TRE Ve a ge es Pl eee NY 
 
 Author of ‘Recent German Art,” “Glimpses of Parisian Art,” ‘Modern German Masters,” 
 
 “Masterpieces of Modern German Art,” &c. 
 
 BRUNSWICK: 
 BOWDOIN COLLEGE LIBRARY. 
 
 14886. 
 
 Entered according to act of Congress, in the year 1886, by Rev. Frep H, Atcen, in the office of the Librarian of Congress, at Washington. 
 
INTRODUCTION. 
 
 HE Bowporn Cottecrion consists of the sketches gathered up in Europe before 1811 
 
 by the. Hon. James Bowdoin, Minister Plenipotentiary to the Court of Spain, and, 
 
 later, Associate Minister to the Court of France, together with a number of valuable 
 paintings secured by the same person. No complete catalogue of this collection had ever been 
 published, so far as can be learned, until Prof. Henry Johnson, the present Curator of the Art 
 Department of Bowdoin College, issued Part I. of the very valuable and interesting catalogue 
 
 which is to be completed in a second part, presenting the paintings and other interesting 
 
 features of: the Bowdoin Art Collection. 
 
 So far as possible, the present work will not only give an account of the drawings in 
 their present condition, together with the most valuable paintings in the gallery of the college, 
 but will, wherever facts relative to the artist can be obtained, present to the public 
 biographical and critical notices. 
 
 It is a somewhat curious fact that this collection, made during the period when the 
 first Napoleon was busy in changing the character as well as the destiny of nations, has lain 
 so long in the archives of Bowdoin College, unrecognized and comparatively unknown, to 
 be, as: it were, re-discovered at least seventy-five years after it found a resting place in the 
 dusty portfolios of the Library. 
 
 Of the genuineness of the majority ‘of these sketches there is no doubt. Many of 
 them bear the signatures of their authors; while others have been authenticated and signed 
 by famous collectors through whose hands they have passed during the last two hundred years; 
 
 while several, who are to the author unknown, can, no doubt, be fully 
 
 authenticated by a 
 
 careful study and comparison with the works of known masters. 
 
 Whatever defects this publication may have, it certainly cannot be called stale or a 
 repetition of any previous publication. The value of the collection is great; perhaps America 
 has no collection, with one exception, which is its superior. The sketches are reproduced 
 in fac-simile. The present color of the drawing is imitated as closely as it is possible for 
 printer’s ink to imitate the somewhat faded and uncertain colors in which the sketches now 
 appear. The text is prepared with what thoroughness and care the author is capable of, 
 reference having been made to all books which could throw any light, or present valuable 
 
 facts for his guidance. 
 
CONT EANaes. 
 
 IPUNJEtID Il, 
 INTRODUCTION. CONTENTS. 
 
 Artist. Design. 
 REMBRANDT, ‘ : , ; 5 : : Lanpscare. 
 DOMENICHINO, 5 , ; : j : ‘ Man Sranpina. 
 SALVATOR ROSA, 5 . . : 3 3 Rozssers Diyrpre tHe Sporrs. 
 CORREGGIO, . ; 3 : 5 é : Maponna And CnILp. 
 
 EyAGE ails 
 UNKNOWN, . : 5 5 : ; ; : MrraBeau. 
 CONSTANZI, . ‘ ; . : , 5 6 Woman ann Curp. 
 CANGIAGIO, . : : : : i ‘ 5 Scouraing iN tue TrMpLe. 
 POUSSIN, : 5 : : : : ; . JAEL AND SISERA. 
 
 Pn ae 
 
 STUART, ; : : : : : : 3 Maprson. 
 
 REMBRANDT, j ; : ¢ : : c Lanpscare. 
 
 IL PORTOGUISE, . : : : : F : Venus anp Aponts, 
 
 CLAUDE LORRAINE, . : c : Fi c Famity JOURNEYING. 
 UNITE JW: 
 
 TUT IAIN, : : : : : j ; ; Woman and Cuttp. 
 
 STUART, ; : : : ‘ 5 5 ; JEFFERSON. 
 
 UNKNOWN, . : ‘ é : : : ‘ Lanpscarr. 
 
 TINTORETTO, : ; : : ? : : Woman And Cutt. 
 EVN St Wh 
 
 VANDYCK, : : : 3 : 2 : : GIBRALTER. 
 
 FARINATO, : : : : : ; : Woman AND Cui. 
 
 DEL VAGO, . : : : 3 : 3 ; Fematy Freure. 
 
 SMYBERT, ; : ; : F Cosmo II. 
 
REMBRANDT. 
 Born, 1608. Died, 1669. 
 
 Lanpscapr. 
 
REMBRANDT. 
 
 Rempranpt Van Ruyn was born near the city of Leyden, on the 
 15th of July, 1608. His childish ear heard the last notes of pain 
 and the first of triumph, as the bloody and protracted struggle of 
 the Low Countries ended in the acknowledgment of the independence 
 of Holland by Spain and the establishment of the republic. 
 
