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THE J. PAUL GETTY MUSEUM LIBRARY 
 
a 
 
Dystic ye 
 
CATALOGUE 
 
 of a 
 
 Loan Exhibition 
 of 
 
 FRENCH PRIMITIVES 
 
 and 
 
 OBJECTS OF ART 
 
 in aid of the 
 
 FRENCH HOSPITAL 
 in New York 
 
 By E. M. SPERLING 
 
 Preface by Louts Reau, Editor of 
 the Gazette des Beaux-Arts 
 in Paris 
 
 TOS) 
 
 F. KLEINBERGER GALLERIES, Inc. 
 P2-EAST 54th STREET, NEW YORK 
 
 OCTOBER 1927 
 
sa |HE EXHIBITION IS HELD UNDER THE PATRON- 
 
 #47 AGE OF THE GOVERNMENT OF THE FRENCH 
 
 D 
 
 é 8 REPUBLIC, AND ITS CONSUL GENERAL IN 
 
 C 
 
 = 
 
 NEW YORK, MR. MAXIME MONGENDRE, HAS BEEN 
 DELEGATED TO OFFICIALLY INAUGURATE THE EX- 
 HIBITION ON OCTOBER 15TH, 1927, AT 2 O'CLOCK P. M. 
 
Penge ene Gilt 
 
 The Exhibition of French Primitives, organized for 
 the benefit of the French Hospital of New York, to 
 celebrate the inauguration of the Gothic building 
 where the F. Kleinberger Galleries are now established, 
 is a proof of French-American solidarity and at the 
 same time an artistic manifestation of exceptional 1m- 
 portance. It is the first time that the occasion has 
 been presented in America to see a collection of such 
 a considerable number of paintings of a School which 
 was almost unknown some twenty years ago, in spite of 
 the fact that its masterpieces are to the highest degree 
 apt to sustain the comparison with the Flemish and 
 Italian Primitives. 
 
 The popularity of the Italian ‘“Trecentistes” and 
 “Quattrocentistes”’ from Giotto to Botticelli is rela- 
 {ively ancient, for it can be traced up to the “Pre- 
 Raphaelites” of the beginning of the x1xth century. 
 Influenced by the writings of Ruskin, who was the 
 most prominent professor of esthetics of his time, not 
 only in England, but in all Europe, the admiration for 
 these Primitives reached such a degree that it became 
 some sort of an intolerant and blind idolatry of which 
 even Raphael was sometime the victim. Without be- 
 ing as exclusive, the admiration of the Flemish Primi- 
 tives, with which the German Primitives were gener- 
 ally associated—forerunners of Rubens and Rembrandt 
 —has manifested itself with ardor since the epoch of 
 the Romanticisme and has never ceased to progress. 
 
 Why did the French Primitives not profit at the 
 same time by the movement which led all art lovers to 
 the origins of painting? Reflecting upon it, we are in 
 the presence of a very strange phenomenon. Our roman- 
 tic writers are full of enthusiasm for the Medieval archi- 
 tecture; they bring in vogue the Gothic style without 
 laying stress upon the fact that it was French; Victor 
 Hugo writes his famous novel Notre Dame of Paris; 
 but none of the writers is interested in the old paintings. 
 The French Primitives are silently overlooked as if 
 they had never existed. Our historians of art strangely 
 agree to fix the beginning of the history of French 
 painting in 1532 with the appearance of the Italian 
 Primaticcio at Fontainebleau. Some of them carry its 
 birth only to the first half of the XVIIth century, to 
 Nicolas Poussin. 
 
 eel 
 
However, it was very difficult to believe that a 
 country like France, which had been, throughout the 
 Middle Ages, the most brilliant hearth of art in Europe, 
 spreading all over the world that admirable Gothic 
 art, the real name of which ought to be FRENCH 
 Art, should have waited until the XVIIth century to 
 bring forth a school of painters worth while mention- 
 ing. In truth, our artists were capable of carving on 
 the portals of the cathedrals of Chartres, Amiens, or 
 Reims masterpieces worthy of comparison with the 
 purest marvels of Greek art. Our manuscript colorers, 
 our glass painters had a universal reputation and were 
 desired even as far as Italy. Is it possible that in that 
 glorious epoch we should not have had artists capable 
 of decorating a wall or painting a portrait? The im- 
 probability of such a hypothesis is evident and should 
 have made all serious minds think. 
 
 The development of stained glass had doubtlessly 
 replaced little by little the mural painting 1n the Gothic 
 churches, and transformed them into real frames of 
 colored glass. Still, many of our chapels of the XIVth 
 and XVth centuries were adorned with frescoes, and 
 new ones are constantly discovered under the plaster 
 that hides them. At Avignon and at Dijon, which 
 were, after Paris, our two largest art centers at the end 
 of the Middle Ages, magnificent altar-pieces remained, 
 executed for the Popes and the Dukes of Burgundy. 
 
 Thanks to these monuments that attracted more and 
 more the attention of the historians, the question was 
 raised whether the generally admitted theory, accord- 
 ing to which the French painting dated only since the 
 Renaissance, was not a great error. It was then 
 that the memorable Exuisrrion or Frencu PRrimt- 
 TIVES was organized in Paris in 1904, triumphantly 
 showing, in a manner to convince even the most 
 skeptical, that there existed a brilliant School very 
 much anterior to the School of Fontainebleau, the 
 works of which were not inferior to the ones of the 
 Italian or Flemish Primitives and which possessed at 
 all events a very marked originality. Suddenly, the 
 true origins of the French painting were carried back 
 two centuries, from the XVIth to the XI Vth century. 
 
 This revelation could not leave the Museums indif- 
 ferent. In consequence of the Exhibition of 1904 the 
 Louvre, aware of its gaps and in order to complete 
 its collections, hastened to acquire some of the master- 
 pieces of French Primitive painting; among others the 
 
 [10 ] 
 
famous Pied of Villeneuve-les-Avignon, of so pathetic 
 an accent, the portrait of the apothecary Pierre Quthe, 
 the only portrait signed by Francois Clouet, and very 
 recently a Resurrection of Lazarus by Nicolas Froment. 
 
 Would America, that possesses already many capi- 
 tal works of Primitives of all Schools, follow this 
 example and take interest also in these French Primi- 
 tives, yet little known and not brought into vogue by a 
 Ruskin? A doubt was permissible, for even France, 
 had taken a long time to discover these treasures of 
 her own past. However, after a few years of hesitation 
 a movement was started. Little by little one saw the 
 Museums of New York, Chicago, Saint Louis, Detroit 
 disputing to the great collectors, such as Mr. John G. 
 Johnson, Mr. Martin A. Ryerson, Colonel M. Friedsam, 
 whose collection alone has 46 French Primitives to its 
 credit, Mr. Mortimer L. Schiff, Mr. Arthur Sachs, and 
 many others, important works of this School at. Sales. 
 
 In view of such facts one may say that the battle in 
 favor of the French Primitives won in Paris in 1904 is 
 today gained also in the United States of America. 
 
 It is to celebrate these magnificent results, to which 
 they have contributed more than anybody else, that 
 the F. Kleinberger Galleries organize today in their 
 new French Gothic building which is so proper for a 
 manifestation of this kind, an Exhibition that will 
 mark a second triumphant étape in the long process 
 of rehabilitating the French Primitives. 
 
 The paintings exhibited here for the delight of the 
 amateurs and the instruction of the scholars are of the 
 X1IVth, XVth, and XVIth centuries. It is thus pos- 
 sible to follow the whole evolution of French painting, 
 beginning from the Middle Ages until the end of the 
 Renaissance. 
 
 It is understood that the works of our “Trecento” 
 are very rare. The Louvre possesses the two most im- 
 portant ones: the portrait of King Fean le Bon, painted 
 about 1360, probably by Gerard d’Orleans, and the 
 Parement de Narbonne, attributed to André Beauneveu, 
 showing the efhigies of King Charles V and his wife, a 
 fact which permits to date the painting at about 1374. 
 The most remarkable work of the end of the century is 
 the marvelous Triptyque de la Chartreuse de Champmol, 
 
 [11] 
 
the necropolis of the Dukes of Burgundy, which is the 
 pride of the Museum of Dijon, but though it had been 
 painted in France, it may be claimed by the Flemish 
 School, for the author, Melchior Broederlam, was a 
 Fleming from Ypres. : 
 
 The Exhibition organized at New York will show to 
 its visitors some curious panels attributed to Jean 
 d’Orleans, son of the painter of Jean le Bon, repre- 
 senting two scenes of the Legend of Salome, asking 
 for and receiving the head of Saint John Baptist (Nos. 
 1 and 2 of this catalogue). 
 
 There are two other very characteristic examples 
 of this archaic epoch: a group of Magian Kings belong- 
 ing to the School of Avignon (No. 3) and a Predi- 
 cation of the Infant fesus in the Midst of the Doctors, in 
 which the picturesque style of Jean Malouel, favorite 
 painter of the Dukes of Burgundy, may be recognized 
 (No. 10). 
 
 From the XVth century on, the conserved works 
 become much more numerous, and in spite of the dis- 
 asters caused by the Hundred Years’ War, the School 
 of French painting proves to be of surprising va- 
 riety and fertility. To tell the truth, the role of Paris, 
 which had been so preponderant during the XIIth cen- 
 tury, had very much diminished at this epoch. Other 
 art centers were formed in the region of the Loire, par- 
 ticularly at Tours, which became the favorite residence 
 of Louis XI, in the Provence where Avignon, the city 
 of the Popes, and Aix, the capital of King René, held 
 the first rank, and finally in Burgundy and in French 
 Flanders, joined under the same domination, where a 
 French-Flemish School developed at Dijon, at Douai 
 and at Valenciennes. 
 
 The Exhibition presents capital or characteristic 
 works of these three principal groups. 
 
 The beautiful portrait of King Louis.XI by the most 
 famous master of the School of the Loire, Jean Fouquet, 
 the most illustrious of the French Quattrocentistes, por- 
 trait that has been loaned by Colonel M. Friedsam 
 (No. 12 of this catalogue), will be especially admired. 
 It is a precious iconographic document from the famous 
 Cabinet formed at the end of the XVIIth century by 
 Roger de Gaigniéres, to whom the Louvre is indebted for 
 the portraits of Jean le Bon and most of the French 
 Kings of the Valois dynasty. Beside Jean Fouquet, the 
 best representatives of this so purely French School of 
 the shores of the Loire are Jean Bourdichon, who was 
 also an exquisite colorist, and Jean Perreal, who is iden- 
 
 [12] 
 
tified today with the mysterious Maitre de Moulins 
 and whose masterpiece is the large triptych at the 
 Cathedral of Moulins in the Bourbonnais. On the 
 panels belonging to Colonel M. Friedsam (No. 34) and 
 Mr. Ryerson (No. 35) one again finds the limpid col- 
 oring of this artist of calm and somewhat mellow tem- 
 perament reflecting the climate of the Valley of the 
 Loire. 
 
 The School of Provence, the meridional character of 
 which is betrayed through sharper lines and a more 
 dramatic accent, is less strictly French, for it under- 
 went the influence of the nearby Italy and of the 
 Flemings who came down the valley of the Rhone. The 
 principal names illustrating this School are Enguerrand 
 Quarton, the author of the charming Virgin of Miseri- 
 cord of the Condé Museum at Chantilly; Nicolas Fro- 
 ment, who painted in 1475 the triptych of the 
 Burning Bush for the Cathedral of Aix; Louis Brea 
 of Nice, and above all the anonymous author of the 
 grand Puieta of Villeneuve-lez-Avignon, today at the 
 Louvre. A curious picture which presumably rep- 
 resents The Sanctification of a Woman by One of 
 the Avignon Popes, with the buildings of Avignon 
 (No. 5), permits to distinguish the great difference 
 between this Provencal art and the lovely, smiling 
 grace of the painters of Touraine and the Bourbonnais. 
 
 The influence of Flanders which is already very ob- 
 vious 1n Provence, is even more pronounced in the 
 Schools of Burgundy and the North of France. It is a 
 known fact that the Dukes of Burgundy had invited 
 to Dijon a whole colony of Flemish painters, the best 
 known of whom are Melchior Broederlam and Jean 
 Malouel. On the other hand, Simon Marmion and 
 Jean Bellegambe at Valenciennes or at Douai were in 
 close contact with their neighbors of Flanders and could 
 not escape the influence of the Masters of Bruges and 
 Antwerp. That is the reason why this School has a 
 somewhat hybrid character and why it is sometimes 
 dificult to decide with certainty whether a work is 
 French or Flemish. In this respect the artistic frontier 
 seems to be as indeterminate and floating as is the 
 political one. 7 
 
 However, it is principally the provenience of the 
 paintings that permits us to assert their French origin. 
 So we know that the very interesting panels of the altar- 
 piece acquired by Mr. Ryerson (Nos. 25-31) were 
 painted for the Chartreuse of Saint-Honoré at Thuison 
 near Abbeville: moreover, this origin is confirmed by . 
 
 Lele 
 
the presence of two Saints who appear on the back of 
 the wings and who were particularly venerated by the 
 Chartreux: Saint Honoré, bishop of Amiens and Saint 
 Hugh, bishop of Lincoln, with the large white swan 
 and the chalice—out of which emerges the Infant Jesus 
 —attributes of the Saint. These panels which have 
 been sawed apart and the principal subjects of which are 
 the Virgin and Child, the Lord’s Supper, the Ascension, 
 and the Pentecost, may be attributed, without risk of 
 error, to the School of Amiens. The architectural back- 
 grounds of a flamy style indicate the end of the X Vth 
 century. 
 
 It is equally to the School of Northern France that 
 one must attribute a very remarkable Diptych, dated 
 1451 and coming from the former Levesque collection 
 (Nos. 15, 16 and 17). In the lively figures of the dona- 
 tors kneeling before their patrons, Saint Peter, cruci- 
 fied with his head down and Saint Anthony kneeling, a 
 certain stiffness, recalling the tapestries of Arras, has 
 been justly remarked. On the other hand, the very 
 minute technic is the same as in the colored Illumi- 
 nated Manuscripts, and we know that the art of minia- 
 ture flourished in that region at the time. 
 
 The most famous Master of this group, the one 
 called by his contemporaries the “‘ Prince of Coloring,” 
 is Simon Marmion, born at Amiens, who worked at 
 Valenciennes in the second part of the X Vth century. 
 It is to him that Mr. Max J. Friedlander gives with 
 utmost assurance the charming Madonna (No. 18), 
 that so much delighted all the connoisseurs at the 
 recent Exhibition of London. 
 
 Jean Bellegambe of Douai is, like Simon Marmion, a 
 French-Flemish painter, but he belongs to another gen- 
 eration. He died only in 1535 and is connected, there- 
 fore, at least partly, with the Renaissance. The archi- 
 tectural backgrounds of extreme richness are treated 
 in his paintings, moreover, in the new ornamental style. 
 His harmonious coloring resembles that of Gerard 
 David and especially that of Quentin .Metsys. 
 
 The Exhibition of New York will certainly draw 
 attention to this too little known Master, for he will 
 be represented with two of his most important works: 
 The Conversion of Saint Paul (No. 41), exhibited at 
 Brussels in 1902, and the beautiful triptych of the 
 Adoration of the Virgin, painted in 1533 for the Abbey 
 of the Cistercians or Bernardines of Flines near Douai. 
 One of the wings of the triptych, (No. 40), represents 
 the popular scene of the vision of Saint Bernard re- 
 
 [14] 
 
ceiving on his face a few drops of milk of the Virgin 
 who is giving Her breast to the Infant Jesus. 
 
 Excepting the decorative paintings of the School of 
 Fontainebleau, which cannot be transported and which 
 it is almost impossible to study today, because most 
 of them have been destroyed or repainted, the French 
 School of the XVIth century shows only painted or 
 designed portraits. In no other epoch had the contin- 
 uous intercourse of the French School between Italy 
 and Flanders been more marked. While the models 
 for the decorative painting, under the impulse of Prim- 
 aticcio and Rosso, were taken from Italy, the portrait 
 painting was inspired by Flanders. Its chief represen- 
 tatives came from Flanders. Jean Clouet, probably 
 originated from Brussels, and Corneille de Lyon was 
 first known as Corneille de la Haye. 
 
 Jean Clouet, called Janet, was the favorite painter 
 of King Francis I. He revived the prematurely tired 
 features of the King in the portrait (No. 45) and also 
 painted the excellent portrait of Guillaume Gouffier, 
 Sire de Bonnivet, which passed from the Richtenberger 
 collection to the Museum of Saint Louis (No. 47), 
 and a lively efigy of a Prince of the House of Savoy, 
 decorated with a necklace of the Order of the Annun- 
 ciation, (No. 44). 
 
 The son of Jean Clouet, Francois Clouet, also sur- 
 named Janet, inherited the commission and became the 
 regular painter of King Henry II and of his successors. 
 He was considered by his contemporaries the first of the 
 French painters, and the poet Ronsard called him “The 
 Honor of Our France’’. He is represented in this Exhi- 
 bition with several works of first rank which justify 
 his reputation. There is for instance: the portrait of 
 Madame de Piennes, daughter of Admiral Chabot (No. 
 53), the pencil study of which belongs to the British 
 Museum; and the portrait of the young King Charles 
 Px (No, 50). 
 
 The name of Corneille de Lyon should not lead us 
 to error: He was, as we have told, of Dutch origin, but 
 he settled early in his life at Lyons, where he executed 
 a great number of portraits, representing personages of 
 the Court of the Valois. How could he paint these 
 portraits living in the province, far away from the 
 Court? Probably after the designs that he had made 
 himself when staying in Paris or after the ones he bor- 
 rowed from Francois Clouet. Be it as it may, these 
 
 small portraits, painted with a light, transparent touch, 
 
 re? 4) 
 
generally on a light blue or a watergreen background, 
 are delicately exquisite, and it will be a pleasure to see 
 on the walls of the Kleinberger Galleries this cortege of 
 high personages and noble ladies of the Court of the 
 Valois in their costumes of refined elegance and a some- 
 time extravagant richness. All these portraits have 
 been loaned by American collectors: Mr. Mortimer 
 L. Schiff, Mr. Jules S. Bache, Mr. Ryerson, Messrs. 
 Leo and Alexander Bing, and above all Colonel M. 
 Friedsam, whose collection of Corneille de Lyon, is 
 unequalled, even in France. 
 
 Thus, summed up broadly, in a forcibly brief and 
 incomplete manner, is the incomparable ensemble of 
 ancient French art which will be presented in New 
 York. Can anyone pretend, after such a brilliant dem- 
 onstration, which would be all the more brilliant had 
 it been possible to join to these paintings and Limoges 
 Enamels the frescoes, the miniatures on parchment, 
 and the glass paintings, that there are no French 
 Primitives? 
 
 Perhaps one might object that among these artists, 
 some are of Italian or Flemish origin. But the paint- 
 ings, framed in stucco and executed by Primaticcio at 
 Fontainebleau, have no equivalent in Italy, and even if 
 Jean Clouet and Corneille de Lyon came from Flanders 
 or from Holland, they could paint only in France, at 
 the Court of the Valois, those delicate portraits for the 
 equals of which one would vainly search Bruges or The 
 Hague. The French milieu transformed these for- 
 eigners who acquired some of the qualities of Jean Fou- 
 quet and of the Maitre de Moulins. 
 
 The French Primitive School, which is so original 
 and so varied, deserves, therefore, to be studied with as 
 much love as the Italian and Flemish Primitives, and 
 there is good reason to hope that the Exhibition of the 
 F. Kleinberger Galleries will draw the attention of the 
 art historians and of the American collectors to a 
 School of the highest interest that has been ignored 
 and unjustly neglected only too long. 
 
 LOUIS REAU 
 [16 ] 
 
JEAN D’ORLEANS 
 (XIVth Century) 
 
 JEAN D’ORLEANS was the son of Girard d’Orleans, 
 painter of King John the Good, whom he followed to 
 London in his captivity. There is attributed to Girard 
 d’Orleans, the celebrated portrait of JEAN LE Bon that 
 recently found its way from the National Library to the 
 Louvre. From 1361 on, his son, Jean, succeeded him 
 in his position at the court of Jean the Good, then at 
 that of Charles V. It was for’ this’ princemtiacene 
 painted his Madonnas, a diptych of the Virgin and 
 Saint Catherine, an Annunciation. He also worked 
 for the Duke of Burgundy. His son, Francis of Orleans, 
 the third of this dynasty of painters, enters upon the 
 scene in 1407. But Jean still continued to paint at the 
 beginning of the fifteenth century, and lived to a good 
 old age till 1420. It is possible that he was the author 
 of the famous Parement de Narbonne preserved at 
 the Louvre Museum, the masterpiece of French 
 painting of the fourteenth century. 
 
 BIBLIOGRAPHY 
 
 Henri Boucuot: Primitive French Paintings, Paris, 
 1904. 
 
 Louis Diuter: History of French Painting, Paris, 
 1926: 
 
 JEAN v’ORLEANS 
 
 No. 1. Satome AsxkinG For THE Heap or St. JouNn 
 THE BaApTIsT 
 
 ON PANEL 
 Height, 3314 Inches; Width, 33% Inches 
 
 King Herod is seated between the queen and his 
 followers at his right and the chief courtiers at his left, 
 before a table supported on trestles and covered with a 
 white tablecloth on which the utensils and plates are 
 reposing. In the foreground his daughter Salome, 
 escofhon-coiffured and dressed in a gown with a long 
 train, slit on the side, seems to be dancing while play- 
 ing the violin. Before her a small page in tight breeches 
 and coat seems to be devoting his entire attention to 
 
 [18 ] 
 
her service and is holding a cup in his hand. A small 
 black dog is sitting on the pavement of enamelled tiles 
 and is looking at him. 
 
