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CONTENTS

THE NATIONAL GALLERY AND HOW TO SEE IT
SCHEME OF " HALF-HOLIDAYS " . .

PLAN OF THE ROOMS

I'AGE

3
4
4

THE TWELVE HALF - HOLIDAYS : SKETCHES OF THE
SCHOOLS OF PAINTING (illustrated) .... 5

CATALOGUE OF PICTURES, WITH DESCRIPTIVE NOTES

(illustrated') 19

INDEX OF PAINTERS 86

LIST OF ILLUSTRATIONS

PAGE

BAROCCIO: "Our Lady of the Cat" (No. 29) . 10

BELLINI, Giov. : The Doge Leonardo Loredano (No, 189) 31
,, St. Dominic (No. 1440) . . .81

BOTTICELLI : Virgin and Child, etc. (No. 275) ... 5
CALLCOTT, Sir A. W. : Returning from Market (No. 340) 38
CATENA : A Warrior Adoring (No. 234) . . . -34
CONSTABLE : Flatford Mill (No. 1273) . . . .17
CORREGGIO : " Ecce Homo ! " (No. 15) . . . .20

,, Mercury, Venus, and Cupid (No. 10) . . 9

DossoDossi: "A Muse inspiring a Court Poet" (No. 1234) 72
EYCK, JAN VAN : Jan Arnolfini and his Wife (No. 186) . II
FLEMISH SCHOOL : A Man and his Wife (No. 653) . . 48
FRANCESCA, PIERO DELLA : Choir of Angels (portion of

No. 908) . . .60

,, ,, ,, Isotta da Rimini (No. 585) . 45

FRANCIA : St. John (portion of No. 179) . . . -31
GAINSBOROUGH : Mrs. Siddons (No. 683) . . -49

GHIRLANDAJO, D. : Portrait of a Girl (No. 1230) . . 72

GREUZE : Head of a Girl (No. 206) 33

,, Head of a Girl (No. 1019) . . . .13
HALS, FRANS : Portrait of a Man (No. 1251) . . -73
HOGARTH : His own Portrait (No. 112) . . . -27

HOLBEIN : Christina of Denmark 83

HOOCH, P. DE : Court of a Dutch House (No. 835) . . 57
HOPPNER : Lady Oxford (No. 900) ..... 59
LANDSEER, Sir E. : "Dignity and Impudence" (No. 604) 16

,, Spaniels of King Charles's Breed

(No. 409) 39

,, Studies of Lions (Nos. 1349, 1350) . 78

LEONARDO DA VINCI: "Our Lady of the Rocks "(No. 1093) 66
MANTEGNA, A. : Virgin and Child, etc. (No. 274) . . 35
MARINUS VAN ROMERSWAEL : Two Usurers (No. 944) . 61
MICHAEL ANGELO : Two Angels (portion of No. 809) . 56
MORONI: Portrait of a Tailor (No. 697) . . . .51

PAGE

MORONI: An Italian Nobleman (No. 1316) . . .76
MURILLO : A Boy Drinking (No. 1286) . . . -74

PERUGINO : Virgin and Child (central panel of No. 288) . 7
RAPHAEL: The "Ansidei Madonna" (No. 1171) Frontispiece

„ The "Garvagh Madonna" (No. 744) . . 53

,, St. Catherine of Alexandria (No. 168) . . 30

REMBRANDT: Portrait of an Old Woman (No. 775) . . 12

Portrait of a Burgomaster (No. 1674). . 83

Portrait of an Old Lady (No. 1675) . . 84
REYNOLDS, Sir J. : Heads of Angels (No. 182) . . .15

Dr. Johnson (No. 887) ... 59

Portraits of Two Gentlemen (No. 754) 54

"Age of Innocence" (No. 307) . . 37

" Infant Samuel" (No. 162) . . 29

ROMNEY : Lady Hamilton as a Bacchante (No. 312) . 37

,, "The Parson's Daughter" (No. 1068) . . 65

RUBENS : The " Chapeau de Faille " (No. 852) ... 58

SARTO, ANDREA DEL : His own Portrait (No. 690) . . 6

STOTHARD : Greek Vintage (No. 317) . . . 38

TITIAN : The Rape of Ganymede (No. 32) . . 22

,, Bacchus and Ariadne (No. 35) . 8

TURNER : Chichester Canal (No. 560) . . 44

The Burial of Wilkie (No. 528) . . 43

,, The Old Ttmeraire (No. 524) . . 18

,, Venice (No. 370) ... • • 39

VANDYCK : Charles I. (portion of No. 1172) . . 70

,, " Portrait of Gevartius" (No. 52) . . 24

VELAZQUEZ: Philip IV. of Spain (No. 745) . . 14

,, "Christ at the Column" (No. 1148) . . 68

„ Admiral Adrian Pulido Pareja (No. 1315) . 76

VERONESE, PAOLO: The Vision of St. Helena (No. 1041) 64
,, " Respect " and " Scorn" (Nos. 1325,

1324) 77

VIGEE LE BRUN, Madame : Her own Portrait (No. 1653) . 83

M331708

No. 1171 (in Room VI.): THE " ANSIDEI MADONNA," by Raphael.

THE NATIONAL GALLERY AND HOW TO SEE IT.

History of the Gallery.

" FOR the purposes of the general student," the National
Gallery is, according to Ruskin, " without question now
the most important collection of paintings in Europe."
This result is very remarkable, for the National Gallery
is still but sixty years old. The Gallery was indeed
instituted in 1824, but it was only in 1838 that the few
pictures which it then contained were removed from a
private house in Pall Mall to the present building. At
that time, however, the Gallery comprised only six rooms,
the remaining space being devoted to the " Royal
Academy." In 1860 the first enlargement was made,
consisting of one room. In 1869 the Academy removed
to Burlington House, and the National Gallery gained
five additional rooms. In 1876 the so-called "New
Wing " was added, and the whole collection was for the
first time housed under a single roof. Finally in 1887 a
further addition of five rooms — the present " New Rooms "
(I. II. III. V. VI.), — with a new staircase and other im-
provements, were opened to the public. In 1838 the
number of national pictures was 150 ; it is now over 1800,
of which number about 500 are at the Tate Gallery (see
below). This result has been due to the combination of
private generosity and State aid which is characteristic
of our country.

Cost of the Pictures.

The pictures that the nation has purchased are about
700 in number, and have cost about £670,000. Among
the most expensive purchases are the " Blenheim Raphael "
(1171), £70,000 ; the "Blenheim Van Dyck" (1172),
,£17,500 ; the " Pisani Veronese" (294), £13,650 ; the two
Correggios (10 and 15), £11,500; the three pictures
bought from Lord Radnor (1314-1316), £55,000 ; and the
two new Rembrandts (1674, 1675), £15,050. Up to
1855, purchases were made by the Government, acting
generally on the advice of the Trustees ; since that
date an annual grant has been expended at the discretion
of the Director and the Trustees.

What the Gallery Contains.

The principles on which acquisitions to the Gallery
have, for the most part, been made are (i) to form as com-
plete an historical collection as possible ; and (2) to
admit none but the best specimens, (i) The first of these
principles has in the case of the Italian and Dutch Schools
of Painting been very successfully attained, and in spite
of some omissions the whole progress of the art, as
practised in Italy and the Low Countries, can be studied
in the National Gallery. The French and Spanish
pictures are less numerous. The latter are thoroughly
representative. For further specimens of French art,
the visitor should go to the Wallace Collection, at
Hertford House, now the property of the nation. For
a complete study of the British School of Painting the
visitor must go to the Tate Gallery (see below), and to
the South Kensington Museum (where, besides many
modern oil paintings, there is an historical collection
of our National Art of Painting in Water-colour), as well
as to Trafalgar Square. But here there are splendid
specimens of the greatest of the English " Old Masters,"
and of many of their successors ; whilst the large collec-
tion of Turners is unrivalled and incomparable. (2) In
order to further insure the high level of the National
Gallery, in point of quality, an Act was passed in 1856
authorising the sale of unsuitable works, whilst another
passed in 1883 sanctioned the thinning of the Gallery in
favour of provincial collections. The result of this wise

weeding and careful acquisition is that though there are
many galleries in which there are more pictures to be seen,
there is none in which there are more really worth seeing.

The Tate Gallery.

In 1897 the "National Gallery of British Art"—
popularly called after the name of its donor, the Tate
Gallery — was opened at Millbank. To it have been re-
moved more than 100 pictures of the British School, for-
merly exhibited at the National Gallery. These pictures
belong for the most part to the modern period, comprising
the work of artists born in the nineteenth century. The
Tate Gallery also includes the modern British pictures
belonging to the Chantrey Collection (formerly at South
Kensington), a collection of works by Watts, and 60
other pictures, mostly by living or recently deceased
British artists, presented to the nation by the donor of
the Gallery, Sir Henry Tate.

Pictures and Subjects.

The total number of pictures now on public view at
Trafalgar Square is about 1200. What is the best way
of seeing them ? Before considering how to see the
National Gallery, the visitor will do well to think why it
is worth seeing at all ? Generally speaking, we may say
that pictures appeal partly to the senses and partly to
the mind. From the former point of view they show us
beautiful colours or forms. This is the most distinctive
function of painting ; but it is the one which no guide
can help us much to appreciate. A man either has a
sense for colour and form, or he has not ; and if he has
it not, no guide can give it him. But most pictures, and
all pictures by the greater artists, appeal to much more
than the senses ; for they are the realisation on canvas
of impressions, or of ideas, in the artist's mind. Thus
one of the most curious points of interest in any large
collection of pictures is to notice the different impressions
that the same kind of scenery makes on different
painters ; and by studying these contrasts the spectator
learns to discover more beauties than he knew before :

" For don't you mark, we're made so that we love

First when we see them painted, things we have passed
Perhaps a hundred times, nor cared to see."

Similarly with " subject pictures," they are full of interest
for the ideas they convey. This element of interest may
often have been very subordinate with the painters them-
selves ; but often, too, painters are consciously teachers.
It is in calling attention to points of interest in the
subjects of pictures that a Guide, intended not for artists
but for general visitors, can best be of service. Studied
from this point of view a picture gallery may become " a
fairy palace, full of bright fancies, satisfied memories,
noble histories, faithful sayings, a treasure-house of
precious and restful thoughts for our souls to live in."

The Lives of the Painters.

And there is yet another way in which pictures — all
unconsciously to their painters — interest the spectator in
after ages. A painter inevitably shows us something of
himself in his work ; and that is why some knowledge of
his life and circumstances makes his pictures more inter-
esting. Within the limits of this Guide it is impossible to
do more than allude to some of the salient characteristics
of a few artists. The reader will find fuller notices, as
well as further particulars about the pictures, in the
Handbook to the National Gallery, published by Messrs.
Macmillan. In the case of the Italian painters, Vasari's

HALF HOLIDAYS AT THE NATIONAL GALLERY

Lives (translated in Bohn's series) should be read. Vasari
is often untrustworthy ; he is an ass, says Mr. Ruskin,
with good things in his panniers ; but he is always good
reading — so much so that the painter Haydon declared
that " if he were confined to three books on a desert
island, he would certainly choose the Bible, Shakespeare,
and Vasari." In the case of the other schools, the reader
should ; consult some Dictionary of Painters or encyclo-
paedia for a guide to the best sources of information.

Pictures and History,

But not only does a painter necessarily interest us in
himself ; even more he inevitably shows us something of
his age, — of its costume, its ways of looking at things, its
manner of life, — and if he be a portrait-painter, of the
characters and physiognomy of its men and women. To
enjoy to the full this source of interest in pictures, it is
necessary to study them in historical order ; for only so —
only by looking on the same occasion at several pictures
of the same period — can we get hold of its characteristics.

Pictures and Technique.

Another reason in favour of this course is to be found
in the fact that the art of painting has, in each school,
been a progressive one. Accustomed as we are at the
present day to so much technical skill, even in the com-
monest works of art, we may be inclined to think that the
art of giving the resemblances of things by means of colour
laid on to wood or canvas is an easy one, or one of which
men have everywhere and at all times possessed the

mastery. But this of course is not the case ; and in each
school the skill of its great masters was the acquired
result of a long course of gradual accomplishment. To
trace this course — to note the increasing mastery of the
painters over their materials — is one of the chief interests
which even the untechnical visitor will find in the
National Gallery.

Plan of the " Half Holidays."

It is to facilitate such historical study that the present
arrangement of the pictures in the Gallery has been
carried out, and it is the historical method that has
been adopted in this Guide. The method is as follows :
The Gallery has been mapped out into Twelve Half-
Holidays, each covering a well-defined historical division,
and each comprising about as many pictures as may
conveniently be seen in an afternoon. For each historical
division some general account of the characteristics of the
school or period has been supplied. The Rooms con-
taining each division are specified ; and the visitor, after
glancing at the general introduction, has only to note the
number on the frame of the picture and to refer to that
number in the Catalogue which follows the series of
introductions. By adopting this plan of "doing" the
National Gallery, he will at any rate avoid the fatigue
which always comes from trying to see too much at a
time, and the boredom which sometimes comes from
aimless looking at pictures. On the other hand, the
visitor who does not want to use the Guide in this way
has only to skip the preliminary pages and to pass at
once to the Catalogue and Descriptive Notes.

SCHEME OF "HALF HOLIDAYS."

" Half
Holiday."

Rooms to be seen
(in the order given).

Schools.

"Half
Holiday."

Rooms to be seen
(in the order given).

Schools.

N. Vestibule, ii. iii.

Early Florentine and Sienese

7 & 8.

iv. x. xi. xii. xv.

Flemish, Dutch, and German

•2.

1. V.

Florentine and Ferrarese

XIV. XVI. XVll.

French and Spanish

VI.

Umbrian (Raphael, etc.)

10.

XV1I1. XIX.

Old English

4&5-

Vll. Vlll.

Venetian and Allied Schools

(and Vestibules)

(and Octagon)

ii.

XX. XXI.

Later English (Landseer, etc. )

IX. Xlll.

Lombard and Later Italian

12.

XXll.

Turner

PLAN

OF THE

NATIONAL GALLERY

XXII

I I xxi xx I

XVIII

XIX

Entrance Hall

HALF HOLIDAYS AT THE NATIONAL GALLERY

FIRST HALF HOLIDAY.
NORTH VESTIBULE AND ROOMS II. AND III.— EARLY FLORENTINE AND SIENESE SCHOOLS.

[N.B. — In references to pictures, the ordinary numerals denote the numbers affixed to the frames of the several pictures ;
the Roman numerals (I. -XXI I.), the Rooms in which the several picttires are at present hung.

WHEN he first enters the Vestibule, the visitor may
be inclined to ask what there can be worth seeing
in the quaint and gaunt pictures that confront him. The
answer is very simple. Here is the nursery of Italian
art ; here is the first stammering of infant painting. To
feel the full greatness of Raphael's " Madonna " (VI. 1171),
one should first pause awhile before the earliest Italian
picture here (564), the gaunt and forbidding " Madonna "
by Margaritone. But even in the earliest efforts of in-
fancy there is a certain amount of inherited gift. First
of all, therefore, one should look at a specimen of such
art as Italians had before them when they first began to
paint for themselves. With the fall of the Roman
Empire and the invasion of the Goths, the centre of civil-
isation shifted
to the capital
of the Eastern
Church, Byzan-
tium (Constan-
tinople). The
characteristics of
Byzantine art
may here be
seen in the Greek
picture (594)-
The history of
early Italian art
is the history
of the effort
to escape from
the swaddling
clothes of this
rigid Byzantine
School. The
effort was of two
kinds : first, the
painters had to
see nature truly,
instead of con-
tenting them-
selves with fixed
symbols — art
had to become
"natural" in-
stead of " con-
ven t i on a 1."
Secondly, hav-
ing learned to
see truly, they
had to learn how
to give a true
resemblance of
what they saw ;
how to exhibit
things in relief, in perspective, and in illumination. In
relief, that is they had to learn to show one thing as
standing out from another ; in perspective, that is to
show things as they really look instead of as we infer
they are ; in illumination, that is to show things in the
colours they assume under such and such lights. A
comparison between Margaritone's " Madonna " (564) and
Cimabue's (565) or Duccio's (II. 566) will afford a good
instance of the advance from " conventional " art to
"natural." Uccello's battlepiece(III. 583) shows with what
zest succeeding painters threw themselves into problems of

No. 275 (in Room III.) : " VIRGIN AND CHILD, ETC.," by Botticelli.

technique. But it is interesting to study these pictures
for what the painters wanted to say, as well as for their
means of expressing it. The revival of art in Italy in the
Middle Ages was largely due to the preaching of St.
Francis and St. Dominic. Churches were everywhere
built, and on the church walls frescoes were wanted, alike
to satisfy the growing sense of beauty and to assist in teach-
ing Christian doctrine. These early pictures are thus to be
considered as a kind of illustrated Bible, painted for people
who could not read. Margaritone's picture (564), almost
comic though it be as a work of art, will, if studied from
this point of view, be found to be full of interest ; and most of
the other pictures in this room may similarly be regarded
as painted Lives of the Saints, or Sermons on their Virtues.

Proceeding now
into Room III.
we come to pic-
tures of a some-
what later date,
when, as we shall
see on the next
half holiday,
other than re-
ligious interests
had entered into
art ; but the
pictures of Bot-
ticelli here are
still full of re-
ligious teaching.
The influence of
the great Flor-
entine reformer,
Savonarola, is to
be seen in 1034 \
that of St. Fran-
cis in 598 ; whilst
1 1 26 is almost a
compendium of
mediaeval the-
ology.

But it is in
the Sienese
School — • repre-
sented in Room
II. — that the re-
ligious character
of early art is
most strongly
marked. This
comes out very
clearly in the
Statutes of the
Painters' Guild
— the Royal Academy, as it were — of Siena. "We are
teachers," they say (A.D. 1355), "to unlearned men of
the marvels done by the power and strength of holy
religion." So strong was the religious motive in Sienese
art, that it long continued in the old grooves. In the work,,
for instance, of Matteo di Giovanni (1155), there is
still the same expression of religious ecstasy, and the
same prodigal use of gold in the background, as marked
the works of the preceding century ; yet he was con-
temporary with the Florentine Botticelli, who, as we shall
hereafter see, introduced many new motives into art.

HALF HOLIDAYS AT THE NATIONAL GALLERY

SECOND HALF HOLIDAY.

ROOMS I. AND V.
FLORENTINE AND FERRARESE SCHOOLS.

REAT nations write their autobiographies," says
\Jf Mr. Ruskin, " in three manuscripts : the book
of their deeds, the book of their words, and the book of
their art." We have read in the Vestibule the first chapter
in the artistic autobiography of Florence. We have now
to trace the story
in a later stage.
The first thing that
will strike any one
who takes a general
look at the early
Florentine pictures
and then at
Room I., is the fact
that easel pictures
have now super-
seded fragments of
fresco and altar-
pieces. Herein we
see at once two
features of the
period of the Re-
naissance — the
period, that is,
when the Revival
of Classical Learn-
ing gave a new
direction to men's
ways of looking at
things, and a fresh
impulse to the cul-
tivation of beauty.
Pictures were no
longer wanted
merely for church
decoration and
Scripture teach-
ing ; there was a
growing taste for
beautiful things as
household posses-
sions. And then
also the influence
of the Church itself
was declining ; the
exclusive place
hitherto occupied
by religion as a
motive for art was
being superseded
by the revival of
classical learning.
Benozzo Gozzoli
paints the Rape of Helen (591 in Room II.), Botticelli
paints Mars and Venus (915), Piero di Cosimo the Death
of Procris (698), and Pollajuolo the story of Apollo and
Daphne (928). The Renaissance was, however, " a new
birth " in another way than this ; it opened men's eyes
not only to the learning of the ancient world, but to the
beauties of the world in which they themselves lived. In
previous times the burden of serious and thoughtful minds
was, " The world is very evil, the times are waxing late ; "
the burden of the new song is, " The world is very
beautiful." Thus we see the painters no longer confined
to a fixed cycle of subjects represented with the traditional

No, 690 (in Room I.) : " His OWN PORTRAIT," by Andrea del Sarto.

' ' All is silver-gray,
Placid and perfect with my art."

surroundings, but ranging at will over everything that
they found beautiful or interesting around them. And
above all they took to representing the noblest em-
bodiment of life — the human form. Some attempts at
portraiture may be perceived in the saints of the earliest
Florentine pictures ; but now we find professed portraits
on every wall. This indeed was one of the chief glories
of the Florentine school — "the open expression of the
living human soul."

So far then we have seen two stages in the Florentine
School — the first, or Giottesque as it is called, in which

the thing told is of
more importance
than the manner of
telling it, and in
which the religious
sentiment domi-
nates the plastic
faculty ; and the
second, just de-
scribed, in which
the artist, begin-
ning to look freely
at the world around
him, begins also to
study deeply with
a view to represent
nature more ex-
actly. Pollajuolo
(292), who first
studied anatomy
from the dead
body, is a typical
representative of
this second period.
The third period
witnesses the per-
fection of the tech-
nical processes of
painting, and the
attempt of the
painter to raise
forms, imitated by
artists of the pre-
ceding period from
nature, to ideal
beauty, and to give
to the represen-
tations of the senti-
ments and affec-
tions the utmost
grace and energy.
The great masters
of this period are
L. da Vinci and
Michael Angelo.
But this culmin-
ating period con-
tained within it the
germs of decay. Artists began to be devoted, not to the
objects of art, but to the cunning of it. Grace passed into
insipidity ; dramatic energy into exaggerated violence.
One mannerism led to another until the Eclectics (see p.
10) sought to unite the mannerism of all, and the great
period of Italian art came to an end/ These periods
occur in the history of all the schools, but in none can
they be studied so well as in the Florentine. Thus,
passing now to Room V., we note that of the first period
in the Ferrarese School no pictures survive. The founder
of the school, so far as we can now study it, is Cosimo
Tura, who belongs to the second period.

HALF HOLIDAYS AT 7'HE NATIONAL GALLEXY

THIRD HALF HOLIDAY.

ROOM VI.
THE UMBRIAN SCHOOL (INCLUDING RAPHAEL).

T T MBRIA has been called the Galilee— the Holy Land
\<J — of Italy ; and it is a certain sanctity of sentiment

that distinguishes the Umbrian School. For one thing

the Umbrian School, unlike

the Florentine, was distinc-
tively provincial ; painting

•was not centralised, that is

to say, in any great capital,

but flourished in small towns

and retired valleys — in

Perugia, Foligno, Borgo S.

Sepolcro, S. Severino, etc.

Hence the older traditions of

Italian art held their ground,

and the religious feeling of

the Middle Ages survived

long after it had elsewhere

been superseded. In the

case of Perugino, the typical

master of the school, this

patient continuance in the

old ways went so far that he

was blamed, we are told, for

doing the same thing over

and over again. The spirit

of the district favoured this

religious sentiment, which

characterises the school.

The little townships of

Umbria begirdle the Hill of

Assisi, the hallowed abode of

St. Francis, and were the

seats of such religious en-
thusiasm as is reflected in

the picture of the Crucifixion

here (1107). Look at the

attendant figures, and see

how the artist seems to revel

in depicting religious emo-
tion, and (as it were) in

piling up the agony. Notice,

too, that St. Francis himself

is kneeling at the foot of the

Cross. The influence of

Siena, whose artists worked

at Perugia, must have made

in the same direction, and it

is interesting to notice in

this room one picture of St.

Catherine of Siena (249), and

two of her namesake of

Alexandria (693, 168). But

indeed throughout the
purely Umbrian pictures in the room there is the same
religious fervour, the same shrinking purity. Notice, for
instance, how pure and bright and shadowless is the land-
scape in the pictures of Perugino and Andrea of Assisi.
"They impress on their landscape," says Mr. Ruskin, " per-
fect symmetry and order, such as may seem consistent with
the spiritual nature they would represent. The trees grow
straight, equally branched on each side, and of slight and
feathery frame. The mountains stand up unscathed ; the
waters are always waveless, the skies always calm." The
effort of the painter throughout is "to express, not the actual
fact, but the enthusiastic state of his own feelings about the

No. 288 : "VIRGIN AND CHILD," by Perugino.

fact ; he covers the Virgin's dress with gold, not with any
idea of representing the Virgin as she ever was, or ever
will be seen, but with a burning desire to show what his
love and reverence would think fittest for her. He fills
his landscape with church spires and silver streams, not
because he supposes that either were in sight at Bethlehem,
but to remind the beholder of the peaceful course and
succeeding power of Christianity." The peacefulness of
the landscape which these painters then loved to depict

is still characteristic of
Umbria itself. " This is the
gracious nook of earth," says
Signer Morelli in describing
the district, "in which Pietro
Perugino loved to place his
chaste, God - fraught Ma-
donnas, and which in his
pictures, like soft music,
heightens the mood awak-
ened in us by his martyrs
pining after Paradise."

Raphael, a pupil of Peru-
gino, fell afterwards under
other influences and adopted
different styles. To under-
stand his position in the his-
tory of art it is necessary to
distinguish between these
styles, which corresponded
with the divisions of his life.
The National Gallery is for-
tunate in having represen-
tatives of all the styles, (i)
In the pictures of his first, or
Perugian period (lasting till
1 504), Raphael proclaims his
Umbrian parentage. The
"Vision of a Knight" (213)
belongs to this period. (2)
To his second, or Florentine
period, belong the " Bridge-
water Madonna " (929), the
"St. Catherine" (168), and
the " Ansidei Madonna "
(1171). The importance of
this picture in the history of
art is that it shows the tran-
sition from the first to the
second period, being dated
(on the border of the Virgin's
robe below her left arm)
MDVI, 1506. A glance at
the Perugino, No. 288, will
show how much of that
master's influence remains
— his fervid religious feeling
mixed with a certain senti-
mentality. But these traces
of the older manner are com-

bined with the endeavour by thorough study to obtain
greater truth of nature and more freedom. (3) Third or
Roman period, 1508-1520. The chief works of this
period are the frescoes in the Vatican. But in this
country there are the famous cartoons (at South Ken-
sington), the portrait of Julius II (27) and the Garvagh
Madonna (744). The characteristics of this period are,
the substitution of classical for religious motive, and the
straining after dramatic effect. Raphael thus marks the
culminating point of Umbrian art, which after his time led
down to the conventional sentimentalities against which
the "pre-Raphaelites" have in modern times revolted.

HALF HOLIDAYS AT THE NATIONAL GALLERY

FOURTH AND FIFTH HALF HOLIDAYS.

ROOMS VII. AND VIII. AND THE "OCTAGON."
VENETIAN AND ALLIED SCHOOLS.

N these three rooms are hung, besides the Venetian
pictures, those of many neighbouring towns — Verona,

Brescia. Bergamo, Treviso. All these local schools have and this had much to do with their ideal of beauty.

»-.o,~iili-3fitt<=>c nf tVimr nturn nnrl cnmp iif thpm Psnpriallv ("'mnnarA -3 t\7r>iVnl V^nptian " T-ieauHr " cn/-V> oo T>nr\e-

fond he is of staffs and canopies and brilliant architecture.
And then, in the second place, there is the colour of Venice
itself — " that melodrama of flame and gold and rose and
orange and azure, which the skies and lagoons of Venice
yield almost daily to the eye." Titian, the greatest
colourist amongst the old masters, saw that melodrama
of colour constantly before him, from his palace on the
lagoons. Thirdly, the Venetians were a race of seamen,

peculiarities of their own, and some of them — especially
the Brescian, are well represented here. But above these
local peculiarities, there are common characteristics in
the work of all these schools which they share with that
of Venice, and it is
only these charac-
teristics that can
now be noticed.
The Paduan
School, in Room
VIII., will require
a few words of
separate notice.

" Here," says
Mr. Ruskin of the
Venetian School,
"you have the most
perfect represen-
tation possible of
colour and light
and shade, as they
affect the external
aspect of the
human form and
its immediate ac-
cessories, architec-
ture, furniture, and
dress. This ex-
ternal aspect of
noblest nature was
the first aim of the
Venetians." A
general glance at
the pictures in
Room VII. will
show how true this
statement is. Look
too, at one of the
earliest Venetian
pictures — such as
Crivelli's " Annun-
ciation " (739) in Room VIII., and then at one of the later-
such as Veronese's "Family of Darius" (294) in Room VII.,
and it will be seen how constant the Venetian character-
istics, as described above, are. They may be traced both
to historical circumstances and to physical surroundings.
The first broad fact to be noticed about the Venetian
School of painting is that it is later than the Florentine
by some hundred years or more. Thus one of the earliest
Venetian pictures here is 768 in the Octagon. The art is
still very primitive, yet the artist who painted it was con-
temporary with Fra Filippo Lippi, and more than a
hundred years later than Giotto. By the time Venetian
painters had acquired any real mastery over their art
Venice was already in a state of great magnificence ; her
palaces, with their fronts of white marble, porphyry, and
serpentine, were the admiration of every visitor. Painters
paint what they see around them, and hence at the outset
we find in the Venetian School the rendering of material
magnificence and the brilliant colours that distinguish it
throughout. Note, for instance, in the pictures by a com-
paratively early Venetian, like Crivelli (Room VIII.), how

No. 35 (in Room VII.): "BACCHUS AND ARIADNE," by Titian.

Compare a typical Venetian "beauty," such as Paris
Bordone's (674), with one of Botticelli's (915) : how great
is the difference between them ! " The landsmen, among
their roses and orange-blossoms and chequered shadows of

twisted vine, may
well please them-
selves with pale
faces and finely
drawn eyebrows
and fantastic
braiding of hair.
But from the
sweeping glory of
the sea we learn to
love another kind
of beauty ; broad-
breasted, level-
browed, like the
horizon ; thighed
and shouldered
like the billows,
footed like their
stealing foam,
bathed in clouds of
golden hair like
their sunsets."
Then further, "this
ocean -work is
wholly adverse to
any morbid con-
ditions of senti-
ment. Neither love
nor poetry nor piety
must ever so take
up our thoughts as
to make us slow or
unready." Herein
will be found the
source of a notable
distinction be-
tween the treat-
ment of sacred subjects by Venetian painters and all
others. The first Venetian artists began with asceticism,
just as the Florentines did ; " always, however, delighting
in more massive and deep colour than other religious
painters. They are especially fond of saints who have
been cardinals, because of their red hats, and they sun-
burn all their hermits into splendid russet -brown " (see
Octagon, 768). Then again, through all enthusiasm
they retain a supreme common sense. Look back, for
instance, from the religious pictures in this room, from
Titian's Holy Family (635) or Cima's Madonna (634) to
those of the Umbrians, which we have just left. The
Umbrian religion is something apart from the world, the
Venetian is of it. The Madonnas are no more seated
apart on their thrones, the saints breathe no more
celestial air. They are on our plain ground, nay, here
in our houses with us. The religion of the Venetian
Schools was not less sincere than that of others, but it
was less formal, less didactic ; for Venice was constantly
at feud with the Popes, and here we come to the last
circumstance which need be noticed as determining the

HALF HOLIDAYS AT THE NATIONAL GALLERY

characteristics of the school. "Among Italian cities
Venice alone was tranquil in her empire, independent of
church interference, undisturbed by the cross purposes
and intrigues of the despots, inhabited by merchants who
were princes, and by a free-born people who had never
seen war at their gates. The serenity of undisturbed
security, the luxury of wealth amassed abroad and
liberally spent at home, gave a physiognomy of ease and
proud self-confidence
to all her edifices."
Hence the ideal of
Venetian painting was
"stateliness and power,
high intercourse with
kingly and beautiful hu-
manity, proud thrones
or splendid pleasures."

The visitor will find it
easy to trace these char-
acteristics in nearly all
the pictures which hang
in the three rooms dis-
cussed in this chapter.
But in many of the pic-
tures in Room VIII. he
will discover a different
ideal. These are the
pictures belonging to the
Paduan School. " The
Paduans," says an
Italian proverb, " are
great scholars," and it
was at Padua that the
principles which gov-
erned classical art were
first and most distinctly
applied to painting.
The founder of this
learned Paduan School
was Squarcione (1394-
1474). He had travelled
in Italy and Greece, and
the school which he set
up in Padua on his re-
turn was filled with
models and casts from
the antique. He was
pre-eminently a teacher
of the learned science of
linear-perspective ; and
the study of antique
sculpture led his pupils
to define all their forms
severely and sharply.
This characteristic of
the school is pointed
out below under some
of Mantegna's pictures,

but is seen best of all in Gregorio Schiavone— a less
accomplished pupil of Squarcione, who almost caricatured
the master's teaching. Notice, for instance, how
grotesquely sharp and sculpturesqiw is the outline of the
Madonna's face in both his pictures (VIII. 904, and
Octogon, 630). The picture which best shows the classical
learning of the Paduan school is Mantegna's "Triumph
of Scipio" (902) — a picture full of allusion to Latin
authors, and instinct with the classical spirit. No works
of the time are so full of antique feeling as Mantegna's.
Botticelli, it has been said, " played with the art of the
ancients and modernised it ; Mantegna actually lived
and moved with it."

No. 10 : " MERCURY, VENUS, AND CUPID," by Correggio.

SIXTH HALF HOLIDAY.

ROOM IX.
LOMBARD SCHOOL AND CORREGGIO.

r I ^HE painters whose works are hung in Room IX.
JL belong chiefly to Lombardy — " the loveliest district

of North Italy, where
hills and streams and air
meet in softest har-
monies," and the char-
acter of their art is a
reflection of that of their
country. They were
nearly all natives, not of
some large capital, but of
small towns or country
villages. They studied
technique at Milan,
where a school was first
established by Vincenzo
Foppa, and where Leon-
ardo da Vinci (1093)
afterwards settled. The
chief of them is Luini
(18), who stands
alone, says Mr. Ruskin,
"in uniting consummate
art-power with untainted
simplicity of religious
imagination." When
Leonardo came from
Florence to Milan, the
Lombard School di-
vided into two sets —
those who were immedi-
ately and directly his
imitators, and those
who, whilst feeling his
influence, yet preserved
the independent Lom-
bard traditions. The
visitor will have no diffi-
culty in recognising the
pictures of Beltraffio,
Oggionno, and Martino
Piazza as belonging to
the former class.
Solario, Luini, and
Lanini are more inde-
pendent. Correggio and
his imitator, Parmi-
giano, whose works also
hang in Room IX., do
not really belong to the
Lombard School. Cor-
reggio was a native of

Parma, and stands very much apart. Carlyle noted
the distinctness of his style when he spoke of the
" Correggiosity of Correggio," by which we may under-
stand at once a way peculiar to himself of looking at
the world, and an excellence, peculiar to him also, in
his methods of painting. He looked at the world as
a place in which everything is full of happy life and soft
pleasure, and the characteristics of his style are " sidelong
grace" and an all -pervading sweetness. The method
by which he realised on canvas this way of looking at
things is the subtle gradation of colours — a point in
which, of all modern artists, the late Lord Leighton most
nearly resembles him.

HALF HOLIDAYS AT THE NATIONAL GALLERY

SIXTH HALF HOLIDAY (Continued}.

ROOM XIII.
THE LATER ITALIAN SCHOOLS.

r 1 ""HE visitor should now, having completed his survey
J. of Italian painting in its infancy and in its maturity,
pass at once to the Gallery (Room XIII.) devoted to its
decadence. Why,
he should ask, is
it that modern
criticism stamps
the later Italian
Schools as schools
of the decadence ?
The answer is, Be-
cause the art of
this later period
was not spontan-
eous art. " It was
art mechanically
revived during a
period of declin-
ing enthusiasms.
Though the paint-
ers went on paint-
ing the old sub-
jects, they painted
all alike with
frigid superfici-
ality. Nothing new
or vital, fanciful
or imaginative, has
been breathed into
antique mythology.
What has been
added to religious
expression is repel-
lent, extravagantly
ideal in ecstatic
Magdalens and
Maries, extrava-
gantly realistic in
martyrdoms and
torments, extrava-
gantly harsh in
dogmatic myster-
ies, extravagantly
soft in sentiment-
al tenderness and
tearful piety." In
reading the notes No. 29: "OuR LADY OF

to the pictures in

Room XIII., the visitor will find his attention called
from time to time to cases in point. But the picture
reproduced on this page affords a particularly instructive
example. The old religious spirit has entirely vanished,
and the Holy Family is represented as worrying a bird
with a cat ! John the Baptist holds the little gold-
finch ; while the Madonna expressly directs the atten-
tion of the infant Christ to look at the fun. " See, the
cat is trying to get at it," she seems to say. Behind the
bird the painter, in unconscious irony, has placed the
Cross. The visitor who wishes to see how far Italian art
has travelled in a hundred years should compare this
picture with such an one as Bellini's (VII. 280), or with one
of Raphael's, with whom Baroccio was a fellow-country-
man. The connecting link should then be seen in
Correggio (IX. 23), upon which master, as well as
Raphael, Baroccio formed his style. With Bellini or

Perugino, the motive is wholly religious. With Raphael
it is intermingled with artistic display. Correggio brings
heaven wholly down to earth, but yet paints his domestic
scene with lovely grace. Baroccio brings, one may
almost say, heaven down to hell, and uses all his skill
to show the infant Saviour's pleasure in teasing a bird.

If we now turn from the ideas of the late Italian
painters to their execution, we shall find similar reasons
for its failure to delight or satisfy. Their ambition was

to " choose out "
(hence their Greek
title, " Eclectics,"
" the pickers and
choosers") the
salient features
from several earlier
styles, and to com-
bine them all into
one. "This ambi-
tion doomed their
style," it has been
pointed out, "to the
sterility of hybrids."
For it must be ob-
served that "all
these old eclectic
theories were based
not upon an en-
deavour to unite
the various char-
acters of nature
(which it is possible
to do), but the
various narrow-
nesses of taste,
which it is impos-
sible to do. There
are times when the
particular humour
of each man is re-
freshing to us from
its very distinct-
ness ; but the effort
to add any other
qualities to this re-
freshing one in-
stantly takes away
the distinctive-
ness." It is usual
to group the
painters of the de-
cadence under
three heads — the
" Mannerists," the
" Eclectics," and the " Naturalists." By the first of these
are meant the painters in the several schools who suc-
ceeded the culminating masters and imitated their peculi-
arities. Thus Tiepolo is a mannerised Paolo Veronese,
and Baroccio a mannerised Correggio. Against this
mannerism a reaction subsequently set in, taking two
forms. The first was that of the Eclectic School, de-
scribed above, represented by the Carraccis, Guido Reni,
Domenichino, Sassoferrato, and Guercino. The other
school, which was formed in protest against the Manner-
ists, was that of the so-called "Naturalists," of whom
Caravaggio was the first representative. They called
themselves " Naturalists," as being opposed to the
" ideal " aims alike of the Mannerists and the Eclectics ;
but they made the fatal mistake of supposing that there is
something more "real" and "natural" in the vulgarities
of human life than in its nobleness.

THE CAT," by Baroccio.

HALF HOLIDAYS AT THE NATIONAL GALLERY

SEVENTH & EIGHTH HALF HOLIDAYS.

ROOMS IV., X., XL, XII., AND XV.
GERMAN, FLEMISH, AND DUTCH SCHOOLS.

IN studying these schools the visitor should go first
to Room IV., where the earliest Flemish pictures are
hung, or to Room XV., where the German school is now
( placed. If he has previously obtained a general idea
of the Italian
pictures, he
will be struck
at once by the
contrast be-
tween what Mr.
Ruskin has
called "the
angular and
bony sanctities
of the North "
and " the
drooping
graces and pen-
sive pieties
of the South."
This is the first
distinguish-
ing character
of the early
northern art :
there is no feel-
ing, or care, for
beauty as such.
What, then, is
it that gives
these pictures
their worth,
and has caused
their painters
to be included
amongst the
great masters
of the world?
Look at three
of the mostfam-
ous in Room
IV.,— the por-
traits by Van
Eyck, - — and
the more you
look the more
you will see
that their good-
ness consists in
an absolute
fidelity to
nature — in
dress, in orna-
ments, and
especially in
p or tr aiture.
Here are un-
mistakably the

No.

(Reduced from an engraving in the Magazine of Art, by permission of the publishers,

Messrs. Cassell and Co., L

men and women of the time, set down precisely in their
habit as they lived. Secondly, the Flemish pictures are
on the whole much smaller than the Italian. In the sunny
South the artists spent their best energies in covering large
spaces of wall with frescoes ; in the damp climate of the
North they were obliged to paint chiefly upon panels.
The conditions of their climate were no doubt what led
to the discovery of the Van Eyck method, the point of

which was a way of drying pictures rapidly without the
necessity of exposure to the sun. The practice of mixing
oil with colours was employed for decorative purposes in
Germany and elsewhere long before the time of the
Van Eycks, but they were the first to so improve it as
to make it fully serviceable for figure-painting. The art
of oil-painting reached higher perfection in many ways
after their time, but there is no picture in the Gallery
which shows better than the one here reproduced one

great capacity
of oil-painting
— its combin-
ation, namely,
of " imperish-
able firmness
with exquisite
delicacy." The
method thus
invented by the
Van Eycks was
only applicable
to work on a
small scale, but
it permitted
such work to
be brought to
the highest
finish. This
precisely suit-
ed the pains-
taking, patient
men of the
Low Countries.
Hence the mi-
nuteness and
finish which
characterise
their work.

Again, it will
be noticed, as
the visitor goes
round the
room, that
many of the
painters are
either alto-
gether "un-
known " or are
attributed to
artists whose
names are not
given, and who
are merely
described as
the " master "
of such and
such other
pictures. For
these painters
seldom signed
their names,
and the works
of the fifteenth
next two centuries treated with

Van Eyck

t, y per
imited.)

century were in the
neglect. Moreover, the Guild system was very strict
amongst the northern artists. The Guild educated the
artist and bought his materials, and even when he
emerged into mastership, stood in many ways between
him and his patron. Hence pictures were often regarded
as the work not of this or that individual, but of this or
that Guild. Hence too the quiet industry and the incom-

HALF HOLIDAYS AT THE NATIONAL GALLERY

petitive patience of these Early Flemish painters. " Patient
continuance in well-doing was/' it has been said, "the
open secret of their success."

Before passing to Rooms X., XL, and XII., where the
later Dutch and Flemish pictures are hung, it will be in-
teresting to trace, however roughly, the historical develop-
ment of the schools, (i) The birthplace of painting as a
separate art in the North was on the Lower Rhine, at
Maastricht and Cologne. Of this school of the Lower
Rhine the earliest specimen in the Gallery is 687 (Room
XV.). (2) Later on, however, the great development in
the prosperity and wealth of the Low Countries — the
land of the Woolsack and the Golden Fleece, led to the
growth of a native
art. The Early Flem-
ish School, covering
roughly the period
1400-1500, was the
result, the most im-
portant masters being
Van Eyck, Van der
Weyden, Bouts, David,
and Memlinc. At this
period there is little
distinction to be made
between Dutch and
Flemish art ; for just as
Flemish art was in
origin German, so did
the Dutch derive their
first artistic impulse
from the Flemings. As
examples of Dutch art
at this time, the reader
may refer to 713 and
714. (3) At the end of
the fifteenth century,
however, a national
movement began in
both schools — corre-
sponding closely to
political changes. In
1 598 the Archduke
Albert and his consort
Isabel established what
was almost an inde-
pendent state in the
Spanish Netherlands
( = roughly Flanders or
the modern Belgium).
The " Spanish fury "

was at an end, the In- No> (in Room x<) . „ PoRTRA1T

quisition was relaxed.

Albert and Isabel eagerly welcomed artists and men of
letters, and the exuberant art of Rubens responded to the
call. This is the third and great period in the Flemish
School — the succession being carried on by Rubens's
pupils, Van Dyck and Teniers. Rubens was a great and
original genius, and struck out a path for himself. But in
his successors, and especially in Teniers, the visitor will
notice the same fidelity to realities, and the same conscien-
tious workmanship that we have already observed, applied
to other subjects, in the earlier Flemish pictures. (4)
Rubens, the greatest master of the Flemish School, was
born in 1577. The birth of the corresponding great
period in Dutch art was nearly contemporaneous. For
it was in 1579 that the "Union of Utrecht" was effected,
whereby the Dutch "United Provinces" ( — roughly what
is now Holland) were separated alike from the Spanish
Netherlands and from the Empire, and that Dutch inde-
pendence thus began. Within the next fifty years nearly

all the great Dutch painters were born. In characteristics,
as well as in chronology, Dutch art was the direct out-
come of Dutch history. This art has come to be identified
in common parlance, owing to its chief and distinguishing
characteristic, with what is known as '•''genre painting,"—
the painting, that is, which takes its subject from small,
incidents of everyday life. Three historical conditions
combined to bring this kind of painting in vogue. First,
the Reformation. The Dutch, when they asserted their,
independence, were no longer Catholics ; but Protestant-
ism despised the arts, and hence the arts became entirely
dissociated from religion. There were no more churches to
ornament, and hence few religious pictures were painted,

whilst religious rapture
is superseded by what
one of their own critics
describes as " the bois-
terous outbursts which
betoken approach-
ing drunkenness."
Secondly, the Dutch
were Republicans.
There was no reigning
family. There were no
palaces to decorate, and
hence historical or
mythological pictures
were little in demand.
This point of distinction
may best be remem-
bered by the supreme
contempt which the
great King Louis XIV.
of France entertained
for the genre style.
Eloignez de mot ces
magols, he said, "take
away the absurd things,"
when some one showed
him some works by
Teniers. But the "plain
simple citizens " of the
United Provinces did
not want their faces
idealised — hence the
excellence of Dutch
portraiture, — nor had
they any ambition to
see on their walls any-
thing but an imitation
of their actual lives — of
their dykes, their court-
yards, their kitchens,
and their sculleries. Thirdly, the Dutch were a very self-
centred people. A certain obstinate tenacity to their
own ways was at once their weakness and their strength.
Their artists were wonderfully laborious, wonderfully
skilful in execution ; but strangely lacking in imagination,
strangely limited in their range. Hence, on the one side,
their fondness for genre. "With the Dutch," says Sir
Joshua Reynolds (Discourse iv.), '•' a history piece is pro-
perly a portrait of themselves ; whether they describe the
inside or outside of their houses, we have their own people
engaged in their own peculiar occupations ; working or
drinking, playing or fighting. The circumstances that enter
into a picture of this kind are so far from giving a general
view of human life, that they exhibit all the minute par-
ticularities of a nation differing in several respects from
the rest of mankind." Hence, on the other side, their fond-
ness for landscape — a landscape excellent in many ways,
but cribbed, cabin'd, and confined, like their own dykes.

OF AN OLD WOMAN," by Rembrandt.

HALF HOLIDAYS AT THE NATIONAL GALLERY

NINTH HALF HOLIDAY.

ROOMS XVI. AND XVII.
THE FRENCH SCHOOL.

THE French painters are at present very inadequately
represented in the National Gallery ; and of the
pictures in this room nearly all the more important are
the works of three masters — Claude and the two Poussins.
It is of them, therefore, that a few general remarks must
first be made. It should be noticed in the first place how
very different this French School of the seventeenth and
eighteenth centuries is from the French School of to-day.
The latter school is distinguished for its technical skill,
which makes Paris the
chief centre of art teaching
in the world, but, also, and
still more markedly, for its
" excessive realism and
gross sensuality." " A few
years ago," adds Professor
Middleton, " a gold medal
was won at the Paris Salon
by a ' naturalist ' picture —
a real masterpiece of tech-
nical skill. It represented
Job as an emaciated old
man covered with ulcers,
carefully studied in the
Paris hospitals for skin
diseases." There could
not be a greater contrast
than between such art as
that and the " ideal " land-
scapes of Claude, the
Bacchanalian scenes of
Poussin, or the soft girl-
faces of Greuze. It should,
however, be noted that
Claude and the Poussins,
though French by birth,
were Italians by artistic
education. During the
fifteenth and sixteenth cen-
turies, French art was
entirely under Italian in-
fluence. Nicolas Poussin
developed a style of his
own, but was much in-
fluenced by Titian ; whilst
the landscape painted by
Claude was idealised not
from France, but from Italy.

Confining ourselves now
to Claude and the Poussins
— with whom, however,
the contemporary works of Salvator Rosa (in Room
XIII.) should be studied, we note that in spite of con-
siderable differences between them they agree in marking
a great advance in the art of landscape painting. The
old conventionalism has now altogether disappeared ;
there is an attempt to paint nature as she really is. There
are effects of nature, too, — not shown in any earlier pictures,
and here painted for the first time, — graceful effects of
foliage, smooth surface of water, diffusion of yellow sun-
light. But, on the other hand, it will be noticed that
nature is regarded by these painters in an artificial, and
even affected manner. There are no signs in Claude's
landscapes of rough weather or human labour. It is in
fact the -precise analogue in painting, of " pastoral poetry "

— that is, " the class of poetry in which a farmer's girl is
spoken of as a ' nymph,' and a farmer's boy as a ' swain,'
and in which, throughout, a ridiculous and unnatural
refinement is supposed to exist in rural life." Herein the
ideal of Claude closely accords with the prevailing taste
and literature of his age. " Examine," says Mr. Ruskin,
" the novels of Smollett, Fielding, and Sterne, the comedies
of Moliere, and the writings of Johnson and Addison, and
I do not think you will find a single expression of true
delight in sublime nature in any one of them. If you
compare with this negation of feeling on one side the
interludes of Moliere, in which shepherds and shepherd-
esses are introduced in court dress, you will have a very
accurate conception of the general spirit of the age." It
was in such a state of society that the landscape of Claude,
Gasper Poussin, and Sal-
vator Rosa attained its
reputation — a reputation
which survived almost into
the present century, until
Wordsworth in poetry and
Turner in painting led the
return to nature, and the
modern school of land-
scape arose.

Something of this return
to nature may be seen in
the works of Greuze
(1725-1805). They are
nearly contemporary with
such pictures as 1090
and 101 - 104 — pictures
typical of the frivolity and
artificiality of the time.
The return to simpler life
and sounder morals, which
inspired Rousseau, found
expression in the domestic
scenes and sweet girl-faces
of Greuze. " Courage, my
good Greuze," said Diderot
of one of his pictures of
domestic drama, " intro-
duce morality into paint-
ing. What, has not the
pencil been long enough
and too long consecrated
to debauchery and vice?
Ought we not to be de-
lighted at seeing it at last
unite with dramatic poetry
in instructing us, correcting
us, inviting us to virtue ? "
Of the later French
school of landscape, which
shows another remarkable
"return to nature," the
National Gallery possesses no example. This is a de-
ficiency which one may hope that some lover of the arts
will before long supply. Nothing would be more in-
structive than to be able to turn from the " classical
landscapes " of Claude and Poussin to one of Rousseau's
pictures of real French forests or Millet's pictures of
French peasant-life. In default of this, the visitor who
is interested in pursuing the matter would do well to
contrast the landscapes in these rooms with those of our
own Constable — "the man [says an illustrious French
critic] who abandoned all the conventions, artifices, and
imaginary descriptions of pretended Greek or Roman
landscapes ; and used his own eyes to see the grass,
water, and trees in their striking natural beauty."

No. 1019 : "THE HEAD OF A GIRL," by Greuze.

I will paint her as I see her .
With a forehead fair and saintly,

Which two blue eyes undershme,

Like meek prayers before a shrine.

Face and figure of a child, —
Though top calm, you think, and tender,
For the childhood you would lend her.

(Mrs. BROWNING : A Portrait.')

HALF HOLIDAYS AT THE NATIONAL GALLERY

NINTH HALF HOLIDAY (Continued}.

ROOM XIV.
THE SPANISH SCHOOL.

r I ^HE Spanish school of painting is not yet very fully
J_ represented in the National Gallery ; but the works
here shown by its greatest master, Velazquez, are ex-
cellent in quality, and interesting as illustrating the
progress of his art. The first point to be noticed is, that
most of the painters represented are nearly contemporary.
The period 1588-1691 covers the lives of four of the
chief painters of Spain, and they all reach a high level
of technical skill. This fact suggests at once the
first characteristic
point in the history of
the Spanish School.
It has no infancy. It
sprang full-grown into
birth. The reason of
this was its Italian
origin. The art of
painting, except as
purely decorative, was
forbidden to the
Moors ; and it was
only in 1492, when the
banner of Castille first
hung on the towers of
the Alhambra, that the
age of painting, as of
other greatness, began
for Spain. But the
very greatness of
Spain led to Italian
influence in art. The
early Spanish painters
all flocked to Italy,
and the Italian
painters were all at-
tracted to the Spanish
court.

