavda ; it was transferred 
at Antwerp in 1848. 

§ It is described in the Hercolani Catalogue by Calvi, Versi e Proses &c. 
Bologna, 1780, p. 10, as the best of Costa's pictures on wood (in Tavola) ; 
Calvi terms it uno stupore. This picture is noticed also as an admirable example 
of the master, by Rio, in his life of Leonardo Da Vinci, Art Chretienne^ 
vol. ii. 



CEAKACH. 7J 

it passed, in 1837, into the possession of Mr. Wigram, at Rome. 
In 1848 it became the property of M. Yaii Cnyck^ who sold it in 
the following year to M. Relset^ from whom it waft purchased for 
the National Gallery in 1859. 



CRANACH. 

Lucas Sundeb, commonly called Lucas Obanach, from 
his birthplace, was bom in 1472 at Cronach, near Bamberg, 
in Bavaria. In 1495 he was appointed court painter to 
the Elector of Saxony, and then took up hisf's-esttdence in 
the Electoral palace of Frederick the Wise at Wittemberg ; 
Cranach had accompanied that prince On his pilgrimage to 
the Holy Land two years previously. He served three 
Saxon Electors in the capacity of court painter, and lie was 
so much attached to John Frederick, the Magnanimous, 
that when that prince was taken prisoner by the Emperor 
Charles V. after the battle of MUhlberg in 1547, Cranach 
preferred sharing with him Ms five years' captivity at Inns- 
bruck to accompanying the Emperor to the Netherlands. 

They returned to Wittemberg in 1552, when Cranach 
retired to Weimar, where he died on the 16th of October 
in the following year, aged 80. 

Cranach lived at an eventfal period ; his principal works 
were painted between 1506 and 1540 ; he was the intimate 
friend of Luther and painted his portrait several times * 
he is said to have brought about the marriage of Luther 
and Catherine Bora, of which he was one of the. witnesses. 
Cranach was twice burgomaster of Wittemberg. After his 
death a medal was struck to his honour, with his portrait 
on one side, and on the other the arms granted to him by 
the Elector Frederick the Wise in 1508, consisting in a 
crowned winged serpent on a gold ground. This crest was 
the ordinary mark Cranach used on his pictures and prints. 
He was not only a painter, but also an engraver in copper 
and wood, and an illuminator of manuscripts. His bio- 
grapher, Heller, enumerates, as his accredited works, upwards 
of 800 prints, chiefly woodcuts.* 



* Lucas Cranach* s Lchen und Werke, 2nd ed. Niirnberg, 1854. See also 
Lucas Cranach des Aelteren Lehen und Werke, by Christian Schachardt. 
2yol§. small 8yo. Leipsig, 1851. 



72 CREDI. 

No. 291. PoETRilT OF A YouNG Ladt iu a red dress 
with slashed and puffed sleeves^ gold chain, and necklace ; 
her gloves slashed for rings. SmaU figure, half-length. 

On wood, 14 in. A, by 10 in. w. 

The painter's mark, the crowned serpent or dragon, is seen 
in the lower comer to the spectator's left. Purchased at the 
sale at Alton Towers in 1857. 

CEEDI. 

Lorenzo di Credi was bom at Florence in 1459, and 
was the fellow pupil of Leonardo da Vinci and Pietro 
Perugino, in the School of Verrocchio. He owes his 
celebrity to his works in painting; it appears, however, 
that he was not unskilled in sculpture also, since his 
master, Verrocchio, expressed a desire in his will (in 
1488) that Lorenzo might be employed to finish the 
colossal equestrian statue of Bartolommeo CoUeoni at 
Venice, which Verrocchio had left incomplete. 

Lorenzo is distinguished for the careful execution and 
elaborate finish of his works. The ''Adoration of the 
Shepherds,'' formerly in Santa Chiara at Florence, now 
in the Academy there, is an admirable example of his 
style. The " Madonna and Child, with Saints Julian and 
Nicolas/' noticed by Vasari as his masterpiece, is now in 
the Louvre. He died at Florence, on the 12th of January, 
1537.* 



No. 593. The Virgin and Child, seated under a 
portico in a garden ; the Virgin holding the Child to her 
breast. 

On wood, 2 ft. 3J in. h. by 1 ft. 74 in. w. 

Formerly in the possession of the Cavaliere Mancini of 
Florence. Purchased at Florence from the Lombardi-Baldi 
Collection, in 1857. 

No. 648. The Virgin adoring the Infant Christ. 
The child is resting on a piUow on the ground ; the Virgin 
lo kneeling before him in adoration. Landscape back- 
ground, with a ruin, and the angel appearing to the shep- 
herds in the distance. 



* Vasari, Vite de* PittorU §•<?., Ed. Le Monnier, vol. viii. } Gaye, Carteggio 
Inedito cTArtisiit vol. i. 



CBITBUJ. 73 

On woody 2 ft. 10 in. A. by 1 ft. 11^ in. w. 

Formerly in the Northwick collection, at Thirlstane House> 
Cheltenham. Purchased from M. Edmond Beaucousin, at Paris, 
in 1860. 



k #^^^« K^k^^ ^ s^- ^%j^^^/^r^^^^ 



OBIVELLI. 

Carlo Crivelli, Gavaliere, was bom at Venice in the 
early part of the fifteenth century, and is said to have 
studied under Jacobello del Fiore, who was still painting as 
late as 1436, when, however, Crivelli was most probably 
only a boy. 

Though of a Venetian family, Crivelli appears to have 
lived and worked chiefly at Ascoli and its neighbourhood ; 
his pictures are invariably signed Ga/rolwB GriveUus Venetua, 
but he rarely added the date ; the earliest year yet known 
is 1468, which is inscribed on an altar-piece in the church 
of San Silvestro at Massa, between Macerata and Fermo ; 
the latest is 1493, found on a picture in the Oggioni col- 
lection at Milan —T Cabolus Cbivellus Venetus Miles 
PINXIT M.CCCC.L.XXXXIII. Miles is a title he added to 
his signature in 1490, when he was ennobled (knighted) by 
Ferdinand II. of Naples. Crivelli was a good colourist, but 
one of the hardest in his forms of the quattrocento painters ; 
he is also distinguished for his introduction of fruit and 
flowers in the accessaries of his compositions. He painted 
only in t&m/pera.^ 



No. 602. The Dead Christ, a PietA. Two in&nt 
angels supporting the body of Christ, seated on the edge of 
the tomb. Half-figure. 

In tempera, on wood, 2 ft. 4^ in. A. by 1 ft* 10 id. w. 
Part of an altar-piece, formerly in the church of the Prati 
Conventuali Riformati at Monte Fiore, near Fermo. Purchased 
in Home, from Gavaliere Vallati in 1859. Signed — 

CAROLVS- CRfVELLVS-VENETVS-PfNSfT^fe. 

No. 668. The Bea.to Ferretti,! kneeling in a rocky 
landscape, in adoration ; a vision of the Virgin and Child, 



* Bidolfi, Le Maraviglie, SfC,\ Orsini, Guida D^AscoU, Perugia, 1790; 
Carboni, Memorie iniomo i Letteraii e gli Artisti Ascolani, Ascoli, 1830, p. 1 19 ; 
Ricci, Memorie Sioriche deile Arti, ffc, delta Marca di Ancoaa, Macerata, 1834, 
Yol. L p. 228. 

t The present Pontiff, Pius IX., Giovanni Maria Mastai FerretU, is of the 
family of this Beato Ferretti. 



74 CUYP. 

surrounded by the Mcmdorla or Vesica glory, is seen above ; 
on the ground before hhn is an open book. The background 
to the right is a village street, and in the foreground to the 
left are two ducks on a piece of water, near which are 
lying a pair of clogs ; in the upper part of the picture is a fes- 
toon of finiit. 

On wood, in tempera, 4 ft. 7 J in. A. by 2 ft. 10^ in. w. 
Purchased from Mr. Alexander Barker in 186L Signed— 



o»<^^w«^»^^l»^.<^i^W^»«|#»lW»»^w«»»^WiW« « w»<«ww<» 



CUYP. 

Albert Cxnr was bom at Dort in 1606. The date of his 
death is not known, but he was still living in the beginning 
of 1683. He was taught painting by his father, Jacob 
Gerritz Cuyp, but his true instructor was nature. Cuyp was 
by trade a brewer, and it is perhaps partly owing to this 
circumstance that he was so much underrated as a painter 
during his lifetime, and indeed for many years after his 
death. Though known chiefly as a Lmd scape-painter, he 
executed also some good portraits. The management of light 
was Cuyp's great power, and he has been called the Butch 
Claude. Though among the best of cattle-painters, his 
highest excellence is his treatment of atmospheres, whether 
thai of the misty morning, of the glowing nooii, or of the 
golden evening. He painted likewise birds, fish, fhnt^ 
flowers, still life, and executed also a few etchings.* 



No. S3. Lajtdscape, with Cattle akd Figitres; 

EvEKrN'G. A man dressed in a red coat, seated on a gray 
horse, conversing with a female standing near him, and 
pointing to tho opposite side of the picture, is a very pro- 
minent feature in this composition; some cattle and sheep 
add to the beauty of the group. The figures are finely 
relieved by foliage, and a sloping hill behind, which is 
made to retire by the branches of a wide-spreading tree 

* Houtraken, Groote Schouhurg der N^edertandsche KonstschUders, Sec. ; Van 
Eynden and Vander Willigen, Geschiedenis der Vaderlandsche SchUder- 
kunst, i. 382; Immerzeel, De Levens en Werken MoUandsche en^ViaamsQl^^ 
KunstschUders^ &c, An^t^rdam, 184^. 



DIKTBICH. 75 

overhai^ng Has part of the jHcture. On the opposite Bide 
is a picturesque aheet of water, at the &rther bank of 
which three horsemen are refreshing their steeds : the dis- 
tance is bounded by low biUe ; two dogs, a goat, and the 
stump of a tree occupy the fore-ground on this side. A 
aunny atmosphere pervades the whole picture. 

Engraved by 3. C Bently, for Jone^s National GaUery ; and 
by £. GoodtLll, for the series of prints publiehed by the Alto- 
dated Engraver*. On canTae, 4 ft. 4 in. A. by 6 ft. 6 in, w. 
■Signed — 



Formerly in the collectioti of Sir Lawrence Dnndas, and aubsc- 
qnently ia that of Mr. AngerBtcin, with which it was purchaeed 
by Parliament in 1824. 



DIETRICH. 
, JoHAKN Wn-HBLM Ebmst DlBTHlCH waa bom at Weimar 
in 1712, where his fiither, Johan Georg Dietrich, was 
court-painter. After acquiring the rudiments of his ait 
&om his father, he was sent to Dresden to pursue his 
studies under the celebrated landscape-painter Alexander 
Thiele. Dietrich was of such precocioTia t^ent, that he 
was appointed, when jmly in his eighteenth year, court- 
painter to Augustus II. King of Poland and Elector of 
Saxony. In 17^1 he received a similar appointment from 
AngustuB III., who, in 1743, sent him to Borne, in order 
that he might become acquainted with the great productions 
of ItaLian art. 

In 1 746 he was appointed keeper of the celebrated Dresden 
gallery of pictures ; he was likewise one of the professora 
of the Academy of the Arts at Dresden, and director of the 
school ot painting attiUihed to tlie porcelain manniiictory of 
Meissen. He died at Di'esden, April 24, 1774. 

IMetricb painted almost all subjects, and was remarkable 
for the &ciUty and fidelity with which he imitated any 



76 DOMBNICHINO. 

style or any manner. His pictures are very numerous, tmd 
there are likewise many etchings by his hand* 

No. 205. The Itinebant Musicians. An old man playing 
the fiddle, and a boy accompanying him on the bagpipes, 
are standing under a doorway, and entertaining a small 
rustic audience ; some rich foliage in the back-ground 

Etched by Dietrich himself; admirably engraved by J. G. Wille 
in 1764 ; also by J. F. Bause and others. On wood, 1 ft. 5^ in. h. 
by 1 ft. 1 in. to. Signed and dated — 



CJ 



Bequeathed to the National Gallery in 1846 by Mr. Richard 
Simmons. 



DOMENICHrNO. 

Dome'nico Zampie'ri, commonly called Domenichino, 
was bom at Bologna in 1.581, Having studied some time in 
the school of Denis Calvart, he entered that of the Carracci. 
He was invited in the beginning of the seventeenth century 
by Albani, to Rome, where he lived for some time in his 
friend's house, and he soon earned a reputation equal to 
that of any of his competitors for fame. He acquired great 
honour for a fresco of the " Flagellation of St. Andrew,'' 
painted opposite to a fresco by Guido, representing the same 
saint going to martyrdom, in the church of San Gregorio 
at Rome. It was at first a question which was the superior 
production, but Domenichino appears to have finally secured 
the general voice on his side. When Annibale Carracci was 
asked his opinion of the two works, he answered, " That 
Guido appeared to be the master, and Domenichino the 
scholar, but that the scholar was more able than the 
master." 

The most celebrated picture by Domenichino is "The Com- 
munion of St. Jerome in the Church at Bethlehem," painted 
about 1614, now in the Vatican, hanging opposite to the pic- 
ture of " The Transfiguration," by Raphael. The "Martyrdom 



* Meusel, Miscellaneen Artistisclien Inhalts, Erfurt, 1779; Heineken, Neue 
Nachrichten von Kunsdern und KunstscLchen, Dresden, 1786; and his Diction - 
naii'e des Artistes dont nous avons des Estampes, vol. iv. Dietrich is said, about 
1733, after his visit to Italy, to have written his name Dietricy. 



DOMEKICHINO. 77 

of St. Sebastian,* formerly in the chapel of that saint in 
St. Peter^s, is likewise one of this painter's masterpieces ; it 
is now in the ehnrch of Santa Maria degli Angeli, and a 
mosaic has been substituted for it in St. Peter's. 

The " Communion of St. Jerome/'* considered by Sacchi 
and Poussin the best altar-piece in Kome, with the single 
exception of Raphael's " Transfiguration," was painted by 
Domenichino for jifty scudi, about ten gvJmeas, He adopted 
in this picture, says Bellori, Agostino Carracd's treatment 
of the same subject. Domenichino was engaged from 1630 
chiefly in the Oappella del Tesoro at Naples ; but the works 
there were not completed: he was much persecuted by his 
rivals both at Rome and at Naples, and especially by the 
notorious triumvirate-}- known as the " Cabal of Naples." 
He died at Naples, April 15^ 1641, not without suspicion of 
having been poisoned by the agents* of this Cabal Do- 
menichino is generally accounted the ablest of all the 
scholars of the Carracci : he excelled in design, in compo- 
sition, and in expression.J 



No. 48. Landscape, with Figures, representing the story 
of Tobias and. the angel, from the apocryphal book of * Tobit/ 
Tobias, directed by the angel, is drawing out of the water the 
flsh that had attacked him. The landscape is intended to 
represent a view on the banks of the Tigris.— Tofti^ vi. 4, 5. 

Engraved in Jones's National Gallery, On copper, 1 ft. 5^ in. A. 
by 1 ft. 1:1^ in. w. 

Formerly in the Colonna Palace at Rome. Bequeathed to the 
National Gallery by the Rev. W. H. Carr, in 1831. 

No. 75- Landscape, with Figures, representing the stoiy 
of St. George and the Dragon. § The saint, mounted on 

* Engraved by Cesare Testa, J. Frey, B. Farjat, and A.Tardieu. 

f BeUsario Corenzio, Guiseppe Ribera (Spagnoletto), and Giambattista 
Carracciolo. See Dominici, Vite rfc* Pittori, j*c., and Lanzi. 

\ Bellori, ViU de' Pittori, ft-c; Passeri, ViU de* Pittori,{fc, 

§ This was a dragon which dwelt in the time of Diocletian, in a marsh near 
the city of Lysia, in the province of Lybia, and was appeased only by two sheep 
daily ; when all the sheep were exhausted, human victims were offered to him, 
their fate being decided by lot. At length it came to the lot of the Bong's daughter 
to be given to the dragon, and after much useless resistance, the King fbaally 
delivered her, clad in her royal robes, to the people, who exposed her to the 
dragon and looked on from the walls. St George passing at the time, and learning 
from the lady the cause of her distress, immediately resolved to become her 
champion. Accordingly, when the monster made his appearance, St George 
mounted his steed, and couching his lance, attacked him vigorously, and having 
given him a fktal wound, he dismounted and cut off the dragon's head with his 
sword. See the account^ from Peter de Natalibus, in Lord Lindsay's Sketches 
of the History of Christian Art, vol. i. 



78 DOSSI. 

his charger, is on the point of spearing the dragon ; the 
princess is running from the spot. The landscape, to which 
the figures are merely accessory, is a pictiuresque country ; 
on the right is the view of a fortified town, before which is 
a sheet of water. The inhabitants are watching the result 
of the combat from the walls. 

Engraved by A. W. Graham in Jones's National Gallery, On 
wood, 1 ft. 8^ in. h, by 2 ft. 1 in. w. 

Formerly in the Collection of Prince Lucien Bonaparte. Be- 
queathed to the National Gallery, in 1831, by the Bevt W. H. Carr. 

No. 77- The Stoning of St. Stephen. 

** Then they cried oat with a loud voice, and stopped their ears, and ran upon 
him with one accord, and cast him out of the citj, and stoned him ; and the 
witnesses laid down their clothes at a young man's feet, whose name was SauL'* — 
Acts vii 57, 68. 

The scene is taking place immediately outside the walls, 
which occupy a large portion of the picture; above them are 
seen the upper parts of some buildings, and a few figures are 
distributed on the ramparts, witnessing the tragedy enacting 
beneath. Seven small figures.' 

Engraved in Jones's National Gallery, On canvaSy 2 ft. 1 in. h, 
by 1 ft. 7 in. w. 

Formerly in the Collection of Prince Lucien Bonaparte. Be- 
queathed to the National Gallery, in 1831, by the Rev. W. H. Carr. 

No. 85. St. Jekome and the Angel. The feaint is repre- 
sented seated in a cave, occupied in the study of his books 
and manuscripts ; his attendant lion is crouching at his feet ; 
the apparition of the angel seems to imply the special mission 
of St. Jerome as the interpreter of the Scriptures : his version 
of the Old and New Testaments into Latin * is the first 
translation that was made into that language ; it is known 
as the Vulgate of the Roman church. St. Jerome died 
about the year 420, at an advanced age, in the monastery 
of Bethlehem, near Jerusalem. The red robe, and the 
Cardinal's hat, placed against a skull, upon the piece of 
rock which serves him as a table, indicate his rank as a 
Cardinal of the Church. 

Engraved in Jones's National Gallery. On canvas, 1 ft. 8 in. A. 
by 1 ft. 3 J in. w. 

Foi'merly in the Aldobrandini Collection at Rome. Imported 
into this country by Mr. Day. Bequeathed to the National 
Gallery, in 1831, by the Rev. W. H. Carr. 

DOSSL 
Dosso Dossi was bom about 1480, at Ferrara, or at 
Dosso, near Cento ; his &ther was in the service of the ' 
Duke Ercole I., of Ferrara. Dosso and his brother, Giam- 



DOW. 79 

ba^ttista, who geEerally worked together, were pupils of 
Lorenzo Costa ; they studied also souie years at Rome and 
Venice. Dosso excelled in figures, and especially portraits ; 
Giambattista was excellent in landscape. Dosso died about:. 
1560, having survived his brother some years. Giambat- ' 
tista had an attack of apoplexy, Nov. let, 1545, but 
he survived, without working, until 1549. Both are men- 
tioned by Ariosto (Canto xxxiu. St. 2). 

<* E quei che fhro k nostri di, e son ora 
Leonardo, Andrea Mantegna e Gian Belllno, 
Duo Dossi, e qnel che a par scolpe e colora 
Micliel piJL che mortale angel diyino." 

Several of Dosso^s frescoes are still preserved in the 
Castello di Ferrara : his master-pieces are said to be the 
" Madonna and Child enthroned, with various Saints," in 
the Gallery at Ferrara, formerly in the Church of Sant' 
Andrea there ; and the " Four Doctors of the Church, witli 
San Bernardino/' in the Dresden Gallery.* 

No. 640. The Adoration of the Maqi. A hilly land- 
scajpe, with trees in the background, the star of the 
Epiphany above. One of the kings appears to be attacked 
by a robber. 

On wood, arched at the top, 17 in. A. by 12^ in. w. 
Purchased from M. Edmond Beaucousin, at Paris, in 1860. 



«V»»v>»V!»'* < V%^/V*^»^v>w>^''W<<**VV 



DOW. 

Gerard Dow or rather Doit, one of the most celebrated 
of the Dutch gretire-painters, was bom at Leyden, in 1613 
or 1598.t His father was a glazier, and Gerard was at 
first brought up to be a painter on glass, but afterwards 
entered the school of Rembrandt at Amsterdam, and 
remained with that painter three years. He attained 
■wonderful mastery in delicate execution; his works are re- 
markable at once for high finish and for lightness of 
handling. He died at Leyden, in 1680, not, however, 
before he had reaped ample fruits from his great repu- 
tation. An amateur of the name of Spiering paid the 



* Baniflkldi, Vite de* Pittori Ferraresi, &c. Laderchi, Pittura Ferrtwese, 
f This appears to be the correct date from the signature on the picture of 
the " Femme Hydropiqne " in the Lourre •• 1663 G. DOV. OVT 65 JABR " 
showing the painter's name to be Don; the same fbrm of the capital U is used 
in the word out OVT, old or aged. 



I 

i 80 Dtrccio. 



painter annually, a thousand florins, alone a good income, 
for the mere privilege of having the first oiBFer of his pictures,* 
which have stea^iUy increased in value up to the present 
time. Schalcken, Mieris, and Metsu, were pupils of Gerard 
Dow. 

No. 192. The Painter's own Porteait. He holds a 
pipe in his hand. Signed G. DOV, that is DOU. 
On wood ; an oval, 7^ in. h. by 5f in. w* Signed — 



G 



ov. 




Formerly in the Collection of M. Paignon Dijonval, at Paris. 
Purchased for the National Gallery, at the sale of Mr. J. Har- 
man's Collection, in 1844. 



DUCCIO. 

Duccio Di BuoNiNSEGNA of Siena was bom about 1260 ; 
the earliest accounts of him are from 1282,t the latest are 
said to extend down to 13394 He is the first of the 
Sienese painters who forsook the Byzantine manner and 
strove. to imitate nature. His earliest works were illumi- 
nations of manuscripts, but already in 1285 Duccio must 
have been a painter of reputation, as in that year he 
entered into a contract at Florence to paint, for 160 florins, 
an altar-piece for the chapel of the Virgin, in the church 
of Santa Maria Novella. His masterpiece, however, the 
high altar-piece of the Cathedral of Siena, which is stiU 
in existence, was painted many years later. It occupied 
him between the 9th of October 1308, and the 9th of 
June 1310, when it was carried with great pomp to the 
cathedral.§ Duccio executed it for the small pay of sixteen 
soldi or eight pence the working day, paid to him in 
monthly instalments of ten lire or francs ; but he was at 
no expense for the materials, which, owing to the quantity 



* Houbraken, Groote Schauburg, ^c; Immerzeel, Levens en Werhen tier 
HoUandsche KunstschilderSf Sfe, 
f Delia Yalle, Lettere Senest^ p. 277. 

{ Vasari, Vile dei Pittori, S^c. Ed. Le Monnier, Flor. 1846, et seq, 
§ Milanesi, Documentiper la Storia deW Arte Senese, vol. i. p. 169. 



DUBEB* 81 

of gold and ultramarine used, raised the cost of the altar- 
piece altogether to upwards of 3,000 gold florins.* 

Duccio is mentioned by Vasari as the artist of the 
Sgraffiti or Chiaroscuri of the pavement in the Cathedral 
at Siena, but Rumohr has shown that those designs were 
not commenced until a century after the death of Duccio.f 

No. 566. The Madonna and Child with Angels ; 
and David with six Prophets above. St. Dominic and 
St. Catherine of Alexandria, on the doors. A Triptych. 

In tempera, on wood, 2 ft. h, by 2 ft. 7 in. w?. 
Formerly in a gallery at Pisa. Purchased at Florence from the 
Lombardi-Baldi Collection in 1857. 



»»»<^i»#w»#»^N»>^tf>»»wMW»<miNjia<^w»>»^M<<»»A^»»<^#ii 



DUREE. 

Albert or Albrecht Durer was bom at Nuremberg, 
May 20, 1471. His father was a Hungarian goldsmith, 
who had settled in that city in 1455, and had married 
Barbara the daughter of the Nuremberg goldsmith, Jerome 
HaUer. Albert was the third of eighteen children by this 
marriage, three only however attained to maturity; his 
mother survived tiU 1514. Though brought up to be a 
goldsmith, he, at an early age, adopted painting as his 
profession, and was first apprenticed in 1 486, with Martin 
Schoen or Hiipsh (Schongauer), at Colmar, but as this 
master died shortly afterwards, he became the scholar of 
Michael Wolgemuth, a painter of Nuremberg, with whom he 
remained three years ; he then travelled for four years. 
These seven years were Albert's Lehr- and Wa/ndeT'-jahre.X 

* Tora del Grasso, the writer of an old Sienese Chroiiiele» says, *' fu la piu 
bella tavola cbe mai si yedesse et facesse et chosto piik di tremila fiorini 
d'oro/' It -was similar in plan to the altar-piece by Jacopo di Casentino in 
ibis Oollec^ou; consisting of centre, upper pictures, pilasters, and predella. 
The centre was doable or painted on both sides, front and back: on the 
fi-ont was represented the Virgin and Child enthroned, with Angels ; on 
the bael^, the Life of Christ in many small piotores. It is still in the 
Cathedral at Siena, but was removed from the high altar in 1506, and the 
principal picture has been separated into two ; the front and the back being 
distinet pictures: they were executed at different times, and according to 
separate contracts, which are still preserved. The life of Cbrist being in 
thirty-eight stories, for which Duccio was to receive two and a half gold 
florins each. — Milanesi, Documenti, j*c., vol. i. p. 178. 

f Bumohr, Italienische Forschungen, ii. p. 33. 

X It has been stated, on his own authority, by German writers, that Albert 
never saw Martin Schoen, as the latter died before Albert's arrival at Colmar ; 
but a document quoted by Fassavant in the Kunstblatt for 1846, p. 168, shows 



8S ibMVk. 

Albert Dtirer distingtdshed himself equally as paiiater 
and as efigwtver on eopper and on wood ; as an engraver 
he was, perhaps, superior to all men of his time in the 
practical execution of his work ; in painting also, apparently 
a secondary study with him, his execution was extremely 
elaborate, but at the same time very hard, and his forms 
are inelegant ; he had, however, great powws of invention- 

On Feb. 2, 1494, he married Agnes Frey, the pretty 
daughter of a Nuremberg singer and player on the harp, aud 
with her he received a dowry of 200 florins ; but for which, 
says an old writer quoted by Arend, he had afterwards at 
least 2,000 unhappy days. She is said to have bee^ 
imperious, avaricious, and fretful, constantly urging him to 
work, to make provision for her after his death. 

In January 1506, DiireT visited the north of Italy: in 
Venice he painted a picture of the Martyrdom of St. Bar- 
tholomew, or, according to some, the Ooronation of the 
Virgin; aad he remarks ina letter to hisMead Pirkhdmer : 
'^ The Venetian painters abuse my style, and say that it i9 
not after the antique^ and therefore that it is not good-^ 
Noch achelten ay ea vmd aagen, ^ aey nit omUgiaok arti doeu 
aey ea nit gut/' but they praised his beautiful colouring* 
He admired the works of Giovanni Bellini, who was idien 
very old, and speaks of him as the best Venetian pAiater« 
Albert outlived the taste* of his earlier yean, under tiid 
influence of which he had sometimes painted in a crude 
and florid manner. He himself confessed to Melancthott 
that he did not admire his own early pictures as at firsts and 
that they often made him sigh when he looked upon them.* 

He was well pleased with his visit to Venice ; he executed 
several pictures there> and writes to his friend Pirkheimcr 
with satisfaction, that there he was a gentleman, while at 
home he was but a parasite. Afterwards, in 1525, writing 
to the town Council of Nuremberg, he complained that 
during the thirty years he had worked in that city he had 
not received 500 florins of Nuremberg money, that his 
commissions were from princes and strangers, and that he 
spent strange money in the town, — while he might have 

^ ■ I ...-<.. I. ■ "M l 1 ■ ■ Ml ■ II I ■.< 

that Martin died in 1488, two years later than was commonly reported, so ^at 
there must have been some other ireason than Martin's death for Albert^s not 
becoming his apprentice^ Albert visited Oohnar in his wandajahrt in 1492. . 
* Epistolffi D. Erasmi Boter. £t Ph. Mehmchthoiufl. Ste^ folio, London, 1642 | 
qaoted by Fiissli, AUgemeine§ Kiims^er Lemeon, 



Yemaitted at Venice with an ftlilMld grant of 200 duciits 
froth the SSgnory, and that he had received a similar offer 
iof SOO florins and free lodgmg from Antwerp, all of which 
he had declined out of love to his native place. The 
Emperor Maximilian appointed him court-painter, and the 
same dignity was continued to him in 1520 by Charles V. ; 
the emolument was, however, only lOO florins a year. 

Albei"t was certainly the most distinguished artist of his 
time north of the Alps, and in 1515 an interesting exchange 
of drawings took place between him and Eaphael. One of 
the great Roman painter's drawings is still preserved at 
Vienna in the collection of the Archduke Charles 5 it 
represents two figures drawn in red chalk from the life, 
and on the paper is written by Albert: "1515, Baphael 
of tTrbino, who has been so highly esteemed by the Pope, 
drew these naked figures, and sent them to Albrecht Dtirer 
in Nuremberg, to show him his hand.'* 

In Whitsun-week, 1520, he set out with his wife and 
her maid for a visit to the Netherlands, where he remained 
during a considerable portion of 1621. His diary of this 
journey is preserved, and contains many interesting details.* 
Be was chiefly occupied in visits, and negotiating the sale 
tf his prints ; he also drew several pencil portraits, for 
which he appears to have been commonly paid a florin, or 
twenty pence English ; but two or three pence a day were 
the ordinary wages even of a skilled workman at that time 
in tire north of Europe: the price was therefore not a 
contemptible one. 

Diirer's pictures are not numerous, though there are 
some works of note in most of the German galleries, as 
at Munich) Vienna^ Prague, and Nuremberg^ The most 
o^ebrated perhaps of his paintings are the two panels in 
the Munich gallery, containing respectively St. John and 
St. Peter, St. Paul and St. Mark, painted in 1626, and pre- 
sented by Albert to the coimcll of Nuremberg. In portrait 
he was oflien very successful ; his most celebrated picture of 

* It i« remarkable that Are&d, Albert's townsman, and the author of the 
earliest monograph on Durw, should have asserted that he made this journey 
to escape Arora his wife. In the very first sentence of the Diary he mentions 
that she aceompanied him« and he notioes her frequently afterwards* See Reis^- 
journal AUfrecht JMirerg, inm seiner Niedetlfimdischen BeUe^ 1520 und 1521. E, 
BUdiotheca Ebneriana, In Von Mqrr'ii Jimrmd %ur Knns*ge9chiohte^ vol. viL 
Niimberg, 1779 ; and also in the Reliquien wnAlbrecht Dtirer, Kiimberg, 1828. 

F 2 



84 ]>t}BEB. 

this class is that of Jerome Holtzschuer* at Nuremberg, also 
painted in 1526 ; there are likewise good portraits of 
Frederick der Weise, Melanchthon, Erasmus, and his own 
intimate friend Pirkheimer. His series of woodcuts have, 
however, a more extended European reputation; namely, 
the " Apocalypse,"" sixteen cuts, 1498 ; the " Life of the 
Virgin,"' twenty cuts, 1511 ; and about the same time the 
" History of Christ's Passion," twelve large cuts. The last 
is known as the " Grosse Passion." There is another series 
in thirty-seven small cuts, known as the " Elleine Passion." 
Of his copper-plate engravings, which are exquisitely finished, 
may be mentioned, — " St. Hubert," " St. Jerome," " Adam 
and Eve," the « Christian Knight," "Melancholy," and 
" Fortune." All his works are generally marked with the 
same monogram, a large A with a small D in the middle 
of it, below the bar of the A- 

Albert was also sculptor as well as painter and engraver, 
and, 3X3Cording to the inscription on his tomb, without a 
rival in eibher art — Artium lumen, sol artificum; pictor, 
chaZoographus, sculptor^ &me exeTnplo, He was the author 
of several works, on Suman Proportion, on Oeometry, cfcc, 
on Fortification; and was unquestionably a man of 
remarkable attainments ; even Melanchthon had said, that 
painting was the least of his accomplishments. 

This celebrated German artist died at Nuremberg, April 6, 
1528, leaving to his wife, notwithstanding his general 
poverty, a little fortune of 6,000 florins. He had joined 
the Reformers imder Luther, but he appears to have died, 
according to Pirkheimer, a member of the Roman church.t 



No. 245. Bust Poetkait of a Senatoe. An old man 
with a grey beard, in a purple robe with a fur collar, and 
a cap on his head, and on his neck a chain and order 
decoration; a plain blue back-ground, with the date 1514, 
and the painter's usual monogram, a D within an A. 



* Engraved by Fr. Wagner. 

t Sandrart, Accademia Todesca, &c. Arend, Das Gedechiniss der ekreti eines 
derer voUkomnesten Kimsder seiner und oiler nachfolgenden Zeiten, Albrecht JDurers, 
&c., 12mo., Gosslar. 1728. Von Murr, Journal zur Kunstgeschickte, vols. vii. 
andx. containing the letters of Diirer and Pirkheimer, 12mo., Numberg» 
1779-81. HeUer, Das Leben und die Werke Albrecht Diirers, 8vo., Leipzig, 
1831, vol. ii.. the work* only. Von Rettberg, Nvrnber^s Kunstleben in seinett 
Oenlmalen dargesteUt; ^yo,y Stuttgart, 1854. 



DYOKMANS— EMMANUEL. 85 

On wood, 1 ft. 11^ in. h. by 1 ft. 7 in «?. 



•I5H 



A 



Purchased for the National Gallery, in 1854, at the sale of 
M. Joly De Bammeville's collection. 



^k^^V^Kf^^- 



DYCKMANS. 

Joseph Laubens Dyckmans was born at Antwerp in 
1811, and is still living. 



No. 600. The Blind Beggar. A blind old man is 
standing in the sunshine by a church door ; before him, 
holding out her hand, is a young girl asking alms of the 
passers by ; and coming out from the church is an old lady 
feeling in* her pocket for a sou: some other figures are seen 
in the porch, at their devotions before a crucifix. Small 
three-quarter figures. Modem Flemish school. 

On wood, 1 ft, 7^ in. h, by 1 ft. 6 in. w. Engraved by. 
W. H. Simmons. 

Painted at Antwerp. Signed «/". Dyckmans^ 1853. Bequeathed 
by Miss Jane Clarke in 1859.* 

EMMANUEL. 

Emmanuel, a Greek priest and painter. He signs 
himself in the example of his work in this collection 
Emrrianouely priest of I'zane, Lanzi refers to a picture, 
dated 1660, by Emmanuel, a priest, who lived at Venice, 
in the 17th century, and who is apparently the same 
painter.f 

* lExMbitdd for the present at South Kenfiington. 

f The period of a Byzantine picture cannot always be ascertained from its 
style, as the Greek Christian Art is purely conveotional, and has been practised 
without material alteration from about the tenth century to the present time. 
This singnlar constancy in the practice of an art is thoroughly explained in the 
Guide or Manual of Painting, ^pfiriytla rns (a}ypa<tniclis, printed by M. Didron, 
fh)m a MS. of the eleventh century, procured by him fbom Mount Athos, and 
published at Paris in 1 84 5, under the title, Manuel (ticonographie Ckretienne, 
Grecque et Latinc, a^ycc nnc Introduction et des notes, Traduit du MS, 
Byzantin^ ^^Le Guide de la Peinture^^ parte Dr. Paul Durand. 

There is also a German translation by Dr. Schafer. Da^ Handhuch der 
Malerei vom Berge Athos, &c., 8vo., Trier, 1855. In this remarkable guide are 
given, not only the subjects to be represented, and their orthodox treatment, 
but even the costume, age, and lineaments of the characters introduced; and 
it is as indispensable to the Greek painter as his palette and brushes. 



86 £BOQl^ J>X ^SBMM. 

No. 5»4- Saints Oosmas akd Pamunub, reqeivi^g 
the Divine blessing, accorduig to the Greek rite.* The 
Lord surrounded by the Vesiocb Piscis or IchthuSj^ is repre- 
sented above. Inscribed O* A* Koa-fiag^ O* A* Aajxiayo.-, and 
signed x^^^S 'E|X|xavou>)X Uspecog- to J r^ave.-^The hand of 
Emmanuel, priest of Tzane.J 

In tempera, on wood, 2 ft. 2 in. k, by 1 ft. 9 in. tr. 
Formerly in the possession of Sig. Nardi, of Florence. Bur* 
chased in Florence from the Lombardi-Baldi Collection, in 1857. 

xeV eMnaNovhiA 
iepccoc TOY T^cNe^ 

EWCOI^E DA FEURA'RA. 

EROOliB GRAJSfDi, commonly called Ercole da Ferrari, wj^a 
l>OTO in Fenrara, about 14j62. He wa», according to Vasarij, 
the pupil of Lorenzo Qoata, at Bologna, where he chiefly 
resided and executed his best works. Costa and Ercolei 
were contemporaries and friends ; but it is more probable 
that Francesco Cossa was his master. He died at Ferrara, 
in 1531, His pictures are very rare;§ his greatest works, 
the frescoes of the Garganelli Chapel in San Pietro i^ 
Bologna, were destroyed with the Chapel in 1605. There 
are a few specimens in the Costabili Gallery of Ferrara. 

No. 73. The Conversion of Saint Paul* Confused 
groups of men and horses, with th^ Saviour in the oloude, 
and a view of Jerusalem in the back-ground. 

Engraved in Jones's National Gallery. On wood, 1 fU J 1 in* A« 
by 2 ft. Sin. w. 

Formerly in the Aldobrandini Collection at Rome. Bequeathed 
to the National Gallery, in 1831, by the Rev. W. H. Carr. 

* In the Greek mode of Ue«sing the ho^d attempts to form th,e mono^am 
of Christ IC. XQ or th^ first ana last letters of the name of Christ, 'lifirovC 
XpicrrdC ; the first finger is straight, the second slightly curved, the thumb 
holding down the third, forming the X, and the fourth slightly curved* Sei^ 
the Greek '* Guide," Genuan translation, p. 418. 

f See page 13a, note, for the explanation of the Ichtkus^ 

I The Ssunts Cosmas and Damianus, martyrs of the fourth century, ace called 
from their practising medicine gratuitously, 6i aytoi aydpyvpoi — the holy money 
despisers. They are represented always together and in three different modes, 
in Greek art— one mode being peculiar to two saints of Borne, July Ist^, 
anotiier to two of Asia (Minor?), November 1st, and a third to two of Arabia, 
October 7th. The saints of this picture are the Homan pair. See the QeriQaD 
translation of the Greek " Guide " before mentioned, p. 320, 

§ Baruffaldi, Xe Vite d£ Pi# Insigjui PitUm e SciUtori Ferraresiy Ferraia, 
1846-8 J Vasari, Ed, Le Monnier vol. iv. \ Luderchi, Pittura Ferrarfse, 185§, 



WQK, J. VAW. 87 

VAJN EYGK. 

Jan or Jean Van Eyck was bom probably at Alden 
Eyck, near Maas Eyck, on the Maas, about 1390, the 
exact date being doubtful His elder brother, Hubert, was 
bom, according to Van Mander, in 1366 : this leaves a long 
interval between the births of the two brothers^ though 
longer intervals occasionally occur, especially in cases of first 
and second marriages. There is sufficient historical evidence 
to show that John was many years younger than Hubert : 
in their portraits in the G^ery of Beria, on one of the 
wings or&.ally belonging to the altar-piec; of the Adorn- 
tion of the Lamb, in St. Bavon's, at Ghent, Hubert looks 
at least old enough to have been John's father; and accord- 
ing to Markus Van Vaemewyck, in his * History of Belgium,' 
published in 1565, John Van Eyck was still young when 
he died. Making due allowance for the diversity of opinions 
as to when a man ceases to be young, it may be assumed 
that he was not much more than fifty at his death ; and as 
it is now established that he died on the 9th of July, 1440,*^ 
he may have been bom shortly before 1390, but hardly 
later. His brother Hubert died September 18, 1426. The 
third brother Lambert survived John some years. Of a 
sifter. Marguerite, little is known. 

The Yw, Eyeks resided chiefly at Ghent and Bruges^ 
where they founded a great schooL Both Hubert and John 
yfev^ granted the freedom of the profession by the Corporation 
rf Paint^^ of Ghent, in tb^ year 1421,t They are particularly 
distinguished as the inventors (or improvers) of OilPavrding; 
general repute gives the credit of this discovery to John, 
but from all the oircumstanees, Hubert appears to have a 
better claim to the invention. The whole of the upper part 
of the interior of the <* Adoration of the Lamb,'- their master- 



* See the documents publislied by W. H. James Weale ia his Notes sur 
Jmn Van Eyek, ftc, Londres, Barth^ and Lowell, 1861 $ rectifying some 
mistakes in the Abb6 Carton's work, £e» IVois Freres Van E^k^ jfc, Brnget, 
1848. The following publications (anterior to the discovery of facts now 
established) may be consulted for other particulars, Dr. Waagen, Kunstblatt, 
1859, No, 35. De Bast, Messager dta Sciences et desArts, Gand, 1824. The 
Kvnsdklait, 1826, No. 78, &;o. Passavant, Xunstreise durch England ¥nd 
Beigien, Frankfort, A.M. 1833. Rathgeber, Annalen der Niederlimdischen 
Maierei, Sfc, Gotha, 1842. Miehiels. Peinires Brugeois, 1846. The Author's 
JEpoch» ofPamting, 1859, ch. xxiii.; and Eastlake's Maieriakjbr a HisWu af 
OH Painting, 1847. 

t Bnssche*, Notice sur VAneienne Corporcttion d^ Peintres ei Seulpteurs a 
Qc^nd, Brvisgels, 18^3. 



88 BVCK, J. VAN. 

piece, except perhaps the wing coniainiiig the '^ Singing 
Angels/' was painted by Hubert, who was thus evidently 
complete master <3f the method ; and at the date at which 
Van Mander fixes the discovery, 1410, Hubert was already 
forty-four years of age, while John was still but a youth. 

lliis celebrated picture, paiuted for Judocus Vyd, was 
finished by John in 1432, six years aOer the death of his 
brother, id in the inscription on the work the chief merit 
is given to Hubert, who is called the greatest in art, while 
John is styled the second.* The external pictures represent- 
ing the Annunciation, St. John the Baptist, St. John the 
Evangelist, and the donors, are by John. 

Yasari's general statement that John Van Eyck was the 
inventor of oU pavnivrtg or literally varnish painting, was 
formerly much impugned, as it was known that the mere 
immixture of oil with colours was practised in Germany and 
elsewhere long before the time of Van Eyck. Vasari, how- 
ever, in his Life of Agnolo Gaddi, intimates that oil painting, 
though sometimes adopted by the earlier masters, was not 
employed by them for figures, but for decorative purposes 
only.f 



No. 186. Portraits of Jean Arnolfini and Jeanne 
DE Chen ANY his wifeJ, standing in the middle of an apart- 
ment with their hands joined. In the back-ground are a 
bed, a mirror, and a window partly open; the objects in 
the room, and even beyond that portion of it represented 
in the picture, — for a door and two additional figures may 

* The inscription is as follows, the last line containing what is termed a chrono- 
gram, the Roman capitals making together, according to their value as numerals, 
the date 1432, on the sixth of May of which year the picture was fixed in its 
place : — 

Fictor Hubertus eEyck, migorquo nemo r^>ertas 
Incepit ; pondusqne Johannes arte secundus 
Frater perfecit, Judoci Vyd precefretus 
Vers V seXta Mal Vos CoLLoCat aCta tUeri, 

The two central diTisions of this picture are all that aow remain in the chnrch 
at Ghent. The eight wings, with the exception of the figures of Adam and Eve, 
are in the Gallery of Berlin. The figures of Adam and Eve (the latter not 
the most fortunate of the upper series, though extolled by Albert Diirer) were, 
in 1860, placed in the Gallery at Brussels. The alterpiece is engraved in out- 
line in Passavant's Ktmstreise, &c., in Crowe and Cavalcaselle's Early Flemish 
Painters, London, 1857, and in Waagen's Handbuch der Deutschen and Nider- 
Idndischen Malerschulen. Stuttgart, 1862. It, was copied by Michael Coxie for 
Philip n. of Spain, in 1559 ; it occupied him two years, and he received 4,000 
florins for his labour. 

t Compare the Life of Antonello da Messina in this Catalogue. . 

X Weale, iVb^es, &c. p. 27. 



be distinguished, — are distinctly reflected in the mirror. A 
branch brass chandeUer hangs from the ceiling, with a 
candle still burning in it; in the fore-ground is a small 
poodle. In the frame of the mirror are ten minute circular 
compartments, in wluoh are painted subjects relating to 
the Passion of Christ; immediately above the mirror is 
written "Johannes de Eyek iuit hie/' with the date 1434 
below.* 









Vjtwit tint hip 






On wood, 2ft. Sin. h. by 2ft. iin. to. 

This picture belonged in 1516 to Margaret of Austria, to whom 
it was presented by Don Diego de Guevara j it was also in her 
poasesakm in 152i : the picture origiDally had shutters on the out- 
side of which the arms of Don Diego were painted. -f Afterwards, 
according to Yan Mander, it passed into the possession of a 
barber-surgeon at Bruges, wlio presented it to the then Regent of 
the Netherlands, Mary, the sister of Charles V., and Queen 
Dowager of Hungary. This princess valued the picture so highly, 
that she granted the barber-surgeon in return, a pension, or office 
worth 100 florins per annum. | The pictnre belonged to her in 
1556; it is even included in the list of Taluables which she 
carried with her to Spain. Its siibsequent history, however, 
shows that it either did not go to Spain or returned again to 
Flanders : there it must have passed into obscure hands ; it was 
discovered by Major-Gen. Hay, in the apartments to which he 
was taken, in 1815, at Brussels, to recover from wounds he 
had received in the battle of Waterloo. § He purchased the picture 
after his recovery, and disposed of it to the British Government 
in 1842, when it was placed in the National Gallery. 

No. 22Z. A Man's Portrait, in a cloak and :^ collar, 
with a red handkerchief twisted round the head as a turban. 
In small. 

• The researches of Mr. Weate haTing proved beyond all question who the 
pereonages represented in this picture were, there can no longer be any am- 
biguity iu Ihe meaning of the words " fnit hie." Why the presence of the 
painter should be so recorded, muat be left to canjeoture. 

t Weale. iVotes, &c., p. 27. 

i Van Mander, Hil Schmer Boeck, 1618, p. 126. 

§ C- 1. Nieuwcnhnys, Deacriptiim de la Galerte des TaMeaux de S. M. Le litn 
iks I'ayt'Bat, Bmxdles, 1843, p. 4, oote. Kugler's Hand-book, Sec, revised 
by Waagen, Londnn, Mnrray, ISflO, toL L p. 70. 



m 



GTQK, i. VAtr. 



I? 





m. 












i^ 



1 










On WQ04> 1€^ iiu ^ by 7$ in. w. 

This picture was apparentlj^ from the inscription on the back, 
— " Ex Collectione Arundeliana," foriperly in the Arundel Collec- 
tion: it was lately in that of Viscount Midleton, at Pepper-harrow. 
It was painted, according to an inscription on the lower part of 
the frame, Oct. 21, 1433.» Purchased for the Nation^ Gallery, 
from Mr, H, Ferrer, in 1351, 

No. 290. A Man's Pobtbait^ in a d«rk red dress with 
a green head-coyering, the esida of which hang down on 
the sides; in bis ha^d be holds a paper witih writing 
upon it. The lower part of the picture represents a stone 
parapet, on which is inscribed in Greek characters what 
ivppears to be meant for T<Voflgo(, Timothy ; below is 
written JiKAL Souvenir, and under this the painter's sig» 
nature as follows: — Factu ano. Dm, 1482. 10. die Octohris, 
a Joh. d^ Eyck 

On wood, 13J in. k, by 7^ in. w. 

Purchased from Herr Carl Ross at Munich in 185?.| 



^VmM^^f%*^»%^i»^^0^^^^^#> ^»^^M> 1 



PIETBO BELLA FRANCESCA. 

PiEiRO, called Dklla Fbancbsca after his mother,} 
and also Pietro Borghese, was bom at Borgo San Sepolcro 



* The original iDSdription, given in fkc sfanile opposite, ii Joh'es •f de 4* Eyok 
+ me + fceit 4 anno + MCCCC 4 38 + 21 Octobris. On the upper part of the 
ihune are the three ^vrords AL8 IXH XAK (als ioh kan), signiffing, as well 
as I ci^i, — which appear fWmi several examples stttl extant to mnre been 



written hj Van Ejek on the frames of his pictares ; they are the first words of 
an old Flemish proverb, — As I ean, but not as I will--- See I'Abb^ C. Carton, 
Zes trots Fi^^rea Van Eyek. p. 73| Brages^ 1848. 

f The brothers Van £yck appear to have resided In Ghent while they were 
employed on the altar-pieoe of St. Bavon. After the death of Hubert, John 
Van Eyck remained in that city till May 1482, when the moiAi was completed. 
In August of the same year (as is proved by a doeument) he had returned to 
Bruges. A picture by him in the possessitm of Mr. Weld Blundell, of Ince 
Hall near Liverpool, is supposed to have been the first w(MPk painted by the 
master after his return s it has the date 1432, with the addition Bru^s. The 
portrait above described, dated October 1482, ranks next or possibly before it 
in chronological order. Weale, iVbto«, Ae., p. 9, note. In the Kunsiblait, 
October 19, 1854, there is a careful description of this picture by Dr. E. Forster. 
More than one copy of the portrait exists, whence it may be interred that the 
personage represented was of some note. 

t Vasari, Fife, &c. explains this by inlbnning us that Pietro was bom after 
the death of his fhther. The name of the latter is supposed to have been 
Benedetto. The mention of " Pietro di Benedetto dal Borgho a San 
Sepolchro," which occurs in a dooument hereafter to be noticed, is the 
plausible ground for this conclusion, but a similar expression sometimes 
implies a different relation, such for example, as that of master and scholar. 
It is not to be overlooked that Fra Luca Paeioli, the contemporary and 
scholar of Pietro, invariably calls him Pietro de' Franceschi and Petrus de 
Franciscis. The present descendants of the painter are called Marini- 
Franceschi. 



92 FRANCESCA. 

about 1416 * He received at first a scientific education 
which appears to have iufluenced his subsequent tendencies 
in art. At the age of fifteen he turned his attention to 
painting, and ultimately became one of the most dis- 
tinguished of the TJmbrian masters. 

HiH earliest productions are no longer to be traced. In 
1439 he assisted Domenico Yenziano in some wall paintings 
in the church of Santa Maria Nuova in Florenccf In 
1460, and probably for some time previously, he was 
occupied with the same master at LoretoJ, and in 1451, 
independently, at Rimini, where a fresco by him with that 
date still exists. His maturer works in his native city of 
Borgo San Sepolcro, appear to have been executed during 
a period comprehending the year 1460.§ Among those 
works, a fresco of the Resurrection, still preserved in good 
state in the Palazao de' Conservatori, is justly extolled by 
Vasari. Pietro was subsequently in XJrbino : the portraits 
of Federigo da Montefeltro and Battista Sforza, now in 
the Gallery of the XJfiizj in Florence, must have been 
painted after 1460, in which year the marriage of those 
personages took place. The age of the lady in that picture 



* The annotators of the Le Monnler edition of Vasari, (vol. !▼., p. 13.) place 
the birth of Fietro della Francesca in the ''first years'* of the fifteenth 
century. Hitherto no eyidence has come to light which can suffice to establish 
a precise date, but Taiious circumstances seem to render it necessary to 
afisume a period later than 1410. E. Harzen, in an essay in the Archiv 
Jur den zeichnenden Kiinste, Leipzig, 1856, after concluding that Yasari's 
statements must, by inference, place Pietro*s birth in 1398, selects 1426 as 
a more convenient date. For this considerable alteration there seems to be 
no sufficient reason ; indeed, according to the assumption Fietro must have 
been a recognised painter at the age of thirteen. A document in the 
archives of Santa Maria Nuova in Flwence, quoted by Harzen, shows that 
in 1439 Pietro was employed, apparently as the assistant of Domenico Vene- 
ziano, when that master was painting in the chapel of Saint Egidio in the 
church referred to. It is in this record that Fietro is called <* di Benedetto.^' 
The birth of Domenico Veneziano is placed by the annotators of Vasari 
after 1410 ; and Fietro, as the scholar, can hardly be supposed to be the elder 
of the two. Compare the life of Antonello da Messina in this Catalogue. 

!See the preceding note. 
Compare Vasaii's life of Domenico Veneziano with that of Fietro della 
Francesca. The ceiling of the sacristy At Loreto, though not completed by 
them, gained Domenico, as the principal painter, considerable reputation, 
whence it may be inferred that the work must have occupied some time. The 
resemblance between the two remaining works of Domenico Veneziano in 
Florence (cBpecially in the character of the Madonnas' heads), and the style 
of Fietro della Francesca, has been noticed by many observers, and may 
perhaps be accounted for by the circumstances above detailed. 

§ A fresco of San Lodovico, ascribed to Fietro, in a hall of the Tribunale 
in Borgo San Sepolcro, has the date 1460. Dragomanoi, Vita di Pietro deiia 
Francesca, Firenze, 1835, p. 22. 



FBANCSaCA. 98 

■f 

indicates a later period as its date* ; and the presence of 
Pietro in XJrbino in 1469, when he appears to have been 
the guest of Giovanni Santi,t may possibly coincide with 
the time when that work and another^ still preserved in 
the sacristy of the Duomo at Urbino4 were executed. The 
period when he was employed by Duke Borso of Ferrara 
in the palace of Schifanoia in that city, and the date of his 
visit to Rome, when he painted for Pope Nicholas V. two 
frescoes in the Vatican, which were afterwards destroyed 
to make room for the works of Raphael, cannot be precisely 
defined.§ His frescoes relating to the history of the Cross, 
in the church of San Francesco at Arezzo, are also of un- 
certain date, cdthough the magnitude of the series supposes 
a residence of some years.|| The partial or total blindness 

* Battista Sforza was only thirteen at the time of her marriage, she died 
at the age of twenty-five in 1472. Dennistoun, Memoirs of the Dukes of 
UrbinOf London, 1851, vol. i., pp. 86, 114, 204. At p. 207 will be found 
an accnrate engraring of the portraits. 

fPassavant, Baphael d^Urbirif Paris, 1860, tome 1, p. 392; Pnngileoni, 
Elogio Storico di Giovanni Santi^ Urbino, 1822, pp. 12, 75. In the extract 
from a document dated April 8, 1469, with an account of disbursements for 
Pietro by Giovanni Santi, it appears that the former was to hav€ painted an 
altarpiece for ihe Confraternity of Corpus Domini \ Pnngileoni adds that the 
picture was, for some unknown reason, not executed; thus the painter^s visit to 
Urbino in 1469 would have had no apparent result unless we suppose that the 
portraits and the small picture in the Duomo were painted about that time. 

X The subject of the last-named picture is partly allegorical. On the left 
of the spectator, in the middle distance under a portico, is represented the 
Flagellation of Christ In the foreground, on the other side, stand three 
personages of distinction ; the motto '' convenerunt in unum " is inscribed 
near them. Passavant {Eaphael, &c., i, p. 389) concludes that they represent 
three. princes or leaders who were hostile to Federigo. The picture bears the 
inscription Opus Petki dk Buboo Sci Sepulchhi. 

§ Borso succeeded to the sovereignty of Ferrara in 1453. In 1469 an 
alteration in the Schifanoia palace is supposed to have involved the partial 
destruction of Pietro's frescoes which it seems were on the walls of the lower 
story. The two dates include the period of his residence in Ferrara. See 
Laderchi, Sh^ra i dipinti del Palazzo di Schifanoia, Bologna, 1840. The 
years 1447, 1455, the limits of the pontificate of Nicholas V., define the 
period within which Pietro's Roman labours must be placed. In the life 
of Baphael, Vasari speaks but of one fresco in the Vatican by Pietro ; in the 
life of Pietro himself he alludes to two, and informs us that they occupied 
the places where Baphael's frescoes of the Deliverance of Peter and the Mass 
of Bolsena now are. 

H LncaPacioli, in his "Divina Proporzione," speaking generally of Pietro's 
works in painting, adds " especially in the city of Arezzo." According to 
Vasari, the order of Pietro's principal works, as defined by that of the 
places where he successively resided would be Urbino, Ferrara, Home, Borgo 
San Sepolcro, Loreto, Arezzo. The inconsistency of this, in point of chro- 
nology is apparent, more especially as the biographer supposes Pietro to 
have been employed in Urbino by Duke Guidobaldo, who succeeded his 
fhther Federigo in 1482 at the age often. It is, however, not impossible that 
the aged artist may have painted for Guidobaldo ; the date of Pietro's blindness 
being uncertain. 



94 »^»Cfiscl^ 

with t«^hidh this paintet WaS afflicted, ^ Vasarf states, in 
hii3 " old age,"* * is quite rfeconcileable with the ascertained 
01* probable dates of the works above-mentioned as com- 
pared with the assumed yfear of his birth. Pietro was, 
beyond doubt^ still living in 1494 ;t the year of his death 
is as yet unknown. 

Among his scholar Vasari iiames Pietro Peruglno and 
Luca Signorelli. Luca PacioH was his pupil in geometi^y 
and in scientific investigations generally.^ 

The mathematical studies of this remarkable painter, 
which appear to have been occasionally prosecuted during 
bis life, and to which his latter like his early years were 
exclusively devoted, led him to give his attention to some 
branches of art, such as the effects of perspective and light, 
which were imperfectly practised when he bogan his career, 
and in these respftcts he undoubtedly contributed to pro- 
pare the way for the more accomplished masters who suc- 
ceeded him.§ 

No» BSB. PORTBAIT, StTPPOBED TO BK 'flJAT OS* ISOWA 

T>X EiMlN]!, fourth wife of Sigismondo Malatesta. || Head 
in proBle. 

In tempera^ on wood, 1 Ft. 4| in A. bj 11]^ in w* 
As Pietro painted the portrait of Sigismondo Malatesta in 1461 , 
this portrait of his wife may have been execute in the satioe year. 



mtmtiiiimni i ■in.nnim«>i ii i ■ «. ^ni I liTti 



* Elsewhere the biographer says Ihat Pietro became blind in his sixtieth 
year. This, as rarious ^ters have shown, is hardly consistent with his 
own tiaxratiYe taken in connexion with the known dates of some of the 
master's works. 

'f See Luca Pacioli Summa de Arithmetical published in 1494, p. 68. Hie 
passs^ is quoted in the Le Monnier Vasari, voL iy. p. 24, note 1. 

J In a M.S. catalogue of pictures, which is preserved in private hands in 
"Crbino, a portrait is mentioned as the work of Luca del Borgo. This may 
have been Luca Pacioli (called by Vasari, Luca del Borgo) who, as the 
scholar of Pietro della Francesca, probably acquired some knowledge of 
painting k6 well as much of scientific subjects. He became a Franciscan 
monk in 1487. On the question of his supposed plagiarism of Pitetro's 
writings, an accusation rashly brought against him by Vasari^ see the autho- 
ritiefl quoted by Dragomanni, Fifa, &c., p. 19 ; Gaye, KunstblatU 1836, 
Ko. 69 J and the Es6ay before referred to, by fiarzen. Bossi, Del Cenacdo 
di I^ednardo da Vinciy 1810, p. 17, states that he himself was in possession 
of an original MS. on perspective by Pietro della Francesca. 

§ A drawing by I*ietro fbr one of the frescoes at Arezzo (once in the 
Lawrence collection) in which the angel descends by night to Ck)nstantine, 
i^ so powerful and original in its light and shade, that it was published by 
Ottley as the work of Giorgione. Compare Vasari^s description of the 
fbesco. 

II Dennistoun, Memoirs of the Dukes of Urhino, vol. i., pp. 181, 185 note. 



eitirdini of Flordno8» FurchMod at florenoe from the Lombardi- 

Baldi collection in 1967. 

No. •••. Tw& Bkvnm OF Om,tm, bn the Rivet 

Jordttti. 

** And it UXA» to pais in those dtiyiH that J«tw oaikife frtmi Naiar«th of 
Galilee, and -wu baptized of John in Jordan. And ttraightvay coming out 
df the water, he saw the heavenid opened, and the Binrit like a dove descending 
ttpOfi hittL^-lifdrA i^ ^10. 

Ohriflt k standing in the river^ undeir Uie shade of a 

pomegranate tree, receiving the water on his head from the 
cup of John I the dove is descending upon him. On the 
spectator's left ore three angels witnessing the ceremony ; 
other figures are on the banks of the river, in the back- 
ground. Composition of six principal figures. 

In tempera^ on wood, 5 ft. 5^ in. A. by 3 ft. 9jt in. w^ 
Tt)tm'et\y th6 prillt»>ipal altar-piece of the Priory of St. John 
%he Baptiftt at Borg6 San Bepolcro. When the prior/ wa« sup- 
pressed in 1807 the picture was ^amoved to the sacristy of the 
Ca^edral> where it formed the centre portion of an altar deoo- 
f ation, the remainder of which was by another hand. It was 
bought by Mr. J. C. fioblnson for Mr. tJzielli, at whose sale 
it was ^tirchased fi>r the Natidnal CoUectioa in 1861.* 



tUki^ftm m m' ■■!<«■* »iiwww i 



FRANCIA. 

Feance'sco Raiboli'ni, commonly called Franoia, was 
bom at Bologna about the year 1450 : his father, Marco di 
Giacomo Baibolini, was a oarpenten He assumed the name 
of Francia from his masteTi the goldsmith to whom he was 
apprenticed I he was originally a goldsmith, and die and 
nidlo ^igraver^ in which profession he was very eminent. 
He taueb, however, have attained ako fiome distinction as 
a painter before the year 1490, as he was then employed 
on several important worksj both in oil and in fresco, espe- 
cially for the BentivogU family. He frequently signed his 
pitstured A'ltrifeo^^ jeweller ; and on his jewellery he inseribed 
himsdf Pictor^ painter. 

Ftanda died^ according to a document discovered by 
J. A. Oalvi, on the 6th of January, 1617.t This date agrees 



* !Dfi^6manni, Vita di Pkttv Aelfa Frantesca, &c., IPlorencfe. 1855. 

t The date as in the document in question is 1517, the old custom of begin- 
nteg ih« ^odeinasticai and legal year oh the a5th of March was nevef esta- 
blished at Bologba. This eastom prevailed Yetj generally in Europe, not 
exc^[yting England, at that time and unlil 1752. Much conftttion occaslonBlly 



96 FBANCIA. 

with the time assigned for his death by Vasari, though the 
circumstance to which that writer imputes the cause of his 
death may be doubted. Vasari states, that Franda died of 
grie^ at seeing himself so much surpassed in painting by 
his ybung friend Raphael, who had consigned to the 
Bolognese painter his picture of St. Cecilia, painted for the 
church of San Giovanni in Monte, requesting him to repair 
any damage that might have happened to it, or to correct it 
if necessary, and to superintend the placing of it in the 
church. 

Though Franda appears to have died soon after the arrival 
of the St. Cecilia at Bologna, there is hardly a necessity for 
accounting for the coincidence in any extraordinary way, as 
he was then nearly seventy years of age. 

