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Full text of "The National Gallery: Foreign schools: Maes (Nicolas)-Zurbaran"

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THE 



NATIONAL GALLERY 



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EDITED BY 

SIR EDWARD J. POYNTER, P.R.A., D.CL., Litt.D. 

DIRECTOR OF THE NATIONAL GALLERY 




CASSELL AND COMPANY, Limited 

LONDON, PARIS, NEW YORK & MELBOURNE 
1899 







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This Edition is iifuited to 
i,ooo copies, of which this is 

No, J:^...£Lf..S^.,... 



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THE 

NATIONAL GALLERY 



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Issued under the Sanction and with 
the Authority of the Trustees of the 
National Gallery 



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THE 



NATIONAL GALLERY 



EDITED BY 

SIR EDWARD J. POYNTER, P.R.A., D.C.L., Litt.D. 

DIRECTOR OF THE NATIONAL GALLERY 

MEMBRE CORRESPONDANT DE L'INSTITUT DE FRANCE ; MEMBER OF 

THE ROYAL ACADEMY OF SAN FERNANDO, MADRID 



Volume II. 



CASSELL AND COMPANY, Limited 

LONDON, PARIS, NEW YORK A MELBOURNE 

1899 



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»>I3' 



THE 

NATIONAL GALLERY 



Volume II. 
FOREIGN SCHOOLS 



MAES (Nicolas)— ZURBARAX 



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2 THE NATIONAL GALLERY. 

MAXSS (Nicolas). 1632 --1603. Dutch Schhi,L 

153. The Cradle. 

A little ^irl is rockin^j a child to sleep in a cradle. An 
open book and a \\\g are standing upon a table, covered with 
a rich Turkey mat. Signed with the monogram of the painter. 

Bequeathed by Charles Long (Lord Farnborough), 1838. 



159. The Dutch Housewife. 

A girl scraping parsnips, with a child by her side watching 
her. On the other side is the Flemish kruik, or beer-jug, so 
often introduced into the pictures of this master. Signed, and 
dated 1655. 

Bequeathed by Charles Long (Lord Farnborough), 1838. 



207. The Idle Servant. 

A kitchen-maid has fallen asleep over her work ; before her 
on the floor are strewn various kitchen utensils ; and on a 
cupboard behind her a cat is in the act of stealing a duckling 
ready trussed for cooking. Another servant standing by her 
side, with a beer-jug in her hand, is laughing at the disorder 
around. In an inner apartment in the background the family 
is seen at dinner. Signed, and dated 1655. N.M-^S 1655. 

Bequeathed by Mr. Richard Simmons, 1846. 



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No. 153. 



15A in. by I2.\ in. No. 159. 



13J in. by iij in. 




No. 207. 



27 J- in. by 21 J in. 



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THE XATIOXAL GALLERY, 

(Xicoi-As) (cotitinued). 

1247. The Card-players. 

At a small table, covered with a brown cloth, a young man 
and a young woman are engaged at cards. He is dressed in 
black velvet with gold embroidery ; she is in a gown of deep- 
toned scarlet, slashed at the elbows. The figures are three- 
quarter length, life-size. The background, ot a dark olive-brown 
tone, shows the base of a pillar behind the girl's head. 

Purchased, 1888. 

1277. A Man*s Portrait. 

A life-size, seated figure, seen to the waist. The face, nearly 
full, appears from the features, which are large and strongly 
marked, to be that of a man about sixty years of age. He is 
clad in a black gown trimmed with brown fur, and a large 
square-cut linen collar on which his hair falls from the back 
of his head, concealing the ears. In the background a crimson 
curtain. Signed, and dated 1666. 

Presented by Sir Theodore Martin, K.C.B., 1888. 

MAHHI (Giannicola). 14 — 1544- Cmbr tan School, 

1104. The Annunciation. 

On the right the Virgin, clad in garments of the traditional 
colours, kneels in prayer behind an ornamental desk, on which 
is an open book. On the left the announcing angel, enveloped 
in a dark yellow mantle, and holding the lily, kneels on one 
knee with bowed head. The light-coloured architecture of the 
room leads in perspective to an opening through which is seen 
the landscape without. This small panel probably formed the 
apex of an altar-piece. 

Purchased, 1881. 

MAHSUETI (Giovanni). Venetian School, \^th century, 

1478. Symbolic Representation of the Crucifixion. 

In the centre of a somewhat fantastic architectural com- 
position is represented the Trinity. The Holy Spirit hovers 
over the head of the Saviour on the Cross, behind which, seated 



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No. 1247. 



No. 1 104 




48 in. by 40 in. No. 1277- 



34] in. by 27^; in. 




24 in. by 41 in. 




No. 1478. 



50J in. by 48^ in. 



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6 THE XATfOXAL GALLERY, 

MAH8UBTI ((jI()\anm) (continued). 

on a raised throne, and supporting tlie Cross with outspread 
hands, is the Father. At the foot of the Cross kneels Mary 
Magdalen, embracing the feet of the Saviour. To the right 
and left of the Cross stand the Virgin Mother, St. James the 
Greater, St. John, and St. Peter. Two other saints, one of 
whom is probably St. Joseph of Arimathea, kneel below. In 
a balcony on each side stands an ongioliuo^ one holding the 
reed and the other the spear. A landscape with mountains, 
castles, and trees is seen between the arches. 

Signed J. de MAXSUETI, 1492. 

Purchased, 1896. 

MAJTTEOHA (Andkka). 1431 — 1506. Padiian ScJvn,!. 

274. The Virgfin and Child enthroned ; St. John the Baptist 
and the Magdalen. 

The Virgin is seated, with the Child standing on her knee, 
on a low throne sumiounted by a canopy. On the right of 
the Virgin is St. John the Baptist, on her left the Magdalen, 
both standing. The background consists chiefly of orange and 
citron trees. On a scroll attached to the cross held by St. John 
is written Eccv agnus Dciy cccc qui tollit pcccata luundi ; and 
on the inner side of the scroll above is the painter's signature — 
Andreas Manlinia C,P,F, (Civis Patavinus fecit). 

Purchased, 1855. 

The tenderness and simplicity of the Virgin's face, the 
beauty of the heads of the two Saints, the exquisite drawing 
and painting of the fruit trees in the background, the perfection 
of the execution and the purity of the colour, all combine to 
make this picture one of Mantegna's masterpieces. The draperies 
especially are of extraordinary beauty in design and colour. The 
rose-coloured dress of the Virgin is most delicately heightened 
with gold, and the draperies of the two Saints are of materials 
shot with changing colours of exquisite harmonies. The whole 
work is in perfect preservation. 



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No. 274. 



54J in. by 45^ in. 



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X THE XATIOXAL GALLERY. 

MAHTEOHA (Andkka) {anitinucd). 

902. "The Triumph of Sclpio,' 

Or the reception of the Phrvfjian Motlier of tlie Gods among 
tlie pubhcl y recojirniscd divinities of tlie Roman State. 

In the centre of the picture Scipio, attended by other Romans 
and some Asiatics, is in the act of receiving the goddess. The 
sacred stone alleged to have fallen from lieaven, and tlie image of 
tlie goddess, to give token of her presence, are borne on a litter- 
Claudia Ouinta, a Roman lady, sent with others in his company 
to receive the deity, has thrown herself before the image. Some 
slur had attached to her reputation, but she had proved her 
innocence by invoking the goddess mother, and drawing off from 
a shoal in the harbour of Ostia, with the aid of a slight rope 
merely, the vessel which bore the sacred image. 

The procession is accompanied by the music of drums and 
pipes, constituting part of the worship of Cybele. Composition 
of twenty-two figures. 

This picture, representing an event glorious in the history 
of the Scipios, was painted for a Venetian nobleman, Francesco 
Cornaro, afterwards cardinal, in order to throw lustre upon the 
genealogy of the family of the Cornari, which claimed to belong 
to the Roman frcns Cornelia, 

Painted in monochrome in imitation of an antique relief. 

Purchased, 1873. 

1125. Two Female Figures, probably personifying: Summer 
and Autumn. 

Both are heavily draped. The figure representing Summer 
bears a corn-sieve in her hands ; above her head is painted 
in relief a vase containing lilies, and a decorative festoon of 
foliage. Autumn, whose face is seen in profile, raises a goblet 
to her Hps. In the background is a sapling. 

Painted in monochrome of gold and brown on a (feigned) 
marble or agate ground. 

Purchased, Hamilton collection, 1882. 



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No. 902. 



28A in. by 106 in. 





No. 1 1 25. 28 j in. by 9 in. 



No. 1 125. 28] in. by 9 in. 



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10 THE NATIOXAL GALLERY. 

MAHTEOHA (Andkka) {chutiuucd), 

1145. Samson and Delilah. 

In the centre of tlie foreground Samson lies asleep, with his 
head in the lap of Delilah, who is clipping his hair witli shears. 
To the right a rock, from which water flows through a spout into 
a stone trough below. In the background a hedge of olives and 
lemon shrubs, from beneath which springs a vine trained round 
a tree-trunk above. On the trunk of the tree are inscribed the 
following words :—F()EMIXA DIABOLO TRIBVS ASSIBVS 
EST MALA PEIOR. The whole is intended to represent a 
relief in white on a coloured marble ground. 

Purchased, 1883. 

1417a. Illuminated Initial Letter. 

The letter D, painted in gold and colours on a blue ground. 
It is ornamented with floriated scroll-work terminating in vines 
and grapes in gold, among which are seven angioletti bearing 
the instruments of the Passion. Enclosed within the letter is 
painted the '* Agony in the Garden," which is copied in its 
main features from the picture by Mantegna, Xo. 1417. 

Presented by the Earl of Xorthbrook, 1894. 

1417. The Agrony in the Garden. 

In a rocky landscape the Saviour kneels in prayer on a rising 
ground, and sees in a vision five angels bearing the instruments 
of the Passion. Below, in the foreground, the three disciples are 
sleeping heavily by the side of the brook Kedron, which flows 
in front ; and on a withered tree sits a cormorant ; rabbits are 
playing round, and two egrets stand in the water. In the back- 
ground is the city of Jerusalem, and a procession of soldiers, led 
by Judas, is descending the road from one of the gates. 

The original . suggestion for this treatment of the subject 
appears in a composition in Jacopo Bellini's sketch-book in the 
British Museum. A precisely similar treatment, but differently 
arranged, is to be found in the picture by Giov. Bellini (Xo. 726) 



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No. 14 1 7 A. 



7f in. by 7.} in. 



No. 1 145. 



i8j in. by 14} in. 




Nu. 1417. 



24 J in- i^y 3'i in- 



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12 THE XATfOXAL GALLERY. 

MAHTEOHA (Andkea) (cuuiinucd), 

in this Gallery ; and a^ain in the picture by Mante^na in the 
Museum at Tours, which formed one of the three predella 
pictures to tlie great altar-piece in St. Zeno at Verona. 

Signed Orrs Andreae Mantegna on the rock over the 
sleeping disciples. Painted in 1459 for Giacomo Marcello, Po<lesta 
of Padua. Purchased, 1894. 

MAHTEOHA (Fkancksco). 1470—15 Piidnati School. 

639. Christ and Mary Magrdalen in the Garden. 

Called 2iXoli)mtangcn{'^To\XQ\\ me not)." (John xx. 17.) 
A vine with purple grapes hanging over the figure of Christ is 
supported on a dead tree ; on the other side a bird is seen 
defending its nest against a snake which has crept up the tree ; 
on the left is a beehive. Purchased, i860. 

1106. The Resurrection of Our Lord. 

A mass of hollow rock fills the centre of the picture con- 
taining a marble sarcophagus, upon the ledge of which stands 
the risen Saviour, partly clad in a red mantle. His right hand 
raised in benediction. His left bearing a tall rod surmounteil by 
a cross composed of golden balls with a red cross banner attached 
to it. On the ledge of rock below lie sleeping four soldiers, while 
a fifth sterns to keep watch. Purchased, 1881. 

1381. The Holy Women at the Sepulchre. 

On a platfomi of naked rock, before the mouth of a cave, lies 
the open sarcophagus of our Lord, with the angel seated upon its 
edge. At its further end stands Mary Magdalen, seen against 
the morning sky. Below, on the right, are the two other 
women. In the foreground towards the left is a pool on which 
are two waterfowl, while a tortoise crawls towards it. 

Bequeathed by Lady Taunton, 1892. 

These three beautiful little pictures, forming a series, after 
having been long separated from each other, and in three 
different collections, are thus at last brought together in the 
National Gallerv. 



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No. 639. 



l6j in. by 12 in. 




No. 1 106. 



i6Jin. by 12 in. No. 1381. 



16J in. by 12 in. 



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14 THE XATIOXAL GALLHRY. 

MARATT'' (Carlo). Cavalicre, 1625 — 1713. Roman School 

174. Portrait of Cardinal Cerrl, seated. 

Half-length, of the natural size. 

Presented by Mr. Henry Gaily Knight, 1839. 

MAJtCO DA OOOIOHHO. 1470—1530 (?). Ijnnhurd School (Mtidn). 

1149. The Madonna and Child. 

The Virgin, clad in robes of the traditional colours, is seated 
on the ground, supporting on her lap the Infant Christ, who 
stretches out His arms towards a blue-bell which she holds 
before Him. Scale of figures about half life-size. 

Purchased, 1883. 

The study in chalk for the liead of the Virgin in this picture 
is in the Dyce collection in the South Kensington Museum. 

KABOABITOHE (1^1 Magnano). .1216—1203. Tuscan School. 

564. The Virgfin and Child, with Scenes ft'om the Lives of 
the Saints. 

The Virgin is seated in the centre with the Child in her 
lap, and surrounded by the Iclithys or Vesica Piscis glory, 
within which are also two angels, and around the glorj' outside 
are the four symbolic images of the four Evangelists — the 
angel, the ox, the lion, and the eagle. 

Eight small pictures are arranged, four on each side of the 
vesica : the Nativity and Annunciation to the shepherds ; St. 
John the Evangelist liberated from the cauldron of boiling oil ; 
St. John resuscitating Drusiana ; St. Benedict rolling himself 
among thorns, to resist the temptations of the evil spirit ; the 
martyrdom and burial of St. Catherine on Mount Sinai ; St. 
Nicholas of Bari exhorting the sailors to throw into the sea 
the vase of oil given them by the Devil ; the same saint 
liberating the condemned ; and St. Margaret in prison, swallowed 
and disgorged again by the dragon unhurt. The picture is 
signed Margaritus de Aritio me fecit. It was an altar- front, 
formerly in the church of Santa Margherita at Arezzo. 

Purchased, 1857. 



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No. 174. 



47 in. by 38 in. No. 1 149. 



25^ in. by 20 in. 




No. 564. 



33 in. by 69 in. 



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1 6 THE NATIOXAL GALLERY. 

MABIHU8 VAN BOMEBBWAXSL. I4Q7(?)— after 1560. Dutch SchooL 

944. Two Bankers op Usurers in their Office. 

The one inserts some items in a ledger, while the other 
seems to recall with diniculty the particulars of some business 
transaction. 

Wynn Ellis bequest, 1876. 

The picture is remarkable not only for its marvellous finish, 
and the energy of the expressions, but for its luminous quality 
and the purity of the colour. 

MABMIOH (Simon). lUh century. French School. 

1302. The Soul of St. Bertin borne to Heaven. 

Over the crested roof of a church, two long-robed angels 
fly, bearing between them, in a white napkin, the soul of St. 
Bertin, kneeling in prayer. In the upper part of the panel is a 
circular glory enclosing a figure of the Almighty enthroned and 
bearing a sceptre in His left hand, while He raises the right in 
benediction. Purchased, i860. 

1303. A Choir of Angrels. 

Two of the celestial host, with variegated wings and long 
flowing robes, soar immediately above the terminal of a gable, 
holding a scroll of music between them. In the clouds above 
are three more angels playing on long pipes. This and the 
companion picture (1302) formed two of the painted shutters 
on the reredos of the abbey church of St. Bertin at Saint 
Omer. Purchased, i860. 

MABTIHO DA UDIHE, called FELLEOBIHO DA SAH DAHIELE. 

i47o(?) — 1547. Venetian School. 

778. The Madonna and Child enthroned, with Saints. 

On the right of the throne is St. James, with his right 
hand touching the shoulder of the donor, kneeling in the fore- 
ground ; on the left is St. George, on horseback, with the dead 
dragon at the horse's feet. 

Purchased, 1867. 



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No. 944. 



35 J in. by 28 J in. 




No. 1302. 22}in.by7f in. No. 778. 



98 in. l)y 57 in. No. 1303. 22} in. by 7f in. 



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iS THE NATIONAL GALLERY. 



XABZIALS (Makco). 14 — 15 Venctuin ScIkjoI. 

803. The Circumcision of the Lord. 

Tlie scene represents a vaulted chapel, the roof of which is 
gilt and richly ornamented with cinquecento arabesques. In 
the centre are the Virgin holding the Child seated on a 
cushion, Joseph with two young pigeons, and Simeon ; on the 
sides are portraits of the donors and family very richly draped ; 
the gentlemen placed on the spectator's right, the ladies on the 
opposite side ; a youth is kneeling in front, and near him is 
seated on a step a little white dog. Composition of fifteen 
figures, half the scale of life. On arches of the vault is in- 
scribed the prayer of Simeon — *'Xunc dimittis servum tuum 
Domine, secundum verbum tuum, in pace : quia viderunt oculi 
mei salutare tuum, quod parasti ante faciem omnium populorum. 
Lumen ad revelationem gentium, et gloriam plebis tua3 Israel." 

The picture is marked with the painter's monogram, a 
capital M crossed by a horizontal bar with a double cross 
above it, and bears in a cartellino or label the following 
legend: AIarcits Martialis Venetus Jrssu M" Equitis 
ET JuRCON. D. Thome R. Oris Hoc P. An M«CCCCC«. 

Purchased, 1869. 



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No. 803. 



8S in. by 60 in. 



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20 THE XATIOXAL GALLERY. 



MA&ZIALE (Mak( o) {continued). 

804. The Madonna and Child enthroned, with Saints. 

On their right San (jallo Abate, with crosier and mitre, 
and the Baptist ; on the left St. Andrew, with a knife in his 
left hand, and San Jacopo di Conipostella ; an angel playing a 
guitar is seated on the steps of the throne. Over the canopy 
is a vaulted roof, richly decorated with mosaics on a gold 
ground. Seven figures, small life-size. Inscribed in a cartellino : 
Marcus Marcialis Venetis P. M.D.VII. 

Purchased, 1869. 



XASSTS OK MATSTS (Ouintkx). 1460 (?) — 1530. Fie mtsh School. 

295. Salvatop Mundi, and the Virgin Mary. 

The Saviour holds in His left hand a crystal globe sur- 
mounted by a golden cross ; with His right He is blessing. 
The Virgin has her hands joined in adoration. Bust figures, 
small life-size ; on a gold ground. 

Purchased, 1857. 



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No. 804. 



86i in. by 55^ in. 




No. 295. 



Each Panel, 23 in. l)y 13 in. 



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22 THE NATIONAL GALLERY, 

XATTEO DI OIOVAVVZ (<>r Da Sikna). I435(?)— ^gf. Suncsc School. 

247. "Ecce Homo." 

Christ crowned with thorns ; tlie liands crossed on the breast. 
Bust, on a blue ground. 
Purchased, 1854. 



1155. The Assumption of the Virgin. 

The Virgin seated on clouds, with hands joined in prayer, is 
wafted towards Heaven by cherubim and seraphim. A choir of 
twenty angels in brilliant gamients float joyfully around her, 
singing and sounding instruments of music. She is clothed in a 
red tunic, crossed by a rich stole, and a large mantle of white 
damask embroidered with florets and lined with green, which is 
clasped on the bosom, and, leaving the arms free, envelopes the 
knees and feet. Her head is covered with a close white veil, and 
surrounded by a gold nimbus inscribed regina . CELI . LETARE. 
Christ above, in the midst of cherubim and seraphim, bends down 
to receive her. A little lower, on both sides, is seen a group of 
prophets, amongst whom St. John the Baptist is conspicuous. 
All these figures and groups are on a gold ground. Below is a 
landscape, in the foreground of which is the empty tomb. St. 
Thomas presses eagerly forward to receive the girdle of the Virgin, 
which, according to the legend, she let fall to him on her assump- 
tion. The panel on which this altar-piece is painted terminates 
above in an ogee fonn. 

Purchased, 1884. 

This is perhaps Matteo da Siena's best production, and in it 
we may be said to have an epitome of Sienese painting in its 
aim and scope from the middle of the fourteenth to the end 
of the fifteenth centurv. 



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No. 247. 



84 in. by 8?; iu. 




No. 115s 



1302 in. by 68 J in. 



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24 THE XATIONAL GALLERY. 

MATTEO DZ OIOVAJTHl (<>r Da Sikna) Uuntinncii), 

1461. St. Sebastian. 

The saint, pierced with numerous arrows in the upper part 
of his body, and holdings: the crown of martyrdom in his right 
hand, and in the left the pahn-branch, stands in a picturesque 
landscape of rocky cliffs between which is seen an open countr}'. 
Above, two angels place a crown on his head. The panel, which 
is arched above, is surrounded by the original gilt mouldings. 

Purchased, 1895. 

This and Xo. 247 are excellent examples of tempera painting 
of the fifteenth century in good preservation, and unvarnished. 

j£^20 (Juan Baitista Maktinkz DKL), Asc KUiKmo. ? — 1667. Spanish School. 

1308. Portrait of a Man. 

Full length ; one-third life-si/e. A short, thick-set figure, clad 
in a red jacket thickly laced with silver ; full slashed sleeves ; 
trunk hose, and high leather boots. His long and bushy hair 
falls on a large lace collar. He rests his left hand on the back 
of a chair. In his right he holds a broad-brimmed felt hat 
trimmed with white feathers. 

Presented by Mr. C. H. Crompt on- Roberts, 1890. 

MAZZOLA (Fii.ippo). 14 — 1505. Ijitnhard SchfKtl, I^arma. 

1416. The Virgin and Child, with Two Saints. 

In the centre of the picture the Virgin offers a pear or quince 
to the Infant Christ, Who sits, undraped, on her lap caressing a bird 
which He holds in His left hand. On the left, and close behind 
the Child, stands St. Jerome with his hands closed in prayer. 
On the right hand is another saint bearing a closed volume, on 
which is placed a small figure of the Saviour standing before a 
cross in a stone niche. The Virgin and saints are seen at half- 
length, and painted about half the size of life. Background of 
sky. Signed PHiLiPPrs iMAZOL a. p.p. Enclosed in an old 
Italian frame of early cinquecento pattern, richly carved, gilt, 
and painted, probably its original frame. 

Purchased, 1894. 



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f ^ '^«l 





No. 1 46 1. 49J in. by 23^ in. No. 1308. 



35 in. by 26] in. 




No. 14 1 6. 



21J in. by 29 in. 



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26 TFIE X ATI OX A L GALLERY. 

KAZZOLINO (LrnovK o) DA FE&BABA- M^o — 1528 (?). Fcrnitrsc Sc//oo/. 
82. The Holy Family, 

With St. Francis adorinp the Infant Christ ; behind are EHza- 
beth and St. John. The httle St. John is protectini^: a lamb from 
a monkey which appears to menace it. The background is an 
architectural elevation, adorned with bassi-rilievi. 

Bequeathed by the Rev. W. Holwell-Carr, 1831. 

169. The Holy Family, 

With St. Nicholas of Tolentino adoring the Infant Saviour ; 
St. Joseph is presenting Him with cherries. Immediately above 
the Virgin is the dove in a glory of light, the symbol of the Holy 
Ghost, and in the upper part of the picture is a vision of the 
Father surrounded by a choir of angels. 

The whole is symmetrically arranged ; the background of 
the composition is an architectural elevation, enriched with 
bassi-rilievi. 

Purchased, 1839. 
641. The Woman taken in Adultery. 

The scene represents the interior of the Temple, in which 
are many people on the floor and in the galleries. Christ has 
just completed the writing on the pavement, *' He that is without 
sin among you, let him first cast a stone at her," and the guilty 
Scribes and Pharisees are self-convicted, and about to turn away 
from him. (John ch. viii.) 

Purchased, i860. 

1495. Christ disputing: with the Doctors. 

The youthful Saviour is on a raised seat in the centre of 
the picture, and the doctors are grouped in various attitudes of 
attention and conversation on each side. The background is of 
the architectural character customary with this painter, adorned 
with figures and reliefs in sculpture. The lower of these repre- 
sents Moses showing the Tables of the Law to the Israelites ; 
the other represents a battle with apparently David cutting off 
Goliath's head. The draperies are heightened with gold. 

Purchased, 1897. 



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No. 82 



No. 641. 



18 in. by 12 in. 




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24I in. by 18 J in. No. 1495. 



12 in. by 85 in. 



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28 THE NATIONAL GALLERY, 

XELDOLLA (Anhrka), cai.lki) SCKZAVONE. Venetian School 

1476. Jupiter and Semele. 

Seniele is lyin^ on a couch covered with crimson and purple 
draperies. Jupiter descends from the sky surrounded by flames 
and clouds. Purchased, 1896. 

MELONE (AiToitFLi.o). 14 - 15 Lombard School^ Cremona. 

753. Christ and the Disciples on the Way to Emmaus. 

Three figures, nearly life-size. Our Lord, dressed as a pilgrim, 
has overtaken the two disciples, and has laid His left hand on 
the shoulder of the one nearer to Him. Purchased, 1864. 

XELOZZO DA FO&LI, As( KniKD to. 143H — 1404. Umhnan School. 

Ibb. Rhetoric (?) 

A female enthroned and richly dressed, seated under a massive 
marble canopy ; before the throne are some steps, covered with 
a figured green carpet ; on the right, is kneeling a man in red 
and black ; he holds an open book, to the contents of which 
the female points with her right hand. On a frieze above is 
the inscription, (D)VX VRBINI MONTIS FERITRI AC— Duke 
of Urbino and Montefeltro. Purchased, 1866. 
756. Music (?) 

A female enthroned and richly dressed is presenting a closed 
clasped volume to a young man, also richly dressed, who is 
kneeling before her ; with her left hand she is pointing to a 
small regal or portable organ. On the frieze over this group 
are the words lECLESIE COXFALOXERIVS— Gonfaloniere of 
the Church. Purchased, 1866. 

These companion pictures are said to be two of seven 
which were originally in the palace of Urbino. The words 
inscribed on the pictures are portions of an inscription which 
the Duke Federigo had put up on the walls of the courtyard 
of the palace of Urbino. — Frcdericus Urbini Dux, Montis/erctri 
ac Durantis Cofncs, Sander Ro. eccleskv Confo loner iuSj otqtw 
Italiav Confivderationis hnperator^ ks'c. 



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No. 1476. 



No. 753. 



8g in. by 25^ in. 



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61 }, in. by 40J in. No. 756. 



61 J in. by 38J in. 



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^o THE XATIOXAL GATJ.ERY. 



XEKLINC (Hans). 14^0 (?)— 1404. Elcnmh Schuhl. 

686. The Virgrin and Infant Christ, enthroned, in a Garden. 

On lier ri<^lit an anpel playing on a guitar ; on her left 
St. (ieor<,^e, with the dragon at his feet. In front the donor is 
kneehng before the Divine Infant, Who, while listening to the 
music of the angel, is with His left hand tuniing over the leaves 
of a book held before Him by His mother. In the distance is 
a view of the sea, with shipping. 

Purchased, 1862. 



XEXLINC, AscRiUKi) to. 

747. St. John the Baptist holding: a Lamb on his Left Arm. 

St. Lawrence, Deacon, holding: a Gridiron by his Side. 

Small full length figures with landscape backgrounds. 
Purchased, 1865. 



XE&IAN (Matth/KI's), Junior. 162 i — 1687. German School. 
1012. Portrait of a Man. 

Aged about thirty ; seated ; seen nearly in full face ; the 
head resting on the left hand. The dress is of black velvet, 
of the fashion of about 1665-70, the full shirt-sleeves being 
seen from the bend of the ami downwards. 

Wynn Ellis bequest, 1876. 



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No. 686. 



21.} in. by 14 J in. 





No. 747. 22i in. l.y 6.5 in. each. No. 1012. 



38 in. by 31 in. 



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32 THE X ATI OX A L GALLERY, 

METSU ((jAhkikl). i6;o — 1607. Dutch Schuul, 

838. The Duet. 

Interior of a chamber. A lady, in a sc^arlet jacket, holding 
a piece of music in her hand on her lap, is seated at a table 
covered with a Turkey carpet on which a bass viol is lyinp ; 
behind is a gentleman tuning his violin. By the lady's side is 
a spaniel. Signed d, Mdsu, 

Purchased, Peel collection, 1871. 

839. The Music Lesson. 

A lady, holding a piece of music, is seated at an open virginal 
conversing with a gentleman holding a glass of wine in his 
hand ; a jug is on the floor, and a fiddle is lying on a table 
by his side. On the wall in the background are two pictures, 
one in a gilt and the other in an ebony frame. Signed 
G. Mi'isu, 

Purchased, Peel collection, 1871. 

970. The Drowsy Landlady. 

A woman, in a scarlet gown and white apron, is sleeping in 
an arm-chair holding a clay pipe in her hand ; she is seated 
near a table, on which are playing-cards and other objects ; a 
spaniel in front is watching her. Two men are in the back- 
ground, one endeavouring to wake her by tickling her neck 
with the end of his clay pipe. Signed on the slate, G. Metzu, 

Wynn Ellis bequest, 1876. 

MEULEN' (Ai)AM Fkans VAN dkk). 1632-1690. Flemish School. 

1447. A Huntingr Party. 

A carriage with six white horses is drawn up at the foot 
of a rising ground covered with trees. A personage of im- 
portance, possibly Louis XIV., is seated at the window of the 
caiTiage, and two horsemen approach him hat in hand ; the 
carriage is surrounded by a suite of persons on horseback and 
on foot, all bareheaded, and on the right, at the side of the 
road, is a group of dogs in charge of a hunting valet apparently 



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No. 838. 



