Burlington Jfine Bets Club. 
 
 EXHIBITION 
 
 OF 
 
 PI C T U R E S 
 
 BY MASTERS OF THE 
 
 ETHER LAN DISH 
 
 AND ALLIED SCHOOLS OF XV. AND EARLY XVI. CENTURIES. 
 
 LONDON: 
 
 PRINTED FOR THE BURLINGTON FINE ARTS CLUB. 
 
 ... 1892. 
 
tie Library of 
 
Digitized by the Internet Archive 
 in 2015 
 
 https://archive.org/details/exhibitionofpictOOarms 
 
Burlington fine Hvts Club. 
 
 EXHIBITION 
 
 OF 
 
 PICTURES 
 
 BY MASTERS OF THE 
 
 NETHERLANDISH 
 
 AND ALLIED SCHOOLS OF XV. AND EARLY XVI. CENTURIES. 
 
 LONDON: 
 
 PRINTED FOR THE BURLINGTON FINE ARTS CLUB. 
 
 1892. 
 
Metchim & Son y London. 
 
LIST OF CONTRIBUTORS. 
 
 *G. P. Boyce, Esq. 
 
 Mrs. Stephenson Clarke. 
 *Sir Francis Cook, Bart. 
 
 The Earl of Crawford and Balcarres. 
 *C. T. D. Crews, Esq. 
 
 The Duke of Devonshire. 
 
 Isaac Falcke, Esq. 
 
 The Corporation of Glasgow. 
 
 Stephen Gooden, Esq. 
 
 Captain Holford. 
 
 Kenneth Muir Mackenzie, Esq., Q.C. 
 Percy Macquoid, Esq. 
 
 *Alfred Morrison, Esq. 
 
 J. Fletcher Moulton, Esq., Q.C 
 *The Earl of Northbrook, G.C.S.I., F.R.S. 
 
 The Earl of Pembroke. 
 *Sir J. C. Robinson. 
 *George Salting, Esq. 
 
 Monsieur Leon Somzee. 
 
 Earl Spencer, K.G. 
 
 William Spread, Esq. 
 
 Edward Steinkopff, Esq. 
 
 The Earl of Verulam. 
 
 Henry Willett, Esq. 
 
 * The Contributors whose names are marked with an asterisk are Members of the Club. 
 
INTRODUCTION. 
 
 T used to be the fashion to assert that the brothers Dates, and 
 
 Authorities 
 
 Van Eyck created Flemish painting, as Aristotle created USED- 
 
 the science of Logic. Later investigations tend to show 
 
 that progress was continuous, from the revival of the productive 
 
 instinct in the early Middle Ages onwards. The school of art 
 
 which flourished in the Netherlands between 1400 and about 
 
 1550 was only the most brilliant development from the Gothic 
 
 school of the Lower Rhine. The oldest Flemish pictures yet 1260. 
 
 discovered, a series of large and coarsely executed frescoes in the Messager des 
 
 Sciences et des Arts 
 
 Byloque hospital at Ghent, date from the thirteenth century, de la Belgique, 
 
 They are excelled by some later works of the same class in the is\t[ p. 224' 
 
 old Guildhall, in which we find much to remind us of the early 
 
 Italians. Even the great name of Giotto is recalled here and ^Q 0 - 
 
 there by the simplicity and directness of the conception. Some 
 
 Flemish writers contend that these works prove the great 
 
 movement of the early fifteenth century to have had a purely 
 
 national origin, and to have had little or no root in the 
 
 ecclesiastical art of mediaeval Germany. This seems to be a 
 
 patriotic opinion. The Christ, the Virgin, and the John the 
 
 Baptist, of Hubert van Eyck, have more analogy with the 
 
 extant productions of the old school of Cologne, than with the 
 
 Bayeux-tapestry-like procession of archers at Ghent. Perhaps 
 
 the fairest way to put it will be to say that, so far as it 
 
 was ecclesiastical, the early art of the Netherlands was affiliated 
 
vi. 
 
 directly upon the art of mediaeval Germany, whose head-quarters 
 
 were at Cologne ; and, so far as it was secular, that its determining 
 
 cause was the remarkable personality of Jan van Eyck, 
 
 whose immediate inspiration seems to have come from the 
 
 pleasure he took in painting the donors' portraits in votive 
 
 pictures. The famous Ghent altarpiece, of which the Adoration 
 
 of the Lamb is the chief panel, represents at once the highest 
 
 point reached by development from the old Gothic school, and 
 
 the first achievement of that modern, naturalistic spirit which 
 
 animated the painter of our John Arnolfini, and of the Berlin 
 
 Man with the Pink. 
 
 In attempting a short sketch of the school's development, it will 
 
 be well to start with the historical period, which may be said to 
 
 begin with the formation of those Guilds from whose books so 
 
 much of our earliest data are gleaned. 
 
 A. J. Wauters : These institutions were mostly founded in the second and third 
 
 La peinture 
 
 Flamande (1883). quarters of the fourteenth century. The Guild of S. Luke at 
 
 1337- Ghent dates from 1337, the year of the famous treaty with England, 
 
 that of Tournai from 1341, that of Bruges from 135 1, that of 
 
 Louvain from about 1359, while the Corporation at Antwerp 
 
 was formed in 1382. It is to the books of these guilds and to the 
 
 records of their ecclesiastical patrons that the historian must turn 
 
 for most of his early facts. 
 
 The first mention of pictures, as distinct from mere wall 
 
 1353- decorations, occurs in 1353, when Jan van der Most painted a 
 
 Ed. de Busscher: Martyrdom of S. Lilvin for the Abbey of S. Bavon, at Ghent. 
 Recherches sur les 
 
 peintres Gantois, A few years later one Hugo Portier painted a S. Amand pulling 
 
 1370. down an altar to Mercury for the same abbey. The chief artist of 
 
 1378 to 1386. this time was Jan van Voluwe, painter and illuminator to the 
 
 Pinchart: Archives Dukes of Bumundy. His works, however, like those of his 
 des Arts, vol. iii., 
 
 p. 96. predecessors, have disappeared, and almost the sole picture from 
 
 these early years we now can point to is a Calvary, dated 1363, in 
 
vii. 
 
 the Museum of Antwerp. Ten years later we find several painters 
 
 who have left traces behind them, mainly in illuminations. Jehan 1372 to 1377. 
 
 de Bruges was peintre et varlet de chambre de Monseigneur le roi 
 
 Charles V., about 1 372— 1 377 ; Andre Beauneveu, his contemporary, 1374*01390. 
 
 was painting in 1390 at the chateau of the Dukes of Berri, at Froissart. 
 
 Meun-sur-Yevre ; Jehan de Hasselt was painter to the Count of Busscher. 
 
 Flanders about 1380 : fragments exist in the Church of Notre Dame i3 86 - 
 
 at Courtrai which may be ascribed to him ; Melchior Broederlam 1383 to 1409. 
 
 worked at Ypres from 1383 to 1409, and also at Dijon, where Annates de la 
 
 Socltte Arch'eolo- 
 
 examples of his art may be seen in the museum ; Jacques Cavael gique d? Ypres, 
 
 vol. ii., p. 175. 
 
 also worked at Ypres. Jan Malouel, painter and varlet to 
 
 J 399- 
 
 Jean Sans Peur, who painted his master's portrait in 1 4 1 5 for Wauters: Bulletin 
 
 de V Acad. R. de la 
 
 John II. of Portugal, brings us down to the end of the tentative Belgique; 1883, 
 
 p. 317. Desalles: 
 
 period, and to the birth of Hubert van Eyck. M'emoires pour 
 
 servir a Phistoire 
 de France, p. 138. 
 
 Urtiatic $)etiigm of tlje Van iHijck GJrmip. 
 
 Hubert van Eyck 
 I 
 
 Jan van Eyck 
 
 1415- 
 
 Petrus Cristus Antonello da Messina 
 
 The date of Hubert van Eyck's birth is pure matter of 137° (?) to 1426. 
 
 conjecture. Van Mander gives it as 1366. This date may be Van Mander: 
 
 Het Schilderboek, 
 
 too early, but the probabilities point to one not much later. It 1618. Tr. by H. 
 has now been ascertained that his brother Jan died in July, 1440. French ! *Ze°Zivre 
 M arcus van Vaernewyck, in his History of Belgium, published Paris 188"' 
 in 1565, says that Jan was still young at his death. Supposing Guicciardini : 
 
 1 -ii » 1 11 11 r t 1 Descrittione di 
 
 that still young means 50, that would put the date 01 Jans tutta Paesi Bassi; 
 
 birth in 1490. On the other hand, Van Mander tells us that TheThapter^n 
 
 Jan died very old, and that he was much younger than Hubert, ^ ^sa^ fo^ his 
 
 This latter statement is borne out by the tradition which identifies Second Edition. 
 
 In his First he 
 
 the brothers with the two most conspicuous figures in the lower ignores Hubert. 
 
vili. 
 
 Van Vaemewyck : right hand volet of the Ghent altarpiece, now in Berlin. Here 
 
 De Histoire van 
 
 Belgis of Kronyke the apparent difference is at least 20 years. On the whole it is 
 
 de Nederlandsche 
 
 oudheid, 1568. fair to say that Hubert cannot have been born much later than 
 Kugler: Hand- 1370. If we allow, and the internal evidence is entirely on the 
 
 book of Painting, 
 
 Waagen's Ed.; side of doing so, that the seven upper panels of the Ghent altar- 
 London, 1874. 
 
 Crowe and Caval- piece are mainly, at least, by the elder brother, then to Hubert 
 
 Cciscllc ; Ecifly 
 
 Flemish Painters; VAN Eyck belongs the credit of having put the crown on the first 
 development of Flemish art. The conceptions of Hubert are 
 
 Michiels: Histoire 
 
 de la Peinture architectonic. His figures are large in design, full of dignity, and 
 thoroughly restful in aesthetic effect. The encyclopaedic minuteness 
 
 L. de Laborde : 
 
 Les dues de Pour- of J an is conspicuous by its absence. Breadth, grandeur, dignity, 
 ^ >49 intellectual coherence are the qualities aimed at and achieved. 
 
 There is nothing in the younger brother's work to suggest that 
 he was capable of such things as the seven upper panels of the 
 Ghent altarpiece, or, conversely, in those panels themselves, to 
 warrant our crediting their author with the teeming detail of 
 the five lower pictures. Hubert van Eyck died on the 1 8th 
 September, 1426, leaving his great work unfinished. Reluctance 
 has sometimes been shown to allow him the credit he deserves. 
 There has been a propensity to make more of the better known 
 and more "modern" brother, and to avoid acknowledging the 
 supremacy in design of the elder. The three chief figures of 
 the Ghent altarpiece are richer in style than anything of Jan's. 
 Their nobility and their truth are of a different sort from his. 
 Hubert was an idealist, Jan a realist; Hubert had the loftier, Jan 
 the more original, mind. In Hubert's hands a model was an 
 instrument to give a fuller dignity, a deeper humanity, to the 
 old conceptions. Jan seems to have had no room for this double 
 ideal. With him the concrete thrust out the abstract, and, especially 
 in his later days, he became the most literal of all great painters. 
 
 The only things which can be ascribed with any confidence to 
 Hubert van Eyck are those panels of the S. Bavon polyptych 
 
ix. 
 
 in which a manner and style distinct from those of Jan appear. 
 
 Pictures exist in various collections in which critics have fancied 
 
 they discerned the same hand. The most important is a large 
 
 altarpiece in the Madrid Gallery. Some call it a comparatively 
 
 late production, others see in it a worthy rival to the Adoration 
 
 of the Lamb itself. In a picture lent by Sir Francis Cook to the 
 
 present Exhibition, the Holy Women at the Sepulchre, there are 
 
 parts which show a strong affinity to the upper panels of the Ghent 
 
 altarpiece. I would especially point to the Angel seated on the tomb, 
 
 who bears a very striking resemblance to Hubert's choristers. 
 
 In Jan van Eyck we see the sudden irruption of the natural, 
 
 the modern, spirit, into the old idealistic world. No matter 1390 (?) to 1440. 
 
 what the subject may be with which he has to deal, he Va sari: Vite,&c. 
 
 Vol. 7, p. 579. 
 
 takes his actors from the world about him and poses them, as . 
 
 r > Morelh sAnommo, 
 
 it were, for the ancient parts. The true devotional spirit is andth< ~ authorities 
 
 r r quoted for 
 
 quite absent from his work. Even the Adoration of the Hubert. 
 