But though Span-
ish art sprang thus
rapidly to perfection
under foreign in-
fluence, it was yet
stamped throughout
with a thoroughly dis-
tinctive character. In
the first place the pro-
verbial gravity of the

Spaniard is reflected No. 745 : " KING PHILIP IV

also in his art. There

is here nothing of the sweet fancifulness of the early
Florentines, nothing of the gay voluptuousness of the
later Venetians. The shadow of the Spaniard's dark
cloak seems to be over every canvas. Then secondly,
Spanish painting is intensely "naturalist." Velazquez
exhibits this tendency at its best : there is an irresistible
reality about his portraits which makes the men alive
to all who look at them. Murillo exhibits it in its excess ;
his best religious pictures are spoiled by their too close
adherence to ordinary and even vulgar types.

Both these characteristics are partly accounted for by
a third. Painting in Spain was not so much the hand-
maid as the bondslave of the Church. As the Church
was in Spain so had art to be — monastic, severe, immu-
table. " To have changed an attitude or an attribute

would have been a change of Deity." Pacheco, the
master of Velazquez, was charged by the Inquisition to
see that no pictures were painted likely to disturb the true
faith. Angels were on no account, he prescribed, to
be drawn without wings, and the Blessed Virgin in
pictures of the Nativity was always to be dressed in
blue and white, for that she was so dressed when she
appeared to Beatrix de Silva, a Portuguese nun, who
founded the order called after her. One sees at once how
an art, working under such conditions as these, would be
likely to lose the play of fancy and the love of beauty
which distinguish freer schools. And then, lastly, one
may note how the Spanish church tended also to make
Spanish art intensely naturalistic. Pictures were expected
to teach religious dogmas and to enforce mystical ideas ;
the Immaculate Conception, for instance, is an especially

Spanish subject But
in the inevitable
course of superstition,
the symbol passed into
a reality. This was
more particularly the
case with statues.
Everything was done
to get images accepted
as realities. To this
day they are not only
painted but dressed :
they have, like queens,
their mistress of the
robes, and ladies
appointed to make
their toilets. It was
inevitable that this
idea of art — as some-
thing which was not to
appeal to the imagi-
nation, but was itself
to pass off as a reality
— should extend also
to Spanish painting.
How far it did so is
best shown in a story
gravely related by
Pacheco. A painter
on a high scaffold had
just half finished the
figure of the Blessed
Virgin when he felt
the whole woodwork
on which he stood
giving way. He
called out in his
horror " Holy Virgin,
hold me," and straight-
way the painted arm
of the Virgin was thrust out from the wall, supporting the
painter in mid-air ! When a ladder was brought and the
painter got his feet on it, the Virgin's arm relapsed and
became again only a painting on the wall. One need not
go further than this story to understand how Murillo,
although often the most mystic of all painters in his con-
ceptions of religious subjects, was also the most natural-
istic in his treatment of them. Morales (1229), again, was
called "the Divine," from the "divine" teaching in his
works. Such, indeed, was the prevailing ideal. " For
the learned and lettered," says a Spanish author in the
reign of Philip IV., "written knowledge may suffice ; but
for the ignorant, what master is like Painting? They
may read their duty in a picture, although they cannot
search for it in books."

OF SPAIN," by Velazquez.

HALF HOLIDAYS AT THE NATIONAL GALLERY

TENTH HALF HOLIDAY.

ROOMS XVIII. AND XIX. AND VESTIBULES.

BRITISH OLD MASTERS (REYNOLDS, GAINSBOROUGH,
AND HOGARTH).

OF the English School of painting Sir Joshua
Reynolds and Gainsborough are (says Mr. Ruskin)
"not only the topmost, but the hitherto total repre-
sentatives ; total, that is to say, out of the range of
landscape, and
above that of satire
and caricature. All
that the rest can
do partially, they
can do perfectly."
With regard to
landscape, we shall
see what the Eng-
lish School have
done in that range
during our next half
holidays ; the range
of satire and cari-
cature is here exem-
plified by Hogarth,
whose famous series
.of " Marriage a la
Mode " hangs in
Room XIX. In
what way, then,
are Reynolds and
Gainsborough and
Hogarth typical of
the English School ?
In the first place,
that seriousness of
purpose which has
been said to dis-
tinguish the Eng-
lish .character is
very conspicuous in
English art. The
English old masters
"always desired to
convey a truth
rather than to pro-
duce a merely
beautiful picture ;
that is to say, to get
a likeness of a man,
or of a place ; to
get some moral principle rightly stated, or some historical
character rightly described, rather than merely to give
pleasure to the eyes. Compare the feeling with which a
Moorish architect decorated an arch of the Alhambra, with
that of Hogarth painting the ' Marriage a la Mode,' and
you will at once feel the difference between art pursued
for pleasure only, and for the sake of some useful principle
or impression." Thus the first great gift of the English
School is the successful portraiture of living people, of
which there are so many splendid exam pies in Room XVIII.
Indeed, so accomplished was this power of portraiture in
Reynolds and Gainsborough that nothing was left for
future masters but to add the calm of perfect workmanship
to their vigour and felicity of perception. " There was
perhaps hardly ever," adds Mr. Ruskin, "born a man
with a more intense and innate gift of insight into human
nature than our own Sir Joshua Reynolds. Titian paints
nobler pictures, and Van Dyck had nobler subjects, but

No. 182 (in Room XVIII.) : " HEADS OF ANGELS," by Reynolds.

neither of them entered so subtly as Sir Joshua did into
the minor varieties of human heart and temper." Next
we see in the British old masters a second character-
istic which has always distinguished English painters —
namely, " an intense power of invention and expression in
domestic drama." Nothing can be more perfect in this
manner than Hogarth.

To this sketch of the characteristics of the English old
masters it may be interesting to add a brief note on their
historical position. English art did not of course spring
up full-grown in the reign of George III, like Athena

from the head of
Zeus. For the real
first - fruits of the
artistic gifts of our
race, the student
must go to the
Gothic cathedrals,
or the paintings on
the walls of Chapter
House at West
minster. But with
the fourteenth
century there came
a nearly complete
pause in English
art, until its revival
under George III.
This was largely
due to importation
by the English
kings of foreign
artists. Thus
Mabuse was one
of the glories of
Henry VI I's reign :
Holbein of Henry
VIII's; Sir A.
More of Mary's ;
and Rubens and
Van Dyck of
Charles I.'s. In
Charles I I's reign
Lely and the two
Van de Veldes were
the chief painters.
All along there had
indeed been native
artists as well —
some of them
" painters to the
king," such as Dob-
son, called by
Charles I. his "English Tintoret." But it was only in
the reign of Queen Anne, when Sir J. Thornhill was com-
missioned to paint the dome of St. Paul, that native
art had a fair chance. Sir James Thornhill was Hogarth's
father-in-law, and Hogarth is the Giotto of the English
School. English art begins under him, as the art of every
nation, with reflecting the life of the times. The turn of
his mind was dramatic and satirical, and he took therefore
to drawing for the delight of society its deformities and
weaknesses. Reynolds was a courtier, and his artistic gift
took the one form which, in a Protestant country which
had abjured the religion that gave its motives to early art
elsewhere, it could take — namely, contemporary portraiture.
Down to the end of the century, this is the line along which
the main current of English art went. Reynolds formed no
school ; but Gainsborough, Romney, Lawrence, Hoppner,
Jackson, Raeburn, and Opie were all his rivals or succes-
sors in the portraiture of the English nobility and gentry.

HALF HOLIDAYS AT THE NATIONAL GALLERY

ELEVENTH HALF HOLIDAY.

ROOMS XX. AND XXI.
WILKIE, LANDSEER, AND OTHER MASTERS.

THE student of the British School of a date subse-
quent to Reynolds and Gainsborough must now
divide his attention between the National Gallery and
the Tate Gallery. The general principle on which the
allocation of pictures to the Tate Gallery has been
carried out, is to remove from the National Gallery
the works of all artists who were born later than
1 790. To this rule,
however, some ex-
ceptions have been
admitted. Thus,
several of the
works of Sir
Edwin Landseer
(born 1802) have
been retained at
Trafalgar Square;
and Millais's
" Yeoman of the
Guard" is retained
here also. On
the other hand,
several of the small
pictures by Con-
stable (born 1776)
and a few by Wilkie
(born 1785) have
been removed to
the Tate Gallery.
Among the more
important, or the
more popular, of the
National Gallery
pictures now to be
seen at Millbank
may be mentioned
Frith's "Derby
Day " ; the works
ofE. M. Ward; the
pre-Raphaelite pic-
tures ; and pictures
by Mason and
Walker. Confining
ourselves here to
the earlier British
pictures which are
retained at Tra-
falgar Square, we
shall find that most
of the contents of
these two rooms
may be grouped
under three heads :
— ( i }genre : Wilkie,
Mulready, etc. ; (2) animals: chiefly Landseer; and (3)
landscape. This last class will more conveniently be dis-
cussed in our next half holiday. In passing now to the
pictures of miscellaneous genre, it may perhaps assist the
visitor who wishes to study these pictures historically to
continue the rough outline given at the end of the last
chapter, (a) The old masters there dealt with were all
dead by 1830. To them succeed two different sets of
painters : the one continuing, in a fresh field, the traditions
of Hogarth ; the other endeavouring to carry forward
those of Reynolds. Of the former class Wilkie may be
taken as the central example. He and other genre

No. 604 (in Room XX.) : " DIGNITY AND IMPUDENCE," by Landseer

painters of the period had not Hogarth's spirit of satire ;
but they had the same dramatic instinct as he, the same
fondness for everyday life. As for the manner of this
group, it was a direct heritage from the Dutch. Many of
the painters in this group lived on after 1850, but that
may roughly be taken as the terminal date, (b) Con-
temporaneous with them were the " historical " painters.
Reynolds himself had tried historical and ideal painting,
for which portraiture is the proper preparation. He had
failed, and those who succeeded him failed worse. Many
of the pictures under this head have now been re-
moved from the Gallery. Of those that remain, the

most important are
Copley's, which
have a considerable
historical interest.
(c) With the year
1850 begins a new
era in English art.
The International
Exhibition of 1851
gave it a great
impetus, and the
pre - Raphaelite
movement a fresh
direction. One new
feature in which the
pre-Raphaelites
shared may be
noticed in some of
the pictures in the
Gallery which were
painted between
1850 and 1870.
This was a reaction
from the low key of
colour, and pre-
dominance of bitu-
men of the Dutch
masters — a reac-
tion which resulted,
says a French
critic, in " a blind-
ing clash of colour,
a strife of incon-
gruous hues." This
epidemic lasted
from 1850 to 1870.
The solution of the
problem of harmon-
ising colours in a
high key has been
the task of the best
living English
painters. Illustra-
tions of these latter
remarks must now
be sought in the
Tate Gallery.

Animal painting is a strong point with the English
School. Of animals painted for their own sake, the pictures
of James Ward are an example. But it is more character-
istic of the English School to introduce some moral
allegory or domestic incident. In this kind the works of
Landseer are exemplary. His pictures of animals are not
only studies in natural history, but are most of them made
to point a moral or adorn a tale. Indeed this tendency
is, in the case of Landseer, carried somewhat to excess,
and " leads to a somewhat trivial mingling of sentiment,
or warping by caricature, giving up the true nature of the
animal for the sake of a pretty thought or pleasant jest."

HALF HOLIDAYS AT THE NATIONAL GALLERY

TWELFTH HALF HOLIDAY.

ROOM XXII.

THE ENGLISH SCHOOL OF LANDSCAPE AND THE
TURNER GALLERY.

THE chief glory of the English School of Painting
consists in its treatment of landscape, and the
visitor cannot better conclude his studies in the National
Gallery than by following out the progress made by his
countrymen in this branch of art. He should first notice
how, with the old masters of Italy, landscape was
treated in a purely conventional way : " the sky is always

Wordsworth, Keats, Shelley, and Tennyson, remains to
be noticed. The founder of the English School here in
method — in the loving study, that is, of nature — was
Wilson ; but he worked, like Callcott after him, under
foreign influences. The first man who struck out a more
distinctively English line in landscape — English in sub-
ject, realistic in treatment — was Gainsborough.

From Gainsborough the succession is direct to Con-
stable and the " Norwich School," of which the chief
representative is Crome. Constable, who was a boy of
nine when Gainsborough died, and, like him, was a
native of Suffolk, carried on his work of portraying the
common aspects of " English cultivated scenery, leaving
untouched its mountains and lakes." Of his influence

No. 1273 (in Room XX.): " FLATFORD MILL ON THE STOUR," by Constable.

pure blue, paler at the horizon, and with a few streaky
white clouds in it ; the ground is green, even to the
extreme distance, with brown rocks projecting from it ;
water is blue streaked with white. The trees are nearly
always composed of clusters of their proper leaves re-
lieved on a black or dark ground." In the next periods,
distant objects were more or less invested with a blue
colour ; and trees were no longer painted with a black
ground, but with a rich dark brown or deep green. But
rocks and water were as imperfect as ever (see I. 1093).
Titian carried the advance farther (see VII. 4) ; but " there
were still no effects of sunshine and shadow ; and the
clouds, though now rolling in irregular masses, and some-
times richly involved among the hills, were never varied
in conception or studied from nature." The next step
was to do away with conventionalism altogether. The
attempt was made by Claude, the two Poussins, and
Salvator Rosa ; but it failed in the manner and for the
reasons that we have already discussed (see p. 13).

The reaction against the artificial and pastoral school
of landscape, which in literature is seen in Scott, Byron,

upon the French school of landscape we have already
spoken (see p. 13).

Greater than all his predecessors, and uniting in the
course of his career the tastes and strength of them all,
is Turner. But very different opinions are held upon the
question wherein his greatness consists. Was it for truths
that he recorded, or for visions that he invented? Is it
the real beauties of nature that he puts before us, or is he
great for adding —

The gleam,

The light that never was on sea or land,
The consecration and the poet's dream ?

Again the first thing that will strike every one, on
looking round the "Turner Gallery" (Room XXII.), is
the contrast between the dark and heavy pictures on the
wall to the left and the bright and aerial pictures opposite.
Is Turner great for the former or the latter? We will
answer this latter question first, and the answer will lead
us in turn to the former. The great aim of Turner's
artistic ambition was to gain a complete knowledge and

HALF HOLIDAYS AT THE NATIONAL GALLERY

reach a complete representation of light in all its phases ;
and his greatest pictures, therefore, are those in which he
most completely attains this aim. Thus Turner is the
first painter who fully represented the full beauty of
sun-colour. He began with imitations of Claude and
Cuyp in painting the sun rising through vapour (XIV.
479), but he ended with painting such visions of the sun
in his glory as in the " Te'me'raire" or the " Ulysses."

But before he could reach these effects of colour,
Turner served a long apprenticeship — studying first one

scenes not as any one might see them, but as the artist him-
self saw them. A fellow artist once complained to Turner
that, after going to Domodossola, to find the site of a par-
ticular view which had struck him several years before, he
had entirely failed in doing so : " it looked different when
he went back again." " What," replied Turner, " do you
not know yet, at your age, that you ought to paint your
impressions ? " The faculty of receiving such impressions
strongly and reproducing them vividly is precisely what
distinguishes the poet — whether in language or painting.

No. 524 (in Room XXII.): "THE OLD TEMERAIRE," by Turner.

painter, and then another — to truth of form ; and his
work may be divided roughly into two periods : the first
(up to 1820), in which he aimed chiefly at form, and
painted in dark tones ; the second, in which colour is
principal. As for Turner's faithful rendering of the forms
of natural objects, " he was the first," says Mr. Ruskin,
" to draw a mountain or a stone, no other man having
learned their organisation, or possessed himself of their
spirit. He was the first to draw the stem of a tree, and
the first to represent the surface of calm, or the force of
agitated, water." Turner did all this with scientific
accuracy — not because he was himself learned in science,
but because of his genius for seeing into the heart of
things and seizing their essential forms and character
(see 535). And this is what is, or should be, meant by
saying that Turner's landscape is " ideal."

But if Turner was thus so faithful a recorder of the
truth and beauty of natural beauty, why, it may be asked
do his pictures often look, at first sight, so different from
nature ? Because his pictures are the representations of

And, finally, Turner is great because the impressions
which natural scenery made upon him were noble impres-
sions. He not only saw nature in its truth and beauty, but
he saw it in relation and subjection to the human soul. He
paints the loveliness of nature, but he ever connects that
loveliness with the sorrow and labour of men. Look
round this room and note the spirit of the pictures — The
Destruction of Sodom, The Death of the First Born, The
Ruin of Italy, The Decay of Carthage. His mythological
subjects have the same spirit — The Goddess of Discord,
Medea slaying her Children, and Apollo's gift of Immor-
tality but not of perpetual Youth. And, as if there should
be no doubt of the essential unity of motive underlying
all his work, he wrote the manuscript poem from which
he produced mottoes for his principal pictures, and which
he entitled the " Fallacies of Hope."

[A7. B. — No visitor, who is interested in Turner, should
neglect to visit the collection of his water-colour drawings,
etc., in the basement of the Gallery.]

HALF HOLIDAYS AT THE NATIONAL GALLERY

CATALOGUE OF THE PICTURES.

[N.B. — The pictures are arranged numerically, according to the numbers affixed to the frames. Visitors desiring to find the
works of some particular painter should consult the Index of Painters at the end.

It will be noticed that several numbers are missing in this Catalogue. This is accounted for by the fact that the most of the
modern British pictures have been transferred to the Tate Gallery. Several other pictures, belonging to the Gallery, have either
been transferred on loan to other Institutions, or are not at present hung in rooms accessible to the public.

In the ascription of pictures to artists and schools the official designations have in all cases been adopted.]

1. The Raising of Lazarus.

Sebastiano del Piombo (Venetian, 1485-1547).

Sebastiano Luciani, called "del Piombo (lead)" from his
holding the office of Keeper of the Leaden Seal (see under 20),
was originally a painter and musician at Venice, where he studied
successively under John Bellini and Giorgione. But in 1512 he
went to Rome and was employed by Michael Angelo to execute
several of his designs. The present picture — one of the largest
"old masters" in the country — was painted, says Vasari, "with
the utmost care, under the direction and in some parts from the
design of Michael Angelo." It was a commission from the
Cardinal Giulio de' Medici, who had at the same time commis-
sioned from Raphael the "Transfiguration" (now in the
Vatican). The pictures when finished were exhibited side by
side, and some there were who preferred Sebastiano's.

The time chosen is after the completion of the miracle :
" He that was dead came forth, bound hand and foot with
grave - clothes ; and his face was bound about with a
napkin." Jesus in the middle of the picture is uttering
the words, " Loose him, and let him go ; " and points to
heaven, as if He said, " I have raised thee by the power
of Him who sent me." The three men, who have already
removed the lid of the sepulchre, are fulfilling Christ's
command. To the left, behind Christ, is St. John,
answering objections raised against the credibility of the
miracle. Farther off, behind this group, is one of the
Pharisees, whose unbelief is combated by the man who
points in evidence to the raised Lazarus. Behind Lazarus
is his sister Martha, sickening now at what she most
desired ; whilst at the foot of Jesus is the other sister,
Mary, full of faith and gratitude — •

Her eyes are homes of silent prayer,

Nor other thought her mind admits
But, he was dead, and there he sits,

And he that brought him back is there.

2. Cephalus and Procris.

Claude Loraine (French, 1600-1682).

Claude Gelee (called Lorraine from his native province) spent
most of his life at Rome ; where (says a fellow artist) "he used
to linger in the open air from before daybreak even to nightfall,
so that he might learn to depict with a scrupulous adherence to
nature's model the changing phases of dawn, the rising and
setting sun, as well as the hours of twilight." In these delicate
aerial effects Claude has never been excelled, and he effected a
revolution in art by " first setting the sun in the pictorial
heaven," instead of painting it conventionally (as a red or yellow
star), or introducing it only in fragmentary distances. In addition
to this, there is a soft and pensive charm in his landscapes, which
goes far to obscure the inaccuracies of natural form and futilities
of imagination which they often display.

For the story of Cephalus who is here receiving from
Procris the presents of Diana, the hound Lelaps, and the
fatal dart with which she was killed, see 698.

3. A Concert. School of Titian (Venetian, 1477-1576).

Tiziano Vecellio is one of the greatest names in the history of
painting. He is supreme as a colourist ; and supreme also in

that there is nothing over-prominent in his work ; he keeps in
everything to the middle path of perfection. This universality
in his art is reflected in his life, which was prolonged beyond the
ordinary human spell, and was full to the end of almost super-
human toil. He was sent from his country home in the Cadore
mountains, when he was only nine, to study painting at Venice
under Giovanni Bellini (see 189). He lived to be ninety-nine, and
is said to have exclaimed at the last that he was "only then
beginning to understand what painting was." His pictures
include all subjects ; but most of them reflect the splendid and
stately life, which was characteristic of Venice at the time
and in which Titian himself — the favourite of princes and the
familiar of men of letters— moved and had his being.

A party of travelling musicians, perhaps, practising for
a serenade. The master is keeping time, and is intent on
the boy pupil. The young girl is waiting to chime in,
and looks far away the while to where the music takes
her. " In Titian's portraits you always see the soul— faces
which pale passion loves."

4. A Holy Family. Titian.

Notice that the landscape here is not a " fancy " one,
such as the earlier painters drew, but a real scene from
the mountain country of Titian's home. He was the first
to " apprehend the subduing pathos that comes with even-
tide— when the sky is all aglow with dying tints, and
everything earthly is transfigured, and the heart is
strangely stirred with vague yearnings, retrospections,
aspirations, and a consciousness that human life and
destiny are mysteriously reflected in the face of nature."

5. A Seaport at Sunset.

Clatide Lorraine (French, 1600-1682). See 2.

6. David at the Cave of Adullam. Claude.

David, in front of the cave, longed and said, " Oh that
one would give me to drink of the water of Bethlehem,
which is by the gate ! And the three mighty men brake
through the host of the Philistines (seen in the valley),
and drew water out of the well of Bethlehem, that was by
the gate, and took it, and brought it to David."

8. A Dream of Human Life.

From a design by Michael Angelo. See 790.

The naked figure, typical of the human race, is awaken-
ing, at the sound of a trumpet from above, from the dream
of life, to the lasting realities of eternity. It may be the
sound of the "last trump " or the call to a " new life " that
comes before. Behind his seat are several masks, illus-
trating the insincerity or duplicity of a world in which
" all is vanity ; " and around him are visions of the tempt-
ing and transitory hopes, fears, and vices of humanity.
On the right sits a helmed warrior, moody and discom-
fited ; his arms hang listlessly and his face is unseen —
hidden perhaps from the cruelty of War. Above him are
battling figures — emblematic of Strife and Contention.
A little detached from this group is a son dragging down

HALF HOLIDAYS AT THE NATIONAL GALLERY

his parent by the beard — "bringing his gray hair with
sorrow to the grave." On the other side sits Jealousy,
gnawing a heart ; and above are the sordid hands of
Avarice, clutching a bag of gold. On the left-hand side
Lust and Sorrow are conspicuous ; Intemperance raises a
huge bottle to his lips, and Gluttony turns a spit.

9. "Lord, Whither goest Thou?"

Annibale Carracci (Eclectic, 1560-1609). See p. 10.

Annibale Carracci, younger brother of Agostino and cousin of
Ludovico, was one of the three masters of their Eclectic School
at Bologna. He was the son of a tailor and was intended for
the business, but went off to study art under Ludovico.

The apostle Peter, according to a Catholic tradition,
being terrified at the danger which threatened him in
Rome, betook himself to flight. On the Via Appia our
Saviour appeared to him bearing His cross. To Peter's
question : Domine quo vadis ? (" Lord, whither goest
thou ? ") Christ replied, " To Rome, to suffer again cruci-
fixion." Upon which the apostle retraced his steps, and
received the crown of martyrdom.

10. Mercury, Venus, and Cupid.

Correggio (Parmese, 1494-1534).

For Antonio Allegri, called Correggio from his native village
of that name, see on p. 9.

(See illustration on p. 9.) Mercury, the messenger of
the gods (note his winged cap and sandals), is endeavour-
ing to teach Cupid (Love) his letters, of which, according
to the Greek story, Mercury was the inventor. Venus, the
Goddess of Beauty and the Mother of Love, looks out
to the spectator with a winning smile of self-complacent
loveliness and points us to the child. She has taken
charge meanwhile of Cupid's bow (from which he shoots
his arrows into lovers' hearts), and is herself represented
(as sometimes in classical gems) with wings, for Beauty
has wings to fly away as well as Time and Love.

This famous picture was included in Charles I.'s
collection, and hung in his private rooms at Whitehall.
When he was beheaded it was sold by the Parliament.
After changing hands many times it passed into the
possession of Murat, King of Naples. Upon his fall
from power his wife took it with her when she escaped to
Vienna. During the Congress held there in 1822 the
Russian Ambassador was in treaty for the picture when
Lord Londonderry forestalled him, and secured it for
England. It was afterwards bought for the National
Gallery.

11. St. Jerome in the Wilderness.

Gtiido Reni (Eclectic, 1575-1642).

Guido was a native of Bologna, and a pupil of the Carraccis
(see p. 10). As a child he was specially characterised by
devotion to the Madonna. On every Christmas Eve for seven
successive years ghostly knockings were heard upon his chamber
door ; and every night, when he awoke from sleep, the darkness
above his bed was illuminated by a mysterious globe of light.
To the temperament thus indicated we may trace the half-
effeminate, half-spiritual character of his works.

For the story of St. Jerome see 227.

12. Isaac and Rebecca, or " The Mill."

Claude Lorraine (French, 1600-1682). See 2.

This and the Claude on the other side of the door (14)
are the two which Turner selected for the "passage of
arms to which he challenged his rival from the grave."
He left two of his own pictures to the nation on the
express condition that they should always hang side by
side — as they are hanging to-day — with these two by

Claude. So far as the idea of the pictures go, the ad-
vantage certainly rests with Turner's, one of which is
simple and straightforward (479), and the other full of
thought (498). This picture, on the other hand, has been
thus reduced to nonsense by Mr. Ruskin —

" When we look into the picture, our feelings receive a sudden
and violent shock by the unexpected appearance, amidst things
pastoral and musical, of the military ; a number of Roman
soldiers riding in on hobby-horses, with a leader on foot,
apparently encouraging them to make an immediate and de-
cisive charge on the musicians. Beyond the soldiers is a circular
temple, in exceedingly bad repair ; and close beside it, built
against its very walls, a neat watermill in full work. By the
mill flows a large river with a weir all across it. The weir
has not been made for the mill (for that receives its water from
the hills by a trough carried over the temple), but it is par-
ticularly ugly and monotonous in its line of fall, and the water
below forms a dead -looking pond. ... At an inconvenient
distance from the water-side stands a city, composed of twenty-
five round towers and a pyramid."

13. The Holy Family. Murillo (Spanish, 1618-1682).

Bartholome Esteban Murillo, the most widely popular of the
Spanish painters, was himself sprung from "the people." He
was of a very pious disposition, and in the history of art is one
of the last sincerely religious painters. But there is a want of
elevation in his religious types, and the peasants whom he
painted as beggars or flower-girls he painted also as angels or
virgins. There is, however, a certain "sweet" sentimentality
about his pictures which makes them universal favourites.

This is one of the painter's last works, painted when
he was about sixty. The look of childlike innocence in
the head of the young Christ is very attractive, although
the attitude is undeniably "stagey."

14. Seaport : Queen of Sheba.

Claude Lorraine (French, 1600-1682).

See 2 and 12.

15. Ecce Homo ! Correggio (Parmese, 1494-1534). See 10.

" Then came Jesus forth, wearing the crown of thorns,

and the purple robe. And Pilate saith unto them, Behold

CORREGGIO. Ecce Homo !

the Man! — Ecce Homo /" Over the domain of tragedy
Correggio— with his pretty grace and sentimentality —
had little sway. Thus here it is 'rather a not-unpleasant
feeling of grief than any profound sense of sorrow or
resignation that the painter expresses ; but within these
limits the picture is very effective. The features of Christ
express pain without being in the least disfigured by it.
How striking is the holding out of the fettered hands, as
if to say, " Behold, these are bound for you ! " The Virgin
Mary, who, in order to see her son, has held by the
balustrade which separates Him from her, sinks with
grief into the arms of Mary Magdalene. To the right is
a Roman soldier, robust and rugged, yet with a touch of
pity in his look ; whilst to the left, standing just within
the judgment hall, is Pilate, the Roman proconsul, with a
mild look of self-satisfaction on his face — as of the man
who " washed his hands " of the affair.

16. St. George and the Dragon.

Tintoretto (Venetian, 1518-1594).

Jacopo Robusti, called Tintoretto (the little dyer) from the
trade of his father, the last great master of the Venetian School
and the most imaginative of all painters, is not fully represented
in the National Gallery, though this picture may give some
idea of his power of imagination, and the new picture (1301) is
a good specimen of his decorative design. He was sent to Titian's
school, but Titian dismissed him and he returned to work out
his own ideal — an ideal which he wrote on his studio walls :
"The design of Michael Angelo and the colouring of Titian."

The princess had been given, in the story, as a sacri-
fice to the dragon, and St. George, who comes to rescue
her, is thus the type of noble chivalry. The dragon
represents the evil" of sinful, fleshly passion, the element
in our nature which is of the earth, earthy. Notice with
what savage tenacity, therefore, the beast is made to
clutch the earth. From his mouth he is spitting fire —
the red fire of consuming passion. St. George is the
champion of purity : he rides therefore on a white horse,
white being the typical colour of a blameless life.

17. The Holy Family.

A ndrea del Sarto (Florentine, 1486-1531). 866690.

18. Christ and the Pharisees.

Bernardino Luini (Lombard, 1475-1533).
Christ is disputing with the Pharisees, but He wears
the tender expression of the man who " did not strive
nor cry, neither was His voice heard in the streets." The
disputant on the extreme right, with the close -shaven
face and firm-set features, has his hand on a volume of
the Scriptures, and is taking his stand (as it were) on the
letter of the law. The one on the extreme left, on the
other hand, is almost persuaded. In contrast to him is
the older man with the white beard, who seems to be
marvelling at the presumption of youth. The remaining
head is that of a fanatic : "by our law He ought to die."

19. Narcissus and Echo.

Claude Lorraine (French, 1600-1682). See 2.
Narcissus, a beautiful youth, was beloved by the nymph
Echo, but he spurned her love, and when she pined away
she was changed into a stone which still retained the
power of voice. But Narcissus, seeing his own image
reflected in a fountain, became enamoured of it, and
when he could never reach his phantom love he killed
himself for grief, and the nymphs who came to burn his
body found only the "short-lived flower" that bears his
name. Here, half hidden in the trees, we see

Naiad hid beneath the bank,

By the willowy river-side,
Where Narcissus gently sank,

Where unmarried Echo died.

20. Ippolito de' Medici and the Artist.

Sebastiano del Piombo (Venetian, 1485-1547). See I.

In 1531 Sebastiano received from the Pope the office
of Frate del Piombo, Monk of the Leaden Signet, which
was affixed to the pontifical diplomas. The painter is
here dressed in the black robe of his office ; on the table
are two parchment deeds, with Sebastiano's hand on the
seal of one of them, and the picture thus represents,
perhaps, the ratification of the appointment by his friend
and patron, the Cardinal Ippolito de' Medici.

21. Portrait of a Lady.

Cristofano Allori (Florentine, 1577-1621).

22. Angels weeping over the Dead Christ.

Gtiercino (Eclectic, 1591-1666).

An interesting work by Giovanni Francesco Barbieri,
called Guercino, the Squintling. A comparison of this
picture, with its somewhat morbid sentiment — with such
a one as Crivelli's, VIII. 602, with its deeper because
simpler feeling — well illustrates the nature of the change
from the earlier to the later Italian art.

23. "The Virgin of the Basket."

Correggio (Parmese, 1494-1534). See 10.

A celebrated and characteristic work of the master.
A comparison of it with Raphael's great Madonna or any
of those of the earlier masters (e.g. Bellini, VII. 280) will
show in a moment wherein the peculiarity of Correggio
consists. There is no religious sentiment in the picture
at all. The mother has none of the rapt look of the
woman who "laid these things in her heart," and the
child has no prophetic sense of future suffering. There
is nothing to mark the picture as representing the Holy
Family except the introduction of Joseph, the carpenter,
in the background. The child is full of play and fun ;
and the mother (with the household basket which gives
the picture its name — " La Vierge au panier ") shares in
his delight, smiling with all a young mother's fondness at
the waywardness of her curly-haired boy.

24. An Italian Lady.

Sebastiano del Piombo (Venetian, 1485-1547). See I.

25. St. John in the Wilderness.

Annibale Carracci (Eclectic, 1560-1609). See 9.

26. The Consecration of St. Nicholas.

Paolo Veronese (Veronese, 1528-1588).

Paolo Cagliari, called Veronese from his birthplace, Verona,
stands at the head of the great colourists. His pictures are
distinguished, says Mr. Ruskin, by a certain " gay grasp of the
outside aspects of the world." He settled at Venice in 1554 for
the remainder of his life ; and it is the Venice of his time — with
all its material magnificence — that he everywhere paints.

For St. Nicholas, Bishop of Myra, in Syria, see 1171.

27. The Pope Julius II.

Raphael (Urbino, 1483-1520). • See 1171.
The portrait of a pope of the Church militant. " Raphael
has caught the momentary repose of a restless and pas-
sionate spirit, and has shown all the grace and beauty
which are to be found in the sense of power repressed
and power at rest. Seated in an arm-chair, with head
bent downward, the pope is in deep thought. His fur-
rowed brow and his deep-sunk eyes tell of energy and
decision. The down-drawn corners of his mouth betoken
constant dealings with the world."

HALF HOLIDAYS AT THE NATIONAL GALLERY

28. Susannah and the Elders.

Ludovico Carracci (Eclectic, 1555-1619).

Ludovico, the son of a butcher, is famous in art history for
the Eclectic School (see p. 10), which he established at Bologna
in conjunction with his cousins, Agostino and Annibale.

29. "Our Lady of the Cat."

Federigo Barocci, called Baroccio (Umbrian, 1528-1612).
See illustration and comment on p. 10.

30. The Embarkation of St. Ursula.

Claude Lorraine (French, 1600-1682). See 2.
The best Claude in the Gallery, for it is a perfect
example of his chief merit — the painting of quiet skies.

81. The Sacrifice of Isaac.

Caspar Poussin (French, 1613-1675).

Nicolas Poussin (39) adopted his wife's brother, Caspar
Dughet, who thus took the name of Poussin. Caspar was
Nicolas's pupil, but Claude also contributed, we are told,
to his instruction. It is impossible to look at many of his
pictures in this gallery without sharing the sense of grandeur
and infinity in nature which inspired them, and hence it is that
from Caspar's own time till now they have enjoyed "a per-
manent power of address to the human heart." On the other
hand, his search after sublimity caused him sometimes to " paint
every object in his picture, vegetation and all, of one dull gray
and brown ; and too many of his landscapes are now one dry,
volcanic darkness."

These remarks cannot be better illustrated than in the
present picture. Abraham and Isaac — the former with a
lighted torch, the latter with the wood — are ascending
the hill on the right to the sacrifice ; while Abraham's
two servants await his return below. The whole spirit of
the picture is " solemn and unbroken," in perfect keeping
with the subject. But it is kept from being a really
grand picture (says Mr. Ruskin) by the " hopeless want
of imagination " in the forms of the clouds, the colour of
the sky, and the treatment of the distant landscape.

32. The Rape of Ganymede.

School of Titian (Venetian, 1477-1576). See 4.

The Rape of Ganymede. (School of Titian.)

Ganymede, his rosy thigh
Half buried in the Eagle's down,
Sole as a flying star shot thro" the sky.

Ganymede — so the Greek story ran — was a beautiful
Trojan boy beloved of Jupiter, and was carried off by an
eagle to Olympus to be the cupbearer of the gods. Which
things, say some, are an allegory — for "those whom the
gods love die young," and are snatched off, it may be, in
sudden death, as by an eagle's swoop.

33. The Vision of St. Jerome.

Parmigiatio (Parmese, 1503-1540).

St. Jerome is asleep on the ground — doing penance, it
might seem from his distorted position, even in his sleep,
with a skull before him and a crucifix beside him. He is
in the same desert where John the Baptist once preached ;
and thinking, we may suppose, of him, St. Jerome sees
him in vision — with his camel skin about him — pointing
upwards to the sky. There, is the Virgin Mary seated
as queen of heaven on a crescent moon, with a palm
branch in her hand — the symbol now, not of martyrdom,
but of victory over sin and death. And on her knee is
the Divine Child, who rests His right hand on a little
book on the Madonna's lap. It is a volume, we may
suppose, of the Scriptures which St. Jerome had trans-
lated, and the vision thus foreshadows the time when it
should be said unto him, "Well done, thou good and
faithful servant ; enter thou into the joy of thy Lord."

34. Venus and Adonis.

Titian (Venetian, 1477-1576). See 4.

Venus is endeavouring to detain Adonis from the
chase ; but the sun is up (see his chariot in the sky)
and the young huntsmen is eager to be off with his hounds
and his spear. The enamoured goddess caresses him,
but it will be in vain. For Cupid, the god of love, is not
there : he is asleep and at a distance, with his bow and
quiver hanging on a tree ; and all the blandishments of
beauty, unaided by Love, are as naught.

35. Bacchus and Ariadne.

. (For illustration, see p. 8.)

described by the Latin poet, where Bacchus, the wine-
god, returning with his revel rout from a sacrifice, finds
Ariadne on the sea-shore, after she had been deserted by
Theseus, her lover. Bacchus no sooner sees her than
he is enamoured and determines to make her his
bride —

Bounding along is blooming Bacchus seen,
With all his heart aflame with love for thee,
Fair Ariadne ! and behind him, see,
Where Satyrs and Sileni whirl along,
With frenzy fired, a fierce tumultuous throng !

But though as yet half unconscious, Ariadne is already
under her fated star : for above is the constellation of
"Ariadne's Crown" with which Bacchus presented her on
her becoming his bride. The marriage of Bacchus and
Ariadne took place in the spring, Ariadne herself
being the personification of its return, and Bacchus of its
gladness ; hence the beautifully -painted flowers in the
foreground which deck his path. In addition to its
poetical beauty, this masterpiece is a splendid example
of Titian's colour. " It is difficult,'"' says Mr. Ruskin,
" to imagine anything more magnificently impossible than
the blue of the distant landscape ;" yet it is on it, he adds,
that all the intensity and splendour of the picture depend.

36. A Land Storm.

Caspar Poussin (French, 1613-1675). See 31.

The one gleam of light breaking through the clouds
falls on the watch-tower of a castle, perched on a rock —
" a stately image of stability," where all things else are
bent beneath the power of the storm.

Titian.
A picture of the scene

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38. The Rape of the Sabines. See 644.

Rubens (Flemish, 1577-1640).

Peter Paul Rubens is the chief glory of the Flemish School,
and one of the great masters of the world. It is impossible to
walk round any gallery where there are good specimens of his
work and not to be impressed at once with his power. Here,
one feels, is a strong man, who knew what he wanted to paint,
and was able to paint it. Secondly, he is a great colourist.
The pictures by the later northern painters which here hang
around his are dark and gloomy ; his are all bright and golden.
Thirdly, his pictures in this gallery embrace a wide range of
subjects — some peaceful, others tumultuous — some religious,
others profane, but over them all is the same gay glamour. A
fourth characteristic is that in all his exuberant joyousness there
is a want of feeling for grace and mystery. Madonnas, god-
desses, Roman matrons have all alike a touch of grossness. In
his life, as in his art, Rubens was a man of the world. An
excellent Latin scholar, he was also proficient in French, Italian,
English, German, and Dutch, and these gifts procured him
diplomatic employment at many European courts. But wher-
ever he went Rubens continued to paint, and his diplomacy he
considered as mere recreation. "The painter Rubens," he is
reported to have said of himself, "amuses himself with being
ambassador."

Notice the daring anachronism of the painter, who
represents the antique Sabines in Flemish costumes of
the seventeenth century, struggling in the arms of bearded
ruffians.

39. The Nursing of Bacchus.

Nicolas Poussin (French, 1594-1665).

Poussin has been called the " Raphael of France," whilst his
profound classical knowledge has caused him to be called ' ' the
learned Poussin." At the age of thirty he settled in Rome,
where (says Reynolds) 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." " His best works," says Mr. Ruskin, " are his
Bacchanalian revels, always brightly wanton, full of frisk and
fire."

The wine-god is represented in infancy nursed by the
nymphs and fauns of Eubcea, and fed not on milk but on
the juice of the grape. " The picture makes one thirsty
to look at it — the colouring is dry and adust. The figure
of the infant Bacchus seems as if he would drink up a
vintage— he drinks with his mouth, his hands, his belly,
and his whole body."

40. Landscape : Phocion. N. Poussin.

" One of the finest landscapes that ancient art has
produced," its excellence consisting in the perfect har-
mony of the landscape with the subject represented. In
the foreground to the left is Phocion, " the good " — the
incorruptible Athenian general and statesman, contem-
porary with Philip and Alexander the Great, of whom it
is recorded that he was "never elated in prosperity nor
dejected in adversity." He wears an undyed robe, and
is washing his feet at a public fountain, the dress and
action being thus alike emblematic of the purity and
simplicity of his life.

41. The Death of Peter Martyr.

Giovanni Bust, called Cariani (Bergamese, 1480-1541).

" Peter Martyr was General of the Dominicans in
1252, a most powerful person in the Holy Inquisition,
and a violent persecutor for what he deemed the true
faith. There was one family in particular which he had
treated with excessive cruelty, and their relations, who
were in the army, were so enraged by Peter's barbarity

that they resolved to revenge themselves. They lay in
wait for him in a wood, attacked him, cleft his skull with
a sabre, and left him dead on the spot." The man was
afterwards regarded as a martyr and canonised — and here
too notice that he is made to see the angels as he dies.

For another and a more pleasing picture of the same
subject, see VII. 812.

42. A Bacchanalian Festival.

Nicolas Poussin (French, 1594-1665). See 39.

A realisation of the classic legends of mirth and jollity
precisely in the spirit of Keats's ode On a Grecian Urn —

What men or gods are these ? What maidens loath ?
What mad pursuit ? What struggle to escape ?

What pipes and timbrels ? What wild ecstasy ?

43. Deposition of Christ. Rembrandt (Dutch, 1607-1669).

Rembrandt Harmens, called also Van Rhyn, from having
been born on the banks of the Rhine, has a place apart by
himself in the history of painting. He is the great master of
the school of chiaroscuro — of those, that is, who strive at
representing not the colours of objects, but the contrasts of light
and shade upon them. These effects, with what picturesque
and forcible expression is dependent upon them, Rembrandt
obtains with magnificent skill and subtlety. The greatness of
his technical skill and the sense of power in his work are
reflected in his life — a life of hard labour, yet of a certain aloof-
ness. He was born at Leyden, the son of a miller, and his
father's mill was, doubtless, Rembrandt's school ; the strong
and solitary light, with its impenetrable obscurity around, the
characteristic feature of many of his best works, is just such an
effect as would be produced by the one ray admitted into the
lofty chamber of a mill from the small window, its ventilator.

45. The Woman Taken in Adultery. Rembrandt.

A tour de force in the artist's speciality of contrasts of
light and shade. Notice how a succession of these con-
trasts gradually renders the subject intelligible. " The
eye falls at once upon the woman, who is dressed in
white, passes then to the figure of Christ, which next to
her is the most strongly lighted — and so on to Peter, to
the Pharisees, to the soldiers, till at length it perceives
in the mysterious gloom of the Temple the High Altar
with the worshippers on the steps."

46. The Blessings of Peace.

Rubens (Flemish, 1577-1640). See 38.

This picture was presented in 1630 to King Charles I.
by Rubens, when he came to England as accredited
ambassador. His mission was to urge Charles to con-
clude peace, and here on canvas he sets forth its bless-
ings. In the centre of the picture is the Goddess of
Wisdom, with Minerva's helmet on her head, her right
hand resting on her spear, now to be used no more.
Before her flies War, reluctantly, as if he dared not resist
Wisdom, yet employing his shield, as if still to shelter
Discord, with her torch now extinguished. Last of all in
the hateful train is Malice, whose very breath is fire, and
who "endeth foul in many a snaky fold" — in the serpent's
folds, which ever attend the hostilities of nations. Beneath
Minerva's protection sits Peace enthroned, and sheds the
milk of human kindness for babes to suck. From above
Zephyrus, the soft warm wind, descends with the olive
wreath — the emblem in all ages of public peace, whilst
at her side stands the "all-bounteous Pan," with Amal-
thea's storied Horn of Plenty. A band of happy children,
led by Love (whose torch, now that Discord's is gone
out, burns aloft), approach to taste the sweets of Peace,
and to minister to abundance. In the train of Plenty

comes Opulence, bringing goblets, wreaths of pearl and
other treasures, whilst behind is Music, playing on her
tambourine to celebrate the arts of peace. Last of all in
the foreground is a leopard not hurting or destroying any
more, but playful as a lamb.

47. The Adoration of the Shepherds.

Rembrandt (Dutch, 1607-1669). 86645.

Notice the way in which all the light proceeds from
Him who came to be the light of the world : compared
with this divine light that in the lantern of the shepherds
pales and is ineffectual.

48. Tobias and the Angel.

Domenichino (Eclectic, 1581-1641).

49. The Portrait of Rubens.

Van Dyck (Flemish, 1599-1641).

Sir "Anthony Van Dyck, the most distinguished of Rubens's
pupils, was the great court painter of his time. He twice visited
London — in 1620 and 1627 — before he finally settled there in
1632. On his first presentation to Charles I. he obtained
permission to paint the king and queen. He was appointed
painter to the court, was knighted, and received a pension of
^200. What distinguishes Van Dyck is the indelible mark of
courtly grace and refinement which he gives to all his sitters.
Nowhere clearer than in his portraits does one see the better
side of the " Cavalier " ideal.

A portrait of special interest as having been much
prized by Sir Joshua Reynolds, to whom it formerly
belonged. It is commonly called "The portrait of
Rubens," but the principal figure does not greatly re-
semble the well-known face of Rubens ; it is more pro-
bably a portrait of Luke Vostermann, a celebrated
engraver of the time.

50. St. Ambrose and Theodosius.

Van Dyck.

The Emperor Theodosius, for a massacre of the in-
habitants of Thessalonica, was excommunicated by
Ambrose, the Archbishop of Milan. " The emperor was
stayed in the porch by the Archbishop ; who, in the tone
and language of an ambassador of heaven, declared to
his sovereign that private contrition was not sufficient to
atone for a public fault, or to appease the justice of an
offended Deity. Theodosius humbly represented that if
he had contracted the guilt of homicide, David, the man
after God's own heart, had been guilty not only of
murder, but of adultery. 'You have imitated David in
his crime, imitate then his repentance/ was the reply."

51. A Jew Merchant.

Rembrandt.

52. " Portrait of
Gevartius." Van Dyck.

In point of execution
this has often been de-
scribed as one of the
finest portraits in the
world. Van Dyck him-
self used to consider it
his masterpiece, and
before he had gained
his great reputation,
carried it about with
him from court to court,
to show what he could
VAN DYCK. " Portrait of Gevartius. " do as a portrait painter.

The sitter is not Gevartius, but Cornelius van der Geest,
an amateur of the arts and a friend of Rubens and Van
Dyck. It is the grave learning of a scholar, the gentle
refinement of an artist — notice especially "the liquid, living
lustre of the eye" that Van Dyck here puts before us.

53. An Evening Landscape.

Albert Cuyp (Dutch, 1620-1691).

Cuyp was born at Dort, was a brewer by trade, and was a
citizen of importance. He is the principal master of pastoral
landscape, " representing peasant life and its daily work, or such
scenery as may naturally be suggestive of it." He was the first
among the Dutch painters to " set the sun in the sky." He did
not indeed paint the sim-cofaur (with its effects of blue and gold,
such as Turner loved) ; but " for expression of effects of yellow
sunlight, parts might be chosen out of the good pictures of Cuyp
which have never been equalled in art."

54. "A Woman Bathing." Rembrandt.

55. The Death of Procris. See 698.

Claude Lorraine (French, 1600-1682). See 2.

56. Landscape with Figures.

Annibale Carracci (Eclectic, 1560-1609). See 9.

57. The Conversion of St. Bavon.

Rubens (Flemish, 1577-1640). See 38.

Bavon, a noble of Brabant in the seventh century, having
determined to renounce the pomps and vanities of the world (his
retinue is to be seen on the right), is met on the steps of the
convent church by the bishop who is to receive him into his new
life. To the left his goods are being given away to the poor.

58. A Study of Trees.

Claude Lorraine (French, 1600-1682). See 2.

59. The Brazen Serpent. Rubens.

61. Landscape with Figures. Claude Lorraine.

The history of this picture is curiously interesting as
showing the passion in an earlier generation for Claude.
It belonged to Sir George Beaumount, who valued it so
highly that it was, we are told, his travelling companion.
He presented it to the National Gallery in 1826, but
unable to bear its loss begged it back for the rest of his
life.

62. A Bacchanalian Dance.

Nicolas Poussin (French, 1594-1665). See 39.

For wine we follow Bacchus through the earth ;
Great god of breathless cups and chirping mirth !
Come hither, lady fair, and joined be
To our mad minstrelsy !

63. Landscape with Figures.

Annibale Carracci (Eclectic, 1560-1609). See 9.

64. Return of the Ark from Captivity.

Sebastien Bourdon (French, 1616-1671).

65. Cephalus and Aurora. Nicolas Poussin.

Cephalus was a Thessalian prince whose love of hunt-
ing carried him away at early dawn from the arms of his
wife Procris (see 698). Hence the allegorical fable of the
loves of Cephalus and Aurora, the goddess of the dawn,
and her attempt to rival Procris in his affections. Ceph-
alus here half yields to Aurora's blandishments, but a
little Cupid holds up before him the portrait of his wife
and recalls her love to his mind. Behind is Aurora's
car, in which she is drawn by the white-winged Pegasus

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across the sky. The mountain top is tipped with dawn,
and behind is a Naiad waking. Farther still beyond, in
a brightening horizon, the form of Apollo, the sun-god
whose advent follows on the dawn, is just apparent, his
horses and his car melting into the shapes of morning
clouds.

66. A Landscape : Autumn Morning.

Rubens (Flemish, 1577-1640). See 38.

Painted in Italy, but a purely Flemish scene. The
Dutch painters, says Mr. Ruskin, were always contented
with their flat fields and pollards ; agreeing with the
Lincolnshire farmer in Kingsley's Alton Locke, " none o'
this here darned ups and downs o' hills, to shake a body's
victuals out of his inwards," but "all so vlat as a barn's
vloor, for vorty mile on end — there's the country to live
in!"

67. The Holy Family and St. George. Rtibens.

St. Joseph is asleep, and the mule browses on the bank
of the stream, whilst John the Baptist and attendant
angels play with the Lamb. The Holy Child is on its
mother's knee, and to them St. George is presenting his
proselyte, the heathen princess whom he had saved from
the dragon (see 16). The dragon, now bridled with her
girdle, follows her meekly, and St. George, as he intro-
duces her to the mysteries of Christianity, plants the
banner of the Faith. With the holy mother is St. Mary
Magdalen — a penitent sinner herself, like the heathen
princess, whom she now ushers into the Holy Presence.
Such appears to be the subject. As for the manner in
which it is treated, it is interesting to know that the
figures are portraits of the painter himself and his family.
The Italian masters often painted themselves and their
families as worshipping the Madonna. Rubens painted
himself and family as performing the Madonna and
entourage.

68. A View near Albano.

Caspar Poufsin (French, 1613-1675). See 31.

69. St. John Preaching in the Wilderness.

Pietro Francesco Mola (Eclectic, 1612-1668).

70. Cornelia and her Jewels.

Alessandro Varotari, called Padovanino (Venetian, 1590-1650).