 He learned early to despise whatever conventional beauty or 
 refinement was associated with Kingship or Popedom. 
 
 Simple, stern, unadorned fact, well weighed and calmly set forth, 
 was all that he ‘aimed at in his art, but when the passionate genius 
 of his nature could be no longer repressed, he secured as it were a 
 rough sunbeam and smote whatever he chose, whether of mean or 
 noble, into individuality and light. 
 
 To characterize the peculiar strength of Rembrandt in a few 
 words, we must say that for rugged realism of expression, light in 
 darkness, and radiance enclosed in gloom, his art stands as much 
 alone as does Titian’s for color or Michael Angelo’s for form. Cara- 
 
 vaggio was said by his contemporaries never to have emerged from 
 
 his cellar; of Rembrandt it may be said that he never ceased to 
 feel the power of a single sunbeam which through the one little 
 window in the attic of his father’s mill illuminated the white. dusty 
 floor. There may be coarseness in his treatment of some subjects, 
 but never a false note. 
 
 The sketch by Rembrandt which we present in this work is of 
 the low lying country with which he was so familiar. In the fore- 
 ground is a fence in dark brown. The land seems separated into 
 three divisions by a winding river. In the middle a low point of 
 land, a single-masted boat with a boatman; a dense wood and a long, 
 
 high building at the left; in the far distance a glimpse of land and 
 
 water. ‘The sketch is 8 by 123 inches in size, drawn in sepia, shaded 
 
 with a brush, and heightened with white. 
 
DOMENICHINO. 
 Born, 1581. Died, 1641. 
 
 Man Sranpine. 
 
= = — = = AAA SSS 
 st FRES SSS. (eS ae a a 
 
DOMENICHINO. 
 
 Domenico Zamprert, commonly called Domenicnino, was the most 
 distinguished pupil of the Carracci. He was at least in his early career 
 a slow worker, but marvelously thorough, accurate, and sympathetic. 
 When engaged upon his famous painting, “The Scourging of St. 
 Andrew,” and drawing one of the Saint’s executioners, he threw himself 
 
 into a passion, and fairly enacted the character he was depicting. 
 
 Carracci, his teacher, surprising him at the moment embraced the 
 mad artist, with joy exclaiming: “Now, my Domenichino, thou art 
 teaching me”; so real and so natural it appeared to him that the 
 painter, like the orator or actor, should feel within himself all that he 
 is representing in others. 
 
 Domenichino was both painter and architect, shunning society 
 and devoting himself with great toil and assiduity to study and the 
 contemplation of his art. He was timid and retiring, with few friends 
 and many enemies. He was driven from Rome, where he had been 
 called to build the Apostolic Palace, by the envy and_ hostility of 
 
 fellow artists, preferring a life of quiet to the harassing persecutions 
 
 of his enemies and the niche of fame he might have won. 
 
 In Naples the artist executed some of his greatest works, but 
 change of place brought no relief from sorrow and vexation, and 
 worn out with the annoyance of incessant intrigue and persecution he 
 died at Naples, not without suspicion of poisoning, on the 15th of 
 April, 1646. 
 
 The sketch which we present is in red chalk, 11 by 43 inches, 
 representing a man standing, the head turned to the right, and bound 
 with a cloth. The right hand rests upon a staff supporting the left 
 
 elbow, the left hand pointing upward. 
 
Salinas oe -—— Se aaaennee ——— = SS 
 Sas == — = eS = : ne | 
 
SALVATOR ROSA. 
 Born, 1615. Died, 1673. 
 
 Rossers Divipinc tHe Sports. 
 
= == SSS = — a 
 Soe SS Sa aaa aaa 
 
SALVATOR ROSA: 
 
 To most admirers of Satvator Rosa he is known only by those 
 wild landscapes which Fuseli has so well described: “He delighted 
 in ideas of desolation, solitude, and danger; impenetrable forests, 
 rocky or storm-lashed shores; lonely dells leading to dens and 
 caverns of banditti; Alpine ridges; trees blasted by lightning, or 
 sapped by time, or stretching their extravagant arms athwart a murky 
 sky; lowering or thundering clouds and suns shorn of their beams. 
 
 His figures are wandering shepherds, forlorn travelers, wrecked 
 
 mariners, banditti lurking for their prey or dividing the spoils.” 
 How true to these words of Fuseli is the sketch we have the 
 pleasure of presenting. 
 