 There are defects of proportion and perspective of a 
 very pronounced nature in this scene and the following. 
 One cannot help remarking the anachronism of the 
 violin which Salome is playing as accompaniment in 
 her dance. But this archaic awkwardness is not with- 
 out charm. The physiognomies are very well observed 
 and very individual, notably those of King Herod and 
 his courtiers which are equivalent to portraits. 
 
 Lent by Col. M. Friedsam. 
 
 No. 1. JEAN v’ORLEANS 
 
JEAN v’ORLEANS 
 
 No. 2. Satome ReEcEIvING THE HEAD oF St. JOHN 
 THE BAPTIST 
 
 ON PANEL 
 
 Height, 33% Inches; Width, 33% Inches 
 
 This is the second act of the tragedy. Salome has 
 received what she wanted. Dressed inthesameslit gown 
 as in the previous scene, she receives on a silver plat- 
 ter the aureoled head of St. John the Baptist that the 
 executioner has just cut off with a broad curved sword. 
 Through the prison windows may be seen the clasped 
 hands and decapitated trunk of the martyr whose 
 blood is flowing on the steps. One of the followers of 
 Salome makes a gesture of terror. An old man witha 
 pointed cap and two soldiers clad in irons, with their 
 lances in their hands, are present at the scene. They 
 lean against the shutters of a fortress which, as well as 
 the tower of the prison, is bristling with battlements. 
 On the top of the wall, behind the battlements, three 
 curiosity seekers may be seen. 
 
 In this picture there is, like in the preceding one, a 
 singular and tasteful mixture of very realistic observa- 
 tion and a total ignorance of perspective and propor- 
 tion. 
 
 The prison where St. John the Baptist is beheaded 
 reminds us somewhat of the one where St. Denis re- 
 ceives the last communion in the picture of the Louvre 
 Museum attributed to Jean Malouel and Henri 
 Bellechose. 
 
 Lent by Colonel M. Friedsam. 
 
 [ 20 ] 
 
"ORLEANS 
 
 JEAN pb 
 
 2. 
 
 Oo 
 
 N 
 
SCHOOL OF AVIGNON 
 (End of the XI Vth Century) 
 
 INOW? THe THREE Maaci1 KInGs 
 
 ON PANEL 
 
 Height, 31 Inches; Width, 21% Inches 
 
 In the right foreground the oldest of the Magi kings, 
 bald, with a long pointed beard, half kneeling on the 
 ground. He has his crown in his left hand, having 
 taken it from his head to salute the Divine Child, and 
 holds in his right hand a godroon vase in gilded work 
 which he offers in homage. Behind him are standing 
 the other two kings awaiting their turn. Both have 
 their crowns on their heads and appear in identical 
 gesture. With their right hands they are holding a 
 gold vase while with their left hands uplifted, they 
 express a sign of admiration and astonishment. The 
 first, in the bloom of his age, is bearded, while the 
 second, who is younger, is entirely beardless. It seems 
 that in this group the artist wanted to symbolize, not 
 as usually done in the fifteenth century, the homage of 
 the different parts of the world where Africa is repre- 
 sented by a negro, but the three ages of man’s life. 
 The old Magi on his knees is clad in a red cloak with 
 wide sleeves, tied by a belt at the waist; the second is 
 dressed in blue and purple, the third in light orange and 
 red. The three figures are set off in silhouette on a 
 stone wall ornamented with geometric designs of a 
 greenish-brown color. 
 
 This painting is evidently a fragment and was com- 
 pleted by the figure of the Virgin and the Child Jesus, 
 doubtless accompanied by Saint Joseph. The same 
 composition inverted withs light variations is found in a 
 picture of the old collection of R. von Lippmann, 
 Berlin, which was lent in 1904 to the Exhibition of 
 Primitive French Paintings, organized at Paris. (No. 
 =p] 
 
 The panel in the collection of Colonel Friedsam 
 comes from the Alphonse Kann Collection, Paris. 
 
 BIBLIOGRAPHY 
 Henri Boucuor: Primitive French Paintings, 
 Paris, 1904 
 G. Hu.tin pe Loo: Exhibition of Primitive 
 French Paintings, 1904 
 G. LAFENESTRE: Exhibition of Primitive French 
 Paintings, Gazette des Beaux Arts, 1904. 
 
 Lent by Colonel M. Friedsam. 
 [ 22] 
 
SCHOOL OF AVIGNON 
 
 No. 3. 
 
SCHOOL OF AVIGNON 
 (X1IVth Century) 
 
 No. 4. THE ANNUNCIATION 
 
 ON WOOD 
 
 Height, 10 Inches; Width, 13% Inche 
 
 A remarkably well preserved, beautiful picture on 
 gold background showing the Virgin on a carved and 
 painted throne, clad in a blue cloak. On the left, an 
 angel with large wings painted with vivid colors in the 
 manner of a peacock’s tail, rests on one knee. He is 
 dressed in a black robe with a richly gilded and be- 
 jewelled cloak. On the upper left corner, God in a 
 nimbus watching the scene and blessing the Virgin. 
 
 In an interesting article in the Belvedere, Vienna, 
 1927, No. 55, p. 6, Friedrich Winkler compares this 
 panel with a Diptych in the Carrand Collection at the 
 Bargello in Florence, dating both about 1390. 
 
 Lent by Mr. and Mrs. Arthur Sachs. 
 
 [ 24 ] 
 
SCHOOL OF AVIGNON 
 
 mes 
 
 No 
 
SCHOOL OF AVIGNON 
 (XIVth Century) 
 
 No. S, SANCTIFICATION OF A WOMAN 
 
 ON WOOD 
 
 Height, 31 Inches; Width, 24 Inches 
 
 The Pope on his throne surrounded by Cardinals 
 and an attendant sanctifies a woman. Three nuns 
 are standing behind her. A divine hand extends 
 blessings from the sky. The background is formed by 
 crenellated buildings and palaces of the City of Avignon. 
 A picture brilliant in colors and highly interesting in its 
 execution. 
 
 Lent by F. Kleinberger Galleries. 
 
 [ 26 ] 
 
4 
 H 
 f 
 Hi 
 % 
 . 
 
 PES ee benaans 7s 
 
 IGNO 
 
 SCHOOL OF AV 
 
 5 
 
 ° 
 
SCHOOL OF AVIGNON 
 (End of the XI Vth Century) 
 
 No. 6. St. Martin or Tours 
 
 ON WOOD 
 Height, 44 Inches; Width, 18 Inches 
 
 The Saint stands in front of the Altar, represented 
 in full length. With his both hands he raises high 
 above his head a medal showing the Crucifixion. An 
 angel on the left. On the altar a Chalice: 
 
 Below is the Inscription: “S. Martinus.” 
 
 Lent by Mr. B. 
 
 [ 28 ] 
 
No. 6. SCHOOL OF AVIGNON 
 
SCHOOL OF PROVENCE 
 (About 1400) 
 
 No. 7. THe Vircin ENTHRONED, WITH DoNnaToR 
 AND SAINTS 
 
 ON WOOD 
 Height, 12 Inches; Width, 814 Inches 
 
 Axsove: The Virgin enthroned between a Benedic- 
 tine on the left and a Saint. With the left hand the 
 Virgin holds the Infant Child and the right is extended 
 toward the Donator. She is entirely draped in a blue 
 mantle with golden points. 
 
 Betow: Three Saints standing. The one on the 
 left may be identified with St. Louis of Toulouse, on 
 the right is Mary Magdalene and in the center St. 
 Ambrose. At their feet a lion is devouring a deer. 
 
 Background gold with ornaments. 
 
 Exhibited in Paris in 1904, No. 23. 
 
 Formerly this charming painting was owned by 
 Edouard Aynard in Lyons. 
 
 Lent by Mr. Mortimer L. Schiff. 
 
 SOUTHERN FRENCH SCHOOL OF ABOUT 1450 
 No. 8. THE BiutE Maponna 
 
 ON CANVAS, PASTED ON WOOD 
 
 Height, 41 Inches; Width, 25% Inches 
 
 This picture was probably painted near Toulouse, 
 in the Department of Haute-Garonne, belonging to the 
 School called L’ Ecole du Midi. 
 
 The Madonna is dressed in a blue garment with gold 
 trimmings. The Child wears a reddish-yellow dress 
 and sits on the left of the Madonna. In the back- 
 ground is a screen of gold, brown, and: red which is of 
 tapestry pattern. 
 
 The painting was previously in the collection of 
 Prince Demidoff in Rome. 
 
 Lent by Mr. and Mrs. Henry Barton ‘facobs. 
 [ 30 ] 
 
‘IOOHOS HONYYA NYHHLNOS 8 ‘ON 
 
SCHOOL OF AVIGNON 
 (Early X Vth Century) 
 
 No. 9. THe Mourninc FoR CHRIST 
 
 OAK PANEL: (Rounded at the two upper corners) 
 Height, 19 Inches; Length, 27% Inches 
 
 An intensive and interesting composition in which 
 the figure of the Savior lies emaciated and inert upon a 
 marble sarcophagus. Behind are grouped, with great 
 forethought and reverence, the holy Mother, the two 
 Martyrs, St. John to the left, and the aged Joseph of 
 Arimathea to the right, in the background 1s the head 
 of Nicodemus, or maybe that of the donor, on the ex- 
 treme left a distant vista of the hill of Golgotha. The 
 Madonna, as the central and predominant figure of the 
 composition, is robed in a blue-black mantle, and wears 
 an opaque-white hood that detracts from the flesh of 
 our Lord, which in comparison appears limpid and 
 ashy; Saint John in a cloak of vivid and beautiful red; 
 Joseph of Arimathea wears an ample garb of brocade 
 and fur. 
 
 A very important and rare work. 
 
 From the Rudolph Kann Collection in Paris. 
 
 Described and reproduced by Salomon Reinach in 
 “Repertoire de la Peinture’’. 
 
 Lent by the Art Institute of Chicago. 
 
 [32] 
 
NONDIAV HO'IOOHOS ‘6 ON 
 
 0a : eS " mero 
 
JEAN MALOUEL 
 
 Jean Ma.ovet (Maelwel), died in 1415, was, with 
 Melchior Broederlam of Ypres, one of the most re- 
 markable painters of the court of the Dukes of Bur- 
 gundy. He was in the service of Philip the Bold and 
 Jean the Fearless, who took him to Paris to the mar- 
 riage of his niece, Jacqueline de Baviere, with the 
 Dauphin. There is attributed to him at the Louvre 
 Museum a pathetic little picture of round shape, which 
 represents “The Dead Christ Supported by the Eternal 
 Pathers 
 
 Toward the end of his life he seems to have had 
 recourse to the co-operation of Henri Bellechose, who 
 succeeded him as painter to the Duke of Burgundy in 
 1415. 
 
 The History of Saint Denis (Louvre Museum) 1s 
 said to be partly from his hand, while The History of 
 Saint George, coming also from the celebrated Char- 
 treuse de Champmol near Dijon, is said to be the ex- 
 clusive work of Henri Bellechose. 
 
 BIBLIOGRAPHY 
 
 Henri Boucnuor: Exhibition of Primitive French 
 Pictures, Paris, 1904 
 
 Louis Dimier: History of French Painting, 
 Parisi oes 
 
 Paut-AnprE LEmoIsneE: Painting at the Louvre. 
 French School, fourteenth, fifteenth and 
 sixteenth centuries, Paris, L’///ustration, 
 1 ODE 
 
 JEAN MALOUVEL 
 No. 10. JEsus PREAacHING AMONG THE Docrors 
 ON PANEL 
 
 Height, 44 Inches; Width, 30 Inches 
 The Child Jesus, whose blond head is aureoled with 
 
 a halo, is standing on a wooden platform which is 
 reached by a stairway of sixteen steps. He talks from 
 the top of this pulpit to the great astonishment of His 
 parents, the Virgin and Saint Joseph, standing on the 
 right and the Doctors of the Law, sitting on His left in 
 stalls superposed in two rows. Five of the rabbis are 
 looking attentively into their books, doubtless to make 
 sure that the words of the young preacher are in con- 
 formity to the Law and the Prophets. 
 
 The crowding of the doctors one against the other, 
 their facial expressions as little idealized as possible 
 and almost caricaturistic clearly recall the great panel 
 of the Legend of Saint George of the Louvre, attributed 
 to Henri Bellechose, successor of Jean Malouel, so that 
 
 [ 34 ] 
 
it may be asked whether the painting in the Friedsam 
 Collection, treated somewhat as a genre scene, is not 
 from the hand of the same artist. 
 
 At all events, this interesting painting, coming from 
 a Parisian collection, is one of the works of the most 
 
 picturesque kind of the Burgundian school of the first 
 half of the fifteenth century. 
 
 Lent by Colonel M. Friedsam. 
 
 No. 10. JEAN: MALOUEL 
 
JEAN MALOUEL 
 
 No. 11. THE Maponna AND CHILD ENTHRONED WITH 
 SAINT JEROME AND A WOMAN SAINT 
 
 ON PANEL 
 Height, 2038 Inches; Width, 1334 Inches 
 
 All the critics will agree in considering this charm- 
 ing Madonna, sitting on a throne, between Saint 
 Jerome holding a book, and a Woman Saint who de- 
 votedly lifts the extremities of the linen upon which is 
 lying the Child Christ—as one of the most delicate 
 creations of the French School of the fifteenth century. 
 
 The fineness of the execution from under which jn 
 some places the gold background is simmering through 
 and particularly the dolorous expression in the faces of 
 the Virgin and of the Saints who seem to have a pre- 
 sentiment of the sufferings of the Passion, make one 
 think of the celebrated Pietd by Jean Malouel, favorite 
 painter of the Ducs of Bourgogne. 
 
 This is a small chef d’oeuvre graceful, as well as 
 emotional, that can brave comparison with the best 
 Primitives of the Flemish or Italian Quattrocento. 
 
 Lent by Colonel M. Frtedsam 
 
 [36] 
 
JEAN MALOUEL 
 
 do Wl 
 
 oO 
 
 N 
 
JEAN SOUQUED 
 
 PORN AT TOURS ABOUT 1415 
 DIED AT TOURS ABOUT 1480 
 
 Jean Fouauet’s date of birth is not known. He ts 
 the most celebrated of the Quattrocentists of France. 
 He was in Italy in 1445 and his reputation was so great 
 that he painted the portrait of Pope Eugene IV, of 
 which Vasari speaks with praise. On his return to 
 France he established himself at Tours, his native city, 
 and* was appointed in 1475 official painter to King 
 Louis XI. He is with Jean Bourdichon the last of the 
 great French miniaturists. He illuminated notably 
 “The Judiac Antiquities” of Joseph, preserved at the 
 National Library of Paris, and the “Book of Hours”’ 
 of Maitre Etienne Chevalier, mutilated by a vandal 
 in the eighteenth century, forty leaflets of which, 
 bought back at Frankfort by the Duke d’Aumale, are 
 
 today the pride of the Condé Museum at Chantilly. 
 Taking these miniatures as points of comparison, it 
 was possible to attribute to Jean Fouquet a certain 
 number of paintings, at the head of which series would 
 have been the portrait which so unfortunately disap- 
 peared of Pope Eugene IV. There are the portraits of 
 Charles VII and of Chancellor Guillaume Jouvenel 
 des Ursins, at the Louvre, the portrait of Etienne Chev- 
 alier, formerly of the Berlin Museum that was hanging 
 in the Church of Notre Dame at Melun and now is pre- 
 served at the Antwerp Museum. It is quite logical to 
 suppose that Jean Fouquet had also made several por- 
 traits of King Louis XI, whose official painter he was. 
 In spite of Fouquet’s stay in Italy, where he could 
 have made the personal acquaintance of Fra Angelico, 
 or at least admire his works, his style remains in the 
 pure French tradition. He seems to us the continuer 
 of the great miniaturists who worked for the Duke 
 
 Jean de Berry. 
 BIBLIOGRAPHY 
 
 Henri Martin: Les Miniatures Francais, 
 Paris, 1906. 
 
 Count Paut Durrieu: Les Antiquités Fudaiques 
 et le peintre ‘fean Fouquet, Paris, 1908. 
 
 Les Boccace bE Municn, Munich, 1909. 
 
 Le Livre d’ Heures, peint par Jean Fouquet 
 pour Mairre ErreENNE CuevaLiger. The 
 forty-fifth leaf of this manuscript was 
 found in England. Paris, 1923. 
 
 Max J. Frreptanper. Fine Bildnisstudie 
 fean Fouquet, Jahrbuch der Preussischen 
 
 Kunstsammlungen. T. XXXI, 1910. 
 [38 ] 
 
JEAN FOUQUET 
 INo~1o= “PORTRAIT OF LOUIS XL 
 
 ON PANEL 
 Height, 14¥2 Inches; Width, 10% Inches. 
 
 The king is represented in bust, with right profile, 
 detached on a black background. He is covered with a 
 fur headgear of brown color above a red hood that en- 
 closes the cranium and descends, so as to cover the 
 ears, to the nape of the neck. Under the brim of the 
 hood there is a tuft of hair. On his red garment with 
 yellow collar he wears a collarette of the Order of Saint 
 Michael, formed of grains and shells in alternation, 
 which falls on his back. There hangs on his chest, 
 attached to a golden chain, the medallion of the order 
 with the image of his patron saint. 
 
 The great interest attaching to this portrait centers 
 in the rigorous conformity of it to the water color of the 
 celebrated Gaigniéres Collection, kept at the Stamp 
 Cabinet of the National Library in Paris. There is in- 
 scribed at the bottom of this precious document: 
 “Copied from an original portrait painted at the time 
 in the cabinet of Mr. Gaigniéres.”’ It is therefore law- 
 ful to admit that the portrait in the collection of 
 Colonel Friedsam is the same which was in the cabinet 
 of Mr. de Gaigniéres and which he caused to be repro- 
 duced in his collection. 
 
 There was also another water color of King Louts 
 XT, on foot, in the Gaigniéres Collection; but it did not 
 belong to the celebrated amateur, for on the design 
 this manuscript note is found: “Copied after an original 
 portrait in oil in the apartment of Madame la Duchesse 
 de Nemours at the Hotel de Soissons, Paris.”’ 
 
 The fact that it comes from one of the most famous 
 collections of portraits of the Ancien Regime already 
 gives the painting in the collection of Colonel Friedsam 
 a title of nobility and a guaranty of authenticity. It 
 may be affirmed, without fear of error, that Fouquet 
 was not attached during more than five years to the 
 person of the king without making his portrait. 
 “Nothing informs us formally,” writes Henri Bouchot, 
 “that Fouquet painted King Louis XI, but as he was 
 at the court in an official capacity, it is very likely 
 that he painted the son as well as the father.”’ 
 
 It is objected that the portrait of Louis XI which 
 was in the seventeenth century in the Royal Collec- 
 tions at the Chateau of Fontainebleau, and which was 
 
 [39 ] 
 
engraved in 1560 by Jean Morin is not identical with 
 the portrait known in the Gaigniéres Collection; the 
 fur bonnet is adorned with the leaden image, of which 
 the chronicler Philippe de Commines speaks, and the 
 Order of Saint Michael is worn on the collar instead of 
 falling down the back. But nothing proves that Jean 
 Fouquet has not painted several portraits of the king; 
 it is even exceedingly probable. 
 
 The exceptional quality of this painting is also an 
 argument in favor of attributing it to the greatest 
 master of the fifteenth century. It is very superior to 
 the replica in the Museum of Arianna near Geneva, 
 and can go hand in hand with the portraits of Charles 
 VII and of Jouvenel des Ursins at the Louvre. 
 
 This painting figured at the Exhibition of Primitive 
 French paintings in 1904, (No. 102.) It comes from the 
 Baron Vitta Collection, Paris. 
 
 BIBLIOGRAPHY 
 
 G. Dupteissis: Roger de Gaigniéres and his 
 Iconographic Collections. Gazette des Beaux 
 ALIS NSO: 
 
 CH. DE GRANDMAISON: Gaigniéres, his corre- 
 spondents and his collection of portraits. 
 Niort. 1892. 
 
 Henri Boucuor: Two portraits of Louis XJ. 
 Gazette des Beaux Arts, 1903. 
 
 Lent by Colonel M. Friedsam. 
 
 [40] 
 
JEAN FOUQUET 
 
 No. 12. 
 
JEAN FOUQUET 
 No. 13. Portrait or A MAN 
 
 ON WOOD 
 Diameter, 9% Inches 
 
 An extremely interesting head with a strong ex- 
 pression. The eyes, nose and mouth are beautifully 
 modeled and the vigorous execution of the whole por- 
 trait is worthy of the great Master. A blue-gray head- 
 dress, as worn in the middle of the XVth Century, 
 stands out against a very fine red background. 
 
 Exhibited at the Fogg Art Museum, Cambridge, 
 Mass., 1927. 
 
 Lent by Mr. and Mrs. Arthur Sachs. 
 
 [42] 
 
ate) 
 
 = 
 
 1440 
 
 CHOOL OF ABOUT 
 
 FRENCH S 
 
 No. 14 
 
NORTHERN FRENCH SCHOOL OF 1451 
 
 Nor sl 5. THE CRUCIFIXION OF ST. PETER 
 
 ON WOOD 
 
 Height, 45 Inches; Width, 31 Inches 
 
 This most remarkable panel belongs to a diptych 
 the other parts of which are shown in this catalogue 
 under Nos. 15 and 16. 
 