 Lamb — the lower part — is rather a well-contrived pageant than w ' V' 
 
 1 r & Weale : Notes sur 
 
 an expression of any deep-rooted idea. It was by the actual that J ea " Z an Eyck 
 
 ' J L J and Catalogue du 
 
 Jan van Eyck was fascinated, and only in his dealings with it Musee de V Acad- 
 
 emie de Bruges. 
 
 do we find the consummate artist, Look, for instance, at the 
 Vierge ait. Donataire in the Louvre. Every part is admirable 
 except the head of Mary and the personality of the Child. The 
 figure of Rollin himself, the drapery of the Virgin, the architecture 
 of the room, and the marvellous landscape seen through its arcades 
 — all these are wonders of curiosity, of technical skill, and of 
 aesthetic balance, while the two heads which should be the centre 
 and crown of it all are of the dullest clay. The number of 
 Van Eycks in England has decreased rapidly within the last 
 few years. The Madonna, with a kneeling Donor, of Lord Exeter, 
 the Jan Arnolfini, of Mr. Nieuwenhuys, and a Christ Blessing, 
 an interesting but unsatisfactory picture, have all left us for Berlin. 
 The only indubitable examples we still possess are the three 
 
X. 
 
 pictures in the National Gallery, and the small Virgin and Child, 
 from I nee Hall, now in this Exhibition. Lord Heytesbury's 
 S. Francis receiving the stigmata is, in the opinion of some 
 judges, an old copy from the similar picture in the Royal Gallery 
 of Turin. 
 
 The man of whom we can say with most confidence that 
 1444 to 1472. he was a pupil of Jan van Eyck, is Petrus Cristus. He 
 
 Crowe and Caval- wa s born at Baerle, between Tilbourg and Hoogstraeten. In 1444 
 
 caselle : Early 
 
 Flemish Painters; he obtained the freedom of Bruges. In 1463 he was commissioned 
 Ed. 1879, p. 135. 
 
 to paint a banner for the town. In 1472 he represented the 
 Catalogue of r t/ r 
 
 Berlin Museum, Painters' Guild in a dispute with Pierre Coustain, the Duke's 
 
 1 89 1 : Repertorium 
 
 fur Kimstwissen- painter. He was a true disciple. Not only were his technical 
 sckaft, ii., 419. 
 
 methods like those of his master, his ideals, too, were similar. 
 
 His aim, unconscious or otherwise, was to unite the notions 
 
 he inherited to the actual life he found about him. His best 
 
 picture, a S. Eligius selling a ring to a young couple (Oppenheim 
 
 Collection, Cologne), is the realization of such a scene as might 
 
 have occurred any day in a Bruges shop. The only sign of 
 
 unusualness is the halo round the canonized goldsmith's head. 
 
 Petrus, however, was not so helpless before the ideal as his 
 
 master. He painted a Hell, now in Berlin, in which there is no 
 
 lack of vigour or invention, although the companion scenes, an 
 
 Annunciation, a Nativity, and a Last Judgment, are poor enough. 
 
 It was in portraiture that he chiefly shone. Two good examples 
 
 of his work in that line are here, another is in the National Gallery 
 
 (No. 696), and a fourth in the Berlin Museum (No. 532). 
 
 1444 (?) to 1493. The accounts which would give Jan van Eyck a second 
 
 Vasari, vol. ii., . .. ........ . 
 
 p> 5 g 3> immediate pupil in the Italian, Antonello da Messina, 
 
 Crowe and Caval- nave been discredited by a consideration of dates, and yet 
 
 caselle : Early 
 
 Flemish Painters, it is impossible to believe that the painter of the Portrait 
 p. 230 (Ed. 1874); 
 
 and Painting in numbered 1141 in the National Gallery built himself, not upon 
 
 North Italy, 
 
 vol. ii., p. 77. the author of the Man with the Red Turban (No. 222), but 
 
XI. 
 
 upon Roger van der Weyden. The two pictures express 
 identical ideas in identical methods. Even the lowering of tone 
 which distinguishes Jan van Eyck from his most important 
 successors is exactly repeated in the work of Antonello. The 
 whole truth about Antonello's relation to the Flemish school 
 has yet to be discovered. 
 
 The immediate influence of Jan van Eyck on Flemish art 
 was curiously small. As a master and head of a school he was 
 eclipsed by Roger van der Weyden. The individuality of Roger 
 was in no way comparable to that of Jan, but as a vulgarisateur, 
 as a lubricator of the wheels of art, he was by far the more 
 useful man. 
 
 Morelli : Italian 
 Masters in 
 German Galleries, 
 p. 376 (Ed. 1883). 
 
 &rti£ttc lUetiigue of tije iscfjool of §&ogcr b. lie SHepnt. 
 
 Roger van der Weyden 
 
 Hans Memlinc Hugo v. der Goes Jodocus v. Ghent Dirck Bouts 
 
 Geeraert David Geeraert v. der Meire Joachim Patinier 
 
 1399 (?) to 1464. 
 
 Catalogue of the 
 Brussels Gallery, 
 1889. 
 
 Van Mander. 
 
 Crowe and Caval- 
 caselle. 
 
 Journal des Beaux 
 Arts, 1863, p. 63. 
 
 A. Wauters: Roger 
 vati der Weyden, 
 scs ceuvres, drc. ; 
 Brussels, 1856. 
 
 A. Pinchart: Roger 
 van der Weyden et 
 les tapisseries de 
 Berne (Bulletin de 
 FAcad R. de 
 Belgique, S. 2, 
 vol. 17, p. 54 ■ 
 Brussels, 1864). 
 
 Thierri Bouts Albert Bouts 
 
 Jan Gossaert (?) Quentin Metsys (?) Jean Bellegambe, of Douai 
 
 &c. 
 
 Italian writers say that Roger was the pupil of Jan van Eyck, 
 but of that we have no confirmation. He was born at Tournai, 
 in all probability, about 1400. His family name was De la 
 
xii. 
 
 Pasture, in Flemish Van der Weyden. He was entered in the 
 Guild Books of S. Luke in 1427, when he was already married. 
 He worked at Tournai from 1427 to 1432, under one Robert 
 Campin, and in the latter year was admitted to the rank of Master. 
 In April, 1435, we find him settled in Brussels, which had just 
 come under the sway of Philippe le Bon. In 1436 he was already 
 in the enjoyment of his title as Portraitair de la Ville. In 1449 
 he set out for Italy, inaugurating the era of artistic pilgrimages to 
 the South, and possibly putting into the heads of Italian Masters 
 that knowledge of a new method which was to bear such rapid 
 fruit. In [451 he was back in Brussels, and there he died in 1464. 
 In some ways Roger was a finer workman than Van Eyck. He 
 had a fuller sense of decoration in colour, and a keener eye for 
 pictorial balance. Van Eyck's harmony is apt to depend on a 
 general embrowning of his tones ; in a fine Roger you will see tints 
 as pure as those of Memlinc, used with such complete judgment, 
 in the matters of quality and optical contrast, that a unity not less 
 profound than Van Eyck's is won. The finest Van der Weydens 
 I know are the two John the Baptist triptychs, in the Museums of 
 Frankfort and Berlin respectively, and the little Holy Conversation 
 in the former collection of which a school version with variations 
 (No. 19) has been lent to the present Exhibition by Sir Francis 
 Cook. All these are finer in design and more complete in artistic 
 unity than the more famous Descent from the Cross, in Madrid, 
 which is engraved in all the books. 
 
 The table on the opposite page of Roger's family is confined 
 to those members who had to do with art: — 
 
xiii. 
 
 Roger van der Weyden Wauters: La 
 
 Peinture 
 
 1 400 ( ?) — 1 464 Flamande. 
 
 Peter (i.) John (goldsmith) 
 
 1437 — still living 15 14 l 43& — 1468 
 I 
 
 Goswyn Peter (ii.) 
 
 1465 — still living 1538 living 1506 
 
 Roger (ii.) 
 about 1505 — between 1537 and 1543 
 
 Catherine, married to Lambert Ricx, painter 
 
 It has been already intimated that the school of Roger van 
 der Weyden was the most important of the fifteenth century. It 
 included among its scholars Hans Memlinc, Dirck Bouts, Jodocus 
 van Ghent, and Hugo van der Goes. All these became great 
 personalities on their own account, and will be talked of presently. 
 Meanwhile it is necessary to say that the influence of Roger is 
 to be traced in anonymous pictures in all the galleries of Europe. 
 
 One of the finest is the double portrait in the National Gallery W.^Bode: 
 
 natssance au Musec 
 
 (No. 653), which used to be ascribed to Roger van der Weyden, de Berlin. Gaz. 
 
 des Beaux-Arts, 
 
 the Younger, another is the Death of the Virgin, in the same 2nd Series; vol. 
 
 xxxv., pp. 204-220. 
 
 collection, formerly given to Martin Schongauer, which displays 
 the same hand as No. 29 in the present Exhibition. The National 
 collection has no proper specimen of Roger. The Mater Dolorosa 
 (No. 711) and the Ecce Homo (No. 712) are good examples of 
 the unimportant class to which they belong, but the Deposition 
 in the Tomb (No. 664), seems rather to be the work of his pupil, 
 Bouts. 
 
XIV. 
 
 1430 (?) to 1495. The greatest of Roger's disciples was, of course, Hans 
 
 Memlinc, the real facts of whose career are only now coming to 
 light. In 1753, Decamps published the firstlings of a romance 
 which was destined to be accepted for more than a century as 
 
 *Laviedes the life of "Hans Hemmelinck."* According to this legend, 
 
 Peintres 
 
 Flamands, Hans Memlinc was born at Damme, near Bruges, served as a 
 
 Allemands, et 
 
 Hollandais, vol. i., soldier under Charles the Bold, was wounded at Nancy, was 
 
 p. 12 (ed. 1753). nursec [ at Hospital of S. John, at Bruges, fell in love with a nun, 
 married an heiress, and finally died at the Carthusian Monastery 
 
 W. H. James of Miraflores, near Burgos. Memlinc was really born at Mainz, 
 Weale : Hans 
 
 Memlinc, a Notice about 1 430. In 1 478 he was living at Bruges, in his own house. 
 
 of his Life and , 
 
 Works (Arundel In 1480 we find his name among those who contributed to the loan 
 Society; 1865), . . , r . . _ , . 
 
 and Catalogue du towards paying the costs 01 the war between r ranee and the 
 
 Mustv de Buige^. j? m p eror y[ ax j n 1487 he lost his wife, Anne, by whom he had 
 Crowe and Caval- 
 
 caselle. had two sons and a daughter, and on August nth, 1494, he died 
 
 himself, leaving his children still minors. The triptych in the present 
 Exhibition is the earliest work of his to which an approximate date 
 can be given. The latest is the famous Chasse of S. Urstila, at 
 Bruges, which was finished in 1489. Of all the leaders of the early 
 Flemish school, Memlinc is the most difficult to class, to describe in 
 a formula. His personality is not so marked as those of the Van 
 Eycks or Roger. His enthusiasm, his intense feeling for the 
 sweeter sides of beauty, his love for what is idyllic in life, his 
 touch of effeminacy, and his desire to force tints to their utmost 
 glow, give his art a curious modernity. His weakest point lay 
 in a want of unity. The grand simplicity of Hubert van 
 Eyck was beyond him, and his most ambitious works, such as 
 the Seven Joys of the Virgin, at Munich, are collections of anecdotes 
 rather than organised creations. As a painter, pure and simple, 
 Memlinc was very great. His Virgin and Child with S. George, in 
 the National Gallery, and his Triptych, from Chiswick House, in the 
 present Exhibition, show a command of the palette scarcely equalled 
 by any other Flemish Master. 
 
XV. 
 
 The most famous of Memlinc's pupils were Geeraert van 
 
 der Meire, of Ghent, Geeraert David, of Bruges, and Joachim 
 
 Patinier, of Antwerp. The biography and the ozuvre of Van 
 
 der Meire are still in a state of almost complete obscurity. A t 174. 
 
 certain number of pictures are assigned to him in the Galleries of Cr ™ e and Caval - 
 r & caselle. 
 
 Antwerp, Bruges, Rome, Madrid, and other places, but upon no Van Mander> 
 
 more solid ground than conjecture. Certain assertions are made Guicciardini. 
 
 about him in the books, partly on the authority of Guicciardini, Ed. de Busscher: 
 
 Reclierches sur les 
 
 partly on that of a now discredited MS. of the fifteenth century, peintres Gantois; 
 
 1 Ghent, 1859, 
 
 quoted in the Belgian Messager des Sciences for 1824, and partly p . 205 . 
 on that of Van Mander. All that we know for certain is that 
 he was elected Sub-Dean of the Ghent Corporation in 1474, and 
 that he was a sufficiently good artist to leave a great reputation 
 behind him. 
 
 The second Gerard, the one who called himself Geeraert 1460 to 1523. 
 
 David, has been re-introduced to the world by Mr. Weale. He }Y; J ames 
 
 J Weale, in Le 
 
 was born at Oude water, in South Holland, in 1460, and came Beffroi, U.S. i., 
 
 224. 
 
 thence to Bruges to learn his art. In 1483 he was received a £ rowe ancl r ava ] 
 
 Master into the Guild, and in 1501 served the office of Dean. caselle - 
 
 In 1496 he married Cornelia (see Catalogue, p. 17), daughter of 
 
 Jacob Cnoop, Dean of the Guild of Goldsmiths. In 1508 he 
 
 became a member of the Brotherhood of N.D. de l'Arbre Sec, 
 
 and in 1523 he died. In the work of David largeness and serenity 
 
 of conception are combined with considerable breadth of execution, 
 
 and with a predilection for deep general tones very unlike the 
 
 jewelled brilliancy of Memlinc. He is without the creative touch. 
 