 It is remarkable that while the figure pieces of this great artist 
 are so rare, but few in existence and those prized above jewels, that 
 one should have lain treasured up in a college library for nearly a 
 century, to come forth at this day, to charm lovers of true art. 
 This sketch bears out to the letter the lines quoted from Fuseli, as 
 one of the subjects delighted in by the artist. “Robbers Dividing 
 the Spoils” may be considered one of the most characteristic of 
 Salvator Rosa's figure drawing. There are thirteen characters, five 
 being mounted. Ruins in the background, the weird and dismal 
 residence of the banditti. On the right are two camels laden with 
 the goods of the unfortunate merchant who has “fallen among thieves.” 
 The principal interest is centered in the heap of coin upon the ground 
 and the person despoiled of his goods. The sketch is in sepia, 
 shaded with the brush, and is in size 8{ by 11 inches, “ Salvator” 
 
 being written upon the mount. 
 
ANTONIO ALLEGRI—CORREGGIO. 
 
 Born, 1493-4. Died 7a5 345 
 
 Maponna anp Cuixp. 
 
—— SS a SSS <= = ——o <a ——s 
 == Ss — 
 
CORREGGIO. 
 
 Antonio ALircri, surnamed Correccio, from his birthplace in 
 the Duchy of Modena, was born into the Italian Renaissance, and 
 by reason of certain original abilities has been placed among the 
 great masters of this brilliant artistic period. If DaVinci and Michael 
 Angelo are considered the supreme masters of form, if Giorgione and 
 Titian excel in color, if the temperate and harmonious blending of 
 these elements gave to Raphael his fame as the Prince of Painters, 
 it was the thorough mastery of chiaraoscuro that entitled Correggio 
 to a seat on the same serene throne with these mighty painters. By 
 
 chiaraoscuro we mean briefly the arrangement of light and dark in a 
 
 picture, whether applied to light and dark colors or light and dark 
 
 shades. In other words, it is the sensitiveness of darkness to light, or 
 
 + 
 
 he painter's power to enable the observer to see light in darkness. 
 
 The cultivation of this faculty found its earliest advocate in Leonardo 
 
 daVinci; but Correggio carried his ‘transparent shadows, the soft 
 
 blending of dawn with day, its enveloping atmosphere and_ light, 
 
 suggestive of motion and breathing life, to such legitimate and 
 harmonious limits, as to reveal a new world of artistic expression. 
 The sketch of the Madonna and Child which we present is one 
 of those suggestive motives in which the artist by a few strokes of 
 the pen has outlined a group, and with a brush has washed in the 
 principal accents of color, giving as vivid a conception of his thought 
 as the finished picture could present. 
 The Madonna is seated, supporting the child with the right arm, 
 while the child extends a hand toward a martyr kneeling at his feet 
 
 in the attitude of adoration, a cross resting upon his shoulder. On 
 
 the left stands Joseph, while above the altar the outlines and folds of 
 
 heavy drapery are visible. 
 
UNKNOWN. 
 
 Portrait or Mrraseau. 
 
UNKNOWN. 
 
 Trere is in the Art Gallery at Bowdoin College a most striking 
 and remarkable picture of Mirabeau, secured by Mr. Bowdoin during 
 his residence in France, upon which there appears no name. At this 
 late date it is impossible to tell who the author of this work may 
 have been. It is, however, true that he was a man of unusual power, 
 having many characteristics of Rembrandt and the masters of later 
 schools. The painting is almost startling in its realism, broad in 
 handling, fresh and vigorous in technique. It would stand in a prom- 
 inent position in any gallery of art, holding its place as a work of 
 
 consummate power and interest. 
 
 It is with regret that we are obliged to present this picture without 
 
 presenting with it the name of the author and some account of his 
 
 life. We are pleased, however, to be able to show so worthy a rep- 
 
 resentation of the great Frenchman. 
 
PLAGCIDIO CONSTANZI. 
 
 Born, 1688. : Died, 1759. 
 
 Woman axp Cut. 
 
— —= = a = — ————————— = —— = — — — 
 —— = = = = ———= SSS SSS SSS SS ee 
 = ———— es == = == —————— ———— a 
 
CONSTANZI. 
 
 Pracipro Constanzi was born in 1688 and died in 1759. He 
 was a painter of historical subjects, almost entirely, was a pupil of 
 Luti, and received into the famous Academy of St. Luke in 1741. 
 One of the most remarkable works of this famous artist is a portrait 
 of Saint Camille De Lellis, at Rome. The figures of Constanzi are 
 very graceful and powerfully drawn. The expression is delicate and 
 
 fine, possessing far more refinement than is to be found ordinarily 
 
 among artists of his power and genius. Many frescoes by his hand 
 
 adorn the walls of private and public buildings in Rome and other 
 
 cities in Italy. It is remarkable that so little is to be found concern- 
 
 ing the life and works of this artist. 
 
 The sketch which we present is of a woman and child. Both 
 igures are nude; the woman is sitting upon a couch, her left elbow 
 resting upon a pillow, while with her right hand she holds the child, 
 
 who is looking into her face and caressing her. here is great soft- 
 
 ness as well as tenderness of expression in this charming sketch. The 
 drapery above the head of the group hangs in easy and graceful folds, 
 while in the left lower corner, near the end of the couch, 1s a vase; 
 in the left upper corner is a window. The drawing is in red chalk, 
 13! by 10 inches in size, “ Plaedio Constanei” being written indis- 
 
 tinctly upon the sketch. 
 
ee 
 
CANGIAGIO DI LUCA. 
 