Cornelia, a noble Roman lady, daughter of the elder
Scipio Africanus, and mother of the Gracchi, was visited
by a friend, who ostentatiously exhibited her jewels.
Cornelia being asked to show hers in turn, pointed to her
two sons, just then returning from school, and said,
" These are my jewels."

71. A Party of Muleteers.

Jan Both (Dutch, 1610-1652).

72. Tobias and the Angel. See 781.

Rembrandt (Dutch, 1607-1669). See 45.

73. The Conversion of St. Paul.

Ercole di Giulio Grandi (Ferrarese, died 1531). See 1119.

74. A Spanish Peasant Boy.

Murillo (Spanish, 1618-1682). See 13.

75. St. George and the Dragon.

Domenichino (Eclectic, 1581-1641).

76. The Agony in the Garden.

Correggio (Parmese, 1494-1534). See 10.

77. The Stoning of St. Stephen.

Domenichino (Eclectic, 1581-1641).

79. The Graces Decorating a Statue of Hymen.

Sir Joshua Reynolds, P.R.A. (British, 1723-1792).

Sir Joshua, the first President of the Royal Academy, was
also "the first Englishman," said Burke, " who added the praise
of elegant arts to the other glories of his country." He added,
first, a felicity and fidelity in portraiture which has seldom been
equalled since. Secondly, he had a keen perception of beauty,
and " the grace of Reynolds" has passed almost into a proverb.
Thirdly, his work is magnificently skilful. He is "usually
admired for his dash and speed. His true merit is in an in-
effable subtlety combined with this speed." Reynolds's "grace "
was the reflection of his character. He was distinguished through-
out life for urbanity of manner. " He is the most invulnerable
man, I know," said Dr. Johnson of him. His skill was partly
innate : " While I am doing this," he said of his drawing when
he was a mere boy, "I am the happiest creature alive." But
"labour," as he said in one of his lectures, "is the only price
of solid fame," and he had disciplined his talent by long and
laborious studies in Italy. He was very industrious throughout
his life, and the prints from his portraits alone number over 700.

A fancy portrait of the three beautiful daughters of Sir
William Montgomery. The Hon. Mrs. Gardner, mother
of the Earl of Blessington (who bequeathed the pic-
ture to the nation), is in the centre ; on the left, the
Marchioness Townshend; on the right, Mrs. Beresford.
The three girls all made " good matches," and the painter,
with that tender flattery of his, pictures them as Graces
decorating a statue of the God of Marriage. But notice
that the god is blind, although he holds a coronet.

80. The Market Cart.

T. Gainsborough, R.A. (British, 1727-1788). See 683.

81. The Vision of St. Augustine.

Garofalo (Ferrarese, 1481-1559).

Benvenuto Tisio, called Garofalo from the village of that name
on the Po to which his family belonged, has been described as
"the miniature Raphael," and was engaged for some time at
Rome assisting Raphael in the frescoes of the Vatican.

A well-known incident in the life of St. Augustine,
Bishop of Hippo in Africa (A.D. 354-430). Whilst busied,
he tells us, in writing his discourse on the Trinity, he
one day beheld a child who, having dug a hole in the
sand, was bringing water to empty the sea into it.
Augustine told him it was impossible. " Not more im-
possible," replied the child, " than for thee, O Augustine !
to explain the mystery on which thou art now meditating."
The painter shows the visionary nature of the scene by
placing beside St. Augustine the figure of St. Catherine,
the patron saint of theologians and scholars, and in the
background, on a little jutting cape, St. Stephen, whose
life and actions are set forth in St. Augustine's writings.
The saint himself receives the child's lesson with the
contemptuous impatience of a scholar's ambition ; but
all the time the heavens whose mysteries he would fain
explore are open behind him, and the angel choirs are
singing that he who would enter in must first become as
a little child, "for of such is the Kingdom of Heaven."

82. The Holy Family.

Ludovico Mazzolino (Ferrarese, 1480-1528).

84. Mercury and the Woodman. (See sEsop's Fables}.

Salvator Rosa (Neapolitan, 1615-1673).

" How I hate the sight of every spot that is inhabited," wrote

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Salvator; and what distinguishes his landscapes is his love for
the wildness of nature. He saw in her "only what was gross
and terrible, — the jagged peak, the splintered tree, the flowerless
bank of grass." His life, which was one of wild romance not
out of keeping with the character of his art, has been interest-
ingly written by Lady Morgan.

85. St. Jerome and the Angel.

Doinenichino (Eclectic, 1581-1641).

For .St. Jerome see 227. The apparition of the angel
implies the special call of St. Jerome to the work of trans-
lating the Scriptures

88. Erminia and the Shepherd.

Annibale Carracci (Eclectic, 1560-1609). See 9.
A scene from the "Jerusalem Delivered" by Carracci's
contemporary, Tasso. Erminia from the beleaguered
city of Jerusalem had beheld the Christian knight, Tancred,
whom she loved, wounded in conflict. Disguised in the
armour of her friend Clorinda, she stole forth at night to
tend him. The sentinels espy her and give her chase.
But she outstrips them all, and after a three days' flight
finds herself amongst a shepherd family, who entertain
her kindly. The children's fear gives place to delight as
the strange warrior, having dismounted from her horse
and thrown off her helmet and shield, unbinds her tresses
and discloses herself a woman.

91. Venus Sleeping, Surprised by Satyrs.

Nicolas Poussin (French, 1594-1665). See 39.

93. Silenus Gathering Grapes.

Annibale Carracci (Eclectic, 1560-1609). See 9.

Silenus, in a leopard skin, the nurse and preceptor of
Bacchus, the wine-god, is being hoisted by two attendant
fauns so that with his own hands he may pick the grapes.
This and the companion picture, 94, originally decorated
a harpsichord.

94. Bacchus Playing to Silenus. An. Carracci.

A clever picture of contrasts. The old preceptor is
leering and pampered, yet with something of a school-
master's gravity, "half inclining to the brute, half con-
scious of the god." The young pupil — like the shepherd
boy in Sidney's Arcadia, " piping as though he should
never be old" — is "full of simple careless grace, laughing
in youth and beauty ; and looks up with timid wonder,
with an expression of mingled delight and surprise at the
sounds he produces."

95. Dido and ./Eneas.

Caspar Poussin (French, 1613-1675). See 31.

97. The Rape of Europa.

Paolo Veronese (Veronese, 1528-1588). See 26.

98. View of La Riccia, near Rome.

Caspar Poussin (French, 1613-1675). See 31.

99. The Blind Fiddler.

Sir David Wilkie, R.A. (British, 1785-1841).

Wilkie, the most celebrated of the British genre painters,
modelled his style on Teniers. In handling he is hardly inferior
to Teniers, while in the telling of the story he is superior.
Amongst forerunners in England, Hogarth is most like Wilkie.
In both there is the same attention to the life of their own day,
the same shrewdness of observation, the same minute wealth of
detail, the same sense of humour. But instead of the bitter
sarcasm of Hogarth, there is in Wilkie only graceful tenderness.

Painted in 1807, when Wilkie was twenty-two, and full
both of the elaborate detail and of the humorous observa-

tion that distinguish Wilkie's earlier work. " Music hath
charms " in the farmhouse as well as in the hall. The
mother tosses her baby to the tune of the fiddle; the
father snaps his fingers ; the boy mimics the musician ;
and the girl listens intently, not pleased, it would seem,
at her brother's tricks. Even the dog is intent upon the
music, though he does not quite relish, perhaps, an in-
trusion which distracts all attention from him. The one
discordant note, as it were, is the group of the fiddler's
wife and child, who have no ear for the music : there is
a touch of shrewd observation in thus making those alone
unmindful of the music for whom it is not an art, but
merely the means to a meal.

10O. The Earl of Chatham's Last Speech.

/. S. Copley, R.A. (British, 1737-1815).

The scene represented took place (April 7, 1778) in
the old House of Lords (the Painted Chamber) on the
occasion of the debate upon an address moved by the
Duke of Richmond against the further prosecution of
hostilities with the American Colonies. The portraits
of the Duke and of the other fifty-three peers — all in
their state robes — may be made out from the explanatory
key below the picture. Chatham was bitterly opposed to
the "dismemberment of the Empire;" and in spite of
failing health and growing infirmities, resolved to come
down and speak against the Duke of Richmond's motion.
The scene is thus described by Macaulay —

" When the Duke had spoken Chatham rose. For some time
his voice was inaudible. At length his tones became distinct
and his action animated. Here and there his hearers caught
a thought or an expression which reminded them of William
Pitt. But it was clear that he was not himself. The House
listened in solemn silence, and with the aspect of profound
respect and compassion. The stillness was so deep that the
dropping of a handkerchief would have been heard. The Duke
of Richmond replied with great tenderness and courtesy; but
while he spoke the old man was observed to be restless and
irritable. The Duke sat down. Chatham stood up again,
pressed his hand on his breast, and sank down in an apoplectic
fit."

101-104. The Four Ages of Man.

Nicolas Lancret (French, 1690-1743).

Very interesting historical records as showing the ideal
of life at the French court in the time of the regent
Orleans and Louis XV. In " Infancy" (101) children in
the gayest clothes and garlanded with flowers, are at
play under a stately portico — life being not so much a
stage as a game, and all the men and women (in that
sense) " merely players." To what should children, thus
educated, grow up but to the pomps and vanity of life, as
shown in " Manhood " (103) ? And " Youth" (102) is like
unto manhood. The business of life is pleasure on the
greensward, with shooting at the popinjay ! " Old Age "
(104) has no place in such a philosophy of life. One old
man is indeed attempting a last amour. But in " Old
Age" the painter changes his scene from the court to
common life ; the thought of old age is banished, it seems,
from the " high life " of princes.

105. A Landscape.

Sir George Beaumont (British, 1753-1827).

106. A Man's Head.

Sir Joshua Reynolds, P.R. A. (British, 1723-1792). See 79.

One of the painter's studies for the head of Count
Ugolino (Dante, Inferno, Canto xxxiii).

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107. The Banished Lord. Reynolds.

Perhaps another study for Count Ugolino. The title
" The Banished Lord " was given to the picture when it
was engraved, and well suits the mingled expression of
dignity and mildness, of melancholy and courage, shown
in the face.

108. The Villa of Maecenas, at Tivoli.

Richard Wilson, R.A. (British, 1714-1782).

With Wilson "the history of sincere landscape art, founded
on a meditative love of Nature, begins for England." But
though his "Niobe" (no) won him some repute, and he was
one of the original members of the Royal Academy, his pictures
afterwards declined in favour and he suffered much neglect and
poverty. This neglect may be accounted for by the style of his
art. Gainsborough, though thirteen years younger, was rising
into fame and leading a reaction from the " classical landscape "
to one which was English in subject, and more realistic in treat-
ment. Wilson, on the other hand, studied in Italy, and even
there saw not Italy as she was, but the Italy of Claude and
Poussin.

109. The Watering Place.

Thomas GainsboroTigh, R.A. (British, 1727-1788). See 683.

A quiet piece of English scenery, which recalls the
spirit of Gray's Elegy in a Country Churchyard —

The curfew tolls the knell of parting day,
The lowing herd winds slowly o'er the lea,

The ploughman homeward plods his weary way,
And leaves the world to darkness and to me.

110. The Destruction of Niobe's Children.

Richard Wilson, R.A. (British, 1714-1782). See 108.

Niobe, proud of her seven sons and seven daughters,
"presum'd Herself with fair Latona to compare, Her
many children with her rival's two." Latona, stung by
Niobe's presumptuous taunts, entreated her children,
Apollo and Diana, to destroy those of Niobe : " So by
the two were all the many slain."

Sir Joshua remarks that to manage a subject of this
kind a mind "naturalised in antiquity," like that of
Nicolas Poussin, is required ; and it is instructive to
compare " the substantial and unimaginative Apollo here
with the cloudy-charioted Apollo in Poussin's Cephalus
and Aurora" (XIV. 65).

111. Lord Heathfield.

Sir Joshua Reynolds, P.R.A. (British, 1723-1792). See 79.

" Lord Heathfield in the full uniform of a Lieutenant-
General, magnanimously and irrevocably locking up
Gibraltar," — a very fine and characteristic example of
Reynold's method of portaiture. He rarely represents
his characters in fixed postures, but sets them "in the
midst of active life as if simply interrupted by the artist's
arrival." Thus here he shows us the famous General
Elliott (who was raised to the peerage for his successful
defence of Gibraltar against France and Spain, see 787)
standing as firmly planted as the rock itself, with the keys
of the fortress, which he locked up, grasped tightly in his
hand. Notice, too, the cannon behind him, pointing
perpendicularly downwards, and thus suggesting the
height of the rock.

112. His Own Portrait.

William Hogarth (British, 1697-1764).

Hogarth — the first man of genius in the native British School
— was for many years an engraver of crests, etc. , but his love of
mimicry and his habit of close observation soon led him to find
his real "sphere in satirical pictures of contemporary manners.

His character may be read in this speaking portrait of his own
face, and in Johnson's epitaph for him —

The hand of him here torpid lies

That drew the essential forms of grace :

Here closed in death the attentive eyes
That saw the manners in the face.

WILLIAM HOGARTH. His own Portrait.

One may see a little of his life and character in the
accessories also. He puts in his favourite pug, " Trump,"
by his side, and rests his picture on books by Shakespeare,
Milton, and Swift. The choice is significant. Like
Swift, Hogarth was an "English Humorist" ; he aspired
sometimes to work, like Milton, in the grand style, whilst
for the general aim of his work, his ambition was to be
a Shakespeare on canvas : " I have endeavoured," he
says, " to treat my subjects as a dramatic writer ; my
picture is my stage, my men and women my players, who,
by means of certain actions and gestures, are to exhibit
a dumb show." Finally, there is a chapter of his life told
on the palette, in the lower corner to the left, with the
" Line of Beauty and Grace " marked upon it, and the
date 1745. Hogarth explained the mystery in 1753 by
publishing his Analysis of Beauty, in which he propounded
the doctrine that a winding or serpentine line was the
source of all that is beautiful in works of art.

113-118. The Marriage "A la Mode."

Hogarth.

113. Scene I : The Marriage Contract.

Negotiations for the marriage, whereby the alderman
is to get a title for his daughter, and the old earl is in
return to be relieved from his mortgages. Pride and
pomposity appear in every accessory surrounding the
gouty old earl. His coronet is everywhere : on his foot-
stool, on which reposes one gouty toe turned out ; on the
sconces and looking-glasses ; on the dogs ; on his lord-
ship's very crutches ; on his great chair of state, and the
great baldaquin behind him, under which he sits pointing
majestically to his pedigree, which shows that his race is
sprung from the loins of William the Conqueror. He

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confronts the old alderman from the city, who has
mounted his sword for the occasion, and wears his alder-
man's chain, and has brought a bag full of money,
marriage - deeds, and thousand - pound notes for the
arrangement of the transaction pending between them.
Whilst the steward is negotiating between the old couple,
their children sit together, united but apart — like the two
pointers in the foreground, joined in a union of chains,
not of hearts. The young lord — a fop in his dress and
something of a fool in his face — is admiring his counten-
ance in the glass, with a reflected simper of self-admira-
tion. His bride is twiddling the marriage ring on her
pocket-handkerchief, while she listens to the lawyer
Silvertongue, who has been drawing the marriage settle-
ments. The girl is pretty, but " the painter, with a curious
watchfulness, has taken care to give her a likeness to her
father. The pictures round the room are sly hints,
indicating the situation of the parties about to marry. A
martyr is led to the fire ; Andromeda is offered to sacrifice ;
Judith is going to slay Holofernes. There is the earl
himself as a young man, with a comet over his head,
indicating that the career of the family is to be brilliant
and brief.

114. Scene II : Married Life.

Howbriefwebegin to see, in this epitome of their married
life. My lord takes his pleasure elsewhere than at home,
whither he returns in the morning, tired and tipsy. The
nature of his pleasure is soon scented out by the little
dog, which (like an enfant terrible] finds the tell-tale girl's
cap in his master's pocket. He sits in an attitude of
reckless indifference even to the wife whom he finds
yawning over her breakfast. She has been up all night
playing at cards in the inner room, where, though the day-
light is streaming in, a sleepy servant is but now putting
out the candles.

115. Scene III : At the Quack Doctor's.

Here we have further evidence of the husband's
profligacy : to his ruined fortunes he now adds a wasted
constitution. He rallies the quack and the procuress for
having deceived him. The quack treats him with insolent
indifference. As for the procuress, the fierce, inveterate
malignity of her countenance, which hardly needs the
comment of the clasp-knife to explain her purpose, is
contrasted with the mute insensibility and childish figure
of the girl who is supposed to be her prote"ge"e.

116. Scene IV : In the Countess's Dressing-Room.

By the old earl's death the heroine, we now learn, has
attained the summit of her ambition. She has become a
countess : the coronet is over her bed and toilet-glass.
She ranges through the whole circle of frivolous amuse-
ments, and her morning leve"e is crowded with persons of
rank, while her lover, the young lawyer Silvertongue,
makes himself very much at home, and presents her with a
ticket of admission to a masquerade such as is depicted on the
screen behind him. On the wall to the left is the picture
of a lawyer — the evil genius of the piece — looking down
as it were on his handiwork. Notice, too, the coral on the
back of the countess's chair, telling us that she is a
mother, and is neglectful of her maternal duties. In the
group of visitors, Hogarth's satire is seen at its best —
every form of ridiculous affectation being shown in turn.

117. Scene V : The Duel.

After the masquerade. The husband becomes aware
of the infidelity of his wife, and finds her with her
paramour in a disreputable house. A duel ensues, and

the earl is mortally wounded. The countess kneels in
passionate entreaty for forgiveness ; and while her
paramour endeavours to escape through the window,
the " watch " arrives to take him into custody on a charge
of murder.

118. Finale : The Death of the Countess.

She dies by her own hand in her father's house over-
looking the Thames. The bottle which contained the
poison is on the floor, close to " Counsellor Silvertongue's
last dying speech," — showing that he has been hanged
for the earl's murder. The apothecary, a picture of
petulant self- sufficiency, rates the servant for having
purchased the poison. There is no expression of grief
except on the part of the dying woman's child, and the
old nurse who holds it up for a last kiss. Notice that
the child's leg is in irons : " the sins of the fathers are
visited upon the children." As the tragedy began
sordidly, so does it end ; the avaricious father — like the
hound that seizes the opportunity to steal the meat from
the table — carefully abstracts the rings from his dying
daughter's fingers.

119. A Landscape from " As You Like It."

Sir George Beaumont, Bart. (British, 1753-1827).

120. Joseph Nollekens, R.A. (1737-1823).

Sir William Beechey, R.A. (British, 1753-1839).

"Jo Nollekens," whom his friend Dr. Johnson used to
back " to chop out a head with any of them," was for
more than half a century the fashionable sculptor of his
time — the predecessor in this respect of Sir Francis
Chantrey. Kings, statesmen, actors, authors, beauties,
all sat to him. But he was a rough, vulgar, uneducated
man ; and in spite of some latent kindness of heart was
a confirmed miser.

122. The Village Festival.

Sir David Wilkie, R.A. (British, 1785-1841). See 99.

The title originally given to the picture was "The
Alehouse Door," and the host on the left serving two
guests (one of them a portrait of Listen, the actor) might
stand for a personification of John Barleycorn. In the
centre of the picture is a country fellow, divided between
the dangerous invitations of his companions and the
appeal of his "wiser half." On the other side is an
elderly woman sternly contemplating her impenitent son.
The painter's treatment of such incidents in the " Festival "
is characteristic of the contrast between him and Hogarth.
Wilkie is " a pleased spectator " rather than " an angry
censor."

124. The Rev. William Holwell Carr.

John Jackson, R.A. (British, 1778-1831).

A portrait of one of the principal benefactors of the
National Gallery, a wealthy clergyman who travelled in
Italy, and formed a collection of pictures which he
bequeathed to the nation.

125. Izaac Walton (1593-1683).

Jacob Huysman (Dutch, 1656-1696).

A portrait of the retired city hosier (or ironmonger ?)
who became famous as the author of the Complete Angler.

127. Venice : The Scuola Delia Carita.

Canaletto (Venetian, 1697-1768).
Antonio Canale, commonly called Canaletto, was born in

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Venice, lived in Venice, and painted Venice. His numerous
pictures of it should be compared with Turner's (see under
370).

129. John Julius Angerstein.

Sir T. Lawrence, P.R.A. (British, 1760-1830).

Lawrence — " the second Reynolds," as he was called by his
admirers, or "an attenuated Reynolds," as he is called by later
critics — was one of the infant prodigies of art. When the boy
was only five, he was already on show, and at ten he was earning
money in different provincial towns as a taker of portraits in
crayons. The child in Lawrence's case was father of the man.
His success when he came up to London was instantaneous, and
for forty years he was the idol of fasionable society.

A portrait of the Russian merchant and banker,
settled in London, whose collection of pictures — bought
by the State at his death — formed the nucleus of the
National Gallery. Angerstein was Lawrence's man of
business, and the artist " has expended his best powers
on this portrait on the keen-spirited, sagacious old man."

130. The Corn Field.

John Constable, R.A. (British, 1776-1837).

Constable was born at East Bergholt, on the Stour — the son
of a miller who had two wind-mills and two water-mills (one of
which may be seen in his pictures, XX. 327 and 1207), and it
was in Suffolk villages that he learned first to love, and then to
paint what he saw around him. "I love every stile," he said,
"and stump, and lane in the village ; as long as I am able to
hold a brush I shall never cease to paint them." It was the
combination in Constable's works of homely scenes painted in a
simple way that caused his works to make so much sensation in
France, where the " ideal " style of landscape, as practised by
Claude and Poussin, had been until then in vogue (see on p. 13).

134. Landscape.

Frans Dekker (Dutch, I7th — i8th century).

135. Landscape •with Ruins.

Canaletto (Venetian, 1697-1768). See 127.

137. Landscape. Van Goyen (Dutch, 1596-1666).

138. Ancient Ruins.

Giovanni Antonio Panini (Roman, 1695-1768).

140. Portrait of a Lady.

Bartholomews van der Heist (Dutch, 161 1-1670).

Van der Heist is one of the most famous of the Dutch
portrait painters. His work affords a strong contrast to the
deep gloom of Rembrandt ; and, in its careful finish, to the rapid
sketchy touch of Frans Hals.

143. Lord Ligonier.

Sir Joshua Reynolds, P.R.A, (British, 1723-1792). See 79.

This distinguished officer fought at Blenheim and at
Marlborough's other great battles. At the battle of
Laffeldt in 1747 he rescued the allied army from destruc-
tion by charging the whole French line at the head of the
British dragoons. Reynolds, with his usual felicity,
painted him therefore on horseback and in action.

144. Benjamin West, P. R.A. Sir T. Lawrence. See 129.
A characteristic portrait of Lawrence's predecessor in

the presidential chair, of the most ambitious and least
successful, perhaps, of all noted English painters. The
portrait was taken for the Prince of Wales in 1811, when
West was seventy-three. But the venerable painter is
represented as still intent on big designs. On the easel
beside him is a sketch of Raphael's cartoon of the Death
of Ananias.

146. View on the Maas.

Abraham Stork (Dutch, i8th century).

149, 150. Sea Pieces.

Willemvande Velde (Dutch, 1633-1707).
This artist and his father were the most famous sea-painters
of their time, and were largely employed in England by the
East India Company and Charles II. Previous painters-
including even the Venetians, sea-folk' though they were— had
all treated the sea conventionally. Van de Velde and his fellows
endeavoured to study it from nature. But in no branch of art
has the English School of this century made more conspicuous
advance than in sea-painting, and now Van de Velde's seas are
felt to be too gray and opaque in colour, and too stiff and formal
in the outline of their waves.

152. An Evening Landscape.

Aart van der Neer (Dutch, 1603-1677).

153. The Little Nurse.

Nicolas Maas (Dutch, 1632-1693).

Maas was a pupil of Rembrandt, and is distinguished from
most of the Dutch genre painters by his richer colouring.

154. The Music Party.

David Tenters (Flemish, 1610-1690).

Teniers is, par excellence, "the painter of the ale-house and
card-table." But he "touched with a workmanly hand, such as
we cannot see rivalled now." Hence it is that Sir Joshua
Reynolds, though condemning his vulgarity of subject, yet held
up his pictures as models in execution.

155. The Money Changers. Teniers.

156. A Study of Horses.

Van Dyck (Flemish, 1599-1641). See 49.

157. A Landscape : Sunset.

Rubens (Flemish, 1577-1640). See 38.

158. Boors Regaling. Teniers.

159. The Dutch Housewife.

Nicolas Maas (Dutch, 1632-1693). See 153.

160. The Flight into Egypt.

Pietro Francesco Mola (Eclectic, 1612-1668).

161. An Italian Landscape.

Caspar Poussin (French, 1613-1675). See 31.

162. The Infant Samuel. Sir Joshua Reynolds.

REYNOLDS. The Infant Samuel.

3°

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163. Venice : A View on the Grand Canal.

Canaletto (Venetian, 1697-1768).

See 127.

165. The Plague at Ashdod.

Nicolas Poussin (French, 1594-1665). See 39.

Everywhere the intention to express alarm is obvious.
In the foreground are figures fleeing the infection, with
nose and mouth muffled. Others are engaged removing
the dead and dying, while in the centre are the dead
bodies of a mother and child ; another child approaches
her breast, but the father stoops down to avert it.

166. A Capuchin Friar.

Rembrandt (Dutch, 1607-1669). See 43.

168. St. Catherine of Alexandria.

Raphael (Urbino, 1483-1520). See 1171.

St. Catherine of Alexandria was of all the female saints next
to Mary Magdalen the most popular. Her general attributes
are a book, a sword, and a wheel. The meaning of these will be
seen from the legend of her which crusaders brought from the
East. She was the daughter of a queen, and of marvellous
•wisdom and tinderstanding. And when the time came that she
should govern her people, she shut herself up in her palace and
gave her mind to the study of philosophy. But her people
wished her to marry a husband who should lead them forth to
battle. Then she, to prevent this repugnant union, made one
more spiritual by her mystical marriage with Christ. And for
this and other unworldly persistencies, the heathen tyrant
Maximin would have broken her on a wheel, but that " fire came
down from heaven, sent by the destroying angel of God, and
broke the wheel in pieces." Yet for all this the tyrant repented
not, and after scourging St. Catherine with rods beheaded her
with the sword, and so having won the martyr's palm, she
entered into the joy of her Lord.

RAPHAEL. St. Catherine of Alexandria.

A perfect picture of saintly resignation. St. Catherine
"looks up to heaven in the dawn of the eternal day with
her lips parted in the resting from her pain." Her right

hand is pressed on her bosom, as if she replied to the
call from above, " I am here, O Lord ! ready to do Thy
will." From above a bright ray is seen streaming down
upon her, emblematical of the divine inspiration which
enabled her to confound her heathen adversaries.

169. The Holy Family.

Ltidovico Mazzolino (Ferrarese, 1480-1528).

170. The Holy Family.

Garofalo (Ferrarese, 1481-1559). See 81.

172. The Supper at Emmaus.

Michael Angela Amerighi, called Caravaggio
("Naturalist," 1569-1609).

One notices first in this picture the least important
things — the supper before the company, the roast chicken
before Christ. Next one sees how coarse and almost
ruffianly are the disciples, represented as supping with
their risen Lord at Emmaus. Both points are char-
acteristic of the painter, who was driven into a crude
" realism " by the insipidities of the preceding mannerists
(see p. 10).

173. Portrait of a Gentleman.

facopo da Ponte, called Bassano (Venetian, 1510-1592).

174. Portrait of a Cardinal.

Carlo Maratti (Roman, 1625-1713).

176. St. John and the Lamb.

Murillo (Spanish, 1618-1682). See 13.

177. The Magdalen.

Guido Reni ( Eclectic, 1575-1642). Seen.

Just such a picture as might have suggested the lines
in Pope's epistle on The Characters of Women —

Let then the fair one beautifully cry,
In Magdalen's loose hair and lifted eye ;
Or dress'd in smiles of sweet Cecilia shine,
With simpering angels, palms, and harps divine ;
Whether the charmer sinner it, or saint it,
If folly grow romantic, I must paint it.

179, 180. An Altarpiece.

Francia (Ferrarese — Bolognese, 1450-1517).

Francesco Raibolini was brought up to the goldsmith's trade.
The name of Francia was that of his master in goldsmith's work,
and was adopted by him in gratitude. His pictures mark the
culminating point of the Ferrarese School, just as Raphael's
mark that of the Umbrian. He is the most pathetic of painters,
and in these two pictures (which originally formed a single
altarpiece) we have some of his best work.

In 179 are the Virgin and her mother, St. Anne, who
offers the infant Christ a peach, symbolical of "the fruits
of the spirit — joy, peace, and love." At the foot of the
throne stands the little St. John, holding in his arms
the cross of reeds and the scroll inscribed " Ecce Agnus
Dei " (" Behold the Lamb of God "). The saints on the
left are St. Paul, holding a sword, — the instrument of his
martyrdom, and St. Sebastian, bound to a pillar and
pierced with arrows, but his anguish forgotten now in
beatitude. On the right, St. Lawrence with his gridiron
and palm-branch, and St. Frediana.

In 1 80, which was the lunette or arch, forming the
top of the altarpiece, is a pieta — the Virgin and two
angels weeping over the dead body of Christ. The artist
has filled his picture with that solemn reverential pity,

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harmonised by love, which befits his subject. The body
of Christ— utterly dead, yet not distorted nor defaced by
death — is that of a tired man whose great soul would not
let Him rest while there was still His Father's work to
do on earth. In the face of the angel at His head there

FRANCIA. St. John.

is a look of quiet joy, as of one who knows that " death
is but a covered way that leads into the light " ; in the
attitude and expression of the angel at the feet there is
prayerful sympathy for the sorrowing mother. The face
of the mother herself, which before was pure and calm,
is now tear-stained and sad, because her Son has met so
cruel a death —

What else in life seems piteous any more

After such pity?

Yet it bears a look of content because the world has
known Him. She rests His body tenderly on her knee
as she did when He was a little child — thus are "the
hues of the morning and the solemnity of eve, the glad-
ness in accomplished promise and sorrow of the sword-
pierced heart, gathered into one human Lamp of ineffable
love."

181. Virgin and Child with St. John.

Perugino (Umbrian, 1446-1523). See 288.

182. Heads of Angels.

Sir Joshua Reynolds, P.R.A. (British, 1723-1792). See 79.

A sketch of five cherub heads — portraits in different
views of the daughter of Lord William Gordon — very
characteristic of " the grace of Reynolds." (For illus-
tration, see p. 15.)

183. Sir David Wilkie, R. A.

Thomas Phillips, R.A. (British, 1770-1845). See 99.

184. Portrait of a Girl.

Nicolas Ltuidel (German, 1527-1590).

186. Jean Arnolfini and his Wife.

Jan van Eyck (Early Flemish, 1390-1440).

This picture of a Flemish interior is as spruce and
clean now (for the small twig broom did its work so well
that the goodman and his wife were not afraid to walk
on the polished floor without their shoes), as it was when
first painted five hundred years ago. For the delicacy of
workmanship note especially the mirror, in which are
reflected not only the objects in the room, but others
beyond what appears in the picture, for a door and two
additional figures may be distinguished. In the frame
of the mirror, too, are ten minute pictures of the ten
"moments" in the Passion of Christ. Notice also the
brasswork of the chandelier, and the elaboration of the
painter's signature above it. This signature jiji Latin),
"John van Eyck was here," expresses the modesty and
veracity which was the keynote of his art. The artist
only professed to come, to see, and to record what he
saw. Arnolfini was the representative at Bruges of a
Lucca firm of merchants, and Van Eyck gives us a
picture of the quiet, dry, business folk exactly as he found
them. (For illustration, see p. 11.)

187. The Apotheosis of William the Taciturn, of Holland.

Rubens (Flemish, 1577-1640). See 38.

189. The Doge Leonardo Loredano.

Giovanni Bellini (Venetian, 1426-1516).

GIOVANNI BELLINI. Portrait of the Doge L. Loredano.

Bellini, the greatest of the fifteenth century artists, lived to be
ninety, and showed to the end increasing knowledge and power.
Albert Diirer wrote in 1506, when the grand old man was
eighty, that "though very old he was still the best painter in
Venice." This picture, one of his best portraits, must have
been painted about the same time, for Loredano only became
Doge in 1501. Bellini's long life covers the end of one period

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and the beginning of another in the history of Italian art. His
earliest works are in tempera, his later ones in oil — the use of
which medium he learnt perhaps from Antonello da Messina.
He was the meeting -point of two ways: as great in artistic
power as the masters who came after, as pure in religious aim
as those who went before. He had a very numerous band of
pupils — amongst them Carpaccio, Giorgione, and Titian.

A magnificent portrait of one of the greatest men of
the Venetian Republic. Leonardo, the sixty-seventh Doge,
held office from 1501 to 1521. He belonged to one of the
most ancient and noble families in the State, and Venice,
under his rule, was one of the Great Powers of Europe.
There is all the quiet dignity of a born ruler in his face —
"fearless, faithful, patient, impenetrable, implacable —
every word a fate."

190. A Jewish Rabbi.

Rembrandt (Dutch, 1607-1669). 86645.

191. The Youthful Christ and St. John.

Guido Reni (Eclectic, 1575-1642). Seen.

192. Portrait of Himself.

Gerard Dou (Dutch, 1613-1675).

This jolly-looking portrait is by no means a tell-tale face, for
what specially distinguishes Dou (or Dow) is the patient industry
which he devoted to his work. A friend once visited Dou's
studio and admired the great care bestowed by the artist on the
painting. of a broomstick. Dou remarked that he would still
have to work at it for three days more.

193. Lot and his Daughters leaving Sodom.

Guido Reni (Eclectic, 1575-1642). See II.

194. The Judgment of Paris.

Rtibens (Flemish, 1577-1640). See 38.

At the wedding of Thetis and Peleus, an apple was
thrown amongst the guests by the Goddess of Discord,
to be given to the most beautiful. Paris, the Trojan
shepherd, was ordered by Jupiter to decide the contest.
He is here seated with Mercury, the messenger of the
gods, at his side, about to award the apple to Venus ; on
her right is Juno, with her peacock at her feet ; on her left,
Minerva, with her owl perched behind her. Paris thus
chose Pleasure, instead of Power or Wisdom ; and from
his choice came, the story adds, all the troubling of
domestic peace involved in the Trojan war. The God-
dess of Discord hovers in the clouds above, spreading
fire and pestilence. The picture, it will thus be seen,
is purely legendary and symbolic. Yet note how
" realistic " is the painter's treatment. The spiritual god-
desses are as substantial as any figures of flesh and
blood.

195. A Medical Professor.

Unknown (German School, i6th century).

The interest of this picture lies in the story of its purchase.
It was bought in 1845 for ^"630, as a Holbein ; but immediately
after the purchase the hoax was discovered. Then and there
the Trustees subscribed ^100 between them, which they offered
to M. Rochard, the dealer, "to induce him to annul the
bargain ; but he declined, and there was an end of it."

196. Susannah and the Elders.

Guido Reni (Eclectic, 1575-1642). Seen.

"A work devoid," says Mr. Ruskin, "alike of art and
of decency."

197. A Wild Boar Hunt.

Velazquez (Spanish, 1599-1660).

"What we are all attempting," said Sir Joshua Reynolds,
"to do with great labour, Velazquez does at once." His style
is distinguished not only by this unerring facility, but by the
closest fidelity to natural fact and by sparkling purity of colour.
" He had," says Mr. Ruskin, "precisely the same intense per-
ception of truth, the same marvellous instinct for the rendering
of all natural soul and all natural form that our Reynolds had."
His art is closely associated with the King Philip IV of Spain,
whose friend and favourite he was.

A very interesting picture, both for the sparkling
brilliancy of its execution and for the truth and life with
which it reproduces the court life of the time. Philip IV
was as fond of the chase as he was of the arts ; and here
we see some state-hunting party in a royal enclosure,
with an array of huntsmen and guards, and magnificent
carriages for the ladies of the court. Notice also the two
splendid dogs near the left-hand corner. Velazquez is
very great in painting dogs ; he "has made some of them
nearly as grand as his surly kings.1'

198. The Temptation of St. Anthony.

Annibale Carracci (Eclectic, 1560-1609). See 9.

The legend of the temptation of St. Anthony, here realisti-
cally set forth, is the story of the temptations of the ascetic life.
St. Anthony lived, like Faust, the life of a recluse and a visionary,-
and like him was tempted of the devil. The saint in his distress
resolved to flee yet farther from the world ; but it is not so that
evil can be conquered, and still " Spirits in hideous forms
pressed round him in crowds, scourged him and tore him with
their talons — all shapes of horror, ' worse than fancy ever feigned
or fear conceived,' came roaring, howling, hissing, shrieking in
his ears. " In the midst of all this terror a vision of help from
on high shone upon him, and all these terrors vanished, and he
arose unhurt and strong to endure.

It is characteristic of the love of horror in the Bolognese
School that in Carracci's picture the celestial vision does
not dissolve the terrors. Nay, the pointing and sprawl-
ing angels in attendance on the Saviour seem themselves
to be part of the same horrid nightmare.

199. Lesbia and her Sparrow.

Godfried Schalcken (Dutch, 1643-1706).

Lesbia is weighing jewels against her sparrow, which
(says the Latin song by Catullus) " she did prize as her
own eyes."

200. The Madonna in Prayer.

Sassoferrato (Eclectic, 1605-1685).

Giovanni Battista Salvi, called Sassoferrato from his birth-
place, not far from Urbino, was a copyist of Perugino and others ;
but a comparison between his Madonnas and the earlier models
shows the distinction between sentimentality and sentiment.

202. Domestic Poultry.

Melchior de Hondecoeter (Dutch, 1636-1695).

203. Conventual Charity.

Van Harp (Flemish, 1614-1677).

204. Dutch Shipping.

Ltidolf Bakhuizen (Dutch, 1631-1708).

Bakhuizen stands second, among the Dutch sea-painters, to
Van de Velde (see 149). Bu t. whereas Van de Velde preferred calms,
Bakhuizen preferred storms, and voluntarily exposed his life (we
are told) for the sake of seizing their effects. Before he took to
painting he was a bookkeeper and a writing master. Perhaps
it is to his experience in those capacities that the hardness and
regularity of his waves are due.

205. Itinerant Musicians.

/. IV. E. Dietrich (German, 1712-1774).

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206. The Head of a Girl.

Jean Baptiste Grenzc (French, 1725-1805). See p. 13.

J. B. GREUZE. The Head of a Girl.

What wert thou, maid ? — thy life — thy name

Oblivion hides in mystery ;
Though from thy face my heart could frame

A long romantic history.

Transported to thy time I seem,

Though dust thy coffin covers —
And hear the songs, in fancy's dream,

Of thy devoted lovers.

207. The Idle Servant.

Nicolas Maas (Dutch, 1632-1693). See 153.

208. Landscape.

Barthqlotneus Breenberg ( Dutch, 1620-1663).

209. The Judgment of Paris.

Both and Polenburg (Dutch, 1610-1662, 1586-1667). See 194.

210. Venice : Piazza di San Marco.

Francesco Guardi (Venetian, 1712-1793).
Guardi was a scholar and imitator of Canaletto.

211. A Battle-Piece.

Johan van Huchtenburgh (Dutch, 1646-1733).

212. A Merchant and his Clerk.

Thomas de Keyser (Dutch, 1596-1667).

He is a man of taste as well as of business, and the two

things are closely united. His office is itself hung with

rich tapestry, and amongst the implements of his trade,

his plans and books and maps, is a guitar.

213. The Vision of a Knight.

Raphael (Urbino, 1483-1520). 'See 1171.
This— one of the earliest known works of Raphael-
was painted when he was about seventeen, and the
subject of it is typical of the choice of early manhood.
A young knight sleeps under a laurel— the tree whose
leaves were in all ages the reward of honour ; and in his
dreams of his future career he sees two figures approach
him, between whom he has to make his choice. The
one on the left speaks with the voice of Duty; she is

crimson-robed and offers him a book and a sword —
emblematic of the active life of study and conflict. The
other is of fair countenance and is gaily decked with
ribbons and wreaths of coral. Hers is the voice of
pleasure, and the flower she offers is a sprig of myrtle in
bloom — "myrtle dear to Venus." Raphael was thinking
perhaps of the story of the choice of Hercules, in which
the Greeks fabled forth the turning-point in each man's
life.

214. Coronation of the Virgin.

Guido Reni (Eclectic, 1575-1642). See II.

In some pictures of this subject the Coronation is
represented as the closing act in the life of the Virgin,
and saints and disciples appear in the foreground as
witnesses on earth of her coronation in heaven. 1155 in
Room II. is a good instance of this treatment. This
picture, on the other hand, shows the mystical treatment
'of the subject — the coronation of the Virgin being the
accepted type of the Church triumphant. The scene is
laid entirely in heaven, and the only actors are the angels
of the heavenly host.

215, 216. "The Company of Saints."

School of Taddeo Gaddi (Florentine, about 1350).

There is an air of settled peace about this company

of saints which is very impressive, and recalls the ideal

of the monk's life as paraphrased by Wordsworth from

St. Bernard —

Here man more purely lives ; less oft doth fall ;
More promptly rises ; walks with nicer tread ;
More safely rests ; dies happier ; is freed
Earlier from cleansing fires ; and gains withal
A brighter crown.

218. The Adoration of the Magi.

Peruzzi (Florentine, 1481-1537).

The figures of the three Magi are portraits of Titian,
Raphael, and Michael Angelo.

219. The Dead Christ.

Unknown (Lombard, i6th century).

221. His own Portrait.

Rembrandt (Dutch, 1607-1669). See 45.

Compare 672. That was painted when he was about

thirty ; this, thirty years later. We see here the same

features, though worn by age ; the same self-reliant

expression, though broken down by care.

222. A Man's Portrait.

Jan van Eyck (Early Flemish, 1390-1440). See p. n.
One of Van Eyck's obviously truthful portraits, so
highly finished that the single hairs on the shaven chin
are given. On the upper part of the frame is the
inscription, " Als ich kan "—as I can, the first words of
an old Flemish proverb, "As I can, but not as I will,"
— an inscription beautifully illustrative of a great man's
modesty.

223. Dutch Shipping.

Lndolf Bakhuizen (Dutch, 1631-1708). See 204.

224. The Tribute Money.

JSchool of Titian (Venetian, 1477-1576. See 3.
226. Virgin and Child, St. John and Angels.

Botticelli (Florentine, 1446-1510).

Sandro Filipepi was apprenticed as a lad to a goldsmith
called Botticello, whose name he adopted (in Italian "Sandro
di Botticello," abbreviated into Sandro Botticelli). Afterwards

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Botticelli studied under Lippi (see 248), whose characteristics
— a buoyant spirit of life combined with tenderness of religious
feeling — are seen in Botticelli. But in the latter they are
modified by a peculiar sentiment of his own (see 275) and by
his interest in the revival of classical learning. Later in life
Botticelli came under the influence of Savonarola, the great
Florentine Reformer, and joined his company of "Piagnoni"
(i.e. Mourners or Grumblers, as opposed to men of pleasure),
and his later pictures reflect this phase in his mind (see 1034).

In the background is a hedge of roses, Botticelli's
favourite flower. There was a constant Biblical reference
in the flowers which the painters consecrated to their
Madonnas — especially the rose, the emblem of love and
beauty. The background in Madonna pictures is fre-
quently, as here, a piece of garden trellis : " a garden
inclosed is my sister, my spouse " (Song of Solomon).

227. St. Jerome in the Desert.

Florentine School (i5th century).

St. Jerome (A.D. 342-420), who first made the Bible
legible in the West by translating the Hebrew into
Latin, was one of the chief saints of the Latin or Western
Church. One of the principal events in his life is told in
the left-hand compartment at the bottom of this picture.
One evening a lion entered the monastery, limping as in
pain, and all the brethren fled in terror, as we see one of
them doing here, whilst the others are looking on safely
behind a door ; but Jerome went forward to meet the
lion, as though he had been a guest. And the lion lifted
up his paw, and Jerome, finding it was wounded by a
thorn, tended the wild creature, which henceforward
became his constant companion and friend.

228. Christ driving out the Money Changers.

Jacopo da Ponte, called Bassano (Venetian, 1510-1592).

229. Benjamin West, P.R.A.

Gilbert Stuart

American, 1755-1828).

Stuart was a pupil of his fellow-countryman, West, for
whom see under 144.

230. A Franciscan Monk.

Francisco Zurbaran (Spanish, 1598-1662).

232. The Adoration of the Shepherds.

Francisco Zurbaran (Spanish, 1598-1662).

" No virgin ever descended into Velazquez's studio.
No cherubs hovered around his pallet. He did not work
for priest or ecstatic anchorite, but for plumed kings and
booted knights ; hence the neglect and partial failure of
his holy and mythological pictures— holy, like those of
Caravaggio, in nothing but name — groups rather of low
life."

CATENA. A Warrior adoring.

234. A Warrior adoring the Infant Christ.

Catena (Venetian, died 1531).

A portrait of some Venetian nobleman on his knees :
a pose which was often chosen by the Venetians, in
curious contrast to our modern " sitters," who prefer to be
painted in more exalted attitudes. Notice also the little
dog in the corner — " one of the little curly, short-nosed,
fringy-pawed things which all Venetian ladies petted."
"The dog is thus constantly introduced by the Venetians
(in Madonna pictures) in order to give the fullest contrast
to the highest tones of human thought and feeling."

235. The Dead Christ.

Giuseppe Ribera, called Spagnoletto (Spanish, 1588-1648).

Ribera is a leading artist amongst what are called the
Naturalisti or Tenebrosi (an alternative title, curiously significant
of the principle of the school, as if "nature" were indeed only
another name for " darkness ").

The Virgin, accompanied here by St. John and Mary
Magdalen, weeping over the dead Christ. Compare an
Italian pieta, such as Francia's V. 180. How much more
ghastly is the dead Christ here ! How much less tender
the ministering mourners.

236. Castle of Sant' Angelo, Rome.

Claude Joseph Vernet (French, 1714-1789).

237. A Woman's Portrait.

Rembrandt (Dutch, 1607-1669). See 45.

Of interest as being one of the painter's last works. It
is dated 1666.

238. Dead Game. Jan Wcenix (Dutch, 1640-1719).

239. A Moonlight Scene.

Aart van der Neer (Dutch, 1603-1677).

240. Crossing the Ford.

Nicolas Berchem (Dutch, 1620-1683).

242. The Game of Backgammon.

David Tenters (Flemish, 1610-1690). See 154.

243. An Old Man (dated 1659).

Rembrandt (Dutch, 1607-1669). See 45.

244. A Shepherd with a Lamb.

Giuseppe Ribera, called Spagnoletto (Spanish, 1 598- 1 648). See 235.

245. Portrait of a Senator.

Hans Baldung (German, 1476-1545).

246. Madonna and Child.

Girolamo del Pacchia (Sienese, 1477-1535)-

247. " Ecce Homo" (see 15).

Matteo di Giovanni (Sienese, 1435-1495).

248. The Vision of St. Bernard.

Fra Filippo Lippi (Florentine, 1412-1469).

Lippi (whose story is dramatically told in Browning's Men
and Women) was a monk malgrd lui, and his pictures combine
religious myth with human realism.

" St. Bernard was remarkable for his devotion to the
blessed Virgin. His health was extremely feeble ; and
once, when he was employed in writing his homilies, and
was so ill that he could scarcely hold the pen, she
graciously appeared to him, and comforted and restored
him by her divine presence." Notice the peculiar shape
of the picture, the upper corners of the square being cut
away. The picture was painted to fit a space over the
door of the Palazzo della Signoria at Florence.

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249. The Marriage of St. Catherine of Siena.

Lorenzo da San Severino (Umbrian, painted 1483-1496).

St. Catherine of Siena (1347-1380) is one of the most remark-
able figures of the Middle Ages. She was the daughter of a dyer
and was brought up in the humblest of surroundings. When
only thirteen she entered the monastic life as a nun of the
Dominican order (St. Dominic is here present on the right), and
at once became famous in the city for her good works. In
addition to her piety and zeal, she undertook many political
missions, and preached a crusade against the Turks. Her prayer
is still whispered in Italy by poor children on their mother's
knee, and her relics are kissed daily by the simple and devout.

The mystic marriage which, forms the subject of this
picture, where the infant Christ is placing the ring on her
finger, suggests the secret of her power. Once when she
was fasting and praying, Christ himself appeared to her,
she said, and gave her his heart. For love was the
keynote of her religion, and the mainspring of her life.
In no merely figurative sense did she regard herself as
the spouse of Christ ; but dwelt upon the bliss, beyond
all mortal happiness, which she enjoyed in communion
with her Lord. The world has not lost its ladies of the
race of St. Catherine, beautiful and pure and holy, who
live lives of saintly mercy in the power of human and
heavenly love.

250, 251. Saints.

Ascribed to Meister von Werden (Early German, I5th century).

253. The Mass of St. Hubert.

Ascribed to Meister von Werden (Early German, 1 5th century).

254, 255. Saints.

Ascribed to Meister von Liesborn (Early German, about 1465).

257. The Purification of the Virgin.

Ascribed to Meister von Liesborn (Early German, about 1465).

259. Head of Christ on the Cross.

The Meister von Liesborn (Early German, about 1465).

260, 261. Parts of an Altarpiece.

The Meister von Liesborn (Early German, about 1465).

From a church at Liesborn (hence the title given to
the unknown painter).

262. The Crucifixion. Meister von Liesborn.

264. The Count and the Confessor.

Unknown (Early Flemish, I5th century).
The count, attired as a monk, is praying. Behind him
is his patron saint (St. Ambrose), holding a cross in one
hand, a scourge in the other.

265. Virgin and Child.

Unknown (Early Flemish, I5th century).

266. The Deposition from the Cross.

Lambert Lombard (Flemish, 1505-1566).

267. Landscape with Figures.

Richard Wilson, R.A. (British, 1714-1782). See 108.

268. The Adoration of the Magi.

Paolo Veronese (Veronese, 1528-1588). See 26.

A striking example of the old symbolical conception,
according to which the Adoration of the Magi — the
offering of the wise men from the East to the dawning
star of Christianity — was represented as taking place in
the ruins of an antique temple, signifying that Christianity
was founded upon the ruins of Paganism.

269. A Knight in Armour. Giorgione (Venetian, 1477-1511).

Giorgio Barbarelli, of Castelfranco, — called Giorgione
( " George of Georges ") from his handsome stature — was one of
the greatest of the Venetian painters and exercised a great
influence on the artists of his time. He was distinguished for the
beauty of his colouring ; his favourite subjects were scenes from
the golden age, such as Ovid describes. This picture is a study
for one of the figures in a famous altarpiece at Castelfranco.
Some more important pictures in the Gallery (930, 1160, 1173)
are ascribed to his school.

270. " Noli Me Tangere ! "

Titian (Venetian, 1477-1576). See 3.
The Magdalen stretches out her hand to touch Christ,
who is represented with a hoe in His hand, because she
had first supposed Him to be the gardener. But He bids
her forbear : "Touch me not," noli me tangere, "for I am
not yet ascended to my Father : " it is not on this side of
the hills that the troubled soul can enter into the peace of
forgiveness.

271. "Ecce Homo !"

Guido Reni (Eclectic, 1575-1642). Seen.
Compare Correggio's picture (IX. 15). It was from
Correggio that the Eclectics borrowed the type of face
for this subject — which was a favourite one with them ;
but notice how much more they dwell on the physical
pain and horror, how much less on the spiritual beauty
than Correggio.

272. An Apostle. Unknown (Italian School, i6th century).

274. Virgin and Child. Mantegna (Paduan, 1431-1506).

Andrea Mantegna has a commanding name in art history, so

much so that many writers describe the epoch of painting

MANTEGNA. The Virgin and Child enthroned, St. John the Baptist
and the Magdalen.

(roughly from 1450 to 1500), of which he was one of the chief
representatives, as the Mantegnesque period. He was especially
characteristic of his age — the age of the revival of classical
learning— in his love for the antique. He spent much of his

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money in forming a collection of Greek and Roman antiquities,
which were the models of his art. He was a pupil of Squarcione
(see p. 9), and from 1460 onwards was court-painter at Mantua.

