V 
 
HANDBOOK 
 
 TO THE 
 
 PUBLIC PICTURE GALLERIES 
 
 OF 
 
 EUROPE. 
 
 « 
 
f) 
 
A 
 
 HANDBOOK 
 
 TO THE 
 
 PUBLIC PICTURE GALLERIES 
 
 OF 
 
 EUROPE. 
 
 WITH A BRIEF SKETCH OF THE HISTORY OF THE 
 VARIOUS SCHOOLS OF PAINTING, 
 
 FROM THE 13th CENTURY TO THE 18th INCLUSIVE. 
 
 BY 
 
 KATE THOMPSON. 
 
 THIRD EDITION, WITH ILLUSTRATIONS. 
 
 LONDON: 
 
 MACMILLAN AND CO. 
 
 1880. 
 
 All Rights Eeset'ved. 
 
LONDON ; 
 
 PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, 
 STAMFORD STREET AND CHARING CROSS. 
 
PREFACE TO THE FIRST EDITION 
 
 I WISH to say a few words as to the origin of this little 
 book. During the last five years I have accompanied 
 my father, Sir Henry Thompson, on his annual tour on 
 the Continent, where, among other things, one of our main 
 objects was to visit and study together the Picture Galleries 
 in the great capitals of Europe. Following his advice, I 
 began by making a few notes on the spot of each chief 
 work, and by consulting authorities respecting them and 
 the history of their painters. At the same time he sug- 
 gested that I should make a chronological table of artists 
 of all schools, adding a few chief biographical incidents 
 relating to each as a pursuit for my own information and 
 profit. It was not until this little exer(3ise was nearly 
 complete that it happened to be named in the hearing of 
 my friend Mr. George Grove, who was pleased to think 
 that I had collected materials for a small manual which 
 might be of some service, at all events to the untravelled 
 tourist. Accordingly the whole manuscript was carefully 
 revised and somewhat enlarged, with a view to meet this 
 purpose. In working for this object I must be permitted 
 to add that I have been greatly indebted to my father for 
 hints and guidance both as to the arrangement and the 
 matter of my work.. 
 
 What I have tried to accomplish is then as follows : — 
 1. An examination of every one of the chief Public 
 Picture Galleries of Europe, and most of the smaller ones, 
 so as to be able to point out the principal and most in- 
 teresting pictures in each ; invariably adding their numbers 
 
vi 
 
 PREFACE TO THE FIRST EDITION, 
 
 and titles from the local catalogues, in order to facilitate 
 reference on the part of the traveller. I have placed at the 
 end of the work a list for each gallery, or short catalogue, 
 of these pictures. These will be found under the painters' 
 names, which are arranged for convenience in alphabetical 
 order. 
 
 2. I have endeavoured to give a brief historical sketch 
 of each of the European Schools of Art from its earliest 
 known origin to the end of the last century. This 
 necessarily comprises a few biographical records of each 
 principal master, and I have examined and collated the 
 best known as well as the most recent works for the facts 
 and dates given. Then, in order to illustrate the work 
 of each school or master, I have throughout invariably 
 referred in the text to several pictures as typical examples, 
 stating the number of each in the gallery to which it 
 belongs. While the great majority of these examples is of 
 course to be found in galleries and museums, not a few 
 churches, especially in Italy, are also referred to. My 
 object has not been to make a long list of painters, which 
 would have been a very easy task, but, on the contrary, to 
 limit as far as possible this elementary study to the con- 
 sideration of those masters who were really famous or 
 necessary to be mentioned in tracing the outlines of the 
 history. 
 
 3. I have compiled with great care Chronological Tables 
 containing the dates of birth and death, so far as they are 
 known, of every painter of celebrity — that is, historically 
 recognised as such— during the period already stated. At 
 the same time I have endeavoured to ascertain the correct 
 spelling of names, by no means an easy task, for the in- 
 stances are not few in which two or more modes of spelling 
 are supported on good authority. 
 
 4. Further, I ought to say that I have not mentioned 
 any picture which has not been seen and noted by myself : 
 many have been examined more than once or even twice. 
 But I have not felt myself qualified to enter into the 
 region of Art criticism, and have not aspired to do so. 
 
PBEFACE TO THE FIRST EDITION, 
 
 Still it has not "been found possible to see and compare so 
 many fine works without occasionally expressing some sort 
 of opinion here and there. 
 
 The most difficult problem perhaps which presents itself 
 to the travelling Fine Art student is that of determining 
 the authorship of certain pictures. Each gallery decides 
 for itself — and naturally shows some partiality in doing so 
 — the authenticity of the works in its own possession. In 
 some few instances, in which the assumption of a great 
 name was obviously unjustifiable, I have at once said the 
 work ascribed to such a master is certainly not by his 
 hand ; but in a certain proportion of doubtful examples — 
 and they are numerous — I have felt it was not in my 
 province to contest the name employed. On the other 
 hand, in many cases throughout the catalogues I have 
 intentionally denoted the existence of grave doubt by 
 placing the words "attributed to" after the painter's 
 name. 
 
 5. Lastly, great pains have been taken to insure accuracy 
 in reference to the catalogue numbers attached to pictures ; 
 but in one or two places the catalogue is out of print — in 
 another it is in course of construction, and the contents of 
 the gallery are in confusion. I am conscious that, not- 
 withstanding all my care, some few clerical errors may 
 have crept in. I shall be very grateful for corrections of 
 these, and indeed for any suggestions towards improving 
 my little work, which occur to any one who may chance 
 to use it. 
 
 Kate Thompson. 
 
 35 Wimpole Street^ London, 
 July 1877. 
 
PEEFACE TO THE SECOND EDITION. 
 
 ■♦o 
 
 A Second Edition having been required, I determined at 
 once to revisit the principal Continental galleries, so as to 
 embody in the new work any changes and additions recently 
 made. During the last year these have been unusually 
 important. For example, the Brera at Milan has been 
 recatalogued, the pictures have been numbered afresh, new 
 space has been obtained and positions have been altered, so 
 that some works are brought to light which were barely 
 visible before. The Museum at Naples has been similarly 
 rearranged ; so has the Gallery of Parma, while some 
 changes have been made in the Vatican collection, and the 
 pictures there are no longer distinguished by numbers as 
 heretofore. An important portion of the collection in the 
 Venetian Academy has been re-catalogued ; and a new 
 issue, with altered numbers, has appeared of the catalogue 
 to the Italian and Spanish schools in the Louvre. 
 
 The collection at Cassel has been just removed to a new 
 and splendid gallery, and has of course an entirely new 
 catalogue. A valuable small gallery has been lately 
 established at Tjucca, and its chief contents are given in 
 due order. The Gallery at Brunswick, interesting as 
 containing a chef d'oeuvre by Jan van der Meer of Delft, 
 finds a place in the new edition ; as also do the Galleries 
 Czernin and of the Academy at Vienna, and of Esterhazy at 
 Buda-Pesth, the latter, which I was prevented from ex- 
 amining, having been done for me by friends on the spot. 
 Every other gallery named in the volume has been visited 
 
X 
 
 PBEFAGE TO THE SECOND EDITION. 
 
 by myself. The collections at Liverpool, Edinburgh, and 
 Glasgow appear also for the first time. Besides these 
 additions I have considerably extended the catalogues of 
 several leading collections, such as those of Florence, Pisa, 
 Verona, Vicenza, Bologna, Kome, Munich, Dresden, and 
 Niirnberg, after renewed careful examination of the galleries 
 themselves. 
 
 Next, that portion of the body of the work which relates 
 to the early history of Italian Art has been completely re- 
 written ; and, brief as it still is, has been made more com- 
 prehensive, extending to at least double its former limits. 
 Some additions and corrections have been made to the 
 other histories also. The contents of the work have been 
 thus considerably augmented, but by diminishing the size 
 of the type -and compressing the material its former bulk 
 has not been greatly exceeded, 
 
 I desire to express my obligation to the accurate and 
 exhaustive researches of Messrs. Crowe and Cavalcaselle, 
 having had at hand, throughout, their records for com- 
 parison and verification. I am grateful also to numerous 
 correspondents, both in this country and abroad, for 
 valuable suggestions, some of which have been adopted. 
 
 It remains for me only to hope that the labour I have 
 bestowed upon it — which has been always a labour of love 
 — will render the second edition more worthy the approval 
 with which an indulgent public has been pleased already 
 to receive the first. 
 
 K. T. 
 
PEEFACE TO THE THIRD EDITION. 
 
 I HAVE endeavoured to improve the third edition by 
 obtaining carefully prepared small outlines of some of the 
 most typical works (nearly 200 in number) of the great 
 masters, which may serve for those who have seen them 
 to recall the details of the composition. Small as they are, 
 the correctness of the original drawings is guaranteed, and 
 the reproduction by the Typographic Etching Company 
 has been faithfully accomplished. All have been made by 
 a skilful artist expressly for this work, excepting only two 
 Plates, Nos. XXVIII. and XXXIII. of pictures at Brussels 
 and Antwerp, for which I am indebted to the kindness 
 of an amateur, Mr. Harold Wright of Birmingham. 
 
 All the Galleries at Vienna have been personally re- 
 visited, as well as the famous Esterhazy Collection now at 
 Buda-Pesth, not included in the previous edition. Many 
 other important Galleries have been also again examined 
 by me, and the most recent additions catalogued. 
 
 K. T. 
 
 April 1880. 
 
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 CONTENTS. 
 
 PAGE 
 
 List of Illustrations xv 
 
 List op Museums, Galleries, and other places catalogued xxv 
 List op Authorities consulted ..... xxvii 
 
 List op Abbreviations. ...... xxviii 
 
 The Kise and Progress of Painting in — 
 
 Italy .......... 1 
 
 Flanders ......... 94 
 
 Holland ......... 116 
 
 Germany 145 
 
 Spain 159 
 
 France 174 
 
 England 190 
 
 Introductory Notes to the Catalogues .... 205 
 Catalogues op the Galleries in — 
 
 Italy 207 
 
 Belgium 271 
 
 Holland 278 
 
 Germany 293 
 
 Austria 336 
 
 Hungary 350 
 
 Spain 355 
 
 France 364 
 
 England and Scotland 383 
 
 KussiA 410 
 
 Index 423 
 
LIST OF ILLUSTEATIONS. 
 
 1, GuiDO DA Siena 
 
 2, CiMABUE 
 
 3, 4. Giotto . 
 
 PLATE I., to face p. 6. 
 
 . Madonna^ in S. Domenico, Siena. 
 . Madonna, in S. M. Novella, Florence. 
 . S. Francis in glory and S. Francis wedded 
 to Poverty, in S. Francesco, Assisi. 
 
 PLATE IL, to face p. 10. 
 
 1. Duccio DA Siena . . Entry into Jerusalem, part of altarpiece in 
 
 the Duomo, Siena. 
 
 2. Orcagna .... Coronation of the Virgin, in the National 
 
 Gallery, London. 
 
 3. 4. The Lorenzetti ? . Triumph of Death, the Last Judgment 
 
 and Hell, in the Campo Santo, Pisa. 
 
 1. Fra Angelico 
 
 2. „ 
 
 3. Masolino 
 
 4. Masaccio 
 
 PLATE IIL, to face p. 18. 
 
 Coronation of the Virgin, in the Louvre, 
 Paris. 
 
 . S. Lawrence giving alms, in the Vatican, 
 Rome. 
 
 . Salome "before Herod, in the church at 
 Castiglione d* 01 on a. 
 The tribute-money, in the church of the 
 Carmine, Florence. 
 
 PLATE IV., to face p, 22. 
 
 1. Masaccio , * . , 8. Peter baptising, in the church of the 
 
 Carmine, Florence. 
 
 2. FiLippo LiPPi . . . Coronation of the Virgin, in the Academy, 
 
 Florence. 
 
 3. Sandro Botticelli . Birth of Venus, in the Uffizi, Florence. 
 
xvi 
 
 LIST OF ILLUSTRATIONS, 
 
 PLATE IN.— continued. 
 
 4. Sandro Botticelli . Madonna and angels, in the Uffizi, Flo- 
 
 rence. 
 
 5. FiLiPPiNO LiPPi . . Martyrdom of S. Peter, in the church of 
 
 the Carmine, Florence. 
 
 PLATE v., to face p. 24. 
 
 1. Yerrocchio ... Baptism of Christ, in the Academy, 
 
 Florence. 
 
 2. D. Ghirlandajo . . The visit of Mary to Elizabeth, in the 
 
 Louvre, Paris. 
 
 3. Luc A SiGNORELLi . . Pan and Music, in the Museum, Berlin. 
 
 4. D. Ghirlandajo . . Birth of the Virgin, S. M, Novella, Flo- 
 
 rence. 
 
 PLATE VL, to face p. 27. 
 
 1. Benozzo Gozzoli . . Noah and his family, in the Campo Santo, 
 
 Pisa. 
 
 2. Melozzo da Forli . Audience of Sixtus IV., in the Vatican, 
 
 Kome. 
 
 3. Piero della Fran- Baptism of Christ, in the National 
 
 CESCA Gallery, London. 
 
 4. Cosmo EossELLi . . Sermon on the Mount, in the Sistine Chapel. 
 
 PLATE VIL, to face p. 29. 
 
 1. Gentile da Fabriano Adoration of the kings, in the Academy, 
 
 Florence. 
 
 2. Antonello da Messina Crucifixion, in the Museum, Antwerp. 
 
 3. Antonio and Giovanni Madonna enthroned, in the Academy, 
 
 YiVARiNi Venice. 
 
 4. Carlo Crivelli . . Altarpiece, in the National Gallery, 
 
 London. 
 
 PLATE VIIL, to face p. 32. 
 
 1. Giovanni Bellini . Madonna and saints, in the Academy, 
 
 Venice. 
 
 2. Vittore Carpaccio . Presentation in the temple, in the Academy, 
 
 Venice. 
 
 3. Gentile Bellini . . Miracles of the true cross, in the Academy, 
 
 Venice. 
 
LIST OF ILLUSTMATIONS, 
 
 xvii 
 
 PLATE IX., to face p. 34. 
 
 1. Giovanni Bellini . Doge Loredano, in the National Gallery, 
 
 London. 
 
 2. Mantegna .... Triumph of Julius Cxsar, in tlie Palace, 
 
 Hampton Court. 
 
 3. „ . . . . Madonna of Victory, in the Louvre, Paris. 
 
 4. CiMA DA CoNEGLiANO . Christ, S. Thomas and a saiiitj in the 
 
 Academy, Venice. 
 
 1. Perugino . 
 
 2. ,, 
 
 3. Lo Spagna . 
 
 4. F. Francia 
 
 PLATE X., to face p. 39. 
 
 Adoration of the magi, in S. M. di Bianchi, 
 Citta delle Pieve. 
 . Delivery of the keys to Peter, in the Sistine 
 Chapel. 
 
 . Adoration of the magi, in the Museum, 
 Berlin. 
 
 Madonna and saints in adoration, in the 
 Gallery, Bologna. 
 
 PLATE XL, to face p. 43. 
 
 1. Leonardo da Vinci . Zas^ ^S'lipper, in the Kefectory of S. M. delle 
 
 Grazie, Milan. 
 
 2. „ „ . The Mona Lisa, or La Joconde, in the 
 
 Louvre, Paris. 
 
 3. Bernardino Luini . Christ at the column, in S. Maurizio Mag- 
 
 giore, Milan. 
 
 4. Lorenzo Costa . . Court of Isabella d'Este, in the Louvre, 
 
 Paris. 
 
 PLATE XII., to face p. 47. 
 1. Fra Bartolommeo 
 
 2. 
 
 55 
 
 3. C. Allori . 
 
 4. Garofalo (Tisio) . 
 
 5. Bazzi (II Sodoma) 
 6. 
 
 5» 
 
 Marriage of S. Catharine, in the Louvre, 
 Paris. 
 
 Madonna enthroned, in the UflSzi, Flo- 
 rence. 
 
 Judith, in the Pitti, Florence. 
 
 Vision of S. Augustine, in the National 
 
 Gallery, London. 
 S. Sebastian, in the Uffizi, Florence. 
 Ecstasy of S. Catharine, in S. Domenico, 
 
 Siena. 
 
 h 
 
LIST OF ILLUSTRATIONS. 
 
 PLATE XIII., to face p. 48. 
 
 1. Michael Angelo . 
 2. 
 
 4. 
 
 9> 
 
 Creation of light, in the Sistine Chapel. 
 Creation of Adam, in the Sistine Chapel. 
 JffoZ?/ family, in the Uffizi, Florence. 
 T/ie DelpMc Sibyl, in the Sistine Chapel. 
 
 PLATE XIV., to face p. 49. 
 
 1. Andrea del Sarto 
 2. 
 3. 
 
 9? 
 5? 
 
 »5 
 
 9) 
 
 4. S. del Piombo . 
 
 5. G. A. PORDENONB 
 
 Four saints, in the Academy, Florence. 
 
 Charity, in the Louvre, Paris. 
 
 Madonna del Sacco, in the S. M. Annun- 
 
 ziata, Florence. 
 Raising of Lazarus, in the National 
 
 Gallery, London. 
 Altarpiece, in the Academy, Venice. 
 
 1. Eaphael 
 2. 
 3. 
 4. 
 5. 
 6. 
 
 PLATE XV., to face p. 51. 
 
 . Madonna, La belle jardiniere, in the 
 
 Louvre, Paris. 
 . Marriage of the Virgin, in the Brera, 
 
 Milan. 
 
 . Entombment, in the Borghese Palace, 
 Rome. 
 
 . Madonna delta Sedia^ in the Pitti, Flo- 
 rence. 
 
 Christ bearing the cross, Lo Spasimo, in the 
 
 Museum, Madrid. 
 The Transfiguration, in the Vatican, Rome. 
 
 PLATE XVL, to face p. 53. 
 
 1 Raphael Theology, in the Vatican, Rome. 
 
 „ School of Athens, in the Vatican, Rome. 
 
 2. 
 3. 
 4, 
 
 ?9 
 
 Madonna di Foligno, in the Vatican, Rome. 
 Madonna di S. Sisto, in the Gallery, 
 Dresden. 
 
 PLATE XVIL, to face p. 61. 
 
 1. Titian The tribute-money, in the Gallery, Dresden. 
 
 2. 
 3. 
 
 4. 
 
 5. 
 
 9> 
 
 59 
 
 Entombment, in the Louvre, Paris. 
 Assumption of the Virgin, in the Academy, 
 Venice. 
 
 Venus and Adonis, in the National Gallery, 
 
 London, and at Madrid. 
 Venus reclining^ in the Uffizi, Florence. 
 
LIST OF ILLUSTRATIONS, 
 
 PLATE XVIII., to face p. 63. 
 
 1. Titian Sacred and profane love, in the Borghese 
 
 Palace, Kome. 
 
 2. „ Lavinia with fruit, in the Museum, Berlin. 
 
 3. ,, ..... Jupiter and Antiope, in the Louvre, Paris. 
 
 4. Tintoretto. . . . Miracle of S. Mark, in the Academy, 
 
 Venice. 
 
 PLATE XIX., to face p. 66. 
 
 1. BoNiFAZio .... Finding of Moses, in the Brera, Milan. 
 
 2. MoBETTO .... Hohj family and donators, in the 'MnsGum, 
 
 Berlin. 
 
 3. Paris Bordone . , Fisherman presenting the ring to the doge^ 
 
 in the Academy, Venice. 
 
 4. Moroni The tailor, in the National Gallery, 
 
 London. 
 
 5. Palma Vecchio . . Three Graces, in the Gallery, Dresden. 
 
 1. Tintoretto. 
 
 2. 
 
 3. P. Veronese 
 4 
 
 PLATE XX., to face p. 70. 
 
 . Marriage at Cana, in S. M. della Salute, 
 Venice. 
 
 Vulcan, Venus, and Cupid, in the Pitti, 
 Florence. 
 
 . Marriage at Cana, in the Louvre, Paris. 
 . Feast in the house of Levi, in the Academy, 
 Venice. 
 
 1. CORREGGIO . 
 
 PLATE XXL, to face p. 73. 
 
 The Nativity, La Notte, in the Gallery, 
 Dresden. 
 
 . Danae, in the Borghese Palace, Kome. . 
 . Magdalen reading, in the Gallery, Dresden. 
 . Marriage of S. Catharine, in the Louvre, 
 Paris. 
 
 5. Hubert and Jan van Adoration of the Lamb, in S. Bavon, 
 Eyck Ghent. 
 
 2. 
 3. 
 4. 
 
 99 
 99 
 
 PLATE XXIL, to face p, 76. 
 
 1. Agostino Caracci. . Assumption of the Virgin, in the Gallery, 
 
 , Bologna. 
 
 2. DoMENiCHiNO . . . Communion of S, Jerome^ in the Vatican, 
 
 Kome, 
 
XX 
 
 LIST OF ILLUSTRATIONS. 
 
 PLATE XXII. continued. 
 
 3. Annibale Cabacci . S, Roch giving alms, in the Gallery, 
 
 Dresden. 
 
 4. DoMENiCHiNO . . . S, Cecilia, in the Louvre, Paris. 
 
 PLATE XXIIL, to face p. 78. 
 
 1. " Caravaggio . . . Card-players, in the Gallery, Dresden, and 
 
 in the Sciarra Palace, Eome. 
 
 2. Gtjido Eeni . . . Fortune, in the Academy S. Luca, Rome. 
 
 3. „ „ ... Aurora, in the Rospigliosi Palace, Eome. 
 
 4. „ „ ... Massacre of the innocents, in the Gallery, 
 
 Bologna. 
 
 5. CoRREGGio .... ilfacioTiwa, JZ 6rzorno, in the Gallery, Parma. 
 
 PLATE XXIY., to face p. 80. 
 
 1. GuERCiNO .... Aurora, in the Villa Ludovisi, Rome. 
 
 2. „ .... Raising of Sta. Petronilla, in the Capitol 
 
 Museum, Rome. 
 
 3. Albani Dance of cupids, in the Brera, Milan. 
 
 4. GuiDO Cagnacci . . Tarquin and Lucretia, in the Academy S. 
 
 Luca, Rome. 
 
 5k RiBERA (Lo Spagno- JacoVs dream, in the Museum, Madrid. 
 
 LETTO) 
 
 6. Salvator Rosa . . Prodigal son, in the Hermitage, St. 
 
 Petersburg. 
 
 PLATE XXV., to face p. 98. 
 
 1, 2. Hans Memltng . Arrival and martyrdom of S. Ursula, in 
 
 the Hospital of S. John, Bruges. 
 
 3. RoGiER YAN DER Wey- Adoration of the magi, in the Gallery, 
 
 DEN Munich. 
 
 4. „ „ S. Luke painting the Virgin, in the 
 
 Gallery, Munich. 
 
 5. „ „ Xas^ Jwc2^we/ii, in the Hospital at Beaune, 
 
 Burgundy, 
 
 PLATE XXVI., to face p, 101. 
 
 1. Anton van Dyck . Charles L, in the Louvre, Paris. 
 
 2. QuiNTiN Matsys . . Deposition, in the Gallery, Antwerp. 
 
 3. A. VAN Dyck . . . Crucifixion, in the Cathedral, Mechlin. 
 
 4. QuiNTiN Matsys . . The misers, in the Castle, Windsor. 
 
LIST OF ILLVSTEATIONS, xxi 
 
 PLATE XXVII., to face p. 106. 
 
 1. Rubens Descent from the cross, in the Cathedral, 
 
 Antwerp. 
 
 2. ., Judgment of Faris, in the National Gal- 
 
 lery, London, and at Madrid. 
 
 3. ., Children luitli fruit, in the Museum, 
 
 Berlin. 
 
 4. „ Marriage of Maria de* Medici, in the 
 
 Louvre, Paris. 
 
 5. „ Portrait group, in the Pitti, Florence. 
 
 6. „ Portraits of himself and Isabella Brandt, 
 
 in the Gallery, Munich. 
 
 PLATE XXVIIL, to face p. 112. 
 
 1. CoRNELis DE Vos . . Portrait group, in the Museum, Brussels. 
 
 2. A. VAN Dyck . . . Portrait of Alexandre de la Faille, in the 
 
 Museum, Brussels. 
 
 3. Simon Vouet . . . S. Carlo Borromeo, in the Museum, 
 
 Brussels. 
 
 4. 8. DiERiCK Bouts . . Justice and Injustice of the Emperor Otho, 
 
 in the Museum, Brussels. 
 
 5. Jan Brueghel . . . S. Norbert preaching, in the Museum, 
 
 Brussels. 
 
 6. Frans Hals . . . Portrait, in the Museum, Brussels. 
 
 7. Lucas van IjEiden . Two parts of a triptych, in the Gallery, 
 
 Antwerp. 
 
 0. F. Snyders . . . Dead game, in the ^luseum, Brussels. 
 
 PLATE XXIX., to face p. 121. 
 
 1. Rebibkandt . . . . The Itonde de nuit, in the Trippenhuis, 
 
 Amsterdam. 
 
 2. „ .... J.?ia/o?}i?/ Zmow, in the Gallery, the Hague. 
 
 3. „ .... Woman taken in adultery, in the National 
 
 Gallerv, London. 
 
 PLATE XXX., to face p. 128. 
 
 1. B. van der Helst . Civic guard, in the Trippenhuis, Am- 
 
 sterdam. 
 
 2. D. Teniers, younger Acts of mercy, in the Louvre, and in the 
 
 Steengracht Gallery, the Hagi;e. 
 
 3. A. VAN OsTADE . . The fiddler, in the Gallery, the Hngue. 
 
 4. Jan Steen .... Peasants^ luedding, in the Belvedere, 
 
 Vienna. 
 
 5. „ .... Feast of S. Nicholas, in the Trippenhuis, 
 
 Amsterdam. 
 
 h 2 
 
xxii 
 
 LIST OF ILLUSTRATIONS. 
 
 PLATE XXXI., to face p. 130. 
 
 1. G. Terburg . . . Officer presenting gold to a woman ^ in the 
 
 Louvre. 
 
 2. „ ... The despatch, in the Gallery, the Hague. 
 
 3. N". Ma AS .... The Dutch housewife, in the National 
 
 Gallery, London. 
 
 4. PiETER DE HooGHE . Interior, in the Gallery, Munich. 
 
 5. G. Dow The quack doctor, in the Gallery, Munich. 
 
 6. The doctor'' s visit, in the Louvre. 
 
 PLATE XXXIL, to face p. X34. 
 
 1. A. CuYP. . . . . Landscape, in the National Gallery, 
 
 London. 
 
 2. Stephan Lochner . . Bombild, in the Cathedral, Cologne. 
 
 3. G. Netscher . . . Portraits of himself and his wife, in the 
 
 Gallery, Dresden. 
 
 4. Ph. Wouwerman . . The watering-place, in the Gallery, 
 
 Munich. 
 
 5. Paul Potter . . . The young hidl, in the Gallery, the Hague. 
 
 PLATE XXXHL, to face p. 140. 
 
 1. KuYSDAEL .... Landscape, in the Museum, Brussels. 
 
 2. HoBBEMA .... Landscape, in the Museum, Brussels. 
 
 3. L. Cranach . . . Adam and Eve, in the Museum, Brussels. 
 
 4. H. Memling . . . Diptych, in the Gallery, Antwerp. 
 
 5. A. S. CoELLo . . . jPemctZe ^or^ratY, in the Museum, Brussels,. 
 
 6. Jan Fyt .... Greyhounds, in the Gallery, Antwerp. 
 
 7. D. Teniers, younger Village doctor, in the Museum, Brussels. 
 
 8. KuBENS Adoration of the magi, in the Gallery, 
 
 Antwerp. 
 
 9. J. Wynants . . . Landscape, in the Museum, Brussels. 
 
 2. 
 
 9> 
 
 PLATE XXXIY., to face p. 150. 
 
 1. Hans Holbein. . . T/ie 3/ac?07iria, of the Burgomaster Meyer, 
 
 in the Gallery, Dresden. 
 Portrait of the goldsmith Morett, in the 
 
 Gallery, Dresden. 
 Woman talcen in adultery, in the Gallery, 
 Munich. 
 
 Adoration of the kings, in the Uffizi, 
 Florence. 
 
 . Portrait of George Gyzen, in the Museum, 
 Berlin. 
 
 3. L. Cranach 
 
 4. Albrecht DxiRER 
 
 5. H. Holbein 
 
LIST OF ILLUSTRATIONS, 
 
 xxiii 
 
 PLATE XXXV., to face p, 164. 
 
 1. Juan de Juanes . . Stephen before the councily in the Museum, 
 
 Madrid. 
 
 2. ZuRBARAN . . . Monh at prayer, in the National Gallery, 
 
 London. 
 
 3. Yelasquez .... Surrender of Breda, in the Museum, 
 
 Madrid. 
 
 4. „ .... Tapestry workers, in the Museum, Madrid. 
 
 PLATE XXXVL, to face p. 168. 
 
 1. Velasquez .... The Bor radios, in the Museum, Madrid. 
 
 2. „ .... Las Meninas, in the Museum, Madrid. 
 
 3. MuRiLLO .... Vision of S. Anthony, in the Cathedral, 
 
 Seville. 
 
 4. „ .... Beggar-hoy, in the Louvre. 
 
 <5. „ .... Woman and hoy, in the Gallery, Munich. 
 
 PLATj: XXXVII., to face p, 176. 
 
 1. MuRiLLo. . . . . >S'. Elizaheth tending the poor, in the 
 
 Academy de S. Fernando, 3Iadrid. 
 
 2. M. Valentin . . . Concert, in the Louvre. 
 
 3. Le Nain .... Blacksmith, in the Louvre. 
 
 4. Nicolas Poussin . . Arcadian shepherds, in the Louvre. 
 
 5. „ „ ... Rape of the Sahines, in the Louvre. 
 
 6. MuKiLLO .... Assumption of the Virgin, in the Louvre, 
 
 PLATE XXXVIIL, to face p. 180. 
 
 1. Claude Lorraine . . Landing of S. Ursula, in the National 
 
 Gallery, London. 
 
 2. Le Sueur .... Paul preaching at Athens, in the Louvre. 
 
 3. SuBLEYRAS .... Chrid in the house of Simon, in the 
 
 Louvre. 
 
 4. Watte Au .... Venetian festival. 
 
 5, Chardin .... The hlessing, in the Louvre. 
 
 PLATE XXXIX., to face p. 195. 
 
 1. David Sabine women, in the Louvre. 
 
 2. Hogarth .... His own portrait, in the National Gallery, 
 
 London. 
 
 3. Keynolds .... Portrait of Mrs. Siddons, in the Gallery ^ 
 
 Dulwich. 
 
 4. Greuze The broken pitcher, in the Louvre. 
 
xxiv 
 
 LIST OF ILLUSTRATIONS. 
 
 PLATE XXXIX.— continued. 
 
 5. Hogarth .... Marriage a la mode, in the National 
 
 Gallery, London. 
 
 6. Eeykolds .... Infant Hercules, from the large composi- 
 
 tion, in the Hermitage, St. Petersburg. 
 
 PLATE XL., to face ]). 197. 
 
 1. Gainsborough . . . T/ieif5aieWwgf-j9?ace, in the National Gallery, 
 
 London. 
 
 2. „ ... Parish clerJc, in the National Gallery, 
 
 London. 
 
 3. RoMNEY Lady Hamilton, in the National Gallery, 
 
 London. 
 
 4. Wright of Derby . Experiment with the air jpumij, in the 
 
 National Gallery, London. 
 
 5. Opie Death of Rizzio. 
 
 6. B. "West .... Death of Wolfe, in the Palace, Hampton 
 
 Court. 
 
( XXV ) 
 
 LIST OF MUSEUMS, GALLEEIES, AND OTHEE PLACES 
 
 CATALOGUED. 
 
 Aeezzo . 
 Bergamo . 
 Bologna . 
 Brescia . 
 Ferrara . 
 Florence 
 
 5> 
 
 Genoa 
 
 XfUCCA 
 
 Mantua 
 
 Milan 
 »» 
 
 MODENA 
 
 Naples 
 Padua 
 Parma 
 Perugia 
 
 j> 
 
 Pisa 
 
 PRATO 
 
 Home 
 
 » 
 >» 
 
 » 
 
 ITALY. 
 
 Municipal Gallery. 
 Accademia Carrara. 
 Pinacoteca. 
 Museo Civico. 
 Ateneo. 
 
 Accademia delle belle 
 Arti, 
 
 Museum at 8. Marco. 
 
 Fitti Palace. 
 
 Royal Gallery of the 
 
 TJffizi. 
 Palazzo Brignoli. 
 Communal Gallery. 
 Palazzo del Te, 
 Ducal Palace. 
 Castello di Corti. 
 Amhrosiana. 
 Brera. 
 
 Galleria Estense. 
 Royal Museum. 
 Museo Civico. 
 Pinacoteca. 
 Pinacoteca. 
 Sala del Camhio. 
 Accademia. 
 Campo Santo. 
 Municipal Gallery. 
 Accademia di San Luca. 
 Villa Alhani. 
 Barherini Palace, 
 Borghese Palace. 
 Gallery of the Capitol. 
 Colonna Palace. 
 Corsini Palace. 
 Doria Palace. 
 Farnese Palace, 
 
 KOME 
 
 Siena 
 
 Turin 
 Venice 
 
 >9 
 
 5> 
 
 Veruna 
 
 ViCENZA 
 
 Antwerp , 
 Bruges 
 )> 
 
 Brussels . 
 
 Amsterdam 
 
 Haarlem 
 
 Hague 
 
 5» 
 
 5» 
 
 Leiden 
 Rotterdam 
 
 . Villa Farnesina. 
 
 . Villa Ludovisi. 
 
 . Rospigliosi Palace. 
 
 . Sciarra Palace. 
 
 . Spada Palace. 
 
 . Vatican Collection. 
 
 . Galleria delle hdle Arti. 
 
 . Palazzo Pubblico, 
 
 . Pinacoteca. 
 
 . Accademia delle belle 
 
 Arti. 
 . Cor rev Museum, 
 . Ducal Palace. 
 . Scuola di San Rocco. 
 . Pinacoteca. 
 . Museum. 
 
 BELGIUM. 
 
 . Museum. 
 
 . Academy of Pictures. 
 . Hospital of S. John. 
 . Musee National, 
 
 HOLLAND. 
 
 . Museum of the Trippen- 
 huis. 
 
 . Van der Hoop Museum. 
 . Six van Hillegom Col- 
 lection, 
 . Townhall. 
 Townhall, 
 
 Hofje van Beresteyn, 
 Musee Communal. 
 Royal Museum. 
 Steengracht Collection, 
 Stedelyh Museum, 
 Museum, 
 
XXVI 
 
 GALLERIES CATALOGUED, 
 
 Augsburg 
 Basle . 
 Berlin . 
 Brunswick 
 Cassel 
 Cologne . 
 
 Darmstadt 
 Dresden . 
 
 Frankfort 
 Munich . 
 Nurnberg 
 
 Stuttgart 
 
 Vienna . 
 
 GERMANY. 
 
 . Gallery of Pictures, 
 . Gallery of Pictures. 
 . Royal Picture Gallery, 
 . Gallery of Pictures. 
 . Gallery of Pictures. 
 . Museum Wallraf-Rich- 
 artz. 
 
 . Gallery of Pictures. 
 . Royal Gallery of Pic- 
 tures, 
 
 . Stddel Picture Gallery. 
 . Royal Pinacotheh, 
 . German Museum, 
 . MoritZ'Kapelle. 
 . Royal Gallery of Pic- 
 tures, 
 
 AUSTRIA. 
 
 . Royal Academy of Arts. 
 . The Royal Belvedere. 
 . Gallery of Count Czer- 
 nin. 
 
 . Gallery of Count Har- 
 rach. 
 
 . Gallery of Prince Liech- 
 tenstein, 
 
 HUNGARY. 
 
 Buda-Pesth . Gallery of Pictures. 
 
 Madrid 
 
 55 
 
 Seville . 
 
 Bordeaux 
 Lille . 
 Lyons 
 Marseilles 
 
 SPAIN. 
 
 . Academia de San Fer^ 
 
 nando. 
 . Royal Museum. 
 , Museum, 
 
 FRANCE. 
 
 . Museum, 
 
 . Gallery of Pictures, 
 
 . Museum, 
 
 . Gallery of Pictures, 
 
 MoNTPELLiER Musec Fabrc, 
 Paris . . . Louvre, 
 
 ENGLAND AND SCOTLAND. 
 
 Gallery of Pictures, 
 National Gallery. 
 Gallery of Pictures, 
 TJie Hospital. 
 
 Collection in the Palace. 
 
 Royal Institution. 
 National Gallery, 
 Portrait Gallery. 
 Soane's Museum, 
 
 RUSSIA. 
 
 St. PETERS-'i Gallery of the Hermi- 
 BURG . / tage. 
 
 DULWICH . 
 
 Edinburgh 
 Glasgow . 
 
 GrREENWICH 
 
 Hampton 
 Court 
 Liverpool 
 Loudon . 
 
( xxvii ) 
 
 LIST OF AUTHOEITIES CONSULTED. 
 
 Lives of the Painters. By Vasari. Translated by Mrs. Jonathan 
 Foster. Bohn's edition. 1850. 
 
 Smith's Catalogue Kaisonne. 1829. 
 
 Annals of the Artists of Spain. By Sir W. Stirling Maxwell, 
 Bart. 1848. 
 
 Handbook of the History of the Spanish and French Schools 
 OF Painting. By Sir E. Head. 1848. 
 
 Illuminated Books OF the Middle Ages. By Noel Humphrey. 1849. 
 
 The Schools of Painting in Italy. By Kugler. Translated by a 
 Lady. Edited, with Notes, by Sir Charles L. Eastlake, P.R.A., 
 F.R.S. 1851. 
 
 HiSTOIRE DES PeINTRES DE TOUTES LES ECOLES I EcOLE FrAN^ATSE, 
 
 Par Charles Blanc. 1852. 
 
 Geschichte der Chrtstlichen Maleret. Von Dr. Nikolans Sorg. 
 1853. 
 
 DiCTIONNAIRE HiSTORIQUE DES PeINTRES DE TOUTES LES ECOLES : 
 
 EcoLE Franqaise. Par Adolphe Sivet. 1855. 
 
 MusEES DE LA HoLLANDE. Par W. Burger. 1858, 1860. 
 
 Raphael d'Urbin et son Pere, G. Santl Par G. D. Passavant. 1860. 
 
 Ann ALES DE LA Peinture. Par Etienne Parrocel. 1 8G2. 
 
 The Epochs of Painting : a Biographical and Critical Essay on 
 Painting and Painters of all times and many places. By 
 Ralph Nicholas Wornum, Keeper and Secretary to tlie National 
 Gallery. 1864. 
 
 Some Account of, the Life and Works of Hans Holbein. By 
 R. N. Wornum. 1867. 
 
 A Century of Painters of the English School. By Richard 
 Redgrave, R.A., and Samuel Redgrave. 1866. 
 
 History of Art. By Dr. Wilhelm Liibke. Translated by F. E. Bunnett, 
 1868. 
 
 Handbook for Travellers in Spain. By Richard Ford, F.S.A. 
 Fourth Edition. 1869. 
 
xxviii 
 
 AUmOBITIES CONSULTED. 
 
 Handbook for Travellers in Spain. By R. Ford, F.S.A. Fifth 
 Edition. 1878. 
 
 The Cicerone ; or, Art Guide to Painting in Italy, for the use 
 OP Travellers. By Dr. Jacob Burckhardt. Translated from 
 the German by Mrs. A. H. Clougb. Edited by Dr. von Zabn 
 1873. 
 
 An Art Tour to Northern Capitals of Europe. By J. Beavington 
 Atkinson. 1873. 
 
 » 
 
 Antonio Allegri da Correggio. From the German of Dr. Julius 
 Meyer. Edited, with an Introduction, by Mrs. Charles Heaton. 
 1876. 
 
 A Brief History of the Painters of all Schools. By Louis 
 Viardot and other writers. 1877. 
 
 A New History of Painting in Italy from the Second to the 
 Sixteenth Century. By J. A. Crowe and G. B. Cavalcaselle. 
 1864. 
 
 A History of Painting in North Italy from the Fourteenth to 
 THE Sixteenth Century. By J. A. Crowe and G. B. Caval- 
 caselle. 1871. 
 
 The Early Flemish Painters : Notices of their Lives and Works. 
 By J. A. Crowe and G. B. Cavalcaselle. Second Edition. 1872. 
 
 Titian : his Life and Times, with some Account of his Family ; 
 chiefly from new and unpublished Records. By J. A. Crowe 
 and G. B. Cavalcaselle. 1877. 
 
 Renaissance in Italy : Fine Arts. By John Addington Symonds, 
 1877. 
 
 LIST OF ABBREVIATIONS. 
 
 The term " Madonna " is always held to include the Virgin and Child, 
 while the term Virgin " implies the absence of the latter. 
 
 Gds. Tab. . . Salle des Grands Tableaux. 
 Ancs. Tab. . . Salle des Anciens Tableaux. 
 Pets. Tab. . . Salle des Petits Tableaux. 
 Attrib. . . . Attributed to. 
 C. & C. . . . Crowe and Cavalcaselle. 
 
A 
 
 HANDBOOK 
 
 TO THE 
 
 uWk lidm talkies d Cnrope. 
 
 OUTLINES OF A HISTORY OF THE RISE AND PROGRESS OF 
 
 PAINTING IN ITALY. 
 
 In presenting a brief sketch of tlie history of Painting in Intro- 
 Europe, and of the chronology of artists in connection ^^^^^V* 
 therewith, it seems necessary at the outset to observe that, 
 although it has been frequently the custom to classify them 
 according to the century in which they were born, this 
 mode of treatment is a somewhat arbitrary one. For 
 example, an artist born towards the end of one century- 
 may more properly belong to the next, as manifestly his 
 influence is not felt until the latter period. It may there- 
 fore often be found advisable to regard an artist, not as 
 belonging to the century of his birth, but to that in which 
 his works were first seen and known. Again, the works 
 of some artists belong equally to two centuries, the latter 
 part of one and the beginning of the following. Kext, it Term 
 may be desirable to remind some readers that the Italian " century. 
 mode of reckoning the century differs from our own. 
 Thus while the present century is for us the " nineteenth," 
 the Italian names it the " eighteenth ; " so that the 
 
 Quattrocentisti " of the Italian writers are the masters, 
 not of the " fourteenth," but of our " fifteenth " century, 
 and the term " Cinquecento " indicates the style of the 
 
 sixteenth " century according to our language. 
 
 B 
 
2 
 
 TEE RISE AND PROGRESS 
 
 Term 
 ''school:' 
 
 The 
 
 Tuscan 
 
 school. 
 
 The early 
 (^ucifixes. 
 
 There is another term, constantly employed in con- 
 nection with the history of art, viz., " School," which also 
 requires a word of explanation. Most commonly it is 
 intended to distinguish a group of painters existing at 
 any one place and following a more or less similar manner ; 
 influenced by a great master, or by traditions belonging 
 to the locality; which again might be narrow and of 
 small repute, or, on the other hand, famous and extensive ; 
 for examples, the Venetian school, or the school of Fabriano. 
 Occasionally it denotes an institution for teaching, as the 
 school of Squarcione, or that of the Caracci, but this is a 
 rare and exceptional meaning. 
 
 The history of painting commences with Italy, because 
 it was the first country in Europe in which the art was 
 cultivated, and because it rapidly attained to the highest 
 perfection there. Employing the term "century" now 
 and henceforth according to the English usage, we may 
 t-egard the twelfth and thirteenth centuries as embracing 
 the dawn of native Italian painting as an art ; and this 
 appears to have taken place in what at this early period 
 is generally called the Tuscan school, including the painters 
 of Florence, Pisa, Lucca, and Siena. These cities, how- 
 ever, soon developed independent characters, and gave 
 names to separate schools of their own. 
 
 Before this time all art- work had been largely influenced 
 by Byzantine traditions, and was met with chiefly in the 
 form of mosaics, and in elaborately finished illuminations 
 for choir-books and manuscripts. Further than this, 
 artistic sentiment expressed itself in the form of sculpture, 
 and chiefly and most admirably at this time through the 
 work of Kiccola and Giovanni of Pisa. One of the earliest 
 modes by which painting was developed was the fabrica- 
 tion for the use of churches of large wooden crucifixes. 
 On these were portrayed, not only by the chisel but by 
 means of colour, the body of our Lord, often associated 
 with representations of the various incidents of the Passion, 
 and mostly with little figures of the Virgin and St. John. 
 These crucifixes were rude and ungainly in proportion, 
 and always exhibit the elongated forms and greenish 
 shadows of Byzantine origin. Examples dating from the 
 
OF FAINTING IN ITALY. 
 
 eleventh to the thirteenth centuries are still to be found 
 in many parts of North Italy ; for instance, in the 
 Eremitani church at Padua. Others may be seen at Pisa, 
 Lucca (in S. Michele is a fine example), and the neigh- 
 bourhood, and in the Academy of Siena and at Arezzo. 
 
 In the early part of the thirteenth century, the influence 
 of the devotion and works of S. Francis of Assisi afforded 
 a fresh stimulus to the painter, by creating a new subject 
 for his art. Thus at Pescia, in the church of S. Francesco, 
 an altarpiece was found representing the saint, with in- 
 cidents from his life, depicted on lateral panels (Messrs. 
 C. and C). It was at first ascribed to Margaritone of 
 Arezzo, but is now proved to be the work of one Bona Ven- 
 tura Berlinghieri, whose name occurs in the earliest records 
 of the artists at Lucca. 
 