 Born, 1527. Died, 1585. 
 
 Tue Scourcine In THE TEMPLE. 
 
= — = = —= — —————— ———=— —— ——= = ———— eee — ee 
 = — == —= a —— = = SS ——= = = = 
 
CANGIAGIO 
 
 DPE WeAE 
 
 Tue sketch from the hand of this noted artist, which forms a part 
 
 of the Bowdoin Collection, is entitled “The Scourging in the Temple.” 
 
 It consists of seven figures, includin 
 pillar and forms the central figure 
 encircle the column, the wrists bein 
 by one of the group. The form of 
 
 was obtained by inclining the shoul 
 
 g that of Christ, who is bound to a 
 
 of the group. The victim’s arms 
 g tied together, and the rope held 
 the sufferer is bent as though relief 
 
 der toward the column for support. 
 
 One of the persecutors, who is for the moment especially active, 
 
 holds in his right hand the scourge, 
 with his left, as though to turn the | 
 3ehind his is another figure eviden 
 
 the scourge, while in the right foreg 
 
 is seen, evidently preparing himself 
 figure of Christ is nearly nude, whi 
 
 clothing. 
 
 grasps the Christ by the shoulder 
 »ody into a more exposed position. 
 ly awaiting his turn to administer 
 round the stalwart form of another 
 
 to continue the terrible work. The 
 
 le the other figures have but ligh 
 
 Artistically the figure to the rig 
 in the sketch, the lines being exqui 
 
 with consummate grace. 
 
 nt, with its back turned, is the fines 
 
 sitely drawn, and the figure posec 
 
 The work is 7 x 5; inches, anc 
 brush. It is signed “Luca di Genu 
 
 tion has the full name, “Di Luca 
 
 executed in sepia, shaded with a 
 a.’ Another sketch in this collec- 
 
 Cangiagio.” 
 
| 
 Hy 
 | 
 | | 
 Hl 
 ail | 
 | 
 ) 
 
NICOEAS SLOWSSIN: 
 
 Born, 1594. Died, 1665. 
 
 JarL and SISERA. 
 
ie 
 
NICOLAS POUSSIN. 
 
 Nicoras Poussin lived and practiced his art in the city of Rome 
 at the time when the disciples of Caravaggio were at the height of 
 
 their } 
 
 ower and influence. Although like them an ardent naturalist, 
 
 a 
 
 his naturalism was of a purer and simpler kind. He delighted to 
 people his landscapes with classic figures of the antique world. There 
 
 is to his best performances a remarkable sweetness of manner which 
 
 seems perfectly correspondent to the ancient simplicity which distin- 
 
 guishes his style. 
 
 The great French critic has calle 
 
 him a scholarly painter, whose 
 knowledge of anatomy, perspective, and. architecture was profound to 
 an exhaustive degree. 
 
 Poussin belonged to the noble family of Soissons, whose fortunes 
 were reduced during the civil wars of Charles IX. and Henry III. 
 Nicolas was born at Normandy in 1594, and first visited Paris in 
 1612. Twelve years later he accompanied Marino, the Italian poet, 
 to Rome, living with him in the same house until his death. The 
 loss of his friend and patron brought absolute poverty to the artist. 
 After sixteen years of absence Poussin returned to France, at the 
 instance of Louis XIII., who assured him of his protection and assist- 
 
 ance. Poussin now became the kine 
 
 5 
 
 s principal painter, occupying 
 apartments in the Tuileries, with the salary of one hundred and 
 twenty pounds a year. 
 
 The sketch which we present represents Jael and Sisera. At the 
 
 left Jael is standing with her right knee braced against the head of a 
 couch, with a mallet raised in her right hand. She holds in her 
 left hand the nail in close proximity to the head of the reclining 
 
 Sisera. On the back of this sketch is a study, the hands of Judith 
 
 and the head of Holofernes. This sketch is in red chalk, 7; by 10) 
 
 inches in size. 
 
CIPBERT “CHARPES- 7500 Akai: 
 Born, 1756. Died, 1828. 
 
 James Mapison. 
 
GUO CIsUNINIDIES, SiNUvVAIC I. 
 
 Gitpert Cuartes Stuart was the son of a Scotchman who came 
 over to Nantucket, at the invitation of Dr. Thomas Moffat, to build a 
 
 snuff mill. The Doctor was a learned man, but not succeeding in his 
 
 5 
 
 profession he resolved to establish a manufactory of snuff, to supply the 
 great quantity that was every year imported from Glasgow. The 
 young Scotchman married a daughter of a man by the name of 
 Anthony, and to this happy couple was born in the year 1754 the 
 famous painter, Gilbert Charles Stuart. 
 