" One of the choicest pictures in the National Gallery,"
exquisite alike in painting and in sentiment. Very sweet
is the expression of mingled humility and tenderness in
the mother of the Divine Child. On her right stands
St. John the Baptist, the great preacher of repentence ;
on her left Mary Magdalen, the woman who repented.
The Baptist bears a cross, and on the scroll attached to
it are written the words (in Latin), " Behold the Lamb of
God, which taketh away the sins of the world."

275. Virgin and Child, etc.

Botticelli (Florentine, 1446-1510). See 226.

Very characteristic of Botticelli's " sentiment of in-
effable melancholy, of which it is hard to penetrate the
sense, and impossible to escape the spell." Botticelli's
Madonnas seem, it has been said, to " shrink from the
presence of the Divine Child, and to plead in unmistak-
able undertones for a warmer, lower humanity." (For
illustration, see p. 5.)

276. Heads of St. John and St. Paul.

Giotto (Florentine, 1276-1337). See 568.

277. The Good Samaritan.

Jacopo da Ponte, called Bassano (Venetian, 1510-1592).

278. The Triumph of Julius Caesar.

Rubens (Flemish, 1577-1640). See 38.

279. The Horrors of War. Rubens.

The doors of the temple of " two-headed Janus " at
Rome were always thrown open when the State was at
war, and only closed in time of piece. Mars leaving the
temple open, is held back by Venus, 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.

280. The Madonna of the Pomegranate.

Giovanni Bellini (Venetian, 1426-1516). See 189.

A prophetic sense of the Saviour's sufferings is signified
by the symbol of the pomegranate —

Pomegranate, which, if cut deep down the middle,
Shows a heart within blood-tinctured, of a veined humanity.

281. St. Jerome Reading.

Marco Basaiti (Venetian, painted 1500-1520).

The scenery is that of the mountainous country near
Venice. The way in which the old masters thus consigned
their saints and anchorites to the hill-country is very
typical of the feelings of sanctity and terror with which
the mediaeval mind regarded mountain solitudes.

282. The Glorification of the Virgin.

Unknown (Umbrian School).

283. Virgin and Child Enthroned.

Benozzo Gozzoli (Florentine, 1420-1498).

284. Virgin and Child.

Bartolommeo Vivarini (Venetian, painted about 1450).

285. Virgin and Child.

Francesco Morone (Veronese, 1473-1529).

286. Virgin and Child.

Francesco Tacconi (Cremonese, painted 1464-1490).

287. Ludovico Martinengo.

Bartolommeo Veneziano (Venetian, painted 1505-1530).

288. The Virgin and Child, Michael and Raphael.

Pietro Perugino (Umbrian, 1446-1523).

Pietro Vannucci, a native of Castello della Pieve, was called
Perugino from the town of which he became a citizen. After-
wards he went to Florence, where he studied with Leonardo da
Vinci under the sculptor Verocchio. But he set his face against
the new style. Indeed, Perugino, the master of Raphael, is the
final representative of the old superstitious art, just as Michael
Angelo and Raphael (in his later manners) were the first
representatives of the modern scientific and anatomical art.

A perfect example of the earlier Italian art. Note,
first, that everything in it is dainty and delightful, and all
that it attempts is accomplished. Everything is finished,
even to the gilding of single hairs. Secondly, it is a work
in the school of colour, as distinguished from the school
of light and shade. " Clear, calm, placid, perpetual
vision, far and near ; endless perspicuity of space, un-
fatigued veracity of eternal light, perfectly accurate
delineation of every leaf on the trees and every flower in
the fields" (notice especially in the foreground the "blue
flower of paradise" of the central compartment). For
some remarks upon a third characteristic — the peaceful-
ness of the landscape, and for illustration, see p. 7.

The subject of the right-hand compartment is Raphael
and Tobias (for which see 781) ; that of the left hand is
Michael and Archangel, armed with the truth-girdle as
the orderer of Christian warfare against evil ; whilst in
his other character, as lord of souls, he has the scales
which hang on a tree by his side.

289. " The Night Watch."

Gerrit Lundens (Dutch, 1622-1677).

A greatly reduced copy of a famous work, known
under the above name, by Rembrandt at Amsterdam.

290. A Man's Portrait.

Jan van Eyck (Early Flemish, 1390-1440). See p. n.

291. A Girl's Portrait.

Lucas Sunder, called Cranach (German, 1472-1553).

292. Martyrdom of St. Sebastian (see 669).

Antonio Pollajuolo (Florentine, 1429-1498).

Antonio Pollajuolo (the " poulterer," — so called from his
grandfather's trade) is an instance of the union of the arts in old
times ; for he was a working goldsmith and engraver as well as
a sculptor and painter. He was the first artist (Vasari says)
who had recourse to dissection of the dead subject.

293. Virgin and Child, St. Jerome and St. Dominic.

Filippino Lippi (Florentine, 1457-1504).

Lippi, the younger (called "Filippino," "the little
Filippo ") was the son of Fra Filippo Lippi, and the pupil of
Botticelli.

294. The Family of Darius.

Paolo Veronese (Veronese, 1528-1588). See 26.
This picture — " the most precious Paul Veronese,"
says Mr. Ruskin, " in the world " — is, according to another
critic, " in itself a school of art, where every quality of
the master is seen to perfection." The glowing colour is
what strikes one first. It is a splendid example too of
what the historical pictures of the old masters were. The
scene represented is that of the Macedonian conqueror,
Alexander the Great, surrounded by his generals receiving

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the submission of the family of the defeated Persian King
Darius ; but in his treatment of the scene Veronese makes
it a piece of contemporary Venetian life. " It is a con-
stant law that the greatest men, whether poets or historians,
live entirely in their own age, all of them utterly regardless
of anachronism and minor error of every kind, but getting
always vital truth out of the vital present." Thus here
Veronese simply paints a group of living Venetians of his
time, dog, monkey, and all. Alexander, in red armour, is
represented as pointing to his friend Hephaestion, who is
attired in green, and whom the captives had at first mis-
taken for the king. The queen-mother implores his
pardon, but Alexander tells her that she has not erred,
for that Hephaestion is another Alexander. The principal
figures are contemporary portraits of the Pisani family, for
whom the picture was painted.

295. Our Saviour and the Virgin.

Quentin Metsys (Flemish, 1460-1530).

296. Virgin adoring the Infant Christ.

Florentine (School of Verocchio or Pollajuolo, 1 5th century).

307. The Age of Innocence.

Reynolds.

297. An Altarpiece.

Romanitw (Brescian, 1485-1566).

298. The two St. Catherines.

Amlrogio Borgognone (Lombard, 1455-1523).

Ambrogio Borgognone, a pupil of Foppa, has been called "the
Perugino of the Lombard School ;" there is a tenderness of feel-
ing in his works and a somewhat sentimental expression in his
figures which recalls the style of that master.

For St. Catherine of Alexandria, see 168 ; for St.
Catherine of Siena, see 249. Both of them were pro-
claimed the spouse of Christ for the love they bore Him.
And Borgognone here places them on either side of the
Madonna's throne — the princess of Alexandria, crowned
and robed in red, with her wheel of martyrdom, on the
right hand ; the nun of Siena on the left, while the infant
Christ extends His hands and gives a ring to both.

299. Portrait of an Italian Nobleman.

Moretto (Brescian, 1498-1555).

The nickname of " II Moretto " (" the Blackamoor ") applied
to Alessandro Bonvicino is particularly inappropriate to his
style, which is distinguished by its silvery tones. He was also
famous for his "skill in imitating every kind of velvet, satin, or
other cloth " — an excellence which may be noticed in the splendid
brocades here. As a portrait-painter he takes very high rank,
for his skill in telling us not only what his sitters looked like,
but what were their characters.

300. The Virgin and Child.

Cima da Conegliano (Venetian, painted 1489-1517).

Giovanni Battista Cima of Conegliano was rightly
named after his native place — for he loved it so well that
he introduced its hilly landscape into most of his pictures,
as into this. There is something very pretty in the way
in which the earlier Venetian masters placed their Holy
Families in their own fields and amongst their own
mountains (compare 599).

301. 302, 303. Views in Italy.

Richard Wilson, R.A. (British, 1714-1782).

304. Lake Avernus.

See 1 08.
Wilson.

305. Sir Abraham Hume, Bart, F.R.S.

Sir Joshua Reynolds, P.R.A. (British, 1723-1792). See 79.
An intimate friend of the painter, and a distinguished
collector of artistic and scientific curiosities.

"Child of the pure unclouded brow."

308. Musidora Bathing her Feet.

T. Gainsborough, R.A. (British, 1727-1788). See 684.
An illustration of some lines in Thomson's Seasons.
309,310. Views of the Watering Place. Gainsborough.

311. Country Children. Gainsborough.

312. Lady Hamilton as a Bacchante.

George Romney (British, 1734-1802).

306. Portrait of Himself.

Reynolds.

GEORGE ROMNEY. Lady Hamilton.

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Romney for a time divided the town, as a portrait-painter,
with Reynolds. "There are two factions in art," said Lord
Thurlow, "and I am of the Romney faction."

Half the charm associated with the name of Romney
is due to the face of this all too lovely woman —

Rosy is the west, rosy is the south,

Roses are her cheeks, and a rose her mouth.

Emma Lyon, or " Mrs. Hart," was the mistress of
Charles Greville and of Nelson, and the wife of Sir
William Hamilton. Romney painted her in every attitude
and every character.

313. Old London Bridge (1745).

Samuel Scott (British, died 1772).

314. Old Westminster Bridge (1750). Samuel Scott.

316. Lake Scene in Cumberland.

Philip James de Loutherbourg, R.A. (British, 1740-1812).

317. A Greek Vintage.

T. Stothard, R.A. (British, 1755-1834).

Thomas Stothard, who is best known for his book illustrations,
is the Angelico of England. "The vignettes from Stothard,"
says Mr. Ruskin, "however conventional, show in the grace
and tenderness of their living subjects how types of innocent
beauty, as pure as Angelico's, and far lovelier, might indeed be
given from modern English life, to exalt the conception of
youthful dignity and sweetness in every household."

322. A Battle.

Stothard.

T. STOTHAKD. A Greek Vintage.

A picture which might illustrate Keats's ode On a
Grecian Urn —

Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare ;

Bold lover, never, never canst thou kiss,
Though winning near the goal — yet, do not grieve ;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair !

318. A Woodland Dance. Stothard.

319. Cupid and Calypso. Stothard.

320. Diana Bathing. Stothard.

321. Intemperance. Stothard.

A sketch for one of the large compositions which
Stothard, fresh from studying Rubens, painted at
Burghley, the seat of the Marquis of Exeter. The
subject is Mark Antony.

327. The Valley Farm.

John Constable, R.A. (British, 1776-1837). See 130.

This picture, done from an early sketch, was exhibited
at the Academy in 1835. " I have got my picture," wrote
Constable to his brother, "into a very beautiful state. I
have kept my brightness without any spottiness, and I
have preserved God Almighty's daylight, which is enjoyed
by all mankind, excepting only the lovers of old dirty
canvas, perished pictures at a thousand guineas each,
cart grease, tar, and snuff of candle." The picture was
bought by Mr. Vernon. When he saw it on the painter's
easel, he asked if it was painted for any particular person.
" Yes, sir," replied Constable, " for a very particular
person — the person for whom I have all my life painted"
(Leslie's Life of Constable, p. 262). The scene is the
farmhouse on the banks of the Stour known as Willy
Lott's house — a veritable "haunt of ancient peace," for
of Willy Lott, who was born in it, it is said that he lived
more than eighty years without having spent four whole
days away from it.

329. The Bagpiper. Wilkie.

340. Home from Market.

Sir Augustus Wall Callcott, R.A. (British, 1779-1844).

CALLCOTT. Home from Market.

Callcott.
Callcott.
Callcott.
Callcott.
Callcott.

342. Cows Grazing.

343. The Wooden Bridge.

344. The Benighted Traveller.
346. Entrance to Pisa.

348. View on the Dutch Coast.

369. The Prince of Orange (William III.) landing at

Torbay, November 5, 1688.

/. M. W. Turner, R.A. (British, 1775-1851). See 458.
Exhibited in 1832.

370. Venice. Turner.
Turner's first Venetian picture (exhibited in 1833). In

the foreground, to the left, is " Canaletto painting " (such
was Turner's " sub-title " to the picture). This choice of
incident is characteristic of Turner's respect for his
predecessors in art (cf. " Port Ruysdael," 536). He
respected them and imitated them, but finally challenged
them all in turn ; and having now come to Venice, he
challenges Canaletto in his turn. It is very instructive to
compare the two painters' versions of Venice, and to note
the different kinds of truth they convey. Canaletto's
pictures give the effect of an accurate diorama ; but
" what more there is in Venice than brick and stone —

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what there is of mystery and death, and memory and
beauty — what there is to be learned or lamented, to be
loved or wept — we look for to Canaletto in vain." In
Turner, on the other hand, we see " white flushing fulness
of dazzling light, which the waters drink and the clouds
breathe, bounding and burning in intensity of joy."

380. A Cottage, formerly in Hyde Park.

Patrick Nasmyth (British, 1786-1831).

Patrick, the son of Alexander Nasmyth (see 1242), was a
close student of the Dutch landscape-painters, and has been
called " the English Hobbema " (see 685).

381. The Angler's Nook.

Patrick Nasmyth.

409. Spaniels of King Charles's Breed.

Sir Edwin Landseer, If. A. (British, 1802-1873).

Sir Edwin Henry Landseer, the chief modern painter of the
dog, is a typical representative of the English School. The
"sympathy with the lower animals which is peculiarly our
own " is indeed so strong in him that the chief weakness of his
pictures consists in the animals being made too human.
Landseer belonged to a family of artists, and was very pre-
cocious, exhibiting at the Academy when he was thirteen : two
pictures, of a mule and some dogs respectively, appearing in the
1815 catalogue as by "Master E. Landseer, Honorary Ex-
hibitor." As soon as he was twenty-four he was elected A.R.A.,

LANDSEER. King Charles Spaniels.

This picture (exhibited in 1832) "most fortunately
illustrates the perfect command of the brush, and the
extraordinary facility which long-continued and severe

TURNER. Venice (No. 370, see preceding page).

and four years later R.A. "From his early youth," says his
friend, Mr. Frith, " he had been admitted to the highest society,
and no wonder, for in addition to his genius, which was exer-
cised again and again for the ' great,' either in ornamenting their
scrap-books or in the more important form of pictures — for
which they paid him very inadequately — he was the most
delightful story-teller and the most charming companion in the
world. He also sang delightfully. In speaking, he had caught
a little of the drawl affected in high life, and he practised it till
it became a second nature." He was in high favour at court.
Queen Victoria and the Prince Consort used to make etchings
from his designs. He was the friend of Sydney Smith and
Dickens and most of the celebrities of his day. In the last few
years of his life he suffered from nervous weakness and failing
mental powers. He was given the honour of a public funeral
in St. Paul's.

studies gave to the painter. It is sometimes styled ' The
Cavalier's Pets.' The dogs were pets of Mr. Vernon's,
and the sketch was made in his house as a commission
to Landseer, but, after a short sitting, not continued for
some time. One day Mr. Vernon met the artist in the
street, and reminded him of the commission. Two days
later the work, as it now appears, was delivered at Mr.
Vernon's house, although it was not begun when the
meeting happened. It is due to not more than two days'
labour, and a triumph of dexterity in brush working.
The dogs came to violent ends. The white Blenheim
spaniel fell from a table and was killed ; the true King
Charles fell through the railings of a staircase in his
master's house, and was picked up dead at the bottom "
(Life of Landseer, by F. G. Stephens, pp. 64, 65).

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458-486.— THE TURNER GALLERY.

458. Portrait of Himself when Young.

Joseph Mallord William Turner (1775-1851) was born in
Maiden Lane, Covent Garden, and was the son of a barber. It
was in water-colours that he first painted, and he continued
throughout his life to work in this medium, as well as in oils.
His bequest to the nation alone comprised nearly 19,000 pencil
and water-colour sketches, many of which are on view in the
basement of the Gallery. In 1789 he began to paint in oils
and became an Academy student. From this time forward his
life was one of unremitting labour at his art, broken only by
sketching tours at home and abroad. Personally he was a man
of secluded ways and eccentric habits. The last years of his life
were much embittered by the failure of the public to understand
his work, and the extravagance of his later pictures was largely
due to his half-scornful and half-wanton defiance. He left the
large fortune he amassed (about ,£140,000) to various public
purposes ; but the will was disputed, and finally his next-of-kin
inherited most of his property, whilst the nation got all his
pictures and drawings, and the Royal Academy .£20,000. He
died in an obscure lodging by the riverside at Chelsea, and used
often, it is said, during his last illness to rise at daybreak and
go up to the roof to see the sun rise. " The sun is God," were
almost his last words.

Said to have been painted about 1802, when Turner
would have been twenty-seven, but the portrait surely
shows a younger man than that. Notice the intelligent
blue eyes, which all observers remarked in him, and the
prominent nose.

461. Morning on the Coniston Fells (1798).

463. ^Eneas with the Sibyl : Lake Avernus.

An early work, painted about 1800, in imitation of
Wilson (see XVII. 304). The cave in which the Sibyl
dwelt is in a subterranean passage, near the Lake
Avernus, and close to the shores of the Bay of Baias.
She was y£neas's guide to the lower world, and bade
him pluck the golden bough from the tree sacred to
Proserpine — •

If your descent approving fates allow,

Your hand with ease will crop the willing bough.

465. Mountain Scene.

470. The Tenth Plague of Egypt.

Exhibited in 1802, and painted in imitation perhaps of
Poussin's Plagues.

471. Jason in Search of the Golden Fleece.

Exhibited in 1802. "The serpent, the guardian of the
Golden Fleece, has been drugged to sleep by the charms
of Medea" (cf. 513), and the moment represented is when
Jason stealthily passes by the terrible monster. "In very
sunny days a keen-eyed spectator may discern something
in the middle like the arch of an ill-built drain." This is
a coil of the dragon beginning to unroll himself.

472. Calais Pier : English Packet Arriving.

Exhibited in 1803. "It may be well to advise the
reader that the ' English packet ' is the cutter in the
centre, entering the harbour. The fisherman, at the
stern of the boat just pushing from the pier, seems un-
reasonably excited in bidding adieu to his wife, who looks
down to him over the parapet ; but if the spectator closely
examines the dark bottle which he shakes at her, he will
find she has given it him only half full of cognac. She
has kept the rest in her own flask."

473. The Holy Family.

An imitation of Reynolds, exhibited in 1803.

474. The Destruction of Sodom (painted 1805).

476. The Shipwreck (painted 1805).

477. The Garden of the Hesperides.

Exhibited in 1806, and the first picture in which
Turner introduced the mountain knowledge he had
gained during his Swiss journey of 1802. It is character-
istic also of his love of mythology. The Hesperides, or
Maidens of the West, symbolised to the Greeks the soft
western winds and sunshine ; whilst the Dragon sym-
bolised the Sahara wind, which blew from above the hills.
Hence the garden here is bright and sunny, whilst the
Dragon, who watches from the top of the cliff, is wrapped
in flame and whirlwind. But the myth had a moral, as
well as a physical meaning. The Maidens of the West
had charge of the golden apples, the gift of Earth to Juno
on her wedding day. The wealth of the earth, as the
source of household peace and plenty, is watched — that
is to say — by the ministering spirits of women ; but the
Goddess of Discord comes among them. Turner paints
her as Spenser describes her, decrepit and distorted, and
adds one final touch of his own : the nymph who brings
the apples to the Goddess offers her one in each hand,
and Discord, of the divided mind, cannot choose. The
Dragon, in this meaning of the myth, is the demon of
covetousness. Note the serpent clouds floating from his
head, the grovelling and ponderous body, the grip of the
claws, as if they would clutch the rock.

478. The Blacksmith's Shop.

Exhibited in 1807. The picture "seems to have been
painted in emulation of Wilkie, and perhaps convinced
Turner of his weakness in more delicate figure-drawing,
and delivered him for ever to the teaching of the clouds
and hills."

479. The Sun Rising in a Mist.

One of the pictures Turner selected for competition
with Claude (see 14). It was painted in 1807, and
belongs to the first period of Turner's art-life, when his
work was distinguished by " subdued colour and perpetual
reference to precedent in composition. Yet from the first
the bent of his own mind was visible in his work. He
was the painter "not of pastoral indolence or classic
pride, but of the labour of men, by sea and land."

480. The Death of Nelson (October 21, 1805).

Exhibited 1808. The battle is represented as seen from
the mizen starboard shrouds of the Victory. Nelson has
just fallen, and has been carried down from the quarter-
deck, having been struck by a musket shot from a rifleman
in the mizen fore-jib of the Redoutable. The midshipman
who afterwards shot the rifleman is preparing to fire.

481. Spithead : Boat's Crew Recovering an Anchor.

Exhibited 1809. The buoy on the left marks the spot
where the Royal George went down.

483. London from Greenwich Park.

Painted in 1809, and engraved for the Liber Studiorum
(No. 33).

484. St. Hawes, Falmouth Harbour (painted about 1809).

485. Abingdon, Berkshire (painted 1810).

486. Windsor (painted 1810).

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488. Apollo and the Python.

" This monster, the Python, or corrupter, is the treasure-
destroyer (' where rust and moth do corrupt '), the worm
of eternal decay. Wounded, he bursts asunder in the
midst, and melts to pieces rather than dies, vomiting
smoke, a smaller serpent-worm rising out of his blood."

489. Cottage Destroyed by an Avalanche.

" This, as far as I am aware," says Mr. Ruskin, "is the
first effort of painting to give inhabitants of the lowlands
any idea of the terrific forces to which Alpine scenery
owes a great part of its character, and most of its forms."

490. Snowstorm: Hannibal Crossing the Alps.

This picture, exhibited in 1812, was suggested to Turner
by a storm at Farnley. All the time he was making
notes of its form and colour on the back of a letter.
Presently the storm passed, and he finished : " There ! "
said he, " in two years you will see this again, and call it
Hannibal Crossing the Alps}''

491. Harvest Dinner, Kingston Bank (1809).

492. A Frosty Morning : Sunrise.

Exhibited in 1813, and one of the best of the pictures
in Turner's first manner, sketched by him when travelling
by coach to York ; note the stage-coach in the distance.
" The ground sparkles with frost, and the tall, spindly
bare tree conveys a sense of cold. The yellow, cloudless
sky, the crushed crisp grass, and the dead weeds are all
perfectly painted."

493. The Deluge (exhibited 1813).

The thicken'd sky

Like a dark ceiling stood, down rushed the rain
Impetuous, and continued till the earth
No more was seen (MILTON'S Paradise Lost}.

494. Dido and yEneas Leaving Carthage on the Morning

of the Chase.

495. " Apuleia in Search of Apuleius."

Exhibited in 1814. In the foreground are Apuleia
and her companions, and some peasants reposing in the
shade of a tree. In this part of the foreground is inscribed
on the picture, Apuleia in search of Apuleius, learns from
the swain the cause of his metamorphosis ; whilst one of
the peasants is pointing to the name Apuleius carved in
the bark of a tree. For the story was that a shepherd of
Apulia (Appulus pastor, wrongly called Apuleius by Turner)
invaded the haunts of some dancing nymphs and insulted
them so grievously that he was changed into a wild olive
tree for his rudeness.

496. Bligh Sand, near Sheerness (1809).

497. Crossing the Brook.

Exhibited in 1815. A view of the Tamar, which
divides Devonshire and Cornwall, looking towards Ply-
mouth, with the bridge above Calstock in the middle
distance. One of the culminating works in the artist's
first period. Note the beautiful expression of "tender
diffused daylight over a wide and varied landscape."

498. Queen Dido Building Carthage.

The second of the two pictures (see 479) chosen by
Turner, for competition with Claude. From the technical

point of view it is not one of Turner's best pictures : it is
too brown, and does not give the idea of atmosphere so
well as Claude does. But there is a noble idea in the
picture. "The Rise of the Carthaginian Empire" was
the alternative title, and Turner makes the principal
object in the foreground a group of children sailing toy-
boats. Carthage was the great maritime power of the
ancient world, and the selection of this incident, expres-
sive of the ruling passion which was to be the source of
future greatness, is a true piece of poetic imagination
(see also 506).

500. The Field of Waterloo (June 18, 1815).

Exhibited in 1818, with the following quotation from
Byron —

Last noon beheld them full of lusty life,
Last eve in beauty's circle proudly gay,
The midnight brought the signal-sound of strife,
The morn the marshalling in arms, — the day
Battle's magnificently stern array !
The thunder-clouds close o'er it, which, when rent,
The earth is cover'd thick with other clay,
Which her own clay shall cover, heap'd and pent,
Rider and horse, — friend, foe,— in one red burial blent!

501. The Meuse : Orange -Merchantman Going to

Pieces on the Bar.

Exhibited 1819. Boats are unloading the wreck, and
fishermen picking up oranges in the river.

502. England : Richmond Hill, on the Pr.ince Regent's

Birthday.

Exhibited in 1819. The figures here — especially that
of the giraffe-like lady to the left of the central group —
are amongst the worst that Turner perpetrated.

504. Rome : the Arch of Titus and the Campo Vaccino,

seen from the Colosseum.

Painted 1820, from a sketch made in Rome in 1819.

There is a power

And magic in the ruin'd battlement,
For which the palace of the present hour
Must yield its pomp, and wait till ages are its dower.

505. The Bay of Baiae, with Apollo and the Sibyl.

Waft me to sunny Baise's shore.

This quotation, put by Turner to the picture when he
exhibited it in 1823, marks a spirit of exultation in the
splendour and gladness of the world. It is a picture of
one of the most beautiful spots in Italy — "the bay with
the gracious splendour of blue sea, which made the Roman
nobles build palaces round it." But in the details it is a
Baias of Turner's own creation, which he has bathed with
all his loveliest light, and upon which he has lavished all
his powers of rendering the exceeding intricacy of nature's
foregrounds. Yet, in spite of the beauty of the scene, it is
marked by a sense of desolation. It is a picture of the
beauty of the earth, but also of "the story of Apollo
and the Sibyl," that is, "of wasted splendour, of haggard
beauty, and of abiding fear." For "this Cumaean Sibyl,
Deiphobe, was in her youth beloved by Apollo, and when
lie promised to grant her whatever she would ask, she
took up a handful of earth, and asked that she might live
for as many years as there were grains of dust in her
hand. She obtained her petition, and Apollo would
have given her also perpetual youth, in return for her
love; but she denied him, and wasted into the long
ages— known at last only by her voice. We are thus led
to think of her here as the type of the ruined beauty of

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Italy. Notice the oft-recurring snake in the foreground
among the fairest leafage, a type of the terror, or tempta-
tion, which is associated with the lovely landscapes."

506. Carthage : Dido directing the Equipment of
the Fleet.

The alternative title was the " Morning of the Cartha-
ginian Empire ; " and notice that in this picture, exhibited
in 1828, the same incident of children sailing toy-boats
(in the foreground to the right) is introduced as in the
"Dido Building Carthage" (XIV. 498).

508. Ulysses Deriding Polyphemus.

Ulysses having escaped from the monster Polyphemus
by blinding him when he slept, is putting out to sea at
sunrise. Close into shore are the remains of the fire in
which Ulysses and his companions heated the olive staff
with which they put out the monster's eye. The sailors
flock up the masts to unfurl sail ; the oars are thrust
forward to force the galley on; the flags — one bearing
Ulysses's name, the other depicting the siege of Troy —
flaunt boastfully, whilst in the distance is the rest of the
fleet, ready to join in the flight. Ulysses himself, being
now safely off to sea, waves the blazing olive tree and
taunts the distant giant. The gods assist Ulysses in his
flight, and a shoal of sea -nymphs urge his vessel on.
Meanwhile the monster Polyphemus is seen sprawling
his huge bulk on the top of the cliff. In the distance is
Apollo, the God of Day, with his horses rising beyond the
horizon. This picture was exhibited in 1829, and is one
of Turner's masterpieces. The sky has the same gorgeous
colouring that Shelley loved (cf. XIX. 538)—

Half the sky

Was roofed with clouds of rich emblazonry,
Dark purple at the zenith, which still grew
Down the steep west into a wondrous hue
Brighter than burning gold.

511. View of Orvieto, Italy (painted in 1829).

512. Caligula's Palace and Bridge (exhibited 1831).

Caligula, in order to confute a prophecy that he would no
more be emperor than he could drive his chariot across the Bay
of Baise, had constructed a bridge of boats from the mole at
Puteoli across the bay to Baiae, upwards of three Roman miles,
and he both rode and drove over it. Caligula's bridge was a
temporary one of boats; but Turner has assumed that a solid
structure, similar to that of the mole (which Antoninus Pius
restored) was continued completely across the bay.

The scene of another "Fallacy of Hope" — children
sporting with goats upon the ruins of the palace and
bridge which were the monument of a Roman emperor's
pride and power.

513. The. Vision of Medea.

Medea, a princess of Colchis, and a mighty enchantress, had
lulled to sleep the dragon which guarded the Golden Fleece
(471) when Jason came in search of it, and so had won his love.
And for ten years they lived in married tenderness, till Jason
proved unfaithful to her, and she, furious, killed her two children ;
and having harnessed the dragons of evil passions, which' once
she had lulled to sleep, she fled.

She is here represented " performing an incantation ;
on the ground by her side are the three Fates ; im-
mediately above and behind them appears to be her
dragon-chariot with her twins ; the chariot is also repre-
sented in the clouds above to the left, where Medea is
again seen in the act of throwing her children into the
fired palace below" (Official Catalogue). The picture

was painted in Rome in 1829, and exhibited at the
Academy in 1831.

516. Childe Harold's Pilgrimage.

One of the most important pictures in the Turner
Gallery both for its own beauty and as showing the drift
of the painter's mind. "Turner painted," says Mr.
Ruskin, "the labour of men, their sorrow, and their
death. This he did nearly in the same tones of mind
which prompted Byron's poem of Childe Harold; and
the loveliest result of his art, in the central period of it,
was an effort to express on a single canvas the meaning
of that poem. It may now be seen, by a strange coin-
cidence, associated with two others — ' Caligula's Bridge '
(512), and 'Apollo with Sibyl' (505); the one illustrative
of the vanity of human labour, the other of the vanity of
human life." To this picture Turner affixed these lines
from Childe Harold —

And now, fair Italy

Thou art the garden of the world, the home
Of all art yields and nature can decree —
Even in thy desert what is like to thee ?
Thy very weeds are beautiful, thy waste
More rich than other climes' fertility,
Thy wreck a glory, and thy ruin graced
With an immaculate charm which cannot be defaced.

520. Apollo and Daphne.

For the story see 928. Daphne, as there explained,
represented in Greek mythology the spirit of verdure ;
observe, therefore, how Turner covers his foreground
with the richest foliage and makes his whole picture one
of the loveliest scenery. Behind Apollo and Daphne is
Cupid, the boy-god of Love. Ovid, in telling the story of
Daphne's flight and Apollo's pursuit, compares them to
a dog and a hare : Turner therefore puts a greyhound
and hare in the foreground.

523. Agrippina Landing with the Ashes of Germanicus.

Agrippina was the mother of Caligula and the widow of
Germanicus. Her husband had died of poison at Antioch, and
she brought home his ashes in an urn. In this picture (exhibited
1839) Turner transfers the landing of Agrippina from Brindisi
to Rome, and gives us here his restoration of the Triumphal
Bridge and Palace of the Caesars.

524. The Fighting Ttimeraire Tugged to her Last Berth

to be Broken Up (1838).

The Temeraire, a ninety-eight gun ship, was the second ship
in Nelson's line at the battle of the Trafalgar, 1805 ; and having
little provisions or water on board, was what sailors call " flying
light," so as to be able to keep pace with the fast -sailing
Victory. When the latter drew upon herself all the enemy's
fire, the Temeraire tried to pass her, to take it in her stead ; but
Nelson himself hailed her to keep astern. She lay with a French
seventy-four gun-ship on each side of her, both her prizes, ine
lashed to her mainmast, and one to her anchor. She was sold
out of the service at Sheerness in 1838 and towed to Rotherhithe
to be broken up.

The flag which braved the battle and the breeze,
No longer owns her.

Exhibited at the Academy in 1839, with the above
lines cited in the Catalogue. " Of all pictures not visibly
involving human pain this is, I believe," says Mr. Ruskin,
" the most pathetic ever painted. The utmost pensive-
ness which can ordinarily be given to a landscape
depends on adjuncts of ruin, but no ruin was ever so
affecting as this gliding of the vessel to the grave. This
particular ship, crowned in the Trafalgar hour of trial

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with chief victory — surely if ever anything without a soul
deserved honour or affection, we owed them here. Surely
some sacred care might have been left in our thoughts
for her, some quiet space amid the lapse of English
waters ? Nay, not so. We have stern keepers to trust
her glory to — the fire and the worm. Nevermore shall
sunset lay golden robe on her, nor starlight tremble on
the waves that part at her gliding. Perhaps, where the
low gate opens to some cottage garden, the tired traveller
may ask, idly, why the moss grows so green on the
rugged wood ; and even the sailor's child may not
answer, nor know, that the night dew lies deep in the
war rents of the wood of the old T^meraire." The spirit
of the picture — the pathetic contrast of the old ship's
past glory with her present end — is caught in the contrast
of the sunset with the shadows. The cold deadly shadows
of the twilight are gathering through every sunbeam, and
moment by moment as you look, you will fancy some new
film and faintness of the night has risen over the vast-
ness of the departing form" (for illustration see p. 18).
528. Peace : Burial at Sea of Sir David Wilkie.

TURNER. Peace : Burial at Sea of Sir David Wilkie.
A picture of great interest, as showing Turner's depth
of feeling for an old comrade. It represents the burial
as it must have appeared from the coast, and was
exhibited at the Academy in the year following Wilkie's
death (1842), under the title and with the motto given
above. Notice the funereal blackness of the sails. "It
was very like Turner," said his friend Jones, " to have
indicated mourning by this means, probably retaining
some confused notions of the death of ^Egeus and the
black sails of the returning Theseus."

530. Snow Storm : Steamboat off a Harbour's Mouth
Making: Signals, in Shallow Water, and Going
by the Lead.

Exhibited in 1842 under the above title. Notice the
precise particulars given, to which Turner added in the
Catalogue, "The author was in this storm the night the
Ariel left Harwich." The use of the term "author"
instead of "artist" is the more significant from the
following explanation, which Turner once gave to a
visitor who was admiring the picture : " I did not paint
it to be understood," he said, "but I wished to show
what such a scene was like ; I got the sailors to lash me

to the mast to observe it ; I was lashed for four hours,
and I did not expect to escape, but I felt bound to record
it if I did."

534. Approach to Venice, looking towards Fusina.

The scene is on the Giudecca Canal, by which in old
days the traveller approached Venice from Fusina, seen
here on the horizon — •

The path lies o'er the sea, invisible ;

And from the land we went

As to a floating city, steering in,

And gliding up her streets as in a dream,

So smoothly, silently. — ROGERS'S Italy.

535. The Sun of Venice Going to Sea.

The Sun of Venice (Sol di Venezia) is the name of the
fishing-boat, and on the mainsail is a painting of Venice
with the sun rising. It is characteristic of Turner's
instinct in seizing upon the essential aspects of things
that he should have been the first artist to call attention
to these sails, which are the most striking feature of the
marine scenery around the city. The picture is further
characteristic of the haunting sense of the transitory
nature of beauty, which was always present in Turner's
mind. This sentiment was marked in the present picture
by the quotation adapted from Gray's Bard which Turner
affixed to it —

Fair shines the morn, and soft the zephyr blows,
Venezia's Fisher spreads his painted canvas gay
Nor heeds the Demon' who in grim repose
Expects his evening prey.

536. Fishing-Boats Bringing a Disabled Ship into Port

Ruysdael.

Exhibited in 1844, and interesting, first, as an instance
of Turner's respect for earlier painters, even when he
had long attained to mastery ; for the Port Ruysdael
was a fiction of the painter, invented to do honour to
Jacob Ruysdael, the celebrated landscape-painter (see X.
627). Secondly, it is in itself among the best of Turner's
sea pictures — perfect in its "expression of the white,
wild, cold, comfortless waves of nofthern sea."

538. Rain, Steam, and Speed.

Exhibited at the Academy in 1844. "The boldest
attempt to represent abstract ideas in landscape that
ever was made," and the first and greatest attempt to
elicit beauty out of a railway train. " The Great Western
Railway " was Turner's sub-title, and the bridge is per-
haps a recollection of Maidenhead. Notice the devices
which the artist employs to aid his representation of
speed — the puffs of steam gradually diminishing as they
recede, and the little hare running at full speed before
the engine. The " driving " rain contributes too to the
effect — as also does the contrast with the little boat.
544. Venice. Morning : Returning from the Ball.

Exhibited in 1846, and now much injured, but still
capable of fascinating those who have patience to watch
the apparent chaos gradually clear into dream - like
palaces rising "as from the stroke of the enchanter's
wand." This ghost-like Venice, as Turner's later pictures
thus show it, is exactly the Venice described by Byron —
In Venice, Tasso's echoes are no more,
And silent rows the songless gondolier ;
Her palaces are crumbling to the shore,
And music meets not always now the ear :
Those days are gone — but Beauty still is here.
States fall, arts fade — but Nature doth not die,
Nor yet forget how Venice once was dear,
The pleasant place of all festivity,
The revel of the earth, the masque of Italy.

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548. Queen Mab's Grotto.

Exhibited in 1 846. A piece of painted poetry. Turner's
conception of the fairy's grotto seems to be compounded
from A Midsummer Nighfs Dream, and from Mercutio's
speech in Romeo and Juliet —

O, then, I see Queen Mab hath been with you.

She is the fairies' midwife, and . . .

. . . gallops night by night

Through lovers' brains, and then they dream of love.
But in the realisation of his dream, Turner's grotto is
that of Shelley's Queen Mab (a personification of the
imaginative power) rather than of Shakespeare's.
556. The Battle of Trafalgar (October 21, 1805).

558. A Fire at Sea (unfinished).

559. Petworth Park : Tillington Church in the Distance.

560. Chichester Canal.

TURNER. Chichester Canal.

Painted in 1829 and unfinished ; similar to one of the
pictures painted by Turner for the Carved Room at
Petworth. " Full of light, and yet solemn, calm, and
almost plaintive. There is even gentle movement in it,
for the smooth waters glide along and carry us with
them into the picture. The old ship fills it with human
interest ; now no longer buffeted by the waves, this
perilous adventurer, this hero of many battles with the
winds, rests for a while by a green bank that is fringed
with summer trees and long rushes ; its little pennant
droops listlessly from" its tall masts, that rise into the
gentle breath of evening, and sink down reflected roots
in the living waters."

56 la. A Sketch.

564. Virgin and Child, etc.

Margaritone (of Arezzo, 1216-1293).

A very gaunt and almost forbidding-looking picture,
yet of great interest in the history of painting. For
Margaritone was, Vasari tells us, "the last of the Italian
artists who painted entirely after the Greek (or Byzantine)
manner," from which Cimabue and Giotto were the first
to depart. In this "Greek manner" there was little
attempt to paint things like life. Art was then " symbolic,"
as the phrase goes, not representative. Certain definite
symbols, certain definite attitudes, were understood to
mean certain things. Thus the young God is here repre-
sented in the form of a man-child; erect, with the
assumed dignity of an adult, as He raises His hand to
bless the faithful. With His left hand He holds the roll
in which are written the names of the faithful saved : it
is as a judge that He comes into the world.

Of the scenes on either side of the central piece, the
first (on the spectator's left) represents the birth of Christ
in a cattleshed. The second, St. John the Evangelist,
calm midst the cauldron of seething oil. The third,
incidents in the life of St. Catherine (see 168) — her
beheading, her soul's reception by angels, and the burial

of her body by two angels on Mount Sinai. The fourth,
St. Nicolas appearing suddenly to some sailors, whom
he exhorts to throw overboard a vase given by the devil.
In the fifth is St. John resuscitating the body of Drusiana.
In the next subject St. Benedict, founder of the Bene-
dictine order, is shown in the act of throwing himself
into a thicket of briars and nettles, as he rushes from his
cave to rid himself of the recollection of a beautiful
woman he had once met in Rome, and whose image now
tempts him to leave his chosen solitude. In the seventh,
St. Nicolas liberates three innocent men ; and in the
eighth is represented St. Margaret, patron saint of women
in child-birth, whom the devil in the form of a dragon
confronts to terrify into abnegation of her Christian faith.
Unable to persuade her, he devours her, but bursts in the
midst, and by power of the Cross she emerges unhurt.

565. Madonna and Child.

Cimabue (Florentine, 1240-1302).

The changes which Cimabue, the chief founder of the
Florentine School, introduced into the art of painting
were twofold. In the first place, his pictures show an
increase of pictorial skill. This picture is an early one of
the master's, and has suffered much from time. Thus in
the Madonna's face, which was originally laid in green
and painted over thinly, time and restorations have
removed this overpainting, and left the green exposed
(see also Duccio's, II. 566). The green and purple of her
dress also have changed into a dusky tone ; but even so
the advance in pictorial skill may be seen in the shading
of the colours, and the attempt to represent the light and
dark masses of the drapery, whereas in earlier pictures
the painters had been content with flat tints. But the
advance made by Cimabue was even more in spirit than
in technical skill. He gave the populace of his day
something to look at — and something to love. Hi?
Madonna is still a Mater Dolorosa — "our Lady of Pain,"
but there is an attempt alike in her and in the child, and
in the attendant angels, to substitute for the conventional
image of an ideal personage the representation of real
humanity.

566. Madonna and Child.

Duccio (Sienese, 1260-1340).

Duccio of Buoninsegna did much the same for the
Sienese School as Cimabue, with whom he was closely
contemporary, did for the Florentine. He was the first,
that is to say, who, forsaking partly the conventional
manner of the Byzantine School, endeavoured to give
some resemblance to nature, and in religious subjects to
bring down heaven to earth. In this picture, for instance,
the young Christ, instead of being depicted in the act of
priestly benediction (as in 564), is shown as a true babe,
drawing aside the veil that hides His mother's face. In
this little incident one may thus see the tendency which
was to lead to the representation of the mother and Child
as a Holy Family.

567. Christ on the Cross.

Segna di Buenaventura (Sienese, painted 1305-1326).

568. The Coronation of the Virgin.

School of Giotto (Florentine, 1276-1337).

Giotto — great alike as painter, sculptor, and architect — was
the son of a Tuscan shepherd. Cimabue discovered his genius,
and carried him off to educate him as a painter. He built the
famous " Giotto's Tower " at Florence, and was the chief of the
early Florentine painters.

This picture is not by the master himself, but it is
characteristic— in its greater naturalness and resemblance
to human life— of Giotto's work. Cimabue's picture (565)

is felt in a moment to be archaic beside it. Another
development which the art of painting owes to Giotto
may be well seen in this picture. Notice the pretty
passages of colour, as for instance in the dresses of the
angels. "Giotto threw aside," says Mr. Ruskin, "all the
glitter and all the conventionalism of earlier art, and
declared that he saw the sky blue, the table-cloth white,
and angels — when he dreamed of them — rosy, and he
simply founded the schools of colour in Italy."

569-578. An Altai-piece.

Orcagna (Florentine, about 1308-1386).

Orcagna is one of the many instances of the union of the arts
in the Middle Age. His father was a goldsmith, and he himself
was distinguished alike as a painter, a sculptor, and an architect
— a union which he used to note by signing his pictures "the
work of ... sculptor," and his sculptures '•' the work of ...
painter." His real name was Andrea di Cione, but he was
called by his contemporaries Orcagna, a corruption of Arcagnuolo,
the Archangel.

This altarpiece — now in ten compartments — was painted
for the church of San Pietro Maggiore (569). In the
central compartment — representing the Coronation of the
Virgin — a model of this church is held by St. Peter
(amongst the saints adoring, on the spectator's left). A
certain quaint uncouthness is apparent to every one in
the picture, but this should not blind us to its wealth of
expressive detail.

(570-578.) The nine smaller pictures, now dispersed
about this room, were originally placed under the principal
picture.

579, 57 Oa. The Baptism of Christ.

School of Taddeo Gaddi (Florentine, 1300-1366).

(579) In the centre is John the Baptist, baptizing
Christ ; on the left St. Peter, on the right St. Paul. In
the picture for the predella (the step on the top of the
altar, thus forming the base of the altarpiece) is a saint
at either end ; and then (i) the angel announcing the
Baptist's birth, (2) his birth, (3) his death, (4) Herod's
feast, and (5) Herodias with John the Baptist's head in a
charger. The picture must have been the work of an
inferior scholar ; but it is interesting to notice that this
attempt to tell a consecutive story in his picture, like an
epic poem, instead of fastening on some one turning-
point in it, like a drama, is characteristic of early art.

(57ga) These three panels formed the cuspidi, or
upper pictures, of the altarpiece. In the centre is the
Almighty, on the left the Virgin, on the right Isaiah,
holding a scroll with the words (in Latin), "Behold a
virgin shall conceive."

580, 580a. An Altarpiece.

Jacopo Landini (Of Casentino, 1310-1390).

Another of the altarpieces (cf. 578) which aimed at
giving the whole story of some subject, and thus recall
the time when sacred pictures were a kind of " Scripture
Graphic." (580) In the predella pictures below are (i)
St. John distributing alms and baptizing ; (2) his vision of
revelation in the island of Patmos ; (3) his escape from
the cauldron of boiling oil ; and then, as the subject of
the principal picture, his ascension to heaven, for
" according to the Greek legend, St. John died without
pain or change, and immediately rose again in bodily
form and ascended into heaven to rejoin Christ and the
Virgin." In the other small pictures and in the pilasters
are various saints, and immediately over the central
picture are (i) the gates of hell cast down ; (2) Christ risen
from the dead ; (3) the donor of the picture and his family,
being presented by the two St. Johns.

(586a) These figures formed the upper portion of the

altarpiece. In the middle is the symbolic representation
of the Trinity (seen best on a large scale in I. 727) ; at the
sides are the Virgin and the Angel of the Annunciation.

581. A Group of Saints.

Spinello Aretino (Arezzo, 1333-1410).

582. The Adoration of the Magi.

Fra Angelica (Florentine, 1387-1455). See 663.

583. Battle of St. Egidio (July 7, 1416).

Paolo Uccello (Florentine, 1397-1475).

A picture of great interest both from an historical and
from a technical point of view. First, it shows us what "an
Italian battle was like in the beginning of the fifteenth
century, when men wore heavy suits of plate-armour with
fantastic crests, and charged with lance in rest and vizor
down, and the duties of skirmishing and cutting off
stragglers from the main body were performed by cross-
bowmen in parti - coloured hose." Secondly, it shows
the beginning of scientific " perspective " (i.e. the science
of representing the form and dimensions of things as they
really look, instead of as we conceive them by touch or
measurement to be) ; the painter is pleased with the new
discovery, and sets himself, as it were, the hardest problem
in perspective he can find. Note the " foreshortening " of
the figure on the ground (objects are said to be " fore-
shortened " when viewed so that we see their breadth, and
not their length— for example, the leg of Titian's Ganymede
in 32). So devoted was Paolo to his science that his wife
used to complain to her friends that he sat up all night
studying, and that the only answer she ever got to her
remonstrances was," What a delightful thing is this perspec-
tive ! " He had another and a softer passion : he was so
fond of birds that he was called Paul of the Birds
(" Uccelli ").

585. Portrait of a Lady.

Ascribed to Piero delta Francesca (Umbrian, 1416-1492).
Piero della Francesca was so-called after his mother :
" Francesca's Peter," for, says Vasari, " he had been brought up
solely by herself, who futhermore assisted him in the attainment
of that learning to which his good fortune had destined him. "
He was probably a pupil of Paolo Uccello (583), and like that

master was a great
student of perspect-
ive. Notice in 664 the
correct " foreshorten-
ing " of Christ's feet,
and the careful ana-
tomy of the stripping
figure. Another re-
spect in which he
strove after greater
naturalness was in
the portraiture of
living persons : thus
notice in 908 that the
angels are clearly
studies from real life.
Moreover this and
the other profile head
(758) by him are
probably the earliest
specimens in the
Gallery of pure
portraits. Originally
they were introduced
as donors into altar-
pieces (807) ; then
as actors in scenes
from sacred history
(908) ; here the pic-
tures are simply de-
voted to recording the likeness of individuals for their own sake.

PIERO UELLA FRANCESCA. Isotta da Rimini.

HALF HOLIDAYS AT THE NATIONAL GALLERY

586. Madonna and Child Enthroned.

Zenobio Macchiavelli (Florentine, 1418-1479).

Madonna and her babe,
Ringed by a bowery, flowery angel brood
Lilies and vestments and white faces.

589. The Virgin and Child.

Fra Filippo Lippi.

590. Christ Placed in the Tomb.

Marco Zoppo (Bolognese, painted 1471-1498).

591. The Rape of Helen.

Benozzo Gozzoli (Florentine, 1420-1498). 866283.
The earliest picture in the Gallery which was painted
for domestic pleasure, not religious service. One of the
earliest also in which a classical subject is attempted. It
probably formed the cover or end of a box, such as were
often commissioned for wedding presents. Hence the
choice of subject (which has been variously given as
the Rape of Helen and the Rape of the Venetian Brides)
and the comic extravagance of the drawing : the bride-
groom takes giant strides in lover's eagerness, and the
ships scud along with love to speed them.

592. The Adoration of the Magi.

Filippino Lippi (Florentine, 1457-1504). 866293.

593. Virgin and Child.

Lorenzo di Credi (Florentine, I459~I537)-

594. The "Holy Money Despisers."

Emmanuel (Byzantine, about 1660).

The earliest picture in the Gallery (except the Greek portraits
in the Vestibule) in order of artistic development, belonging
to the Byzantine School (see p. 5). Here we see one of the
regulation subjects — Sts. Cosmas and Damianus, martyrs of the
fourth century — patron saints of medicine, which they practised
without fees — hence their title, the "holy money-despisers. "
They are here receiving the Divine blessing. The picture is con-
ventional also in its treatment. Thus the attitude of the hand is
the recognised symbol whereby to express that a figure is speak-
ing. So, too, the background is formed by a golden plain,
which is meant to represent the air or the sky. The dark blue
semicircle surrounding the bust of our Saviour, above the two
heads of the saints, has more or less the form of the horizon, and
is meant to represent the heaven in which Christ dwells.

595. Portrait of a Lady.

Unknown (Venetian School, I5th-i6th century).

596. The Entombment of Christ.

Marco Palmezzano (Umbrian, 1456-1537).

597. A Dominican Monk.

Francesco del Cossa (Ferrarese, painted 1456-1485).

Either St. Dominic himself, or St. Vincentius Ferrer,
a pious Spaniard who was a Dominican monk. He points
upwards towards a Rosary. For St. Dominic (i 170-1221),
the founder of the White Friars, — and the great apostle
of Faith, as St. Francis, the founder of the Black Friars,
was of Works, — had, amongst other aids to devotion,
instituted the Rosary — a string of beads of larger and
smaller size, by the use of which the faithful secure the
due alternation of " Ave Marias " with " Pater Nosters "
in their prayers.

598. St. Francis with the " Stigmata."

Filippino Lippi (Florentine, 1457-1504). 866293.

So truly did St. Francis in his own works exemplify
the life of Christ that, according to the legend of the
time, he received also in his own person the wounds (or
" stigmata ") of the Crucified One — here visible on his
hands. The saint is here represented in glory ; choirs of
singing angels encompass him ; but for the saint " the

wounds of His Master are his inheritance, the cross — sign
not of triumph but of trial — his reward." Inscribed on
the picture below are some lines from a Latin hymn
to St. Francis, exhorting others to follow him, and to
advance as he did the standards of their king.

599. The Madonna of the Meadow.

Giovanni Bellini (Venetian, 1426-1516). See 189.

602. APieth.

Carlo Crivelli (Venetian, painted 1468-1493).