 Next in order should be named two early masters of 
 Siena and Pisa, of whom the records are no doubt some- 
 what uncertain. The first is Guido da Siena, whose name 
 is associated with a large painting of the ' Madonna,' 
 signed and dated 1221, and still preserved in S. Domenico 
 at Siena, for which it was originally painted (Plate I., 1). 
 Compared with the famous Madonna of Cimabue in S. M. 
 Novella at Florence, this picture is of ruder workmanship 
 throughout, while it is evident that the traits have been 
 lost by repainting, which has imparted a character of a 
 later date to the drawing and modelling, especially of the 
 child. To Guido is also attributed a similar but smaller 
 ' Madonna' in the Sienese Academy, No. 6. The second is 
 Giunta Pisano, of whose history somewhat more is known. 
 His work, like that of all painters in Tuscany before 
 Cimabue, was of an inferior order, and tends to confirm 
 the view which awards to Florence the first place in 
 painting at this period. There is a crucifix by Giunta in 
 SS. Kaineri e Leonardo at Pisa ; and some ruined frescoes 
 from the lives of Christ and S. Francis, in the Upper Church 
 of S. Francesco at Assisi, are also ascribed to his hand. 
 
 Another painter of this time must be mentioned before 
 considering the Florentine school, namely, Margaritone of 
 Arezzo, whose productions are in the lowest rank of art. 
 An example, originally in S. Margherita at Arezzo, is now 
 
 B 2 
 
 The eariij 
 crucifixes.- 
 
 Berlin- 
 ghieri. 
 
 Siena and 
 Pisa, 13<A 
 century. 
 Guido. 
 
 Giunta. 
 
 Margari- 
 tone. 
 
4 
 
 TEE RISE AND PROGRESS 
 
 Margari- 
 tone. 
 
 The Cos- 
 
 mati and 
 GavalUni, 
 
 School of 
 Florence, 
 ISth cen-r 
 twy. 
 Cimahue, 
 
 in our National Gallery, No. 564. Two works are in the 
 Municipal Gallery at Arezzo, a 'S. Francis/ No. 21, and a 
 ' Madonna,' No. 33, formerly in S. Francesco, where there 
 is still a colossal crucifix by him, while another figure of 
 S. Francis, a favourite subject, may be seen in the Academy 
 of Arts, Siena, No. 18. 
 
 About this time the Cosmati and Pietro Cavallini 
 worked in mosaic at Eome, and the latter was long re- 
 garded as the author of some frescoes at Assisi, Florence, 
 and Orvieto, but recent investigations have shown this 
 view to be erroneous. 
 
 No early names of any note are to be found associated 
 with pictorial art in Florence before Cimabue, except that 
 of an able worker in mosaics of the thirteenth century, 
 Andrea Tafi. With the famous Cimabue, born in 1240, 
 the Florentine school of painting began, and under him 
 attained that high position among the other Tuscan schools 
 which it so long enjoyed. Cimabue appears to have been 
 the first to modify the existing Byzantine style by a direct 
 study of nature. The movement in this dir-ection was not 
 considerable, but the advance is nevertheless manifest. 
 Several of his works are extant. The celebrated Madonna, 
 which on its completion was removed with great pomp 
 from the painter's studio to the Capella Euccellai in S. 
 Maria Novella, is still there (Plate I., 2). Two others, 
 also well known, are the large ' Madonna with angels,' in 
 the Accademia, No. 2, and that in the Uffizi, No. 2, also at 
 Florence. Somewhat similar in treatment are No. 153 in 
 the Louvre, and No. 565 in our National Gallery, which if 
 not entirely his work are examples of his style. The 
 principal achievement of the master is a series of frescoes 
 in the south transept of the Lower Church of S. Francesco 
 at Assisi, where also is a Madonna of large size in fresco. 
 The aisle of the Upper Church contains frescoes by him, 
 by Giotto, and probably by Filippo Eusutti and Gaddo 
 Gaddi (Messrs. C. and C.), both of whom worked chiefly 
 as mosaicists and have left examples of their skill at the 
 church of S. Maria Maggiore at Eome. Some of the wall 
 paintings at Assisi have recently been restored in some- 
 what glowing colour. And here it may be remarked that 
 
OF PAINTING IN ITALY, 
 
 5 
 
 probably very few frescoes really present the master's work 
 untouched, so many have been tinted or strengthened, 
 often at early periods, to maintain them in fit condition 
 for their purpose ; while recent restorations, it must be 
 sadly confessed, have sometimes wholly extinguished the 
 original work. 
 
 The only other school which in the thirteenth century 
 in any degree rivalled that of Florence was the Sienese, 
 but it nevertheless remained second to the former in merit. 
 Its most important master was Duccio di Buoninsegna, 
 who, according to existing documents, was an established 
 painter at Siena, in and after 1282, and was therefore a 
 contemporary of Cimabue. His greatest work is an altar- 
 piece, painted for the chief altar in the Duomo at Siena, 
 and carried there with much ceremony in 1310 ; it is still 
 preserved in that church, though since split in two, having 
 been originally painted on both sides. One represents the 
 'Majesty of the Virgin,' and the other is divided into 
 twenty-six small compartments, on which are depicted, 
 with remarkable ability, various scenes from the history 
 of the Passion (Plate II., 1). In the Sienese Academy 
 two works may be seen by his hand — a triptych, much 
 injured. No. 24, and a ' Madonna with saints,' No. 23 ; 
 while our National Gallery contains one example, No. 566. 
 
 Two artists of Siena, inferior to Duccio, who painted 
 at the same time, must be mentioned, namely, Ugolino 
 and Segna. It is difficult to identify their works with 
 certainty, but an altarpiece in the sacristy of S. Croce, 
 Florence, and a large Madonna in the altar of Orcagna in 
 Or San Michele, may be by Ugolino. Messrs. Crowe and 
 Cavalcaselle doubt his authorship of the ' Coronation,' No. 1 
 Ancs. Tabl. in the Florentine Accademia. The following 
 may be attributed with more certainty to Segna ; a picture, 
 * Four saints,' dated 1305-6, now No. 25 in the Siena 
 Academy, and a panel in our National Gallery, No. 567. 
 
 FOURTEENTH CENTURY. 
 
 Two principal schools may be distinguished in this 
 century, the one chiefly associated with Florence, the 
 
 Cimabue, 
 
 School of 
 Siena, 13th 
 century. 
 
 Duccio di 
 Siena. 
 
 Ugolino 
 and Segna. 
 
 Florentine 
 school, 14:th 
 century. 
 
THE RISE AND PROGRMS 
 
 Florentine 
 school y I4:th 
 century. 
 
 Giotto. 
 
 At Assisi. 
 
 At Padua, 
 
 other with Siena ; and the former Btill maintains the first 
 place during this period. It is difficult to say how far its 
 influence extended in the thirteenth century, but early in 
 the fourteenth Cimabue's great pupil Giotto gave a new 
 impulse to art throughout Italy, from the Venetian to the 
 Neapolitan territories. Though he was born in 1276, his 
 work belongs more strictly to the fourteenth century, of 
 which he is the earliest and one of the greatest masters. 
 Like some others of the most distinguished of the time, 
 his power and versatility wera remarkable. A noble 
 monument of his skill in architecture remains in the well- 
 known Campanile at Florence, while his ability as a 
 sculptor is shown in some of the statues which adorn it. 
 He also designed, if he did not execute in mosaic, the 
 ' Navicella,' for the vestibule of S. Peter's at Eome ; and 
 several crucifixes in wood were carved by him. But the 
 works by which he is best known are the wall paintings 
 in the Lower Church of S. Francesco at Assisi, the series 
 of frescoes in the Church of the Madonna dell' Arena at 
 Padua, and those in S. Croce, Florence. When young he 
 began his labours at Assisi by painting scenes from the 
 life of S. Francis on the aisle of the Upper Church, which 
 are inferior to those in the Lower Church, executed at a 
 later period. In the south transept of the latter are 
 frescoes of the life of Christ and of S. Francis, but the 
 most important are those of the ceiling, viz., four 
 allegorical compositions depicting the Glorification of S. 
 Francis; with the allegories of Poverty, Chastity, and 
 Obedience, these being the three representative virtues of 
 the Franciscan order (Plate I., 3, 4). Equally interesting 
 is the series of wall decorations in the well-known Church 
 of the Madonna dell' Arena at Padua, where Giotto pro- 
 bably worked in 1305. These consist of a ' Last Judgment ' 
 over the door of entry, the 'Saviour in glory' at the 
 opposite end above, and below it the ' Annunciation,' while 
 scenes from the lives of the Virgin and of our Lord adorn 
 the walls in three rows of square compartments. Below 
 are small figures of the Virtues and Vices in monochrome. 
 The vaulted roof contains the heads of the Virgin, Christ 
 and Prophets on a starred blue ground. Probably from 
 
Plate I. 
 
 To face page 6. 
 
r 
 
OF PAINTING IN ITALY. 
 
 7 
 
 Padua Giotto made his way to Eavenna, where the ceiling 
 of a chapel in S. Giovanni Evangelista is decorated in 
 his style. Messrs. Crowe and Cavalcaselle consider these 
 paintings as genuine, but altered by over-painting, which 
 certainly appears to be the case; Kugler, however, en- 
 tirely denies their authenticity. In like manner, the 
 interesting fragments of frescoes in fair preservation re- 
 lating to the seven sacraments, still to be seen in the 
 Incoronata at Naples, and until lately attributed to 
 Giotto, are proved to be the work of a follower. Giotto 
 appears to have resided in Eome from about 1298 to 1300, 
 and a few works of this period still testify to his presence 
 there. In the Church of S. Giovanni Laterano is a small 
 well-preserved fresco on a pillar, representing the ' Open- 
 ing of the Jubilee of 1300 by Pope Boniface VIII.' It is 
 interesting to remember in connection with this that 
 Giotto met Dante for the first time during the Jubilee 
 festivities, and a friendship was then commenced which, 
 perhaps, influenced the works of both. From Eome 
 Giotto returned to Florence, where he was employed in 
 1301-2 to decorate the chapel of the Podesta or Bargello. 
 These frescoes are in a ruined state, having been until 
 1840 covered with whitewash. The well-known portrait 
 of Dante can, however, still be distinguished, though it 
 has doubtless been almost repainted. Most of his latest 
 and finest works are to be found in Florence, particularly 
 in two chapels in S. Croce, although it is to be feared 
 that their original character has been seriously altered 
 by restoration. The Capella Peruzzi contains frescoes 
 of the lives of S. John the Baptist and S. J ohn the Evan- 
 gelist, the most admirable being the * Dancing of Salome ' 
 and the ' Eaising to life of Drusiana.' These were only 
 recovered from whitewash a few years ago : while the 
 adjoining chapel of the Bardi della Libert a is adorned 
 with scenes illustrating the life of S. Francis, with S. Louis 
 and other saints, and the three Franciscan Virtues. His 
 exquisitely finished altarpiece, the ' Coronation of the 
 Virgin,' is now preserved in another chapel, that of the 
 Medici. Giotto also executed with the help of Agnolo 
 Gaddi and others some frescoes in the Carmine, none of 
 
 Giotto. 
 At Padua. 
 
 At Rome. 
 
 At Flo- 
 rence. 
 
TEE BISE AND PROGRESS 
 
 Giotto, 
 
 School of 
 Giotto, 
 
 Taddeo 
 Gaddi, 
 
 Agnolo 
 Gaddi, 
 
 Giottino* 
 
 which are there now, but fragments are preserved in 
 our National Gallery, two heads. No. 276, and in the 
 Liverpool Institution, Nos. 5, 6. Comparatively few 
 genuine productions are in public galleries ; but the 
 following examples are authentic, viz., the ' Madonna of 
 Ognissanti,' now in the Florentine Accademia, No. 15 (the 
 series of small panels there, Nos. 4-14, long believed to be 
 by the master, are now regarded as the work of Taddeo 
 Gaddi from Giotto's designs) ; a ' Madonna ' in the Brera 
 at Milan, No. 310, of which the wings are in the Pina- 
 coteca at Bologna, No. 1 02 ; and an altarpiece with its 
 predella, described by Vasari, of ' S. Francis of Assisi,' 
 now No. 192 in the Louvre. The small panels Nos. 
 1073, 4 at Berlin can only be assigned to a follower of 
 Giotto. 
 
 So famous a master had naturally a vast number of 
 imitators and followers, who are known as the Giotteschi. 
 Among these Taddeo Gaddi, the godson and chief assistant 
 of Giotto, and later Agnolo Gaddi, Taddeo's son and 
 scholar, rank first. The principal frescoes of Taddeo, 
 representing scenes from the life of the Virgin, are in the 
 Baroncelli Chapel in S. Croce at Florence. There is a 
 well-preserved altarpiece by him in S. Felicita at Florence, 
 besides the series of small panels in the Florentine 
 Academy already mentioned. Others are in the Berlin 
 Museum, Nos. 1064, 79, 80, 81 ; and three subjects, being 
 portion of a predella, form No. 188 in the Louvre. By 
 Agnolo Gaddi is a series of frescoes in the choir of S. 
 Croce, depicting the finding of the true cross, which 
 manifest a striking advance on the earliest work of the 
 school, as do also his fine frescoes of the life of the Virgin, 
 and those illustrating the legend of the sacred girdle, in 
 the Capella del Sacro Cingolo in the Cathedral at Prato. ' 
 There is a ' Madonna and saints ' by him. No. 1 in the 
 Municipal Gallery, Prato, and the Accademia at Florence 
 possesses an altarpiece. No. 33 Gds. Tabl. A panel at 
 Berlin, No. 1040, catalogued as Giotto's, is given to Agnolo 
 by C. and C. 
 
 Another name often met with in the records of this 
 time is that of Giottino, sometimes called also Tommaso 
 
OF FAINTING IN ITALY. 
 
 9 
 
 di Stefano, about wliom very little is known, and it seems 
 probable that the works of more than one painter may be 
 included under this name. A well-known Pieta hangs in 
 the Uffizi, No. 7, and frescoes are attributed to him in the 
 Capella S. Silvestro in S. Croce, Florence, in the Lower 
 Church at Assisi, and in S. Chiara there, but the author 
 of these works is not yet identified. At any rate he was 
 an imitator of Giotto, and it is not admitted that he has 
 done much for the advancement of art. 
 
 We have yet to consider two contemporary artists, 
 Giovanni Jacobi, called Giovanni da Milano, who worked 
 as assistant to Taddeo Gaddi, and Antonio Veniziano, who 
 was infl.uenced by Agnolo. 
 
 By Giovanni there is a dated altarpiece of the year 
 1365, a Pieta in the Accademia at Florence, No. 16 Gds. 
 Tabl., and an equally authentic production may be seen 
 in the Gallery at Prato, No. IV. Besides these, there 
 is a work in the Uffizi, No. 1293, while proofs of his 
 capacity as a fresco painter are to be found in the 
 Capella Kinuccini in S. Croce (C. and C), although 
 Vasari says they are the work of Taddeo and his as- 
 sistants. 
 
 The best productions of Veniziano are to be seen in his 
 wall paintings at the Campo Santo, Pisa. In 1386 he 
 carried on and completed a series of frescoes there from 
 the life of S. Eaineri, begun in 1377 by one Andrea da 
 Firenze. The portion relating to the embarkation of the 
 saint and to his sojourn and death in Pisa is by Veniziano, 
 but all are now much dilapidated. He is said to have 
 restored and framed some of the other wall paintings 
 there. Veniziano may have painted the ceiling of the 
 large Capella degli Spagnuoli in S. Croce. 
 
 Meanwhile Giotto's influence had made itself felt in 
 other parts of Italy. In Arezzo we find some worthy 
 followers in the persons of Jacopo di Casentino and his 
 better known and more accomplished pupil, Spinello 
 Aretino. 
 
 By the elder painter there is a dilapidated fresco of 
 a Pieta in S. Bartolommeo at Arezzo, besides which 
 are a predella to be seen in the Uffizi, No. 1292, and an 
 
 Giottino, 
 
 Giovanni 
 da Milano, 
 
 Antonio 
 Veniziano* 
 
 School of 
 Arezzo f 
 Uth 
 century. 
 
 J, di 
 
 Casentino, 
 
10 
 
 THE BISE AND PBOGRESS 
 
 J, di 
 
 Casentino. 
 
 Spinello 
 Aretino, 
 
 Niccolb di 
 Bietro and 
 Lorenzo 
 Gerini, 
 
 Campo 
 Santo, 
 Fisa. 
 
 altarpiece in our National Gallery, No. 580. He should 
 be noted as the founder of the com]Dany of painters in 
 Florence, in the year 1349. 
 
 Spinello worked and excelled chiefly as a fresco painter, 
 and several of his minor works are still to be seen in his 
 native town, as, for example, an 'Annunciation,' fine but 
 much injured, in S. Francesco. Much more interesting is 
 a series of frescoes illustrating the life of S. Benedict, 
 painted in 1377, but now altered by restoration, in the 
 sacristy of S. Miniato at Florence. His most important 
 productions are the decorations of tbe Sala di Balia in 
 the Palazzo Pubblico of Siena, where he represented on 
 a large scale various incidents of the struggle between 
 Venice and the Emperor Barbarossa. These were exe- 
 cuted in 1407-8. Before this, namely, in 1391, he had 
 been employed to paint the miracles of SS. Ephesus and 
 Potitus on the south wall of the Campo Santo of Pisa, 
 which were completed in 1392. Of these only vestiges 
 now remain. In the Accademia at Florence are two 
 inferior specimens of his work on panel, viz., an altarpiece 
 dated 1391, No. 35 Ancs. Tabl., and the left compartment 
 of an altarpiece. No. 35 Gds. Tabl., of which the other 
 two are by Niccolo di Pietro and by Lorenzo di Niccolo 
 Gerini, father and son, and both Aretines. Frescoes by 
 these painters are still extant, showing them to be 
 followers of Giotto of an inferior rank. 
 
 It is necessary to describe in this record somewhat more 
 fully the Campo Santo at Pisa, which holds such an im- 
 portant place in the art-history of the fourteenth century. 
 It appears that in the very first year of that century, the 
 first decorative paintings were made on its walls by artists 
 of whom little is known. Some time after this the 
 brothers Pietro and Ambrogio Lorenzetti of Siena executed 
 on the southern wall a fresco known as the ' Fathers and 
 hermits of the wilderness.' Francesco da Volterra is next 
 in order, painting towards the middle of the century, at 
 the opposite end of the same wall, frescoes of the life of 
 Job, now much defaced. Others relating to the life of S. 
 Eaineri have been already named as the work of Andrea 
 da Firenze and Veniziano (p. 9), together with those of 
 
Plate II. 
 
 To face page 10. 
 
OF PAINTING IN ITALY. 
 
 11 
 
 SS. Ephesus and Potitus by Spinello Aretino, all of wMcli 
 were executed during the last quarter of the century. 
 Quite at the end of the century, the history in Genesis 
 was illustrated by Pietro di Puccio by frescoes formerly 
 ascribed to Buffalmacco, and there are others on the east 
 wall, greatly injured, the authorship of which is unknown. 
 Besides these are three remarkable compositions on the 
 south wall, depicting the * Triumph of Death,' the ' Last 
 J udgment,' and ' Hell,' which display an unusual amount 
 of originality and more independent thought than is 
 found in other works of this period (Plate II., 3, 4). For 
 this reason these frescoes were, until a comparatively 
 recent date, assigned unhesitatingly to a notable painter 
 of the fourteenth century, Andrea di Clone, commonly 
 called Orcagna, or Arcagnolo, whose work will be treated 
 of hereafter. But later critics, and in particular Messrs. 
 Crowe and Cavalcaselle, have completely rejected this 
 theory, on the ground that there is no resemblance between 
 these works and the authentic productions by Orcagna in 
 the Capella Strozzi in S. Maria Novella at Florence ; and 
 that while Orcagna was a Florentine by birth and educa- 
 tion, the disputed frescoes are essentially Sienese in type 
 and feeling. They may, therefore, be the works of the 
 Lorenzetti, whose illustrations of hermit life are close at 
 hand for comparison, or by some unknown Sienese painter.* 
 Lastly, it should be added that the works commenced by 
 Pietro di Puccio were continued at a much later period 
 (1469-85) in the famous series by Benozzo Gozzoli oc- 
 cupying the north wall, and will be mentioned in connec- 
 tion with his name hereafter. 
 
 There is no doubt that Orcagna was one of the greatest 
 masters of his time ; and although necessarily influenced 
 by Giotto, he cannot be classed as one of his followers, 
 since his works manifest higher power of drawing the 
 figure, and a perception of beauty peculiar to himself. 
 His productions, executed in the middle of the fourteenth 
 century, are chiefly in S. Croce, Florence, where, in the 
 Strozzi Chapel, are preserved his important frescoes of the 
 
 * See the elaborate consideration of this question in vol. i. of the 
 History of Painting, pp. 444-51. 
 
 Campo 
 Santo, 
 
 Orcagna 
 
12 
 
 THE BISJS AND PROGRESS 
 
 Orcagna. 
 
 School of 
 Siena, 14th 
 century, 
 Simone 
 Martini, 
 
 Zippo 
 Memmu 
 
 ' Last Judgment,' ' Paradise,' and ' Hell,' now much injured 
 and restored, and a fine altarpiece, dated 1357. A ' Zeno- 
 bius in glory ' is to be seen on a pier in the Duomo, 
 Florence, and a larger composition, the ' Coronation of the 
 Virgin,' with nine smaller panels originally forming part 
 of the same work, but much restored, are now in our 
 National Gallery, Nos. 569 to 578 inclusive (Plate II., 2). 
 Orcagna was also a sculptor and architect, as he proved in 
 the elaborately adorned altar, finished in 1359, for the 
 church of Or San Michele at Florence. 
 
 It is now necessary to go back a little in point of time, 
 to trace the progress of the Sienese school in the fourteenth 
 century. First is to be named Giotto's gifted contemporary, 
 Simone Martini of Siena (born 1283), often erroneously 
 called Simone Memmi, owing to his marriage with a sister 
 of Lippo Memmi. Not much inferior perhaps to his 
 Florentine rival, ^mone's influence was greatest in the 
 Sienese school of the fourteenth century. His works in 
 fresco, both numerous and important, are principally to be 
 found at Siena and Assisi. The Palazzo Pubblico of his 
 native town contains a large wall painting by him of the 
 'Madonna with saints and evangelists,' executed in 1315, 
 and an equestrian portrait in fresco of Guidoriccio. At 
 Assisi, the entire Capella di S. Martino in the liower 
 Church of S. Francesco is decorated with admirable and 
 well-preserved frescoes by his hand. There also is a 
 'Madonna and saints' in the southern transept of the 
 Lower Church. Besides these, in the Uffizi at Florence is 
 a fine altarpiece, Nos. 8, 9, 10, interesting as the joint work 
 of Simone and his brother-in-law, Lippo Memmi, who also 
 was a painter of some note. It is signed and dated 1333. 
 A highly finished work in four panels is in the Antwerp 
 Gallery, Nos. 257-60. An extremely valuable example of 
 Simone's work, dated 1342, is preserved in the Eoyal 
 Institution, Liverpool, No. 7. Simone was intimate with 
 Petrarch, visited him at Vaucluse, and painted frescoes 
 at Avignon, mere fragments only of which are now 
 visible. 
 
 Lippo, although often associated with Simone, yet 
 executed some excellent work alone ; for example, the 
 
OF PAINTING IN ITALY. 
 
 13 
 
 large wall painting in the hall of the Palazzo del Podesta 
 at S. Gemignano. It was painted in 1317, and restored by 
 Benozzo Gozzoli in 1467. This work recalls Simone's 
 treatment of the same subject at Siena just mentioned. 
 
 There were yet some other important masters at Siena, 
 contemporaries of Simone, namely, the two brothers 
 Lorenzetti, Pietro and Ambrogio. It is difficult to ascer- 
 tain their respective works with certainty, as they 
 frequently assisted each other. Thus much has, how- 
 ever, been proved, that the earliest production of Pietro, 
 the elder brother, is an altarpiece of 1329 in S. Ansano, a 
 church situated outside the Pispini Gate at Siena. Also 
 by him are Nos. 55, 58, in the Academy at Siena, an altar- 
 piece in the Pieve at Arezzo, and some panels in the Museo 
 Cristiano at the Vatican. Still better than these is the 
 fresco of ' The fathers and hermits in the wilderness,' 
 already mentioned as being in the Campo Santo at Pisa. 
 The wall paintings in the north transept of the Lower 
 Church at Assisi, given by Vasari to Pietro Cavallini, are 
 by Pietro Lorenzetti (C. and C). 
 
 Two small fragments now alone remain of the earliest 
 frescoes of Ambrogio, which he painted in 1331, in the 
 second chapel of S. Francesco at Siena. His later and 
 best works, namely, the frescoes representing 'Justice,' 
 ^ Concord,' and ' Peace,' and the ' Effect of good and bad 
 judgment,' were executed in 1337-39 in the Sala de Nove 
 or della Pace in the Palazzo Pubblioo, but are now almost 
 ruined. An ' Annunciation 'of 1344 is preserved in the 
 Sienese Academy, No. 45, while there is a fine work in the 
 Florentine Accademia, the ' Presentation in the temple,' 
 No. 17 Gds. Tabl., painted in 1342. 
 
 The Sienese school was well represented by Taddeo 
 Bartoli during the latter years of the fourteenth century 
 and the first quarter of the fifteenth. In his native city 
 of Siena, we find an ' Annunciation ' in the Academy, No. 
 125 ; an altarpiece of 1404 in the Church of the Servi, and 
 some much restored frescoes of the years 1407 and 1414 in 
 the Chapel of the Palazzo Pubblico. In the gallery of 
 Perugia is a fine Ancona, No. 45, dated 1403, and there is 
 also a S. Peter in the Louvre, No. 55. 
 
 Lippo 
 Memmi, 
 
 The 
 
 Lorenzetti, 
 
 Pietro 
 Lorenzetti, 
 
 Am))rogio 
 Lorenzetti. 
 
 Taddeo 
 Bartoli* 
 
14 
 
 THE RISE AND PROGRESS 
 
 School of 
 Bologna, 
 14:th cen- 
 tury. 
 
 School of 
 Modena, 
 14rth cen- 
 tury. 
 Tommaso. 
 
 Barnaha. 
 
 Schools of 
 Pisa and 
 Fabriano, 
 14fA cen- 
 tury. 
 
 Turino 
 Vanni, 
 
 Nuzi. 
 
 School of 
 Verona, 
 14M cen- 
 tury, 
 
 Altichiero 
 and 
 Avanzi 
 Veronese, 
 
 We know little of tlie earliest names in the history of 
 the Bolognese school during the fourteenth century. Like 
 others, it was influenced by the works of Giotto; and 
 some pictures of this age are extant in the Bologna Gallery 
 and elsewhere under the names of Vitale, J acopo Avanzi, 
 or da Bologna, Simone Crocefissi, or da Bologna, Lam- 
 bertini Michele or Matteo da Bologna, and Jacopodi Paolo. 
 Works in the gallery by each of these are Nos. 10, 103, 
 104, 159, 160, 161, 162, and 203, which is an excellent 
 example of Vitale. All these masters worked more in 
 fresco than on smaller pictures. 
 
 In Modena also there existed painters of some note in the 
 latter half of this century, namely, the brothers Tommaso 
 and Barnaba da Modena. A small but beautiful panel of S. 
 Catharine, dated 1351, which is No. 352 in the Venetian 
 Academy, illustrates the style of Tommaso. There is also 
 an altarpiece by him in the Modena Gallery, No. 32. By 
 Barnaba, who was superior to his brother, may be seen a 
 ' Madonna,' No. 1 in the Stadel at Frankfort, of the year 
 1367, which is his earliest known production; and an 
 example of the year 1368 at Berlin, No. 1171. 
 
 Among the smaller towns which received the influence of 
 Giotto may be mentioned Pisa, where Turino Vanni, one 
 of a family of painters so named, worked in his style in 
 the end of the fourteenth century. One example is in the* 
 Louvre, No. 425. 
 
 The painters of Fabriano were formed rather by the 
 masters of Siena and Perugia. At Fabriano, Allegretto 
 Nuzi flourished from 1346 to 1385, examples of whose 
 work may be seen in his native town, in the Museo 
 Cristiano at the Vatican, and at Berlin, Nos. 1076-8. 
 
 Better painters than these existed at Verona, and their 
 chief work is to be seen at Padua. It has been ascertained 
 that two masters of Verona, called Altichiero and Jacobus 
 Avanzi or d'Avanzo Veronese (not to be mistaken for 
 Jacopo Avanzi of Bologna), were employed in 1377 to 
 decorate the Capella S. Felice in S. Antonio at Padua. 
 Some of the frescoes in question are much injured by 
 restoration, but the most important, consisting of a 
 Crucifixion and attendant incidents, which occupy three 
 
OF PAINTING IN ITALY. 
 
 15 
 
 large arches of the wall behind the altar, are well preserved, 
 and are extremely beautiful in composition, expression, 
 and colour. Messrs. Crowe and Cavalcaselle do not 
 hesitate to speak of them as the " noblest monument of 
 the pictorial art of the fourteenth century in North Italy." 
 Equally interesting is the Capella di S. Giorgio near S. 
 Antonio, where numerous wall paintings, assigned to the 
 same artists and executed soon after the preceding, were 
 only freed from whitewash in 1837. Other frescoes may 
 be seen in the baptistry there, attributed to a Florentine, 
 Giusto Giovanni, who lived at Padua during the latter 
 part of the fourteenth century. A native artist, called 
 Guariento (painted 1316-60), executed frescoes, still 
 visible in the Eremitani at Padua. 
 
 The earliest records of a school of painting in Venice 
 commence with the fourteenth century. The influence of 
 Giotto's school was not at first greatly felt in the famous 
 Republic, owing to its close relations with the East and to 
 the isolated position of the city in regard to the rest of 
 North Italy. The large Ancona, in fourteen compart- 
 ments, which hangs at the back of the high altar in S. 
 Marco, is signed by one Paulus, with the date of 1345. 
 The same name appears on an Ancona, of the * Death of 
 the Virgin, with saints,' dated 1323, No. 10, Stanzino degli 
 Antichi, in the Pinacoteca, Vicenza. 
 
 Lorenzo was another painter whose name is frequently 
 met with. He worked from 1357 to lri79, in the manner 
 of Paulus. The earliest signed picture is in the Florentine 
 Academy, No. 5 Ancs. Tabl., but the best work by him is 
 in the Correr Museum at Venice, and bears the date of 
 1369. Several panels of 1371, part of an altarpiece, are 
 in the Venetian Academy, Nos. 373-5, 389, 391-3. 
 
 "Works by Stefano, a priest, ' Pievan di S. Agnese,' are 
 extant ; a' good example is an altarpiece in several com- 
 partments. No. 16, Venetian Academy; the centre of this, 
 a ' Coronation of the Virgin,' is signed Stefan, 1380 ; but 
 in the catalogue the name of Semitecolo is more obvious, 
 although he only painted the smaller portions. A * Corona- 
 tion of the Virgin,' No. 160 in the Brera at Milan, 
 attributed there to Lorenzo, may, perhaps, be by Stefano 
 
 Altichiero 
 and 
 Avanzi 
 Veronese, 
 
 Giusto and 
 Guariento, 
 
 School of 
 Venice, 
 l^th cen- 
 tuiy. 
 
 Paulus. 
 
 Lorenzo, 
 
 Stefano, 
 
16 
 
 THE RISE AND PROGRESS 
 
 Stefano, (^C. and C). By the latter also there is a panel, dated 
 
 1369, in the Correr Museum, at Venice. 
 Bemitecolo, A more able painter of the fourteenth century was 
 Niccolo Semitecolo, whose earliest work is a ' Coronation of 
 the Virgin,' dated 1351, No. 394 in the Academy at Venice. 
 Another example is in the Correr Museum, dated 1400 ; 
 but his best production is an altarpiece, executed in 1367, 
 and now in the Library of the Duomo, at Padua. 
 
 School of 
 Florence, 
 15 th ceu" 
 tury, 
 
 Fra Ange' 
 lico da 
 Fiesole. 
 
 FIFTEENTH CENTURY. 
 
 The term Eenaissance is usually employed to denote that 
 intellectual progress associated with liberty of thought 
 which was gradually developed by a fresh appreciation 
 of Greek and Eoman literature, and which affected the 
 pratice of art, first in Italy, during the fourteenth, 
 fifteenth, and sixteenth centuries. 
 
 In the course of the fifteenth century the progress of 
 this change in relation to painting may be observed in 
 the works of many famous masters, known as the 
 " Quattrocentisti until it culminated in the achieve- 
 ments of Leonardo da Vinci, Michael Angelo, Eaphael, 
 Titian, and their followers, in the end of this and in the 
 beginning of the sixteenth centuries. 
 
 In the works of the pious monk Fra Angelico da 
 Fiesole (1387-1455), the influence of classical learning is 
 scarcely to be traced, for he rigidly followed the ancient 
 traditions of the church. All his works are pervaded by 
 deep religious feeling; and the type of face which he 
 delineates is marked by pious fervour or ecstasy. He 
 painted with extreme care, and although he generally 
 introduces a large number of small figures into a picture, 
 each one is highly and delicately finished. His career 
 seems to have commenced at Cortona, where excellent 
 examples of early work are to be seen. He then resided 
 at Fiesole during eighteen years, after which he took his 
 abode in S. Marco at Florence, where the numerous wall 
 paintings still existing, and well preserved, testify to his 
 remarkable skill, industry, and devotional spirit. Among 
 these may be mentioned the fine Crucifixion, with 
 
OF PAINTING IN ITALY. 
 
 17 
 
 numerous saints, nearly life-size, in the chapter-honse, a 
 work of great beauty, full of varied expression.* There 
 are many examples on panel in the Academy at Florence, 
 among which should be mentioned a series, originally 
 forming portions of presses, Nos. 11 and 24, some of 
 which are very beautiful ; the fine ' Deposition,' No. 34, 
 of which the pilasters and pinnacles are by Lorenzo 
 Monaco, a ' Madonna and saints,' No. 19, and a ' Last 
 Judgment,' No. 41 ."j* In the Pitti is a fine triptych. 
 No. 373 ; and in the Uffizi are an extremely beautiful 
 * Coronation of the Virgin,' No. 1290, and its predella in 
 two parts, Nos. 1178, 1184. Many of his paintings are to 
 be found in other galleries. There is a fine altarpiece, 
 No. 7, in the Stadel at Frankfort; in the Louvre is a 
 large and exquisite painting of the * Coronation of the 
 Virgin,' No. 182 (Plate III., 1); and in our National 
 Gallery are two examples, Nos. 582 and 663, of which the 
 latter is an admirable illustration of Angelico's style. 
 
 Among his best and latest works in fresco are those 
 which decorate the ceiling of the Capella Brizio in the 
 Cathedral of Orvieto, representing ' Christ in judgment, 
 with saints and prophets.' They were executed in 1447, 
 left incomplete, were finished by Signorelli, and have 
 been much repainted since. Angelico was then sixty 
 years of age, and soon after undertook the decoration of 
 the Chapel of S. Lorenzo for Nicolas V. at the Vatican. 
 These wall paintings are in excellent preservation, and 
 are important compositions, testifying to the increased 
 skill and knowledge of their author (Plate IIL, 2). 
 
 Fra Angelico had one able fellow-worker, whose pro- 
 ductions have been somewhat overlooked or have been 
 sometimes wrongly assigned to the master. This was 
 Lorenzo Monaco, of the Camaldoles, by whom there is a 
 
 Fra Ange- 
 lico da 
 Fiesole, 
 
 Lorenzo 
 Monaco. 
 
 * As the convent lias recently been converted into a museum, a 
 brief account of the contents will be found among the galleries at the 
 end of the volume, under the heading of ' Florence.' 
 
 t In this picture it is interesting to observe that all the incidents on 
 the side of the damned are painted without finish, in a crude and hasty 
 manner, as if the task were uncongenial to the nature of Angelico, 
 while the centre and the side of the redeemed are elaborated in the 
 most exquisite manner. 
 
 C 
 
18 
 
 THE BISE AND PROGRESS 
 
 Lorenzo 
 Monaco. 
 
 MasoUno. 
 
 Masaccio, 
 
 fine altarpiece in the Capella Bartolini in S. Trinita at 
 Florence ; and in the Academy there is an Ancona by 
 him, No. 30 Gds. Tabl. An 'Adoration/ attributed to 
 Angelico in the XJffizi, No. 17, is by Monaco, the rest of 
 the altarpiece being by Cosimo Eosselli (C. and C). 
 
 Two masters who were among the first to give a fresh 
 impulse to art at this time were Tommaso di Cristo- 
 foro Fini, called Masolino (1383-1440), and his scholar, 
 Tommaso di San Giovanni, called Masaccio. Very little 
 is known of the former, and there seems some reason to 
 doubt whether he executed any of the frescoes in the 
 Brancacci Chapel of the Church of the Carmine, at 
 Florence, although one, the ' Preaching of Peter,' has 
 generally been considered as his. It is, however, certain 
 that about 1428, Masolino painted a series of frescoes in 
 the choir of the Church of Castiglione d'Olona, a village 
 between Saronno and Varese. They are now almost 
 efiaced, and portions only can be seen, but of those which 
 fill the triangular spaces of the apse, the ' Sposalizio ' is 
 the least injured. At the same time he decorated the 
 adjoining baptistery with frescoes relating to the history 
 of St. John the Baptist, of which the ' Salome before 
 Herod ' . (Plate III., 3) and the ' Baptism of Christ ' are 
 in a state of fair preservation. The draped figures are 
 carelessly drawn, while the nude figures in the ' Baptism ' 
 are well rendered in various positions, and all the heads 
 are delicately coloured and highly finished. 
 
 Masaccio (1402-29) has left a great number of works, 
 the product of a short life, and they show that he 
 gradually freed himself from the conventional style of his 
 predecessors, and formed one of his own from an inde- 
 pendent and close study of nature. At an early date he 
 painted some frescoes for the Chapel of S. Clemente, at 
 Kome, now much altered by restoration. His principal 
 work, however, a series of frescoes, is well preserved in 
 the Brancacci Chapel, mentioned above, and comprise 
 the following subjects : ' The expulsion from paradise,' 
 ' The tribute money ' (Plate III., 4 j, considered to be the 
 finest of the series, ' Peter baptizing' (Plate IV., 1), ' Peter 
 curing the blind and lame,' ' The death of Ananias,* 
 
Plate III. 
 
 To face page 18. 
 
OF PAINTING IN ITALY. 19 
 
 * Simon Magus,' and the ' Eesuscitation of the king's son.' Masaccio. 
 These frescoes mark a distinct advance in the progress of 
 art in regard to composition, drawing, and the delineation 
 of expression. Heads attributed to Masaccio in some 
 galleries — as, for example, in the Uffizi, Corsini, Munich, 
 and our National Gallery — are not genuine, but may 
 probably be by Botticelli or Filippino Lippi. 
 
 Paolo Doni, called Uccello (1396-1479) is celebrated for P. Uccello. 
 his application of the laws of perspective to painting. 
 Among his earliest known works is a series of four panels, 
 painted after 1416 and relating to war, one of which is in 
 the Ufiizi, No. 29, another is in the Louvre, No. 166, and 
 a third is in our National Gallery, the ' Battle of Sant' 
 Egidio,' No. 583. The Louvre also possesses a portrait 
 group by him, No. 165. In 1436 he was employed to 
 paint the equestrian portrait in fresco of Sir John Hawk- 
 wood in the Duomo at Florence, and in 1446-8 he executed 
 frescoes in the Chiostro Verde of S. Maria Novella there. 
 
 Two contemporaries of Uccello may be named, Andrea A. del 
 del Castagno (1390-1457) and Domenico Veniziano. The Gastagm. 
 first was an earnest and able painter, but his types were 
 common and treated with little taste. There is a head by 
 him in the Pitti, Florence, No. 372, and there are three 
 Saints in the Academy, Nos. 37, 8, 9. He painted some 
 frescoes in S. Croce, of which a few figures remain. 
 Domenico Veniziano, records of whose painting date from 
 1438, until his death in 1461, is chiefly interesting as being 
 the master of Piero della Francesca. Only one painting 
 can be referred to, formerly in S. Lucia de' Bardi, now 
 No. 1305 in the Ufiizi. 
 
 The next painter of importance of the Florentine 
 school was Filippo Lippi (1412-69), a Carmelite monk, 
 whose work is characterised by good drawing, subtle 
 perception of colour, and by natural expression, often 
 heightened by sentiment, in place of conventional re- 
 ligious and ascetic types. His chief works are the large 
 frescoes, begun in 1456, in the choir of the Duomo at 
 Prato, of the history of S. Stephen, and that of John the 
 Baptist. The two lower frescoes have been slightly but 
 carefully restored, and are the most interesting. That on 
 
 c 2 
 
 Domenico 
 Veniziano. 
 
 Filippo 
 Lippi. 
 
 \ 
 
20 
 
 THE RISE AND PROGRESS 
 
 Filippo 
 Lippi. 
 
 Fra 
 
 Diamante. 
 
 Pesello and 
 Pesellino. 
 
 the left portrays a group of mourners over the body of 
 Stephen, many being apparently portraits. Opposite is 
 the ' Daughter of Herodias dancing before Herod.' The 
 expression of the face, the movement of the limbs, and 
 her transparent dress foreshadow the future favourite 
 type of Botticelli. There are three altarpieces in the 
 Municipal Gallery at Prato, all much injured. Later in 
 life Filippo executed some frescoes in the apse of the 
 Duomo at Spoleto. In the Accademia at Florence is his 
 best easel picture. No. 41 Gds. Tabl., a ' Coronation of the 
 Virgin,' an important composition containing groups of 
 very charming children as angels, painted in 1441 (Plate 
 IV., 2). In the same gallery will be found two small 
 early works, Nos. 12 and 26 Pets. Tabl. The Pitti 
 contains one of his finest Madonnas, No. 338, while in the 
 Uffizi is a scarcely less excellent work, ' A Madonna 
 in adoration,' No. 1307. There is a fine ' Madonna in 
 adoration,' highly finished, a signed picture. No. 69 in 
 the Koyal Museum, Berlin, An admirable example is a 
 ' Madonna and saints,' in the Louvre, No. 221, of which 
 the predella is in the Florentine Academy, No. 42. 
 Perhaps more lovely works could not be found than the 
 two semi-lunar panels in tempera in our National Gallery, 
 Nos. 666, 667. For tender gradations of colour and 
 modelling, and for delicate expression, they are remarkable 
 productions. 
 
 Fra Diamante may be mentioned as having often aided 
 Filippo in his works, as, for example, in the frescoes of 
 Spoleto, which were completed by Diamante in 1470, after 
 the death of the elder master. Giuliano d'Arrigo, called 
 Pesello (1367-1446), and Francesco di Stefano, his 
 grandson, called Pesellino (1422-57), are mentioned here 
 chiefly because they were instrumental, among others, in 
 superseding the method, hitherto employed, of painting in 
 tempera (that is, with water or size for the vehicle) by one 
 of oil or other fatty medium. It is to be borne in mind, 
 however, that their method was quite distinct from the 
 better one, first practised by the Flemish masters, and 
 brought to Italy subsequently by Antonello da Messina. 
 Their works so much resemble each other that it is not 
 
OF PAINTING IN ITALY. 
 
 21 
 
 easy always to distinguish them. Pesello probably painted 
 an ' Adoration,' No. 26 in the Uffizi, and an ' Annunciation,' 
 in S. Spirito, while to Pesellino may be given parts of a 
 predella in the Florentine Academy, No. 48 Gds. Tabl., 
 the remaining portions being in the Louvre, No. 287. 
 Alessandro Baldovinetti (1422-99) was also an experiment- 
 alist in oil medium, and painted a fresco in the court 
 of the Annunziata, Florence, now greatly injured. He is 
 named here chiefly as the master of Ghirlandajo. 
 
 Like so many of the artists of Florence, Antonio and 
 Pietro PoUajuolo were sons of a goldsmith, and began life 
 by practically acquiring the mysteries of that art, which 
 they pursued with great success. In painting they were 
 closely associated, and it is difficult to define precisely 
 their respective works. Antonio (1433-98) was probably 
 the more accomplished artist of the two. His principal 
 work is the ' Martyrdom of S. Sebastian,' No. 292 in our 
 National Gallery, where are two smaller pictures, Nos. 781 
 and 928. In the Uffizi are three examples, probably of 
 conjoint work by Antonio and Pietro ; one, a small panel 
 illustrating two of the labours of Hercules, very finely 
 drawn and finished. No. 1153, a large painting of three 
 saints. No. 1301, remarkable for its force and character, 
 and a life-size figure of Prudence, No. 1306, exquisitely 
 finished. In the Pitti should be noted a large ' S. 
 Sebastian' by Antonio, No. 384, and in the choir of the 
 Collegiate Church at S. Gemignano is a ' Coronation of 
 the Virgin,' dated 1483, by Pietro (1443-about 96). 
 