 He is spoken of as a capable, self-willed boy, who, perhaps on 
 that account, was indulged in everything, with little or no control from 
 the easy, good-natured father and mother. He was about thirteen years 
 of age when he began to copy pictures, and at length attempted like- 
 nesses in black lead, in which he succeeded. Another Scotchman 
 traveling through the country and painting portraits to order, meeting 
 young Stuart, induced his father to allow him to visit Scotland, where 
 
 the patron of the young artist died, leaving him in the hands of those 
 
 who treated him pretty roughly. On board a collier bound for Nova 
 Scotia he worked his passage home. ‘This rough experience was not 
 lost on a man like Stuart. After he had washed off the coal dust he 
 went to painting. His first model was a strong-muscled blacksmith, 
 to whom he gave a half dollar an evening to sit in his studio. One 
 of the first portraits which Stuart painted was that of his mother. It 
 was painted entirely from recollection, and yet so striking was the 
 likeness that it was momentarily recognized, both by acquaintances and 
 those who knew her most intimately. 
 
 At the age of twenty-four Stuart entered the studio of West, who 
 welcomed him with true kindness, received him into his family, and 
 treated him with paternal regard. 
 
 In the Art Collection of Bowdoin there are four pictures by 
 Stuart, of which one is of Thomas Jefferson, and one of James 
 Madison. We take pleasure in presenting a photogravure of the 
 portrait of Madison. In a later number we shall present that of 
 
 Jefferson. 
 
REMBRANDT. 
 
 Died, 1669. 
 
 Born, 1606. 
 
 LANDSCAPE. 
 
f 
 \ 
 I 
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 ! 
 
REMBRANDT. 
 
 We have had occasion to call the reader's attention to this famous 
 painter of Holland in presenting in a former Part a landscape from 
 the hand of this famous artist. We now present another bit of landscape, 
 in the foreground of which there is still water, and at the extreme left 
 and near the right are moored two small boats at what seems to be a 
 continuous wharf. 
 
 Beyond the wharf at the right and extending to the water's edge 
 
 are two large buildings and a group of rude sheds. 
 
 A picturesquely dilapidated fence and several low buildings, 
 together with trees, occupy the left background. This sketch is truly 
 characteristic of the great painter. The strong individuality of the 
 man 1s as apparent as in his portraits. There seems to be a picturesque 
 disorder, a light touch, and a most singular intelligence in the effects 
 of light and shade. 
 
 Rembrandt possessed the talent of rendering, by a few strokes, 
 
 apparently given at hazard, the characters of any age and period of 
 life, and of all the objects which he professed to represent. These and 
 many other qualities constitute Rembrandt's merits, and spread an 
 inexplicable charm over all his works, whether it be a light sketch or 
 a finished painting. It has been objected that Rembrandt's drawing 
 was marred by great defects. If that be true he more than redeemed 
 these defects by his truth and purity of expression, his depth of sentiment, 
 his masterly touch, and the wonderfully persuasive power with which 
 
 he appealed to his auditor. 
 
IL PORTOGUISE. 
 
 Venus anp Aponis. 
 
OL, IROURINOYG USI. 
 
 Tre sketch contained in the Bowdoin Collection, by this famous 
 yainter, 1s on the familiar theme of Venus and Adonis. Over the 
 head of the goddess is seen a star; while to her left may be seen a 
 
 portion of the chariot, in which she is supposed to ride, drawn by two 
 
 oves. Poising in a graceful attitude, in a bank of fleecy clouds, she is 
 
 raised a little above the earth, and looks down upon Adonis, who has 
 
 ropped the implement of the chase and stopped to listen to her coy 
 
 nvitation to enter her chariot and journey with her among the stars. 
 
 5 
 
 The dogs of the hunter are seen to the left in the background, while the 
 
 spear which he has dropped lies pointed toward the observer. The 
 
 grouping is fine; the outlines of the figures are remarkable for grace 
 
 and vigor, while the poise of the bodies and the flowing drapery 
 
 betoken the strength and vigor of the master. 
 
 ot 
 
 The work is executed in red chalk; the sketch being 10 x 7 inches 
 
 in size. I] Portoguise is written in ink on the back of the mount. It is 
 
 very evident that this is not the name of the artist, but probably a name 
 given to him, having a distinct relation to the province or the nation 
 from which he came. It is quite impossible to locate this artist definitely, 
 
 although he is thought by some to have flourished among the early 
 
 Italian painters. Others assign to him a much later date, as there were 
 
 artists working in the fifteenth and sixteenth centuries bearing a similar 
 
 name, with whom he has no doubt been confounded. It is evident that 
 
 he belongs to the time of Titian or Domenichino. 
 
CLAUDE LORRAINE. 
 
 Born, 1600. Died, 1682. 
 
 Famity JOURNEYING. 
 
