deed ik sh : a “ ; a % % A " 3 -» Ta : #3, ; oie sl fie dalle } és ; bet Oe re Per 3 % ss oe ie fap aati th : met Ye as ; 4 — Monn: Ad Ow ‘@ 5 tam ; ‘: be ba $3 ‘dl Wt ,geeddad4 9 r bere Cees! ‘. 0 OE ei aa ee ae oe = <- ‘ f: | W. E. DUITS, | AMSTSRDAM YB. NATIONAL GALLERY OF BRITISH ART. Science and Art Department of the Committee of Council on Bducation, South Wensington Museum. A CATALOGUE OF THE NATIONAL GALLERY OF BRITISH ART AT SOUTH KENSINGTON, - WITH A SUPPLEMENT CONTAINING WORKS BY MODERN FOREIGN ARTISTS AND OLD MASTERS, NEW EDITION. LONDON: PRINTED BY GEORGE E. EYRE AND WILLIAM SPOTTISWOODE, PRINTERS TO THE QUEEN’S MOST EXCELLENT MAJESTY. FOR HER MAJESTY’S STATIONERY OFFICE. 1876. Price Sixpence. tnepegess HE | SolAasee wo lave? to 2a souks, neloviadiest Ea eta Sp teeter inne pe cata aca 7 10 YADIIAD 4 THA Heit} ¥; OT MEG Aaa. HIH =. eal tay oe , tele once ete Boi : : a? FDS Tr = ce asus: Fein: ae AF Ye Wao Mi i wi SCIENCE AND ART DEPARTMENT OF THE COMMITTEE OF COUNCIL ON EDUCATION. SoutH KENSINGTON. ESTABLISHED in connexion with the Board of Trade in March 1853 as a develop- ment of the Department of Practical Art, which in 1852 had been created for the re-organization of the Schools of Design. of Council on Education in 1856. Placed under the direction of the Committee List of Presidents and Vice-Presidents. Board of Trade. 1859, a Hon, Earl Granville, K.G., Lord Presi- 1852. Rt. Hon. H. Labouchere, M.P., President. ent, » Rt. Hon. J. W. Henley, M.P., President. » Rt. Hon. Robert Lowe, M.P., V.P. 1853. Rt. Hon. Edw. Oardweil, M.P., President. | 1864. Rt. Hon. H. A. Bruce, M.P., V.P. 1855. ee Hon, Lord Stanley of Alderley, Presi- | 1866. bee ey the Duke of Buckingham and ent. — » Rt. Hon. H. T. Lowry Corry, M.P., V.P. Cominittee of Council on Education. 1867. His Grace the Duke of Marlborough, K.G. 1856. ae tt Hon, Earl Granville, K.G., Lord Presi- s “ge 6 Lord Robert Montagu, M.P., ent. -Ps iy ae Sete Hon.W.F. Cowper, M.P. mee ronident, 1868. Most Hon. the Marquess of Ripon, K.G. 1858. Most Hon. the lg re of Salisbury, » At. Hon. W. E. Forster, M.P., V.P. » Rt. Hon. Sir C. B. Adderley, K.O.M. & 1878. Rt. Hon. Lord Aberdare, Lord President. Bk saVek ¢ » Rt. Hon. W. E. Forster, M.P., V.P. Lord President. His Grace the Duke of Richmond and Gordon, K.G. Vice-President of the Committee of Council on Education. The Right Hon. Viscount Sandon, M.P. OrFricE Hours, 10 To 4. GENERAL ADMINISTRATION, Secretary.—Sir Francis R. Sandford, C.B. Assistant Secretary.—Norman MacLeod. Chief Clerk.—G. Francis Duncombe. First-class Clerks.—A. J. R. Trendell ; Alan 8. Cole; Frank Rede Fowke; Alfred S. Bury. Second-class. Clerks.—J. B. Rundell; H. W. Williams ; E. Belshaw; G. G. Millard ; Ave Postal Clerk. ae Burtt. Clerk in Charge of Accownts.—Vacant. Book-keeper.—T. A. Bowler. Assistant Book- keeper.—E. Harris. GENERAL STORES. er.—W. G. Groser. Deputy.—H. Lloyd. . Smith. Storeke Clerk.— SCIENCE DIVISION. Director Ju Science.— SiN r Donnelly, R.E. Inspectors.—¥. J. Sidney, LU.D.; eee Harris, E.1.0. (Navigation.) aminer.—G. (e. 7. Bartley. sistant Professional Examiner.—T. Healey. 39088, Professional Examiners for Science. Subjects. I.—Practical, Plane and Solid Geometry.— F. A. Bradley. II. —Machine Construction and Drawing.— W.C. Unwin, B.Sc. Ill —Building Construction—Major H. C. Seddon, R.E. IV.—Naval Architecture.—W. B. Baskcomb. V.—Pure Mathematics.—C. W. Merrifield, F.R.S.; T. Savage, M.A. pe VI.—Theoretical Mechanics.—Rev. Twisden, M.A. VII. ee Mechanics.—T. M. Goodeve, VIII.—Acoustics, Light me Heat.--J. Tyn- dall, LL.D., F. IX.—Magnetism and Electricity.—J. Tyn- dall, LL.D., F.R.S. x —Inorganic Chemistry. —H, Frankland, L., Ph.D., F.R.S. XI Organic Chemistry.—E. Frankland, D.C .D., F.BS. XII. Bom A. . PB gst LL.D.,F.R.S. XIII, aohtinata Ww. Smyth, M.A., a 3 Subjects. XIV.—-Animal Physiology.--T. H. Huxley, LL.D., F.R. XV. —Biementary Botany. —W. T. .Thiselton Dyer, M.A., B.S XVI) Biology. —T. H. er LL.D. F.BS. ; aA wet Thiselton Dyer, M.A., B.Sc. XVIII.—Mining.—W. W. Smyth, M.A., F.R.S. XIX.—Metallurgy.—J. Percy, M.D., ERS. XX.—Navigation.—J. Woolley, LED. '* XXI. BR i Cae. Astronomy.—J. Woolley, XXII.—Steam.—T. M. Goodeve, M.A. XXIII.—Ph eg POETS aes T.. Ansted, AASV Principles of Agriculture.—H. Tanner, ART DIVISION. Director for Art.—k. J. Poynter, R.A. Assistant Director for Art.—H. A. Bowler. Occasional Inspectors.—S. A. Hart, R.A.; F. B. Barwell; W. B. Scott. Official Examiner. —t. Chesman, B.A., LL.B. Assistant Professional Hxaniner.—J. A. D Campbell. Professional Examiners, 1876.—F. R. Pickers- gill, 3 F. Yeames, A.R.A.; J. E. Boehm ; Ww. Morris; Valentine ©. Prinsep ; George Aitchison; J. Marshall, F.R.S., F.R.C.S. Occasional Examiners—G. M. Atkinson; ; G. R. Redgrave. NATIONAL ART TRAINING SCHOOL. Principal.—. J. Poynter, R.A. Head Master.—J. Sparkes. Registrar—R. W. Herman. Mechanical and Architectural Drawing.—H. B. Hagreen. Geometry and Perspective.—k. 8. Burchett. Painting, Freehand Drawing of Ornament, &c., the Figure and Anatomy, and Ornamental Design.—J.Sparkes; C.P. “Bloomber T. Clack ; F. M. Miller Modelling. oo M. Miller. Lady Superintendent of Female Students.— Miss Trulock. Female Teachers.—Mrs, § Channon, Occasional Lecturers : On Anatomy.—Edward Bellamy, F.R.CS. On Principles of Ornament.—R. W. Her- man. On Historic Ornament.—Dr. Zerffi. On the Figure —F. W. Moo Teacher of Hiching Class—A. Teeekoae Teacher of Wood Engraving Class.—C, Roberts. . E. Casabianca ;- Miss Inspectors of Seve Schools of Science and Art. —R. G. BP. Wylde; J. F. Iselin, M.A; Bartlett; ND yooeial Organizing Master.—J. C. Buckmaster, F.C.S. SouTH KENSINGTON MusEvM. Director.—P. Cunliffe Owen, C.B. Assistant Sap pe —R. A. Thompson; Major E.R. of New Director ve ew sidings. —Major-Gen. Scott, eBoy 1V Decorative Artists—R. Townroe ; F. W. Moody (Instructor in Decorative Art). Museum Keeper (Art Collections).—G. Wallis. Museum Keeper (National Art Library) —R. uy Smith, M.A., Trinity College, Dub- in, Museum Keeper (Educational Library and Collections).—A. C. King, F.S8.A. Assistant Museum Keepers—W. Matchwick, L.S.; H. Sandham; R. Laskey; ©. B. Wors- nop ; R. ¥. Sketchley, BA. xeter College, Oxford ; H. E. Acton; J. W. sis pe: Ph, D.; J. Barrett, B.A.}; C. H. De Museum. Clerks.—M. Webb ; . M. Cundall; L. Finding. Museum Foreman.—W. B. Streatfeild. Technical and Special ae —H. Vernon ; A. Masson ; F. Coles; ees G. H. Wallis; 8S. Cowper; Oo. Se Su perintendent for Eacamples a Publications. - BETHNAL GREEN Brancu of the South Ken- rhs Museum (opened on the 24th June 1872). GEOLOGICAL SURVEY. Director-General.—A. C. Ra’ , LL.D., F.R.S. Director for England and ales—H. W. Bristow, F.R.S. Director for Ireland,—-E. Hull, M.A., F.R.S. Director for Scotland.—A. Geikie, E.R.S. Naturalist.—T. H. Huxley, LL.D., F.R.S. Paleéontologist.—R. Etheridge, F. RS. ROYAL SCHOOL OF MINES AND MUSEUM OF PRACTICAL GEOLOGY. Director of Museum of Practical Geology.— A. C. Ramsay, LL.D., F.R.S. Teme of Mining Records.—Robert Hunt, Assistants.—Richard Meade; James B. Jordan. Registrar, Curator, and Librarian.—'T. Reeks. Assistant Librarian.—T. Newton. Assistant Curator.—F. W. Rudler. PROFESSORS. Chee Edward Frankland, D.C.L., Ph.D., Natural History.—T. H. Huxl a F.R.S. Physics.—¥. Guthrie, B.A., Phd, Fe Applied Mechanics.—T. M. G oodeve, aA. Metallurgy.—J. Percy, MDS F.RS. Geology.— A and Mineralogy.—W. W. Smyth, M.A., Mechanical Drawing.—Rev. J. H. Edgar, M.A. Museum open every day but Friday, and on Saturdays and Mondays till Cpe except ee the 10th of August to the 10th of Sep- ember. EDINBURGH sac > OF SCIENCE AND Director.—Prof. T, C. Archer, F.R.S.B. Keeper of the Natural History Collections.—R. H. Traquair, M.D. Curator.—Alexander Gallet. Assistant in Natural History Museum.—J. Arvistont etna LM W.0 ssistant in Industrial Musewn.— lark Clerk.—N. B. Muston. ROYAL COLLEGE OF SCIENCE, DUBLIN. Dean of Faculty. —T. F. Sa C.E., M.R.I.A. Secretary.—F. J. Sidney, LL.D. Curator of Museum.—A., Gages. Clerk.—G. C. Penny. PROFESSORS. Physics.--W. ¥. Barrett, F.C.S. Chemistry.—R. Galloway, F.C.S. Geology.—hi. Hull, M.A., F.R.S. Applied Mathematics.—H. Hennessy, F.R.S. Botany.—W. R. McNab, M.D. Zoology.—A. Leith Adams, M.A.,, M.B., F.R.S. Agriculture —HK. W. Davy, M.D. Descriptive Geometry and Drawing.—T. F. Pi- got, C.E., M.R.LA. Mining and Mineralogy.—J. P. O'Reilly, C.E. "Ao helena in Paleontology—W. H. Baily, Assistant Chemist.—_W. Plunkett. Assistant Physicist.—A. E. Porte. ar ROYAL DUBLIN SOCIETY. President.—His Grace the Duke of Leinster. Secretaries.—G. J. Stoney, A.M., F.R.S., and- C. Kelly, J.P., G.C. Registrar and Assistant Secretary—W. E. Steele, M.D. Treasurer, €c—H. C. White. Director of Natural History Musewm.—A. Carte, M.A., M.D. Keeper of Minerals.—R. J. Moss. LInbrarian, Acting —W. 8. Keogh. Lemporary Assistant—H. W. D. Dunlop, A.B., Director of Botanic Gardens, Glasnevin.—D. Moore, Ph.D. ZOOLOGICAL GARDENS, DUBLIN. prea Ber, S. Haughton, M.D., F.T.C.D. wR. e eae CONTENTS. INDEXES TO GIFTS AND BEQUESTS : SHEEPSHANKS GIFT - = as a é A 1 ELLISON GIFT - s “ . 4 é 2 2 TOWNSHEND BEQUEST - - - - - 2 Parsons Bequest “ ze A 2 < z 4 Witi1amM Smira Girt - - c - = Z 5 Various GIFTS AND BEQUESTS - - - - 6 GENERAL INDEX TO MODERN PAINTERS - - = "4 FOUNDATION OF THE COLLECTIONS: SHEEPSHANKS DEED oF GIFT - = - - as 0 MiInuTE OF COUNCIL THEREON - - - - 18 TOWNSHEND WILL - > - apie lS Parsons WILL - mI ~ - = - vt 20 OIL PAINTINGS: INTRODUCTION AND REPORTS - - - - ap BY CATALOGUE z . - = ee “ aa A WATER COLOUR PAINTINGS AND DRAWINGS: INTRODUCTION - a 2 wit eer Uap ar Pa CATALOGUE - . = - - - - 130 SUPPLEMENT: 3 Movern Forrten Or Parinrines - - - - 172 MopERN ForrIGN WatEeR CoLour PAINTINGS - - 179 Om Paintings By OLD Masters - - “ ae eS : Fes gat. PPG : * ae ny 5 ef an BETES. Be | Lida. oF haan 2 = ! ‘ roe b ” a a ot oe ae p 2 os mn sn + ‘ : “ 7 \ au ~ avi bk AS : Py = Si Bs ee ‘Se be . s HOAs . . c ke on 2, ter f e rs i al a: & ir - y : , DAVIE Ae eee -Oulves Pats hae rg ; m eae Fs ; - Pd : i r we: oo -. 7 ij ms ; = ‘ . f * ahd f _— & i? Fy Ps + ~ . i ee & c + | at seman De Cle ; 7# “ ~ * er are re ~~ » epiotiatthd rahe ~ INDEX TO GIFTS AND BEQUESTS. Girt of Mr. JoHN SHEEPSHANKS, 1857. i Water- Painters. Paint- “eae Page. INgS- lings, &c. Bonington - 1 ea 150 Brandard - 3 Ae 76 ” - cae 1 77 Brocky - bo geen 2 78 Burnet, James 2 a 151 Burnet, John - 2 3 84 ” hs aE oki 1 88 Calleott - . 9 SS 154 ” = - 8 6 94 Carpenter - 3 os FS ath: - sta 1 95 Clint z - 4 aa 97 Collins - cs 9 ae 159 = Z ag 5 100 Constable “ 6 i f Cooke - = 11 bis 161 bed = = eee 1 9 | Ol Cooper - - 2 rae 103 Cope - - 9 Po 163 rr - - ie 8 103 Creswick = 2 ae 104 Crome - 2 2 ;, 105 Danby - - 3 ee 106 Davis - - 1 e., 107 Duncan - = 1 cae 110 Eastlake - . 2 bee 166 Ris) wom) 2 |. «. 111 Frith - = 1 Bs 167 Gauermann - 2 a 113 Geddes - . 2 ae 169 Holland - sd 2 oak 113 INS, gaciti}) 19 169 Horsley - - 3 a 115 Jackson - 7 2 ‘ee 170 bP) 4 = eee 6 1] l 7 Lance - - 1 3 Landseer, Sir E.| 16 Painters. Landseer, Sir E. Landseer, C. Lee - Leslie - Tawa Mulready ” 2 Mulready, jun. Nasmyth Newton - Redgrave ” mn Rippingille Roberts - Robson - Rothwell Simson - ” * Smirke - Smith, G. Stanfield - Stark — - Stothard - Turner - Uvrins = Ward ~ Webb - Webster - Wilkibn-- ? x Witherington Paint- ings. | — Water- colour Paint- ings, &¢. 12 23 INDEX TO GIFTS AND BEQUESTS. Girt of Mrs. ELtison, 1860 and 1873. Painters. Barret - - Bartholomew - Bentley - - Cattermole - Chambers. - Cooper - - Cox - - De Wint Dunean - Fielding Fripp - Haag - ~ Haghe - - Hills and Barret Hunt. - o Jackson = Jenkins - Leitch - Lewis - Mackenzie Martin - Water- colour Paint- ings, — NWwWNH kK WOrrPwWONN ORF NTNO DPN OFN & Page. Painters. 155 Nash - - - 156 Nesfield - - ” Oakley - - - 157 Palmer - - - 158 Prout - - - 160 Richardson - - rr Roberts - - - 161 Robins - - - - Robson - = 164 Stanfield - - 165 Stone -. - F Tayler - - 166 }Topham. © soncsaat as Turner - - 167 Turner (of Oxford) - Varley - - 169 Werner - - = 171 Wright - 7 a" He Oe RK ORE RE DNDN Re eo 100 . : ‘ ; | ee ew veils Oil Hee Page. — Painters. Paint-| Damt. || Page. Painters. basen ings, &ec. ‘179 -|-Avourmois +] ... ‘1 134 Campion iin ae | -172 Baade - - 2 Ris La Cattermole -— 7 “ Bauer - - 1 135 Chase - — 1 + Baugniet - 1 49 Childe oe & Bavoux - 1 173 Clays - | ke 131 Bentley Sate 1 51 Collins, C, A. = is “179 Block, De tee 3 53 -Collins, W. <= Ris 44 Boaden - 2 Boe 54 Constable - ies 172 Bocion -| 15 137 Cooper - 1-2 179 on Es de 1 180 Courdouan - Le | ek 3K, Bonnet - - 1 BS 139 Cox -- ai 3 179 Bosboom mas EY 1 140 Crampton = 1 5, _ | Braekeleer, De iss 1 58 Cranch - * 132 Brocky ee ie 2 59 Cruikshank - id . 178 Bryner - 3 ea 60 Danby - iv oT tgs Calame ms 2 173. | D’ Angeli is BS 179 ne “St gyi 7 141 Davidson l 48 Callcott - 1 180 Delaroche’ - 1 133 Callow ay Paegs 2 141 De Wint 1 INDEX TO Painters. Diaz - Diday - Dodgson Dupré - Durck Etty - Etzdorf a> Fielding a Fourmois Fripp, A. D. Fripp, G. A. Fuseli - Georges Gilpin Girard Gudin Haghe Hardwick Hering Herdult Hildebrandt Hoguet Holland Hoppenbrouwers Hornung Houze Hove, Van Howard Hubert Hiibner Humbert Hunt - Isabey Jacobs. ” Jacops Jutsum | Keyser, De Kirner Klombeck bP) Koekkoek Kunkler Lacaze Lami - Lasch - Le Poittevin 3” Leys - Lherbes Libert - Lindsay (?) mm Co et _ GIFTS AND BEQUESTS. CO mm tri Painters. Lindsay, N. W. Linnell a Lugardon, A. - Lugardon, J. L. Luni - - Marshall, EK. - Marshall, T. F. Martin - Menessier - Menn - - Mennet - Mole - - Monamy ~ Morgenstern - 3 Morland - Miller, A. - Miller, W. ° - Mulready - Muyden, Van - bb) Neureuther - Niemann - om Oakley - Oliver - . Penley - Prout, S. - Prout, §.G. - Read - - Reinagle - Richardson - Rischgitz - Roberts = Robson - Rochussen ~ Rosenthal = Rottmann, C. - ”? Rottmann, L. - Rousseau- - Rowbotham - Rowbotham, jun. Ruyten - Schelfhout- - ” = Schippers - Schleich - ” 5 Schnorr Von Ca- rolsfeld. Schwer 2 Seide - - Severn : 9 Shayer - Paint- ings. te ee pee > Water- colour Paint- ings, &c. patieaess “cr Gor G mt 025 INDEX TO GIFTS AND BEQUESTS. Painters. Simpson - Smith, J. R. - Stanfield - 99 Steffan = Steinfeld a Steinlen - Taunay - Tayler - Thompson” - Thurau - Townshend - Travers - Tucker - Turner - Varley, J. - Varley, W.F. - Vautier - Verboeckhoven, E. Verboeckhoven, E. J Water- colour Paint- : lings, &e. BEQuEst OF Mr. JoHN MrEson Parsons, 1870. Painters. Adloff- - Barry - - Bond - - Bright - Callecott 2 Carpenter - Collins : Constable = Cooke “ Corbould “1 Cox, jun: - Deiters - De Wint 3 Fielding - Fisk - - Gainsborough - Gosling - Haghe - Hargitt - Hunt, A. W. - Hunt, W. H. - Johnson ~ i el Oil ao Page. Painters. | Paint- | Bane . NBS. lings, &c 178 | Verhas - 1 a. 184 | Verreyt - s 1 168 | Vickers a ena 2 178 | Volmar - 2 dee 184 | Wappers a ia re ‘1 169 | Weigall iis bs We 1 184 | Werner - Fy 1 169 | Westall #S) td 1 170 | Wilkie rae eat 1 117 | Woodhouse - 2 ha? 171 | Wyld - = | eee e 178 | Zimmermann, A.| 2 it a Zimmermann, F,) 1 cane 179 | Zwengauer -| 1 it 184 : cab aay 2. 118 | Anonymous - 1 iA 179 a SABI) fT 171 ¥3 aubbtorys2 3 184 me cor SALES 3 189 174 Oil Water- Page. Painters. Paint- he ings. ings, &e. 7 | Lawrence - 1 eed 151 Lewis - - ae “ 176 | Lindlar - 1 a 152 | Macpherson - | ... 1 154 | Miller oe, 5 95 | Nasmyth SB 7 156 | Niemann i cab Fy 1 $6 | O’Connor ai aay | ts O’Connor (as- 1 3 cribed to). 177 | Ommeganck - 1 avs 182 | Philippeau =] . ay 158 | Poole - mites 4, 'e i. Prout, J.8. = 2 ” e ugin i Sh ga 7 1 97 | Pyne - - 1 oN 159 | Read - - 1 160 | Richardson, jun. i: | -- Roberts = as 4 177 Salentin - 1 eae 162 | Sandby ~ i 1 177 | Schlesinger - 1 338 INDEX TO GIFTS AND BEQUESTS. 5 0; Water- Oil Water- Page. Painters. Paint Saat Page. Painters. Paint- golene mpi ings, &c. mer ings, &c. 103 Simms - 1 Sa 178 | Verboeckhoven tee 163 Skill - Phliet 1 184 | Vianelli - 2 164 Smith, C. - te 1 169 | Werner - 2 165 Tayler - : 1 170 | Wilkie - I 183 Tenkate - Ki 1 117 Wilson ~ és 110 Traies - - 1 sah 185 | Old Masters - | 67 “ep 111 Turner - 1 178 | VanStry -j 1 ee | Girt of Mr. WILLIAM SMITH, F.S.A., 1871. cb | Water- Page. Painters. Paint. Page. Painters. pra ings, &c. ings, &c. 130 Anderson . - 1 153 Marlow a 2 - Atkins - - 1 re Miller be 1 zj Atkinson = - - 1 154 | Mortimer - 2 1381 Barker - : 1 156 Nattes (?) - 1 ie Barret - - 1 _ O’ Neill E } 182 Blake - - 1 ve Owen - 1 a Bourne : - 2 157 | Parker = ] Py Boyne - - 1 > Payne = 1 133 Buckler - - 1 * Pearson x 1 s Bunbury - - 1 sa Pocock - 1 135 Cipriani - - 2 158 | Powell ; l a Cleveley, J. - - 1 159 | Pyne, W. H.- 1 a Collet - - 1 160 | Reinagle, P. - 1 137 Cooper, RR. - - 1 ” Reinagle, R. R. 1 ~189 Craig “ - 1 161 | Rooker ~ 3 140 Crome - < 1 162 kowlandson - 3 i | Cruikshank, I. - 2 2 Samuel " 1 * | Daniell, W. - - 2 a Serres, D. M. 1 141 Dayes - - 3 % Serres, J. T.. - l Pe Devis - - 1 163 | Shelley 2 145 Green - - 1 166 | Thompson - 1 146 Gresse - - 1 167 =| Turner : 3 nA Grimm ~ “ 2 + Turner (of Oxford) 1 147 Harris - - 1 168 | Varley, J. _ - 8 148 Hearne - - 4 rr Walker : 1 150 Ibbetson - - 1 169 Webber y 1 151 Laporte - - 1 170 | Wheatley — - 6 152 Loutherbourg, De - 1 115 | West - 1 (oil) Ss Malchair - - 1 153 Malton, T. - = 3 86 113 154 163 169 170 131 138 180 171 184 159 VARIOUS GIFTS AND BEQUESTS. Rowlandson Haydon - Constable Poussin, N. (?) Lawrence Claxton - Northcote Mulready Nicholson Meen = Delamotte Dobbin - Dorrell - Hayter - Smith, pete A Wallis - Finch - - Douglas - - Hargréaves - Hayllar - - Hayter - - Dyckmans Kettle — - Huyss (?) Stanley - ” Anonymous Macnee - Hoppner - Clint’ - Barker - Etty - Loutherbourg, De Ward - Miller - Schotel - Sheppard West, W. Wilkie - Varley, E. J. Brooks - Pickersgill Bancks - Cosway - Duchesne Anonymous 93 Raven - . os pei belibed sce cea csty se meh es . * ° peak pithy: Se Se fee ce ee 3 bet CD fat OR SSeS As 8 ” ° ° on a Given by. Mr. W. Atkinson. — Given by Mr. J. C. Barratt. — Given by Rev. R. C. Lattom Browne. | Given by Capt. Hans are: Bequeathed by Miss L. M arrington. , iva by Mr. Marshall Claxton. Given by Mr. Richard C. Browne Clayton. Given by Lady Cole. . Given by Mr. T. F. Dillon Croker. Given by Mr. E. M. De Bussche. Given by Mr. W. Delamotte. Given by. Mr. J. Dobbin. Given by Miss Jane Dorrell. } Given by Viscountess Dungannon. ~~ Given by Mr. T. Dyer Edwards. Given by Mrs. Finch, © ~ Bequeathed by Mrs. Fochetti. Given by Mr. T. Godwin. Given by Mr. W. Hargrenees Given by Mr. Angelo C. ’ Bequeathed by Mr. Frederick Heusch. Given by Mr. Rupert A. Kettle. Bequeathed by Lady Given by Mrs. M. M. Lindsay. Jane Clara. Bequeathed by Mr. W. B Totols Given by Mrs. Maskiaiial Bequeathed by Miss Ellen Markland. Given by Mr. Ghasion Masters. ‘ Ta by Mr.-C. af Mand. 7 g ' _ Given by Rey. H. Mitchell. Given by Mr. Christopher “snag! ; Given by Mrs. Re : ith til ye a tn | noqueathndt Mrs. Louisa Plumley. Given by Rey. T. Raven. 7 - INDEX TO GIFTS AND BEQUESTS. if Water- Page. Painters. Paint pe Donors. . 5 ihe ings, &e.| ) 159 Redgrave - | aod 2 | Given by Mr. R. Redgrave, R.A. 104 Smith, G. - 1 a \ 131 Baynes - Oe 1 Given by Mr. Samuel Redgrave. 167 Uwins - ~ | dave 1 a 44 Bird =: 2} 1 ... | Given by Mr. Charles Roberson. 140 Crome - . Ras is 2 | Given by Mr. J. C. Robinson. 87 Morland - i ... | Given by Mr. F. Peel Round. 162 Sasse_- 4 Pee 1 | Given by Mrs. Harriet Blake Sasse. 62 | De Wint tae 141 ee ‘s 4M 12 Given by Mrs. Tatlock. 67 Hilton - ip & 3 70 Howard - 747 1 ... | Given by Sir W. Tite, M.P. 146 Hackert - ae 1 157 Pocock - - 2 Given by Sir W. C. Trevelyan, Bart. 164 Smith, John - 7 149 Humphrey - | 1 | Given by the Trustees of the Soulages Collection. 152 Longeroft - 2 163 Shelley - - 1 bene by Miss Elizabeth Twining. 170 Williams - 2 oo : aoe a hae ; \ Given by Mr. H. Vaughan. of they” vis § : ait } Given by Sir Joshua Walmsley. 169 Wehnert eh 1 | Given by Mr. Wehnert’s representatives. “ Wells - - | «« | 1 | Given by Mrs. Wheeler. 171 Anonymous Fides, |. 1 |. Given by. Mr. R. Yates: a ea ten teh at ar me nr | = bins | | i iaier: Page. Painters. Paint- | Saint. || Page. Painters. Paint-| Srint. a jings, &e..| MES: lings, &c | ] 130 Adam ah aes OP 1 | 131 | Barer, D. oe on: 3 172—«| Adloff 8 | |; 48 | Barker, T. “4. 13 130 Alexander = | PoGe a. PSL a ante Se Tee . Anderson - 14 | Barralet pee | 9 | ” | tee Pe Andrews - | i Lisi a, 1 eres, U5 BED ile i = Ast Ce Oa iar | iy ” Ga 4 0% and - Atkins a te Bis 2 ilpin Ap eS as ete | ote Atkinson - e. a i Barret, G., jun. e 7 a Austin == os 1 | 44°) Barry - - Tuet aes 179 Avourmois - ... 1 |. 181 | Bartholomew -},... | 2 172 Baade =|, 2 .. || 172 | Bauer - : oe 130 | Baker- a | ery | » | Baugniet . 1 | 131 Bancks 4 | eke }; ..| Bavoux - ies Se Barber — nF tf 4° Hts’ ¥81 > | Baynes er dG Pa ay al. & y tes NL: 0 aS ee oe ee Se SS eee Se ” +e a) a eee : 1 ae eh 8 | GENERAL INDEX TO PAINTERS, _ « ; +, | Water- +, | Water- Oil r Of 4: Page. Painters. Paint- SEE og Page. | Painters. - | Paint- | Provt INS. lings, &e.!! SS: lings, &c. 131 | Bennett - 1 135 | Clennell - 3 a Bentley ‘ 3 180 Clerisseau. = ey 132 Benwell - 1 50 | Cleveley, J. - fee 44 | Bird - 1 i; 135 m is 8 132 Blake - - hi 2 Sc Cleveley,R. - 2 179 Block, De SL 1 50 | Clint - as 44 Boaden : 2 a 135 | Coke - - 1 | 172 Bocion ~| 15 % ty Collet - - 2 2 aes 179 ae oe tae 1 51 | Collins, C. A. - Pre 132 Bond - aa pei s 1 * Collins, W. =| tA 45 Bonington = - 1 is 136 * -/ ae | 173 Bonnet a 1 ¥ ro Comerford - 1 179 | Bosboom a toe te 1 = Coney - ny d 132 Bourne arnt ey 4 53 | Constable - fee & Bowler - 1 136 mn * Gar 5 33 Boyne - 1 54 | Cooke - ae 179 Braekeleer, De 1 136 a - 21 132 Bragg - relied bee 2 56 | Cooper, A. - fa ‘ae A5 Brandard “ 3 : 137 | Cooper, R. - 2 132 4 é : 1 i Cooper, S. = 2 m Bright - 1 a Cooper, T. §. - 5 a Brocky - 4 56 | Cope - - eS; a Bromley - 1 137 Se as - 15 133 Brooking a Nae 1 138 | Copley - 10 45 Brooks - 1 ie 58 | Corbould - te 179 Brouwer os, Vhs 1 1388 | Cosway - 3 173 Bryner ~ 3 ‘, Cotman - 7 133 Buckler = Ae ess 3 180 | Courdouan - eo Pe Bunbury Hee J 139 | Cox, D. - 18 46 Burnet, James. 2 ak € Cox, D., jun. - 1 fi Burnet, John - 2 ee “ Cozens, A. - 2 133 . - 1 - Cozens, J. R. - 3 BA Byrne, A. F. - 2 a Craig - - 1 Pa Byrne, J. SE Mas 2 140 | Crampton © Ba" 173 Calame : g ree 58 | Cranch J ates | ¢ 172 re me he? his ok 7 a Creswick = ie Fs 47 Callcott -| 10 sa 140 | Cristall “. 4 133 yt et ae 7 59 | Crome - ae * Callow ” 3 140 > ae 5 134 Calvert - 3 3 Crosse ~ 1 me Campion ng Pe 1 = Crowe - 1 48 Carpenter - 4 i: 59 | Cruikshank, G.-|. oe 134 « - " 1 140 | Cruikshank, I. _ 2 = Carter - ~ 1 = Cuett - = 1 im Casey - - 3 60 | Danhy. Joo. ie ” Cattermole - 17 140 ae - 1 < Catton - 1 173 | D’ Angeli 4 oe 135 Chalon, A. E.- | |... 2 140 | Daniell,S. -— 1 ‘ 49 Chalon, J. J. - 2 a y Daniell, W. _ - 5 135 is - ‘a 4 61.4 Daniels). Pes » - | Chambers — - 2 141 | Davidson - 2 * Chase - = dn’ vs 1 61 | Davis - — re: 49 | Childe aN t aed 141 | Dayes oall is 135 Cipriani 5 PRD 2 173 | Deiters biter ; 49 Claxton - 2 141 | Delamotte . | “5 173 Clays - - 1 180 Delaroche 2 l + a Oil Page. Painters, Paint- ings. 173 | Delfosse - 1 141 | Derby - by Devis - - sa De Wilde = POTD, 62 De Wint - 4 141 - - eas 178 | Diaz - - l ‘9 Diday - 1 142 | Dighton - y Dobbin - iy Dodgson - ys Donaldson = - bs Dorrell a eee 62 | Douglas - 1 180 | Duchesne < aI T 142 | Duncan, KE. - oe 62 | Duncan, T. - 1 173° | Dupré - - 1 174 | Durek - 1 142 | Dyce — - sald aed 174 | Dyckmans’~ - 1 63 | Eastlake - - 2 143 | Edridge - Spe 2 5 Edwards - wh wer 69°u Bity re - + sce 8 143 59 _ 7 eee 174 | Etzdorf - - 1 180 ” a 148 Evans - - ‘. Farington oe 64 | Fielding, Copley 1 143 res 3 Fielding, ’ Thales : 144 Finch - es > Fisk - - 180 | Fourmois - 144 | Francia - 2 » Fripp, A. D. - a Mrippy Gi A. = loc... ” Fripp, J. H. - ey 64 | Frith © - - 1 144 | Fullerton SOHAL hy 65 | Fuseli - - 3 144 Sree a Qepnstys}; 65 | Gainsborough - 1 144 ss we | ory 145 ” ; ( ?) 2 3 Gastineau < vai 174 | Gauermann ~ - 2 66 | Geddes - - 2 174 | Georges - - 1 180 | Gérdme - aire to, 145 | Gessner - as ee Gilfllan- -] «. 66 | Gilpin, Ss. - 1 a 9 li Water- colour Paint- jing as, &e. . OU el pet eet eS bo: — — — KH OH tee are pot op Ps GENERAL INDEX TO PAINTERS. Painters. Gilpin, Rev. W. Girard - - Girtin = ~ Glover - = Goebel - L Gosling - - Gratton - - Green, B. R. - Green, W. — - Greenwood - Gresse - - Griffith - - Grimm - - Gudin - 4 Haag - - Hackert - “ Haghe - = Halfpenny — - Hamilton « Harding - - Hardwick & Hargitt - - Hargreaves - Harley - - Harper ~ - Harris ~ - * Hassell - ~- Havell - 5 Haydon - - | Hayllar Hayter, Sir G. - Hayter, J. - Heaphy - - Hearne - - Herbert, A. - Herbert, A. J.- Herbert, J. R. - Hering. - - ” ef ® Heroult - - Hildebrandt - 99 Hills - - Hilton ~ - - Hoare - = Hofland . Hoguet - ~ | Holland - ui 9 Holworthy = - Hoppenbrouwers Hoppner - - Horeau - - Hornung- - Horsley - 9. rs | Water- colour Paint- ings, &e, to bo kw Ce Oe ane Coe Noll CoM itor Mee i Ot ood No ee een ae ae mT Wee Ah: A a eee eee Oe i e ~ 7 “—e oe, - a 5 E ‘ = = si e 4 ~ Tee * als 2) a ee A . ’ : ares 1.3 ERE TS mae a ee : 2 ' wee - " 10 GENERAL INDEX TO PAINTERS, — | Water- Oil betsy Page, Painters. Paint- i Page. Painters. _ Paint- Paint. MS. Jings, &.| mgs. lings, &. 149 | Hoskins, J.sen.} .... 1 151 | Leslie - -— 38 149 | Hoskins (as- |. ... 1 151 | Lewis, J.F. - 10 ceribed to). £5 Lewis, W. - 1 181 | Houze - mh waite 1 175 | Leys - on 174 | Hove, Van _ - 1 a 182 Lherbes - - 1 69 | Howard, H. - 3 af 175 | Libert - sted 149 | Howard, V. - - 1 176 | Lindlar - - be. _ Howitt - ~ 2 84 | Lindsay (?) - | he 181 | Hubert - - 1 151 | Lindsay, N. W. 1 , Hiibner « ae eer 1 + Lines - - mS 174 | Humbert- - 1 ie - 84 | Linnell - = ons 149 | Humphrey - ; 1 151 | Liotard - - 2 iy Hunt, A. W. - 1 152 | Locker - - | ‘, Hunt, W. Hy. - bites 15 s Longcroft - 2 70 | Ibbetson - - 4 i. a Lound + 1 150 oe a - ; Be 85 |Loutherbourg, De bi % Ince - - 8 152 4 A - 2 181 | Isabey, J. B..- 1 857 | Auey 4 - oe " Isabey, P. mid ied 1 176 | Lugardon, A. - | ta 71 | Jackson, J. . - ae ee », | Lugardon, J. L. | ate 150 p=, on 6 on pie * 3; Jackson, S. P.- |... 4 152 | MacCallum . ~ 2 ) Jackson, S.. - | 4... 2 = Mackenzie - 3 175 | Jacobs - - 2 a is Mackinnon = 1 181 ay - = a 2 86 Macnee - i ve + Jacops - - si 1 152 | Macpherson = ¢ al 150 | Jenkins - - 1 A McCloy - | =. 1 ‘ Johnson - - henad 2 s Mahoney - 1 71 | Jutsum - - 1 sik Malchair - 1: 71 | Kauffman - 1 ots 153 | Malton, J. «=| 1 150 | Kettle mohehreeh 1 - Malton, Tf. - 3 175 | Keyser, De - 1 ‘oo 4 ‘, Marks - - eh . Kirner - - 1 es 86 | Marlow- - me ” Klombeck - a vee 153 39 ied 2 181 thee - 7. 1 is Marshall, KE. - 1 175 | Koekkoek — - 2 7 is Marshall, T. F. 1 b Kunkler - - 1 a a Marten - sa 150 | La Cave - alicia 2 86 | Martin 4 & ay 175 {| Lacaze - - 1 153 sal S Ms 9 72 | Lambert - - 1 ide 5 Mee - - yg 182 | Lami - TiO thes 22 Meen - - * 72 | Lance - - 2 182 | Menessier -— 1l “A Landseer, Sir E.| 16 ts 176 | Mem - > bc 150 es Mae eee 12 ‘, Mennet = bos 76 | Landseer, C, - 3 (a 153 | Miller- - sa 151 | Laporte - = fiies 2 ‘dl Mole - - pl 175 | Lasch - ,¢ 1 she 182 | Molitor, Von - | 1 182 Lavezzari < nae 3 87 Monamy - ~ 77. +| Lawrence - 3 154 z 2 J 4. : » |e, FR -/|. 8 is 176 | Morgenstern - ae | 151 ” = ye io’ 1 182 9 - 1 4 » © | Lee, We menomcbeqe 1 87 | Morland , Lido he Tieiteh - su honed 1 154 | Morris. ‘a 1 175 | Le Poittevin - 1 87 | Mortimer - = 182 9” - | ue 2 154 Ven he 2 78 | Leslie - - | 124 Bis ¢ Moser - - =? GENERAL INDEX TO PAINTERS, Painters. Miller, A. - Miller, W. - Miller, W.J.- Mulready W. - Mulready,W., ju. Munn - - Muyden, Van - ” Nash, F. - - Nash, J. - - Nasmyth - Nattes - - Neale - ~ Nesfield ns Neureuther = - Newton - | Nicholson = Niemann ro 3” Northcote - Oakley - O’Connor fn Oliver, P. ‘s Oliver, W. - Ommeganck - O’Neill - Owen - - Palmer, E. - Palmer, S. — - Parker - Pars - - Payne - - Pearson - Penley - Peters Philippeau (?)- - Pickersgill = - Pilleau . Pocock - Poole - - Powell - Erout,0.5. « Prout, S. - Prout, p..ts. <-- Pugin, A. Pugin, A. W. N. Purser - Pyne, C.C. - Pyne, G. - Pyne, J. B. ” xi Pyne, W. H. Raven Rawle a Read - Oi Water- Paint- eu Page Painters Inge: lings, &e. ot 1 97 | Redgrave 1 id 159 bs 3 ai 7 160 | Reinagle, P. - 33 35 99 | Reinagle, R. R. vi 35 160 o F 2 a3 99 | Reynolds - a 2 160 4 6 1 feb 3, (Richardson, T. M. a 1 * Richardson, T. are 2 M., jun. Sh 8 . Rigaud - 3 os 100 | Rippingille - i 2 177__| Rischgitz ~ i 1 160 | Riviere - ¥2 1 100 | Roberts, D. - Ne 4 160 % g 1 ues 161 | Roberts, T.S. - ve 3 a Robins - 1 ps o Robson - ws 4 183 | Rochussen - 1 ae 101 | Romney ~ e 2 161 | Rooker - 3 x " Rosenberg - ee 1 177 | Rosenthal - 1 an 161 Ross - - 1 es 101 | Rothwell ke TF 2 177. | Rottmann, C. - ou 4 183 i : Aa 1 si Rottmann, L. - id 1 177 | Rousseau - ez 1 161 |Rowbotham, T. 1. hg 2 Me Rowbotham, T. ud 6 L., jun. ats 1 162 | Rowlandson - “ne 5 183 | Ruyten - by 1 177 ‘| Salentin hd 1 162 | Samuel 2 1 sae 5 Sandby - ist 1 Be Sarjent - wz 4 r Sasse - - at 1 177. | Schelfhout — - ss 4 183 ‘ , ig 3 “4 Schippers - as 9 Ey Schleich - 1 183 ‘ z a7. 1 177 Schlesinger - rs 1 183 | Schnorr - TF 1 Ma Schotel - sn 4 177 Schwer - ue? 2 183 | Seide - - 1 ee) 162 Serres, D. M. - Fe 1 102 | Serres, Jz T....- 3 162 a - ; 6 102 | Severn ¢ i 2 162 wes - ; 2 03 | Shayer ° 11 Wator- colour Paint- ings, &e, ee ¢ E % 163 163 ry) ” 103 ” 163 103 163 ] Shelley | Shepherd, G. - | Shepherd, G. S. | Sheppard a Simms - Simpson, P. - Simpson, W. - } Simson ~ Stabs : Skil. "Gh, Skippe - Sleap - BS Smirke - Smith, Catterson Smith, Colling- wood. Smith, George Smith, George Smith, George (of Chichester) Smith, J. - Smith, J.C. - Smith, J. R. - Sounes - Stanfield | ” ‘Bs Stanley © - ” 73 Stark - wit Steffan < Steinfeld ~ Steinlen - Stephanoff, F. P. Stephanoff, L. Stevens a Stocks te Stone - ~ Stopford - Stothard - Stubbs us Swinburne~ - Sykes - - Taunay - | Taverner By Tayler | Templetown, | Viscountess | Tenkate re] Thirtle = | Thomas «S Thompson, J R.! Thompson, T. C.) Thornhill Thuran - Topham ~ bt 00 tee s 5o.! food ID Hay Spams Me yp Socom RO fmt et ND eet Townsend. -j| J... | 94 ah oe ee Townshend =} 1 | 7... ‘Prates “#2 end rae re Trautschold (yey, 7 Sa ‘Travers a ee Bs Be Tresham Tucker 4 L Varley, J. © Varley, W. KF autier hy GENERAL INDEX TO PAINTERS. i} Om | oar | Oil Page. Painters. Paint-| paint. || Page. Painters. Paint- DES. ings, &e.! ings. | ‘ / 1 170 | Wilkie - - 18 | 178 | Zimmermann, A.) 2 170 | Williams - 2 | 178 | Zimmermann, pS gee | Li je Wilson, Ja TL. - | 2. he dies 12) Zuccarelli =) ee 117. | Wilson, KR. - 2 .- {| 179 | Zwengauer -j| 1 ,.. Witherington - 1 ». || 184 x - | ue 171 | Wood - - 1 -118 | Anonymous -| 6 ie Woodforde’ - ‘peg | 171 ye why Were 1tF Woodhouse - 2 ie 179 es by ae 171 | Wright - Zr dh +184 - ~ | ws 9 Wyld - 1 185 | Old Masters - | 108 “ Xavery - : pes ) = Young Bee os 4 1 | 605 | i Oil paintings given or bequeathed - - 566 > purchased - - 39 605 Water colour paintings, &c. given or hequeathed ~ 628 2 Pe purchased - 467 13 | Water- colour Paint- ings, &c. “ot ~ 7 , . . - n ud * e*, : ts 4 k “<# i 4 6 cr 5 re Pre | | ewe ree hi y : te FE: « i as = ~~ E wet Fad i 5 ~ aw - F a 4; =? wid ’ ; ‘ m * - »*? » Fie ea pays ane. ‘ * o mA 7 4 hs et cae ee Sy EUCTIEE 4 mt ag } FOUNDATION OF THE COLLECTIONS. MR. SHEEPSHANKS’S DEED OF GIFT. TO ALL TO WHOM THESE PRESENTS SHALL COME, I, JOHN SHEEPSHANKS of Rutland Gate, Knightsbridge, in the County of Middlesex, Esquire, send greeting. WuHeprEAs I desire that a Collection of Pictures and other Works of Art, fully representing British Art, should be formed, worthy of national support, and have the advan- tage of undivided responsibility in its management, instead of being subject to the control of any body of trustees or managers ; And whereas I conceive that such a collection should be placed in a gallery in an open and airy situation, possessing the quiet necessary to the study and enjoyment of works of Art, and free from the inconveniences and dirt of the main thoroughfares of the metropolis: And whereas I consider that such a gallery might be usefully erected at Kensington, and be attached to the Schools of Art in con- nexion with the Department of Science and Art now esta- blished there: And whereas, with the view to the establish- ment of such a collection, and in the hope that other proprietors of pictures and other works of Art may be induced to further the same object, I have determined to make such a conditional gift of the original pictures and drawings (the productions of British artists) which I possess, as hereinafter expressed. And I do, therefore, hereby transfer the pictures and drawings belonging to me specified in the Schedule hereto, and the property and pro- prietorship thereof unto, and do declare that the same shall remain vested in the Right Honourable Edward John Stanley, Baron Stanley of Alderley, or other the member of Her Majesty’s Government for the time being charged with the promotion of Art Education, now undertaken by the Department of Science and Art, as the ex-officio trustee ' thereof, upon the following terms and conditions, viz. :-— 1. The said Right Honourable Edward John Lord Stanley, as the first and present ex-officio trustee, shall sign a memo- randum of his acceptance of the trusteeship hereunder at the foot hereof. | 2. A well-lighted and otherwise suitable gallery, to be called “The National Gallery ot British Art,” shall be at once erected by Her Majesty’s Government, and be attached or near to the public buildings built or to be built for B 16 ai SHEEPSHANKS DEED OF GIFT: —= |) | the Department of Science and Art on the estate purchased by Her Majesty’s Commissioners for the Exhibition of 1851, or the public parks or gardens at Kensington. 8. The said pictures and drawings shall be deposited in such gallery with any other pictures or other works of Art that may be subsequently placed there by other contri- butors, as it. is not my desire that my collection of pictures and drawings shall be kept apart, or bear my name as such. 4, The right of property and possession in the said pictures and drawings shall be solely in the ex-officio trustee for the time being, but subject to the ‘conditions herein expressed; and the said pictures anddrawings shall always remain under his sole caré and’ control, and he ‘shall the sole arbiter of any question ‘that may arise touching — - the management or disposition thereof under these Presents. 5. The said pictures and drawings shall be used (as the primary object) for reference and instruction’ in the Schools of Art now or hereafter placed under the s* verinten ence the said Department, and, subject thereto, shall be exhibite to the public at such times as shall not interfere with" arrangements of the said Schools, and under such regulations as the ex-officio trustee shall: prescribe ; “and ‘so “goon” : - arrangements can be properly made by him for that purpose; the public, and ‘especially the working Classés, shall ‘have the advantage of seeing the collection on Sunday afternoons; it being, however, understood that the’ exhibition’ of th collection on Sundays is not to bé considered as oni of the : conditions of my gift, ahs i ee init ie epenoa.n 9 6. None of the said pictures and drawings’ shall” ever “be sold or exchanged, or be dealt with contrary to the true spirit and meaning of the disposition and control thereof herein prescribed ; but this condition shall not restrict the temporary loan of any of them, upon terms sanctioned by the ex-officio trustee, to any place in the United Kingdom where any School of Art exists in connexion with ‘the | De partment of Science and Art, or generally where there is any, safe and proper place for their reception and public exhibition. | : REL 5 _ 7. The ex-officio trustee shall be advised and assisted on matters connected with the preservation of the said picturés and drawings by William Mulready, Esquire, R.A., or failing him by Richard Redgrave, Esq., R.A. or failing him“by some one other R.A. of London, to be selected by the’ex# officio trustee for the time being, as the professional adviser ) of the ex-officio trustee. FOUNDATION OF THE. COLLECTIONS. 17 8. That the ex-officio trustee: may sell the right to engrave or reproduce any of the said pictures or drawings, upon such terms as he may think proper, but the engravings and reproductions shall be approved by the artist of the picture or drawing engraved or reproduced before publication, and such artist shall be paid whatever sum may be received by the ex-officio trustee for the sale of such right. 9. The said pictures and drawings, or the conditional gift of them hereby made, shall not be subject to the provi- sions of the Act of the 19 & 20 Victoria, cap. 29., intituled “An Act to extend the Powers of the Trustees and Di- vectors of the National Gallery, and to authorize the Sale of Works of Art belonging to the Public,’ or to any future enactment of the Legislature, which, but for this declara- tion to the contrary, shall have the effect of placing the said pictures and drawings under any other care or ordering than is, herein prescribed, or would otherwise alter or interfere with the disposition thereof hereby made, And in case of such interference on the part of. the Legislature, or if the terms and conditions as herein expressed be not strictly adhered to, then the conditional gift hereby made of the ‘said pictures and drawings, in favour of a National Gallery of British Art, the Schools of Art, and the public generally, shall wholly cease, and the ex-officio trustee for the time being shall thereupon hold the said pictures and drawings in trust. for the University of Cambridge, to be added to, and for ever thereafter, form part of the Fitz-William Col- lection in the said. University. / Witness my hand and seal, this Second day of February - Qne thousand eight hundred and fifty-seven. : 6 (Signed). JOHN SHEEPSHANKS. (L.6. ‘Signed. aha and delivered by the above-named . John Sheepshanks, in the presence of — » Wirt1am Cowrsr, 17, Curzon Street, London. - -RICHD. REDGRAVE, 18, Hyde Park Gate, South Kensing- ao ¢0D.1 _ Henry Coie, 24, Onslow Square. J, the above-named and undersigned Right Honourable Edward John Stanley, Baron Stanley of Alderley, do accept the trusteeship created by the above deed. (Signed) STANLEY OF ALDERLEY. Lyon’ PLAYFAIR, Witness. B 2 MINUTE Or THE LORDS OF THE PRIVY COUNCIL ON THE ABOVE | DEED OF GIFT. ren DEPARTMENT OF SCIENCE AND ART. At the Council Chamber, Whitehall, the Siath day of February 1857. | By the Ricuot HonovurRABLE THE LORDS OF THE Oom- MITTEE OF Privy CouNcIL appointed for the consi- deration of all matters relating to TRADE AND FOREIGN PLANTATIONS. i t hee My Lords take into consideration the Deed of Gift by which Mr. Sheepshanks transfers to the President of this Board his valuable Collection of Pictures and Drawings, in order to found a Gallery of British Art, in connexion with the Schools of Art under this Board. , The President has accepted with much gratification the Trusteeship created by this Deed, under the conditions therein described. : My Lords are sensible of the great value of the magni- ficent gift thus presented to the nation during the lifetime of the Donor, and they desire to express their admiration of the very liberal spirit in which it has been made. — My Lords admit the reasonableness of the condition that the Deed of Gift shall only take effect when a suitable Gallery shall have been provided in an airy situation near the Gardens or Public Parks at Kensington, and they have given directions, with the consent of the Treasury, for the erection of such a Gallery without delay. | Their Lordships direct that a letter should be written 10 Mr. Sheepshanks, thanking him, on the part of the Govern- ment, for his munificent gift to the nation, and for the open character of the conditions under which it has been made ; and stating, that, whilst the liberality of these conditions has greatiy enhanced its value to the nation, they are well calculated to realize the disinterested object of the Donor to found a Gallery of British Art. ) Approved, Lyon PLAYFAIR. STANLEY OF ALDERLEY, 6th Feb. 1857. _ Mr. Sheepshanks died in 1863. 19 Extract from the Will of the Rev. Chauncy Hare Townshend, dated 6th August 1863. “ J, Chauncy Hare Townshend, late of Down Hill, in the parish of Tottenham High Cross, in the county of Middlesex, and now of Norfolk Street, Park Lane, in the parish of St. George, Hanover Square, in the said county, Clerk, do hereby revoke all Wills and other Testamentary Dispositions heretofore made by me, and declare this to be my last Will and Testament. I appoint my friends Burdett Coutts of Stratton Street, Piccadilly, in the said county of Middlesex, spinster, and the Reverend Thomas Helmore, Master of Her Majesty’s Choir at the Chapel Royal, St. James’, trustees and executors of this my Will. I give and bequeath to the Right Honourable Granville George Leveson Gower, Earl Granville, or other the Presi- dent of Her Majesty’s Council on Education for the time being charged with the promotion of Art Education, now undertaken by the Department of Science and Art, such of my pictures and water-colour drawings, and engravings and books containing engravings, as his Lordship or other the President aforesaid may think fit to select; and my collection of Swiss coins, and my box of precious stones (including such as are generally kept therein, but which in my absence from England may be with me on the Continent); and my box of cameos (which boxes, for the sake of identity, I declare to be those which in my absence from England are always deposited for safe custody with my bankers); and the ancient gold watch formerly belonging to my father, which, being stolen by the celebrated Barrington, was the cause of his trans-_ portation, together with the chain, seal, and keys there-- unto attached ; and also the looking-glass and frame over the dining room chimney-piece, which frame was carved by Grinling Gibbon, on condition that the said several articles be never sold or exchanged, but to the intent that the same may be deposited and kept in the South Kensington Museum, or any other suitable place which may be provided in substitution for that Museum, and exhibited to the public with the other Works of Art which now are or may be therein.” Myr. Townshend died in 1868. 20 pep eel -—* oe Z Extract from the Will of Mr. John’ Meeson aff ai cal Z0 done pppwgRgl® Woe at ce NDDEE © » © I hereby. bequeath to the trustees of the National “Gallery such of my paintings in oil; not exceeding oné “hundred in number, as they will accept, the selection’ to “be made by any three persons: the said» trustees may “ nominate for that purpose, and to be made from’ allem’ ‘s-pictures from the earliest. to the latest in date; including *' those by Clays of Brussels, And I direct that should “ithe trustees of the’ National Gallery decline’ to” accept “this bequest, either: wholly or in-part,the Department Sof Science and Art at: South Kensington shall be entitled “to the same right of selection as is hereinbefore given’ té “the said trustees, but ‘subject to any selections whicli ‘ may have been previously made by the said trustees, and ‘$0 that the total number of pictures selected shall*not _ altogether exceed one hundred. I also bequeath to the “aforesaid Department of Science and Art any of my water= * colour, sepia, or charcoal drawings which they may bé “ ‘pleased to select, not exceeding one hundred: in number.” « The trustees of the National Gallery having chosen three oil paintings, the Department of Science and Art, im ac- cordance with the terms of the Will, selected from M7 Parsons’s collection 93 oil and 47 pitied pl! cs ¢ (Mr Parsons ‘died im 1870st +r of yes rele Vieerer * UTR > | rime hese bee Sag sot peolkeeseeey - arto eiey is 5 rider orm sth ar er ¥ pe core 84 Robsirrn. * t oerten ‘orld fails ™ AM tora ™ ie eo tbe hive eae TTA, “iy r sd? of Data * ms . on wodeniwe: * sy both lh qvavigetegeeiie sean ‘ote |< hag “+ « NATIONAL GALLERY OF BRITISH ART. INTRODUCTION, BY RICHARD REDGRAVE, ESQ., R.A. Oil Paintings. Mr. SHEEPSHANKS having generously presented to the ‘nation his valuable pictures and drawings, the works: of British artists, with a view to the formation of a national: collection of British art, the following catalogue has been prepared, intended to serve not only as a register of the paintings, &c., but also as a means of affording the public | softie infor itintion on the works and their authors. ’ A few prefatory observations on the aim and objects of British art, and on some of its marked characteristics, may? enable the public to enter into the intentions of the artists, and more fully to enjoy a noble gift which has been specially offered to contribute to the gratification of all. In considering the aim of British art, it is natural to compare it with that of the modern Continental schools, but in doing so it is particularly necessary to bear in mind ‘how differently the latter have been fostered and encouraged: In France, for example,—and the same observation is not less applicable to other countries,—the Church and. the State are the great patrons of art, and pictures are largely com- missioned for town halls, palaces, and churches. These are constantly of large dimensions, and calculated by: their mere size to make an impression on those who do not reflect that all the highest qualities of art may be contained in pictures of moderate size, as is sufficiently proved in the works of Raffaelle, Frate Angelico, and Hemling. : The subjects of ‘these works are all of a public character, —religious when commissioned by the Church, or historical when for the State But Protestant Britain has never quite overcome the objections of her Reformers to. the pictorial representation of scriptural subjects, and they are still but rarely admitted into ecclesiastical edifices. Nor, until lately, has the State in this country done anything to promote -pictorial art, so that our battles and ‘our triumphs have had no ‘ational commemoration by ithe oo but have been left to the poet to sing, instead of 22 INTRODUCTION, being portrayed by the artist. Moreover, our insular position has, under Providence, protected us from actual contact with war and its terrors, and thus has had some share in the subjects of our choice. Art in England has flourished from the demands of those who love it as a home delight ; therefore our pictures are small, and suited te our private residences, while the subjects are such as we can live by and love; and hence, they have been largely illustrative of the feelings and affections of our kind, and of the beautiful nature of which we desire to be reminded as a solace in the moments of rest from the hard labour of daily life; and it may be said, that in no school of ancient or modern times have such subjects been more touchingly treated, more happily conceived, or more beautifully executed. wa ‘ er The contrast between the British and the Continental artists in their choice of subjects was singularly apparent in the vast gathering in Paris in 1855. To pass from the grand salons appropriated in the Palais des Beaux Arts to French and Continental works, into the long gallery of — British pictures, was to pass at once from the midst of warfare and its incidents, from passion, strife, and blood-. shed, from martyrdoms and suffering, to the peaceful scenes of home ;—it was said of our pictures that. they. reflected the life of a people who had long been permitted to dwell safely. ciohab The subjects chosen by British painters have been dis- paragingly classed with those of the Dutch school, but they are of a far higher character, and appeal to more educated. and intellectual minds. Thus, if we examine the works of Teniers, Terburg, Ostade, Jan Steen, De Hooghe, Dow, Mieris, and others of that school, they will be found to consist of music-meetings, tavern-scenes, conversations, feasts, games, revels, and drinking-bouts—often very — doubtful in their subject, and frequently of the very lowest taste and character. They seem to be the productions of men who never read, since the subjects chosen rarely or ever have any connexion with literature, nor do they seem to have been taken from the poets or writers, of their own or any other country ; but represent, certainly with admirable truth and force, the scenes they daily saw, and among which they daily lived, embodying generally only the lowest sentiments and instincts of our common nature. The subjects of British artists,,on the contrary, if they are below what is usually classed as historic art, almost OIL PAINTINGS, 23 always appeal to the higher sentiments, and embody the deep feelings and affections of mankind. Our poets and writers, as well as those of other countries, find in them loving illustrators. Even when the painter chooses for his subject our rough sports, our native games, our feasts and merry-makings, he contrives so that some touching incident, some tender episode, or some sweet expression, shall be introduced to link them to our higher humanity ; and those offensive accompaniments which the Dutch artist seemed instinctively to revel in are judiciously passed over, or hinted at rather than prominently displayed. Landscape painting also is a class of art which has been very successfully cultivated in this country, and British artists have been allowed greatly to excel in it. The present collection contains fine works by Constable, Turner, Collins, and Callcott, among those passed away, and many by eminent living painters. Unlike the Continental prac- tice, our artists, both subject and landscape painters, mostly study art for themselves, and prefer nature to the painting- rooms of their eminent contemporaries. This habit has led not only to truth, but to variety and individuality, which are among the greatest charms of British landscape painting. “Great is the difference between Collins and Constable, although both paint English nature as it is presented to the view of all who love to look on it and learn to see it, and both prefer the fresh breezy sparkle of our own downs and commons, of our green woods and fields or shingly shores, to any other, as the subjects for their pictures. Still greater is the difference between these and Turner, the true painter of mist and cloud, of air and distance,—who, not content to restrict himself to our own. scenery, delights in that of brighter lands also ; and depicts nature with all that an imaginative mind could gather through the most informed and gifted eye. ‘The dews and mists of our land have been a boon to our island painters, sometimes shrouding the earth and rendering it vast and grand by dim uncertainty, sometimes glittering in the rosy gleams of morning, or lighted by the golden tints of evening. Every way, these accidental effects have been seized upon as a source of infinite variety and beauty; they contribute to the verdure and fertility of the land, to the— | | “Long fields of barley and of rye That clothe the wold and meet the sky,” as well as to the abundant weedage of our. heaths and B4 INTRODUCTION. hedgerows, both fertile sources of the true picturesque, and both studied with intense love by the true artist. © © yoo» From what has been said, it will be: felt far from sur- prising that historical art has been little practised in these kingdoms, since there has been no demand for it by private patrons, nor by our corporate bodies, our churches,- or for our state buildings; yet the artists have never been back+ ward, and individuals have from time to time sacrificed their worldly interests to do away what has been made.a reproach torus. We may instance noble historical works by men who were our contemporaries, by Haydon, Hilton, and Etty, as well as by living artists,—works which maywell take rank with what has been achieved by :modern-Conti- nental painters ; and when Government atlast came forward — to promote historic art, in the decoration: of our Halls of Legislature, an immediate response was ‘given that has resulted, and will result, in works which posterity may ~ perhaps place higher than contemporary judgment. 170 9 /+ -. The present collection, however, consists ‘of picturdsiof cabinet proportions, illustrative of every-day life and manners amongst us, appealing to every man’s observation of nature and to our best feelings and affections, without rising to what is known as historic art: as such, they:are works that al/ can understand and all more or less appreciate. And this is especially to be insisted on, ‘since ‘a )wr impression is only too widely entertained that art does not appeal to the multitude but only to those specially educated to appreciate it. Pictorial art does appeal directly +0 al in some of its highest qualities, inasmuch as it embodies images. of beauty and expression, since both of these \are parts of a language which nature has made common’ to all mankind who are embued with a sense of the beautiful, and an instinctive feeling enabling them to read the heart in the varied expression of the face or action, and therefore enabling them to enter into the painter’s labours, if he have truly rendered nature. rire Dailad ter Thus far, then, all can judge of the painter's art,—all can tell if he fills them with pleasure from a sight of) the beautiful, or touches their hearts in sympathy with’ th¢-ex- pression he has portrayed. Not that it is asserted that all feel these qualities in their full force, or can’ be moved equally by his art. We are created with senses capable:of culture, and as the Indian becomes acute of hearing and — keen of vision by constant exercise of these bodily senses, so those which are intellectual may be’ cultured and im- OIL PAINTINGS. 25 proved; and this constitutes the high mission of the artist, and that which renders him a public benefactor— that his art stimulates mental culture. Nor does this cul ture contradict the first assertion, that art appeals directly to the multitude: there may be a difference in degree, there is none in kind, and as far as beauty and expression go, the painter appeals to all, knowing that in these respects “the whole earth” is still “of one language and one speech.” Nor are the untaught multitude shut out from the enjoy- ment of a still higher quality of the painter’s art—the imaginative. Unlike the poet, who clothes his noblest images in words, which to the many never reveal things, of the painter it may be more truly said that through his art— “We can behold bobs Things manifold, ‘That have not yet been wholly told, Have not been wholly sung or said. » And not alone all that is probable, but all that is possible, pesomes actual, embodied by the painter’s skill on canyas.: Now, if we would simply allow these three qualities in a picture to act upon our minds, how much of the painter's art would become a source of delight, shut up only when we attempt to be learned in qualities which we. have not studied, and critical where passive enjoyment would bring the truest pleasure. Let us look at any picture in the. present Collection appealing distinctly to the qualities spoken of, and, simply endeavouring to enter into the painter's intentions, forget a, while to be critical, and be content for once to be amused, There is no work in the Collection more fully illustrating the pleasure which all will derive from pictorial. beauty than the “ Florizel and Perdita” of Leslie (No. 114). It is impossible to suppose that one quite unacquainted with the play would be otherwise than. deeply interested by the surpassingly sweet face and the modest purity of Perdita, or the manly form and princely grace of him to whom she gives the flower; and all can understand the, deep gevouring love with which he gazes on her. Far higher, no oubt, wall be the pleasure of the spectator, who, although equally untaught in the rules of art, has read the poetical pny from which the subject is taken, He will at once enter fully - into. the painter’s beautiful embodiment of her whose princely lineage shone through her, shepherd. rear ing, and agree with Florizel to think her— . “No shepherdess, but Flora Peering i in April’s front.” 26 INTRODUCTION. The depth of love which the painter’s skill reveals to the unread spectator will be far stronger in its appeal to him who has read the inimitable lines the poet has put into the mouth of Florizel:— , | : “ What you do, Still betters what is done. When you speak, sweet, I’d have you do it ever: when you sing, I’d have you buy and sell so; so give alms; Pray so; and, for the ordering of your affairs, . To sing them too : when you do dance, I wish you A wave o’ the sea, that you might ever do Nothing but that; move still, still so, and own No other function: each your doing, So singular in each particular, Crowns what you are doing in the present deed, she S| That all your acts are queens.” The enjoyment of the intelligent observer will not end here. He will be led to remark how the painter has en- hanced the loveliness of Perdita, by contrasting it with the homely comeliness of Mopsa, and given her actions addi- tional grace by the truthful clumsiness of the country maiden; nor has the same artifice been neglected to add youth and beauty to the prince as compared with the aged father and his councillor. Many more sources of pleasure might be pointed out; but they refer to other qualities. These we may defer to the consideration of expression as a source of pleasure to all, and illustrate it by Mulready’s picture of “Giving a Bite,’ No. 140. The subject-matter of the picture is very slight; but the story told is perfect in its kind—two boys, the one giving to the other a bite from an apple. The boy who is giving the bite is one of those whose look shows that his gift is a compulsory one. He is evidently a poor-spirited creature who dares not resist the demand “give us a bite ;” but he yields it unwillingly, as his face and whole action fully express. Instead of proffering the apple freely, he shrinks, and drawing back his elbows, brings the fruit in the closest proximity to him- self; he pinches it with his fingers, and covers it up to limit the bite to the smallest possible surface; while the bully who enforces it expresses in countenance and hands the eager and intense greediness of his nature; the hands are instinct with expressive action; he seems pouncing on his prey. At the lower part of the picture, the monkey of a poor Italian stroller eyes, with a face of the same expres- sive fear, a large dog, equally dreading a greedy bite. A child in a little girl’s arms is also most thoroughly expressive of sleep. Into the expression thus portrayed all can enter OIL PAINTINGS. 27 —the uninstructed in art as well as he who has made art his study: the former, indeed, from being entirely free to rest upon the story, is likely to enjoy it even more fully than the latter, whose thoughts are taken up with other qualities of art into which the unlearned do not strive to enter. The present Collection is not rich in purely imaginative works, that is to say, works representing ideal beings or states of being, such as are the fairy scenes of Maclise or Paton, the scripture visions of Danby, or the mythological and poetical landscapes of Turner. Many works, however, and, among them, all those embodying subjects from our poets and other writers, are necessarily works of imagina- tion, although they may be so fully realized by the painter’s art, that we forget the invention in the completeness of the realization. The Dinner at Page’s House, by Leslie (No. 110), for in- stance, makes us, as it were, personally acquainted with the imaginary individuals of the poet’s drama, with Slender and Anne Page, with Falstaff and Bardolph, as well as with the two merry wives; so much so, indeed, that we accept them as real persons, and overlook that the whole is a pure inven- tion, first of the poet’s—who makes us know the characters by their deeds and speech—and then of the painter who, entering fully into the poet’s mind, enables us to see what the latter had but partially revealed. Thus, when the painter is a thorough master of his art, he helps to open up the poet to the many; and “Sweet Anne Page,” pro- bably a mere abstraction, when read of, becomes henceforth a living reality, that may, perchance, never more be sepa- rated from the language of the poet. This realization by the painter, the multitude are thoroughly able to enter into and appreciate. It has been found by experience that men apprehend more easily by the eye than by the ear, that pictures to them are greater realities than words; and, certainly, he that has in ignorance of the play, looked with pleasure on such a work as the above,—admiring it merely as the representation of a feast in the olden time, and drawing the characters of the guests only from the expression portrayed—will be interested more deeply still when he reads the play, and sees the skill with which the painter has revealed to him the conception of another. Thus the inventions of the painter are not | only a source of pleasure in themselves, but open out other sources of gratification also. 28 INTRODUCTION. ..Inisome cases the invention of the artist. is,..exented rather to exercise and call forth the imagination of the spectator himself than to display his own. “ Suspense,’ by» Landseer (No. 99), is an excellent, example of. the pictures of this, class. A: noble bloodhound. jis) watching 7 at a closed door, shut out, one may imagine, from,.the wounded knight. his master, There are, the steel gloves — removed from the now powerless. limbs—the torn eagle- plume speaks of .the deadly strife—and ie continuous track upon the floor shows how his life-blood flowed .away drop by drop as-he was borne within, . Who; does not, wateh se the faithful. hound in’ deep “ suspense’ for some.token that he yet lives? Others, again, may read the picture. differently: they may imagine that the dog. has trac the author of some. act.of violence or deed of. ‘plood : ? the plume torn from his casque by the struggling vietim, lies on the floor sprinkled’ with.the blood shed in the Poare ere the victim was borne,within, the now, closed. portal; we; recognize the scuffle of the moment, the hand.cl the door-post with fearful energy to prevent, the. soe the’ stifled cries, the hopelessness of resistance. Yet there, like a. watchful sentry, waiting in silence, the. animal crouches, whose deep. instincts teach him untiringly . follow the object of his search ; the spectator, himself wait in anxious eagerness for the re-opening door, anticipates the spring of the animal and the renewed struggle el W1 ensue. Thus variously may. the picture be.read, each ps ing for himself a far different scene; but few, looking on painter's work, will stay entirely, without. the door, nor allow imagination to carry them away beyond the. narrow canvas actually bounding the artist's laboums..)) .. 9 5. Enough has been said to,show the manner in ~~ 1¢- tosinlart speaks to-all, and is. intelligible to. all; ‘i greatly the spectator’s pleasure may) be enlarged i hb rs examine in a true spirit. Some further remarks, howeyer, may be useful to illustrate other qualities of pictorial art— remarks tending also to a just appreciation of the artist's labours. Among these, one of the first. to be ohaeid gree : is imitation. mel ‘Painting is classed as one of the imitative arts, oo | can be no question that much, of the pleasure: we: derive from pictures arises from the imitative Teron alam of objects. Take the lowest class of works, pictures of still life. .In these we shall at once allow, that while gro light and shade, and colour conduce to the ae OIL PAINTINGS, 29 sensations they afford us, the imitative truth with which objects solid and in relief are represented on a. flat surface, with all their varied qualities of colour, texture, transparency, &c.,1s the great source of our pleasure in them, ~ As subjects take a higher aim, and rely more largely on beauty, expression, or feeling, mere imitation becomes more and more secondary to those nobler qualities; and in works appealing directly to the imagination; it is-sur- prising how small an,,amount of imitation is consistent with our deriving the fullest oratification from them. Thus the naked females of Vanderwerf. are both well drawn and coloured, and evidently far more imitative than an outline by Flaxman ; but) the touching groups of the “ Works and Days”. of» Hesiod, as/ illustrated by our great’ sculptor; would Jose- in. their effect upon us, coloured by even,'a ercaker hand than the Dutch painter. ‘The question of the relative imitation of nature has been deuipaich: discussed of late, and photography and: the camera are. giving. us. such insight into its multitudinous details that many are,apt to take a wrong view of imitation alto- gether, and’to, give it a higher rank than. it. deserves among the qualities of pictorial art. And first, those take a wrong view: of imitation who pay attention to the imita- tion. of details to the neglect. of the general truth: they give an undue importance to the parts, and overlook their subordination. to the whole.. That painter has the truest feeling, for, his art who, endeavours to comprehend ‘his subject.and express. it. fully as a whole first; and having done so adds as much completion to the various’ details’as they will, admit, of without interfering with the general truth; not commencing with the mere imitation of details; trusting to their culmination in a finished..whole. The landscape painter, for instance, who glories in ‘being able to count the leaves of the trees in his picture or the blades of grass in his foreground—though he may. be praised fox his patience, has but a mean idea of bountiful nature, and will never arrive at the truth expressed in the pictures _ of Turner or Constable, since these make the spectator truly feel her endless infinity and fulness. _ Again, in historic art, it is the thorough impression of the action or passion to be represented, the full realization of the incident chosen, that is to be the endeavour of the painter, through the expressive action of the figures—the expression of character shown by the heads and hands;, and if we are to be carried away from the contemplation 30 INTRODUCTION. of these high qualities to admire the truthful imitation of the stones of a wall or the bark of a tree in the background, the painter mars his own work, and the impression produced upon the mind is much lowered by the impertinent intru- . sion of unimportant truths. Even in art having a lower: aim, those who examine pictures carefully will soon distin- guish two modes of imitation—the one aiming at the representation of natural objects by the servile imitation of details,—attempting, as it were, to give the very threads of the various stuffs, or the individual hairs of the head ; the other wherein the artist imitates rather the general texture of the drapery, the masses of the hair, or the qualities of the surface, in keeping with their local position in the picture. Of this latter and juster imitation, the picture of the “ Wedding Gown,” by Mulready (No. 145), will afford many illustrations; as, for instance, the end of the counter on which the ‘silk-mercer unfolds his This cannot be looked at without our at once seeing that the painter intends to represent, not real mahogany, but a mere grainer’s imitation of it; just as he wishes us to understand that the stool on which the purchases rest is made gay by being covered with red paper. And yet this wonderful truth of external imitation is achieved without any undue or minute labour, but merely by a careful con- sideration of the general effect of such surfaces. Again, these, although they delight us when we specially turn to their examination, by no means obtrude on the attention which the skill of the painter has managed to concentrate fully on the actors themselves. = = = teh The pictures of Landseer also are examples of faithful imitation, arising from attention to general truth rather than to minute details; but this has reference to another quality of art, technically called execution, differing extremely in the works of different painters, and which deserves a share of attention. | te In addition to the pleasure derivable from the higher qualities of art—imagination, beauty, and expression, and also from imitation and colour, there is no doubt that the mere mode and manner of painting, or as it is technically called “execution,” ‘may be classed among the pleasure- giving qualities of a picture. Aint, a For while there is a national or general character in the execution of the several schools, the manner of handling of each individual painter is as varied as the hand-writing of different individuals, to which indeed it is analogous. OIL PAINTINGS. 31 This individuality of manner is often strikingly con- trasted in painters of the same school, even when related to each other as master and scholar. What, for instance, can more radically differ than the execution of Rembrandt and his pupil Dow—the full impasto of Rembrandt’s lights— the deep unction of his shadows—the bold vigour and skilful ease of his pencil; compared with the meagre minuteness, the petty prettiness, and feeble labouredness of Dow. - Some painters, like Ostade, by repeated glazings, arrive at the jewelled richness of painted glass. Others, as Teniers, appear to accomplish all by a marvellous onceness. Some have a heavy hand; some a light one; while a few, by a happy facility, give the effect of labour and completeness without any sense of its wearisome continuousness. British artists have always paid great attention to execu- tion and have engrafted on their practice all the various excellences to be found in the old masters. In this they widely differ from the modern Continental schools, in which, until lately, but little attention was paid to variety of handling and to the different qualities of thick and thin -paintine—scumbling and glazing—opaque and transparent painting—qualities which have special charms over the solid heaviness of those schools. The varied modes of execution, and the pleasure deriv- able from them, will be best understood by again referring to examples. Thus, that happy facility which has already been alluded to is fully illustrated in the works of Sir E. Landseer. Examine carefully the “Fireside Party,” No. 90: here the hairy texture of the veritable race of Pepper and Mustard is given as it were hair by hair, yet it is achieved at once by a dexterous use of the painter’s brush. Or turn from this work to the “Tethered Rams,” No. 95, where the fullest truth of woolly texture is obtained by simply applying with a full brush the more solid pigment into that which has already been laid on as a ground with a large admixture of the painter’s vehicle: days might be spent endeavouring to arrive ata result which the painter has achieved at once. The early works of this painter are a complete study for lighthanded and beautiful execu- tion; they look imitatively perfect, yet many instances are known of his extreme rapidity of execution. In the collection of the late Mr. Wells, of Redleaf, among many other works by this artist are two peculiarly illustrating this quality. One is a spaniel rushing out of a thicket C Le2 INTRODUCTION. with a wounded: rabbit : the rabbit and dog are the size of life, they have, the fullest: appearance of completeness, yet. the picture was painted in two hours and a half. . The other picture is a fallow deer the size of life, painted down to the knees: Mr. Wells used to relate that on leay- ing the house to go to Penshurst Church the panel for this picture was: being placed on the easel. by: his ‘butler, and on his return, in:about three hours, the picture was -complete,—so ‘complete: indeed that it is more than doubt- ful if equal truth of: imitation could have resulted from a more laboured execution, or that the Vicar’s remark would apply to it, that “the: picture might have been better:had sthe painter taken more pains.”.) yous 6 66 og _ To study.a painter’s progress in executive skill.is alsoa source of much interest and pleasure, easily attained by -all who will seek to enjoy it. Let’ the visitor, for example, examine Mulready’s picture of the “Fight Interrupted,’ No. 139, which was painted in 1815, and then pass to his picture of the “ Wedding Gown,” No.145, painted thirty years later, in 1846,and compare thetwo merely as to modes of painting, that is.to say, the use of the brush and the application of the ‘pigments. The most unpractised eye will see that: the earlier work is painted without much variety in a broad simple manner, the touch is flat and decisive with a di -of sameness, and the painting rather’ solid throughout, glazing having been little resorted to. If he now turn to the “ Wedding Gown,’ he cannot but. observe the» won- drous richness and lustre which: arise from the varied ‘methods of execution adopted: some: of: the colours are as brilliant as precious stones from being laid pure and trans- parent over a white ground, some have a deep and intense richness from a semi-solid pigment having been used in a like manner. The lustre of the» bride’s dress is owing to the amber hue having been produced by glazing, while the brilliant red of the wood is the effect of a pure pigment ‘ona luminous ground. In the dress of the errand boy a ‘marvellous texture has been obtained by elaborate pra a with broken tints, while on the other hand the effect of hair has been given as dexterously as in. the happiest of Land- ‘seers works, in the little sleeping dog on the floor. « It is true that all that has been described will not at once be ‘understood, or the means by which it is arrived at ‘appt Pa ee ee tS Oe ciated, bunt blind indeed must be the observer who: not see che wondrous handicraft that has been achieved by thirty years of patient study; achieved, moreover, at the ‘OIL PAINTINGS. 303 ‘same time with the perfection of those higher qualities of feeling and invention which are more especially the birth- rg of genius.’ These preliminary remarks on the oil paintings will, it as hoped, enable»visitors to examine with some degree of method and with increased interest the various works “in the Collection. The several qualities of beauty, expres- “sion, and feeling have been discussed and shown to appeal ‘more or less to all alike; while other qualities of the ‘painter's art, such as those of imitation and execution, have -been shortly explained in order to invite attention to them. ‘There are yet others which might have been entered upon, such as colour, composition, &c.; but as these would have ‘required 1a lengthened consideration, they are left: to the study and observation of those whose love of art leads them to endeavour to enter thoroughly into those qualities which contribute to its true excellence. Before concluding these remarks on the oil pictures, it may be proper to notice those few among them which show evident signs of dilapidation and decay, since such may lead to the false inference that British pictures are not -painted in a manner to insure that permanency which was attained by the old Masters in their works. . It has been supposed that the vehicle. or medium used ‘by our painters.is an unsafe one, and that this is the cause ‘of the changes that are taking place; but) this is not the ‘case (see page 80). It is now well known that most. of the mischief to our pictures has resulted from the use of bituminous pigments, such as mummy, asphaltum, &c., and which 1 is now entirely discontinued. These pitchy pigments, from their very nature, never sidendibet, but retain a tendency to fluidity from heat, and to contract and expand under alternations of temperature; unlike the metallic and earthy pigments, which, mingled -with the oils and: resins of the painter’s vehicle, become harder and drier by age and exposure. Unfortunately, these bituminous pigments were very tempting to the ‘painter, forming the coolest and most transparent browns ; and hence, from the time of Sir Joshua Reynolds until within the last twenty years, they were much used for the luminous shadows, and even in the solid lights, by many painters. Pictures so painted often remain apparently sound, and little outward change is visible until it becomes neces- sary to varnish them, when the soft bituminous layer yields to the strong contraction of the varnish, and a fearful c 2 34 INTRODUCTION, disruption takes place. This result was seen in the “ Portia and Bassanio” of Newton, No. 166, and in “The Refusal,” by Wilkie, No. 226. (Vide pp. 92, 112, and note, p. 80.) In all cases, the evils arising from the use of asphaltum were greatly increased when the successive paintings were too hastily applied ere the previous one had had time to dry. Wilkieis known to have so used it on the “ Refusal.” The picture was nearly completed in a solid manner of execution, and silvery tone, when he became enamoured of the rich, juicy manner of Ostade, and sought rapidly to change the appearance of his work by successive paint- ings into asphaltum, each succeeding colour being applied as rapidly as the under one would film over; and hence, the much to be regretted dilapidation of the picture. As he was pleased with the expression of the principal female head, he forbore to touch it; and this and some few other parts remain quite uninjured ; while the hands of the father, much of the figure of Duncan Gray, and almost all the background were, probably, enriched greatly for a short time, but seriously injured for futurity by these re-paintings. One of the landscapes by Mulready, No. 135, is also somewhat cracked from the use of asphaltum; but the companion picture is in the soundest state; and as he entirely gave up the use of this dangerous pigment, all the other works are in beautiful preservation, and with every prospect of being as durable as the best pictures of the Flemish and Dutch schools. Moreover, bituminous colours have of late years been entirely shunned by all our best artists. : The works of Turner have failed from different and more complicated causes: sometimes from the intervention of water-colours between two layers of oil colour, when the upper one is sure to separate. More frequently, perhaps, from the practice of working hastily on his pictures, with various media, on the “varnishing days,’ producing by scumblings and thin paintings, effects as beautiful as they ‘Were evanescent.* Imperfectly united to the prior paintings, these change by time or have in some cases been partially removed by the picture-cleaner, and the work left in a state from which it is hopeless to advance or to recede. * He would frequently go round to his brother painters and seize upon any colour on their palettes which gave him pleasure; and irrespective of the — medium with which it had been tempered, remove it to his own, and transfer some of it to the picture he was at that time working on. Pee OIL PAINTINGS. 35 That the vehicle used has little to do with the failure of particular pictures is shown by the thoroughly sound state of works painted with totally different mediums. Those by Leslie, for instance, which are painted with a mastic magilp; those of Mulready, painted with copal varnish ; those of Landseer, which show neither crack nor flaw, though painted with mastic magilp ; most of those of Webster, of Stanfield, and others: in fact, in all cases where there has been a restrained use of the medium, and wherein the use of bitumen or asphaltum has been abstained from, the pic- tures are in a perfectly sound state, and have every appear- ance of durability. In view, however, of the changes which time produces, more or less, in all pigments and vehicles, it would be extremely valuable, in the future interests of art, if painters would habitually affix to their pictures some memorandum of the mode in which they were executed, of the nature of the ground, and of the principal pigments, and, more especially, of the vehicle they employed. These would form reliable data for future artists, as each picture would register the results of a series of experiments, deter- mining the durability of different modes of painting; the permanency of glazings, of scumblings, of thick or thin painting, of solidity or transparency, as well as of the materials used. One moment’s reflection on the value we should attach to such facts connected with works of Van Eyck, of Rubens, of Bellini, or Titian, would be a suf- ficient argument to induce the general adoption of the practice. The gallery in which the pictures and drawings are ex- hibited was erected under the superintendence and from the designs of Captain Fowke, R.E., from data furnished by Mr. Redgrave, who has also carried out the internal decoration and the hanging and arrangement of the works, Norice.—One of the conditions inserted in the deed of gift of the pictures from Mr. Sheepshanks provides that no works shall be copied or engraved without the express permission of the Artist. 36 REPORT OF COMMISSION. Report of the Commission appointed to consider the subject of Lighting ProruRE GALLERIES by Gas. 4) noua The Commission, consisting of Professors Faraday, Hof- mann, and Tyndall, Mr. R. Redgrave, R.A., and’ aptain Fowke, R.E.,—appointed for’ the purpose of reporting to the Lords of the’ Committee of Privy Council on Education On the Lighting of Picture Galleries by Gas, and on ony precautions (if necessary) against the escape of Gas, and the products of ‘its combusttion—having met at various times and considered the subject referred to’ them now make the following report. EN LOE SE There is nothing innate in coal gas which tenders ‘its application’ to the illumination of Picture’ Galleries objec- tionable. Its light, though not so white ‘as that of the sun; is equally harmless ;’ its radiant heat may ‘be rendered’ innocuous by placing a’ sufficient -distanee between the ‘gas jets and ‘the pictures, while the heat of combustion *may' be rendered eminently serviceable in promoting ventilation, Coal gas may be free from sulphuretted ‘hydrogen ‘com pounds, and in London is’ so at the present time ; it then has little or'no direct action on pictures. But it has ‘not as yet been cleansed ‘from sulphide of ‘earbon, whieh, on! combustion, ‘yields sulphurous acid gas capable of producing 225 grains of sulphuric acid per 100 cubic feet’ of: present London coal gas.* It is not safe'to permit this product ‘of the combustion to ¢ome in’ contact with pictures, painted! either in oil or water colours;'and the’ Conimission are emphatically of opinion that in every system of permanent: gas lighting for Picture or Sculpture galleries, provision! should be made for the-effectual-exclusion or withdrawal of the products of combustion from the chambers containing the Works of Art. 14 apéhccie ha eee ae The Commission have examined the Sheepshanks Gallery a8 an experimental attempt to light pictures with gas, and are of opinion that the process there carried out. fulfils the condition of effectually illuminating the pictures and at the same time removing the .products of combustion. According to the indications of the thermometer. required and obtained it does this in harmony with, and in aid of the ventilation, and, does not make a difference of more than one degree Fahrenheit, at the parts where the pictures are placed, between the temperatures before and after the gas is lighted. Certain colour testy consisting of surfaces covered with white lead, or with vegetable and mineral colours (espe- * Hofmann. LIGHTING BY GAS. 37 cially the more fugitive ones), and in which also boiled linseed oil, magilp, and copal varnish were employed as vehicles, had been prepared, and were, when dry, covered one-fourth with mastic varnish, one-fourth with glass, one fourth with both mastic varnish and glass, and one-fourth left uncovered. Sixteen of these have been placed for nearly two years in different situations, in some of which gas has been used, in others not. They give no indications respect- ing the action of coal gas (except injury from heat in one placed purposely very near to and above the gas burners), but seven of them show signs of chemical change in the whites, due to either a town atmosphere or want of venti- lation. The most injured is that from the National Gallery, Charing Oross, and the next is from a country privy; the third, much less changed, is from the House of Commons; the fourth is from the Barber Surgeons’ Hall; the fifth from the Bridgwater Gallery; the sixth from the Royal Society’s Rooms, Burlington House ; the seventh from the British Museum. | The remaining tests hung in,— Sheepshanks Gallery, South Kensington ; . Secretary’s Room at South Kensington, where no gas is used ; My. Henry Drummond’s oS AE at Albury Park, Surrey ; . Sealed up and kept in a closet in the even Room at South Kensington ;. . Lambeth Palace, Vestibule of the Staircase ; . British Institution, Picture Gallery ; . Windsor Castle, Room with a Northaspect without gas: . Mr. Thomas Baring’s Picture Gallery, 41, Upper - Grosvenor Street, frequently lit with gas,— present no observable change i in this respect. Though apart from the especial subject. submitted to the Commission the Members cannot resist a recommendation that this kind of trial, which is especially a painter’s experi- ment, should be continued for a longer period, and indeed be carried out on a more extensive scale. ‘The Commission think it right to state that they were unanimous on all the points to which their attention had been called, or which are referred to in this Report. + Ona BF wi wre (Signed) M. Farapay. Rioup. REDGRAVE. A. W. Hormann, Francis Fowxer, Capt. JOHN TYNDALL. R.E. . cetene Kensington, 20th July 1859, 38 SPECIAL REPORTS. SPECIAL Reports of Professors FARADAY, HormANn, and TYNDALL, in reply to a request that they would recon- sider the Report of 1859. : | : My Lorps, rary A Commission of which I was a member was ap- pointed in the summer of 1859, to consider the lighting of © picture galleries by gas, and the manner in which that object had been obtained in the Sheepshanks Gallery at Kensington. The Commission made their report in favour of that application on the 20th of J uly 1859. ii I have been desired to re-observe the gallery with re- ference to the temperature communicated by the gas to the woodwork nearest to it. By the application of ther- mometers against the woodwork above and nearest to the gaslights, it has been ascertained that at the present date the action of the heat after an hour’s continuance has been an elevation of temperature equal occasionally to 12° or 13°, 2€., the woodwork which before gas lighting was at 71° became 84° in the course of an hour or so, and did not rise after any longer time. In the Sheepshanks Gallery the skylight is double, and serves as the hot air exit passage. The air in that passage being 75° before lighting became 91° an hour after, and rose no higher. The part of the gallery below the top of the pictures was not raised in temperature more than two degrees by the lighting of the gas. i I have no change to make in any of the conclusions contained in the former report; but on looking at the Sheepshanks Gallery at this time as an experimental attempt to light pictures by gas, | am still of opinion that the process there carried out fulfils the condition of effec- tually illuminating the pictures and at the same time re- moving the products of combustion; but I desire to add the recommendation that the roofs of such galleries be of iron. A paper has also been submitted to me containing letters by Mr. Braidwood and Mr. Sydney Smirke of the 11th and 12th April 1861, regarding the application of gas to the lighting of the British Museum ; it forms a report to the Trustees. The British Museum and the Kensington Galleries differ so much that opinions proper to the one may have no application to the other. Many of the objections made by Mr. Braidwood in respect of the British Museum, of which case alone he speaks, are met by Mr. Smirke—as the removal of all mischievous vapours and the safe conduction and - LIGHTING BY GAS. 39 dispersion of heat—objects which can be attained, according to Mr. Smirke, by sufficient contrivance and outlay. But ! should greatly hesitate to recommend gas lighting in the British Museum against the opinion of the architect, who alone is aware of the construction of the building and also of the dangers by fire which it may involve. Further, I am very strongly against the common practice of erecting a church or other building by one set of hands under one mind, and then giving it over to another authority and set for the introduction of gas apparatus and pipes, or piper cf hot air or water (frequently at high temperatures and pressures) into parts and places where no intention respect- ing them had existed before, where no preparation had been made for them, and where the final arrangements must partake more of accident and risk, than of premedita- tion and forethought. . I have, &c. July 11, 1861. (Signed) M. FARADAY. eect So eS | Royal College of Chemistry, My Lorps, July 11, 1861. _ I have been requested to peruse letters addressed by Mr. Braidwood and Mr. Sydney Smirke to. the Principal Librarian of the British Museum on the proposal of lighting that institution by gas, and to reconsider, with special reference to the opinion expressed therein, the conclusions arrived at by a Commission, consisting of Professors Fara- day and Tyndall, Mr. Redgrave, R.A., Captain Fowke, R.E., and myself, appointed for the purpose of reporting to the Lords of the Committee of Privy Council on Educa- tion On the Lighting of Picture Galleries by Gas, and on any precautions (if necessary) against the escape of Gas, and the products of vts combustion. | With the view of obtaining additional information upon this subject, I have carefully examined the indications of the thermometers in the several galleries at the South Kensington Museum, registered in exposed parts of the room, and on the principal of the roof between the two skylights whilst the galleries were lighted. | I have also examined the temperature between the sky- lights during the day time, and find that this morning (July 11) between 11 and 12 o'clock, the sun being fre- quently clouded, the temperature of this space was 95°, actually a few degrees higher than the highest temperature 40 SPECIAL REPORTS. registered during the evening when’ the gaslights “were burning.. 20 iftra yi ool tag aM a Having thus carefully considered the question. addressed to me, I do not see any reason to alter or qualify the opinion expressed in the report above referred to.» -* o« he Dhavey&c.cd 2eyeneh edd to (Signed) A. W. HOFMANN, «© e's faut §.8T My Lorps, 17) goijenhenbieeedtingy I have this day reperused the Report on the Ilumi+ nation of the Picture Galleries of the South Kensing: . Museum, bearing date the 20th of July 1859, and beg to state that I'see no reason to deviate from the opinion embodied in that report. jo ger ‘wledider dates With reference to the question raised by the letter of Mr. Braidwood, to which my attention has been directed, I have to state, that with the observed temperatures. of those portions of the gallery which are most exposed to the action of the gas before me, it is my opinion that no danger can arise from such elevations of temperature as the gas, applied as at present, is competent to producesmnt . Pe) <>) SEAFORD, Cwnett or Sussex.—From the top of the cliffs »° the view is over an extensive ‘sandy bay.’ The’ painter has given a beautiful effect of cloud-shadows passing over the sea. Exhibited at the Royal Academy, 1844, abe COLLINS—CONSTABLE, 53 study for the figures in this picture is among the Drawings, No. 10. ¥ _ Canvas, 865 x 273, oblong. Signed, and dated 1844. = _ Sheepshanks Gift. _Corracr Lyrertor.— An interior, ath woman peeling * pols said to be.a portrait of the artist’s mother. “Panel, 15 x 114, oblong. Signed, and dated 1814. Sheepshanks Gift. EEL Ports. _ Panel, 83 x 11%, pene In circulation. Townshend Bequest. | * " wh 3/6: LANDSCAPE —THE Gipsy Camp. (The Figures by 2 Frederick Goodall, R.A.) ; 3 _ © Panel, 7x 134, oblong. In circulation. Townshend Bequest. 418/69. CROSSING THE BRIDGE. Panel, 83x 72, upright. In circulation. Townshend Bequest. CONSTABLE. Joun Constasie, R.A., was born June 11, 1776, at East Bergholt in Suffolk, where his father was a miller. His love for the 9 _ scenery of his native place is shown from the many works . - painted from its vicinity. _ He became a student of the Royal Academy in 1799, but devoted himself to the study of landscape. After some delay in acknowledging his merits, he was elected an Associate in 1819 and an Academician in 1829. “He died suddenly __... in London, April 1, 1837, a few nights after the close of a the school of the Royal Academy at Somerset House, in _.» which he was the last visitor. $8. SALISBURY CATHEDRAL.—The cathedral, one of the most perfect in England, occupies the middle ground of the picture; high trees bordering a meadow form the foreground, _ This picture was painted for a bishop of the dioceye, who, finding some trivial fault with the dark cloud behind the cathedral, declined to take it. It is one of the painter’s best works. Exhibited at the Royal Academy, 1823. a : ati 34 x 42, aPlone. Signed, and dated 1823. 2 ny Sheepshanks Gift. 4 . .* e* 34, - Depaam Mitn.—The mill is- seen on the right across a "the pool of a lock, and Dedham Church in the centre of the 35. 36. SVE 38, 1417/69. 516/70, 54 . OIL PAINTINGS. — — picture. This mill formerly belonged to Constable's father, and he himself worked in it. | £5 Liviihs Canvas, 80x 214, oblong. Signed, and dated 1820. . : Sheepshanks Gift. HAMPSTEAD HEATH.—In the foreground two men with — a cart and two horses are loading gravel. Exhibited at the ~ Royal Academy, 1830. There is a great difference in manner observable between this picture and No. 36, exhibited three years earlier. ae Canvas, 31 x 24, oblong. Signed on the back. 4 ae Sheepshanks Gift. HAMPSTEAD HEATH.—Looking from the hill towards — the country; two donkeys are grazing in the foreground. Exhibited at the Royal Academy, 1827. Canvas, 303 x 21, oblong. af Sheepshanks Gift. Boat BUILDING, NEAR FLATFORD Mitu.—In the middle — of the picture a large barge is being constructed in a dry dock. : | Canvas, 244 x 204, oblong. Sheepshanks Gift. WaTER MEADOWS, NEAR SALISBURY.—A broad stream flows across the foreground, over which the eye is carried to rich grass meadows. i Canvas, 18 x 214, oblong. Sheepshanks Gift. | This picture was very highly esteemed by the late C. R. Leslie, R.A., author of “The Life of Constable.” . STACKING Hay. Millboard, 4} x 63, oblong. In circulation. Townshend Bequest, F'ARM-HOUSE WITH WATERWHEEL; CATTLE IN THE FORE- GROUND. Canvas, 24x20, upright. In circulation. Parsons Bequest. COOKE. Epwarp Wiii1am Cooke, R.A., the son of an eminent engaver, was born in London in 1811. His first works in art con- sisted in drawing the plants illustrating the Botanical Cabinet and Loudon’s Encyclopedia. He afterwards turned his attention to shipping and craft, of which he etched and published a large collection. In 1832 he commenced paint- ing in oil; and at various times visited Italy and France in the prosecution of his art. He was elected an Associate of the Royal Academy in 1851, and an Academician in 1863. — a CONSTABLE—COOKE. 55 39. LopsTER Pots.—In the foreground a lobster taken in a wicker pot is contrasted with one hanging over the edge ___ of the iron pot in which it has been boiled. Exhibited at - the British Institution, 1836. There is a study for the picture among the Water-colour Drawings, No. 17. Canvas, 21 x 154, oblong. Sheepshanks Gift. 40, Menpine THE Bart Nets.—Shanklin, Isle of Wight. A fisherman and child are mending the nets in a rough shed beneath the cliffs. Exhibited at the Royal Academy, 1836. There is a sketch for the picture among the Water-colour Drawings, No. 18. Canvas, 31 X 163, oblong. Signed, and dated March 1836. In circulation. Sheepshanks Gift, # ES ee ae 41. BrigHTON SANDS—Fishermen are landing fish from a vessel which has just come on shore. Exhibited at the British Institution, 1838. There is a sketch for the picture among the Water-colour Drawings, No. 15. Canvas, 30 x 254, oblong. Signed, and dated December 1837. Sheepshanks Gift. ee Te Oe SO ee cant 42, THE ANTIQUARYS CELL.—A room containing a collection ____ of armour, china, and old furniture, arranged in picturesque disorder. Exhibited at the British Institution, 1836. There is a sketch for part of the picture among the Drawings, : No. 105. 4 Panel, 292 x 223, Peete In circulation. Sheepshanks Gift. F 43. Mont St. Micuer, Normanpy.—It is low water; a waggon and company of peasants are crossing the sands to the Mount. Exhibited at the British Institution, 1832. 4 Ste 314x214, oblong. Signed, and dated 1831. q Sheepshanks Gift. 44, A MACKEREL ON THE SEASHORE. c ; Panel, 10x 7, xiii Signed, and dated 1827. In circulation. Sheepshanks Gift. 45. PorrsmourH Harsour—Ture Hvuixs—The large old hulk, in picturesque decay, oecupies the centre of the picture. There is a sketch for this picture among the Water-colour Drawings, No. 106. Panel, 16 x 113, oblong. Sheepshanks Gift. 46. 47. As, 49, 50. «Bt. 56 OIL PAINTINGS. > Hastincs From Att Satnts CuurcH.—The church is ~ seen on the right, the view is down the opening towards the sea. Painted on the spot. iw stk Soey wont 6d? to Millboard, 14x10, oblong. In circulation, ~~ ~~ © * A | _ Sheepshanks Gift. WINDMILLS. BLACKHEATH.—A small sketch. Paper, 7 x 11, oblong. sey Sheepshanks ryt. H } ie Pd Bi Cuus.—Painted at Redleaf, in Kent, _, Millboard, 20 x 15, oblong. In circulation. — Sheepshanks Gift. PortsmoutH Harsour—“THE Victory.’—The “ Vic- tory “ is in the mid-distance ; in front is a vessel running out of harbour. : pi chica Panel, 16 x 113, oblong. Jn circulation. ; Sheepshanks Gift. . pictures by this painter are in copal. These pictures are painted in mastic magilp ; latterly ; “COOPER. _ minpedeae ee ae ABRAHAM Cooprr, R.A., was born in Red Lion St., Holborn, Sept. 8, 1787. He began to study art in 1810. In 1817 he was elected an Associate of the Royal Academy, and an Aca-. demician in 1820...Died at Greenwich, 24th December 1868, Buried in Highgate Cemetery... ct ah ecoaty A Donkey AND Spantet.+An ass tied in a stable. In the foreground a spaniel lying on a yellow stable jacket." Panel, 12 x9, upright. Signed, and dated 1818 == Sheepshanks Gift. Grey Horse at aA STABLE Door.—A_ horse, with cart harness, is about to enter the stable. Panel, 12x 9, upright. Signed, and dated 1818. : In circu- lation. Sheepshanks Gift. fe 24) : COPE, " PAs he St ALM Piz CuarLes West Corn, R.A., was born at Leeds in 1811, and educated at the grammar school in that town. He came to London at the age of 15, and entered as a student at the 7 to Royal Academy in 1828. Early in life he visited Rome and .~ Venice, and on his return, with 4 icture painted in Ita ly was soon appreciated by the publi: In theseiiion deer: petition of 1843 for decorating the Houses of Parliament, he was successful in obtaining one of the highest prizes for a cartoon of “Trial by Jury,” and received commissions to paint in fresco in the House of Lords. He was elected an 52, 53, -COOKE—COPE. 57 Associate of the Royal Academy in 1848, and an Acade- mician in 1848, and he has painted several subjects from British history in the Houses of Parliament. PALPITATION.— A young lady, inside the hall door, anxiously waits for a letter, while the postman discusses ° the direction with an old servant who has answered his knock. Exhibited at the Royal Academy, 1844. A study in chalk for the head of the principal figure will be found among the Drawings, No. 20. Panel, 222 x 30, upright. Signed, and dated 1844. | Sheepshanks Gift. “THE YOouNG MOoTHER.’—A young wife, seated on a sofa, nurses her infant. Exhibited at the Royal Academy, 1846. Panel, gesso ground, 10 x 12, upright. Signed, and dated 1845. Sheepshanks Gift. THE HawrHorRn BusH.— “The hawthorn bush, with seats beneath the shade, For talking age and whispering lovers made.” Goldsmith’s “ Deserted Village.” ° The subject was first treated as an etching in the illustra- tions of the poem published by the Etching Club, and afterwards expanded into this picture. Exhibited. at. the Royal Academy, 1842. Painted with mastic magilp. . Canvas, 344 x 42, oblong. Signed, and dated 1842. Jn cir- culation. Sheepshanks Gift. - Maren Meprratton.—A female, with a veil thrown. back from the face, is reading from a book with clasps. Ex- 6, hibited at the Royal Academy, 1847. Painted at once on a gesso ground. | Canvas, 154 x 254, upright. Signed, and dated 1846. © ee Sheepshanks Gift. BENEFICENCE. “ Help thy father in his age, and forsake him not in thy full strength.” | A young girl supporting her aged father up the steps of the fs church porch: Exhibited at the Royal Academy, 1840. Panel, 173 x 271, upright. Signed, and dated 1840. - eS) ‘Be Sheepshanks Gift. ALMSGIVING. ‘He that hath pity upon the poor lendeth unto the Lord; and that which he hath given will he pay him again.” —Prov, xix. 17. 58. 59, 60. 522/70, 1406/69, 58 OIL PAINTINGS, _ A female surrounded by various persons whom she is relieving. Exhibited at the Royal Academy, 1840. Panel, 18 x 274, upright. Signed, and dated 1839. Sheepshanks Gift. ¢ L’ ALLEGRO. | ‘ | “So buxom, blithe, and debonair.”—Milton—“ L/ Allegro.” _ Exhibited at the Royal Academy, 1848. ib asiey Panel, 18} x 28, upright. Signed, and dated 1848. _ Sheepshanks Gift. It PENSEROSO. ) “ But hail, thou goddess, sage and holy, Hail, divinest Melancholy ! Come, but keep thy wonted state, With even step and musing gait, And looks commercing with the skies, Thy rapt soul sitting in thine eyes: . There, held in holy passion still, Forget thyself to marble — .” Milton—“ Tl Penseroso.” Exhibited at the Royal Academy, 1848. Canvas, 18} x 28, upright. Signed, and dated 1847. < Sheepshanks Gift. _MoTHER AND CuILtp.—The mother is hushing the child to sleep on her shoulder. The picture was lined when in an unfinished state, which turned the greys brown-green, so that they had to be repainted. Exhibited at the Royal Academy, 1853. hoy i Thin canvas, gesso ground, 10x 141,upright. Signed, and dated 1852. bal! Sheepshanks Gift. CORBOULD. Ricuarp Corsoutp, born in London, April 18, 1757 3; land- | scape and portrait painter in oil and water colours; excelled as a book illustrator. Died at Highgate, July 27,1831. VIEW AT HAMPSTEAD. 0 Canvas, 233 X 194, oblong. Signed, and dated 1806. In cireu- lation. Parsons Bequest. CRANCH. Joun Crancu, born at Kingsbridge, Devon, Oct. 12, 1751 ; an amateur who painted portraits, and sometimes history ; ex- celled in what were called “poker pictures ;” liyed for many years at Bath, and died there, February, 1821, | PLAYING WITH. BABY. | Panel, 103 x 15, oblong. Signed, and dated 1795. In circu- lation. Townshend Bequest. CRESWICK. fal f ve ee len. h +5 Tuomas Creswick, R.A., was born at Sheffield, in Yorkshire, in — 1811, whence he removed to Birmingham, having made 61, 52, Bo. 64. 75. COPE—CRUIKSHANK. 59 some progress in landscape painting. Thence he removed _ to London, and became an exhibitor at Suffolk Street, and afterwards at the Royal Academy. He constantly devoted himself to landscape art ; occasionally, however, painting in conjunction with Ansdell and Frith. He was elected an Associate of the Royal Academy in 1842, and an Acade- mician in 1851. Died at Linden Grove, Bayswater, December 28, 1869. Buried in Kensal Green Cemetery. A SCENE ON THE TUMMEL, PERTHSHIRE.—A mountain stream rushing over rocks into a quiet pool forming the foreground. Exhibited at the Royal Academy, 1844. Canvas, 28 x 36, upright. Sheepshanks Gift. _A SumMeER’s AFTERNOON.—On the right a stream dis- charges itself into a lake over a bed of rocks. On the left. cattle standing in the water ; a girl knitting watches them. Exhibited at the Royal Academy, 1844. Canvas, 40x 50, oblong. Signed, and dated 1844. Sheepshanks Gift. CROME. JOHN Crome (known as “ old Crome ”) was the son of a publican, and born at Norwich, Dec. 21, 1769. He bound himself apprentice to a house-painter, and by casual association with Ladbrooke, whose age and tastes were similar, became an artist. He studied landscape painting in the picturesque environs of Norwich, where he eventually founded a school of painters whose works have marked local characteristics. He died at Norwich, April 22, 1821. MOONLIGHT, NEAR YARMOUTH.—The moon is seen rising behind a group of alders in the foreground. Across a stream a windmill and group of boats are lighted by its beams. Canvas, 141x123, oblong. In circulation. Sheepshanks Gift. A Woopy LanpscapeE—aA group of oaks form the left of the picture ; a gleam of light in the mid-distance is seen through their dark stems. A labourer and two children are passing along the road. Canvas, 154 x 194, upright. | * Sheepshanks Gift. FOREST SCENE, WITH OAK TREES, Canvas, 29 x 244, upright. Bought. 2 CRUIKSHANK, Grorce CRUIKsHANK, born in Bloomsbury, London, Sept. 27,1792, was the son ofa “water-colour draughtsman and caricaturist. While still a youth he designed for children’s books, &c. He has peace numberless periodical and other works, satirical, 1405/69, 65. 66. 67, 1382/69, a? 60": nats OIL PAINTINGS. > ‘humorous, &e., including “'The Queen’s [Caroline] Matri- monial Ladder,” ‘Points of Humour,” “ Life in ondon,” “Mornings in Bow Street,” “ Oliver Twist,” and “Sketches by Boz.” Of late years he has turned his attention to oil painting, producing “The Worship of Bacchus ” (in the National Gallery), and many other pictures. a CINDERELLA. Panel, 17 X21, oblong. Signed, and dated 1854. ae hie _. Townshend Bequest, — DANS.) canes Pgs ye Pe JATICN OG MOS SB1Tte Francois Dansy, A.R.A., was born near Wexford, Noy. 16, 1793, and studied in the Royal Dublin’ Society’s Schools. His picture of “Disappointed Love” is one of his earliest works ; painted prior to “Sunset after a Storm at Sea,” which gained him much reputation, and was purchased by the late Sir Thomas Lawrence, P.R.A.. As a painter of poetical landscapes he has no competitor. He was elected an Associate of the Royal Academy in 1825, and died at Exmouth Feb. 9, 1861. | * DISAPPOINTED LovE.— PORTRAIT. OF THE, LATE Sin JosHuA WALMSLEY, M.P, ~ (the donor). (1794- 1871.) ~ Canvas, 86} x 273, upright. Given by Sir Joshua Walmsley. 69/72. PORTRAIT OF THE LATE CHARLES KEAN AS Hamer. Canvas, 234 x 174, upright. Given by Sir Joshua Walmsley. 79 PORTRAIT OF CAPTAIN WALMSLEY, RN. . nv Canvas, 232 x 174, upright. Signed and dated 1848. Given by Sir Joshua Walmsley. . _ Porrrarr OF Tiana M. WALMSLEY, Esg., as a boy. | Canvas, 20 x 143 yapright. Given n by Sir Joshua Walmsley. Te ee A DAVIS. “Sts as ry abe if: ii | RicHarp: pL Davis, the eldest of nine sons, was born at Watford in 1782. At an early age he removed with his © father to Windsor, and was placed under Mr. Evans of Eton. q -. At the age of 19 he became a student of the Royal Aca- > demy, turned his attention to animal painting, and was much a ‘patronized’ by His nin et sig ah Ili. He died March p38 Beh. 00 6s, Near Vircinia Water.—Two tall trees scehimew a cottage, backed by a part of the forest ; in the front is a — Ge of water covered vi water-ilies—a bey: pute on ae margin. - Canvas, 17 x 154, upright. Jn circulation. Sheepshanks Gift. 62 OIL PAINTINGS, — DE WINT. { : i PrtEeR De Wint, born at Stone, Staffordshire, 21st January 1784, was the son of a physician of Dutch extraction. He was a pupil of J. R. Smith, crayon painter and engraver, and after- wards a student of the Royal Academy. He became a member of the Society of Painters in Water Colours, and for nearly 40 years was a contributor to its exhibitions. He married the sister of W. Hilton, R.A. He died at 40, Upper Gower Street, London, 30th June 1849, and was buried in the churchyard of the Savoy. 258/72. A Ccrn FIELD. Canvas, 41} x 644, oblong. Given by Mrs. Tatlock, daughter of the Painter. 259/72. LANDSCAPE WITH LIGHTNING PLAYING, AND A HERMIT ENTERING HIS CAVE. | Canvas, 29} x 41, oblong. Given by Mrs. Tatlock. 260/72. HAYMAKING. 5 : Canvas, 26 x 38}, oblong. Given by Mrs. Tatlock. 261/72. _ Woopy LANDSCAPE WITH WATER, AND A Horseman ATTENDED BY Dogs. . Canvas, 41 x 631, oblong. Given by Mrs. Tatlock. , DOUGLAS. | Witt1am Douetas, R.S.A., was born at Edinburgh ; Academician of the Royal Scottish Academy. eee i NR otady iat 67/73. THe ALCHEMIST. . Canvas, 51} x 394, upright. Signed, and dated 1855. Bequeathed by Mrs. Jane Clara Fochetti, DUNCAN. Tuomas Duncan, R.S.A., A.R.A,; was born at Kinclaven, Perth- shire, May 24, 1807. He was first placed with a writer to the Signet, but afterwards allowed to follow his strong incli- nation for painting, studying under Sir W. Allan. He was elected an Academician of the Royal Scottish Academy in 1830, and in 1840 exhibited in London his picture of Prince Charles entering Edinburgh. In 1848 he was chosen an Associate of the Royal Academy of London. Died at Edinburgh, May 25, 1845. . 69. THE WAEFU’ Hzarr. “J gang like a ghaist, and I carena to spin ; I darena think on Jamie, for that wad be a sin. I wish I were deed, but I’m no like to dee, q And why do I live to say, Wae’s me.”—Auld Robin Gray. es DE WINT-—ETTY. 63 The waefu’ wife is seated on a low chair beside the fire in an attitude of deep despondency ; at her feet is a shepherd’s colly dog. Exhibited at the Royal. Academy, 1841. Panel, 233 x 304, upright. Signed, and dated 1841. Sheepshanks Gift. EASTLAKE. Sir Cuartes Lock Eastiaxe, P.R.A., was born at Plymouth on 17 November 1793, and educated at the Charterhouse in London, and afterwards entered as a student of the Royal Academy. In 1817 he visited Greece and Italy in company with Barry, the architect, and Brockedon, and during a resi- dence of several years in Italy painted numerous incidents of Italian life. In 1827 he was elected an Associate of the Royal Academy, and in 1830 an Academician ; and on the death of Sir M. A. Shee in 1850 became President of that body, and received the honour of knighthood. He con- tributed many valuable works to the literature of art. He died at Pisa on 24 December 1865. Buried at Kensal Green. fo. A PEASANT WOMAN FAINTING FROM THE BITE OF A SERPENT.—“ Nina Raniere, a young peasant woman of the Roman State, while kneeling before a chapel of the Madonna, was bitten by a viper; she sank into a lethargy in a short time, and, it is said, died two days after.” Exhi- bited at the Royal Academy, 1831. Canvas, 22 x 183, upright. Signed, and dated 1831. é ; Sheepshanks Gift. 71. AN ITALIAN CONTADINA AND HER CHILDREN.—Exhibited at the British Institution, 1824. Canvas, 181x141, upright. Signed, and dated Rome, 1823. Sheepshanks Gift. EPYyY: WiuiAM Erty, R.A., was the son of a miller and spice maker of York, where he was born March 10, 1787. He was appren- ticed to a printer, and served a long and weary period to that trade ; but at 19, by the help of his relatives, he was enabled to leave it, and to study art in London. In 1807 he entered as a student of the Royal Academy, and continued to study there during the rest of his life. He visited Italy : in 1816 and 1822, and on his return in 1824 he was elected an Associate of the Royal Academy, and in 1828 an Acade- mician. He died in his beloved city of York, November 13, 1849, and was buried there in the churchyard of St. Olave’s. 72. Tus Heap or a Carpinan.—A study from life of a head, with crimson habit. Exhibited at the Royal Academy, 1844. Millboard inlaid in panel, 74x 9%, upright. Sheepshanks Gift. E 64: OIL PAINTINGS. — 73, : Cupip SHELTERING PsycHE.