Carlo Crivelli, though a native of Venice, is believed to have
studied under Squarcione at Padua. He lived outside the artistic
world of his time,— a fact which serves to explain the somewhat
conservative character of his art. Thus he adhered to tempera
painting, and there, is a vein of affectation in his pictures which
contrasts strongly with the naturalistic tendency in contemporary
Venetian art.

603. The Sleeping Bloodhound.

Sir E. Landseer, R.A. (British, 1802-1873). 866409.

This picture is an instance of Landseer's astonishing
rapidity. The hound, called "Countess," belonged to
Landseer's friend, Mr. Jacob Bell. She was lying one
night on a balcony awaiting her master's return. She
heard the wheels of his gig in the distance, and in leaping
down missed her balance, fell between twenty and thirty
feet, and died during the night. Next morning (Monday)
her master took her to Landseer in hopes of securing a
sketch of the old favourite, who had long been waiting
for a sitting. By Thursday the picture was finished.

604. Dignity and Impudence. Landseer.

" Dignity " is a noble bloodhound of the Duke of
Grafton's breed ; " Impudence " a snappish little Scotch
terrier. (For illustration see p. 16.)

605. The Defeat of Comus,

Landseer.

The victims of Comus's sorceries (see XVIII. 1182)
assumed, as the potion worked its spell, " the inglorious
likeness of a beast." But the wizard's spell has now been
broken, and we see him in the centre of the picture throw-
ing up his magic wand in despair. One of his revel rout
still clings appealingly to him, for those who drink of his
cup " all their friends and native home forget To roll with
pleasure in a sensual stye." At other times Landseer
painted beasts as half human, here he had to paint men
and women as half beasts : but he makes their faces
human still : notice, for instance, the tears in the eyes of
the female monsters.

606. Shoeing. Landseer.

621. The Horse Fair. Rosa BonJmir (French, 1822-1899).

This is a replica of a picture which was exhibited at the
French Salon in 1853, and which made the name of
Mdlle. Rosa Bonheur famous. The spirited character and
vigour of the picture are in harmony with the subject
represented.

623. Madonna and Child.

Girolamo da Treviso (Venetian, 1497-1544)-

624. The Infancy of Jupiter.

Giulto Romano (Roman, 1492-1546).

Giulio Pippi, called "the Roman," was born at Rome and
was Raphael's favourite pupil.

HALF HOLIDAYS AT THE NATIONAL GALLERY

625. An Altarpiece.

// Moretto (Brescian, 1498-1555). 866299.
The principal figure is St. Bernardino of Siena (1380-
1444). He was one of the most celebrated preachers of
his time ; hence the words on the open book which he
is represented as holding in his left hand, " Father, I
have manifested thy name to men." The Gospel which
he preached was " Salvation through Jesus Christ ; "
hence the circle in his right hand with the monogram
"I.H.S." (Jesus Hominum Salvator, Jesus the Saviour of
mankind). He came of a noble family, but the secret
of his power was his determination to live amongst the
poor ones of the earth ; hence at his feet are mitres
inscribed with the names of the three cities of which he
refused the bishoprics. The attendant saints are Jerome,
Joseph, Francis (to whose order Bernardino belonged),
and Nicholas of Bari. Above is a vision of the only
crown to which St. Bernardino aspired — the company of
the saints, the Virgin and Child, St. Catherine, and St.
Clara. Moretto is said to have always prepared himself
by prayer and fasting for any important work of sacred
art. Something of his ascetic ideal may be seen in the
attenuated figures of his saints.

626. Portrait of a Young Man.

Botticelli (Florentine, 1446-1510). See 226.

627,628. Waterfalls. Ruysdael (Dutch, 1628-1682).

The works of Jacob van Ruysdael, who is usually accounted
the greatest of the Dutch landscape-painters, are remarkable for
1 two specialties. First, his painting of falling water (the name
Ruysdael appropriately signifies foaming water]. Secondly, he
is remarkable for a certain solemn love of solitude ; and this
love of nature in itself, undisturbed by the incidents of daily
life, distinguishes him from most of his contemporaries.

629. Madonna and Child.

Lorenzo Costa (Ferrarese, 1460-1535).

This picture should be compared with the Perugino
in the next room (288), for Lorenzo Costa has been called
" the Perugino of Ferrara."

630. Madonna and Child with Saints.

Gregorio Schiavone (Paduan, painted about 1470). See p. 9.

631. Portrait of a Lady.

Ascribed to Francesco Bissolo (Venetian, painted 1492-1530).

632. 633. Saints.

Girolamo da Santa Croce (Venetian, painted 1520-1550).

634. The Madonna of the Goldfinch.

Cima da Conegliano (Venetian, painted 1489-1517). See 300.

635. "The Repose." Titian (Venetian, 1477-1576). Sees.

The introduction of St. John the Baptist and St.
Catherine embracing the Holy Child, and in the distance
the angel appearing to the shepherds, serve as the sign-
manuals to mark the sacred subject. For the rest it is
a simple domestic scene, laid amongst the hills of Cadore,
Titian's home.

636. Portrait of a Poet.

Palma Vecchio (Venetian, 1480-1528).

Formerly ascribed to Titian and called " Portrait of
Ariosto."'

637. Daphnis and Chloe.

Paris Bordone (Venetian, 1500-1570).

Come live with me and be my love,
And we will all the pleasures prove
That hills and valleys, dale and field,
And all the craggy mountains yield.

638. The Virgin and Child, with Saints.

Francia ( Ferrarese- Bolognese, 1450-1517). See 179.

639. " Noli Me Tangere ! " (see 270).

Francesco Mantegna (Paduan, about 1470-1517).

640. Adoration of the Magi.

Dosso Dossi (Ferrarese, 1479-1542).

641. The Woman taken in Adultery.

Ludovico Mazzolino (Ferrarese, 1480-1528).

642. Christ's Agony in the Garden.

Garofalo (Ferrarese, 1481-1559). See 81.

643. The Capture of Carthagena.

Rinaldo Mantovano (Roman, Early i6th century).

644. The Rape of the Sabines. Mantovano.

645. Virgin and Child. Albertinelli (Florentine, 1474-1515).

646. 647- St. Catherine, St. Ursula.

Unknown (Umbrian, I5th century).

648. Virgin and Child.

Lorenzo di Credi (Florentine, 1459-1537). See 593.

649. Portrait of a Boy.

Jacopo Carucci, called Pont or mo (Florentine, 1494-1557).

650. Portrait of a Lady.

Angela Bronzino (Florentine, 1502-1572).
Dressed in the rich costume of the time. It " is a remark-
able thing how much great art depends on gay and dainty
gowns. Note, first, in going round these rooms, how
fondly all the best painters enjoy dress patterns." Then,
note as following from this fact, how much the splendour
of the pictures that we most admire depends on splendours
of dress. " No good historical painting ever yet existed,
or ever can exist, where the dresses of the people of the
time are not beautiful."

651. " All is Vanity. " Angela Bronzino.
Venus, crowned as Queen of Life, yet with the apple

of discord in her hand, turns her head to kiss Cupid,
whose wings are coloured in Delight, but behind him is
the gaunt figure of Jealousy, tearing her hair. Folly, with
one foot in manacles and the other treading on a thorn,
is preparing to throw a handful of roses. A Harpy, the
personification of vain desire and fitful passion, with a
human face, but with claws to her feet and with a serpent's
body, is offering in one hand a piece of honeycomb,
whilst she holds her sting behind her in the other. In
one corner, beneath the God of Love, doves are billing
and cooing ; but over against them, beneath Folly, there
are masks, showing the hideous emptiness of human
passion. And behind them all is Time, with wings to
speed his course and the hour-glass on his shoulders to
mark his seasons, preparing to let down the veil which
Pleasure, with grapes twined in her hair, and with the
scowl of angry disappointment on her face, seeks in vain
to lift.

HALF HOLIDAYS AT THE NATIONAL GALLERY

652. Charity.

Francesco Rossi, called Salviati (Florentines 1510-1563).

The usual pictorial representation of charity as a
woman surrounded by children and giving suck is the
same as Spenser's description of " Charissa " —

A multitude of babes about her hung,
Playing their sportes, that joy'd her to behold.

653. A Man and his Wife.

Unknown (Flemish School, 1 5th century).

654. The Reading Magdalen.

Unknown (Flemish School, I5th century).

Known for the Magdalen by the small vase at her feet
— emblem, with all the religious painters, of the alabaster
box of ointment — " the symbol at once of her conversion
and her love." In these "reading Magdalens" she is re-
presented as now reconciled to heaven, and magnificently
attired. " It is difficult for us, in these days (says Mrs.
Jameson), to conceive the passionate admiration and devo-
tion with which the Magdalen was regarded by her votaries
in the Middle Ages. The imputed sinfulness of her life
only brought her nearer to them. Those who did not dare
to lift up their eyes to the more saintly models of purity
and holiness took courage to invoke her intercession."

655. The Reading Magdalen.

Bernard von Orley (Flemish, 1491-1542).

656. A Man's Portrait.

Jan Gossaert, called Mabuse (Flemish, 1470-1541).

657. A Dutch Gentleman and Lady with patron saints.

Jacob Cornelissen (Dutch, painted 1506-1553).

658. The Death of the Virgin.

Unknown (German School, 1510 century).

659. Pan and Syrinx.

Johann Rottenhammer (German, 1564-1623).

The nymph Syrinx, beloved by Pan and flying from
his pursuit, takes refuge among some bulrushes. The
god, thinking to grasp her, finds only reeds in his hand.
He formed the reeds into a pipe, hence the name of
Syrinx given to the "Pan's pipe" (see XIII. 94).

660. A Man's Portrait.

Ascribed to Francois Clouet (French, 1510-1572).

661. Tracing from Raphael's " Madonna di San Sisto."

663. The Resurrection.

Fra Angelica (Florentine, 1387-1455).

This painter was a Dominican monk, and was given the name
of " Angelico " for his purity and heavenly-mindedness. "He

never, " we are told, ' ' took pencil in hand without prayer, and he
could not paint the Passion of Christ without tears of sorrow.
He was thus able to express the sacred affections upon the human
countenance as no one ever did before or since. In order to
effect clearer distinction between heavenly beings and those of
this world, he represents the former as clothed in draperies of the
purest colour, crowned with glories of burnished gold, and
entirely shadowless."

The weakness and the strength of the painter are alike
well seen in this picture of Christ, with the banner of the
resurrection surrounded by the Blessed. The representa-
tion of Christ Himself is weak and devoid of dignity ; but
what can be more beautiful than the surrounding angel
choirs, " with the flames on their white foreheads waving
brighter as they move, and the sparkles streaming from
their purple wings like the glitter of many suns upon a
sounding sea, listening in the pauses of alternate song,
for the prolonging of the trumpet blast, and the answering
of psaltery and cymbal, throughout the endless deep, and
from all the star shores of heaven." No two of the 266
figures are alike in face or form, though each is perfect in
grace and beauty. In the central compartment the
seraphim (red) are on Christ's right, the cherubim (blue)
on His left. In the compartment to Christ's left are,
amongst other patriarchs and saints, Abraham with the
sword, Noah with the ark, Moses with the tables of law,
Aaron with his name on his mitre, and below them St.
Agnes with the Lamb, and St. Catherine with her wheel.
The martyrs bear palms in their hands ; some wear
wreaths of roses, others the crown of thorns. In the
compartment to Christ's left are the Virgin, St. Peter with
the keys, and the Evangelists. On the extreme ends on
either side are those of the painter's brother Dominicans,
in their black robes, who have joined the company of the
" Blessed."

Multitudes — multitudes — stood up in bliss,

Made equal to the angels, glorious, fair ;
With harps, palms, wedding-garments, kiss of peace,

And crowned and haloed hair.
Glory touched glory, on each blessed head,

Hands locked dear hands never to sunder more :
These were the new-begotten from the dead

Whom the great birthday bore.

664. Deposition of Christ in the Tomb.

Roger van der Weyden (Early Flemish, 1400-1464).

This painter was the chief master (as a teacher that is) of the
early Flemish School, and it was he who carried Flemish art
into Italy, with the new naturalism and improved technique
which Van Eyck has introduced. He is especially praised for
his "representations of human desires and dispositions, whether
grief, pain, or joy."

Very characteristic in subject and treatment of the
northern art. Coupled with their absence of feeling for
the beautiful there is in the work of these artists a strange
fondness for death — for agonies, crucifixions, depositions,
exhumations. Therein they were only meeting the wishes
of their patrons. There is a contract, for instance, still in
existence in which it is expressly stipulated that the form
of our Lord in a picture ordered at Bruges shall be
painted " in all respects like a dead man."

665. The Baptism of Christ in Jordan.

Piero della Francesca (Umbrian, 1416-1492).

See 585.

666. The Annunciation.

Fra Filippo Lippi (Florentine, 1412-1469). See 248.

667. St. John the Baptist with other Saints. Lippi.

HALF HOLIDAYS AT THE NATIONAL GALLERY

The " other saints " are Sts. Francis (on his extreme
right, with the stigmata), Lawrence, and Cosmas ; on his
left Sts. Damianus, Anthony, and Peter Martyr — this
last a particularly "human" saint. Lippi was a monk
himself, and drew his saints in the human resemblance
of good "brothers " that he knew.

668. The Beato Ferretti.

Carlo Crivftti (Venetian, painted 1468-1493). See 602

669. St. Sebastian, St. Rock, and St. Demetrius.

LOrtolano (Ferrarese, died about 1525).

St. Sebastian was a Roman soldier, who, having turned
Christian, was bound to a stake and shot with arrows. The
archers left him for dead ; but when his friends came to take
his body away, it was found that he yet breathed. So they
tended him night and day, until he had wholly recovered.
Arrows have in all times been the emblem of pestilence ; and
St. Sebastian became from this legend the patron saint of the
plague-stricken. He is here represented with St. Rock (on his
right), another similar patron (see 735), and (on his left) with
St. Demetrius, who like St. Sebastian was a Roman soldier and
Christian convert.

It is instructive to compare the noble use of the legend
made in this picture, in which the great technical skill of
the painter is subordinate to the beautiful display of a
sacred legend, with the St. Sebastian of Pollajuolo (see
292), in which, as we have seen, the subject is used for
the display of such skill.

670. A Knight of St. Stephen.

Angela Bronzino (Florentine, 1502-1572).

He wears the robes of his order (with a red cross
bordered with yellow), an order established by Cosimo,
Duke of Tuscany, and charged with the defence of the
coasts against pirates.

671. Madonna and Child Enthroned.

Garofalo (Ferrarese, 1481-1559).

Originally the principal altarpiece of the church of
San Guglielmo (St. William) at Ferrara. Hence the
introduction of that saint (on the left) — a beautiful face,
into which the artist has put, one may think, all his local
piety. The saint is in armour, for William — the institutor
of the hermit order of Gulielmites — was originally a
soldier, and was "given," says one of his biographers,
" into a licentious manner of living, too common among
persons of that profession." Beside him stands St. Clara,
"the very ideal of a gray sister, sedate and sweet, sober,
steadfast, and demure." She gazes on a crucifix, for she
too had renounced the pomps and vanities of the world.
Her wealth of golden hair was cut off, it is said, by St.
Francis ; her fortune she gave to hospitals, and herself
became the foundress of the Order of " Poor Clares." St.
Francis stands on the other side of the throne, and beside
him is "good St. Anthony" (see 198).

672. His Own Portrait (1640).

Rembrandt (Dutch, 1607-1669).

673.

See 45.

1 Salvator Mundi."

Antonello da Messina (Venetian, 1444-1493).

Christ, as " the Saviour of the world," stands with His
fingers on the edge of a parapet, giving the blessing and
gazing into eternity. A picture of interest as being the
earliest known work (it is dated 1465) of Antonello of
Messina in Sicily, who is famous as the man by whom
the art of painting in oils, as perfected by the Van Eycks
(see XFI. 186), was introduced to Venice.

674. Portrait of a Lady.

Paris Bordone (Venetian, 1500-1570).

A splendid specimen of this painter's portraits, and a

type of the face which meets one in nearly every Gallery

of Europe. The type is that of a cruel and somewhat

sensual beauty —

Cold eyelids that hide like a jewel
Hard eyes that grow soft for an hour ;

The heavy white limbs, and the cruel
Red mouth like a venomous flower.

675. Portrait of Mary Hogarth.

William Hogarth (British, 1697-1764). See 112

The eldest of the artist's two sisters — the family like-
ness to himself in 1 1 2 is unmistakable.

677. Lewis as the " Marquis" in "The Midnight Hour."

Sir Martin Shee, P.R.A. (British, 1770-1850).

William Thomas Lewis, known as "Gentleman Lewis"
from the elegance of his deportment, was the leading
light comedian of his time.

678. Study for a Portrait.

T. Gainsborough, R.A. (British, 1727-1785). See 684.

679. The Portrait of an Astronomer.

Ferdinand Bol (Dutch, 1616-1680).

680. The Miraculous Draught of Fishes.

Van Dyck (Flemish, 1599-1641). See 49.

681. Captain Orme.

Sir Joshua Reynolds, P.R.A. (British, 1723-1792). See 79.

Richard Orme (Coldstream Guards) was aide-de-camp,
with Washington, to General Braddock (with whom he
was a great favourite) in America during the campaign
of 1755-
683. Mrs. Siddons (1755-1831).

T. Gainsborough, R.A. (British, 1727-1788).

T. GAINSBOROUGH. Mrs. Siddons.

5°

HALF HOLIDAYS AT THE NATIONAL GALLERY

Gainsborough, the rival of Reynolds in portraiture and of
Wilson in landscape, was born at Sudbury in Suffolk, and it was
the Suffolk woods that he always loved to paint. With regard
to his portraits, a certain resemblance to Reynolds is what first
strikes the spectator. They were contemporaries, and all the
little peculiarities of the age — often too the actual sitters — are the
same in pictures by them both. But in Gainsborough's portraits
there is an especial charm of pathetic tenderness, a tinge of
melancholy, which it is difficult to attribute to all the persons
who have sat to him, and which appears in his landscapes as
well as in his portraits.

A portrait of the great actress, Sarah Kemble, Mrs.
Siddons, taken in her twenty-ninth year, the year after
Reynolds painted her as the Tragic Muse. In the stately
face depicted by Gainsborough — severe even in its
beauty — one sees stamped the character of the actress
who turned the heads of half the town, but never herself
lost her self-restraint, and who was as celebrated for the
blamelessness of her private life as for her command of
passion on the stage. " One would as soon think of
making love to the Archbishop of Canterbury," said one
of her admirers. The strong sharply -defined features
repeat the tale of her hardness and haughtiness. " Damn
it, madam," said Gainsborough, after working at this
portrait for some time in silence, "there is no end to
your nose." Note, too, the finely-formed eyebrows :
their extreme flexibility was one of the secrets of her art,
and lent expressive aid to eyes brilliantly beautiful and
penetrating.

684. Ralph Schomberg, M. D.

Gainsborough.

685. Showery Weather.

Meindert Hobbema (Dutch, 1638-1709).

Hobbema, who disputes with Ruysdael the place of best
Dutch landscape-painter, was his pupil. Ruysdael is the painter
of the solitude of nature, of rocks and waterfalls ; Hobbema of
the Dutch fields "with dwellings sprinkled o'er." The pervading
tone of Ruysdael is dark and sombre ; that of Hobbema is
drowsy and still. A second characteristic of Hobbema is his
fondness for oak foliage, and a certain " nigglingness " in his
execution of it.

686. The Virgin and Child.

Hans Memlinc (Early Flemish, 1430-1494).

Memlinc is one of the leading members of the "Purist"
School (see 663, and p. 7), — the Fra Angelico, one may say, of
Flanders.

In front is a portrait of the donor of the picture. On
the Virgin's left is St. George with the dragon — not a very
dreadful dragon, either—" they do' not hurt or destroy" in
the peaceful gardens that Memlinc fancied. Notice how
the peaceful idea is continued in the man returning to his
pleasant home in the background to the left. The Virgin
herself is typical of the feminine ideal in early Flemish
art. " The high forehead of the Virgin and wide arching
brows tell of her intellectual power, her rich long hair
figures forth the fulness of her life, her slim figure and
tiny mouth symbolise her purity, her mild eyes with their
drooping eyelids discover her devoutness, her bent head
speaks of humility. The supreme and evident virtue
which reigns in all these Madonnas is an absolute purity
of heart."

687. St. Veronica.

School of Meister Wilhelm of Cologne (Early German, died 1378).

This " Master William " (mentioned in an old chronicle as

having "painted a man as though he were alive") is the first

artist who emerges in the North as an individual painter — painting

before his time being a mere appendage of other arts, and the
work solely of guilds.

The subject of this picture is the compassionate woman
whose door Christ passed when bearing His cross to
Calvary. Seeing the drops of agony on His brow she
wiped His face with her napkin, and the true image ( Vera
Icon : hence her name) of Christ remained miraculously
impressed upon it — the Christ-like deed thus imprinting
itself ever upon her.

688. Landscape with Cattle.

James Ward, R.A. (British, 1769-1859).

689. Household Heath, near Norwich.

Old Crome (British, 1768-1821).

John, called " Old," Crome to distinguish him from his
eldest son, J. B. Crome, who was also a landscape-painter of
repute, waf the founder of the society of Norwich artists ; and it
was the scenery around Norwich that he chiefly loved to paint.
His affection for his art is well illustrated by the record of his
dying words. "John, my boy," he said to his son, "paint, but
paint for fame ; and if your subject is only a pig-stye — dignify it. "

" A work the simplicity of which is so great that only
a master could have imparted to it any character. In this
plot of ground, which not a breath of wind ruffles, not a
sound disturbs, one might imagine oneself as far from the
busy town as anywhere in the world. It is the desert in
its majesty."

690. His Own Portrait.

Andrea del Sarto (Florentine, 1486-1531}.

(For illustration, see p. 6.) Mr. Browning's poem
setting forth the pathos of the artist's life, is the best com-
mentary on this portrait. The real name of Andrea del
Sarto — Andrew of the Tailors, so called from his fathers
trade — was Andrea Angeli (son of Angelo) ; his mono-
gram, formed of two inverted A's, may here be seen on
the background to the left. The Italians called him "the
faultless painter," — faultless, they meant, in all the tech-
nical requirements of painting. But men may be " faultily
faultless ; " and what he lacked was just the one thing
needful — the consecration and the poet's dream, which
lift many works by less skilful hands than his into the
higher region of imaginative art. There is a pensive
melancholy in his face which suggests to the poet to make
Andrea conscious of his own shortcomings compared
with some of his rivals —

Their works drop groundward, but themselves, I know,
Reach many a time a heaven that's shut to me, . . .
My works are nearer heaven, but I sit here.

691. "Ecce Homo."

Ascribed to Lo Spagna (Umbrian, painted 1503-1530).

692. St. Hugo, Bishop of Grenoble.

Ludovico da Parma (early i6th century).

693. St. Catherine of Alexandria (see 168).

Pinturicchio (Umbrian, 1454-1513).

Bernardino di Betto, commonly called Pinturicchio, " the
little painter," was an assistant of Perugino.

694. St. Jerome in his Study.

Catena (pupil of Bellini, died 1531).

Besides translating the Bible, St. Jerome (see 227) is
famous as a founder of the monastic system, "of the
ordered cell and tended garden where before was but the
desert and the wild wood." This picture shows us the

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inside of monastic life. St. Jerome with the scholar's
look of quiet satisfaction is deep in study ; his room has
no luxury, but is beautiful in its grace and order ; the lion,
who seems here to be sharing his master's meditation,
and the partridge, peering into the saint's slippers, speak
of the love of the old monks for the lower animals ; and
the beautiful landscape seen through the open window
recalls the sweet nooks which they everywhere chose and
tended for their dwelling. The effect of the whole picture
is to suggest the peaceful simplicity of the old religious
life in contrast to the " getting and spending " with which
we now ".lay waste our powers."

695. Madonna and Child.

Andrea Previtali (Bergamese, 1480-1528).

696. Marco Barbarigo.

Unknown (Flemish School, I5th century).

He was Venetian Consul in London in 1449, and holds
in his hand a letter addressed to him there.

697. Portrait of a Tailor.

Moroni (Bergamese, 1525-1578).

Moroni, a pupil of Moretto (299), was a painter without
honour in his own country, and when people from Bergamo came
to Titian to be painted, he used to refer them to their own
countryman — no better face painter, he would tell them, existed.
In his best works he was more than a face painter and pierced
beyond the surface till he reached the soul of the sitter.

MORONI. Portrait of a Tailor.

A "speaking likeness" — considered by some critics
the best portrait in the Gallery. "The tailor's picture is
so well done," says an old Italian critic, "that it speaks
better than an advocate could." A portrait that enables
one, moreover, to realise what was once meant by a
"worshipful company of merchant tailors." He is no
Alton Locke — no discontented " tailor and poet ; " neither
is he a great man with ambitions of rising above his work.
He is weH-to-do — notice his handsome ring ; but he has

the shears in his hands. He does the work himself, and
he likes the work. He is something of an artist, it would
seem, in clothes : his jacket and handsome breeches were
a piece of his work, one may suppose ; and the artist has
caught and immortalised him, as he is standing back for
a minute to count the effect of his next cut.

698. The Death of Procris.

'Piero di Cosimo (Florentine, 1462-1521).
Piero's peculiarities are well known to readers of George
Eliot's Romola, and the first impression left by this picture — its
quaintness — is precisely typical of the man. His fondness for
quaint landscape ("he would sometimes stand beside a wall,"
says Vasari, " and image forth the most extraordinary landscapes
that ever were ") may here be seen too.

In the story of the death of Procris the ancients
embodied the folly of jealousy. For Procris being told
that Cephalus was unfaithful, straightway believed the
report and secretly followed him to the woods, for he was
a great hunter. And Cephalus called for "Aura," the
Latin for breeze, for Cephalus was hot after the chase :
"Sweet air, O come," and echo answered, "Come, sweet
air." But Procris, thinking that he was calling after his
mistress, turned to see, and as she moved she made a
rustling in the leaves, which Cephalus mistook for the
motion of some beast of the forest, and let fly his
unerring dart, which Procris once had given him.

699. Agostino and Niccolo Delia Torre.

Lorenzo Lotto (Venetian, 1480-1555).

Agostino was Professor of Medicine in the University
of Padua ; he holds a copy of " Galen," the most '
celebrated of the ancient medical writers, in his hand.

700. The Holy Family.

Bernardino Lanini (Lombard, 1508-1578).

701. The Coronation of the Virgin.

Justus (of Padua, died 1400).

702. Madonna and Child.

Unknown (Umbrian School, I5th century).

703. Madonna and Child.

Pinturicchio (Umbrian, , 1454- 1513). See 693.

704. Cosimo, Duke of Tuscany.

Angela Bronzino (Florentine, 1502-1572).
A contemporary portrait of the great Medici, the first
" Grand Duke" of Tuscany (ruled 1537-1564) who "joined
daring to talent and prudence," and though "he could
practise mercy in due season," was yet " capable of great
cruelty." No one will doubt this last element in his
character who notices here that large protruding under
lip of his.

705. Sts. Matthew, Catherine, and John.

Ascribed to Stephan Lochner (Early German, died 1451).

706. Presentation of Christ in the Temple.

The Master of the Lyversberg Passion (German, died about 1490).
Notice the quaint pointed shoes, and the touch of
realism in making the foot of Simeon, as he advances to
receive the child from its mother, come half out of his
slipper.

707. St. Peter and St. Dorothy.

Master of the Cologne Crucifixion (German, early i6th century).

Part of an altarpiece, the rest of which is in the
Munich Gallery, by an artist whose name is unknown,

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and who is therefore called after his principal work. It
has been well said of him that " he succeeded in giving
an intense expression of transient emotion to the faces ;
but by endeavouring to lend a sympathetic action to the
whole figure, he has exaggerated the action into dis-
tortion." Look, for instance, at the comic contrast
between St. Peter's big foot and St. Dorothy's pointed little
shoe — between what is almost a leer on his face and the
"mincing" affectation on hers. St. Peter is distinguished
of course by the keys ; St. Dorothy by the basket of
flowers — the flowers which she sent to Theophilus in
token of the truth of the faith in which she died :
"carry these to Theophilus, say that Dorothea hath sent
them, and that I go before him to the garden whence
they came and await him there."

708, 7O9. Madonna and Child.

Unknown (Early Flemish, I5th century).

710. Portrait of a Monk.

Unknown (Early Flemish, I5th century).

711, 712. " Mater Dolorosa" and " Ecce Homo."

Roger van der Weyden (Early Flemish, 1400-1464). See 664.

713. Madonna and Child.

Jan Mostaert (Early Dutch, 1474-1555).

714. Madonna and Child.

Cornells Engelbertsz (Early Dutch, 1468-1533).

715. The Crucifixion.

Joachim Patinir (Early Flemish, died 1524).

716. St. Christopher. Patinir.

One of the earliest attempts in painting to tell the
beautiful legend of Christopher (the Christ bearer), the
hermit ferryman who, "having sustained others in their
chief earthly trials, afterwards had Christ for companion
of his own."

717. St. John on the Island of Patmos. Patinir.

718. Christ on the Cross.

Ascribed to Hendrik Bles (Flemish, 1480-1551).

719. The Reading Magdalen. Ascribed to Bles.

720. A "Repose." Jan van Schorel (Dutch, 1495-1562).

721. Portrait of a Lady. Schorel.

722. A Lady's Portrait.

Ascribed to Sigmund Holbein (German, 1465-1540).

724. Our Lady of the Swallow.

Carlo Crivelli (Venetian, painted 1468-1493). See 602.

725. An Experiment with the Air-Pump.

Wright of Derby (British, 1734-1797).
A family party is grouped round a table to see an
experiment with the air-pump, which was still somewhat
of a novelty in England.

726. Christ's Agony in the Garden.

Giovanni Bellini (Venetian, 1426-1516). See 189.

An early work of the master, painted probably about
1455 (half a century earlier than the Doge's portrait, 189),
but interesting as showing the advance made by him in
landscape. It is "the first twilight picture with clouds
rosy with the lingering gleams of sunset."

727. The Trinity.

Francesco Pesellino (Florentine, 1422-1457).

The conventional Italian representation of the mystery
of the Trinity. The Son on a crucifix is supported by the
Father, whilst the Holy Spirit in the form of a dove
hovers over the head of the Son.

728. Madonna and Child.

Beltraffio (Lombard, 1467-1516).

729. The Adoration of the Kings.

Vincenzo Foppa (Lombard, 1425-1492).

732. A Canal Scene.

Aart van der Neer (Dutch, 1603-1677).

733. The Death of Major Peirson (January 6, 1781).

/. S. Copley, R.A. (British, 1737-1815).

" The French invaded Jersey, stormed St. Helier's,
took the commander prisoner, and compelled him to sign
the surrender of the island. Major Peirson, a youth of
twenty -four, refused to yield, collected some troops,
charged the invaders with equal courage and skill, but
fell himself in the moment of victory by a ball aimed
deliberately at him by a French officer, who fell in his
turn, shot through the heart by the African servant of the
dying victor."

734. A Milanese Lawyer.

Andrea Solaria (Lombard, 1460-1520).

A portrait (dated 1505) of the artist's friend, a Milanese
lawyer, whose name, John Christopher Longoni, is written
on a letter in his right hand. He wears the gown and
cap (not unlike that still worn by French advocates)
of his profession. On the bottom of the panel is a Latin
inscription which, literally interpreted, runs, " Not know-
ing what you have been or what you may be, may it for
long be your study to be able to see what you are," i.e.
by looking at this picture of yourself — a neatly-turned
compliment at once to the painter and his subject : the
picture is to last for many a long year, and the lawyer
for many a long year is to grow no older.

735. St. Rock with the Angel.

Paolo Morando, called Cavazzola (Veronese, 1486-1522).

St. Rock is the patron of the sick and plague-stricken.
The legend says that he left great riches to travel as a
pilgrim to Rome, where he tended those sick of the
plague, and by his intercession effected miraculous cures.
At last he became himself plague-stricken, and with a
horrible ulcer in his thigh he was turned out into a lonely
wood. He has here laid aside his pilgrim staff and
hung his hat upon it, and prepared himself to die, when
an angel appears to him and drops a fresh rose on his
path. There is no rose without a thorn, and no thorn in
a saint's crown without a rose. He bares his thigh to
show his wound to the angel, who (says the legend)
dressed it for him, whilst his little dog miraculously
brought him every morning a loaf of bread.

736. A Venetian Senator.

Francesco Bonsignori (Veronese, I455-I5I9)-

737. A Waterfall. Rtiysdael (Dutch, 1628-1682). See 627.

739. The Annunciation.

Carlo Crivelli (Venetian, painted 1468-1493). See 602.

Mary is kneeling in her chamber, the angel of the
Annunciation (beside him Emidius, the patron saint of

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Ascoli, with a model of the city in his hand) is outside in
the court, but she cannot see him, for a wall stands
between them — " a treatment of the subject which may
be intended to suggest that the angel appeared to her in
a dream." The rest of the picture is very characteristic,
in two features, of mediaeval art. First, it was never
antiquarian. No mediaeval painter made the Virgin a
Jewess ; they nationalised her, as it were, and painted
her in the likeness of their own maidens. So in the
scenery, it was the likeness of their own homes and their
own country. Here for instance is a perfectly true
representation of the trim and dainty architecture of
Italy in her glorious time. And secondly, the picture
shows the pleasure the painters took in their accessories,
and the frank humour — free at once from irreverence and
from gloom — with which the Venetians especially ap-
proached what was to them a religion of daily life.
Notice especially the little girl at the top of the steps on
the left, looking round the corner.

740. Madonna and Child. Sassoferrato (Eclectic, 1605-1685).

741. The Dead Orlando.

Velazquez (Spanish, 1559-1660). See 197.

The closing scene, according to one of the many
legends, in the history of that "peerless paladin," Or-
lando, or Roland, who was slain at the battle of Ronces-
valles, when returning from Charlemagne's expedition
against the Saracens in Spain. Invulnerable to the
sword, he was squeezed to death by Bernardo del Carpio.
He lies, therefore, prostrate, but fully dressed and armed,
his right hand resting on his chest, his left on the hilt of
his famous sword. Over the dead man's feet there hangs
from a branch a small brass lamp, the flame of which,
like the hero's life, has just expired. On either side are
the skulls and bones of other " paladins and peers who
on Roncesvalles died."

742. A Lawyer. Moroni (Bergamese, 1525-1578). See 697.

744. The "Garvagh Madonna."

Raphael (Umbrian, 1483-1520). See 1171.

This picture — named after its former owner, Lord
Garvagh — belongs to Raphael's third or Roman, period.
The devotional character of the Umbrian School has
entirely disappeared. In the "Ansidei Madonna" (1171)
the divinity of the Virgin is insisted on ; and above her
throne is the inscription, " Hail, Mother of Christ." But
here the divinity is only dimly indicated by a halo. And
as the Madonna is here a merely human mother, so is
the child a purely human child. The saints in contem-
plation of the Ansidei are replaced by a little St. John,
and the two children play with a pink.

745. Philip IV, King of Spain.

Velazquez (Spanish, 1599-1660). See 197.

One of the finest portraits in the world — in Velaz-
quez's later and most perfect manner. By comparing
the face in its youth (1129) with its middle age here,
one can almost trace the king's career. In youth
we see him cold and phlegmatic, but slender in figure,
graceful and dignified in bearing, and with a fine open
forehead. But the young king was bent on ease and
pleasure, and his minister Olivares did nothing to per-
suade him into more active kingship. The less pleas-
ing traits in his character have, in consequence, come to
be deeper impressed at the time of this later portrait.
He was devoted to sport, and the cruelty of the Spaniard
is conspicuous in the lip — more underhung now than
before. In the growth of the double chin and yet greater
impassiveness of expression, one may see the traces of
his "talent for dead silence and marble immobility"
(for illustration, see p. 14).

746. A Landscape with Ruins.

Rnysdael (Dutch, 1628-1682). See 627.

747. St. John the Baptist and St. Lawrence.

Ascribed to Hans Memlinc (Early Flemish, 1430-1494). See 686.
St. Lawrence may always be distinguished by his
gridiron — the emblem of his martyrdom.

748. Madonna and Child, with St. Anne.

Girolamo dai Libri (Veronese, 1474-1556).

749. The Giusti Family of Verona.

Niccolb Giolfino (Veronese, painted 1486-1518).

750. The Doge Giovanni Mocenigo.

Carpaccio (Venetian, 1450-1522).

This picture is by no means a worthy representation of Vittore
Carpaccio, whose work can be properly seen only at Venice.

This picture was commissioned by Giovanni Mocenigo
(who reigned over Venice 1477-1485), to be presented by
him, according to the custom with reigning doges, to the
Ducal Palace. The scene selected represents the doge
kneeling before the Virgin and begging her protection on
the occasion of the plague of 1478. The gold vase on
the altar before the throne contains medicaments, for
which, according to the inscription below, a blessing is
invoked : " Celestial Virgin, preserve the City and Re-
public of Venice and the Venetian State, and extend
your protection to me if I deserve it" Behind the doge
is his patron saint St. John, on the opposite side is St.
Christopher.

751. Madonna and Child.

Giovanni Santi (Umbrian, 1440-1494).

A picture by the father of Raphael. Compare its hard
and not very pleasing outlines with the soft grace of the

RAPHAEL. The " Garvagh Madonna."

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752. Madonna and Child.

Lippo Dalmasio (Early Bolognese, painted 1376-1410).

753. On the Road to Emmaus.

Altobello Melone (Cremonese, painted about

754. Portraits of Two Gentlemen.

Sir Joshua Reynolds, P.R.A. (British, 1723-1792). See 79.

Sir JOSHUA REYNOLDS. Portraits of Two Gentlemen.

A charming portrait of two young connoisseurs of the
time, painted in 1778-1779. They are here shown as
kindred spirits, brought together by their common love
of the arts ; but their subsequent careers were tragically
different. The elder man, on the spectator's left, is the
Rev. George Huddesford, who in his youth was a painter
and a pupil of Sir Joshua. His companion is Mr. John
Codrington Warwick Bampfylde, who was the author of
some pretty sonnets, but who afterwards went mad, in
consequence, it is said, of a hopeless passion.

755, 756. Rhetoric and Music.

Melozzo of Forli (Umbrian, 1438-1494).

These pictures are two of a series of seven, which
were painted to decorate the library of the Ducal Palace
at Urbino. The series represented symbolically the seven
arts — grammar, rhetoric, logic, arithmetic, music, geometry,
and astronomy — which, until the close of the Middle Ages,
formed the curriculum of a liberal education. Notice in
both pictures that the figures of the learners are kneeling
— an attitude symbolical of the spirit of reverence and
humility which distinguishes the true scholar, whilst the
figures representing the sciences to be learned are seated
on thrones — symbolical of the true kingship that consists
in knowledge.

757. Christ Blessing Little Children.

School of Rembrandt (Dutch, 1607-1669). See 43.
This is one of the nation's conspicuously bad bargains.

It was bought in 1866 as a Rembrandt and at a Rembrandt
price (,£7000), but was soon recognised as being only a
work by some pupil.

758. The Countess Palma of Urbino.

Piero delta Francesca (Umbrian, 1416-1492). See 585.

759. The Remorse of Judas.

Edward Armitage, R.A. (British, born 1817: still living).

760. Portrait of a Parish Clerk.

Thomas Gainsborough, R.A. (British, 1727-1788). See 683.

The " charm of pathetic tenderness and tinge of melan-
choly," noticed above as characteristic of Gainsborough's
portraits, is not absent from the face of the parish clerk,
who raises his eyes from the Bible in front of him to look
toward the light.

766, 767. Heads of Saints.

Domenico Veneziano (died 1461).

768. Sts. Peter and Jerome.

Antonio Vivarini (Venetian, died 1470).
For a remark on this picture see p. 8.

769. St. Michael and the Dragon.

School of Piero della Francesca (Umbrian, 1416-1492). See 585.

St. Michael, the angel of war against the dragon of
sin, stands triumphant over his foe — emblem of the final
triumph of the spiritual over the animal and earthly part
of our nature. Christian art, from its earliest times, has
thus interpreted the text, " The dragon shalt thou trample
under foot."

770. Leonello d'Este.

Giovanni Oriolo (Ferrarese, painted about 1450).

Leonello was Marquis of Ferrara, 1441-1450. His
mild and kindly face agrees well with what is known of
his life.

771. St. Jerome in the Desert.

Bono (Ferrarese- Veronese, painted about 1460).

St. Jerome (for whom see 227 and 694) is in the desert,
deep in thought ; his lion couched at his feet keeps his
master's thoughts company as faithfully as a scholar's
dog. The desert is here shown as the saint's study ;
notice, especially, the little table that the rock makes
behind him for his books.

772. Madonna and Child Enthroned.

Cosimo Tura (Ferrarese, 1420-1498).

773. St. Jerome in the Desert. Tura.

For the story of St. Jerome, see 227. Note here the
company of birds and beasts — an owl sits in sedate wisdom
above the saint, his familiar lion is walking to the stream
for water, and in the crannies and ledges are other animals
to keep the saint company.

774. Madonna and Child.

Unkncnvn (Early Flemish, I5th century).

775. An Old Woman (dated 1634).

Rembrandt (Dutch, 1607-1669). See 45.

An old lady, eighty.-three years of age (as the inscrip-
tion shows). Notice the affectionate fidelity with which
Rembrandt paints the wrinkled faces of old age. For
illustration see p. 12.

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776. St. Anthony and St. George.

Vittore Pisano (Veronese, 1380-1455).

The earliest picture of the Veronese School in the Gallery.
Pisano was famous as the inventor of a method of casting medals.
In the frame here casts from two of his medals are inserted —
the one above is of Leonello d'Este, his patron, for whom this
picture was probably painted, and whose portrait by a pupil of
Pisano hangs in Room V. (770).

St. Anthony — the hermit saint whose temptations have
passed into a proverb (see 198) — carries a bell, for "it is
said that the wicked spirits that be in the region of the air
fear much when they hear the bells ringen," and a staff,
another means of exorcising the devil ; whilst the boar,
now tamed into service, is symbolical of the demon of
sensuality which St. Anthony vanquished. The dragon
whom St. George slew represents the same sensual enemy.
St. George conquered by righting, St. Anthony by fasting.
But over them both, as to all who overcome, the heavens
open in beatific vision, for though there be diversity of
gifts it is the same spirit.

777. Madonna and Child.

Paolo Morando (Veronese, 1486-1522).

A picture of great beauty, which goes far to justify the
painter's description as " the Raphael of the Veronese
School."

778. Madonna and Child.

Pellegrino da San Daniele (Venetian, died 1547).

779. 780. Family Portraits.

Ambrogio Borgognone (Lombard, 1455-1523).

On the left (779) a group of nine men, above them a
hand, probably of some patron saint ; on the right (780)
a group of thirteen women, kneeling (apparently) by the
side of a tomb.

781. Raphael and Tobias.

School of Verocchio, or Pollajuolo (Florentine. I5th century).

The book of Tobit in the Apocrypha was a favourite
subject of illustration with the mediasval painters. Here
we see the angel Raphael leading the young Tobias into
Media, where he was to marry Sara, his rich kinswoman.
But she was haunted by an evil spirit, who had slayi her
seven husbands, each on their wedding-day, and the
angel bade Tobias take the gall of a fish wherewith
afterwards to heal his father's blindness, and its heart and
liver wherewith to drive away the evil spirit from his
bride. Tobias is carrying the fish, Raphael has a small
box for the gall. The "rising step" and the "springy
motion in his gait" are characteristic of him who was the
messenger of heaven, the kindly companion of humanity.

782. Madonna and Child.

Botticelli (Florentine, 1447-1510). See 226.

783. The Exhumation of Bishop Hubert.

Unknown (Early Flemish, I5th century).

St. Hubert, a nobleman of Aquitaine and a famous sportsman,
was converted, says the legend, by the apparition of a milk-
white stag bearing the crucifix between his horns. He turned
hermit, and afterwards became Bishop of Liege. Thirteen
years after his burial in that city his body was disinterred and
found to be still entire — even his episcopal robes being without
spot or stain.

This is the subject of the present picture. On the altar
behind the principal group stands a shrine, on which is a
little figure of St. Hubert with his hunting-horn. The royal
personage assisting represents Louis le Ddbonnaire.

Though it is thus an historical picture, the artist takes the
characters from his own time, and the heads, like minia-
tures in character and delicacy of expression, are doubtless
portraits — the whole scene being a picture of a Flemish
Cathedral on some festival day. Notice the man flattening
his nose against the pillar on the left, with a jeering
expression, as if he " didn't half believe it all." It is a
piece of living "grotesque."

784. William Siddons.

/. Opie, R.A. (British, 1761-1807).

The man who for thirty-three years was known to the
world as " the husband of Mrs. Siddons " — a part which
he played to better purpose than those he assumed on
the stage. The Rev. Bate Dudley (see XVI. 1044), when
engaging the young couple on Garrick's behalf, reported
the husband as being " a damned rascally player, though
seemingly a very civil fellow." " He was just the man,"
says Mrs. Siddons's biographer, " to fascinate a young
and high-spirited girl : good-looking, calm, sedate, even-
tempered, not overburdened with brain-power, and not
too much will of his own."

785. Mrs. Siddons.

Sir T. Lawrence, P. R.A. (British, 1760-1830). See 129.
A portrait of the great actress (see 683) in middle age.

787. The Siege and Relief of Gibraltar.

/. S. Copley, R.A. (British, 1737-1815).
This is a sketch for the large picture at the Guildhall.
The scene represented is the famous repulse of the
floating batteries towards the end of the siege which
Gibraltar, under the command of Sir George Eliott
(afterwards Lord Heathfield, see XVI. ill), sustained
from the combined land and sea forces of France and
Spain during the years 1779-1783.

788. An Altarpiece.

Carlo Crivetti (Venetian, painted 1468-1495). See 602.

789. Group of the Baillie Family.

T. Gainsborough, R.A. (British, 1727-1785). See 683.

790. The Entombment of Christ.

Michael Angela Buonarroti (Florentine, 1475-1564).

Michael Angelo is one of the greatest names in the history of
art. He was at once painter, sculptor, architect, and man of
action, being appointed commissary-general of the fortifications
at Florence in 1529. Something of "the grand style" which is
characteristic of his art was reflected in his life. He passed
most of it at Rome, amidst the petty intrigues of a debased
Court ; but he never placed his self-respect in jeopardy. To
the greatness of his reputation as an artist two tributes may here
be mentioned. Raphael " thanked God that he was born in
the days of Michael Angelo," and Sir Joshua Reynolds says, in
his Discourses, that "to kiss the hem of his garments to catch
the slightest of his perfections', would be glory and distinction
enough for an ambitious man."

The spectator who comes with such praises sounding
in his ears to this picture will probably be much dis-
appointed. But this is one of Michael Angelo's few oil
paintings — a vehicle which he did not like, and of which
he said that it was only fit for women and children.
Then, secondly, the picture, like so many of his works,
is unfinished. It is, however, characteristic of the period
when the old unscientific art had passed away, and " the
dead Christ was thought of as an available subject for
the display of anatomy."

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794. A Dutch Courtyard.

Pieter de Hooch (Dutch, 1630-1681).

There is "superb quiet painting" about this artist's works
which make them very delightful.

The whole picture, in its cheerful colour and dainty
neatness, seems to reflect the light of a peaceful and
happy home, in which everything is done decently and
in order. Every day one thinks the good housewife will
thus look to see that the dinner is duly prepared ; every
day the husband will thus walk along the garden sure of
her happy greeting.

796. A Vase of Flowers.

Jan van Jfuysuttt (Dutch, 1682-1740).

797. A Man's Portrait. Cuyp (Dutch, 1620-1691). See 53.

798. Cardinal Richelieu.

Philippe de Champaigne (French, 1602-1674).

This picture was painted for the Roman sculptor
Mocchi to make a bust from, hence the two profiles as
well as the full face. Over the profile on the right are
the words (in French), "of the two profiles this is the
better." So can one well believe : in the compressed
lips, the merciless eyes, the iron-gray hair and prominent
nose one sees the great Cardinal Minister of Louis XIII,
and the maker of France. In the full face one sees
rather the man who was also a princely patron of the arts
and artists (of De Champaigne amongst their number),
and the founder of the French Academy.

802. The Madonna of the Cherry.

Bartolommeo Montagna (Venetian, died 1523).

803. The Circumcision of Christ.

Marco Marziale (Venetian, painted 1492-1507).
No picture in the Gallery is richer than this in
decorative design. Note first the varied and beautifully-
designed patterns in the mosaics of the church — recalling
one of the domes of St. Mark's. Then the lectern,
covered with a cloth, and the delicately -embroidered
border, wrought in sampler stitch, deserve close ex-
amination. The cushion above this, and the tassels,
formed of three pendent tufts of silk hung on to a gold
embroidered ball, offer good decorative suggestions to
the trimming manufacturer. Note, too, the sumptuous
robe of raised red velvet, such a fabric as Venice was
then winning industrial renown by weaving.

804. Madonna and Child Enthroned. Marziale.

805. Peeling Pears.

David Teniers (Flemish, 1610-1690). See 154.

806. The Procession to Calvary.

Boccaccio Boccaccino (Cremonese, painted 1496-1518).

807. Madonna and Child Enthroned.

Carlo Crivelli (Venetian, painted 1468-1493). See 602.

The giver of the picture (which was dedicated to the
Virgin, and which, as recorded in a Latin inscription
below, cost no inconsiderable sum) is kneeling, in the
habit of a Dominican nun, at the foot of the throne. On
the Madonna's left is St. Sebastian, pierced with arrows
and tied to a pillar, but with the happy look of " sorrow
ended " on his face. On her right is St. Francis. Near
his feet are some flowers and a snail — typical of the
kindness and humbleness of the saint.

808. St. Peter Martyr (see 41).

Giovanni Bellini (Venetian, 1426-1516). See 189.

A fancy portrait of a jolly comfortable-looking Domini-
can monk — painted " wart and all."

809. The Holy Family.

Michael A ngelo (Florentine, 1475-1564). See 790.

The Virgin mother is seen withholding from the child

Saviour the prophetic writings in which His sufferings are

foretold. Angelic figures beside them examine a scroll — -

MICHAEL ANGELO. Two Angels.

Turn not the prophet's page, O Son ! He knew

All that thou hast to suffer and hath writ.
Not yet thine hour of knowledge. Infinite
The sorrows that thy manhood's lot must rue
And dire acquaintance of thy grief. That clue
The spirits of thy mournful ministerings,
Seek through yon scroll in silence. For these things
The angels have desired to look into.

D. G. ROSSETTI.

811. Tobias and the Angel (see 781).

Salvator Rosa (Neapolitan, 1615-1673). See 84.

812. The Death of St. Peter Martyr.

Giovanni Bellini (Venetian, 1426-1516). See 189.

This picture, one of the painter's latest works, is cele-
brated for the beauty of its landscape. " The painting of
the green forest," says Sir Edward Poynter, " is the most
perfectly beautiful piece of workmanship that ever was put
into a picture." Note also how the artist subdues even a
painful subject into beauty. " In the face of the Saint is
only resignation and faintness of death, not pain" (Ruskin).

813. Fishing Boats in a Stiff Breeze.

/. W. M. Turner, R.A. (British, 1776-1851). 866458.
An early work, painted probably in 1801.

816. The Incredulity of St. Thomas.

Cima da Conegliano (Venetian, painted 1489-1517). See 300.

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817. The Chateau of Teniers at Perck.

Tenters (Flemish, 1610-1690). See 154.

318. Coast Scene.

Ludolf Bakfmizen (Dutch, 1631-1708). See 204.

1819. Off the Mouth of the Thames. Bakhuizen.

>820. Landscape with Ruin. Berchem (Dutch, 1620-1683).

821. A Family Group.

Gonzales Coques (Flemish, 1618-1684).

A characteristic work of "the little Van Dyck" (as
Coques has been called). Notice the youngest child in
the go-cart, which is being pushed by another of the
children, whilst the oldest sister, as befits her years, is
playing the guitar. And the little dogs, as befits them,
are sporting in front. It is pretty of the painter or his
sitters to include them in the "family group."