 The Donator is kneeling with his hands joined. A 
 manuscript prayer book is before him. The Martyrdom 
 of St. Peter is taking place, before several persons 
 richly attired, in a beautiful landscape with castles and 
 spires. 
 
 Mr. Albert van de Put, of the South Kensington 
 Museum, recognized the Coat of Arms as that of the 
 Chevalier Au Cygne. 
 
 Described and reproduced by Jean Guiffrey, Pierre 
 Marcel and Charles Terrasse in La Peinture Francaise. 
 Les Primitifs. Second Series, Plates xxxtI—xxxvll. 
 
 Formerly in the Levesque Collection. 
 
 Lent by F. Kleinberger Galleries. 
 
 [46] 
 
FRENCH SCHOOL OF 1451 
 
 N 
 
 NORTHER 
 
NORTHERN FRENCH SCHOOL OF 1451 
 No. 16. St. ANTHONY IN PRAYER 
 
 ON WooD 
 Height, 45 Inches; Width, 31 Inches 
 
 The right part of the diptych. St. Anthony is 
 kneeling on the left, with uplifted head, in prayer. 
 Before him is kneeling the Donatrix with her hands 
 on a manuscript prayer book. A hilly landscape with 
 a path between the rocks, on which an angel, leading 
 two camels, 1s approaching, 
 
 The same Coat of Arms as the one on the left part 
 of the Diptych 1s beside the Donatrix, indicating that 
 she is the wife of the Chevalier Au Cygne. 
 
 Described and reproduced by Jean Guiffrey, Pierre 
 Marcel and Charles Terrasse in La Peinture Frangaise. 
 Les Primitifs. Second Series. Plates xxxl—xxxvil. 
 
 Formerly in the Levesque Collection. 
 
 Lent by F. Kleinberger Galleries. 
 
 [ 48 ] 
 
4 
 i 
 | 
 
 No. 16. NORTHERN FRENCH SCHOOL OF 1451 
 
NORTHERN FRENCH SCHOOL OF 1451 
 
 Nos ly: THE ANNUNCIATION 
 
 ON WOOD 
 
 Each Panel: Height, 48 Inches; Width, 31 Inches 
 
 The two wings of the diptych described under Nos. 
 14 and 15. On the panel showing the Angel is the date, 
 1451. 
 
 The execution of the whole diptych is of a realistic 
 character, broadly painted and of a very delicate 
 technique. The donator recalls in many respects The 
 Man With the Wineglass in the Louvre Museum in 
 Paris. The Angel and the Virgin are attired in long 
 robes with many folds, as is seen in Flemish paintings 
 of the period. 
 
 Certain parts of this diptych, notably the persons 
 and the architecture, recall the Arras Tapestries and 
 especially The Liberation of St. Peter (1454) conserved 
 at the Cluny Museum in Paris. 
 
 Described and reproduced by Jean Guiffrey, Pierre 
 Marcel and Charles Terrasse in La Peinture Francatse. 
 Les Primitifs. Second Series. Plates xxxl—xxxvil. 
 
 Formerly in the Levesque Collection. 
 
 Lent by F. Kleinberger Galleries. 
 
 [50 ] 
 
Ist] HO TOOHDS NUYAHLYON “ZI ‘ON 
 
SIMON MARMION 
 
 (Born in Amiens about 1425; died in Valenciennes in 
 1480) 
 
 Simon Marmion belongs, like Jean Bellegambe, to 
 the French-Flemish School. Born at Amiens, he 
 worked at Valenciennes in the second half of the fif- 
 teenth century and enjoyed great reputation as a 
 miniaturist. The poet Lemaire called him the “prince 
 of coloring.” He is probably the author of the manu- 
 script in the Petrograd Library: “The Great Chronicles 
 of Saint Denis,” that Guillaume Filastre had copied 
 for the Duke of Burgundy, Philip the Good. 
 
 It is this same Guillaume Filastre who gave to the 
 abbey of Saint Bertin at Saint Omer a set of pictures 
 decorating an altar-piece of gilded work in which is 
 seen the entire Legend of Saint Bertin. These small 
 panels, dispersed at the time of the Revolution, passed 
 to the collection of the King of Holland, then into that 
 of the princes of Wied who sold them in 1906 to the 
 Berlin Museum. They are treated with the finish of 
 the miniature and, as they were executed, according to 
 tradition, at Valenciennes, about the year 1460, it was 
 thought that they might be attributed to Simon 
 Marmion. It is true that this attribution was con- 
 tested by Count Durrieu who put forward the name of 
 Jean Hennecart, valet de chambre and painter of the 
 Duke of Burgundy. 
 
 A precious picture in the Louvre, The Discovery of 
 the Holy Cross, could also, with some probability, be 
 attributed to Simon Marmion. 
 
 BIBLIOGRAPHY 
 
 Mer. Denatsnes: Investigations on the altar- 
 piece of Saint Bertin and on Simon Mar- 
 mion, Lille. 
 
 L. pE Fourcau.p: Simon Marmion. Revue de 
 l Art Ancien et Moderne, 1907. 
 
 Henautt: Les Marmion. Revue Archeologique, 
 1907. 
 
 SIMON MARMION 
 Nomis: THe Maponna wiTH CHILD 
 
 ON WOOD 
 
 Height, 1414 Inches; Width, 10% Inches 
 
 _ The Madonna enthroned is shown in front of a 
 piece of rich red and gold brocade between two columns. 
 
 [52] 
 
An interesting landscape is visible on both sides, 
 with buildings on the shores of lake. The Madonna 
 wears a blue mantle. Her blond hair is falling on her 
 shoulders. The Child is resting in her arms. Her 
 hands are folded in prayer. 
 
 Dr. Friedlander considers this painting to be a very 
 fine and characteristic work of the Master. 
 
 Exhibited at the Royal Academy in London, Feb- 
 Peary 27. No. 69, 
 
 Lent by F. Kleinberger Galleries. 
 
 No. 18. SIMON MARMION 
 
SIMON MARMION 
 No. 19. Curist BEARING THE CROSS 
 
 ON PANEL 
 Height, 14% Inches; Weight, 10% Inches 
 
 Christ dressed in a long robe and crowned with 
 thorns is mounting Golgotha barefooted, bearing on 
 his left shoulder a gigantic cross, instrument of his 
 punishment. He 1s led by five executioners. The one 
 at the head, covered with a helmet with chin-piece and 
 dressed in blue and red, is dragging him by a rope fixed 
 around his waist; another, in a yellow and blue dress, 
 covered with a tapering hat of red color, 1s pushing 
 him brutally from behind, seizing him by the hair. 
 The other three soldiers, one of whom is dressed in a 
 cut doublet, are advancing behind the cross. There is 
 seen on the left the gate of a city where the cortege 
 has just passed. In the background of landscape be- 
 hind a verdure-covered hillock there are towers and 
 spires. 
 
 The very elongated figures, of an almost caricatural 
 leanness, certain details of dress, as, for instance, the 
 tapering caps and bonnets, the tight- fitting breeches, 
 the pointed shoes, make one think of the paintings of 
 Thierry Bouts. The executioner on the right, who is 
 dragging Jesus by a cord, is almost identical with the 
 person who is raising an arm of the miraculous cross 
 in the Discovery of the Holy Cross in the Louvre. 
 
 The scene of the bearing of the cross that the 
 painter has represented in this panel, which was doubt- 
 less a part of a cycle of the Passion, is transposed in the 
 costume of the time, without any concern about local 
 color and with the most complete disdain of anachron- 
 isms. The executioners are soldiers of the fifteenth 
 century; the gate of Jerusalem could also very well be 
 the gate of Valenciennes. 
 
 This painting, which is very well preserved, comes 
 from the collection of Baron Tolin, Paris, and is cer- 
 
 tified by Dr. M. Friedlander. 
 
 Lent by Colonel M. Friedsam. 
 [e343] 
 
SIMON MARMION 
 
 No. 19. 
 
SIMON MARMION 
 
 No. 20. St. GEORGE AND THE DRAGON 
 
 ON WOOD 
 Height, 20% Inches; Width, 151% Inches 
 
 St. George on a White Charger attacks the Dragon 
 with the lance. 
 
 At a short distance on a rock the Princess Cleodo= 
 linde is kneeling in prayer. 
 
 A fortress is seen in the background with a multi- 
 tude of observers. The subject of this painting is in 
 accordance with the Legend as related by Jaques de 
 Voragine. 
 
 Lent by Mr. and Mrs. Otto H. Kahn. 
 
 [56 ] 
 
No. 20. SIMON MARMION 
 
SIMON MARMION 
 
 No. 21. Porrrair or PuitippE Le Harpy, DuKE oF 
 Burcunpby (1342-1404) 
 
 ON WOOD 
 
 Height, 16% Inches; Width, 11% Inches 
 
 Turned to the left he is seen in profile. On the head 
 is a high black hat without brim, on which is a jewel 
 adorned with a ruby. The face is clean-shaven, 
 Round the neck he wears a fur-collar. The coat is 
 pink, with a white design above, ornamented with 
 jewels. From the neck hangs a medal with a precious 
 stone in the centre (probably the Order of the Star, 
 founded by his father, Jean Le Bon, King of France). 
 Light green background. 
 
 Inscription above: 
 
 ‘PHILIPPE LE HARDY FIX DU ROY JEAN DUX DE 
 BOGNE. 
 
 Former Collections: 
 
 Mr. Serullaz, Paris; Count Montebello, Paris. 
 
 Lent by Mrs. Thomas Ff. Emery. 
 
 SIMON MARMION 
 
 No. 22. Porrrair oF JEAN Sans PEuR, DUKE OF 
 Burcunpy (1371-1419). 
 
 ON WOOD 
 
 Height, 15 Inches; Width, 11% Inches 
 
 Seen in profile, turned to the left, his Wandsware 
 joined in prayer. Jean Sans Peur was murdered on 
 September 10, 1419, by a follower of the Dauphin 
 Charles (later Charles VII), Tanneguy-Duchatel, on 
 the bridge of the Yonne, near Montereau. He was the 
 son of Philippe Le Hardy, whom he followed on the 
 throne. In 1396 he was made prisoner of the Turks at 
 the battle of Nikopolis, but was freed upon payment 
 of 200,000 Ducats. 
 
 Energetic, bold, and at the same time just, he was 
 loved by his subjects. 
 
 Inscription above: 
 
 ‘““JEAN DUC DE BOGNE FUC OCCIS A MOTEREAU.’ 
 
 Former Collections: 
 
 Mr. Serullaz, Paris; Count Montebello, Paris. 
 
 Lent by Mrs. Thomas F. Emery. 
 [58 ] 
 
 ’ 
 
NOINUYVW NOWIS ‘Tt ‘ON NOTNYVW NOWIS ‘cz ‘ON 
 
 a ad 
 Sddi THd 
 
SIMON MARMION 
 
 No. 23. Porrrair oF PuirippeE Le Bon, DUKE OF 
 Burcunpy (1396-1467). 
 
 ON WOOD 
 
 Height, 15 Inches; Width, 11% Inches 
 
 Turned slightly to the right, he wears a crown and 
 on his shoulders the order of the Golden Fleece. 
 
 Allied with Henry V of England, he fought against 
 Charles VII of France, against whom he was highly 
 incensed on account of the murdering of his father. 
 In 1435 he finally made peace with Charles VII at 
 Arras. 
 
 Philippe Le Bon encouraged arts, sciences, and 
 industries; of the last particularly the weaving of 
 tapestries. In 1424 he founded the Order of the 
 Golden Fleece. 
 
 Inscription above: 
 
 “‘ PHILIPPE LE BON DUC DE BOURGOGNE. 
 
 Former Collections: 
 
 Mr. Serullaz, Paris; Count Montebello, Paris. 
 
 Lent by Mrs. Thomas Ff. Emery. 
 
 SIMON MARMION 
 
 No. 24. Portrait oF CHARLES THE BoLpD, DUKE OF 
 Burcunpy (1433-1477). 
 
 ON WOOD 
 
 Height, 15 Inches; Width, 11 Inches 
 
 He is seen in three-quarter profile, turned to the 
 right. Brown hair, clean-shaven face, the hands 
 raised in prayer. He is attired in a pink-colored coat, 
 adorned with fur. The upper part of his coat is dark 
 green. He wears the Order of the Golden Fleece, with 
 broad chain, adorned with turquoises. Black back- 
 ground. Charles the Bold succumbed with his army 
 in the battle against the Duke of Lorraine at Nancy 
 on the 5th of January, 1477, where he was himself 
 killed. 
 
 Inscription above: 
 
 ““CHARLES DUC DE BOURGOGNE FUT TUE DEUAT 
 NACY.” 
 
 Former Collections: 
 
 Mr. Serullaz, Paris; Count Montebello, Paris. 
 
 Lent by Mrs. Thomas F. Emery. 
 [ 60 ] 
 
NOINYVW NOWIS * 
 
 al 
 fe) 
 Z 
 
 NOIWUVW NOWIS ‘?¢o ‘ON 
 
SCHOOL OF AMIENS OF ABOUT 1480 
 
 ‘These seven panels, belonging to Mr. Martin A. 
 Ryerson, (Nos. 20 to 26) are all that remain of a 
 large polyptych altarpiece painted for the high altar 
 of the ancient Carthusian monastery of St. Honoré 
 at Thuison, a suburb of Abbeville, which, having 
 flourished and grown very wealthy during the four- 
 teenth century, was destroyed during the French Revo- 
 lution. Originally the panels were four, painted on 
 both sides, but they were sawed through, making eight. 
 Of these, one, The Resurrection of Christ, has disap- 
 peared. The other seven represent: The Last Supper, 
 The Ascension, The Coming of the Holy Ghost, The 
 Virgin and Child, St. John the Baptist, St. Hugo, 
 Bishop of Lincoln, and St. Honorius, Bishop of Amiens. 
 
 A description of the altarpiece is to be found in the 
 Siffait manuscripts, so-called from the name of the 
 family owning the originals. These were notes written 
 by various inhabitants of Abbeville from time to time 
 from 1657 to about the end of the eighteenth century.” 
 In Volume V, which covers the years 1774-1780, the 
 author describes the high altar of the monastery as 
 follows: “Access is had by three steps; above the taber- 
 nacle and the steps is a box, wherein is represented in 
 gildened sculpture the Saviour’s Passion. When closed, 
 they reveal, painted on the outside of the corners, the 
 Holy Virgin, St. John the Baptist, St. Honorius and 
 St. Hugo, which are shown on the preceding page.”’ 
 The illustration to which the author refers shows the 
 altarpiece in detail, with both open and closed wings. 
 When open, the inner panels—the Last Supper, lost 
 Resurrection, Ascension and Coming of the Holy 
 Ghost—were visible, two on either side of the carved 
 oak retable of the Crucifixion which occupied the 
 center. According to Abbe Lefebre, during the Revo- 
 lution in January, 1795, the furniture, altars, retables 
 and paintings of the monastery were auctioned and 
 the monks forced to leave.** The Ryerson panels were 
 purchased by the Abbé Cauchy, the curate of the 
 Church of the Holy Sepulchre at Abbeville and so 
 preserved there. 
 
 M. Emile Delignieres believes the Thuison panels 
 were painted before 1440 because of an account by the 
 Abbe Lefebre of a visit to the monastery by Philip 
 the Good and his gift to the Prior, Dom Firmin le Ver, 
 incumbent until the year 1440, of “sixty pounds parisis 
 in doles, a violet velvet chasuble sewn with golden 
 fleurs de lys barred with gold, also four gilded wooden 
 painted panels which are placed upon the high altar.” 
 
 [ 62 ] 
 
The original manuscript from which Abbé Lefebre 
 made this excerpt has disappeared, and the Abbé him- 
 self is dead. 
 
 M. Delignieres suggests that the panels may be early 
 works by Rogier van der Weyden, but the analogy 
 between the panels and Rogier’s Ascension and Last 
 Judgment in Antwerp is slight indeed. He also sug- 
 gests that the outer wings and the inner panels are not 
 painted by the same hand, but no basis for his conten- 
 tion can be found in the works themselves. 
 
 Dr. Friedlander believes these panels to have been 
 executed about the year 1480. He sees in them “very 
 interesting works, productions of the school of Amiens, 
 which otherwise is unknown to us.” They are, he 
 says, considerably more primitive and earlier than the 
 Antwerp Mannerists. 
 
 (Robert B. Harshe, Director of the Art Institute 
 of Chicago, in his Catalogue of the Martin A. Ryerson 
 Collection.) 
 
 *Prarond: ‘Topography of Abbeville, 1, 356. The most re- 
 markable happenings in Abbeville, from the year 1657 to the present. 
 Notes to serve as sequel to the ecclesiastic history as well as the his- 
 tory of the Mayors of Abbeville. 
 
 ** Abbé Lefebre History of the Carthusian Monastery of St. 
 Honoré. 
 
 BIBLIOGRAPHY 
 
 DeELIGNIERES, E. Réunion des Sociétés des 
 Beaux-Arts des Departments, published by 
 the Ministere de [Instruction Publique et 
 des Beaux-Arts, 1898. 305-343. 
 
 Praronpd. Topography of Abbeville: The 
 Most Remarkable Happenings in Abbeville 
 from the Year 1657 to the Present. Notes to 
 serve as sequel to the ecclesiastical history as 
 well as the history of the mayors of Abbeville. 
 
 ABBE LEFEBRE. Ffistory of the Carthusian 
 Monastery of St. Honoré. I, 356. 
 
 Catalogue of Exposition des Primitifs Frangais 
 (supplement), Paris, 1904. No. 353. 
 
 ABBE Crozet: Hagiography of the Diocese of 
 Mmicns, ALL, 338-77. 
 
 ForMER Owners: Monastery of St. Honoré at 
 Thuison-les-Abbeville. 
 
 Acquired from the F. Kleinberger Galleries. 
 [ 63 J 
 
SCHOOL OF AMIENS OF ABOUT 1480 
 
 Nor 2s: THE VIRGIN AND CHILD 
 ON WOOD 
 
 Height, 453% Inches; Width, 197% Inches 
 
 This was originally one of four panels forming the 
 outer side of the altarpiece wings. The Virgin stands 
 in a semi-circular niche, surmounted by a projecting 
 dais painted in grisailleé. She bears the Child in her 
 right arm and in her left hand holds a fig before his 
 intent gaze. She is amiable, more full-faced than in the 
 Ascension and the Descent of the Holy Ghost, remind- 
 ing us somewhat of Virgins by Bouts. She wears a 
 green dress and over it a sleeved mantle of gold bro- 
 cade, Italian in type, with medallions of flowering 
 thistles on a red ground. The gold hem is set with 
 emeralds and pearls. A dark blue mantle covers the 
 top of her head and falls in graceful folds to the square- 
 tiled floor. 
 
 The Child wears a short white robe, and on his 
 right hand a friendly small bird is perched. The 
 Child’s face bears a family resemblance to that of St. 
 Peter in the Last Supper panel. Between the pointed 
 arches are placed, each in a painted niche, statuettes 
 of four prophets in high relief. 
 
 Lent by Mr. Martin A. Ryerson. 
 
 [ 64 } 
 
SCHOOL OF AMIENS OF ABOUT 1480 
 
 No. 25. 
 
SCHOOL OF AMIENS OF ABOUT 1480 
 
 No. 26. Tue Last SuPPER 
 ON WOOD 
 
 Height, 4538 Inches; Width, 197% Inches 
 
 The scene takes place here in an upper room, the 
 back portion of which is covered with a gaufered leather 
 curtain decorated with gilt arabesques surmounted by 
 a dais painted in grisaille, containing three compart- 
 ments divided into triangles. Each compartment 1s 
 separated from the others by a sort of buttress. 
 
 The Christ stands at the far end of an oblong table, 
 around which are grouped the Twelve. At the Christ’s 
 left stands Peter, white-bearded, his crown of white 
 hair under the bald head surrounded by a plain gold 
 nimbus. To the right of the Christ sits St. John, red- 
 haired, wearing a dark red robe and a pale blue mantle; 
 his arms are resting on the table, his eyes are lowered 
 as if asleep, while he leans his boyish beardless face 
 against the Saviour. At John’s side is another apostle 
 with long white beard and hair, a golden halo around 
 the head, clothed in a mantle with a wide lowered hood 
 which falls over a golden robe adjusted to the belt. 
 
 The other disciples sit around the table, some with 
 hands folded, all generally in an attitude of reverence 
 and adoration. 
 
 To the right, seen through a door standing ajar, is 
 an accessory composition, the Washing of Feet. Here 
 the Saviour kneels with sleeves rolled back and an 
 apron at His waist, in the act of washing Peter’s feet in 
 a golden basin. The Apostle is easily recognizable. 
 Other disciples, ten in number, group themselves in 
 the background. 
 
 Lent by Mr. Martin A. Ryerson. 
 