 His pictures are passages, rather than coherent wholes. But they 
 
 often have a dignity and reserve surpassed by no other member 
 
 of the school. So far as quality goes, his best picture is probably 
 
 the panel in the National Gallery on which a canon kneels in 
 
 adoration in the presence of three saints. A small Adoration of 
 
 the Kings (No. 1079) in the same collection is probably by David 
 
XVI. 
 
 also. Other important works by him are a triptych at Genoa, 
 
 in the Municipal Palace ; a triptych, a Last Judgment, and an 
 
 Execution of Sisamnes, at Bruges ; a Crucifixion at Berlin ; an 
 
 Adoration of the Kings at Munich; and a very large Virgin with 
 
 Saints in the Museum of Rouen. 
 
 1515-1524. Closely allied with David was Joachim Patinier, over whose 
 
 Woermann: doings there is still much confusion. Patinier is often credited with 
 
 History of Paint- 
 ing, English Ed. the invention of landscape painting, a notion which can hardly be 
 
 p. 7 o. 7 ' ' sustained in presence of what Van Eyck and Memlinc had done 
 
 Madrazo: Cat. of before he was born. He painted landscape backgrounds for David 
 
 Madrid Museum. 
 
 and others, and some critics believe he never did anything else. 
 
 In the Museums of Vienna, Antwerp, Madrid and Carlsruhe, there 
 
 are pictures signed by him which give a clue to his manner of 
 
 treating figures. Patinier is said to have been in North Italy 
 
 early in the sixteenth century. A landscape lately added to the 
 
 National Gallery (No. 1298) shows the influence of his example 
 
 over the Venetian painters, and may be compared, with lively 
 
 interest, with the small panel in the present Exhibition. 
 
 1465-1482. Hugo van der Goes was probably a native of Ghent, but we 
 
 Crowe and Caval- do not hear of him there until 1465-66. From 1473 to '75 he was 
 caselle, p. 155. 
 
 E de Busscher- D ean of the Painters' Guild; in 1476 he entered the Monastery of 
 
 Recherches, &c, Rooden-Klooster, near Soignies ; in 1482 he died. His only 
 
 pp. 65, 105, 113, _ . . . 
 
 11 7- authenticated picture is the great Portinari altarpiece in the 
 
 A; Wauters: hospital of Santa Maria Nuova at Florence, although a signed 
 
 Ungues van der r & & 
 
 Goes; savie et ses g John in the Desert, dated 1472, exists in the Gallery of Monaco. 
 centres; Brussels, J 
 
 1S72. Taking the Portinari altarpiece as a test, many works by Hugo can 
 
 ^d^BeMque^' ^ e P omte< ^ to ^ n Continental Galleries, while the famous Holyrood 
 S. 2, vol.ii.,p. 737. panels, which were in the Stuart Exhibition, are probably the most 
 important examples in Great Britain. They are excelled in quality, 
 however, by the fragment of an altarpiece — perhaps one wing of a 
 diptych — which has been lent to the present Exhibition by the 
 Corporation of Glasgow. 
 
xvii. 
 
 To return to the older generation, and the pupils of Roger 1465. 
 van der Weyden. The third great disciple of Roger was Jodocus H75- 
 of Ghent, who is but a name in this country, although Dr. Waagen J^g"' vo ' vu- ' 
 ascribed to him the Exhumation of S. Hubert (No. 783), in the Crowe and Caval- 
 National Gallery. His only authenticated work is a Last Supper in j^jj^' s ^^71, 
 the Accademia of Urbino. It is the largest picture known of the ^^"'^"f m 
 early Flemish school, measuring 9 feet by 10 feet 6 inches. P- 5 6 3- 
 Jodocqs, or Justus as he was called in Italy, lived at the Court of 
 Urbino from 1465 to 1475. The dates and places of his birth and 
 death are unknown. He is looked upon by many critics as the 
 connecting link between Roger van der Weyden and the school of 
 Metsys at Antwerp. 
 
 As in other cases, it is only upon the evidence of style 1415 (?) to 1475. 
 
 that we can base our opinion that Dirck Bouts was a pupil of 
 
 Roger. He was a native of Haarlem, where, according to 
 
 Van Mander, he was born after 1400. It now seems to be 
 
 agreed that his birth could not have occurred much before 1420. 
 
 The first thing we know about him for certain is that he was settled, Van Mander. 
 
 a married man, in Louvain in 1448. In 1466-68 he painted the E. van Even: 
 
 ^* ^ 1 Thierry Bouts, dit 
 
 Last Supper and the Martyrdom of S. Erasmus, in the Church Stuerbout ; 
 
 Brussels, 1861; 
 
 of S. Pierre, and, on their completion, was named " pourtraiteur also: Thierry 
 
 Bouts, dix lettres d 
 
 de la ville." In the following years he painted a Last Mons.A.Wauters; 
 
 Judgment, now lost, the two large panels dealing with the legend Louvain ' l86 4- 
 
 A. Wauters: 
 
 of Otho, in the Museum of Brussels, and many pictures dis- Thierri Bouts, ou 
 
 (t dc Hcicxi'lciii ct 
 
 tributed through the Galleries of Europe. Among the best sesfils; Brussels, 
 
 of these we may name a triptych at Munich (Nos. 107, 108, l86 ^' 
 
 Crowe and Caval- 
 
 109), the chief panel of which is a most exquisite Adoration of the caselle, p 321 
 Kings, and the four volets of the Louvain Last Supper, now divided 
 between the Museums of Munich and Berlin. In the National 
 Gallery there are three pictures which are either by Bouts or 
 painted under his immediate influence. The Deposition, already 
 alluded to as assigned to Roger (No. 664), seems to be by Dirck's 
 
XV111. 
 
 own hand. The Virgin with Saints (No. 774), formerly given to 
 
 Hugo van der Goes, and the Portrait (No. 943), long called 
 
 Mcuilinc, by himself, are much quieter and greyer in colour than 
 
 usual with Bouts, but otherwise they are quite in his manner. 
 
 As a colourist, Bouts was the most forceful of all the early 
 
 Flemings. In his finest things, such as the Munich triptych, he 
 
 reaches an unequalled glow of tone. His composition is faulty as a 
 
 rule, and he lacks the knowledge of form which distinguishes Van 
 
 der Goes and Memlinc. He left two painter sons, Thierri and 
 
 Albert, to whom, no doubt, some of the weaker productions which 
 
 bear the father's name should be ascribed. 
 
 1466 to 1530. The two Flemish painters who formed the chief links between 
 
 E. van Even: trie an( J trie new j c l eaS) we re OuENTIN METSYS and Jan 
 
 L Ancienne ecole 
 
 de Peinture de Gossaert, commonly known as Mabuse. The greater artist of 
 Louvain; Brussels, 
 
 1870. the pair was Quentin Metsys, around whose name so much 
 
 P. Ge'nard : Nas- romance has accumulated. The known facts of his life are few. 
 
 poringen over den 
 
 geboortsplaats en He was born at Louvain in 1466 ; before 1491 he had taken up his 
 
 de familie van 
 
 Quinten Massys; abode at Antwerp, where he wrought the famous well-cover in front 
 
 of the cathedral. Durer visited him in 152 1, and in 1530 he died. 
 
 Antwerp, 1870. 
 Woermann : 
 
 History, &c, Who his master was we do not know. As a painter his greatest 
 vol. ii., p. 62. 
 
 merit lay in his recognition of artistic unity, of the necessity to 
 
 organise, subordinate, and generally control his ideas. He was, 
 
 Vasari, vol. vii., too, a marvellous executant. No one, perhaps, combines 
 
 P 5 ' 4 minuteness of finish with general breadth of effect in quite the 
 
 Van Mander. 
 
 A Woltmann' same degree. His chord of colour is peculiar. His flesh is cool, 
 
 DunrundAIabuse Dut p- 0 l c l en with a very slight tendency towards rosiness, his more 
 
 m Prag," Ausfier- & ' J t> : 
 
 jahreshunderten," positive tints are pervaded by a suggestion of violet. His 
 Berlin, 1878. 
 
 „ _ most important pictures are the Deposition, at Antwerp ; the 
 
 E. van Even: 11 c L 
 
 £ Ancienne koh Legend of S. Anne, at Brussels; the Virgin in Glory, at 
 de Louvain, &>c. s J s J 
 
 S. Petersburg; the Banker and his Wife, signed, and dated 15 14, 
 in the Louvre ; Christ, zvith the Virgin and S. John, at Madrid ; 
 and the Virgin E7ithroncd, in the Berlin Gallery. It has been 
 
XIX. 
 
 suggested that the Portrait of a Man in a praying attitude, in the 
 National Gallery (No. 1081), is by him. The best Metsys in 
 England is no doubt the SEgiditis, at Longford Castle. 
 
 Jan Gossaert, commonly known as Mabuse, was born at 
 Maubeuge, near the French frontier, about 1470. His early 
 years are wrapped in the greatest obscurity, and it is only from 1470101541. 
 his work that we guess him to have been a pupil of Ouentin Woermann: 
 Metsys. The finest, or at least the most important, example voL^pp^V-fo. 
 of his early manner is the large Adoration of the Kings at 
 Castle Howard. It is a picture distinguished by extraordinary 
 richness of subject and finesse of execution rather than by more 
 artistic qualities. In 1508 Mabuse went to Italy, after which only 
 his portraits are interesting. Of these, a superb example is in 
 the present Exhibition (No. 43). Another is in the Berlin 
 Museum (No. 586A), a third is in the National Gallery (No. 656), 
 and a fourth in the possession of Lord Brownlow (Dr. Bode). 
 Mabuse died at Antwerp in 1 541. 
 
 The Dutch side of all this school began, so far as we can trace 
 
 it, with Albert van Ouwater. The facts of Albert's life are Active 1430 to 
 
 unknown, and until the recent discovery of a picture described as 46 °" 
 
 Van Mander. 
 
 his by Van Mander, we had nothing to go upon in assigning even „ , . , 
 3 & s i & & w Bode . m the 
 
 an approximate date to his career. The picture in question, a Jahrbuch der 
 
 Koniglich Preus- 
 
 Resurrection of Lazarus now in the Berlin Museum, points to about sicken Kunstsamm- 
 
 hingen ; Berlin, 
 
 the middle of the fifteenth century. It is an excellent work, vol. for 1890. 
 
 extremely well composed, painted with decision, and nearly as 
 
 fine in colour as a Bouts. Albert van Ouwater had a pupil 
 
 named Gerard or Geertjen, who lived at Haarlem, in a hostel 
 
 belonging to the Knights of S. John, and was thence called 
 
 Geertjen van Sint Jan. He is said to have died at the age 
 
 of twenty-eight, and yet to have painted pictures fine enough to 
 
 attract Durer's attention during his visit to Holland. His most Van Mander. 
 
 important work was a triptych in the Groote Kerke of Haarlem. 
 
XX. 
 
 Two volets in the Imperial Gallery at Vienna have been identified 
 as parts of it through the description left by Van Mander ; they 
 are vigorous rather than pleasing. 
 
 Ertisttc lictiigrce of tfje ISarlg Hititci) painters. 
 
 Albert Ouwater 
 
 Geertjen van Sint Jan 
 I 
 
 Cornelis Enghelbrechtsz 
 
 Jakob Janszen 
 
 or Lucas Huigensz, or Jacobsz, 
 
 "Jakob v. Haarlem" called Lucas van Leyden 
 
 Jan Mostaert 
 
 Jerome v. Aaken 
 or 
 
 " Jerome Bos " 
 
 Jakob Cornelisz Jan Swart 
 Jan Schoorl 
 
 Dirck jacobsz 
 
 David Jorisz Allart Claesz 
 
 I 
 
 &c. Pieter Aartzen 
 
 1468 to 1533. 
 Van Mander. 
 
 Van Mander. 
 
 Vasari — (" Luca 
 d'Holanda,") 
 vol. v., p. 406. 
 
 Bartsch : 
 Le Pe'nitre 
 Graveur, vol. vii. 
 P- 33 1- 
 
 Cornelis Enghelbrechtsz was born at Leyden in 1468. He 
 is said to have modelled himself on the works of Jan van Eyck. 
 His chief production is a fine triptych in the Leyden Museum, a 
 Crucifixion, with the Sacrifice of Abraham and the Brazen Serpent 
 for volets. In it we find the first signs of that naturalistic humour 
 which was to be a permanent feature in Dutch art. Cornelis left 
 three painter sons ; but his chief claim to distinction as a master 
 depends upon Lucas van Leyden. Lucas Huigensz, as he called 
 himself, had for his father one Hugo Jacobsz, and so in books we 
 find the name of Jacobsz given to the son. He was born in 1494, 
 and learnt his art under Engelbrechtsz. After some years of 
 success at home, he set out on a zuanderreise, in the manner of his 
 
XXI. 
 
 friend Durer. During his travels he lost his health, and six years 1494 to 1533. 
 
 after he returned to Leyden, he died, having scarcely completed 
 
 his thirty-ninth year. In spite of his short life, Lucas van Leyden 
 
 produced a great deal of work. Bartsch catalogues seventy-four 
 
 plates by him, and his pictures are fairly numerous. Very few, 
 
 however, are to be found in Holland. The Louvre has none, and 
 
 many that bear his name in other Galleries are not his. A fine 
 
 example is in Buckingham Palace, two small pictures of first-rate 
 
 quality are in the present Exhibition, and good specimens are to 
 
 be seen at Vienna, at Madrid, and especially at S. Petersburg. 
 