16} in. by 14J in. 




No. 839. 




15 in. by 12.} in. 



No. 970. 



14J in. by 124 in. 




No. 1447. 



23 in. by 3 1. J in. 



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34 THE XATIOXAL (iALLERW 

METJLEN' (Adam Fkans van dkk) {continued). 

asleep. An open country with blue distance, and sky with 
flying clouds, form the background. Signed A. F. V. ^Iei'LEN 
FEC : 1662. Brtxel. 



Purchased, 189 



D- 



MICHELE DA VEBONA. 14 —15 Vcvhncsc Schihl. 

1214. The Meetingr of Coriolanus with Volumnia and Veturia. 

Coriolanus, clad as a Roman warrior, with mounted soldiers 
grouped round him, kneels in the foreground to greet his wife, 
who is also on her knees with a boy by her side, while Veturia 
and two other women stand behind her. In the background 
is a mountainous landscape, with a river flowing past a town, 
which is seen on the left. 

Purchased, 1886. 



MIEBI8 (Fkans van), Skniok. 1635—1681. Dutch School. 

840. A Lady in a Crimson Jacket, 

Seated, feeding a parrot on its perch. 



Purchased, Peel collection, 1871. 



MIEBI8 (WiLLKM van). 

841. A Fish and Poultry Shop. 

The mistress within is bargaining with a fisherman for some 
fish. Various provisions exposed for sale. Below the shop 
window is a bas-relief, and a tortoiseshell cat immediately in 
front is eyeing a duck, the head of which hangs from the 
window-sill ; whence this picture is sometimes called '*The Cat" 
— "Le Chat." Signed Ti". van MieriSj ft. Awio 171 3. 

Purchased; Peel collection, 1871. 



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No. 840. 



9 in. by 7 in. No. 841. 



19} in. by 16 in. 



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36 THE XATIOXAL GALLERY, 

MILANESE SCHOOL: XV. OB EARLY XVI. CENTURY. 

1052. Portrait of a Young Man, 

In a black cap and a gown lined with spotted lynx fur over 
a crimson doublet. He wears a j^old chain round his neck, and 
a ^old ring on the thumb of his left hand. 

Bequeathed by Miss Sarah Solly, 1879. 

1300. The Virgrin and Child, 

In a landscape, the central portion of which is occupied by 
a tree in full leaf, the Virgin, clad in a crimson robe and blue 
mantle, sits holding the Infant Christ. In the middle distance is 
a hamlet, beyond which rises a lofty cliff of fantastic aspect. 

Purchased, i860. 

1438. Head of John the Baptist. 

The head of the saint, of great beauty of expression and 
features, lies in a dish of white faience, which is placed on a 
red marble slab. On the dark background is the inscription in 
large capitals— MDXI. II. KL. FEB. 

Purchased, 1895. 

MOCETTO (GiKOLAMO). 14 — 15 Venetian School. 

1239. The Massacre of the Innocents. 

King Herod, seated towards the right under a stately portico 
of variegated marbles, directs the slaughter, which his soldiers 
have already begun. On the pedestal of one of the supporting 
columns is the signature — 

HEROL 
EMO— 
MOCETo 
P. 

Purchased, 1888. 

1240. The Massacre of the Innocents. 

In a splendid marble hall, with a lofty arched opening, through 
which the distant countrj^ is seen, the soldiers of Herod are 
engaged in seizing and slaying the children. 

Purchased, 1888. 



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No. 1438. 17.} in. by 15I in. 





No. 1239. 26 in. by 17 in. 



No. 1240. 26 in. by 17 in. 



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3« THE NATIONAL GALLERY. 

MOLA (PiKTKO Fkancks('o). 1612 —i6o8. Bhlogticsc Scho'tl. 

69. St. John preaching* in the Wilderness. 

The Saviour is seen approaching in the distance : — 

"The next day John scoth Jesus coiiiini^ unto him, and saith, Behold 
the Lamb of (iod, which taketh away the sin of the world. This is He 
of whom I said. After me cometh a man which is preferred before nic ; 
for He was before me." — John i. 29, jo. 

Landscape, with live small li^i^ures. 

Bequeathed by the Rev. W. Hohvell-Carr, 183 1. 

160. The Repose. 

Landscape with small figures. The Holy Family, during 
the flight into Egypt, is reposing under the shade of some trees ; 
three angels are hovering over the sleeping Infant, Wlio is watched 
by His mother ; in the distance is a shepherd tending his flock. 
This subject, which is often treated by the Italian painters, is 
commonly called the Riposo, 

Bequeathed by Charles Long (Lord Famborough), 1838. 



MOLENAEB (Jan Mikxse). if>io(?)— 166S. Dutch School. 
1293. Musical Pastime. 

In a handsome wainscotted room a young man and a young 
woman are seated on chairs, singing ; they accompany them- 
selves — he on a theorbo, she on a cither. The lady rests her 
unslippered right foot on a chaufterette ; a music-book lies open 
on her knees ; beside her crouches a little dog. On the gentle- 
man's right is a richly-carved stool or low stand on which are a 
flagon and wine-ghiss. More in the background a serving-woman 
places a roast fowl on the table ; against the table leans a viola 
da gamba, the neck of which is covered "by the gentleman's 
plumed hat. A portrait of one of the Princes of Orange hangs 
on the \vainscot behind. The costume of the figures is that of 
about 1630. 

Signed on the side of the chaufferette. 

Purchased, 1889. 



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No. 69. 



No. 160. 



20.i in. by 26 in. 




12 in. by 18 in. 




No. 1293. 



26^ in. by 32J in. 



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40 THE NATTOXAL GALLERY, 

MONTAGNA (Baktoi.ommko). 1450 (?) — 1523. School of jyceuza. 

802. The Virgrin and Child. 

The Infant is seated on a book, holding a strawberry ; in 
the background is a rocky landscape, with a church and other 
buildi!iu^> <>ii itic margin of a lake. 

This work is ascribed by some critics to Giovanni Speranza, 
a Vicentine ])ainter contemporary with Montagna. The earlier 
productions of both these artists have often been confounded. 

Purchased, 1869. 

1098. The Virgin and Child. 

The Virgin, whose figure is seen at half-length, stands in 
an attitude of devotion beside the Infant Christ, Who lies asleep 
before her, reclining on a window-sill. Figures nearly life-size. 

Purchased, 1881. 



MOR t>i^ MOBO (AxToxv), called SIB ANTONIO MOBE. 1512 (?)--i576. 
Fieimsh Schooi, 

1231. Portrait of a Man, 

Life-size ; bust-length : three-quarter face, turned to the left. 
Dressed in a black satin doublet, with a high collar encircling 
the throat, and disclosing the edge of a white frill above. The 
dark brown hair of the head is short and bushy. The bifurcated 
beard and moustaches are of a lighter hue. Greenish-grey back- 
ground. 

Purchased, 1887. 



MOB lAxTOW), AscRiUKi) to 

1094. Portrait of a Man. 

Bust-length ; dressed in a black doublet, witli an upright lace 
collar round the throat. Life-size, three-quarter face, with a sliort 
fair beard. Dark background. 

Presented by the Trustees of the British Museum, 1880. 



I 



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No. 802. 



21 i in. No. 1098. 



22J in. by 19} in. 




No. 12 



No. 1094. 



23 1 in. l)y 19 in. 



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42 TFIE NATIONAL GALLERY, 

MORALES (Lris I)k). 15 —1586. Spanish SchuuL 

1229. The Virgrin and Child. 

Small figures, half-length. The Virgin, seated, and facing 
towards the left, looka down upon the Infant Saviour, Whom she 
holds in her arms. He looks upwards at His mother, and thrusts 
His right hand into the bosom of her dress. 

Presented by Mr. G. F. de Zoete, 1887. 



MOBANDO (Paolo), called CAVAZZOLA. i486— 1522. Verojiese School. 

IZh. St. Rock with the Angel. 

The saint, a full length figure, life-size, is baring his thigh 
and showing the plague-spot to an angel soaring above his head ; 
at his foot is his little dog ; in the background are an oak and 
his pilgrim's staff and hat. Signed Paulus MorAdus, V. P. 
(Veronensis Pinxit), and formerly dated MDXVIH., but the last 
five figures have been obliterated. 

Purchased, 1864. 



777. The Madonna and Child, with St. John the Baptist and 
an -Angel, in a Landscape. 

The Baptist is offering a lemon to the Infant Christ, Who is 
seated on the left arm of His mother and supported by her 
right hand. Signed Paulus V. P. 

Purchased, 1867. 



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No. 777. 



30 in. by 26 in. No. 735. 



6if in. by 2ii in. 



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44 THE NATIONAL GALLERY. 

MOBONE (DoMKMco). 1442 — 15 Veronese School. 

1211. Scene at a Tournament. 

In the foreground the tiltinp-lists. Two knights have met 
in the shock. The one, behind the dividing barrier, falls from 
his rearing liorse ; while the victor, still in course, brandishes 
his broken lance. A herald sounds his trumpet. Groups of 
mounted squires and spectators are beyond the barrier. In 
the centre, behind and above these, a young prince sits on a 
chair of state, surrounded by courtiers, under a high canopy, 
which is topped by a red banner with a black eagle for 
device. On each side of the throne extends a bank of 
flowering turf, on which rows of ladies are seated under a gay 
awning. Farther behind is seen an unfinished building with 
its scaffolding; in the distance blue hills. 

1212. Scene at a Tournament. 

The same locality. The prince here stands before his seat 
with a richly-dressed lady beside him ; a young man on his right 
seems to be addressing him. The flowery, bank on each side 
is now the scene of a dance. Two youths, one on a ladder, 
ascend to join it ; a third is vaulting the barrier, apparently 
with the same object in view. Behind the barrier, to the left, 
a knight in golden armour, but bare-headed, rides off flourishing 
his sword. In front of the barrier, and facing the throne, a 
knight in full harness, save his helmet, sits on a white horse, 
while his mounted squire hands the helmet to a young man on 
foot. Each of these compositions is enclosed in a rich ara- 
besque border; both probably formed the sides or part of the 
f^ont of a cassone or wedding-chest. Purchased, 1886. 

MOBONE (Francesco). 1473—1529. Veronese School, 
285. Madonna and Child. 

The Virgin seated, with the Child in her arms. Who is holding 
an apple in His hand. Behind is a red curtain on a rod, 
extending half across the picture ; a town upon a rock in the 
distance. Figures half the scale of life. Purchased, 1855. 



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Xo. 121 I. 



17J in. by 18=^ in. Nc. 1212. 



lyi in. by 18J in. 




No 2S5. 



24 in. by 17 in. 



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4^ THE XATfOXAL GALLERY. 

MOBOiri (Giamrattista). i525(?) — i57<S. .SV//00/ of Brescia. 

697. The Portrait of a Tailor. 

Tagliapanni~in a white doublet and red trunk hose— stand- 
ing at his board with the shears in his hand, about to cut a 
piece of bhick clotli. Half-length, life-size. 

Purchased, 1862. 



742. Portrait of a Lawyer. 

He has on a black cap and black velvet suit, with white 
frill and wrist-bands, and holds in his right hand a letter, to 
which he points with his left. The address on the letter is not 
legible. Half-length, h'fe-size. 

Purchased, 1865. 



1022. Portrait of an Italian Nobleman. 

Probably a member of the Fenaroli family of Brescia. He 
stands nearly in profile, turned towards the spectator's right, 
but looking out of the picture, and leans his left arm on a 
richly-plumed helmet, which bears the device of a red sun. 
He wears his sword, and is clad in a close dress and trunk 
hose of black, with a buff jerkin, to which are attached pieces 
of chain-mail covering the shoulder and upper arm. His left 
foot appears to have been wounded, for it is attached by a 
kind of stirnip and black cord to a band above the knee. 
Pieces of plate-armour lie scattered on the pavement. The 
background is light grey architecture with a peep of sky, 
against which is seen a branch of a fig-tree. 

Purchased, 1876. 



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No. 697. 



3SJ in. by 29J in. No. 742. 







34 in. by 27J in. 



No. 1022. 



79 in. by 41 in. 



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4^ TFFE XATIOXAL GALLERY, 

MOBONI (Giamhattista) {coniinurff). 

1023. Portrait of an Italian Lady; said to be the Wife of 

the Subject of the Precedingr Portrait. 

Seated in an arm-chair, and wearing an under-dress of gold 
tissue, over which is a robe of red satin. In her left hand is a 
fan. The figure is seen against a hght grey wall, and a pave- 
ment of inhiid marbles. 

Purcliased, 1876. 

1024. An Italian Ecclesiastic, with a full Brown Beard, half- 

lengrth. 

He holds in his hand a letter addressed to himself, by 
which we learn his name and quality, the Canon Ludovico di 
Terzi of Bergamo, and Apostolic Prothonotar}'. A I molto R''\ 
J/. Lud'\ di Tcrzi, Catr, di Rgomo Dig", et Prolh\ Apc^. 
Sig\ Mit) Osscr"'\ B'gojno, Above, to the right of the specta- 
tor, is a glimpse of sk}' and a weed on a stone of the wall ; 
the general tenor of the picture is light ; the dress is black. 

Purchased, 1876. 

1316. Portrait of an Italian Nobleman. 

A life-size, full length figure, seen nearly in profile, but with 
three-quarter face. Clad in a black jerkin, worn over a shirt 
of mail ; black trunk hose, stockings, and shoes. He stands 
close to a wall, placing his right hand upon a steel helmet 
which rests on the top of a truncated marble column, while 
the fingers of his left hand lightly touch the hilt of his sword. 
The hair o\ his head is dark and cropped. The beard and 
moustaches are light brown, short and bushy. A gap in the 
recessed wall just above the column reveals a peep of blue 
sky crossed by white clouds. 

Purchased, Longford Castle collection, 1890. 



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I' i-^-W^lgi*'. 





No. 1023. 



59 in. by 41 in. No. 1024. 



39 in. by 31 Jin. 




No. 1316. 



72 in. by 39 in. , 



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50 THE XATTOXAL GAF.LERY. 

MOSTEBT OK MOSTAEBT (Jan). 1474 — after 1540. Flemish Schaul. 

713. The Virgrin and Child in a Garden. 

Seated under a tree ; by tlieir side an earthen flower-pot 
witli pinks. Tlie mother, lioldin^j: tlie Child with her left hand, 
is offering a flower with her rii^ht. Landscape back<T[round. 

Presented in 1863 by her Majesty the Queen, in fulfihnent 
of the wishes of his Royal Highness the Prince Consort. 



MOXJCHEBON (Fkkdkkic dk). i63;(?) — loSb. Dutch Schhol. 

842. A Garden Scene, bounded by Trees. 

On the right some figures are near a fountain ornamented 
with statues and shaded by poplars. In the middle ground 
is a jetting fountain, near which are various figures promenad- 
ing ; beyond is a balustrade, and a view of the open country. 
Signed Moitchcrou^ /. The figures are ascribed to Adrian 
Vandevelde. 

Purchased, Peel collection, 1871. 



1352. Landscape with Ruins and Figrures. 

On the left three columns support part of the entablature 
of a ruined temple, while a huge mass of dislodged masonry 
lies at their base. In the middle distance rise lofty poplar 
trees. Beyond, to the right, is an extensive plain flanked by 
hills. In the foreground peasants and cattle rest by the side 
of a stream. Above, white clouds drift across a summer sky. 

Bequeathed by Mr. Richard W. Cooper, of Tulse Hill, 1892. 



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27?» in. by 25 in. 




No. 842. 



28.^. in. by 36 in. 



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::2 THE XATIOXAL GALLERY, 



MXJBILLO (Raktolomk Estfhan). i6i8 — 1682. Spanish Scliool. 
13. The Holy Family. 

The youthful Saviour, with the Virgin seated on His riorht, 
and Joseph kneeling on His left, is represented standing on the 
base of a ruined column ; the Holy Spirit is descending upon 
Him from above, where the Father is represented supported 
by angels. This picture, which is one of Murillo's last works, 
was painted at Cadiz when he was probably about sixty years 
of age. 

Purchased, 1837. 



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114 in. hy S2 in. 



No. 13- 



Digitized by vnOOQ iC 



54 THE NATIOXAL GALLERY. 

MXJBILLO (Bartolomk Estkijan) {continued), 

74. A Spanish Peasant Boy. 

A laughing boy, witli one shoulder exposed, is leaning on 
his elbows, and appears to be looking out at a window. 
Presented by Mr. M. M. Zachary, 1826. 



176. St. John and the Lamb. 

The youtliful St. John embraces the lamb, and with his left 
hand points towards heaven — an illustration of the words : 
'' Behold the Lamb of God " (John i. 29). The standard of the 
Lamb is lying upon the ground ; a dark rocky landscape forms 
the background. 

Purchased, 1840. 

1257. The Nativity of the Virgrin. 

In the centre of the group the new-bom babe is held by 
two women. Behind are two angels in adoration, and to the 
right, in front, a girl whose back is turned to the spectator 
kneels by a basin, and turns her head towards a woman who 
brings the swaddling-clothes ; farther back are two women by 
a chimney. On the left two boy-angels are busied with a 
basket of linen ; near them a little spaniel. On the same side, 
in the backgiound, St. Anne lies in a bed. Above, a choir of 
boy-angels floats over the infant. 

This little picture is said to be the colour-sketch for the 
large composition. No. 540, in the Louvre. 

Presented by Lord Savile, G.C.B., 1888. 

1286. A Boy Drinkingr. 

A life-size figure clad in rustic garb, with vine leaves in his 
cap. 

Bequeathed by Mr. John Staniforth Beckett, 1889. 



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No. 1286. 24^ in. by i8| in. 



65 in. by 41 in. 




No. 1257. 



9} in. by 1 7. J in. 



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::6 THE NATIOXAL GALLERY, 



JXHIITTB (Piktkr). 1577— i66i(?). Flemish School. 

924. The Interior of a Gothic Church. 

On the spectator's right a group of figures are inspecting a 
conspicuous tomb in the style of Renaissance architecture. 
Signed P, Nafs fL 1644. 

Presented by Sir Henry H. Howorth, 1875. 



NEEB (Aakt van der). 1603 — 1677. Dutch School, 

152. A Landscape, with Figures and Cattle; Evening*. 

A country-house is seen in the middle ground ; beyond it 
to the right is a view of a town; shipping in the distance. 
The figures were painted by Cuyp, whose name is inscribed on 
the pail. Signed with the painter's monogi'am, A. v. D. N. 

Bequeathed by Charles Long (Lord Farnborough), 1838. 



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No. 924. 



27 in. by 38J in. 




No. 152. 



47 in. by 63J in. 



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THE XATIOXAL GALLERY. 



NEEB (Aakt \'an dhr) {cantinucd), 

239. River Scene by Moonligrht, with Shipping-. 

On the left a town ; the moon risinj^^ in the middle distance. 
Low water. Signed with the painter's monogram. 
Bequeathed by Lord Colborne, 1854. 



732. Landscape with Figrures; a Canal Scene, Holland. 

A broad canal with buildings and trees on each side, a boat 
and a couple of swans in the foreground, and a drawbridge in 
the middle distance. On the left are a lady and three sports- 
men, dogs and poultry. The figures are supposed to be by 
Lingelbach. Signed with the painter's monogram. 

Purchased, 1864. 



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No. 239. 



12 in. by iSh in. 




No. 732. 



514 in. by 65J in. 



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6o THE NATIONAL GALLERY. 

NEEB (Aart van dkr) (c(mtinucd). 

969. Frost Scene. 

A frozen river, buildings on either side, to the left a bridge ; 
boats frozen in, and many skaters on the ice ; everywhere 
traces of snow. Signed with the painter's monogram, A.v.x. 

Wynn EHis bequest, 1876. 

1288. A Frost Scene. 

The outskirts of a hamlet lying on the banks of a canal or 
river, on the surface of which people are amusing themselves. 
On the left of the foreground, near some felled tree-trunks, a 
man and woman are walking with a dog. 

Bequeathed by Mr. John Staniforth Beckett, 1889. 

NETSCHEB (Caspar). 1639— 1684. Dutch School. 

843. Blowing* Bubbles. 

Two children at an open window blowing bubbles. A gi'een 
curtain is looped up on the right. Signed A ^ 1670, G, Nilschcr, 
Purchased, Peel collection, 1871. 

844. Maternal Instruction. 

A lady seated at a table before a window is teaching a child 
to read ; another child is playing with a dog on a chair. In 
the background over a cupboard is hanging in a black frame a 
small copy of Rubens's " Brazen Serpent," in this collection. 

Purchased, Peel collection, 1871. 

845. Lady seated at a Spinningr-Wheel. 

Signed G. Nctschcrj 1665. 
Purchased, Peel collection, 1871. 

1332. Supposed Portrait of George, 1st Earl of Berkeley. 

Small half-length ; nearly full face. A young-looking man 
clad in a black velvet coat with ample sleeves, a ruffle and 
shirt-cuffs of Venetian point lace. He wears a large light brow^n 
wig. In the background is a curtain of brown and gold brocade, 
hung near an open window. 

Presented by Lord Savile, G.C.B., 1891. 



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Biu^.. . 












No. 969. 



10 in. by 15^ in. No. 843. 12 in. by 9! in. 




No. 1288. 




12 J in. by 20J in. No. 844. I7i in. by 14 J in. 





No. 845. 



; in. by 6?r in. No. 1332. 



18 J in. by 14^ in. 



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62 THE XATIOXAL GALLERY. 

NICCOLO DI BUONACCORSO. t)ied 138H. Sicncsc School. 

1109. The Mappiage of the Vipg-in. 

In an open cortile, enclosed by arcaded buildings and 
carpeted with a cloth of Arabian design, the Virgin and St. 
Joseph stand before the High Priest, who is joining their 
hands. A crowd of figures are grouped around. Among them 
are two heralds blowing trumpets, and a youth playing on the 
tymbals. Behind is an open gallery supported by an arch, 
through which are seen the conventional representations of a 
palm-tree and shrubs relieved on a gold background. 

Purchased, 1881. 



NICCOLO DA FULIGNO, called VICCOLb ALUNNO. 1430 (?)— 1492 (?)• 
Umbrum School. 

1107. The Cpuciflxion, etc. (A Tpiptych.) 

In the central compartment the dying Saviour is seen on 
the Cross surrounded by four angels, who, in various attitudes 
denoting sympathy and grief, receive in gold vessels the blood 
which flows from the sacred wounds. Below St. Francis, in 
the habit of his order, kneels embracing the cross. On the 
right hand stands St. John, the beloved disciple, with clasped 
hands and averted head. On the left the Holy Virgin sinks 
fainting in the arms of two female saints. Landscape back- 
ground. In the middle distance a fortified wall surrounding 
buildings. 

The side wings are each divided transversely into two panels, 
on which are represented successively : — 

1. The Agony in the Gardefi, 

2. Christ bearifig II is Cross to Calvary. 

3. The Descent from the Cross. 
.4. The Resurrection. 

Purchased, i88r. 



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No. 1109. 16J in. I)y lo.j in. 




No. 1 107. Centre 36 in. by 22J in.; Side panels, 16J in. by 9J in. each. 



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64 THE NATTOXAL GALLERY. 



ORCAGNA (ANDREA DI CIONE ARCAGNUOLO), called. 1308 (?)_i368. 
Florcutuic ScJiooI. 

569. The Coronation of the Virg-in, Ang-els and Saints in 
Adoration. 

A lar^e altar-piece in three divisions. In the centre Christ 
crowning the Virgin, with two angels standing on each side of 
the throne, and ten others below, eight of them kneeling, some 
playing various musical instruments — a keyed organ, harp, lute, 
viol, guitar, and bagpipes. 

In each of the side pictures are twenty-four saints, kneeh'ng 
in rows around the throne in adoration. On the spectator's left 
is St. Peter, supporting on his knee the model of the church of 
San Pietro Maggiore in Florence, for which the picture was 
painted. 



570. The Trinity. 

The Holy Spirit, in the form of a dove, is descending upon 
a crucifix, which is supported by the Almighty. 



571, 572. Ang-els adoring-. 

Constituting the sides of No. 570. 



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No. 569. 



Centre, 81 J in. by 45^ in.; Sides, 66^ in. by 444 in. each. 






No. 571. 34 in. by 15 in. No. 570. 34 in. by 15 in. No. 572. 3\ in. by 15 in. 



/ 



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66 TflE XATIOXAL GALLKRY. 

ORCAGNA (ANDREA DI CIONE ARCAGNUOLO). called {continued). 

573. The Nativity, and the Annunciation to the Shepherds. 

The Child is lying in the manger, over which is hovering a 
choir of angels. 

574. The Adoration of the King's of the East. 

Camels and attendants in the background. St. Joseph is 
receiving a golden vessel, one of the presents, from the hand 
of the Child. Innnediately over the stable is a star. 

575. The Resurrection of Christ. 

The Saviour is ascending from the tomb, and holds a standard, 
marked with a red cross, in His hand ; below the Roman guards 
are asleep around the tomb. 

576. The ** Three Maries" at the Sepulchre. (Mark xvi, i.) 

Mary Magdalen, Mary the mother of James, and Salome, are 
standing with vases of sweet spices in their hands by the side 
of the vacant tomb ; on the opposite side are two angels. 

577. The Ascension of Christ. 

The Virgin and Apostles, grouped in a circle below, regard 
the ascending Saviour. 

578. The Descent of the Holy Spirit. 

This is a composition in two divisions, the descent of the Holy 
Spirit being represented above, and below, the multitude con- 
founded, every man hearing his own language. 

This series of pictures, Xcs. 569 to 578, originally formed one 
magnificent altar-piece, painted for the church of San Pietro Maggiore 
in Florence. 

Purchased, 1857. 



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No. 573. 



36i in. l)y 19 in. No. 574. 36.} in. by 19 in. No. 575. 36^ in. l>y 19 in. 




No. 576. 36\ in. hy 19 in. No. 577. 36^ in. by 19 in. No. 578. 36! in. by 19 in. 



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bS THE NATIOXAL GALLERY. 

ORIOLO (Giovanni), x'^th century. Fcrrarcsc Schnul. 

no. Portrait of Leonello d'Este, Marquis of Ferpara, etc., 
who Died in 1450. 

Bust profile, life-size ; dressed in a red coat and over it 
a black f][o\vn without sleeves, ed^ed with gold. Inscribed 
Lkoneli.i's -h M.ARCHio -h EsTKsis, and signed Oris 
JOHAXIS Okiolo -h. 

Purchased, liastlake collection, 1867. 



ORLEY (Barknt van). 1401 (?) — 1542. Elcviish School. 

655. The Mag-dalen reading*. 

She is dressed in crimson velvet, and looking into an 
illuminated book ; on the table before her is a vase. Half- 
figure, small life-size. 

Purchased, i860. 

The ascription of this picture to Bernard van Orley has been 
doubted. There are various copies and replicas of it, slightly 
varying in treatment, under different names, to be seen in 
Continental galleries. 



OBSI (Lki.io), called LELIO OP NOVELLARA. 151 1 — 1586. Lombard 
School^ I^arnuj. 

1466. The Walk to Emmaus. 

The Saviour and the two disciples, engaged in earnest con- 
versation, are walking along a road in a mountainous country. 
The Saviour is in a white dress, the two disciples are dressed 
as peasants. A dark sky with black clouds and bursts of light 
form a picturesque setting to the scene. 

Purchased, 1895. 



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T)^ in. by 14^ in. 



No. 770. 



21 J in. by 15 in. 



f 




No. 1466. 



27i in. by 218 in. 



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THE NATIONAL GALLERY. 



ORTOLANO (L). (GIOVANNI BATTISTA BENVENUTI), called. Died 
1 5 2 5 (?) . Fcrrarcsc SclvKtl, 

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

St. Sebastian in the centre of the picture, tied to a tree 
and pierced with arrows ; in the foreground is lying a cross- 
bow. On his right is St. Rock as a pilgrim, and on his left 
St. Demetrius, in aniiour. The background is a landscape ; 
on the left are seen some horsemen near a village, and in 
the distance is a walled town. Entire figures, life-size. 

Purchased, i86i. 



OS (Jan VAX). 1744 — 1808. Dutch School, 

1015. Fruit and Flowers and Dead Birds. 

Fruit of various kinds, and a few flowers, are arranged in a 
basket ; on a slab in front dead birds and fruit are disposed, 
forming a picturesque composition. Signed J. Van Os fecit, 

Wynn Ellis bequest, 1876. 

1380. Fruit and Flowers. 

Ripe fruits of various kinds, interspersed with a few flowers, 
partly in, and partly clustered around a vase on a marble slab, 
on which lies also a little silver dish, containing a spray of 
gooseberries and a sardine. Signed J. Van Os. fecit. 1772. 

Presented by Mr. George Holt, 1892. 



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No. 1 015. 



27 in. by 21 in. No. 1 380. 



29 in. by 22 in. 



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72 THE NATfOXAL GALLERY. 



OSTADE (Ai)RiAAN Jansz van). i6io— 1085. Dutch School. 

846. The Alchymist. 

An old chemist is at work at his furnace blowing his bellows, 
and surrounded by the implements of his occupation. In the 
background are a woman and two children. Under a three- 
legged stool is a paper on which is written a warning of the 
vanity of his labour. Oleum vt opcram pcrdis. Signed on a 
shovel hanging against the wall, A, v, Ostadc, 1661. 
Purchased, Peel collection, 1871. 



OBTADE (IsAAK VAX). 1621 — 1649. Dutch School. 

847. A Villag-e Scene. 

A man on a white horse, followed by a boy with two 
greyhounds, is passing a cottage on his left hand. Some large 
trees, a church spire, and a man conversing with a milkmaid 
carrying a yoke of pails in the background; on the right 
two pigs. 