 [ 66 ] 
 
i 
 fo a SSS 
 
 “ 
 
 No. 26. SCHOOL OF AMIENS OF ABOUT 1480 
 
SCHOOL OF AMIENS OF ABOUT 1480 
 
 No.2 7 Tue ASCENSION 
 
 ON WOOD 
 Height, 4538 Inches; Width, 197% Inches 
 
 The Ascension is handled in the same manner as 
 the Last Supper and most of the figures are the same, 
 agreeing in resemblance as well as costumes. Above 
 the round orbit of the earth filling half the field of the 
 composition, the Christ is ascending; His naked feet 
 have just left the ground upon which their imprints 
 remain. The right hand is raised in a gesture of bless- 
 ing, the rigid body is clad in a dark violet robe. The 
 head is surrounded by a gilt cruciform nimbus; hair 
 and beard are red. The body is bathed in golden rays 
 coming from the sky, while clouds to right and left are 
 bending down, ready to receive Him. On the hem of 
 His garments, interrupted by the folds, are words 
 from stanzas in honor of the Virgin: Salve sancta dei 
 genetrix .. Opéra mantim™] | tw. . spon 
 
 Before the earth ball, which they hide in part, the 
 apostles are grouped on their knees, in varying atti- 
 tudes. Hands are raised in surprise and adoration 
 and, on the right, two apostles awkwardly shield their 
 eyes to protect them from the blinding celestial light. 
 All are draped in ample garments with gilt borders of 
 differing sizes and styles. The Virgin kneels to the 
 left, the long-fingered hands joined flat, head raised, 
 eyes filled with an ineffable expression of mingled adora- 
 tion, regret, and resignation. Behind the Virgin, some- 
 what to her left, we recognize the red-haired, young 
 and beardless St. John, whose short, very pale blue, 
 almost white, mantle contrasts with the subdued red 
 of the robe. To the right of the Virgin, in side view 
 but facing her, St. Peter kneels. He wears pale blue 
 robe covered with a wide red mantle with gilt border. 
 Of the remaining characters, grouped on second and 
 third planes, two stand out particularly. One, seen 
 entirely from the back, wears gold embroidered, crim- 
 son garments, a mantle with gilt orfrays, and a sky 
 blue scarf over the arms. The second wears a green 
 robe and mantle. The heads of both are thrown back 
 and foreshortened to watch the Christ’s ascension 
 immediately above them; nothing shows except the 
 top of forehead and the nose. 
 
 Lent by Mr. Martin A. Ryerson. 
 [ 68 ] 
 
ABOUT 1480 
 
 F AMIENS OF 
 
 SCHOOL O 
 
 INOs 27) 
 
SCHOOL OF AMIENS OF ABOUT 1480 
 
 No. 28. THE DESCENT OF THE Hoty-GuHosT 
 
 ON WooD 
 Height, 4538 Inches; Width, 197% Inches 
 
 In a deep, narrow room, floored with black-and- 
 white square tiles, lighted from sides and back by win- 
 dows set with little panes forming lozenges, the Holy 
 Ghost appears in the traditional shape of a dove with 
 wings extended, flying in a golden nimbus. From that 
 focus golden rays leaping into flames fall radiantly 
 upon the apostles grouped around the Virgin. The 
 upper part of the room is cut off by a gilt dais, con- 
 sisting of a wide string-course upon which there are 
 line-drawings made with a pen of the full-length 
 statues of eight prophets placed each in a little niche; 
 these again end in points with round knobs and stand 
 out on the red background like an embroidery accen- 
 tuating the architectural details. Between the two 
 groups of prophets and framed by the wide arch 
 which spands the room, the episode of the Serpent in 
 the Wilderness is represented. 
 
 The composition of the main scene resembles those 
 treated before; the same characters appear dressed in 
 almost identical garb. The Virgin sits in the midst of 
 the apostles, St. John and St. Peter, both kneeling 
 beside her. 
 
 A Virgin with Saint James and a donor in the 
 Lord Leconfield Collection, Petworth, given to a Bur- 
 gundian painter of the sixteenth century, and a Death 
 of the Virgin in the Museum at Lyons (catalogued as 
 by an unknown painter) show a close family resemb- 
 lance to the Virgin in this panel. 
 
 Lent by Mr. Martin A. Ryerson. 
 
 [70 ] 
 
AMIENS OF ABOUT 1480 
 
 SCHOOL OF 
 
 No. 28. 
 
SCHOOL OF AMIENS OF ABOUT 1480 
 
 Nop 29: SAINT JOHN THE Baptist 
 ON WOOD 
 
 Height, 453% Inches; Width, 197% Inches 
 
 St. John the Baptist stands in a niche almost identi- 
 cal with that occupied by St. Honorius. He wears a 
 brownish-red tunic covered. with a brick-red mantle, 
 which lifted by his left arm, shows his thin legs and 
 curious feet, which have become, in the artist’s struggle 
 to render them in steep perspective, almost deformed. 
 On his left arm he carries a large closed book on which 
 rests the divine lamb to which the saint points with 
 his right hand. Within the grisaille compartments of 
 the dais above the saint’s head, painted to represent 
 carved stone, are the episodes of the saint’s life: his 
 Birth; his Preaching in the Wilderness; the Baptism of 
 Christ; the Appearance before Herod; the Decapita- 
 tion. The saint’s hair is chestnut in color and his russet 
 beard, divided into two points, recalls that of the Christ 
 in The Last Supper, whose facial type indeed is similar. 
 
 Lent by Mr. Martin A. Ryerson. 
 
 [72] 
 
ABOUT 1480 
 
 SCHOOL OF AMIENS OF 
 
 PISS. 
 
 No. 
 
SCHOOL OF AMIENS OF ABOUT 1480 
 
 No. 30. St. Honorivus 
 
 ON WOOD 
 
 Height, 4538 Inches; Width, 197% Inches 
 
 It was under the patronage of St. Honorius, one of 
 the early bishops of Amiens, that during the fourteenth 
 century the Carthusian monastery of Thuison was 
 founded. St. Honorius was born at the village of Port- 
 le-Grand, eight kilometers from Abbeville. He died in 
 the year 600 and was buried in his native village. In 
 the ninth century his remains were removed to the 
 cathedral of his episcopal see. The right lateral portal 
 of Amiens Cathedral shows various miracles performed 
 by him. Two of these miracles appear on one of the 
 carved wood retables which also came from the Car- 
 thusian monastery of Thuison and which, according to 
 Abbé Crozet,* were still at the Crotoy in Abbeville 
 in 1870. The same miracles appear among the five 
 compartments of the dais in this panel, representing 
 episodes in the life of St. Honorius: kneeling, appointed 
 bishop; healing a paralytic; apparition of a divine hand 
 above the altar during his celebration of the mass; at 
 prayer in his cell; exhumation of the relics of St. 
 Fuscian, St. Victoric and St. Goutran. 
 
 * Abbé Crozet: Hagiography of the Diocese of Amiens, III, 38-77. 
 
 Lent by Mr. Martin A. Ryerson. 
 
 ead, 
 
SCHOOL OF AMIENS OF ABOUT 1480 
 
 No. 30. 
 
SCHOOL OF AMIENS OF ABOUT 1480 
 
 No. 31. Saint Huco, BisHop or LiIncoLn 
 ON WOOD 
 
 Height, 4538 Inches; Width, 197% Inches 
 
 St. Hugo, the scion of a noble house of Burgundy, 
 having taken orders at the Grande Chartreuse (the 
 Mother-house of the Carthusians) near Grenoble, had 
 been prior of the Carthusian Monastery of Wittham 
 in England, afterwards becoming archbishop of Lincoln 
 in 1185. He dies there on November 17, 1200 and the 
 monks at Wittham gave his remains to the Monastery 
 at Thuison. 
 
 He stands beneath a dais, identical with that in 
 the panel of the Virgin and Child, holding in his right 
 hand a crozier and in his left a golden chalice from 
 which the Christ Child emerges. His white linen 
 monk’s vestments covered with an ample scapular, fall 
 to his feet. The dark blue bishop’s cope, repeating 
 the thistle patterns of the Virgin’s gown, is fastened 
 at the breast bya large gold plaque-s=@mstnicm. 
 chased, within a circle of cusps, the Christ whose left 
 hand holds the symbolic ball and whose right hand is 
 raised in blessing. The mitre and the wide facings of 
 the cope are richly ornamented with pearls and precious 
 stones. 
 
 The phenomenon of the large swan with the gold 
 band about its neck results, according to M. Delig- 
 nieres, from a tradition that Saint Hugo doubted the 
 actual presence of the Savior within the Eucharist. 
 These doubts were dissipated by the miraculous ap- 
 pearance of the Christ Child from the chalice at the 
 moment when the devil, in the guise of a swan, was 
 endeavoring to distract the Saint’s attention. The 
 left hand of the Saint, as well as the badly drawn 
 chalice and the child are the work of another and 
 much later hand. 
 
 Lent by Mr. Martin A. Ryerson. 
 [76] 
 
No. 31. SCHOOL OF AMIENS OF ABOUT 1480 
 
JEAN BOURDICHON 
 
 Jean BourpicHon is, after Jean Fouquet, the chief 
 representative of the School of Tours. From 1479 to 
 his death, which occurred about 1521, he was em- 
 ployed as painter and colourer by the Kings of France: 
 Louis XI, Charles VIII, Louis XP and Pirancicets 
 
 His most popular masterpiece is the decoration of 
 the Great Hours of Queen Anne of Bretagne, finished in 
 1508, this lady having been the wife of Louis XII. 
 This celebrated manuscript of fifty-one miniatures, 
 each full page, without counting the pretty encasings 
 “of very rich flowers, all different”? adorning the mar- 
 gins of all the leaves, is kept in the Bibliothéque Na- 
 tionale at Paris. Several other colored manuscripts 
 could be attributed to him by comparison, notably 
 the Book of Hours of the Duke d Angouléme, father of 
 Francis I. But Bourdichon was not only a miniaturist. 
 Documents prove that he also painted large religious 
 pictures, for instance an Adoration of the Magi, in sev- 
 eral compartments, ordered by King Charles VIII, 
 and an Allegory of Death. The Triptych of Passion of 
 the church of Saint Antoine de Loches, dated 1485, 
 might be by his hand. We know that he also painted 
 portraits. There are generally attributed to him two 
 portraits of children of brilliant charm, who are most 
 probably the children of Charles VIII; the little dau- 
 phin Charles-Orland (Collection of M. de Beistegui, 
 and a young child represented with joined hands, in 
 the Louvre). 
 
 BIBLIOGRAPHY 
 
 URMER: The Book of Hours of Queen Anne of 
 Brittany, Paris, 1841. 
 MILE Mate: Three New Works of fean Bour- 
 dichon, Gazette des Beaux Arts, 1902. 
 Jean Bourdichon and his Workshop, 1904. 
 Count Pau, Durrieu: Painting in France 
 from 1422 to 1589; History of the Art of 
 Andre Michel, TY. 1V, 1911. 
 JEAN GUIFFREY AND Pierre Marcet-: French 
 Painting. Primitives. Pariseeccs 
 Louts Dinter: History of French Painting, 
 Patisslo 2s: 
 
 L781 
 
JEAN BOURDICHON 
 
 No. 32. Portrait or Man witu FALcon 
 
 ON PANEL ROUNDED AT TOP 
 
 Height, 9% Inches; Width, 7% Inches 
 
 Depicted on a red background, in bust, slightly 
 turned to the left. Hair, moustache and spare beard 
 are reddish-brown. He wears a velvet toque and a 
 black robe with turned up collar. He is holding a 
 falcon on his wrist. 
 
 Lent by Colonel M. Friedsam. 
 
 No. 32. JEAN BOURDICHON 
 
JEAN BOURDICHON 
 
 No. 33. Diptycu. Portrairs or HUSBAND AND WIFE 
 Each Panel: Height, 8 Inches; Width, 5 Inches 
 
 Their hands are joined in prayer. The young man 
 wears a black coat with fur collar. The background is 
 dark green. The young lady wears a dark costume 
 and a white headdress. Red prayer-beads in her 
 hands. The background of this panel is red. 
 
 Formerly in the Collection of Prince Borosselski in 
 Warsaw. 
 
 Lent by Mr. Mortimer L. Schiff. 
 
 [ 80 ] 
 
JEAN BOURDICHON 
 
 No. 33. 
 
MAITRE DE MOULINS 
 
 The Anonymous Author of the magnificent “Trip- 
 tych of the Cathedral of Moulins” who was for this 
 purpose baptised Maitre de Moulins, and whom Henri 
 Bouchot proposed to call the Painter of the Bourbons, 
 for he worked specially for this princely family, re- 
 mains even today one of the most mysterious artistic 
 personalities of the French School of the fifteenth 
 century. 
 
 It would be tempting to identify him with Jean 
 Perreal,, surnamed Jean of Paris, who was the favorite 
 painter of the kings Charles VIII, Louis XII and 
 Francis I. The dates and circumstances of his life, 
 and the style of his pictures, seem to confirm this 
 hypothesis. We know in fact that Jean Perreal worked 
 at Lyons, as the Maitre de Moulins, for Cardinal 
 Charles de Bourbon. He was the painter commissioned 
 by Queen Anne of Bretagne with designing the pattern 
 of the celebrated tomb of Nantes, sculptured by Michel 
 Colombe. Now, the type of one of the virtues Tem- 
 perance which decorates one of the angles of the tomb, 
 offers the most striking analogies to several figures of 
 the Maitre de Moulins; notably Saint Madeline of the 
 Louvre. Unfortunately, these comparisons give us 
 only probabilities and presumptions, without allowing 
 us to identify the personality of the two artists. 
 
 Around the Triptych of the Cathedral of Moulins, 
 his masterpiece, which may be dated 1498, there are 
 grouped several works of great charm which are cer- 
 tainly from the same hand, The Nativity in the Museum 
 of Autun, painted about 1480 for Cardinal Jean Rolin, 
 the portrait of Cardinal Charles de Bourbon, two 
 copies of which are known, one at the Museum of 
 Condé at Chantilly, the other at the Musée Germanique 
 of Nuremberg; the Donatrix Presented by Saint 
 Madeline (Louvre) which might be placed about 1495, 
 the Decapitation, of Col. Friedsam, The Virgin and the 
 Child of the Brussels Museum, the Annunciation of 
 the Ryerson Collection and the Meeting of Foachim 
 
 [ 82 ] 
 
and Anna which recently entered the National Gal- 
 lery in London. 
 
 BIBLIOGRAPHY 
 
 Henri Boucuor: Exhibition of French Primi- 
 tives, Paris, 1904. 
 
 Count Durrieu: French Painting trom 1422 to 
 1589. 
 
 AnpDRE MicueEt: History of Art, T. IV, Paris, 
 Oil, 
 
 Er. Moreau-NE taton: The Clouets and Their 
 Imitators, Paris, 1924. 
 
 Louis Dimer: History of French Painting, 
 Rarissi 925, 
 
 [ 83 J 
 
MAITRE DE MOULINS 
 
 No. 34. DECAPITATION OF FivE Martyrs 
 
 ON PANEL 
 
 Height, 35% Inches; Width, 26% Inches 
 
 Five martyrs, all young and beardless, their heads 
 in halo, are grouped in the left foreground. One of 
 them has already lost his head. The four others are 
 kneeling, with their hands joined. The executiener, 
 in red doublet and blue breeches, has seized the first 
 by his hair and, with arm raised, prepares to strike 
 him with his sword. 
 
 In the background there is a prison at the left with 
 its narrow loop-holes, the gate of which is partly open. 
 On the right there is a landscape background with 
 rocks and a fortress surrounded by water. It is impos- 
 sible to determine the meaning of this scene, for none 
 of the saints that are undergoing martyrdom has the 
 least distinctive attributes. The one who is being 
 seized by the executioner seems to be of higher rank 
 than his companions, for he wears a richly embroidered 
 garment, while the others are more modestly clad. 
 
 The limpid coloring and the background of the 
 landscape distinctly show the manner of the Maitre de 
 Moulins and recall the style of the two beautiful por- 
 traits in the Louvre, dated 1488, which represent Pzerre 
 IT, Duke of Bourbon, and his wife, Anne de Beaujeu. 
 
 BIBLIOGRAPHY 
 
 CaMILLeE Benoit: French Painting to the End of 
 the Fifteenth Century. Gazette des Beaux 
 iis AO s 
 
 Lent by Colonel M. Friedsam. 
 
 [ 84 ] 
 
MAITRE DE MOULINS 
 
 No, 34 
 
MAITRE DE MOULINS 
 
 INO 355 ANNUNCIATION 
 
 ON WOOD 
 
 Height, 29 Inches; Width, 20 Inches 
 
 The Virgin kneels before a prie-dieu in the right 
 foreground on which an open breviary 1s placed. Her 
 dark blue gown is corded at the waist, and her rose- 
 red mantle is buttoned across the chest with a strap 
 and falls in a cascade of folds to the marble floor. 
 Behind her is a bed with drawn curtains and valance, 
 and a small portrait of the Christ, His hand raised in 
 blessing. A beam with a classic console supports the 
 arched ceiling. A variegated marble column with 
 Ionic capitol is seen on the left with the suggestion of 
 a garden at its foot. Gabriel, the angle of the Annun- 
 ciation, too sharply defined against the background, 
 wearing a green dalmatic lined with rose, holds a 
 baton topped by a crown in his left hand and presum- 
 ably announces the advent of the dove, although his 
 gaze is fixed on the ceiling. 
 
 A recent acquisition by the National Gallery has 
 brought to light a hitherto unpublished work by the 
 Maitre de Moulins. In Dr. Friedlander’s opinion this 
 panel and the panel recently acquired by the National 
 Gallery in London, representing Joachim and Anna at 
 the Golden Gate with the figure of Charlemagne beside 
 them, once belonged to the same Triptych. 
 
 Exhibited, National Exhibition of Old Masters, 
 Grafton Gallery, London, 1909 (No. 76, illus.) 
 
 BIBLIOGRAPHY 
 
 FRIEDLANDER, M. J.: Burlington Magazine, 
 Oct., 1925, XLVII, 187-191 (illus.) 
 
 Conway, M.: The Van Eycks and Their Follow- 
 ers, 187. 
 
 BrockwELL, M. V.: The Connotsseur, 1922, 
 LXII, 206. 
 
 GuIFFREY, J., AND Marce., P.: La Peinture 
 frangaise—les Primitifs. 18) pip soe oes 
 
 Fry, R.: Burlington Magazine, 1906, IX, 331 
 (illus.) 
 
 Monap, F.: Gazette des Beaux Arts, 1910, n.s.v. 
 3, 331, (illus.); Revue de lartp 1910p 
 
 Rernacu, S. Repertoritum de peintures du moyen 
 age et de la Renaissance. IV, 54. 
 
 Lent by Mr. Martin A. Ryerson. 
 [ 86 ] 
 
MAITRE DE MOULINS 
 
 . 
 
 a) 
 ©9 
 
 No. 
 
MAITRE DE MOULINS 
 
 No. 36. PorRTRAIT OF A LapDy 
 
 ON WOOD 
 Height, 1234 Inches; Width, 9 Inches 
 
 On a beautifully ornamented background is shown 
 the portrait of a distinguished Lady. A white, trans- 
 parent headdress, as worn at the end of the XVth 
 century, falls down over her shoulders. 
 
 She is evidently praying, because with both of her 
 hands she is holding her Chapelet, to which are attached 
 blessed Medallions. 
 
 This painting was formerly owned by Count 
 Bissaccio in Chartres. 
 
 Lent by Mr. A. Berg. 
 
 [ 88 ] 
 
No. 37. MAITRE DE MOULINS 
 
MAITRE DE MOULINS 
 
 No. 38. MapELINE DE WARDHEMBERGHE, COUN- 
 TESS OF EGMONT 
 
 ON PANEL 
 
 Height, 16% Inches; Width, 934 Inches 
 
 Younger than her husband, Jean, Count of Egmont, 
 she is also represented in half body, on a green back- 
 ground, her hands resting on a balustrade covered 
 with the same fabric of Genoa brocade. But, instead 
 of a paper, her right hand is holding a carnation, which 
 was the fashionable flower of the time. Slightly turned 
 to the left, she wears a headband of monastic severity, 
 and a black gown, with large sleeves, ermine-bordered. 
 Her features are sober and inexpressive. Without the 
 flower she holds in her hand, and which is her only 
 coquetry, one might almost say she was a nun. 
 
 Reproduced in a contemporary drawing in the 
 Recueil [ Arras and recognized by Dr. M. Friedlander. 
 
 Lent by Colonel M. Friedsam. 
 
MAITRE DE MOULINS 
 
 No. 38. 
 
MAITRE DE MOULINS 
 
 No. 39. PorTRAIT OF A YouNG MAn 
 
 ON PANEL 
 
 Height, 10%2 Inches; Width, 8 Inches 
 
 Covered with a bonnet of velvet, brim of which falls 
 down as far as his eyebrows, and from which escape 
 long hairs falling on the back of his neck to the should- 
 ers, a young beardless man, seen in three-quarter view, 
 looks at us with his glancing eyes widely opened. He 
 is clad in a mantle, bordered with fur, which is crossed 
 on his breast. Only his left hand, which seems to hold 
 a letter, is partly visible. The physiognomy, that the 
 painter has not tried to idealize, has nothing noble in 
 it; but it is very fine and individual. 
 
 This delightful little portrait, that Dr. Max Fried- 
 lander gives to the Maitre de Moulins, and which at 
 all events 1s worthy of him, might be dated about the 
 year 1490. 
 
 Lent by Colonel M. Friedsam. 
 
 al 
 
Quentin Matsys are characterized by the elongation of 
 the figures, a somewhat effeminate grace, the richness 
 of the architectural decoration in the taste of the Ren- 
 aissance, and by a harmonious and limpid coloring. 
 His contemporaries named Bellegambe “The Master 
 of Colors.”’ 
 
 BIBLIOGRAPHY 
 
 A. Wauters: Yean Bellegambe de Douat, Paris, 
 1862. 
 
 Mer. Denaisnes: Life and Work of fean Belle- 
 gambe, Lille, 1890. 
 