 Leyden has a large Last Judgment, unfortunately much injured. 
 
 Contemporary with Lucas van Leyden was Jan Mostaert, of 1470 to 1555-6. 
 Haarlem, who was born in 1470, and died in 1555 or 1556. He Van Mander. 
 was the pupil of an obscure artist of Haarlem, Jakob Janszen ^^™ aI ^ c : 
 by name. No picture is positively authenticated as his, but the vo1 - P- 7 6 - 
 tradition which names him as the author of a Virgin in the Church of 
 Notre Dame, at Bruges, has much to be said for it. xVccepting that 
 ascription, the hand of Mostaert is to be recognised in most of the 
 more important Galleries. No. 41 in the present collection is equal 
 to the Bruges picture in quality. This, and other works by the 
 same hand, show their author to have been strongly affected by the 
 example of David, whom he excelled in delicacy, and in that sense 
 of enveloppe which gives such a charm to Lord Northbrook's panel. 
 Mostaert was the last Netherlander who can be numbered among 
 the primitives. After him came Jan Schoorl, the Dutch Mabuse. 
 
 The fame won by the Flemish School in the fifteenth century, 
 put it somewhat in the position enjoyed by the Roman school three 
 centuries later. Painters all over Germany looked upon a stay 
 in some Belgian city as a part of their education, and so, beside 
 the Flemish school proper, we have those groups of artists in 
 whose work Flemish influence is to be more or less clearly traced. 
 They are represented in the present Exhibition by fine examples 
 
XXII. 
 
 of Nicholas Lucidel of Nuremberg, of Barthel Bruyn of 
 Cologne, and of the much disputed painter known as the 
 Master of the Death of the Virgin, as well as by specimens 
 of the French, or Burgundian, variations on the Flemish ideal. 
 
 WALTER ARMSTRONG. 
 
CATALOGUE. 
 
 The heights and widths are measured inside the frames ; and the height is in all instances 
 given first. 
 
 " Right " and " Left " refer to the proper rights and lefts of the pictures, not the right and left 
 of the spectator. 
 
 EARLY FRENCH SCHOOL. 
 
 1 The Annunciation. 
 
 To the left, seated on the floor beside a canopied bed draped with 
 scarlet, the Virgin reads from an illuminated book upon her knee. To the 
 right, the Archangel enters and advances towards her, carrying in his hands 
 a golden sceptre. Above them hovers the holy dove. On the tiled floor in 
 the background, a lily in a blue and white porcelain pot, and a seat with a 
 scarlet cushion. 
 
 Circular panel 8 inches in diameter. 
 
 Lent by Kenneth Muir Mackenzie, Esq. 
 
 EARLY FRENCH SCHOOL. 
 
 2 Virgin and Child with Angels. 
 
 The Virgin, a half-length figure, turned slightly to the left, bends over 
 the Infant, who lies on a white pillow, supported by one of the angels on the 
 left. The other holds up his hands in adoration. On the right, two 
 worshipping angels contemplate the group. The Virgin wears a blue robe, 
 with crimson mantle. Background of gold. 
 
 Panel. Size 14^ by 10^ inches. 
 
 Lent by Henry Willett, Esq. 
 
 ANTONELLO DA MESSINA (?). 
 
 3 The Infant Christ, with Virgin and Saints Adoring. 
 
 The Holy Child lies in the foreground of an open landscape. On His 
 right kneels the Virgin, in a blue robe. Beside her S. Joseph, in red, takes 
 off his cap in salutation to the group of Saints. On the left of the picture, 
 a Cardinal, as donor, kneels in adoration, protected by S. Jerome and 
 S. Sixtus (IV). 
 
 Panel. Size 20^ by i$% inches. 
 
 Lent by the Corporation of Glasgow. 
 
2 
 
 FLEMISH SCHOOL OF THE EARLY SIXTEENTH CENTURY. 
 
 4 Portrait of Count Floris d'Egmont (?). 
 
 Keeping in view the approximate date of the painting, the only persons 
 whom this portrait can represent are Francis ist of France (d. 1547), 
 Floris d'Egmont (d. 1539), Ferry de Croy (d. 1524), Ferdinand of Castile 
 (d. 1564), Frederick of Bavaria (d. 1566), Felix of Werdenberg (d. ), 
 and Francis de Melun (d. 1547). The monogram of F E. (the E reverted) 
 points to Floris of Egmont. 
 
 Panel. Size 14% by 10^ inches. 
 
 Lent by Percy Macquoid, Esq. 
 
 ANTONELLO DA MESSINA (?). 
 
 5 Holy Family. 
 
 In the centre the Virgin, seated, supports the Infant Christ with her 
 left arm, and with her right hand turns the pages of a book resting on the 
 seat beside her. On the left S. Joseph (?) approaches to caress the child, 
 who turns with extended arms towards him. The Virgin wears a close 
 fitting blue dress, and over it a voluminous drapery of crimson, lined with 
 green. Her fair hair falls on her shoulders, and is confined by a black fillet 
 with jewelled clasp on the forehead. S. Joseph wears a scarlet mantle over 
 an underdress of blue. The background is formed by a figured cloth of 
 estate, and green curtains right and left, that to the right drawn back from 
 an arched aperture showing a distant landscape. The following account is 
 pasted on the back of the panel: "Tableau qui fut trouve dans la tente de 
 Charles le Tcmeraire et qui tomba en partage apres la Bataille de Morat a un 
 membrede la famille d'Erlacli qui le posscda jus qiiau 16 10 bre., 1817, ou il fut 
 vendu a son Excellence Monsieur le Chevalier d'Olry, Ministre deS.M. Le Roi 
 de Bavicre — Peint par Van Eick." 
 
 From the Lochis Collection, Bergamo. 
 
 Panel. Size 10 by 7 inches. 
 
 Lent by Sir /. C. Robinson. 
 
 EARLY FRENCH SCHOOL. 
 
 6 Portrait of a Lady as the Magdalene (?). 
 
 Bust, three-quarters to the right, in a rich dress of grey brocade 
 bordered with broad bands of gold and jewels, and flowing blue sleeves, 
 showing an under-dress of crimson. On her head, a turban-like head-dress 
 of blue and gold, with gold ear-pieces. She holds in her hands a jar of 
 green and gold. 
 
 Panel. Size 14 by 9)^ inches. 
 
 Lent by William Spread, Esq. 
 
3 
 
 JAN VAN EYCK. (Born, probably, about 1 38 1 . He was at Bruges in 1425, from 
 May to August ; and again from 1430 until his death on 9th July, 1440.) 
 
 7 The Consecration of Thomas A Becket as Archbishop of 
 Canterbury. 
 
 Under an oval canopy, on the edges of which the papal device and 
 the arms of the See of Canterbury are emblazoned, two bishops place the 
 mitre on the head of the Primate, who reads the mass of consecration 
 from a book held by a kneeling priest. A third bishop, a king and many 
 other figures stand about the principal group. The scene is in a Cathedral, 
 one archway of which enframes the picture. The figures are relieved against 
 a green cloth, a modern repaint, which hangs behind the canopy. On the 
 frame-moulding of the panel appears the following inscription: — ■ 
 
 _n_ n_ o _n_ 0 
 
 JOHES . DE EYCK . FECIT +ANO . MCCCC . ZI 30 OCTOBRIS. 
 
 Accepting this inscription, the picture becomes the earliest known work by 
 
 Jan Van Eyck. It is much, and coarsely, repainted, however, and various 
 
 details militate against the acceptance of its alleged authorship. The arch 
 
 in which the whole scene is enframed, and on the plinth of which the 
 
 inscription is painted in feigned intaglio, are of a style not thus developed 
 
 till more than a century after Van Eyck's death. The king on the left is 
 
 clearly Henry VII., who did not come to the throne until 1485. In the 
 
 present condition of the panel a discussion of its true authorship cannot 
 
 well be profitable. 
 
 Lent by the Duke of Devonshire. 
 
 ANTONELLO DA MESSINA. (Date of birth unknown, but may have been 
 very early in the 15th century. The earliest date on any work of his is 
 1465, on the Ecce Homo in the National collection ; the latest is 1478.) 
 
 7 a S. Jerome in his Study. 
 
 " Through a depressed archway, on the step of which are a quail, a 
 peacock, and a brass basin, is seen the interior of a lofty vaulted cruciform 
 building of stone. The central bay, or transept, of this interior is occupied 
 by a wooden dais, or platform, reached by a narrow flight of three steps. 
 Here is seated the Saint in a deep chair, with a rounded open-work back, at 
 a table ending in a reading desk. He wears a large red skull cap and a long 
 tight-sleeved linen rochet, and over it the usual cardinal's red mantle — 
 cappa magna ; the hood, falling over his shoulders, is lined with brown fur. 
 He is about to turn over the leaf of a folio manuscript lying open on the 
 desk before him. On the table are an inkstand with a pen and two books; 
 on the shelves, at the back of both table and platform, are more books, some 
 
4 
 
 open, others closed, a bottle and a pot of blue and white ware, several little 
 boxes and a basket. Above the shelves, facing the Saint, is a crucifix, and 
 behind his chair, at the extreme right of the platform, a wooden coffer, with 
 his cardinal's hat lying on it. 
 
 " Attached to the side of the table is a sheet of paper which appears to 
 bear a signature between three lines of writing ; but, when examined with a 
 magnifying glass, this proves to be an illusion. On the edge of the platform 
 are a white cat, a pot of pinks, and a pot with a small orange-tree. On a 
 wooden peg at the side of the shelves hang a fringed towel and a leather 
 pen-case; at the foot of the steps lie a pair of wooden shoes. High above 
 the Saint's head is an unglazed Gothic window, divided by a slender column 
 into two trefoil-headed lights under a round arch. On the sill of this and 
 two similar windows over the side bays sit some small birds, while others 
 are flying round. Under the window, on the right, is a vaulted hall, divided 
 by a row of slender columns supporting round arches. Two rectangular 
 windows at the further end give a view of a landscape with distant hills. 
 In the nearer aisle is seen a lion approaching, with a fore-paw lifted. On 
 the left is a room with a window looking out on a landscape crossed by a 
 stream. In a garden on the near side of the stream is a lady in black 
 walking with a white dog ; there is a boat with two men in white rowing on 
 the water, and on the further bank a man in red. Beyond are fields and 
 two cross-roads running past a castle with two towers and a church 
 surrounded by walls, opposite to which is another garden enclosed by a 
 stone wall. On the road are two horsemen, mounted, one on a black, the 
 other on a white horse. In the distance, some hills." 
 
 Vasari speaks (Lemonnier Ed., vol. I, p. 163) of a "St. Jerome'' by 
 Jan van Eyck, as having belonged to Lorenzo de Medici. " It is just 
 possible," says Mr. Weale, " that this may be the picture." The " Anonimo 
 di Morelli," writing in 1529, describes the present picture (p. 74, Ed. 1800), 
 and mentions Antonello, Jan van Eyck, Memlinc, and one Jacometto — meant 
 apparently for Jacopo de' Barbarj, the Master of the Caduceus — in connection 
 with it. The authorship of Antonello is proclaimed in the character of the 
 conception, in the general tone, and especially in the details, both as to 
 design and execution, of the figure of S. Jerome. This should be compared 
 with the Mary and John at the foot of the Cross in the Crucifixion of the 
 Antwerp Museum, or the Mary and Magdalen in the less important version 
 of the same subject in the National Gallery. 
 
 In connection with this picture Sir J. C. Robinson supplies the following 
 note to Lord Northbrook's catalogue: — "There are indications that at some 
 period of his career (doubtless before he settled at Venice) Antonello visited 
 and probably resided for some time in Spain, presumably in that part of the 
 Peninsula then under the sway of his sovereign, Alfonzo, King of Aragon, 
 
5 
 
 Naples and Sicily. That the present picture is the work of Antonello, and 
 that this residence in Spain is a fact, is indirectly evidenced by it. In 
 Catalonia, Aragon, and the district of Valencia, during the fourteenth 
 and fifteenth centuries, a peculiar local style of domestic architecture, 
 characterized by great uniformity in main features and details, widely 
 prevailed. The interior represented in this picture is, with some inessential 
 modifications to meet pictorial exigencies, a literal representation of the 
 patio, or central appartment, of a Valencian or Catalonian house, such as 
 there are many still extant, little if at all changed, in the cities of Valencia 
 and Barcelona. The two-light window, divided by a slender central shaft, is 
 known in Spain as the ajimez window. The type is quite peculiar to the 
 districts of Spain in question, where hundreds of examples are still to be 
 seen. There cannot be a doubt, in short, that the interior here depicted 
 with so much verisimilitude, was carefully copied from an existing building, 
 probably the house of one of the rich merchants of Valencia." 
 