CLAUDE LORRAINE. 
 
 Wuernx a man comes suddenly into the possession of great wealth 
 and world-wide fame it is the prompting of pride that he try to forget 
 the days of poverty and humiliation, and that he endeavor to make the 
 outside world believe that he, or at least his family, were born into the 
 enjoyment of all that makes life pleasant. 
 
 Claude Gelée, called from his country Claude Lorraine, was born 
 on the banks of the Moselle in the year 1600, and died at Rome at the 
 age of 82. Although the story is ignored by his famous French 
 biographer, Charles Blane, it still remains the fact that at an early age 
 Claude was apprenticed to a pastry cook. On the completion of his 
 apprenticeship he traveled to Rome, where he found employment as a 
 servant with the profligate painter, Agostino Tassi. It was not long 
 
 before Claude began to imitate the pictures of his master and soon 
 
 acquired sufficient ability to enable him to live by the product of his 
 pencil. 
 
 After a long and active career Claude succumbed to an attack of 
 gout accompanied with acute fever, dying on the 21st of November, 
 1682. For purity of atmosphere, the sunny beauty of the sky, and for 
 all-pervading sweetness the landscapes of Claude Lorraine stand to-day 
 without a rival. He was poetic altogether and gave just enough of the 
 earthly to enhance the charm of his idealization. There may be gorgeous 
 palaces and temples, but they are bathed in eternal sunshine; there are 
 marble steps but they are forever lapped by smiling seas. 
 
 A sketch in red ink, which we take pleasure in presenting, repre- 
 sents a family traveling, the woman holding a babe is sitting on an ass 
 which is led by a man at their side. The costumes are indicative of 
 
 Dutch peasantry. In the distance two men with cattle are indistinctly 
 
 seen, and back of the traveling group are partially formed outlines of 
 
 t=) 
 
 trees. The sketch is 63 x 10, inches in size. 
 
BIAS 
 
 Born, 1477. Died, 1576. 
 
 Woman Ho tpine a Cutxp. 
 
TITIAN. 
 
 Tiziano, as he is called by the Italians, sprung from the noble 
 family of Vecelli. He was born at Cadore, in the wild, rocky region 
 of the Sicilian Alps. Vasari relates that his birth occurred in 1480; 
 others place the date as 1477. 
 
 Giving early proof of marked ability, he was sent at the age of 
 ten to an uncle in Venice, who, seeing the bey to be much inclined to 
 
 painting, placed him with Giovanni Bellini. He soon acquired the dry, 
 
 labored, and antique manner of his master, but abandoned it on feeling 
 
 the warmth and power of his fellow pupil Giorgione. Titian accepted 
 
 the poetical and romantic character of that artist's work as the true 
 starting point for his own genius. His works came to breathe a majesty, 
 
 a life, a pure beauty and rapture of color to which none since have 
 
 attained, and only he, by a truly great conception of reality. He was 
 
 given great length of days, all of which were spent in active and 
 laborious tasks. 
 Scarcely any form of art which he did not essay and adorn with 
 
 an unapproachable beauty and masterful sweetness. 
 
 Titian painted with a broad, bold brush, with grand free forms, 
 and a distinct color, which blended into matchless harmony by the 
 
 brilliancy of his lighter tones. 
 
 The sketch which we present is of a woman holding a child. 
 Titian is written in ink upon its back, and stamped upon the corner are 
 the initials I. P. Z., the mark of a famous Dutch collector of drawings, 
 
 who died about 1725. 
 
GQULIBIEIRIT ICISUNINIEIES, SINCLAIR, 
 
 Born, 1756. Died, 1828. 
 
 THomAS JEFFERSON. 
 . 
 
CUUILIBIGIRIT (CJSUAIRILJa Ss:  SIVCUAIR TE. 
 
 Just before Stuart left the studio of West he painted a full length 
 portrait of his master, which attracted great attention when exhibited at 
 the Somerset House, where it elicited high praise from the connoisseurs 
 of that day. West had learned by this time that Stuart could paint a 
 better portrait than himself, and he cordially recommended him to 
 take rooms and begin his independent career. As soon as he had 
 done this, visitors flocked to his studio from all England.. 
 
 Stuart was now a fashionable and leading artist in London. At 
 the Royal Academy his pictures had the best lights and most 
 conspicuous places. He lived in splendor, and was the gayest of 
 the gay. 
 
 In 1794 Stuart returned to America and occupied a studio in 
 Stone Street, near William, in New York. Some of his best portraits 
 of this period were of Sir John Temple, John Gay, Colonel Giles, and 
 others. During this time he visited Washington, who sat for his por- 
 trait. The first trial was a failure, but another effort was made, and 
 
 crowned with success. This portrait, once offered to the State of 
 
 Boston Atheneum, together with the portrait of Mrs. Washington. 
 All of Stuart's Washingtons have been copied from this painting. 
 