 Andrea Verrocchio (1432-88), another skilful goldsmith 
 of Florence, was a sculptor in marble and in bronze, as 
 well as a painter of original genius. He is famous also as 
 the master of Leonardo da Vinci, Perugino, and Lorenzo di 
 Credi. The spirited equestrian bronze statue of Bart. 
 Colleoni in the Campo S. Giovanni e Paolo at Venice, is a 
 magnificent example of his skill. Not many works in 
 painting can be attributed to him : one, well known, is in 
 the Accademia at Florence, No. 43 Gds. Tabl. (see p. 43) 
 (Plate v., 1) ; and another is in the Hermitage, St. Peters- 
 burg, a ' Madonna enthroned with angels,' No. 1. There is 
 a ' Madonna,' No. 104a, at Berlin. 
 
 Pesdlo and 
 Pesellino. 
 
 Baldovi' 
 netti. 
 
 Antonio 
 and Pietro 
 PoUajuolo. 
 
 Verrocchio, 
 
22 
 
 THE RISE AND PROGBESS 
 
 Sandro 
 Botticelli. 
 
 Filippino 
 Lippi, 
 
 It will be convenient here to return to Filippo Lippi's 
 pupils, of whom the most eminent was Sandro Filipepi, 
 called Botticelli (1447-1515). He was one of the earliest 
 to paint subjects from the ancient classical mythology. 
 But his treatment of them showed the restraint and 
 quaintness of the mediaeval manner, with the careful finish 
 of accessories belonging to it. An excellent early example 
 of this class, although much injured, is the large picture 
 of ' Spring ' in the Accademia, Florence, No. 24 Ancs. Tabl. 
 The Uffizi contains another, most beautiful in sentiment 
 and execution, entitled the ' Birth of Venus,' No. 39 (Plate 
 IV., 3). A small and highly finished work is the ' Calumny 
 of Apelles,' No. 1182. The Turin Gallery possesses a 
 characteristic work, the ' Triumph of Chastity,' No. 364. 
 Of a different order are, a very lovely picture, the ' Madonna 
 crowned by angels,' No. 1289 (Plate IV., 4), and a fine 
 ' Adoration of the kings,' No. 1286, while in the Pitti may 
 be noted a ' Holy family,' No. 348, and the portrait known 
 as * La bella Simonetta,' No. 353. There is a characteristic 
 example in the Turin Gallery, ' Tobit and the Angel,' 
 No. 98. His ability as a fresco painter may be seen in 
 three works, ' Moses killing the Egyptian,' ' Eebellion of 
 Korah,' and the ' Temptation of Christ,' in the Sistine 
 Chapel. There are several pictures at Berlin, of which 
 Nos. 102 and 106 are the finest : the latter is extremely 
 beautiful and in good condition. A good ' Madonna ' is 
 No. 11 in the Stadel, Frankfort, and a fine ' Pieta ' is in the 
 Munich Pinacothek, No. 555. In our National Gallery 
 are two specimens of classical subjects in the style above 
 referred to, Nos. 915, 16 ; but more admirable is a circular 
 panel of the ' Madonna with two angels,' No. 275 ; besides 
 which there is a very interesting painting by him, a 
 'Nativity,' No. 1034. The Louvre possesses a charming 
 work. No. 184. 
 
 Botticelli's pupil, Filippino Lippi (1460-1505), so called 
 to distinguish him from his father or kinsman Filippo, is 
 the next painter in order belonging to the Florentine 
 school. Some of his best works are the frescoes in the 
 Capella di Filippo Strozzi in S. Maria Novella, and those 
 in the Brancacci Chapel of the Carmine at Florence 
 
Plate IV. 
 
 To face page 22. 
 
OF PAINTING IN ITALY, 
 
 23 
 
 executed about the years 1482-90, where he also com- 
 pleted some others left unfinished by Masaccio at his 
 death. Those by Filippino are ' The fall of Adam and 
 Eve,' ' Peter in prison,' ' The martyrdom of Peter ' (Plate 
 IV., 5), ' The liberation of Peter,' and a part of the 
 ' Kesiiscitation of the king's son.' Of his oil-pictures the 
 finest is ' The Virgin appearing to S. Bernardino,' in 
 the Church of the Badia at Florence, which was painted 
 as early as 1480, another youthful work being an altar- 
 piece of four saints in S. Michele at Lucca. The Uffizi 
 possesses two important compositions, a large ' Madonna 
 and saints' of 1485, No. 1268, and an 'Adoration of the 
 magi ' of 1496, No. 1257. A fine altarpiece is in the Capella 
 Nerli of S. Spirito, Florence, and two circular panels are 
 preserved in the Palazzo Pubblico at S. Gemignano. An 
 excellent ' Madonna,' full of grace and beauty, is No. 82 at 
 Berlin : another is No. 35 at Dresden ; and a third work, 
 of the year 1495, is No. 563 at Munich. In our National 
 Gallery are two works in tempera by the master, a small 
 ' Adoration of the magi,' No. 592, and a ' Madonna with 
 saints,' No. 293. 
 
 Lorenzo di Credi (1459-1537), son of a goldsmith, was 
 the pupil, assistant, and friend of Verrocchio, and executed 
 some good works in • oil, marked by excessive care and 
 minute finish, the best examples of which are a ' Madonna 
 with saints,' No. 156 in the Louvre ; a ' Madonna,' No. 593, 
 and another, No. 648, in our National Gallery ; a 
 ' Madonna in adoration,' No. 100, and a ' S. Mary of Egypt,' 
 No. 103, at Berlin. A good small ' Noli me tangere,' a 
 replica of No. 1150 in the Uffizi, is in the Louvre, No. 157. 
 At Dresden are several works, of which Nos. 2385 and 
 2386 are the best. At Munich is a ' Nativity,' No. 553, of 
 which No. 1287 in the Ufiizi, Florence, is almost a replica. 
 Another ' Nativity,' one of his later works, is No. 51 Gds. 
 Tabl. in the Florentine Academy. 
 
 Domenico Bigordi, called Ghirlandajo (1449-98), a pupil 
 of Baldovinetti, was another of the principal Florentine 
 painters who flourished towards the end of this century, 
 and who ranks high among his contemporaries. AVith a 
 great knowledge of his art, the result of comprehensive 
 
 Filippino 
 Lippi. 
 
 L, di Credit 
 
 Domenico 
 Ghirlan- 
 dajo. 
 
24 
 
 THE BISE AND PROGRESS 
 
 Domenico 
 
 Ghirlan- 
 
 dajo. 
 
 •Granacci. 
 
 study, and with peculiar aptitude for noble compositicn, 
 he was essentially a fresco-painter. Some of his chief 
 frescoes were executed in the Sistine Chapel when he was 
 about thirty-five years of age, but these are now greatly 
 damaged. Equally fine, and better preserved, are those 
 in the Capella S. Fina, at S. Gemignano, painted imme- 
 diately after the preceding. Soon after, in 1485, he 
 worked at the admirable series, representing events from 
 the ' Life of S. Francis,' in the Sassetti Chapel in Santa 
 Trinita at Florence. Finally he undertook the decoration 
 of the Choir of S. Maria Novella, a great enterprise, re- 
 quiring a considerable amount of aid, but of which the 
 most important portions were by his own hand. Thi^ 
 magnificent work may be considered as his masterpiece, 
 and was completed before 1490 (Plate V., 4). Meantime 
 he had painted several large works in oil. In these, as in 
 other productions, he was assisted by his brothers, David 
 and Benedetto, as well as by others to be mentioned here- 
 after. One of his best paintings is an ' Adoration,' No. 50 
 Gds. Tabl., Florentine Academy, where there is also an 
 excellent ' Madonna and saints,' No. 17 Ancs. Tabl. Others 
 are, the ' Adoration of the kings,' No. 358 in the Pitti, 
 two altarpieces in the Uffizi, Nos. 1295, 7 ; another ' Ador- 
 ation of the magi,' extremely well-preserved, a picture of 
 remarkable finish, painted in tempera in 1488, is in the 
 Chapel of the Foundling Hospital at Florence, and there 
 is a ' Visitation ' of 1491 in the Louvre, No. 202 (Plate 
 v., 2). It should be added that Ghirlandajo was also a 
 worker in mosaics, and that he was for three years the 
 master of Michael Angelo. 
 
 Francesco Granacci (1467-1543) was a scholar of Ghir- 
 landajo, and painted with the master as well as separately 
 much in his style. A joint work is a fine ' Madonna and 
 saints,' No. 88 in the Berlin Museum ; No. 97 is by 
 Granacci himself. Also by him is a * Virgin in glory,' 
 No. 1280 in the UfQzi, a 'Holy family,' No. 199 in the 
 Pitti, and ' Four saints,' at Munich, Nos. 533, 5, 6, 40. In 
 the Hermitage, St. Petersburg, a ' Madonna and saints in 
 adoration,' No. 22, of excellent quality, is attributed to 
 him. (By Ghirlandajo, C. and C.) 
 
Plate V. 
 
 To face page 24. 
 
OF FAINTING IN ITALY. 
 
 25 
 
 Another scholar of Ghirlandajo was Sebastiano Mainardi 
 (died 1515), who assisted the master at Florence and S. 
 Gemignano. Most of Mainardi's works are in the latter 
 town. The Palazzo Pubblico contains a circular panel, 
 No. 9 ; some small frescoes, and an altarpiece in oil, are in 
 S. Agostino there. 
 
 Luca Signorelli of Cortona (1441-1521), a pupil of 
 Piero della Francesca, was one of the most original painters 
 of his time. The important frescoes in the Capella Brizio 
 in the Cathedral at Orvieto are his best works. They 
 represent ' The history of Antichrist,' ' The resurrection of 
 the dead,' ' Hell,' and ' Paradise.' In all these the drawing 
 of the figure is executed in a masterly manner, and with a 
 freedom never before attained. One fresco may be seen 
 in the Sistine Chapel at the Vatican; and eight others, 
 of the year 1497, now greatly injured, are in a cloister 
 of the Convent at Monte Oliveto near Siena. Several of 
 his altarpieces are in the churches of Cortona. A fine 
 specimen is in the Gallery of Arezzo, No. 31. The 
 Academy at Florence contains an excellent work. No. 54 
 Gds. Tabl. ; and in the Uffizi are some good examples, a 
 ' Holy family,' No. 1291, and a 'Madonna,' No. 36. Two 
 works are in the Brera, Nos. 304 and 306, and the Louvre 
 possesses an admirable predella. No. 389, besides a group 
 of seven life-size figures, No. 391. Very recently our 
 National Gallery has acquired a fresco by him, representing 
 ' The triumph of Chastity,' No. 910. A 'Madonna' may 
 be noted in the Liverpool Institution, No. 26. An import- 
 ant work. No. 79a, ' Pan and Music ' (Plate V., 3), but 
 unequal in quality, is at Berlin; where also are two 
 others. A ' Holy family ' is to be seen at Dresden, No. 21. 
 
 Signorelli, like other masters who received numerous 
 commissions, had several subordinates in his employ. 
 Among these the chief was Bartolommeo della Gatta, a 
 native of Arezzo (1408-91), where some of his works may 
 still be seen. There is ground for believing that he 
 assisted Perugino and Signorelli with their frescoes in the 
 Sistine Chapel in 1479-86. 
 
 Benozzo Gozzoli (1424-after 96), a Florentine by birth, 
 was a pupil of Fra Angelico, and assisted him in 1447 with 
 
 Mainardi, 
 
 Luca 
 Signorelli. 
 
 Bart, della 
 Gatta. 
 
 Benozzo 
 Gozzoli. 
 
26 
 
 TEE BISE AND PROGRESS 
 
 the frescoes of the Capella Brizio at Orvieto before referred 
 to. Soon after he painted on his own account, among 
 other things, a fine altarpiece at Montefalco, now preserved 
 in the Museum of S. John Lateran at Eome. His style, 
 at first formed on that of his master, was modified in 
 conformity with the demand for gorgeous decoration of 
 interiors ; and, although his drawing is sometimes 
 defective, he succeeded in happily illustrating a variety 
 of subjects with grace and spirit. See, for example, the 
 beautiful frescoes of the ' Adoration of the magi,' painted 
 in 1459 in the chapel of the Palazzo Eiccardi at Florence. 
 His work in fresco may next be studied at S. Gemignano, 
 where he painted, in 1464-65, a series of seventeen 
 subjects of varied size, three much injured, the rest 
 exceedingly well preserved, all in the choir of S. Agostino, 
 illustrating the history of the Patron Saint. In the same 
 church there is also a large fresco over an altar, of ' S. 
 Sebastian interceding for the people,' a reminiscence of 
 the great plague. He was aided here and elsewhere in S. 
 Gemignano and its neighbourhood by Giusto d' Andrea. 
 Commencing in 1469, he devoted himself to the great 
 series of subjects from sacred history at the Campo Santo 
 at Pisa, which occupied him more or less during sixteen 
 years. The most perfect of these interesting works is the 
 well-known composition of ' Noah and his family ' (Plate 
 VI., 1). Few of his paintings are met with in galleries. 
 There is a ' Triumph of S. Thomas Aquinas ' in the 
 Louvre, No. 199, and in our National Gallery are two 
 examples, namely, a fine ' Madonna enthroned with saints,' 
 No. 283, and a small panel of the ' Eape of Helen,' No. 591. 
 Among his assistants in the production of the Pisan 
 frescoes it suffices to name Zanobi Macchiavelli. 
 
 A painter related to the preceding by a certain similar- 
 ity of style was Cosimo Eosselli (1439-1506). He worked 
 as assistant for three years to Neri di Bicci, an inferior 
 Giottesque of the school of Arezzo, but subsequently 
 came under the influence of his contemporary, Gozzoli. 
 His chief productions are four frescoes in the Sistine 
 Chapel, of which the most successful is the ' Sermon on 
 the Mount ' (Plate VI., 4), and a fresco much injured in the 
 
Plate VI. 
 
 To face page 27. 
 
OF FAINTING IN ITALY. 
 
 27 
 
 Capella del Sacramento in S. Ambrogio at Florence. In 
 S. Maria de' Pazzi there is an altarpiece, a ' Coronation of 
 the Virgin,' in good preservation. Some fair works are to 
 be seen at Berlin, Nos. 59, 71 ; in the Louvre, No. 347 ; 
 and in our National Gallery, No. 227. 
 
 Piero di Cosimo (1462-1521) was a pupil of Eosselli. 
 He is well represented in our National Gallery by the 
 ' Death of Procris,' No. 692 ; at Berlin by a ' Venus and 
 sleeping Mars,' No. 107 ; in the Louvre is a poor ' Corona- 
 tion of the Virgin,' No. 289 ; and in the Uffizi is a 
 ' Perseus and Andromeda,' No. 1246. He was the master 
 of Andrea del Sarto. 
 
 Eafaellino del Garbo (1466-1524) was an artist of small 
 ability, taught by Filippino Lippi, named as having 
 painted numerous pictures. The best are those at Berlin, 
 a ' Madonna and angels,' No. 90, and a ' Madonna and 
 saints,' No. 98 ; another example is in the Louvre, a 
 ' Coronation of the Virgin,' No. 189. 
 
 Pietro di Benedetto, commonly called Piero della 
 Francesca (about 1415-1509), an Umbrian by birth, was 
 educated in Florence under Domenico Veniziano : he 
 successfully ^combined the feeling of his school with the 
 manner and the science of the Florentines. Endowed by 
 nature with keen intelligence, he studied the principles of 
 colour and drawing, and also discovered a better mode of 
 using oil medium than those previously in vogue. The 
 types of his figures, whether male or female, are always 
 noble, and their action is dignified. The first works to be 
 named is a series of frescoes which he executed for the 
 choir of the Church of S. Francesco at Arezzo between 
 1452-54, the ceiling having previously been decorated by 
 Bicci. They illustrate the history of the finding of the 
 True Cross : the greater portion is well preserved, and 
 they exhibit in a striking degree the qualities just named. 
 Frescoes and other works are also to be found at Borgo 
 S. Sepolcro, and some years later he painted important 
 pictures at Urbino. Few examples are met with in 
 galleries. Two portraits forming a diptych may be noted 
 in the Uffizi, No. 1300 ; a small but admirable ' S. Jerome,' 
 in the Venetian Academy, No. 419; the 'Baptism of 
 
 Cosimo 
 Hosselli. 
 
 P. di 
 Cosimo. 
 
 Raf : del 
 Garbo. 
 
 Piero della 
 Francesca. 
 
28 
 
 TEE BISE AND PROGRESS 
 
 Piero della 
 Francesca. 
 
 Umbrian 
 school, 15th 
 century. 
 Melozzo da 
 Forli, 
 
 Palmez- 
 zano. 
 
 Giovanni 
 Santi, 
 
 Origin of 
 the Vene- 
 tian school. 
 
 Gentile da 
 
 Christ/ No. 665 (Plate VI., 3), and the ' Nativity,' No. 908, 
 in our National Gallery. 
 
 Piero's influence extended to Umbria through his con- 
 nection with Melozzo da Forli (1438-94), whose best pro- 
 duction, a fresco transferred to canvas, an ' Audience of 
 Sixtus IV.,' in the Vatican, displays the characteristic 
 quality of Piero's work (Plate VI., 2). A fragment of a 
 fresco, ' Christ among angels,' removed from one of the 
 churches in Eome, is on the staircase of the Quirinal 
 Palace there. Although a few works are attributed to 
 Melozzo in various galleries, it is doubtful whether any 
 are genuine. 
 
 Melozzo's principal pupil was Marco di Antonio 
 Palmezzano (about 1456-1536). The leading character- 
 istic of his style, as of that of his master, was accuracy in 
 linear perspective, applied not merely to architecture but 
 to the figure, which was treated in a stiff manner and 
 with little sense of colour. His works are principally 
 in Forli and its neighbourhood. The Lateran Museum 
 contains two, one of the year 1537, and in the Uffizi is a 
 ' Crucifixion,' No. 1008. The Berlin Museum possesses 
 an excellent work of 1503, No. 1129, and the Munich 
 Pinacothek another of equal merit of 1513, No. 541. In 
 the Louvre is a 'Dead Christ,' No. 275, and in our 
 National Gallery, No. 596, is an upper portion of an 
 altarpiece of 1506 at Forli, where the latter still remains. 
 
 Another Umbrian painter who was influenced by the 
 works of Melozzo was Giovanni Santi (1435-95), the 
 father of Kaphael. In his style, marked by gentleness of 
 expression, though defective as to colour, may be found 
 some traces of the future characteristics of the son. Most 
 of his works are in his native town of Urbino and at Fano. 
 Besides these, there is an ' Annunciation ' in the Brera, 
 Milan, No. 184, and at Berlin is a ' Madonna and saints,' 
 No. 139. 
 
 It is necessary here to go back a few years in the 
 history of art — namely, to the commencement of the 
 fifteenth century — to describe the work of two painters 
 who largely influenced the Venetian school about to be 
 considered. The earlier of these was Gentile da Fabriano 
 
Plate VII. To face page 29. 
 
OF FAINTING IN ITALY. 
 
 29 
 
 (about 1370 to 1450), by birth an Umbrian, and the pupil Gentile da 
 of Allegretto Nuzi of Gubbio. He lived and worked for 
 some years at Venice, where he left his mark on the 
 school through his pupil and friend Jacopo Bellini. 
 About 1422 Gentile da Fabriano went to Florence, and 
 shortly after executed his finest work, the ' Adoration of 
 the kings,' No. 32 Gds. Tabl, in the Florentine Academy, 
 a painting rich in ornament and elaborate detail (Plate 
 VII., 1). Part of the predella of this picture, a small 
 ' Presentation in the temple,' is now No. 1 70 in the 
 Louvre. Very few other pictures by this painter are 
 known, except those in the Brera at Milan, a ' Glorification 
 of the Virgin,' No. 155, and four single figures of saints, 
 Nos. 186, 190, 307, 309. Gentile, however, never lost the 
 Umbrian quality of soft expression and pious feeling 
 which was to continue a distinguishing mark of his school, 
 as we shall see hereafter. 
 
 The second master was Antonello da Messina, born Antonelh 
 during the first half of the century. He was so impressed Messina, 
 with the beauty of the then new oil medium for painting 
 — said to have been first seen in Naples in an altarpiece 
 by Jan van Eyck, sent to King Alfonso — that he made a 
 journey to Flanders, learned the secret, and brought it 
 back with him to Italy. For an example of portraiture 
 with high finish see a small picture. No. 37 in the Louvre. 
 Another exquisite example is No. 18 in the Berlin 
 Museum, where also is a very fine 'Madonna,' No. 13. 
 The little ' Crucifixion ' in the Antwerp Museum, No. 1 7, is 
 a well-known example of his realistic treatment of a sacred 
 subject (Plate VIL, 2). His manner is seen again in the 
 ' Christ at the column,' No. 264 in the Venetian Academy. 
 A ' S. Sebastian ' is ascribed to him at Dresden, No. 2382. 
 An example, ' Christ as Salvator Mundi,' is in our 
 National Gallery, No. 673, and is one of his earliest works. 
 An altarpiece dated 1473 and some other pictures were 
 executed by Antonello in Sicily. 
 
 At the very beginning of the fifteenth century two new 
 schools of art appeared in North Italy — namely, the 
 Venetian and the Paduan. Although quite distinct in 
 character, they influenced each other considerably. 
 
30 THE RISE AND PROGRESS 
 
 In the earliest records of Venetian art appears the 
 name of Jacobello del Fiore, who painted between 1400 
 and 1439 ; he and his fellow- workers were inferior 
 however to their contemporaries [the Vivarini, in the 
 neighbouring island of Murano. Very little of his work 
 can now be traced with certainty. One genuine example 
 may be named, a ' Madonna and saints ' of the year 1436, 
 No. 22 in the Accademia at Venice. An altarpiece has 
 long been attributed to him in the sacristy of S. Francesco 
 della Vigna there, consisting of three saints, which is so 
 superior to the preceding that it is believed to be by a 
 later artist, possibly by the Vivarini (C. and C), whose 
 work it certainly more resembles. 
 
 The earliest painters of Murano of whom trustworthy 
 records exist are Giovanni and Antonio Vivarini, known 
 as Giovanni and Antonio da Murano, and the former also 
 as Johannes Alemannus, once supposed to be a distinct 
 personage. They derived their style directly or indirectly 
 from Gentile da Fabriano, and worked together from 
 1440-47, when they separated. The earliest example 
 is a * Coronation of the Virgin,' No. 8 in the Venetian 
 Academy, dated 1440 ; later products of that period are 
 Nos. 23 (Plate VII., 3), 581, 583. Others may be found 
 in the churches of Venice, the best perhaps being in that 
 of S. Zaccaria, where are three well-preserved Anconas. 
 Subsequently appeared a very important work by Antonio, 
 now in the Berlin Museum, an ' Adoration of the kings,' 
 No. 5, full of figures, profusely adorned with gold 
 ornaments in high relief. Soon after, Bartolommeo 
 Vivarini joined his brother Antonio, and a fine example 
 of their united work, of the year 1450, is an altarpiece, 
 No. 205 in the Pinacoteca at Bologna. At a still later 
 date Bartolommeo left Antonio, and, painting by him- 
 self, produced many works, of which the following are 
 examples ; a ' Madonna and four saints,' No. 1 in the 
 Venetian Academy, dated 1463 ; a ' Madonna,' No. 284 in 
 our National Gallery ; a retablo in five panels. No. 58, 
 Eoom II. 1st floor, at Vienna ; and a fine ' Madonna and 
 saints,' dated 1465, No. 5, Venetian School, in the 
 Museum at Naples. Others are at Berlin, No. 1160, and 
 
 Muranese 
 painters, 
 Ibth cen- 
 tury. 
 Jacobello 
 del Fiore. 
 
 The Viva- 
 rini. 
 
OF PAINTING IN ITALY, 
 
 31 
 
 at Bergamo. Luigi Vivarini, who had worked with. 
 Bartolommeo, gradually surpassed him, and executed 
 numerous works in the latter part of this century ; for 
 examples, see the fine ' Madonna and saints,' No. 561 in 
 the Accademia at Venice, dated 1480, and an altarpiece, 
 No. 38 in the Berlin Museum. The Vivarini left few 
 followers ; the first to be named here is Andrea da 
 Murano, who did little for the advancement of art. 
 Another was Carlo Crivelli of Venice (painted from about 
 1450 to end of century), said to have been a pupil of 
 Jacobello del Fiore, but was probably more influenced by 
 the Vivarini. His work is characterised by earnest and 
 conscientious labour, often by a severe naturalism ; while 
 his Madonnas especially are not without grace. He is 
 nowhere better seen than in our National Gallery, where 
 two altarpieces, Nos. 724 and 788 (Plate VII., 4), show 
 how Crivelli loaded his pictures with elaborate detail, 
 ' such as jewels, fruit, and raised gilt oroaments. Another 
 large altarpiece, in the Brera at Milan, No. 277, is also 
 very richly decorated. A small ' Annunciation ' on two 
 panels, Nos. 14, 15, should be noted in the Stadel Museum, 
 Frankfort. 
 
 But the chief founder of the Venetian school was 
 Jacopo Bellini (about 1400-70), father of the more cele- 
 brated Gentile and Giovanni Bellini. He was the pupil 
 of Gentile da Fabriano, and but little now remains of his 
 work. One example only, that of a ' Madonna,' No. 443 
 in the Academy at Venice, can be referred to. He painted 
 numerous frescoes both at Venice and at Verona, which 
 have now disappeared ; a few fragments, quite ruined, 
 may be traced in the semidome of a chapel in S. Zaccaria 
 at the former place. 
 
 Bellini's two sons occupy a distinguished place in the 
 history of Venetian art. Both learned of their father and 
 assisted him, but gained much from their relations with 
 other contemporary masters. Gentile, the elder (1421- 
 1507), produced large works, conspicuous for well-drawn 
 architecture and numerous figures, excellent illustrations 
 of which are, ' The preaching of S. Mark at Alexandria,' 
 No. 164 in the Brera at Milan, and two large pictures in 
 
 The Viva* 
 rini. 
 
 Carlo 
 Crivelli* 
 
 Venetian 
 school, loth 
 century. 
 The 
 Bellini. 
 
 Gentile, 
 
32 
 
 THE RISE AND PROGRESS 
 
 Gentile 
 BelUnu 
 
 Giovanni 
 Bellini. 
 
 the Venetian Academy, the ' Miracle of the true cross,' 
 No. 529 (Plate VIII., 3), and the " True cross borne in 
 procession,' No. 555. In the same style is the ' Eeception 
 of Venetian ambassadors,' No. . 60 in the Louvre. He also 
 painted many highly finished portraits, of which a few 
 exist. A good example is that of a Doge in the Correr 
 Museum, Venice, while two heads in one frame, very 
 finely painted, No. 59, are attributed to him in the 
 Louvre. 
 
 Giovanni Bellini (1426-1516), doubtless under the 
 influence of Maiitegna, his brother-in law, acquired a 
 power of drawing the figure with severe precision. 
 Besides this, he laboriously mastered the secrets of oil- 
 painting, and by degrees developed that technical skill 
 combined with a richness of resource in colour which in 
 great measure determined the future character of Venetian 
 art. Among his chief productions are an admirable altar- 
 piece in the sacristy of S. Maria dei Frari at Venice, of 
 the exquisite finish of which it is impossible to speak too 
 highly ; a large picture, ' Christ at Emmaus,' in S. 
 Salvatore, and a 'Baptism' of 1505 in S. Zaccaria there ; 
 and a fine ' Transfiguration ' in the Naples Museum, No. 7 
 Sala Grande. Our National Gallery contains several 
 works by the master ; namely, the ' Death of S. Peter 
 Martyr,' No. 812, an early illustration of the importance of 
 landscape in Venetian art ; a * Madonna,' 280 ; and two 
 very fine portraits, one of the Doge Loredano, No. 189 
 (Plate IX., 1), and one of ' S. Peter Martyr,' No. 808. 
 Four beautiful examples, a ' Madonna with six saints and 
 angels,' No. 38 (Plate VIIL, 1), a 'Madonna,' No. 94, a 
 'Madonna and saints,' No. 424, a 'Madonna with a 
 magdalen and S. Catherine,' No. 436, with several others, 
 are in the Venetian Academy, besides a series of five 
 very small allegorical paintings, Nos. 234-8. There is 
 also a small but complete landscape with figures of the 
 Virgin, saints, and others. No. 631 in the Uffizi, and a fine 
 ' Dead Christ,' painted in grisaille. No. 583. A grandly 
 painted ' Pieta,' in warm colour, in which the head of 
 Christ is very beautiful, is No. 4 at Berlin. A small work, 
 ' Madonna and saints,' is No. 4 in the Hermitage, St. 
 
Plate VIII. 
 
 To face 
 
 page 32. 
 
OF PAINTING IN ITALY. 
 
 33 
 
 Petersburg. The Louvre possesses a charming specimen 
 of the master, a 'Madonna with two saints,' No. 61. 
 Bellini has long "been famous as the reputed chief master 
 of Titian, an honour of which recent investigations have 
 partially deprived him. 
 
 Giambattista Cima da Conegliano (painted 1489-1517) 
 was a painter of devotional subjects only, and was in- 
 fluenced by Giovanni Bellini in manner, but in colour 
 was not Venetian. His clear firm handling and high 
 finish, with simple treatment of the figure and of the 
 group, resulted in the production of many admirable 
 works which are quite characteristic of the painter. In 
 our National Gallery are three examples : a ' Madonna,' 
 No. 300, the ' Incredulity of S. Thomas,' No. 816, and a 
 ' Madonna,' No. 634. Other paintings by him are in the 
 Academy at Venice, two of which at least are most 
 admirable, viz., ' Christ, S. Thomas, and a saint,' No. 456 
 (Plate IX., 4), and a ' Madonna enthroned,' No. 582 ; 
 there is also a fine * S. John the Baptist with saints ' in 
 S. M. deir Orto. Two admirable and well-known altar- 
 pieces are in the Gallery of Parma, a * Madonna and two 
 saints,' with a ruined temple. No. 361, and a 'Madonna 
 enthroned and saints,' No. 360. At Berlin there are two 
 fine pictures, ' Madonna enthroned with saints,' No. 2, and 
 an admirable ' Miracle of S. Mark,' No. 1 5, in the manner 
 of Gentile Bellini. A good ' Madonna with saints ' is 
 No. 152 in the Louvre. 
 
 Carpaccio (about 1450-1520), commencing in the school 
 of the Vivarini, was subsequently influenced by Gentile 
 Bellini, and painted large scenes with architecture and 
 figures much in his manner. His most celebrated works, 
 consisting of a series of nine such compositions, illustrating 
 the life of S. Ursula, Nos. 533, 7, 9, 542, 4, 6, 9, 554, 60, 
 in the Academy at Venice (described in the catalogue), 
 are excellent productions of the school and time ; of which 
 perhaps the best is the ' Keception of the envoys,' No. 539. 
 There also is a fine ' Presentation in the temple,' No. 488 
 (Plate VIII., 2). An interesting series of his works in 
 excellent preservation may be seen in the little church of 
 S. Giorgio dei Schiavoni, Venice, three relating to S. 
 
 D 
 
 Gicmanni 
 Bellini. 
 
 Cima da 
 Conegliano, 
 
 Carpaccio. 
 
34 
 
 THE RISE AND PROGRESS 
 
 Carpaccio. 
 Mansueti. 
 
 Catena. 
 
 Basaiti. 
 
 Previtale 
 and Bissolo. 
 
 Paduan 
 school y \hth 
 century. 
 Squarcione. 
 
 Andrea 
 Mantegna. 
 
 Jerome, two to the life of Christ, others to S. George and 
 S. Triphonios. Examples are to be seen in the Louvre, 
 No. 113, and at Berlin, Nos. 14, 23. Mansueti (painted 
 1494-1500) may be named as the author of two pictures 
 in the Venetian Academy, Nos. 540, 8, as almost contem- 
 porary with Carpaccio, and as an inferior follower of his 
 style. Yicenzo Catena (painted about 1495-1520), with 
 no characteristic of his own, was in turn influenced by 
 others, and is chiefly mentioned as a follower of the 
 Bellini. For examples of his work see catalogues. Marco 
 Basaiti (painted from 1490 to 1520) was, like the preceding, 
 much influenced by others, first by the Vivarini, subse- 
 quently by the Bellini. His works are always of an 
 inferior type ; examples are in the Venetian Academy, 
 Nos. 31, 534, and in our National Gallery, Nos. 281, 599. 
 Two painters of the Bellini school, of no great mark were, 
 Previtale and Bissolo. Their chief works are named in 
 the catalogues. 
 
 The school of Padua can hardly be said to exist until 
 the time of Francesco Squarcione (1394-1474). Being 
 himself much more a teacher than a painter, he cherished 
 an enthusiasm for art, and especially for the antique. He 
 formed an Academy, which became very famous, and 
 perhaps no other master had a greater number of pupils. 
 Numerous works issued from his Academy, but it is 
 difficult now to distinguish those which are really by his 
 hand, if indeed there are any such in existence. 
 
 Among his numerous scholars the most renowned was 
 Andrea Mantegna (1430-1506). This great painter, 
 whose influence was felt in all the schools of Italy, was 
 a Paduan by birth, but he finally settled in Mantua, 
 where many of his principal works were executed. His 
 style was characterised by severe precision of line, a 
 careful application of perspective to every figure, so that 
 it became rather statuesque than natural, a minute render- 
 ing of all details far and near, with want of air and tone, 
 a love of architecture and classical ornament. Among his 
 earlier productions is the ' St. Luke and saints,' No. 187 in 
 the Brera at Milan. He was less than thirty years of age 
 when he painted the remarkable frescoes in the Church of 
 
Plate IX. 
 
 To face page 34. 
 
OF PAINTING IN ITALY. 
 
 35 
 
 the Eremitani at Padua, representing scenes from the 
 * Life of S. Jacob ' and the ' Martyrdom of S. Christopher.' 
 These illustrate the style described, which by degrees 
 became modified by contact with the Bellinis, the younger 
 of whom, Giovanni, acquired much of Mantegna's quality 
 in return. There are many smaller works in various 
 galleries ; two admirable specimens may be found in the 
 Uffizi, Florence, a triptych. No. 1111, and a 'Madonna,' 
 No. 1025, both marked by exquisite finish. A small 
 ' S. George ' of similar quality is No. 273 at Venice ; and 
 a fine ' Madonna enthroned with angels and saints ' may 
 be seen in the church of S. Zeno at Verona. There are 
 also two good examples, Nos. 274, 902, in our National 
 Gallery; while the 'Madonna della Vittoria,' No. 251 
 (Plate IX., 3), the ' Christ between thieves,' No. 250, the 
 ' Parnassus,' No. 252, and the ' Expulsion of the Vices,' 
 No. 253, represent him in the Louvre. In the Stadel 
 Frankfort, is a ' S. Mark,' No. 13. At Berlin there are 
 two works, a small ' Madonna with cherubs,' No. 27, and 
 a ' Presentation in the temple,' No. 29. A very fine 'Dead 
 Christ and two angels,' No. 28, life-size, long attributed 
 to him, is now regarded as the work of Giovanni Bellini. 
 The latter half of his life was spent at Mantua, where he 
 painted the frescoes now in the Castello there. It was 
 not until after sixty years of age that he completed for 
 the Duke the famous ' Triumph of Julius Ceesar,' by many 
 regarded as his masterpiece (Plate IX., 2). This work, 
 now in Hampton Court Palace, consists of nine cartoons' 
 much injured by time. The small highly finished studies 
 are m the Belvedere, Vienna, Nos. 42 to 45, and Nos. 47 
 to 50, Eoom VI. 1st floor. Besides being celebrated as a 
 painter, Mantegna excelled as an engraver, and executed 
 several works with his own hand. 
 
 From the school of Squarcione issued a number of in- 
 ferior painters, among the chief of whom was Gregorio 
 Schiavone (painted middle of fifteenth century) ; he is 
 represented by a 'Madonna enthroned,' No. 630 'in our 
 National Gallery. But the influence of Mantegna spread 
 widely and may be traced in several schools. Thus, 
 formed in part on his teaching was the style of Stefano 
 
 D 2 
 
 Mantegna, 
 
 Schiavone. 
 
36 
 
 THE RISE AND FROGBESS 
 
 School of 
 Ferraray 
 \hth cen- 
 tury, 
 
 Stefano and 
 
 Gosimo 
 
 Twra. 
 
 Cossa. 
 
 School of 
 Vicenza^ 
 ] ^th cen- 
 tury. 
 
 Montagna. 
 
 Buoncon- 
 sigli. 
 
 School of 
 Verona f 
 l^th cen- 
 tury. 
 Liberate. 
 
 Bonsignori. 
 
 da Ferrara and Cosimo Tura, natives of Ferrara. There 
 is a large and finely painted altarpiece in the Brera at 
 Milan by Stefano, No. 175 ; Cosimo is best represented in 
 the Gallery and Cathedral of his native town, although 
 there are three fair examples of his work in our National 
 Gallery, Nos. 590, 772, 773. One of extraordinary beauty 
 is in the Museum at Berlin, No. Ill, a ' Madonna enthroned 
 with saints,' full of elaborately painted detail, strongly 
 suggesting the style of Mantegna. Three works by him 
 in the Ferrara Gallery are Nos. 121, 2, 3. 
 
 Francesco Cossa was another follower of Mantegna 
 who left Ferrara for Bologna, where an altarpiece in 
 the Gallery, No. 64, entitles him to mention. Marco 
 Zoppo, who was a pupil of Squarcione, went also to 
 Bologna, and will be named in connection with that 
 place. 
 
 Another school which was similarly inspired was that 
 of Vicenza. Bartolommeo Montagna (about 1455-1503), 
 an early master, was largely influenced by Mantegna, and 
 subsequently in a less degree by the Venetians. His 
 works are chiefly at Vicenza in the churches and in the 
 Gallery there, those in the latter being in very bad condi- 
 tion (see catalogue). A few only are elsewhere; for 
 example, a fine altarpiece in the Brera, Milan, No. 163, 
 another in the Venetian Academy, No. 361, and a 'Madonna 
 enthroned,' No. 44, at Berlin. Not much later was Gio- 
 vanni Buonconsigli, who lived towards the end of the 
 fifteenth Century and the beginning of the sixteenth. His 
 works also are chiefly seen at Vicenza, and as an example 
 a ' Pieta ' may be named. No. 20, Stanza degli Vicentini, 
 in the Gallery there. 
 
 Verona in the former half of this century produced 
 painters of small note, but there also Mantegna's fame 
 gave an impulse to art, manifested by Liberale da Verona 
 (1451-1515?), who imitated the master with some success. 
 There are two examples of his work in the Brera, Milan, 
 one of which, a ' S. Sebastian,' No. 267, may be referred 
 to. Soon after, Francesco Bonsignori (1455-1520) pur- 
 sued a similar course, his late works all exhibiting the 
 Mantegnesque type, of which one, No. 166 in the Brera is, 
 
OF PAINTING IN ITALY. 
 
 37 
 
 an example. There is a head, but in his early style, in 
 OTir National Gallery, No. 736. 
 
 The two Morones, father and son (not to be confounded 
 with the later master, Giambattista Moroni of Brescia), 
 and Girolamo dai Libri are more important. Of Domenico 
 Morone little is known, but the work of his son Francesco 
 may be seen in the Pinacoteca at Verona, No. 275, an 
 altarpiece, and in the ceiling decorations and numerous 
 portraits preserved on the walls of the sacristy of S. Maria 
 in Organo there. Other examples are, a picture in the 
 Brera, Milan, No. 290, a ' Madonna,' No. 46, at Berlin, and 
 one in our National Gallery, No. 285. 
 
 Girolamo dai Libri (1474-1556) was notably fond of 
 introducing landscape into his pictures, the best of which 
 are to be found at Verona. In the Pinacoteca are two fine 
 works, Nos. 276 and 278 ; another is in S. Giorgio 
 Maggiore, and a fourth is in the sacristy of S. Maria in 
 Organo. There is a ' Madonna enthroned,' No. 30, at 
 Berlin. 
 
 Caroto (1470-1540) was another Veronese painter whose 
 works frequently bear a resemblance to those of Mantegna, 
 with whom he had worked at Mantua. Several examples 
 are in the Verona Gallery, but the best are in the churches 
 there ; for instance, a ' Madonna and saints 'in S. Fermo 
 Maggiore. Other works may be found at Berlin, No. 40, 
 and at Frankfort, No. 45. 
 
 Paolo Morandi, called Cavazzola (1486-1522), was a 
 pupil of Morone, and a worthy master of this school. His 
 works are chiefly in Verona, where in the Pinacoteca his 
 best composition, an altarpiece in three parts, is preserved, 
 Nos. 318, 19, 20. The centre, a 'Deposition,' with a view 
 of Verona in the background, is an admirable production. 
 Our National Gallery contains two fair examples, Nos. 
 735 and 777. 
 
 Little is to be said of the early history of art in Parma. 
 In the middle of the fifteenth century dim traces appear 
 of the revival of taste in connection with Jacopo Loschi, 
 whose work was nevertheless very rude. More worthy of 
 mention is Filippo Mazzola, who painted in the end of the 
 century, and his scholar Casella or Cristoforo of Parma : 
 
 Bonsignori. 
 
 D. Morone 
 
 and 
 F. Morone. 
 
 Dai Libri. 
 
 Caroto, 
 
 Cavazzola. 
 
 School of 
 Parma, 
 Ibth cen- 
 tury. 
 
38 
 
 THE RISE AND PROGBESS 
 
 School of 
 Parma, 
 15th cen- 
 tury. 
 
 Sienese 
 school^ \ hth 
 century. 
 Sano di 
 Pietro. 
 
 Matteo. 
 
 TJmbrian 
 school, 15th 
 century. 
 
 Niccolb 
 Alunno. 
 
 whose works belong to tlie end of the fifteenth and to the 
 beginning of the sixteenth centuries. He also had a 
 scholar, Araldi, whose works date somewhat later. An 
 example of each will be found in the catalogue of the 
 Gallery of Parma. 
 
 Few masters of merit existed at Siena in the fifteenth 
 century, yet two ought to be mentioned, Sano di Pietro 
 (1406-81) and Matteo da Siena (1435-95). The former 
 executed numerous works which are considered to bear a 
 resemblance to those of Angelico. No less than forty- 
 seven are in the Siena Academy, of which No. 143 is the 
 best. There is also a fresco of the ' Coronation ' of 1445 
 in the Palazzo Pubblico there, and other examples are to 
 be found at Dresden, Berlin, and in the Louvre. Matteo 
 possessed greater ability, and his works are chiefly to be 
 seen in his native town. The Academy contains, among 
 others, his earliest painting, dated 1470, No. 170, and one 
 of his best. No. 166. Besides these there are, an altarpiece 
 in the Malevolti Chapel in S. Domenico, and a small 
 ' Madonna with angels,' an exquisite panel of 1484, in the 
 Palazzo Pubblico. A ' Massacre of the innocents,' dated 
 1418, may be seen in the Naples Museum, Tuscan school, 
 No. 31. 
 
 Meanwhile another school, that of TJmbria, already 
 referred to, was now growing in importance and was 
 destined to exercise great influence through Eaphael, 
 whose earliest inspiration was derived from it. The art of 
 Umbria appears to have had its source in deep religious 
 enthusiasm, and so widely differed from Florentine art. 
 The devotional character which marks the works of the 
 first-named school, early seen in that of Gentile da 
 Fabriano, and continued by men of less note, is manifested 
 by a prominent master, Niccolo di Foligno, known as 
 Niccolo Alunno (painted 1458-99). Some of his best 
 works are an ' Annunciation ' in the Accademia at Perugia, 
 No. 75 ; a panel painted on both sides in the Bologna 
 Gallery, No. 360 ; and two fine pictures in the Vatican 
 collection. The Louvre possesses an example in the ' Six 
 scenes from the life of Christ,' No. 23. 
 
 But the interest of the TJmbrian school henceforth is 
 
Plate X. 
 
 To face page 39. 
 
OF PAINTING IN ITALY, 
 
 39 
 
 mainly associated with Perugia. Two painters of that city 
 were contemporary with Alunno. The first was Benedetto 
 Bonfiglii (records exist between 1453 and 1496), many of BonfigliL 
 whose works in the Academy there deserve notice, Nos. 1 
 and 18 being chief examples. Of great merit as regards 
 composition and drawing are several frescoes, injured in 
 parts, but untouched, in the Palazzo Pubblico, relating to 
 S. Louis, S. Ercolano, and others. The ' Death of S. Louis ' 
 and the ' Miracle of the fish ' are the best. The second is 
 Fiorenzo di Lorenzo (painted, between 1472 and 1499), by Fiorenzodi 
 whom several panels may be seen in the same place. Lorenzo, 
 From these we pass to the great master of Perugia, Pietro 
 Vannucci (1446-1524), called Perugino because he spent Pemgino. 
 most of his life there, although born at Citta delle Piev^, 
 a small neighbouring town. He is supposed to have been 
 at first a pupil of Bonfiglii, studying afterwards at 
 Florence and elsewhere. He acquired a remarkable power 
 of expressing religious sentiment, with a certain grace in 
 drawing the human figure, although but little varied in 
 style, and a charm of colour together with great technical 
 ability ; — a combination not hitherto witnessed. His 
 works are very numerous. Among the earliest and most 
 important frescoes were those in the Sistine Chapel, two Frescoes, 
 of which now remain, the best being ' The delivery of the 
 keys ' (Plate X., 2). At a much later date were painted 
 those which cover the walls of the Sala del Cambio at 
 Perugia. And later still, he executed the large fresco of the 
 ' Adoration of the magi,' in S. Maria di Bianchi at Citta 
 delle Pieve (Plate X., 1). Besides these, among works in on 
 oil should be named %h.Q> following : in the Church of S. paintings. 
 Pietro at Perugia, a grand ' Pieta,' and three small and 
 highly finished figures of saints. In the Academy, among 
 several others are the ' Nativity,' No. 23, and the ' Baptism,' 
 No. 41, the two centres of a double altarpiece painted for 
 the Church of S. Agostino, between 1512 and 1517; the 
 remaining portions of it are in this and in other galleries 
 Elsewhere are finer examples than most of these, viz., the 
 'Madonna and four saints' in the Vatican; the ' S. 
 Sebastian,' in the Sciarra Palace, Eome ; a ' Madonna 
 enthroned' in the Bologna Gallery, No. 197; a lovely 
 
40 
 
 TEE RISE AND PB0GRES8 
 
 Perugino. 
 