822. An Evening Landscape.

Cuyp (Dutch, 1620-1691). See 53.

An excellent example of the hazy, drowsy effect in
which Cuyp excelled.

823. On the Meuse.

824. A Ruined Castle.

835. Court of a Dutch House.

De Hooch.

Cuyp.

825. A Poulterer's Shop.

Gerard Dou (Dutch, 1613-1675). See 192.

826. Figures and Animals.

Karel dujardin (Dutch, 1622-1678).

827. Fording the Stream. Jardin.

828. Landscape with Cattle. fardin.

829. A Stag Hunt. fan Hackaert (Dutch, 1629-1696).

830. The Avenue, Middelharnis.

Hobbema (Dutch, 1638-1709). See 685.

Perhaps the best rendering of a Dutch village in the
Gallery — beautiful alike in its general effect and in the
faithful way in which every characteristic of the country
is brought out. Note the long avenue, a High Street, as
it were, of lopped trees, to lead the traveller to the village ;
the bright red roofs, suggestive already in the distance of
the cheerful cleanliness he will find ; the broad ditch on
either side of the road — the land reclaimed from the
water, and the water now embanked to fertilise the land ;
the neat plantations, allotments it may be, each as trim
and well kept as a lawn ; and lastly, the nursery-garden
on the left, in which the gardener, smoking, like the true
Hollander, as he works, is pruning some grafted trees.

831. The Ruins of Brederode Castle.

Hobbema (Dutch, 1638-1709). See 685.

832. A Village with Watermills.

833. A Forest Scene.

Hobbema.

P. DE HOOCH. Court of Dutch House, faced with Bricks.

Superbly painted, and a good picture of Dutch home
life — of its neatness, its cleanliness, its quiet, and its
content. The day's work is done, and the wife stands in
the porch, waiting for her husband's return ; a servant
brings down the child too into the courtyard to greet its
father.

836. A View in Holland.

Philip de Koninck (Dutch, 1619-1688).

837. The Hay Harvest.

838. The Duet.

Jan Lingelbach (Dutch, 1623-1674).
Gabriel Metm (Dutch, 1630-1667).

839. The Music Lesson. Metsu.
A picture that might serve as an illustration of " the

gamut of Hortensio " (see Taming of the Shrew, Act iii.
Sc. i.

840. A Lady Feeding a Parrot.

Frans van Mieris (Dutch, 1635-1681).

841. A Fish and Poultry Shop.

Willem -van Mieris (Dutch, 1662-1747).

842. A Garden. Frederic de Moticheron (Dutch, 1633-1686).

Hobbema. 843. Blowing Bubbles.

834. A Dutch Interior.

Pieter de Hooch (Dutch, 1630-1684). See 794.

Let the toast pass ;
Drink to the lass ;
I'll warrant she'll prove an excuse for a glass.

Gaspard Netscher (Dutch, 1639-1684).

844. Maternal Instruction. Netscher.

Notice in the background, over a cupboard, hanging
in a black frame, a small copy of Rubens's "Brazen
Serpent," now in this collection (X. 59).

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845. A Lady at a Spinning Wheel.

Netscher,

846. The Alchymist. Adrian van Ostade (Dutch, 1610-1685).
Under the three-legged stool is a paper on which is

written a warning of the vanity of the alchymist's labour
— Oleum et operam perdis : " You are wasting your cost
and pains."

847. A Village Scene. Isaac van Ostade (Dutch, 1621-1649).

848. A Skating Scene. Ostade.

849. Landscape with Cattle.

Paul Potter (Dutch, 1625-1654).

Paul Potter is the best Dutch cattle painter, and a remarkable
instance of precocious talent, some of it hereditary, for his father
was a painter — being a clever painter and etcher at the age of
fourteen.

850. A Man's Portrait

Rembrandt (Dutch, 1607-1669). 86645.

851. Venus Sleeping.

Sebastiano Ricci (Venetian, 1659-1734).

852. The "Chapeau de Faille."

Rubens (Flemish, 1577-1640). 86638.

P. P. RUBENS. "Chapeau de Faille."

One of the best known and most be-copied pictures in
the Gallery. Its fame among artists "depends to no
slight extent on its being a tour de force. The head is
painted in reflected light." The picture is known as the

Chapeau de Faille (straw -hat), but Chapeau de PoflJ
(beaver-hat) would be more correct. The girl's expression
is as much a tour deforce as the technical treatment —

I know a maiden fair to see,

Take care ! . . .
She gives a side-glance and looks down,

Beware ! beware !

853. The Triumph of Silenus (see 93).

854. A Forest Scene.

Rubens.

Ruysdael (Dutch, 1628-1682). See 627.

855. A Waterfall. Ruysdael.

856. The Music Master. Jan Steen (Dutch, 1626-1679).

857. 858, 859, 860. Spring, Summer, Autumn, Winter.

David Tenters (Flemish, 1610-1694). See 154.

861. A Country Scene.

862. The Surprise.

863. The Rich Man in Hell.

Tenters.
Tenters.
Tenters.

864. The Guitar Lesson.

Gerard Terburg (Dutch, 1617-1681).

865. A Coast Scene.

Jan van de Cappelle (Dutch, painted about 1650-1680).

866. A Street in Cologne.

Jan van der Heyden (Dutch, 1637-1712).

867. The Farm Cottage.

Adrian van de Velde (Dutch, 1635-1672).

868. The Ford. Adrian van de Velde.

869. A Frost Scene. Adrian van de Velde.

07 O. Shipping in a Calm.

Willem van de Velde (Dutch, 1633-1707).

871. Bathing at Low Water. W. van de Velde.

872. 873, 874, 875, 876. Sea Pieces.

W. van de Velde.

877. His Own Portrait.

Van Dyck (Flemish, 1599-1641). See 49. ,

878. The Pretty Milkmaid.

Philips Wouverman (Dutch, 1619-1668).

879. The Interior of a Stable. Wouverman.
This is a good instance of what have been called

" Wouverman's nonsense-pictures, a mere assemblage of
things to be imitated, items without a meaning."

880. On the Seashore.

881. Gathering Faggots.

882. A Landscape.

883. By the Roadside.

Jan Wynants (Dutch, painted about 1650).

Wouverman.
Wouverman.
Wouverman.

884. Sand Dunes.

Wynants.

885. The Snake in the Grass.

Sir Joshua Reynolds, P.R.A. (British, 1723-1792). See 79.

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The other title is " Love unbinding the Zone of Beauty " ;
but by the side of Love, pursuing Beauty only, is the
Snake's head in the grass.

886. Admiral Keppel. Reynolds.

A characteristic portrait of the bluff old admiral — with
his hand on his sword and the sea behind him. He was
appointed in 1749 to the command of the Mediterranean
Squadron, with instructions to repress the Algerian pirates.
It was on this occasion that Keppel picked up Reynolds
at Plymouth and took him to the Mediterranean. This
portrait was painted in 1780, when Keppel was fifty-five.

887. Dr. Samuel Johnson. Reynolds.
"The memory of other authors," says Macaulay, "is

kept alive by their works.
But the memory of John-
son keeps many of his
works alive. The old
philosopher is still among
us, in the brown coat and
the metal buttons" —
thanks chiefly to Boswell,
but not a little to his' other
friend Reynolds, who
painted him several times.
In this portrait (painted
for Mr. Thrale) Johnson's
physical imperfections
are suggested rather than
expressed. The convul-
sive motions are subdued,
the deafness and blind-
ness are hinted at only in the contraction of the face. In
his clothes, too, Johnson is here made to figure, out of com-
pliment to the Thrales, in his " Sunday best " — his coat not
uncleanly, his wig fresh powdered, and his buttons of metal.

888. James Boswell. Reynolds.
" The nose, that seems to sniff the air for information,

has the sharp shrewdness of a Scotch accent. The
small eyes, too much relieved by the high -arched eye-
brows, twinkle with the exultation of victories not won —
an expression contracted from a vigilant watching of Dr.
Johnson, who, when he spoke, spoke always for victory ;
the bleak lips, making by their protrusion an angle almost
the size of the nose, proclaim Boswell's love of ' drawing
people out.' Indeed, the whole portrait expresses the
imperturbable but artless egotism, the clever inquisitive-
ness, which have made him the best-despised and best-
read writer in English literature."

889. His Own Portrait.

890. George IV as Prince of Wales.

891. Portrait of a Lady.

892. Robinetta.

Reynolds.
Reynolds.
Reynolds.
Reynolds.

A fancy portrait of the Hon. Mrs. Tollemache.

895. Portrait of a Warrior.

Piero di Cosimo (Florentine, 1462-1521). See 698.

896. The Peace of Munster.

Gerard Terburg (Dutch, 1617-1681).

One of the "gems" of the National Collection —
presented by Sir Richard Wallace, whose father paid
^8800 for it ( = nearly ^24 per square inch). It is an exact
representation by a contemporary Dutch painter of one
of the turning-points in Dutch history — the ratification,
namely, by the delegates of the Dutch United Provinces,
on May 15, 1684, of the Treaty of Munster, with which
the eighty years' war between Spain and the United

Provinces was concluded, altogether to the advantage of
the latter. The clerk (in a scarlet cloak) is reading the
document. The plenipotentiaries are standing nearest to
the table. Six of them, holding up the right hand, are
the delegates of the United Provinces ; two, with their
right hands resting on an open copy of the Gospels, are
the representatives of Spain. One of the Dutch delegates
and one of the Spanish hold copies of the document, which
they follow as it is being read by the clerk.

897. A View at Chapelfields, Norwich.

Old Crome (British, 1768-1821). See 689.

899. View on the Nullah, Bengal.

Thomas Daniell, R.A. (British, 1748-1837). See 231.

900. The Countess of Oxford.

John Hoppner, R.A. (British, 1759-1810).

JOHN HOPPNER. The Countess of Oxford.

901. A Landscape. Jan Looten (Dutch, painted 1656-1677).

902. " The Triumph of Scipio,"

Andrea Mantegna (Paduan, 1431-1506). See 274.

The Triumph of Scipio consisted in his being selected
by the Senate as " the worthiest man in Rome," by whom
alone — so the oracle decreed — must Cybele, the Phrygian
mother of the gods, be received. On the left, the image
of the goddess is being borne on a litter, and with it the
sacred stone alleged to have fallen from heaven.

903. Cardinal Fleury.

Hyacinthe Rigaud ( French, 1659-1743).

A portrait, by a celebrated painter of the time, of the
famous tutor and afterwards prime minister of Louis XV.

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904. Madonna and Child.

Gregorio Schiavone (Paduan, painted about 1470). See p. 9.

905. The Virgin Mary.

Cosimo Tura (Ferrarese, about 1420-1498).

906. The Madonna in Ecstasy.

Carlo Crivelli (Venetian, painted 1468-1493). See 602.

907. St. Catherine and Mary Magdalene. Crivelli.

908. The Nativity of Christ.

Piero delict Francesca (Umbrian, 1416-1492). See 585.
The beauty of this picture is in the choir of angels,

PIERO DELLA FRANCESCA. The Nativity of Christ.

with their mouths in different attitudes of singing, making
such music sweet

As never was by mortal finger strook —

Divinely-warbled voice

Answering the stringed noise,
As all their souls in blissful rapture took.

909. The Madonna of the White Rose.

Benvenuto da Siena (Sienese, 1436-1518).

910. The Triumph of Chastity.

Luca Signorelli (1441-1523). See 1128.

In the foreground Cupid on his knees is bound by
maidens ; in the distance there are two other groups, in
one of which the god of love is being captured, in the
other he is led away in triumph with his arms pinioned
behind him.

911. Ulysses and Penelope.

Pinturicchio (Umbrian, 1454-1513). See 693.

Penelope was wife of Ulysses, King of Ithaca, whose
wanderings after the Trojan war are told in Homer's
Odyssey, and shown in summary in the distance of
this picture. Through the open window is seen the
ship of Ulysses, with the hero bound to the mast ; the
sirens, whose coasts he passed unhurt, are sporting in the
sea ; and on an island near is the palace of Circe, who

changed his companions into swine. In his absence
Penelope was beset by many suitors, such as are here
seen clad in joyous raiment, and to resist their importunity,
she set up a great web which she must finish, she said,
before she could marry. But Ulysses returned when the
web was woven : he is now in the doorway just entering ;
and presently Penelope will take down her husband's
bow — now hanging with a quiver of arrows above her
head — which the suitors could not bend, but which was
bent by Ulysses.

912-914. The Story of Griselda. Pinturicchio.

The story of Griselda, told in Boccaccio's Decameron,
and by Petrarch, is also to be found in Chaucer's Cletkes
Tale. In the first picture, 912, we see (i) on the extreme
left, the Marquis of Saluzzo, who is out hunting with a
great retinue. He meets Griselda, a peasant girl, who is
drawing water at the well, and falls in love with her.
Next (2) on the extreme right, is her humble barn-like
dwelling, with the marquis serenading his love from
below. (3) He carries her off with him ; and note how
Griselda, who is to be modest and humble to the end,
hangs her head in " maiden shamefacedness." (4) Then
the marquis has her attired in gold and fine linen, fit for
a prince's bride. And so (5) in the centre of the picture,
all is ready for the wedding. Before the second act (913)
a few years are supposed to have elapsed, (i) On the
left Griselda's two children, a boy and a girl, are being
carried off. They are supposed to have since died
miserably. (2) The marquis tires of his love for Griselda,
and is divorced : in the centre of the picture we see her
giving back the wedding ring. (3) Then she is stripped
of her fine clothes, and (4) sent away to her father's
house. Two young gallants, in absurd attitudes, look on
in half-pitying amusement, while nearer to us two serving-
men are disgusted at the cruel shame. (5) On the
extreme left she is at home again, tending, as before, her
father's sheep.

In the last act (914) a grand banquet is prepared for
the marquis's second wedding, and Griselda is sent for to
the castle to do menial work. On the left we see her
sweeping ; on the right she is waiting at table. Then, on
the left again, it is discovered that the marquis's new
bride is none other than Griselda's long-lost daughter,
attended by her brother. Griselda is thereupon affec-
tionately embraced by her husband, publicly reinstated
in her proper position, and presented to all the court as a
model of wifely obedience and patience.

915. Mars and Venus.

Sandra Botticelli (Florentine, 1446-1510). See 226.

So the picture is usually called — Mars, the God of
War, asleep, and the young satyrs playing with his
discarded armour, while one of them attempts to rouse
him by blowing a shell. But the subject is almost
identical with that which Spenser draws in the Faerie
Queene, where Sir Guyon, the Knight of Purity, over-
throws the Bower of Bliss in which Acrasia (or Pleasure)
dwells — the last and worst of Sir Guyon's trials, for " it
is harder to fight against pleasure than against pain."
Note especially the expression of the sleeping youth : he
is overcome with brutish paralysis, and they cannot
awaken him. Note also the swarm of hornets issuing
from the tree trunk by his head — significant of the power
that sensual indulgence has of venomously wounding.

916. Venus with Cupids. Botticelli.

The expression of melancholy characteristic of Botticelli's
Madonnas is not absent from his heathen goddesses either.

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922. A Child with a Kid.

Sir T. Lawrence, P.R.A. (British, 1760-1830). See 129.
A portrait of Lady Giorgiana Fane at the age of five.

923. A Venetian Senator.

Andrea da Solaria (Lombard, about 1460-1520).

924. A Gothic Interior. Fitter Neefs (Flemish, 1577-1657).

925. " Gainsborough's Forest."

T. Gainsborough, R.A. (British, 1727-1785). 866683.

926. The Windmill.

Old Crome (British, 1768-1821). 866689.

A scene probably on the same desolate Household
Heath, near Norwich, that is painted in 689. There is
something even more impressive here, from the addition
of the man going wearily home from his work, of the
donkeys — types of plodding labour, and of the windmill
— painted not in the pleasant " picturesqueness of ruin,"
but in the solitude of serviceableness.

927. An Angel Adoring.

Filippino Lipti (Florentine, 1457-1504). See 293.

And with the morn those angel faces smile,
Which I have loved long since and lost awhile.

928. Apollo and Daphne.

Ascribed to A ntonio Pollajuolo (Florentine, 1429-1498). 866292.

The Greeks, seeing the perpetual verdure of the laurel,
personified it in the story of Apollo and Daphne ( = laurel),
which told how the sun-god was enamoured of her. But
she, praying to be delivered from his pursuit, was changed
by the gods into a laurel — her two arms are here sprout-
ing— just as the god has caught her in his embrace ; and
he, crowning his head with the leaves, ordained that the
tree should for ever bloom and be sacred to his divinity.

929. The Bridgewater Madonna.

Copy after Raphael* See 1171.

The original is in the possession of the Earl of
Ellesmere at Bridgewater House.

930. The Garden of Love.

School of Giorgione (Venetian, 1477-1511). See 269.

931. The Magdalen laying aside her Jewels.

Paolo Veronese (Veronese, 1528-1588). See 26.

The Magdalen — she who had sinned much, but who
was forgiven because she loved much — is represented at
the Saviour's feet, laying aside her jewels, and thus
renouncing the vanities of the world.

932. A Knight of Malta. Unknown (Italian, i6th century).

933. Boy with a Bird.

Alessandro Varotari, called Padovanino (Venetian, 1590-1650).

934. Virgin and Child. Carlo Dolci (Florentine, 1616-1686).

935. A River Scene.

Salvator Rosa (Neapolitan, 1615-1673). See 84.

936. The Farnese Theatre, Parma.

Ferdinando Bibiena (Bolognese, 1657-1743).

A scene in the theatre with Othello being played. The
pit is unseated : it is a kind of " promenade play."

937. Venice: Scuola di San Rocco.

Canaletto (Venetian, 1697-1768). See 127.

A procession, with the officers of State on their way to
the Cathedral Church of St. Mark's. Notice the carpets
hung out of the windows — a standing feature, this, in
Venetian gala decorations from very early times (see
VIII. 739). Notice, also, the pictures displayed in the
open air : it is as if pictures by Sir F. Leighton were
hung out in the Strand as a popular feature in the Lord
Mayor's show.

938. Venice : A Regatta.

Canaletto.

939, 940. Venice : The Piazzetta and the Ducal Palace.

Canaletto.

941. Venice : The Grimani Palace. Canaletto.

This palace — situated on the Grand Canal and used
until lately as the Post-Office — was built in the sixteenth
century by San Micheli, and is "the principal type at
Venice, and one of the best in Europe, of the central
architecture of the Renaissance schools." Buildings in
the same style in London are St. Paul's and Whitehall.

942. Eton College.

Canaletto.

943. Portrait of an Artist.

Unknown (Early Flemish, I5th century).

Formerly supposed to be Memlinc's portrait by him-
self (see 686) ; by some thought to be Bouts's own
portrait. Whoever it be, the face bespeaks a gentle,
humble, laborious soul. Note the beautiful painting
of the hair ; it is touched with the utmost minuteness,
and at the same time the silky, flowing texture is well
given.

944. Two Usurers.

Marinus van Romerswael (Flemish, painted 1521-1560).

M AKIN us VAN ROMERSWAEL. Two Usurers.

A powerful realisation of the new Beatitude, " Blessed
are the merciless, for they shall obtain money,"

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945. St. Agnes Adoring. Patinir (Early Flemish, died 1524).
St. Agnes, the young martyr virgin, — attired as a

Pensive nun, devout and pure,
Sober, steadfast, and demure, —

kneels before the infant Christ, who holds a coral rosary
in his hand, for He would crown her with jewels com-
pared to which all earthly gifts are as dross.

946. A Man's Portrait.

Jan Gossart, called Mabuse (Flemish, 1470-1541).

947. Portrait of a Man.

Unknown (Early Flemish, I5th century).

948. A Landscape : A Sketch.

Rubens (Flemish, 1577-1640). See 37.

949. Landscape with Gipsies.

David Tenters, the elder (Flemish, 1582-1649).

950. Village Gossips. Tenters, the elder.

951. The Game of Bowls. Tenters, the elder.

952. The Village Fete.

David Tenters, the younger (Flemish, 1610-1690). See 154.

953. The Toper. Tenters, the younger.

954. A Landscape.

Cornells Huysmans (Flemish, 1648-1727).

955. Women Bathing1.

Cornells van Poelenburgh (Dutch, 1586-1667).

956. An Italian Landscape. Jan Both (Dutch, 1610-1652).

957. Goatherds. Jan Both,

958. Outside the Walls of Rome. Jan Both.

959. A River Scene. Jan Both.

960. Windmills. Cuyp (Dutch, 1620-1691). See 53.

961. Dort ("the Large Dort"). Cuyp.

962. Dort (" the Small Dort "). Cuyp.

963. A Skating Scene. Isaac van Ostade (Dutch, 1621-1649).

964. 965, 966. River Scenes.

Jan van de Cappelle (Dutch, painted about 1650-1680).

967. Dutch Shipping. Jan van de Cappelle.

968. The Painter's Wife.

Gerard Dou (Dutch, 1613-1675). See 192.

966. A Frost Scene. Aartvan der Neer (Dutch, 1603-1677).

970. The Drowsy Landlady.

Gabriel Metsu (Dutch, 1630-1677).

971, 972. Landscapes.

Jan Wynants (Dutch, painted about 1650).

973. Sand Bank.

Wynants.

974. Distant View of Antwerp Cathedral.

Philip de Koninck (Dutch, 1619-1688).

975. The Stag Hunt. Wouverman (Dutch, 1619-1668).

976. A Battle. Wouverman.

977. A Sea Piece.

Willemvande Velde (Dutch, 1633-1707). See 149.

978. A River Scene. Willem van de Velde.

979. A Stiff Breeze. Willem van de Velde.

980. Dutch Ships of War. Willem van de Velde.

981. A Storm at Sea. Willem van de Velde.

982. AForestScene. Adrian van de fW<fc(Dutch, 1635-1672).

983. A Bay Horse. Adrian van de Velde.

984. Landscape with Cattle. Adrian van de Velde.

985. Sheep and Goats. Karel du Jardin (Dutch, 1622-1678).

986. TheWatermills. Ruysdael (Dn\.c\i, 1628-1682). See 627.

987. A Rocky Torrent. Ruysdael.

988. An Old Oak. Ruysdael.

989. Watermill with Bleachers. Ruysdael.

990. A Wooded Prospect. Ruysdael.

991. The Broken Tree. Ruysdael.

992. Architectural Scene.

Jan van der Hey den (Dutch, 1637-1712).

993. A Landscape. Heyden.

994. A Street in a Town. Heyden.

995. A Woody Landscape.

Hobbema (Dutch, 1638-1709). See 685.

996. Castle on a Hill. Hobbema.

997. Scouring the Kettle.

Godfried Schalcken (Dutch, 1643-1706).

998. Singing a Duet. Schalcken.

A lover holds a guitar, his mistress some music ; on
the table is a rose —

If love were what the rose is,

And I were like the leaf,
Our lives would grow together

In sad or singing weather.

999. By Candle Light. Schalcken.

1000. The Estuary of a River.

Ludolf Bakhuizen (Dutch, 1631-1708). See 204.

1001. Hollyhocks and other Flowers.

Jan van Huysum (Dutch, 1682-1749).

1002. Flowers, Insects, and Fruit.

Jacob Walscappelle (Dutch, painted 1667-1717).

1003. Dead Partridges and other Birds.

Jan Fyt (Flemish, 1611-1661).

1004. An Italian Landscape.

Nicolas Berchem (Dutch, 1620-1683).

1005. Ploughing. Berchem.

1006. Hurdy-Gurdy. Berchem.

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1 1007. A Rocky Landscape.

Jan Wih (Dutch, painted about 1635).

1008. A Stag Hunt.

* Ascribed to Fitter (father of Paul) Potter (Dutch, 1597-1652).

1009. The Old Gray Hunter.

Paul Potter (Dutch, 1625-1654). See 849.

10 1O. Renaissance Architecture.

Dirck van Delen (Dutch, 1607-1670).

101 1. Portrait of a Lady.

Gonzales Coques (Flemish, 1618-1684).

1012. Portrait of a Man.

Matthew Merian, the younger (Flemish, 1621-1687).

1013. Geese and Ducks.

Melchior de Hondecoeter (Dutch, 1636-1695).

1014. The Martyrdom of St. Lawrence.

Adam Elsheimer, called also Adamo Tedesco (German settled
in Italy, 1578-1620).

St. Lawrence (for whose legend see 747) is being
prepared for martyrdom. Beside him there is an image
of Caesar, unto whom will be rendered Caesar's due — the
saint's life ; but over his head is an angel from heaven,
for unto God will go the saint's soul. The emperor is
crowned on earth ; the angel brings the saint a palm
branch, an earnest of the martyr's crown in heaven.

1015. Fruit, Flowers, and Dead Birds.

Jan van Os (Dutch, 1744-1808).

1016. A Portrait of a Girl.

Sir Peter Lely (Dutch, 1618-1680).

Lely, court painter to Charles II, was a native of Holland,
but settled in England in 1641, the year of Van Dyck's death,
on whom he modelled his style. It was Lely who is said to
have painted Cromwell, "warts and all," but he easily ac-
commodated himself to the softer manners of the Restoration.
The rich curls, the full lips, and the languishing eyes of the frail
beauties of Charles II may be seen at Hampton Court.

The courtly affectation which distinguishes Lely's
portraits is not absem from this little girl. She is
feeding the parrot, but obviously takes no interest in it —
not even troubling indeed to look at it. Her concern
seems to be only to hold up her flowing frock prettily and
to point her fingers gracefully.

1017. A Woody Landscape.

Unknown (Flemish, dated 1622).

1018. A Classical Landscape.

Claude Lorraine (French, 1600-1682). See 2.

1019. The Head of a Girl. Greuze (French, 1725-1805).
(For illustration and description, see p. 13.)

1020. Girl with an Apple. Greuze.

A cloud of yellow hair
Is round about her ear,
She hath a mouth of grace
And forehead sweet and fair.

1021. Portrait of a Woman.

Frans Hals (Dutch, 1580-1666).

Hals, one of the most famous of the Dutch portrait-painters,
has in consequence of his extraordinary ability been called " the

personification of painting." "We prize in Rembrandt," says
another critic, "the golden glow of effects based upon artificial
contrasts of low-light in immeasurable gloom. Hals was fond
of day-light of silvery sheen. Both men were painters of touch,
but of touch on different keys. Rembrandt was the bass,
Hals the treble." Hals is better seen in his other portrait (1251).

1022. An Italian Nobleman.

Moroni (Bergamese, 1525-1578). See 697.

1023. An Italian Lady. Moroni.

1024. An Italian Ecclesiastic. Moroni.

The letter in his hand is addressed to himself, and
tells us that he is Ludovico di Perzi, Canon of Bergamo,
and an Apostolic prothonatary. These latter functionaries,
of whom there are still twelve in the Roman Church, are
the chiefs of what may be called the Record Office of the
Church. It is an office of much dignity — as this holder
of it seems to be fully conscious.

1025. An Italian Nobleman.

Moretto (Brescian, 1498-1555). See 625.

A true character portrait, a picture of a soul as well as
of a face. It is an Italian nobleman with all the poetry
and aspiration of chivalry. On his scarlet cap he bears
his proud device — a medallion in gold and enamel of St.
Christopher bearing the infant Saviour — the ideal of
Christian chivalry : " Inasmuch as ye have done it unto
the least of one of these, ye have done it unto me."

1029. The Temples of Paestum.

William Linton (British, 1791-1876).

These Doric temples are the only remains of the once
famous city of Poseidonia, a colony in South Italy
founded by the Greeks in the sixth century B.C.

1030. The Inside of a Stable.

George Morland (British, 1763-1804).

Said to be the stable of the " White Lion " at Padding-
ton, an hostelry which was opposite the house where
Morland lived for some time, and in which the ne'er-do-
weel artist spent many of his days.

1031. Mary Magdalene.

Giovanni Girolamo Savoldo (Brescian, born about 1480).

She is approaching the sepulchre, before which is a
vase of ointment on a square stone — for she had "bought
sweet spices, that they might come and anoint Him."
Notice the anachronism in the background, which is a
view of a Venetian canal (cf. 294).

1032. Christ's Agony in the Garden.

Lo Spagna (Umbrian, painted 1503-1530).

1033. The Adoration o( the Magi.

Filippino Lippi (Florentine, 1457-1504). See 293.
Notice the crowded groups of spectators which
Filippino was fond of introducing. But so harmoniously
are they grouped in six principal groups that the spectator
will at first probably be surprised to hear that there are
as many as seventy figures in the picture.

1034. The Nativity of Christ.

Sandra Botticelli (Florentine, 1446-1510). See 226.

Painted (as we learn from the Greek inscription at the

top) in 1500, two years after the death of Savonarola,

when Botticelli was deeply under his influence. The

theological symbolism may be seen in the gesture of the

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divine Child pointing to His mouth — typifying that He
was the Word of God. So at the bottom of the picture
there are devils running, at Christ's coming, into chinks
of the rocks (those who are Christ's must put away " the
works of darkness ") ; whilst the shepherds and angels
embracing, signify the reconciliation such as Savonarola
wished to effect between heaven and earth. On either
side of the central group angels are telling the glad
tidings " of peace on earth, goodwill towards men ; "
whilst in the sky above is a choir of angels.

1035. Portrait of a Young Man.

Francia Bigio (Florentine, 1482-1524).
The young man bears on his breast the cross of the
knights of Malta. The letter in his hand bears the date
1514. The picture is signed by a monogram formed by
the letters F.R.A.C.P., signifying Franciscus Christophori
pinxit. On the parapet is an inscription : tar : vblia :
chi : bien : eima (slowly forgets he who loves well).

1036. A Man's Portrait.

Unknown (Flemish, early i6th century).

A picture it might be of Hamlet with the skulls :

"That skull had a tongue in it, and could sing once."

In his left hand he holds a flower : " There is pansies,

that's for thoughts."

1037. Welsh Slate Quarries.

" Old" Crome (British, 1768-1821). See 689.

1039. On the Downs. Thomas Barker (British, 1769-1847).

1040. A River Scene. W.J. Miiller (British, 1812-1845).

1041. The Vision of St. Helena.

Paolo Veronese (Veronese, 1528-1588). See 26.

PAOLO VERONESE. The Vision of St. Helena.

St. Helena, the mother of Constantine, when a victory
was gained by the emperor, made a pilgrimage to Jeru-'j
salem to recover the very wood of which she had seen a \
mysterious symbol in a vision.

1042. A Man's Portrait.

Catharina van Hemessen (Flemish, born about 1500).

1043. Gordale Scar, Yorkshire.

James Ward, R.A. (British, 1769-1859).

A chasm in the limestone cliffs, about a mile from
Malham, described by Wordsworth as "terrific as the
lair where the young lions crouch." Here the artist
introduces cattle and deer, to bring out the height of the
scar that towers above them.

1044. The Rev. Sir Henry Bate Dudley, Bart.

T. Gainsborotigh, R.A. (British, 1727-1785). See 683.

This gentleman was a forerunner in the last century
of the church and stage guild. He was the first editor
of the Morning Post (established in 1 772), and was the j
accepted theatrical censor of the day. He was a great
friend of Garrick, who sent him in 1775 to Cheltenham
to report on Mrs. Siddons.

1045. A Canon and his Patron Saints.

Gerard David (Early Flemish, 1450-1523).

The saints are St. Bernardino of Siena behind the
Canon, St. Donatian in advance of him, and St. Martin
to the left. It was St. Martin who shared his cloak
with the beggar, and here in the distance to the left —
in compliment to the Canon's generosity — is a beggar
limping towards the group, asking alms. Notice the
wood through which he walks. David "was the first
painter to think of the shadow-giving nature of trees."

1046. Sigismonda and Guiscardo.

William Hogarth (British, 1697-1764). See 112.

From one of Boccaccio's tales (translated by Dryden)
which tells how Sigismonda, the daughter of Tancred,
Prince of Salerno, secretly loved and married Guiscardo,
a poor but noble youth, page to her father. Tancred,
having discovered the union, caused Guiscardo to be
strangled, and sent his heart in " a goblet rich with gems
and rough with gold" to Sigismonda. Sigismonda
accepted the gift and took a poisoned draught, and as
she prepared to die, wept over her lover's heart.

1047. A Family Group. Lorenzo Lotto (Venetian, 1476-1555).
" Lotto makes it evident that the sensitiveness of the

man's nature has brought him to understand and condone
his wife's limitations, and that she in her turn has been
refined and softened into sympathy with him " (Berenson).

1048. Portrait of a Cardinal.

Unknown (Italian, i6th century).

1049. The Crucifixion. Unknown (German, I5th century).

1050. A Sea View.

Ludolf Bakhuizen (Dutch, 1631-1708). See 204.

1051. Our Lord, St. Thomas, and St. Anthony.

Unknown (Umbrian, i6th century).

Our Lord extends His hand and foot to the doubting
St. Thomas : " Reach hither thy finger, and behold my
hands ; . . . and be not faithless, but believing." To the
right, resting his hands on the shoulder of the donor of
the picture, is St. Anthony of Padua, another saint who
doubted till— as the legend tells— in his arms "The

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saint did his dear Lord enfold, And there appeared a light
like gold From out the skies of Padua."

1052. Portrait of a Young Man.

Unknown (Lombard, I5th or early i6th century).

1053. A Church at Delft.

Emanuel de Witte (Dutch, 1607-1692).

1054. A View in Venice.

Francesco Guardi (Venetian, 1712-1793).

An interesting record of Venetian costume by a scholar
and imitator of Canaletto — notice the crinolines and the
bag wigs— a hundred years ago.

1055. A Village Card Party.

Hendrick Rokes, surnamed Sorgh (Dutch, 1611-1669).

1056. A Kiss in the Cup.

Sorgh.

1057. A River Scene.

Claude Joseph Vernet (French, 1714-1789).

1058. Venice : The Canal Reggio.

Canaletto (Venetian, 1697-1768). See 127.

1O59. Venice : San Pietro in Castello.

Canaletto.

1060. Two Vedettes on the Watch.

Philips Wouverman (Dutch, 1619-1668).

1061. Delft : Scene of an Explosion.

Egbert van der Poel (Dutch, 1621-1664).

1062. A Battle Piece.

Unknown (Ferrarese, early i6th century).

1063. A Man's Portrait.

Unknown (Flemish, early i6th century).

1064. On the River Wye.

Richard Wilson, R.A. (British, 1714-1782). See 108.

1065. Sketch of a Cornfield.

John Constable, R.A. (British, 1776-1837). See 130.

1066. On Barnes Common. Constable.

1067. A Quarry with Peasants.

George Morland (British, 1763-1804).

1068. "The Parson's Daughter."

George Romney (British, 1734-1802). See 312.

This "fancy portrait" has never been identified.

There was, however, a
miniature exhibited in
1889 which is obviously a
portrait of the same lady.
That miniature was de-
scribed as being of Miss
Elizabeth Young (Mrs.
Pope), an actress, who,
according to a con-
temporary writer ' " was
above the middle height,
and altogether finely
formed about the neck
and shoulders ; and
though her face was not
handsome it was expressive."

1069. The Myth of Narcissus.

T. Stothard, R.A. (British, 1755-1843). See 317.

The mountain nymph Echo, who had loved the fair
Narcissus, listens amongst the trees but hears no voice ;
whilst Naiads and Dryads (nymphs of the river and the
forest) find not the lovely boy, but the flower into which
he was changed.

1070. Cupids Preparing for the Chase. Slot hard.

1071. A Rocky River Scene.

Richard Wilson (British, 1714-1782). See 108.

1072. 1O73. The Earl of Chatham's Last Speech.

J. S. Copley, R.A. (British, 1737-1815).
Preparatory studies for the large picture above (100).

1074. An Oyster Supper.

Dirk (brother of Frans] Hals (Dutch, died 1656).

1075. Virgin and Child, St. Jerome, and St. Francis.

Peregino (Umbrian, 1446-1524). See 288.

1076. Portrait of a Young Man. Unknown (British).

Supposed to be the poet Gay, the author of the Fables
and the Beggar's Opera.

1077. Altarpiece (dated 1501).

Ambrogio Borgognone (Lombard, 1455-1523).

1078. The Deposition from the Cross.

Unknown (Early Flemish, I5th century).

1079. The Adoration of the Kings.

Unknown (Early Flemish, I5th century).

1080. Head of St. John the Baptist.

Unknown (Early German, I5th century).

1081. A Man at Prayer.

Unknown (Early Flemish, I5th century).

1082. The Visit of the Madonna to St. Elizabeth.

Joachim Patinir (Early Flemish, died 1524).

1083. Christ Crowned with Thorns.

Unknown (Early Flemish, I5th century).

1084. The Flight into Egypt. Patinir.

1085. Virgin and Child.

Unknown (Early German, 1 5th century).

1086. Christ Appearing after His Resurrection.

Unknown (Early Flemish, I5th century).

1087. The Mocking of Christ.

•Unknown (Early German, I5th century).

1088. The Crucifixion. Unknown (German, i6th century).

1089. Madonna and Child with St. Elizabeth.

Unknown (Early Flemish, I5th century).

1090. Pan and Syrinx (see 659).

Francois Boucher (French, 1704-1770).

1091. The Vision of Ezekiel.

P. F. Poole, R.A. (British, 1806-1879).

1092. St. Sebastian (see 669).

Zaganelli (Ferrarese, painted 1505-1527).

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1O93. "Our Lady of the Rocks."

Leonardo da Vinci (Florentine, 1452-1519).

Leonardo, of Vinci (a town near Florence), the son of a
Florentine notary and a peasant mother, was one of the most
richly gifted men that ever lived — being painter, poet, sculptor,
architect, mechanist, mathematician, philosopher, and explorer.
In the history of painting he stands out as the perfecter of
pictorial modelling by means of light and shade (chiaroscuro').
He used this power to express grace of expression in a way
peculiar to himself. " He was the first to express .the smile of
inward happiness, the sweetness of the soul." His skill in
landscape lagged curiously behind ; and the forms of rocks in
mis, one of his most famous pictures, are "literally no better
than those on a china plate. "

LEONARDO DA VINCI. "Our Lady of the Rocks."

The sentiment of this famous picture has been well
expressed in Rossetti's sonnet —

Mother, is this the darkness of the end,

The Shadow of Death ? and is that outer sea
Infinite imminent eternity ?

And does the death-pang by man's seed sustain'd

In Time's each instant cause thy face to bend
Its silent prayer upon the Son, while he
Blesses the dead with his hand silently

To his long day, which hours no more offend ?

1094. Portrait of a Man.

Ascribed to Sir Antonio More (Flemish, 1512-1578). See 184.

1095. Portrait of Anna Maria Schurmann.

Jan Lievens (Dutch, 1607-1674).

1096. A Hunting Scene.

Jan Baptist Weenix (Dutch, 1621-1660).

1O97. A Landscape.

Unknown (British School, l8th century).

1098. Virgin and Child.

Bartolommco Montagna (Venetian, died 1523).

1100. A Scene in a Play.

Pietro Longhi (Venetian, 1702-1762).

Pietro Longhi has been called " the Italian Hogarth ; " and
his pictures are very interesting as giving us characteristic glimpses
of Venetian life a hundred years ago. It is his seizing on
peculiarities, on local and characteristic details, that makes
Longhi's little canvasses so curious.

1101. Masked Visitors at a Menagerie. Longhi,

Two ladies with dominoes escorted by a cavalier at a
menagerie, in which the trainer exhibits a rhinoceros.

1 102. The Chevalier, Andrea Tron. Longhi.
In the sumptuous robes of office as a Procurator of

St. Mark's, a dignity in the Venetian State second only
to that of Doge.

1 103. Virgin and Child, with Saints and Angels.

Fiorenzo di Lorenzo (Umbrian, painted 1472-1521).

1104. The Annunciation.

Giannicola Manni (Umbrian, 1475-1544).

1105. The Prothonotary Apostolic Juliano (see 1024).

Lorenzo Lotto (Venetian, 1476-1555).

1106. The Resurrection.

Francesco (son of Andrea} Mantegna (Paduan, 1470-1517).

1107. The Crucifixion.

Niccolb of Foligno (Umbrian, painted 1458-1499).

The central scene of the Crucifixion is surrounded by

the Agony in the Garden, Christ bearing His Cross, the

Descent from the Cross, and the Resurrection. See, for

some further remarks on this picture, p. 7.

1108. The Virgin Enthroned.

Unknown (Sienese, late I5th century).

1109. The Marriage of the Virgin.

Niccolb di Buonacorso (Sienese, died 1388).

1110. The Spiritual Form of Pitt Guiding Behemoth.

William Blake (British, 1757-1827).

William Blake is one of the most unique figures in the history
of British art. In the first place he was a poet as well as a
painter, and many of his lyrics are of singular and original
beauty. But, further, in his best-known productions he com-
bined the verse and design in an entirely original way. _ His
life (admirably written by Gilchrist), marked by great single-
mindedness of aim and by the eccentricity of a visionary, is of
singular interest.

An allegory of the power of statesmanship, personified
in Pitt, in controlling the brute forces of the world,
personified in "Behemoth" (see Job xl. 15-24, where
Behemoth is typical of the monstrous beasts which the
Almighty, who created, alone can tame). Pitt, said Blake
in describing this picture, " is that Angel who, pleased to
perform the Almighty's orders, rides on the whirlwind
directing the storms of war. He is commanding the
Reaper to reap the Vine of the earth, and the Ploughmen
to plough up the Cities and Towers."

1111. Wherries on the Yare.

/. S. Cotman (British, 1782-1842).

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1112. Mrs. Ann Hawkins.

John Linnell (British, 1792-1882).

1113. A Legendary Subject.

Pietro Lorenzetti (Sienese, painted 1305-1340).

1114-1118. The Five Senses.

Gonzales Coques (Flemish, 1618-1684). See 821.

1119. Madonna and Child, with Saints.

Ercole di Giulio Grandi (Ferrarese, died I531)-
This painter, who studied under Francia and Lorenzo Coota,
was a gold-beater and modeller as well as a painter — a con-
junction which is seen in this picture with its wealth of decorative
accessories. He disputes with Garofalo the title of "the
Raphael of Ferrara."

In the group of the infant Saviour standing on the
Virgin's knees in the act of benediction, with St. William
on the left of the throne and on the right St. John the
Baptist, is an imaginative representation of Christianity'
— the soldier of Christ, with his armour on him, but
bareheaded, and with his hand on the sword, on one
side ; the saint, with the Cross and the Book, on the
other. The accessories are almost an epitome, as it
were, of all the decorative arts of the time. Note first, in
the walnut wood pedestal of the throne, that the frieze at
the top is a graceful arrangement of dolphins, emblems
of love and affection, and the base, of stags and swans
("as pants the hart for cooling streams, so pants my soul
for thee, O God "). In its central panel is an alto-relievo
in ivory, with Adam and Eve on either side of the Tree
of Knowledge. On each of the receding panels is a
white marble medallion of the turbaned head of a prophet.

1120. St. Jerome (see 227 and 694).

Cima da Conegliano (Venetian, painted 1489-1517). See 300.

The saint has his usual company of animals. His
lion is frowning, somewhat with the same expression as
in 227 — as if to deprecate the penance which his master
is about to inflict on himself. On the branch of the tree
above is a hawk with the expression of a superior person
— one quite too sagacious to countenance such "mad-
ness." Notice lastly the serpent which crawls from
beneath the rock on which the Cross is placed.

1121. Portrait of a Young Man.

Unknown (Venetian, I5th-i6th century).

1122. St. Jerome.

Domenico Theotocopuli (Spanish, 1548-1625).

1123. Venus and Adonis (see 34).

Unknown (Venetian, l6th century).

The groups of small figures in the background tell the
story of Myrrha (the mother of Adonis), who was trans-
formed into the myrrh tree. In the background on the
left is represented the death of Adonis ; Venus is lament-
ing over his body and changing his blood into the anemone.

1124. The Adoration of the Magi.

Filippino Lippi (Florentine, 1457-1504). See 293.

1125. Summer and Autumn.

Andrea Mantegna (Paduan, 1431-1506). See 274.

1126. The Assumption of the Virgin.

Botticelli (Florentine, 1446-1510). See 226.

On earth the apostles are represented gathered around

the Virgin's tomb, from which " annunciation lilies " are

growing ; while she is in heaven kneeling in adoration
before the Saviour, who has an open book inscribed with
the mystic letters A and O : "I am Alpha and Omega,
the beginning and the end." Around the Virgin and
Christ are all the hierarchies of heaven, arranged accord-
ing to the scheme of the theologians in three separate
tiers. Nearest to Christ are the seraphs (red), cherubs
(blue), and thrones (gold) ; these are conceived as
absorbed in perpetual love and adoration round the
throne of God, and are represented therefore as with
heads only (the attribute of spirit), and wings (" swift as
thought "). In relation with mankind come the remaining
orders — the dominations, virtues, powers (these last with
sceptres in their hands), and in the lowest of the three
tiers, archangels, princedoms, and angels (with their
wands). "The black vases with golden borders in the
hands of some of the angels are probably meant for the
' golden vials full of the wrath of God.' Near them there
are other angels, who in the attitude of expectation point
upward with their sticks ; while those in the lowest circle
point down, and at the same time seem to invite those
who hold vials to pour them out upon the city of
Florence." Everywhere amongst the angelic host are the
blessed dead : patriarchs, prophets, apostles, evangelists,
martyrs, confessors, doctors, and virgins. Amongst the
cherubs, for instance, one may decipher St. James with
the pilgrim staff, St. Andrew with his cross, St. Peter
with the key, and St. Mary Magdalene with the casket.
The angels are represented throughout as ministering
spirits ; and nothing in the picture is prettier than the
way in which the angels are calling upon the saints to
" enter upon the joy of their Lord."

1127. The Last Supper.

Ercole di Roberti Grandi (Ferrarese, 1450-1496).

1128. The Circumcision of Christ.

Luca Signorelli (1441-1523).

Signorelli, a pupil of Piero della Francesca, was the fore-
runner of Michael Angelo. Like the latter he is intensely
dramatic, and his figures seem to be instinct with suppressed
action. He is also representative of the literary and classical
Renaissance of his time. He painted the usual religious pictures,
but did not adhere to the traditional modes, and often introduced
a classical element (see 1133).

The figure of the operator is like the portrait of
himself which Signorelli introduced into his frescoes of
the Preaching of Anti-Christ at Orvieto ; the figure is,
moreover, clothed in the dress of the period and of the
rich materials in which, Vasari says, the artist took much
pleasure in dressing himself. Behind the central group
is the aged Simeon, who blessed God and said, " Lord,
now lettest thou thy servant depart in peace, according
to thy word."

1129. Philip IV, King of Spain.

Velazquez (Spanish, 1599-1660). See 197.

The king is younger here than in 745 ; hanging from his
chain is the order of the Golden Fleece. Notice in both
portraits the stiff linen collars, which were invented by the
king ; also his wonderful moustaches, which he is said to
have encased during the night in perfumed leather covers.

1130. Christ Washing His Disciples' Feet

Tintoretto (Venetian, 1518-1584). See 16.

In front is St. Peter, placing his foot in a brazen basin
and bending forward with a deprecating action — in con-
trast to which is the look of cheerful, and almost amused
alacrity on the part of Him who came not to be ministered
unto, but to minister.

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1131. Joseph in Egypt.

Jacopo Carucci, called Pontormo (Florentine, 1494-1557).

A drama in five acts describing incidents in the life of
Joseph in Egypt, (i) On the left, Pharaoh, in a white
turban, and surrounded by attendants, is met by Joseph
and his brethren, who stand before him in attitudes of
supplication. The youth sitting on the steps with a
basket in his hand is a portrait (Vasari tells us) of the
painter's pupil, Angelo Bronzino. (2) On the right of the
foreground, Joseph, seated on a triumphal car drawn by
naked children, stoops forward towards a man who kneels
and presents a petition. (3) In the middle distance there
is an animated group of men (" Wherefore shall we die
before thine eyes, both we and our land?"). (4) On the
steps going up to the circular building on the right Joseph
is leading one of his sons to see the dying Jacob ; he is
followed by the " steward of the house," a conspicuous
figure in a long crimson robe. The other boy appears at
the top of the steps and is embraced by his mother. (5)
Inside the room Jacob is represented as giving his
blessing to the two boys, Ephriam and Manasseh, who
are presented to him by their father.

1132. The Vestibule of a Library.

Hendrick Steenwyck, the younger (Dutch, 1580-1649).

1133. The Nativity.

Luca Signorelli (1441-1523). See 1128.

A dramatic representation in one canvas of the Gospel
story told in Luke ii. 1-17. Scene I. "And it came to
pass in those days, that there went out a decree from
Caesar Augustus, that all the world should be enrolled."
This is represented by the Roman portico to the left of
the central group, under which, at a long table, is seated
a row of scribes, who are entering the names of the
people. Scene 2. The birth of Jesus. There is no
manger, but the stable is suggested by the heads of the
ox and the ass at the side ; and instead of the Babe being
found "wrapped in swaddling clothes" it is naked.
Scene 3. On the left is a group of shepherds. The angel
of the Lord is appearing unto them from heaven, and they
are sore afraid, shielding their eyes from the heavenly
light. Scene 4. On the right of the portico, and seen
through an arch of natural rock, is a shepherd playing on
the pipe.

1134. Madonna and Child.

Liberah da Verona (Veronese, 1451-1536).

1135. 1136. The Clemency of Trajan.

Unknown (Veronese, I5th century).

These two panels probably formed two sides of an
ornamental box. The story is that of a Roman widow
who appealed to the Emperor Trajan for vengeance
against the murderers of her son. He spared their lives,
but made them pay damages to the widow.

1137. Portrait of a Boy. Jacob van Oost(¥\em\sh, 1600-1671).

1138. The Crucifixion.

Andrea del Casfagno (Florentine, 1390-1457).

1139. The Annunciation.

Duccio (Sienese, 1260-1340). See 566.

1140. Christ Healing the Blind. Duccio.

Duccio is not content to represent the bare act of
healing, but insists further upon the efficacy of the touch
of Him who was the Light of the World, by making the
blind man drop the staff of which he has no longer need.

There is another piece of symbolism in the graduated
scale by which he draws attention to the respective
dignities of his characters — Christ being the tallest in the
picture, the blind man the shortest.

1141. Supposed Portrait of the Artist.

Antonello da Messina (Venetian, 1444-1493). See 673.

1 142. The August Moon : at Blackdown, near Haslemere.

Cecil G. Lawson (British, 1851-1882).

1143. The Procession to Calvary.

Ridolfa (brother of Domenico) Ghirlandajo (Florentine, 1483-1561).

1144. Madonna and Child.

Bazzi, called II Sodorna (Lombard, 1477-1549).

1145. Samson and Delilah.

Andrea Mantegna (Paduan, 1431-1506). 866274.

On the trunk of the olive tree behind, Mantegna has
carved the moral which he drew from the tale, and which
(being interpreted from the Latin) is that " woman is a
three-times worse evil than the devil." But though
Mantegna has taken his subject from the Bible, his
treatment of it is in the classical spirit. " Apart from the
fact that her attention is directed to the mechanical
operation, Delilah's expression is one of absolute and
entire unconcern. He left the features thus impassive in
obedience to the formula of a certain school of antique
sculpture, that all violent emotion should be avoided."

1146. Portrait of a Lady.

Sir Henry Raeburn, R.A. (British, 1756-1823).

Raeburn, who has been called "the Scottish Reynolds," was
a fashionable portrait-painter in Edinburgh.

1147. Heads of Nuns (fresco).

Ambrogio Lorenzetti (Sienese, died about 1348).

1148. Christ at the Column.

Velazquez (Spanish, 1599-1660). See 197.

VELAZQUEZ. Christ at the Column.

An intensely dramatic rendering of the central lesson
of Christianity. The absence of all decorative accessories
concentrates the attention at once on the figure of the
Divine sufferer — bound by the wrists to the column. His
hands are swollen and blackened by the cords ; the
blood has trickled down the shoulder — so terrible was the
punishment, and the scourges and rod have been flung
contemptuously at His feet. Yet abnegation of self and

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Divine compassion are stamped indelibly on His counte-
, nance, as He turns His head to the child who is kneeling
in adoration. The guardian angel behind bids the child
approach the Redeemer in prayer (hence the alternative
title that has been given to the picture, The Institution of
Prayer). From the wise and prudent the lessons of
Christianity are often hidden, but Christ Himself here
reveals them unto babes. " He was wounded for our
transgressions, he was bruised for our iniquities : the
chastisement of our peace was upon him ; and with his
stripes we are healed."