Franda is the greatest painter of the earlier school of 
Bologna ; his works are considered the most perfect specimens 
extant of that intermediate style of painting which the 
Italians term the (inticcMTioderno, and which immediately 
preceded the more complete development of the art, which 
distinguished the great masters of the sixteenth century ; 
the latter is known as the aiTiquecento style, in contradis- 
tinction to the quattTocento, or the aiiticcHmodemo.* 



No. 179- The Vibgii^ with the Infant Christ, and 
St. Anne enthroned, strRROUNDED by Saints. Before the 
throne in the front is the little St. John with the standard 
of the Lamb, pointing to the infant Saviour above ; on the 
left are St. Sebastian and St. Paul ; on the right, St. Caw- 
rence and St. Komualdo. The picture is marked — Franda 
Aurifex Bononiensis P. Full-length figures, nearly of the 
natural size. 

On wood, 6 ft. 6^ in. A. by 6 ft. w, 

FRA>TCIA'AVRJFEX-B0N0N1ESIS • V--^^ 



resulted : in the year 1667 there were two Easters, the first on the 25th of April, 
and the second on the 22d of March following. Similar confusion oocnmd 
in the dates of State documents. See Granger's Biographical History of 
England^ Fre&ce. Vasari, to ayoid mistake, has given tiie date according to 
both systems, in his. notice of the death of Michehmgelo. — See L*Art de Verifier 
les Dates, 

* Vasari ; Malvasia ; Lanzi ; and Calvi, Memorie deOa Vita e deUe Opere 
di Francesco Raiholini dftto il Francia, Bologna, .1812 ; see also Fassavant, 
JRa/ael von . Urbino, &C. 



GADJ>I, TADDEO, 97 

No. 180. The Virgin and two Angels weeping over 
THE DEAD BODY OF Christ. A Fiet^ ] formerly the lunette 
of the picture described above. 

On wood, 3 ft. 2 in. A. by 6 ft. to. 

These two pictures constituted formerly one altar-piece, land 
were originally placed in the Buonvisi chapel in the church of 
San Fridiano at Lucca, for which they were painted. They 
were subsequently purchased by the Duke of Lucca, and were 
placed in the palace. They were finally brought to England with 
the rest of the Duke of Lucca's Collection in 1840, and became 
the property of Mr. E. G. Flighty from whom they were purchased 
for the National Gallery in 1841. There is an old copy or 
repetition of No. 180 in the Gallery of Berlin. 

No. 638. The Virgin and Child, with two Saints. 
The child standing on a stone parapet is supported by his 
mother behind him ; his hand is in the attitude of bene- 
diction. On each side is a Saint ; the child entire, the 
others half figures. Landscape back-ground. 

On wood, 2 ft. Sin. h. by 2 ft. 1^ in. w. 

Purchased from M. Edmond Beaucousin, at Paris, in 1860. 



9r»»Mmf^»rrmmtt*t » » »»»»m»»»i»»t<»r*4*0^lt 



GADDI, TADDEO. 

Taddeo, the son of Gaddo Gaddi, was bom at Florence, 
'according to Vasari, in the year 1300. He was the godson 
and pupil of Giotto, with whom he lived twenty-four years; 
and he became the most eminent of that painter's numerous 
scholars. He enlarged somewhat upon the style of Giotto, 
though he preserved its general character ; but he surpassed 
his master, says Vasari, in colour, and, in some of his 
works, even in expression. Taddeo, however, adhered 
strictly to the prevailing symmetrical disposition of the 
figures which, in altar-pieces at least, characterizes the 
compositions of the early Italian masters. 

He executed many works at Florence, both in firesco and 
in tempera^ but few are now preserved. The best of those 
that remain are the frescoes of the Giugni (formerly 
Baroncelli) chapel, in the church of Santa Croce at 
Florence.* But his most extensive works were the frescoes 
of the Cappella degli Spagnuoli, in the church of Santa 
Maria Novella, now much decayed. 

* They are engrayed by Count Lasioio in his Affruchi Celebri dd zir. e zt. 
Secolo, Firenze, 1841. 

a 



d8 



GADDT, TADDEO. 



Taddeo was equally, distinguished as painter and as 
architect ; he built the present Ponte Vecchio, and also the 
Ponte della TrinitJt, which was destroyed by a flood in 
1557 : he also constructed the famous Campanile of Florence, 
from the design of Giotto. 

The date of Taddeo's death is not known ; but he was 
still living in 1366, as shown by Riunohr, from a document 
respecting a commission undertaken by him on the 20th of 
August of that year, connected with the building of the 
present cathedral of Florence.* 

Taddeo Gaddi amassed considerable -wealth, and was the 
founder of the distinguished Florentine family of the name. 
He left two sons, Giovanni and Agnolo, who both followed 
the arts, but the former died young : Agnolo became an 
eminent painter, who was the master of Cennino Cennini 



No. 215. Various Saints : apparently St. Ambrose, 
St. Stephen, St. Francis, St. Paul, St. Catherine ? St. John 
the Baptist, St. Matthew, and St. Benedict ? 

On wood, 5 ft. 11 in. A. by 3 ft. 4^ in. w. 

No. 216. Various Saints. St. Gregory, St. Philip ? 
St. Lawrence, St. Thomas? St. Dominick? St. John, St. Peter, 
and St. Bomualdo. 

On wood, 5 ft. 10 in. A. by 3 ft. 4 J in. w. 

These pictures, painted in tempera^ appear, from the corre- 
sponding symmetrical disposition of the figures, to have formed the 
wings of an altar-piece. They were presented to the National 
Gallery, in 1848, by Mr. W. Coningham, by whom they were 
purchased at Rome ; one was formerly in the collection of Cardinal 
Fesch, the other had Ijeen taken from Florence to Rome on 
speculation. 

No. 579. The Baptism of Chkist in the Rivek 
Jordan. 

*' And stndghtV^j coming up out of the water, he saw the heavens opened, 
and the spirit Jike a dove descending upon him : and there came a voice from 
Heaven, sayinff, Thou art my heloved Son in whom I am well pleased. — 
JtfarAi. 10-11.'^ 

In the centre picture is St. John baptising Christ ; above 
which subject is an angel; on the spectator's left is St. Peter, 
on the right St. Paul. In the cuspidi or upper pictures 
above, is, in the centre, the Almighty; on the left, the 



* Arch, dell* op. del DuoniQ di Fir., 1363-1396, fo. 7 1 Rumohr, Itdiemsech 
Forschungerit iL p. 82. 



GABOFALO. 99 

Virgin ; on the right, Isaiah' holding a scroll containing the 
words Ecce virgo condpiet 

. In the predella pictures, — the angel announcing the birth 
of St. John the Baptist to Zaccharias ; the birth of St. John ; 
his death ; the feast of Herod ; Herodias receiving the head 
of the Saint from her daughter ; and at the extreme ends, 
St. Benedict, and St. Romualdo ; in all, eleven pictures. 

Altar-piece in tempera, on wood, 1 1 ft. A. by 6 ft. 7 in. to. Of 
the principal pictures, the centre 5 ft 3-J in. A. by 2 ft. 6 in. w., 
the sides 4 ft. ^ in. A. by 1 ft. 2^ in. w, ; of the upper pictures, the 
centre 2 ft. 1 in. A. by 10 in. w., the sides, 1 ft. 11 in. A. by 10 in. 
w, ; the predella pictures, 1 ft. 1 in. A. by 2 ft. 3 in. w. 

According to an inscription, now partly obliterated, on the 
principal picture, this work was painted for Filippo Neroni, in 1337. 
Formerly in the Abbey del Basso di Camaldoli, in the Oasentino. 
Purchased at Florence from the Lombardi-Baldi collection in 
1857. 



^0*0^00^101^0^^1^01^ 0^^^^m0i0i0m0i^i0i0i0>00it*t>^^ 



GAROTALO. 



Benventj'to Tisio, commonly called Garo'falo, from 
the monogram (the Qilliflower) with which he marked his 
pictures, was bom in the Ferrarese in 1481. He had many 
masters. He was at first the pupil of Domenico Panetti, at 
Ferrara, and studied afterwards under his uncle, Niccolo 
Soriani at Cremona^ In 1500 he visited Rome, and remained 
there fifteen months with Giovanni Baldini ; he studied sub- 
sequently under Lorenzo Costa at Mantua, and was finally, 
in 1508, engaged by Raphael at Rome, to assist him in the 
frescoes of the Vatican. 

GarofaJo had remained some years with Raphael in Rome, 
when his family affairs called him to Ferrara, whither he 
went, with the intention, however, of returning to Rome as 
6oon as his occupations might permit; but circumstances 
detained him in Ferrara, and he never afterwards quitted 
it. He was employed by Alphonso I., with the two Dossi, 
at Belriguardo and elsewhere. He died at Ferrara in 1569, 
haviQg become quite blind a few years previously. 

Garofalo is the chief of the Ferrarese painters. His small 
easel pictures are universally admired. In these works he 
was a dose imitator of Raphael's style, a Raphael in minia- 
ture ; and these small pictures are sometimes attributed to 
his great master. 

Several of his frescoes are stUl extant at Ferrara, the 

G 2 



100 GAUOFALO. 

principal of wliich, painted about 1519-24, are in the 
church of San Francesco; among them is the Slaughter of 
the Innocents. Other frescoes by GaroMo are still pre- 
served in the Palazzo del Magistrato at Ferrara.* 



No. 81. The Yision of St. Augustin. Augustinus, one 
of the four " Doctors " of the church, and bishop of Hippo, 
in Africa,f relates, that while engaged on a work on the 
Trinity, he had a vision in which he saw a child endeavouring 
with a ladle to empty the ocean into a hole which he had 
made in the sand ; and upon the saint pointing out the 
futility of his labour, the child retorted by observing how 
much more futile must be his eflTorts to explain that which it 
had pleased the Deity to make an inscrutable mystery. The 
picture illustrates the moment of the dialogue ; St. Catherine 
is represented beliind the saint, and in the clouds above is a 
vision of the Holy Family attended by a choir of angels : 
the back-ground is a varied rocky landscape, with a view 
of the sea. 

Engraved by P. W. Tomkins ; and by J. Rolls in Jones's National 
Gallery, On wood, 2 ft. 1^ in. A. by 2 ft. 8 in. w. 

Formerly in the Corsini palace at Rome ; subsequently in the 
Ottley collection : bequeathed to the National Gallery in 1831, 
by the Rev. W. H. Carr. 

No. 170. The Holy Family, with Elizabeth and the 
YOUNG St. John, and two other saints : above is a vision of 
God the Father surrounded by a choir of angels. 

On canvas, 2 ft. 6\ in. A. by 1 ft. 11^ in. w. 

Formerly in the collection of Mr. Beckford, from whom it was 
purchased for the National Gallery, in 1839. 

No. 642. Christ's Agony in the Garden. Above 
is an angel bearing the cup and cross ; the three apostle 
are asleep in the fore-ground : a crowd with torches is ap- 
proaching from behind. Luke xxii., 41-43. (See No. 
76.) 

On canvas, from wood, 19 in. h. by 14 in. w. 

Purchased at Paris, from M. Edmond Beaucousin, in 1860. 

No. 671. The Madonna and Child enthroned, under 
a canopy ; on their left are standing Saints Francis and 
Anthony ; on their right, Saint Guglielmo in armour, with 
his right hand resting on a shield, and St. Clara holding 



* Vasari, Vite de* Pittori, &c. ; Lanzi, Storia Pittorica, &c 
\ He vas bom at Tagasta, in Africa, in the year 354, and died at Hippo 
in 430. — Acta Sanctomm, toL yL, Aug. 28. 



GHIRLANDAJO. 101 

a crucifix. The back-ground represents an architectural 
interior. Figures small life-size. 

On wood arched at the top, 7 ft, 11 in. A. by 6 ft. lOj in. «?. 
Engraved by G. Domenichini. 

Originally the principal altar-piece of the church of San 
Guglielmo at Ferrara, but from which it was removed in 1832, 
•when the convent was suppressed, to the cathedral, and thence to 
the residence of the archbishop. Purchased from the Count 
Antonio Mazza in 1861.* 



M«l«lMWItl«M#MiW*#*Wl**AAnMyWM«MMVi*«»«MlAM* 



GHIRLANDAJO. 

DoMENico BiGORDi, commonly called Ghirlandajo, was 
bom at Florence in 1449. His father, Tommaso Bigordi, 
a goldsmith, had acquired the name of II Ghirlandajo, from 
his celebrity for the manufactm-e of children's garlands. 
Domenico was brought up as a jeweller and goldsmith ; 
but became at an early age also one of the most distin- 
guished painters of his time. He surpassed all Ids Floren- 
tine contemporaries in the precision of his drawing and the; 
delicacy of his execution. When little more than thirty, 
about 1480-84, he was invited by Sixtus IV. to Rome, to- 
assist in the decoration of the Sistine ChapeL In 1488 he 
received Michelangelo, then in his fourteenth year, as an 
apprentice for three years. 

The principal works of Domenico Ghirlandajo, both in 
fresco and in tempera, are to be seen at Florence, as the 
series of frescoes in the Sassefcti Chapel, in the Church of 
the Trinity., consisting of scenes from the life of St. Francis, 
completed in December 1485 ; and those of the Choir of 
Santa Maria Novella, finished in 1490. The first series 
contains portraits of Loi'enzo de* Medici and other eminent 
Florentines ; and in the last series, in that portion illus- 
trating the life of the Virgin,t is the celebrated portrait of 
Ginevra de' Benci, a young Florentine lady distinguished 
for her beauty. The altar-piece of the Sassetti Chapel, in 
tempera, representing the " Nativity,^' is now in the Gallery 
of the Academy.J Another important tempera picture. 



* Baraffaldi, Ftte, &c., vol. i. p. 362 ; Laderc^i, Pittura Ferrarese, &c., 
p. 91. A copy of this picture by Alessandro Candi of Ferrara is now in the 
church of San Giuseppe a' Cappucini in Bologna. 

t Engraved by Carlo Lasinio. The ** Death of St. Francis," one of this 
series, is considered by Rumohr the painter's masterpiece. 

% Engraved in the Galleria delle Belle Arti di Firenze^ 1845. Domenico has 
introduced his own portrait among the shepherds in this picture. 



102 GIORQIONE. 

attributed to this master, is the round panel in the nffi2g, 
representing the " Adoration of the Kings ; " it is dated 

1487* 

Ghirlandajo worked also in mosaic ; the latest of his 
known productions is an " Annunciation/' executed in this 
method, over one of the doors of the Cathedral at Florence, 
the completion of which was interrupted by the death of 
Lorenzo de' Medici, in 1492. Ghirlandajo was already 
dead in 1498, and as he was bom in 1449, he did not 
exceed the comparatively early age of 48.t He was the 
father of Bidolfo Ghirlandajo ; David and Benedetto were 
his brothers. 



No. 296. The Virgin adoring the Infant Christ, 
with an Angel standing on each side of her. The Virgin, 
very richly dressed, is seated with her hands raised together, 
as if in prayer, and is regarding the child who is lying 
upon her knees, and holding a raspberry to its lips. 
Landscape back-ground. Half figures, nearly life-size. J 

In tempera, on wood, 3 ft. 2 in. A. bj 2 ft. Si in. to. 
Originally in the possession of the Contugi mmilj, of Volterra.- 
Purchased at Florence from M. L. Hombert, in 1857. 



GIORGIOTSTE. 

Giorgio Barbarelli, commonly called, from his large and 
handsome stature, Giorgione, was bom of parents in good 
circumstances, in the neighbourhood of Castelfranco, in 1477. 
He was the fellow-pupil of Titian with Giovanni BeUini at 
Venice, and early distinguished himself for his beautiful 
colouring, and his effective treatment of light and shade. 
He was ftirther distinguished for a general objective truth of 
representation, which he acquired by his practice of TefeiTing 

♦ Engraved in Bosini's Storia delta Pittura, &c., and in the " Recde Gal- 
leria degli Uffizj** This picture is by some connoisseurs supposed to be a 
work by Botticelli. 

t Gaye, Cdrteggio InedUo, &c. Vasari, Ed. Le Monnierj vol. v. 

jiVasari's statement that Antonio PoUaiuolo acquired the art of painting 
from his brother Piero should, perhaps, be understood to relate to oil-painting." 
The biographer speaks of no works by Antonio in tempera ; yet it is probable 
that he, like other masters of the time, began with that method in which, 
indeed, a greater finish was considered attainable. In consequence of the 
silence of Vasari, the tempera pictures of Antonio PoUaiuolo can only be 
discovered by their style. Several are now believed to exist under other 
names, and among them, not impossibly, may hereafter be classed the picture 
above described. 



GIORGIONE. 108 

to nature on all occasions. After haying visfted his native 
place, where he painted some pictures, Giorgione returned to 
Venice, and by way of exhibiting a specimen of his ability, 
he decorated the front of his house with subjects in fresco: he 
was, in consequence, employed on other works of the kind. 
Like many artists of the period, h*^ was also m the habit of 
painting panels for various articles of ornamental ftimiture ; 
for these he generally chose his subjects from Ovid, enriching 
them with appropriate landscape back-gro\mds. Qiorgione's 
frescoes have perished, and few even of his oH pictures are 
now in existence. The works by which he is at present 
most generally known are his portraits, in some of which 
he is still unsurpassed. Du Fresnoy observes of Giorgione^s 
pictures of this class, " He dressed his figures wonderfuUy 
well : and it may be truly said, that, but for him, Titian 
would never have attained that perfection which was the 
consequence of the rivalship and jealousy which prevailed 
between them.''* 

This great painter died in 1511, before the completion of 
his thirty-fourth year. Some of the greatest masters of the 
Venetian and neighbouring schools were the scholars or 
imitators of Giorgione : — Sebastiano del Piombo, Giovanni 
da TJdine, Francesco Torbido, and others.f 



No. 41. The Death of Peter Mabttr or Martike. 
St. Peter the Dominican, a native of Verona, was an active 
agent of the Inquisition in the thirteenth century; and 
having, as such, made many enemies, he was at length 
assassinated by one of these, named Cavina, at the entrance 
of a wood on the road from Milan to Como. He was 
attended by a single brother of his order, who is seen 
attacked by another assassin in the middle-ground to the 
right. 

Engraved in Jones's National Gallery. On canvas, 3 ft. 4^ in. 
h, by 4 ft. 9^ in. w. 

Formerly in the possession of Christina, queen of Sweden, and 
subsequently in the Orleans collection. Bequeathed to the National 
Gallery, in 1831, by the Rev. W. H. Carr. 

(^See No. 234> Bellini, School op.) 



* Du Fresnoy's Sentiments, printed with Sir Joshua Reynolds's Notes on 
his Poem. 

f Vasari, Vite de* Pittori, ^c; Kldolfi, Le Maraviglte delPArte, ^c. 



1 04 GIOTTO. 

No. 269. A Knight in Armour. A small figure com- 
pletely armed with the exception of the head ; in his left 
hand he holds his lance. A dark background. 

On wood, 1 fit. 3^ in. A. by lOf in. w. 

This appears to be a study for the figure of San Liberale in the 
altar-piece by Giorgione at Castel Franco. The only difference 
is, that in the altar-piece the warrior wears his helmet, while in 
this picture he is bare-headed* From a MS. memorandum on 
the back of the picture, it appears that Mariette had also noticed 
the resemblance of this figure to the warrior in the Castel Franco 
altar-piece, which, he observes, was siiid to represent Gaston de 
Foix. Formerly in the collection of Benjamin West, P.R.A. 
Bequeathed to the National Gallery by Mr. Samuel Rogers, in 
1855. 

GIOTTO. 

Giotto, or Magister Joctus, called also Giotto di Bondone, 
from his father's name, was born in 1276, in the commune 
of Vespignano in the Val del Mugello, fifleen milps north- 
east of Florence; his occupation as a boy was to tend 
sheep. 

About the year 1286 the celebrated painter Cimabue, 
being in that neighbourhood, surprised the young Giotto, 
while keeping his father's sheep, in the act of sketching one 
of his flock upon a stone. Astonished at the ability of the 
effort, he took the boy, with the father's consent, back 
with him to Florence and instructed him in the art of 
painting. 

Few of Giotto's works remain ; his earliest were executed 
in the Badia or Abbey of Florence. The fresco of the Last 
Supper in the refectory* of the church of Santa Croce at 
Florence, is iiow admitted to be the work of a later hand, 
and probably by his scliolar Taddeo Gaddi. But a Corona- 
tion of the Virgin by Giotto, in the Baroncelli chapel in 
the same church, and some smaller works removed from 
thence to the academy, with a large Crucifix in the church 
of Santa Maria Novella, are still preserved. 

Giotto also decorated the walls of the chapel of St. John 
the Baptist, in the church of Santa Maria del Carmine, at 
Florence ; the chapel was destroyed by fire in 1771. Por- 
tions of the paintings, such, for instance, as the two half 
figures below mentioned, were, however, saved. 

♦ Now (1856) a carpet manufactory. 



GIOTTQ, 105 

At the close of the 13th century, Giotto appeara to have 
been in the service of Pope Boniface the 8th, for whom, in 
1298,* he executed the mosaic of the Disciples in the Storm 
known as the ** Navicella " of Giotto, which, much altered 
and modernized, is now in the portico of St. Peter's at 
Kome. 

Early in the 14th century he executed extensive works 
in the church of San Francesco at AssisL In 1306, we find 
him engaged at Padua, where he painted a comprehensive 
series of subjects from the Life of the Virgin and the Passion 
of Christ, with other representations, in the Scrovegni 
chapel in the church of the Madonna dell' Arena. The greater 
part of these still existf 

From Padua Giotto proceeded to Avignon, whence he 
returned to Florence in 1316 ; and from this time he appears 
to have devoted his attention to architecture and sculpture 
as much as to painting. In 1322 he visited Lucca, and in 
1327 painted a chapel for King Kobert in the Castel Nuovo 
at Naples, which has been destroyed. He died at Florence 
in 1336, and was buried with great pomp in the cathe- 
dral:!: 

Giotto was a great innovator in the practice of art. He 
wholly forsook the traditionary remains of the Byzantine 
style, and studied nature. Some of the best specimens of 
decorative art, |)artaking of the same vigour which charac- 
terizes this period, are also attributed to him. The Cam- 
panile of Florence was carried out, after the design of Giotto, 
by his scholar Taddeo Gaddi, who lived twenty-four years 
with Mm and completed his unfinished worka§ 



* See Saldinucci. Notizie dei Professori del Dtsegno, Decenn. IV., sec, 1. 

t These wall-paintings are now being engraved and published by the Anindel 
Society. Dante visited Giotto while engaged on these works ; the poet mentions 
the painter in the following terms in his Purgatory: — 

** In painting Cimabne once believed 

He held the field : now Giotto has the cry, 
So that he dims the reputation of the first*' 

Pollock's Dante, Furgatorio, Canto XL 
t Vasari, Fi'te, g*c., Ed. Le Monnier, Florence, 1846, etseq, 
§ There is a saying, " rounder than the O of Giotto." This, according to 
Vasari, has reference to a mechanical feat performed by the painter before he 
-went to Rome. Pope Boniface, wishing to decorate St Peter's, sent an envoy 
to Plorence and Siena for artists of whose ability he required specimens. 
Giotto sent a circle, drawn without the aid of compasses, with a brush, in red 
colour. This, it is said, appeared in the eyes of His Holiness 'more wonderfn], 
than any other specimens of skill ; but it is probable that he was guided by the 
safer evidence of Giotto's fame. 



106 GQZZOU. 

No. £76* Two Apostles, one with the hands clasped ; 
half figures^ under life size ; a fragment. 

Engraved by Thomas Patch in 1772.* Painted in iecco,1[ on 
plaster; 19^ in. square. 

This is a fragment from one of the wall paintings formerly in 
the chapel of San Giovanni Battista, in the church of Santa 
Maria del Carmine, at Florence. The subject of the composition 
to which these figures belong was the burial of St. John the 
Baptist. This and two portions from other paintings of the 
series, now in the institution at Liverpool, were saved from the 
fire which destroyed this chapel in 1771, and became the property 
of Mr. Thomas Patch, the engraver. They were brought to 
England by Mr. Townley. This fragment was subsequently in 
the collection of the Right Hon. C. GreviUd* from whom it passed 
into the possession of Mr. Rogers, and at the sale of his pictures 
in 1856 was purchased for the National Gallery. Some other 
fragments are preserved in the Cappella dell' Ammannati, in the 
Oampo Santo at Pisa. From some chronological evidences re- 
ferred to by Patch, it appears that the wall paintings in question 
must have been painted within the last five years of Giotto's life, 
and not, as Yasari states, at an earlier period. 

School of Giotto. 

No. S68. TpE Coronation of the Virgin. — The Virgin 
is inclining her head to receive the crown from the hands 
of Christ : four angels are kneeling below, in front of the 
throne, two of them hold golden vessels in their hands. 
The principal figures are small life-size. 

In tempera, on wood, 5 ft. 11 in. h. by 3 ft. 1 in to. 

Painted about 1330. Formerly in the Convent of the Minor! 

Osservanti of San Miniato, near Florence. Purchased at Florence 

from the Lombardi-Baidi collection in 1857. 



^^^^^W^^^i^^^^^J^^^^^^^^^I^^***^^^^^*^*!^^**^^ 



GO'ZZOLL 

Benozzo Go'zzoli was bom at Florence in 1424«; he was 
the son of Lese di Sandro, and the scholar of Fra Angelico 

* Selections from the works of the Florentine painters Masaccio, Fra Bar* 
tolommeo, and Giotto, Part III., pi. 7. Florence, 1770, 1772. 

t For a description of the method called secco, or fresco secco^ as opposed to 
huonfrescoj see Eastlake's ** Materials for a History of Oil Painting,'* 1847, 
p. 142. Secco is thus described by Theophilus : — '* When figures or other 
objects are drawn on a dry wall the sur&ce should be first saturated with 
water till it is quite moist While the wall is in this state the colours are to be 
applied, all the tints being mixed with lime, and drying as the wall dries, in 
order that they may adhere." Div. Art. Schedula^ L 1, c. 15. Buon fresco 
cannot be executed on a large surface without joinings in the plaster. Secco 
may be executed without joinings, but the colours have not the brilliancy 
of fresco. The earliest example of buon fresco is supposed to be a work by 
rietro D*Orvieto, painted in 1390, in the Gampo Santo at Pisa, 



• QOZZOIiE. 107 

da Fiesole, whom he assisted in- some works in the Cathedral 
of Orvieto. His style, for some time, nearly resembled 
that of his master ; but in his later works, as in the Campo 
Santo at Pisa, his own natural talent displayed itself, which 
was as decidedly objective as Fra Angelico's was subjective. 
His known works extend over a period of thirty- eight 
years, from 1447 to 1485, after which date we have no 
accounts of him. 

His last are his greatest works, — the extensive series of 
frescoes in the Campo Santo, commenced in 1469, repre* 
senting twenty-four scenes from the Old Testament, from 
the time of Noah to the visit of the Queen of Sheba 
to Solomon. These frescoes he contracted to paint, three 
a year, for the moderate remuneration of 66 lire or about 
ten ducats each; at that time, however, worth p^haps 
about ,^100 of our present money. Benozzo displays the 
most varied resources in these works, in the rich landscape 
backgrounds, in the architectural accessories, and in the 
introduction of all kinds of birds and animals, especially 
dogs. The Drunkenness of Noah, the Marriage of Re- 
becca, and Moses in the Wilderness, are perhaps the best 
of all the Campo Santo frescoes.* The works of Masaccio 
in the Brancacci Chapel seem to have been his models 
in the style of his figures, which are often graceftil and 
natural, though inferior in dignity to the earlier works 
of the Brancacci ChapeL Benozzo evidently delighted 
in the beauty of the material world ; his landscapes 
are more varied and circumstantial than any previous 
representations of their class, and his scenes are filled 
with charming and natural incidents. The painter gave 
so much satisfaction to the authorities during the progress 
of these frescoes, that they presented him in 1478 with a 
tomb, that his body might repose amidst the glorious 
achievements of his life ; and the commemorating inscription 
led to the error that Benozzo died in that year: — JSio 
tv/mulus eat Benotii Florentini, qui proxime has pvnayit 
historids, Hunc aibi Piaanoomrri donavit humanitas- 
MCCCCLXXVIII. 

The tomb was a personal gift to th6 painter in thatyear.f 

* See the engravings in Count Lasinio's Pitture a fresco del Campo Santo di 
Piacy large oblong folio, Florence, 1812. 

f Vasari, Vite de* Pittori, ^c, ed. Florence, 1846, et seq. ; Rumohr, Italienische 
Forschungen ; Qaye, Carteggio Tnedito d* ArtisH, 



108 GOZZOLT, 

No. £83. The Virgin and Child, enthroned. Behind 
the throne, above the screen forming the background, are 
five angels with extended wings. On the right of the 
Virgin are St. John the Baptist, and St. Zenobius dressed in 
an embroidered chasuble ; on the left St Peter and 
St. Dominic ; m front St. Jerome and St. Francis kneeling; 
all the saints with their names inscribed. Two small birds, 
goldfinches, are represented on the step of the throne. 
Composition of thirteen figures, small life size.* 

In tempera, on wood, 5 ft. 2^ in. A. bj 5 ft. 7^ in. w. 

The original contract for this picture, dated 23d Oct. 1401, is 
still preserved; it was pul>lished in Florence in 1855.t The 
figure of the Virgin is in this contract specially directed to be 
made similar in mode, form, and ornaments to the Virgin En- 
throned, in the picture over the high altar of San Marco, Florence, 
by Fra Giovanni da Fiesole, and now in the Academy there. 
It is also directed, ^^ that the said Benozzo shall at his own cost 
prepare with gessOy and diligently gild the said panel throughout, 
both as regards figures and ornaments ; and that no other painter 
shall he allowed to take part in the execution of the said picture, 
neither in the PredellaJ nor in any portion of the same.** Then 
follows the description of the picture. 

The painter engages to complete the work within a year from 
the date of the contract. 

This picture was originally the altar piece of the Compagnia 
di San MarcO) Florence. It is mentioned by Vasari, 1550 ; and 
is noticed by Rieha \ in 1757, as being in the refectory of the 
Spedale del Melani or de' Pellegrini, in Florence* It became 
eventually the property of the Einuccini family, and was pur- 
chased in Florence for the National Gallery, from the agent of 
the heirs of the Rinuccini estate, in 1855. 

No. 591. The Rape of Helen. A rocky landscai^e 
with an inlet of the sea ; on the spectator s right is a small 
temple in which is seen a gilt statue of one of the Greek 
deities. From this temple, HeleA the beautiful wife of 
Menelaus, king of Lacedsemon, and the ladies of her court, 
are being carried off to a ship, by the Trojan Paris and 
his companions. 

The panel on which this painting is executed may not im- 
probably have formed the cover or end of some box or ctzssettone, 
such as were used for wedding gifts. Composition of many small 
figures in the costume of the fifteenth century. 

^ "^— ■■ ■■■■-■■■- ^ -. — ^ 

♦ On the hem of the Virgin's mantle is -written, Ate Begina Celoeum, 

UAIEB AjfOELOBUlC. SanGTA ES QUA MUNSO LUX EST ^RTA.'' 

•f Alcuni documenti artistici non mat stampati, ^c, Florence, Le Momiier, 
1S55, p. 12. 

% This portion of the altar piece, more particularly described in the contract 
afterwards, has disappeared. 

§ Notizie Istoriche delle Chiese Fioreniine, Sec, vol, v. p. 335. 



GBEUZE. 109 

la tempera, on an octagonal panel, 1 ft. 7^ in A. by 2 ft. w. 
Formerly in the possession of the Marchese Albergotti, of 
Arezzo. Purchased at Florence, in 1857, from the Lombardi- 
Baldi collection, in the catalogue of which it was called "The 
Eape of the Venetian Brides." 



w*»»*'**'»*»*>t>m»***»* m i m »f r tm»0r»m»* r :Mim 



GREUZE. 



Jean Baptiste Grexjze was bom at Toumus, near Mdrcon^ 
in Burgundy 21st August 1725. He was at first the pupil'of 
Grandon or Gromdon, at Lyons ; he studied afterwards in 
the academy at Paris, and at Rome. He was elected an agree 
or associate of the French Academy of Painting in 1755 ; 
but, as he was placed in ^he class of genre painters, when 
he was elected a member in 1769, he considered it a 
degradation, and retired altogether from the academy. He 
died in very poor circumstances March 21, 1805. 

Greuze was a portrait and genre painter ; he executed 
oBly one historical picture-Se^erus ^rima^ding his son 
Caracalla, which is now in the Lonvre, His favourite sub- 
jects were illustrations of the affections or domestic duties, 
their observance or violation. He is iinique in the French 
school, and is sometimes termed the Lachaus^ of Painting, 
a^ t>n.etimes, but very inappropriately, the Fre^' 
Hogarth. Among his most celebrated pieces are — The 
Village Bride {L'Accordee de Village)) The Broken Pitcher 
{La Gruche Cassii) ; The Little Girl with the Dog {La 
Petite Fille aw Chien), and others : the two former are in 
the Louvre, and the last is considered by some the painter's 
best picture : there is a print of it by Oh. Porporati Greuze 
etched a few plates.* 



No. 206. The Heab of a Gibl. 

On wood, 1 ft. 6 in. h, by 1 ft. 3 in. w. 

Bequeathed to the National Gallery, in 1846, by Mr. Bichard 
Simmons. 



* Gault de Saint-Germain, Les trots Siecles de la Peinture en France^ 1808 ; 
Villot, NoHce des Tableaux exposis dans ha Galeries du Louvre^ 1861 ; 
Baudicour, Le Peintre-Graveur Frangais continui, 1859. 



110 GUARDI — GUERCINO. 

GUARDI. 

Francesco Guardi, bom in Venice in 1712, was the 
scholar and imitator of Canaletto, but remained fio* behind 
him in the accuracy of his architectural details, and was 
careless and sketchy in the execution of his figures'; his 
works are, however," rich and forcible in their colouring. 
He died at Venice in 1793. 



No. 210. View of the Church, Campanile, and 
Piazza, of San Marco, at Venice. The building of the 
church was commenced in the tenth and finished in the 
eleventh century; the campanile, whicn was commenced 
in the ninth, was not completed until the fourteenth 
Century. 

On canvas, 2 ft. 4 in. k, by 3 ft. 1 1^ in. w. 
Bequeathed to the National GraHery, ia 1846, by Mr. Bichard 
Simmons. 

GUERCrNO. 

Giova'nni Francesco Barbib'ri, OavaLierey commonly 
ealled, from his squinting, GlTERClNO, wias bom of very 
humble parents at Cento, near Bologna, Feb. 2. 1592; hk 
&,ther carried suppHes of wood and faggots to the towns, 
a>nd GuercLQO used to take care of his cart. He was self- 
taught: and after studying some time at Bologna and 
Venice, he repaired in the time of Paul V.. to Borne ; he 
there made the acquaintance of Michelangelo da Cara- 
Ta^o,* and became a decided imitatoi: of his style ; but, in 
consequence of the impetuous temper of that painter, soon 
avoided his society. Having executed several honourable 
eommissions at Borne, he returned to his native place after 
the death of his patron, Gregory XV. (Ludovisi), in 1623. 

Guercino remained at Cento for a space of twenty years, 
when, after the death of Guido in 1642, he removed to Bo- 
logna, wherehe died in very affluent circumstances in 1 666.t 
He is one of the principal masters of the class called 
!J['en€hro8i ; but in his later works, or those which he 
painted after he settled in Bologna, in which he appears 



* See the notice of Caravaggio in this Catalogue. 

t ^asseri, Viie de* Pittori, &c. ; Malvasia, Felsina Pittrice, A Life of 
Guercino was published by J. A. Calvi at Bologna in 1808. Notizia detta 
Vita, &c., di Gio, Francesco Barhieri, 



GUIDO. Ill 

to have endeavoured to approximate the style of Guido, he 
forsook the vigorous handling and treatment of his earlier 
pictures, and fell into an insipid manner. His masterpiece 
is the great picture of Santa PetroniUa,* in the Capitol of 
Kome. It was painted for one of the chapels of St Peter's^ 
where there is now a mosaic of it : the body of the saint is. 
being deposited in the vault prepared for it in the Via 
Ardeatina outside the walls of Rome : above is a vision of 

i^e Saviour, with angels, receiving the soul of the saint. 

» 

No. £2. Angels weeping oyeb the dead body of 
CnmsT. The head and shoulders are supported against a 
stone; the figure is slightly foreshortened:, two angels 
kneelkkg complete the composition. 

Engraved by J. Cheesman ; by P. W* Tomkins ; and by 
S. Freeman in Jones's National Gallery. On copper, 1 ft» 
2J in. h, by 1 ft. 5 J in. w. 

Formerly in the Borghese Gkllery at Rome. Bamdohr, in his^ 
account of that collection (1784), notices this picture as one of 
the productions of Giiercino's best timcf It was bequeathed 
to the National Gallery, in 1831, by the Rev. W. H. Carr. 



019^10^4 ^^^^^I^KWI^^tf^^W^JI^JW^^^^^^^^^^Wri^^^* 



GUIDO. 

Guido Reni, commonly called GuiDO,was bora at Calven- 
zano, near Bologna Nov. 4, 1576. His fieithier was a musician, 
and Guido was himself intended for tiie same calling ; but 
evincing at an early age a demded taste for painting, he was. 
placed in the school of Denis Calvart, whence he r^aotoved,. 
about the year 1595, to that of the Caixacci, and became one 
of their most distinguished pupils. In the b^inning of the 
seventeenth century he, with Albani, followed AnnibaleCar^ 
racci to Rome, where he attracted universal notice, and ho 
obtained great distinction there in the pontificate of Paul V. 
(Borghese). After a residence of about twenty years in 
ilome, including a short visit to Naples, Giiido returned to,, 
and settled in, Bologna. He left Rome abruptly, during the 
pontificate of Urban VIII., in consequence of an offensive 
reprimand which he received from the Cardinal Spinola- 
Guido had been commissioned to paint one of the altar- 



* Santa Petronilla, or Perina, was the reputed daughter of St. Peter the 
iipostle. Guercino's picture has been engraved by Frey and by Dorigny. 
t Malerei und Bildhauerarheit in Bom, &c. 



112 OUTDO. 

pieces of St. Peter's, and had received 400 scudi in advance ; 
but having allowed a few years to pass without even com- 
mencing the picture, he was rather harshly reminded by 
Cardinal Spinola of the money that he had received, for 
which he had done nothing. Guido immediately restored 
the 400 scudi, and in a few days left Rome : all attempts 
to induce him to return were vain. He from this time 
settled in Bologna, where he lived in great splendour, and 
established a celebrated school.* He died at Bologna^ 
August 18, 1642, and was buried with great pomp in the 
church of San Domenico. Notwithstanding the princely 
income of which Guido was in receipt for many years, he 
died in debt : his embarrassed circumstances are attributed 
to his habit of gaming, and a profiise and indiscriminate 
liberality. It was during the latter unhappy period of his 
career, according to his well-informed biographer, Malvasia, 
that he sold his time at a stipulated sum per hour, to 
certain dealers, one of whom tasked the painter so rigidly, 
as to stand by him, with watch in hand, while he worked. 
Thus were produced numbers of heads and half figures 
which, though executed ' with the facility of a master, had 
little else to recommend them. Malvasia relates that such 
works were sometimes begun and finished in three hours, 
and even in less time, f 

Guido painted in various styles ; his earlier works were 
painted much in the forcible style of Caravaggio. This 
style he laid aside during his residence in Rome for one 
more graceful but of an (yrnarniervtal character, of which the 
Aurora,! of the Rospigliosi Palace, is an excellent example; 
it is by some considered his masterpiece. Latterly he was 
engrossed by a species of idealy of form rather than of 
character, ojf which the Niobe appears to have been a 
standard example with him : he was absorbed by this 
ideality, and at the same time he adopted a very slight mode 
of painting, and a cold silvery tone of colour. Of his 
numerous scholars, Simone Cantarini, called II Pesarese, is 



* Fasseri mentions the following as Guido's charges -when he settled in 
Bologna: for an entire figure, 100 scudi, ahout twenty guineas; for a half- 
length, 50 scudi ; and for a simple head, 25 scudi, or five guineas. He raised 
them afterwards to five times the amount. 

t FeUina Pittricey torn, ii, p. 46. 

% Engraved by Frey and Morghen. 



GUIDO. 113 

the most distinguished : there is an admirable head of Giiido, 
by this painter, in the Gallery of Bologna. 

Guido painted very few portraits ; his pictures are chiefly 
scriptural or mythological : of these there are between two 
and three hundred in the various collections of Europe. 
Many etchings are attributed to this celebrated painter.* 

No. 11. St. Jerome kneeling before a crucifix, and 
beating his breast with a stone. Large half-length figure. 

Engraved by B. Coriolano ; by D. Cunego, for Gavin Hamilton's 
Schola Italica PicturcBy Sfc. ; by W. Sharp ; by Schiavonetti ; 
and by J, Fussell, in Jones's National Gallery, On canvas, 
3 ft. 10^ iti. A.by 3 ft. w. 

Formerly in the possession of Gavin Hamilton. Bequeathed to 
the National Gallery, in 1831, by the Rev. W. H. Carr. 

No. 177. The Magdalen. Half-length, of the natural size. 

Engraved by J. Bouillard, in the Galerie du Palais Royal ; and 
by W. Sharp. This subject was often repeated by Guido, with but 
slight variations; and the prints after these pictures are very 
numerous. On canvas, .2 ft. 7 in. h. by 2 ft. 3 in. tr. 

Formerly in the Orleans Gallery. Purchased by Parliament 
for the National Gallery, at the sale of Sir Simon Clarke's pictures, 
in 1840. 

No. 191. The Youthful Christ EaiBRAciNG St. John. 
Two heads. 

Engraved by J. B. Cecchi. On canvas, 2 ft. 3 in. A. by 1 ft. 7 in. w. 

Formerly in the Camuccini Collection at Rome ; it was bought 

by Mr. Irvine for Mr. Buchanan in 1805, and purchased for the 

National Gallery, at the sale of Mr. J. Harman*s pictures, in 1844. 

No. 193. Lot anI) his Daughtebs leaving Sodom. 

** And Lot vent up out of Zoar, and dwelt in the mountain, and his two 
daughters with him." — Gen. xix. 30. 

Three half-length figures of the natural size. 

Engraved by D. Cunego for the Schola Italica, S^c. On canvas, 
3 ft. Q^in. h. by 4 ft. lOiin. w. 

No. 196. Susannah assaulted by the Two Elders, 
in the garden of her husband Joachim, at Babylon. — 
Apoc7^phal Book of Susarmalu 

Three half-length figures of the natural size. 

Engraved by Corn. Visscher ; and by P. Beljambe for the Galerie 
du Palais RoyaL On canvas, 3 ft. 10 in. h. by 4 ft. 11^ in. «?. 



* Fasseri, Vite deTittoriy ^t.,* Malvasia, Feh'ina Pittrices Lanzi, Storia 
PittoricOt Sfc, ; Landon, Vies ei CEuvres des Peintrcs, ffc, ; Barfsch, Le Peintre- 
Graveur, 

II 



114 HOfeBEMA. 

These twa pictnres, probably painted as companions^ were, until 
the French Revolution) in the Lancellotti Pakce at Rome : tbej 
are both described by Ramdohr, in his account of the pictures 
of Rome in 1784.* They were brought to England by Mr. Irvine 
for Mr. Champernowne, passed subsequently into the possession 
of Mr, Penrice of Norfolk, and were finally purchased for the 
National Gallery ; the « Lot," in 1844, and the «* Susannah " in 
the following year. There was a duplicate of the ** Susannah " 
in the Orleans Gallery. There are several repetitions of it. 

No. 214. The Coronation o^ the Virgin. The Virgin 
Mary, with a glory of stars around her head, and attended 
by dierubim, is borne upwards by angels ; a heavenly choir 
surrounds her, some singing, others performing on various 
musical instruments. The heavens above are opened, and 
two cherubim descend from the midst of the divine glory, 
bearing the crown of the Virgin, the emblem of her glorifi- 
cation. The whole composition is symmetrically arranged. 

On copper, 2 ft. If in. A. by 1 ft. 6 J in. w. 

This picture appears to be an early work of the master, and was 
painted probably before his visit to Kome. It was formerly in the 
Royal Collection at Madrid, and subsequently in the possession of Sir 
Thomas Lawrence, from whom it was purjchased by the late William 
Wells, Esq., who bequeathed it, in 1847, to the National Gallery. 

No. Z71u The " EccE Homo.'' The head of Christ 
crowned with thorns. 

** And Pilate saith onto them. Behold the man 1" — John zix. 5. 

Engraved by William Sharp, with the inscription, ** Behold 
and see if there be any sorrow hke unto my sorrow." An oval, 
on wood. ' 1 ft. 9^ in. h. by 1 ft. 4 in. w. 

Formerly in the collection of Benjamin West, P.R.A. Be- 
queathed to the National Gallery by Mr. Samuel Rogers, in 1855. 



WiXMI»»«>»*»»*<MIW<imMMWO<i>XMW»«IMWMM»MWW 



HOBBEMA. 

The circumstances of the life of Meindeet or MiNDKE- 
HOUT HoBBEMA are almost wholly unknown; it is not 
even known whether he was a painter by profession or an 
amateur only ; some accounts assume hiin to have been the 
scholar of Jacob Ruysdael, and others his master. The city 
of Haarlem, the town of Koeverden, and the village of 
Middelharins, in Holland, are each said to have been his 
birth-place; and he is reported to have lived some time in 

» 

♦ MdUrei und Bildhauerarbeit in E<m, j'c, iii. 74. 



HOBBBKA, lis 

Amsterdam.^ The eltrliesi dsite on his works in 1650 ; the 
year 1663 is inscribed on two of his finest pictures; one in 
the possession of Lord Hatherton, and the other in the 
collection of Mr. Holford, in Hyde Park. The latest 
acknowledged date is 1669, but a fine work by the master 
in the collection of Sir Hobert Feel is said to be inscribed 
with the year 1689.t 

The landscapes of Hobbeina consist generally of simple 
wooded scenes, often sunny, with an oaeeBioinil pool of 
water or a mill ; the figures in them are inserted sometimee 
by hiitiself and sometimes by Berchem, A. Yandevelde> or 
Lingelbach, and othei^. The majority of his works are in 
this country ; they were little known of little appreciated 
in Holland tUl about a century after his death ; they are 
now more generally valued, perhaps, than the works of any 
other landscape painter, and realize very large prices at 
auctions. 



No. tf SB. LakbscApb, Showbut WfiiATHBfeu Kain and 
sunshine are both r^resonted, and everything seems wet ; 
but the chief feature of the picture is a cluster of laiig^ 
trees in the centre, slightly moved by the wind ; on the one 
side is a shaded pool, with a man angling on the bank ; on 
the other is a road-side cottage with a woman looking out 
at a doorway ; on the road in front of it are a few figures. 
Signed — 



///• l^VV^CAYV 



ou 




On wood, 1 ft. 11| in. h. by 2 ft. 9^ in. w. 

Formerly in the collection of Count Perregaux ; imported 
into England by Mr. Farrer ; purchased from Mr* G. H. Phillips 
in 1862. 



t ■■ I 



* See Van Eynden e6 Vander Willigen, Geschiedenis d^ Vaderlandiche 
ScMderkunst, &c., 4 Tt)lB., 8to., 1816-1842.' Tliesc writers glve> in thdi* 
supplement or fourth volume, p. 101, a statement that Meindert Hobbema was 
the son of a Serjeant Willem Hobbema, of the company of Captain Solema, 
in ^firrison at Koeverden, and tbat he was httpdxieA at Eoev«vdeii on the 
6th of Angnst 1654, when he was grown np therefore. They also notice a 
drawing attributed to him, bearing the date 1647. 

t See Smith, Caiatogue Raisenn^e, J-c. Of the 142 pictures attributed to 
Hobbema in this ^ork, 16 only are dated, and" of these five had the same year 
—1663. 

h2 



116 HONDECOETBR— HUCHTENBURG. 

HONDECOETER. 

Melchior de Hondecoeter, one of the most distin- 
guished of the Dutch painters of birds and animals, foreign 
and domestic, was bom at Utrecht in 1686. He was first 
instructed by his fiither, Gysbert de Hondecoeter, and after 
his death in 1653, by his uncle, J'. B. Weenix. Melchior 
died at Utrecht, April 3, 1695 .♦ 



No. £02. Domestic Foultbt ; a beautiful brood of 
younff chickens in the fore-finround. The cock was Hon- 
JecoeWs fevourite bird. whL he is said to have taught 
to stand to him in a fixed position as a modeL 

On canvas, 2 ft. 10 in. A. by 8 ft. 8 in. w. 
Bequeathed to the National Gallery by Bichai^d Simmons, Esq., 
in 1846. 

HUCHTENBURG. 

JoHAN VAN HUCHTENBUEG, or HuGTENBURG, a distin- 
guished Dutch battle-painter, was bom at Haarlem in 1646. 
He went to Borne in 1667, to join his brother Jacob, a 
landscape-painter, upon whose death, in 1669, he removed 
to Paris, and there studied a short time imder Vander 
Meulen. He returned to Holland in 1670, and died at 
Amsterdam in 1733, but he resided chiefly at the Hague. 

Huchtenburg was commissioned, in 1708, or the following 
year, by Prince Eugene, to paint pictures of the recent vic- 
tories which that prince, the Prince of Orange, and the Duke 
of Marlborough had obtained over the French. There are 
etchings of these battles by Huchtenburg himself : f there 
are also many other etchings by the hand of this painter, 
some after Vander Meulen.J 



No. 211a A Battle ; in the fore-ground a cavalry fight^ 
with a town burning in the distance. 

On wood, 1 ft. 4J in. A. by 1 ft. 11 in. w. 

Brought to England^ by Mr. Bryan in 1801. Bequeathed to 
the National Gallery by Mr. Richard Simmons^ in 1846. 

* Hottbraken, Groote Schoubvrg der KututaekUders, &c.; Immerteel, Levem 
CM WerkeHf &c. 

f In the Beschrijving der Veldslagen van Prins Eugenius van Savoijef den 
Prins van Oranje, en den Hertog van Marlborough, 's Hftge, 1727. 

{ Van Goolt Nieuwe SchouSurg der Kunstschilders, &c. } Bartsch; Peintre^ 
Grnveur, 



DE KEYSER — LANCRET. 117 

DE KEYSER. 

Theodore de Ketser, son of the sculptor and architect 
Hendrick de Keyser, was bom about 1696, probably at 
Amsterdam. He is distinguished as a portrait-painter, both 
in large and small, but especially in his full-length portraits 
of a small size : his execution is very exact and elaborate. 
There are several capital picttires by De Keyser in the 
museums of Amsterdam and the Hague. He died at 

Amsterdam about the year 1660.* 

■I t* I 

No. 212. A Merchant with his Clerk ; a portrait. 
The '^ merchant,'' dressed in riding costume, is seated at i\ 
table in a private apartment which bespeaks afflu^ice in the 
owner : the back-ground is a costly piece of tapestry. On the 
table are a plan, books, a guitar, and other objects. 

The " clerk'' is standing with his hat in his hand behind 
the chair of the seated figure, to whom he is respectfully 
handing a packet. Small, full-length figui'es. 

On wood, 3 ft. -J in. k, by 2 ft. 3|^in. w. Signed, on Ihe mantel- 
piece, with the painter's monogram composed of T. D. K., and 
dated 1627. 



'^ AN. 162/. 



Bequeathed to the National Gallery by Mr. Richard Simmons, 
in 1846. 



— »*»<xw.««WMw«.«>»ww<i»i».«>>»iri» n i.»>.tMW<w««j 



LANCRET. 

Nicolas LANCBirr was bom at Paris 22d Jan. 1690. He 
was the pupil of Pierre d'Ulin, but he adopted Watteau as 
his model. He soon distinguished himself in this style, and 
became the rival of his model : he was elected a member of 
the French Academy of Painting in 1719, as a painter of 
FStes Ocdantes. He died at Paris 14th Sept. 1743. 

The pictures of Lancret have not the £icility of those of 
Watteau, but they are more finished^f 



Nos. 101-4:. The Four Ages of Man. 



* Van Eynden en Vander Willigen, Geschiedenis der Vaderlandsche Schil- 
derkunsty Sfc, 1842. 

t D'ArgenvUle, AbrSg^ de la Vie des plus Famiue Peintres, &c. j Villot, 
Notice des Tableaux, ^c, du Louvre, 1861. 



1 Id LXBRL 

No. 101> Infancy. Groups of gaily-di^essed children, 
at play, under a stately arcade or portico. 

No. lOSiii Youth. An assemblage of young people of 
botjx sexes, who appear to be contemplating the adornment 
of the person : a group of seven figures in a garden pavilion, 

No. 103< Manhood. A party of pleasure, some recUiiiiig 
upon the green-sward : two archers are shaptii^ at the 
popinjay. A composition of ten figures : the arraogemewt 
of the grouping indicates the age of courtship. 

No. 104:a Agk An old woman spinning, with another 
asleep in a chair by her side : of the male portion of the 
group, one old man is caressing a dog, another is making 
advances to a young girL Composition of six figures. 

Engraved by Desplaces ; and by L'Armessin, fils. On canvas 
1 ft. 1 in. h. by 1 ft. 5^ in. w, each picture. 

They are mentioned by D^Argenville among the principal works 
of Laneret. Bequeathed to the National Gallery, in 1837, byLieot. 
CoL OUney. 



P«I»»WWM>*W<W»**W»«IW»»« 4 ****^HI»*»t0i** 



DAI LIBRI. 

GiROjiAMO DAI LiBEi was bom at Verona in 1472. His 
oply known surname of Dai Libri he inherited from the 
occupation of his father, who was an illuminator of manu- 
scripts, and known as Francesco Dai Libri. In the church 
of San Giorgio Maggiore, at Verona, is a picture by 
Girolamo, painted in 1526, signed Hieronymus a Libris. 
Girolamo was one of the most distinguished masters of his 
time at Verona, both as a painter of altar-pieces and a? a 
miniature painter and illuminator of books for church 
service. But though he lived long in the sixteenth century 
he always painted more in the taste of the fifteenth. He 
died at Verona July 2d, 1555. Several of his principal 
works are still preserved at Verona. He left a son, Fran- 
cesco dai Libri the younger, who was also a distinguished 
illuminator. Girolamo was the instructor of Gitilio Clovio 
in miniature painting.* 



No. 2S5. Maponna and Chii*d, the V^rgia seated 
with the child in her arms, and holding an apple in her 
hand. Behind is a red curtain on a rod^ extending hplf 



Vasari, Vite, Sfc, Ed. le Monniwr, Floreacf , 1846 ft teq, irol ix. p. 810. 



LIESBOBN, THE MBISTER VON. 119 

4^sroQs the picture : a town upon a roc]c in the distance. 
Figures half the scale of life. 

On wood, 2 ft. h, by 1 ffc. 5 in. w. 

Purchased from Baron Galvagna in Venice in 1865. This 
picture, while in the Galvagna Collection, was attributed to 
Pellegrino da San Daniele. A comparison, however, of this 
specimen with the works of Girolamo dai Libri has l^d to the 
conclusion that it may be more fitly ascribed to that master. 



»r#W«WW»W>I H »VIWNWWW<»WWW»»WWI W »WWi»«» « « 



THE MEISTER VON LIESBOBN. 

The Meister von Liesborn (Master of Liesbom) is the 
designation given by the Germans to an unknown painter 
of Westphalia who executed some considerable works, about 
the year 1465, for the Benedictine Abbey of Liesbom, near 
Munster : he is the chief or caposcuola of the Westphalian 
school of German painting, and one of the principal German 
artists of the fifteenth century. The school is evidently 
allied to that of the Van Eycks, and to the school of Cologne. 

The principal work of this master was the Crucifixion, 
formerly the high altar-piece of the second convent church 
qf Liesbom; it wias sold and cut in pieces in 1807, when 
the convent was suspended, and Napoleon established the 
modern kingdom of Westphalia. Some of the pieces were- 
afterwards lost, others were obtained by different col- 
lectors, and some portions which were acquired by Herr 
Kriiger of Minden have now found a place in this gallery. 

This altar-piece was a picture in several compartments, 
of which the centre represented Christ on the cross, and 
four angels receiving the blood from the hands, side, and 
feet in golden vessels ; by the side of the cross, on a field 
of flowers, were standing St. John, St. Scholastica, St. Be* 
nedict, St. Oosmas, St. Damianus, and the Virgin Mary. 
On either side were represented, in fpur compart- 
ments, — ^the Annunciation, the' Nativity, the Adoration 
of the Kings, and the Presentation in the Temple; the 
BesTurection, the Ascension, the Descent of the Holy Ghost, 
and the Last Judgment. Of these compartments there are 
in the Gallery now only the upper portions of the six saints. 
These pictures are painted on canvas primed with chalk, 



^20 LIPPI, FlliCPPO. 

and stretched on wood, and are executed partly in tempera 
and partly in oil colours.* 

No. 260. Thbee SAiNTS^Hst. John the Evangdist, St 
Juid Benedict. Busts, small-life size, gold 

'^,°' ^^\ l^^ SAiNi'S.-St. Cosmos and St. Damianus, 
ma^yrs, and the Virgm Mary ; the martyrs holding vessel 
ofomtment. Busts, small-Ufe size, gold gi-ound 

comBartmer ^^"hf .,*'l ''T''^''^'"'^ P«'-*i«°« »f ^^e centre 
crsecrated in llfi' ^^ altar-p.ece of.the Liesborn convent, 
conseciated in 146o ; representing the uoner nortiona nf ti.o 

men? '>S^ '1'^''^' sldeof the°cross. KhSr Gov^^^ 



*#>^#.A»i^»^» » jS^^^.jlj 



FRA FILIPPO LIPPI 

FiLiPPo LiPPi, or Fra Filippo, a« he is caUed, to di* 

tmguish him more clearly from his son Filippino Lippi. 

died m 1469, about the age of fifty-seven. The date of to 

death IS proved by documents,! that of his bu-th is uncer- 

m 1412, he lost his parents in childhood, and being left in 
indigence, was placed by an aunt in the CarmeUte Convent, 
where, at the age of dght. he began his noviciate as a 
brother of the ordel^ His aptitude for drawing soon mani- 
festmg Itself, the prior afforded him the means of foUo^g 
what seemed to be his &vourite occupation, and at ZZw 
age he painted some figures in fresco in the precincts of"£ 
church, and convent. Of those fix.t produ^ions nouT 

hensive notice of 'the W^^^^'s^h"^, bf^T K^r'^ t« " ."^""r^ 
zeiehnxss der Gemaelde-Samulu^n J.rr^t^ ^r.Hj Horsiier. Sec also Ver- 

t Vasari, FJCe, *c., Ed. Le Monnipi- la^e .. , . 

t Vasari may bS quite c^^t^nnViif-®' M**' J^' "'•' P" "«, note, 
first inspirations ftZ MaS ^IT^ *t' ^'"PP° ^W' ^«rf'«l W« 
painted in terra verdc, in Kite™ ^f fci""*: f*^ *»* t^^ «»«« 
the Rules of the CanAelites" ne^ m ?L " r ''*°'' " ^''« Confinnktion of 
Masaccio. As the portrait of W.^ J pm ^'^^}^°^ of the Church," by 
namedpainting « at &JZe whenSenz^^^^ ""f inttoduced in(» the last- ' 
in 1425. the pfcture must hayr^^SdTtr?^'^"'^? "^*'"^'*'" *«». 
of the Rules.- .b.ve-.entionedts aVrel/^f^ppT^Sf ™^- 



LIPPJ, FILIPPO. 121 

Fra Filipjx) left the convent about 1430, and during an 
excursion at sea near Ancona, he and his companions were 
taken by some Moorish pirates and carried as slaves to 
Barbary. After eighteen months captivity in fetters, Fra 
Filippo found opportunity to draw a whole length portrait 
of his master, with charcoal, on a white walL This display 
of a skill so unknown in those regions excited general 
wonder and procured the painter's release from chains ; 
and upon his subsequently executing some coloured works 
for his Moorish patron he was set at liberty. Whether he 
visited Naples immediately on his return to Italy, or after- 
wards, is uncertain. . He left a picture in Naples, and in 
1438 was occupied on one of his best works for the sacristy 
of Santo Spirito, in Florence. 

In Prato, before undertaking the celebrated frescoes of 
the choir of the cathedi'al, he painted various pictures. 
While occupied on an altar-piece, representing the nativity, 
for the nuns of Santa Margherita, he became enamoured 
of Lucrezia Buti, then residing in the convent, either in- 
tended for a nun or as a ward of the nuns. He requested 
to be allowed to introduce her portrait in the picture, as 
the Madonna.* Eventually he carried her off fix)m the con- 
vent in 1458, and by this desperate act exposed himself to 
endless troubles. His frescoes in Prato were begun in 1456, 
and after many interruptions were completed about 1464. 
His latest works were the frescoes in the choir of the 
cathedral at Spoleto. He died there, as was supposed by 
poison, October the 8th, 1469. The unfinished frescoes in 
Spoleto were completed by his scholar and assistant Fra 
Diamante, in 1470.t 

No. 248. The Vision of St. Bernard. The Saint, 
dressed in white, is represented writing his homilies at a 
desk placed on a table formed of the solid rock. On the 

* The picture, in an injured state, is now in the Louvre. Vasari states that 
Fra Filippo threw aside the hahit of a monk at the age of seventeen ; but the 
painter, in two of his letters, the bitest of which is dated 1457, signs himself 
** Frate." In the altar-piece of Sant' Ambrogio, now in the Gallery delle Bdk 
Arti in Florence, his portrait has the friar's tonsure ; and in the record of his 
death, preserved in the annals of the Carmelite Convent in Florence, he is 
named *♦ Fr. Philippus." 

t Delle Pitture di Fra Filippo Lippi net coro delta Cattedrale di Prato, by the 
Canonico Baldanzi, Prato, 1836; Delta chiesa Cattedrale di Prato, Descrizione 
corredata di noHzie Storiche, ^c, Prato 1846; Vasari, Vite, jrc; Baldinucci, 
Notizie,^r.; and Gaye, Carteggio fneditod'Artisti, 



122 UPPJ, FILIPPO. 

desk is some paper and a leathern ink botUe ; by his side 
are some books. The Virgin, surrounded by angeb, ap- 
pears before him.* 

In tempera, on a hexagonal panel, the upper corners of a square 
being cut away, 3 ft. 2 in. h. by 3 ft. 5J in. w. 

Vasari states that Fra Fflippo painted two pictures to be 
placed over doors in the Palazzo della Signoria at Florence. The 
subject of one was the Annunciation ; of the other a St. Ber* 
nard. The date of the latter picture is fixed by a record quoted 
by Baldinucci from the register of the Frovveditori di Camera^ 
whence it appears that on the 16th of May, 1447, Fra FUippo 
received 40 lire, " for having painted the figure of the Virgin and 
of St. Bernard, to be placed before [above] the door of the 
cancelleria of the Palazzo de? Signori,^*1[ Purchased at M. De 
Bammeville's sale in 1854. In the catalogue of that sale this 
picture was attributed to Masaccio. 

No. 586» The IIadonna and Child enthboned, 
SUBKOUNDED BY Anqels AND Saints. The Virgin is 
seated, with the infant Christ standing on her knee. 
Two angels are at the foot of the throne plajdng on musical 
instruments, one on the lute, the other on the violin. On 
each side, in separate compartments, are standing two 
saints, a monk and a bishop on the left, St. Bartholomew 
and a nun, on the right. J Figures nearly life size. 

In tempera, on wood, the centre picture 5 ft. 4 in. h. by 2 ft. 
4 in. w.;the two side pictures 4 ft. 8 in. A. by 1 ft. 10^ in. w. 