— Cupid drawing an em- broidered robe about the youthful Psyche to shelter her from a rising storm ; in the distance a little figure is seen’ herding sheep. Exhibited at the British Institution, 1823. «Panel, 17 x 184, upright. Sheepshanks Gift. 1890/69. Srupy or A MAn’s Heap. Panel, 103 in. diam. In circulation. Townshend Bequest. 1392/69. HEAD oF A Monk. Canvas, 12 x 104, upright. In circulation. Townshend Bequest 1421/69. Srupy or THE NuDE MALE FIGURE. ~ ae Millboard, lined with canvas, 12 x 104, upright. In pens Townshend sas hae 225/71. THE Detuan; a nude farnild figure. Panel, 243 x 263, oblong. Signed at back, and we, 1818. Given by Mr. C. fr. Maud. 1607/71. - NupE FEMALE FIGURE—a life study. aE Panel, 247 x 182, upright. Zn cireulation. | ‘Bought. 811/73. . NupE Femats, half reclining on the ground and cone templating a crucifix. mtg 5 at Canvas, 214 x 874, oblong. In circulation. — "Bough, P FIELDING. ANTHONY VaNnDYKE CopLey Fiupine, born in 1787; pu ee 5 John Varley; principally distinguished as a water-c painter of landscapes and sea pieces; President of the Society of Painters in Water Colours. Died at Brighton, 3rd March 1855. Buried at Hove. 408/69. MoUNTAIN LANDSCAPE. Panel, 5 x 84, oblong. eae Townshend Bequesty FRITH. LW ONG Ss Witriam Power Frits, R.A., was born at Harrogate i in 1819; he came to London early, and was admitted a 8 udent of the Royal Academy in 1837, where he soon 16 an . exhibitor. He was elected an Associate in 1845, and an Academician in 1853. The thoroughly English character of es subjects has made his works great favourites with the public. 74. HONEYWOOD INTRODUCING THE BaILirrs TO Miss Ricu- LAND AS HIS F'RIENDS. “ Honeywood.—T wo of my very good friends, Mr, ‘Twitch anit ‘Me. Pray, gentlemen, sit without ceremony.” so Bay “‘ Miss Richland (aside).—Who can these odd- is as I was informed.” , looking men be? I ae it “ bia Sa weather, very pretty weather for the time of year, madam.” Goldsmith's “ Good-natured Man,” Act iii. Scene 1. Ly ’ q Lo Of 5/69. ETTY—GAINSBOROUGH. 65 On the left two bailiffs, grotesquely attired, bow awk- wardly to Miss Richland, who curtsies, introduced by ‘Honeywood ; Miss Richland’s servant is behind her. Exhi- bited at the Royal Academy, 1850. Canvas, 41 x 28, oblong. Signed, and dated 1850. Sheepshanks Gift... FUSELI. and encouraged by Reynolds to devote himself to art; travelled in Italy for some years. He returned to England, and exhi- bited the “Nightmare” at the Royal Academy in 1782; ‘painted for Boydell’s Shakespeare; was elected A.R.A. 1788, and R.A. 1790. He projected his “ Milton Gallery,” and ‘produced several pictures in illustration of that poet. He was appointed Professor of Painting 1799, and Keeper of the Royal Academy in 1804. He published a new edition of. Pilkington’s ‘ Dictionary of Painters,” edited the English version of Lavater’s ““Physiognomy,” and engaged in many other literary works. He died at the house of the Countess of Guilford, Putney Heath, 16th April 1825, and was burie in St. Paul’s. . HEAD OF A FEMALE.—Portion of the picture representing the Dream of Queen Katharine (?) (See Nos. 1386-7.) Canvas, backed with millboard, 174 in. diam. savage Townshend Bequest. 6/69. PORTION OF A PICTURE REPRESENTING THE DREAM OF 7/69. -QuEEN Katuarine.. (Henry VITII., Act iv. se. 2.) Canvas, 544 x 404, upright. In circulation. Townshend Bequest. PoRTION OF A PICTURE REPRESENTING THE DREAM OF ‘Quren Katuarine. (Henry VIII., Act iv. sc. 2.) z ‘Canvas, backed with millboard, upright, 34x 294. Jn circula- Townshend Bequest. GAINSBOROUGH. _ Tuomas Garnsporoven, R.A.,was born at Sudbury, Suffolk, 1727; son of a crapemaker; educated at the Grammar School; began early to draw and paint; came to London about 1741; received some instruction from Gravelot, the engraver, and F. Hayman; commenced landscape and portrait painting. He returned to Sudbury about 1745, and married Margaret Burr ; settled at Ipswich ; removed to Bath 1760 ; came back to London in 1774, and lived in the west wing of Schomberg House (now part of the War. Office), Pall Mall; elected R.A. on the foundation of the Royal Academy, 1768. He died in London, 2nd Aug. 1788, and was buried in Kew churchyard. 6/70... PorTRAIT OF Mrs. GAINSBOROUGH, when young. Canvas, 30 x 244, upright. In circulation, Parsons Bequest. E 2 @ Henry Fuser, R.A., was born at Zurich, Feb. 7,°1741; son of a:®° ) painter; educated at the College of Zurich; came to England, 66 OIL PAINTINGS. GEDDES. ~ . . Ayprew Gepprs, A.R.A.,; was born in Edinburgh about 1789; _ came to London in 1814, and devoted himself to the pursuit of art, principally portrait painting and etching; elected A.R.A. 1832. Died in London 5th May 1844. 75, A MAN SMOKING. : —s 7 — = — Panel, 12x15, upright. In circulation. Sheepshanks Gift. 76. STUDY FROM GIORGIONE. | 15115. In cireulation. Sheepshanks Gift. GILPIN. | Sawrey Guiipin, R.A., was born at Carlisle, Nov. 11, 1783. He excelled in animal painting, principally in the portraiture of horses. He was elected an Associate of the Royal Academy in 1795, and an Academician in 1797. He died at Brompton, 8th March 1807. 238. Cows IN A LANDSCAPE.—Three red cows are in the fore- ground of a sunny landscape. - Canvas, 24418, oblong. Bought at Mr, Alinutt’s sale, 1863. GOSLING, W. W. 503/70, RIVER SCENE, WITH MEN IN A PUNT. | Canvas, 30 x 204, oblong. Signed. In circulation. HAYDON. BensAmin Ropert Haypon was born at Plymouth, 26th January 1786, and became a student of the Royal Academy in 1805. Parsons Bequest. He was distinguished by great enthusiasm for his art, and devoted himself principally to historical and sacred subjects on a grand scale. After a feverish and erratic career he was finally borne down by disappointment, and died 22nd June 1846. 252, Curist’s AGONY IN THE GARDEN.—Our Lord is kneeling. ~ In the background the three Apostles are sleeping. On the right, Judas is seen advancing, followed by the soldiers and the people with lights, &c. Canvas, 120 x 84, upright. 4 Given by Mr, J. C. Barratt, 1868. HAYLLAR. James Hayrxar, born at Chichester, 3rd of January 1829 ; studied under Mr. F. S. Cary, at. the Royal Academy, and in Italy ; first exhibited in 1850; commenced painting subject pictures about 1855. 1/74. GRANVILLE SHARP, THE ABOLITIONIST, RESCUING A SLAVE FROM THE HANDS OF HIS MASTER. “oe Canvas, 333 x 433, oblong. Painted at the suggestion of the late Mr. Cobden, M.P. Signed, and dated 1864, Given by Mr. W. Hargreaves, 1874. a GEDDES—HOLLAND. 67 HAYTER. Sm Grorce Hayter, son of C. Hayter, portrait painter; was born in St. James’s Street, London, Dec. 17, 1792 ; became student and medallist of the Royal Academy. He was appointed ‘ Painter of Miniatures and Portraits to the Prin- cess Charlotte and Prince Leopold of Saxe-Coburg,” in 1815; studied at Rome, 1816-19, and at a later period again in Italy ; elected Member of various Italian Academies. He was ap- pointed “ Principal Painter in Ordinary to Her Majesty,” 1841 ; knighted in 1842; Knight of the Persian Order of the Lion and the Sun. He painted historical subjects, including “ The Meeting of the First Reformed Parliament,” and numer- ous portraits. He died in Marylebone, 18th January 1871. 72. THE ANGELS MINISTERING TO CHRIST.—St. Matt. iv. 11. Canvas, 67 x 534, upright. Signed, and dated 1849. Given by Mr. Angelo C. Huyter. ; HAYTER, JOHN. 7/71. PORTRAIT OF VISCOUNTESS DUNGANNON. _ Canvas, 93 x 694, upright. Signed, and dated 1839. k Given by Viscountess Dungannon. é HERING, GEORGE EDWARDS. /69. BRIDGE OVER A STREAM. . Panel, 10} x 194, oblong. Signed, and dated 1847. Townshend Bequest.. HILTON. Wiiiiam Hirron, R.A., was born at Lincoln, 3rd of June 1786. A He received instruction from his father, who was a portrait painter; was a pupil of J. R. Smith, and student of the Royal Academy ; elected A.R.A.,; 1813; R.A., 1819; and Keeper of the Royal Academy in 1827. He painted historical, poeti- cal, and sacred subjects. He died at 40, Upper Gower Street,. A 30th December 1839, and was buried in the churchyard of the Savoy. 1/72. SAMPSON AND DELILAH. (After Rubens.) Canvas, 524 x 78, oblong. - Given by Mrs. Tatlock. HOARE. Witi1am Hoare, R.A., was born at Eye, Suffolk, 1706; pupil + of Grisoni, an Ttalian painter living in London ; afterwards ——__- went to Rome ; on his return practised at Bath, principally é on — i," f af = at I, Se brie st ee as a portrait painter. He was eminent for his works in crayons ; elected an original Member of the Royal Academy, n 1769. He was father of Prince Hoare, the well-known bi amateur painter and author; died at Bath, Dec. 1792. 3/78. HEAD OF A GIRL WEARING A WHITE Hat. 2 Canvas, 16% x 134, upright. Bought. HOLLAND. ie JAMES HOLLAND was born at Burslem, in Staffordshire, October 17, 1800, and for some time practised as a flower painter on 68 OIL PAINTINGS. > china. He subsequently painted in water colours, exhibiting -avith the Old Society of Water Colour Painters. A prolonged~ ostyisit to Italy led him to change his practice to ndscape painting in oil. He died in London, BPébs12;:187052 0% 79. “NEAR BLACKHEATH.—A slightly painted landstape study from nature, being Blackwall Reach from Charlton fields : on the right a pool and group of willows ; some sheep on the left, and the Thames in the.distance, ..91" “tsiog Canvas, 314x194, oblong. In circulation. ° Shespehante Gift. Sa: ite GAs. 80. . NYMWEGEN:—A: broad expanse of aiver , on. the right a quay, with some vessels unloading. 99) =. se] He | Canvas, 193 x 18, oblong. In cireulation. Sheepshanks ‘Gift. 8 HOPRNER 2 SUE 0 ee Joun Hoprner, R.A.—Born in Whitechapel, London, April 4, . 1758. He was at first a choristerin the Chapel Royal, but | showing a strong inclinatiun for art, King George IIT. made I him a small allowance, and in 1775 he ‘became a ‘student of | the Royal Academy, and gained the gold medal for oil paint- ing in 1782. . At first the. tried. landscape, but soon adopted — portraiture as his profession, and succeeded in obtaining a large and fashionable practice. . He began to exhibit™at if Academy in 1780, and became portrait painter to the Prince of Wales about 1789. He was elected an Associate in 1793, und in 1795 a member of the Royal Academy. He died January 23, 1810, and was buried in the cemetery of. St,, James’s Chapel, Hampstead Road. Toppner succeeded Beet in his portraits of ladies and children. His best. works are 08 in St. James’s Palace. os | ea iN 1439/74, Portrait or Miss Mary Linwoop, artist in needlework (1755-1845). Miss Linwood’s exhibition in Leicester Square, London, was for many years an attractive resort. It consisted of nearly 100 pictures in worsted work, copies | from paintings by the best masters. _ The largest of these -2" was finished by Miss Linwood-when in her 75th: year. At her death the collection was sold by auction, but the “ Salvator Mundi,’ copied from Carlo Dolce, she bequeathed, to the Queen. 1 moh tition igh san eh rai ee oe Joun Cattcorr Horstery, R.A.—This painter, the erand-nepl of Sir A. W. Callcott, was born Me Tirecmpiisies: SEAM. 1817 ; he studied in the schools of the Royal Cobia eae was for some time one of the head masters of me Bees of Design at Somerset House. In the national comp< ion of 18438, for decorating the Houses of Parliament, cs Bena: successful in obtaining one of the prizes, and pan - mission to paint in fresco in the House of Lords;) He was a ee 8. HOLLAND—HOWARD. 69. .» elected an Associate of the Royal Academy in 1854, and an Academician in 1864. ‘Tan Contrast: Yours and Acz—An old man and child entering the chancel door of a church. The old man pauses to look at a new made grave. Exhibited at the _ Royal Academy, 1840. 82, Panel, 16x 18, upright. Signed, and dated 1839. ; Sheepshanks Gift. WAITING FOR AN ANSWER.—A retainer, waiting an answer for his master from the lady of the mansion, is seeking a reply to his own love question to my lady’s maid. The background is from the garden door at Haddon Hall, Derbyshire. “Exhibited at the British Institution, 1841. “Panel, 22163, oblong. Sheepshanks Gift. THE RIVAL PERFORMERS.—A young page playing on a flageolet has excited the rivalry of a canary. The youth is arrested in his playing by the lady, his companion, who desires to listen to the notes of the bird: -The background is from the’ beautiful recessed window in the “steward’s par- lour” at Haddon Hall. Exhibited at the British, Institu- tion, 1839. Panel, 16 x 18, oblong. Signed, and dated 1839. Sheepshanks Gift. HOWARD. Henry Howarp, R.A., was born on 31st January 1769: He _ studied art under Philip Reinagle, R.A. In 1791 he visited ~ Italy and was associated with Flaxman, while both were studying at Rome. He began to exhibit regularly at the Royal Academy in 1796, and was elected an Associate in i801. In 1808 he beeame an Academician. His subjects . were chiefly of a classical and poetical character. He was _. appointed Secretary of the Royal Academy in 1811, and. held that post until his death on 5th October 1847. | PEASANTS OF SUBIACO RETURNING FROM THE VINEYARD on A Hommpay.—A group of figures (life size) are descend= ing a mountain road, a female is holding a little boy, quite nude, on the shoulders of an older boy, who thus carries him “pick-a-back.” The female has a basket containing grapes on her right arm, and the little boy’s right hand is inserted in the basket amongst the vine leaves, while he carries a bunch of vine leaves in the other hand. A black and white dog is running and barking at the side of the group. The background is formed of a high mountain 245. 1397/69. 239, 247. 70 OIL PAINTINGS. peak ; a small roadside chapel or shrine being in the bottom of the valley. | : | Exhibited at the Royal Academy, 1808. Canvas, 94 x 58, upright. Ret Bought. SABRINA. “ That with moist curb sways the smooth Severn stream. and— 7 —____——“ the nymphs that nightly dance Upon thy streams with wily glance.” Milton’s Comus, On the right Sabrina is seated, resting her arm on a water vessel. From the mouth of this vessel issues a stream which falls into the river occupying the foreground, and on which are water lilies, with two swans at the left corner. A group of dancing nymphs occupy the centre of the picture, and the moon is rising over a wooded landscape. A large willow overhangs the central group and foreground, its trunk forming the background to the figure of Sabrina. A harp is hung against the lower part of the trunk, Exhibited at the Royal Academy, 1821. Canvas, 56} in. x 45 in., oblong. Given by Sir W. Tite, M.P., 1865. PYGMALION. | Canvas, 20 x 24, oblong. Jn circulation. Townshend Bequest. IBBETSON. Juiius Carsar Ippetson was born at Masham, in Yorkshire, Dec. 29, 1759, and died there, Oct. 18, 1817. The paintings of this artist usually represent English landscape enlivened with figures. | TIGERS IN A JUNGLE.—In a valley shaded by large trees growing out of rocks, are three tigers, two lying down and one advancing from the left. Canvas, 203 x 241, upright. Jn cireulation. Bought at Mr. Allnutts sale, 1863. JACK IN HIS GLory.—A pair horse hackney coach is driven by some drunken sailors returning from Peckham Fair. The coachman is inside. A sailor behind the coach is flourishing a cudgel, on the end of which is the wig of an old clergyman who is following the vehicle. On the right is a sailor dancing between two women, two fiddlers being behind the group fiddling under some trees. In the distance is the dome of St: Paul’s, the river, &c. indicating a distant view of London. On the back of the picture is a written’ description, concluding with “ A real Scene, painted by Julius Ibbetson, 1795, for Mr. Watson, Kingston-upon-Hull.” Panel, 24 x 1732, oblong. a Bought. HOWARD—KAUFFMAN. 7J 05/72. . LANDSCAPE, WITH RUSTIC BRIDGE AND STREAM. Canvas, 15 x 23, oblong. | Bought. 72/72. THE MERMAID’s Haunt. Panel, 14219, oblong. Signed. Bought. JACKSON. Joun Jackson, R.A., was the son of a tailor at Lastingham, in _ Yorkshire, where he was born May 31, 1778, and subse- quently apprenticed to his father’s trade. Through the kind patronage of Sir George Beaumont he was enabled to leave a business he disliked and to study art in the Royal Academy. He chose portraiture as his profession, and was elected an Associate of the Royal Academy in 1815, and an Acade- mician in 1817; he subsequently visited Italy. Died at St. John’s Wood, June 1, 1831. _ 84, Portrait or THE Artist.—A three-quarter head, life size. Canvas, 25 x 80, upright. A canvas has been reversed, and the picture painted on the unprimed side. Sheepshanks Gift. 85. PORTRAIT OF THE LATE EARL Grey.—A three-quarter head, life size, of the distinguished Reform Peer. Canvas, 25 x 80, upright. This picture has become injured from being painted with asphaltum. Sheepshanks Gift. JUTSUM. Henry Jutsum, born in London 1816; pupil of James Stark. Exhibited Jandscapes, (with figures) for many years at the Royal Academy and British Institution. Died at Hamilton Terrace, St. John’s Wood, 3rd March 1869. 419/69. Tue Foor Brine. | Canvas, 194 in. diam. In circulation. Townshend Bequest. aN KAUFFMAN. ‘ Ancetica Marra Caruertne KaurrMan, R.A.—She was the i daughter of a Swiss portrait painter, and born at Coire, the wy capital of the Grisons, October 380, 1740. Brought up to art | from a child, she went with her father to Italy, and received much encouragement there as a portrait painter. Becoming acquainted with the wife of our ambassador at Venice, she accompanied her to England in 1765. In 1769 she was nominated one of the foundation Members of the Royal Academy; and the same year was deceived into a marriage with the valet of Count de Horn, who passed himself off as his master. TIll-treated by this impostor, he was at last in- duced to take himself off to Germany, and she was relieved of him for ever. She married a second time in 1780, Zucchi, a Venetian painter long resident in England, and in 1782 she retired with him and her father to Rome. There she ” 72 OIL PAINTINGS. 9 ~ | lived for 25° years :in great popularity,) dying November 5, Qe 1807. Angelica Kaufiman’s works—chiefly. poral ped classic subjects—are numerous, and many of them were | engraved. She decorated a room for Queen Charlotte at om _ Frogmore, still called the ‘¢ Flower Room,” Of x RMD tonal 579/75. PorrRarr or EMMA Hart, Lapy Hamitton (1761-1815), Canvas, 18 x 133, upright. Painted at Naples, 1796. Bought. Ais ViFRthty ee et eee LAMBERT, ; lavage 2 Gzorce Lampert, born in Kent in,1710. Painted landscapes, in which he imitated Gaspar Poussin, theatrical scenery, and, in conjunction with Samuel Scott, some East Indian views for the East India House, formerly in Leadenhall Street. Founder of the “ Beefsteak Club.” Died Nov. 30, 1765. 1431/70. LANDSCAPE WITH “BUILDINGS, AND A RtvER “WITH BATHERS.—In the foreground are two men, one of whom is . drinking water from his hand (Gideon selecting hismen?), 0 | Canvas, 394 x 493, oblong; Signed, but the signature scarcely legible. sh P ofite bonita Be ery Bought. : a Si seats —, , 2 ‘ é - a a i 4 roo oe, 1 een Re Rasch wie L pe wa teed RN a SON Re hal 8 nn inte A Ac ad ae ; itd uf _ LANCE. | SRY FO eaetiod 28 Bs Grorce Lanon was born at Little Easton, neat Colchester, Marelyi . 24, 1802. He was for sometime a pupil of Haydon, and also in the schools of the Royal Academy. Although eRe eminent as a painter of still life, he from time to time produced subject pictures also. \ He died at Sunnyside, near Birkenhead, June 18th, 1864. wueryk ‘eeeetk? 86. - Fruit.—A melon, grapes, plums, “and pes a aa together. Exhibited at the British Institution, 1843. fe = Canvas, size 14x17, oblong. Signed G. L. Dated 1842. ap * -' Sheepshanks Gift, °°\% ‘ : nite ARLE le egies J ri o 3 ; 107/73. © PORTRAIT OF HIMSELF. Pix: F Panel, 173 x 13}, upright. About 1830. In circulation. LANDSEER. » totibageh Sir Epwin Henry Lanpserr, R.A., youngest son of John Land-— seer, A.E.,-was born in London, 7th March 1802, and was very early taught to draw by his father, his taste leading him from the first to the study of animals, as will be seen by various drawings in this Collection, some made when he was only five years old. (See Drawings, Nos. eS are He became a student of the Royal Academy in 1816; in — 1826 he was elected an Associate, and in 1831.an Ae mician ; in 1850 Her Majesty conferred on him the honour of knighthood. He declined the office of President Royal Academy, on the death of Sir Charles L,, Bastlake in 1865. He died in London, at St. John’s Wood Road, lst Octo- — ber 1873, and was buried in St. Paul’s Cathedral. ae, —?>.- KAUFFMAN—LANDSERER. 73 87. -A-HIGHLAND BREAKFAST. —-This picture contains the , varied incidents of a Highland breakfast. The mother has. just moved her child from the cradle, and herself givesy, it its morning meal. Before her, on a three-legged stool, is her porridge, and in the background an oat cake on the girdle for the gude man. In front, three or four terriers and sheep dogs are breakfasting from a bowie of milk. One of them, lank and drawn, is at the same time giving their morning meal to three fat puppies. Exhibited at the Royal Academy, 1834. Panel, 26 x 20, oblong. a Sheepshanks Gift. gs. THe Drover’s DEPARTURE.—A SCENE IN’ THE GRAM- __-PrANS.—This picture contains a host of incidents arising out of the departure of the herds from the Highlands to the south. In the foreground the grandfather has his horn filled with Mountain Dew by his: bonnie daughter, whose husband just behind her caresses the youngest child ere he starts: “Lad and lass foregather ere they part.”: © The: sheep, the bulls, and the goats are assembled in long droves. The old dog that is to accompany them suckles her puppies for the last time: in the foreground a hen drives one of them from her chickens. The Tethered Ram, No. 95, seems to have been studied for this picture. Exhibited at the Royal Academy, 1835. . ‘Double canvas, 75} x 493, oblong. Sheepshanks Gift. } s9. “Tur Doc AnD THE SHADOW.”—A dog with a piece of flesh in his mouth is crossing a brook by means of a fallen” tree, and stops to gaze at the treacherous image of himself. and his prize reflected in the stream. A worsted cap and- some shoes on the bank indicate that some butcher’s lad who has loitered to fish and bathe has been plundered meanwhile of his charge. Exhibited at the British Insti- tution; 1826. AO Panel, 18 x 22, oblong. Signed E. L., 1822. Sheepshanks Gift. 90. . A FiresrpE Party.—In a rude bothy several terriers, are coupled together, and are lying and sitting before the fire. To the left.a.dish and some household utensils. Painted from the dogs of, Malcolm Clarke, Esq., of Inverness, and said to be the original Peppers and Mustards described by Sir Walter Scott in “Guy Mannering.” Exhibited at the British Institution, 1829. _ . -Panel, 14 x 10, oblong. Sheepshanks Gift. 91, 92. 93, 74 OIL PAINTINGS. “THERE'S NO PLACE LIKE Home.’—A Scotch terrier = just returned to the barrel that forms his kennel, raises a whine of satisfaction. A snail crawling over the stone pavement hints at the abiding love of home. Exhibited at the British Institution, 1842. aah Canvas, 293 x 25, oblong. : Sheepshanks Gift. «Toe Twa Docs.” “ Upon a bonnie day in June, When wearing thro’ the afternoon, Twa dogs, that were na thrang at hame, Foregather’d ance upon a time, Wi daffin weary grown, Upon a knowe they sat them down, An’ there began a lang digression About the lords o’ the creation.” Burns. Ceesar, represented by a noble Newfoundland dog, — “* His locked, letter’d, braw brass collar Shew’d him the gentleman and scholar,” reclines on a sandy knoll, in easy conference with the “faithfu’ tyke Luath.” Canvas, 21 x 163, oblong. Signed E. L., 1822. Sheepshanks Gift. THE OLD SHEPHERD'S CHIEF MOURNER.—The shepherd’s coffin rests near the ground in a rude cottage: it is covered by a plaid and a blanket, partially drawn aside, on which sits the dog of him that is at rest. It presses its breast lovingly against the coffin that contains all that remains of its late master, so faithfully served while in life, so truly mourned in death. On a three-legged stool, the clasped Bible and spectacles are laid, speaking of reverence and age; the stick and the bonnet, too, are there; and the rosemary sprigs spread upon the coffin-lid and floor tell of old world customs passing away or only held sacred in the solitary hills. Exhibited at the Royal Academy, 1837. _ Panel, 24 x 18, oblong. Sheepshanks Gift. A JACK IN OFFICE—The “ Jack in Office,” a surly over- fed cur, with an air of vulgar importance which is highly characteristic, guards the dog’s meat barrow confided to his’ care. The barrow is furnished with all the necessaries of trade, painted with wondrous appreciation of their several qualities. The copper scales seem thin from constant wiping. On the left a lank, hungry hound stands with watering mouth over a skewer of meat in the master’s basket. An old retriever, seated on his haunches, con- 6-95. 96. «97. 98. 99, B00.! LANDSEER, 75 descends to beg of the surly Jack; in the background a consequential and well-fed terrier scents the treat, but affects to despise it, while in front a puppy contents himself with feasting on a savoury skewer which has been thrown aside. This picture was treated as a political caricature by “ H. B.,” almost as clever as the work which originated it. Exhibited at the Royal Academy, 1833. Panel, 26 x 193, oblong. Sheepshanks Gift. TETHERED Rams.—Two rams are tethered to an old fallen tree, and watched by two sheep dogs; in the mid- distance the flock are feeding under the care of a shepherd, who is talking to a Scotch lassie near him. A loch and mountains form the background. Exhibited at the Royal Academy, 1839. | Panel, 24 x 18, oblong. Sheepshanks Gift. SANCHO PANZA AND DAPPLE.—Sancho leans upon Dapple, who is about to eat a crust that his master has spared him from his wallet. Panel, 74 x 63, upright. Signed E. L., 1824. Sheepshanks Gift. THe ANGLER’s GuARD.—A fine brown Newfoundland dog is seated with a white Italian greyhound watching the fish basket and utensils of an angler. Exhibited at the British Institution, 1824. Panel, 52 x 5, oblong. Sheepshanks Gift. A Naueuty CHILp.—A little boy squeezed up beside a doorpost exhibits a perfect state of “sulks.” Exhibited at the British Institution, 1834. Millboard, 15 x 11, upright. Sheepshanks Gift. SuspensE—A bloodhound watching at a closed door, within which some wounded knight has recently been borne. His gauntlets are left outside, and a torn eagle plume lies on the floor; the blood drops in a continuous line speak of the wounds he has received. Exhibited at the British Institution, 1834. Panel, 352 x 274, oblong. Sheepshanks Gift. Comicat Docs.—Two wiry-haired terriers, the size of life, are seated side by side. The one has a Scotch bonnet on his head ; the other a woman’s cap and a short pipe in its mouth. One almost hears the light-hearted laugh of the 101. | 102. 103. 104, 76 OIL PAINTINGS, master, who has so decorated them. a at the British Institution, 1836. poate Panel, 30 x 274, oblong. a ShetpeRainls Gift Young Rorsuck aNd Rove Hounps.—The young buck has been killed and fallen over some rocks; four hounds are gathered near the carcase. Exhibited at the British Institution, 1840. Panel, 21 x 17, upright. Siochahanent Gift. a z 2 = g ¥y S THe Eactr’s Nrst.—The female eagle sits on the shelf ~ ‘of a rock alove her eaglets, and screams to her returning mate. Exhibited at the British Institution, 1834. Millboard, 14 x 10, oblong. re , Senpehants, Gi ift LANDSEER. A 7 CHARLES LANDSEER, R.A., the elder brother of sibel he painter, was born in 1799, and early instructed by his father. In 1816 he became a student of the Royal Aca-.02 * demy; in 1837 he was elected an Associate, and in 1845 an Academician. On the resignation of Mr. Jones, in 1851, he was appointed Keeper of the Royal Academy, an office which includes the duty of giving instruction in the antique school. He resigned it in 1878. THe TEMPTATION OF ANDREW Marveti— Lord Danby «< offeringa bribe of 1,000 guineas to the MEP a for Hull... “ Andrew Marvell represented Kingston-upon-Hull in Parliaments: Charles the Second’s time, and the Merry Monarch was. ne setchiady W his lively conversation. On the morning, after an evening spent in J society, the King sent the Lord Treasurer Danby with a particular message from himself, to request his acceptance of 1,000 guineas. Marvell pa on the second floor in a court near the Strand; his Lordship found him writing, , and ‘delivered his errand. ‘Pray what hat I for dinner yesterday rf “said 20 Marvell, appealing to the servant. ‘A shoulder of mutton, sir.’ ‘And what have I to-day?’ ‘The remainder, hashed.’ ‘And to-morrow, my Lord, I shall have a sweet blade-hone broiled; and I am sure, my Lord, Majesty will be too tender in future to bribe a man with golden eat who ped so well on the viands of his native country.’ The Lord with smiles, and Andrew Marvell sent to his bookseller for the loan. rs a. pao f 3 feo We Da e% t srutag. “Marvell is seated at a table. A female: serv, ing in his dinner. Lord Danby is seated i ite ; behind are two of his pages who have carried the gol Exhibited at the Royal Academy, 1841. °° 9” ©" "5 Double canvas, 50 x 40, oblong. Sheepshanks Gift SreRNE’S Marr4.—Maria, seated in “melancholy sadness on the roadside bank, holds her Jittle wandering dog by a.oc! string. ‘The dog is said to have been Seahens by: Sir Edwin Landseer. bie io oclt eonk sédhsto Canvas, 18} x 22, beable hits le Sheepshanks Gift. . : ‘ ia LANDSEER—LEE. 77 = O5.. ¢ ‘THE j HERMIT. » - Far in a wild, unknown to public view, From youth to age a rev’rend hermit grew ; The moss his bed, the cave his humble cell, His food the fruits, his drink the crystal well: Remote from man, with God he passed the days, __~ Prayer all his business, all his pleasure praise.”— Parnell. | An aged man, in the dress of a Franciscan friar, is read- ing before a crucifix and skull. Exhibited at the Royal Academy, 1841. D3 Canvas, 183 x 22, upright. Sheepshanks Gift. LAWRENCE. Sir THomAs Lawrence, P.R.A., was born at Bristol, May 4, 1769. |. His father was landlord of the White Lion Inn in that city, and afterwards of the Black Bear, Devizes. He was noted as a child for his talent for drawing likenesses ; instructed __by W. Hoare, R.A., of Bath ; at an early age received from ‘the Society of Arts their silver palette; was student of the Royal Academy in 1787; elected A.R.A., 1791, and R.A., 1794 ; succeeded Reynolds as painter to the King. At the \, Peace of 1814 he painted the portraits of illustrious persons, _. “now at Windsor. .He went in a professional capacity to the ._. Congress at Aix-la-Chapelle, to Vienna, and Rome; knighted, » | 1815; succeeded West as President of the Royal Academy, _.. 1820... He died 7th Jan. 1830, and was buried in St. Paul’s. SeRT nr as : _ HEAD OF AN OLD Lapy.—Unfinished sketch. ~ Canvas, 23 x 193, upright. In circulation. Parsons Bequest. ~Porrrair oF Sir Coprincton Epmunp CARRINGTON, Chief Justice of Ceylon (d.1849.)—Painted in 1801 or 1802. . Canvas, 291 x 242, upright. . _Bequeathed by Miss L. M. Carrington. PORTRAIT OF PAULINA, FIRST WIFE OF SiR CoDRINGTON” EDMUND CARRINGTON.—Painted in 1801 or 1802. Canvas, 291 x 248, upright. av UE I Bequeathed by Miss L. M. Carrington. LEE: FREDERICK RicHarp Ler, R.A., was born at Barnstaple, in Devonshire, 1799, and early entering into the army, served a campaign in the Netherlands ; retiring from the service _ on account of ill health, he commenced art as a landscape “painter, choosing for his subjects our native scenery. Some ~~ pictures of dead game, fish, &c., painted for the late Mr. -* “Wells show that his power is versatile had he chosen to | exercise it. He was elected an Associate of the Royal Aca- -°demy in 1834, and an Academician in 1838. Latterly he has at times painted in conjunction with T.’ Sidney Cooper, nb R.A. | yi fi ‘ ; i if ; Ma Be ee Tea 4 % 78 fig OIL PAINTINGS. 106, Near Repiear.—aA sketch from nature on the Medway. « ~ An autumn study of oaks and alders on the banks of the river. ; Panel, 81 x 114, oblong. Jn ctreulation. Sheepshanks Gift. io7, GaTHERING SEA-WEED. A wide expanse of sandy-shored bay, with shrimpers. On the right a low pier, a man and woman loading sea-wrack on to a cart with two horses. The scene is probably on the Lincolnshire coast. Exhibited _ at the Royal Academy, 1836. | Canvas, 30x 36, oblong. Signed, and dated 1836. Sheepshanks Gift. 108. A Distant View oF Winpsor.—From St. George's Hill. A sandy bank on the left; on the right, a road with ex- tensive distance. : 7 os . * Millboard, 14 x 10, oblong. | Sheepshanks Gift, ~ LEStin. tT Cuartes Ropert Lesiie, R.A., was born in Clerkenwell, of American parents, in 1794, but quitted England in 1799 for Philadelphia, where he was educated. Returning to Eng- land in 1811, he studied art under West and Allston, and in the schools of the Royal Academy, of which body he was elected an Associate in 1821, and an Academician in 1826, and in 1847 undertook the duties of Professor of Painting, which, however, he resigned in 1852, and died in Abercorn — Place, St. John’s Wood, May 5, 1859. He contributed also. to illustrate art by his pen in the “Hand-book for Young — Painters,” “The Life of Constable,” and “The Life of Sir Joshua Reynolds, with notices of his contemporaries.” % 109. SCENE FRoM “THE TAMING OF THE SHREW.” “ Petruchio.—Braved in mine own house with a skein of thread ! Away, thou rag, thou quantity, thou remnant; Or I shall so be-mete thee with thy yard As thou shalt think on prating whilst thou liv’st ! I tell thee, I, that thou hast marred her gown, “ Tailor.—Your worship is deceived; the gown is made Just as my master had direction : Grumio gave order how it should be done. “ Grumio.—I gave him no order; I gave him the stuff.” Act iv. Scene 3, Petruchio thrusts back the gown to the frightened tailor, whose blanched lips show his trepidation. Katharine sits — on the left in no very happy musing mood, every line in — her face portraying her temper, while she bites her jewelled necklace. The meat she was scarcely permitted to taste is on a table to the right, while Grumio near it joins in re- viling the unhappy tailor. The much abused cap that “was LEE-- LESLIE. : 79 moulded on a porringer,—a velvet dish,” is lying on the floor in front, and an attendant stoops to pick it up. -Hor- tensio is seen in the backeround. This picture, painted in 1832, is a repetition with alterations of that in the Petworth Collection. Canvas, oblong, 28 x 203. Sheepshanks Gift. Tae PRINCIPAL CHARACTERS IN “THE Merry WIVES oF WrInpsor.’—The scene is not in the play, but is alluded to in Act i. Scene 2, as taking place in Page’s house :— _ “There’s pippins and cheese to come.” At the table Page is sitting, and offers a cup of sack to Slender, who is waited upon by the stolid Simple. On the right, the fat knight _ jokes with the two “merry wives,” and Bardolph, as a serving man, is talking to Page’s son. Sweet Anne Page sits placidly beside her inapt wooer. At the foot of the table Justice Shallow and Parson Hugh observe Slender ad- - miringly. The characters of the personages of the drama are admirably conceived. Exhibited at the Royal Academy, 1838. Canvas, lined, 362 x 521, oblong. Sheepshanks Gift. 4 “Wo CAN THIS BE?”—A portly burgomaster walking - in some public garden with his handsome young wife re- ceives a most courtly salute from a young gallant; the face of the husband shows evidently the puzzled -expression _ indicated by the phrase “ Who can this be?” while the wife _ puts on an unconscious look, and plays with her spaniel. Exhibited at the Royal Academy, 1839. Canvas, 29 x 23, oblong. Sheepshanks Gift. M2. “WHO CAN THIS BE FROM ?”—The lady seen in the last _ picture is now seated at her toilet ; a serving wench brings in a letter. The mistress, curious, yet doubting, hesitates to receive it; in the background, the portrait of the old _ burgomaster looks frowningly down upon them. Exhibited _ at the Royal Academy, 1839. . Canvas, 29 x 23, oblong. Sheepshanks Gift. 113. My Uncie Topsy anD WIDOW WADMAN. _-**T am half distracted, Captain Shandy,’ said Mrs. Wadman, holding up her cambric handkerchief to her left eye, as she approached the door of my Uncle Toby’s sentry-box.— A mote, or sand, or something, I know not what, has got into this eye of mine—do look into it—it is not in the white.’ In saying which, Mrs. Wadman edged herself close in beside my Uncle Toby. . . « ‘Do look into it, said she. Honest soul ! thou didst look into it, with as much innocency of heart as ever child looked into a raree _ show-box.” Tristram Shandy, vol. 2, chap. 24. . 80, OIL PAINTINGS. f ; «*T protest, Madam,’ said my Uncle Toby, ‘I can see nothing whatever, in ; your eye.’ ‘It isnot in the white, said Mrs, Wadman. My nele looked, with might and ‘main into the pupil.” Leslie's Version. See Autobiog. II., p. 212, : Risatah The simple-hearted soldier is seated in the narrow summer-house beneath the map of Dunkirk. The comely widow, pressed in close beside him, is drawing aside the lid from a bright eye, in which his intense gaze sees neither — dust nor the love with which she so fondly hopes to inspire him. | ks Canvas, 224.x 324, upright. Painted 1832, Sheepshanks Gift. t4. 114, FLORIZEL AND PERDITA. oh? tS “ Perdita.—. . . . O! Proserpina, Jie BQROF For the flowers now, that, frighted, thou let’st fall eal From .Dis’s waggon . . %'. 5 4 ane eae: LP, RES a ae these I lack, To make you garlands of ; and, my sweet friend, To strew him o’er and o’er.” , Winter’s Tale, Act iv., Scene 3. ~ Perdita in the shepherd’s cottage with ‘Mopsa, Florizel, f Polixenes, and Camillo. She is presenting them with flowers. Exhibited at the Royal Academy, 1837. Canvas, 29 x 21, oblong. ) - Sheepshanks Gift. A 115. AUTOLYCUS. | 6) WEN ISD - « Here’s another ballad, of a-fish, that appeared upon the coast, on» Wednesday, the fourscore of April, forty thousand fathom above water, and; sung this ballad against the hard hearts of maids.” Gn eR We . Winter's Tale, Act iv. Scene be ry 7 Autolycus, selling his wares, with his pack strapped be- fore him, is singing his ballads. Exhibited at the Royal Academy, 1836. wr Bit ee one ee Canvas, 21 x 29, oblong. } Sheepshanks. Gift; .. 116. “LE Bourgeois GENTILHOMME,” (Moliére.) . “ VM. Jourdain.—Hola ! ho! Doucement ! Diantre soit la coquine ! “ Nicole——V ous me dites de pousser. ; \ lowe SE acld dye «“ M. Jourdain.—Oui; mais tu:me pousses en tierce avant que de pousser en quarte, et tu n’as pas la patience que je pare.” P ER VAS Act iii. Scene 3. In the centre of the picture Nicole, broom in hand, makes ‘ a lunge at her master, who, clumsily attempting to. parry — it, recerves a palpable hit. Madame Jourdain, on the right’ of the picture, enjoys the victory of the untaught but adroit — Nicole over her master, who fences only according to the. rules of art. Exhibited at the Royal Academy, 1841,.- >’ 4 a £xel” Canvas, 384 x 24, oblong. | Sheepshanks. ift.'- LESLIE. §l "7, “Les Femmes SAvanres.” (Moliére).—Trissotin reading his sonnet. | * Trissotin. —‘ Si vous la conduisez aux bains, i Sans la marchander davantage, Noyez-la de vos propres mains.’ “* Philaminte. ion n’en peut plus. % Bélise—On pame. _ “ Armande.—On se meurt de plaisir. bs se A gemaiet —De mille doux frissons vous vous sentez saisir.’ = rer ili. Scene 2. % ate a room lighted oy, wax candles Trissotin is sitting q -pompously reading his poem; Philaminte, Bélise, and i; in admiration, Henriette sits apart. Exhibited at the ~ Royal Academy, 1845. /Canvas, 30 x 39, upright. Sheepshanks Gift. 8 “Le MALADE IMAGINATRE.” (Moliére).— Mons. Purgon, _ Argan, Béralde, Toinette. : - «M Purgon.—J'ai & yous dire que je vous abandonne A votre mauvaise con- stitution, a Vintempérie de vos entrailles, 4 la corruption de votre sang, 4 Phereté de votre bile, a la féculence de vos humeurs. he ‘Argan. —Ah! miséricorde ! 1” Act iii. Scene 6. _ Argan pillowed in a sick chair at the foot of his bed - appeals anxiously to M. Purgon, who is leaving the room in a rage. Toinette behind her master’s chair enjoys the _ success of her stratagem ; while Beralde regards. the doctor with scorn and contempt. Exhibited at the Royal Academy, 1843. ' Canvas, 24 x 384, fatter Sheepshanks Gift. _ These three last pictures are inteniaohally treated in a slight . { and rapid manner of execution. . » Don Quixote AND DororHea, —A sketch for the picture. t ‘Cashiobury. Don Quixote unarmed and almost naked, ; ; assisting Dorothea to rise from her knees. «© Beauteous lady,’ replied Don Quixote, ‘Iwill not answer one word, nor hear one circumstance of your affairs until you rise from the ground.’ ‘I will not rise, signor,’ answered the afflicted damsel, ‘until I have obtained _ from your condescension the boon I beg.’ . . . . Sancho whispered softly in his master’s ear, ‘Your worship may safely grant the boon she asks, > which is a mere trifle; no more than the slaying a giantish sort of fellow.’ ” Book iv. chap. 1. g » Panel, 8xll,oblong: Sheepshanks Gift. - LAvRA INTRODUCING GiL BLAs To ARSENIA.— Arsenia reclines on a couch; behind, Laura leans over and introduces, Gil Blas to her. Canvas, 10} x 8, oblong. In circulation. Sheepshanks Gift. Bee Ee eros Fede mL: 82 OIL PAINTINGS. 101. A Femate Heap.—A lady seated, with her back to the § spectator, turning her face partly round to him. On her left — arm a yellow scarf. . Panel, 9 x 63, oval. Sheepshanks Gift. 122, QUEEN KATHARINE AND Patrence.—Katharine, pale and sad, sits by her work-table. Patience stands beside her, playing on the lute. Exhibited at the Royal Academy, 1839. “ Queen Katharine —Take thy lute, wench: my soul grows sad with troubles ; Sing and disperse them if thou canst: leave working.” Henry VILL, Act iii. Scene 1. Canvas, 23 x 80, upright. Sheepshanks Gift, | 423. Amy Rospsart.—Dressed in black velvet up to the throat ; | her head crowned with a coronet of pearls. Leicester’s disowned young wife sits in sad and musing loneliness: her arm rests on her neglected lute. Panel, 9x11, upright. Signed, and dated 1823. Jn cireu- lation. Sheepshanks Gift. 124, THe Two Princes IN THE TowER.—The two young princes kneel at the bed-foot at their prayers before retiring — to rest, perchance on the fatal night on which they were re- — moved from their prison to an enduring kingdom in Heaven. A picture of the same subject, but less complete, was in the possession of the late Mr. Rogers. 4k Sy Canvas, 17 x 13, oblong. In circulation. Sheepshanks Gift. 125. Tue TorteTreE: A Lapy EXAMINING A NECKLACE.—A lady in a loose dressing gown is seated at her toilette table, attentively looking at one of the cameos of a necklace. Panel, 12 x 10, upright. | Sheepshanks Gift. 126. THE Princess Royat.—Portrait of H.R.H. sketched for the picture of the Christening. A small circular portrait ; the head reclines on a pink cushion. ‘ Millboard, 34 dia., oval. Signed, and dated on the back 20 Feb. 1841. oer, Sheepshanks Gift. 127, PortrA.—She is dressed in white, fastened on the shoulder with jewels. . “Oh me, the word ‘choose’! I may neither choose whom I would, nor refuse whom I dislike; so is the will of a living daughter curb’d by the will of a dead father.” Merchant of Venice, Act i. Qi) Panel, 10x 8, upright, oval. Sheepshanks Gift. i ice Oe tai ili u —<_ ee ee ee es ee ee ee, ee 28, 29, LESLIE. $3 GRISELDA.—The sad lady and patient mother is about to leave her lord’s house in obedience to his command; she is dressed simply in her under garments: leaving behind the rich robes of her marriage life, she is about to reassume her peasant’s dress. Panel, 8 x 10, upright, oval. Sheepshanks Gift. Portrait oF HER MAJESTY IN THE CORONATION ROBES. —A slight sketch of the Queen kneeling at the altar table: made for the picture of the coronation. Canvas, 24x18, oblong. Incirculation. Sheepshanks Gift. A GarpEen Scene.—Portrait of the youngest son of the artist with his toys. The background is the garden of the painter’s late residence in the Edgware Road. | On canvas, 12x16, oblong. Jn circulation. . Sheepshanks Gifé. DULCINEA DEL Tososo.—The peasant mistress of Don Quixote, clad in a red boddice, is engaged in tying up her long back hair. The naive expression and sweet smile of the damsel are no disparagement to the taste of the Don in his choice of a mistress. Exhibited at the Royal Aca- demy, 1839. Panel, 12 x 10, upright. Sheepshanks Gift.. SancHo PanzA.—Sancho when governor of Barataria is. prevented from eating by the interdict of the physician.. Exhibited at the Royal Academy, 1839. “He took his place at the upper end of the table, which was accommodated’ with one seat only and a cover for himself alone, while close by him stood a personage, who afterwards proved to be his physician, with a rod of whalebone in hishand. . . . A page tucked a bib under Sancho’s chin, and another, who acted the part of a sewer, set a plate of fruit before the governor; but scarce had he swallowed a mouthful, when the doctor touching the said plate with his wand, it was snatched from him in a twinkling.” | Don Quixote, Book iii. chap. 15. Panel, 12 x9, upright. Sheepshanks Gift. *.* The pictures of Landseer and Leslie are very interesting in connexion with the question of the preservation of British works of art, since we can compare the present state of these painters’ works with the vehicle which has been used in painting them. Generally the pictures of both of these artists are per- fectly sound and unchanged, and as Mr. Leslie is known to have painted his with mastic magilp, and Landseer is believed to have cone so likewise, it would show that this medium, when not used in improper quantities, is as safe and trustworthy as can be de- sired. Some of these pictures have been long varnished, but do 1624/69. 133. 134. 84 OIL PAINTINGS. sarily to result from the use of magilp... Two or three places, in the “Drover’s Departure for the South,” No. 88, have been touched with asphaltum laid on probably on the “varnishing % days,” to enrich the darks : these small spots will be seen to have entirely failed, while the rest of the surface is firm, bright, and wholly unchanged. Other pictures by Landseer have partially failed, as is the case with ‘ Suspense,” No. 99; and also with .@ Leslie’s “ Uncle Toby and the Widow,”,No. 113, in which asphal- tum has been used; but as a rule the works of these two.artist: stand well. Leslie’s latter pictures are painted simply with linseed oil. Wilkie is known, at the period when his principal work in this collection was painted, to have made an undue use of magilp, besides adding asphaltum to it.He used to say, “magilp is a colour,” and to lay it on pure ‘and full even over his flesh, for the sake of its golden yellow tone: beautiful when first laid on, but utterly destructive, as it solidifies and ehanges, when so used. Newton, whose picture (No. 166) has suffered from the practice, is known to have covered his work every successive day with a film of asphaltum, and to have painted into: it. » Mulready’s pictures, on the contrary, are .mostly painted with copal, and asphaltum is entirely rejected, great-attention being paid to..the drying of the under colours before laying others upon them: these also seem as fresh and pure as if just from the easel. LINDSAY (?). AECL teash SUNSET... ee ee Millboard, 9x15, oblong. In circulation. is Townshend Bequest. LINNELL. mens febrageng JoHN LINNELL was born in London in 1792, and commenced the study of art under John Varley. In early life he practised portrait painting, and* has preserved to us the features of many eminent ‘contemporary artists. Latterly he is more known as a landscape painter, and one who combines art with a close observation and study of nature. a THE WILD FLOWER GATHERERS.—Three young girls with flowers in their laps are seated on the margin of a meadow. ous Panel, 81 x 64, oblong. Signed, and dated 1881; on. the Les 1834. : : Sheepshanks Gift, Mixine Time.—A white cow ready for milking stands by a pool of water; a boy is carrying a pail of milk ; in the distance are figures milking. A picturesque wattled shed and pollard oak form the background of the subject. Panel, 22315}, oblong. Signed on the back “Cow yard. 2 1832,” Sheepshanks Gift. not show any signs of those opening cracks which) are sure: to & appear when asphaltum is used, but whieh do not seem necesi ~ > LINDSAY-—LUCY. : 85 7/69. ° -Lanpscare.— Drivin x cattle. ~ Panel, 123 x 15, oblong. Townshend Bequest. LOUTHERBOURG. Pur JAmes De Lovruersourc, R.A. was born at Strasburg, October 31, 1740; son of a miniature painter; pupil of F. Casanova and Carl Vanloo at Paris; member of the French Academy, 1763. He came to England 1771; A.R.A. 1780, and R.A. 1781; painted landscapes, battle pieces, sea-coast views, and theatrical scenery for Garrick at Drury Lane. He invented and exhibited his “ Hidophusicon, or a represen- tation of Nature,” in Spring Gardens in 1782. He died at’ Hammersmith Terrace, Chiswick, 11th March 1812, and was a buried in Chiswick churchyard. 56/71. SEA Pruce. Canvas, 154 x 214, oblong. Bought. 71. THe Last Man. | 4 Canvas, 494 x 394, upright. Given by Mr. C. T. Maud. | ene | LUCY. % Crarius “Livoy was born at Hereford about 1814. After serving his apprenticeship to an uncle who was a chemist in that city, he came’ to London to study painting ; afterwards went to Paris and entered the Ecole des Beaux Arts ; returned to ¢ England and became a student of the Royal Academy. For Z many years he resided in_ France. He exhibited his “ Km- Ea barkation of the Pilgrim Fathers in the ship Mayflower” in ‘ the Westminster Hall Competition, 1847, He painted a large number of historical pictures, many of which have been engraved ; died at Notting Hill, 19th May 1873. 69/72. PORTRAIT ‘or THe Ricgur HonouRrABLe JOHN BRIGHT, MP. bovning | hi Canvas, 253X194, upright. Signed, and dated 1869. + ae Given by Sir Joshua Walmsley. 160/72, PORTRAIT OF Tar Ricut HonouRsBLE W. HE. GLAD-. e ‘STONE, M.P. | , oe ~ Canvas, 254 x 194, upright. Siened and dated 1869. | 7 : Given by Sir Joshua Walmsley. 361/72. PORTRAIT OF THE LATE JosepH Hume, M.P. (1777- | ae 1855). Bo ~ Canvas, 254 x 184, upright. Signed, and dated 1868. Be fi Given by Sir Joshua Walmsley. 362/72. PoRTRAIT OF THE LATE RICHARD CoppEN, M.P. (1804— = 1865). i Canvas, 253 x 194, upright. Signed, and dated 1868. is. Given by Sir Joshua Walmsley. z 86 OIL PAINTINGS. ‘RAELI, M.P. : | Canvas, 254x194, upright. Given by Sir Joshua Walmsley. 365/72. Portrait or ADMIRAL ViscouNT NELSON (1758-1805). _ Canvas, 254 x 204, upright. Givenby Sir Joshua Walmsley. i 366/72. PORTRAIT OF OLIVER CROMWELL (1599-1658). ) Canvas, 254 x 203, upright. Signed, and dated 1868. : Given by Sir Joshua Walmsley. . 367/72.. PorTRAIT OF GARIBALDI. Canvas, 254 x 184, upright. Signed, and dated 1868. | ) : Given by Sir Joshua Walmsiey. ; MACNEE. Hem om ; about 1806, and studied at the Trustees’ Academy, Edin- burgh. Asa portrait painter ke received one of the geld | medals at the International Exhibition in Paris, 1855. He a was elected President of the Royal Scottish Academy in 1876. 42169, Portrait or ANDREW Ure, M.D., F.R.S.—(1778-1857.) Canvas, 353 x 274, upright. Given by Mrs. Mackinlay. MARLOW. Wit11am Martow was born in Southwark in 1740, and studied under Scott, the marine painter, and at the St. Martin’s Lane Academy. He became a member of the Incorporated Society of Artists, and exhibited at the Spring Gardens Rooms, 1762-4. After painting some views of noblemen’s seats in England, he travelled in France and Italy, 1765-8, On his return to London he again exhibited in Spring Gardens, and afterwards at the Royal Academy. He painted from his Italian sketches, and also views of London, chiefly on the Thames. Some of his works are at the Foundling Hospital. Died at Twickenham, January 14, 1813, watering, and men fishing. Canvas, 20 x 293, oblong, Re Bought. MARTIN, 1789 ; apprenticed toa coach painter in Newcastle ;Tan away from his master and studied painting. He came to London 1806 ; began to exhibit at the Royal Academy 1811. Painted “The Fall of Nineveh,” “The Plains of Heaven,” &e.; also executed illustrations of “Paradise Lost” and the Bible. Died at Douglas, Isle of Man, 17th February 1854, 363/72. Portrait oF THE RiGHT HONOURABLE BENJAMIN DIS- — DanteL Maocnes, P.R.S.A., was born at Fintry in Stirlingshire, 263/75. LANDSCAPE. Composition, with ruined temple, cxttle gt Joun Martin was bornat Haydon Bridge, near Hexham, 19th July in 1821 his “ Belshazzar’s Feast,” which was followed by a ee eee eee LUCY—MORTIMER. 87 23/69. MouNTAIN LANDSCAPE, WiTH Rocks. 2 Canvas, 10 x 14, oblong. In circulation. “ Townshend Bequest. y MONAMY. _ Perrer Monamy, a native of Jersey, was born about 1670. He £ was sent to England and apprenticed to a house painter on 4 London Bridge. He painted sea pieces which were held 2 in repute in his own day. He died at Westminster in S 1749. 249. Tue Oxrp East InpiA WHARF AT LONDON BRIDGE.— Warehouses occupy the left of the picture ; merchandise is strewed about; coopers are packing casks for shipping, ‘and a merchant’s clerk with porters are noting cargo. A cart and horses are in the mid-ground, the shipping in the river forming the background of the composition. Canvas, 63 x 54, upright. Bought. 98/69. VESSELS AT SEA. & Canvas, 28 x 44, oblong. In circulation. Townshend Bequest. MORLAND. GxroRGE Mor.anp, the son of Henry R. Morland, a painter, was born in the Haymarket, 26th June 1763. He was a student of the Royal Academy. He first produced landscapes, but after- wards, for the most part, subjects with domestic animals. He died in Eyre Street Hill, Coldbath Fields, 29th October 1804, and was buried in the new graveyard attached to St. James’s Chapel, Hampstead Road. _ Tue Recxonine.—In the centre a farmer stands beside his white horse, two dogs being at his feet. In front of him are the ostler and pot-boy of the inn, waiting for the payment of the reckoning; a countryman lounges at the open door of the stable in which the scene is laid ; tied to the manger is a bull-dog. Canvas, 39 x29, oblong. Given by Mr. F. Peel Round. HORSES IN A STABLE. Canvas, 34 x 461, oblong. Signed, and dated 1791. Townshend Bequest. SEASHORE—Fishermen hauling in a Boat. Canvas, 333 x 461, oblong. Signed, and dated 1791. - Townshend Bequest. MORTIMER. Joun Hamitton Mortimer, A.R.A., born at Eastbourne, Sussex, where his father was Collector of Customs, 1741, Came to “1 99/70. 135. 136. © 137. 88 OIL PAINTINGS. — London and studied painting with Hudson and Pine ; xppiltiod the Society of Arts premium of one hundred. guineas for his picture of “ St. Paul preaching to the Britons ;” elected A.R.A. 1778. His best productions were drawings of banditti, &c. Designed for Bell’s Shakespeare and other illustrated works. Died in Norfolk Street, Strand, of fever, 4th February 1779; buried in High Wycombe Church. ; HERCULES SLAYING THE HYDRA. a Canvas, 174 x 153. . Bought. 3 MULREADY. ee ge ne en Wittram Murraapy, R.A. was. born at Rade in, TgiacMesbivet _ 80, 1786,. but. came earlyto London and was admi » Phe student of the Royal Academy at the age of 14., s of the few artists who have been elected both an Associa of the Academy and an Academician within the year, the election for the former honour taking’ place in’ Nove 1815, and for the latter in Febrnary 1816. He died at Linden Grove, Bayswater, 7 J me TB6S. Buried in” Kensal Green Cemetery. ne1iiZO NEAR THE MALL, KENSINGTON GRAVEL. Pet hs. the neighbourhood is extremely changed, some of the objects. in this picture are still to be seen in the vicinity of the Mall. Painted in 1813. Exhibited at the Royal Academy, 1844. Canvas, 182 x 134, oblong. ) Sa Gift. THe Matt, Kenstncton GRAVEL Prrs —This 1 was partly taken from the Mall as it stood in 1 12, an partly composed. It was painted with-mastie magilp asphaltum. After this period most of the artist’s works ad painted with copal. Painted in 1812. Exhibited’ at — Royal Academy, 1844. | Canvas. 194 x 14, oblong. iy Sheepshanks Gif. BLACKHEATH PARK.—This was the view from the window of a residence of Mr. Sheepshanks at Blackheath; the ground is now much built over. On the right hand a ‘pond of clear water reflects the vivid autumnal colours of the trees beyond; in the mid-distance a field rises towards a clump of trees, with some sheep feeding on the yon the left hand labourers are at work by the road side. The execution of this work deserves especial attention; the look of extreme completion being given with much more facility than at first appears to be the case. Eajuares at the Royal Academy, 1852, 7 Panel, 24 x 134, oblong. ‘Sheepthanke'G Gi 2 im) ra - ° ¢ we By 438. - THE SEVEN AGEs. RESTS RM Sire er ei Sk i A sae 139. MORTIMER—-MULREADY. 89 “ Ajl the world’s a stage.” ~ The artist, taking the suggestions of the poet as a theme, has sought to epitomize the various states of man’s exist- ence,—as labour and pleasure, freedom and captivity, riches and poverty, weakness and strength—together with the characteristics of the various ages of man’s life. In_ the middle ground, on the right, the child is seen, just born into a world of restless change and labour. A peasant re- moving, carries the household goods upon his back ; the mother is burdened, not only with her young babe, but with some chattels also. ’ Beside them the labour of intellect is indicated by the pale; worn student with his book, who looks with some envy on the lover, a youth of his own age, whose lighter labour is bounded by a “sonnet on his mistress’ eyebrow.’ The burly justice contrasts with his schoolboy son in the middle ground. Behind them is a gatehouse prison ; from their prison over the arch the captives endeavour to obtain alms by dropping a shoe to the passers-by. Beneath, the rich and free go forth to enjoy the sports of the field. On a hill on the right stands a feudal castle, showing all the incidents of feudal rule ; the gibbet and the axe, the traitors’ heads surrounding the keep, are dimly seen. In the front a soldier is chastising a youth; the lad has made sport of him, who, in the last stage of all, is dragged forth to inhale ... once more the spring-tide air. Sans eyes, sans teeth, sans — everything, his attendant endeavours to awaken the im- becile man to the. salutation of one only less, ancient than himself. On the ground an old hound, weak as his master, is tormented by a playful puppy, while the giant that draws forth the aged dotard stops to drink. ~ The original design of this picture was drawn on wood as a frontispiece to the illustrations of Shakspeare’s Seven Ages, published by Van Voorst. The drawing was engraved by J. Thompson, and a proof of it is in the collection of En- gravings, No. 252. Exhibited at the Royal Academy 1838. * Canvas, 45 x 354, oblong. Sheepshanks Gift. Tae Fient INTERRUPTED.—The picture represents the playground of a ‘school. Se ee ee eee ee eee MULREADY. 93° 451. A CoTTAGE AT St. ALBANS. - Canvas, 10 x 14, upright. ; Sheepshanks Gift. 152, Portrait or MR. SHEEPSHANKS.— Painted in 1832. Paper fixed on panel, 6} x 54, upright. Sheepshanks Gift. 153. HampsreaD HEaTH.—Landscape sketch. Sandpit, waggon passing. - Millboard, 10} x 63, oblong. Signed, and dated 1806. In circulation. Sheepshanks Gift.. 154, SiiLL Live—A small highly finished study of a stone bottle, a glass bottle, earthen pan, We. Millboard, 53x54, oblong. Signed, and dated 1809. ¥ Sheepshanks Gift. 465. Hampsreap Huatu.— Landscape sketch with two figures ... to the right. __-.- Millboard, 10x 54, oblong. Signed, and dated 1806. In cir- i! culation. Sheepshanks Gift. seated showing a rattle to his little child. Painted in 1807. 4 Panel 34 x44, upright. Sheepshanks Gift. 157. LANDSCAPE WITH COTTAGE. Pad F . Panel, 82x74, upright. Sheepshanks Gift. 158, “LANDSCAPE WITH Corracres.—Figures in the foreground, a pond of water with lilies to the right. , Panel, 174 x14, oblong. In circulation. Sheepshanks Gift. eee Pk { a sketch in colour for the picture painted in 1812, the pro- thought for the arrangement of colour, and may be com- pared with the chalk sketch of composition, No. 60, among ee, eo ree x the Drawings. 2 . Canvas, 124 x8, oblong. Sheepshanks Gift. ~ 160. -Lanpscare.— A cottage with trees, two children, one ___ blowing a horn. . “Millboard, 13104, upright. In circulation. ¥ x eel at | Sheepshanks Gift. 16. HampsreaD HeatH.—Slight sketch with cows. -Millboard, 106, oblong. Signed, and dated.1806... Imcir- culations of berailsd » | 486. STUDY FOR THE PicTURE oF “THE RATTLE.’ A man . perty of Sir J. Swinburne: it is interesting as a first. Sheepshanks Gifts: 169. A SKETCH FOR THE PICTURE OF “«“PuncH.” —A slight ot Os 94 OIL PAINTINGS. 162. PORTRAIT OF A LITTLE GIRL. ae? A Panel, 9 x 63, upright. Sheepshanks Gift. i 162.* COTTAGES. . Millboard, 84 x61, oblong. Dated 1806. Jn circulation. — , x Sheepshanks Gift. 236. THe MOTHER TEACHING HER SonN.— ~ si aah “ Just as the twig is bent, the tree ’s inclined.””— Pope, A young female seated with her child on her lap, teaches bim to pray. Exhibited at the Royal Academy, 1859. Panel, 174 x 134, oval. t Sheepshanks Gift. 243. StTupy OF THE HEAD OF A FEMALE. Yosee Millboard, 16 x 12, upright. EE Oe Bought at the sale of Mulready’s works, 1864. 244, Outline Sketch in white chalk for an oil painting of “ THE TREET PREACHER.” : [oes Panel, 51 x 353, oblong. a Bought at the sale of Mulready’s works. 1864. 1389/69. THE Poot. Canvas, 20x24, In circulation. Townshend Bequest. MULREADY. | | WituiaM Mourreapy, jun., the second son of William Mulready, was born in 1805, and studied art under his father. 163. TeAL.—T'wo teal of the natural size are painted lying on a stone slab. Exhibited at the Royal Academy, 1835. Canvas, 14Xx174, oblong. Signed, and dated 1881. Jn neHES lation. | Sheepshanks Gift. 164. An InrERIOR.—Seated on his basket dozing in the sun, ~~ at the door of an outhouse, a baker's man waits while a female examines his account. Exhibited at the Royal Academy, 1838. Mie 2, Panel, 16203, oblong. eon Sheepshanks Gift, : NASMYTH, Bae aie, Patrick christened Pursr Nasmyra was the son of Alex. Nasmyth the landscape painter, and born in Edinburgh Jan. 7th, 1787. He came to London at the age of 20, and followed his profession of a landscape painter with great success ; he died at Lambeth, 17th August 1831, and was buried in St. Mary’s Church. He painted with his left hand, his right having been injured when he was a youth, © . 165. LanpscaAPE—Sir Puinip Srpyey’s OaK.—A large oak tree on the right of the picture is believed to be that I70. 70. 466. 6/69, MULREADY—NIEMANN. 95 planted in Penshurst Park at the birth of Sir P. Sidney in 1554. Canvas, 21 x 16, oblong. Sheepshanks Gift. LanpscaPe.—Cottage by a brook, with a boy on a white horse, which is drinking. Canvas, 93 x 74, oblong. Parsons Bequest. LANDSCAPE, WITH HAYSTACK. Canvas, 93 x 73, oblong. Parsons Bequest. . NEWTON. Gitpert Stuart Newron, R.A., was born at Halifax, Nova Scotia, Sept. 2, 1795; received his first incentive to art from the pictures of his uncle, Gilbert Stuart, the portrait painter ; came to England in 1817. He became a student of the Royal Academy in 1820, an Associate in 1828, and an Academician in 1882. He died at Chelsea, August 5th, 1835. Buried in Wimbledon churchyard. PORTIA AND. BASSANIO. Portia.—“ There are some shrewd contents in yon same paper That steals the colour from Bassanio’s cheek : Some dear friend dead ; else nothing in the world Could turn so much the constitution Of any constant man. What, worse and worse ! With leave, Bassanio ; I am half yourself, Ard I must freely have the half of anything That this same paper brings you.” The Merchant of Venice, Act iii. Scene 2. Salerio, booted and spurred, has just arrived with An- tonio’s sad missive to his absent friend ; in the centre of the picture Bassanio reads his letter evidently touched to the heart at its contents ; leaning on his shoulder, Portia dis- cerns his sorrow in his face and action, and tenderly asks to share it. On the left of the picture Nerissa and her lover look with anxious interest on the principal group. This picture had become very much injured in the sur- face owing to the employment of asphaltum. The hand of Bassanio was totally changed, and a great part of the figure of Salerio disfigured ; it has, however, been restored (vide p. 81). Exhibited at the Royal Academy, 1831. Canvas, 36 x42, upright. _ Signed, and dated 1831. Sheepshanks Gift. NIEMANN. Epmunp Joun Niemany, born 1812. LANDSCAPE.—AMONGST THE RUSHES. Canvas, 251 x 454, oblong. Signed. Jn circulation. Townshend Bequest. G 240, 30/73, 577/70. 578/70, < 96 _ OIL PAINTINGS. ” NORTHCOTE. | (aot (gt bevana James Nortucore, R.A., was born at Plymouth on 22nd October 1746. In 1771, by the friendship of Dr. John Mudge, he - became a pupil of Sir Joshua Reynolds, studying also at the Royal Academy. . He painted many portraits of eminent persons, but also devoted his attention to historical works of large size. He was elected an Associate of the Royal Academy in 1786, and an Academician on 13th February 1787. He died at 39, Argyll Street, 13th July 1831/7" TH PRESENTATION OF BriTisH OFFICERS TO Pops Prus VI.—The ceremony represented “is the presentation at the Vatican of Major (afterwards General) Browne Clayton; — Captain Head, and Lieut. the Hon. Pierce Butler, officers of His Majesty’s 12th Regiment of Light’ Dragoons: sta- tioned in the Roman States. ‘The Pope placed the helmet on the head of Major Browne Clayton, and expressed his gratitude to the British nation and his earnest desire for its welfare. | 7 1800. O’CONNOR. James A. O’Connor, born in Dublin in 1793 ; son of an engraver, and brought up to that profession; worked in London, Brussels, and Paris. An exhibitor for some years at the Royal Academy. Painted landscapes, chiefly scenes in Ire- land. Died at Brompton, January 7, 1841. senda Town or Westport AND CLEw Bay, County Mayo, IRELAND, © | i esl Canvas, 20} x 308, oblong. ; Signed, and dated 1825. Bought, LANDSCAPE.—A mountain in the distance; two figures — in the foreground. — Panel, 73 x 54, oblong. Signed, and dated 1839. _ | : | Parsons Bequest. O’CONNOR (ASCRIBED TO). LANDSCAPE.—Tower on the bank of a river; two men fishing. | ha | ; Panel, 72 x 64, oblong. | Parsons Bequest. OLIVER. . Canvas, 111x883, upright. Signed, Js. Northcote, Pinxt., a Given by Mr. Richard C. Browne Clayton, 1863. me. WittiAM OLIVER, landscape painter, both in oil and water ee colours, chiefly of foreign subjects. Member of the New - Society of Painters in Water Colours. Died Nov. 2, 1853, in the 49th year of his age. NORTHCOTE-—REDGRAVE. 97 /69. FOLIGNO, IN THE PAPAL STATES. _ Canvas, 95x13}, oblong. Signed, and dated 1849. In, cir- culation. ——- Townshend Bequest. PICKERSGILL. Henry Hatt Proxersettt, the eldest son of H. W. Pickersgill, _- -R.A. He studied in the Netherlands, and afterwards visited Italy. He first exhibited at the Royal Academy in 1834, then and afterwards painting subject pictures. Visiting St. Petersburg, on his return after two years spent in that city he exhibited “ Fishermen on the Neva” and “ Ferry on the Neva.” He afterwards returned, to his earlier subjects, and finally chiefly produced portraits, practising almost ex- — clusively in Manchester and Wolverhampton, and the counties of Shropshire and Herefordshire. He died January 7, 1861. 9/75. THe RIGHT or SANCTUARY. Canvas, 77X104, oblong. Painted and exhibited in 1848, Bethnal Green Branch Museum. Given by Mrs. Pickersgill. PYNE. James Baxer Prne, born at Bristol December 1800 ; articled .to _- ‘an attorney, but abandoned the law for painting ; removed ‘to London, and exhibited at the Royal Academy, British In- stitution, and Society of British Artists. In 1889 he became a member of the Society of British Artists, and afterwards its Vice-President ; painted landscapes, chiefly river and lake subjects, amongst them a series of views of the English Lakes, which were lithographed.. Died 29th July 1870. Buried in Highgate Cemetery. gi70. THe BAy or NAPLES—From the Villa Rocco Romano, Strada Nuova. ~ Canvas, 40 x 264, oblong; Signed, and dated 1868: Parsons Bequest. c oa . Af p ie REDGRAVE. —-«¥Ricuarp RepGRAve, R.A., was born April 30, 1804, in Pimlico. . Until nearly 20 years of age he assisted his father in the ~~ charge of a large manufactory, and in making drawings and i designs for the works. He entered as a student of the Royal Academy in 1826, was elected an Associate in 1840, and an Academician in 1851. From 1847 he was connected with the Government Schools of Design, and finally held the at, office of Director for Art in the Department of Science ey and Art, from which he retired in 1875. His paintings of a figure subjects earned for him his first reputation, but in later years he has also become a landscape painter. 467. CINDERELLA ABOUT TO TRY ON THE GLASS SLIPPER. “ That minx ” said the step-sister, “to think of trying on the slipper.” G 2 169. 168, 170, 98 - OIL PAINTINGS. — The two envious sisters have already tried and failed to draw on the little slipper. The prince has himself accom- panied the herald, and leads forth Cinderella, whom he already begins to recognize, to make her attempt. Banished from the family, she comes forward among the servants. Purchased by Mr. Sheepshanks from the artist. - Exhibited at the Royal Academy, 1842. | | . Painted in mastic magilp on canvas, 56 x 42, oblong. . Sheepshanks Gift. THE Poor TEACHER. “ She sees no kind domestic visage near.” An orphan, whose mourning dress shows that her loss is Airs Nien sine recent, condemned to the drudgery of the teacher’s office, is seated in the school-room at her lonely evening meal. Her task for the day is evidently not ended, for the desk is covered with exercises to correct, and work to set right. In her hand is a letter from the home which poverty has obliged her to quit, for labour in which she meets with sympathy neither from the Principal nor the Scholars. -Ex- hibited at the Royal Academy, 1845. For sketch for two of the children, see Drawings Nos. 83 and 196*. This pic- ture is a repetition, with considerable changes, of one painted for Mr. Hippisley, of Shobrooke Park. ? Canvas, 36x28, upright. Signed, and dated 1844. In circu- lation. Sheepshanks Gift. GULLIVER EXHIBITED TO THE BROBDINGNAG FARMER. “This man, who was old and dim-sighted, put on his s ectacles to behold me better, at which I could not forbear laughing very heartily, for his eyes appeared like the full moon streaming into a chamber at two windows.” Gulliver’s Travels. The artist’s aim has been to represent Gulliver as of ordi- - nary stature, and to show the Brobdingnags as giants ; hence the accessories that surround him, the fruit, the dice, the money, the wasp, &c. are intended to give scale to the back- ground figures. Exhibited at the British Institution, 1836. Engraved on steel by Mollison. hao A Canvas, 30 x 25, oblong, painted with magilp. In circulation. Sheepshanks Gift. THROWING OFF HER WEEDS.— A young widow whose “weeds” have but the smallest affinity to “mourning” 1s preparing to change them for wedding garments, The bonnet with orange blossoms, and various subjects on the toilette tell of the change. The portrait of the late hus- REDGRAVE—REYNOLDS. 99 band, old and stern, is seen in the background, behind the screen. Panel, 30 x 24$, oblong, painted in copal. Signed, and dated 1846. Exhibited same year. Sheepshanks Gift. 171. OPHELIA WEAVING HER GARLANDS. “ There is a willow grows aslant a brook, : That shows his hoar leaves in the glassy stream ; There with fantastic garlands did she come.” Hamlet, Act iv. Scene 7. Ophelia is seated, unconscious of the danger of her posi- tion, on the trunk of a willow that lies over the deep waters of a still pool, where the brook seems to pause in.its course. She sings as she twines her wild flower wreaths. | Panel, 30X25, upright. Signed, and dated 1842. Sheepshanks Gift. 172. BOLTON Appry.—Morninc.—The view is taken looking down the stream, the portion of the Abbey still used as a church being seen on the cliffs. Exhibited at the Royal Academy, 1848. » Canvas, 303x124, oblong. Signed, and dated 1847. af Sheepshanks Gift. REINAGLE. Ramsay Ricnarp Retwaeie, R.A., born March 19, 1775; son of Philip Reinagle, R.A. Painted portraits, historical sub- jects, and animals, but chiefly excelled in Jandscapes. Elected A.R.A. 1814, and R.A. 1823. Called upon to resign his seat in the Academy in 1848, having sent in a picture for exhibition as his own, which was partly the work of another artist. Received a liberal allowance from the Academy to the close of his life. Died at Chelsea, November 17, 1862. 09/69. RyDAL Mounrains.—Stormy day. Millboard, 73 x 104, oblong. In circulation. : ; Townshend Bequest. a = REYNOLDS. Samurt WitttaAm ReyNowps, principally known as an engraver. Born in 1774, he was a student of the Royal Academy, and a pupil of W. Hodges, R.A. He commenced the profession of art as a painter, and produced portraits, subject and land- scape pictures, contributing to the Academy 1797-1811. Afterwards he tried engraving, and became distinguished by his fine mezzotints, as well as by some excellent works in aqua- «tint. He engraved many portraits by Sir Joshua Reynolds 7 a « Lege E 100 . OIL PAINTINGS. and other painters, and also some subject pictures after Morland, &c. In 1826 he went to Paris, and engrayed several important French. works. Diedin 18386. 405/74. COTTAGE NEAR SANDPITS, BROMLEY, KENT. Paper, upon panel, 93 x 143, oblong. wAysny Bought. RIPPINGILLE, EpWARD. VILLIERS RIPPINGILLE, the son of a farmer, was born at King’s Lynn, in Norfolk, in 1798. As an artist he was self- taught. He became known to the public in 1819 ‘by his picture of “ The Country Post Office,” and among the works of a similar class which he afterwards painted, are “The Recruiting Party,” “The Stage Coach Breakfast,” “Going to the Fair,” &c. _ In 1837 he went to Italy, and subse- quently to the East, painting subjects of those countries. He obtained one of the prizes in the Cartoon competition at - Westminster’in 1843. ; Mr. Rippingille lectured on Art, and o» claimed to be the first who. advocated the formation of Schools of Design ; he also edited the “Artist and Amateur’s Magazine.” He died April 22, 1859. tees ry F oe fae 173. MENDICANTS OF THE OAMPAGNA.—On the back is the following :—“ Beggars of the Campagna Romana. Mem. — This picture, sent for exhibition at the Royal Academy, was placed on the floor and has never been seen by the public. Painted almost entirely with a magilp of solution of sugar of lead in water and. mastic varnish, 1844. Bought of the artist by J.S., Esq.” — A doo! Canvas, 225 x 144, oblong. Signed, and dated Roma, 1840. 1 London, 1844. re Sheepshanks Gift. ROBERTS. — Davin Rozerts, R.A., was born at Stockbridge, near Edinburgh, in 1796, and brought up as a decorative painter. In, 1822 he ~~ came to London and was long engaged as scene painter at one of the principal theatres. On the formation of the Society of British Artists he became Vice-President, and for some time exhibited with them. He visited Egypt, and the Holy Land, Petra, Baalbec, and other places in the East when they were far less accessible than at present, and published a series of drawings made during these journeys and during, a former one to Spain. In 1838 he was elected.an As-— sociate of the Royal Academy, and in 1841 an Academician. Died, in London, November 25th, 1864. ‘pipe 174, _ ENTRANCE TO THE Crypt, Ros~in CHAPEL.—* Prentice Pillar” is on the left and two figures near it, one of them, a 175. 176. 101/73. REYNOLDS--ROTHWELL. 101 milkmaid, having laid down her three-legged stool and pail on the pavement. Panel, 30x 244, upright. Signed, and dated. 1843.» Sheepshanks Gift. O_p BuitpInes ON THE Darro, GRANADA.— Ranges of picturesque buildings bordering on a small stream over which is a one-arch bridge. The belfry of a church rises about the centre of the picture in the distance. A man in a sombrero is arranging his fishing tackle on the right. Exhibited at the British Institution, 1835. Panel, 24 x 173, oblong. Signed, and dated 1834. Sheepshanks Gift. THE GATE OF CAIRO, CALLED BAB-EL-MUTAWELLEE.— The southern gate of the old city, now, in the centre of modern Cairo; it is more commonly called Bab Zuweyleh. The gate of which the round towers are seen in the picture was founded in the year A.D. 1087; the minarets above, together with a fine mosque, were added subsequently. The view is taken from the street called Darb el-Ahmar. The light woodwork surmounting each minaret is to carry lamps which are suspended at night during the month of fasting or on the two annual festivals, &c. The galleries are used by the Muézzin at prayer-time. Panel, 30x 243, upright. Signed, and dated 1843. Sheepshanks Gift. ROMNEY. Grorce Romney, born at Dalton-le-Furness, Lancashire, De- cember 26, 1784; apprenticed to a cabinet maker ; afterwards placed with Steele, a portrait painter at Kendal. Came to London 1762; gained one of the Society of Arts’ premiums, 1765; in Italy and France 1773-5 ; lived on the south side of Cavendish Square (now No. 32), and divided public ~ patronage with Reynolds and Gainsborough, 1776-97 ; re- moved to Hampstead 1797 ; retired to Kendal 1799; died there, 15th November 1802 ; buried at Dalton. SkeTcH oF A FEMALE HEAD. Canvas, 192 x 163, upright. Jn circulation. Bought. ROTHWELL. Ricuarp Rotuwe., R.H.A., was born at Athlone in 1800, and entered the Royal Dublin Society’s Drawing School in 1815. He removed to London on the death of Sir Thos. Lawrence, and obtained much reputation as a portrait painter; subsequently he visited Italy and America. When 177. 178. 102 OIL PAINTINGS. | young he assisted Sir T’. Lawrence, and completed portraits which that painter left unfinished. Died at Rome, Sep- tember 1868. « call 2% 1 obi ts THE LITTLE ROAMER. | ‘“‘ Her path ’mid flowers.” A child leaning against a bank, in her hand is a bunch of | wild flowers she may be supposed to have gathered in her ramble. Exhibited at the Royal Academy, 1843. Loma Canvas, 33} x 50, upright. In circulation. Sheepshanks Gift. NovictaTe MenpDicants.—Two children looking upwards as if they had only half made up their minds to beg. Canvas, 29 x 364, upright. Sheepshanks Gift. The surface of this picture was so much cracked as entirely to injure its effect, but, like No. 166, it has been carefully restored. 179. 1077/71. ae tees 1400/69. 1402/69. 1410/69. 1416/69. Tue Very Picture or Ipteness.—A young girl sitting with her hands crossed listlessly, is looking out at the spectator. Canvas, 28 x 80, upright. Signed. | Sheepshanks Gift. SERRES, Joun Tuomas Serres, son of Dominic Serres, R.A., born De- cember 1759; marine and landscape painter. Succeeded his father as Marine Painter to the King ; marine draughtsman to the Admiralty. Married the soi-disant Princess Olive of Cumberland. Died December 28, 1825, and buried in Pad- dington churchyard. me View OF THE LIGHTHOUSE IN THE Bay or Dusuin, witH His Masesty’s Yacut “ Dorset.” ¢: ‘des Canvas, 40 x 60, oblong. Signed, and dated 1788... Bought. SEVERN, ya han ciek cian SCENE FRoM “ ELOISA TO ABELARD,”—Pope. Canvas, 19x13, upright. In circulation. Townshend Bequest. Mary QUEEN oF Scors at Loco Leyen Castrn— Scott. Canvas, 19x13, upright. Jn circulation. Townshend Bequest. Ny ARIEL. | “On the bat’s back I fly.” Shakespeare. Millboard, backed With canyas, 92x15, oblong. Signed, and dated Rome, 1826. Townshend Bequest, NYMPH GATHERING HONEYSUCKLE. woudl Millboard, 10} x 15, oblong. Townshend Bequest be We v Pe ee ee a me, 9 ee ee ee ee a 0 ea NS ee ee ee en eee saints eee >, = 69. /70. 5/69. 180. 181. ‘ = rs 182, ROTHWELL—SMIRKE. 103 | SHAYER, W., SEN. Buyine FISH. Panel, 10} x 12, oblong. In circulation. Townshend Bequest. SIMMS, C. Coast Scene at Low T1pE—MOONLIGHT. Panel, 222x114, oblong. Signed, and dated 1840. In circu- lation. Parsons Bequest. SIMPSON. Puitir Surpson, son of John Simpson, portrait painter ; student of the Royal Academy ; exhibited at the Royal Academy 1829-1836. «] witt Fient.’—Painted in 1824, and exhibited at_ Suffolk Street. Canvas, 30 x 251, upright. Townshend Bequest, SIMSON. Wii1am Simson, R.S.A., was born at Dundee in 1800. He was educated at the Trustees’ Academy in Edinburgh ; an Acade- mician of the Royal Scottish Academy. After some success in art in London, he died in Sloane Street, 29th August 1847. Tue INTERIOR OF A CATTLE SHED.— A young calf stands near a milk vessel on the right ; a hen and chickens occupy the foreground. Millboard, 183 x18, oblong. Signed on the back, W.S., and dated 12 Jan. 1842. Sheepshanks Gift. Gi Bias INTRODUCING HIMSELF TO Laura.—Gil Blas in his borrowed toilet, bending on one knee, finds little coyness in his reception by the object of his attentions. The damsel’s face has, perhaps, but a slight dash of Spanish in its character. Canvas, 28 x 36, upright. Signed, and dated 1840. Jn circu- lation. Sheepshanks Gift. WruaM Teti—aA figure in a black cap, with an arrow in his girdle, leaning his right hand on the butt end of his cross-bow. Panel, 11x16, upright. On the back, “Study of a head, William Tell.”—William Simson, 1840. In circulation. Sheepshanks Gift. SMIRKE. Rosert SwirKe, R.A., born at Wigton, near Carlisle, in 1752, was originally a painter of coach panels. He came early to London with his father, entered as a student in the Royal 183, 184. 248. 226/71. 254, 185, 104 » / OIL PAINTIFGS, © Academy at the age of 19, but afterwards devoted his long life of art chiefly to subjects in illustration of popular au- thors, especially Cervantes. His first pictures at the Royal Academy were exhibited in 1786 ; in 1791 he was elected an Associate, and in 1798 an Academician. He died in Osna- burgh Street, January 5, 1845. - SCENE FROM THE “ HuMOROUS -LIfUTENANT.’—Beau-: mont and. Fletcher—The Duel. | Le aregt 3 ; 3 if F . Panel, 645, oblong.” In circulation. Sheepshanks Gift. ILLUSTRATION FROM Beaumont and Fletcher. Panel, 645, oblong. Jn cirealation. ——- Sheepshanks Gift. SIDROPHEL AND THE Wipow, FROM “HUDIBRAS.” Canvas, circular, 20 inches diameter. — .... , ,, Bought. _ SMITH. pity J. Carrerson Situ, R.H.A., by birth an Englishman ; student of the Royal Academy ; ‘settled-in Derry and afterwards in Dublin, and became the most eminent portrait painter in Ireland. Associate, Academician, and finally President of the Royal. Hibernian Academy. Died, in Dublin, 31st May 1872, aged 65, = Pas ee } _. PorTRAIT OF THE LATE VISCOUNT DUNGANNON.—Pre- 4 sented to Viscountess Dungannon by the Trish tenantry of the Viscount, 1856. . sb Bees gf a Canvas, 96 x 65, upright. Given by Viscountess Dungannon. shan ts SMITH. Grorce Situ, born in London, 1802, was gold medal travelling” student of the Royal Academy. Died October 15, 1838. Scipio AFRICANUS RECEIVING HIS SON, WHO HAD BEEN TAKEN PRISONER DURING THE WAR, FROM THE HANDS: OF THE AMBASSADORS OF ANTIOCHUS THE GREAT, — ae Canvas, 494 x 682, oblong. Painted at Rome. Given by Mr, Samuel Redgrave, 1869. SMITH, | Grorce Smira was born in London on the 18th Ap i] 1829, ‘and commenced the study of art in Mr. Carey’s school; he was admitted as a student of the Royal Academy in 1845, and was placed for some time in the studio of Mr. Cope. “ ANOTHER BirTe.”-—-A boy in a smock frock is seated on the bank of a pond fishing for perch, and watching his — float, which is supposed to have just moved, with intense expectation, while his sister leans on his shoulder and Sym- S§ 1 a ao Se SMIRKE— STANFIELD. 105 " pathises, but less eagerly, in his excitement. The fish he bas caught are on the grass beside him. : | Panel, 22X18, oblong. Signed, and dated 1850. In circu- lation. _ Sheepshanks Gift. 186. - study in the Holy Land and varicus parts of the East. He died at sea on his way home, on Ist June 1841, in the 56th year of his age. 225. THe BrokEN Jar.—The subject from “ Coxe’s Social : Day.” An old gentleman, to whom the * haunted room” has been assigned for the night, discovers a wire intendec to frighten him. He connects it with a precious China ‘jar on the chimney piece—thus turning the tables on his _tormentors, who, startled by the consequent crash, are seen rushing into the room with lights. Exhibited at the Royal Academy, 1816. Panel, 64 x 72, upright. Sheepshanks Gift. nee ee, eee ~116 - OIL PAINTINGS. — 226, 227. THE REFUSAL. “Duncan fleech’d and Duncan pray’d, Ha! ha! the wooing o’t; Meg was deaf as Ailsa Craig, Ha! ha! the wooing o’t; ORK HK OH ; “Shall I like a fool, quoth he, For a haughty hizzie die ? She may gae to—France for me! Ha! ha! the wooing o’t.” ‘4 rastt Burns’s Song of Duncan Gray. Meg is seated on the right of the picture ; her mother beside, and her father behind her, seem to persuade her to listen to Duncan’s addresses. He is seated near, but apart from her, and seems to regard her obduracy with a look of anger and irritation. Through the chink of a door on the right, others are peeping in and enjoying the sport.» This picture was in a most dilapidated state from the use of asphaltum, but it has been repaired by Mr. Bentley. Ex- hibited at the Royal Academy, 1814. rat Panel, 211 x 253, upright. Sheepshanks Gift. SKETCH OF A Book Cask ror “THe Lerrer or InTRO- DUCTION.” 228. Panel, 113x165, upright. In circulation. _ Sheepshanks Gift. THE Errand Boy.—A boy on a. white horse, receiving a message at a cottage door. | pe Panel, 1128, oblong. Signed, D. Wilkie, 1820 ; but under- _ Stood to be a repetition by another artist.’ In circulation. — 229, 230, 231, | Sheepshanks Gift. A Heap anp Two Hanps.—Sketches. x Canvas, 6x6. Signed, D. Wilkie, 1806. In circulation. i Sheepshanks Gift. THE Davcurers oF Sir Wauter Scorr,— The ladies are sketched as two bare-footed country maidens. Panel, 5X11, upright. Signed, D, Wilkie, 1817. In eirey.” lation: Sheepshanks Gife. SKETCH OF A HEAD For “THE RABBIT ON THE WALL,” —This head, together with a profile head also, are rapidly painted over a sketch of an interior, which shows beneath them. bri seiuk culation: Sheepshanks Gift. Millboard, 5} x 6, upright. Signed, D, Wilkie, 1816, Ineir- 7 WILKIE—WOODHOUSE. 117 LANDSCAPE—A small sketch of a party of gipsies, with two donkeys and a dog. Panel, 8X11, oblong. In circulation, Sheepshanks Gift. WILSON. Ricuarp Wrson, K.A., born at Pinegas, Montgomeryshire, Ist | August 1714, was the son of a clergyman. He lived by portrait painting until he was 35, when he went to Italy, and remained there six years; Zuccarelli and Vernet both saw his talent for landscape painting. He returned to London, and exhibited - “ Niobe” in 1760; an original member of the Royal Academy, a 1768 ; appointed its librarian in 1776. His great works did : not sell well in his lifetime, and he was often in poverty until he inherited some property in Wales, near Llanberis. Died, in Denbighshire, May 1782; was buried at Mold. 4/70, LANDSCAPE WITH RIVER AND RUINS. 7 Canvas, 14 x 104, oblong. Parsons Bequest. 16/76. LANDSCAPE, EVENING. 4 Canvas, 24} x 194, upright. Bought. WITHERINGTON. Witu1amM Freperick WITHERINGTON, R.A., was born in Goswell Street, London, May 26, 1785, and studied his art in the schools of the Royal Academy, where he entered as a student in 1805. In 1830 he was elected an Associate, and in 1840 an Academician. Died April 10, 1865. Tur Hop GARDEN.—A young girl is dressing the bonnet of a sister with a garland of hop-bine, while a lad seated. on a basket looks on with much pleasure at the effect of the head-dress. In the background is seen a hop-bin, and figures picking hops into it. Exhibited at the British Institution, 1835. Panel, 14Xx174, upright. Signed, and dated 1834, Sheepshanks Gift, WOODHOUSE, S. Rev. Coauncy Hare TowNsHEND (the Donor of the «Townshend Bequest”) AND HIS SISTER CHARLOTTE, AS CHILDREN. : Canvas, 50 x 40, upright. Henry Hare TOWNSHEND, LATE OF BUSBRIDGE, SURREY. Canvas, 50 x 393, upright. Townshend Bequest Townshend Bequest, 1412/69. 127/70, 1608/71. 258/75. 229/76. 268/76. 118 O1L PAINTINGS. ANONYMOUS. Henry Hare, THIRD LoRD COLERAINE. Canvas, 161 x 13%, upright. In eireulation. Townshend Bequest. LANDSCAPE, WITH WATERFALL AND RECUMBENT FIGURE. Canvas, 193 x 26, oblong. Jn circulation. Bought. Stupy oF A FEMALE Heap. Canvas, 173 x 141, upright. Jn cireulation, __ Bought. SKETCH OF A Lapy’s HEAD.—18th century. Canvas, 21x17, upright. In cireulation. — Bought. LANDSCAPE WITH TREES AND Ruins. (School of WILsoN.) Canvas, 163 x 13, upright. © Bought. — HEATH ScENE witH FraurEs. (School of Crome.) ~ Canvas, 11 x 174, oblong. Bought. saat COLLECTION BRITISH WATER-COLOUR PAINTINGS, HAVING IN VIEW AN HISTORICAL ILLUSTRATION OF THIS NATIONAL ART, TO WHICH IS ADDED A COLLECTION OF DRAWINGS AND SKETCHES BY BRITISH ARTISTS. As an introduction to the examination of the Water- colour Collection it has been thought desirable to enlarge a little on the history and methods of water-colour painting ; since the present attempt is the first that has been made to represent this peculiarly British art in any permanent public Collection. It has been frequently asserted that the English have no native taste for art, and judging from the early history of art in this country there would seem some ground for the assertion. In the beginning of last century, it was in the hands of foreigners who came to reap the harvest it afforded, our own people gathering but gleanings left upon the field; and although there were works by native painters of merit, these were rather pupils and followers of the greater Italians and Flemings who, from the time of our last Henry downwards, were the painters of our kings and princes, and the skilled decorators of their palaces, than holding any decided rank of their own. But from the earliest time there was one branch of art in which English artists had a reputation even on the Continent, and in which they certainly excelled the artists of other nations, namely, miniature painting in water-colours ; and any one who is acquainted with the beautiful works of that kind by Hilliard, the two Olivers, Hoskins, and Cooper, will be aware that this statement is strictly true. Their art had its origin no doubt in missal painting, in which the colours were either opaque in themselves, or mixed with white in order to render them so; and the miniature painters continued a modified use of the materials 120 INTRODUCTION. and methods of the missal painters, tending, however, toa use of more transparent pigments. | : . Yet even Tes nae had declined from its palmy excellence in the days of Queen Elizabeth and the Charleses, and fallen, like other art, into mere copying from the works of more gifted painters. wel ae The use of opaque pigments, tempered or mixed with water and some glutinous substance, hence called tempera paintings, extended to other branches of art besides por- traiture, but it was of that solid and opaque kind which is still practised by the scene painter, white being mixed with all the pigments. Some of the artists who wrought in this manner were men of repute, even at the time I have been speaking of, when art otherwise was in its lowest estate. Walpole, the chronicler of our native art, speaks _in high terms of praise of George Lambert the scene painter, ‘and of Taverner, who was rather an amateur than an artist. Of the first of these we have an example; the oil painting, 1431/70. We have, also, a work by Taverner, - No, 443, in this Collection, which can be examined to see how far it bears out the praises of Walpole, who, speaking of two of his pictures, says, that they “must be mistaken for, and are worthy of Gaspar Poussin.” doelin) aid we Another and more original example of tempera painting is No. 383, the work of Paul Sandby: it is wholly in solid opaque colour, and must not therefore be confounded with paintings executed in transparent water colours, which at the time when this work was executed (1794) had not! yet arrived to a like amount of fulness and colour. But besides this method of painting there was still an: other kind, called stained drawing, which it is necessary to describe, since from its practice has arisen the present — school of water-colour painting. In this method the whole drawing was carefully wrought up in Indian ink, and when thus completed/a few tints representing local colour were thinly added over the various parts. This branch of the art, as followed at the end of the last century, was topographic rather than artistic. Its nature and quality will be understood by examining the drawings No. 447, by M. A. Rooker, executed in 1795; No. 456, by T. Hearne, executed in 1796; and that by Wm. Payne, No. 384, pro-= bably about the same date: all these works are more or less _ : topographic in character, and are wrought precisely as I have deseribed. If we, at the same time, compare with them the figure drawing No. 448, by Julius Cesar Ibbetson, exe= cuted in 1795; No. 439, by N. Pocock, executed in 1790; » WATER-COLOUR PAINTINGS. 121 that by Webber, No. 446, executed about the same date ; and that by Alexander, No. 453, executed in 1796, we shall have a fair idea of water-colour drawing as it stood just before the great movement that was to raise it into a national art. Sometimes the practice was a little varied as far as the first process was concerned, the whole work being carefully drawn in with the pen before the last colour tinting was added; and this use of the pen, frequent in the works of Hearne and Rooker, is to be noted, since it was developed into a means of great expression and beauty in after-times in the hands of Prout and Nash, who, as is evident from drawings in this collection, made it valuable in the delineation of buildings and architecture. Literally, a great number of the works of the last cen- tury are little better than coloured prints, and, in fact, their mode of execution is analogous; the printing press in one case supplying the black and white ground which the artist had to prepare in the other, and to either of which colour tinting was afterwards applied. Even true artists (such as Cozens, a man with real art-feeling) went no further than to substitute a grey or blue monotone instead of the Indian ink, in all other respects following the above practice. A Many persons may, on the first inspection of this portion of the Collection, turn away feeling but little interest in the cold grey and formal landscapes it contains, or be disap- pointed at the washy appearance of the figure subjects, giving less attention to these works than they really deserve; but let them consider the purpose of the Collection, the history of this truly national art. Already the names of some of its first professors are being lost for want of record, and their works dispersed in folios and forgotten : yet these men are the founders of the art; out of their practice, however imperfect, arose the excellence and rich- ness of the succeeding school ; and, while at the present time such efforts are making, and such expense is very pro- perly incurred, to trace, step by step, the history of the revival of art in Italy, it is apa right to illustrate the labours of our own countrymen who have founded a new art, and to treasure up the incontestable proofs of its origin and progress. It is not to be supposed from what has already been said that the water-colour art of the 18th century was wholly devoid of feeling and imagination, since some of the higher qualities are not wanting even in these negatively: 122 ay ANTBODUCHION, ae . coloured works; but the variety of effect and incident, and the luminous colouring of the art that arose subse- quently, have tended to obscure the many excellences they really possess. This great change was principally due to two men, Thomas Girtin and J. M. W. Turner. Although the first of these died in 1802, at the early age of 29, he left enough behind him to show the influence his works had.on this change of style and to prove him a worthy rival of our greatest landscape painter, Turner. | f Turner’s early practice had been in strict conformity with the mode already described: a great number of his early works are in the hands of collectors, carried no further than the negative tint or ground which was used as a prepara- tion for “stained drawings ’’—such is No. 8 in the National Gallery Collection. Numerous drawings of his are also ex- tant where the monotone ground has the local tint applied, as No. 1, National Gallery Collection, wherein two pictures in the same frame, one “ Malmsbury. Abbey,” dated 1791, the other “ A View from Cook’s Folly on the River Avon,” show how Turner had learnt his art from, and followed the practice of, the masters of his day; while at the same time the latter picture, painted as early perhaps as 1791, marks in the young painter a strong instinct for colour beyond what is at all discernible in other painters of the period. ‘“Carisbrook Castle,” No. 14, National Gallery Collection, is also a specimen painted by Turner under his early influences. : erg bor So far, the mode of working in water colours, as the art existed up to about the year 1795, has been explained and illustrated by examples, both those specially referred to, and many others which will be found in the Collection with the dates affixed. The change of process now to be adopted was simple in itself, but led to important results. The old mode of preparing the drawing in a uniform tint was given up, and the work commenced by laying in each object with its true local colour, shadowing and rounding each with individual tints of the same local colour neu- tralized in due relation to the situation in the picture of such objects, and the various hues and reflexes by which its colour was influenced. Thus it will be seen that the practice was exactly the reverse of the former,—the local tints were first laid in, the shadows added after. By these means the art, in the hands of Girtiz and Turner, made rapid progress. ‘I'he painting No. 380, in this Collection, executed by Girtin prior to 1802 (since in that year he died), already shows a totally changed method from that followed by Be “ “- a ea. WATER-COLOUR PAINTINGS. 123 Pocock, Payne, or Hearne; while in the magnificent water- colour painting of Edinburgh, by Turner, No. 35 in the National Gallery Collection, painted in 1804, the old mode of tinting has largely disappeared. The grey ground is no longer used in its entirety as a preparatory method but judiciously confined to the large and broad masses of shadow, as on the castle in the distance, the bridge and buildings in the middle ground, and the mass of the rock on the left of the picture; in the lights, local colours are laid on primarily, and advanced by their own neutralized tints or shadows, as has already been described. But even in this fine work it may be presumed that the flat masses of grey tint were judiciously retained to supply the broad cool masses of sun-setting shadow, since we find in the picture by F. Stevens, No. 441, if the date (1806) is correct, how completely the art had thrown off the trammels of the old manner. The transition period was a short one, and the painting by John Smith, No. 454, dated 1803, and the works by Prout, Nos. 344 and 345, may be studied to illustrate it. Power, brilliancy, and truth were so evidently the result of the new manner, that it soon superseded the old one, and such works could no longer be classed, as here- tofore, as drawings, but began to take rank as water-colour paintings. Water colour, as thus practised, has an innate prilliancy arising from the transparency of the colours and the pure white ground of the paper beneath them. This constitutes much of its peculiar excellence, subjoined to a delicacy and refinement of execution and gradation of tint, which is arrived at with ease in water colours, but only achieved after much training, and as the result of extreme skill, in the painter in oil. Contrasted with the richness and depth of oil paintings, however, those in the simpler medium are apt to appear to disadvantage, and to have an air of poverty and thinness. Thus it was soon felt by those who practised water-colour painting that their works, in the only exhibition then open for their display—the Royal Academy—had not fair lay. Several members of the new profession, among whom may be named Glover, Hills, Payne, J. Varley, and Wells, met at the rooms of Mr. Shelley, a miniature painter of some celebrity ; and receiving, at subsequent meetings, the adhesion of other members of the profession, the plan of a society was framed, and arrangements made for an exhi- bition to consist wholly of water-colour paintings, and exclusively of the works of members of the society. s ~ Lower Broox Street, Grosvenor Square. After a time their 124 ak INTRODUCTION, — The first exhibition of “The Society of Painters in Water Colours” was opened to the Public on the 22nd of Apri 1805, at the rooms built by Vandergucht, the engraver, in exhibitions were removed to Bond Street, and again to Spring Gardens, and finally, on the changes made in that neighbourhood, under the direction of Nash the architect, to the rooms in Pall Mall East, where the annual exhibition continues to be held. It may be well here to give a list of the original members (some still holding high rank in public estimation), and to mention that works by all the foun- ders of this first society are to be found in this collection, with one exception (W. 8. Gilpin). These were :— G. Barrett. J. Holworthy. S. Shelley. J. Cristall. J. C. Nattes. J. Varley... .)) W. S. Gilpin. F’, Nicholson. C. Varley... J. Glover. N. Pocock. — . W. F. Wells. W. Havell. W. H. Pyne. ~ oe R. Hills. S: Rigaud. = —1 | It will be observed that the names of the two artists whose works had contributed so largely to the change and improvement of water-colour painting, are not in the list of the founders of the new society; but poor Girtin was already dead, and Turner, elected in 1802 a member of the q Royal Academy, was bound by its rules to contribute to y the annual exhibitions of that body. Moreover, his greatest 4 efforts at this time were to achieve success in oil painting, 4 by the practice of which branch of the art he hoped. to. establish his reputation. | be hale ’ The growth of the art, after the foundation of the new 3 society and the opening of their separate exhibition, was rapid and steady, and improvements in execution were con- . tinuous. The new mode of treatment once adopted, many minor excellences speedily followed. It is asserted on com- petent authority that some of the principal of these were’ due to the genius of Turner. The mode of taking out lights, for instance, from the masses of local colour by means of bread, is undoubtedly due to him, and is said to have had a startling effect on his contemporaries, when works so treated were first exhibited. Washing, in order to obtain a granulated surface, practised so largely by Robson and. others, stippling, carried to excess by the cattle painter Hills, but of great value when applied with discretion, and not in excess, and many other varied executive processes, were introduced within a few years after the foundation of — the new society, and, if not all due to Turner, were certainly incorporated most successfully into his bold and liberal ee ee ae ee Te ee oS Sees pers WATER-COLOUR PAINTINGS. 125 practice. The fine painting executed by him, or at least exhibited in 1815, of the Battle of Fort Rock in the Val d’Aosta,* combines almost all these peculiarities of execu- tion ; lights wiped out of the local colour in the sky, and sharply and decisively on the trees in the foreground ; others scraped out with a blunt instrument whilst the full lay of local colour is in a wet state, as in the moss on the wall and part of the fir trees on the bank on the right; _ lights scratched out, as in one of the waterfalls ; others cut sharp and clear witha knife from the white paper, as in the housings of the mules on the mountain road: these, together with a large amount of surface washing, to give texture and air, may be seen and studied with advantage in this fine work. The present Collection contains one work by the great master, Turner, (No. 88, “Hornby Castle,”) which is in his best time, and deserves the most careful study. It will serve not only to illustrate Turner's extreme finesse of execution, and all those various expedients he adopted to secure effects—such as the washing down of broken tints to obtain variety in the distance with proper air tints and gradations; the abrasion of the paper, the cutting off the surface for sharp and sunny glitters of light. and the removal of lights in other parts by wiping out— but it is also a master-piece of knowledge of nature and the effects of nature, only to be arrived at after deep and con- tinuous study—a knowledge without which the utmost skill in executive means fails to interest us. (There is also a fine example of the change which took place in his style about the year 1800, in No. 547, “ Warkworth Castle”). Another picture (No. 341, by W. Hunt) will also serve to illustrate the like skill in the adaptation of varied means of execution, and is in its way scarcely less worthy of examination than the “Hornby Castle” by Turner: it may be compared with a much earlier work, No. 350, by the same master, when the reed pen and the tinted preparation were still parts of the methods employed. ‘The art of water-colour painting within the last 25 years has advanced still further, and sought new means of effect. A partial union has taken place of the transparent and the opaque methods, the use of body colours having been re- sorted to in many cases, in order to give erispness and solidity, sometimes, it may be feared, with a loss of that prilliancy which is so admirable a quality of the art. With the extension of water-colour painting, and the in- erease of professors of the art, arose the necessity for a new * National Gallery Collection, No. 41. = 126 : INTRODUCTION. exhibition, and in the year 1832 a new society was formed, called “The New Society of Painters in Water Colours.” They adopted the same principle as the older society, of ex- hibiting only the works of members, and their first exhibi- tion took place at No. 16, Old Bond Street, in the spring of that year. The members were W. Cowen, James Fuge or Fudge, Thomas Maisey (treasurer), G. F. Phillips, J. Powell (president), W. B. S. Taylor, and T. Wageman. The society continued under the name of the New Society — until 1863, when in new premises, which they had caused to be erected, they opened their exhibition as the Institute of Painters in Water Colours. Both societies contain many artists of. distinguished talent, whose works are highly attractive to the public; but the exclusive prineiple being adopted in both, all young candidates for their membership have still for a time to struggle with the difficulties of their predecessors, and to make their way to public estimation by exhibiting their works in contact with the stronger and feo) a more forcible efforts of the painters-in oil. Drawings and Sketches. A small collection of drawings and sketches formed part of Mr. Sheepshanks’s munificent gift. These are both in- teresting and instructive, since they show the process of thought by which artists work out their pictures. Among them will be found pen-and-ink and pencil jottings of first — ideas, first lines of composition, blots of light and shade and colour, sketches of varied positions of heads, hands, and feet, tending to the fuller expression or more complete illustration of the subject of pictures; studies for back- grounds; and careful drawings of whole figures, drapery, — and heads and hands, made either for study or to be used in the progress of the various works. | | Occasionally these sketches and drawings have reference to pictures in the Collection. But in these instances they most probably comprise only a small number of the studies actually produced in the completion of the picture. They will, however, be regarded with peculiar interest, as giving insight into the growth of ideas, and the working of the mind of the artist. From this cause, the casual scrap and the veriest blot by a master hand, may be — invaluable, as containing, perchance, the germ of some idea afterwards expanded into a noble and immortal work. This is exemplified by the pencil scrap by Wilkie, No. 120, since in it he has noted down his first idea of some accidental group on which the picture of “The Refusal” DRAWINGS AND SKETCHES. 127 wasfounded. In No. 121, the new-born thought has some- what grown, and its light and shade become more marked ; and while missing, doubtless, many fragments, not at present in the Collection, we find (in Nos. 122 and 123) examples of those careful studies of the expression of hands which were made in his progress to the perfect work. It is worthy of notice here, that, Wilkie laid great stress on the hands in his compositions. He used to say that the interest and expression of the story was as much helped on by two hands as by one face. Hence he never hid a hand if he could avoid it; and the many varied studies made by him, as well as those by Mulready and other artists, will show, how thoroughly the same truth is appreciated by all those who have excelled most in the conduct of the story in their works. In view of the interest which thus attaches to such studies, it is to be hoped that opportunities may hereafter occur of still further increasing in this direction the value of Mr. Sheepshanks’s gift, by obtaining, as far as possible, all the sketches and drawings for at least a few of the prin- cipal pictures comprised in this national collection. Another value belongs to some of these drawings as illustrating the advance of the individual from the student into the artist, and exhibiting the increased power and facility that arise from knowledge. Accordingly, the dates on the various works are sometimes of marked importance, This source of interest may be exemplified by asmall num- ber of very early drawings by Sir E. Landseer, Nos. 48 to 56; some of them, the productions of his mere childhood, yet showing even at the age of five years, the bent of his mind to that branch of art which his after career so fully illustrated. The careful drawings of figures, heads, hands, and dra- peries which form part of the collection—while they will serve to remove entirely the imputation that British artists are indifferent draughtsmen,—will show the student-artists the pains and labour by which their predecessors have achieved their reputation ; and the public—ever unwilling to admit that genius is other than a happy inspiration, accomplishing all its works without study or toil—will see that even those who must be acknowledged to possess it in the fullest sense, have yet shown that labour is the price which must ever be paid for excellence. It is to be confessed, however, that the practice of artists as regards sketches and studies is very varied,—and that while some, like Wilkie, Mulready, Cope, &c., make many I 128 INTRODUCTION. ~. — sketches before commencing, and studies during the progress of their pictures, others deem such a mode of proceeding objectionable, as exhausting their interest in their work and deadening the freshness of the first thought. Some even go so far as to think out their works wholly on the canvas. These, however, are the few, and the contrary has in all ages been the practice of the greatest and most ori- ginal minds. Nor do we find that it has conduced to tameness and insipidity,—but rather to the refining and perfecting the first and vigorous idea. a Oatley It is, however, to be remembered that the conduct of the picture by previous studies and drawings was a neces- sity with many of the old masters; and hence, perhaps, in some degree the prevalence of the practice, since at least all those who worked in fresco were obliged to prepare’studies and a complete cartoon of the whole arrangement of the work before proceeding to paint it on the wall. This car- toon was traced, or pricked and pounced on to the prepared ground, and the several parts, as the painter proceeded with the picture, being cut out from the cartoon, formed the studies from which the work was, piece by piece, rapidly executed. Fresco painting has only of late years been in- troduced into this country, and the commissions for such works confined to a few. The head by Dyce (No. 166), cut for the purpose described above, from the cartoon of a fresco of “Neptune giving Britannia the Empire of the Sea,” painted at Osborne for Her Majesty, forms a good specimen of the practice, while the studies of drapery by Herbert (Nos. 175 to 177), are such as are made in the preparation of the cartoon, in this instance one of those in the vestibule of the House of Lords, the “ Lear and Cordelia.” As another instance of the production of artists’ sketches, and as illustrating the facility of invention and execution obtained through practice, the two drawings by Leslie (Nos. 58 and 59) may deserve a passing remark. These works were produced at meetings of the Sketching Society. This society, which existed for many years (and has brought into existence a multitude of sketches), consisted of a small number of artists who met by turns at each other's houses. The host of the evening provided the necessary drawing materials, and when the party were ready to commence sketching, and not until then, proposed the subject for the evening, to be. treated by each according to his own fancy. They began their sketches at seven o’¢lock, and at ten these were gathered in completed, and the mem- bers, while partaking of a simple supper, freely criticized = 149° 45, LEIria. 