Purchased, Peel collection, 1871. 

848. Frost Scene. 

A frozen river, with figures skating or in sledges. A small 
wooden bridge with a hand-rail leads over the river to a cottage 
on its bank. Before the cottage a white horse is drawing a 
sledge containing a barrel off the ice. Signed Isaac van Ostade. 

Purchased, Peel collection, 1871. 



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No. 846. 



13J in. by 17^ in. 










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19 in. by 15^ in. 



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74 THE NATIONAL GALLERY. 

OSTADE (IsAAK van) {continued). 
963. A Frozen River. 

A tavern on the bank to the riglit, with horse-sledges and 
travellers standing before the door, among which a white horse 
is conspicuous. Sledges and skaters on tlie ice, which is broken 
in one part to get water. Signed I. V. OsTADE. 

Wynn Ellis bequest, 1876. 

1347. A Farmyard Scene. 

In the centre of tlie picture stands a dilapidated wooden shed, 

in which a rustic cart, baskets, and agricultural tools are stored. 

On the left is a ruined fowl-house, round which brambles have 

. sprung up. Behind it rises a rugged oak-tree. In the foreground 

are poultry feeding. Signed Isack Ostade. 

Purchased, 1891. 



FACCKIA (GiROLAMO del). 1477 — 15 . Stenesc School. 

246. Madonna and Child. 

The Virgin, in a blue hood and mantle, seated, with the 
Child on her knees ; landscape background. Half-length, small 
life-size. 

Purchased, 1854. 



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No. 963. 



16 in. by 21 in. 




No. 1347. 



15J in. by 15} in. Nc. 246. 



29 in. by 24 in. 



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76 THE XATFOXAL GALLERY. 

FALMA (Jacopo). 1480 (?)— 1528. Veuctuin School. 

636. Poptpait of a Poet, 

In a low crimson and purple dress, showing his neck and 
shirt ; with a gold chain on his neck, and fur hanging over 
his shoulders, and holding in his left hand, which rests on a 
book, a rosary. In the background a laurel-bush. Half-length, 
full size. This portrait of an unknown personage was formerly 
ascribed to Titian, and supposed to represent Ariosto. It has 
long since been recognised as a fine work by Palma. A head 
precisely resembling this, and assigned to Palma, was, in 1874, 
in the Giustiniani-Barbarigo collection at Padua ; the figure, 
however, painted by another hand, was arrayed to represent a 
^* Salvator Mundi." 

Purchased, i860. 

FALMEZZANO (Makco). 1456 (?) — 15 . School of the Romagna. 

596. The Deposition in the Tomb. 

The dead Christ is being placed in the tomb by the Virgin, 
Mary Magdalen, and St. John the Evangelist ; the Virgin, on 
the right, is supporting the body in a sitting posture, while the 
Magdalen, on the same side, is kneeling, holding the left arm 
of Christ, and compassionately regarding the wounded hand. 
On the other side is St. John, clasping his hands in sorrow. 
To the spectator's right is standing San Mercuriale, first bishop 
of Forli, holding the Guelphic banner of the Church, a white 
cross on a red flag ; on the extreme left is San Valeriano with 
the standard of Forli, a white flag striped with blue. In the 
foreground is a green cloth, hanging on the side of the tomb 
in front. Half figures, life-size. This picture, wiiich was origin- 
ally of a semicircular shape, but subsequently altered to a 
quadrangular form, was the lunette of an altar-piece, represent- 
ing ** Christ administering the sacrament to the Apostles," now 
in the gallery at Forli. 

Purchased, 1858. 



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No. 6-,6. 



32^ in. by 24 in. 



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yS THE XATIOXAL GALLERY, 

FANINI ((iioNAWi Antonio), dwalicrc.. i6()5 — lyoS. Romaii School. 

138. Ancient Ruins, with Figures. 

A composition of fiijures and ruins, the pyramid of Cestius 
at Rome occupyini:: a conspicuous place in the middle distance. 
Bequeathed by Lieut.-Colonel Ollney, 1837. 



FAFE (Abraham dk). Died i()6o. Dutrli Sr/iool. 

1221. Interior of a Cottage, with Figures. 

In the upper room of a humble tenement an old woman 
sits at her spinnin<T^- wheel, with her back to a window. On the 
right hand, but farther to the rear, an old man sits warming 
his hands at a fireplace. On the wall above the spinning- 
wheel is a wooden cupboard, on the lower portion of which is 
inscribed the painter's name. On the right of the foreground 
hangs an olive-green curtain, suspended from a rod which 
reaches across the room. Signed A. de Pape. 

Purchased, Blenheim Palace collection, 1886. 



FATINIB OK FATINIER (Joachim). 14* —1524. Flemish School. 
715. The Crucifixion, 

With St. John, the three Marys, and Salome, at the foot of 
the Cross. In the background an extensive landscape : the Jews 
are returning to Jerusalem ; and on the left, under the walls ot 
the city, Joseph of Arimathea is seen approaching, with a man 
carrying a ladder. 



716. St. Christopher carrying* the Infant Christ. 

A mountainous landscape with an inlet of the sea, through 
which the giant St. Christopher is wading, with the Infant 
Christ on his shoulder. 



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No. 138. 



iQi in. by 25 in. No. 1221. 



15^ in. by 21I in. 




No. 716. 



10 in. by 21 i in. 



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^^ TflE X. IT/OX, I L GALLERY. 

FATINIB (»r FATINIEB (Joachim) {cmtinncd). 

in. St. John on the Island of Patmos, 

Writing the Bc^ok of Revelations. An ea;;jle is liolding an ink- 
liorn which an impish monster is olfering to steal ; above is 
the saint's vision of the woman with the child and the dragon 
with seven heads. 

Presented, with Xos. 715 and 716, in 1863 by her Majesty the 
Oueen, in fulfilment of the wishes of his Royal Highness the 
Prince Consort. 
945. A Nun. 

St. Agnes adoring the Infant Christ, Who is seated on the 
lap of His mother, and holding a coral rosary in His hands. A 
village on a river, and a hilly country in the background. 

Wynn Ellis bequest, 1876. 

1082. The Visit of the Virgin to St. Elizabeth. 

The ^'irgin, clad in a dark blue robe and mantle, stands 
extending her hands to greet St. Elizabeth, who kneels before 
her in a rose-coloured dress and white hood. Figures about 
one-third life-size. In the background is a castellated building, 
half concealed by a clumj) of trees. Beyond, to the left, is 
the distant view of a fortified town, round which a river winds. 

Bequeathed by the late Mrs. Joseph H. Green, 1880. 

1084. The Fligrht into Egrypt. 

The Virgin, dressed in a long blue mantle, and holding the 
Infant Christ to her breast, is seated on an ass, led by St. 
Joseph down a rocky pathway in the outskirts of a wood. 
St. Joseph, whose back is turned to the spectator, carries on 
his shoulders a staff, from which a bundle is hung. Land- 
scape background, including the distant view of a town,. hills, 
and a river. Figures about one-third life-size. 

Bequeathed by the late Mrs. Joseph H. Green, i8Sc. 

1298. Landscape: River Scene. 

A river, with a clear placid surface, winds its way between 
loftv white cliffs of a fantastic shape, crowned here and there 



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No. 10S2 




No. 9^5. 13 in. by 9 in. 



31 J in. by 27.^ in. No. 10S4. 








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No. 1298. 



20 in. l>y 27 in. 



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82 THE NATIOXAL GALLERY, 

FATINIB or PATINIER (Joachim) {amtinucd\ . 

with trees. In the middle distance a small town lies at the 
foot of a wooded upland. On the river are a rowing boat, a 
barge, and a log raft of great length, which takes a serpentine 
form as it moves with the current. On the left of the fore- 
ground sits a man sketching at the foot of a tree. 

Purchased, 1889. 

This picture, long attributed to a painter of the Venetian 
School, has all the characteristics of a work by Patinir, though 
lighter in key than is usual with this painter. Compare with 
the landscape in No. 716. 



FABMIOIANO (FRANCESCO MARIA MAZZUOLA), called. 1503— 1540. 
Lombard School {Parma). 

33. The Vision of St. Jerome. 

Such is the title given to this picture by Vasari. John the 
Baptist, kneeling on one knee on the ground, is pointing up- 
wards to a vision of the Virgin with the Infant Saviour; in the 
middle ground is St. Jerome lying on his back, asleep ; his 
figure is much foreshortened. Composition of four figures, 
somewhat larger than the life. 

Presented by the Governors of the British Institution, 1826. 



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No. 33, 



138 in. by 60 in. 



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<S4 THE X AT I OX A L GALLERY, 

FEBUZZI (Bai.dassarh). 148 i — 1536. Siciicsc ^chhol. 



167. The Adoration of the Magi. 

The Miififi, or Kings, are approadiinj^ with their presents 
and their retinnes, iVoni botli sides of tlie picture. In tlie 
centre, near a pictures(iue ruin of whicli a great arch is the 
principal feature, is seated tlie Holy Family attended by the 
adoring shepherds. The Father appears above the Infant 
Redeemer surrounded by a glory of angels. The background 
is an extensive rocky landscape. A drawing in chiaroscuro. 

Thii. drawing was made at Bologna in 1521 for Count Giovanni 
Battista Bentivogli. Girolamo da Trevigi painted an excellent 
l)icture from it for the same nobleman. 

Presented by Lord Vernon, 1839. 



218. The Adoration of the Magi. 

This is probably the picture painted by Ciirolanio da Trevigi, 
in the year 1521, from Baldassare Peruz/i's drawing, unless 
tlie report be true that Girolamo's picture was lost at sea ; it 
appears, however, to have been copied several times ; a copy 
was made from it by Bartolomeo Cesi, which was formerly 
in the possession of the Rizzardi family at Bologna. The Three 
Magi are portraits of Titian, Raphael, and Michelangelo. 

Presented by Mr. Edmund Higginson, 1849. 



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No. 167. 



44 in. by 42 in.' 




No. 218 



56J in. by 49.J in. 



g 



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86 THE NATIONAL GALLERY. 

FESELLINO (Fkaxcksco). 1422 — 1457. Flnrcniinc School. 

727. A Tpinitk, 

Or mystic representation of tlie Trinity. The Father, seated 
on clouds and surrounded by cherubim and seraphim, supports 
the crucified Son, over Whose head hovers the Holy Spirit. 
Below is a varief^^ted landscape. 

Purchased, 1863. 

This magnificent and masterly composition of the highest class 
in desii^i, colour, and execution, and for the superb character 
of the heads, is attributed by Morelli to an unknown pupil of 
Pesellino. 

PIAZZA (Martino). First half of 16/// century. Milanese School. 

1152. St. John the Baptist. 

In a rocky cavern St. John stoops, resting on one knee, to 
fill a bowl with water, which flows from a conduit in the rock. 
At the back of the cave are two natural apertures through 
which a mountainous landscape is seen. Signed with the 
painter's monogram, which is composed of the letters M.P.P., 
" Martinus Platea pinxit." 

Purchased, 1883. 

FIEaO DI COSIMO. 1462— 1521 (?). Florentine School. 

895. Portrait of a Warrior in Armour. 

With a view of the Piazza della Signoria, Florence, in the 
background. Half-length, nearly life-size. 

Bequeathed by Sir Anthony C. Sterling, 1871. 

698. The Death of Procris. 

She is lying on her side in a field of flowers ; at her head 
kneels a satyr, who is feelingly touching her shoulder, and at 
her feet is sitting her hound La^laps, the gift of Diana. In 
the background a view of the sea ; with other dogs, and some 
birds, on the shore. 

Purchased, 1862. 



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/ 




No. 727. 



72 in. by 39 in. No. 895. 



'28 in. by 20 J in. 




No. 698. 



25i in. by 72 in. 



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88 THE NATIOXAL GALLERY. 

FINTUBICCHIO (Bkknardino). 1454 — 1513. Umbruin St haal {Perugia). 

693. St. Catherine of Alexandria, with her Attributes. 

A monk kneeling in adoration. Landscape back^^round. 
Bequeathed by Lieut.-Gen. Sir W. Moore, 1862. 



703. The Madonna and Child. 

The Infant stands on a carpeted parapet in front of His 
mother, only half of whose figure is seen : a rocky landscape 
in the background. 

Presented by her Majesty the Queen, 1863. 



911. The Return of Ulysses to Penelope. 

Penelope is seated at her loom ; on the floor at her right 
is a damsel winding thread on shuttles from a ball of yarn 
which a cat is playing with. Four suitors in gay costume 
have entered the room; in the background Ulysses himself is 
seen in the doorway, just entering ; his bow and quiver of 
arrows are hanging up above the head of Penelope. 

From the open window is seen the ship of Ulysses, with 
the hero bound to the mast ; sirens are disporting themselves 
in the sea ; the palace of Circe is on an island near, with 
swine and other animals in its vicinity. 

Purchased, 1874. 

This picture is a fresco-painting, transferred to canvas from 
a wall in the Pandolfo Petrucci palace at Siena. 



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r 

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7\ 






No. 693. 



21 i in. by 15 in. No. 703 



22 in. by 15 J in. 




No. 911. 



49 in. by 57^ in. 



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go TflE XATIOXAL GALLERY, 

FZFPI (GiULio), known as OIXJLIO BOMAVO. 140-J — 1546. Roman School. 

624. The Infancy of Jupiter. 

A cradle containing a sleepino^ infant, attended by three 
women on a small verdant island ; on the farther side are two 
groups of figures playing musical instruments. The landscape 
is possibly by Giambattista Dossi. 

This is an illustration of the classic myth relating to the 
infancy of Jupiter, the youngest son of Saturn and Rhea ; he 
was born in Crete, secreted by his mother, and nursed by the 
Melian nymphs to save him from his father, who used to devour 
his sons as soon as they were born (from fear of the fulfilment 
of the prophecy that one of them would dethrone him, as he 
had dethroned his father). The figures in the background are 
the Curetes making a noise with horns and symbols lest Saturn 
should hear the cries of the infant, and thus discover the trick 
that had been played upon him ; he had swallowed a stone 
instead of the young Jupiter. 

Purchased, 1859. 



PISANO (ViTTORK). 13S0 — 1452 (?). Veronese School. 

776. St. Anthony and St. George. 

On the left of the spectator stands St. Anthony with his 
staff and bell ; his pig, here a wild boar, reposing at his feet. 
Opposite to him is St. George in rich armour, his head covered 
by a large Tuscan hat ; at his feet lies the vanquished dragon. 
Behind St. George are two horses' heads ; the sword and spurs 
of the saint and the bits of the horses are embossed and gilt. 
The background is a pine wood ; in the sky above is a vision 
of the Virgin and Child in a glory. Inscribed, Pisanns PI 

Presented by Lady Eastlake, 1867 

This picture has been much restored, the gilding especially 
being all new. 



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No. 624. 



41 4 in. by 69 in. 




No. 776. 



18 in. by iij in. 



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02 THE XATIOXAL GALLERY. 

PISAIfO (\'iTTORK) (continued), 

1436. The Vision of St. Eustace. 

The saint, seated on a horse covered witli rich trappinf^^s, 
sees before him a ^X.?ig with the crucified Saviour between the 
horns. The back^cround is a landscape of wood and rocks, 
through which runs a small stream ; over the trees at the top 
of the picture is seen a lake or marsh. At the foot of the 
picture a ^^reyhound is chasing a hare, and other dogs are 
following. \'arious animals and birds are disposed about the 
landscape ; prominent among them is another stag on the left, 
and a bear among the rocks on the right. In the marsh above 
are aquatic birds. At the bottom of the picture is a scroll, on 
which no doubt the artist meant to have painted an inscription, 
an intention which, however, was never carried out. The 
minute but unobtrusive finish of the picture is astonishing. Of 
the coats of the horse, dogs, stags, and other wild animals in- 
troduced, 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 that this painter has never been excelled. 
Numerous studies of animals of the highest beauty are to be 
found in collections of drawings throughout Europe, some of 
them evidently done in preparation for this picture. 

Purchased from the Earl of Ashburnham, 1895. 

POEL (Egbkrt \^\ her). 1621 — 1664. Dutch School. 

1061. View in the neigrhbourhood of Delft after the Explosion 
of a Powder Hill on October 12, 1654. 

In the foreground are figures apparently carrying away 
chattels, and assisting those who have suffered from the 
calamity. Line of horizon low, and broken by the roofs and 
towers of three churches in the distance. Sky dark and 
lowering. 

Signed, E. Vandcr PocU 12 Octob, 1654. 

Bequeathed by the late Mr. John Henderson, 1879. 



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No. 1436. 



21 in. by 253 in. 




No. 1 06 1. 



14 in. by 19 in. 



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04 TflE XATIOXAL GALLERY, 



POELENBUBGK (Cornklis \'an). 15S6— ibbj! Dutch School, 

955. A Ruin, Women Bathing:. 

Wynn Ellis bequest, 1876. 



POLLAIUOLO (Antonio). I42q(?) — 1408. Florentine School. 

292. The Martyrdom of St. Sebastian. 

The Siiint is seen in the middle of the picture, bound to 
the trunk of a tree, and already pierced with arrows. In the 
foreground are four of his executioners, two in the act of 
shooting with bows, two stooping and charging their cross- 
bows. Behind the saint are two others in the act of shooting; 
several horsemen and foot soldiers are seen in the distance. 
The background is an extensive landscape. Composition of 
seven principal figures, nearly life-size. 

This picture, mentioned by Vasari as the principal of Antonio's 
works in painting, was finished in the year 1475 (the year in 
which Michelangelo was born), for the altar of the Pucci chapel, 
in the church of San Sebastiano de' Servi at Florence. 

Purchased, 1857. 



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No. 955. 



14 in. by 17 in. 




No. 292. 



114 in. I)y 79J in. 



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o6 THE XATIOXAL G.UJ.ENY. 



FOLLAIUOLO (Antonio), Asckiukd to. 
928. Apollo and Daphne. 

The nymph is in the embrace of the ^od, who has just 
caiitjht her ; her two arms have already sprouted into laurels. 
Wynn Ellis bequest, 1876. 



PONTE (Jacopo da), called IL BASSAIfO. 15 10 — 1592. rcjictian School. 

173. Portrait of a Gentleman, 

Standing, dressed in a black robe trinniied with fur ; his 
right hand rests on a table placed before an open window ; on 
the table is a silver vase containing a sprig of myrtle ; in his 
left hand he holds a black cap. Three-quarter length. 

Presented by Mr. Henry Gaily Knight, 1839. 



228. Christ driving: the Money Changers out of the Temple. 

A crowded composition of men and animals, representing 
the expulsion of " all them that sold and bought," — money- 
changers, dealers in cattle, sheep, goats, birds, etc. — from the 
interior of the ^* Temple," a spacious building, of ordinary 
Italian architecture. 

Presented by Mr. P. L. Hinds, 1853. 



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No. 928. 



iii in. by 7J in. No. 173. 



45 in- L>y 35 »"• 




No. 228. 



63 in. by 105 in. 



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08 THE XATIOXAL GALLERY. 

FOIfTE (Jacopo da) (continued), 

211. The Good Samaritan, 

In a crimson dress, raising tlie wounded Jew to place him 
on his mule ; by his side is a silver flask ; two dogs are in the 
foreground ; the Levite is seen in prayer behind. 

Purchased, 1856. 
POIfTOBMO (Jacoi'o da). 1404-1557. Tuscan School. 

1131. Joseph and his Kindred in Egypt. 

A fantastic composition. To the left of the foreground, and 
before the entrance to a building reached by steps, Pharaoh, 
surrounded by attendants, is met by Joseph and his brethren, 
who stand before him in attitudes of supplication. To the 
right, seated on a triumphal car drawn by naked children, 
Joseph is again represented stooping forward towards a man 
who, kneeling by the side of the car, presents a petition. To 
the right is a circular building ascended by external steps. 
Towards the summit of this staircase Joseph again appears 
leading one of his sons. Another child is received by his 
mother at the top of the stairs. The upper portion of this 
circular building is open, disclosing a hall or porch, in which 
Joseph is represented at the bedside of his dying father, to 
whom he presents the children, Ephraim and Manasseh. 

This picture is highly praised by Vasari, who regarded it as 
Pontoniio's best work, and who relates that it was in his day 
in the mansion of Pierfrancesco Borgherini of Florence, and 
formed part of a series of which the remaining subjects were 
executed by Andrea del Sarto, Bachiacca, and Granacci. Vasari 
further states that the boy who is represented sitting on the 
steps in the foreground of Pontormo's picture is a portrait of 
the young Angelo Bronzino. Purchased, 1882. 

PONTOBMO, ASCKIBKD TO. 

1150. Portrait of a Man. 

Life-size ; seen to waist. A middle-aged man, with dark 
hair falling over the ears, moustache, and a short thick beard. 
He wears a black gowni and a black cloth or velvet cap. 

Purchased, 1883. 



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252 *"• by 19^ in. 



No. 277. 



40.] in. by 3ii in. 




No. 1131. 



44 in. by 49 in. 



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loo THE NATIONAL GALLERY. 

POORTER (WiM.KM I)k). First half of i-jth century, Dutch School . 

1294. An Allegrorical Subject. 

A young man, whose head is encircled by a wreath, wearing 
a steel cuirass and a long brown cloak, stands before an archi- 
tectural fragment, which appears to be the capital of the large 
stone pilaster. On its top are laid two crowns, a roll of paper 
or parchment, and a globe, which the man touches with a sceptre 
held in his right hand. ' 

Presented by Mr. T. Humphry Ward, 1889. 

(?) POT (Hkndkik). "HP." Second half of i-jth century. Dutch School. 

1278. A Convivial Party. 

Around a table in a large empty room is a group of oflicers 
and women drinking and conversing after supper. 
Signed on the side of the projecting chimney. 
Purchased, 1889. 

POTTER (Pai'lus). 1625 — 1654. Dutch School. 

849. Landscape with Cattle. 

In a meadow near some farm buildings among trees are a 
man, four cows, a horse and some sheep ; one of the cows, 
white and spotted, is lying chewing the cud, and looking at 
the spectator. On the left, near the open door of a shed, are 
a horse and cart with two men and a dog. In the back- 
ground is a cornfield, with some cut sheaves of wheat. Signed 
Pan Ins Potter, ft. 1651. 

Purchased, Peel collection, 1871. 

1009. The Old Grey Hunter. 

A huntsman, holding the bridle of a grey horse, is lying 
asleep on the ground under an old tree ; his greyhound is also 
asleep. Another sportsman and two dogs are seen in the 
distance. On a piece of fencing to the right is the signature 
Pai:mts Potter /. 

Wynn Ellis bequest, 1876. 



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No. 1294. 



19 in. by 14 in. 




No. 849. 



22 in. by 20.y in. No. 1009. 



I2i in. by 10 J in. 



A* 



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102 THE XATTOXAL CALLKRY. 

POTTER (PiKTKR ?). 15Q7 — 1652. Dutch School, 

1008. Stag Hunt. 

A dense wood on tlie r\g\\t ; an open country with a river 
on the left ; two sta^^s and a hunting party in the middle 
.i^round. Si^jned P, Potter f, 165 . The last fi<^ure is illegible. 

Wynn r^llis bequest, 1876. 



POUSSIIf (Nicolas). 1504 — 1665. I'reiich Scho(>l, 

39. The Nursing of Bacchus. 

Landscape, with nymphs and fauns tending the infant 
Bacchus, who is eagerly imbibing the juice of the grape which 
a satyr is squeezing into a bowl. A goat occupies a prominent 
place in the picture. Composition of six small figures. 

Bequeathed to the National Gallery by Mr. G. J. Chol- 
mondeley, 1831. 



40. Landscape, with Figures. ("Phocion.") 

A wooded spot in the neighbourhood of a city, which is 
seen at the base of a range of mountains in the distance. In 
the foreground to the left is a man in a plain, undyed robe, 
supposed to represent l*hocion ; he is washing his feet at a 
public fountain, as if to indicate the purity and simplicity ot 
his life. 

On the opposite side is a monument, near which are two 
figures, seated, in conversation : a woman is passing by behind 
them. Towards the middle of the picture, another figure is 
reclining at full length at the foot of a large tree, on the 
stem of which are hanging some votive offerings. A small 
stream flows through this part of the picture. 

Presented by Sir George Beaumont, Bart., 1826. 



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No. 1008. 



43 i in. by 58.^ in. 




No. 39. 



30^, in. by 37 in. 




No. 40. 



30 in. by 43 »"• 



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104 TFIE XATIOXAL GALLERY, 



POUSSIir (Nicolas) {chniiinini), 

42. A Bacchanalian Festival. 

A landscape with satyrs, fauns, centaurs, and animals, in 
wild revelry. To the left, the drunken Silenus is being placed 
under a temporary canopy by two fauns, one of whom is about 
to crown him with a wreath of flowers. On the opposite side, 
a female satyr is supported by a faun upon the back of a 
goat which is attempting to throw her off. In the centre is 
a kneeling satyr on the verge of intoxication, still drinking 
from a bowl into which a faun is pouring wine ; the various 
phases of intemperance, boisterous mirth, contention, and in- 
sensibility are forcibly pictured in the groups behind him. 

Purchased, Angerstein collection, 1824. 

This masterpiece, conceived in the manner of Titian and 
ii^ibued with the spirit of the antique, full of life, and incom- 
parable for its qualities of drawing and painting, is perhaps the 
most beautiful work which Nicolas Poussin ever painted, and, 
with the ** Bacchanalian Dance " (Xo. 62), is among the most 
valued possessions of the National Gallery. 



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No. 42. 



56 in. by 37 in. 



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io6 THE XATIOXAL GALLERY, 

FOUSSIIf (X ICO LAS) {chniinnc(i). 

62. A Bacchanalian Dance. 

Landscape, with a group of fauns and bacchanalian nymphs, 
or bacchantes, dancing in a ring, interrupted in their merriment 
by a satyr, who has thrown one of. the nymphs on the ground, 
for which another nymph is striking him on the head with a 
cantharus : behind this group, near a thick chister of trees, is 
a tenninal figure of Tan decorated with flowers. Still further 
to the right on this side, an infant bacchanal is bending over 
and drinking from a large vase on the ground ; two other 
infant bacchanals are contending for the juice one of the 
bacchantes is squeezing from a bunch of grapes which she 
holds above their heads ; a fourth is sleeping on tlie ground 
l)ehind them. 

Purchased, 1826. 

This picture is another of the painter's masterpieces, and a 
worthy companion to the preceding. 



65. Cephalus and Aurora. 

Cephalus, before whom a little cupid holds up the portrait 
of his wife Procris, is endeavouring to free himself from the 
arms of xVurora ; behind is the winged I'egasus. The scene of 
the drama is indicated by the presence of a river god, probably 
Ihssus, as that river rises in Mount Hymettus, from which 
Cephahis was carried off. In the background is a naiad or 
some mountain nymph ; Phoebus, in his chariot, is seen in the 
heavens just above the horizon ; all indicating the early 
morning. 

Bequeathed by Mr. G. J. Cholmondeley, 1831. 



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No. 62. 



39 in. hy 56 in. 




No. 65. 



38 in. hy 51 in. 



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los THE XATIOXAL GALLERY. 



FOUSSIN (Xiroi.As) {ctitinnn/). 

91. Venus sleeping:, surprised by Satyrs. 

While one of the satyrs hfts up the drapery of the goddess, 
another rouses Cupid, who has been sleeping by her side. 
Composition of four small figures. 

Bequeathed by the Rev. W. Hohvell-Carr, 1831. 



165. The Plague among* the Philistines at Ashdod. 

The Philistines, having overcome the Israehtes, removed the 
Ark of the Lord to Ashdod, and placed it in the Temple of 
Dagon ; on the next morning they found their idol fallen, and 
the city was afflicted with a loathsome plague. 

" And the head of Dagon and both the palms of his hands were cut 
off upon the threshold." — i Sanuiel v. 4. 

The broken Dagon is seen before the Ark in the temple 
to the right, with a crowd of the citizens in consternation 
before it. In the foreground are the bodies of a woman and 
her child ; a second child is approaching the breast of its dead 
mother, while a man stoops down and gently averts it from 
the infectious corpse. Various groups of dead and dying are 
dispersed over the picture : the scene is a handsome street, 
with noble piles of architecture on each side, viewed in per- 
spective. 

Presented by the Duke of Northumberland, 1838. 



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No. 91. 



26 in. by 20 in. 




No. 165. 



51 in. by 80 in. 



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no THE NATIONAL GALLERY. 

FBEDIS (A.MHKOCHO dh). 15/// to \GtIi ccuiurw Milaucsc School. 

1661. An Angel, with Flowing Hair, in a Green Dress with 

Red Under-sleeves, playing on a Viol. 

Purchased, 1898. 

1662. Angel, in Red Dress, playing on a Mandoline. 

Purchased, 1898. 

These two paintings formed part of the altar-piece in the 
chapel of the Conception in St. Francesco, Milan, of which the 
Virgin of the Rocks (Xo. 1093), ^y Leonardo da Vinci, formed 
the central picture. The angel in Xo. 1661 was perhaps 
begun by Leonardo himself and finished by Ambrogio. That 
in 1662 is, apparently, entirely the work of Ambrogio. 

1666. Portrait of a Young Man. 

He has long fair hair, and wears a black cap and a dark 
green coat trimmed with leopard's skin over a blue undercoat. 
In his right hand he holds a scroll, on which is a monogram 
composed of the letters A M P R and another letter which 
appears to be an E, and the date 1494, with the words An. 20. 
The portrait is said to represent Francesco di Bartolommeo 
Archinto, Governor of Chiavenna from 1474 to 1551. If this 
be so, he would appear to have received the appointment at 
his birth. 

Purchased, 1898. 



FBEVITALI (Andrka). 14 — 1528. Venetian School. 

695. Madonna and Child, seated. 

The Madonna places her hand on the head of a monk 
who is adoring the Infant Christ. The figure of St. Catherine 
is seen standing by a ruined building in the middle distance ; 
behind is a landscape with trees and mountains and some buildings. 