* " St Bernard vas remarkable for his devotion to the Blessed Virgin : one 
of his most celebrated vorks, the Missus est, was composed in her honour as 
Mother of the Eedeemer ; and in eighty sermons or texts from the Song of 
Solomon, he set forth her divine perfection. . . . Accordingly, the Biased 
Virgin regarded her votary with peculiar favour. His health was extremely 
feeble ,* and once, when he was employed in writing his homilies, aad was so iU 
that he could scarcely hold the pen, she graciously appeared to him, and com- 
forted and restored him by her divine presence." — Mrs. Jameson, Legends of 
the Mondstic Orders, p. 152. 

f Baldinucci, vol v., p. 353. Aa the painter received 1200 lire for the 
altar-piece of Sant Ambrogio before mentioned, it may be inferred that 40 lire 
was the price of one and not of both the works noticed by Vasari. The picture 
in question is about the width of a door, and the peculiar form of its upper 
portion is explained by its adaptation to the atchitecture. Fra Filippo appean 
to have frequently painted subjects relating to St. Bernard. The picture of the 
Death of the Saint is still preserved in the Cathedral at Prato. In the church 
DeUe Murate at !Elorence, now suppressed, he painted incidents frpm the lives 
of St. Benedict and St Bernard. At Arezzo he painted thie altarpiepe ibr ihfi 
Chap^ of St. Bernard ^ the same Saint is introduced in one of the apeoimeas 
in the Berlin Gallery, and to theise instances is to be added the picture above 
described. 

j: It is difficult to come to a decisicm respecting the three saiats here not 
named ; they may be St. Dominic, St Zenobius, and St S^olastica, or as 
Ihe picture was originally pafaited for an Augustine eonvent, St. Nicholas of 
Tolentino, St Augustine, and St Monica. ^. Bartholomew U introdooed 
apparently oh account of the name of the dcmor, Gherardo di BartokMnmco 
Barbadori. 



OB 



LIPPI, FIUPPO. 123 

Tkia is sappoged to be the picture painted in or before 1438, 
when Fra Filippo was 26 years old, for Gherardo di Barto- 
lommeo Barbadori, to be placed in the church of . Santo Spiritq, 
at Florence. Formerly in the convent of Santo Spirito, where 
it was placed, when removed from the sacristy, in the latter part 
of the last century. It was subsequently in the possession oi 
the Primicerio Crociani, of Montepulciano, from whom it was 
ol^tained by the late proprietors. Purchased in Florence from 
the Lombardi-Baldi collection in 1857.* 

No. 589« The Virgin * Mary seated, an Angel 
PRESENTING THE Infant Christ TO HER. TJiider an arch 
is seen a distant view of a lake. Three figures s«iall life size. 

In tempera, on wood, 2 ft. 4 in, A. by 1 ft. 7^ in. w. 
Formerly in the possession of Sig. Zambrini of Tmola. Pur- 
chased at Florence from the Lombardi-Baldi collectioo in 18^57. 

No. €€€m The Annunciation, Tlie Virgin Mary is 
seated in a richly furnished chamber, and in a garden oppo- 
site to her, on the spectator's left, is the angel Gabriel, 
announcing the birth of Christ. 

" The Holy Ghost shall come upon th^, and the pover of the Highest shall 
oTtrahadow tiiae, tfaerefore also that holy thing -which shall be horn of thee 
shall be called the Son of God."— ZwAd, i. 35. 

In the centre of the picture a dove, proceeding in a ray 
pf glories from a hand above, is approaching Mary. Small 
entire figures. 

On wood, in tempera, a lunette, 2 ft. 2 in, h* by 4 ft. 1 1^ in. w. 

This and the following picture, No. 667, were painted for Cosmo 
de' Medici. This is marked with the crest of Cosmo, three feathers 
tied together in a ring. The pictures were both procured from 
the Eiccardi. (Medici) Palace at Florence hy the brothers Metz- 
ger, about 15 years ago.f 

Presented to ihe National Gballery by Bir Charles Lock East- 
Jake, P.B.A,, in 1861. 

No. 6€7. St. John the Baptist with Six othee 
Saints ; on his right are Saints Francis, Lawrence, and 
Cosmas ; on his left, Saints Damianus, Anthony, and Peter 
Martire : all seated on a marble bench in a garden. Small 
entire figures. 



* Vasari, Vtte, jr<?., Ed. 1^ Mooaier, vol. iv. p. 119, note 4. The annotators 
of Vftsari here quoted, in sffirming the identity of this vork with the Barba- 
don altar-piece, deny the similar pretensions of a ehan^teristic specimen of 
Pra Filippo now in die gallery of the Xouvre. Notwithstanding the high 
anthority of the critios reared to, it' may reasonably be questioned not only 
■whffiSieT the pieture abore described is the identical woric referred to, but 
even whether it is to any great extent by the hand of the master. The pro- 
bability is that t^ Madonna and Child are pa^y by fra Filippo^ and that the 
angels below, as well as the side figures, are by Alessio Baldovinetti. 

t Vasari, VitCy jrc, Ed. Le Monoier, vol. iv., p* 118. 



124 UPPI, FTLIPPIXO. 

On wood, in tempera, a lunette, 2 ft. 2 in h, by 4 ft. 1 1^ in w. 
Companion picture to No. 666, described above. Purchased 
from Mr. Alexander Barker, in 1861. 

FILIPPINO LIPPI. 

FiLiPPO, commonly called FiLiPPiNoLiPPr, the son of Fra 
Filippo and Lucrezia Buti, was bom at Florence in 1460. 
In consequence of the death of his father when Filippino was 
still a child, he became the scholar of Sandro Botticelli. He 
soon acquired celebrity, and was employed about 1485 to 
complete the frescoes of the Brancacci Chapel in tlie Church 
del Carmine in Florence, which had been left unfinished 
by Masolino da Panicale and Masaccio.* His works in 
this chapel exhibit great dramatic power in composition, 
and prove Filippino to have been one of the best masters of 
bis time. His pictures are also distinguished for their rich 
architecture, their costume, and their ornamental accessories. 
He subsequently painted some frescoes in the Strozzi 
Chapel, in the Church of Sarlta Maria Novella at Florence- 

In 1492 Filippino visited Rome, and executed some fres- 
coes there for the Cardinal Caraffa, in the Church of Santa 
Maria Sopra Minerva. He also left some works at Prato. 
FiJippino died, and was buried at Florence on the 13th of 
April 1505, aged only forty-five. He signed his name 
Philippinus Florentinus, Philippinus de Lippis, and also 
Filippus de Lipis.t 

No. 293. The Virgin and Child ; St. Jerome and 
St. Dominic adoring the Infant Christ. The Virgin 
is seated in a landscape, with the infant at her breast ; the 
two saints are kneeling one on each side of the Virgin, 
St. Jerome on her right, St. Dominic on her left. Below, 
in a predella, are represented the dead Christ, supported by 
Joseph of Arimathea, with half figures of St. Francis and 
the Magdalen in separate compartments on each side The 

'*' The works of Filippino in the Brancacci Chapel are : — '* The Restoring 
a Youth to Life," part of which was painted hv Masaccio ; the " Crucifixion of 
St Peter," •* St Peter and St Paul before" Nero or the PnKJonsuI," " St 
Peter liberated from Prison;" and according to some '*St Paul visiting 
St Peter in Prison," in which is the figure of St Paul that wafi adm>ted by 
Raphael in hb cartoon of '* Paul preaching at Athens." — See Kugler, Handbook 
of Painting, lisli?a\ Schools; Knoiohr, Italienische Forachungen ; G aye, Car- 
teggio Inedito cT ArHsti ; and Yasari, Vite, ffc, £d. Le Monnier, note, voL iil 
p. 190. 

t Vasari, Vite, ^c, Ed. Le Monnier, voL v., p, 242. 



LOMBABD. 125 

arms of the Bnoellai family are painted at the extreme 
ends.* 

In tempera, on wood, 6 ft. 9 in. A. by 6 ft, 1 in. w. The predella 
8 in. h, by 7 ft. 9 in. w. 

We learn from Vasari that this picture was originally painted 
for the Rucellai Chapel in the church of San Pancrazio at 
Florence;* after the suppression of this church it was re- 
moved to the Palazzo Rucellai^ where it remained until it was 
purchased of the Cavaliere Giuseppe Rucellai, in 1857, for the 
National Gallery. 

No. 592. The Adoration of the Magi ; on, the 
Wise Men's Offering. — Matthew ii. 1, 11. The holy 
family is in front of a ruined building on the spectator's 
right, and the magi are prostrating themselves before the 
divine Infant ; on the lefb is an immense retinue of 
followers, reaching to the extreme limits of the pictm^ on 
that side. A rocky back-ground. Small figures. 

In tempera, on wood, 1 ft. 8 in. A. by 4 ft. 7 in. w. 

Formerly in the possession of the Marchese Ippolito Orlandini 
of Florence. Purchased at Florence from the Lombardi^Baldi 
collection in 1857. 

No. 598. St. Francis in -glory, with the stigmata; 
standing, holding in his arms and contemplating a small 
crucifix ; above on each side five angels playing musical 
instniments. Inscribed below — HUNC sequantur, huic 

JUNGANTUR, qui ex EgYPTO exeunt, in quo nobis CLARA 

luce vexilla Regis prodeunt, and dated A.D. Mccccxcir.f 
Gold back-grouild. 

In tempera, on wood, 19^ in. h. by 12^ in. «?. 

Formerly in the collection of the Marchese Giovanni Costabili, 
at Ferrara, from which it was purchased for the National Gallery 
in 1858. 



.WMMIXWMI.W.*.* **m»»»mm»»*'i»»»ntit»»*'*t»m 



LOMBARD. 

Lambert or Lamprecht Lombard, commonly called 
Lambert Lombardus, was bom at Li^ge, of humble parents. 



* Vite dei Pittori, {•<?., Ed. Le Monnier, vol. v., p. 245. 
f " Let those who depart out of Egypt follow him, and be nnited to him, in 
whom the standards of the king come forth, for us, in clear light." This is, 
with a slight variation, one of the eight strophes of a hymn to St Francis, 
which will be fonnd in a ** Breviarium secundum ritum Romanum Venetiis 
impressnm arte et impensis Andree de Torresanis de Asula mccccxcv.,'* &c. 

* Hunc sequantur, 
Huic jungantur, 
Qui ex -ffigypto exeunt, 
In quo duce 
Clara luce 
Vexilla Regis prodeunt. 



126 LOMBARD. 

in 15(>6> and was the scholftr of Jan de Mabnse and Amnld 
Beer. He married when very young, and travelled in 
Germany and France, and visited Italy in the suite of the 
English cardinal Pole, when he became acquainted with 
Vasari, who speaks highly of his general attainments, calling 
him, among other things, " an excellent architect/' 

In Italy, though Lambert resided there for a very short 
time, he entilrely acquired the Italian style of design. At 
the death of his patron. Cardinal Erhard de la Marck, 
Bishop of Lidge, in 1538, he was compelled to return home, 
— where his example, however, says Van Mander, greatly 
advanced the school of his native place. Hubert Golrius 
and Frans Floris were both scholars of Lambert Lombard. 
He died poor, at Li^e^ in 1560 : he was three times married 
and had children by each wife, which imposed burdens upon 
him that the art*patronage of Li^e did not enable him to 
support. He is reported to have died in the Hospital of 
Mont Comillon. 

The pictures of this master are scarce ; they are generally 
iremarkable for the correctness of their drawing, and they are 
executed in a manner somewhat peculiar to himself: the 
drawing is in the first instance elaborately and delicately 
defined, and the colours and shadows are only very 
slightly scumbled over the light ground. In 1565 a life of 
Lambert Lombard was published by Dominicus Lamp- 
soruus, one of bis scho4s.- LamLrt's drawings L 
numerous, in chalk and with the pen ; he also etohed 
some plates ; he was the best antiquary of his time and 
district. 



No. 266. The Deposition pfeoM the Cross. St. John 
and the Vii^in are supporting the dead body of Christ ; 
above is the Holy Spirit in the form of the dove. Three 
figures half length, life size. 

On wood, in oil, 3 ft. 6 in. h, by 2 ft. 3 in w. Purchased with 
the collection of Herr Kruger of Minden, in 1854. 



* Lamberti Loi^bardi apud Eburones Pictoris celeberrimi Vita, 8ro., Brogen 
Hubert Gokius, 1565. Hathgeber, Annalen der Niederlandischen Mcderet, ^c, 
folio, Gotha, 1843. Van Mander, Het ScMlder Boek, Michiels, Histoire de la 
Peinture Flamande et HoQandaise, vol. iii.» Svo., Brussels, 1846. Though we 
have so early a life of Lombaxd by one ci his own scholars, there are few facts 
supported by documents ; the dates both of his birth and death are found only 
on engraved portraits of him. The works of Eathgeber and Michiels contain 
lists of his pictures. 



MAAg — MABUSE. ] 27 

MAAS. 

Niooiils MaAS 6r Maes,* a distinguished Dutch porttait 
and gf^enrb painter, was bom at Dort, in 16^2. He was the 
pupil of Rembrandt. In 1678 he settled at Amsterdam, 
where he died in 1693. He etched a few plates.-f- 

No. 153. The Cradle. A little gu*l is rocking a child 
to sleep in a cradle. An open book and a jug are standing 
upon a table, covered with a rich Turkey mat. Signed 
with the monogram of the painter. 

On wood, 15^ in. A. by 12^ in. w. 

No. 159. The Dutch Housewifk A girl scraping 
parsnips, with a child by her side watching her. On the 
other side is the Flemish khiik or beer-jug, so often intro- 
duced into the pictures of this master. Signed, and dated 

.N.NFeS ,% 

On wood, 13^ in. A. bj 11^ in. to* 

Both pictures were bequeathed to the National Grallery, in 1838, 
by Lord Farnborough, 

No. 207. The Idle Servant. A kitchen-maid has fallen 
asleep over her work ; before her on the floor are strewed 
various kitchen utensils ; and on a cupboard behind her a 
cat is in the act of stealing a duckling ready trussed for 
cooking. Another servant standing by her side, with a beer- 
jug in her hand, is laughing at the disorder around. In 
an inner apartment in the back-groimd, the fisunily is seen 
at dinner. Signed, and dated 1656. 



N .TtKSl/^j. 



On wood, 2 ft. Sj^ in. A. by 1 ft. 9^ in. w. 
Bequeathed to the National Gallery, in 1846, by Mr. Richard 
Simmons. 



*W^wiw»)«w«w»w<w»>wwwiw»«iai»»*<if»»w<lK»««. 



MABUSE. 

Jan Gossaert, commonly called Jan de Mabuse, from 
his birthplace, now Maubeuge, and within the French 
frontier, was bom about 1470 : he sometimes signed him- 

■ ' i ■ . I , .,ll I. ... .I....-- , ., , ■ - M . M I , , , ■ { 

* Both prononnced broad, like the a in Mars ; the former is now the com- 
mon Dutch form, though the painter signed his name Maes. 

t Haubraken, Groote Schouburg, &c. ; Bartsch, Ze Peintre-Cfraveur, 



\ 



128 MANTEGNA, A. 

self Joannes Malbodius. Mabuse Visited Italy, and he 
resided some time in this country, wlien be was employed 
by Henry VII. ' At Castle Howard, the seat of the Earl of 
Carlisle, is one of the master-pieces of Mabuse, represent- 
ing the ** Adoration of the Kings :" it is one of the most 
elaborate and admirable works of the Flemish school. He 
died at Antwerp Oct. 1, 1532.* 

No. 656. Portrait of a Man Dressed in Black, 
with ftir over his shoulders. He has a rosary in his hand 
and appears to be standing in a church. Architectural 
background. Half-length, small life size. 

On wood, 2 ft. 3 in. h. by 1 ft. 7 in. w. 

Purchased at Paris, from M. Edmond Beaucousin, in 1860. 



MANTEGNA. 

Andrea Mantegna, Cavaliere, was born of an obscme 
family, in the neighbourhood of Padua, in 1431 ; the exact 
locality is not known; his father's Christian name was 
Biagio or Blaiscf The youth of Mantegna is said to have 
resembled that of Giotto ; according to Vasari he was a 
shepherd boy; and having early displayed great aptitude 
for drawing, he was placed with the celebrated Squarcione 
of Padua, who was so struck with his ability that he adopted 
him, and entered his name, in 1441, in the register of 
painters as follows: Andrea fiuolo de M. Francesco 
Squarzon depentore. It was Squarcione's intention to make 
him his* heir; but Mantegna is said to have forfeited the 
friendship of his patron, by marrying Nicolosia, the daughter 
of Jacopo Bellini, Squarcione's rival. This story is doubtful : 
his wife appears to have been of the Mantua family of the 
Nuvolosi.^ 

In 1468, Mantegna entered the service of Lodovico 
Gonzaga, Marquis of Mantua, with an allowance of 75 lire 
per month, about SOI. a year, at that time a considerable 
salary. At a later period the Marquis presented liim witli 

* Van Mander, Het Leven der schilders, &c. 

t The date of Mantegna's birth is ascertained from the following inscription 
on a picture now lost, formerly in the chnrch of Santa Sofia in Padua: — Andreas 
Mantinea Patavinus ann, septem et decern nalus sua manu pinxit MCCCCXLVIU. 
It is preserved in Scardeone's Antiquities of Padua, Moschini^ Delia Orig^ine, 
^c. Delia Pitiura in Padova, p. 35. Padua, 1826. 

J Coddd, Pitiori Majilovani, &c., Mantua. 1837. 



MANTEGNA, A. 129 

a small piece of land near the church of San Sebastiano, 
npoh which, in 1476, Mantegna built himself a house. 
Tliis house is said by Ridolfi to have been decorated with 
frescoes by Mantegna himself; but these and other of the 
painters more important works in the Castle of Mantua 
greatly suffered in the pillage of the city by the Imperial 
troops in 1630, diuing the war of the disputed succession 
to the dukedom. The collections of the earlier Gonzagas 
were dispersed on this occasion ; many works were carried 
to Prague, and many passed into the possession of Christina, 
Queen of Sweden; the latter eventually formed part of 
the Orleans collection. It was this dispersion of the art 
treasures of Mantua that enabled Charles I. of England to 
become the possessor of the celebrated series at Hampton 
Court, the nine tempera pictures on cloth of the " Triumph 
of Julius Caesar,"' completed in 1492, for the palace of San 
Sebastiano at Mantua. Vasari notices this " Triumph " as 
Mantegna's best work.* 

Mantegna was invited by Innocent VIII. to Rome, and 
in 1488-90'f" he executed some frescoes there in the chapel 
of that Pope on the Belvedere of the Vatican ; this chapel 
was afterwards destroyed by Pius VI. to enable him to 
carry out certain alterations. Mantegna's works of every 
kind are now scarce, but he is fairly represented in this 
country. The Marquis Selvatico has enumerated, inde- 
pendently of frescoes, only thirty-three certain pictures 
by this painter, including the Hampton Court "Triumph." 
Several of them axe in tempera and on cloth. 

Mantegna died at Mantua September 13, 16064 and 
was buried in his own chapel of St. John the Baptist, in 
the church of Sant' Andrea. He was painter, engraver, 
sculptor, poet, and architect. His engravings, among the 
earliest Italian examples of the art, resemble those of 
Marcantonio. Nearly sixty prints altogether are attributed 

* " Lamiglior cosa che lavorasse mai.* Fife, voL v. p. 170. Ed. Le Monnier, 
Florence, 1846, et seq. It was engraTcd in wood by Andrea Andreani in 1599 ; 
in copper by R. Van Auden,aert in 1692 ; and again by S. Clarke in 1712, 

t Mantegna Tisited Rome in the summer of 1488. A letter from Prnncesco 
Gonzaga, introducing him to the Pope, is dated June the 10th of that year. 
See Gaye, Carteggio Inedito, &c. III. p. 561. He returned to Mantua, Sep- 
tember the 6th, 1490. Moschini, Delia Origine, §V7. p. 43. 

X Mantegna's death was announced to the Marquis Francesco Gonzaga by 
his sou Francesco on the 15th of that month as having taken place on the pre« 
ceding Sunday, this was the 13th. The letter was published by Zani, Materialt 
per servire alia Storia deW Incisioney &c., Parma, 1802. 

I 



130 KANTEGNA, A. 

to him, but not half that number with certainty. The 
works of this great master are imbued with the highest 
grandeur of feeling ; his manner is hard and severe^ but hifi 
drawing is correct, his modelling fine, and his execution of 
the utmost vigour and finish. His colouring, in his best 
specimens, is also powerful and harjnonious. His draperies 
are particularly well elaborated. Like his master Squardone 
he was a diligent student of the antique ; and in his aoces- 
Bories he displays unusual care and power. 

He left by his wife Nicolosia two sons and a daughter. 
He was aided in some of his works by his second son 
Francesco, by a favorite scholar known as Carlo del Man- 
tegna,* and by Giovanni Francesco Oarotto.-f 

No. 274s. The Virqin and Guild ENTHjcoNEaD ; St. 
JoHK THp Baptist anp the Magdalen. The Virgin is 
seated, with the Child standing on her kuee, on a low 
throne surmounted by a canopy. On the right of the 
Virgin is St. John the Baptist, on her left the Magdalen, 
both standiQg. The back-ground consists chiefly of orange 
and citron trees. On a scroll attached to the cross held by 
St. John is written Ecce dgnus Dei, ecoe qui tollit peecata 
7aundi;X and on the inner side of the scroll above is the 
painters signature-r-ul^dr«as Mantinia GP.F. (Givis 
f 9>tavinus fecit). 

Engraved in Aliprandi's Private Gallerie Milanesi,^ In 
tempera, on canvas, 4 ft. 6|^ in. h, by 8 ft. 9^ in. to. 

This picture is described and extoUed by various Italian writers 
on art, ipcluding the authors of several guide-books of M^8^p.|| 

* See the Commentary of the Marquis Selvatico in the edition of Vasari's 
X^ve^^blifihe4 hy Le Monnier, Florence, 1846 etseq., vol. v. 

• Vasari, Vita di Fra Giocondo, &c. 

; : " Behold the Lamb of God, which taketh away the sin of the world.'- — 
John i. 29. 

$ Raccolta delle Migliori Dipinture che si conservano neUe priptUe GaUerie 
Milanesi. Milan, 18 13.* 

11 Le Vite, |-c., di Giorgio Vasari. Firenze, le Monnier, vol. v. 1849, 
p. 188. The passage referred to is in the commentary, by Selvatico, on the 
life of Mantegna, with a list of his works, 

Storia deUa Pittura Italiana, j-c, da Giovanni BosinL Pisa, vol. 8, 1841, 
p. 262. 

Milano Nuovamente Detcritta del Pittore Francesco Pir&uano, MilaQO» 1832, 
p. 256. 
IlForestiere in Milano^ de Bartolommeo Borroni. 1808, vol. 1, p. 49. 
Nuova Guida di Milano. Milano, 1796, 2*** edizione, p. 119. 



MAKTEaUA, F. J 81 

It is stated bj Borroni to bare formed part of tbe collection 
of tbe Cardinal Cesare Monti, who was Arcbbisbop of Milan 
from 1682 to 1650. The principal part of that collection was 
bequeathed by him to his successors in office, and a consider- 
able portiop is now deposited in the Brera Gallery ; but the 
picture in question remained with the Monti family, having 
been placed by the same prelate — as early, according to tradition, 
as 1610 — ^in the private chapel of the Palazzo Monti. After the 
extinction of the Monti fkmily, in the last century, the maasioii, 
and tbe Mantegn^ with it, became tbp prop^y of the AndreaHf 
family, ^hei^ the picture was ren^pved from the chapel to one 
of the apartments. The families of Mellerio and Somaglia 
succeeded as proprietors. From the representative of the last- 
named house the picture, having been first bought by Signer 
Baslini, passed into the possession of Signor BoverseUi, from 
whorn, in the aut^nin of 1855, it was purchased for the I^atiooal 
Collection. 



MANTEGNA, FRANCESCO. 

FiUKOfisoo M4.NTEaifA, tbe second sou of Andrea, was 
born at Mautua about 1470. He was the pupil and assistant 
of his faihev, and coQipleted some works left ^finished 
by Mm. Francesco was still living in 1517.* Andrea 
Mantegna, son of Lodovico^ and grandson of the painter, 
placed a monument, iu 1560, in the family chapel in Sant' 
Andrea, at Kantua, to his father, hLs grandfather, and his 
«ncle, Francesco, with the following inscription: — OssA 

AhBBBAB MANTllfEAE FaMOSTSSIMI PiCTOBIS CUM PUQBUS 

FxLXis jN Hoa Sepulobo per Andbbam Mantiniah 

HEPOTEK EX FIUO CONSTBUCTO BEPOSITA MDLX.f 



No, (S39« Chbist and Mabt Magdalen in the Garden, 

called a " Noli me tangere," — touch me not. John xx. 17. 
A vine of purple grapes hanging over the figure of Christ, 
is supported on a dead tree ; on the other^ side a bird is 
seen defending its nest against a snake which has crept up 
the tree ; on the left is a bee-hive. 

On wood, 16| in. A. by 12 in. w. 

Formerly in tbe Duroveray Collection. Purcbase4 at Paris, 
from M. Edmond Beaucousin, in 1860. 



* Moschiai, Delia origine della Pittura in Padova, ke, 
f Codd^, Pittori, &c., MdfUovani. 

I 2 



132 MARATTI. 

MARATTI. 

Carlo Maratti, Cavaliere^ was bom at Camurano, be- 
tween Loreto and Ancona, May 15tb, 1626. He went early 
to Rome, where he entered the school of Andrea Saechi. He 
soon became the most distinguished pupil of that master ; 
and after the deaths of Pietro da Oortona and Saechi, he was 
for nearly half a century the most eminent painter in Home. 
He was honoured with the favour of six successive popes- 
Clements IX and X., Innocent XI., Alexander VIII., Inno- 
cent XII., and Clement XI. He was appointed superin- 
tendent of the Vatican Chambers by Innocent XI. ; and in 
the years 1702 and 3, he restored with the sanction of 
Clement XL (Albani) the frescoes of Raphael there, which 
had been suffered to fall into a state of decay and immi- 
nent ruin. He died in Rome Dec. 15th, 1713, at the 
advanced age of eighty-eight.* 

Maratti was considered by Mengs to have arrested at 
Rome the general decline of painting which prevailed at 
the close of the seventeenth century.-|- He was an ardent 
admirer of Raphael, whose style, though weakened in his 
hands by the eclecticism of the Carracci, he endeavoured to 
uphold, in opposition to the then prevailing school of Cor- 
tona, and the Tnacchirdsti generally. Maratti painted little 
in fresco ; his chief works, which are very numerous, are 
easel pictures in oil. A " Baptism of Christ " by him, now 
in the church of Santa Maria degli Angeli at Rome, has 
been executed in mosaic for the altar of one of the chapels 
of St. Peters. From his frequent pictures of the Virgin, 
he acquired the name of Carlo delle Madonne. His pictures 
are distinguished for their academic precision of design, but 
are more conspicuous for the general absence of defects, 
than for any particular excellence. There are several 
etchings by this paiiiter. 



No. 174. PoRTBAiT OF CARDINAL Cerri, seated. Half- 
length, of the natural size. 

On canvas, 3 ft. 11 in. A. by 3 ft. 2 in, w. 

Presented to the National Gallery, in 1839, by Mr. Henry 
Gaily Knight. 

* Lioni, RitraHi di alcuni celebri Pittort del secolo XVIL, &C., Roma, 1731 ♦ 
which contains Maratti's life, by Bellori; Pascoli, Viie de* Pittari, &c 
t Lanzi, Storia Pittorka, &c.; Mengs, Hinterlassne Werke, vol i. p. 304, 



MABOABITONE. }33 

MARGARITONE. 

Margaritone di Magnano,* of Arezzo, painter, sculptor, 
and architect, was a distinguished master in his time. He 
was Tx)m at Arezzo in 1 236, and, as appears evidently from 
his works, was a student of the Byzantine school of paint- 
ing. Being an older painter than Cimabue, he was unin- 
fluenced by the innovations of that great master upon the 
traditionary practice of the time. 

Vasari describes many works by Margaritone, at Arezzo 
and elsewhere, but most of them have long since perished. 
He was employed at Rome by Pope Urban IV. to decorate 
the portico of the old Basilica of St. Peter ; this Pope died 
in 1265. 

The best of all Margaritone's works, says Vasari, is the 
monument in marble of Pope Gregory X., executed shortly 
after 1276, in the episcopal palace at Arezzo. This monu- 
ment contains a likeness of the Pope from the life, which is 
still in a good state of preservation. 

In the convent De' Zoccoli at Sargiano, there is still a 
picture of St. Francis of Assisi, signed Margabit de Aritio 

PINGEBAT.f 

He died at Arezzo in 1313, aged seventy-seven, and 
weary of life, says Vasari, having quite outlived the art and 
taste of his own time, which had then been comjJetely 
8upei*seded by the school of Giotto. J 

• 

No. 564s. The Virgin and Child, with Scenes from 
THE Lives of the Saints. The Virgin is seated in the 
centre with the Child in her lap, and surrounded by the 
IcMktia or Vesica Piecia glory, § within which are also two 

* In the only docnment known concerning this painter, bearing the date 1262, 
are the words, inclaustro SancH Michaelis (in Arezzo) coram A/^argarito pic tore, 
Jilio qttondam Mctgnanu Vasari, Ed. Le Monnier, vol. 1, p. 302, note. 

f This picture is said by Vasari to be ritratto di naturale, an expression 
often nsed by him, meaning that the likeness was authentic, not, in every case, 
that it was taken directly from nature. St. Francis died in 1226. The picture 
referred to is engrayed in the Etruria Pittrict. As an architect l^Iargaritone 
superintended the works of the episcopal palace of Arezzo, and carried out 
•(Mne buildings at Ancona. 

X Vasari, Vite, J-c, Ed. Le Monnier, Flor. 1846, et seq. 

§ This glory or aureole represents the acrostic symbol the fish, derived 
from the circumstance of the common Greek word for fish, ixBus (ichthus), 
containing the initials of the following sentence: — 'Iijo-oOs Xpt^T^j, @€ov T*oy, 
2«^V» Jesua Christ, the Son of God, the Saviour. This glory, which is 
giYen only to Christ, or to the Virgin holding the in&mt Christ, is called 
by Italian writers on art, including Vasari, the Mandola or Mandorla from its 
tumcmd shape. 



134 MASACCIO. 

angels, and around the glory outside are the four symbolic 
images of the four Evangelists — the angel, the ox, the 
lion, and the eagle. The hand df the infant Chtist i^ in 
the act of blessing according to the Greek rite * 

Eight small pictures are arranged, four on each side of the 
vesica : the Nativity and Annunciation to the Shepherds ; 
St. John the Evangelist liberated from the cauldron of 
boiling oil ; St. John resuscitating Drusiana ; St. Benedict 
rolling himself among thorns, to resist the temptations of 
the evil spirit ; the mai-tjrrdom, and burial of St. Catherine 
on Mount Sinai ; St. Nicholas of Ban exhorting the sdilofs 
to throw into the sea the vase given them by the Devil i 
the same Saint hberating the colidemned ; and St. Margardt 
in prison swallowed and disgorged again by the Dragon 
unhurt. The picture is signed,* MargarUde Ariiio Toefedtf 
The annotators of the recent (Le Monnier) edition of Yasari 
express the opinion that ** among the few paintings by 
Margaritone which now remain, this is, on every account, 
the most characteristic and important," 

In tempera, on linen cloth attached to wood, 2 ft. 9 in. A. bj 
5 ft. 9 in. w. 

An altar fr6rit, fbrmerly in the church of Santa Margherita 
at Arezzo. Purchased at Florence from the Lombardi^Baldl 
collection in 1857. 



■j>fi.nnf i f i frnmvnr<'rrv**** r"r"*^*'Vr'^ 



MASACCIO. 

ToitMASO GuiDl, commonly called Masaccio from the 

slovenliness of his habits — the consequence of an absorbing 

attention to his studies — was bom at Castel San Giovanni 

in the upper Vd.ldamo in 1402,$ and was the son of Ser 



* See No. 594, Emmanuel, note, p. 86, where this ^^m is estplaliied. 

t The sm&U pictured hflre their subjects inscribed over l£iem, but tiro bf 
these inscriptions are nearljr illegible. They appear to be as fcdlows i-^- 
I. De Fartu Yirginis Marie et Adnuntiatione Fastomm. 2. Hie Beat Joheii 
Brg. a fervore old liberator. 3. Hi Sc8 Johes Qyg. snseitat Dmsiaiittm. 4 
His. Bnedict. jecit sel spinas fugiens Diaboli tttatioem. 5. Hi Sea OaMaritia 
suscepit martyrinm et in moiitein Siny ab angelis evectaf 6. ^ ScS 
Kieolans precepit Kautis ut vas oblatnm a Biaboloiimari jieferent. 7. Hi 
Scs Nicolaus Uberat eondemnatos. 8. Hi Sea Margarita ingnrgitatitr a 
Dracone et ruptis yiseeribus exit illesa. 

J The eatliest authorities state that Masaceio died at the dge of twenty-sfat. 
Accordingly, later writers, having asinnned tfiat 1443 was the yealr Of his 
death, placed his birth in 1417. The publication by Gftye {Cetrteggio (FArHsti. 
Firenze, 1839, torn. i. p. 115) of a document proving that in 14f7 iCasieeio 



MASACCIO. 1 35 

OiOTanni di Simone Onidi. He is supposed to. have been 
the pupil of Masolino da Panicale who was about his own 
age. Masaccio continued the series of frescoes commenced 
by that painter in the Brancacci chapel in the church of 
the Oarmine at Florence : he appears to have been em- 
ployed in the church and its convent from 1426 till his 
departure for Rome in 1427* 

The frescoes assigned to Masaccio in the Brancacci 
chapel &te — the Expulsion from Paradise; the Tribute 
Money; St. Peter baptizing; the Apostles restoring the 
Youth to life (completed by Filippino Lippi) ; and the 
Infirm cured by the Shadow of St. Peter.* Another in- 
teresting work of the master, the subject called the Italian 
Trinityi with the Madonna, St. John, and the portraits of 
the donors, was brought to light in the church of Santa 
Maria Novella in ] 857.t The principal portions are well 
preserved, and by means of this fresco — the only undoubted 
production of the painter besides the works in the Bran- 
cacci chapel — the latter can be more accurately distinguished. 
The frescoes ascribed to Masaccio in the church of San 
Glemente in Borne — a Orucifixionj and a series relating to 

wai twenty-fiye jears of age, necessarily fixed the date of his birth in 1402 ; 
but the imposeibilitv of reconciling the pre-arranged chronology of certain 
works of art with the inference that Masaccio died in 1428, led historians 
to treat as erroneous the limitation of his life to twenty-six years. His 
existence was therefore prolonged to the age of forty-one ; the old date of 
of 1443 being retained as the year of his death. A diligent investigator of 
tlie archives of Tuscany has recently published some documents relating to 
various Florentine painters, which set this question at rest. From those ex- 
tracts it apt>ears that Masaccio died in Eome in 1428 or at latest in 1429 ; that 
is, when abbut the age of twenty-six. It further appears that MasOlino da 
Panicale, who painted in the Brancacci chapel previously to Masaccio, may 
have begun that work in 1423-1424 ; that he quitted it, in consequence of 
having received an offer of etuplohrment in Hungary, about 1425; that 
Masaccio continued the Brancacci frescoes till 1427, when he repaired to 
Home where he shortly afterwards died. Milahesi, Ih the Giornale Storico degli 
Archivi Toscanii anno iv. Lttglio — Settefflbrfe, 1860. 

* The number of frescoes above allotted to Masaccio (and some writers 
include more) may require re-consideration, when it is remembered that his 
whole labour in the chapel must be restricted to two years. The frescoes ascribed 
to Masolino are three only ; yet in his case it is not absolutely impossible that he 
may have worked in the chapel again at a later period. He appears to have 
returned to Italy^ from Hungary, in 1427. He painted some frescoes, partly 
similar in treatment to those. in Ae Carmine, in the neighbourhood of Como, 
in 1435, and is supposed to have died in 1440. See me documents before 
noticed, published by Milanesi. 

t Vasari describes this work carefully and correctly, but, strange to say, 
within two years after the (second) publication of his biographies, it was 
covered by a gigantic mannered picture of his own. - The fresco has been 
removed, on a solid portion of the wall Itself, to another part of the church, 
where it can now be well seen. Deutsche^ Kumthlatt, 1858, p. 293. 



136 MASACCIO. 

the history of St. Catherine, with other wail paintings — 
ai'e in an earlier and drier manner than his Florentine 
works and inferior to them in all respects. If the state- 
ment of Vasari with regard to the San Clemente series is 
to be admitted in any sense, it may be understood to refer 
to some designs furnished by Masaccio, but executed by a 
far inferior hand. The shortness of his residence in Eome 
before his death tends to confirm this view. The tempera 
picture representing the Madonna and Child with St. Anne, 
now in the gallery of the academy in Florence, iiiougb 
mentioned by Vasari, cannot in its present state be re- 
garded as an unquestionable specimen of the master.* 

The impulse given by Donatello to sculpture was ac- 
complished in painting by Masaccio, who forsook traditionary 
art for the study of nature ; he gave individuality of 
character to his heads, and great natural ease to his figures 
and draperies. These qualities are, at the same time 
accompanied in his works by a breadth of treatment which, 
were his date unknown, might be judged to belong to a 
much later period. The certainty now established, that 
those works were produced from 1425 to 1427 must 
increase the admiration connected with his name, and 
confirm the praises which, according to Vasari, were be* 
stowed on his productions by the best painters of the 
fifteenth century. Though much in the Brancacci series of 
frescoes has by modern criticism been justly assigned to 
Filippino Lippi, who completed the chapel more than half 
a century after the death of Masaccio, enough remains to 
the latter, even without reference to the recently discovered 
fresco in Santa Mari^, Novella, to entitle him to the 
eloquent encomiupa of Sir Joshua Reynolds, that "he 
appears to be the first who discovered the path that leads 
to every excellence to which the art afterwards arrived, 
and may, therefore, be justly considered one of the great 
fathers of modem art. 'f 

Masaccio died in Rome in 1428 or 14294 . 

* Engraved in the Galleria dell' Accademia Delle Belle Arti, Firenze 1845. 

t Discourse XII. 

I See the documents hefore referred to in the Giornale Storico degli Archivi 
Toscaniy &c., Vasari, Vite, &c., and the commentary on his life of Masaccio in 
the Le Monnier edition, vol. iii. p. 165. The Brancacci frescoes are engraved 
hy liasinio ; and some of the heads by Thomas Patch ; Masaccio, sua Vita e 
coll^zioiie di ?4 teste ; parts are also givtn in the Etruria Pittrice, 



UfATSYS. 137 

No. C2C. His own Portrait, a head, front view * 

On wood, 14 in. h, by 11 in. w. 

Purchased at the sale of the Northwick pictures in 1869. 



^ri»W»#^^^*i^»<^^»i*»»^»»r*i^»tf^»^W»»<W»^<>^'l^* 



MATSYS. 



QuiNTiN Matsys, known also atf the Smith of Antwerp, 
was bom at Louvain-f* about 1460 ; he was brought up 
as a blacksmith, and was distinguished for his skill in 
ornamental iionwork. At Louvain and its neighbourhood, 
and in Antwerp, where he eventually settled, there are still 
shown several good specimens of his skill in wrought iron. 
He was admitted a member of the Academy of Antwerp in 
1491-2. 

lit Antwerp, as it is popularly recorded, Quintin fell in 
love with a painter's daughter, and to obtain her hand 
he forsook the anvil for the palette : he not only gained 
his suit, but became the most distinguished painter of the 
city, raising the school of Antwerp to a celebrity equal to 
that of Bruges. . His masterpiece, '' The Taking down from 
the Cross," painted in 1508, for the altar of the chapel 
of the Joiners' Company, in the cathedral, is now one of 
the principal treasures of the Antwerp Museum. It was 
purchased by the city in 1577 for fifteen hundred florins. 
Qnintin had received for it only the moderate sum of 300 
florins, about 25i. sterling. 

This pictm-e, like all the other works of the painter, is 
distinguished for careful execution, which he elaborated to a 
perfection in some instances rivalling that of John Van Eyck. 

RathgfeberJ has enumerated 78 works by, or ascribed to, 
Quintin Matsys in various European collections ; they are 
chiefly of religious subjects, but he painted some portraits, 
and the so-called " Misers," (of which a fine example is in 
the Royal collection at Windsor) he repeated with variations, 
several times. Portraits of himself and of his second wife 



* The traditional designations of works of art are sometimes, tot various 
reasons, retained, when sound criticism might suggest their alteration. The 
portrait still called that of Masaccio in the gallery of the XJffizj at Florence, is 
now generally admitted to he the work of Filippino Lippi, and prohahly his 
own portrait. The portrait above described, whoever it may represent, also 
appears to be the work of Filippino. The opinion here expressed may how- 
ever require the confirmation of time, 

t li. Guicciardini, La Description des Pays-Bas, 1569, p, 131. 

X Annalen der Niedcrldndischen Mcdereif (fc, pp. 205-437. 



138 MATSYS. 

are ill the gallery of the Uffizj, at Florence.* His Wife's is 
dated 1520, the year in which he was visited at Antwerp 
by Albert Durer. He was twice married. 

Quintin died in 1530-31, it is said of the auette in the 
Carthusian convent at Antwerp.f He rarely placed his sig- 
nature on his pictures ; and when it does occur, his name 
is variously Written. A " Holy Family/' in the church of 
St. Pierre at Louvain, is signed Quinte MetsySy screef dit. 
1509 ; and a '■ St. Jerome" in the Lichtenstein Gallery at 
Vienna, has the signature Quirdin MasySy £1513. The fine 
picture of the " Banker and his Wife,'' in the gallery of the 
Loulrre, is signed Quintin Mataysa 8child\ 1 5 1 8, T- Quintin 
left a son, Jan Matsys, by whom there are several pictures 
extant : in the Vienna Gallery is a panel signed Joannes 
Masiis fadebat, 15 64. J 

No, 295. Salvator Mundi, and the Virgin Mary. The 
Saviour holds in his left hand a crystal globe surmounted 
by a golden cross ; with his right he is blessing. The 
Virgin has her hands joined in adoration. Bust figures, 
small life size, on a gold ground. 

On wood, with circular tops, each panel, 1 ft. 11 in. A. by 1 ft. 
i in. w. 

There are two similar pictures to the above, but showing less 
of the figures and slightly varying in the action and accessories^ in 
the Museum at Antwerp. Copies of the Antwerp pictures, once 
in the possession of Erasmus, are now at Heidelberg. A third 
pair, also resembling the Antwerp pictures, is in the gallery of 
the Academy at Turin. The pictures above described were for- 
merly in Madrid, whence they were brought back to the Nether- 
lands in 1816§ and subsequently formed part of the King of Hol- 
land's gallery at the Hague, where they were purchased, in 1857, 
from the Commissioners appointed to dispose of the remainder 
of that collection. 



♦ Meale Grolleria di Firenze. S. III. vol. i. p. 27, engraved by G. Bossi. 

t Qointin Matsys was originally buried in the cemetery of the Carthusians } 
but Cornells Van der Ghest removed his remains a century afterwards, and 
had them rehnried in front of the Cathedral. The spot is marked^by the 
simple memorial m.q.m. obilt 1529 ; and in the wall of the Cathedral is a slab 
with the inscription " Quintino Matsys, Incomparabilis artis pictori, admira- 
itvs. grataque Posteritas anno post obltum Sgcculari cio.iocxxix, posuit — 
Connubialis amor de Mulcibre fecit Apellem." Quintin, though still living in 
July 1530, was already dead on the l2th October 1531. See Catalogue du 
Musie (TAnvers, 1857. 

{ Van Mander, Het Lenen der SchiMers, &c., Ed. 1764 ; Von Mechel, CatU" 
logue de la Gdterie de Vienne ; Schnaase, Nkderlandiscke Brtefe, 1834 ; Mi- 
chlels, Histoire de la Peinture Flamandfy ffc. ; Nieuwenhuys, Description de la 
Galerie, Sfe,, de SM, k Roi dei Pays-Bas, 1843. 

§ Nieuwenhuys, Catatoguej ^(?., p. 61. 



MAZeOLlNL 189 

MAZZOLrNI. 

LoDOVi'co Maz20Li'ni, sometimes called Mazzolini da 
t'errai^a, arid Lodovico Ferrarese, was boin at Fertara about 
1481. He was the scholar of Lorenzo Costa; and after 
Garofalo, whom he somewhat resembles in style, may per- 
haps be considered the lliost distin^ished df the F^rrarese 
painters. He died at Ferrara in 1530.* His pictures are 
remarkable for the architectural back-grounds which he 
frequently introduced into them. His masterpiece is pro- 
bably the large picture of Christ disputing with the Doctors, 
in the Gallery of Berlin ; it was painted in 1524 



No. 82. ThB HoiiT Family, with Saint Francis adoring 
the iiifant Christ; behind^ are Elizabeth and Saint John, 
The little Saint John is protecting a lamb from a monkey 
which appears to menace it. The back-ground is an archi- 
tectural deration, adorned with bassi-riHevi 

Engtaved in Jones's National Gatteryi On wood, 1 ft. 9 in. hi 
by 1 ft. 3^ in. tr. 

Formerly in the Durazzo Palace at Genoa. Bequeathed to the 
National Gallery, in 1831, by the Eev. W. H. Carr. 

No. 1C9. "The Holy Family, with St. Nicholas of 
Tolehtino adoring the infant Saviour ; St. Joseph is present- 
ing him with cherries. Immediately above the Virgin is the 
Dove in a glory of light, the symbol of the Holy Ghost, and 
in the upper part df the picture is a vision of the Father 
surrounded by a choir of angels. 

The whole is sylnmetrically arranged ; the back-ground 
of the composition is an architectural elevation, etiriched 
with bassi-nlievi. 

On wood, 2 ft. \ in. A. by 1 ft. 6| in. w. 

Formerly in the Lercari Palace at Genoa : brought to England 
by Mr. A. Wilson in 1806. t*urchased for the National Gallery 
from Mf. Beckfbrd, in 1839. 

No. 64:1. The Woman taken in Adultery. The scene 
represents the interior of the Temple, id which are many 
people%a the floor and in the galleries. Christ has just 

* llie Irorks of thUs j^ntet are frequently attributed to other mksters, his 
own name being, through Vasari's omissioii o5 him, comparatively tmknoim. 
He is only slightly noticed by Vasari under the name of Malini, "whence, says 
Ijanzi, he has been diyided into two — Malini and Mazzolmi. His name is also 
sometimes confounded with that of MazzbUno, a name given by Lomazzo to 
Parmigiano — Mazzuoli, of which Mazzoliho is a diminutive, or what the 
Italians call a vezzeggiativo, A picture in the Costabili collection at Perrara 
is signed Lodovico Mazzolii, 15 1. Laderchi, Descrizione della GdUeria 
Costabili. Ferrara, 1838, p. 45. 



] 40 M£MLING. 

completed the writing on the pavement, *' He that is with- 
out sin among you> let him cast first a stone at her/' and 
the guilty Scribes and Pharisees are self-convicted, and 
about to turn away from him. John^ ch. viii. 

On wood, 18 in. A. by 12 in. w. 

Formerly in the collection at FonthilL Purchased at Paris, 
from M. Edmond Beaucousin, in 1860. 



.^WMW<W>«tfWMW>0«^»>«*«l>l«^«X*«W»«^>»<W>«MM»WM><^ 



MEMLING. 



Hans or John Memling, called also Hemling, was one of 
the ablest of the early Flemish masters ; the circumstances 
of his life are as yet little known, but one account assumes, 
from an old chronicle, that he was born at Constanz, in 
1439 ; and he is supposed to have been the scholar of Roger 
Vander Weyden. Memling was, however, already, in 1479, 
living at Bruges, in his own house, in the Rue St. George, 
as an established painter; and he was then a citizen of 
property and consideration, and was one of those who in 1480 
contributed to the city loan towards defraying the expenses 
of the war between the Emperor Maximilian and France. 

His picture of the '' Adoration of the Magi,'^ in the 
Hospital of St. John at Bruges, is dated 1479 ; that knx>wn 
as the Sibyl Lamhertha in the same collection was painted 
in the following year ; and the admirable triptych, by him, 
in the Academy of Bruges is dated 1484. In 1487 he lost 
his wife, Anne, by whom he had two sons and a daughter ; 
and on the 10th of December 1495 he himself also was 
dead, his children being then still minors.* 

The Hospital of St. John at Bruges possesses, besides the 
" Adoration'* referred to above, two other of Mending's best 
works, — the fine altar-piece of the " Marriage of St. 
Catherine,*' and the celebrated "Chasse of St. Ursula/' 
with the history of the mai-tyrdom of that saint aiid her 
companions. The comparatively large picture of '* The Joys , 
and Sorrows of the Virgin," with the journey of the three 
Kings from the East, in the gallery at Munich, is also one 
of Memling's most remarkable productions ; it is a work of 



* WeUe^ Journal des Beaux-Arts^ 3rd year, p. 21, &c., and Catalogue du 
Musie de VAcademie de Bruges, Svo., 1861. 



MESSINA. 141 

extraordinary labour and finish. Rafchgeber enumerates 
about a hundred works attributed to this painter.* 



No. 686. The Virgin and Infant Christ, enthroned, 
IN A Garden. On her right, an angel playing on a guitar ; 
on her left, St. George with the dragon at his feet. In 
front, the donor is kneeling before the Divine Infant, who, 
while listening to the music of the angel, is with his left 
hand turning over the leaves of a book held before him by 
his mother. In the distance is a view of the sea, with 
shipping. 

On wood, 21 J in. h, by 14J in. w. 

Purchased at Cologne, at the sale of the pictures of Mr. J. P. 
Weyer, in 1862. 



»■ «#» l^<M».»MM^tf «Wl«l«»Ot>«W<MI.»«««.W « l» 



ANTONELLO DA MESSINA. 

Antonello degli Antonj, commonly called Antonello 
DA Messina, is distinguished among the painters of the 
15th century chiefly as having been the means of intro- 
ducing into Italy the Flemish system of oil painting. 
Various writers, on both sides of the Alps, have had no 
difficulty in proving that the mere use of oil in painting 
was known at an earlier period in Italy as well as in the 
north. It is, however, no less certain that the earlier, 
partial practice of oil painting had so far failed to re- 
commend it that even affcer superior examples of the Flemish 
method, by Van Eyck and Roger Vander Weyden the 
elder, had been seen and admired in Italy ,t the Italian 
painters generally still continued for many years to woi*k 
in tempera. 

Vasari's account is the chief source of the history of 
Antonello. That narrative requires frequent correction in 
dates ; but the leading statements, except where they are 
irreconcileable with ascertained facts, have been generally 
adopteS. 

Antonello was bom about the year 1414, and according 
to the best authorities, at Messina, where his father 



* Fassavant, Kunstreise durch England und Belgien, 1835 ; Ratbgeber, 
Annalen der Niederldndischen Malerei; Michiels, Histoire de la Peinture 
Flamande, ^c. See also note to Claude, No. 30 in this catalogue. 

t Facius, De Viris lUustribus, pp. 46, 48. This work, published in the 
last century, was written in 1456. 



142 MESSINA. 

Salvadore and even some among his anoestors, the AatoDJ, 
it is said, had practised painting.* After studying in Italy, 
and probably in Rome, he returned to Messina, but was 
soon afterwards attracted to Naples by the f^me of a 
picture by John Van Eyck, painted, as Vasari states, for 
Alphonso, king of Naples, The impression produced by 
this work on Antonello was such that, *' putting aside 
every other avocation and thought," he at once undertook 
the journey to Flanders in order to see and ingratiate 
himself with the painter.f 

Alphonso having only begun to reign in 1442, after Van 
Eyck's death, it may be assumed thafc it was P^ing B^p^ of 
Anjou (supplanted by Alphonso) whom the biographer 
meant. It is indeed probable, on many accounts, that 
Kdn^ may have recommended Antonello to the Flemish 
master.J The biographer tells us that Antonello, " arrived 
in Flanders, assiduously cultivated the friepidship of 
Giovanni" (John Vafli Eyck). The result was that tlie 
latter communicated to him the method of painting in oil. 

Johi^ Van Eyck died in July 1440, Granting An^onelb 
a year tp win the favour of the Flemish ms^ster and le^i-m 
his process, he must have been about twenty-five when h0 
rej^ched Bruges. After Van Eyck's death he is supposed to 
have remained in Flanders, gi-adually mastering the new 
art, for some years. In, or soon after, 1451 he may have met 
Domenico Veneziano in Venice,§ and to him he con^^mpi- 
cated the. Flemish process of oil painting: 



* Memorie de Pittori Messinsst, in Messina, 1821. 

f Vasari, Vita di Antonello da Messina. 

X Kunstblatt, 1826, No. 84. Puccini, Memorie IstoricO'Critiche di Antonello 
degli Antonj, Firenze, 1809, p. 87. Lanzi, Storia Pittorica (Firenae, 1822) 
|x>pi. ii., p. 245. Facius (p. 26) describes a triptych by Van Eyc^ |n the 
possession of King Alphonso. This was probably the picture which Antonello 
saw ; but whether it was originally painted for R^ne'or for Alphonso (before 
the latter acq^iired the sovereignty of Naples) can only be matter of con- 
jecture. 

§ The dates in Domenico's life which affect his relations with Antonello may 
be here recorded. In 143Q he was painting t)ie principal chapel (of Sant* 
Egidio) in the church attached to the hospital of Santa I^laria Nuova in 
Florence, with Fietro della Fraucesca as his assistant (See an original 
document quoted by Harzen, Archivfiir den ZeicknendenKiinste, 1856, p. 232.) 
In 1441 he was again at work in the same chapel with Bicci di Lorenzo. (See 
the document quoted by Milanesi in*the Giomale Storico degli Archivi Toscani, 
Luglio — Settembre 1860.) He was gubsequently employed together inA 
Pietro della Franeesca at Loreto ; they both quitted Loreto on account of the 
plague (Vasari, Vita di Pietro della Francesco, consequently about 1450. 
Pietro went to lUmini where he painted a freseo dated 1451 ; DomADieo 



MESSINA. 143 

Vaeari tells u$ that Domenico was- afterwards invited to 
Florence on account of his newly acquired art, and was 
employed by the Portinari to paint in "oil one side of the 
principal chapel in Santa Karia Nuova.* 

Meanwhile, Antonello appears to have established himself 
at Milan. The statement of an early writer, that he a^j- 
quired great reputation there, indicates a stay of some 
years-t His return to his native Messina may not have been 
uninfluenced by the news of the untimely death of his 
Mend Dominico. The assassination in Florence of that 
painter, by his rival Andrea dal Castagno, appears to have 
happened in 14634 The following year may be considered 
the commencement of AntoneUo's second residence in 
Messina. The picture by him about to be described (which, 
coming from Naples, may be supposed to be of Sicilian 
origin) is dated 1465.§ The latest of the various works 

appears to have re-visited his native Venice. If, therefore, he made the ac- 
quaintance of Antonello in Venice, as Vasari states, no more probable time 
CSLSk be ^ussigned for their intercourse than between 1451 and 1455 ; indeed, as 
Domenico is named as a referee in a contract dated Perugia, December 1454, 
he may hare been then in Florence. 

♦ That is to say, the same chapel of Sant^ Egidio in Santa Maria !^uova, 
where, as we have seen, Domenico had been employed for at least two years 
at an earlier period. The conclusion is, that his previous works there (which 
must have been either in fresco or in tempera) were destroyed. Future re- 
searches among contemporary documents may explain this ; there can, 
however, be no doubt that the later wall paintings of Domenico in that chapel 
ifere in oil. Vasari, Vita di Andrea dal Castagno e Dom. V^nezianp, not 
ojHj states this distinctly, but says, as if from his own comparison of the 
works, that Andrea showed no less skill than Domenico in the management of 
oil colours. The remaining side of the chapel was allotted, according to the 
biographer^ to Alessio Baldovinetti, who practised a method allied to oil 
painting. 

f " l^ediplani quoque fuit percelebris." These words, ascribed to Maurolyco 
(Lanzi, torn. ii. p. 242), are quoted by that writer from an earlier authority. 
(See Memoiie de' Pittori Messinesif p. 7, note 1.) 

^ In the contract before referred to (Mariotti, Lettere Perugine, Perugia, 
1788, p. 132), dated Perugia, 1454, three referees are named, one of whom was 
to be consulted ; — either Pra Pilippo Lippi, or Domenico Veneziano, or Fra 
Angelico da Fiesole. The &ct that Fra Filippo visited Perugia in September 
146^ (not in 1464, as misprinted in the Lib Monnier, Vasari, vol. iv. p, 149, 
note 1,) to 4€tennine the doubtful question, may be explained by his being the 
first namejl ; it is not necessary to infer that Domenico (like Fra Apgelico) 
w^s then deceased. The architect Filarete, whose MS. preserved in Florenpe 
belongs to ^ period between 1460 and 1464 (Gaye, Carteggio d'Artisti, Fireijze, 
1839, tom. i. p. 205,) states in that work that Domenico Veneziano was 
" recently deceased." Sandrart (Acad, Picf. p. 106) informs us that Do-r 
menico was assassinated when Antonello was 49 years of age j consequently, if 
the date of AntoneUo's birth has been rightly guessed, in 1463. 

§ But a few years since it was remarked, with reference to the chronological 
ord<er of AntoneUo's works. " Between the years 1445 and 1474 a gap occurs, 
^d we possess no pictures ; the first in the order of dates being one men- 
tioned by Lgjizii dated 1474." Crowe an4 C^valcaselle, The early Flemish 
PainterSy §•<?., London, 1857, p. 217, 



144 MESSINA. 

painted by him in Messina seems to be that which was a 
few years since, and probably still is, in the church of San 
Qregorio in that city : it bears the date 1473.* Antonello 
must have returned to Venice in that year. A Venetian 
writer, without any reference to this question, states that 
the earliest known oil picture in Venice is that by Barto- 
lommeo Vivarini, in the church of SS. Giovanni e Paolo, 
dated 1473.t A portrait by Antonello now in the posses- 
sion of the Duke of Hamilton, and which was formerly in 
Venice, is dated 1474. The celebrated portrait which also 
came from Venice in the Pourtalfes collection bears the date 

1475. The Rinuccini (now Trivulzi) portrait, that of 

1476. Another, noticed by Zanetti, 1478. J Vasari refers 
to various pictures by Antonello, including the often 
described altar-piece of San Cassiano, now lost, and speaks 
of a work allotted to him in the Ducal Palace of Venice, 
which considered in connexion with other circumstances, 
supposes Antonello to have been still practising his art in 
1 493.§ His death may have taken place a few years later. || 



* Memorie de* Pittori Messinesif T^. 15. Tlie author gives the inscription 
entire. Guida per la Citta di Messina, Siracusa, 1826, p. 20. 

t Zanetti, Delia Pittura Veneziana, in Venezia 1771, p. 24. 

X Zanetti, p. 21. 

§ Puccini, Memorie, §*c., p. 65. 

II In reviewing the less questionable particulars of Antonello's history, the 
following circumstances may be noticed: — His early oil pictures with dates 
are extremely rare. With the exception of a portrait in the gallery at Berlin, 
dated 1445, and possibly the Antwerp Crucifixion (the date of which is 
variously read 1475, 1445), no certain specimen before his return to Messina 
is at present known. Yet he painted in oil for more than twenty years 
before that period, in Flanders, in Venice, and in Milan. The probability, 
therefore, is that he was not then in the habit of signing his pictures, and 
that many really by him are ascribed, in collections, to other painters. In 
his latest works also, even when his signature appears, the date is omitted. !As 
yet, no specimen is known with a later date than 1478. The author of the Afc- 
morie de' Pittori Messinesi, p. 19, cites indeed, on hearsay, a picture in theRifor- 
mati at Catania with a much later date, but he appears to have been misinformed. 
Another remarkable circumstance is that Antonello's works in oil painted 
in the north of Italy during the period referred to, had not the effect of 
exciting any Italian painter, Domenico Veneziano excepted, to adopt the 
Flemish method. This is hardly to be explained by the jealousy with which 
tliat method may have been kept secret, as the result in pictures might have 
been imitated to some extent by ardent admirers. It is rather to be ascribed 
. to the reluctance of the tempera painters generally to abandon their traditional 

\ process. The change was, however, effected by time ; Antonello, on his 

re-appearance in Venice found willing converts. Eidolfi, Le Maravigh'e deW 
Arte, Ven. 1648, i. p. 49,) even relates that Giovanni Bellini, the better to 
\ \ observe the Sicilian painter's process, sat to him for a portrait, in the disguise 

^ of a Venetian senator. The story is improbable, but there seems no reason 

to doubt that Antonello's influence greatly accelerated the introduction of 
oil painting into Venice towards the close of the century. 



mCBEIANOBLa 146 

673. Ohbist as the Sayiodb "Salvatob Mdwdi." 
The right hand is raised io the act of hlessing ; the fingers 
of the left reat on the edge of a parapet. The inner dress is 
a dark crimson tunic ; a portion of blue drapery crosses the 
left shoulder. Bust figure, seen in front, small life-size. In 
the lower part of the neck is seen what is called a penti- 
mento or correction. The right hand and part of the tunic 
were originally higher, and their forms, obliterated by the 
painter, have partly re -appeared. 

Oa wood, 1 ft. 4# in. h. by 1 ft. | in. w. including ft black 
border about an inch wide. 

With a cartellino, inscribed as follows :— 



The year 1465 corresponds not with the eighth bnt with the 
thirteenth indiction. It is therefore supposed either that tlio 
painter was miainformed as to the year of the indiction, or, 
which is more probable, that the freely written V. was originally 
crossed bo as to form X.* 

Purchased in September 1861 from the Cavaliere Isola, Gtenoa. 



MICHELANGELO. 



MlCHEUlfGEl.o BnoNARRo'Ti was bom at Castel Caprese, 
in the diocese of Arezzo in TuBcany, March 6, 1475 ;t his 
father Lodovico Buonarroti was governor of the castles 
Caprese and ChiusL On the 1st of April 14S8, he was 
apprenticed by his fether to the celebrated painter Domenico 
Qhirlandajo, for three years, during which period Michel- 
angelo was to receive 24 florins for his services, an unusual 
arrangement. 

*See p, 160, note, an iiwlaQce of BimUar ambiguity in a, memoraDdum by a 
FerrareBC painter, L'Ortolano. 

t This date is commonly given as 147*. btcauso the riorentinea coniuit'nced 
their year at that time with the SSth of March, the Anniineiatlott day. This 
practice wsi introduced by the Florentines about tbe tenth c«nlDry. Bee L'Arl 
de Viri/ier les Datet. 



146 MICHEIANOELO. 

Michelangelo soon distinguished himself from the other 
pupils of Ghirlandajo, and evinced such superior ability in 
his drawings and models, made in the garden, or so-called 
academy, of Lorenzo de' Medici, near the church of San 
Marco, that that eminent patron of the arts took him under 
his especial protection, and employed Michelangelo to exe- 
cute several pieces of sculpture : Michelangelo devoted his 
attention for many years from this time chiefly to sculpture. 
After the death of Lorenzo in 14!92, to avoid the distur- 
bances which ensued upon the accession of his son Pietro 
to the government of Florence, Michelangelo removed for 
a short time to Bologna; he returned however to Flo- 
rence in the following year, in 1494. Very shortly after 
this period, in consequence of the remarkable excellence of 
a " Sleeping Cupid'" whicli he produced after his return to 
Florence, and which was sold at Rome as a veritable amtique, 
he was persuaded to try his fortunes in the papal capital : 
and it was during this first visit to Rome that he produced 
his celebrated Pieth* or group of the dead Christ on the 
knees of the VirgiQ, which is now in the Church of St. Peter. 

He returned again to Florence about the year 1501, and 
there executed liis colossal statue of " David," now in the 
Piazza del Granduca. About 1503 he received a commis- 
sion jfrom Soderini, then Gonfaloniere of Florence, to deco- 
rate one end of the Council Hall ; the opposite wall being 
intrusted to Leonardo da Vincif Leonardo began but 
did not complete his picture. Michelangelo's does not 
appear to have been commenced ; but his cartoon, well 
known as the " Cartoon of Pisa," was finished about the 
year 1506 : it represented some Pisan soldiers, while bathing 
in the Amo, surprised by Florentines. Both designs pre- 
sented so many various and masterly views of the human 
figure, that they became, to use the words of Benvenuto 
Cellini, " The School of the World."J During the progress 
of this cartoon, Michelangelo paid a second visit to Rome 
by the invitation of Julius II., recently elected to the papal 
chair, who commissioned him to make a design for a 

"^' The representation of the Virgin Mary weeping over the dead Christ was 
called a PietUy as that of the enUironed Saviour or enthroned Virgin was 
called a Maesla. 

t See the notice of Da Vinci in this catalogue. 

t Vita di Benvenuto Cellini, Milan, 1806, p. 31. Gaye, Carteggio, ffc., y. ii. 
p. 90. Vasari, Life of Michelangelo. 