46. Oporto. (Several of Nos. 29 to 46 in circulation.) 47. Nymwecen, Hoianp. Sheepshanks Gift. /69. HeatH SCENE. In circulation. | Townshend Bequest. : HOLWORTHY, JAMES. d. 1841. 3/72. Part or Racuan Castix. (India ink.) Bought. 4/72. TREES AND CATTLE. Bought. ; HOSKINS, JOHN, SEN. d. 1664. .° PortTRAIT, UNKNOWN. (Miniature on playing card.) Bought. HOSKINS. (Ascribed to.) - . Portrait or ANNE oF DENMARK, QuEEN or James I, (Miniature on card.) - eee Bought. = a HOWARD, VERNON. 641. Three Studies. of SKIES. . Bought. 1. AFTERNOON. | 2. SUNSET. 3. EVENING. HOWITT, SAMUEL. °b. about 1765. d. 1822. 665. “In Fury Cry.” ° Bought.- 41/71. A Councit or ANIMALS. Bought. ~ HUMPHREY, OZIAS, R.A. 5. 1742. d. 1810. 690. Porrrait or a Lapy. (Miniature on ivory.) # Given by the Trustees of the Soulages Collection. - 3 “HUNT, ALFRED WILLIAM. (Living Artist.) 25/70. Mounrarxs above Berrws-x-Coep. , (1857.) (Sepia. ) a : oe "Parsons Bequest, HUNT, WILLIAM HENRY, 6. 1790. d. 1964. 339. A Mutarro Boy. In circulation. Bought. 340. A Coast Guarpsman. © In circulation. Bought. 341. Boy anp Goat. (1836.) Bought. 350. A Corrage Door. Bought. 524. Tue Monk. Ellison: Cee ~ Ellison Gift. 525. Pius. 526. A Brown STUDY. /69. HawrHorn Biossoms anp Birp’s Nest. 2/69. Taz Dousrrut Corn. : Townshend Bequest. 5/69. Grapes AND Peacurs. In circulation. Townshend Bequest. 1/69. Witp Ross anp Brrp’s NEsT. In circulation. Ellison Gift. Townshend Bequest. Townshend Bequest. /69. Pruoses AND Birps’ NEsTs. Townshend Bequest. 70. InreRion oF A Beproom. In circulation. Parsons Bequest. /73. Tue VALENTINE. : ' Ellison Grft. Ellison Gift. 2/73. GRAPES, Menon, AND PLUMS. 150 WATER-COLOUR PAINTINGS: IBBETSON, JULIUS CAESAR. 8. 1759. d. 1817. JACKSON, JOHN, R.A. 8. 1778. d. 18381. 136 to 141. Series of 6 slight Sketches in HoLLaNp and Brxerum, from the = travelling sketch-book of the artist, in five frames. (1816.) (Chalk and Pencil.) Jn circulation. Sheepshanks Gift. — JACKSON, SAMUEL. dd. in 1870, aged 75. 448, Tuer Sartor’s Rerurn Home. (1795.) at: Bought. & 1752/71. ViEw 1n THE IsLz or WIGHT. William Smith Gift. INCE, JOSEPH MURRAY. 8. about 1806. d. shortly before 1860. 486. Greenwicu Hospitat. (1833.) on Bought. i 602. A SrreET IN THE SUBURBS OF-———. (1832.) In circulation. i Bought, : 1206/72. CoasTinG VESSELS, witH Harsour. (1886.) Bought. ; 3 . . 338/72. VIEW LOOKING DOWN THE AVON, FROM THE SIDE OF THE ROMAN ¢ Camp, CLIFTON. Bought. ‘ 1/75. LLANBERIS, NortH WALEs. : é Bought. ° JACKSON, S. P. (Living Artist.) . 527. A Hazy Morning on THE Coast or Devon. (1853.) | oe Ellison Gift. “y 528, On THE Hamoaze, Prymoutn. Ellison Gift. 2 529. Towine a DisasLep VussEL. (1852.) Ellison Gift. 523/74, WappinG, Bristot. Jn circulation. 7 Bought. ; 2 JENKINS, JOSEPH J. (Living Artist.) q 1033/73. SHRIMPERs. ay Ellison Gift. ¥ JOHNSON, H. J. (Living Artist.) : . Pig ‘ 585/70. JeppurcH ABBEY. (1846.) In circulation. Parsons Bequest. ; 629/70. Linuitacow Paxace. (1846.) Parsons Bequest. 4 KETTLE, RUPERT A. in dh Oa 858/72. SHorE at Towyn, Carpican Bay. Given by the Artist. LA CAVE, P. Living in 1803. _ | Soe 1271/71. Lanpscapg, with Horszs at Proves AND Figurss, (1806.) we ought. 189/74. LanpscarE, WITH Corrace AND Postonaisz. In circulation, — Bought. LANDSEER, SIR EDWIN HENRY, R.A. 5. 1802. d. 18 , ‘ee 73. | 48 to 56. Early Drawings of ANIMALS, 9 in one frame. (Pencil and water re colour. _ _ _ Sheepshanks Gift, - Stags’ Heaps anp Dog. (Chalk.) In circulation, wey. AVG Sheepshanks Gift. [oy 6 — IBBETSON—LIOTARD. ae . RECOLLECTIONS OF SiR WALTER AND Lapy Scott; and other slight sketches in pen and ink. In circulation. | | Sheepshanks Gift. LAPORTE, JOHN. 8. 1761. d. 1839. 15/71. Conway CASTLE. William Smith Gift. or. BUTTERMERE, CUMBERLAND. Jz circulation. Bought. LEE, FREDERICK RICHARD, R.A. (Living Artist.) ow A Woop Scenz. (1832.) Bought. = LEE, WILLIAM. 30. 1509. d. 1865. 3/73. FrencH FisHerRwomeEn. (1855.) Bought. 3 . LEITCH, W.L. (Living Artist.) ae 880, ScENE IN THE HIGHLANDS. (1857.) Ellison Gift. LESLIE, CHARLES ROBERT, RA. 36. 1794. d. 1859. ; 58. Don QurxorEe AND THE SHOwMAN’s Lion. (Tinted sketch.) Jn circulation. Sheepshanks Gift. : 59 . SCENE FROM “ ee Pickie.’ (Tinted sketch.) In cir- — culation. Sheepshanks Gift. 118. A Moruer Tracuine HER Cuicp (after Raphael). (Pen and ink.) ‘In circulation. Sheepshanks Gift. LEWIS, JOHN FREDERICK, R.A. (Living Artist.) §31. Stupy or A Fox. Ellison Gift. 632, Hatt in THE DeseRT. (1853.) ; Ellison Gift. 5. PEASANTS OF THE BLACK FOREST. Bought. . InrERIOR OF A Stupi10. In circulation. Parsons Bequest. SrupIES—VENETIAN BoaTMEN, &c. Three in circulation. Bought. LEWIS, WILLIAM. (Exhibiting 1815-38). 2. Rasy Castle. : Bought. LINDSAY, N. W. 9, Lanpscapr.—* Drath Mawr.” In circulation. Townshend Bequest. 7 LINES, SAMUEL R. 8. 1804. d. 1833. /72. ‘Tum Dais anv Dintne Taste, Happon Hatt. (1833.) Bought. ‘ LIOTARD, JOHN STEPHEN. 5. 1702. d. about 1790. 8 E Turk, Sratep. (Coloured chalk.) Bought. 00. ProriLe PoRTRAIT, said to be of Sir Everard » Fawkener. (Crayons.) Bought. i ¢: ya WATER-COLOUR PAINTINGS. OREO rofl LOCKER, E.H. 4.1777. d. 1349, aon 335/72. TrrcHrieLp Housk, NEAR Farrnam, Hanrs. (1803. ) ‘Bought. LONGCROFT, THOMAS. ~~ 654. Toms or SHAH JEHAN ON THE RIVER JUMNA AT pon “a 786.) 4 Given by Miss Elizabeth Twining. 655. A PLace or WorRSHIP BUILT BY THE NAWAUB OF ROMBOUND, ; Southward of Rampoor. (India ink.) F a Given n Ee Miss Elizabeth g yrer odtag ; ae _ WE tad . LOUND, THOMAS, ° din 1861, 1 segéil ssnmerl moval 192/74, FRAMLINGHAM CASTLE, SUFFOLK. 9.) pansy < ppugnes: 4 LOUTHERBOURG, PHILIP JAMES DE, RA. 6.1740. d. 1812. ” a 553. A Srorm. (Tinted drawing.) ~ ~ ay Bought. 34 1701/71. Mountain ScENERY. (Painted by th the artist Tor his “Eidophu- sikon.”) TF tat Sith Gift. a saplyrua MAC CALLUM, ANDREW. — (Living ani) HOME x anak 28 it os Sty i 348. Brroues AT Eprinc. (1858.) In circulation, . aE ar Bought. 349. An Orp Oak at Winpsor. Jn circulation. hostn Bought. a MACKENZIE, FREDERICK. d. 1854, aged 67, 533. THornton ABBEY, LINCOLNSHIRE. _ Ellison Gift. a 534. Lincotn Minster, From THE CrorstERS, _ _ Ellison Gift. 1034/73. Lincotn CaTHEDRAL FROM THE Norma-Wast, wae ison Gaft. AWS 20 42 Ae A 4 : Tag re bh i qa i; SRT bf * MACKINNON, Ww. O44 Wal raya ¥-—setanTe 3 115/73. Lausanne, SWITZERLAND. (1798.) | Bought. 4 NE £5 ay MACPHERSON, J. z ; SaKenD tidal a 617/70. Crossinc Tax SANDS. Parsons epee, : i YaRCOwis . | : MC CLOY, S. (Living Arist) oT ™— naspeen dt Oe 572. Buack Grapgs. In circulation. : a Bought. 4 : = d mL § | fe: . a? MAHONEY, J. eee Artist) site: Y : WiLL GHA BLAS a ag a 657. “ Now THen, Lazy.” (Exhibited i in 186. ee 7 Bought. MHOt .AATORD ;, ae MALCHAIR, . f, ‘ e es tH it ; 3% orl’ * 1713/71. WATERFALL ON THE CLYDACH, NEAR Anbieuvaeieene iol eontont William Smith Gift. LOCKER—MOLE. ro om MALTON, JAMES. © d., 1803. 92. Capen, Street, Dustin, with THE RoyaL EXCHANGE IN THE a‘ Distance. (1800.) Bought. . MALTON, THOMAS, JUN. 8. 1748. d. 1804. 3/71. Tun Nort Paravg, Batu. (1777.) William Smith Gift. 1/71. WHITEHALL, WITH THE BANQUETING Hovss. (Exhibited in 1781.) 3 | William Smith Gift. 5/71. Tue STRAND, wiTtH SomERsET House AND Sr. Mary’s CHURCH. (Exhibited in 1781.) : | William Smith Gift. 7 --*. . MARKS, HENRY STACY, A.R.A. | (Living Artist.) 77. May Day in THE OLpen Time. (1867.) In circulation. Bought. . 3 _ MARLOW, WILLIAM. 6. 1740. d. 1813. sa 9/71. Laxe Scenery. William Smith Gift. 1/71. View at BaTTERSEA. William Smith Gift. 7 MARSHALL E. (69. RUINED CastLE Anp Lake. In circulation. Townshend Bequest. MARSHALL, T. F. 1/69. Tue ComIne Foorsrne. (1847.) Townshend Bequest... . MARTEN, JOHN. 578. Near Dover. (1803.) Bought. MARTIN, JOHN. 6. 1789. d. 1854. Ellison Gift. 535. Ricumonp Park. (1843.) Ellison. Gif Ellison. Gift. 73. A: WOODLAND Scene... (1850.) MEE, MRS. 28. . d, 1851. 671. Mrs. MarGaret DEERING. (Miniature on ivory.) q Given by Mrs. Mary Margaret Lindsay. MEEN, MARGARET. 8. d 10/74. Group or Flowers 1n A Jar, AND Brrp’s Nest. (Painted in | 1806 for Princess Elizabeth, daughter of George III.) Given by Mr, E. M. de Bussche. i MILLER, JAMES. (Exhibiting in 1775.) 161/71. ENTRANCE TO GREENWICH PARK FROM BLACKHEATH. % . : L William Smith Gift. a MOLE, J. H. (Living Artist.) 46/69. TrnzmouTH. (1847.) To al “a wnshend Bequest. 154, WATER-COLOUR PAINTINGS. MONAMY, PETER. 8. 1670. d. 1749. 644, Skerco—Oxp East Inpra Warr AT Lonpon Brings. Bought. MORRIS, J. R, , 1050/71, CoTTAGE WiTH Cart AND Figures. (1806.) _ Bought. MORTIMER, JOHN HAMILTON, A.R.A. 6. 1741. d. 1779, 1735/71. Taz Sompnour, THE Dervir, AND THE Wipow.—CHAUvcER, Frere’s Tale. William Smith Gift. 1736/71. JANUARY AND May.— Chaucer. | William Smith Gift. MOSER, MARY, R.A. 6. 1744, d. 1819. 377/72. Vase or FLowers (formerly in the collection of Queen Charlotte). (Distemper.) | (1764.) Bought. MULLER, WILLIAM JOHN, 5, 1812. d. 1845. 593/70. BripcEe or Taz Luepr, NortH Wauzs. Jn circulation. tee tid Parsons Bequest. 600/70, River Scene with Boars. (India ink.) Parsons Bequest. 608/70, Rustic Soup AnD Gate. (1833.) Jn circulation. | Parsons Bequest. 616/70. LANDscaPE witH River AND Rurnep Tower. Jn circulation. — Parsons Bequest. | 618/70. Woopy LanpscarE with Rocks anp Corrace. Parsons Bequest. | 47/73. Mort Srazop. Given by Mr. C. T. Maud. 4 48/73. Woop near Brisrou. Given by Mr. C. T. Maud. . MULREADY, WILLIAM, R.A, 5. 1786.d.1863. 4 60. Study for Picture of “ Puncu.” See Picture, No. 159. (Chalk.) Bat _. Sheepshanks Gift. 61. Sketch of Boys Wrestiine, from Picture of “ Tur Con- VALESCENT.” (Pencil.) _ - Sheepshanks Gift. 62. Life Study of a Girt anp Cup, for the Picture of “Firing THE 3 Cannon.” (Chalk.) Sheepshanks Gift. 63. Tur Prorice on tHe Wax. Sketch for the Picture of « THE OrIGIN OF A Parnrer.” (Chalk.) Sheepshanks Gift. oat 64. Life Study of a Mare Ficure. (1833.) See Picture, No. 148. (Pen and ink.) Sheepshanks Gift, 65. LAnpscare wir Carrie, (Pen and ink.) Sheepshanks Gift. 66. BuackHeaTH Park. (Pen and ink.) Sheepshanks Gift. 4 67. Corragus. (Pencil.) Sheepshanks Gift. 68 to 72. Two Landscape Sketches for “ Boys Frsnine ;? and three Studies , for the Picture of “Tur Barprr’s Sop.” (70-1 are dated 1811.) (Pen and ink.) Sheepshanks Gift. 74. Life Study of a Feary Figure (seated). (Black ae red chalk In circulation. Sheepshanks Gift. “8 a _. |. MONAMY-—NASH. 155 ‘75, Study for the Portrait of Mr. Suerpsnanxs. (1832.) See Picture, No. 142. (Pen and sepia.) Sheepshanks Gift. 77, Sketch for the Housrxrerrr in the same Picture (1832), and for the ORNAMENTED Frreriace. See Picture, No.142. (Pen . and ink.) Sheepshanks Gift. gg, Portrair oF Mr. SuerrsHanis. See Picture, No, 142. (Pen and sepia.) i Sheepshanks Gift. 199, A Corracr. (Pencil.) Sheepshanks Gift. 00, PROFILE or A Lapy. (Pencil.) Sheepshanks Gift. 911, Lessons AND Piay. (Drawing on Zinc.) Given by Lady Cole. 390, An Academy Study of a Youne Man. (1854.) (Chalk.) Jn cir- e culation. Bought. 301, An Academy Study of a Femary. (Chalk.) Jn circulation. i Bought. 399, An Academy Study of a Man, seatep. (1852.) (Chalk.) Bought. 303, An Academy Study of a Mare Ficurn. (1848.) (Chalk.) Jn . circulation. . Bought. a An Academy Study of a Fema, searep. (1848, retouched - 1856.) (Chalk.) Jn circulation. Bought. 305, An Academy Study of a FrmaLn, sEATED ON THE Grounp. if (1853.) (Chalk.) In circulation. Bought. 326, An Academy Study of a MALE FIGURE EXTENDED ON THE GROUND. io (1852.) (Chalk.) In circulation. Bought. 327. An Academy Study of a Mate FIGURE PARTLY SEATED ON THE _ * Grounp. (1852.) (Chalk.) Bought. 4is, A Lire Study of a Fema.e, (Black and white chalk.) ¥ . Sheepshanks Gift. 419. Porrrair or THE Rey. Ricwarp SHEEPSHANKS, M.A. (1857.) | (Chalk.) Sheepshanks Gift. 404, Portrait oF JOHN SHEEPSHANKS, Esq., the donor of the Collection. _ . (1858.) (Chalk.) Sheepshanks Gift. 650, Hearn Scene with Bricut Sky. (1845.) (Pastel.) Bought. 651, Eventne Scene. (1845.) (Pastel.) Bought. 652, Lire Srupy.—Female Figure. (1863.) (Pastel.) Bought. MUNN, PAUL SANDBY. d. 1845, aged 72. _A Country Roap. (1808.) Bought. _Rievautx Assey, Yor«suHire. (1806.) Bought. NASH, FREDERICK. 0. 1782. d. 1856. 491. Tue WATERWORKS AT VERSAILLES. Bought. 577. Tintern Apsey. © Jn circulation. Bought. NASH, JOSEPH.) (Living Arist.) 430. East Enp or THE CATHEDRAL OF St. JACQUES AT DirprE. In a, circulation. Bought. 431, ROCHESTER. Bought. 432, Srupy ror “Tue Haw at Srexe.” In circulation. Bought. 656. Spexe Hatt, Lancasuire. (1850.) Ellison Gift. ii 404/74. CaRIsBRooKE CuuRcH, Istx or Wicut, (1812.) ras 449, 156 WATER-COLOUR PAINTINGS. On THE THAMES. bob 5 (ath? 2 ee Roupit F 450. PassENGERS TO A SHIP UNDER WEIGH. oft oes aie 495. LuGGERS ON THE SHORE, (1808.) 1681/71, SHIPPING IN 4 CALM, witH icwuae ON THE Biitous -(1800.) . | William. Bi ate 1036/73. SPEKE Hat1, LANCASHIRE. (1849.) 4 Ellison Pre 1037/73. THE CARTOON GALLERY, KNOLE. (1841) Ellison Gift. 1038/73. Scene FROM [VANHOE. _ Ellison Gift. . 1039/73. Porcn at MoNnrACcUTE, SoMERSETSHIRE. (1842,) taba mith 4 NATTES, JOHN CLAUDE. 6. about1765.d. 0. ‘tf a 632. BumLpincs. oN A BRIDGE, WITH A PorTION OF A CaroepRat— a probably a View in Abbeville. 6.4 a 4 NATTES, JOHN CLAUDE. () raliendedle ae 1716/71. BOLSOVER CasTLE, DERBYSHIRE. William Smith Git , N:ZALE, JOHN PRESTON. 6.1771.d.1847% 638. StapLenuRsT. (1830.) Jn circulation. Bought. 3 NESFIELD, W. A. (Living Artist.) 9 a 536, Bamporouen Castix, NortaumBprtanp. — Ellison Gift. j NICHOLSON, FRANCIS. 2. 1753.d.1844. a 421. RuarapR Mawr, Norto WALES. - - Bought. a 445. A River Scene. Jn circulation. ‘ Bought. me 658/70. Mounr Etna. Given by Mr. T. F. Dillon ad % | NIEMANN, EDMUND JOHN. (Living Artist.) af 622/70. Autumn Eventnc—A Composition. (1865.) Incireulation. 3 Parsons at ah ; 1452/69. LANDscAPE, SUNSET. — EN Townshend. She 1479/69. Lanpscars, Eveninc. Jn circulation. Townshend Bequest. ) 1508/69. Lanpscarr, Mornine. » Jn circulation. Pegg se shee aa . 2 £a OAKLEY, OCTAVIUS. 0. 1800. d. IEA se eae ‘a 537, Primrose GATHERERS. Ellison Gifts 5 1466/69. Buy my Spring Frownrs. In circulation. ‘Townshend Bequest. — OLIVER, PETER. }. 1601. d, 1 ot, P ifs Ba SRVRER 1787/69, TARQUIN AND LUCRETIA. ~ Bought. « O'NEILL, HUGH. 6. 1784. d. 1824. 1695/71. Caurcnh anp Houses at Conway. ~~ William Smith Gift. — woe NASH—POCOCK 157 ~ PALMER, EDITH. 8. 1770, -d. 1834. 174. LANDSCAPE, WITH CATTLE DRINKING. (1820.) Bought. - PALMER, SAMUEL. (Living Artist.) 596. Gone TO SEA. Ellison Gift. me 4. PARKER, H. ; SitPFixa, SUNSET. | William Smith Gift. e o/71 g PARS, WILLIAM, A.R.A. 8. 1742. d. 1782. : 675. KILLARNEY FROM THE HILLS ABOVE MucKRoss. In circulation. Bought. 676. LONDONDERRY. | i | Bought. : PAYNE, WILLIAM, 6. d. 384, View or Harewoop House. Jn circulation. Bought. 60, LANDSCAPE Composition. In circulation. Bought. 84, LanpscaPpE ComposirIon. | Bought. 71, VIEW NEAR BRISTOL, LOOKING OVER THE SEVERN; THE WELSH E Coast IN THE DISTANCE. J William Smith Gift. . River ScEnE, with CorraGr anp TREES. Bought. 72. Coasr poane, with MountTaIns—LOW TIDE. Bought. Bry exaaitt3 PEARSON, C. | / 1 Laxpscars, witn CorracEs. William Smith Gift. 5 PENLEY, AARON EDWIN. 4. 1806. d. 1870. 3 7. A Moortanp Scene. | Bought. 59, CRossING THE SANDS, Earty Mornine, Low Water. (1846.) In circulation. = Townshend Bequest. , LAKE Scene. (1846. ) In circulation. Townshend Bequest. 9, Woop NEAR CHELTENHAM. (1848.). Townshend Bequest. 69. APPROACHING Evenine—the Langdale Pikes from Windermere. In circulation. ~'» - Townshend Bequest. = dAQ PETERS, REV. MATTHEW WILLIAM, R.A. 6. . d, 1814. 76. FALSTAnR, Mrs. _ Forp, AND Mrs. Pace. (Crayon.) Bought. a PILLEAU, H. 6 , Tur Nive near Boutac. (1868.) Bought. a POCOCK, NICHOLAS. d. 1821, aged 80. ANHMOA 4 7 . A Mountarnous Country. (1790.) In circulation. Bought. '/71, BANGOR, WITH PENMAEN-Mawr IN THE DisTANCE. (1795.) < William Smith ‘apt [7 1. Lanpscarr, Nort Watrs—Caper Ipris. _(1790.) Lr ansternan CastTiE, Coast oF CARMARTHENSHIRE. . << Given by Sir Walter C. Trevelyan, Bart. Given by Sir Walter C. Trevelyan, Bart. .- ~ oe > + 589/70. 483, 551. 1270/71. 1759/71. 681. 597/70. 612/70. 344, 345. 386. 634. 1473/69. 1040/73, 1041/73. 9/75. 10/75. 1517/69. 599. 606/70. 601. 425. 426. 636. 304/74, PURSER, W. vais STREET View In ABERDEEN. | Bought. b aritt 4 PYNE, C. C. (Living Acieiia T HEAT Marxer Puiace, Virrt. In circulation. Bought. — Oxpv Hovusxrs at Vitrt. Jn circulation. Bought. THe Hacie Tower, CARNARVON. Bought. — 158 WATER-COLOUR PAINTINGS. | POOLE, PAUL FALCONER, R.A. (Javing Artist.) Srate WHARF ON THE BANK oF A River. In circulation. — Parsons Bequest. — POWELL, J. (Sepia.) Bought. Keswick LAKE. Bought. Mitt at TINTERN, MONMOUTHSHIRE. b. about 1780. d. : Ae ; Boncuvrcy, Iste or WIGHT. ; West View or WorRcESTER CATHEDRAL. (1798.) William Smith Gift. PROUT, J. SKINNER. (Living Artist.) | 4 CHAirEaU DE LA TREMOUILLE, NEAR ViTRH, FRANCE. | Bought. CAUDEBEC ON THE SEINE. Jn circulation. Pavasas Bequest. Kynance Cove, CORNWALL. (1888.) ” In circulation. Parsons Bequest. PROUT, SAMUEL. 2. 1783. d. 1852, Bought. SronEHENGE. Jn circulation. BRIDGE ON THE OUSE, NEAR YORK. — Bought. Tensy Castie. In circulation. Bought. Tur Co.ossEuM, Rome. Jn circulation. Bought. ARCH OF CONSTANTINE, ROME. Townshend Bequest. Ellison Gift. Porcu or RAtTISBON CATHEDRAL. j Ellison Gift. — WuURZBURG. Part or A CourcH TOWER, WITH Corrace. In esianer se vag Bought. — CorTaGES, WITH THE Ruins oF A Castie. rie) In 3 circulation. sli ee . PROUT, S, GILLESPIE. | ; LanpscaPe. In circulation. Townshend Benet 28 . oe PUGIN, AUGUSTUS. 8. 1762. d. 1832. | Sr. Mary’s Cuurca, Oxrorp. _ Bought. fe PUGIN, AUGUSTUS WELBY NORTHMORE, 6.1812. d,1852. INTERIOR or Sr. Pau’s CATHEDRAL, Parsons Bequest. Study of TREEs, POOLE—REDGRAVE. 159 PYNE, GEORGE. (Living Artist.) 637. Orv Lonpon Brives, as in 1745. (1835.) Bought. 9/70. Houses at Oxrorp. In circulation. Bought. PYNE, JAMES BAKER. 8. 1800. d. 1870. 5/70. Distant View or ARUNDEL Castie. In circulation. Bought. PYNE, WILLIAM HENRY. 0. 1769. d. 1843. 635. Rocuester. (1830.) Bought. 6/71. LANDSCAPE wiTH CHURCH AND Cortages. William Smith Gift. 8/72. Rustic CotraGces. (1806.) Bought. ‘ RAVEN, REV. THOMAS, 324. Hetvettyn. In circulation. 25. Sea View From THE Coast. Jn circulation. 626. Liyn Ipwat. Jn circulation. 627. Sr. Davip’s Heap, St. Bripr’s Bay. 628. LarkBere. In circulation. 629. Taz Downs; ; THE GOODWIN SANDS IN THE Dive eeee In 3 circulation. oval an 5 a (Nos. 624 to 629 given by the Artist.) . RAWLE, SAMUEL. (Exhibiting in 1806.) 7/72. CAsTELLATED MANSION IN A Park. Bought. /72. CasTELLATED MANSION IN A Park. Jn circulation. Bought. READ, SAMUEL. (Living Artist.) | aie 8/69, “Tur Moatep Granee.”— Tennyson. Townshend Bequest. 170. Tur Corripor, Brewers’ Hatt, ANTWERP. (1860.) “— , . Parsons Bequest. REDGRAVE, RICHARD, R.A. (Living Artist.) 99, Trine. Srupy rrom Nature. Jn circulation. Je Sheepshanks Gife. go, Fi Trees. Srupy From Nature. (1837.) (Pencil.) Jn cir- - culation. Sheepshanks Gift. _ 81, Study of a Figure in the Picture of “ Tue Country Cousins.” 7 (Chalk.) In circulation. Sheepshanks Gift. 82. BroppinenaG Farmer LOOKING aT GuLuiver. See Picture, i No. 169. (Chalk.) In circulation. Sheepshanks Gift. 83, “Kerr in.” Study for Picture of “THe Poor TracuHeEr.” See Picture, No.168. (Chalk.) Skeepshanks Gyft. 196, Tar Cruen Parent. Study for the Picture of “Tae Ourcast.” by (1852.) (Chalk.) Given by the Artist. 196, .* Girt Sxrepine. Study of Figure in “Tue Poor TEACHER.” 2 See Picture, No. 168. (Chalk.) Jn circulation. ‘B .. Given by the Artist. L 160 ’ WATER-COLOUR PAINTINGS. REINAGLE, PHILIP, R.A. 4. 1749, d. 1833. 1677/71, Fox-HUNTING—THE DEATH. William Smith Gift. REINAGLE, RAMSAY RICHARD, R.A. 6.1775. d. 1862. 438. A MountTAIN STREAM. Boughe. 1678/71. LANDSCAPE, WITH MounrTAINS. ) Wi lham Smith Cift 52/76. LANDSCAPE; wiTtH HORSEMAN. . Bought. REYNOLDS, SAMUEL WILLIAM, 4. 1774. d. 1835. 186/74. Rurnep CastLe. (Water-colour and crayon, Norea yc Bought RICHARDSON, THOMAS MILES, 2. 1784, d. 1848, ee 1460/69. Ben LomonD, FrRoM THE HILLs BETWEEN ARROCHAR AND TARBET. In circulation. OF d ‘Townshend sett RICHARDSON, T. M., JUN. (Living Artist.) 614/70. NOrre DAME, FROM THE PONT DU JARDIN DU Rot, Pits 1837.) r: _ Parsons Bequest. - 539, ON THE CLuNy, ABERDEENSHIRE.. (1852.) Ellison Gift. 1042/73, THe Pass or GLENCOE. (1858.) wou Ellison Gift. 1043/73. BELLAGIO, Lago pi Como. (1850.) Ellison Gift. 1044/73. Tue CasTLE OF SCHONBERG—OBERWESEL ON THE RHINE. (1838.) Ellison Gift. 1045/73. THe Sanps at CULLERCOATS, NORTHUMBERLAND. (1844.) _ Ellison ih RIGAUD, STEPHEN FRANCIS. Cixhibiting in 1797.) 76/73. TELEMACHUS DISCOVERING THE Prizst or APOLLO, (1809.) RIVIERE, BRITON.. (Living Artist.) 516/69. A Game or Fox anp Gzxsn. (1868.) Bought. ROBERTS, DAVID, R.A. 6.1796. d. 1864. 540, THe Porcn at Rostin. (1845.) Ellison Gift. - 666, SKETCH OF THE OPENING CEREMONIAL OF THE Lirremwacmn6nay, EXHIBITION OF 1851. ' Bo 1461/69, Tan Great TEMPLE OF Eprovu, Upper Eeypr, (1888,) Townshend Bequest. a 1526/69. Tue Prramips or GEEZEH, FROM THE Nite. »(1846.) | Townshend Bequest. & 592/70, GATEWAY AND Buipines, Spain. ee circulation. Parsons Baguest: 615/70, THE ALcazAR oF Carmona, ANDALUSIA. ( 1833.) In cireu- lation. _ Parsons Bequest. 624/70, THE CasTLE or Iscuza. In circulation. Parsons Bequest. 630/70, Isora Betta, Laco Macciorn. In barciclasioe Parsons Bequest. 1046/73, InrERIOR OF RosLin CHAPEL—THE APppRENTICE’s PILcaAr. (1830.), Ellison Gift. Bought. bs 4 e ou REINAGLE—ROWBOTHAM, 161 ROBERTS, THOMAS SOTELLE, R.H.A., (Living in 1823.) 5/72. St. Joun’s ABBEY, KILKENNY. Bought. ROBINS, THOMAS 8. 541, CALAIS HARBOUR. Ellison Gift. 7/73. SHippInc—A Fresh BREEZE. (1853.) Ellison Gift. ROBSON, GEORGE FENNEL. 06.1790. d. 1838. g4, CHARLTON, Kent. Jn circulation. Sheepshanks Gift. 542, Loch AcHRAY. Ellison Gift. 3/69. Locu Coruisx, Istz or Skyx, AND CucHULLIN Mountains. Townshend Bequest. 3/73. CoNISBOROUGH CASTLE. Ellison Gift. 5/75. Group or Trees at Dinewatt, Ross. In circulation. Bought. 5/75. LANDSCAPE, WITH SANDY RoAD AND TREES. Bought. 3/76. Mountainovus Lanpscape, with Fieures and Goats. Bought. : = 3 ROOKER, MICHAEL ANGELO, A.R.A. 6. 1743. d. 1801. 447. Assot’s Brings, St. EpMonpspury. (1795.) In circulation. i Bought. 6/71. BoxGRovE Priory CHURCH, NEAR CHICHESTER. . Wiliam Smith Gift. 7/71. GopMnTon, NEAR ASHFORD, KENT. William Smith Gift. 18/71. St. BoroupH’s Priory. William Smith Gift. 4/75. Ruins or St. Boroipy’s, Bury St. Epmunps. Bought. 5/75. Sattwoop CasTLE, NEAR HyYTHE. Bought. 6/75. OLp Gateway, Bury St. Epmunps. Bought. 7/75. Lorp CREMORN®’S VILLA, CHELSEA. Bought. : ROSENBERG, GEORGE F. &. _. d. 1869. 4/70. LanpsoarE, Wit WinpMILLs. In circulation. Bought. . ROSS, SIR WILLIAM CHARLES, R.A. 5. 1794. d. 1860. 3/74. Portrait or Himsetr. (Miniature on ivory.) Bought. 1/75. Portrait or Mrs. Darton, SISTER OF THE PainTER. (Miniature on ivory.) Bought. ROWBOTHAM, T. L. 38. 1783. d. 1853. 1/69. Tue WrecKeD Boar. In circulation. Townshend Bequest. 4/69. RovEN, rrom Sr. Carnerine’s Hitt. In circulation. _ | ee Townshend Bequest. 8/73. Cape, Curia, Nort WALES. (1825.) — Bought. e ROWBOTHAM, T. L., JUN. (Living Artist.) 7/69. Laxe Scenery. (1847.), In circulation. Townshend Bequest. 7/69, St. Goparp, Rouen. (1847.) In circulation. Townshend Bequest. L 2 162 WATER-COLOUR PAINTINGS. ROWLANDSON, THOMAS. 6. 1756. d. 1827. 92. Tur Otp ELErHant AND CasTLE InN, NEWINGTON. Pare : Given by Mr. W. Atkinson. 1690/71. THE ParisH VESTRY. (1784. ) William Smith Gift. 4 1691/71. THe Ferry. William Smith Gift. 4 1747/71. Brook GREEN Farr. William Smith Gift. é , SAMUEL, GEORGE. (Exhibiting 1786-1823.) : 1712/71. Pont ABERGLASLLYN, N. WALES. William Smith Gift. — SANDBY, PAUL, R.A. 8. 1725. d. 1809. bedi aite q 383. An Ancient Beecu Tree. (1794.) (Body colour.) Bought. ’ 554. LLANDAFF CATHEDRAL. Jn circulation. Bought. — 561. THe Rounp TEMPLE. (1788.) ynnrh a deeply so tought. al 88/70. LANDSCAPE, WITH DRAY AND FIGURES. __. Bought. : 613/70. Cuerstow Castie. (1775.) Jn circulation. Parsons Bequest. SARJENT)/F. de 5 273/71. Visw oF LONDON, FROM THE FieLtps BELOW Hampsteap. (Ex- ~ oe hibited in 1802.) Bought. 18/72, LANDSCAPE, WITH A» CIRCULAR Bur~pine’(MausoLteum?) on THE Bank OF A RIVER. Bought. | ’ SASSE, RICHARD. 6.1774, d. 1849, a 630. CASTLE ON THE LIFFEY, IRELAND. (1812.) BETeAs } aan MELA O47 Given by Mrs. Harriet Blake Sasse.. — 631. Tue Faris or Powerscourt, IRELAND. (1818.) + Bought. SERRES, DOMINIC M. 6.1765. 6 573. A Mounrainous Counrry wits Figures. Jn circulation, 2 VS SiO Bought. % 574, A VILLAGE ON THE SEA SHORE. (1794.) .. Bouakt + 1746/71. View NEAR Tornes. William Smith Gift | SERRES, JOHN THOMAS, 4%. 1759. d. 1825. 1758/71. THe ExcHANGE at WATERFORD. (1787.) William Smith Gift. dl 1078/71. VESSEL IN A BREEZE NEARING A Point OF LAND. Jn circu- 4 lation. | 7 ee | Bought: 1612/71. Battie or Caps Sr. Vincent, 1797. Bought. 1613/71, A Navat ENGAGEMENT. In circulation. Bought. — SEVERN, J. ‘(Living Artis) 4 yy 457/69. Tue Death or JULIAN AvENEL.—Scott, “The Monastery.” “ i> ne (1849.) | Townshend Bequest. — . ROWLANDSON—SLEAP. 163 SHELLEY, SAMUEL. 6,.1750. d. 1808. 73. MACBETH SALUTED BY THE WircHes. (Miniature on Ivory.) Bought. 692. PoRTRAIT OF A GENTLEMAN IN A Fanoy Dress. (Miniature q on Ivory.) Given by Miss Elizabeth Twining. 4/71. MEMORY GATHERING THE FLOWERS MOWED DOWN BY TIME. | (Exhibited, 1805.) William Smith Gift. 71. THe Huntress. William Smith Gift. | SHEPHERD, GEORGE. (Exhibiting 1811-30.) 42, Tue Vate or Hearty, Hampsreap. (1825.) Jn circulation. . Bought. 2. Coast Scene. (1827.) Bought. } SHEPHERD, GEORGE SIDNEY. (Exhibiting 1821-60.) 0 Tue Kirns. (1831.) : | Bought. SHEPPARD, PHILIP. (Living Artist.) 73. Coast Scens, Porrier. (1860.) Given by Mr. C. T. Maud. . Tue Brings at Kirpy Lonpspare. (1857.) Given by Mr. C. T. Maud. ‘SIMPSON, WILLIAM. (Living Artist.) i 69. Tue Prr Pansat, on Peer PonJAHL, Pass INTO CASHMERE, 1863.) Bought. SIMSON, WILLIAM, R.S.A. 30. 1800. d. 1847 85. Erex Pors—Sxeron From Nature. (1845.) Sheepshanks Gift. 86, Scoron Peasants. (1842.) In circulation. Sheepshanks Gift. SKILL, F. J. (Living Artist.) 5 : Sumer iv a Turnip Fiexp. (Exhibited in 1866.) Bought. 3 70 . WALMerR CAsTLE, FROM:THE Breacu. Jn circulation. ¥ Parsons Bequest. SKIPPE, JOHN. 5/70 », Woon, with SLEEPING Hunrress AnD Dog. (Sepia and India 4 To Bought. (70, Grour oF TREES ON RISING Grounp. (Sepia.) | Bought. a KSLEAP, J. A. 6. 1808, d, 1859. +, Laco Macciorz. Bought, 619/70. 454. 579. 580. 581. 582. 583. 584. 585. 1616/71. 1617/71. 1441/69. 1442/69. 1443/69. 1444/69. 199/74, 200/74. 188. 543. 1474/69. 1585/71, 164 WATER-COLOUR PAINTINGS. SMITH, COLLINGWOOD. (Living Artist.) LANDSCAPE, WITH BRIDGE AND CATTLE. a Ji} SMITH, JOHN (“ Warwick” Smirn). 6, 1749. d. 1831, View IN THE VAL D’AosTA, PreDMONT. (1803.) Trvott. (1795.) THe CAMPAGNA FROM CuMz&, LUCRINE Lake. 1798.) TERRACINA. res Oxp Gare or Sr. JOHN, Rome. (1795.) si, ef Tue VALLEY oF CHAamount. (1786.) . + EBAY On THE Triente, Savoy. (1787.) NEAR CASTIGLIONE. (17985. ) In circulation. SNe BRe Nos. 579 to 585 given by Sir phgeie C. penn Bart. iv t i4 ig SMITH, JOSEPH CLARENDON. 2. 1178. d, 181D. cc cxan'l! Pe Bury St. Epuunps, (1809.) Bought. Tue Squarn, CANTERBURY. Jn circulation. ee ae eee ae SMITH, JOHN RAPHAEL. 6.1752. d. 1812. Mrs. TowNsHEND, THE Mortuer or Rey. C. H. Rogiebines. (Crayon.) Townshend Bequest. CHARLOTTE TOWNSHEND, THE Sister OF Rey. C. H. ‘TownsHEnp. (1805.) (Crayon.) - Townshend Bequest. Rev. Josern TOWNSHEND, OF Pusey, Wits. (1805.) (Crayon.) Townshend Bequest. Rev. Caauncy Hare TOWNSHEND, as A Boy. (Crayon.) », Townshend Bequest. SOUNES, W.H. 6. 1880. d. 1873. | tC ITO Queen Exizaseru’s BEDROOM, Happon Hatt, DERsysuten, (1869. ) Bought. Banguetine Room, Happon Hatz. (1869.) Jn circulation. q STANFIELD, WILLIAM CLARKSON, R.A. b. 1794, d. 1867. ’ DINANT ON THE MEUSE. Bought. Op ParHAm HALL, SUFFOLK. Ellison Gite. Coast ScENE NEAR Cromer. (1830.) Spike! se inate! STANLEY, CHARLES RICHARD. _ 8, about 1790. d. 1868, (1833.) In circulation. Bequeathed by Mr. W.S. ten View ON THE SHANNON. 1586/71. Kitcaurn Castin, Locu Awe. Bequeathed by Mr. W. Stewed, - Parsons pees : Bought 4 SMITH—TAYLER. 165 STEPHANOFF, FRANCIS PHILIP. 4. 1788. d. 1860. 605.-Tur Deatn or Aset. (1810.) Bought. . 2/74. CoTTAGE INTERIOR, WITH Group or OLD WoMEN DRINKING Tra. Bought. 3/74. INTERIOR OF A FRUITSELLER’s CoTTAGE, WITH TWO FEMALE FIGURES. Bought. . STEPHANOFF, L. (Living Artist.) 490, LOVERs. Bought. STEVENS, FRANCIS. 2. 1781. d. 441. A Devonsutre Corrace. (1806.) Bought. at STOCKS, W. F. (Living Arist.) 659, Tne Last Guzam. (1866.) Bought. = > : STONE, FRANK, A.R.A. 8. 1800. d. 1859. 19/73. DRESSED FOR THE BALL—GiRL WITH A MANDOLINE. 3 Ellison Gift. # STOPFORD, W. H. (Living Artist.) x 12/71. Srupy or Rocks, County Cork. (1869.) In circulation. 2 Bought. 43/71. Tur Kine Rocx, Framsoroven Huap, Yorxsuire. (1870.) z Bought. : STOTHARD, THOMAS, R.A. 8, 1755, d. 1834, 189, Tue Vicar or Wakertetp. (India ink.) Bought. 190. Tue Sick Bep. (India ink.) Bought. hi SWINBURNE, EDWARD, 57/72. Tue Sup Rock, Torpay. Bought. . . SYKES, GODFREY, 3. 1825. d. 1866. A 671, A SmitH’s SHor. Bought. i 3 _TAVERNER, WILLIAM. 6. 1708. d, 1772. 443. A Crassic LANDSCAPE. Bought. 7 TAYLER, FREDERICK. (Living Artist.) 544, Tur Orrer Hovunns. Ellison Gift. 527/69. HAWKING Party CROSSING A STREAM. Townshend Bequest. 611/70, CaTTLE AT A Poot. In circulation. Parsons Bequest. 150/73. Tue Pace in WAITING. Ellison Gift. 051/73. Hicnianp Cartrie. (1849.) Ellison Gift. 952/73, Boy wits Cart Horses. (1845.) Ellison Gift. a 166 WATER-COLOUR PAINTINGS. TEMPLETOWN, VISCOUNTESS. 0, . d. 1824, 660, A Woop Scene. (India ink on a water-colour tint.) Vis- - countess Templetown was an amateur, and designed for Wedg- wood in the last century. Bought. THIRTLE, JOHN, 8.1774. d. 1989. 1272/71. Part or OLD LONDON BRIDGE, witH St. Maenus’s Courocn Anp OTHER BUILDINGS. Bought. 23/74 Quay Sipe, Norwicu. Bought. THOMAS, WILLIAM CAVE. (Living Artist.) eo 153/70, A Femate Heap. (1864.) Jn circulation. | Bought. THOMPSON, JAMES ROBERT. (Exhibiting in 1830.) 1697/71. West GATE AND BripgE, GLOUCESTER. (1808). ; | William Smith Gift. _ THORNHILL, SIR JAMES, 6. 1676. d. 1734, ~ 169/75, DusigN ror A CEILING; THE CARDINAL Virturs—J USTICE, PRUDENCE, TEMPERANCE, AND ForTITUDE. Bought. — -TOPHAM, FRANCIS WILLIAM. (Living Artist.) 545, GALWAY PEASANTS, Ellison Gift. 1053/73. Iniso Peasant Girt at tHE Foor or A Cross. Ellison Gift. 1054/73. Prasants at a Founrain—Bas Pyrenens, (1858). | Ellison Gift. TOWNSEND, HENRY J. 6.1810. .— 191, Lions ar Niaurray. . (Coloured chalk.) . In circulation. | Bought. 192, Study for a Picture of “ Burying THe Famity Prats.” In circulation. Bought. 193. Study for the Cartoon of the “Figur FOR THE Beacon.” (Pen and tinted drawing.) Jn circulation. . _ Bought. 194. CRomweLt. (Pen and ink.) In cireulation. Bought. TRESHAM, HENRY, R.A. &. about 1756. d, 1814. 51/76, ILLusTRATION. Une ag ae Bought. | TUCKER, E. Ea.) 1515/69. Durcn River Scenr. In circulation, Townshend Bequest. TURNER, JOSEPH MALLORD WILLIAM, R.A, b.1775. d, 1851. 88, Horny Castie, LANCASHIRE, | | $47) Warkwortu Casrze, NORTHUMBERLAND, (Exhibited in 1799, Ellison Gift, aa Sheepshanks Gift. , eu [ty : “s é F x TEMPLETOWN—VARLEY. | 167 12/69. Bax or Spezia. In circulation. Townshend Bequest. g2/71. A WATERFALL. (1795.) William Smith Gift. 93/71. Iyterior or TiNTERN ABBey. (1798.) William Smith Gift. 84/71. St. ALBAN’s ABBEY. William Smith Gift. 85/71. LANDSCAPE, WITH A TOWER ON A Rock. William Smith Gift. . TURNER, WILLIAM (of Oxford). 6. 1789. d. 1862. 546. Av Kinety Borrom, SUSSEX. Ellison Gift. | UWINS, THOMAS, R.A. |b. 1782. d. 1857. 89, Mercury AND PsyCHE. (1849.) (Chalk.) Ln circulation. : Sheepshanks Gift. — 90. CuriDp AND Psycue. Study for a Picture painted for the Queen. z (Chalk.) Sheepshanks Gift 458, NoursAHnAD. 459, CALYPSO. 60. CHARLES XII. CHARGING THE Turks AT BENDER. _ 461, HeRCULES WITH THE DISTAFF. 462. Donna MENCIA AWAKING FROM HER Trance.— Gil Blas. 463. Don QUIXOTE AND THE ABBESS. (458-63. Book illustrations.) Bought. 60/76. Tue Hop GATHERER. (Exhibited in 1813.) cg Given by Mr. Samuel Redgrave. 4 | VARLEY, CORNELIUS. 0.1781. d. 1873. Lg 3/72. Houses ix Lirrte GREENWICH, ALDERSGATE Srreet. (About _ 1804. Boughé.. #84/72. Avrer Sunset, Nort WALES. (1803.) Bought. 194/74. Arpins LANDSCAPE. Bought. a VARLEY, EDGAR JOHN. § (Living Artist.) 672, View FROM GOSPORT OPPOSITE BosHam VILLAGE, NEAR CHICHES- % TER.—EVENING. (1867.) Given by Rev. H. Mitchell. VARLEY, JOHN. 2. 1778. d. 1842. 343. Hartecn Caste, Nortn WALES. (1837.) Bought. 381. Caper Inris, NortH WALES. Bought. 436, Conway, Nort WALES. In circulation. Bought. _ 437, Hory Istanp, NorTHUMBERLAND. In circulation. Bought. 548, LANDSCAPE COMPOSITION. Ellison Gift. 436/69. Rocuester Castie. In circulation. Townshend Bequest. 438/69. Tat-y-Liyn. (1804.) Townshend Bequest. 440/69. River Scens—CatTTLE IN SHALLOWS. Townshend Bequest. 44 In circulation. Townshend Bequest. 448/69. MounTain SCENERY. 455/69. LANDSCAPE. (1842.) 1481/69. Lanpscarz. In circulation. 1497/69, Lanpscarz. In circulation. Townshend Bequest. 498/69. Lanpscare. In circulation. Townshend Bequest. ) aa LANpscare. (1840.) Jn circulation, Townshend Bequest. . Townshend Bequest. Townshend Bequest. 168 WATER-COLOUR PAINTINGS. 1512/69. LANDscAPE. Jn circulation. ~ Townshend Bequest. P 1520/69. Lanpsoapg. (1840.) In circulation. _ Townshend Bequest. 780/70. PorcH or St. Marearet’s, York. In circulation. Bought. 1741/71. BreppGELERT Bripex. (1805.) William Smith Gift. 1742/71. View LookIne uP THE Hien Street, Conway. (Exhibite 1800. | William Smith Gift. 1743/71. Virw LOOKING DOWN THE Hien Street, Conway. William Smith Gift. 1055/73. Mountain Lanpscapr. Ellison Gift. 1056/73. River Scense—A Composition. (1840.) __ Ellison Gift. 1057/78. Bouton Appey, YORKSHIRE. (1842.) Ellison Gift. 1058/73. Poot anp Woops at WoTToN, NEAR DORKING. Ellison Gift. 46/76. CorracEs IN A LANDSCAPE. Bought. VARLEY, WILLIAM FLEETWOOD. 4.1785, d.1856, 699. A WrtsH Mountain Scenz. Bought. ET st 3 , 1437/69. Bripce AND Stream. (1804?) Jn circulation. Townshend Bequest, — 1439/69. Stream AND Briper. Jn circulation, ~~ Townshend Bequest. 1918/69. Mountain Srream. In circulation, Townshend Bequest. - ae VERELST, SIMON. 5. 1664.d. coil a 267/76. FLOWER Pieors. ESE EE age ae VICKERS, ALFRED GOMERSAL, 3. 1810. d. 1837. 3 593, A Coast Scenr. Given by Mr. H. Vaughan. 1488/69. River Scenn. ; Townshend Bequest. ONG 1514/69. Cuurcu Door, Baxewett. Jn circulation. Townshend Bequest. o WAGEMAN, THOMAS CHARLES. 5, 1787.d.1863, 1292/71. Woop, with Group or Figures, Bought. 24/74, Fawcett as “ AuroLycus.” (1828.) Bought. 4 WAGEMAN) 10 oe 1293/71 CaTTLy, wir Ficures. Jn circulation. ts — Bought. WALKER, WILLIAM, 5. 1780. d. 1868. a 479/75. LANDSCAPE, wiTH Figurpe—* Tuy MARKET WomAN.” — Bought. aa : (f WiROVL Bll, Seated ee WALKER, GEORGE. 4, © d. about U798. tAWhs) BR 1729/71, DEPTFORD, witH SHirring, _ William Smith Gift, ary ito 24eoeartisl ae WALLIS, JOSHUA. |b. 1789: d. 1862...) 2) 4 464, A Frosty Morning. (Painted in 1820.) (.aae Bought. 465. Snow. (Painted in 1830.) In circulation. - Bought. 632. Lanpscapr Composirtion. (Varnished.) Ort Muckeiedd «eal Given by Mr. T. Dyer Edwards, — } ate i WALMSLEY, THOMAS.. |5,:1768.,4, 1805. 9g ged 524/74. Moontignr, (Body colour.) 480/75. Wust Enp or Neriny ABBEY. (Body colour.) ~~ Beas re i VARLEY—WESTALL. 169 . . WEBB, E. 6. 1805. d. 1854. / 91. Fiso Marker art Hastines. (Sepia.) Sheepshanks Gift. | WEBBER, JOHN, R.A. 0. 1752. d. 1793. | 446. An IncrIDENT IN THE VOYAGE OF Capt. Coox. In circulation. | Bought. | 481. View my Cracaroa IsLanp, NEAR THE Srraits oF SUNDA. (1786. ) Bought. 482. CANOE, Uxertea, Society [sLANDS. Bought. 732/71. View NEAR DorGeLtey. (1790.) © William Smith Gift. WEBSTER, MOSES. 8. 1792. d. 1870. 333/72. Tue Hiegu Tor, MATLock. Bought. WEBSTER, THOMAS, R.A. (Living Artist.) 92, Study for THe LEADER OF THE ‘VirtacE Cuorr.” See Picture, re No. 222. (Chalk.) Jn circulation. Sheepshanks Gift. 206 to Studies for the Picture of the “ Vittace Cuorr.” See Picture, “W210. No. 222. (Pencil and chalk.) In circulation. cd Sheepshanks Gift. 3 WEHNERT, EDWARD HENRY. 6. 1813. d. 1868. | 700. GrorcE Fox PREACHING IN A TAVERN. (1865.) Bought. 286/69. “ Tus Trivmen or J usTIcE.” (Chalk cartoon.) i” Given by the Representatives of the late Mr. E. H. Wehnert. WEIGALL, CHARLES H. (Living Artist.) 477/69. LANDSCAPE. Townshend Bequest. : a | WELLS, WILLIAM FREDERICK. 3. 1762, d. 1836. 303/72, “Tae DAWN ”—RUINED CASTLE ABOVE A River. (1807.) oa Given by Mrs. Wheeler. | . “ WELLS. /486/74. Mountain Stream, wit TREES. Bought. « . . WERNER, CARL. (Living Artist.) _ 549, Tue TREASURES OF SCIENCE. (1859.) Ellison Gift. (694/70. JERUSALEM. Parsons Bequest. 695/70, BeruLenem. (1862.) } Parsons Bequest.. | 5 WEST, BENJAMIN, P.R.A. b 1788. d. 1820. Fe 216. CummpREN or Georex IU. (Black and white chalk, on blue 2 paper. Bought. ‘ WEST, WILLIAM. 6. 1801. d. 1861. ‘ ‘ 2 i 51/73. A Mounrarx Pass, Norway. (1847.) be Given by Mr. C. T. Maud. See 5 IO pa ws WESTALL, RICHARD, R.A. 6. 1765. d, 1836. | 1478/69. Lanpscarr. (Sepia sketch. ) Townshend Bequest. ) 1060/73. CASSANDRA IN THE ‘TpmMPLE OF MINERVA, PROPHESYING THE Re Deatu or HECTOR AND THE Fat OF Troy. (1797.) Bought. ip WATER-COLOUR PAINTINGS, WESTALL, WILLIAM, A.R.A, 6. 1781. d. 1850. 485. Port Jacxson, Sypney. (1804.) . ~ Bought. 608. Tue Cotrace Door. , Bought. WHEATLEY, FRANCIS, R.A. 06. 1747. d. 1801. 1717/71. Sr. WooLsron’s, NEAR KitDary, William Smith Gift. - 1718/71. View at Howrn, IREvanp. William Smith Gift. (1719/71. InreRIOR or THE SHAKESPEARE GALLERY, (Afterwards the — British Institution, Pall Mall.) 1790. William Smith Gift. 1720/71. Tuer Dismissat. (1786.) William Smith Gift. 1721/71. Tue RECONCILIATION. (1786.) William Smith Gift. 1757/71. View NEAR ILFRACOMBE. (1778.): William Smith Gift. 834/73. Tar Dusrin Votunteers, 1779, ' vs intpt se ae. WHITAKER, GEORGE, ~ d. 1874, aged 40, 598/75, WATER-MILL AnD Corracus, STOKE GABRIEL, DEVONSHIRE. (1865.) Bought. WILD, CHARLES, 8. 1781. d. 1835. 473, THE CATHEDRAL AT CHARTRES, 474, THe Market Prace at Litas, ae: 607. WESTMINSTER Bripcr, THE Hatt, anp ABBEY. Bought. Bought. Bought. WILKIE, SIR DAVID, R.A. 8. 1785. d. 1841. 92, THe Peer or Day Boy. Study for the Picture, (Chalk and __ sepia.) In circulation. Sheepshanks Gift. 120 to Sketches and Studies for the Picture of « Tue REFUSAL ” (See oe 124, Picture, No. 226) from Burns’s “ Duncan Gray,” &e. chalk, and ink.) 195, Reapers—slight sketch in chalk. 420, SKETCHES. (Chalk, &c). 1487/69. SmR Rospert Peet Reapinc TO THE (Pencil, Sheepshankhs Gift. QueEN. Jn circulation. 631/70. Sketch for “Reaping or tag Wu,” colour.) Jn circulation. 50/73, Sketch. Finpinc tur Bopy or Tieroo § water-colour.) _ Given by Mr. C. T. Maud. 53/73, SKETCH oF an Eastern PHYSICIAN, . (Crayon.) Pie: Given by Mr. C. T. Maud. 54/73, Study of the Basy in the “ Prgp 0’ Day Boys.” (Crayon and water-colour.) ~ WILLIAMS, HUGH WILLIAM. (“Grecran ” Wrrrams) b. 1773, d. 1829, a 648, CasTLe CAMPBELL, LOOKING DOWN GtLen Devon. $49, Locu Tummer, Norra HicHLanps, Scornanp, | Given by Miss Elizabeth Twining. _ In circulation, _ Bought. Sheepshanks Gift, Lownshend Bequest. (Crayon and water- _ Parsons Bequest. AHIB. (Crayon and — Given by Mr. C. T Maud. Given by Miss Elizabeth Twining. ong ate: a e C25 a>) eee eres - nth + Pf can : 1 i @- inte ,<. —"—e1T oe ec: « i ~ “er Pa oa > PP ee Sree: Oe WESTALL—ANONYMOUS. Lia * WILSON, J. T. | 609. Srream anpd CorTrace At ‘I'nuRSLEY, SURREY. (1863.) In circulation. Bought. WOOD, J. 521/74. Mount OrcuetL, Jersny. (1830.) Bought. WOODFORDE, SAMUEL, R.A. 6. 1764. d, 1817. 555, PAN TEACHING APOLLO TO PLAY ON THE Pires. (1790.) Bought. WRIGHT, JOHN WILLIAM. 6. 1802. d. 1848. 457. Fatstarr, Prince Henry, anp Porns. In circulation. Bought. | 650. Younc THORNHILL INTRODUCING HIMSELF TO THE PRIMROSE = -Famity.— Vicar of Wakefield. — Ellison Gift. : WYLD, W. (Living Artist.) 75/69. DRESDEN., Townshend Bequest. fe Goce 47 XAVERY, JACOB. 8. 1736. d. 15/72. VASE OF FRUIT AND VINE-BRANCH. (1757.) Bought. . YOUNG, J. 49/72. CastLe on A Rocxy BANK ABOVE A Bay. Bought. i ZUCCARELLI, FRANCESCO, R.A. 8. 1710. d. 1788. 610. Marker WOMAN AND Carrie. (Tempera.) Bought. . i hs s t 680. ANONYMOUS. Wittiam CockERELL, THE FOUNDER OF THE Iron TRADE IN Beterum. (d. 1833.) (Miniature on ivory.) = ) Given by Mr. R. Yates. 954/68. Heap or A Man. (Miniature on ivory, in oil.) After Rembrandt. a | . Bequeathed by Mrs. Louisa Plumley. 955/68. PorTRAIT OF A Navat Orricer. (Miniature on ivory.) ey , Bequeathed by Mrs. Lowsa Plumley. 1499/69. OLp CouNnTRY House. Jn circulation. Townshend Bequest. 1511/69. Lanpscare. In circulation. Townshend Bequest. 1516/69. La Tour DE PEIL, Lake or Geneva. Jn circulation. a Townshend Bequest. | 079/71. LANDSCAPE, WITH COTTAGE AND WATERWHEEL. In circulation. ta } Bought. | 339/72. Durou Fisuinc Boats. By J. R. Bought. 117/73. INTERIOR OF AN ENGLISH CuurcH DURING Divine WorsHIp. | . Bought. 1354/74. View or JAMESTOWN (?), St. HELENA. (Early, present Sore. Bo ought. 1EW oF Simon’s Town, CAPE OF Goop Horr. (Early, present Bought. | ss Te SUPPLEMENT. WORKS BY MODERN FOREIGN ARTISTS AND | OLD MASTERS .ja0- giana wie a Ort ParnTines BY MopERN ForzEian ARTISTE. 53% cal ADLOFF, C. Germany. 517/70. River Scenz, witH Boats AND SHIPPING. (1861.) | se Parsons Bequest. 518/70. River Scene, wir Moonzicur Errecr._ (1859.) ____ Parsons Bequest. | 523/70. River Scene, witH Fisnine Boats. ~“(1859.) Parsons Bequest. ©« BAADE, K. Norway. 1555/69. THe Wreck. In circulation. Townshend Bequest. ™ 1579/69. VEssEL IN THE MoonticHt. | . Townshend Bequest. | f tana of BAUER, A. GmRMany. 1608/69. Tur Hat or THE TRAVELLERS. In circulation. Townshend Bequest, © BAUGNIET, C. Franor. 8, 1814, 1564/69. Tue Seamstress, (1858.) i _ Townshend Bequest. BAVOUX. France? — i i | 1620/69. Brsangon, FRANCE, (1864 ?) Townshend Bequest. ae AY sy TFS KS Fak ki OB BOCION, F, Switzentanp, © op ee ee —_ 1563/69, Lake or GEnnva. (1855.) In circulation, ow Gera | Townshend Bequest. 1584/69, Poutrry. (1855.) Townshend Bequest. 1585/69. Feepine Ducks. “In circulation, - Townshend Bequest © 1586/69, Birp-catcuine. Jn circulation, Townshend Bequest. 1587/69, A Barer. (1855.) In circulation, . Townshend Bequest. be 1588/69, Sattine Boar. Jn circulation. Townshend Bequest. q 1589/69, Lanpscape—tue SHORE oF A Lake. In circulation, 0) Townshend Beques a 1590/69, Saitine Boat. Jn circulation, Townshend Bequest, 1591/69, STEaMER oN THE LAKE oF GENEVA. Townshend Bequest, i ar eres ADLOFF—DUPRf. 178 | : 9, Tur EMBARKATION. (1848?) In circulation. a Townshend Bequest. 93/69. Having THE Boat. In circulation. Townshend Bequest. 94/69. Luceace Boar. (1855.) In circulation. Townshend Bequest. 95/69. Fisnine. (1855?) In circulation. Townshend Bequest. 22/69. Lapims in Conversation. In circulation. Townshend Bequest. 23/69. Tue Broom Mager. In circulation. Townshend Bequest. ba ; BONNET, F. SwirzeRLann. 97/69. Tue PANTHEON, RoME. Townshend Bequest. | BRYNER. 25/69. Instruction. Jn circulation. Townshend Bequest. \26/69. LanpDscaPE. Townshend Bequest. 27/69. LANDSCAPE. | Townshend Bequest. CALAME, A. Swirzertanp. 06.1815. d. 1864. 4/69, THE Laxe oF THE Four Cantons (LUCERNE), NEAR BRUNNEN IN 4 THE CANTON SCHWYTZ. Townshend Bequest. 97/69. Stupy From Nature. In circulation. Townshend Bequest. CLAYS, P. J. Beterum. 8. 1819. 78/69. Rocky Coast, witH Fisnine Boats. — (1855.) : ap Townshend Bequest. D’ANGELI. 373/69. THE VEGETABLE SELLER. In circulation. Townshend Bequest. # DEITERS, H. GERMANY. 50% (70, LANDSCAPE, WITH FARMHOUSE. . Parsons Bequest. DELFOSSE, E. Brtaium. 104 71, AN INTERIOR, WITH Armep MEN oN THE WATCH, AND FAMILY ‘ Group. (1846.) _ Bought. DIAZ, N. FRANCE. | 535/69, Girt witH Does. Townshend Bequest. DIDAY, F. SwitzeRLAND. 1/69. Srupy From NaturE AT Bex. In circulation. e . Townshend Bequest. 4 : DUPRE, V. France? Ae 1 5/69. Cows Dringine. (1855.) Townshend Bequest. 174 SUPPLEMENT. FOREIGN OIL PAINTINGS. DURCK, F. Germany. Di EE a : THE Younc Reapers. (1848.) 1538/69. Tar Vesrer Brix : = AS) ae a DYCKMANS, J.L. Bererom. 6. 1811. | 1/71, FAmILy Group or Turee FIGURES, THE ELDEST BEING THE Donor’s Moruer, Mrs. Saran Hevson. | | Bequeathed by Mr, Frederick Heusch. ETZDORF. GERMANY, } , 1556/69. Toe Torrent. In circulation. Townshend Bequest. GAUERMANN, F. Ausret. }. 1807. d. 1862, 77. WOLVES AND Drzr. (1834.) In circulation. — Sheepshanks Gift. 78. WiLp Boar anp Wotr. (1835.) Sheepshanks Gift, | GEORGES, H. P. Swirzertanp. el 1603/69. Sr. Jorre, Savoy. Townshend Bequest. — HILDEBRANDT, E. Gerwany. 4%. 1818. d. 1868. 1539/69. Rainy Weatuer : Horses In A Stream. (1848.) In circula-~ tion. Townshend Bequest. AT ma ¥ ain’ oe Sy HOGUET. France? 1551/69, THe WinpMILt. Townshend Bequest. 1561/69. A Briper. In circulation. Townshend Bequest. 1572/69. Boats By Tar Brac. | Townshend Bequest. 1574/69, Boat on SHore. In circulation. Townshend Bequest. . ool} Bane eee HORNUNG. Swirzernanp, 9) ©)? 1596/69. Tue Vittace Turnen. | Townshend Bequest. 1614/69. Tue Dam, (1855.) In circulation.» — Townshend Bequest. * , oi 8 BE YS aa e, iB “4 HOVE, H. VAN, Houanp. b. 1814. pee 1540/69. Tue Listentne Servant. (1845.) ! Townshend Bequest. HUMBERT, C. SwItzeRLanp, 1605/69. Horses ar Provan. (1850.) In circulation. P Townshend Bequests DURCK—LIBERT. 175 JACOBS, J. Betarum? 31/69. Hover DOWN TO CAREEN. In circulation. Townshend Bequest. 32/69. Fisninc BOAT ENTERING Harsour. Jn circulation. E‘ Townshend Bequest. KEYSER, N. DE. Bererum. 8. 1813. 57/69. THe PHILOSOPHER. Townshend Bequest. % : - KIRNER. Germany. 50/69. PLAyrine AT Sotpiers (RomAN REvOLurTIoN, 1848). Townshend Bequest. P KLOMBECK, J. B. Germany. _— 8/69. Trees In A Storm. (1845.) In circulation. . Townshend Bequest. KOEKKOEK, H. Hottann. 6. 1815. 58/69. Sra Pizce. (1844.) Townshend Bequest. ice. Sra Prece. Jn circulation. Townshend Bequest. pttiie arly sent: " KUNKLER, A. SwitzERLAND. 9/69. An Orrer or Marriace (Savor). (1855.) In circulation. Townshend Bequest. me) LACAZE, L. SwitTZERLAND. 15/69. Tae Youne Srupent. In circulation. Townshend Bequest. LASCH, C. GERMANY. 42/69. Tue SEPARATION OR QUARREL BETWEEN A Ru1NE BARON AND His Son. (1847.) Townshend Bequest. a LE POITTEVIN, E. France. 6. 1806. 70/ 69. Rocky Coast—NEAR Havre (?). Townshend Bequest. LEYS, BARON H. Benerum. 6. 1815. d. 1869. 60/69. Tue Knicut’s FuNERAL. Townshend Bequest. : LIBERT,G.E. Germany. 53/69. Sunset on THE SEA. (1848.) Townshend Bequest. 32/69. Mountain Stream. In circulation, Townshend Bequest. M 176 SUPPLEMENT.—FOREIGN OTL PAINTINGS, = Havuntep House. (1847.) In sioulaen 1571/69. SNow SCENE : shee ovnshent ie . T Havyrep House. (1848.)_ ms 1678/59, BNOW SOHNH ga iate “Townshend ojla, © 29 , : Tue Serrine Sun. (1847.) In circulation. a AE se aemeitaeass Townshend Bequest. _ 1633/69. Coast Scens: Guur or Lyons. = Downshend Bequest. ets FF moh, ya 1598/69. CHILDREN PLAYING WITH A LAMB. _ Townshend Bequest. 1599/69. CHERRIES, Townshend Bequest. © 1600/69. Tue Mist. Jn circulation. ° ' ~~ 0» Townshend Bequest. . 1601/69. THe Sprine. Incirculation _—_ Townshend 1602/69. Carcuine Frogs. In cireulation. ~ * Townshend’ ake 23 ‘ 1611/69. Cownerp. In circulation. Townshend Bequest. aa ae F Nate ws _~MENNET,L, France? ... ta aut 20 1619/69. Lake or GENEVA. f ToBhvhonatragmes i: . Reo MORGENSTERN, CHR. - GERMAny. | b. 1805. 1546/69, AtPineE Lanpscare, (1847.) In circulation. tase? tak c “Townshend i asa _ } 4 Yr * ss MULLER, W. Swirzertanp. ~ 1681/69. Girt wirn Lamp. ‘(1835,) 2 TAL aoe 00) Townshend se toek ne MUYDEN, A. VAN, erring > 3g ae, 4 1618/69, A Mong. In circulation. pie Towhthend Bogle. LIBERT— STEFFAN. 177 OMMEGANCK, B. P. Bexerum. 6. 1755. d. 1826. 70/70. LANDSCAPE WITH CATTLE. (1808.) Jn circulation. . Parsons Bequest. RISCHGITZ, E,. SwitTzeRLAND. 83/69. VINTAGE ON THE Stopes or ‘He ARve NEAR GENEVA. (1857.) Townshend Bequest. ROSENTHAL, A. Grrwany. 76/69.. THE Foorsripem. (1848.) Townshend Bequest. b ROTTMANN, C, Geruany. 6.1798. d. 1850. 29/69. ‘Tue Bay or AU In circulation, Townshend Bequest. ROUSSEAU, T. BRANCE. b. 1812, d. 1867. 4s/09. VIEW IN THE Lanps, SourH OF FRANCE, (1855.) : . | EA Townshend Bequest. SALENTIN, H. Germany. 8, 1822. ie aS 15/70. Tue RETURN FROM THE CHRISTENING. (1859.) > wl OOI 1 Parsons Bequest. | SCHELFHOUT, A. HOLLAND. b, 1787. 30/69. SKATING in HOLLAND. (1846.) In circulation. | 7 Townshend Bequest. 76/69. Near Haartem. (1839.) In circulation. Townshend Bequest. : SCHLEICH, E. Germany. 6.1812. d. 1874. 36/69.. PLoucHine 1n Bavaria. In circulation. Townshend Bequest. 87/69. Deer At Dawn, NEAR Municu. In circulation. Townshend Bequest. 9/69. Lanpscare. Jn circulation. Townshend Bequest. 66/69. LANDSCAPE. Townshend Bequest. , a Carryinc Corn. In circulation. Townshend Bequest. SCHLESINGER, C. Germany. _ 70, Tue oh W.aGGcon—Sunsev. Parsons. Bequest. °° 4. i ot 14/ 4 eS - - SCHWER, G: Gurmany. 80/69. Gari GATHERING Sticks. (1860.) In circulation. 4 Townshend Bequest. 0/69. Toe TraveLtuinc Doe Cart. (1861.) Townshend Bequest. eo _ STEFFAN,J.G. Swirzernanp? 6. 1815. ike 45/69. Tum TORRENT. (1848.) Townshend Bequest. at ,: | M 2 . 178 SUPPLEMENT.—FOREIGN OIL PAINTINGS, ~— STEINFELD. Germany. cx, ; i tA 1584/69. LanpscaPe. In circulation. Townshend Bequest. 4 STEINLEN, M. SwITzERLAND. , G WATER. (1855.) In circulation. teats gal 1628/69. Drawin (1855.) Tésdnshond Bonee TAUNAY. FRANCE? | 1612/69. Spanish Coast Scene: Fisnermen. In circulation. : Townshend ajltehs 8 he THURAU. 1552/69. Lake ScENE witH Herons. Jn circulations! i tf , Townshend 1 Bequest. VAN STRY. Hortanp. wart 583/70. LANDSCAPE WITH HORSEMEN AND CaTTriz, In eb cab aeljiigs | Parsons Home 4 " | VAUTIER, B. Germany. ‘aeaer a 1604/69. Snow Scene: CHILDREN LEAVING ScHooL. Townshend Bequest. VERBOECKHOVEN, EUGENE. Bexeru. - 1528/69. WATERING THE CaTTLE. (1845.) Townshend eisai a Pebety Pee: sigh . VERBOECKHOVEN, E. J. Batons Ma 1532/69, Ass AND Lamps. (1849.). +a a “Townshend Bequest. 4 493/70, LANDSCAPE WITH SHEEP AND Ducks. (1865.) ail Parsons Bequest. we VERHAS. Gurmany, a 549/69. Snow SCENE. Townshend Bequest. aie VOLMAR, G. GERMANY, 1547/69. BricgaAnps SurpPrRisep. In circulation. Townshend Hotton 9 : 1548/69. THe Captive. In circulation. . Townshend re aes “4 ZIMMERMANN, A. - Germany. its 1533/69, HaAyMAKING, (1838.) : Tosvneniet Bee ™ 1567/69. Laxe or Constance. Jn circulation, ELttiecions Bequest : ée ah, wk ‘ ZIMMERMANN, F. Gematax, is 1805. =y eel: STEINFELD—CALAME, 179 . ZWENGAUER, A. Germany. 06. 1810. 3/69. LAxe or Constance—NSunser. (1848.) In circulation. Townshend Bequest. = ANONYMOUS. 3/69. Swiss Lake. Jn circulation. Townshend Bequest. 7/69. Execution or Magor Davet. In circulation. ‘ Townshend Bequest. 4/69. Ruv. C. H. Townsuenn’s Dog. (1855.) Townshend Bequest. WATER-COLOUR PAINTINGS, &c. by MODERN FOREIGN ARTISTS. eae + ARTAUD, BERNARD. France. 0. . d. 4 639, Porrrair or A GENTLEMAN. (1691.) (Miniature on playing card.) B4 3 Bought. # a AVOURMOIS, T. France? 13/69. Lanpscare. In circulation. Townshend Bequest. BLOCK, E. DE. Bexerum. 6, 1812. Townshend Bequest. BOCION, F. SwitzERLAND. Townshend Bequest. BOSBOOM, J. Horzanp. 6. 1817. 7/69. INTERIOR OF A CATHEDRAL. Townshend Bequest , BRAEKELEER, F.DE. Bererum. 6. 1792. 38/69. A Poor FamiIty. Townshend Bequest. ae wk 64% & BROUWER, P. W. Hoxranp. Bought. 86/72. VALKENHOF, NEAR NigMEGEN, HOLLAND. CALAME, A. SwitZpRLAND. b, 1815. d. 1864. 58/69. Cuan oF Mont BLAnc. Townshend Bequest. Townshend Bequest. 3/69, LANDSCAPE. 94/69. FormsT NEAR CHAMONIX. Townshend Bequest. Townshend Bequest. 95/69, Forust ScENe. 180° SUPPLEMENT.—FOREIGN > WATER-COLOUR PAINTING! S 1696/69. Woopep Rrver. Scene. . \Lownshend PR, 1697/69. Mountain SCENE NEAR CHAMONIX. Townshend eae a 1698/69. Mountains AND Laxe. Townshend Bequest. : Nos. 1693-8 in circulation. CLERISSEAU, C. L. Francp. 6. 1722, d, 1820. 14/72. Tivori. (1769.) (Distemper) = cae aie Bought. COURDOUAN, V. FRANCE. ra5 1652/69. Coasr NEAR TouLon. (1849.) Tattntheed Bequest. DELAROCHE, P. ¥oines! b. 1797, Z 1856. 1684/69, OLIveR CRoMWELL, (1831.). (Chalk.) © Townshend Bequest. DUCHESNE. France, 950/68. Narornon I. (Miniature on ivory.) _ Bequeathed by Mrs. Louisa Plumley. ~“ ETZDORF, J.C. Gurmany. -b, 18014, 1851.5° © #22401 98 1681/69, Lanpscapr. (Charcoal.) Townshend Bequest. ~ 1682/69. Lanpscare. (Charcoal.) Ta _ Townshend Bequest. | 1683/69. Laxe Scenz. (Charcoal.) Townshend Bequest. : | 1702/69. River Scenz. (Chalk.) In circulation. — it bipanti FOURMOIS,T. .Betetuwi oO.) 4 665/69. LANDSCAPE, Townshend Bequest. oa GEROME, J. Le. Franops ob, 1824, 3 399/71. DRAPED FEMALE Figure. (Pencil.) » Bought... Ge GIRARD, P. FRANCE, ibe 1806. | 1641/69. The Forp.,_(1841.) : _ Loonshend eee , aa 1659/69. LawpsoarE, ‘Townshend Bequest. i ‘a GOEBEL C. Ausra. 999 a 789/72. TRAsAN’s CoLumN, Romn. (1869.) Botight-~ &® 788/72. Inrerton: Young PEASANT Woman Rooxine AN perce hig ; ‘ RADLE, i WWUORG. Bought. * 790/72. IntERIOR: Youne She Gu AND Cup AT A Winpvow.., In circulation, "Bou ARE pe: “"° QUDIN] Ringe! AMAIA 1649/69. Coast Scenn. ee. an 8 pete. 3: HEROULT., Franca? _ Rieplocisistcowee 1636/69. Bargus, | |. m, rea Townshend Beqwat, ee aeerris x CALAME—KLOMBECK.. ... --, 181 HILDEBRANDT, E. Germany. , b..1818. d. 1868. 61/69. Doron River Scene. (1848.) Townshend Bequest. 32/69. SANTA Cruz, Rio pn Janemo. (1842) Townshend Bequest. 70/69. Lanpscare, Horuanp. (1847.) Townshend Bequest. 89/69, ON THE SOMME. In circulation. Townshend Bequest. 91/69. Sera View. (1846.) In circulation. Townshend Bequest 92/69. LANDSCAPE, WITH Boats. (1845.) In circulation. Townshend Bequest. 20/69. THE Neeptes, Ise or Wicut. (1847.) In circulation. : Townshend Bequest. E cf HOPPENBROUWERS, J. F. Hotianp? 5, 1819. 55/69. WooDLAND ScenE; (1836.) Townshend Bequest, ... Ww : ; < "~*~ -HOREAU, H; France. 6. 1801. d. 1872. os ne. 20/73. Tux Great Hay or Karnac, Tuepes. (1869.) In circulation. '- . ers Bought. 21/73. Toe Great TEMPLE OF IssAMBOUL, Eeypr. (1841.) In cir- . culation. Bought. , - HOUZE, G. 47/69. Coast ScENE. Townshend Bequest. L1G! HUBERT. 72/69. Orrerer Srirz, TrRov. | | Townshend Bequest. z HUBNER. |'GmrMany? “> 173/69. Marker Pracz, NUREMBERG. . Townshend Bequest. ISABEY, J. B. France... 0. 1767. d, 1855. 75/73. Portrait or JANE ELIZABETH Scorr, Wirr or Epwarp, Firra - Bart or Oxrorp. (Miniature on ivory.) Bequeathed by Lady Langdale, her daughter. ISABEY, P. FRANCE. 46/69. Fisnine Boats BEATING TO WINDWARD. (1841.) EA | | | Townshend Bequest. a JACOBS, J. BELGIUM ? b. 1812. 7 eee) P Dau Townshend Bequest. 339/69. Boar 1n Harzovr. — Townshend Bequest. 90 j69, A Spaport. In circulation. | < ; JACOPS, J. Brxarum? 6, 1808. . 40 69. Coast SCENE. é | Townshend Bequest. KLOMBECK, J. B. GERMANY. 385/69. Lanpscare—Wintur. In circulation. Townshend Bequest. | } ae pam! Ce pee 8 at ai: ¥ rad WIE iS < 182 SUPPLEMENT.—FOREIGN WATER-COLOUR PAINTINGS. LAMI, L:’E; “FRANOE, b. 1800. multe rk 1654/69. Batt ar THE Horer DE VILLE, Parts. - Townshend Bequest. a é 1663/69. Mary Sruart AND THE Deap Bopy or GrorGe Doveras. Townshend Bequest | 3¢ LAVEZZARI, A. Russta. | 842/72, Peasant GIRL SEATED IN A Doorway. (1872.) Bought. 828/73. Harvest Firtp; FEMALE CARRYING A PITCHER ON HER HEAD. (1872.) In ctreulation. Bought. — 829/73. ORIENTAL FEMALE Figure. (1873.) Jn circulation. Bought. LE POITTEVIN, E. France. 6. 1806. d. 1870. 1642/69, OLp Woman AND CHILD. Townshend Bequest. 1648/69. LANDSCAPE ON THE DutcH Coast. Townshend Bequest. LHERBES. France? Of yy eit wall 1637/69, STREET Virw. (1832.) Townshend Bequest. MENESSIER, A. France. - 1643/69, LANDSCAPE. Townshend Bequest. | MOLITOR, M. VON. German. 0. 1759. d. 1812. 341/72, LanpscapE, wit CastLe AnD Pack-norsus. (1810.) Bought. — MORGENSTERN, CHR. Germany. 5. 1805. o* J: - =e - EE” — Sh Cl 1674/69, Mountain Torrent, Norway. (1846.) Townshend Bequest. MULLER, A. 1653/69. CHAPEL OF THE ENTOMBMENT. _ Townshend Bequest. - MUYDEN, A. VAN. SwrrzpRLaAnp. 1699/69, TRAVELLING Friar. Jn circulation. Townshend Bequest. NEUREUTHER, E. Germany. 0. 1806. 1634/69. Scene From Baron Zepuitz’s Porm “Das WaLp-FRAvLEIN” (THE Woop Marpen), (1845.) Townshend Bequest. 1678/69. “Tue Parson’s Daventer.” (Ballad by Biirger.) oy Townshend Bequest. 1679/69. InLusTRATION or A Bavarran Popurar Song. (1846.) Townshend Bequest. 1680/69. * Tue Warer Lay ” (Heine). Townshend Bequest. PHILIPPEAU ? SWITZERLAND ? 587/70. Bay or Unt, Lage or Lucerne. (1856.) In circulation, Parsons Bequest. - ce TTY - LAMI—TRAUTSCHOLD. 183 ROCHUSSEN, C. Hoxianp? 0. 1815. 1/69. THe Snore aT ScHeveninc. (1843.) Townshend Bequest. ROTTMANN, C. Germany. 5.1798. d. 1850. 4/69. Lanpscare. Jn circulation. Townshend Bequest. ROTTMANN, L. 38. 1818. 0/69. Tae WATZMANN AND TowN OF BERCHTESGADEN, | Townshend Bequest. RUYTEN, JEAN M. Bexerum. 3. 1813, 4/69, BRUGES. | Townshend Bequest. SCHELFHOUT, A. Howzanp. 0.1787. 0/69. LANDSCAPE— WINTER SCENE. Townshend Bequest. 4 2 SCHIPPERS. Hoxtanp? 4/69. Tue Fortune TELLER. (1837.) Townshend Bequest. SCHLEICH, E. Germany. 0. 1812. d. 1874. 71/69. LANDSCAPE, SWITZERLAND. _ Townshend Bequest. 37/69, CORNFIELD AND Reapers. Jn circulation. Townshend Bequest. SCHNORR VON CAROLSFELD, J. Germany, 0.1794. d. 1873. 75/69. RiipigEr Gives HIs SHieLD TO HaGen. (Nibelungen Lied.) (1846.) Townshend Bequest. 76/69. CHRIEMHILDA AND Hacen. (Nibelungen Lied.) (1846.) a Townshend Bequest. 77/69. SImGFRIED AND CHRIEMHILDA. (Nibelungen Lied.) (1846.) Townshend Bequest. # %, ‘ “eS i 52/73. Suiepinc AND Boats—A_Carm. (India ink.) | Given by Mr. C. T. Maud. SCHOTEL, J.C. Hoxranp. 0. 1787. d. 1838. ¥ SF, SEIDE. Germany? 58/69. IseLLa, SIMPLON Pass. Townshend Bequest. TENKATE, H. Hotzanp. 24/70. Tue Recruirine SeRJEANT. (1864.) Parsons Bequest. TRAUTSCHOLD, W. GERMANY. 656. Snow ScENE IN THE Brack Forest. (1865.) (Coloured crayon.) 4 aa Bought. eee ,5 DOD Alia: 184 SUPPLEMENT.—FORHIGN, WATER-COLOUR PAINTINGS. VERREYT, J. Beremm®isoog 1656/69. LANDSCAPE— WINTER. _. ... Townshend Bequest. - VIANELLI. ITatx. | (AMT « 605/70. INTERIOR OF cue CAPPELLA DELL’ AVVOCATA DELLA Cava, SOR+ 9, RENTO. (1838.) (Sepia.) Jn circulation. Parsons Bequest. 628/70. SorRENTO. (Sepia.) +A Parsons Bequest. WAPPERS, BARON. Beterom. 6.1808.) ) or, VY) pa? 1635/69. Srupy FoR THE FigurE oF AN ANGEL. (Chalk.) Vi _ Townshend Bequest. ‘ WERNER. GerrRMANY? 2aoun SL - 1666/69, Irat1an Peasant Boy. ie ea Townshend Bequest. ZWENGAUER, A. Germany. 8. 1810. 1657/69. River Scene—Sunser. (1848.)° 5 > =Townshend Bequest. 1688/69. River Scense—Sunser. Jn circulation. | Townshend Bequest,, inane. g ANONYMOUS... we et ESF 691. PorTRair or a Lapy. (Miniature on ivory.) “French: Bought : French, late ~ 693, Portrair or A GenTLEMAN. (Miniature on card.) 16th century. Boughe. 947/68, CHRISTOPHER CoLumBUs. (1436-1506.)’ (Miniatare” on" livory.) _. Modern. Italian. Bequeathed by Mrs. Louisa. tum 948/68. ParmuGrano, Italian painter. (1503-1540.) (Miniature on ivory.) ' Modern Italian. Bequeathed by Mrs, Louisa, Plumley, ux Sage btT. ‘i 949/68. Kemate Porrrair. (Miniature on ivory.) Modern Jtal Bequeathed by Mrs, Louisa Plumley,, 951/68. Brarrice Cenci. ( 1629/69. Heap or Tae SpHINx. (Crayon.) 9 4 _ Lownshend Bequest. 1680/69. Portrait or A Lapy. (Crayon.) Townshend Bequest. 1686/69. Laxe or Geneva. In circulation. » » ’—Townshend Bequest. - 1591/71. Porrrarr on James Francis Epwarp Srvart, THE “OLD PRETENDER.” (1688-1765.) (Miniature in oil, on copper.) French. Bequeathed by Mr. W. 8. Louch. 1592/71, Porrrarr or Priycuss Marta CLEMENTINA Sosmsx1,, Wire oF, | THE “Qxp PrerenpeR.” (1702-1735.) (Miniature in oil, on copper.) French. 7 _ Bequeathed by Mr. W. S. Louch. : , o- arverrs eames) TAO Al pa Ve | é 1599.) (Miniature on ivory.) Modern * Tialian, after Guido. Bequeathed by Mrs. Louisa Plumley. Pett jg ak85—1% OIL PAINTINGS BY OLD MASTERS, hdsaes DU JARDIN—SCHIAVONE, 189 | POUSSIN, G. 6. 1613. d, 1675. /70, ‘Lanpscare, with River AND CHATEAU. Parsons Bequest. ob % . ‘ * E q POUSSIN, N. (?) 3. 1594. d. 1665. \5/67. An Orrerine To Baccuus. Given by Capt. Hans Bush. ‘4/70. Exinzer anp Resexad ar THE WELL? \ Parsons Bequest... © 15/70. .JacoB AND: RacueL at THE WELL? Parsons Bequest. i ..-PYNACKER, A... 0..1621. d. 1673. 3/69. ‘LANDSCAPE, WITH WATERFALL. Townshend Bequest. °° ~ 14/69. THE VirGin WITH THE INFANT JESUS AND St. JOHN. VE QO\Ce 48 : a2 epg ese : Townshend Bequest. RAPHAEL. — 8. 1483. d. 1520. P € fi eta : ns : ween: ROOG, J. H. 6. lbst. a. ies,” * Tage vem jH/70. Bricanps ATTACKING A Waacon. (Signed.) Parsons Bequest. ROSA, S,_ 6. 1615. d. 1673. : /70, Rocky LANDSCAPE WITH SOLDIERS ENTERING A CAVE. hl Parsons Bequest. 5740 CavaLry ENGAGEMENTS. (Two in one frame.) Parsons Bequest. ee ee RUBENS, P. P. 8. 1577. d. 1640. 1/69. Tue Triumpn or Savr. | | Townshend Bequest. RUBENS, SCHOOL OF. | 14/70. THe VIRGIN AND’ CHILD WITH ATTENDANT SAINTS. : . a | Parsons Bequest. _. %) RUYSDAEL, J. b. 1625. d. 1681. 0/70, LANDSCAPE WITH A STAG Hunt. Parsons Bequest. Me |4/70, Woopy Lanpscare, wit RIvEeR AND CattLe. Parsons Bequest.” * ~~ 32/70, LANDscarE, WITH A TowN IN THE Mippie Distance. | Parsons Bequest. , Assur GRUYSDAEL, J. anv S. be co dey') ¢ , 0/70, Rocky LanpscaPe, witH Mountains. Parsons Bequest. | _ RUYSDAEL, J. ann S, (?) 61/70. Rocky LANDSCAPE WITH FicurEs AND Cuurcu. Parsons Bequest. ee SCHIAVONE, A. . b, 1522, d, 1582. he1/69.. An EmpakxKaTion. Townshend Bequest. Sle CREE CMe pein nw aa et el eae Ss ee | 190 SUPPLEMENT.—OLD MASTERS. SCHMIT ? 562/70. LANDSCAPE, WITH CHATEAU IN THE DISTANCE. — (Signed — “¢ Schmit ?”) Parsons Bequest. SCHUTZ, - 1879/69. LANDSCAPE, WITH CASTLE, BRIDGE, AND STREAM. | a; Townshend Bequest. — STEEN, JAN. 0. about 1626. d. 1679. 536/70. A Famiry MeRRYMAKING. Parsons Bequest. ~~ TENIERS, D." | | 1349/69. River AnD Rocky ScEeNERY, with CatTiE. Townshend Bequest. 496/70. FARMHOUSE WITH FiGuRES—LANDSCAPE BACKGROUND. Parsons Bequest. 525/70. A CHEMIST IN HIS LABORATORY. Parsons Bequest. 559/70. LANDSCAPE WITH WAYSIDE Inn, Parsons Bequest. TROY, F. DE. 6. 1645. d. 1730. 508/70. Lapy SEATED BY A FOUNTAIN IN A WooD, ATTENDED BY A GALLANT, Parsons Bequest. ULFT, J. VAN DER. 6. 1627 ? d. Pa . 1366/69. Seaport AnD TriumpnaL Aron. . Townshend Bequest. — VANDEVELDE, A. 6.1689. d. 1672. 1378/69. LANDSCAPE, WITH SPORTSMEN SHOOTING. Townshend Bequest. na) VANDEVELDE, W., THE YOUNGER. 3. 1633. d. 1707. 1355/69. Purrine To SEA. Townshend Bequest. VINCI, L. DA. (?) 6. 1452. d. 1519. 529/70. Tue VIRGIN AND CHILD, wirH St. JOHN AND AN ANGEL. aT a Parsons Bequest. — WITTE, E. DE. (2?) 6. 1607. d. 1692. 558/70. INTERIOR OF A CATHEDRAL. - *~-- Parsons Bequest. WOUVERMANS, PHILIP, 4. 1620. d. 1668. 542/70. Lanpscaprn with Hawkine Parry. Parsons Bequest. WOUVERMANS, SCHOOL OF. 572/70, ENCAMPMENT, WITH CAVALRY, Parsons Bequest. 573/70, A Hawkine Parry, Parsons Bequest... A sf Sete _-- SCHMIT--ANONYMOUS. 191 | ee . WYNANTS, J. &. about 1600. d. 1370/69. Lanpscarr : Herpsman seatep on a Loa. Townshend Bequest. 495/70. LANDSCAPE, WITH CATTLE, Parsons Bequest. 553/70, LANDSCAPE, WITH AN INN. Parsons Bequest, ANONYMOUS. 1354/69. A MaGpaten at ner Drvorions IN A GROTTO. g Townshend Bequest. 528/70, St. ANTHONY OF PADUA HOLDING A Book, ON WHICH RESTS THE INFANT SAVIOUR: BY HIS SIDE A KNEELING Nun. German? ; | Parsons Bequest. | 533/70, Tue ADORATION OF THE Mac. Flemish. Parsons Bequest. 535/70, Tue ADORATION OF ‘THE MAGI. Parsons Bequest. 563/70. CHRIST CROWNED witH THORNS. Spanish. Parsons Bequest. 567/70. LANDSCAPE WITH PEASANTS REGALING IN A Woop. (Signed “J. A. H.”) French. Parsons Bequest. 568/70, LANDSCAPE WITH SPORTSMEN AND Bracars, (Signed “ J, A. Eo French. Parsons Bequest. j - 0 ae rae Fe if SEES hy ERR Se aS ’ * 6 8 ; “ . a = te Ca Po «he * ee) “{h- a * EHTOO WE . . <2 OLS eae Printed by Grorcx E, Eyre and W Printers to the Queen’s most E For Her Majesty’s Statior _ [4979,—1000,—8/' ’ a a 2 bad ' FRONTISPIECE. MARRIAGE A LA MODE. By WILLIAM HOGARTH. — 6. “ Death of the Countess.” 5 ‘‘ Death of the Eari.” These pictures are arranged, under glass, in Gallery VIT. (see p. 73). They were completed in 1744, and engraved in 1745. Our illustrations are taken from the original plates. Size of each picture, 2 ft. 3 in. X 2 ft. 11 in. mre rORIAL NOTES IN THE ational Gallery. The British School. BY HENRY BLACKBURN, EDITOR OF ‘‘ ACADEMY NOTES,” AUTHOR OF ‘‘ ARTISTS AND ARABS,” ETC, ETC, No. 182, Pus @ Dondon: CHATTO AND WINDUS, PICCADILLY. 1877. All Rights reserved. Published Annually in 1 Academy | WITH _ | ILLUSTRATIONS OF THE PRINCIPAL E THE MAJOr : Facsimiles of Sketche 8 London: CHATTO AND iis Pe Pe ACK. THE purpose of this book (the first of a series) is identical with that of “ACADEMY NOTES,” viz. to form “a supplement to the Official Catalogue which should be descriptive rather than critical;” and give, by the most direct method, a knowledge of the contents of the National Gallery. It may be that the publication of this and similar “ NOTES,” both at home and abroad, will lead to a familiarity with the contents of public galleries hitherto unknown ; for PICTORIAL NoTES, however slight, leave an impression on the mind which _ words are powerless to convey, and the pencil, “speaking the tongue of every land,” thus becomes a powerful teacher. Of the contents of this first part, little need be said. Every picture in the first eight rooms is mentioned ; and, as far as possible, 7 zts order on the walls. The titles and descriptions have been taken for the most part from the pictures them- _ selves or from the Official Catalogue, which no student should __ be without. Fs In the illustrations the principal aim has been to record the composition of pictures for the use of students, and for reference by those who cannot visit the National Gallery. The engravings are produced by the Typographic Etching Company. The second part, comprising the OLD MASTERS and all the pictures of FOREIGN SCHOOLS, is in active preparation. March 1877. cae ke Lal | SS a eet SSE tne al a ee ee ALLAN, Sir WILLIAM ... ARMITAGE, E., R.A. BARKER, THOMAS . BEAUMONT, Sir G. H. BEECHEY, Sir WILLIAM BrrD, EDWARD a BONHEUR, ROSALIE BonincTON, R. P.. BoxAaLL, Sir W., R. A. Brices, H. pie =e CALLCOTY, Sir A.W. CLAYS, PIERRE JEAN CLINT, GEORGE COLLINS, WILLIAM , CONSTABLE, JOHN .. CookE, E. W., R.A. Cooper, T. SYDNEY, R.A. | COPLEY, J. '9..:.. CRESWICK SL, 3 CROME, JOHN ... CRUIKSHANK, G. DANBY, FRANCIS DANIELL, ¥ PVE s 3; Douctas, W., R.S. A. DUBUFE, C. i. 3 DWCKMANS, JL, ° %.- EASTLAKE / Sit Cy, EaoG, A. L. ETTy, WILLIAM FRASER, ALEXANDER FRITH, W. P., R.A. GAINSBOROUGH, T. GEDDES, ANDREW%.. Goop, 1 eR Gee GoopaLt, FF RA. GORDON, Sir J. W.. HAGHE, Louis EPARE, 1S. 0A, laadken de RAY DOIN, | TBS RS eta ace HERBERT, (J. Bo, RAs EPR R RING, Ty or es HILTON, WILLIAM... HOGARTH, WILLIAM HOPPNER, JOHN .... Hors ey, J. C, R.A. Howarp, HENRY ... JACKSON, JOHN JOHNSTON, A.... JONES, GEORGE LANCE, G. LANDSEER, Ce “ROA LANDSEER, Sir EpwWIn ... .|No. PAGE. | 876, p. 30 341, p. 29 345, p. 51 815, p. 20 352, p. 31 32/7, p. 49 448, p. 22 436, p. 22 783, p. 78 897, p. 47 398, p. 28 357, p. 36 362, p. 28 366, p. 29 109, p. 75 311, p. 74 760, p. 74 917, p. 13 451, p. 21 786, p. 79 335, p. 50 113, p. 73 117, p. 73 233, p. 49 171, p. 45 390, p. 48 442, p. 36 610, p. 13 410, p. 14 414, p. 20 605, p. 22 | Obs No. PacE.| No. PAGE, ‘ 342, p. 36 346, p. 45 787, p. 75 926, p. 47 399, p. 36 358, p 29 363, p. 29 614, p. 29 308, p. 76 678, p. 77 789, p. 73 918, p. 13 336, p. 42 114, p. 73 118, p. 73 900, p. 50 326, p. 33 | 391, p. 48 443, p. 26 611, p. 23 411, p. 15 415, p. 24 606, p. 24 898, p. 30 359, p. 29 364, p. 29 309, p. 74 683, p- 75 925, p. 76 919, p. 16 337, p. 30 115, p. 73 675, p. 79 LANE, THEODORE ... PawWRENCH, cir T. ... Tan, FF. R., R.A. mestin, CG: K, ... LINNELL, JOHN LINTON, WILLIAM... MACLISE, D. MarTIN, JOHN MUu.teER, W. J. MuLreaDy, W. J. ... MIAGMYTH, PF. ...' >. NEwTon, G. S. O'NEILL, G. B. OPIE, JOHN sin PHILLIPS, THOMAS... } PickerRscIL., F. R., R.A | PickeERsGILL, H. W. | Poussin, CHARLES |} RepcRAVE, k., KA, @e REYNOLDS, Sir J. ... RIPPINGILLE, E. V. PoBeERTS, D. -.. - =. ROMNEY, GEORGE... ScoTT, SAMUEL SEDDON, THOMAS ... SHEE, Sir M. A. Srmpson, JOHN SINGLETON, H.. .-- SLEAP, JOSEPH AXE SMIRKE, ROBERT ... STOTHARD, THOMAS _ STUART, GILBERT ... _ THomson, HENRY... | Tuomson, J... -- | TscHaccEenny, C. P. md TURNER, To... Uwins, THOMAS Warp, E. M., R.A. WARD, JAMES... ... WEBSTER, T., R.A. West, B.... WILKIE, Sir D. WILLIAMS, PENRY... WILSON, RICHARD | WiruHerincton, W. F... WRIGHT, JOSEPH ... WYATT, HENRY . LOUTHERBOURG, P. J. ... STANFIELD, CLARKSON... Te eee Dae No. PAGE. | No. PAGE. Born. DIED. rd Died young 3 in 1828 } 440, p. 37 - tf129, p: 72 ee (8350.7 = p. 1859 402 p. = p- 1876 1029, p. 1812 | 316, p. 1870 | 422, p. 1854 | 793, p. 1845 | 379, p. 1863 | 398, p. 1831 | 380, p. 1835 | 358, p. — | 618, p. 1807 | 784, p. 1845 1875 1769 1794 1740 ISII 1789 1812 1786 1786 1794 1761 1770 183, p. 445, p. 1 416, p. 810, p. 428, p. 78, p. ‘111, p. ') 182, p. 681, p. 455, p. 400, p. 312, p. 313, p. 78 563, p- 56 367, p. 27 1027; p- 59 676, p. 57 | 761, p. 53 (165, p. 38 404, p. 31 (eait hak (321, Pp. 44 | 217, p. 56 350, p. 48 | 731, p. 36 | '788, p. 50 (369, p. 34 ‘}818, p. 42 1782 - ~sI (op) OV mt sJ Ur N 387, p- 34 430, p. 8 385, p. 50 426, p. 23 (121, p. 49 1820 (799) 5. 49 |( 99, p. 41 (328, p. 41 (332, p. 51 433, p. 8 108, p. 76 1782 {302 5. 49 420, p. 13 125, p.77 383, p. 34 ? and VI., pp. 52- Index to Painters—British School. 144, p. 79 785, p. 44 419, p. II 403, p. 27 439, p. 18 423, p. 26 394, p. 381, p. 354, p. 1026, p. 339, p. 417, p. 79, p. 128, p. 3085, p. 754, p. 401, p. 26 314, p. 78 368, p. 46 1028, p. 59 | 762, p.57 405, p. 32 318, p. 44 322, p. 44 220, p. 56 | /No. PAGE. | 188, p. 56 | 922, p. 42 | 619, p. 14 395, p. 37 791, p. 26 | 106, p. 76 | 148, p. 79 806, p. 78 677, p. 50 763, p.57 406, p. 33 319, p. 46 229, p. 59 No. PAGE. 324, p. 31 620, p. 12 396, p. 76 307, p. 72 764, p. 57 407, p. 33 320, p. 50 370, p.45 871, p.45 | 372, p.45 388, p. 31 431, p. 16 386, p. 39 427, p. 12 126, p. 42 122, p. 41 329, p. 41 894, p. 50 434, p. 8 110, p. 77 303, p. 79 421, p. 14 384, p. 32 ae 730, p. 35 432, p. 10 688, p. 35 181, p. 55 231, p. 41 330, p. 50 921, p. 41 662, p. 8 267, p. 79 304, p. 79 | and the whole of Galleries BIE 54 and 60-70. (Nos. 562, 465, 469, 526, 475, and 37 are on p. 54+) 616, p. II | 815, p. 56 | | 241, p. 42 331, p. 58 301, p. 73 Pear sesceseee VT sar meeeanncapennn ones ‘ST 0} GI ‘SON ‘SHIURTIVO MAN SONVYULNE fe | re | pease ee AS fen eeee Sees em noe 9 OG a of Lewemencnnny eoe seaigbonkha a athe - a 7 ‘oxy ‘qstuvdg *gT “ULITVIT Popes “sr ‘ur | J “IIVM HiLUYON ‘28240 g fo 7 [ev] “FT “Yt SII UUs AA “IT "8ST 9} 6 “SON SOTeTTB "8 01 T ‘SON SOTETTV5 + i e H © 0 £7397 10.31V9S: “uvIpeyy ApIeq “LT = G *UOIPOITION Ped ‘IL “YSstule,y pus qojnd Zt “UvI[ey] ApIey “ET “URITCIT “OI ‘qouol “6 S[OOYOS uUsIe1O,7T ‘AEZIIVY IVNOILVN GHL 40 NV1d IVY¥YANSA9D esse eam Saameeapey t HE Se erveereecewee Tcouos Use - SOUTH WALL 449 437 8l0 419 620. 610 504—-42 43: 91 616 —425— 8l4- 917 75s 662 4% -428——432 621616 a) 8 ys 709 * 430 >I a l 446 420 418 DOOR 421 [ 619 445 410 603 . GaAtLERY I. ie AlG | 4} Als 606 435 618 3 607 608 424, 431 373 | 409 919 438 ; 4 "603, 609 ; 375 py ON 428 56 61g 414 42 413 —450 4 ap niBe SIP i= 436 601 A 4 815 617 439 348 y 448 451 1029 455 A08) : s _ Gallery I.—British School. Period, 1830 to the Present Time. Sees: NG te ~ ii i i A i q o PE te oe Liga? skates eae 3 ft. 5¢in. X 4ft. 6 No. 430. in. ENTERING the galleries by the staircase on the eft hand, and passing to the extreme western room (see general plan on opposite page); we find the principal positions occupied thus. On the south wall is Rosa Bonheur’s “ Horse Fair;” on the west, Frith’s “‘ Derby Day;” on the north, Maclise’s “‘ Hamlet ; ” and the east wall is entirely occupied by 8 British School. works of Landseer ; “ Shocing the Bay Mare” being in the centre. In this large room are arranged the most modern works in the National Gallery, being principally bequests to the nation by Robert Vernon and Jacob Bell. Commencing on the left hand of the doorway, and taking the pictures in their order on the walls, the first to notice is the large painting sketched at the head of this chapter— 430. “Dr. Johnson in the Ante-room of Lord Chesterfield ;” waiting for an audience, 1748. E. M. Warp, R.A. RUA. 1345. Vn.* ** Seven years, my lord, have now passed since I waited in your outward rooms, or was repulsed from your door; during which time I have been pushing on my work (the dictionary) through difficulties of which it is useless to complain, and have brought it at last to the verge of publication, without one act of assistance, one word of encouragement, or one smile of favour.”—Boswell’s Life of Fohnson. There are three other pictures by Ward in this room (Nos. 432, 616, and 431), historically interesting for the details of costume and manners of the time. Next are three gevre pictures by PeNRy WILLIAMS— 433. “Ttalian Girl with Tam- bourine.” ft, 74xX1ft.4. Vn. 434. “Ttalian Peasants resting by the Roadside,” | 1ft.72in.X1ft.4in. Vn. 662. “Neapolitan Peasants resting ata Fountain.” 3 ft. 54 in. x5 ft. The latter painted in Rome in 1859. Bequeathed by Mrs. Hus- kisson. 604. “Dignity and Impudence.” Sir E. LANDSEER. B,I. 1839. Portrait of an old bloodhound No. 604. oft. rt in, X 2 ft, 34 in. of the Duke of Grafton’s breed. Bequeathed by Jacob Bell. * EXPLANATION.—The letters “RA.” “BL,” or “S.B.A.,” with a date, indicate the year of exhibition in the Royal Academy, British Institution, or Society of British Artists.. Vn.” indicates that it formed part of the *‘ Vernon Collection” lately removed from South Kensington. | The position of every picture is marked on the plans at the head of each chapter. The dimensions are given ‘‘sight size ;” not reckoning canvas under frame. The height is given first in all cases, , Gallery TI. al Wri: ove) | he “| i \ RRL Li 1 sail ite Hi (" \ i ( sa Nas ' RS SS i Se OS ae 3 ft. 7¢in. X 5 ft. 2in. 449. “Dr. Tillotson administering the Sacrament to Lord William Russell at the Tower,” the day previous to his execution ; his wife, Lady Russell, is kneeling beside him, A. JOHNSTON. R.A. 1845. Vn. M. Taine, in his ‘Notes on England,’ points to this picture as a fair representation of “the English School of gewre painting.” aft. Skin, & 3 ft. 64 in. 428. “Country Cousins.” R. REDGRAVE, R.A. R.A, 1845. Vu. Two ladies and a gentleman at breakfast; country cousins and country dog introduced. The colour and costumes in this picture are exceptionally gay. British School. IO 437. “The Fisherman's Home.” ¥. Dansy. 2 ft. 61m. X 3 ft. 6 in. | glow of sunrise. The only work by — Exhibited in 1846. Vn. — A promontory on a lake in rich this artist. No. 432. 4ft. 3in. X 6 ft. 2in. ‘¢ The earth hath bubbles as the water hath ; And these are of them.” 432. “The South Sea Bubble.” A scene in Change Alley in 1720, E. M. Warp, R.A. R.A. 1847. Vn. In the centre of this wall is— ——_ No. 621. 3 ft, rrin. X 8 ft. 2¢in. 621. “The Horse Fair.” Rosaite BONHEUR, Painted 1848, A replica of the larger, well-known picture of the same subject. Our sketch is made by permission of Messrs, Pilgeram and Lefevre, the proprietors of the copyright. Bequeathed by Jacob Bell, — ee a ee Gallery Ll. II Above the foregoing is another picture by a French artist— 810. “Pardon Day in Brittany.” C. Poussin. 4 ft. 10 in. x ro ft. 9 in. Representing an encampment outside the town of Guingamp, on the occasion of the annual Féte, or “ Pardon,” of Bon Secours. A crowded canvas noticeable for some wonderfully characteristic faces, and varieties of caps and costumes. Painted in 1851. Presented by E. Lofft. No. 419. ‘ eft. 1oin. X 3 ft. 7 in. . fs 419. ‘ Showery Weather.” ¥. RB. Lex, R.A. B.I. 1834. Vn. An effect of sunrise on the sea; horses pulling a cart with’ nets over the sandhills. ‘The three other landscapes by this artist are near at hand; Nos. 418, 619, 620. 616. “ James II. in his Palace at Whitehall;” receiving the news, of the landing of the Prince of Orange in 1688. E. M. Warp, R.A. . R.A. 1850. Bequeathed by Jacob Bell. 12 British School. —— ne : HI | Il —- E == Fa oP obs Seed oh ae es H) Ni ei .| A A iil " 1 gio = if \ S } i Welt ee Above Landseer’s “ War” are— TY AA : au | si EN i aA ou il il {| in it KAS vert er = = fies =; No. 444. 2 ft. roin. X 3 ft. 8 in. _ 444. “ Scene from‘ Le Diable Boiteux.” A. L. Ecc. R.A. 1844. Wn. ‘‘ Patricio and his two friends having breakfasted at a tavern, called for the reckoning, which amounted to fifty reals. As he had but thirty in his purse, he was forced to leave in pawn his rosary,” &c.—Le Sage’s Devil on Two Sticks. 451. “ The Tired Soldier,’ resting at a roadside well. F. GoopALt, R.A. ettotein, Xit. BA. 1842, V0. No. 612. 3 ft. 3tin. X 4 ft. rin. 612. “ The Sacking of Basing House.” C. LANDSEER. R.A. 1836, ‘‘ Basing House, in Hampshire, was stormed by Cromwell’s soldiers on the morning of the 8th October 1645. The rooms and chambers in both houses, completely — furnished, afforded the soldiers gallant pillage.” —Cromweltiana. Bequeathed by Jacob Bell. io io British School. — 6Ol. “ Geraldine ;” a lady at her toilet; standing, half-length figure, life-size. Sir W. BoxaLt, R.A. 3 ft. 9 in.x 2 ft. 82in. R.A. 1850. Presented by John Kenyon. 448. “The Boat-house ;” 2 coast sketch. E. W. CooKE, R.A. 1 ft. 4¢1in.x1ft. 8hin. Vn. No. 436. 1 ft. 113 in. X 2 ft. r1¢ in, 436. “ Cattle, carly morning.” 'T.S, Cooper, R.A. The Cumberland hills, mist clearing off. R.A. 1847. Vn. 456. “Council of War at Courtray” UL. Hace. Water-colour drawing ; dated 1839. 2ft.6in.X3ft.2in. Wn. ‘*The council seated at a table in an apartment in the Town Hall, Courtray, with richly carved chimney-piece.” In the centre of the north-east corner is— 605. “ The Defeat of Comus.” Sir E. LANDSEER. 2 ft. 10x 5 ft. 6 in. €f iese. 6 Sa Deep skill’d in all his mother’s witcheries ; And here to every thirsty wanderer By sly enticement gives his baneful cup, With many murmurs mix’d, whose pleasing poison The visage quite transforms of him that drinks, And the inglorious likeness of a beast Fixes instead... .” —Milton’s Comus. Group of figures in a wood ; women with the heads of beasts. A sketch painted for the Queen in 1843 for a fresco in the summer-house of the garden of Buckingham Palace. Bequeathed by Jacob Bell. { | 426. ‘Going into School;”. also called ** Zhe Truant.” ‘T. WEBSTER. R.A. 1836. Vn. Next, a fine architectural subject— 400. ‘“Jnterior of Burgos Cathedral, North Transept.” D. ROBERTS. t ft. 84x 1141n, Painted 1835. Vn. Above is— Bll: The Lillazing. of a jews ffouse” in the reign of Richard I. C. LANDSEER. 3 AierOn mb Oe Sim R.AI1839. “Nowe 2. sf gin. X 2 ft. atin. The remaining pictures in Gallery I. are four well-known works by Sir E. Landseer ; the first three bequeathed to the nation by Jacob Bell. 3 “No. 608. 3 ft. 7tin. X 4ft. Sin. 608. “ Alexander and Diogenes.” Sir E. LANDSEER. R.A. 1848. 603. ‘“ Zhe Sleeping Bloodhound,” Sir E, LANDSEER. atti 4 ft ite. B.1. 1835. ‘<< Countess,’ the hound here represented, sleeping on the top of a balustrade at Wandsworth, one Sunday evening, fell a height of twenty-three feet, and died on the same evening. On the next morning she was carried to St. John’s Wood, in the hope that Sir E, Landseer would make a sketch of her asa reminiscence of an old favourite.” ‘This Landseer did, and painted the picture in four days. (See Official Catalogue.) On the next page is a portrait of “ Old Betty,” a bay mare belong- ing to Mr. Bell, “ standing in a way peculiar to her, without a halter, as she would not tolerate one.” 24 British School. 606. “ Shocing the Bay Mare” Sir E. LANDSEER, R.A. 1844. The last picture is historically interesting, representing as it does the field of Waterloo and the familiar figure of the ‘ old Duke’ on horseback, conversing with the Duchess of Wellington, then Marchioness of Douro. 415. “A Dialogue at Waterloo.” “But ’twas a famous victory.” Sir EK. LANDSEER, 6ft. 3in.x12ft. 74in, R.A. 1850, Vn. The Duke is supposed by the painter to quote the following lines from Southey’s ‘ Battle of Blenheim’ :— ‘* And everybody praised the Duke, Who such a fight did win. ‘But what good came of it at last?” Quoth little Peterkin. ‘ Why, that I cannot tell,’ said he, ‘But ’twas a famous victory.’” | Gallery Ll. WEST WALL 384 352 324 337 326 383 339 405 406 387 417 354 3883—G00—4044124 DOOR +409—369—407—344 730 bas 397 349 376 7 365 614 343 441 361 41 363 364 365 896 ra tA ee ee Oe 638 | 362 359 347 358 398 342 442 323 377 403 4 402 395 374°)" 731 \_443-——401 —423-; Door +393—394-296-440-357 367 ml «453743 452 386 429 355 9382 Gallery II.—British. School. Period, 1830-1860. Be abn Se SS <— MA Ui Olivia. ‘* How now, Malvolio?” Malwolio. ‘‘ Sweet lady, ho, ho!” (See next page.) a. 26 British School... ee. » = 423. “Malvolio and the Countess.’ TD. Macuise. R.A. 1340.0) V Ne A set scene from ‘Twelfth Night ;’ trim cut hedges, marble pave- ment, peacocks’ plumes, and lilies. Malvolio, in yellow stockings, salutes the Countess. 743. “ Portrait of Dr. Brewster.” Sir J. W. Gorpon, President of the Royal Scottish Academy. Painted in 1864. 4 ft. 14in. x 3 ft. 34 in. No. gor. 4ft. 8in. X 3 ft. Sin. 401. “Chancel of Church of St. Paul, Antwerp.” D, Rowerrs. Painted 1848. Vn. A fine example of this painter, of which our sketch conveys a general idea. See also No. 400, in Gallery I. 453. “ Interior of a LTighland Cottage.” ALEXANDER FRASER, 2ft. 34in.X2 ft. 1zin. Vn. 791, “The Nun ;” half-length life-size, A.W. PICKERSGILL. 2 ft. 11 in. x2 ft.3in. Presented by the painter in 1868. 443. “ Fruit ;” pine-apple, grapes, melon, and wicker basket. GEORGE Lance, 2ft. 4in.x3f “BT 1848. Vn. There are three examples of Lance; the tw 0 Others, Nos. 441 and 442, are on the north wall of this room, ST ee ee Gallery LI.’ 27 4 ft. X25 it. 402. “Sancho Panza in the Apartment of the Duchess.” C. R. LESLIE. “‘ A repetition, with some alterations, of a picture painted in 1823, for Lord Egremont.” - R.A. 1844. Wn, RE Ent aman ee er Wadman” in the sentry-box. Ny a een C.R. Lesuiz. R.A. 1831. Vn. on; | eae | ‘© *TJ protest, Madam,’ said my uncle Toby, ‘I can see nothing whatever in your eye.’ ‘¢¢Tt is not in the white,’ said Mrs. Wadman. My uncle Toby looked might and main into the pupil.” Said to be a “portrait of Bannister, the comedian ;” the quo- tation from ‘ Tristram Shandy’ indi- cates the motif of the picture, which has often been misunderstood. 367. “ The Infant Bacchus.” Sir M. A. SHEE. Life-size nude figure of child with grapes. 2 ft. 3a in. X2 ft. I 14 in. Wn. No. 403. aft. 8in. X 1 ft, ro in. 28 British School. rn errs —*- 377. ‘Falstaff and Mistress Ford.” Grorcr Cunt. 2ft. sin. x ef vn: *““'The scene represents a room in Ford’s house, the moment when Mrs. Page goes to hide, and Falstaff enters and finds Mrs, Ford alone.” The only work by this artist. 398. ‘ Haidée;” a Greek girl; bust, life-size. Sir C. EastLake. 2 ft.rin.x1ft.8in. R.A, 1831. The south wall is principally occupied by a group of Ettys. Inthe centre are the graceful lines and gay colouring of — TRC oe — No. 356. 5 ft. 2in. X 3 ft. roin. 356. “ Youth on the Prow and Pleasure at the Helm.’ Wm. Exty. . R.A. 1832. Wn. “* Fair laughs the morn, and soft the Zephyr blows, While, proudly riding o’er the azure realm, In gallant trim the gilded vessel goes, , Youth on the prow, and Pleasure at the helm.” ? GRAY. 4 On the left are— 3 362. “ Christ appearing to Mary Magdalen.” Wm». ETTy. F Tft.24in.xX2ft.2in. BI. 1834. 358. “ Zhe Imprudence of Candaules, King of Lydia.” Wm. ETTy. 1 ft. s$in.x1ft.roin. Vn. 359. “The Lute Player.” WM. ETTY. R.A. 1833. Vn. On the right are— 364. “ Window in Venice during a Festa.” Wm. ETTY. TiLErean.; aI ft. 7% in. RvA, 7831. Vn. No. 359. 2ft. Xx ft. 8in. 363. “ Zhe Due.” Wm. ETTY. ROA? 1935. V0. 365. “The Magdalen.” Half-length figure. Ww. ETTY. rft.7in.X1ft. R.A. 1842. Vn. 614. “ The Bather;” “at the doubtful breeze alarmed,” standing knee-deep ina pool. Wm. Erty. aft. r;in.X1ft.74in. R.A. 1844. A delicately finished cabinet picture, on the line. And, last of this richly coloured company, hung above “ Youth on the Prow,” is— 366. “Female Bathers surprised by a Swan.” Wo. ETTY. Circular ; 3 ft. 24 in. diameter. R.A. 1841. Wn. The two following landscapes, hung aloft, may here be noticed together :— ; 347. “ Dutch Ferry,” peasants waiting the return of the passage boat. Sir A. W. CALLCOTT. 2 ft. 2in.X3ft. rin. R.A. 1834. Vn. 341. “Coast Scene.” Waiting for the boats. Sir A. W. CALLCOTT. 2 ft. 34 in. 2 ft. 11 in. Vn. A jetty and sea-wall, with a few figures and horses ; low water. Next, on the line, is one of two pictures by H. P. Briggs; paintings more noticeable for dramatic interest than for colour. = No. 376. SSS 2ft. rz in. X 2 ft. 34in, Nay, come, I pray thee, speak ; good, good nurse, speak.” Romeo and Fuliet, act ii. scene 5, 376. “ Juliet and Nurse,” FH. P. Brices, R.A. 1837. Vn. 349. “The Flower Girl” Portrait of the artist’s daughter, with jet-black ringlets, in Florentine costume. H. Howarp. 3 ft. 2in.x2ft. Vn. Howard was Secretary to the Academy in 181 I, and Professor of Painting in 1833. He exhibited 257 works in the Royal Academy. 898. “ Lord Byron's Dream.” Sir C. EASTLAKE, 3 ft. 9 in. x sft. 6 in, R.A. 18209. Ruined pillars, cypresses, mountains, a distant view of sea, and— 6é ee - By his sleeping side Stood camels grazing, and some goodly steeds Were fastened near-a fountain ; and a man Clad ina flowing garb did watch the while, While many of his tribe slumbered around,” The two other pictures by Eastlake, Nos, 397 and 399, are in the corners of this room. Above is— 337. “ Cupid Disarmed ” W. Hixon, 2 ft. 44in. x 2 ft. ry in, R.A, 1828. Vn, Cupid Struggling with a nymph who has seized his bow. . ee a. aan, ee Gallery LI. 31 “ Le Chapeau de Brigand.” Tuomas Uwins. R.A. 1843. Wn. Uwins exhibited, in his time, 102 pictures in the Royal Academy. He was keeper of the National Gallery from 1847 to 1855. - See also Nos. 387 and 730, on the same wall. PAD No. 388. 2ft.5in. X1ft. gtin. No. 600. tft. chin. x1 £t./6 in. 600. “ Zhe Blind Beggar.” J. L. Dycxmans. Painted at Antwerp, 1853. ‘The artist’s only work. Bequeathed by Miss Jane Clark. 352. “ The Prawn Catchers.” WM. COLLINS. ft. 34in.x1ft.1o¢in. R.A. 1831. Vn. Boys on the sands, fishing at low water ; village in the background. See also No. 351, in Gallery III. | 324, “Dowager Countess of Darnley.” Sir ' ###THomas LAWRENCE. Unfinished por- : j trait. Vn. Next should be noticed two of the four works by Stanfield; the first a large canvas, on the line, representing Dutch shipping, wind, and tide; a painting full of movement and reality, of which our sketch gives a slight idea. No 324. 2 ft. X 1 ft. Sin. 404. “ Entrance to the Zuyder Zee.’ CLARKSON STANFIELD. (Sketched on next page.) ReAnws44 2 Vie \ 29 British School. No. 404. 3 ft. 3tin. X 4 ft. rd in. And above, near the door— 405. “ The Battle of Trafalgar.” CLARKSON STANFIELD. 1 ft. 33in.x2ft.74in. Painted 1833. Vn. A sketch for the large picture in the United Service Club prea presenting the victory of Lord Nelson over the combined French and Spanish fleets, October 21, 1805. 339. “ Wood Nymph;” a study. Tuomas Putuuips. , 2 ft. 3in.x2ft. rrin. Vn. Phillips’ principal works were portraits. He succeeded Fuseli as Professor of Painting in the Academy in 1825, and exhibited 339 pictures. His only other work here is a portrait of Wilkie, No. 183, on the west wall of Gallery III. 384. “The Philosopher” (called also “Galileo and Archimedes”). HENRY Wyatt. A fancy portrait. 2 ft. Gin. x 2 ft. Rv A..1832,. Vn. See also No. 383, on the same wall, — 412. “The Hunted Stag.” Sir E. LANDSEER. iis ~"" * , RA: 583325) Vn. No. 412. 2ft.3tin. X 2 ft. rr4in. Sketched by permission of Messrs. H. Graves & Co. Gallery Ll, [Entrance to Gallery 1.} SS : = f,MOGTUALECSATUT If if tN F Al A A \! sett styl {itll pppoe LLL Aff: See = ( : NE n\ SS CZ 7377/7, ti MW Y] 2ft.3hin. X 2 ft. 11d in. AS 33. 409. “ Spaniels, King Charles Breed.” Sir E. LANDSEER. B.I.1845. Vn. The two pet spaniels with blue ties which belonged to Mr. Vernon. 326. “ Portrait of Miss Stephens” (a singer at Covent Garden Theatre, afterwards Countess of Essex). J. JACKSON. $f 5 in. x2 it. in. KA, 1822. Vn. The two remaining landscapes by Stanfield are here near together. “ The Lake of Como.” CLARKSON STANFIELD. Painted in 1826. Tit 64 inset. of in, “Vn. re Gat: Painted 1836. Vn. D 34 7 British School. : eats: a 369. ‘“ Zhe Prince of Orange, afterwards William IIZ,, landing Torbay ;” November 5, 1688. J. M. W. Turner. Bi aft. 114 In. XK Sie eee 1832. vn - This fine picture, painted i in 1832, may be noticed in connection wit k Galleries IV. and VI., which are entirely filled with Turner’s work: Above the Turner, contrasting strangely in colour and treatment, redolent of purple grape and rich fruits of the South, is— No. 387. ott: ian X 4ft. ridin. 387. “ The Vintage.” T. Uwtns. RAT 1848. Vn. Next are four, not very important, figure subjects— 417. “4 Syrian Maid ;” contemplating flowers. H. W. PICKERSGILL, 3 Halflength, life-size, 2ft. 1rin.X2 ft. 34in, RJA. 1837. Vn. 383. “ Vigilance” a girl asleep on a sofa; a dog awake. H. WYATT, r ft. ‘1g in. Xrrsin, RA 1836. Vn. 354. “ The Window ;” a Dutch girl looking out of window. G. Sa NEWTON. Tide in in. BI. 1820. vaq 344. “The Benighted Traveller ;” a barefooted wanderer with a child | on his back. Sketch for picture in R.A. 1832. Sir A. W. CaLLcorr, 6in.xs5in. Vn. | 397. “ Christ lamenting over Jerusalem.” Sir C. EASTLAKE, R.A, 1841, | A repetition of a cee exhibited in R.A, 1841. Vn. Gallery II. 35 asta == SEL Sn No. 397. Bie aint aft. ae Above is— 730. “Sir Guyon fighting for Temperance.’ Tuomas Uwins. 2ft. 4in.x3ft. 6in. R.A. 1849. Bequeathed by Apsley Pellatt. Nearly the whole of the north wall (on which there is no work of great interest) is occupied with one canvas No. 688. roft. 8 in. X 15 ft. roin. 688. “ Landscape with Cattle.” Life-size.’ James Warp. BI. 1823. This painting was undertaken in emulation, it is said, of Paul Potter’s large picture of a bull, at the Hague. It was purchased from the painter's son, Mr. G. R. Ward, in 1862, for £1500. On the left are three small subjects, almost eclipsed by the fore- going— S43. “ The Wooden Bridge.” Sir A.W.CatucoTrT. gin.x1rft. Vn. : 42 36 : British School. 441. “A Basket of Fruit ;” pme-apple and bird’s nest. G. LANCE. 1 ft. 64in.xX1 ft. 84in. BI. 1834. Vn. 361. “ Study for a Head of Christ.” WiLLiaM Etty. 1 ft. 62in.xX1ft. 24in. Vn. On the right— 342. ‘ Landscape with Cattle.” Sir A. W. CALLcort, Gi xa tt 1 in. Vine ie f No. 442. 1ft.5 in. X 1ft..7in. 442. “ Red Cap.” G. LANCE. Bi 1847. Vn, 323. “ The Raffie for the Watch.” Scene in a country public-house. E. Brrp, 1 ft. 8in.X1ft. 114 in. Vn. 731. ‘ Loch-an-Eilan, Inverness- shire.” Rev. J. THomson. 2ft. roin.X4 ft. 4 in. Painted 1855. Bequeathed by Mrs. L. Thomson. 374. “ The Column of St. Mark, Venice.” BR. P. BoNINGTON. 1 ft. 54in. X1 ft. 24in. B.I. 1826. Vn. 399. “scape of the Carrara family from the Pursuit of the a = Duke of Milan, 1389.” Sir C. Noses ET es EastLakE. R.A. 1850, Wn. S57. “ Study of a Man in Persian Costume.” Wii1am Erty. ft. 32in.X11gin, BJ, 1834. Vn. an Gallery IT. 37 355. “ Dull Reading.” ANDREW GEDDES. 10in.X1ft.1in. Vn. Portrait of Terry, the actor, and his wife, the sister of Patrick Nasmyth. ‘The only work by this artist. 440. “Zhe Gouty Angler.” ‘T. LANE. Pit ain. {tO ina VN. *¢ An enthusiast, kept from the river banks by an attack of gout, is angling at home in a tub.” 429. “The Pathway tothe Church.” T. CRESWICK. Painted 1839. Vn. Sie Landscape, with a girl in fore- posal We CER ea ground; not a very good example eee EER of the painter. ae hort She No. 429. 1 ft. rr$in. X 1ft. 74 in. Next in order, interesting to students, for colour and technical qualities, are four excellent examples of Mulready; a painter who seldom completed more than one important work in a year. No. 394 is one of his earliest and No. 396 one of his latest works. & No. 395. rft. rr} in. X rft.8in. | 395. “Crossing the Ford.” Wm. J. Mutreapy. | RA. 1842. Vn. Se ) \ a i™ \Y No. 396. | 2ft. Otin. x 2 ft. Zin. 396. “ Zhe Young Brother.” Wm. J. Mutreapy. R.A. 1857. Wn. 394, “ Fair-time.” Wititam J. MuLREapy. 2ft. 7in.X2ft. 2in. R.A, 1809, Vn. ** Two tipsy men returning from the fair; one giving halfpence to some boys, the other dancing before the door of a cottage.” bs » : = ZG Wo Wi Sf 2ft. din. X 2 ft. 6in. 393, “ The Last In.” Wit1am J. Mureapy. R.A. 1835. Gallery LI. 39 ei We Malle ar QF ® 3 ft."rrdin. X 5 ft. 6tin. 386. ‘“ Zhe Council of Horses.” JAMES WARD. R.A. 1848. Vn. Horses in debate ; illustrating Gay’s fable. 382. “ Head of a Negro.” Life-size. JOHN SIMPSON. Circular; 1 ft. roin. diameter. Vn. 452. “ The Frugal Meal.” J. ¥. HERRING. Painted in 1847. Vn. The only work by this artist. a i No. 452. x ft. og} in. X 2 ft. 53 in. Peres fn DA Ue le ee Sica. 4O British School. + 399 183 wesT wat. 368 ‘ BIS {7lyo, 84 awe 351 689 926 350 PE eget et ere i. 370-835, 350 7 DOOR 319 379 40—338—897. 785 393 227 799 899 Hk 22 122. GALLERY was. 3491 12 784. Ar 130 233 231 813 Oba wore 329——92I-_DoorR +—332 677———894——4. DOOR 1-320-330 336 345 334 385 325 Gallery III.—British School. Period, 1800-1840. 4 No. 99. tft. 1zin. X 2 ft. 7 in. | In Gallery II. we have seen the Ettys and Mulreadys grouped! together, as far as possible, for separate examination. are paintings of a somewhat earlier date In this gallery and in soberer qualities of RRS. Gallery ILI. 4i colour. Commencing with several Wilkies, which can be examined together, we find, on the left of the door leading from Gallery V.— gel, * Sketch of Blind Man's Buff’ Sir Davip WILKIE. r ft.X1 ft. 6in. R.A. 1812. Bequeathed by Miss Bredel. The large picture is in the Royal Collection. pao. § 7) he Bagpiper.” A small halflength. Sir Davip WILKIE. toon oie) hb. l1813. Vn. 931. “ Portrait of Thomas Daniell,’ landscape painter and engraver. Sir Davip WILKIE. 2 ft. 6in.x1ft.11%in. Bequeathed by Miss M. A. Fuller. 328. “ The First Earring.’ Sir Davip WILKIE. elias rit. tein, . RoA.61935. 0 V¥n- One of Wilkie’s later works ; a mother “holding her child whilst she is having her ears pierced;” another record of the barbarous custom of boring ears for ornament. In the centre of this wall is the popular “ Village Festival ;” we only give a general indication in the sketch. rh = = = —e , No. 122. g ftr2 ine <4 fr, 2in! 122. “ The Village Festival.” Sir Davip WILKIE. Painted in 1811. Purchased by Parliament in 1824. On either side of the above— 99. “The Blind Fiddler.” Sir Davip WILKIE. Painted in 1807. Presented by Sir G. Beaumont in 1826. and— (Sketched on opposite page.) 42 British School. See Sa oe _ No. 241. 1 ft. rr} in. X2 ft. res ta, 241. “ The Parish Beadle.” Sir Davip WILKIE, : Painted in 1822. Bequeathed by Lord Colborne. The arrest of vagrants. A great contrast in style and treatment to his earlier and greater works. The remaining pictures by Wilkie, Nos. 330, 894, and 332, are in this gallery, and No. 331 in Gallery V.* Turning back to— 336. “ Study for the Head of a Monk.” Wixtam Hinton. a tt. Jeo ee 1k. Vm which may be noticed with Nos. 334 and 335, on the same wall, we come to— 813. “ Fishing Boats in a Stiff Breese.” J. M. W. Turner. . 2 ft. 3¢1n. X 2 ft.11}in. Bequeathed by J. M. Parsons in 1870. An early work (1801), in the style of Vandevelde, a Dutch painter. 784. “ Portrait of William Siddons” (husband of - the actress). Joun OPIE, 2 ft, Gin. x 2 ft. x in. See also the one other painting by this artist, “ Zroilus and Cres- sida,” on the west staircase ; p. 59. 126. “Pylades and Orestes brought as Victims before Lphigenia,” B, WEST. 3 ft. 4in.x 4 ft. 2in. Presented by Sir G. Beaumont in 1826. An early work of this painter, containing thirteen figures. 922. “A Child with a Kid.” Sir T, LAWRENCE. 4 ft. 8 in. x 3 ft. 14in. Painted in 1800, Bequeathed by Lady G. Fane in 1875. A strangely “mannered” portrait of the little Lady Georgina, aged five, standing by a stream with a tub of clothes, and a kid in the water near her. * Wilkie’s statue in marble by Joseph, with his palette let into the side of the pedestal, is at the foot of the west staircase. Gallery If. 1 ae ? 899. “Woody Landscape: |eeZ~ZZZZ a ae daa Mat View on the Nullah, Ben- (27a Ae ea Ves ? ZY tH, ies f HN nih i Ly gal.” “T. DANIELL. TN sa alee Ns 2 Me it ri i Ih Zo i “ al AY AAA ANN 3 ft.24in.x4ft.6in. Painted in 1827. Bequeathed by Mrs. Mansfield. AN AWN . SS \\ tua i yeritee tit} Pou ANC AEN Travellers crossing a bridge; built by the Sultan Sujah in the 17th century. For Returning to the line— 353. “ Vorick and the Gri- sette.” -G. 8, NEWTON. FoA; S30.) Vn. The interior of a hosier’s shop; Yorick purchasing etssses \\fiwates. gloves. 353. 2 ft. sin. X 1 ft. rofin. ‘‘ They were all too large ; the beautiful grisette measured them one by one across my hand, it would not alter the dimensions.”—Sterne’s Sentimental Fourney. It is interesting here to note how the above custom, robbed of its picturesqueness, prevails in our own day. eS llr al No. 119. oft) Gan, x3 ft. 42n. 119. “Landscape, with Jaques and the Wounded Stag,” from Shake- speare’s ‘As You Like It,’ act ii. Sir G. H. Beaumont, Bt. «‘ A woody landscape representing a scene in the Ardennes... . Jaques reclining under the shade of an oak in the foreground.” Painted in 1819. Presented by the Dowager Lady Beaumont, 1828. 44 Lritish School. 785. “ Portrait of Mrs. Siddons” (life-size). Sir T. LAWRENCE. 2 ft. 6in.xX2ft. rin. Bequeathed by her daughter, Mrs. Cecilia Combe, 1818. 120. “Portrait of Nollekens,” sculptor. Sir W. BEECHEY. 2ft. 6in.xX2ft. rin. Presented by the Rev. R. E. Kerrick. Next are several examples ot Stothard, which may be looked at Tee pa = < BLA as oe SR PRP ARE. ORR 2; a Wty So Rea ee. “¢ Q - ¥ SR * RES together. 3 ft. 4in.X 4 ft. 3in. 317. “A Greek Vintage ;” a dance in the vineyard. T. SroTHaRD. RAL 621, 2 Vi One of the most characteristic paintings by this artist. His illus- trations to Rogers’ poems and his picture of the “ Canterbury Pilgrims” are amongst his best known works, early in this century. 318. “A Woodland Dance,” fete champétre. T. SrorHarp. _ ft. 104 in. 1 ft, Gin. Roars, Vn. 321. “ Lntemperance—Mark A ntony and Cleopatra;” with other figures. T. STOTHARD. Sketch for a large picture ; painted in 1802. 1ft.8in.x ft. in. | | Vn. 7 322. “A Battle;” men and horses. A sketch. T. SrorHarp. 1ft. 1. Ree ine Vos See also Nos. 319 and 320 (an excellent example), both in this room. Above the “ Greek Vintage” we have passed a living portrait of the architect of the Bank of England, and founder of the Soane Museum in Lincoln’s Inn Fields, who died in 1337, , Gallery [11. | 45 171. ‘ Portrait of Sir John Soane, Knit.” J. JACKSON. 2ft.6in.x2ft.1in. Presented by the British Institution, 1839. See also Nos. 326 and 124, by the same artist. Next are three Turners, painted in his “ second style,” which should be examined in connection with his other works in Gallery IV. and Gallery VI. 370. ‘ Venice, the Dogana, Ducal Palace, &c.” J. M. W. TURNER. Pipetite Ole Res 133%, | (VA er No. 371. 3 ft. 5tin. X 5 ft. 4¢in. S71. “ Lake Avernus, the Fates and the Golden Bough.” J. M. W. TURNER. ICA ISS4. wy 2 372. ‘“ Venice; the Canal of the Giudecca.” J. M. W. TURNER. Zita 3 Lee ee 1634. 0 Di 346. “ Zntrance to Pisa from Leghorn.” Sir A. W. CaLucort. ft. Gf in xs iitiann. ReAg 833. Vn. View on the Arno, with a portion of the quay and ancient tower. Ce 183. “ Portrait of Sir David Wilkie.” Talf-length, life-size. —THomas PHILLIPS. 3 ft. 3in. X2 ft. 2in. Painted in 1829. Presented by the painter in 184. Two small pictures hung below are the only, but excellent, examples of the painter. 380. “ 4 Cottage,” formerly in Hyde Park. P. Nasmyrtu. Iigin. X1ft. 3in. Painted about 1807. Vn, 46 Pritish School. 381. “ The Angler's Nook ;” 1 woody landscape, with a man fishing in a brook. P. NASMYTH. 1iyin, kris sia Pe [Entrance to Gallery IT] 319. “ Cupid caressed by Calypso and her Nymphs.” T, SroTHarn. 1 ft. 34in. & x ft, 2 ft. 3hin. X 2 ft. t1} in. 351. “ As Happy as a King.” W. Couns. Vn. A repetition of the picture in the R.A. 1836. The above slight sketch may recall the movement and vivacity of the original, 368. “ Portrait of Thomas Morton,’ dramatist. Bust, life-size. Died March 28, 1838. Sir M. A. SHEE. . 2ft.6in.x2ft. rin. Wn. 379. “ Landscape, two Lycian Peasants.” W.J. Mutter. _ Painted in 1839. Vn. The only work of an artist who was distinguished at an early = sewcc== age for his sketches of Eastern No. 379. 1 ft. 2 in. Xx ft. 84 in. life. Near the.above are collected three examples of Crome (Old Crome), painted between 1807 and 1818, including the well-known— 689. “ AMouschold fleath, near Norwich eae an extensive view of un- dulating moorland. Joun Crome, 3 ft. 7 in %s fora. Purchased at the International Exhibition, 1862, for 4420. Gallery IIT. 47 926. “The Windmill;” another fine view near Norwich. JOHN ' CROME. 3 ft. 7in. x3 ft. Purchased from the Lewis fund, in 1875, for 4,231. 897. “A View at Chapel Fields, Norwich ;” an avenue with figures and cattle. _JOHN CROME. 2 ft. 5 in. x3 ft. 7in. Bequeathed by H. F. Chorley in 1872. No. 340. 3ft.7in.X 4 ft. gin. 340. “ Dutch Peasants returning from Market.” Sir A. W. CALLCOTT. R.A. 1834, Vu. No. 338. 2ft.10in.X 3 ft. 77 in. ”? 8338. “ Zhe Meeting of Abraham's Servant with Rebekah at the Well. W. HILTON. R.A..1833. Via. na eetnalah Meet odiend=_.suedenttdher thea AAS COR A a OR = a A a rae ee eee 48 British School. 350. “The Dead Robin” FA. THOMSON. R.A. 1809. Vn. The only picture by this artist, who exhibited 76 pictures in the Academy between 1800 and 1825. In the centre of the north wall is a large battle picture, with figures on a small scale— 391. “ Battle of the Borodino;” September 8, 1812. “To the right, Napoleon, dismounted, is watching the result of an attack made on the great redoubt of the Russians.” G, JoNeEs. 4ft.x7ft. R.A. 1829. Vn. On the same wall are three smaller works by the same artist— 389. “The Burning Fiery Fur- nace.” Nebuchadnezzar, pointing to Shadrach, Meshek, and Abed- nego, walking in the furnace. G. JONEs. 2 ft. 11¢in. X 2 ft. 34 in. R.A. 1832. Wn. 392. ‘“ Town Hall, Utrecht.” G. JONES. 3 ft.x2ft. 4in. Painted in 1829, Vn. 390. “Lady Godiva,” preparing to ride through Coventry. G. JONES. R.A. 1833. Vn. No. 800, “ The Lelief of Lucknow,” the remaining picture by this artist, will be found at the bottom of the west staircase, near the entrance door. In prominent positions on this wall are the two well known land- scapes by Constable, which we have sketched on the next page. Te = Gallery IIT. 49 “, —_— 3 827. “The Valley Farm.” ‘View of a farmhouse on the bank of the Stour, near East Bergholt, Suffolk. Joun ConsTaBLe. Poenetoss. Vi. No. 327. No. 130. 4ft. 8in. X 4 ft. t 130. “ Zhe Cornjield.” English landscape, with a cornfield seen 4 between two groups of trees; shepherd boy and sheep by a stream : in the foreground. JOHN CONSTABLE. Painted in 1826; purchased for the National Gallery, in 1837, by be an association of gentlemen. } Three other pictures are ranged above— 799. “ Portrait of a Lady as Hebe.” Falf-length, life-size. B. West. 4 ft. 2in.x3ft. 34in. Bequeathed by her daughter, Miss H. Worrell. | 121. “ Chombrotus ordered into Banishment” by Leonidas II., King of Sparta. B. WEST. An early work ; a composition of thirteen small figures. 4 ft. 6in.x6ft. R.A. 1770, Presented, in 1827, by W. Wilkins. 233. “ Portrait of the Right Hon. William Pitt.” Large half-length. Died January 23, 1806. J. Hoppner. 4 ft. 8in.x3ft. 8in. Presented by Mr. G. Moffatt. 3 E =i a ae 50 British School. Next, on the line, is another work by Hoppner— 900. “ Portrait of the Countess of Oxford.” J. HOPPNER. 2 ft. 6in.x2ft. Painted 1797.. Bequeathed by her daughter, | Lady Langdale. His remaining portrait (No. 133) is in Gallery VIII. 330. “A Woody Landscape.” Sir D. WILKIE. . gin.Xgin. Paintedin 1822. Vn. 320. “Diana and her Nymphs bathing.” 'T, STOTHARD. An excellent example of the painter. 1 it. $in. xX 2tie RA xSro.8) Vi 335. “ Study for the Head of a Monk.” W. HILton. tft. Vein ei 3 ah Ve Should be noticed in connection with No. 336 (same subject) and— 334. “ Study of a Head for Edith.” W. HiLtTon. t ft. 7¢ in. X2 ft. 14 All three on the east wall. cee to Gallery IV.| Seana ro : ity " ail ii i il No. Bue? wie <5 ae is in. 5 ft. atin. . 894. ““ John Knox preaching” before the Lords of the Congregation, in the church of St. Andrew, Fifeshire, June 10,1559. Sir D. WILKIE. R.A. 1832. Purchased in 1871. 385. “ Lake and Tower, De Tabley Park.” James Warp. Cattle in foreground. 3 ft.x4ft. 4 in. Painted in 1814. Vn. In the centre is a prominent portrait, full-length, life-size— 677. “ Portrait of Lewis, the Comedian ;” as the Marquis, in the ‘ Mid- night Hour.’ SirM. A. SHEr. 7 ft. 9 in.x4 ft. 9 in. R.A. 1792. Bequeathed, with a sum of money, by the actor’s youngest son in 1849. Gallery ITT. 51 Near the foregoing is an early, and excellent, landscape by Sir A. W. Callcott— Sew ui Wea PEAR el PR ep 7 ‘ 345. “ The Old Pier, Little Hampton.” Sir A.W. CaLucottr. R.A. 1812. And last— . ; 332. ‘ Peep-o'-Day Boys Cabin ;” west of Ireland. Sir D. WILKIE. We commenced this gallery with the early Wilkies ; we end it with a later work in his changed manner, to which our sketch scarcely does justice.* * Standing now at the door of Gallery V., which contains another Wilkie, also the works of Smirke, Haydon, Gilbert Stuart, &c., we would recommend its ex- amination next, taking Galleries IV. and VI., the two Turner rooms, together. E 2 52 British School. NORTH WALL 42 45 527 46 49 51 Drawings for Liber Studiorum 100 98 66 35 534) 535 GAT LER ey 102 107 110 121 108 106 103 101 104 105 109 5G0 36 65 97 99 41 DOOR 61 60 62 8 ore 115 6 113 1 } 3 95 88 44 93 94 89 142 55 16 12 53 14 148 52 131 40 Syne 11 10 33 132 15 59 18 pd 7 i 134 33 Gallery IV.—Selection of Turner’s Drawings, Sketches, &c. Period, 1790-1850. The collection of Turner’s works in the National Gallery consists of roo oil paintings and about 1000 drawings and sketches. In this small, well-lighted gallery are arranged Turner’s first, and six of his later, paintings, also several frames of sketches and water- colours, including fifty-one sepia drawings for the Liber Studiorum. The arrangement may still be regarded as temporary, as the majority of his sketches are not yet exhibited to the public.* * Mr. Ruskin, in his ‘ Catalogue of Sketches and Drawings by J. M. W. Turner’ (now out of print), points out that many of Turner’s sketches, and especially his finished drawings, should never be exposed in frames, ‘* The right way to think of them is,” he says, ‘‘ as forming a precious manuscript which must not be rashly exposed or handled ; but which may always be examined without restriction by those who are seriously intended.” For the convenience of students, we have given the catalogue number, and shown the position on the walls of every sketch in this room ; their titles will be found at the end of the Official Catalogue. The large figures on the plan indicate the oil paintings, referred to on the next page. Gallery IV. 53 On the south wall are a number of miscellaneous sketches, pencil, water-colour, &c., framed together, of which No. 44, “ Folkestone from the Sea,’ is one of the finest. In the centre of the west wall are some beautiful sketches made in Rome in 1819, Nos. 102-110; and, on either side, two early water-colour drawings, Nos. 35 and 41. Other miscellaneous sketches and drawings are on the same wall ; also on the north side, where are fifty-one drawings in sepia for the Liber Studiorum, or ‘Book of Studies.’ They are well placed for examina- tion, where possessors of Turner’s etchings can compare them with the originals, to the advantage, often, of the former. The oil paintings on this wall are— 459. “ Moonlight; a Study at Millbank.” ‘Turner's first picture ; painted at the age of 22. Lue en 1 ite 3a in,= KoA 1707, 468. “ View on Clapham Common.” 1ft.x1ft.5 in. Painted about 1802. 527. “Venue: the Bridge of Sighs.” 2 fic 2 ft. aRWA. 1340; On the east wall are two very beautiful, unfinished, works— 559. “ Petworth Park.” 2ft. rin. X4ft. 8in. Painted 18209. 560. ‘“ Chichester Canal.” 2ft.rin.x4ft. Painted 1829. And, in the centre— 534. “ Approach to Venice.” R.A. 1843. Uy No. ee | 2ft. X 2ft. 54 British School. 535. “ Zhe‘ Sun of Venice’ going to Sea.” A Venetian fishing-boat putting out to sea; in glow of sunrise. 2ft.x3ft. R.A. 1843. These last, though full of originality and power, were painted when Turner was approaching what has been called his “ period of decline” : at a time, remembered by many, when visitors to the Academy remarked with regret how the hand and memory of the artist were beginning to fail. After examining Gallery VI. (the Turner gallery), we should turn back to these Venetian pictures, so full of atmosphere, beauty, and light ; for, with all their vagueness, they seem best to express the painter’s mind. As the brilliant “Sol di Venizia” spreads her sails to the wind, we may see the painter take his last poetic flight. Thenceforth “the path lies o’er the sea invisible.” In the doorway leading from Gallery IV. to Gallery VI. are— 562. “ Harvest Home.” An unfinished sketch in oils. 3 ft. x 4 ft. 465. “ Mountain Scene,’ with castle. 1 ft. 5 in.X1ft. 84 in. Painted about 1800, 469. “Sea Piece ;” a vessel stranded near a jetty. II in. X 7% in. 526. ‘“ The New Moon ;” sunset near Margate. 2 ft. 1 in. ¥ 2.ft.9 me Rea, Bee 475. “ View of a town.” A sketch in oils, g% In. X 13 in. 37. “ Funeral of Sir Thomas Lawrence.” Water-colour. Here is also a silhouette, said to be a good likeness, of Turner, taken by stealth when on one of his voyages to Margate; September 23, 1838. Turner’s remaining pictures are in Gallery VI., excepting No. 479, “The Sun rising in a Mist,’ and No. 498, “ Dido building Carthage,” which will be found in Gallery IX; having been bequeathed by him to the nation on condition that they should be hung between two Claudes. P.S.