 Pinturic' 
 chio. 
 
 ' Madonna,' No. 12, Eoom III. 1st floor, at Vienna ; a very 
 fine triptych, of which the centre panel is a ' Madonna in 
 adoration/ No. 288, and a large altarpiece, No. 1075, in 
 our National Gallery ; an admirable ' Deposition,' No. 164, 
 belonging to his best period, among others in the Pitti ; 
 the ' Agony,' No. 53, and a ' Crucifixion,' No. 57 Gds. Tabl. 
 in the Academy, Florence. The Louvre possesses two fair 
 examples, a ' Madonna with saints,' No. 426, one of his 
 earliest productions, and a ' Combat between Love and 
 Chastity,' No. 429. A large ' Ascension,' painted originally 
 for S. Pietro, is now in the Lyons Museum, No. 156 ; while 
 the well-known ' Marriage of the Virgin ' (from which 
 Eaphael drew his inspiration for the celebrated ' Lo Sposa- 
 lizio ') is in the Caen Museum. Two characteristic and life- 
 like profile heads. No. 18 Pets. Tabl. in the Florentine 
 Academy, are excellent examples of what the master could 
 accomplish when not restricted by traditional rules. 
 Perugino is distinguished also as the teacher of Eaphael, 
 who at first followed closely the master's style, as will be 
 seen hereafter. 
 
 The chief, however, among his numerous followers who 
 maintained the traditions of Perugia was Bernardino 
 Pinturicchio ( 1 454-1 5 1 3), In the earlier part of his career, 
 he was the principal assistant or partner of Perugino. 
 Pinturicchio's style became more realistic than that of the 
 latter, and he was less a devotional than an historical 
 painter. His ten large and fine frescoes in the library, 
 together with a few in the baptistry of the Duomo at Siena, 
 all admirably preserved, constitute his most important 
 works. The Academy at Perugia contains his masterpiece 
 in oil, a fine altarpiece in several parts, No. 30. Another 
 is the ' Coronation of the Virgin,' in the Vatican. The 
 National Gallery has recently obtained an interesting 
 fresco transferred to canvas, No. 911, by Pinturicchio, 
 besides three other works, illustrations of the story of 
 Griselda, Nos. 912, 13, 14. Similar compositions are the 
 ' History of Tobias,' Nos. 142, 149 at Berlin ; where there 
 is also a large ' Adoration of the magi,' No. 132 ; another 
 * Adoration' is in the Pitti at Florence, No. 341. 
 
 Giovanni di Pietro, called LoSpagna, being a Spaniard 
 
J 
 
 OF PAINTING IN ITALY, 
 
 41 
 
 by birth (painted 1507-28), is the next important follower 
 of Perugino. A fellow pupil of Kaphael, and working 
 under Pinturicchio, he was influenced by both, and some 
 of his works have been attributed to those masters. He 
 afterwards painted by himself at Spoleto, where most of 
 his frescoes are still to be seen. Others are in the church 
 of S. M. degli Angeli near Assisi. There is a large ' Adora- 
 tion of the magi,' No. 150 at Berlin (Plate X., 3), which is 
 attributed to Eaphael by Passavant, Waagen and Kugler, 
 but is given to Lo Spagna by Crowe and Cavalcaselle. 
 A good ' Madonna and saints,' No. 25, in the Gallery of 
 Perugia, a ' Madonna' formerly given to Pinturicchio in 
 the Louvre, No. 404, and also a ' Nativity,' No. 403, deserve 
 notice. Another of the last-named subject is preserved in 
 the Vatican. One of his best productions is the ' Madonna 
 enthroned ' in the Chapel of S. Stefano in the Lower Church 
 of S. Francesco at Assisi. Our National Gallery possesses 
 two examples, a ' Glorification of the Virgin,' No. 282, 
 and an ' Ecce Homo,' No. 691. 
 
 The Bolognese school became famous at the end of the 
 fifteenth century through the works of Francia, who has 
 generally been regarded as the pupil of Marco Zoppo, a 
 scholar of Squarcione. This belief is, however, now called 
 in question. Zoppo went to reside at Bologna, as also did 
 another and far abler painter, Lorenzo Costa, of the 
 Ferrarese school, hereafter to be considered. Of Zoppo it 
 will suffice to say that his works date chiefly between 1471 
 and 1498, and that not many are extant. There is a good 
 example in our National Gallery, No. 597. 
 
 Francesco Francia (1450-1517), born at Bologna, was 
 at first a goldsmith and engraver on metal. Subsequently 
 he studied painting, and having become a friend of Costa, 
 received instruction from him. In course of time Francia 
 surpassed Costa, whose style was influenced in its turn 
 by the elder painter. His compositions are marked by 
 warmth and richness of colour ; his figures are full of 
 tenderness and devout resignation, and are moreover 
 graceful, often recalling those of Perugino, while they are 
 less constrained in their action, and have more indivi- 
 duality of character. In S. Giacomo Maggiore at Bologna 
 
 Lo Spagna. 
 
 Bolognese 
 school f Ibth 
 century, 
 Marco 
 Zoppo. 
 
 Francesco 
 Francia. 
 
42 
 
 THE RISE AND PBOGRESS 
 
 F Francia, 
 
 G. Francia. 
 
 Lorenzo 
 Costa. 
 
 there is one of the finest altarpieces of the master : and at 
 S. Cecilia there are some important frescoes, besides several 
 altarpieces in the Pinacoteca, of which the best is a 
 ' Madonna with saints/ No. 78, others there being almost 
 ruined by repainting, such as No. 81 (Plate X., 4). There 
 is a fine altarpiece in the Gallery of Parma, a ' Deposition,' 
 No. 123; another is a 'Madonna enthroned,' No. 130; a 
 third is in the Pinacoteca at Munich, No. 577; and a 
 fourth is a ' Madonna enthroned,' No. 69 in the Hermitage, 
 St. Petersburg. There also is a good * Madonna,' No. 68 ; 
 and another may be seen in the Borghese Palace at Eome, 
 No. 43, Eoom II. Some works a,re attributed to him at 
 Berlin, of which one only. No. 127, need be noted, a 
 'S. Stephen and John the Baptist,' and this has been 
 much restored. In the Louvre a fine portrait. No. 523, 
 by some attributed to Francia, is given to Bugiardini 
 by 0, Miindler ; and our National Gallery has two ad- 
 mirable specimens, a ' Pieta,' No. 180, and an altarpiece, 
 No. 179. 
 
 Giacomo Francia (1484-1557), son of Francesco Francia, 
 feebly copied his father's style, although some of his best 
 productions have passed for inferior works of the latter. 
 A fair example is a 'Madonna and saints,' No. 84 at 
 Bologna, while 9, good head by him may be seen in the 
 Pitti, No. 195. He had a brother Giulio who also assisted 
 his father. 
 
 Lorenzo Costa (1460-1536), originally a Ferrarese, 
 became, as already shown, influenced by the elder Francia, 
 and ranked after him as the most important painter of 
 this school. He assisted Francia in the S. Cecilia frescoes, 
 and painted much at Bologna and afterwards at Mantua ; 
 his work, however, was always much inferior to that of 
 Francia. Two of his best productions are now in 
 S. Giovanni in Monte at Bologna, while in the Gallery 
 there No. 65 is the principal example. An important 
 work, a 'Presentation in the temple,' is No. 112 at Berlin. 
 Equally so is the ' Baptism of Christ,' No. 437 at Dresden, 
 Another is ' The court of Isabella d'Este,' No. 154 in the 
 Louvre (Plate XL, 4). An altarpiece forms No. 629 in our 
 National Gallery, 
 
J 
 
Plate XI. 
 
 To face page 43. 
 
OF PAINTING IN ITALY. 
 
 43 
 
 The last school to be considered before commencing the 
 sixteenth century is the Lombard or Milanese, which owes 
 its existence and its character to the remarkable genius 
 of Leonardo da Vinci, whose influence is henceforth 
 largely felt throughout North Italy. Born at Vinci near 
 Florence (1452-1519), he holds a middle position between 
 the quattrocento and the cinquecento masters, for although 
 he far excels the former, yet he cannot be altogether 
 classed with those who carried art to its highest state of 
 perfection in the sixteenth century. Leonardo was one of 
 the most accomplished men of the time, and was not only 
 painter, but sculptor, musician, and poet. He also gave 
 much time to the study of anatomy, mechanics, and 
 mathematics; and he effected considerable improvements 
 in military science and engineering : painting was perhaps 
 his most prominent pursuit. He was a pupil of Andrea 
 Verrocchio, by whom there is a well-known picture in the 
 Florentine Academy, No. 43, of the ' Baptism of Christ ' 
 (Plate v., 1)» which contains a single figure, an angel, 
 painted by Leonardo, the superiority of which to the rest 
 of the composition is striking. Some of his productions 
 are still extant, but probably most of those attributed to 
 him were executed by his followers. His most famous 
 work is the * Last Supper,' on a wall in the Dominican 
 Convent of the Madonna delle Grazie at Milan (Plate XL, 
 
 1) . Having been originally painted in oil and not in 
 fresco, it has long been a wreck, and very little of the 
 original beauty now remains. There is a copy of it 
 by one of Leonardo's followers, Marco d'Oggione, in the 
 Eoyal Academy of London. Another celebrated work by 
 the master was the great cartoon of the ' Battle of the 
 standard,' long since destroyed. In the Uffizi, Florence, 
 is a large and unfinished altarpiece, the ' Adoration of the 
 magi,' No. 1252. The following are examples of Da 
 Vinci's authenticated easel pictures : a female head known 
 jas the ' Nun,' No. 140 in the Pitti, Florence ; a half-length 
 figure of 'John the Baptist' in the Louvre, No. 458; the 
 celebrated ' Mona Lisa,' or ' La Joconde,' No. 462 (Plate XL, 
 
 2) , and No. 461, another female head, ' La belle Feronniere,' 
 exquisitely finished, may also be by his hand. The two 
 
 Lombard 
 school, 15th 
 century. 
 
 Leonardo 
 da Vinci. 
 
44 
 
 THE BISE AND PROGRESS 
 
 Leonardo 
 da Vinci, 
 
 Bernardino 
 Luini. 
 
 Frescoes. 
 
 beautiful half-lengths, a picture entitled ' Vanity and 
 Modesty/ in the Sciarra Palace, Eome, are also attributed to 
 him. A charming profile portrait of Maria Bianca, the second 
 wife of Maximilian I. of Austria is preserved, together with 
 some drawings in red chalk, in the Ambrosiana, at Milan. 
 In the Hermitage, St. Petersburg, is a highly finished 
 work, a ' Madonna and saints,' No. 14, beautiful both for 
 expression and execution. Two other paintings there are 
 attributed to him by Waagen, both of exquisite quality 
 — a beautiful semi-nude female, somewhat resembling the 
 ' Mona Lisa' in the Louvre, No. 16; and a small 'Ma- 
 donna,' No. 13a (said by Crowe and Cavalcaselle to be by 
 his scholar Zenale). The marvellous ' ColumbixLe,' No. 74 
 in the Hermitage, St. Petersburg, formerly catalogued as 
 L. da Vinci, since attributed to Luini by Waagen, is con- 
 fidently given to Solario by Messrs. Crowe and Cavalcaselle. 
 For charm of expression, perfection of modelling, and 
 delicate finish, this exquisite portrait must certainly rank 
 among the finest productions of any age. Another small 
 ' Madonna,' exhibiting marvellous finish, is ascribed to him 
 at Dresden, No. 30. 
 
 It is difficult to determine the authorship of some works 
 of this period, which might equally belong to Leonardo 
 and to his best pupil, Bernardino Luini (about 1460-1530) ; 
 it will therefore be well to consider the latter at the same 
 time. Luini was most celebrated as a fresco-painter. His 
 finest works of this kind are in the church at Saronno, re- 
 presenting scenes from the history of the Virgin ; those in 
 the Church of S. M. degli Angeli at Lugano; and the 
 frescoes which decorate the inner and outer Church of S. 
 Maurizio Maggiore at Milan (Plate XL, 3). All these are 
 very remarkable productions, especially the first and last, 
 whether we regard composition, colour, or execution. 
 Those in the Church of the Madonna at Saronno are in a 
 state of high preservation, and rank among the best pro- 
 ductions of the master. Of the four chief subjects there, 
 the 'Marriage of the Virgin' may be regarded as the 
 choicest example : it is placed between the choir and the 
 altar on the left. Besides these, there is a fine fresco in a 
 . room in the Ambrosiana at Milan, of the ' Scourging of 
 
OF PAINTING IN ITALY. 
 
 45 
 
 Clirist,' of which the centre compartment at least is the work 
 of Luini. Of his works in oil, a very fine one, exquisitely- 
 painted, is the ' Madonna with the roses,' No. 89 in the Brera, 
 Milan. Others are, the * Beheadal of the Baptist,' No. 1135 in 
 the Ufiizi, and a ' Holy family with saints,' No. 173 in the 
 gallery at Buda-Pesth. Luini is seen to great advantage in 
 the Louvre, three of the examples there being very admir- 
 able : a ' Holy family,' No. 230 ; a ' Sleeping Jesus,' No. 231 ; 
 and a * Salome with head of the Baptist,' No. 232. Some 
 frescoes are also to be seen in the hall through which the Sa- 
 lon Carre is entered. But not less beautiful are the examples 
 by this master in the Hermitage, St. Petersburg — viz., a 
 ' Madonna,' No. 71 ; a ' S. Catherine,' No. 72 ; and a life-size 
 ' S. Sebastian,' really a portrait of the Duke of Sforza, No. 
 73. In our National Gallery the well-known painting 
 ' Christ disputing with the doctors ' (" School of Leonardo 
 da Vinci," No. 18) is a fine example of Luini's power. It 
 is impossible to examine these beautiful works, especially 
 those in Milan, without feeling the highest admiration for 
 the genius of their author. 
 
 After Luini, two painters greatly influenced by Leonardo 
 were Ambrogio Borgognone and Andrea Solario. Borgo- 
 gnone (1455-1525), early known by his works at the 
 Certosa of Pavia, subsequently painted some fine frescoes 
 for the dome of S. Simpliciano at Milan. There is an altar- 
 piece in the Brera, No. 72, an inferior example. Some of 
 his best works are at Berlin, No. 51, a * Madonna,' and No. 
 52, a ' Madonna enthroned.' One in our National Gallery 
 (from the neighbourhood of the Certosa of Pavia) is No. 
 298, a ' Marriage of S. Catherine ' ; two smaller works 
 are Nos. 779, 80. 
 
 Solario (1458-1530), educated in the Milanese school, 
 was influenced to some extent also by Florence and by 
 Venice. He gradually attained technical power of a very 
 high order, and some of his productions have been 
 classed under the names of Da Vinci and Luini. Illustra- 
 tions of his work may be seen in the Louvre, the Ma- 
 donna " au coussin vert," No. 394, the portrait of Charles 
 d'Amboise, No. 395, and the ' Crucifixion,' No. 396 ; others 
 are in the Certosa of Pavia. There are two portraits, one j 
 
 B. Luini. 
 Oil 
 
 paintings. 
 
 Borgo- 
 gnone, 
 
 Andrea 
 Solario, 
 
46 
 
 THE ELSE AND PBOGRESS 
 
 Andrea 
 Solario, 
 
 Beltraffio. 
 
 Gaudenzio 
 Ferra/ri, 
 
 signed, one attributed to this master, in our National 
 Gallery, Nos. 734 and 923. 
 
 A less important follower of Leonardo da Vinci, 
 Giovanni Antonio Beltraffio, who was, it is said, an 
 amateur, must not on that account be omitted here. A 
 charming painting of its kind by him is in our National 
 Gallery, No. 728, another good example is in the Louvre, 
 No. 72, and a third is in the Gallery at Buda-Pesth, No. 
 175 ; but naturally his works are not frequently met with. 
 
 Another painter of the Lombard school, but somewhat 
 influenced by the Florentine and Eoman schools, was 
 Gaudenzio Ferrari (1484-1549), a Piedmontese by birth. 
 Some important frescoes by him are preserved in the 
 Brera at Milan, where there is also one of his largest oil- 
 paintings, the ' Martyrdom of S. Catherine,' No. 104, a 
 daring composition, full of life and action. The Minorite 
 Church at Varallo contains other frescoes by Gaudenzio of 
 the ' History of Christ.' Lastly, the cupola of the church 
 at Saronno, just] referred to in connection with Luini, is 
 profusely decorated by him. An immense number of 
 angels playing on musical instruments represents " the 
 heavenly host in adoration." This work also is well- 
 preserved. 
 
 SIXTEENTH CENTURY. 
 
 The history of Art during the past two centuries de 
 scribes the stages by which it progressed towards what are 
 usually regarded as its highest achievements in the famous 
 sixteenth century, or the age of the *' Cinquecento." It 
 was at this period that a group of distinguished pain- 
 ters appeared who, in the variety and extent of their 
 acquirements, not only surpassed all predecessors, but 
 have never been rivalled to the present day. Taking 
 them in the order of their advent, Michael Angelo, Titian, 
 and Eaphael (all born at the commencement of the last 
 quarter of the fifteenth century) are placed in the first 
 rank. A little earlier in date is Fra Bartolommeo, whose 
 genius is feeble when compared with that of the three 
 great masters just named. 
 
 These are followed by others in some respects but little 
 
Plate XII. 
 
 To J ace page 47. 
 
OF PAINTING IN ITALY. 
 
 47 
 
 inferior— viz., Palma Vecchio, Giorgione, Sebastiano del 
 Piombo, Andrea del Sarto, Corteggio, Tintoretto, and 
 Paolo Veronese, who were born during a period comprised 
 by the end of the fifteenth century and the beginning of 
 the sixteenth. 
 
 Fra Bartolommeo, or Baccio della Porta (1469-1517), 
 was a scholar of Cosimo Kosselli, but was much influenced 
 by the works of Leonardo da Vinci, and subsequently 
 through his friendship with Kaphael. Owing to Baccio's 
 great grief at the death of Savonarola, he gave up painting, 
 and entered the Dominican Convent of S. Marco ; but after 
 an interval of six years he resumed his favourite occupa- 
 tion. One of his finest altarpieces is the ' Madonna della 
 Misericordia,' at Lucca ; another is the * Magdalen and 
 S. Catharine in adoration,' both in the New Communal 
 Gallery there, Nos. 3 and 10; an admirable small work 
 is in the Duomo, all well-preserved. In the Pitti Palace 
 at Florence may be seen a ' Deposition,' No. 64, a fine 
 ' Holy family,' No. 256, the well-known figure of ' S. Mark,' 
 No. 125, and others. An altarpioce, * Madonna enthroned 
 with saints,' in the Church of S. Marco, Florence, and a 
 ' Presentation in the temple,' in the Belvedere at Vienna, 
 No. 29 Koom IV. 1st floor, are other good examples of his 
 work. In the Uffizi is an admirable large altarpiece, 
 which the master never lived to complete, representing 
 the ' Madonna enthroned with saints,' No. 1265 (Plate 
 XII., 2). An example should be noted in the Louvre, a 
 * Marriage of S. Catharine,' No. 57 (Plate XIL, 1). Fra 
 Bartolommeo is 'said to be the first painter who used the 
 lay-figure as a means of studying drapery. 
 
 Mariotto Albertinelli (1474-1515) was a scholar and 
 assistant of Fra Bartolommeo, and they painted some 
 pictures jointly. His own works much resemble those of 
 the master. Examples are, a * Visitation,' No. 1259 in 
 the Uffizi, Florence; a ' Nativity,' No. 365 in the Pitti; 
 and a ' Madonna ' in our National Gallery, No. 645. A 
 fine ' Madonna and saints,'" is No. 21 in the Hermitage, St. 
 Petersburg. 
 
 A contemporary and assistant of Mariotto, Bugiardini 
 (1471-1554), without originality or great ability, painted 
 
 Florentine 
 school^ 16th 
 century. 
 
 Fra BartO' 
 lommeo. 
 
 Albertinelli, 
 
 Bugiardini. 
 
48 
 
 THE RISE AND PROGRESS 
 
 Bugiardini. 
 
 Francia 
 Bigio^ 
 
 Michael 
 Angela . 
 
 some good panels in the manner of other masters ; one of 
 the "best being a 'Madonna,' No. 213 in the Uffizi. A 
 much inferior work is his ' Marriage of S. Catharine/ No. 
 26 at Bologna. Another pupil was ^Francia Bigio (1482- 
 1525), a painter of higher rank than the preceding, who 
 became a friend, if not a partner, of Andrea del Sarto. 
 His frescoes in the Scalzo, Florence, and elsewhere, obtained 
 him much credit ; and his portraits, which were nnmerons, 
 have passed in several galleries for works of EaphaeL Of 
 the latter, the following shall be named, in the Pitti, No. 
 43, and in the Museum of Berlin, No. 236. Another in 
 the LoTivre, No. 372, attributed to Eaphael by Passavant 
 and others, is given to Bigio by Messrs C. and C. 
 
 Six years after the birth of Fra Bartolommeo, and 
 twenty-three after that of Leonardo, was bom Michael 
 Angelo Buonarroti (1475-1564). Like Leonardo, he was 
 at once a sculptor, painter, architect, and poet, besides being 
 also a learned anatomist. At first he was apprenticed to 
 Domenico Ghirlandajo in painting, but soon devoted him- 
 self to the practice of sculpture. His earliest known 
 work in painting, now lost, was the celebrated cartoon of 
 Pisa, executed in 1504 ; and by his contemporaries it was 
 considered his masterpiece. Soon afterwards he unwil- 
 lingly undertook the decoration of the Sistine Chapel, 
 which he is said to have accomplished without any con- 
 siderable assistance in the space of three years. This 
 magnificent series of frescoes is without doubt his most 
 perfect achievement ; they are remarkable for 'a dignity 
 and grandeur in composition and in conception of the 
 human figure never before attained in this form of art 
 (Plate XIII., 1, 2, 4). After completing these he was en- 
 gaged on architectural works, and it was not until his 
 sixtieth year that he was commissioned to paint the * Last 
 Judgment ' on the end wall of the Sistine Chapel. Very- 
 few oil-paintings are catalogued under the name of Michael 
 Angelo. The only Holy family probably by his hand 
 is in the Tribune of the Uffizi, No. 1139 (Plate XIII., 3). 
 Two studies in tempera, in an unfinished state, are attri- 
 buted to him in our National Gallery, Nos. 790 and 809. 
 The last years of Michael Angelo's life were devoted to 
 
OF PAINTING IN ITALY, 
 
 49 
 
 superintending the building of S. Peter's at Eome, for 
 which he received no remuneration ; he died, however 
 before his designs were completed. 
 
 The chief of his immediate scholars was Daniele da 
 Volterra, whose principal altarpiece is a ' Descent from 
 the cross ' in the Trinita di Monti at Eome. A good 
 example of his work is the 'Massacre of the innocents* 
 in the Tribune of the Ufifizi at Florence, No. 1107. The 
 Louvre contains an uninteresting work, ' David and 
 Goliath,' painted on both sides of a slab of slate, No. 333. 
 
 Another celebrated Florentine painter living at the 
 beginning of the sixteenth century, who was much in- 
 fluenced bv the works of Fra Bartolommeo and Michael 
 Angelo, was Andrea Vannucchi or d'Agnolo, called " Del 
 Sarto" (1488-1530). He was a pupil chiefly of Piero di 
 Cosimo, and afterwards was closely associated with 
 Francia Bigio. His style was the product of various 
 influences, those of Da Vinci and of Bartolommeo being 
 perhaps the chief. His work is marked by correct drawing, 
 with softness of contour and delicate modelling, a peculiar 
 greyness in the shadows, and a certain type of physiognomy 
 which is rarely absent. Among his earliest productions Frescoed, 
 are three frescoes in the court of the Compagnia del Scalzo 
 at Florence, representing scenes from the life of John the 
 Baptist ; after which come the fine frescoes (commenced 
 by Cosimo Eosselli, who died soon afterwards), illustrating 
 the life of S. Filippo Benizzi, in the Court of S. Annunziata, 
 Florence. Over a doorway leading from this church into 
 a cloister is a celebrated ' Holy family,' known as the 
 * Madonna del Sacco' (Plate XIV., 3) ; while equally worthy 
 of notice is a ' Last Supper,' painted for the refectory of 
 S. Salvi near Florence. Tho following admirable works Oil paint- 
 in oil are all at Florence, viz., the well-known 'Four ^rigs. 
 saints,' No. 59 Gds. Tabl., in the Accademia (Plate XIV., 1) ; 
 a beautiful altarpiece in the Tribune of the Uffizi, No. 1112 ; 
 a 'Madonna with S. John and S. Elizabeth,' composed 
 in that pyramidal form which the master so frequently 
 afiected, and of which it is a good example. No. 81, and a 
 ' Disputa della Trinita,' No. 172 in the Pitti. A 'Holy 
 family/ No, 327, in the Dulwich Gallery, is almost identical 
 
 Michael 
 Angelo. 
 
 Daniele da 
 Volterra. 
 
 Andrea del^ 
 Sarto, 
 
50 
 
 THE RISE AND PROGRESS 
 
 Andrea del 
 Sarto. 
 
 Pontormo, 
 Bronzino. 
 
 VasarU 
 
 with that in the Pitti just named, and is supposed to 
 be a fine copy. Another example is a ' Holy family,' No. 
 380 in the Louvre. In his later style is a ' Carita,' exe- 
 cuted in Prance while on a visit to Francis the First, now 
 preserved in the Louvre, No. 379|(Plate XIV,, 2). Also two 
 important paintings are a ' Madonna enthroned with saints,' 
 in the Berlin Museum, No. 246 ; and a ' Sacrifice of Abra- 
 ham,' No. 44 in the Dresden Gallery. In the Hermitage, 
 St. Petersburg, two finished works may be noted, both rather 
 small — a ' Holy family,' No. 24, and a ' S. Barbara,' No. 
 25. At Madrid are some fine examples, particularly No. 
 385, and No. 383, which is a very charming portrait of 
 his wife : somewhat similar is that at Berlin, No. 240. In 
 cur National Gallery are attributed to him a 'Holy 
 family,' No. 17, and a good portrait of himself, No. 690. 
 
 After the death of Michael Angelo it was the ambition 
 of the Florentine painters to study anatomy, and to produce 
 works in his style. As a natural consequence they became 
 more or less mannered, and were fettered by their sense of 
 the importance ef emphasising anatomical details in draw- 
 ing the figure. A few, however, still maintained some 
 originality and spirit in their works. Among these may 
 be mentioned Jacopo Pontormo (1494-1556) and Angiolo 
 Bronzino (1502-72), both pupils of Andrea del Sarto, and 
 both successful as portrait-painters. Three compositions 
 by Pontormo may be seen in the Uffizi, Nos, 1198, 1282, 
 1284 ; a fine portrait is in the Pitti, No. 149, and another 
 is in the Louvre, No. 143, while our National Gallery 
 contains an excellent example, a portrait of a youth. No, 
 649. Here also is the finest work of Bronzino, a picture 
 entitled * Venus, Cupid, Folly, and Time,' No. 651, and a 
 ' Knight of S. Stephen,' No. 670 ; but equally good perhaps 
 is a ' Venus and Cupid,' No. 182 in the Gallery at Buda- 
 Pesth. An admirably painted ' Dead Christ,' is No. 102 
 Gds, Tabl., in the Florentine Academy ; in the Uffizi and 
 Pitti are some portraits, and another excellent example of 
 portraiture is No. 125 in the Hermitage, St. Petersburg. 
 Bronzino was an intimate friend of Giorgio Vasari of Arezzo 
 (1512-74), one of the important men of his time, to whom 
 we are chiefly indebted for excellent biographies of the 
 
Plate XV. 
 
 To face page 51. 
 
OF PAINTING IN ITALY. 
 
 51 
 
 principal Italian painters, a work which is the foundation 
 pf much of our knowledge of Early Italian art. Vasari 
 executed numerous large oil-pictures, none of which have 
 much merit ; a fair but not pleasing example of his work 
 is in the Pinacoteca at Bologna, No. 198. 
 
 The great painter, who is regarded as possessing not 
 only the best qualities of his contemporaries, but an un- 
 rivalled power of composition and a remarkable perception 
 of beauty, together with a certain grace peculiarly his 
 own, was Eaphael Sanzio, the son of Giovanni Santi of 
 TJrbino (1483-1520). It was from his father that Eaphael 
 received the first instruction in art, but at the early age 
 of twelve he was placed under the care of Pietro Perugino. 
 It has been usual to classify the productions of Eaphael's 
 short but active life in three categories. The first com- 
 prehends those works which were executed probably under 
 the eye of his master, Perugino, and were certainly more 
 or less distinguished by his manner. This period closes 
 at about 1503, when he was in his twentieth year. The 
 second period dates from the impressions received during 
 his residence at Florence, and extends to about the year 
 1508, when he went to Eome. The third period compre- 
 hends the execution of the frescoes and other works in that 
 city, and was spent chiefly in the service of Julius II., 
 terminating only with the death of the painter in 1520, at 
 the early age of thirty-seven. 
 
 Very little is known of the first period of his life, but 
 there are several easel pictures, chiefly Madonnas, well 
 authenticated as belonging to this time. In the Berlin 
 Museum are, a ' Madonna with Baptist,' No. 247a, said to 
 have been painted in 1505, and the ' Colonna Madonna,' 
 No 141, both strongly Peruginesque in character. Two of 
 the most beautiful of the early examples of Eaphael's work 
 are ' Lo Sposalizio, or the Marriage of the Virgin,' No. 305 
 in the Brera at Milan (Plate XV., 2) and the ' Coronation 
 of the Virgin,' in the Vatican. The small picture of a 
 * Knight dreaming,' No. 213 in our National Gallery; the 
 beautiful little ' S. George and the dragon,' painted for 
 Henry VII. of England, No. 39 in the Hermitage, St. 
 Petersburg ; and the small * Holy family del Cordero,' No. 
 
 E 2 
 
 Vasari. 
 
 Roman 
 school, IQth 
 century, 
 
 Baphaeh 
 
 The frst 
 period. 
 
52 
 
 THE BISE AND PBOGBESS 
 
 Raphael, 
 
 The second 
 period. 
 
 The third 
 or last 
 period. 
 
 364 in the Madrid Museum, are also said to belong to 
 the same period. Works of a similar character are a ' S. 
 Michael ' and a * S. George,' Nos. 368, 9, in the Louvre. 
 
 A new era in EaphaeFs career began after 1504, when 
 he visited Florence ; and his style became gradually freed 
 from the mannerism of Perugino's school. After a short 
 stay he returned to Perugia, and besides other works 
 executed a fresco for the Church of S. Severo there, which 
 is, although in an injured state, still to be seen in an 
 adjoining house. The heads of the three saints on either 
 side of the group of which the figure of Christ is the centre 
 are full of expression and of noble character. It is in- 
 teresting to see here how far the pupil had already sur- 
 passed the master, for underneath are three saints added 
 by Peru gi no, in 1521, the execution of which is greatly 
 inferior to the upper portion of the fresco. On Eaphael's 
 return to Florence, where he stayed some years, he became 
 intimate with Fra Bartolommeo, who had then resumed 
 his profession. Michael Angelo's great cartoon, the ' Pisan 
 soldiers bathing,' also appeared about this time, and while 
 under the influence of these masters his second style was 
 developed. Eaphael during this time produced the cele- 
 brated ' Entombment,' No. 38 Eoom II. in the Borghese 
 Palace (Plate XV. 3) ; the ' Vierge au Chardonneret,' No, 
 1129 in the Tribune of the Uffizi at Florence; the 'Belle 
 Jardiniere,' No. 362 in the Louvre (Plate XV., 1); the 
 ' Garvagh Madonna,' No. 744, and the ' S. Catharine,' 
 No. 168, in our National Gallery ; the ' Madonna del 
 Baldacchino,' No. 165, and the 'Madonna del Gran Duca,' 
 No. 266, in the Pitti Gallery at Florence ; the ' Madonna 
 a la Verdure,' No. 55 Eoom III. 1st floor in the Belvedere, 
 Vienna ; and lastly the ' Madonna della Tenda,' No. 547 
 in the Munich Gallery. All of these works belong to 
 Eaphael's second or Florentine style. 
 
 During the year 1 508 he was called to Eome by Pope 
 Julius II. to decorate the state apartments of the Vatican, 
 and here commences the third stage of the master's history, 
 when he painted in what is generally termed his Eoman 
 style. During the whole period of his residence in Eome, 
 till his death in 1520, he was occupied on this important 
 
Plate XVI. 
 
 To face -page 53. 
 
OF PAINTING IN ITALY, 
 
 53 
 
 work, and it was during the execution of this that he 
 attained possession of his greatest power. The principal 
 frescoes then painted in the Vatican are the ' Theology/ 
 sometimes known as the ' Disputa del Sacramento ' (Plate 
 XVI., 1) ; ' Poetry,' or the ' Parnassus ' ; and ' Philosophy,' 
 or the ' School of Athens ' (Plate XVI., 2)— all of which 
 are in the second stanza called Delia Segnatnra. The 
 largest fresco in the third stanza, from which it takes its 
 name, is the ' Expulsion of Heliodorus from the temple of 
 Jerusalem.' The first stanza contains the * Incendio del 
 Borgo,' chiefly the work of scholars from Kaphael's designs ; 
 but the fourth stanza, known as the Sala di Costantino, 
 did not receive its decoration until after his death, when 
 it was executed from his drawings by Giulio Eomano, 
 Penni, and Eaphael del Colle. Besides the frescoes of the 
 stanze, Eaphael was also employed on two other works for 
 the Vatican — namely, the decoration of the Loggie, and 
 the designs for the ten tapestries of the Sistine Chapel, 
 seven of the cartoons for which are now in the South 
 Kensington Museum, London. Very few, if any, of the 
 small compositions in the Loggie were painted by Eaphael 
 himself ; but he furnished the designs to be executed by 
 Giulio Eomano and his assistants. Eaphael also painted 
 the charming frescoes of the ' Sibyls ' in S. Maria della 
 Pace at Eome, as well as the famous frescoes of the 
 'Galatea' in the Farnesina. Many of Eaphael's most 
 beautiful oil-paintings belong to this latest period : among 
 the earliest of these, according to Passavant, is the famous 
 ' Madonna and S. John,' known as the ' Casa d'Alba,' No. 
 38 in the Hermitage, St. Petersburg, although the character 
 of the work itself belongs to the middle style ; later works 
 are the ' Madonna di Foligno ' in the Vatican (Plate XVI., 
 3); the 'Madonna della Sedia,' No. 79 in the Pitti at 
 Florence (Plate XV., 4) ; the ' S. Cecilia,' No. 152 in the 
 Bologna Gallery ; the Madonna di San Sisto,' No. 67 in 
 the Dresden Gallery (Plate XVI., 4) ; ' Lo Spasimo di 
 Sicilia,' No. 366 (Plate XV., 5) ; the ' Madonna del Pesce,' 
 No. 365, the 'Madonna del Lagarto,' No. 371, the very 
 beautiful ' Madonna della Eosa,' No. 370, and the ' Holy 
 family, La Perla,' No. 369, all at Madrid. Besides these 
 
 Eaphael, 
 
54 
 
 THE RISE AND PROGRESS 
 
 Raphael, 
 
 Portraits. 
 
 GiuUo 
 Romano, 
 
 are the ' Archangel Michael/ No. 370, and the ' Holy family 
 of Francis L,' No. 364, both in the Louvre at Paris; and, 
 lastly, the ' Transfiguration,' which he did not live to com- 
 pletely finish, now preserved in the Vatican (Plate XV., 6). 
 
 Eaphael, besides these numerous works, executed many 
 fine portraits. Among the most celebrated of these are 
 the so-called 'Maddalena Doni,' No. 1120 in the Tribune 
 of the Uffizi ; the two portraits in one frame in the Doria 
 Gallery at Kome ; those of Pope Julius II., No. 151 in the 
 Pitti at Florence, of Pope Leo X., No. 63, of Tommaso 
 Inghirami, No. 171, besides others there, all admirable 
 examples. No less worthy to be noted also are the two 
 portraits in the Louvre, Nos. 371 and 374. 
 
 A magnificent female head, known as the * Fornarina,' 
 warm in colouring and exquisite in finish, is in the Tribune 
 of the Uffizi, No. 1123; it has long been attributed to 
 Raphael, and is so classed in the catalogue. But the author- 
 ship has also been contested by many, and the honour 
 has been awarded by some to Sebastiano del Piombo. 
 Finer work in any case it is scarcely possible to imagine. 
 
 It should also be remembered that, in addition to 
 Eaphael's other engagements, he was appointed successor 
 to Bramante as architect of S. Peter's; and while thus 
 overwhelmed by his manifold labours he died of fever after 
 a few days' illness, and was buried with great magnificence 
 in the Pantheon at Eome. 
 
 Giulio Eomano (about 1492-1556) ought to be mentioned 
 here as being the most important of Eaphael's followers 
 and scholars, and as having assisted him much during the 
 later and busier part of his life. Among his principal 
 works in oil are the ' Martyrdom of S. Stephen,' an altar- 
 piece in the church dedicated to that saint at Genoa, and a 
 ' Holy family,' in the Dresden Gallery, No. 82. There is 
 a 'Madonna,' No. 1144 in the Uffizi, Florence. The 
 ' Infancy of Jupiter,' No. 624 in our National Gallery, is 
 the only example to be noted there. Two important 
 compositions are Nos. 291, 3 in the Louvre. Three works 
 hang in the Hermitage, St. Petersburg, of which No. 43, a 
 copy of the ' Lagarto ' of Eaphael at Madrid, is the best. 
 Some four years after Eaphael's death Giulio Eomano was 
 
OF FAINTING IN ITALY, 
 
 55 
 
 intrusted with tlie design and decoration of the Duke of 
 Mantua's residence, the Palazzo del Te at Mantua, where 
 many of his frescoes yet remain. In the paintings which 
 adorn the room known as the Camera di Psyche, Giulio's 
 qualities as an artist are seen to the best advantage. The 
 Ducal Palace at Mantua also contains frescoes by him. 
 
 During and after the time of Giulio Komano many less 
 important scholars worked more or less successfully in the 
 style of Kaphael. It is unnecessary to do more than briefly 
 mention a few. 
 
 Innocenzio da Imola copied the master closely. Ex- 
 amples may be seen at Bologna and elsewhere. 
 
 Timoteo Viti of TJrbino executed some good works in 
 Eaphael's style which may be seen at Bologna and Milan. 
 
 Giovanni Francesco Penni, " II fattore," and his brother- 
 in-law, Perino del Vaga, were others whose close imita- 
 tions are not unfrequently met with in European galleries . 
 The former aided G. Eomano in the ' Madonna di Monte 
 Luce,' in the Vatican. 
 
 Francesco Primaticcio designed Kaphaelesque bas-reliefs 
 for the Ducal Palace, Mantua, and executed frescoes there 
 and in France. 
 
 Polidoro da Caravaggio in his early works was influenced 
 by Kaphael, but eventually adopted the manner of the 
 Neapolitans. One of his largest compositions is in the 
 Naples Museum, ' Christ bearing the cross/ No. 46 Eoman 
 school. 
 
 Eaphael's influence, however, was not confined to the 
 Eoman school, but made itself felt in all parts of Italy, as, 
 for instance, among the Ferrarese, particularly in the 
 works of the two most important painters of that school, 
 Benvenuto Tisio, called Garofalo, and Dosso Dossi, still to 
 be seen in their native city of Ferrara. In the Ateneo 
 there, are several examples of the former painter, Garofalo 
 (1481-1559) ; and a pleasing work is in the Galleria 
 Estense at Modena, No. 189 ; still finer is a 'Deposition,' 
 No. 26 Sala Grande in the Naples Museum ; a similar 
 composition being in the Borghese Palace, Eome, No. 9 
 Eoom II. ; a good small work, among others, is Ko. 415 in 
 the Louvre ; another is No. 43 in the,Stadel, Frankfort: 
 
 Giulio 
 Romano. 
 
 Followers 
 of Raphael, 
 
 School of 
 Ferrara^ 
 16th cen- 
 tury. 
 
 Garofalo. 
 
56 
 
 TEE RISE AND PROGRESS 
 
 Dosso 
 DossL 
 
 Sienese 
 school, IQth 
 century. 
 
 Garofalo. similar examples are'in the Hermitage, St. Petersburg, Nos. 
 
 59, 60, 1, A large and fine ' Marriage of Bacchiis and 
 Ariadne ' (said to be after a design by Raphael) is No. 142 
 at Dresden : and some good specimens may be seen in our 
 National Gallery, Nos. 81 (Plate XII., 4), 170, 642, 671. 
 
 By Dosso Dossi (about 1474-1558) there is a large altar- 
 piece, a * Madonna enthroned with saints and evangelists/ 
 No. 47, chiefly remarkable for its glowing and powerful 
 colouring, in the Ateneo at Ferrara. Another important 
 composition, ' The fathers of the church,' is No. 135 at 
 Dresden, where several other of his works may be found, 
 and a good painting, * Christ in the house of Simon,' is 
 ascribed to him in the Brussels Gallery, No. 185. 
 
 In the commencement of the sixteenth century the 
 characters of the Sienese school were becoming gradually 
 modified by the growing importance of other schools, and 
 especially by the neighbouring one of Perugia. The 
 names of Pacchiarotti and Del Pacchia are associated with 
 work illustrating this remark, while Bernardino Fungai, 
 who was somewhat earlier, maintains the old type with 
 little change. 
 
 But at this period a young Sienese, who had been 
 educated under Leonardo's influence, became known as a 
 fresco-painter of remarkable talent. Studying subse- 
 quently at Eome, his style was modified by the works of 
 Eaphael. This was Bazzi or Eazzi, called II Sodoma 
 (1477-1549), who has doubtless been somewhat overlooked 
 in consequence of the fame of his great contemporary. 
 Although inferior to Eaphael in important points, it may 
 still be said that Bazzi was unrivalled in the singular 
 Frescoes. beauty and grace of his female heads. His principal works 
 are frescoes : two beautiful examples are in the Villa 
 Farnesina at Eome, representing * Alexander's marriage 
 with Eoxana ' and the ' Wife of Darius imploring mercy of 
 Alexander.' Bazzi was also employed by Pope Julius II. 
 in the decorations of the Vatican, but few of these works 
 now remain. On his return to Siena, Bazzi executed many 
 frescoes for the churches there. In the Oratory of S. 
 Caterina in the Church of S. Domenico, for instance, there 
 are three scenes from the life of S. Catharine, which are 
 
 Bazzi, or 
 II Sodoma. 
 
OF PAINTING IN ITALY, 
 
 57 
 
 marvellous for beauty of expression, particularly those on 
 either side of the altar, each containing three female 
 figures (Plate XII., 6) ; and in the Oratory of S. Bernardino 
 are an ' Assumption of the Virgin ' and a ' Presentation,' 
 with others less well-preserved. Besides these frescoes 
 there are, a fine ' Holy family,' in the Chapel of the Palazzo 
 Pubblico, at Siena ; a remarkable ' S. Sebastian ' in the 
 Uffizi at Florence, No. 1279, (Plate XII., 5), and a 'Holy 
 family ' in the Turin Gallery, No. 50 ; but easel pictures 
 by the master are rare. 
 
 Bazzi had some Sienese scholars and followers, one of 
 whom it is necessary to refer to here. 
 
 Baldassare Peruzzi (1481-1537), first taught in North 
 Italy, was early influenced by Bazzi at Siena. Excellent 
 fresco-painting by him still exists on the ceiling of the 
 Stanza del Eliodoro in the Vatican. More important are 
 the decorations of the Farnesina Palace. A large work 
 in oil hangs beneath the dome of S. M. della Pace, also 
 at Rome, besides some small frescoes in a chapel there, too 
 dark to be well seen.^ Very few works are met with in 
 galleries ; one may be found in the Pitti, No. 375, and 
 another is in our National Gallery, No. 218. 
 
 Another school, the Venetian, received a new impulse 
 at this period from the genius of its two great masters, 
 Giorgione and Titian. They were born in the same year, 
 but Giorgione is considered first, for he died at the early 
 age of thirty-four, whereas Titian lived to the age of 
 ninety-nine years. 
 
 Warmth of colour had always been a characteristic 
 feature of the Venetian school, just as beauty of form and 
 harmonious composition were the distinguishing qualities 
 of the works produced at Florence and at Rome. Giorgione 
 and Titian were the first at Venice, following Giovanni 
 Bellini, to free themselves from the formality of an 
 earlier age, and to combine flexibility of form, grace, and 
 academic knowledge wi,th richness of colouring. 
 
 Giorgio Barbarelli, called Giorgione (1477-1511), was 
 a pupil of Giovanni Bellini, and seems to have been one 
 of the earliest, following his master, to illustrate the 
 old themes from Scripture and from the ancient mythology. 
 