 Panel. Size i%yi by 14*^5 inches. 
 
 Lent by the Earl of NortJibrook. 
 
 BURGUNDIAN SCHOOL. 
 
 8 Portrait of Philippe le Bon, Duke of Burgundy. 
 
 Son of Jean Sans Peur, and grandson of Philippe le Hardi, b. 1396, 
 d. 1467. Bust, three-quarters to the right, in a parti-coloured dress of red 
 and yellow, with a scarf of black brocade over a white pleated shirt ; a black 
 ribbon round the neck. Hands joined as in prayer. Blue background. If 
 this be really the portrait of a Duke of Burgundy, it was probably painted 
 before 1429, although its style appears to be later, for in that year the Order 
 of the Golden Fleece was instituted, and would almost certainly have been 
 introduced on such a portrait. 
 
 Panel. Size 12 by 8 inches. 
 
 Lent by G. P. Boyce, Esq. 
 
 BURGUNDIAN SCHOOL. 
 
 9 Portrait of Philippe le Bel, Archduke of Austria. 
 
 " Half-length portrait of a young man, three-quarters face, turned to the 
 right. His crimson dress, faced with fur, open in front, shows the Collar of 
 the Golden Fleece, which he wears over a tight-sleeved blue under-dress 
 stitched with gold, and an embroidered cambric shirt. On his head a 
 greenish blue cap. His right hand and left arm rest on the chamfer of the 
 frame ; in his left hand he holds a roll of paper. 
 
6 
 
 " Pasted on the back is a piece of parchment with handwriting apparently 
 of the latter half of the sixteenth century : — 
 " Cestui pourtraict est de 
 Philippe daustriche filz 
 de Larchiduc Maximilien 
 et dame Marie ducesse 
 de bourgoigne; ce prinche 
 prinst pour femme Jeanne 
 fille du roi ferrand : il 
 mourust en Espaigne en 
 1505 et gist a Granade." 
 
 — {Northbrook Catalogued) 
 
 Panel : the picture and frame in one piece, the total measurements 
 being 12^ by S}( inches. 
 
 No doubt one panel of a series painted for some decorative purpose. 
 It is of very slight merit from an artistic standpoint. 
 
 Cf. No 8. These two portraits show, at least, a strong family likeness. 
 
 Lent by the Earl of Northbrook. 
 
 PETRUS CRISTUS. (Petrus Cristus was the son of one Peter, of the village of 
 Baerle, between Tilbourg and Hoogstraeten. He obtained the freedom of 
 Bruges in 1444, and is mentioned subsequently as living there. In 1463 he 
 was commissioned to paint a banner for the town ; and in 1472 appears as 
 representative of the Painters' Guild in a dispute with Pierre Coustain, the 
 Duke's painter. His art is derived from Jan van Eyck, whose direct pupil 
 he probably was. There are pictures by him in the National Gallery (No. 696, 
 ascribed generally to the Flemish School), at Berlin, at Frankfort, in the 
 Oppenheim Collection at Cologne, at St. Petersburgh, and at Turin. It is 
 possible that about 1445-9 he was in London, for two of his portraits, No. 12 
 in the present Exhibition, and No. 532 in the Berlin Museum, represent English 
 people ; while No. 696 in the National Gallery represents Marco Barbarigo, 
 Venetian Consul in England in 1449, who holds a letter addressed to himself 
 in London.) 
 
 10 Portrait of a young man. 
 
 "A young man, half-length, looking to the left. He is bareheaded, with 
 black hair cut straight across the forehead, and stands in a vaulted porch, 
 between a doorway and a round-headed unglazed window. On the wall of 
 the chamber, above the man's head and to his left, hangs a board to which 
 is attached by nails an illuminated sheet of vellum, the edge of which is 
 protected by a binding of red ribbon. The miniature represents the 
 
7 
 
 Vernacle, our Lord's head with a cruciform nimbus of rays and the 
 letters AW(?Afl) being on a greenish-blue ground bordered by a gold 
 band. The spaces on either side are filled with floriated work. Beneath, 
 in two columns, is the following rhymed prayer, written with the usual 
 abbreviations: — 
 
 Incipit oratio ad Sanctam Veronicam. 
 
 Salve, sancta facies 
 Nostri redemptoris, 
 In qua nitet species 
 Divini splendoris. 
 
 11 Impressa panniculo 
 Nivei candoris, 
 Dataque Veronice 
 Signum ob amoris. 
 
 IF Salve nostra gloria 
 In hac vita dura 
 Labili ac fragili 
 Cito transitura. 
 
 1 Nos perdue ad patriam 
 O felix figura 
 Ad videndum faciem 
 Que est Christi pura. 
 
 Salve, o sudarium 
 Nobile iocale, 
 Es nostrum solacium 
 Et memoriale. 
 
 IT Non depicta manibus 
 Sculpta vel polita 
 Hoc scit summus artifex 
 Qui tc fecit ita. 
 
 IF Esto nobis quesumus 
 Tutum adiuuamen 
 Dulce refrigerium 
 Atque consolamen. 
 
 IF Ut nobis non noceat 
 Hostile grauamen 
 Sed fruamur requie 
 Dicamus omnes amen. 
 
 Explicit." 
 
 Lent by the Earl of Nortlibrook. 
 
 JAN I VAN EYCK (?). 
 
 11 The Holy Women at the Sepulchre. 
 
 In the centre, the empty tomb of Christ, an angel in white robes 
 with parti-coloured wings, seated on the displaced lid. On the right, the 
 Virgin with the two Marys, bearing boxes of ointment. To the left, and 
 in the foreground, the three sleeping guards. In the middle distance, a 
 green mound, probably representing the Mount of Olives, and a road on 
 which horsemen are returning to Jerusalem. Right and left, cliffs of 
 brown rock. Across the background, the houses and towers of Jerusalem, 
 a conspicuous object in the midst being the Mosque of Omar, intended 
 for the temple. In the foreground we find the palmetto and other sub- 
 tropical plants. The analogy between some parts of this picture, especially 
 the angel seated on the tomb, and those parts of the Ghent altarpiece 
 (The Adoration of the Lamb, in St. Bavon) generally accepted as the work 
 of Hubert van Eyck, is striking. 
 
 Panel. Size 28^ by 34^3 inches. 
 
 Lent by Sir Francis Cook, Bart. 
 
8 
 
 PETRUS CRISTUS. 
 
 12 Portrait of Edward Grimston, envoy from Henry VI. to the Court 
 of Burgundy. 
 
 Bust slightly to the left, in a green dress opening at neck and sleeves 
 over an underdress of scarlet, with white pleated shirt. On the head a 
 turban-like black cap, with long streamer (liripipe) to the left. In the right 
 hand a collar of SS, apparently in silver. The light falls on the face from a 
 round lozenged window in the wall of the raftered room. On the wainscot, 
 right and left, shields bearing the Grimston arms. 
 
 Signed on the back of the panel PETRUS XPL, ME FECIT A. 1446. 
 
 The Berlin Museum has a female portrait by Petrus Cristus, which is 
 now believed to represent the wife of this Edward Grimston. 
 
 Panel. Size 13% by 9^ inches. Lent by the Eari 0 j Verulam. 
 
 EARLY FLEMISH SCHOOL. 
 
 13 Virgin and Child. 
 
 The Virgin, dressed in robes of scarlet and blue, is seated on the low 
 wall of a garden by the side of a river. She supports the Child with her 
 right hand, and with her left plucks a flower. In the background, three 
 female saints are walking. To the right, a portal opening on to a bridge. 
 To the left, the facade of a cloistered building. 
 
 Panel. Size 133^ by 9 inches. 
 
 Lent by Mrs. Stephenson Clarke. 
 
 ROGER VAN DER WEYDEN. 
 
 14 Virgin and Child enthroned. 
 
 The Virgin, seated facing the spectator, wears a greenish blue dress 
 lined with grey fur. On her head is an elaborate open coronet, set with 
 jewels. Her hair falls in masses over her shoulders. The dress of the Child 
 is red, in two shades, with a little white showing at the neck. The Gothic 
 porch in which the group is enthroned is decorated with rich foliations, and 
 with sculpture. 
 
 Formerly in the collections of Frederick II. of Prussia, Mr. Aders, 
 and Mr. Samuel Rogers. 
 
 Size 534 by 4 inches. Lent by the Earl of Northbrook. 
 
 JAN VAN EYCK. 
 
 14a Virgin and Child enthroned. 
 
 The Virgin in a blue tunic and a red mantle, the folds of which cover 
 the ground about her, holds a book before the Infant Saviour, who sits on 
 her lap and turns the leaves. The scene is a Gothic chamber lighted through 
 small panes of glass. On a table near the window stand a Gothic vase, 
 
9 
 
 partly filled with water, and some oranges. To the left, on a board, is a 
 branched candlestick, with a brazen pot. The Virgin's feet rest on a rich 
 carpet. Her flowing brown hair is held back by a string of pearls. 
 Signed: COMPLETUM ANNO DOMINI MCCCCXXXII. PER JOHANNEM 
 DE EYCK BRUGIS. ALS IKH KAN. 
 
 A first-rate copy is in the possession of the Duca di Verdura, at Palermo 
 (Dr. Bode). 
 
 Panel. Size 9 by 6 inches. 
 
 EARLY SCHOOL OF COLOGNE (?). 
 
 15 Diptych. 
 
 One volet showing the Virgin and Child enthroned, the other the 
 Crucifixion, against a background of gold, highly embossed. 
 It is more than probable that this diptych is English. 
 
 Lent by Sir Charles Robinson. 
 
 EARLY FLEMISH SCHOOL. 
 
 16 Virgin and Child. 
 
 In the centre, facing the spectator, the Virgin sits on a low stone wall 
 overgrown with daisies. Behind her is a cloth of estate of black and gold, 
 beyond which, on either side, stretches a sunny landscape with a river. She 
 wears a rich dress of black and gold brocade, turned back at the right wrist 
 with blue, and a crimson mantle with blue border. With her left hand she holds 
 the naked Infant on her lap, and with her right plucks a daisy from the wall. 
 
 Panel. Size 10]/, by 8 inches. Lent by Mrs _ Stephenson Clarke. 
 
 HUGO VAN DER GOES. (Date of birth unknown. He was a member of the 
 Painters' Guild at Ghent in 1465. He retired to the Monastery of Rooden 
 Clooster, near Soignies, where he died insane in 1482.) 
 
 17 S. Victor, with a Donor. 
 
 An ecclesiastic, in a rich cope of crimson velvet and gold brocade, kneels 
 with clasped hands under the mantle of S. Victor. The saint wears armour, 
 a justancorps of blue velvet, sprinkled with small trefoils, a scarlet baldrick and 
 kilt, a dark crimson-purple cloak trimmed with brown fur, and white leather 
 gloves. He also wears a laurel wreath with a ruby set in pearls, over his brow. 
 In his right hand he holds a lance and a shield. His left lies upon the donor's 
 shoulder. The shield is gnles, an escarbuncle or, and the same blazon 
 appears on the forked pennon of the lance. The scheme of colour, the 
 types of the heads and features, and the details of handling, point to an 
 identity of authorship between this superb panel and the Portinari altar- 
 piece in the Hospital of Santa Maria Nuova at Florence, which is known to 
 be work of HUGO VAN DER GOES. 
 
 Panel. Size 22 by 18 inches. Lent by the Corporation of Glasgow. 
 
IO 
 
 ROGER DE LA PASTURE, better known by his Flemish name of ROGER VAN 
 Der Weyden. (Born at Tournai, where he was studying under one Robert 
 Campin in 1426. He died at Brussels in 1464.) 
 
 18 
 
 Half-length figure of the Virgin, turned slightly to the left. With her 
 right hand she holds the Child on a crimson cushion richly embroidered in 
 gold, and with the left she supports a book, the clasps of which the Child is 
 trying to unfasten. She wears an under-dress of dark crimson, with drapery 
 of deep blue. The Child is undraped, save for a linen cloth round the thighs. 
 The heads are surrounded by rayed nimbi, against a background of 
 dead gold. 
 
 Panel. Size 19^ by 1234! inches. 
 
 Lent by Henry Willett, Esq. 
 
 SCHOOL OF ROGER VAN DER WEYDEN. 
 
 19 A Holy Conversation. 
 
 Before the altar of a Gothic church the Virgin stands on a dais, holding 
 with her right arm the Infant Christ, on a linen cloth, while with her left 
 hand she offers Him an apple. She wears a blue mantle over a robe 
 of dark purple, showing an under-dress of scarlet. Above the altar 
 hovers an angel, holding over the Virgin's head a richly jewelled crown. On 
 her right, S. John Baptist and S. Peter, with their attributes, the lamb and 
 the key. On her left, the two physician saints, Cosmus and Damianus, the 
 one holding a phial and book, the other an alabaster jar and an arrow, the 
 symbol of their martyrdom. 
 