—A few of Turner’s pictures (mentioned in the Official Catalogue) are omitted from these “‘ Notes,” because they are not upon the walls ; many of his drawings and sketches are not yet exhibited, but they are at ‘Trafalgar Square, and can be seen, we believe, by students, on appli- cation to the keeper of the Turner Collection, cnc es Te ee Gallery V. 55 SOUTH. WALL —— ss 457 315 220 GALLERY Vv. DOOR 563 316 217 331 764 763 762 676 793 DOOR 682 Gallery V.—British School. Period, 1790-1860. In the centre of the south wall of Gallery V., which is in fact the vestibule, or entrance from the staircase to the larger rooms, is— o; =a < ao, ee ae, Fare ~ Pa 2 bes} a ie SO 5 = tH: PASSE RAS E son ey eK Vai ary, i \ : wv is 6 Sf! vias a No Pawe 3 WN ii SS WSS: No. Tare 131. “ Christ Healing the Sick in the Temple.” BENJAMIN WEST. Figures nearly life-size, in smooth conventional lines ; the accepted type of Eastern colour and character fifty years ago. This picture_at- tracted great crowds?on its first exhibition in London. Presented by the British Institution, 1826. On either side are two familiar works, each nearly life-size— 792. “A Woodman and his Dog in a Storm,” ‘TY. BARKER. . 7 ft. gin.x4 ft. ro}in. Presented by R. E. Lofft. Full-length, life-size. A copy of this picture in needlework may be remembered at Miss Linwood’s Gallery in Leicester Square. More graceful, but not less popular in its day, was— Pash ah ae a 56 British School. 188. “ Portrait of Mrs. Siddons.’ Sir T. LAWRENCE. 8 ft. 24 in. X 4 ft. 84 in. Full-length, life-size, in black high-waisted robe; her arms bare to her shoulders, and the black curtains of her hair brought down over her brows. ‘Thus we see her painted in Harlowe’s pictures. In Gains- borough’s portrait, No. 683, on p. 75, we have a different rendering. Presented by Mrs. Fitzhugh in 1843. 457. “The Surprise.” CLAUDE Martz DUBUFE. R.A; 1828. > Vn. The only example by this artist ; much esteemed by students for its colour and technical qualities. 315. “Zhe Installation of the Order of the Garter.” BENJAMIN WEST. 1 ft. 6$in.X1 ft. 9¢in. Vn. A small sketch, above the fore- going. 220. “ Portrait of John Hall,’ engraver. GILBERT STUART. 3 ft.x 2 ft. 4in. Presented by Messrs. Graves and Co., 1850. An interesting portrait, hung rather out of sight. See also Nos. 217 and 229, in the same room. [Entrance to Gallery IIT] 563. “Jerusalem and the Valley of Jehoshaphat.” THOMAS SEDDON. 2 ft. rin. X2 ft. 8in. The only example of the artist, and one of the few “ pre-Raphaelite ” works in this section of the National Gallery. It was painted on the - spot in 1854, when in company with Mr. Holman Hunt in the East. Mr. Seddon died at Cairo, at an early age, in 1856. Presented in 1857. Next is a fine landscape— . 316. “ Lake Scene in Cumberland, Evening.” P. J. LouTHERBOURG. ft. gin. x2 ft. Painted 1792. Vn. 4 217. ‘Portrait of William Woollett.” GrLperr STUART. } 3 ft. X 2ft.4in. Presented by H. Farrer in 1840. Gallery V. 57 No. 793. Bit. 4 in. % S4t. 3 in. 793. ‘“ The Destruction of Pompeii and Herculaneum,’ by an eruption of Mount Vesuvius, on the 23rd August 79. JOHN MARTIN. Painted in 1822. Purchased in 1869. The only example of the painter of “ Zhe Fall of Babylon,’ “ Bel- shazzar's Feast,’ &c., familiar to us in his engravings of his own pictures. 676. “ View of St. Pauls Wharf” JosEPH AXE SLEAP. Circular; 15 in. Bequeathed by Mr. R. Frankum. An excellent water-colour drawing of one of the most picturesque views of London from the Thames. The only work by this artist. The “line” space on the north wall of this room, under Martin’s “ Pompeii” and Haydon’s “ Afay Day,’ is largely occupied by illustrations to ‘Don Quixote,’ by Robert Smirke, one of the earliest of the English school of painters. 762. “The Order of Knighthood Conferred on Don Quixote by the Innkeeper.” ROBERT SMIRKE. Vit Ged or ft eGcua: 763. “ Don Quixote at Home” (painted in brown). ROBERT SMIRKE. 1 ft. gt in. X1 ft. 6in. 764. “ The Curate and the Barber Visit Don Quixote at Home.” ROBERT SMIRKE. r ft. 94 in. x 1 ft. 6 in. [ Extrance to Gallery IV.| i ES Tl NI 765. “‘ Mawworm, Dr. Cantwell, and Old Lady Lambert.” Scene from the play of the ‘Hypocrite.’ Rosertr SMIRKE, Painted in 1867. Old Lady Lambert. ‘‘ How do you do, Mr. Mawworm?” Mawworm. ‘* Thank your ladyship’s axing. I am but deadly poorish indeed; the world and I can’t agree.” Hypocrite, act ii. scene 1. ea a a Next is a frame, containing — No. 765. tft. 74 in. X1 ft, st in, 761. Twelve “ Jiustrations to Don Quixote.” ROBERT SMIRKE, Each 93 in. X 8 in.; painted in brown. Engraved and published in London, 1818. *," All the works by Smirke were presented by Captain T. Lambertand Mrs. Lambert, the painter’s granddaughter. Turning back to the other side of the door, we note a small picture— 331. “ Newsmongers.” Sir Davip WILKIE, R.A. 1821. Wn. An old-fashioned group listening to * 4 one reading the news, in days when a No. 331. rft.4in.X.ft.rtin, | Newspaper was a rarity. . On the next page is a sketch of— ‘ 682. “ Punch, or May Day.” B. R. Haypon. Painted 1829. Bequeathed by George Darling. A very interesting and faithful picture of London street life and costume fifty years ago; not well seen in its present position. The street ‘Punch and Judy” might have been painted yesterday. The scene is the N ew Road, near Marylebone Church. The other work by Haydon in the National Gallery is “ Zhe Raising of Lazarus,” a large picture on the eastern staircase, which we may see on leaving Gallery VIII. | Gallery V. 59 4ft. rot in. X 6 ft. 229. ‘ Portrait of Benjamin West.” Seated on a sofa ; small half length. GILBERT STUART. 3 ft.x2 ft. 4in. Presented by J. H. Anderdon. (124. “ Portrait of Rev. W. H. Carr.” JOHN JACKSON. 2 ft. 6in.X2 ft. rin. Bequeathed 1831. Students will notice the two beautiful studies by W. J. MULREADY, Nos. 154 and 155 (hung on either side of the entrance door). Presented by the Society of Arts, 1842. On the west staircase, outside the doors of this room, are— 1026. “ Zroilus and Cressida.” JouN OrrE. Bequeathed by G., Silk. 1028. “ Manto and Tirenas.” UH. SINGLETON. Beaueathed by the painter. 1027. “Figure of Arie.” H. SINGLETON. 800. “ The Relief of Lucknow.” G. Jones. Presented by the painter. aA eee NTR en ln a a la A a 60 British School. 543 NORTH WALL 544, 537 539 538 547 507 545 546 533 521 530 513 499 558 536 52 506 524 516 505... ~~ ol Sil 509 522 | 902 5 7 GALLERY V1. 464, DOOR e— 528 495 470 476 480 472 488 494 478 462 491 486 484 48] 474 501 435 489 462 458° AGG. 4.90 493 é 500 463 Gallery VI.—The Turner Collection. Period, 1790-1850. Sots = 5 ft. gt in. X 10 ft. rrin, The Turner Gallery contains seventy pictures. The most important are arranged near the line ; but many are placed too high for examina- tion. This long narrow room is crowded almost to the ceiling with paintings (see plan) ; many of them are better seen than formerly, but many are injured in effect by close juxtaposition—the style and colour — of Turner's work seeming especially to demand space and isolation. : Gallery VI. 61 ~ On the south and east walls will be found Turner's principal works, painted between 1801 and 1819; such as ‘ Ca/ars eet (Ara), AOD He Shipwreck” (476), and “ Crossing the Brook” (497). On the north and west walls are those painted in his ‘ second style,” between 1820 and 1839, including such masterpieces as “ CAidde Harold's Pilerimage” (516), “ The Bay of Baia” (505), and “ Ulysses deriding Polyphemus” (508), In Gallery IV. we have seen some of the best of ‘Turner’s pictures in his “ period of decline” ; and we shall find here other fine examples of his later work, such as “ Burial at Sea” (528; p. 70). In our sketches we have selected pictures which represent different periods of the painter’s work, attempting little more than a faithful record of composition ; the marvellous colour and brilliancy of ‘Turner's work being beyond description in black and white. 503. ‘ Rome from the Vatican.” R.A. 1820. The figures (too small to be shown clearly in our sketch) represent Raphael and the Fornarina in the corridor of the Loggie, arranging pictures. ‘Che composition is fanciful, but grand and rich in colour. 522. “ Phryne going to the Public Bath as Venus.” 6ft. 4in.X5 ft. 5in. RA. 1838. The interest here is in composition and colour ; of the landscape, with its terraces and towers, Ruskin writes :— ‘‘Tts foliage is exquisite, the invention of interest quite endless, from the inlaid marbles of the pavement to the outmost fold of fading hills.” 502. “ ngland; Richmond Hill on the Prince’s Birthday.” Figures dancing and making holiday. Ritore in, 4211s A, tSro. 609. “ Zhe Loretto Necklace.” A landscape, with the town of Loretto on the right, and one tree which half fills the composition, 4ft. 4in. 5 ft. 9 in. R.A. 1829. (520, ‘Apollo and Daphne.” 3 ft, OF in. x6 ft. 54 in. R.A. 1837. The Vale of Tempe. 23 Pid Z No. 508. 4 ft. 3 in. X 6 ft. 7 in. ULYSSES DERIDING POLYPHEMUS. SUNRISE. (See p. 64.) Face page 62. Gallery VI. 63 543. “ Venice, Evening; Going to the Ball.” . tft. rein.x2ft.114in. R.A. 1846. The three next landscapes, on the line (Nos. 516, 505, and 512), being considered by many to be Turner’s masterpieces, and “ the most characteristic of his art,” it may be well to examine them together. We sketch the first and the last. Posner No. 516. 4ft. 8in. X 8ft. 2in. 516. “ Childe Harold s Pilgrimage, [taly.” R.A. 1832. ss... And now, fair Italy, Thou art the garden of the world, the home Of all art yields and Nature can decree.” ‘In this picture, Italy, ancient and modern, are both represented : the ancient ruin, the medieval convent and walled town, and the modern life. The time is evening, the sun is going down beyond the mountains, but still tinging them with a warm and beautiful light, shining alike upon the glorious wreck of the past and on the fascinating out-door life, the feasting and dancing of modern Italy. The Italian air, land, and foliage, are all vividly realised.” There are several pictures of this character; one we have seen, No. 371, in Gallery ITI. 505. “Zhe Bay of Baie; Apollo and the Sibyl.” ‘‘ This view represents one of the most beautiful spots in Italy. The castle of Baiz is to the right, and on the opposite side of the bay is seen the distant Pozzuoli, the Puteoli of the Romans.” Aft: oF m. x7 ft. 9F in. R.A. 1823. ; eR se — Bias Rs Wl ere aR Se eS Abe BR De wea ae Saige A Rome : Se A y if | SS We 5 4 ft. 8in. X 8 ft. 2 in, 512. “ Caligula’s Palace and Bridge ;” Bay of Baize. R.A. 1831, **Monuments of doubt and ruined hopes Yet gleaming in the morning’s ray, that tell How Baiz’s shore was loved in times gone by.” Here we give little more than an indication of composition ; the chief interest is in the effect .of the sun rising behind the towers. 499. “ The Decline of the Carthaginian Empire.” Hostages leaving Carthage for Rome ; approaching sunset. . 5 ft. 72in.X7 ft. rrin, R.A. 1817, Turning back a little to— ( S13. “ The Vision of Medea.” 5 ft. 8in. x8 ft. 2in. R.A. 1831. 547. “ Whalers entangled in Ice ; Loiling Blubber.” One of a series painted to illustrate a whaling expedition ; a late work. 2ft. 11gin.X3ft.11in. R.A. 1846. 507. “ Scene from Boccaccio.” ‘A shady glen with pleasant slopes and many figures ; at the extremity of the Agra io ages 4 ft. x 3 ft. R.A, 1828. 545. ‘“ Whalers.” 2ft. 1rin.X3 ft. rrin. R.A. 1845, 558. “ Fire at Sea.” (Unfinished.) | S1l. “ View of Orvieto.” A small town on an eminence, luminous landscape with’ figures. — Painted in Rome, 1829. 3ftx4ft. R.A. 1830. © 536. “ Fishing Boats bringing a Disabled Ship into Port Ruysdaed.” 2 ft. 11 in. X 3 ft. 11 in. - Remarkable for movement and reality. 546. “ Whalers.” . 2 ft. rrin. x3 ft. 11in. R.A, 1846. S41. “Venice, Noon ;” from the Canal of St. Mark. 1 ft. 11din.X2ft. 114in, R.A, 1845. q Gallery VI. 65 508. “Ulysses deriding Polyphemus.” 4 ft.3in. x6 ft. 7 in. R.A.1829. “«The whole picture is illumiried by the golden and crimson light of a brilliant sunrise ; the gorgeous galley of Uysses is on the point of putting off from the island where the Cyclops Polyphemus dwelt.” 518. ‘“ Heidelberg Castle in the Olden Time.” Painted about 1835. 4 ft. 3 in. x6 ft. 7 in. 540. “ Venice Quay ;” the ducal palace, the Riva degli Schiavoni, and the Church of San Zaccaria. . t ft. 114 in. X2 ft. 11g 1n. RA. 1844. 523. “Agrippina landing with the Ashes of Germanicus.” Ancient Rome ; triumphal bridge and palace of the Czesars restored. git ttin. x3 it, Ti4in. «R.A. 1839. 548. ‘ Queen Mal’s Grotto.” ehoTiwine <3 tervin. 7 ft. 8in.x 13 ft. gin. Painted 1862. Presented by the artist’s friends. In this painting there are several hundred figures, f 738. “An Incident in a Battle.” C. P. TSCHAGGENY, a Flemish — painter. Men and horses wounded, and flying over a battlefield. 5 ft. gin. x6 ft. 5in, Bequeathed by J. M. Oppenheim, Thus far we have seen a the pictures in the British section, excepting the two Turners in Gallery IX. and a few English pictures at present arranged in Gallery XVI., the Peel collection. In Part II. of these “ Nores,” which will include the @ld Masters _ and all the Foreign Pictures, we shall visit the new galleries which were — opened to the public for the first time in 1876, Part III. will contain Pictorial’ Notes at South Kensington. | ees ot Houth Kensington. LONDON: PRINTED BY WILLIAM CLOWES AND SONS, STAMFORD STREET AND CHARING CROSS- mc TURES AT south Kensington: The Raphael Cartoons, The Sheepshanks Collection, &c. BY HENRY BLACKBURN, EDITOR OF ‘*‘ ACADEMY NOTES,” AUTHOR OF ‘‘ ARTISTS AND ARABS,” ETC. ETC. 7 London: : feo ATTO AND Welw Dts PEC CA ID iota 1877. All Rights reserved. HENRY BLACKBURN’S ART HANDBOOKS. ONE SHILLING EACH. I Academy Notes, 1875. WITH FORTY ILLUSTRATIONS, Is. Academy Notes, 1876. WITH ONE HUNDRED AND SEVEN ILLUSTRATIONS, Is, Academy Notes, 1877. WITH ONE HUNDRED AND FORTY-THREE ILLUSTRATIONS, Is. ON ee ae The National Gallery. Part I. (The English Pictures.) WITH ONE HUNDRED AND FOURTEEN ILLUSTRATIONS, Is. In the Press, The National Gallery. Part II. (The Old Masters.) WITH NUMEROUS ILLUSTRATIONS, Is, ee eee Other Volumes in preparation. LONDON: CHATTO AND WINDUS, PICCADILLY. rhb ACC E. THE pictures in the South Kensington Museum, described in this book, are :— 1. THE CARTOONS OF RAPHAEL, 2. THE BRITISH PICTURES, forming part of the National Collection. ; Every picture is mentioned, as far as possible, zz its order on the walls. The titles and descriptions are taken from the Official Catalogue, which no student should be without. The outlines and sketches are intended to aid the memory of visitors, and to give a general idea of the contents of the galleries to those who can never visit them. They are not intended as works of art. The engravings are produced by the Typographic Etching Company. Lonpbon, 1877. Born.| DIED.| No. PAGE |No. PAGE. | No. PaGs.| No. Pacr, BARKER, THOMAS ... 1769 | 1847 | 222, p. 20 | 223, p.20 BARRY, JAMES... 1741 | 1806 | 564, p. 63 BIRD, EDWARD 1772 | 1819 246, p. 60 BRYNER, Pees Be — _ 1626, p. 53 |1627, p. 53 BURNET, JouN | 1784 | 1868 an oe ie A "4 Bs CALLCoTT, Sir A. W. 1779 | 1844 {15° 5. . Te re 3) . 35 »P- 40 ; CARPENTER, MARGARET S.| 1793 | 1872 | 17,p.25 | 512,p.53 | 18, p.5 CHALON, J. a ee ... | 1778 | 1854 | 235, p.53 | 284, p.58 CLAXTON, MARSHALL .. 1813 | — | 261,p. 37 CLINT, GEORGE .. | 1770 | 1854 | 258, p. 29 J CoLLins, Cad; 1828 | 1873 |1394, p. 60 COLLINS, WILLIAM 1788 | 1847 ‘er : a 3e 4 és POR ae CONSTABLE, JOHN ... 1776 | 1837 {8 a is wy 3 s ace to) cme Cooke, E, W., R.A. 1811 | — {39, 4 33 47, p. 38 | 41, p.40) 45, p. 43 CooPER, ABRAHAM 1787 | 1868 rs p. 53 : oe wilt : is) »p.25 | 56,p.2 »p.2 »p.2 Corn, C. Wa RA: 1811 {59° p.29 | 60,p.35 | 55,p.43 |} 58, p.53 CRESWICK, T.. 1811 | 1869 | 62,p.36 | 61,p.42 CROME, JOuN .. v1 ss. | 1769 | 1821 | 64, p. 59 |1182, p. 59 CRUIKSHANK, GEORGE... 1792 | — _ 1405, p. 40 DANBY, FRANCIS ... 1793 | 1861 | 65,p.25 |1882, p.60 | 66,p.61 | 67, p.61 DE WINT, PETER . 1784 | 1849 | 258, p.61 | 261, p. 61 |e Reena rte — — |1535, p. 58 DOUGLAS, W. ... a — | 267, p.42 TFONCAN, “De 20 a. 1807 | 1845 | 69,p.41 DYCKMANS md) a i _- — 1, p. 63 EASTLAKE, Ro Teta. 1793 | 1865 | 71,p.19 | 70,p.43 Etry, WILLIAM -- | 1787 | 1849 | 78,p.22 | %2,p.54_ FIELDING, COPLEY V. . 1787 | 1855 |1408, p. 62 FRITH, W. Psy tae 1819 | — 74, p. 31 FUSELI, ig Nala gic Mk 1741 | 1825 |1385, p. 62 GILPIN, Dies nay ... | 1733 | 1807 | 238, p. 59 HAYTER, Sir GEORGE .-. | 1792 | 187 {. GO; peo HOARE, WILLIAM . 1706 | 1792 | 838, p. 62 Hoppner, JouHN 1758 | 1810 |1489, p. 26 Hornun, is oes ee — — |1596, p. 58 : HORSLEY, a Com. 1817 | — 82, p.18 | 83,p.20| 81,p.21 Howarp, EH: 5 1769 | 1847 | 242, p. 61 IBBETSON, J. rei 1759 | 1817 | 247, p.22 | 972, p. 38 JACKSON, JOHN : 1778 | 1831 | 84, p.37 | 85,9. 49 KAUFFMANN, ANGELICA 1740 | 1807 | 579, p. 63 LAMBERT, GEORGE 1710 | 1765 |1481, p. 58 LANCE, GEORGE 1802 | 1864 | 86, p.43 | 895, p.45 LANDSEER, C., R.A. 1799 | — | 103, p. 34 | 105, p. 34 | 104, p. 41 nn Pp. 42 ay p. 5! oe p-52 | 92,p. re . » DP. 54 P55 »P-55 Ps LANDSEER, Sir EDWIN ... | 1802 | 1873 89, p.s7 | 90,p.s7 | 95,p.s7 | 102,p.57 100,p.58 | 99,p.59 | 96,p.62 | 97, p.62 LAWRENCE, Sir THOMAS | 1796 | 1830 |1859, p. 36 (1360, p- 36 LEE, F, R. vee vee eee | 1799 | — | 108, p. 19 | 107, p. 34 109, p. 23 | 114, p. 23 | 118, p. 24 | 115, p. 24 126, p.24 | 111, p.25 | 118,p.25 | 119,p. 25 str, Cy site 1794 | 1859 |(128, p.25 | 112, p. 26 117,p.26 | 122, p. 26 127, p. 26 | 116, p. a 121, p.27 | 125, p. 27 131, p. 27 | 182, p,2 110, p. my, LINNELL, JOHN 1792 | = | 183, p.22 134, p. 44 |1407, p. 44 Index to Painters. LOUTHERBOURG, P. J. DE ~Mar.Low, W. MENNET, L. .. MoNnAMY, PETER MORLAND, GEORGE MORTIMER, J. H. ... MULREADY, WILLIAM ... nO ree Bae Be = _NAsMYTH, P. Newton, G. oe O’CoNnNOR, J. A. RAPHAEL .. a3 _ REDGRAVE, 'R.. RIPPINGILLE, E. v. ROBERTS, DAVID ROTHWELL, RICHARD ... eee +1759 PERRES, J. To): SEVERN, J. SIMPSON, P. ; SIMSON, WILLIAM ... SMIRKE, ROBERT ... SMITH, GEORGE SMITH, G. (of Chichester) STANFIELD, W. CLARKSON . | 1790 STANLEY, C. R. “aan aig ede STOTHARD, T.. STUBBS, ce TOWNSHEND, Rev. ic H. TRAIES, W. Reena, TM, W... Uwins, T. os WARD, JAMES... BWEBSTER, 1., R.A...; _ WILKIE, Sir DAVID WILSON, RICHARD WITHERINGTON, W. F.... Index to Painters. Born. 1740 1740 1670 1763 1741 1786 1805 1787 1795 1793 1483 1804 1798 1796 1800 1800 1752 1829 1714 1794 1794 E755 1724 1789 1775 1782 1769 1800 1785 1714 1785 DIED. 1812 1813 1749 - 1804. 1779 1863 1831 1835 1344 1520 1859 1864 1868 1825 1847 1845 1776 1867 1868 1859 1834 1806 1857 1872 1851 1859 1841 1782 1865 No. PAGE. 171, p. 19 494, p. 41 233, p. 58 No. PAGE. 55, p. 33 1403, p. 43 136, p. 46 156, p. 46 148, p. 47 139, p. 48 138, p. 49 146, p. 50 575, p. 36 578, p. 170, p. 174, p. 179, p. 53 28 1416, p. 45 186, p. 188, p. 196, p. 202, p. 571, p. 20 207, p. 32 213, p. 31 218, p. 21 222, p. 33 225, p. 38 246, p. 44 INO sseAGE. 1404, p. 43 141, p. 46 243, p. 46 154, p. 47 140, p. 48 145, p. 49 149, p. 50 576, p. 36 172, p. 28 176, p. 53 190, p. 52 208, p. 33 211, p. 21 216, p. 26 219, p. 35 No. PAGE. 147, p. 46 143, p. 47 157, p. 47 159, p. 48 137, p. 50 151, p. 50 167, p. 59 197, p. 35 210, p. 29 220, p. 63 220, p. 40 PLAN OF THE PICTURE GALLERIES. (Approached by three staircases, from the main floor.) wa Fs is a a h « COLOURS ‘NORTH GALLERY coLfRcrion SPENCER: SMITH COLLECTION WATER LOAN SHEEPSHANKS GALLERY 1, SPENCER SPENCER fOAN COLEECTYON LOAN COLLECTION SPENCER LOAN COLLFCTION VORSTER COLLBETION DCE PAINTINGS DYCE PAINTINGS COLOURS 1 SOUTH COURT Ee zg ae ee ae ae E ae a = & » a 4 > eo SOUTH GALLERY STAIRCASE ENTRANCE FROM CROMWELL ROAD Scale 109 50 0 Adniission Free on Mondays, Tuesdays, and Saturdays, 10 A.M. to 10 P.M. On other days the admission ts 6d., and the galleries are open in the day only. ee en eae rane th! _.. ae NORTH WALL 2 4 6PENCER NORTH GALLERY. RAPHAEL CARTOONS COLL” &c. a ; SHEEPSHANKS ‘COLL THE RAPHAEL CARTOONS. STAIRCASE 1. The Miraculous Draught of Fishes. 2. Paul preaching at Athens. 3. Elymas the Sorcerer Struck Blind. 4. Paul and Barnabas at Lystra. 5. The Healing of the Lame Man. 6. The Death of Ananias. 7. Christ’s Charge to Peter. Te cartoons of Raphael are a series of designs, drawn with chalk on paper and coloured in distemper, for the purpose of being worked in tapestry. ‘They were executed by Raphael and his assistants in 1513 and 1514, by order of Leo X., to decorate the Sistine Chapel in Rome. The tapestries, worked in wool, silk, and gold, at Arras, were completed and sent to Rome in 1519, the year before Raphael died.* They are now to be seen at the Vatican at Rome, but the colours are much faded, and it is only at South Kensington that we can form a just idea of these designs. The history of these celebrated cartoons may be told in a few words. After the completion of the tapestries they remained neglected in the manufactory at Arras for nearly a century, when Rubens men- tioned their existence to Charles I., and advised him to purchase them for the use of his tapestry weavers at Mortlake in Surrey. On the death of Charles I. Cromwell bought them for the nation for £300. In the reign of Charles II. they were nearly disposed of to Louis XIV., who would have purchased them at any price ; but they remained neglected in a lumber room at Whitehall until the reign of William III., who had them repaired, the fragments pasted together, mounted on linen, and hung in a gallery erected expressly for them at Hampton Court by Sir Christopher Wren. The cartoons had been cut into SE eo eemRERaE ETS er * Raphael (Raffaello Sanzio) was born at Urbino in Italy in 1483, and died at Rome in 1520, aged 37. 8 South Kensington. perpendicular strips about two feet wide, for the convenience of the tapestry weavers, and were otherwise injured before they came to this country. Only seven out of the ten cartoons have been preserved. They are now exhibited at South Kensington by permission of the Queen. The cartoons are arranged under glass in the following order, com- mencing on the left hand on entering the west door.. The first three are smaller, and different in shape from the rest, in order to fit certain &paces in the Sistine Chapel at Rome. es PRS ee SS Soa a SS ro ft. 6 X 13 ft. 6. l. “ The Miraculous Draught of Fishes.” * Christ in loose white robe seated in a boat on the left hand, with Peter on his knees before him. In the second boat two men are raising the miraculously laden nets, whilst a third steadies the boat with an oar; in the distance are the people on the opposite shore. In this cartoon, which has been curtailed in width from injury, the most noticeable parts are the beautiful head of the Christ, the simple but admirable drawing of the limbs of the men raising the nets, and the harmonious composi- tion and colour, as a whole. The figures are too large for the boats, the object being to obtain as large a scale as possible for the figures in Em * The outlines in this book exhibit the cartoons as _they are; not iz reverse, as is the case with most engravings, North Gallery. 9 the space at command; the birds in the foreground are also treated rather conventionally for the sake of decoration. Raphael’s power and _ the simple means by which it is expressed may be seen especially in the drawing of the hands and limbs of the two younger men in this cartoon, which is supposed to be almost entirely his own work,* ee esr: — FAR 2. “ Paul preaching at Athens.” Paul in green with loose red robe standing upon the marble steps of a temple ; behind him three philosophers of the different sects of Plato ; in the middle a group of Sophists disputing ; and other listeners in robes of various colours—green, yellow, brown, and red. On the right are Dyonysius the Areopagite and the woman Damaris, and in the back- ground a statue of Mars in front of a circular temple. In point of pictorial composition this cartoon is considered very remarkable ; the figure of Paul with outstretched hands, set against the dark back- ground of buildings, and the various attitudes and expressions of the listeners, are very striking. The colouring of this cartoon 1s, according to the best authorities, the work of several hands. * For detailed criticisms of each of these cartoons, see Mrs. Jameson’s ‘* Public Galleries of Art,” London, Murray ; also ‘‘ Life and Works of Raphael,” Bohn’s _ Library, from which a portion of this description has been condensed. IO South Kensington. rift. 4X 14ft. 7. 3. ‘ Elymas the Sorcerer struck with Blindness.” “The Proconsul Sergius, seated on his throne in the Preetorium, beholds with astonishment Elymas struck blind by the word of the Apostle. An attendant is gazing with wonder on his face, while eight persons behind are all occupied with the miraculous event which is passing before their eyes. Paul, in red and green robes on the left, points with his right hand at Elymas, who is standing with extended > arms.” An inscription on the tablet at the feet of Sergius runs thus : L. SERGIVS PAVLIVS ASIAE PROCOS CHRISTIANAM FIDEM AMPLECTITUR SAVLI PREDICATIONE. This cartoon is considered “one of the most spirited dramatic effects Raphael ever produced”; it is remarkable for the concentration of interest in one action, and for the manner in which the impression is graduated from terror down to indifferent curiosity, while one person explains the event to another. 4. “ Paul and Barnabas at Lystra.” Paul and Barnabas stand beneath a portico, shocked at the intention © of the townsmen to offer sacrifice to them. Paul, on the left, is rending his garment, and rebuking a man who is bringing a ram to be offered. — In the centre is an ox about to be sacrificed ; on the right is the cripple — with crutch thrown down, and behind the excited crowd ; in the back- © ground is a statue of Mercury. : North Gallery. Il No. 4. “ Paul and Barnabas at Lystra.” ED itea. XX) Potts As a composition, this cartoon is considered an instance of Raphael’s skill in telling the story by various incidents brought together. As in cartoon 3, the red robe of Paul is the prominent colour, carried out in the head-dress of an old man in the centre of the group. The priest, striking the ox, has a skirt of dark greenish blue, and a girdle of wrought gold. There are several figures to remember in this cartoon, notably that of Barnabas, the head of a young man with fair hair, looking down, and the two children in the foreground. Healing of the Lame Man.” (See next page.) _— 5 ~¥ . ee sz se is eS a leh a AOS APSE RE GNIS? ' se a weer - | | ee at v Df Lae gy Yi) < EN LWW ! < ALG wear \ IS t 12 South Kensington. 5. ‘Peter and John healing the Lame Man.” Peter on the right in blue and brown robes, John in green and red, stand in the centre between the columns of the “ Beautiful Gate” of the Temple of Jerusalem ; on the right hand is a hideously deformed cripple, and behind him, in strong contrast, the beautiful figure of a woman with fair hair and delicately coloured robes, holding a child. On the left are other women, one leading a child carrying doves (a familiar figure throughout the world), and people on all sides coming into the Temple. The time chosen is ‘‘ the hour of prayer, the ninth hour.” ‘The richly adorned columns, introduced so skilfully into this composition, are copied from the relics of the Temple of Jerusalem now in St, Peter’s at Rome. “ This cartoon has been executed in great part by Raphael, all the principal heads display his hand in the delicate drawing and intellectual touches”; and, notwithstanding the injuries it has received, it remains ‘one of the most wonderful relics of art existing.” (Sketched on page 11.) 2 Ay “=s ake —— oF ae ee te BAN y S, GO SSS > BONE SN No. 6. irft. 4 X 17 ft. 6. 6. “ Zhe Death of Ananias.” Nine of the Apostles stand together on a raised platform; Peter in _the midst, in robes of blue and orange, is in the act of speaking; on the — ground is the dying Ananias ; on the left, St. John and another Apostle are distributing alms. On the extreme right hand is Sapphira, who, unaware of the catastrophe, is counting the money in her hand. a ge a eB a Ae ii * North Gallery. 13 The remarkable features of the last cartoon are the classic grouping and the circular composition by which everyone is brought into view without apparent effort. ‘The figure of Ananias in the act of falling,” says Hazlitt, “is probably the most natural and expressive attitude of a person overwhelmed by, and in the grasp of, Divine vengeance.” Of this cartoon, Mrs. Jameson writes: ‘“‘ We have here an instance of the truly Shakspearian art by which Raphael softens and heightens the effect of tragic terror. St. John, at the very instant when the awful judgment has fallen on Ananias, turns to bestow alms and a blessing on a poor man before him.” In the painting, it is considered that Raphael made considerable use of his scholars. in Sa ee “AS gles AS, BRD” NED v Pe BY pm Be Sy Ou as NN ig bie. << ——— — — Boe Criss Charee to Peter.” Christ, taking leave of his disciples on the borders of the Lake of Gennezareth, in a white robe (which in the tapestry is studded with golden stars), standing a little apart, points with his right hand to a flock of sheep, his left is extended to Peter, who, kneeling, holds a key. On the right are the other Apostles standing close together, listening to the last words of their Master. ‘The sun is setting behind them across the lake, and lights up the colours of their robes with a brilliant fringe, as the last words are uttered to Peter, ‘“‘ Feed my sheep.” ‘This subject is the most solemn and quiet of all, and appropriately ends the series. In none is ; the scene more effectively portrayed, in none is the head of the Christ Se ee ee 14 South Kensington. more nobly conceived. ‘There are studies for this, and other cartoons, in the Louvre; also in possession of the Queen. A copy im tapestry hangs upon the opposite wall. The remaining three subjects in the tapestries at Rome, of which the designs are lost, are, “‘ Zhe Stoning of Stephen,” “ The Conversion of St. Paul,” and “ St. Paul in his Dungeon at Phulippi. e In the cartoons the bold and apparently coarse treatment was necessary to assist the weavers, and the colours were “ expressly selected to profit by the splendour and variety of the hues of dyed wool and silk, with an intermixture of gold.” After an examination of these designs, it will be well to visit the National Gallery, where (in Room XV.) we may see three of Raphael’s finest paintings, “ Zhe ‘Garvagh’ Madonna,” No. 744; “St Catherine of Alexandria,” No. aa Famer ave “The Vision of a Knight,” No. 213. The other works in this gallery consist of copies of Raphael’s oss ings and frescoes. ; In the centre of the north wall is a copy, in black chalk (by Casonova), of “ Zhe Transfiguration,’ now in the Vatican. This was Raphael’s last work ; the copy is the size of the original, and gives a good idea of the beauty of the composition. There are also a series of drawings copied from Raphael’s fresco decorations in the Vatican for Pope Julius IL, about the year 1511; a series of arabesque pilasters, copied from the Loggie of Raphael in the Vatican; sixteen lunettes, copied from the Loggie; copies in oil, on a reduced scale, of ten frescoes in the Stanze of the Vatican ; and a copy, in tapestry, from the Gobelins at Paris, of the “ Holy Family” in the Louvre. , : ese aaa 4 OF. 106 1395 184 263 213 10 187 30 28 p20 ri 207--B00R- 400-229-1998 121 56 71175 178 11 226 V1 577 571.222 132 59 217 83 37 203210 STTE EPSHANKS GALLERY. 71! 3 wa 13] ; e 81 165 179 172 62. 170 578 540 221 wid : 593 247 142216122 119 111-115 — 1091144 DOOR 16 «127. «2117 «+128 118 186 126 1439 1: NORTH WALL. 17 LrsLtiE—Calloott—Constable—Cope—Etty—F rith—H orsley—Linnell—N ewton—Redgrave— Roberts—Turner—Wilkie. The paintings in the next three rooms, best known as “ The Sheep- shanks Collection,” form part of the National Gallery of British Art, and should be examined in connection with the pictures in. Trafalgar Square. By his deed of gift, the late Mr. John Sheepshanks required that his collection should be attached to the “‘ Department of Science and Art” and be exhibited at South Kensington. ‘Thus we have two national collections of British art extending over nearly the same period.* In these galleries the painters most largely represented are the late C. R. Leslie, W. Mulready, and Sir Edwin Landseer. There are also good examples of Callcott, Constable, Creswick, De Wint, Etty, Linnell, Morland, Roberts, Stanfield, Turner, Webster, Wilkie, and Wilson. Commencing on the south side of Gallery I., the first picture is one of Sir A. W. Callcott’s figure subjects, on the right hand of the doorway. * The great majority of pictures in these galleries are the gift of Mr. Sheep- shanks ; those otherwise acquired are so stated throughout the book. The letters RTA. or “BL,” with a oa indicate the year of exhibition in the ‘‘ Royal Academy ”’ or ‘‘ British Institution,” ' The position of every picture is mario, on the plans at the head of each chapter. The dimensions are given ‘“‘sight size” ; the Aeighd is stated first in all cases. SN Ss ~~, - sss Wr: ea a at 5 ~ RS ~ SSS ‘, wy “s 1 = 5 ; = \ TOT aS SS SSS Wiliam = 8 See ant tS SS same 10. ‘Slender and Anne Page.” Sir A. W. CALLcoTT. Anne. ‘‘* Will’t please your worship to come in, Sir?” Slender. ‘‘No, I thank you, forsooth, heartily ; I am very well.” Anne, ‘* The dinner attends you, Sir.” Slender. ‘‘1 am not a-hungry, I thank you, forsooth.” Merry Wives of Windsor, act i. scene i. 209. “St Michael’s Mount.” J. M. W. Turner. R.A. 1834. A beautiful effect of transient sunshine upon the mount, and upon the wet sand, where fish are laid out for a shore market. There are six Turners in this collection (see pages 20, 21, 29, 30, and 32). Sheepshanks Gallery I. 17 187. “ Children gathering Wild Flowers.” G. SMITH. 1851. 18% 22. A child in a little wooden carriage at the corner of a wood; two elder ones bringing wild flowers. 4 VA Wh Vy i x A y i VON = <5 at SS ASI w SSS ; 223. “ Contrary Winds.” 'T. WEBSTER, R.A. 1843. A very carefully painted cottage interior, the details treated with the finish of the Dutch school. Mr. Webster's principal picture, “ Zhe Village Choir,” is in Gallery II. page 33. | Hr \ 4 \ No. 166. 42 X 36. 166. “ Portia and Bassanio.” G. 8S. NEWTON. R.A. 1831. (Merchant of Venice, act iii, scene ii.) c 1§ South Kensington. Above is a large landscape sketch for a picture by JoHN CONSTABLE, lent for study ; men and horses on the towing-path of a canal, with a windy sky and rain clouds ; also a “View on Hampstead Heath,” 36. 30. “ Bayham Abbey,” near Tunbridge Wells. WuiLL1am COLLINS. 1836. 132x18. Sketch for a larger picture. 82. “Waiting for an Answer.” J. C., HORSLEY, R.A. 163 X 22. B.I. 1841. A retainer, waiting an answer for his master from the lady of the mansion, looks with admiring eyes on the pretty servant-maid in the doorway. The background is from, the garden door at Haddon Hall. ~ ae Ay Fo 9 Fate =; Mate Ged ‘ 1 : ar ? AM TRESS iS eas No. 35. 24 X 31. 35. “ Hampstead Heath.” JOHN CONSTABLE. R.A. 1830. A fine landscape, with rain clouds gathering ; in the foreground, two men, with a cart, are loading gravel. Very characteristic of the scenery to the north of London. 28. ‘* Hall Sands, Devonshire.” WiLLIAM COLLINS. 1846. 164 X 214. An old fisherwoman with her pony about to cross a rustic bridge ~ over a runnel in the sands. 263. “ Landscape.” WIiLLiAM MaRLow. 20 X 293. A composition with trees, a ruined temple, cattle watering, and men fishing. 19 t ! reer ip gers 175. “ Old Buildings on the Darro.” David ROBERTS. Beletoss: An interesting sketch in old Granada; one of the most picturesque corners in Europe. 71. “ An Italian Contadina and her Children.” Sir C. L. EASTLAKE. 183 X 148. B.I. 1824. 108. “Distant View of Windsor.” i, REE qioee nd: View from St. George’s Hill. There are three landscapes here by Lee; one is sketched on page 34. > All «the three preceding | painters are better represented i in Trafalgar Square. " OS | 171. “ Ophelia.” R. RepcRAve. i «1847. GH 59 f r\ | Ophelia, seated on a tree | trunk, in white and yellow dress, Singing, and weaving garlands. 20 South Kensington. . ue ree 577. ‘ Landscape.” J. A. O'CONNOR, 1839. | 54X73. 571. “Landscape”; with ruined tower—sunset. J. M. W. TURNER, 18215 De yet Parson's bequest. Above is— 222. “A Boy extracting a Thorn from his Foot,” T. BARKER. 1810. 522 X 444. Presented by Mr. C. T: Maud. 37. “Boat Building” ; near Flatford Mill. JOHN CONSTABLE. 205 X 403: 83. ‘ The Rival Performers.” J. C. HORSLEY, R.A. B.I. 1839. The background is the recessed window in the steward’s parlour at Haddon Hall. - O17. “ Pigs.” JAMES WARD. 1813.5 Qa xene 223. “Lansdown Fair.” T. BARKER. ' 1812. 20% X 407. Rustics playing at bowls and figures under tents, &c.; with a lowering sky. A picture full of character. Presented by Mr. C. T. Maud. The central picture on the line is a good example of Turner's later style of painting. In the sketch on next page we can only indicate the composition and movement of the waves; in colour there is strom opposition of dark blue clouds and rich yellow sand. | = Go ee 9 \ | \ NYY At EKA NS aS e ANUS WAS VT | FESS WHT EAS a | c = Ql. “ Vessels in Distress off Yarmouth.” J. M. W. TURNER. R.A. 1831. ‘© A life-boat going off to a stranded vessel, which is making blue-light signals of distress. The position of the figures on the sands indicates the long recession of the waves, which are boiling and tumbling under the influence of the storm.” 918. ‘A Chinese Sow.” JAMES WARD. 2x11, 81. “ The Contrast ; Youth and Age.” J. C. HorSLEY, R.A. 18X16. R.A. 1840. An old man in smock frock and a child entering the chancel door of a church. 165. “Landscape; Sir Philip Sidney's Oak.” P. NasMyTH. 16X21. A large oak on the left of the picture believed to be planted in Penshurst Park at the birth of Sir Philip Sidney in 1554. 921. ‘The Last Man.” P.J. DE LOUTHERBOURG. 492 X 392: Three nude figures upon rocks, with chaos of dark clouds. 540. “ On the Ockment, Devon.” W. TRAlEs, 8X I0j. Parson's bequest. 578. “ Zower on the Bank of a River.” Ascribed to J. A. O'CONNOR. 65 7a 73. “ Cupid sheltering Psyche.” Witutam Erty. BI. 1823. engraved, in vignette, on the title-page. Several of Etty’s works belonging to this collection are in circulation in the country at various schools of art. \ e 3 + a. ; Ji IPSS = 4 22 South Kensington. 247. “Jack in his Glory.” J. C. IpBerson. 1795. 172% 24. | Bought. A pair-horse hackney coach driven by some drunken sailors returning from Peckham Fair, with the coachman inside. ee) | sr i i | Ui i SNR Wy) No. 170. 30 X 24H. 170. “ Throwing off her Weeds.” R. REDGRAVE. R.A. 1846. ** A young widow, whose weeds have but the smallest affinity to ‘mourning,’ is preparing to change them for wedding garments,” 133. “Zhe Wild Flower Gatherers.” JoHtn LInNELL. 7 1831. 62x82. Three children with flowers in their laps, seated on the margin of a meadow. There are three good works by the elder Linnell 3 one is sketched on page 44. | A pleasant and graceful example of the painter, which we have So ne ee [ Door. | Sheepshanks Galtery I. 2.3 Nearly the whole of the north wall is occupied by the works of the late C. R. Leslie, commencing with three on the line which represent the painter well—his refinement of sentiment and humour, and his scholarly appreciation of character. Note the grace and beauty of Perdita, in the shepherd’s cottage, in the first painting. ' TO i No. 114. Y 114. “ Morizel and Perdita.” C. R. LESLIE. R.A. 1837 No. 109. 20} X 28. 109. “Scene from ‘ The Taming of the Shrew!” C. R. LEsLiz, 1832. Petruchio thrusts back the gown to the frightened tailor. Katherine sits on the left; Hortensio is seen in the background. ‘This picture, which we have roughly sketched, is considered one of the best of Leslie’s paintings ; it is a repetition of one in the Petworth collection. ar Re! 115. South Kensington. “* Autolycus.” C. R. LEsuiz, 2I X 29. R.A. 1836. “‘ Here’s another ballad of a fish, that appeared upon the coast, on Wednesday the fourscore of April, forty thousand fathom above water, and sung this ballad — Winters Tale, act iv. scene iii. Note the skilful painting of the wares in the tray, and the bright red in the cap of Autolycus, against the hard hearts of maids.” Pets a 322 —— X 224, characteristic of so many of Leslie’s pictures. Above the “ Zaming of the Shrew” is a little circular portrait of the infant Princess Royal (126), being a sketch made in 1841 for his picture of the christening. 113. “My Uncle Toby and the Widow Wadman” in the sentry- box ; a scene from “ Zyistram P Shandy.” C. R. LEsum. 1832, ***T protest, Madam,’ said my uncle Toby; ‘I can see nothing whatever in your eye.’ ““*Tt is not in the white,’ said Mrs. ~Wadman. My uncle looked might and main into the pupil.” This picture was afterwards painted for Mr, Vernon, and is in the National Gallery, Room II, Sheepshanks Gallery Lf. 2.5 65. “ Disappointed Love.” Francis DANBY: 1821. 243X 32. One of the earliest works of a painter best known by his landscapes, such as “ Zhe Fisherman's Home,’ in the National Gallery. There are three in this collection. 17. “ Devotion.” MarcGAaRreT S. CARPENTER. 30X25. et, Loe 2: Life-size half-length of St. Francis with a crucifix, in the attitude of prayer. 186. “ Zemptation.” A fruit stall. GEORGE SMITH. 30X35. A group of children gathered round a stall of tempting frit, éc.; an old woman seated at the school door. [Here is a marble bust of Mr. Sheepshanks by Foley ; also two small sketches for his portrait, by Mulready. See No. 142, in Gallery II. page 50. | Next we have a second group of LESLIES— 118. “ Le Malade imaginaire.” 24X38. R.A. 1843. Argan, in yellow dressing gown, pillowed in a chair at the foot of his bed, appeals anxiously to M. Purgon, who, in black cloak, long wig, and red shoe strings, is leaving the room in a rage. Toinette, standing with arms a-kimbo behind her master’s chair, enjoys the success of her stratagem, while Beralde regards the doctor with scorn and contempt. See Moliére’s ‘‘ Malade imaginaire.” It is supposed that in the “ Ma/ade imaginaire,’ as in other pictures, Leslie has introduced his own portrait. This picture, No. 116, and No. 117, sketched overleaf, are (says the Official Catalogue) “ inten- tionally treated in a slight and rapid manner of execution.” All three works are remarkable for humour and vivacity. lll. “ Who can this be?” 23X29. R.A. 1839. A portly burgomaster, walking in a trim city garden, with his hand- some young wife, receives a salute from a young gallant in peach- coloured satin. ‘The sequel is to be seen in No. 112, on the same wall. 128. “ Griselda.” An oval portrait. “10x 8. 119. ‘“ Don Quixote and Dorothea.” 8X11. A sketch for the picture at Cashiobury. Above is an interesting portrait of the young Miss Linwood, whose exhibition of copies of pictures in needlework in Leicester Square will be remembered by some readers. 26 South Kensington. 1439. “Miss Mary Linwood.” Joun Hoppner. 36X28. q Hoppner was a fashionable portrait painter at the close of the last COT = LG a Z Vi N iN \ \' Ni \ AY A WNYN je ZZ HATE rreetnny i LZ ene SIEGE LES , Ie arg LIMBA d. FEI LiLLOe Willa: GL ZZ, Z ZZ MLE ee eas eos LL LED PALA a Lavi 39 X 30. Hi ul ‘ll | aay | 30X23. century ; three of his works are in the National Gallery. 117. “Les Femmes savantes.” C.R.Lesriz. R.A. 184s, In a red room, lighted with wax candles, Trissotin is sitting, pom- pously reading his poem ; opposite are his audience, affecting to be en- tranced, (Moliére.) 122. “Queen Katherine and Patience.” _C. RAEESLIE. R.A. 18309. Katherine, pale and_ sad, sits by her work-table, in bronze-coloured satin dress; Patience stands beside her, playing on a lute. 127. “ Portia”; an oval por- trait, 10x 8. C. R. LEsiie, Near the foregoing is another small study— 216. “Donkey and Pigs.” JAMES WaRD. 64X09. 112. ‘Who can this be from?” C. R. LESLIE. 18309. 23 X 29. A young lady receiving a letter from a servant girl; said to be the sequel to No. 111, page 25. Above No. 112 is a picture full of humour and vivacity, sketched on — next page. a SSS SSS 43 “45 745 Wy ie! +h ay 144 ‘ty oY on) Oy 1! ti we 4, v4 Lei SERS 116. “Ze Bourgeois Gentilhomme.” Scene from Molitre. C. R. LESLIE. R.A. 1841. Nicole, broom in hand, makes a lunge at M. Jourdain. His wife, on the left, enjoys the victory of the untaught, but adroit, Nicole over her master, who fences only according to the rules of art. | The last four pictures by C. R. LESLIE in this room are on the east wall; their exact positions are shown on the plan. 125. “Zhe Toilette”; a lady examining a necklace. 12 Io. 131. “Dulcinea del Tobosa ”; the pretty peasant mistress of Don Quixote, clad in a red bodice, tying up her long dark hair. 12x Io. R;Ax 1339; 132. “Sancho Panza,’ when governor of Barataria, pre- vented from eating by the | jt interdict of the physician. | R.A. 1839. ‘¢ Sancho sits at his Tantalus table, in the sumptuous palace of his capital at Barataria, the laced bib under his chin. You see the hand of the physician holding the whalebone rod at whose touch the dishes vanish from before the hungry governor. * * * More truthful humour was never put upon canvas of the same dimensions by any painter. The hot, hungry impatience and indignant questioning expression of the face are irresistible”’— Tom Tayuor’s Life of Leslie. No. 132. 12 X 9. And last, a small oval— 121. “A Female Head,” the figure back tofthe spectator. 9X63. iy i i i ee ee ee ee il —— ee See ee 28 South K ensing ton. On the left of this wall, on the line, are five pictures by C. W. Corr, RA; com- mencing with a graceful figure of charity, a fair young girl in white robe giving alms to the poor; a _Classically conceived picture. 57. “ Almsgiving.” R.A. 1840. 52. “ Palpitation.” 30X 223. R.A. 1844. A young lady in white dress stands anxiously waiting for a letter, while the postman discusses the direction with an old servant at the door. 58. “L’ Allegro”; and 59. “/7 ~ Penseroso.” Each 28 xX 18}. R.A. 1848. The last is in the right-hand corner. 56. “ Benificence.” 2725x173. R.A. 1840. A young girl supporting her aged father up the steps of a church porch; clad in _ pic- turesque costumes of the past. Above the first three pictures by Cope is— 172. “Bolton Abbey ; Morning.” R. REDGRAVE. 1847. 125% 302. Two pictures, of no great merit, are hung above— 179. “The very Picture of Ldleness.” A young girl lean- ing out of a window. R. ROTHWELL. 30x 28. And on the right— 178. “ Woviciate Mendicants.” R. ROTHWELL. 36% X 209. Two children about to beg. b r 4 7 } Sheepshanks Gallery 1. 29 —— In the centre, above the Turner, is— 253. “Portrait of Mr. John Beil,” the publisher, with a copy of Bell’s Weekly Messenger in his hand. GEORGE CLINT. 50%X 40. Given by Mr. C. Masters. een ae a Bape tenn eee ee S=S=—= =— ore aS Se ae Se EG RE ete a — eee soeees No. 210. 36 X 484. 210, “East Cowes Castle, Isle of Wight. J. M. W. TURNER. The regatta with the Royal Yacht Squadron parting from its moor- ings. The fine atmospheric effect of this picture is best seen at a little distance ; it is fairly indicated in the sketch. R.A, 1828. 59. “Ji Penseroso.” C. W. COPE. 28x 185. R.A, 1848. 11. “Dort” Sir A. W. CaLLcoTT. 1841. 122% 30. A sunny meadow with cattle, Dort in the distance. In the centre is a fine Wilkie, the four figures in which will linger in the memory of all who have seen the picture. Note the beautiful drawing of the hands (to which Wilkie attached special importance), and the quality of colour throughout. It is said that Mulready sat for the portrait of Duncan Grey. (See sketch overleaf.) This and a little picture, “ Zze Broken Jar” (No. 225, page 38) are the best examples here of the painter of “ The Blind Fiddler,” in the National Gallery. 30 South Kensington. —$KS es — ihe 0 =i i | | | i | HI A Ht H Wilt Yi Re 4 No. 226, ca. 25% X art. 226. “ The Refusal.” Sir Davip WILKIE. R.A. 1814. ** Duncan fleech’d and Duncan pray’d, Ha! ha! the wooin’ o’t ; Meg was deaf as Ailsa Craig, Ha! ha! the wooin’ o’t.”—Burns’ Duncan Grey. 208. “Venice” J. M. W. Turner | RA. 1840, 4 A gorgeous effect of sunlight on the island city; marble palaces, gondolas, gay costumes, and awnings—melting in mist, iii 1s - 4 =. =< Sheepshanks Gallery L. BY 213. An Italian mother teaching her child the tarantella; other figures grouped around. “Ttalian Mother” 'T. Uwins. 1842. 17X22. 1395. “J will fight.” P. Stimpson. 1824. 30X 253. Two boys; one in the attitude of fighting. Townshend beguest. Next is another large study by JoHN CoNnSTABLE ; horses drawing a timber waggon through a shallow stream in a wooded landscape. No. 74. 28) MeATs 74.* “Foneywood introducing the Bailiffs to Miss Richland as his Friends.” W, Pai RITH, R.A. R.A. 1850. Honeywood. ‘*Two of my very good friends, Mr. Twitch and Mr. Flanigan. Pray, gentlemen, sit without ceremony.” Miss Richland (aside). ‘‘ Who can these odd-looking men be?” Scene from GOLDSMITH’S Good-natured Man, act iii. scene i. Honeywood in puce-coloured dressing gown, bailiffs also grotesquely attired in blue and red; the picture is powerful in colour and full of humour. This, and the “Derby Day,” in the National Gallery, are the two pictures by Frith belonging to the nation; both popular and representative works. The above is remarkable for technical skill; note the painting of the Turkey carpet and other details. * Engraved by permission of the Art Union of Glasgow. 207. “ Linejishing off Hastings.’ J. M.W. TuRNER. Bos 1845. Hastings, and its sheltering cliffs, seen under a burst of sunlight ; various boats in the foreground, and a collier wearing off shore. Blue sky and fleecy clouds overhead ; a dark cloud (not seen) casts a shadow on the disturbed water. This was painted as a companion picture to No. 209, on the right side of the doorway, page 16. 212. “Suspicion.” T. Uwins. 1848. 164X224. A lady seated in an Italian garden, two other figures, one playing on a harp. 1434. “ Landscape, with Waterfall and Anglers.” G, SmitH (of Chi- chester), 17X25. Bought. [Entrance to Gallery II.] On the screens in this room will be found a most interesting collection of small Drawings and Sketches by W. MuLREADY. t, ee ee ee stoe: GY. IIL 157 159 439 137 LSI 107 1619 44 236 142, 149 poog 55 201-3103 14 197 148—140—438—145—1464 "2210589 —80— 209 154 143 a , 195 196 162 243141 : do ae 1403-152 : 156 147 136 | 575 576 1410 e 895246 SHEEPSHANKS GALLERY. 110 251 1416 ie ne | 225 oy wi | 1404 173 70 see 86 101 : i ee i104-220—13s—221 27 DOOR 494 1405 60 25 972 61 267: 69 41 1420 13 43 NORTH WALL Mvtreapy—Callcott—Collins—Constable—Cope—Creswick—Eastlake—C. Landseer—Lee— Linnell—Morland—Stanfield—Stothard—Webster—Wilson. . XG ‘s ) 922. “A Village Choir.” T. WEBSTER, R.A. R.A. 1847. A group of village singers and musicians in the gallery of a country church. One of the best and most popular examples of the painter. Note the variety of character and the attention to details, even to the painting of the worn prayer-book and the carved oak panels. 55. >“ Sea-piece.” P. J. DE LOUTHERBOURG. . 217X152. Bought. 201. “ Twelfth Night.” 202. “ Brunetta and Phyllis.” 203. “ Sancho and the Duchess.” On one canvas, 12331. T. STOTHARD. There is another picture by Stothard on the same wall ; but this artist is better represented in the National Gallery. | D Heit No. 107. 30 X 36. 107. “ Gathering Seaweed.” ¥F. R. Lex. | R.A. 1836. Next are two, of the three, works by Charles Landseer, elder brother of the animal painter, | 105. “ The Hermit.” C. LANDSEER, R.A. 22X 182, R.A. 1841. An old man in the dress of a Franciscan friar, reading in a cell ; before him a crucifix and a skull. - 103. “ The Temptation of Andrew Marvel.” C. LANDSEER, R.A. 40X50. R.A. 1841. Lord Danby, in gay attire—white satin, silk stockings, and red cloak—has come to offer a bribe to Andrew Marvel, the member for Hull, a great favourite with Chatles II., who was said to be “much delighted with his conversation,” Behind are the pages with the bags of gold, and Marvel’s servant bringing him his frugal dinner, Marvel declines the king’s offer, and “sends to his bookseller for the loan of a guinea.” The central picture, sketched on next page, is— 33. “ Salisbury Cathedral,” JoHN ConsTABLE, BAS 1823" “This picture was painted for a bishop of the diocese, who, finding some trivial fault with the dark cloud behind the cathedral, declined to take it, The cathedral is one of the most perfect in England.” — Oficial Catalogue. ; This and the “ Detham Mill,’ in Gallery III, page 62, are good examples of the painter, i LS oe “¢ Salisbury Cathedral.” J. CONSTABLE. G0. “Mother and Child.” C. W.Copz, R.A. 143X100. R.A. 1853. A young mother hushing a child to sleep on her shoulder. 14. “Zhe Inn Door.” Sir A. W. CALLCOTT. 434X113. Gravesend ; peasants baiting their horses at the old posting-house. 197. “‘ Shakespearés Principal Characters.” 'T. STOTHARD. 147X55z- A crowd of figures on a small scale, not easy to be seen. 1619. “Lake of Geneva,’ ina storm. L. MENNET. 27 X 39. = 3:2 TA ig gy \ cattle in the water, and a girl seated on the rocks, Here, and in No. 61 (page 42), on the other side of the room, we see this artist to better advantage than in Trafalgar Square. of whose works we have seen in Gallery I. The colours in this picture are exceptionally quiet, excepting Falstaff’s jacket, which is red; the P colour carried out in the picture in a red curtain on the right. — s 36 South Kensington. ine ‘i On the west wall are two small tree studies by James SrarK— 195. “ Distant View of Windsor.” 10283, 196. “ Woody Lane near Hastings.” 8x7. And next is one of Creswick’s finest landscapes ; Nature in her quiet mood, studied with great feeling and accuracy— 62. “A Summer's Afternoon.” T. CRESWICK. R.A. 1844, A mountain stream on the left, rushing over rocks into a quiet pool ;s 2 575. “Landscape: Cottage by a Brook.” PN - NASMYTH. Each 72 x 93. S76. “ Laniiscape, with Haystack.” } eae Parson's bequest. Above are two old-fashioned portraits of young people, by Sir THomas LAWRENCE, painted about 1801— 1359. “ Sir Codrington Edmund Carrington.” 23X19. 1360. “ Paulina, first wife of Sir C. E. Carrington.” 20% X 243. Bequeathed by Miss L. M. Carrington. In the centre of the wall is an important picture by Leslie, the rest a IT LTT = === — eal f mn it va ‘ip Nil int | : wwunict ; °; : . Nh q L We nee fal i i i a ‘hit Ai | i es IN | | ‘ i eh No. 110. 36% X 524. 110. “Zhe Principal Characters in ‘ The. Merry Wives of Windsor.’” C. R.. LESLIE. R.A. 1838. ‘¢ The scene is in Page’s house. At the table, Page is sitting, and offers a cup of sack to Slender, who is waited upon by the stolid Simple. On the left, the fat knight jokes with the ‘¢merry wives,” and Bardolph, as a serving man, is talking to Page’s son. Sweet Anne Page sits placidly beside her inapt wooer. At the foot of the table, Justice Shallow and Parson Hugh observe Slender admiringly.” Above the foregoing (and in strange contiguity with it) is a figure of the dead Christ, with angels watching. O51. “ Zhe Sepulchre.” MARSHALL CLAXTON. 50 X 69. A picture exhibited at the International Exhibition in 1862, and presented by the artist. His principal works were painted for Miss Burdett-Coutts. On the right are two excellent portraits by JoHn Jackson— 84. “Portrait of the Artist.” Re eee 85. ‘Portrait of the late Earl Grey.” eae Returning to the line, there is a delicate little cabinet picture by Wilkie, full of force and humour, which from its small size is liable to escape observation. | 38 South Kensington. ITE ETT 225. “ The Broken Jar.” Sir Davip WILKIE. 72X62. R.A. 1816. 33 X 48%. 189. “4 Market Boat on the Scheldt.” W. CLARKSON STANFIELD. 1838. A boat with market people moored to a buoy at the mouth of a river; a Dutch man-of-war lying off shore. The composition is sug- gested in the sketch; in the painting there is much richness of effect and harmony of colour. This picture and No. 188, on next page, well represent the painter. 47. “ Windmills; Blackheath.” E. W. COOKE, R.A. 7X11. A small sketch on paper. 43. “ Mont St. Michel, Normandy.” E. W, Cooxg, R.A. 215 X 313. B.I. 1832. Low water ; a waggon and company of peasants crossing the sands. 972. “ The Mermaids Haunt.” J. C. Ippetson. 142% 109, Bought. Women bathing in a deep rocky valley, with woods beyond. Underneath the foregoing is a picture painted on panel, by Collins, similar in pleasant treatment and sympathy with rustic life to “4s Llappy as a King,” in the National Gallery. oN 39 27. “ Rustic Civility.” Wii1am CoLuins. 1833. No. 188. ey ee. 188. “Near Cologne.” W. CLARKSON STANFIELD. 1829. A half ruined tower and picturesque buildings of a mill; in the fore- ground a ferry-boat. Very quiet in treatment, and solidly painted, but not equal in quality to “ Zhe Market Boat.” a. 5 oe a a a Ba re ete 40 South Kensington. On either side are two companion pictures, the first of which we have sketched, 221. “ Returning from the Fair.” 220. * Going to the Fair.” Be T. WEBSTER, R.A. BI. 1837. The remaining eight pictures on this wall are not very remarkable as works of art. 25. “ The Caves of Ulysses at Sorrento.” W. CoLiins, 1843. 16X25, The caves are on the right of the picture; on the left is a wide expanse of sea, with Naples in the distance. 13. “4 Seaport and Jetty”, gale rising. Sir A. W. Cattcorr. 12x 16, Above is a large allegorical subject— 60. “ Angels ministering to Christ.” Sir GEORGE HAYTER. 1840. | 67 X 533. Christ kneeling on a rock, surrounded by angels with green, blue, and crimson wings ; other angels in the sky. 1420. “Bla TN arn, Cumberland,” Rey. C. H. TOWNSHEND. 9X ted. Lownshend bequest. 1405. “ Cinderella.” Grorcr CRUIKSHANK, 25 irs, Townshend bequest. A fanciful little painting by the celebrated caricaturist and temperance advocate. 41. “ Brighton Sands.” ¥. W. Cooxe. 253 X 30, B.I. 1838. Fishermen landing fish from a vessel which has just come on shore. Sheepshanks Gallery IT. AI 9 (494. “ Landscape, with river and ruins.” RicHARD WILSON. 10% X 14. | Larson's bequest. [See his other landscape on the east wall; sketched in outline on page 44. | | 104. “ Sterne’s Maria.” C. LANDSEER, R.A, 22182. Maria, seated in sadness on a roadside bank, holds her little dog by a string ; the dog supposed to have been painted by Sir Edwin Landseer. | Door. | 69. “ The waefu heart” (“ Auld Robin Grey”). T. Duncan.” 205% 23%. =R.A. 1841. The waefu’ young wife, seated on a low chair beside the fire ; at her feet a shepherd’s dog. Next, on the line, are three good pictures— | 31. “Seaford, Coast of Sussex.” Witu1aM COLLIns. R.A. 1844. _ Note the cloud shadows over the sea and sand; barely indicated in _ ‘the sketch. 4 237. “ The Reckoning.” GEORGE MORLAND. t Presented by F. P. Round. 3 The best of the three Morlands in this room ; very characteristic of _ the artist. (Sketched on next page.) His other two pictures, Nos. 1403 and 1404, are on the next wall. 42 No. 237. : “* The Reckoning.” G,. MoRLAND. 29 X 39. 15. “A Sunny Morning.” Sir A.W. CaLLcorT. 27% 35%. R.A. 1813. A group of cattle standing among some rushes in a still pool. The landscape sleeps in the mists of a summer's morning; a good rendering of “ British haze.” Above is— 267. “ The Alchemist.” W. Doucias. 1855. 515X395. Bequeathed by Mrs. Fochette. The alchemist and his servant in a spacious chamber, surrounded by books and curiosities, and the various implements of his art. 61. “A Scene on the Tummel,”’ Perthshire. T. CRESWICK. 36 X 28. R.A. 1844. A mountain stream rushing over rocks towards the fore- ground, On the east wall, the first picture is a Landseer, whose prin-— cipal works are in the next room. — 101. “Young Roebuck and Rough Hounds.” Sir E, LANDSEER. — B.L. 1840. A young buck has been killed q and fallen over some rocks ; four 3 young hounds gathered round — oy ~ : the body form the interest of the No. ror. 21 X 17. picture. Sheepshanks Gallery LT, : 43 . 86. “A Fruit-piece.” GEORGE LANCE. 14X17. BL Toa 3: 173. “Mendicants of the Campagna.” E. V. RIPPINGILLE, 1844. 142 X 228. 70. “An Italian Peasant-woman fainting from the Bite of a Serpent.” sir C, L. EastTLake. R.A. 1831. ? 45. “ Portsmouth Harbour.” The Hulks. E.W.Cooxke,r.A. 112X16. An old hulk, in picturesque decay, occupies the centre of the composition. 55. “ Matden Meditation.” C. W. Cope, R.A, 252X152. R.A. 1847. A fair girl, with veil thrown back, reading a book. Above, on the same wall, are two paintings by Gzorc—E MorLanp— 1404. “ Sea-shore”; hauling in a boat. | Fach 34464. Painted 1791. 1403. “ Horses in a Stable.” The latter picture is on the right hand. The central position on this wall is worthily occupied by one of Wilson’s fine landscape compositions ; our outline, on next page, will be sufficient to identify the picture, Se ee ws ASCE, 2 BAN hd S N RAT, FN y ene rs - D ~ ; Se ~ Pe 33 = 7 aca 6 < ip <=

S Sasa eee ami = ==, = = = a Ei si > c SS Se ae, WS TSN A 22 a= = TOM L + ok os bn SS, 246. ‘ Landscape; Evening.” RICHARD WILSON. Wilson was one of the best of our early English landscape painters ; see his works in the National Gallery, Rooms VII. and VIII. On either side are two delightful examples of the elder Linnell. 1407. “ Landscape; Driving Cattle.” JoHN LINNELL. 123X15. Townshend bequest. No. 134. 157 X 222. 1384. “ Milking Time.” JOHN LINNELL. ng * Sheepshanks Gallery LT, 45 In the first of Linnell’s landscapes the cattle are on a very small scale, and the clouds form the chief object of interest; in the latter the interest is in the colour and the repose of evening. Above are three pictures which should be noticed before examining the Mulreadys. 1416. “ Wymph gathering Honeysuckle.” J. SEVERN. 102X165. 1410. “ Ariel: ‘ On the bat's back Tfly’” J. SEVERN. 932X15. Townshend bequest. 895. “ Fruit-piece.” GEORGE LANCE. 36X38. , Bequeathed by Mr. C.T: Maud. A large and skilful composition of fruit in a market basket, on a wooden bench; melons, peaches, grapes, &c. in rich profusion. This picture was added to the collection in October 1877. The remainder of the pictures in this room consists of twenty-four of Mulready’s paintings, forming in themselves a representative col- lection.* Mulready was one of the most perfect draughtsmen of the English school ; his sketches and studies on the screens in these rooms should be examined in connection with his more finished work. “I have drawn all my life,” he says, “as if I were drawing for a prize,” and the pictures before us are evidence of the fact. There is a charm about _ them exceeding anything in the collection. page. . A girl leans against a wall, with an infant brother asleep in her | arms ; behind her a youth in a red smock frock regards her with a | look of intense love. ‘The beauty of the picture is in the refinement ol sentiment, the careful drawing and quality of colour, which it is difficult to indicate in a sketch. In this picture (and in No. 146, “The Sonnet,’ page 50), we are reminded of the poetic sentiment of Mason, Pinwell, and Walker; artists all departed with scarcely a successor. | The central picture, glowing in sunset light, is sketched on next 3 2 Sr * There are four pictures by Mulready in the National Gallery, Room II., and some in the Royal Collection at Windsor. \ Ns \ RAN 8 ei unr NN \ in EY en tae _ < —s No. 141. 244 X 304. 141. “ First Love.” Witt1amM MULREADY. 1839. On either side are two small landscapes— 136.50“ The Mall, Kensington Gravel Pits.” 1812, 14X 193. WILLIAM MULREADY. 135. “* Near the Mall.” 1813. 132X183, 147. “ The Sailing Match.” 14113, Children sailing a boat at a pool. of “ The Rattle.” closely examined. 156. Study for the picture 1807. 45 X 3%. 152. “ Portrait of Mr. Sheep- shanks,” 1832. 65x 53a a Next is a fine study of an old woman with dark hair, the drawing of which should be 243. “ Head of a Female.” WILLIAM MULREADY. | Bought, Sheepshanks Gallery IT. | 47 EG 162. ‘Portraitof a Little Girl” Wma. MULREADY. 9X63. 154. “Stl Life.” 18009. 5aX 5x A small, highly finished study of a stone bottle, glass bottle, | earthen pan, &c. 143. ‘Open your mouth and shut your eyes.” 1838. L22°X 52. A girl with eyes closed kneeling on the grass, a man holding a cherry to her lips; a young child beside them. 157. ‘Landscape with Cottage.” oa 75, ae 144, 2 X gi. 144. “ Brother and Sister.” Writ1am MuLreavv. Alcs Ram _ This subject was painted, on a larger scale, with little alteration, for Mr. Vernon, and is in the National Gallery, Room II. 154 X 18. “ The Butt; shooting a Cherry.” WiiLt1aM MULREADY. R.A, 1848, 48 South Kensington. 159. A sketch for picture of “Punch and Judy.” Wm. MuLrReapy. 1812. 8 s¢r22, A slight sketch in colour, hung rather out of sight. 236. “A Mother teaching her Child to Pray.” 18509. ' 173% 1325 oval: 140. “ Giving a Bite,” R.A. 1836. This picture, and Nos. 143 and 148, on the last page, are thoroughly Noe tac: eres characteristic of the painter. Next is an early work, painted in 1816, showing study of the Dutch school. ‘The subject is familiar through engravings. i U Ss SS ae ge S , , aa = YY Vics Din bana 139. “ The Fight Interrupted.” Wittam MULREADY. R.A. 1610 ‘ Below, in striking contrast in style and treatment, is one of Mul- 4 ready’s largest pictures, full of fine drawing and invention, but i successful in colour and effect than his simpler subjects. 35% X 45. 138. “ Zhe Seven Ages.” WILLIAM MULREADY. R.A. 1838. _ The original design was drawn on wood, as a frontispiece to Shakespeare’s ‘‘ Seven Ages,” published by Van Voorst. nen - SS a ae ee RSS = SS FSS \—=- = No. 145. 212 X 174.4 145. “ Choosing the Wedding Gown.” Wo. MuLrEaDy. R.A. 1846. E SO IES. i OE Te ae EE. ee pln OT a 50 | South Kensington. In the Official Catalogue attention is especially drawn to the colour and execution of the last work ; for force and brilliancy, and for the rendering of textures of drapery, it is very remarkable. 142. “An Interior,” with a portrait ot Mr. Sheepshanks. WuLLiam MULREADY. 20X153, The room is one in which Mr. Sheepshanks resided, in Old Bond Street. ) 137. “ Blackheath Parp.” 133 X24. R.A. 1852. View from the window of a residence of Mr. Sheepshanks. 151. “A Cottage at St. Albans.” 10X14. W Wee 149. “ The Toy Seller.” 74% 93. im aA BOS A negro mendicant selling toys. Last of the series is— 146. ‘‘ The Sonnet.” R.A, 1839. Very beautiful in sentiment, drawing, and composition ; painted in a rich suffused glow of light. A painting which a well-known art critic describes as “one of the most pathetic, | elegant, and intense” of Mul- ready’s designs, | Ln this room are cases containing a valuable collection of Enamels, Miniatures, &c., by Essex, Bone, and other artists, bequeathed by Mrs. Plumley. Also four studies of heads by ALPHONSE LEGROS, cach executed in two hours, before his pupils at the Slade School. Exhibited in the Grosvenor Gallery in 1877, and presented by the Artist. a WATER. COLOUR. GALLERIES 1385 579 833 249 564 91 174 512 176 248——_—-—_. 22) __] DOOR ——-100—— 288 at : 3 50 1626 67 258 93 92. 235 97 96 98 72 1627 09. pee cen > Ee a 242 SHEEPSHANKS GALLERY. | 1408 GA LET. 90 102 1535 95 89 1481 66 261 1583 18 1596 ned pe 6— DOOR +—99 234: -100 32 1077 180 64 164 167 39 233 1394 246 1182 238 38 21 NORTH WALL LanpsEER—Barry—Callcott—Chalon—Constable—Danby—De Wint—Roberts—Smirke— Stanfield—Ward. 91. “ Theres no place like home.” Sir Epwin Lanpseer. BI. 1842. *¢ A Scotch terrier just returned to the barrel that forms his kennel raises a whine of satisfaction.” There are fourteen works by Sir E. Landseer in this room, forming a collection almost equal in interest to that in the National Gallery. E 2 in Fea Bl + ao Rye = Nu f4 ; > A . moe ae SUN TIAL gee ; i | iP aa me RU aR ul “st UU 4 ie | f = a It | 2 AT aN ell: - 2 | \ SuaF OX it S \ H}il ~ I | M : py is rH f } ! ’ z UI ls; 190. ‘Sands near Boulogne.” W. CLARKSON STANFIELD. | ) R.A. 1838. . Sea-shore with fishing-boats ; Dutch man-of-war off shore. The central picture is a well-known work. No. 88. oe ‘49t X 75%. 88. “The Drovers Departure.” Sit E. LANDSEER. RA. 1835. | A scene in the Grampians; depicting the departure of the herds from the Highlands to the south. This picture is unusually full of | incident for Landseer. . | : Sheepshanks Gallery 11. 53 ‘Tn the foreground the grandfather has his horn filled with ‘mountain dew’ by his bonnie daughter, whose husband, just behind her, caresses the youngest child ere he starts. ‘Lad and lass, seated together, foregather ere they part.’ The sheep, the bulls, - and the goats are assembled in the distance in long droves.” In the picture the clouds gather round the mountains more than in our sketch; the colouring is in Landseer’s boldest manner ; the bright red saddle-cloth on the pony and the Highlander’s red stockings are the principal points of colour. Above are two, of the three, examples of Davip ROBERTS, dated 1843— 174. “Entrance to the Crypt, Roslyn Chapel.” 30X26. 176. “ The Gate of Cairo,” called Bab-el-Mutaweller. 30% 26. The southern gate of the old city, with its curious towers and minarets, now in the centre of modern Cairo; a motley crowd of Easterns with.gay costumes and camels. 512. “An Old Woman spinning.” MARGARET S. CARPENTER. 30X26. Larson’s bequest. 9. “4 Brisk Gale” Sir A. W.CatucoTr. 411X263. R.A.'1830. A Dutch East Indiaman landing passengers in boats at the mouth of a river. On the next wall are numerous Landseers, which we should examine after the following :— 53. “ The Young Mother.” C. W. COPE, R.A. 12 XTO. R.A. ‘1846. 50. ‘Donkey and Spaniel.” ABRAHAM COOPER. 1915.9 12 <'9. Next are two little landscapes, 1626. and 1627. (each 4x6), by Bryer, and above, a landscape with horses, waggon, &c., in the shade of a fine group of trees, called— 2.35. “ Village Gossips.” J.J. CHALON. 1815. 412X352: Of this painter, whose work (especially his large sea-piece, No. 234, on the next wall, page 59) appears harsh and crude to the ordinary observer, the late C. R. Leslie wrote in 1855 :— ‘In his execution he did not aim at elaborate and minute finish, though some of his small landscapes prove that this was quite within his power. No painter had so great a range of subjects ; in his figures, animals, and marine pictures we recognise the hand of a master.” There are three landscapes by Chalon in the Water-colour Galleries. 54 “South Kensington. 72. “ The Head of a Cardinal.” Wi1am Etrty, - R.A. 1844. The two small pictures by Etty in this collection are good examples, but scarcely representative of the painter whose works should be seen in the National Gallery, Room II, “ * . We may now return to the Landseers, commencing with No. 92. 92. “The Twa Dogs.” Sir E. LANDSEER. 1822, ‘* Upon a bonnie day in June, When wearing through the after- noon, Twa dogs that werena thrang at hame Foregather’d ance upon a time. * +R And then began a lang digression About the lords of the creation.” - Burns, WH WK MX sss WX SSSSSS5 Zs Z SESS NN SAS SNA Bs ty 18 X 24. 93. “ The Old Shepherd's Chief Mourner.” Sir LANDSEER. RA. 1837, it is covered by a plaid and a g. Ona three-legged stool the erence and age; the stick and ad upon the coffin-lid and floor “The shepherd’s coffin rests in a rude cottage ; blanket partially drawn aside, on which sits his do clasped Bible and spectacles are laid, speaking of rey bonnet, too, are there ; and the Tosemary sprigs spre _tell of the old-world customs passing away or only held sacred in the solitary hills.’ ii = 5D a Soa 7 - 3S SSSsss = SSS t SSS SSS | Seas Wi 11 Up? WAL) 98. “A Naughty Child”; dark green dress and red stockings; a broken slate upon the ground. Sir E. LANDSEER. BI. 1834. a pean No. 87. 20 X 26. ’ 87. “A Highland Breakfast.” Sir E. LANDSEER. RAY 8634: EE eee 56 South Kensington. : eee eee In the centre of this wall, above the Landseers, is a life-size picture of Adam and Eve in the Garden (lent by the Society of Arts), “* Temptation,’ JAMES Barry ; whose principal works are the six large decorative paintings representing “ Human Culture,” in the Council Room of the Society of Arts. Painted in the last century, they were pronounced at the time to be “the greatest historical works of the English school.” They may be seen on application at the Society’s rooms in the Adelphi. Barry’s portrait, painted by himself with un- flinching accuracy, is on the other side of this room (No. 564, page 63). Returning to the line, we come to a popular Landseer, the subject of one of H. B.’s political caricatures forty years ago— zl 94. “A Jack in Office.” Sir B. LANDSEER. | R.A. 1833. This picture, which was a great attraction in the Royal Academy in 1833, may be considered one of Landseer’s representative works ; it is in excellent preservation, the details being as distinct and pure in colour as if painted yesterday. ' Fifteen years afterwards Landseer painted a large picture, very similar in treatment, for Mr. Jacob Bell, “ Alexander and Diogenes”, it hangs in the National Gallery, Room I. (See ‘ Pictorial Notes in the National Gallery,” page 23.) . ' i —r ee bi 90. “A Fireside Party.” Sir E. LANDSEER. Bile182¢ These dogs are said to be the original “ Peppers and Mustards ” described by Sir Walter Scott in “Guy A@annering.” The painting of this picture should be carefully examined. 102. “ The Eagle's Nest.” 10X14. 89. “The Dog and his Shadow.” 1822. 18X22. In the two last, the figures are on an unusually small scale. No. 95- 18 X 24. 95. ‘Tethered Rams.” Sir E, LANDSEER. R.A. 1839. % 58 South Kensington. a 1535. “ Girl, with Dogs.” N. Dtaz. 1431. “Landscape with Buildings, and a River with Bathers.” GEORGE LAMBERT. 392 X 493. TT FS. Se ST SE SS SRS SS es A carefully composed landscape in the style of Gaspar Poussin. 1596. “ The Village Turner.” J. Hornune. eee 18. “ Zhe Sisters.” MARGARET S. CARPENTER. 12X14. BI. 1840. 1583. ‘‘Callendar Bridge, Perthshire.” C. R. STANLEY. 12X16. ‘ Bequeathed by Mrs. Linch. The three foregoing are careful works ; “The Sisters” axe painted with a quiet old-fashioned grace that is rare in these days. 233. “Zhe Hop Garden.” W. F. WITHERINGTON, 1834, fa XTA, A young girl dressing the bonnet of a sister with a garland of hops ; i a lad looking on. There is a similar subject by this artist in the National - Gallery. 39. “Lobster Pots.” E. W. COOKE, R.A, 152 X 27, B.I. 1836. Next are two well-known Landseers, forming a pair representing “Comedy and Tragedy.” The dogs in both pictures are life-size, and, apart from their humorous and pathetic interest, are two of the finest paintings by Landseer in the collection. In the first we have— “Two wiry-haired terriers; one with a | Scotch bonnet on his _ head, the other with a 4 woman’s cap and a — short pipe in his mouth. “Looking at this picture, one almost hears the light-hearted laugh of the master who has so decorated = ee = == ———— Ka S94 Of MES, y Yy NZ => D Se Uy —— AT = No. roc. 27% X 30. © them,”— OF. Cat. 100. “Comical Dogs.” Sir E. LANDSEER. B.L 184258 WEN hi Qs \ i es) eS eee. Uhh UCU CO Sheepshanks Gallery LLl. 59 Zee ra ra 1G ; YW Yi fe L/ 4 7 HA, = N Vite Wp ) en pil sy 1; J Ly) “\) at dil NSS WS \ ( Y il \ AAS “SS \y RA (| Ram ee 99. “Suspense.” Sir E. LANDSEER. 1834. ‘<¢ A bloodhound watching at a closed door, within which some wounded knight has recently been borne. His gauntlets are left outside, and a torn eagle’s plume lies on the floor.” In the centre is the large view of Hastings by Chalon, of which we have spoken on page 53. 234. “Fishing-boats making the Shorein a Breeze.” J.J. CHALON. 1819. 522 X 84. | Bought. The remaining pictures, hung above on this wall, are not remarkable examples of their respective painters. 38. “ Watermeadows near Salisbury... JOHN CONSTABLE. 215;X18. 167. “Cinderella about to try on the Glass Slipper.” KR. REDGRAVE. 42X56. R.A. 1842. 238. “Cows in a Landscape.” 3S. GILPIN. 18 X 243. Bought. The only work by this artist, a Scotch animal painter of the last century. © 1182. “Forest Scene with Oak Trees.’ JOHN CROME. 242 X 29. This artist was the founder of a school of landscape painting in Norfolk, about the year 1800. 164. “4x Interior.’ WiLt1aAM MULREADY, Jun. 16X 203. R.A. 1838. 64. “4 Woody Landscape” ; a group of oak trees, with a labourer and two children on the road. JOHN CROME. 194X154. [ Door. | nnn eee ee a a ee et er eee eng eet 60 South Kensington. 6. “Landscape; cows drinking.” JouHN BuRNET. 1817. 1 5x X 225. Presented by Mr. Roberson. Four cows drinking at a pool; the only example of this artist, a companion of Wilkie, and engraver of some of his pictures. 180. “Jnterior of a Cattle- shed.” WiLutaM SIM- SON. An excellent little study by a Scotch animal painter, reminding us of the Dutch school. 246. “ Jdleness”; interior of a cottage, a girl asleep. E. Birp. 123 X 163. No. 180. 138 X 18. Next is a large, sombre canvas, representing barren rocks and the dark recesses of a poisoned valley; a work of no great importance from an artistic point of view. 1382. “ The Upas or Poison Tree” of the Island of Java. FRANCIS DanBy. 662X923. 5.1 3320. ‘* A fabulous tree said to grow in the island in the midst of a desert, formed by its own pestiferous exhalations. The poison was considered precious, and was to be obtained by piercing the bark. So perilous was the endeavour to obtain it that only criminals sentenced to death could be induced to make the attempt.” REDGRAVE’S Century of Painters. 1077. “ View of the Light-house in the Bay of Dublin,’ with his Majesty’s yacht Dorset. J. T. SERRES. 1788. 40X60. Bought. 21. “Lions and Lionesses”; with rocky background. G. Srupss. E710. be TT Bought. 1394. “ The Good Harvest of 1854.” C. A, CoLtins. 1721 33. A child in mauve dress carrying corn 3 a small subject sympathetic- ally painted. The artist was a son of the late W. Collins, R.A. 32. “ Cottage Interior.”~ Wittam Couzins, 1814. 13X15. An interior with a woman peeling apples ; said to be a portrait of — the artist’s mother. 99. “ Hercules slaying the ffydra.” J.H. Mortimer. 162% 143. Sheepshanks Gallery LL. 61 TE eee ee a ae ec a eee ee eee UE naa On the east wall are two fine landscapes by Perer De Wnt, which should be noticed together (No. 258 is on the right of the wall). No. 261. Z me X 634. 261. “Woody Landscape with Water.” 258. “A Cornfield.” 417X043. The latter is noticeable for aérial perspective and transparent qualities. De Wint’s landscapes in water-colours are highly esteemed. 66. “ Calypso’s Island.” FRANCIS DanBy. 33X46. Sunset upon a flat shore; tall trees growing at the water's edge ; a figure on the sand. See also, on the right hand, a stormy scene— 67. “Liensford Lake, Norway.” FRANCIS DANBY. 332 X 46. RAL TO41. The centre of the east wall is principally occupied by a life- size figure subject— 942. “Peasants of Subiaco re- turning from the Vineyard on a _ Holiday”; figures nearly life- size. H. HOWARD. R.A. 1808. | 62 South Kensington. As x * | - Underneath the foregoing is a good landscape— 34. “Dedham Mill.” J. CONSTABLE. | 1820, s The mill belonging to Constable’s father in which the artist worked as a boy; in the centre of the picture is Dedham Church, On either side are four little pictures— _ . 1408. “ Mountain. Landscape.” Coprey V. FIELDING, 5 x 84. Townshend beguest. 8. “Stalian Landscape”; a composition. Sir A. W. CALLCOTT, | 2X3. 97. “ The Angler's Guard” Sir E. LANDSEER, 5X52 BI. 1824, 96. “Sancho Panza and Dapple,” oa npn eS Se : * , Sir E. LANDSEER, 1824. 7362, On the south wall are— 248. “Sidrophel and the Widow” » from * fludibras.” SMIRKE, Circular, 20 in. diameter, ht ere en a ROBERT Bought. Smirke was one of the earliest of the English school of painters, There are some interesting works by this artist in the National Gallery, Room V. t } 833. “Head of a Girl wearing | @ broad-brimmed Hat.” Witttam Hoare. 162% 134, Bought. . 1385. “ Head of a female.” FH. Fuser. Circular, 172 in, diameter. : g A portion of a picture representing “ The Dream of Queen Katherine.” § Fuseli was Professor of Painting in 1779, and Keeper of the Royal Academy in 1804, . 3 Sheepshanks Gallery LI. 63 ; Next is a large and interesting picture of London on the Thames, about the year 1700. 249. “The Old East India Wharves at London Bridge.” PETER MonamMy. 63X54. Bought. y y TES Hye y No. 220. 220. ‘ Bulls fighting.” JAMES WaRD. A landscape with rugged tree trunks and a windy sky ; an interest- ing view of St. Donatt’s Castle, Glamorganshire, in the background. 1. “ Family Group of Three Figures.” J. L. DycKmans. Bequeathed by F. Flensch. 564. “ Portrait of Himself.’ James Barry. 163X132. Parson's bequest. 579. “ Portrait of Emma Harte.” ANGELICA KAUFFMANN. 1796. 18 X 133. A popular portrait painter in days when lady artists were rare. In 1769 she was elected a member of the Royal Academy ; her charm of manner and somewhat eventful life are matters of history. [End of Sheepshanks Collection] On the screens in this gallery are Water-colour Drawings and Sketches by MacuisE, PauL DE LA RocHE, Cope, Eyre CrowE, Cooper, MUL- READY, CROME, Gvc., partly the Ti ownshend bequest. EN dee sop hay | Bee aligns Ce i SF 64 South Kensington. THE WATER-COLOUR GALLERIES. The room next entered and the long gallery to the south contain the NATIONAL COLLECTION OF WATER-COLOUR PAINTINGS. It is still in course of formation, and will eventually be the best historical collection of water-colours in the world } many of the drawings and sketches are by artists whose paintings we have seen in the Sheepshanks Galleries, This collection should be examined in connection with some Drawings bequeathed by Mr. William Smith, at present arranged in the Western Galleries. (See plan on page 6.) a THE WESTERN GALLERIES LOAN COLLECTIONS, The SPENCER COLLECTION consists of 119 pictures by some of the most celebrated painters of the Italian, Flemish, Dutch, and English schools, lent to the South Kensington Museum by Earl Spencer. The FULLER-MAITLAND COLLECTION consists of go pictures by some of the most celebrated painters of the Italian, German, Dutch, and English schools, lent to the Museum by Mr. W. Fuller-Maitland. ee In the rooms at the southern end are :-— The DYCE COLLECTION , consisting of Oil Paintings, Miniatures, Drawings, Engravings, &c., and a valuable Library, bequeathed by the Rev. W. Dyce. Amongst the oil paintings are theatrical portraits of much interest. The FORSTER COLLECTION consists of Oil and Water- Paintings, Drawings, &c., and includes the large picture, by MACLISE, of “ Caxton’s Printing Office in the A /monry at Westminster.” | EE The NATIONAL PORTRAIT and Busts of famous Englishmen, is temporarily arranged in the — Exhibition Galleries, Exhibition Road colour — a oy GALLERY, consisting of Portraits q DESCRIPTIVE AND HISTORICAL CATALOGUE OF THE PICTURES THE NATIONAL GALLERY: WITH Biographical Potices of the Deceased Painters. BRITISH SCHOOL. By Authority. FORTY-FIRST EDITION. LONDON: _ PRINTED FOR HER MAJESTY’S STATIONERY OFFICE, AND SOLD AT THE GALLERY. 1878. Price One Shilling. PLAN OF THE GALLERY FLOOR. many - ; : Be } | , | | i { | i jj \ fi i i i nn Hd : 2 i fe : % F I. Il. IIL. V. British School. < ; IV. VI. Turner’s Gallery. ei | VII. VIII. British School. a a IX. French School. { X. Later Italian, ' XI. Wynn Ellis Gift. ) XII. Dutch and-Flaniae q XIII. Quattrocento Italian. : XIV. Cinquecento Italiin. — | XV. Select Cab:net. d | XVI. Peel Collection. il ‘ | XVI. Larly Italian. * | XVIII. Spanish School. 3 | } Seal ii Se NOTICE. IN using this catalogue in the Gallery, reference should be made from the painter’s name on the frame of the picture to the corresponding name at the head of the page in the catalogue, where the order is alphabetical, Should the name of the master on the picture frame from any cause not be easily legible, it may be found by referring to the number in the Index list, page 5, corresponding with the number of the picture. _ The Gallery is open to the public on Mondays, Tuesdays, Wednesdays, and Saturdays during the following months :— November December + From 10 A.M. until dusk. January February March From 10 A.M. until 5 P.M. April | May June July August September From 10 A.M. until 5 P.M. From 10 A.M. until 6 P.M. The gallery is open to Students on Thursdays and Fridays during the above-mentioned months from 10 A.M. to 5 P.M. In the month of October the Gallery is closed. H 361. Wt. B 328. THE NATIONAL GALLERY, BRITISH SCHOOL. THE National Gallery of Pictures was founded in 1824, during the administration of the Earl of Liverpool, by the purchase of the collection of John Julius Anger- stein, Hsq., consisting of thirty-eight pictures, comprising nine specimens of the British school. This collection, which thus formed the nucleus of the present National mallery, was secured to the nation by a grant of Parlia- Gent, voted April the 2nd, 1824; and it was opened to the public in the house of Mr, Angerstein in Pall Mall, on May the 10th of that year. In 1826 the collection was increased by the liberal dona- tion of sixteen pictures from Sir George Beaumont, in- cluding five works of the British school; and in 1831 it was enriched by the valuable bequest of the Rev. William Holwell Carr, comprising, however, only one English picture. : Up to the year 1847, nearly a quarter of a century after its foundation, the National Gallery contained ‘only forty- one pictures of the British School ; but.on December the 22nd of that year it was greatly increased by the -munificent donation of Robert Vernon, Esq.,:who, presented by deed of gift to the Trustees of the National Gallery, a collection of one hundred and fifty-seven pictures, all, with only two exceptions, by painters of the British School. And on the 25th of September 1856, the national collection was further largely increased by the acquisition, in pursuance of an order of the Court of Chancery, of the great bequest of Joseph Mallord William Turner, R.A., consisting of about one hundred finished oil pictures, and some thousand drawings and sketches in water éolours, &e. nti dee The National Gallery British School contains four hundred pictures, by ninety-three) masters. of. British birth or descent, nearly. all presented. or bequeathed to the Trustees. Complete lists of the donations and be- quests, and of the Turner drawings and) sketches exhibited - to the public, will be found at the end of the Catalogue. ee INDEX TO THE NAMES OF THE MASTERS OF THE PICTURES IN THE NATIONAL GALLERY—BRITISH SCHOOL. ARRANGED ACCORDING TO THE NUMBERS OF THE PISTURES, No. A } Reynolds, Sir Joshua 80 Gainsborough 99 Wilkie, Sir David - 100 Copley 105 Beaumont, Sir George oe } Reynolds, Sir Joshua 108 Wilson 109 Gainsborough 110 Wilson — 111 Reynolds, Sir Joshua 112 113 114 115 }Hogarth 116 117 118 119 Beaumont, Sir George 120 Beechey, Sir William 121 West 122 Wilkie, Sir David 123 Williams, Edward 124 Jackson 125 Huysman 126 West 128 Reynolds, Sir Joshua 129 Lawrence, Sir Thomas 130 Constable 1311 w. 132 } West 133 Hoppner 136 Lawrence, Sir Thomas 139 Kaufmann, Angelica 142 Lawrence, Sir Thomas 143 Reynolds, Sir Joshua 144 Lawrence, Sir Thomas 162 Reynolds, Sir Joshua 171 Jackson 175 Vander Plaas 178 Hilton 182 Reynolds, Sir Joshua No. 183 Phillips 185 Reynolds, Sir Joshua 188 Lawrence, Sir Thomas alae 220 } Stuart 229 ; 231 Wilkie, Sir David 233 Hoppner 241 Wilkie, Sir David 267 Wilson 273 Kneller, Sir Godfrey 301 a Wilson 304 305 306 f Reynolds, Sir Joshua 307 308 ns Gainsborough 31] 312 Romney } Scott 316 Loutherbourg 317 318 319 320 321 322 323 Bird a } Lawrence, Sir Thomas 326 Jackson 327 Constable 328 329 330 > Wilkie, Sir David 331 332 Stothard Hilton 337 | 338 J 339° Phillips 3 344 >Calicott, Sir A. W. 348 349 Howard Bie Thomson : 52 oe Collins oe } Newton 355 Geddes 360 361 \Etty 362 363 367 } Shee, Sir M.A. i fee J. M. W. 373 Allan, Sir William 374 Bonington 300 | Briggs 377 Clint 378 Good 379 Miiller ti } Nasmyth, Patrick fate Simpson, J. ste or Wyatt, H. 3851 ay Ward, James ; 387 388 } Uwins a “3 5 24 | adendy 396) | 397 heey } Eastlake, Sir Charles L, 400 401 } Roberts ret } Leslie 404 405 4 Hi Stanfield 407 408 Landseer, Charies 4 ; 412 }Landseer, Sir Edwin 415 Ig a 417 } Pickersyil, H.W. 418 419 | Be ‘21 mus Witherington Ph 53 | Maclise we 424 Hart 425 Herbert a } Webster 428 Redgrave 429 Creswick 430 43] } Ward, E. M. 432 433) a 4 at Williams, Penry 435 : 436 } Cooper, T, S. ot ae ee ee ee Ain ae 0H INDEX TO NAMES OF MASTERS, No. No. Sh 491 | 439 } Linnell | 492 440 Lane, Theodore so 441 ( 112 Lance hr 443 : 444 Egg: — 497 445 Pickersgill, F. R. 498 446 Horsley Se pe \ Cooke 501 449 Johnston ae nis } Goodall 504 452 Herring 605 453 Fraser oy A \ Rippingille 508 456 Haghe 509 457 Dubufe 510 458 511 459 512 460 513 461 514 462 O15 » Turner, J. M. W, 463 516 464 517 465 518 466 519 467 520 468 521 469 522 470 523 47] 524 472 v0 26 sey Turner, J. M, W. 527 475 ee 476 2 477 530 | 478 531 479 532 480 ae 481 ved 482 535 483 | ae 484 i 538 485 | 486 539 487 540 } 488 541 | | “= ¢ INDEX TO NAMES OF MASTERS, 553 Turner, J. M. W. 563 Seddon 600 Dyckmans 601 Bozall 603) 604 606 ‘ Landseer, Sir E, 08 610 611 | Landscr, C; 612 614 Etty 615 Frith, W. P. 616 Ward, E. M, 617 Douglas, W. ne O’ Neill, G. B. id 30 } Lee and Cooper 621 Bonheur, Rosa 662 Williams, Penry 675 Hogarth 676 Sleap 677 Shee, Sir M. A. 678 Gainsborough 681 » Reynolds, Sir Joshua a Haydon pe! 4 eat Gainsborough 688 Ward, James 689 Crome, J. 725 Wright, of Derby 730 Uwins 731 Thomson, J. 733 Copley 1,026 Opie oe } Singleton { 1,029 Linton Bit 1,030 Morland Lee 1,037 Crome (Old) 1,038 Mulready | , ‘ 1.039 Barker } NONE EEE Te A £ 738 Tschaggeny a 743 Gordon, Sir J. W. 754 Reynolds, Sir Josiina 4 759 Armitage, E. 760 Gainsborough 763 >Smirke, Robert a4 784 Opie | 785 Lawrence, Sir T. 786 Haydon ©) 787 Copley. 789 Gainsborough : 791 Pickersgill, H.W. 792 Barker 793 Martin 795 Cruikshank — . 799 West Beh oe 800 801 } Jones, George 810 Poussin, Charles 813 Turner 814 815 } Clays, Pe. 885 886 887 a Reynolds, Sir Joshua 890 891 892 . 894 Wilkie, Sir D. 897 Crome, J. 898 astlake, Sir C. L. 899 Daniell, T. . 900 Hoppner. 917 218 Good, T. S. 919 j 921 Wilkie, Sir D. — 922 Lawrence, Sir T, ‘ 925 Gainsborough ; 926 Crome pote a 1,040 Miiller 9 THE BRITISH SCHOOL AS REPRESENTED IN THE NATIONAL GALLERY. COI ves Eighteenth Century. William Hogarth, 1697-1764. S. Scott, Richard Wilson, R.A., 1713-82. Sir Joshua Reynolds, P. R. A., 1723-92. Thomas Gainsborough, RA, 1727-88. Joseph Wright, 1734-97. George Romney, 1734-1802. John Singleton Copley, R.A., 1737-1815. Benjamin West, P.R.A., 1738- 1820. Angelica Kaufmann, R. i 1741-1807. Thomas Daniell, R.A., 1749-1 840. Robert Smirke, R.A,, 1752-1845. Sir George Beaumont, Bart., 1753-1827. Sir William Beechey, R.A., 1753-1839. ‘ Gilbert Stuart, 1755-1828. Thomas Stothard, R.A., 1755-1834. John Hoppner, R.A., 1759-1810. John Opie, 1761-1807. George Morland, 1763-1804. RAPA P ADP LP SPL LD PILLS LLP LL SL PLL LIAS 1772. Nineteenth Century. DECEASED MASTERS. E. Bird, R.A, 1762-1819. H. Singleton, 1766-1839. J. Crome, 1'769-1821. Sir Thomas Lawrence, P.R.A., 1769-1830. H, Howard, R.A., 1769-1847. irHomias Barker, 1769-1849. J. Ward, R.A., 1769-1859. Thomas Phillips, RA, 1770-1845. b Sir M. A. Shee, P.R.A., 1770-1850. be George Clint, 1770-1854. H. Thomson, R.A., 1773-1848. = J. M. W. Turner, R.A., 1775-1851. : J. Constable, R.A., 1776- 18387. = J. Jackson, R.A., 1778-1831. a J. Thomson, H.R.S.A., 1778-1840. | Sir A. W. Callcott, R.A., 1779-1844. | . Simpson, 1782-1847. Sir W. Allan, R.A., 1782-1850. i ‘ 10 BRITISH SCHOOL, Edward Williams, 1782-1855. T. Uwins, R.A.,1782-1857. H. W. Pickersgill, R.A., 1782-1875. i Sir David Wilkie, R.A., 1785-1841. Patrick Nasmyth, 1786-1831. W. Hilton, R.A., 1786-1839. B. R. Haydon, 1786-1846. W. Mulready, R.A., 1786-1863. A. Fraser, A.R.S.A., 1786-1865. W..F. Witherington, R:A., 1786-1865. G. Jones, R.A., 1786-1869, W. Etty, R.A., 1787-1849. W. Collins, R.A., 1788-1847. A. Geddes, A.R.A., 1789-1844. John Martin, 1789-1854. Thomas Sword Good, 1789-1872. Sir John Watson Gordon, R.A., P.R.S.A., 1790-1865. H. P. Briggs, R.A., 1792-1844, FE. Danby, A.R.A., 1793-1861. Sir Charles Lock Eastlake, P.R.A., 1793-1865. C. Stanfield, R.A., 1793-1867. G. S. Newton, R.A., 1794-1835. W. Linton; —— 1876. H. Wyatt, 1794-1840. ©. R. Leslie, R.A:, 1794-1859. J. F. Herring, 1795-1865. D. Roberts, R.A., 1796-1864, E. V. Rippingille, 1798-1859. Theodore Lane; 1828. R. P. Bonington, 1801-28, George Lance, 1802-64, Sir Edwin Landseer, R.A., 1802-73. J. A. Sleap, 1808-59. T. Creswick, R.A., 1811-69. D. Maclise, R.A., 1811-1870. W. J. Miller, 1812-45. A. L, Egg, R.A., 1816-63. Thomas Seddon, 1821-1856.* Livinc MASTERS. E. Armitage, R.A. Sir W. Boxall, R.A. E. W. Cooke; R.A. T. 8. Cooper, R.A. George Cruikshank, W. Douglas, R.S.A. W. P. Frith, R.A. F. Goodall, R.A. L. Haghe. 8. A. Hart, RA. J, R. Herbert, R.A. J.C. Horsley, R.A. A. Johnston. C. Landseer, R.A. F.R. Lee, R.A. J. Linnell. G. B.O’Neill. F. R. Pickersgill, R.A. | R. Redgrave, R.A. E. M. Ward, RvA. T. Webster, R.A. Penry Williams (Rome).f * See Biographical Memoirs of Deceased Masters, in the Catalogue, arranged alphabetically. + The works of Vander Plaas, J. Huysman, Sir Godfrey Kneller, Louther- bourg, Dyckmans, Dubufe, Mdlle. Rosa Bonheur, Tschaggeny, Charles Poussin, and Clays, are at present catalogued with the works of the British School. Lies 5 CATALOGUE, ALLAN. Sir WILLIAM ALLAN, R. A.,was born at Edinburghin 1782. He studied some years at the Trustees Academy there, where he was the fellow student of Wilkie; he afterwards at- tended the schools of the Royal Academy in London. Having failed to meet with the success he desired in London, he started in 1805 to try his fortunes in the capital of Russia. He was wrecked on the voyage at Memel, on the Prussian coast, but after a short delay, and receiving some assistance from the Danish consul there, he pursued his journey to St. Petersburg by land. Through the kind offices of Sir Alexander Crichton, then physician to the Imperial family, Allan met with considerable success as a portrait painter in St. Petersburg. He subsequently visited the interior of Russia, Tartary, and Turkey, and collected the materials for the many original and charac- teristic works which he afterwards painted, illustrating the life of eastern Europe. He returned to Europe in 1814, and in 1815 he exhibited in the London Royal Academy his picture of “ Circassian Captives,” now in the possession of the Earl of Wemyss. This was followed by similar pictures of the same class, as “Prisoners conveyed to Siberia by Cossacks ;” some of which were eventually purchased by the late Emperor Nicholas. About 1830 Allan paid a second visit to the continent, for the benefit of his health ; and in 1834 he visited Spain. In 1835 he was elected a member of the Royal Academy in London, and in 1888 he succeeded Mr. Watson as President of the Royal Academy of Scotland. He also succeeded Sir David Wilkie as Her Majesty’s Limner for Scotland, and he was knighted in 1842. In 1843 Sir William Allan exhibited at the Royal Academy a picture of the “ Battle of Waterloo,” which was purchased by the late Duke of Wellington ; he exhibited another large picture of the same subject in 1846 at the Fine Arts competition in Westminster Hall. In 1844 he revisited St. Petersburg, and on his return, painted for the late Emperor, a picture of “Peter the Great teaching his Subjects the Art of Ship Building,” which was exhibited 12 ARMITAGE—BARKER. in London in 1845, and is now in the winter palace at St. Petersburg. Sir William died at Edinburgh, February 23rd, 1850. He died in his painting room before a large unfinished picture of the “Battle of Bannockburn.”* He exhibited altogether forty-one works in the Royal Academy. in London. " —_—_— No. 373. Tartar Ropsers Drvinine THEIR SPOIL, Two seated robbers in a rocky recess disputing over their booty. Engraved by J. Stewart ; and by J. T. Smyth.t On wood. aft. 5 in. h. by 1 ft. 83 in. w, Exhibited at the Royal Academy in 1817. Vernon Coxiucrion. IIIA DOL OOIIID DIOP ILO OO POET ODNODOOS EDWARD ARMITAGE, R.A. No. 759, Tur Remorse or Jupas. beryl “Then Judas which had betrayed him, when he saw that he was con- demned, repented himself, and brought again the thirty pieces of silver to the chief priests and elders, saying, I have sinned in that I have betrayed the innocent blood. And they said, What is that to us? see thou to that.” Matthew xxvii., 3, 4. Four figures half length ; life size. On canvas, 4 ft: 2 in. h.. by 6 ft. 7 in. w. Exhibited at the Royal Academy in 1866. Presented by the painter in the same year. - rid SNOLLIYLPRAPI II PAIN re BARKER, THOMAS BARKER was born in 1769 near the village of Pontypool, in Monmouthshire. His father, also a painter, afterwards settled in Bath, and here the son found a valu- able patron in Mr. Spackman, a coach builder, who furnished the young painter about 1790 with the means of visiting Rome. This proved of great advantage to him, though Barker's taste was chiefly for landscape and rustic subjects, following somewhat in the steps of Gainsborough, who had gained a great reputation at Bath. Barker, however, painted also occasionally portraits and religious pieces, His career was a successful one; he settled at Bath, where, and in the * Art Journal, 1849, 1850, + The whole of the Vernon Collection, with a very few exceptions, was engraved for the Art Journal, see The Vernon Gallery of British Art, edited by 8. C. Hall, Esq., F.S.A., 4 vols., 4to. London, 1851, . é gba, a. of tin ET a eee! ace MELA PE lt iO Rel, 0 9 BEAUMONT. 13 neighbourhood, his works are still principally to he seen, and where he died on the 11th of December 1847.* He exhibited many works at the British Institution, but his name very seldom occurs in the catalogues of the Royal Academy; his brother Benjamin, also a good landscape painter, settled at Bath, was a more frequent exhibitor there. Thomas Barker’s most remarkable work is the large fresco painted in his house at Sion Hill, Bath, representing “ The inroad of the Turks upon Scio, in April 1822.” A very popular picture was his “ Woodman,” a copy of which in needlework by Miss Linwood was exhibited for many years in Leicester Square: the subject was described or illustrated by a quotation from Cowper's “Task.” The example in this collection is another picture. No. 792: A WoopMAN AND HIS Doc In AStToRM. Full length, life size. On canvass, 7 ft. Qin. h. by 4ft. 103 in. w. From the collection at Brettenham Hall, Suffolk. Presented by R. E. Lorrt, Esq., in 1868. No. L039. LANDSCAPE ; perhaps on the Somerset Downs. In the fore-ground a clover field in which peasants are working or resting, and a donkey stands waiting for his load. In the distance a level country, and a river with hills beyond it. On canvas, 2 ft. 2 in. A. by 3 ft. 3 in, w. Purchased in 1878 from Mr, W. Fuller Maitland, M.P., out of a pecuniary bequest made by the late Mr. Richard Charles Wheeler. LPL L PLP PLP LL ILIA NANI NANI NED NANI INS NAINA NINO BEAUMONT. Str Grorce HowLanpd BEAUMONT, seventh baronet of the ancient family of the Beaumonts, of Stoughton Grange. Leicestershire, was born at Dunmow, in Essex, in 1758, He succeeded to the baronetcy in 1762, and was edu- cated at Eton and at New College, Oxford. In 1778 he married Margaret Welles, granddaughter of Lord Chief Justice Welles, and in 1782 he made a tour, with Lady Beaumont, in Italy. During this tour he improved a taste which he had always shown for the fine arts, and became a * Art Union for 1848. T+ BEAUMONT. painter; having already had some instruction, from Richard Wilson, in landscape-painting, the branch of the art which he adopted. He had, however, a generally cultivated taste in all matters of art, and he was ever the kind friend and the liberal patron of artists. His munificent donation of his own collection of pictures to the National Gallery has _ been already noticed in this catalogue (p. 4). Sir George was returned to Parliament, for Beeralston, in 1790. He died at the family seat of Coleorton, in Leicestershire, Feb. 7, 1827.* | No. 105. A Smatut Lanpscape. The wooded bank of a river, with a dark cluster of trees in the middle-ground ; two figures in full light in the fore-ground; mountains in the distance, and a stormy sky. : Engraved by R. Brandard, for Jones’s National Gallery. of Pictures, $c. On panel, 74 in. h. by 92 in. w. | = Presented to the National Gallery, in 1828, by the dowager Lady Beaumont. | . No. 119. A LANDSCAPE, WITH JAQUES AND THE WOUNDED Sraa, from Shakspeare’s “As You Like It,” act ii. ‘ . : ° . “ He lay along Under an oak, whose antique root peeps out Upon the brook that brawls along this wood ; To the which place a poor sequester’d stag, That from the hunter’s aim had ta’en a hurt, Did come to languish.” A woody landscape, representing a scene in the Ardennes. Tn the midst is a running stream, arched over by spreading oaks, admitting a gleam of light from the distance. Jaques, part only of whose figure is seen, reclines under the shade of an old oak in the fore-ground, and is contemplating the wounded stag drinking on the opposite side of the stream. In the middle-distance is a small herd of deer, disturbed by the approach of a huntsman and his dogs. Engraved by J. C. Bentley, for Jones's National Gallery. On canvas, 2 ft. 6 in. h. by 3 ft. 4 in. w., Painted in 1819 ; presented to the National Gallery, in 1828, by the dowager Lady Beaumont. pipes | we * Jones, National Gallery of Pictures, &c.; there is a life of Sir G. Beau- mont, and some account of the origin of the National Gallery, in Cunningham’s Lives of the most eminent British Painters, Sculptors, and Architects, vol. vi. BEECHEY—BIRD. 15 BEECHEY. e Str WILLIAM Beecuey, R.A., was born at Burford, in Oxfordshire, in 1753, and was originally articled to a convey- ancer at Stow. But having a strong love for art, he determined to follow painting as a profession, and in 1772 he obtained admission as a student into the Royal Academy of Arts in London. He soon obtained reputation as a portrait- painter, and became ultimately one of the most distinguished of that class. In 1793 he was elected an associate of the Royal Academy, and was appointed in the same year por- trait-painter to the Queen. He was elected an academician in 1798, after the completion of his large equestrian picture of George III., the Prince of Wales, and the Duke of York, attended by Generals Dundas, Sir W. Fawcett, and Golds- worthy, reviewing the Third and Tenth Dragoons; for this picture, which is now at Hampton Court, he was knighted ; being the first artist since Sir Joshua Reynolds who had received that honour: West had declined it. Sir William died at Hampstead in 1839, at the advanced age of 86.* He has surpassed all other painters in the number of his contributions to the Royal Academy exhibitions, exhibiting in sixty-four years 362 portraits. No. 220. Portrair or JosepH NOoLLEKENS, R.A., Scutptor. Nollekens was a distinguished sculptor of busts, and the predecessor of Sir Francis Chantrey in the public favour in this respect. He died, possessed of great wealth, in London, in 18238, aged eighty-six.t Engraved by C. Turner, A.R.A. On canvas, 2 ft. 6 in. h. by 2 ft, lin, w. | Presented to the National Gallery, in 1835, by the Rev. R. E. Kerrick. BIRD. Epwarp Birp, R.A., was born at Wolverhampton, April the 12th,1762. His father wasa journeyman carpenter, and the son was apprenticed to Messrs. Jones and Taylor— * Art Union Journal, 1839. The large picture of the “Review” has been engraved by James Ward, R.A. . ¢ + J. T. Smith, Nollekens and his Times, &c., London, 1828. Bg Sg a ee a a ip 7 wien en iy ah - ; 16 BIRD. tin and Japan-ware manufacturers—at a place called “the Hull,” Wolverhampton. At the expiration of his inden- tures Edward Bird was dismissed by his employers, and he removed to Bristol to try his fortune as a japanner. From japanner he became drawing-master, and in 1807 he exhibited some pictures at Bath, the success and sale of which confirmed him in his purpose of following painting as a profession. He now gained rapid distinction; his pictures were purchased by the most eminent collectors of the metropolis; he was appointed painter to the Princess — Charlotte, and in 1814 was elected a member of the Royal Academy. His picture of “The day after the Battle of Chevy Chase,” the sketch of which Bird presented to Sir Walter Scott, was purchased by the Marquis of Stafford for 300 guineas. The same nobleman paid Bird 500 guineas for his “ Death of Eli,” for which, also, the Directors of the - British Institution awarded the painter their prize of 300 guineas. Both works are now at Stafford House. Previous to his visit to London and admission into the Academy, Bird’s pictures were generally of the class known by the term genre, that is, of an ordinary domestic character, as the “Blacksmith’s Shop,” the “Country Auction,” the “Young Recruit,” &c.; he subsequently became more ambi- tious in his aim, selecting religious and historical subjects, such as the “ Fortitude of Job,” the “ Crucitixion,” and those above named ; together with modern historical events, such as “ The Embarcation of Louis XVIII. for France.” The last named was an unfortunate subject; he required many portraits for its proper representation, and the difficulties and disappointments he met with in procuring the necessary sittings, affected his health, and — are supposed to have hastened his death. He died at Bristol, November the 2nd, 1819, and was buried with public honours in the Cathedral; his widow, however paid the funeral charges. A simple tablet to his memo was placed in the Cathedral some time after his death by his daughter.* . He contributed only eighteen pictures to the Royal Academy exhibitions, between the years 1809 and 1818 inclusive, | ST ESEST SEE TETRE * Art Union, 1843, pp. 92 and 112. See also Allan Cunningham, Lives of British Painters, &c., Vol. 11. vs i a io . ati esi teil ie aime NA Tan Ae! aries tiny gal gn: ooh — ne j - 3 a P *. MDLLE. BONHEUR—BONINGTON. 17 No. 323. THE RAFFLE FOR THE Waren. The scene takes place is a country public house, the landlord holds up the watch, while the subscribers enrol their names. Engraved by G. Greatbach. On wood, 1 ft. 8 in. h. by 1 ft.11}in. w. Vernon CoLiection. OL PLL OL PL LLL OLD MDLLE. ROSALIE BONHEUR. No. 621, “Tue Horse Farr.” Men trotting out horses in the bright sunshine; some riding them, others leading them by cords; some coming forward, others retiring. To the spectator’s right an avenue of trees, with groups of lookers on ; the effect broken up by glimpses of sunshine. On canvas, 3 ft. ll in. A. by 8 ft. 24 in. w. Engraved on 4 large scale by Thomas Landseer, and smaller by G. C. Lewis. Painted in 1848, a repetition from a larger picture. Be- queathed by Mr. Jacob Bell in 1859. PAPDADD LL LLLSS BONINGTON. RICHARD PARKES BONINGTON was born in the village of Arnold near Nottingham, October the 25th 1801. His father, who was a landscape and portrait painter, took him, when only fifteen years old, to Paris, and there procured him permission to copy in the Louvre. Owing to this cir-- cumstance, Bonington’s education was chiefly French; he became a student of the Ecole des Beaux Arts, and attended occasionally the studio of the Baron Gros. He devoted himself chiefly to landscape painting, working often in water colours; his subjects are mostly marine or river views. Having obtained considerable reputation in Paris, Bonington visited Italy, where in Venice he found ample materials suited to his especial taste, and executed some elaborate views there, both in oil and in water-colours. By _ the exhibition of some of these works he acquired great reputation also in England. He died of decline, in London, on the 23rd of September 1828, shortly after his return from a second visit to Paris, not having quite completed his twenty-seventh year. Sir Thomas Lawrence, writing to a friend on attending Bonington’s funeral, remarks, “ { have never known in my B. B 18 ; uM BOXALL-——BRIGGS.. own time an early death, of talent so promising, and so rapidly and obviously improving.’ * d anak Bonington exhibited only four pictures at the Royal Academy : ‘A Scene on the French Coast,” in 1827; and the three following in 1828: “Henry III. of France,” a “ Coast Scene,” and “ The Grand Canal, with the Church of La Vergine della Salute, Venice.” No. 374. THE CoLtumMN oF ST. MARK, VENntcE. ‘The column supports the winged lion, the attribute of St. Mark, in bronze; this and the other column on the right, which supports the marble statue of St. Theodore, the first patron of Venice, are known as the Colonne della Piazzetta. They were brought from the Hast early in the twelfth century, by the Doge Domenico Micheli, and were erected in their present position by Niccolo Barattieri in 1180. The statue of St. Theodore was placed on the column in 1329 ; the lion of St. Mark, a work of later date, was carried to Paris in 1797, but restored to its original position in 1816. Engraved by J. B. Allen. On canvas, I ft. 54in. h. by 1 ft. 24in. w. Exhibited at the British Institution in 1826. Vernon Cot- LECTION. | : AOE PALS SN SIR WILLIAM BOXALL, R.A. No, 602. GERALDINE. A lady at her toilet, standing half-length figure, life size. | ! ' On canvas, with arched top, 3 ft. 9 in. h. by 2 ft. 84 in. w. Exhibited at the Royal Academy in 1850. - = Presented to the nation by Mr. John Kenyon in 1858, _. BREN ad BRIGGS. | inet lcs Henry Perronet Brices, R.A., distinguished as an historical and portrait painter, was born in 1792; he was of a Norfolk family, and related to Opie, the painter. He exhibited in the Royal Academy as early as 1814, and continued for nearly twenty years an exhibitor of works of an historical character ; after his election as a member of the Academy in 1832, he was so much occupied as a portrait. painter, that his contributions to its exhibitions were from that time nearly exclusively portraits. He exhibited altogether 122 works in the Academy. He died iv London, January the 18th, 1844. * Cunningham’s Lives of British Painters, §c. +t Art Union, March 1844, @ CALLCOTT. 19 No. 375. First CoNFERENCE BETWEEN THE SPANIARDS AND PERUVIANS, 1531. Father Vincent Valverde is ex- horting the Inca of Peru to acknowledge the supreme jurisdiction of the Pope, and to submit to the Spanish king ; threatening war in case of refusal. He is touching the muzzle of a cannon with his right hand. The conference ended in a massacre of the Peruvians and the imprisonment of the Inca.* Engraved by W. Greatbach. On canvas, 4 ft. Qin. hk. by 6 ft. 5 in. w. Exhibited at the Royal Academy in 1826, VeRNon CoLLECTION No. 376. JULIET AND THE NURSE. Juliet, “ O God, she comes—O honey Nurse, what news— —Hast thou met with him ? Nay come, I pray thee speak :—good, good nurse speak. Nurse. Jesu, what haste ! can you not stay awhile ? Do you not see that I am out of breath ?” Romeo & Juliet, Act ii. s. 5, Juliet is descending the steps into a garden, impatient to meet the nurse, whois approaching attended by a page with a fan. Engraved by F. Bacon; and by S. Sangster. On canvas, 2 ft. 11 in. h. by 2 ft. 35 in. w. Exhibited in the Royal Academy in 1827. Vernon CoLLEctIon. CALLCOTT. Sir AuGcustus WALL CALLcoTr, R.A., sometimes called the English Claude, was born at Kensington in 1779. He was a chorister boy, and officiated for some years in Westminster Abbey under Dr. Cooke. Callcott, however, adopted painting as his profession, at an early age. Having received some instruction from Hoppner, the eminent portrait painter, he originally pursued the same branch of art; but eventually, and until the last few years of his life, he devoted himself exclusively to landscape painting. Callcott was elected a member of the Royal Academy in 1810, and from that time, until within a short period of his death in 1844, was a constant and distinguished contributor to its exhibitions, exhibiting in all 123 works. In 1837 he first departed from his usual subjects, and exhibited a picture of “Raphael and the Fornarina,” now well known from the print of it by Lumb Stocks, R.A., which was distributed to the subscribers of the London Art Union in 1843. His * Robertson. History of America. B 2 MER, We Feb tk Bide. Me ao hl a ee at _ é 4 picture of Milton and his Daughters ” was exhibited in 1840. In 1837 he was knighted by the Queen, and in 1844 he was appointed the successor of Mr. Seguier as conservator of the Royal Pictures ; an office which he held for a few months only. Sir Augustus Callcott died on the 25th of November 1844, and was buried on the 30th, in Kensal Green Cemetery, where his wife, Lady Callcott, had been buried two years before.