MICHELANGELO. 147 

mausoleum which that Pope intended to erect for himself 
in the church of St. Peter. Michelangelo, however, returned 
again to Florence in 1505, having taken offence at certain 
treatment jfrom one of the Popes servants; but he was 
reconciled to the Pope at the close of the following year, 
at Bologna ; he there made the well-known statue of 
Julius II., which was afterwards destroyed, then cast as a 
cannon, and used against the Pope by the Bolognese. In 
1508 Michelangelo returned to Rome. 

In this year he was commissioned by Julius to paint the 
ceiling of the Sistine Chapel. He commenced this task very 
reluctantly, and adverted to Eaphael, whose fame was 
already great, and who was then about to commence his 
series of frescoes in the Vatican Stanze, as a more fit person 
to execute the work. Michelangelo commenced his designs 
in 1508, and the ceiling was finished on All Saints' Day 
(Nov. 1), 1512.* The painting, says Vasari, was executed 
by Michelangelo alone, in the short space of twenty months: 
but it need not be assumed that these were consecutive 
months, especially as a writer quoted by Fea speaks of the 
ceiling as already begun in 1509.f In any view of the 
question, the greater part of the time above specified must 
have been employed on the designs and cartoons. The 
frescoes represent the creation of the world and of Man; his 
Fall ; and the early history of the world, with reference to 
Man's final redemption and salvation.^ 

These extensive frescoes necessarily caused Michelangelo 
to suspend his labours for the mausoleum of Julius; and as 
the Pope died shortly after their completion, in 1513, the 
monument was never finished. 

During the whole pontificate of Leo X., the successor of 
Julius II. (nearly nine years), Michelangelo was employed 
in the unworthy occupation of procuring marble from the 

■* * There is a document in the possession of the Buonarroti family at Flo- 
rence 'which purports to be an original contract made, by Michelangelo 
with the Pope, respecting the commencement of his designs for this ceiling ; it 
is dated May 10, 1508. The vhole work, therefore, occupied Michelangelo 
about four years, for his scaflFolding was still not removed from the chapel by 
Christmas-day, 1512, as noticed in the Diary of Paris de Grassis, quoted by 
Pungileoni, Elogio Storico, &c. p. 131 ; and by Passavant, Rafael von UrhinOf 
i. p. 167. See also the Kumthlatt, No. 105, 1844. 

■f Franc, de Albertinis, Mir ah, HomcBj lib. iii. Fea, Notizie, Sfc. p. 27. 

I There is an outline of this ceiling in the English translation of Kugler's 
Handbook of Painting, Italy, yoL L See the Editor's notes on the subjects of the 
frescoes, pp. 203, 206, 216. 

K 2 



148 MICHELAKGBLO. 

quarries of Fietra Santa, for the fa9ade of the church of San 
Lorenzo at Florenca During the pontificate of Leo's suc- 
cessor, Adrian VI., and part of that of Clement VII., he was 
employed on the works of the Medici Chapel in the Church 
of San Lorenzo at Florence : in the tenth year, however, of 
Clement's pontificate, 1533, thirteen years after the death of 
Baphael, he commenced his cartoons for the celebrated fresfco 
of the Last Judgment, on the altar wall of the Sistine 
Chapel. It was continued during the pontificate of Paul III., 
and was finished in 1541.* Michelangelo did little more in 
painting fi-om this period; the frescoes of the Cappella 
Paolina, built for Paul III., were his last works of the 
kind : they were finished in 1649, when he was seventy^ 
four years of age. He had been appointed, in 1547, to 
succeed Antonio da San Gallo, as architect of St. Peter's, 
which, though the first stone had been laid by Julius 11. in 
1506, was still very little advanced : the original architect 
was Bramante. Michelangelo undertook the responsibility 
without salary. He continued architect throughout the 
pontificates of Paul III., Julius III., Marcellus II., Paul IV., 
and Pius IV., until his death ; he carried the building to the 
base of the cupola. 

Michelangelo died at Rome, February 17, 1564 ;-|- his 
body was taken to Florence, and, on the 14th of March 
following, was buried in a vault in the church of Santa 
Croce. 

The opinions concerning Michelangelo are so uniform in 
their expressions of praise, and so well known, that to quote 
them would be superfluous ; that of Eaphael, however, may 
be here recorded : this prince of painters is said to have 



* This great fresco measures 47 feet in height by 43 in width. The Cappella 
Sistina, or Sistine Chapel, was built by Baccio Pintelli, for Sixtus IV. in 1473, 
whence its na me of Sistine. There are a ground plan and sections of the chapel 
in Appendix XIV. to the Third Beport of the Commissioners on the Eine Arts. 
The chapel is of an oblong shape, with a vaulted roof; is 133 feet long, 43 wide, 
and 58 high. It is reserved for the especial use of the Popes : the church cere- 
monies of the first Sunday in Advent and of the Holy Week take place in it 
The scrutiny also of the votes for the papal dignity tskes place in this chapel, 
when the cardinals hold their conclave in the Vatican, 

•f He lived 88 years 11 months and 15 days, whence he must have been bom 
in 1475, for Vasari expressly states that he died February 17, according to the 
Florentine mode of reckoning in 1563, but, according to the Koman, in 1564. 
Vita di Michelangelo^ Vite, pt. iii. The Komans appear to have always com- 
menced their year with January. See the Kalendarium Gregorianum Perpetuum, 
Rome, 1582. 



MICH2LANGEL0. 149 

often exclaimed, that he thanked God he was bom in the 
days of Michelangelo.* 

To his acquirements already noticed, Michelangelo added 
the cultivation of poetry.f As a painter he is abnost exclu- 
sively known by his productions in jfresco : he executed a 
few works in distemper, one of which, a Holy Family in 
the gallery of Florence, painted for Angelo Doni, is well 
authenticated.:^ 

No. 8. A Dbeah of Human Life. A naked %ure, 
seated, is reclining against a globe ; he appears to be roused 
by the sound of a trumpet which an angel is blowing 
immediately above him. Beneath his seat is a collection of 
masks illustrating the insincerity or duplicity of human 
dealings, and around him axe visions of the many vices 
and depravities of mankind. 

Engraved by J. Bonasone, the contemporary of Michelangelo ; 
also by others; and recently in Jones's National GaUery. On 
wood, 2 ft. 1 in. A. by 1 ft. 9 in. to» 

This picture, of which there are several repetitions, was painted 
from a design by Michelangelo, by one of his scholars, and was 
formerly in the Barberini Palace at Rome. It was bequeathed to 
the National Gallery, in 1831, by the Rev. W. H. Carr. 



* Condm, Vita di Michelangelo Buonarroti, &c. § Wii. Flor. 1746 (Ed. Prin. 
Borme, 1553). Dnppa, Life of Michelangelo^ London, 1816. Sir Joshua Bey- 
nolds' last discourse, the Fifteenth, consists chiefly of a recommendation to study 
the works of Michelangelo. The following are the concluding words of this 
discourse, and the last uttered by Sir Joshua in the Academy : — " If the high 
esteem and yeneration in which Michelangelo has been held by all nations and 
in all 'Oges should be put to the account of prejudice, it must still be granted that 
those prejudices could not have been entertained without a cause : the ground of 
our prejudice then becomes the source of our admiration. But, from whatever it 
proceeds, or whatever it is called, it will not, I hope, be thought presnmptuous in 
me to appear in the train, I cannot say of his imitators, but of his admirers. I 
hav« taken another course, one more suited to my abilities, and to the taste of the 
tkues in which I live. Yet, however imequal I feel myself to that attempt, were 
I now to begin the world again, I would tread in the steps of that great master ; 
to kiss the hem of his garment, to catch the slightest of his perfections, would be 
glory and distincdon enough for an ambitious man. 

** I feel a self-congratulation in knowing myself callable of such sensations as 
he intended to excite. I reflect, not without vanity, that these discourses bear 
testimony of my admiration of that truly divine man ; and J should desire, that 
the last words which I should pronounce in this academy, and from this place, 
might be the name of Michelangelo." 

t His poems, chiefly sonnets, were first published by his great-nephew 
Michelangelo Buonarroti, at Florence, in 1623, and again by Bottari in 1726 
Select specimens haTe been translated into English by Mr. J. E. Taylor, Michel- 
angelo considered as a philosophic Poet; with trandations, §*c. ; 8vo., London, 
184a A Life of Michelangelo by Mr. J. S. Harford was published in 1866. 
Lcmdon, 2 toIs. 8vo., willx a folio of plates. 

X Lanzi, Stmria Pittorica, ^c. 



150 MOLA. 

MOLA. 

PiETRO Francesco Mola was bom in or near Milan,* in 
1612. He went very early with his father, Gio. Battista 
Mola, an architect, to Rome, where he studied painting 
under the Cavaliere d'Arpino. He removed while still 
young to Venice, where he dwelt some time ; but he after- 
wards returned to Rome, and then visited Milan, and sub- 
sequently Bologna, where he adopted the style of the 
Bolognese painters, imitating especially Albani, whose land- 
scape pieces embellished with figures were particularly suited 
to the taste of Mola. He settled finally in Rome in the latter 
part of the pontificate of Innocent X., and died there in 
1668.t He had held the office of President of the Academy 
of St. Luke, and he had been invited to settle in Paris as 
Court-painter to Louis XIV. Mola painted large and small 
figures, and excelled in landscape : in light and shade he 
was much influenced by the style of Guerchio. He etched 
a few plates. 

No. 69. St. John Preaching in the Wii^derness; 
the Saviour is seen approaching in the distance : — 

** The next day John seeth Jesus commg unto him, and saith, Behold the 
Lamh of God, which taketh away the sin of the world. This is he of whom I 
said. After me cometh a man which is preferred before me, for he was before 
me.** — John i. 29, 30. 

Landscape, with five small figures. 
On canvas, 1 ft. 8^ in. A. by 2 ft. 2 in. w. 

Formerly in the Robit J collection at Paris : bequeathed to the 
National Gallery, in 1831, by the Rev. W. H. Carr. ' 

No. 160. The Repose; landscape with small figures. 
The *^ Holy Family," during the flight into Egypt, is reposing 
imder the shade of some trees ; three angels are hovering over 
the sleeping infant, who is watched by its mother : in the 
distance is a shepherd tending his flock. This subject, which 
is often treated by the Italian painters, is commonly called 
the Riposo. 



* Lanzi says Como ; in Goethe's Winkelmann und aetn Jalirhundert, it is 
stated that he was bom at Coldre, in Italian Switzerland. 

t Passeri, Vite de* Pittori, &c. Pascoli, a more modem writer, says 1666 ; 
but Passeri, Mola's contemporary, is the better authority. 

J Mr. Buchanan's Memoirs of Painting contains a catalogue of this and of 
many other valuable collections, which were dispersed at the period of the 
French Revolution. 



MORETTO. 151 

Engraved by J. Coelemans. On canvas, 1 ft. /*. by IJU 6 in. «?, 
Formerly in the Orleans collection ; bequeathed to the National 
Gallery, in 1838, by Lord Farnborough. 



IL MORETTO. 

Alessandro Bonvicino, commonly called II Moretto da 
Brescia, where he was born about the year 1490, was one 
of the greatest painters of the sixteenth century. He first 
studied under Fioravante Ferramola, a painter of Brescia, 
and afterwards with Titian at Venice. In the earlier period 
of his career, Moretto was an imitator of Titian, and was 
likewise an admirable portrait painter ; but later in life he 
became an enthusiastic admirer of the works of Raphael, 
though it is not known that he ever visited Rome, and he 
endeavoured to paint in the style of the great Roman 
master. The works of Moretto range from 1524 until 
1556.* The year of his death as well as that of his birth, 
is unknown, but he died probably about 1560. 

Lanzi remarks that Moretto was better as an oil than as 
a fresco painter. He has left great works in both depart- 
ments of the art ; as the series of frescoes in the Villa 
Martinengo at Novarino, near Brescia, aud several altar- 
pieces still preserved in the principal churches of Brescia, 
besides others in some of the public galleries in Europe. 
Tlie following are the most celebrated of his works at 
Brescia. The " Five Virgin Martyrs,'' and the " Ascension 
of the Virgin," in San Clemente ; the " Coronation of the 
Virgin,'' in SS. Nazaro e Celso ; " St. Joseph," in the church 
of the Madonna delle Grazie ; and " St. Nicholas of Bari,'* 
in Santa Maria de' Miracoli. In the Gallery of Vienna is 
a " Sta. Justina," formerly attributed to Pordenone.t The 
Galleries aIso of Berlin and Frankfort possess fine examples 
of this painter. .In Santa Maria della Pieta at Venice, 
is a picture by Moretto, signed Alex, Morettus Brix. F, 
M.D.XLVIIII. He was the master of the celebrated 
portrait painter Moroni.$ 



* Brognoli, Nuova Guidaper la Cittd di Bresciay 1826, p. 228. 
f Engraved as such by Kahl. 

\ Ridolfi, Vite^ Sfc. Baron von Ransonnet, Zeitschrijl fur Oestrcichische 
Liter atur und Kunat; and the Kunsthlatt, 1844, p. 160. 



162 MOB(X 

No. Z99m PORTBAIT OF AN ITALIAN NOBLEMAN, CoiUlt 

Sciarra SCartinengo Cesaresco, of Brescia, seated, leajxing 
his head upon his right haad. Half length, life-size. On 
the cap is a label, inscribed TOT MAN nO01I— " By the 
desire of the extreme,'' referring to his anxiety to avenge 
the death of his father, who was assassinated. Count Sciarra 
was killed in France in the Huguenot campaign which 
closed with the battle of Moncontour, Oct. 3rd, 1569.* 

On canvas, 3 ft. 8^ in. A. by 3 ft. 1 in. w. 

Formerly in the collection of Count Lechi, at Brescia, from 
which it passed into the possession of Mr. Henfrey, at Turin, 
from whom it was purchased for the National Gallery in 1858. 
When in the Lechi gallery it was attributed to Moretto's scholar, 
Moroni. 

No. 6£S. St. Bernabdino, of Siena, with St. Jerome 
St. Joseph, St. Francis, and St. Nicholas of Bari ; the Virgin 
and Child, with St. Catherine and St. Clara, appearing in 
the clouds above. St. Bernardino is holding up in his right 
hand a circle containing the monogram of Chnst, i.H.S.,t iii 
his left an open book, with the words " Pater manifestavi 
nomen tuum hominibus (Father I have manifested thy name 
to men) ;"" at his feet are three mitres, inscribed with the 
names of the three cities of which he is said to have re- 
fused the bishoprics — Urbino, Siena, and Ferrara. He was 
canonized in 1458. 

On canvas, 11 ft. 7. in. h, by 7 ft. 6 in. w. 

Formerly in the possession of Dr. Faccioli at Verona, from 
whom it passed in 1852 into the collection of Lord Northwick, at 
Cheltenham. Bought at the sale of the Northwick pictures in 
1859. 



»<*ww^^#y#y^^^»^»^»w^»/yWAI<r^^w^^j^w<<^<^^»^»»»^^#^ 



MORO. 
Antonij Morq, commonly called in this country Sir 
Antonio More (though it is not known when or where he 
was knighted), was bom at Utrecht in 1625, and was the 
scholar of Jan Schoorel. He studied also in Italy, and he 
became eventually the most distinguished of the Dutch and 
Flemish portrait painters of his time. Moro was when still 
young taken into the service of the Emperor Charles V., 
for whom, in 1552, he visited in his capacity as portrait 

painter Madrid and Lisbon, and also England early in the 

" ' ■ I ' ■« ■■» 

* Rossi, Elogi Historici di Bresciani lUustri, Brescia, 1620. 

t Interpreted both as Jesus (IH50T5), and as Jesos Hominum Salvator : 
See the inscription on the picture by Segna di BuonaT«ntuni, p. 216, 
where they signify Jesus, 



MtTBHiLO. 153 

reign of Qneen Mary, who appointed him hex painter. 
After the Queen's death in 1558, Moro remained in the 
service of her husband Philip II. of Spain, and visited 
Madrid a second time : besides portraits, he executed some 
copies of Titian for that monarch. 

Having made himself obnoxious to the Inquisition, Moro 
was compelled to leave Madrid. He finally established 
himself at Brussels, where he had secured the protection of 
the Duke of Alva ; and though invited back to Madrid by 
Philip, he did not venture to return to Spain. 

Moro was also an historical painter. Van Mander men- 
tions an unfinished picture of th *' Circumcision of Christ '* 
by him, for the Cathedral of Antwerp, as one of his most 
successful works. He died rich at Antwerp in 1681. The 
prices Moro received for his portraits were very large, 
varying from one hundred to two hundred ducats, in Por- 
tugal, and one hundred pounds in England, where he was 
very much employed as a portrait painter in the reign of 
Queen Mary.* His own portrait is in the Painters' Gallery 
at Florence.f 



No. 184. PoRTBAiT OF Jeanne d'Aechel, of the 
House of Egmont, in her eighteenth year, dressed in red, 
with a gold chain on her neck. Coimt Egmont was be- 
headed by the Duke of Alva in 1668. J Three-quarter 
length, life size. 

On canvas, 2 ft. 5 in. A. by 2 ft. 1^ in. w. 

Dated 1561. Formerly in the collection of Mr, Beckford in 
Ponthill Abbey, from which it passed in 1823 into the possession 
of Colonel Hugh Baillie. Purchased for the National Grallery 
from M. 0. J. Nieuwenhuys in 1858. 

MURILLO. 

Babtholome' Este'bak Murillo was bom at Seville, 

and baptized on January 1, 1618. After receiving some 

--■-■-— ■ •• - - — ■ ' - - — - ■ 

'*' Mor<s says Walpole, *' remained in England during the reign of Mary, and 
-was much employed ; but having neglected, as is frequent, to write the names 
on the portraits he drew, most of ti^em haT^e lost part of their value, hy our 
ignorance of the persons represented. The poorest performers have it in their 
power to add so much merit to their works as can be conferred by identifying 
the subjects, which -would be a little reparation to the curious world, though 
soine ftmilies should miss imaginary ancestora."-^^n€c<2o^e« qfPatntingy p. 141, 
Ed, 1849. 

f Van Mander, Het Leven der Schilders; Amsterdam, 1764, vol. 1, p. 172. 
Walpole ; Anecdoles ofPttintmg, &e. 

% Olonet, Ehge historique du Omte t^Egtnont ; Brussels, 1825. 



164 MtTRILLO. 

education^ he was placed with Juan del Castillo, a relation^ 
to learn painting, for which he had shown a decided ability. 
In 1641, in his twenty -fourth year, having acquired a little 
money by painting heads of Saints and sacred pictures for 
South America, he was induced by Pedro de Moya, a former 
fellow student, who had studied in England under Vandyck, 
to proceed to Madrid, with the intention, as some writers 
state, of going on to England and to Italy. Arrived at 
Madrid he was kindly treated by Velazquez, his paisano^ or 
fellow townsman ; soon the death of Vandyck, his own limited 
resources, and the counsels of Velazquez, induced him to 
remain at Madrid, where every facility to finish his studies 
was procured for him by Velazquez, which the high position 
of that master, as painter to the king, enabled him to offer. 

In the year 1644, Murillo had made such progress that 
Velazquez recommended him then to prosecute his journey 
to Rome, and offered him letters of recommendation from the 
King ; Murillo, however, now felt no desire to go to Italy, 
and he returned in the following year, 1645, to Seville. His 
first works in Seville were a series of pictures illustrating the 
life of St. Francis, in the Franciscan convent of that city ; 
and, though unknown in his native place up to this time, he 
thenceforth became the caposcuola, or head of the school of 
Seville ; his principal rivals being Francisco de Herrera the 
younger, and Juan de Valdes Leal. . In 1648 he married a 
lady of fortune of Pilas, and from this time his house became 
a favourite resort of people of taste and fashion. In 1660 he 
established the Academy of Seville, of which he was in that 
year president, but he never filled the oflSce afier the first 
year. 

Among Murillo's principal works were eight large pictures, 
painted for the Hospital of St. George, called La Caridad, and 
which he completed in 1674: they represent JMoses striking 
the rock ; the miracle of the loaves and fishes ; the Keturn of 
the Prodigal Son ; Abraham visited by the Angels ; * Christ 
healing the Sick of the Palsy (commonly called the Pool 
of Bethesda) ;f the Angel liberating St. Peter from Prison ; 
and the two following illustrating charity, — San Juan de 
Dios bearing a poor man upon his back ; and Santa Isabel, 
Queen of Hungary, healing the sick poor ; the last picture 

* These two pictures are now in the possession of the Duke of Sutherland, 
t Now in the possession of Mr. George Tomline. 



MITRILLO. 155 

went by the name of El Tinoeo, from the diseased head of the 
principal figure. Many of these pictures are now dispersed : 
some of them formed part of the acquisitions of Marshal 
Soult during the Peninsular war; the Tinoso is at 
Madrid. 

Murillo's last work was the large altar-piece of St. Cathe- 
rine, painted at Cadiz for the church of the Capuchins there : 
this picture he never completed; owiiig to a fall which he 
had from the scaffolding while engaged upon it, he was forced 
to reikurn to Seville, and died there not long afterwards, 
April 3, 1682. Two sons and a daughter survived him; his 
daughter had taken the veil eight years before his death. 

Murillo, in the latter part of his life, changed both his 
style and his subjects. His earlier pictures, which are painted 
in a forcible manner, are chiefly illustrative of humble life ; 
his latter works, with equal truth, are in a more elevated 
and chaste style, and are almost exclusively scriptural or 
religious in their subjects. He occasionally painted land- 
scapes. His favourite masters were Spagnoletto, Vandyck, 
and Velazquez.* 



No. 13. The Holy Family. The youthful Saviour, with 
the Virgin seated on the right, and Joseph kneeling on the 
left, is represented standing on the base of a ruined column ; 
the Holy Spirit is descending upon him from above, where 
the Father is represented supported by angels. 

Engraved by A. Bridoux. On canvas, 9 ft. 6 in. A. by 6 ft. 
10 in. w. 

This picture, which is one of Murillo's last works, was painted 
at Cadiz when he was probably about sixty years of age. It 
belonged to the family of the Marquis del Pedroso until 1810, 
during the French occupation of Spain, when it was sold and 
brought to this country : and, after passing through various hands, 
was in 1837 purchased from Mr. T. B. Bulkeley Owen for the 
National Gallery. It is sometimes called the Pedroso Murillo : it 
is mentioned by Palomino, and by Cean Bermudez. 

No. 74. A Spanish Peasant Boy. A laughing boy, 
with one shoulder exposed, is leaning on his elbows, and 
appears to be looking out at a window. 



* Ceaa Bermodez, Diccionario Hist&rico de los mas Itustres Prqfesores da ia^ 
Bellas Artes en Espana, Madrid, 1800 ; and the Letter of the same author on the 
School of SeviUe, Cadiz, 1806 ; translated in Davies's Life of Murillo, London, 
1819. 



156 ORCIGKA. 

Engraved by J, Bogers, for Jones's National Gallery ; and by 
W, Humpbrys, for tbe Associated Engravers. On canvas, 1 ft. 
9 in. A. by 1 ft. 3 in. w. 

Formerly in tbe collection of tbe Marquis of Lansdowne; pre- 
sented to tbe National Gallery in 1826 by Mr. M. M. Zacbary. 

No. 176. St. John and the Lamb. An image of the 
divine mission of the Baptist. St. John, a child, embraces the 
lamb, and with his left hand points towards heaven ; an illus- 
tration of the words, — " Behold the Lamb of God/' John 
i. 29. The standard of the Lamb is lying upon the ground : 
a dark rocky landscape forms the back-ground. 

Engraved by V. Green, F. Bacon, and others. On canvas, 5 ft. 
5 in. A. by 3 ft. 7 in. w. 

Formerly in the collection of M. Robit, from which it passed 
into the possession of Sir Simon Clarke, at the sale of whose pic- 
tures, in 1840, it was purchased for the National Gallery. 



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ORCAGNA. 

Andrea di Cione Arcagnttolo, commonly called Or- 
CAGNA, one of the most distinguished of the early Florentine 
artists, as painter, sculptor, and architect, was bom in 
Florence about 1315. Having acquired the rudiments of 
his art from his father, who was a goldsmith, he became the 
pupil of Andrea Pisano. , 

When still young he was engaged with his brother 
Bernardo in Santa Maria Novella. The Heaven and Hell, 
painted by the two brothers, from Dante in the Strozzi 
chapel in that church, are still preserved. They executed 
similar subjects in the Campo Santo at Pisa; Andrea 
painting " the Triumph of Dea:fch," and " the Last Judg- 
ment;'' he afterwards repeated the same subjects in 
Santa Croce at Florence, but these have long since 
perished. Besides these considerable works in fresco, 
Orcagna painted several altar-pieces* in tempera; one for 
the Strozzi chapel in Santa Maria Novella, signed and dated 
1357, which is still preserved, and is one of his best works ; 
he executed about the same time the great example in 
this collection. 

As an architect, Orcagna constructed the church of Or San 
Michele, and its Tabernacle in 1359 ; he also designed the 
celebrated *' Loggia de' Lanzi *' in the Piazza del Granduca 
at Florence, which, though decided upon by the authorities 



OBCAQKA. 157 

in 1356> was not actually commenced until twenty years 
later ;* Orcagna died before it was completed. The accounts 
of Mm do not reach later than 1376 ; and in that year he 
wafi dead.t According to Vasari, he died aged only 
sixty. 

Orcagna was in the habit of signing his name differently 
on his sculpture and in his pictures ; on the former he wrote 
Fece Andrea di Cione, Pittore, and on the latter Fece 
Amdrea di Cione Scultore. Francia adopted a similar 
practice. The principal scholar of Andrea was Francesco 
Traini : his brothers Bernardo and Jacopo, who survived 
him, completed his unfinished works ; Bernardo the pictures, 
and Jacopo the sculpture. 



No. 569. The Coronation of thb Virgin, Angels 
AND Saints in Adoration. A large altar-piece in three 
divisions. In the centre, Christ crowning the Virgin, with 
two Angels standing on each side of the throne, and 
ten others below, eight of them kneeling, some playing 
various musical instruments — a keyed organ, harp, lute, 
viol, guitar, and bag-pipes. 

In each of the side pictures axe twenty-four Saints, 
kneeling in rows around the throne in adoration. On the 
spectator's left is St. Peter, supporting on his knee the 
model of the church of San Pietro Maggiore in Florence, 
for which the picture was painted-J 



'*' It was began September 22nd, 1376, and finished Jnne 5, 1377. Gaje, 
CarteggiOf ffc, voL i. pp. 526-8. 

f Bonaini, Memorie inediti, p. 105. Vasari, Ed. Le Monnier, vol. ii. 
p. 134. 

I As many of the Saints here represented are without their characteristic 
emblems, it is difficult to identify them all. They appear to be, however, as 
nearly as can be ascertained the following: — 

On the spectator's left, — 



1. St Peter. 

2. St Bartholomew. 

3. St. Stephen. 

4. St John the Evangelist. 

5. An Apostle. 

6. St Sigismond. 

7. St. Ambrose. 

8. St. Erancis. 

9. Mary Magdalen. 

10. St Philip. 

11. StCosmas? 

12. St Blaise. 



13. St Gregory the Great 

14. St. Benedict. 

15. St. Lucy. 

16. An Apostle. 

17. St. Luke. 

18. St Clement? 

19. A Bishop. 

20. Eastern King, Balthasar. 

21. St Elizabeth of Hungary 

22. Eastern King, Caspar. 

23. Eastern King, Melchior. 

24. St Eaphemia? 






158 OBCAGNA. 

In tempera> on wood, the centre picture^ 6 ft. 9^ in h. to the 
point of the arch, by 3 ft. 9^ in. w. ; the side pictures, 5 ft. 6^ in. 
A. by 3 ft. 8^ in w, ; the Gothic frame, 9 ft. 7 in. A. by 13 ft. 
lin «;. 

Originally painted for the church of San Pietro Maggiore in 
Florence, where it was placed over the high altar ; in 1677 it had 
been removed to the Delia Rena chapel.* It was inherited from 
the Delia Rena family by the Marchese Roberto Pucci, from whom 
it passed into the possession of the late proprietors in 1846. 
Purchased at Florence from the Lombardi-Baldi collection in 
1857. 

The following nine pictures also were portions of this altar- 
piece, being originally placed over the three principal pictures 
described above. 

No. 670- The Trinity. The Holy Spirit, in the form 
of a dove, is descending upon a crucifix, which is supported 
by the Almighty. 

Nos. S71^ 572. Angels ADORING, constituting the sides 
of No." 570. 

In tempera, on wood, 2 ft- 10 in. h. by 1 ft. 3 in. to. 

No. S73- The Nativity, and the Annunciation to the 
Shepherds. The child is lying in the manger, over which is 
hovering a choir of Angels. 

No. S74. The Adoration of the Kings of the East, 
camels and attendants in the background. St. Joseph is 
receiving a golden vessel, one of the presents, from the hand 
of the child. Immediately over the stable is a star. 

No. 575- The Resurrection of Christ, who is ascend- 
ing with a standard marked with a red cross, in his hand ; 
below, the Roman guards are asleep around the tomb. 

No. 576- The " three Maries'' at the Sepulchre. 
Mark xvi. 1. Mary Magdalene, Mary the mother of James, 
and Salome, are standing with vases of sweet spices in their 



On the spectator's right, — 

1. St. Paul. 

2. St Matthew. 

3. St Lawrence. 

4. St John the Baptist. 

5. St. Damianus ? 

6. A youth with sword. 

7. St Nicholas of Bari. 

8. St. Dominic. 

9. St Catherine of Alexandria. 

10. St James the Greater. 

11. An Apostle. 

12. A Monk with purple scull cap. 



13. St Bernard. 

14. St Antony Abbot 

15. St Agnes. 

16. An Apostle. 

17. St Mark. 

18. St Marcellinus ? 

19. St Augustine. 

20. St Jerome. 

21. St Scholastica. 

22. St. Zenobius. 

23. A youth with sword. 

24. St Keparata ? 



* Cinelli, BeUezze della Cittd di Firenze, ffc, p. 354. 



ORLEY. 1 59 

bands, by the side of the vacant tomb ; on the opposite side 
axe two angels. 

No. 677. The Ascension of Christ, the Virgin and 
Apostles grouped in a circle below regarding the ascending 
Saviour. 

No. 578- The Descent of the Holy Spirit. 

^ And suddenly there came a sound from Hearen as of a rushing mighty 
wind, and it filled all the house where they were sitting. And there appeared 
unto them cloyen tongues like as of fire, and it sat upon each of them. And 
they were all filled with the Holy Ghost, and began to speak with other tongues 
as the spirit gave them utterance." 

" Now, when this was noised abroad the multitude came together, and were 
confounded, because that every man heard them speak in his own language." 
— ^Acts ii. 2. 

The composition is in two divisions, the descent of the 
Holy Spirit being represented above, and below, the multi- 
tude confounded, every man hearing his own language. 

In tempera, on wood, each 3 ft. ^ in, A. by 1 ft. 7 in. w. 

Portions of No. 569. Purcha^d at Florence from the 
Liomhardi-Baldi collection in 1857. 



»***» m timt»m»t»M>in>»mii»r »« p i»«»<M>«> 



OELEY. 

Bernard van Orley, called also Bernard van Brussel, 
was bom at Brussels, l^TO-l, and studied under Raphael, 
in Rome ; he and Michael Cocxie had the superintendence 
of the manufacture of the tapestries of the Vatican made 
fi'om Raphael's cartoons for Leo X. Van Orley died at 
Brussels, January 6th, 1541. He painted in oil, and in 
tempeTU, and for glass. Some of the windows of St. 
Gudule, at Brussels, are from Van Orley's cartoons. The 
brilliancy of his colour in some of his oil pictures is 
attributed to their being painted upon a gilt ground. He 
^as in the service of Margaret, Regent of the Nether- 
lands, and had also the title of court painter to the 
Emperor Charles V., and he is said to have visited Eng- 
land. There are a few engravings by his hand. iEis 
pictures are scarce.* 



No. 655. Th|: Magdalen, Reading. She is dressed 
in crimson velvet, and looking into an illuminated book ; 



^ Het LeueUf &c. ; Michiels, La Feinture Platnande, See, vol. iii. ; Walpole, 
Anecdotes, 8cc, 



160 



L'ORTOLANO — PACCHIAROTTO. 



on the table before her is a vase. Half-figure, small life 
size. 

On wood, 16i in, A. by 14J in. tp. 

Purchased at Paris, from M. Edmond Beaucousin, in 1860. 



MMMMWMilMMMMAMMMAMWMWMMMM# 



L'ORTOLAIJO. 
Giovanni Battista Benvenuti, of Ferrara, called 
L'Ortolano, from his father's occupation, who was a gardener, 
is said to have studied the works of Raphael and Bagna- 
cavallo at Bologna about 1512-13.* The circumstances of 
his life are, however, very little known, his works and his 
biography being confounded with that of Garofalo. He is 
supposed to have died about 1525, but he must have been 
still young at that date. 

No. 669. St. Sebastian, St. Eock, and St. Deme- 
TRius. St. Sebastian is in the centre of the picture, tied to 
a tree and pierced with arrows ; in the foreground is lying 
a cross-bow. On his right is St. Bock as a pilgrim, and on 
his left St. Demetrius, in armour. The background is a 
landscape ; on the left are seen some horsemen near a village, 
and in the distance is a walled town. Entire figures, life- 
size. 

On wood, 7 ft, 7 in. A. by 5 ft. 1^ in. w. 

Originally, and as lately as 1844, the altar-piece of the paro- 
chial church of Bondeno, near Ferrara, where it was generally 
considered the painter's masterpiece. Purchased in 1861 of -Mr. 
Alexander Barker, who procured the picture from Sig. Ubaldo 
Sgherbi, and brought it to England. 



PACCHIAROTTO. 

Jacopo Pacchiabotto, the son of Bartolommeo, wa*- 
bom at Siena in 1474. His career was troubled and unfor- 
timate ; in 1525 he pleaded a numerous family, and great 
poverty, as a justification of his receiving alms from tte 
authorities of the city ; he had then six daughters : in 1626 
he received an aid of twelve scudi from the municipality. 



♦ Or 1507-8. This fact is ascertained from the title of a book of sketches 
noticed by Baruffaldi — "Studio di me Zoane Bapta d. Benvegnu fatto in 
Boiogna suxo le dipinture del Bagnac° e del Sangio da Urbino, a li aiini 
Ml). VII. et MD.VIII." These dates are otherwise read as MDXII., MDXm. 
See Lanzi, Storia Pittorica, ^c, toL v. p. 202 ; BarnffiUdi, Vite de* PiUorL&'c., 
vol. i. p. 168 ; and Laderchi, Pittura Ferrarese, p. 93, 



PADOVAKINO. 161 

Pacchiarotto executed coiufiderable works at Siena ; but 
as lie is omitted by Yasari, he has been neglected and 
forgotten also by posterity, and his best works have been 
attributed to Pietro Perugino. 

His troubles seem to have continued : in 1535 he was 
involved in a conspiracy against the authorities, by which 
he endangered his life, and he is said to have fled from 
Siena to France, where he was protected by II Rosso, who 
employed him on the extensive works which Francis I. was 
then carrying out at Fontainebleau : he was again in 
Siena in 1536. In 1539, however, he was banished and 
outlawed by the Government, but through the intercession 
of his wife, Girolama, he was pardoned and restored to his 
fitmily August 17, 1540 : from this date nothing further 
is known of him. 

Pacchiarotto's principal work is the fi'esco in the church 
of Santa Caterina of Siena, of that saint visiting the body 
of Saint Agnes, of Montepulciano, which, says Speth, can be 
compared only with Raphael ; and he adds, that to describe 
Pacchiarotto as of the school of Perugino is only magni- 
fying the injustice he has already undergone in having 
had some of his best works attributed to that master. His 
forms are fuller than Perugino's, and though his taste is 
that of the quattrocentOy some of his heads have great 
beauty of feature, and sweetness of expression ; his colour- 
ing has very considerable force. He is distinct from the 
Girolamo <U Pacchia slightly noticed by Vasari in the 
« life " of II Sodoma.* 



No. 246. Madonna and Child. The Virgin, in a blue 
hood and mantle, seated, with the Child on her knees; 
landscape back-groxmd. Half-length, small life-size. 

On wood, in oil, 2 ft. 5 in. h. by 2 ft. w. Purchased for the 
National Gallery at the sale of M. JolyDe Bammeville's collection, 
iu 1854. 



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PADOVANPNO. 

Alessandro Vabota'bi, commonly called Padovanino, 
from his birth-place Padua, •(• where he was born in 1590, was 

*Graye, Carteggio Inedito (TArtisti ; Lanzi, Storia Piitorica, &c.; and Spetb, 
Kwist in Italien, vol u. p. 57. Vasari, Ftte, ^c, Ed. Flor., 1846 et seg. yoL xi. 
t In Italian, Fadova. 

L 



162 PALMEZZANO. 

the son of Dario Vdrotari, a Veronese painter. Alessandro 
lost his father when very young, and went early to Venice, 
where he became a diligent student of the pictures of Titian, 
and he is accounted oiie of the most successful imitators of 
that painter. He lived alternately at Venice and Padua, and 
his pictures are seldom seen out of these places. He died in 
1650. 

Padovanino excelled in painting children, and often intro- 
duced them into his pictures : he was also a good landscape- 
painter. His masterpiece is the " Marriage at Cana," formerly 
in the monastery of San Giovanni di Verdara at Padua, now 
in the Academy at Venice. Like many of the Venetian 
painters, he was more remarkable for facility of execution 
and for colouring than for correctness of form.* 

No. 70- Cornelia and hee Children. Cornelia, 
daughter of the elder Scipio Africanus, and " mother of the 
Gracchi," when asked by a Campanian lady, who was osten- 
tatious of her jewels, to show her her ornaments, pointed 
to her two sons, Tiberius and Caius, just then returning from 
school, and said, ^^ These are my ornaments.'^ f Composition 
of four figures, of the natural size. 

On canvas, 4 ft. 8 in. h*hj 4 ft. w. 

Bequeathed to the National Gallery, in 1837, by Lieut. CoL 
Ollney. 



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PALMEZZANO. 



Marco Palmezzano, one of the principal painters of the 
Romagna, was bom at Forli in or about the year 1456 ;X ^^ 
was the scholar of Melozzo da Forli, and occasionally 
signed his name Marchus de Melotius, as in a pictiu'e in 
the Church del Carmine at Forli, and in another in the 
Church of San Francesco dei Zoccolanti at Matelica ; the 
latter example is dated 1501. His ordinary signature was 

♦ Bidolfi, Le Maraviglie ddT Arte, ffc. ; Otlmdi^Abecedurio Pittorico, Bologna, 
1719 ; Lanzi, Storia PUtorica, f^c, 

t See Plutarch's lives of the Gracchi; the anecdote is told by Valerius 
Maximus. 

f The Palmezzani family at Forli is in possession of a portrait of this 
painter, on the frame of which is inscribed — ^Mabcus Palmbsantts Nob. 
S'oROL. sBBiBTiPsiJM piNxiT OcoPAVA — ^jBBTATis BTJJB 1536, Memorie intomo 
a Marco Palmezani da Porli e ad alcuni snoi dipinti iV)rli 1844. See also 
Vasari, Ed, Le Monnier, Ommentario aOa Vita dei Oenga^ vol xi, p. 108. 



1 



PANNING 163 

Ma/tdfM Pahny^iiKmuB Pietor FordiiviemiB faoiebab. He 
was still living in 1537; a picture signed by him and 
bearing that date was formerly in the Ercolani Gallery at 
Bologna. 

His works are generally characterized by the prevailing 
hardness of style of the fifteenth century, but are not 
deficient in feeling or expression. 



No. 896. The DEPOSiTi02f IK the Tomb. The dead 
Christ is being placed in the tomb by the Virgin, Mary 
Magdalen, and St. John the Evangelist; the Virgin, on 
the right, is supporting the body in a sitting posture, while 
the Magdalen, on the same side, is kneeling, holding the left 
arm of Christ, and compassionately regarding the wounded 
hand. On the other side is St. John, dasping his hands in 
sorrow. To the spectator's right is standing San Mercu- 
riale, first bishop of Forli, holding the Quelphic l^anner of 
the Church, a red cross on a white flag : on the extreme left 
is Ssai Vaieriano with the standard of Forli, a white flag 
striped with blue. In the foreground is a green doth, hanging 
on the side of the tomb in fironi Half figures life-size.* 

On wood, 3 ft. 3 in. A. by 5 ft. 6^ in. w. 

Originally of a semicircular shape> but subsequently shortened 
and piecened so as to form a quadrangular picture. 

This picture was the lunette of an altar-piece, representing 
^ Christ administering the sacrament to the Apostles," now in the 
gallery at Forli, and which was placed in the Cathedral of Forli 
in 1506. Fttrchased in Borne from Signer Gismondi in 1858.1 



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PANNrNL 

Giova'nki Pa'olo Pannini, Cavdliere^ was bom at 
Piacenza in I69I5 but lived chiefly at Bome^ where he at- 
tained n great reputation by his views of ruins and other 
architectural pictures. He died at £pme in 17644 His 
shadows are considered generally too dark and too brown for 
exteriors. 

■ I I I ■ I ■ ■ IMIW ■ .. ■ I , ■ II I I ■■■■■..■ I • l» « 

* See a detailed description of this picture in Beggiani's Alcune Memorie 
ixtomo U Pittore Marco Mehzzo da Forli, p. 16, Porli, 1834, where it is erro- 
ttconsly attributed to Melozzo da Forli. 

t Though the principal pictare, which is enmved in Eosini'^ Storia deUa 
Pittura ItaUana, pL' 141, is signed Marcus Pahnezanus fadebatj it is described 
by Vaflari, ed. Le Monnier, vol. xi p. 93, together with the lunette and predella, 
as the work of Bondinello of Bavenna. Vasari's error was corrected by 
Scannelli as #arly as 1657. See // Microcosmo deBa Pittura, p. 28L 

i Lanzi, Storia Pittorica, ffc, 

L2 



1 64 PABMIQUKO. 

No. 138. Ai^ciENT Ruins, WITH FiQUBES. The pyramid 
of Cestlus in the middle-ground. A composition. 

On canvas, 1 ft. 7^ in. A. by 2 ft. 1 in. w. 
Bequeathed to the National Gallery, in 1837, by Lieut. -Col. 
OUney. 



»tf<KKI<W»<M»«M^W»«W>«»<S»<m«KWI<W»< » <WW«<W>»«. 



PARMIGIA'NO. 

Qiro'lamo Feancesco Maria Mazzo'la, commonly 
called Paemigia'ko, and sometimes Parmigiani'no, from 
his birth-place Parma, was born Jan. 11, 1503.* In conse- 
quence of the death of his father, Filippo Mazzola, when he 
was still very young, he was brought up by his uncles Michele 
and Pietro Ilario, who, as well as his father, were both 
painters, and Parmigiano was determined to follow the same 
profession* When Correggio visited Parma in 1519, Par- 
migiano was much struck with the works of that great mas- 
ter, and he became a successful imitator of his style. After 
acquiring considerable distinction in Parma, he went in 1523 
to Rome, where he was well received by Clement VII. He 
was at Rome during the memorable sack of the city by the 
soldiers of Charles V. under Bourbon, in 1527 ; and the 
picture of St. Jerome in this collection was painted there 
at that period. 

Parmigiano left Rome shortly after this event, and resided 
some time at Bologna. In 1531 he returned to Parma, and 
was engaged to execute some extensive frescoes in the choir of 
the church of Santa Maria della Steccata, to be completed 
by the 10th of November 1532, Parmigiano having received 
half payment (200 gold scudi) in advance ; but, owing to his 
repeated delays, having scarcely commenced the frescoes after 
a lapse of five or six years from the time of the original agree- 
ment, he was thrown into prison by the authorities of the 
church for breach of contract. Instead of prosecuting the work 
after his release from prison, according to his promise, he fled 
to Casal Maggiore, in the territory of Cremona, where he died 
very soon afterwards, August 24, 1540, in the thirty-seventh 
year of his age. 

The well-known figure of " Moses breaking the Tables of 
the Law," is a part of the unfinished frescoes, of the Steccata. 



* According to the Register, or 1504 according to tlie present mode of 
reckoning ; 1504 is the year given by Vasari, * 



PABHIQIAKO. 165 

Sir Joshua Reynolds* says of this figure,— " We are at a 
loss which to admire most, the correctness of the drawing or 
the grandeur of the conception." The most celebrated of Par- 
migiano*s altar-pieces is the Santa Margherita in the academy 
at Bologna : it was preferred by Guide to the St. Cecilia of 
Baphael. Of the easel-pictures of this master, the most 
admired is the " Cupid making a Bow," painted about 1536 
for Francesco Boiardi, and now in the gallery at Vienna : it is 
well known in prints and copies, and was commonly attributed 
to Correggio. Parmigiano etched a few plates, and is said 
also to have executed several wood-cuts. His drawings arc 

celebrated, t 

No. 33. The Vision op St. Jebomr Such is the title 
given to this picture by Vasari. John the Baptist, kneeling 
on one knee on the ground, is pointing upwards to a vision of 
the Virgin with the infant Saviour ,• in the middle-ground 
is St. Jerome lying on his back, asleep ; his figure is much 
foreshortened. Composition of four figures, somewhat krger 
than the life. 

Engraved by J. Bonasone, the painter's contemporary ; and by 
W. T. Fry, in Jones's National Gallery. On wood, 11 ft. 6 in. h. 

by 5 ft. 10. rt*. • Tj • • » 

This picture was painted at Rome, in 1527, m Parmigiano s 
twenty.fourth year, for Maria Buffalina, to be placed in her family 
chapel, in the church of San Salvatore di Lauro, at Citta di 
Castello: he was in the act of completing the work when the 
city was stormed by the Imperialists under the Constable Bourbon. J 
It remained in Cittk di CasteUo until 1780, when the church of 

+ ^^^L^te <fc* Pittori, *c, , Aflfo, Vita ddGnmomtimo IHa>re,Prance»co 
mLzzZ, dMo a Parmgiaxino, Parma, 1784 i Sketdm o/ilie Livet of Correggw 

""+ ^t^V^bw'by Ae Padre AfiS U a modem c<mnterpart to mare 
thi one classic story of the kind, resemlOmg more parUcularly that of Ae 
TOtotSfto^es, who, we are told, pursued his occupation in tranquOl.ty 
^fteKh^MWrtonn^ by Demetrius Poliorcetes. " Vma^t^o was «tr- 
r^^^^^ving thelast touches to the picture for I* Buffi^ when 
f^l^aSKoK haTi4 been scaled aud'the dty itsdf taken by the invada^ 
S^ ^ s^wTran from house to house intent on spofl. The pamter absorbed 
ta hiTocSSSTaid »o atte-ti"" *> ^^ *^ "^ tlu» artillery, the tonult of 
SelLXS the Aouts of the miHtary, tin some of the enemy rushing into 
^ ?^ toL and searching every comer, suddenly entered the room where 
^ S wTat work. The amazement of the soldiers on seemg him thus 
^^pnSg his labours was greater than his own on finding himsetf snr- 
2™^^ hv l^less and hostUe men. Fortunately the leader of the band, who 
ST^wl^XTpowession of the h<me, hippenedto be an amateur of 
^l^T^MffX an interest for the artist, and contented himself by only 
j:3ifglgto««ute^«<unheroftowin««.''-.A®, r»e«, *c.. p. 60. 



166 PKBUQIHO. 

San Salratore was ruined by an earthquakai and the picture was 
purchased by an English collector, and brought to this country. 
After passing through different hands, it was finally purchased 
by the Governors of the British Institution, at the sale of 
Mr. G. Watson Taylor's pictures, in 1826, and by them presented 
to the National Gallery^ There are several old copies of tlie 
picture extant. 



OMMWMMMMWMMMMfMMMIMMIMIMMMWMIMM 



PERUGrNO. 

Pietbo,Vannu'cci, conunonly called II Pertjgino, was 
born at Citttl della Pieve about 1446 : he was established in 
the neighbouring city of Perugia, where he had the right 
of citizenship, whence his surname of Perugino.* His first 
master is unknown ; but Yasari states that when in Florence 
he studied under Andrea Yerocchio: this is confirmed by 
various circumstances. Perugino's first works of note were 
painted in Florence ; he afterwards distinguished himself by 
lus works at Siena^ YaUombrosa^ the Certosa di Pavia, Naples, 
Borgo San Sepolcro, Bologna, and Rome. He executed several 
works for Pope Sixtus lY. in the newly-built Cappella Sis- 
tina, and in the Stanze of the Yatican. He began his frescoes 
in Rome about 1480, four years before the demise of Sixtus, 
and appears to have been employed there altogether about ten 
years. In 1495, after having executed some works in Florence, 
he was again engaged in Perugia, and it waa then that 
Raphael, a boy of twelve years of age, was placed by his 
uncles with the great painter ; for Pietro was now the most 
celebrated of all the Umbrian masters. 

After this period, Perugino executed several works for 
Florence, and other places ; but the great cinquecinto style, 
which was now rapidly superseding that of the earlier schools, 
b^an to obscure the reputation of the older painters ; and 
when Pietro saw the Cartoons of Michelangelo and Leonardo 
Da Vinci at Florence, in 1506, he felt that his own star was 
declining, and accordingly set himself against the innovation. 
He made no secret of his distaste for the new style, and 
having unreservedly expressed his opinions in the presence of 
Michelangelo, the imperious innovator called him a dunc€\ in 
art ; Pietro took him before a magistrate for the affiront, but^ 



* He is sometimes called Petros de Castro FielHS, wA Qvm Pemsinwu 
Mariotti, Letters PiUoriche Pmtgine, 

t Gk>ffo neU* arte : Gter^lty, uiezpert Yasari, Vite^ Pittori,^ 



psBxraiNo. 



167 



according to Yiusari^ the c&pute ended with little honour to 
the complainant* 

Ferugino returned to Perugia^ where he married a young 
wife; and after executing several works there and in the 
neighbourhood, he died, possessed of considerable property, 
at Castello di Fontignano, in 1524^ at the advanced age of 
seventy-eight.* 

Perugino was one of the principal quattrocento masters* As 
an oil-painter his example was important. Yasari, in the 
Proemio or Introduction . to the third part of his Lives of 
the Painters^ speaks of the great sensation produced on the 
artists of the time by the rich and forcible colouring of 
Perugino and Francia, an excellence then, in a great mea- 
sure, new; since those masters were among the first Italian 
oil-painters. The scholars of Perugino were numerous, and 
no pupils probably have been more faithful to the style of their 
master : with the single exception of Kaphael, they all perse- 
vered in the quattrocentismo^ or that peculiarity of taste in 
design which had prevailed from the time of Masaccio to that 
of Michelangelo and Raphael; but as regards colouring most 
of his imitators were inferior to him. 



No. 181. The Virgin and Infant Chbist, with St. 
John. Landscape back-ground. Three small figures; the 
Virgin and St. John half-length. 

On wood, 2 ft. 2\ in. h, by 1 ft. 6^ in. w. 

This picture, which is painted in tempera, was obtained by 
the late Mr. Beckford at Perugia, and was purchased of him 
for the National GaUery, in 1841. It has been attributed to 
Lo Spagna, a fellow-scholar of Raphael with Perugino. Petrus 
Peruginus is inscribed in gold on the hem of the mantle of the 
Virgin. 




* The memoirs of Perugino are nmaerous ; besides the notice of V asari there 
are— a notice in the Vite de^ Pittori Fervgini, by Pascoli, 1732 ; Mariottiy 
LetUre PiUoriche Perugme, 1788 ; Orsini, Vita, Ebgio e Memorie ddC Egregio 
PUtore Pietro Perugino e degli Scolari di esso, Perugia, 1804; and Mezzanottei 
DeOa Vita e deUe Opere di Pieiro, Vanuucci da Castello dtUa Pieve, Common* 
tqrip UtoricOf Perugia; 1 830. 



168 PERUGINO. 

No. 288« The Virgin adoring the Infant Christ. 
Three principal portions of an altar-piece. The centre 
picture represents the Virgin adoring the Infant, who is 
presented to her by an angel ; three distant angels, stand* 
ing on clouds and singing, appear above. The compart- 
ment on the left of the spectator represents the Archangel 
Michael ; that on the right, the Archangel Eaphael with 
the young Tobias. 

On wood, each compartment 4 ft. 2 in. /*. ; the centre compart- 
ment 2 ft. l-J^in. w, ; the side pictures each I ft. 10^ in. w. 

This picture was painted by Perugino, as recorded by Vasari, 
for the Certosa, or Carthusian convent near Pa via. The entire 
altar-piece consisted of six compartments. Above the three 
portions already described were — in the centre, a figure of the 
Almighty, which is still in its original place in the Certosa ; on 
the sides, the subject of the Annunciation, the Angel on the 
left of the spectator, the Virgin on the right ; all these were half 
figures. The two last-named have disappeared ; but their places, 
as well as the places of the three portions now in this coUectioo, 
have long been supplied by copies. The three principal pictures 
above described were purchased from the Certosa at Pavia by 
one of the Melzi family in 1786, and were bought for the 
National Gallery of Duke Melzi of Milan in 1856.* 

The left compartment is inscribed below: — 

PETRVS pTrYSINVS 
FINXIT 

* Some connoisseurs have assumed that Raphael assisted his master in this 
work. Bumohrhas stated yarions reasons for concluding that Raphael aided 
in its execution. ** To me," he observes, " it appeared throughout Raphaelized; 
in the general treatment as in the parts, altogether re -cast" He sp^iks of the 
improved action of the St. Michael, as compared with that of the same saint in 
an altar-piece of Y allombrosa, painted by Perugino in 1500 ; and remarks that 
** the hand on the shield is very happily drawn from nature, not in the cus- 
tomary manner of Perugino, but true and graceful.** ItalienUche Forschungen, 
Dritter Theil, 1831, p. 27. 

Passavant (Rafael von Urbino, j-c. L p. 59), speaks of the picture as follows : 
•* The truly Raphaelesque feeling which pervades every part ; the more accurate 
study of nature (as compared with Pemgino's manner), which is especially 
remarkable in the hands, have often given rise to the opinion that Raphael 
must have assisted his master to a considerable extent in this work. This 
opinion receives an additional confirmation from a drawing from nature as a 
study for the Archangel Raphael with the young Tobias, formerly in the 
TAwrence Collection, and which appears to he by Raphael. From Ac great 
merits of the picture it must he assumed that if Raphael really assisted in its 
production its date could not he earlier than 1503.'* At that date Raphael was 
twenty years of age. 

The drawing in question is now in the Randolph Gallery at Oxford; it is 
thus described by Dr. Waagen: — "No. 76, Tobias and the Angel, on tinted 
paper, with silver pomt. Study for that part of Perugino*s altar-piece for the 
CertoCMif af Favia^ which Raphael executed, and which is now in the possession 



PEBUZZI. 169 

PEKUZZI. 

Baldassa're Pebxjzzi, sometimes called Baldassare da 
Siena^ was bom at Accajano^ near Siena^ in the begimiiiig 
of the year 1481. His master is not known. His first work of 
merit was executed at Volterra ; and he distinguished himself 
at Rome, in the beginning of the pontificate of Julius II. 
(1503-13). At Rome, having attracted the notice of Agostino 
Chigi, of Siena, he turned his attention to the study of per- 
spective and architecture, in which he obtained no less distinc- 
tion than ia painting. For Agostino Chigi he built a villa — 
the well-known Famesina — on the western bank of the Tiber. 
From this period his time was chiefly devoted to architecture. 
He was appointed by Leo X., in 1520, the successor to 
Raphael as architect of St. Peter's; the salary, however, of 
this post was only 250 scudi per annum. At the sack of 
Rome, in 1527, he was plundered of all he possessed by 
the Imperial soldiers, and was forced to paint a picture of 
their general, the Constable Bourbon, who had been killed 
in tlie first assault of the city.* After the completion of 
this picture, he escaped to Siena, where he was well received 
by his fellow-citizens. He was made city architect, was 
employed in the superintendence of the fortifications, and 
received a pension from the authorities. After a few years 
he returned again to Rome, and died there in his fifty-sixth 
year, at the close of 1536, not without suspicion of having 
been poisoned. He was buried in the Pantheon, near the 
tomb of RaphaeL Antonio da San Gallo succeeded him as 
architect of St. Peter's.! 

Though Peruzzi excelled in drawing, his occupations were 
too various to admit of his acquiring the reputation of a great 
painter ; but as an architect, he ranks with the artists of the 
highest class. 

of Puke Melzi of Milan. Of delicate feeling for nature, and most elevated 
in the expression of melancholy in the head of the angel. About 1501." 
— Trefzsures of Art in Great BrUaint ^c. Murray, 1854, yoL ii. p. 56. 

The glowing colouring of this work characterizes the best period of Ferugino. 
The art of oil painting was, even at this date, not nniyersally adopted m Central 
Italy, but in the hands of Perugino and Francia the gradation and fusion of 
tints which were the result, according to Vasari, att/acted universal admira- 
tion. — Vasari, Le Vite, ^c, Proemio alia terza parte ; see also the " Introduzione** 
c. 21. 

* Benvennto Cellini claims the merit of having killed this general See 
his autobiography. 

t Tasari, VUe de* Pittori, Sfc, ; Delia Yalle, Lettere Sanen; Milizia, Memorie 
de^i Architetti Antichi e Modemi; Lanzi, Storia Pittorica, fee; Flatner and 
Bunsen, Beschreibung der Stadt Rom, ffc, ; Gaye» .Carteggio Ineditod^ArtistL 



170 POLUUUOLO. 

No. 167. The Adoration of the Einob. The Magi, 
or EiDgs, ai:e approaching with their presents^ and their 
retinues, from both sides of the picture. In the centre, near 
a picturesque ruin, of which a great arch is the principal 
feature, is seated the Holy Family, attended by the adoring 
shepherds. The Father appears above the infant Redeemer, 
surrounded by a glory of angels. The back-ground is an 
extensive rocky landscape. A drawing in chiaroscuro. 

Engraved nearly the same size, in several sheets, by Agostino 
Carracci, in 1579. On paper, 3 ft. 8 in. A. by 3 ft. 6 in. tr. 

This drawing was made at Bologna, in 1521, for Count Giovanni 
Battista Bentivogli. Girolamo da Trevigi painted an excellent 
picture from it for the same nobleman. The drawing was presented 
to the National Gallery, with a print from the plate engraved from 
it by Agostino Carracci, by Lord Vernon, in 1839. 

No. 218. ' The Adoration of the Magi. See above. 
No. 167. 

Engraved by Agostino Carracci, in 1579. On wood, 4 ft. 8^ in. A. 
by 4 it. 1^ in. w. 

This may possibly be the picture painted by Girolamo da Trevigi, 
in the year 1521, from Baldassare Peruzzi's. drawing for the Count 
G. B. BentivogU, unless the report be true that Girolamo's pic- 
ture was lost at sea: it appears, however, to have been copied 
several times ; a copy was made from it by Bartolomeo Cesi, which 
was formerly in the possession of the Hizzardi family at Bologna.* 
The Three Magi are portraits of Titian, Raphael, and Michel- 
angelo. Presented in 1849 by Mr. Edmund Higginson: it was 
formerly in the Lapeyriere and Gray Collections. 



0miiimtmft^tii»fin»imti0»*nft<mnnmtn<0m»t»0ifm 



POLLAJUO'LO. 



Antonio Pollajuo'lo, painter, sculptor, goldsmith, and 
engraver, was bom in Florence about 14S0 ; the exact' date 
is uncertain.! He was placed by his father, says Vasari, 
with the goldsmith Bartoluccio,} the step&ther of Lorenzo 
Ghiberti; and Lorenzo having discovered the ability of 
Antonio, employed him as one of his assistants in modelling 
the ornaments of the architrave of the central gates of th© 

* Tanzi, Storia Fittorica, jfc, yd, L 

t The dates vary from 1426 to 1433. According to Vasari, who has pre- 
senred the inscription formerly on Antonio's tomb, in the Church of San Fietro 
in Vinculis at Bome, he was bom in 1426 ; according to an assessment return 
made in the year 1457 by Antonio's &ther Jacopo del Pollajuolo, 1433 was Ihe 
year of his birth ; and according to a similar return made by Antonio himself 
ia 1480, he was born in 1431. See Gaye, Carteggio Inedito ^Jrtisii. 1. S65. 

% This can scarcely have been before 1445, when Bartohiccio, if lining, nuut 
haye been vpwaids of ei|;htj years of age. 



POXiLAJUOIiO. 171 

baptistery of Florence, completed in 1452. Shortly after 
this time Antonio Pollajuolo worked on his own account as 
a goldsmitL 

He became a celebrated sculptor in bronze, was distin- 
guished for his modelling, and is said by Vasari to have 
been the first artist who had recourse to dissection of the 
dead subject for the purposes of art Latterly Pollajuolo 
turned his attention to painting, and in this art also he 
became one of the ablest masters of the fifteenth century. 
He executed several celebrated works conjointly with his 
brother Piero, ten years the junior of Antonio, and who 
had studied painting under Andrea del Castagno. 

In 1484 Antonio was invited to Rome by Pope Innocent 
VIII., and after executing some important monumental 
works in St. Peter* s, he died there in the beginning of the 
year 1498, and was buried in the church of San Pietro 
in Vinculis. By his will, dated November 4th, 1496, he left 
to each of his two daughters the handsome fortune of 
5,000 golden ducats.* 



No. 292- The Martyedom of St. Sebastian. The saint 
is seen in the middle of the picture, bound to the trunk of 
a tree, and already pierced with arrows. In the fore-ground 
are four of his executioners, two in the act of shooting 
with bows, and two stooping and charging their cross-bows. 
Behind the saint are two others in the act of shooting, and 
several horsemen and foot soldiers are seen in the distance. 
The back-ground is an extensive landscape. Composition of 
seven principal figures, neajrly life ^ize-f 

On wood, 9 ft. 6 in. h, by 6 ft. 7^ in. w. Engraved in the 
Etruria Pittrice^ and in Bosini's Storia deUa PUtura Italiana^ 

Vol. m. 

This picture, mentioned by Vasari as the principal of Antonio's 
works in painting, was finished in the year 1475 (the year in 
which Michelangelo was born), for the altar of the Pucci 
ehapel, in the church of San Sebastiano de' S^ri at Florence. 
Porchaaed at ilorraice <^ the IMArchese Fucd in 1857. 



* VaiEtad, Ftte, jr<7. Ed. Le Moxxnier, yoL y, Oaye, Carteggio Inedito 
^Artistu 

t The Bamt is said to be a portrait (Bittratto dal YiYo) of Gino Capponi, 
who, howettTt iras dead before tiie painter iras born ; if a portrait, tiierefore, 
it most bare been copied from an earlier iraric^ 



1 72 PONTORMO — PORDENONE. 

PONTORMO. 

Jacopo Carucci, commonly known as Jacopo da Pon- 
TORMO, where he was born in 1493, was the scholar of 
Andrea del Sarfco, and became eventually an imitator of 
the style of Michelangelo : he was also an excellent por- 
trait painter. He died at Florence in 1558. Pontormo 
executed some extensive frescoes in the church of San 
Ix)renzo in Florence, representing the '^ Deluge " and the 
" Last Judgment/' They occupied him eleven years ; but 
they were in the style of the mannered imitators of Michel- 
angelo, and they have been long since whitewaslied over. 
This mannerism, belonging more particularly to his later 
years, did not extend to Pontormo's portraits, which are 
powerfully painted, warm in colour, animated, and yet 
admirably finished : he painted some of the Medici family. 
He was the master of Angelo Bronzino.* 



No. 649- Portrait of a Boy, in a ciimson and black 
dress, holding in his left hand the hilt of his sword. Stand- 
ing, full-length, life-size. 