 Max J. FrreDLANDER: Mezsterwerke der Nieder- 
 laendischen Malerei des XV. and XVI. 
 Fahrhunderts auf der Ausstellung zu Bruegge, 
 Muenchen, 1903. 
 
 L972] 
 
JEAN BELLEGAMBE 
 
 No. 40. Triprvcu. THE ADORATION OF THE 
 VIRGIN 
 
 Central Panel: Height, 39% Inches; Width, 24 Inches 
 Shutters: Height, 27% Inches; Width, 9% Inches 
 
 Signed and, dated 4: 7.1533: 
 
 CENTRAL PaneL: The Virgin, seated on a richly 
 decorated throne with the Jnfant Fesus in her arms, 
 receives the homage of four donators kneeling at her 
 feet. There hovers above the throne the Ezernal 
 Father in a glory of orange and gold. Tiny angels are 
 playing on the canopy and on the arms of the throne; 
 four of them, more daring or more curious, have taken 
 position in the niche of the pedestal. 
 
 Among the four donators kneeling before the Ma- 
 donna, the two laymen who are in the foreground 
 seem to be of princely rank to judge from the sump- 
 tuous robes of ermine in which they are dressed above ~ 
 their orange-colored garments. Behind them there 
 kneel in great modesty two monks of the Order of 
 Cisteaux, on the left a monk with his hands joined, to 
 the right a nun holding the Book of Hours. The 
 austerity of their monastic robes, black and white, 
 contrasts with the magnificence of the prince and the 
 princess. 
 
 INTERIOR OF THE SHUTTERS: On each side kneel 
 two Cistercian monks in prayer, joining their prayers 
 to those of the donators. Those on the left are under 
 the protection of Saint Bernard of Clairvaux, the 
 founder of their order; those on the right are under the 
 protection of a mitred archbishop, holding the double 
 cross, who might be Saint Malachie, primate of Ireland, 
 pupil of Saint Bernard. In the nooks of the panels, an 
 angel presents the armorials of Clairvaux and the 
 donators. 
 
 REVERSE OF THE SHUTTERS: Represent the most 
 popular miracles of the Legend of Saint Bernard—the 
 miracle of the milk of The Virgin, or, to use the ex- 
 
 [98] 
 
pression consecrated in Christian iconography, the 
 Miracle of the Lactation. According to the legend, 
 Saint Bernard saw in ecstasy The Virgin nursing the 
 Infant Fesus and a few drops of the miraculous milk 
 struck his face. A pretty picture in the Wallraf- 
 Richartz Museum of Cologne, attributed to the Master 
 of the Life of the Virgin (Meister des Marienlebens), 
 represents this subject which was particularly honored 
 in the convents of the Order of Cisteaux. Here Saint 
 Bernard is kneeling on the left before the Virgin 
 Nursing Her Child, which occupies the right shutter. 
 
 This precious triptych, unknown to Mgr. Dehaisnes, 
 who does not speak about it in his monograph on Jean 
 Bellegambe, was evidently executed for an abbey of 
 the Order of Cisteaux. The scene of the Legend of 
 Saint Bernard, represented on the shutters, the Cis- 
 tercian monks kneeling before the feet of The Virgin, 
 is a clear proof of it. But, before passing to the col- 
 lection of the Baron de Tavernost and thence to the 
 collection of Col. M. Friedsam, this painting was in the 
 chapel of Cellier, Department of the Aube, which was 
 formerly a dependency of the abbey of Clairvaux. 
 It was published under the name of The Altar-piece of 
 the Cellier for the first time by Mr. de Mely in 1908. 
 
 Now, among the monasteries in the neighborhood 
 of Douai for which Jean Bellegambe had been active, 
 there was situated a famous convent of women of the 
 Order of Cisteaux, also dependent on Clairvaux: the 
 abbey of the Cistercians or Bernardines of Flines. We 
 know that the abbess of this monastery, Jeanne de 
 Bourbais, who devoted considerable sums to the dec- 
 oration of her church, had several times given impor- 
 tant orders to Jean Bellegambe. She commissioned 
 him in 1511 with the decoration of the 4maire of Saint 
 Hubert, that is, the Shrine containing the relics of this 
 Saint whom the pilgrims invoked against pestilence. 
 It would therefore be fairly tempting to recognize 
 Jeanne de Bourbais under the features of the nun 
 kneeling to the right. However, the armorials, which 
 were studied by N. Prinet, are not hers. 
 
 The two people kneeling in the foreground might 
 
 [99] 
 
be the founders of the abbey of Flines, that 1s, Mar- 
 guerite of Flanders and her husband. The attribution 
 of this remarkable triptych is outside of doubt. One 
 might rather have expected to see the signature J. B. 
 than that of B. J.; but these inversions of initials are 
 not without precedent. The proportion of the figures, 
 the background of the landscape, the rich decoration 
 of the throne of The Virgin which reminds one some- 
 what of the semi-Gothic, semi-Renaissance architec- 
 ture so dear to Jean Gossart and Lancelot Blondel, 
 the soft coloring, the rather delicate beauty: all betray 
 the hybrid art of this Franco-Flemish painter. This is 
 likely to be the last known work of Jean Bellegambe, 
 who died a little after 1533. He is likely to have 
 painted this triptych the same year when Jeanne de 
 Bourbais resigned her functions of abbess of Flines 
 that she occupied since 1507. It is not impossible that 
 she presented this votive offering to her dear abbey 
 as a farewell gift. 
 
 BIBLIOGRAPHY 
 
 D’arBolIs DE JOUBAINVILLE: Repertoire Archeo- 
 logique de [ Aube, 1861. 
 
 ABBE Hautcoeur: History of the Abbey of 
 Flines, Paris, 1874. 
 
 De Me ty: The Altar-piece of Cellier and the sig- 
 nature of Jean Bellegambe Revue de 1 Art 
 Ancien et Moderne, 1908. Reproduction 
 in heliogravure. 
 
 Lent by Colonel M. Friedsam. 
 
 [ 100 ] 
 
JEAN BELLEGAMBE 
 
 No. 40. 
 
JEAN BELLEGAMBE 
 
 No. 41. THE CONVERSION OF ST. PAUL 
 Height, 40 Inches; Width, 47 Inches 
 
 The scene is set on the road to Damascus, behind 
 which are seen rocky hills, chateaus, a lake and on a 
 small scale, the persecutions of the Christians. 
 
 St. Paul, under whom his white horse has collapsed, 
 gazes upwards and beholds the celestial “sign” of sun- 
 rays. Soldiers in armour, on horseback and on foot, 
 surround him, and their holy terror over the miracle 
 is depicted on their faces. 
 
 The painting is full of dramatic action and of vivid 
 transparent coloring. The red, white, and yellow pre- 
 dominate. 
 
 This magnificent picture identified by Dr. Max 
 Friedlander at the Bruges Exposition, is a highly wel- 
 come example of the work of this Franco-Flemish mas- 
 ter who reminds one at the same time of Simon Mar- 
 mion, “Prince d’Enluminure,” and of the Antwerp 
 painter, Quentin Metsys. Like his contemporary, 
 Jean de Maubeuge, better known under the name of 
 Mabuse, Jean Bellegambe of Douai appears to us like 
 a vivid link between the French and Flemish Primi- 
 tives. 
 
 Exhibited in the Bruges Exhibition of 1902. 
 
 BIBLIOGRAPHY 
 
 Max J. FRIEDLANDER: Metsterwerke der Nieder- 
 landischen Maleret auf der Ausstellung zu 
 Briigge. Muenchen, 1903. 
 
 Lours Reau: Monograph on Yean Bellegambe. 
 
 Lent by F.. Kleinberger Galleries. 
 
 [ 102 ] 
 
No. 41. JEAN BELLEGAMBE 
 
JEAN BELLEGAMBE 
 No. 42. Portrair oF THE ABBoT CHARLES CoGUIN 
 
 ON WOOD 
 
 Height, 2614 Inches; Width, 1114 Inches 
 
 This panel is evidently a fragment of a triptych, 
 judging from the attitude of the person turning to the 
 right, it should be a part of the left shutter. The bishop 
 or abbot, the donator of the altar-piece 1s represented 
 on his knees with bare head, hands joined. A crown of 
 hair sprinkled around his wide tonsure falls in fringes 
 on his forehead; his features are rather fine, in spite of 
 the disproportionately long nose. On his blue robe 
 there is thrown a dalmatic of gold brocade trimmed 
 with bands of orfrois and fixed on the chest by a mag- 
 nificent clasp in chiselled gold. Behind his gloved 
 hands (according to the liturgical tradition pontifical 
 gloves, chirotecae) are his abbatial cross and his sudo- 
 rium. His mitre trimmed with pearls is on the ground, 
 near his Prie-Dieu on which there is an open Book of 
 Hours. In a large bay. that divides a mullion orna- 
 mented with pilasters and thin columns, a charming 
 landscape is seen; to the left a group of trees, to the 
 right a river crossed by a bridge and animated with 
 boats. 
 
 According to the embroidered armorials on the rug 
 covering the Prie-Dieu, above the mitre, the person- 
 age represented here is the mitred abbot, Charles 
 Coguin, superior of the powerful abbey of Saint Sauveur 
 d’Anchin, not far from Douai and the Cistercian abbey 
 of Flines. The cloisters of this abbey, unfortunately 
 destroyed, were reputed to be the finest in Europe. It 
 is in this church that there were found two of the 
 masterpieces of Jean Bellegambe: the poliptych of the 
 Holy Trinity and the triptych of the Mystic Bath of 
 the Souls in the Blood of the Saviour or of the Holy 
 Blood. 
 
 The shutter of this triptych, a characteristic work 
 of Jean Bellegambe, is likely a work of 1510 or there- 
 abouts, considerably earlier than Col. Friedsam’s 
 triptych of the Adoration of the Virgin dated 1533. 
 
 A. Forceats Collection, Paris, 1858. 
 
 Jean CreAN Collection, Troyes. 
 
 BIBLIOGRAPHY 
 
 Mer. Denaisnes: Life and Work of fean Belle- 
 gambe, Lille, 1890, page 125. 
 
 Lent by Colonel Michael Friedsam. 
 [ 104 ] 
 
JEAN BELLEGAMBE 
 
 a 
 
 No 
 
JEAN PERREAL 
 
 No. 43. Portrait oF MonsiIEuR DE BELLEFOURIERE 
 
 ON PANEL 
 
 Height, 161% Inches; Width, 1114 Inches 
 
 He is represented in bust, turned to the left, on a 
 dark green background. His energetic face, smoothly 
 shaven, has a severe and stern look. He is covered 
 with a square bonnet from which long hairs escape, 
 covering the back of the head. Huis black costume is 
 animated only by a lingerie collar. 
 
 We can draw from this famous picture itself pre- 
 cious information about the identity and age of the 
 model. The portrait is unfortunately not signed, but it 
 is dated. The date of 1521 is seen on the top te 
 armorials of the personage are reproduced on the right, 
 and on the lower edge of the frame there is inscribed 
 his name in large letters: Monsieur de Bellefourtére, 
 with the number 69, which may mean his age. 
 
 This beautiful portrait, which comes from the col- 
 lection of the art-critic Thiébault-Sisson, Paris, has 
 figured at the Exhibition of French Primitives in 1904, 
 Catalogue No. 147. 
 
 BIBLIOGRAPHY 
 
 E.. Bancet: Jehan Perreal, Paris, 1885. 
 
 R. pE Mautpa La CLaviEre: Jehan Perreal 
 called Fean de Paris, Paris, 1896. 
 
 Lent by Colonel M. Friedsam. 
 
 [ 106 ] 
 
JEAN PERREAL 
 
 No. 43, 
 
JEAN CLOUET 
 
 The two Clouets, Jean and his son Frangois, have 
 been for a Jong time in the eyes of the public and even 
 the learned, the outstanding French portraitists of 
 the time of Francis I. 
 
 Like Corneille de Lyon, the Clouets were origin- 
 ally from the low countries. From the beginning of the 
 reign of Francis I, we see Jean Clouet, called Janet, 
 established at the Court of France. In 1522 he be- 
 came gentleman of the chamber in the royal house, 
 replacing Jean Bourdichon, and in 1528 painter and 
 valet de chambre of the king. He acquired such a repu- 
 tation that the poet Clement Marot is not afraid to 
 compare him to Michael Angelo. Jean Clouet died in 
 1540 leaving his position to his son Francis. 
 
 BIBLIOGRAPHY 
 
 Count DE LABORDE: The Renaissance of the 
 Arts at the French Court, Paris, 1850. 
 Henri Boucuor: The Clouets and Corneille de 
 Lyon;.Paris, 1392. 
 
 A. GERMAIN: The Clouets 
 
 E. Moreavu-Netaton: The Clouets, official 
 painters of the French kings, Paris, 1908. 
 
 Portrait Painting at the Court of the Valois. 
 
 French Crayons of the sixteenth century, pre- 
 served at the Conde Museum at°Chantilly, 
 
 Paris, 1909. The Clouets and Their Imitators, 
 Paris, 1924. 
 
 Louis Dru teEr: History of Portrait Painting in 
 France in the sixteenth century. 3 vol- 
 umes, Paris, 1924-1926. 
 
 JEAN CLOUET 
 
 No. 44. Portrait oF A PRINCE OF THE HOUSE OF 
 SAVOIE 
 
 ON WOOD 
 
 Height, 16% Inches; Width, 12% Inches 
 
 Among the paintings that bring to one’s attention 
 the name of the Clouets, the celebrated portraitists of 
 the Court of the Valois, there is none that better de- 
 serves the qualification of “chef d’oeuvre” than this 
 magnificent portrait of a grand seigneur of the time of 
 Francis I. 
 
 Wearing a cap ornamanted after the fashion of the 
 time, with a jewel showing Saint Barbara, the gentle- 
 man is presented to us turned three-quarters to the 
 left. Long, light-brown hair, carefully combed, con- 
 
 [108 ] 
 
tours his virile physiognomy, hiding almost entirely 
 the ear of which only the lobe is perceived. With the 
 exception of a very light moustache, his energetic face 
 is almost without beard which accentuates his expres- 
 sion of youth. 
 
 The elegant and even sumptuous costume, as well 
 as the proud and almost imperative regard, indicate a 
 man of high birth. The rim of his black barrette 1s 
 ornamented with gold batonnets. He wears a dark 
 brown fur coat from which emerges a white lingerie 
 collar neatly pleated. On his breast is a magnificent 
 gold chain tormed of roses and interlaced letters from 
 which is pending an enamelled medal representing the 
 Annunciation of the Virgin: It is the chain of the 
 Order of the Annonciade. 
 
 This beautiful portrait has come down to us in a 
 marvelous state of preservation. The background 1s 
 of a transparent blue and serves exceptionally well to 
 bring out the firm modeling of the face and of the 
 goldsmith ornaments. The execution is of particular 
 neatness, notably in the treatment of the hair and of 
 the details of the costume without, however, degenera- 
 ting in minute brush work. The colors applied thinly 
 and smoothly have the transparence and the eclat of 
 enamel. 
 
 The provenancy of this panel is a safe guaranty for 
 its authenticity. It belonged to the Duke de Mailly, 
 whose coat-of-arms is pasted on the back, and lately it 
 was in the famous collection of the Count de Mont- 
 brizon at the Chateau Saint-Roch near Toulouse, 
 where the French Primitives were represented so 
 remarkably. 
 
 The chain of the Order of the Annonciade that 1s 
 worn by our gentleman so ostensibly on the breast 
 may indicate to us his identity. This order had been 
 founded in 1362 by Amédée VI, Duke of Savoie, 
 under the name of the Order of the Collier. It was re- 
 newed in 1518 by the Duke Charles III and called 
 Annonciade in honor of the Annunciation of the Virgin. 
 The insignia of the order is a sort of rosary in gold- 
 smith work, the roses of which are separated by the 
 device Fert which was explained differently, either: 
 Fortitudo ejus Rhodum tenuit or Frappez, Entrez, 
 Rompez, Tout. This order, which is still today the 
 highest order of the Italian crown, heir of the House 
 of Savoie, was given only to the princes of royal blood. 
 This is the reason why one is tempted to recognize 1n 
 this portrait a prince of the House of Savote. 
 
 [ 109 ] 
 
This supposition is all the more probable as the 
 princes of Savoie were closely united by marriage with 
 the Court of France. The King Francois I was the son 
 of Louise de Savoie and, consequently, nephew of 
 Philibert le Beau, who married Marguerite d’Autriche, 
 daughter of Emperor Maximilian. Francis I was also 
 a nephew of Charles III of Savoie (1504-1553) who 
 restored the Order of the Annonciade. These princes 
 frequented the Court of France and it is but natural 
 that they had their portraits made by the painter of 
 Francis I. 
 
 As to the author of this magnificent portrait, it 
 cannot be any other than JEAN CLovuETt, called Janet, 
 for chronological reasons and on account of its execu- 
 tion. This was the favorite painter of Francis I in 
 whose service he spent all his life, from 1516 to 1540. 
 It suffices to compare this chef d’oeuvre with other 
 authentic portraits of the master, like the beautiful 
 portrait of Louis de Cléves, brother of the Duke de 
 Nevers, which is at the Museum of Bergamo, in order 
 to be convinced of its attribution, already ancient. 
 
 We arrive at the conclusion that this magnificent 
 portrait, which counts among the most perfect works 
 of the French pictorial art of the sixteenth century, is 
 by the hand of Jean Clouet and that it represents a 
 prince of the House of Savoie and even possibly the 
 Duke Charles III, the restorer of the Order of the 
 
 Annonciade. 
 
 Former Collections: 
 DuKE DE Mairi. 
 Count DE Monrsrizon, Chateau St. Roch. 
 
 BIBLIOGRAPHY 
 Lours Reau, Monograph Fean Clouet. 
 
 Lent by Colonel M. Friedsam. 
 [1104 
 
No. 44. JEAN CLOUET 
 
JEAN -CLOUETL 
 
 Nos45. PorTRAIT OF FrRAnNcIs | 
 ON Woop 
 
 Height, 16 Inches; Width, 1234 Inches 
 
 The King is represented in half figure, front view, 
 his head slightly turned to the left. His two hands are 
 visible, one showing the palm open, the other resting 
 on the handle of a magnificent engraved sword. He 
 wears a red laced doublet over which is shown a fur 
 mantle studded with large pearl. He is elegantly 
 covered with a black toque ornamented with a medal- 
 lion of pearls and embroidered with a large white 
 feather. 
 
 Several reproductions of this beautiful portrait, 
 which comes from the celebrated collection of the 
 Count de Montbrizon at the Chateau de Saint Roch, 
 and which passed through the collection of Mrs. 
 Chauncey J. Blair in Chicago before entering that of 
 Colonel Friedsam, are known. The two best known 
 are those of Hampton Court and of the old Lancaster 
 Collection at Lisbon. 
 
 The portrait which passed from the Chateau of 
 Fontainebleau to the Louvre Museum is certainly of 
 an earlier date; 1t represents the king in all the brilliance 
 of his youth before the Battle of Pavia, while the por- 
 trait in the Friedsam Collection represents the king 
 already worn by life and pleasures, with swollen and 
 pasty features. To judge from the apparent age of 
 the model, this painting must have been executed 
 
 about 1535. 
 BIBLIOGRAPHY 
 
 G. Capon: 4 Portrait of Francis I by Fean 
 Clouet, Paris, 1924. 
 
 Lent by Colonel M. Friedsam. 
 C2 
 
No. 45. JEAN CLOUET 
 
JEAN CLOUET 
 
 No. 46. PortTraAIT OF CHARLOTTE OF FRANCE 
 
 ON WOOD 
 Height, 12 Inches; Width, 9 Inches 
 
 Bust portrait of the young Princess facing right 
 and a Rosary in her hands. The bodice of her dress 1s 
 black and the sleeves are yellow. Her pink headdress 
 is embroidered with pearls. 
 
 Dr. Friedlander in commenting on this portrait 
 states that it is an excellent work of the Master towards 
 1540. 
 
 Clouet painted another portrait of the Princess 
 with several variations.’ It is described by L. Dimier 
 in his History of Portrait Painting in France, Vol. I, 
 pl. 5. No. 151. It was exhibited in Paris in 1904, 
 
 Lent by Mr. Max Epstein. 
 
 [114 ] 
 
JEAN CLOUET 
 
 No. 46. 
 
JEAN CLOUET 
 
 No. 47. Portrait oF ADMIRAL ‘(GUILLAUME GOUF- 
 FIER, SIRE DE BONNIVET 
 
 ON WOOD 
 
 Height, 14 Inches; Width, 10% Inches 
 
 He has blue eyes, the face is turned three-quarters 
 to the left. Hair and beard light brown. He is repre- 
 sented as a bust. On his head he wears a black soft 
 hat, with a black ribbon on the top. He wears on a 
 red vest, a green coat bordered with fur. In his left 
 hand he holds a roll of paper and in the other hand a 
 bouquet of pansies. Green background. On the top of 
 the panel, on a banderole, 1s a devise: Fol Desir Novos 
 Abvee. 
 
 Exhibited in the Exposition of French Primitives, 
 April-July, 1904, No. 145 of the catalogue as a work of 
 Jean Clouet, painted about 1520. 
 
 Reproduced in the Gazette des Beaux-Arts, No. 566, 
 August, 1904, page 133; Guillaume Gouffier, Sir of 
 Bonnivet, killed at Pavia in 1525, with the devise: Fo/ 
 desir nous abuze (Excessive desires are abusive), 
 Collection E. Richtenberger, a picture more fully and 
 resolutely painted with a more vivid touch and stronger, 
 if not more delicate than many of fanet’s works. Article 
 of Mr. George Lafenestre. 
 