* 20 CALLCOTT. No. 340. DutTcH PEASANTS RETURNING FROM MARKET, Two girls on foot, and a woman and child on ponies are fording a brook, on their way from the market town, which is seen between the trees in the back-ground. Engraved by Finden; and by J. Cousen. On canvas, 3 ft. 7 in. h. by 4 ft. 9 in. w. Exhibited at the Royal Academy in 1834. VERNON COLLECTION. No. 341. Coast Scene, WAITING FOR THE Boats. A jetty and sea wall, with a few figures and horses; low water. Engraved by J. H. Kernot. On wood, 2 ft. 3} in. h. by 2 ft. llin.w. VERNON COLLECTION. No. 342. LANDSCAPE WITH CATTLE. Cows grazing; early morning. | Engraved by R. Brandard. On wood, 6 in. hk. by 13 in. w. VER- Non COLLECTION. No. 343. THz Woopren Brinez. The rustic bridge occupies the centre of the picture ; the calm stream which passes under it is slightly rippled by some ducks swimming i on its surface to the right; on the opposite side a man | seated in a boat is conversing with a woman who holds an i infant in her arms, and stands onasmall landing place near : him. On the left of the bridge above is a farm-house, sheltered by a cluster of tall trees ; a team and cart are just upon the point of crossing the bridge. | Engraved by J. C. Bentley. On canvas, 9in. #. by 12 in. w. VERNON COLLECTION. | No. 344. THE BENIGHTED TRAVELLER. A small sketch of a bare-footed wanderer with a child on his back, by the * Art Union Journal, 1845. | CALLCOTT. ZI door of a cottage, at which two women are standing. The moon is seen just above the horizon. “« The wayworn tray’ller’s daylight fails too soon, While threat’ning storms chase down the rayless moon ; To ask his path across the length’ning moor Turning, he seeks the last lone cottage door Whence the bright faggot shoots its cheerful light, And, adding double darkness to the night, Brings all the comforts of that home to mind He spurned in youth, but longs in age to find.” Engraved by A. Heath. On paper attached to millboard, 6 in. A. by 5inw. Under glass. A sketch for a picture exhibited at the Royal Academy in 1832. VERNON COLLECTION. No. 345. THe Oxp Pier ar LITTLEHAMPTON. Coast of Sussex ; stormy weather. This old wooden pier has long since disappeared from the mouth of the Arun, and the coast trade has been transferred to Arundel, a few miles up the river. Engraved by J. Cousen. On canvas, 3 ft. 5Lin.h. by 4ft. 64in. wu. Exhibited at the Royal Academy in 1812. Purchased by Mr. Vernon at the sale of Lord De Tabley’s pictures in 1827. VERNON COLLECTION. No. 346. ENTRANCE To Pisa FRoM LeagHorN. On the right is seen a portion of the quay of the Arno, and the buildings about the gate leading into the city from Leghorn, with the old tower of the western bridge over the river ; the left side is entirely occupied by the river. Engraved by J. C. Bentley. On canvas, 3 ft. 6Lin. A. by 5 ft. 44.in. w. Exhibited at the Royal Academy in 1833. Vernon CoLtxection. No. 347. Dutcu Ferry, PEASANTS WAITING THE RETURN OF THE PassaGE Boat. A village well sheltered by trees, situated on the bank of a broad river, in a flat country. Engraved by R. Wallis. On canvas, 2 ft. 2in. h. by 3 ft. lin. w,. Exhibited at the Royal Academy in 1834. Vernon CoLiEction. No. 348. View on Tue Coast or Hound, with fishing boats off the shore, and figures on the sands. This picture ene ae ae pete a ates EN ET eR RO te re a 22 CLAYS—CLINT. has been supposed to be a copy from a work by a Dutch master. The costume of the figures td robe to he of somewhat remote date. — Engraved by J.C. Bentley. On wood, 6$in. h. by 93 in. w VERNON COLLECTION. ; PIERRE JEAN CLAYS or Brussets. ee No. 814. DutcH SHIPPING AND BOATS IN A CALM, on the river near Dort, South Holland. Signed P. J. Plays On wood, 1 ft. 114 in. A. by 2 ft. Qin. w. | Painted in 18638. Bequeathed in 1870 by Mr. enn cack Parsons. ‘ No. 815. Dutcu Boats’ Lyi8@ ie” THe Roads OF FLUSHING, in the mouth of the Scheldt ; a calm before a storm. Signed P. J. Clays, 1870. On canvas, 2 ft. 5in. A. by 3 ft. 7 in. w. Painted in 1870, for Mr. John Meeson Parsons, and bequeathed by him to the National rb aS PITS IPIPP PLP PIS t¥ CLINT, GrorGE CLInT was born in Brownlow Street Hospital, in London, April the 12th, 1770; his father was a hair dresser ; the family was originally of Hexham, in Northum- perland. George Clint was apprenticed to a ‘fishmonger in the City ; but disgusted with this occupation he procured employment in an attorney’s office; equally dissatisfied, he tried house painting, and from this he advanced to miniature painting, which he practised for some years in a house in Leadenhall Street. With his miniature painting he com-~ bined also mezzotinto engraving, and was employed to execute several prints for Sir Thomas Lawrence. In 1807 he engraved Drummond’s “ Death of Nelson,” and shortly afterwards the still more considerable work, Harlowe’s “ Kemble Family,” the principal of Clint’s Droduetions in this branch of art. This important print procured the artist a Dra connec- tion among theatrical characters, and having, partly through the aid and encouragement of Sir William Beechey, suc- ceeded in adding oil painting to his other attainments, he oe - . i = fa - peat ee eg > > = » CLINT—COLLINS. 23 was enabled to avail himself of his theatrical connection as a portrait painter. He removed about this time, 1816, to Gower Street, and there executed his valuable series of dramatic pictures, comprising all the principal actors of the time in their most successful scenes and characters, grouped, and individually; Kean, as Sir Giles Overreach, and Richard ITI. ; Charles Kemble, as Charles IT. ; Young, as Hamlet ; Liston, as Paul Pry; Matthews, as the Lying Valet ; Bartley, as Falstaff; and Macready, as Macbeth, &c. Many of these pictures are still preserved at the Garrick © Club. Clint painted a long series of portraits besides those of theatrical characters. He died at his house in Kensington, in the spring of 1854, having entered his eighty-fifth year.* Clint was elected an associate of the Academy in 1821, and contributed altogether ninety-four pictures to its exhibitions ; but in 1836, after repeated disappointments in not obtaining the full honours of the Academy, he retired from all connection with it. No. 377. FALsTAFF AND Mistress Forp. ‘The scene represents a room in Ford’s house, the moment when Mrs. Page goes to hide, and Falstaff enters and finds Mrs, Ford alone. . Falstaff. “Have I caught thee, my heavenly jewel? Why, now let me die, for I have lived long enough; this is the period of my ambition. Q, this blessed hour!” Mrs. Ford. “O, sweet Sir John! ” Merry Wives of Windsor, Act iii., 5. 3. Engraved by H. Bourne. On canvas, 2 ft. 5 in. h. by 2 ft. w. VERNON COLLECTION. were ~ COLLINS. Wiu1Am Cours, R.A., was born in London, Septem- ber the 18th, 1788 ; his father, who carried on the business of a picture dealer in Great Titchfield Street, was a native _ of Wicklow in Ireland, and the friend of George Morland, of whom he wrote a memoir. The son, from this intimacy, was in some measure the pupil of Morland, who allowed Collins to watch him painting. From 1807 to 1814 Collins was a student and an exhibitor at the Royal Academy ; in the last year he was elected an associate, and in 1820, a * Art Journal, July 1855. 24 COLLINS. member of that institution. His first patron was Mr. Lister Parker, who bought his picture of “Boys with a Bird’s Nest,” exhibited at the Royal Academy in 1809. He became the chief support of his family in 1812, when he lost his father. But he early found valuable patrons in Sir Thomas Heathcote, Sir John Leicester, Sir George Beau- mont, and Sir Robert Peel. | He was a distinguished exhibitor at the Academy for more than thirty years, contributing 121 pictures in forty years; his style being chiefly landscape, with the out-door incidents of ordinary life prominently introduced; as the “ Youn Fifer,” the “Sale of the Pet Lamb,” “ Bird Catchers,” the ‘‘Fisherman’s Departure,” ‘“ Hop Gatherers,” ‘“ Happy as a King,” “Frost Scene,’ “The Haunts of the Sea Fowl,” “Fetching the Doctor,” with cottage and coast scenes in great variety ; especially Cromer Sands. He painted also a. few portraits. Latterly, however, he evinced a desire to treat higher subjects; he exhibited “Our Saviour with the Doctors in the Temple, ” in 1840; and “The Two Disciples at Emmaus,” in 1841. ) In 1817 he visited Paris; made a tour in Holland mois Belgium in 1828 ; and resided a short time at Boulogne in 1829. In 1836, he visited Italy, remaining there nearly two yeurs; in 1840, Germany, and in 1842, the Shetland Islands ; each tour affording new materials for his varied subjects. He died in London, of disease of the heart, February the 17th, 1847.* No. 351. As Hapry as aA Kine, Children swinging on a gate in a wood. Engraved by E. Finden, and by C. Cousen. On canvas, 2 ft. 34 in. A. by 2 ft. 11Zin w. A repetition of the picture exhibited at the Royal hcalabs in 1886. Vernon CoLixuction. * Art Union Monthly Journal, April 1847. His “ Life” by his son, 1848, ie soll ee aia 20 a CONSTABLE. 25 No. 352. THE PRAwN CatTcHERs. Boys on the sands at low water, fishing with a net for prawns. A small fishing village in the background to the left. Engraved by J. T. Willmore, A.R.A. On wood, 1 ft. 33 in. A. by 1 ft. 104 in. w. Exhibited at the Royal Academy in 1831. Purchased hy Mr. Vernon at the sale of the late Sir F, Freeling’s pictures. VERNON COLLECTION. POPPI DPDPIPLO DS DPD DD PLDLIPPELDDD OLDLD CONSTABLE. JOHN ConsTaBLE, R.A., was born at East Bergholt, in Suffolk, in 1776. His father intended him for the business of a miller, but Constable’s taste for landscape painting early developed itself, and he resolved to be a painter. He became a student of the Royal Academy in 1800, recelved some instruction in landscape painting from R. R. Reinagle, R.A., and was much encouraged by Sir George Beaumont. In 1816 he married; and from 1820 he resided at Hampstead, the beautiful neighbourhood of which chiefly occupied his pencil for the remainder of his life. He was elected a member of the Royal Academy in 1829, having been for ten years an associate ; and he exhibited altogether 104 works at the Academy. He died in London, the 30th of March 1837.* Constable’s landscapes are conspicuous for the simplicity of their subjects, consisting generally of a cottage, a village church, or green, or the simple meadow ; some are distin- guished for the effect of dew or rain. “There is a place,” says Mr. Leslie, “among our painters, which Turner left unoccupied, and which neither Wilson, Gainsborough, Cozens, nor Girtin so completely filled as John Constable. He was the most genuine painter of English cultivated scenery, leaving untouched its mountains and lakes.” * A Memoir of the Life of John Constable, Esq., R.A., composed chiefly of his Letters. By C. R. Leslie, Esq., R.A. London, 1842. It contains twenty- two engravings from Constable’s works. + Handbook for Young Painters. 1855. Sie = nee ti Mi ibe op = t E > 26 CONSTABLE—COOKE. “T love,” said Constable, “every stile, and stump, and lane in the village: as long as I am able to pani a ae I shall never cease to paint them.’”* é yaiciel ——_—__———_ a9 No. 130. THE Corn FIELD, or Counrry Lanz. The principal feature of this English landscape, the field of ripe’ corn, is seen in the middle ground, between two groups of trees occupying the sides of the picture. In the fore- ground is a shepherd boy drinking from a stream by the roadside on the left ; his small flock, guarded by his trusty dog, occupies the centre of this part of the picture. In the extreme distance is seen a village church tomrexingy abiye the humble dwellings of its neighbourhood, — ane Engraved by D. Lucas. On canvas, 4 ft. 8 in. 4. by 4 ft. 10. This picture was painted in 1826, and presented to the National Gallery in 1837, by an association of SeRney who pprasheaes it of the painter’s executors. Rasy te ee e No, 327. THE VALLEY Farm. This i is a, view of a ¢ hart house, known as “ Willy Lott’s House ;” it is situated on the bank of the Stour, near F lator Mill, the - roperty of the painter's father, near East Bergholt, "Suffolk, The house has been painted several times by Constable. + ay 4 Engraved by J.C. Bentley. On canvas, 4 ft. 92 in. by 4ft. 1 in. w, Exhibited at the RoyalAcademy in 1835, VERNON CoxtEction. PROMO LDLS EDWARD WILLIAM COOKE, RA ~~ No. 447, Dutcu Boats In A CALM. Engraved by T. Jeavons. On wood, 1ft.44in. heby 2h f6-84n,: w. Exhibited at the British Institution in’ 1844; Vernon Cot- LECTION. - * Mr. Uwins, in the Journal FS the Phrenological Society. 1843. + Willy Lott, its possessor, was born in this house, and it is as “ * passed more than 80 years without haying spent four whole ‘dae away from it.”—Leslie’s Constad/e. . Swit COOPER—COPLEY. 27 No £8. THE Boat House; a coast sketch. The boat house is a cave hollowed out of the chalk cliff; the fisher- man is seen within the cave, attending to his fishing gear. Engraved by S. Bradshaw. On canvas, 1 ft. 4$ in. A. by ] ft. 8$in w. VERNON COLLECTION. wee DAPI AS PPP LDL II OLA 44 THOMAS SYDNEY COOPER, R.A. No. £35, Farm YArp, Mirxine Time. A study from a farm near Canterbury ; in the middle of the picture is a fine old oak. Engraved by J. Godfrey. On canvas, 3 ft. 13 in. A. by 4 ft. 4 in. w. Exhibited at the Royal Academy in 1834. VERNon CoL- LECTION. - No. 436, CATTLE, EARLY MornNING ON THE CUMBER- LAND HiItts, M1sT CLEARING OFF. Engraved by J. Cousen. On canvas, 1 ft. lid in. A. by 2 ft. 114 in. w. Exhibited at the Royal Academy in 1847. VERNON COLLECTION. See Nos. 619 and 620. PRPSPPPIISLIDIS: COPLEY. Joun SrineitETon Corey, R.A., historical. and portrait painter, was born in 1737, at Boston, U.S., where his pa- rents had then recently settled. His father was English, his mother Irish.* In 1774, having already attained eminence as a portrait painter at Boston, he set out for Italy by way of England. He returned from Italy at the close of the year 1775, and established himself in London, where he was elected an associate in 1777, and a member of the Royal Academy in 1779. This was the period that. he executed his masterpieces, “The Death of Lord Chatham,” and the «Death of Major Peirson,” both now in this collection. This picture was followed by another celebrated work, * Cunningham, Lives of the most Eminent British Painters, &c. 28 COPLEY, “Charles I. ordering the Arrest of the Five Members ot the House of Commons.” None of these pictures were exhibited at the Royal Academy. Copley sent only forty- two works to the exhibition, and nearly all portraits; of the few exceptions were, “ The Offer of the Crown to Lady Jane Gray,” exhibited in 1808; and the “Resurrection of our Lord,” in 1812, his last exhibited work. Copley died September the 9th, 1815. No. 400, THE DEATH or LorD CHATHAM. The scene represented in this picture took place in the old House of Lords (the Painted Chamber), April the 7th, 1778. The Earl, after unusual exertions, when in a very debilitated state of health, fainted in making an effort to reply to the Duke of Richmond's speech on a motion respecting an address to the King, intimating the necessity of the acknow- ledgment of the independence of that portion of the British North American colonies now constituting the United States.* The Earl was carried home, and never again rose from his bed. He died on the 11th of May following. The heads in this picture, of which there are fifty-five, are all portraits. The peers are in their state robes. The prominent ficure to the right is the Duke of Richmond, the well- known patron of the arts.f , sie Iingraved on a large scale, by F. Bartolozzi; and in small in Jones’s National Gallery. On canvas, 7 ft. 6 in. h. by 10 ft. 1 in. w. This picture, painted in 1779-80, was presented to the National Gallery in 1828 by the Earl of Liverpool. No. 733. THe DEATH oF MAsoR PEIRSON, who was killed in an engagement with some French troops at St. Helier, Jersey, on the 6th of January, 1781, in his twenty- fourth year only. The French soldier who killed him was immediately shot down by the Major’s black servant, The chief incident represented in the picture is the carrying the body of Major Peirson out of the fight, and the figures about and near this principal group are all portraits. They are, commencing from the spectator’s left, Captain Clephane leading the charge, Captain Macneil, the Black Servant * Thackray, History of the Earlof Chatham, } See the Explanatory Key near the picture, COPLEY, 29 shooting the man who shot Major Peirson, Adjutant Havr- rison supporting the shoulders, the Major, Captain Corbett, Lieutenant Drysdale, Ensign Rowan, Ensign Smith, Captain Hemery, and Lieutenant Buchanan, all but one—a captain of the Jersey Militia—officers of the 95th Regiment.* On the left is a dying serjeant, to the right a group of women flying from the scene ; and in the back ground isa part of the town, and a distant hill beyond. On canvas, 8 ft, 1 in. A. by 11 ft. ll in. w. Engraved ona large scale by James Heath, for Alderman Boydell, in 1784; copied by A. Kessler. Painted for Alderman Boydell, as a companion to the “ Death of Chatham,” in 1783. Purchased for the National Gallery at the sale of Lord Lyndhurst’s pictures in 1864. No. 787. THE SIEGE AND RELIEF OF GIBRALTAR, with pera of Lord Heathfield, Lieut.-Gen. Sir Robert Boyd, ajor Generals Sir William Green, Picton, and De la Motte ; Sir Roger Curtis, Capt. Drinkwater, and others. The incident represented is the repulse of the Spanish floating batteries; the firing has partly ceased, and the English officers are endeavouring to rescue the sufferers from the burning vessels. A sketch or study for the large picture at Guild Hall painted for the Court of Common Council of the City of London. On canvas, 4 ft. 4 in. 2. by 6 ft. 2 in. w. Engraved on a large scale by William Sharp. Formerly in the possession of Lord Lyndhurst ; purchased from Mr. William Grist in 1868. DIYS ayy CRESWICK. THOMAS ORESWICK, R.A., was born at Sheffield in 1811, but came very young to London; he had as early as 1825 two landscapes in the Royal Academy Exhibition, views in Wales, the theatre of many of his subsequent views. He became an Associate of the Academy in 1842, and a member in 1850. As specimens of his works may be mentioned— “England,” 1847; “ Passing showers,” 1849; “The wind ne a eet * See a prospectus of the print from this picture, published by Alderman Boydell, in 1784. ¥ A oc oF ae ig iN esas * anee ne a 4 ae oT oe oe a a 30 CRESWICK—CROME. on Shore,” “First glimpse of the Sea,’ and “Old Trees,” 1850; “ A Mountain Lake—Moonrise,” 1852); and “ Change- able Weather,” 1865. Creswick’s pictures. are numerous, the later being less pronounced in colour than the works of his middle period. He suffered latterly from failing health, and died at Bayswater on the 28th of December Ta Dat. \ No. 429, THe Paraway 10 THE VILLAGE CuurcH: 5 woody sunny landscape, with a young gut about to nee a stile, in the foreground. Engraved by J. C. Bentley. On vent 1 ft. Lyi in, 4 ad 1 ft. 74 in. w, Painted in 18839. Vxrnon Coxzecrion. anne are, CROME. JOHN CROME, commonly called OLD CRoME, to distinguish him from other younger painters of the name and family, was born at Norwich, where his father kept a public- house, December 21st, 1769, and was brought up as a coach-painter ; this occupation, however, he soon forsook for that of a drawing-master, devoting his leisure time to making sketches in oil colours, chiefly from the vicinity of his native city. ‘The materials of Crome’s pictures are generally exceedingly simple, but he has often produced an admirable effect with them. He exhibited occasionally at the Royal Academy in London; twelve of his works were hung between the years 1807 and 1818, both inclusive ; all “views” or “landscapes” with one exception, in 1809 when he exhibited a “ Blacksmith’s shop.” em died ab Norwich in 1821. No. 689. Movusrnoutp HEATH NEAR NORWICH, an extensive view of undulating moorland. On canvas, 3 ft. 7 in. A. by 5 ft. 11 in. w. 69 “ee Purchased from William Yetts, Esq. of Great Yarmouth, out of the International [Exhibition of 1862, ; ) No. 897. A VIEW aT CuApEL-FrExps, Norwieu, « an avenue, figures and cattle passing ; an old woman seated at a stall on the spectator’s left. , On canvas, 2 ft. 5:in. h. by 8 ft. 7 in, 2, _ Bequeathed by Mr. Henry F. Chorley in 1872. P e ¢ mo) = a :. Te hd oe ~, Peel an hy a ri ue ‘a Vie de ; ‘es CRUIKSHANK—DANBY. 31 No. 926. THE WINDMILL, on an undulating heath, probably Mousehold Heath in the neighbourhood of Nor- wich. In the foreground, to the spectator’s right, are some trees and bushes, and on the other side a man, seated on a pony, is passing by a finger-post through a gateway: two donkeys cn the brink of a gravel pit are seen in the middle ground, to the left. On wood, 3 ft. 7 in. h. by 3 ft. w. Purchased from the Lewis Fund, at the sale of Mr. Watts Russell’s collection in 1875. No. 1037. SLATE Quarries, A Welsh landscape, looking down upon a lake skirted by a road ; with moun- tains in the distance, from which fleecy clouds are rising. In the foreground, which is the rocky brow of a hill, a few figures are introduced. On canvas 4 ft. 4 in. A. by 5 ft. 2 in. w. Purchased from Mr. W. Fuller Maitland, M.P., out of a pecuniary bequest made by the late Mr. Richard Charles Wheeler. LLL LLP LP LLL LIL LLL IOP LPL DLO GEORGE CRUIKSHANK. No. 795. THE WoRSHIP OF BACCHUS, OR THE DRINKING CUSTOMS OF SOCIETY, 1862, with the accidents and catas- trophies arising from drunkenness, “Tt is intended to show how universally the intoxicating drinks are used upon every occasion in life, from the cRADLE to the GRAVE.” «“ Although Bacchus is represented as a genteel smiling youth, he was always accompanied by the drunken brute, Silenus, to show what a little more drink, or excess, produced in the man; and in the accompanying Bacchante that the pure and modest charm of beauty in the woman is destroyed and degraded by anything like indulgence in stimulating drink. This part is intended as the ‘ high altar’ of the Pagan Deity, and below the statues are the ‘priests and priestesses officiating, or in other words, the publicans, their wives, pot-boys, and bar-maids handing the intoxicating liquors over the bar, and taking the money from the worshippers.”* A composition of several hundred small figures. On canvas, 7 ft. 8 in. h. by 18 ft. 3 in. w. Painted in 1862. Presented io the National Gallery in 1869, by Mr. R. E. Lofft and other friends of the painter. KAPPA LLLILIOIOO DANBY. Francis Danpy, A:R.A., was born in the county of Wexford, in Ireland, November the 16th, 1793; he was educated in Dublin, and there learnt his art under a land- * See a lecture by the painter, The Worship of Bacchus, London, W. Tweedie, 1867. 32 DANBY—DANIELL. scape painter of the name of O’Connor. He exhibited, and sold his first picture in 1812. In 1813 he was established as a téacher of water-colour drawing at Bristol He even- tually attracted public notice by a picture of “Sunset at Sea after a Storm,” exhibited at the Royal Academy in 1824; it was purchased by Sir Thomas Lawrence. In the following year Danby removed to London, and exhibited a still more remarkable work, “The Delivery of Israel out of yeypt which procured him his election as an associate of the 4 demy, in 1825. This picture, now at Stafford House, and several others afterwards painted by Danby, are in the style of John Martin’s extraordinary compositions. Danby is, however, most distinguished for his calm evening scenes at sea, generally sunsets, under various aspects, frequently ‘combined with some poetic subject, incident, or sentiment, and nearly always conspicuous for their brilliant colouring. From 1830 till about 1842 he resided abroad, chiefly in Switzerland; he then lived for a short time near Lewis- ham, in Kent, and from 1846 near Exmouth, in Devonshire, where he died on the 10th of February 1861.* Danby contributed forty-nine works to the exhibitions of the Royal Academy. No. £37. THE FISHERMAN’s HOME, SUNRISE. A cottage on a promontory, in a lake. ; ae: Engraved by A. Willmore. On canvas, 2 ft. 6 in. A. by 3 f{t..6 in. w. Exhibited in 1846. VeErnon CoLLEecrTion. ere nner. OLOEL ICR DANIELL. THoMAS DANIELL, R.A., was born in 1748-9, and was originally apprenticed to a painter of heraldry. He, how- ever, devoted himself to landscape painting and engraving, and distinguished himself by an extensive work on Indian scenery— Antiquities and Views in India, from the Draw- “ings of Thomas Daniell, Engraved by Thomas and “ William Daniell.” London, 1795-1808. Large folio. Daniell went to the East in 1783, taking with him his nephew William, then a boy of 14 years only,and they traversed the whole country of India, from Cape Comorin to the Himalaya mountains, sketching all that was remarkable on their way: this arduous journey occupied them 10 years. * Art Journal, April 1861; Royal Academy Catalogues. DANIELL—DOUGLAS—DUBUFE. 33 Thomas was elected a member of the Royal Academy in 1788, having held the lower grade of Associate for only two years. He contributed many pictures to its exhibitions, and died in London on the 19th of March 1840, aged 91. His portrait, by Sir David Wilkie, is in the Vernon Col- lection. He was a Fellow of the Royal, of the Antiquarian, and of the Asiatic, Societies. The nephew, William, who was also a member of the Royal Academy, preceded his uncle to the grave ; he died in 1837. No. 899. Woopy LANDSCcAPE.—VIEW ON THE NULLAH, NEAR RAJEMAHEL, Bengal. European travellers with their attendants crossing a bridge, which was built by the Sultan Sujah, in the 17th century Signed, T. Daniell, 1827. On canvas, 3 ft. 24 in. A. by 4 ft. 6 in. w, Bequeathed by Mrs. William Mansfield, in 1872. W. DOUGLAS, R.S.A. No. 617. BipuioMANtA. A Bookseller’s shop, well stored with rare old folios, and other books, in which an old gen- tleman, the Bibliomaniac, is conversing with the Bibliopole. On the left are two passers-by examining the books exposed on a stall outside the shop. On canvas, 2 ft. 10 in. 2. by 4 ft. 2 in. w. Painted in 1852. Bequeathed by Mr. Jacob Bell in 1859, PAL LAAAPAALRAADALLLLLOOOws_ DUBUFE. CLAUDE MARIE DuBUFE, a French historical and portrait painter, was born in Paris in 1789, and studied in the school of David. He received a medal of the first class in 1831, and in 1837 was made a chevalier of the Legion ad Honneur. Dubufe first attracted notice in the Exhibition of 1810, when he contributed “ A Roman allowing himself and family to die of starvation rather than touch a sum of money with which he had been entrusted.” In 1824 he exhibited the “Passage of the Bidassoa,” his principal historical work. His portraits are numerous and excellent; LD. C 34 DUBUFE—DYCKMANS-—EASTLAKE, _ he contributed five to the Paris. ‘‘ Universal. Exhibition” for 1855. Edward Dubufe, also a distinguished portrait, painter of the modern French school, is the son of Claude, Marie, who died in April 1864. No. 457. The SuRPRISE; a bust portrait, of a "Tay surprised at her toilet. French school. Engraved by 8. Cousins, R.A.; and by W. Roffe. On: canvas 2 ft. Zin. h. by 1 ft. 8 Zin. w. Exhibited at the Rayal Academy in 1828. Formerly { in the possession of Lord Charles Townsend. VERNON COLLECTION. PALLG PPL IIL ID LI OLLIE LDL I ALLL I AID LD DYCKMANS. JOSEPH LAURENS DYCKMANS was born at Antwerp in 1811, and is still living. Flemish School. No. 600, THE Buinp Breccar. A blind old man is standing in the sunshine by a church door ; before him is a young girl, who is holding out her hand for alms to the passers-by ; an old lady coming from the church is feeling in her pocket for a sou; some other figures are seen in the porch at their devotions before a crucifix. Small three- quarter figures. On wood, 19L in. h. by 18 in. w, Under glass. Engraved by W. H. Simmons. Painted at Antwerp, signed J. Dyckmans, 1853. Bequeathed by Miss Jane Clark in 1859. SY EASTLAKE, Str CHARLES Lock EASTLAKE, P.R.A., was born on the 17th of November 1793, at. Plymouth, where his father held the office of solicitor to the Admiralty. He was edu- cated at the Plympton Grammar School, in» which Sir Joshua Reynolds had also been brought up; and he passed a short time at the Charterhouse School in London. Here, while still very young, about 1809, partly through the in- fluence of his fellow townsman B. R, Haydon, who had just then finished his picture of “Dentatus,” he determined 5 o EASTLAKE, 35 on painting for a profession, became the pupil of that master, and also attended the scliools of the Royal Aca- demy for a few years, during the keepership of Fuseli. As early as 1813 the young painter exhibited an ambi- tious effort at the British Institution: —‘“ Christ raising the daughter of the Ruler of the Synagogue ;” this picture, of considerable size, Sir Charles painted in his twentieth ear. In 1814, after the peace, he was sent by Mr. Jeremiah Harman to Paris to copy some of the remarkable works that had been gathered together by Napoleon in the Louvre; but the escape of the Emperor from Elba in the following year caused him to return home again, and for a time he devoted himself to the study of portrait painting at Ply- mouth. While there in 1815 he had the opportunity of seeing Napoleon on board the Bellerophon, then on its way to St. Helena, and from memory, aided by some sketches which he contrived to make while the Emperor was standing at the gangway of the ship, he painted a portrait of him, a full-length figure, life size, which was considered a good likeness. It is engraved in half length in the Art Journal for 1848, from a picture now the property of the Marquis of Lansdowne. In 1815 also Sir Charles exhibited a second historical picture at the British Institution:—“ Brutus exhorting the Romans to revenge the death of Lucretia.” In 1817 he went to Italy, being one of the first English artists to visit Rome after the peace; and in 1819 he visited Greece, in the company of Sir Charles Barry and Mr. Donaldson, returning in the following year to Rome by way of Sicily. He remained in Italy altogether four- teen years, this time being spent chiefly at Rome and Ferrara. The picturesque character of the Italian and Greek national costumes, seems to have so far fascinated the painter as to have drawn him from the department of history with which he had commenced his career to the class of genre-painting ; and during nearly the whole of his long residence abroad from 1820, his pictures were almost on hei drawn from peasant life, the Italian banditti constituting his favourite subject. He exhibited a large historical picture at the British Institution in 1820, representing “Mercury bringing the C2 —- ——- —-— -—— - Ne Oe Se eS ee SE — ee EE eS a a inte ve ren o/b m0 9 no — — ~ —— —— eee — - ope = : 36 . EASTLAKE. Golden Apple to Paris.” . In 1823 he sent to the same In- stitution five pictures of banditti, painted at Rome; and in the following year, six small works of a similar character, representing simple peasants or brigands.* In 1825. he exhibited three more of the same class of works; but from this year forth he sent his pictures no longer to the British Institution, but te the Royal Academy. His name first appeared in the Academy catalogue in 1823, when he sent three views of Rome to the Exhibition. But the first of Sir Charles Eastlake’s works which attracted any considerable notice was the large picture of “The Spartan Isidas,” exhibited in 1827. The story is from Plutarch’s Life of Agesilaus. The young warrior, suddenly called while in his bath to repel an attack of the Thebans, seized his sword and spear and rushed naked as he was into the battle, causing a panic among the enemy, who, both from his appearance and his deeds judged him to be some guardian deity; though he slew many he escaped himself without a wound. Sir Charles selected this picture, now the property of the Duke of Devonshire, to exhibit in Paris, at the Universal Exhibition of 1855. It procured him his election as an associate of the Royal Academy. In 1828 appeared the beautiful and popular picture, an “Italian. scene in the Anno Santo, Pilgrims arriving in sight of Rome and St. Peter’s. Evening.” He repeated this subject in 1835 and again in 1836, introducing only some slight alterations in the composition.t In 1829 he exhibited a poetical landscape, entitled “ Lord Byron’s Dream,’} and in the following year he became an Acade- mician, returned to England, and established. himself in London, at No.13, Upper Fitzroy Street; whence he re- moved in 1843 to No.7, Fitzroy Square, where he hence- forth constantly resided in London. Sir Charles Eastlake’s pictures are not numerous, he was too much engaged in literature and with other occupations * Five of-these brigand pictures have been engraved by Charles Turner ; and there is a print of the ‘* Contadina family prisoners with Banditti,” ex- hibited at the Royal Academy in 1830, by Edwin Smith. Rogers’s Italy con- tains a few vignettes of somewhat similar subjects engraved in wood by J. Thompson. { } It is finely engraved by G. T. Doo, R.A. t Engraved by J. T. Willmore, A.R.A. EASTLAKE, B7 to admit of a very close application to the practice of his profession. In 1833 he exhibited “Greek fugitives, an English ship sending its boats to rescue them ;’ in 1834 “The escape of Francesco di Carrara, last Lord of Padua, and Taddea d’Este, his wife, from Galeazzo Visconti, Duke of Milan,” of which there is a repetition in this collection ; in 1837 “An Arab chief selling Captives, Monks endea- vouring to ransom them ;” in 1838 “ Gaston de Foix before the Battle of Ravenna,” in which the knight was killed ; in 1839 “Christ blessing little children ;” in 1840 “The Salutation of the aged Friar;” in 1841 “Christ weeping over Jerusalem,” of which the Vernon picture is a repe- tition; and in 1843 “Hagar and Ishmael.” The last is a composition of rare simplicity and beauty.* From this ' time his name did not often appear in the Royal Academy catalooue. Among his latest works are several fancy por- traits of females, painted with great delicacy. He contri- buted altogether fifty-one pictures to its exhibitions, extending over a period of thirty-three years, exhibiting five works only after he became President of the Academy, having succeeded Sir Martin Shee in that office in 1850, when, as is usual on the occasion, he received the honour of knighthood from Her Majesty. — We have yet to follow Sir Charles Eastlake’s career in his literary and official capacity. In 1841 he was appointed secretary to the Roya] Com- mission for decorating the New Palace of Westminster, and conducted all the business of that Commission until its dissolution after the death of H.R.H. the Prince Consort, its president. The papers or appendices accompanying the periodical Reports of the Commissioners, written or col- lected and edited by the secretary, are most valuable contributions to the practical literature of Art. He had previously written a few articles for the Penny Cyclo- pedia ; and in 1840 he published a translation of Goethe’s Theory of Colours, with a dedication to his friend and * There are good engravings of several of the above pictures; of ‘ Greek Fugitives,” by John Goodyear; of“ Christ blessing little children,’ by J H. Watt; of “Hagar and Ishmael,” by Bridoux and Smith, for the Glasgow Art Union ; of the “Salutation of the aged Friar,” by S. Bellin: and of * Gaston de Foix,” by C. W. Sharpe. } f BO fic: EASTLAKE, patron. Mr. Jeremiah Harman. In 1842 he edited a translation of Kugler’s Italian Schools of Painting ; but his chief literary labour is the very learned volume enti- tled Materials for a History of Oi Painting, 1847, dedi- cated to the late Sir Robert Peel. This work, as regards the Flemish school at least, perhaps exhausts the subject of vehicles and methods of painting. On the death of Mr. Seguier, the original keeper of the ‘National Gallery, in 1843, Sir Charles (then Mr.) Eastlake was appointed to succeed him. ‘This office, however, he resigned in 1847. In 1850, as President of the Royal Academy, Sir Charles became an ex-officio Trustee; and in 1855, on the occasion of the re-organisation of the manage- ment of the Institution, he was appointed Director of the Gallery for a term of five years, an appointment which was renewed in 1860, and in 1865. The great feature of this new management was, that Parliament voted an annual sum for the purchase of pictures; and the conse- quence has been a steady and vast increase of the collection, independent of gifts and bequests. The pictures purchased from 1824 inclusive to 1855, that is, during thirty-three years, amounted to only 96 in number ; while those purchased during Sir Charles Eastlake’s directorship reached the number of 155, at an average cost of 6620. 2s. 10d. These 155 pictures represent eight schools of painting, and 111 masters, extending over a period of seven centuries. The various Italian schools are repre- sented by eighty-two masters; the Flemish school, by eleven; the Dutch, German, and British schools, each by five masters; and the French, Spanish, and Byzantine schools, by one each.f Besides the above works, many pictures were bought on the recommendation of Sir Charles Eastlake when he acted as a Trustee only. | In 1849 Sir Charles married Elizabeth, the daughter of the late-Dr. Rigby ; a lady distinguished for her literary attainments, being the authoress of several origiial works, and the translator of some others. In 1853 he received the 4g + The following are perhaps the most notable of Sir Charles Eastlake’s purchases, given in the order of their acquisition. Such pictures as are “EASTLAKE. 39 honorary degree of D.C.L. from the University of Oxford, and in 1855 he was made a Chevalier of the Legion of Honour by the Emperor of the French. He was a Fellow of the Royal Society, and a member of several foreign Academies. In August 1865 he left England on his usual annual tour on the Continent, with a view of acquiring further examples for the National Gallery. In Milan, however, he was attacked by severe illness ; but having somewhat recovered, he removed in the month of October to Pisa. He shortly afterwards became again seriously ill; and early on the morning of Sunday, the 24th of December, he died, at Pisa, in his 73rd year. His body was brought to England, by desire and at the cost of the Royal Academy; and on Thursday, the 18th of January, it was deposited in a vault constructed for it in Kensal Green Cemetery. marked with an asterisk (*) were bought together with others in one purchase, and had no fixed price :— Subject of Picture. Painter. Price. cane beak £8. .d. Adoration of the Magi ° - | Paul Veronese tite, LOTT. OO 1855 Meo bs adoring the Infant Christ, | Pietro Perugino -|~ 3,671 8 4 1856 C. Martyrdom of St. Sebastian - | A. Pollajuolo - -| 8155 4 2 1857 Virgin and Child, St. Jerome and Filippino Lippi ° 627 8 0 — St. Dominick. Family of Darius, &c. ° - | Paul Veronese - | 13,650 0 0 —_ Marriage of St. Catherine - - | Amb. Borgognone - 430 0 0 _ St. Bernardino of Siena, &c. -| Moretto - - - 577 10 0 1859 An Allegory* - “ - | Ang. Bronzino . -|- - - 1860 Christ surrounded by Angels, &c. - | Fra, Giov. Angelico - 3,500 0 0 a Madonna and Child enthroned, &c. | Garofalo - - 763 16 0 — St. Sebastian and other Saints* - | L’Ortolano - -|- - - 1861 His own Portrait - - -| Rembrandt - - 800 0 0 aa Portrait ofa Lady - - - | Paris Bordone - 257 18 1 — St. Jerome in his Study* - - | Gio. Bellini (?) -|- - - 1862 Portrait of Mrs. Siddons - - Gainsborough - - 1,000 0 0 — Portrait of Ralph Schomberg - | Gainsborough - -| 1,000 0 0 — Landscape. Showery weather - | Hobbema - -| 1,575 0 0 — Madonna and Child enthroned, &c. | Memling - - - 759 0 0 — Alderney Bull, &e. == - - | James Ward - -| 1,500 0 0 _ His own Portrait = - - | Andrea del Sarto - 270 2 0 —_ Adoration of the Magi - - | Bramantino - - 127 1 0 1863 The Italian Trinita - . ~|'Pesellino~ - 2,100 0 0 — Christ’s Agony in the Garden - | Gio. Bellini (?) - 630 0 0 -- St. Rock x = be! = Morando 4 - an 880 0 0 1864 A Venetian Senator - - - | Bonsigniori - Death of Major Peirson - =), Copley ec) te 1,600 0 0 ~- Madonna, Infant Christ, and St. | Girolamo dai Libri - | - . - _— mne. dasgnne, Infant Christ, and St. | Raphael - -| 9,000 0 1865 ohn. : Madonna and Child, and the Doge | VittoreCarpaccio = 8,400 0 0 ~ Gio. Mocenigo - ° meee eee 40 EASTLAKE. No. 397. CHRIST LAMENTING OVER JERUSALEM. ~ “Oh Jerusalem, Jerusalem, thou that killest the prophets, and stonest them which are sent unto thee, how often would I have gathered thy children together, even as a hen gathereth her chickens under her wings, and ye would not! Behold, your house is left unto you desolate.” Matthew xxiii. 37.38. ‘ “Ani as he sat upon the mount of Olives, the disciples came unto him privately, saying, Tell us, when shall these things ber” xxiv. 3. “And he said, when ye shall see Jerusalem compassed with armies, then know that the desolation thereof is nigh.” Luke xxi. 20. “When they shall say peace and safety; then sudden destruction cometh upon them.”’ I. Thess. v. 3. The Lord is seated with his hands clasped, on a stone, under the shade of some olive trees, and his regard is turned ‘to his left towards Jerusalem, seen in the distance below ; on his right near him are seated Peter and another Apostle, and John and two more are standing a little behind; all under the shade of the olives. In the middle ground is a , shepherd with his flock, carrying a lamb under his arm; on the other side a woman is approaching leading a child, ‘and carrying a vessel of water on her head ; near her is a hen gathering its chickens under her wing ; a woodman’s axe has been struck into the root of an old tree; all ReaeeeorIes of some portent. Engraved by S. Cousins, R.A.; and by J. Outrim. Dn canvas, circular top. 3 ft. 2 in. h. by 4 ft. 10+ in. 2, A repetition of the picture exhibited at the Royal Academy i in 1841. VERNON COLLECTION. No. 898. Lorp Byrron’s Dean a Greek landscape, with mouatains, and a view of the sea. a in the last he lay Reposing from the noontide sultriness, Couched among fallen columns in the shade Of ruined walls that had survived the names Of those who reared them; ky his sleeping side Stood camels grazing, and some goodly steeds Were fastened near a fountain; and a man . Clad in 2 flowing garb did watch the while, While many of his tribe slumbered around.” On canvas, 3 ft. 9in. hk, by 5 ft. 6 in. w. Engraved by me T. Willmore, A.R.A. Painted in Rome in 1827 for Earl Leven and Melville ; exhibited at the Royal Academy in 1829, - Bequeathed by Mr. Thomas Howard in 1872. i EASTLAKE—EGG. 4f No. 398. HAIDEE, A GREEK GirL. Bust, life-size. Engraved by Rt. Graves, A.R.A. On canvas, 2 ft. 1 in. h. by 1 ft.8 in. 2. Under glass Exhibited at the Royal Academy in 1831. Vernon CoLLection. No. 399. EscAPE OF THE CARRARA FAMILY FROM THE PURSUIT OF THE DUKE OF MILAN, 1389. Francesco Novello di Carrara, last Lord of Padua, is conducting his wife, Taddea D'Este, seated on an ass, over a mountain pass, in order to escape from the followers of Giovanni Galeazzo Visconti, Duke of Milan, who are in sight in the valley below. Sismondi, Histoire des Républiques Italiennes du Moyen Age, ch. ii. Engraved by F. Bacon; and by S. Smith. On canvas, 4 ft. 2 in. h. by 3 ft. 4 in. w. Exhibited at the Royal Academy in 1850. Vernon Co.iiec- TION. EGG. Aueustus LEopoLp Kea, R.A., was the son of Mr. Egg the gun-maker, in Piccadilly, and was born in London, in 1816. Having mastered the first elements in drawing under Mr. Henry Sass in Charlotte Street, Bloomsbury, he obtained admission as a student into the Royal Academy in 1836. He appeared as an exhibitor on the books of that institution as early as 1838, when he exhibited “ a Spanish Girl.” This was followed by “Laugh when you can” in 1839 ; and ascene from “ Henry IV.” in 1840. Ege seems to have at once entered upon that line of art by which he ultimately gained his well-deserved reputation—the higher genre or social history. He exhibited several excellent pictures at the Royal Academy during the twenty-two years he contributed to its exhibitions, besides others shown elsewhere: he had hung altogether twenty-seven works at the Academy, but he did not exhibit in the years 1852, 1853, and 1856. The following are the most im- portant :—“ Peter the Great sees Catherine his future Empress, for the first time,” 1850; “The Life and Death of Buckingham,” very remarkable, 1855; “ Past and Pre- sent,” a social tragedy, in three groups, 1858 ; “ The Night before Naseby,” 1859; and “ Catherine and Petruchio,” 49, EGG—ETTY. 1860, his last picture. He had the misfortune to’suffer from a weak constitution, and it was during a journey in Africa, undertaken for the benefit of his health, that he died at Algiers on the 26th of March 1863. Egg was elected an Associate of the Royal Academy in 1848, and an Academician in 1860. "ot 1s o e 4 . No. 444. ScENE FRoM “ LE DIABLE BOrreux.” Patricio and his two friends having breakfasted at a tavern off “ larded fowls, partridges of Leon, pigeons from old Castile, Estremadura ham, and all the fruits of the season,” he had called for the reckoning, which amounted to fifty reals. As Patricio had but thirty in his purse, he was forced to leave in pawn his rosary, adorned with silver medals, . | Le Sage, Devil on Two Sticks, ch. viii. Engraved by S. Sangster. On canvas, 2 ft. 10 in. h. by 3 ft, 8 in. w. Exhibited at the Royal Academy in 1844. Vernon CoL- LECTION. . | | en rd GOOLE OL LL EDD OL HOD DLO IDOL OOL EEA ODOT ETTY. WILLIAM Etty, R.A., was born at York, March the 10th, 1787; his father wasa miller. In 1798 he was apprenticed to Robert Peck, a letter-press printer at Hull, with whom he served seven years, but, says Etty, in his autobiography, “T had such a busy desire to be a painter, that the last years of my servitude dragged on most heavily.” In 1806 he removed to London, to his uncle, Mr. William Etty of — Lombard Street, and at once earnestly prepared himself to enter as a student at Somerset House. His first academy, however, was the plaster-cast shop kept by Gianelli, in Cock Lane, Smithfield, where Etty made a drawing of the ancient group of Cupid and Psyche, which procured him admission into the Royal, Academy; he and Collins entered it the same week in 1807. By his uncle’s generosity, who paid q one hundred guineas for him, Etty-became the pupil for one year of Sir Thomas (then Mr.) Lawrence, residing at that time in Greek Street, Soho Square, but the incessant occupation of Lawrence left him little leisure to assist , ; ETTY. 43 his pupil, and Etty’s difficulties were so great, that he writes—* Despair almost overwhelmed me, I was ready to run away, I felt that I could not get on, but a voice within said persevere ! I did so, and at last triumphed, but I was nearly beaten.” When his year was expired, Etty painted from nature, and copied the “old masters” in the British Gallery: this, he says, he found easy, after copying Lawrence. He was also a constant student in the ‘ Life School’ of the Royal Academy. His industry was indefatigable, yet he tells us he tried for all medals, gold and silver, and never got any of either ; He ventured at one time to send six pictures to the Academy exhibition, all were rejected; this happened year after year at the Academy, and at the British Gallery, but by dis- covering his defects, and by great industry in endeavouring to correct them, he at last conquered his evil fortune, and by such works as—‘“ The Coral Finders,” exhibited in 1820; “Cleopatra,” exhibited in the following year, and some » others, he established a reputation, and at length entered upon. his great career. In 1822 Etty went to Italy, visiting Venice, Florence, Rome, and Naples, but it was in Venice that he found the greatest attractions ;—“ Venice, the birth-place and cradle of colour, the hope and idol of my professional life!’ He studied in the academy there, and was elected an honorary member of it. He returned to London early in 1824. The first picture he exhibited after his return, was “Pandora crowned by the Seasons,” in the exhibition of 1824, for which he was chosen an associate of the Royal Academy ; and in 1828 he became a member. In the autobiography mentioned in this notice, Etty has himself pointed out what he considered his greatest works. “éTo the pure in heart, all things are pure,’ my aim in all my great pictures has been to paint some great moral on the © heart” :—“ The Combat,” the beauty of mercy ; the three “Judith” pictures, patriotism, and self-devotion to country, people, and God : “ Benaiah, David’s chief captain,” valour ; “ Ulyssesand the Syrens,” the importance of resisting sensual delights, or an Homeric paraphrase on “The Wages of Sin is Death” ; three pictures of “Joan of Arc,’ Religion, Loy- alty, and Patriotism, like the modern Judith. In all, nine 4t ETTY. great pictures, “as it was my desire to paint three times three.” ; hi In the summer of 1849 an Exhibition of Etty’s Works, to the number of 180 pictures, took place in the great room of the Society of Arts, at the Adelphi, in a surprising manner displaying the great powers of this distinguished English painter, especially as a colourist. tty died in the same year, 1849, in his native place, York, on the 13th of Novem- ber; he was never married, and having lived a very retired life, he accumulated a considerable fortune.* He contri- buted one hundred and thirty-six pictures to the Royal _ Academy exhibitions. 3 No. 356. YouTH ON THE PROW AND PLEASURE AT THE HELM. “ Fair laughs the morn, and soft the Zephyr blows, While proudly riding o’er the azure realm, In gallant trim, the gilded vessel goes, Youth on the prow, and Pleasure at the helm, Unmindful of the sweeping whirlwind’s sway, i That, hushed in grim repose, expects his evening prey.” Gray. Engraved C. W. Sharpe. On canvas, 5 ft. 2 in. h. by 3 ft. 10 in. w. Under glass. one Exhibited at the Royal Academy, in 1832 . Vernon CoLteEc- TION. | No. 357. Stupy oF A MAN IN PERSIAN CostumME. The left hand resting on a shield. | sti, Engraved by C. Cousen. On canvas, 1 ft. 34 in. h. by 114 in. w. Exhibited at the British Institution in 1834. Vernon CoLLEcTion. No, 358. THE IMPRUDENCE OF CANDAULES KinG OF Lyp1A, who showed his wife by stealth to his minister Gyges. The queen, Nyssia, indignant, gave Gyges the choice either to suffer death himself or to slay the king. The minister chose the second alternative, married Nyssia and zalaned over Lydia 38 years. Herodotus I. 8. Three small ures. “On canvas, 1 ft. 52 in. h. by 1 ft. 10 in w. Under glass. Exhibited at the Royal Academy in 1830, VERNON COLLECTION. * See his Autobiography in the Art Journal for 184 9, and the “Lifeof William © Eity,” by A. Gilchrist. 2 vols. 8vo. London, 1855. There is a fine engray- ing of the “ Combat ” by G, T. Doo, R.A. ETTY. 45 No. 359. THe Lurse-puayver. A gentleman and two ladies, a black page bearing refreshments. “ When with sweet notes I the sweet lute inspired, Fond fair ones listen’d, and my skill admired.” Engraved by J. C. Armytage. On wood, 2 ft. h. by 1 ft. 8 in. w. Under glass. Exhibited at the Royal Academy in 1833. VERNON COLLECTION. No. 360. THE DANGEROUS PLAYMATE. A. female figure seated in the open air, with the winged boy Cupid upon her knees. Engraved by E. J. Portbury. On wood, circular, 11 in. in diameter. Exhibited at the British Institution in 1833. VERNON COLLECTION. No. 361. Stupy For A HEAD oF CHRIST. Engraved by J. C. Armytage. On wood, 1 ft. 62 inh. by 1 ft. 21 in. w. VERNON COLLECTION. No. 362. CHRIST APPEARING TO MARY MAGDALEN, AFTER HIS RESURRECTION. In the back ground are seen two Angels at the Mouth of the Sepulchre ; in the foreground is a Roman soldier asleep. Engraved by S. Sangster. On millboard, 1 ft. 25 in. A. by 2 ft. Zin.w. Under glass. Exhibited at the British Institution in 1834. VERNON COLLECTION. No. 363. In Dverro. THE DvetTT. A lady and gentle- man seated on a terrace, singing a duett, accompanied by the lady on a lute; ablack page holding the music. Evening. Engraved by R. Bell. On wood, | ft. Gin. h., by 1ft. 23 in. w. Under glass. _ Exhibited at the Royal Academy in 1838. VERNON COLLECTION. No. 364. WINDow IN VENICE, DURING A Festa. Two young women, a blond and a brunette ; at an open arched window ; a third is seen in the interior of the chamber ; on the window sill is placed a Turkey rug, some branches of a vine are hanging gracefully from above. Engraved by A. Linley. On wood, 1 ft. 11} in. A. by 1 ft. 73 in. w. Under glass. Exhibited at the Royal Academy in 183]. VrRNon CoLLection. | 46 ETTY —FRASER. No. 365. Tot MAcpDALEN, seated in the, open air; by her side a crucifix, a skull and an illuminated missal: half figure. : . a Engraved by F. Bacon. On canvas, 1 ft. 7in. h. by 1 ft. 3 in. w. | | pee aS Exhibited at the Royal Academy in 1842. Vernon CoLiEctIon. No. 366. FEMALE BATHERS SURPRISED BY A SWAN. Engraved by E. J. Portbury. On wood, circular, 3 ft. 24 in. in diameter. 8 Exhibited at the Royal Academy in 1841. Vernon Cotizcrion. No. 6L&. THE BATHER, “ at the doubtful breeze alarmed.” A female standing in a shaded pool, in the attitude of listening. On canvas, 2 ft. 15 in. h. by 1 ft. 7h in. w. Under'glass. Exhibited at the Royal Academy in 1844, Bequeathed by Mr. Jacob Bell in 1859. A similar picture to this was painted for Mr. Broderip. aes PLOPIOPDOE EI EPO LO DIO OLA LOL OLED A DLA FRASER. ALEXANDER FRASER was born in Edinburgh in 1786, and was educated in the “ Trustees’ Academy” there. He — afterwards became the assistant of Sir David Wilkie in London, where Fraser resided many years, and his own original pictures are painted much in the taste and style of his distinguished countryman. He*was an exhibitor of twenty-four pictures only at the Royal Academy, in London, from 1823 to 1848, inclusive. Their subjects are various, but he generally showed a partiality for the humorous The following are good examples of his style :—‘‘ Deoch-an- doruis,” 1830; ‘The Village Sign-Painter,” 1887; “Scene at Newhaven near Edinburgh,” 1841; and, “Sir Walter Scott dining with a Blue-gown Beggar, Edinburgh,” 1844. —“The mutton was excellent, so were the potatoes and whiskey.” (See Lockhart’s “ Life, &e.” vol. 1, p. 175.) j Fraser. died at Wood Green, Tottenham, on the 15th of February 1865, having completed his seventy-eighth year. He was an Associate of the Royal Scottish Academy. FRITH—GAINSBOROUGH. AT No. 453. INTERIOR OF A HIGHLAND COTTAGE, of a primitive character; a log fire is burning on the centre of the floor, a large iron pot is suspended’ over it, and the smoke escapes through a hole in the roof ; a boy set to rock a baby to rest has himself fallen asleep over his work. Engraved by C. Cousen. On canvas, 2ft. 8hin. A. by 2 ft. 11 in. w. VERNON COLLECTION. POPPA OL PLS OD IPB PE PLO CL PPD COPPD WILLIAM POWELL FRITH, R.A. No. 615. “THE Derby Day,’ a scene on the Race- Course at Epsom, 1856. On canvas, 3 ft, 31 in. A. by 7 ft. 3h in.w. Engraved on half scale by August Blanchard. Exhibited at the Royal Academy in 1858. Bequeathed by Mr. Jacob Bell in 1859. ADASADALAALA ALAR AAARABRAS GAINSBOROUGH. Tomas GAINsBoROUGH, R.A., was born at Sudbury, in Suffolk, in the spring of 1727. After evincing a decided ability for landscape-painting, by his unaided attempts from nature, he left Sudbury for London when he was fourteen years of age, and became the pupil first of Gravelot, the engraver; then of Francis Hayman, at that time a painter of repute, and, like Gainsborough himself, one of the original members of the Royal Academy, which was founded in 1768, Gainsborough set up as a portrait and landscape painter, in Hatton Garden, but without success, and, after four years residence in the metropolis, he returned to his native place. When still a youth, he married Margaret Burr, a young lady of some fortune, and settled in Ipswich. One of his first pictures which attracted notice was a view of Landguard Fort, of which there is a print by Major ; the picture has perished. His reputation extending, he settled, in 1760, in Bath, as a more suitable field for the exercise of his abilities. At Bath much of his time was devoted to portraiture, which appears subsequently to have divided his attention with landscape-painting. In 1774 he settled in London, and - rented a portion of Schomberg House, Pall Mall; from this 48 GAINSBOROUGH. | period his reputation was such that he was considered at the same time the rival of Sir Joshua Reynolds in portrait, and of Wilson in landscape, painting. He was one of the original members of the Royal Academy, and sent pictures to its exhibitions from the commencement in 1769, but ceased to contribute after 1783. He exhibited altogether ninety- six works at the Academy. He died in London, August 2, 1788, and was buried in Kew churchyard * Shortly after Gainsborough’s death, Sir Joshua Reynolds, tnen President of the Royal Academy, delivered a discourse to the students, of which the “Character of Gainsborough” was the subject. In this he alludes to Gainsborough’s method of handling—his habit of hatching. “All those odd scratches and marks,” he observes, “ which, on a close ex- amination, are so observable in Gainsborough’s pictures, and which, even to experienced painters, appear rather the effect — of accident than design,—this chaos, this uncouth and shapeless appearance—by a kind of magic, at a certain distance, assume form, and all the parts seem to drop into their proper places ; so that we can hardly refuse acknow- ledging the full effect of diligence, under the appearance of chance and hasty negligence.” He observes, in another place, “whether he most excelled in portraits, landscapes, or fancy pictures, it is difficult to determine.”t Among Gainsborough’s most popular pictures are, the youth in a blue satin dress, known as “The Blue Boy ;” the portrait of the Hon. Mrs. Graham (now in the Edinburgh Gallery), “'The Shepherd Boy in the Shower;” “The Cottage Door ;” The Cottage Girl with Dog and Pitcher ;” “The Shepherd Boys with their Dogs fighting ;’ and “The Woodman and his Dog in the Storm.”{ Gainsborough is said never to have put his name to any picture.§ He died in possession of 56 of his pictures and 148 drawings, which were exhibited at his house in March 1789. Many were * Edwards, Anecdotes of Painters who have resided or been born in England, &c. London, 1808. + Discourse XIV. delivered Dec. 10, 1788. { This picture was burnt at Eaton Park; it has been engraved by Simon, and executed in needlework by Miss Lynwood. Donn § Edwards, Anecdotes, &c. e GAINSBOROUGH. 49 sold on this occasion, and the remainder at. Christie’s, June 2d, 1792.* No. 80. THe Marker Cart. The horse with loaded cart, from which this picture takes its name, is on the point of passing through a shaded pool on the high road; two irls are seated on the cart, and two boys and a dog are walking by the side of it : in the fore-ground to the left are two other figures, seated, and a dog; to the right, im the middle-ground, is a youth collecting faggots. Engraved by KE. Goodall, for the Associated Engravers ; and in Jones’s National Gallery. On canvas, 6 ft. din. d. by 5 ft. 3 in. w. Purchased at Lord Gwydyr’s sale in 1828, and presented to the National Gallery by the Governors of the British Institution. Lord Northwick possessed a similar composition. No. 209. THE WATERING PLACE: a thickly-wooded land- scape, with a few figures in a retired spot to the left; and some cattle and goats standing in a pool of water in the fore-ground to the right. Evening light. Engraved by W. Miller, for the Associated Engravers ; and in Jones’s National Gallery. On canvas, 4 ft. 10 in. h. by 5 ft.llin. w. Under glass, Presented to the National Gallery in 1827, by Lord FParn- borough. No. 308. MusiIpoRA BATHING HER FEET. She is seated on the bank of a shaded stream, with one foot in the water, and is loosening the sandal of the other. : , ‘ : Thrice happy swain ! A lucky chance, that oft decides the fate Of mighty monarchs, then decided thine. For. lo! conducted by the laughing loves, This cool retreat his Musidora sought ; Warm in her cheek the sultry season glowed, And rob’d in loose array, she came to bathe Her fervent limbs in the refreshing stream.” Thomson’s Summer, Entire figure, life size. Engraved by P. Lightfoot. On canvas, 6 ft. A. by 5 ft. aw. VERNON COLLECTION. Be Ee eee * See Fulcher, Life of Guinsborough. 12mo, London, 1856. B. D My ee Ne ee ee mye Fh, - ? 50 GAINSBOROUGH. No. 309. THE WATERING PLACE, A woody Landscape. three cows standing in a stream; a village church in the distance. , | Engraved by W. Miller. On canvas, 1 ft. 11 in. h. by 2 ft. 6 in. w. VERNON COLLECTION.“(/ 7200038 Bilt PaO wey No. 326. Woopy LANDSOAPE, SunsET. A ‘carter or his way home has stopped to water his team at a way side brook. Bs shes | ayes terrane Engraved by J. C. Bentley. On canvas, 4 ft. 3 in. h. by 4 ft. 11 in. w.. Purchased by Mr. Vernon'in 1832; it was formerly in the possession of Mr. Ewer, who purchased it at the sale at Schomberg House in 1789. Vurnon CoLircrion: ee No. 311. Rustic CHiILpREN. A girl carrying a child, and a boy with a bundle of faggots. Evening. = = Engraved by G.B. Shaw. On canvas, 1 ft. 6 in, 2. by 1 ft. 23 ic. w. Under glass. WeErRNon CoLEccrion. No. 678, Stupy For A Portrait. The finished picture, a full-length portrait of Abel Moysey, Esq., when. a young man, is now at Bathealton Court, Somersetshire. Mr. Moysey was some years member for Bath, was made a Welsh Judge in 1775, and was afterwards appointed Deputy King’s Remembrancer to the Court of Exchequer. He died in 1831, aged 87. Sint 5 Gi ey acl gs -. On canvas, 1 ft. 102 in. h. by 1 ft. Gin, w. oS ay iS Presented in 1861, by his grandsons, Mr. Henry Gorges Moysey, and the Rev. Frederick Luttrell Moysey. . No. 683, Portrait or Mrs. Srppons, in a striped blue and white dress, and buffshawl, with black hat and feathers ; and holding in her left hand a brown muff: seated, half- length, life size. ru see On canvas, 4 ft. 1} in. h. by 3 ft. 3 in. w. Under glass, Painted in 1784*, in her twenty-ninth year, the year after Sir Joshua Reynolds painted her as the “Tragic Muse” now in the Grosvenor Gallery... Purchased in 1862, from Major Mair, who was married to a daughter of Mr. Henry Siddons, the actress’s son. Exhibited at Manchester in 1857. _, oo PE 9% No. 684, Portrait or RALPH SCHOMBERG, Esq., M.D., | in a court suit of claret-coloured velvet, holding his cocked hat and cane in his hands. He was of the family of Field Marshal Duke Schomberg, who was killed in 1690 at the ANI * Fulcher “Life of Gainsborough,” 1856) p) 130; , , “> a, ie a “ ? - rx \< a > ‘ . x Pod Lal - — 1 i a tg ‘a , ’ GAINSBOROUGH. Pal Battle of the Boyne. Standing full-len with a landscape background.* On canvas 7 ft. 7 in. A. by 5 ft. $ in. w. Engraved by W. T. Fry, for Jones’s National Gallery. Exhibited at the British Institution in 1815, and in 1834 oth, inthe open air; ‘placed by mistake in the National Gallery, from which it was removed in 1836. Purchased from J. T. Schomberg, Ksq., in 1862. No. 760. PoRTRAIT OF ORPIN, PARISH CLERK OF BRAD- FORD, WILTSHIRE, seated near. a window, with his face turned towards the light, and his hands on the first volume of a large folio Bible, resting open on a reading desk before him. Half length, life size. On canvas, 3 ft. 114 in. h., by 3 ft. 1g in. w. Originally in the possession of J. Wiltshire, Esq., of Shocker- wick, near Bath. Edward Orpin died in 1781. Purchased at. the sale of the Wiltshire collection in 1867. No. 789. Portraits of Mr. J. Bane, of Ealing Grove, his Wife and Four Children. The mother is seated ina garden with the youngest child standing on her lap, who is stretching out its hands to receive a rose from its brother ; on the spectator’s left are standing two girls, and on the other side is the father leaning on the back of the mother’s chair; foliage, a pillar and curtain in the back- ground. Six figures, life-size. On canvas, 8 ft. 2 in. A. by 7 ft. 5 in, w. _ Bequeathed by Mr. Alexander Baillie, of Naples, in 1858; to be retained by his nephew, Mr. M. J. Higgins, during his life ; at his death, in 1868, the picture came into the possession of the Trustees of the National Gallery. ~~ No. 925. LANDSCAPE; A WOOD SCENE, with a pool of water, and a view of the village of Cornard in Suffolk, in the distance: several figures, variously occupied, in the wood. + This view is, in the lettering of the print of it published by the Boydells in 1790, called “ Gainsborough’s Forest.” On canvas, 4 ft. A. by 5 ft. 2. Engraved by Mary Catherine Prestel. | | Formerly in the possession of Alderman Boydell, who be- queathed it to Mr. Watts. From him it passed to Mr. Watts et ee area a nese eae _* Fulcher, in his “ Life of Gainsborough,” p. 198, designates this picture ‘one of the finest in the world.” f D a 52 GEDDES—GOoD. Russell, at whose gale in 1875 it was purchased from | the Lewis Funda for the national collection.* ! ANDREW GEDDES. ANDREW GEDDES, A.R.A., was born at Edinburgh, in 1789 ; he was educated at the High School there, and was, in due course, placed by his father, Mr. David Geddes, an auditor of excise, in his own office. His predilection was, how- ever, for painting, and he was encouraged in his pursuit of art by the late Lord Eldin, who gave Geddes free access, for the purposes of study, to his collections of pictures and drawings. After his father’s death, Geddes gave up his appointment, and by the advice of Lord Eldin proceeded to London and entered as a student in the Royal Academy of Arts, where he formed an intimacy with Wilkie. In 1810 he returned to Edinburgh, and practised as a portrait painter there until — 1814, when he visited Paris; and after his return spent a portion of every year in London. In 1828, he visited Italy and did not return to England until 1831. In 1832 he was elected an Associate of the Royal Academy. Geddes — was chiefly a portrait painter, he excelled in small full length portraits, but he painted also landscapes and a few historical pieces. He died in London, May the 5th, 1844.+ No. 355, Dutt Reapine. Portrait of Terry the actor and his wife, the sister of Patrick Nasmyth. The wife has read her husband to sleep. "i 3 | Engraved by W. Greatbach. On wood, 10 in. h. by 13 in. w. VERNON COLLECTION. PD Dp ry THOMAS SWORD GOOD. THOMAS SworD Goon, was born at Berwick-upon-T'weed, December 4th, 1789, and was originally brought up as a house painter. He eventually adopted painting as a fine art, imitating the style and subjects of Wilkie; and produced several excellent pictures. He was an exhibitor for fourteen * Fulcher’s Life of Thomas Gainsborough, 1856, p. 193. t Art Union Journal, Sept. 1844, eat ‘ : ; a eS pee, Se ee ee a ees * ry . 4 Cepia " a ails bom ml oS Y-- Rope : ce . Py hig ting vs et igi oe Ae hay are IS mee ae ee Sa I ae Nak ho ao ose 2 eat : payee Ee) PO see ree eee re, LER iE Oe Gt Jentie ee SO st Sh 79 & > le GOOD. aS years at the Royal Academy, but having inherited some property through his wife, he finally abandoned the practice of painting as a profession. He exhibited between the years 1820 and 1833 inclusive twenty pictures, of ordinary domestic scenes, as—“A Scotch Shepherd ;” “Music;” “Two Old Men who fought at the Battle of Minden ;” « Northumbrian Piper ;” “ Practice ;” “ Rummaging an old Wardrobe ;” “Smugglers Resting,” “Fishermen ;” “Idlers;” «The Truant;” “Merry Cottagers;” “Medicine ;” “The Industrious Mother,” &c. He died in his own bouse on the Quay Walls at Berwick, on the 15th of April 1872. No. 378. Tue NewspaPer. The interior of a cottage, a man seated in an arm chair reading a newspaper. Engraved by C. W. Sharpe. On wood, 9} in. h. by 75 in. w. Vernon Cotiecrion. Under glass. No. 917. No News. An old man in a clerical suit of black, seated in a chair, with his right arm resting ona table, and his head thrown back, has fallen asleep over his newspaper still held before him on his knees. On wood, 21 in. fA. by 17 in. w. Under glass. Bequeathed by the painter’s widow, Mrs. Mary Evans Good, in 1874. No. 918. FISHERMAN WITHA GUN. A coast scene near Berwick, a rocky shore and stormy weather, with a boat drawn up on the sands and a fisherman with a gun watching for sea gulls. Signed 7. S. Good, 1832. On wood, 15 in. &. by 17 in. w. Under glass, Exhibited at the Royal Academy in 1832. Eequeathed by the painter’s widow in 1874. No. 9L9. Stupy or A Boy. A boyseated at a table, with his right hand on an open book, carelessly lounging on a wooden chair, and looking out of the picture; he is surrounded by books and other objects, on the table and on the floor. On wood, lil in. h. by 94 in. w. Under glass. Bequeathed by the painter’s widow in 1874. PON TAII APOIO OIILE Pheer COLPP 4 OD BO = ES a er %' A ee y ie 2 54 GOODALL—GORDON, FREDERICK GOODALL, R.A.’ No. 450. A Vittace Hoxmay of-the olden time... “When the merry bells ring round, an OSGI es And the jocund rebecks sound, To many a youth and many a maid, Dancing in the chequered shade; — I And young and old come forth to play . ~ ows On a sunshine holiday.” _....,., Milton’s L’Allegro, A merry dance of villagers under the shadew of a noble oak, before an old country inn on the right, bearing the sign of the “ Royal Oak.” The windows are crowded with spectators; to the left are three musicians, who have taken refuge under the shade of the vast tree. In the foreground is a hawker, exhibiting his trinkets to some of the more elderly women of the party, and to the right of these, some of the elder villagers are seated at tables enjoying a sub- stantial repast. + hanes? Ss Engraved by J. Carter. On canvas, 3 ft. 4 in. h. by 5 ft. 7 in. us. Exhibited at the Royal Academy in 1847. Vernon CotieEc- TION. , : bedi <3 No. &51. THE TIRED SOLDIER, RESTING AT A ROADSIDE WELL. He is seated by the well drinking from the pitcher of a young girl, who watches him with interest. An old man on the other side of the picture returning from market, who has stopped to water his horse, shows the like interest in the weary wayfarer. French peasants; compo- sition of five figures. le ysleotoe lsivack Engraved by F. Croll. On canvas, 2 ft. 33 in. h. by 3 ft. w. Exhibited at the Royal Academy in 1842, Vurnon CoxL.ec- TION. a GORDON. Sir JOHN Watson Gorpon, R.A., President of the Royal Scottish Academy, and one of the most distinguished of British. portrait painters, was born in Edinburgh in 1788, and was educated in the Trustees’ Academy ” there under. Graham: His father was a captain in the navy ; his uncle, George Watson, was an eminent portrait painter. He exhibited at the Royal Academy in London as early as 1827, and from that time to his death contributed alto- gether one hundred and-twenty-two portraits to its exhi- bitions, conspicuous at once for their freedom of handling, correct drawing, and forcible effect. He was elected an HAGHE—HART. 55 Associate of the Academy in 1841, and an Academician in 1851, having been chosen in the previous year to succeed Sir William Allan as President of the Scotch Academy ; he was at the same time appointed limner to the Queen in Scotland, and was knighted on the occasion. He assumed the name of Gordon in 1826 to distinguish him from several other painters of the name of Watson then prac- tising in Edinburgh. Sir John died in Edinburgh on the Ist of June 1864. He never travelled abroad. No. 743. Portrait oF Sir Davip Brewster, F'.RS., half-length, sitting, life-size. On canvas, 4 ft. ld in. A. by 3 ft. 85in. w. Painted in 1864, and his last picture ; exhibited in Edin- burgh in the following year. Presented by the painter’s brother, Mr. Henry G. Watson, in 1865. WER EY LOUIS HAGHE. No. 456. CounciL or War ar CourtTRay. The council are seated around a table in an apartment of the Town Hall, Courtray, which is remarkable for the rich carvings of its chimney piece. _ Engraved by J. Godfrey. Drawing on paper, 2 ft. 6 in. 4. by 8 ft. 2in. w. Dated 1839. Under glass. VERNON COLLECTION. SOLOMON ALEXANDER HART, R.A. No. 424. INTERIOR OF A JEWISH SYNAGOGUE AT THE TIME OF THE READING OF THE Law. “ The five books of Moses, here called the Law, contained fifty-three sections, so that by reading one on each Sabbath, and two in one day, they read through the whole in the course of a year; finishing at the Feast of Tabernacles (in October), which they called the Rejoicing of the Law.” “The Jewish Doctors, to show their reverence for the Scriptures, always stood when they read them, but when they taught the people they sat down.” Burder’s Oriental Customs. Engraved by E. Challis. On canvas, 3 ft, 8 in. 4. by 2 ft. ld in. w., arched at top. Under glass. Painted in 1830. VERNON COLLECTION. PIPL LOL ILD HAYDON Bengamin Ropert Haypon was born on the 23rd of January 1786, at Plymouth, where his father carried on 5G HAYDON the trade of a bookseller. He was educated at Plympton Grammar School, and having persuaded his father to allow him to follow painting as a profession, he visited London in 1804, and became a student of ‘the Royal Academy, where he acquired the friendship of his fellow. pupils Jackson and Wilkie, Haydon created some sensation. in 1809 by a picture in the Academy Exhibition of “ Den- tatus attacked and murdered by his own soldiers,’* but he was himself so dissatisfied with its being placed in the small ante-room, instead of the great room, of the Academy, that he made it a ground of quarrel with the Royal Academy, and from that time declined to contribute any further to its exhibitions. His friend Wilkie’s two pic- tures “The Cut Finger” and “The Rent Day ” were in the great room. In 1826, however, he recommenced sending his pictures to the Academy, but again ceased in 1828 : he exhibited altogether only five works at the Academy. After this he devoted himself for a short time to por- trait painting at Plymouth ; and in 1814 he added greatly to his reputation by his large picture of the “ Judgment of Solomon,” for which he was voted the freedom of his native town. In this year also he visited Paris with Wilkie, to see the masterpieces of art then assembled in that capital. Haydon now painted several large pictures ofan ambitious character, and not having the facilities of showing them at the Academy, he established independent exhibitions of his own ; he was successful in some, but by others he lost. The most popular of his works, according to this test, was “ Christ’s Entry into Jerusalem,” painted in 1820, by which he gained nearly 3,000J, The picture is now in America. In 1821 he married; in 1840 he com. menced to combine lecturing with painting, and professed to find the former the more profitable pursuit. His Lectures on Painting and Design were published in 1844-6 in two volumes, 8vo. He had already published in 1842 “ Thoughts on the relative Value of Fresco and Oil Painting, as applied to the Architectural Decorations of the Houses of Parlia- ment.” aiid Among the most successful of Haydon’s pictures, besides those mentioned above, are “ The Raising of Lazarus,” painted in 1823, and “ Xenophon’s First Sight of the Sea,” * Admirably engraved in wood by Harvey. HAYDON, 57 painted in 1832. His last works were “ Nero watching the Burning of Rome,” and “The Banishment of Aristides,” which were exhibited together in the Egyptian Hall, Picca- dilly, in April 1846, but the exhibition was a complete failure, and he was now overwhelmed with pecuniary diffi- culties. His melancholy death took place in his painting room at Connaught Terrace, on the morning of the 22nd of June 1846.* No. 682. Puncn, or MAypay, or as the painter originally called the picture, PUNCH AND JUDY, oR Lire In Lonpon. The scene is in the New Road near Mary-le-bone Church. In the centre is an old farmer, fresh from the country, with a rose in his button-hole, heated from walking, his hat off to cool his head, and attended by his faithful sheep dog. On his right is a London sharper, pomting out and explaining the meaning of the two puppets, how Mr. Punch is beating his wife for supposed levity of conduct; while a woman behind is sheltering a boy, who, in part screened by her cloak, is picking the farmer’s pocket, though the urchin is already detected by a police officer behind ( Forster) who, truncheon in hand, is ready to pounce upon the little thief. In the middle of the crowd are a young sailor smoking his pipe, and a life cuardsman—a Waterloo hero, an Italian image-boy, with figures of the Theseus and Apollo, a little crossing sweeper mimicking Punch with his broom, and some other figures. ‘To the right is a group of May sweeps with Jack-in-the-green ; to the left, one of the showmen, indifferent and callous to the scene, with an apple woman below dozing over her little stall of fruit. In the back- ground two young men of fashion on horseback are looking on, and a funeral is passing towards the church, just as a young new-married pair are coming from it. “Such,” says the painter, “is human life.”t On canvas, 4 ft. 104 in. A. by 6 ft. w. Painted in 1829. Bequeathed by George Darling, Esq. M.D., in 1862. * See the “ Life of B. R. Haydon, Historical Painter, from his Autobiography and Journais. Edited and compiled by Tom Taylor, etc.” 2nd edition. 3 vols. 8vo. London, 1853. + Haydon has inadvertently introduced fruits not in season in May. See the catalogue “ Description of Eucles, and Punch, &c.; which were exhibited with other of Haydon’s pictures, in Bond Street, in 1830. 58 HAYDON—HERBERT. No, 786, Tue Ratsine oF Lazarus. From John XI, 43, 44. A composition of nineteen colossal figures ; Christ isin the centre of the picture, Lazarus on the specta- tor’s left: to the right are the witnesses of the resurrection of the dead. “And he that was dead came forth, bound hand and foot with grave-clothes.” _ fig On canvas, 14 ft. 6 in. h. by 20 ft. 9 in. w. ees te i Painted in 1821-3. Presented to the National Gallery by Mr. R. E. Lofft in 1868. ON I Re JOHN ROGERS HERBERT, R.A. No. 425, Sir Tuomss More and His DAUGHTER, observing, from the prison window, the monks going to execution. | & BSE “Stone walls doe not a prison make, Nor iron bars a cage; Minds innocent and quiet take That for an hermitage,” | eee sets “Sir Thomas More being now prisoner in the Tower, and one daye look- ing forth at his window saw a father of Syon, and three monkes,* going out of the Tower to execution, for that they had refused the oath of supremacy; where- ups, he, languishing it were with desire to beare them company, said unto his daughter Roper, then present, ‘Looke, Megge, doest thou not see that these blessed fathers be now going as cheerfully to theyr deathes as bridegrooms to theyr marriage? by which thou mayest see (myne owne good daughter), what a great difference there is between such as have spent all theyr dayes in a religious, hard, and penitential life, and such as have in’ this world like wretches (as thy poore father here hath done) consumed all theyr tyme in pleasure and ease.’ ” Roper’s Life of Sir. Thomas More. Paris, Mpcxxv. Sir Thomas More was imprisoned in the tower for mis- prision of treason ; and remained in prison thirteen months ; he was condemned for high treason, having refused to take the oath of allegiance and subscribe to the King’s supremacy as Head of the Church of England. He was beheaded on Tower Hill, July the 6th, 1535, | “ The fatal stroke was about to fall, when he signed for a moment’s delay while he moved aside his beard. ‘ Pity that should be cut,’ he murmured, ‘ that ‘ * These were John Haughton, prior of the monks of the London Charter House, Father Webster, and Father Lawrence, priors of the two daughter houses of Axholm and Belville, and Father Reynolds, a recalcitrant monk of Sion. They were executed together on Tower Hill on the 4th of May1535. The King had been declared supreme Head of the Church of England (Anglicana Ecclesia) the year before, 1534. (Act of Supremacy, 26 Hen. VILIL., Cap. i.) “ For the first time in English History, ecclesiastics were brought out to suffer in their habits, without undergoing the previous ceremony of degrada- tion. Thenceforward the world were to know, that as no sanctuary any more should protect traitors, so the sacred office should avail as little ; and the hard- est blow which it had yet received was thus dealt to superstition, shaking from its place in the minds of all men the keystone of the whole system.” _ a Froude, History of England, Vol. IL., p. 379 _—" Prem. od Ce EB RELL N Sire 5 sci ew yk ae cao S by ep Re how, hese eh ER GIT oon ae aie iia i ie ae oa HERBERT——HERRING—HILTON. 59 has not committed treason.’ With which strange words, the strangest perhaps’ ever uttered at such a time, the lips most famous through Europe for elo- quence and wisdom, closed for ever.” Froude, History of England, Vol. IL, p. 404. Engraved by J. Outrim. On canvas, 2 ft. 94 in. A 8 ft. Th in. we . a Prod GRY Exhibited at the Royal Academy in 1844. Vxrrnon CoLiec- TION. HERRING. JouHN FREDERICK HERRING, the distinguished horse painter, was a native Englishman, but his family was originally Dutch. As an artist he was self-taught ; at one time he was a stage-coachman, having driven the “ York and London Highflyer” for four years. He first painted horses at Doncaster, and has made portraits of thirty-three successive winners of the St. Leger there. Among his best works are “Returning from Epsom ;” “The Derby Day ;” “The Market Day ;’ “The Horse Fair,” &c.* Herring was a frequent exhibitor at the British Institution and at the Royal Academy. He died at Tunbridge, Kent, on the 23rd of September 1865, in his seventy-first year. He was animal painter to H.R.H. the Duchess of Kent, and Her Majesty possesses several portraits of horses by him. No. 452. Tue Frucat Meau. Study of the heads of three horses, feeding: two pigeons are partaking of the meal. - Engraved by J. Burnet; and by E. Hacker. On canvas, 1 ft. 94 in. A. by 2 ft. 52 in. w. | Painted in 1847. VERNON COLLECTION. HILTON. WituiAm Hinton, R.A., was born at Lincoln, June 3, 1786. His father was a portrait-painter, and was probably his first instructor. In 1800, he was placed with J. R. Smith, the engraver, in London, and he obtained admission as a student into the Royal Academy about the same time. Already, in 1803, he appeared as an exhibitor at the Academy, and very soon acquired distinction for his choice of subject, his refined taste in design, and a harmonious and rich style of colouring, though from an injudicious * « Globe” newspaper. 60 HILTON. method of mixing and applying his colours, his pictures are now rapidly perishing. ‘The use of asphaltum seems to be the chief cause of this mischief. 4 He became an A. R. A. in 1813, was elected a member of the Royal Academy in 1819, and succeeded Thomson in the office of keeper in 1827. He died in London, December 30, 1839, in his fifty-fourth year.* | Hilton died in possession of most of his best pictures:— “The Angel releasing St. Peter from Prison,” and “Sir Calepine rescuing Serena,” both exhibited in 1831; “ Comus ;” ‘‘ Amphitrite ;” “Una, with the Lion, entering Corcecas’ Cave,’ exhibited in 1832; “The Murder of the Inno- cents,” in the exhibition of 1838, the last picture exhibited by Hilton ; and “ Rizpah watching the dead bodies of Saul’s Sons,” but this was left unfinished at his death. A large collection of his works was exhibited at the British Institu- tion in 1840. His contributions to the Academy Exhibi- tions amounted to twenty-eight only. * No. 278. SERENA RESCUED BY THE Rep Cross KniGut, SiR CALEPINE. Spenser, “ Faerie Queene.” Book VI. e. viii. “Serena, found of Salvages, By Calepine is freed.” These savages into whose hands Serena fell cd used one most accursed order, To eat the flesh of men, whom they mote find, And strangers to devour, which on their border Were brought by error or by wreckful wind.” Serena is stretched naked, in a swooning state, upon a | pile in a sequestered woody spot, and the officiating priest with upraised arm is on the point of plunging his knife into her bosom, when Sir Calepine, whom chance had | brought to the place, rushes sword in hand to her rescue :-— “‘Eftsoones he saw one with a naked knife Ready to launch her breast, and let out loved life.” : “With that he thrusts into the thickest throng.” * * * * * Those ; “that scape his sword, and death eschew 3 Fly like a fiock of doves before a falcon’s view.” 4 A composition of five principal figures, of a small size. On ; canvas, 4ft. Tin. h. by 7ft. 7in. w. Engraved by F. Engleheart. ; * Art-Union Journal, 1840. + Engraved by W. H. Watt, for the subscribers to the Art-Union of London for 1842. iy a —— x - - Oe SE Ce ee ee oe ae é HILTON. 61 Presented to the National Gallery in 1841, by an association of gentlemen, chiefly artists, by whom the picture was purchased of the painter’s executors, after his death. No, 333. EDITH AND THE MONKS DISCOVERING THE DEAD Bopy oF Harotp on the field of battle, near Hastings, October, 1066. The king stripped of his armour, is seen lying on his back, in the foreground; a monk with one hand on the head of Harold is raising the right arm with the other. Edith standing in the centre of the picture immediately recognises the body by the light of a torch which is held by a second monk ; near Harold lies the body of one of his sons. Composition of five principal figures, life size. “The body, stripped of its armour, was so disfigured that the monks were unable to distinguish it. In this emergency they had recourse to Editha ‘ the lady with the swan’s neck,’ who, with the keen eye of affection, recognised the remains of her lover.” Old Chronicle. Engraved by E. Whitfield. On canvas, 11 ft. h. by 8 ft. w. Exhibited at the Royal Academy in 1834. VerrNnon CoLiec- TION. No. 334. Stuny oF A Heap, for Edith, in the large picture of Harold. No. 333. On canvas, 1 ft. 7Z in. A by 2 ft. lL in. w. Vernon Coiiec- TION. No. 335. STuDY FoR THE HEAD oF A MONK in the large picture of Harold, No. 333. On canvas, 1 ft. 74 in. 4. by 1 ft. 2 in. w. Vernon CoL.ec- TION. No. 336. StuDy FoR THE HEAD oF A MonxX in the large picture of Harold. No. 333. On canvas, 1 ft. 7h in. h. by 1 ft. 2in. w. Vernon CoLiec- TION. No. 337. CupPip DISARMED. The little Love-god lying once asleep, Laid -by his side his heart inflaming brand. * * * * * ~ And so—— Was, sleeping, by a virgin hand disarmed.” Shakspeare, Sonnet cliv. The little winged boy is struggling with a nymph who has seized his bow. 7 Neha 8 RE Sra A EET DRE ERCEH Sn Su bed en I Sat 62 HOGARTH. Engraved. by |P. Lightfoot. On caNTae 2 ift, Ad iRos h. eTby 2 ft. 11 in. w. Exhibited at the Royal Academy i in. 1828. Het Couecs TION. No. 338, THE MEETING. oF ABRAHAM’s SERVANT’ co REBEKAH, AT THE WELL. 0 “And I asked her and said, whose danghtte art thou ? rhea — pre daughter of Bethuel: And I put the earring Gage her face, and the bracelets upon her hands.” «“ And I wamshipped the Lord, sr on Re ch. xxit, | Engraved by C. Rolls. On canvas, 2 ft. 103 in. i, by, 8 ft. hi in.w, Under olass. Exhibited at the Royal Academy in 1833. Vinvox Core LECTION PLP LI DDL ODDS HOGARTH, WILLIAM HoGARTH was born Dec. 10, 1697, in the stat of St. Bartholomew, London: His father, a, native of West- moreland, and originally a schoolmaster, was employed in London asa corrector of the press; he spelt his name Hogart. Hogarth was apprenticed at an early age to Mr. Ellis Gamble, who kept a silversmith’s shop in Cranbourn-alley ; ;, and, he was bred an engraver of crests and ciphers on silver and other metal plates. This occupation, piesa does not appear to have suited his taste, and at the expiration of hig apprenticeship in 1718, he turned hig attention to noapialie’: on copper for booksellers. His earliest known print is his own shop-bill, ee is dated 1720; but the first of his prints which attracted publie notice are twelve small illustrations to Butler’s Hudibras, published in 1726: they were copied for Gray’s Hudibras, in 1744, and for Townley’s French ‘Translation, which was EPP hs | published in London in 1757. Co ss In the year 1730, he married the only daughter of. Sir James Thornhill, against that-painter’s consent. He engraved many book-plates at this period, but he derived littlé benefit — from the employment, sometimes recei for his plates scarcely more than the value of the ssaasts up as a ‘portrait-painter, in which cect elo he met with considerable success for a time. It was during this early stage of his career as a painter, 1734, that he painted his series of “ The Harlot’ s 3 Progress,” re e therefore set. HO GARTH. 63 which was immediately followed by “ The Rake’s. Progress,” enoraved in 1735. He acquired still greater fame by his series of the Marriage “a la Mode,” which appeared in the prints in 1745: the original pictures are in this collection. Hogarth was now an artist of high repute, both as a painter and satirist. As a portrait-painter “his own likeness” in this collection, and that of “Captain Coram” in the Found- ling Hospital, are capital specimens of his ability; of his moralizing, satirical capacity, and his abilities as a painter generally, the Marriage “a la Mode” affords adequate proof. In 1753 Hogarth appeared as an author; he published in that. year “The Analysis of Beauty, written with a view of fixing the Fluctuating Ideas of Taste,’* in the literary de- partment of which he was assisted by Dr. Benjamin Hoadley and Dr. Morell. In 1757 Hogarth was appointed Serjeant Painter to the King, in the place of Mr., the son of Sir James, Thornhill, who resigned. He died at his house in Leicester-fields, October 26, 1764, aged sixty-seven, and was buried in a vault at Chiswick, where he had a villa, and where he generally resided in the summer. His widow survived him twenty-five years.} : “ Hogarth,’ says Walpole, “had no model to follow, and improve upon. He created his art, and used colours instead of language. His place is between the Italians, whom we may consider as epic poets and tragedians, and the Flemish painters, who are as writers of farce, and editors of burlesque nature.” _ “Hogarth resembles Butler ; but his subjects are more universal, and amidst all his pleasantry, he observes the true end of comedy—Reformation. There is always a moral to his pictures. Sometimes he rose to tragedy, not in the catastrophe of kings and heroes, but in marking how vice conducts insensibly and incidentally to misery and shame. He warns against encouraging cruelty and idleness in young minds, and discerns how the different vices of the great and vulgar lead by various paths to the same unhappiness. ”’t eres Gaye) io SS actin ots ld olive eed _* A German translation of this work was printed at Berlin, in 17543 and it appeared in Italian at Leghorn, in 1761. + Walpole, Anecdotes of Painting, &c.; Nichols, Biographical Anecdotes of William Hogarth; and a Catalogue of his Works, &c., London, 1781 and 82 ; Ireland, Hogarth Illustrated, London, Boydell, 3 vols. 8vo., 179 1-1812, 5 + Anecdotes of Painting. There are several sets of prints of Hogarth’s designs, more or less complete; but most of them are copies. The best original set is that of 110 plates, sold by the Boydells, after the death of the painter’s widow. 64 HOGARTH. No.112, His own PorTRAIT: the picture is represented resting on volumes of Shakspeare, Milton, and Swift; and Hogarth’s favourite dog Trump is painted by the side of it, In the lower corner to the left is a palette with the “Line of Beauty and Grace,” marked upon it, and bearing the date 1745. | me Engraved in 1749 by Hogarth himself, but the plate was con- verted in 17638 into a satirical print of Churchill, the poet, as ‘A Russian Hercules.” It is beautifully engraved ona small scale by J. Barlow, on the titlepage of the first volume of Ireland’s - Hogarth Illustrated. ‘There are also several other more recent prints of it—in Walpole’s Anecdotes, in the Gallery of Portraits, in Cunningham’s Lives, in Jones’s National Gallery, &c. On canvas, 2 ft. 11 in. h. by 2 ft. 3 in. w. ! This picture remained in the possession of Mrs. Hogarth until her death in 1789, when it was bought by Mr. Angerstein, with whose collection it was purchased by Parliament in 1824. — Nos. LL3—2118, Toe Marriage “A LA Move.” A series of six pictures, representing profligacy in high life, or the ill effects of a marriage, of which the rank of one party and the wealth of the other are the sources of mutual attraction. Both are indifferent; the husband, a peer, — proves neglectful and profligate—the lady, faithless ; and her lord is finally killed in a duel by her paramour, who is hanged for the murder ; the suicide of the lady by poison is the closing act of the tragedy. ’ | No. 213, THE MarriaGe Contract. The scene takes place in a splendid apartment, adorned with pictures. The ‘gouty old nobleman, the father of the bridegroom, is pointing to his pedigree, and appears engrossed by his own imaginary dignity, while the rich citizen, the father of the bride, is equally absorbed by the details of the marriage settlement. The bride and bridegroom are seated, turned away from each other, on a sofa, “The lady shows by her countenance, and the manner in which she is playing with her wedding- ring, that but a sullen consent has been wrung from her, by the promise of a title and an equipage; and the young HOGARTH. 65 nobleman evinces his utter indifference for his bride, and his admiration for himself, by turning his head from her, for the superior gratification of contemplating his own person mamurror. The nature of the plot and catastrophe of the drama is sufficiently indicated by the insidious attention which the young counsellor Silvertongue is paying to tha bride. The two pointers in the foreground to ‘the left chained together against their inclinations, are good emblems of the ceremony which has lately passed.”* Composition of seven small figures. Originally engraved by G. Scotin, in 1745; also by Earlom ; by J. Garner, for Jones’s National Gallery. No, L414. SHORTLY AFTER MARRIAGE. ‘This scene re- presents the breakfast-parlour, with an mner-room beyond, in which are seen cards and card-tables, with the candles still burning, though it is now noon; a sleepy servant is on the point of putting out the candles. The peer has, after a night’s debauch, just entered the apartment, in which his _ wife, who has also been up all night playing at cards, is seated at breakfast. He has thrown himself carelessly upon a chair, with his hands in his pockets, in an attitude of reckless indifference; the lady is yawning with much of the same expression. A very significant figure in this composition also is the old steward, who, with a parcel of bills and a solitary receipt in his hands, is leaving the apartment in despair. Various articles are strewed about the room, and a little dog is sniffing at a lady’s cap in the pocket of the young libertine. Composition of three principal figures. “ Originally engraved by B. Baron; also by Earlom; by T. E. Ni- cholson, for Jones’s National Gallery; and by many others. No. 115. THE Visit To THE Quack Doctor. Here we have further evidence of the husband’s profligacy: to his ruined fortunes he now adds a wasted constitution. The — libertine rallies a quack and a procuress for having deceived ee * See the elaborate description of this picture and the rest of the series by Ireland, in his Hogarth Illustrated, B. E 66 HOGARTH. him, and the latter, in fear of her reputation, threatens — him with her knife in return; the hardened quack, on the other hand, treats the reprimand with stoic indiffe- rence. The young girl, the cause of the visit, presents a hapless picture of deadened sympathies. Composition of four figures. | | Engraved for the original set of prints by B. Baron: afterwards by Earlom; by C. Mottram, for Jones’s ational Gallery; an by others. | ' No. L16. Tue Countess’s Dressinc-Room. “By the old peer’s death, our fair heroine has attained the summit of her wishes, and is become a countess. Intoxicated by this elevation, and vain of her new dignity, she ranges through the whole circle of frivolous amusements, and treads every maze of fashionable dissipation. Her excesses are rendered still more criminal, by the consequent neglect of her domestic duties, for, by the coral on the back of her chair, we are led to suppose that she is a mother.* Her morning levee is crowded with persons of rank, and attended by her paramour and an Italian singer, with whose dulcet notes two of the group seem in the highest degree en- raptured. Silvertongue, the young lawyer, reclining upon the sofa, is presenting the countess with a ticket of admis- sion to a masquerade, at which the assignation is made which leads to the catastrophes of the two following designs.t Composition of eleven figures. = = = = Engraved originally by S.F. Ravenet; also, afterwards, by Earlom ; by Armstrong, for Jones’s National Gallery ; and by several others. No. 117. Toe DUEL AND DEATH OF THE EARL. ‘The peer becomes aware of the infidelity of his wife, and dis- covers her with her paramour, the counsellor, in a disrepu- table house. A duel ensues, and the earl is slain. The countess implores the forgiveness of her lord, and the guilty paramour endeavours to escape at the window, but the watch has already arrived, and he is arrested. The apart- ment, a bed-room, is skilfully illuminated from a wood fire, * Treland, Hogarth Illustrated. t See Nicho!s’s Anecdotes, and Ireland’s Hogarth.! pdsange DM te tse aller ik tai ai vals Pe ee Sab iy J ai A : 5 Go 7 — a ati ~ [ps are ote: aa i ’ ‘ - . ca de . oF en < ve EB | ; ‘ tan Ba ti ‘ i oe HOGARTH. 67 without the picture, on the left. Composition of five, but only two principal, figures. This picture was likewise engraved for the original set of prints by Ravenet—in the back-ground he was assisted by his wife ; engraved also by Earlom ; by T. E. Nicholson, for Jones’s National Gallery ; and by others. | No. 118. THe DEATH oF THE CouNTEss. This scene, the sixth, completes the tragedy; she dies by her own hand, by poison ; the catastrophe takes place in her father’s house in the city, of whicli he is one of the sheriffs: the window of the apartment opens upon the Thames. The bottle which contained the poison, laudanum, lies upon the floor, and close to it is a paper with the words Coun- sellor Silvertongue's last dying speech upon it, by which we. learn that her paramour has suffered the extreme penalty of the law. The avaricious father, seeing his daughter upon the point of death, is carefully drawing the rings from her fingers. | The only two. of the party who exhibit any grief, are the: child of the countess, and the old nurse, who is holding it up to the face of its dying mother. In the back-ground is the apothecary rating the domestic for having purchased _ the poison. A lean half-starved hound, taking advantage of the disorder, is stealing a “brawn’s head” from the table, on the right. On the extreme left is the back of the retreating physician. Composition of six principal figures. _ Engraved by G. Scotin, for the original set of prints published in 1745; by Earlom; by J. Mansell, for Jones’s National Gal- lery; and by others. The pictures are on canvas, and are all of the same size, 2 ft. 3 in. h. by 2 ft. 11 in. w. Under glass. These pictures were completed in 1744, and were sold by Hogarth, by auction, June 6, 1750. They were pur- chased by Mr. Lane, of Hillingdon, near Uxbridge, who, to the painter’s great disappointment, was the only bidder ; he obtained the pictures for the small sum of 110 guineas ; the frames alone had cost Hogarth 24 guineas. The pic- tures were bequeathed by Mr. Lane to Colonel Cawthorne, who sold them in 1797 for 1,3811. to Mr. Angerstein, with the rest of whose collection they were purchased for the nation, in 1824. ees ee Se (a for ae . i 68 HOPPNER, No. 675, Portrait ofr urs Sister. Inscribed Mary Hogarts, 1746. | . On canvas, ll in. h. by 84 in. w. Bequeathed in 1861 by Mr. Richard Frankum. ne HOPPNER. JOHN Hoppner, R.A., was born in London in 1759. When young, he was one of the choristers of the Royal Chapel; but having a more decided taste for the formative than the vocal art, he gave up music for painting, and entered as a student in the Royal Academy. He soon became, through the patronage of the Prince of Wales, a very fashionable portrait-painter ; Sir Thomas Lawrence was for many years his only rival. He was elected an associate in 1793, and a member, of the Royal Academy in 1795, and contributed 166 works to its exhibitions. Hoppner died of dropsy in 1810, in the fifty-first year of his age Sir Thomas Lawrence thus speaks of him in a letter to a friend, shortly after the painter’s death :—“ You will believe, that I sincerely feel the loss of a brother artist, from whose works I have often gained instruction, and who has gone by my side in the race these eighteen years.”* No. 233. Portrait or THE Ricut Hon. WitLiAm Pritt, second son of the first Earl of Chatham, born at Hayes, in Kent, May 28,1759; he was a Cabinet Minister in his 24th year, and died, Premier, Jan. 23, 1806. Large half length. On canvas, 4 ft. 8 in. h. by 3 ft. 8 in. w, ce Presented by George Moffatt, Esq., in 18538. No. 133. Porrrair oF Mr. Smita THE Actor. This actor was known as “Gentleman Smith :” he used to per- form in Drury-lane Theatre, and was the original “ Charles Surface,” in the School for Scandal. He retired from the stage in 1786. Bust, on canvas, 2 ft. 6 in. h. by 2 ft. 1 in. 2. Presented by Mr. Serjeant Taddy, in 1837. * Cunningham, Lives of the most Eminent British Painters, §c:; Royal Academy Catalogues. aa | ) 2 ea ere a oe a v , ; HORSLEY—HOWARD. 69 No. 930. PoRTRAIT OF THE COUNTESS OF OxroRD-— Jane Elizabeth, eldest daughter of the Rev. J. Scott, wife of Edward fifth Earl of Oxford; born 1774, died 1824. Half-length, life size. On wood, 2 ft. 6 in. A. by 2 ft. w. Painted in 1797, and exhibited at the Royal Academy in the following year. Bequeathed by her daughter, Lady Langdale, in 1 ° PLEAD ri JOHN CALLCOTT HORSLEY, R.A. No. 446. The PRIDE oF THE VILLAGE. ««She never even mentioned her lover’s name, but would lay her head on her mother’s bosom and weep in silence. In this way she was seated between her parents one Sunday afternoon; the lattice was thrown open, and the soft air that stole in, brought with it the fragrance of the clustering honeysuckle which _ her own hands had trained round the window.” “ A tear trembled in her soft blue eye. Wasshe thinking of her faithless lover? or were her thoughts wandering to that distant churchyard into whose bosom she might soon be gathered ?” Washington Irving’s Sketch Book. Engraved by G. A. Periam. On wood, 2 ft. 45 in. h. by 2 ft. 4 in. w. Exhibited at tne Royal Academy in 1839. VERNON CoLLECTION, HOWARD. Henry Howarp, R.A., was born in London, January the 31st, 1769. At the age of seventeen he was placed with Philip Reinagle, R.A., to learn painting, and in 1788 became a student of the Royal Academy. In 1791 he determined to visit Italy. Starting in the spring of that year, he carried with him a letter of in- troduction from Sir Joshua Reynolds to Lord Hervey British Minister at Florence. He remained three years in Italy, chiefly at Rome, where Flaxman was then residing ; he returned home by Vienna and Dresden, reaching England in September 1794. In 1800, having distinguished himself by his portraits, and many historical and classical pieces, he was elected an associate of the Royal Academy. Tn 1808 he became an academician ; in 1811 he was elected Secretary to the Academy; and in 1533, Professor of Painting. He contributed exactly the same number of works to the Royal Academy exhibitions as Turner, 257, 70 HUYSMAN—JACKSON. from 1794 to 1847 inclusive. He died at Oxford, gis the 5th, 1847.* No. 349. Tue Frower Girt. A bs 2 of the painter's daughter in a Florentine costume. “‘She gathered white lilies, the sweet honey-bell, And clusters of blossoms where bees love to dwell ; And she bore them away her own lattice to grace, But a rose bud she plucked, found a more favoured place,” Engraved by F.R. Wagner. On canvas, 3 ft. 2 in. h. by 2 ft. a. This subject was treated several times by the same painter ; the first example was exhibited in the Royal Academy i in 1824. VERNON COLLECTION. HUYSMAN., JACOB or JAMES HUYSMAN was born at denrtindeb in 1656. He was the pupil of Gilles Backereel, and settled in the latter part of the reign of Charles I. in England, where, notwithstanding the rivalry of Sir Peter Lely, he obtained considerable employment as a portrait-painter. He died in London in 1696. The portrait of Lady Byron, or Bellasys, among the “ Windsor Beauties,” now at Hampton Court, was painted by Huysman. : No. 125. Portrait oF I[zAaAK WALTON, the well-known author of the Complete Angler. He died i in 1683, aged ninety. Small half-length. Engraved by P. Audinet in 1815; and by wW. Humphreys 9 1836.* On canvas, 2 ft. 6 in. 2. by 2 ft. 1 in, w. Painted for the family of Mr. Walton, with which it remained until 1838, when it was bequeathed to the National Gallery, by the Rev. Dr. Herbert Hawes of Salisbury, one of his descendants, SRO rer oy’ ei JACKSON. Joun Jackson, R.A., wasbornat Lastingham, in Yorkshire, in 1778. His father was a tailor, and he was himself nen > | * »ectures on Pavnting, delivered at the Royal Abaca of Fine Aris, By Henry Howard Esq., R.A.,.&c. Hdited, with a Memoir of, the Author, by Frank Howard... London, 1848, + In the edition of the Complete Angler by Sir N. H, Nicolas, dail cae ~ re JACKSON. 71 up to that business. He hated his occupation, and having shown considerable ability for art, the unexpired period of his apprenticeship was purchased by Lord Mulgrave and Sir George Beaumont. The latter behaved with the greatest liberality and generosity to the young painter ; he allowed him 50J. a year, and gave him an apartment in his house in town, to enable him to prosecute his studies in the Royal Academy. Jackson early obtained distinction as a portrait-painter ; he became an Associate in 1815, and in 1817 was elected a memper of the Royal Academy. In 1819 he visited Rome, in company with Sir F. Chantrey, and painted for him there a portrait of Canova. He was elected a member of the Academy of St. Luke at Rome. His taste in colour- ing and agreeable execution rendered him justly popular. He died at his house in St. John’s Wood, June 1, 1831. Jackson’s masterpiece is probably the portrait of Flaxman, which he painted for Lord Dover. There is a sombre gran- deur, says Allan Cunningham, about this picture that awes one.* The portrait of Lady Dover, that of Canova already mentioned, and one of himself, are likewise amongh 1s best works. He contributed 147 pictures to the exhibitions of the Royal Academy. No. 124. PorTRair oF THE Rev. WILLIAM HOLWELL Carr. Painted by his direction to be placed in the National Gallery, and bequeathed to the Gallery with the rest of his collection in 1831. Bust, on canvas, 2 ft. 6 in. h. by 2 ft. 1 in. w. No. LVL Porrrait oF Sir Joun Soane, Knt., the architect of the Bank of England, and the founder of the Soane Museum in Lincoln’s Inn Fields. He was born in Reading in i758, and died in London in 1837. Small half-length. On canvas, 2 ft. Gin. 2. by 2 ft. Lin. w. Presented to the National Gallery by the Governors of the British Institution, in 1839. | a * Cunningham, Lives of the most Eminent British Painters, &c. 72 JOHNSTON—JONES, No, 326. Portrait or Miss StepHens, formerly of the Theatre Royal, Covent Garden, afterwards Countess of Essex. She holds a piece of music in her hands, in allusion to her great reputation as a public singer, previous to her marriage with the late Earl ‘of Essex. | Engraved by G. Stoddart. On canvas, 2 ft. 5 in. h. by 2 ft. 4 in. w. Exhibited at the Royal Academy in 1822. Vernon CoLnec- TION. . ALEXANDER JOHNSTON, No. £&9. Dr. TILLOTSON ADMINISTERING THE SAORA- MENT TO WILLIAM LorD RUSSELL AT THE Tower, the day previous to his execution, His wife, Lady Rachael Russell, and Dr. Burnet are also present. Dr. Tillotson became afterwards Archbishop of Canterbury. , “Russell, who appears to have been guilty of no offence falling within the definition of high treason, was beheaded in defiance of law and justice. He died with the fortitude of a Christian.” Macaulay's History of England. Lord William Russell,who was accused of being concerned — inthe Rye House plot, was executed in Lincoln’s Inn Fields, July the 21st,* 1683. An act, however, for annulling his attainder, was passed in the first year of William and Mary, 1686. , ; = Engraved by T. L. Atkinson ;.and by ©. H. Jeens. On canvas, 3 ft. 7Lin. hk. by 5 ft.2in.w. : HE Exhibited in the Royal Academy in 1845. Vunwon Contuc- TION. 4 JONES. ee GEORGE JONES, R.A., was born in London in 1786; his father John Jones was a mezzotint engraver. He early turned his attention to art, having become a student of the Royal Academy when a boy, but for a while his art studies eS ee * Introduction to the Life and Letters of Rachel, Lady Russeil. JONES. Vg were varied by the duties of a military career. He served as an officer of militia in the Peninsular war, and was in Paris in 1815 during the occupation of the allies. At the conclusion of the peace Jones returned to his art ; painting chiefly views of towns or battle pieces. In 1820 he received the premium of 200 guineas from the Directors of the British Institution, for a picture of the Battle of Waterloo; and two years afterwards a similar premium for another picture of the same subject, exhibited at the Royal Academy in 1822. He was elected an Associate of the Academy in this year, and a member in 1824, and was a contributor to its exhibitions for more than 60 years, from 1803 until 1869 inclusive ; but of later years his contribu- tions consisted mainly of water-colour sketches in light and shade, and chiefly from scripture subjects. He was keeper of the Royal Academy from 1840 to 1850; and had previously held the office of librarian. In 1849 he published a memoir of his friend Chantrey—“ Sir “ Francis Chantry, R.A. Recollections of his life, practice, “and opinions.” Dedicated to Lady Chantrey. The Vernon collection, which contains several examples of Jones’s works, was formed chiefly on his advice. He died in London, on the 19th of September 1869. No. 389. Tue BurninG Fiery Furnace; Nebuchad- nezzar pointing to Shadrach, Meshach, and Abednego walk- ing in the Furnace :— “Then Nebuchadnezzar, the king, was astonished, and rose up in haste, and spake, and said unto his councillors, Did we not cast three men bound into the fire? They answered and said unto the king, True, O king. He answered and said ‘ “Lo, I see four men loose, walking in the midst of the fire, and they have no hurt ; andthe form of the fourth is like the Son of God.” Daniel iii. Engraved by J. B. Allen. On wood, 2 ff, d12% im, of. aby 2 ft. 3h in. w. Under glass. ‘Exhibited atthe Royal Academy in 1882. VERNON COLLEC- TION. No. 390. Lapy GODIVA PREPARING TO RIDE THROUGH CoveNTRY. She is already mounted, under an archway, and attended by her women, who are undressing her. She Ce eS eo ee ae ' % a ‘ 74 JONES. rode undressed through the streets of the town to release the inhabitants from an offensive tax. Her body, says the old chronicle, was completely veiled by her long and thick tresses. * | | Engraved by J. B. Allen. On wood, 2 ft. 5Lin, h.. by 2 ft. w. Under glass. , b tia oh: Exhibited at the Royal Academy in 1833. Vernon Cox- LECTION. i + <0 No. 391. BATTLE oF THE Boropino, September the 8th, 1812; to the right Napoleon dismounted is ‘watching the result of an attack made on the great redoubt of the Russians. , SIE GG! “ A column of French infantry is ascending the eminence, supported by light cavalry on its left; and on’ its right cuirassiers are led by Caulaincourt, who forced the redoubt, but was slain in the struggle against the persevering courage of the Russians. On the left Murat is advancing and encou- raging the troops.’ f Engraved by J. B. Allen. On canvas, 4 ft. h. by 7 ft. w. Exhibited at the Royal Academy in 1829. Vernon Corixc- TION. ! | ol any No. 392. Town Hat, UTRECHT: to the right is the tower of the Domkirk or Cathedral, from which may be seen twenty large towns. fH, sald aie Engraved by E. Challis, On wood, 3 ft. h. by 2 ft. 4 in. w. Painted in 1829. VErRNoNn COLLECTION. biwa-bu . No. 800, THE Retier or Lucknow: Evenine, No- vember 1857. , | | “ The relief of the sufferers besieged at Lucknow, rescued by General Lord Clyde and the army on the march to the British camp, was thus described by his Lordship :—In * “Nuda equum ascendens, crines capitis et tricas dissolvens, corpus suum otum preter crura candidissima inde velavit.” ' Matthew of Westminster, anno 1057, p. 217 t Histoire de Napoléon et de la Grande-Armée pendant Vannée, 1812. By Général Comte de Segur. ; a0 JONES—KAUFMANN. 75 | leading the sufferers out of Lucknow, my great anxiety was _ to keep them silent, and to press them to exertion to reach _ the British camp. My distress and difficulties were great, as the women from debility would sit down, and the children cried and mourned under their fears and privations.” Royal Academy Catalogue, 1869. | On canvas, 3 ft. 7 in. h., by 6 ft. 10 in. w. No. 801, CAWNPORE: THE PASSAGE OF THE GANGES, ON THE 29TH AND 30TH OF NovEMBER 1857. The passage of the army and of about 1,500 women, children, and ‘sick and wounded soldiers rescued from Lucknow, occupied more than 30 hours. Lord Clyde with his staff a is on the rising ground; in the foreground are medical | officers attending the sick. The bridge was defended by Captain Peel’s heavy guns. The baggage was carried by -¥ elephants and camels. Royal Academy Catalogue, 1869. On canvas, 3 ft. 7 in. h., by 6 ft. 10 in. w. This and the companion picture were painted for Lord Clyde, who died before they were finished. Presented to the National Gallery by the painter in 1869. . KAUFMANN. Marta ANGELICA Kaurmann or Kavurran, R.A., the daughter of John Joseph Kaufmann, a painter of Schwarzen- | a berg, near Bregenz, in the Vorarlberg, was born at Coire in the Grisons on the 30th of October 1741. Her father bestowed unusual care on her education, teaching her music and painting, himself. From 1754 until her mother’s death at Milan in 1757 she resided with her family in Italy. In 1762 she returned with her father to Italy, visiting Florence, Rome, and Naples: she spent the greater part of 1764 in Rome, attracting great notice both for her portraits and musical accomplishments. The celebrated | - Winckelmann, in a letter to a friend, speaks in admiring terms of Angelica’s acquirements, and especially of her 76 KNELLER. facility in speaking the German, Italian, French, and English languages. | In 1765 she visited Boloona and Venice, and in the following year came with Lady Wentworth to England, where she was received with great distinction ; and upon the foundation of the Royal Academy in 1768 she was elected one of the original 36 members. Her father resided with her in England and exhibited several pictures at the Royal Academy. In 1781 she married Antonio Zucchi, a Venetian painter, and an associate of the Royal Academy in London, and left England a few days afterwards: in 1782 her father died ; and in the following year, she retired with her husband to Rome, where she died, November 5, 1807, and was buried in Sant Andrea delle Fratte ; haying been a widow since 1795. The prints after her works are very numerous, amounting to several hundreds; and she engraved some plates herself.* Angelica Kaufmann contributed 82 pictures to the Royal Academy Exhibitions between 1769 and 1797 inclusive. No. 139. RELIGION ATTENDED BY THE VirTUES. An allegorical composition of eleven figures; life-size. Engraved by W. H. Worthington. On canvas, 7 ft. h. by 9 ft. w. Painted in Rome for J. Forbes, Esq., and by him bequeathed to the National Gallery in 1835. PPLLIDLLLPCIPLD KNELLER SiR GODFREY KNELLER, BART, was born at Liibeck, August 8, 1646.¢ He studied in Holland under Rembrandt and Ferdinand Bol, and then visited Italy. He dwelt some time in Hamburgh after his return from Italy, but when about thirty years of age was induced by a Hamburgh merchant of the name of Banks to try his fortune in London, a * Vita di Angelica Kauffmann, Pittrice, scritta dal Cav. Giovanni Gherardo De Rossi, Flor. 1810. See also Lipowsky, Baierisches Kiinstler-Lezxicon, vol. i. p. 233; compare Goethe, Winkeimann und sein Jahrhundert ; Fiorillo. Geschichte der Malerei ; and Nagler, Kiinstler Lexicon. t Hamburgisches Kiinstler-Lexikon, Hamburg, 1854, ee . LANCE, biz where he eventually settled, enjoyed an unrivalled reputation as a portrait painter, and amassed a large fortune. Kneller’s success was remarkable. Walpole mentions that Charles IL, to save himself trouble, sat to Lely and Kneller at the same time, and that Kneller’s portrait was finished by the time that Lely’s was dead-coloured only. From this time his fame was established. Besides Charles IJ., he painted Louis XIV. of France; James II. of England (who is said to have been sitting to Kneller when William ITI. landed) ; William III.; Peter the Great of Russia; Queen Anne ; Charles VI. of Spain; and George I. He was created a baronet by George I. in 1715. Sir Godfrey died in London, Oct. 27, 1723, and was buried at Whitton; but a monument executed by Rysbrach was erected to his memory in Westminster Abbey. Among the most celebrated of Sir Godfrey’s works is the collection of forty-three portraits known as the Kit-Cat-Club. They were engraved and published in mezzotinto by J. Faber in 1795. John Smith also engraved in mezzotinto many of Kneller’s portraits.* No. 273. Joun Smitu, Engraver, holding in his hand the mezzotinto portrait engraved by him of Sir Godfrey Kneller. Half-length, life-size. The dates of Smith’s prints range from 1679 to 1727. Engraved by John Smith, 1716, and by S. Freeman, for Walpole’s Anecdotes of Painting in England, Se. On canvas, 2ft. dLin. h. by 2 ft. Zin. w. Painted in 1696, and presented by the painter to the engraver. On the back of the picture is written by Sir Godfrey himself, Johannes Smith. Godfridus Kneller, fecit, et dono dedit, 16.96. Presented by Mr. William Smith in 1856. GEORGE LANCE. GEorGE LANCE, the most distinguished of English fruit, flower, and still-life painters, was born in 1802 at Little Easton, near Dunmow, in Essex, and acquired the practice * Walpole. Anecdotes of Painting, §c. 3 vols. 8vo. London, 1849. 78 LANCE, of his art in the studio of Haydon, the historical painter. Lance’s pictures are well known, and he has acquired indeed a European reputation by the many admirable works he has contributed during the last thirty years to the exhibitions of the British Institution and the Royal Aca | demy, but more frequently in the rooms of the Institution. His first picture, exhibited at the Academy in 1828, was illustrated and described by a couple’ of lines from “ Hudibras” :— OF Oath fot “ Goose, rabbit, pheasant, pigeons, all With good brown jug for beer—not small,” which title illustrated the painter’s humour as well as his subject. ‘Though a fruit and flower painter chiefly, Lance’s subjects were very various in their character, and he gene- rally gave his pictures quaint titles, but little descriptive of them when away from them: as “ The Brothers,” 1837; “ May I have this?” 1840; “The Ballad” 1841; “The Microscope,” 1842 ; “Preparations for a Banquet,” 1846; “Red Cap,” in this Collection; “From the garden, just gathered,” and “ From the lake, just shot,” 1847; “ The Blonde,” and “ The Brunette,’ 1851; “The Seneschal,” 1852; “ Harold,” with the following quotation from Hamlet: “— and now reigns here a very very peacock,” 1855; “ Fair and fruitful Italy,” 1857; “ A sunny bank,” 1861; and “ A gleam of sunshine,” 1862—the last picture he exhibited at the Royal Academy. He contributed altogether only thirty-eight works to the Academy exhibi- tions between 1828 and 1862 both inclusive. Some few were of a more ambitious character than usual, as “Captain Rolando showing to Gil Blas the Treasures of the Cave,” 1839; “The Village Coquette,” 1843 ; and “The Maréchal Duc de Biron, &c.” 1845, his principal figure piece, and showing that he might have succeeded, had he chosen, as an historical or genre painter. - : He died on the 18th of June 1864, at Sunnyside, near Birkenhead, the residence of his son, whither he had gone for the benefit of his declining health.* : * A biographical sketch of Lance, written from materials supplied by him- self, was published in the Art Journal in 1857, itn leeds EE OT OT RT eee | - LANDSEER. 79 No. 441. A Basket or FRUIT, pineapple and bird’s nest. Engraved by J. C. Armytage. On wood, 1 ft. 6} in. 2. by 1 ft. 8} in. w. Exhibited at the British Institution in 1834. Vernon COoL-’' LECTION. No. 442. Rep Cap. A monkey with a red cap on his head; wild duck and vegetables. Engraved by W. Taylor. On wood, 1 ft. din. h. by 1 ft. 7in. w. Under glass. Exhibited at the British Institution in 1847. VERNON COLLECTION. No. 443. Fruit. Pineapple, grapes, and melon, &c. Engraved by C. H. Jeens. On canvas, 2 ft. 4in.h. by 3 ft. w. Exhibited at the British Institution in 1848. Vernon CoL- LECTION. nee CHARLES LANDSEER, R.A. No. 408. CiarissA HARLOWE IN THE SpuUNGING HovsE: she is in a homely bedroom, kneeling in prayer before an open bible. The drawing of a gibbet on the wall, and some other indications, clearly show the rude nature of the ordi- nary occupants of the room. - Richardson’s Clarissa Harlowe. Engraved by G. A. Periam. On canvas, 1 ft. 103 in. h. by 1 ft. 64 in. w. | Exhibited at the Society of British Artists in 1833. VERNON COLLECTION. No. 610. BioopHouND Bircu AND Pups. “ The infant Mewling and puking in the nurse’s arms.”— Shakspeare. On canvas, 2 ft. 834 in. h. by 2 ft. 11 Zim. w. Exhibited at the British Institution in 1839. Bequeathed by Mr. Jacob Bell in 1859. ed No. G11. THE Prutacine or A Jew’s House, in the reion of Richard I. The attention of the outraged Jew is divided between his plundered ducats and his fainting daughter. “ Justice | the law ! my ducats and my daughter ! A sealed bag ; two sealed bags of ducats Me Merchant of Venice. 80 LANDSEER, The Jews were much persecuted in the beginning of the reign of Richard I. . “The rumour was spread that the king had issued orders to massacre all the Jews ; a command so agreeable was executed on the instant on such as fell into the hands of the populace ; those who had kept at home were exposed to equal danger. The people, moved by rapacity and zeal, broke into their houses, which they plundered, after having murdered the owners. Where the Jews barricadoed their doors, and defended themselves with vigour, the rabble set fire to the houses, and made way through the flames to exercise their pillage and violence,”— Hume, vol. ii. p. 4. On canvas, 4 ft. 10} in. A. by 6 ft. 5 in. w. Exhibited at the Royal Academy in 1839. Bequeathed by Mr. Jacos Bett in 1859. No. 612, Tue Sacxine or Basina House: a rich apartment with an old gentleman, a young lady, and a boy, prisoners. On the left is the body of a cavalier, Major Robinson, who was killed by Major-General Harrison. Some soldiers are pillaging and quarrelling over their booty. Basing House, in Hampshire, was stormed by Cromwell’s soldiers, on the morning of the 8th of October 1645.- Crom- well writes to the Speaker—*I thanke God I can give you a good account of Bazing. . . . . We stormed this morning after six of the clocke; . . our men fell on with great resolution and cheerefulnesse ; we tooke the two houses without any considerable Josse to ourselves. . ; We have taken about ten pieces of ordnance, with much ammunition, and our soldiers a good encouragement.”— Cromuelliana, 1810, p. 27. The house was defended by _ the Marquis of Winchester, who was taken prisoner in it. Another account says—“ The rooms and chambers in both houses completely furnished, afforded the soldiers gallant pulage. A bed in one room furnished that cost 1,300. ; great store of popish books with copes and such utensils; silver plate valued at above 5,000/.; some cabinets of jewels and other treasure ; one soldier had six score pieces of gold for his share, and another got three bags of silver, who, not able to keep his own counsel, it grew to be common pillage amongst the rest, the fellow at last having but one half-crown for himself”’—Cronvwelliana, p. 28. The above is the scene represented in the picture. | ee ee ee ee ee ee ee ee eee ae oe Fe ee Yio” ey a ~ ere ee ae ee en ee, a ee ee eee Lae Tato oe LANDSEER. 81 On canvas, 3 ft. 34 in. A. by 4 ft. Idin.w. Engrav ~ A. - lg in. w. Engraved b J. ee Murray, but tlie female figure has been since altered in the picture. Exhibited at the Royal Academy in 1836. Be ed Mr. Jacob Bell in 1859. ‘ x queathed by PIE SIR EDWIN LANDSEER, R.A. Sir Epwtn LANDSEER was the third son of John Landseer on engraver, and was born in London on the 7th of March 802. He was educated in art by his father, before he became a student of the Royal Academy, and he received also some instruction from Haydon the historical painter. Edwin Landseer displayed his great ability while still very young, having obtained a medal from the Society of Arts at the early age of 13, for a drawing of a large Alpine mastiff, of which there is an etching by his brother Thomas. But he first attracted general notice by pictures exhibited at the Gallery of the Society of Artists, in Spring Gardens. His name appears in the Royal Academy Catalogues for the first time in 1817, in his 16th year, when he exhibited the “Portrait of a Dog.” In 1820 lhe sent to the British Institution his large picture of “ Alpine Mastiffs reanimating a Distressed Traveller”; and in 1822 he obtained from the same institution the premium of 150/., for his picture of “The Larder invaded.” These works attracted great notice, and established for the painter an unrivalled reputation in his own department of art; and which was more than maintained by the long series of pictures which followed them, on the walls of the Royal Academy, and at the British Institution. Besides his pictures of animals, he painted several portraits. In 1826 he exhibited at the Royal Academy “The Hunting of Chevy Chase,” and was in that year made an associate of the Academy. In 1829 appeared the “ Illicit Whisky Still in the Highlands.” He was elected an academician in the following year. In 1850 he received the honour of knighthood from Her Majesty. B. F 82 LANDSEER. From 1817 to 1873 inclusive, Sir Edwin exhibited altogether at the Academy 173 pictures, in 51 years; he having failed to contribute on six occasions only during that long interval of 57 years. He was likewise a constant exhibitor at the British Institution, but often exhibiting there works already shown at the Royal Academy. Besides those above-named, the following are some of Sir Edwin Landseer’s more celebrated works : Exhibited at the Royal Academy—Hawking, in 1832; A Jack in Office, 1833; Bolton Abbey, 1834; The Old Shepherd’s Chief Mourner, 1837; The Life’s in the Old Dog yet, 1838; Van Amburgh and his Animals, 1839; Laying Down the Law, 1840; Otter and Salmon, 1842; The Otter Speared, and Shoeing, in 1844; The Shepherd’s Prayer, 1845 ; Time of Peace, and Time of War, and Stag at Bay, in 1846; “Sketch of my Father,” and Alexander and Diogenes, 1848; A Dialogue at Waterloo, 1850; Titania and Bottom, 1851; Night, and Morning, 1853; Uncle Tom and his Wife for Sale, 1857; The Maid and the Magpie, 1858; The Shrew Tamed, 1861; The Connoisseurs (con- taining his own portrait, engraved by S. Cousins, R.A.) 1865; Her Majesty at Osborne, 1867; and the Swanery Invaded by Sea Eagles, 1869. 3 At the British Institution—The Cat’s Paw, 1824; High- Jand Music, 1830; Low-life, High-life, 1831; The Sleeping Bloodhound, 1835; and Dignity and Impudence, 1839. Many of the above works have been admirably engraved by his brother Thomas Landseer, A.R.A., by S. Cousins, R.A., and others. The engravings already made after his works exceed in number 300; and he himself etched several of his own compositions. Sir Edwin was awarded the large gold medal at the Paris Universal Exhibition of 1855, and the medal for Fine Arts at the Vienna Exhibition of 1873. He died at his house in St. John’s Wood, on the lst ot October 1873, and received the honour of a public funeral in St, Paul’s Cathedral. i . RAT Tes TE See Se TIT tee PO gene AE RR i LAGS EMG WOT RIT darth eR PERE Be NE ee 5 io Seeman Saami? ii omas ie aihelad LANDSEER. 83 No. £09. SPANIELS oF KinG CHARLES’s BREED. Two pet spaniels which belonged: to Mr. Vernon, for whom the picture was painted. Both these pets met with their death by falls. Engraved by J. Watts ; and by J. Outrim. On» canvas, 2 ft. 834 in. A. by 2ft. 114in w. Under glass. Exhibited at the British Institution in 1845. Vernon Cot- LECTION. No, 410. Low Lire—Hieu Lirzt. Two dogs, a bulldog and a stag-hound, with accessories characteristic of their respective classes. Engraved by R Lane, A.R.A. ; and by H. S. Beckwith. On wood, 18 in. 4. by 134 in. w. each picture. Under glass. Exhibited at the British Institution in 1831. Vernon Cot- LECTION. eer SY No. 411. Hiauitanp Music. An old Highland piper appears to have mischievously interrupted the frugal meal of a group of five hungry dogs by a sudden blast of his “bagpipes.” The variety of effect of the “ Highland music”’ ‘on the different dogs is very striking. A blind-eyed little ‘terrier to the left seems disposed to put a stop to the inter- ruption, another has set up an accompaniment of his own ; ‘the two hounds appear to be disposed to hear the tune out, and the fifth, with his eyes turned up to the old piper, appears to thoroughly appreciate the stirring strains. Engraved by H. S. Beckwith. On wood, 1 ft. 6} in. h. by 1 ft. 114 in. w, Under glass. Exhibited at the British Institution in 1830. VeRNoN CoL- LECTION. No. 412. Toe Huntep Stace, or Deer and Deerhounds in a mountain torrent. ‘The stag has crossed a lake, and still worried by two hounds is falling with them down a rocky torrent. Inevitable death is forcibly pictured in the head of the stag. F 2 ee ea 84 LANDSEER, Engraved by Thomas Landseer ; and by J. Cousen. On wood, 2 ft. 34 in. h. by 2 ft. 114 in. w. Under glass, Exhibited at the Royal Academy in 1833. Vernon CoLLECTION. No. 413. Prace. A coast scene, Dover harbour in the distance, goats and sheep browsing in the sun on the cliffs, a lamb lying with its head resting in the muzzle of a dismounted gun; the cheerful faces of three bare-headed children complete the sense of peace and security conveyed by the whole scene. : Engraved by T. L. Atkinson ; and by J.Cousen and L. Stocks, A.R.A. On canvas, 2 ft. 10 in. 2. by 4 ft. 4 in. w. | I:xhibited at the Royal Academy in 1846. Vernon CoLLEcTION. No. 414. War. A dying and a dead horse, with their fallen riders lying amidst the burning ruins of a cottage. Engraved by T. L. Atkinson; and by L. Stocks, A.R.A. On canvas, 2 ft. 10 in. /. by 4 ft. 4 in. w. Exhibited at the Royal Academy in 1846. Vernon CoLizcrion. os No. £15. A DIALOGUE AT WATERLOO, “But *twas a famous victory.” Such are supposed by the painter to be the words spoken at the moment represented, by the Duke to his companion on the field, the present Duchess of Wellington, then Marchioness of Douro.* The landscape shows the present state of the site of the great battle of June the 18th, 1815. On the left is a peasant family of guides at dinner ; two females are offering to sell books of views. Engraved ona large scale by T. L. Atkinson. On canvas, 6 ft. 3 in. A. by 12 ft. 75 in. w. Exhibited at the Royal Academy in 1850. Vernon Cottxcrion. * They are a quotation from Southey’s lines on the Battle of Blenheim:— “ And everybody praised the Duke, Who such a fight did win.” “ But what good came of it at last ?” Quoth little Peterkin. Why, that I cannot tell,” said he, “ Bat ‘twas a famous victory.” Swing ae Pa mic UR Pak eet ane sca at el De eh am i kl pa ta i i ta I il a en etn lal at ee ean: SaaS ae LANDSEER. 85 No. 603. THE SLEEPING BLOODHOUND. Engraved by Thomas Landseer. On canvas, 3 ft. 3 in. hk. by 4 ft. 1 in. w. | “ Countess,” the hound here represented, sleeping on the top of a balustrade at Wandsworth, one Sunday evening, overbalanced herself, fell a height of twenty-three feet, and died on the same evening. On the next morning she was carried to St. John’s Wood, in the hope that Sir E. Land- seer would make a sketch of her as a reminiscence of an old favourite. “This is an opportunity not to be lost,” said the painter ; “go away, come on Thursday at 2 o’clock.” At the appointed time “the Sleeping Bloodhound” was a finished picture.* Exhibited at the British Institution in 1835. Bequeathed by Mr. Jacob Bell in 1859. No. 60. Dignity AND ImpuDENCE. Dignity is repre- sented by an old bloodhound, of the Duke of Grafton’s breed, known by the name of “ Grafton ;” a little Scotch terrier represents Impudence. Both are looking out of the same kennel. Engraved by Thomas Landseer, on canvas, 2 ft. 11Lin. hk. by 2 ft. 3Lin. w. Under glass. Exhibited at the British Institution in 1839. Bequeathed by Mr. Jacob Bell in 1859. No. 605. Tse Dereat or Comus. “The Brothers rush in with swords drawn, wrest his glass out of his hand, and break it against the ground ; his rout make sign of resist- ance ; but all are driven in.” ‘‘ Within the navel of this hideous wood, Immur’d in Cypress shades, a sorcerer dwells, Of Bacchus and of Circe born, great Comus, Deep skill’d in all his mother’s witcheries ; And here to every thirsty wanderer By sly enticement gives his baneful cup, With many murmurs mix’d, whose pleasing poison The visage quite transforms of him that drinxs, And the inglorious likeness of a beast = Fixes instead.” * * s Rent h Sage goer ttt Sees Sessa » 152 ee an * Anecdote recorded by Mr. Beil, the testator. fc | 86 LANDSEER,. He and his monstrous rout are heard to howl, Like stabled wolves or tiger at their prey, Doing abhored rites to Hecate.” . Milton’s Comus. On canvas, 2 ft. 10 in. A. by 5 ft. 6 in. w. A sketch painted for Her Majesty in 1843, for a fresco in the summer house of the garden of Buckingham Palace, Bequeathed by Mr. Jacob Bell in 1859, . No. 606. Suorinc. A farrier trying a shoe on the near hind foot of a bay mare, ina forge. This is a portrait of “Old Betty,” a mare which belonged to Mr. Bell. She is standing in a way peculiar to her, and without a halter, as she would not tolerate one. The Donkey, the Blood- hound “ Laura,” and the man shoeing the mare, are also all portraits. Engraved by C. Lewis. On canvas, 4 ft. 8 in. h. by 38 ft. 8 in. w. Exhibited at the Royal Academy in 1844, Bequeathed by Mr. Jacob Bell in 1859. | ~ No. 607. HicHLAND Does. Stag-hounds, terrier, and others ; a group of five dogs. A sketch for a vignette, ; On copper, 163 in. h. by 21 in. w. Under glass. Engraved as the frontispiece of Mr. Scrope’s work on deer-stalking, in 1839, Bequeathed by Mr. Jacob Bell in 1859. The celebrated Greek cynic, to show his contempt. riches, is said to have at one time, at Corinth, taken abode in a large tub. Plutarch relates that Alexander visited him when in this tub, and said to him, “I am Alexander the Great;” “and I am Diogenes the Cynic,” replied the philosopher. ‘“ What can I do for you ?” said the king.. “Stand out of the sunshine,” said the cynic. Alexander, struck with the remark, to reprove those of his No. 608. ALEXANDER AND DIOGENES. A group of do for his “courtiers who were ridiculing the uncouth rudeness of the : Greek philosopher, said, “ If I were not Alexander, I would 4 wish to be Diogenes.” Very little credit is due to this # LANDSEER—LANE, 87 story, but such is the anecdote illustrated by thi eight-dogs,* illustrated by et group of E i by 4 fh Bi, we Thomas Landseer, on canvas, 3 ft. 74 in. 4. Exhibited at the Royal Academy in 1848. B Mr. Jacob Bell in 1859. YAS Boer Beaman iy No. 609. “THE Maip AnD THE Macpiz.” This is from the popular taleso called and founded on fact, and which Rossini has made the subject story of one of his favourite operas, the ‘“‘Gazza Ladra,” brought out at Milan in 1817.7 A pretty milkmaid has seated herself in a shed by a cow to milk it, but appears to be more intent upon what a young man behind her is saying to her, than her ostensible busi- ness, and she does not observe that the magpie has seized and is about to carry off a silver spoon placed in one of twe wooden shoes by her side ; thus accomplishing the innocent theft that caused her so much misery. On the right are a calf and two goats. On canvas, 5 ft. 8h in. A. by 4ft.114.in w. Engraved by Samuel Cousins, R.A. Exhibited at the Royal Academy in 1858. Bequeathed by Mr. Jacob Bell, 1859. , PPPPOOEP PP II IOS ELPIDLIPODREIOOPLE PED LANE. THEODORE LANE was killed in 1828, when still young, by a fall through a trap-door or skylight im Gray’s Inn Road. He appears as an exhibitor in the Royal Academy Catalogues of 1827 and 1828 ; in both instances of pictures Dees ee * Politicians and persons having a lively imagination,” says Mr. Bell, “may see in Alexander the type of a successful bully, who has fought his way in the world by physical force, and has a sovereign contempt for moral influ- ence. His motto is “vi et armis,” in support of which propensity he has obtained a few scars. Nevertheless he is quite ready at any moment, ‘ To fight his battles o’er again, And thrice to slay the slain.’ Among his followers may be traced the portraits of a numerous class of pers sons who are always to be found in the wake of lucky adventurers, looking out for any share of the spoil which chance or flattery may bring within their grasp.”— Descriptive Catalogue of Pictures, &¢., exhibited at the Marylebone {nstitution, &c., 1859. + It is taken from a trial in the French “ Causes Célébres,” and was drama- tised in France before Rossini used it for an opera. 88 LAWRENCE, similar in spirit to that in this collection. In 1827 he exhibited “The Christmas Present, or Disappointment ; and in 1828, “ Disturbed by the Nightmare.” i No. £40. THE Gouty ANGLER. An enthusiast keptfrom the river banks by an attack of gout, is angling at home in a tub. Around him are strewed his fishing tackle, and on a table at his right hand, his bottles of medicine. Engraved by R. Graves, A.R.A.; and by H. Beckwith. On wood, 1 ft. 4 in. 2. by 1 ft. 10 in. w. Vernon CoLiecrion. wees LAW RENCE. Sir THomas LAWRENCE, P.R.A., was born May 4, 1769, at Bristol. He early distinguished himself for his: ability in drawing. His father was iandlord of the Black Bear Inn, Devizes ; and the first efforts of the young painter which attracted notice were some portraits in chalk of his father’s PL PL OLEL LL DIOS customers. At the early age of ten years he set up asa portrait-painter in crayons at Oxford; but he soon atter- wards ventured to take a house at Bath, where he imme- diately met with much employment and extraordinary suc- cess. In his seventeenth year he commenced oil painting ; in 1787, twelve months afterwards, he settled in London, and entered himself as a student in the Royal Academy. His success in London was as great as it had been in the provinces. In 1791, though under the age required by the laws (twenty-four), he was elected an associate of the Aca- demy, and after the death of Sir Joshua Reynolds in the following year, he succeeded him as painter to the King. He painted at this time, in his twenty-third year, the por- traits of the King and Queen, which were presented by Lord Macartney to the Emperor of China. In 1794, he was elected a Royal Academician ; he was knighted by the Prince Regent in 1815; and at the death of West, in 1820, he was unani- mously elected President of the Academy. From the time of his election as a member of the Academy to his death, Sir Thomas’s career as a portrait painter was unrivalled: he contributed, from 1787 to 1830 inclusive, 311 pictures to the exhibitions of the Royal Academy. He died in London, at his house in Russeli Square, January 7, 1830. TN ee aE a ee Toe ee ae Le Ee en ee a eee ee ee ee ee Pe ET es RPE BL yw LAWRENCE. 89 He was never married.* ‘Shortly after lis death, in 1820 a selection of 91 of his works was exhibited at the British Institution. The Waterloo Gallery at Windsor remains a noble monu- ment of the skill of Sir Thomas Lawrence as a_ portrait painter. The pictures of the Emperor Francis, of Pius VII. and of the Cardinal Gonsalvi, in that collection, are among the masterpieces of the art of portraiture. These pictures were painted on the Continent in the years 1818-19. He excelled chiefly in the portraits of ladies and children. He was a member of the Academy of St. Luke at Rome, and of many other foreign academies ; and in 1825, he was created a Chevalier of the “ Légion d’Honneur.” No. £29. PORTRAIT OF THE LATE JOHN JULIUS ANGERSTEIN, the Banker, and collector of the Angerstein Gallery ; he died in 1823, aged eighty-eight.t Small half- length. Engraved by E. Scriven. On canvas, 3 ft. h. by 2 ft. 3 in, w, Under glass. Painted for George 1V., and presented to the National Gallery by William IV. in 1836. No. 136. Portrait or A Lapy, in a white dress. Full- length. On canvas, 7 ft. 10 in. n. by 4 ft. 10 in. w. Presented in 1837, by Francis Robertson, Esq., of Brighton, whose wife the picture represents. No. 1442. HAMLET APOSTROPHIZING THE SKULL, or the Portrait of John Philip Kemble, as Hamlet. He holds the skull of Yorick, the King’s Jester, in his hand: Hamlet. “ Alas, poor Yorick!—I knew him, Horatio; a fellow of infinite jest, of most excellent fancy ; he hath borne me on his back a thousand times ; and now, how abhorred in my imagination it is ! my gorge rises at it.” —Church- yard Scene, act v. se. 1. This celebrated actor retired from the stage in 1817, and died at Lausanne, in Switzerland, in 1823, aged sixty-six. Full-length, life-size. Engraved by S. W. Reynolds and several others. On canvas, 10 ft. h. by 6 ft. 6 in. w. > i ii es ee Samer SP * Williams, The Life and Correspondence of Sir Thomas Lawrence, 1831, containing the only three discourses to the students of the Academy that Sir Thomas ever published. Cunningham, Lives of the most Eminent British Painters, &c. 1835. + See prefatory remarks, p. 4 of this Catalogue. 90 LAWRENCE. This picture was painted in 18015 and was considered by Sir Thomas Lawrence one of his best works. It was presented by William IV. in 1836. No. 1444. PorTRAIT oF BENJAMIN WeEsT, P.R.A. The venerable painter is represented in his painting-room; on the easel is a sketch of Raphael’s cartoon of the “ Death of Ananias.” Full-length, of the natural size. Engraved by C. Rolls. On canvas, 8 ft. 10in. hd. by 5 ft. 10 in. w. This picture isa duplicate of one that was sent to America. It was painted for the Prince of Wales in 1811, and was presented by William IV. in 1836. No. 188. Portrait oF Mrs. Srppons. On a table by her side are, a folio copy of Paradise Lost, and a volume of Otway’s “ Plays:” her left hand is turning over a leaf of the open volume of “Milton” This celebrated actress, the sister of John Kemble, died in 1831, in her seventy-sixth year. Full-length, of the natural size. Engraved by W. Say. On canvas, 8 ft. 24 in. A. by 4 ft. 8E in. w. Presented to the National Gallery, by the actress’s friend Mrs. Fitz-Hugh, in 1843. No. 324. PoRTRAIT OF THE DOWAGER COUNTESS OF DARNLEY, a head, unfinished. | Engraved by R. A. Artlett. On canvas, 2 ft. h by 1 ft. 8in. w. Purchased by Mr. Vernon, at the sale of Sir Thomas Lawrence’s effects in 1880. VERNON COLLECTION. No. 325. Portrait or JOHN Fawcett, COMEDIAN. He was many years stage manager at Covent Garden Theatre. Engraved by W. J. Edwards. On wood, 2 ft. 6 in. &. by 2 ft. lin.w. VERNON COLLECTION. No. 785. Portrait or Mrs. Sippons, bust, life-size. On canvas, 2 ft. 6in. A. by 2 ft. 1 in. w. Bequeathed by her daughter, Mrs. Cecilia Combe, in 1868. No. 922, A CHILD witH A Kip. A hilly landscape, with a stream running through a valley; a child standi on the bank by a tub of clothes, and a kid in the water at her side, about to drink. Inscribed LADY GioRGIANA FANE, 1800. Ait. 5. — On canvas, 4 ft. 8in. h. by 3 ft. 14 in. w. Engraved by Charles Turner. . | Bequeathed by Lady Giorgiana Fane in 1875. PR ONPTIS eee ge ee yee a ee ee a ee eS ee ee ee en ui 63 del Eph bate eres ae, el a eg te LEE— LESLIE. 91 FREDERICK RICHARD LEE, R.A. 5 No. 418. THE Cover SIDE; a scene ina wood. The group of dogs, figures, and game was sketched in by Sir Edwin Landseer, R.A. Engraved by J. Cousen. On canvas, 1 ft. 7 in. A. by ft. 382 in. w. Painted in 1839. Vernon CoLuEcTION. No. 419. SHOowERY WEATHER, SUNRISE ON THE SEA Coast. A pair of horses pulling a cart loaded with fishing nets ; the sun just above the horizon behind them. Engraved by E. Radclyffe. On canvas, 2 ft. 10 in. h. by 3 ft. 7 in. w. Exhibited at the British Institution in 1834. Vernon CoLiec- TION. No. 619. EVENING IN THE MEADOWS; cattle standing in, and on the banks of, a stream. The Cattle by T. §. Cooprr, A.R.A. On canvas, 3 ft. 14 in. A. by 4 ft. 34 in. w. Exhibited at the Royal Academy in 1854. Bequeathed by Mr. Jacob Bell in 1859. No. 620. A RIvER SCENE; a broad river, with cattle on the banks. The Cattle by T. 8S. Cooper, A.R.A.. On canvas, 4 ft, 14 in. 4. by 5 ft. 114 in. w. Exhibited at the Royal Academy in 1855. Bequeathed by Mr. Jacob Bell in 1859. POOPED LEAL OSLO LATICO LISA, CHARLES ROBERT LESLIE, R.A. ~ CHARLES RoBERT LESLIE was born in Clerkenwell, of American parents, Oct. 19th, 1794. He was taken in 1799 by his parents to Philadelphia, United States; and was then apprenticed to a bookseller. In 1811 he returned to England, having given up bookselling for the arts. He entered as a student of the Royal Academy, and received some instruction also from Washington Allston, and from the President of the Academy, West, both Americans ; for the latter Leslie executed some copies for America. He lived in the same house with Allston, in Buckingham Place, Fitzroy Square, and started as a portrait painter, but in a oe ee I ad eR ea 92 LESLIE, very few years turned his attention more particularly to that style in which he afterwards so eminently distinguished himself—the higher genre. | Leslie’s first important picture established his reputa- tion, “Sir Roger de Coverley going to Church,’ &c., from | the Spectator, which was painted for Mr. Dunlop, it was - in the Academy Exhibition of 1819, and was repeated for the Marquis of Lansdowne. In 1821 he exhibited— “ May-day in the Reign of Queen Elizabeth,” from Warner's Albion's England :— 3 ** At Paske began our Morrise, and ere Penticost our May, Then Robin Hood, liell John, Friar Tuck, and Marian deftly play, And Lord and Ladie gang till kirke with lads and lasses gay.” Ch, xxiv. This picture procured the painter his election in that year as an Associate of the Academy; and in 1826 he became a full Academician. His fine picture, painted for Lord Egremont,.of “Sancho Panza and the Duchess,” of which there is a repetition, with slight alterations, in this collection, was exhibited the previous year. In 1827 he exhibited “Lady Jane Grey prevailed on to accept the Crown;” in 1829, “Sir Roger de Coverley and the Gypsies ;’ in 1831, “The Dinner at Mr, Page's House,” from the Merry Wives of Windsor, and the “ Uncle Toby and the Widow,” now forming part of the Vernon Collection. | + In 1833 Leslie was made Professor of Drawing at the Military Academy of West Point, New York, but he gave up the appointment after a five months’ residence there, and returned to London, and from this time few exhibi- tions were without some important contribution from the pencil of Leslie, though he contributed but seventy-six pictures altogether. Among the most remarkable were— in 1888, his characters of the “ Merry Wives of Windsor,” now in the Sheepshanks Gallery; in 1844, the “Sancho Panza,” in this collection; in 1850, “Katharine and Capucius,” from Henry VIII.; in 1851, “ Falstaff per- sonating the King ;” and, in 1854, “The Rape of the Lock. ” In 1848 he was elected Professor of Painting at the Royal Academy, but resigned this office in 1851; and in 1855 his lectures were published under the title of a Handbook for Young Painters. He had already ap- peared as.an author in 1845, when he. published a Life of Constable. | é a Volh em LESLIE. 93 He died in London, May 5th, 1859, in his sixty-fifth year.* No. 402. SancHo Panza In THE APARTMENT OF THE DucueEss. Don Quixote, p. i. ¢. 33. Sancho, having by the command of the Duchess seated himself upon a low stool, is saying,-—“‘ Now, Madam, that I am sure that nobody but the company present hears us, I will answer, without fear or emotion, to all you have asked, and to all you shall ask me ; and the first thing I tell you is, that I take my master, Don Quixote, for a downright madman, &c.’’t The Duchess, seated on the couch towards the middle of the picture, listens to the ludicrous squire with a charming grace ; and her female attendants, the young women on the right, appear to enjoy the humour of the moment with all the zest of ingenuous nature, while the duenna Rodriguez, the staid old lady to the left, by her misplaced dignity, only adds to the comic effect of the scene. Engraved by W. Humphreys; and by R. Staines. On canvas, 4 ft. h. by 5 ft. w. Under glass. This is a repetition, with some alterations in the details, of a picture painted in 1823 for Lord Egremont. Exhibited at the Royal Academy in 1844. Vernon COLLECTION. No. 403. Uncte Topy aAND,WIDOW WADMAN IN THE SentTRY Box. “JT protest, Madam,’ said my uncle Toby, ‘I can see nothing whatever in youreye” . ; «<< It is not in the white,’ said Mrs. Wadman. My uncle Toby looked with might and main into the pupil.” Tristram Shandy. The Uncle Toby is said to be a portrait of Bannister the Comedian, Engraved by Danforth ; and by L. Stocks, R.A. On canvas, 2 ft. 8 in. h. by 1 ft. 10 in. 2. < - Exhibited at the Royal Academy in 1831. Vernon CoLLEc- TION. Tae er Ta Re ere * Royal Academy Catalogues; Art Journal, 1856. Autobiographical Recol- lections by the late C. R. Leslie, R.A. 2 vols. 8vo. 1860. “ Ahora, sefiora mia, que he visto que no nos escucha nadie de solapa fuera de Jos cireunstantes, sin temor ni sobresalto Linen 4 lo ee se me ha preguntado y 4 todo aquello que se me preguntare : y lo primero que digo es, Raa tengo 4 mi sefior Don Quijote por loco rematado, &c.”—Part I. ch. 33. 94 . LINNELL—LINTON. JOHN LINNELL. No. 438. Woop CuTTERS ; an open space in the outskirts of Windsor Forest, with men felling timber. Engraved by T. A. Prior. On wood, 9% in. 4. by 15 in. w VERNON COLLECTION. | ee No. 439. THE WinpMiLt. A hilly landscape, a thunder storm passing over ; to the right an old wooden mill ; in the foreground to the left a herd of cattle standing in a pool of water. Engraved by J. C. Bentley. On canvas, 144 in. h. by 18 in. w. Exhibited at the Royal Academy-in 1847. YERNON COLLEC- TION. a PRLPP OR IIPLD DS DLL ILA EDL PPLODS OOP OD LINTON. WiLiu1AM LINTON was born at Liverpool, April 22nd, 1791. He was at first placed in a merchant's office at Liverpool, to draw him from his fancy for painting, but to little purpose, he persisted in his choice, and in 1817, having got three landscapes iuto the Royal Academy, exhibition, he was sufficiently encouraged. He made tours in Wales, and in the Highlands of Scotland, painting many views. He eventually made several continental excursions, and produced some pictures of the most remarkable places, as this view of “The Temples of Pestum.” He died in London, August 10th, 1876. He was a member of the Society of British Artists. 3 No. 1,029. Tue TempLtes oF PastuM, in Magna Graecia, of uncertain date; they are of the Doric order. The two temples to the right are partly in shadow, a por- tion of an aqueduct is seen beyond them. Some hills are behind them, and others in the distance ; on one of the hills behind the temples is a cross, and here are two eagles, one perched on a temple, the other alighting. ‘In the fore- ground are a man with a gun and a few buffaloes scattered about to the left, and a man in red on a white horse; aig Pe 5B it at A Ar TE be Be NAR sk AORN GEN Re TO ha NO OMB BYE Ip ad LINTON— LOUTHERBOURG. 95 cloudy sky. The temples are near the sea in the gulf of Salerno, some 25 miles south-east of the city. On canvas, and according to the inscription on the picture, painted in encaustic ; it is here signed, W. Linton. 4 ft. 10 in. A. by 7 ft. 10 in. w. Bequeathed by the painter in 1876. MY YY BS YS LOUTHERBOURG. PHILLIP JAMES LOUTHERBOURG, R.A., was born at Stras- bourg, October 31, 1740, but was taken to Paris by his father, who was a miniature painter, in 1755, and was placed with F. Casanova, the battle-painter. Loutherbourg displayed great facility as landscape, marine, and battle painter, and in 1767 was elected a member of the French Academy of Painting at Paris; he was also member of the Academy of Marseilles. In 1771 he settled in this country, became eminent as a scene painter, and was elected a member of the Royal Academy of London in 1781; he had been elected an associate only the previous year. He resided the latter part of his life at Chiswick, where he died March 11th, 1812. Loutherbourg also etched many plates.* Among his principal pictures are: the Destruction of the Spanish Armada; the Fire of London; and Lord Howe's Victory, June the Ist, 1794. He sent altogether 155 works to the Royal Academy Exhibitions. No. 316. Lake ScENE IN CUMBERLAND, EVENING. Engraved by W. Richardson. On canvas, 1 ft. 4 in. h. by 2 ft. w. Painted in 1792. VERNON COLLECTION. COCCOOCOP ODT ODDECPE RED PI ODI ICIS ERD * P, De Baudicour, in his Peintre-Graveur Francais, &c., vol, ii, 1861, describes 44 plates by Loutherbourg ; in some of these he signs himself Peintre du Row, and in the later plates, apparently after he settled in England, he has placed a De before his name. 96 MACLISE. MACLISE. DANIEL Mac isk, R.A., was born at Cork, Jan. 25, 1811. His father, a native of Scotland, who had served in the army, had established himself in business at Cork. Daniel Maclise was originally placed in a bank, but he left this when still very young, entered himself as a student in the Cork Society of Arts, and thus commenced that career by which he eventually gained his great reputation. In 1828 he was a student of the Royal Academy of Arts in London, where he obtained the gold medal for the best historical composition in 1831. He became an exhibitor at the academy as early as 1829, when he was in his 19th year only, his first picture was “Malvolio affecting the Count ” from Twelfth Night. In 1833 he attracted much notice by his picture of * Mokanna unveiling his features to Zelica,” exhibited that year at the British Institution, and by the still more able and characteristic work of “Snapp-apple night, or All-Hallow Eve, in Ireland,” exhibited the same ‘year at the Royal Academy. From this time Maclise exhibited a long series of works of the highest ability, though not generally pleasing in their tone of colouring. He became an associate of the Royal Academy in 1835, and an academician in 1840. The later years of his life were much engrossed by his compositions for the decoration of the Houses of Parliament, more especially for the two large pictures of “The meeting of Wellington and Bliicher, at Belle Alliance after the Battle of Waterloo,” and the “ Death of Nelson at the Battle of Trafalgar.” The noble cartoon of the former is now the property of the Royal Academy, which purchased it at the sale of his remaining works at Christies’, on the 25th of June 1870. He executed many book illustrations, and has painted also a few portraits, among the latter, one of Charles Dickens in 1839. Maclise, died on the 25th of April 1870, just before the opening of the Royal Academy Exhibition. His friend Charles Dickens, a guest at the Academy dinner, pronounced, in the room where Maclise’s last work—“The Earls of Desmond and Ormond ”—was hanging, a very eloquent and feeling eulogy on the deceased painter, thus speaking of his ability and character: “ Of his prodigious fertility of “ mind and wonderful wealth of intellect, I may confi- eh ae AT aD Peale ead Segnalo Seine a MACLISE. 97 dently assert that they would have made him, if he had been so minded, at least as great a writer as he was a painter. The gentlest and most modest of men; the freest as to his generous appreciation of young aspirants ; and the frankest and largest hearted as to his peers.”* No. 422. THe PLAy ScENE IN HAMLET. Hamlet to Horatio. ‘There is a play to-night before the king; One scene of it comes near the circumstance Which I have told thee, of my father’s death ; I prythee, when thou seest that act afoot, Even with the very comment of thy soul Observe my uncle Give him heedful note, For I mine eyes will rivet to his face.” 7 The representation shows the act of murder by pouring poison into the ear. Hamlet is lying in front of the stage, intently observing the king, his uncle ; on the left is seated Ophelia with Horatio behind herchair; on the right are seated the king and queen; the king forcibly showing the agony of a guilty conscience. Composition of many small figures. Engraved by C. Rolls. On canvas, 5 fi. h. by 9 ft. w. Exhibited at the Royal Academy in 1842. VERNON COLLEC- TION. | No. £23. MALVOLIO AND THE COUNTESS. Scene from — Twelfth Night; Olivia’s Garden, the Countess seated, her maid standing behind her; Malvolio approaching, in yellow stockings, and cross-gartered, smiling fantastically— Olivia. “ How now, Malvolio ?” Malvolio. “ Sweet Lady, ho! ho!” Olivia. “* God comfort thee; why dost thou smile so, and kiss thy hand so oft 2” : Engraved by R. Staines. On canvas, 2 ft. 5in. A. by 4 ft. lin. w. Exhibited at the Royal Academy in 1840. VERNON COLLEC TION. teed APPPLDLDIP * Memoirs of Maclise are published in the English Cyclopedia and in the Art Journal ior 1847 and 1870. ns Bi vnahin8 Wishes Feed B. G 98 » MARTIN. MARTIN. JoHN MARTIN, distinguished in the field of poetic land- scape painting and architecture, was born near Hexham, in ‘Northumberland, in 1789, and he commenced his career in art in herald or coach painting, at Newcastle. He worked also in enamel painting at Newcastle and in London, where he married and settled very early. He appeared as an exhibitor at the Royal Academy, in 1812, his first picture being “Sadak in search of the waters of oblivion,’ and often afterwards, but his name was absent from the Academy catalogues for many years. “ Joshua commanding the sun to stand still upon Gibeon,” was exibited in 1816 ; the “ Deluge,” in 1837; the “Death of Moses,’ in 1838; the “ Last Man,” from Thomas Campbell, in 1839; “the “ Eve of the Deluge,” and the “ Assuaging of the Waters,” in 1840; the “Celestial City and River of Bliss,’ and “ Pandemonium,” in 1841 ; and the “ Destruction of Sodom’ and Gomorrah,” in 1852. He exhibited, also, many minor _ works, both at the Academy and at the British Institution. Martin’s greater and more celebrated compositions were not exhibited at the Academy; some of them had separate exhibitions. His most impressive works were, the “ Fall of Babylon,” 1819 ; “ Belshazzar’s Feast,” 1821; and the “Fall of Nineveh,” 1828. For the “ Belshazzar,’ the painter was awarded a premium of 2000. by the directors of the British Institution. Many of his finest compositions are engraved by himself, and. he thus acquired a great popularity and a wide-spread fame. He had an attack of paralysis in 1853, and died at the Isle of Man on the 17th February 1854. No. 793. THE DESTRUCTION OF PoMPEII AND HERCU- LANEUM, by an eruption of Mount Vesuvius, on the 28rd of August, in the year 79. Herculaneum was destroyed by lava ; Pompeii was buried in ashes. The point of sight appears to be from Stabize or Castell’amare, and it was here that the elder Pliny met with his death.* “They thought proper to go down farther upon the shore. to observe if they might safely put out tosea; but they found the waves still ran extremely SS ee * Letter from the younger Pliny to Tacitus. Library of Entertaining Knowledge. Pompntt, vol. 1, p. 44. : 4 E ¥: ; MORLAND. 99 high and boisterous. There my uncle having drunk a draft or two of - cold water threw himself down upon a cloth which was spread for him, when immediately the flames, and a strong smell of sulphur, which was the forerunner of them, dispersed the rest of the company and obliged him to rise. He raised himself up with the assistance of two of his servants and instantly fell down dead; suffocated, as I conjecture, by some gross and noxious vapour, having always weak lungs, and being frequently subject to difficulty of breathing.” On canvas, 5ft. 4 in. h. by 8ft. 8in. w. Painted in 1822, and lately in the collection at Stowe ; purchased from Mr. ©. Buttery in 1869. MORLAND. GroRGE MorLAND was the son of Henry Robert Morland, a portrait painter in crayons, and an engraver in mezzotint. He was born on the 26th of June 1763, and was instructed in his art by his father ; his subjects were generally animals, or of a domestic character, and all his pictures are executed with extreme facility. Morland died on the 29th of October, in a spunging- house in Eyre Street, Coldbath Fields, in his forty-first year. His death was hastened by dissipation. He had married the sister of James Ward, R.A., who was afterwards united to Maria Morland, the painter’s sister. Mrs. Mor- land, who had separated from her husband, survived him only a few days.* Morland exhibited altogether, at the Royal Academy, between 1779 and 1804, thirty-six pictures, omitting thirteen years of the interval. The pictures varied much in their subjects; the first, exhibited in 1779, is called in the Catalogue—“ A drawing with a poker;” the last, in 1804, is termed—“ A landscape, with hounds in full chase.” In 1781 he exhibited-—“ A hovel with asses ;” and only one picture, exhibited in 1797, is called “Pigs” = =— Our picture, the “Inside of a Stable,” was exhibited in 1791, and it is spoken of by several writers as his master- piece. be . —— * There is a portrait of Morland, engraved by W. C. Edwards, in Allan Cunningham’s Lives of the most Eminent British Painters, §e., 1830. G ) oe 100 MORLAND--MULLER. No. 1080. THe INSIDE OF A STABLE, said to be that of — the White Lion at Paddington. ‘Two horses anda pony are being led by a boy into a stable ; to the left a man is stoop- 7 ing and collecting together some straw. _ On canvas, 4 ft. 9 in. h. by 6 ft. 74 in. w. 3 Exhibited at the Royal ‘Academy in 1791: it was purchased : from the Exhibition by the Rev. Sir Henry Bate Dudley, Bart., : and was presented to the National Gallery by his nephew, Mr. 4 Thomas Birch Wolfe, in 1877. MULLER. WILLIAM JOHN MULLER, was born of a German father at | Bristol, in 1812; his father was curator of the Bristol | Museum. Miiller became the pupil of his townsman, J. B. i Pyne, the landscape painter, and displayed his own ability | for that department of the art at an early age; he found a generous patron in Mr. Acraman of Bristol. In 1833 and 1834, he made a first tour upon the continent ! of Europe, and in 18388 started upon a long and. arduous journey through Greece and Egypt, ascending the Nile beyond the Cataracts; he settled in London after his return in 1839, In 1843, he accoinpanied Sir Charles Fellowes on his expedi- tion to Lycia ; he returned to London in the following year. Many sketches and pictures of Oriental manners andscenery were the result of these journeys; five were exhibited at the Royal Academy, and two at the British Institution, in 1845 ; but Muller did not long survive to enjoy his growing reputation ; he’ died at Bristol, of disease of the heart, on the 8th of September of that year, at the early age of thirty- three. He exhibited only sixteen pictures at the Royal Academy. His sketches and pictures, which were sold at Messrs. Christie and Manson’s, in the spring of 1846, realized £4,360.* ‘Sie mee Saagiteing Se Vp egrs No. 379. LANDSCAPE, TWO LycIAN PEASANTS seated on ~ the ground ; Mount Massicytus i in the distance. Engraved by J. Cousen. On wood, 1 ft. 2 in. h. by 1 ft. 84 in. w. Painted in 1839. VERNoN COLLECTION. Rit 1 a iS A pg tas Race kt Gili pining tenia Dia piel ER STAR Tig Ma atte Rh citar ath het atm i * Some of Miller’s letters, relating to his eastern tours and other matters, were published in the Art Union Journal for the years 1844 and 1$45 r MULREADY. 101 No. 1040. LaAnpscape, a River SCENE, apparently in Wales or Scotland, showing a mountain torrent flowing over rocky boulders, with dark hills in the distance, over which stormy clouds are drifting. On canvas, 1 ft. 84 in. h. by 2 ft. 5 in. w. Purchased in 1878 from Mr. W. Fuller Maitland, M.P. PIPL MULREADY. WILLIAM MuULREADY, R.A., since Sir David Wilkie the most distinguished of British genre painters, was born at Ennis, in the County Clare, Ireland, on the 1st of April 1786: his father was a leather-breeches maker. He came early to London, and entered in 1800 as a student into the Royal Academy. In 1803 he married the sister of John Varley, the water-colour painter, who survives him. She also was a painter, and has exhibited at the Royal Academy. In 1804 he exhibited three pictures in the Royal Academy; two views of Kirkstall Abbey, and a Cottage at Knaresborough, Yorkshire ; he was then only eighteen years old ; other cottages and Yorkshire subjects followed in 1805 and 1806. In 1809 was exhibited the picture in this collection No. 394, then called “ Returning from the Alehouse,’ showing that already, at the early age of twenty-three, he was a perfect master in that class of work for which he has been so long eminent. Mulready was elected an Associate of the Royal Academy in 1815, and an Academician in 1816, both elections taking place between the exhibitions of those years, so that his name never appeared in the Catalogue as an Associate. His picture of 1815 was “ Idle Boys;” that of 1816, “The Fight interrupted,” now in the Sheepshanks Collection. He exhibited altogether, comprising a few drawings, seventy- eight works at the Royal Academy, of which fifteen are now in the Sheepshanks and four in the Vernon Collection, at South Kensington; and in these two collections are many of his most elaborate and remarkable works. During the sixty years from 1804 until his death Mulready’s name was absent from the Royal Academy Catalogue fifteen times. He generally exhibited but one picture in the year, but in 1844 he had five in the Exhibition his greatest number in one year. The exhibition of his Pictures, Drawings, and Sketches, which took place at the Society 102 MULREADY, of Arts in 1848, contained 214 works, but the majority of these were sketches; there were only forty-four pictures and three drawings which had been exhibited at the Royal. Academy. His pictures do not average two a year. f Among his most admirable works may be mentioned :-— “Fair Time,” 1809, “The Last in,” “Crossing the Ford,” “The Fight interrupted,” “The Butt,’ “Giving a Bite,” “First Love,” “The Seven Ages,” “Choosing the Wedding Gown,” “The Wolf and the Lamb,” “The Whistonian Controversy,” and the “ Toy Seller,’ 1862, his last exhibited work. Mulready died on the 7th of July 1863, and was buried at Kensal Green. With the exception perhaps of some slight deterioration in his colouring, which of late years was obtrusively purple, he was in the enjoyment of the full powers of his great abilities for upwards of half a century. His health also seems to have been remarkable ; he was drawing in the Life School of the Royal Academy on the evening of the 5th of July, only two days before his death. He was distinguished for the excellence of his life-studies, three of which in red and black chalk, pre- sented by the Society of Arts, are exhibited in the Gallery. : He was one of the founders and most active members of the “Society for the Management and Distribution of the Artists’ Fund,’ * of which he held the office of President as early as 1815, and at whose meetings he was never absent for seventeen years. | No. 393. Tae Last Iv. ‘A truant boy has arrived late at the village school; the master, in irony, rises, takes off his hat, and makes the boy a humble bow. bos Engraved by J.T. Smyth. On wood, 2 ft. 4 in. h. by 2 ft. 6in. w. Under glass. ry Exhibited at the Royal Academy in 1835. Vernon CoLLEcTIon. od No, 39%. Fair Tive. Two tipsy men returning from. . the fair; one giving halfpence to some boys; the other dancing before the door of a cottage to the right, the inmates looking on with disgust and indignation. Engraved by H. Bourne. On canyas, 2ft. 7 in. h. by 2 ft. 2 in. w. * See Pyes’ Patronage of British Art. z 5 2 i £ pO REL hs i RET ee | as ™ Liv gghteS “aap ame rss » Pir Peta ye be PEI G BERND SEAS eI Hh, F, R, PICKERSGILL—POUSSIN. 109 No. 791. THE Noy, half-length, life-size. On canvas, 2 ft. 11 in. 2. by 2 ft. 3 in. w. Presented by the painter in 1868. vy FREDERICK RICHARD PICKERSGILL, R.A. No. 445. Amoret, AEMYLIA, AND PRINCE ARTHUR, IN THE COTTAGE OF SCLAUNDER (SLANDER). “Then all that evening, welcomed with cold And chearelesse hunger, they together spent ; Yet found no fault, but that the hag did scold And rayle at them with grudgefull discontent, For lodging there without her owne consent: Yet they endured all with patience milde, And unto rest themselves all onely lent, Regardlesse of that queane so base and wilde To be unjustly blamed and bitterly revilde.” Spenser, Faerie Queene, Vili. 28. Eneraved by G. A. Periam. On canvas, 1 ft. 11 in. h. by 2 ft. i04 in. w. fixhibited at the Royal Academy in 1845. VERNON COLLECTION. PYYIY YY MAPA AIRLLINES CHARLES POUSSIN, FRENCH SCHOOL. No. 810. ParpDoN Day, IN Britrany. This represents a féte held in honour of Wétre Dame de Bon Secours of Guingamp, in Brittany, on the 2nd of July in every year. Pope Paul V., in 1619, granted a plenary indulgence to all those who truly confessed and communicated, who should visit the said church on that day. Hence great crowds frequent this festival of the Roman Church. Meyerbeer’s opera of Dinorah or the Pilgrimage of Ploérmel refers to a similar festival.* The numerous pilgrims are assembled in an open wood, variously occupied, and exhibiting many interesting examples of local costume. Signed Charles Poussin, 1851. On canvas, 4 ft. 10 in. 2. by 10 ft. 9 in. w. Painted in 1851. Presented to the National Gallery by Mr. R. E. Lofft, in 1870. LRP PII PALPIAYIVYS * A correspondent of the “ Standard” newspaper, who attended this féte in 1870, has described it and published a translation of the Pope’s bull granting the indulgences, im the paper of July 5th. 110 REDGRAVE—REYNOLDS. RICHARD REDGRAVE, R.A. No. 428. Country Cousins, an interior with two ladies and a gentleman at breakfast; three cousins from the | country are introduced, but the unwelcome intruders are | mere objects of curiosity to their town relatives. Engraved by H. C. Sxenton. On canvas, 2 ft. 84 in. h. by 3 ft. 62 in. w. ‘3 Exhibited at the Royal Academy in 1848, Vernon CouLEecTIon, | REYNOLDS. | Sir JosHuA REYNOLDS, P.R.A., was born at Plympton in Devonshire, July 16, 1723; his father, the Rev. Samuel Reynolds, was master of the grammar-school of Plymp- ton. Sir Joshua was intended originally for the medical profession, but he evinced very early a taste for art; and the perusal of Richardson’s treatise on painting decided him to become a painter. He was accordingly, in 1741, placed with Hudson, an eminent portrait painter in London; he remained, however, with Hudson only two years, and then set up as a portrait painter at Plymouth Dock, now Devonport. In 1746 he took apartments in St. Martin’s Lane, and commenced practice in London. In 1749, he accompanied Commodore (afterwards Lord) Keppel, in the “ Centurion,” to the Me- diterranean. After spending about three years in Italy, he returned at the end of the year 1752, by way of Paris, to. England. He settled in London, and soon became the most distinguished portrait-painter in the capital. In 1768, he was unanimously elected president of the then newly-esta- blished Royal Academy of Arts in London, and was knighted by George III. on the occasion.* He succeeded Allan Ramsay as principal painter in ordinary to the king in 1784. He died at his house in Leicester Square, February 23, 1792, and was buried with great pomp in St. Paul’s Cathedral. He exhibited altogether 245 works at the Royal Academy, sending in 1788 eighteen pictures ; his contributions amounted on an average to eleven annually. t ee ne SS a ee a ———-- -- | * The Royal Academy was opened on January 1, 1769, and Sir Joshua Reynolds delivered an appropriate discourse in commemoration of the event, : 1 Northcote’s Life of Sir Joshua Reynolds, 2 vols., 8vo., London, 1819. Sir 2 Joshua read in all fifteen discourses in the Royal Academy. is literary productions, besides these discourses, are :—three contributions to the Idler = { | 4q ‘olin siukh Soke cieeay sii ae ek Phe ea or ee Sere REYNOLDS. 111 No. 78. Tue Hory Fairy. Joseph and the Virgin holding the infant Christ, are seated by the side of a stone pedestal or monument ; before them stands the little St. John with the Standard of the Lamb: a landscape in the back- ground. Engraved by W. Sharp in 1792; and on asmali scale by G. Presbury in Jones’s National Gallery. On canvas, 6 ft. 5 in. h. by 4 ft. 9S in. w. Painted for Mr. Macklin, who sold it afterwards to Lord Gwydyr; at the sale of that nobleman’s pictures it was purchased by the Directors of the British Institution, and by them presented to the National Gallery, in 1828. No. 79. THE GRACES DECORATING A TERMINAL FIGURE or Hymen. The “Graces” are portraits of the three daughters of Sir William Montgomery; to the right the Marchioness Townsend, in the centre the Hon. Mrs. Gar- dener, mother of Lord Blessington, and to the left the Hon. Mrs. Beresford. Engraved by J. Watson. On canvas, 7 ft. 8in. h. by 9 ft. 6 in. w. Exhibited at the Royal Academy in 1774, as ‘“ Three Ladies adorning a Term of Hymen.” Bequeathed in 1887, by the then Earl of Blessington. No. 106. A Man’s HEap, in profile. Engraved by S. Reynolds; and by J. Rogers for Jones’s JVa- tional Gallery. On canvas, 1 ft.11 in. A. by 1 ft. Gin. w. Under Glass. This is a study from the head of a person (White, a paviour ) who served Sir Joshua as a model for Count Ugolino, in the celebrated picture, by him, of the Count and his sons, exhibited at the Royal Academy in 1773, now in the collection at Knole, in Kent. Presented to the nation, in 1826, by Sir George Beau- mont, Bart. —-s ——————_ No. 107. THE BANISHED LorD; a head. Engraved by J. R. Smith; by G.'T. Doo, R.A., for the Associated Engravers ; and by J. Jenkins for Jones’s National Gallery. On canvas, 2 ft. 6.in h. by 2ft. lin. w. Under Glass. Presented in 1826, by the Rev. William Long. no i < si aa eee neces se Seer ET, wT eee ALE some notes to Mason’s translation of Du Fresnoy’s “Art of Painting ;” a few notes for Dr. Johnson’s edition of Shakspeare; and his notes on his tour through Flanders and Holland in 1781. Several complete editions of his works have been published. Sir Joshua’s pictures are extremely numerous ; the prints after them amount to about 700. 112 REYNOLDS. No. LL2. Portrair or Lord HEATHFIELD, with the key of the fortress of Gibraltar in his hand.* The back- ground is a view of the rock, with the smoke of artillery, in allusion to the celebrated defence of 1779-83, of which Lord Heathfield, then Lieutenant-General Elliott, was the hero. The French and Spanish besieging forces, at this memorable siege, consisted of an army of 40,000 men, and a fleet of 47 sail of the line, besides smaller vessels.f “The gallant defender of Gibraltar” died at Kalkofen, his seat, near Aix-la-Chapelle, July 6, 1790, in the seventy- third year of his age. Three-quarter length, life size. Engraved by Earlom in 1788; by G. T. Doo, R.A., for the Asso- ciated Engravers; and by R. Page for Jones’s National Gallery. On canvas, 4 ft. Sin. h. by 3 ft. Sin. w. Under glass, This picture was painted in 1787 for Alderman Boydell. “ This,” says Mr. Ottley,t “is in all respects one of the finest and most strikingly characteristic portraits Sir Joshua ever painted.” “The intrepid veteran, firmly grasping in his hand the key of the fortress, stands like the rock of which he was the defender.” Barry spoke in the highest terms of the introduction of the key of the fortress into the General’s hand, “than which he says, “imagination cannot conceive anything more ingenious and heroically characteristic.”§ Formerly in the Angerstein col- lection, with which it was purchased by Parliament in 1824. No. 128. Portrarr or Rr. Hon. Wm. WINDHAM, Secretary at War, during Mv. Fox’s administration. Bust. Engraved by J. Jones. On canvas, 2 ft. 6 in. A. by 2 ft. 1 in. w. Under glass. : Bequeathed by G. J. Cholmondely, Esq., in 1831. No. 143. Porrratr or Lorp LigontER ON HORSEBACK. This distinguished officer commanded a division of the army under George IT. at the Battle of Dettingen ; he was afterwards created a Field-Marshal, and held the offices of Commander-in-Chief and Master General of the Ordnance. He died at an advanced age in 1770. Engraved by E. Fisher; and by S. Reynolds. On canvas, 9 ft. Zin. A. by 7 ft. 10in. w. eee SEE ee * The arms of Gibraltar are a Castle with a Key hanging to the gate, in allusion to the Rock as the Key to the Mediterranean. | t See Captain Drinkwater’s Siege of Gibraltar. t Descriptive Catalogue, &c. § See the Note to his Lecture on CoLourina. REYNOLDS. 113 This picture is one of Sir Joshua’s earlier works; it was painted about 1760, and formed part of the first collection of the works of the British Artists, exhibited at Spring Gardens, in 1761. Presented by King William IV., in 1836. ; No. 2162. Tue Inrant Samvst, kneeling, at prayer. Engraved by J. Dean, J. Lucas, and others, On canvas, 2 ft. 10in. h. by 2 ft. 3h in.w. Under glass. This picture, apparently exhibited at the Royal Academy in 1776, was repeated several times by Sir Joshua; there is a du- plicate of it in the Dulwich Gallery. The Rev. Mr. Long’s was exhibited at the British Institution in 1813. Bequeathed by Lord Farnborough, in 1838. No. 482. Heaps or ANGELS. Studies from Frances Isabella, the daughter of Lord William Gordon. Engraved by Simon; and by S. Reynolds. On canvas, 2ft. 6 in. A. by 2 ft. 1 in. w. Under glass. Exhibited at the Royal Academy in 1787. Presented to the National Gallery by Lady William Gordon, in 1841]. No. 185. Portrait oF Sir WILLIAM HaAmitTon, Knv. British Envoy at the Court of Naples from 1764 until 1800. He died in England at an advanced age in 1803. Full- length ; seated. Engraved by H. Hudson. On canvas, 8 ft. 6 in. ’. by 5 ft. 11in. w. The property of the British Museum, and deposited by the trustees of that Institution in the National Gallery, in 1843. Sir Joshua received one hundred guineas for this picture in 1784. No. 305. Porrrait or Sik ABRAHAM Hume, Barr. £.R.S. An intimate friend of the painter; he died in his 90th year, March the 24th, 1838. Bust, life-size. Engraved by C. H. Hodges, by W. Sharp, and by G Stoddart. On canvas, oval, 2 ft. 34 in. h. by 1 ft. 9Z in. w. Painted about 1780. VERNON COLLECTION. No. 306. Portrait or Himsetr. Bust, life-size, Engraved by T. W. Hunt. On canvas, 2 ft. 5 in. A. by 2 ft. w. Painted for Mrs. Thrale. VERNON COLLECTION. No. 307. Tue AGE or Innocevce, A child seated on the grass with her hands crossed. H B. 114 REYNOLDS, Engraved by J. Grozier, by Ch. Turner, A.R.A., and by F. Joubert. On canvas, 2 ft. 6 in. A. by 2 ft. lin. w. Under glass. Bought. at the sale of Mr. Harman’s wobarse! phiainete COLLECTION. . No. 681. PorTRAIT OF AN OFFICER, CAPTAIN elo? full length, standing, leaning on his horse. On canvas, 7 ft. 9 in. h. by 4 ft. 94 in. w. Painted for the Earl of Inchiquin, and exhibited at aphbe Gardens in 1761. Sir’ Joshua received one hundred guineas, a second payment, for this picture'in December 1777.* Purchased at the sale of Mr. R. Williams’s pictures in 1862. pies | No. 754. Portraits OF Two GENTLEMEN. He on the spectator’s left is the Rev. George Huddesford, ‘Vicar of Loxley, Warwickshire ; the other is Mr. John Codrington Warwick Bampfylde. They are looking at some prints; the. latter gentleman holds a violin in his right hand. Mr. Huddesford was in his youth a painter, and a pupil of Sir Joshua’s ; he was also a poet and satirist ; he died in 1809. Mr. Bampfylde, likewise a poet, died about the year 1796.t On canvas, 4 ft. 1 in. A. by 3 ft. 4 ino. Engraved HAN ae Sanders, for Graves’ Works of Sir Joshua Reynolds. ' , _ ~ Painted in 1778-9. Presented in 1866 by ‘Mts. Penge, in ped : name ws her moter Mrs. Martha Beaumont. a ~ “No, 885. 7 THE SNAKE IN THE Gaass, or ‘Love ea ing the zone of Beauty... A girl seated on a bank is sporting with Cupid, who‘:has seized. both! ends of. her .sash,.and: is: untying it: on the grass by-her side is seen the head of a snake.’ In the background a red eurtaine ote 0G ical quarter length. On canvas, 4 ft. lin. A. by 8 ft. 3in, 0, i's by J, R. Smith in.1787, and by S. W. Reynolds. _ “Painted for -Lord Carysfort, In the Copy of Sir’ Joshua’s Account Book published by Mr. Cotton, at p. 86 is this’ ce “ June 14, 1788. Lord Ie for the Nymph to. be sent to Prince Potemkin. 1051.” There is a duplicate of this composition in the Soane Museum, and another in Baron Rothschild’s collection, Purchased with the Peel pictures in 1871. * See Cotton’s Sir Joshua Reynolds’ ' Notes, &c. London, 8vo, 1859. + Works of Sir Joshua Reynolds, with short biographical notices, by R. E. Graves, B.A., of the British Museum, Folio. 1866; REYNOLDS. 115 No. 886. ADMIRAL KEPPEL, in a claret coloured suit, his right hand resting on his sheathed sword, his left on his hip. A view of the sea in the background. Life size three-quarter length. On canvas, 4 ft. Lin. h. by 3 ft. 3 in. zw. Painted in 1780. Sir Joshua executed several portraits of this officer, some of which have been engraved. Formerly in the collection of Mr. Wright, sold in 1845. Pur-. chased with the Peel pictures in 1871. No. 887. Dr. SAMUEL JOHNSON, in powdered wig and brown suit; nearly full-face, and showing his left hand. Bust, life size. — : On canvas, 2ft. 54in. Ah. by 2ft. lin. w. Engraved by W. Doughty in 1784, and by others. This portrait was painted for Mr."I'hrale; it was subsequently in Watson Taylor’s collection. Purchased with the Peel pictures in 1871. No. 888. JAmes BoswELt, the biographer of Johnson ; in the background a red curtain. Bust, life size. : ‘On canvas, 2ft. Shin. A. by 2ft. in. w. Engraved by J. Jones in 1786. - Purchased with the Peel pictures in 1871. No. 889. His own Portrait, in a brown suit; a nearly full'face,-looking over his right shoulder. Bust, life srzesigrog . Jiri!di: | On canvas, 2 ft, Sine h. by 2ft. w. Engraved by S. W. Rey-: nolds in 18238. |. 3 Formerly.in Mr. Lake’s collection. Purchased with the Peel pictures in 1871. .. | No. 890. GrorGE IV. as PRINCE OF WALES, with star and ribbon of the garter; three-quarter face, turned to the left. Bust, life size. | On wood, 2ft. 5in. h. by 2ft. w. Engraved by C. Hodges. Purchased with the Peel pictures in 1871. No. 891. Porrrait oF A LADY. in a low russet dress, showing the left profile; the head and arm of a child seen resting on her right shoulder. Bust, life size. On canvas, 2 ft. 5hin. h. by 2 ft. 3 in. w. A duplicate of this, known as the Hon. Mrs. Musters and Son, is at Colwick Hall, Nottinghamshire, the residence of a Musters H 116 REYNOLDS—RIPPINGILLE. family. The same portrait, without the child, was engraved by S. W. Reynolds in 1825, from a picture at Holland House, as Mrs. C. J. Fox. The names of Mr. and Mrs. Musters occur in Sir Joshua’s Account Book, noticed above. Purchased with the Peel pictures in 1871. No. 892. Rosinetra. A girl with a robin settled on her right. shoulder, seated, resting her left arm on its cage. Said to be a study of the Hon. Mrs, Tollemache. Half- length, nearly life size. | On canvas, 2 ft. Shin. h. by 2 ft. Lin. w. A somewhat similar picture to this, but without the cage, belonging to Lord Lonsdale, was engraved by J. Jones in 1787, and since by S. W. Reynolds. Purchased with the Peel pictures in 1871. RIPPINGILLE. EDWARD VILLIERS RIPPINGILLE was born at King’s Lynn, in Norfolk, in 1798. He was self-taught; first established himself at Bristol; and was an exhibitor at the Royal Academy as early as 1819, when his picture of “ The Post Office” attracted the notice of the public. The next year he exhibited a portrait of Bird, the Academician, painted in 1817. But his pictures were generally of the class known as genre, as “A Recruiting Party;’ “The Funeral . Procession of W. Canynge,’ from Chatterton ; “Going to the Fair;” “The Spendthrift perplexed ;” “Ttalian Brigands visiting a Wine-grower during the Vint- age;” &c, He visited France, Italy, and the East; delivered lectures on art, and was the author of some literary contributions to the periodical press. He died suddenly, at a railway station, near Birmingham, on the 22d of April 1859. | No. 45. Stupy or A FemaLe HEAp. Engraved by T. W. Hunt. On canvas, 2 ft. 3 in. A. by 1 ft. 1l in.w. VERNON COLLECTION. | No, 255. A Capucuin Friar. A study made at Calais; a head, profile, Engraved by J. C. Armytage. On canvas, 2 ft. 3 in. h. by 1 ft. 1lin. w. VERNON COLLECTION. | De ee a ge ee ee ee Ee Loe Pe ee, ee eee ee i _— ~@ VS =F ee Re et ee ee ee ee Ee a ee SRE ee oie ee ee at ait ee ROBERTS, 117 ROBERTS. Davin RoBerts, R.A., was born at Stockbridge near Edinburgh, October the 24th, 1796, and was apprenticed to a house painter and decorator in the Scotch capital. At the expiration, however, of his apprenticeship, he devoted him- self at once to scene painting ; and obtained employment in 1816 at the Edinburgh circus, at 25s. a week ; he was afterwards engaged for the Glasgow theatre. He was not a student of the Trustees’ Academy, though he attended it a few days. In 1822 Roberts came to London, and was engaged a a scene painter at Drury Lane Theatre, where later Mr. Stanfield became his fellow-labourer in the same department. His very great success as a scene painter led Roberts to try his fortune in the more delicate province of architectural painting in oil, and in this branch of his art also he soon demonstrated extraordinary capacity, and was not long in acquiring a public recognition of his powers. He appeared first as an exhibitor at the Royal Academy in 1826, with a view of “Rouen Cathedral ;” he exhibited also at the British Institution, and more frequently with the Society of British Artists at Suffolk Street ; he was one of the original members and a vice-presi- dent of that society, but had to leave it eventually in order” to qualify himself for membership of the Royal Academy. In 1832-33 Roberts made a tour in Spain, which visit was the source during many years of some of his most charming sketches * and most valuable pictures. In 1835 he exhibited at the Royal Academy a large exterior view of “The Cathedral of Burgos,” and painted the small interior of the same cathedral, which is now in this collection. Roberts made many journeys on the Continent of Europe, and in 1838-89 undertook an arduous and extensive tour in the East, which, like his Spanish journeys, was thenceforth the constant source of pictures, including some of his finest works. A more immediate ene ie eee i ee ee eee * A drawing of “The Great Square of Tetuan,” made by Roberts in 1833, was sold to Mr. Bicknell, of Herne Hill, for twenty guineas ; and was afterwards purchased by the Marquis of Hertford, at Mr. Bicknell’s sale in 1863, for 430/. 10s. 118 ROBERTS result was a noble series of published sketches which has spread the painter's reputation even to the EKast.* Among the most remarkable pictures, the result of this Eastern tour, are “The Ruins of Baalbec, Mount Lebanon in the Distance,” exhibited at the Academy in 1841, and “Jerusalem from the South-east, the Mount of Olives,” exhibited in 1845, ; | From 1835 until his death, Roberts’s name was but once, in 1839, absent from the Royal Academy catalogues ; he contributed altogether 99 pictures, somewhat more than one third of his works in oil, to the Royal Academy exhibitions. He painted altogether about 260 oil pictures ; for the first sold, he received 50 shillings, for the last 525 pounds. He was elected an Associate of the Academy in 1838, while in the East, and became a full member in 1841, having earned this dignity by his Spanish pictures chiefly. He died in London of apoplexy, on the evening of the 25th of November, 1864, in his sixty-ninth year. — Though Roberts did not attain to a great age, he yet lived long enough to see his early pictures sold at auctions, for ten, and even twenty, times the amount of the original price fixed by himself. His pictures are nearly exclusively architectural, but the purely landscape and figure portions of them have generally an admirable effect also. They are too numerous to admit of mention of even of a selection of them in a notice of this description. Among the most interesting are some of the very last—those illustrating the more conspicuous architectural monuments of this metropolis. . As remarkable exceptions to his ordinary subjects may be instanced “The Destruction of Jerusalem by the Romans under Titus, in the year-71 ;” exhibited at the Academy in 1849 (published in chromo- lithography, by Louis Haghe) ; and the large and magni- ficent sunset view of Rome from the convent of Sant’ Onofrio, in the exhibition of 1855, and now permanently placed in the Edinburgh gallery, to which it was presente * These sketches were exhibited in a room in Regent Street in 1840, and were published, on a large scale by Alderman Moon in 1842 and following years, under the title—The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia; the lithographs drawn by Louis Haghe, and the letter press of the _ “Holy Land” by Dr. Croly; 123 plates in three volumes folio, ypt and Nubia, with descriptions by Mr. Brockedon, constitute a separate work ; both were published plain and coloured by hand in imitation of the sketches, Piaget: “ek 2 ROBERTS. 119 by the painter. Many of Roberts’s foreign sketches have been published in “The Landscape Annual,” and other similar publications of the same period; he received 151. each for the original drawings.* The sale of his remaining sketches and drawings, at Christie’s, in June 1865, realized the large amount of 16,4500. No. 400. INTERIOR OF THE CATHEDRAL AT BURGOS, NortH TRANSEPT. The rich gothic cathedral of Burgos, the capital of Old Castile, was commenced by Ferdinand III. early in the 13th century, but was not completed until some centuries later ; the magnificent flight of steps to the left, leading into the cathedral from the upper town, belongs to the period of the Renaissance, and was executed in the 16th century. _. Engraved by E. Challis. On wood, 1 ft, 82 in. A. by 11$ in. w. Painted in 1835. VERNON COLLECTION. ‘No. 401. CHANCEL OF THE COLLEGIATE CHURCH OF Sr, Paut, AT ANTWERP. The church, as it at present exists, +s a work of the 17th century. The original church, which was attached to a Dominican convent, was destroyed in 1547. The marble altar is by Pieter Verbrugghen, the younger: the altar piece, by Cornelis Cels, was painted in Rome, in 1807. a eee janes CE eee * The following notes from Mr. Henry Bicknell’s catalogue of his father’s sale in 1863, that is in the painter’s lifetime, relating to seven pictures, by Roberts, afford interesting materials for the statistics of prices. In the first column are the sums received by the painter, in the second are the amounts realized for the purchaser’s estate at the sale :— a re ae 1. The Ruins of Baalbec ; the Portico of the £ s. d £ s. d Lesser Temple of the Sun (1840) - os 250 0 0 787 10 0 9, Interior of Church of San Miguel, Spain (1841) - i i c -| 105 0 0} 598 10 0 3. Tyre £ % : : -| 150 0 0} 367 10 0 4, Sidon - - - - - 150 ; ‘ A Q v i iro - - - - 50 5. A Street in Cairo ; i : ae dain Sana 6. Melrose Abbey (1844) ’ 7, Interior of St. Gomar, Lierre, Belgium (1850) - y . z 300 0 0O| 1,488 10 0 —— eel Totals -~ |\£1,045 0 0 |£4,373 5 0 andl e 120 ROBERTS—ROMNEY. Engraved by E. Challis. On canvas, 4 ft. 8 in. h. by 8 ft. 8 in. w. | Painted in 1848 for Robert Vernon, Esq. Vernon CoLiec- TION. ROMNEY, ic ibigl ies GEORGE Romney, historical and portrait painter, was born at Dalton, in Lancashire, December the 15th, 1734 His father was a cabinet-maker of that town, and brought Romney up to his own business; but the son having shown a decided ability for drawing, the father was induced to place him, at the age of nineteen, with a portrait painter, of the name of Steele, then established at Kendal. In 1756 Romney married, and in the following year commenced painting on his own account. His first produc- tion, a hand holding a letter for the post office window at Kendal, remained there for many years. For five years Romney practised at Kendal portrait and fancy subjects ; and ultimately with such success, that in 1762 he ventured to try his fortunes in the capital. In London he rose rapidly to fame and fortune: and in 1773 he visited Italy ; he returned to London in 1775, and took a house in Cavendish Square. From this time he divided the patronage of the great and wealthy with Reynolds and Gainsborough ; but his wife and family were never called to share his SUCCESS ; they remained at Kendal, and during thirty-seven years he paid only two visits to the north. In 1799, however, he broke up his establishment at Hampstead, where he had latterly resided, retired to his native country, and rejoined his family, at Kendal. He died at Kendal, November 15th, 1802, and was buried at his birthplace, Dalton. | Rcmney’s finished pictures are chiefly portraits; of his poetic works, several designs and cartoons are preserved at the Fitzwilliam Museum, Cambridge, and the Royal Insti- tution, Liverpool. He never sent any works to the exhi- bitions of the Royal Academy, and therefore could not be elected a member of that institution. Flaxman, writing of the style of Romney, says,—“ His compositions, like those of the ancient pictures and basso-relievos, told their story by a single group of figures in the front: whilst the back- ground ismade the simplest possible, rejecting all unnecessary episode and trivial ornament, either of secondary groups or -architectural subdivision, In his compositions the beholder ht PALS TE TY ME LP Dp aa Ie YM a i ae ne ee a EE ¥ ; > a. 2 +f, ny a ca ae aa -—_ aX py oN oe nage ‘ : vg j ’ ~ eo ROMNEY—SCOTT. IZ1 was forcibly struck by the sentiment at the first glance ; the gradations and varieties of which he traced through several characters, all conceived in an elevated spirit “of dignity and beauty, with a lively expression of nature in all the parts. His heads were various; the male were decided and grand, the female lovely ; his figures resembled the antique; the limbs were elegant and finely formed; his drapery was well understood. Few artists since the fifteenth century have been able to do so much in so many different branches.’’* No. 312. Srupy or Lapy HAMILTON AS A BACCHANTE. Bust, life size. Emma Lyon, afterwards Lady Hamilton, celebrated for her beauty, was the second wife of Sir William Hamilton, many years British ambassador at the Court of Naples. She was married in 1791, and died in extreme poverty at Calais in 1816. Engraved by C. Hall. On canvas, 1 ft. 74 in. h. by 1 ft. 33 in. w. Painted about 1786. VERNoN CoLLEction. LLL OLLIE SCOTT. SamueL Scort, the best marine painter of his time in England, was born early in the eighteenth century. Walpole says of him, “ If he was but second to Vandevelde in sea pieces, he excelled him in variety, and often intro- duced buildings in his pictures with consummate skill. His views of London bridge, of the quay at the Custom House, and others, were equal to his marines, and his figures were judiciously chosen and admirably painted; nor were his washed drawings inferior to his finished pictures.” Scott, says Dallaway, “may be styled the father of the ‘modern school of painting in water colours.” He died of the gout, October the 12th, 772.1 No. 313. OLp Lonpon Brives, 1745. This bridge, of 9 6) which the last remnant was removed in 1832, was com- menced by Peter of Colechurch in 1176, and occupied * Life of Romney, by Hayley, 4to. 1809, for which Flaxman wrote the character of the painter’s works. There is also a Memoir of him by his son, the Rev. John Romney, and a Notice in Allan Cunningham’s Lives of British Painters, &¢.,Vol. V., and in the Penny Cyclopedia. + Walpole, Anecdotes of Painting in England, §c.; p. 709. Ed. Wornum, 122 SCOTT—SEDDON., thirty-three years in building. The houses as seen in the picture were built after the great fire in 1666, and they were all removed between the years 1754 and 1761. The view is seen from the Surrey side,* 5 ital! Engraved by J. B. Allen. On canvas, 11} in, A. by 1 ft. 95 in. w. VERNON COLLECTION. PETS ae, No. 314. OLD WESTMINSTER BRIDGE. This bridge was built by Charles Labelye, a Swiss, at the cost of 390,0002. : it was commenced in 1739, and opened to the public in 1750. The first stone was laid by Henry, Earl of Pembroke. Engraved by J. B. Allen. On canvas, 114 in, A. by] ft. 94 w. A companion picture to the view of London Bridge, No. 313, and said to have been painted in the same year; the bridge’ was, however, not then completed... Vernon CoLLEcTIon. aRihteyy SEDDON. — THOMAS SEDDON was born in London, in the parish of St. Botolph, Aldersgate, on the 28th of August 1821, He was brought up by his father, the eminent cabinet-maker, to his own business, but he followed more especially that department to. which his natural disposition led him, namely, the making of designs for furniture. In ‘his capa- - city of designer he gained the silver medal of the Society of Arts in 1848. In 1850 he was mainly instrumental in founding the “North London, School of Drawing and Modelling” in Camden Town, now incorporated in the Government system of Schools of Art; and he was for some time a zealous teacher at that school: tleasobdiore In 1851 Seddon finally adopted painting as. his: pro- fession. His first important picture, “ Penelope at her Web,” appeared in the Royal Academy exhibition of 1852; but he subsequently devoted himself exclusively to the depart- ment of landscape. . In 1853 he accompanied Mr. Holman Hunt to the East, whence he returned in 1854, with two finished pictures, the “Pyramids of Ghizeh,” and the “Jerusalem” now in. this collection, besides many careful sketches of eastern life and localities, which were all exhibited together, after his death, in the large room of the Society of Arts, in’ the spring of aero ae eee * Thompson, Chronicles of Old London Bridge. SEDDON—SHEE. 123 1857. He died at Cairo, November the 23d, 1856, having set out on a second journey to the East in October of that year.* No. 563. JERUSALEM AND THE VALLEY OF JEHOSHA- PHAT, from the Hill of Evil Counsel. On the left are seen the modern walls of Jerusalem, and the mosque of El Aksa on mount Moriah, assumed to be on the site of the ancient Temple ; to the right, the Mount of Olives and the village of Siloam. The sleeping figure under the pomegranate tree represents the painter’s Syrian servant reposing during the heat of the day. On canvas, 2 ft. 1 in hf. by 2 ft. 8 in w. Under glass. Painted on the spot in 1854; the painter was occupied five months in its execution. Presented by an association of Gen- tlemen in.1857. SHEE. Str MARTIN ARCHER SHEE, P.R.A., was born in Dublin, December 23rd,1770. Hestudied painting in the school of the Royal Dublin Society, and first practised as a portrait painter in his native place ; in 1788, at the early age of seventeen, he removed to London, where through Burke he procured an introduction to Sir Joshua Reynolds, by whose advice he became a student of the Royal Academy. Sir Martin met with early success as a portrait painter : in 1796 he married; in 1798 he was elected an associate of the Academy; in 1800 he became academician, and at the death of Sir Thomas Lawrence, in 1830, he was elected to succeed him in the office of President of the Academy. He died at Brighton, August the 1 9th, 1850, in the eightieth year of his age.t Sir Martin Shee’s practice of his profession was almost exclusively limited to portraiture; a scene from the Tempest, and some poetical subjects, being among the exceptions. He exhibited altogether 322 works at the Academy. He devoted some of his time to literature ; in 1805 he pub- lished “Rhymes on Art;” in 1809, a poem entitled ‘‘Hlements re te * Society of Arts Journal, June 1857. . + This unfortunate youth was, shortly after Mr. Seddon’s visit, poisoned by his stepmother; he having succeeded in gaining the affections of a girl his stepmother intended to marry to her own son. + The Art Journal, 1849 and 1850. ee ee ee 124 SHEE—SIMPSON, of Art;” in 1824, “ Alasco,” a tragedy; and in 1828, “ Old- court,” a novel. nas No. 367. Tue Inrantr Baccnus, a naked boy lying upon his back, with one leg resting on an empty vase, and hold- ing up with his right hand a bunch of dark grapes. Life size, Engraved by T. Vernon. On canvas, 2 ft. 3+ in. h. by 2 ft. 11d in. w. Vernon Cotzecrion. No. 368. Portrait or THomas Morton, DRAMATIST. Morton was one of the most popular writers for the stage during the early part of this century ; his plays, chiefly comedies, are numerous, ranging over a period of nearly forty years, from 1792 to 1828. He died March the 28th, 1838, in his 74th year. Bust, life size. Engraved by T. W. Hunt. On canvas, 2 ft. 6 in. h. by 2 ft. 1 in, w. Vernon Cotrection. No. 677. Portrait or LEWIS AS THE MARQUIS IN THE “ Mrpnicut Hour.” Full-length, life-size. | William Thomas Lewis the comedian, known as gentle- man Lewis, was born at Ormskirk near Liverpool on the 4th of March 1747 or 48, and died on the 13th of J anuary 1811. He was buried in Christ Church, Liverpool. On canvas, 7 ft. 9in. h. by 4 ft. 9 in, wen Painted in 1791, and exhibited at the Royal Academy in the following year. Bequeathed, with a sum of money, by the actor’s youngest son, Thomas Denison Lewis, who died in 1849, aged sixty-three. Received in 1863. | SIMPSON. JoHN SIMPSON was born in London in 1782, and early acquired reputation as a portrait painter. He exhibited many pictures at the Royal Academy from 1809 to 1845 inclusive, and during the latter years of the life of Sir Thomas Lawrence was employed as that master’s principal assistant. Several portraits of distinguished persons left incomplete by Sir Thomas were finished by Simpson. He painted the picture of the Duke of Bruns. wick in the Waterloo Gallery, for William IV. He also SIMPSON—SINGLETON. 125 painted that king himself several times: In 1834 Simpson went to Lisbon, where he was appointed Portrait Painter in Ordinary to the Queen Donna Maria I1., and while there he had the honour of sittings from Her Majesty, and several of her court. In the Royal Academy exhibition of 1835 he had portraits of Donna Maria II, the Duke of Palmella, Admiral Sir Charles Napier, Brigadier-General Bacon, and Lord Howard de Walden. He lived many years in Carlisle House, Soho, where he died in 1847. No. 382 HEAD ofr A Nearo. Life size.* Engraved by W. Hulland. On canvas, circular, 1 ft. 10 in. in diameter. VERNON COLLECTION. HENRY SINGLETON. Henry SINGLETON was born in London in 1766; his father having died while he was still an infant, he was brought up by his uncle William Singleton, who was a miniature painter. In 1788 he obtained the gold medal of the Academy for the best picture illustrating Dryden’s “Ode on Alexander's Feast.” Singleton painted portrait and history, and was a large contributor to the Royal Academy Exhibitions, from 1784 to 1839, both inclusive. Towards the close of his career he was much engaged in illustrating Shakspere, many of which works have been engraved. He executed also some Indian subjects from the war with Tippoo Saib. Singleton died on 15th of September 1839. No. 1,027. Aniet being carried ona bat’s back, from Shakspere’s “Tempest,” scene I. act V. <‘ Where the bee sucks, there suck I : In a cowslip bell I lie : There I couch when owls do cry. On the bat’s back I do fly After summer merrily ; Merrily, merrily, shall I live now Under the blossom that hangs on the bough.” On canvas, 3 ft. 3h in. A. by 4 ft. 13 in. w. Bequeathed by the painter in 1840. eemeeeiy ctl diet es * In the early editions of the catalogue this picture was erroneously attributed to William Simson of the Royal Scottish Academy, who died in the same year. 126 _ SINGLETON—SLEAP—SMIRKE. No. 1,028. Manto’ anv ‘TrREsIAs. ‘Tirésias was a well known prophet of Thebes in Beeotia, who become blind and was accordingly. led about by his daughter Manto. See Keightley’s Mythology. ~~” c | On canvas, 7 ft. 9 in. h. by 4 ft, 3 in. w; Bequeathed by the painter in 1840. ©)" j BO OU ke ae PILI SLEAP. | JOSEPH AXE, SLEAP, a painter in water-colours, was born in Wapping Street, London, May the 30th, 1808, He died in London on’ the 16th of October 1859, and was buried in Nunhead Cemetery. His name dées not occur in the Royal Academy Catalogues. Aen ~~ No. 676, A View oF PauL’s WHARr, THAMES. Bt, Paul’s Cathedral in the back-ground. 0 ne Drawing in ‘water-colours, circular, 15 in. in diameter. Under glass. ; ee IORI, Greeasee Bequeathed, in 1861, by Mr. Richard Frankum.' “97! «! , OMT RE ony cnet oe, ROBERT. SMIRKE, R.A.,, the principal of the!.early English Genre painters, was. born at Wigton, in Cumberland, in 1752, and was originally a painter of coach panels. He came early to London, and was educated as an artist at the Royal Academy, but, he was not..an. exhibitor at, that*institution till 1786, when he contributed. “ The Lady Sabrina,” from Milton’s Comus, and “ Narcissus.” He became a member of the Academy in 1793, but he rarely exhibited there, having contributed ‘only 25 works. altogether, between 1786 and 1813 inclusive. He died at his house in Osnaburgh Street, January 5th, 1845, in his 94th year. S.nirke was chiefly employed as a book illustrator. This accounts for the comparative paucity of his pictures, . Very many of his designs are engraved, His subjects are gene- rally taken from the English poets, but his favourite authors were Shakspeare and Cervantes’; he “was a Con- tributor to Boydell’s Shakspeare ; and his diploma picture tie eae la ab ha a Ne Rb D> ak aetnldn ee pinay site alas ee Rs ee eta SMIRKE. 127 in the Academy is “ Don Quixote and Sancho.” He was a eee of Sir Robert and Mr. Sydney Smirke, archi- ec “No. 76L. Twetve ILLustrAtions or Don QUIXOTE, All, with one exception, from the series of 48, engraved for Cadell and Davies’ edition of the work, in wee volumes, quarto. Published in London in 1818. On wood, 94 in. A. by 8 in. w. Painted 3 in brown and white. Under glass. 1. Tue FUNERAL oF CurysostoM. Don Quixote, Ch. 14 Part I. Engraved by J. Heath. 2, CaMILLA’s ARTIFICE.—Chap. 34. _ Engraved by A. Raimbach. 8 Tur CAprive’s INTERVIEW WITH ZORAIDA. it Al, , Engraved by R. Golding. 4, DON QUIXOTE AND HIS SQUIRE MOUNTED ON CLAVE- nine—Cb: 42, Part-tt- » Engraved by. W. Finden.: 5. SANCHO, AS GOVERNOR OF BARATARIA. == Ad, This differs from the design engraved in the published work, by. R, Golding. 6. THE DUENNA RoDRIGUEZ SOLICITS THE AID OF Don QuixoTE—Ch. 487° ~~ ’ Engraved by F. Engleheart. 7 TEREZA PANZA RECEIVING THE MESSENGER OF THE ~ DucHeEss.—Ch: 50. Engraved by F. Engleheart. _ * 8. SANCHO RETURNING FROM HIS GOVERNMENT.— Ch. 55. : Engraved by F. Engleheart. 9. THE SHEPHERDESSES OF THE Woop. 220y 58. Engraved by J. Scott. 10. Don QUIXOTE VANQUISHED BY THE KNIGHT OF THE Moon.—Ch. 65. Engraved by F. Engleheart. 128 | .SMIRKE,. 11. THE DISENCHANTMENT OF DULOINEA. —Ch. 71 Engraved by R. Golding. 12. Tae Deatu or Don QurxoTz.—Ch. 74. Engraved by C. Heath. - Pr esented in 1867, by Captain Thomas Lambert, and Mrs. Lambert, the painter’s granddaughter. No. 762. THE ORDER OF KNIGHTHOOD CONFERRED ON Don QUIXOTE BY THE INNKEEPER.—Ch. 38. Part 1 Be Bose On canvas, 1 ft. 94 in, h. by 18 in. w. Engraved by A. Raimbach: Presented in 1867, by Captain Thomas Lambert, and, Mrs. Lambert, the painter’s granddaughter. _ No. 763. Don Quixote at Home, AFTER THE TERMI- NATION OF HIS SECOND SALLY.—Ch. 52, Part J. On canvas, 1 ft. 94 in. A. by 18 in. w. Painted in Siatincn ha white. Engraved by A. Raimbach. Presented in 1867, by Captain Thomas Lambert, and Mrs. Lambert, the painter’s granddaughter, No. 764. THE CURATE AND THE BARBER VISIT Don QUIXOTE AT HomeE—Ch. 1, Part IT. -On canvas, 1 ft. 94 in. A. by 18 w.. Engraved by A. Smith, Presented by Captain Thomas Lambert, and Mrs, Lambert, the painter’s granddaughter. ‘ No. 765. Mawworm, Dr. Creda AND ‘co LaDy LaMBERT. Mawworm standing with upturned eyes, before Lady Lambert, seated; Dr. Cantwell seated behind Lady Lambert. A scene from Bickerstaffe’s play of the “« Hypo- crite,” adapted from Colly Cibber’s “ Non-Juror,” ‘Act Il, Scene 1. Enter Mawworm. Old Lady Lambert. How do you do, Mr. Mawworm ? Mawworm. Thank your ladyship’s axing —— I am but deadly poorish indeed; the world and I can’t agree, —— I am but a sheep, but my bleatings shall be heard afar off; and that sheep shall become a shepherd : nay, if it be only as it were a shepherd’s s dog, “8 bark the stray lambs into the fold. Old Lady Lambert. He wants method, doctor, . Dr. Cantwell, Yes, madam ; but there is the matter, ana I despise not the ignorant. ; J, Pee ee ry ee ee a eee a ip tine i as a SMIRKE—STANFIELD. 129 Mawworm. He’s a saint——till I went after him, I was little better than the devil ; my conscience was tanned with sin, like a piece of neat’s leather and had no more feeling than the sole of my shoe; always a roving after fantastical delights : I used to go every Sunday evening to the Turex Harts at Islington. It’s a public-house ; mayhap your ladyship may know it: Iwas a great lover of skittles, too ; but now I can’t bear them. Old Lady Lambert. What a blessed reformation! On canvas, 1 ft. 74 in. h. by 1 ft. 54 in. w, Presented in 1867, by Captain Thomas Lambert, and Mrs. Lambert, the painter’s granddaughter. STANFIELD. CLARKSON STANFIELD, R.A., was born at Sunderland, in the county of Durham, in 1793. He commenced life as a sailor, but was still young when he took up painting as a profes- sion. He began his art career as a scene-painter at the Royalty Theatre in Wellclose Square ; and in 1824 he be- came a member of the Society of British Artists. In 1826 he was engaged as scene-painter at Drury Lane Theatre ; and in 1827 he exhibited a picture at the British Institu- tion, of ‘“‘ Wreckers off Fort Rouge,” by which he added a new renown to his great reputation as a scene-painter. He first appeared as an exhibitor at the Royal Academy in 1829, with a “ View near Chalons sur Soane;” which was sueceeded in the following year by his fine picture of “ Mount St. Michael, Cornwall.” In 1831 he exhibited « A Storm,” “ Strasburg,” “ Venice,’ and “ A Fisherman of Honfluer.” In 1832 he exhibited “'The Opening of New London Bridge,” and was this year elected an Associate of the Royal Academy: in 1835 he became an Academician. In 1836 he exhibited his “ Battle of Trafalgar,” painted for the Senior United Service Club; and from that time until his death on the 18th of May 1867, with the single excep- tion of 1839, he continued without intermission to adorn the walls of the Academy with a long and unrivalled series of marine subjects, interspersed occasionally with some im- portant and beautiful works of a more exclusively landscape character. As examples of the more remarkable works of Stanfield, of both classes, marine and landscape, may be mentioned : “ Castello d’Ischia, from the Mole,” 1841; “Isola Bella, Lago Maggiore,” 1842 ; “ The Castle of Ischia,” 1843 ; “ The Day after the Wreck. A Dutch East Indiaman on Shore in the Ooster Scheide; Zicrikzee in the distance,” 1844 ; R I 130 : STANFIELD. “ A Dutch Dogger carrying away her Sprit,” and “ Il Ponte Rotto, Rome,” 1846; “ French Troops (1796) fording the Margra, Sarzana and the Carrara Mountains in the dis- tance,” 1847; “Scene on the Maas, near Dort—market people waiting for the evening tide,” 1850; “ The Battle of Roveredo, 1796,” 1851; “ H.MS. § The Victory,’ with the body of Nelson on board, towed into Gibraltar, 28th of October 1805, seven days after the battle of Trafalgar,” 1853; “St. Sebastian, July 1813—British troops taking possession of the heights and convent of St. Bartolomeo,” 1855; “ The Abandoned,” 1856 ; “ Port na Spania, near the Giant’s Causeway, Antrim, coast of Ireland,” 1857; “The Fortress of Savona,” 1858; “ A Maltese Xebec on the rocks of Punla Mazzo di Procida—a steam tug and Nea- politan boats rendering assistance. The island and castle of Ischia in the distance,” 1859 ; “Outward Bound,’ 1860 ; “ Homeward Bound,” 1861; and “ The Situation of H.M.S. ‘ The Defence’ and her prize ‘II St. Ildefonso,’ on the morning following the battle of Trafalgar.” Cadiz and Rota in the distance, with many of the captured ships ashore on the coast between Cadiz and Cape Trafalgar, 1863. Altogether Stanfield exhibited 132 pictures on the walls of the Royal Academy, in 38 exhibitions, extending over 39 years. . No. 404, ENTRANCE To THE ZuYDER ZzE, TEXEL Istanp. Dutch shipping. To the right, on the north- eastern extremity of the island, is an old mill. Windy weather. Engraved by R. Wallis. On canvas, 3ft. 34in. h. by 4ft. 14 in. w. Exhibited at the Royal Academy in 1844. Vernon Cottrcrion. No, £05. THE Battie or TRAFALGAR, and the victory of Lord Nelson over the combined French and Spanish fleets, October the 21st, 1805. Sketch for the large picture painted for the Senior United Service Club; exhibited in 1836. OTL « The picture represents the centre of the combined fleet, at half-past 2 o’clock, about an hour and a half after Lord Nelson received his death wound. The Victory, the ship which bore his Lordship’s flag, after sustaining a heavy fire from four of the enemy’s ships, is in the act of disengaging herself from the Redoubtable, a French 74, at that time SI Pit BE nigh EA SOAP lh Sp Seg We jelly De ie Sah Tihaiapee ee ae ee AL aE eae STANFIELD—STOTHARD. 131 lashed alongside the Teneraire, a British 98, and at the moment the Fougueux, another French 74, became the prize of the latter. On the left of the spectator is Vice- Admiral Collingwood, in the Royal Sovereign, with her prize, the Santa Anna, totally dismasted, and the other ships of the lee division. On the right of. the Victory is the Bucentawr, a French 80, Admiral Villeneuve’s, with her main and mizen masts shot away, and the Santissima Trimidad, a Spanish four-decker, both ships unmanageable wrecks.”* Engraved by J. Cousen. On wood, 1ft.34in.h. by 2ft. 7Jin. w. Painted in 1833. VERNON COLLECTION. No. 406. THe LAKE oF Como. 4 —— and now the purple mists Rise like a curtain; now the sun looks out, Filling, o’erflowing with his glorious light This noble amphitheatre of hills ; And now appear as on a phosphor-sea Numberless barks, from Miuan, from PAVIA ; Some sailing up, some down, and some at rest; Lading, unlading, at that small port-town Under the promontory—its tall tower And long flat roofs, just such as Gaspar drew, Caught by a sun-beam starting through a cloud, A quay-like scene, glittering and full of life, And doubled by reflection.” Rogers’s Italy. Engraved by J. Cousen.. On wood, ! ft. 6Lin. h. by 2ft. 6fin. w, - Painted in 1826. VERNON COLLECTION. No. 407. Tur CANAL OF THE GIUDECCA, AND CHURCH oF THE JEsuITs, VeNicE. In the back-ground a distant view of the Alps. Engraved by J. Cousen. On canvas, 2ft. h. by 2ft. 114in. w. Painted in 1836. VeRNoON COLLECTION. STOTHARD. THomas STOTHARD, R.A., was born in Long Acre, London, August the 17th, 1755. His father, kept the “ Black Horse” in Long Acre; as Stothard was of a delicate constitution he was sent into Yorkshire, and was put to school at Sutton, his father’s native place, near Tadcaster. He was placed after- wards for ashort time at a school at Ilford, near London, but * Royal Academy Catalogue, 183€. I 182 STOTHARD. in 1770 he lost his father, and as he showed an early dis- position for drawing, he was apprenticed by his mother to a designer for figured or brocaded silks, in London; finding, however, little occupation in that department of art, he was led to try the illustration of books, a more congenial occupation, and in this he fully succeeded, and soon found abundant employment. Stothard’s first illustrations of importance were those ex- ecuted for the Town and Country Magazine ; Bell’s British Poets; and the Novelist’s Magazine, the editor of which, Mr. Harrison, was Stothard’s first patron. "He was also employed on designs for plate by the firm of Rundell and Bridge. He had from 1778 become a student of the Royal Academy; and was a constant contributor to its exhibitions, About 1784 Stothard married, and in 1793 purchased the house No. 28, Newman Street, in which he resided for the remainder of his life. He was elected an associate of the Academy in 1791,was made a memberin 1794, and in 1812 was appointed to succeed Mr. Burch as librarian, an office he held until his death. He died at his house in Newman Street, April the 27th, 1834, in his seventy-ninth year. Stothard exhibited only ninety-two works at the Academy, but his designs are said to amount to as many as 5,000 in number, of which more than 3,000 have heen engraved, in various publications: there is a large collection of these prints in the British Museum. Among his last productions of this class were his designs for Rogers’s Italy and other poems, as companions to the landscape illustrations by Turner, for those works. One of the most popular though | not the best of Stothard’s pictures is the procession of the “ Canterbury Pilgrims,” well known from the engraving of it by the brothers Schiavonetti and James Heath, published in 1817. His most important work in painting is the large composition of “ Intemperance,” executed in the staircase at Burghley, the seat of the Marquis of Exeter, in Northamp- tonshire, the original sketch of which now forms part of the Vernon collection. Stothard was occupied over the deco- rations of this staircase about four years, 1780-83, and received for his work 1,293/. His highest quality was his power of invention, and his pictures are often very richly coloured.* ' * The Royal Academy Catalogues, The Life of Thomas Stothard, with personal Reminiscences by Mrs. Bray, with numerous illustrations from his ae Pebiee te tne i adit Notas jac - = STOTHARD, 183 No. 317. A GREEK VINTAGE. A dance in the vineyard. On canvas, 3 ft. 4in. d. by 4ft. 3 in. w, Exhibited at the Royal Academy in 1821. Vernon CoLLEcrTIon. No. 318. A WoopLanp DAnce.—“< FATE CHAMPETRE.” “ Again with feathered feet we bound, - Dancing in a festive round ; Again the sprightly music warms, Songs delight, and beauty charms ! Debonair, and light and gay, Thus we dance the hours away.” A numerous party of young people merrily dancing on the green sward, under the trees; some playing musical instruments while they dance ; others resting by the side, Engraved by C. Cousen. On canvas, 1 ft. 103 in. A. by 1 ft. 6 in. w. Exhibited at the Royal Academy in 1818. Vernon CoLLeEctIoN. No. 319. CUPID CARESSED BY CALYPSO AND HER NYMPHS; he is being tied to a tree by one, and teased with rose branches by others. Composition of six figures. On wood, 1 ft. 34 in. 2. by 12 in. w. Exhibited at the Royal Academy in 1814. Vernon COLLECTION. No. 320. DIANA AND HER Nympus BatTHine. A woody landscape with a rivulet in which several nymphs are bathing. Engraved by C. Cousen. On canvas, 1 ft. 8 in. h. by 2 ft. 2. Exhibited at the Royal Academy in 1816. VERNon COLLECTION. : No. 321. INTEMPERANCE ; MARK ANTONY AND CLEOPATRA, with various allegorical figures. Engraved by T. Chevalier. On canvas, 1 ft. 8 in. h. by 1 ft. 53 in. w. ‘The sketch for the large composition painted in 1802, on the staircase at Burghley, the seat of the Marquis of Exeter. Ex- hibited at the Royal Academy in 1805. VERNON COLLECTION. No. 322. A Batre, men and horses in fierce strife; a mythological subject ; a sketch. On canvas, 1 ft. 11 in. h. by 2 ft. 2in. w. VERNON COLLECTION. wo : i ‘harles Alfred works, Sm. 4to., London, 1851. Mrs. Bray was the widow of Cl Stothard (17 87-1821), the author of “ Zhe Monumental Effigies of Great Britain,” who was the academician’s second son. a 134 STUART, STUART, | GILBERT STUART, one of the most distinguished American portrait-painters, sometimes called American Stuart, was born of Scotch parents at Narraganset, near Newport, Rhode Island, U.S., in 1755.' He visited Scotland at a very early age, and was educated at the University of Glasgow, where he graduated; he, however, finally adopted the profession of a painter, and became the pupil of his countryman Benjamin West, in London, and after having practised with great success as a portrait-painter both in London and Paris, he returned, in 1794, to his native country, where he settled for a time at Philadelphia. od ob) Among the sitters of Stuart in Europe, were three kings, Louis XVI, George III., and George LV. the last painted while Prince of Wales. He painted, also, John Kemble, Alderman Boydell, Sir J. Reynolds, West, and many other distinguished English artists. In his own country he painted six Presidents; among them Washington, Adams, ~and Jefferson. | shia hey. Mate: He retired in 1807 to Boston, where he died in July 1828. A collection of about three hundred of his works was exhibited in the Boston Atheneum, for the benefit of his widow and daughters, which, with the sale of his effects, realized a con- siderable sum. | 3 Ate LSS. Stuart’s best portraits are chiefly remarkable for freedom of effect and character, but he excelled exclusively in men’s heads.* He exhibited only twelve works at the Royal Academy, from the year 1779 to 1785, inclusive. — No. 217. Porrrair or W1LL1AM WOOLLETT, engraver, seated, with a red cap on his head; before him is a copper- plate, and in the back-ground is seen part of West’s picture of the Death of General Wolfe, engraved by Woollett. Half-length. The subject of this picture was born at Maid- stone in 1735, and died in Londonin 1785. Engraved by Caroline Watson. On canvas, 3 ft. h. by 2 ft. 4in. w. Presented to the National Gallery, in 1849, by Henry Farrer, Esq. No. 220. Portrait oF JOHN HALL, engraver, seated ; in the back-ground is seen a portion of a print of. West’s * See notice from an American correspondent in the German Kunstblatt, No. 100, 1828. t ¢ _* . STUART—THOMSON, H.