Purchased, 1862. 



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No. 1661. 



45J in. by 23J in. No. 1662. 



4Si in. by 23J in. 




No. 1665. 21^ in. by 14^ in. No. 695. 



21 in. by 27 in. 



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112 THE NATIONAL GALLERY, 

BAIBOLINI (Fkan(KSc'c)), known as FBANCIA. 1450— 15 17. Buhigncsc 

179. The Virgin with the Infant Christ, and St. Anne, en- 
throned, surrounded by Saints. 

Before the throne in the front is the httle St. John, with 
the standard of the Lamb, pointinf^ to the Infant Saviour above ; 
on the left are St. Sebastian and St. Paul ; on the right, St. 
Lawrence and St. Roniualdo. The picture is marked — Francia 
Aurifcx Bononiensis P. Full length figures, nearly of the natural 
size. 



180. The Virgin and two Angrels weeping over the dead 
body of Christ. 

A Pieta ; formerly the lunette of the preceding picture. 

This and the preceding picture, Xo. 179, constituted formerly 
one altar-piece, and were originally placed in the Buonvisi 
chapel in the church of San Frediano at Lucca, for which they 
were painted. 

Purchased, 1841. 



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No. i8o. 



3S in. by 72 in. 




No. 179. 



78J in. by 72 in. 



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114 THE NATIONAL GALLERY. 

&AIBOLINI (F'kancesco), known as F&AVTCIA. (contuined), 

638. The Virg-in and Child, with two Saints. 

The Child, standing on a stone parapet, is supported by His 
mother beliind Him ; His hand is in the attitude of benediction. 
On each side is a saint ; the Child whole length, the others 
half-figures. Landscape background. 

Purchased, i860. 



&AVESTEIJN (Ja\ Anthonisz). 1572 — 1657. Dutch Schonl, 

1423. Portrait of a Lady. 

Aliddle-aged ; life-size ; bust length ; three-quarter face. She 
wears a black dress, with a large white linen collar descending 
to the shoulders and bordered with a narrow frilling. Her 
head is covered with a close-fitting black cap, which conceals 
the ears and most of the hair. 

Presented by Mr. A. Fowell Buxton, 1894. 



REMBRANDT VAN RYN. ibob-i66Q. Dutch School, 

43. Christ taken down from the Cross. 

The dead Christ is on the knees of the Virgin, who is sink- 
ing back in a swoon ; to the left is Joseph of Arimathea, and 
beyond him are the three crosses, two bearing the thieves who 
were crucified with Christ. In the background is a view of 
Jerusalem. A sketch in light and shade ; numerous small 
figures. 

Presented by Sir George Beaumont, 1826. 



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No. 63S. 



32 in. by 25.^ in. 





No. 1423. 



26 in. by 19J in. Xo. 43. 



13 in. by ii in. 



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lib THE NATIONAL GALLERY, 



REMBRANDT VAN RTN (continued), 

45. The Woman taken in Adultery. 

The woman, surrounded by her accusers, is kneehng before 
Christ on the floor of the temple, at the foot of a broad flight 
of steps which lead to the great altar. The principal light of 
the picture is concentrated around the figure of the woman ; 
the rest of the picture, except immediately before the altar, is 
enveloped in deep obscurity. 

Purchased, Angerstein collection, 1824. 



47. The Adoration of the Shepherds. 

The scene is a dark stable or cattle-shed ; the illumination 
of the picture proceeding almost entirely, as in the " Notte " 
of Correggio, from the Infant Saviour. The effect of this super- 
natural light is much enhanced by the comparative faintness of 
the rays from the lantern in the hands of one of the shepherds, 
and the principal group is forcibly relieved by the deep shadow 
of the kneeling figure in the foreground ; a second group is just 
entering the shed on the right ; the remotest figure bearing 
another lantern. Composition of eleven principal figures. 

Signed Rembrandt /". 1646. 

Purchased, Angerstein collection, 1824. 



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No. 45. 



32^ in. by 25J in. 




No. 47. 



25 in. by 22 in. 



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118 THE NATIONAL GALLERY. 



BEMBRAHDT VAN BTN {amtmueii). 



61. Portrait of a Jew Merchant. 



Seated, resting his hands upon a stick ; on his head is a 
turban. Half-length, of the natural size. 

Tresented by Sir George Beaumont, Bart., 1826. 



54. A Woman Bathing*. 

A woman, holding up her dress, is wading in a brook or 
pool of clear water ; part of her clothes are lying on the bank 
behind her. 

Signed Rembrandt f, 1654. 

Bequeathed by the Rev. W. Holwell-Carr, 1831. 



72. Landscape, with Fig*ures representing: the Story of Tobias 
and the Ang*el. 

The two figures which give a title to this landscape are 
near the middle of the picture, at the edge of the river ; in 
the middle-ground to the right is a dark clump of foliage, 
behind which are light clouds ; some hilly broken ground 
occupies the left of the picture. 

Bequeathed by the Rev. \V. Holwell-Carr, 1831. 



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No. 51. 



53 in. bv 41 in. 




No. 54. 24 in. by 18J in. No. 72. 



22 in. by 34 in. 



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I20 THE NATIONAL GALLERY. 



REMBRANDT VAN RTN {omtimuii). 

166. Portrait of a Capuchin Friar. 

Bust, life-size. 

Presented by the Duke of Xortliuniberland, 1838. 



100. A Jewish Rabbi. 

Bust, life-size. Signed. 
Purchased, 1844. 



221. The Painter's own Portrait, at an advanced Age. 

He is in a brown cloak, with a brown cap on his head ; 
his hands are clasped. Bust. 
Purchased, 1851. 



237. Portrait of a Woman. 

In a high dark dress, a white bodice underneath, long pearl 
earrings ; her hands crossed, resting on a book ; in her right a 
white handkerchief. Life-size, short half-length. 

This picture is signed Rembrandt, f, 1666, and is accord- 
ingly one of the latest of the painter's works. 

Bequeathed by Lord Colborne, 1854. 



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No. 1 66. 



34^ in. by 254 in. No. 190. 



30 in. by 26 in. 





No. 221. 



Si in. by 27^ in. No. 237. 



26i in. by 23^ in. 



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122 THE XATIOXAL GALLERY. 



BEMBBANBT VAN BTN (ro;///////r./). 

243. A Man*s Portrait. 

A stout elderly man in a furred coat, with gxGy hair and a 
red cap on his head, seated at a table, on which is a closed 
book ; his hands clasped before him. Half-length, life-size. 

Signed and dated 1659. 

Bequeathed by Lord Colborne, 1854. 



672. His own Portrait when aged about 32. 

He is dressed in a dark cap and overcoat, the latter edged 
with fur on the shoulders, and is resting on his right arm, 
looking at the spectator. Half-length, three-quarter face, life- 
size. Signed, Rembrandt f, 1640. 

Purchased, 1861. 



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No. 243. 



39 in. by 32J in. 




No. 672. 



39in. by 3i|in. 



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124 ^f^^'^ XATIOXAL GALLERY, 

BEMBBANBT VAN BTN {'ouiiiuied). 

lib. Portrait of an Old Lady, in Black, with White Cap and 
Ruff. 

Full-face bust. Inscribed .K. SIR. 83 — Rembrandt ft, 1634 
I'urchased, Kastlake collection, 1867. 



850. A Man*s Portrait. 

A g^entleman dressed in black, with a white lace collar and 
a thick go\iX chain ;^ head uncovered. Bust. Inscribed Rem- 
brandt f. 1635. 

Purchased, Peel collection, 187 1. 



1400. Christ before Pilate. 

On the left of the picture, Pilate, occupying the judgment 
seat, raises his hand with a deprecatory gesture towards a group 
of Jews, who seem to invoke his condenmation of Christ. At 
a little distance the Saviour is seen manacled and surrounded 
by guards and soldiers. 

On the right of the composition is a circular court, with an 
arched entrance, through which a throng of people crowd upon 
the scene. Above this entrance is a clock, beneath which are 
inscribed the words, Rembrandt ft, and a date (16 — ?). In 
the centre of the court rises a square pier enriched with carving 
in low relief, and surmounted by the bust of a Roman emperor. 

This sketch is the original study for the etching of the 
same subject done in 1636. The etching is reversed. 

Purchased, Eastlake collection, 1894. 



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No. 850. 



30J in. by 22^ in. 



No. 1400. 



21 i in. by 17} in. 



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126 THE NATIONAL GALLERY, 



BEMBBANBT VAV BTN {aniimucd). 

1674. A Burgromaster. 

Tlie portrait of an elderly man with a beard. He is seated in 
a round-backed chair, and wears a cap with a border of gold 
stuff' beneath which is a band of white linen. He is dressed in 
a loose coat or robe, with a cape lined with brown fur, and a 
white scarf thrown round his neck hangs down in front. His 
left hand is supported on an arm of the chair and holds a stick ; 
in the right hand are gathered some folds of the robe. 

Purchased, 1899. 

The costume and rapid execution of this magmficent picture 
point rather to its being a study than a portrait painted on 
conmiission. 



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No. 1674. 



50.^ in. by 38 in 



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128 THE XATIOXAL GALLERY. 



BEMBBAVBT VAN BTN {'oniinucd), 

1676. Poptpait of an Old Lady. 

She is seated, full-face to the spectator, in an arm-chair. On 
her head is a black net cap, and she wears a large white ruff', 
evidently clinging to the costume of her earlier years, for ruffs 
had long been out of fashion at the time when this picture was 
painted. She is dressed in black, with a pelisse bordered with 
brown fur. Her left hand rests on the arm of the chair, and the 
right holds a handkerchief with tassels at the comers. 

Purchased, 1899. 

Another portrait of the same lady, seen three-quarter face, is 
at present in the possession of Lord Wantage ; and a pen-and-ink 
sketch, evidently for Lord Wantage's picture, is at present in 
Mr. Hesel tine's collection. 



BEMBBANBT, SCHOOL OF. 

767. Christ blessing Little Children. 

Our Saviour, seated on the left side of the picture, has 
drawn a little girl to Him, and placed His right hand upon 
her head : the child, considerably abashed, stands with the 
forefinger of her right hand in her mouth ; in her left she 
holds an apple. A woman, with a baby in her arms, is with 
her left arm gently urging the little girl towards Christ Other 
figures are pressing round the principal group ; one man, lean- 
ing — seen only in part — against a tree in the background, behind 
the Saviour, appears from his countenance to sympathise but 
little with what is going on. In all eleven figures, or portions 
of figures, of about life-size. 

Purchased, 1866. 



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No. 757. 



82 in. by 60.} in. 



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MO THK X ATI OX A L GALLERY. 



BEITI ((^Ji'int)), known as GUIDO. i575 — 1^4-. Buh.^i^^ncsc Sc//oo/. 

11, St. Jerome. 

Kneelin.ii before a crucifix, and beatinij liis breast with a 
stone. Lart^e lialf-len.ii^th fii^nire. 

Bequeathed by the Rev. W. Holwell-Carr, 1831. 



177. The Mag-dalen. 

Hair len<ifth, of the natural size. 

This subject was often repeated by (juido, with but slight 
variations ; and the jiririts after these pictures are very numerous. 
Purchased, 1840. 



191. The Youthful Christ embracing: St. John. 

The St. John is in the attitude of adoration before the 
youthful Saviour, Who is conversing with him. 
Purchased, 1844. 



193. Lot and his Daug-hters leaving* Sodom. 

'• And Lot wc nt up out of Zoar, .ind dwelt iu the uiouutaiu, aud his 
two dauj:htcrs with liini."- Cicu. xix. 30. 

Three half-length figures of the natural size. 
Purchased, 1844. 



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No. II. 



46Hn. by 36 in. No 177. 



31 in. by 27 in. 




No. 191. 



19 in. by 27 in. 




No. 193 



45i in. by 58J in. 



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1^2 THE NATTOXAL GALLERY, 



BENI (Gi:ii)o), known as aUIDO (I'^ntiuucil), 

196. Susannah assaulted by the Two Elders, in the Garden 
of her Husband Joachim, at Babylon.— .^/orn///^// 

H<,nk uf Siisdililtih. 

Three lialf-len<::th fii^ures of tlie natural size. 
Purcliased, 1845. 



214. The Coronation of the Virg*in. 

Tlie Viri^n'n Mary, with a glory of stars around her head, 
and attended by cherubim, is borne upwards by angels ; a 
heavenly choir surrounds her, some singing, others performing 
on various musical instruments. The heavens above are opened, 
and two cherubim descend from the midst of the divine glory, 
bearing the crown of the Virgin, the emblem of her glorifica- 
tion. The whole composition is symmetrically arranged. 

Bequeathed by the late William Wells, Esq., 1847. 



271. The "Ecce Homo." 

The head of Christ crowned with thorns. 
"And Pilate saith unto them, Hkhold thi: man!" — John xix. 5. 
Bequeathed by Mr. Samuel Rogers, 1855. 



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No. 196. 



46 in. by 59i in. No. 271. 2i.\ in. by 16 in. 




No. 214. 



25 J in. by iSJ in. 



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134 ^^^f' XATfOXAL GALLERY. 



BIBEBA (Joskf), known as LO SFAOITOLETTO. if-SS— (?) 1656. Spanish 
Sclio'/i. 

235. The Dead Christ. 

Or the subject termed a Piita by the Itabans— the Virgin 
weepinc: over the dead bmly of Clirist ; in . this instance she is 
accompanied by St. John and Mary Ma,i^dalen. Four figures, 
fo life-size. 

Presented by David Barchiy, Esq., 1853. 



244. Shepherd with a Lamb. 

Seated under a tree ; in iiis left hand the crook. Full 
length, life-size. Probably a portrait. 
Bequeathed by Lord Colborne, 1854. 



BICCI OR BIZZI (Skhastiano). 1650—1734. rcnctian School. 

851. Venus Sleeping*. 

The goddess is lying on some draper}' on the ground, and 
is surrounded by bacchanals. Behind on the left is a curtain 
hung on a tree ; two cupids are hovering in the air above. 
Composition of ten small figures. 

Purchased, Peel collection, 1871. 



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No. 235. 



50 in. by 70 in. 




No. 244. 



52f in. by 42 j in. No. 851. 



30.V in. by 25 in. 



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m6 ////:' X ATI OX A L GALLERY. 



SIQAUB (HvA( iNTHi). I Off) — 1743. French School. 

903. Portrait of Cardinal Fleury. 

Bust ; in liis robes, with a small red skull-cap on his head. 



Presented by Mrs. Charles Fox, 1874. 



BINALBO MANTOVAITO. 16/// century. Italian School, 

643. The Capture of Carthagrena; and the Continence of 
Publius Cornelius Scipio. 

New Carthage was taken by Scipio in 210 B.C., and he 
distinguished himself by the generosity with which he treated 
the Spanish hostages kept there by the Carthaginians, 



644. The Abduction of the Sabine Women; and the Recon- 
ciliation between the Romans and the Sabines. 

Purchased, i860. 



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No. 903- 32.^ in. by 25 in. 



:;*M 






itr^ 




No. 643. 



14 in. by 60 in. each. 



:\1" ^y^'%.^ 



No. 644. 




14 in. by 60 in. tach. 



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nS THE XATIOXAL (GALLERY, 



BOBEBTI (Ekcoi.k dk'). i?)i45o i4<iU. Eernursr Sc/touL 

1127. The Last Supper. 

In the centre of an atrium or hall of cinquecento archi- 
tecture, richly decorated with coloured marble and delicate bas- 
reliefs, the Saviour sits at a table covered with a white cloth, 
surrounded by His disciples. He holds what appears to be the 
sacred Host in His left hand, and raises the right in bene- 
diction. The attitudes of the disciples are varied, but all be- 
token respect or veneration, excepting that of the nearest figure 
(Judas ?) on the right of the picture, who turns away his head. 

The figures are on a small scale. 

Purchased, 1882. 



1217. The Israelites gathering* Manna in the Wilderness. 

The Israelite camp in the desert, where the tents are repre- 
sented as wooden booths enclosing the scene. A number of 
men and women are busily occupied in gathering into vessels of 
various kinds and carrying away the Manna, which covers the 
ground in small grains. On the left two venerable elders, in 
long garments, presumably Moses and Aaron, converse together 
and direct the work. More distant figures move about amongst 
the booths, beyond which a rock rises against the blue sky. 

Turchased, 1886. 



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No. 1 127. 



12 in. by 8j in. 




No. 1217. 



1 1 in._by 24J in. 



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140 THE XATIOXAL (.ALLERW 

BOBEBTI (Fkcoi.k dk') {c(nitiinu(1). 

1411. The Adoration of the Shepherds. The Dead Christ— a 
Pieta. (A Diptych.) 

In the lert-band panel tlie Infant Christ is seen lyini^ in a 
manger, by the side of which the A'irgin and one of the 
Sliepherds kneel in adoratit)n, while another Shepherd ap- 
proaches in a reverential attitude with clasped hands. In the 
rear is a stable constructed of hurdles. Inside it are seen an 
ox and an ass. In the distance is seen an Angel appearing to 
the Shepherds. 

In the rigbt-liand panel is represented the Holy Sepulchre, 
on the edge of which two an^iohtti support the body of our 
Lord in a sitting posture. Near a cave on the left St. Jerome 
kneels, attended by his lion, and above in the (hstance is a 
Calvary with the Descent from the Cross. In the middle- 
distance St. Francis, kneeling, receives the stigmata. 

Purchased, Eastlake collection, 1894. 



BOBUSTI (Jacopo), known as TINTOBBTTO. 151^—1504. Venetian 
Sc/iool. 

16. St. George destroying- the Drag-on. 

The Saint, mounted on his charger, is in the act of spearing 
the dragon, on the brink of a lake ; on the ground before the 
knight is the dead body of a man ; the exposed princess, for 
whom the knight ventured on his perilous exploit, is kneeling 
in the foreground. 

Bequeathed by the Rev. W. Holwell-Carr, 183 1. 



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No. 141 1. 



Each panel, 6J in. hy 5! in. 




No, 16. 



62 in. by 39 in. 



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142 THE XATIOXAL GALLERY, 

BOBUSTI (Ja(X)Po), known as TIM'TOBETTO (continued). 

1130. Christ washing the Feet of His Disciples. 

In the centre of the composition, which includes several 
life-size figures, St. Peter, placing his right foot in a brazen 
basin filled with water, bends forward with a deprecating action 
towards his Master, who, kneeling before him, prepares to wash 
his feet. Behind St. Peter some of the disciples press forward 
with reverent curiosity. Another in the right-hand corner of 
the foreground has raised his right foot on a bench and dries 
it with a cloth. To tlie left a female attendant holds a large 
taper. In the background are several other figures, one of 
whom reclines before a fire. 

Purchased, i^'^i. 



1313. The Origfin of "The Milky Way." (A Classic Myth.) 

Jupiter, descending through the air, bears in his arms the 
infant Hercules towards Juno, who is rising from her couch 
attended by aiuoriui. The milk escaping from her breasts re- 
solves itself into the Constellation known as the Via Lactea, or 
Milky Way. At the foot of the couch stand Juno's peacocks. 
In the middle distance Jove's eagle appears bearing his thunder- 
bolts. Background of blue sky crossed by clouds. Figures about 
two-thirds life-size. 

Purchased, 1890. 



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No. 1 1 30. 



80 in. by 160 in. 




No. 1313. 



58 in. by 65 .| in. 



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1 4-1 THE XATIOXAL GALLERY. 



BOOHMAN (Rokland). i;^); — (?) i()Sb. Dutch ScJv,',L 
1340. Landscape. 

Throuii:!! a hilly and wooded country a road (along which a 
man and a hoy are walking) winds from the left of the fore- 
ground round a rocky knoll. On the right is a lake or river, 
on the hank of which a man sits fishing. In the middle dis- 
tance other figures are seen crossing a wooden hridge thrown 
over a gully hetween two precipitous cliffs. In the background 
rise lofty mountains. Above, cloud cumuli hover over the 
horizon illumined by sunset. 
Purchased, 189 1. 



BOMANINO. I4<^ — 1566. Venetian Sc/jooL 
297. The Nativity. 

A large altar-piece in five compartments. In the centre the 
Virgin and St. Joseph, adoring the Infant Christ, with a choir 
of angels above ; on the sides, in separate compartments on the 
left, St. Filippo Benizio above, and St. Alessandro in armour 
below ; on the right St. Gaudioso, bishop ot Brescia, above, 
and St. Jerome in the desert below. Figures nearly life-size. 

Purchased, 1857. 



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;*^ 






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No. 1340. 



24} in. by 29 in. 




No. 297. Central panel, 103 in. by 45.} in ; upper panels, 29J in. by 25.I in. each ; lower panels, 

63 in. by 25 J in. each. 



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146 THE NATIONAL GALLERY. 

B08A (Salvatokk). 1615 — 1673. lUdinn Schhul. 

84. Landscape, with Mercury and the dishonest Woodman 
(from the fable of ^sop . 

Mercury stands in a stream in the forej^ound, which is 
shaded by a dark cluster of overhans^ing trees to the right ; an 
open hilly country is seen on the left. 

i^urchased, 1837. 



811. Forest Scene, with Tobias and the Angel. 

Tobias is in the water holding the fish. A wild rocky land- 
scape. 

Presented by Mr. Wynn Ellis, 1870. 



935. River Scene. 

A mountainous landscape with a winding river, a hill in the 
middle distance, and a building in the foreground to the right. 
A man in a red coat is pointing to his right. 

Wynn EUis bequest, 1876. 



1206. Landscape and Figures. 

On the right rises a steep and rocky hill, at the base of 
which a river winds on towards woodland country, with a town 
lying in the valley beyond. On the left, lofty ash trees half 
stripped of their branches. In the foreground are two groups 
of rustics, whose attention is directed to distant figures on the 
spur of the hill. Mountainous background. Blue sky crossed 
by stornny clouds. 

Bequeathed by Mrs. L. Frederica Ricketts, 1886. 



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No. 84. 



No. 811. 



49l in. by 79J in. 




93 in. by 132? in. 




No. 935. 



34 in. by 46 in. No. 1206. 



29 in. by 43i i". 



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14S THE NATIONAL GALLERY. 



K088I (Franchsco). 15 10 — 1563. Florcjihiie Schoal. 

652. Charity. 

A woman, seated, offering her breast to a child who has 
turned away, and is caressing another child ; on her right is a 
third boy standing near a brazier with h've coal in it. Small 
figures. 

Purchased, i860. 



BOTTEVHAMMEB (Johann). 1564 — 1623. German School. 

659. Pan and Syrinx. 

The nymph Syrinx, one of the Xaiads, is pursued by Pan, 
and takes refuge among some bulrushes. The god thinking to 
grasp the nymph, finds only reeds in his hands; these he -con- 
structed into a rude instrument, hence the name of Syrinx 
given to the Panpipes. 

Purchased, i860. 



BUBENS (Pkter Paul). 1577 — 1640. Elcmish School. 

38. The Abduction of the Sabine Women. 

A tumultuous throng of men and women in violent struggle. 
To the right, seated on a throne, is Romulus, directing the 
sudden assault on his unsuspecting guests, whom he had invited 
from the surrounding neighbourhood to witness some games in 
honour of the god Consus. At an appointed signal, during 
the celebration of these games, the Romans carried off by force 
all the unmarried women. Composition of many small figures, 
some on horseback. 

Purchased, Angerstein collection, 1824. 



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No. 652. 



9i in. by 7 



No. 659. 



9j in. by 7^ in. 




No. 38. 



67 in. by 93 in. 



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i;o THE NATIONAL GALLERY, 



BUBENS (Pktkk Pail) {continued). 

46. Peace and War ; or Peace and Plenty. 

An allegory. Peace, nourishing her children from her bosom, 
is surrounded by Abundance, Wealth, and Happiness ; while 
War, with its attendants, Pestilence and Famine, are repelled 
by Wisdom. Composition of fifteen figures, of the natural size. 

Presented to Charles I. by Rubens when in England in 1630. 

Presented by the Marquis of Stafford, first Duke of Suther- 
land, 1828. 



57. The Conversion of St. Bavon. 

The saint, about to enter the monastic life, is met on the 
steps of the church of his convent by St. Amand, Bishop ot 
Maestricht. On the right is the worldly retinue of the noble 
penitent ; to the left, his property is being distributed among 
the poor : in a more elevated part of the picture, on this side, 
is a group of ladies of the family of St. Bavon returning thanks 
for the mercy accorded him by his conversion. Composition 
of many small figures. 

Bequeathed by the Rev. W. Holwell-Carr, 1831. 



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No. 46. 



78 in. by 117 in. 




No. 57. 



4i.\ in V)y 65 A in. 



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152 THE NATIONAL GALLERY. 

BUBEITS (Petkr Pail) (chuU'uucd), 

59. The Brazen Serpent. 

'* And tlu* Lord sent fiery serpents anionj^ the people, and they hit 
the people ; and much people of Israel died. 

" And the Lord said nnto Moses, Make thee a fier}- serpent, and set 
it upon a pole : and it shall come to pass, that every one that is bitten, 
when he looketh upon it, shall live. And Moses made a serpent of brass, 
and put it upon a pole, and it came to pass, that if a serpent had bitten 
any man, when he beheld the serpent of brass, he lived." — Numbers xxi. 
6-y. 

On the left are Moses and Eleazar, under the brazen 
sequent ; before them, on the right, are the Jewish people, 
men, women, and children, prostrated by the plague of serpents. 
Composition of many figures, of the natural size. 

Purchased, 1837. 



66. A Landscape : Autumn, with a View of the Ch&teau de 
Stein. 

The residence of Rubens near Mechlin. To the left is the 
chateau surrounded by picturesque foliage ; in the foreground 
below it a two-horse waggon, carrying a calf, is fording a brook. 
To the right is an extensive open country, with the view of 
a town in the distance : in the immediate foreground is a 
sportsman with his dog and gun creeping up to a covey of 
birds. The time is morning. 

This picture is one of four seasons : '* Spring " is in the 
Wallace collection at Hertford House ; " Summer '' and " Winter " 
are in the Royal collection at Windsor. 

Presented by Sir George Beaumont, 1826. 



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No. 59. 



78 in. by 105 in. 




No. 66. 



S3 in. by 93 in. 



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154 THE NATIONAL GALLERY. 

RUBENS (Pktkk Pail) {cuutiuucd). 

67. A Holy Family, with Saint George, and other Saints 

The figures are said to be portraits of Rubens and his 
family. The ^i^roup on the right, of children playing with the 
lamb, has been introduced into several designs by Rubens : the 
whole portion of this composition to the right of the columns 
was cut on a very large scale, in wood, by Christopher Jegher, 
from a drawing on the block by Rubens himself. Composition 
of nine small figures. 

Purchased, Angerstein collection, 1824. 



157. A Landscape: Sunset. 

A flat country, with a \iew of a farmhouse, and a village 
church in the distance. 

Bequeathed by Charles Long (Lord Farnborough), 1838. 



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

A sketch for a larger picture. 
Purchased, 1843. 



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No. 67. 



No. 157. 



49 in. by 64 in. 




19 in. by 33 in. 




No. 187. 



25 in. diameter. 



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156 THE XATIOXAL GALLERY. 

RUBENS (Pktkk Paul) {amtinucd), 

194. The Judgment of Paris. 

At the nuptials of Thetis and Peleus, an apple was thrown 
amons^ the f^uests by Discord, to be given to the most beautiful. 
Juno, Minerva, and Venus were competitors for the prize, and 
Paris, the son of Priam, was ordered by Jupiter to decide the 
contest. The Trojan shepherd, seated, with Mercury by his 
side, on the right, is on the point of awarding the apple to 
Venus, who stands between her rivals ; on her right is Juno, 
indicated by the peacock at her feet ; on her left is Minerva, 
whose sacred bird, the owl, is perched on a tree behind her; 
the shield and arms of the goddess are seen below. The 
decision of Paris was the cause of all the subsequent mis- 
fortunes of Troy : Discord is seen already hovering in the 
clouds above, spreading fire and pestilence around. 

Purchased, 1844. 

This picture is one of Rubens's greatest masterpieces, and 
is evidently entirely the work of his own hand. 



278. The Triumph of Julius Caesar. 

A pro:?ession. To the left, dancing girls with flowers, and 
other figures leading animals for the sacrifice ; on the right 
elephants bearing fruit, and lighted candelabra ; and wild beasts 
for the shows. In the background a hill surmounted by a 
temple, with crowds of spectators. 

This sketch was made from a portion of the fine cartoons 
by Andrea Mantegna, now at Hampton Court. 

Purchased, 1856. 



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No. 194. 



57 in. by 75 in. 




No. 27b. 



35J in. by 65 in. 



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I5« THE NATIONAL GALLERY. 

BUBENS (Pktkk Pail) {continued). 

279. The Hoppops of War. 

Mars, leaving the temple of Janus 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. A sketch for the picture in Uffizi 
Gallery at Florence. 

Purchased, 1856. 



852. Poptpait of Susanne Foupment (known as the ''Chapeau 
de Paille"). 

Susanne Fourment, afterwards married to Arnold Lunden, 
was the third daughter of Daniel Fourment, whose youngest 
daughter Helene was Rubens's second wife. She is dressed 
in a black bodice with red sleeves, with a black Spanish beaver 
or felt hat and white feather, holding her hands crossed before 
her. She often sat as a model to Rubens. Half-length, life-size 

Purchased, Peel collection, 1871. 



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No. 279. 



I9i in. by 30J in. 




No. 852. 



30J in. by 21 in. 



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i6o THE NATIONAL GALLERY, 

&TJBENS (Pktkr Pail) {am tinned), 

853. The Triumph of Silenus. 

The lat demigod, half inebriated, is led along supported 
and accompanied by satyrs, fauns, bacchantes, and children 
bearing grapes ; one figure in the background is blowing the 
double pipe. Xine life-size figures, three-quarter length. 