 Reproduced in the work of Mr. Salomon Reinach, 
 Paintings Unknown or Little Known, op. cit., plate 1z 
 and described on page 24. Mr. S. Reinach add: 
 This painting was in the collection of Prince of Valor 
 where it was catalogued—a thing almost incredibles— 
 the portrait of the sculptor Baccio Bandinelli by Holbein. 
 In 1874 it was in the exposition for the benefit of the 
 Alsaciens and Lorrains which was held at the Palats- 
 Bourbon. 
 
 When it became a part of the collection of Mr. 
 Eugene Richtenberger, it was first considered by certain 
 amateurs as a work of Corneille de Lyon. In 1904 at 
 the exposition of the French Primitives, where it had 
 the number 145, it was declared to be by Jean Clouet 
 by Mr. Bouchot, who proposed to recognize in it the 
 portrait of Guillaume Gouffier, Sir of Bonnivet, killed 
 in 1525 at the Battle of Pavia. 
 
 Paut Virry in Les Arts, 1904, No. 28, page 44. 
 
 Lent by The City Art Museum in St. Louts. 
 [116] 
 
No47), JEAN CLOUET 
 
JEAN CLOUET 
 
 No. 48. PORTRAIT OF A YOUNG MAN 
 
 ON WOOD 
 Height, 97% Inches; Width, 8% Inches 
 
 This charming portrait gives an excellent represen- 
 tation of French Renaissance Art. 
 
 The style of the painting is very similar to that of 
 the well-known portrait of Francis I in the Louvre 
 and that of his son in the Antwerp Museum. It re- 
 sembles in execution also 4 Man Holding Petrarch’s 
 Works in Hampton Court and the portrait of a Prince 
 of Savoie, owned by Colonel M. Friedsam. Even the 
 lingerie collar is pleated in the same manner as in the 
 Friedsam portrait. 
 
 BIBLIOGRAPHY 
 
 Dr. W. R. VALentiner: in the Bulletin of the 
 Detroit Institute of Arts, January and April, 
 1926. 
 
 Lent by the Detroit Institute of Arts. 
 
 [118] 
 
No. 48. JEAN CLOUET 
 
JEAN CLOUET 
 (1467-1540) 
 
 No. 49. PorTRAIT OF GUILLAUME BuDE 
 ON WOOD 
 
 Height, 155% Inches; Width, 1358 Inches 
 
 In the last Volume of the Collection of MSS., dat- 
 ing from 1534 to 1539, by the Scientist Budé himself, 
 there is a note: Pictor iconicus qui me pinxit ME 
 GENET CLOUET vocatur, according to which he was 
 about 70 years old when Clouet painted him. This 
 quite agrees with the portrait itself. 
 
 A drawing at Chantilly is obviously the original 
 drawing for this painting. Moreau-Nelaton points 
 out that the drawing was stained with the same bluish- 
 green as the background of this portrait. A copy of 
 this portrait in the Versailles Museum bears the In- 
 scription: Guglielmus Budaeus, and the various en- 
 graved portraits go to prove the probability of this 
 identification. 
 
 The Greek inscription on the book has, according 
 to Professor Leo A. Hanigan, the following meaning: 
 
 To get possession of whatever one desires appears 
 to be important; but really what is of most im- 
 portance 1s to desire nothing unless it 15 
 absolutely necessary. 
 
 Budé was the greatest Helenist of his time. Under 
 Louis XII and Francis I he accomplished various dip- 
 lomatic missions. Upon his recommendations were 
 founded the College of France and the famous Library 
 in Fontainebleau. He drew the plans for the St. Ger- 
 main quarter and introduced pavement in the streets 
 of Paris. He left numerous scientific works. Erasmus 
 called him the Marvel of France. 
 
 This portrait was formerly in the Collection of Sir 
 Henry Howorth in London. 
 
 BIBLIOGARPHY 
 
 ANDRE THEVET: Portraits et Vies des Hommes 
 tllusires Grecs, Latins, et Payens Pat 
 1584. 
 
 Henry Boucuot: Les Clouets. Paris, 1892, 
 Dee: 
 
 E. Moreau-NELaton: Crayons Francais du 
 XV Ie Siécle conservés au Musée Condé a 
 Chantilly. Paris; Vol aly pe lees 
 
 E. Moreau-NEtaton: Les Clouets. Paris, 1924. 
 Vol. I. p. 54. 
 
 ArtHUR E. PopHam: 4 Portrait by Fehannet 
 Clouet. Burlington Magazine, London, 
 March 19235 ales 
 
 Lent by Mr. Leo S. Bing. 
 [120] 
 
No. 49. JEAN CLOUET 
 
FRANCOIS CLOUET 
 
 BORN AT TOURS, ABOUT 1516 
 DIED ON SEPTEMBER 22, 1572 
 
 Francois CLovet, surnamed Janet, as his father 
 Jean, was considered by his contemporaries as the 
 greatest of French painters. The poet Ronsard called 
 him “The Honor of our France.’ He inherited all the 
 offices of his father, was official painter to the kings of 
 France, Francis I and Henri II, and controller of de- 
 signs for moneys. 
 
 The Louvre possesses his masterpiece, signed in 
 large letters and bearing the date of 1562. It is the 
 portrait in natural size of his friend the druggist and 
 botanist, Pzerre Quthe. This painting, which is indis- 
 putably genuine, may now serve as a criterion and 
 point of comparison to verify the attributions of the 
 works not signed, at the head of which are placed the 
 portraits of Charles TX, in the Vienna Museum. For 
 this reason, we must doubtless eliminate the charm- 
 ing portrait of Elizabeth of Austria, Queen of France, 
 which belonged to Roger de Gaigniéres before coming 
 to the Louvre and which seems rather a work of Etienne 
 Dumoustier. Beside the painted portraits, Francois 
 Clouet has left us admirable crayons that are divided 
 among the National Library of Paris and the Condé 
 Museum of Chantilly. 
 
 tao 
 
BIBLIOGRAPHY 
 
 E. Moreau-Netaton: The Clouets, official 
 painters of the French kings, Paris, 1908. 
 
 Henri Stein: The painter Francois Clouet and 
 the druggist Pierre Quthe. Memoires de 
 la Société de [ Histoire de Paris et de Tile de 
 France, 1909. 
 
 [123] 
 
FRANCOIS CLOUET 
 
 No. 50; PoRTRAIT OF CHARLES IX 
 
 ON PANEL 
 Height, 12% Inches; Width, 9 Inches 
 
 The young prince, completely beardless, is repre- 
 sented in bust, slightly turned to the left. His pale 
 features are encircled with a pleated collar. He is 
 elegantly dressed in a black velvet doublet, enriched 
 with pearls and bands of greyish fur, and is covered by a 
 toque with a white feather. On his breast hangs the 
 necklace of the Order of Saint Michael founded by 
 Louis XI. It is known that the Order of the Holy 
 Ghost was instituted only four years after his death 
 by his brother Henri III. 
 
 This beautiful portrait most likely dates from 1566; 
 it reproduces exactly the type of the great Charles IX 
 of the Vienna Museum, of which the Louvre possesses 
 a small replica. The crayon which served as model to 
 these portraits was found in the Design Cabinet of the 
 Hermitage Museum at Petrograd. 
 
 From the Collections: M. von Beckerath, Berlin, 
 and the Chateau de Nijenrode in Holland. 
 
 BIBLIOGRAPHY 
 
 Catalogue of the collections of the Chéteau de 
 Nujenrode (Pretace by Dr. Max J. Friep- 
 LANDER), Amsterdam, 1923. 
 
 E. Moreau-NeEvaton: The Clouets and Their 
 Imitators, Paris, 1924. 
 
 Lent by Colonel M. Friedsam 
 
 [ 124] 
 
No. 50. FRANCOIS CLOUET 
 
FRANCOIS CLOUET 
 
 No. 51. Portrait PRESUMABLY OF THE DONeOE 
 MaxImMILian II 
 
 ON PANEL 
 
 Height, 7% Inches; Width, 5% Inches 
 
 On a sombre grey background is seen the pale head 
 of a sickly youth. He is coquettishly coiffured with a 
 black toque with red feathers and wears a magnificent 
 yellow embroidered doublet over which is thrown a 
 black mantle bordered with fur. 
 
 If this young man is the son of the German Em- 
 peror Maximilian II, he 1s the brother-in-law of the 
 French King Charles IX. This prince in fact married 
 on November 27, 1570, the second daughter of Maxi- 
 milian II, Elizabeth of Austria, a pretty portrait of 
 whom is in the Louvre, attributed by tradition to 
 Francois Clouet.* It is possible that the artist exe 
 cuted this portrait of the brother at the time of the 
 coronation of the young queen, in 1571. 
 
 Lent by Colonel M. Friedsam. 
 
No. 51. FRANCOIS CLOUET 
 
FRANCOIS; CLOUD 
 
 No. 52. Portrair or JACQUES DALBON DEW ot 
 ANDRE, MARECHAL DE FRANCE 
 
 ON WOOD 
 
 Height, 8% Inches; Width, 6% Inches 
 
 Assuming that the portrait shows him at the age of 
 about 40, it must have been painted in about 1545. 
 
 Jacques d’Albon was born in 1505. He was a 
 favorite of Henry II of France who made him a Mar- 
 shal, Governor of Lyonnais and Ambassador to Eng- 
 land. He served with great bravery against the Em- 
 peror Charles V in 1552. In 1557 he was taken prisoner 
 at the battle of St. Quentin, but was released the fol- 
 lowing year, and took part in negotiating the peace of 
 Cateau-Cambresis. 
 
 After the death of Francis II he formed in 1561 
 with the Constable de Montmorency and Francis, 
 Duke of Guise, an alliance known as the Triumvirate 
 against the Protestants and the Queen-Mother. He 
 was killed at the battle of Dreux in 1562. 
 
 A drawing for this portrait is at the Hermitage at 
 Petrograd. 
 
 Jean Guiffrey and L. Dimier agree in giving this 
 beautiful portrait to Francois Clouet. 
 
 Lent by Mr. Albert Keller. 
 
 [128] 
 
FRANCOIS -CLOUET 
 
 No. 53. Porrrarr oF MADAME DE PIENNE, DAUGH- 
 TER OF ADMIRAL CHABOT 
 
 ON WOOD 
 
 Height, 1414 Inches; Width, 10 Inches 
 
 Anna de Pienne is represented in bust, slightly 
 turned to the left, with blond hair and blue eyes. The 
 elegant headdress is richly adorned with pearls and 
 she wears a necklace and a row of pearls with a mag- 
 nificient jewel on her breast, all of beautiful work- 
 manship. 
 
 The execution is of great perfection, with a firm 
 design and distinction in the local colors. The portrait 
 shows a supreme refinement, such as flourished in 
 France at the Courts of the last Valois. _ 
 
 This style was in vogue during the reign of Charles 
 IX, about 1560. 
 
 The portrait of Elisabeth of Austria, wife of Charles 
 IX, one of the gems of the Louvre, is painted exactly 
 as this picture. It is the same fine and smooth execu- 
 tion and the same brushwork in every detail. 
 
 In the British Museum there is a drawing for this 
 portrait (Salting donation) with the name Madame de 
 Pienne. 
 
 Her father, Philippe de Chabot (died in 1543), was 
 one of the favorites of Francis I. He was made pris- 
 oner at the same time as the King at the battle of 
 Pavia in 1525. Subsequently Francis I made him an 
 Admiral and Governor of Bourgogne and the Nor- 
 mandy. Anna married Charles de Hallium, Sire de 
 Pienne. L. Dimier in Histoire de la Peinture de Portraits 
 en France au XV Ie Siécle, reproduces the drawing in 
 Vol. Iypl) 26. 
 
 Lent by F. Kleinberger Galleries. 
 
 [ 130 ] 
 
No. 53. FRANCOIS CLOUET 
 
FRANCOIS CLOBE? 
 
 No. 54. Portrait oF A YOUNG WomMAN 
 
 ON PANEL 
 
 Height, 13 Inches; Width, 9% Inches 
 
 Represented to the waist, without her hands, the 
 attitude and expression of her pretty face are some- 
 what rigid and stiff. She is dressed in a corsage of 
 white emboidery, with turned-back sleeves entirely 
 studded with rubies. On her breast there flashes a 
 magnificent pendant and pearl necklace. On her co- 
 quettishly wavy hair, tied by a pearl headdress, there 
 rests obliquely a small black toque of supreme elegance 
 ornamented with a large white feather. 
 
 Who is this young lady, the sumptuous toilette of 
 whom recalls somewhat that of Queen Elizabeth of 
 Austria, in the small picture in the Louvre Museum. 
 It is hard to tell exactly. But she is certainly a princess 
 or a great lady of the Court of Valois. 
 
 This portrait, which belonged to the Count de 
 Montbrizon at the Chateau de Saint-Roch in France, 
 then passed into the collection of Mrs. Chauncey J. 
 Blair, Chicago. 
 
 Lent by Colonel M. Friedsam. 
 
 [ 132] 
 
FRANCOIS CLOUET 
 
 ek 
 
 No 
 
FRANCOIS CLOUET 
 
 INOg So, PorTRAIT OF A WoMAN 
 
 ON PANEL 
 
 Height, 8 Inches; Width, 6% Inches 
 
 In frontal bust, on a greenish-brown background, 
 she wears around her neck an enormous fluted ruffle. 
 Her strawberry red corsage is trimmed with a prodig- 
 ality of pearls and ribbon bows. By way of headdress, 
 a trimming of ribbons in red and white is wreathed in 
 her heavy black hair. 
 
 This picture comes from the Ferdinand Hermann 
 Collection at New York. 
 
 Lent by Colonel M. Friedsam. 
 
 [ 134] 
 
ET 
 
 FRANCOIS CLOU 
 
 Now 55. 
 
FRANCOIS CLOUET 
 
 Noise PorTRAIT OF A Man 
 
 ON PANEL 
 Height, 5% Inches; Width, 434 Inches 
 
 In bust, slightly turned to the right, he wears a 
 moustache and a short beard of square form. A guipure 
 collar falls down in two points terminated by tassels 
 on his black doublet. 
 
 No emblem, no inscription reveal the identity of the 
 mysterious personage. However, he offers a certain 
 resemblance to the crayon in the Condé Museum at 
 Chantilly, which represents Jean, Seigneur de Taix. 
 
 Lent by Colonel M. Friedsam. 
 
 [ 136 J 
 
No. 56. FRANCOIS CLOUET 
 
FRANCOIS. CLOUET 
 
 INOg 72 PorTRAIT OF A YOUNG LADY 
 
 ON WOOD 
 Height, 127% Inches; Width, 10 Inches 
 
 Attired entirely in black, she must have been wid- 
 owed at the time the portrait was painted. There are 
 only a double row of pearls around the neck and some 
 dark beads thrown over the shoulders for adornment. 
 Also the white pleated collar is lined with black. The 
 background is light brown. The effect of the delicate, 
 almost monochrome painting is one of great distinction. 
 
 Lent by Mr. Leo S. Bing. 
 
 [138] 
 
FRANCOIS CLOUET 
 
 No. 57. 
 
CORNEILLE DE LYON 
 
 BORN AT THE HAGUE IN 1505 
 DIED AT LYON IN 1574 
 
 Master Corneille belongs to that numerous constel- 
 lation of painters of the Low Countries who came to 
 seek their fortunes in France and found there a second 
 fatherland. 
 
 He went to Paris, while very young, where he was 
 probably the pupil of the old Jean Clouet. But he did 
 not remain there, and preferred to establish himself 
 definitely at Lyon in 1544: hence his surname, Corneille 
 de Lyon, under which the Dutch refugee is known, 
 who had previously been called Corneille of The 
 Hague. Having broken all ties with his native country, 
 he asked and received in 1547 naturalization papers 
 from King Henri II. 
 
 At first sight it is hard to explain that this painter, 
 established in the province, could have continued to 
 make so many portraits of the royal family and the 
 great lords of the French Court. But the court made 
 frequent trips to Lyon and it is quite possible that 
 Maitre Corneille worked on the designs of the Clouets or 
 other artists attached to the person of the king. 
 
 The chronicler Brantome relates that in 1564 
 Catherine de Medici, having come to Lyon with King 
 Charles IX, visited “a painter by the name of Cor- 
 neille, who had in a large room all the great lords, 
 princes, cavaliers, princesses, dames, and daughters of 
 the Court of France.”’ Basing our statements on this 
 report, we instinctively attribute to Corneille de Lyon 
 all the small portraits painted with so light and trans- 
 parent a touch, generally on light blue or water green 
 backgrounds, representing the personages of the French 
 Court under the reigns of Henri II and his three sons. 
 
 It is probable that the artist himself painted a large 
 number of these small portraits; but, he had pupils, 
 imitators in France and abroad. M. Louis Dimier has 
 made an effort to distinguish some of these copyists or 
 their emulators: The Pseudo-Amberger, the Maitre de 
 
 [ 140 ]} 
 
Rieux-Chateauneuf. A delicate task, often conjec- 
 tural, but necessary, for in the present state of our 
 knowledge, the name Cornielle de Lyon designates 
 rather a kind of vogue in the sixteenth century than 
 the work of a definite artist. 
 
 The celebrated collector, Robert de Gaigniéres, had 
 collected a large number of these small portraits, the 
 iconographic interest of which he well recognized. 
 After the museums of Versailles and Chantilly, the 
 collection of Colonel Friedsam offers today the largest 
 choice and the most refined one. 
 
 BIBLIOGRAPHY 
 
 Henri Boucuor: The Clouets and Corneille de 
 isyon, Paris, 1892. 
 
 Aupin ET VIAL: Dictionary of Artists and 
 Writers on Art in France: Lyon, Paris, 
 1918. 
 
 Louis Dimier: History of Portrait Painting in 
 France in sixteenth century, Paris, 1925. 
 
 GavarD, C.: Galeries historiques du palais de 
 Versailles, v. VII, pl. 1922. Paris, 1838. 
 
 Moreau-Ne.aton: Le Portrait a la cour des 
 Valois (Crayons francais du XV Te siécle), 
 Paris, 1908. 
 
 RicuTer, Louise M.: Chantilly in History and 
 wart, \ondon, 1913. 
 
 Micue-: Histoire de l’art, v. IV, pt. 2, p. 760. 
 
 Hovrerique, L.: Art in France, 170-171, New 
 Mark. 1911. 
 
 Ranpor: Les Peintres de Lyon. 
 
 Germain, A.: Les Artistes lyonnais, p. 71. 
 
 [141 ] 
 
CORNEJLLE DE LYON 
 
 No. 58. PorTRAIT OF A Son oF FRANCIS [| 
 
 ON PANEL 
 
 Height, 634 Inches; Width, 534 Inches 
 
 In bust figure, three-quarters, turned to the right, he 
 is covered with a black toque decorated with a large 
 white feather. He wears on his black doublet a soft 
 collar terminating in two points to which tassels are 
 attached. A thin gold chain supporting a medallion 
 falls on his breast. 
 
 Who is this young unbearded pallid youth with 
 expressionless eyes? He passed in the Parravicini 
 Collection of Basel for René de Puy, gentleman of the 
 Court of Francis I. But if we compare this portrait 
 with its replicas at the Condé Museum at Chantilly 
 and the National Gallery of London (Salting Collec- 
 tion), one is tempted to conclude that it is probably 
 one of the sons of the king; that is, the Dauphin 
 Francois, as is mentioned by M. Moreau-Nelaton. 
 According to M. Dimier, it is Monsieur d’Orleans, 
 third son of King Francis I. 
 
 Former Collection: Parravicini at Basel, Switzerland. 
 
 Lent by Colonel M. Friedsam. 
 
 [142 ] 
 
CORNEILLE DE LYON 
 
 20. 
 
 No 
 
CORNEILLE DE LYON 
 
 No. 59. Porrrair oF JEAN D’ALBON, SEIGNEUR 
 DE SAINT ANDRE 
 
 ON PANEL 
 
 Height, 634 Inches; Width, 534 Inches 
 
 On a light green background rises the energetic and 
 intelligent figure of an old gentleman, entirely shaven. 
 The full-cheeked face, with double chin, starts to get 
 pasty with age. He is covered with a small toque of 
 black velvet and sumptuously robed with a loose cloak 
 of grey bordered with a large band of fur. His chest 
 is barred with a thin gold chain on which hangs a 
 medallion. 
 
 Several reproductions of this magnificent portrait 
 are known: in the old collection of Charles Butler of 
 London, at the Louvre, at the Museum of Clermont- 
 Ferrand and in the ancient Pelous Collection. The 
 Louvre copy, which comes from the Timbal Collec- 
 tion, bears the inscription: Monsieur de Saint André 
 placed above the panel. A window of the church of 
 Saint André d’Apchon in the Department of the Loire 
 reproduces the features of this personage, who is none 
 other than Jean d’Albon, Seigneur de Saint André, 
 governor of Lyon and of the Bourbonnais, chevalier of 
 honor of Catherine de Medici, father of the famous 
 Marshal Saint André, who was the favorite of Henry II. 
 As he died in 1550, this portrait may be dated from 
 the last years of Francis I. 
 