 The last head that Stuart ever painted was that of John Quincy 
 Adams. He was now an old man, in his seventy-fifth year; and death 
 laid his hand upon the great painter before his work was done. He 
 died in July, 1828, and was buried in the cemetery of the Episcopal 
 church, which he attended during his long residence in Boston. 
 
 The picture which we present is the portrait of Thomas Jefferson. 
 
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UNKNOWN. 
 
 Amone the unknown sketches of this coll 
 
 tremely beautiful m 
 
 hemmed in by prec! 
 
 the outlet, and gives to the landscape t 
 
 lake which is surrov 
 
 level field is seen, and a cottage roof, indicating 
 
 and activity. A he 
 
 of a castle. And in 
 
 the rubbing which 
 
 ection there is an ex- 
 
 ountain landscape. A narrow sheet of water is 
 
 yitous wooded slopes which 
 
 nded on all sides by the 
 
 ighth in the background is 
 
 the sketch has received in 1 
 
 may be SCC a ila 
 
 n, a woman, and a dog. 
 
 ride from the observer 
 
 1€ appearance of containing a 
 
 rising hills. A bit of 
 the presence of life 
 
 > 
 
 crowned by the ruins 
 
 the lower left-hand corner, almost invisible through 
 
 ts traverse of the ages, 
 
 There is an extremel 
 
 tender atmosphere pervading this landscape, and it is evidently a sketch 
 
 of one of those beautiful and romantic spots which abound in so many 
 
 of the mountainous districts of. Italy and Germany. 
 
 Written in ink upon the upper part of the drawing is the name 
 
 Waltersspurg; but whether this refers to the locality or the author it 
 
 is extremely difficult to decide. 
 
 However, it is well worthy of repro- 
 
 duction and a place in any collection, from the delicate and effective 
 
 handling of the pen. 
 
 1o by 12 inches in 
 
 SIZe. 
 
 It is drawn in sepia, bein 
 
 g a little more than 
 
TINTOREDTO: 
 
 Born, 1512. Died, 1594. 
 
 Woman anv Cup. 
 
TINTORETTO. 
 Jacorvo Rosusti, otherwise known as Tintorerro—from the 
 trade of his father, who was a dyer in Venice—shows a strange 
 mingling of good and bad in his art. He wrote above the door 
 
 2 of Michael 
 
 5 
 
 of his studio: “The coloring of Titian, the drawin 
 Angelo,” and failed in both. 
 
 Tintoretto studied the works of these two great masters with 
 
 much industry, but his colossal designs, although strong, realistic, 
 and effective, wanted the beauty and refinement which marked 
 the works of those whom he sought to excel. 
 
 It was not seldom that the grandest designs by this master 
 
 were slight in treatment, coarse in execution, and frivolous in 
 expression. His portraits are his best productions, although his 
 chief pride was in canvases of enormous dimensions, one of 
 ris works being 70 by 30 feet in size. The most famous 
 aintings by Tintoretto are the “ Miracle of St. Mark in the Academy 
 
 of Venice,’ and the “Crucifixion,” in the School of St. Roch, the 
 
 atter being probably his finest work. His largest work, representing 
 “Paradise,” fills one end of the Grand Hall in the Palace of the Doges 
 
 in Venice, while a smaller and much finer treatment of the same subject 
 
 is in the Louvre, at Paris. 
 
 The sketch which we present is a study of two figures by 
 Tintoretto, for his “Presentation in the Temple,” the signature of the 
 artist being upon the right hand lower corner of the drawing. The 
 
 sketch is in crayon, about 10% by 6% inches. 
 
VANDYCK. 
 
 Born, 1599. Died, 1641. 
 
 GovERNOR OF GIBRALTAR. 
 
VANDYCK. 
 
 Or all of Rubens’ many pupils, Antony Vandyck, or Van Dijck 
 as he was called in Holland, was by far the most eminent. He was the 
 seventh of a family of twelve, being born at Antwerp on the 27th of 
 March, 1599. Vandyck’s father was a merchant of some position, and 
 his mother possessed an exceptional talent as an embroiderer and painter 
 of flowers. 
 
 Vandyck began his professional studies about 1615, in the studio 
 of Rubens, and when only 19 he was received as a master painter into 
 the Antwerp Guild of St. Luke. His master, Rubens, was 20 years of 
 
 age when he was admitted to like honor. As early as 1621 Vandyck’s 
 
 fame reached England, during which year he visited that country, and 
 was employed by King James as portrait painter to the court. The 
 young painter soon visited Italy, where he remained five years. 
 In 1628 he returned to Antwerp and executed the altar piece for the 
 
 Church of St. Augustine. 
 