 Bazzi^ or 
 n Sodoma. 
 
 Oil paint' 
 ings. 
 
 Peruzzi. 
 
 Venetian 
 school, 16th 
 century. 
 
 Giorgione, 
 
58 
 
 THE RISE AND PROGBESS 
 
 Giorgione. 
 
 by representations of well-bred and ricbly dressed con- 
 temporaries, occupied in amusement or enjoying luxurious 
 ease amidst summer landscape scenery. That bis power 
 in relation to colour, expression, and drawing was of 
 the highest order, and that his name is associated with 
 some of the best achievements of the Venetian school, 
 is universally admitted. Nevertheless, examples are ex- 
 cessively rare, most of the works bearing his name in 
 public galleries having been assigned to him without 
 sufficient evidence. The chief genuine example extant is 
 the well-known altarpiece at his native place, Castel- 
 franco ; a study for one of its figures, that of S. Liberal e, 
 is No. 269 in our National Gallery. Two other works, 
 now assigned to him without question, are the exceedingly 
 fine * Concert,' No. 185 in the Pitti, Florence, and the 
 * Three astronomers ' in a landscape, 1st floor. No. 57, 2nd 
 room in the Belvedere, Vienna. A beautiful painting of 
 a * Madonna and two saints,' No. 341 in the Madrid 
 Museum, there catalogued as G. A. Pordenone, is con- 
 sidered on good authority to be a fine and rare example of 
 Giorgione. The well-known works under his name in the 
 Louvre, at Madrid, Vienna, Munich, and Dresden, besides 
 the ' Entombment ' at Treviso, are now regarded as the 
 productions of such painters as Pordenone, Paris Bordone, 
 Cariani, Bonifazio, and others ; for which see catalogues 
 at the end of the volume.* No doubt exists that Giorgione 
 was a portrait painter also of the highest rank, yet no 
 examples can be assigned to him with certainty. Perhaps 
 the * Knight of Malta,' No. 622 in the Uffizi, has more 
 claim to be genuine than most of the canvases which 
 aspire to be so. Moreover, he was largely occupied in 
 painting frescoes which have disappeared long ago. 
 Those on the canal front of the Fondaco de' Tedeschi, 
 Venice, were the most celebrated ; of these but a trace or 
 two remain, which may be seen by looking to the right 
 from the north side of the Eialto. 
 
 * In a different style, and much injured by repaintinj^, are two 
 small landscapes with figures, Nos. 621 and 630 in the Uffizi, Florence, 
 resembling a panel of Giovanni Bellinrs, close by — which Messrs, 
 Crowe and Cavalcaselle attribute to Giorgione also. Relative to the 
 whole subject, see History of Painting in North Italy, vol. II. chap. iii. 
 
OF PAINTING IN ITALY. 
 
 59 
 
 Giorgione's principal scholar was Sebastiano Luciani, 
 called del Piombo (1485-1547), but he possessed, owing 
 to the influence of Michael Angelo, some of the character- 
 istics of the Florentine school. His chief work in the 
 Venetian style is an altarpiece in S. Giovanni Crisos- 
 tomo at Venice. Sebastiano's largest work, the ' Eaising 
 of Lazarus,' is in our National Gallery, No. 1 (Plate 
 XIV., 4). Michael Angelo assisted in designing it. A 
 composition almost equal to the preceding is the famous 
 'Deposition/ No. 18 in the Hermitage, St. Petersburg ; 
 where also is a fine 'Christ bearing the cross,* No. 17. 
 A still grander version of the latter subject is No. 
 2390 at Dresden. A very masterly production is the 
 ' Madonna,' No. 2 Sala di Correggio, in the Naples 
 Museum. Other fine works are a ' Dead Christ,' No. 237 
 at Berlin ; a ' Visitation of the Virgin,' No. 229 in the 
 Louvre ; and a 'Martyrdom of S. Agatha,' No. 179 in the 
 Pitti at Florence. There are also several portraits by 
 this master : ' Cardinal Pole,' No. 19 in, the Hermitage, 
 St. Petersburg ; a ' Man with a red cross on his breast,' 
 No. 259a at Berlin ; a fine female portrait, No. 22 in the 
 Stadel, Frankfort; a female head. No. 24 in our National 
 Gallery ; a male portrait. No. 191 in the Bergamo Gallery ; 
 the superb ' Fornarina,' in the Uffizi, long attributed to 
 Eaphael (see p. 54) ; and the exceedingly grand portrait of 
 Andrea Doria in the Doria Palace at Kome are among the 
 finest examples. 
 
 Jacopo Palma, called H Vecchio (1475-1528), should be 
 considered before Titian, as having been a more immediate 
 contemporary of Giorgione. One of his largest and finest 
 works is an altarpiece in the Church of S. M. Formosa at 
 Venice, presenting a magnificent figure of ' S. Barbara ' 
 with small accompanying saints. An admirable example 
 is in the Accademia at Venice, ' Christ and the woman of 
 Canaan,' No. 84; besides a 'S. Peter and three saints,' 
 No. 593. A large altarpiece, the ' Adoration of the magi/ 
 is No. 168 in the Brera, Milan. Another fine work is the 
 'Three Graces,' No. 243 at Dresden, painted by Palma 
 from his daughters, who were so celebrated for their 
 beauty (Plate XIX., 5). In the same gallery may be seen 
 
 Sebastiano 
 del J*iombo» 
 
 Palma 
 Vecchio, 
 
60 
 
 THE RISE AND PBOGBESS 
 
 Falma 
 
 Titian. 
 
 His early 
 works.. 
 Sacred 
 subjects. 
 
 three of his most charming ' Holy families with saints/ 
 Nos. 242, 6, 55. No more perfect work of this kind exists 
 than that of Naples, No. 28 Sala Grande. The Belvedere 
 at Vienna contains some excellent works by the master ; 
 particularly to be noted is a * Visitation,' No. 2 Koom II. 
 1st floor ; a female portrait, No. 49 Eoom VII. 1st floor ; 
 a portrait of his daughter Violante, No. 11 in the same 
 room, much injured by repainting ; and that of a * Young 
 hero,' No. 10 Koom I. 1st floor. Several examples are at 
 Berlin, of which the best is a beautiful bust of one of his 
 daughters, No. 197a. In the Hermitage, St. Petersburg, 
 are three fine examples, Nos. 90, 1, 2. An admirable 
 ' Adoration of the shepherds ' is in the Louvre, No. 274. 
 The beautiful portrait of a Venetian woman in the 
 Sciarra Palace at Eome, long considered to be by Titian, 
 and still catalogued under his name, has been since proved 
 to be a genuine work by Palma (0. and C.). 
 
 Tiziano Vecellio of Cadore (1477-1576) is said by Vasari 
 to have been the pupil of Giovanni Bellini. It appears 
 that little is known of his early history. Probably he 
 received instruction both from Giovanni and Gentile, but 
 he cultivated close relations with Giorgione and Palma 
 Vecchio, by whom, especially the latter, he was much 
 influenced, as the feeling and style of his earlier works 
 clearly testify. To this class belong a charming ' Madonna,' 
 No. 41 Eoom II. 1st floor in the Belvedere at Vienna ; a 
 ' Madonna ' in an architectural recess, suggesting the style 
 of Bellini, No. 93 in the Hermitage, St. Petersburg ; a 
 * Madonna with three saints,' and the exquisite * Vierge 
 au Lapin,' Nos. 439, 40 in the Louvre. Somewhat similar 
 to these in the Louvre, and painted at about the same 
 early period, the beginning of the sixteenth century, are 
 two * Holy families with saints,' at Vienna, Nos. 39 and 
 64 Room II. 1st floor. Titian executed a few years later 
 — namely, from 1508-12 — a ' Madonna with saints,' No. 
 633 in the Uf&zi at Florence, and a ' Madonna with S. 
 Bridget and another saint,' No. 236 in the Madrid Museum, 
 there catalogued under the name of Giorgione. A noble 
 ' Holy family with saints ' also is at Dresden, No. 223. 
 The highly finished portrait of the Doge Marcello, now in 
 
Pj^ate XVII. 
 
 To face page 61. 
 
OF PAINTING IN ITALY. 
 
 61 
 
 the Vatican, and the celebrated representation of ' S. Mark 
 enthroned and surrounded by saints ' in the Church of S. 
 M. della Salute at Venice, were painted about 1512. One 
 of the most beautiful and most celebrated of Titian's early 
 works, however, is the ' Tribute money,' No. 222 in the 
 Dresden Gallery (Plate XVII., 1). The exact date of its 
 completion is unknown, but it is certain that it closely 
 followed those already mentioned. Other great examples 
 of his best work, painted during the years 1518-23, are, 
 first, the ' Assumption of the Virgin,' No. 24 in the 
 Venetian Academy (Plate XVII., 3); the magnificent 
 ' Entombment ' No. 446 in the Louvre (Plate XVII., 2) ; 
 the * Santa Conversazione ' in the Vatican ; and the 
 ' Presentation of the Virgin in the temple,' No. 487 in the 
 Venetian Academy. Somewhat later he executed three grand 
 altarpieces : ' S. Peter Martyr,' formerly in the Church of 
 SS. Giovanni e Paolo at Venice, but since destroyed by 
 fire ; the ' Martyrdom of S. Lorenzo ' in the Jesuits' Church 
 there, now so darkened as to be almost invisible ; and the 
 superb Pesaro altarpiece, ' Madonna with saints and dona- 
 tors,' still preserved in the Church of the Frari at Venice. 
 Besides these large works there are some smaller paintings 
 of the master which belong to this period. Such are the 
 'Noli me tangere,' No. 270, the very lovely group, 
 ' Madonna with S. Catharine and infant John,' in a fine 
 landscape. No. 635, both in our National Gallery ; and a 
 beautiful ' Holy family,' No. 441 in the Louvre at Paris. 
 One of the noblest altarpieces by Titian, completed in 
 1522, is in the Church of SS. Nazzaro e Celso at Brescia. 
 It is in five compartments, the centre filled by the rising 
 Christ : the other compartments on the right and left 
 contain a fine figure of S. Sebastian and Averoldo in armour 
 with patron saints. In two smaller panels above are half- 
 length figures of the Virgin and of the Angel Gabriel. 
 Several years later, namely, about 1543, he executed the 
 ceiling paintings in S. Spirito at Venice, and the same 
 year saw the production of the large ' Ecce Homo ' at 
 Vienna, No. 19 Eoom II. 1st floor. The Louvre contains 
 two paintings of a later period, the ' Christ at Emmaus,' 
 No. 443, and the ' Christ crowned with thorns,' No. 445. 
 
 Titian, 
 
 The mature 
 works. 
 
 Sacred 
 
 compost^ 
 
 tions. 
 
62 
 
 THE RISE AND PBOGBESS 
 
 Titian. 
 
 Titian's 
 allegorical 
 works and 
 mytholo- 
 gies. 
 
 There were also some single figures executed during the 
 years 1552-63: the charming ' S. Margaret,' No. 469 at 
 Madrid ; the fine ' Baptist in the desert,' No. 366 in the 
 Venetian Academy ; and the ' S. Jerome,' No. 244 in the 
 Brera at Milan. Belonging to the same late period of 
 this great master's life are the two small heads, the 
 ' Virgin of grief and the ' Ecce Homo,' Nos. 468, 89 in the 
 Madrid Museum, There also are the large compositions 
 of the * Trinity,' No. 462, and an allegorical picture, a 
 royal commission, No. 470, painted when Titian was 
 nearly ninety years of age. The last work on which he 
 was occupied when he was cut off by the plague in 1576 was 
 the Pieta, No. 33 in the Venetian Academy. 
 
 Titian's marvellous power as draughtsman and as 
 colourist, his perception of human beauty, and his wonder- 
 ful technical skill as a painter are best seen in his re- 
 presentations of subjects from ancient mythology, or in 
 his allegorical compositions. Among the earliest of these 
 is the painting entitled ' Sacred and Profane Love ' (Plate 
 XVIII., 1), which, together with a later work, ' Venus, 
 Cupid, and Graces,' is in the Borghese Palace at Eome, 
 Eoom X. Nos. 21, 2. While the former is still one of the 
 most magnificent productions of the master, the latter is 
 but a splendid wreck. To this class belong two important 
 mythological compositions in our National Gallery; the 
 grand ' Bacchus and Ariadne,' No. 35, and a good replica 
 of the ' Venus and Adonis/ No, 34 (Plate XVII., 4), the 
 original of which was painted for the Farnese Palace at 
 Eome, but has disappeared. Another replica is to be seen 
 in the Madrid Museum, No. 455. The Louvre possesses a 
 very beautiful work, the ' Jupiter and Antiope,' No, 449 
 (Plate XVIIT., 3); and there is a charming small oval 
 picture of the same subject in the Piuacothek at Munich, 
 a masterpiece of its kind. No. 1238. But Madrid possesses 
 some of the finest of Titian's works. The superb ' Baccha- 
 nalia,' No. 450, is painted in his best manner ; and the 
 'Feast of cupids in honour of Venus,' No, 451, is perhaps 
 the finest representation of laughing, frolicking children 
 in existence, marvellous alike for natural grouping, draw- 
 ing, expression, and colour. Moreover, the preservation is 
 
OF PAINTING IN ITALY. 
 
 63 
 
 perfect, and the flesli-tints as fresh, and brilliant as if 
 painted but yesterday. Titian also executed numerous 
 studies of the nude female figure, usually reclining, and 
 known as Venuses and Danaes. The subject was fre- 
 quently repeated, both by Titian himself and by several 
 followers, with or without slight alterations. Two of the 
 most famous of those by the master are in the Tribune of 
 the Uffizi, Nos. 1108, 17 (Plate XVII., 5), exquisite in 
 colour and form. Two others are to be seen at Madrid, 
 Nos. 459, 60, the first original, the other only a copy ; here 
 also is a study of a ' Danae,' No. 456. A more finished 
 and finer representation of the * Danae ' is in the Naples 
 Museum, No. 5 Sala di Correggio. A fine replica, full of 
 lovely colour, is No. 100 in the Hermitage, St. Petersburg. 
 A similar work is in the Darmstadt Museum, No. 520, but 
 it is inferior to the examples at Florence ; another is in 
 the Dresden Gallery, No. 225 ; and in the Belvedere at 
 Vienna another is No. 36 Eoom IT. 1st floor. There is a 
 magnificent ' Venus with cupids holding a looking-glass,' 
 No. 99 in the Hermitage; it is painted in a large manner 
 with rich impasto, in splendid flesh tints, relieved from 
 dark crimson velvet, fur, and embroideries. 
 
 Titian's powers, like those of other great masters, were 
 very varied, and he has rarely been surpassed as a portrait- 
 painter or in his ideal heads. Among the most striking 
 of these are the female heads usually known in catalogues 
 ?is the ' Bella di Tiziano.' A beautiful example is in the 
 Louvre, No. 452, which is perhaps a portrait of Laura 
 Dianti, w^hile the man holding the mirror is that of Alfonso 
 d'Este. A similar Venetian beauty is in the Dresden 
 Gallery, No. 229 ; and another, in the Uffizi at Florence, 
 is catalogued under the name of ' Flora,' No. 626. Three 
 other examples may be mentioned : the finest is in the 
 Pitti at Florence, No. 18; one is in the Hermitage, St. 
 Petersburg. No. 105 ; and the third is in the Belvedere at 
 Vienna, No. 35 Eoom 11. 1st floor. Of the frequently 
 repeated representations of the ' Repentant magdalen,' 
 that in the Pitti, No. 67, is the finest; there are others in 
 the Naples Museum, No. 36 Sala Grande, and in the 
 Hermitage of St. Petersburg, No. 98. Several portraits of 
 
 Titian, 
 
 TitiarCs 
 
 female 
 
 portraits. 
 
64 
 
 THE RISE AND PROGRESS 
 
 Titian. 
 
 2 it tan's 
 male 
 
 portraits. 
 
 Frescoes, 
 
 JBonifazio, 
 
 superb quality are extant of Titian's daughter Lavinia. 
 She is to be seen at Dresden, holding a leaf-fan, No. 230 ; 
 at Berlin, holding a basket of fruit, No. 166 (Plate 
 XVIII., 2) ; and at Madrid as ' Salome with the head 
 of the Baptist,' No. 461, Titian's male portraits are very 
 numerous ; a few of the most important only can therefore 
 be enumerated. Portraits of himself at different periods of 
 his life occur at Vienna, No. 48 Eoom II. 1st floor; at 
 Berlin, No. 163 ; and at Madrid, No. 477. The Madrid 
 Museum is rich in portraits by Titian, among which that 
 of Charles V., No. 457, ranks first. It is generally con- 
 sidered the finest equestrian portrait known. Another 
 canvas in the gallery represents the same monarch stand- 
 ing with his dog. No. 453 ; and besides these there is a 
 superb full-length of Philip II. of Spain, No. 454. Some 
 fine portraits are to be found in the Naples Museum : for 
 example, of Pope Paul III., and a noble full-length of 
 Philip II., Nos. 8, 11 Sala di Correggio. Other admirable 
 examples are the portraits of the Duke and Duchess of 
 Urbino in the Uf&zi, Nos. 605 and 599 ; of Ippolito de' 
 Medici and Aretino in the Pitti, Nos. 201 and 54 ; Admiral 
 Mauro, No. 161 at Berlin; and of Isabella d'Este in the 
 Belvedere at Vienna, No. 29 Eoom II. 1st floor. The 
 Louvre possesses a splendid portrait of Francis I., No. 450, 
 ' L'homme au Gant,' No. 454, and a fine group, represent- 
 ing the Marquis del Vasto and his wife treated alle- 
 gorically, No. 451. Two similar groups are at Vienna, 
 No. 6 Room I. and No. 59 Eoom II. 1st floor. 
 
 Titian painted some frescoes, long since destroyed, in 
 1507-8 at the Fondaco, Venice, with Giorgione, which 
 enhanced his reputation; in 1511 those at Padua, which 
 are not important; and finally in 1523, the S. Christopher 
 on a staircase in the Ducal Palace, Venice. 
 
 Lastly, Titian gave a new importance to landscape, in- 
 troducing it frequently in the backgrounds of his pictures, 
 not merely as an accessory, but evidently because he was 
 a true lover of natural scenery, and he used it too with 
 happy art as a poetical setting to his figures. 
 
 Titian's best pupil was Bonifazio (1494-1563): his 
 chief works in great number are in the Venetian Academy. 
 
OF PAINTING IN ITALY. 
 
 65 
 
 The following should be noted : a very fine one, regarded 
 as a masterpiece, is the ' Eich man at table,* No. 500, 
 ' The Saviour enthroned,' No. 505, an * Adoration of the 
 magi,' No. 572, besides several pictures of ' Holy families ' 
 and ' Saints.' Two examples are at Vienna, Nos. 24, 6, 
 Eoom YII. 1st floor ; one is at Dresden, No. 262 ; two are 
 in the Louvre, Nos. 74, 5 ; and another is in the Hermitage, 
 St. Petersburg, No. 109, an ' Adoration of the shepherds.' 
 One of his most pleasing compositions is in the Brera at 
 Milan, No. 205, the ' Finding of Moses,' beautiful in colour, 
 although somewhat defective in drawing (Plate XIX., 1) ; 
 another fine work is the ' Adoration of the magi,' No. 141 
 in the Galleria Estense at Modena ; and a third is in the 
 Church of S. M. in Organo at Verona. 
 
 A distinguished contemporary of Palma and Titian was 
 Giovanni Antonio Lieinio, called Pordenone (1483-1539). 
 His reputation was at first gained chiefly as a fresco- 
 painter, and in this capacity he closely rivalled Titian. 
 Unfortunately those frescoes which he executed in Venice 
 have now disappeared. There is an altarpiece by him in 
 the Venetian Academy, No. 486 (Plate XIV., 5); another 
 good example is No. 490. The well-known * Woman taken 
 in adultery' is in the Berlin Museum, No. 196. His 
 works are not numerous, and are still mostly in the cathe- 
 drals for which they were painted. A ' Santa Con- 
 versazione,' No. 52, is in the Pitti at Florence ; a note- 
 worthy example of portraiture is No. 116 in the Hermitage, 
 St. Petersburg ; and an excellent portrait of a ' Lady in 
 mourning' is in the Dresden Gallery, No. 252. Other 
 examples of excellent portraiture attributed to Giorgione 
 and Titian have doubtless been the work of Pordenone, to 
 whom, for example, it is now believed belong the fine 
 ' Woman with a mirror,' No. 490 at Munich, catalogued 
 under the name of Giorgione, and a noble male portrait. 
 No. 455 in the Louvre, attributed to Titian by Messrs. 
 Crowe and Cavalcaselle. 
 
 Bernardino da Pordenone (1520-70), doubtfully regarded 
 as a brother of the preceding, painted in his manner. One 
 of his best works is a large ' Adoration of the magi,' No. 
 119 in the Hermitage, St. Petersburg. There is also an 
 
 F 
 
 Bonifazio. 
 
 G. A. 
 
 Pordenone. 
 
 B. da 
 Pordenone, 
 
66 
 
 THE BISE AND PROGRESS 
 
 B, da 
 
 Pordenone. 
 
 Schiavone. 
 
 Lorenzo 
 Lotto. 
 
 Moretto. 
 
 example at Hampton Court, No. 152, catalogued under tlie 
 name of the brother (C. and C). 
 
 Andrea Schiavone (1522-82) was also a follower of 
 Titian. He painted some good works, of which the 
 ' Jupiter and lo,' in a remarkably fine landscape in the 
 Hermitage, No. 121, is a striking example. He is 
 represented in the Belvedere, Vienna, by several paint- 
 ings : among them No 47 Eoom I. and No. 19 Eoom VII. 
 1st floor may be noted. 
 
 Lorenzo Lotto (1480-1558), who spent most of his life 
 in Bergamo, for which reason he is sometimes known as 
 *' II Bergamasco," executed some good work in the Venetian 
 manner. Two fine altarpieces, each a ' Madonna with 
 saints,' are in the Churches of S. Spirito and S. Bartolommeo 
 at Bergamo ; another is No. 47 Eoom II. 1st floor at 
 Vienna ; and a picture with two saints is No. 323 in the 
 Berlin Museum, where also are several portraits. Our 
 National Gallery contains a splendid specimen, a family 
 group. No. 1047, and two portraits No. 699 ; an excellent 
 example is in the Hermitage, St. Petersburg, No. 115 ; 
 another is in the Brera, Milan, No. 250 ; and his own 
 portrait is to be seen in the Berlin Museum, No. 320. 
 
 Alessandro Bonvicino di Brescia, known as 11 Moretto 
 (1500-47), the next painter of importance of this school, 
 was not a Venetian by birth, but studied first under Titian 
 and subsequently became a follower of Eaphael. Partly 
 perhaps from combination of these two influences, Moretto 
 formed a style of his own, the characteristics of which are 
 very distinct. Thus we generally find in his works that 
 the glowing Venetian colour is exchanged for a tender 
 silver-grey tone ; although there are a few exceptional 
 examples which possess the golden hues of the Venetian 
 school. Moretto was chiefly celebrated for his altarpieces, 
 most of which are still preserved in his native city of 
 Brescia, which should be visited in order to appreciate 
 them rightly. There are no less than three examples in 
 the Church of S. M. delle Grazie there, the finest of which 
 is a * Madonna and three saints.' In SS. Nazzaro e Celso 
 there is a good ' Coronation of the Virgin,^ and in S. M. dei 
 Miracoli a fine work, * S. Nicholas presenting children to 
 
OF PAINTING IN ITALY. 
 
 67 
 
 the Virgin.' The Church of S. Clemente contains five 
 compositions by the master, of which the most pleasing is 
 the ' Five virgins,' a charming group of beautiful women. 
 Two fine tempera paintings by Moretto, the ' Fall of Simon 
 Magus ' and ' S. Peter and S. Paul/ originally in the Church 
 of S. Pietro in Oliveto at Brescia, are now temporarily 
 removed to a room in the Palazzo Vescovile there. Lastly 
 in S. Giovanni Evangelista may be seen the frescoes 
 executed by Moretto in competition with his so-called 
 rival, a painter also of Brescia, II Eomanino. These are 
 not among the best productions of Moretto, but their 
 superiority cannot for a moment be doubted : those executed 
 by Eomanino are in many respects unpleasing, as well as 
 defective in quality. Of Moretto's works not at Brescia the 
 best are, a ' Madonna with S. Anthony and S. Sebastian ' 
 in the S tad el at Frankfort, No. 25 ; a ' S. Justin a ' at 
 Vienna, No. 7 Koom II. ; a beautiful woman, magnificently 
 painted in his best style, called 'Faith,' No. 113 in the 
 Hermitage, St. Petersburg : a fine ' Judith ' there. No. 112, 
 is attributed to him also, although some consider it to be by 
 the school of Eaphael ; a beautiful ' Holy family with two 
 donators ' in the Berlin Museum, No. 197 (Plate XIX., 2); 
 and a ' S. Peter ' and ' S. John Baptist,' Nos. 261, 7 in the 
 Venetian Academy. A fine portrait has recently been 
 acquired by our National Gallery, No. 1025 ; this picture 
 formerly belonged to the collection of the Fenaroli Palace, 
 Brescia, which has lately been dispersed. 
 
 Girolamo Eomani, or II Eomanino (1486-1560). Not 
 many pictures by this painter are extant, but a better 
 work than those referred to above may be seen in S. Fran- 
 cesco at Brescia, a ' Madonna enthroned with saints ; ' three 
 examples are at Berlin, Nos. 151, 5, 7, and there is a large 
 altarpiece by him in our National Gallery, No. 297. One 
 of his finest productions is an altarpiece now in the Museo 
 Civico at Padua, No. 1215. 
 
 Giovanni Battista Moroni (1510-78), the pupil of II 
 Moretto, was without doubt one of the greatest portrait- 
 painters of his time. His portraits are very numerous, 
 particularly at Florence : in the Uffizi, Nos. 586, 629, 
 and 642 are very fine examples. Our National Gallery 
 
 F 2 
 
 Moretto. 
 
 Bomanlm, 
 
 Moronim 
 
68 
 
 THE BISE AND PROGBESS 
 
 Moroni. 
 
 Pellejrino. 
 
 Paris 
 Bordone. 
 
 Venetian 
 school^ end 
 of mh 
 century. 
 
 possesses several which are excellent, viz., a nobleman, 
 No. 1022 ; an ecclesiastic, No. 1024; a lawyer. No. 742 ; a 
 tailor. No. 697 (Plate XIX., 4) ; and a lady. No. 1023. 
 Moroni is also well represented in the Accademia Carrara 
 at Bergamo by several admirable portraits, among which 
 is that of a child. No. 144, most delicately rendered. 
 Another fine example is No. 27 in the Stadel at Frankfort ; 
 in the Hermitage there is a good male portrait, No. 154; 
 and his own portrait is in the Museum at Berlin, No. 193, 
 among several others. He was less successful in his 
 altarpieces, which are rare : fair specimens are in the Brera 
 at Milan, Nos. 214, 52, besides two well-painted male 
 portraits, Nos. 210, 46. 
 
 Martino da Udine, or Pellegrino da San Daniele, one 
 of the most important of the Friulian painters, was a pupil 
 of Giovanni Bellini. He is represented in the Brera at 
 Milan by a fine picture, ' S. Ursula and virgins,' No. 169, 
 and in our National Gallery by a ' Madonna enthroned,' 
 No. 778. 
 
 The last but not least of these followers ^f Giorgione 
 and Titian was Paris Bordone (1500-76), distinguished 
 alike as a painter of historical pictures and of portraits. 
 Of his larger works the most celebrated are, the ' Fisher- 
 man presenting the ring of S. Mark to the doge of Venice ' 
 in the Venetian Academy, No. 492 (Plate XIX., 3) ; the 
 picture of the ' Tiburtine sibyl,' No. 428 ; a ' Baptism,' No. 
 208 in the Brera, Milan; a good altarpiece. No. 191 at 
 Berlin ; and a ' Madonna and saints,' a group of Venetian 
 beauties. No. 110 in the Hermitage, St. Petersburg. Several 
 of Bordone's female portraits are to be seen in the galleries 
 of Berlin, St. Petersburg, Munich, Vienna, and Florence. 
 Our National Gallery contains two good examples of the 
 master's work in the portrait of a Genoese lady and the 
 ' Daphnis and Chloe,' Nos. 674 and 637 ; and in the Louvre 
 there is a fine male portrait. No. 82. 
 
 These are the most important painters of the Venetian 
 school who flourished in the beginning and middle of the 
 sixteenth century. Towards the end of the century, when 
 the other principal schools of painting in Italy had already 
 fallen into decay, that of Venice still flourished, its repu- 
 
OF PAINTING IN ITALY. 69 
 
 tation being maintained by the two great masters of that 
 time, Tintoretto and Paul Veronese. 
 
 Jacopo Eobusti (1512-94), called Tintoretto because his 
 father was a dyer, studied first under Titian, but sub- 
 sequently followed Michael Angelo, desiring, as he him- 
 self expressed it, to unite the colour of Titian with the 
 drawing of Michael Angelo. Tintoretto showed himself 
 in his best work to be a consummate master of the fio;ure 
 and almost without a rival in composition. In both 
 qualities he was marked by originality and daring ; hence, 
 while, some of his productions command the highest 
 admiration, others are disfigured by grotesque attitudes 
 and by exaggerated action. Two illustrations of this 
 defect among several which might be noted will suffice, 
 namely, the * Pool of Bethesda ' and the ' Last Supper,' both 
 in the Scuola di S. Eocco, Venice, which latter is con- 
 ceived simply as a scene of wild excitement ! In relation 
 to colour his results are very unequal. Among the most 
 important of his earliest and finest works are two oil- 
 pictures : the ' Miracle of S. Mark,' No. 45 in the Venetian 
 Academy (Plate XVIII., 4), and the ' Marriage at Cana ' in 
 the Church of S. M. della Salute at Venice, of which there 
 is a smaller replica. No. 617 in the Uffizi, Florence (Plate 
 XX., 1). There are also some other paintings on a smaller 
 scale which ought to be classed with the best efforts of 
 the master — namely, the * Vulcan, Venus, and Cupid ' in the 
 Pitti Palace at Florence, No. 3 ; the ' Saints at the 
 cross,' No. 226 in the Brera, Milan ; an altarpiece, 
 * Madonna and saints,' in SS. Giovanni e Paolo at Venice ; 
 a spirited battle-piece. No. 411, and a ' Baptism of Christ,' 
 No. 413 in the Madrid Gallery; a 'Madonna enthroned 
 with saints,' No. 287 at Dresden ; and a ' Madonna in glory,' 
 No. 300 at Berlin. There is a magnificent life-size 
 ' Andromeda,' No. 135, with a ' Birth of John the Baptist,' 
 No. 132, among others, in the Hermitage, St. Petersburg; 
 and a ' S. George and the dragon,' of no great importance, 
 may be found in our National Gallery, No. 16. In the 
 Ducal Palace, Venice, however, some of Tintoretto's 
 choicest work may be seen ; for example, the four admirable 
 figure subjects of the small saloon, known as the Anti- 
 
 Venetian 
 school, eiid 
 of 16th 
 century. 
 Tintoretto. 
 
70 
 
 THE BISE AND PE0GBE8S 
 
 Tintoretto. 
 
 Paul 
 Veronese. 
 
 Collegio, two of which, the ' Ariadne ' and the ' Graces/ are 
 of rare beauty. To a later period belong the numerous 
 paintings of large size which adorn the largest halls of 
 the Ducal Palace and the Scuola di S. Eocco at Venice : 
 the celebrated ' Paradise ' belongs to| the former, and the 
 ' Crucifixion ' forms part of the collection at the Scuola. 
 Tintoretto's reputation appears in great part to be due 
 to these enormous pictures, but we still venture to think 
 that his finest productions are the smaller works already 
 referred to.* An admirable specimen of decorative paint- 
 ing is ' Luna and the Hours,' No. 310 at Berlin. There is 
 a study for the ' Paradise ' in the Madrid Museum, No. 428 ; 
 and another hangs in the Hermitage, No. 133. He also 
 executed many admirable portraits, examples of which exist 
 in most European galleries, and may be found in the 
 catalogues at the end of this volume. 
 
 The second of these two Venetian masters, Paolo Caliari 
 (1528-88), was called Veronese from the place of his birth. 
 The characteristic features of Veronese's paintings are 
 the brilliancy yet perfect harmony of his colours, the ex- 
 cellent grouping of numerous figures in the foreground, and 
 the advantageous use of fine architectural backgrounds. 
 As this style of composition is particularly adapted 
 to the representation of subjects of a festive nature, so 
 one of Paolo's finest and most successful works is the 
 * Marriage at Cana' in the Louvre, No. 95 (Plate XX., 3). 
 In this grand work, and in the perhaps scarcely inferior 
 ' Feast in the house of Levi ' in the Venetian Academy, 
 No. 547 (Plate XX., 4), the high qualities of Veronese's 
 work are fully displayed. In the Louvre the following also 
 deserve notice, ' Jupiter destroying Crime,' No. 100, the 
 ' Supper at Emmaus,' No. 99 (of which there is a repetition at 
 Dresden, No. 309), and ' Christ at tho feast of Simon,' No. 96. 
 Our National Gallery contains a smaller masterpiece, the 
 ' Family of Darius at the feet of Alexander,' being portraits 
 of the Pisani family. No. 294, besides two inferior works, 
 an ' Adoration of the magi,' No. 268, and the ' Con- 
 secration of S. Nicholas,' No. 26. At Madrid 'Jesus and 
 
 * See remarks on the pictures at the Scuola di S. Rocco in the 
 catalogues at the end of the work. 
 
OF PAINTING IN ITALY. 
 
 71 
 
 the centurion,' No. 528, is a fine composition, and in a Paul 
 different style is a 'Venus and Adonis/ No. 526. At ^^^o^^^^- . 
 Vienna may be noted ' Christ entering the house of Jairus,' 
 No. 52 Koom I. 1st floor, and at Turin two large com- 
 positions, Nos. 157, 234. In the Hermitage, St. Peters- 
 burg, thei'Kepose in Egypt,' No. 140, the well-known 
 ' Pieta,' No. 145, the 'Marriage of S. Catharine,' No. 146, 
 a fine ' Mars and Venus,' No. 151, and a good portrait, No. 
 152, illustrate the master. At Dresden Veronese's compo- 
 sitions abound : among them are the following large 
 and fine works — a ' Madonna enthroned with saints and 
 donator,' No. 301 ; an ' Adoration of the kings,' No. 299 ; 
 a ' Marriage at Cana,' No. 300 ; ' Christ on the way to 
 Calvary,' No. 302 ; and a ' Finding of Moses,' No. 304. 
 Some of his most important religious paintings are those 
 which represent scenes from the life of S. Sebastian in the 
 Church of S. Sebastiano at Venice, the burial-place of 
 Veronese. The fresco of ' S. Sebastian going to the place 
 of execution ' is remarkable for its dramatic power. To a 
 later period belong the numerous mythological paintings 
 preserved in the Ducal Palace, among which are two well- 
 known works, the ' Kape of Proserpine,' in the Anti- 
 Collegio, and ' Venice crowned by Fame,' on the ceiling of 
 the Sala del Maggior Consiglio. There are also two fine 
 altarpieces at Verona and Brescia : a ' Martyrdom of S. 
 George ' in S. Giorgio Maggiore at Verona, and a ' Martyr- 
 dom of S. Afra ' in the church of that saint at Brescia. 
 
 Belonging to this group in the sixteenth century is /. Bassano. 
 another painter, Jacopo da Ponte, surnamed II Bassano 
 (1510-92), who may be considered to some extent as the 
 originator in Italy of a style of painting now commonly 
 characterised as " genre." Thus, in many of his paintings 
 he introduced animals and still-life, the basis of the compo- 
 sition being often landscape. The pictures of ' Moses and 
 the bush,' No. 593, and the ' Family concert,' No. 595, both 
 in the Uffizi at Florence, are fair examples of this style. 
 One of his best and most important productions is the 
 ' Raising of Lazarus,' No. 3 Sala Grande at Naples. Three 
 pictures are attributed to him in our National Gallery, of 
 which No. 277, the 'Good Samaritan,' is an excellent 
 
72 
 
 THE RISE AND PBOGRESS 
 
 /. Bassano. 
 
 L, Bassano, 
 
 Correggio. 
 
 Sacred 
 subjects. 
 
 specimen : while good pictures at Madrid are Nos. 22, 3, 9. 
 At Vienna is a dififerent version of tlie ' Good Sama- 
 ritan/ No. 12 Eoom I. 1st floor. Two fair works are 
 Nos. 298, 300 in the Louvre. Other works are to be seen 
 in his native town, Bassano. He excelled also in por- 
 traiture, of which a fine example is in the Berlin Museum, 
 No. 315 ; which also contains one of his best sacred 
 compositions, a ' Crucifixion,' No. 324. 
 
 Bassano had four sons, all of whom assisted him in the 
 execution of his works, and, like him, devoted themselves 
 to the study of this particular manner of painting. One of 
 them, Leandro Bassano, has left some works of merit, 
 among which the ' Kaising of Lazarus,' No. 494 in the 
 Academy at Venice, may be named. 
 
 At the end of the fifteenth century was born Antonio 
 Allegri (1493-1534), called Correggio after his native 
 village, one of the most accomplished artists of his time, 
 and who belonged to no school. Little is known of his 
 history, except that he spent a life of labour in his art 
 at Parma, having apparently little intercourse with other 
 painters. He is considered the greatest master of chiaro- 
 oscuro, the management of which became a marked 
 characteristic in the works of his followers. His com- 
 positions possess high qualities in regard to drawing and 
 expression, and exhibit also certain admirable efiects of 
 light and shade ; besides which they display a grace and 
 spirit peculiarly his own. Occasionally, and this is more 
 particularly observable in sacred subjects, these latter 
 qualities are too prominent, so that even the Madonna is 
 represented as merely pretty, affected, and quite wanting 
 in repose and dignity. Some of his earlier works suggest 
 the influence of Leonardo da Vinci : for instance, the 
 ' Madonna enthroned, with four saints,' No. 151 in the 
 Dresden Gallery; and the 'Best after the flight into 
 Egypt,' in the Uffizi at Florence, No. 1118. Parma is rich 
 in Correggio's works, so that there only can he be efficiently 
 studied, many of his finest being in the Pinacoteca. First 
 and foremost is the celebrated altarpiece known as the ' San 
 Girolamo,' No. 351, sometimes from its brilliancy spoken 
 of as *n Giorno' in contrast with the *Notte,' No, 154 at 
 
OF PAINTING IN ITALY, 
 
 Dresden. This masterpiece is perhaps one of the finest 
 works of its kind in existence. Most lovely even among 
 his beautiful creations is the prominent figure of the 
 kneeling Magdalen, as she bends forward to kiss the hand 
 of the infant Christ (Plate XXIII,, 5). Second in import- 
 ance is the ' Madonna delia Scodella,' No. 350. Next come 
 two pictures which exemplify Correggio's close study of 
 nature even when the subjects are painful — viz., the 
 ' Descent from the cross,' No. 352, and the * Martyrdom of 
 S. Placida and S. Flavia,' No. 353 : in the first of these the 
 fainting virgin is delineated with marvellous power. His 
 earliest works at Parma are the well-known ' Amorini,' 
 which occupy oval compartments in a room of the convent 
 of S. Paolo. Subsequently he painted the cupola of the 
 Church of S. Giovanni in fresco, representing * Christ in 
 glory with the apostles.' Later still was executed his 
 greatest work of this kind, the ' Assumption of the Virgin,' 
 in the dome of the cathedral. Besides the qualities ah^eady 
 referred to, his power of drawing the figure, and of 
 foreshortening, is marvellously displayed in this fresco, 
 especially in the figures of the rising Madonna and of the 
 descending archangel. All these frescoes are greatly 
 injured by time, but excellent copies by Toschi and his 
 pupils may be seen in the Pinacoteca. An admirable study, 
 small and finished, for the * Assumption ' forms a circular 
 panel, No. 82 in the Hermitage, St. Petersburg. The best 
 among the other sacred works of Correggio are to be found 
 at Dresden: the celebrated 'Nativity' or 'Notte,'No. 154 
 (Plate XXI., 1) ; a ' Madonna with saints,' known as the 
 ' S. Sebastian,' No. 152 ; and another called ' S. George,' 
 No. 155. There is also the fine but not large canvas, 
 the ' Marriage of S. Catharine,' an admirable example, in 
 the Louvre, No. 19 (Plate XXL, 4); the ^ Ecce Homo' is 
 No. 15 in our National Gallery ; a charming ' Madonna,' is 
 No. 178 in the Gallery at Buda-Pesth, and the beautiful 
 ' Madonna del Latte,' No. 81, is in the Hermitage, St. Peters- 
 burg. The small ' Magdalen reading,' so well and widely 
 known, the best of his few small pictures, is in the Dres- 
 den Gallery, No. 153 (Plate XXL, 3) ; another example of 
 the class is the ' Holy family ' of our National Gallery, 
 
74 
 
 TRE BI8E AND PR0GBES8 
 
 Correggio. 
 
 Mythologi' 
 cal subjects. 
 
 Portraits. 
 
 School of 
 Correggio. 
 
 Parme- 
 gianino. 
 
 Baroccio. 
 
 No. 23 ; others are at Naples, Florence, and Munich, some 
 replicas, or possibly only copies. 
 
 Mythological subjects naturally afford this master ample 
 opportunities of displaying his love of grace and beauty. 
 To this class belong the ' Danae,' Eoom III. No. 40 in the 
 Borghese Palace, Eome (Plate XXI., 2) ; the ' Education 
 of Cupid by Venus and Mercury,' No. 10 in our National 
 Gallery ; the ' Jupiter and Antiope ' in the Salon Carre of 
 the Louvre, No. 20; the 'Leda' at Berlin, No. 218; the 
 ' lo ' and the ' Ganymede ' at Vienna, Nos. 19, 21 Koom VI. 
 1st floor. 
 
 Two portraits only can be referred to, both fine : one at 
 Dresden, No. 156 ; the other at Vienna, No. 10 Eoom VI. 
 1st floor. 
 
 Correggio had numerous imitators at the end of the 
 sixteenth century, although he had few pupils, owing to 
 his quiet life and small reputation. Of these the most 
 worthy of mention is Francesco Mazzuoli, or Mezzuola, 
 surnamed ' II Parmegianino ' (1504-40). One of his 
 earliest and best productions is the ^Vision of S. Jerome,' 
 No. 33 in our National Gallery. The following may also 
 be noted : an altarpiece in the Bologna Gallery, known as 
 the * Santa Margherita,' No. 116; a 'Madonna' in the 
 Pitti at Florence, No. 230 ; two portraits in the Museum 
 of Naples, Nos. 12, 16, Lombard school ; an important series 
 of frescoes in the Church of S. M. della Steccata at Parma, 
 where is also the celebrated figure of ' Moses breaking the 
 tables of the law,' and a charming ' Madonna ' in S. Pietro 
 at Perugia. 
 
 Federigo Baroccio, born at Urbino in 1528, exercised 
 some influence on the Sienese and Florentine painters of 
 his time. He was a careful student of his art, and a better 
 draughtsman than colourist. In style, Correggio appears 
 to have been his model, and he painted several large sacred 
 works. Examples are, a portrait of the Duke of Urbino, 
 No. 1119 and a 'Madonna interceding,' No. 169 in the 
 Uffizi at Florence ; two subjects in the Vatican ; a large 
 ' Crucifixion and saints ' in S. Lorenzo at Genoa ; a ' Noli 
 me tangere ' at Munich, No. 494 ; and in our National 
 Gallery a ' Madonna,' No. 29. Two similar works are in 
 
OF FAINTING IN ITALY. 
 
 75 
 
 the Hermitage, St. Petersburg, Nos. 128, 9 ; where also is 
 a very good portrait, No. 130. Several are at Dresden, one 
 of the best being a ' Madonna with saints,' No. 87. A 
 good example in the Louvre is No. 53, ' A Madonna in 
 glory, with saints.' 
 
 SEVENTEENTH CENTURY. 
 
 About this period, that is, towards the end of the 
 sixteenth and beginning of the seventeenth centuries, the 
 tide of the Renaissance influence first began to ebb, and a 
 certain reaction appeared in favour of the older modes of 
 devotional feeling, hitherto diminished by the spirit of the 
 Keformation, and thus a fiesh impulse was given to art. 
 This feeling, combined with the still growing influence of 
 the antique, led to an endeavour to cease from that servile 
 following of dead masters which had paralysed the schools 
 of Italy during the latter half of the sixteenth century. 
 
 At this time two distinct styles were developed. One 
 class of painters desired to combine the characteristics of 
 the great cinquecento masters with a closer study of nature : 
 these were distinguished as Eclectics." Another class 
 discarded all traditional teaching, and professed to study 
 solely from nature : these were called " Naturalists." The 
 Eclectic school originated in Bologna, where it flourished 
 for some time under the leadership of its founder, Lodovico 
 Caracci (1555-1619). He was one of the first to appre- 
 ciate the truth and beauty which characterised the works 
 of Correggio. Lodovico established a large academy of 
 painting at Bologna, which subsequently acquired a great 
 reputation. He was more celebrated as a teacher than as 
 an artist, yet the Bolognese Gallery contains some important 
 works from his pencil. Among them are a ' Madonna with 
 S. Francis and S. Jerome,' and a ' Conversion of S. Paul,' 
 Nos. 42, 7. He also executed, with the assistance of his 
 nephews, Agostino and Annibale Caracci, a series of 
 frescoes in the Convent of S. Michele in Bosco, Bologna, 
 representing scenes from the lives of S. Benedict and 
 S. Cecilia. Further may be mentioned his * Madonna,' 
 No. 139 in the Louvre, and his ' Christ bearing the cross,' 
 
 Baroccio. 
 