On wood, 4 ft. 2J in h. by 2 ft. w. 

Formerly in the collection of the Duke of Brunswick. 
Purchased at Paris fromM. Edmond Beaucousin, in 1860. 

No. 670. A Knight of Malta, in his robes, and with 
the red cross on his breast. Full length life-size, standing ; 
his right hand holding a book and resting on a table^ richly 
carved in the taste of the sixteenth century in. Italy (cin- 
quecento). 

On wood, 6 ft. 9^ in. A. by 3 ft. 10-J in. w. 
Presented in 1861 by Mr. George Frederick Watts. 



^ * *^^^ ^ m.^^^ ^afc.».^.^^— .^^M l ^^ i r^j.^^-, - 



POEDENO'NE. 



Giovanni Antonio Licinio, Cavaliere, commonly called, 
from hia birth-place in the Friuli, II Pordeno'nb, was bom 
in 1483. He is called also Cuticelli, the name of his mother, 
and De Regillo. He died at Ferrara in 1539. The works 
of Pordenone are scarce. He was the scholar of Pellegrino 
da San Daniele, but was influenced by the example of 
Giorgione ; and, both as a fresco painter and oil painter. 



♦ Vasari, VUe. &c. 



P0U8SIN, O. 173 

■ 

1>ecame one of the most distmguished masters of the 
Venetian school ; having been for a time a powerful rival of 
Titian. Two fine pictures at Burghley House^ — " The Find- 
ing of Moses," and "The Adoration of the Kings," — attributed 
respectively to Titian and Bassan, are, according to Dr. 
Waagen, works of Pordenone. Bernardino Licinio, Giovanni 
Maria Calderari, and Pomponeo Amalteo, Pordenone's son- 
in-law, were scholars and imitators of this painter. He 
si^ed his name Antonius Pobtunaensis and De Por- 

TUNAONIS.* 



No. 272. An Apostle. A portion of a colossal figure, 
seated over an arch. 

On canvas, 4 ft. 11 in. A. by 3 ft. 9 in. w. 

Said to have been formerly in a church near Venice. 
Presented to the National Gallery by the Cavaliero Vallati of 
Rome, in 1855. 



POUSSIN, GASPAR. 

Gaspakd, or Gaspar Dughet, conmionly called after his 
brother-in-law, Poussin, was bom of French parents at 
Rome, in 1613. He is called by the Italians Gasparo DucJiey 
and he has inscribed his name thus on his etchings. He is 
called Gaspre Poussin by the French. He was the pupil of 
Nicolas Poussin, who afterwards married his sister, He died 
at Rome in 1675. 

The works of this celebrated landscape-painter are very 
uniform in character. Ramdohr observes, that they impel the 
mind to reflection, and convey impressions of solemnity and 
melancholy. Owing to his habit of painting upon dark 
grounds, Ws pictures have become low in tone, and have, 
perhaps, thus acquired a greater character of gloom than was 
originally intended. He etched a few plates.t 



No. 31- A Landscape, with Figures, representing 
Abraham and Isaac going to the Sacrifice. In the elevated 
fore-ground is a broad rocky and woody glen, overhung by 

* Ridolfi, Le Maraviglie deW Arte, ft-c. ; Lanzi, Storia Pittorica, Sfc. ; Maniago, 
Storid ddle BeUe Arii Friuhne, 4to, Venice, 1819. 

f Pascol], Vite de* Pittoru Sfc; Kamdotir, Makrei toid Bildliauerarbeii in 
Horn, ^c; Robert Dumesnil, Pemtre-Graveur Frangais, 



174 POIWSIK, d. 

lai'ge foresMr^es on each side ; an extensive countiy, bounded 
by the sea, appears in the distance, with mountains on the 
extreme left. Abraham and Isaac are seen on the right 
ascending the mount to the sacrifice ; Isaac bears the wood, 
his father follows with a lighted torcL In the middle-dis- 
tance beloW) the two servants of Abraham are awaiting his 
return. 

Engraved by Giuseppe Cunego; by P. Parboni; by J. Pye; and 
by W. Baddyffey for Jones's National (xallevy. On canvas, 5 ft. 
3 in. A. by 6 ft. 6 in. w. 

This picture, by some considered the painter's masterpiece, 
remained in the Colonna Palace, at Rome, to the period of the 
French Revolution, when it was brought to this country by Mr. 
Day. It was subsequently in the Lansdowne Collection, from which 
it passed to that of Mr. Angerst^n, and was purchased with the 
rest of the.Angerstein pictures, in 1824. 

Ko. 36. A Land Stobm. Mountain scenery ; shepherds 
seeking refuge for their flocks. A winding road at the out- 
skirts of a forest occupies the fore-ground ; an oak in the 
middle of this part of the picture has just been snapped 
asunder by the storm, and lies prostrate on the ground. The 
effect of the strong wind is forcibly expressed throughout the 
whole scene. In the middle-distance^ a lone buildmg, very 
beautiftdly lighted from the bright streaks of sky in the 
horizon, is effectively relieved by the more distant mountain 
behind it. The partial light of ^e distance contrasts power- 
fully with the dark driven clouds above, and with the general 
gloom which pervades the picture elsewhere. 

Engraved on a large scale by Vivares ; and small by S. Lacy, for 
Jones's National Gallery. On canvas, 4 ft. 11 in. A. by 6 ft. w. 

Purchased at Rome by Mr. Irvine for Mr. Buchanan in 1803. 
Subsequently in the Delm6 and Lansdowne collections, afterwards 
in that of Mr. Angerstein, with which it was purchased for the 
nation in 1824. 

No. 68. A Woody Landscape, Evening. A view near 
Albano. In the fore-groimd a shepherd boy is leading home 
his flock : on the right is a thick forest of oaks ; on the left 
a steep bank, under the shade of which two figures are 
reposing. 

Engraved by J. B. Allen for Jones's National Gallery, On 
canvas, 1 ft. 7 in. h, by 2 ft. 2 in, w. 

Formerly in the Corsini Palace at Rome : subsequently in Mr. 
Ottley's collection, sold in 1801. Bequeathed in 1831 by the 
Rev. W. H. Carr. 



POUSSIK, G. 175 

No. 95. Landscape^ with Dido akd ^keas tasikq 

SHELTBB FROM THE StOBH. Virgil, JEncif, XT. 119. 

A pHdiy cloud shall cover all tlie plain 
With hail and thunder and tempestuous rain ; 
, The fearful train shall take their speedy flight, 
Dispersed and all involred in gloomy night; 
One care a grateful shelter shall afford 
To the fair princess and the Trojan lord« — Dryden, 

This is the moment represented in the picture : — ^neas 
and Dido are ~ just visible at the entrance of the cavey above 
which are two hovering Cupids ; a third, at a little distance 
before it, is holding the bridle of the "lofty courser'' of the 
queen. In the clouds is the goddess Juno, accompanied 
hj Venus and Hymen, promoters of the storm. 

!Ei^raved by J. C. Yarrall, for Jones's National Gallery. On 
canvas, 4 ft. 10 in. h. by 7 ft. 4 in, w. 

Formerly in the Falconieri Palace at Rome. Bequeathed to the 
National Gallery, in 1831, by the Rev. W. H. Carr. 

No. 98. View of La Riccia. A small town, situated 
on a rock, fourteen miles south-east of Rome. Horace spent 
the first night at this place on his journey from Rome to 
Brundusium: it still preserves its ancient name, Aricia. The 
view is from the south : the little town and its picturesque 
took occupy a large portion of the picture. Three figures 
and a dog are seen on the winding road in the fore-ground, 
and in the distance is a view of the Roman Campagna, 
bounded by the Apennines. A solitary tree in the forq- 
groiind to the right gives expanse to the scene. 

Engraved by A. Smith, for Jones's National Gallery, On 
canvas, 1 ft. 7 in. h. by 2 ft. 2 in. w. 

Companion to No. 68. 

Formerly in the Corsini Palace at Rome : subsequently in the 
Ottley collection. Bequeathed to the National Gallery, in 1831, 
by the Rev. W. H. Carr. 

Ka 161. Ak Italian Lakdsgape. Mountain scenery, 
with the view of a town on the slope of a hill, and a cascade 
in the middle-ground ; snow is visible on the distant moun- 
tains. Some figures and a couple of dogs are seen in the 
fore-ground, to the left of which is a rocky bank covered 
with trees. 

On canvas, 2 ft. 8 in. h. by 5 ft. 5 in. w. 

Formerly in the Golonna Palace at Rome. Bequeathed by Lord 
Famborough, in 1838. 



176 POUSSIN, K. 

POUSSIN, NICOLAS. 

Nicolas Poussin was bom at Andely in Normandy, abont 
June 19, 1594, of a noble family of Soissons. He learnt 
painting under Quintin Yarin at Andely. At the age of 
eighteen he visited Paris, where he prosecuted his studies 
for a short time under some other masters, and greatly 
improved himself by drawing from casts and copying prints 
after Raphael and Giulio Romano. After various vicissitudes, 
he at length visited Rome in 1624, in his thirtieth year. He 
lived in the same house with Du Quesnoy, afterwards cele- 
brated under the name of II Fiammingo : they were of mutual 
aid to one another in their studies. It was probably owing 
to his intimacy with Du Quesnoy, that Poussin paid so much 
attention to the ancient bassi-rilievi : he modelled some of 
those works. He also devoted some time to practical 
anatomy, and he attended the Academy of Domenichino, 
whom he considered the first master in Rome. He had, 
however, to contend against poverty for a considerable 
period, until the return to Rome of Cardinal Barberini from 
his embassy in France and Spain : Poussin had been intro- 
duced to him, before his departure from Rome, by the poet 
Marino, who died shortly afterwards at Naples. This cardinal, 
soon after his return, commissioned Poussin to paint two 
pictures — the ** Death of Germanicus" and the " Capture of 
Jerusalem:" the latter subject he painted twice. From this 
period he acquired rapidly both fame and fortune* The 
above pictures were followed by the "Martyrdom of 
St. Erasmus;" the "Plague of Ashdod;" the "Seven Sacra- 
ments ;" and others. The last-named works were painted for 
the Commendatore Del Pozzo, and were, a few years after- 
wards, repeated by Poussin for M. de Chantelou at Paris.* 

Poussin, after an absence of sixteen years, returned with 
M. de Chantelou to Paris in 1640, when he was introduced 
by Cardinal Richelieu to Louis XIIL, who wished to retain 
him in his service : he gave him apartments in the Tuilleries, 
and appointed him his painter in ordinary, with a salary of 
120/. a year. Poussin, however, wishing to have his wife 
with him in Paris (he married in 1629), departed in 1642, 
with permission, for Rome ; but as Louis XIIL died shortly 

* Both sets are now in England, the former in the collection of the Duke of 
Rutland at Belyoir Castle, the other in that of the Earl of Ellesmere, in London, 
known as the Bridgewater Gallery. They are engraved by Pesne. 



POUSSIN, N. 177 

afterw^ardSj he never returned to his native country. He 
continued to increase in wealth and reputation during twenty- 
three years from this time : he died at Some^ on the 19th of 
Novemberi 1665, in his seventy-second year, and was buried 
m the church of San Lorenzo in Lucina.* *^ No works of 
any modem/' says Sir Joshua Beynolds^f *^ have so much 
of the air of antique painting as those of Poussin* His best 
performances have a remarkable dryness of manner, which, 
though by no means to be recommended for imitation, yet 
seems perfectly correspondent to that ancient simplicity 
which distinguishes his style. Like Polidoro, he studied the 
ancients so much that he acquired a habit of thinking in their 
way, and seemed to know perfectly the actions and gestures 
they would use on every occasion." 

Poussin excelled as a landscape as well as a figure painter. 
His works are very numerous : the prints that have been 
engraved after his principal pictures amount to upwards of 
two hundred. 



No. 39. The Nu using of Bacchus. Landscape, with 
nymphs and fauns tending the infant Bacchus, who is eagerly 
imbibing the juice of the grape, which a Satyr is squeezing 
into a bowl. A goat occupies a prominent place in the picture, 
Composition of six small figures. 

EDgraved by M. Pool, On canvas, 2 ft. 6^ in. A. by 3 ft. 1 in. to. 
Bequeathed to the National Gallery by Mr. G. J. Cholmondeley, 
in 1831. 

No. 40. Landscape, with Figures; Phocion. A 
wooded spot in the neighbourhood of a city, which is seen at 
the base of a range of mountains in the distance. In the fore- 
ground to the left is a man in a plain, undyed robe, supposed 
to represent Phocion; J he is washing his feet at a public 
fountain, as if to indicate the purity and simplicity of his 

life. 

On the opposite side is a monument, near which are two 
figures, seated, in conversation : a third party is passing by 



* BelloTi, Vita diNicolo Pussino in the Vite de' Pittori, J-c, Rome, 1672; 
Pelibien, ErUretiens sur lea Vies et sur lea Ouvragea dea plua excellena Peintrea, 
Anciena et Mbdemea, Paris, 1685. Gault de St. Germain published p life of 
PoiMsin in 1806, and a Colkcfum de Letbrea de Pouaam was published at Paris in 
1824. 

t Discourse V. 

X Phocion, the contemporary of Philip and Alexander the Great, was a 
fiiyoarite Athenian general and statesmui; he, however, died by poison, by the 
decree of the Athenian people themselves. See Plutarch's Life of Phocion. 

M 



178 P0US8IN, N. 

behind them. Towards the middle of the picture, another 
fiffure i0 reolininfit at Ml lenirth at the foot of a lanre tree, 
ol the stem ofwhich are hanging some votive ^erbg.. 
A small stream flows through this part of the picture. 

Engraved by E. Baudet ; and by W. Radclyffe, for Jones's Na- 
ihnai Gallery, On canvas, 2 ft. 6 in. A. by 3 ft. 7 in« to. 

Presented to the nation by Sir George Beaumont, Bart., iii 
1826. , 

No. 42. A Bacchanalian Festival. A landscape 
with satyrs, fauns, centaurs, and animals, in wild revelry. 
To the left, the drunken Sileniis is being placed under a 
temporary canopy by two fauns, on^ of whom is about to 
crown him with a wreath of flowers. On the opposite side, a 
female satyr is supported by a faun^ upon the back of a 
goat which is attempting to throw her off. In the centre is 
a kneeling satyr on the verge of intoxication, still drinking 
from a bowl, into which a faun is pouring wine; and the 
various phases of intemperance, boisterous mirth) contention, 
and insensibility, are forcibly pictured in the groups behind 
him. 

Engraved by T. Phillibrown, for Jones's National Gallery, On 
canvas, 4 ft. 8 in. h, by 3 ft. 1 in, «r. 

This is one of a series of three pictures said to have been painted 
for the Dufce de Montmorenci ; the other two were formerly in 
the possession of the Earl of Ashburnham. Bellori notices four 
*• Bacchanals " by Poussin, which were painted at Paris in 1641, 
42, for Cardinal RicheUeu. Formerly in the Barberini Palace, 
and subsequently in the Angerstein collection, with which it was 
purchased for the nation, in 1824. 

No. 62. A Bacchanalian Dance. Landscape, with 
a group of fauns and bacchanalian nymphs, or bacchantes, 
dancing in a ring, interrupted in their merriment by a 
satyr, who has thrown one of the nymphs on the ground, 
for which another nymph is striking him on the head with 
a cantharus : behind this group, near a thick cluster of trees, 
is a terminal figure of Pan decorated with flowers. Still 
fVirtter to the right on this side, an infant bacchanal is bend- 
ing over and drinking from a large vase on the ground ; 
two other infant bacchanals are contending for the juice one 
of the bacchantes is squeezing from a bunch of grapes which 
she holds above their heads; a fourth is sleejHX^ on the 
ground behind them. 

Engraved by G. T. Doo, R.A., for the Associated Engravers ; 
by Van Merlen ; by R. Cooper ; and by S. S. Smith, for Jones's 
National Gallery. On canvas, 3 ft. 3 in. A. by 4 ft. 8 in. tv. 



POUBSIK. N. 179 

Th]9 picture) one of the painter's master-pieces, is probably one 
of the four painted for Cardinal Richelieu : it formed part of 
the collection of M. de Calonne, by whom it was brought to this 
country ;* it passed subsequently into the possession of Mr. Hamlet, 
of whom it was purchased for the National Gallery, in 1826. 

No. 65. Cephalus and Auboba. Cephalus, before 
whom a little cupid holds up the portrait of his wife Procris, 
is endeavouring to free himself from the arms of Aurora: 
behind is the winged Pegasus. The elevated scene of the 
drama is indicated by the presence of a river god, probably 
Ilissus, as that river rises in Mount Hymettus, from which 
Cephalus was carried off.f In the back-ground is a naiad or 
some mountain nymph; and Phoebus^ in his chariot, is seen 
in tlie heavens just above the horizon : all indicating the 
. early morning. 

Engraved by W. Holl, for Jones's National Gallery. On canvas, 
3 ft. 2 in. h* by 4 ft. 3 in. ir. 

Bequeathed to the National Gallery, in 1831, by Mr. G. J. 
Cholmondeley. 

No. 91- Venus Sleeping, suepbised by Sattbs. 
•While one of the satyrs lifts up the drapenr of the goddess, 
another rouses Cupid who has been sleepmg by her side. 
Composition of four small figures. 

Engraved by M. Pool ; by J. Daulle ; and by W. T. Fry, for 
Jones's National Gallery, On canvas, 2 ft. 2 in. h, bj 1 ft. 8 in. w. 

Formerly in the collection of M. de Calonne, at Paris. Be- 
queathed to the National GnUery, in 1831, by the Bev. W. H. Carr. 

No. 165. The Plague among the Philistines at 
AsHDOD. The Philistines, having overcome the Israelites, 
removed the Ark of the Lord to Ashdod, and placed it in the 
Temple of Dagon ; on the next morning they found their idol 
fallen, and the city was afflicted with a loathsome plague, 

" And the head of Dagon and both the palms of his hands were cut off upon 
the threshold of the door." — 1 Samuel, v. 4. 

The broken Dagon is seen before the Ark in the temple 
to the right, with a crowd of the citizens in consternation 
before it. In the fore-ground are the bodies of a woman and 
her child ; a second child is approaching the breast of its dead 
mother, while a man stoops down and gently averts it from 
the infectious corpse.:): Various groups of dead and dying arc 



* See BiMdianan's Memoirs of Painting. 

t Ovid, ]St vii. 701. See Na 147, p. 46, Na 2, p. 59, and No. 65, p. 63, 
of this catalogue. 

% A somewhat similar group to this, but much less gross in its details, was in 
the celebrated picture hy the Greek painter Artistides, which Alexander the 
Great, at the sack of Inches, clahned for himself and sent to his palace at 

H 2 



180 BAPHAEL. 

dispersed over the picture ; the scene is a handsome street in 
Asndod^ with noble piles of architecture on each side, viewed 
in perspective. 

Engraved bj E. Picart ; bj J. Baron; and by C. Niquet* On 
canvas, 4 ft. 3 ia. h. by 6 ft. 8 in. w. 

This is a repetition of a picture which was painted by Poussin 
at Rome in 1630, and for which he received, says Bellori, only 
sixty scudi, about twelve guineas; it came afterwards into the 
possession of Cardinal Richelieu, who paid 1,000 scudi for it; it 
is now in the gallery of the Louvre at Paris. The picture above 
described was formerly in the Colonna Palace at Rome, from 
which it was purchased by Mr. Irvine for Mr. Buchanan : * it 
was presented to the National Gallery by the Duke of Northum- 
berland in 1838. 



#i^^^<W»»^»#»r#l^»#**P#W>#»WP^>^/^^^»*#^^W» 



RAPHAEL 

Raphael, or RAFFAELLof Santi, or Sanzio, as the 
modern Italians write his name, was born at Urbino in the 
Contrada del Monte, April 6,} 1483. He was first instructed 
in painting by his father Giovanni Santi, who was a good 
painter for his period. § After the death of his father in 1494, 
(his mother died three years before,) Raphael was placed by 
his uncles, Simone Ciarla and Bartolomeo Santi, with Pietro 
Perugino, the most celebrated painter at that time in Umbria, 
and then engaged on the frescoes of the Sala del Cambio 
(Exchange) at Perugia. He remained with Perugino several 
years, visiting various places during that period. 

In October 1504, Raphael paid his first visit to Florence, 
carrying with him a letter of introduction to the Gonfaloniere 
Soderini from Johanna della Rovere, Duchess of Sora, and 
sister of the reigning Duke of Urbino. He appears to have 
made Florence his chief place of residence from this time 
until 1508, when he proceeded to Rome. With the exception 



Pella. See the Author*s Epochs of Painting. There is also a very similar group 
in a design by Raphael, // Merbetto, known from the print of it by Mareantonio. 
See the remarks of iFuseli, on the comparatiye merits of these groups, in hi? 
first lecture. 

* See Ramdohr, Ueber Malerei, ^c, vol. iL p. 106. 

t There are copies of three letters of Raphael extant ; one only is a &c-simile, 
and in it the writer has signed himself Riaphaello. The English form Raphael, 
therefore, is nearer to this name than any of the modem Italian %ins. Yasari 
wrote Raffaello. See the works of Longhena and Fassavant, quoted in note, 
p. 184. 

t See note, p. 183. 

§ Pungileoni, Elogio Storico di Giovanni Santi, Pittore e Pnata, padre dei 
fran BAffaeUo da Urbino, Urb. 1822. 



BAPHAEL. 181 

of a few months passed at Perugia in 1505, and a short 
interval at Bologna and Urbino in 1506, the whole period 
was spent in Florence. He became acquainted with Francia 
during his visit to Bologna, and ten years afterwards Baphael 
consigned to Francia's charge the well-known picture of 
St. Cecilia, which he painted at Borne for one of the 
churches of Bologna.* Among the pictures painted by 
Raphael, previous to his visit to Florence in 1504, may be 
mentioned the " Coronation of the Virgin," f now in the 
Vatican; and the celebrated ^'Spozalizio,"} or *^ Marriage of 
the Virgin," in the Gallery of the Brera at Milan. The 
small picture No. 213, in this collection, belongs to the same 
period. The works executed at this time are said to be in his 
first or Peruginesque manner; those produced between 1504 
and 1508, (when he settled in Borne,) are said to be in his 
Florentine manner. Among the works of this latter period 
may be mentioned the " St. Catherine" in this collection; the 
" Entombment of Christ "§ in the Borghese Gallery at Bome ; 
" La Belle Jardiniere" | in the Louvre ; and the " Madonna 
del Baldachino"ir in tlip Pitti Palace at Florence. The 
celebrated picture at Blenheim, painted in 1505, holds a 
middle place between the two stylee.** 

Baphael had every opportunity of improving himself while 
at Florence : he was intimate with Fra Bartolommeo di San 
Marco, distinguished for his effective treatment of light and 
shade, and for his colouring; and .the rival cartoons of 
Leonardo da Vinci «nd Michelangelo were at that time the 
common models in design of all the Florentine painters. 
He was at length, through the recommendation of his 
countryman, Bramante, invited by Pope Julius 11. to Bome^ 
where he arrived about the middle of the year 1508. 
From his arrival until the death of Julius in 1513, he was 
almost constantly employed by that Pope. It was by the 
order of Julius that Baphael commenced the frescoes of the 
so-called Stanze of Baphael, in the Vatican. The first of 
these works was the " Theology," commonly called the 
Dispute on the Sacrament ; it was probably finished in the 
year 1509, and is painted in Baphael's secpnd or Florentine 



♦ See the notice of Pbancia in this catalogue. 

t Engraved by E. StobzeL J Engraved by Giuseppe Longhl 

§ Engraved by Volpato ; and by S. Amsler, in 1832. 

jj Engraved by N. PoiUi. ^ Engraved by F. A. LorenziiiL 

*♦ Engraved by L. Gniner, 



182 RAPHAEL. 

manner. In the same apartment^ called the Stanza della 
Segnatura^ are also the frescoes of "Poetry," or Mount 
Parnassus; "Philosophy," or the School of Athens; and 
** Jurisprudence." These were all finished in or before 1511. 
In the second chamber, known as the Stanza dell' Eliodoro, 
are the "Expulsion of Heliodorus from the Temple of 
Jerusalem," * the " Mass of Bolsena," the " Attila," and 
" St. Peter delivered from Prison." The two former were 
painted in 1512, during the lifetime of Julius ;•}• the two 
latter in 1513 and 1614, during the pontificate of Leo X. 
The third chamber, called the Stanza dell' Incendio, was 
painted almost wholly by Raphael's scholars ; and the 
fourth, the Sala di Costantino, was completed from the 
designs of Raphael after his death, under the direction of 
Giulio Romano. 

The slow progress of the Vatican frescoes, after the 
painting of the Stanza dell' Eliodoro, was owing to the 
numerous commissions with which Raphael was almost 
overwhelmed, from Leo X. and other Roman patrons, ajid 
from numerous admirers of his works in distant parts. He 
executed in the meanwhile, besides many designs, portraits, 



* Maccabees XL ch. iL v. 25. 

f Thus the principal frescoes of Raphael in the Vatican were executed at least 
as soon as those of Michelangelo on the ceiling of the Sistine ChapeL (See tlie 
notice of Michelangelo in ^is catalogue.) Kaphael, however, saw the grand 
works of his rival in progress, as they were uncovered before the whole ceiling 
was completed, and enlarged his style in consequence. That this was the com- 
mon opinion in Some at the time, appears not only from Yasari's general state- 
ment, but also from the following interesting passage in a letter from Sebastiano 
del Fiombo to Michelangelo himself, written apparently just after the completion 
of the ceiling of the Sistine Chapel, for the letter is dated October 15, 1512, and 
Michelangelo was then in Florence : the observation is attributed to Pope Julius. 
*• Look at the works of Raphael, who, when he had seen llie works of Michel- 
angelo, suddenly fbrsook the manner of Femgino, and approached as near as he 
could to that of Michelangelo ; but he is terrible, as you see ; one can do nothing 
with him ;** (ma e terribSe, come tu vedi, non si pol pratichar con lui). These 
words refer to the character, not the style, of Michelangelo. Gaye, Catttgtfio 
Inedito d^Artiati, Ap. vol iL p. 489. 

The style of Michelangelo cannot have been new to Raphael when in Rome, 
as he must have been well acquainted with the ^ Cartoon of Pisa ; " but the 
great chan^ in his own taste (though without a direct imiiation of Michelangelo) 
is most visible on comparing the f^sco of the "Theology" with his other works 
in the same apartment : the remark of Julius is borne out and exemplified by 
that change. Vasari instances Raphael's Isaiah, in Sant' Agostino, executed 
later, and his Sibyls in the Chiesa della Pace, painted in 1514, as exhibiting 
direct evidence of an emulation of Michelangelo. But Yasari was perhaps in- 
fluenced by the coincidence of the subjects with some of those on the ceiling 
of the Sistine Chapel : as regards the style of the works in question, his obsei^ 
vation is only just in reference to the Isaiah : on the whole, the judgment of the 
Pope may be considered as better founded, and it confirms the received opinion. 



RAPHASU 183 

Holy Families, Madonnas, and Saints, the '' St. Cecilia/' at 
Bologna; the '' Madonna di San Sisto/" at Dresden; the 
^^ Spasimo/' at Madrid ; the Cartoons, at Hampton Court ; 
and the " Transfiguration,'* — his last production, now in 
the Vatican. In addition to all these occupations, he had 
the superintendence, as architect, of the building of 
St Peter's, in which office he succeeded Bramaaate. 

The whole of these works, including all the Vatican 
frescoes, except the "Theology," are pamted in what is- 
termed Raphael's third manner, or in that style which 
peculiarly characterises him, and constitutes the Boman 
school in its highest development ; it is distinguished for 
its dramatic composition and expression, for its correct and 
vigorous design, and, at least in the frescoes, for a grand 
and appropriate tone of colouring. 

Raphael died at Rome on his birthday,* April 6, 1520, 
aged exactly 37 years ; and, after lying in state, was buried 
with great pomp in the church of Santa Maria ad Martyres, 
or the Rotonda, the ancient Pantheon, f 

Raphael was of a sallow complexion, with brown eyes, 
slight in form, and about 5 ft. 8 in. high. He was never 
married, but is said to have been engaged to Maria Bibiena, 
the niece of Cardinal Bibiena : she preceded him to the 
grave. He was said to have left property to the value of 
16,000 ducats : he bequeathed all his paintiag materials and 
works of art to his favourite scholars, Gianfrancesco Penni 
and Qiulio RomanOp with the condition that they should 
complete his unfinished works in the Vatican. The 
numerous sdbiool of painters, formed by Raphael at Rome, 
was dispersed at the sack of that city in 1627, but the 

* The inscription by Cardinal Bembo on Raphael's tomb in the Pantheon is 
perfectly clear on this point The concluding lines are : — 

Vixit An. XXXVII., Integer Integros. 

Quo die naitas est, eo esse Desiit 

Vm. Id. Aprilis, MDXX. 
l%ftt is, he liyed exwtiy 37 years ; he died on the saiae day (of the ye«r) on 
irhidi he was bom, April 0. From the eircniastanoe that April 6, 1520, w«f 
G«od Friday, Yasari, »ad ethers after him, were led mto the erroneous nalaon 
that Raphael, as he died on Good Friday, was also bom on Good Friday* oiwr* 
lookxng liie h^et of this day being a moyeable feast ^hom and otheis, Allowing 
the ▼ague assertion of Yasari, have inferred aa error in the very paiticaleff 
ins^pdon of the Cardinal, who was the paint^'s intimate friend, and, dovhtiess, 
W€^ awaire of the veal facts of the case. See a communicalioa on this sulject, 
by Mr. J. Dennistoun, in the Art-Union Journal of January 1842. 

t IKsiemb^M opMi«d «a 18«8, aad 1^ «keIetMi, with all the teeth, ^nd 
entire : a mould was taken from the skvdL 



184 RAPHAEL. 



elements of that school were spread over Italy ; his most 
distinguished followers, besides those already mentioned, 
were Kerino del Vaga, Polidoro da Caravaggio, and 
Garofalo* 



No. 213. The Vision of a Knight. In the fore- 
ground a young knight in armour is sleeping upon liis 
shield at the foot of a laurel tree : on the left is a female 
figure holding a sword and a book; on the opposite side 
is another younger female, holding a sprig of myrtle in 
bloom. The back-ground is a varied landscape. Imme- 
diately below the picture is the original pen-and-ink 
drawing from which it was traced. 

Engraved by L, Gruner. On wood, 7 in. square. 

This picture belongs to Raphael's first period, probably to the 
time when he was with Pietro Perugino. It was formerly in the 
Borghese Gallery at Rome, whence it was procured at the end 
of the last century, by Mr. W. Y. Ottley ; it passed subsequently 
into the possession of Sir Thomas Lawrence, and afterwards 
became successively the property of Lady Sykes, and of the 
Rev. Thomas Egerton, from whom it was purchased for the 
National Gallery, in 1847. 

No. 168. St. Catherine of Alexandria. St. Catherine, 
a princess of Alexandria, a Christian, was, about the year 
311, condemned by the Emperor Maxentius to be crushed 
with wheels ; the apparatus, however, was broken to pieces 
by an angel, and the saint was afterwards beheaded.t She 
is represented in the picture looking upwards, with an ex- 
pression fuU of resignation, and is leaning with her left arm 
on the wheel, the intended instrument of her martyrdom ; 
the back-ground is a landscape. Small figure, three-quartei* 
length. 

Engraved by A. Desnoyers in 1824. On wood, 2 ft. 4 in. h, by 
1 ft. 9^ in. w. 



* The accounts of Raphael are very numerous : among the most prominent 
are : — ^Vasari, Vite d£ Piitori^ Sfc. ; Bellori, Descrizione delle Immagini depinte 
da JRaffaeUo da Urbinoj nel Paiazzo Vaticano, {fc; Buppa, Life of BaffiuBo 
Sanzio, London, 1816; fiehberg, Rafael Sanzio aus.Urinno, Muncben, 1824; 
Qnatrem^ne de Quincy, Histoire de la Vie et des Ouvrages de Eaphael, Paris, 
1824 ; liongheua, Istoria deUa Vita e deUe Opere di RaffaeUo Sanzio da Urbino, 
del Sig, Qttatremh'e de Quiuey, jfc, Milan, 1829 ; Fungileoni, Elogio Storico di 
RaffaeUo Santi da Urinno, Urbino, 1829-31 ; Plainer andBunsen, Beschreibung 
der Stadt Romy vol. ii. 1832 ; and especially J. D. Passayant, Rafael von Ur&ina 
und sein Vater Giovanni Santi, Leipzig, 1839, which contains an accurate 
account of all Kaphael's works. 

f See the story of St Catherine, from Peter de Natalibos, in Lord Lindsay's 
Sketches ofth^ ffistortf of Christian Art^ vol. i. 



RAPHAEL. 185 

This picture was painted about the year 1507» and is in 
Raphael's second style. It was formerly in the Aldobrandini 
collection in the Borghese Palace at Borne, from which it was 
procured by Mr. Day at the close of the last century ; it passed 
into the possession of Lord Northwick, who subsequently sold it 
to Mr. Beckford, from whom it was purchased in 1839. An 
original drawing by Raphael of this picture is in the possession 
of the Duke of Devonshire, and there is a finished cartoon of it 
in the Collection of Drawings in tlie Louvre at Paris. 

No. 27. Portrait of Julius II., seated in a chair 
Pope Julius II., previously known as the Cardinal della 
Rovere, was elected to the papal chair in 1503, and died in 
1513 ; he commenced the present church, of St. Peter at 
Rome. Three-quarter length, of the natural size. 

Engraved by A. Chataigner ; by E. Horace ; and by R. Page, for 
Jones's National Gallery. On wood, 3 ft. 6 in. h, by 2 ft. 8 in. w. 

This portrait was repeated several times by Raphael, or his 
scholars* The original and the finest is in the Pitti Palace. 
Passavant enumerates nine repetitions, including the picture now 
referred to, besides three of the head only. The Pitti portrait was 
taken probably in 1511 or 1512, before Raphael executed the 
fresco of ** Heliodorus,'' in which Julius is introduced in much 
the same attitude as in this portrait. The original cartoon is in 
the Corsini collection at Florence.* This picture was formerly in 
the Falconieri Palace at Bome^ and subsequently in the pos- 
session of Ml*. Angerstein, with whose collection it was purchased 
in 1824. ' , 

No. 661. The Madonna di San Sisto. A tracing by 
Ja.cob Schlesinger made in 1822 from the celebrated pic- 
ture by Raphael in the Dresden Gallery. In the centre, 
the Madonna and Child in the clouds ; on her right is 
kneeling St. Sixtus, Pope ; on her left St. Barbara ; two 
angels below. Six figures, life-size. 

Mounted on thick paper attached to canvas, 8 ft. 6 in. h, by 
6 ft. 7 in. w. 

Presented in 1860 by Messrs. P. and D. Colnaghi, Scott, 
and Co. 



<fc*><tf>*>^^<**>*»»Jrf»»*X^»^^#'<>*>J»#'^<»W^M»#«WX^>#W#<V^» 



REMBRANDTt 
Rembrandt Hermanszoon (son of Herman) van 

* Passavant, Rafael von Urbino^ ii. 119, 489. 

f The half fabulous statements of Houbrakeu and Weyerman respecting 
l^mbrandt's life and character had been universally adopted by biographers 
till within the last ten years. For the rectification of these errors by a careful 
investigation of original documents, the public is chiefly indebted to M. Schel* 
tema, Keeper of the Archives of North Holland. In May 1852, preparatory to 
the ceremony of placing the statue of liembrandt in Amsterdam, M. ScheU 



18(> RBMBBANDT. 

Ryn* wa« bom at Ley den, July 15, 1606, or according to hia 
own statement at his marraige in 1608.-}* His parents sent 
him to the Latin School at Leyden, with a view to his sub- 
nequently studying jurisprudence in the University of that 
dty ; but his inclination for the art in which he was destined 
to excel soon manifested itself so strongly that he was pIa.Ged 
with the painter Jacob Van Swanenburg, with whom he 
remained three years ; he studied also for a short time under 
Fieter Lastman, at Amsterdam, and under Jacob Pinas at 
Haarlem. He returned home after an absence of about 
four years, and became from that time a diligent aiid 
exclusive student of nature. He appears to have met wiih 
very early success: in 1630, at the age of twenty-two, he 
settled in Amsterdam, where he remained till his death. 
He there 'married, June 22, 1634, Saskia Uilenburg 
a lady of good family, and possessed of some fortune. 
She died in 1642 ; at a later period of his life he married 
again; in what year is uncertain. In 1653 Rembrandt 
incurred considerable debts; his difficulties went on in- 
creasing, and in 1656 he was publicly declared insolvent. 
This disaster has been commonly explained by the 
impoverished condition of Holland — the consequence 
of more than one war — at the period referred to, when, 
as some writers state, upwards of two thousand houaes 



tema embodied in a discourse the result of his laborious researches. That 
discomrse was shortly afterwards published {Ridevoering over het Zeven en tie 
VerdiensteH van, Membrand van Ryn, Amsterdam, 1853), and was eomnocoted 
on in some of the leading European periodicals connected with art. It was 
not, however, till 1859 that the pamphlet was translated into French, with an 
introduction and notes by W. Burger, a name well known by many Taluable 
works on the Galleries of Europe. The dates and other circumstances in liie 
above short account of Bembrandt are in accordance with the well authenticated 
statements of Scheltema : a few only of his conclusions being modified by the 
^observations of his accurate editor. Burger. See Rembrandt, Discours sur sa 
Vie et son Ginie par le Dr. P. Scheltema. Traduitpar A. Willems. Revu et 
annot^ par W. Burger, Bruxelles, 1859. 

* The name of B^brandt's father was Hermann GeTritszoon (son of Gerrit) 
van Byn ; that of his grandfather being Gerrit Boelo&zoon (son of Roelof) 
van Byn. The name of Gerrit seems to have been erroneously transfer!^ by 
some writers to the great painter himself. A half length portrait by Bembrandt 
of Dr. Matthys Ealkoen, dated 1632, has the inscription Et. H. (Bembrandt 
Hermanszoon) van Byn. See a note by Burger in the translation of 8cheltema*s 
pam^et, above quoted, p. 73. See also the monograms in Immerze^, De 
Jj&xm enWerken der Holiand^che en Vlaameehe KunUechUders^ &e., 1842. ft 
may be observed that the form Rembrand adopted by some writers, Hiougli 
pouAtiLj more eorreet, ici nott warranted by the artisfs rigoatores. 

t Criers, Desariptum de la VtUe de Leyden, and other contemporary writers 
gtva 1^06 aa the date. 



BEIfBRANiyT. 187 

ill Amsterdam were tmtenanted, and distress was general. 
Rembrandt's embarassments are, however^ partly to be 
accounted for by the fact^ that in his passion for collecting 
works of art he was sometimes utterly regardless of their 
cost.* This^ at the same time, is in itself a sufficient answer 
to the absurd but often repeated stories, respecting his 
supposed miserly habits. His misfortune appears to have 
had no effect on his professional energies, his works produced 
during and immediately after the period when it occurred 
exhibit all his wonted poweraf 

The earliest pictures by Rembrandt, with dates, aie^ the 
'^ Presentation in the Temple/' in the Qallery in the Hague, 
and a portrait of a young man, contributed from the royal 
collection at Windsor, to the Manchester Exhibition, both 
are dated 16314 The ^'Anatomical Lecture/^ painted in 
1632, is also at the Hague. Of his maturer time, the 
" Night Watch,'' as it is called, now in the gallery at Amster- 
dam, dated 1642, is regarded as the prominent example ; 
while the portraits of the " Sjmdics,'' in the same gallery, 
painted in 1661, is sometimes selected as the type of Us 



* Instances of the large prices he sometimes paid for sach works are not 
wanting. See Waagen, Handbook of Baintmg, the German, Flemuk, and 
]>midi schools i Londom, Murray, 1860; Fart ii. p. 338. 

One of the liabilities which must have pressed heavily on Rembrandt is not 
to be OTerk)ok«d. By the will of his first wife, the bulk of her fortone was 
bequeathed to Itembrandt during his life, or till his second marriage, and then 
to their only surviving son Titus. Scheltema, after speaking of the debts 
above Tefen^d to, connects Kembrandfs actual insolvency wiHi his second 
mairiage, which involved the necessity of paying his son Titos the *iM<HMit 
of Saskia's bequest. As already shown, the great painter's embarrassed cir- 
cmnstances may perhaps be traced to otiier sufficient causes, and tiie date of his 
second marriage is uncertain. The sale of his property and valuable collection 
of works of art, including numerous pictures by various masters, and more 
than sixty by his own himd, besides his drawings and etchings, produced, in 
consequence of the depressed state of the coutry, less than 5,000 gmlden. The 
inventory of his collection, first published in English by G. J. Nieuwenhuys, in 
his instructive work, A Review of the Lives and Works o/ some of the most emi- 
nent PainterSf London, 1834, shows that however decided Rembrandt's own 
taste and practice were, he was capable, as a collector, of taking an interest in 
fine examples of his art of whatever school. Waagen, Handbook &c., Part 
ii. p. 338. 

f Josi, in his Beredeneerde Catalogus der Werken van Rembrandt van Rhyn 
en van Zyne LeerUngen en Navofgeren, jr^., Amsterdam, 1810, preface p. 11^ 
indicates the fine etcnlngs executed in ^e year of Rembrandfs disaster. 

% Among the fiic- similes of monograms before referred to in Iimnerzeers 
DictionaTy, ttie date 1630 occurs, followed in one instance by the word piuxit, 
but without reference to any particular work. In Kugler's Hundbuch der 
Kunstgetchichte, 1861, vol. ii. p. 468, note, a picture by Rembrandt is men- 
tioned with the date 1627. 



188 BEMBBANDT. 

later manner. The last work of the artist is supposed to 
be the ** Betrothed Jewess/' in the Van der Hoop gallery 
at Amsterdam ; the date now effaced, is believed to have 
been 1669 .♦ 

Rembrandt was equally distinguished as an etcher and 
a painter. " He was/' says Fuseli, " a genius of the first 
class, in whatever relates not to form. In spite of the 
most portentous deformity, and without considering the- 
spell o^ his chiaroscuro, such were his powers of nature, 
such the grandeur, pathos, or simplicity of his composition, 
from the most elevated or extensive arrangement to the 
meanest or most homely, that the best cultivated eye, the 
purest sensibility, and the most refined taste^ dwell on them 

equally enthralled."t 

Rembrandt died at Amsterdam in 1669, and was buried 
there (in the Wester Kerk) on the 8th of October of that 
year.f He had two children by his first wife ; one of them 
died young ; the other, Titus, was brought up as a painter, 
but he possessed little ability and died before his father. 
The name of Rembrandt's second wife has not been pre- 
served ; of two children by her nothing is known, except^ 
that they survived him. Among his numerous scholars, 
Gerbrand Van den Eeckhout was his best imitator in 
Biblical subjects; Ferdinand Bol and Go vert Flinck were his 
rivals in portraiture ; and Bernard Fabritius sometimesclosely 
followed the bolder manner of the master.§ Rembrandt's 
pictures are numerous ; his etchings, which amount to 
nearly four hundred, are dated from 1628 to 1661. J 



♦ Burger, Musies de la HoUande, Paris 1860, p. ii. 

t Lecture IL 

± The original entry is " Deynsdach^ 8 October 1669. Rembrandt van Bijn, 
Scnilder, op de Hoosegraft^ teghenover het Dooihof. Laet na 2 Kynders.^* That is, 
Tuesday, 8th Oct., 1669, Rembrandt van Rhyn, Painter, on the Hosecanal oppo- 
site the Labyrinth. Leaves behind two children. Scheltema, Bedevoeringy ^c, 
p. 86. 

§ Burger, Musses de la HoUande^ ii. p. 170. 

il Bart8ch'8p«m^re^Crra&eur,Smith*s Catalogue Raiaonne of Hie Works of Dukh 
and Flemish Painters, Rathgeber's Annalen der Niederlandischen Mcderei, ^c, 
and Nagler's Kiinstler-Lexicon, contain more or less complete lists of the 
works of Rembrandt. Jn addition to the writers already referred to, the 
following may be consulted. Van Eynden en Van der Willigen, Geschiedtm 
der Vaderlandtche Schilderkunst, &c. 1842 ; Lnmerzeel Aanteekeningen op de 
Lofrede op Rembrandt, 1841 ; Burnet, Rembrandt and his Works, 1848. See 
also the list of authorities quoted by Waagen, Handbook, &c., 1860, Par(; ii 
p. 336, note. 






REMBRiNDT. 189 

No. 43. Christ taken down from the Cross. The 
dead Christ is on the knees of the Yirgin, who is sinking 
bade in a swoon : to the left is Joseph of Arimathea, and 
beyond him are the three crosses, two bearing the thieves 
who were crucified with Christ. In the back-ground is a 
view of Jerusalem. A sketch in light and shade ; numerous 
small figures. 

£tched by Rembrandt himself; engraved by Picart; by 
J. B. Jackson ; by J. Burnet, for the Associated Engravers ; and 
by Freeman, in Joneses National Gallery* On wood, 13 in. A. 
by 1 1 in. w. 

Formerly in the Collection of M. J. De Barry, at Amsterdam, 
subsequently in the possession of Sir Joshua Eeynolds ; at the 
sale of whose effects in 1795, it was purchased by Sir George 
Beaumont, and by him presented to the nation in 1826. There is 
an original drawing by Rembrandt of this composition in the 
British Museum. 

No. 45. The Woman taken in Adultery. The woman, 
surrounded by her accusers, is kneeling before Christ, on the 
floor of the temple, at the foot of a broad flight of steps 
which lead to the great altar. The principal light of the 
picture is concentrated around the figure of the woman ; 
the rest of the picture, except immediately before the altar, 
is enveloped in deep obscurity. See John, ch. viii. 

Engraved by G. H. Phillips ; by J. Burnet ; and by W. T, Fry, 
in Jones's National Gallery, On wood, 2 ft. 9 in. h, by 2 ft. 
3 in. w. 

This picture was painted for Jan Six, Heer van Vromade, 
the well-known patron of Rembrandt, and came afterwards into 
the possession of the Burgomaster, Willem Six. It was sold by 
auction by the descendants of the Burgomaster in 1734, and passed 
eventually into the possession of Mr. Angerstein, with the rest of 
whose collection it was purchased for the nation, in 1824. Signed 
and dated — 




orancft"^' fO< 



em oran 




ff 



No. 47. The Adoration of the Shepherds. The scene 
is a dark stable, or cattle-shed ; the illumination of the 
picture proceeding, almost entirely, as in the " Notte"' of 
Correggio, from the Infant Saviour. The eflfect of this 
supernatural light is much enhanced by the comparative 
fiiintness of the rays from the lantern in the hands of one of 
the shepherds, and the principal gi'oup is forcibly relieved 



1 90 REMBRAif BT. 

by the deep shadow of the kneeUBg figure m the fcre- 
groiind ; a second group is just entering the shed on the 
light; the remotest figure bearing another lanfcern. Com- 
positiou of eleven principal figures. 

Engraved by S. Bernard ; by R. W. Sievier ; by J. Bnmet, for 
the Associated Engravers; and by H. C. Shenton, for Jones's 
National Gallery, On canvas, 2 ft. 1 in. A. by 1 ft. 10 in. w. 

Formerly in the Angerstein collection^ with which it was pur- 
chased for the nation, in 1824* Signed — 

No. 51. Portrait of a Jew Merchant, seated, resting 
his hands upon a stick; on his head is a turbSn. Half-length, 
of the natural size. 

Engraved by J. Barnet, for the Associated Engravers; bj 
G. Shenton ; by J. Rogers, for Jones's National Gallery ; and 
printed in colours in the Supplement to the Pictorial Gallery of 
Arts, On canvas, 4 ft. 5 in. h, by 3 ft. 5 in. w. 

Presented to the nation, in 1826, by Sir George Beaumont, 
Bart. 

No. 54. A Woman Bathing. A woman, holding up her 
dress, is standing in a brook or pool of clear water ; part 
of her clothes are lying on the bank behind her. 

Engraved by P* Lightfoot, for Jones's National Gallery, On 
wood, 2 ft. h, by 1 ft. 6^ in. w. Signed Rembrandt/, 1654. 

It was formerly in the collection of Lord Gwydyr, at the sale 
of whose pictures it passed into the possession of the Rev. 
W. H. Garr, by whom it was bequeathed to the National Gallery, 
in 1881. Signed— 

No. 7£. Landscape, with figures representing the stoiy 
of Tobias and the Angel.* The two figures which give a 
title to this landscape are near the middle of the picture, at 
the edge of the river (the Euphrates) ; in the middle-ground 
to the right is a dark dump of foliage, behind which are 
light clouds; some hilly broken ground occupies the left 
of the picture. 



* See No. 48, p. 77. 



REMBBANDT. 191 

Engraved by J. Appleton for Jones's National CktlUry, On 
wood, 1 ft. 10 in. h. by 2 ft. 10 in. w. 

Bequeathed to the National Gallery by the Rev. W. H. Carr, 
in 1831. 

No. 166. Portrait of a Capuchin Friar. Bust, life-size. 

On canvas, 2 ft. lOJ in. A. by 2 ft, 1^ in. w. 
Presented to the mtional Gallery by the Duke of Northumber- 
land in 1838. 

No. 190. A Jewish Bjlbbl Bust^ life-size. 

On canvas, 2 ft 6 in. h. by 2 ft. 9 in. w. 

Formerly in the possession of the Duke of Argyll, and subse- 
quently in Mr. Harmans's collection, at the sale of whose pictures 
in 1844, it was bought by Mr. Farrer, of whom it was purchased 
for the National Gallery. 

No. 221. The Painter's own Portrait, at an advanced 
age. He is iiPa brown cloak, with a. brown cap on his 
head ; his hands are clasped. Bust. 

On canvas, 2 ft. 9 in. A. by 2 ft. 3i in. w. 

Purchased for the National Gallery at the sale of the collec- 
tion of Viscount Midleton, Pepper-harrow, in 1851. 

No. 237. Portrait of a Woman. In a high dark dress, 
a white bodice underneath, long pearl ear-rings ; her hands 
crossed, resting on a book ; in her right a white hankerchief. 
life-size, short half-length. 

On canvas, 2 ft. 2^ in. h. by 1 ft. 11^ in. w. 

This picture is signed " Bembrandt,/, 1666,*' and is accord- 
ingly one of the latest of the painter's works. Bequeathed to 
the National Gallery by Lord Colborne, in 1854. 




^"-lUb 






No. 243. A Man's Portrait. A stout elderly man, 
with gray hair and a red cap on hia head, seated at a table ; 
his hands clasped before him. Half-length, lifensiiae. 



192 REMBEAKDT. 

On canvas, 3 ft. 3 in. /i. hj 2 ft. 8| w. 

Signed and dated 1659. Bequeathed to the National Gallery by 
Lord Colborne» in 1854. 



a 




enm ra h 





No. 289. The Amsterdam Musketehis, commonly 
called the Night Watch, The picture represents an in- 
terior with a company of the Burgher guard of Amsterdam 
apparently just returned from a shooting match. One of 
the company, in the background, has created some alarm 
by discharging his piece in the hall. The principal figures 
are all portraits:* the two last to the spectator's left are 
not now in the large picture at Amsterdam, but they are 
in the print of it by Frey. 

On wood, 2 ft. 2 in. h, by 2 ft. 9 in. w. 

This is a small copy of the large picture of this subject iu 
the museum at Amsterdam, though it differs from it in some 
slight details. That picture has become so exceedingly dark 
and obscured through time, that, although it represents a 
daylight scene, it has acquired the popular designation of the 
Night Watch, This example was formerly in the collection of 
Bandon de Boisset, from which, in 1777, it passed into that of 
M. Lafitte, the banker in Paris. It was subsequently imported 
into this country, and purchased by Mr. Gillow. It was be- 
queathed to the nation as a work of Eembrandt, by the Rev. 
Thomas Halford, in 1857. 

No. 672. His own Portbait when aged about 32, 
the picture is signed and dated.-f" He is dressed in a dark 
cap and over-coat, the ' latter edged with fur on the 



♦ On the back of the picture is pasted a list of the persons represented, 'with 
their names in full, said to be written by the hand of Van Coppenol, the writing 
master and friend of Rembrandt The following are the names of the officers : 
— ^Frans Banning Cock, captain; Willem Tan Ruytenburg, lieutenants Jan 
Visscher, ensign; Rombout Kempen and Reynier Engel, «fr^rea»te/ and Jan 
van Eampoort, drummer. 

f The word conterfeyct is an old Dutch term for portrait ; it wa« used also 
by the Germans. Sandrart calls a portrait a contrafaet. 



ROMANINO. 193 

shoulders, and is resting on his right arm, looking at the 
spectator. Half-length, three-quarter face, life-size. 

On eanvas, 3 ft. 3 in. A. by 2 ft. 7^ in. tr. 
Formerly in the collection of General Dupont, at Paris ; pur- 
chased from his heirs, MM. De Bichemont, in 1861. 

uimdrcmd^i /^4-o 



KOMANINO. 

GiROLAMO ifoMANX, called II Romanino, was born at 
Brescia about 1480, and was the scholar of Stefano Eizzi ; 
he was an established painter in 1502, and was still painting 
in Brescia in June 1541. The first date is found on the 
frame of an altar-piece by him in San Francesco, one of the 
painter s masterpieces ; the second is the date of a payment 
for painting the organ doors of the cathedral at Brescia. 
Bomanino appears to have been an imitator of Giorgione and 
Titian in his more mature worksj as in the example in this 
collection, one of his most celebrated productions. He was 
the contemporary and rival of Moretto in Brescia, and is 
considered superior to that painter in some respects, though 
inferior to him in the choice and finish of his forms. He 
died at an advanced age, about 1560. An " Ecce Homo " by 
him in the cathedral at Cremona is signed HiER. RuMAN. 
Brix.,* that is, Hieronymus Rumanua Brixianus, 

No. 297. The Nativity. In the centre the Virgin and 
St. Joseph, adoring the infant Christ, with a choir of angels 
above ; on the sides, in separate compartments, St. Filippo 
Benizio above,* and St. Alessandro in armour on the left, 
below ; on the right, St. Gaudioso, bishop of Brescia, above, 
and St. Jerome in the desert, below.f Figures nearly life- 
size. 



♦ Ridolfi, Le Maraviglie delV Arte, Sfc. ; Brognoli, Nuova Guida per la CittH 
di Brescia, pp. 160, 299. 

t Chizzola, Piiture e Sculture di Brescia, SfC, 1760, p. 120 ; Brognoli, 
Nuova Guida, (fc, p. 201, expressly notices the figure of St Alessandro as 
6nc of Bomanino's capital works, capi dopera. 



N 



I8i RO&UNO. OXULIO. 

On wood, the central picture, 8 ft. 7 in* h. by 3 ft. 9i jn. w. j 
the upper side compartments, 2 ft. 5 J in. k. hj 2 ft. 1 J in. w. ; 
the lowet compartments, 5 ft. 8 in. A. by 2 ft. 1 J in. tv. 

Fainted in 1525,* for the high altar of the church of Sant' 
Ala^simdro at Brescia, where it remained until 1785, when it 
passed into the possession of Count Avveroldu Purchased at 
Brescia from the Counts Angelo and Ettore Avveroldi in 1857. 



Sf^^%^^^-\. \^\j'Ky\ v/ vx/*/^/^/"'-^^-'^.^^ >./ /■• ^ \y 



ROMA'NO, GIU^UO. 

Grajjo Peppi, or rather de' Giannuzzi,! pommoQlj palled 
Giulio Romano, was bom at Rpme in 1492, ai^cording to 
Vasari, but according to a document discovered at Mantua, 
in 1498. He became early the pupil of Raphael, who 
employed him on some important works in the Vatican, 
during the pontificate of Leo X. After the death of Raphfi^el 
in 1520, Giulio and his fellow-pupil, Gianfrancesco Penni, 
to whom Raphael had bequeathed conjointly his implements 
and works of art, were entrusted with the completion of 
the jfrescoes of the Sala di Costantino, in the Vatican, com- 
prising the " Battle of Constantine,'^ the " Apparition of the^ 
Cross," the " Baptism of Constantine/' and the " Presentsr 
tion of Rome to the Pope.'' 

These works were comj^eted in 1623, and in the lattey 
part of the following year} Giulio Romano entered the 
service of Federigo Gonzaga, Duke of Mantua. He intro- 
duced the style of Raphael into Mantua, and established ^ 
considerable school of art there: Primaticcio was one of 
hig pupils. His greatest works are the "Fall of the Gi^ts,'' 
the " Story of Cupid and Psyche,'' and the other frescoes in 
the Palazzo del Tfe, at Mantua ;§ the palace itself was 
rebuilt by Giulio. The frescoes, however, appear to have 
been executed chiefly by his pupils from his cartoons : of 
these pupils, the principal T^ere Benedetto Pagni, Binaldo 



* Cozzando, Istorta Brescianay 1694, p. 120. 

t Giulio's fiither was Pietro Pippi de* Giannuzzi, which in ftill is Pietro 
di Pippo (or Pilippo) de' Giannuzzi — Peter the son of Philip GiaimuzzL It 
was Tery common in former times for a son to add his fether's Christian name 
to his own, as in this case, and thus the surname was often lost Carlo D'Awo, 
Istoria delta Vita e delle Opere di Giulio Pippi Romano. Folio. Maotua, 1838. 
And Kunstblatt^ No. 31, 1847. 

X Gaye, Carteggio Inedito d^Artisti, ii. 102. 

§ Bottani, Descrizione Storica delle Pitture del Begio-JDucale Palazzo dd 7^, 
fuori deOa Porta di Mantova detto Pusterla. Mantua, 1788. Some of these 
frescoes are engraved by P. S. Bartoli ; by Diana Ghisi ; by Antonio Veneziano ; 
and in Carlo d'Arco's Vita di Giulio Bomano* 



BOMANO, GIULIO. 195 

MaatuanO; a^d Frimatiiocio, who remainad with Giulio 
Bomano six years. 

Giulio Bomano was not leas distinguished as a painter in 
oil colours than as a fresco painter, ^nd he wqs equally cele- 
brated as architect and painter. Among his most celebrated 
oil-pictures may be mentioned, the Martyrdom of St. Stephen, 
in the church of that saiat at Genoa ; and a domestic " Holy 
Family,^' known as " La Sainte Famille au Basin,^' in the 
gallery at Dresden, Qiulio is generally considered to have 
been the most able of Baphael's scholars. He died at 
Mantua^ November 1, 1546, leaving a wife and two qhil- 
dreiL His son Baphael di^d young; his daughter Yirginia 
was married to Ercole Malatesta, and survived her father 
many years.* 



No. ZZ9m The Beatific Vision of the Magdalen]^. 
Mary Magdalene borne upwards by angels to witness the joys 
of the bjessed ; in accordance with the legend from which 
painters of various schools have borrowed subjects relating 
to her supposed history.f Seven figures. 

Fresco, of semicircular form, & ft. 6 in. k. by 7 ffc. 8 in. w. 

Formerly in the church of the Trinitk de*Monti, Borne, Acf 
cording to Titi,:^ Giulio Bomano was aided by Gianfrance^co 
Penni in the frescoes he executed in this church. Formerly in 
the possession of M. Joly de Bammeville. Presented to the National 
Gallery, by Lord Overstone, in 1852. 

No. 624. The Infancy of Jupiter. A cradle con- 
taining a sleeping infant attended by three women, on a 
small verdant island, on the further side of which are two 



* Vasari, Vite de' Pittori, j-c. 

In the Archiyio della Sanita of Mantua is the following entry against Nov. 1, 
i646i — ** Sig. Giulio Bomano, Superintendent of all the ducal buildings, after 
fifteen days* illness, died of fever, aged forty-seven." According to which, he 
was bom in 1498 or 1499 ; but in this case he must have been but a boy when 
he was first employed by Raphael in the Vatican. See Gaye, Carteggio Inedtto 
d^ArttsHy and the Kunstblatty No. 71, 1888, and No. 31, 1847. 

f ** Every day during the last years of her penance, the augpls came down 
from heaven and carried her up in their arms into regions where she behejd 
the glcwry and the joy prepared for the sinner that repenteth." Proven98l 
legeiid, quoted by 1^. Jameson, Sacred and Legendary Art, vol. L p. 337. 
3ee also Peter de NataUbus, L. vi. c. cxxiiii, Por a list of painters who have 
treated this sulgect see the first-mentioned work, p. 364, &c. Tins subject is 
W>metimes called the Assumption of the Magdalene ; but " The Assumption " 
is strictly appropriated to the subject of the Madonna taken up to heaven. 
The Magdalene, according to the legend, was favoured with visions of heaven 
while in the body : the Assumption of the Virgin took place according to the 
same authority after her burial. 

J Nuovo Studio di Pitktra^ Scoliura, ed Architettura, nelle Chiese di Roma, 5*c. 

N 2 



196 ROSA. 

groups of figures playing musical instruments. The land- 
scape is possibly by Giambattista Dossi. 

This is an illustration of the classic myth relating to the 
infancy of Jupiter, the youngest son of Saturn and Ehea ; 
he was bom in Crete and secreted by his mother, and 
nmised by the Melian nymphs to save him from his father, 
who used to devour his sons as soon as they were born, 
from the fear of the fulfilment of the prophecy that one of 
them would dethrone him, as he had dethroned his father. 
The figures in the background are the Curetes, making a 
noise with horns and by the clashing of cymbals, lest Saturn 
should hear the cries of the infant, and thus discover the 
trick that had been imposed upon him ; he had swallowed 
a stone instead of the young Jupiter. 

Engraved by J. B. Patas for the Orleans Gallery. On wood, 
3 ft 5^ in. h, by 5 ft. 9 in. to. 

Formerly in the Orleans Gallery, subsequently in that of Lord 
North wick at Cheltenham, from which it was purchased in 1859. 

No. 643. The Capture of Carthagena; and the 
Continence of Publius Cornelius Scipio. New Carthage 
was taken by Scipio in 21JD, and he distinguished himself 
by the generosity with which he treated the Spanish 
hostages kept there by the Carthaginians. 

Engraved by Nicolas Tardieu, and by Couche and Michel. 

No. 644. The Abduction of the Sabine Women; 

AND THE KeCONCILIATION BETWEEN THE ROMANS AND THE 

Sabines. See No. 38. 

Engraved by Philippe Simoneau, and by Couche fils, and J. B. 
Racine. 

On canvas from wood, each picture 14 in. h. by 5 ft. to. 

Formerly in the Orleans Collection. Purchased at Paris from 
Mr. Edmond Beaucousin, in 1860. 



WI»»M>»l»«»«W>«>«>#.WI.«WWM W .WMI*ll«mO«»*<^WW*W<W>» 



ROSA. 