 In 1631 Vandyck returned to England, but failing to obtain an 
 introduction to the king he went once more in the sadness of disap- 
 
 pointment and mortified pride to Antwerp. King Charles soon invited 
 
 him to return, and on his arrival treated Vandyck with great attention, 
 
 conferring upon him the honor of knighthood and an annuity of two 
 
 hundred pounds a year for life. Circumstances, the genius of the time, 
 
 and his own devious ways, were all against him, and in the year 1641, 
 closing so ominously for his patron, the king, Vandyck died on the oth 
 of December, in Black Friars, in the 43d year of his age. He was 
 buried in old St. Paul’s, near the tomb of John of Gaunt, and tradition 
 
 75 
 
 says “with much funeral pomp and ceremony.” 
 
PAOLO FARINATO. 
 
 Born, 1522-6. Died, 1606. 
 
 Woman anv Cutt. 
 
PAOLO FARINATO. 
 
 Paoto Farinaro stands among the greatest of ornamental painters. 
 A famous German critic alludes to Farinato as the worthiest predecessor 
 of Paul Veronese, whom he very intimately resembled. There is no 
 doubt that the later and greater painter enjoys the reputation of having 
 executed several notable works which were really painted by Farinato. 
 
 At Vienna is a “Pagan Sacrifice” by this artist, which stands 
 c=) J 
 
 among the great achievements of that period, while his masterpiece is, 
 
 without doubt, the large canvas in the Church of St. Georgio, 
 
 at 
 Verona. It represents the “ Miracle of the Loaves and Fishes,” intro- 
 ducing many figures, and among them the portraits of his own family. 
 Farinato executed this work in the seventy-ninth year of his age. The 
 
 artist and his wife died on the same day of the year following. 
 
 The sketch which we present is of a woman and child, the former 
 
 bending over the latter as in the act of blessing. The child half reclines, 
 while clasping the right hand of the woman. The sketch is executed in 
 
 Sepia, heightened with white, and is 9 by 53 inches. 
 
PIERINO DEL VAGO. 
 
 Born, 1500. Died, 1547. 
 
 Femate Frioeure. 
 
IPIEIRIUNO) IDL, WACO). 
 
 Tue real name of this noted artist appears to have. been Pietro 
 Buonaccorsi. Born near the city of Florence in the year 1500, the 
 child soon was made acquainted with pinching poverty, and at an 
 early age, through the death of his parents, became a waif of the 
 
 streets. 
 
 Attracted by Pietro’s b right face, a Florentine gentleman took 
 him to his home, which was at the time a famous resort for artists. 
 It was not long before the lad gave proof of a decided taste for art, 
 and at eleven years of age was placed under the care of Ridalfo 
 Ghirlandaio, where he became a correct draughtsman and attracted 
 the attention of an artist who took him to Rome. In this famous 
 world of art Pierino, as he was now called, met Giulio Romano, by 
 whom he was introduced to Raphael. 
 
 The beggar boy was now the assistant of the great master, and 
 executed several works after his designs in the Vatican, while after 
 Raphael's death he, with Romano and Penni, completed the unfin- 
 ished work of the greatest of all painters. 
 
 Leaving Rome, del Vago visited Genoa, executing many com- 
 missions for Prince Doria, which contributed to increase his reputa- 
 tion. His works are seen in nearly all the public galleries of Europe, 
 and many of them have been engraved. 
 
 Our sketch is of a female figure, holding downwards in her right 
 hand an inverted torch, and upwards in her left a palm branch. At 
 her feet a helmet, spear, and banner. The drawing has been divided 
 
 into squares for enlarging. 
 
SMYBERT. 
 
 JOHN 
 
 — 
 
 5 
 
 ~ 
 
 I 
 
 Died, 
 
 Born, 1684. 
 
 Cosmo THE Tuirp. 
 
SMYBERT. 
 
 Joun Smyesert, variously spelled Smibert and Swibert, was a 
 native of Edinburg, where he early learned and practiced the trade 
 of house painting. While yet a youth Smybert visited London, and 
 later went to Rome to study art. From Rome he came to America, 
 locating in Boston as a portrait painter. 
 
 The chief value of #his art to America is not so much in its 
 intrinsic worth, as that it has preserved to us many of the early 
 divines, and other notable persons of New England. These portraits 
 are to be found at Harvard and Yale Colleges, at Worcester, Mass., 
 and in the rooms of the Massachusetts Historical Society. At New 
 Haven is one of the most highly prized of Smybert’s works, repre- 
 senting Dean Berkeley and his family. This is probably the most 
 important painting executed in America before the Revolution. It 
 is 9 by 6 feet in size, and contains eight figures, one of which rep- 
 resents the artist himself. The sketch which we present was executed 
 while the artist was in Italy, and bears the title, “Cosmo the Third, 
 Grand Duke of Tuscany,” with the autograph of the painter upon 
 the mount beneath. 
 
 The principal value of this sketch is in the portrait which it has 
 preserved. It is executed in crayon, heightened with white, and is 
 
 oval in shape. 
 
GETTY CENTER LIBRARY 
 
 HANA RANT 
 25 O 74