 A picture, differing only in details, exists in the Stiiedel Institute at 
 Frankfort a/M. An etching of it may be seen in Valentin and Eissenhardt's 
 Stadel'scke Galerie, Shelf No. 78 in the Library of the B.F.A.C. 
 
 Panel. Size 18^ by 12 inches. 
 
 Lent by Sir Francis Cook, Bart. 
 
 HANS MEMLINC. (Born at Mainz about 1430. He was at Bruges in 1478, and 
 died there August nth, 1494.) 
 
 20 A Triptych, with Donors. 
 
 This altarpiece was painted probably between 1461 and 1467, and is 
 one of Memlinc's finest works. " In the centre, seated on a brass faldstool, 
 beneath a canopy, and with a rich cloth of honour behind her, is the Blessed 
 Virgin. She sustains with her right hand the Infant Christ, seated on her 
 knees, and in her left holds the Book of Wisdom open. Our Lord has been 
 
1 1 
 
 turning over the leaves, on which His left hand still rests, though He is 
 looking away and stretching out His right hand to an angel, who offers Him 
 an apple and holds a violin and bow in his left. Another angel, on the left of the 
 Madonna, is playing on a portable organ. On the right of the throne Saint 
 Catherine, and on the left Saint Barbara present the donors, Sir John Donne 
 (of Kidwelly), and his wife Elizabeth, third and youngest daughter of 
 Sir Leonard de Hastings by his wife Alice, daughter of Thomas, 
 Lord Camoys. Both these personages wear the badge of Edward IV., the 
 collar of roses and suns, to the clasp of which is appended the white lion 
 of the house of Marche. (This order was instituted in 1461.) Behind the 
 lady kneels a little girl. These figures are represented in a cloister, the 
 carved capitals of which are adorned with shields bearing — azure, a wolf 
 salient, argent, langued gules, Donne ; and — parted per pale 1st Donne 2nd 
 argent a maunch sable Hastings. Sir John Donne was killed when the 
 Earl of Pembroke's army was routed at the field of Edgecote, near Banbury, 
 26th July, 1469. As Sir John had, besides the daughter here represented, 
 two sons, Edward and Griffith, the picture was probably executed before 
 their birth, and therefore not later than 1467. The wings represent Saint 
 John the Baptist and Saint John the Evangelist. The background, painted 
 with great care and wonderful finish, is formed by a most beautiful undu- 
 lating landscape ; on the right is a river with swans and a water-mill ; the 
 miller, with a sack of corn on his back is about to enter his house, close 
 behind him an ass; a man is crossing a bridge, at one end of which is a 
 tower ; further on are a man on horseback, a cow, and a round tower ; 
 on the left are a river, a meadow with a bull, and a man in red, on a white 
 horse, about to enter a wood." — W. H. James Weale. 
 
 The reverses of the volets are painted in grisaille with the figures of 
 S. Christopher and S. Anthony. 
 
 The painter's own portrait looks out from behind the loggia under which 
 the Baptist stands. 
 
 The same landscape adorns Memlinc's Madonna in the Uffizi Gallery at 
 Florence. It also forms the background of a portrait by him in the Van 
 Ertborn Collection at Antwerp, ascribed by the Catalogue to Antonello da 
 Messina. 
 
 Size: Height, 28 inches; Width of central panel, 27^ inches; of 
 wings, 1 1 7£ inches. Lent by the Duke of Devonshire. 
 
 EARLY NETHERLANDISH SCHOOL. 
 
 21 The Virgin and Child. 
 
 " The Virgin, three-quarter length, seated, supports with her right hand 
 the Infant on a white cloth, and holds with her left the back of a book, with 
 
12 
 
 the leaves of which He is playing. She wears a blue dress gathered in at the 
 neck, the sleeves lined with fur. Over her light brown hair is thrown a fine 
 cambric veil, hidden at the back beneath a greyish blue mantle with a gold- 
 broidered border. Behind hangs a bluish green cloth of honour with a 
 murry border. On the left stands a carved wooden aumbrye with a latten 
 candlestick on the top of it." — Nortkbrook Catalogue. 
 Panel. Size 14^ by 9^ inches. 
 
 Lent by the Earl of Nortkbrook. 
 
 SCHOOL OF TOURNAI. (Circa 1430.) 
 
 22 Ecce Homo. 
 
 The Saviour, crowned with thorns, holds in His right hand the reed, 
 and in His left a bundle of briars. The wrists are crossed, and bound 
 together with a rope. He wears a white drapery drawn round the shoulders. 
 The background is red. 
 
 This picture shows a type akin to, but differing from, that so often 
 repeated by Roger van der Weyden. 
 
 Panel. Size 12^6 by 8 inches. 
 
 Lent by Henry Willett, Esq. 
 
 HANS MEMLINC. 
 
 23 Virgin and Child enthroned. 
 
 In the centre, facing the spectator, the Virgin sits on a massive throne 
 of red and white marble, and supports with both hands the naked figure of 
 the Infant Christ. Right and left, angels lean on the arms of the throne, the 
 one offering a crimson carnation to the Child, the other reading from a 
 scroll. The Virgin wears a scarlet robe, lined and bordered with grey, over 
 an under-dress of dark blue. Her head is uncovered, and surrounded by a 
 rayed nimbus. Right and left of the throne are oblong latticed windows. 
 
 Panel. Size 26^ by 183^ inches. 
 
 Lent by Mrs. Stephenson Clarke. 
 
 EARLY NETHERLANDISH SCHOOL. 
 
 24 The Mass of S. Giles. 
 
 In the centre the Saint stands before the altar, and is in the act of 
 elevating the Host. Two figures, probably donors, kneel behind him, one 
 holding a candle. On the right Charles Martel crowned, kneeling before a 
 prie-dieu, with his suite. An angel hovers over the altar holding a scroll on 
 which is an inscription to the effect (?) that QUODDAM TURPE FACINUS of the 
 king's would be pardoned if he would sincerely repent of it. The interview 
 between S. Giles and Charles took place in 719-20, at Orleans, but the 
 Church here represented is that of the Abbey of S. Denis. The picture has 
 
13 
 
 extraordinary interest, as affording the only extant representation of the 
 Altar of S. Louis, with the golden jewelled reredos given by King Charles 
 the Bald, and the Golden Cross given by Abbot Suger, every detail of the 
 furniture being so faithfully rendered that the date of each could be correctly 
 given even in the absence of written documents. 
 
 Possibly the work of Gerard van der Meire (born about 1410, 
 died after 1474). No picture by Van der Meire is thoroughly authenticated, 
 but these two volets answer to the old descriptions of his art. It is believed, 
 too, that Van der Meire spent some time in France. 
 
 The corresponding volet to No. 35. 
 
 From the Dudley Collection. 
 
 Engraved in Viollet-le-Duc's Dictionary of Architecture. 
 Panel. Size 24 by 18 inches. Lent by Edward Steinkopff, Esq. 
 
 LUCAS VAN LEYDEN. 
 
 25 The Beheading of S. John the Baptist. 
 
 In the angle of a castle courtyard the executioner and Salome stand 
 facing each other over the prostrate trunk of the Saint. Salome, to the 
 right, holds a silver charger to receive the head, which the executioner holds 
 by the hair. She is elaborately dressed in a green skirt, with pale blue 
 bodice and peplum, and flowing pink sleeves slashed with green. Her hair 
 braided in two long plaits, falls from beneath a close fitting embroidered 
 cap, with large gold ear-pieces. 
 
 The executioner wears a white shirt, rolled up from the arms, and 
 striped breeches of yellow and blue. In his right hand he grasps a long 
 sword. The Saint's body is dressed in a ragged brown gown with crimson 
 drapery. In the background a wooded landscape, with a distant fortress. 
 His severed head is very finely painted, and the whole picture is a first rate 
 example of its class. 
 
 On the shutters, which enclose the panel right and left, is the following 
 inscription : — 
 
 Praemia saltatrix poscit fvnebria Incestae ad gremivm matris 
 Virgo, Joannis caput abscisum fert regia donum psaltria 
 
 quod lance reportat respersis manibus de 
 
 sangvine jvsto. 
 
 A very fine example of the Master. 
 
 Panel. Size 12 by 9 inches. Lent by Mons. Leon Somzee. 
 
 JACOB CORNELISZ, or CORNELISSEN. (Born at East Zaanen. The earliest 
 date on a picture by him is 1506. He died at Amsterdam, very old, about 
 1560.) 
 
 26 Portrait of a Lady. 
 
 Bust, turned slightly to the right. She wears a black dress, bordered 
 with white fur, cut square over the bust, and a transparent chemisette of 
 
14 
 
 gathered muslin. On her head a coif of white linen. In her right hand she 
 holds a chaplet of scarlet beads. Background of light green. 
 
 Panel. Size 14^ by io}£ inches. 
 
 Lent by C. T. D. Crews, Esq. 
 
 SCHOOL OF GHENT. 
 
 27 Scenes from the Passion. 
 
 1. The composition is divided into four square compartments, by a 
 painted framing of Gothic architecture. In the upper register, on the right, 
 is the Garden of Gethsemanej with the sleeping disciples, and Christ 
 kneeling before a ciborium, on which is a consecrated wafer. Judas and 
 soldiers in the background. 
 
 2. Christ, fainting under His Cross, is struck by a soldier. S. Veronica 
 kneeling before Him, holds the linen on which is the impress of His Face. 
 Simon of Cyrene supports the Cross. In the background, the holy women, 
 the two thieves, priests, Jews, &c. 
 
 3. The Crucifixion. On the right the Virgin, on the left S. John. 
 The Magdalen embraces the feet of Christ. 
 
 4. The Entombment. The Virgin and S. John support the dead Christ. 
 The Magdalen and holy women kneel behind. In the background the 
 tomb, and Joseph of Arimathaea with the disciples. 
 
 Panel. Size 
 
 Lent by Mons. Leon Somzee. 
 
 JAN SCHOORL (?). (Born at the village of Scorel, near Alkmaar, in 1495. Was 
 the pupil of W. and J. Cornelissen, and also worked under Mabuse. He died 
 at Utrecht in 1 562.) 
 
 28 LUCRETIA. 
 
 Half-length figure, seated and turned slightly to the left. She wears 
 an underdress of white lawn, the full sleeves banded with green, and a 
 robe of crimson velvet, which she has thrown open in front. In her right 
 hand she grasps a short sword, which she thrusts into her body. In 
 her left, she holds the sheath. In the background to the left, the 
 bed-chamber of Lucretia, which Tarquin has entered. To the right, guards 
 breaking in. 
 
 Panel. Size 17^ by 12^ inches. 
 
 Lent by G. P. Boyee, Esq. 
 
15 
 
 LATER SCHOOL OF ROGER VAN DER WEYDEN. 
 
 29 The Virgin and Child. 
 
 In a Flemish interior the Virgin sits with the Child on her lap, and 
 about to give Him the breast. She wears a grey robe, while the dark blue 
 sleeves of her underdress show at the wrists. These are the Spanish colours 
 for the Virgin. The Child is naked, but lies on a white cloth. The Virgin's 
 head is relieved against a wicker-work roundel, which acts both as firescreen 
 and halo. Her left elbow rests on a piece of furniture, which also supports 
 a chalice. Behind, on the right, appears a bench with a red cushion upon 
 it, and an open book. In the background an open window affords a 
 glimpse over the market place of a town. 
 
 This picture is clearly by the same hand as the small Death of the 
 Virgin, No. 658 in the National Gallery, which used to be ascribed to 
 Martin Schongauer. It also has a remarkable affinity to the magnificent 
 double portrait, No. 653 in the same collection. 
 
 Panel. Size 26 by 20^ inches. 
 
 Lent by Mons. Leon Somzce. 
 
 After QUENTIN METSYS. 
 
 30 Virgin and Child. 
 
 The Virgin, seated in a carved chair of state with canopy, embraces 
 the naked figure of the Infant Christ with her left hand, and with her right 
 holds up two cherries. The Child clasps her round the neck with both 
 hands, and holds up His face to kiss her. She wears a dark blue dress, cut low, 
 over a pleated chemisette of lawn, and a crimson mantle. To the right, a 
 distant landscape seen through an archway. 
 
 " This picture, formerly ascribed to Leonardo da Vinci, is an early copy 
 of a very fine work of Quentin Matsys, now in the Museum of Amsterdam, 
 but in the middle of the seventeenth century in the possession of 
 Peter Stevens, almoner and churchwarden of the Cathedral of Antwerp, 
 where it was seen by Alexander van Fornenbergh, who gives a long 
 description of it in his work, " Den Antwerpschen Proteus ofte Cyclopschen 
 Apelles," Antwerp, 1658. Another early copy is in the Berlin Museum, 
 No. 561. — W. H.J. Weale. The picture at Berlin is probably original, and 
 differs considerably from this in composition, as also does the one at 
 Amsterdam. — W.A. 
 