 Eclectics. 
 
 Bolognese 
 
 school, nth 
 
 century. 
 
 Lodovico 
 
 Caracci, 
 
76 
 
 THE BISE AND PROGBESS 
 
 Lodovico 
 Garacci. 
 
 Agostino, 
 
 Annibak, 
 
 Domeni- 
 chino. 
 
 No. 165 in the Hermitage, St. Petersburg. There is also 
 an example in our National Gallery, No. 28. 
 
 The elder of the brothers, Agostino (1558-1601), devoted 
 himself more especially to engraving, and to the instruction 
 of the students in the academy. There is, however, a fine 
 picture by him in the Gallery at Bologna, No. 35, ' The 
 Assumption of the Virgin ' (Plate XXII., 1) ; another much 
 esteemed is * The communion of S. Jerome,' No. 34. 
 
 Of the three Garacci, Annibale (1560-1609) was 
 undoubtedly the greatest painter. His best works are 
 certainly the frescoes which adorn the ceiling of a spacious 
 room in the Farnese Palace at Rome. The well-known 
 picture of ' S. Roch distributing alms ' is No. 452 at 
 Dresden (Plate XXII., 3), where, among others, is a fine 
 ' Madonna enthroned, with saints,' No. 451. Besides these 
 should be named a ' Madonna and saints,' at Bologna, 
 No. 36 ; a small but pleasing ' Last Supper,' No. 38 in the 
 Ateneo at Ferrara ; and in the Hermitage, among others, 
 a 'Christ anointed after death,' No. 166, a 'Dead Christ 
 and angels,' No. 172, and 'Christ with the three Marys,' 
 No. 174. In the Tribune of the Uffizi is a fine ' Bacchante,' 
 No. 1133, and a 'Pieta' may be noted in the Naples 
 Museum, No. 1 Sala Grande. The following are in the 
 Louvre : No. 119, the ' Madonna with the cherry ' ; No. 120, 
 the ' Sleeping Christ ' ; No. 121, ' Appearance of the Virgin 
 to S. Luke 'f; No. 132, ' Diana and Calisto,' a good example 
 of landscape; No 134, the 'Fishers'; and No. 135, 'The 
 chase ' ; with several others. In our National Gallery the 
 best are No. 9, ' S. Peter meeting Christ,' and Nos. 25, 56, 
 88. It should be remembered that Annibale Caracci was 
 one of the first masters to study landscape for its own sake, 
 and to make it an important feature in his works. A few 
 genre pictures by him have been preserved : one example 
 may be named, viz., ' The greedy eater,' in the Colonna 
 Palace at Rome. 
 
 The Caracci had a large number of scholars and followers. 
 The most important of these were Domenico Zampieri, 
 called Domenichino, and Guide Reni. Domenichino (1581- 
 1641) comes first in order. His masterpiece, ' The com- 
 munion of S. Jerome,' in the Vatican, is a fine production 
 
Plate XXII. 
 
 To face page 76. 
 
OF PAINTING IN ITALY, 
 
 77 
 
 of the school (Plate XXII., 2). Another large picture is 
 the ' Martyrdom of S. Agnes ' in the Gallery of Bologna, 
 No. 206. There are besides some important frescoes by 
 Domenichino in the church at Grotto Ferrata near Eome, 
 representing the history of S. Nilus; others of the four 
 Evangelists in S. Andrea della Valle at Rome ; and, lastly, 
 those in S. Luigi de' Francesi of the life of S. Cecilia. 
 Domenichino also executed several oil-pictures, such as a 
 half-length figure of ' S. John,' of which there are several 
 re>)etitions ; a figure of * S. Eoch ' in the Palazzo Brignoli 
 at"^ Genoa ; a ' S. Cecilia,' No. 474 (Plate XXII., 4), and 
 No. 473, a good small picture, in the Louvre at Paris ; and 
 ' Diana and her nymphs,' No. 15 Eoom V. in the Borghese 
 Palace, at Eome, where there is also a ' Sibyl ' by him. 
 No. 2 Eoom IV. The landscape holds a prominent 
 position in the ' Diana ' picture. In our National Gallery 
 he is represented by four small works, of which ' S. Jerome 
 and the angel,' No. 85, is the best. 
 
 The most gifted and independent painter of this time and 
 school was Guido Eeni (1575-1642), whose works exhibit 
 piuch delicacy of execution, and a certain type or ideal of 
 beauty founded on a study of the antique. Thus a strong 
 resemblance to the famous Niobe may be traced in almost 
 all his female heads. Guide's productions vary much 
 according to the time of life at which they were painted, 
 and may be classified under three periods as follows : — 
 
 To the first belong the ' Crucifixion of S. Peter ' in the 
 Vatican ; the ' Madonna della Pieta,' No. 134, a ' Crucifixion,' 
 No. 136, and a ' Massacre of the innocents,' No. 135, in 
 the Bologna Gallery (Plate XXIII., 4) ; ' Two saints ' at 
 Berlin, No. 373; a ' S. Sebastian,' No. 321 in the Louvre; 
 and the * Coronation of the Virgin,' No. 214 in our 
 National Gallery. These are distinguished by the power- 
 ful form of the figures, and by strong contrasts of light and 
 shade in the composition. 
 
 To the second period belongs Guide's masterpiece, the 
 celebrated fresco painted on the ceiling of one of the rooms 
 in the Palazzo Eospigliosi at Eome, representing * Aurora 
 attended by Phoebus and the Hours' (Plate XX III., 3). 
 It is a work full of grace and life, distinguished by warm 
 
 DomenU 
 chino. 
 
 Guido 
 Bern, 
 
 Early 
 period. 
 
 Second 
 period. 
 
78 
 
 THE BI8E AND PBOGBESS 
 
 Guido. 
 
 Third 
 period. 
 
 Smaller 
 works. 
 
 Albani. 
 
 and delicate colouring. Besides the ' Aurora,' and executed 
 about the same time, may be mentioned the well-known 
 portrait of Beatrice Cenci in the Barberini Palace, Eome ; 
 the ' Nessus and Dejanira,' No. 325 in the Louvre ; the 
 ' Eace of Atalanta,' No. 47 Sala Grande, Naples Museum ; 
 ' The Nativity,' an altarpiece in the Church of S. Martino 
 at Naples ; and a fresco in S. Domenico at Bologna. Very 
 lovely works, and in his best style, are ' S. Joseph and 
 Infant Christ,' No. 184, and the ' Madonna with S. Francis,' 
 No. 185 in the Hermitage, St. Petersburg. There also are 
 his famous ' Dispute of the fathers,' No. 187, a noble com- 
 position ; the 'Virgin and eight young maidens,' No. 191 ; 
 and several others. 
 
 During the third period Guido's colouring became more 
 cold, and at last his figureslacked their former character, ex- 
 pression, and grace. The * Assumption of the Virgin,' No. 1 41 
 in the Bologna Gallery, is a grand work, and certainly by 
 far the best of this time. Examples of this may generally 
 be identified by the defects named, and need, not be cited 
 here. No doubt many inferior works thus ascribed to the 
 master are really the productions of his numerous followers. 
 
 Among Guido's smaller works, chiefly single figures, 
 may be mentioned a finely conceived ' Crucified Christ ' 
 in the Galleria Estense at Modena, No. 149 ; a magnificent 
 ' Venus and Cupid ' in the Dresden Gallery, No. 470 ; the 
 ' Cleopatra' in the Pitti at Florence, No. 178 ; a * Fortune ' 
 in the Academy S. Luca, Eome (Plate XXIIL, 2) ; a ' Mag- 
 dalen,' No. 319 in the Louvre ; a similar representation, 
 No. 177 in our National Gallery ; and two admirable 
 works in the Dulwich Gallery, a * S. John in the wilder- 
 ness,' No. 331, and a ' S. Sebastian,' No. 339. A fine single 
 head of Christ, No. 271, is in our National Gallery ; and 
 the Madrid Museum possesses some good works of the 
 master — particularly to be mentioned are Nos. 259, 60, 1. 
 
 Another but less important master of the Caracci school 
 was Francesco Albani (1578-1660), whose numerous 
 allegorical oil-paintings display much sameness of treat- 
 ment, but are remarkable for the landscape. Good 
 examples are Nos. 11 to 14 Eoom V. in the Borghese 
 Palace at Eome, representing the ' Four seasons ; ' No. 
 
 « 
 
OF FAINTING IN ITALY. 
 
 79 
 
 323 in the Brera, Milan (Plate XXIV., 3) ; and Nos. 260, Al^ani, 
 4, 71, 4 in the Turin Gallery representing the 'Four 
 elements.' Of his larger works on sacred subjects the best 
 are an ' Annunciation' in S. Bartolommeo at Bologna, and 
 a ' Baptism of Christ ' in the Pinacoteca there, No. 2. 
 There is another excellent ' Baptism,' No. 203 in the 
 Hermitage, St. Petersburg ; where also is a fine example, 
 ' Europa and the Bull,' No. 204. Several of his works 
 are at Dresden : among the best are Nos. 494, 5, 7, and 
 500. Several also are in the Louvre, of which Nos. 11, 12 
 may be referred to as good examples. 
 
 Albani had several scholars : among others, Andrea Andrea 
 Sacchi the Koman (1598-1661), one of the better masters 
 of that school. His works are remarkable for breadth and 
 simplicity of treatment. His best work by far is in the 
 Vatican, * S. Komualdo and his brethren.' Towards the 
 middle of the seventeenth century he had one pupil of 
 note. Carlo Maratta* (1625-1713), whose drawing was ex- Maratta. 
 cellent : otherwise his art was not of a high order, and his 
 work often displayed mannerism and affectation. During 
 the latter half of the seventeenth century he was attached 
 to the Papal Court, and painted numerous Madonnas, 
 chiefly in the manner of Guido. There is a w*ork of his. 
 No. 71 in the Pitti ; an important composition is to be seen 
 at Vienna, No. 1 Eoom III. 1st floor; a good head is in 
 the Corsini Palace at Eome; another is No. 426a in the 
 Museum at Berlin ; a very fine female portrait is No. 
 256 in the Louvre ; and a portrait may be seen in our 
 National Gallery, No. 174. The Hermitage, St. Petersburg, 
 possesses many of his works, among which may be noted a 
 fine portrait of Pope Clement IX., No. 307, and an ' Adora- 
 tion of the shepherds,' No. 297. Fair examples are, a 
 'Madonna with cherubs,' No. 118 at Dresden; and an 
 * Apollo and Daphne,' No. 234 at Brussels. 
 
 Francesco Barbieri, called Guercino (1590-1666), is Guercino, 
 classed among the Eclectics, although he was partly 
 influenced by the Naturalists. His works show close 
 adherence to nature, and his models were often unpleasing 
 and vulgar. Perhaps his best production is the fresco of the 
 ' Aurora ' in the Villa Ludovisiat Eome (Plate XXIV., 1) ; 
 
80 
 
 TEE EISE AND PROGBESS 
 
 Guercino. 
 
 Zanfranco, 
 
 Schedone, 
 
 Pietro da 
 Cortona, 
 
 but his most important oil-picture, a work of gigantic 
 dimensions, is the ' Eaising of S. Petronilla from the tomb ' 
 in the Museum of the Capitol (Plate XXIV., 2). A large 
 composition, and regarded as one of his best, is an ' As- 
 sumption of the Virgin/ No. 239 in the Hermitage, where 
 several other works of his may be found. An important 
 example is a subject from the history of Semiramis, No. 
 oil at Dresden ; another is ' S. Bruno and his companion 
 in the desert,' No. 13 at Bologna, More characteristic 
 illustrations of Guercino's style are the ' Marriage of S. 
 Catharine ' in the Gallery at Modena, No. 355 ; and the 
 ' Turning away of Hagar,' No. 328 in the Brera at Milan : 
 both treated in a commonplace manner. A small picture, 
 regarded as fine, is No. 22 in our National Gallery, * Angels 
 weeping over the dead body of Christ ' ; while the Louvre 
 contains several examples of his work — among others, 
 the large and fine ' Madonna with the patron saints of 
 Modena,' No. 46 ; the well-known ' Circe ' and ' S. Cecilia,' 
 Nos. 48, 51 ; and a good portrait of himself. No. 58. 
 A fine ' Cleopatra ' is in the Palazzo Brignoli at Genoa ; 
 the * Samian sibyl' is No. 1114 in the Uffizi, and a good 
 specimen is No. 112 in the Brussels Museum. 
 
 The last of the chief pupils of the Caracciwas Giovanni 
 Lanfranco (1581-1647), whose most important works are 
 the frescoes in the cupola of S. Andrea della Valle at Eome. 
 Most of his compositions show a want of originality, and 
 are marked by a cold and spiritless mannerism. A 
 ' Liberation of S. Peter,' in the Colonna Palace at Eome, 
 is one of his more successful oil-pictures. Other examples 
 of his work may be seen in the Louvre and at Madrid. 
 
 Bartolommeo Schedone (1580-1615) followed in part the 
 school of the Caracci, but was influenced by the works of 
 Correggio. His best paintings are in the Naples Museum. 
 Good examples are in the Hermitage, St. Petersburg, 
 among which may be mentioned Nos. 271, 2. 
 
 Pietro da Cortona (1596-1669) must be mentioned. His 
 best work was decorative, in illustration of which it 
 suffices to mention that in the Barberini Palace at Eome. 
 Two good examples, among many in the Hermitage, are 
 Nos. 280, !• Two others are Nos. 64, 7 in the Louvre. 
 
Plate XXIV. 
 
 To face page 80. 
 
OF PAINTING IN ITALY. 
 
 81 
 
 Less important masters of the Bolognese school, who 
 possessed some individual merit, were Alessandro Tiarini 
 (1577-1668) and Lionello Spada (1576-1622). Some of 
 the works of Tiarini are executed in quiet tones, and are 
 unusually free from the exaggerated expression and forced 
 action so prevalent among the painters of the time. 
 Good examples are the *Eepentance of S. Joseph,' No. 
 410 in the Louvre; the * Marriage of S. Catharine,' 
 No, 183 in the Bologna Gallery, with several others; 
 an altarpiece in S. Petronio there ; and a large compo- 
 sition, ' S. Domenico restoring a child to life,' in the 
 church dedicated to that saint at Bologna. The same 
 chapel contains one of the best works of Lionello Spada, 
 a ' Burning of heretical books by S. Domenico.' A 
 good example is in the Louvre, No. 400, a ' Martyrdom of 
 S. Christopher.' 
 
 Later still in the seventeenth century there was another 
 painter of note who received some of hifi inspiration from 
 the Bolognese masters, Giovanni Battista Salvi, called 
 Sassoferrato (1605-85). He was nevertheless, by com- 
 parison with contemporaries, a painter of some taste, and 
 free from the prevailing bias. Some of his best productions 
 are representations of the 'Madonna'; for instance, the 
 ' Madonna del Eosario ' in S. Sabina at Eome : a fine 
 'Madonna 'in the Vatican (the same subject, surrounded 
 by cherubs, being No. 113 at Dresden); others are in 
 the Hermitage, St. Petersburg, Nos. 257, 9 ; a charming 
 example may be seen in the Louvre, No. 355, where is also 
 a fine 'Assumption of the Virgin,' No. 356. In the 
 Borghese Palace at Eome a ' Head of the Virgin,' Eoom 
 VL No. 18, and in our National Gallery, a ' Madonna,' No. 
 200, should be noted. 
 
 A follower of Guido Eeni's style was Guido Cagnacci 
 (1601-81), some of whose works show considerable power. 
 Examples are to be found in the Louvre, a ' S. John the 
 Baptist,' No. 108 ; in the Liechtenstein Gallery at Vienna, 
 a 'Jacob and Laban,' No. 74 Eoom III. ; in the Hermitage, 
 St. Petersburg, an ' Assumption of the magdalen,' No. 194 : 
 a masterpiece in the Accademia di S. Luca, Eome, the 
 *Tarquin and Lucretia' (Plate XXIV., 4); in the Pitti 
 
 G 
 
 Tiarini and 
 Spada. 
 
 Sassofer- 
 rato. 
 
 Guido 
 Cagnacci, 
 
82 
 
 THE MI8E AND PBOGBESS 
 
 Guido 
 Cagnacci, 
 
 E, Sirani, 
 
 Eclectic 
 schools of 
 Cremona 
 and Milan, 
 
 The Pro- 
 
 caccini. 
 
 Eclectic 
 school of 
 Rome. 
 
 Cigoli, 
 
 C, AUori, 
 
 another ' Assumption of the Magdalen/ No. 75 ; and in the 
 TJffizi, a 'Jupiter and Ganymede/ No. 71. 
 
 Elisabetta Sirani (1638-63) copied Guido closely, parti- 
 cularly his latest manner, and produced chiefly weak 
 imitations. A large example is No. 175 at Bologna, while 
 small works are, in the Belvedere at Vienna, a ' Martha 
 and Mary,' No. 34 Eoom V. 1st floor ; in the Liechtenstein 
 Gallery, two studies of Cupids, Nos. 339, 342 Eoom II. 2nd 
 floor; and in the Hermitage two specimens, Nos. 199, 200. 
 
 Two or three less important Eclectic schools sprang 
 up at the same time as that founded by the Caracci ; one, 
 for instance, at Cremona, under the leadership of Giulio 
 Campi ; and another at Milan, at whose head were Ercole 
 Procaccini (1520-90) and his sons Camillo and Giulio 
 Cesare, followed by others of the name, and for the most 
 part painting feebly in imitation of Correggio. By Camillo 
 good examples may be seen in the Liechtenstein at Vienna, 
 No. 621, and in the Hermitage, St. Petersburg, No. 262, a 
 ' Holy family ' ; where also is a ' Marriage of S. Catharine,' 
 No. 264, by Giulio Cesare. Both brothers are represented 
 at Berlin, and other examples are at Dresden, for which 
 see catalogues. By G. Cesare are two works at Munich, 
 Nos. 426, 1237, and a 'Madonna with saints,' No. 305 in 
 the Louvre. 
 
 But a third school had arisen in the sixteenth century 
 at Eome under Baroccio, whose influence was most felt by 
 two Florentine painters, Ludovico Cardi da Cigoli (1559- 
 1613) and Cristofano Allori (1577-1621). Both these 
 masters show much power in single figures, but their art 
 was limited in composition and design. Some of the best 
 examples of Cigoli's work are a ' Martyrdom of S. Stephen,' 
 No. 1276 in the Uffizi; a ' S. Francis,' No. 290, a portrait, 
 No. 30, and an excellent ' Ecce Homo,' No. 90, all in the 
 Pitti at Florence. Other good works are Nos. 244-7 in 
 the Hermitage, St. Petersburg. By Cristofano Allori 
 there is the magnificent ' Judith with the head of Holo- 
 f ernes,' No. 96 in the Pitti, one of the finest productions of 
 the time (Plate XII., 3) : a fair replica is in the Hermit- 
 age, No. 248, and inferior copies are numerous. In the 
 UflBzi an 'Adoration of the kings,' No. 1285, deserves 
 
OF PAINTING IN ITALY. 
 
 83 
 
 notice. The Louvre contains an historical work by this 
 master, No. 22, ' Isabella of Milan interceding with Charles 
 VIII. for her father.' 
 
 Domenico Feti (1589-1624) was a pupil of Cigoli, but 
 worked afterwards at Kome and at Mantua. The Hermit- 
 age contains some excellent works by him : No. 231, a 
 'David and Goliath,' evidently portraits; No. 235, a 
 ' Daedalus and Icarus ' ; and others. Several examples are 
 at Dresden, of which ' David with the head of Goliath,' 
 No. 94, is one of the best. In the Louvre he is well re- 
 presented by the ' Melancholy,' No. 180, and others. 
 
 The last painter of merit of the Eclectic school was 
 Carlo Dolci (1616-86); after him the old mannerism 
 prevailed, and a period of decadence followed. Carlo 
 Dolci's type of beauty is associated with sentimentality and 
 affectation, as may be seen in several Magdalens and heads 
 of saints in foreign galleries. His most successful pro- 
 duction is ' S. Andrew praying before his execution,' No^ 
 270 in the Pitti at Florence, where there is also a good 
 example of a * Madonna,' No. 302. In the Uffizi a 
 'Magdalen,' No. 186; 'Herodias with the head of John 
 Baptist,' No. 61, and * S. Cecilia,' No. 62 in the Dresden 
 Gallery ; ' S. John writing his Gospel,' a striking instance 
 of affectation. No. 423, in the Berlin Museum ; ' S. 
 Catharine,' No. 254, and ' S. Cecilia,' No. 255, in the 
 Hermitage, St. Petersburg, ought to be mentioned among 
 his principal works. 
 
 While the Eclectic school had thus made its influence 
 felt in all parts of Italy, its contemporary but antagonistic 
 school, that of the Naturalists, flourished principally in the 
 kingdom of Naples, where it had taken its rise. 
 
 Michael Angelo Amerighi da Caravaggio (1569-1609) was 
 its originator, and in his works we see for the first time 
 realistic treatment of the subject, with close imitation of 
 the model under the influence of brilliant light and dark 
 shadows, often in powerful and animated action ; and the 
 striking effects thus attained were subsequently recognised 
 as the characteristic of the school. This style, formed as 
 it was from the direct imitation of nature in all her aspects, 
 was best suited to the representation of domestic scenes, 
 
 G 2 
 
 C. Allori^ 
 
 D. Feti. 
 
 C. Dolci, 
 
 Naturo" 
 lists. 
 
 The Naples 
 school, nth 
 century. 
 
 Caravaggio, 
 
84 
 
 THE RISE AND PROGRESS 
 
 Caravaggio. 
 
 Riberdy or 
 
 Spagno- 
 
 letto. 
 
 Salvator 
 Rosa, 
 
 but became repulsive when applied to the representation 
 of sacred subjects. 
 
 In Caravaggio's best style are the ' False card-players ' 
 in the Sciarra Palace at Kome (Plate XXIII., 1) ; the 
 * Fortune-teller ' and a portrait of the ' Grand master of 
 Malta,' Nos. 25, 7 in the Louvre ; and the ' Two men 
 drinking' in the Gallery at Modena, Nos. 205, 12 — all of 
 which are striking and successful. A fine work is a 
 'Boy playing on a guitar,' No. 217 in the Hermitage, St. 
 Petersburg ; so is the ' S. Matthew and an angel,' No. 365 
 in the Berlin Museum. Admirable examples are the 
 'Card-players,' No. 177 (Plate XXIII., 1), and a ' Gipsy 
 fortune-telling,' No. 178, at Dresden. A good 'Lute- 
 player ' is No. 61 in the Liechtenstein Gallery, Vienna. 
 In a dififerent style, but also among his most successful 
 works, are the ' Supper at Emmaus,' No. 172 in our 
 National Gallery, the ' Christ crowned with thorns,' No. 
 215 in the Hermitage, and a ' Pieta' in the Vatican. His 
 most important historical works of a sacred character 
 are the frescoes representing scenes from the life of 
 S. Matthew in S. Luigi de' Francesi at Rome. As an 
 example of a subject characteristic of this painter, re- 
 pulsive in matter and treatment, but masterly in execu- 
 tion, may be noted a ' Crucifixion of S. Peter,' No. 216 in 
 the Hermitage. 
 
 In the productions of Giuseppe Eibera, called " Lo 
 Spagnoletto," (1588-1656), a native of Val-encia in Spain, 
 the characteristic features of the school are still more 
 pronounced. His masterpiece is a ' Descent from the cross ' 
 in S. Martino at Naples, where there is also another of his 
 best works, an ' Adoration of the shepherds ; ' and in the 
 Museum, among others, is a fine and boldly executed 
 ' S. Sebastian,' No. 12 Sala di Correggio (soe, for further 
 notice the section relating to Spanish Painters). 
 
 Ribera's principal pupils were Salvator Eosa (1615-73), 
 the landscape-painter, and Lnca Giordano. The former 
 received some of his earliest instructions in the school of 
 Aniello Falcone, who was tho first to make a reputation as 
 a painter of battle-pieces. From him doubtless Salvator 
 Eosa derived his love of genre painting ; but it is with 
 
OF PAINTING IN ITALY, 
 
 85 
 
 his landscapes that his fame as a painter has been -usually Sahator 
 associated. He studied wild scenery under strong effects ^^^"* 
 of light and shade, and often selected banditti for his 
 figures. One of his best pictures is 'Mercury and the 
 dishonest woodman,' No. 84 in our National Gallery ; 
 admirable landscapes of this character are Nos. 2413, 14 
 at Dresden ; two good pictures are No. 344, a battle-piece, 
 and No. 345, a landscape, in the Louvre ; the Doria Palace 
 at Eome contains several examples : others are to be found 
 in the Pitti at Florence, Nos. 133, 5, 306, 453, 70 ; in the 
 Berlin Museum, No. 421 ; and in the Colonna Palace at 
 Eome. The Hermitage at St. Petersburg contains many 
 fine works by him : among them the ' Prodigal,' a life-size 
 figure, No. 220 (Plate XXIV., 6) : a group of figures, 
 No. 223 ; and some excellent portraits. Three good ex- 
 amples of battle-pieces by the master are in the Belvedere 
 at Vienna, No. 56, 7, Koom III. 1st floor, and No. 12 
 Koom IV. ground floor. Among historical compositions 
 the most important is the * Conspiracy of Catiline,' No. Ill 
 in the Pitti. 
 
 The other pupil of Eibera, the gifted but careless Luca Luca 
 Giordano (1632-1705), earned for himself the surname of Giordano. 
 "Fa Presto" from his powers of rapid execution. His 
 works are very unequal in meiit : some are finely con- 
 ceived and painted — as, for instance, a * Massacre of the 
 innocents ' in the Munich Gallery, No. 442 ; some large 
 and admirable mythological subjects, as a ' Judgment of 
 Paris,' No. 441 at Berlin ; a replica with slight difference, 
 No. 294 in the Hermitage ; a ' Sleeping Bacchus and 
 nymphs,' No. 293, and others, in the latter collection also. : 
 By his hand are some frescoes in S. Martino, at Naples ; 
 while others decorate the ceiling of the sacristy in the 
 Cathedral of Toledo, Spain. A * Descent from the cross,' 
 No. 571 in the Academy at Venice, and a * Madonna and 
 saints,' No. 39 Sala Grande in the Naples Museum, should 
 be mentioned. There are some fine works by him in the 
 Dresden Gallery, while others there show misapplication 
 of his high gifts. One of the former is the 'Hercules 
 and Omphale,' No. 568. No less than sixty-four pictures 
 of varied quality are catalogued under his name in the 
 
86 
 
 THE JRI8E AND PB0GBE8S 
 
 Luca 
 Giordano, 
 
 School of 
 Venice,! 6th 
 century. 
 
 Canaletto, 
 
 Bcllotto, 
 
 Madrid Museum ; and one fair specimen is in the Louvre, 
 No. 191. 
 
 EIGHTEENTH CENTURY. 
 
 We have already observed the decline of the schools of 
 the Eenaissance throughout Italy, and that a somewhat 
 mechanical realism was the chief characteristic of the 
 painters of the seventeenth century. The development of 
 this tendency led to a new and interesting style of art 
 in the beginning of the eighteenth century in Venice, 
 where the three masters, Antonio Canale, called Cana- 
 letto (1697-1768), and his followers, Bernardo Bellotti a 
 nephew, and Francesco Guardi, executed nemerous views 
 of the city and her canals. A large number of works 
 erroneously attributed to the eldest master are to be 
 found in the galleries of Europe, but authentic and fine 
 examples are not so often met with. One of Canale's 
 greatest works is the admirable view of the Church of 
 S. M. della Salute at Venice, No. 105 in the Louvre. 
 Quite as fine are the ' Reception of Count Gergi,' No. 318, 
 and its pendant, the ' Marriage of the doge with the 
 Adriatic,' No. 319, both in the Hermitage, St. Petersburg. 
 Four execellent Venetian scenes are Nos. 490, 3, 501, 3, at 
 Berlin. Among others in the Stadel, Frankfort, No. 35 
 may be noted. Our National Gallery contains many good 
 examples of the master, Nos. 127, 163 (in which the 
 figures are by Tiepolo), 937 and 939. A charming small 
 view of Venice is in the Turin Gallery, No. 257 bis, and 
 another is in the Gallery at Bergamo, No. 38. Canal etto 
 resided for some time in England, and executed many 
 paintings in London and elsewhere, which are now chiefly 
 in private collections. One of Eton College is No. 942 in 
 our National Gallery. 
 
 Works by Bellotti, or Bellotto (1720-80), also sometimes 
 called Canaletto, are generally rare. The Dresden Gallery 
 contains good examples in great number ; and in the 
 Pinacothek at Munich there is an excellent view of the 
 old city of Munich, No. 476. Two interesting but hardly 
 characteristic small landscapes by him are Nos. 205, 6 in 
 the Brera at Milan, both simple country scenes. Fine 
 
 1 
 
OF FAINTING IN ITALY. 
 
 87 
 
 views of Turin are Nos. 283, 8 in the Gallery there. A 
 large painting of the Kialto, one of his very finest works, 
 is No. 320 in the Hermitage, St. Petersburg. A good 
 smaller picture is No. 503 at Berlin. 
 
 Compared with Canaletto, the works of Guardi (1712-93) 
 are less precise in outline, while his colour is more 
 harmonious, and his aerial perspective is better than that 
 of the older master. Some of his best works are to be 
 found in the Louvre : most excellent are the pictures of 
 the ' Doge proceeding in state to the Salute,' No. 208 ; the 
 
 * Doge going in state to S. Zacharias,' No. 211 ; and a 
 
 * Saloon in the Ducal Palace, Venice,' No. 212. A good 
 view of the ' Piazza of S. Marco ' is in our National Gallery, 
 No. 210; and several small but charming Venetian scenes 
 are in the Bergamo Gallery. 
 
 One marked exception to the influence of the Naturalistic 
 school was Giovanni Battista Tiepolo (1692-1769), whose 
 light and dexterous style was adapted for decorative work, 
 in which he produced some showy pleasing pictures. A 
 really fine example is to be seen in the Hermitage, the 
 
 * Feast of Cleopatra,' No. 317. There is a small specimen. 
 No. 459b in the Berlin Museum; besides two others, 
 Nos. 454, 9. The Stadel, Frankfort, possesses a group. 
 No. 32 ; at Munich is an ' Adoration of the magi,' No. 
 1397; and in the National Gallery, Edinburgh, is the 
 'Finding of Moses,' No. 78. A single small work now 
 represents him in the Louvre, a *Last Supper,' No. 411. 
 
 Bellotto, 
 
 Guardi, 
 
 Tiepolo. 
 
88 
 
 THE RISE AND PB0GRES8 
 
 « 
 
 A CHEONOLOGICAL TABLE 
 
 Embracing the Dates of Birth and Death of the Principal Painters 
 
 OF the various Schools of Italy. 
 
 School. 
 
 
 TV* J- 1- 
 
 Birtn. 
 
 Death. 
 
 
 v^ruiQo aa oiena, aaieu pieiure izzi 
 
 
 
 Pisan . • 
 
 1 ^ 1 rf\ ^x %x 
 
 1 9n9 
 
 1 9^8 
 IZOo 
 
 Lucca . . 
 
 xJonaventura ijerimgnieri, signeo. 
 
 
 
 
 and aateu. picture izoo • . . 
 
 
 
 i\.rezzo • 
 
 iviargariione a. Arezzo .... 
 
 1 9Q^? 
 IZOD 
 
 1 Q1 Q 
 
 JLOLO 
 
 1} loreiiiiiie . 
 
 v^imaoue v^ijriovanni uruaiiieri^ • . 
 
 1 940 
 
 
 
 ijasb recoro. loui— z • • 
 
 
 
 SxOUlcLu. • . 
 
 
 1 9^Q 9 
 
 
 
 j^uooio U.1 jjiiULiiLiofpgiici) paiiiieti 
 
 
 
 
 1 989 1 Q9n 
 
 
 
 Sienese . 
 
 Ugolino, painted end of 13th 
 
 
 
 
 
 
 
 jd loreniine 
 
 
 1 nnc* 
 IZ /b 
 
 lOOO 
 
 §4 I Z^"**/^ ¥*1 TX /*V 
 
 J? loreniiiie . 
 
 xiunaimacco \^r>uonamico ai L/risio- 
 
 
 
 
 lanoj, painted louz— irfoi r 
 
 
 
 
 k3t>gllcl U.i JDUUIIclYoLlLUIcb) udiLlllxiKL 
 
 
 
 
 T OAK IQ 
 
 
 
 kjltJUtJotJ • • 
 
 ioiiiiuiie ui iviariiuo ^ivit3iiinii^ . • 
 
 1 98^ 
 
 
 Paduan . 
 
 Guariento Dainted 1316— fJO 
 
 
 
 Sienese . 
 
 Lippo Memmi, painted 1317 
 
 
 1356 
 
 Florentine . 
 
 Taddeo Gaddi 
 
 1300 
 
 
 
 „ „ Last record 1366 . 
 
 
 
 Sienese , 
 
 
 
 
 
 „ „ First record 1305 . 
 
 
 1348? 
 
 Arezzo . 
 
 
 1310 
 
 1390 
 
 Arezzo . 
 
 Spinello Aretino, about .... 
 
 1316 
 
 1408 
 
 Bolognese . 
 
 Vitale da Bologna, painted 1320-45 
 
 
 
 Venetian 
 
 Paulus, painted 1328-46 .... 
 
 
 
 Sienese . 
 
 Ambrogio Lorenzetti, painted 1331- 
 48 ? 
 
 
 
 Florentine . 
 
 Giottino (Tommaso) 
 
 1324 
 
 
 Florentine . 
 
 
 1325 
 
 1896 
 
 Paduan . 
 
 
 
 1400 
 
 Florentine . 
 
 Andrea di Clone, Orcagna, painted 
 
 
 
 
 1340 
 
 
 1389 
 
 Fabriano . 
 
 Allegretto Nuzi, painted 1346-85 . 
 
 
 
 
 Puccio Capanna, painted 1349 . 
 
 
 
OF PAINTING IN ITALY: 
 
 89 
 
 School. 
 
 Venetian . 
 
 Venetian . 
 
 Veronese 
 
 Modenese 
 
 Florentine 
 
 Florentine 
 Modenese 
 
 Bolognese 
 
 Venetian . 
 Bolognese 
 
 Florentine 
 
 Arezzo . 
 Pisan. 
 
 Veronese . 
 
 Veronese 
 
 Sienese . 
 Florentine 
 Umbrian . 
 Neapolitan 
 Venetian . 
 
 Arezzo 
 
 Florentine 
 Florentine 
 Florentine 
 Florentine 
 Paduan . 
 Venetian . 
 Florentine 
 Florentine 
 Sienese . 
 Arezzo . 
 Florentine 
 Umbrian . 
 Venetian . 
 Florentine 
 Florentine 
 Florentine 
 Venetian . 
 
 Venetian . 
 
 Niccolo Semitecolo, painted 1351- 
 
 1400 
 
 Lorenzo Veniziano, painted 1357-79 
 Turone, painted 1360 .... 
 Tommaso of Modena, painted 1350- 
 
 60 
 
 Giusto Giovanni, painted about 
 
 1363—80 
 
 Andrea da Milano, painted 1365 
 Barnaba of Modena, painted 1367- 
 
 80 
 
 Simone Crocefissi, dated picture 
 
 1370 ••••••••• 
 
 Stefano, painted 1369-81 
 Jacopo Avanzi, painted 1370-80 
 Francesco da Volterra, painted 1370 
 Antonio Veniziano, painted 1370- 
 
 88 
 
 Niccolo di Pietro, painted 1392 . 
 Turino Vanni, painted end of 14th 
 
 century 
 
 Altichiero, painted end of 14tli 
 
 century 
 
 Jacopo Avanzi, painted end of 14th 
 
 century , 
 
 Taddeo Bartoli 
 
 Giuliano Pesello 
 
 Gentile da Fabriano, about . , 
 Antonio Solario (II Zingaro) 
 Jacobello del Fiore, painted 1400- 
 
 39 
 
 Lorenzo di Niccolo Gerini, painted 
 
 1401 
 
 Lorenzo Monaco, painted 1410 . 
 
 Masolino 
 
 Fra Angelico (Giovanni Guido) . 
 
 Andrea del Castagno 
 
 Francesco Squarcione .... 
 
 Jacopo Bellini 
 
 Paolo Uccello 
 
 Masaccio 
 
 Sano di Pietro 
 
 Bartolommeo della Gatta 
 
 Fra Filippo Lippi 
 
 Piero della Francesca, about 
 
 Gentile Bellini 
 
 Pesellino ........ 
 
 Alessandro Baldovinetti .... 
 
 Domenico Veniziano, painted 1438 . 
 Giovanni Vivarini (da Murano), 
 
 painted 1440-47 
 
 Antonio Vivarini, painted 1440-70 
 
 Birth. 
 
 Death. 
 
 1372 
 
 1362 
 1367 
 1370 
 1382 
 
 14-22 
 1446 
 1450 
 1455 
 
 1383 
 
 1440 
 
 1387 
 
 1455 
 
 1390 
 
 1457 
 
 1394 
 
 1474 
 
 1395 
 
 1470 
 
 1396 
 
 1479 
 
 1402 
 
 1429 
 
 1406 
 
 1481 
 
 1408? 
 
 1491 
 
 1412 
 
 1469 
 
 1415 
 
 1509 
 
 1421 
 
 1507 
 
 1422 
 
 1457 
 
 1422 
 
 1499 
 
 
 1461 
 
 
 
90 
 
 TEE RISE AND PBOGBESS 
 
 School. 
 
 Paduan . 
 Venetian , 
 
 Florentine 
 Umbrian. 
 
 Umbrian . 
 
 Parmese , 
 Venetian . 
 Venetian . 
 
 Venetian. 
 
 Bolognese 
 Umbrian . 
 
 Venetian. 
 Florentine 
 Venetian . 
 Ferrarese 
 Paduan . 
 Florentine 
 Florentine 
 Sienese . 
 Umbrian . 
 Umbrian . 
 Florentine 
 Veronese, 
 
 Parmese , 
 Florentine 
 Florentine 
 Umbrian. 
 Florentine 
 Florentine 
 Bolognese 
 Venetian . 
 Veronese . 
 Lombard. 
 Umbrian . 
 Venetian . 
 
 Parmese . 
 Venetian . 
 Venetian. 
 
 Venetian . 
 Venetian. 
 
 Venetian . 
 
 Gregorio Schiavone, painted 1450-70 
 
 Bartolommeo Vivarini, painted 
 1450-1500 
 
 Fra Diamante, painted 1470 
 
 Benedetto Bonfiglii, painted 1453- 
 96 
 
 Niccolo Alunno (di Foligno), paint- 
 ed 1458-99 
 
 Jacopo Loschi, painted 1462 . 
 
 Luigi Vivarini, painted 1464-1503 . 
 
 Antonello da Messina, painted 1465- 
 95 ?..»»••••• 
 
 Carlo Crivelli, painted about 1468- 
 95 
 
 Marco Zoppo, painted 1471-98 . 
 Fiorenzo di Lorenzo, painted 1472- 
 
 99 
 
 Mansueti, painted 1494-1500 . . 
 
 Benozzo Gozzoli 
 
 Giovanni Bellini 
 
 Cosimo Tura 
 
 Andrea Mantegna. ..... 
 
 Andrea Verroocbio 
 
 Antonio Pollajuolo 
 
 Matteo da Giovanni . , . . . 
 
 Giovanni Santi 
 
 Melozzo da Forli, about .... 
 
 Oosimo Rosselli 
 
 Domenico Morone of Verona. 
 
 „ „ Last record 1503 . 
 
 Filippo Mazzola ...... 
 
 Luca Signorelli ...... 
 
 Pietro Pollajuolo 
 
 Perugino (Pietro di Vannucci) . 
 
 Sandro Botticelli 
 
 Domenico Ghirlandajo .... 
 
 Francesco Francia 
 
 Vittore Oarpaccio, about .... 
 
 Liberale da Verona 
 
 Leonardo da Vinci 
 
 Pinturicchio (Bernardino di Betto). 
 Cima da Oonegliano, painted 1489- 
 
 1517 ......... 
 
 Cristoforo Casella, painted 1499 
 Marco Basaiti, painted 1490-1520 . 
 Vicenzo Catena, painted 1495-1520 . 
 Macrino d'Alba, painted 1496-1508 
 Marco Belli, painted 1511 . 
 Bissolo, painted beginning of 16th 
 
 century 
 
 Previtale, painted beginning of 1 6th 
 
 century 
 
 1424 
 1426 
 1430 
 1431 
 1432 
 1433 
 1435 
 1435 
 1438 
 1439 
 1442 
 
 1441 
 1443 
 1446 
 1447 
 1449 
 1450 
 1450 
 1451 
 1452 
 1454 
 
 1496? 
 
 1516 
 
 1496 
 
 1506 
 
 1488? 
 
 1498 
 
 1495 
 
 1495 
 
 1494 
 
 1506 
 
 1503 
 
 1521 
 
 1496? 
 
 1524 
 
 1515 
 
 1498 
 
 1517 
 
 1520 
 
 1536 
 
 1519 
 
 1513 
 
OF PAINTING IN ITALY. 
 
 91 
 
 School. 
 
 
 Birth. 
 
 Death. 
 
 Umbrian . 
 
 Lo Spagna (Giovanni di Pietro), 
 
 
 
 
 painted 1507-28 
 
 — 
 
 
 Vicenza . 
 
 Francesco Bonsignori .... 
 
 1455 
 
 1520 
 
 Vicenza . 
 
 Bartolommeo Montagna .... 
 
 1455? 
 
 1523 
 
 Lombard. 
 
 Ambrogio Borgognone, about . 
 
 1455 
 
 1525 
 
 Umbrian. 
 
 Marco Palmezzano, about 
 
 1456 
 
 1536 
 
 Lombard . 
 
 Andrea da Solario, about .... 
 
 1458 
 
 1530 
 
 Florentine . 
 
 
 1459 
 
 1537 
 
 Florentioe . 
 
 
 1460 
 
 1505 
 
 Sienese . 
 
 
 1460 
 
 1516 
 
 Lombard . 
 
 Bernardino Luini, about .... 
 
 1460 
 
 1530 
 
 Boloornese 
 
 
 1460 
 
 1535 
 
 Florentine . 
 
 
 1462 
 
 1521 
 
 Parmese . 
 
 
 1465 
 
 1528 
 
 Florentine . 
 
 
 1466 
 
 1524 
 
 Lombard . 
 
 Giovanni Antonio Beltraffio . 
 
 1467 
 
 1516 
 
 Florentine . 
 
 
 1469 
 
 1517 
 
 Urbino . 
 
 
 1470 
 
 1523 
 
 Veronese . 
 
 
 1470 
 
 1546 
 
 Umbrian . 
 
 L'Ingegno (Andrea Luigi) . 
 
 1470 
 
 1556 
 
 Florentine . 
 
 
 1471 
 
 1554 
 
 Veronese . 
 
 
 1473 
 
 1529 
 
 Florentine . 
 
 
 1474 
 
 1515 
 
 Florentine . 
 
 
 — 
 
 1515 
 
 Sienese . 
 
 
 1474 
 
 1540 
 
 Veronese. 
 
 Girolamo dai Libri ..... 
 
 1474 
 
 1556 
 
 Ferrarese 
 
 Dosso Dossi, about 
 
 1474 
 
 1558 
 
 Venetian . 
 
 Jacopo Palma (11 Vecchio) . 
 
 1475 
 
 1528 
 
 Florentine . 
 
 Michael Angelo (Buonarroti) • 
 
 1475 
 
 1564 
 
 Venetian. 
 
 Giore:io Barbarelli (Gioro;ione) . 
 
 1477 
 
 1511 
 
 Sienese . 
 
 
 1477 
 
 1535 
 
 Florentine . 
 
 
 1477 
 
 1543 
 
 Sienese , 
 
 Bazzi (II Sodoma) ..... 
 
 1477 
 
 1549 
 
 Venetian . 
 
 
 1477 
 
 1576 
 
 Lombard . 
 
 
 1480 
 
 1521 
 
 Venetian. 
 
 
 1480 
 
 1541 
 
 Bergamo . 
 
 
 1480 
 
 1558 
 
 Sienese . 
 
 
 1481 
 
 1537 
 
 Ferrarese 
 
 Benvenuto Tisio (11 Garofalo) . 
 
 1481 
 
 1559 
 
 Roman , 
 
 
 1483 
 
 1520 
 
 Venetian. 
 
 Giovanni Antonio Licinio (Por- 
 
 
 
 - 
 
 
 1483 
 
 1539 
 
 Florentine . 
 
 
 1483 
 
 1560 
 
 Lombard. 
 
 
 1484 
 
 1549 
 
 Venetian . 
 
 Sebastiano del Piombo .... 
 
 1485 
 
 1547 
 
 Veronese . 
 
 Paolo Morandi (Cavazzola) . 
 
 1486 
 
 1522 
 
 Sienese . 
 
 
 1486 
 
 1551 
 
 Brescian . 
 
 Girolamo Romanino 
 
 1486 
 
 1560 
 
 Roman . 
 