Purchased, Peel collection, 1871. 

DRAWINGS AND SKETCHES IN MONOCHROME. 

853a. The Fall of the Damned. 

Study for a large picture in the Old Pinakothek at Munich. 
Purchased, Peel collection, 1871. 

853b. The Fall of the Damned. 

Study for a large picture in the Old Pinakothek at Munich. 
Purchased, Peel collection, 1871. 

853c. The Fall of the Damned. 

Study for a large picture in the Old Pinakothek at Munich. 

Purchased, Peel collection, 1871. 
853d. The Fall of the Damned. 

Study for a large picture in the Old Pinakothek at Munich. 

Purchased, Peel collection, 1871. 
853e. The Martyrdom of a Saint. 

A crowded composition. The martyr, guarded by soldiers, 
kneels on a hillock between a woman, who is about to bind a 
napkin over his eyes, and the executioner, who stands sword in 
hand ready to strike the fatal blow. Above, hover youthful 
angels bearing a chaplet and palm branches. In the foreground 
are grouped soldiers and a crowd of spectators. 

Purchased, Peel collection, 1871. 
863f. The Descent of the Holy Spirit. 

In a vestibule or chapel of late Italian architecture the Virgin 
stands in an attitude of devotion, surrounded by the Apostles, 
who crowd round her with gestures of surprise and awe, while 
fiery tongues descend upon them. Above, hovers the Holy Spirit 
in the form of a dove. 
. Purchased, Peel collection, 1871. 



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No. 853. 



54 in by yyh in. 






No. 853a. 27 J in. by 19 in. No. 853b. 29 in. ])y 19 in. No. 853c. 29 in. by 18 J in. 




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No. 8S3(L 2S in. by 18J in. No. 8536. 28 in. by 20J in. No. 853f. 23 in. by 16J in. 



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i62 THE XATIOXAL GALLERY, 

RUBENS (Pkthk Pail) {anitiniicd), 

853g*. The Crucifixion. 

The lifeless body of Our Lord hangs on the Cross between the 
two thieves. On the left are two mounted soldiers, one of whom 
pierces the Saviour's side with his spear, while an executioner 
standing on a ladder prepares to break the legs of one of the 
malefactors. On the right is the Virgin attended by St. John 
and the Holy Women. 

Study for a picture in the Antwerp Gallery. 

Purchased, Peel collection, 1871. 

853h. Portrait of a Girl : half-length. 

Portrait of a child, about six or seven years old. She wears a 
close-fitting cap surmounted by a black cap and feathers. Her 
right hand is laid upon her chest. 

Purchased, Peel collection, 1871. 

853i. Portrait of a Lady. 

Bust-length ; three-quarter face ; clad in a full-sleeved dress 
open at the chest. An ample lace collar rises above her 
shoulders. Her wavy hair, falling en neglige^ is trimmed with 
beads and flowers. 

Purchased, Peel collection, 1871. 

853j. Portrait of a Young Lady. 

Bust-length ; nearly full face. The hair is parted on one side, 
and gathered into a roll at the back of the head. Her neck is 
encircled by a large muslin ruff. 

Purchased, Peel collection, 1871. 

853k. Sketch for Monumental Sculpture. 

This design includes a statue of Winged Victory and other 
figures, trophies of arms, festoons, etc., enriching the frieze 
of an entablature. 

Purchased, Peel collection, 1871. 



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No. 853h. 12 in. by 7 J in. 




No. 853!. 10 in. by 7.J in. 





No. 8535. 



23i in. by 17 in. 



No. 853J. 



9^ in. by 8 in. 




14J in. by 11 in. 



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1 64 THE XATIOXAL GALLERY. 

RUBENS (Pktkr Paul) (continued), 

8531. Sketch for Monumental Sculpture. 

In the central panel a picture or rilievo represents two monks 
kneeling before a monstrance enclosing a crucifix. Above, the 
Holy Spirit appears in the form of a dove. On either side of 
this panel are panels of Moses and Aaron. Above, a quaintly- 
shaped pediment decorated with bas-reliefs and figures of winged 
angels. Below, a sculptured podium. 

Purchased, Peel collection, 1871. 

853m. Sketch for Monumental Sculpture. 

Apparently designed for a plinth or podium, A shield sup- 
ported by infant mermen, set in a square panel enriched by 
festoons of fruit and foliage held up by seated satyrs. 

Purchased, Peel collection, 1871. 

853n. Sketch for Monumental Sculpture, or Design for 
Frontispiece. 

A shield-shaped panel raised on a plinth, with Hercules and 
Minerva as supporters. In the foreground a female figure seated 
on warlike trophies (among which is a shield inscribed with the 
name Breda) seems to succour an emaciated woman. Above the 
shield are youthful angels bearing palm branches, etc. 

Purchased, Peel collection, 1871. 

853o. Study of a Lioness. 

Purchased, Peel collection, 1871. 

853p. Sketch of a Lion Hunt. 

A lion has sprung from the ground and seized by the shoulder 
the rider of a horse, which rears with fright, while another' 
horseman, on the left, thrusts his spear into the lion's ribs. To 
the right a third hunter aims a blow at the beast. On the 
ground lie dead or wounded men and another lion. 

Purchased, Peel collection, 1871. 



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No 8530. 15^ in. by 9J in. 




No. 853p. 



28^ in. by 41 in. 



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166 THE XATIOXAL GALLERY, 

BUBENS (Phtkk Pai'l) (chutinued). 

1195. The Birth of Venus. (Desigrn for a silver dish of oval 
form.) 

In the centre Venus, attended by the Graces and marine 
deities, is wafted to the shore in a shell. Above, in the air, is 
seen a female divinity, probably Peitho (Persuasion), who unites 
with Amor to crown Venus with a chaplet. On the border of 
the dish marine deities are seen. 

This desif^, and one for a ewer, were made by Rubens for 
Charles I. 

Purchased, 1885. 

&17BENS (Phtkk Paul), Attkibuthd to. 
948. Landscape, a Sketch. 

To the right a cart and a piece of water ; a woody scene. 
Wynn Ellis bequest, 1876. 

BUTSCE (l^A('HKL). 1664 — 1750. Dutch Sc/inol. 

1445. A Study of Flowers. 

A bunch of roses and other flowers lying on a table against 
a dark background. 

1446. A Study of Flowers. 

The companion picture to the above. A butterfly is settled 
on one of the leaves of the white rose. 

On loan from the South Kensington Museum. 

&17TSDAEL (Jacob van). 1628 — 1682. Dutch School. 

44. Bleaching* Ground. 

On the left a gnarled oak in full foliage. On the right a 
sand bank partly covered with verdure. Beyond it a steep- 
roofed cottage at the foot of a hill, behind which storm clouds 
are rising. In the foreground a stream meanders through a 
grassy flat, on which rustics are engaged in washing and drying 
linen. Hilly distance. 

Bequeathed by Sir John May, 1847. 



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No. 1 195. 



23 in. by 29^ in. 




No. 948. 



i8i in. by 28 in. No. 1445. I2| in. by loj in. 




No. 1446. 



12§ in. by 10] in. No. 44. 



20} in. by 26J in. 



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1 68 THE NATIOXAL GALLERY. 



BUTSDAEL (Jacoh \'An) {contmued). 

627. Landscape with Waterfall. 

The whole foreground is occupied by the waterfall ; a wooden 
bridge and a cottage are in the middle distance ; the cottage is 
partly concealed by trees. Signed J, RuysdacI /. 

Purchased, 1859. 



628. Landscape with Waterfall. 

In the nnddle distance is a wooden bridge ; in the foreground 
a dead tree is lying in the water. Signed as above. 
Purchased, 1859. 



737. Landscape with Waterfall. 

On the right are seen a castle and cottage on some rocks. 
Some figures are seen on a road below, and a castle on a hill 
in the distance. Signed as above. 

Bequeathed by Mr. J. M. Oppenheim, 1864. 



746. A Landscape with Ruins. 

On the right are the ruins of a castle mostly built of brick, 
out of which a tree is growing ; in the foreground is a small 
weedy pool ; in the backgiound are low barren hills. Signed 
J, RuysdacI /,y and dated 1673. 

Purchased, 1865. 



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No. 627. 




No. 628. 40J in. by 34 in. 



40 \ in. by 34 in. 




No- 737- • 39 >n- ^Y 34 'n. 




No. 746. 



16J in. by 22 J in. 



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170 THE NATIONAL GALLERY. 

BUTSDAEL (Jacob van) {coutiuued). 

854. Forest Scene. 

A plantation of oaks is intersected by a shallow pool or 
stream, in which many of the trees on the right are reflected. 
In the fore^ound on this side is a bare birch stem, near 
which is a second, lying in the water. On the left are two 
sportsmen, who have sent a couple of dogs across the pool into 
the wood. 

Purchased, Peel collection, 1871. 



855. A Waterfall. 

A landscape with rocky foreground; in the middle distance 
are some cottages and a church spire on a hill. A small wooden 
bridge leads over a ravine beyond the river, into which the 
foaming torrent is falling over rocks on the right beneath the 
village. Signed y. Ruisdael. 

i*urchased, Peel collection, 1871. 



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No. 854. 



42 in. by 56 in. 




No. 855. 



34 in. by 39 in. 



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THE XATIOXAL GALLERY. 



RUTSDAEL (Jacob \an) {c(niiinucd). 

986. The Watermills. 

Three water-wheels are seen between two mills on each side 
of a rushing torrent ; on the right is a trunk of a tree lying in 
the water ; a flight of steps leads up from the water towards a 
village in the distance, of which the church is visible. In the 
foreground to the left is an old oak tree. Signed Ruysdael : 
the R combined with a J. 

Wynn Ellis bequest, 1876. 



987. Rocky Landscape with Torrent. 

A church and cottages in the middle ground. A fir tree 
rising above the torrent is a ver\' conspicuous feature. Signed 
Ruysdael. 

Wynn Ellis bequest, 1876 



9S8. An Old Oak. 

The scene is the skirt of a wood ; a roadway on the left 
leads to a cottage ; lying on the right is the trunk of a tree. 
Signed R, or J. R. 

Wynn Ellis bequest, 1876. 



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No. 986. 



34} in by 43J in. 





No. 987. 



47i in. by 50J in. No. 988. 



12 J in. by iij in. 



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174 THE NATIONAL GALLERY. 

RUTSDAEL (Jacob \a\) (aniiiiiucii). 

989. Watermills. 

The mills stand by the side of a river, at the foot of a high 
bank, on which are several small trees. In the foreground 
are bleacheis at work. Signed J. R. 

Wynn Ellis bequest, 1876. 



990. Landscape : an extensive flat wooded country, 

In which are seen a windmill and the spires of several 
village churches, one of which in the middle ground is over- 
shadowed by heavy clouds charged with rain. 

In the foreground is a pool of water, with portions of an 
old castellated wall ; a few sheep are dispersed about, and in 
the water are three swans ; on the left are two shepherds. 
Signed J. Ruvsdael. 

Wynn Ellis bequest, 1876. 

This picture, with its large shadows sweeping over the 
landscape and its faint gleams of sunlight suggesting an imminent 
rain-storm, is one of Ruysdael's most poetical works. 



991. The Broken Tree. 

One tree is standing in a woody landscape, another is lying 
across the foreground ; on the left is a tower under wooded hills. 
Wynn Ellis bequest, 1876. 



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\o. 989. 



No. 990. 



23J in. by 28J in. 




42.\ in. by 57 in. 




No. 991. 



Si in. by 1 1 J in. 



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176 THE XAT/OXAL GALLERY. 

RUTSDAEL (Jacob \an) {continued). 

1390. View on the Shore at Schevening^en. 

A flat sandy beach, washed by the receding tide, and 
bounded landwards by undulating sand-hills, beyond one of 
which are seen the church tower and house roofs of Scheven- 
ingen. On the right of the foreground two ladies await the 
approach of a third, who is advancing to greet them. In the 
nn'ddle distance are several other figures walking near the sea, 
or watching the course of two sailing boats which are about to 
run ashore. Above, large and stormy-looking cumuli rise into 
a blue sky. Signed J. RuvsDAEL. Purchased, 1893. 

RUTSDAEL (Salomon van). (?) iboo — 1670. Dutch School. 

1344. Landscape. 

Towards the left lofty 'beech trees, on some of which the 
foliage has assumed an autunmal tint, rise above a mossy bank 
bounding one side of a shallow stream. On the other side of 
the water, towards the right, a travelling carriage, attended 
by mounted cavaliers and ladies apparently returning from 
hunting, stops while the saddle horses drink and the dogs rest. 
In the distance is an undulating plain. Above is a blue sky, across 
which large fleecy clouds are drifting. Signed, S. Riysdael, 
1659. Purchased, 1891. 

1439. Fishing* in the River. 

On a broad and smooth river, occupying the whole fore- 
ground of the picture, is a boat full of men engaged in fishing. 
The bank of the river, fringed with trees and bushes, trends 
away to the left in perspective to the distance ; a small stream 
or canal making an opening in the bank is spanned by a 
wooden bridge, on which are two figures, also fishing. Nearer 
to the foreground a wayfarer with a bundle and stick lies down 
to rest. The sky is partly covered with soft grey clouds, and 
the whole scene gives the impression of a still and peaceful 
summer's day. Signed, S. \5., 1653. 

On loan from the South Kensington Museum. 



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No. 1390. 



21 J in. by 26i in. 




No. 1344. 



19} in. by 24i in. 




No. 1439. 



14J in. by 25 in. 



m 



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178 THE XATIOXAL GALLERY. 

BTCKAEBT (Martin). 1587 — 1631. Flemish Sc/iooL 
1353. A Landscape with Satyrs. 

On the right of the picture a mountain torrent, flowing 
between two masses of rock, falls in a cascade into a pool or 
stream, through which satyrs are wading, while others stand or 
sit upon thj banks. In the middle distance is seen a wooded 
plain with hills beyond. 

Bequeathed by Mr. Richard W. Cooper, 1892. 

SAKTI (Giovanni). 144 — 14'>4. Umbrian SchffoL 

751. Madonna and Child. 

Two curtains are drawn aside showing the naked sleeping 
Infant, lying partly on a cushion placed on a stone parapet in 
front of the picture ; the mother, watching the Child as He 
sleeps, is supporting His head with her right hand. Immediately 
•behind the head and shoulders of the Madonna is a small 
purple damask hanging ; the background shows a rocky land- 
scape, with blue mountains in the distance. 

Purchased, 1865. 

SAKZIO (Rafkakllo). 14H3 — 1520. Umbrian School. 

27. Portrait of Julius II., seated in a Chair. 

Tope Julius II., previously known as the Cardinal della 
Rovere, was elected to the papal chair in 1503, and died in 
1513 ; he commenced the present church of St. Peter's at Rome. 
Three-quarter length, of the natural size. 

This portrait was repeated several times by Raphael, or 
his scholars. Passavant enumerates yiiiic repetitions, including 
the picture now referred to, besides three of the head only. 
The original cartoon is in the Corsini collection at Florence. 

Purchased, Angerstein collection, 1824. 

168. St. Catherine of Alexandria. 

St. Catherine, a princess of Alexandria, a Christian, was, 
about the year 311, condemned by the Emperor Maxentius 
to be crushed with wheels ; the apparatus, how^ever, was broken 
to pieces by an angel, and the saint was afterwards beheaded. 



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No. 1353. 





No. 27. 



42 in. by 32 in. 



No. 108. 



3f in. by 7} in. 




28 in. by 21 J in 




No. 751. 



26^ in. by 19 in. No. 213. 



Drawing for Picture (see p. 180) 



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i8o THE NATIONAL GALLERY. 

SAKZIO (Rakfaeli.o) (continued). 

She is represented in the picture looking upwards, with an 
expression full of resignation, and is leaning with her left arm 
on the wheel, the intended instrument of her martyrdom ; the 
background is a landscape. Small figure, three-quarter length. 

This picture was painted about the year 1507, and is in 
Raphael's second style. 

Purchased, 1839. 

213. The Vision of a Knig-ht. 

In the foreground a young knight in armour is sleeping 
upon his shield at the foot of a laurel tree : on the left is a 
female figure holding a sword and a book ; on the opposite 
side is another younger female, holding a sprig of myrtle in 
bloom. The background is a varied landscape. The allegory 
suggesting the choice between Pleasure and Duty is obvious. 
The original pen-and-ink drawing from which the picture was 
traced was purchased with it. (See illustration on the pre- 
vious page.) 

Purchased, 1847. 

This picture belongs to Raphael's first period, probably to 
the time when, according to Morelli, he was under the influence 
of Timoteo Viti, and before he became a pupil of Pietro Perugino. 

744. The Madonna, Infant ChHst, and Saint John. 

The Virgin is seated on a bench under an arcade ; on her lap 
is the Divine Infant, Who has just received a pink from the left 
hand of the youthful Baptist, who in his right holds a cross 
made of reeds. A hilly countr}' with portions of a town in 
the background. Three small figures, half-length. 

This picture, now called the Garvagh Raphael, was 
formerly in the Aldobrandini apartments of the Borghese Palace 
at Rome, where it was commonly known as the Aldobrandini 
Madonna. 

Purchased from Lord Garvagh and the Dowager Lady 
Garvagh, 1865. 



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No. 213. 



7 in. square. 




No. 744. 



15 in. l>y 13 in. 



7)1 



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i82 THE XATIOXAL GALLERY. 



SANZIO (Kafkaki.i.o) {continued). 

1171. The Virgin and Child attended by St. John the Baptist 
and St. Nicholas of Bari. 

(Coiiiiiionly known as the '* Madonna degli Ansidei.") 

In the centre, on an elevated throne, and under a lofty 
canopy, the Virgin is seated, with the Infant Saviour on her 
right knee. She suppoits Him with her right hand, and with 
the extended fingers of her left keeps open on her lap an 
illuminated book, to which she draws the attention of the 
Child. To the left, below, stands the Baptist, as a grown man, 
in camel's-hair shirt and deep red mantle, looking reverently 
upwards, and holding in his lelt hand a long crystal staff which 
terminates in a cross. On the opposite side of the throne 
St. Nicolas of Bari, in episcopal robes and mitre, and with 
pastoral staff, stands in absorbed study of the book which he 
holds. At his feet are three golden balls, attributes of this 
saint. Behind the whole group rises a lofty arch, through the 
openings of which are seen the sky and distant landscape. On 
the frieze of the high, niched back of the throne is inscribed 
in gold letters SALVE- MATERCHRISTI. In the embroidered 
border of the Virgin's blue mantle, where this lies back on her 
left arm, is the date MDVI. 

This altar-piece was painted for the Ansidei family of 
Perugia, and placed in their chapel in the Servite Church of 
S. Florenzo, in that city. 

Purchased, from the 8th Duke of Marlborough, 1885. 

This is probably the best preserved of Raphael's important 
altar-pieces, and is remarkable for the exquisite purity of the 
colour and the silvery and luminous quality of its tones. 



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No. 1171. 



85 in. by 58L in. 



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1^4 THE XATIOXAL GAI.LERY. 

SANZIO (Rafkaki.i.o), Aktkk. 

929. The Madonna and Child. 

The Madonna, seated, looks down tenderly on the Child 
Saviour, Wlu), lyin^ naked on her knees, and apparently having 
just awakened, turns up His face to meet His mother's. 

Ancient ct)py, probably by a Flemish painter, of the Madonna 
of the Bridgwater collection. It is inscribed on the back, '* Ce 
tableau appartient a M. le Prince Charles. May 1722." 

Wynn Ellis bequest, 1876. 



SABTO (Andrka nKi.). 14^0 — 1531. Fldveutiuc Scliool. 

17. The Holy Family. 

The Virgin is represented seated in an open landscape, with 
the Infant Christ on her knees. On her right hand is St. 
Elizabeth, with the little St. John seated beside her. 

Bequeathed by the Rev. \V. Holwell-Carr, 1831. 



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No. 929. 



34 in. by 23 i in. 




No. 17. 



42 in. by 32 in. 



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1 86 THE XATIOXAL GALLERY, 

SABTO (Axi)Ki:a dkl) (ihutinued), 

690. Portrait. 

Formerly supposed to be that of the painter himself. Seated, 
holding a book or tablet in his hands ; life-size. Si^^ied with 
the painter's monojT^ram A. A., — Andrea d'Aij^nolo. 

Turchased, 1862. 



SASSOFEBBATO. 1 605 — 16 S 5 . N own 11 ScIiorJ. 

200. The Madonna in Prayer. 

Half-leno^th, with hands together in the attitude of praying. 
Bequeathed by Mr. Richard Sinnnons, 1846. 

740. The Madonna, with the Infant Christ. 

The Virgin is seated in a porch or vestibule ; the Child, 
standing m her lap, is embracing His mother ; through an 
arch is seen a landscape background, with trees, and St. Joseph 
approaching in the middle distance. Small whole-length figures. 

Purchased, 1864. 



SAVOLBO (Giovanni Girolamo). (?)i48o — 155 . Veuctidu School. 

1031. Mary Magdalene approaching the Sepulchre. 

Half-length figure, moving towards the left with head 
inclined, and looking out towards the spectator from under a 
veil of white or grey silk, which envelopes the head and 
shoulders, and casts the chief part of the face into shadow. 
The right hand, muflled in the drapery, is raised towards the 
face ; the left gathers in the pendant folds. Ruinous buildings 
are in the nearer background, with the opening of the sepulchre, 
before which, on a square stone, hes the vase of ointment. In 
the distance is seen a view with boats. The morning dawns 
from behind a bank of cloud. 

Purchased, 1878. 



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No. 690. 



28 in. by 22 in. No. 200, 



29 in. by 23 in. 





No. 740. 



38 in. by 29 in. No. 103 1. 



34 1 in. by 31 in. 



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iSS THE XATIOXAL (GALLERY. 



SCHALCKEN ((ioDKKiKh). \b\\ — 1700. Dutch SclnKtL 

199. Lesbia weighing* Jewels against her Sparrow. 

Bcqueiithed by Mr. Richard Simmons, 1846. 



997. An Old Woman. 

With eyeglasses on her nose, dressed in black and yellow, 
is scouring a brass kettle at an open window ; a brass candle- 
stick, a broken earthen pot, and other objects are in front of 
her ; - a butterfly has settled on the jamb or stonework by her 
side. Signed G. Schixickcn, 

Wynn EUis bequest, 1876. 



998. A Duet or Singing* Lesson. 

A lady with music and a gentleman with a guitar are seated 
at a table which is covered with a Turkey rug ; a pink rose 
is on the table. Signed G. Schalckcn, 

Wynn Ellis bequest, 1876. 



999. A Candle-Light Scene. 

An officer is presenting some jewellery to a lady ; on the 
left is a lighted candle held in a bracket, and in the back- 
ground a bed. 

Wynn Ellis bequest, 1876. 



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No. 199. 61 in. by 5 inr 





No. 997. 



II in. by 8^ in. No. 998. loj in. by 8 in. 




No. 999. 



6 in. by 7J in. 



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IQO THE NATIONAL GALLERY, 



8CKIAVONE ((iKKc;oRH)). Second half hf i^ih century. School of Padua. 

630. The Madonna and Child enthroned, with various Saints. 

The Madonna and Child in the centre ; the dead Christ 
above ; St. Bernardino, St. Anthony of Padua, St. John the 
Baptist, and St. i^eter Martyr, below. Above are half-length 
figures of St. Anthony Abbot, St. Catherine of Alexandria, 
St. Sebastian, and St. Cecilia. Small figures. Signed Opi'S • 

SCLAVONI • DiSIPULI • SOVAKCIOM * S * 

Turchased, i860. 



904. Madonna and Infant Christ. 

The Virgin and Child stand under an ornamented arch 
festooned with fruit ; in front are angels presenting fruit. 
Purchased, 1874. 



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No. 630. Centre, 36 J in. by 13} in.; upper centre, 15 in. by 10] in. Side pictures — lower, 

26 in. by 9 in. each ; upper, 12 in. by 9 in. each. 




No. 904. 



22 in. by i6j in. 



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192 THE XATIOXAL GALLERY. 

SCOBEL (Jan van). I4()5 — 1562. Flemish School. 

720. The Holy Family resting near a Fountain ; a repose in 

Egypt. 

St. Joseph is offering a plate of fruit to the Infant Saviour, 
seated on the hip of His mother by the side of a fountain, 
of which tlie original is still preserved at Brussels. Landscape 
background, with a view of a chateau, and an ass grazing. 

721. Portrait of a Lady. 

Both pictures wei-e presented in 1863 by Her Majesty the 
Queen, in fulfilni^^nt of the wishes of his Royal Highness the 
Prince Consort. 

SEONA DI BXJONAVENTXJ&A. 14M century. Sienese School. 

567. Christ on the Cross. 

The painting is in the fomi of a crucifix, with the Virgin 
and St. John at the extremities of the side limbs of the Cross. 
A projecting nimbus surrounds the head of Christ. The figure is 
life-size. Inscribed above, Ihs. Nazarenus Rex Judeorum. 

Purchased, 1857. 



SIONO&ELLI (Luca). 1411 — 1523. Umbrian School. 

910. The Triumph of Chastity. 

In the foreground Cupid on his knees is bound by maidens, 
his darts are seized and his bow is broken ; three male figures are 
looking on, apparently imconcerned. In the distance are two 
other groups of maidens, in one of which the god of love is 
being captured, and in the other he is led away in triumph 
with his arms pinioned behind him. A fresco transferred to 
canvas. Signed Lucas Coritius. 

Purchased, 1874. 



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r* 


w 


i^^jr^'- ^ 








#Hi 



No. 720. 




No. 567. 



85 in. by 72 in. 




No. 910. 



48J in. by 52 in. 



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194 THE y ATI OX A L (;ALLERy. 



SIGNOBELLI (T^rcA) [cnniinncd). 



1128. The Circumcision. 

Before an arched niche, in a hall or porch enriched with 
bas-reliefs in circular panels and paved with square slabs of 
coloured marble, the Virs[in sits, holding the Infant Christ on 
her lap. Before her kneels the operator, dressed in black. 
Behind this group an aged man (Simeon ?) stands, with upraised 
hands, and an expression of deep reverence. On the left St. 
Joseph leans upon his staff'. To the right of the foreground 
a woman stands in the attitude of attention. The figure of the 
Infant Christ is said by Vasari to have been repainted by 
Sodoma. 

Purchased at the sale of the Hamilton Palace pictures, 1882. 



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No. 1 128. 



102 in. by 71 in. 



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1 96 THE XATIOXAL GALLERY, 



SIONO&ELLI (I.ncA) (amtinued). 



1133. The Nativity. 

A composition with luimerous fii^ures. In the centre of the 
foref^roiind h'es the naked Infant Saviour, His liead resting on a 
cushion. Immediately beliind the Virgin kneels in adoration, 
attended by angels. On the right St. Joseph sits in a rever- 
ential attitude with clasped hands. To the left is a group of four 
shepherds, of whom two kneel, while the others stand behind. 
In the middle distance a crowd of figures are assembled in a 
portico, the frieze of which bears the pahiter's name. On the 
left of the portico, the Divine message is received by shepherds 
from an angel on high. To the right, seated beyond a natural 
arch in a rock, is a shepherd playing on the bagpipes. 

Signed Lvci:- de cortona- p- o- 

Purchased, 1882. 



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No. 1 1 33. 



86 in. by 67J in. 



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19S Tift: XATJOSAL GAr.LERY. 

SSTDEBS (Kkans). 1570 — if)-;. Flemish School. 

1252. A Fruit-piece. 

Apples, pears, melons, grapes, and peaches are piled in con- 
fusion on a table, or han^ over its side ; while a monkey sitting 
on it helps himself to the fruit. On the floor is a large green 
gourd, or pumpkin. Dark background. 

Presented by Miss E. J. Wood, 1888. 

SNTEBS (Piktkk). HjSi— 1752. hlcmtsh School. 

1401. A Study of Still Life. 

Fruit, flowers, and vegetables, shell-fish, and poultry, piled 
together on a table covered with a blue and white checked 
cloth. The group includes a large crayfish, feathered game, 
a basket containing apples, plums, peaches, etc., a china bowl 
full of strawberries, bundles of asparagus and radishes, arti- 
chokes and peonies— all represented of natural size and dis- 
tributed in picturesque confusion. 

Signjd in large red letters, as if embroidered on the corner 
of the table-cloth, P. Snvers. 

Purchased, 1894. 

SOLABIO {AxnKKA ha). I4()o(?)— i5I5(?). Milanese School. 

734. Portrait of Gio. Cristoforo Longrono. 

A Milanese nobleman and lawyer, in a black cap and suit ; 
half-length, landscape background. The name is written on 
a letter in his right hand — Xobili Joanni Christoplioro Longono 
amico. Signed Andreas D. Solario. F. 1505. 

Purchased, 1863. 

923. Portrait of a Venetian Senator. 

In a black cap and red mantle ; a black stole hangs over 
his right shoulder, and a piece of a blue sleeve is seen on the 
wrist. He holds a small pink in his right hand. On the thumb 
of his left hand is a gold signet ring, set with a stone, of a 
turquoise colour. 

Purchased, 1875. 



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No. 1252. 



40 in. hy 52J in. No. 1401. 



44J in. by 38] in. 




No. 734. 



31 in. by 23^ in. No. 923. 



19 j in. by 15 in. 



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200 THE XATIOXAL GALLERY, 

SOBOH (Hkndrkk). i6ii — 1670. Dutch School. 

1055. Boors at Cards. 

Two men and a woman clad in peasants' dress, seated at 
a wooden bench, playing cards. One of the men holds a mug 
in his hand ; the other a lighted pipe. To the right are a 
basket of eggs and a dead duck. 

Bequeathed by the late Mr. John Henderson, 1879. 

1056. Group of Two Figures drinking*. 

A man, wearing a dark-coloured jerkin, crimson cap and 
feather, is sitting at a table by the side of a woman, whom he 
caresses. In the background an old woman peers in through 
a half-opened door. A cat is sitting under the table. 