 A controversy arose in connection with this paint- 
 ing because of the inscription, which is entirely dif- 
 ferent from the copy in the old collection of Charles 
 Butler in London, on which there is the legend: “Jean 
 de Rieux, Comte de Chateauneuf.”’ Mr. Louis Dimier 
 rallies to this identification and proposes a new attribu- 
 tion. Although he formerly published this master- 
 piece under the name of Corneille de Lyon, he attributes 
 it today to an anonymous painter whom he has bap- 
 tised the. Painter of Rieux-Chateauneuf. dt is not 
 that he finds it unworthy of Corneille de Lyon; very 
 much to the contrary: for he considers this hypothetic 
 painting as superior to all its rivals and he praises its 
 
 [144] 
 
warm coloring and brilliant finish, the vigorous model- 
 ing and its spiritual touch. 
 
 BIBLIOGRAPHY 
 
 KE. JEANNEY ET J. DECHELETTE: The Windows 
 of Saint-André d’Apchon. Bulletin de la 
 Diana, 1897. 
 
 Lours Diuter: An unknown work of Corneille 
 de Lyon. Revue del Art Ancien et Moderne, 
 feed. 1902.5" Aistory of Painting in 
 France in the sixteenth century, Paris, 1925. 
 
 Paut-AnpDRE LEmoIsne: Paintings in the Louvre 
 Museum. French School of the fourteenth, 
 fifteenth, and sixteenth centuries, Paris, 
 
 Te 26.. 
 Lent by Colonel M. Friedsam. 
 
 No. 59. CORNEILLE DE LYON 
 
CORNEILEEsDE-DYON 
 
 No. 60. Portrait or MonsiEuR DE LA Nove 
 
 ON PANEL 
 
 Height, 7 Inches; Width, 5% Inches 
 
 An inscription painted above the panel gives the 
 name of the person. He is represented in bust, slightly 
 turned to the right. Intelligent figure, illuminated by 
 eyes of greenish blue, moustache and beard of brown 
 color carefully cut in square which emphasizes the 
 white edge of a lingerie collar. Toque and doublet 
 black. 
 
 This portrait of a man comes from the collection of 
 the American painter, Walter Gay of Paris. 
 
 Lent by Colonel M. Friedsam. 
 
 CORNEILLE DE LYON 
 
 No. 61. Portrait oF A Man 
 
 ON PANEL 
 
 Height, 7% Inches; Width, 6 Inches 
 
 One might say that this represents a Calvinist 
 doctor. Covered with a square bonnet, with severe 
 looks, elongated features, heightened by a reddish 
 brown beard ending in two points, he wears a dress of 
 black color without any ornamentation. Background, 
 dark grey. 
 
 Lent by Colonel M., Friedsam. 
 
 [146] 
 
No. 60. CORNEILLE DE LYON 
 
 No. 61. CORNEILLE DE LYON 
 
CORNEILLE DEWEY Os 
 
 No. 62. PortTRAIT OF THE DUKE DE COSSE-DRIUSEe 
 
 ON WOOD 
 
 Height, 8% Inches; Width, 6 Inches 
 
 Slightly turned to the left, he wears a dark brown 
 béret with a white ostrich feather. He has blue eyes, 
 blond hair, mustache, and beard. Attired in a dark 
 brown doublet showing white sleeves with blue stripes. 
 Ahe background i is a hight water-green. 
 
 Executed in the artist’s best manner with a beau- 
 tiful transparent, delicate touch. 
 
 Dr. Friedlander described this charming portrait in 
 a very appreciative manner. 
 
 The picture passed through the following impor- 
 tant collections: 
 
 M. Colbert, Finance Minister of Louis XIV. 
 
 The King of Hanover. 
 
 The Duke of Brunswick. 
 
 The Duke of Cumberland. 
 
 Collection B. Haussman, Hanover. 
 
 Exhibited at the Hanover Museum since 1894. 
 
 Lent by Mr. Fules S. Bache. 
 
 [ 148 ] 
 
CORNEILLE DE LYON 
 
 No. 62 
 
CORNEILLE DE LYON > 
 
 INOz.63¢ PorTRAIT OF A NOBLEMAN 
 
 ON WOOD 
 
 Height, 8% Inches; Width, 6 Inches 
 
 Seen almost full face, he wears a black Jbéret with a 
 black feather. Brown beard and mustache surround a 
 strong, virile face. A black doublet, showing white 
 sleeves, is closed in front by six brown buttons. 
 
 A light water-green background makes this charm- 
 ing portrait stand out to great advantage. Painted 
 in the artist’s best manner with a transparence like 
 that of enamel.—Dr. Friedlander: “a beautiful work of 
 the Master.” 
 
 The picture passed through the following important 
 collections: 
 
 M. Colbert, Finance Minister of Louis XIV. 
 
 The King of Hanover. 
 
 The Duke of Brunswick. 
 
 The Duke of Cumberland. 
 
 Collection B. Haussman, Hanover. 
 
 Exhibited at the Hanover Museum since 1894. 
 
 Lent by Mr. Fules S. Bache. 
 
 (S07) 
 
No. 63. CORNEILLE DE LYON 
 
CORNEILLE DE LYON 
 
 No. 64. Portrait or JACQUELINE DE Rowan, Mar- 
 QUISE OF ROTHELIN 
 
 ON PANEL 
 
 Height, 834 Inches; Width, 7 Inches 
 
 Half figure slightly turned to the right, this graceful 
 young woman is represented on a light green back- 
 ground. She has a dark headdress on her blond curly 
 hair and a wide-sleeved black robe on which is set off 
 the white of the collar slightly opened. A pearl neck- 
 lace on her neck, a gold chain on her corsage compose 
 her trimmings of sober richness. 
 
 This portrait, full of distinction, comes from the 
 Pelletier Collection of ‘Pans; 
 
 Lent by Colonel M. Friedsam. 
 
 CORNEILLE DE LYON 
 No. 65. Porrrair oF MADEMOISELLE DE COSSE 
 
 ON PANEL 
 
 Height, 634 Inches; Width, 5% Inches 
 
 An inscription above the panel gives the name of 
 this young woman of sad and gloomy countenance. 
 Turned toward the left she is represented in bust on a 
 light green background. She wears a severe black and 
 grey costume. A dark veil falls from her headdress 
 placed very much behind on the top of her head, so as 
 to free the forehead and hair. 
 
 Her physiognomy recalls a portrait in the Condé 
 Museum at Chantilly which is supposed to represent 
 Gabrielle de Rochechouart, dame de Lansac. This 
 delicate portrait comes from the Walter Gay Collec- 
 tion at Paris. 
 
 Lent by Colonel M. Friedsam. 
 [152] 
 
ON 
 
 CORNEILLE DE LY 
 
 No. 64. 
 
 CORNEILLE DE LYON 
 
 365. 
 
 oO 
 
 N 
 
CORNEILLE DE LYON 
 
 No. 66. Porrrair or LoutsE DE HALLEwyn, DAME 
 DE CyPIERRE 
 
 ON PANEL 
 
 Height, 8 Inches; Width, 634 Inches 
 
 The subject of this portrait has been identified as 
 Louise de Hallewyn (Halluin, Hallewin) who in 1560 
 was. married to Philibert de Marcilly, seigneur de 
 Cypierre, governor of King Charles IX. A painting of 
 the same lady, almost identical with the Ryerson panel, 
 is in the Museum at Versailles (Soullie catalogue, 
 #3205). The Versailles painting is engraved in Ga- 
 vard’s Galeries historiques de Versailles, v. VU, #33 of 
 Corneille de Lyon’s catalogue. Dimier dates the pic- 
 ture at about the year 1555. The Versailles panel is 
 somewhat smaller than Mr. Ryerson’s, measuring 7144” 
 
 by 5%”. 
 
 Lent by Mr. Martin A. Ryerson. 
 
 CORNEILLE DE LYON 
 
 No. 67. Portrait or MonsiEuR DE VALE, GENTIL- 
 HOMME DU Roi 
 
 ON PANEL 
 
 Height, 634 Inches; Width, 5% Inches 
 
 He wears a black hat with white feather. His hair, 
 beard and moustache are dark brown. White em- 
 broidered collar, black coat with fur trimming. 
 
 _ This portrait was formerly in the Woog Collection 
 in) Parise 
 
 Lent by Mr. Mortimer L. Schiff. 
 [ 154 ] 
 
No. 66. CORNEILLE DE LYON 
 
 No. 67. CORNEILLE DE LYON 
 
CORNEILLE DE LYON 
 
 No. 68. PorTRAIT OF A Monk 
 
 ON PANEL 
 
 Height, 634 Inches; Width, 5 Inches 
 
 This young monk with ruddy features was the con- 
 fessor, probably very indulgent, of King Francis I. 
 He is represented in bust, turned to the right. Some 
 tufts of hair in curls fringe his broad tonsure. He is 
 robed in a grey hooded frock. This clear, transparent 
 painting of sure design and so precise as to remind 
 one of Holbein, comes from the Pelletier Collection in 
 Paris. 
 
 Lent by Colonel M. Friedsam. 
 
 CORNEILLE DE LYON 
 
 No. 69. PorRTRAIT OF AN O_p Man 
 
 ON PANEL 
 
 Height, 8% Inches; Width, 6 Inches 
 
 He is represented in bust, slightly turned to the 
 left. The name of this austere personage is not known. 
 The face is wrinkled, the cheeks hollow, his veins pro- 
 truding on his temples. His square bonnet, his long 
 grey beard and his black garment give him the ape 
 pearance of a Huguenot doctor or a preacher. 
 
 This portrait comes from the collection of Count 
 de Montbrizon, Chateau de Saint-Roch, in France. 
 
 4 
 Lent by Colonel M. Friedsam. 
 
 [156] 
 
No..68. CORNEILLE DE LYON 
 
 No. 69, CORNEILLE DE LYON 
 
CORNEILLE DE EYOn 
 
 No? a0) PorTRAIT OF A YOUNG LADY 
 
 ON PANEL 
 
 Height, 8 Inches; Width, 63% Inches 
 
 Against a black background the figure of a young 
 lady, turned slightly to the right is, shown. She wears 
 on her dark brown hair a yellow-brown bonnet. 
 Draped around a high white collar, open in front, is a 
 light transparent shawl which falls over her shoulders. 
 
 The corsage is pink and red, while the sleeves are 
 white with yellow-brown stripes. 
 
 The only ornaments are pearl earrings, a necklace 
 of pearls and rubies, and a pendant on her corsage. 
 
 Lent by Mr. Alexander M. Bing. 
 
 [158] 
 
YON 
 
 E DE L 
 
 CORNEILL 
 
 No. 70. 
 
CORNEILIE DEAEYON 
 
 INO GHA Ls PorRTRAIT OF AN O_p MAn 
 
 ON PANEL 
 
 Height, 7 Inches; Width, 534 Inches 
 
 On a greyish brown background there is seen the 
 vigorous figure of a man with hollow features, grey 
 moustache and beard. His cloak, with tucked up 
 collar, is of the same dark brown color as his headdress. 
 
 The design of this austere portrait 1s of remarkable 
 precision; the locks of hair and the hairs of the beard 
 are detailed with an application of the miuniaturist, 
 without this effort at minute details at all hurting the 
 ensemble. 
 
 Lent by Colonel M. Friedsam. 
 
 CORNEILLE DE- LYON 
 
 Nosae: PoRTRAIT OF A BEARDED MAn 
 
 ON PANEL 
 
 Height, 734 Inches; Width, 6% Inches 
 
 His fine face, turned to the right, is represented 
 on a green background. He has a thick moustache of 
 light brown and an abundant beard which encases his 
 cheeks and ends in two points. His very simple gar- 
 ment, without the least jewelry, is made up of a velvet 
 toque and a black doublet with a white collar largely 
 hidden by his beard. 
 
 Lent by Colonel M. Friedsam. 
 
 [160] 
 
No. 71. CORNEILLE DE LYON 
 
 No. 72. CORNEILLE DE LYON 
 
CORNEILLE DE EYON 
 
 INOSefat PorTRAIT OF A Man 
 
 ON PANEL 
 Height, 634 Inches; Width, 534 Inches 
 
 This portrait coming from the Woog Collection of 
 Paris, represents a man with blond beard of a square 
 cut, wearing a black hat with gilded trimmings. 
 
 Lent by Colonel M. Friedsam. 
 
 CORNEILER DE LYON 
 
 No. 74. PorTRAIT OF A Man 
 ON PANEL 
 Height, 6% Inches; Width, 5% Inches 
 
 Represented in bust, in front view. A very brisk 
 moustache and a square beard stifle his rather coarse 
 face with a strong expression. With his right hand, 
 the only one visible, he holds on his chest the flaps of 
 his black mantle. 
 
 Lent by Colonel M. Friedsam. 
 
 [ 162] 
 
No. 73. CORNEILLE DE LYON 
 
 No. 74. CORNEILLE DE LYON 
 
CORNEILLE DE -EYON 
 
 Naso: PorTRAIT OF A Man 
 
 ON PANEL 
 
 Height, 10 Inches; Width, 7% Inches 
 
 On a dark green background there is seen the figure 
 of a man with dark moustache and beard. His hat is 
 inclined to the right. Bands of fur decorate his gar- 
 ment in front, on the sleeves and on the shoulders. He 
 has taken the glove off his right hand in order to open a 
 package with a knife. The left glove is turned back 
 and allows a view of a part of the hand. 
 
 This portrait has passed through the collections of 
 the Count de Montbrizon and of M. Sulzbach, Paris. 
 
 Lent by Colonel M. Friedsam. 
 
 CORNEICUEE DE EYOs 
 
 No. 76. PortTRAIT oF A Man 
 
 ON PANEL 
 
 Height, 9% Inches; Width, 7% Inches 
 
 His lean and bony features are set off by a drooping 
 moustache and a short spare beard of reddish brown. 
 He is dressed in a black pleated doublet, strictly fitted 
 around the neck, which is surrounded by a fluted white 
 collarette. The most striking feature of his costume 
 is his exceptionally tall headdress, rather convex, 
 encircled by a ribbon with a broad rosette in front. 
 
 An inscription at the top of the panel gives the date 
 as 1570 and the age of the personage as thirty-two 
 years, but unfortunately it does not reveal his name. 
 
 Lent by Colonel M. Friedsam. 
 [ 164 ] 
 
No. 76. CORNEILLE DE LYON 
 
CORNEILLE DE LYON 
 
 INO PorRTRAIT OF A BEARDLESS MAn 
 
 ON PANEL 
 
 Height, 5% Inches; Width, 44% Inches 
 
 Bareheaded and completely shaven, he is gazing to 
 the right. Abundant curly hair encases his brow. The 
 eyes have an energetic and wilful expression. He wears 
 a black doublet with a white collar. Around his neck 
 there is a large gold link chain. 
 
 This portrait comes from the collection of the 
 Count de Montbrizon, Chateau de St. Roch, in France. 
 
 Lent by Colonel M. Friedsam. 
 
 CORNEILLE DE, LYON 
 
 No. 78. PorTRAIT OF A MAn 
 
 ON WOOD 
 
 Height, 63% Inches; Width, 51% Inches 
 
 Turned towards the right, he wears a black toque 
 with a dark feather. Light brown hair, moustache and 
 beard. He is attired in a black coat, closely buttoned 
 to the neck, where a pleated collar is visible. 
 
 Yellow-brown background. 
 
 Lent by Mr. Leo S. Bing. 
 
 [ 166 ] 
 
No. 77. CORNEILLE DE LYON 
 
 No. 78. CORNEILLE DEfLYON 
 
CORNEILLE DE LYON 
 
 No. 79. PorTrair oF ANTOINE DE BourBon, KING 
 OF NAVARRE 
 
 ON WOOD 
 
 Height, 8¥2 Inches; Width, 6 Inches 
 
 At the bottom is an inscription: Antoine de Bour- 
 bon, Roi de Navarre. Painted about 1555. 
 
 The King is represented in bust, slightly turned to 
 the right. The fine features of the delicately painted 
 head are surrounded by an abundant chevelure. He 
 wears a white doublet with high collar. The back- 
 ground 1s green. 
 
 Antoine de Bourbon was born in 1518 as the oldest 
 son of Duke Charles de Vendéme. He married in 1548 
 Jeanne d’Albret, daughter of Henry II of Navarre. 
 In 1553 their son, who became King of France, Henry 
 IV, was born.in Pau. With his brother, Louis de 
 Condé, Antoine headed the Huguenot-Bourbon move- 
 ment against the Guise, but was arrested and was lib- 
 erated only after the death of Francis II, December 5, 
 1560. He became Regent thereafter and joined the 
 Catholic Triumvirate of Duke Francois de Guise, the 
 Connétable de Montmorency and Maréchal de St. 
 André; fought against the Huguenots; captured Bourges 
 and attacked Rouen, in 1562, where he was fatally 
 wounded. | 
 
 From the Collections: Sir Fohn Stromberry, London, 
 1862; Fohn Heugh, London. 
 
 Exhibited: Royal Academy, London, 1873, No. 174. 
 
 Algernon Graves: Loan Exhibitions, Vol. II, p. 588. 
 
 Lent by F. Kleinberger Galleries. 
 
 [168 ] 
 
CORNEILLE DE LYON 
 
 No. 79. 
 
CORNEILLE DE LYON 
 
 No, 80. PorTRAIT OF A WoMAN 
 
 ON PANEL 
 
 Height, 734 Inches; Width, 534 Inches 
 
 Three-quarters to the right, her features are irregu- 
 lar with a rather broad forehead. Represented on a 
 light green background. The severity of her garments 
 and her dark veil is lightened by the brilliance of the 
 jewels that adorn her neck and shoulders. 
 
 From the collection of the Count de Montbrizon at 
 the Chateau de Saint-Roch in France, this portrait 
 passed to America into the collection of Mrs. Chauncey 
 
 J. Blair, Chicago. 
 
 Lent by Colonel M. Friedsam. 
 
 CORNEILLE DE LYON 
 
 No. 81. PoRTRAIT OF A YOUNG WomMAN 
 
 ON PANEL 
 
 Height, 634 Inches; Width, 5% Inches 
 
 She is turned to the right. On her red undulating 
 hair there is resting far in the back a white hood held 
 up by two circles of gold ornamentation, set off with 
 pearls, from which falls a dark veil. She wears a 
 corsage of black decolleté with a small ruche around 
 the neck and puffed yellow and black sleeves. A mag- 
 nificent pear-shaped pearl is hanging on her breast. 
 
 This precious little.panel has successively passed 
 through the collections of Count Gaigniéres, Count 
 Georges de Montbrizon, and Madame la Marquise de 
 Ganay. 
 
 Lent by Colonel M. Friedsam. 
 [170 ] 
 
CORNEILLE DE LYON 
 
FRENCH SCHOOL OF THE XVITE CENT Gi. 
 
 Nor8 2: Portrait oF A Man 
 
 ON PANEL 
 
 Height, 1434 Inches; Width, 11% Inches 
 
 Represented in bust, three-quarters, turned to the 
 right. His expression is rather energetic. His hair is 
 thick set, unlike the hairs of his moustache and beard 
 which are sparse. He is dressed in a black doubtlet 
 with large bands of fur. A shirred collar, tied under 
 the chin by two threads, gives a white note in this 
 gamut of dark colors. We share the view of Dr. Max 
 J. Friedlander, who believes this painting to be of 
 French origin. 
 
 Lent by Colonel M, Friedsam. 
 
 FRENCH SCHOOL OF THE XVITH Grae ia 
 
 No. 83. PortTrRAtItT oF A MAn 
 
 ON PANEL 
 
 Height, 10% Inches; Width, 7% Inches 
 
 This unknown personage was most likely an opulent 
 lord, in spite of the roughness of his features and the air 
 of negligence that the long and rather badly combed 
 hair, the locks of which fall on his forehead and along 
 his cheeks, give him. For above his black doublet 
 which gives a view of his white shirt through a cut in 
 the collar, he wears a magnificent fur of spotted ermine. 
 He is covered with a flat-topped red bonnet placed 
 obliquely on his head. 
 
 This strikingly realistic portrait comes from the 
 celebrated collection of the banker Aynard of Lyon. 
 
 It has figured at the Exhibition of French Primi- 
 tives of 1904, No. 142, in the catalogue of which it is 
 stated to be of about 1530 and to represent a Sezgneur 
 francais de la Cour de Francois I. 
 
 Lent by Colonel M. Friedsam. 
 [roa 
 
No. 82. FRENCH SCHOOL OF THE XVItx CENTURY 
 
 NO. 83. FRENCH SCHOOL OF THE XVIta CENTURY 
 
FRENCH SCHOOL OF THE® XVITH IGEN GGRas 
 
 No. 84. PoRTRAIT OF THE SEIGNEUR DE MONCHEAU 
 
 ON PANEL 
 
 Height, 9 Inches; Width, 634 Inches 
 
 He is represented in half body om vagred= back 
 ground, slightly turned to the right, his two hands 
 crossed on his breast. His grave visage, which is 
 elongated by a large forehead and a pointed beard, is 
 encased in a plain white collar. There hangs on his 
 black garment a double gold chain. He is holding a 
 pair of gloves in his right hand. 
 
 On the left there are the armorials and the motto: 
 En Espérant. On the right an inscription gives us his 
 age and the date of the portrait. Aeta Suae 80, 6 
 months, Anno 1605. This double inscription, to tell 
 the truth, warrants caution. In spite of his sparse 
 hair and grey beard, the Seigneur de Moncheau does 
 not look like an octogenarian and it is hard to believe 
 that this portrait was executed as late as the beginning 
 of the seventeenth century, under the reign of Henry 
 
 IV. 
 
 Lent by Colonel M. Friedsam. 
 