 Giov. Francesco Penni .... 
 
 1488 
 
 1528 
 
 Florentine . 
 
 Andrea Vannucchi del Sarto 
 
 1488 
 
 1530 
 
 Roman . 
 
 
 1490 
 
 1549 
 
 Roman . 
 
 Francesco Primaticcio v . . . 
 
 1490 
 
 1570 
 
92 
 
 THE RISE AND PROGRESS 
 
 Roman . 
 Parmese . 
 Florentine 
 Venetian. 
 Roman . 
 Brescian » 
 Brescian . 
 Roman . 
 Venetian . 
 Cremonese 
 Venetian . 
 Florentine 
 Parmese . 
 Lombard . 
 Florentine 
 Bergamo . 
 Venetian . 
 Florentine 
 Venetian . 
 Venetian . 
 Lombard . 
 Venetian . 
 Venetian . 
 Roman . 
 Florentine 
 Venetian . 
 Lombard . 
 Lombard. 
 Bolognese 
 Lombard . 
 Bolognese 
 Florentine 
 Bolognese 
 Florentine 
 Roman . 
 Neapolitan 
 
 Bolognese 
 
 Bolognese 
 
 Florentine 
 
 Bolognese 
 
 Florentine 
 
 Bolognese 
 
 Roman . 
 
 Bolognese 
 
 Roman . 
 
 Neapolitan 
 
 Florentine 
 
 Bolognese 
 
 Venetian . 
 
 Bolognese 
 
 Neapolitan 
 
 Giulio Romano or Pippi, about . . 
 Antonio AUegri, Correggio . 
 
 Jacopo Pontormo 
 
 Bonifazio Veneziano 
 
 Polidoro da Caravaggio .... 
 Girolamo Savoldo, painted 1540. 
 Alessandro Bonvicino (II Moretto) . 
 
 Perino del Vaga 
 
 Calisto da Lodi, about .... 
 
 Giulio Campi 
 
 Paris Bordone 
 
 Bronzino 
 
 Parmigianino (Francesco Mazzuoli) 
 
 Bernardino Lanini 
 
 Daniele da Volterra 
 
 Giovanni Battista Moroni 
 Jacopo da Ponte (II Baasano) . 
 
 Giorgio Vasari 
 
 Jacopo Robusti (II Tintoretto) . 
 Bernardino da Pordenone 
 
 Ercole Procaccini 
 
 Andrea Schiavone 
 
 Paolo Caliari, Veronese .... 
 Federigo Barocci or Baroccio . 
 
 Alessandro Allori 
 
 Jacopo Palma (II Giovane) . 
 Camillo Procaccini ..... 
 Giulio Cesare Procaccini 
 
 Lodovico Caracci 
 
 Giovanni Battista Crespi. 
 Agostino Caracci ...... 
 
 Ludovico Cardi da Cigoli . . 
 
 Annibale Caracci 
 
 Francesco Vanni 
 
 Cesare D'Arpino 
 
 Michael Angelo Amerighi da Cara- 
 vaggio 
 
 Guido Reni 
 
 Lionello Spada 
 
 Cristofano Allori 
 
 Alessandro Tiarini 
 
 Matteo Rosselli 
 
 Francesco Albani 
 
 Bartolommeo Schedone .... 
 Domenico Zampieri (Domenichino) 
 
 Giovanni Lanfranco 
 
 Ribera (Lo Spagnoletto) .... 
 
 Domenico Feti 
 
 Giovanni da San Giovanni . 
 Alessandro Varotari (II Padovanino) 
 Francesco Barbieri (Guercino) . 
 Aniello Falcone 
 
 1492 
 
 1556 
 
 1493 
 
 1534 
 
 1494 
 
 1556 
 
 1494 
 
 1563 
 
 1495 
 
 1543 
 
 1500 
 
 1547 
 
 1500 
 
 1547 
 
 1500 
 
 1561 
 
 1500 
 
 1572 
 
 1500 
 
 1576 
 
 1502 
 
 1572 
 
 1504 
 
 1540 
 
 1508 
 
 1578 
 
 1509 
 
 1566 
 
 1510 
 
 1578 
 
 1510 
 
 1592 
 
 1512 
 
 1574 
 
 1512 
 
 1594 
 
 1520 
 
 1570 
 
 1520 
 
 1590 
 
 1522 
 
 1582 
 
 1528 
 
 1588 
 
 1528 
 
 1612 
 
 1535 
 
 1607 
 
 1544 
 
 1628 
 
 1546 
 
 1626 
 
 1548 
 
 1626 
 
 1555 
 
 ibiy 
 
 1557 
 
 1633 
 
 1558 
 
 1601 
 
 1559 
 
 1613 
 
 1560 
 
 1609 
 
 1563 
 
 1609 
 
 1567 
 
 1640 
 
 1569 
 
 1609 
 
 1575 
 
 1642 
 
 1576 
 
 1622 
 
 1577 
 
 1621 
 
 1577 
 
 1668 
 
 1578 
 
 1650 
 
 1578 
 
 1660 
 
 1580 
 
 1615 
 
 1581 
 
 1641 
 
 1681 
 
 1647 
 
 1588 
 
 1656 
 
 1589 
 
 1624 
 
 1590 
 
 1636 
 
 1590 
 
 1650 
 
 1590 
 
 1666 
 
 1594 
 
 1665 
 
OF PAINTING IN ITALY, 
 
 93 
 
 School. 
 
 
 Birth. 
 
 Death. 
 
 jAiOin3>ii . . 
 
 
 loyo 
 
 
 xvonian 
 
 
 
 Ibol 
 
 Bolognese 
 
 
 IbUi 
 
 1681 
 
 ijoiognese 
 
 Griovanni Battista Salvi ^Sassofer- 
 
 
 
 
 
 loUO 
 
 1685 
 
 xsoiognese 
 
 
 1 ai o 
 IbiZ 
 
 lo±8 
 
 XtUILLUIl • • 
 
 Jrietro jd lancesco ivioia .... 
 
 
 iODO 
 
 IN eapoiiian 
 
 
 lUiO 
 
 lb /i> 
 
 J loreniiQe 
 
 
 JdId 
 
 Ibob 
 
 xiOman . 
 
 
 
 1/ 16 
 
 IN eapoiitaii . 
 
 ijTica ijrioraano (^r a x restoj . 
 
 
 1 /UD 
 
 Bolognese 
 
 
 looo 
 
 IbbD 
 
 V enetian , , 
 
 
 
 
 Venetian . 
 
 Giov. Battista Tiepolo . . s . 
 
 1692 
 
 1769 
 
 Venetian . 
 
 Antonio Canale (Canaletto) . 
 
 1697 
 
 1768 
 
 Venetian. 
 
 
 1702 
 
 1788 
 
 Venetian. 
 
 
 1712 
 
 1793 
 
 Venetian. 
 
 
 1720 
 
 1780 
 
94 
 
 THE RISE AND PBOGRESS 
 
 I 
 
 Illumina- 
 tions, 
 
 Fourteenth 
 century. 
 
 Van 
 
 d'Asselt. 
 
 Malwel. 
 
 Broeder- 
 lam. 
 
 THE RISE AND PROGRESS OF PAINTING IN FLANDERS. 
 
 In most countries, as will be seen hereafter, the art of 
 illuminating missals, and subsequently the practice of 
 painting miniatures, preceded the larger style which was 
 adapted to mural decoration. At a very early date there 
 was a school of artists in miniature in Flanders, and a 
 few wall paintings of the thirteenth and fourteenth 
 centuries are still extant. Some records of Flemish 
 painters belonging to the last-named period have come 
 down to our time, principally in the chronicles of the 
 different guilds or companies to which they belonged. No 
 dates before the end of the fifteenth century can be ac- 
 cepted as trustworthy : still, owing to the fact that the 
 best painters were appointed to official posts by their re- 
 spective patrons, some historical data have been obtained. 
 The first painter known to have held such a post was Jean 
 van d'Asselt, who entered the service of Count Louis de 
 Male in 1365, and continued in it until 1381. During 
 this period he is said to have assisted in the decoration of 
 a chapel in Notre Dame de Courtrai which was intended 
 by the Count as a mausoleum for himself and his successors, 
 and to have executed there some of the portraits of the 
 Count's predecessors. In 1386 he appears to have received 
 an order from the Cordeliers of Ghent for an altarpiece, 
 which is the last-known date relating to him. 
 
 Philip the Hardy, Duke of Burgundy and the next Count 
 of Flanders, had two official painters attached to his 
 court — viz., Jean Malwel, or Malouel, and Melchior 
 Broederlam, or Broederlain. The former of these was 
 employed from 1402-7 in the decoration of the Carthusian 
 Monastery at Dijon ; but more is known of the Fleming 
 Broederlam, whose most important works (in which he was 
 assisted by one Jacques de Baerse) are the shrine paintings 
 
OF PAINTING IN FLANDERS. 
 
 95 
 
 now preserved in the Museum at Dijon. Most interesting 
 are these examples in the history of Flemish art, since 
 they exhibit the earliest efforts to produce a faithful 
 representation of nature, and that minute attention to 
 detail which eventually became a leading characteristic of 
 this school. 
 
 In the year 1366 was born at Maeseyck Hubert van 
 Eyck, the first great name in the annals of Netherlandish 
 art, who perhaps did more than any other master to 
 advance the practice of painting in his native land. He 
 not only introduced a hitherto unknown mode of painting 
 in oil, and improved the existing colours, but in the treat- 
 ment of his subjects he formed a style differing from that 
 of his predecessors, because he was not content with re- 
 peating the old conventional characters, but aimed in his 
 work to produce a close imitation of Nature. Hubert's 
 greatest production is the celebrated * Adoration of the 
 Lamb,' a large altarpiece in the Vydts Chapel of the 
 Cathedral of St. Bavon at Ghent (Plate XXI., 5). With 
 the exception of the original wings, formed by six beauti- 
 ful tall panels, painted on each face, now in the Berlin 
 Museum, Nos. 512-23, and the two outer compartments 
 which are in the Brussels Museum, No. 13, the whole of 
 this grand work remains in its original situation. The 
 missing portions, which, however, are very important — are 
 replaced at Ghent by copies made by Michael Coxie. It 
 was begun by Hubert in 1420, but upon his death in 1426 
 Jan van Eyck, his younger but not less distinguished 
 brother, and also his best pupil, undertook to finish the 
 work, and completed it in 1432. Certain it is that this 
 was the finest production of the age both as regards com- 
 position and colouring ; while the delicacy of the modelling 
 and the careful rendering of detail prove the painter to 
 have been a master in his art. Not only are the larger 
 figures grandly and broadly painted, although remarkable 
 for high finish, but the landscape also, which forms a large 
 part of the work, is executed in the most admirable manner. 
 A composition only inferior to this (but smaller in size) is 
 the painting of the ' Fount of Salvation,' or rather * Triumph 
 of Christianity/ in the Madrid Gallery, No. 2188, the 
 
 Broeder- 
 lam. 
 
 Ilvhert van 
 Eyck. 
 
96 
 
 THE BISE AND PB0GRES8 
 
 Hubert van 
 EycL 
 
 Fifteenth 
 century. 
 
 Jan van 
 Eyck, 
 
 authorship of which has been disputed. Passavant and 
 Liibke assign it to Hubert, while 0. Miindler and Crowe 
 and Cavalcaselle attribute it to Jan van Eyck. It may be 
 a difficult point to decide, for the Madrid picture bears a 
 close resemblance to the ' Adoration of the Lamb,* in con- 
 ception, technical treatment, and colour. The rendering 
 of rich robes and sparkling jewels is similar and equally 
 marvellous in both pictures. 
 
 Jan van Eyck (about 1386-1440-1), who was twenty 
 years younger than Hubert, carried his brother's style of 
 work to still higher perfection. In such productions as 
 the marvellously executed 'Madonna enthroned with 
 saints ' in the Museum at Bruges, No. 1 , of which the 
 head of the kneeling donator on the right is perhaps 
 the finest portion; and the exquisite small triptych, a 
 ' Madonna with saints,' at Dresden, No. 1713 — the travelling 
 shrine of Charles the Fifth — the varied genius and skill of 
 the master are powerfully manifested. In the Hermitage 
 at St. Petersburg also there is an extremely fine ' Annuncia- 
 tion,' No. 443. There is a small * Madonna,' No. 525b at 
 Berlin (on which some doubt as to authorship is thro\\Ti 
 by Messrs. Crowe and Cavalcaselle) ; and the well-known 
 and exquisite * Madonna del Lucca ' is in the Stadel, 
 Frankfort, No. 59. There are, a ' Madonna ' in his best 
 manner. No. 411, and a somewhat inferior replica (or copy ?) 
 of the Bruges picture, No. 412, in the Antwerp Museum; 
 where also is a beautiful drawing by him, in the finest 
 pencil line, of ' S. Barbara,' No. 410. An ' Adoration of 
 the kings,' not equal to his best work, is ascribed to him 
 in the Brussels Gallery, No. 14. One of his most im- 
 portant small works is in our National Gallery, containing 
 portraits of Jean Arnolfini and of his wife Jeanne de 
 Chenany, No. 186, a jewel of workmanship in point of 
 finish and minute detail. Another example is the full- 
 length of 'The Madonna and chancellor Kollin' in the 
 Louvre, No. 162. Other beautiful portraits and works of 
 this order are extant : for instance, the portrait of his 
 wife, finished in 1439, in the Museum at Bruges, No. 2 ; 
 those of Jan van der Leeuw, and of Jodocus Vydts, so 
 called, Nos. 13, 42, Boom 11. 2nd floor in the Belvedere at 
 
OF PAINTING IN FLANDEBS. 
 
 97 
 
 Vienna ; and a fine life-size ' Head of Christ/ No. 528 at 
 Berlin. Portraits of a man with red head-dress and of a 
 man in a green hood are Nos. 222, 290 in our National 
 Gallery. 
 
 It is not surprising that the influence of the Van Eycks 
 made itself felt throughout the Netherlands, and that 
 many followed in their footsteps, some perhaps as careful 
 imitators, others in the spirit of independence. Of the 
 former some of the best are still known : among them 
 should be mentioned Petrus Christus (records 1444-71), a 
 native of Bruges. His best productions are a ' Madonna ' 
 in the Stadel, Frankfort, No. 65 ; two panels, the 'Annuncia- 
 tion' and the ' Last Judgment,' Nos. 529a and b in the 
 Berlin Museum ; two wings of a triptych, a ' Crucifixion ' 
 and a ' Last Judgment,' marvellously full of figures, with 
 high finish. No. 444 in the Hermitage, St. Petersburg ; 
 and a panel in four parts. No. 1291 in the Madrid Gallery. 
 
 Three other but more independent masters of this time, 
 although largely influenced by the Van Eycks, were Gerard 
 van der Meire (records 1447-74), Hugo van der Goes, and 
 Justus of Ghent. A large altarpiece by the first is in S. 
 Bavon at Ghent, and a good work by him (C. and C.) is 
 the 'Exhumation of St. Hubert,' No. 783, ascribed to 
 Dierick Bouts in the catalogue of our National Gallery, 
 while the ' Count of Hennegau with his patron saint,' No. 
 264, may also be considered as genuine. An altarpiece, 
 Nos. 383-7, is in the Antwerp Museum. The authorship 
 of the celebrated Grimani miniatures in the Library of the 
 Ducal Palace, Venice, has been attributed to Van der Meire, 
 but it is probable that they are the work of Gerard Horem- 
 bout, and other painters of later date. 
 
 Hugo van der Goes (died 1482) also executed several 
 important works, but unfortunately only one can now be 
 ascribed to him with certainty (C. and C), although his 
 name appears in several European galleries as in our 
 National Gallery, where two are attributed to him*: The 
 work referred to is a large and important altarpiece in 
 three compartments, now in the Collection belonging to the 
 Hospital of S. M. Nuova at Florence. The centrepiece 
 represents the ' Adoration of the shepherds,' the figures 
 
 Jan van 
 Eyck. . 
 
 Petrus 
 Christus. 
 
 Gerard van 
 der Meire. 
 
 Hugo van 
 der Goes, 
 
THE RISE AND PROGRESS 
 
 Hugo van 
 der Goes. 
 
 Justus of 
 Ghent, 
 
 Rogier van 
 der Weyden. 
 
 approaching life-size : these with the mimerous details are 
 all finely painted and highly finished. Not only have his 
 works disappeared, but those also of Justus of Ghent, whose 
 only existing known picture of merit is the ' Last Supper ' 
 in S. Agatha at Urbino. Two panels are attributed to him 
 at Antwerp, Nos. 223, 4. 
 
 We now return to a much greater master, Eogier van der 
 Weyden (1400-64), born at Tournai, who became the head 
 of a school almost as influential as that of the Van Eycks. 
 The realism of his art was even more exact and uncompro- 
 mising than theirs, and thus his subjects sometimes contain 
 matter which is repulsive. He exceeded his predecessors 
 in attention to minute detail, and applying this to the 
 themes which he most affected — always sorrowful and 
 painful, he closely delineated the outward signs of mental 
 and bodily pain. Among his earliest known works is a 
 triptych, a ' Pieta ' in the centre, with the ' Nativity ' and 
 the ' Eesurrection,' preserved in the Berlin Museum, No. 
 534a. In the same museum there is another beautiful 
 triptych by him containing scenes from the life of the 
 Baptist, No. 534b, of which a smaller replica by the master 
 is No. 62 in the Stadel, Frankfort. One of his grandest 
 works is a ' Last Judgment,' painted in nine panels for the 
 Hospital at Beaune in Burgundy (Plate XXV., 5). In this 
 century some interchange of ideas took place between 
 the artists of Flanders and those of Italy. Antonello of 
 Messina had visited the Netherlands about the middle 
 of the century, whence he returned with the secret of oil 
 medium to Venice. Eogier van der Weyden made a long 
 tour in Italy, and came back, with his manner little if at 
 all changed, to execute some of his finest works. Examples 
 of these are, an exceedingly fine triptych, now No. 535 in 
 the Berlin Museum : two in the Pinacothek at Munich, ' S. 
 Luke painting the Virgin,' No. 634 (Plate XXV., 4), and 
 a triptych, Nos. 627, 8 (Plate XXV., 3), 9 ; a fine triptych 
 in the Belvedere, Vienna, No., 81 Eoom I. 2nd floor, and 
 another of larger size at Madrid, No 2189, the centre a 
 ' Crucifixion ' with the ' Seven sacraments,' on one wing 
 the ' Expulsion from Eden,' No, 2190, and on the other the 
 ' Last Judgment,' No. 2192. A beautiful small 'Madonna 
 
Plate XXV. 
 
 To face page 98. 
 
OF PAINTING IN FLANDERS. 
 
 99 
 
 with saints/ No. 61, is in the Stadel, Frankfort, and a Rogier van 
 small * Entombment' is No. 795 in the Uffizi, Florence. A ^^^^V^^^* 
 ' Deposition ' ascribed to him in the Hague Museum, No. 
 226, is not improbably from the hand of the master, but 
 does not rank with his finest works. Many inferior pro- 
 ductions of his school are ascribed to him in various 
 European galleries: one of the best of these is in our 
 National Gallery, No. 664. 
 
 Hans Memling (1430 ?-95), a highly gifted pupil of Van Hans 
 der Weyden, surpassed his master in the extreme delicacy ^^^^^^U- 
 and finish of his work. Very few facts respecting him are 
 known, but several examples of his work remain. His 
 earliest picture known was painted in 1470, and is No. 640, 
 Munich Pinacothek. That which gained him a greater re- 
 putation than any other is the celebrated altarpiece depict- 
 ing the ' Marriage of S. Catharine,' now in the collection 
 at the Hospital of S. John at Bruges, No. 1, and painted 
 in 1479. Previous to this (1473) he executed the large 
 altarpiece of the *Last Judgment' in the Cathedral of 
 Dantzig, now much spoiled by restoration. But the 
 Hospital at Bruges contains other fine works of this 
 master, and notably one. No. 2, painted at a later period, 
 the ' Shrine of S. Ursula,' perhaps the most perfect specimen 
 extant of early Flemish art. Certainly, for composition 
 and dramatic power as understood at this period, and for 
 perfection of workmanship, it is unrivalled. The history 
 occupies six compartments, besides two ends, and panels 
 on the top all finished with the same care (Plate XXV., 
 1, 2). No. 3, a triptych, centrepiece the ' Adoration of 
 the kings,' in which the distant landscape is exceedingly 
 beautiful. No. 4, a diptych, the ' Madonna and donator.' 
 No. 5, a ' Sibyl,' dated 1480, is less excellent. Of No. 6, a 
 triptych, the best part is the outside of the lateral panels. 
 In the Academy at Bruges Nos. 4 to 8 constitute a fine and 
 large triptych. In the Uffizi is a beautiful ' Madonna,' 
 No. 703, and in the Doria Palace, Eome, is a small * De- 
 position.' In the Munich Pinacothek, No. 655 is an 
 interesting example, the ' Seven joys of the Virgin ' ; and 
 in the Turin Gallery, No. 358, is the * Seven sorrows of the 
 Virgin ' — both are remarkable for the number of incidents 
 
 H 2 
 
100 
 
 THE RISE AND PB0GBE8S 
 
 Hans 
 Memling. 
 
 Hierick 
 Bouts. 
 
 Gherardt 
 David, 
 
 Fatinir. 
 
 depicted and of figures introduced into a moderate-sized 
 canvas, yet every detail is finished with elaboration and 
 care. There is a large work by Memling, an altarpiece in 
 the Cathedral of Liibeck, painted in 1491, which has not 
 the attractive qualities of his smaller works : it was his 
 last production of any importance. Our National Gallery 
 possesses two examples of the master — No. 686, a 'Ma- 
 donna,' somewhat injured by cleaning ; and No. 747, the 
 ' Baptist and S. Lawrence ' ; others with his name are 
 works of his school. In the Louvre are two fine panels, 
 Nos. 288, 9, a ' S. John ' and a ' Magdalen.' At Brussels 
 are good portraits of William Moreel and his wife, Nos. 
 21, 2 ; while at Frankfort is a portrait. No. 63. At Dresden 
 is a small panel, a ' S. Christopher and Infant Christ,' 
 No. 2417 ; at Antwerp is a diptych, Nos. 155, 6 (Plate 
 XXXIII. , 4) ; and at Berlin is a small ' Madonna,' No. 
 528b. 
 
 Dierick Bouts, or Stuerboudt (painted 1450-75), is 
 another painter of the Van Eyek school who, born at 
 Haarlem, studied art in Flanders, as his pictures testify. 
 The most important are a ' Last Supper ' in S. Pierre at 
 Louvain, and two pictures of a legendary subject, painted 
 for the Town Hall there, but now in the Museum at 
 Brussels, Nos. 30, 1 (Plate XXVIII., 4, 8). Two ex- 
 cellent examples are at Berlin, Nos, 533-9 ; and another is 
 No. 58a in the Stadel, Frankfort. Several works in dif- 
 ferent European galleries catalogued as Memling's were 
 probably painted by Dierick Bouts. 
 
 After the death of Memling the purity of Netherlandish 
 art declined, and the style became changed through inter- 
 course with the schools of Italy. A few still retained the 
 influence of Weyden and Memling, of whom Gherardt 
 David (record 1487-1528) maybe mentioned. A triptych, 
 the ' Baptism of Christ,' No. 5 in the Bruges Academy, 
 painted in 1507, is believed to be by him, so also is the 
 beautiful work in our National Gallery, No. 1045. An 
 authentic altarpiece of the year 1509 is preserved in the 
 Eouen Museum, and another example is No. 573 at Berlin. 
 
 His pupil, Joachim de Patinir (painted 1515-24), ex- 
 ecuted several works characterized by minute detail and 
 
Plate XXVI. 
 
 To face page 101. 
 
OF PAINTING IN FLANDERS. 
 
 101 
 
 carefully painted landscape. Examples are to be found at 
 Berlin, Nos. 608, 20; at Madrid, Nos. 15, 19, 23; and in 
 our National Gallery, No. 717. 
 
 But at the end of the fifteenth century appeared Quintin 
 Matsys, or Massys (1466-1559), who first gave to the 
 Antwerp school an influential position. His finest work, 
 painted in 1508, in three compartments, the centre a 
 ' Deposition,' is in the Antwerp) Gallery, Nos. 245-9, and 
 it gained for him a great reputation (Plate XXVI., 2). A 
 triptych, nearly as fine, * S. Anne,' formerly at Louvain, has 
 just been acquired by the Brussels Museum. In a different 
 style, being warmer in tone and fuller in colour, is a large 
 composition of numerous figures, depicting the ^ Virgin in 
 glory with saints below,' No. 449 in the Hermitage, St. 
 Petersburg. He executed also several genre pictures, ex- 
 hibiting clever delineations of character. Of these there 
 is a fine example, well known as the ' Two misers,' belonging 
 to the Queen at Windsor (Plate XXVI., 4). Others of a 
 similar character are to be seen in the Louvre, No. 279 ; 
 in the Palazzo Doria at Kome ; and in the Dresden Gallery, 
 No. 1721. There is also a portrait by him. No. 37 Eoom 
 II. 2nd floor, in the Belvedere at Vienna. 
 
 Jan Gossaert, or Mabuse (1470-1532), was a master of 
 this time who seems to have followed the style of Matsys 
 until he visited Italy, when, like many other Flemish 
 artists, such as Bernard van Orley and Michael Coxie, he 
 greatly changed his manner under southern influence. 
 Mabuse's finest work, an * Adoration of the kings,' is in 
 the Castle Howard Collection. An important triptych re- 
 presenting ' Christ in the house of Simon,' may be noted 
 at Brussels, No. 15. A good example is in the Louvre, a 
 
 * Madonna,' No. 278 ; others are at Munich, in the Pina- 
 cothek. No. 99; and at Vienna, Nos. 9, 10 Eoom II. 2nd 
 floor. 
 
 Of B. van Orley (1470-1541), an important panel, the 
 
 * Desecration of the temple by Antiochus Epiphanes,' and 
 the ' Descent of the Holy Ghost,' No. 59 Koom II. 2nd 
 floor, may be seen in the Belvedere at Vienna. At Brussels, 
 among three works by him, a portrait of the Doctor 
 Zelle, No. 27, and an altarpiece in five parts, illustrating 
 
 Patinir, 
 
 Sixteenth 
 century, 
 Quintin 
 Matsys, 
 
 Jan 
 
 Mabuse, 
 
 Bernard 
 van Orley, 
 
102 
 
 THE RISE AND PB0GBE8S 
 
 Bernard 
 van Orley, 
 
 Michael 
 Coxie, 
 
 Suster- 
 mann. 
 
 Floris, 
 
 Antonio 
 Moro, 
 
 the ' Trials and patience of Job,' No. 368, may be men- 
 tioned. An ' Adoration of the kings,' No. 464, in which 
 he was aided by Joachim de Patinir, is in the Antwerp 
 Gallery ; and a fine ' Descent from the cross ' is No. 474 in 
 the Hermitage, St. Petersburg. 
 
 M. Coxcyen, or Coxie (1499-1592), was a pupil of Orley. 
 His principal work was an excellent copy of the Van Eyck 
 altarpiece in S. Bavon, executed for Philip II. of Spain, 
 of which the chief parts are now at Munich and Berlin, 
 while the side-wings replace in S. Bavon the originals, 
 which are at Berlin also (see p. 95). 
 
 Other masters of this period were Lambert Lombard, or 
 Sustermann, Antonio Moro, Peter Pourbus, Frans Pourbus 
 the elder and younger, and Paul Bril, who lived just before 
 the time of Eubens. Of Sustermann little need be said, 
 except that his style was formed in Italy. For examples 
 of his work, No. 491 in the Hermitage, No. 20 at Brussels, 
 two compositions, Nos. 649, 50, in the Lille Museum, and 
 No. 266 in our National Gallery may be mentioned. His 
 pupil Frans Floris was a painter of some talent, by whom 
 there are, in the Uffizi, Florence, an 'Adam and Eve,' 
 No. 670, a similar work in the Belvedere, Vienna, Nos. 
 16, 17 Eoom III. 2nd floor, and a triptych at Brussels, 
 No. 196. 
 
 Moro (1525-81) and^Tthe Pourbuses became famous as 
 portrait painters, and as such had benefited by their 
 knowledge of Italian art. Some good portraits by Moro 
 are at Madrid : No. 1484 is interesting as being that of 
 Queen Mary married to Philip II. of Spain. Equally fine 
 and interesting are those of Sir Thomas Gresham and his 
 wife, Nos. 480, 1 in the Hermitage. There is a good 
 portrait of a dwarf of Charles V., No. 342 in the Louvre. 
 A portrait by Moro is in our National Gallery, No. 184; 
 one of Sir T. Gresham occurs in the National Portrait 
 Gallery; two are at Dresden, Nos. 1085, 1085a; another, 
 No. 1293, in the Pinacothek at Munich, and two in the 
 Belvedere at Vienna, Nos. 49, 52 Eoom VII. 1st floor, 
 besides his own portrait. No. 462 in the Uffizi. Moro re- 
 sided several years in England, was appointed painter to 
 Queen Mary, and became Sir Anthony More. 
 
OF PAINTING IN FLANDERS. 
 
 103 
 
 Peter. Pourbus (1510-83) was the head of a family of 
 painters, examples by whom are frequently met with. 
 Among several by him at Vienna, Nos. 23, 4 Room III. 
 2nd floor may be noted ; while in the Academy at Bruges 
 are two of his best works, a ' Last Judgment ' and a 
 triptych of the 'Descent from the cross,' Nos. 17, 18. 
 In the Louvre there is one picture, the ' Eesurrection,' 
 No. 391. 
 
 Peter's sou, Frans Pourbus (1546-80), surpassed his 
 father in portraiture ; good specimens may be seen at 
 Vienna in Nos. 13, 14, 19 Eoom III. 2nd floor. There is 
 also a portrait of Queen Elizabeth, No. 310 in the 
 Trippenhuis at Amsterdam. 
 
 Frans the younger (1570-1622), son of the preceding, 
 painted portraits with equal success, and some large com- 
 positions also. Good examples are Nos. 268, 9 in the 
 Museum at Brussels, No. 212 at the Hague, and No. 30 
 Eoom III. 2nd floor in the Belvedere, Vienna. Two 
 canvases, containing three heads each, finely painted, are 
 Nos. 487, 8 in the Hermitage. Numerous illustrations are 
 in the Louvre, of which four are portraits. No. 396 being 
 the best. There also is his masterpiece, a ' Last Supper,' 
 No. 392. 
 
 The Brueghels were nearly contemporary with the last- 
 named group. The works of Pieter Brueghel the elder 
 (1530-69) are well known, but his son Jan Brueghel was 
 more celebrated. There is a good specimen of the father 
 at Hampton Court, a simple genre scene, although known 
 as the * Massacre of the innocents,' No. 748. In such works 
 he always depicted the peasants and their life at his time ; 
 hence he was distinguished as " Peasant Brueghel." The 
 best collection of his pictures, in this style, is to be found 
 in the Belvedere, Vienna: see Nos. 1, 9, 11, 44 Eoom III. 
 2nd floor, among many others. In the Munich Pinacothek 
 are two similar works, Nos. 784 and 801 ; in the Bruiisels 
 Museum is another, No. 2 ; and at Madrid is a remarkable 
 picture of the ' Triumph of Death,' No. 1221. 
 
 Jan Brueghel, known also as Velvet Brueghel" (1568- 
 1625), painted with extreme care and minuteness animals 
 of all kinds and flowers in landscape, and was often 
 
 Peter 
 Pourbus. 
 
 Frans 
 Pourbus 
 the elder. 
 
 Frans 
 
 Pourbus 
 
 the younger, , 
 
 The 
 
 Brueghels. 
 
 Pieter 
 Brueghel 
 the elder. 
 
 Jan 
 
 Brueghel. 
 
104 
 
 THE RISE AND PROGRESS 
 
 fan 
 
 Brueghel. 
 
 Pieter 
 Brueghel 
 the younger. 
 
 M. de Vos. 
 
 0. de Vos. 
 
 Paul Bril. 
 M. Bril. 
 
 Seventeenth 
 ce^atury. 
 
 Rubens. 
 
 associated with other painters in the same work. Examples 
 may be seen in numerous galleries ; as Nos. 68, 9 in the 
 Louvre ; an excellent one, No. 200, in the Hague Museum ; 
 others in the Trippenhuis at Amsterdam, Nos. 66, 7, 70 ; 
 and another in the Brussels Museum, No. 129 (Plate 
 XXVIII., 5) ; also two in the Hermitage, Nos. 513, 14 ; 
 while at Munich, Berlin, and Vienna there are several 
 specimens, for which see catalogues at the end of the 
 volume. In the Madrid Gallery no less than fifty-two 
 large works, crowded with minute details, are attributed 
 to this master, w^hile upwards of thirty are ascribed to him 
 at Dresden ! His brother, the younger Pieter Brueghel 
 (1564-1637), was an artist of less ability, and, from his 
 fondness for depicting grotesque figures and demons, 
 obtained the name of " Brueghel d'Enfer." An example 
 of his style may be seen in the Brussels Museum, No. 3. 
 
 A contemporary of Pieter Brueghel the elder was Martin 
 de Vos (1531-1603), who studied in Italy. Many of his 
 crowded compositions are to be found in the Gallery at 
 Antwerp, Nos. 71 to 103. Here also Nos. 104, 7 are 
 good pictures by Cornelis de Vos, who lived fifty years 
 later ; a fine example is No. 832 at Berlin. At Brussels 
 works by both are to be found — by Martin some portraits, 
 Nos. 341, 2; and by Cornelis an admirable portrait group, 
 No. 453 (Plate XXVIII., 1). 
 
 Paul Bril (1556-1.626) was one of the early Flemish 
 landscape-painters ; he spent most of his life at Eome 
 with his elder brother Matthew, and died there. One of 
 his best works, ' Tobias and the angel,' is in the Gallery 
 at Dresden, No. 784, where there are also two landscapes 
 by Matthew, Nos. 777, 8. A fine specimen of Paul is at 
 Munich, No. 805 ; another is No. 714, at Berlin. Several 
 are in the Louvre, others in the Turin Gallery and in the 
 Uf&zi at Florence. 
 
 The commencement of the seventeenth century witnessed 
 a development of art in the Flemish school, differing from 
 any that had preceded it in the Netherlands and Brabant, 
 through the genius of Peter Paul Eubens, who was born at 
 Antwerp in 1577. His works rapidly attained an extra- 
 ordinary celebrity, and his pupils and followers were 
 
OF PAINTING IN FLANDERS. 
 
 numerous and enthusiastic. His fertility of conception 
 was remarkable, and he produced large and important 
 works with a facility hitherto unknown. They are 
 characterised by boldness of design, powerful dramatic 
 action, with great knowledge of the figure and a brilliancy 
 of colouring peculiar to the master. At the same time it 
 is impossible to overlook the fact that many well-known 
 examples exhibit drawing which is flagrantly incorrect, 
 colouring which is crude and unnatuial, vulgarity of form, 
 and even coarseness or bad taste in the subject. Much of 
 this faultiness is doubtless due to the very large share 
 which his pupils had in the production of the great works 
 which bear the master's name. Furthermore, it should 
 be remembered that some of these were painted to be seen 
 at considerable distance from the eye, and not at the 
 close range within which they are placed in museums. 
 Abundant illustrations of the accuracy of these remarks 
 may be seen in the large canvases which fill the Salle de 
 Eubens in the Pinacothek at Munich, those particularly of 
 the ' Last Judgment,' No. 258, ' Fallen angels,' No. 250, 
 ' Massacre of the innocents,' No. 269, and ' La femme 
 apocalyptique,' No. 281. Here may be seen numerous 
 nude figures, designed from repulsive models, and more- 
 over badly drawn and crude in colour ; while in an 
 adjacent cabinet some small and slight studies, designs in 
 fact for the larger works, from the hand of Kubens himself, 
 are in most instances infinitely finer than the completed 
 jjictures. See Nos. 889, 908, 1 7, &c. Numerous examples 
 of this class are found in the Hermitage, St. Petersburg, 
 such as Nos. 557, 69, 70, 2, 3, 90, 3 ; besides which should 
 be noted six fine sketches made in 1635 for triumphal arches 
 to grace the entry of the Infante Ferdinand of Spain into 
 Antwerp, Nos. 561-6. Two small works of this order are 
 at Berlin, of which No. 780 is worthy of note. 
 
 Kubens received his first instruction from Otho van 
 Veen, or Otto Vainius, an Antwerp painter, but when 
 twenty-three years of age he went to Italy, and remained 
 there seven years, chiefly at Venice, closely studying the 
 works of Paolo Veronese, whose style he emulated. On 
 his return he executed an almost incredible number of 
 
106 
 
 TEE BISE AND PROGRESS 
 
 Rvbens*s 
 
 sacred 
 
 works. 
 
 large pictures, which, testify to his having been a most rapid 
 and powerful painter. First among his productions ranks 
 the far-famed ' Descent from the cross/ now in. Antwerp 
 Cathedral, a truly magnificent composition, fi.nely drawn 
 and harmonious in colour (Plate XXVII., 1). Eubens's 
 other large work there, the ' Kaising of the cross,' which 
 hangs as its pendant, is inferior, although the Christ is 
 especially grand : the small painting of the ' Eesurrection ' 
 is still less pleasing. The Gallery at Antwerp contains 
 several examples of the master, three of which are among 
 his best works: the great ' Crucifixion,' No. 313, realistic 
 to a painful degree ; the ' Adoration of the magi,' No. 298, 
 remarkable for its brilliant colouring (Plate XXXIII., 8) ; 
 and the well-known ' Christ on the cross,' No. 297. The 
 ' Incredulity of S. Thomas,' No. 307, is a less important 
 painting. In the Church of S. Jacques there is a large 
 ' Holy family ' over the high altar, into which Eubens has 
 introduced the members of his family. The churches at 
 Mechlin are also rich in altarpieces by Eubens. In that 
 dedicated to S. John is a large ' Adoration of the magi,' 
 with two wings painted on both sides ; and in Notre Dame 
 is a similar altar piece, of which the centre panel finely 
 represents the ' Draught of fishes.' Large compositions 
 of the same character by Eubens are so numerous in 
 foreign galleries that only a few of the most important can 
 be enumerated. The Belvedere at Vienna, among several, 
 contains an ' Assumption of the Virgin,' ' S. Ambrose re- 
 fusing the Emperor Theodosius entrance to the church,' 
 ' S. Frangois Xavier working miracles,' and ' Ignatius 
 Loyola casting out devils,' forming Nos. 2, 8, 3, 1 Eoom 
 IV. ; and a large votive altarpiece of S. Ildephonse, No. 1 
 Eoom V. In the Liechtenstein Gallery, Vienna, there 
 are several works and excellent portraits ; but especially 
 to be noted is a series of paintings decorating a large hall, 
 Nos. 89 to 94, relating to the death of Decius. He is re- 
 presented at Berlin by a fine composition, the ' Eaising of 
 Lazarus,' No. 783. In the Hermitage, St. Petersburg, 
 may be noted a good ' Descent from the cross,' No. 546 ; a 
 ' Madonna with saints,' No. 541 ; and an ' Adoration of the 
 kings,' No. 536, in which the Madonna is a portrait of 
 
OF PAINTING IN FLANDERS. 
 
 107 
 
 Helena Fourment, among several others. Three very fine 
 large works are at Madrid, an ' Adoration of the kings,' 
 No. 1559, the 'Brazen serpent,' No. 1558 (of which there 
 is a small repetition in our National Gallery, No. 59), and 
 a dashing ' S. George and the dragon,' No. 1565. There 
 is a good ' Flight of Lot,' No. 425 in the Louvre. Two 
 large canvases are in the Lyons Museum, of which the 
 ' Adoration of the magi,' No. 83, is the finer. Two 
 pictures are at Cassel, a ' Holy family with saints,' No. 187, 
 and a ' Flight into Egypt,' No. 176. 
 
 Besides those works of which the subjects have been 
 chiefly taken from sacred history, Kubens executed numer- 
 ous historical, mythological, and allegorical paintings. 
 Our National Gallery contains two fair examples in the 
 ' Eape of the Sabines,' No. 38, and the * Judgment of Paris,' 
 No. 194, of which latter there is a fine repetition at Madrid, 
 No. 1590 (Plate XXVIL, 2). In the Salon Carre of the 
 Louvre is the large composition ' Tomyris and the head of 
 Cyrus,' No. 433. 
 
 A number of fanciful compositions, demanded at that 
 time by the taste of royalty, in a style which associated 
 portraiture with mythological characters, is well exem- 
 plified in the Louvre by twenty-one large canvases illus- 
 trating the history of Maria de' Medici, No. 434 to No. 454 
 (Plate XXVIL, 4). These were designed by the master, 
 and largely executed by his scholars. A good ' Venus and 
 Vulcan 'is No. 292 in the Brussels Museum. Two fine 
 compositions, smaller and superior to the foregoing, are at 
 Madrid — viz., the ' Garden of Love,' No. 1611 (repetitions 
 of which occur at Dresden and Vienna), and the * Peasants' 
 dance,' No. 1612. Mythological subjects abound in the 
 Dresden Museum, among which should be mentioned 
 ' Diana and nymphs,' No. 825. At Vienna, in the Belve- 
 dere, may be noted a ' Feast of Venus,' No. 7 Koom V., 
 and the ' Four quarters of the globe,' No. 10 Eoom IV.; 
 in the Pitti at Florence the * Horrors of war,' No. 86 ; and 
 in the Hermitage at St. Petersburg figures of ' Abundance 
 and the river Tigris,' No. 554, besides several small works, 
 such as Nos. 549, 552. Eather larger and particularly 
 fine are a * Group of children and fruit,' No. 779 (Plate 
 
 Ruhens 
 
 Mythologi* 
 cal workSf 
 
 Allegorical 
 works. 
 
108 
 
 THE RISE AND PROGRESS 
 
 Rubens, 
 
 Portraits* 
 
 Landscape 
 and 
 
 animalsm 
 
 XXVIL, 3), and a ' Perseus and Andromeda,' No. 785 at 
 Berlin. At Madrid important works by Eubens are 
 numerous : for example, ' Perseus and Andromeda,' No. 
 1584; 'Ceres and Pomona,' No. 1585; 'Ceres and Pan,' 
 No. 1593, in which the fruit is by Snyders; and the 
 ' Legend of Eodolf I. of Hapsburg,' No. 1566. 
 
 Eubens was scarcely less powerful as a portrait-painter. 
 His first and second wives, Isabella Brandt and Helena 
 Fourment, were very frequently painted by him. Of the 
 first there is a good portrait at Munich, seated with 
 Bubens himself, No. 256 (Plate XXVII., 6); another 
 seated is No. 575 in the Hermitage ; and one is at the 
 Hague, No. 213. Those of his second wife are to be found 
 in almost every gallery of Europe — at Vienna, Munich, 
 Paris ; and at the Hague there is an especially pleasing 
 likeness, No. 214; but the most magnificent one, life-size 
 and full-length, is No. 576 in the Hermitage. Other 
 portraits are in the Louvre, of which most worthy of note 
 are Nos. 450, 5, 6, 60. In the Pitti at Florence there is 
 an admirable portrait group, comprising Eubens himself 
 and the philosophers Lipsius and Grotius, No. 85 (Plate 
 XXVII., 5). Our National Gallery possesses a well-known 
 example in the ' Chapeau de poll,' No. 852. A pair of 
 excellent portraits deserve attention at Brussels, Nos. 294, 5. 
 Numerous and good examples of portraiture are to be seen 
 in the Madrid Gallery, Nos. 1606, 9, 10 ; and two equestrian 
 portraits, Nos. 1607, 8. Very fine portraits are to be found 
 in the Hermitage : a full-length of Philip IV., No. 559, 
 and three admirable portraits, Nos. 578, 80, 1, should be 
 mentioned, among many others. Many striking examples 
 are at Dresden, among which may be noted Nos. 845, 7, 9. 
 
 Landscapes and animal pieces are often to be met with 
 by this fertile master. At Vienna Nos. 13, 19 Eoom V., 
 and No. 7 Eoom IV., and at Munich Nos. 916, 22, are all 
 good examples. With these should be classed his ' Lions,' 
 No. 592 in the Hermitage ; and his ' Tigress and lion,' 
 No. 834 at Dresden. One of the best of these is at 
 Madrid, No. 1583 ; and No. 1594 is a representation of 
 ' Mercury and Argus,' in which the landscape is prominent. 
 Two admirable landscapes may be seen in the Hermitage, 
 
I 
 
 OF PAINTING IN FLANDERS. 
 
 109 
 
 Nos. 594, 5, the first with the rising moon, the second 
 with a rainbow. Others are Nos. 9, 14 in the Pitti. A 
 scrand view of the Escorial is No. 836 at Dresden. A 
 fine 'Autumn' landscape is in our National Gallery, 
 No. 66. 
 
 In representations of ariimals Eubens was surpassed by 
 Frans Snyders (1579-1657), one of the most vigorous and 
 talented portrayers that ever lived of hunted animals. 
 In the Hague Gallery there is a good example of a 
 stag-hunt. No. 222, the landscape in which is by Eubens. 
 At Brussels, No. 314, and at Antwerp, No. 335 (Plate 
 XXVIII., 9), are fine works of Snyders, as are also Nos. 
 297, 305, 17 in the Munich Pinacothek, and Nos. 270, 1 in 
 the Trippenhuis at Amsterdam. At Madrid are several 
 very fine works, especially Nos. 1677, 84. In the Hermitage 
 are some of his chief large canvases : among them should 
 be noted the * Fruit-seller,' the '■Vegetable-seller,' the ' Fish- 
 dealer,' and the ' Game-shop,' each with figures of life-size, 
 Nos. 1312 to 1315. Others are in the Louvre, at Berlin, 
 at Dresden, rich in good specimens, and elsewhere, for 
 which see catalogues. 
 