Bequeathed by the late Mr. John Henderson, 1879. 



SPAGNA (I'O). 14 — 15 . Umhntin School, 

1032. The Agony in the Garden. 

Christ kneels on a mound in earnest prayer, while an angel 
bearing a chalice flies towards Him from above. In the fore- 
ground are three disciples sleeping. On the right hand, in the 
middle distance, Judas, bearing the money-bag and accompanied 
by a group of Roman soldiers, is seen approaching. The back- 
ground is occupied by a landscape, including a view of Jerusalem, 
and hills beyond. 

Purchased from Mr. W. Fuller Maitland, M.P., 1878. 



SPAGNA (Lo), Ascribed to. 

691. An •♦Ecce Homo." 

Or Christ, crowned with tlioms, presented by Pilate to the 
people. John xix. 5. 

Bequeathed by Lieut.-Gen. Sir W. Moore. 1862. 



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No. 1055. 



10 in. by 14 in. No. 1056. 



10 in. by 18 in. 




No. 1032. 



23i in. ])y 26.J in. 




No. 691. 15J in. by I2i in. 



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202 THE NATIONAL GALLERY. 

SFINELLO ABETINO. I333(?) 1410. Tuscan Schoui. 

581. St. John the Baptist, with St. John the Evangelist and 
St. James the Greater. 

St. John tlie Baptist liokls a scroll inscribed Ego vos clamanie 
in ii(S(rti)y Parate via. Three figures, small life-size. 

Formerly in the Hospital Church of Santi Giovanni e Xiccolo, 
near Florence. 

Purchased, 1857. 



1216. Fragment of a Fresco representing the Fall of the 
Rebel Angels. 

On the right the Archangel Michael raises his sword to 
strike. On the left several other angels, painted on a smaller 
scale, armed with swords, spears, and shields, follow in menacing 
attitudes. Fresco transferred to canvas. 



1216 (a and B). Two Fragments of the Decorative Border of 
the same Fresco. 

The border is enriched with (feigned) panels foniied by the 
intersection of a lozenge and quatrefoil : each panel contains 
the half-figure of a saint or martyr, the head encircled by 
a nimbus bearing an inscription, now nearly obliterated. The 
spaces between the panels are painted with leaf ornament, on 
which, in one instance, is introduced the figure of a kneeling 
friar. 

Fresco transferred to canvas. 

These three pieces of fresco are parts of a large painting 
executed by Spinello for the Company of Sant' Angelo on the 
altar wall in the church of S. Maria degli Angeli at Arezzo. 

Presented by the Rt. Hon. Sir Henry Layard, G.C.B., 1886. 



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No. 581. 



74 in. by 61 in. 



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No 1216. 



45|in. by 67 in. 




No. I2i6a. 



23§ in. by 59I in. No. 1216b. 



25^ in. by 51 in. 



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204 THE XATIOXAL GALLERY. 

SFIITELLO ABETINO (c<mtimicd). 

1468. The Crucifixion. 

An altar-piece. At the Toot of the Cross is a proup of 
tlie Virjn^in Mother faintine^, and supported by the two Marys ; 
St. John and other faints stand around. On the left the soldiers 
are castinij lots for the vesture by drawing straws. Behind are 
soldiers on horseback, one of whom breaks the legs of the 
wicked thief. Two upright panels on each side contain figures 
of saints. St. John the Baptist and St. Paul are on the left, 
and St. James the Greater and St. Bartholomew on the right. 
Below, inserted in the frame, are five circular medallions con- 
taining half figures. In the centre are the Madonna and Child, 
and to the right and left are two saints. The whole is on a 
gold ground in a frame of the time, and surmounted by a 
Gothic canopy, ornamented with gilt gesso in relief. 
Bequeathed by the Rev. Jarvns H. Ash, 1896. 
8TEEN (Jan). 1626—1670. Dutch School, 

856. The Music Master. 

A young lady, in a yellow bodice and blue skirt, is seated at 
an open harpsichord with a book of music before her. The 
master, wearing his hat, is leaning on the instrument watching 
the movement of her fingers. In the background a boy is 
bringing a lute into the room. Signed on the harpsichord 
JoHANis Steex Fecit 16 x x, the last two figures, read as 71, 
are now obliterated. 

Purchased, Peel collection, 1871. 
1378. An Interior with Figupes. 

Seated near the fire-place of a ground floor room in a farm- 
house are two peasant women : one holding a jug, and the 
other raising a drinking glass to her lips. Behind them is a 
man smoking in the chinmey corner, while a younger rustic 
stands hy filling his pipe. The fifth figure in the group appears 
to be that of an itinerant musician who has just entered the house 
and who, holding his hat in his right hand, salutes the party with 
a fantastic gesture of courtesy. On the flagged pavement of the 
floor are scattered mussel shells, etc. Painted in monochrome. 

Bequeathed b)' the Rt. Hon. Sir William H. Gregory, 1892. 



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No. 1468. 



Centre, 42 in. by ^^}^ in.; Sides, 40 in. by 5 in. each. 





No. 856. 



i6i in. by 12.^ in. 



No. 1378. 



17} in. by 14I in. 



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20b THE NATfOXAL GALLERY, 

STEEV (Jan) (cotiimitcd). 

1421. A Terrace Scene, with Figures. 

On the floor of a marble-paved terrace a lady reclines with a 
book of music open on her lap. Close to her and sitting on 
an inverted tub, with a small red feather in his hat, a man, 
who seems to be sin]i,nnj[j, turns towards her, holding a glass 
of wine in his hand, l^^irther to the right, and partly concealed 
by a stone plinth, is a musician playing on a mandolin. On 
the left is an open basket containing fruit, a linen napkin, etc. 

Signed J. Steen, the J. S. being intertwined. 

Purchased, Adrian Hope collection, 1894. 

STEENWTCK (HKxnKirK), Jinior. 1580 — 1640. Elrmish SrIiohL 

1132. An Interior. 

A small and minutely painted work, representing a vestibule 
or ante-chamber, divided from an adjoining room, apparently a 
library or study, by an arcaded staircase. To the right, on a 
table covered with a cloth of rich pattern, are placed a chalice, 
a goblet, a paten, and other specimens of metal work. Above 
the table, in an arched recess, is a vase filled with flowers. On 
a landing in the staircase are two men in conversation, and 
behind them two children. 

Purchased, Hamilton collection, 1882. 

1443. Interior of a Church. 

A view looking up the nave and choir of a large Gothic 
church. A funeral service is being celebrated in the nave, and 
in the foreground to the right two boys with tapers precede a 
christening procession. 

On loan from the South Kensington Museum. 

8TEENWTCK (Hkkman). 17/// century, Dutch Schooi. 

1256. A Study of Still Life. 

A sheathed Japanese sword, musical instruments, a skull, and 
other objects. Signed H. Stehnvvvck. 
Presented by Lord Savile, G.C.B., 1888. 



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No. 1 42 1 



17 in. l)y 24 in. No. 1132. ii| in. by 9 in. 




No. 1443. 



14 in. by 21} in. 




No. 1256. 



15 in. by 19J in. 



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2oH TfJE XATIOXAL GAT.LERW 



8TOBCK (AiiKAHAM). I630{?) — i7io(?). Dutch Schuhl, 



146. A view of the Maes, with Shipping*, and Rotterdam in 
the distance. 

Bequeathed by Lt.-Col. Ollney, 1837. 



TACCONI (FKANtKsro). Scchml halt hf \Uli century, Lhtiihard Scho'tl. 

286. The Virgfin enthroned, 

Holding the Child upon her rif^ht knee, the right foot being 
raised on a footstool ; in the background a green curtain. 
Inscribed on a phnth below, Or. Francisi Tachoni, 1489. 
Ocrr. Figures half-hfe scale. 

Purchased, 1855. 

TENIERS (Da\ M)) THK Vaawm. 15S2 — 1640. Flemish School. 

949. Rocky Landscape. 

A winding road among the rocks, leading to a chateau on 
the heights, to the right ; two reaches of water below ; a village 
in the distance. In the foreground on the roadway a group 
of gipsies, and a peasant having his hand examined by one of 
them. Signed with the painter's monogram, a T within a D 
followed by an F for fecit. 

Wynn Ellis Lequest, 1876. 

950. The Conversation. 

Three men, each with a long staff in his hand, near the 
door of a house, in conversation ; a woman just entering the 
house, turning her head back towards them. 

A village scene, with a pool of water ; on the spectator's 
left, near the door of the house, is a grindstone. Signed with 
the painter's monogram. 

Wynn Ellis bequest, 1876. 



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No. 146. 



No 949. 



23 in. by 29 in. 





No. 286. 



39 in. by 20?i in. 



64 in. ])y 84 in. 




No. 950. 



44 in. by 65 in. 



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2IO THE NATIONAL GALLERY, 

TENIEBS (Damd) thk Eldkk (thntinucd). 

951. Playing* at Bowls. 

A party of several men engaged at a game of bowls in front 
of an inn, with the sign of the crescent moon (in its fourth 
quarter, on a bkie ground) hanging on the corner of an out- 
building ; with other figures behind. A stream separates the 
picture into two parts ; two village churches are seen in the 
background to the right and towards the centre, on higher 
ground. Signed on the end of a tub, with the painter's 
monogram. 

Wynn Ellis bequest, 1876. 



TENIEBS (D.wiD) THK YoLNGKK. ibio — i6qo. Flemish School. 

154. A Music Party. 

A woman, accompanied by a man with a guitar, is enter- 
taining some peasants with a song. An interior ; seven small 
figures. 

Signed D. Temers F. 

Bequeathed by Charles Long (Lord Faniborough), 1838. 



155. The Misers, op Money-changrers. 

A man and his wife counting their money ; they are seated 
at a table covered with gold and silver coin loose and in bags ; 
some of the accessories seem to indicate considerable business 
transactions. 

Signed David Teniers. 

Bequeathed by Charles Long (Lord Farnborough), 1838. 



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No. 951. 



47 in. l.y 75 in. 




No. 154. 



10 in. l)y 14 in. 




No. 155. 



24J in. by 33 in. 



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:i: THE NATIOXAL GALLERY, 

TENIEBS (r)A\ii>) THK YorxcKK {ynitmucd). 

158. Boors Regaling*. 

A man, expressing somewhat boisterous merriment in his 
attitude, is holding out a glass of ale at arm's length ; by his 
side is an old woman filling her pipe ; a third figure is stand- 
ing behind them. An interior ; companion piece to Xo. 154. 

Signed I). Tknikrs F. 

Bequeathed by Charles Long (Lord Farnborough), 1838. 

242. Players at Tric-trac, or Backgammon. 

A Dutch interior, with eight small figures. 

Signed D. Teniers F. 

Bequeathed by Lord Colbome, 1854. 

805. An Old Woman peeling a Pear. 

An interior, in which is a large oven or still ; the old woman 
is seated on a wooden chair in front, with one pear in her 
hand and others on the floor ; on her right are a stewpan and 
various other utensils ; before her stands a greyhound. In the 
background a partial light coming through an open doorway 
discovers a chum and some pieces of furniture standing against 
the wall. Signed, D. Teniers, F. 

Purchased, 1870. 

817. The Chateau of Teniers at Perck. 

A turreted house among trees. The painter and his wife, 
another lady, and his son holding a greyhound by a string, are 
standing in the foreground on the spectator's left ; a man, 
his gardener, is approaching with a pike in his hands. In a 
moat before the chateau are six men dragging a net ; a lew- 
ducks are in the water. Signed D. Teniers F. 

Purchased, 1871. 



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No. 158. 



10 in. by 14 in. No. 242. 



14 J in. by 21 in. 




No. 805. 



19 in. by 26 in. 




No. 817. 



^} in. by 46 in. 



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214 T^f^^'^ XATIOXAL GALLERY. 

TEH'IEB4BI (Damd) thk YorNOKR (continued), 

857-860. The Four Seasons. 

Signed each with a monogram of a T within a D, and an 
F for fecit. 

857. Spring". 

A man carrying an orange tree in a pot ; others laying 
out a garden in the background. 

858. Summer. 

A man holding a wheatsheaf; others in the back- 
ground reaping. 

859. Autumn. 

A man with a flask and a glass of wine ; others in 
the background preparing grapes for the press. 

860. Winter. 

An old man seated at a table, warming his hand over 
a pan of coals, a jug and wine glass by his side ; figures 
skating in the background. 
Purchased, Peel collection, 1871. 

861. River Scene. 

A broad river, beyond which is a wooded country, with a 
chateau among the trees. In the foreground on the left is a 
cottage, before which a woman cleaning an earthen pot is 
speaking to a man walking away with an empty barrow. 
Another woman is looking out at the door of the cottage. On 
the river side to the right are three cows. The man with the 
barrow^ is a portrait of Teniers' gardener. Signed D. Teniers Ft. 

Purchased, Peel collection, 1871. 

862. The Surprise. 

The wife, looking in at the door of a large room or kitchen, 
has surprised her husband courting her maidservant, who is on 
her knees in front, busy cleaning out an earthen pot. A great 
variety of domestic utensils is dispersed about the foreground. 
Signed D. Teniers F. 

Purchased, Peel collection, 1871. 



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No. 857. 8J in. by 6 in. No. 858. Si in. by 6 in. No. 859. 8^ in. by 6 in. No. 860. 8J in. by 6 in. 




No. 861. 



18^ in. by 25 in. 




No. 862. 



16J in. by 25 in. 



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216 THE X ATI SAL GALLERY, 

TENIE&S (Oavii)) thk Yoincfk (mtjiintirii). 

863. Dives, or the Rich Man in Hell (Luke xvi. 23) (known as 
'• Le Mauvais Rlche "). 

Dives is represented in an infernal cavern surrounded by a 
variety of monstrous combinations of the human and animal 
forms. A winded monster is leading him by a cord into a 
lower cavern, whence are seen to proceed flames. Signed D. 
Teniers, F. 

Purchased, Peel collection, 1871. 

952. The Village Fdte, or the Fete aux Chaudrons. 

On the left is a building, in front of which are four cauldrons, 
in which soup is being cooked, and nearer the building are 
six casks of beer ; above this a fight is going on. The landscape 
is hilly and woody; to the extreme right is a cross on a pillar, 
with immortelles. In the foreground to the left is an old 
peasant selling children's flags with a plate of money before 
him. Teniers and his party, with his little boy leading a grey- 
hound, are in this part of the foreground. A vast concourse 
of people is scattered over the scene patiently waiting to 
begin the fete. 

The tower of Antwerp is seen in the distance. Signed D. 
Teniers F. 1643. 

A replica of this fine picture is in the possession of the Duke 
of Bedford, signed 1646. 

Wynn Ellis bequest, 1876. 

953. The Toper. 

A man with a mug in one hand and a full glass in the 
other ; he wears a red cap with a feather and a blue jacket 
with a white shirt beneath. A cottage is in the background. 
Signed with a T. within a D., which is the father's signature. 

Wynn Ellis bequest, 1876. 



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No. 863. 



19 in. by 27 in. No. 953. 



61 in. by 4J in. 




No. 952. 



34^ in. by 47 J in. 



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2i8 THE X ATI OX A L GALLERY, 

TEBBOBCK ou TEBBUBO ((iKkakd). i()I4 (?)— i68i. Dutch School. 

864. The "Guitar Lesson/' 

A lady in yellow and white siitin is seated playing a lute. 
Her master, seated opposite to her at a table covered with a 
Turkey carpet, is reading the music, and keeping time with 
his hand. Another gentleman is standing in the background ; 
both have their heads covered. Behind the lady's chair is a 
spaniel. 

Purchased, Peel collection, 1871. 



896. The Peace of Miinster. 

This picture represents the Plenipotentiaries of Philip IV. 
of Spain and the Delegates of the Dutch United Provinces 
assembled in the Rathhaus at Miinster on the 15th of May, 
1648, for the purpose of ratifying and confirming by oath the 
Treaty of Peace between the Spaniards and the Dutch, signed 
on the 30th of January previous. 

This Treaty was the first recognition by Spain of the inde- 
pendence of the United Provinces, after the contest which had 
lasted for eighty years. It was therefore an event of the 
highest interest and importance, and one well desers'ing to be 
recorded by a great Dutch painter. 

The moment chosen is the reading of the Oath of Ratifica- 
tion. 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 
the copy of the Gospels open before them, are representatives 
of the King of Spain. 

Signed on a tablet in the upper comer to the left, G. T. 
Borchf F, Monasteriiy A, 1648. 

Presented by Sir Richard Wallace, Bart., 1871. 

For details respecting the personages represented in this 
picture see the Official Catalogue of the National Gallery. 



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No. S64. 



26J in. by 22 in. 




No. 896. 



174 in. by 22 in. 



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220 THE XATIOXAL GALLERY, 

TEBBOBCK ok TEBBU&O ((ikkakd) \chntimicd), 

1399. Portrait of a Gentleman. 

A small full leni^th of a Dutch gentleman standinp. He is 
(Ireb^secl in a black velvet doublet, black hose, and a black cloak, 
with a plaited cambric shirt, a collar bordered with fine lace, and 
large muslin cuffs. On the riji^ht of the picture is a table overlaid 
with a larf^e red velvet cloth. On the left is a chair covered with 
the same material. Both are trimmed with gold fringe. Warm 
grey background. 

I'urchased from the collection of Sir Charles Eastlake, 1894. 

THE'OTOCO'PULI (r)('MKM(*()), known as el OBECO. 154-^— i6-5- Spamsh 
Schntl. 

1122. St. Jerome (?) 

Half life-size ; sitting at a table, with an open volume before 
him ; on the margin of the page appears an inscription. He is 
dressed in the costume of a Cardinal, but without the biretta. 

Purchased, Hamilton Palace collection, 1882. 

1457. Christ driving' out the Traders from the Temple. 

The figure of the Saviour, with raised arm, occupies the 
centre of the picture. To the left the traders in the Temple 
are carrying away their goods, and on the right are other figures, 
probably the Disciples, who, by their gestures, approve of the 
Savnour's action. As is usual with this remarkable artist, there 
is much energetic action with very faulty drawing in the picture. 

Presented by Sir J. Charles Robinson, 1895. 

TIEFOLO (Giovanni Battista). 1692 — 1760. Vcuctuin School, 
1192. Design for an Altar-piece (?). 

An open portico through which the sky is seen. Beneath 
is a group of four persons, consisting of a bishop, perhaps St. 
Ambrose, who stands in the act of blessing or absolution ; an 
armed warrior is sitting to the right and a young man with a 
palm branch kneels to the left ; an acolyte behind bears the 
bishop's mitre and crook. 

Purchased, 1885. 



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No. 1 1 22. 



23 in. by i8i in. 



No 1399. 



26 in. by 21 in. 




No. 1457. 



41^ in. liy 50^ in. No. 1192. 



23 in. by 12J in. 



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222 THE NATIONAL GALLERY. 

TIEPOLO ((ilONANM RaTTISTA) (ihlltillUCii). 

1193. Design for an Altar-piece (?). 

The scene is laid in an open portico, in the centre of which 
on a higli pedestal St. Augustine, in pontificals, sits enthroned ; 
in his right hand is a flannng heart ; his left, which holds a 
pen, rests on a large book. Below, to the left, a prince kneels 
on the step, looking up to the saint. To the right is a group 
of four persons ; a warrior sitting on the step in front ; 
innuediately behind him is a bishop, with joined palms, reading 
from a book held before him, accompanied by two acolytes. 

Purchased, 1885. 

1333. The Depositipn from the Cross. 

In the centre of the composition the Virgin and one of the 
holy women bend mournfully over the dead body of our Lord, 
which lies on the ground half covered with a linen cloth, the 
head supported by another saint. Behind the Virgin, St. John, 
hiding his face in his mantle, stands at the foot of his Master's 
cross and between those of the thieves, whose Hfeless bodies 
remain crucified. On the right is a crowd of bystanders, among 
whom one is probably intended to represent Joseph of Arimatha^a. 

Purchased, 1891. 

TISIO (Bkw KNTTo) DA GABOFALO. 14^1^1550. Fcrrarcsc SchuoL 

81. The Vision of St. Augfustine. 

Augustinus, one of the four "Doctors" of the Church, and 
bishop of Hippo, in Africa, relates, that while engaged on a 
work on the Trinity, he had a vision in which he saw a child 
endeavouring with a ladle to empty the ocean into a hole 
which he had made in the sand ; and upon the saint pointing 
out the futility of his labour, the child retorted by observing 
how much more futile must be his efforts to explain that which 
it had pleased the Deity to make an inscrutable mystery. The 
picture illustrates the moment of the dialogue ; St. Catherine 
is represented behind the saint, and in the clouds above is a 
vision of the Holy Family attended by a choir of angels. 

Bequeathed by the Rev. \V. Holwell-Carr, 183 1. 



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No. 1 193. 



23 in. by I2f in. No. 1333. 



25 in. by 16 J in. 




No. 81. 



25 i in. by 32 in. 



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224 THE XATIOXAL GALLERY, 



TI8IO (BKNVhNTTo) DA OABOFALO {continued), 

170. The Holy Family, with Elizabeth and the young* St 
John, and two other Saints. 

Above is a vision of (kxI the Father surrounded by a choir 
of angels. The background is of the architectural character 
commonly found in pictures of the Ferrarese School : through 
the opening are seen the houses and spires of a town. 

Purchased, 1830. 



642. Christs Agony in the Garden. 

Above is an angel bearing the cup and cross ; the three 
Apostles are asleep in the foreground : a crowd with torches, 
etc., approaches from behind. Luke xxii. 41-43. (See Xo. ^6, 
vol. i., p. 7). 

Purchased, i860. 



671. The Madonna and Child enthroned under a Canopy. 

On the right are standing St. Francis and St. Anthony ; 
on the left, St. William in armour, with his right hand 
resting on a shield, and St. Clara holding a crucifi.x. The 
background represents an architectural interior. Figures small 
life-size. 

Originally the principal altar-piece of the church of San 
Giuglielmo at Ferrara. 

Purchased, 1861. 



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No. 170. 



30J in. by 23^ in. No. 642. 



19 in. by 14 in. 




No. 671. 



95 in. by 824 in. 



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22b THE XATIOXAL GALLERY. 



TU&A (CosiMo). 1420—1405. Fcrrarcsc SchaoL 



172. The Madonna and Child enthroned. 

I'lie Madonna, with the Child on her knee, is seated under 
an archway on a hiijh throne with a beautifully elaborated 
canopy behind. She is surrounded by six angels, playing on 
musical instruments ; two in the foreground are engaged on a 
portable keyed organ or regal ; one of whom is playing the 
keys and the other blowing the bellows. The whole picture 
is richly ornamented, in the style of the best Ferrarese works, 
with architectural and sculptural details. 

Purchased from the collection of Sir Charles Eastlake, 1867. 



773. St. Jerome in the Wilderness. 

The saint is kneeling, striking his chest with a stone ; 
behind, seen through a natural arch or rock, is a rocky 
landscape, with figures ; in the background is the lion with a 
thorn in his foot. 

Purchased Irom the collection of Sir Charles Eastlake, 1867. 



905. The Virgin Mary. 

The Virgin is seated in prayer, with an open book on her 
knees, on a sculptured seat in front of an open landscape. 
Purchased, 1874. 



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No. 773. 



39 J in. by 22 J in. 




No. 772. 



94 in. by 40 in. No. 905. 



I7i in. by 13 in. 



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228 THE XATIOXAL GALLERY. 

TUSCAN SCHOOLS. FLOREXTLXE : XV. CENTUBT. 

227. St. Jerome in the Desert kneeling before a Crucifix, in 
a distinct compartment of the picture. 

Standing at the sides, on the spectator's left are Saints 
Daniasus and Eusebius, on the right Saint Paola and her daughter 
Saint Eustochia ; kneehng below are Girolamo Rucellai and 
his son ; on each side above are three angels. In the predelhi 
beneath the principal pictures are, in four compartments, incidents 
from the lives of the saints represented above, who were the 
contemporaries of St. Jerome, with the arms of the Rucellai at 
each end. [The size of the predella — 6A in. high by 48 in. wide 
— does not allow of a reproduction being given in these pages, 
as the great reduction necessary would make it altogether un- 
intelligible.] On a plinth below the central compartment is in- 
scribed— S. Dammasi's, S. EusEBirs, S. Jeronimus, S. Paula, 
S. EusTOCirM. Five principal figures, half-life scale. 

Purchased, 1855. 

This picture, which is in its original frame, hitherto catalogued 
under the name of Cosimo Rosselli, is now attributed, with 
some degree of probability, to Botticini, an obscure painter who 
was a scholar of Andrea Verocchio, by whom, however, only 
one signed picture is known. 

296. The Virgin adoring* the Infant Christ, with an Angel 
standing on each side of her. 

The Virgin, very richly dressed, is seated with her hands 
raised together, as if in prayer, and is regarding the Child, Who 
is lying upon her knees, and holding a raspberry in one hand, 
some seeds of which He puts to His lips. Landscape background. 
Half-figures, nearly life-size. 

Purchased, 1857. 

This picture has all the characteristics of Andrea del 
Verocchio s best work, and is probably by that painter; but 
the small number of works that can with certainty be 
ascribed to him renders the attribution uncertain. 



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No. 227. 



60 in. by 68 in. 




No. 296. 



3;S in. by 27 j in. 



/* 



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2X0 THE XATfOXAL GALLERY. 

TUSCAN SCHOOLS. ELOREXTLXE: XV. CENTUBT Ko>ntinucd), 

586. The Madonna and Child enthroned, surrounded by Angrels 
and Saints. 

The Vir/^in is seated, with the Infant Christ standing on her 
knee. On either side, in separate compartments, are standinjj 
two saints, St. Auj^ustine and St. Xichohis of Tolentino on the 
left, St. Bartholomew and St. Monica on the right. Figures 
nearly h'fe-size. 

Purchased, 1857. 

The picture is probably by Zenobio Macchiavelli, a pupil 
of Benoz/o Goz/oli. 

781. The Angel Raphael accompanies Tobias on his journey 
into Media, to marry Sara, the daugfhter of Ragruel. 

The two, richly dressed, are walking together rapidly ; the 
angel is carrying a small box for the gall of the fish, to heal 
blindness, and he leads the young Tobias (Tobit v., vi.). Land- 
scape background, with a view of a river representing the Tigris. 

Purchased, ICS67. 

This picture, if not by Andrea del Verocchio, emanated from 
his workshop. 

1196. A Combat between Love and Chastity. 

Love as a youth, nude, with golden locks and variegated 
wings, armed with bow and quiver, springs forward from the 
left, and shoots his fiery arrows at Chastity, who, advancing on 
the other side, confidently defends herself with a jewelled shield 
of steel and gold, having in its boss a large diamond against 
which the weapons are splintered. With her right hand she 
swings on high a golden chain and fetters, as if to entangle 
her foe. The combat happens in a flowery mead, beyond 
which the landscape rises in high rolling ground, much wooded. 
On the right, beneath the hill, and. shadowed by trees, is a 
little lake on which swans are floating. On the left some 
tiled roofs are darkly visible amidst the foliage. The sky 
above is blue, but glowing below. 

Purchased, 1885. 



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No. 5S6. 



Centre, 64 in. by 28 in.; Sides, 56 in. by 22^ in. each. 




Nu. 7S1. 




5J in. by 25.^ in. No. ug6. 



16J in. by ij^ in. 



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2%2 TffK XATinXAL GALLERY, 

TUSCAN SCHOOLS. FLOREXTLXE : XV. CENTUBT (cuntinued). 

1199. The Madonna and Child, attended by the Infant St. 
John and an Angel. 

The \'iri^*n, clad in a crimson robe and dark fjjeen or black 
mantle bordered with gold, supports the Infant Christ, who 
stands iindrai)ed before her on a balcony. On the right the 
youthful St. John stands in an attitude of devotion. On the 
left is an angel crowned with a chaplet of roses and bearing a 
lily. (jold punched background, powdered at intervals with 
small seed- like projections. In the original frame forming part 
of the panel. 

Purchased, 1885. 

1301. Portrait of Girolamo Savonarola. 

Small, bust-length, showing the face in profile. He wejirs 
the robe and tonsure of his order. The face is clean shaven. 
Dark background. On the reverse of the panel is painted the 
martyrdom of Savonarola, who with two other monks is 
suspended from a stake over a huge fire. In the foreground 
are men bearing faggots. 

Presented by Dr. William Radford, 1890. 
S/EXESE (1) : XIV. OB EABLT XV. CENTUBT. 
1317. The Marriagre of the Virgfin. 

In the centre of a vaulted chapel, the High Priest, clad in 
his sacred robes, stands between St. Joseph and the Virgin, 
whose hands he joins. Immediately behind the Virgin are 
St. Anna and two other women. On the left are four male 
figures, one of whom (an unsuccessful suitor) breaks his staff, 
while that of Jcseph blossoms, and above its foliage hovers the 
Holy Spirit in the form of a dove. The figures are about seven 
inches high. 

Purchased, 1890. 

SIEXESE : LATE XV. CENTUBT. 

1108. The Virgfin enthroned, attended by Saints and other 
Figfures. 

Purchased, 1S81. 



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No. 1317. 



16] in. by Ij in. Xo. 1108. 



I7.\ in. hy I3.{ in. 



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234 THE XATIOXAL (iAI.LERY, 

UBEBTIiri (FRANCKsto), called XL BACCKIACCA. 14Q 1 — 1557. Flureutiue 
Schh'il. 

1218. The History of Joseph (Part I). 

In the centre is an (Kla^oniil building entered by a vaulted 
portico, under which Joseph stands, attended by his officers. 
On the left hand of the porch are seen Joseph's brethren 
bearing vases and presents. On the right they are departing, 
Benjamin richng on an ass hiden with sacks of corn. 