Salvator Rosa was bom at Renella, in the neighbourhood 
of Naples, July 21,1615. He adopted painting contrary to the 
desires of his father, who was an architect; his first instructor 
in the art wliicli he preferred was Ciccio Fracanzano, a rela- 
tion. Salvator's favourite subjects were landscapes, selected 
chiefly from wild and romantic scenery; and he was so much 
encouraged by Lanfranco, who purchased some of his pictures 
at Naples, that he was induced, in 1635, to try his fortunes 
in Rome. Here he found a patron in the Neapolitan Cardinal 



BOBA. 197 

Brancaocii bishop of Yiterbo. Salvator accompanied the 
Cardinal to Viterbo, and painted several pictures for liim 
there. He returned to Naples, but owing to the great 
applause with which his picture of "Tityus torn by the 
Vulture^' was received by the connoisseurs of Rome, he 
finally settled in that capital of the arts in 1638. He died at 
Rome, March 15, 1673 : his wife and one of two sons survived 
him. " What is most to be admired in the works of Salvator 
Rosa," says Sir Joshua Reynolds, "is the perfect correspon- 
dence which he observed between the subjects which he 
chose and liis manner of treating them. Everything is of 
a piece: his rocks, trees, sky, even to his handling, have the 
same rude and wild character which animates his figures."* 
The energetic language of Fuseli is well suited to the 
character of Salvator's landscapes. "He delights," says 
that writer, " in ideas of desolation, solitude, and danger ; 
impenetrable forests, rocky or storm-lashed shores ; in lonely 
dells leading to dens and caverns of banditti, alpine ridges, 
trees blasted by lightning or sapped by time, or strei^ing 
their extravagant arms athwart a murky sky, lowering 
or thundering clouds, and suns shorn of their beams. His 
figures are wandering shepherds, forlorn travellers, wrecked 
mariners, banditti lurking for their prey or dividing their 
spoils."! Many of Salvator s best pictures are in this 
country. He executed several etchings.^ 



No. 84. Landscape, wtth Mercubt and the dishonest 
Woodman, firom the fbble of ^Esop. Mercury stands in a 
stream§ in the fore-ground, which is shaded by a dark cluster 



* Discourse V. There are many accounts of Salvator which contain much 
that is hnprobable and fictitious: the whole has been collected and dwelt upon 
at length, by Lady Morgan, in her well-known romance, called " The Life of 
Salvator Eosa." In the above brief notice the account of Salvator's friend 
Fasseri has been followed, Vite de* Piitoriy ^c. See also Salvini, Satire e 
Vita di Salvator Bosa, (fc, 8vo., Flor. 1833. 

f iVbte in PilkingtorCs Dictionary of Painters, 1810. 

X See Bartsch, Peintre-Graveur, 

§ A woodman lost his axe in a stream sacred to Mercury, and while he was 
weeping on the ban^, the god appeared with a golden axe in lus hand, and asked 
him whether it was the one he had lost? " No," said the woodman ; on his dis- 
claiming also a sil^icer one. Mercury at last produced his own, and presented him 
with the other two for his honesty. A fellow-labourer hearing the storj' from the 
woodman, threw his own axe into the water, hoping for the same good fortune 
as his companion ; but having claimed the gold^ axe immediately on seeing it, 
the god rebuked him for his impudence, and left him unaided, to repent of his 
Iblly. 



198 RO*fititi. 

of overhanging trees to the right : an open hilly cOuatry is 
seen on the left. 

Engraved by P. Parboni. On canvas, 4 ft. 1^ in. A. by 6 ft- 
7^ in, w. 

Formerlj in the Colonna Palace at Borne, and brought to Eng- 
land at the close of the last century by Mr. Ottley, who sold it to 
Sir Mark Sykes. It came subsequently into the possession of 
Mr. Byng, of whom it was pnrchased for the National Galley, 
in 1B87. 



<IW«W»l»IWI»>»»^»«1«imWMl8lW>m*W»»W»<M»»««WM 



ROSSELLI. 

CosiMO, the son of Lorenzo Rosselli, a Florentine mason, 
was born at Florence in 1439 ; * he was taught painting 
by Neri di Bicci, under whose charge he was placed when 
14 years of age; he remained with him three years, until 
1456. 

Cosimo early distinguished himself by some works for 
the church of Sant' Ambrogio at Florence, especially in a 
firescOj still in good preservation, representing the " Removal 
of a miracle-working Chalice from the Church to the 
Episcopal Palace," in which are introduced a religious 
procession and a crowd of spectators.^ He was one of 
those invited, about 1480, by Pope Sixtus IV. to decorate 
his new chapel in the Vatican — the now celebrated Sistine 
ChapeLJ The Pope had oflTered a prize to the most buc- 
cess&l, and Vasari relates that Cosimo Rosselli, conscious of 
his inability to rival his more able competitors, among 
whom were Domenico Ghirlandajo, Luca SignoreUi, and 
Pietro Perugino, and being equally doubtful of the judg- 
ment of the Pope, loaded his figures with ultramarine 
and gold, by which artifice he gained the Pope's admiration 
and obtained the prize. These frescoes, representing 
scjenes from the Old and New Testaments, are still pre- 
served.§ 

Rumohr observes that Cosimo in the commencement of 
his career followed the paths which were opened out by 
Fra Giovanni da Fiesole and Masacdo, but that after a few 



♦ Gaye, Carteggio Inedito (TArtisd, 11. 467, note. 

t Described by Richa, Chieae diFirenze, yoL ii., p. 244, engraved by Xjasmio 
and in part in tbe Etruria Pittrice of LastrL 

% See tbe article on Botticelli in tbis catalogue. 

§ Vasari, Fete, jfc, Ed. Le Monnier, vol. v., p. 30. Platner and Bonsen, 
Beschreihung der Stadt Rom.y vol. ii. pt. 1. 



ROTTENHAMMEK. l9& 

brilliani examples of his ability he forsook the study of 
those masters and of nature, to follow a lifeless and 
repulsive mannerism.* 

Cosimo RosselK was still living in November 1506. He 
was the master of Fra Bartolomeo ; and the eccentric Piero 
di Cosimo was his constant assistant. 



No. 2A7. St. Jebome in the Desert kneeling before 
A Crucifix, in a distinct compartment of the picture; 
standing at the mdes, on the spectator's left, are Saints 
Damasus and Eusebius, on the right Saints Paola and her 
daughter Eustochia ; kneeling below are Girolamo Rucellai 
and his son ; a.nd on each side above are three angels. In 
the predella beneath the principal pictures are, in four 
compartments, incidents from the lives of the saints repre- 
sented above, who were the contemporaries of St. Jerome, 
with the arms of the Rucellai at each end. On a plinth 
below the central compartment is inscribed — S. Dammasus, 
S. EusEBitJS, S. JERONiMtJS, S. Paula, S. Eustocium. — 
Five principal figures, half-life scale. 

in tempera, on wood ; the principal picture 5 ft. h, by 5 ft. 8 in. 
tfi. ; the predella 6J in. h. by 7 ft. 4 in. it. It is in its original 
&ama 

Formerly an altar-piece in the Ruccellai chapel in the church 
of the Fremiti di San Girolamo at Fiesole. This order was 
suppressed by Clement IX. in 1668 : the church and convent are 
now within the precincts of the ViUa Bicasoli. In the Fiesole 
Guide this picture is described as being ^^ di buona anUca 
numieraJ* t It was purchased for the national collection of the 
Conte Bicasoli at Florence in 1855. 



W»<MWi«m»^«i<»»MI« MMWXWWOOOI K WIIM X WMXIWOIW 



ROTTENHAMMER 

JOHANN RoTTENHAMMER was bom at Munich in 1564, 
and was the pupil of an obscure painter of the name of 
Donauer ; he studied also in Rome, and in Venice, where 
he executed two large altar-pieces, imitating Tintoretto, 
then still living, Jan Breughel and Paul Brill frequently 
painted the landscapes of his pictures. Rottenhammer 
lived llbtt^rly at Augsburg, and died there in 1623. 

* ItaiUBniaohe Forschungen^ ii. 265. 

f MoreBi, Notizie Istoriche dei contomi di Fvrenze, Flor. 1792, pt iii. 
p. 153: Can. A. M. Bandmi, LeUere xii, nelle quaU si ricerca e s'iUustra^anHca 
e modema situazione delta citta di Fiesole, jfc. Siena, 1800, p. 139. 

Del Bcigtfo, Guida di Pieaole, 1846, p. 58. 



I 



200 RUBBK8. 

He was much patronized by the Emperor Rudolph II., and 
made a considerable fortune, but squandered it away, and 
died poor. His small. pictures are the mast appreciated of 
his works ; tiiey are generally executed on copper.* 



No. 659. Pan and Syrinx. The nymph Syrinx, one 
of the naiads, is pursued by Pan, and takes refuge among 
some bulrushes ; the god thinking to grasp the nymph finds 
only reeds in his hands, these he constructed into a rude 
instrument, hence the name of Syrinx given to the Pan- 
pipes. 

On copper, 9J in. A. by 7-^ in. w. 

The background of this picture appears to be by the hand of 
Jan or Velvet Breughel, of Antwerp (1568 — 1625). Purchased 
at Paris from M. Edmond Beaucousin, in 1860. 



RUBENS. 

Peter Paul Rubens was bom at Siegen, in Westphalia, 
on the day of St. Peter and St. Paul, June 29, 1677. His 
parents, John Rubens and Mary Pypeling, were natives of 
Antwerp, but they had emigrated in 1568 on account of 
the religious disturbances which prevailed in the Nether- 
lands at that period. In 1578 they settled in Cologne, 
where Rubens remained imtil 1 587, when his father died, 
and his mother returned with her fiunily to Antwerp. 

Rubens was destined by his mother to follow the law, the 
profession of his father ; but he had such a decided taste for 
the fine arts that he persuaded her to allow him to be a painter. 
Accordingly, after he had received some instruction from 
Tobias Verhaagt and AdamVanNoort,he was placed with Otto 
Van Veen (Otho Venius), the most celebrated painter of his 
time at Antwerp. After studying for four years with Van 
Veen he went in the spring of 1600 to Italy; there he 
entered the service of ViQcenzio Gonzaga, Duke of Mantua^ 
but much of his time was spent at Venice and Rome, where 
he copied several pictures for the Duke. In 1606 he was sent 
on a mission by the Duke to Philip III. of Spain, and while at 
Madrid he painted several portraits of the Spanish nobility. 
Rubens returned to Antwerp, from Genoa, in the autumn of 

"* Nagler, Kunstkr Lexicon ; Sandrart, Accademia Todesca, &c. 



BUBBN8. 201 

1608, after an absence from home of eight years and a half. 
His return home was hastened by the iUness of his mother, 
but he did not. arrive until after her death. 

It was the intention of Rubens to return to Mantua, but 
he was induced to remain in Antwerp by the Archduke 
Albert, then Governor of the Netherlands; and he was 
appointed court painter to Albert and Isabella in 1609. In 
October of that year he married his first wife, Isabella Brant; 
and in 1 610 he built himself a magnificent house at Antwerp. 
In 1620 he visited Paris by the invitation of Maria de' 
Medici, and there received the commission for his celebrated 
series* of pictures for the new palace of the Luxembourg, 
commemorating the marriage of that princess with Henry IV. 
of France: the pictures were completed in 1625. In 1628 
Eubens was sent by the Infanta Isabella, widow of the Arch- 
duke Albert, on a diplomatic mission to- Philip IV. of Spain: 
and in the following year he was sent on a similar mission 
to Charles I. of England, by whom he was knighted in 1630. 
He was knighted in the same year by Philip IV. of Spain. 
In this year he married ins second wife, Helena Fourment, 
a beautiful girl, in her sixteenth year only : his first wife, by 
whom he had two sons, died in 1626. Rubens himself died, 
possessed of immense wealth, at Antwerp, on the SOth of 
May 1640, and wa« buried with extraordinary pomp in the 
church of St. Jacques. He had five children by his second wife, 
who was afterwards married to Baron J. B. Broechoven, a 
Flemish nobleman in the Spanish service in the Netherlands.! 

Rubens's pictures are extremely numerous, amounting, it 
is said, to several thousands, but many of them were painted 
from his sketches by his scholars ; of whom the most cele- 
brated are Vandyck, A Van Diepenbeck, J. Van Hoeck, 
T. Van Thulden, G. Zegers, Jordaens, Snyders, and Erasmus 
Quellinus. Rubens executed a few etchings, but there are 
altogether about 1,200 prints, engraved by various masters, 
after his works. 



* These pictures, twenty-one in number, are now in the Lonvre at Paris. 
Most of the Sketehes, which were painted by Bubens himself, are now in the 
Pinacothek at Munich. See La Gallerie du Palais du Ltixembourg, peinte par 
Muhens ; dessineS par les Sieurs Nattier et grav4e par lea plus illustres graveant 
ffc. Folio, Paris, 1710. 

f A portion only of Rubens* collections produced by private sale upwards of 
20,000/1 sterling. See the list printed by Dawson Turner. Catalogue of the 
Works of Art in the Possession of Sir P, P, Rubens^ §fc, Sva Yarmouth* 



202 RtrBfiKS, 

" Rubens/' says Sir Joshua Reynolds!,* "was, perhaps, 
the greatest master in the mechanical part of the art, the 
best workman with his tools, that evet exercised a pencif 

"This power, which Rubens possessed in the highest 
degree, enabled him to represent whatever he undertook 
better than any other painter. His animals, particularf'ly 
lions and horses, are so admirable, that it may be said they 
were never properly represented but by him. His portraits 
rank with the best works of the painters who have made 
that branch of the art the sole business of their lives ; and of 
those he has left a great variety of specimens. The same may 
be said of his landscapes.^' 

' Fuseli observes^ — " What has been said of Michael Angelo 
in FORM may be said of Rubens in colour : they had but 
one. As the one came to nature and moulded her to his 
generic form, the other came to nature and tinged her with 
lais colour— the colour of gay magnificence. ^ He levelled his 
subject to his style, but seldom, if ever, his style with tk 
subject.'' 

Rubens's masterpiece is generally considered "The Descent 
from the Cross," at Antwerp ; painted a few years after his 
return from Italy. He is stiQ seen to great advantage at 
Antwerp; but probably the best idea of his great and 
versatile powers is conveyed by the collection in the Piba- 
cothek at Munich, ia which alone are disposed 95 of his 
works, several of them his masterpieoes4 



* Journey to Flanders and Holland, — Character of Ruben*. 

t Lecture IX. 

X The accounts of Rubens, both early and recent, firom Sandmt dowliwards, 
are numerous ; among the most valuable are the following : — Lettres Inidites 
de P. P. Rubens J publUes par JBmile Gachet, Bruxefles, 1840. These lettertf 
are written chiefly in Italian, the language which Bubens seems to haye preferred 
after his residence in Italy; he generally g^ed his name Pietro Pa4)lo, — 
Historische JLevensheschrijving van P, P, Jkuhens, HtddeTf SfC, by Victor 0. van 
Grimbergen, Antwerp and Rotterdam, 1840, originally published in ^774; k 
is referred to by Immerzeel in his JLevens en Werken der HoUandsche en 
Vlaamsche Kunstschilders, §*c., Amsterdam, 1843. A biography of Rubens 
appeared also in Raumer*s HistorischesTasehenbuchf Berlin^ 1883, by Dr.W&agm; 
it was transMed into English by R. R. Noel, and edited by Mrs. Jameson, un4er 
the title Peter Paul R&ens, his Life and Genius, London, 1840. Another 
Life by M. Michiels has appeared in Paris — Bubens et VEcole d^Anvers, 8va, 
1854, and " Original unpublished Papers illustrative of the life of Sir P. 
P. Rubens, as an artist and a diplomoHst, S^e." has been lately published by 
W. Noel Saiscsburyj 8vo. Leitdon, 1859. Bir Joshua Reynolds'* Jbutne^ iff 
Flanders and Holland contains Some ei^ocllent remarks on the s^le and irorks 
of Rubens. 



RtJBEKS. 203 

No. 38. The ABbtrcrioN of the Sabine Women. A 
tumultuous throng of men and women in violent struggle. 
To the right, seated on a throne, is Romulus, directing the 
sudden assault on his unsuspecting guests, whom he had 
invited from the surrounding neighbourhood to witness some 
games in honour of the god Consus. At an appointed signal, 
during the celebration of these games, the Romans carried off 
by force all the unmarried women.* Composition of many 
small figures, some on horseback. 

Engraved by F* F. Martinasie ; by J. Stewart, for the Associated 
Engravers; and by J. Outrim, for Jones*s National Gallery. On 
i^ood, 5 ft. 7 in. h. by 7 ft, 9 in. w. 

Formerly in the posdesaion of Madame Boschaert at Antwerp ; 
it formed subsequently part of the Angerstein collection, with 
which it was purchased for the National Gallery^ in 1824. 

No. 46. Peace and Wab ; or Peace and Plenty : an 
allegory. Peace, nourishing her children from her bosom, 
is surrounded by Abundance, Wealth, and Happiness ; while 
War, with its attendants, Pestilence and Famine, are repelled 
by Wisdom. Composition of fifteen figures, of the natural 

size. 

Engraved by C. Heath; by W. Greatbach, for the Associated 
Engravers ; and by T. Garner, for Jones's National Gallery. On 
wood, 6ft. 6 in. A. by 9ft. 9 in. tr. 

Presented to Charles I. by Bubens when in England in 1680* 
After the death of Charles it passed into the possession of the 
Doria family at Genoa, where it was known as the " Family of 
Rubens."! It was purchased, in 1802, by Mr. Irvine for Mr. 
Buchanan, and subsequently obtained by the Marquis of Staflfbrd, 
first Duke of Sutherland, who presented it to the National 
Gallery, in 1828. 

No. 67. The Conteesion of^St. Bavon4 The saint, 
about to enter the monastic life, is met on the steps of the 
church of his convent by St. Amand, Bishop of Maestricht. 
On the right is the worldly retinue of the noble penitent ; 
to the left, his property is being distributed among the 
poor : in a more elevated part of the picture, on this side, 
is a group of ladies of the family of St. Bavon, returning 
thanks for the mercy accorded him by his conversion. Com- 
position of many small figures. 

Engraved by P. Lightfoot, for Jones's National Gallery, On 
wood, 3ft. 6^in. h. by 5 ft. 5|in. to. 



* See Plutarch's Life of Bomtdus. 

f Yanderdoort, A Catalogue and Description of King Chdrles the Firsfs 
C^^Hkil C^lectiim of Pictures, ^c. London^ 1757 ^aduaum, Memoirs of 
Painting^ voU li p. 108. 

X A Brabant noble of the seyenth century. Acta Sanctorum, yoL 2. 



204 RUBENS. 

Formerly in the Carrega Palace at GeDoa, from which it was 
purchased for Mr. Buchanan by Mi*. Irvine in 1805. Bequeathed 
to the National Gallery by the Rev. W. H. Carr in 1831. There 
is a large picture of this subject, by Rubens, in the Church of St. 
Bavon at Ghent. It is engraved by F. Pilsen. 

No. 59. The Brazen Serpent. 

" And the Lord sent fiery serpents among the people, and they bit the people ; 
and much people of Israel died. 

*^ And the Lord said unto Moses, Make thee a fiery serpent, and set it upon 
a pole: and it shall come to pass, that every one that is bitten, when he 
looketh upon it, shall live. And Moses made a serpent of brass, and put Itnpon 
a pole, and it came to pass, that if a serpent had bitten any man, when he 
beheld the serpent of brass, he lived." — Ntanbers xxi. 6 — 9. 

On the left are Moses and Eleazar, by the brazen serpent ; 
before them, on the right, are the Jewish people, men, 
women, and children, prostrated by the plague of serj>ents. 
Composition of many figures, of the natural size. 

Engraved by Bolswert ; by F. Ragot ; by C. G-alle ; and others. 
On canvas, 6 ft. 2 in. A. by 8 ft. 9 in. w. 

Formerly in the Marana Palace at Genoa : brought to England 
by Mr. A. Wilson in 1806. Purcliased for the National Gallery, 
of Mr. T. B. Bulkeley Owen, in 1837. There is another picture by 
Rubens of this subject in the gallery at Madrid. 

No. 66. A Landscape, Autumn, with a view of the 
Chateau de Stein, the residence of Rubens, near Meclilin. 
To the left is the chd,teau, surrounded by picturesque foliage ; 
in the fore-ground below it, a two-horse waggon, carrying a 
calf, is fording a brook. To the right is an extensive open 
country, with the view of a town in the distance : in the 
immediate fore-ground is a sportsman, with his dog and 
gun, creeping up tj) a covey of birds. The time is morning. 

Engraved by G. Cooke ; and by G. B. Allen, for Jones's iVa- 
tional Gallery. On wood, 4ft. 5 in. h, by 7ft. 9m, w. 

Formerly in the Balbi Palace at Genoa, from which it was 
purchased by Mr. Irvine for Mr. Buchanan in 1802. Presented 
to the National Gallery by Sir George Beaumont, in 1826. 

No. 67. A Holy Family, with Saint George, and other 
saints. The figures are said to be portraits of Rubens and 
his family. The group on the right, of children playing 
with the lamb, has been introduced into several designs by 
Rubens : the whole portion of this composition to the right 
of the columns was cut on a very large scale, in wood, by 
Christopher Jegher, from a drawing on the block by Rubens 
himself. Composition of nine small figures. 

Engraved by P. Lightfoot, for Jones's National Gallery, On 
canvas> 4 ft. 1 in. A. by 5 ft. 4 in. w. 

Formerly in the Angerstein collection, with which it was pur- 
chased by Parliament for the National Gallery, in 1824. 



RUBENS. A 205 



►>: 



No. 157- A Landscape ; Sunset. A flat countay, with 
the view of a farm-house, and a village chureh in the distance. 

Engraved bj Bolswert. On wood, 1 ft. 7 in. A. bj 2 ft. 9 in. to. 
Bequeathed to the National Gallery by Lord Famborough, in 
1838. 

No. 187. The Apotheosis of William the Taciturn, 
of Holland. A sketch of a picture in the possession of the 
Earl of Jersey, at Osterley Park. 

On wood, of a circular form, 2 ft 1 in. in diameter. 
Formerly in the possession of Sir David Wilkie, when it was 
known as the Apotheosis of James I. Purchased in 1843. 

No. 194. The Judgment of Paris. At the nuptials 
of Thetis and Peleus, an apple was thrown amongst the 
guests by Discord, to be given to the most beautiful : Juno, 
Minerva, and Venus, were competitors for the prize, and 
Paris, the son of Priam, was ordered by Jupiter to decide 
tlie contest. The Trojan shepherd, seated with Mercury by 
his «ide, on the right, is on the point of awarding the apple 
to Venus, who stands between her rivals; on her right is 
Juno, indicated by the peacock at her feet ; on her left is 
Minerva, whose sacred bird, the owl, is perched on a tree 
behind her; the shield and arms of the goddess are seen 
below. The decision of Paris was the cause of all the subse- 
quent misfortunes of Troy : Discord is seen already hovering 
in the clouds above, spreading fire and pestilence around. 

Engraved by J. Couche and Dambrun for the Galerie du Palais 
Roy oil. On wood, 4 ft. 9 in. h. by 6 ft. 3 in. w. 

Formerly in the Orleans collection. Purchased for the National 
Gallery, at the sale of Mr. Penrice's collectioif, in 1844. There is 
a small copy of this picture in the Louvre. 

No. 278. The Triumph of Julius C-ffiSAR. A procession ; 
to the left, dancing girls with flowers, and other figures 
leading animals for the sacrifice ; on the right elephants 
bearing fruit, and lighted candelabra ; and wild beasts for 
the shows. In the back ground a hill surmounted by a 
temple, with crowds of spectators. 

On canvas, attached to wood, 2 ft. 11^ in. h. by 5 ft. 5 in. w. 
This sketch was made from a portion of the same subject by 
Andrea Mantegna, now at Hampton Court. It was in Rubens' 
j)ossession at his death, and is thus noticed in the English cata- 
logue of his effects :* — " Three cloathes pasted up'pon bord, heinge 
the Triumph of Julius Cesar, after Andrew Mantegna^ not full 

* Privately printed by Dawson Turner, Esq. Catalogue of the Works of 
Art in the possession of Sir Peter Paul Rubens at the Time of nis .Deceuse, Sfc, 
2dEd.8vo. 183J»* 



306 RtjysDAEL. 

» ■ ■ 

made" It was si^seqiiently in tbe ^sibi Palace, fi^noai in 
1802 it was bought by Mr. Irvine, and became the property of 
Mr. Cbampernowne, from whose collection it passed to that of 
Mr. Rogers, and at the sale of his pictures in 1856 it was pur- 
chased for the National Gallery. 

No. 279. The Hoerors of War Mars leaving the 
temple of Janus open, is held back by Veniis, while Europe 
bewails the inevitable miseries of war ; but he is drawn on 
by the Fury Alecto, who is preceded by Plague and Famine: 
the figure on the ground with the broken lute represents 
Concord overthrown.* Mars and the two female figures 
behind him are said to be the portraits of Rubens and his 
two wives. A sketch. 

On paper attached to canvas, 1 ft. 7 J in. h. by 2 ft. 6|^in. w. 

This sketch of the large picture painted in 1637 for his friend 
Sustermans, and now in the Pitti Palace at Florence, was for- 
merly in the Balbi Palace at Genoa, from which it was purchased 
by Mr. Irvine in 1803 ; it was subsequently in the collection of 
Mr. Champernowne, from which it passed to that of Mr. Rogers, 
and at the sale of his pictures in 1856 it was purchased for the 
National Collection. 



V'XA.'N/V 



RUYSDAEL. 

Jacob Ruysbael, or Ruisdaal, the younger brother of 
Solomon Ruysdael, was born at Haarlem about 1625. His 
father, who was an ebony-frame maker, gave Jacob a good 
education, and intended him for the medical profession : he 
was formerly stylgd Doctor, sometimes. Ruysdael removed 
early to Amsterdam where he is supposed to have received 
some instruction in painting fi'om Berchem. The figures 
in his pictures are said to have been inserted generally by 
Adrian Vandevelde, Ph. Wouvverman, or Lingelbach. H^ 
died at Haerlem, and was buried jihere November 16t]i 
1681. 

The landscapes of Ruysdael are generally simple natural 
views, well selected, and somewhat resemble those of Van 
Everdingen and Hobbema in style : his favourite subjects 
were woody scenes and waterfalls. His touch is exceed- 
ingly spirited and crisp, but his colours appear to have 
darkened through time. The views chosen are generally 
of a northern character, and some are assumed to be Nor- 



* See the letter of Kubens, published in the account of Sustermans hj 
Baldincuci, in the Notizie dei Professori del Disegno, Dec. III. Sec. V. 



wegUn, though it is not kaown that Bajscbtel 0ver wted 
Norway. He sometimea painted marine pieces i there are 
also a few etchings by his hand. Hobbema is supposed to 
have been the scholar of Jacob Ruysdael ; Jan Van Kessel 
and Jan Benier de Vries were his imitators.* 

No. 627. Landscape with Waterfall. The whole 
fore-ground is occupied by the waterfitll, a wooden bridge 
and a cottage are in the middle distance, the cottage is 
partly concealed by trees. Signed J, Ruysdael f. 




^p^aci^iC 



No. 628. Landscape with Waterfall. In the mid- 
dle distance a wooden bridge ; in the fore-ground a dead 
tree lying in the water. Signed as above. 

On canvas, each picture 8 ft. 4^ in. h, by 2 ft. 10 in. iff. En- 
graved, on a large scale, in mezzotint by J. G. Frestel. 

Fonnerly in the collection belonging to Count Stolberg, at 
Soder, near Hildesheim ; purchased at the sale of that collection, 
at. Hanover, in 1859. 



\^/\^s/*/v%/w/v*^/»«/>/v/x«/vw«/vx/\/» 



SALVIATI. 



Francesco Rossi, called del SALViATi^from his patron 
the Cardinal of that name, was bom at Florence in 1510. 
He studied under Andrea del Sarto and other masters ; was 
an imitator of Michelangelo, and the intimate Mend of 
Vasari. In 1540 he was in Venice, and there painted a 
portrait of Pietro Aretino, which the poet sent to Francis I. 
Salviati visited France in 1554> ^ the reign of Henry II., 
but returned dissatisfied the next yefl,r. He painted much in 
Rome, where he completed the Ohigi altar-piece in Santa 
Maria del Popolo left un^qisbed by Sebaatiano del Piombo.t 
He had settled in Rome in 1648, and he died there, 
November 11, X563. 



* Houbraken, Chroote Schovhurg^ &c. ; Lnmerzee), DeLevens en Werken^ &c., 
Bathgeber, AnncHen der Niederlandisfken Malerei, &c, 1844. 333 works 
attributed to Ruysdael are described in Bmith^^ Catalogue Raisonn^y pt. vi. 

t Vite, Vasari, &c., vol. a^ii. 



208 SAK SEVERINO. 

No. 6S2- Oharitt. A woman seated^ offering her breast 
to a child who has turned away, and is caressing another 
child ; on her right is a third boy standing near a brazier 
with live coal in it. Small figures. 

On wood, 9J in. h. by 7 in. w. 

Purchased at Paris from M. Edmond Beaucousin, in 1860. 

SAN SEVERI'NO. 
LoBEKZO Di San Sevebi'no, with his brother Jacopo, 
were painting in Urbino in the early part of the fifteenth 
century. In the Oratory of San Giovanni Battista are still 
preserved some frescoes by these painters of the early date 
of 1416, representing passages from the life of the Baptist, 
and also the Crucifixion of Christ. The paintings bear tlie 
following inscription : — Anno. Domini, mccccxvi. DE.xvni. 
JuLii. Laukentius. dk Santo. Severing. ei'. Jacobus. 

» 

FRATER. EJUS. HOC. OPUa FECEBUNT. 

Lanzi remarks^ that these painters, though they lived in 
the fifteenth century, painted like the Florentines of the 
fourteenth ; and he adds, that we have works by them as late 
as 1470. The frescoes are hard and positive in colour; but, 
if Lorenzo and his brother were established painters in 
1416, it is, though possible, hardly probable, that they were 
still painting in 1470. 

The picture by Lorenzo lately added to this collection 
appears certainly to belong to the later date, both from its 
subject, the Marriage of St. Catherine, and from its execu- 
tion ; the signature also, Laurentius I.I. Severinas PtsiT, 
seems to indicate a second Lorenzo di San Severino, 
Laurentius II. (secundus), who may have been the son of 
the first Lorenzo, the painter of the Urbino frescoes, and a 
better known master. 



LAVR 
ElTiySII' 




PIS IT 



SAKTACROCE. 203 

No. 249. The Majrriage of St. Cathebike. The 
Virgin and Child enthroned, surrounded by four saints, 
with a choir of angels above. On the right of the Virgin is 
St. Dominick, on the left St. Augustine ; before the throne 
are kneeling on the left St. Demetrius of Spoleto, and on the 
right St. Catherine of Siena, on whose finger the infant 
Christ is in the act of placing the ring. St. Catherine wears 
her monastic dress, and in the gold nimbus, or glory, around 
her head is written, Santa Ktrina De Sena, allowing of no 
question as to her identity : in the nimbus of Christ are the 
words. Sum Lux ; in that of the Virgin, Ave gratla plena 
DoMi. On the step of the throne are a fig or cucumber and 
an apple; and in a cartouche on the front of the step is the 
signature given above. Gold ground, figures small life- 
size. 

On wood, 4 ft. 9 in. h, by 4 ft. 9 in. w. 

Formerly in the sacristy of the church of Santa Lucia at 
Fabriano.* Purchased for the National Gallery at the sale of 
M. E. J. De Bammeville's collection, in 1854.t 



•MH*><MilMlMMIIMM.aiMM<MIIWIMlMMMMMWM# 



SANTACROCE. 

GiROLAMO DA Santacroce, a scholar of Giovanni Bellini, 
was painting at Venice between 1520 and 1548. He at 

* Passavant describes it as thfire^ in his life of Raphael — Rafael von UrhinOf 
&c., 1839, YoL i p. 428. 

t There are two St. Catherines : the earlier, a young queen of Alexandria, 
according to the legend, belongs to the fourth century. She was at first a 
pagan, but, on being baptized, was espoused to the in&nt Christ. Her subse- 
quent history will be found in the description of Raphael's picture of St Cathe- 
rine, p. 184. The later St. Catherine was bom at Siena in 1347 ; she became 
a Dominican nun, and ended a short life of extraordinary piety and aseal in 
fiome, in 1380. The legend of the mystic marriage, as exemplified in the pic- 
ture above described, also belongs to her; and it would not be easy to determine, 
without a careful comparison of the dates of the mediseval legends, which saint 
had the distinction ascribed to her first. The attribute of the wheel belongs, 
however, exclusively to St. Catherine of Alexandria. 

The Sienese saint was canonized by Pope Pius II. in 1461. The ceremony 
is the subject of Pinturicchio's ninth fresco in the library of Siena, which bears 
the inscription : — ^ Pius Pontifex Maximus Catherinam Senen, oh innumera ejus 
miracula inter Divas retuUt,** The date of the canonization, 1461, would at 
first appear to limit the date of Lorenzo di S. Severino's altar-piece, by pre- 
cluding the possibility of its having been executed before that year ; but the 
popular voice has constantly anticipated the fi>rmal recognition of the Church, 
which necessarily, in many instance^ only confirms the voice of the people. 
It might not be difficult to find instances of saints represented as such before 
their canonization. A case in point occurs in Siena, in the church of 
St Catherine, where she is represented by Pacchiarotto visiting the body 
of St Agnes of Montepulciano, almost a century before the solenm recog- 
nition of St Agnes by the Church. The fact, therefore, that Catherine is here 
represented as a saint is not absolute evidence of the corresponding later date 
of the picture ; and the Lam*entius II. Severinas of this work may still be the 
Laurentius de Santo Severino who executed the frescoes of 1416 at Urbina 



210 SABTO, A. DEL. 

first followed his master in style, but afterwards became 
on imitator of Giorgione and Titian.* 

No. 632- A Saint, reading. Full length, small life size. 

No. 633a A Saint, holding a white standard with a red 
cross in one hand, and in the other a Monastery or For- 
tress. Full length, small life size. 

On wood, each picture, 3 ft. 11 in. A, by 1 ft. 7 in. w. 
Formei*ly the doors of an altar-piece. Purchased from M. 
Edmond Beaucousin, at Paris, 1860. 



ml>iWIMWXW<W«>««»WWM>« W Wl^W>.«W>»0»»*i>W»MI«il* 



A. DEL SABTO. 

Andbe'a Vannu'cchi, commonly called Andrea del Sarto, 
from the occupation of his father, who was a tailor, was born 
at Florence in 1488, and became the pupil of Piero di 
Cosimo. After the exhibition of Michelangelo's celebrated 
'^ Cartoon of Pisa," in 1506, he became a dedded imitator 
of that painter in design: in colour, and light and shade, 
Fra Bartolommeo appears to have been his model. Having 
earned a great reputation by his works in Florence, both 
in oil and in fresco, he was invited by Francis I. to France. 
He arrived in Paris in 1518, and was well received by the 
King, but owing to the importunities of his wife, whom he 
had left behind, he returned to Florence in the following 
year, and having squandered away some money with whifch 
Francis had entrusted him to purchase works of art, Andrea 
never ventured to return to France. He died at Florence 
of the plague in 1530, aged only forty-two.t 

Andrea del Sarto was one of the most distinguished 
painters of the sixteenth century. He is best known by his 
Holy Families, in oil ; but he painted also many extensive 
works iu fresco ; the most celebrated are those of the convent 
of the Santissima Annunziata at Florence : J from the excel- 
lence of these frescoes he was called — Andrea Senza Errori 
(Andrea without faults). Of his easel pictures, the Madonna 
di San Francesco, now in the Tribime at Florence, is con- 
sidered his masterpiece. § Vaeari, Jacopo da Pontormo, 



* Zanetti, Delia Pittura Veneziana, &c. 

t Vasari, Vite de' PiUori, jv. ; Lanzi, Sloria Pittoriea, Sfn, / Biadi, Notizie 
Tnedite (fella Vita cf Andrea del Sarto, raccoUe da Mano9crUti Documenti 
itutentici, Florence, 1830. 

^ Engrayed by ^chhri, 1892-^3. 

§ Engraved by P. Lasioio ; by Lorcmdu i and by J. FeUing. 



SA9SOFEEBATO -HEIOHALOKEN. 21 1 

Franciabigio, and Domenico Puligo^ were all soholars of 
Andrea del Sarto. 



mw^mrrm»9^imm 



No. 17- The Holt Family. The Virgin with the infant 
Christ on her knees, and Elizabeth with the little St. John, 
seated on her right hand. 

Engraved by P. W. Tomkins ; and by S. Freeman, for Jones's 
National Gallery. On wood, 3 ft. 6 in. h. by 2 ft. 8 in. w. 

Formerly in the Aldobrandini Villa at Borne, from which it was 
purchased for Mr. Buchanan by Mr. Irvine in 1805. Bequeathed 
to the National Gallery, in 1831, by the Rev. W. H. Carr. 

No. 690. His OWN PoBTBAiT. Busti life size. Si^ed 
with the painter's monogram, A.V., — Andrea Vannucchi 




On canvas, 2 ft. 4 in. A. by 1 ft. 10 in. w. 
Purchased at Florence from the effects of Nicolo Puccini in 
1862. 



tftfMW##.WMMIM«<.«lMWMWM«MIMW«l«WMM* 



SASSOFERRA'TO, 

QiOVANKi Battista Salvi, commonly called, after his 
birthplace, Sassoferrato, was bom July 11, 1605. He was 
the pupil of his father Tarquinio Salvi ; and belongs to the 
80*called Carraccesckiy or followers and imitators of the 
Carracci and their scholars. In style and subject, though 
not in elaborate finish, his works bear considerable resem- 
blance to those of Carlo Dolci. ^Sassoferrato died at Rome, 
August 8, 1685.* 

No. ZOOm The Madonna in Prayeb. Half length. 

On canvas, 2 ft. 5 in. h. by I ft. 11 in. w. 

Bequeathed to the National GaUery, in 1846, by Mr. Richard 
Simmons. 



ifjJif rtuf i f i nv i **' ! "**** ««»««««»««»M 



SCHALCKEN. 

GODFRIED ScHALCKEN, a distinguished Dutch ffenre- 
painter, was born at Dort in 1643; his father was rector of 
the Latin school there. He studied painting first under 
I. van Hoogstraten, from whom he went to Gerard Dow. 
Schalcken is chiefly distinguished for his pictures of candle- 



* Lanzi, Staria Pimrica, ^e. 

O 2 



212 SCHIAVONE. 

light; and he rivals his celebrated master in finish. He 
died at the Hague in 1706.* 



No. 199. Lesbia weiqhing Jewels against heb 

SPABKOW.f 

On wood, 6| in. h, by 5 in. w. 

Bequeathed to the National Gallerj, in 1846, by Mr. B. Simmons. 



SCHIAVONE. 

Gregorio Schiavone was a native of Dalmatia, and 
studied painting in the celebrated school of Squarcione, at 
Padua, where, about 1450, he was the fellow pupil of Andrea 
Mantegna. 

Schiavone, like Crivelli, was fond of decorating his pic- 
tures with festoons and fruit ; but his works are less 
advanced than those of Crivelli. He painted about 1470. 
He appears to have had an affection for his master Squar- 
done as he added his name to his own in his signatures of 
his works.! 



No. 630. The Madonna and Child enthroned, with 
various Saints. The Madonna and Child in the centre ; 
the dead Christ above ; Saints Bernard, John the Baptist, 
Anthony of Padua, and Peter Martire at the sides ; Anthony 
Abbot, Catherine, Sebastian, and Cecilia, below. Small 
ligurea Signed, Opus. Sclavoni. Disipuli. Squarcioni. S. 




In tempera, on wood, in ten compartments. Centre picture, 
3 ft. ^ in. h, by 13| in w. ; upper picture, 15 in. h. by 10| in. w, ; 
side pictures, 2 ^. 2 in. A. by 9 in. w. ; lower pictures, 12 in, h. 
by 9 in. w. 

Formerly in the Dennistoun collection. Purchased at Paris 
from M. Edmond Beaucousin, in 1860. 

* Houbraken, GrootcSchouhurg, j-c; Immerzeel, Levem en Werken, j-c. , 

t Catullus, Carmen uL 

X Kidolfi, Le Maraviglie, &c, Art, Squarcione. 



SCH01SN-- SEBASTIANO DEL PIOMBO. 213 

SCHOEN. 

Martin Schoen, or Schongauer, was bom at Ulm, about 
1420; he was an established artist there in 1441. His 
father^ Barthel^ was also an artist and probably originally 
from Augsburg. Martin was apparently first an engraver, 
but he studied painting at Antwerp under the elder Boger 
Vander Weyden, called Roger of Bruges, and carried the 
Flemish taste and method of colouring to Glermany. Martin 
was in Ulm in 1461, but settled shortly after that date at 
Colmar, where he established a celebrated school, and where 
he died February 2, 1488. He is known as Bel Martino 
and Martino DAnversa by the Italians. Lambert Lom- 
bardus speaks of his merits and influence in a letter to 
Vasari, dated Liege^ April 27, 1565.* His engravings, 
though crude in light and shade, are among the best of the 
early productions of this dass. His pictures are conspi- 
cuous for their rich colouring. 



No. 6S8. The Death of the Virgin. The Virgin, 
having received the last offices of the Church, is lying in a 
bed, surrounded by the twelve Apostles attending on her ; 
above is the Deity supported by angels, about to receive 
her souL A composition of many small figures in a cham- 
ber with a window looking out upon a square. 

On wood, 15 in. A. by 13^ in. w. Engraved by L. Fleming in 
the Gazette des Beaux Arts, 1859. 

Formerly in the collection of the King of Holland. Purchased 
at Paris from M. Edmond Beaucouein, in 1860. 



SEBASTIA'NO DEL PIO'MBO. 

Sbbastiano Lucia'ni, commonly called Fra Sebastiano 
del Piombo, from his office of keeper of the Leaden Seals, 
was born at Venice in 1485. He was originally, says Vasari, 
a musician, but having a decided taste for painting, he 
became the pupil of Giovanni Bellini ; he studied also for 
some time under Giorgione. He was invited, about 1512, 
to Rome, by Agostino Ghigi, for whom he executed some 

* Gaye, Carteggio Inedito d* Artisti, iii. 177. The dates of Fassavant, 
Beitrage zur Kenntniss der alien Mdlerschulen Deittschlands, Eunstblatt, 1846, 
haye been here followed; butDr. Waagen, in his Handhuch der Deutschen und 
NeiderldndUchen Malerschulen, vol. i., Stuttgart, 1862, has adopted 1440-92 as 
the probable dates of the birth and death of this painter. 



214 SBBASTIANO DEL PIOMBa 

frescoes in the Famesina., He at the same tune contracted 
a friendship with Michelangelo, who employed him to paint 
some of his designs. Sebastiano obtained so great a dis- 
tinction through his own powerful colouring and Michel- 
angelo's assistance, that, as a painter of altar-pieces, he was 
enabled to contend for the palm even with Kaphael. He 
-y^as very successful as a portrait-painter ; Vasari particularly 
notices his great skill in painting a head and hands. He 
was appointed Frate del Piombo by Clement VII.; an office 
which he held also under Clement's successor, Paul III., 
until his death. He died at Rome, in 1647, in the sixty- 
second year of his age.* 

Sebastiano's masterpiece is generally considered the ** Rais- 
ing of Lazarus" in this collection. Of his portraits, that of 
Andrea Doria, in the Doria Palace at Rome, is the most 
celebrated. 



No. 1. • The Resurrection op Lazarus. 

** And when he had thus spoken, he cried with a load voice, Lazarns, come 
forth. 

" And he that was dead came forth, hound hand and foot with grave-clothes: 
and his fkee was hound ahout with a napkin. Jesus saith unto them, Loose him, 
and let him go." — John xi. 43, 44. 

Christ is in the middle of the picture uttering the words, 
^^ Loose him, and let him go;" Lazarus, on the point of being 
freed from his grave-clothes, occupies the right of the com- 
position : on all sides is a dense throng of curious spectators, 
with astonishment and conviction depicted on their counte- 
nances. In the middle- distance to the left is seen a group of 
Pharisees in eager discussion ; beyond them to the right is a 
bridge conducting to a city, in the extreme distance. Com- 
position of many figures, of the natural size. On a slab of 
stone beneath the feet of Christ is written — Sebastianus 
Venetus Faciebat, 

^Sebastianvs -Venetvs-Facie 

BAT* 

Engraved by Delaunay ; by Vendramini ; and by R. W. Ligbtr 
foot, for Jones's National Gallery, Transferred in 1771 from 
wood to canvas, 12 ft. 6 in, A. by 9 ft. 5in.w. 

Painted at Rome, in 1519, for Griulio de* Medici, bishop of 
Narbonne, afterwards Pope Clement VII. The Transfiguration 

■ I ■ ■ I ■ m .11 ■■■■■ I 11 r i r ii - 

* Vasari, Vite de' Pittori, jfc.f Biagi, Sopra la Vita ed i DipinUdiFra Seb, 
Luciani sopranomxHOto del Piombo in Uie AUi dd Htemio di Venezia, vol. i.. 
1827. 



SEBASTIANO DEL PIOMBO. 215 

by Raphael and this picture were painted for this prelate, to be 
placed in the Cathedral of Narbonne in France. Both works 
were publicly exhibited together in Rome, and there were not 
wanting those who preferred the work of Sebastiano to that of 
Raphael. According to Vasari, Sebastiano was assisted by Michel- 
angelo in the design of parts of this picture. It was sent to the 
Cathedral of Narbonne, where it remained until it was purchased 
by the Duke of Orleans early in the eighteenth century. It was 
brought to England in 1792, with the rest of the Orleans gallery, 
and came into the possession of Mr. Angerstein, with whoso 
pictures it was purchased for the nation, in 1824.* 

No. 20. Portraits op Sebastiano del Piombo and 
THE Cardinal Ippolito de' Medici. The Cardinal is 
seated at a table with pen and papers before him ; the painter 
is standing opposite to him with his seal of office in his hand. 
Half-length figures, of the natural size. 

Engraved by W. T. Fry, for Jones's National Gallery. On 
wood, 4 ft. 6 in. A. by 3 ft. 8 in. w. 

Formerly in the Borghese Gallery at Eome, where it was 
sometimes called Borgia and Macchiavelli, and was attributed to 
Raphael. Kamdohr,f in his account of the works of art in Rome) 
in 1784, notices this picture as only probably by Sebastiano del 
Piombo. Bequeathed to the National Gallery, in 1831, by the 
Rev. W. H. Carr. 

No. 24. Portrait or a Ladt, as St. Agatha; formerly 
supposed to be Giulia Gonzaga, a lady of the ruling family of 
Mantua, distinguished for her beauty and accomplishments. 
The nimbus, or glory, around the head indicates the Saint, 
and the pincers at the side, St. Agatha. Half-length, rather 
above the natural size. 

Engraved by L. Stocks, R. A, for Jones's National Gallery, On 
canvas, 3 ft. A. by 2 fk. 6 in. w. 

The portrait of Giulia Gonzaga, " a divine picture," as Vasari 
terms it, was painted at Fondi for the Cardinal Ippolito de' Medici, 
and by him presented to Francis I., of France, who placed it in 
his gallery at Fontainebleau, from which it was some time after- 
wards lost. This picture, said to be the portrait in question was 
painted in Rome ; it is signed F. Sebastianus, Ven. FacIebat, 
RoMJB, was formerly in the Borghese Gallery at Rome, and 



* Sir Thomas Lawrence was in possession of several drawings of parts of this 
composition, by Michelangelo, including two sketches of the figure of Lazarus : 
they were subsequently in the collection of the late King of Holland at the 
Hi^e. 

f Udier Malerei und BiMhau^arbeii in Bom, ^c, 1 289. 



216 SEGNA— LO SPAGNA, 

bequeathed to the National Gallery, in 1831, by the Eev. W, H. 
Carr. 

•F'SEBASTIANVS 

-VEN» 

' FACIE BAT» 

^ BJDWE ' 

SEGNA. 

Segna di Buonaventura, the pupil of Duccio di Buon- 
insegna, painted at Siena between the years 1305 and 
1319* His works are exceedingly rare ; in the Gallery at 
Siena is .a portion of an altar-piece, containing the Virgin 
and three Saints, in which Segna ms fedt is inscribed on 
the sword of St. Paul, one of the Saints representedf 



No. 567- Christ on the Cross, with the Virgin and 
St. John at the extremities of the side limbs of the cross. 
A crucifix, with a projecting nimbus around the head of 
Christ ; inscribed above, Ihs. Nazarenus Rex Judeorum. 

In tempera, on wood, 7 ft. 1 in. A., by 6 ft. w. 
Formerly in the Vanni Collection at Siena. Purchased at 
Florence> from the Lombardi-Baldi Collection, in 1857. 



wr<w«#» * »»* fi *m0»t9ti»*ti*i> M »»»»'t*mmr » timmm 



LO SPAGNA. 

Giovanni di Pietro, called Lo Spagna and Lo Spagnolo 
(the Spaniard), was, afber Raphael, the most distinguished 
of the scholars of Pietro Perugino. Few of the circum- 
stances of his life are known : he was an established painter 
in Italy probably in 1608, and certainly in 1507. In 1516 
he was made a citizen of Spoleto, and in the following year 
he was elected head of the Society of Painters there — 
Capitano dell* Arte dei Pittori : he was still living in 1530. 

* Vasari, Vite de Pittori, &c. Ed. Le Monnier. Flor. 1846. 
f Engrayed in Rosini's Storia della Pittura Itaiiana, Sfc, vol ii. p. 165. 
2nd Ed. vol. il p. 4. 



S^AONOLKTTO. 217 

In his latest works Lo Spagna was an imitator of Raphaers 
third or Boman style ; his best p^rformanoes are considered 
those executed in the taste of his master Pietro Perugino. 
The Madonna Enthroned, painted in 1516, and now in the 
chapel of San Ste&no, in the lower church of San Francesco 
at Assisi, is accoimted by Rumohr this painter's master- 
piece.* 

No. 282. The Glorification of the Virgin. The 
Virgin, holding in her left hand a lily, is seated in clouds, 
with the Child standing upon her knee : she is surroimded 
by cherubim, two of which are supportiug a crown above 
her head ; two othera are holding lighted candles. On a 
marble platform below are two infant angels, seated ; one 
playing on a viol, the other blowing a flageolet. In the 
landscape back-ground are seen a church, and distant 
mountains. 

On wood, 5 ft. 10 in. h, by 2 ft. 7^ in. w., circular top. 

Formerly in the Ercolani Collection at Bologna. Purchased 
for the National Gallery at the sale of the Earl of Orford's pictures, 
in 1856. 



SPAGNOLETTO. 

GiusEPl'E RiBE'RA, commouly called Lo SPAaNOLETTO 
(the little Spaniard), was bom in Spain, at Xativa, near 
Valencia, January 12, 1588. He was destined by his 
parents, says Cean Bermudez, for the pursuit of letters, 
but his passion for the arts induced him to prefer the school 
of Francisco Ribalta to the University. He went, when 
still a youth, to Italy, and, in spite of extreme poverty, 
prosecuted his studies as a painter with untiring energy, 
though sometimes depending entirely for support on the 
precarious charity of his fellow-students, in Rome. He 
was at first engrossed by the works of Raphael and 
Annibale Canacci, but eventually adopted the forcible and 
attractive style of Michelangelo da Caravaggio. 

He studied also £he works of Correggio at Parma ) but 
on his return to Rome, finding that he could not agree with 
his old companions, Ribera determined to try his fortunes 
in Naples, where he married the daughter of a rich picture- 

■—— ■ ■— - ■ ■ ■ m ■— - ■■-■-, - — I ■■■■■■■ ■ ■ I ■ I 

* JViarriotti, Letter e Pittoriche Perugine, p. 95 ; Vassari, Vite de* Pittori, Sfc. ; 
life of Pietro Perugino, ed. Le Monnier, vol yL p. 54 ; Bumohr, Italimische 
Forschungen, vol. ii. p. 349. 



218 SPAaNOLETTO. 

dealer, and from this time entered upon a more important 
professional career, being employed, through the interest of 
his patron, the then Spanish Viceroy the Count de Monterey, 
on many commissions for Philip IV. of Spain. In 1630 he 
was elected a member of the Academy of St. Luke, at Rome, 
and in this year he entertained Velazquez at Naples ; in 
164J4 he was decorated by the Pope with the insignia of the 
Order of the " Abito di Cristo/' Cean Bermudez, following 
the account of Palomino, says that he died in Naples, 
honoured and rich, in 1656; but Dominici, the Italian histo- 
rian of the painters of Naples, states that Spagnoletto disap- 
peared from the city in 1648, and was not again heard of: 
this writer also claims him as an Italian, as a native of QaUi- 
poli, in the Neapolitan province of Leoce, though of Spanish 
descent, an account contradicted by the Spanish historian, 
who quotes the register of Ribera's baptism at Xativa. 

Ribera was perhaps the most able of all the so-called 
ncUuraliet painters ; he displays a remarkable power and 
facility even in his most unpretending work^: they are 
correct in form, though it is of the most ordinary character ; 
and, notwithstanding his excessive love of strong shadows, 
his pictures are rich in colour. He had many imitators ; his 
influence was felt throughout Italy and Spain, but more 
especially at Naples; and though he cannot dispute the 
first place, in his style of art, with Caravaggio, the popularity 
of that peculiar class of painters known as the Tenehrosi 
and NaturaUsii depended as much on the example of Ribera 
as of Caravaggio. 

Belisario Corenzio, a Greek, Giambattista Caracciolo, a 
Neapolitan, and Ribera, formed a memorable cabal at 
Naples, the object of which was, by intimidation or other- 
wise, to banish all competing talent, whether native or 
foreign, and to monopolize the chief patronage of the city 
for themselves, — a conspiracy in which they succeeded too 
well for many years, until the death of Caracciolo in 1641. 
Domenichino, Annibale Carracci, the Cavaliere D'Arpino, 
and Guido, were all more or less victims of this cabal ; 
Domenichino may be said to have died from the vexations 
it brought upon him. Luea Giordano and Salvator Rosa 
were the most eminent of Ribera's pupils.* 

* Cean Ecrmudez, Diccionario Hutlorico de los mas ilusires profesares de las 
Bellas Artes en EspaHa ; Dominie!, Viie de'lHUoriy f^, Napuilitaniy Naptes, 4 vols. 
Sto, 1840-46. 



BPINJSLLO. 219 

No. 23S« The Deab Christ ; or the subject termed a 
Pietd by the Italians — ^the Virgin weeping over the dead 
body of Christ ; in this instance she is aocompanied by 
St. John and Mary Magdalen. Four figures, of life size. 

On canyaSy 4 ft. 2 in. A. by 5 ft. 10 in. w. 
Presented to the National Gallery, in 1853, by David Bar- 
clay, Esq. 

No. 244. Shepherd with a Lamb. Seated under a 
tree; in his left hand the crook. Full-length life size. 
Probably a portrait. 

On canvas, 4 'ft. 4} in. A. by 3 ft. 6^ in. w. 

Bequeathed to the National Gallery by Lord Colborne, in 1854. 



••waMIMIMMMMWMnMW.iMlMM.VWMmMMMMI>BI. 



SPINELLQ ABETINO. 



Spinello di Luca Spinelli, commonly called Spinello 
Aretino, was bom at Arezzo about 1330. He became the 
pupil, before his twentieth year, of Jacopo di Casentino, 
while that painter was engaged at Arezzo. 

After having executed several works at Arezzo, which 
have nearly all perisKed, Spinello in 1361 was employed by 
the Monks of Camaldoli, in the Casentino, to paint the 
principal altar-piece of their church ; it remained in the 
church until 1589, when it was removed to give place to 
aaaltar-piecebyVasari. 

He then painted some scenes from the life of St. Bene- 
dict in the sacristy of the Monastery of San Miniato al 
Monte, near Florence, which works are still in good pre- 
servation. An Annunciation and some other subjects still 
exist also in the Convent degl' Innocent! at Arezzo ; one of 
which bears the inscription — Hoc opv^ fedt fieri OleTnens 
Pucoi, &c. Anno Domini 1377, die 15 merisis MaHii. 

In 1384 Spinello completed an altar-piece for the Convent 
of Monte Oliveto near Florence, on which were inscribed 
the names of Simone Cini, the carver, and Gabriello Sara- 
cini, the gilder, of the frame, as conspicuously as that of 
Spinello, the painter of the picture.* 

From this time, owing to political disturbances at Arezzo, 
SpineUo resided in Florence, until about 1387-8, when he 

* A part of this altar-pieoe is now in the Gallery of Siena. Yasari, Ed. Le 
Monnier, yoI. ii p. 194, note. 



220 SPIKELLO. 

was invited to Pisa to execute some frescoes in the Campo 
Santo there. These works, subjects from the lives of Saints 
Efeso and Potito, are by Vasari considered his master- 
pieces * He remained in Pisa until the murder of Pietro 
Gambacorti, in 1392, when the disturbances arising from it 
compelled him to leave Pisa and return to Florence ;t and 
after a year's sojourn in Florence, says Vasari, Spinello re- 
turned to his native place. This would be about 1394?, and 
Spinello was still in the vigour of life. He executed several 
works at Arezzo after his return, of which the most re- 
markable was the *' Fall of the Angels,'* in the church of 
Santa Maria degli Angeli, preserved till very recently.} 
There is also a " Coronation of the Virgin,'^ in the Academy 
at Florence, which was painted in 1401 ;§ and in 1404-5, 
he painted the frescoes of the Church of San Niccolo at 
Ai'ezzo. 

In 1405 Spinello was in Siena ; and on the 18th of June 
of 1407 he contracted for himself and his son (Parri Spinelli) 
to paint the series of frescoes still preserved in the Sala dei 
Priori, in the Palazzo Pubblico there, illustrating the struggle 
for supremacy between Pope Alexander'III. and the Emperor 
Frederick II., at the monthly pay of 15 golden || florins 
for the two, besides maintenance. A payment was made on 
the 4th of April 1408, but Spinello's name does not occur in 
the accounts after the 11th of July of that year.f He died 
at a very advanced age at Arezzo ; the exact date is not 



* These frescoes of the Campo Santo were paid for in 1392. SplQello re- 
ceiyed 150 gold florins (not 30/.) for three pictures. See Forster, Beitrdge 
zur neueren Kunstgeschichte, 1835, p. 118. 

t Vasari, Vite, (fc. Ed. Le Monnier, vol. ii. p. 196. Professor Tomei of 
Lucca is in possession of a picture of the Virgin with Saints, signed: Hoc 
Opus Pinxit Spinbllus Luce de Aeitio in A. 1391. 

X A fragment of this wall-painting, transferred to cloth, and containing part 
of the St Michael, the principal figure, is now in the possession of H. A. Layard, 
Esq. Engraved hy Carlo Lasinio in 1821. It forms plate XXVI. of the 
Affreschi Celehri del XIV. e XV. Secolo. 1841. 

§ Engraved in the GaUeria del L e Eeale Aceademia deUe Belle Arti di 
Firenze, SfC. 1846. 

II The value of the gold florin varied at different times and in different places ; 
hut the modem Scudo or Franeescone, about four shillings Knglish, is 
sufficiently near to it to give an adequate idea of a sum computed in gold 
florins. The pay alone of Spinello on this occasion was nearly double that 
received by Duccio for his altar-piece (without maintenance) just one hundred 
years before. In the fourteenth century money had about twenty times its 
present value, llie gold florin was worth between three and fom* shillings. 

^ Bumohr, ItcUienische Forwhungen^ vol ii. Milanesi, Documenti per la Storia 
dell* Arte Senese, vol. i. p 43, and vol. ii p. 32, 1854. 



TAOOONI. 221 

known. Vasari remarks that his drawings or sketches were 
superior to his paintings. His execution is slight^ but his 
colouring is good, and his draperies are managed with 
great skilL 

No. 581. St. John the Baptist with St. John the 
Evangelist and St. James the Greatee. St. John the 
Baptist holds a scroll inscribed Ego vos dwmante in 
deaerto, Parate via* Three figures, small-life size. 

In tempera, on wood. The entire picture 6 ft. 2 in. A., by 5 ft. 
1 in. w. The separate compartments each 4 ft. 6 in. A. bj 1 ft. 
7 in. w. 

Formerly in the Hospital Church of Santi Giovanni e Niccolo, 
near Florence. Purchased at Florence from the Lombardi-Baldi 
Collection, in 1857. 



TACGONI. 

Francesco Tacconi, a distinguished painter of Cremona 
in the fifteenth century, of whom very few works now 
remain. Francesco and his brother Filippo Tacconi were 
in 1464 honoured by their fellow citizens with an ex- 
emption from personal taxes, on account of a Loggia 
painted by them in the Palazzo Pubblico of Cremona. 
In 1490 Francesco Tacconi was employed in the Church 
of St. Mark at Venice, for which he painted the doors of 
the organ then in use — on the outsides the Adoration of 
the Kings and of the Shepherds ; on the insides, the 
Resurrection of Christ. These doors are still preserved, 
but the paintings are injured. The recorded inscription, 
0. Francisci Tachont Cremon. Pictoris 1490 Maii 24, 
is no longer preserved-f 

No. 286. The Virgin enthroned ; holding the Child 
upon her right knee, the right foot being raised on a foot- 
stool : in the background a green curtain. Inscribed on a 
plinth below, Op. Francisi Tachoni, 1489. Ocru. Figures 
half-life scale. 

On wood, 3 ft. 3 in. h. by 1 ft. 8-^ in. w. 



* Vox clamaatis in deserto : Parate Tiam Domini. Matth. iii 3. 

t Moschini, Guidaper la Citta di Venezia, Ven. 1815, vol. i. p. 287. See 
also the IMctionary of GrasselH, Ahecedario Biografico, Milan, 1827, in which 
the picture in this collection is mentioned. It is noticed likewise in the dic- 
tionaries of the Abate de Boni, Tieozzi, end Nagler. 



222 TE1IIBB8. 

Formerly in the Oasa SaYorgnan ; purchased, for the National 
Galler/y at Venice, of the Baron Gulvagna in 1855. 

- OP-FRANCIS 1- 
•TACHONM-fg^- 
*OCTV' 



TENIEKS. 

David Teniees, the younger, was bom at Antwerp in 
1610. He was taught painting by his father, the elder 
Teniers, whose style he adopted; he received also some 
instruction from Adrian Brouwer. Teniers' success was 
commensurate with his abilities : his works were in universal 
request; the Archduke Leopold William, governor of the 
Spanish Netherlands, appointed him his court painter and 
one of his chamberlains ; and he bought himself a country 
seat at Perth, a village between Antwerp and Mechlin, 
which became a constant resort of the ^Spanish and Flemish 
nobility : he gave Don Juan, of Austria, lessons in painting. 
This prince painted the portrait of Teniers' son, and presented 
it to the painter as a token of his regard. Teniers died at 
Brussels in 1694, and was buried at Perck. He was twice 
married: his first wife was the daughter of Velvet Breughel.* 

Teniers, though a Fleming by birth, belongs rather to the 
Dutch school in style: he is one of the principal of the 
Dutch and Flemish ^ewre-painters ; his works, however, vary 
very much, both in subject and in execution. Some of his 
pictures are solidly executed, while others are painted so thinly 
that the ground of the painting is in many parts barely 
covered: he is said to have often commenced and finished 
pictures of the latter class at a single sitting. Hifl general 
subjects are — ^fairs, markets, merry-makings, guard-rooms, 
beer-houses, and other interiors : he painted also landscapes. 
Sir Joshua ^ynolds particularly directs the attention of the 
painter, who wishes to excel in execution, to the works of 
Teniers. " His manner of touching," he says, " or what we 

* Houbraken, Groote Schouburg, ffc^t Immerzeel, Levem en Werhen der 
ffoUandgcke KtauUehilders, ffe» 



XBNIBE& 223 

call handling, has, perhaps, never been equalled^ there is in 
his pictures that exact mixture of softness and sharpness 
which is diflScult to execute."* The prints after this painter 
are very numerous ; there are also several etchings by his own 
hand. Many of his best pictures are in this country. 

No. 154s. A Music Party; a woman, accompanied by 
a man with a guitar, is entertaining some peasants with a 
song. An interior ; seven small figures. 

Engraved by W. Pether. 



^ ' Teat/er^S • /^ 



No. 158b Boobs Regaling ; a man, expressing some*- 
what boisterous merriment in his attitude, is holding out a 
glass of ale at arm's-length ; by his side is an old woman 
filling her pipe: a third figure is standing behind them. 
An interior ; companion piece to the above. 

On wood, both pictures, 10 in. ^. by 14 in. w. 
Bequeathed to the National Gallery, in 1838, by Lord Farn- 
borough. 



-^'Tea/zs/ss,/^ 



No. 1S5. The Misers, or Monet-changers. A man 
and his wife counting their money; they are seated at a 
table covered with gold and silver coin, loose and in bags 5 
some of the accessories seem to indicate considerable business 
transactions. 