—THOMSON, J. 1385 . picture of “Penn's Treaty with the Indians,” Hall’s most a approved engraving. Half-length. On canvas, 3 fi. 4. by 2 ft. 4 in. w. Presented to the National Gallery by Messrs. Henry Graves and Co. in 1850. This and the portrait of Woollett were painted as companions for Alderman Boydell, and until lately remained in the possession of Messrs. Graves and Co., who succeeded to Alderman Boydell’s business. No. 229. Portrait or Benzamin West, P.R.A. Seated on a sofa; small half-length. On canvas, 3 ft. h. by 2 ft. 4 in. w. Presented to the National Gallery, in 1853, by J. H. Anderdon, Esq. THOMSON, H. Henry Tuomson, R.A., was the son of a purser in the navy, and was born at Portsea in 1773. He painted his- torical and fancy subjects, and portraits, and first exhibited z on the walls of the Academy a picture of “ Daedalus fastening wings on his son Icarus.” He was elected an associate in 1801, and a member of the Royal Academy in 1804. In 1825 he succeeded Fuseli as keeper of the Academy, but, owing to ill health, in 1827 he resigned his office, in which he was succeeded by Hilton, and he retired in 1828 to his native place Portsea, where he died April the 6th, 1843.* From 1800 to 1825, inclusive, Thomson exhibited seventy-six pictures at the Academy, but they were chiefly portraits. z No. 350. Tur DEAD Rosin, two children weeping at its f death. Engraved by J. A. Wright. On canvas, 2 ft. 114 in. A. by 2 ft. 34 in. w. Exhibited at the Royal Academy in 1809. VERNON COLLECTION. ‘THOMSON, J. Taz Rev. Joun THOMSON was born on the 1st of September, 1778, in the manse of Dailly, Ayrshire ; and succeeded his father as minister of that parish. In 1805 — * Art Union, June, 1843; Royal Academy Catalogues. _ t na = a ¥ Beat Shoals else Sneha So ee ee 136 THOMSON, J.—TSCHAGGENY—TURNER. he became minister of Duddingston, near Edinburgh, and hence is commonly known as Thomson of Duddingston. He was fond of literature and the arts, was a great. lover of music, and early distinguished himself by his landscape paintings. He first exhibited in 1808, with the Society of the Associated Artists of Edinburgh, and contributed till the year of his death to most of the exhibitions of modern paintings in that city ; exhibiting altogether 109 landscapes, from 1808 to 1840 both inclusive. Thomson was an honorary member of the Royal Scottish Academy. He died at Duddingston on the 20th of October, 1840, Ten of lis works, contributed by various proprietors, were exhibited at the Royal Scottish Academy, in 1853.* No. 731. Locu-an-E1Lan, RoTHIEMURCHUS, INVERNESS- SHIRE, a mountainous landscape, with a view of a lake. The castle on the island in the lake was formerly a stronghold of the Comyns, one of whom was known for his misdeeds as the “ Wolf of Badenoch.” On canvas, 2 ft. 10 in. A. by 4 ft. 4 in. w. Painted in 1835, and presented as a wedding present to his sister-in-law Mrs. Anne Thomson, by whom it was bequeathed to the National Gallery in 1864, P LIP LLL CHARLES PHILOGENE TSCHAGGENY. Flemish painter residing in Brussels. No. 738. An INcIDENT IN A Battie. A battle field, in the foreground a pool of water, by which a wounded horse has fallen with its rider, and is stretching out its neck to reach the water; another wounded horse, without a rider, is wildly bounding over the field, and is at the moment in the act of leaping over the fallen horse and man struggling by the pool. On canvas, 5 ft. 9 in. h. by 6 ft. 5 in. w. Painted in 1848, Bequeathed by Mr. Johann Moritz Oppenheim, awd TURNER. — JOSEPH MALLORD WILLIAM TURNER, R.A., was born on the 23rd of April 1775, in Maiden-lane, Covent Garden, where his father carried on the business of a hairdresser; he was * Catalogue of the E'xhibition of the Royal Scottish Academy. sgt ns TURNER. 137 christened in St. Paul’s, Covent Garden, in May of that year. The friendship of Girtin, the water-colour painter, and the privilege of copying a collection of drawings in the possession of Dr. Monro, of the Adelphi, gave facilities for the development of the young painter’s talent at an early age. Turner entered as a student of the Royal Academy in 1789, and he exhibited a drawing of Lambeth Palace in the following year ; in 1799 he was elected an associate, and in April 1802 he became a member of the Academy. In this . year he visited France and Switzerland. In 1807 he was elected Professor of Perspective in the Royal Academy, suc- ceeding Edwards, an associate of the Academy, who had for many years filled the office of Teacher of Perspective in that Institution. In 1807 also he began to publish his “ Liber Studiorum,” or book of sketches in imitation of Claude's “ Liber Veritatis ;” and for a few years during this period of his life he painted in emulation of the style of Claude. In 1812 he built a house in Queen Anne Street West, No. 47, which he retained until his death, and in which he had a gallery where he for many years exhibited some of his pic- tures. Turner visited Italy three times:—in 1819, in 1829, and about 1840. After a life of almost unrivalled success, and an industry unsurpassed, this great landscape painter died unmarried, and under an assumed name, in an obscure lodging at Chelsea, December 19th, 1851. He was buried by the side of Sir Joshua Reynolds, in the crypt of St. Paul's Cathedral. His large fortune, both in pictures and in funded property, he bequeathed to his country ;—his finished pictures to the nation, on condition that the Government should provide suitable accommodation for them within ten years; and his funded property towards the establishment of an institution for the benefit of decayed artists.* * The will was disputed, but in accordance with a compromise between the parties in litigation, it was decided by an order of the Court of Chancery, dated March 19th, 1856, that all pictures, drawings, sketches, finished or unfinished, by the hand of Turner, should belong to the nation, and that all engravings should belong to the next of kin. The finished pictures thus acquired for the National Gallery amount to about one hundred in number. See The Turner Gallery : a series of sixty engravings from the p incipal works of J. M. W. Tur- ner. With a memoir and illustrative textby R. N. Wornum, §c. Folio. London, J. S. Virtue, 1859-1862. . : Turner’s pictures, though numerous, do not often appear in public sales owing in a great measure to the large number of them now permanently 138 ‘TURNER. Turner's career comprehends, independently of his imita- tions of Claude, three distinct styles, in the first of which, previously to 1802, he was more remarkable as a water- colour painter : his early drawings are conspicuous for their careful completion, subdued colour, and effective light and shade ; his earliest oil pictures resemble those of Wilson in style. In middle life, from about 1802 until about 1830, the date of his second visit to Rome, he was as distinguished for a masterly and vigorous execution and an unrivalled brilliancy of colouring; the majority of his greatest works belong tc this time, from his “Calais Pier,” 1803, to the “ Ulysses deriding Polyphemus,” 1829. During the last twenty years of his life, light, with all its prismatic varieties, seems to have chiefly engrossed his attention, yet some few of his finest works belong to this period, as his “Childe Harold’s Pilgrimage,” exhibited in 1832, and the “ Temeraire,” exhibited in 1839. His later pictures are painted ona white ground. Specimens of all his styles are numerous, located in the National Gallery ; but when examples do occur, they seem to realize constantly increasing prices. At Mr. Elhanan Bicknell’s remarkable sale at Christie’s, in 1863, there were sold, besides drawings, ten oil pictures by Turner ; and the enhancement of price attained, on the original sums paid by Mr. Bicknell to the painter, is very noteworthy, as will be seen from the following tabular statement. Subject of Picture. Rn Ge Purchased for. | Sold in 1868 for. ibis. ahd, Bad. 1. Ivy Bridge, Devon ~ | 86x 48 283 10 0. 924.0 0 2. Calder Bridge, Cumberland | 36x 48 285 15 0 525 0 0 3. Port Ruysdael (1827) - | 86x48 315 0 0 1,995 0 0 4, Palestrina (1830) - - | -55x 98 1,050 0 0 1,995 0 0 5. Helvoetsluys ; The ‘ City of Utrecht.” (64) going . to Sea (1832) - - 36 x 48 283 10 0 1,680 0 0 6. Antwerp ; Van Goyen look- | bays ing for a Subject (1833) | 36x 48 315 0 O | 2,635 10 0 7. Wreckers, Coast of Northum- berland (1834) - - | 86x48 288 15 0 1,984 10 0 8. Ehrenbreitstein (1835) -| 86x48 401) 2904611, 690 rOse0 9. Venice, The Giudecca, &c., . ed 4 (1841) - P - | 24x86 269 10 0 | 1,782 10 0 10, Venice, The Campo Santo, i (1842) - - - 24 x 36 262 10 0 | 2,000 0 0 Totals - «| + - |£3,750 11 9 |17,261 10 oO. poiminenncaaen noise TURNER. 139 independent of book illustrations and other small water- colour drawings, for Turner was a large contributor to the annual exhibitions of the Royal Academy, having exhibited 257 drawings and pictures on its walls; from 1790 to 1850 both inclusive.* | No. 369. THE PRINCE OF ORANGE, AFTERWARDS WILLIAM III., raNnDING AT TorBAY, November the 5th, 1688. ‘* A soft breeze sprang up from the south, the mist dispersed, the sun shone forth, and under the mild light of an autumnal noon the fleet turned back, pes round the lofty cape of Berry Head, and rode safe in the harbour of orbay. “The disembarkation instantly commenced. Sixty boats conveyed the troops to the coast. The Prince soon followed. He landed where the quay of Brixham now stands—a fragment of the rock on which the deliverer stepped from his boat has been carefully preserved, and is set up as an object of public veneration in the centre of that busy wharf.”’} Macaulay’s History of England. Engraved by W. Miller, On canvas, 2 ft. 114 in. d. by 3 ft. 114 in. w. Under glass, Exhibited at the Royal Academy in 1832. VeRNon CoLLECTION. No. 370. VENICE, the Dogana, Campanile of San Marco, Ducal Palace, Bridge of Sighs, &c. Canaletti Painting. “ There is a glorious city in the sea, The sea is in the broad, the narrow streets, Ebbing and flowing; and the salt sea-weed Clings to the marble of her palaces.” Rogers’s Italy. Engraved by J. T. Willmore, A.R.A. ; and by T. A. Prior. On wood, 1 ft. 8 in. A. by 2 ft. Sin. w. Under glass. Exhibited at the Royal Academy in 1833. VuRNoN COLLECTION. No. 371. LAKE AVERNUS. THE FATES AND THE GOLDEN Boucu. Lake Avernus, near Cumee, on the Italian coast, was supposed to be the overflowing of Acheron, the river of the infernal regions, and hence the entrance to those regions. The “golden bough” was a branch of the tree of Proserpine, 7 3 os ak eae aaa en Tren anrreern stereo taal * Royal Academy Cutalogues ; Art Journal, Jan. 1852, Jan. 1857; Atheneum, Dec. 1851, Jan. 1852; see also Turner and his Works ; illustrated with _ Examples from his Pictures and Critical Remarks on his Principles of Painting. By John Burnet. The Memoir by Peter Cunningham. 4to. 1852. And Liber Fluviorum, or River Scenery of France, §c., with Biographical Sketch by Alaric A. Watts. 8vo. 1853. + The yacht in which His Majesty sailed was, after many changes and ser- vices, finally wrecked on Hamburgh sands, while eniployed in the Hull trade. — Royal Academy Catalogue. 140 TURNER. which, when plucked by mortals, by the favour of the Fates, enabled them to visit, and to return from, those regions with impunity.* In the distance are the bay of Bai, and Mount Vesuvius. Engraved by T. A. Prior; and by J. T. Willmore, A.R.A. On canvas, 3 ft. 53 in. h. by 5 ft. 44 in. w. Under glass. Exhibited at the Royal Academy in 1834. Vernon CoLixection. No. 372. Venice, THE CANAL OF THE GIUDECCA, San Giorgio Maggiore, the Dogana, &c. 7 Engraved by J. T. Willmore, A.R.A. On canvas, 2 ft. A. by 3 ft.e. Under glass. | Exhibited at the Royal Academy in 1834, Vernon CoLLEctIoN. No. 458. Portrait of himself, when young, evening dress Bust, life-size. ) Engraved by W. Holl, for the “ Turner Gallery.” On canvas, 2 ft. 5 in. A. by 1 ft. 11 in. w. Painted about 1802. Turner Cottzcrion.f No. £59. Moonticut, a Stupy at Minttpank. Milton’s Paradise Lost. Engraved by J. B. Quilley. On canvas, 4 ft. 9 in. A. by 7 ft. 9 in. w. | Exhibited at the Royal Academy in 1813. TURNER COLLECTION. No. 494. Divo AND ZENEAS LEAVING CARTHAGE ON THE MoRNING OF THE CHASE. “ When next tne sun his rising light displays, And gilds the world below with purple rays, The Queen, AEneas, and the Tyrian Court Shall to the shady woods, for sylvan game resort.” : Dryden’s 4ineid, B, rv. Carthage is seen in the back-ground ; and in the front is : the Court in long procession, prepared for the chase. bi Engraved by W. R. Smith ; and by J. T. Willmore, A.R.A., for ‘- “the Turner Gallery.” On canvas, 4 ft. 10 in. h. by 7 ft. Llin. w. [ Exhibited at the Royal Academy in 1814. Turner Cot- + LECTION. oS ago a ADM ae 150 TURNER. | No. 495. APULEIA IN SEARCH OF APULEIUS. An exten- sive hilly landscape: in the middle distance a large bridge of seven arches over a river, with rich woody banks: a watermill and town: on the spectator’s right. In the fore- ground are Apuleia and her companions, and some peasants reposing in the shade of a tree. In this part of the fore- ground is inscribed on the picture, Apuleia wm search of Apuleius, learns from the swan the cause of his metamorphosis. One of the peasants is pointing to the name APULEIUS carved in the bark of the tree: —- Apuleius was a distinguished philosopher and advocate of the second century of our era, and was the author of the celebrated romance entitled “Zhe Metamorphosis, or the. Golden Ass,” in which he represents himself as transformed into an ass. The incident, however, represented in this picture, is not in the story of Apuleius.* On canvas, 4 ft. 9 in. h. by 7 ft. 9 in. w. 3 This picture, exhibited at the British Institution in 1814, was painted as a companion to the celebrated Claude in the possession of the Earl of Egremont, at Petworth, Sussex, of which there is an engraving by Woollett. ‘TuRNER COLLECTION. — . é ade 3 # No. 496. BuicH Sand, NEAR SHEERNESS, FIsHING BOATS TRAWLING ; a cloudy sky. PE esentt yik y Painted already in 1809; exhibited at the Royal Academy in 1815. On canvas, 2 ft. 11 in. A. by 3 ft. llin.w. Engraved by R. Brandard. TurnER CoLLection. ~ _— ¥ rh a em No. 497. CRossiInc THE Brook. An extensive land- scape ; a view of the Tamar which divides Devonshire and Cornwall, looking towards Plymouth and Mount Edgcumbe ; the bridge above Calstock in the middle distance. In the $$ * The catalogue of the British Institution for 1814, refers to Ovid’s Metamorphoses for this story ; it is, however, not one of Ovid’s, Lucius, or the Enchanted Ass, of Lucian, preceded the “ Golden Ass” of Apuleius but. both are subsequent to Ovid. The personage, “ Apuleia,” and the incident represented, appear to be equally the painter’s own invention. “ Palaestra in search of Lucius,” or “Fotis in search of Apuleius,” would be more in accord- ance with the classic tales. TURNER. 151 foreground are two girls, and a dog carrying a bundle in his mouth across a brook. Engraved by R. Brandard; and by W. Richardson for the “Turner Gallery.” On canvas, 6ft. 4 in. h. by 5 ft. 5 in. w. Under glass. | Exhibited at the Royal Academy in 1815. Turner CoLiEc- TION. No. 498. DIDO BUILDING CARTHAGE ; or the Rise of the Carthaginian empire. A river scene, with the sun in the centre of the picture ; a bridge in front, and piles of classic architecture, completed and in progress, on either side ; high banks and rocks in the background. Dido, Queen of Carthage, is seen surrounded by her people on the left : on the right is the monument to her murdered husband, Sychzeus. : Engraved by T. A. Prior; and by E. Goodall for the “ ‘Turner Gallery.” On canvas, 5 ft. $ in. h. by 7 ft. 53 in. w. This picture and the “Sun rising in a Mist,” were bequeathed by Turner to the National Gallery, on condition that they should be hung between two Claudes now placed by their side. The “Dido” was exhibited at the Royal Academy in 1815. It is inscribed on the extreme left, “Dido building Carthage, or the Rise of the Carthaginian Empire,” with Turner’s name and the date of the painting. TURNER COLLECTION. No. 499. THE DECLINE OF THE CARTHAGINIAN EMPIRE. Hostages leaving Carthage for Rome: approaching sunset. « Rome, being determined on the overthrow of her hated rival, demanded from her such terms as might either force her into war or ruin her by compliance; the enervated Carthaginians, in their anxiety for peace, consented to give up even their arms and their children.” “The chieftain’s safety, and the mother’s pride, Were to the insidious conqueror’s grasp resigned ; While o’er the western wave th’ ensanguined sun, In gathering haze, a stormy signal spread, And set portentous.” | Royal Academy Catalogue. On canvas, 5ft.’74 in. h. by 7 ft. 11 in. w. . Exhibited at the Royal Academy in 1817. Engraved by J. B. Allen. TuRNER COLLECTION. 152 TURNER. No. 500. THE FIELD OF WATERLOO. June 18th, 18 6. “Last noon beheld them full of lusty life, soy: if Last eve in beauty’s circle proudly gay ; tes The midnight brought the signal-sound of strife ; The morn the marshalling in arms; the day Battle’s magnificently stern array ! The thunder-clouds close o’er it, which, when rent, The earth is covered thick with other clay, Which her own clay shall cover, heaped and pent, Rider and horse, friend, foe, in one red burial blent.” _ te Byron. In the foreground are women searching by torchlight, among the dead and dying, where rider and horse, friend and foe, lie piled one upon another on the bloody field: to the right is the chateau of Hougoumont still burning; in the distance are rocket signals guiding the pursuit of the routed army. . te Engraved by F. C. Lewis. On canvas, 4ft. 9in. h. by 7 ft. 9in.w. Exhibited at the Royal Academy, in 1818. Turner Cor- LECTION. | one No. 501. THE Meuse. ORANGE-MERCHANTMAN GOING TO PIECES ON THE Bar. Briel church bearing south-east by south, Maas-Sluis east by south. Boats unloading the wreck, and fishermen picking up oranges in the river. Showery weather ; a fresh breeze blowing. Engraved by R. Wallis. On canvas, 5 ft. 7 in. h. by 7 ft. 104 in. w. | | Exhibited at the Royal Academy, in 1819. Turner Coz- LECTION. | . No. 502. ENGLAND, RichMonD HILL, ON THE PRINC REGENTS BIRTH-DAY. “ Which way, Amanda, shall we bend our course ? The choice perplexes. Wherefore should we chuse ? All is the same with thee; say, shall we wind Along the streams ? or walk the smiling mead ? Or court the forest glades ? or wander wild Among the waving harvests? or ascend, While radiant summer opens all its pride, Thy hill, delightful Shene ?” - Thomson, _ TURNER. 153 In the foreground is a numerous party, occupied in dancing and other pastimes: in the distance is the exten- sive landscape, as seen from the hill. On canvas, 5 ft. 10 in h. by 11 ft. w. Exhibited at the Royal Academy, in 1819. TURNER Cou- LECTION No. 503, RoME FROM THE VATICAN, RAPHAEL AND THE FORNARINA IN THE CoRRIDOR OF THE Locciz. Imme- diately in front is the Piazza of St. Peters, beyond which are seen the castle and bridge of St. Angelo, with the greater part of modern Rome ; and in the extreme distance the Apennines, the higher summits being covered with snow. On canvas, 5 ft. 9S in. h. by 10 ft. 11 in. w. Engraved by A. Willmore. Painted in 1819-20, from a sketch made in Rome in 1819, Exhibited at the Royal Academy in 1820. Turner CoLLection. No. 504. Roms, THE ARCH oF TITUS AND THE CAMPO VACCINO, SEEN FROM THE CoLossEUM. A religious proces- sion in the middle ground. “ This was the Roman Forum.” Rogers. “ The Forum, where the immortal accents glow, And still the eloquent air breathes—burns with Cicero ! The field of freedom, faction, fame, and blood : Here a proud people’s passions were exhaled. From the first hour of Empire in the bud, To that when further world to conquer failed.” “There is given Unto the things of earth, which time hath bent, A spirit’s feeling; and where he hath leant His hand, but broke his scythe, there is a power And magic in the ruined battlement, For which the palace of the present hour Must yield its pomp, and wait till ages are its dower.” Childe Harold’s Pilgrimage. Engraved by E. Challis. On canvas, 4 Thea itis See DY eT tbe in. w., arched top. Painted about 1820, from a sketch made in Rome, in 1819, TURNER COLLECTION. 154 TURNER. No. 505, Tue Bay or Bata, APOLLO AND ‘THE SIBYL. } nator “ Waft me to sunny Baiw’s shore.” The two figures to the left seated in the shade of ve tall pines have reference to the story of the Cumzan Sibyl, who, enamoured by Apollo, procured from him the gift of a fatal longevity ; he granted her to live as many years as she held grains of sand in her hands, but as she omitted'to ask for perpetual youth at the same time, she had Bai wasted away until her mere voice alone was left. She dwelt in this neighbourhood between the bay and the lake Avernus, in a subterraneous cavern. The view represents one of — 4 the most beautiful spots in Italy ; Horace already celebrated this bay as without a superior in the world. “ Nullus in orbe sinus Baiis preelucet amenis.” ‘The castle of Baiz from which it takes its name is seen to the right; and on the opposite side of the bay is seen the distant Pozzuoli, the Puteoli of the Romans. The words “ Liquidze placuere Baize,” from Horace, are on a stone to the left. On canvas, 4 ft. 94 in. h. by 7 ft. 94 in, w. Engraved by. R. Brandard. Exhibited at the Royal Academy in 1828. TURNER: Coutze- TION. No. 506. CARTHAGE, DIDO DIRECTING THE EQUIPMENT OF THE FLEET, or the morning of the Carthaginian empire. A river scene, with piles of rich architecture on each side. “The bright sun was in the firmament, A thousand shadows of a thousand hues Chequering the clear expanse.” Rogers. On canvas, 4 ft. 11 in. h. by 7 ft. 5 in. w. Exhibited at the Royal Academy, in 1828. Originally painted for Mr. Broadhurst. ‘TuRNER CoLLECTION. No. 507. ScENE FROM Boccaccio, commonly called the BIRD-CAGE, and sometimes the GARDEN OF Boccaccio. A shady glen with pleasant slopes, and many figures lounging about and in conversation ; at the extremity of the. glen. is seen a white castle. A bir dcage, a prominent, object, which is lying on the grass in the foreground, seems to have reference to the title given to this picture by Turner in the Royal Academy catalogue,—“ Boccaccio relating the tale of TURNER. 155 the Birdcage,” but no such story occurs in the Decameron of that writer. Engraved by J. B. Quilley ; and by C. H. Jeens for the “ Tur- ner Gallery.” On canvas, 4 ft. h. by 3 ft. w. - Exhibited at the Royal Academy, in 1828. Turner Cot- LECTION. No, 508, ULYSSES DERIDING POLYPHEMUS. “ Now off at sea, and from the shallows clear, As far as human voice could reach the ear ; With taunts the distant giant I accost, Hear me, oh Cyclop! hear, ungracious host *T'was on no coward, no ignoble slave, Thou meditat’st thy meal in yonder cave. “Cyclop ! if any, pitying thy disgrace, Ask who disfigur’d thus that eye-less face? Say twas Ulysses ; twas his deed declare, Laertes’ son, of Ithaca the fair ; Ulysses, far in fighting fields renown’d, Before whose arm Troy tumbled to the ground, “Thus I: while raging he repeats his cries, With hands uplifted to the starry skies.” Pope’s Odyssey, B. ix. The whole picture is illumined by the golden and crimson light of a brilliant sunrise ; the gorgeous galley of Ulysses is on the point of putting off from the island where the Cyclops Polyphemus dwelt. Close in shore are the remains of the fire in which Ulysses and his companions heated the olive staff of the giant, and with which they put out his one eye when asleep. The monster himself is seen sprawl- ing his huge bulk on the top of the cliff, tearing his hair with one hand, and stretching out the other, his whole body convulsed with impotent rage. Engraved by E. Goodall. On canvas, 4 ft. 3 in. A. by 6 ft. 7 in. w. Under glass. Exhibited at the Royal Academy, in 1829. Turner CoL- LECTION. No. 509. THe Lorerro Neckuace. The necklace ap- pears to have been placed by a peasant on the neck of a girl, seated by his side, under the shade of some trees on the left; the Basilica and a portion of the town of Loretto are seen on the right, on the summit of a hill, the sloping side of which is covered with olive trees. In the distance 1s a view of the Adriatic. The Basilica of Loretto contains the 156 TURNER. “‘ Santa Casa di Nazarette,” that is, the House of the Virgin Mary at Nazareth, which in 1294 was, according to the legend, miraculously transported across the sea to Italy, and was finally securely located at Loretto, where the “Sagro- santa Basilica” was built over it. This Basilica was further celebrated for its collection of Majolica or Raphael-ware, so called from its having been painted by Raffaello Ciarla, the ‘Bocealajo” of Urbino, who has been confounded with the great Raphael. This fine earthenware was presented by the Duke Guidobaldo of Urbino. It has not been shown for many years, but is stowed away in cupboards and utterly neglected.* On.canvas, 4 ft. 4in. A. by 5 ft. 9in. w. Engraved by C. Cousen. Exhibited at the Royal Academy in 1829. Turner COLLECTION. No. 510. PILATE WASHING HIS HANDS. “ And when Pilate saw he could prevail nothing, but that rather a tumult was made, he took water and washed his hands before the multitude, saying, I am innocent of the blood of this just person ; see ye to it.” Matthew xxvii. 24. On canvas, 2 ft. 11 in. A. by 3 ft. 11 in. w. Exhibited at the Royal Academy in 1830. TurNER CoLLEcTIONn. No. SLL. View or Orvieto. A brilliant landscape, the town is seen in the distance ; women washing at a fountain, in the foreground. | On canvas, 8 ft. h. by 4 ft. w. Engraved by S. Bradshaw. — Painted in Rome in 1829. Exhibited at the Royal Academy in 1830. TurNER COLLECTION. | No. 512. CALIGULA’S PALACE AND BripGE. BAY OF BAIz. “ Bajarum medium intervallum Puteolanas ad moles ponte conjunxit.” Suetonius, “* What now remains of all the mighty bridge Which made the Lucrine lake an inner pool, Caligula, but massy fragments left As monuments of doubt and ruined hopes Yet gleaming in the morning’s ray, that tell How Baia’s shore was loved in times gone by.” . Fallacies of Hope. — On the left are seen the ruins of the palace, and on the extreme right in the distance, Baize. Children are sporting with goats in the foreground ; the sun rising behind the ruin. — — * See Murri, Relazione istorica delle prodigiose tralazioni delle Santa Casa di Nazarette ora venerata in Loreto. Sm. 8vo, Loreto 1825; with reference to the Majolica, see T. A. Trollope’s Lenten Journey in Umbria and the Marches. 8vo London, 1862. 2p hedepens tins ro pa ilaeicnee ey pocaeipoml ne hace i trp et. bert ci ¥ TURNER. 157 Caligula, in order to confute a prophecy of Thrasyllus, a mathematician, that he would no more be emperor than he could drive his chariot across the Bay of Baiz,* had con- structed a bridge of boats from the mole at Puteoli across the bay to Baiz, upwards of three Roman miles, and he both rode and drove over it. Of the ancient mole, con- structed on arches, and completely restored by the emperor Antoninus Pius, thirteen piers are still visible above the water at Pozzuoli. The bridge of Caligula was necessarily temporary, but Turner has assumed a structure similar to that of the mole to have been continued completely across the bay. Engraved by E. Goodall. On canvas, 4 ft. 8 in. 4. by 8 ft. 2 in. w. Exhibited at the Royal Academy in 1831. Turner CoLLEcrIoN. No. 513. Tuer Vision or MEDEA. “ Or Medea, who in the full tide of witchery Had lured the dragon, gained her Jason’s love. Had fill’d the spell-bound bow] with Aison’s life, : Yet dash’d it to the ground, and raised the poisonous snake High in the jaundiced sky to writhe its murderous coil, Infuriate in the wreck of hope withdrew, And in the fired palace her twin offspring threw.” . . Fallacies of Hope. Medea is performing an incantation ; on the ground by her side are the three Fates; immediately above and behind them appears to be her dragon-chariot with her twins, the chariot is also represented in the clouds above to the left, where Medea is again seen in the act of throwing her children into the fired palace below. On canvas, 5 ft. 8 in. A. by 8 ft. 2 in. w. Painted in Rome in 1829. Exhibited at the Royal Academy in 1831. TorNER COLLECTION. No. 514. WATTEAU PaintiIne. Study by Du Fresnoy’s Rules. | « White, when it shines with unstained lustre clear, May bear an object back, or bring it near.” ; if Art of Painting, v. 445. -_ On wood, 1 ft. 34 in. A. by 2 ft. 35 in. w. Exhibited at the Royal Academy in 1831. TurnER COLLECTION. ee * “Non magis Caium imperaturum, quam per Bajarum sinum equis discur- surum.”—Suetonius, Caligula, iv. 28. Se ee A eee: eels 9 OG ee ee ae ee arses tee PS ele 158 TURNER. No. 5L5. Lorp PERcY UNDER ATTAINDER, 1606.. Lucy, — Countess of Carlisle, and Dorothy Percy, visiting their father, Lord Percy, when under attainder upon the suspicion of his being concerned in the Gunpowder Plot. : On wood, 1 ft. 34 in. h. by 2 ft. 84 in. w. Exhibited at the Royal Academy in 1831. TorNER COLLECTION. No. 516. CHILpE HARoLD’s PILGRIMAGE. ITALY. « And now, fair Italy Thou art the garden of the world, the home Of all art yields and nature can decree— Even in thy desert what is like to thee ? Thy very weeds are beautiful, thy waste More rich than other climes’ fertility Thy wreck a glory, andthy ruin graced With an immaculate charm which cannot be defaced.” — . oe Canto iv. 26, A mountainous landscape with a winding river; to the right a broken bridge; on the left a pile of ruins; in the foreground a, solitary stone-pine, and a party of pleasure, seated on the river bank. In this picture, Italy, ancient and modern, are both represented: the ancient ruin, the medieval convent and walled town, the modern life. The time is evening, the sun is going down beyond the moun- tains, but still tinging them with a warm and beautiful light, and shining alike upon the glorious wreck of the past, and on the fascinating out-door life, the feasting and dancing, of the present Italy. The Italian air, land, and foliage, all are vividly realized. bak | Engraved by J. T. Willmore, A.R.A. On canvas, 4 ft. 8 in. h. by 8 ft. 2 in. w. 7 Exhibited at the Royal Academy in 1832. Turner CoLLecrtion. No. 517. SHADRACH, MESHACH, AND ABEDNEGO COMING FORTH FROM THE BURNING Fiery FURNACE. “ Then Nebuchadnezzar came near to the mouth of the burning fiery furnace, and spake and said, Shadrach, Meshach, and Abednego, ye servants of the most high God, come forth and come hither. ‘Then Shadrach, Meshach, and Abednego came forth of the midst of the fire.” . Daniel iii. 26. The image of Nebuchadnezzar is seen in the background. On wood, 2 ft. 114 in. h. by 2 ft. 35 in. w. itagy ais Exhibited at the Royal Academy in 1832. Turner CoLLEction. a ao ie 4 TURNER. 159 No. 518. HeIpELberc Casthe in THE OLDEN Time, A feast and merry-making in the court-yard of the castle of Heidelberg, the former residence of some of the German Emperors, and the Counts of Baden. It was destroyed by the French in 1689. The painter has restored the ruined chateau, and the whole scene is quite arbitrarily treated. On canvas, 4 ft. 3 in. h. by 6 ft. 7 in. w. Engraved by T. A. Prior. Painted about 1835. Turner Cotzection. No. 519. REGULUS LEAVING Rog, in order to return to Carthage. Having wilfully failed to negotiate an exchange of prisoners, the object for which he was allowed by the Carthaginians to visit Rome, Regulus is said to have been put to death by the Carthaginians, after his return, 250 B.c. Engraved by D. Wilson ; and by S. Bradshaw for the “ Tur- ner Gallery.” On canvas, 3 ft. h. by 4 ft. w. Painted at Rome in 1829. Exhibited at the British Institution in 18387. ‘TURNER COLLECTION. - No. 520. Apotto and DAPHNE. The Vale of Tempe. “ Sure is my bow, unerring is my dart ; But, ah ! more deadly his who pierced my heart. * * * * * As when th’ impatient greyhound, slipt from far, Bounds o’er the glebe to course the fearful hare, She in her speed does all her safety lay, And he with double speed pursues the prey.” Ovid’s Metamorphoses, i, 452, Apollo, proud of his achievement in the destruction of the Python (see No. 488), laughed at the little bow of Cupid. The winged god, to avenge the insult, shot a golden love-dart into the heart of Apollo, and a leaden arrow of aversion into the heart of the nymph Daphne, who accord- ingly persisted in rejecting the addresses of the great god of archers, fled from his approach, and when overtaken was transformed by her mother, Earth, into a laurel (Daphne) : hence this tree is sacred to Apollo. On wood, 8 ft. 64 in. h. by 6 ft. 5$in. w. Engraved by FE. ~ Brandard. _ Exhibited in the Royal Academy in 1837. Turner CoLLEc- TION. 160 TURNER. No. 521. Tur Partine oF Hero AND LEANDER, From the Greek of Muszeus. “ The morning came too soon, with crimsoned blush Chiding the tardy night and Cynthia’s warning beam But Love yet lingers on the terraced steep, Upheld young Hymen’s torch and failing lamp, The token of departure, never to return— Wild dash’d the Hellespont its straited surge, And on the raised spray appeared Leander’s fate.” On the left is a vast palace ; on the margin of the wild Hellespont below is Leander taking his last farewell of Hero ; on the right is a bevy of sea-nymphs, floating on the surging waves: the red dawn is just appearing above the distant horizon ; the moon is obscured by a halo fore- boding the coming storm, | | wie Engraved by S. Bradshaw. On canvas, 4 ft, QL in. A. by 7 ft, 9. 1 « a. . ee Exhibited at the Royal Academy in 1837. Turnrr CoLLEctIoN. No. 522. PHRYNE GOING TO THE PUBLIC BATH AS VENUS. Demosthenes taunted by Alschines. An extensive landscape with some magnificent baths in the middle distance, and a crowd of figures in the foreground ; among them Phryne as Venus is conspicuous in her chariot to the extreme right. — Demosthenes and Aischines are on the opposite side of — the foreground. ! Engraved by J. B. Allen. On canvas, 6 ft. 4in. h. by 5 ft. 5 in. w. Under glass. | Exhibited at the Royal Academy in 1838. Turner CoLLEction. No. 523. AGRIPPINA LANDING WITH THE ASHES OF GrrmAnicus. Ancient Rome, the Triumphal Bridge, and Palace of the Czesars restored. | ae ——* The clear stream, 2a Aye, the yellow Tiber glimmers to her beam, Even while the sun is setting.” Agrippina was the mother of Caligula and the widow of | Germanicus. Her husband had died of poison at Antioch ; — Agrippina brought home his ashes in an urn, but she landed at Brundusium on the Adriatic, not at Rome, as represented by Turner. aS — On canvas, 2 ft. llin. A. by 8ft. 11}in. w. Engraved by A. Willmore. oe eee ee Exhibited at the Royal Academy in 1839. TURNER COLLECTION. — ee ee it TURNER. 161 No. 524. Tre “ FiautTinc TEMERAIRE” TUGGED TO HER LAST Bertu, to be broken up. “ The flag which braved the battle and the breeze, No longer owns her.” On the right is the setting sun, producing effects in the sky of the utmost splendour, relieved by a small dark buoy in the foreground; on the left is the huge old ship of the line towed by a little black steam tug. The cool misty distance between the gorgeous sky and the momentarily brilliant water is crowded with shipping. The Temeraire, an old 98 (named after a French ship taken at Lagos Bay in 1759), was, under command of Captain Eliab Harvey, the second ship in Lord Nelson’s division at the battle of Trafalgar, 1805; the Fougueux, a French 74, became her prize in that engagement, when the Temeraire had 47 hands killed and 76 wounded on board. She was sold out of the service at Sheerness on the 16th of August 1838, and towed to Rotherhithe to be broken up. Engraved by J. T. Willmore, A.R.A. On canvas, 2 ft. 114 in, h. by 3ft. 114 in. w. Under glass. Exhibited at the Royal Academy in 1839. ‘TuRNER CoLLECTION No. 525. Bacchus AND ARIADNE. Ariadne, daughter of Minos, king of Crete, deserted by Theseus on the island of Naxos, is discovered by Bacchus when returning from a sacrifice, and the god becoming enamoured of her made her his bride. The figures of Bacchus and Ariadne are adopted from the celebrated picture by Titian, No. 35 in the national collection. _ Engraved by C. Cousen. On canvas, circular, 2 ft. 64 in. in diameter. Exhibited at the Royal Academy.in 1840. Turner CoLLection. No. 526. Toe New Moon. Sunset, sands at low water. To the left a sea-port ; a steamer in the distance. On wood, 2 ft. 1 in. A. by 2 ft. Tin. w. Exhibited at the Royal Academy in 1840. Turner COLLECTION. No. 527. VENICE, THE BRIDGE OF SIGHS. * T stood in Venice, on the Bridge of Sighs, | A palace and a prison on each hand. Byron. B. L Sint imei C—O ee ee SS 162 TURNER. The Bridge of Sighs, known at Venice as the Ponte det — Sospiri, connects the Ducal Palace withthe state prison: it — leads directly from the Hall of the Council of Ten. This — prison, commenced in 1589, was the last work of the ~ Venetian architect Antonio an Ponte, who died in’ 1697, a aged 88. On canvas, 2 ft. h. by 3 ft. w. Engraved by J. C. Asin gthives q Exhibited at the Royal Academy in 1840. Turner erento ba No. 528. Peace. Buriat AT SEA OF THE Bopy. OF Sir DAvip WILKIE. « The midnight torch gleamed o’er the steamer’s. ; side, And merit’s corse was yielded to the tide.” Fallacies of Hope. This fistinyesebed! painter died on board the Oriental — steamer, off Gibraltar, on his return from a visit to the East, — June the Ist, 1841. The coffin was lowered on that night : into the sea in 36° 20 north Tae and 6° 42’ west — longitude. Engraved by J. Cousen, On canvas, an ethetts 2 ft. east. in diameter. Under glass. Exhibited at the Royal Academy in 1842. ‘Turner Couumoniow. No. 529. War. THE EXILE AND THE Rock if gouc ik “ Ah! thy tent-formed shell is like A soldier’s nightly bivouac, alone Amidst a sea of blood - . ——pbut you can join your comrades.” Fallacies of Hope: OG On canvas, circular, 2 ft. 64 in. in diameter. bovrargei. Exhibited at the Royal Academy i in 1842. TURNER Couteonion, eae No. 530. Snow Storm; STEAMBOAT OFF A HARBOUR’S. ? MovuTH MAKING SIGNALS, in shallow water, and going by © the lead. The painter was himself in this storm, i in the — “ Ariel” off Harwich. 4 On canvas, 2 ft. lldin. hk. by 3 ft. din, Ww. Under vise ; Engraved by R. Brandard. Exhibited at the Royal Academy in 1842. Tones CoLEction. & & TURNER. 163 No. 531. SHADE AND Darkness. The evening of the Deluge. “ The moon put forth her sign of woe unheeded, And the last token came ; the giant framework floated ; The scared birds forsook their nightly shelter, screaming, . And the beasts waded to the ark.” ; Fallacies of Hope, On canvas, an octagon, 2 ft. 64 in. in diameter. Exhibited at the Royal Academy in 1848. Turner CoLLectIon. No. 532. Ligut anpD CoLour. The morning after the Deluge. “ The ark stood firm on Ararat; the returning sun Exhaled earth’s humid bubbles, and emulous of light, Reflected her lost forms, each in prismatic guise.” Fallacies of Hope. On canvas, an octagon, 2 ft. 64 in. in diameter. Exhibited at the Royal Academy in 1843. TuRNER COLLECTION. No. 533. THE OPENING OF THE WALHALLA, 1842. Honour to King Ludwig the First of Bavaria. “ But peace returns—the morning ray Beams on the Walhalla, reared to science and the arts, And men renowned, of German fatherland.” Fallacies of Hope. The Walhalla, a Doric temple erected on a hill on the left bank of the Danube, about five miles below Regensburg, was built by the architect Leo von Klenze; the first stone was laid by Ludwig I. of Bavaria on the 18th of October 1830, and it was opened by the same king on the 18th of October 1842. The interior contains 200 marble busts of eminent men of the German race. Engraved by Charles Cousen. On wood, 3 ft. 6} in. h. by 6 ft. 54 in. w. Exhibited at the Royal Academy in 1843. TURNER COLLECTION. No, 534. APPROACH To VENICE, looking towards Fusina. “The path lies o’er the sea, invisible.” Rogers’s Italy. On canvas, 2 ft. h. by 3 ft. w. Under glass. Engraved by J.C. Armytage. Exhibited at the Royal Academy in 1843. TuRNER COLLECTION. L 2 164 TURNER. No. 535. THe “Sun oF VENICE” GOING TO SEA. “ Fair shines the morn and soft the zephyr blows, Venezia’s Fisher spreads his painted canvas gay Nor heeds the Demon who i in grim i Expects his evening prey.” The “Sun of Venice”— Sol di Venezia—is the name of the fishing boat putting out to sea.” On canvas, 2 ft. h. by 3 ft. w. Under glass. i Exhibited at the Royal Academy in 1843. ‘TurNnER COLLECTION. No. 536. FisHina Boats BRINGING A DISABLED ead INTO Port RUYSDAEL. The title given to this picture was adopted simply to oe honour to Jacob Ruysdael, the celebrated landscape painter. : The “ Port Ruysdael” is the fiction of the painter. On canvas, 2 ft. 11 in. A. by 3 ft. 11 in. w. Under glass. Exhibited at the Royal Academy in 1844, Turner CoLLEection. No. 537. Van TRomP’s SHALLOP, at the entrance of the Scheldt. On canvas, 2 ft. 1lin. h. by 8 ft. 11 in. w. Exhibited at the Royal Academy in 1832. TuRNER Cottxorion. No. 538. Rain, STEAM, AND SPEED, THE GREAT WESTERN RAILWAY. Engraved by R. Brandard. On canvas, 3 ft. h. by 4 ft. w. Under glass. q Exhibited at the Royal Academy in 1844. TuRNER Coisiabinnt. - No. 539. VENICE, THE CANAL OF THE GIUDECCA; the Dogana, and the eluseh of Santa Maria della — | On canvas, 1 ft. 1ldin. h. by 2 ft. 114 in. w. Exhibited at the Royal Acagemys in 1844. TURNER Conszori0% No. 540. VENICE Quay, the ducal palace, the Riva oa Schiavoni, and the church of San Zaccaria. — On canvas, 1 ft. 114in. A. by 2 ft. 114in. w. Exhibited at the Royal Academy in 1844. i cake esareamies s — —— et e Ga: the quotation from Gray, illustrated by Etty’s “ tone on the Prow, 1” No, 356. | . TURNER. 165 No. 541. Venice, Noon, from the Canal of St. Mark. On canvas, 1 ft. 11din. h. by 2 ft. 11din. w. | Exhibited at the Royal Academy in 1845. ‘Turner CoLLEcrTION. No. 542. VENICE, SUNSET, a fisher. On canvas, 1 ft. 114 in. hf. by 2 ft. 114 in. w. Exhibited at the Royal Academy in 1845. Turner CoLiEcTIon. No. 543. VENICE, EVENING. GoING TO THE BALL On canvas, 1 ft. 1ldin. h. by 2 ft. 114 n. w. Exhibited at the Royal Academy in 1846. TurnER CoLLEcTION. No. 544. VENICE, MorRNING. RETURNING FROM THE BALL. On canvas, 1 ft. 11din. A. by 2 ft. 114 in. w. Exhibited at the Royal Academy in 1846. TurNER CoLLEcTION. No. 545. WHALERS. Beale's Voyage. On canvas, 2 ft. 11 in. hd. by 3 ft. 11 in. w. | Exhibited at the Royal Academy in 1848. TuRNER CoLLEcrIon. No. 546. WuHaters. “Hurrah for the whaler Erebus, another fish !” Beale’s Voyage. On canvas, 2 ft. 11 in. A. by 3 ft. llin. w. Under glass. Engraved by R. Brandard: Exhibited at the Royal Academy in 1846. TurNnER CoLLEcTION, ee No. 547. WHALERS ENTANGLED IN ICE, BOILING BLUBBER. On canvas, 2 ft. 11d in. A. by 3 ft. 11 in. w. Exhibited at the Royal Academy in 1846. TuRNER COLLECTION. * No. 548. QuEEN Map’s GROTTO. a) “ Frisk it, frisk it, by the moonlight beam.” mB “ Thy orgies, Mab, are manifold.” Fallacies of Hope. ; On canvas, 2 ft. 11 in. h. by 3 ft. ll in. w. Under glass. ‘Exhibited at the British Institution in 1846. Turner Cor- LECTION. 166 TURNER, No. 549. UNDINE GIVING THE RING TO MASANIELLO, FISHERMAN OF NAPLES. On canvas, 2 ft. 64in. square. Exhibited at the vail Academy in 1846. TURNER CoLLEcrion. No. 550. THE ANGEL STANDING IN THE Sun. Paes « And I saw an angel standing in the sun; and he cried witha loud voice, saying to all the fowls that fly in the midst of heaven, Come and gather your- selves together unto the supper of the great God; that ye may eat the flesh of kings, and the flesh of captains, and the flesh of ‘mighty men, and the flesh of horses, and of them that sit on them, and the flesh of all men, both free and bond, both small and great.” : Revelation § 1, bt On canvas, 2 ft.64 in. square. _ Exhibited at the pital Academy in 1846. TURNER CoLtEction, No. 551. THE Hero or A HUNDRED FIcuHTs, an. ‘siba suggested by the German invocation upon casting the bell, in England called TAPPING THE FURNACE. On canvas; 2 ft. 11 in. h. by 3 ft. 11 in. w. £ Exhibited at the Royal Academy in 1847. Tenves Cortmonron. itg No. 552. ENEAS RELATING HIS Srory TO tae “ Fallacious hope beneath the moon’s pale crescent shone, _ Dido listened to Fae! being lost and won.” 2 Fallacies of Hope. | Dido and Aéneas are in a magnificent barge .£ on: a hley nwo and attended by other similar barges. _ On canvas, 2 ft. 11 in. A. by 3 ft. 11 in, w Exhibited at the Royal Academy in 1850, Turner Cottzction. No. 553. MERCURY SENT TO ADMONISH ABNEABSH an eet « Beneath the morning mist Mercury waited to tell him of his neglected fleet.” Fallacies of Hope. “ The Lord of heavai and earth, almighty Jove. 9 Sends me with awful warnings from above. - : What are your motives for this long delay ? ; Why thus in Libya pass your life away ? Ring’s Zneid, B, Iv. On canvas, 2 ft. 11 in. A. by 3 ft. 11 in. w. — Exhibited at the Royal Academy in 1850. "TURNER ConzEction.. TURNER. 167 No. 554. THE DEPARTURE OF THE TROJAN FLEET. “ He then commanded all the Trojan: host To launch the fleet now scattered on the coast. The pany keel now glides along the flood. * * At once the seas with sails are cover’d o’er, And not a Trojan left upon the shore.” Ring’s Aineid, b. iv. «© The orient moon shone on the departing fleet, Nemesis invoked, the priest held the poisoned cup.” Fallacies of Hope. On canvas, 2 ft. 11 in. h. by 3 ft. 11 in. w. Exhibited at the Royal Academy in 1850. Turner CoLLEcTion. ed No. 555. THE VISIT TO THE TOMB. “ The sun went down in wrath at such deceit.” Fallacies of Hope. On canvas, 2 ft. 114 in. A. by 3 ft. 11} in. w. Exhibited at the Royal Academy in 1850. Turner CoLLEction. No. 556. THE BATTLE OF TRAFALGAR, October the 21st, 1805. Sketch of the large picture at Greenwich. On canvas, 2 ft. 11 in. h. by 3 ft. 11 in. w. Engraved by W. Miller. TURNER COLLECTION. No. 557. RICHMOND BRIDGE. On canvas, 2 ft. 114 in. A. by 38 ft. 115 in. w. TURNER COLLECTION. No. 558. Fire at Sea. Unfinished. To the right is seen the flaming fire, reaching to the water, on the left the boisterous sea; in the centre is a vast raft crowded with human beings, men, women, and children, while others are already washed by the waves from their precarious refuge ;__ all are threatened by both the fire and the storm, alternately drenched by the one and scorched by the other; fire rains upon them from above, and the waves are opening to engulf them below. : Engraved by J. Cousen. On canvas, ft. 8 in. h. by 7 ft. 3 in. wv. TURNER COLLECTION. en Te 168 UWINS. — No. 559. Petworta Park. Tillington Church in the distance. Unfinished. . + oer On canvas, 2 ft, 1 in. h. by 4 ft. 8 in. w. Painted in 1829, Turner CoLLecrion. No. 560. CuIcHesTeR Canat. Unfinished. On canvas, 2 ft. 1 in. A. by 4 ft. 4 in. w. : Painted in 1829. Turner CoLuection. No. 561. Movwrarn Gin. Unfinished. The story of Diana and Acteeon is slightly sketched in, in the foreground. On canvas, 4 ft. 11 in. h. by 8 ft. 8 in. w. . TURNER COLLECTION. No. 562. Harvest Home. A SKETCH, Unfinished. ~ On wood, 3 ft. h. by 4 ft w. be TURNER COLLECTION.: aR ¢ No. 813. FisHine Boats IN A STIFF BREEZE, OFF THE Coast. A stormy sky anda heavy sea; aview of atown on the coast, and some ships at anchor in the distance. In the foreground, a buoy, and a small boat with four fishermen, who appear to wish to put their fish on board one of the sailing boats near them. - | Tha ee ) On canvas, 2 ft, 34 in. A. by 2 ft. 112 in. w. This example is in the style of Turner’s pictures of about the year 1801. Bequeathed in 1870, by Mr. John Meeson Parsons. THOMAS UWINS. |" :* soabiod @ Tuomas Uwins, R.A., was born in London on the 25th of ‘February 1782, and was originally placed with an engraver, of the name of Smith, but he soon gave up the study of the engraver's art for that of the painter. He became a. student of the Royal Academy, and commenced his career as a water colour painter and illustrator of books; he was elected a member of the Old Water Colour Society in 1811. In 1314 b's he visited the south of France; he from that time painted UWINS. | 169 also in oil colours, and spent some years as a portrait painter in Scotland. In the autumn of 1826 he went to Italy, and re- turned to England 1831. In 1832 he exhibited “the Interior of a Saint Manufactory at Naples,” at the Royal Academy, and was elected an associate of that institu- tion in the following year. The “Saint Manufactory” was succeeded by “Taking the Veil” and many other Italian, chiefly Neapolitan, subjects, on the walls of the Academy, and Uwins became an Academician in 1839. In 1842 he was appointed by the Queen, Surveyor of the Royal Pictures; and in 1847 he was made keeper of the National Gallery, a post which he resigned in 1855. He held also for some years the office of librarian to the Royal Academy. He died at Staines on the 25th of August 1857, and was buried in the churchyard of that place. Uwins contributed 102 pictures to the exhibitions of the Royal Academy.* No. 387. THE VINTAGE IN THE CLARET VINEYARDS ON THE BANKS OF THE GIRONDE, SOUTH OF FRANCE. “The girls gathered the grapes with scissors; boys took their full baskets and supplied them with empty ones. The boys then carried their loads to the side of the vineyard, where the bastes or tubs were filled carefully, and then carried by young men to the charette aur beufs, and thus conveyed to the wine presses.” Engraved by J. Outrim, and L. Stocks, A.R.A. On canvas, 2 ft. 54 in. h. by 4 ft. 11} in. w. Exhibited at the Royal Academy in 1848, VERNON COLLECTION. No. 388. “Le Cuareau pe Bricanp.” A little girl who had dressed herself up, during the painter’s absence, in a brigand’s hat, a woman's jacket, and various articles of Italian costume lying about the studio. Half-length, life size. Engraved by Lumb Stocks, A.R.A. On canvas, 2 ft. 5in. h. by 1 ft. 94 in. w., rounded at top. ’ Exhibited at the Royal Academy in 1843, VERNON CoLLECTION. ee * Art Journal, September 1847 and October 1857. Rogal Academy Catalogues. 170 VANDEKPLAAS. No. 730, Sir Guyon, FIGHTING FOR TEMPERANCE, releases Verdant from the enchantment of Acrasia. > at “ Guyon by Palmer’s governance Passing through perils great, Doth overthrow the Bower of Bliss, And Acrasy defeat.” Spencer, Faerie Queene, II. 12. To the right in the middle distance is seen the “ Bower of Bliss,” in the foreground to the left are Sir Guyon and. the Palmer. Having passed through many “ covert groves and thickets close,” they : aN - ““ at last display — That wanton lady, with her lover lose, . Whose sleepy head she in her lap did soft dispose.” ~ “ Some goodly swayne of honorable place, ME OOS LO That certes it great pity was to see. | on by at Him his nobility so foul deface.” 7 | ee ‘¢ His warlike arms, the idle instruments Of sleeping praise, were hung upon a tree : And his brave shield full of old moniments, Was foully ras’t, that none the signs might see ; Ne for them, ne for honour cared he, . Ne ought that did to his advancement tend ; But in lewd loves, and wasteful lux His days, his goods, his body he did spend : . O horrible enchantment, that him so did blend.” On canvas, 2 ft. 4 in. A. by 3 ft. 6 in. w. rua, a Exhibited at the Royal Academy in 1849, Bequeathed to the - Trustees of the British Museum by Mr. Apsley Pellatt in 1863. ILIODIOPOIRTODRS VANDERPLAAS. There were two Dutch painters of the seventeenth century of this name—Pieter and David; both are mentioned as able painters. The age of Pieter is not known; David was born at, Amsterdam in 1647, and died in 1704. He was askilful portrait-painter.* | a. ipkls: No. 175. Portrait or JoHn MUTon. “Th the back- ground is a pilgrim’s staff, and in the upper part of the picture, on the right, the vision of an angel with the standard * Immerzeel, Levens en Werken, §e. WARD. 171 of the Cross. Half-length, life size. Milton died in 1674, aged 66. Engraved, as Milton, for W. Stephenson, Norwich, in 1797; and for Messrs. Boydell.* On canvas, 2 ft. 4 in. A. by 1 ft. 114 in. w. Presented to the National Gallery, in 1839, by Mr. Capel Lofft. JAMES WARD. James WARD, R.A., was born in Thames Street, London, Oct. 23, 1769. He was originally placed with J. R. Smith, the engraver, but was afterwards articled to his elder brother William, a mezzo-tint engraver, and he practised as an engraver himself for some years; but he afterwards took to painting, imitating the manner of Morland, his brother-in-law. Some of Ward’s early pictures were engraved by his brother Wilham Ward, A.E., and some were sold in Ireland as works of Morland. In 1794 James Ward was appointed painter and engraver to the Prince of Wales, and he engraved Sir W. Beechey’s large picture of the “ Review of the Third and Tenth Dragoons.” It was shortly after this, that through a connexion with the Royal Agricultural Society, Ward was led to take to animal painting, a branch of the art in which he eventually attained such great eminence. His masterpiece is the large picture of an Alderney bull, now in this collection. Gs John F. Leicester, afterwards Lord de Tabley, and Mr. John Allnutt of Clapham, were his two principal patrons as an animal painter. Ward was elected an associate of the Royal Academy in 1807, and an Academician in 1811, and he was an exhibitor from 1792 to 1855, contributing altogether 287 works to sts exhibitions. He died November 17, 1859, in his ninety- first year. No. 385. LAKE AND TowER IN DE TABLEY PARK, with cattle in the foreground, amongst which a bull is con- spicuous. A. stormy sky. Engraved by T. A. Prior. On canvas, 3 ft. h. by 4 ft. 4 in. ws Painted in 1814. Purchased by Mr. Vernon at the sale of Lord de Tabley’s pictures in 1827. VERNON COLLECTION. * Mrs. Jameson, Handbook to the Publie Galleries of Art. t Art J ournal, 1849-60. Royal Academy Catalogues. 172 WARD. No. 386. Tue Councit or Horses. Gay’s Fable. A woody landscape, with many horses standing under 2) yew tree, in grave debate, according to the Fable, — phe pee “ And, to the murmurs of his train, Thus spoke the Nestor of the plain ; * * * . I grant to man we lend our pains, : And aid him to correct the plains, But doth not he divide the care, Thro’ all the Jabours of the year ? * * * He sows, he reaps the harvest’s gain, We share the toil, and share the grain. Since ev'ry creature was decreed To aid each other’s mutual need, Appease your discontented mind, And act the part by Heav’n assigned.” Engraved by T. A. Prior. On canyas, 8 ft. 11} in. A. by. 5 ft. 63 in. w. 3 | PES, Exhibited at the Royal Academy in 1848. Vrrnon CoLLECTION. No. 688. LanDscare wits CatrLE— ALDERNEY BULL, Cow, AND CALF in the centre; another cow, sheep, and a goat in the foreground; all life-size In the distance, meadows with cattle grazing. eae eg eS On canvas, 10 ft. 8 in. h. by 15 ft. 10 in. w. erste cf Painted in 1820-22, as the artist himself informs us, at the suggestion of West, in emulation with the celebrated picture of a bull at the Hague, by Paul Potter. It was exhibited in 1823, shortly after its completion, in the British Institution. The Alderney animals represented were the property of Mr. Allnutt of Clapham. Purchased from the painter’s son, Mr. G. R. Ward, in 1862. bghte' 3 | tte aad y EDWARD MATTHEW WARD, R.A, — No. £30. Doctor JOHNSON IN THE ANTE-ROOM OF LorD CHESTERFIELD, waiting for an audience, 1748. ‘An incidént founded on his lordship’s neglect of Dr. Johnson, during the progress of his Dictionary. ig STORE ab “Seven years, my lord, have now past since I waited in your outward | rooms, or was repulsed from your door; during which time I have been pushing on my work through difficulties of which it is useless to complain, and have WARD. 173 brought it, at last, to the verge of publication, without one act of assistance, one word of encouragement, or one smile of favour. Such treatment I did not expect, for I never had a patron before.” Boswell’s Life of Johnson. Engraved by C. W. Sharpe. Oncanvas, 8 ft. 52 in. h. by 4 ft. 64 in. w. Exhibited at the Royal Academy in 1845. VERNON COLLECTION. No. 431. THE DisGRAcE oF LorD CLARENDON, after his last interview with the king, Whitehall Palace, 1667. Lord Clarendon is descending the garden steps; the retiring figure in the middle distance, of which the back only is seen, represents the king, Charles II. Various courtiers, among whom is conspicuous Lady Castlemaine, in the balcony, are exulting in the disgrace of the fallen minister. Pepys’ Diary. Engraved by F. Bacon. On canvas, 1 ft. 9 in. h. by 2 ft. 41 in. w. Sketch of the picture in the collection of Lord Northwick at Cheltenham, which was exhibited at the Royal Academy in 1846. VERNON COLLECTION. — No. 432. Tur SoutH SEA BUBBLE, A SCENE IN CHANGE ALLEY IN 1720. “ The earth hath bubbles, as the water hath ; And these are of them.” Macbeth. ® «¢ The crowds were so great within doors, that tables with clerks were set in the streets. In this motley throng were blended all ranks, all professions, and all parties, churchmen and dissenters, whigs and tories, country gentlemen and brokers. An eager strife of tongues prevailed in this second Babel; new reports, new subscriptions, new transfers flew from mouth to mouth; and the voice of ladies (for even many ladies had turned gamblers) rose loud and incessant above the general throng.” Lord Mahon’s History of England. « Our greatest ladies hither come And ply in chariots daily, Or pawn their jewels for a sum, To venture it in Alley.” Ballad of the Time. Engraved by J. Carter. On canvas, 4 ft. 3 in. h, by 6 ft. 2 in. w. Exhibited at the Royal Academy in 1847. Vernon COLLECTION. a eiameaiied ap OR ah TM iD NT Se NE Re 4 A — NG eee) + - ao 174 WEBSTER—WEST. No. 6LG6. James II., In His PALACE oF WHITEHALL, RECEIVING THE NEWS OF THE LANDING OF THE PRINCE OF ORANGE, IN 1688. “He turned pale, and remained motionless ; the letter dropped from his hand; his past errors, his future dangers rushed at once upon his thoughts; he strove to conceal his perturbation, but, in doing so, betrayed it ; and his courtiers, in affecting not to observe him, betrayed that they did.” Sir John Dalrymple’s Memoirs. On canvas, 3 ft. 11} in. h. by 5 ft. 114 in. w. Exhibited at the Royal Academy in 1850. Bequeathed by Mr. Jacob Bell in 1859, I) THOMAS WEBSTER, R.A. No. 426, GoInG InTO SCHOOL, called also THE TRUANT. An old dame is seen within a cottage teaching a child to read ; two boys on the outside are just skulking into school. Engraved by T. Phillibrown, on wood, 1 ft. 5 in. 4. by 1 ft. 24 in. w. é weet ee Exhibited at the Royal Academy in 1836. VeRNon CoLLECTION. No. £27, A Dame’s ScHOOL. “ In every village marked with little spire, . Embowered in trees and hardly known to fame, , = There dwells in lowly shed and mean attire A matron old, whom we schoolmistress name, Who boasts unruly brats with birch to tame: They, grieven sore, in piteous durance pent, BEV ag Awed by the power of this relentless dame, bs And ofttimes on vagaries idly bent, For unkempt hair, or task unconned, are sorely shent.” Shenstone. Engraved by Lumb Stocks, A.R.A.; and by H. Bourne. On. canvas, 2 ft. A. by 3 ft. 11 in. w. Under glass. Exhibited at the Royal Academy in 1845. Vernon CoLixection. WEST.” BrengaMin West, P.R.A., was born at Springfield, in Pennsylvania, Oct. 10, 1738: his father was of a Bucking- hamshire family. His artistic career was commenced through the present of a box of colours, which was made to him, when WEST. 1'75 about nine years old, by a Pennsylvanian merchant, whose attention was attracted by some of the boy’s pen-and-ink sketches. This gentleman, a Mr. Pennington, afterwards took West to Philadelphia, and there introduced him to a painter of the name of Williams, from whose conversation and instruction he derived great benefit. He returned to his native place for a short time, and, in his eighteenth year, appeared as a portrait-painter at Philadelphia. From Phila- delphia he removed to New York; he shortly afterwards found an opportunity of going to Rome, where he arrived in July 1760. He remained about three years in Italy, and in 1763 visited England, where, through the many valuable connexions which he formed, he determined to remain. One of West’s first patrons in England was Dr. Drummond, Archbishop of York, who introduced the young painter to King George IIL, for whom West was almost exclusively employed for more than thirty years, from 1767 until 1802. West was one of the original members of the Royal Academy, and he succeeded Sir Joshua Reynolds as its President in 1792. When, through the illness of George IL., he lost the patronage of the Court in 1802, although then sixty-four years of age, he commenced a series of religious pictures on a larger scale than any which he had painted for the king. ‘The first of this series was “* Christ Healing the Sick,” in this collection. This was followed by works of still greater dimensions, among which were—“ Christ Re- jected,” and “Death on the Pale Horse.” West painted ‘altogether, including his coloured sketches, about four hun- dred pictures, one of the most celebrated is the ‘“ Death of General Wolfe,” an early work.* In this picture he intro- duced the sensible innovation of dressing the characters in their proper costume: previous to that time, it was the common practice with painters to_ dress their figures, in historical compositions of any kind, in the Greek or Roman costume. Sir Joshua Reynolds was one of those who were averse to the innovation, but when the picture was finished he changed his opinion; after a careful examination of the picture, he observed to the Archbishop of York, who was with him Seem ee qantas. ieioil i) lo eS oe oe * In the possession of the Marquis of Westminster. There is a duplicate at Hampton Court. It is admirably engraved by Woollett. 176 WEST. at the time, “ West has conquered; he has treated his subject as it ought to be treated; I retract my objections. I foresee that this picture will not only become one of the most popular, but will occasion a revolution in art.” ond West died at his house in Newman-street, March 11, 1820, in his eighty-second year; and was buried with great pomp in St. Paul’s Cathedral. ‘ He was one of those great men,” says his biographer, ‘‘ whose genius cannot be justly estimated by particular works, but only by a collective inspection cf the variety, the extent, and the number of their productions.” * He exhibited 249 pictures at the Royal Academy in fifty « No. LZ1L. CLEOMBROTUS ORDERED INTO BANISHMENT By Leonipas II., King of Sparta. During the deposition of Leonidas, Cleombrotus, his son-in-law, usurped the government of Sparta, and was banished by Leonidas after his restoration. Chelonis, the wife of Cleombrotus, preferred banishment with her husband to remaining at Sparta with her father. ‘So that,” says Plutarch, “had not Cleombrotus been corrupted with the love of false glory, he must have thought exile with such a woman a greater happiness than a kingdom without her.” She had accompanied her father during the usurpation of her husband.t Composition of thirteen small figures. an Engraved by C. Hodges; and by T. Garner, for Jones’s National Gallery. On canvas, 4 ft.6in. h. by 6 ft. w. One of the painter’s earliest works, exhibited at the Royal Academy in 1770. Presented to the National Gallery, in 1827, by W. Wilkins, R.A. : — No. L2G. PYLADES AND ORESTES BROUGHT AS VICTIMS BEFORE IpHicENIA. ‘They visited the Tauric Chersonesus, in order to carry off the statue of Diana there, to which the Tauri sacrificed all strangers. Iphigenia, who was priestess * Galt, Life and Studies of Benjamin West, &c. London, 1820. It contains his discourses delivered to the students of the Royal Academy at the distri- bution of prizes. More accessible notices of West will be found in Allan Cunningham’s Lives, §c., and in the Penny Cyclopoedia. { Plutarch, Life of Agis. ’ q oer 6 14 ws ee ey 5a eee ie E Se i ee Sirgen ME Oe 8 Loy ee et ee er rey ee 2a, 9 2825 re i £+. ok — A> = WEST. 7 177 of Diana, upon recognizing her brother in Orestes, enabled - them to execute their purpose, and they all three escaped to Greece.* Composition of thirteen small figures. Engraved by J. Basire; and by J. Kennerley, for Jones’s National Gallery. On canvas, 3 ft. 4in. h. by 4 ft. 2 in. w. Likewise one of the painter’s earlier works. Presented to the National Gallery, in 1826, by Sir George Beaumont, Bart. No. L131. Curist HEALING THE SICK IN THE TEMPLE. “ And the blind and the lame came to him in the temple: and he healed them.”—Matthew xxi. 14. In the foreground, sick of various ages and both sexes are being brought into the temple to be cured: Christ stands in the midst among them; behind him are his disciples and many of the Jews. Composition of many figures, life-size. Engraved on a large scale by C. Heath; and small by T. Philli- brown, for Jones’s National Gallery. On canvas, 9 ft. . by 14 ft. w. This picture was originally painted for the Quakers’ Hospital in Philadelphia, but was sold by West to the Directors of the British Institution, who presented it, in 1826, to the National Gallery. A duplicate by the painter was sent in its stead to America, and the proceeds of the exhibition of the copy enabled the governors of the hospital at Philadelphia to add a new wing to the building. No. 132. THe Last SUPPER. “‘ Verily, verily, Isay unto you, that one of you shall betray me.”—John xiii, 21. A composition of thirteen figures seated at a table; candle light. Engraved by T. Ryder ; by CG. W. Sharpe; and by A. Dun- an, for J ones’s National Gallery. On canvas, 6 ft. h. by 9 ft. w. Painted for George III. in 1784; and presented to the National Gallery, in 1828, by George IV. No. 315. Tue INSTALLATION of the Order of the Garter. A sketch. Engraved by W. Taylor. On canvas, 1 ft. 64 in. A. by 1 ft. 9F in. we VERNON COLLECTION. ite ite Ue So peeige sen oped Le * Euripides, Iphigenia in Tauris. M 178 WILKIE. : No. 799. Portrait or 4 Laby As Huse, . Half-length, life size. 1° Noose ot mod On canvas, 4 ft. 2 in. h. by 3 ft. 34 in. w, = a) Bequeathed by her daughter, Miss Harriet Worrell, in 1869.’ WILKIE, Siz Davin WILkrE, R.A., was born in the parish of Cults, Fifeshire, November 18, 1785: his father was minister of Cults. He was placed in 1799 in the “ Trustees’ Academy” at Edinburgh, where in 1803 he won the ten-guinea premium for the best painting of “Callisto in the Bath of Diana.” He came to London in 1805, and entered as a student in the Royal Academy ; soon afterwards he attracted general notice by his picture of the “ Village Politicians,” which was exhi- bited in the Royal Academy in 1806. From this period, Wilkie’s fame was established, each succeeding work adding to his popularity. The “ Village Politicians ” was followed by the “Blind Fiddler,” the “Card-players,” the **Rent-day,” the “ Jew’s Harp,” the “ Cut Finger,” the «Wardrobe Ran- sacked,” the Village Festival,” and others. He was elected an Associate of the Royal Academy in 1809, and a member in 1811. These early works are all very carefully painted. In 1825 he proceeded to. the Continent for three years, and after his return he completely changed both his style and class of subjects. The following are the principal works which he executed between 1811 and 1825 :—* Blindman’s Buff,” the “Letter of Introduction,” “ Dunean Gray,” “ Dis- training for Rent,” the “Rabbit on the Wall,” the « Penny Wedding,” the “ Whisky Still,” the “ Reading of the Will;” and the ‘“ Chelsea Pensioners,”* painted for the Duke of Wellmgton. Up to 1825, Wilkie was known exclusively as a genre-painter. After his continental tour, during which he visited France, Germany, Italy, and Spain, he appeared almost exclusively as an historical and portrait painter, sub-- stituting a light effective style of handling for the éarefully laboured execution of his earlier works. This change he himself attributed to a more intimate acquaintance with the old masters, which he had acquired by his foreign tour. He eee * There are prints of all the above, and of many other works of Wilkie, by the engravers, Raimbach, Burnet, Cousins, Doo, Fox, and others, WILKIE. 179 was particularly struck by the works ot Correggio, Rem- brandt, and Velazquez.* His most celebrated picture in this second style is his “John Knox Preaching,” exhibited in 1832, now in this Collection. After the death of Sir Thomas Lawrence in 1830, Wilkie was appointed in his place painter in ordinary to His Majesty; he was already limner to the king in Scotland. This post he had obtained after the death of Sir Henry Raeburn in 1823. He was knightedin 1836. Inthe autumn of 1840 he set out for a tour in the east, and at the close of the same year he arrived at Constantinople, where he painted a portrait of the Sultan Abdul Medjid. From Constantinople Sir Dayid went to the Holy Land and Egypt. He complained of illness while at Alexandria, and on the lst of June 1841 he expired on board the Oriental steamer, off Gibraltar ; his body was committed on the same day to the deep.t - Wilkie exhibited 100 pictures at the Royal Academy: a complete list of his works, with their dates, and the prices he received, is given at the end of his “ Life ” by Allan Cunningham. No. 99. THe Buinp Fippier. An itinerant musician is entertaining a cottager and his family with a tune on the fiddle; the father gaily snaps his fingers at an infant on the knees of the mother, behind whom a mischievous boy, with the poker and bellows in his hands, is mimicking the action of the musician. With this exception, all, even the dog standing by the chair of its mistress, appear. to be intent upon the music of the blind fiddler. Composition of twelve small figures. The accessories are very elaborate. Engraved by J. Burnet; and by T. Nicholson, for Jones’s National Gallery. On wood, 1 ft. 11 in. h. by 2 ft. 7 in. w. Under giass. Painted in 1807 for Sir George Beaumont, Bart., and by him presented, in 1826, to the nation. CER eu ee * See his letters in the Life by Allan Cunningham. + The coffin was lowered into the sea in 36° 20/ north lat. and 6° 42/ west long. See The Life of Sir David Wilkie, with his Journals, Tours, and Critical Remarks on Works of Art, and a Selection from his Correspondence, by Allan Cunningham, 3 vols. 8yo.. London, 1843. , M 2 180 WILKIE. No.122. Tue Vituacr Festivat, Various groups of villagers carousing in the yard of a country inn. The wife and daughter of a half-intoxicated countryman, endeavouring to draw him away from his boisterous and unwilling com- panions, form the principal group in the centre of the picture; and the rosy-cheeked host, near the balcony, on the left, pouring out a glass of ale for another of his customers, is likewise a very conspicuous figure: to the right, an elderly woman appears shocked at the sight of her drunken son, who lies on the ground before her. Composition of numerous small , figures. : Engraved by C. W. Marr; by G. Mosse; by E. Smith; by W. Finden, for the Associated Engravers; by W. Greatbach; and by P. Lightfoot, for Jones’s National Gallery. On canyas, 3 ft, lin. A. by 4ft. 2in. w. Under glass. | Painted, in 1811, for Mr. Angerstein, with whose pictures it was purchased by Parliament, for the nation, in 1824. epee ee No. 231, Porrrait or THomas Danreii, R.A, an able landscape painter and engraver, well known for his great work on “ Oriental Scenery,” published in 1808, the joint production of himself and his brother, William Daniell. . He died in 1840, aged ninety-one. | On canvas, 2 ft. 6 in. . by 2 ft. w. Bequeathed to the National Gallery by Miss Mary Ann Fuller, 1853. | No. 2€1, THe PArisH BEADLE. The Beadle has ar- rested a party of four vagrants, who have been exhibiting the feats of a bear, a monkey, and a dog, to the music of a tambourine and a hurdy-gurdy. A black-eyed woman, with the hurdy-gurdy, is the most prominent figure of the group ; she appears half inclined to resist the authority of the portly beadle, who has seized by the arm a boy carry- ing the monkey: one assistant is busy opening the lock-up house, while another appears to be keeping off the crowd of boys disposed to follow the party. : wil Engraved by Geo. Greatbach, for the “ Wilkie Gallery.” — On panel, 1 ft. 114 A. by 2 ft. 11} w. Under glass, This picture was painted in 1822, and exhibited in the following | year ; it was Wilkie’s first work of this class after the painting of WILKIE. 181 his great work, the “ Chelsea Pensioners, and is the first picture in which he adopted that bolder mode of execution which characterized his later works, as compared with those by which he acquired his great name. It was painted, according to the Academy Catalogue, in illustration of the following words from Burns’ Justice of the Peace: “ And an officer giveth sufficient. notice what he is, when he saith to the party, ‘I arrest you in the King’s name;’ and in such case the party, at their peril, ought to obey him.” Bequeathed to the National Gallery, in 1854, by Lord Colborne, for whom it was originally painted. No. 328. THE First Ear-rinc. 3 8382 | A Negro _ - - - | J. Simpson - aoe 883 | Vigilance - - - 384 | The Philosopher- — - } St a ‘ ‘se 885 | De Tabley Park - - 386 |€Council of Horses - i J+ Watdiod | + 387 | Claret Vintage - Uwgerion) i+ 2% 388 | Le Chapeau de pe 3889 | The Fiery Furnace -| Jones - ~ 390 | Lady Godiva - - = 391 | Battle of the Borodino - 892 | Utrecht - = = — 393 | The last in - - - | Mulready ~ 394 | Fair Time - - - 395 | Crossing the Ford - — 396 | The Young Brother - - 397 | Christ lamenting over Jerusalem - 398 | Haidee, a Greek Girl 399 | Escape of the Carrara Family - - > - 400 | Burgos Cathedral - 401 | Church of St. Paul, Sir C. L. ai lake - - ELAS PE DEERR TE [Sash 1cELRISERE TA | z f f Roberts - . | % Antwerp - _ 402 | Sancho Panza and the / Duchess - : ¢ - aT aS _ 403 | Uncle Toby and Widow Lapis Wadman - 404 | Entrance to the

ie T.S. Cooper - 436 | Cattle, Morning - @ 437 | The Fisherman’s ae Danby - - - eke 4388 | Woodcutters - : 439 | The Windmill - Linnell - =F ca 440 | The Gouty Angler - T. Lane- - - 441 | Fruit - - - - 442 | Red Cap- - - - : Lance - = - ke 443 | Fruit - - - - 444 | Le Diable Beites Egg - - - 445 | The Cottage of Sclaunder | F. R. Pickeragill 446 | The Pride of the Village | Horsley - - - 447 | Dutch Boats in a Calm- Coals 448 | The Boat House - = 449 \ Lord Wm. Russell in the Tower - - - - =| Johnston - = Li sre lse i es | ! a 107 Pictures Presented—continued. Wolfe. No. Subject. | Painter’s Name. | By whom Presented.) When. oe ie Seer % ei Goodall - - - |Mr. RobertVernon| 1847 452 | The Scanty Meal - -/| Herring - - - —- 453 | The Cradle - - - -j| Fraser - - - — — 454 | Female Head - - = Rippineill 455 | A Capuchin Friar - ; SS eens NEI or 456 | Council of War at Hach Courtray - - - pk af os Be 457 | The Surprise - - - -| Dubufe - - - a — 217 | Portraitof Wm. Woollett | Gilbert Stuart - | Mr. H. Farrer - | 1849 220 Do. John Hall - - H. Graves & Co. | 1850 Bites Mr. J. H. An- 229 | Do. Benjamin West - { Bee } 1853 233 Do. William Pitt - | Hoppner- - - | Mr.G. Moffat -| — 273 Do. John Smith - - | Sir G. Kmeller - | Mr. W. Smith - 1856 563 | Jerusalem - - | Seddon - | An Association of | 1857 Gentlemen. 501 | Geraldine - - -| Boxall - - | Mr. J. Kenyon- | 1859 Mr. H. G. Moy- 678 | Study of a Head = - | Gainsborough - Rov, ie 1861 . Moysey - 725 | The Air-Pump - - - | Wrightof Derby} Mr. Edw. Tyrrell 1863 he Porteatt sc a See Sir J. W. Gordon | Mr. H.G. Watson | 1865 754 | Portraits of Two Gen- : Mrs. Martha [tc eae Sir J. Reynolds ~ Tomer } 1866 759 | The Remorse of Judas - | E. Armitage - | The Painter - | 1866 761 | Twelve Scenes from - j Captain and “Don Quixote ” “} Robert Smirke - wie Teter 1867 762 | Scene from “Don — — @ Quixote ” - - — — — 763 Ditto - — — — 764 Ditto - —_—- —_— — 765 | “ Mawworm ” - — — 786 | The Raising of ve al B. R. Haydon - | Mr. R. E. Lofft | 1868 791 1 The Nun - H. W. Pickers- | The Painter -| — gill, R.A. 792 | The Woodman - Thomas Barker | Mr. R. E. Lofft —- 795 | The Worship of Beechus Geo. Cruikshank ea Eanes 1869 riends. 800 | Relief of Lucknow - 801 | Passage of Ganges at +] G. Jones, R.A. | The Painter - | 1870 Cawnpore 810 | Pardon day in Betaany Charles Poussin | Mr. R. E. Lofft- | — 1030] Inside of a Stable - | George Morland | Mr. T. Birch | 1877 ~ Pictures BEQUEATHED. 198 |BywnomBequeathee. When. No. Subject. Painter’s Name. 124 | Portrait of the Rev. W. | Jackson - - - | Rev. W. H. Carr . H. Carr. oie ; 128 | Portrait of Wm. Wind- | Sir J. Reynolds- | Mr.G. J. Chol- ham. . mondely. 189 | ‘Religion, an ategory - | A. Kaufmann - | Mr. J. Forbes - 79 | The Graces - - - | Sir J. Reynolds | Lord Blessington | 123 | Moonlight - - - - Williams - - - | Lt. Col, Ollney - 125 | Portrait of Izaak Walton Huysman- - -| Dr, H, Hawes - 162 | Infant Samuel- - - - | Sir J. Reynolds- |LordFarnborough| — 231 | Portraitof T.Daniell,R.A.| Sir D. Wilkie - | MissM.A.Fuller| — 479 | The Sun rising in Mist spgoat 498 | Dido building Carthage ¢| 7™™er - - ~- | The Painter- - | 1858 241 | The Village Beadle - - | Sir D. Wilkie - | Lord Colborne - | 1854 267 | Landscape- - - - -| Wilson - - - | Richard and Miss| — a C. J. Garnons. 458 | Portrait of himself - - | J. M. W. Turner ; The Painter- - | 1856 — 459 | Moonlight - - - - — Pte, = 460 | Buttermere Lake- - - cone Bewsis< 8 ma 461 | Coniston Fells - = - ries See ae 462 | Cattlein Water - - - — pes a 463 | ZAineas, with Sibyl - - — poe 464 | Rizpah- - - - - - — — A 465 | Castle - - - - - —— Bs 466 | View in Wales, Castle - es Pa at ene 467 | Sandpit- = - - - - — i SB Pale. 468 | Clapham Common = «= — ee tata 469 | Sea Piece - - - - - | —~ a _— 470 | The Tenth Plague - — —— ae A71 | Jason - = - - - - — go _ 472 | Calais Pier - - - - — — —_ an 478 | The Holy Family - - —- i — ge 474 | Destruction of Sodom - — 2 aE a 475 | View ofa Town - - —_- — — 476 | The Shipwreck - - — ——. ~ 477 | The Garden of the — —_ Eee Hesperides - - af . 478 | Blacksmith’s shop - - aeons per? 480 | Death of Nelson - - - ——- rota A ~ 481 | Spithead - - - - — peak hg oo 482 | The Garreteer’s Petition — mY — 483 | London from Greenwich- — re pe 484 | St. Mawes, Cornwall - — —_ pe 485 | Abingdon, Berkshire - _ — |= 486 | Windsor - - - - = —— ea | o. 487 | Ruin, witl Cattle - - —— ee oe 488 | Apollo an the ages - —- ciate _ 489 | Avalanche- -. = —_ ~~. ee Hannibal crossing, ihe Alps Kingston Bank - - ~ Frosty Morning - - ~- 199 Pictures Bequeathed—continued. No. Subject. Painter’s Name. |BywhomBequeathed.| When. 493 | The Deluge - - - -|J.M.W. Turner The Painter 1856 494 | Dido and /Aneas- - 495 | Apuleia in Search of Apuleius - - -- 496) ougopeno, | = = (= = 497 Oroasing the Brook - - ‘499 | The Decline of Carthage 500 | The Field of Waterloo - 501 | Orange - Merchantman going to Pieces - - } 502 | Richmond Hill - - - 508 | Rome, from the Vatican 504 | Rome, the Arch of Titus 505 | The Bay of Baie - - 506 | Carthage - - - - - 507 | Scene from Boccaccio - 508 | Ulysses ogee Poly- phemus~- - - - 509 | The Loretto Necklace - 510 | Pilate washing his Hands 511 | View of Orvieto- - - 512 | Caligula’s Palace as ridge ae 513 | The Visica of Medea : 514 | Watteau painting - - 515 | Lord Perey under at- tainder - - - -- 516 | Childe Harold’s_ Pil- grimage- - - ~ xf 517 | The Fiery Furnace - - 518 | Heidelberg Castle - 519 | Regulus leaving Rome 520 | Apollo and Daphne - 521 | Hero and Leander - 522 | Phryne going to the 2g 523 | Agrippina- - - 524 | The Temeraire - - - 525 | Bacchus and Ariadne - 526 | The New Moon - - 527 | Venice, Bridge of Sichs.« - 528 | Burial of Wilkie - - - _ 529 | The Exile and the Rock rege = =~ 530 | Steamer in a Snowstorm 531 | The Evening of the Deluge 532 | The “optical after the ad Piel lela ee wee le elt EI a Ba eI PEEEEEE P EEEE EEEEEEE Pe | | eis ele | | Pees Delug 533 | The Opentiis of the Wall \ cae mo halla =" - ~ -5 : | 534 | Approach to meaiel - _ 200 Pictures Bequeathed—continued. Subject. The “Sun of Nee, - going to Sea - Port Ruysdael - - - Van Tromp - - - - Rain, Steam, and Speed - Venice, the Giudecca - Venice, the Quay - - Venice, Noon - - - -~ Venice, Sunset - - - Venice. Going to the Ball Venice. Returning from the Ball - - - - Whalers - - - - - Whalers - - + = - Whalers boiling Blubber Queen Mab’s Grotto - Masaniello - ~ - = The Angelin the Sun - Tapping the Furnace - /ineas_ relating his story to Dido- - 4 Mercury sent to ad- . monish /Eneas - a The Departure of the Trojan Fleet - - 4 The Visit to the Tomb - The Battle of Trafalgar Richmond Bridge - - Fire atSea - - Petworth Park - Chichester Canal - Mountain Glen - Harvest Home - - Sleeping Bloodhound Dignity and Impudence - The Defeat of oun - Shoeing - Highland Dogs - - Alexander and Diogenes Maid and Magpie - - Bloodhound and Pups - Pillaging a Jew’s House The Sacking of aoe House - -} The Bather - Derby Day - = - James II. &c. - Bibliomania = - The Foundling Evening in the Meadows | Painter’s Name. SP teeta eda teh Atel et 3 Te Sir E. H MIT | Charles Landseer Etty W. P. Frith E. M. Ward Douglas - G. B. O’Neill “58 J. M, W. Turner andseer - Lee and Cooper - BywhomBequeathed.| When The Painter | 1856 1859 Mr. Jacob Bell FEC MTT EH LLL A I AR SSS No Subject. Painter’s Name. |BywhomBequeathed.| When. 620 | River Scene - - | Lee and Cooper | Mr. Jacob Bell- | 1859 621 | Horse Fair - - - Rosa Bonheur - — 362 lit js t t) Ref he i cere ae : * Penry Williams | Mrs. Huskisson | 1860 675 | Mary Hogarth - - - | Hogarth- - ~- | Mr. R. Frankum | 1861 676 | Paul’s Wharf- - - -|J.A.Sleap- - we 682 | Punch - - - | B. R. Haydon - | Dr. Darling 1862 677 | Lewis the Comedian - | Sir M. A. sie Mr. T. D. Lewis | 1863 730 | SirGuyon - - - -| Uwins - Mr. Apsley Pellatt; — z “an _ _|J Thomson Mrs Anne Oe a eg Duddingston of} { Thomson } 1804 738 | An Incident in a Battle - |CharlesTschaggeny aki i ae 784 | Mr. W. Siddons - - -| Opie - - - 785 | Mrs. Siddons - - - - | Sir T. Lawrence Mrs. C. Combe | 1868 789 | Mr. J. Baillieand Family | Gain sborough - Seen i se 799 | Portrait ofa Lady as Hebe | West - Miss H. Worrell | 1869 813 | Sea piece - - | J.M. W. Parner Mr. J.M. Parsons | 1870 814 | A calm, Dort | Wees es 815 oe Roads of Flush- P. J. Clays. —— a ing 897 Chapel-Fields, Sorwich - | J. Crome - - | Mr. H.F.Chorley | 1872 d Mr. Thos. 898 | Byron’s Dream - - | Sir C. L. Eastlake Howaraiat } ~- 899 | Bridge near Rajemahel - | Th. Daniell - - ace? er : 900 | Portrait of Lady Oxford | Hoppner - - | Lady Langdae - | 1873 917 | No News - 918 | Fisherman with a hin: T. 5S. Good - | Mrs, M. E. Good | 1874 919 | Study ofa Boy - - 921 | Blind Man’s Buff - - | Sir D. Wilkie - | Miss H. Bredel- | 1875 922 | Child witha Kid- - - | Sir T. Lawrence |{ M@dy Georg } 1875 1026| Troilus and Cressida - | Opie - - | Mr. George Silk | 1834 1027| f Ariel = - - ‘ f Bane Bek cdeeil- Tiresing H. Singleton The Bang 1840 1029| The Temples of Paestum | W. Linton - | The painter 1876 SS SRR SE EA SO EST RI TE LER EE TEES IEEE EE LE EE OA AE IE AE 201 d 202 List OF THE TURNER DRAWINGS AND SKETCHES, EXHIBITED IN THE GALLERY. The Liber Studiorum. Fifty-one Water Colour Drawings in Brown, being the greater portion of the original Drawings made for the so-called Liber Studiorum, or dies,’ in imitation of Claude’s Liber Veritatis, or ‘Book of Truth.’ ‘Book of Stu- ‘The prints, in brown ink, from these drawings’ were published, in numbers, from the year 1807 until1819. Many of the plates were etched, and some engraved, by Turner himself. 2, 20. 21. 22. 23. Compositions. Solitude. . Bridge with Goats. . Bridge in middle distance. . Cephalus and Procris. . Pastoral. . Pastoral with Castle. . Woman playing Tambourine. . The Tenth Plague of Egypt. . Hindoo Devotions. . Hindoo Ablutions. . Christ and the Woman of Sa- maria. . Foreign Views. . Laufenburg on the Rhine. The Lake of Thun, Switzerland. . Thun, Switzerland. - . The Little Devil’s Bridge, Altdorf. Mount St. Gothard. . Bonneville, Savoy. . The Alps from Grenoble to Cham- beri. British Views. Norham Castle, on the Tweed. * Holy Island Cathedral. Morpeth. Rivaulx Abbey, Yorkshire. No. 24, 25. Crypt, Kirkstall Abbey. Dunstanburgh Castle. | 26. Coast of Yorkshire. - Winchelsea. . East Gate, Winchelsea. — . Hind Head Hill, . Martello Towers, Bexhill. St. Catherine’s Hill, near Guild- ford. . Pembury Mill, Kent. Greenwich Hospital. Chepstow Castle, River Wye. . The Wye and the Severn. . Flint Castle, Smugglers. — . Dumblane Abbey. . G24 . Peat Bog, Scotland. Ogee . View near Blair Atholl. . The Clyde. . Inverary Castle. Various. . Sketch for Sea Pisce: Ditto. . Bridge and Cows. . Watermill. . Stack Yard. . Farm-yard with Pigs. . Hedging and Ditching, . Marine Dabbler . Young Anglers, 5]. Juvenile Tricks, — 203 SKETCHES AND DRAWINGS Extending over a period of nearly sixty years, arranged as nearly as practicable in chronological order. N.B.— Those drawings marked with an asterisk * are at present not publicly exhibited, but may be seen by order, on a written application to the Keeper. — First Periop, Earty SKETCHES. Subject. North-west view of Malmsbury Abbey—View on the River Avon, “from Wallace’s Wall” — View of Cooks Folly ” looking up the Avon, “with Wallace’s Wall and the Hot Wells” - - - ~ - The Mewstone - - - - Tower of St. Mary Redcliffe, Bristol—Tran- sept and Towers of York Cathedral— Tower of Boston, Lincolnshire - - Malmsbury Abbey - - - - Kirkstall Abbey—Holy Island Cathedral - Leeds—Bolton Abbey - Fire (Steam) Engine, Coalbrook Dale—Cop- per-works, Swansea— Fire Engine, Coal- brook Dale—Iron Foundry, Maidley Wood— Fire Engine, Coalbrook Dale—Fire Engine near Glasmount. (So named at the backs) View of the Interior of the Savoy Chapel - View of Tivoli af Study of Shipping Si - - Portico of St. Peter’s, Rome - - - Study of a Cottage - = - - A Cottage Roof - - - - Carisbrook Castle - - Be “ An Interior - 4 : - Seven Sketches—Crossing the Brook, Ivy Bridge, &c. rn = - = Three Studies of Boats - ~ - Do. Do. - - Seven Studies of a Shipwreck—Sketch of a Boat - - - Two Coast Scenes ~ - Sketch for Picture of Ivy Bridge, Devon— Study of a Stream - = Method. In Water Colour. Do. Pencil Outline. Do. Do. Do. Pen and Ink. Light and Shade. Do. Water Colour. Do. Do. Do. Pencil and body colour. Water Colour. Body colour on brown and on blue. Pen and Ink. Do. Ps Bane A aks? Se ee Ear one subject is given for a frame, The numbers are the numbers of the Frames only, and when more than the sketches are named from left to right. 204 ~ Seconp PERIOD, FROM ABOUT 1802. No Subject. Method. 22 | Two Studies of Fir and Willow - «=| Pencil on brown. Pencil and Chalk on *23 | Study near Grenoble - - = brew, 24 | The Lake of Brientz—Vevay - Do. 25 | Convent of the Great St. Bersandcaned Town of Aosta - - - Do. 26 | Roman Gate, A beta Anethor View of the same - - - - - Do. Pencil and Chalk on 27 | Castle of Aosta, two Views - - - brown, and Water Colour. 28 | Glaciers, Grindelwald—Fallen Trees oe Chalk on 29 | The Ascent to Cons yene ae of the Isere - Do. 30 | The Road from Vardess to Grenchlosedient Blanc from Fort St. Louis Do. 31 | TheAlps looking towiirds GrendblelieGeenpbil , with Mont Blane - - - Do. 32 | Two Views of Grenoble - Do. 83 | Doric Pillars—Study of Light andl Shade - | Water Colours. *34 | Study ofa Mountain Stream - = - | Oil Colours. 35 | Edinburgh from Calton Hill - - (2parie in Water 86 | Building, with Cattle - - - | Body colour on blue. 37 | Funeral of Sir Thomas Baikichihe, - - | Water Colour. 88 | Contamines, Savoy - - - - | Body colour on brown. *39 | Source of the Arveron . - - - - | Chalk on brown. 40 | Valley of Chamouni - - | Do. and body colour. 41 | Battle of Fort Rock, Val a’ Aosta, 1796 ex- | f{ Drawing in Water hibited in 1815* - - - Colour.. 42 Ivy Bridge, Devon - - - ee in Water *43 | Two Studies of a Figure, for Waite of Dela Chalk on blue. 44 | Folkestone, from the Sea - | Water Colour. 45 | Stndy ofa Cutter - - - - - | Chalk on blue. » 46 | Study of a Pilot Boat - ~ - - | Pen and Ink on blue, *47 | Two Marine Sketches - - . - | Penand Chalk on blue. *48 Do. Do. - - ~ « Do. 49 | Study of an Arm Chair - . - | Oil Colours. *50 | Four Studies of Dock Leaves : - | Pen and Ink. Me iy ; | Pen and Ink on white *5 1 Do. Plants ait tae 52 | Study of Sheep - - - - - | Pencil. ‘ + a Body colour on brown 53 | Study of Pigs and of Donkeys ind. on ee: * It was in this fort that Count Cavour finished his military career in 1831 ; he resigned his commission as an officer of engineers out of sheer ennui, Dela Rive, Reminiscences, $c. of Count Cavour, 1862, p. 34. 205 No. , Subject. Method. Srna eg earache *54 | Study of Dutch Hardware, &c. - «|{Pen and Pencil { Outlines, 55 | Views in Rouen—Norman Caps - Pencil. *56 | Studies’on the Seine—Sketches from Claude Do. *57 | Studies of a Skeleton - - - Chalk on brown. 58 | Dead Ducks i - - - - | Colour and Chalk. 59 | Study of a Teal flying - - - - | Water Colour. Nine Views of Rome, 1819. Sketches in body colour. 102-110. 1. Rome from Monte Mario. . Rome from the Barberini Villa. , Bridge and Castle of Sant’ Angelo from St. Peter’s. . The Colosseum. . The Basilica of Constantine. . The Arches of Constantine and Titus. The Church and Convent of the Quattro Coronati. . The Nympheum of Alexander Severus. 9, The Claudian Aqueduct. COMI oP oo bo THIRD PERIOD FROM ABOUT 1820. No. Subject Method- 60 | Two Landscapes - - - - - | Pencil Outlines. 61 Do. Do. - - - - Do. 62 Do. Do. - - ° - Do. *63 | Landscape ; Moonlight - > - - | Water Colour. 64 | A Stormy Sky - ~ - - - Do. 65 | Three Marine Sketches > - - - Do. 66 Do. Do. - - » - | Body colour on blue. oa: : «67 | Dover 9 4 i F a ’ , mas in Water *68 | North Shields = - - - Do. *69 | Rochester = - - - Do. *70 | Four Be ater” Rivers of France - - | Body colour on blue. *71 | Four Sketches—Calais - - - | Pen and Ink on blue. *72 | Evreux Market ee poner cee Two Sketches of Vernon - Do. *73 | Marly, near St. Germain, iieiciop zi the River—Castle of the Fair Gabrielle—and near St. Germain, looking down the River | Pen and Ink *74 | Four Studies— Ambleteuse? Tepe ar Rouen - Do. *75 | Three Sketches of Hoonis at Petworth - | Body colour on blue. *76 | Four Sunset Studies at Petworth - ns Do. *77 | Four Sketches—Rivers of France ~~ 3 Do. *78& Do. Do. ~ = Do. 206 2 Rahs Se en Eh RR No. Subject. a Method. =” 4 . ee! x me May *79 | Four Sketches—Rivers of France - __- | Body Colour on blue. ~ *80 Do. Or ene Oe - - ae ee . *8] Do. Do - - - - Do. i BS *82 Do. Do - - - Do. oe" *83 Do. Do - - ~ Do. *84 Do. Do. - - - De) + DEW! 2 *85 Do. Do. ” Do. FST *g6 | Theatre at Dijon—Room af Petworth, &e. - Do. *87 | Two Studies for Vignettes, ogee. s Colesebus | Water Colour. 88 | Two Vignettes - - Do. 89 Do. - ~ - To Do. *90 | Studies of Swiss Costume ~ | Do. . *91 | French Dance in Gabots+—Fishetniemlh on this A) fee opbredl of look out Body colour on blue. 92 Villensuve-—Gallery on the Spliigen—Vevay Pencil on brown. 93 | Fortress—Lausanne, Sunset - ‘| Water Colour. 94 | Moselle Bridge, Cobhintsy ese over the | . Rhine, Coblentz - Do. 95 | Two Views on Lake Lucerne - - Do. © 96 | The Lake of Annecy - - - | Water Colour. 97 | San Giorgio Maggiore, and Santa Maria | | della Salute, Venice - - Do. 98 | The Riva degli i a and Lagoon, Venice - - Do. 99 | Sunset, Lake LACE LIGHT Tae = Do. Do, 100 | Morning on Lake Lucerne, three Sketches - ADDITIONAL SKETCHES OF VARIOUS STYLES AND PERIODS. . : * , No. Subject. ) s Method. — a . 101 | General View of Rome (1819) - -.+ | Pencil Outline, = = *111 | Studies for the View of “Rome “— the Vatican,” No. 503 - - | Pen and body colour, 112 | Sketches of the East Coast of England. - | Pencil ates Fs 1138 Do. the Rhine and Meuse - . *114 Do. the Lake of Geneva - - De 115 Do. Venice - ‘po Te 116 Do. the Rhine and the Lago “Maggiore Do. 117 Do. Naples 4 | Te Gas 118 Do. from Claude and in iat te ee ea 119 Do. of Dresden — eee: Do. ie > *120 | The Arch of Titus, Rome Pencil on grey. 121 | Studies of Light and’ Shade—Glass Balls - | Water Colour. | ) *122 Do. Swans ° - - r {onto PGs colour t sa ite 4 a » 8 i No. | Subject. A SSS Studies of Poultry * a “ 7 Buckingham Gate, Thames - - - Source of the Arveron iia » - Study of Grenoble - - = - Do. A 2 a _ A Mountain Stream - = = Study of Mastsand Rigging - -~ - Studies of Boats - - J Studies of a Ship on Fire - - - Sunset Studies : é 4 J Sketches —Rivers of France - - Orleans and Nantes - - - Nantes - ‘= s 2 2 & 2 Sketches—Rivers of France - ~ Do. Do. - ts é a Do. Do. a = - x The Loire—The Carrara Mountains - - Vignette of Mullet - ~ - - Do. Mackerel - - ~ A Swiss Fortress— Grenoble - - A Calm—a Breeze - - - Carew Castle—Lancaster Caernarvon Castle—Wells Catheatat Bridges - - Cologne Cathedeal—The Bien - Sketches at and near York - - Do. “ - - The Rhine - - - - Bellinzona ~ ~ = = Fribourg - = - - Do. - - - - Drawings by W. Mulready, R.A., presented by the-Society of Arts :— A. Life Study - Do. - - - - - LS 2h alia = bs = Method. Pen and Pencil. Water Colour. Do. Do. Do. Oil Colour: Water Colour. Pen and Ink on brown and grey. Body colour on brown. Body colour on blue. Do. Pen and body colour on blue and brown. Water Colour. Do. De. Pen and Chalk on blue, Pencil Outline. Do. Body colour on brown. Water Colour. Pencil and red outline, Do. Black and red Chalk on white. Do. Black Chalk on white. 208- NATIONAL GALLERY, BRITISH SCHOOL. | SCULPTURE. In the Hall. Sire Davin WILKIE, R.A. Statue, in marble, Be ira del Joseph. Presented to the National Gallery by an as- sociation of gentlemen in 1844. THETIS AND HER NYMPHS, RISING FROM THE Sua TO CONDOLE WITH ACHILLES ON THE LOSS OF PATROCLUS. Alto relievo in marble, by Thomas Banks, R.A. Presented to the National Gallery in 1845 by the ane Ph | daughter, Mrs. Forster. WititiAM Mureapy, R.A. Bust, in Marble, by Henry Weekes, R.A. Presented by an association of gentlemen i in 1866. BUST OF TOMAS STOTHARD, R. A.,, marble, by Henry Weekes, R.A. Presented by an association of gentlemen in 1868. Bust oF ROBERT VERNON, Esq., by W. Behnes. — Pre- sented to the National Gallery by Her Majesty the Queen, H.R.H. the Prince Consort, and the noblemen and gentle- men whose names are inscribed on the pedestal. ) Bust oF NapoEon I., Bronze. Bequeathed by P. 0. Crespigny, Esq., in 1851. | | Vernon Marbles. 1. HyLAs AND THE WATER Nympus. A group in marble, executed in Rome, by John Gibson, R.A.; b. 1791, d. 1866. 2. Bust oF THE .MARQUIS OF WELLESLEY, Governor- General of India, by John Bacon, R.A., b. 1740, 1. LOG 8. Bust or SIR WALTER Scorn, Bart,, by Sir Francis Chantrey, R.A., b. 1782, d. 1831. 5 ~~ 4 Bust or THE Richt HonouraBLE GEORGE CANNING, after Nollekens, by E. H. Baily, R.A., 6. 1788, d. 1867. 5. Bust oF Sir Isaac Newton, after Roubilliac, by E. H, Baily, R.A. 6. Bust or Dr. SAMUEL JOHNSON, from a cast in the sea of the sculptor, by E. H. Baily, R.A. | . Bust OF THE DUKE OF Warne after Nollekens, by E H. Baily, R.A. [B 328.—1000.—8/78.] [B 505.—1000.—8/78.] ILLUSTRATED CATALOGUE TO THE National Gallery. [Foreign Schools. | WITH NOTES BY HENRY BLACKBURN, _ EDITOR OF ‘‘ ACADEMY NOTES,” AUTHOR OF ‘‘ ARTISTS AND ARABS,” ETC, ETC, _No. 775, P- 53+ Dondon: Seer Ti) AND WINDUS, PICCADILLY. 1878, All Rights reserved. HENRY BLACKBURN’S ART HANDBOOKS, Academy Notes, 1875. WITH FORTY ILLUSTRATIONS. Is. Academy Notes, 1876, WITH ONE HUNDRED AND SEVEN ILLUSTRATIONS, I5, Academy Notes, 1877. WITH ONE HUNDRED AND FORTY-THREE ILLUSTRATIONS, Is, Academy Notes, 1878. WITH ONE HUNDRED AND FIFTY ILLUSTRATIONS, Is, Grosvenor Notes, 1878. WITH SIXTY-EIGHT ILLUSTRATIONS, Is. awa Ieee Pictures at the Paris Exhibition, 1878. WITH EIGHTY ILLUSTRATIONS, Is, —_ Pictures at South Kensington. (The Raphael Cartoons, Sheepshanks Collection, &c.) WiATH SEVENTY ILLUSTRATIONS, Is, The English Pictnressa ce National Gallery. WITH ONE HUNDRED AND FOURTEEN ILLUSTRATIONS, Is, PIAA The Old Masters at the National Gallery. WITH ONE HUNDRED AND TWENTY-EIGHT ILLUSTRATIONS, Is. 62, Other Parts in Preparation. LONDON: CHATTO AND WINDUS, 74 & 75 PICCADILLY. Parts I. and II. of the NATIONAL GALLERY form a complete Catalogue of the Collection, and may be had bound in one vol., price 3s. eer ALC E. 2. For those who, having visited it, desire some memento ; 3. For those who wish to save time and trouble in examining its contents. The titles and descriptions are taken in most part from Official Catalogue, which no student should be without. = onf ae, ye = Te eS = *hyuo syuapnys 07 shopyd, 1 pun shopsinys, uo ‘shvpingogy pun ‘shopsoupen ‘shvpsony, ‘shopuopt uo suf uado at Sarlaztoy OUT ao eo ae —— ——_ Poe SONVYLNA : * aie | eae aS LLnasaael ie tee iy : “4 At a io te %. td Peveceeserese Yj } 3 G if Sees eee eecoesee: v ‘a i Hi 4 H x ; H “y 3 gee es Nes Sia EO Oe eet oar Lor tr e 8 jG Sebi! Gs Se | BR. * a be 4 CA sean ek t pL el cal wercamecor women eewces Raa abun OY ay, Re x ; s “"TIVM HiLYUON Bg BG esa laa Se 2994002 ooL OOL "20% 1332710 37"9S ‘om ‘ystardg ‘gt ‘urtpegy Areg "AL “WOTPeTION Ped “9T OF Pe issn LY “URI[VIT YOTAG “Gl “UL TVIT “FT ‘UerRyy ATIeq “el ‘“Yysrmoy,y pue gong Zt "UID STITT UUAAA “IT ‘URIRyT “OL “qouery *6 “ST. 032° 6 UPON: SORCTIVD) 2264. eS STOOYOS UBSIOIO,7T "8 OL T ‘SON SoNeTTED °° * °° +) «yoomoS USHNE AY3TIVD HLYON eT ‘AEZAQTIIVYD IVNOILVN GHL 40 z ‘ST 9} GI ‘SON ‘SHIUDTIIVD MAN NV1Id IVY¥SANA9D : LIST OF FOREIGN PICTURES L 4 ADDED SINCE THE ENLARGEMENT OF THE NATIONAL GALLERY | 7 IN 1876. GALLERY PAGE ‘¢ An Italian Nobleman.” Moronr . .... . XIV. 79 (Sketched on p. 79-) SOA iteven aay. MORONI -. 5 8 kw ke XIV. 77 (Sketched on p. 77-) “¢ An Italian Ecclesiastic.” MORONI. . - .. .- XIV. 70 (Sketched on p. 70.) ‘"Agitaiam Nobieman. (IL MORETTO . . . «+ . XIV. vy (Sketched on p. 77.) ‘¢ Mary Magdalen.” ESOT hs Ea a ea aa XIV. 72 (Sketched on p. 72.) ‘¢ The Agony in the Garden.” UMBRIAN SCHOOL. . XV. 88 The Adoration of the Magi.” FILIPPINO LSIP PL Go e PARP 81 nemiige OTTicuLit «6 ew ew RIV. SI ‘‘ Portrait of a Knight of Malta.” FRANCIA BIGIo ig XV. 86 ‘¢ Portrait? (Flemish). PAINTER UNKNOWN. . . XII. 89 ‘¢ Vision of St. Helena.” P. VERONESE. . . . . XVIII 93 3 (Sketched on p. 93-) ‘¢ Portrait of a Man.” CATH. VAN HEMESSEN. . . XII 89 945. <‘*A Canon and Patron Saints.” GHERARDT DAVID . XII. 45 (Sketched on p. 45.) . * * The pictures are mentioned in their order on the walls in Octo: 1878; any subsequent alterations in arrangement can be explained by the attendants in the galleries. WEST WALL : § Y 5 165 40 Gy, Vil = 06; yh ca —62 3)——__42— poor 61 sp : 1031 55 58 "4 903 161 68 95 i) DOOR 2 30 GALLERY IX. GY. XVIIs 36 236 798 98 102101 660 14——--498—= DOOR oe 19 GY.% 64 91 Gallery IX.—French School. Claude—N. Poussin—G. Poussin—Champaigne—Clouet—Bourdon—Lancret—Greuze, &c. = ‘ No. 62. “4 Bacchanalian Dance.” WN. Poussin. 3 it.3% 4 ft. 8. . Entering the National Gallery by the staircase on the 7ight hand, and passing through Gallery VIII., we come to the first of the rooms devoted to the foreign schools, containing thirty-five works by French painters; here also will be found the two Turners which the artist desired should be hung side by side with two Claudes. 4 Commencing on the right of the doorway, leading into Gallery Vis _ (see Plan), we find the first of seven works by N. Poussin—one of the early masters of the French school. T his picture (No. 62, sketched 4 above) is considered one of Poussin’s masterpieces ; it was purchased * for 42500. Another similar subject, and also a good example, is No. 42, on the same wall. 8 French School. ‘5. “A Sea-port at Sunset.” Cuaupe LorRAINE. A composition with Italian architecture ; ships lying at anchor. 3 ft. 3 in. x4 ft. 3 in.” Painted in 1644. Purchased in 1824. There are ten works by Claude in this gallery ; the best are on the opposite wall. The central picture is a large sombre landscape, by Gaspai Poussin, brother-in-law and pupil of N. Poussin. No. 31. Be: 3 in. X 6 ft. 6 in. 31. “ Landscape with Figures,” representing Abraham and Isaac going to sacrifice. GASPAR PoUuSsSIN. Purchased in 1824. There are six landscapes in this gallery by Dughet (called G, Poussin), of which the above is perhaps the best. The three remaining works on this wall are by N. Poussin— 165. “ The Plague among the Philistines at Ashdod.” 4 ft. 3 in. X6 ft. 8 in. Presented in 1838. 40. “Landscape with Figures ; Phocion.” 2 ft. 6 in. x3 ft. 7 in. Presented in 1826. 42. “ A Bacchanalian Festival” ; landscape with a group of Fauns, _Nymphs, and Bacchantes. 4 ft 8 in. X33 ft-sin; , Purchased in 1826, [| Door.] } 4 7% c * The dimensions of pictures are given ‘‘sight size,” not reckoning the canvas under frame. The height is stated first in all cases. J _— c ; Y : * wy Gallery LX. 9 i. - On the right of the doorway are three small examples of CLAUDE _ presented by Sir George Beaumont, the first two especially noticeable. ~61. “Landscape with Figures,” sup- posed to represent the Annuncia- tion, or the angel appearing to Hagar. 55. “Landscape with Figures,” re- ag the death of Procris. Pies tn. <1) ft. 7 in. 58. “Landscape with Goatherd and : Goats.” t ff. 82 in. X1 ft. 4 in. Next are two finely composed land- scapes by GasPAR PoussIN— 161. “An TLtahan Landscape”— q mountain scenery. a xt | atts itl. X5 1 eel tea No. 6r. Craupe. 1ft.8X rft.s. Bequeathed by Lord Farnborough. | 68. “A Woody Landscape—LEvening”; a view near Albano. t ft. 7 in. x2 ft. 2 in. Bequeathed by Rev. W. H. Carr. | Door.] On the right of the doorway is a well-known Claude— 6. “Landscape with Figures” ; supposed to represent David at the cave of Adullam. CraupE LorraINE. 3 ft. 9 in. x6 ft. 23 in. This picture was painted in 1658, and was, up to the time of the French Revolution, in the Chigi Palace at Rome. E Bequeathed by Rev. W. H. Carr. 2 98. “ View of La Ricca.” G. Poussin. 1 ft. 7 in. x2 ft. 2 in. ; Bequeathed by Rev. W. H. Carr. FE 91. “ Venus sleeping, surprised by Satyrs.” N. Poussin. 2 ft. 2in.x1x ft. 8in. Bequeathed by Rev. W. H. Carr. +39. “ The Nursing of Bacchus.” N. Poussin. 2 ft. 63 in. x3 ft. 1 in. Landscape with Nymphs and Fauns tending the infant Bacchus. Bequeathed by G. J. Cholmondeley. The next four pictures are the two Claudes and two Turners hung ; together for comparison ; they occupy the principal portion of the east ine) French School. wall. ‘The first is scarcely an adequate representation of the colouring of Claude. The Turners are two of his best works, No. 12. re tz in. X 6 ft. 7 in. 12. “ Landscape with Figures”; representing the marriage festival of Isaac and Rebecca. CLAUDE LORRAINE. Purchased in 1824 No. 479. 4 ft. 4in. X § ft. ro in. 479. “The Sun rising in a Mist.” J. M. W. Turner. Fishing-boats arriving and unloading, fishermen selling fish; a guardship in the distance. Bequeathed by the artist. [Door. | 4 Gallery LX. II No. 498. sft.$in. X 7 ft. 54 in. 498. “ Dido building Carthage.” J. M. W. TURNER. Bequeathed by the artist. 14. “A Sea-port”; the embarkation of the Queen of Sheba on the occasion of the visit of Solomon. CLAUDE LORRAINE. 4 ft. 11 in.X6 ft. 7 in. Purchased in 1824. This fine picture, painted in 1648 for the Duke de Bouillon, is known as the “ Bouillon Claude”; it is somewhat similar in composition to No. 30, sketched on p. 12. The remaining two pictures on this wall, hung above (bequeathed by Sir G. Beaumont), are a dark rocky landscape by Bourdon and another Claude, viz. :— 64, “ Zhe Return of the Ark from Captivity.” SEBASTIEN BOURDON. | 3 ft. 5 in. x4 ft. 5 in. The only work by Bourdon, one of the twelve anciens of the Academy of Painting in Rome in 1648; this picture was formerly in the possession of Sir Joshua Reynolds. 19. “Landscape with Figures”; representing the story of Narcissus and Echo. CLAUDE LORRAINE. 3 ft. 1,in. x3 ft. 11 in. 660. “A Man's Portrait,’ in the costume of the sixteenth century. FRANCOIS CLOUET. 12 in.X9 in. Painted on panel; dated 1543. 12 French School. a Turning to the south wall, there are (in opposite corners) four — interesting works, representing the “Four Ages of Man,” by Nicolas q Lancret, a painter in the style of Watteau. Lancret was a member of _ the French Academy in 1719, and notable as a painter of fetes galantes. ; | 101. “Infancy”; 102. “Youth”; 103. “ Manhood”; 104, « Age.” LancreT. Each 1 ft, rin. x1 ft. 52 in, | Bequeathed by Lieut.-Colonel Ollney. 798. “ Three Portraits of Cardinal Richelieu”; in red cap and robe. PHILIPPE DE CHAMPAIGNE, 1 ft. 11 in.X 2 ft. 4% in, The only example of this artist, a celebrated portrait painter in the ) time of Louis XIV. Presented by Mr. A. W. Franks, — 36. “A Landstorm” ; mountain scenery. G, Poussin. 4 ft. rr in. x 6 ft. Purchased in 1824. 236. “ Castle of Sant’ Angelo, Rome.” C. J. VERNET. 2 View of Sent’ Angelo, with a féte on the Tiber, representing tilting’ in boats and other festivities ; numerous small figures. Vernet was a celebrated marine painter of the last century ; his best works are in the Louvre. 3 ft. 3in. x 4ft. 74in. Presented by Lady Simpkinson in 1853. The central picture on this wall is a Claude, considered by many to be his best work— ie a a i Hat Sy: = ye ee ees = = == ES OE an ; 3 ft. 8 in, X 4 ft. rx in, 4 30. “ Seaport, with the Embarkation of St. Ursula” CuAUDdE. ! ‘“‘The water in this picture is a small basin or harbour; on the left side isa perspective view of a rich pile of architecture, on the right are the ships about to conduct St. Ursula and her followers on her pilgrimage.” ie Tiel SireNG Ae pa IES ME eI een hy R oe Gallery IX. ° 13 Here, as in No. 14, the picture is remarkable for atmospheric beauty ; we see the trees sway in the wind, and the light waves sparkle in the morning sun. ' Painted in 1646. Purchased in 1824. 2. “ Pastoral Landscape with Figures.” CLAUDE. 2 ft. 4 in. X 4 ft. 5 in. Painted 1645. Purchased in 1824. [The remaining example of Claude is a classical landscape, No. 1018, on the south wall of Gallery XI. (p. 36).] 65. “ Cephalus and Aurora.” N. Poussin. 3 ft. 2 in. xX 4 ft. 3 in. Bequeathed by G. J. Cholmondeley. 95. “ Landscape, with Dido and Aneas taking shelter from the storm.” G. Poussin. 4 ft. 10 in. xX 7 ft. 4 in. A good example of the painter ; the subject is from the fourth book of Virgil. Bequeathed by Rev. W. H. Carr. 903. “ Portrait of Cardinal Fleury”; in his robes, with a small red skull-cap on his head. HyaciNTHE RiGAuD. Siti Sine 2 fee ik Rigaud painted a number of portraits in the time of Louis XIV. ; three of his works are in the Dulwich Gallery, and several in the Louvre. 103, 104. Lancrer. See p. 12. The last of the thirty-five pictures in this gallery, which very im- perfectly represent the old French school, is No. 206, “ Zhe Head of a Girl,” JEAN BapTIsTE GREUZE ; one of three examples of this painter, best known in England by his charming heads of children (see p. 32). There are much more important works by Greuze to be seen in the Louvre ; such as “ Zhe Village Betrothal,” &c. Yyjyg Z YZ LA) ae iy a at rit. 3 in. ‘WEST’ WALL GY.Ix 28 82 70 tal 643 200 644 II 94 198 11 GALLERY X. s 268 174 811 3 25 21 19121 9 271 642 214172 246 ba “138 88 160 Gallery X.—Italian School. Bronzino— Canaletto—Caravaggio—Caracci—Correggio—Domenichino—Garofalo—Guercino=+ Guido—Giulio Romano—Sassoferrato—Salvator Rosa—Paolo Veronese. There are fifty pictures in Gallery X., consisting principally of works of the Venetian, Tuscan, and Bolognese schools of the sixteenth and seventeenth centuries. Commencing on the right of the door leading into Gallery IX. (see Flan), the first Pe is—- 28. ‘Susannah and the Heder Lopovico CaRACccl. The only example of L. Caracci, the founder of a school of painting in Bologna in the sixteenth century ; his principal works are in the Bo- lognese gallery. Below are four small pictures, crowded with figures, which should be examined together— 643. “The Capture of Carthagena”; and “ Zhe Continence of Publius Cornelius Scipio.” | 4 ft. 8 in, ie. 7 in. 644. “ The Abduction of the Sabine Women”; and “ The Reconciliation between the Romans and the Sabines.” Gt1uLio Pippt RoMANO. Giulio Pippi, called. Romano, was one of Raphael’s pupils; the above are designs for larger works. So poets . = = Gallery X. 15 900. ‘‘ Zhe Madonna in Prayer.” SASSOFERRATO. The other work by this artist is on the south side of this gallery, p. 23. The Madonna is in bright blue robe, with warmer tones in the painting than appear in the sketch. Bequeathed by Mr. R. Simmons, 1846. 82. “The Holy Family” ; with St. Francis adoring the infant Christ ; behind are Elizabeth and St. John. Lopovico MAZZOLINI DAFERRARA. 2 ft. in. X1 ft. 63 in. aan Bequeathed by Rev. W. H. Carr. Nac 486: 70. “ Cornelia and her Children” ; four figures ; life-size. PADOVANINO. | 4 ft. 8in.x4 ft. Bequeathed by Lieut.-Colonel Ollney. The other work by Alessandro Varotari (called Padovanino), who excelled in the painting of children, is “Boy with a Bird,” on the north wall of Gallery XI. (p. 30). Next are four, of the eight, works (all in this gallery) by ANNIBALE Caraccl, the ablest of the Caracci family. Nos. 93 and 94, which are highly esteemed, used to hang in the Lancetti Palace at Rome, and are supposed to have been originally painted to decorate a harpsichord. (63. “ Landscape with Figures.” 3 ft. 5 in.X4 ft. 5 in. : Bequeathed by Rev. W. H. Carr. SS ca Nig RS 7 a os; 3 — \ OSes ANN OMe) iN ise of gold-leaf. Bequeathed by Rev. W. H. Carr. 16 Italian School 94. “ Pan teaching Apollo to play upon the Pipes.” A. CaRaccl 1 ft. 2 in.X2 ft. 8in. Purchased in 1824 198. “ The Temptation of St. Anthony in the Desert.” 1 ft. 74 in. X1 ft. 14 in, Purchased in 1846 ‘ No. 22. r ft. 2bin. X x ft. 54 in. 92. “The Dead Christ.” GUERCINO. The only example of Giovanni Francesco Barbieri, *‘ one of the mos esteemed of the second-rate Italian masters,” commonly called Guercino a work of great beauty, often engraved and imitated. | Bequeathed by Rev. W. H. Carr Above is the first of seven Guidos, all in this gallery— ll. “St. Jerome kneeling before a Crucifix”; large half-length figure Guipo RENI. 3 ft. 103 in. X3 ft. Requested by Rev. W. H. Carr. 811. “ Forest Scene, with Tobias and the Angel.” SatvaToR Rosa. 7 ft. 9 in. X 11 ft. 2 in, A wild, rocky landscape, not well seen in its present position, No. 84, on the east wall (sketched on p. 20), is the best of his three landscapes. The third example of this painter is in Gallery XI. (p. 34). In the centre, on the line, is the only work by a Roman artist, a pupil of Andrea Sacchi, and painter to the papal court in the seventeenth century. . ee 4 174. “ Portrait of a Cardinal.” CARLO MARATTA. 3 ft. 11 in. X3 ft. 2 in, Presented by Mr. H. G. Koight BE a. — 7 Gallery X. 17 ceo e _ Oneither side of the foregoing are two of the numerous views of Venice by CANaLetto, whose paintings were remarkable in their day for accuracy of detail ; he made frequent use of the camera lucida. MA ul : No. 127. ee x5 “ft 4 in. 127. ‘4 View in Venice.” CANALETTO, The Scuola della Carita, now the Academy of Arts, is seen near the tower beyond the Grand Canal. Presented by Sir G. Beaumont. 163. ‘4 View on the Grand Canal”; with the church of San Simeone Piccolo. 4 ft. 1 in. x6 ft.8%in. Bequeathed by Lord Farnborough. _ The remainder of Canaletto’s works are in the adjoining Gallery XI. ; the best is No. 937 (p. 29). In the right-hand corner is a sketch by one of Canaletto’s pupils and imitators— 210. “View of the Piazza of St. Mark, Venice.” FRANCESCO GUARDI. a 3 2 ft. 4in.X 3ft.112 in. Bequeathed by Mr. R. Simmons. 25. “St John in the Wilderness.” ANNIBALE CARACCI. 4 pee i x sit, Fin. PP rchased, iiioo4, 56. “ Landscape with Figures”; in boats on a lake. ANNIBALE Ca- RACCI. 3 ft. 12 in. X 4 ft. 42 mm. Bequeathed by Rev. W. H. Carr. 160. “ Zhe Repose.” P.¥F. Mora. A landscape with small figures, representing the flight into Egypt. 1 ft.x 1 ft. 6 in. q Bequeathed by Lord Farnborough. _ The other work by Mola, a landscape, No. 69, is on the south wall. : G pe = 18 | Italian School. Next on the line is— 642. “ Christs Agony in the Garden,’ GAROFALO. 1 ft. 9 in. X 1 ft. 2 in Purchased in 1860. There are four works by Benvenutc Tisio (called Garofalo) : one in Gallery XIV. and two in the Octagon Hal (see pp. 68 and 91). 