1149. Madonna and Child.

Marco d'Oggionno (Lombard, 1470-1530).

1150. A Portrait.

Ascribed to Pontormo (Florentine, 1494-1557).

1151. The Entombment.

Unknown (German, 1 5th- 1 6th century).

1152. St. John the Baptist.

Martina Piazza (Lombard, early i6th century).

1153. A Family Group.

William Hogarth (British, 1697-1764). See 112.

A characteristic family party (the Strodes) in the "age
of bag-wigs and of flowered dresses." The gentleman to
the left is their learned friend, Dr. A. Smith, Archbishop
of Dublin, who is represented with an open book It is
a household where everything is done in good style — even
to the books bound solemnly " to pattern " (in the back-
ground to the left). But Hogarth was not to be done out
of his joke, and he puts it accordingly into the dogs, which
keep their distance at either side of the room, and look
unutterable things at each other.

1154. Girl with a Lamb.

Greuze (French, 1725-1805). See p. 13.

1155. The Assumption of the Virgin.

Matteo di Giovanni (Sienese, 1435-1495).
A picture in which the artist concentrates all he could
command of gaiety and joyousness in colour, expression,
action and sentiment ; and thus typical of the personal
feeling, approximating to that of a lover to his mistress,
which entered into Madonna worship. These pictures of
coronations and assumptions of the Virgin are not merely
tributes of devotion to the mother of God, but are poetic
renderings of the recognition of women's queenship. One
may read the same spirit perhaps in the legend of St.
Thomas and the Madonna, introduced in this picture —
of St. Thomas, who ever doubted, but whose faith was
confirmed by a woman's girdle. For the story is that the
Viigin, taking pity on his unbelief, threw down to him her
girdle, which he is here raising his hands to catch, as it
falls from her throne, in order that this tangible proof
remaining with him might remove his doubts.

1156. On the Ouse, Yorkshire.

George Arnald, A.R.A. (British, 1763-1841).

1157. The Nativity. Cavallino (Neapolitan, 1622-1654).

1158. Harlech Castle.

James Ward, R.A. (British, 1769-1859).

1150. The Calling of Abraham.

Caspar Poussin (French, 1613-1675). See 31.
1160. The Adoration of the Magi.

School of Giorgione (Venetian, 1477-1511). See 269.

1161. Miss Fenton as " Polly Peachum."

William Hogarth (British, 1697-1764). See 112.
A portrait of the actress — Lavinia Fenton — who took
the town by storm at the first representation of Gay's
Beggar's Opera (January 29, 1728).

1162. The Shrimp Girl.

Hogarth.

1163. The Canterbury Pilgrims (after Chaucer).

T. Stothard, R.A. (British, 1755-1834). See 317.
The Pilgrims, now safely on their way from the Tabard
at Southwark, are ambling along, in' the fresh spring
morning, through the pretty fields of Peckham and
Dulwich. The Miller is riding well to the front. After
him rides the Host. He proposes the recounting of
Tales to beguile the time. Then, riding five abreast,
come (beginning with the farthest from us) the Doctor of
Physic, clad in "sangwyn." Next to him we recognise
the Merchant by his " forked beard " and " Flaundrisch
bevere hat." Then, after the pale-faced Serjeant- at- Law,
rides the fat, jolly Franklin. Last in this line is that
" worthy man," the Knight, great in battles and victories,
but without parade. Exactly behind the Knight is the
Reeve, a " sklendre colerik man." By the side of the
Knight, but nearer to us, rides his Son, "the yung
Squyer," who, it is easy to see, thinks a good deal of
himself, and loves to show his prowess in riding. Behind
him is his servant, the " Yeman" clad in Lincoln green.
Then comes another group riding five abreast — the figure
farthest from us being the Ploughman. Next to him is
his brother, the poor Parson of a town, and beside him
the Nun's Priest, fat and rubicund. Then comes the
Nun in holy converse with her superior, the lady Prioress,
" Madame Eglentyne." In the next company, farthest
from us, is the pale-faced student, the Clerk of Oxenford.
Next to him rides the Manciple — his face is not shown,
for Chaucer does not describe him : he is looking round,
no doubt, at the Wife of Bath, the centre of general
attraction. So also is Chaucer himself, who comes next.
Stothard painted this picture from a portrait of the poet
preserved in the British Museum. In front of this group,
with his back towards us, is the Shipman. Then comes
the Wife of Rathj she is laughing and coquetting with
the Pardoner who follows behind, his face radiant with
smiles. Behind this couple comes the Sompnour (or
crier of the court), with his "fyre-reed cherubynes face."
He wears a garland, as a follower of Bacchus. Next
comes the Monk, and, nearer to us, is the Friar. In the
rear of the procession follow the traders, in their liveries ;
and last of all rides the Cook, refreshing himself on the
way — " Wai cowde he knowe a draughte of Londone ale."

1164. The Procession from Calvary.

William Blake (British, 1757-1827). See I no.

1165. St. Hippolytus and St. Catherine.

Moretto (Brescian, 1498-1555). See 299.

Two saints who were not divided in the manner of
their martyrdom, and who are united therefore on the
painter's canvas. Each holds the martyr's palm. St.
Catherine places her left hand on the hilt of a sword,
whilst her foot rests upon the wheel on which she would
have been torn to death had not an angel from heaven
broken it. St. Hippolytus is clad in armour, for he was
the soldier stationed as guard over St. Lawrence (see XII.
747), but he is represented as bareheaded, and with his
face upturned in reverence, for that " he was so moved
by that illustrious martyr's invincible courage and
affectionate exhortations that he became a Christian."

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1166. The Crucifixion.

Antonello da Messina (Venetian, 1444-1493). See 673.

1167. Mary Wollstonecraft Godwin.

/. Opie, R.A. (British, 1761-1807). See 784.
A portrait of the remarkable woman famous as the
author of A Vindication of the Rights of Woman, and as
the mother of Shelley's second wife.

1168. Portrait of a Jesuit.

Willem van der Vliet (Dutch, 1584-1642).

The Jesuit father turns round from his book and looks

with a smile of tender sadness on the spectator — he is

ready to read your heart and to give you sympathy in

return for confidences.

1171. The"Ansidei Madonna."

Raphael (Umbrian, 1483-1520).

Raphael Santi was the son of Giovanni Santi (see 751). a
painter and poet of Urbino. Some of his talent was thus
hereditary, but it was developed by an intense power of assimila-
tion— of learning all things from all men. This power was one
of the main causes of the width of range and catholicity of taste
to which he owes his universal popularity. " He is in affinity
with all," a German critic has said ; " he is every man's friend
and brother ; no one feels himself humbled beside him, there
lingers no trace of an unexplained and unenjoyed mystery."
His life fully reflects that gentle spirit and innate love of beauty
which fused all he assimilated into the harmony of his own work.
"All were surpassed by him," says Vasari, "in friendly courtesy
as well as in art ; all confessed the power of his sweet and
gracious influence " (for some remarks on the different stages
in the development of Raphael's art, see p. 7).

The " Ansidei Madonna," so called from having been
painted for the Ansidei family at Perugia, was bought from
the Duke of Marlborough by the nation for £70,000 —
more than three times the highest price ever before paid
for a picture, and equal to more than ^14 per square inch.
It is by common consent one of the most perfect pictures
in the world ; and it is also one of the noblest embodi-
ments of Christianity. Raphael is above all the painter
of motherhood and childhood — of the self-forgetting love
of the one, and the fearless faith of the other — the human
relationship which of all others is the most divine. On
either sides are two saints— types both of them of the
peace of Christianity. In the figure of St. John the
Baptist on the left — with his rough camel skin upon him,
and an expression of ecstatic contemplation on his face —
the joy that comes from a life of self-sacrifice — is made
manifest ; in that of the good Bishop Nicholas of Ban,
the peace that comes from knowledge. The three balls
at his feet are a favourite emblem of the saint : typical
partly of the mystery of the Trinity, but referring also to
the three purses of gold which he is said to have thrown
into a poor man's window that his daughters might not
be portionless. The picture is remarkable for " the
exquisite purity of its colour and luminous quality of its
tones." "In this cool, pearl -gray, quiet place, colour
tells for double. How orderly, how divinely clean and
sweet the flesh, the vesture, the floor, the earth and sky !
Say, rather, the hand, the method of the painter ! There
is an unmistakable pledge of strength, of movement and
animation, in the cast of the Baptist's countenance, but
reserved, repressed" (Pater). This picture, like the
Sistine Madonna at Dresden, is entirely by Raphael's
own hand, no pupil or assistant having touched it.

172. Charles the First.

Van Dyck (Flemish, 1599-1641). See 49.

This famous picture was one of many equestrian
portraits of Charles I. which Van Dyck painted at his

court. It was sold after Charles's death for a paltry sum
by the Parliament, and in 1885 was bought by another
Parliament — from the Duke of Marlborough — for the
great price of ,£17,500. It is a courtier's portrait of the
idol of the cavaliers. Notice the king's stately bear-
ing, his personal
dignity, his al-
most feminine
refinement. It
is a portrait of
personal cour-
age — with no
suspicion of any
fatal want of
presence of
mind ; of dignity
— with the ob-
stinacy, which
was its reverse
side, left out.
In such a por-
trait "of a Cava-
lier by a Cava-
lier" Van Dyck's
work is invested
with an enduring
pathos for all
Englishmen. With the king is Sir Thomas Morton, his
equerry, but Charles does not see him. Bareheaded
he sits, gazing into futurity.

1173. An Unknown Subject.

School of Giorgione (Venetian, 1477- 1 5 1 1 ). See 269.
A child, it would seem, is being initiated into some
order of the Golden Age— he is being dedicated, perhaps,
to a life of song, for the stately personage on the throne
wears the poet's crown of wild olive, whilst the young
man on the steps below him lightly touches a lute, and
has books by his side.

1174. The Watering Place.

T. Gainsborough, R.A. (British, 1727-1788). See 683.
A sketch for the larger picture, 109.

1175. Regent's Park, 1807.

James Ward, R.A. (British, 1769-1859).

1176. A Landscape.

Patrick Nasmyth (British, 1786-1831). See 380.

1177. A Landscape. P. Nasmyth.
Dated 1831, the year of the artist's death.

1178. 1179. Landscapes. P. Nasmyth.
118O. Cliveden on the Thames.

/. W. M. Turner, R.A. (British, 1776-1851). See p. 458.

A view looking across the river, on the famous Clive-
den reach, above Maidenhead. Painted probably about
1815, when Turner was living at Twickenham.

1183. A Landscape.

Patrick Nasmyth (British, 1768-1831). See 380.

1185. Nymphs and Satyrs.

T. Stothard, R.A. (British, 1755-1834). See 317.

1186. Landscape with Cattle.

John Glover (British, 1767-1849).

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1188. The Betrayal of Christ.

. Ugolino (Sienese, died 1349).

1189. The Procession to Calvary. Ugolino.

1190. A Boy's Portrait

Ascribed to Francois Cloiiet (French, 1510-1572).

1192, 1193. Sketches for Altarpieces.

Giovanni Battista Tiepolo (Venetian, 1692-1769).

By one of the latest of the greater Venetian painters —
an imitation of Paolo Veronese ; and showing something
of that master's spirit and gaiety.

1194. Christ Driving out the Traders from the Temple.

Marcello Venusti (Florentine, died 1579).

1195. The Birth of Venus.

Rubens (Flemish, 1577-1640). See 38.

A finished study for a salver which was executed in
silver for Charles I.

1196. The Triumph of Chastity.

Unknown (Florentine, I5th century).

Chastity clothed only in white innocence is assailed by
Love. She receives his arrows on a shield of polished
steel ; the points of the arrows break and burst forth into
tiny golden flames — each temptation only causing the
sacred fire of purity to burn more brightly.

1197. David Garrick (1716-1799).

Ascribed to Johann Zoffany, R.A. (British, 1733-1810).

Garrick was great alike in tragedy and comedy : hence
in the emblematic trophy below are introduced both the
tragic and the comic mask. In the actor's face the artist
has well caught an expression of momentarily suspended
mobility. This mobility made Garrick a difficult subject
to draw. He and his brother actor, Foote, went to
Gainsborough for their portraits; he tried again and
again without success, and dismissed them in despair :
" Rot them for a couple of rogues," he said ; " they have
everybody's faces but their own."

1198. Mr. Henry Byne.

Lemuel F. Abbott (British, 1760-1803).

1199. Madonna and Child.

Unknown (Florentine, I5th century).

1200. 1201. Groups of Saints.

Macrino d1 Alba (Lombard, painted about 1500).

1202. Madonna and Child.

Bonifazio, the elder (Venetian, died 1540).

Notice the significance of the incident in the middle
distance — a shepherd asleep, while a wolf is devouring a
sheep (" But the Good Shepherd giveth His life for the
sheep ").

1203. Madonna and Child.

Giovanni Bust, called Cariani (Bergamese, 1480-1541).
12O6. Landscape and Figures.

Salvador Rosa (Neapolitan, 1615-1673). See 84.

A good example of Salvator's scenic effects in landscape
— full of power, but deficient in close observation of
nature.

1207. The Hay Wain.

/. Constable, R.A. (British, 1776-1837). See 130.
The spot represented is the same as in 307, one looking
up, the other down the Stour. There is a freshness in
the landscape which explains what the French critics
said when this picture was exhibited at the Paris Salon :
" Look," they cried, " at these pictures by the Englishman.
The ground seems to be covered with dew."

1208. William Godwin (1756-1836).

/. Opie, R.A. (English, 1761-1807). See 784.
A portrait exactly corresponding to the written de-
scriptions of the great " philosophical radical " — the re-
markable man who, starting from Calvinism, ended in
free thought, and who, though advocating free love, was
himself the most passionless of men. " In person," says
S. C. Hall, in his Memories of Great Men, "he was
remarkably sedate and solemn, resembling in dress and
manner a dissenting minister rather than the advocate of
' free thought ' in all things."

1211, 1212. Fetes at the Marriage of the Marquis of
Mantua and Isabella d'Este.

Domenico Morone, called Pellacane (Veronese : born 1442, still
living 1508).

The scene in both is a tilt court, with its seat of honour
in the middle.

1213. Portrait of a Professor.

Gentile Bellini (Venetian, 1427-1507).

Gentile was the elder brother of Giovanni (see 189), and was
of high repute as a portrait-painter.

A portrait of Girolamo Malatini, Professor of Mathe-
matics in Venice (notice his brass compasses), who is
said to have taught Gentile and his brother Giovanni the
rules of perspective.

1214. Coriolanus, Volumnia, and Veturia.

Michele da Verona (Veronese, painted 1 500- 1 523).

Coriolanus, a noble Roman, so called from Corioli, a
city of the Volscians he had taken, bore himself haughtily,
and was banished. Nursing his revenge, he threw him-
self into the arms of the Volscians, and advanced at their
head upon Rome. The Romans, in terror, endeavoured
in vain to appease him, and at last sent out his wife,
Volumnia, with her child, here kneeling before him, and
his mother, Veturia (Volumnia in Shakespeare's play), to
intercede. In their presence the strong man gives way ;
he throws himself on his knee, and is restored once more
to human love.

1215. Madonna and Child.

Domenico Venesiano (died 1461).

1216. 1216a & b. The Fall of the Rebel Angels.

Spinello Aretino (Florentine, 1333-1410).

Fragments of a fresco saved by Sir A. H. Layard from

a ruined church at the artist's native city, Arezzo. Michael,

the archangel, with raised sword, is striking at the

• dragon ; his attendants, armed with spears and swords,

thrust down the demons.

1217. The Israelites Gathering Manna.

Ercole di Roberti Grandi (Ferrarese, 1450-1496).

1218. 1219. Joseph and his Brethren.

Francesco Ubertini, called II Bachiacca (Florentine, 1494-1557).

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1220. The Virgin and Child.

Andrea d' Assist, called VIngegno (Umbrian, painted about 1484).

1221. " Darby and Joan."

Abraham de Pape (Dutch, painted about 1650).

1222. A Study of Foliage, Birds, and Insects.

Melchior de Hondecoeter (Dutch, 1636-1695).

1223. Old Westminster Bridge.

Samuel Scott (British, died 1772).

1224. Portrait of Samuel Scott.

Thomas Hudson (British, 1701-1779).

Scott — being a marine painter — is represented hold-
ing a drawing or a print of a seapiece. Hudson was
Reynolds's first master.

GHIRLANDAJO. Portrait of a Girl.

1227. Virgin and Child.

Marcello Venusti (Florentine, died 1579).

1228. Titania and Bottom.

H. Fuseli, R.A. (British, 1741-1825).
The scene is from A Midsummer Nighfs Dream (Act
iv. Sc. i), where Titania, Queen of the Fairies, under the
spell of her husband Oberon's magic arts, takes the weaver
Bottom (to whom the mischievous elf Puck has given an
ass's head) " for her true-love." Titania hangs lovingly
over her hideous monster ; and the wood is filled with her
vassals— "The cowslips tall her pensioners be." They and
all the blossoms contain little fairies, some of them with
lovely baby-faces smiling from the flower-calyxes which
form their hoods. A little elf's face (Moth's) peers up
from the ground beneath a large moth which is its body.
The attendant fairies stand on either side behind Titania
and seem to look sadly on at her delusion.

1229. Virgin and Child.

Luis de Morales (Spanish, 1509-1586).

1230. Portrait of a Girl.

Domenico Ghirlandajo (Florentine, 1449-1494).
Domenico was the son of a goldsmith — Tommaso Bigordi del
Ghirlandajo — so called for his skill in making garlands, as the
head-dresses of gold and silver worn by Florentine maidens were
called. He was the first to introduce portraits into "historical"
pictures.

1231. Portrait of a Gentleman.

Sir Antonio More (Flemish, 1512-1578).

1232. Portrait of a Gentleman.

Heinrich Aldegrever (Westphalia n, born 1502, still living 1555).

1233. The Blood of the Redeemer.

Giovanni Bellini (Venetian, 1426-1516). See 189.

A picture of mediaeval mysticism such as is found in
many of our hymns : —

Come let us stand beneath His cross ;

So may the blood from out His side
Fall gently on us drop by drop :

Jesus, our Lord, is crucified.

Note the symbolism in the decoration of the wall. The
marble panels have bas-reliefs of satyrs and heathen divin-
ities celebrating pagan sacrifices ; a suggestive background
to the sacrifice which consecrated the religion of Christ.

1234. "A Muse Inspiring a Court Poet."

Dosso Dossi (Ferrarese, 1479-1542).

Dosso Dossi. " Muse inspiring a Court poet."

1238. Sir Samuel Romilly (1757-1818).

Sir T. Lawrence, P. R.A. (British, 1769-1830). See 129.
" Lawrence made coxcombs of his sitters," it has been
said. But the expression here — in its mingled benignity
and penetration — is worthy of the great lawyer by whose
eloquence and mild insistence the barbarity of our penal
code was first abated.

1239. The Judgment of Solomon.

Mocetto (Venetian, painted 1490-1514).

The king sits on a throne, on our right. On our left a
soldier with his left hand holds a child suspended in mid-
air. In the centre another soldier, kneeling, is about to
stab a child ; behind him is the outline of part of a figure,
doubtless of the mother, who has pounced upon the
executioner and stopped his weapon.

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1240. The Murder of the Innocents. Mocetto.

1241. Christ Preaching in the Temple.

Pedro Campana (Flemish-Italian, 1503-1580).
The kneeling figure of the Magdalen is conspicuous
among the women listeners ; she is encouraged by
Martha, who points to the preacher.

1242. Stirling- Castle.

Alexander Nasmyth (British, 1758-1840).

1243. Portrait of a Gentleman.

Unknown (Dutch School, I7th century).

1246. A House at Hampstead. Constable.

1247. The Card Players.

Nicolas Maas (Dutch, 1632-1693). See 207.
It is the turn of the girl to play. She regards her hand
in evident perplexity, doubtful which card to throw down.
The man is apparently sure of his game.

1248. Portrait of a Lady.

Bartholomeits van der Heist (Dutch, 1611-1670). See 140.

1249. Endymion Porter

William Dobson (British, 1610-1646).

Dohson, who has been called "the English Van Dyck,"
succeeded that artist as painter to Charles I.

Porter was Groom of the Bedchamber to Charles I., and
also the friend and patron of Ben Johnson, Herrick, and
other poets of the time ; hence the laurel-crowned bust
beside him.

1251. Portrait of a Man.

Frans Hah (Dutch, 1580-1666). See 1021.

FRANS HALS. Portrait of a Man.

A good example of the dash and facility of this painter's
work. It is signed with the painter's monogram, and
dated 1633.

1252. A Fruitpiece. Francis Snyders (Flemish, 1579-1657).

1254. View of Hyde Park Corner.

Unknown (British School, late i8th century).

This view is again looking east, and gives us the
aspect of the Corner before the alterations shown in 1253.

1255. A Study of Still Life.

Jan van de Velde (Dutch, painted about 1640).

1256. A Study of Still Life.

Herman Steenwyck (Dutch, date unknown).

1257. The Birth of the Virgin.

Murillo (Spanish, 1616-1682). See 176.

A sketch for a large picture of this subject now in the
Louvre at Paris. Notice the homeliness of the scene.
In the early Italian pictures the Virgin is a great lady,
living in a fine house or spacious cloister. But Murillo
combines his sentiment of ecstatic adoration with the
frank realities of a humble nursery.

1258. A Study of Still Life.

Jean B. S. Chardin (French, 1699-1779).

1259. Anne, Countess of Albemarle.

Sir Joshua Reynolds, P.R.A. (British, 1723-1792). See 79.

(Painted 1758.) A portrait of Lady Anne Lennox,
Countess of Albemarle, daughter of the first Duke of
Richmond and wife of William Anne Keppel, second
Earl of Albemarle. She was the mother of Reynolds's
friend, Admiral Keppel, whose likeness is also in the
Gallery (see XVI., 886).

1260-1270. Greek Portraits (2nd century A.D.)

These Greek or Grasco-Roman portraits were recently
discovered in excavations in the Fayoum (Middle Egypt).
They were affixed to the outside covering of mummies,
in a position corresponding to the head of a corpse. The
exact arrangement can be seen in two mummies from the
same " find " now in the British Museum. They are
painted on thin panels, with a medium apparently of wax.

1271. Marie-Auguste Vestris.

T. Gainsborough, R.A. (British, 1727-1785). See 683.
The portrait of an Italian dancer (1760-1842).

1272. The Cenotaph.

J. Constable, R.A. (British, 1776-1837). See 130.

A picture of the Cenotaph erected to the memory of
Sir Joshua Reynolds by Sir George Beaumont in his
grounds at Coleorton. The inscription for the Cenotaph
was written by Wordsworth.

1273. Flatford Mill, on the Stour. Constable.

One of Constable's earlier works, dated 1817. (For
illustration see page 17.)

1274. The Glebe Farm.

J. Ccmstable, R.A. (British, 1776-1837). See 130.

The spot depicted is the village of Langham, in Con-
stable's Suffolk country. One of the pictures on which
(said the artist) " I rest my little pretensions to futurity."
" It is one of my best in colour," he says elsewhere,
" fresh and bright, and I have pacified it into tone and
solemnity." This saying is very characteristic of the

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sentiment with which Constable painted nature — the
sentiment which Wordsworth interpreted when he wrote
(of a picture by Constable's friend and patron, Sir
George Beaumont) : —

Soul-soothing Art ! which Morning, Noon-tide, Even,
Do serve with all their changeful pageantry ;
Thou, with ambition modest yet sublime,
Here, for the sight of mortal man, hast given
To one brief moment caught from fleeting time
The appropriate calm of blest eternity !

1275. View of Hampstead. Constable.

It is interesting as showing the range of Constable's
skill, to contrast this view of Hampstead with the one
numbered 1236. There (as Leslie says) we almost need
a parasol as we look ; here, an umbrella.

1277. A Man's Portrait.

Nicholas Maas (Dutch, 1632-1693). 866153.

Signed and dated 1666. A singularly life-like portrait
of a singularly unattractive face.

1278. A Convivial Party.

Hendrik Gerritsz Pot (Dutch, about 1600-1656).

Notice the little dog who furtively licks the hand of its
half-tipsy master.

1280. Christ appearing to the Virgin Mary after His

Resurrection.

Unknown (Early Flemish, I5th century).

1281. Portrait of Mrs. Brocas.

Francis Cotes, R.A. (British, 1725-1770).

Cotes, a distinguished portrait painter of his time, was
an original member of the Royal Academy.

1282. San Zenobio.

Jacopo Chimenti of Empoli (Florentine, 1554-1640).

St. Zenobio (died A.D. 417) was a Bishop of Florence, famous
in his time for his eloquence and good works, and a favourite
saint with the Florentines in after ages. The following is the
legend painted in this picture: — "A French lady of noble
lineage, who was performing a pilgrimage to Rome, stopped at
Florence on the way, in order to see the good bishop Zenobio,
of whom she had heard so much, and having received his blessing
she proceeded to Rome, leaving in his care her little son. The
day before her return to Florence, trfe child died. She was
overwhelmed with grief, and took the child and laid him down
at the feet of St. Zenobio, who, by the efficacy of his prayers,
restored the child to life, and gave him back to the arms of his
mother" (Mrs. Jameson, Sacred and Legendary Art, p. 415).

1283. View of Dedham.

T. Gainsborough, R.A. (British, 1727-1788). See 683.

Dedham was also a favourite view with Constable, and it
is interesting to contrast the pictures by Gainsborough and
Constable severally of the same scenery — Gainsborough's,
mellow and tinged with melancholy ; Constable's, brighter
and fresher. Constable himself was often under the spell
of Gainsborough's sentiment. " I fancy," he once wrote
from this Suffolk country, "that I see Gainsborough in
every hedge and hollow tree." " The landscapes of
Gainsborough," he said in one of his Royal Institution
lectures, " are soothing, tender, and affecting. On look-
ing at them we find tears in our eyes, and know not
what brings them."

1284. St. Francis and St. Mark.

Antonio Vivarini (Venetian, died 1470).
A companion panel to 768.

1286. Boy Drinking.

Murillo (Spanish, 1618-1682). See 13.

MURILLO. Boy Drinking.

1287. Interior of an Art Gallery.

Dutch School (I7th century).

Forty-two pictures hang upon the walls of the "Art
Gallery," and the collection is very interesting as showing
the taste of a Flemish amatuer of the period. In addition
to these, there are globes, gems, maps, engravings,
nautical instruments, pieces of sculpture and other
"objects of virtue" — all painted with miniature - like
delicacy. Especially charming is an elaborately inlaid
cabinet with china and other " curios " upon it. The art
treasures are being eagerly scanned by several groups of
connoisseurs, whilst — with a touch perhaps, of satiric
intent — a monkey is perched on the window-sill, criticising
the critics.

1288. A Frost Scene.

Aart van der Neer (Dutch, 1603-1677).

1289. Landscape and Cattle.

Cuyp (Dutch, 1620-1691). See 53.

1290. Landscape.

R. Wilson, R.A. (British, 1714-1782). See 108.

1291. Assumption of the Virgin.

Juan de Valdes Leal (Spanish, 1630-1691).

Leal was the first President of the Academy at Seville. To
him some critics have assigned the " Dead Orlando " (741).

The donatrix of the picture and her son are shown in
either corner, while in the midst the Virgin ascends to
Heaven, surrounded by bands of angels.

1292. A Family Group.

Jan van Bylert (Dutch, 1603-1671).

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1293. Musical Pastime.

Jan Jliense Molenaer (Dutch, died 1668).

This picture is a capital example of the artist. " The
fair faces of the singers are very spontaneously expressive
of their gaiety, and have something of the animation of
Jan Steen without his vulgar types and occasional
grimace."

1294. An Allegorical Subject.

William -van de Poorter (Dutch, painted 1630-1645).

The subject is perhaps a " Vigil of Arms," and may
depict a knight or king passing the night before his
investiture in the seclusion of a private chapel.

1295. Madonna and Child, with Saints.

Girolamo Giovenone (Lombard, early i6th century).

1296. 1297. Landscapes.

Giuseppe Zais (Venetian, died 1784).

1298. River Scene.

Joachim Patinir (Early Flemish, died 1524).

A curious example of the fantastic landscape of the old
masters, with beetling crags and grottoes.

1299. Portrait of a Youth.

Domenico Ghirlandajo (Florentine, 1449-1494). See 1230.

1300. Virgin and Child.

Unknown (Milanese School, I5th-i6th century).

1301. Portrait of Girolamo Savonarola.

Unknown (Florentine School).

A portrait (less forbidding than most) of the great
patriot-priest of Florence (1452-1498), whose strange
career is familiar to all readers of George Eliot's Romola.
Ultimately he was condemned to death, with his two
disciples ; and on the back of the portrait is a representa-
tion of their execution. They were hung on a cross, and
burnt.

1302. The Soul of St. Bertin.

Simon Marmion (French, 1425-1489).

1303. A Choir of Angels. Marmion.
These two panels formed the uppermost portion of an

altar-screen painted for the Abbey Church of St. Bertin at
St. Omer.

1304. Marcus Curtius (?).

Unknown (Umbrian School, l6th century).

Marcus Curtius was a Roman youth who sacrificed
himself by leaping into a chasm which (said the oracle)
would never close until Rome threw into it the most
precious thing she had. What did Rome possess more
precious than her arms and courage, said Curtius as he
prepared to leap, in full armour, into the gulf. If this be
the subject here represented, the picture shows in an
interesting way the frank anachronism of the early
painters, for the local colour is certainly not that of the
Roman Forum, where Curtius took his self-sacrificing leap.
The picture bears strong resemblance to Raphael's earlier
manner, as any visitor will see who compares it with the
" Vision of a Knight" (213).

1305. A Family Portrait.

G. Donck (Dutch, painted 1636).

A portrait of Jan van Hernsbeeck and his wife, Marie
Koeck.

1306. Landscape. Thomas Barker (British, 1769-1847).

1307. Miss Caroline Fry.

Sir T. Lawrence, P.R.A. (British, 1760-1830). See 129.

1308. Portrait of a Man.

Juan Bautista del Mazo Martinez (Spanish, 1610-1687).

A portrait of one of Philip IV.'s Court dwarfs, by the
favourite pupil and son-in-law of Velazquez, whom he
succeeded as painter-in-ordinary to the Spanish Court.

1309. Portrait of a Young Man.

Bernardino Licinio (Venetian, painted 1528).

1310. "Ecce Homo!"

Cima (Venetian, 1460-1515

See 300.

This picture was sold as a Carlo Dolci, but there is no
resemblance whatever between the affected sentimentality
of that painter (934) and the sincere pathos of this
picture. If not by Bellini, it is perhaps by Cima da
Conegliano, with whose works in the same room the
picture may be compared by the visitor.

1311. A Winter Scene.

Jan Beerestraaten (Dutch, 1622-1687).

1312. The Village Cobbler.

Jan Victoors (Dutch, 1620-1672).

1313. "The Nursing of Hercules" or "The Creation of

the Milky Way."

Tintoretto (Venetian, 1518-1594). See 16.

A very beautiful representation of the Greek myth of
the Milky Way. Hermes, it is told, carried the child
Hercules to Olympus and put him to the breast of Hera
while she lay asleep ; but as she awoke, she pushed the
child from her, and the milk thus spilled produced the
Milky Way. The goddess is here shown half-rising from
her couch, surrounded by little loves, and attended by pea-
cocks— emblems of her royal state, as Queen of Heaven ;
while in the deep -blue firmament is the eagle carrying
the thunderbolt. From her bosom issue long lacteal jets
that seem, as it were, to crystallise into stars. This
picture, recently acquired from the Earl of Darnley's
collection, was doubtless designed for the centre-piece of
some painted ceiling, such as those in the Ducal Palace
at Venice, and is a magnificent example of Tintoretto's
sweeping harmonies.

1314. " The Two Ambassadors."

Hans Holbein, the younger (German, 1497-1543).

Hans Holbein, the younger, so called to distinguish him
from his father of the same name, who was also a celebrated
painter, is one of the great portrait-painters of the world. A
copy of his great work, in another kind, the "Madonna" of
Darmstadt, may be seen in the Arundel Society's collection in
the basement. He was also a designer for glass-painting and
an engraver. This picture, besides being a celebrated example
of his strong, unaffected portraiture, is very rich also in the
wealth of accessories which he loved to paint with the utmost
care. Holbein was a native of Augsburg ; he settled first at
Bale, and afterwards in England, where he was in the service of
Henry VIII., whose high opinion of him is recorded in the king's
rebuke to one of his courtiers for insulting the painter: "You
have not to do with Holbein, but with me ; and I tell you that of
seven peasants I can make seven lords, but not one Holbein."

The identity of the personages portrayed in this
celebrated picture had long been a subject for critical

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conjecture, and the most elaborate and ingenious theories
were constructed on the subject. Some of these were
referred to in the last edition of this Guide. The matter
has, however, now been finally settled by the discovery
of a seventeenth - century manuscript, which gives a
description of the picture and records its history during
the first 120 years of its existence. The portraits are of
Jean de Dinteville (on the left), French Ambassador in
England, and George de Selve (on the right), Bishop of
Lavaur, and subsequently Ambassador at Venice. Jean
de Dinteville wears the Order of St. Michael; on the
sheath of his dagger is his age, " ^ET. SWE 29." George
de Selve's age, "^ETATIS SWE 25," is inscribed on the
edges of a book upon which he leans. The accessories
are painted with " such strong minuteness of reality and
diligent, though never paltry, emphasis of detail, that
their due subordination to the whole and to the personages
would seem impossible. But the subordination is there
all the same, and how it comes is Holbein's secret. The
total effect is one of singularly rich, if somewhat rigid
grandeur ; the persons dominating as they should ; the
faces and hands remaining the master features of the
picture. The heads, with their hard gaze, lay hold on the
spectator masterfully, so that he cannot forget them after
he has passed away." The mysterious-looking object in
the centre of the foreground puzzled many generations of
connoisseurs. Standing about two feet from the picture, on
the right, in a line with its corner, look in the direction of
the object, and the puzzle will disclose itself. It is simply
the distorted projection of a human skull. Such pictorial
puzzles in perspective were not uncommon in Holbein's
time, and are referred to by Shakespeare. The skull
(hohl bezn, hollow bone) is perhaps introduced as a
punning signature of Holbein.

1315. Admiral Adrian Pulido Pareja.

Velazquez (Spanish, 1599-1660). See 197.

Pulido was a sea-captain who had distinguished himself
greatly at the siege of Fontarabia, in the war with France.
In the right hand he holds the admiral's staff. On his
breast is the scarf and decoration of the " Order of
Santiago," which Philip IV had bestowed upon him for
gallantry in the siege. The portrait is among the most
famous painted by Velazquez, on which account (adds an
old chronicler) he put his name to it, a thing he otherwise
seldom did. The king's appreciation of the painter's
skill is recorded in a well-known story : " Paying his
customary visit to the painter, Philip mistook the picture
for the admiral himself, and rebuked him for tarrying in
Madrid when he had been ordered away. Perceiving his
mistake, he addressed Velazquez with the words : ' I
assure you I was deceived.' ;)

"This, of course (says Mr. Colvin), is one of the com-
mon legends which abound in the art history of all
countries, from Greece to Japan ; but it is almost possible
to believe the tale when we look at the picture. Some-
thing of the rugged flashing power and fierce eagerness
of the sitter seems to have passed into the painter's hand,
and the method of execution he has chosen emphasises
and harmonises with the character of the subject. The
rude soldier-sailor in his handsome suit stands in bodily
and spiritual presence before us, and seems snorting with
impatience to be off to the fight once more."

1316. An Italian Nobleman.

Moroni (Bergamese, 1525-1578).

See 697.

Mr. Colvin says of this picture : " Dignity and direct-
ness of presentment, richness of quality and mellowness
of tone, with a colour-sense never more powerfully shown
than when the scheme is one of flesh-colour with simple
black and white on gray — these are the universal qualities
of Venetian portrait-painting. . . . This is a thoroughly
characteristic example in an excellent state. We already
possess a portrait by the same hand, composed of much

VELAZQUEZ. Admiral Pulido Pareja.

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the same elements (No. 1022) : a man in a close-fitting
black suit, showing chain-armour on the sleeves, a broken
column, a wall, and a glimpse of sky. The two will make
admirable pendants."

1317. The Marriage of the Virgin.

Unknown (Sienese, I4th or early I5th century).
The High Priest, clad in his sacred robes, stands
between St. Joseph and the Blessed Virgin, whose hands
he joins. Behind the Virgin are St. Anne and two other
women. On the left are four male figures, one of whom
(an unsuccessful suitor) breaks his staff, while that of
Joseph blossoms, and above its foliage hovers the Holy
Spirit in the form of a dove.

1318. "Unfaithfulness."

Paolo Veronese (Veronese, 1528-1588). See 26.
For this picture see under 1324.

1319. View in Rome.

Claude Lorraine (French, 1600-1682). See 2.

1320. 1321. A Man and his Wife.

Comelis Janssens (Dutch, 1590-1664).

This artist, called Janssens van Keulen, was in much
repute as a portrait-painter in England, where he was in
the service of King James I. The man here portrayed
is Aglonius Voon ; the woman (presumably his wife)
Cornelia Remoens.

1323. Piero di Medici.

Angela Bronzino (Florentine, 1502-1572).

A portrait of Piero, son of Cosimo the elder — surnamed
"II Gottoso," The Gouty — who died in 1469. Bronzino
was employed to paint the portraits of many members of
the Medici family. No. 704 is a contemporary portrait
of one of the later Dukes.

1324, 1325, 1326, and 1318. Moral Allegories.

Paolo Veronese (Veronese, 1528-1588). See 26.

VERONESE. "Respect."

These four pictures were originally — like the Tintoret
(1313)— decorations for a ceiling. The subjects go in
pairs, "Respect" (1325) being contrasted with "Scorn"
(1324), and " Unfaithfulness" (1318) with " Happy Union "

1327. A Winter Scene.

Jan Van Goyen (Dutch, 1596-1656).

1328. Westminster from the Thames.

Samuel Scott (British, died 1772).

The artist's standpoint was not far from the site of
Adelphi Terrace.

VERONESE. "Scorn."

1329. An Interior.

Qniryn Brakelenham (Dutch, 1625-1668).

1330. The Transfiguration.

Duccio (Sienese, 1260-1340). See 566.

1331. Virgin and Child.

Bernardino Fttngai (Sienese, 1460-1516).

1332. George, ist Earl of Berkeley.

G. Netscher (Dutch, 1639-1684).

The first Earl of Berkeley was one of the Com-
missioners nominated in 1660 to proceed to the Hague
to invite Charles to return to the Kingdom. In 1688,
after the flight of the King, he was one of the lords
assembled at the Guildhall to draw up the celebrated
declaration constituting themselves a provisional govern-
ment until such time as the Prince of Orange should
arrive.

1333. The Deposition from the Cross.

Tiepolo (Venetian, 1692-1769). See 1192.

1334. The Fortune Teller.

Pietro Longhi (Venetian, 1702-1*762). See iioo.

1335. The Madonna.

Unknown (French School, I5th century).

1336. The Death of Dido.

Liberate de Verona (Veronese, 1451-1535).

1337. "EcceHomo!" II Sodoma (Lombard, 1477-1549).
Probably part of a picture of Christ bearing His cross.

1338. Adoration of the Shepherds.

Bernhard Fabrititis (Dutch, painted 1650-1672).

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1339. The Nativity of St. John.

Bernhard Fab ritius (Dutch, painted 1650-1672).

1340. Landscape. Roeland Roghman (Dutch, 1597-1686).

1341. Landscape with Figures.

Cornelius Decker (Dutch, died 1678).

1342. Landscape.

J. de Wet (Dutch, I7th century).

1343. Amsterdam Musketeers on Parade.

Unknown (Dutch School, about 1650).

1344. A Landscape. Salomon Ruysdael (Dutch, 1600-1670).

A good example of one of the founders of the Haarlem
School of Landscape, uncle of the more famous Jacob Ruysdael
(see 627).

1345. Landscape. Jan Wouwerman (Dutch, 1629-1666).

1346. Winter Scene.

Hendrik van Avercamp (Dutch, 1585-1663).

A characteristically animated work by " the Mute of
Kampen " (Stomme van Kampen), as this painter was
called. He was born dumb, and documents are extant
in which his mother speaks of "her dumb and pitiable
son."

1347. Farmyard Scene.

Isaakvan Ostade (Dutch, 1621-1649).

1348. Landscape with Goat and Kid.

Adrian -van deVelde (Dutch, 1635-1672).

1349. 1350. Studies of Lions.

Sir E. Landseer, R.A. (British, 1802-1873). 866409.

LAKDSEER. Study of a Lion

Studies made in the Zoological Gardens by the artist
to aid him in modelling his lions for the Nelson monu-
ment in Trafalgar Square.

1351. Door of a Village Inn.

George Morland (British, 1763-1804). See 1030.

1352. Landscape. F. de Moucheron (Dutch, 1633-1686).

1353. Landscape with Satyrs.

Martin Ryckhaert (Flemish, 1587-1631).

[1354-1373. The twenty pictures represented by
these missing numbers have been lost to the National

LANDSEER. Study of a Lion.

Gallery by a curious chance. They included one of the
gems of the British School — " Lady Cockburn and her
children " by Sir Joshua Reynolds (illustrated in the last
edition of this Guide, No. 1365). In 1892 it was bequeathed
to the nation, together with nineteen other portraits of the
Cockburn and allied families, by Mariana Augusta, Lady
Hamilton, daughter of the late Sir James Cockburn. In
1899 the family of Lady Hamilton discovered that her
interest in the pictures was restricted to her life, and that
she had no power to dispose of them by will or otherwise.
The trustees, after taking legal advice, surrendered the
pictures, which had been dispersed between the National
Gallery, the National Portrait Gallery, and the Tate
Gallery. The " Lady Cockburn " passed into the collection
of Mr. Alfred Beit, at the price, it is said, of ,£22,000.
The other pictures were sold by auction in July 1900, and
fetched but small prices (.£800 in all). Wilson's " George
III. and Duke of York" (formerly No. 1364), being of
some historical interest, was bought by Messrs. Agnew
(for ^100), and by them presented to the National Portrait
Gallery. This curious story is not quite without precedent
in the annals of the National Gallery : see the notes on
Nos. 6 1 and 684. The latter picture — a Gainsborough —
removed under similar circumstances, ultimately returned
to the Gallery. Let us hope that a like happy fate is in
store for Reynolds's " Lady Cockburn."]

1374. Hogarth's Servants.

William Hogarth (British, 1697-1764). See 112.

This composition is manifestly those " studies of
servants," to which, in his "Anecdotes" of 1782 and
1785, Nichols refers as being then in the possession of
the painter's widow. " Some of his domestics had lived
many years in his service— a circumstance that always
reflects credit on a master. Of most of these he painted
strong likenesses on a canvas, still in Mrs. Hogarth's
possession."

1375. Christ in the House of Martha.

Velazquez (Spanish, 1599-1660). See 197.

The scriptural motive is here entirely subordinated.

1376. A Duel in the Prado (A Sketch). Velazquez.
Note that some of the figures in the foreground closely

resemble the group in "The Boar Hunt" (197).

1377. The Adoration of the Shepherds.

Savoldo (Brescian, about 1485-1548).

1378. An Interior with Figures.

Jan Steen (Dutch, 1626-1679).

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1380. Fruit and Flower Piece.

Jan Van Os (Dutch, 1744-1808).

1381. The Holy Women at the Sepulchre.

Francesco Mantegna (Padua, about 1470-1517).

1382. " Salvator Mundi."

John Jackson, R.A. (British, 1778-1831).

1383. " La Jeune Femme au Clavecin."

Jan Vermeer, of Delft (Dutch, 1632-1675).

" Vermeer is remarkable for the quality of light dis-
played in his interiors, in which he is not surpassed by
De Hooch himself. The present picture is a conspicuous
example of this quality, and of the cool general effect
which is peculiar to him." (Official Catalogue.)

1384. View in Hampshire.

P. Nasmyth (British, 1786-1831). See 380.

1386. Soldiers quarrelling over their Booty.

W. C. Dztyster (Dutch, 1599-1635).

1387. Players at Tric-trac. Duyster.
1390. A Sea-Piece.

Ruysdael (Dutch, 1628-1682). See 627.

An excellent example of Ruysdael's sea-pieces, in which
he was not surpassed by any painter of the time. The
view represented is the shore at Scheveningen.

1393. A Mediterranean Seaport.

Claude Joseph Vernet (French, 1714-1789).

1396. Mr. and Mrs. William Lindow.

George Romney (British, 1734-1802). See 312.

1397. An old Woman Sewing.

Unknown (Dutch School, 1 7th Century).

1398. Ippolita Torelli.

Sir C. L. Eastlake, P. R.A. (British, 1793-1865).

Ippolita Torelli was the wife of Baldassare Castiglione,
an Italian soldier, statesman, and poet (1478-1529). Left
in Mantua two years after her marriage, she is said to
have written, in Latin verse, to her husband (then at the
Court of Pope Leo X.), complaining that in his absence
her jewels — note the string of pearls which she holds
listlessly in her left hand — gave her no pleasure.

1399. Portrait of a Gentleman.

Gerard Terburg (Dutch, 1617-1681).

1400. Christ before Pilate.

Rembrandt (Dutch, 1606-1669). See 45.

1401. A Study of Still Life.

Pieter Snyers (Flemish, 1681-1752).

1402. 1403. The Laundry Maids.

H. R. Morland (British, 1730-1797).

Henry Robert Morland was the son of George Henry
Morland, who was also an artist, and the father of the famous
George Morland (see 1030). These are fancy portraits of
ladies in the costumes of ladies'-maids of the last century.

1404. Portrait of James Northcote, R.A.

J.Jackson, R.A. (British, 1778-1831).
1406. The Annunciation.

Fra Angelica (Florentine, 1387-1455). See 663.

" In San Francesco, without the gate of San Miniato,
Fra Giovanni painted an Annunciation " : so writes

Vasari in his life of the painter (ii. 29) ; and this, it has

been suggested, is the picture described, which has

hitherto been supposed to be among the master's lost
works.

1408. Portrait of a Boy.

John Opie, R.A. (British, 1761-1807).

1409. The Marriage of St. Catherine.

Andrea Cordelle Agii (Venetian, School of Bellini).

141 0. Virgin and Child.

Ambrogio Borgognone (Lombard, about 1455-1523).

1411. A Diptych.

Ercole de" Roberti Grandi (Ferrarese, 1450-1496).

On the left the Adoration of the Shepherds. On the
right the dead figure of Christ, with St. Jerome and St.
Francis in the middle distance receiving the stigmata.
In the background the crucifixion.

1412. Virgin and Child, with St. John.

Filippino Lippi (Florentine, 1457-1504). See 293.

1413. Mr. Philip Sanson.

Sir T. Lawrence, P. R.A. (British, 1769-1830). See 129.

1414. Philip Sanson, Junr., when a Child.

Richard Westall, R.A. (British, 1765-1836).

1415. Portrait of a Lady.

Gerard D oil (Dutch, 1613-1675). See 192.

1416. Virgin and Child, with Saints.

Filippo Mazzola (Parmese, died 1505).

This picture is in its original frame, of early cinque-
cento pattern, richly carved, gilt, and painted.

1417. The Agony in the Garden.

A. Mantegna (Paduan, 1431-1506). See 274.

A celebrated picture (painted in 1459 for Giacomo
Marcello, Podesta of Padua), and a specially interesting
acquisition to our gallery, — first, as belonging to an
earlier period of the master than his other important
works here ; and, secondly, for its strong family likeness
to the picture of the same subject by his brother-in-law,
Giovanni Bellini, which hangs in the preceding room
(No. 726). The picture has been described as "a
marvellous combination of the fantastic and the realistic" ;
note for curious details the rabbits and storks, and the
cormorant on the withered tree.

1418. St. Jerome in his Study.

Antonello da Messina (Venetian, 1444-1493). See 673.

It is interesting to compare this picture with the
version of the same subject in this room attributed to
Bellini (694). Observe here " the lion walking along the
cloister, holding up a suffering paw, and the puss curled
up on a platform at the saint's feet. Evidently this St.
Jerome was a lover of animals, and, like Canon Liddon,
more especially of cats."

1419. The Legend of St. Giles.

Unknmvn (Flemish School, I5th Century).

"St. Giles, patron saint of Edinburgh, and of woods,
cripples, lepers, and beggars, was an Athenian prince
revered for his miraculous gifts. Having healed a sick
man whom he found in a church by laying his cloak over
him, and fearing danger to his soul from the fame which
this event obtained him, he withdrew to a solitary cave,
where he lived as a hermit, nourished only by wild herbs
and the milk of a doe which had followed him. One day

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the King of France, hunting near this retreat, shot the
doe, and, pursuing it, came upon the aged hermit holding
in his arms the doe, which was pierced by the arrow
through his hand. The King, seeing he was a man of
God, begged forgiveness, and wished to persuade St.
Giles to return with him ; but he refused to quit his
soLtude, and remained in the cave till his death."

1420. A View of Haarlem.

Gerrit Berck-Heyde (Dutch, 1638-1698).

1421. A Terrace Scene.

Jan. Steen (Dutch, 1626-1679).

1422. The Holy Family.

Eustache Le Sueur (French, 1616-1655).

Le Sueur, sometimes styled " the French Raphael,"
was the son of a wood-carver at Paris, and became one
of the original members of the French Academy. This
little picture is a good example of the painter's character-
istics—with its somewhat crude colour, but considerable
gracefulness, especially in the figure of the Virgin.

1423. Portrait of a Lady.

Jan. A. Ravesteijn (Dutch, 1572-1657).

1424. Tobias and the Angel.

Adam Elsheimer (German, 1578-1620;.

1425. Portrait Group. Le Nain (French, 1588-1648).

1427. The Dead Christ : A Pieta.

Hans Baldung (German-Swabian, 1476-1545).

" The Virgin's mouth is drawn convulsively down in
the manner usual in the pictures of this school. On
our right is St. John. Behind the group is Joseph of
Arimathea. Behind, God the Father appears, robed in
blue under a red mantle, and holding across His knees
the drooping corpse of the Redeemer."

1429. The Rotunda at Ranelagh.

Canaletto (Venetian, 1697-1768). See 127.

The interior of the Rotunda in Ranelagh Gardens (at
Chelsea), which were opened as a rival to Vauxhall in
1742. "When I first entered Ranelagh," said Dr. John-
son, "it gave me an expansion and gay sensation in my
mind such as I never experienced anywhere else." The
dining boxes under the arcade on the ground level are
shown in the picture, as well as the orchestra, the
musicians, and the numerous gaily-dressed promenaders.

1430. Architectural Subject with Figures.

Domenico Beccafwni (Siamese, 1486-1551).

Probably intended as a fantastic treatment of the visit
of the Queen of Sheba to King Solomon, or of Esther
before Ahasuerus.

1431. The Baptism of Christ.

Perngino (Umbrian, 1446-1523). See 288.

1432. The Marriage of St. Catherine.

Gerard David ( Early Flemish, about 1460-1523).

This picture, like the other in the Gallery by the same
painter (No. 1045), was painted for the Collegiate Church
of St. Donatian at Bruges. The details of the picture
are carried out with marvellous care and finish. The
expression of the figures is, however, hardly so animated
or idealised as in No. 1045. For the subject, see 249.
In front of St. Catherine kneels the donor of the picture,
Richard de Visch van der Capelle, Canon and Cantor of
the Church ; he is accompanied by his greyhound, on

whose collar is a shield bearing the Canon's arms.
Before him, on the floor, lie a Breviary of blue velvet and
his precentors staff. The workmanship of this staff is a
good instance of the painter's minute precision.

1433. Portrait of a Lady.

Unknown (Flemish School, I5th Century).

1434. A Betrothal.

Velazquez (Spanish, 1599-1660). See 197.