1219. The History of Joseph (i^irt II.). 

The companion picture to Xo. 12 18, the figures being some- 
what larger. On the left Joseph's brethren are seen returning 
and escorted by guards. Benjamin, with his hands tied behind 
him, is being pushed forward by an attendant in a turban, while 
Judah, following, pleads for him, and the brethren in front 
protest their innocence. On the right of the picture Joseph 
receives his brethren, who kneel or stand in supplicating attitudes. 

The two pictures described above are specially mentioned 
by Vasari in his notice of Ubertini (T/Za di Bastiano da S. 
Gallo). The original studies in black chalk are in the Louvre. 

Purchased from Lord Methuen, 1886. 
UCCELLO (Paoi.o). 1307 — 1475. Flfircnttite School. 

583. The Battle of Sant' Egridio, July 7, 1416, 

In which Carlo Malatesta, Lord of Rimini, and his nephew 
Galeazzo, were taken prisoners by Braccio di Montone. 

From the fragments of arms, etc., strewn upon the ground 
the battle has been already fought ; and the incident repre- 
sented appears to be an attempted rescue ; which supposition 
is strengthened by the fact that Malatesta is marching under 
a strange standard. Of the many aniied knights on horseback 
represented, only four are engaged, but all except Malatesta 
and his nephew have their faces concealed by their visors. The 
young Galeazzo, not yet a knight, carries his bassinet in his 
hand. The figure lying on the ground to the left is an illustra- 
tion of the painter's love of foreshortening. In the background 
is a hedge of roses mixed with pomegranate and orange trees 
and some hilly ground behind. Purchased, 1857. 



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No. 1 218. 



14 in. by 55.5 in. 




No. 1 219. 



14 in. ])y 55 J in. 




N.». 583. 



72 in. by 125 in. 



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2}b THE XATIOXAL GALLERY. 

UOOLIirO DA SIENA. 14/// century. Sicncsc School. 

1188. The Betrayal of Christ. 

In the centre of the composition the Saviour, clad in a 
crimson robe and dark green palhum, turns towards Judas, who 
^eets his Master with a kiss, while aniied soldiers surround 
and seem to threaten Him. To the left are some of the dis- 
ciples, amonfi^ whom Peter is seen striking off the ear of the 
High Priest's servant, Malchus. The background suggests a 
mountainous landscape, with trees of an archaic and conventional 
type set against a gold sky. The figures are about nine inches 
high. Purchased, 1885. 

1189. The Procession to Calvary. 

Our Lord, clad in a long crimson robe and bearing His 
Cross, is preceded by an executioner, who holds a rope attached 
to the Saviour's fieck. He is closely followed by armed soldiers 
and a crowd, who revile and buffet Him. To the left, in the 
rear of the procession, is the Virgin, attended by two of the 
Holy women. The figures are about ten inches high. Gold 
background. Purchased, 1885. 
UMBBIAN SCHOOL. 

282. The Glorification of the Virgrin. 

The Virgin, holding in her left hand a lily, is seated in clouds, 
with the Child standing upon her knee ; she is surrounded by 
cherubim, two of which are supporting a crown above her head ; 
two others are holding lighted candles. On a marble platfonii 
below are two infant angels, seated ; one playing on a viol, the 
other blowing a flageolet. In the landscape background are 
seen a church and distant mountains. 

Purchased, 1856. This picture, attributed by Messrs. Crowe 
and Cavalcaselle and other critics to Giov. Battista, of Faenza, 
called Bertucci, is no doubt by that painter. 
685. Portrait of a Lady. 

Head and shoulders in profile, with gold and pearl head- 
dress, and a rich sleeve of crimson velvet and gold. 

Purchased, 1857. 



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No. 1 1 88. 



I3i in. by 20} in. 




No. 585. 



i6i in. by 11^ in. No. 282. 



70 in. by 3ii in. 



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2}^ THE XATIOXAL GALLERY. 

UMBBI^H SCHOOL (continued). 

646. St. Catherine. 

Seen at three-quarter len^jth, clad in a green robe embroidered 
with gold thread and jewelled on the bodice, and a crimson 
mantle. Her left hand rests on a wheel (the emblem of her 
martyrdom), while her right lightly touches the hilt of a sword. 
By her side, half concealed by the wheel, is a youthful angel. 
At the back of the panel are heraldic and decorative paintings 
of apparently later date. Purchased, i860. 

647. St. Ursula. 

Seen at three-quarter length, clad in a crimson robe em- 
broidered on the chest with a border of gems and seed pearls. 
A green mantle falls from her shoulders. In her right hand 
she bears an arrow (the emblem of her martyrdom). At the 
back of the panel are heraldic and decorative paintings, prob- 
ably of a later date. Purchased, i860. 
702. The Madonna and Child. 

Surrounded by a glory of cherubim. 

Presented by her Majesty the Queen, in fulfilment of the 
wishes of H.R.H. I'rince Consort, 1863. 

912. The Story of Grlselda (from Boccaccio's *' Decameron "). 
The Marquis of Saluzzo, a sovereign prince, while out hunt- 
ing meets with Griselda, a peasant girl, and falls in love with 
her. He has her attired in fine clothes and marries her. The 
marriage is being celebrated in the centre of the picture. On 
the spectator's right is seen the humble home of Griselda's 
father, where she used to work and tend his sheep. 

913. The Story of Griselda. 

In the course of a few years her two children, a girl and a 
bov, are successively taken away from her, and are supposed 
to have died miserably. Then, about thirteen years after her 
marriage, she is (ostensibly) divorced (in the centre of the 
picture, where she is giving back the wedding ring), is stripped 
of her fine clothing, and sent back to her father's house just 
as poor as she was when she was taken from it, with the 
exception of her smock, in which she was permitted to depart. 



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No. 646. 33^ in. by 16 in. No. 647. 33. J in. by 16 in. No. 702. 



I7j in. by 12^ in. 




No. 912. 



24 in. by 6r in. 




No. 913. 



24 in. by 61 in. 



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240 THE NATIONAL GALLERY, 

UMBBIAN SCHOOL (continued). 

914. The Story of Griselda. 

A grand banquet is now prepared for the Marquis's second 
wedding, as he has given out. Griselda is recalled back to the 
castle to do menial work and set the house in order, so that 
the new wife may be suitably received. But instead of being 
presented to a new bride the patient woman is introduced to 
her own children, long supposed dead, who have been all this 
while tended in a distant city with the utmost care. Griselda 
is then affectionately embraced by her husband, publicly re- 
instated in her proper position, and presented to all the Court 
as an unparalleled example of conjugal obedience and patience. 

Purchased, 1874. 

1051. Our Lord, St. Thomas, and St. Anthony of Padua, the 
Donator kneeling to the rigrht. 

In the foreground, on a marble terrace, which is guarded 
behind by a low parapet, stands in the centre our Lord, dressed 
in a long crimson gown with full sleeves. He raises His right 
arm on high, so as to display through an opening in the gown 
the spear-wound in His side. On the left the incredulous 
Thomas presses forward to thrust his finger into the wound. 
On the right the Donator kneels in adoration, encouraged by 
his patron St. Anthony of Padua, who bears a stalk of lihes. 

This picture is probably by the same painter as Xo. 282, 
Giov. Battista, of Faenza, called Bertucci (p. 530). 

Bequeathed by the Misses Solly, 1879. 

1304. Marcus Curtius (?). 

A fair-haired youth, clad in a blue tunic embroidered with 
gold and a rose-coloured pallium, bestrides a prancing horse, 
and brandishes a dagger in his right hand. From a chasm in 
the ground below flames are issuing. 

Purchased, i860. 

By Signor Frizzoni this picture is considered to be of the 
Florentine School, and to be the work of Francesco Ubertini, 
called II Bacchiacca. 



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No. 914. 



No. 105 1 




24 in. by 61 in. 




41 J in. by 65^ in 



No. 1304. 9} in. by 7 J in. 



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242 TfiK XATinXAL GALLERY, 



YALDE8 LEAL (Ji'an •>h). i^>30 -I6f)i. Spanish Sc/ioo/, 



1291. The Assumption of the Virgin. 

Prominent at the base of the picture are the Donor and 
his mother the Donatrix to the right and left, seen at half- 
length and life-si/e. The Donor looks out of the picture, and 
points to the vision in which the Virgin, arrayed in a long 
white robe and a blue mantle, her golden hair streaming on her 
shoulders, her eyes cast upwards in ecstasy, is assumed into 
heaven, supported and surrounded by hosts of boy angels. 
Above to the left the Eternal, about to receive her, is faintly 
seen in the effulgence. 

Signed on a parchment scroll below. 

Purchased, 1889. 



YAlTirnCCI (PiKTKo), called FEBUGIITO. 1446—1523. Umbrian School, 



181. The Virgrin and Infant Christ, with St. John. 

Landscape background. Three small figures ; the Virgin holds 
the Infant Christ on a parapet, behind which St. John is seen at 
half-length. 

Petrus Peruginus is inscribed in gold on the hem of the 
mantle of the Virgin. 

Purchased, 184 1. 



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No. 1291. 





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26 J in. by 17A in, 



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244 TflE X ATI OX A L GALLERY. 

YAWUCCI (PiKTKo), called FEBUGIHO {cunhnued), 

288. The Virgrin adoringr the Infant Christ. 

Three principal portions of an altar-piece. The centre picture 
represents the Vir/^in adoring: the Infant, Who is presented to her 
by an an^^el ; three distant angels, standing on clouds and singing, 
appear above. In the compartment on the left of the spectator 
is represented the Archangel Michael ; in that on the right, the 
Archangel Raphael with the young Tobias. 

This picture was painted by Penigino, as recorded by Vasari, 
for the Certosa, or Carthusian convent near Pavia. The entire 
altar-piece consisted of six compartments. Above the three 
portions already described were -in the centre, a figure of the 
Almighty, which is still in its original place in the Certosa ; on 
the sides, the subject of the Annunciation, the Angel on the 
left of the spectator, the Virgin on the right ; all these were 
half figures. The two last-named have disappeared ; but their 
places, as well as the places of the three portions now in this 
collection, have long been supplied by copies. 

The left compartment is inscribed below Petrvs Pervsinvs 

PiNXIT. 

Purchased, 1856. 



1075. The Vii^in and Child, with St. Jerome and St. Francis. 

The Virgin, bearing the Infant Christ in her arms, stands 
on a flat pedestal, surrounded by a low stone parapet. On her 
right is St. Jerome, on her left St. Francis, with the stigmata 
on his hands and feet. Above, two seraphim suspend a crown 
over the head of the Virgin. 

Purchased, 1879. 



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No. 28:s. 



.>iUrc, 50 in. 1'}- J5,'. in.; Side^, 50 in. liy 22.J in. each. 




No. 1075. 



72 in. by 59 in. 



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:4^> THE XATfOXAL (;ALLIiR\\ 

YAVirnCCI (PiMKo), called FEBUGIHO {continued), 

1441. The Adoration of the Shepherds. 

In the centre the Infant Christ lies sujiported by a cushion 
on a purple drapery on the open ^ound. Behind is a shed 
surrounded by a fence within whicli cattle are lying. On the 
\'\^\\i and lelt kneel the Holy Mother and St. Joseph, and 
behind them the Shepherds approach with offerings. The back- 
ground is an open hilly landscape with a few scattered trees, 
and an angel is seen on each side in the sky. 

This fresco was removed from the Church at Fontiguano' 
in the year 184;, and is said to be the last work of the painter. 

Lent from the South Kensington Museum, 1895. 

YAHHUCCI, As( KMiJKD to. 

1431. The Baptism of our Lord. 

St. John the Baptist in the centre of the picture is pouring 
water from a cup on the head of the Saviour, Who stands with 
His feet in the shallow river. Two angels kneel to the right 
and two to the left ; and behind them again stand four of the 
disciples, two on each side of the picture. 

Purchased, 18*)^. 

YABOTARI (Ai.KSSANimo), called FADOVANIHO. 15QO— 1650. Venetian 

Sclvtul. 

70. Cornelia and her Children. 

Cornelia, daughter of the elder Scipio Africanus, and *' mother 
of the (jracchi," when asked by a Campanian lady, who was 
ostentatious of her jewels, to show her her ornaments, pointed 
to her two sons, Tiberius and Caius, just then returning from 
school, and said, ** These are my ornaments." Composition of 
four figures, of the natural size. 

Bequeathed by Lieut. -Col. Ollney, 1837. 

933. Boy with a Bird. 

He is lying on the ground caressing the bird, which seems 
to be a white dove. 

Wynn Ellis bequest, 1876. 



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No. 1441 



No. I43>. 




9Si m. t.y 233:* in. 




I2| in. Ijy 23I in. 




No. 70. 



56 in. by 48 in. No. 933. 



14 in. by 19 in. 



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24^ THE XATIOXAL GALLERY. 



YECELLIO (I'lziANo), called TITIAH. U77 - I57'>- Venctiau Sch^hl, 

4. A Holy Family. 

The \'ir^n'ii and Child und St. Joseph are grouped in an open 
landsrape; in tlie foreirroiind to the riirht a sliepherd is kneeh'ng 
in adoration. 

Bequeathed by tlie Rev. \V. Hohvell-Carr, 183 1. 



34. Venus and Adonis. 

Sometimes described as Cephalus and Trocris ; it was known 
under this title when in the Colonna Pahice at Rome. Venus 
withholds Adonis fnmi * the chase, while the young huntsman, 
holding his hounds in a leash with one hand and his spear with 
the other, is making an elTcrt to free himself from the embrace 
of the enamoured goddess ; Cupid is seen asleep in the back- 
ground. 

Titian painteA several repetitions of this picture, with sh'ght 
variations. 

Purchased, Angerslein collection, 1824. 



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No. 34- 



69 ill. by 74 in. 



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.\=^o THE XATIOXAL (LiLLERY, 

VECELLIO ('I'l/iANo), called TITIAIT (iofitinucif). 

35. Bacchus and Ariadne. 

Ariadne, daughter of Minos, king of Crete, deserted by 
Theseus on the island of Xaxos, is discovered by Bacchus when 
retuniing with a train of nymphs, fauns, and satyrs from a 
sacrifice. The gcxl no sooner sees the hapless princess than he 
becomes enamoured of lier. Ariadne is on the left ; Bacchus is 
represented in the centre of the picture leaping from his 
chariot ; to the right, in the boisterous train of the god, is seen 
tlie drunken Silenus riding on an ass. Above Ariadne is the 
constellation of the golden crown with which Bacchus presented 
her on \\^x becoming his bride. The background is a glowing 
landscape, with a view of the sea, on which the departing ship 
of Theseus is seen in the distance. Composition of ten figures. 
Signed TICIAXVS • F. 

Purchased, i8j6. 

This picture is perhaps Titian's masterpiece as a composition 
of figures and landscape, and in its combination of all the quali- 
ties which go to make a great work of art is possibly the finest 
picture in the world. It forms one of a series of four pictures, 
of which two are in the Museo del Prado at Madrid, and the 
fourth at present in a private collection in luigland. 

270. Christ appearing* to Mary Magrdalene after His Resur- 
rection. 

Commonly called ** XoiJ mk tanc;ere," from the words of 
the Latin Vulgate. 

*' Jesus saitli unto iicr, 1\)ucli \\w not; for I am not yet ascended to my 
I'atlur." John xx. 17. 

The Magdalene is represented kneeling before Christ, Who is 
partially clad in white drapery and with a hoe in His hand. 
The scene is a landscape, in which a solitary tree in the middle 
ground is a conspicuous object ; in the background, on a hill to 
the spectator's right, is a group of fann buildings; on the left 
is a view of a distant country. 

Bequeathed by Mr. Rogers, 1855. 



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No. 270. 



42^ in. by 35| in. 



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THE X.IT/OX.IL (iAI.LERW 



VECELLIO (Ti/iANo), c.illcil TITIAN ('"ntinuiui). 



635. The Madonna and Child, with St. John the Baptist and 
St. Catherine embracing* the Divine Infant. 

. The bcautilul t^noiip ii^ relieved a<^^ainst a ina^nilieent lancl- 
Mape with a ^.nove of trees on tlie left, and deep blue 
mountains and sky behind ; in the distance is seen the an<:fel 
a]^pearin<^^ to the Shepherds. Sit^med TJCJAN. 

Purchased, icS6o. 

An inferior rej^lica of this exquisite masterpiece is in the 
Accademia at Venice. 



VECELLIO, SCHOOL OF. 



3. A Concert, or a Maestro di Cappella grivingr a Music Lesson. 

Five lit^ures, half-len^^th, of the natural si/e. 
Purchased, An;^^erstein collection, 1824. 



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38 in. by 49 ^^• 



No. 3. 



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254 THE X ATI OX A L GALLERY. 



YECELLIO, SCHOOL OF (continued). 



32. The Rape of Ganymede. 

(jiinyinede, son of Tros, one of the early kings of Troy, was 
carried ofif by an eagle to Olympus to be the cup-bearer of Jupiter. 
The beautiful youth, represented naked, with a bow in his hand, 
is being carried upwards by the eagle ; a flowing red-coloured 
scarf gives eft'ect and lightness to the composition. Figure ol 
the natural size. 

Purchased, Angerstein collection, 1824. 



224. The Tribute Money. 

'' Tell us therefore, What thinkest thou ? Is it lawful to give tribute 
unto Ca.'sar, or not ? 

" And he saith unto them. Whose is this image and superscription ? 
They say unto him, Casar's. Then saith he unto them, Render therefore 
unto Caesar the things which are Caesar's ; and unto God the things that 
are God's." — Matthew xxii. 17-21. 

Three figures, half-length. 
Purchased, 1852. 



VELAZQUEZ (Don Dikgo dk Siiaa y). 1 fqg — 1660. Spanish School. 

197. Philip IV. of Spain huntingr the Wild Boar. 

The hunt is taking place in an enclosed piece of ground in 
the neighbourhood of the Pardo, near Madrid. In the front are 
many spectators ; hills and foliage, forming a very characteristic 
landscape, occupy the background. Numerous small figures. 

Purchased, 1846. 



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No. 224. 48 in. by 40^ in. 



No. 32, 



68 in. each way. 




No. 197. 



74 in. by 123 in. 



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256 TflK XAT/OXAL GALLERY, 

VELAZQUEZ (IX)n Oncio dk Silva y) {cmitinncd). 

745. Philip IV., King of Spain. 

The portrait represents the kin^ at a more advanced 'd^^Q 
than in Xo. 1129. He is dressed in a bhick and ^old doublet, 
and the head is seen nearly in full face. 

Purchased, 1865. 



1129. Poptpait of Philip IV., King of Spain. 

VuW lenj^th, life-size, three-quarter face turned to the right. 
Dressed in a doublet and trunk hose of brown stuff brocaded 
with silver, and a black cloak, white sleeves and brown gloves. 
A stiff cambric collar encircles his throat, and from a chain 
round his neck is suspended the Order of the Golden Fleece. 
In his right hand he holds a letter, on which the painter's name 
is inscribed. His left hand rests on the hilt of his sword. A 
grey hat trinmied with feathers lies on a table to the right. 
In the background is a crimson curtain. 

Purchased, Hamilton Palace collection, 1882. 



1148. Chpist at the Column. 

The Saviour, who wears only a hip-cloth, reclines on the 
ground with outstretched arms, bound together at the wrists 
with cord, which is attached to a column on the left. Towards 
the right kneels a child in an attitude of prayer, attended by 
an angel. Dark background. 

Presented by the Right Hon. Sir John Savile, G.C.B. (after- 
wards Lord Savile), 1883. 



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No. 745- 



No. 1129. 



78 in. by 44 "i- 




63! in. by So in. 



No. 1 148. 



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2?8 THE XAJ/OXAL GALLERY. 



VELAZQUEZ (Don Dikco dk Sua a \ ) {coti tinned). 



1315. Portrait of the Spanish Admiral Pulido-Pareja. 

Life-si/.c, lull IcMii^li, tlirce-(iiiarter face. The Admiral is clad 
in a black velvet doublet, with full breeches of the same material 
-black stockini^^s and shoes. The sleeves of his under-coat are 
of silver tissue. His hair, which is black and bushy, falls round 
his head upon an ample collar of white lace. His waist is 
encircled by a crimson sash, ed^^ed with ^old thread. 

Both hands are ijloved. A marshal's halon is in his right 
hand ; in his left he holds a broad-brimmed black s>ombrcro. 
Warm f^rey backirround. 

Signed and dated, 1639. 

Purchased, Longford Castle collection, 1890. 

Sefior A. de Bernete, in his work *^ Velazquez" (Paris, 1898), 
gives reasons for considering this picture to be wrongly attributed 
to that painter, in spite of the very definite history given of it 
by Palomino. Senor de Bernete is of opinion that it is by 
J. B. del Mazo, the pupil of Velazquez. 



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No. I3!5, 



8l in. by 44 in. 



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2U0 THE XATIOXAL GALLERY, 

VELAZQUEZ (Hon Dikcio dk Sua a v) {chutinncii). 

1375. Christ in the House of Martha. 

Towards the lelt of the picture a youn<T kitchen-maid, whose 
tii^ure is seen at half-len|::^li, stands at a table using a pestle and 
mortar, while an elderly woman standing close behind touches 
her on the shoulder. On the table are a dish of uncooked fish, 
a plate of eggs, and a water-jug. On the right-hand of the 
background, through a window or square aperture in the wall, 
is seen an inner chamber with the Saviour, seated in a chair, 
addressing Martha, who stands, and Mary, who kneels before 
Him. 

Bequeathed by the Right Hon. Sir William H. Gregor}', 1892. 

This is a painting of Velazquez's earliest time. 



VELAZQUEZ (Don Dikch) dk Suaa v), Attkibutko to. 

741. A Dead Warrior. 

Known as "El Orlando Milrto," or Roland dead. The 
Paladin Orlando was killed at the Battle of Roncesvalles ; in- 
vulnerable to the sword, he was sciueezed to death by Bernardo 
del Carpio. 

Purchased, Pourtales collection, 1865. 

1376. Sketch of a Duel in the Prado, near Madrid. 

A landscape scene, with figures. In the foreground four 
cavaliers, accompanied by an attendant with a ponj-, seem to 
watch a horseman, who gallops from them towards their oppo- 
nents—grouped in the middle distance — over an undulating plain 
thinly dotted with trees. Beyond, a hilly country reveals itself, 
under a grey and gloomy sky. 

The figures in the foreground are a pasticcio from the 
group in a larger picture by Velazquez— viz. "The Boar Hunt" 
(Xo. 197 in this Catalogue). 

Bequeathed by the Right Hon. Sir William H. Gregor}', 1892. 



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■ "-^ pwBiiii -<v^*i-^«q^^BVBr-;a«K:^v^K^^'Vinil 



'^'mmm^if^^^^^^^^^^^^m^w^^^^^^m^ 




No. 1375. 



No. 741 



23] in. by 40.I in. 




41 in. by 65 in. 




No. 1376. 



34.} in. by 48^ in. 



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262 THE XATIOXAL (.AIJ.ERY, 

VELAZQUEZ, A rrKiitrTi-.n to [cti tinned). 

1434. A Betrothal. 

At a tiible on an elevated platform is seated a cavalier, with 
loni; liair and an atjuiline nose, dressed in dark brown cloth, and 
wearinj; a mantle on which is the cross of St. laj^o. He holds 
a pen in his rij^^ht hand, with which he is evidently about to 
write on a jxijier lyinj^ on a desk before him. His left hand 
rests on the shoulder of a child ;L^aily dressed in a scarlet robe 
adorned with bows of ribbon and lace ruffles. She wears a 
necklace of ])earls, and holds a lace handkerchief in her left 
hand, while with her right she holds up a rose to some per- 
sonage in front of her not in the picture. Behind her, on the 
extreme right, a duenna or attendant seems to be presenting 
her to the same unseen personage, and looks towards the gentle- 
man seated at the table, who has his head turned to her as if 
addressing her. To the left, and behind the table, are two young 
men also looking out towards the unseen person. Below, in 
front of the j^latform, the upper part of two figures of the size 
of life are seen. The one on the right, in a black dress, and 
with large spectacles, appears to be a portrait of the poet 
Ouevedo. He points with his right hand to the scene being 
enacted above. From behind him springs a lap-dog to bark at 
a negro, who is advancing from the left bearing a basket of 
fruit. The whole picture is very broadly, and most of it ver}' 
slightly, painted, being hardly more than a bold sketch, and it 
is apparently only a portion of a larger composition. It seems 
certain that the scene represents a betrothal. As, however, the 
action is taking place on a stage, it may represent a scene 
from a play. 

Presented by Lord Savile, 1895. 

VELDE (AuKiAKN VAX i)K). 1635 (?)— 1672. Dntch Sc/iool. 

867. The Farm Cottagre. 

Signed A, \\ Vclde, 1658. 
Purchased, Peel collection, 1871. 



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No. 1434. 



79 in. by 71] in. 




No. S67. 



20 in. by 24^ in. 



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204 THE XATIOXAL GALLERY. 

VELDE (Ai)KiAKN VAN 1)1) {cf,fitiintni), 

868, The Ford. 

A man and two women leadinij and drivin<:j some cattle and 
sheep across a stream ; one woman is carryini^^ a lamb in her 
arms. In tlie middle-j^Tound tlie stem of a lar<je oak, witli 
thick clusters of foliage in the backi^round. 

Purchased, Peel collection, 1871. 

860. Frost Scene. 

A frozen river, with many figures ; some in sledges, others 
skating on the ice, some playing a game with balls — hockey. 
A refreshment booth on the left. Signed A, T. Vvldi\f, 1668. 

Purchased, Peel collection, 1871. 

082. A Forest Scene. 

In a cleared spot among the trees are some sheep pasturing ; 
the shepherd and his dog are asleep on the left. Signed A. V. 
Vki.oe, /. 1658. 

Wynn Ellis bequest, 1876. 

083. A Bay Horse. 

The horse stands in the centre ; a white cow is lying 
on the grass, and on the right is a goat ; sheep in the 
background, and water issuing from a conduit by the side of 
some buildings on the left. Signed A. V. Velde, 1663. 

Wynn Ellis bequest, 1876. 

084. Landscape with Cattle. 

Two calves and a sheep ; a bay horse and a woman at a 
cottage door in the background ; hilly country. 
Wynn Ellis bequest, 1876. 



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m 




i'^ll. OlJOk 



13 in. by 142 in. N\<. 982. 



I i ill. ny 10 in. 




No. 869. 




liA in. by 14 in. 




Nil. ybj. 



12 Ml. Ity 14 j ill. No. 9S4. 



94 in. by 11} in. 



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2U> THE XAT/OX.IL (GALLERY, 



VELDE (Ai)Ui.\i:\ van di) {rrnitiimrd). 



1348. Landscape, with a Goat and Kid. 



The animals stand toij^ctlier in a pathway skiitinfj a thickly- 
wooded copse. Twilight efleil. 

Purchased, in ICS91, from Mr. Edward Habich of Cassel. 



VELDE (Jan Jansz van ni:). 1622 — M)42. I) utcli School. 

1255. A Study of Still Life. 

A Venetian ^i^reen fjlass goblet, with a bossed stem, half 
filled with Rhenish wine ; a cut lemon, some oysters, and a 
knife, all on the corner of a table. Sitrned on the vertical edge 
of the table y^r;/ van dc Vilde fee, 1656. 

Presented by Lord Savile, (j.C.B., 1888. 



VELDE (WrLLKM van dk) thk YorNCKK. 1633 — 1707. Dutch School 

140. A Calm at Sea« 

Signed W. V. V. 

Bequeathed by Charles Long (Lord Farnborough), 1838. 

150. A Fresh Gale at Sea. 

Signed \V. V. V. 

Bequeathed by Charles Long (Lord Farnborough), 1838. 



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No. 1348. 



15 J in. by 19} in. 




No. 1255. 15} in. by 12 J in. No. 149. 



8 in. by 1 1 in. 




No. 150. 



9 in. by 13 in. 



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2bH THE XATIOXAL GALLERY. 



VSLDE (WiLM M \AN DK) TMK VoiNliKK (i'imtiuucd). 



870. Shipping in a Calm. 



A do^k'.^^er, witli lian^iii^ sail in the fore^ound, behind which 
is a frigate ; other vessels in the oiling. Signed IT. V. Vcldc, 
1657. 

Purchased, reel collection, 1871. 



871. Coast Scene: a Calm. 

Two doggers lying in a harbour, low water ; men bathing 
from a boat, and other figures in the harbour. Several ships 
in the distance. Signed IT. V. Vcldc\ 1661. 

Purchased, Peel collection, 1871. 



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No. S70. 



21 in. by 24.^ in. 




Nu. 871. 



25 in. by 28 in. 



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270 THE XATIOXAL GALLERY, 



VELDE (WlI.LKM VAN Dl ) THK VorXOKK {coNtlUltCdi), 



872. Shipping off the Coast. 

A sli.i,^ht breeze ; two lisliin^^ boats in tlie foreground, a 
iVii^^ate lirin^ a i^fun in tlie niid(lIe-/^n*ound, and some sand hills 
in the distance. 

rurchased, Peel collection, \^j\. 



873. The Coast of Scheveningen. 

Sniidl breakers on the shore ; a villa^i^e on the heights to 
the right, fishermen drying their nets on the beach, several 
fishing boats coming in ; on the right on the sands in the 
foreground a two-horse carriage, near which are standing a lady 
and three gentlemen. The figures are by Adrian van de Velde. 

Turchased, Peel collection, 1871. 



874. A Calm at Sea. 

A Dutch frigate, and a small English cutter or gunboat, 
with other vessels, becalmed. Small boats communicating with 
the ships. 

Purchased, Peel collection, 1871. 



875. A light Breeze. 

Two doggers in the foreground, behind one of which is seen 
a Dutch frigate ; other vessels in the distance. 
Purchased, Peel collection, 1871. 



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No. 872. 



i6i in. l)y 22.I in. 




No. 873. 