 Panel. Size 30 by 24 inches. 
 
 Lent by the Earl of Northbrook. 
 
i6 
 
 SCHOOL OF JAN MOSTAERT. 
 
 31 Magdalen in the Desert. 
 
 In the centre of the foreground the Magdalen kneels with folded hands 
 before an altar of rough stone, on which lies an illuminated missal. A boy 
 angel in a pink robe holds up a crucifix before her. She wears a scarlet 
 drapery over a transparent underdress of lawn, gathered into gold bands 
 at neck and arms ; on her head a linen coif. The background is a rocky 
 landscape with trees and distant buildings. 
 
 Ascribed sometimes to PATINIER. 
 
 From the collections of Counts Guazzo and Odeschalchi. 
 
 Panel. Size 15^ by 12 inches. Lent by Mons. Leon Somze'e. 
 
 LUCAS DE HEERE (?). 
 
 32 Portrait of Lady Jane Gray (?). 
 
 Three-quarters length, turned slightly to the right. She is seated between 
 two latticed windows in a carved chair, the arm of which she holds with her 
 left hand, while with her right she turns the pages of an illuminated book 
 on a desk beside her. She wears a rich dress of crimson velvet, cut low 
 across the bosom, a flat jewelled necklace, and a gold girdle with rosary. 
 Her auburn hair is parted and confined by a band of white linen, over which 
 is a jewelled cap of black velvet. To her left, a table with a tall gold vase. 
 Through the windows the view of a town with spires, which has been 
 declared to be Leicester. 
 
 More probably a S. Magdalen, by the painter known as the Master OF 
 the Female Half-lengths. 
 
 Panel. Size 21^ by 15^ inches. Lent by Earl Spencer, K.G. 
 
 LATER SCHOOL OF ROGER VAN DER YVEYDEN (?). 
 32a Virgin and Child. 
 
 The Virgin, in the Spanish white and blue, stands between two angels 
 in a semi-circular apse. She carries the Child in her arms. He is partly 
 enveloped in a white drapery, and is taking the breast, which He grasps with 
 both hands. Both angels are winged. One plays the lute, the other the harp. 
 Painted, probably, for Spain ; perhaps in Spain. 
 
 Panel. Size 18 by 13^ inches. Lent by Sir J. C. Robinson. 
 
 SCHOOL OF ALBERT VAN OU WATER. 
 
 33 Ecce Homo. 
 
 At the top of a flight of steps leading down from a narrow door ( 
 Christ stands facing the spectator; beside Him two guards; on the left, a 
 window with three figures looking out. At the foot of the steps, a crowd of 
 eleven persons. Through a narrow archway on the right two figures 
 conversing. 
 
 Panel. Size 20 by 14 inches. Lent by Charles T. D. Crews, Esq. 
 
i7 
 
 CORNELIA CNOOP. (Daughter of James Cnoop, Dean of the Guild of Gold- 
 smiths at Bruges, and wife of the painter Geeraert David, whom she survived.) 
 
 34 Triptych on Vellum. 
 
 In the centre the Virgin, seated in a garden, holds the Child to her 
 breast, and with her left hand offers Him an apple. In the right panel 
 S. Catherine ; in the left S. Barbara. Scenes from the lives of these Saints 
 in the background behind them. The building in the distance, in the chief 
 picture, is a view of the Chateau of Oostcamp, near Bruges, the seat of the 
 Earls of Winchester. 
 
 These miniatures, probably designed by Geeraert David, were painted 
 about 1 5 10. Formerly in the Abbey of the Dunes, Bruges. 
 
 Vellum. Size : centre g]/o by 7 ; each wing, 91^ by 2^ inches. 
 
 Lent by Henry Willett, Esq, 
 
 EARLY NETHERLANDISH SCHOOL. 
 
 35 Scene from the Life of S. Giles. 
 
 On the left, the hermit S. Giles sits on a bank. His right hand, trans- 
 fixed by an arrow, rests on the back of a fawn, which has fled to him for 
 protection. On the right is the hunting party, the leader of which, kneeling 
 on one knee, is begging the saint's pardon. The landscape, both foreground 
 and background, is of great beauty and elaboration. Formerly in 
 Mr. T. Emmerson's collection. One of the volets to a central picture, of 
 which the whereabouts is unknown. The other volet is No. 24 in this 
 Exhibition. 
 
 Panel. Size 24 by 18 inches. 
 
 Lent by the Earl of Northbrook. 
 
 DIRCK BOUTS. (Date of birth unknown. He was probably a native of 
 Haarlem. He settled at Louvain in 1460, and died there in 1475. He must 
 be reckoned as a follower mainly of Roger van der Weyden.) 
 
 35a Two volets of an altar-piece, put together to form a single panel. On the 
 right volet, Moses and the Burning Bush ; on the left, Gideon and 
 the Fleece. 
 
 Panel. Size, height 29; width i$}4 inches. 
 
 Lent by C. T. D, Crews, Esq. 
 
 36 The Burning Bush. 
 
 In the foreground Moses kneels with uplifted hands before the bush to 
 the right, over which is seen the First Person of the Trinity, represented under 
 the figure of a venerable old man in a violet robe. Moses wears an under- 
 
i8 
 
 dress of blue with scarlet drapery. In the background Moses is again seen 
 taking off his boots. Beyond, an undulating pasture land with browsing sheep. 
 
 A good example of Bouts, in perfect condition. 
 
 Panel. Size 17 by 13^ inches. Lent by Henry Willett, Esq. 
 
 SCHOOL OF GEERAERT DAVID. (Son of Jan David, of Oudewater, and a 
 follower of Memlinc. In 1484 he was a member of the Painters' Guild at 
 Bruges, where he died in 1523.) 
 
 37 S. Jerome. 
 
 In a characteristic green landscape S. Jerome kneels before a crucifix 
 attached to the trunk of a tree. With his right hand he beats his already 
 blood-stained breast with a stone, while his left holds his grey robe across 
 his person. A red and white mantle is thrown behind him ; his lion lies at 
 his right hand. 
 
 Panel. Size 12 by 9^ inches. Lent by Mons. Leon Somzee. 
 
 SCHOOL OF MABUSE. 
 
 38 The Virgin and Child. 
 
 The Virgin in a red robe and green skirt, seated besides a fountain, 
 offering the breast to the Child, who turns away from her. To the left, a 
 building of ornate architecture; another in the middle distance. A book 
 lies open at the Virgin's feet. Much repainted in parts. A similar picture 
 is in the Ambrosiana. at Milan, where it is ascribed to Mabuse. 
 
 Size 41^ by 34^ inches. Lent by the Corporation of Glasgow. 
 
 JAN GOSSAERT, called MABUSE. (Born about 1470 at Maubeuge. Died at 
 Antwerp in 1 541 .) 
 
 39 Virgin and Child enthroned. 
 
 " The Virgin, seated on a scarlet cushion, faces the spectator ; she wears 
 a blue dress, the drapery of which covers her feet. A tight under-sleeve of 
 crimson is seen at the wrist of her right hand. Her long brown hair, partly 
 covered by a white veil, falls over her shoulders. The Child, whom she 
 supports with both arms, on a linen cloth, is clutching her veil with His 
 hands and raising Himself to embrace her. The foot-pace of the throne 
 rests upon four brackets, the intervening spaces being occupied by two 
 panels of bronze in low relief, representing David and Gideon, and by a pot 
 of blue and white stoneware containing white roses. At cither end is seated 
 an angel with his back to the base of a lofty pillar, of which only half of the 
 lower portion is seen. The throne itself is of marble with a conch-shaped 
 canopy supported by a panelled semi-circular back, with pilasters having 
 bronze capitals and bases. The columns in front are adorned with angels 
 
19 
 
 and owls in bronze, while from rams' heads of the same material in the centre 
 of the tympana hang festoons fastened together over the centre of the arch. 
 Behind the throne is a hemi-cycle, between the pillars of which are seen 
 glimpses of landscape with trees and a blue sky, contrasting well with the 
 grey tints of the architecture and the dark drapery of the Virgin. This is a 
 replica, with slight variations, of a panel (19 by 16 in.), painted by Gossaert 
 for the convent of the Augustinian Friars at Louvain, which in 1588 was 
 valued at £400. It was in the month of December of that year presented 
 by the magistrates of Louvain to Philip II. of Spain, and has ever since 
 been preserved in the Escurial." — NortJibrook Catalogue. 
 Panel, oak. Size 17% by inches. 
 
 Lent by t/ie Earl of Northbrook. 
 
 JOACHIM DE PATINIER, or PATINIR. (Born at Dinant about 1490. He 
 was a follower of Geeraert David, whose landscape backgrounds, in his earlier 
 pictures, he probably painted. He accompanied David to Antwerp in 1 5 1 5 , 
 and died there in 1524.) 
 
 40 " Christ appearing to the Disciples after His Resurrection, is 
 
 KNOWN OF THEM BY THE GREAT DRAUGHT OF FISHES." — St. John, xxi. 
 
 In the foreground to the left, Christ stands upon the undulating wooded 
 shore of the Sea of Galilee, and holds up His right hand with a gesture 
 of command to S. Peter, who has thrown himself from his boat, and with 
 clasped hands runs eagerly through the shallow water to the bank. The 
 two central figures are separated from each other by the brown stem of a 
 tall acacia, which divides the composition into two equal parts. The lake 
 with its receding coast stretches away towards the right. In the boat 
 which the Saint has quitted, S. James and S. John lean over and draw in 
 the net. On the left a group of Christ and the disciples eating round a fire. 
 Behind them a hill with towers and domes. 
 
 Cf. No. 1298 in the National Gallery. 
 
 Panel. Size 12 by 18 inches. 
 
 Lent by Kenneth Muir Mackenzie, Esq. 
 
 EARLY NETHERLANDISH SCHOOL. 
 
 41 Virgin and Child enthroned. 
 
 The Virgin sits in a stone alcove in a thoughtful attitude, holding the 
 Child with her right arm, and resting her left on the ledge behind her. The 
 Child is caressing His mother's chin with His right hand, and has His left arm 
 round her neck. 
 
 " Probably by the Master of the Mater Dolorosa ( ? Jan Mostaert), 
 in the Church of Notre Dame, at Bruges." — W. H. James Weale, in the 
 NortJibrook Catalogue. 
 
 Size 22^ by \6 l /% inches. Lent by the Earl of Northbrook. 
 
20 
 
 JAN GOSSAERT, called Mabuse (?). 
 
 42 Triptych. 
 
 In the centre, under a Gothic arcade, inlaid with coloured marbles, the 
 Virgin sits facing the spectator, holding on her lap the naked Infant on a 
 linen cloth. He turns away from her, and stretches out His arms to an 
 angel on the right, who smilingly offers Him a pear. On the left, another 
 angel plays on a lute. The Virgin wears a crimson robe over an under-dress 
 of dark blue. In the background is an undulating landscape, painted with 
 great elaboration ; on the right, a castle, a horseman riding towards the 
 entrance, his hound in front. In the centre, a winding river, with a water- 
 mill on the bank. On the left, a bridge, with a man in red crossing it. 
 The chief group differs only in detail from that in the Memlinc triptych 
 (No. 20). The volet on the right has the figure of S. John the Baptist, 
 wearing a blue robe over a brown tunic, and carrying a lamb on his left arm. 
 That on the left, S. John the Evangelist, in a robe of pale crimson over a 
 green underdress, bearing the sacramental cup. The volets are painted on 
 the reverse with the figures of Adam and Eve. 
 
 Panel. Size, centre 38 by 23^, sides 38 by 14% inches. 
 
 Lent by Alfred Morrisott, Esq. 
 
 JAN GOSSAERT, called Mabuse. 
 
 43 Portrait of a Man. 
 
 Bust, turned slightly to the right, of a stout man dressed in black, with 
 tippet of brown fur. The figure is set against a stone archway through 
 which the sky is seen. The hands rest on a stone ledge to the right. 
 
 A very fine example of Mabuse's portraiture. 
 
 Panel. Size 24^ by 18^ inches. 
 
 Lent by Captain Holford. 
 
 JAN GOSSAERT, called Mabuse. 
 
 44 Virgin and Child enthroned with Angels. 
 
 " The Virgin is seated facing the spectator, in a blue dress and mantle, 
 falling in ample folds on the seat and foot-pace of the throne. Her long 
 golden hair, bound by a richly jewelled tiara, and partly covered by a linen 
 kerchief, falls over her shoulders. With her left hand she supports the Child, 
 who, seated on a linen cloth, looks down at a winged cherub in red, who 
 stands on the foot-pace of the throne, offering Him some flowers. In front 
 of the cherub is another, playing on the clarionet. Opposite are four others, 
 playing and singing from a book. 
 