 [174] 
 
NO. 84. FRENCH SCHOOL OF THE XVItrx CENTURY 
 
ei 
 OBJECTS OF ART | 
 
ENAMELS 
 
 The origin of enamels is unknown and its use dates 
 back into antiquity. We know that the Egyptians and 
 Assyrians enamelled the walls of palaces, and as yet 
 no work of such magnificence as the great enamelled 
 walls of the palace of Rameses III at Tell el-Yehudia 
 in the Delta of the Nile has been discovered upon 
 metal of any kind. Subsequent Greek and Roman 
 civilizations used enamel largely on articles of personal 
 adornment. The next time we hear of the use of 
 enamel is in a passage from the writings of the sophist 
 Philostratus (A. D. 240), who says: (Icones, 1. 28). 
 It is said that the barbarians pour these colors into 
 moulds, that the colors become hard as stone, preserving 
 the designs. This is a more or less accurate ‘description 
 of the process of CHAMPLEVE enamelling, while the 
 barbarians referred to are Celts from the British 
 Islands. 
 
 From then on we find many references to enamels, 
 even though at times this exquisite art, which seemed to 
 thrive only under the sunshine of an opulent luxurious 
 era, declined and almost disappeared completely. The 
 objects which have been found show that enamelling 
 was known throughout Europe during the Middle 
 Ages, although the pieces vary greatly in style and in 
 design as well as in technique. 
 
 Several kinds of enamels are to be found in gold an 
 silver works. The CLOISONNES or partitioned, 
 which the design is formed by thin strips of went 
 soldered on edgeways to the face of the plate which 
 serves as a base, 1s the oldest type. The Byzantines 
 and Chinese were experts in the use of this form. 
 The thin strips of metal, form the setting which holds 
 the colored enamel, much as a setting holds a jewel. 
 Another method of enamelling is the CHAMPLEVE 
 in which the plate is hollowed out with an engraver, 
 the sides being left projecting in such a way that 
 the design is cut into the metal and the grooves form 
 a setting for the enamels. Again there is the 
 
 ized 
 
PAINTED ENAMEL in which the pictorial composi- 
 tions are executed on the smooth plate. 
 
 This latter type came into use only towards the end 
 of the XVth century when the discovery was made that 
 enamel could be fused on a metal plate without the 
 retaining wall and that another layer of enamel could 
 be superimposed and fused to the first. In most 
 of these enamel paintings the subject was laid in 
 with white upon a dark background. Towards 1520 
 the GRISAILLES appeared; they were obtained by a 
 first layer of dark enamel on which the design was 
 worked in white and finally retouched, reinforced, 
 gilt or otherwise. 
 
 The origin of the painted enamel is doubtful and 
 several points in the history of the art remain very 
 obscure. The information regarding this technique of 
 enamelling is only precise, dating from Nardon Peni- 
 caud, who was probably the earliest painter in enamel. 
 Pie -worked at Limoges from 1493 to 1513. The 
 most distinguished follower of this artist 1s Leonard 
 Limosin who excelled in portraiture. It is at this 
 time that regular dynasties, from father to son, pro- 
 duce these Limoges Enamels during three centuries. 
 The family of Jean Penicaud, Jean Court de Vigier, 
 Pierre Raymond and Pierre Courteys are all great 
 names of artists who excelled in this art. Pierre 
 Raymond was head of a group that rivaled the Peni- 
 cauds. Jean Court de Vigier is supposed to have 
 been a pupil of Limosin. His drawing was strong 
 and had a great elegance of treatment. Jehan Cour- 
 teys, who died about 1586, is probably the artist who 
 signed enamels “I. Curtivs” and “I. C.” 
 
 [179] 
 
LIMOGES XIIIra CENTURY 
 
 No. 85. CHAMPLEVE RELIQUARY 
 Height, 634 Inches; Length, 111% Inches; Width, 4 Inches 
 
 On the cover in raised figures are three angels en- 
 closed in circles. There are two similar ones on the 
 front of the reliquary. The chasse is of brass with blue 
 enamel on the front and polychromed in the back. On 
 the right end is the figure of St. Paul holding book and 
 sword, while on the left end is St. Peter with the key. 
 
 Former Collections: Church of the Jesuits in 
 Prague; Prince Lichtenstein in Vienna. 
 
 Lent by Colonel Michael Friedsam. 
 
 LIMOGES XIIItH CENTURY 
 
 No. 86. ENAMELLED PasToORAL STAFF 
 Height, 12% Inches 
 
 There is a criss-cross of brass in which blue enamel is 
 inlaid and scale like projections on the curved end of the 
 staff to represent a dragon. In the circle formed by the 
 end of the staff is the scene showing Archangel Michael 
 slaying a dragon. This staff, which is of enamelled 
 Champlevé Brass, comes from the collection of Baron 
 
 Leopold Goldschmidt, Paris. 
 
 Lent by Colonel Michael Friedsam. 
 
 [180 ] 
 
LIMOGES XITItH CENTURY 
 
 No. 85. 
 
 = 
 
 No. 86. | LIMOGES |XIIIrw CENTURY 
 
FRENCH XVrH CENTURY CIBORIUM 
 No. 87. Height, 15 Inches; Width, 9 Inches 
 
 The ciborium is of chiselled silver with painted 
 enamels. On the base are the symbols of the evan- 
 gelists, St. Mathew, St. Mark, St. Luke, and St. John. 
 On the square pillar which rises from the base are the 
 figures of other saints among whom are St. Peter and 
 St. Paul. On the top of this pillar is the ciborium, the 
 sides of which have three small enamels of saints. On 
 both sides of the ciborium are two small figures in the 
 round, holding candlesticks. 
 
 On the top of the ciborium is a miniature figure of 
 Christ as Salvator Mundt. 
 
 Lent by Colonel Michael Friedsam. 
 
 NARDON PENICAUD 
 (Active 1493-1513) 
 
 Narpon PeEnicaupD 1s the first, according to our in- 
 formation, who painted enamels. There is in the 
 Cluny Museum in Paris a painted enamel by that 
 artist dated 1503 and signed by him. This is the only 
 Limoges enamel signed by Penicaud which has come 
 down to us. Most of the Limoges artists who followed 
 him were his pupils. The most distinguished of these 
 followers was Leonard Limosin. 
 
 No. 88. Juno CHARGES. THE Fury ALECTO™=7e 
 TROUBLE THE TROJANS 
 
 Height, 9 Inches; Width, 8 Inches 
 
 The subject of this composition is taken from the 
 legend of Troy. In a landscape dominated by a 
 chateaufort, Juno naked, her hair hanging over her 
 shoulders with a headgear in a form of small currets, 
 is seated in a large architectural stall. 
 
 Below, in front of her, a head of a dragon coming 
 out of the ground, spouts out through flaming jaws the 
 first and most ferocious of the three furies, Alecton, 
 with spread wings and hair of vipers and dressed in a 
 gold striped robe. 
 
 From the Collection of Baron J. Vitta, Paris. 
 
 Lent by Mr. Fules 8S. Bache. 
 eels 
 
Y 
 
 Vru CENTUR 
 
 FRENCH X 
 
 No. 87 
 
 NARDON PENICAUD 
 
 No. 88. 
 
LEONARD LIMOSIN 
 (About 1505—About 1577) 
 
 LeonarpD Lrimosin is supposed to have studied 
 under Nardon Penicaud. At the beginning of his 
 career we find that he was very much influenced by the 
 German School and more specifically by Albert Durer. 
 His first known work, signed with the initials Z.Z., are 
 eighteen plaques after Durer. In 1530 he entered the 
 services of Francis I as painter and valet de chambre, 
 which positions he retained under Henry II. His last 
 known work bears the date 1574. 
 
 No. 89. DIANA WITH A DEER 
 OVAL PLAQUE 
 
 Height, 11% Inches; Width, 8% Inches 
 
 Diana stands in the foreground nude. In her left 
 hand is a bow, while in her right hand, which is held 
 over her left shoulder, is an arrow. Beside her a deer 
 is standing. In the background a stag hunt is in 
 progress. On the left is a castle. 
 
 This plaque comes from the Spitzer Collection, in 
 Paris, No. 481 of the catalogue. 
 
 Lent by Mr. Fules S. Bache. 
 
 No. 90: Francis I 
 7 Inches Diameter 
 
 The King is represented wearing a black toque 
 trimmed with a white feather. On his slashed doublet 
 may be seen fleurs de Lis and the crowned F: Under 
 the doublet, appearing through the slashes, is a white 
 embroidered shirt. Over the doublet is a dark brown 
 fur garment. This is one of the many portraits in 
 enamel that Leonard Limosin executed for his master. 
 This plaque comes from the Spitzer Collection in Paris. 
 
 Lent by Mr. Fules 8S. Bache. 
 [ 184] 
 
No. 89 LEONARD LIMOSIN 
 
 No. 90. LEONARD LIMOSIN 
 
LEONARD LIMOSIN 
 
 No. 91. MARGUERITE DE NAVARRE 
 Oval. Height, 6% Inches; Width, 5% Inches 
 
 The pale white figure of Marguerite de Navarre is 
 turned to the left. On the blond hair is a headdress. 
 She wears a high linen gold embroidered collar with 
 ruffles; her corsage is black with gold embroidery. A 
 thin gold chain with a pendant falls around the neck. 
 The background is blue-black with gold dots. The 
 plaque is of painted enamel. 
 
 Former collections: 
 
 M. Denon, Paris. 
 
 M. Magniac, Paris 
 
 J. P. Morgan, New York. 
 
 Exhibited at the Metropolitan Museum of Art, New 
 ty orks: 
 
 Lent by Colonel Michael Friedsam. 
 
 [ 186 ] 
 
N 
 
 LEONARD LIMOSI 
 
 . 
 
 No. 91 
 
LEONARD LIMOSIN 
 (About 1505—About 1577) 
 No. 92. Henry D’ALBRET, KING oF NAVARRE 
 Height, 8% Inches; Width, 5% Inches 
 The portrait shows the King dressed in black 
 wearing the insignia of the Order of Saint Michael. 
 On his head is a toque trimmed with a single white 
 feather. It is painted in various colors on a blue back- 
 
 ground. It 1s signed L. L. 1561. Henry d’Albret was 
 the grandfather of Henry IV. 
 
 Lent by Mr. Fules S. Bache. 
 
 LEONARD LIMOSIN 
 (About 1505—About 1577) 
 
 No.93. PortraiT oF GaLioT DE GENOUILLE, 
 COMMANDER OF THE ARTILLERY OF 
 Francis [. 
 
 Height, 9 Inches; Width, 67% Inches 
 
 The portrait shows a man with blond mustache 
 and hair, and blue eyes wearing a black four-cornered 
 hat and a black circular collar which falls on a white 
 coat. The background is dark blue. The face is very 
 delicately executed. 
 
 Former Collections: 
 
 Baron Arthur de Schickler, Paris. 
 
 Comte Hyde Pourtales Paris 
 Exhibited: Palais Sagan, Paris, 1913, No. 244. 
 Catalogue-de-luxe, Pl. LV. Illustrated in “Les Arts”, 
 September, 1913, page 32. 
 
 Lent by Mr. Fules S. Bache. 
 
 [188 ] 
 
No. 92, LEONARD LIMOSIN 
 
 No. 93. LEONARD LIMOSIN 
 
LEONARD LIMOSIN 
 No. 94. aie Pad a Wb) 
 Height, 5¥% Inches; Width, 5% Inches 
 In his right hand he holds a book and in the left, 
 
 resting on his shoulder, is a sword. At the base of the 
 sword shaft are the initials “L. L.”—Leonard Limosin. 
 He is dressed in a blue garment with a green cloak 
 thrown over it. The plaque comes from the Marquis 
 Peruzzi dei Medici Collection, Florence. 
 
 Exhibited at the Ba/timore Museum of Art, Novem- 
 ber, 1926. 
 
 Lent by F. Kleinberger Galleries. 
 
 JEAN PENICAUD 
 (XVIth Century) 
 INGeE > ADORATION OF THE CHILD 
 Height, 7 Inches; Width, 6 Inches 
 
 The Child is lying on His back on a wooden box. 
 On the left is the Virgin, and beside her is the head of 
 the kneeling donkey. The Virgin is dressed in a dark 
 reddish gown and has over her head a white shawl 
 which falls over her shoulders. On the right, St. 
 Joseph is kneeling holding a staff in his hand. Over 
 the group three angels are singing and hold a scroll 
 of parchment. Although the scene 1s obviously sup- 
 posed to take place in a hut or shed, as the cattle 
 would indicate, we find a fine architectural composi- 
 tion as a background. On the left are a number of 
 columns and pilasters, and in the center a landscape 
 with golden stars can be seen through a stone arch. 
 
 Lent by Mr. Fules 8. Bache. 
 
 [190] 
 
No. 94. LEONARD LIMOSIN 
 
 No. 95. JEAN PENICAUD 
 
JEAN PENICAUD 
 (XVIth Century) 
 No. 96. THe ANNUNCIATION 
 Height, 6% Inches; Width, 5 Inches 
 
 Jean PeENnIcAUD came from the family of Nardon 
 Penicaud and was one of his followers. —The Annuncia- 
 tion is treated in the conventional manner. The Virgin 
 is kneeling in front of three lilies which are in a vase 
 and turns her head towards the angel who is standing 
 back of her. The angel wears a red cassock over a white 
 gown; the wings are green and the hair yellow.. Above 
 the angel is God the Father surrounded by clouds; 
 while below, above the Virgin, is the Holy Ghost in the 
 shape of a dove.: In the background is a couch with 
 green draperies and a red cushion. 
 
 Lent by Mr. Fules S. Bache. 
 
 PIERRE RAYMOND 
 Nom. Mars, VENUS, AND CUPID 
 Height, 7% Inches; Width, 6 Inches 
 
 On the left on a couch is the purple draped figure of 
 Venus. Beside her stands Cupid holding a bow, and 
 sitting at the foot of the couch is Mars dressed in 
 armor. 
 
 On the back of the plaque is the inscription “P. R. 
 Limoges 1559” which is the signature of Pierre Ray- 
 mond. 
 
 Exhibited at the Baltimore Museum of Art, No- 
 vember, 1926. 
 
 Lent by F. Kleinberger Galleries. 
 
 [192] 
 
No. 97. PIERRE RAYMOND 
 
MASTER OF THE AENEAIDE 
 (Early XVIth Century) 
 
 Marquet DE VaAsseELorT attributes these four plates 
 to the Master of the Aeneaide and states that they 
 date from between 1525 and 1530. The subjects are 
 copied after the woodcuts executed by Sebastien Brant 
 illustrating the Aeneid published by the printer Johann 
 Gruninger of Strasbourg at the beginning of the 
 XVIth Century. 
 
 No. 98. AENEAS FLEES FROM TROY WITH ANCHISES, 
 CREUSE AND ASCANIUS 
 
 Height, 9 Inches; Width, 8 Inches 
 
 Aeneas is shown carrying his father, Anchises, on 
 his shoulder and holding his son Ascanio by the hand. 
 Behind him, on the left, is his wife Creuse accom- 
 panied by a servant. In the background Troy is seen 
 in flames. 
 
 From the Collection of Mr. fFules Porges, Paris. 
 Lent by Mr. Fules S. Bache. 
 
 No. 99. AENEAS OFFERS. SACRIFICES TO THE GODS 
 BEFORE THE [Toms or His FATHER AT 
 DREPANUM 
 
 Height, 9 Inches; Width, 8 Inches 
 
 On the ground, lying at the right of the group con- 
 sisting of Aeneas, Ascanio and Acates who are stand- 
 ing in front of the altar, is a goat and a bull ready to be 
 sacrificed. Above and at the right of this scene is the 
 ocean and a galley at anchor. On the altar are several 
 bowls of wine ready to be poured on the ground by 
 way of libation to Bacchus. A snake gliding over the 
 altar tastes the banquet. Alcestes, King of Sicily, is 
 with Aeneas near the tomb. 
 
 From the Collection of Mr. fFules Porges, Paris. 
 
 Lent by Mr. Fules 8. Bache. 
 
 [194] 
 
No. 98. MASTER OF THE AENEAIDE 
 
 No. 99. MASTER OF THE AENEAIDE 
 
MASTER OF THE AENEAIDE 
 No. 100. ComBat oF ENTELLIUS AND DARES 
 Height, 9 Inches; Width, 8 Inches 
 
 Entellius and Dares are in the center of the compo- 
 sition, each holding a club or caestus. At the foot of 
 the tree, behind the fighters, are two swords which are 
 the prizes to the winner. On the left, behind Entellius, 
 stands Alcestes, King of Sicily, with a sceptre in his 
 hand. On the other side, behind Dares, stand Aeneas 
 and his son, Ascanio. The whole group is dressed in 
 costumes of the XVIth Century. In the background 
 is a castle. 
 
 From the Collections of Mr. Magniac and Mr. Fules 
 
 Porges, in Paris. 
 
 Lent by Mr. Fules S. Bache. 
 
 No. 101. Turnus, Kinc oF THE RUTULES 
 Height, 9 Inches; Width, 8 Inches 
 
 Turnus, King of the Rutules, is seen in front of 
 Troy about to meet his rival, Aeneas. After having lost 
 two battles to Aeneas he agreed to a hand-to-hand 
 fight with him, and the prize of the fight was to be the 
 daughter of King Latinus, Lavinie. Turnus was kill- 
 ed in that fight. 
 
 King Turnus is shown in this composition, on 
 horseback in the middle of the river, outside the walls 
 of Troy. On the battlements soldiers are seen. The 
 costumes are of the X VIth century style. 
 
 From the Collection of Mr. Fules Porges, Paris. 
 
 Lent by Mr. Fules S. Bache. 
 
 [196] 
 
No. 100. MASTER OF THE AENEAIDE 
 
 No. 101. MASTER OF THE AENEAIDE 
 
JEAN LIMOSIN 
 (1528-1610) 
 
 Jean Limosin was a brother of Leonard Limosin, 
 who was the most famous of a family of seven Limoges 
 enamel painters. 
 
 No. 102. Emperor Marcus AURELIUS 
 10% Inches in Diameter 
 
 Marcus Aurelius is here represented riding on 
 horseback in a statuesque manner. The horse stands 
 on a pedestal and towers over the surrounding land- 
 scape. The Emperor is dressed in the classical cos- 
 tume, the foga. 
 
 This circular plaque enhanced with gold is a very 
 fine example of the grisai//e type of enameling. 
 
 Former Collection: John Pierpont Morgan. 
 
 Exhibited in the Metropolitan Museum of Art. 
 
 Lent by Mr. Fules S. Bache. 
 
 PIERRE COURTEYS 
 
 No103 ENAMELEED COFFRET 
 Length, 9 Inches; Height, 8 Inches; Width, 5% Inches 
 
 The coffret is of gilded silver and has on all sides in 
 painted enamel scenes of the life of Joseph. On the lid 
 is a small gilded handle. In the four sides of the coffret 
 are thin decorative columns. This Limoges Enamel 
 dates from the X VIth Century. 
 
 Former collections: 
 M. Frederici@sSpitzemebariss 
 Baroness Mathilde Rothschild, Paris. 
 
 Lent by Colonel Michael Friedsam 
 [ 198 ] 
 
No, 103. PIERRE COURTEYS 
 
SUZANNE DE COURT 
 (XVIth Century) 
 
 No. 104. Ecce Homo 
 Height, 10 Inches; Width, 8 Inches 
 
 Christ with a green crown of thorns is standing on 
 the right with His hands tied before Him. He wears a 
 dark reddish-brown cloak over His shoulders, while 
 around His waist is a white drapery. A soldier, stand- 
 ing in back of Christ, holds the cloak open so as to 
 show the people before him the tied hands. 
 
 Pilate stands to the left of Christ and is addressing 
 the people. The background consists of a Renaissance 
 palace which represents the Temple. On the left is a 
 green forest in the middle of which is a castle design- 
 ed in gold. The initials S. C. are in the upper eis 
 hand corner. 
 
 From the Fanien Collection in Paris. 
 
 Lent by Mr. Fules S. Bache. 
 
 JEAN COURTEYS 
 (X VIth Century) 
 
 Nos) 1052 THE CRUCIFIXION 
 Height, 9 Inches; Width, 7 Inches 
 
 This scene is represented in the usual manner. 
 Soldiers on horseback holding spears surround the 
 three crosses. On the right and left of the crosses are 
 the sun and the moon. In the background is a town 
 with battlements above which rise the roofs and spires 
 of churches. 
 
 Lent by Mr. Fules §. Bache. 
 
 [ 200 ] 
 
INDEX 
 
 AMIENS SCHOOL orf asour 1480 
 AVIGNON SCHOOLS of tHe XIVru 
 
 AND XVTH CENTURIES 
 BELLEGAMBE, Jean 
 BOURDICHON, Jean 
 CLOUET, Francois 
 CLOUET, JEan 
 COURT, Suzanne DE 
 COURTEYS, Jean 
 COURTEYS, Pierre . 
 FOUQUET, ean : 
 FRENCH SCHOOLS or THE reves and 
 
 XVItH CENTURIES 
 LIMOGES, Osjecrs Or Art 
 LIMOSIN, Jean . 
 LIMOSIN, Leonarp . 
 
 LYON, CorNEILLE DE 
 MALOUEL, Jean 
 
 MARMION, Simon . 
 MASTER OF THE AENEAIDE 
 MASTER OF MOULINS . 
 ORLEANS, Jean D’ 
 PENICAUD, JEan 
 PENICAUD, Narpon 
 PERREAL, Jean 
 
 RAYMOND, Pierre . 
 SCULPTURES AND BRONZES 
 SOUTHERN FRENCH SCHOOL 
 
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