17 i in. by 22 J in. 




No. 874. 



9 in. by lo^ in. No. 875. 



9 J in. by 11 J in. 



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THE XATIOXAL GALLERY, 



VELDE (WiLi.KM \ AN I)k) thk YorxcKK {c(nitiutied). 



876. A Gale. 

In tlie fore^mnind is a small fishing smack with the sea 
breaking over its bow ; on the left in the micldle-^ound a 
friirate is approachini^, while a second fri^rate is lying at anchor 
in the distance ; a dark cloudy sky. Signed W. V. V. 

Turchased, Peel collection, 1871. 



977. Sea Piece. 

Ships lying at anchor in the distance and middle-ground ; 
in the foreground two sailing boats and a buoy. Signed V. V. 
on the buoy. 

Wynn Ellis bequest, 1876. 



978. River Scene. 

Dutch shipping, vessels saluting. A state barge in the 
centre, trumpeters sounding a salute on either side in other 
vessels. 

Wynn Ellis bequest, 1876. 



979. Shipping. 

A stiff breeze. Various vessels riding out the gale. 
Wynn Ellis bequest, 1876. 



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No. 876. 



No. 977. 



I2i in. by 15 J in. 




8 in. by ii) in. No. 979. 



13 in. by 14 in. 









i 


t I \ 


^ 1 




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S££fly^ ^ jk -^ 


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No. 978. 



35i in. by 49 in. 



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274 THE XAT/OXAL GALLERY. 

VELDE (Whj.km van dk) thk YorxdKR (cotih'tincd), 

980. Dutch Ships of War saluting. 

A jetty and boats in the foreiiTound to the right. Signed 
W. V. V. 

Wynn EHis bequest, 1876. 



981. A Storm at Sea. 

Three vessels with their sails furled tossed on the waves of 
a stormy sea ; two in the foreground and one in the distance. 
Dark cloudy sky. Signed on a floating spar, W. VANDEr- 
Veldk, Londio. 1673. 

Wynn Kllis bequest, 1876. 



VENETIAN SCHOOL : XV. XVI. CENTURY. 

595. Portrait Of a Lady. 

Bust, life-size ; looking to right ; in a low green dress with 
full sleeves. 

Purchased, 1858. 



1121. Portrait of a Youngr Man. 

Bust-length, half life-size, full face. A youth, with bushy 
fair hair covering the forehead and falling round the head and 
neck. His features and expression are of a feminine t}T>e ; 
the complexion pale, the eyes blue. He wears a black doublet, 
and cap of the same colour. Background of blue sky, flecked 
with small clouds. 

Purchased, Hamilton Palace collection, 1882. 



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No. 980. 



16J in. by 19^ in. 




No. 981. 




29 in. by 37 in. 




No. 595. 



28J in. by 22 in. No. 1121. 



I if in. by 9^^ in. 



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21b THE NATIONAL GALLERY. 

VENETIAN SCHOOL: XV.~XVI. CENTURY {cojiiinued). 

1377. The Adoration of the Shepherds. 

In a lolty pordi li^i^lited by arched windows, disclosing in 
the rear steps ascending to a loggia, tlie Infant Christ lies 
naked on a linen cloth laid over a manger. On the left kneel 
the \*irgin and St. Joseph, on the right two shepherds in 
adoration. Behind the Virgin the child St. John caresses a 
lamb. In the opposite corner of the foreground is a basket 
containing two pigeons. In the background, on the right hand, 
is a hilly landscape, with trees, a river, pasture land and build- 
ings. In the middle distance the Magi, mounted on horseback, 
approach with their retinue. 

Bequeathed by the Right Hon. Sir William H. Gregory, 1892. 



1489. Portrait of a Venetian Senator. 

Lent from the South Kensington Museum, 1895. 



1490. Portrait of a Venetian Senator. 

Lent from the South Kensington Museum, 1895. 



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No. 1377. 



43i in- W 61 i in. 





No. 14S9. 



42 J in. by 27 \ '»• No- I49<^. 



35.1 '"• '>y ^4>n. 



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27.S THE XATIOXAL GALLERY, 

VENEZIANO (Raktoi.ommko). First luilf of \bth century. Vciicttaii School 

287. Portrait of a Young Man. 

Lodovico Martinengo, in a red mantle and cap, the latter 
with a white ostrich feather in it, the costume of the Com- 
pa<rnia della Calza ; in the backpround is a green curtain. The 
])icture is inscribed on a white scroll — Lroov'icrM Marti. 
.KTATis sr.K Anno XXVI. Bartolom. Vknetis faciebat 
MDXXX. XVI. ziN. Half-fi^ire, life-size. 

Purchased, in Venice, of the heir of the Conte Girolamo 
Martinenj^o, 1855. 

VENUSTI (Makhkij.o). i 515 (?) —1580 (?). Florcutiuc School. 

1194. Christ drivingr out the Traders from the Temple. 

The ^oups of figures in this composition are from designs 
by Michelane^elo. The architectural backojound with its twisted 
columns is probably of Marcello's own invention. 

Purchased, 1886. 

1227. The Vii^in, the Child Christ (sleeping:)* St. Joseph, and 
the youthful St. John the Baptist. 

A well known composition by Michelanfj^elo, known as 
" II Silen/io." In the centre the Virgin, facing the spectator, 
is seated on a bench, watching the slumber oi the Boy Saviour. 
Behind, on the left, is the young Baptist, and on the right 
St. Joseph. A green curtain at the back relieves the whole group. 

Purchased, 1887. 

VEBMEE& (Jan), or VAN DEB MEEB ok DELFT. 1632— 1675. Dutch 
School. 

1383. A Young Lady at a Spinet. 

In a room paved with scjuares of white and black marble 
a young lady, wearing a white satin dress with full sleeves and 
a bodice of blue silk, stands before a spinet. On the wall behind 
her hangs in a black frame a painting of Cupid, with a bow 
in one hand, and holding up a card or letter with the other. 



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No. 287 



41} in. by 2^ in. No. 1 194. 



J3j in. by 15^ in. 





No. 1227. 16J in. by 10^ in. No. 1383. 



20 in. by 18 in. 



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2So THE XATIOXAL (.ALLKRY. 

VEBMEEB (JAN), <»r YAH DER MEEB ov DELFT {aniimuaiy 

Near this picture is a smaller one, a landsc^ape enclosed in a 
i^ilt frame. On the rifjht of the foreground is a chair covered 
with blue velvet. The same lady appears se:ited at the same 
spinet in a picture which was exhibited at the Winter Exhibition 
of the Royal Academy, 1893 4- 

Sitrned, in a monoi^jammatic form, I. V. Meer. 

Purchased, i8g2. 

▼EBNET (CiAiDK j()sKi»n). 1 7 14 — ijSf). French SclvxtL 

236. Castle of SantAngfelo, Rome. 

With the Brid<^e of Sant'Angelo and neighbouring buildings, 
and a fete on the Tiber, representing tilting in boats, and other 
festivities. Numerous small figures. 

Signed JosKrH Vkknet . f . Ronue . 1750. 

Tresented by Lady Simpkins(m, 1853. 

1057. A Landscape. 

View of a river winding between rocky and partially wooded 
heights. In the foreground is a group of figures in repose or 
engaged in fishing. Sky luminous and crossed by light fleecy 
clouds. 

Bequeathed by the late Mr. John Henderson, 1879. 

1393. View of a Mediterranean Seaport. 

On the right of the picture is a stone quay flanked by the 
fortified wall of a rampart, at the foot of which a party of 
Turkish or Albanian merchants are smoking, while a gentleman 
in the costume of the last century escorts two ladies towards 
a pleasure-boat, which has just been run ashore to receive them. 
Beyond, on the left, a frigate, flying the Dutch tricolour flag 
at her stern, rides at anchor in still water, surrounded by boats. 
Sunset efl'ect. 

Presented bv Mrs. Tarratt, 1893. 



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No. 2 56. 



No. 1057. 



39 in. l)y 55J in. 





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' 4# 




^^E -^^ 




^ 


^^HRf^^H 




1 



23i in. ])y 29 in. 




No. 1393. 



3S in. by 52} in. 



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2S2 THE XATIOXAL GALLERY. 

VEBOVESE SCHOOL: XV. CENTURY. 

1135. The Legend of Trajan and the Widow (I). 

On the left of the picture, the Emperor Trajan, crowned 
and mounted on a horse, rides forth from the gates of a city 
accompanied by an armed retinue. He is accosted by the 
widow, wlu), pointing to the dead body of her son lying in 
the road, demands justice from the Emperor. On the right a 
mounted soldier turns round on liis horse to look at the corpse. 
In the background are buildings. 

Purchased, 1883. 

1136. The Legrend of Trajan and the Widow (IL. 
Companion picture to the preceding one. On the right of 

an open courtyard, Trajan, seated on a high marble throne, 
and bearing a sceptre, delivers judgment to the widow, who 
stands before him surrounded by guards. 
Purchased, 1883. 

VICTORS (Jan), ibjo — 1072. Dutch Sch,ftL 

1312. The Villagre Cobbler. 

In the centre of the picture a village housewife (or waiting 
woman ?) is giving instructions about the repair of her shoes 
to a cobbler, who sits at his stall. Behind him, to the left, a 
man is selling turnips to an old woman. 

Signed Jax Victors. 

Purchased, 1890. 

VIGEE LE BBUN (Mmk. Elizabkth Loi'isk). 1755 — 1842. French Schorji, 
1653. Portrait of the Artist. 

She is represented in a straw hat with flowers and an 
ostrich plume, with a palette and brushes in her hand, the 
face more than half in shadow with a warm reflected light. 

Purchased, 1897. 

This picture was painted in emulation of the celebrated 
Chapcau de Faille of Rubens (also in the National Gallery), 
which Mme. Le Brun had seen and admired at Antwerp in 
the year 1782. 



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No. 1 135. 




13.1 in. by I2.\ in. No. 11 36. 



No. I7I2 



13I in. by 12J in. 




24 in. by 30 in. 



No. 1633. 



37I in. by 273 in. 



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2^4 THE XAT/OXAL GALLERY, 

▼INCI (Lkonakik) DA). 1452 — 151Q. Fhrcntiue School. 

1093. The Virgrin of the Rocks. 

A flowery spot amidst dark basaltic rocks. Through a chasm 
in these are seen in the distance k)fty rocks of similar forma- 
tion, between which a broad river flows. In the foreground the 
Virgin Mary kneels facing tlie spectator, and lays her right 
hand affectionately on the shoulder of the little St. John, as if 
in sympathy with his adoration of the Infant Saviour, Who, 
seated on the ground supported by an angel and regarding 
St. John, makes the sign of benediction. 

This picture nu'nutely corresponds to the description given 
by Lomazzo of a painting by Leonardo, which, in the writer's 
time, was in the chapel of the Conception, church of S. Francesco, 
Milan. Lomazzo highly praises this as a remarkable example of 
Leonardo's art. It remained in the chapel until some period 
between 1751 and 1787. In the latter year it is stated by 
Bianconi to be no longer there, although two panels, between 
which it had hung, each containing an angel playing on a musical 
instrument, were still /;/ situ, Xow, in or about 1777, the picture 
in this gallery was brought to England by Gavin Hamilton, and 
sold by him to the Marquis of Lansdowne, for whom, and for 
other collectors, Hamilton had long acted in Italy as purxeyor 
of works of art. At a much later period it passed, by exchange, 
from the Marquis's collection into that of the Earl of Suffolk 
at Charlton Park. The several remarkable coincidences cited 
above seem suflicient to establish the identity of the Charlton 
picture with that described by Lomazzo. 

The well known " \'ierge aux Rochers " in the Lou\Te, 
though similar in general composition to the Charlton picture, 
presents, however, among numerous minor chfferences, one im- 
portant and essential variation. In it the angel looks out to- 
wards the spectator, and points with his right hand to the 
infant Baptist. In this peculiarity the Louvre example differs 
from Lomazzo's description. 

It should be observed here that in our picture the ill-drawn 



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No 1093. 



72i in. by 45J in. 



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286 TffE NATIONAL GALLERY. 

yilfCI (Lkonakikj da) {((jftthiued). 

gilt nimbi over tlie heads of the three principal figures, as well 
as the clumsy reed cross whicli rests on St. John's shoulder, 
are additions of a comparatively late period, probably of the 
1 7th century ; the right hand of the Virgin is also coarsely 
repainted. 

Purchased from the Earl of Suffolk and Berkshire, 1880. 

There has been considerable controversy of recent years 
concerning the correctness of the attribution of this picture to 
Leonardo, but nothing has been said which can shake the beliet 
that this supreme masterpiece is the original picture painted for 
the Altar of the Conception, in the church of S. Francesco, and 
that, with the exception of some unimportant additions and 
the alterations already referred to, it is the work of Leonardo's 
own hand. 

yiVj^aiH'I (Antonio). 15/// century. Venetian School. 

768. Saints Peter and Jerome. 

Full length figures about lialf the scale of life ; inscribed on 
pedestal, Sanctus Petri s Sanctis Gp:ronimus. Purchased, 
Kastlake collection, 1867. 
1284. St. Francis and St. Mark. 

St. Francis wears the habit of his order, and St. Mark is clad 
in a crimson tunic and blue mantle (both bordered with gold 
embroidery). Above the screen rose bushes appear, relieved 
upon a dark background. 

The companicm picture to Xo. 768. Purchased, 1889. 

VIVARINI (Baktoi.ommko). 15M century. Venetian School. 

284. The Virgrin, with the Child in her Arms. 

The Child sits upon a cushion, and behind are St. Paul 
holding a sword and St. Jerome with a book in his hands. 
Figures life-size, gold ground. Inscribed below — Opus Barto- 
LOMEi ViVARiNi DE MuRANO. Purchased, 1855. 

VLIET (WiLLEM VAN dkk). 1 584— 1 642. Dutch School. 
1168. Portrait of a Jesuit. 

A life-size seated figure, dressed in a black cassock and 



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No. 768. 54 in. by 17 J in. 





No. 1284. 54 in. by 17^ in. 




No. 284. 



37 in. by 25 in. 



No. 1 168. 



A4h in- by 33.J in. 



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28S THE XATIOXAL GALLERY. 

VLIET (Wii.i.KM \AN DKK) (i nil till ucd). 

frown, witli a white collar. The lace nearly full ; the hair ot 
the head dark and cropped ; moustache and pointed beard of 
reddish brown. Dark grey backp^round. Signed in the right- 
hand lower corner, Aii\\\ 45. a 1631. \V. Van der Vliet fecit. 
Purchased, 1884. 

WALSCAPFELLE (Jacob). Jb (?)— 17 (?). 

1002. Flowers, Insects, and some Strawberries 

In a glass bowl ; a pink lying on the stone slab on which 
the bowl is placed. Signed Jacob Walscappelle. 
Wynn Ellis bequest, 1876. 

WEENIX (Jan Baptist). 1621 — 1600. Dukli School. 
1096. A Hunting* Scene, 

In the foreground, to the left, dogs life-size ; to the right 
a dead deer, which a man is about to cut up. Landscape 
background. 

Presented by the Trustees of the British Museum, 1880. 

WEENIX (Jan) thk Yoingkk. J640 — 1710. Dutch School. 

238, Dead Game and Dog*. 

Landscape background with sportsman in the distance. A 
couple of hares, a stag, and heron ; a fowling piece, and other 
implements of the chase, in the foreground. Signed J. Weenix, 
f. 1708. 

Bequeathed by Lord Colborne, 1854. 

WEIEB (Jacob). 16 (?)— i6qo. 
1470. A Battle Scene ^ 

In the style of Wouwerman. It represents a party of 
cavalry surrounded by infantry. The principal figure, a cavalier 
on a grey horse, is being attacked with a musket by a kneeling 
soldier, and is drawing his sword to defend himself. On the 
right the infantry seem to be put to flight. 

Signed I. WEIER, 1645. 

Presented by Sir Augustus W. Franks, K.C.B., 1896. 



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1 ^ m^- , ^-^ ^>^^^ntr^ 



-^^—T'- -^ 




No. I002. 



23 in. by 18J in. No. 238. 



67^ in. by 61 J in. 




No. 1096. 



103.2- '"• ^y 77 •"• 




No. 1470. 



14J in. by 23^ in. 



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::oo THE XATIOXAL GALLERY. 



WET (J. i>k). 17/// century. Dutch SchmL 



1342. Landscape. 

A placid river flowiiii;^ beUveen shelving banks covered with 
verdure. On the right a rugged beech tree rises above a mass 
of r(xk. Beyond it, in the distance, is a ruined castle. In the 
ft)regr()und, to the left, is a ferry boat crossing the stream with 
peasants and cattle. Summer sky illumined by the setting sun. 

Signed/, d, Wd, 

Purchased, 1891. 



WSTDElf (RoGU-rR van dhk). 14 (?) — 1464. Elcmish School. 

664. The Deposition in the Tomb. 

Joseph of Arimathaja, St. John, the Virgin Mary, and other 
saints surround the dead body of the Saviour ; deep grief is 
expressed in their faces with the utmost tenderness. The back- 
ground is a beautiful landscape of wooded hills and a willow- 
bordered stream running through meadows. 

Purchased, i860. 

This touching composition, one of the most exquisite in feeling 
of the early Flemish School, is painted in tempera on an un- 
prepared fine linen. 

711. *• Mater Dolorosa." 

A Head of the Virgin. Gold background. 

712. ••Ecce Homo." 

A Head of the Saviour. Gold background. 

Both these pictures were presented by her Majesty the 
Queen, in fulfilment of the wishes of his Royal Highness the 
Prince Consort, 1863. 






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No. 1342. 



20.] in. by 27 i in. 



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No. 711. i4Un. by 11 in. 




No. 664. 



34 in. by 28 in. No. 712. 14^ in. by 11 in. 



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202 THE XATIONAL GALLERY, 

YAJS[ DEB WETDEir (?), LATEB SCHOOL OF. 

654. The Magrdalen. 

In a green dress, and gold brocaded petticoat, seated, reading 
a book ; before her on the floor is a small vase. Entire small 
figure. Purchased, i860. 

This has evidently formed part of a larger picture ; the 
background has been re-painted. 

WIL8 (Jan). 102S — 1070. IJ/i/r// Sr/foo/, 

1007. Rocky Landscape. 

With buildings on the heights to the left, over a ravine in 
which there is a river ; two figures on horseback in the fore- 
ground. The Hgures are supposed to have been put in by 
Wouwerman. Wynn Ellis bequest, 1876. 

WITTE (Kmanukl dk). 1607 — 1602. Dutch SihthL 

1053. Interior of a Church, probably at Delft, with figures. 

The architecture is apparently of the 15th century. The 
view shows three bays of a nave, seen from the adjoining aisle. 
Bequeathed by Miss Sarah Solly, 1879. 

WOXTWEBMAir (Jan). 1620— i6t>b. Dutch School. 

1345. Landscape. 

Signed J. WouvvERMAX. 
Purchased, 1891. 

WOUWEBMAir (Phujps). 1619— 1668. Dnt.h School. 

878. Halt of Officers. 

In the centre soldiers mounted and dismounted are grouped 
before a tent over which a standard is flying ; an officer is 
speaking to a young woman who is carrying a can ; and a 
mounted trumpeter is somiding a call. This picture is some- 
times called the Pretty Milkmaid — **La Belle Laitiere." 

Signed with the painter's monogram, composed of PHILS, 
and two Vs or a W for Philips Wouwerman. 

Purchased, Peel collection, 1871. 



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No. 1053. 



20 in. by 22 in. 




No. 1345. 



15 in. by 21 i in. No. 878. 



19 in. by 163 in. 



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204 THE XATIOXAL GALLERY. 

WOUWEBMAN (Pmi.ii's) {coniinitvd). 

879. Interior of a Stable. 

A large shed showing the open country on the spectator's 
lelt, containing several horses. Near the centre is conspicuous 
a white spotted horse ; to the left of it are two boys, one riding 
a goat, the other holding in a dog ; on the same side a girl 
is drawing water from the well, on the beam of which, over 
her head, is perched a peacock ; behind her a traveller is lead- 
ing in his horse, followed by a lady mounted. . A girl with a 
kid and some barn-door fowls are scattered over the fore- 
ground. Signed with the painter's monogram. 

Purchased, Peel collection, 1871. 

880. On the Sea-shore. 

Fisherwomen and others with baskets of fish ; near the 
centre a white horse with a fishing net on his back ; to the 
lelt a mounted sportsman bargaining with one of the women. 

Signed with the painter's monogram. 

Purchased, Peel collection, 1871. 

881. Gathering- Fagrgrots. 

An old man binding a bundle of faggots ; by his side a 
white horse with a pack-saddle ; a woman with a child seated 
at the stump of a tree on the left. 

Signed with the painter's monogram. 

Purchased, Peel collection, 1871. 

882. Landscape. 

Signed with the painter's monogram. 
Purchased, Peel collection, 1871. 

973. Sandbank on a River. 

A man fishing ; female bathers ; on the bank to the left 
some fences ; a cottage farther in, and a distant hill. 
\V\nn Ellis bequest, 1876. 



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No. 879. 



i8i in. by 26.\ in. 





No. 880. 



13 ill. hy 16 in. 



No. 881. 



12J in. by lo^ in. 




No. 8S2. 



9.V n. by 12 ill. No. 973. 



10 in. by 13J in. 



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206 THE XATIOXAL GALLERY. 

WOUWEBMAir (Philips) {cuutiuncd). 
975. The Stag Hunt. 

A mountainous country in the nciglibourhood of a lake, with 
well wooded borders. A lari^^e party of ladies and gentlemen 
are huntin*^ two sta^s, one of which has already been brou<2[ht 
to bay and caui:]jht by the hounds ; it is down in the lake. 
The other, passing two trees in the centre of the picture, is 
nearly surrounded by hounds and huntsmen. The stacks are in 
the centre of the party, who, soundini:: their horns, approach 
on all sides with the liounds ; one is thrown in the lake. 
Sis^Mied with the painter's nionoi^ram and a W. 

Wynn Ellis betjuest, 1876. 



976. A Battle, Cavalry and Infantry. 

In the foreground a skirmish of horse ; a trooper has seized 
the left arm of another bearinji: a blue standard, and is on the 
point of striking him with a battle-axe ; another trooper is 
approaching from the left. 

Some colours and several dead and wounded are lying about. 
Signed with the painter's monogi*am. 

Wynn Ellis bequest, 1876. 



1060. Two Vedettes on the Watch. 

One of them is speaking to a group of peasants lying by 
the roadside. To the left is a stream flowing through level 
country, and crossed by a bridge (over which a man is passing) 
in the middle-distance. A dark cloud is gathering in the centre 
of the sky. 

Bequeathed by the late Mr. John Henderson, 1879. 



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No. 975. 



No. 976. 



29 in. by 41 in. 




13 in. by 24^ in. 




No. 1060. 



12 in. by 14 J in. 



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2oS THE XATIOXAL GALLERY. 

WTNAlfTS (J-^^)- '7''/' century. Dutch Schawl. 

883. Landscape, with a Hilly Country in the Distance. 

On the left are some cottages in wooded grounds by the 
side of a road, down which a man is driving two cows and 
some shee]x A crip]iled beggar with a dog is seated by the 
roadside on tlie right ; to tlie left is an old and nearly leafless 
tree ; another felled trunk is lying at its foot, on which the 
])ainter has written y. WyuantR, 1659. The figines are attributed 
to Adrian Van de Velde. 

Purchased, Peel collection, 1871. 

884. Landscape with Figfures. 

On the right a road winds round a low sandhill, below which 
a man with a dog and a woman on horseback are driving some 
cattle and sheep through a pool of water. In the middle- 
distance a cart is seen on the road going towards a village on 
the left. On the foreground on this side is the fallen stump 
of a tree. Signed J. \V. The figures are attributed to Adrian 
Van de Velde. 

l*urchased, Peel collection, 1871. 

971. Landscape: A Hilly Country with a Few Trees. 

On the left a mound, on which are two figures and a grey- 
hound. A woman on an ass, and other figures in the fore- 
ground, on the road beneath. 

To the left is lying part of the trunk of a tree. Signed 
J. W. 

Wynn Ellis bequest, 1876. 

972. Landscape : A Hilly Country. 

In the middle-ground a village ; a sandy road, on which is 
a sportsman on horseback with his dogs, and another figure. 

To the right a cluster of trees, to the left the stems of two 
dead trees and some weeds. Signed J. Wynants. 

Wynn Ellis bequest, 1876. 



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No. 884. 




No. 883. 



3ii in. by 39 in. 




II in. by 15 in. No. 972. 


^"■-t-. ~' 






^^I^^^^^^^^H 





II J in. by 14J in. 



No. 971. 



16 in. by 21 in. 



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300 THE XATinXAL GALLERY. 

ZAGAlfELLI 'Bki^nakdino, i>a Cotignula). lO/// century. lurrarcsr Schhfd. 

1092. St. Sebastian, bound to a Column and pierced with 
Arrows. 

The central panel, or the lower range, of an altar-piece for- 
merly in the church of the Carmine at Tavia, and thus described 
by Bartoli : "In the 12th chapel [is] an ancient picture divided 
into 6 compartments, t)f which the three larger exhibit, in the centre 
St. Sebastian, and at the sides St. Nicholas and St. Catherine of 
Alexandria, while the three smaller ' which are above represent 
the body of the Redeemer supported by two angels in the 
centre, and at the sides the Virgin Mary and the Announcing 
Angel. This [altar-piece] is the work of Bernardino Cotfgnola, 
who has aflixed to it his name on a feigned label." The altar- 
piece was broken up and its parts dispersed. 

Signed on a cartel lino attached to the column below. 

Purchased, 1880. 

ZAI8 (Gu'ski'pk). 17 — '7'^4. Venetian Sclio'jL 

1296. A Rural Landscape. 

Purchased, 1889. 

1297. A Riverside Scene. {Chmpanvm A> the previhus pktnre) 
Purchased, 1889. 

ZAMPIEBI (DoMKMCo). 15X1 — 1641. I^ohf^nese School. 

48. Landscape, with Figures, representing* the story of Tobias 
and the Angfel, from the Apocryphal book of **Tobit." 

The landscape is intended to represent a view on the banks 
of the Tigris. — Tobit vi. 4, 5. 

Bequeathed by the Rev. \V. Holwell-Carr, 1831. 
75. Landscape, with Figures, representing* the story of St. 
George and the Dragon. 

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

Bequeathed by the Rev. W. Holwell-Carr, 1831. 



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No. 1092. 




No. 1296. 



19^ in. by 253 in. 



47 in. by 18 in. 









W^^M 



No. 1297. 



19.1 in. by 25J in. 





No. 48. 



i7jin. by 13^- in. No. 75. 



2oi in. by 25 in. 



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302 THE XATIOXAL GALLERY. 

ZAMPIE&Z (DoMKXKo) {i(nitinued). 

77. The Stoning: of St. Stephen. 

The scene is tukinp^ place immediately outside the walls, 
which occu]>y a \'AX^<t portion of the picture ; above them are 
seen the uj^jier parts of some l)uildinc[s, and a few figures are 
distributed on the ramparts witnessing the tragedy that is 
being enacted beneath. Seven small figures. 

Becjueathed by the Rev. \V. Holwell-Carr, 1831. 

85. St. Jerome and the Angel. 

The Saint is represented seated in a cave, occupied in the 
study of his books and manuscripts ; his attendant lion is 
crouching at his feet ; the apparition of the angel seems to 
ty])ify the special mission of St. Jerome as the interpreter of 
the Scriptures. The red robe, and the cardinal's hat, placed 
against a skull, upon the piece of rock which serves him as a 
table, indicate his rank as a Cardinal of the Church. 

Bequeathed by the Rev. W. Holwell-Carr, 1831. 



ZOPPO (Makco). 15/// century, Bologncsc School. 

590. The Dead Christ : a Pleta. 

St. John the Baptist and another saint supporting the body 
of Christ. Three small half-figures. 
Purchased, 1857. 

ZUBBABAN (Francisco). 1598 — 1662. Sfatiish ScJjooL 

230. A Franciscan Monk 

Kneeling in prayer, and holding a skull in his hands. Whole 
figure of the natural size. 

Purchased at the sale of Louis Philippe's collection in 
London, 1853. 



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No. Tj, 



25 in. by 19 in. 



No. 85. 



20 in. by 15 i in. 




No. 590. 



loi in. by 8 in. No. 230. 



61 in. by 39 in. 



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304 THE XATIOXAL GALLERY. 



ZUBBABAH (Fkam isro) {coji tinned). 



232. The Nativity, or Adoration of the Shepherds. 

Commonly called *' Thk Mangkr "— the Pn'scpio of the 
Italiiins. The Holy Family is in the stall on the left, the 
Infant Christ lyin^ in the manger near the head of the ox ; 
the \'irgin is uncovering Him ; on the right are the adoring 
shepherds bringing presents according to their means — lambs, 
fowls, etc. In the distance is seen the guiding angel as the 
star of the Epiphany. Nine figures of the natural size. 

Purchased at the sale of Louis Philippe's collection in 
London, 1853. 

This picture has hitherto been ascribed to Velazquez, and 
considered one of his early works ; but besides that it does 
not correspond in the scheme of colour to the works of his 
early period (witness the picture of the same subject in the 
Madrid Gallery), and is certainly not of his later time, it shows 
so decided an allinity with the four pictures by Zurbaran, in 
the Palace of San Telmo, at Seville, not only in colouring but 
in every detail of the treatment, that there can be no doubt 
that the attribution to Velazquez was an error, and that 
Francisco Zurbaran is the true painter of this beautiful work, 
which may be considered the best picture he ever painted. 



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No. 232. 



91 in. by 66 in. 



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I'RINTKh AND PritMSflED BY 

CASSKLI. .»v COMTANV, MMITKD. LA UKLLK SAUVAGK, 

LONDON E.C 



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SEP 2 6 TS56 




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