271. “ Ecce Homo.” Guipdo. This picture was formerly in th possession of Sir Benjamin West. Bequeathed by Mr. Samuel Rogers 9. ‘ Christ appearing to Simon Pete after His Resurrection.” ANNIBAL CaARACCI. This little picture is considered— ‘‘remarkable as an example of the school « the Caracci, which aimed at a union of th _perfections of other schools—the grandeur ¢ the Florentine, the grace of the Roma school, the colour of Titian, and the chiar scuro of Correggio.” Purchased in 182( Above is a large painting, attr buted to ANNIBALE CARACCI— 88. “ Erminia taking Refuge wii the Shepherds.” = | From the story of Erminia | RR i oe ae gin. ‘Lasso’s ‘Jerusalem Delivered.’ 4 ft. roin. x 7 ft. Purchased in 182 ‘¢ The picture represents that part of the story when Erminia (startled from t first repose which she had taken after her flight, by the sound of pastoral mus discovers an old shepherd busy making baskets whilst tending his flock, and listent to the music of three children.” ae ‘©The children,” says Mrs. Jameson, ‘‘are divinely painted. Nothing ¢ exceed their expression of genuine infantine surprise, as Erminia throws off 1 39)? glittering helmet, and displays her gentle eyes and golden hair.”. This picture was formerly attributed to Domenichino. Gallery X. 19 21. “Portrait of a Lady.” Cristo. Bw Zz GUM . BA PIGEE yyy FANO ALLORI. ; GJ Wr //) WSN J gas 0/7 A Florentine lady of rank in white bodice, red sleeves, and head-dress tichly ornamented with gold. The only work by Allori, who was a dis- tinguished Florentine artist in the sixteenth century; he painted the celebrated ‘“ Judith with the Head of Fiolofernes,”’ in the Pitti Palace at Florence. Bequeathed by Rev. W. H. Carr. 191. “ Christ and St. John.” Gutpo. The youthful Christ embracing St. John ; two heads. 1 ft. 7 in.x 2ft.3 in. Purchased in 1844. 138. “ Ancient Ruins with Figures.” G.P. Pannini. A composition ; the pyramid of Cestius in the middle ground. 1 ft. 74 in. x2 ft. x in. Bequeathed by Lieut.-Colonel Ollney. | Door. | 246. “ Madonna and Child.” GIROLAMO DEL PAccHtia (PACHIAROTTO). 2 ft. 5 in.x 2ft. Purchased in 1854. The only example of this painter; whose best known work is a fresco in the church of Santa Catarina at Sienna, his native place. 76. ““ Christ's Agony in the Garden.” CORREGGIO. ig 1 ft. 2in.x 1 ft. 4 in. Purchased in 1824. _ This small picture is a copy of the original in the possession of the Duke of Wellington, which was said to have been painted by Correggio for an apothecary, to whom he was indebted, for four scudi. There are four examples of Correggio in the National Gallery; the best is No. 23, in Gallery XV. (sketched on p, 85); his greatest works are to be seen in Parma, his native place. - _ Next is a large sombre canvas with clusters of overhanging trees, illustrating Asop’s fable of Mercury and the Woodman. 6 (Sketched on next page.) ; C2 20 Ltahian School. No. 84. 4 ft. rf in. X 6 ft. 7 in. 84. “ Mercury and the Dishonest Woodman.” SALVATOR Rosa. ‘ Purchased in 1837 for £168 172. “Christ and the Two Disciples at Emmaus,” M. DA CARAVAGGI 4 ft. 7 in. x6 ft. 54 in. Presented by Lord Verno1 ‘A composition of four half-length figures. Christ, breaking bread, is seat between two of His disciples at a table, on which is spread an Italian meal ; the four’ figure, behind, is the cook, or host.” This picture (the only one we possess by Caravaggio) is considere one of his best. 214. “The Coronation of the Virgin”; the Virgin, attended by cher bim, borne upwards by angels. A composition full of figures; a early work of the painter. Gurpo. 2 ft. 13 in. x1 ft. 63 in. Bequeathed by Mr. W. Well 85. “St Jerome and the Angel.” DOMENICHINO. t ft. 8in.xX1r ft. 35 in. Bequeathed by Rev. W. H. Car ‘‘ The saint is represented seated in a cave, occupied in the study of his books ar manuscripts, his attendant lion crouching at his feet. The apparition of the ang seems to imply the special mission of St. Jerome as the interpreter of the Scriptures There are four works by Domenichino (one of the Caracci school all in this room; of which the above is considered the best. In this corner of the gallery are two very characteristic examples ¢ Gutpvo ; the one on the line being a repetition of a Magdalen in th Louvre. ; 4 -s Gallery X. 21 177.“ The Magdalen.” Fralf-length, life-size. Gumbo. 2 ft. 7 in. x2 ft. 3 in. Purchased in 1840 for £41680. 3 ft. of in. X 4 ft. of in. 193. ‘Lot and his Daughters.” Gutpdo. On either side of No. 177 are two miniature paintings, the first (No. 645) a good example of Mariorro ALBERTINELLI, friend and assistant of Fra Bartolomeo, a Florentine painter of the fifteenth century. 645. “ The Virgin and Child.” 6 in. X4 in. Purchased in 1860. 704. “ Portrait of Cosmo I., Duke of Tuscany.” ANGELO BRONZINO. 82 in.X 64 in. Presented by the Queen. Bronzino was a pupil of Andrea del Sarto. More im- portant works by both these artists will be found together in the south-west corner of Gallery XIV. 29. “4 Holy Family.” FEDE- RIGO BAROCCI. Bequeathed by Rev. W. H. Carr. _ This picture is known as “ Za Madonna del Gatto,’ from the ‘circumstance of a cat being in- jp INN ae 5 la t= —al “Gf : i he composition. i — GES PRN troduced Vasa the composition. Za | LAGER ‘The only work by this artist. No. 20. - 3 ft. gin. X 3 ft. ES a 4 2,2 Ltalian School. . a 75. “Landscape with Figures,’ representing the story of St. George and the Dragon. DOoOMENICHINO. | a I ft. 84 in. x 2 ft. 1 in. Bequeathed by Rev. W. H. Carr, The greater part of the south wall is occupied by a large work b Paolo Veronese— 268. “ The Adoration of the Magi.” PAOLO VERONESE. 11 ft. 7 in.X 10 ft. 7 in. Painted in 16474 Purchased in 1855 for £1977 ** This picture, painted in 1573, presents a ruined building of Roman architecture, with pillars, a portion of which is roofed with thatch, and has served as a stable. Ot the right is the Virgin seated, holding in her arms the Infant, who is receiving tht adoration of the three Wise Men. The retinue of the Magi are behind, some bearing presents. Composition of sixteen figures, life-size.” There is another painting by Veronese (No. 97) near the west doo: of this gallery. Three examples of Paul Veronese are sketched or PP. 72, 75, and 93. Next is a good portrait by a painter of the school of Veronese. 173. “ Portrait of a Gentleman.” JAcoro BASSANO. 3 ft. 9 in. X2 ft. 10 in. Presented by Mr. H. G. Knight And, on the west wall, a large work, also attributed to Bassano— | j 5ft.3in. X8ft.gin. 228. “ Christ driving the Moneychangers out of the Temple.” : Presented by Mr. P. L. Hinds, The best picture by this artist is “ Zhe Good Samaritan” (No. srs on the east wall of Gallery XV. (sketched on p. 88). Gallery X. 23 ee a Above No. 173 is— 69. “St. John preaching in the Wilderness”; five figures. P. F, Mota. t f.82 in. X 2 fio 10, 196. “Susannah and the Elders.” Gurvo. 3 ft. 10 in. X 4 ft. 114 in. Three halflength figures, life-size. Painted as a companion picture to No. 193, on the same wall (sketched on p. 21). There are several repetitions of these two pictures. 48. “Landscape with Figures” ; representing the story of T obias and the angel. DomeNIcHINo. 1 ft. 84 in. x 2 ft. 1 in. Bequeathed by Rev. W. H. Carr. 740. “ The Madonna with the Infan. Christ” ; \andscape background. SASSOFERRATO. 3 ft. 2 in.X 2 ft. 5 in. Purchased in 1864. Next is a small subject, with four figures, by a pupil of Andrea del Sarto— 652. “Charity.” Francesco Ross, called SALVIATI. g# in. X 7 in. Purchased in 1860. Above Bassano’s “ Christ and the Moneychangers,” and hung rather out of sight, is the only work by Ercole Grandi— 73. “Zhe Conversion of St. Paul.” ERCOLE DA FERRARA. r ft. rr in.X2 ft. 3in. Bequeathed by Rev. W. H. Carr. ‘¢ A confused group of men and horses, with the Saviour in the clouds, and a view of Jerusalem in the background.” 77. “ The Stoning of St. Stephen.” Seven small figures. DOMENICHINO. 2 ft. 1 in.X1 ft. 7 in. Bequeathed by Rev. W. H. Carr. The last picture in this gallery is— 97. “The Rape of Europa.” PaoLo VERONESE. 1 ft. 11 in, X2 ft. 3 in. A study for the large picture in the Imperial Gallery at Vienna. [The other works by Italian masters will be found in Galleries XIII, XIV., XV., XVII. and in the Octagon Hall. The earliest are in Gallery XVII. ; the best are in Gallery XV.] 98 NORTH WALL GY.XI) 934 974 10138 938 lar ae DOOR \998-084-99 spr git ab 966 963 950 987 920 944 1019 : GALLERY XI. -- 992 961 935 983 % 1020 mada | 959 on 951 986 DOOR , GY.X 9 1 : 7 969 980 ae yee ob ate 1—1013—991_1014--985-997--977 96 err 1 962 986 939 10021010 1001 in? 1018 948 949 Gallery XI.—The Wynn Ellis Gift. Norm ery Re Mabuse—Van de Cappelle—Both—Metsu—Memling—Quintin 2 ms Oe —Vandevelde—Van der Heyde—Hobbema—Paul Potter—Wynants—Berchem—Van Ostad Bakhuizen—P. Veronese—Canaletto—Sir Peter Lely, &c. The Wynn Ellis Collection (bequeathed to the National Gallery if 1876) consists principally of pictures by the Dutch and Flemi painters, and should be examined in connection with the adjoining Gallery XII. ; also with Gallery XVI., known as “ The Peel Collection,” the latter containing the choicest examples of the Dutch masters. | There are ninety-four pictures in Gallery XI, varying greatly in quality and interest, and not arranged according to any particular school. Commencing on the right of the door leading to Gallery X., the first picture is a river scene by a distinguished Dutch painter; the composition is indicated in the sketch on next page. 978. ‘“ Dutch Vessels saluting.” W. VANDEVELDE. There are thirteen examples of W. Vandevelde: four in this gallery, two in Gallery XII., and seven in Gallery XVI. Two of the best are Nos. 149 and 150, in Gallery XII. (p. 49). | Gallery XJ. 25 dye) lives 956. “Rocky Italian Landscape”; with goatherds and muleteers. : J. Boru. 3 ft. 9in.x5 ft. 3 in. : Of the six works by this eminent Dutch landscape painter, four are in this gallery and two in Gallery XII. Two of the most important are Nos. 957 and 71 (pp. 32 and 41). Next is a rich cabinet picture, excellent in quality and colour, by a brother of W. Vandevelde, the marine painter. No. 983. wita Mer it) 2210. 983. “A Bay FAoorse.” A. VANDEYELDE. There are two other works by this artist in this gallery, and three in Gallery XVI. = oa “ oe LE he A NAF NNN NN Aa: Bn Meme He: Pain NEE ANN morte peersice Ape Laie ee Sees < z Gallery XVI., Nos. 838 and 839 (pp. 103 and 96). 26 Lhe Wynn Ellis Gif. The central picture on this wall is one of the many versions of “ The Moneychangers,” by Quintin Matsys, a famous Netherlands painter of the sixteenth century, whose principal works are at Antwerp. 3 No. 944. 2 ft. rrf in. X 2 ft. 44 in. ‘ 944. “ The Moneychangers.’ QuINTIN Matsys. ; The sketch will sufficiently indicate the forcible delineation of character, and powerful effect, of this picture (a repetition with altera- tions of one at Windsor Castle) ; every detail of costume is elaborately studied ; the claret-coloured robe trimmed with fur, the scarlet head- dress of the merchant, &c., are as brilliant as if painted yesterday. Another work, attributed to this artist, is at the north end of Gallery XII. (p. 47). Above is a large landscape with figures— 930. “ The Garden of Love.” Tue ScHoot or GiorcIonE, . 7 ft. 3 in. x4 ft 12 in, 970. “The Drowsy Landlady.” GaBrieL Metsu. 1 ft. 22 in. x1 ft. Zin, : “‘A woman in a scarlet gown and white apron is sleeping in a chair, with a clay pipe in her hand. Two men in the background, one endeavouring to wake her by tickling her neck with his pipe ; a spaniel in front watching her,” The two best examples of this celebrated painter of genre are in Ta Gallery XI. 27 ree 966. “River Scene”; shipping, with a barge and vessels saluting. VAN DE CAPPELLE. 3 ft. 4 in.X5 ft. A good example of this Dutch marine painter. There are four of his works in this gallery, and one in Gallery XVI.; one of the best, No. 964, is sketched on p. 34. 1004. “Jtalian Landscape”; tilly country, muleteers resting with their animals. BERCHEM. 3 ft. 7 in. x4 ft. 1 in. ee Three of his landscapes are in this gallery, one in Gallery XII. and one in Gallery XVI. 953. “ Zhe Toper.” TENIERS (the younger). A man in blue jacket and red cap, with YY yy mug and glass in hand ; cottage in the back- Y ground. ‘This miniature picture is the first of fifteen works by the younger T eniers ; they @ i | are all in this gallery, or. in Galleries XII. and _ La Li XVI. (See Index.) — — No. 953. 6¢ in. X 4% in. The next picture, No. 943 (sketched below), is a small portrait by one of the most distinguished of the early Flemish painters; a work remarkable for earnestness, delicacy, and finish. This picture, supposed to be the only A \ N Z NY portrait in existence of Memling, was EN I Lp WY formerly in the possession of Samuel [-" aN \\: Li, Rogers. The costume is that of the \”. x \ . “iy Hospital of St. John at Bruges. ZZ \ \ : ay YUN ey Memling’s three other works are at the — ey tl )E MY YY north end of Gallery XII. (pp. 45 and 46). Yo \: Nr VEG -=IN NE MY a By 955. “A Ruin ; Women bathing.” CORNELIUS POELENBURG. A composition with many figures ; the only work by this artist, a painter of Utrecht ; his time was much occupied in painting the figures on other artists’ land- scapes, a custom of the early Dutch No. 943- x ft. in. X 8 in. : “* Portrait of himself.” painters. Hans MEMLING. 28 The Wynn Ellis Gift. In the centre of this corner is— , | Dead Birds.’ Jan VAN Os. 2 ft. 3in. X 1 ft. 9 in. be eau life,” the only work by this Dutch artist. 946. “A Man's Portrait”; in gown furred with sable. -Masuse. This small portrait (hung as a companion to No. 943) and No. 656, at the north end of Gallery XII. (p. 44), are two good examples of this Flemish painter of the six- teenth century, but more important pictures by him are to be seen in the Louvre. Note the painting of the furred gown in No, 946. 958. “ Outside the Walls of Rome”; on the banks of the Tiber. J. Boru. 1 ft. 44 in.x 1 ft. 93 in 999. “Candlelight”; an officer presenting some jewellery to a lady. G. SCHALCKEN. 6 in. X 72 in, There are four little works by this skilful painter of candle-light effects. (See Index.) Near the door leading to Gallery XII. is the portion of an early Florentine painting in tempera ascribed to Fitippino Lippr— 927. “An Angel adoring”; the head bent downwards, and the hands joined in the attitude an prayer. 1 ft. 9 in. x 99 in. Filippino Lippi’s other works are with the Italian pictures, in Galleries XIII. and XIV. 1015.“ Fruit and Flowers and | An excellent example of “ still . Above the foregoing is a large landscape by a painter unknown, very quaint and realistic in effect (No. 1017, 4 ft. x5 ft. 11 in. )s representing a formal flower-garden, with labourers at work, and a picnic party in the foreground; a strange medley of landscape gardening, a village, a church, and distant trees. [ Door. | 989. “Watermills.” Jacow RuyspaEL, 1 ft. 114 in. Xx 2 ft. 44 in. : f ‘4 4 : q i "Ls ae eee (934. “Virgin and Child.” Carito Dotci. 2 ft62 in. cise Gallery XI. 29 a —— No. ggo. 3 | 3 ft 6} in. X74 ft. g in. 990. “ Landscape,’ with lowering clouds. JACOB RUYSDAEL. There are twelve pictures by this well-known painter of woods and waterfalls. One of his best works is No. 854, in Gallery XVI. (sketched on p. 95): in. wie The only example of this Florentine artist, who has painted numerous, similarly highly finished, works to be seen in foreign galleries. 993. “Landscape,” with a house amongst trees. VAN DER HEYDE. SLin. X tif in. One of four pictures, the rest architectural subjects ; three are in this gallery and one in Gallery mL 984. “Landscape with Cattle.” A. VANDEVELDE. g2 in.’ 119 10, Above the large landscape by Ruysdael is one of two careful land- scapes by PHILIP DE KoNING— 974, “View of the Scheldt” and Antwerp Cathedral. 3 ft. 3 in. X4 ft. rz in. De Koning’s principal works are to be seen in Amsterdam ; his other picture here hangs above the portrait of Dr. Johnson, in Gallery XVI. (p. 102). Next are two Canaletti; the first, on the line (No. 937), is a good example, very interesting in character, and in the costumes of Venice in the seventeenth century. 937. “ The Scuola of San Rocco.” CANALETTO. 4 ft. 10 in. x 6 ft. 63 in. ‘‘The ceremony on Maundy Thursday, when the doge and officers of state, with the fraternity of St. Rock, go in procession to the church of St. Mark. The numerous figures and the frescoes of Tintoretto on the walls of the Scuola are said to be painted by Tiepolo.” 30 Lhe Wynn Ellis Gift. 938. “ Regatta on the Grand Canal.” CANALETTO. a 3 ft. 10 in. x 6 ft. rin, | Above is No. 1013, “Geese and Duchs” (3 ft. toh in. X5 ft. x in.), one of two specimens of the works of HONDECOETER, a distinguished 4 Dutch bird painter in the seventeenth century. His best work is No. — 202, on the east wall of Gallery XII. (p. 53). 995. “Woody Landscape”; cottages amongst trees, a pond in the 4 middle ground, three figures in the foreground. Hoppema, — a 3 ft. 3 in. x 4 ft. 4 in. _ Of the seven landscapes by Meindert Hobbema, the above and No, 685, Gallery XII. (p. 50), and No. 830, in Gallery XVI. (sketched on p. 103), are considered the best. ae 933. “Boy with a Bird.” Papovantno. 1 ft. 2 in. X 1 ft. 7 in. A Venetian painter ; school of Titian. 1003. “ Dead'Birds.” Jan Fyr. The only example of this painter; _ excellent in quality, and interesting to students of still life, 998. “The Duet” G. SCHALCKEN, roF in. x 8 in. 1009. “Zhe Old Grey Hunter” PAUL PoTTeEr. One of two examples of this celebrated animal painter of the Dutch school, whose life-size picture of a bull, at the Hague, is well 2 known. No. 849, in Gallery XVI. (Pp. 103), is the best work, LE Li Fin. X 10} i ————— ft. Above is a small picture—No. 945, “4 Nun” ; St. Agnes adoring ; | the Infant Christ; 1 ft. x in. x 9 in. ; ascribed to JoacHIM DE PATINIR, — an early Flemish painter,.whose two other paintings are at the north _ end of Gallery XII. a a 1008. “4 Stag Hunt” Prever Porrer. 3 ft. 73in.X 4ft 108) The one work by the father of Paul Potter. | Gallery XI. 31 982. “A Forest Scene”; sheep pasturing. A. VANDEVELDE. 11 in. X 1 ft. 6 in. 973. “ Sandbank” ona river; aman fishing. JAN WYNANTS. ro in. X 1 ft. 14 in. There are two other small landscapes by Wynants (a contemporary of Wouwerman and Vandevelde) in this gallery and two in Gallery XVI. (See Index.) The central picture in this corner is an important work by Teniers the younger, a replica of the painting in the possession of the Duke of Bedford. 952. “The Village Fete”; or, “ The Féte aux Chaudrons.” DD. 'TENIERS (the younger). 2 ft. 102 in. X 3 ft. 113 in. ‘¢ A crowd of people, in holiday costumes of two hundred years ago, gathered on a green hillside, waiting to begin a féte ; in front of a building on the left are rows of beer barrels, and cooks with cauldrons of soup, children with toy flags, &c.; the tower of Antwerp Cathedral in the distance.” The composition is characteristic and full of interest; his other works here have less incident, but exhibit finer qualities as a painter of ‘nteriors and of still life—such as No. 805, in Gallery XII. (sketched on p. 38), and No. 862, in Gallery XVI. (p. 96). Above the foregoing is a life-size portrait of “A Man in Black” (1012), 3 ft. 2 in.x2 ft. 7 in., ascribed to Vandyck, but more pro- bably by an English painter, Dobson, one or two of whose portraits may be seen in the National Portrait Gallery at South Kensington. 972. “ Landscape,” with sportsman and dog. JAN WYNANTS. | fr in. X I Haan. 979. “Shipping: a Stiff Breese”; vessels riding out a_ gale. W. VANDEVELDE. 1 ft. 1 in. x 1 ft. 2 in. 1006. “ Landscape with Cattle.” BERCHEM. I fire in’ sett. sean. There are next twelve small pictures on the line, commencing with a little oval portrait, one of three examples of a celebrated Dutch figure painter. 968. “Zhe Painter's Wife”; half-length, in green dress trimmed with white fur. GERARD Dow. (Oval.). 5% in. x42 in. See his two other works, No. 192, in Gallery XII. (p. 52), and No. 825, in Gallery XVI. (sketched on p. IoI). 32 Lhe Wynn Ellis Gift. 976. “A Battle: Cavalry and Infantry.” WovwkRMAn.* r ft..: in. x 24, 2 A very animated picture, excellent in grouping, and a good example of this celebrated painter of horses, hunting and battle scenes, 957. ‘ Cattle and figures by a Pool.” Jam Boru. I ft, 103 in. X 2 ft. 3 in. A good, sunny example of the painter ; the cattle and figures are by his brother, Andrew Both. There is another of his works on this line, 963. “A Frozen River.” Isaac van OSTADE. 1 ft 4 in. X 1 ft. 9 in. See two other excellent pictures by this artist in Gallery XVI. (pp. 96 and roo). A The central position on the line—the place of honour in the early days of the Royal Academy, where Turner’s and Mulready’s last works were exhibited—is occupied by a good specimen of Van der Heyde, and on either side two characteristic heads by Greuze. 992. “Architectural Scene”; Gothic and classic buildings. VAN DER Hevpe. 1 ft. 8 in. xX 2 ft tin Three of his works are in this gallery, and one in Gallery XVI. ; all distinguished for elaborate care and good draughtsmanship. (See “A Street in Cologne,” No. 866, p. 100.) 1019. “Head of a Girl”; in white dress with blue ribbon in her hair. JEAN BAPTISTE GREUZE. 1020. “Girl with an Apple”; resting on a red cushion, JEAN BAPTISTE GREUZE. 959. “ River Scene,” with woody Boru, 1 ft. 34 in. x 1 ft. roz in, 994. “A Street in a Town.” Van TAN rene DER HEYDE. Ie AFP * No. 1020. Grevze. tft.4X1ft. 4. rit. Se In. X 1 ft. 4 in, 971. “ Landscape with Figures.” Jan WYNANTS. 11 in. x 1 ft. 3 in. 947. “A Man's Portrait.” Attributed to HoLBEIN. 1 ft. 3 in. X11 in, aE ERR S * It is considered that a far greater number of pictures are ascribed to this artist than he could possibly have painted ; but some good, authenticated examples will be found in Gallery XVI, (See Index.) ground ; mules on the road. Jan a ae be s = a ; se : i a es Ye ee” ee ee re 1 ft 6-in. x 1 it 3 in, | Gallery XT. 33 969. “ Frost Scene.” A, VAN DER NEER. Io in. X1 ft. 32 in. There are three other examples in Gallery XII. Van der Neer’s paintings are rarely to be met with; the best are at Amsterdam. Above the foregoing are three large works— 950. 951. ae No. 950. 3 ihe Oo Im. OS ft.45) in. “The Conversation.” Davip TENtERs (the elder). “ Playing at Bowls,” in front of an inn, Davip TEnters (the Siena stat, Thin. 6 ft 3 in. These two pictures and No. 949, in the centre of the south wall, are the only examples of the elder Teniers. Between the above is a Cuyp, known as the “ large Dort.” 961. ere Jy ET OO SSS a No. 961. 5 ft. 2in. X 6 ft. 6 in. ‘\ “ Cattle and Figures: Evening.” A. Cuye. 4 34 The Wynn Els Gift. Cuyp, the great Dutch landscape painter of the seventeenth cent is well represented in the National Gallery. There are good specimens | on the south wall of this gallery, two (one a portrait) in Gallery XII. 4 and three in Gallery XVI. (See Zndex.) : foregoing, are, first, a dark waterfall— 987. “Rocky Landscape,” with torrent. J. RUYSDAEL. ait 11d in. x 4 ft. 24 in. 935. “River Scene.” SALVATOR Rosa. 2 ft. ro. in. X3 ft. 10 in. A mountainous landscape, with winding river; not a remarkable example of the painter. 936. “ Zhe Theatre Farnese at Parma.” FERDINANDO BIBIENA. 3 ft. 54 in. x3 ft. 84 ing The pit and stage of a theatre in which Othello is being played, » the audience promenading ; this picture, hung too high for examination, | is the only example of the painter. | | In the south-east corner are some choice pictures, silt ars Nos. 964. and 975, on the line. en ee Le 7 | q : ING. 964. 1 ft. 2tin. X 1 ft. oie 964. “ River Scene”; with sailing-boats. VAN DE CAPPELLE. | A good example of this painter of calm summer sea. ’ ; ey 4 941. “Zhe Grimani Palace”; on the Grand Canal, Venice. CANA LETEOR tit hk ae 3 in. 975. “The Stag Hunt.” WovuwsrMan. 2 ft. 5 in. x3 ft. 5 in. a A party of ladies and gentlemen hunting stags ; ; the chief interest here is in the quality and beauty of the winter landscape. a Gallery XI. a5 1000. “ Shipping”; the estuary of a river. L. BAKHUIZEN. 1 ft. rin. X1 ft. 6Z in. There are five good works by this artist, of which No. 204, in Gallery XII. (p. 44), and No. 818, in Gallery XVI. (p. 96), are the best. 988. ‘“ An Old Oak,” on the skirts of a wood. J. RuyspAEL. 1 ft. 4 in. X rr4 in. Above are— 932. “A Man's Portrait” ; half-length, with red head-dress, wearing the cross of Malta. PAINTER UNKNOWN. 3 ft. 2 in.X2 ft. 6 in. 931. “ The Magdalen laying aside her Jewels.” PAOLO VERONESE. ; 3qtro in, < 5 fti4.m. Scene in a courtyard ; the Magdalen kneeling at the feet of Christ. 1005. “ Ploughing”; a hilly and woody landscape. BERCHEM. tit sein Sr fh Same 948. “Landscape”; a sketch. Ascribed to RUBENS. 1 it-OF mx 2 ft 4 in: - Next on the line are— 954. “ Landscape”; woody country. C. HuysMan. Bi ttekain. < 2. 1ty eine The only example of this Flemish landscape painter. 940. “ Zhe Ducal Palace”; tower of St. Mark and Grand Canal in the distance, CANALETTO. 2 ft. x3 ft. 3 in. 1016. ‘“ Portrait of a Girl”; full-length, in blue dress. Sir PETER DEV) Ait ies ft.14 in. Next is an important landscape by Cuyp, broad and sunny in effect, figures on a small scale. 960. “ The Windmills.” A. Cuyp. 3 ft. 83 in. x6 ft. 4% in. An interesting picture of the landscape near Dort; this and No. 53, sketched on p. 43, are his best works here. 967. “ Shipping”; Dutch river scene with sailing-boats. VAN DE CAPPELLE. 9341. 1%-in. x5 ft. In the centre of this wall, above, is a large canvas, the remaining work by the elder Teniers, and underneath a very curious architectural work by a pupil of Frank Hals. 949. “A Rocky Landscape,” with figures. D, TENtERs (the elder). 5 ft. ginexa ft D2 36 The Wynn Ellis Gift. 1010. “ Palatial Buildings.” VAN DEELEN. 1 ft. 6 in. X2 ft. ‘* Extensive palatial buildings in variegated marbles of Renaissance architectareil adorned with statues; in the foreground is a marble fountain with various ‘stateny surmounted by a gilt bronze group of Hercules and the Hydra.” On either side of No. 1010 are two flower-pieces, the first especially 2 noticeable. z J Be 1G 1001. ‘ Flowers in a Vase.” JAN vAN HuysuM. 2 ft. 8 in. X1 ft. 8 in, 1002. “ Flowers, Insects, &-c. in a Bowl.” WALSCAPELLE. t ft. 11 in X1 ft 659 Rather below the line are five small and interesting works— 977. “ Sea-piece”; ships lying at anchor. A. VANDEVELDE. ae 8 in. X 114 in. 997. “An Old Woman,’ in black and yellow dress, scouring a kettle at an open window. G. SCHALCKEN. 11 in. X83 in. i No. abe: 7 in. X 8t ae 985. “ Sheep and Goats.” K. DUJARDIN. There are three good specimens of Dujardin in Gallery XVI. 1014. “ Zhe Martyrdom of St. Lawrence.” ADAM ELZHEIMER. only work by this artist. 73 in. x8 in. 991. “ Zhe Broken Tree.” J. RuySDAEL. $3 in. X11 In. | ? 1018. “A Classical Landscape.” CLAUDE. 3 ft. 4 in. x4 ft. 5 in. A composition of buildings and temples, with ships at eae harbour. The more important works of Claude, ten in ne Gallery IX. a Gallery XT. oy, 939. “ The Piazetta of St. Mark, Veniu.” CANALETTO. 3 ft. 32 in. x 3 ft’ 62 in, 986. “Zhe Watermills.” J. RuysparL. 2 ft. 102 in. X3 ft. 73 in, 981. “A Storm at Sea.” W.VANDEVELDE. 2 ft. § in.X3 ft. 1 in. A powerful and characteristic example of this painter. 965. “ River Scene,” with state barge. VAN DE CAPPELLE. Zeit.) Is Sully ore 962. “Cattle and Figures: Evening.” A. Cuve. Five cows and herdsman, Dort in the distance ; this picture is known as the “ small Dort.” Next is a curious example of an early Florentine painter, whose | more important works are in Galleries XIII. and XIV. 928. “ Apollo and Daphne.” PoxtayvoLo. 11k in. X72 in. 929. “ The Madonna and Child.” “ After RAPHAEL.” BATtoEO ins SC Tift. Lhe an: A copy of the picture in the Bridgwater Collection. 1007. “ Rocky Landscape.” Jan Wits. 1 ft. 9 in. x2 ft. 2 in. The only example of this artist; figures supposed to be by Wouwerman. 996. “A Castle in Rocky Landscape.” THoBBEMA. 4 ft. 65 in. x5 ft. 82 in. 980. “ Dutch Ships of War saluting.” W.VANDEVELDE. 1 ft. 44 in. X1 ft. 7% in. lO. ‘ Portrait of a Lady”; half-length, white satin dress. GONZALEZ CoquEs. Painted on silver; 7 in. X54 in. There is one other work by this Flemish portrait painter in Gallery XVI. (p. 102). WEST WALL a 8 924 140 GY.XVI 156 289 204 105 —-29¢~60-249-291—51 74 —50— Book —46—53——757-209—737— 656 — 6 2 72? | . 1045 263 1765 797 . 774 705 187 396 t | 7. 2)) 805 ° 2 r , t DOOR DOOR GALLERY XI. Gy.xtis GY.XL | 799 712 102] 680 653 | 793 687. 746 794 260 ods 714 125 237 ; 717 | 696 710 7¢ 205 43 L453-159-47775-817-409-154-1 92459-8229] 94-685-39-279-66-5 2-49 199-1 50-15-2439 78 ——1 6 240 239 901 262 221 152 57 57 627679 62867 72 732 273.223 49 245 212 Gallery XII.—Dutch and Flemish. Rembrandt — Teniers — Cuyp — Both — Terburg — Maas— De Hooge —Hobbema — Ruysdael— | Van der Neer—Vandevelde—Rubens—Vandyck—Van der Weyden—Memling—Quintin Matsys— G. Dow—D. Bouts—F. Hals—Mabuse—A. Diirer—Van Eyck, &c. The great Dutch and Flemish Gallery, known as “The Ruben’s — Gallery ”—the first of the new rooms (100 ft. long) added to the National Gallery in 1876—contains several masterpieces by Rembrandt, Rubens, and Vandyck ; also, at the north end, the works of the early Flemish and German painters. lil li Bs law No. 805. t ft..7 in. X2 ft. 24n, 805. “dn Old Woman peeling a Pear.” D, TENnters (the younger). eS CUE en ee a a eae oo eee Gallery XII. 39 I rn Commencing on the right of the entrance into Gallery XI, the first ' picture (sketched on last page) is a characteristic T eniers, remarkable for quality and the painting of still life. Purchased in 1870. 896. “ The Peace of Minster.” G.Trrpurc. 1 ft. 53 in. x1ft. 102 in. A composition full of figures, representing the plenipotentiaries of Philip IV. of Spain and the delegates of the Dutch United Provinces, assembled in the Rathhaus at Miinster, on the 15th May 1648. Presented by Sir William Wallace, Bt. There are only two works by Gerard Terburg, one of the earliest and most distinguished of the Dutch genre painters, this elaborate portrait picture, and “‘ Ze Guitar Lesson,” in Gallery XVI. (sketched on p. 100). Above the Teniers are—the one picture by HucHTENBURG, a Dutch battle painter: 211, “4 Bartle”; a cavalry fight in the foreground ; r ft. 42 in. Xr ft. 11 in. ; bequeathed by Mr. R. Simmons ;—next, a not very important sketch by Rusens, 187, “ The Apotheosis of William the - Taciturn of Holland” ; circular, 2 ft. 1 in. diam. ; purchased 1843 ;—and 175, a quaint, unflattering “ Portrait of Milton,” half-length, life-size, by VAN DER Puaas, the only work of this painter; 2 ft. 4 in. 1 ft. 114 In; 797. ‘A Man's Portrait” ; bust, life-size. A. Cuyp. A good example of Cuyp’s power of portrait-painting. Purchased in 1869 for £900. 659. “Pan and Syrinx”; the Nymph pursued by Pan. Rort- TENHAMMER. 92 in. X74 in. A little work of no great mport- ance; the landscape by Brueghel. No. nto } 2ft. 31n. XI i 114 in. Next is the first of Rembrandt’s works, a small picture often engraved, and highly esteemed for its technical qualities— 54, “A Woman bathing.” REMBRANDT. 2 ft. x1 ft. 6% in. Bequeathed by Rev. W. H. Carr. 207. “ The Idle Servant.” NicHoias Maas. 2 ft. 32 in. X 1 ft. 9% in. Bequeathed by Mr. R. Simmons. One of three excellent pictures by a pupil of Rembrandt. Nos. 153 and 159 are close together, on the opposite wall; one sketched on p. 54. 40 Dutch and Flemish, 155. “ Zhe Misers, or Moneychangers”; a man and his wife counting their money. D. TENrERs (the younger), 2 ft. = in. x2 ft. 9 in, Bequeathed by Lord Farnborough. 920. “Orpheus charming Birds and Beasts with his Music” ROELANDT SAVERY. ~ Bequeathed by Mr. S, J. Ainsley, — Next, on the line, is a large picture, “Vase with Flowers” (796), tulips, peonies, roses, poppies, &c., by Van Huysum (whose other work we have seen in Gallery XI.); 4 ft. 44 in.x3 ft. tin; purchased in 1869 for £900. | | ai lem | No. 50. *) 4 ft. ro in. X 3 ft. g in. 50. “ Zhe Emperor Theodosius refused Admission into the Church by St, Ambrose.” ANTONY VANDYCK. Purchased in 1824. A copy, with slight alterations, from the fine picture by Rubens in the Imperial Gallery, Vienna. There are six works by Vandyck, five in this gallery, and one in Gallery XVI. 238. “ Dead Game and Dog.” Jan WEENINX. 5 ft. 74 in. X 5 ft, rin, 242. “ Players at Trictrac.” D. TENtERs (the younger). | I ft. 25 in. Xz ft. 9 in, The last two pictures were bequeathed by Lord Colborne. 291. “ Portrait of a Young Lady.” CRANACH. 1 ft, 2 in. X to in. Purchased in 1857. The only work by Lucas Sunder (called Cranach); one of the early German portrait painters; a pupil of Albrecht Diirer and friend of Luther. Gallery XII. ~ Hy No. 51. Atte 510. sit. 5, i. 51. “ Portrait of a Jew Merchant.” Rempranpt. A fine example ; painted in 1646. Presented by Sir G. Beaumont, Bt. Above are two pictures, each the only example of the artist— 924. “The Interior of a Gothic Church.” PIETER NEEFS. Deter ehin <3 tte 140. “ Portrait of a Lady.” VAN DER HELST. 2 ft. 93 in. x 2 ft. 2 eH BuicOuMe nw Ses Selle 3 71. “ Landscape: Morning.” A party of muleteers with laden mules. 4 J. Boru. Presented by Sir G. Beaumont. No. 71. coe iad 84: } 42 Dutch and Flemtsh. Next are two important ‘pictures by Rubens :— No. 59. 6 ft. 2in. X 8 ft. g in. 59. “ The Brazen Serpent.” RuBENS. Purchased in 1837. ‘And the Lord sent fiery serpents among the people . . . . and much people of Israel died.” —Numebers c, 21. No. 46. - 6 tt. 6in. X g it. g in. 46. “Peace and War,’ or, ‘‘ Peace and Plenty.” TRUBENS. * Presented by the Marquis of Stafford. « $ a 3 a) Sa ie Cee 5 a x Gallery XII. 43. q The last picture, an allegory of Peace, was presented to Charles I. _ by Rubens when he came to England in 1629 to negotiate peace with Spain. The principal figures, especially the children, are considered to be examples of Rubens’ finest work. 156. “A Study of Horses”; a white horse running towards the spectator. A. VANDYCK. 3 ft. 6 in. X2 ft. 11 in. Bequeathed by Lord Farnborough. 4 ft. gin. X 6 ft. 6 in. 53. “ Landscape, with Cattle and Figures.” A, Cuyp. One of Cuyp’s characteristic sunny landscapes ; the scarlet coat of the horseman is the prominent feature of colour on this wall. Next are two works attributed to Rembrandt; the first a large, upright, picture with eleven figures, about life-size. 757. “ Christ blessing Little Children.” REMBRANDT. 6 ft; roins 5 ft. 5 ine This picture was purchased in 1867 for £7000. 289. “ Zhe Amsterdam Musketeers.” REMBRANDT. 2ft. 2in.x2ft. gin. Bequeathed by Rev. T. Halford. A copy, with alterations, of the large picture in Amsterdam. . 209. “ Landscape with Figures”; arocky, woody landscape. J. BoTu. The figures, painted by C. Poelenburg, represent ‘The Judgment of Paris.” 3 ft. 3in.X4 ft. 34in. Bequeathed by Mr. R. Simmons. 44 Dutch and Flemish. . 204. “Dutch Shipping ; firing a Salute”; a lumpy sea and a windy sky. L. BAKHUIZEN. 3 ft. 42 in. xX 4 ft. 63 in. Bequeathed by Mr. R. Simmons. 737. “ Landscape with Waterfall.” J. RUYSDAEL. 3 ft. 3in.X2 ft. roin. Bequeathed by Mr. J. M. Oppenheim. A characteristic Ruysdael; fine windy landscape, dark and mys- — terious, with great rush of water under stone pines. Here we may pause before examining a different style and period of German art. At the north end of this gallery are grouped together for special study some of the best and choicest examples of early German and ~ Flemish art ; a grave, earnest, and rather sorrowful company, contrast- ing forcibly in style and treatment with some of the pictures we have * just seen—works full of interest and instruction to students, especially for purity of design and colour.* 656. “A Man's Portrait”; small half-length. MABUSE. 2 ft. 3 in. x1 ft. 7 in. Purchased in 1860. [See his other picture (No. 946) in Gallery XI. (sketched on p. 28).] 654. “ Zhe Magdalen” ; full-length, in olive-green dress and gold- brocaded petticoat ; sitting reading. Attributed to ROGER VAN DER WEYDEN (the younger). 2 ft.x1z ft. 8 in. Purchased in 1860. There are four remarkable pictures on this wall said to be by this — artist, one of the founders of the realistic school of painting in Flanders in the fifteenth century. (See sketch on p. 46.) 264. “A. Count of Fennegau, with his Patron Saint Ambrose.” VAN DER MEIRE. 2 ft. 4iin.Xgin. ~~ Purchased in 1854. One of two works by a pupil of Van Eyck’ Note the painting of an illuminated robe and the delicate choice of colour. His other — picture (No. 696) is close at hand, on the east side of this wall. | * Many of these pictures were formerly in the Wallenstein Collection, and were : presented by the Queen in fulfilment of the wishes of the late Prince Consort. : Gallery XLII. 45 _ 21. “ Portrait of a Lady.” Ascribed to SCHOOREL. Io in. X 7% in. Presented by the Queen. - Fi 716. ‘“ St Christopher,” in flowing red robe, carrying the infant Christ : on his shoulder across a bay. PATINIR. Io in. X1 ft. 9} in. + Presented by the Queen. Patinir’s other work (No. 717) is on the east side of this wall. S 747. “ SP. vote the Baptist and St. Lawrence.” HANS MEMLING. : 1 ft. 10 in. X63 in. Purchased in 1865. A beautiful work in two compartments; see also No. 686, by Memling, on the same wall, near the door (p. 46). Se omer = Pe ae a 7 £ is 5 Pe 4 a No. 1045. 3 ft. 44 in.|X 3 ft. 3% in. 1045. “ Wyk Bas fe ZO en aga ct: 4 ft. gin. X 6 ft. 3 in : | 194. “ The Judgment of Paris.” RuBEns. Purchased in 1844 for £4200. The Trojan shepherd, seated with Mercury by his side, is on the point of awarding the apple to Venus, who stands between her rivals ; on her right is Juno, indicated by the peacock at her feet ; on her left is Minerva, whose sacred bird, the owl, is perched on a tree behind her. Discord is seen hovering in the clouds above. | This well known picture was formerly in the Orleans Collection ; _ there is a small copy in the Louvre. BT. “The Conversion of St. Bavon”; composition of many small figures. RuBENs. 3 ft. 54in. x5 ft. 521in. Bequeathed by Rev. W. H. Carr. iS 157. “A Landscape: Sunset.” Rupens. 1 ft. 7 in. X2 ft. gin. nf Bequeathed by Lord Farnborough. io San In this part of the gallery are some of the finest portraits by Rempranpt. The two following (No. 672, “Ais Own Portrait,” 63 ft. 3 in. x 2 ft. 83 in., and No. 221) should be noticed together. The first, painted in 1640, and purchased in 1864, represents the painter at "the age of thirty-two; half-length, life-size. On the right hand is No. 221, as an old man of about sixty. ho ee Dutch and Flemish. 152. ‘Landscape with Figures and Cattle: Evening.” A. VAN DER NEER. 3 fi 11 in. X5 fU 3% le Bequeathed by Lord Farnborough. The figures and cattle painted by Cuyp. Below the foregoing is an ex- cellent little oval painting— 192. “ Zhe Painters Own Por- trait.”. GERARD Dow. Purchased in 1844. On either side are two com- panion pictures by Teniers (the younger), bequeathed by Lord Farn- borough— No. 192. Gerarp Dow. 7tin. X 5¥in. 158. “ Boors regaling” ; interior, three figures. D. TENIERS. : 10 in. X 1 ft. 2 in. 154. “ A Music Party.” D. TENIERS. Next are two more por- traits by REMBRANDT— 921. “The Painter's Own Portrait” ; half-length, life- size. 2 ft. gin. X 2 ft. 33 in. No. 154. D. TENIERS. TON. M2 ites Purchased in 185 I. 190. “A Jewish Rabbi.” 2 ft. 6in. x2 ft. 2 in. Purchased in 1844. 817. “ The Chateau of Teniers at Perch.” D, TENtERS (the younger). i ‘¢ The painter and his wife, another lady and his son holding a greyhound, in the foreground ; his gardener (curiously drawn) approaching, from a river, with a pike in his hand ; in a moat before the chateau are six men dragging at a net.” Here, as in Cuyp’s landscape (No. 53, on the opposite wall), the scarlet cloak of the painter strikes a high note of colour. ) Gallery XII. 53 — Above is a good study of poultry by a distinguished Dutch painter. His other work, No. 1013, we have seen in Gallery XI. (p. 30). 902. ‘ Domestic Poultry.” MELCHIOR HONDECOETER. 2 ft. roin. X3 ft. 8in. Bequeathed by Mr. R. Simmons. Next is a landscape with a winding river and wooded banks, curiously low in colour and real in effect; the only example of the painter. 901. “ Landscape: River Scene.” JaN LOOTEN. 3 ft. 7 in. x 4 ft. 2 in. Bequeathed by the widow of Mr. J. H. Jewer, 187 3. 775. “Portrait of an Old Lady.” REMBRANDT. 2 ft. 3 in. X1 ft. 9 in. Painted in 1634. Purchased in 1867 for £1200. (This famous portrait is sketched*on our title-page.) 47. “The Adoration of the Shepherds.” REMBRANDT. Painted in 1646. Purchased in 1824., Here, as in No. 45 (on the same wall, p. 48), the treatment is sketchy; the light is centred on the one figure, and parts of the picture are obscured. No. 47. REMBRANDT. 2 ft.1 X 1 ft. ro. 912.. “A Merchant and his Clerk.” T. DE KEYSER. A merchant in riding costume, seated at a table; his clerk standing behind his chair, hat in hand, handing him a packet; tapestry background.” = 3 ft. in. x2 ft. 3¢in. Bequeathed by Mr. R. Simmons. The only picture by a distinguished Dutch portrait painter ; painted = in 1627. Next is an excellent small example of VAN DER NEER—239, “River Scene by Moonlight with Shipping”; 1 ft.x1 ft. 62 in. ; bequeathed by Lord Colborne ;—and 240, “ Crossing the Ford”; a hilly scene with clump of trees, figures, and cattle; N. BERCHEM; 117 in. Xr ft. 5% in. ; bequeathed by Lord Colborne. “xe: Sig Sei Naif) pe Se pel aa rE ro ea Dutch and Flemish. Below are two small interiors by NicHoras Maas, a pupil of Rembrandt (bequeathed by Lord Farnborough)— _ 159.5) “ The Dutch Housewife.” NicHoLas Maas. Painted in 1655. 153. “Zhe Cradle”; a little girl rocking a child to sleep. 1 ft. 33in. X1 ft. Fin. Next are two more works by Rembrandt— 43. “Christ taken down from the Cross.” A sketch in light and shade; numerous small figures. a : REMBRANDT, 1 ft. rin. X11 in. ae te eee Presented by Sir George Beaumont. \ 237. “Portrait of a Woman”; life-size, in high dark dress and white bodice. REMBRANDT. 2 ft. 2} in. x1 ft. 114 in. Painted in 1666; one of his latest works. Bequeathed by Lord Colborne. 205. “ The Ltinerant Musicians.” J. W. E. DIETRICH. The only work by this artist; painted in 1745. Dietrich was ap- pointed court painter to Augustus IL, king of Poland, in his eighteenth year. ) Bequeathed by Mr. R. Simmons. 125. ‘Portrait of Izaak Walton.” Jacos HuysMANS. 2 42 6 in. <2 ft. 1 in An interesting portrait of the anes aame=27eg «author of ‘The Complete Angler,’ No. 205. xt. 3% ini xX % ft.(2 in: at the age of ninety; the only picture by this artist, one of the many Flemish painters who settled in London in the time of Charles IT. 746. “A Landscape with Ruins.” JacoB RUYSDAEL. r ft. 42 in. X1 ft. rol in. Purchased in 1865. Gallery XL, 55 b+ — — i a a aS AEG pene SSE SNS pT —— = sae No. 794. 2 ft. sin. % 2 ft. ¢ in. 794, “ The Courtyard of a Dutch House.” P. DE Hooce. Purchased in 1869 for £1722. One of three admirable specimens of this Dutch painter. ‘The tone and subtle qualities of his pictures can scarcely be indicated in a sketch. Nos. 834 and 835, similar subjects, are on the north wall of Gallery XVI. (see pp. 101, 102). 1021. “ Portrait of a Woman.” ¥. Hats. rey TEE te, Tt Oa key ‘¢ Small half-length, in black, with hair combed back ; a white cap, a large white ruff and wristbands, her hands crossed before her.” This is the only picture we possess by this early Dutch artist, many of whose works are to be seen in continental galleries, notably in the museum at Haarlem, his native place. 680. “ Zhe Miraculous Draught of Fishes.” Composition of eleven small figures. VANDYCK. fF ft. 92 in. x2 ft,.9> In. Purchased in 1861. This fine sketch was made by Vandyck from Rubens’ large painting at Mechlin, for the engraver to work from. [The pictures on the screens in this gallery are referred to on pp. 88, 89, and 104.] 2 602 SOUTH WALL, 47 ~ 782. GY.XII te] Bt a 78 663 246 pook)«=—_« “908-4 DUO 802 773 502 72.4758 s DOOR 748 GALLERY XIII. GY.XI¥ 776 770 906 181 673 597 726 591293 692 23L eT Sy A 698 eS: | an 31———902__og>___g 766 909 807 739 727 NORTH WALL. Gallery XIII.—Early Italian.* Francesca—Lippi—Mantegna—Angelico—Crivelli—Pollajuolo—Botticelli— Schiavone—Gozzoli— Bellini—Perugino—Cosimo Tura, &c. Commencing on the right of the doorway into Gallery XII, the first picture, of which we give a faint indication in the sketch, is one (much injured in colour) by an Umbrian painter of the fifteenth century— 908. “Zhe Nativity of our Lord.” PIERO DELLA FRAN- CESCA, . The other three works by this artist are on the east side of this gallery. 668. “The Beato Ferretti,’ kneeling in adoration. CarLo CRIVELLI. | No. 908. 4 ft.cpin. 4. ft; 4 ft. 72 in. x2 ft. 102 in. There are eight works, all in this gallery, by this Venetian painter, . the most important being an altar-piece on the east wall. * Students wishing to examine the Italian paintings, as far as possible chrono- — logically, should commence with Gallery XVII., where are the works of Cimabue, Giotto, Orcagna, and the early Florentine painters, SP Pe a Cag Sa ae ae eee ae Gallery XILL. yi 286. “ The Virgin enthroned.” FRANCESCO TACCONI. 3 ft. 3 in.X1 ft. 84 in. Painted 1489. Purchased in Venice, 1855. Next on the line is a circular picture, in a heavy frame, with faces of strange beauty. 275. “ The Virgin and Child; St. John and an Angel.” BOTTICELLI. 2 ft. 9g in. diam. Purchased in 1855. . Botticelli was one of Filippo Lippi’s most distinguished pupils ; of his five works (of which the above is the best), four are in this gallery and one in Gallery XIV. In the corner is one of two lunette-shaped paintings which should be carefully examined— 667. “St John the Baptist with Six other Saints.” FRA FILippo Lipprr. ' 2 ft. 2 in. x 4 ft. 114 in. Purchased in 1861. The above and No. 666, a companion picture (sketched on p. 59), are two of the finest examples of the work of Lippi, a Carmelite monk of the fifteenth century ; remarkable for colour and technical qualities, Purchased in 1861. 9ll. ‘“ The Return of Ulysses to Penelope.” PINTURICCHIO. A fresco transferred to canvas, 4 ft. 1 in. x 4 ft. 9% in. Purchased in 1874. 703. “ Zhe Madonna and Child.” PINTURICCHIO. 1 ft. ro in. x1 ft. Zin. Presented in 1863. Bernardino di Betto, called Pinturicchio, was a distinguished Umbrian painter and pupil of Perugino; his three elaborate paintings illustrating “ The Story of Griselda” are in the Octagon Hall (see p. 91). 916. “ Venus reclining with Cupids.” BotTricELii. 3 ft. gin. xX 5 ft. 8 in. Purchased in 1874. Three other works attributed to Botticelli, a pupil of Filippo Lippi, are in this gallery, and two in Gallery XIV. There are eight other small pictures on this wall (very interesting in colour and technical qualities), commencing with one of the two examples of Fra Angelico, a composition of many small figures. 582. “ Adoration of the Magi.” FRA ANGELICO. 73 in.X1 ft. 63 in. (See also No. 663, on the north wall.) Purchased in 1857. 598. “St Francis in Glory,’ standing holding a crucifix; on each side are five angels. Fitippino Lippi. 1 ft. 73in. x1 ft. Zin. Dated 1492. Purchased in 1858. 58 Early Italian. Filippino Lippi, the son of Filippo, was a pupil of Botticelli. There are two of his works in this gallery, and two in Gallery XIV. {See Index.) | 907. “St Catherine and St. Mary Magdalen.” Criveru. Full-length figures in two panels, each 1 ft. 23in.X7iin. Purchased in 1874. 736. ‘Portrait of a Venetian Senator,” in red dress and stole. Dated 1487. BONSIGNORI. The only work by this painter, a native of Verona. Purchased in 1864. 771. “St Jerome in the Desert.” BoNO OF FERRARA. No. 736. BonsiGNori. 1 ft. 44 X 11%. a He 8 ana bn Ms Purchased in 1867. 904. “ Madonna and Infant Christ.” G. SCHIAVONE. . 1 ft. ro in. Xr ft. 4% in. Gregorio Schiavone was a fellow pupil with Mantegna at Padua, in the fifteenth century. There is another work by him, No. 630, in Gallery XVII. (p. 107). Purchased in 1874. 905. ‘The Virgin Mary,” seated in prayer. Cosimo TURA. r ft. st in. x1 ft. rin. Purchased in 1874. There are two other paintings by Cosimo Tura in this gallery, and one in Gallery XVII. ; his best works are to be seen in Milan, his native city. [Door] 770. “ Portrait of Leonello da Este,’ Marquis of Ferrara ; bust, life- size, GIOVANNI ORIOLO. 1 ft. 93 in. X1 ft. 3 in. | Purchased in 1867. 776. ‘St. Anthony and St. George.” PISANO OF VERONA. . | 1 ft. 6 in. X 113 mM. | St. Anthony with staff and bell, St. George in rich armour with gilt sword-hilt and spurs ; the background a pine wood, in the sky the Virgin and Child in a cloud ~ of real gold. One of the few works extant of this celebrated painter and medallist of the fifteenth century. Presented by Lady Eastlake in 1867. © = Pay bai 2 SV cir Sy Toe eae ee ee ee ae i or ae bie Bese 03 pee ee I Gallery XIII. 59 Next is a beautiful head of the Christ, an early work of an Italian painter of the fifteenth century, who was one of the first to study the method of oil-painting as practised in Flanders by Van Eyck. 673. “ Christ as the Salvator Mundi.” ANTONELLO DA MESSINA. t ft. 4¢ in.x1x ft. 2 in. Purchased in Genoa in 1861. 283. “ The Virgin and Child enthroned.” BENozzo GOZZOLI. 5 ft. 22in.X5 ft. 74 in. Purchased in 1855. 591. “ The Rape of Helen.” Gozzou. 1 ft. 73 in. X2 ft. ‘A rocky landscape with an inlet of sea; on the spectator’s right is a small temple, from which Helen, the beautiful wife of Menelaus, king of Lacedzemon, and the ladies of the court are being carried off by the Trojan Paris and his companions. The panel on which this is painted is probably the cover or end of some box used for wedding gifts.”—Of, Cat. Purchased in 1857. This and the picture above it (No. 283) are two interesting examples of a distinguished Florentine painter. No. 591 is a quaint miniature composition of many small figures in very bright fifteenth-century costumes ; No. 283 is a fine altar-piece, a great contrast in style and treatment to the foregoing. 281. “St. Jerome reading.” M. Basatri. 1 ft. 6$in. xz ft. 1 in. Purchased in 1855. There are two works by Basaiti, a contemporary of Bellini; No. 599 is on the other side of this wall, in Gallery XIV. (sketched on p. 81). No. 666. 7 2 ft. 2in. X 4 ft. 11 in. 666. “ Zhe Annunciation.” FRA FILIPPO LIpPl. One of the earliest and purest works of the master (see p. a7): Presented by Sir C. Eastlake in 1861. Above the foregoing is a newly acquired fresco, transferred to canvas, a composition crowded with figures— ye 60 Early Italian. 910. “ Zhe Triumph of Chastity.” SiGNORELLI. 4 ft. tin. x4 ft. 4 in. | Purchased in 1874, Signorelli’s principal frescoes, painted about the year 1500, are in — the cathedral at Orvieto. 727. “A Trinita.” PESELLINO. 6 ft. x3 ft. 3 in. : . Painted in tempera, on poplar, in the form of a cross; figures small life-size. Purchased in 1863. 663. “ Christ with the Banner of the Resurrection,” in the midst of a choir of angels, some blowing trumpets, others playing various instru- ments. FRA ANGELICO. This was formerly the predella of an altar-piece, in five compartments, each 1 ft. $in. high. There are 260 figures in this picture, every face minutely painted. Purchased in 1860 for £3500. In the centre of the wall is one of the principal works of Antonio Pollajuolo, a Florentine painter, goldsmith, and sculptor of the fifteenth century. 292. “The Martyrdom of St. Sebastian.” Powwa- JUOLO. Figures nearly life-size ; painted in 1475. Purchased in 1857 for £3155. The best pictures here by Pollajuolo are No. 781, in the corner on the right, and No. 296, in Gallery XIV. (p. 67). Several important monu- mental works by him are to be seen in St. Peter’s at Rome. On either side are two im- portant works by CRIVELLI— Noo sake or ee hee oe 739. “ TheAnnunciation.” 6 ft. 103 in. X 4 ft. 103 in. Painted in 1486. Presented in 1864. 807. “ Madonna and Child enthroned.” 5 ft. 9in.X4ft. Ioin. _ | Presented in 1870. 909. “Madonna and Child enthroned.” BENVENUTO DA Siena. The centre of an altar-piece, 5 ft. 64 in.xX2ft. 2iin. Purchased in 1874, Gallery XIII. 61 Next is a panel in monochrome by Mantegna, one of the greatest of the early Italian painters. 4 r) Mit) i " yy \: ¢ Semin! i ‘ a 4 L My y | | E ay : is iy mA NY : ‘ is i 1IGiBIS | | No. go2. 2 ft. atin. X 8 ft. ro in. 902. “Zhe Triumph of Scipio”; or, the reception of the Phrygian mother of the gods among the divinities. A. MANTEGNA. Purchased in 1873. In the centre Scipio, attended by Romans and Asiatics, is in the act of receiving the goddess ; the sacred stone alleged to have fallen from heaven and the image of the goddess are borne on a litter on the left. There are some interesting details of this picture in the Official Catalogue ; our sketch fails to indicate the fine drawing of the original. The other picture by Mantegna is on the south wall of Gallery XIV. (sketched on p. 67). T he nine grand cartoons representing the fs “ Triumph of Julius Cesar,’ now at Hampton Court, are amongst his best known works. 698. “ Zhe Death of Procris.” PIERO DI Cosimo. 2 ft. 13 in, x6 ft. Purchased in 1862. Underneath is a brilliant and scholarly work by Pollajuolo— 781. “The Ange Raphael accompanies Tobias on his Journey to Media to marry Sarah, the Daughter of Raguel.” POLLaJUOLo. ‘‘ The two, richly dressed, are walking together rapidly, the angel carrying a small box for the gall of the fish to heal blindness, and leading the young Tobias by the hand, Landscape background, with a view of the Tigris.” 2 ft. gin. x2 ft. rZin. Purchased in 1867. On either side of the foregoing are four heads, the first two being portions of a fresco by DOMENICO VENEZIANO: 766, “ Head of a Saint,” and 767, “Head of a Saint,” each t ft. 4 in. Xr ft. rin. 5 pur. chased in 1867 ;—63], “Portrait of a Lady”; BIssoLo ; 1 ft..22 inex Bite purchased in 1860 ;—692, “Head of a White Monk ”- LODOVICO DA Parma; 1 ft. 4 in. X 7 ft. 3 in; bequeathed by Lieut.-General Sir W. Moore. 62 Early Italian. Next on the line is the best of two examples in this gallery of Bellini (one of the most distinguished of Venetian painters in the fifteenth century) ; the landscapes are remarkable for quality and colour. 726. “ Christ's Agony in the Garden,” GIOVANNI BELLINI. 2ft. 8in.x4ft.10in. Purchased in 1863. 597. “Sz Dominic,” as the institutor of the rosary; part of an altar- piece. M. Zoppo. 5 ft. 2ft 112in; Purchased in 1853. 906. “ The Madonna in Ecstasy.” CRIvELLI. 6 ft. 3 in. x3 ft. An altar-piece with gold background. .. Purchased in 1874. Next is one of two fine examples of Pietro Vannucci, called I] Peru- gino, one of the principal Umbrian painters of the fifteenth century. 181. “ Zhe Virgin and Infant Christ with St. John.” PERUGINO. 2 ft. 23in.X1ft. 5£in. Purchased in 1841. [Perugino’s other work, No. 288, is in Gallery XIV. (p. 66).] The centre of this wall is largely occupied by an altar-piece in thirteen compartments, the painting studded with gold ornaments in relief ; in the centre is the Madonna with a jewelled crown, 788. “The Madonna and Child en- throned,” surrounded by saints. Cri- VELLI. 16ft.x1oft.6in. This fine altar-piece was purchased in 1868 for £3360. 724. “The Madonna and Child”; known as the Madonna della Ron- dine. CRIVELLI. Altar-piece, 4 ft. Il in. X3 ft. 6Zin. Purchased in 1862. Next on the line (and near it on the south wall, No. 585) are two interesting portraits by Francesca, whose four works are in this gallery. The decorative character is fairly indicated in the sketch. 758. “ Portrait of a Lady,’ said to be Contessa Palma of Urbino. PIERO DELLA FRANCESCA. 5 ft. 53 in. X3 ft. 92 in. —————e Ee ee Purchased in 1866. : Gallery XIII. 63 592. “ The Adoration of the Magi,” or “ The Wise Men's Offering.” Fiuippino Lippi. An altar-piece; 1 ft. 8 in. x4 ft. 7 in. . Purchased in 1857. 802. “ Madonna and Child.” B. MontTacna. 2 ft. 1 in. X1 ft. 9% in. Purchased in 1869. S773. “St. Jerome in the Wilderness.” Cosimo TurA. eH rica ae a 3 ft. 3 in. x1 ft. r0f in. Purchased in 1867. 915. “Mars and Venus.” BorricE.u. 2 ft. 3} in.X5 ft. 3 in. Purchased in 1874. 812. “Landscape with the Death of St. Peter Martyr in 1252.” GIOVANNI BELLINI. 3 ft. 4 in.x5 ft. 4 in. Presented by Lady Eastlake in 1870. There are four other works by Bellini, one in Gallery XIV. ee three in Gallery XV. (See /ndex.) 602. “ Zhe Dead Christ.” CRIVELLI. 2 ft. 44 in.x1 ft. 10 in. Part of an altar-piece. ‘Two infant angels supporting the body of Christ seated on the edge of a tomb. Purchased in 1859. Next are two small subjects— 947. “Eee Homo.” Niccoto ALUNNO. Bust on a blue ground; 8% in. square. Purchased in 1854. 590. “Christ placed in the Tomb by Joseph and St. John.” CostmMo Tura. 1oz in. x8 in. Purchased in 1857. 585. “ Portrait of a Lady,” in profile. PIERO DELLA FRANCESCA. / t ft. 42 in.X x14 in. Purchased in 1857. 782. “ The Madonna and Child.” BOTTICELLI. 2 ft. 9 in: X2 ft. 13 mm. Purchased in 1867. We end this gallery of early Italian art (crowded with works of interest to students) with the best example of a great fresco painter of the Umbrian school in the fifteenth century— 665. “ The Baptism of Christ in the River Jordan.” PIERO DELLA FRANCESCA. Purchased in 1861. SOUTH WALL 226 623 753 629 282 895 Gy.xv . 748 700 24 650670287 669272 79—180—283—274—296 —806-—293-AFO4 boo 1735-18-734-728-27-10-1024 285 780 ' 1081 298 “ , 751 ‘ | 674 (DOOR i fae fhe Bess GALLERY XIV. aba 259 589 599 804 3 695 300. a 8 — 20295207 1008 05 +S—HO aa t 25—625-—1023-34-— 697—26—1 749 634 ; 432 699 218 Gallery XIV.—Italian School. Paolo Veronese — Titian— Michelangelo—Sebastian del Piombo—Correggio—Leonardo da Vinci— Il Moretto—Moroni—Raphael—Francia—Perugino—Mantegna—Giorgione—Tintoretto, &c. In this great gallery, which contains one of the finest collections of paintings in Europe, the north side is principally occupied by works of the Venetian painters of the fifteenth century, the central picture being ‘“< The Raising of Lazarus,” by Michelangelo and Sebastiano del Piombo ; and, near at hand, the fine portraits (lately acquired) by I] Moretto and Moroni. At the head of the gallery is the large work, “ Zhe Family of Darius at the Feet of Alexander,” by Paolo Veronese. On the south wall, which we take first in order, are some of the best works of the Lombard and Umbrian schools of painters. Commencing on the right of the doorway into Gallery XIIL, the first picture is the one work by Giovanni Santi, painter and poet of Urbino, best known as the father of Raphael. 751. ‘Madonna and Child.” GIOVANNI SANTI. 2 ft. 22 in. x1 ft. 7 in. Purchased in 1865. Next are the three works by Ambrogio Borgognone, a Lombard painter of the fifteenth century, some of whose best works are in the museum at Berlin. The centre is an altar-piece, sketched on the opposite page; on either side are two curiously composed portrait pictures, one of nine men in profile, half life-size ; the other of women ie in adoration. La hie ie IN Katey ae RAM tite . Purchased in 1857. Gallery XIV. 65 298. “The Marriage of St. Catherine of Alexandria.” A. BORGOGNONE. 779, 780. “ Family Portraits.” Painted on silk. A. BORGOGNONE. 2ft.1im.xX1ft.4in. Purchased 1867. 285. ‘‘ Madonna and Child.” FRaAN- CESCO MORONE. 2 ft. x1 ft. 5 in. Purchased in 1855. SS eae oS SS == Above, on the south wall, is— 226. “The Virgin and Child, St. John and Angels.” BOTTICELLI. A circular painting, 3 ft. 82 in. in diameter; five figures, small life- size. Purchased in 1855. << Se Next are two fine examples of Francesco Francia, the founder of the Bolognese school of painting in the fifteenth century. 179. “ The Virgin with the Infant Christ,’ &c.; full-length figures, nearly life-size. FRANCIA. 6 ft. 64 in. x6 ft. No. 180. 3 ft. 2in. X 6 ft. TOO, -“ The Virgin and two Angels weeping.” FRANCIA. These two pictures formerly constituted one altar-piece in the church of San Frediano at Lucca ; they afterwards formed part of the Duke of - Lucca’s collection. ~ : Purchased in 1841. F 66. Ttalian School. 623. “ Zhe Madonna and Child enthroned” wnder a canopy with saints. GIROLAMO DA TREVISO. 7 ft. 54 in. X4 ft. Io in. } Purchased in 1859. Next on the line is the best work we possess of Perugino, being three portions of an altar-piece. His other work (No. 181) we have seen in Gallery XIII. : No. 288. 4 ft. 2in. X 4 ft. ro} in. 288. “ The Virgin adoring the Infant Christ.” PERUGINO. The compartment on the left represents the archangel Michael, that on the right the archangel Raphael and the young Tobias. Each com. partment 4 ft. 2 in. high. Purchased 1856, for £3570. This altar-piece was painted for the Carthusian convent near Pavia. 753. “ Christ and His Disciples going to Emmaus.” A, MELONE. | 4 ft. g in. square. Purchased in 1864. 274. “The Virgin and Child enthroned”—St. John and the Mag dalen. A. MANTEGNA. Purchased in 1855, for £1125. This fine picture (sketched on the opposite page) is the only work in colour we possess by Mantegna; his painting in monochrome, “ 7% Triumph of Scipio,’ we have seen in Gallery XIII. (p. 61). Above is an altar-piece by Lorenzo Costa, a pupil of Francia— 629. “Zhe Madonna and Child enthroned”; small figures, in five compartments, centre 5 ft. 54 in.X2 ft. 5 in. | Purchased in 1859 The other work by this artist (No. 895) is on the right near the door 296. “TheVirgin adoring pe i Sai Bie the Infant Christ” ; half- figures, nearly life-size ; landscape. A. PoLia- JUOLO. 3 ft. 2 in. X 2 ft. 37 in. Purchased in 1857. [See his two other works in Gallery XIII. ] 282. “Glorification of the Virgin.” Lo SPAGNA, 5 ft. 10 in; x 2 ft. 72 in. Purchased in 1856. The other work by “Lo Spagna,” pupil of Pe- rugino, is in the Octagon Hall (p. 92). 806. “ The Procession to Calvary.” BoccACcINoO. 4 ft. 4in. X 4 ft. 34 in. Purchased in 1870. A composition of many figures; the only work of this artist, a native of Cremona. Next is the large altar- piece we have sketched ; i" figures nearly life-size— 293. “ The Virgin and Child, St. Jerome and St. Dominic.” FIv1p- ‘PINO LIPPI. Purchased in 1857. Below is a predella re- _ presenting the dead Christ _and other subjects. Gallery XTV. = eS MANTEGNA FILIPPINO 895. “ Portrait of a Florentine General.” WLoreENzo Costa. + Bit, ain. Xr ft; Shin: Bequeathed in 1871, F 2 1+. ar, Z 68 Italian School. on ee 170. “Zhe Holy Family, with Elizabeth and the young St. John, & 6." Seven figures, surrounded by a choir of angels. GAROFALO. 2 ft. 64 in.X1 ft. 113 in. Purchased in 1839. This is the best of four examples of Benvenuto Tisio (called Garofalo), a distinguished Ferrarese painter, and pupil of Raphael. Om in the Octagon Hall, is sketched on p. 91. | [ Door. | 735. “St Rock with the Angel.” PAoLO MORANDO. 5 ft. 12 inp X 1 one Purchased in 1864. The saint is a full-length, life-size figure. A fine decorative panel. The other work by this artist (known also as Cavazzola) is hung at the back of this wall (No. 777,in Gallery XV.). Some of his best paintings are to be seen at Verona. - Above is the one work by GiROLAMO DAI LIBRI, a celebrated miniature painter and illuminator— | 748. “The Madonna, Infant Christ, and St. Anne.” s ft. 2 in.X 3 ft. 1 in. Purchased in 1864. Next on the line is the one example of the style and “school o: Leonardo da Vinci” — . No. 18.'. 2 ft. 4 in. X 2 ft. ro in. —s Te 18 “Christ disputing with the Doctors.” LEONARDO DA VINCI. Bequeathed by Rev. W. H. Carr, in 1831 There is no authenticated painting by Leonardo da Vinci in thi public galleries of England. The remnant of his celebrated fresco “a * , ¢ Gallery XIV. ! G9 “ The Last Supper,’ painted on the wall of a Dominican convent, is - still to be seen at Milan ; a copy of this (as also an original drawing for a cartoon) is in the possession of the Royal Academy, ‘There is an interesting collection of Leonardo’s anatomical studies and sketches in the Royal Library at Windsor. 700. “ Zhe Holy Family,’ with the Magdalen, Pope Gregory the Great, and St. Paul. Lanini. 6 ft. 7 in. x4 ft. 3 in. Purchased in 1863. This altar-piece, dated 1543, has a circular top, and is in a curious carved frame of the period. 734. ‘ Portrait of a Milanese Nobleman”,; half-length, life-size ; land- scape background. ANDREA DA SOLARIO. 2 ft. 7 in. Xz ft. 113 in. Purchased in 1863. The other portrait (No. 923) by Solario (called also Andrea Milanese) is in Gallery XV. on the west wall (sketched on p. 82). 728. ‘ The Madonna and Child”; figures life-size. BELTRAFFIO. 3 ft.x2 ft. 2in, Purchased in 1863. One of the few examples of this excellent painter, a pupil of Leo nardo da Vinci. 24. “Portrait of a Lady as St. Agatha”; half-length life- size. Attributed to SEBASTI- ANO DEL PIOMBO. axa dt 6 1. Bequeathed by Rev. W. H. Carr. The best authenticated work by this artist is“ Zhe Resurrection of Lazarus” (sketched on p. 78). , P, We WY Mage, iy! 2.7. ‘Portrait of Julius Il.” jim, Hpi 5 _ z Pe} 3 ie % : a a ~ times by his scholars. The best RAPHAEL. Purchased in 1824. This portrait, attributed to- Raphael, was painted several ay authenticated works by Raphael \: SAA are in Gallery XV. No. 27. 3 ft. 6in. X 2 ft. Sin. | 70 Italian School. Next (and next but one), on the line, are two celebrated paintings by Antonio — Allegri, called Correggio. They were purchased in 1834 for £11,500. | (10. =“ Mercury instructing Cupid in the Presence of Venus.” CORREGGIO. — Next is a portrait by Moroni, one of the greatest of the early Italian portrait-painters ; a pupil of Moretto. 1024. ‘ Portrait of an Ltalian Eccle. stastic.” G, B. MoRont. This is one of the late acquisitions to the National Gallery. The other two new Moronis are on the opposite Bs wall (see pp. 77 and 79). No. ro. CoRREGGIO. 5 ft.1 X 3ft. “ Purchased in 1876, 15. “ Christ presented by Pilate to the People,’ called the “ Zcce Lomo.” CORREGGIO. 3 ft. 25 in. X 2 ft. 7Z in. This picture is an early work of the master; the best example is No. 23, in Gallery XV. (sketched on p. 85). Above the foregoing are two portraits by a Florentine artist of the sixteenth century— | | | | | a 650. “ Portrait of a Lady”; in a rich black embroidered costume ! ut of the sixteenth century. A, No. 1024. Moronl. 3 ft.3X oft. 74 . BRONZINO. 3 ft. 3 in, x2 ft. : ine Purchased in 1860, 670. “A Knight of St. Stephen in his Robes”; full-length life-size. A. Bronzino. 6 ft. 93 in. x3 ft. 103 in. Presented by Mr. G. F. Watts. 7 The best work by Bronzino is on the extreme right hand of this wall (No. 651, p. 71). | i .* Se hai ES, Sh A Gallery XIV. mt 287. Portrait of a Young Man,” in the rich costume of the Campagnia della Caza ; dated 1530. B. VENEZIANO. 3 ft. 54 in. x2 ft. 4 in. Purchased in 1855. There are only three known works by this Venetian painter. 17. .“ The Holy Family.” ; | ANDREA DEL SARTO. Sw) Ge wm 9 REY 712 ao. Bem WSS i ) vie 5 } i The outline fails to indicate the depth of tone and rich quali- ties of this picture. Bequeathed by Rev. W. H. Carr. Andrea del Sarto’s own por- A aia Cal ie trait is in Gallery XV. (sketched ae : FoR G on p. 84). 669. “St Sebastian, St. Rock, and St. Demetrius.” ’ ORTOLANO. 7 ft. 7 in.x5 ft. 13 in. Purchased in 1861. An altar-piece ; three full-length figures, life-size. 624. “ The Infancy of Jupiter.” GiuL1I0 ROMANO. 3 ft. 54 in. X5 ft. 9 in. ‘‘The young god is lying in a cradle on a verdant island, watched by three Nymphs ; in the background are the Curetes making a noise with musical instruments, lest the child’s cries should be heard by his father Saturn.” This curious decorative composition is.a good example of the painter, one of Raphael’s pupils. 651. “Venus, Cupid, Folly, and Time”; seven figures, life-size; an allegory. ANGELO Bronzino. 4 ft. 9 in. x3 ft. 93 im. . Purchased in 1860. The quality of the drawing and painting in the above picture should be closely examined by students. 272. “An Apostle.” PoRDENONE. 4 ft. rr in. X3 ft. 9 in. A portion of a colossal figure, seated over the arch of a building ; said to have been painted for a church near Venice. Presented in 1855. 41. ‘“ The Death of Peter Martyr? GIORGIONE. 3 ft. 4 in. X4 ft. 9 in. One of two works attributed to Giorgione. Bequeathed by Rev. W. H. Carr. ‘ 7% : Italian School. a EOS \ Pg No. 1031. 2 ft. of in. X 2 ft. 2 in. IA! ENS 4 ee ik 7 L Nyls SVR i No. 674. 3 ft. st in. X 2 ft. gin. 1031. ‘“ Mary Magdalen going to the Sepulchre”; in light grey silvery robe and hood. Gian 674. “ Portrait of a Genoese Lady.” GIROLAMO SAVOLDO. BoRDONE. | Purchased in 1878.. Purchased in 1861. | The other work by Paris Bordone, a painter of the school of Titian, is near the centre of the north wall (No. 637, p. 77). The principal part of the west wall is occupied by the well-known work by Paul Veronese— ee eee | No. 204. 7 xX x5 ft. 64 in. 294. “ The Family of Darius at the Feet of Alexander after the Batil of Issus, B.C. 333. PAOLO VERONESE. J =, ‘‘The royal captives having mistaken Hephzstion for Alexander, the queem mother implores pardon of the conqueror, who, pointing to his friend, tells her she 4 pes m2 _— Gallery XIV. 7 has not erred, that he is another Alexander. The captive family, presented to the king by one of the ministers of Darius, is kneeling in the centre of the picture, Alexander and his generals, Hepheestion and Parmenio, being on the spectator’s right.. In the background is a marble arcade with spectators looking down. The principal figures are portraits of the Pisani family.” This picture was painted for an ancestor of the Count Pisani, and was in Venice in 1857; it was purchased in 1857 for £13,650. The other work by Paul Veronese in this gallery is on the right hand, No. 26 (sketched on p. 75). 2925. “ The Beatific Vision of the Magdalen”; a fresco of semicircular form; seven figures. GruLIO ROMANO. 5 ft. 5 in. x7 ft. 8 in. Presented by Lord Overstone in 1852. No. 3. 3 ft.2in. X 4 ft. in. 3. “4 Concert”; a maestro di cappella giving a music lesson. Attributed to TITIAN. Purchased in 1824. The figures are life-size ; the cap of the central figure is a brilliant red, with white feather. 299. “Portrait of an Italian Nobleman,’ leaning on a cushion in long ermine tippet. It MoRETTO. 3 ft. 8£in. X 3 ft) 1 in. There are three works by Alessandro Bonvicino, known as “ Il Moretto.” The latest acquisition is No. 1025, on the north wall (sketched on p. 77). Some of Moretto’s finest works, altar-pieces, and portraits, are to be seen in Brescia, his native place. The next portrait, sketched over-leaf, is a fine example of Venetian portraiture. The three other works by Moroni lately added to the National Gallery are sketched on pp. 79 77; and 79. No. 742. 2 ft. roin. X 2 ft. 34 in. 142. “ Portrait of a Lawyer”; life-size, in black cap and black velvet suit. Moroni. 3 Purchased in 1865. The first picture on the north wall is an excellent portrait, the one work by Jacopo Carucci, a pupil of Andrea del Sarto, known as PonTORMO— 649. “ Portrait of a Boy.” : 4 ft. 23in. x2 ft. Purchased in 1860, 16. “St George destroying the Dragon.” TINTORETTO. | Bequeathed by Rev. W. H. Carr. The only example of Jacopo Robusti, known as “ Tintoretto,” from his father’s occupation as a dyer. Some of Tintoretto’s finer works are to be seen in Venice and Florence, also No. 16. TinToRETTO. 5 ft.2X3 ft, 3, at Hampton Court 218. “The Adoration of the Magi”; a composition full of small figures, near a ruined arch. The three Magi are portraits of Titian, Raphael, and Michelangelo. PrRuzzi. 4ft. 8£in. x4 ft. 12 in. Presented by Mr. E. Higginson in 1849. ee oe “= tt Ne Naa a dane Bi . - i Gallery XIV. 45 No. 26. gft. sin. X 5 ft. gin. 26. “Zhe Consecration of St. Nicholas,’ Bishop of Myra, in Syria, in the fourth century. PAOLO VERONESE. Presented by the British Institution, in 1826. The saint, kneeling before the altar of a church, is being consecrated by the bishop. An angel brings him the mitre and crozier from above. This picture was formerly in the church of San Niccolo de’ Frari at Venice. 697. “ Portrait of a Tailor.” Moroni. Purchased in 1862. 699. “Agostino and Nicolo della Torre.” LORENZO LOTTO. 2 ft. 9} in. X2 ft 3 in. = Two portraits, purchased in 1862. “No, 697. Moxont. 3 ft. 24 X 2 ft. 54. } i] i { 76 Ltalian School. Next are two of Titian’s works— No. 32. 5 ft. 8in. X 5 ft. 8 in. 32. “ The Rape of Ganymede.” Trrtan. Painted for a compartment of a ceiling, formerly in the Colonna Palace. Purchased in 1824. 5 ft. gin. X 6 ft. 2 in. ret 34. “ Venus and Adonis.” TrITtan. This picture is supposed to be a replica of the original, which was painted for the Farnese Palace at Rome. It has been several times repeated. 224. “The Tribute Money”; three figures halflength. ScHoon or TITIAN. 4 ft.x3 ft. 4% in, Purchased in 1852. — J Se ef eR te hE Gallery XIV. a7 625. “St Bernardino of Siena with St. Jerome, St. Joseph, and others.” In Moretro. 11 ft. 7in.X7 ft. 6m. Purchased in 1859. A large altar-piece, formerly at Verona. The following are two of the newly acquired portraits :— ‘No. 1023. aft. rr in. X 3 ft. 5 in. No. 1025. 6 ft. 6in. X 2 ft. 11 in. 1023. “Portrait of am Italian Lady,’ in red satin dress ; life-size. Moronl. Purchased in 1876. 1025. ‘Portrait of an Italian Nobleman.” IL MORETTO. Purchased in 1876. 637. “Daphnis and Chloe.” BORDONE. 4 ft. sz in. X3 ft. 11 in. Purchased in 1860. 4. “A Holy Family.” TITIAN. Bequeathed by Rev. We 11. Carr. This picture, remark- able for its colour, was formerly in the Borghese § Palace at Rome. Note Rene: 3 ft, st aft. 8 in. in. 78 a Ltalian School. The central picture is the celebrated work by Michelangelo and — Sebastiano del Piombo, a pupil of Giorgione. 1. “ The Resurrection of Lazarus.” SEBASTIANO DEL P1ompo. ‘Christ, in the middle of the picture, uttering the words, ‘ Loose him, and let him go’; Lazarus, on the point of. being freed from his grave-clothes, occupies the right of the composition ; on all sides a throng of spectators with astonishment and conviction depicted on their countenances,” This picture, which Michelangelo is said to have partly designed, was painted in Rome between 1517 and 1519.’ “ Lhe Transfiguration,” by Raphael, and this picture were painted for the ‘cathedral at Nar- bonne. “Zhe Resurrection of Lazarus” was purchased by the Duke of Orleans, in the eighteenth century, and came into the possession of the nation in 1824, On the right is a portrait picture, attributed to the same painter— 20. “ fortraits of the Cardinal Ippolito de Medici and the Artist.” SEBASTIANO DEL Piomso. 4 ft."6 in. x3 ft. 8 in. Bequeathed by Rev. W. H, Carr, in 1831. 635. “The Madonna and Child~-with St. John the Baptist and St.— Catherine embracing the Infant”; the angel appearing to the shep- herds ; landscape background. Titian. 3 ft. 33 in. X4 ft. JE in. This picture was formerly in the Escorial, in Spain. Purchased 1860. PSs ee le Gallery XIV. 79 \% aii fi No. 1022. | 6ft.7in. X 3 ft. 5 in. 1022. “ Portrait of an Italian Nobleman,” MoRonl. One of the newly acquired portraits. . Purchased in 1876. 4 Ups by, UES No. 297. Central picture, 8 ft. 7 in. X 3 ft. ot in. 297. “ The Nativity.” It RoMANINO. Purchased in 1857. ‘‘In the centre are the Virgin and St. Joseph adoring the Infant Christ, with a choir of angels above ; on the sides on the left are St. Filippo Benizio and St. Ales- sandro ; on the right, St. Gandosio, Bishop of Brescia, and St. Jerome in the desert.” A fine altar-piece, painted in 1525 for the church of St. Alessandro at Brescia. 80 Ltahian School. 750. “The Madonna and Child enthroned,’ and other figures nearly life-size. WViTroRE CARPACCIO. 6 ft. x9 ft. 8 in. The next work on the line, once attributed to Giorgione, was” purchased on its merits for £525. 8 it, r in. x 8 ft. ¥ in. 234. “A Warrior adoring the Infant Christ” Scuoo. or BELLINI. The figures are nearly life-size, the colour rich and ‘in good pre- servation. 280. “Madonna and Child” BELLINI. Purchased in 1855, Next are two works by Cima, a Venetian painter ; school of Bellini. 634. “Madonna with the Lnfant Christ.” CIMA DA CONEGLIANO, t ft. 8L in. x1 ft 5 in. Purchased in 1860. _ 816. “ The Incredulity of St. Thomas.” CiMA DA CONEGLIANO. 9 ft. 7 in. x 6 ft. 6 in. . A large altar-piece, painted in No. 28, © aft.utin. Xaftrtin, prog, Purchased in 1870, 749. “ Portraits of the Giusti Family.” GIoLFINo, I ft. 93 in. x5 ft. 12 in. Purchased in 1864 An interesting portrait picture, hung rather out of sight. 7° a a ee eo y Gallery XIV. 81 803. “ Zhe Circumcision of the Lord.” MARzIaALE. 7 ft. 4 in. xX 5 ft. Purchased in 1869. An altar-piece, painted in 1500; numerous figures, half life-size, under a decorated vaulted roof. 695. ‘“ Madonna and Child.” ANDREA PREVITALI. t ft. 9 in.X2 ft. 3 in. Purchased in 1862. 300. “ Zhe Infant Christ standing on the Virgin’s Knees.” CIMA. 2 ft. 3 in.x1ft. 104 in. Purchased in 1858. 804. “Zhe Madonna and Child enthroned with Saints.” MARZIALE. A large altar-piece, 7 ft. 23 in. x4 ft. 73 in. Purchased in 1869. 589. “The Virgin Mary seated, an Angel presenting the Infant Christ.” Fra Fiuippo Lippi. 2 ft. 4in. x1 ft. 74 in. Purchased in 1857. 599. “ Zhe Infant Christ asleep on the Lap of the Virgin.” Marco BASAITI. Purchased in 1858. 2 ft. 2in. X 2 ft. g in. i sc mr On the scREENS are two easel pictures ; purchased in 1878— 1034. “ Zhe Nativity of the Saviour.” BOTTICELLI. The Virgin and Child, St. Joseph, and other figures ; above a choir of angels. A fine example of the painter. 3 ft. 64 in. x 2 ft. 53 In. Painted in 1500. pet 1033. “Zhe Adoration of the Magi”; a circular picture (4 ft. 32 in. in diameter) ; containing about seventy figures. Ascribed to FIutr- PINO LIPPI. ; re BAA! hole Gap One 47 "56 WEST WALL a 23-—#44—_1.68 —730—600—28—4 ; 809 694 727 Rp * OCTAGON : TY bese HALL GALLE RY AN, GY,XIV 636 169 L_1039 213-079 __g5 og a: 69 1035 Gallery XV.—Selected Italian. Michelangelo— Raphael—Titian—Giorgione—Bellini— Massaccio — Francia—Andrea del Fo Correggio—Solario, &c. In this small gallery are the selected works of the Italian school, the gems of the whole collection. Here we may best examine the drawing of Michelangelo, the colouring of Titian, Raphael, &c., and see some of the finest examples of early Venetian portraiture. Commencing near the entrance to the Octagon Hall, we find the first of two unfinished paintings in tempera, ascribed to Michelangelo. 809. “ The Madonna and Infant Christ, St. John the Baptist, and Angels.” Figures half life-size. MICHELANGELO. 3 ft. 44 in. X 2 ft. 6 in. Purchased in 1870. 923. “Portrait of a Venetian Senator,’ in black cap and red RY mantle. SoLArRIo, | No. 923. 1 ft. 74 in! x ft. 3 in. Purchased in 1875. on Next are the two most important works by Raphael— Gallery XV. 83 I No. 744. 1 ft. 3in. X 1x ft. rin. 744. “ The Madonna, Infant Christ, and St. John.” RaPHakt. Purchased in 1865. This picture, known as the “‘ Garvagh Raphael,” was formerly in the Borghese Palace at Rome; it was purchased in 1865 for £go00. No. 168. 2ft.4in. X 1x ft. gf in. 68. “St Catherine of Alexandria.” RAPHAEL, _ ** A princess of Alexandria, a Christian, who, about the year 311, was condemned ay the Emperor Maxentius to be crushed with wheels, The apparatus was broken “© pieces by an angel, and the saint was afterwards beheaded.” _ The other work by Raphael in this gallery is No. 213, on the opposite v Il (sketched on p. 86). 84 Selected [tahan. Above are two allegorical paintings, ascribed to MELozzo DA Forti, supposed to be part of a series for the palace of Urbino: 756, “ Music”; 5 ft. 13 in. X 3 ft. 251m. ;—'755, “ Rhetoric”; 5 ft. 12 in. 3 ft. 4Zin. In each a woman sits enthroned, with a man kneeling. - Z No.. 790. ¥ 5 ft. 3#in. 4 4 ft. rzin. * 790. “ Zhe Entombment of Our Lord.” MICHELANGELO. This unfinished tempera painting is the finest work we possess 0} the master. Purchased in 1868 for £2000; a No. 690. 2 ft. 4in. X x ft. ro in. “I ‘ Gallery XV. 85 23. “ The Holy Family.” CoRREGGIO. This small picture (one of the best of Correggio’s works) 1s known as “ La Vierge au Panier,’ from the introduction of a basket on the left of the composition. Purchased in 1825 for £3800. No. ae 2 ft. X.1 ft. 54 in. No. 626. a ft. 2 in. X11 in. j 4189. “Zhe Doge Leonardo 626. “ His Own Portrait.” “? Loredano.” BELLINI. MASACCIo. i Purchased in 1844. Purchased in 1859. ee 86 Selected Italian. a 777. “ The Madonna and Child.” Moranpo. 2 ft. 6 in. x 2 ft. 2 in. Purchased in 1867 694. “St, Jerome in his Study.” Ascribed to BELLINI. ; 2ft.43 in. X3 ft. 23 in. Purchased in 1862 [Door] : 169. “ The Holy Family.” Mazzouini. 2 ft. x1 ft. 7 in. 636. “ Portrait of Ariosto.” TITIAN. 2 ft. 85 in. X2 ft. Ariosto, the author of ‘Orlando Furioso,’ in low, dark purple dress and fur hanging over his shoulders ; half-length life-size. Purchased in 1860 1035. ‘Portrait of a Knight of Malta.” Francia Bicio. 1 ft. 113 in. X1 ft. 6in. Purchased in 1878 808. “ St. Peter Martyr.” G. BELuini. 1 ft. 10% in. x1 ft. 62 in. The portrait of a Dominican monk, holding a palm branch ; he ha: a knife in his head.and a dagger in his breast. Purchased in 1870 Near at hand is a small and beautiful work, one of Raphael’s earlie paintings— / 213. “ The Vision of a Knight.’ RAPHAEL. ‘Purchased in 1847 for £1050 269. “A Knight in Armour’ GIORGIONE. 1 ft. 33 in. X 103 in, This, the only authenticated work of Giorgione in the Nationa! Gallery, is supposed to bea study for the figure of San Liberale at Castelfranco. , | } Bequeathed by Mr. Samuel No. 213. RAPHARL- 7 in. X 7 in. Rogers 1 in 1855. 595. “Portrait of a Lady,” in low, dark green dress; life-size. ZELOTTI. 2 ft. 42 in. X1 ft. ro in. Purchased in 1858. The next two pictures are very Te pOae works by Titian ; the first, No. 270, known as the “ Voli me tangere,” was formerly in the Orleans Collection. | ec 5 Soe Ll ; “yf = ee ES oH SO : 3 o a £3 a ; Ay on Sheva . ov a OCR: aS © Ow 3g zB 8 : 28 tas EvAy os ao 5-04 Nie a aes) is ae a he ° ; SO a ie = . 8 e ee oo ie tee = a 3 a 2 Pa qo 2 S Se a eg © = > Soe » Pe n God O 3 ane 85 S a =) = eta a bo OF es GO ae SND ‘Yo o "ss More reed) SaaS UO . 3 ra Sr ob) : as os Seinag oe sae a S ft. rrin.X6 ft. rofin.; purchased 1861 ; and, on either side, are two paintings by GIROLAMO DA SANTACROCE (each 3 fie1t me ite.) formerly the doors of an altar-piece: 632, “4 Saint reading,” and 633, “A Saint holding a White Standard”; the figures in each are small life-size. Next are the works of PrnTuRICCHIO, commencing with 693, “ S~. Catherine of Alexandria with her Attributes; a Monk kneeling in Adoration”; 1 ft. 9% in. x1 ft. 3 in.; and, on the right, the first of three small and very interesting works, with figures on a small scale, 912, 913, 914 (painted about the year 1500), illustrating “‘ Zhe Story of Griselda,” from Boccaccio’s ‘ Decameron,’ each picture 2 ft. x5 ft. 1 in. (Nos. 913 and 914 are in opposite corners of this hall.) Q2 Ltahan School. : 102. “ The Madonna and Child.” UL’ INcecno. 1 ft. tin. X1 ft. Zin. The only work by this artist. Presented by the Queen. | Door.| 169. “St Michael and the Dragon.” FRA CARNOVALE (a Dominican friar). 4 ft. 44 in. x1 ft 11 Gn. Purchased in 1867. 639. “Christ and Mary Magdalen in the Garden.” FRANCESCO MANTEGNA. Ift. 43in.x1ft. | Purchased in 1860. Francesco was the second son of Andrea Mantegna. 729. “ The Adoration of the Kings.” BRAMANTINO. 7 ft. 10 in. X 6 ft. 11 in. An altar-piece with figures small life-size, with dark, Asiatic faces ; some of the gold ornaments, embroideries, and precious stones, are in actual relief. A good example of the artist, an architect in Milan in the sixteenth century. Purchased in 1863. 913. “ Story of Griselda.” Pinturiccuio. (Referred to on last page.) 768. “ Saints Peter and Jerome.” ANTONIO VIVARINIL : 4 ft. 6 in. x1 ft. 54 in. Purchased in 1867. Part of an altar-piece ; the only work of this early Venetian painter. 691. An “ Zcce Homo,” Lo Spacna. 1 ft.’3! in. x1 ft. Zin. Bequeathed by Lieut.-General Sir W. Moore in 1862. - | Door. | 648. “ The Virgin adoring the Infant ; Christ.” oORENZO DI CREDI. There are two good examples of this early Florentine painter; the second (No. 593) is near at hand, on the right. Purchased in 1860, Ni ANN Nii ; L N NAW PAN Moxy . oY 1400 \ H : pn ‘ SS r \ Ninos | 641. “ The Woman taken in Adultery.” 1 Lopovico Mazzouini. 1 ft. 6in. x1 ft. Purchased in 1860, | 7 | By AY 4 LY a a NSS SEY NE SA We Se ms eet NA SAS SHE .\ 2 778. “The Madonna and Child en- throned, with Saints.” PELLEGRINO DA San DanieELe. 8 ft. 2 in. X 4 ft. g in. No. 648. Crevr. 2ft. 34x rft, 94. A large altar-piece with circular top. Octagon Ffall. 93 914. “ The Story of Griselda.” PINTURICCHIO. (Referred to on p. 91.) 640. “ The Adoration of the Magi.” Dosso Dosst. 1 ft, stin.x1ft. tin. Purchased in 1860. The only work by this artist, a fresco-painter of Ferrara. 593. “ The Virgin and Child.” LORENZO DI CREDI. 2 ft. 93.in. X12 ft 75 in: [Here the visitor who has not already examined the works of the earliest Italian painters should take Gallery XVIL next in order.| In the adjoining Gallery XVIII. is the lately acquired example of Paul Veronese, at present hung with the Spanish pictures. . ys 6 ft. stin. X 3 ft. 9 in. 1041. “ The Vision of S¢. Helena.” PaoLto VERONESE. This picture, representing the vision of the Invention of the Cross, r-piece of a chapel dedicated to St. Helena at was formerly the alta Purchased in 1878. . Venice. SOUTH WALL ees 822 829 853 826 856819 955 888 gf S43-S47-861-972-839-e59-g59——_ ay 28/820 881 818 862 869827 880 sea ser Sit Sal 860 859 $58 882 857 can > GALLERY. XV] sages OCTAGON 8 ts bs . 886 HALL 830 840 871891399 _ (865 | 4 8/4 19 -838~-846-893-835-897-934-904-995-044 oe 850 878 841 879 836832 866 B48 ond 82] $37 883 842 Gallery XVI.—The Peel Collection. Ruysdael — Hobbema—Cuyp— D. Teniers —Vandevelde—Paul Potter—De Hooge—Wouwerman— Terburg— Metsu — Jan Steen— Van Ostade— Netscher — Dujardin — Bakhuizen—Wynants— Van der Heyde—Van Mieris—Vandyck—Sir Joshua Reynolds, &c. The Peel Collection was purchased in 1871; it consists principally of choice cabinet pictures of the Dutch and F lemish schools, and includes eight portraits by Sir Joshua Reynolds. Commencing on the south side, near the entrance to Gallery XIL., the first picture is— 882. “ Landscape,” with horses and figures. Puirip WouwERMAN. 9+ in. x1 ft. There are five pictures by Wouwerman in this gallery, one sketched on p. 96. Two of his best are No, 880, on the south, and No, 878, on the north wall. 854. “ Forest Scene.” J. Ruyspakt. A grand, sombre landscape, one of the finest of his works in the National Gallery. (Sketched on next page.) 857-860. “ The Four Seasons.” D. TENrERs. Four single figures, in two frames 3 painted on copper, each 83 in. x 6 in. ‘ a | ; Gallery XVIL 95 ite i. fi as x ‘ye R pe xy Ya No. 854. ** Forest Scene.” J. RUYSDAEL. 3 ft. 6in. X 4 ft. 8 in, 845. “Lady seated at a Spinning-wheel.” G. NETSCHER. Siin. <621n. Painted in 1665. There are two other highly finished works by this artist; perhaps the best is No. 843, near at hand on the right. Note the painting of flesh tints and the texture of fur, &c. in No. 845. Above the foregoing is one of eight works by Sir Joshua Reynolds which are for the present exhibited with the Peel Collection.* 885. “‘ Zhe Snake in the Grass.” Sir JosHUA REYNOLDS. 4ft. rin.X3ft. 3in. Painted for Lord Carysfoot for £105. ‘‘Love unbinding the zone of beauty; a girl seated on a bank sporting with Cupid ; on the grass is the head of a snake.” 828. “Landscape with Cattle.” DvyARDIN. 83 in. X11 in. One of four pictures by this Dutch artist; three are in this gallery, and one in Gallery XI. (sketched on p. 36). 877. “His Own Portrait.” Vanpycx. 1ft. to;in.x 1 ft. ein, Bust showing the right hand ; Vandyck’s best works are in Gallery XII. (See Zndex.) 843. ‘Blowing Bubbles.” G. NETSCHER. I ft. x g§ in. 820. “Landscape with Ruin.” NicHoLas BERCHEM. 1 ft. 6 Herbs go leas hha! Three other landscapes by this artists are in Gallery XI.; one in Gallery XII. Sa rt * The principal works by Sir Joshua Reynolds are in Gallery VII. \ 96 The Peel Collection. 881. “ Gathering Faggots.” WoOUWERMAN, An old man binding faggots, and a white horse, under a wintry sky. One of the best of Wouwer- man’s works, 847. “ Village Scene.” IsAAC VAN OSTADE. 1ft. roin. x1 ft. 72 in. There are two other paintings by Isaac, the younger brother of Adrian, van Ostade. The best is "No. 881. r ft. in. X ro#in, No. 963, in Gallery XI. (p. 32). 822. “ Horseman and Cows in a Meadow.” Cuvp. 2 ft. 8£ in. x 3 ft. 64 in. Next are two characteristic works by the younger Teniers. 861. “ River Scene,” with a cottage on the left and a chateau amongst the trees. D. TENIERS. 1 ft. 62 in. x2 ft. rin. 862. ‘ The Surprise”; an interior with three figures, and elaborately painted details in foreground. D. Tenrers. 1 ft. 42 in. X2 ft. rin. Below No. 861 is an interesting landscape, with a Dutch fishing- boat and figures on a windy shore. 818. “ Coast Scene.” Bakuuizen. 1 ft. 12 in. X1 ft. 62 in. | This and No 204, in Gallery XII. (p. 44), are the best of his five works. 872. “ Shipping off the Coast.” W. VANDEVELDE. | 1 ft. 44 in. X1 ft. 10% in. There are fourteen sea-pieces and river scenes by this artist ; two of ‘the best are Nos. 149 and 150, in Gallery XII. (p. 49). 829. “ Hunting a Stag”; the figures by N. Berchem. JAN HACKAERT. 3 fh 3 inset ee In, 839. “ The Music Lesson.” GasriEL Metsu. 1 ft. 3in. X1 ft. 2 in, One of three good examples of the highly finished work of this painter. (See No. 838, on the opposite wall, p. 103.) Gallery XVI. 97 Next are two small works by Adrian Vandevelde; the latter (sketched below) remarkable for its quality and grace of composition. 869. “Frost Scene.” A. VANDEVELDE. I14 in. X1 ft. 2 in. An elaborately painted picture, with many small figures. Painted 1668. No. 868. x ft. xin. = sien at 23 Dees ~ _ - No. dic, i 3 ft. 4t in. X 4 ft. 7% in. ‘ 830. “ Zhe Avenue.” HOBBEMA. This well-known landscape, which forms a companion picture to Ruysdael’s “ Forest Scene,” on the other side of the door (No. 854, sketched on p. 95), is a view at Middleharnis, in Holland, supposed to ve the artist’s birthplace ; a fine realistic landscape, often engraved and repeated, but unlovely both in colour and composition. IOo4 Lhe Peel Collection. 2 a On either side are two small sea-pieces by W. VANDEVELDE— 874. “A Calm at Sea.” 9 in. X 102 in. 875. “A Light Breeze.” 9 in. x 112 in, 865. “ Coast Scene.” VAN DE CAPPELLE. 1 ft. 12 in. x1 ft, 62 in. 4 840. “4 Lady, seated, feeding a Parrot.” FRANS vAN MIERIS, The only example of this artist. Painted on copper, g in. X 7 in. Lastly, there is another small landscape— 833. “ Forest Scene.” Hoppema. 1 ft.Xx1 ft. 33 in. [Door to Gallery XIT.] Through the door, on a screen in Gallery XII., is the one work ascribed to ROGER VAN DER WEYDEN (the elder), one of the early — Flemish painters. No. 664. 2 ft. roin. X 2 ft. 4 in. 664. “The Deposition in the Tomb.” Joseph, St. John, and the Virgin Mary, and others,* Purchased in 1860, * It is worth while to step back a few feet to see the picture, and then examine it closel the year 1450. powerful effect of this y. It was painted i tempera on linen, about WEST WALL. 575 571] 570 572 577 573 574 576 581 249-569 —_630 701 276 578 594 580 oe 586 248 579 BLE) AVAL ible soe a 227 752 215 565 564 i eee 8 J DOOR ————-772 OCTAGON - HALL Gallery XVII.—Earliest Italian. Cimabue—Giotto—Orcagna—Margaritone—Uccello—Taddeo Gaddi— Schiavone—Cosimo Tura— Lippi, &c. In Gallery XVII.—leading out of the Octagon Hall, and rather removed from the rest of the collection—are the works of the old Florentine painters; they are principally altar-pieces with gold back- grounds and elaborate antique frames; religious subjects painted in tempera, in the thirteenth and fourteenth centuries. The first in order is a delicately decorative altar-piece by a painter unknown— 568. “ Zhe Coronation of the Virgin.” SCHOOL OF GIOTTO. 5 ft, rr in. X3 ft. 1 in. Painted in 1330. Purchased in 1857. 565. “Zhe Madonna and Child enthroned,” angels adoring ; figures larger than life. Cimasue. 6 ft. 3 in. x5 ft. 6 in, Purchased in 1857. This is the only example we possess of Cimabue, the father of modern painting ; it was formerly in the church of Santacroce at Florence, where other works by him are to be seen. The next picture (sketched over-leaf), the prevailing colours in which are red and black, is said to be the oldest in the National Gallery. 564. “The Virgin and Child,’ with scenes from the lives of the saints. MARGARITONE. Painted in tempera on linen cloth attached to wood, 2 ft. 9 in.x5 ft. 9 im. Purchased in 1857. (See sketch on next page.) a ee x ae 106 Earliest Italian. SS hee, eo LT No. 564. “ The Virgin and Child.” MARGARITONE. 2 ft. gin. X 5 ft. g in. 215 and 216. “Various Saints”; apparently the wings of an altar- ’ piece. ScHoon or TappEo Gappi. Each 5 ft. ro in. X3 ft. 4 in. Presented by Mr. W. Coningham. Above is a frame, in the shape of a cross, representing— 567. “ Christ on the Cross”; the Virgin and St. John. SEGNA DI BUONAVENTURA. 7 ft. 1 in. x6 ft. Purchased in 1857. 579. “The Baptism of Christ in the River Jordan.” SCHOOL OF TaDDEO GappI. Altar-piece, 11 ft. x 6 ft. 7 in., in several com- partments. Painted in 1387. Purchased in 1857. 580. “St John the Evangelist lifted up into Heaven.” CASENTINO (a pupil of Gaddi). Altar-piece in twenty-two compartments, 9 ft. 5 in.x 8 ft. 5 in. Purchased in 1857. Below is a triptych formerly in a gallery at Pisa— 566. “‘ Zhe Madonna and Child with Angels, &¢.” Duccio DI BUONINSEGNA. 2 ft. X 2 ft. 7 in. . Purchased in 1857. The only work by Duccio, of Siena, a contemporary of Cimabue, 594. “Saints Cosmas and Damianus” receiving the divine blessing according to the Greek rite. EMMANUEL (a Greek priest, and painter, in Venice in the seventeenth century). 2 ft. 2 in.x 1 ft. 9 in. Purchased in 1857. 249. “ The Marriage of St. Catherine.” LORENZO DI SAN SEVERINO- (a painter of the Umbrian school, fifteenth century). 4ft. 9 in. x 4 ft. 9 in. The centre of the west wall is principally occupied by a fine altar- piece, and several smaller paintings (Nos. 569-578), by ORCAGNA, one of the most distinguished of the early Florentines, whose frescoes and other works in Florence and Pisa are well known. aia es _ a ; Se ee eee ee aes oe ed cP] ges Me eis os eee ee | ee ee ee Gallery X VII, 107 569. “ Zhe Coronation of the Virgin”; angels and saints in adoration. ORCAGNA. 9g ft. 7 in. X13 ft. 1 in. 570-578. “ The Trinity,” &c., being portions of the above in separate frames, each 3 ft. 2 in. x1 ft. 7 in. Purchased in 1857. (No. 578 is on the right, on the north wall.) 581. “St. John the Baptist,’ with St. John and St. James ; three figures small life-size. SPINELLO. 6 ft. 2 in. x5 ft. rin. (in compartments). Purchased in 1857. 630. “ Zhe Madonna and Child enthroned,” with various saints. G. ScHrtavone. An altar-piece in ten compartments. : Purchased in 1860. Next is the only work by Giotto, the famous Florentine painter and sculptor of the thirteenth century ; architect of the Campanile at Florence, whose finest decorative paintings are to be seen at Assisi and Padua. a ANU 70; DS = mi Y\ No. 276. t ft. 7#in. X 1 ft. 7¢ in. 276. “ Two Apostles.” GIOTTO. A fragment (saved from a fire) from one of the wall-paintings in the church of Santa Maria Novella at Florence ; one of the last works of Giotto. Purchased in 1856, 701. “ Zhe Coronation of the Virgin.” Justus OF PADUA. A small and very interesting triptych, representing incidents in the life of the Virgin, by one of Giotto’s followers. Centre, 1 ft. 53 in. X 82in. ; wings, 1 ft. 53 in. X 43 In. Presented by the Queen. 586. “ Zhe Madonna and Child enthroned.” FRA Fitippo Lippi. Figures nearly life-size; centre, 5 ft. 4 in.X2 ft. 4 in; sides, each 4ft. 8in. x1 ft. 103 in. Purchased in 1857. 108 Earliest I Hae 248. “Zhe Vision of St. Bernard.” FRa Fitippo Lippi. ie 3 ft. 2in.x3ft. 5$in. Purchased in 1854. — The best examples of Lippi are Nos. 666 and 667, in Gallery XIII. (see pp. 59 and 57). 596. “ Zhe Deposition in the Tomb.” Marco PALMEzzANo. Half- 4 figures, life-size. 3 ft. 3in.x5 ft. 52 in. ' Purchased in 1858. ~ 6 ft. X zo ft. 5 in. 583. “ The Battle of Sant Egidio,” July 7, 1416. PaoLo UCCELLO. One of four battle-pieces originally painted for the Bartolini family — in Gualfonda. There is a background of hills in the painting not q indicated in the sketch, which otherwise gives a good idea of the composition. Purchased in 1857. 227. “ St Jerome in the Desert,” and saints, &c. Cosimo ROssELLI. — An altar-piece, with several small compartments, formerly at Fiesole. — Size of central picture, 5 ft. x5 ft. 8 in. Purchased in 1855. Rosselli’s principal works are frescoes in the Sistine Chapel, Rome. 752. ‘ Madonna and Child,’ with angels above. Lippo DALMASIO. 3 ft. 7in.X2 ft. roin. Purchased at Bologna in 1865. — 284, “The Virgin and Child”; behind are St Pani heldinais Genta and St. Jerome with a book in his hands. BARTOLOMMEO VIVARINI. — 3 ft. rin. x2 ft. rin, Purchased at Venice in 1855. — The last of this quaint and suggestive collection is— a 772. ‘ The Madonna and Child enthroned.” Costwo Tura (whose — other works we have seen in Gallery XIII.). 7 ft. 10m. x3 ft. 4 in. Purchased in 1867. — 195 Tal Slate et Ferns 9B (= i DOOR ee A EMERY <)> XVUL 2 sornac OCTAGON HALL 244 74) 154 104.13 148 Gallery XVIII.—Spanish School. Murillo—Velazquez—Spagnoletto—Zurburan—Moro. There are only twelve works of the Spanish school. The first is one of four examples of Velazquez, which it will be convenient to examine together. 232. “The Nativity,” or, “ Adoration of the Shepherds.” Figures nearly life-size. VELAZQUEZ. 7 ft. 7 in.X5 ft. 6 in. An early example of the painter. Purchased at the sale of Louis- Philippe’s collection, in 1853, for £2050. In the centre of the wall is a large landscape, with numerous figures on a small scale, representing— 197. “Philip IV. of Spain hunting the Wild Boar.” VELAZQUEZ. 640 2 im. Xzosts stn. This picture was formerly in the palace at Madrid. Purchased in 1846, for £2200. 745. “ Portrait of Philip IV. of Spain.” VELAZQUEZ. A duplicate of this picture is in the Madrid Gallery, where some of the best of Velazquez’s a works are to be seen. No. 745. 2 ft. xin, X.x ft. 8} in. IIO Spanish School. The remaining example—74l, “4 Dead Warrior,” “El Orlando j Muerto,” VELAZQUEZ, 3 ft. 5 in. x5 ft. 5 in. ; life-size figure of an armed ~ man, with dark background of clouds—is on the opposite wall. ; Next should be noticed the three paintings by Murillo, whose great works are to be seen at Seville. = Norok. 1 ft. 3in. X g in. 74. “A Spanish Peasant Boy.’ MuRit10, This well-known picture, an early work, was formerly in the collection of the Marquis of Lansdowne. Presented by Mr. M. Zachary, 1826. ae ee en ae No. 176. 5 ft. 5in. X 3 ft. 7 in, 176. “St. John and the Lamb.” MuRILLo. ~ Purchased in 1840. ee ee — di oe — ar Gallery XVIII. III No. 13. g ft. 6 in. X 6 ft. 10 in. 13. “ Zhe Holy Family.” MuRILLO. This well-known picture (remarkable as an example of Murillo’s later style, and also for the representation of the Deity in the clouds) was painted when Murillo was about sixty years of age; it was purchased for the National Gallery, with “ Z7ze Brazen Serpent,’ by Rubens, for 47350. There is a similar work in the Louvre. 1041. (Seep. 93.) 244, * Shepherd with a Lamb.” SPAGNOLETTO. 4ft. 43 in. xX 3 ft. 64 in, Bequeathed by Lord Colbseners 1854. The other work by Giuseppe Ribera, called “Lo SpAGNOLETTO,” is on the west wall— 235. “The Dead Christ”? SPAGNOLETTO. 4 ft. 2 in. x5 ft. 10 in. The Virgin weeping over the dead Christ; four figures, life-size. Presented by Mr. D. Barclay. The above do not fairly represent this painter, some of whose best pictures are at Madrid. . > a ~ ny - ye 112 Spanish School. — On the north wall is a-good portrait— 184. “ Portrait of Jeanne d’Archel,’ in a curious red velvet dress and — black cap; excellent in character and colour. ANToNn1y Moro. 2 ft. 5 in.x 2 ft. 12 in 195. “A Medical Professor”; half-length. PAINTER UNKNOWN. 3 ft. 2 in. x2 ft. 54in. Purchased in 1845, as a work of Holbein. The last picture is a sombre, life-size figure, the one good example of a distinguished painter of Seville in the seventeenth century— 230. “A Franciscan Monk.” FRANCISCO ZURBARAN. Purchased in 1853. Name. ALBERTINELLI, MARIOTTO ALLORI, CRISTOFANO ALUNNO, NICCOLO ... ANGELICO (FRA G. DA Fresoxz) TA REIGEN: Lys cr, nee eee Baroccl, FEDERIGO.. BASAITI, MARCO BASSANO (JACOPO DA Ponte) .. BELLINI, GIOVANNI . BELLINI, GIOVANNI (SCHOOL oF) BELTRAFFIO, G. ANTONIO BENVENUTO DA SIENA BIBIENA, FERDINANDO Bicio, FRANCIA BIssOLo, FRANCESCO Bes, HENRIK DE ... «- BoccaAcciINno, Boccaccio ... BoL, FERDINAND BONO OF FERRARA ... BONSIGNORI, FRANCESCO.. ‘BoRDONE, PARIS. BorGoGNnoneE (A. DA “FossANO) Boru, JAN .. BOTTICELLI (SANDRO ‘Frnirer!) BouRDON, SEBASTIEN j Bouts, DIERICK BRAMANTINO (BARTOL SUARDI) BRONZINO, ANGELO . CANALETTO (ANTONIO ‘CaNate) CaARACCI, ANNIBALE as CaRAcclI, LopOvIco is CARAVAGGIO (AMERIGHI) — CARNOVALE (CORRADINI) CARPACCIO, VITTORE CASENTINO, JACOPO DE ... CHAMPAIGNE, PHILIPPE DE Cima (G. DA CONEGLIANO) CIMABUE (G. GUALTIERI) a CLAUDE (GELEE) DE LORRAINE CLOUET, FRANGOIS ... CoQquEs, GONZALES ... CoRREGGIO (ANTONIO ALLEGRI) Costa, LORENZO _ .. qs CRANACH (LUCAS SunpER) CREDI, LORENZO DI. CRIVELLI, CARLO Cuyp, ALBERT ... DALMASIO, LIPPO DAVID, GHERARDT ... DE HOOGE ... De KEYSER... DE KONING ae DIETRICH, J. w. ERNST ... DotclI, CARLO ... DOMENICHINO (D. ZAMPIER!) Dossi, Dosso Dow, GERARD ... * When an asterisk BERCHEM (BERGHEM), NICHOLAS School. Tuscan Tuscan Umbrian Tuscan Dutch Roman Venetian Venetian Venetian Milanese Tuscan Dutch Bolognese Florentine Venetian Flemish Lombard Dutch Ferrarese Veronese Venetian | Milanese Dutch Tuscan French Dutch Milanese Tuscan Venetian Bolognese Bolognese Roman Umbrian Venetian Tuscan Flemish Venetian Tuscan French French Flemish Parman Bolognese German Tuscan Venetian Dutch Bolognese Flemish Dutch Dutch Dutch German Florentine Bolognese Ferrarese Dutch Born. | Died Pages. 1475 | 1515 | 2% 1577 | 1621 | 19 15th century | 63 1387 | 1455 | 57, 6 1631 | 1709 35 44 48 96, 98 1528 | 1612 15th century os 81 1510 | 1592 | 22, 1426 | 1516 62, 63, 80, 85, 86 1467 | 1516 | 69 1436 | 1517 | 60 1624 | 1683 | 27, 31, 35» 53, 95 1657 | 1743 | 34 1482 | 1524 | 86 16th century | 61 1480 | 1550* 15th century 1611 | 1681 15th century 1455 | 1519 1500 | 1571 15th century 1610*| 1656 ; 23,42, Aly 43 1447 | 1510 | 57, 63, 5, 81 1616 | 1671 | II 1391 | 1475 | 47 16th century | 92 1502 ) 1572 | 21, 70, 71 1697 | 1768 | 17; 29, 39 34s 35» 37 1560 | 1609 15, 16, 17, 1 1555-| 1619 | 14 1569 | 1609 | 20 15th century | 92 1450 | 1522*| 80 1310 | 1390*| 106 1602 | 1674 | 12 16th century | 80, 81 1240 | 1302 | 105 1600 | 1682 | 8, 9, 10, II, 12, 13, 36 1510 | 1574*| II 1614 | 1684 | 37, 102 1493 | 1534*| 19, 72 85 1400 | 1535 | 66, 67 1472 | 1553 op 1459 | 1537 15th century oe 23 60, 62, 63 1605 | 1691 35,35 3s 39 Ad 96 1 14th century 108 v=, 44 1523 45 17th century | 55, IOI, 102 1595 | 1660 } 53 1619 | 1689 | 29, 102 1712 | 1774 | 54 1616 | 1686 | 29 1581 | 1641 | 20, 22, 23 1560 1675 1480 93 1613 31, 52, 101 (*) is inserted, the date of birth or death has not been authenticated. DUvuccio DI BUONINSEGNA DvUJARDIN, KAREL DURER, ALBRECHT .., ELZHEIMER, ADAM .. EMMANUEL Pathan ENGELBERTSZ, CORNELIS... ERCOLE DA FERRARA (ERCOLE GRAND)I) ... fe re, me FORLI, MELOzZO DA... ... FRANCIA (F. RaIBoLini)... EVT, JAN: os Gis ie eae GADDI, TADDEO (SCHOOL OF)... GAROFALO (BENVENUTO TISIO) GIOLFING, (NICcOLO % fa fae GIORGIONE (GIORGIO BARBA- RELL) 20.0 user dasa ee “ GIORGIONE (SCHOOL OF) ... GIOTTO DI BONDONE GIOTTO (SCHOOL oF) G0ZZOLI, BENOzzo a GREUZE, JEAN BAPTISTE GUARDI, FRANCESCO i. GUERCINO (G. F. BARBIERI) ... GUIDO (GUIDO RENI) ae HACKAERT, JAN... HALS, FRANS We Aged, Vee HEMESSEN, CATHARINA VAN ... HOoBBEMA, MEINDERT HOLBEIN, SIGMUND ... , HONDECOETER, MELCHIOR HUCHTENBURG, JOHAN VAN ... HvUYSMAN, CORNELIS ; HUYSMANS, JACOB ees OF PADUA oats Mae NELLER, Sir GODFREY, Bt. ... LANCRET, NICOLAS ... oes LANINI, BERNARDINO LELY, Sir PETER LIBRI, GIROLAMO DAI ow LIESBORN, THE MEISTER VON L’ INGEGNO (ANDREA DI Luici) LINGELBACH, JOHANN bg Lippi, FILIPPINO Lippi, FRA FILIppo ... LOcHNER, STEPHAN... LODOVICO DA PARMA LOOTEN, JAN. 4. bce ee L’ OrRTOLANO (G. B. BENVENUTI) Lotto, LorRENzo ae a MAAS, NICHOLAS Fi MABUSE (JAN GOSSAERT)... MANTEGNA, ANDREA MANTEGNA, FRANCESCO ... MARATTA, CARLO MARGARITONE ... ... MARZIALE, MARCO ... ... ... Masaccio (Tommaso GuID}) ... MATsys, QUINTIN ear oe MAZZOLINI, Lopovico MELONE, ALTOBELLO MEMLING, HANS os MESSINA, ANTONELLO DA Tuscan Dutch German German Byzantine Dutch Ferrarese Umbrian Bolognese Flemish Tuscan Ferrarese Veronese Venetian Tuscan Tuscan French Venetian Bolognese Bolognese Dutch Flemish Flemish Dutch German Dutch Dutch Flemish Flemish Tuscan German French Milanese Dutch Veronese German Umbrian German Tuscan . | Tuscan German Lombard Dutch Ferrarese Venetian Dutch Flemish Paduan Paduan Roman Tuscan Venetian Tuscan Flemish Ferrarese Lombard Flemish Venetian 1260 | 1339*| 106 1635 | 1678 | 36, 95, 97, 98 1471 | 1528 | 47 1574 | 1620 | 36 17th century | 106 1468 | 1533 | 47 1462 | 1531 | 23 1438 | 1494 | 84 1450 | 1517*| 65, 88 17th century | 30 1300 | 1366*| 106 1481 |.1559 | 18, 68, or 15th century 1477 | 1511 | 71, 86 = — | 26 1276 | 1337 | 107 bin. me AES | 1420 | 1498*| 59 1725 | 1805 | 13, 32 1712 | 1793 | 17 1592 | 1666 | 16 1575 | 1642 1636 | — *| 96 1584 | 1666 | 55 16th century | 89 1638 | 1709 1465 | 1540 1636 | 1695 | 30, 53 1646 | 1733 | 39 1648 | 1727 | 35 1656 | 1696 | 54 14th cent 107 1646 | 1723 | 48 1690 | 1743 | 12, 13 1508 | 1578*| 69 1618 | 1680 | 35 1472 | 1555 | 68 15th century | 46 15th century | 92 1622 | 1687 | 102 1460 | 1505 1412 | 1469 ——' | Tagr® 16th century 17th century 16th cent 1480 1538 1632 | 1693 1470 | 1532* 1431 | 1506 1470 | 1517* 1625 | 1713 1216 | 1293 15th century 1402 | 1428 1466 | 1530 148i | 1530 15th century 15th century 1414 Bice: 59 39, 37, 50, 99, IOI, 1 32 [104 28, 57, 63, 67, 81 57, 59, 81, 107, 108 46 OF 53 71 75 39, 54 28, 44 61, 66, 67 92 16 105, 106 81 85 26, 47 15, 86, 92 27, 45, 46 03, Name. School Born. | Died. METSU, GABRIEL. Dutch 1615 | —* MICHELANGELO (BuoNaRnoT!) Tuscan 1475 | 1564 MIERIS, FRANS VAN. Dutch 1635 | 1681 MIERIS, WILLEM VAN... Dutch 1662 | 1747* MoLA, PIETRO FRANCESCO Bolognese 1612 | 1668 MontTAGNA, BARTOLOMMEO ... | Venetian 15th century MORANDO, PAOLo ... . Venetian 1484 | 1522 MoretTvT0, It (AL. BonviciNo) Venetian 1500 | 1560 Moro, ANTONIJ Flemish 1512 | 1581 MorRONE, FRANCESCO Veronese 1474 | 1529 Moront, GIAMBATTISTA... ... | Venetian I510 | 1578 MOUCHERON, FREDERICK pE | Dutch 1633 | —* MURILLO (BART. ree) Spanish 1618 | 1682 NEEFS, PIETER.. Flemish 1570 | 1651 NETSCHER, GASPAR.. ~ Dutch 1639 | 1684 ORCAGNA (ANDREA DI CIonE) Tuscan 1315 | 1376 ORIOLO, GIOVANNI . ..- | Ferrarese 15th century OsTADE, ADRIAN VAN Dutch 1610 | 1685 OsTADE, ISAAC VAN. Dutch 1621 | 1657 PACCHIAROTTO, JACoro .. ... | Tuscan 16th century PADOVANINO (A. VAROTARI)... Venetian 1590 | 1650 PALMEZZANO, MARCO ... | Roman 1456 | — * PANNINI, GIOVANNI PAoLo ... | Roman 1691 | 1764 PARMIGIANO (FRANCESCO MARIA MAZZOLA)... os ae 1503 | 1549 PATINIR, JOACHIM DE ... Flemish 1490 | 1524 PERUGINO (P. VANNUCCI) Umbrian 1446 | 1524 PERUZZI, BALDASSARE ... Tuscan 1481 | 1536 PESELLINO (F. DI PESELLO) . Tuscan 1422 | 1457 PIERO DELLA FRANCESCA Umbrian 15th century PIERO DI COSIMO ... Tuscan 1462 | 1521 PINTURICCHIO (B. DI BETTO)... Umbrian 1454 | 1513 PISANO (VITTORE PISANELLO) Venetian 15th century POELENBURG, CORNELIS Dutch 1586 | 1666 POLLAJUOLO, ANTONIO ... .. Tuscan 1430 | 1498* PONTORMO (JACOPO Caruccl) Tuscan 1493 | 1558 PoRDENONE, G. A. Licinio ... | Venetian 1483 | 1539 POTTER, PAUL . ts Dutch 1625 | 1654 POTTER, PIETER i Dutch 17th century PoussIN, GASPAR (DuGHET)... French 1613 | 1675 PoussIN, NICOLAS ... pa French 1594 | 1665 PREVITALI, ANDREA _... Venetian 1480 | 1523 RAPHAEL (RAFFAELLO SANTI) Roman 1483 | 1520 REMBRANDT (R. HARMENS) ... | Dutch 1607 | 1669 REYNOLDS, Sir a a English 1723 | 1792 Ricci, SEBASTIANO . Venetian 1659 | 1734 RIGAUD, HYVACINTHE ... French 1659 | 1743 ROMANINO (GIROLAMO RoMANI) Venetian 1480 | 1550* ROMANO (GIULIO PIPPI)... ++ Roman 1492 | 1546 Rosa, SALVATOR eee eee oes Neapolitan 1615 | 1673 ROSSELLI, COSIMO ... «- Tuscan 1439 | 1500 ROTTENHAMMER, JOHANN German 1564 | 1623 RUBENS, PETER PAUL ... os Flemish 1577 | 1640 RUYSDAEL, JACOB ... Dutch 1625 | 1681* SALVIATI (FRANCESCO Rossi) _ Tuscan 1510 | 1563 SAN DANIELE, PELLEGRINO DA | Venetian 16th century SAN SEVERINO, LORENZO DI... | Umbrian 15th century SANTACROCE, GIROLAMO DA . Venetian 16th century SANTI, GIOVANNI «. Umbrian 15th century SARTO, ANDREA DEL (ANDREA p’ AGNOLO VANNUCCHI) i a uecan 1487] 5531 SASSOFERRATO (G. B. SALvI)... | Roman 1605 | 1685 Pages. 26, 96, 103 82, 84, 91 104 102 17, 23 6 3 63, 86 73> 77 112 65 79, 745 75 77; 79 100 110, III pele) 62, 6 57, 91, 92, 93 58 27 37, 60, 61, 67 81 69, 83, 86 —_[53, 54, 103 39, 41, 43, 48, 49, 51, 525 95, 98, 99, IOI, 103 14, 71, 73 16, 20, 34 Se [97 SF 40 4 As aor BOO 28, 99S eae ee 23, 36, 37 [94, 95) 9 Name. SAVERY, ROELANDT... SAVOLDO, G. G. 3 SCHALCKEN, GODFRIED . SCHIAVONE, GREGORIO .. SCHOEN, MARTIN (SCHONGAUER) ScHOOREL, JAN SEBASTIANO DEL PIOMBO. = . _ BASTIANO LUCIANTI) Hy SEGNA DI BUONAVENTURA ... SIGNORELLI, LUCA ... na SOLARIO, ANDREA DA = bee SPAGNA, Lo (G, DI PIETRO) . SPAGNOLETTO (GIUsS. RIBERA) SPINELLO (SPINELLO ARETINO) STEEN, JAN WOE ia TACCONI, FRANCESCO. TENIERS, DAVID (the elder) TENIERS, DAVID (the younger) TERBURG, GERARD... . TINTORETTO (JACOPO Rosusti) TITIAN (TIZIANO Magee os TITIAN (SCHOOL OF) . TREVISO, GIROLAMO DA. TURA, Cosimo us _TURNER, J. M. W. ... UCCELLO (PAOLO DI Dono) UNKNOWN PAINTERS VAN DE CAPPELLE, JAN VAN DEELEN, DIRK VAN DER Gos, Hueco ... VAN DER HELstT, BARTH. VAN DER HEYDE, JAN VAN DER MEIRE, GERARD VAN DER NEER, A... VAN DER PLAAS, DAVID (or FIBTER) CF 2s VAN DER WeYDEN, a (elder) VAN DER WEYDEN, R. Gone VANDEVELDE, ADRIAN ... VANDEVELDE, WILLE» ... VANDYCK, ANTONY.. VAN EYcK, yAN Star VAN EYCK, MARGARET .. VAN Huysum, JAN .. VAN Os, JAN ms VELAZQUEZ, Don DIEco.. VENEZIANO, BARTOLOMMEO ; VENEZIANO, DOMENICO . VERNET, CLAUDE JosErH VERONESE (PAOLO CAGLIARI) ¢ VINCI, LEONARDO DA _ VIVARINI, ANTONIO VIVARINI, BARTOLOMMEQ WALSCAPELLE, JACOB WEENINX, JAN Wi, 0005 <2: WILLIAM OF COLOGNE ds WILS, JAN .5, .. WouWERMAN, PHILIP WYNANTS, Wan... Raa ee, | ZELOTTI, BATTISTA .. (eee cabot ZOPPO, MARCO .. Adis ZURBARAN, FRANCISCO oe School. Dutch ’ Brescian Dutch Paduan German Dutch Venetian Tuscan Tuscan Lombard Umbrian Neapolitan Tuscan Dutch Cremonese Flemish Flemish Dutch Venetian Venetian Venetian Ferrarese English Tuscan Dutch Dutch ee Flemish Dutch Dutch Flemish Dutch Dutch Flemish Flemish Dutch Dutch Flemish Flemish Flemish Dutch Dutch Spanish Venetian Venetian French Veronese Tuscan Venetian ‘Venetian Dutch Dutch German Dutch Dutch Dutch Veronese Bolognese Spanish Born. | Died. 1576 | 1639 15th century 1643 | 1706 15th century 1420 | 1488 1495 | 1562 1485 | 1547 14th century 1441 | 1524 15th century 16th century 1588 | 1656 1330 | 1408* 1626 | 1679 ee century 1582 | 1649 1610 | 1694 1608 | 1681 1512 | 1594 1477 | 1576 1497 | 1544 15th century 1775*| 1851 1390 1479 17th century 17th century 1467 | 1482 1613 | 1670 1637 | 1712 15th century 17th century 1647 | 1704 1400 | 1464* 1450 | 1529 1639 | 1672 1633 | 1707 1599 | 1641 1390 | 1440* 15th century 1682 | 1749* 1744 | 1808 1599 | 1660 16th century 15th century 1714 | 1789 1528 | 1588 1452 | 1519 15th century 15th century 17th century 1644 | 1719 14th century 17th centur, 1620 | 166 17th century 1532 | 1592 15th century 1598 | 1662 28, 30, 36, 49 58, 107 89 45 69, 78 33, 35 27, 31, 38, 40, 52, 94, 96, 39, 00 [98 74 , 73, 76, 77, 78, 86, 87 28, 35, 37, 88, 89, 112 2), Sty 351 37 104 46, 47 41 29, 32, 100 44, 47 33, 49, 52, 53 39 104 44, 46 25, 29, 31, 36, 97, 98 24, 31, 37, 49, 96, 98, 99, 31, 40, 43, 49, 55,95 [104 48, 88, 89 32, 34, 94, 96, 98, 102 31, 32, 98, 100 86 62 112. at GETTY RESEARC | tii uN a Ge TEE ) A vA i ae el \ iy wage OCA has’ as?) 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