2 I 
 
 " In front of the base of the throne are plants in bloom — a lily, dandelions, 
 marigolds, columbines, an iris, etc. Through the arch on the left there is 
 an ox near the wall of an enclosed garden, in which an angel kneels before 
 the Virgin in the doorway of a house. Between the pillars on the right is a 
 garden in which S. Joseph is walking ; further off, an angel on some steps 
 leading down to water, and a swan. Beyond are buildings and a bit of 
 distant landscape." — Northbrook Catalogue. 
 
 The architecture is all in grisaille. The draperies are bright in colour, 
 and the cherubs wings are of varied plumage. The figures are similar to 
 those in the Palermo triptych, but with slight differences. The Virgin's 
 head is repainted. 
 
 Panel. 13^ by 9^3 inches. 
 
 Lent by the Earl of Northbrook. 
 
 JAN GOSSAERT, called MABUSE. 
 
 45 Hercules and Omphale (?). 
 
 Two nude figures seated in an alcove of grey stone, the man holding a 
 spiked club in his right hand, and with his left embracing the woman. 
 Dated 15 16 on a flagstone to the left. 
 
 Panel. Size 12^ by 10^3 inches. 
 
 Lent by Sir Francis Cook, Bart. 
 
 SCHOOL OF GEERAERT DAVID. 
 
 46 Virgin and Child in a Garden. 
 
 The Virgin, seated on a bench with a tall upright back, covered with a 
 cloth of estate, holds the Child on her knee with her right hand, and with 
 her left supports a book, the leaves of which He is turning. The Virgin 
 wears a flowing scarlet robe with a border of gold and jewels; a fillet con- 
 fines her fair hair, and is fastened by a jewel on the forehead. The 
 foreground is a mass of flowering plants — lilies, irises, columbines, celandines, 
 etc.; among them is laid a cushion of white and gold brocade, on which the 
 Virgin's feet are supported. Right and left, a park-like landscape, with a 
 water-mill and a distant castle. 
 
 Several repetitions of this " Virgin and Child " exist, but with different 
 backgrounds. A good one is in the collection of Baron Albert Oppenheim 
 at Cologne. 
 
 Panel. Size 3 5 j4 by 30^ inches. 
 
 Lent by the Earl of Craivford and Balcarres. 
 
22 
 
 THE MASTER OF THE DEATH OF THE VIRGIN. (So called from a 
 picture of that subject in the Munich Gallery. By some he is identified with 
 Jan Joest van Calcar ; others believe him to have been that master's 
 pupil. His pictures are numerous.) 
 
 47 Holy Family. 
 
 This picture shows a very strong analogy with No. 48. Here, 
 however, the Virgin sits beside a table with a green cover, and supports 
 the Child on a linen cloth upon her hands. He leans forward, and plays 
 with a necklace of gold beads strung over His shoulders. S. Joseph, to 
 the right, reads from a scroll. 
 
 Panel. Size 28^ by 21 inches. Lent by Captain Holford. 
 
 THE MASTER OF THE DEATH OF THE VIRGIN. 
 
 48 Holy Family. 
 
 The Virgin, in a green dress embroidered with gold, scarlet mantle, and 
 white veil and coif, stands behind a stone balustrade, on the ledge of which 
 the Infant Christ is standing, and gives Him the breast. To the right, 
 S. Joseph, represented as an old man with spectacles, in a blue gown and 
 round straw hat, reads from a book on a desk before him. On the ledge at 
 the feet of the Infant lie a bunch of cherries, a cut orange, and a curved 
 knife with embossed handle, and in a glass jar, a branch of lilies. 
 
 A very fine example of this master. 
 
 Panel. Size 18 r / 2 by 14 inches. Lent by G. Salting, Esq. 
 
 ADRIAN VAN YSENBRANT. (A pupil of Geeraert David. In 15 10 he was 
 admitted as master into the Painters' Guild, at Bruges, where he died in 
 July, 155 1. His finest work was painted in 1518. See Weak, Le BEFFROI, 
 Vol. II., pp. 320-324.) 
 
 49 The Virgin and Child enthroned, with Saints and a Donor in 
 Adoration. 
 
 To the right, under a green canopy with curtains, the Virgin is seated 
 with the Infant Christ in her lap, upon a linen cloth. He turns to the left 
 towards the kneeling donor, to whom He is offering a rosary of red beads. 
 On the left stands S. Jerome and beside him S. John the Baptist, who 
 presents the donor, the white-robed Abbot (?) of the foreground. In the 
 background an unglazed traceried window, and an open bay, through 
 which a castle, a formal garden, and a red-robed figure, seated on a bench, 
 are seen. The Virgin wears a rich dress of crimson, lined with pale violet, 
 and a dark blue mantle bordered with gold, the Baptist a scarlet robe, 
 and S. Jerome in the purple penitential robe. 
 
 A Marriage at Cana, in the Louvre (No. 596), seems to be by the 
 same hand as this. 
 
 Panel. Size 283/3 by 25 inches. Lent by Stephen Gooden, Esq. 
 
23 
 
 FLEMISH SCHOOL, EARLY SIXTEENTH CENTURY. 
 
 50 Portrait of a Man. 
 
 Half-length, three-quarters to the left, dressed in a black robe, showing 
 a pleated shirt at the throat ; a brown fur tippet on his shoulders ; on his 
 head a flat black cap. His hands rest one upon another. In the right he 
 holds a pink. On the thumb of the right hand and the fore-finger of the 
 left, he wears rings with red stones. 
 
 Panel. Size 20% by 143^ inches. 
 
 Lent by G. P. Boyce, Esq. 
 
 JAN SANDERS, called Jan van HEMESSEN. (Born at Hemixem, near Antwerp; 
 studied at Antwerp under Hendrik van Cleef, in 15 19, and was much 
 influenced by Quentin Metsys. Towards the end of his life he migrated to 
 Haarlem. The dates of his birth and death are unknown. He was the father 
 of Catharina van Hemessen, by whom there is a good portrait in the National 
 Gallery.) 
 
 51 The Calling of S. Matthew. 
 
 " On the right our Lord, in grey, facing the spectator, is turning to the 
 left, and addressing Matthew, who is bending forward across the counter of 
 his office, holding in his left hand a singularly shaped hat, round which is 
 wound a brown scarf. On the counter are a coffer, a dish containing coin, 
 a money-box, an inkstand and pen, and some account books, one of which 
 is open, showing the entries : ' Item, vertolt in Juli . . , Item hoch vertolt 
 den xxj Augusti . . . Item, vertolt in den iiij in Sept. . . , Item, vertolt in 
 den x Octob.' 
 
 " On the left, outside the office, are S. Peter, in green, and two other 
 Apostles, and in the background two towers, with a mountain in the 
 distance. 
 
 " On the right are several files of papers, and in the middle a tablet, 
 suspended by a ring, bearing : ' Mat. 9 ... a. Mar. 2 . . . b. Luc. 5 . . . f . ' 
 
 " A somewhat similar picture, signed Jan Van Hemessen, is in the 
 Museum at Antwerp." — Northbrook Catalogue. 
 
 Panel. Size 27 by 33% inches. 
 
 Lent by the Earl of Northbrook. 
 
2 4 
 
 BARTHEL BRUYN. (Perhaps a pupil of the Master of the Death of the 
 Virgin. He was born at Cologne in 1493. Was quite Flemish in his 
 sympathies in his earlier days. Finished his career as an enthusiast for 
 Michel Angelo. He died in 1556). 
 
 52 Portrait of a Man. 
 
 Half-length, facing the spectator. He wears a black dress and flat cap, 
 a white shirt gathered at the neck, and a tippet of brown fur. His left 
 hand rests on a green ledge in the foreground. In his right he holds a 
 paper with an inscription. Background of light green. 
 
 Panel. Size 133^ by 9^ inches. 
 
 Lent by George Salting, Esq. 
 
 NICHOLAS LUCIDEL, called NEUCHATEL. (Born in Hainault about 1527. He 
 was the pupil of Pieter Coecke of Alost, in Antwerp, where he was known 
 as Colyn van Nieucastcel. He also signed himself Nicolaus de Novocastello. 
 He died at Nuremberg after (?) 1590. The following portrait is one of his 
 finest works. It was formerly ascribed to HOLBEIN.) 
 
 53 Portrait of a Lady (Anna Botzheim?). 
 
 Half-length, three quarters to the right, the hands clasped in front. 
 The magnificently dressed figure is relieved against a background of 
 pale grey. She wears an underdress of white, embroidered in gold, full 
 white sleeves, with an over-bodice of pale crimson, and an apron, the band 
 of which is embroidered with the letters ANNA. Round her neck a massive 
 gold chain with a medallion attached, on which is the head of a bearded 
 man in relief, and part of an inscription: Botzheim: oetat XXV. The 
 rest is hidden by the clasped hands. The Botzheims were a distinguished 
 family of Nuremberg. 
 
 Panel. Size 22 by 18^ inches. 
 
 Lent by Earl Spettcer, K. G. 
 
 JACOPO DE' BARBARJ, called Walch and The Master of the Caduceus. 
 (Born at Venice about 1450. Is supposed to have worked at Nuremberg 
 from 1494 to 1500, and in 1510 was Court painter to Margaret, Regent of the 
 Netherlands. Died before 15 16. Is best known as an engraver.) 
 
 54 The Virgin and Child. 
 
 The Virgin stands behind a Gothic archway with sculptured figures, 
 and holds up before her over the ledge of the recess the naked figure of the 
 Infant, who grasps a bird with both hands. She wears a blue robe, and 
 round her head a jewelled fillet. In the background, through the aperture, 
 is seen a distant landscape. 
 
 Panel. Size 39^ by 30^ inches. 
 
 Lent by Sir J. C. Robinson. 
 
25 
 
 SCHOOL OF LUCAS VAN LEYDEN (?). 
 
 55 Musicians in a Landscape. 
 
 An old man and woman, seated in a landscape. The man playing a 
 lute, and the woman a fiddle. 
 
 Painted by a German (?) hand, after an engraving by LUCAS VAN 
 Leyden. 
 
 Panel. Size 4^ by 3^ inches. 
 
 Lent by Fletcher Moulton, Esq. 
 
 SCHOOL OF JAN GOSSAERT, called Mabuse. 
 
 56 Ecce Homo. 
 
 After a well-known design by Mabuse. Signed Joannes MALBODIUS 
 INVENIT, and dated 1527. 
 
 Panel. Size 9% by jy% inches. 
 
 Lent by Lsaac Falcke, Esq. 
 
 JOOST VAN CLEEF, called Zotte Cleef, or Mad Cleef. (Born at 
 Antwerp about 1520 ; in England in 1 5 54 ; died, probably in 1556, at Antwerp.) 
 
 57 His own Portrait. 
 
 Bust of a bearded man dressed in black, the head turned slightly to the 
 right. The hands are raised to the breast. On the forefinger of the left 
 hand a signet ring. Green background. 
 
 A superb example of the Master. 
 
 Panel. Size ig% by 18 j4 inches. 
 
 Lent by Earl Spencer, K.G, 
 
 Ascribed to NICHOLAS LUCIDEL. 
 
 58 Portrait of a Man. 
 
 Half-length, three-quarters to the left. He wears a black dress with 
 red doublet and a black cap. He holds up a ring in his right hand and 
 carries a pair of gloves in his left. Grey background, with a coat-of-arms in 
 the right top corner. 
 
 Panel. Size 19^ by 153,^ inches. 
 
 Lent by Henry Willett, Esq. 
 
26 
 
 LUCAS HUIGENSZ, or JACOBSZ, called LUCAS VAN Leyden. (Born at 
 Leyden in 1494. Studied under Cornelis Engelbrechtsz, and was the 
 friend of Diirer. He worked successively at Leyden, Middleburg and 
 Antwerp, and died at Leyden in 1533.) 
 
 59 A Card Party. 
 
 A company of gaily dressed men and women, seated at a table covered 
 with a green cloth, are playing cards. Other persons stand round watching 
 and advising the players. In the background, an open window shewing a 
 distant landscape. Signed on the border of the tablecloth, LUCAS VAN 
 Leyden, P. 
 
 Panel. Size 14^ by 18 inches. 
 
 Lent by the Earl of Pembroke. 
 
 ITALIAN-FLEMISH SCHOOL. 
 
 60 Charles V. 
 
 " The Emperor is represented on a white charger, advancing towards 
 the right, holding an arrow in his right hand, and the reins of his horse in the 
 left, which rests on the pommel of his sword. On the ground lies a Moorish 
 King, clutching at a sceptre with his left hand, and raising his right as if to 
 implore the conqueror's mercy. The Emperor wears a rich suit of armour, 
 sleeves of blue and red shot silk, a fantastically shaped helmet, with a bunch 
 of drooping plumes, and long untanned leather boots with spurs. His 
 horse's reins are formed of crimson scarves knotted together. The Moorish 
 King has a dark blue furred robe with gold clasp, and green and red shot 
 silk sleeves. He wears his crown outside a greenish yellow conical hat, with 
 turned-up border lined with white." — Northbrook Catalogue. 
 
 Panel. Size 14? s by ll^j inches. 
 
 Lent by the Earl of Northbrook. 
 
I 
 
GETTY RESEARCH INSTITUTE 
 
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