Engraved by C. W. Sharpe. On canvas, 2 ft. \ in. A. by 2 ft^ 
9 in. w. 

Bequeathed to the National Gallery, in 1838, by Lord Farn- 
borongli. 



J)avid-Te 



No. 24s2> Platers at Tric-trac, or Backgammon. 
A Dutch interior, with eight small figures. 

On wood, 1 ft. 2^ in. h. by 1 ft. 9 in. w. 

Bequeathed to the National Gallery by Lord Colborne, in 
1854. 



^J^-7£N/£RS • /C 



* Journey to Flanders and HMtnd, 



224 TINTORETTO. 

TINTORETTO. 

Ja'copo Robusti, commonly called Tintoretto, from the 
trade of his father, who was a dyer (Tintore), was born at 
Venice in 1512. He may be said to be self-taught, for the 
few days which he attended the studio of Titian can scarcely 
be said to constitute a pupilage under that great painter. 
Titian dismissed Tintoretto without assigning any cause for 
his disgrace.* This extraordinary rebuff appears to have 
added vigour to the young painter's energies: he com- 
menced a course of indefatigable application, depending 
henceforth entirely upon his own resources. He bought 
casts from the antique and from the works of Michelangelo ; 
he devoted the day to painting, and in the night he made 
drawings from his casts ; he professed openly to draw like 
Michelangelo and to colour like Titian, and wrote the fol- 
lowing line on the wall of his studio — 

m 

«B disegno di Michelangelo ed il colorito di Tiziano.*' 

He undertook every commission which offered itself, and 
frequently executed large works for the mere price of the 
materials. Such persevering labour did not fail eventually 
to procure him a high position among the painters of Venice ; 
and, before he was forty years of age, he became the 
acknowledged rival of Titian himself. The Miracle of St. 
Mark, known as the " Miracolo dello Schiavo,"f Tinto- 
retto's masterpiece, was painted when he was thirty-seven 
years of age : it is now in the Academy of Venice. This 
picture was painted for the Scuola di San Marco, with 
three others, which are also among Tintoretto's best works. 
— The " Exhumation of the body of Saint Mark at Alex- 
andria ;" the " Transport of the body to the ship ;" and the 
*^ Miraculous preservation of a Saracen sailor, at sea, Tby the 
Saint." These pictures are still in the Scuola di San Marco ; 
and Pietro da Cartona is reported to have said that, if he 
lived at Venice, he would never pass a holiday without going 
to see them. 

Tintoretto painted other equally celebrated pictures for 
the Scuola di San Rocco; among them is the Crucifixion, 



* Titian's attention being attracted by some verj spirited drawings which 
he saw in his studio, he inquired who made them ; and upon learning that 
they were Tintoretto's, who had been with him only ten days, he ordered 
one of his scholars to conduct the boy home. — Ridolfi. 

t Engrayed by J. Matham. 



TINTOBETTO. 225 

which was engraved by Agostino Carracci in 1589. The 
*^ Miracolo dello Schiavo," this " Crucifixion," and the ** Mar- 
riage at Cana,"* painted for the Padri Crociferi, but now in 
the church of Santa Maria della Salute, are the only pictures 
to which Tintoretto put his name. He died at Venice in 
1594, aged eighty-two. He left a son, Domenico, who died 
in 1637 ; his daughter. Marietta, an excellent portrait-painter, 
died before her father, in 1590, aged only thirty. 

Tintoretto, from the rapidity of his execution, received the 
nickname of il Furioso : Sebastiano del Piombo said that 
Tintoretto could psdnt as much in two days as would occupy 
him two years. He was very unequal in his execution ; the 
Venetians used to say that he had three pencils: one of 
gold, one of silver, and a third of iron. Annibale Carracci 
well expressed his inequality in the following words — " if 
he was sometimes equal to Titian, he was often inferior to 

Tintoretto."t 



No. 16. St. George destroying the Dragon. The 
Saint, mounted on his charger, is in the act of spearing the 
dragon, on the brink of the lake: on the ground before 
the knight is the dead body of a man : the exposed princess, 
for whom the knight ventured on his perilous exploit, is 
kneeling in the fore-ground.} 

Engraved' by G. Corbould, for Jones's National Gallery, On 
canvas, 5 ft. 2 in. /*. by 3 ft. 3 in. w. 

Bequeathed to the National Gallery, in 1831, by the Rev. 
W. H. Carr. 



>■/■". V- - •^-*>\>v> ».- -^s- » •V-^''v^ ■>« \^\ V «,v 



TITIAN. 

Tizia'no Vbce'llio, commonly called Titian, was born 
in 1477, at Capo del Cadore, a small town on the river 
Piave, in the territory of Venice. He was placed, about the 
nge of ten, with Sebastiano Zuccati, to learn painting. He 
quitted Zuccati for Gentile Bellini, but he left this painter 
also shortly afterwards to study under his more eminent 
brother Giovanni Bellini, with whom Giorgione, his future 
rival, was his fellow-pupil. Titian first appeared as a great 

* Engraved by Volpato, and by Fialletti. 

t Ridolfi, Le Maraviglie deW Arte, otwero le Vite degli iUustri Pittori Veneti, 
^c. i Zauetti, DeUa Pittura Veneziana, e deUe opere puhhliche de* Veneziani 
Maestri i Lanzi, Storia Pittoricay Sfc, 

X See No. 75, p. 77, note. 

P 



226 TITIAX. 

painter, in 1514, at the court of Alfonso!., Duke of Ferrara, 
for whom he executed seyeral celebrated works ; among them, 
the " Bacchus and Ariadne," in this collection. It was during 
this visit to Ferrara that he painted the portrait of Ariosto, 
who thus commemorates the painter in his " Orlando 
Furioso :*' — 

Bastiano, Ba&el, Tiziad ch' onora 

Non men 0«dore, che quel Yeaesia e Urbino.* 

After the death or owing to the great age of Giovanni 
fieUini, Titian was employed to finish the works which that 
painter had left incomplete in the Sala del Gran Consiglic^ 
in Yenice) and th& Senate was so well satisfied with the 
manner in which ne performed this task, that he was re* 
warded with the office of La SmseriOf with a salary of 300 
crowns per annum, by which he was obliged to paint, for 
eight crowns, the portrait of every Doge who might be 
created in his timcl Titian now produced a succession of 
celebrated works. In 1516 he painted his magnificent picture 
of the ^* Assumption of the Virgin," for the great altar of 
the church of Santa Maria de' Fran — it is now in the 
Academy at Venice ; and in 1528 he added still more to his 
reputation by the celebrated picture of " St. Peter Martyr," 
for the chapel of that saint in the church of SS* Giovanni e 
Paolo. In 1530 he was invited to Bologna, by the Emperor 
Charles V., who sat to him for his portrait : from Bologna 
he went to Mantua, with the Duke Federigo Gonzaga, for 
whom he executed several commissions. In 1532 hei returned 
to Bologna, and painted there a second portrait of the em- 
peror, whom he is supposed to have accompanied into Spain. 
Madrid still possesses some of Titian's master-pieces, which 
may have been painted there during this visit. Cean Ber- 
mudez assumes that Titian took leave of the emperor at Bar- 
celona, in 1535, when the latter went on his expedition to 
Africa. The emperor created Titian a Count Palatine of the 
Empire, and a Knight of the order of St. lago : the patent 
of nobility was dated at Barcelona, in 1535.:!: The whole 

— ■ ■■■■««■ ■■■ 1—^,1 ■ I ■! . 1. » 11 I ■ ■ I I ... ^ t I ■ . ■ .»! I ■ I I I — — fcMW 

* Sebastiano (del Fiombo), Baphael, and Titian vho honouri not lea* Cadore 
than they Venice and Urbino. Cant xxxiiL st. 2. 

t Titian painted, by virtue of this office, the portraits of Fietro Lando, Fran- 
cesco Donato, Marcantonio Treyisano, and the Yenieri; the last two doges 
of his time he was nnable to psdnt on account of the infirmities of age* 

\ Bidolfi says 1553 ; but Cean Bermudez, in his Diccionario, ffa, has shown 
that this is scarcely possible, and has coojectured that the date 1553 is an 
error of the copyist for 1535. 



TITIAN. 22*7 

story of the visit to Spain is, however, doubted by Italian 
writers. In 1543, when Pope Paul UL was at Bologna, he 
invited Titian to that place to paint his portrait. Titian 
painted Paul III. a second time^ two years afterwards, at 
Rome, during the painter's only "visit to the great capital of 
the arts ; but in this second picture, one of the most cele- 
brated of his portrait-pieces, he introduced the Cardinal, and 
the DukQ Octavio, Farnese, the pope's relatives. According 
to Vasari, the pope offered Titian the place of Sebastiano 
del Piombo, who died in 1547 ; but if the biographer is 
correct, that offer must have been made after Titian's return 
to Venice. He appears to have left Rome in May 1546, 
The offer was declined. 

During Titian's stay in Rome, Michelangelo visited him, 
in company with Vasari, in the Belvedere, where he was 
engaged on a picture of Jnpiter and Danae. Yasari states 
that Michelangelo praised the picture very much when in 
Titian's presence, and that he spoke highly of the colouring 
and execution afterwards, but at the same time he expressed 
his regret to Vasari that the Venetian painters had not a 
better m^od of study, and were not early initiated in sound 
prineiplas of drawing; adding — ^^if Titian had been as much 
assisted by art as he is by nature, nothing could surpass 
Um." 

After the abdiciation of Charles V., Titian found as great 
a patron in his son PhUip II., and when, in 1554, the painter 
complained to Philip of the irregularity with which a pension 
of 400 crowns granted to him by the emperor was paid to 
him, the king wrote an order for th^ payment to the governor 
of Milan, concluding with the following words: ** You know 
how I am interested in this order, as it affects Titian: 
comply with it therefore in such a manner as to give me no 
occasion to repeat it." 

Vasari paid Titian a second visit in 1566, but this time 
in Venice, and although he was then nearly ninety years of 
age, Vasari found him with his, pencil in his hand, and states 
that he derived great pleasure from his conversation. This 
great painter died at Venice, of the plague, in 1576, haying 
attained the unusual age of ninety-nine years* 

To be enabled to appreciate fully the extraordinary powers 
of Titian, it is necessary to examine bis works at Venice ; 
after Venice he is seen to most advantage at Madrid. His 

p2 



I 



228 TITIAN. 

scholars were not numerous ; the most distinguished are Paris 
Bordone, Bonifazio Yeneziano, Girolamo di Tiziano^ and his 
own son Orazio Vecellio. Titian is said to have engraved 
on copper and on wood.* 



No. 3. A Concert, or a Maestro di Cappella giving 
A Music Lesson. Five figures, half-length, of the natural size. 

Engraved by H. Danckerts ; by J. Groenswelt ; and by J. Gamer, 
for Jones's National Gallery, On canvas, 3 ft. 2 in. ^. by 4 ft. 
1 in. w. 

Fart of the Mantua Collection, purchased by Charles!., in 1630. 
It is mentioned in Yanderdoort's Catalogue as a *< Music Party." 
Formerly in the Angerstein collection, with which it was pur- 
chased by Parliament for the nation in 1824. 

No. 4s. A Holt Family ; a Shepherd adoring : land- 
scape, back-ground. Composition of four small figures. 

Fngraved by J. Bolls, for Jones's National Gallery. On canvas, 
3 fit. 5^ in. h. by 4 ft. 8 in. w. 

Formerly in the Borghese Palace. at Rome. Bequeathed to the 
National Gallery, in 1831, by the Rev. W. H. Carr. 

No. 32. The Rape op Gakymede. Ganymede, son of 
Tros, one of the early kings of Troy, yas carried off by an 
eagle to Olympus to be the cup>-bearer of Jupiter. The 
beautiful youth, represented naked, with a bow in his hand, 
is being carried upwards by the eagle : a flowing red-coloured 
scarf gives effect and lightness to the composition. Figure 
of the natural size. 

Engraved by G. Audran ; by D. Cunego', for the Schola Italica, 
SfC, ; and by J. Outrim, for Jones's National Gallery. On canvas, 
an octagon, 5 ft. 8 in. each way. 

Painted for a compartment of a ceiling ; it corresponds with the 
description of the picture mentioned by Ridolfi originally in the 
Casa Sonica at Padua, painted by Daniiano Mazza, a scholar of 
Titian's. That picture was generally reported to be by Titian, 
and was sent elsewhere as such. The picture above described was 
formerly in the Colonna Palace ; the back-ground is a restoration 
by Carlo Maratta.f It was brought to England in 1800 by Mr. 
Day, and subsequently formed part of the Angerstein collection, 
with which it was purchased for the nation, in 1842. 



* Vasari, Vile de' Pittori, 8fc, ; Ridolfi, Le Marauiglie d^Arte, ^c. / Zanetti, 
Ddla Pitiura Veneziana, S^a Cadorin, Dello Amort di Veneziani di THziano 
Vecellio i Cean Bermudez, Diccionario Historico, ^c. ; Northcote, 77te Life of 
Titian, with Anecdotes of the distinguished persons of his time, London, 1S30. 

t nidol^i, Maraviylie, &c. 1. 290. Moschini, Delia Pitiura in Padova, p. 69. 
Baindohr, t/eber Mcuereij ^c^ in Eoni, ii. 72. 



TITIAN. 229 

No. 34s. Venus and Adonis ; sometimes described as 
Cephalus and Procris: it was known under this title when in 
the Colonna Palace at Rome.* Venus withholds Adonis 
from the chase, while the young huntsman, holding his hounds 
in a leash with one hand and his spear with the other^ is 
making an effort to free himself from the embrace of the 
enamoured goddess: Cupid is seen asleep in the back- 
ground. 

Engraved on a large scale by Jul. Sanuto, 'the painter's con- 
temporary ; in small, by R. Sadeler, sen, ; by Sir R. Strange ; and 
by W. Holl, for Jones's National Gallery, On canvas, 5 ft. 9 in. h, 
by 6 ft. 2 in. w. 

Formerly in the Colonna Palace at Rome. Imported by Mr. 
Day in 1800, subsequently in the collection of Mr. Angerstein, 
with the rest of whose pictures it was purchased for the nation, 
in 1824. Titian painted several repetitions of this picture, with 
slight variations. 



'^ No. 35. Bacchus and Ariadne. Ariadne, daughter of 
Minos, king of Crete, deserted by Theseus, on the island of 
Naxos, is discovered by Bacchus, when returning with a train 
of nymphs, fauns, and satyrs from a sacrifice. The god no 
sooner sees the hapless princess than he becomes enamoured 
of her. Ariadne is on the left ; Bacchus is represented in the 
centre of the picture leaping from his chariot to approach 
..her : to the right, in the boisterous train of the god, is seen 
the drunken Silenus riding on an ass. Above Ariadne is the 
constellation of the golden crown with which Bacchus pre- 
sented her, on her becoming his bride-t The back-ground is 
a glowing, landscape, with a view of the sea, on which the 
departing ship of Theseus is seen in the distance. Compo- 
sition of ten figures. 

Etched by G. A. Podesta ; and by J. Juster in 1691 ; and 
engraved in small in Jones's National Gallery. On canvas, 
5 ft. 9 in. h. by 6 ft. 3 in. w. 

Painted in 1514, at Ferrara, for the Duke Alfonso I. It was 
subsequently in the possession of the Barberini family, and after- 
wards in the Villa Aldobrandini at Rome, from which it was 
purchased by Mr. Irvine for Mr. Buchanan in ] 806, and brought 



'*' Bamdohr, Ueher Malereij ffc, in Honiy ii. 72. 

t For the story of Bacchus and Ariadne, see Keightley's MyUiohgy, This 
composition appears to be taken from CatpUus, car. Ixiv. 251. See Notts* 
TraiisUtion. 



230 TITIAN. 



to England. It passed into the possession of Mr. Hamlet, of whom 
it was purchased for the National Gallery, in 1826. 



vs 



% 



^. 




</» 



>\ 



No. 224. The Tribute Money. 

"Tell us therefore, what thinkest thou? Is it lawful to giye tribute unto 

Csesar ornot?" . ^^ 

" And he saith unto them, Whose is this image and superscription ? They 
say unto him, Csesar's. Then saith he unto theili, tlender therefore unto Caesar 
the things which are OsBsar's; and imto God the things that are Qt)dV— 
Matthew xxii 17—21. 

Three figures, half-length. 

Engraved by Martin Bota. On canvas, 4 ft. A« by 3 ft. 4^ in. %d. 
Purchased at the sale of Marshal Soult's collection, foc^ tbe 
National Gallery, in 1852. 

No. 270. Christ appeabing to Mart Magdalen after 
HIS Resurrection, commonly called " Noli me tangebe," 
from the words of the Latin Vulgate. 

'* Then saith Jesus unto her, Touch me not ; for I am not yet ascended to my 
Father." — John xx. 17. 

The Magdalen is represented kneeling before Christ, 
who is partially clad in white drapery, and with a hoe in 
his band. The scene is a landscape, in which a solitary tree 
in the middle ground is a conspicuous object ; in the back- 
ground, on a hill to the spectator's right, are some prominent 
buildings ; on the left is a view of a distant country. 

Engraved by Nicolas Tardieu. On canvas, 3 ft. Q\ in. A. by 
2 ft. \\\\n.w. 

From an autograph note to Mr. Kogers's catalogue, it appears 
that this picture was formerly in the cabinet of the Muselli 
family, at Verona ; it was afterwards in the Orleans collection, 
whence it passed into the possession of Mr. Champernowne ; at 
his sale, in 1820, it was purchased by Mr. Rogers, who bequeathed 
it in 1855 to the National Gallery. 

No. 635. The Madonna and Child with St. John 
THE Baptist and St. Catherine embracing the Divine 






TBEVISO, G. DA. 231 

Infant. A hilly landscapci evening ; the Angel appearing 
to the Shepherds in the distance. Signed TiciAN. SmaS 
figures. 

On canvasy 8 fit. 3^ in. A. by 4 ft. 7^ in. w. Engraved badly 
by Charles Andrau. 

Formerly in the Sacristy of the Escurial, ia Spain, where 
it was possibly painted ; it has the Escurial mark N**. 78 Di, 
Titi*. Subsequently in the Coesvelt Collection. Purchased at 
Paris from M. Edmund Beaucousin, in 1860. 



TICIAN 



No. 636. Portrait of Amosto, in a low crimson and 
pnrple dress^ showing his neck and shirt; with a gold 
chain on his neck, and for hanging over his shoulders, and 
holding in his left hand, which rests on a book, a rosary. 
In the background a laurel bush. Ariosto, the author of 
OrlaTido Furioso, and the friend of Titian, who painted him 
more than once,* was born on the 8th of September 1474 ; 
l4e died. Jund 6th, 1 538- Half-length, foil size. 

TransferteA'fi^m Wood to cftnvas, S ft. 3^ in. A. by 2 It. to. 

Apparently the portrait described by Kidolfii as then in the 
possession of Niccolo Renieri. Transferred to canvas by Paul 
Kiewert at Paris, in 1857. Formerly in the possession of Mr. 
Tomline. Purchased at Paris from M. Edmond Beaucousin, in 
I860. 



<»m»i»<.^ < l>«M^»0*W<**WK»«*»**»»Mii**^ 



TREVISO, G. DA. 

GiROLAMo DA Treviso, the son and pupil of Piermaria 
Pennacchi, was bom at Treviso in 1497. He painted chiefly 
in Bologna, Venice and Genoa ; was an imitator of Raphael, 
and was a good portrait painter. He left Genoa on account 
of the too powerful rivalry of Perino del Vaga, and 
finally came to England, where, he entered the service of 
Henry VIII., as architect and engineer. There are a few 
works by Girolamo stiU preserved at Bologna, but his 
pictures are very scarce. The " Adoration of the Kings," 
painted by him from the drawing of that subject by 
Baldassare Peruzzi, No. 167, which was presented to the 
Gallery by Lord Vernon, is probably the picture from that 
drawing. No. 218, in this collection. Girolamo was killed 

by a cannon ball in 1544, near Boulogne, while acting as an 

, — .. ■ ' * ■ '* ■ ■ . ■ ■ .1 . ■ _ _ . 

♦ The woodcut profile of Ariosto in the edition of the Orlando Furioso of 
153S, copied in the edition of Mr. Pani2zi of 1834, was ftom a drawing by 
Titian. 



232 TUKA. 

engineer in the service of Henry VIII., when in his 47th 
year only.* 

No. 623. The Madonna and Child enthroned, under 
a canopy, with Saints Joseph, James, and Paul ; the last 
is presenting the donor, the patron of the Boccaferri chapel, 
to the infant Christ ; behind the throne are some angels 
playing musical instruments. The view of a town in the 
background. 

On wood, 7 ft. 5i in. A. by 4 ft. 10 in. w. Engraved on wood 
by Gmo. Gandini. 

Signed leronimus Trevisius -P., and mentioned by Vaeari as 
the best of the painter's works — "te migUare deUe case 9ue^ 
(vol. iv. p. 52, ed. I*e Monnier). It was formerly the altar-piece 
of the Boccaferri chapel in San Domenico in Bologna, from which 
it was sold and removed to Imola between 1706 and 1733.| It 
passed subsequently into the Solly collection. Purchased at 
Cheltenham, at the sale of the Northwick pictures, in 1859. 

lEROPIIMVS 'TREYISIVS' f • 



<M^>#^<»M^t/^<M^>#i» <^^^»<M^>#i»#N<i#tf^<M>»i»»^>0<W* 



TURA. 

CosiMO TuRA, called Cosme, was born in Ferrara about 
141 8, J and was the pupil of Galasso Galassi, whom he sur- 
passed in drawing, invention, and vivacity, but he did not 
emancipate himself from the dryness of manner of his master. 
He is called the Mantegna^of Ferrara. 

Cosimo succeeded Piero della Francesca as painter to the 
Duke of Ferrara, and he executed the fresco decorations of 
the new palace of Schifanoja, or Scandiana,§ for the Duke 
Ercole. The works executed by Piero were destroyed 
with, the old palace in 1469. The decorations of Cosimo, 
commenced about 1471, were in twelve divisions, illustra- 
ting the achievements of Ercole's brother, the Duke Borso ; 
they were long neglected, but seven of them were recovered 
from whitewash and oblivion in 1840, by Sig. Al. Cam- 

* Vasari, Fi'te, ij-c. Federici, Memorie Trevigtane su le opere di Disegno^ 
S(c,, 1803, professes to correct Ridolfi who gives 1508 as the year of 
Girolamo's birth. 

t Zanotti, Le Pitlure di Bologna^ ed. 1706, p. 241, where this picture is 
described ; in the edition of 1733 the notice of it is omitted. 

I Assuming that he did not exceed the age of 63. Bee Bamffaldi, Vite, Sec. 
vol. i. p. 83 n. 

§ Near Sant' Andrea, now a tobacco manufactory. 



TUBKER. '233 

pagnoni * Many of Cosimo's pictures also are preserved at 
\ Ferrara in the Costabili collection, in which are the two 

organ doors of the Cathedral, representing St. George and 
the Annunciation, painted in 1469, and reputed by some to 
be the painter^s masterpieces. In the Strozzi Palace, at 
Ferrara, is a portrait of Tito Strozzi, .the poet, by Cosimo. 
Oosimo Tura was still living on the 8th of February, 1481, 
the date of a contract entered into by him ; he was buried 
in San Giorgio, in Ferrara, at the entrance of the Cam- 
panile, but the date of his death is not known*! 



No. 590. Christ PLACEa) in the Tomb, by St. John 
the Baptist and Joseph of Arimathea. Three small half- 
figures. 

In tempera, on wood, 10^ in. h, by 8 in. w. 

Formerly in the possession of Professor Kosini, at Pisa. Pur- 
chased at Florence, from the Lombardi-Baldi Collection in 1857. 



»<^XW^»#l#<W#^^P^^^ip^^»»»W^^##**»<^»' 



TURNER. 

Joseph Mallord William Turner was bom in^ the 
spring of 1775, in Maiden-lane, Co vent Garden, where his 
father can'ied on the business of a hair-dresser ; he was 
christened in St. Paul's, Covent Garden, in May of that 
year. The fiiendship of Girtin, the water-colour painter, 
and the privilege of copying a collection of drawings in the 
possession of Dr. Monro, of the Adelphi, gave facilities for 
the development of the young painter s talent at an early age. 
Turner entered as a student of the Royal Academy in 1789, 
and he exhibited a drawing the following year; in 1799 
he was elected an associate, and in April 1 802 he became a 
member of the Academy. In this year he visited France 
and Switzerland. In 1807 he was elected Professor of 
Perspective in the Royal Academy, in which office he suc- 
ceeded Edwards. In 1807 he commenced to publish his 
" Liber Studioo'um'' or book of sketches in imitation of 
Claude's ** Liber Veritatis :'' and for a few years during 



* n Conte Laderchi, Descrizione dei dipinti di Schivanoja, Ferrara, 1836, and 
BamfiEaldi, yol. L p. 84, 1844. 

f Banififaldi, Vite de' Pittori e Sadtori Ferraresi, yoI, i., Ferrara, 1844, H 
Conte Laderchi, La Pittura Ferrarese, Ferrara, 1867. 



234 / TUBN£R. 

this period of his life he painted iu emulation of the style of 
Claude. In 1812 he built a house in Queen Aiuie Street 
West, No. 47> which he retained until his death, and in 
which he had a gallery where he for many years exhibited 
some of his pictures. Turner visited Italy thtee times :— 
in 1819, in 1829, and about 1840. 

After a life of almost unrivalled success, and an industry 
unsurpassed, this great landscape-painter died, unmarried, 
and under an assumed name, at an obscure lodging at 
Chelsea, December 19th, 1851. He was buried by the 
side of Sir Joshua Reynolds, in the crypt of St. Paulas 
Cathedral. His large fortune, both in pictures and in 
funded property, he bequeathed to his country; — his 
finished pictures to the nation, on condition that the 
Government should provide suitable accommodation for 
them within ten years ; and his funded property towards 
the establishment of an institution for the benefit of 
decayed artists.* 

Turner's career comprehends, independently of his imita- 
tions of Claude, three distinct styles, in the first of which, 
previously to 1802, he was more remarkable as a water- 
colour painter ; his early drawings are conspicuous for their 
careful completion, subdued colour, and effective light and 
shade ; his earliest oil pictures resemble those of Wilson in 
style. In middle life, from about 1802 until about 1830, 
or his second visit to Rome, he was as distinguished for a 
masterly and vigorous execution and an unrivalled brilliancy 
of colouring ; the majority of his greatest works belong to 
this time, fi:om his "Calais Pier,'* 1803, to the "Ulysses 
deriding Polyphemus,'* 1 829. DuriDg the last twenty years 
of his life, light, with all its prismatic varieties, seems to 
have chiefly engrossed his attentidii, yet some few of his 
finest works belong to this period, as his " Childe Harold's 
Pilgrimage," exhibited in 1832, and the "Temeraire," 
exhibited in 1839. His later pictures are painted on a 
white ground. Specimens of all his styles are numerous, 

* The will was disputed, but in accordance with a compromise between the 
parties in litigation, it was decided by an order of the Court of Chancery, dated 
March 19th, 1856, that all pictures, drawings, sketches, iinished or unfinished, 
by the hand of Turner, should belong to the nation, and that all engwiTings 
should belong to the next of kin. The ^nished pictures thu0 acquired for the 
National Gallery amount to about one hundred in number. 



uccsUiO. 23d 

independent of book illustrations and other small wat^r- 
colour drawings, for Turner was a large contributor to the 
annual exhibitions of the Royal Academy, having exhibited 
nearly 300 drawings and pictures on its walls.* 

No. 47*. The Sun Rising in a Mist, fishing-boats 
arriving and unloading, fishermen cleaning and selling fish ; 
guardHBhip in the distance : tide low. 

On canvas, 4 ft. 4 in. h. by 5ft 10 in. w. 

Engraved by J. 0» Armytage, for the '' Turner Gallery*" 

No. 4*6. BiDO Building Cakthaqb. A river scene 
with the sun in the centre of the picture ; a bridge in 
front, and piles of classic architecture, completed and in 
progress, on either side ; high banks and rocks in the back 
ground. Dido, Queen of Carthage, is seen surrounded by 
her people on the left 

On cativas, 5 ft. \ in. h. by 7 ft. ^i m* ^• 

Engraved by J. A. Prior and by E. Goodall, for the " Turner 
Gallery." 

These pictures were considered by Turner two of his best works, 
and were bequeathed by him to the National Gallery, on condition 
that they should be hung between two Claudes, now placed by 
their side. '^ Tlie Sun Rising in a Mist " was exchanged for the 
" Shipwreck," painted in 1805, and purchased by Sir John F. 
Leicester, afterwards Lord De Tabley, and at the sale of the De 
Tabley pictures, in 1827, it was repurchased by Turner. " The 
Sun Rise" was exhibited in 1807, the"Carthage" in 1815, and both 
belong to the painter's most vigorous period. They were placed in 
the gallery in 1853. On the extreme left of the Dido is inscribed, 
with Turner's name and the date of the picture, " Dido Building 
Carthage, or the Rise of the Carthaginian Empire." 



«M)MM«WWMWt>MMIf>««W«M>MWMIM*«MIMWlM«<«. 



UCCELLa 

Paolo bi Bono, commonly called, from his love of 
painting birds, Paolo Uccello,"|" was bom at Florence 
in 1396-74 ^^^ was originally brought up as a goldsmitli. 
He was one of the asaistants of Lorenzo Ghiberti in 



♦ The Royal Acadamy Catalogues; Art Journal, Jan. 1852 and Jan. 1857 ; 
Athenmim^ Dec. 1851, Jan. 1852; also Turner and his Works; illustrated wifh 
examples from his pictures and Critical Remarks on his Principles of Painting. 
By John Burnet. The Memoir by Peter Cunningham. 1852. " The Turner 
UaUery, a series of sixty engravings from the principal loor/ts of J. M, 
W, Tiimer. With a Memoir and illustrative text by Ralph Nicholson M^ornww, 
4-c.'* Folio, London. 1861. 

+ Vasati, Vite, jrc, Ed. Le Monnier, vol. iii. p. 91. 

X Gaye, Carteggio Inedito d^Artisti, vol. i. p. 146. 



236 UCCBLLO. 

preparing the first pair of the celebrated gates made by 
Lorenzo for the Baptistery of Florence. 

The majority of Paolo's works have perished. He painted 
the stories of Adam and Eve, and of Noah, in one of the 
cloisters of Santa Maria Novella, in Florence, of which 
traces still remain. And in the Cathedral of Florence there 
is still a colossal equestrian figure of John Hawkwood, an 
English adventurer and soldier of reputation, who died in 
the Florentine service in 1393. It is a chiaroscuro in terra 
verde: on the pedestal of the horse is written Pauli 
UccELLi Opus.* He painted some giants in the same 
method in the Casa de' Vitali in Padua, which, says Vasari, 
were greatly admired by Andrea Mantegna.t 

In the gallery of the Louvre is a panel by Paolo Uccello, 
containing the heads, life-size, of Giotto, Donatetlo, Bmnel- 
leschi, Giovanni Manetti, and himself, representing painting, 
sculptmre, architecture, mathematics, and perspective. 

Paolo read geometry with Manetti, and was pa^ionately 
devoted to the study of perspective, over which, says 
Vasari, he wasted so much of his time, that he became 
'' more needy than famous. "t He does not, however, appear 
to have been very poor, as he lived in his own house, which 
he bought, in 1434, for 100 florins. He died at Florence, 
aged eighty-three, in 1479.§ 



No. 583. The Battle of Sant* Egidio, July 7, 
1416, in which Carlo Malatesta, Lord of Rimini, and his 
nephew Galeazzo, were taken prisoners by Braccio di 
Montone. || 

* In 1842, about four centuries after it was painted, tliis picture was trans- 
ferred from the "wall to canvas, and is now placed over the door of one of the 
aisles, in the Cathedral. 

f Each giant was painted in a single day, and at the price of a ducat, very 
high pay for a day's work, compared with the general accounts of the time. 
Morelli, NoHzia d^opere di Diaegno, SfCy 1800, p. 23. 

I His wife complained to her fViends that he sat up the whole night studying 
the rules of his fitvourite science, and that the only answer she got to her re- 
monstrances was, Oh ! che dolce cosa i questa prospettiva, — " What a delightful 
thing is this perspective." —Vasari, Ft'te, ^c, vol. iii., p. 99. 

§ Gaye, Carteggio Inedito^ ^c. Vasari, Vite^ Sec 

y This battle took place on a plain between Sant* Egidio and the Tiber, on 
the road to Assisi, and Malatesta was captured during a repose in the fight, 
when his men went down to the river to drink. — Campanus in Vita Brachii 
Pentsini. See Muratori, Rertim Italicarum Scriptores, vol. 19, p. 629. and in 
the Chronicon Foroliviense, p. 888; also in the Cronaca Iliminesey vol. 15, p. 927. 
See also the Annali of Muratori, vol. 13, p. 149. 



VANDEB H£LST« 2S7 

From the fragments of arms, &a, strewed upon the ground, 
the battle has been already fought ; and the incident repre- 
sented appears to be an attempt at rescue ; which supposition 
is strengthened by the fact that Malatesta is marching under 
a strange standaxd. Of the many armed knights on horse- 
back represented, only four are engaged, but aU except 
Malatesta and his nephew have their faces concealed by their 
visors. The young Galeazzo, not yet a knight, carries his 
bassinet in his hand. The figure lying on the ground to the 
left is an illustration of the painter's love of ftreshortening. 
In the background is a hedge of roses mixed with pome- 
granate and orange trees, and some hilly ground behind. 

In tempera, on wood, 6 ft. A. by 10 ft. 5 in. w. 

One of four battle pieces originally painted for the Bartolini 
family in Gualfonda ;* subsequently the property of the Giraldi 
family in Florence, from whom it was obtained in 1844 by the 
late proprietors. Purchased at Florence from the Lombardi-Baldi 
Collection in 1857. 



y\/ v**y ^rfX/^fX/ \^ \/*\/X/" W \X\/^ '\/^ w X* \/ WV % 



VANDER HELST. 

Bartholomeus Vander Helst, one of the most dis- 
tinguished of the Dutch portrait-painters, was bom at 
itaarlem in 1613. His masterpiece, the Schuttersmaaltyd^ in 
the Museum at Amsterdam, is one of the most remarkable 
productions of the Dutch School of Painters. It contains 
thirty-five portraits of the natural size, twenty-four of which 
are named on the picture, and represents a banquet given by 
a company of the civil-guard of Amsterdam, in commemora- 
tion of the Peace of Miinster, in 1648: the Spanish Ambas- 
sador is present at the feast. Sir Joshua Reynolds observes 
of this work — "This is, perhaps, the first picture of portraits 
in the world, comprehending more of those qualities which 
make a perfect portrait than any bther I l^ave ever seen.""f- 
Vander Heist died at Amsterdam in 1670.| 



No. 140. Portrait of a Lady, standing ; half-length. 

On* wood, 2 ft. 9^ in. h, by 2 ft. 2^ in. w. 

Dated 1647. Bequeathed to the National Gallery, in 1837, by 
Lieut. Col. OUney. 



* Vasari, Ftte, ^c, vol. lii.» p. 96, note 2. The annotators notice the ex- 
cellent state of preservation of this picture, 
f Journey to Flanders and Holland, 
X Houbraken, Groote Sclumburg, 8fc, ; Immerzeel, livens en Werken^ ffc. 



238 VANDSH m&IBB. 

VANDER MEIER 

Gerard Vanber Meire, bom probably at Ghent not 
earlier than 1410, is said to have been the scholar of Hubert 
Van Eyck. His name occurs in the list of the corporation 
of Painters of Ghent first in 1452 ; and in 1474 he was 
elected one of the two sworn members of the corporation 
for that year. The earliest picture by him recorded is 
the portrait of a nun of St. Clara, CoUette, who died at 
Ghent in 1447: he also painted a picture of the Virgin 
for the churdR of St. John at Ghent. The chief of his re- 
maining works is the altar-piece of St. Bavon, representing, 
in the centre, Christ on the cross between the two thieves, 
a composition of many figures ; on the right, the brazen 
serpent, on the left, Moses striking the rock. 

Vander Meire is considered to approach nearer to the 
execution of the Van Eycks, or rather of Hubert, than 
any of the school ; there is the same laborious elaboration 
of costume, but his forms are considered elongated, his 
light and shade weaker in effect, and his colouring inferior 
to that of the Van Eycka. The landscape was an important 
accessory in bis works. He is probably the Gerard van 
Ghent who contributed, with Memling, to the miniatures of 
the celebrated Missal in the Library of St. Mark at Venice 
The majority of his pictures were destroyed by the icono^ 
clasta of the 16th century, during the religious disturb- 
ances in the Netherlands. 

Gerard had a brother, Jan Vander Meire, who died at 
Nevers in 1471* 



P^^—^i^*"«^» 



No. 264. A Count of HBSNEaAtx with his patbon saint, 
Ahbbose. The count is represented as a Carmelite monk 
praying, in bishop's robes, with the crosier on his ann, and 
a richly ornamented mitre by his side. On the front c£ the 
mitre is embroidered the Crucifixion, with the Virgin and 
St» John by the side of the cross. Behind the kneeling figure 
is the Saint, in a richly-embroidered stole, and wearing the 
bishop's mitre, holding a cross in his left hand, and a scourge 
in his right. The execution of the costume, jewellery, &c., is 
extremely elaborate. Small figures, half-length. 

•Busscher, Notice sur VAncienne Corporation des Peintres et Sctdpteurs 
a Gand, 8yo, Brussels, 1853 ; Passavaat, Kunstreise durch England und 
Belgien, ^c. ,- Bathgeber, Annalen der Niederldndischen Makrei; Michiels, His- 
toire de ut Peinture Flamande et HoUandaise, 



YAKOER HVSSL, A. 23ft 

On wood, 2 ft. 4Jin. A. by 9 in, w. 

Purchased for the National Gallery with other pictures in the 
Collection from Herr Kriiger of Minden, in 1854, 



^I0^i00>*^^0m00^00i^mtm0t0'i0i0immm0**0i0*0mt^i0mmfi* 



VANDER NEEE, A. 

Aart pr Arthur Vastpsir Nebr was born probably at 
Gorinchem^ about 1613 or 1619: the exact date is not 
known ; nor is it known under what painter or painters he 
studied. He lived chiefly at Amaterdam ; but at the close of 
his life he appears to have resided at Botterdam, where he 
was still living in 1691.* 

Aart Vander Neer excelled in moonlight scenes. He was 
the father of Eglon Vander Neer. 

No. 192- A Lakbscape, with I^igures and Cattle ; 
Evening. A country-house is seen in the middle-ground ; 
beyond it to the right is a view of a town : shipping in the 
distanoe. The figures were painted by Cuyp, whose name is 
inscribed on the pail. 



^ •Oi 



Engraved in the. Galerie de Lucien Bonaparte* On canvas, 
3 ft. 11 in. h. hy 6 ft, S^in. w. 

Formerly in the collections of M.Erard, and Lucien Buonaparte. 
Bequeathed to the National Gallery by Lord Farnborough, in 1838. 
Signed with the painter's monogram, a. v. j>. n. 




No. 439. EiVEK Scene by Moonlight, with Shipping. 
On the left a town ; the moon rising in the middle-distance. 
Low-water. 

On wood, 1 ft. A. by 1 ft. 6^ in w. Formeriy in the collection 
of R. Heathcote, Esq., sold in 1805. Bequeathed to the National 
Gallery, in 1854, by Lord Colborne. Signed with the painter's 
monogram. 



* Van Eynden anfl Vander WiUigen, Geschkdenis det Vader^andscht 
Schilderkunstj 8fc. ; Immerzeel, Levens en Werken, jrc 



240 VANDER WETDEN. 

VANDER WEYDEN. 

Roger Vander Weyden the elder, called by Vasari Rug^ 
gieH da Bruggia, and Rogeriua Oallicus by Fadus,* was 
a native of Brussels, where he was born at the close of the 
fourteenth century : he was already a painter of reputation 
as early as l^SO. Roger is considered the most able of the 
scholars of the Van Eycks, whose style he carried to Brus- 
sels and even to Italy ; he was appointed painter to the 
city of Brussels in 1436, and in 1449 he visited Italy, and 
was present at Rome at the celebration of the jubilee in 
1450. He died at Brussels, June 16th, 1464, aged upwards 
of sixty, and was buried in the church of Saint Gudule. 

Vander Weyden, says Van Mander, greatly reformed the 
Flemish style of design ; he was a great master of expres- 
sion, and though his outline is generally harder than John 
Van Eyck's, his heads are often much softer ^in their charac- 
ter. He painted in distemper and in oil, and was the first 
to paint on fixed canvases for the decoration of rooms^ and 
appears also to have been the first to prefer linen cloth to 
wood, to paint upon.f 



No. 664. The Deposition in the Tomb : Joseph of 
Arimathaea, St. John, the Virgin Mary, &c. Composition 
of eight small figures in a landscape ; woody distance. 

In tempera on linen, 2 ft. 10 in. A. by 2 ft. 4 in. w. 
Purchased in Milan from the representatives of the Guicciardi 
familj, in 1860. 



«Mi«K^.w»i<»«y>«» n »««tf*«i « «4»*«<i»»<wM»iw«m.<^ 



VANDEE WEYDEN. 



Roger Vander Weyden the younger, probably the 
son or grandson of the elder painter of that name, was 
born at Brussels about 1450, and died of the Suette at 
Antwerp in 1529. He was a member of the Academy 



* De viris iUustribus, &c., Elor. 1745, p. 48. Fadus notices (1456) some 
pictures by Roger, in the possession of Alphonso, King of Naples, on lisietif — 
** nobiles in linteis pictnra;,'* such probably as the present example is painted 
on. 

fVan Mander, Het Sckilder Both, &c. ; Passayant, KunsibJatt^ 1843; 
Michiels, Le8 Peintres Brugeois, 1846 ; Waagen, Handbook of Painting^ 
1860. 



YAHPfiYELDE. 241 

of Antwerp^ but the cmmmstonoes of his life are not 
known.* _«.^ 

No. 653. POBTRAITS OF HIMSELF AND WiFE ; the 

painter wearing a red turban, his wiie with a white cloth 
on her head. Busts, life size. 

On wood, each panel 16 in. A. bj 11 in. w. 

Na C54> Th£ Magdalen, in a green dress, and gold 
brocaded petticoat, seated, reading a book ; before her on 
the floor is a small vase. Entire small figure. 

On wood, 2 ft. h. by 1 ft. 8^ in. w. 

Both pictures purchased at Paris from M. Edmond Beaucousin^ 
in 1860. 

VANDEVELDE. 

William or Willbm Vandeyeldb the younger, a dis- 
tinguished Dutch marine pointer, was the son of the elder 
WilKam Yanderelde, and was bom at Amsterdam in 1633 ; 
he was instructed by his father, and by a marine painter of 
the name of Simon de Vlieger. Both the Vandeveldes were 
established in England in the service of Charles IL in 1675. 
They were each granted a pension of 100/. per annum by 
the King ; the father *' for taking and making draughts of 
sea-fights," and the son '^ for putting the said draughts into 
colours."t These painters lived at Greenwich, where the 
father died in 1693t aged 83 ; the son died in London in 
1707. 

'* William Vandevelde, the son," says Walpole,t " was the 
greatest man that has appeared in this branch of painting ; 
the palm is not less disputed with llaphael for history, than 
with Vandevelde for seit-pieces.*' 

\ 

Ko. 149. A Calm at Sea. 

On wood, 8 in. A. by 11 in. w. Signed — 

w.v.v. 

No. 150. A Fbesh Gale at Sea. 

On canvas, 9 in. A. by 13 in. w. Signed — 

w.v.v. 

Bequeathed to the National Gallery, in 1838, by Lord Farn- 
borough. 

* Van Mander, Het Leven der Schilders, &c. 

t The " Draughts " alluded to, of the elder Vandevelde, were generally drairn 
on prepared canvas, in pen-and-ink. 
I Anecdote* of Painting. 

Q 



J42 »' VAKBTCK* 



. I 



"A' 



VANDYCK. 

Antony Vandyck was-bcwm at Antwerp, March 22, 1599. 
His father, Frans Vtod^ek, wto n merohant in ihitcity, and 
Antony was the eeyenth of a family of twelve ; his mother, 
Maria Cupers, died when he was only eight- years old, 
in 1607. He became the pupil of Hendrik Van Balen 'so 
^atly as 1609 ; but Yandypk s great instructor was Kub^s, 
with whom he l^v6d about four years. He was still actii^gf 
as Rubens 's assistant in 1620, although he had been admitted 
a master of the Antwerp Corporation • of Painters early in 
the year 1618, before* his twentieth birthday;* Having 
attained sufficient proficiency as a painter, he, by the ad* 
rice of Rubens, visited Italy in 1623;^ he spent about five 
years in that country,- dividing his time between Genoa, 
Venice, and Rome;- Itt paid also •a'^'riidst visit taPaiBrmo. 
Shortly after his return to Antwerp,, in 1628, he pakited k 
pictuTve of &t. Augustin, for the chrureh of the Augnatines of 
that city, ^vhicfa established his celelnfity as one c^ the £rat' 
masters of his a^e; this was followed by a still more cele-»' 
lM*ated work, the Cifucifixibn, for the ohurch of iSL Michael 
at Grhent; and, he soon acquired an unrivalled reputation, as 
a portrait*painter. • i • - • t : 

About the year 1680-31, Vandyck appears to have visited 
England, but not meeting with that reception which he had* 
anticipated, he returned after a short time to his 'Own country: 
he had already visited England before, in 1621, previous to 
hisjournfey to Italy. t In 1632, however, Charfes I., who had 
:^en a portrait of Nicolas Laniere, bis chapel-niaster, by 
Yandyck, sent an express invitation to the painter to come 
to England, and, on this occasion, he was ^ most' courteously 
received. He was lodged 'by the king at Plackfriars, was 
knighted in the following yeai*, and was granted a pension 
of 200/. per annum for life, with the title of' painter to his 
Majesty." Vandyck settled for the remainder of his life in 
England, where his very successful career as a portrait-painter 
enabled him to live'in great style. He had a country house 
at Eltham, in Kent, where he spent a portion of the summer ; 
he kept great state when in town, " he always went magni- 
ficently dressed, had a numerous and gallant equipage, and 



* Catalogue du Mus^e cTAnvers, 1857. 

t See W. Carpenter, Memoir of Sir Anthony Vandyth, jv. Lundon, 1S44* 



kept so good a table in kis apcirtinent, that few princos were 
more visited or better served/'* 

Vandyck died in London, December 9, 1641, in the fortjr- 
third year of his ago : and was buried in the old church of 
St. Paul, near the tomb of John of Gaunt. He left a daughter, 
his only child, by his wife Mary Ruthven, grand-daughter 
,of the unfortunate Lord Ruthven^ Earl of Gowrie. Not- 
withstanding his expensive style of living, Vaadyck left pro- 
perty to. the value of about 20,000/. sterling. f Of the 
-numerous portraits' executed by this painter the best are in 
«Enghind ; there are iilso several etchings by his hamd.^ 



No. 49. Th£ Pom^&AiT of Rubens^ faalf4ength, stand- 
ing, his left arm leaning o^:a table ;'tO tbe rigbt are piirts of 
'two otixer figures, pointing to a piece -of sciilpture. 

' Engraved by J. H. Robinson, fdr the Aisociated Engrai)£rs ; and 
by W. Holl, for Jones's National Gallery, On canvas, 3 ft. 9 in. 

.each way. 

Formerly in .(be. possession of Sir Joshua Roynolde, by whom 
the picture was much prized. It passed subsequently into the 

^ngerstein collection, with which it was purchased in 1824. 

* 

No. 50. The Empekob THEobosros REFUSED ADMISSION 
INTO THE Chubch BY St. Ambrqse. The Emperor Theo- 
dosiusy after the massacre of Thessalonica in the year 390, was 
.placed under tbe ban pf the Church, ^nd on his attempting 
lifter wards to enter the Cathedral of Milan he was repulsed at 
the door by the Archbishop Ambrose, § Composition of, in 
all, eleven, but only four principal figures. 

Engraved hy R. W. Sievier ; by J. H* Robinson, for the As- 
sociated Engravers; and by S.' Freeman, for Jones's National 
GaU^y. On canvas, 4 ft. 10 in. A; by 3 ft. 9 in*, w. 

Co{>ied, with slight alterations, fnom the original picture by 
Rubens, in the Imperial Gallery at Vienna, of which there js .a 
large print by J. M. Schmutzer. This picture was formerly in the 
possession of the Earls of Scarborough, from whom it passed into 
jfchat of Mr. Angerstein, and was purchased by Parliament for the 
.nation, with the rest of that gentleman's pictures, in 1824. 



* Graham, Essay towards an English School, at the end of the Translation 
^f De Piles. London, 1 706. 

t Houbraken, Groote Schouhurg, ffc, ; Bellori, Vtte de* Pittori, Sfc, ; Des- 
vcamps, La Vie des Peintres Flamands, j-c. ; Walpole, Anecdotes of Painting 
in England, ^c. ; W. Carpenter, Memoir of Vandyck, 

. \ See the Catalogue m Carpenter's Memoir, ^c. For a list of his pictures, 
^ee Smith's Catalogue Haisonne, Sfc. 

§ Gibbon, Decline and Fall, c »im 

Q S 



*' No. 52. Portrait of a Gentleman, commonly called 
Gevartius. It has been generally supposed to represent 
Caspar Gevaerts, or Gevartius, the intimate friend of Eubens.* 
Bust, 

Eograved by Sievier ; by T. Woolnoth; by G. T. Doo, R.A., for 
the Associated Engravers ; and by J. Rogers, for Jones's National 
Gallert/, On wood,*}" 2 ft. 7 in. h, by 2 ft. 2 in. w. 

Formerly in the Angerstein collection. Purchased by Parlia- 
ment for the nation in 1824. 

No. 156. A Study op Horses. In the upper part of 
the picture is the sketch of a zephyr's head. The painter 
intended to represent in this study the horses of Achilles, 
Xanthus and Balius^ the offspring of Zephyr. J Equi Achillis, 
and some other words now illegible, arc written on a scroll 
in the lower comer of the picture to the left. 

On wood, 3 ft. 6 in. A. by 2 ft. 1 1 in. w. 

Formerly in the Delm^ coUeclion ; afterwards in that of Sir 
Joshua Reynolds. Bequeathed to the National Gallery, in 1838^ 
by Lord Farnborough. 

No. 680. The Miraculous Draught of Fishes, 
Composition of eleven small figures, with two boats. 

'* Cast the net on the right side of the ship, and ye shall find. They cast 
therefore, and now they wcjre not able to draw it for the maltitude of fishes." — 
John xxi. 6. 

" And Jesus said unto Simon^ Fear not } firom henoeforih thou shalt catch 
men.*' — Luke v. 10. 

On paper, 1 ft. 9| in. h, by 2 ft. 9J in. w. Engraved the same 
size by S. Bolswert. 

Painted by Vandyck from the large picture by Rubens at 
Mechlin, for the engraver Bolswert to work from. Bought from 
the Cav. Baffaele Carelli at Naples in 1861. 

VELA'ZQUEZ. 

Don Diego Vela'zqtjez de Silva§ was bom at Seville 
in the spring of 1599, and studied painting first under Fran- 

♦ Caspar Gevartius was horn in 1593 ; and if the picture represents this 
person, it cannot have been painted by Vandyck, as the age of the original when 
this portrait was taken must have been about sixty. The Canon John 
Gevartius died in 1623, when Vandyck was quite a young man, and in Italy. 
See Waagen Kunstioerke und Kiinstler in England. According to some 
writers, ^e picture represents Cornelius Vander Geest, an amateur of the 
arts and intimate friend of Rubens. See Ballaway, vol. ii. p. 186, note. 

t The head, which is painted upon some other material and fixed upon 
or in the wood, is supposed by some critics to have been painted by Kubens, and 
the dress only by Vandyck. See Fassavant, Kunstreise, j^c, and Waagen, /. L 

t Homer, 77. xvi. 146. 
' § Or, as Cean Bermudez says, more correctly, Don Diego Bodriguez de 
Silvay Velazquez : his father's name was Juan Bodriguez de Silva, his mother'^ 
Qeronima Velazquez. 



VEIiAZQUEZ, 245 

CISCO Herrera the elder. He left this master to enter the 
scliool of Pacheco, whose daughter he afterwards married. 

In 1622, Velazquez paid a visit to Madrid ; in the follow- 
ing year he was invited to return to the capital by the Duke 
of Olivarcs, who introduced the young painter to Philip IV., 
and from this time Velazquez was established as a royal 
favourite : he was appointed court painter to the king. It 
was in this year, 1623, that he painted a portrait sketch of 
our Charles I. when Prince of Wales. 

In the summer of 1629, Velazquez made his first visit to 
Italy : he spent a year in Rome, and some time in Naples, 
where he contracted a friendship with his countryman Spag- 
noletto: he returned in 1631 to Madrid, and was presented 
by Philip IV. with a painting-room in the royal palace. At 
the close of the year 1648, the king sent him again to Italy to 
purchase works of art for him, and it wild on this occasion that 
Velazquez painted his celebrated portraitof Pope Innocent X., 
now in the Doria Gallery at Rome. After his return, the 
King created him his Aposentador Mayor* and decorated 
him with the Cross of St. lago. This post rendered it neces- 
aary for Velazquez to be a constant attendant on the King's 
person whenever he left the capital ; and the duties of this 
office were the immediate cause of his death ; it was, probably, 
in consequence of the exertions he made in providing the 
royal quarters on the occasion of the conference at Irun, in 
June 1660, which led to the marriage of Louis XIV. with 
the Infanta Maria Teresa, that he was taken ill a few days 
after his return to Madrid; he returned July 31, and died 
on the 7th of August following, in the sixty-second year of 
his age. He was buried with great pomp in the church of 
St. Juan, and his wife followed him to the grave seven days 
afterwards."!" 

Velazquez, though eminent in history, portrait, and land- 
scape, belonged, like most of the painters of Spain, to the 
*' naturalist '* school : the Aguadovy or water-carrier, is a cele- 
brated picture of his early manner. His style of execution bears 
much resemblance to that of his countryman Ribera, but he is 
much more extensive in his range of subjects. His greatest 

* It was the duty of the Aposentador Mayor (Quarter-master) to superintend 
the personal lodgment of the Kmg during excursions. 

t Cean Bermudez, Dicdonario Historico de hs mas tlustres profesores de las 
Belhs Artes en Espana. There is a critical account of Velazquez in the Penny 
Cyclop{Bdia, by Bichard Ford. See also Cumberland's Anecdotes, ^c. 



94@: YEKEZIAHfO. 

"^orks are still at Madrid, where alone he can be adequately^ 
appreciated. He had such mastery in execution, says Mengs, 
alluding particularly to his picture of The Women Spin- 
ning, Las Hilanderas* that he appears to have painted with. 
His will only without the aid of his hand.f The works of 
Velazquez consist chiiefly of portraits, among the most cele- 
brated of which is one of himself painting the Infanta Mar- 
garita Maria, afterwards Empress of Germany4 



, .No. 197- PfliLip IV, OF Spain hunting the y^ihjy 
BoAK. The hunt is liking place in an enclosed piece o£ 
ground, in the front of which are many spectators; hills and. 
u)liage occupy the baok-grounA Numerous Qmall figure^. 

,On canvas, 6 ft, 2 in* h, by 10 ft. 3 in. w. 

Formerly in the royal palace at Madrid, until it was presented' 
%j Ferdinand VII. to the late Lord Cowley, of whom it was* 
porcfaftsed for the National Gallery, in 1846. 

^*Nd. 232. The Nativitt, or Adoration op tub 
$HEPHERDS, commonly called «The Manger" — the* 
Presepio of the Italians. The Holy Family is in the stall 
on the left, the infant Christ lying in the manger near the 
head oi the ox; th^ Virgin is uncovering him; on the rights 
are the adoring shepherds bringing presents acoording ta their 
ipeans, — lamb^, fowls, &c. In the diatanoe is 'seen tiie guidr 
ing angel as the star of the Epiphany. Nine figures of the; 
na4;ural size. 

On Qanvas, 7 ft. 7 in. h. by 5 ft. Sin.w. 

This picture was purchased for Louis Philippe, late King of the. 
French, by Baron Taylor, from the Count D Aguilar, in whose' 
family it had remained from the time of its being painted. It is' 
an early work, in the simple naturalistic ^manner of the painter, 
in the style of Spagnoletto« It was purchased for the I{ational 
Gallery at the sale of Louis Philippe's collection in London, in 1853. 



^0^<^0*mm^0i^0i0mmm^0>0i0¥00m^0i^mmm00^m0i0^<^^m 



VENEZIA'NO. 

. Bartolommeo Venezia'no, a Venetian painter of the- 
sixteenth century, by "whom three pictures only, at 
present, are known: — A Virgin and Child, with a land- 

. ♦ Engrav«Ni by F. Montanes. 
t In his letter to Ponz ; it is quoted by Cean Bermadez, Diccionario, Sfc, 
V. 177. 

% This is the picture kuown, from the exclamation of Lnca Giordano, aaZa^ 
Teologia de la Pintura : there is .a Spanish print of it by D. Francisco de Goya : 
It is engraved also by P. Audouin. 



- VXRMKT. r 2^ 

scapQ background, m tl& YDIa Loolils,* instnibed Bartdgr 
mcBua VenetuB 1505 ; a female portrait, formerly in the 
Manfrim Gallery at Vetuoe,t inscribed with thesaioe name, 
and dated IdSO ; aad tbe male portrait, nov in this col^ 
lectioH, also of tbe year 1530, and inacribed as bdow. 



No. Z87- FoRTRAii Of Jl YbUNQ Han. Lodovictf 
Martinengo, in a red mantle 
and cap, the latter ; wiUi a 

white oBtrich feather in ifcj the 
costume of the Compagaia 
della Calza. Tlic right hand 
is raised and holding a glove ; 
in the background is a green 
curtain. Ibe picture is in- 
scribed on a white scroll — 
LdDOVICDM MaKTI. JITATIS 

su.fi Anno XXVL Barto- 
LOM. Venetus faciebat 
MDXXX ivi. ZUN. Half- 
^guTe, life sdze. , 

On wood, 3 ft. 5J in. A. by 
2 ft. 4 in. «7. 

Purchased, foa: the National 
Galto-yjifl Venice, of the heir 
of the Conte Girolamo Marti- 
neggo, in"18S5^ < 



VERNET. 
Clattde Joseph Veenbt, one of' the most celebrated of 
the Trench landscape and marine painterB, was born at" 
Avifnon, August 14,1714. He was instructed by his father 
Antoine Vernet, and Adrian Manglard, a landscape painter. 
He went in 1732 to Italy, with a view of improving himself 
in historical painting; but the beautiful scenery of Genoa 
and Naples induced him to devote himself entirely to marine 
landscape. He remained in Italy, altogether, including a 
diort visit to Greece, about twenty years, during a conaider-' 
able portion of which be was in a state of great poverty; a 
picture was sold at the srde of M. de Julienne-for 5,000 francs. 



248 VERON£B]^ P. 

which Yemet had painted for a single suit of clothes. In 
1762 he was invited by Louis XV., through M, de Marigny, 
to Paris : he was elected a member of the French Academy 
of Arts in the following year. It was in this year also^ 1753, 
that he was commbsioned by the French Government to paint 
his celebrated pictures of the sea-ports of France. He 
painted in all fifteen views/ which occupied him the greater 
part of ten years : he received for each picture, including his 
travelling expenses, only 7,500 francs; the king, however, 
gave him apartments in the Louvre. 

Vemet died at Paris Dec. 3. 1789 : he was the grandfather 

of the eminent painter, M. Horace Yemet*!* 

■ ■ ■ ■ • i » 

No. 236. Castle of Sant'Angelo, Bome, with the 
Bridge of Sant'Angelo and neighbouring buildings, and a 
fSte on the Tiber, representing tilting in boats, and other 
festivities. Numerous small figures. 

On .canvas, 3 ft. 3 in. h, by 4 ft. 75^ in. w. Engraved by P. J. 
Duret. 

Painted at Eome in 1750. Formerly in the collection of the 
Marquis de VlUette. Presented to the National Gallery by Lady 
Simpkinson, in 1863. 



Joseph S^ern^t- jf. 



m»»**»9 *» f» a » »* t*»a0»» »» l>m0»,*titmm»* 



VERONE'SE, PA'OLO. 

Pa'olo Caliajbi, or Ca'gliabi, commonly called from 
liis birthplace Paolo Veronese, was bom at Verona in 1528,{ 
and was taught the rudiments of design by his father, Gabriele 
Caliari, who was a sculptor; he learnt painting of his uncle, 
Antonio Badile. After executing several works at Verona, 
Mantua, and other places in the neighbourhood, by which he 
acquired considerable reputation, Paolo established himself 
in Venice, where he ultimately became the rival of Titian, 
Tintoretto, and other great masters of the Venetian schooL 

* They are engraved by Le Bqs, and are now in the Louyre. 

f Gault de Saint Germain, Les trots Siecles de la Peinture en France, Paris, 
1808 ; Les Ports de France, peints par Joseph Vemet, ^c, Paris^ 1312 ;^ 
Biographie Universdle, 

% According to Zaaetti s Ridolfi Bays 1532. 



VKBONXSEy P. 249 

After a fe\r years' residence in Venice, he visited Borne about 
1563, in the suite of Girolamo Ghrimani, Venetian ambassador 
to the papal court. Some time after his return he was 
invited bj Philip II. to Spain to assist in the decollations of 
the Escurial ; but be declined the invitation, on account of 
his numerous engagements at Venice. This great painter 
died at Venice^ April 20^ 1588. He was buried in the 
church of San Sebastiano, in which he had executed some 
of his most celebrated works, and a monument was there 
dedicated to his memory by his two sons. Carlo and Gabriele, 
and his brother Benedetto: they all followed the profession 
of Paolo, and, with Battista Zelotti, were his principal scholars 
and imitators. His brother, Benedetto Caliari, is said to 
have executed the magnificent architectural back-grounds, 
for which some of the pictures of this master are so con« 
spicuous. '^ Paolo Veronese," says Count Algarotti, '*was 
the creator, as it were, of a new manner. Though careless 
in design, and in costume extremely licentious, he had a 
most noble fancy, and the utmost fertility of invention. 
It is difficult to look upon his magnificent pictures without 
longing to be a party in the scene ; and it may justly be 
said of him, that even his faults are pleasing."* One of the 
most celebrated works of this painter is the magnificent 
picture of the " Marriage at Cana," now in the Louvre : 
this great work contains about 120 figures or heads, com- 
prising portraits of many of the most distinguished per- 
sons of the time at Venice, not omitting its most eminent 
painters."!" 



No. 26. The Consecration op St. Nicholas, Bishop 
of Myra, in Syria, in the fourth century. The sdnt, sur- 
rounded by ecclesiastics and other persons, is kneeling before 
the altar of a church, and is consecrated by a bishop : an 
angel brings him the mitre and crozier from above. Com- 
position of ten figures of the natural size. 

Engraved by E. Golding, for the Associated Engravers ; and 
by H. C. Shenton, for Jones's National Gallery* On canvas, 
9 ft. 5 in. A. by 5 ft. 9 in. w. 



^ "In quibusdam virtutes non habent gratiam, in quibusdam yitia ipsa 
delectant" Quintilian, InsU Oratur, xi. 3. Algarottii Saggio sopra la Pittitra 
OperSf Yenice, 1791 . 

t It is engraved by J. B. VannL Ridolfi, Le Maraviglie dfiW Arte, jfc. 
Bal Pozzo, Vite d^ Fittori Vermesi, |rc. ; Zanettiy Delh Pittura VeneziaTw, 
jfc; Laozi, Storia Pittorica^ f^e. 



8fQ .T|»KMESE^P. 

:; Formerly in tbe.eUfirch' of S^ri Niecolo il6* Frari at Vemo^ 

Presented to the Natio^ial Galleiy, in 1826, by the Governors o( 
the British Institution. 