An unfinished picture once in the possession of Sir
Edwin Landseer, and presented to the Gallery by Lord
Savile. It is believed to represent a betrothal in the
family of Velazquez himself. If this surmise be correct,
the principal male figure would be Velazquez as a Knight
of the Order of Santiago, the red cross of which, though
half concealed, is seen on his cloak. The picture is the
last ever painted by Velazquez.

1435. Colonel Bryce M'Murdo.

Sir Henry Raeburn, R.A. (British, 1756-1823). See 1146.

1436. The Vision of St. Eustace.

Vittore Pisano (Veronese, 1380-1456). See 776.

" The minute but unobtrusive finish of the picture is,"
says the Official Catalogue, " astonishing. Of the coats
of the horse, dogs, stag, and other wild animals intro-
duced every hair is drawn ; and of the wild birds, every
feather ; nor are they less remarkable for the beauty of
the drawing and the admirable character displayed, in
which it may be truly said this painter has never been
excelled."

St. Eustace, whose name before his conversion was Placidus,
was a Roman soldier, a captain of the guards in the reign of the
Emperor Trajan. He was a great lover of the chase, and "one
day, while hunting in the forest, he saw before him a stag of
marvellous beauty. He pursued it eagerly, and the stag fled
before him, and ascended a high rock. Then Placidus, looking
up, beheld, between the horns of the stag, a cross of radiant
light, and on it the image of the crucified Redeemer ; and being
astonished and dazzled by this vision, he fell on his knees, and a
voice, which seemed to come from the crucifix, cried to him,
and said, ' Placidus ! why dost thou pursue Me ? I am Christ,
whom thou hast hitherto served without knowing me. Dost
thou now believe ? ' And Placidus fell with his face to the
earth, and said, ' Lord, I believe ! ' And when he looked up
again the wondrous vision had departed. And he returned to
his house and was baptized with his wife and children."

1437. The Descent of the Holy Ghost.

Barnaba da Modena (painted about 1365).

1438. Head of St. John the Baptist.

Unknown (Lombard School, i6th Century).

1439. Fishing in the River.

S. Ruysdael (Dutch, 1600-1670).

1440. St. Dominic.

Giovanni Bellini (Venetian, 1427-1516). See 189.

The portrait of a monk (on the parapet is an in-
scription recording that it is a likeness of Brother
Theodore of Urbino) in the character of St. Dominic.
He wears the Dominican robe, and the name of the
saint is inscribed on the label of the book which he
holds, and carries the usual attributes of the saint, the
lily and a book (on the label of which are the words
" Sancts Dominies"). The inscription is dated 1515, so
that if genuine this must be one of the painter's last
works.

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BELLINI. St. Dominic.

1441. The Adoration of the Shepherds.

Perugino (Umbrian, 1446-1523). See 288.

This fresco from the church at Fontignano, near
Castello della Pieve, was left unfinished when the painter
died there in 1523, in his 77th year; it is believed to be
his last work.

1442. Ships in a Gale.

Bakhuizen (Dutch, 1631-1708). See 204.

1443. Interior of a Church.

H. Steenwyck (Flemish, 1580-1649).

1444. Peasants warming themselves.

Gerard von Honthorst (Dutch, 1590-1656).

1445. 1446. Studies of Flowers.

Rachel Ruysch (Dutch, 1664-1750).

1447. A Hunting Party.

Adam Frans van der JMezilen (Flemish, 1632-1694).

1448. A Village Green in France.

Francois S. Bonvin (French, 1817-1888).

1449. Cardinal Richelieu.

Philippe de Champaigne (French, 1602-1674).

Compare the portraits of Richelieu by the same
painter, No. 798.

1450. The Holy Family.

Sebastiano del Pionibo (Venetian, 1485-1547). Seel.

1451. Interior of a Church.

Gerrit Berck-Heyde (Dutch, 1638-1698).

1452. Landscape, with a Gentleman holding his Horse.

George Stitbbs, A.R.A. (British, 1724-1806).

1453. Covent Garden and St. Paul's Church.

B. Nabot (British School, i8th Century).

An interesting view of Covent Garden as it was in the
middle of the last century (the picture is dated 1737).
On the right is the piazza and the building afterwards
known as " Evans's."

1454. A Gondola. Francesco Guardi (Venetian, 1712-1793).

1455. The Circumcision.

Giovanni Bellini (Venetian, 1426-1516). See 189.

1456. Virgin and Child, with Angels.

Unknown (Italian School, I5th Century).

1457. Christ driving the Traders out of the Temple.

Domenico Theotocopuli (Spanish, 1548-1625).

1458. A Galiot in a Gale.

/. S. Cot man (British, 1782-1842).

1459. Portrait Group.

Gerbrand van den Eeckhout (Dutch, 1621-1674).

A group of the four chiefs of the wine guild of Amster-
dam seated in conversation over some deeds : formerly
known as " The Wine Contract."

1460. Smugglers on the Irish Coast.

Julius C/zsar Ibbetson (British, 1759-1817).

1461. St. Sebastian.

Matteo di Giovanni (Sienese, 1435-1495).

1462. Sea-piece with Shipping.

Hendrik Dubbeh (Dutch, 1620-1676).
1464. Gate of Calais.

William Hogarth (British, 1697-1764). See 112.

A reminiscence of Hogarth's journey to France in
1748. The picture was engraved under the title "The
Roast Beef of Old England," and Hogarth gives the
following account of it : —

The first time an Englishman goes from Dover to Calais, he
must be struck with the different face of things at so little a
distance. A farcical pomp of war, pompous parade of religion,
and much bustle with very little business. To sum up all,
poverty, slavery, and innate insolence, covered with an affecta-
tion of politeness, give you even here a true picture of the
manners of the whole nation ; nor are the priests less opposite
to those of Dover than the two shores. The friars are dirty,
sleek, and solemn ; the soldiery are lean, ragged, and tawdry ;
and, as to the fish-women, their faces are absolute leather. As
I was sauntering about and observing them near the gate which
it seems was built by the English, when the place was in our
possession, I remarked some appearance of the arms of England
on the front [of the gate]. By this, and idle curiosity, I was
prompted to make a sketch of it, which being observed, I was
taken into custody ; but, hot attempting to cancel any of my
sketches or memorandums, which were found to be merely
those of a painter for his private use, without any relation to
fortification, it was not thought necessary to send me back to
Paris. I was only closely confined to my own lodgings, till the
wind changed for England ; where I no sooner arrived than I
set about the picture — made the gate my background, and, in
one corner, introduced my own portrait [he is sketching on the
left], which has generally been thought a correct likeness, with
the soldier's hand upon my shoulder. By the fat friar, who
stops the lean cook that is sinking under a vast sirloin of
beef, and two of the military bearing off a great kettle of soup
maigre, I meant to display to my own countrymen the striking
difference between the food, priests, soldiers, etc., of two
nations so contiguous that in a clear day one coast may be seen
from the other. The melancholy and miserable Highlander,

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browsing on his scanty fare, consisting of a bit of bread and an
onion, is intended for one of the many that fled from his
country during the rebellion in 1744 [sic for 1745]-

1465. Christ rising from the Tomb.

Gaudenzio Ferrari (Lombard, 1481-1549)-
An unimportant work by one of the most important of
the Lombard painters. His best works are to be seen at
Varallo.

1466. The Walk to Emmaus.

Lelio Orsi (School of Correggio, 1511-1586).

1467. Landscape, with a view of Oxford.

Robert Ladbrooke (British, 1770-1842).

1468. The Crucifixion.

Spinello Aretino (Florentine, about 1333-1410).

A picture some 500 years old, in excellent preserva-
tion, retaining its bright colours and the varied expres-
sions of the faces. It is in its original frame.

1469. Still Life. W. K. Heda (Dutch, 1594-1678).

1470. A Battle Scene. Jacob Weier (German, died 1670).

1471. The Picnic (" Marienda Campestre").

Francisco Goya (Spanish, 1746-1828).

1472. "The Bewitched." Goya.

A scene from a play (" El hechizado por fuerza "),
showing a player on the stage, dressed as a padre in
complete black, and in the act of pouring oil into a lamp
which is held by an obsequious demon, while a team of
ghostly and affrighted mules are rearing in the back-
ground. Goya, who has been called the Hogarth of
Spain, specially delighted in satirising the clergy, whose
enchantments and incantations he parodied, and whom
he was fond of portraying in the form of asses or apes.

1473. Portrait of Dona Isabel Cobos de Porcel.

Goya.

1475. The Calm : A Sea-shore Scene.

Charles Brooking (British, 1723-1759).

1476. Jupiter and Semele.

A ndrea Schiavone (Venetian, 1522-1582).

This picture was formerly in the possession of Lord
Leighton.

1478. The Crucifixion.

Giovanni Mansueti (Venetian, born about 1450).

1479. A Winter Scene on the Ice.

Hendrik van Avercamp (Dutch, 1586-1663).

1480. His own Portrait.

Gilbert Stuart (American, 1754-1828).

1481. A Philosopher.

Cornells Pietersz Bega (Dutch, 1620-1664).

1482. Miss Gainsborough.

T. Gainsborough, R.A. (British, 1727-1788). See 684.
A brilliant portrait, in fine condition, of the artist's
daughter Margaret.

1483. Two Dogs: "Tristram" and "Fox."

Gainsborough.

Tristram and Fox were two pet dogs in the Gains-
borough household.

1484. Study of an Old Horse. Gainsborough.

" The structure, the character of the poor old beast who
has seen so much service are put before the beholder with
such authoritative skill, and yet with so much economy of
means, that any elaboration would, he is made to say, be
worse than superfluous. Here, as in the pictures of dogs,
an inborn sympathy with the brute world is made manifest
in the most unaffected fashion " (Claude Phillips).

1485, 1486. Landscapes.

Gainsborough.

1487. Portrait of T. Gainsborough, R.A.

/. Zojfany, R.A. (British, 1733-1810).

1488. Rustics with Donkeys (Study).

T. Gainsborough, R.A. (British, 1727-1788).

1489. 1490. Portraits of Venetian Senators.

(Venetian School, i6th century).

Transferred from the South Kensington Museum,
where the portraits were attributed to Tintoret.

1491. Portrait of a Lady.

Attributed to Allan Ramsay (British, 1713-1784).

1494. A Yeoman of the Guard.

SirJ. E. Millais, Bart., P.R.A. (British, 1829-1896).

Sir John Everett Millais, the most popular and perhaps the
greatest British artist of our time, was born at Southampton,
his father being a native of Jersey. He showed the most extra-
ordinary precocity in drawing. In 1848 the famous Pre-Raphaelite
brotherhood was founded, Millais being one of the members.
Millais's Pre-Raphaelite productions were received by the critics
with the most virulent abuse. They found, however, an ardent
champion in Mr. Ruskin, who extolled the knowledge of nature
shown by Millais as comparable to that of Turner, and his
" exhaustless invention" as unsurpassed by " even the greatest
men of old times." Some of his earlier works may be seen
at the Tate Gallery. Gradually the stringency of the Pre-
Raphaelite school was relaxed in the case of Millais into a
broader style, of which the splendid and varied fruits — alike in
landscape, in portraiture, and in dramatic or poetical genre — are
known to all picture-lovers of the time.

This picture, exhibited at the Royal Academy in 1877,
is celebrated alike for its motive, which has made it a
popular favourite, and for its brilliant technique. The
yeoman of the guard, or " beefeater," — a veteran of
Waterloo, with medals and clasps upon his breast, —
wears the gorgeous state dress of the corps, with the
royal initials and emblems in gold embroidery. The
ribands with which the quaint cap of black velvet is bound
contrast, in their showy tints, with the faded features
and hollow contour of the old man's face, and with his
seared and serious eyes. He holds a staff firmly in one
hand, and a packet of papers in the other. He sits
awaiting orders to go on his last long journey, doing his
duty the while in this world. From the technical point
of view the picture is famous as a study in scarlet.
Millais has rendered this unmitigated blaze of red with
extraordinarily powerful effect — and, indeed, he excels in
such daring attempts.

1495. Christ disputing with the Doctors.

Mazzolino (Ferrarese, 1480-1528).

1496. Portrait of Edmund Butts.

John Bettes (British, died 1570).

1497. Rabbiting.

George Morland (British, 1763-1804).

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1651. Portrait of Mrs. Mark Currie.

George Romney (British, 1734-1802)-. See 312.

" The face in its cloud of hair is one of the most
exquisite examples of Romney's favourite type."

1652. Portrait of a Lady.

Unknown (British School, l6th century).

1653. Portrait of Herself.

Madame Vigi*e Le Brun (French, 1755-1842).

MADAME VIGEE LE BRUN'. Portrait of Herself.

This portrait, painted by the artist in her twenty-seventh
year, was done in emulation of the celebrated " Chapeau
de Faille " of Rubens (see No. 852). It was so much
admired that she was in the following year elected a
member of the French Academy. Her beauty and social
charm gained for her many friendships, and she was a
favourite of Queen Marie Henriette. As a portrait-
painter, she aimed rather at an ideal of soft and smiling
beauty than at realism. She excelled in rendering the
candour of innocence, the charm of childhood, and
maternal tenderness.

1654. Portrait of Mr. Russell Gurney.

G. F. Watts, R.A. (British, born 1817).
The late Mr. Russell Gurney was for many years
Recorder of London.

1658. A Landscape. George Lambert (British, 1710-1765).

1660. Portrait of Himself.

Adrian Van der Werff (Dutch, 1659-1722).

1661, 1662. Angels.

Ambrogio de Predis (Milanese, about I5°°)'

These pictures were the side-wings of the altar-piece of
which the "Vierge aux Rochers" (1093) formed the
central portion.

1663. Portrait of his Sister (Mrs. Salter).

William Hogarth (British, 1697-1764). See 112.

1664. "The Fountain."

fean B. S. Ckardin (French, 1699-1779).
A woman drawing water from a copper.

1665. Portrait of a Young Man.

Ambrogio de Predis (Milanese, about 1500).

1666. The Right Hon. William Ewart Gladstone.
Sir/. E. Millias, P. R.A. (British, 1829-1896). See 1494.

This portrait — one of the finest of Millais's works, and
the best portrait of the great statesman ever painted —
was presented to the National Gallery shortly after Mr.
Gladstone's death by Sir Charles Tennant, Bart. It was
painted during the Eastern Crisis in 1879, at a moment
when Mr. Gladstone was thinking (says an intimate friend)
"what a terrible sin would be committed if England
was to go to war for the Turks." The picture shows
Mr. Gladstone "in one of his tenderer and more sympa-
thetic moods, when pity rather than fight seems to fill
his mind."

1667. Lady and Child.

George Romney (British, 1734-1802). See 312.

1668. Sketch of Lady Hamilton. Romney.

This should be compared with another portrait by the
same painter, 312.

1669. Lady Craven. Romney.

A capital portrait, in Romney's earlier and more careful
style, of a lady celebrated for her beauty and her plays.
On the death of her husband, the Earl of Craven, she
married the Margrave of Anspach.

1670. Mr. James P. Johnstone.

Sir William Beechey, R.A. (British, 1753-1839).

1671. Mr. Alexander P. Johnstone. Beechey.

1674. A Burgomaster.

Rembrandt (Dutch, 1607-1669). See 43.

REMBRANDT. A Burgomnster.

HALF HOLIDAYS AT THE NATIONAL GALLERY

1675. An Old Lady Rembrandt.

These two portraits are fine examples of Rembrandt's
work-in its later manner. The so-called " Burgomaster"
is probably only a model, dressed up by Rembrandt in
the curious turban, and holding the knotted stick, which
so often figure in his portraits of this period. The " Old
Lady" is a more individual portrait, and is full of the
pathos with which Rembrandt invested old age.

REMBRANDT. Portrait of an Old Lady.

1676. Christ disputing with the Doctors.

Francesco de Herrera, the elder (Spanish, 1576-1656).

1680. Portrait of a Young Man.

Dutch School (I7th century).

1681. View of- St. Paul's from the Thames.

Unknown (British School, l8th century).

A sunny afternoon on the river. Beyond Blackfriars
Bridge is seen St. Paul's, with several of the city churches,
the Monument, and the Tower.

1682. Virgin and Child.

Francesco di Giorgio (Sienese, 1439-1502).

A quaint little picture representing the Virgin leading
the Infant Saviour by the hand.

1683. Study of a Horse.

Cnyp (Dutch, 1620-1691). See 53.

1689. A Man and Wife.

Unknown (Flemish School, about 1500).

1694. Virgin and Child with St. John.

Fra Bartolommeo (Florentine, 1475-1517).

Bartolommeo di Pagholo del Fattorino, one of the greatest of
the Florentine masters, is commonly known as Baccia della

Porta, or Fra Bartolommeo. His religious spirit had been
profoundly impressed by Savonarola's preaching. Fra Barto-
lommeo's pictures "sum up," says Ruskin, "the principles
of great Italian religious art in its finest period, — serenely
luminous sky, — full light on the faces ; local colour the dominant
jpower over a chiaroscuro more perfect because subordinate ;
absolute serenity of emotion and gesture ; and rigid symmetry
in composition." And elsewhere he speaks of "the precious
and pure passages of intense feeling and heavenly light, holy and
undefiled, and glorious with the changeless passion of eternity,
which sanctify with their shadeless peace the deep and noble
conceptions of the early school of Italy — of Fra Bartolommeo,
Perugino, and the early mind of Raffaelle." These character-
istics are noticeable in the present picture, which, in spite of
some repaintings, remains a characteristic example of the master's
earlier style.

1695. Landscape with Nymphs.

Venetian School (early 1 6th century).

1696. Madonna and Child.

Giovanni Bellini (Venetian, 1426-1516). See 189.
A fragment of a fresco.

1699. The Lesson.

Ascribed to yaw Vermeer of Delft (Dutch, 1632-1675). See 1383.

A " symphony in black and white " ; cool in effect,
almost to the point of austerity and chilliness. The master
turns in expectation to the pupil as much as to say," Come,
don't you know?" The pupil is ready with his answer,
and seems to appeal for encouragement : " That is right,
is it not ? " There is a severe absence of details ; every-
thing is made to contribute to the colour scheme.

1700. Portrait of a Gentleman.

Unknown (Dutch School, 171)1 century).

1701. Landscape •with Watermill.

Allart van Everdingen (Dutch, 1612-1675).

1776. The Adoration of the Shepherds.

Ltica Signorelli (1441-1523). See 1128.

1779. River Scene with Ruins.

R. Wilson, R.A. (British, 1714-1782). See 108.

1810. Portrait of a Boy.

Francois Ditchatel (Flemish, 1616-1694).

1811. The Painter's Daughters.

T. Gainsborough, R.A. (British, 1727-1788). See 683.

1812. The Agony in the Garden.

Ascribed to Lo Spagna (Umbrian, painted 1503-1530).

The figure of the Saviour is similar to that in No. 1032.
By some this picture has been attributed to Raphael.

1813. View on Hampstead Heath.

J. Constable, R.A. (British, 1776-1837). See 130.

One of several sketches by this painter which the
Gallery owes to the late Mr. Henry Vaughan, who also
presented the " Hay-Wain" (1207).

1814. Salisbury. Constable.

Rough sketch for one of Constable's favourite subjects.
His principal picture of Salisbury, exhibited at the Royal
Academy in 1823, is now in the South Kensington
Museum.

HALF HOLIDAYS AT THE NATIONAL GALLERY

1815. Summer Afternoon.

1816. The Mill Stream.

1817. The Gleaners.

1818. Views at Epsom.

1819. Stoke-by-Neyland.

1820. Dedham.

1821. A Country Lane.

1822. Dedham Vale.

1823. The Glebe Farm.

Constable.
Constable.
Constable.
Constable.
Constable.
Constable.
Constable.
Constable.
Constable.

A second version of one of Constable's pet subjects.
His best picture of the subject, and one of his most perfect
works, is also in the National Gallery (No. 1274), and it
is very interesting to compare the two versions. The
picture now before us is rougher and less mellow in tone
than the other.

1824. Landscape : A Sketch. Constable.

1825. Classical Landscape.

T. Gainsborough, R.. 4. (British, 1727-1788). See 683.

1826. Portrait of the Painter.

/. Opie, R.A. (British, 1761-1807).

1827. A Nymph Sleeping.

T. Stothard, R.A. (British, 1755-1834). See 317.

1828. View in Sussex.

P. Nasmyth (British, 1786-1831). 866380.

1829. Sans Souci. S tot hard.

1830. Shakespeare Characters. Stothard.

Conspicuous among the characters represented are
Malvolio, in his yellow stockings, Falstaff, Lear and
his daughters, Hamlet and Ophelia, and Macbeth.

1831. Brathey Bridge, Cumberland.

John Crome (British, 1769-1821).

1832. Cupid Bound to a Tree.

1833. Lord W. Russell.

See 689.
Stothard.
Stothard.

Lord Willi mi Russell, who was accused of being con-
cerned in the Rye House plot, was executed on July 21,
1683, in front of his father the Earl of Bedford's house in
Lincoln's Inn Fields. "Russell," says Macaulay, "who
appears to have been guilty of no offence falling within the
definition of high treason, was beheaded in defiance of
law and justice. He died with the fortitude of a Christian."
He is here shown taking leave of his wife and children.

1834. Study for a Figure of " Horror."

SirJ. Reynolds, P. R.A. (British, 1723-1792). See 79.

A study made by Sir Joshua of himself for the figure
representing Horror in his large picture of Mrs. Siddons
as the Tragic Muse.

1835. Romeo and Juliet. Slothard.

1836. A Lady Reclining. Stothard.

1837. Portrait of Mrs. H. W. Lauzun.

Sir H. Raeburn, R.A. (British, 1756-1823). See 1146.

1840. The Marlborough Family. Reynolds.

A sketch for a large picture at Blenheim, painted in
1777, of the family of the third Duke of Marlborough.

1841. Fishing on a Mere.

Sir A. W. Callcott, R.A. (British, 1779-1844).

1842. Heads of Angels (fresco).

Tuscan School (i5th century).

PICTURES DEPOSITED IN THE GALLERY
ON LOAN.

In various rooms there are pictures which do not
belong to the National Gallery, but which have been
deposited there on loan by their owners. Of these the
the most important is : —

Lent by the Duke of Norfolk.
Denmark,

In ROOM XI

Christina o

Duchess of Milan.

Hans Holbein (German,
I497-I543)- See 1314.

Among Holbein's duties
as painter to Henry VIII.
was that of taking por-
traits of the ladies whom
he proposed in turn to
wed. After the death of
Jane Seymour the first
favourite was the lady
before us, the young
widow of the Duke of
Milan. Holbein was de-
spatched to paint her por-
trait, and she gave him
a sitting of three hours
only at Brussels. It was
she who is said to have
replied "that she had
but one head, but that
if she had .two, one should
be at the service of his
Majesty " (see Froude's
History of England, ch.
xv.).

SKETCHES, WATER-COLOUR DRAWINGS,
COPIES, ETC.

In a small room between Galleries xii. and xiii., are
hung some drawings by Rubens and Van Dyck. In a
corresponding room between Galleries xxi. and xxii., are
drawings by Gainsborough, Blake, and other British
artists.

The visitor should on no account miss seeing the
magnificent collection of Turner's water-colours. This
collection is now arranged in the ground-floor rooms in
the East Wing of the Gallery, reached by a few steps on
the left of the entrance hall. Among the more celebrated
of the drawings are 73 water-colours in brown, being the
greater portion of the original drawings made by the
artist for his so-called Liber Studiorum, or " Book of
Studies," in imitation of Claude's Liber Veritatis, or
" Book of Truth." The subjects of some of these
drawings are the same as those of some of the artist's
pictures upstairs. The collection of drawings in the
cabinets in this room is varied every few months. A cata-
logue of these drawings, "cast into progressive groups
with explanatory notes," has been written by Mr. Ruskin,
and may be had of the attendant in the room (price 8d.).

In other rooms on this basement are further collec-
tions of Turner's sketches and drawings, and in one
room on the East Wing.

On the ground-floor on the WEST WING are hung four
collections of Copies from Old Masters. The Arundel
Society's Collection is of the highest interest to all
students of Italian art.

HALF HOLIDAYS AT THE NATIONAL GALLERY

INDEX OF PAINTERS

N.B. — The painters are given in alphabetical order, and are cited by the names by which they are most generally
known. In the case of names like "Andrea del Castagno" they are cited by the latter portion. Dutch and
Flemish painters are cited by their surnames, irrespective of the prefixes " van " and " de."

The numbers after each painter's name refer to the pictures by him in the Gallery ; whilst the Roman numerals
(I. -XXII.) refer to the Room in which each picture is (at the time of the publication of this edition) to be found.

ABBOTT, L. F. , xviii. 1198.
AGII, A. C. , vii. 1409.
ALBERTINELLI, i. 645.
ALDEGREVER, H., xv. 1232.
ALLORI, i. 21.

ANGELICO, Fra, ii. 582, 663, 771, 1406.
ARNALD, G. , xx. 1156.
ASSISI, Andrea d', vi. 1220.
AVERCAMP, H. van, xi. 1346, 1479.
BACHIACCA, II, vi. 1218, 1219.
BAKHUIZEN, L. , x. 204, 223, 1000,

1050, 1442 ; xii. 818, 819.
BALDUNG, Hans, xv. 245, 1427.
BARKER, T. , xx. 1039, 1306.
BAROCCIO, F. , xiii. 29.
BARTOLOMMEO, Fra, i. 1694.
BASAITI, Marco, vii. 281.
BASSANO, II, vii. 173, 277 ; xiii. 228.
BEAUMONT, Sir G. , xx. 119.
BECCAFUMI, vi. 1430.
BEECHEY, Sir W. , xx. 1670, 1671 ; xxi.

120.

BEERESTRAATEN, J. , xi. 1311.
BEGA, C. P., xi. 1481.
BELLINI, Gentile, vii. 1213.
BELLINI, Giovanni, vii. 189, 280, 726,

808, 812, 1233, 1440, 1455 ; Octagon,

1696.

BELTRAFFIO, ix. 728.
BENVENUTO DA SIENA, ii. 909.
BERCHEM, N., x. 240, 1005; xi. 78,

1004 ; xii. 820, 1006.
BERCK-HEYDE, xi. 1420, 1451.
BETTES, John, xviii. 1496.
BIBIENA, F. , xiii. 936.
BIGIO, Francia, i. 1035.
BISSOLO, Fr. , vii. 631.
BLAKE, William, xx. mo; xxi. 1164.
BLES, H. , iv. 718, 719.
BOCCACCINO, B. , ix. 806.
BOL, F., x. 679.
BONHEUR, Rosa, xxi. 621.
BONIFAZIO (the elder), vii. 1202.
BONO DA FERRARA, viii. 771.
BONSIGNORI, F. , vii. 736.
BONVIN, F. S. , xxi. 1448.
BORDONE, Paris, vii. 637, 674.

BORGOGNONE, A. , ix. 298, 779, 788, 1077.

BOTH, Jan, x. 71 ; xi. 209, 956, 958,

959 ; xii- 957-
BOTTICELLI, i. 626, 782, 915, 1034 ;

iii. 226, 275, 916, 1126.
BOUCHER, F. , xvii. 1090.
BOURDON, Seb. , xvii. 64.
BRAKELENHAM, Q., xi. 1329.
BREENBERGH, B. , xi. 208.
BRITISH SCHOOL (artists unknown), xviii.

1652 ; xix. 1076 ; 1097, xx. 1254,

1681.
BRONZINO, Angelo, i. 650, 651, 670,

704, 1323.

BROOKING, Charles, xviii. 1475.
BRUEGHEL, Jan, xi. 1287.

BUONACCORSO, Niccolo di, ii. 1109.
BYLERT, Jan van, xi. 1292.
CALLCOTT, Sir A. W. , xx. 342, 343,

344, 348 ; xxi. 340, 1346, 1841.
CAMPANA, Pedro, Octagon, 1241.
CANALETTO, xiii. 127, 135, 163, 937-

942, 1058, 1059, 1429.
CAPPELLE, Jan van de, xii. 865, 964,

965, 966, 967.
CARAVAGGIO, xiii. 172.
CARIANI, vii. 1203; {ascribed to] Octagon,

41.

CARPACCIO, vii. 750.
CARRACCI, Annibale, xiii. 9, 25, 56, 63,

88. 93. 94- I98-
CARRACCI, Ludovico, xiii. 28.
CASTAGNO, Andrea del, ii. 1138.
CATENA, vii. 234, 694.
CAVALLINO, B. , xiii. 1157.
CHAMPAIGNE, Philippe de, xvii. 798,

1449.

CHARDIN, J. B. S. , xvii. 1258, 1664.
CHIMENTI, J. , da Empoli, i. 1282.

ClMA DA CONEGLIANO, vii. 300, 634,

816, 1120, 1310.
CIMABUE, iii. 565.
CLAUDE LORRAINE, xiv. 2, 5, 6, 12,

14, 19, 30, 55, 58, 61, 1018, 1319.
CLOUET, F. , asc. to, xvii. 660, 1190.
COLOGNE CRUCIFIXION, Master of, xv.

707.
CONSTABLE, J., xx. 1065, 1066, 1272-

1275, 1813-1824 ; xxi. 130, 327,

1207, 1246.

COOPER, T. S. , and F. R. Lee, xx. 620.
COPLEY, J. S. , xx. 100, 733, 787,

1072, 1073.
COQUES, Gonzales, x. ion, 1114-1118 ;

xii. 821.

CORNELISSEN, J. , V. 657.
CORREGGIO, ix. 10, 15, 23, 76.

CosiMO, Piero di, i. , 698, 895.
COSSA, Francesco del, v. 597.
COSTA, Giovanni, xxi. 1493.
COTES, Francis, xix. 1281.
COTMAN, J. S. , xxi. ii 1 1, 1458.
CRANACH, Lucas, xv. 291.
CREDI, Lorenzo di, i. 648, 593.
CRIVELLI, Carlo, viii. 602, 668, 724,

739, 788, 807, 906, 907.
CROME, John, xx. 689, 897, 926, 1037,

1831.
CUYP, A., x. 53, 797, 1289; xii. 822,

823, 824, 960, 961, 962, 1683.
DANIELL, T. , xxi. 899.
DAVID, Gheeraert, iv. 1045, 1432.
DECKER, C. G., xi. 1341 ; xiii. 134.
DELEN, Dirck van, xi. 1010.
DIETRICH, J. W. E. , xii. 205.
DOBSON, William, xix. 1249.
DOLCI, Carlo, xiii. 934.
DOMENICHINO, xiii. 48, 75, 77, 85.
DONCK, G. , x. 1305.

Dosso Dossi, v. 640, 1234.

Dou, Gerard, x. 192, 968, 1415 ; xii.
825.

DUBBELS, H., xi. 1462.

Duccio, ii. 566, 1139, 1140, 1330.

DUCHATEL, Fran9ois, x. 1810.

DUTCH SCHOOL (artists unknown), x.
1243, 1700; xi. 1343, 1397, 1680.

DUYSTER, W. C. , xi. 1386, 1387.

DYCK, Sir A. van, x. 49, 50, 52, 156,
680, 877, 1172.

DYCKMANS, J. L. , xxi. 600.

EASTLAKE, Sir C. L. , xxi. 1398.

EECKHOUT, G. van den, xi. 1459.

ELSHEIMER, xi. 1014, 1424.

EMMANUEL, iii. 594.

ENGELBERTSZ, iv. 714.

EVERDINGEN, Allart van, x. 1701.

EYCK, Jan van, iv. 186, 222, 290.

FABRITIUS, B. , x. 1338, 1339.

FERRARESE SCHOOL (unknown), v. 1062.

FERRARI, Gaudenzio, ix. 1465.

FIORENZO DI LORENZO, vi. 1103.

FLEMISH SCHOOL (artists unknown), iv.
264, 653, 696, 708, 709, 710, 774,
783, 943, 947, 1036, 1063, 1078,
1079, 1081, 1083, 1086, 1089, 1280,
1419, 1433, 1689 ; xii. 1017.

FLORENTINE SCHOOL (artists unknown),
i. 227, 296, 781, 1301 ; iii. 1196,
1199 ; Vest. 1842.

FOLIGNO, Niccolo da, vi. 1107.

FOPPA, Vicenzo, ix. 729.

FORLI, Melozzo da, vi. 755, 756.

FRANCESCA, Piero della, vi. 585, 665,
758, 908 ; School of, vi. 769.

FRANCIA, v. 179, 180, 638.

FRENCH SCHOOL, Early (artist unknown),
xvii. 1335.

FUNGAI, B. , ii. 1331.

FUSELI, H. West Vestibule, 1228.

FYT, Jan, xii. 1003.

GADDI, Taddeo, School of, North Vesti-
bule, 579, 579a ; iii. 215, 216.

GAINSBOROUGH, T. , East Vestibule,
684 ; West Vestibule, 789 ; xviii. 109,
308, 678, 683, 760, 925, 1044, 1482,
1483, 1485, 1811, 1825; xix. 1174;
xx. 80, 309, 310, 311, 1271, 1283.

GAROFALO, v. 81, 170, 642, 671.

GERMAN : Lower Rhine School (artists
unknown), xv. 1080, 1085.

GERMAN : Westphalian School (artist
unknown), xv. 1049.

GERMAN SCHOOLS : 1 5th- 1 6th centuries
(artists unknown), xv. 195, 722, 1087,
1088, 1151.

GHIRLANDAJO, D. , iii. 1230, 1299.

GHIRLANDAJO, R. , i. 1143.

GIOLFINO, Niccolo, viii. 749.

GIORGIO, Francesco di, ii. 1682.

GIORGIONE, vii. 269 ; School of, vii. 930,
1160, 1173.

HALF HOLIDAYS AT THE NATIONAL GALLERY

GIOTTO, North. Vestibule, 276 ; School of ,
iv. 568.

GlOVENONE, IX. 1295.

GlROLAMO DA SANTACROCE, Octagon,

632- 633-

GlROLAMO DA TREVISO, vii. 623.

GLOVER, John, xxi. 1186.
GOYA, Francisco, xiv. 1471, 1472, 1473.
GOYEN, J. van, x. 137, 151, 1327.
GOZZOLI, Benozzo, ii. 283, 591.
GRANDI, Ercole de' Roberti, v. 1127,

1217, 1411.

GRANDI, Ercole di Giulio, v. 73, 1119.
GREEK PORTRAITS : 2nd century, A.D.

(artist unknown), North Vestibule,

1260-1270.
GREUZE, xvi. 1019, 1154 ; xvii. 206,

1020.
GLTARDI, Francesco, xiii. 210, 1054,

1454-

GUERCINO, xiii. 22.
GUIDO RENI, xiii. n, 177, 191, 193,

•196, 214, 271.
HACKAERT, Jan, xii. 829.
HALLS, J. J., West Vestibule, 1372.
HALS, Dirk, xi. 1074.
HALS, Frans, xi. 1021, 1251.
HEDA, W. K. , xi. 1469.
HELST, Earth, van der, ix. 140, 1248.
HEMESSEN, Catharina van, iv. 1042.
HERP, W. van, x. 203.
HERRERA, Francisco de, xiv. 1676.
HEYDEN, Jan van der, x. 994 ; xii. 866,

992, 993-
HOBBEMA, x. 685 ; xii. 830-833, 995,

996.
HOGARTH, xix. 112-118, 675, 1046,

1153, 1161, 1162, 1464, 1663.
HOLBEIN, Hans, xv. 1314 ; and see p.

83-

HONDECOETER, X. 1222 ; XI. 2O2 J xii.
1013.

HONTHORST, G. van, xi. 1444.
HOOCH, Peter de, x. 794 ; xii. 834,
835.

HOPPNER, XX. 900.
HUCHTENBURGH, xii. 211.

HUDSON, Thomas, xix. 1224.
HUYSMAN, Jacob, xi. 125.
HUYSMANS, Cornells, x. 954.
HUYSUM, Jan van, x. 796 ; xi. 1001.
IBBETSON, Julius Caesar, xx. 1460.
ITALIAN SCHOOL, 1510 century, vi. 1456.
ITALIAN SCHOOL, i6th century (artists

unknown), i. 932, 1048 ; vii. 272.
JACKSON, J., xx. 1382 ; xxi. 124, 1404.
JANSSENS, C., xi. 1320, 1321.
JARDIN, Karel du, xii. 826, 827, 828,

985.

JUSTUS OF PADUA, iii. 701.
KEYSER, T. de, xi. 212.
KONINCK, P. de, xii. 836, 974.
LADBROOKE, R., xxi. 1467.
LAMBERT, George, xx. 1658.
LANCRET, Nicholas, xvii. 101-104.
LANDINI, Jacopo, North. Vestibule,

58oa ; iii. 580.
LANDSEER, Sir E., xxi. 603-606, 1349,

1350.

LANINI, Bernardino, ix. 700.
LAWRENCE, Sir T., East Vestibule,

144; xx. 129, 785, 893, 1238, 1307,

1413 ; xxi. 922.

LEAL, Juan de Valdes, xiv. 1291.
LE BRUN, Madame Vigee, xvii. 1653.
LELY, Sir Peter, xix. 1016.
LE NAIN, xvi. 1425.

LE SUEUR, E. , xvii. 1422.

LlBERALE DA VERONA, Octagon, 1134,

1336-

LIBRI, Girolamo dai, vii. 748.

LICINIO, B., vii. 1309.

LIESBORN, Meister von, xv. 254, 255,

259, 260, 261, 262.
LIEVENS, Jan, x. 1095.
LINGELBACH, Jan, xii. 837.
LIPPI, Fillipino, i. 293, 592, 1033,

1124 ; ii. 927 ; iii. 598, 1412.
LIPPI, Fra Filippo, i. 248, 589 ; ii. 666 ;

iii. 667.

LIPPO DI DALMASIO, v. 752.
LODOVICO DA PARMA, ix. 692.
LOMBARD, Lambert, xi. 266.
LOMBARD SCHOOL (artists unknown),

Dead Christ, ix. 219, 722, 1052, 1300.
LONGHI, Pietro, West Vestibule, 1102 ;

xiii. noo, 1101, 1334,
LOOTEN, Jan, x. 901.
LORENZETTI, Ambrogio, ii. 1147.
LORENZETTI, Pietro, ii. 1113.
LORENZO DI SAN SEVERING, vi. 249.
LOTTO, Lorenzo, vii. 620, 699, 1047.

LOUTHERBOURG, P., XJX. 316.

LUCIDEL, Nicolas, xi. 184.

LUINI, Bernardino, ix. 18.

LUNDENS, Gerrit, x. 289.

" LYVERSBERG PASSION," Master of the,

xv. 706.
MAAS, Nicholas, x. 207, 1247, 1277 ;

xii. 153, 159.
MABUSE, iv. 656, 946.
MACCHIAVELLI, Zenobio, ii. 586.
MACRINO D'ALBO, ix. 1200, 1201.
MANNI, Giannicola, vi. 1104.
MANSUETI, Giovanni, Octagon, 1478.
MANTEGNA, Andrea, viii. 274, 902,

1125, 1145, 1417.
MANTEGNA, Francesco, viii. 620, 639,

1381.

MARATTI, Carlo, xiii. 174.
MARCO D'OGGIONNO, ix. 1149.
MARGARITONE, North Vestibule, 564.
MARINUS VAN ROMERSWAEL, iv. 944.
MARMION, Simon, xvii. 1302, 1303.
MARTINEZ, J. B. Mazo, xiv. 1308.
MARZIALE, Marco, viii. 803, 804.
MATTEO DI GIOVANNI, ii. 247, 1155,

1461.

MAZZOLA, Filippo, ix. 1416.
MAZZOLINO DA FERRARA, v. 82, 169,

641, 1495.

MELONE, Altobello, ix. 753.
MEMLINC, Hans, iv. 686 ; asc. to, iv.

747-

MERIAN, Matthew, theyounger, x. 1012.
MESSINA, Antonello da, vii. 673, 1141,

1166, 1418.

METSU, Gabriel, x. 970 ; xii. 838, 839.
METSYS, Quentin, iv. 295.
MEULEN, A. F. van der, xi. 1447.
MICHAEL ANGELO, i. 8, 790, 809.
MICHELE DA VERONA, vii. 1214.
MIERIS, Frans van, xii. 840.
MIERIS, Willem van, xii. 841.
MILANESE SCHOOL, ix. 1438.
MILLAIS, Sir J. E., xxi. 1494, 1666.
MOCETTO, Girolamo, Octagon, 1239,

1240.
MODENA, Barnaba da, North Vestibule,

1437-

MOLA, P. F. , The Repose, xiii. 69, 160.
MOLENAER, Jan Miense, xi. 1293.
MONTAGNA, Bart., Octagon, 802, 1098.
MORALES, Luis de, xiv. 1229.

MORANDO, Paolo, vi. 735, 777.

MORE, Sir Antonio, xi. 1231 ; asc. to,

xi. 1094.

MORETTO, II, vii. 299, 625, 1025, 1165.
MoRLAND, George, xx. 1030, 1067,

1351, 1497.

MORLAND, H. R. , xix. 1402, 1403.
MORONE, Domenico, Octagon, 1211,

1212.

MORONE, Francesco, Octagon, 285.
MORONI, vii. 697, 742, 1022, 1023,

1024, 1316.

MOSTAERT, Jan, iv. 713.
MOUCHERON, F. de, x. 1352 ; xii. 842.
MURILLO, xiv. 13, 74, 176, 1257, 1286.
NASMYTH, Alexander, xx. 1242.
NASMYTH, Patrick, xx. 380, 381, 1176-

1178, 1183, 1384; xxi. 1179, 1828.
NEBOT, F. , xix. 1453.
NEEFFS, Pieter, x. 924.
NEER, Aart van der, x. 152, 239, 732 ;

xii. 969, 1288.
NETSCHER, G., Blowing Bubbles, x.

1332 ; xii. 843, 844, 845.
OOST, Jacob van, xi. 1137.
OPIE, John, R.A., xx. 784, 1167, 1208,

1408, 1826.

ORCAGNA, ii. and iii. 569-578.
ORIOLO, Giovanni, v. 770.
ORLEY, Bernard van, iv. 655.
ORSI, Lelio, ix. 1466.
ORTOLANO, L1., v. 669.
Os, Jan van, x. 1015 ; xi. 1380.
OSTADE, Adrian van, xii. 846.
OSTADE, Isaak van, x. 963 ; xii. 847,

848, 1347.

PACCHIA, Girolamo del, i. 246.
PADOVANINO, xiii. 70, 933.
PALMA VECCHIO, vii. 636.
PALMEZZANO, Marco, vi. 596.
PANINI, Giov. Antonio, xiii. 138.
PAPE, Abraham de, x. 1221.
PARMIGIANO, ix. 33.
PATINIR, Joachim, iv. 715-717, 945,

1082, 1084, 1298.
PELLEGRINO DA SAN DANIELE, ix.

778.
PERUGINO, vi. 181, 288, 1075, I43I.

1441.

PERUZZI, Baldassare, i. 218.
PESELLINO, Francesco, i. 727.
PHILLIPS, T. , xxi. 183.
PIAZZA, Martino, ix. 1152.
PINTURICCHIO, vi. 693, 703, 911, 912-

9i4-
PIOMBO, Sebastiano del, vii. i, 20, 24,

I4SO.

PISANO, Vittore, viii. 776, 1436.
POEL, Egbert van der, x. 1061.
POELENBURGH, Cornelis van, x. 955.
POLLAJUOLO, i. 292 ; iii. 928.
PONTORMO, Jacopo da, i. 649, 1131 ;

asc. to, i. 1150.

POORTER, W. van de, xi. 1294.
POT, Hendrik Gerritsz, xi. 1278.
POTTER, Paul, xii. 849, 1009.
POTTER, Pieter, x. 1008.
POUSSIN, Caspar, xvi. 31, 161, 1159 ;

xvii. 36, 68, 95, 98.
POUSSIN, Nicolas, xvi. 39, 40, 42, 62,

65, 165 ; xvii. 91.
PREDIS, Ambrogio de, ix. 1661, 1662,

1665.

PREVITALI, Andrea, vii. 695.
RAEBURN, Sir H., West Vestibule,

1146, 1435 ; xx. 1837.
RAMSAY, Allan, xx. 1491.

HALF HOLIDAYS AT THE NATIONAL GALLERY

RAPHAEL, vi. 27, 168, 213, 744, 929,

1171.

RAVESTEIJX, A. van, xi. 1423.
REMBRANDT, x. 45, 47, 51, 72, 166,

190, 221, 237, 243, 672, 775, 1400,

1674, 1675 ; xii. 43, 54, 850 ; School

of, x. 757
REYNOLDS, Sir J., xviii. 79, 106, 107,

in, 162, 182, 305, 306, 307, 754,

885-892, 1259, 1834, 1840 ; East

Vestibule, 143, 681.
Ricci, Sebastiano, xiii. 851.
RIGAUD, Hyacinthe, xvii. 903.
RINALDO, Montovano, xiii. 643, 644.
ROUGHMAN, R. , xi. 1340.
ROMANINO, vii 297.
ROMANO, Giulio, xiii. 624.
ROMNEY, xviii. 312, 1068, 1651, 1667-

1699 ; xx. 1396.
ROSA, Salvator, xiii. 84, 935, 1206 ;

Stairs, 811.

Rossi, Francesco, i. 652.
ROTTENHAMMER, Johann, xi. 659.
RUBENS, x. 38, 46, 57, 59, 66, 67, 157,

194, 278, 279, 948, 1195 ; xii. 187,

852, 853.

RUYSCH, Rachel, ix. 1445, 1446.
RUYSDAEL, Jacob, x. 627, 628, 737',

986, 989, 1390 ; xi. 44, 746 ; xii.

854. 855, 987. 988, 99°- 99i-
RUYSDAEL, Salomon, xi. 1344, 1439-
RYCKHAERT, xi. 1353.
SAN DANIELE, Pellegrino da, Octagon,

778.

SANTI, Giovanni, vi. 751.
SARTO, Andrea del, i. 17, 690.
SASSOFERRATO, xiii. 200, 740.
SAVERY Roelandt, x. 920.
SAVOLDO, G. G., vii. 1031, 1377.
SCHALCKEN, Godfried, x. 199 ; xi. 997,

998 ; xii. 999.

SCHETKY, J. C. , Stairs, 1191.
SCHIAVONE, Andrea, vii. 1476.
SCHIAVONE, Gregorio, Octagon, 630 ;

viii. 904.

SCHONGAUER, Martin, after, iv. 658.
SCOREL, Jan van, iv. 720, 721.
SCOTT, Samuel, xix. 313, 314, 1223,

1328.

SEGNA DI BUONAVENTURA, ii. 567.
SHEE, Sir Martin, East Vestibule, 677.
SIENESE SCHOOL (artists unknown), ii.

1108, 1317.

SIGNORELLI, Luca, vi. 910, 1128, 1133,

1776.

SNYDERS, Frans, x. 1252.
SNYERS, P. xi. 1401.
SODOMA, II, ix. 1144, 1337.
SOLARIO, Andrea da, ix. 734, 923.
SORGH, Hendrick, x. 1055, 1056.
SPAGNA, Lo, vi. 1032 ; asc. to, vi. 691,

1812.

SPAGNOLETTO, xiv. 235, 244.
SPINELLO, Aretino, North Vestibule,

581, 1216, 1468.
STEEN, Jan, xii. 856, 1421.
STEENWYCK, Hendrick, x. 1132, 1443.
STEEN WYCK, Herman, x. 1256.
STEPHAN, Master, xv. 705.
STORK, Abraham, x. 146.
STOTHARD, T. , xx. 317, 318, 319, 320,

321, 322, 1069, 1070, 1163, 1185,

1827, 1829, 1830, 1832, 1833, 183^,

1836.

STUART, Gilbert, xx. 229, 1480.
STUBBS, G. , xviii. 1452.
TACCONI, Francesco, ix. 286.
TENIERS, David, (the elder), xii. 949-

TENIERS, David (the younger), x. 154,

155, 158, 242, 805, 817; xi. 953;

xii. 857-863, 952.
TERBURG, Gerard, x. 896, 1399 ; xii.

864.
THEOTOCOPULJ, Octagon, 1457 ; xiv.

1122.

TIEPOLO, xiii. 1192, 1193, 1333.
TINTORETTO, vii. 16, 1130, 1313.
TITIAN, vii. 4, 34, 35, 270, 635 ; School

of, vii. 3, 32, 224.
TREVISO, Girolamo da, vii. 623.
TURA, Cosimo, v. 772, 773, 905.
TURNER, J. M. W. , xvi. 479, 498; xxii.

369, 370, 458-561, 56ia, 813, 1180.
UCCELLO, Paolo, iii. 583.
UGOLINO DA SIENA, ii. 1188, 1189.
UMBRIAN SCHOOL (artists unknown), vi.

282, 646, 647, 702, 1051, 1304.
VELAZQUEZ, xiv. 197, 741, 745, 1129,

1148, 1315, 1375, 1376, 1434.
VELDE, Adrian van de, xi. 1348 ; xii.

867, 868, 869, 982, 983, 984.
VELDE, Jan van de, x. 1255.
VELDE, Willem van de (the younger),

x. 149, 150, 981 ; xii. 870-876, 977-

980.

VENETIAN SCHOOL (artists unknown), vii.
595, 1123, 1489, 1490, 1695; Octagon,

II2I.

VENEZIANO, Bartolommeo, xii. 287.
VENEZIANO, Domenico, ii. 766, 797,

1215.

VENUSTI, Marcello, i. 1194, 1227.
VERMEER, Jan, xi. 1383, 1699.
VERNET, Claud Joseph, xvi. 1057 ; xvii.

236, 1057, 1393.
VERONESE, Paolo, vii. 26, 268, 294,

1041 ; Octagon, 97, 931, 1318, 1324,

1325, 1326.
VERONESE SCHOOL (artists unknown),

Octagon, 1135, 1136.
VICTORS, Jan, x. 1312.
VINCI, Leonardo da, i. 1093.
VIVARINI, Antonio, viii. 768, 1284.
VIVARINI, Bartolommeo, viii. 284.
VLIET, Willem van der, x. 1168.
WALSCAPPELLE, Jacob, Octagon, 1002.
WARD, James, xx. 1158 ; xxi. 1175 ;

Stairs, 688, 1043.
WATTS, G. F., xxi. 1654.
WEENIX, Jan (the younger), x. 238.
WEENIX, Jan Baptist, Hunting Scene,

x. 1096.

WEIER, J., xii. 1470.
WERDEN, Meister van, xv. 250, 251,

253-

WERFF, Adrian van der, xi. 1660.
WESTALL, R. , xx. 1414.
WET, Jan de, xi. 1342.
WEYDEN, Roger van der, iv. 664, 711,

712; later School of , iv. 654.
WILKIE, Sir David, xx. 329, xxi. 99, 122.
WILLIAM OF COLOGNE, xv. 687.
WILS, Jan, xi. 1007.
WILSON, Richard, xix. 108, no, 267,

301, 302, 303, 304, 1064, 1071, 1290,

1779.
WiTTE, Emmanuel de, x. 1053.

WOUWERMAN, J., xi. 1345.

WOUWERMAN, Philips, x. 1060 ; xii.

878-882, 975, 976.
WRIGHT OF DERBY, xviii. 725.
WYNANTS, Jan, x. 972 ; xii. 883, 884,

97i. 973-

ZAGANELLI, vi. 1062.
ZAIS, Giuseppe, xiii. 1296, 1297.
ZoFFANY, Johann, xviii. 1197, 1487.
ZOPPO, Marco, v. 590.
ZURBARAN, Francisco, xiv. 230, 232.

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Davis. R.A., E. A. Waterlow, A.R.A., Turner, Constable, Crome, etc.

The Picture for the year 1901-1902 is an original Etching by W. L. WYLLIE, A.R.A., entitled " VICTORIA
VICTRIX, ist February 1901," being an impressive representation of the great naval pageant in the lasi
progress of Queen Victoria.

Prospectus on application to the SECRETARY, 112 STRAND, W.C.

SAINT GEORGE'S HOUSE,

Breakfasts.

Luncheons.

Dinners.

HIGH -CLASS RESTAURANT,

37 ST, MARTIN'S LANE

Near the

LADIES' BOUDOIR.

FREQUENTED BY AMERICANS.

THE FAMOUS HOUSE FOR COFFEE.

Light
Refreshments.

Afternoon
Tea.

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