No.'#7fii TaB KAPHi OF EtJEOPA, JupHer, enimoured 
of Europa, a Pho&motnp :princ^ss, transfotm^d himdelf into a 
white bull, and mingled witl; her father's herds i the princessj 
ptruck bv the beauty sand gentle nature of the beast/ venture4 
to seat herself upon his back, when the animal walked with 
her to the sea, and plunging In," swam with her to the island 
of Crete.* Europa has just seated lierself upon the bull, 
who kndels to receiTC her; her attendant women are ar- 
ranging her dress. She is again I'epre^ented in the middle- 
ground abotitto: enter the feea, etoA in the extueme distanced 
the bull is swimming :with her towards -the kland. 

I Engraved by T. Le Febvre ; also by De Ltiuiiajr in ^e "Galerie 
du Palais, BoyjoU; ujjd hy H. FerneMjfqr Jwiesi iVa<«>«^ Gal^ 
lev I/, .On canvas, 1 ft. 1 1 in./t, by 2 ft. 3 in.,i&. . 

This is the finished study of a large picture now m the Imperial 
Gallery at Vienna ; 'it is also very similar in composition to tliQ 
Baagnificent picture of the same subject by this painter in the 
ducal palace at Venice. This sketch was fbroierly in il^ Orleans 
^Uecti^, and subsequetitly in that of tl^^ Bey* W. JI. Carri 
who bequeathed it, with the rest of his pictureg^, to the National 
Gallery, in 1831. ; ' . 

: No. £418. The Apobatioi^ of'the Magi, or the Wlsb 

■A 

-:"■ And Joseph 4ilsd wait «p from ^afil«e/'^^$to be tai««a ^4i Mary, his 
^^poused wife.' 

" And she brought forth her first-bom son, and wrapped him in swaddling 
clothes, and laid him m a manger i because there i^as no^room for them in the 
inn." — Luke ii. 4, 7. 

" Now when Jesus was bom in Bethlehem of Judsea, there came Wise Men 
from the East." "And when they were come into the house they saw the young 

Slid wkh^Mary hk mother, and. fell* down and worshipped him: and when 
y had opened Itieir treasmres ,th^y, pi'^^ented unto huagiHis; gold, and 
frankincense, and myrrfi.*' — Matthew iL 1, 11. 

The picture represents a ruined building of Roman archi- 
tecture, with pillars^ a portion of which is roofed with 
thatch, and has served as a stable. Under this roof, on the 
right of the spectator, is seated the Virgin, somewhat ele- 
t-ated on some loose blocks, and holding in her arms the 
Infant, who is receiving the adoration of the three Wise 
Men] the foremost is kneeling j the second is bebind him in 
the same attitude ; and on the extreme left of the spectator 
stiands the third A ray of light, with several winged 
cherubs hovering along its course, falls upon the Infant f 
■■' ■ ■ '■ — - ■■ I . 1 I I - 

* See Keightley's Mytkohgy^ ; *>, 



above is a group of Iiitfanfc Asgels. The'reiinue oltbe Magi 
lire behind, souie bearing pxeseniB, othera attending to thei): 
horses and camel. Sonie peasants are looking down from 
the ruins on the Divine In&nt ; another figure is ^een oi^ 
the right with aoine dog9« On the same side are the on 
and the ass; sp[me.youjj^ lambs pleused below the. Infants 
appear to be a sheph^rd'i^ offering. The upper part, of th0 
back-ground, on the left, is formed by a stately arehway, 
through which a^re s^n distant mountains. Belo?v, near 
the right comer, is the date 15V3* Composition of sixteen 
f^^ores, life size. 

, Engraved by Cario Saochi^ 1640^ jOa canvas,, lift. 7 in. hi 
by 10 ft. 7 in. «?• . 

Painted in 1^73^ and originally placed in thcipb^roh of Sai) 
Silvestro, in Venice. This church hay ing» about twenty years since, 
required extensive repairs, the numerous pictures which it con-» 
tained, comprising works by Tintoret, the- Last Supper by Palma 
Vecchio, and the Adoration of the Magi, above described, were, iii 
1837, removed from the* waUs. The intention was to replace 
these works when the repairs of the building idiould be completed ; 
but it seems that in the course of restoration the internal 
design of the .church was so much changed that not one of the 
larger pictures could be fitted to the new altars, and compart*^ 
ments. After much delay, a Papal decree, together with an 
ord^ from the local authorities, was obtained for their sale.: 
la . Augui^t, 1855, they became the property of Signer Ang^o 
Toffoli, of Venice, from whom, in November, 1855, the Paolo 
YenMiese was purchased for the National Collection. This 
picture is paartioalarlj mentioned in most of the guide books an^ 
descriptions of Venice that, have been pubHshed for the last two 
centuries. From the fpHqwin^^pas^gge, in the often reprinted 
** Forastieto Illuminato <Jel}a Qitta di Vepezia," it would appear 
that so lately as 1792 it was the- most attractive picture in the 
dhnj^cb of San Silveslro : — * • Many we the pictures (in this <^ureh) 
by Tintoretto, by scholars of Titian, by Palma Vecchio, 'by, 
Antonio Bellucci^ by Carlo Lotto, by Girolamo da Santa Crocij,, 
&c. But among them all the famous Adoration of the Magi by 
Paolo Veronese, which has been engraved by Carlo Sacchi, deserves^ 
especial attention." Giomata guarta^ p, 277. £d. 1702.* Paolo 
Veronese often treated this subject; the picture in Santa Co- 
rona at Vicenza most resembles the composition above described* 
A copy of a portion of thig composition at Hampton Court, 
attributed to Carlo Cagliari, was engraved by Gribelin in, 1712. 



* For other notices of this picture the reader is referred to Ridolfi, Le Mara-. 
vigUe delVArtCf 1648, p. 302, where it is spoken of in the highest terms; tc^ 
Saasovino, Venetia Citid Nobilissima, &c., 1581, p. 65 ; to Boschini, Ricehe 
Minere, p. 253, Ed. 1664, p. 269, Ed. 1733, where it is called the ** Eamosis-. 
aimo Quadro;" and to Zanetti, DeUa Pittura Veneziana^ 1771, p* 185. L%. 
Taootis modem ^des it is eqiuiUy ^tolled* 



252 VIXCI, L. BA, 

No. 294. The Family of Darius at the Feet op 
Alexander, after the battle of Issus, B.C. 333. The royal 
captives having mistaken Hephsestion for Alexander, thfe 
queen mother Sisygambis implores pardon of the conqueror, 
who, pointing to his friend, tells her she has not erred, for 
that Hephsestion is another Alexander. The elder of the 
two daughters, Statira, kneeling immediately behind her 
mother, became the wife of Alexander ; she was, however, 
subsequently put to death by Perdiccas, through the insti- 
gation of Hoxana, the second Persian wife of Alexander. 
The captive family, presented to the king by one of the 
ministers of Darius, is kneeling in the centre of the picture, 
Alexander and his generals Hephsestion and Parmenib, 
being on the spectator's right. In the back-ground is a 
marble arcade, from the top of which many specfcators are 
looking down. The principal figures are portraits of the 
Fisani family.* 

On canvas, 7 ft* 8^ in. A. by 15 ft. 6^ in. tr. 
; There is an inferior print by N. R, Cochin in the TahelUt 
selectee of C. C Patina, folio, Padua, 1691 ; in which work this 
picture is described as the most celebrated of all the works of 
Paul Veronese.f 

Painted for an ancestor of the Count Pisani. D'Argenyille^ 
states, on the authority of the Procuratore Pisani of his time, that 
Paul Veronese, having been detained by some accidental ciraum* 
stance at the Pisani villa at Este, painted this work there, and 
leaving it in his room, afterwards informed the family that he had 
left wherewithal to defray the expense of his entertainment. 

Purchased at Venice of the Count Vittore Pisani, in 1857* 



<M«>I>WW««I«KN«I»»»»>«MXIW»WI«>I>««W».». W .».<»«. 



VINCI, L. DA. 
Leona'bdo ba Vinci was born at Vinci, in the Val 
d'Arno, below Florence, in 1452. His father, Pietro da 

* The foUoTeing descriplioii is frova. the manuscript notes of Kamohr, author 
of the ludienische Forachungen, o^n quoted in this catalogue : — *^ The celebrated 
picture of the wife of Darius mistaking Hephsestion for Alexander. In excel- 
lent condition ; perhaps the only existing criterion by which to estimate the 
genuine original colouring of Paul Veronese. It is remarkable how entirely 
the genius of the painter precludes criticism on the quaintness of the treatment. 
Both the incident and the personages are, as in a Spanish play, romantically 
trayestied. The princesses with laced boddices and fUll Venetian gowns^ hare, 
nevertheless, a charming and becoming appearance, while the male figures, in 
their picturesque attire, look chivalrous, refined, and noble. The treatment of 
colour, especially in the flesh, and the excellence of the execution, are such as 
to render us almost unjust to other great colourists. In the presence of this 
work we forget for a time all other productions in painting," 

j- Inter eximia Pauli Veronensis opera, illud precipue apud venetos Procere 
Pisanos emicat, in quo Alexander Magnus prostratas matrem uxorem et liberos 
Darii benignissime excipiens exprimitur. 

% Abrigidtla Vie detplus/ameuxPeinires, fl-c. Pails, 1745, ToL 1, p, 1B2. 



Vinci, was a notary, and in 1484 notary to the Signory of 
Florence. Leonardo was placed early with Andrea Veroo- 
chio, a Florentine painter and sculptor, who, finding after a 
short time that he was surpassed by his pupil in painting, 
gave up the art in despair, and thenceforth confined himself 
to sculpture, in which he attained great eminence. 

Although Leonardo was completely devoted to painting, 
his insatiable desire of knowledge led him to the study ol 
many other subjects : he excelled in sculpture^ architecture, 
engineering, and mechanics generally ; botany, anatomy, 
mathematics, and astronomy; he was also a poet, and an 
admirable extempore performer on the lyre. The letter 
which he addressed to Lodovico il Moro about the year 1483j 
ofiering his services to that prince, gives an extraordinary 
picture of the acquirements of one man: this memorable 
letter contains the following passage : — " I will also under- 
take any work in sculpture ; in marble, in bronze, or in terra- 
cotta : likewise in painting, I can do what can be done, ae 
well as any man, be he who he may.'* The duke took 
Leonardo into his service, with a salary of 500 scudi per 
annum* In 1485 he established an academy of arts at 
Milan, which eventually had great influence on the develop^ 
ment of painting in Lombardy. About ten years afterwards 
he executed his celebrated picture of the ** Last Supper ;'* 
it was painted in oil on the waU in the refectory of the 
Dominican convent of the Madomia delle Grazie, and was 
generally considered the greatest work that had appeared up 
to that time in painting ; he thus more than warranted the 
bold assertion in his letter, quoted above.* This was the last 
work of importance executed by Leonardo at Milan, which 
he left in 1499, when the Duke Lodovico fled before 
Charles XII. of France. He returned to Florence, where 
he was well received by the Gonfaloniere Soderlni, who took 
him into state employ at a fixed salary. He was commis- 
sioned by Soderini, in 1503, to paint one of the ends of the 
council-hall of the Palazzo Vecchlo. The celebrated cartoon 
of " The Battle of the Standard " was the result of this com- 

* This great work, owing either to the injudicious selection of materials, or 
tKe unfit state of the wall, was already half obliterated within about half a 
century from the time when it was painted. It has been engraved by Frey, 
Morghen, Wagner, and A. L. Dick ; there are also several copies of it extant, the 
most valuable is that by Marco d* Oggione, now in the Boyal Academy of Arts, 
in London. See Bossi, Del Cenacolo di Leonardo da Vinci i Goethe, Pro^ 
pylaeen; and the Author's Epochs of Painting, ch. xvi. 



^4 -vm&y L. ;da. 

mission, but thepaintitig wa^iieir^r-ecmiplet^. The to^eall^ 
•** Gartoon of Pisft/ by Miehehngeloi iras designed for the 
>iO{^posit^ end of the sftadO' apartment^: The subject of lieo- 
mfirdo^e cafstoon wflftihe defeat o£ the Milanese under Nioolo 
Pieinino, by the Flinrentinefiy at Anghiari^ near Boi^o San 
Sepolcro.-f-- ... « • 

*' Leonitrdo, aft^ halving Tieited Milan tt^ise during his 
«econd remdence in Florence, eet out. Sept 24, 1514, for 
«Eome^ he went in the train of Giultano de' Medici^ the 
fbrother of >lieo X.,*'who introduced the painter to that Pope, 
flis reeidenoe ^n^ Rome, bowerery was Tery shorts Leo had 
'commissioned hi(n t^ execute some work in the Vatican, but 
(finding xi^^ appamtus (ot Tarniehe^, &c., and. no^ sign of 
Commencement, he eiciolainied , to his attendants — ^^Ahl this 
^an will never db'^nythiiig^hethiaaks of die end before l&e 
-beginning of his ^6rk;"^ This wimt of oouitesy, and- lik«>- 
^Sseamisufiderdt^nding wUb Miefaelatigelo, appear to- haJtre 
teade Rome Unplensffnt io:Leonflcrdo, and 'he is said to 'hsfme 
left it in disgust. He'tisited Eraneis L of France, at Pavia^ 
and entered the service of that monaj'ch with a salary of « 700 
^owns per nmium'. ^Eie ^aeeonnpanieii'Francis toFrance^ in 
Jan. 1^17, but his health waa now much enfeebled by age^ 
and he executed no new work in France; the King could 
hot even prevail upon him to colour a cartoon of St Anne 
ttnd the .Virgin, wbifeh he had brought with him fri>m Italy. | 
&e died at Cloux, n^r Amboise, on the 2d of May 1519^ in 
Hs 67th year. II 

■ This great painter had three ditferent styles of execution. 
His earliest works were painted in the dry mlEtnner of th^ ige ; 
his second style is conspicuous for a much greater fulness of 



1 



' ' * 86& the notice of MicheUngelo in this catalogikfe. 

t There is a print of part of this design by Edelinck. Another^ in the 
"Etruria Pittrice, professes to "be more faithful to Leonardo's design. 
' f ** Oim^, eofitui non ^ pier far ntiUa, daech^ ooxnmincia a ptmsare aSa In* 
innanzi al principio dell* opera.'*— Vasari, Vita di Leonardo, 

§ This drawing is now m the Royal Academy of Arts, in London. 
- If This date is fVom an old copy of Leonardo*s will', once in the possesdioti of 
the Melzi £imily, on the back of which ^as written i-^Morse in Atnbosa 2 Mog, 
1519. Le Comte De Laborde, La Renaissance des Arts a la Cour de ^France. 
Vasari relates that Leonardo da Vinci died in the arms of Francis I^ w;B6 
happened to be with him at the time ; but this statement appears to be an 
error, for the Court was then at St Germain, and no Journey was nndertaken 
on the da^ in question. Amoretti, Memorie storicke su la Vita, gli StudJ, e le 
Opere di Leonardo da Vinci, Milan, 1804 ; Brown, The Life of Leonardo daVinei, 
ioith a critical account of his works, London, 1828; Vasari, Vite de' Pittori, ^, g 
Lomazzo, Trattato della Pittura, Milan, 1584 ; Gaye, Carteggio Inedito d'Arfisti, 
RigoUot, Catalogue de L*Oeuvre de Lionard de Vinci. Paris, 1849. 



vacif i;. DA. MS 

fiurm^ and f or mudi aix- original;. fproe* and, at IjiO'same tinier 
delicacy of light and «ahada> tht't hefinay be nbaost tenaied 
the inventor of Chiaroscuro; tbia is his Milanese style, and 
k more or les9 ^istingsiiBhes' the w^irks of the Lombard 
paintevs geherally:' most of the gentnne {nctures whioh' ard 
attributed to Leonardo belong to this seoond periods His 
third or Florentiiie style diflSend little from his Milanose, 
except that, as more mature, it exhibits greater freedom and 
power. To this period belong, his cartoons of*? St. Anne,** 
the ^ Battle, of the Standard," hi^ own portrait, now in the 
galferjr afe FlotenoO} and the odelffa/ted. '' Mosa Lisa^":iQ 4her 
•Louvre* 

Ijeonardo's principal work as a sculptor was the model of 
an equestrian statue of Prancesco Sforza, father of the Duke 
Lodovico il Moro. Thi o model w « w de stroyed by the French, 
after the departure of Lodovico from Milan, in 1499. Leo- 
nardo da Yinci was also the author of numerous treatises, 
i^any of which still exist, bat very few faa^'e been published. 
The pfriftcipal of these is the ''Treatise (m Painting," Trattato 
della BUtura, of whidi there are severar editions in se^^ral 
languages.* His principal scholars were Bernardino Luini, 
Francesco Mela, Andrea S^laino, Mttrco d^Oggione, and 



« The pmeipfa editioa of this work U thatpubliahed tiX FaHs i&.folio, .1 SSI, 
by Du Fresne ; it is illustrated with drawings hy ff icolas Poussin. The best 
as regards &e text, is that of Rome, 181-^. 

Leonardo's greatest literary distinction howeyer, says Mr. Hallam, is derivett 
** from ^ose short fragments of his unpublished writings that appeared not nmny 
rears since ; and which, according at least to our common esthniate of the age 
m whioh he lived,, are in<Hne lihe rerehrtions. of. phyocid tntbs Towhsirled to si 
single mind, than the superstructure of its reasoning upon any established basis* 
The discoveries which made GrBlileo, and Kepler, and Maesthn, and Maurolicus, 
and Castelli, and other names, ilkutrious, the system of Copenuous, the very 
theories of recent geologers, are anticipated by Da Vinci, within the compass of 
a few pages, not perhaps m the most precise language, or on the most conclusive' 
reasoning, but flo as to strike us with something like ti)e awe of p r ete r na tur al 
](nowle^ge. In en age of so much dogmatism he first laid down the grand 
principle of Bacon, that experiment and observation, must be the glides to just 
theory in the investigation of nature* If any doubt could be harboured, not as 
to the right of Xieoniurdo Da .Yinci to stand as the first name of the fii^nth 
<ientury, which is beyond all doubt, but as to his originality in so many dis- 
coveries, which probably no one man^ especially in such circumstances, has 
ever made, it must be on an hypothesis, not very untenable, that some parts of 
physical science had already attained a height which mere books do not record." 
— Introduction to the Literature of Europe, The extracts alluded to were pub- 
lished by Venturi at Fans in 1797, under the following title — '•'' Essai sur les 
Owragea PhysicO'Maihimatiques de Leonard da Vinoif aveo des Frtigmens tiris 
de ses Manuscrits apport^ de Vltalie" The MSS. in question were taken. to 
France by Napoleon, who is said to have carried these and Petrarch's * Virgil' 
to his hotel, himself not allpwing any one ^else to tou^h them, exclaiming 



256 YIYABIKL 

others: Gaudenzio Ferrari^ though not actually Leonardo's 
scholar^ was one of the principal imitators of his style. 



No. 18. Christ disputing with the Doctors, or 
Christ arguing with the Pharisees. Composition of five 
figures, hsdf length, somewhat less than the natuj^l size. 

Engraved by D. Cunego, for the Schola ItaUcOy Sfc; and by 
TV. Radcliffe, for Jones's National Gallery. On wood, 2ft. 4^ in. A. 
by 2 ft, 10in.W7. 

Formerly in the Aldobrandini apartments in the Borghese Palace 
at Rome. It is mentioned by Ramdhor, who notices the fine ex- 
pression of the head of Christ, and praises particularly the hands, 
and the drawing generally. It was imported into this country by . 
Mr. Day in 1800, and was bequeathed to the National Gallery by 
the Rev. W. H. Carr, in 1831. There are several old copies of it. 



«W«MI«MIMMM«MMMMMMMMMMIiMWMMMI 



VIVARPNI. 

Bartolomheo Yivabi^ni painted at Venice between 1459 
and 1498^ neither the precise date of his birth or death 
being known ; he was of the family of the Vivarini of 
Murano in the neighbourhood of Venice. It is recorded of 
Bartolonmieo that he painted the first oil picture that was 
exhibited in Venice ; this was in 1473. This picture is 
stiU in the Church of Santi Giovanni e Paolo. The new 
process of painting was acquired from Antonello da Messina> 
who, some years before, had learnt the method of the 
Van Eycks at Bruges.* 

Zanettif praises the colouring of Bartolommeo Vivarini, 
but remarks, at the same time, on the hard and cutting 
outline of his forms, both in his earliest and in his 
latest works, several of which are still to be seen in the 
Academy and churches of Venice, and in good preservation. 

''Questi sono miei" (these are mine). Theise MSS. were afterwards restored 
to Milan, where they are still preserved. 

An interesting collection of Leonardo's anatomical studies is preserved in 
the royal library at Windsor. They are small pen-and-ink sketches, made 
apparently about the year 1490, while attending the demonstrations of Mare- 
antonio della Torre at Favia. These studies were doubtless made as memo- 
randa for his own use only, in giving his instructions in the Milanese academy. 
Some portions of the human body, supposed in the history of anatomy not to 
have been known till a century later, are well defined in Leonardo's drawings ; 
but though careful and minute they are not always correct, and very few could 
be made serviceable to artists. A few of these sketches were pnblidied in a 
volume byChaDiberlain, with other drawings from the same coUectioD, in 1812. 

* See the notice of John Van Eyck in this catalogue. 

f Delia Pittura Venexiana, ^c. Venice, 1771. 



WEEKIX. 257 

No. 284. The Vibgin with the Child in her Abms^ 
the Child sitting upon a cushion. Behind, are standing, 
one on each side, St. Paul holding a sword, and St. Jerome 
with a book in- his hands. Figures life size, gold ground. 
Inscribed below — Opus Babtolomei Vivabiki de Murano. 

In tempera. On wood, 3 ft. 1 in. A. bj 2 ft. 1 in. w. 
Originally in the Contarini Gallery.* Purchased at Venice 
from the Conte Bernardino Corniani degl' Algarotti, in 1855. 



|»OPV£;^BffRTmEi^'mR]Nhpiw RHNQ^ 



MMMMWWIMMIMMMMMaaMUIMHMia. 



WEENtX 

Jan Weenix the younger was bom at Amsterdam in 
1644J, and was the scholar of his father, Jan Baptista 
Weenix, who, however, died when Jan was only sixteen 
years old ; but even then he had completely acquired his 
father's style, so that his earlier works cannot be dis- 
tinguished from those of Jan Baptist Weenix; but he 
eventually surpassed his father, especially in freedom of 
execution, and in colom-ing. He painted a great variety of 
subjects — figures, animals, birds, landscape, ruins, fruit, and 
flow^ers ; but his great name was acquired by his pictures of 
hunts, and dead game. Many excellent examples of his 
works are in England. He was much employed hy John 
William, Elector of the Palatinate. He died at Amsterdam, 
September 20, 1719. His pictures have steadily increased in 
value. Van Gool, writing in 1750, notices 300 florins as a 
high price to be paid for a picture of dead game by Weenix ; 
Immerzeel, less than a century afterwards, notices much 
higher sums, up to 1,900 florins, being paid, even in 
Amsterdam, for a similar piece.f 



No. Z38. Dead Game, and Doo : landscape back-ground 
with sportsman in the distance. A couple of hares, a stag, 
and heron ; a fowliog-piece, and other implements of the 
chase, in the fore-ground. 

On canvas, 5 ft. 1^ in. h, by 5 ft. 1^ in. w, 

. * This picture is folly described in the Atti dtHTAccademia di Vdnezta^ 1817^ 
p. 43, note, and p. 51, note. 

f Van G<>ol,iVtetftoe Sehoubura der Nederlantache Kunstftchiiders, ^e. ; Immer- 
zeel, Levens en Werken derHoSandtteke €n Vlaamsche Kunstsckilderg,ffc,, 1842, 

R 



258 WILLIAM OF CX)LOONB. 

Signed J. Wbbnix, f. 1708. Formerly in the Lansdowne Col- 
lection which was sold in 1806; bequeathed to the National 
Gidlery by Lord Colborne, in 1854. 




ni\fi7o8. 



«IMM«MIMM«WMtMMM«MWMMMIMiMMMMwnMM» 



WILLIAM OF COLOGNE. 

William of Cologne, or Meister Wilhblm, a native of 
Herle, a village near Cologne, whence he is also named 
Wilhelmus de Herle, was the earliest distinguished master 
of the school of the Lower Rhine, and the most renowned 
painter of his time in the north. This school had attained 
considerable celebrity at Cologne and Maastricht in the 
fourteenth century, and even earlier.* 

WiUiam bought a house at Cologne, and settled there in 
1368, with his wife Jutta ; 1372 is the last year in which 
he appears by name in the public accounts of the city, and 
it was then for the payment of a miniature. In 1378 he 
died ; and his widow was married in the following year to 
Henry Wynrich, of Wesel, also a painter, settled at Cologne, 
and apparently Meister Wilhelmus scholar. 

Several works are attributed to this old master^ at 
Cologne and elsewhere, wall paintings, and some good 
tempera pictures on panel ; the principal of which is the 
St. Clara altar-piece, now in the Johannis Kapelle, one of 
the chapels in Cologne cathedral Meister Stephan or 
Stephen Lochner, the best master of this school, was the 
scholar (£ William of Colognat 

* Wolframb cf Eschenbach, writmg in the thirteendi centniy, says in Yob 
** ParciTal," speaking of the Enightr—that no painter of Cologae or Maas- 
tricht could have made a better picture than he appeared on horseback. And 
in an old chronicle of Limbnrg is written, — << Eodem tempore, 1380, Coloniae 
erat pictor optimns, cui non f^t similia in arte soft, dictuB fait Wilbbutob, 
depingit enim homines quasi yiventes." — Fioiillo, Geschickte der Zeich- 
runden KUrute in DeiOscktand, 1815, vol. 1, p. 418 ; compare Fassavant, 
Kvmireise^ ffe^ p. 403; Schnaase, Getckickii der BiUfiUkn KumHey ^4, ToL 
vL, p. 423. 

t J. J. Merlo^ liatMchtem voh dm lebm tmd dm IFtrAan KiOmadter 
Kimtder, Cologne, 1850-52; Sohnaaae, OflMAidU^ ^., v«l. vf., 1861. 



No. 687. The Sancta Veronica, or Holy true 
Image of our Lord. St. Veronica is represented holding 
before her the SudaRIUM,* e^ white cloth containing the 
miraculous portrait of the Saviour, according to the 
church legend, with a golden nimbus inscribed Xgg. Iijf. 
(Christ Jesus). Head, llfd size. 

In tempera^f on wood, 1 ft. 9^ in. h. by 1 ft. l^ in. w. 
Formerly in the Lorenz-Kirche at Cologne ; purchased at 
Cologne, at the sala of the piotores of Mr. J* P. Weyer, in 1862. 



»»» « » *»»««» »i>i>*ir«ow#^»^*»»w»#wi^»»'»»o 



ZELOTTI. 



BATTI3TA Zblotti was bom at Verona about 1632, h^ 
was the fellow schol^x of Paul Veronese in the school of 
Badile^ and became afterwards the assistant and rival of 
that great painter : according to Vasari, who mentions him 
as Battista da Verona, he studied also with Titian, Zelotti 
worked chiefly in fresco, and as he was much employed in 
comparatively obscure provincial towns, his works, though 
excellent, did not obtain him that distinction and com- 
petence acquired by his more fortimate rivals, who were 
employed in capital cities. He died in poor circumstances, 
^ged 60, about 1592. Many of his works have been 
attributed to his more distinguished rival Paul Veronese. J 



No. S9S. Portrait of a Ladt in a low green dress. 

Bust, life-size. 

On canvas, 2 ft. 4^ in. h. by 1 ft. 10 in. w. 
Purchased at Rome, from Signor Menchetti in 1858. 



♦ The legend of the Sancta Veronica, of Edessa, is] told by John Danma- 
eenus, De Fide Orthodoxd,iv, 16; themiraoqloos "image'* itodf is first noticed 
bTEvafliiiis. Tiro -of th«»e miwujploiw cloths are mentioned ; d|at carried from 
Christ bv Ananias to Abgarus, King of Edessa, now said to be preserved in 
tiie chnrch <rf San SUveetro in Capita, a* Home ; and the other, the handker- 
chief given by » woman (St. Veronica) to the Savu>«r to wipe hi« ^ce wiOi, 
while carrying his cross in the procession to Calvary, said to be m ban iiar- 
tokmimco at Genoa. For ftOl details respecting this legend, see the author's 
"Epochs of Painting," p. 143, ed. 1859; consult Gretser, Syntagma de 
Imaginibus manu non/actis, J-c, opera, vol. xv., p. 178, et seq. 

t On the tempera employed by the Cologne paintwj, fl«e Sir Ciaarlcs 
Eastlake's " Matgriahfor a History qf OH Painting," 1847, p. 101. 

± m^M, mravigUe, ifc^ foI. it p. 94, ed. 16a# i Dal Pozzo, Pimri 
Veronesi, ffc. } Vaaarj, Ed. Le Moanter, vol. xi. p. ia4, where the«rror of 
fiarli^r ^onineniators, 'm assmniBg Vadari, whea i^^«aking of Battisia da 
Verona, to fOhida to IMtUf^ Fontana, i« iwp^ated. 

E 2 



260 zoppo. 

ZOPPO. 

Marco Zoppo, bom in Bologna in the earlier half of the 
fifteenth century, was the fellow pupil of Mantegna in the 
school of Squareione at Padua ; in the Manfrini gallery at 
Venice there is or was a Madonna signed Opera del Zoppo 
di Squardane. But he can scarcely have been, as is 
affirmed by Malvasia, the pupil of Lippo Dalmasio, of whom 
the latest known work is of the date 14*09. Marco Zoppo 
was the first distinguished painter of Bologna ; his pictures 
extend from 1471 to 1498; there is a Madonna enthroned, 
with saints, in the gallery of Berlin, inscribed Marco Zoppo 
da Bologna pinxit MGGGGLXXL in Venexia ; and some 
fresco decorations of the Casa Colonna at Bologna are dated 
1498. He was the master of Francia, and is called some- 
times the founder of the school of Bologna : his style is 
hard and dry, but he bestowed great labour on the finish of 
the accessories of his pictures.* 



No. 597- St. Dominic, as the Institutor of the Rosary. 
The saint is standing on a pedestal and pointing with his 
right hand to a rosary suspended behind him; in his left 
he holds an open book. Above is Christ in glory, sur- 
rounded by angels bearing the instruments of the passion.t 
Whole length figure, small Ufe-size. 

In tempera, on wood, 5 ft. h. by 2 ft. 11^ in. w. 

Formerly in the collection of the Marchese Giovanni Costabili 

at Fenara, from which it was purchased for the National Gallery 

1858. 



^^A^'^^^A^MftMIMMtfMMI^MWtfvMM^WWWWWWWWtfWN* 



ZU'RBARAN. 

Francisco Zu'rbaran was bom at Fuente de Cantos, in 
Estremadura, in the early part of November 1598. His 
parents belonged to the agricultural labouring class, but 
discovered early their son's ability, and sent him, when still 
very young, to the school of Juan de Ro^las, at Seville. 
There he made rapid progress— painting constantly from 

* MalvMia, Felsina Pitirice, i. p. 37, &c., ed. 1841; Vasari, Vite. Sec; 
Wa^n, Verzeichntss der Gemaelde Sammlung zu Berlin, fit?. 

t The figure of the saint in this picture, evidently copied from nature, is 
supposed to be a portrait of Alanus de Rupe, an English Dominican monk 
who, IIP 1460, m consequence of a vision, revived the use of the rosary, and the 
prayers connected with it, as instituted by St. Dominic-See the "Rosario 
della glorio -.jVirgme Maria," in Venetia, &c., MDLXIX. foUo 10 b. 



ZU'BBABAN. 261 

nature, and adopting a forcible natural style which acquired 
him the name of " the Spanish Caravaggio f he probably 
had opportunities of copying some of the works of that 
master at Seville. Zurbaran's great altar-piece, now in the 
museum at Seville, the celebrated picture of " St. Thomas 
Aquinas,'' painted for the church of the college of that Saint 
at Seville, was executed before his thirtieth year. 

He painted many other celebrated works in the fol- 
lowing years at Seville ; and subsequently at Madrid, in 
the Palacio Nuevo, and in the Buenretiro. He was ap- 
pointed, about the year 1633, painter to Philip III. He was 
painter also to Philip IV. He died at Madrid in 1662. His 
principal scholars were — Bernabe de Ayala and the brothers 
Polanco, distinguished painters of the school of Seville. 

Zurbaran's works are uncommon out of Spain ; at Seville 
they are numerous, and the early works from the life of 
San Pedro Rolasco, at the Merced Calzada, at Seville, are 
among the best; they exhibit in perfection one of his 
peculiar excellences, — ^the skilful management of white 
draperies. He made great use of the lay figure, and his 
draperies are generally much studied ; the Carthusians were 
favourite subjects with him. The museum at Seville pos- 
sesses now the best collection of his works, though not a 
numerous one ; that of the Louvre has been dispersed ; it 
contained, according to the catalogues, ninety-two pictiues 
attributed to Zurbaran ; the collection of the Prado at Madrid 
contains fourteen.* An admirable virgin and child, with 
the infant St. John, by this painter, is in the collection of 
the Duke of Sutherland, at Stafford House. 



No. Z30. A Franciscan Monk, kneeling in prayer, and 
holding a skull in his hands. Entire figure of the natural size. 

Engraved by Alp. Masson. On canvas, 5 ft. 1 in. h, by 3 ft, 
3 in. w. 

This picture formed part of the Spanish Gallery of Louis 
Philippe in the Louvre, procured for the late King, in Spain, by 
M. Le Baron Taylor ; it was* generally considered by connois - 
seurs one of the best pictures in that gallery ;f and at the sale 
of the collection in London, in 1853, was purchased for the 
National Gallery. 



♦ Cean Bermudez, Diccionario Historico, Sfc, 

f SeeKoUoff, K6nigliche Museen, ffc. zu Paris, Paris 1841, who notices th's 
picture as " ein wahres Wunder von Ausdruck," a miracle of expression ; and 
Stirling's AnncUs of the Artists of Spain, London, 1848, 



/ 



262 raMrowN. 

UNKNOWN. 

No. 198. PoBTBAiT OF A Medioal Pbofessob. His 
left hand rests upon a skuIL Half-length. 

On wood, 3 ft. 2 in. h, by 2 ft. 6\ in. w. 

Purchased for the National Gallery, in 1845. This picttird was 
bought as a work of Holbein. It has been attributed, by some 
eminent connoisseurs, to Nicholas Lucidel, more properly called 
Neufchatel, a portrait-painter, who resided chiefly at Nuremberg, 
and who died about the year 1600. Specimens of his works are 
in the galleries of Munich and Berlin. 



268 



Lists of FicruBES pubceuskd fob, pbesented and b£- 

QUILiTHED TO, THE NATIONAL QALLEBT; ASBANGED 
AOOOBDING TO THE OBDEB OF THEIB AOQUISmON.* 



«ia(IWWM<M«M«IMWMI«WIMI* 



PiCTTJBES PUECJHASED. 




1 
2 
3 
5 
7 

12 

14 

25 

27 

28 

30 

31 

32 

34 

36 

37 

38 

42 

45 

47 

49 

50 

52 

53 

67 

76 

88 

94 

111 

112 

113 

114 

115 

116 

117 

118 

122 

23 

9 

35 

62 

10 

15 

13 

59 

84 



BaiBing of Lazarus 

Landscape ....... 

Concert -.------ 

Sea*port -------- 

Study of Heads ------ 

i^dscape 

Sea-port -------- 

St John ---»•--- 
Julius n.-- ------ 

Susannah ------- 

St Ursula --.,---- 

Landscape .-.-.-. 
Kape of Ganymede - - - - - 

Venus and Adonis 

Land-storm - 

Study of Heads - - - - - . 
Bape of the Sabines . - - - 
Bacchanalian Scene . . - . 
Woman taken ip Adultery - - 
Adoration of the Shepherds - - 
Portrait of Buhens - - - - - 
Emperor Theodosius - - - - 

Gevartius 

Landscape ..--..- 
Holy Fsunily ------- 

Chnst in the Garden - - - - 

Erminia and the Shepherds - - 
Bacchus and Silenus - - - - 

Lord Heathfield 

Own Portrait ------- 



I 



Marriage "It la Mode 



» 



Village Festival - - - - - 

Holtr Family - - - - - 

Ghnst appearing to Peter - - 

Bacchus and Anadne - . - 

Bacchanalian Dance - - - 

Mercury instructing Cupid - 
Ecce Homo .--... 

Holy Family - 

Brazen Serpent - - - - - 

Mercury and Woodman - - 



Fatnter's Name. 



Seb. Bel Piombo 

Claude - - - 

Titian - - - 

Claude - - - 

Correggio - - 

Claude - - - 

An. Carracoi - 

Baphael - - - 

L, Carracci - - 

Claude - - - 

G. Poussln - - 

Titian - - - 

G. Poussin - - 

Correggio - ' 

Bubens - • - 

N. Poussin - - 

Bembrandt - - 

Vandyck - - 



When 
aoquifed. 



1824 



Cuyp - - 
Bubens - - 
Correggio - 
An. Carracci 



Sir J. Beynolds 
Hogarth - • - 



Hogarth - - - - 



Sir D. Wilkie 
Correggio - 
An. Carracci 
Titian - - 
N. Poussin - 
Correggio - 



Hurillo - - 
Bubens - - 
Salvator Bosa 



1825 
1826 



1834 
1837 



* The collection of Bobert Vernon, Esq., of 157 pictures of the British 
School, presented to the Natioo In 1847 is not ^mprised in these li^ts. 



264 



Pictares Purchased— con^'nteecf. 



No. 

168 
169 
170 
176 
177 
179 
180 
181 
186 
187 
189 
190 
191 
192 
193 
194 
195 
196 
197 
198 
213 
221 
222 
224 
230 
232 

234 

245 

246 

247 

248 
249 

260 

261 
265 
266 
226 
227 
268 
274 
276 
276 
277 
278 
279 
280 
281 
282 
283 

284 

285 
286 I 



Subject. 



St. Catherine -------- 

Holy Family 

Holy Family 

St John --------- 

Magdalen --------- 

Holy Family and Saints - - - - 

Pica 

Holy Family -- 

Portraits --------- 

Apotheosis of William the Taciturn - 
Doge Loredano ------- 

Jewish Habbi ------- 

Christ and St. John ------ 

Own Portrait -------- 

Lot 

Judgment of Paris ------ 

A Medical Professor -..--- 
Susannah --------- 

Boar Hunt -------- 

St. Antony -------- 

Vision of a Knight ------ 

Own Portrait -------- 

Man's Portrait ------- 

Tribute Money ------- 

Franciscan Monk ------ 

Adoration of the Shepherds - - - 

Warrior adoring the Infiint Christ — { 

Madonna and Child ------ 

Marriage of St Catherine - - -J 

The Vision of St Bernard - • - - 
Ecce Homo -------- 

Man's Portrait - - - - • - - 

Three Saints - - - - - - • -i 

Three Saints ------- 

Penitent and Saint -.--.- 

Pieta 

The Virgin and Child, with angels, &c 
St Jerome, with Saints - - - - 
Adoration of the Magi - - . . 
The Virgin and Child, enthroned - 

The Virgin and ChUd 

Two Apostles ------- 

The Good Samaritan - - - - - 

Triumph of Julius Cssar - - - 
Horrors of War - ^ - - - - - 

Madonna and Child . - • . - 
St Jerome Reading - - - - - 

Glorification of the Virgin - - - 
The Virgin and Child, enthroned, \ 

surrounded by angels and saints J 
The Virgin and ChUd, St Paul and \ 

St Jerome -------j 

Virgin and Child ------ 

Virgin and Child, enthroned - - - 



Painter's Kame. 




When 
acquired. 


Raphael - - - 


- 


1839 


Mazzolini - - 


- 


.«.— 


Garofalo - - 


m 


^_ 


Murillo - - - 


m 


1840 


Guido - • - 


. 


__ 


Francia - - 


- 


1841 


Pietro Perugino 




__ 


John Van Eyck 


- 


1842 


Rubens - - - 


- 


1843 


Gio. Bellini - - 


- 


1844 


Rembrandt - - 


- 


^_ 


Guido - - - 


— 


_ 


Gerard Dow - 


_ 


_ 


Guido - - - 


- 


i.. 


Rubens - - - 


— 


_^ 


Unknown - - 




1845 


Guido - - - 


- 




Velazquez - - 




1846 


An. Carracci - 


. 




Raphael - - 


- 


1847 


Rembrandt - - 




1851 


J. Van Eyck - 


- 




Titian - - - 


• 


1852 


Zurbaran - - 


. 


1853 


Velazquez ♦ - 


- 


^^ 


School ©f Gio. 






Bellini - - • 


- 


Pacchiarotto - 


- 


1854 


Lorenzo di San 1 




Severino - 


-J- 


"^— 


FraFilippoLippi 




— 


Niccolo Alunno 


. 


-^ 


• Albert Durer - 


- 


— 


Th& Meister voi 


■} 




Liesbom - - 




Vander Meire - 


^ 


^^^^ 


Lambert Lombard 


^^^^ 


Sandro Botticelli 


«■ 


1855 


Cosimo Rosselli 


« 


__— 


Paolo Veronese 




^^ 


Mantegna - - 


m 


— 


Botticelli - - 


m 


_ 


Giotto - - - 


• 


1856 


Jacopo Bassano 


. 


-^ 


Rubens - - - 


w 




Giovanni Bellini 


^ 




Marco Basaiti - 


m 


. 


Lo Spagna - - 


- 


— 


Benozzo Gozzoli 


- 


— 


Barf* Vivarini 




— . 


Girohuno dai libri 


._ 


Francesco Tacooni 


—7 



266 



Pictures Purchased—- oon/tmcccl. 




287 
288 



290 
291 
292 
293 
294 

295 

296 

297 
298 
564 

565 

566 

567 

568 
569 

570 
571 
572 
673 
574 
575 
576 
577 
578 
579 

580 

581 



582 
583 
585 
586 

589 

590 
591 
592 
593 



Portrait of Lodovico Martinengo 
The Virgin adoring the Infant" 

Christ; the Archangel Michael; 

the Archangel Raphael and 

Tobias -------._ 

A Man's Portrait -----.- 

Portrait of a Lady ------ 

Martyrdom of St. Sebastian - - - 
The Virgin and Child, with saints , • 
The Family of Darius at the Feet! 

of Alexander ------/ 

" Salvator Mnndi ** and the Virgin 

Mary --------- 

The Virgin adoring the Infant 

Christ - - - 

The Nativity, with Saints - - 
The Marriage of the twoSaintsCatherine 
Virgin and Child, with scenes from 1 

the lives of the Saints - - - - j 
The Madonna and Child. Angels 

adoring -------- 

The Madonna and Child St. Doini- \ 

nic and St Catherine - - - j 

Christ on the Cross - - - - 



} 



{ 



with 



Coronation of the Virgin > 
Coronation or the Virgin, 

Angels and Saints - - - . 

The Trinity 

Angels Adoring ------ 

Angels Adoring ------ 

The Nativity 

The Adoration of the Kings - - - 
The Kesnrrection of Christ - - - 
The Three Maries at the Sepulchre - 
The Ascension of Christ - - •* - 
The Descent of the Holy Spirit - - 
The Baptism of Christ, andtiie Birth 1 

and Death of St. John the Baptist 
St John the Evangelist lifted upl 

into Heaven ------ j 

St John the Baptist, St John the' 

Evangelist, and St. James the » 

Greater ------- J 

The Adoration of the Kings - - * *{ 
The Battle of Sant* Egidio— 1416 
Portrait of Isotta da Eiminl - - 



{ 



The Madonna and Child surrounded 

by Angels and Saints - - . - 

The Virgin, an Angel presenting 

theChUd 

Christ placed in the tomb - - - - 

The Rape of Helen 

The Adoration of the Magi - - - 
The Virgin and Child 



Bart® Veneziano - 

Pietro Perugino - 

J. Van Eyck - - 
Lucas Cranach 
Antonio PoUijnolo 
Pilippino Lippi 

Paul Veronese • - 

Quintin Matsys - 

Domenico Ghir- 1 
landajo - * j 
G. Romanino - - 
Borgognone - - 
Margaritone ofl 
Arezzo - - j 

Cimabae - - - 

Ducdo da Siena - 

Segna di Buona-1 

Ventura - - - j 

School of Giotto - 



Andrea Orcagna 



Taddeo Gaddi - • 
Jacopo dl Casentino 

Spinello Aretino - 

Fra Giovanni An- 1 

geHco - - -J 

Paolo Uccello - • 

Piero della Fran- 1 

cesca - - -j 

►Fra Filippo Lippi 

Cosimo Tura - - 
Benozzo Gozzoli - 
Filippino Lippi 
Lorenzo di Credi - 



When 
acquired. 

1856 



1857 



266 



Fiotnres Purelnaed '-continued. 




} 



594 Saints Cosmaa and Damianus - • 
184 Portrait of Jeanne d* Archel - - 

299 Do. an Italian Nobleman - •> 

300 Infiint Christ standing on the knees 1 

of the Virgin ----- -j 

595 Portrait of a Lady- - - - - - 

596 Deposition in the Tomb - - - - 

597 St Dominic ------- 

598 St Francis 

599 Infant Christ asleep on the lap of 

the Virgin ------ 

602 Pieta 

623 Madonna and Child enthroned - - 

624 Infancy of Jupiter -•--.- 

625 Saint Bamardino of Siena, andl 

other Saints -------j 

626 Head of Masaccio ------ 

627 Landscape with WaterfiJl • - - 

628 Ditto 

629 Madonna and Child enthroned) &c. 

630 Ditto 

631 Portrait of a Lady - - - - - - 

632 Saint, reading 

633 Saint, with Standard 

634 Madonna and Infimt Christ - - - 

635 Madonna and Child, St John and 1 

St Catherine ------ j 

636 Portrait of Ariosto 

637 Daphnis and Chloe - .... - 

638 Virgin and Child with Saints - - 

639 Chi^ and the Magdalen in the 1 

Garden ---•-•--/ 

640 The Adoration of the Magi - - • 

641 The Woman taken in Adnlteiy - - 

642 Chrisf s Agony in the Garden - • 

643 The Capture of Carthagena ; and 1 

the Continence of Scipio - - . J 

644 The Rape of the Sabines ; and the 1 

Reconciliation of the Sabines V 
and Romans ----.-.J 

645 The Virgin and Child 

648 The Virgin adoring the In&iitl 

Christ / 

649 Portrait of a Boy 

650 Portrait of a Lady 

651 Venus, Cupid, Folly, and Time - - 

652 Charity 

653 Portraits of himself and wife - - 

654 The Magdalen, reading • - - . 

655 The Magdalen, reading . « . . 

656 A Man's Portrait 

657 Portraits of a Man and his Wi& - - 

658 The Death of the Virgin - - - - 

659 Pan and Syrinx 

660 A Man's Portrait 

663 Christ surrounded by Angels, &c. •[ 



Emmanuel • • • 
Antony Moro - - 
Moretto - - 

Giambattista Cima 

Battista Zelotti - 
Marco Palmezzano 
Maroo Zoppo - - 
Filippino Lippi - 

Marco Basaiti - 

Carlo Crivelli * - 
G. da Treviso - - 
Giulio Romano - 

Moretto - - - - 

Masaccio • - - 
Rnysdael - - - 

Lorenzo Costa 
Gregorio Schiayone 

F. BisBolo - • • 

G. da Santaeroce • 

Cima da ConegHano 
Titian - - - - 



Paris Bordone 

Franda 

Francesco 

tegna 
DossoDossi 
Mazzolini - - - 
Garo&lo - - * 



."^1} 



Giulio Romano 



Albertinelli - - 

Lorenzo di Credi - 

J. da Pontormo • 
Angelo Bronzino - 



F. del Salviati • • 
Vander Weyden - 

Bernard Van Orlay 
Jan de Mabuse - 
J. Comelissen - - 
Martin Schoen 
Rottenhammer • 
Fr. Clouet - 
Fra Gioraojii An- ) 
gelico -4 



When 
acquired. 



1857 
1858 



1859 



1860 



ae7 



Piduret PorchaBedf— con^tf^d. 



No. 



664 

671 

665 

667 
668 
669 
672 

673 

674 
680 
685 

686 
687 
690 



Subject. 

The Entombaidnt of Christ • - -i 

The Madonna and Child enthroned, &c. 

The Baptism of Christ - -i - J 

St John the Baptist and o&er Saints 

The Beato Ferretti - 

St Sebastian and other Saints " - 
His own Portrait --*•-- 

Salyator Mundi ------ -J 

Portrait of a Lady 

Miraculous Draught of Pishes - - 
Landscape -------- 

Madonna and Child enthroned • ^ 
The Sancta Veronica - r - - - 
His oini Portrait 



Painter's Kame. 



Eoger Yanderl 

Weyden the l 

elder • - J 

Garo&lo - - - 

Piero dellaFran-1 

cesca - - J 

Fra Filippo Lippi - 

Crivelli - - - - 

L'OrtoIano - - - 

Hembrandt - - - 

Antonello da Mes- 1 

sina - - - -J 

Paris Bordone - - 

Vandyck - - • 

Hobbema - - - 

Memling - ' - 

William of Cologne 

Andrea del Sarto • 



When 
acquire d 



1860 



1861 



1862 



268 



Pictures Presented.* 



No. 



19 

40 
43 
51 
55 
58 
61 
64 
66 
71 
99 
106 
108 

no 

126 
127 

74 

107 

26 

33 

131 

109 

121 

46 

105 

119 

78 

80 

132 

100 

120 

143 

142 

144 

129 

147 

148 

133 

136 

130 

165 

166 
167 
171 
172 

173 

174 
175 

178 



Subject. 



I4andscape - - - - - 

Landscape, Phocion - - 

Crucifixion- - - - - 

Jew Meri^hant- - - - 

Landscape - - - - - 

Small Landscape - - - 

Ditto 

Retomof the Ark - - 

Landscape - - - - - 

Landscape - - - - - 

BUnd Fiddler - - - - 

Man's Head - - - - 

Meecenas's Villa - - - 
Niobe ------ 

Pylades and Orestes - - 

View in Venice - - - 

Spanish Boy - - - - 

Banished Lord - - - 

St Nicholas - - - - 

Vision of St Jerome - - 

Healing the Sick • - - 

The Watering Place - - 

Cleombrotus - - - - 

Peace and War - - - 

Landscape - - - - - 

Jacques and the Stag 

Holy Family - - - - 

The Market Cart - - 

The Last Supper - - - 

Death of Chatham - - 
Portrait of NoUekens 

Lord Ligonier - - - - 

J. Kemble as Hamlet - - 

Portrait of West - - - 
Portrait of Mr. Angerstein 

Cephaltts& Aurora - - 
Galatea ------ 

Portrait of an Actor - - 

Portrait of a Lady - - 

The Corn Field - - - 

Plague at Ashdod - - 

Capuchin Friar - - - 
Adoration of the Elings - 
Portrjut of Sir J. Soane - 

Christ at Emmaus - - 

Male Portrait - - - - 

A Cardinal . - - - 

Portrait of Milton - - 

Sir Calepine - - - - 



Painter's Name. 



Claude - " *{ 

N. Poussin - - 
Rembrandt - - 



Claude - - - 



S. Bourdon 
Rubens - 
Both - - 
Wilkie - 
Reynolds 
Wilson - 



West - - 
Canaletto . 

Murillo - - 



■i 



Reynolds 
P. Veronese 

Parmigiano - - 

West - - - - 

Gainsborough - 

West - - - - 

Rubens - - - 
Sir G. Beaumont 



Reynolds - - 

Gainsborough - 

West - - .. - 

Copley • - - 

Beechey - - 

Reynolds - - 

Lawrence - - 



Ag. Carracci 



Hoppner - - 
Lawrence - 

Constable - - j 

N. Poussin - '< 

Rembrandt - - 

B. Peruzzi - - 
Jackson - - - 
M. da Caravag^o 

J. Bassano - - ■) 

C. Maratti - - 

D. Vander Plaas 



Hilton 



-! 



By whom Presented. 



Sir George Beau- 
mont, Bart. 



} 



M. M. Zachary, ) 
Esq. - - -J 
Rev. W. Long - 
British Institution 



LordFamborough 
W.Wilkins, Esq. 
Marq. of Stafford - 
Lady Beaumont 



British Institution 

George IV. - - 

Lord Liverpool - 

Rev.R,E, Kerrick 

William IV. - 



Lord EUesmere - 



Mr. Serjt Taddy 
F.Robertson, Esq. 
Bought by Sub- > 

scription - J 
Duke of North- 1 

umberland -j 

Lord Vernon 
British Institution 
Lord Vernon - 
H. G. Knight,? 
Esq. - - -J 



* Tho Vernon donation and other recent acquisitions 
found in the catalogue of that portion of tho coUection. 



C. Lofft, Esq. - 

Bought by Sub- > 

scription - ) 

of the British School 



When, 



1826 



1827 
1828 



1829 
1830 
1835 
1836 



1837 



1838 
1839 



1841 
will be 



269 



Pictures Presented — continued. 



No. 



182 
183 
185 
188 

215 

216 
217 

218 

220 
225 

228 



229 

233 
235 
236 
272 
273 
661 

666 
670 
679 



Subject. 



Study of Heads - - - 
Portrait of Wakie - - 
Portrait of SirW.Hamilton 
Portrait of Mrs. Siddons 

Saints .----- 



Portrait'of Wm. Woollett 
Adoration of the Magi - 

Portrait of John Hall • 

Assumption of the Mag- 7 

dalen ---.-} 

Christ driving the ^ 

Money-changers from > 

the Temple - - -) 

Portrait of Benjamin 1 

West / 

Portrait of William Pitt - 
Dead Christ - - - - 
Castle of St. Angelo 
An Apostle - - - - 
Portrait of John Smith - 
Madonna di San Sisto (a 
tracing) - - - 
The Annunciation - 
A Knight of Malta- - 
An Astronomer 



Falntar's Name. 



Reynolds - - 

Phmips - - - 

Reynolds - - 

Lawrence - - 



Taddeo Gaddi 



'•! 



Gilbert Stuart - 

B. Peruzzi - - i 

Gilbert Stuart - j 
Gialio Romano - 

J. Bassano - - 

Gilbert Stuart - j 

Hoppner - - - 
Spagnoletto - - 

C. J. Yernet - - 
Pordenone - - 
Sir G. Kneller - 

}■■-.{ 

Era Filippo Lippi 
J. da Pontormo 
P.Bol - . - 



By whom Presented. 



Lady W. Gordon 

The Pamter 
♦ 

Mrs. Pitz Hugh 

W. Coningham, ) 

Esq. - - i 



. Farrer , Esq. 
E. Higginson, ) 

Esq. - - 3 
Messrs. Graves) 

and Co. - J 

LordOverstone- 

P. L. Hinds, Esq. 

J.H.Anderdon,"! 

Esq. - - J 
G. Moffatt, Esq. 
D. Barclay, Esq. 
Lady Sinipkinson 
Cav. Vallati - 
W. Smith, Esq. - 
P.&D.Colnaghi, \ 

Scott and Co. J 
Sir C. L. East lake 
G.F. Watts, Esq. 
Miss E. A. Benett 



Wlien. 



841 
843 

848 

849 

850 
852 

853 



1855 
1856 

1860 
1861 

1862 



' Deposited by tho Trustees of the British Museum and now temporarily exhibited 
at South Kensington. 



270 



PiCTUjiEs Bequeathed.* 



No. 

4 
6 
8 
11 
16 
17 
18 
20 

21 
22 
24 

29 
41 

48 
54 
56 
67 
63 
68 
69 
72 
73 
75 
77 
81 
82 
85 
91 
93 
95 
97 
98 
124 

65 

39 
128 
139 

70 
101 
102 
103 
104 
123 
138 
140 

79 
149 
150 
151 
152 
153 
154 
155 
156 



Sutiject. 



Holy Family ^ . . - 
Iiandscape - . . • - 
A Dream •-.... 
St. Jerome - . - - 
St George- - , - - 
Holy Family • - - • 
Christ and &e Pharisees 
Ippolito de' Medici and ) 
Sebastiano del Fiombo 3 
Portrait of a Lady « - 
Dead Christ . - . - 
Giulia Gonzaga - ^ • 
Holy Family - - • - 
Death of Peter Martyr * 
Tobias and the Angel - 
Woman Bathing - - . 
Iiandscape - - - - - 
St. Bavon - - • ~ - 
Iiandscape - - - • • 
Landscape - - - - - 
St John Preaching - - 
Tobias and the Angel - 
Conversion of St Paul - 
Landscape . - . - . 
Stoning of Stephen - - 
Vision of St Angostin - 
Holy Family .... 
St Jerome - - - - - 
Sleeping Venns - - - 
Silenus - - - - 
Landscape - . • - • 
Rape of Europa - - > 
L'Aricia - - . - - 
Rev. W. H. Carr - - - 

Cephalns & Aurora - - 

Nursing of Bacchus - - 
Portrait of Windham 
An Allegory - - - * - 
Cornelia - - - - - 
Infancy - - - - _ 

Youth 

Manhood - - - - . 

Age 

Moonlight - - - - - 
Ruins and Figures - . 
Portrait of a Lady - - 
The Graces - - - - 

A Calm 

A Gale- - - - - . 

Leda ------ 

Landscape ----- 

The Cradle . - . . 
A Music Party • - - 
The Misers . . . . 

Stady of Horses - - • 



Fainter*! Name. 



Utian • - - 

Claude - - - 

Michelangelo - 

Guido - - - 

Tintoretto - - 
A.del8arto 

L. Da Vinci - 

Seb. del Piombo 

CAllori - - 

Gnercino - - 

8. del Piombo - 

Barocci - - - 

Gioi^^one - - 

Domenichino - 

Rembrandt « - 

An. Carracci - 

Rubens - - - 

An. Carracci - 

G. Poussin - - 

P. F. Mola - - 

Rembrandt - - 
ErcOle da Ferrara 

Domenichino - 



Garofalo - - 
Mazzolini - 
Domenichino 
N. Ponssin - 
An. Carracci 
G. Poussin - 
P. Veronese 
G. Poussin - 
Jackson - - 

N. Ponssin - 



Reynolds 
'A. Kauftnann 
Padovanino - 
Lancret - - 



Williams 
Pannini - • 
Vander Heist 
Reynolds 
Vandevelde - 



i 



By whom Bequeathed. 



Rev. W.H. Carr 



When. 



G. J. Cholmon- 
deley, Esq, 



on-> 
• "5 



1831 



P. F. Mola - 
Vander Neer 
Maas - - - 
Teniers - - 



Vandyck 



J. Forbes, £00. 
Lt CoL OUney 



LordBlesBington 
LordFamborongh 



1835 
1837 



1838 



The Turner Collection of 106 picfeures aoquired in 1856, and other recent bequests 
of pictures of the British School will be found in the British School Gataloe:ae. 



271 



Pictures Bequeathed — continued. 



No. Suliject 

157 Londflcape - - - • - 

158 Boors Begaling - - - 

159 Dutch Hoiuewife - - - 

160 Bipofio -•«.-» 

161 Landscape 

162 In&iit Samuel- - - - 

163 View in Venice - - - 
125 Izaak Walton - . - - 

199 Lesbia - 

200 Madonna ---•.- 
202 Domestic Poultry - - 

204 A Gale- 

fl05 Itinenuit MiifiiciMis * - 

206 Head of a Girl - - - 

207 The Idle Servant - - - 

209 Landscape with Figures \ 

210 View in Venice - - - 

211 A Battle 

212 Merchant and Clerk - - 
214 Coronation of the Virgin 

223 A Gale 

479 The Sun rising in Mist - 

498 The Building of Carthage 

281 Portrait of Thomas) 

Daniell,Il.A - - -) 

237 Portrait of a Girl- - - 

238 Dead Game, &c. - - - 

239 Landscape, Moonlight - 

240 Crossing the Ford - - 

241 The Village Beadle - - 

242 Players at Tric-trac - - 

243 A Man'sPortnut- - - 

244 A Shepherd - - - - 

267 Landscape - - - . . 

269 A Enight in Armour 

270 'NolimeTangere' - - 

271 *EcceHomo' - - - 
289 The Night Watch - - 
600 The Blmd Beggar - - 



Fkinter'8 Name. 



Rubens - - 
Teniers - - 
Maas - - - 
P. F. MoU • 
G. Poossin - 
Reynolds 
Canaletto 
Huysman 
Schalcken 
Sassoferrato 
Hondecoeter 
Bakhuizen - 
Dietrich - " 
Grenze - - 
Maas - - - 
Both and Poe- } 



lenburg - 

Guardi - - 
Huchtenburg 

De Keyser - 

Guido - - 

Bakhuizen - 

Turner - - 



J 



Wilkie - - - 

Rembrandt - - 

Weeninx - - 

Vander Neer - 

Berchem - - 

Wilkie '■ - - 

Teniers - - - 

Rembrandt - - 

Spagnoletto - - 



Wilson • 

Giorgione • 

Titian - 
Guido 
Rembrandt 
Dyckmans 



-{ 



By whom Beqaeathed. 



Lord Famborough 



Dr. H. Hawes - 
R. Simmons, Esq. 



W. Wells, Esq. - 
C. L. Bredel, Esq. 
The Painter - 



Miss M. A. Fuller 
Lord Colbome - 



Richard 

Miss C. 

Gamons 
Samuel Rogers, 1 

Esq. - - J 



audi 

). J A 

i" -J 



Rev.T.Halford 
Miss Jane Clarke 



When. 



1838 



1846 



1847 
1851 
1853 



1854 



1855 



1857 
1859 



»*>»*>r<»#KMUKM»»<>*Xytf^^<M^»»<<>UW>» 



f.72 



SCULPTURES 

IK THE 

NATIONAL GALLERY. 

In the HaXL. 

Sir David Wilkie, RA. Statue, in marble, by 
Samuel Joseph. Presented to the National Gallery by an 
association of gentlemen in 184}4. 

Thetis and her Nymphs, rising from the Sea, to 

CONDOLE WITH ACHILLES ON THE LOSS OF PATROCLUS. 

Alto relievo in marble, by Thomas Banks, RA. Presented 
to the National Gallery in 1845 by the sculptor's 
daughter, Mrs. Forster. 

Bust of the Emperor Napoleon. Bronze. Be- 
queathed to the National Gallery by Philip Champion 
Crespigny, Esq., in 1851. 



LONDON: 

Printed by GF.onoB E. Etre and William Spottiswoodb, 

Printers to the Queen's most Excellent Miqesty. 

For Her Migesty's Stationery Office. 



■w» 




DESCRIPTIVE AND HISTORICAL 



CATALOGUE 




OF THE 



PICTURES 



IN 



I THE NATIONAL GALLERY : II 



WITH 



iSiogra^P^^tcal Notices of tftt ^ainttv^^ 



FOREIGN SCHOOLS. 



BY , 

RALPH_ N. ¥ORNUM. 

EBVISBD BY SIR-OHAHLES LOOK EASTLAKE, P.E.A., 




1 
1 



38» ^xt^tidtu* 

THIBTT-8EYBNTH EDITION.: 

LONDON: 

PRINTED BY GEOBGE EDWARD EYRE AND WILLIAM SPOTTISWOODB, 
PRIKTERS TO THB QUEER'S HOST EXCELLEKT MAJESTY. 

FOR HER MAJESTY'S STATIONERY OPFIOB, 

1863. 



'I 



Price One Shillijig, 




THE BORROWER WILL BE CHARGED 
AN OVERDUE FEE IF THIS BOOK IS 
NOT RETURNED TO THE LIBRARY ON 
OR BEFORE THE LAST DATE STAMPED 
BELOW. NON-RECEIPT OF OVERDUE 
NOTICES DOES NOT EXEMPT THE 
BORROWER FROM OVERDUE FEES. 




56LB4n 1863 

Fbw Ms Ubnry wnow 




3 2044 033 603 028 




56 

I.84n 

1863 



(