 Jan Fyt (1625-71) was another Flemish artist who 
 excelled particularly in painting dead game, as well as 
 flowers and fruit. Of the latter several fine specimens are 
 extant ; for example. No. 225 in the Turin Gallery. 
 Many excellent studies of the first-named subjects are 
 to be found in the Antwerp Gallery, Nos. 171, 2 (Plate 
 XXXIII., 6) ; in the Pinacothek at Munich, Nos. 325, 39, 
 41 ; and in the Madrid Gallery, Nos. 1369, 70. Other 
 examples are to be found in the Louvre, at Vienna, and 
 one in our National Gallery, No. 1003. 
 
 Jacob Jordaens (1593-1678) was one of Kubens's most 
 distinguished scholars and followers : he was most suc- 
 cessful in his reproductions of low life, and these were 
 generally wanting in the nobler qualities of his master. 
 A few of the larger and best of his works can alone be 
 enumerated. Some of the finest of these are at Brussels, 
 Nos. 216 to 221 ; No. 217, an allegory, being perhaps the 
 chief. At Munich, in the Pinacothek, No. 324 is a good 
 example. The Hermitage contains many works, among 
 
 Rvbens. 
 
 Frans 
 Snyders. 
 
 Jan Fyt. 
 
 Jacob 
 Jordaens, 
 
I 
 
 no 
 
 THE RISE AND PROGRESS 
 
 Jacob 
 Jordaens. 
 
 Van Dych 
 
 Sacred 
 subjects. 
 
 Portraits. 
 
 Charles /. 
 
 whicli Nos. 647, 51, 2, 3, his own portrait, may be men- 
 tioned. Numerous examples are at Dresden, of which No. 
 961 is one of the best. In the Louvre are several excellent 
 works, Nos. 251 to 257. In the Trippenhuis at Amsterdam, 
 No. 202 ; in the Antwerp Museum, Nos. 215 to 222 ; in 
 the Belvedere at Vienna, No. 27 Eoom VI. 1st floor ; in 
 the Madrid Gallery, Nos. 1404, 5, 7, 10; and in the Cassel 
 Gallery, No. 266. 
 
 By far the greatest of Eubens's pupils was the re- 
 nowned Anton van Dyck (1599-1641), one of the first 
 masters of portraiture that ever lived, although his pro- 
 ductions were not confined to this branch of art alone. 
 One of his finest is the large ' Crucifixion ' in the Cathedral 
 of Mechlin (Plate XXVI., 3) ; and a small picture of the same 
 subject is in the Church of S. Jacques at Antwerp. Two 
 altarpieces are at Vienna, Nos. 2, 8 Eoom III. 1st floor; 
 and another is the ' Incredulity of S. Thomas,' No. 607 in 
 the Hermitage, St. Petersburg. A favourite subject with 
 the master is the ' Dead Christ' : one of these is in the 
 Berlin Museum, No. 778, where there is also a ' Christ 
 crowned with thorns,' No. 770 ; while at Antwerp, Nos. 
 403, 4, and at Munich, Nos. 203, 12, are similar examples. 
 Eepresentations of the Holy family by Van Dyck are to 
 be found in many galleries : as, for instance, that fine 
 work in the Louvre, No. 137 ; one at Vienna, No. 33 
 Eoom III. 1st floor ; the admirable one known as the 
 ' Vierge aux Perdreaux,' No. 603 in the Hermitage, of 
 which there is almost a replica in the Pitti ; in the Turin 
 collection. No. 384; and in the Accademia di S. Luca at 
 Eome, No. 13. 
 
 But it is in portraiture that he has rarely been equalled, 
 for delineation of character, ease of pose, charm of expres- 
 sion and pictorial quality, and works of this class best 
 display the great talents of the master. Examples are 
 to be seen in almost every European gallery, for Van 
 Dyck was held in great esteem by the aristocracy of 
 Italy, England, and Spain. At these three courts he 
 passed his life, occupied in painting the portraits of some 
 of the best-known men of the time. Several are pre- 
 served of Charles I. and of his family, which may first 
 
OF PAINTING IN FLANDERS. 
 
 Ill 
 
 be mentioned. The King is represented in a grand 
 portrait in the Louvre, No. 142 (Plate XXVI., 1); at 
 Hampton Court, No. 85 ; at Dresden, No. 985, No. 986 
 being Queen Henrietta Maria; in the Hermitage, St. 
 Petersburg, No. 609, with its pendant, the Queen, No. 
 610 ; and in the Pitti at Florence, together with his Queen, 
 Henrietta Maria, No. 150. Perhaps the most charming of 
 Van Dyck's productions is a group of the three children 
 of Charles I., No. 338 in the Turin Gallery, a masterpiece 
 of composition, colour, and technical power, which alone 
 is worth a journey to Turin to see. A similar group, but 
 less pleasing, is at Dresden, No. 987 ; another, very beauti- 
 ful, No. 790, is at Berlin ; a small study is in the Louvre, 
 No. 143 ; a portrait of William of Orange as a boy, No. 
 611, and a girl and boy of the Wharton family, No. 618 
 are both in the Hermitage ; and the portraits of two 
 children are at Amsterdam in the Trippenhuis, No. 102. 
 There are two noble equestrian portraits by Van Dj ck 
 which should be remembered : one at Turin of Prince 
 Thomas of Savoy, No. 363 ; and the other in the Tribune 
 of the Uffizi at Florence of Charles V., No. 1128. Equally 
 fine portraits — some full-length and others smaller — are 
 those of Prince Thomas of Cario;nan and of the Infanta 
 
 It. o 
 
 Isabella of Spain, Nos. 782, 88, among many admirable 
 examples in the Berlin Museum ; of Cardinal Bentivoglio, 
 No. 82 in the Pitti; of Jean Monfort, No. 1115 in the 
 Uffizi ; of Charles Malery, No. 209, among several others at 
 Munich ; and of Alexandre de la Faille, No. 192 at Brussels 
 (Plate XXVIII., 2). A large number of good examples 
 are in the Hermitage, mostly English portraits, such as 
 those of Earl Danby and Sir Thomas Wharton, Nos. 615, 
 17 ; Archbishop Laud, No. 612 (a replica of the picture at 
 Lambeth Palace) ; Inigo Jones, No. 626 ; and many others, 
 which will be found in the catalogue. In the Liechten- 
 stein Gallery, Vienna, are several others, of which Nos. 
 115, 18 are the best. The Madrid Gallery contains 
 several fine portraits : especially remarkable are Nos. 1320, 
 2, 7, 8, 9, 30 (the well-known double portrait of A. van 
 Dyck and the Count of Bristol), and No. 1331. Among 
 many in the Cassel Gallery also Nos. 291, 3, 7 should 
 
 Van Dyck, 
 
 Children, 
 
 Equestrian 
 and others. 
 
112 
 
 THE BISE AND PR0GBES8 
 
 J. Sustcr- 
 mans. 
 
 Gaspard de 
 Grayer. 
 
 Van DycL be noticed ; also some splendid portraits in the Palazzo 
 Brignoli at Genoa. In the Louvre are many excellent 
 specimens, Nos. 145 to 155, among which Nos. 148 to 150 
 are particularly fine ; so also at the Hague are Nos. 203-6, 
 and at Antwerp No. 405 ; two or three are in our National 
 Gallery — No. 52, the so-called 'Head of Gevartius,' being 
 the best. Two admirable examples are in the National 
 Gallery, Edinburgh, Nos. 318, 19. .Besides all these there 
 is the magnificent collection of portraits in the possession 
 of the Queen at Windsor Castle. 
 
 Justus Sustermans (1597-1681), the friend of Van 
 Dyck, like him, succeeded best in portraiture. He studied 
 and painted much in Italy. The Pitti possesses an ad- 
 mirably painted ' Infant prince,' No. 190 : other examples 
 are in the Lucca Gallery, Nos. 6, 7, 8, and elsewhere. 
 
 Gaspard de Grayer must be named here, although born 
 in 1582, some years before Van Dyck. He was a con- 
 temporary of Eubens, and an excellent portrait-painter in 
 his own style, which possessed the drier manner of the 
 German school, and strongly contrasted with that of the 
 great colourist. Later in life he painted some important 
 sacred subjects, examples of which are to be seen in the 
 Museum of Brussels, Nos. 167, 9, 413 being the best 
 among many. There is a 'Madonna and saints,' No. 314 
 at Munich; and another* is in the Louvre, No. 102, where 
 also is an equestrian portrait, No. 103. 
 P.deCham- Philippe de Champaigne (1602-74) was a Fleming by 
 paigne. birth and early education, but afterwards studied and 
 resided chiefly in France. Examples of his works, which 
 were partly religious compositions, but chiefly portraits^ 
 may be seen as follows. Of the first class, some of the 
 most important are, in the Museum of Lyons, the ' Finding 
 of the relics of S. Gervais,' No. 105 ; the ' Moses and the 
 law,' No. 664 in the Hermitage ; an * Adam and Eve 
 weeping over Abel,' No. 2 Eoom 1. 1st floor in the Belvedere, 
 Vienna; and the 'Christ in the house of Simon,' No. 76 
 in the Louvre. Several portraits are also to be found here, 
 among which Nos. 83, 8, 94 are the best. The master is 
 nowhere better seen than at Brussels : of his works there 
 may be mentioned a series from the legend of S. Benedict, 
 
OF TAINTING IN FLANDERS. 
 
 113 
 
 Nos. 142-146, and two fine single figures of saints, 
 Nos. 140, 1. 
 
 It can scarcely be said that a Flemisli school of distinct 
 character existed after the era of Eubens and his immediate 
 followers. The names of a few who may be held to merit, 
 at all events to some extent, the appellation of Flemish," 
 may follow here. 
 
 In portraiture may be noted Marc Gerard, Gonzales 
 Cocqnes, Jacqnes van Oost, the elder and younger. 
 
 Painters of historical or mythological subjects may be 
 noted : Erasmus Quellinus, Theodore van Thulden, Abraham 
 van Diepenbeck — all three pupils of Kubens ; Pieter 
 Snayers ; Theodor Kombouts ; J. G. de Lairesse ; and 
 Van der Meulen, the historical painter of Louis XIV., 
 whose works are in the Louvre. 
 
 Architecture : Pieter Neefs, the elder, whose church 
 interiors are admirable; and the younger; Hendrik van 
 Balen. 
 
 Landscape : Eoelandt Savery, Jacques d'Arthois, J. F. 
 Millet (Francisque), Cornells Huysmans. 
 
 Still-life : Adrian v. Utrecht, Alexander Adriaenssen, 
 the younger, Jan van Essen, Daniel Seghers, Clara Peeters. 
 
 Illustrative works by all these will be found noted in 
 the numerous cataloacues at the end of this volume. 
 
 P. de Cham- 
 paigne. 
 
 1 
 
 1 
 
 I 
 
114 
 
 THB BISE AND PROGRESS 
 
 A TABLE 
 
 Of the Dates of the Principal Painters of the Flemish School. 
 
 School. 
 
 Bruges 
 Bruges . 
 Tournai . 
 Bruges . 
 Bruges . 
 Louvaiu . 
 
 Ghent 
 
 Ghent 
 Ghent 
 Bruges . 
 Bruges . 
 
 Antwerp . 
 Antwerp . 
 Brussels . 
 Mechlin . 
 Liege 
 Antwerp . 
 Antwerp . 
 Utrecht . 
 Brussels . 
 Antwerp * 
 Antwerp . 
 Antwerp . 
 Antwerp . 
 Bruges . 
 Brussels . 
 Brussels . 
 Antwerp . 
 Antwerp . 
 
 Jean van der Asselt, records 1364- 
 1386 
 
 Melchior Breeder lam, or Breeder- 
 lain, records 1382-1401 . . . 
 
 Jean Malwel, or Melouel, first record 
 1392 . 
 
 Hubert van Eyck 
 
 Jan van Eyck, about ..... 
 
 Rogier van der Weyden .... 
 
 Hans Memling 
 
 Petrus Christus, records 1444-71 
 
 Dierick Bouts, or Stuerboudt, first 
 record 1450 
 
 Gerard van der Meire, records 1447- 
 74 
 
 Hugo van der Goes 
 
 Justus of Ghent 
 
 Gherardt David, first record 1487 . 
 
 Joachim de Patinir, painted 1515- 
 24 
 
 Quiutin Matsys ...... 
 
 Jan Gossaert Mabuse .... 
 
 Bernard van Orley 
 
 Michiel Coxcyen, or Coxie . 
 
 Lambert Lombard, or Sustermann . 
 
 Peter Pourbut* 
 
 Frans Floris 
 
 Antonio Mor, or Moro .... 
 
 Pieter Brueghel, elder .... 
 
 Martin de Vos 
 
 Frans Pourbus, elder .... 
 
 PaulBril . 
 
 Otho van Veen, or Vsenius . 
 
 Marc Gerard 
 
 Pieter Brueghel, younger 
 
 Jan Brueghel, Velvet " ... 
 
 Frans Pourbus, younger .... 
 
 Pieter Neefs, elder, about 
 
 Eoelandt Savery 
 
 1366 
 1386 
 1400 
 1430? 
 
 1468 
 
 1466 
 1470 
 1470 
 1499 
 1506 
 1510 
 1520 
 1525 
 1530 
 1531 
 1540 
 1556 
 1558 
 1561 
 1564 
 1568 
 1570 
 1570 
 1576 
 
 Death. 
 
 1415 
 1426 
 1440-1 
 1464 
 1495 
 
 1475 
 
 1482 
 1523 
 
 1529 
 1532 
 1541 
 1592 
 1566 
 1583 
 1570 
 1581 
 1569 
 1603 
 1580 
 1626 
 1629 
 1635 
 1637 
 1625 
 1622 
 1651 
 1639 
 
OF PAINTING IN FLANDERS, 
 
 115 
 
 Srhohl 
 
 
 JLIJX tlx. 
 
 
 Antwerp . , 
 
 Peter Paul Rubens . , . . . 
 
 1577 
 
 1640 
 
 Antwerp . 
 
 Frans Snyders 
 
 1579 
 
 1657 
 
 *Antwerp . 
 
 David Teniers, elder 
 
 1582 
 
 1649 
 
 Antwerp . 
 
 Gaspard de Grayer , » . . . 
 
 1582 
 
 1669 
 
 Antwerp . 
 
 Cornelis de Vos 
 
 1585? 
 
 1661 
 
 Antwerp . 
 
 Daniel Seghers 
 
 1590 
 
 1661 
 
 Antwerp . 
 
 Pieter Snayers 
 
 1593 
 
 1670? 
 
 Antwerp . 
 
 Jacob Jordaens ...... 
 
 1593 
 
 1678 
 
 Antwerp . 
 
 Theodor Rombouts . . . . 
 
 1597 
 
 1637 
 
 Antwerp , 
 
 Justus Sustermans 
 
 1597 
 
 1681 
 
 Antwerp . , 
 
 Anton van Dyck 
 
 1599 
 
 1641 
 
 Antwern . 
 
 Adrian v. Utrecht 
 
 1599 
 
 1652 
 
 Brusres . 
 
 J acques van Oost, elder .... 
 
 1600 
 
 1671 
 
 Antwerp . . 
 
 Pieter Neefs, younger .... 
 
 1600 
 
 1675 
 
 Brussels . 
 
 Philippe de Champaigne. 
 
 1602 
 
 1674 
 
 
 Jan van Essen . . . . ^ . 
 
 1607 
 
 1662 
 
 Antwerp , • 
 
 Abraham v. Diepenbeck .... 
 
 1607 
 
 1675 
 
 Antwerp . 
 
 Theodore van Thulden .... 
 
 1607 
 
 1676 
 
 . Antwerp . 
 
 Erasmus Quellinus 
 
 1607 
 
 1678 
 
 Antwerp . 
 
 David Teniers, younger .... 
 
 1610 
 
 1694 
 
 Brussels . . 
 
 Jacques d'Arthois 
 
 1613 
 
 1684 
 
 Antwerp . 
 
 Gonzales Cocques 
 
 1614 
 
 1684 
 
 Antwerp . 
 
 Jan Fyt 
 
 1625 
 
 1671 
 
 Antwerp . 
 
 Abraham Teniers 
 
 1629 
 
 1671 
 
 Brussels . 
 
 Anton F. van der Meulen 
 
 1634 
 
 1690 
 
 Brusres . 
 
 Jacques van Oost. younsrer . 
 
 1639 
 
 1713 
 
 Liege 
 
 J. G. de Lairesse 
 
 1640 
 
 1711 
 
 Antwerp . 
 
 J. F. Millet (Francisque) . . . 
 
 1642 
 
 1680 
 
 Antwerp . 
 
 Cornelis Huysmans ..... 
 
 1648 
 
 1727 
 
 A. Adriaenssen, younger .... 
 
 
 1685 
 
 
 Clara Peeters, 17th century . 
 
 
 
 * The three Teniers, although Flemish by birth, were so closely allied in style 
 to the Dutch school, that their history and works will be considered under that 
 heading. 
 
116 
 
 THE RISE AND PB0GBE8S 
 
 THE RISE AND PROGRESS OF PAINTING IN HOLLAND. 
 
 Fifteenth 
 century. 
 
 Geerrifvan 
 Haarlem. 
 
 EngeU 
 bertsz. 
 
 It is impossible to speak with certainty of the origin of 
 painting in Holland. That a very early school did exist 
 is not doubtful : traces of ancient mural decorations are 
 extant, and furthermore there is reason to believe that, 
 among the numerous pictures known to have been 
 destroyed by zealous fanatics, certain works of the four- 
 teenth and fifteenth centuries were altogether lost, and with 
 them the names of their authors. The earliest of whom 
 trustworthy records remain are Albert van Ouwater and 
 his pupil Gerhard or Geerrit van Haarlem, both born at 
 Haarlem, and probably painting about the middle of the 
 fifteenth century. The Belvedere at Vienna has two 
 panels representing a ' Dead Christ and mourners ' and 
 ' Scenes from the legend of the body of John the Baptist,' 
 Nos. 58, 60 Eoom II. 2nd floor, ascribed to the latter ; and 
 there is also a triptych at Munich so named, Nos. 84, 5, 6 ; 
 but it must be admitted that no works of either are now 
 extant which can be regarded with certainty as authentic, 
 The influence of the Van Eycks gave a great impulse to 
 the practice of pictorial art in Holland towards the end of 
 the fifteenth century ; and at Leiden are to be found the 
 earliest examples of the Dutch school. These are the 
 works of Cornelis Engelbertsz (1468-1533), two of which 
 are preserved in the Stedelijk Museum there, Nos. 9, 10. 
 The former is an altarpiece in three compartments, the 
 centre, a * Crucifixion,' in excellent preservation, is a large 
 and crowded composition, suggesting the style of Eogier 
 van der Weyden, with much warmth of colour and minute 
 finish of rich costume, doubtless learned from the Van 
 Eycks. The wings depict the ' Sacrifice of Isaac ' and the 
 ' Brazen serpent.' Beneath the centre is a small and quaint 
 predella. No. 10 is a ' Deposition,' similarly treated ; the 
 
OF PAINTING IN HOLLAND, 
 
 117 
 
 centre compartment is flanked by some admirably painted 
 Gothic tracery containing six small and highly finished 
 scenes from the Passion in a brownish grisaille. Other 
 subjects occupy the wings, which have figures in grisaille 
 on their exterior. A small panel, No. 714, is attributed to 
 him in our National Gallery. 
 
 Lucas van Leiden (1494-1533), the next great name in 
 this school, is known almost exclusively as an engraver. 
 Nevertheless he executed some excellent work as a 
 painter, examples of which are very rare. The chief is 
 the * Last Judgment' at Leiden, No. 17 in the Stedelijk 
 Museum, hanging between the two pictures just described. 
 It is a large and important altarpiece in three compartments. 
 The colours are light and bright, with little shadow ; out- 
 lines firm and distinct; the nude figures, which abound 
 throughout, well drawn and highly finished; positions, 
 some easy, some affected. The subject occupies the three 
 compartments. On the outer surfaces of these are two 
 admirable figures, about three feet high, of S. Peter and 
 S. Paul, drawn and painted in a broad and masterly style. 
 There is a good example in the Stadel, Frankfort, No. 70a, 
 a ' Christ on the cross ' ; a triptych is at Antwerp, Nos. 
 108, 9, 10 (Plate XXVIIL, 7) ; and a ' Madonna ' is ascribed 
 to him at Munich, No. 743. 
 
 Another painter of this time was Jan Schoorl or Schoorel 
 of Utrecht (1495-1562), who spent much of his time in 
 Italy, and was the master of Antonio Moro the Fleming. 
 Two panels in our National Gallery, Nos. 720, 1, are 
 attributed to him. Two admirable portraits are Nos. 478, 9 
 in the Hermitage, St. Petersburg ; two others are Nos. 
 66, 7 Eoom II. 2nd floor in the Belvedere at Vienna. His 
 pupil, Martin van Heemskerck, is represented in the 
 Hermitage by a fine ' Crucifixion,' No. 490. 
 
 About this epoch the painting of devotional subjects 
 gradually ceased, while portraiture, especially in connec- 
 tion with the ancient guilds of Holland, and in the form 
 of scenes from domestic life, chiefly occupied the Dutch 
 painters of the end of the sixteenth century and sub- 
 sequently. But before considering these, an artist of some 
 merit must be briefly noticed, Cornells Cornelisz, or Van 
 
 Engel- 
 hertsz. 
 
 L. van 
 Leiden. 
 
 Sixteenth 
 century. 
 
 Jan 
 
 Schoorl. 
 
 Heems- 
 kerck. 
 
 Cornel is v. 
 Haarlem. 
 
118 
 
 THE BISE AND FBOGBESS 
 
 Cornelis v. 
 Haarlem. 
 
 Dutch por- 
 traiture. 
 
 Mierevelt, 
 
 Moreehe. 
 
 Bavesteyn. 
 
 Seventeenth 
 century. 
 
 Frans 
 Hals. 
 
 Haarlem (1562-1638), who painted the nude figure with 
 grace and apparently under the influence of Italian art. 
 Two good examples are in the Hermitage, — No. 505, a 
 ' Baptism,' and No. 506, ' Cimon and Iphigenia ' : one of 
 his best is a ' Bathsheba/ No. 734 at Berlin ; two large 
 pictures are Nos. 19 and 19 bis at the Hague. 
 
 Of the great school of portrait-painters in Holland, 
 Michiel van Mierevelt (1567-1641) and his pupil Paul 
 Moreelse (1571-1638) were among the earliest. Examples 
 of Mierevelt may be seen in the Trippenhuis, Amsterdam. 
 No. 244 is remarkable, among others. Several portraits 
 are at the Hague, Nos. 76-84. Four fine portraits maybe 
 found in the Hermitage, Nos. 740-3 ; and one of the Earl 
 of Southampton in our National Portrait Gallery. An 
 example of Moreelse, among others at Amsterdam, is the 
 ' Little princess,' No 267 ; others are at the Hague. Two 
 good portraits are Nos. 744, 5 in the Hermitage ; one is at 
 Dresden, Nos. 2424. 
 
 Jan van Eavesteyn (1572-1657), formerly an obscure 
 artist of the Hague, deserves to be better known than he 
 appears to be, for he executed some excellent portraits. 
 The best of these are to be seen in the Musee Communal at 
 the Hague, and in the Eoyal Museum there, which has re- 
 cently acquired several fine examples. Works by him in 
 other galleries are rare. That of Munich contains two 
 portraits, Nos. 182, 4 ; and that of Brussels two, Nos. 275, 6. 
 The Museum at Berlin has a male portrait No. 757a ; and 
 one is ascribed to him at Dresden, No. 1106. 
 
 Frans Hals (1584-1666) came next. His work can be 
 seen and studied best at Haarlem, his native place, where 
 in the Stadhuis are no less than eight very large examples 
 of his vigorous and masterly style — most of them contain- 
 ing eleven or twelve figures. The painting of some of 
 these is so slight, yet at the same time so effective that they 
 should be described rather as magnificent sketches than 
 as pictures. On the other hand, some of his work is 
 highly finished. The Hofje van Beresteyn at Haarlem 
 possesses four single figures by the master ; but the 
 beautiful picture of a girl there, is now thought by some 
 authorities to be the work of Jan van Eavesteyn. Three 
 
OF PAINTING IN HOLLAND. 
 
 119 
 
 admirable paintings by Hals are in the Trippenhuis at 
 Amsterdam, Nos. 134, 5, 6, of which the first named, a 
 portrait of himself and his wife full-length, is a brilliant 
 specimen ; besides others in the Six and Van der Hoop 
 Collections, and a large work in the Stadhuis there. Quite 
 different from these is a small portrait of a cavalier 
 sitting, painted in a careful yet masterly manner. No. 416 
 in the Brussels Museum (Plate XXVIII., 6). At Cassel 
 are several examples, Nos. 222-8 ; at Dresden four, Nos. 938 
 -40 and No. 2368, portraits ; in the Hermitage, St. Peters- 
 burg, are five, Nos. 770-4 : and in the Berlin Museum, 
 among other works, Nos. 800, 1, 801c, e, and f, are the best. 
 A fine full-length portrait is No. 150 in the Liechtenstein 
 Gallery, Vienna. The Stadel, Frankfort, possesses a fine 
 female portrait. No. 160, among others. In the La Gaze 
 Collection at the Louvre are two portraits, Nos. 65, 6 ; in the 
 Louvre one. No. 190 : in our National Gallery, the portrait 
 of a woman, No. 1021 ; and at Hampton Court two, not easily 
 seen, a small bold sketch of a man. No. 676 ; and the head 
 of a boy laughing. No. 682, one of his favourite subjects. 
 
 Contemporary with Frans Hals were two masters of 
 portraiture, Daniel My tens of the Hague (about 1590-1656) 
 and Thomas de Keyser, often called Theodore (about 
 1595-1660). Mytens was better known in England as a 
 portrait -painter than in bis own country. He worked 
 here for some time in his capacity of court painter to 
 Charles I., and was eventually superseded by Van Dyck. 
 Among several examples of his work at Hampton Court, 
 the portrait of James, Marquis of Hamilton, No. 44, 
 deserves mention. Mytens had a grandson of the same 
 name, called the younger, by whom there are portraits at 
 Amsterdam and elsewhere. Thomas de Keyser executed 
 some excellent small groups and single portraits. At the 
 Hague, Nos. 61, 2, and in the Trippenhuis at Amsterdam, 
 No. 207, are good examples of both kinds. Our National 
 Gallery possesses a fair specimen, a ' Merchant and his 
 clerk,' No. 212. Two fine life-size portraits with others 
 are in the Museum, Berlin, Nos. 750b, 753b : at Darmstadt 
 Nos. 356, 7, and at Brussels Nos. 424, 5, are good portraits. 
 , Several painters of civic portraiture flourished at this 
 
 Frans 
 Hals, 
 
 Mytens. 
 
 Thomas de 
 Keyser, 
 
 Civic 
 
 portraiture. 
 
120 
 
 THE RISE AND PBOGRESS 
 
 Civic 
 portraiture. 
 
 Rembrandt, 
 
 Small 
 works. 
 
 period in Holland. As they displaj^ little originality ir 
 technical treatment, it suffices to name the following : Jan 
 de Bray (died 1697), many of whose large portrait groups 
 are to be seen in the Townhall, Haarlem, which also' 
 contains several examples of Jan Verspronck (died 1662). 
 C. W. Eversdyck, who painted in the same century, may 
 be studied in the^ Kotterdam Museum. 
 
 Following these in order of date are Rembrandt, Fer- 
 dinand Bol, Bartholomaus van der Heist, and Govert 
 Flinck. 
 
 Eembrandt van Ryn of Leiden (1607-69), the great 
 master of the Dutch school, differs from all others, and is 
 pre-eminent by his wonderful and diverse talents. The 
 first characteristic of his style is his mode of distributing 
 the light and shade of the composition. A strong light 
 illuminates the central object, whether a figure or group, 
 while all the rest is bathed in deep warm shadow, relieved 
 only by faint secondary radiations from the centre light,^ 
 This system constitutes essentially his style, and it per- 
 vades equally the large paintings, his portraits, his small 
 highly finished pictures, and many of his etched works, 
 which are numerous and well known. 
 
 The earliest work of Eembrandt was minutely finished, 
 yet it exhibited the same breadth and chiaroscuro as that 
 of his later period, which was marked by more free and 
 masterly handling. A remarkable example of the former 
 is the 'Simeon in the temple,' No. 114 in the Hague 
 Museum, a canvas of small size, painted when he was 
 twenty-four years of age. Similar examples are the 
 'Woman taken in adultery,' No. 45 in our National 
 Gallery (Plate XXIX., 3); and the 'Angel Eaphael 
 leaving Tobias,' No. 404, the ' Pilgrims of Emmaus,' No. 
 407, a ' Philosopher in meditation,' No. 408, and a ' Cottage 
 interior,' No. 410, all in the Louvre. Belonging to this 
 group should be noted the ' Parable of ^he labourers,' No. 
 798, among others by him in the Hermitage ; also, though 
 quite different in subject, the ' Eape of Proserpine,' a re- 
 markable work. No. 823 at Berlin. Very beautiful is a 
 'Descent from the cross,' No. 849 in the Pinacothek at 
 Munich, forming part of a series there of six scenes from 
 
/ 
 
OF PAINTING IN HOLLAND. 
 
 121 
 
 the life of Christ. Another work on a larger scale with 
 numerous figures, but intermediate in size between these 
 and the next class, is the ' Descent from the cross/ No. 800 
 in the Hermitage, St. Petersburg, in which the body of 
 Christ is beautifully illuminated by a torch, screened by a 
 cap from the spectator. At Dresden two Old Testament 
 subjects of large size are to be seen, Nos. 1217, 20. In 
 the Hermitage, which possesses the best and largest col- 
 lection of Eembrandt's works in Europe, there is a 
 ' Sacrifice of Isaac,' one of the finest of this class, No. 792 ; 
 also the 'Abraham entertaining angels,' No. 791, the 
 ' Eeturn of the prodigal,' No. 797, both of the highest rank, 
 and two less admirable, the 'Coat of many colours,' No. 
 793, and the ' Denial of Peter,' No. 799. At Berlin ' Moses 
 breaking the tables of the law,' No. 811, a ' Sampson and 
 his father-in-law,' No. 802, and in the Cassel Museum 
 ' Jacob blessing Ephraim and Manasseh,' No. 367, must bo 
 named. So also should the frequently repeated 'Bath- 
 sheba,' No. 116 in the Hague, and again in the Steengracht 
 Collection there. In the Hermitage is a ' Holy family,' 
 No. 796, consisting of an admirably painted Dutch interior 
 with peasants, and an infant in a cradle in the foreground. 
 All these sacred subjects abound in anachronisms of dress 
 and local incident, and faithfully reproduce Dutch type 
 and character, but adhesion to archaeological truth was not 
 at this period regarded as any part of a painter's duty. 
 
 Of the large works painted in Eembrandt's more 
 matured but still early style, one of the very finest, dated 
 1632, is the famous 'Lesson in anatomy,' No. 115 at the 
 Hague — a picture in which the light seems almost to pro- 
 ceed from the canvas itself; and so admirable is the 
 management of it, and so perfect is the composition, that 
 for these qualities alone it deserves a careful study (Plate 
 XXIX., 2). The celebrated so-called ' Eonde de nuit,' 
 which is really a daylight subject, No. 348 in the Trippen- 
 huis at Amsterdam, was painted in a larger manner in 
 1642 (Plate XXIX., 1). There also. No. 349, is the 
 splendid group of the ' Syndics,' painted in 1661 in the 
 same manner ; it is difficult to conceive a more perfectly 
 executed group of portraiture. A masterly production in 
 
 Bembrandt. 
 
 Large 
 v)orks. 
 
122 
 
 THE BI8E AND PROGRESS 
 
 Rembrandt, 
 
 Portraits, 
 
 Small 
 portraits. 
 
 the Van der Hoop Museum, Amsterdam, No. 95, known as 
 the ' Betrothed Jewess,' is believed to be his last work. 
 Kembrandt attempted a life-size * Danae,' and produced 
 a grand composition, rich in colour and in magnificent 
 accessories ; but the figure is, as might be expected, short 
 and without grace, coarsely conceived and executed : it is 
 No. 802 in the Hermitage. 
 
 His single portraits are very numerous, almost always 
 life-size* There are many of himself at various periods of 
 his life ; for example, two are in our National Gallery, 
 Nos. 221, 672 ; and, among other excellent heads, there 
 are several in the long gallery of the Louvre, Nos. 412, 13, 
 14, 15, and others. An admirable one is in the Hague 
 Museum, No. 118. Another, painted in 1637, is No. 811 
 in the Hermitage. Eembrandt's very grand half-lengths 
 of the Burgomaster Six and his mother are still in the Six 
 Collection, Amsterdam. A fine composition in his best 
 manner is the portrait of himself, with his wife, at Dresden, 
 No. 1225. In the gallery at Cassel are no less than 
 twelve excellent specimens, of which Nos. 347, 56, his 
 first wife when young, 358, 9, are very fine, and there is a 
 noble full-length portrait, No. 364. Equally good are the 
 portraits of Govert Flinck and of his wife, Nos. 323, 9 in 
 the Pinacothek, Mtinich ; several excellent examples are at 
 Vienna, the best that of his mother, No. 39 Eoom I. 1st 
 floor ; and there is a fine Work at Madrid, a representation 
 of his wife as Queen Artemisia, No. 1544. Many portraits 
 are in the Dresden Gallery ; most admirable is that of his 
 wife holding a pink in her hand, No. 1219 : others will be 
 found in the catalogue. In the Dulwich Gallery the 
 portrait of his servant-maid. No. 206, and the so-called 
 portrait of Philip Wouwerman, No. 282, are admirable. 
 Our National Gallery possesses the well-known and 
 marvellous portrait of an old lady in a white cap and ruff, 
 No. 775, besides other examples Nos. 190, 237, 243, 850. 
 
 Eembrandt occasionally, but very rarely, painted small 
 heads in a more finished manner : a beautiful example of 
 a man in a velvet cap on a panel less than a foot square is 
 in the little Museum at Innspruck ; another similar in 
 size is in the Turin Gallery, No. 382 ; one in the Czernin 
 
OF PAINTING IN HOLLAND. 
 
 123 
 
 Gallery at Vienna, No. 232 ; and a fourth at Dulwicli, No. 
 189. His finest small portraits are in the Hermitage; 
 that of his mother, No. 807, is a perfect gem for finish and 
 colour, and no less perfect is that of a woman fastening an 
 earring. No. 817. Two of the same size are attributed to 
 the master in the Antwerp Gallery, Nos. 294, 5, but are 
 much inferior, as also is one in the Louvre, No. 418. 
 
 Kembrandt painted a few landscapes in a broad style, 
 with dark effects, of which the following may be observed : 
 Nos. 368, 72 at Cassel, No. 688 at Brunswick, No. 1232 at 
 Dresden, a specimen of small merit, No. 830 in the 
 Hermitage, a ' Jacobus dream,' No. 179 at Dulwich, and in 
 our National Gallery, No. 72. 
 
 The pupil who most nearly approached Eembrandt in 
 feeling and general effect was Gerbrandt van den Eeckhout 
 or Eckhout (1621-74). His works are frequently met with 
 in public galleries, but only a few can be enumerated. 
 Single examples are to be seen at the Hague, No. 36 ; at 
 Amsterdam, in the Trippenhuis, No. 106, in the Van der 
 Hoop Museum, No. 36 ; at Dresden, No. 1397 ; at Vienna, 
 No. 49 Eoom II. 1st floor; in the Louvre, No. 158; at 
 Munich there are at two specimens, Nos. 204, 871 ; and 
 in the Hermitage four, Nos. 753, 837, 8, 40. At Berlin 
 are two pictures by him, Nos. 820, 9. In the Darmstadt 
 Gallery there are two good portraits, Nos. 386, 7. 
 
 Two good specimens of Bol (1611-81) are the portraits 
 of Admiral ' de Knyter and of himself, Nos. 42, 4 in the 
 Trippenhuis ; but his masterpiece is a large painting 
 * The four regents,' in a room of the Stadhuis at Amster- 
 dam. There are some good specimens in the Brussels 
 Museum, Nos. 119, 20, 1, 2. In the Louvre are four por- 
 traits, of which No. 41, 'A mathematician,' is fine. In 
 our National Gallery is a portrait, No. 679. But his best 
 work is to be seen in the Hermitage, St. Petersburg, where, 
 among others, are no less than eight portraits of unusual 
 excellence, Nos. 845, 8, 9, 50-4. At Berlin No. 809 is a 
 very fine female portrait. At Dresden are three compositions 
 from sacred history, Nos. 1266, 7, 8. 
 
 Van der Heist (1613-70) is best seen in his fine picture 
 in the Trippenhuis at Amsterdam of the ' Banquet of the 
 
 Rembrandt, 
 
 Land- 
 scapes, 
 
 Eeckhout, 
 
 F, Bol 
 
 Van der 
 Heist, 
 
124 
 
 TEE RISE AND PROGRESS 
 
 Van der 
 Heist. 
 
 Flinck. 
 
 StilUlife. 
 
 Flower- 
 painters. 
 
 De Heem. 
 
 civic guard/ No. 141 (Plate XXX., 1) ; where also are, 
 the important group of the ' Arquebusiers,' No. 142, and 
 many portraits by him. A similar group in the 
 Stadhuis is inferior, while the family groups of portraits, 
 life-size, Nos. 777, 8, 9 in the Hermitage, are in his best 
 manner. Two good single portraits, Nos. 205, 6, are at 
 Brussels. In the Louvre is a beautiful specimen of 
 finished work, ' The arquebusiers,' No. 197 — a small study 
 for the well-known large painting mentioned above — and 
 some portraits. Our National Gallery contains one portrait 
 of a lady by him, No. 140. 
 
 Govert Flinck (1615-60) painted both portraits and 
 historical works, and was a worthy pupil of Kembrandt, 
 whose manner he successfully adopted. A large but not 
 unpleasing example of portraiture is the ' Feast of the 
 civic guard,' No. Ill in the Trippenhuis at Amsterdam; 
 where there is also one of his historical subjects, ' Isaac 
 blessing Jacob,' No. 110. Another somewhat similar is at 
 Munich, No. 213 ; and good portraits may be seen in the 
 Brussels Museum, No. 414, and in the Dresden Gallery, 
 No. 1314. The Louvre contains two examples, Nos. 171, 
 2. An interesting picture of William of Orange as a boy, 
 with Jacob Cats, is No. 842 in the Hermitage. 
 
 The painting of still-life has also been one of the most 
 favourite occupations of the Dutch painter. In no other 
 school has it been so much studied or accomplished so 
 successfully. Its presence is not only always to be 
 recognised in all his genre subjects, but it forms the chief 
 motive of an immense number of works, and the exclusive 
 subject of many. 
 
 To the latter class belong the productions of the famous 
 flower-painters, among whom may be named, in order of 
 time, the De Heems, Willem Kalf, Abraham Mignon, 
 Eachel Euysch, and Van Huysum as the most distin- 
 guished. Jan David de Heem (1600-74) may be seen at 
 the Hague, where there is a fine specimen in the Gallery, 
 No. 38. In the Trippenhuis at Amsterdam are two good 
 works, Nos. 139, 40 ; in the Madrid Gallery No. 1391 is a 
 fine example ; others are at Berlin and Vienna ; in the 
 Hermitage are Nos. 1353, 5, 75 ; in the Louvre are two, 
 
OF PAINTING IN HOLLAND, 
 
 125 
 
 Nos. 192, 3 ; and in the Brussels Museum there is one, No. 
 203, and also a fine work by Cornelis de Heem, the 
 brother, No. 418. Their cousin Jan de Heem painted the 
 same subjects. Kalf (1630-93) executed some superb 
 studies of still-life which, are seldom met with. Among 
 the best are, at Amsterdam, No. 203 ; in the Louvre, No. 
 259; at Munich, No. 1384; in the Hermitage, No. 1369; 
 and at Dresden, No. 1454. Mignon (1639-79) is to be 
 seen in the Trippenhuis at Amsterdam, Nos. 257, 9, and in 
 the Van der Hoop Museum, No. 77. Several specimens 
 are at Turin, where there is a very fine collection of the 
 works of Dutch flower and fruit-painters. Some of his 
 choicest works are at Dresden, Nos. 1492, 3, 6, 7, loOo ; 
 and two are in the Hermitage, Nos. 1358, 9. Eachel 
 Euysch (1664-1750) has a lovely work, exquisite in finish, 
 broad in efiect, and tender in colour, in the Hague Museum, 
 No. 120. Another is at Amsterdam, No. 344. Examples 
 are to be found at Munich, Dresden, Vienna, Berlin, Turin, 
 and in several other galleries. By Jan van Huysum (1682- 
 1749) there is a good example at Antwerp, No. 427. In 
 the Trippenhuis at Amsterdam, No. 191, and in the Van 
 der Hoop Museum, No. 57, are two admirable specimens. 
 Two similar pieces are in the Hermitage, Nos. 1378, 9. 
 There are several in the Louvre, Nos. 231-40 ; and two in 
 our National Gallery, Nos. 796, 1001. 
 
 Besides these flower- and fruit-painters, th^re were in 
 Holland equally talented painters of live or dead game ; 
 such, for instance, were Melchior Hondecoeter (1636-95) 
 and Jan Weenix (1621-60). The former was most success- 
 ful in representations of domestic poultry and birds. Our 
 National Gallery contains a good specimen. No. 202 ; ex- 
 cellent also are Nos. 49, 50 at the Hague, Nos. 420, 1 at 
 Brussels, and Nos. 1480, 1 at Dresden. But Hondecoeter's 
 finest work is in the Trippenhuis at Amsterdam, well 
 known as the ' Floating feather,' No. 178. Nos. 171, 4, 7 
 there are all good examples. So are Nos. 1 339, 40, 2 in the 
 Hermitage. Jan Weenix (not to be confused with his 
 father, Jan Battista Weenix, by whom there are works at 
 Antwerp, in the Louvre, and at Dresden) was a most 
 vigorous and truthful painter of dead game. He is well 
 
 The De 
 Heems. 
 
 Kalf, 
 
 Mignon. 
 
 R. Buy sell. 
 
 Van 
 
 Huysum. 
 
 Painters of 
 game and 
 poultry, 
 Honde' 
 coeter. 
 
 Jan 
 Weenix* 
 
126 
 
 THE BISE AND PROGRESS 
 
 Jan 
 
 Weenix. 
 
 Painters 
 
 peasant 
 
 life. 
 
 of 
 
 Adrian 
 Brouwer. 
 
 A. van 
 Ostade, 
 
 seen at Munich, particularly in Nos. 217, 320, 332, 340, all 
 splendidly executed. In his very best manner are No&. 
 1347, 8, 9, particularly the last named, in the Hermitage. 
 In our National Gallery No. 238 is an excellent example. 
 At the Hague there is a noble study of a dead swan, No. 
 173. In the Trippenhins at Amsterdam, Nos. 447, 8, 9, 
 and in the Galleries of Brussels, the Louvre, and Dresden 
 there are several works by this master. 
 
 The most characteristic form of Dutch art, however, is 
 that which represents, in a spirit of absolute realism without 
 compromise, scenes from the peasant life of the country. 
 The subjects usually chosen are interiors of wayside inns, 
 filled with figures mostly coarse and vulgar, who are 
 drinking, smoking, playing cards, or amusing thamselves 
 with practical jokes. Sometimes it is a fete-day or fair, 
 and the subject is transferred to the open air ; itinerant 
 quacks, tap-boys, and dancing villagers, always rude and 
 ungainly, occupy the scene. 
 
 Adrian Brouwer of Haarlem (1608-41) and Adrian van 
 Ostade (1610-85), both pupils of Frans Hals, were among 
 the earliest representatives of this form of art, which the 
 two Teniers pursued with equal success. The latter must 
 be classified, by their style, with the Dutch school ; 
 for, although in a certain sense they should be regarded 
 as Flemings, the school of Flanders is generally regarded 
 as gradually merging after this time in that of Holland. 
 
 Good examples of Adrian Brouwer are to be found in 
 the Hague Gallery, No. 102 ; in the Amsterdam Gallery, 
 Nos. 64, 6 ; and in the Uf&zi at Florence, Nos. 955, 9. 
 Two such, are in the Hermitage, St. Petersburg, Nos. 937, 41. 
 Several others are at Munich and Dresden. One is No. 44 
 in the La Gaze Collection at the Louvre. Of Adrian van 
 Ostade two examples are in the Hague Museum, Nos. 104, 5 
 (Plate XXX., 3). At Amsterdam there are three good 
 works in the Van der Hoop Museum, another in the Six 
 Collection, and one in the Trippenhuis, a ' Baker blowing 
 his horn,' No. 291. There is a good example in the 
 Antwerp Museum, No. 466 ; one in the Brussels Museum, 
 No. 259 ; and several others at Munich and Dresden. 
 The Hermitage contains many, among which Nos. 945 tq 
 
OF PAINTING IN HOLLAND, 
 
 127 
 
 954 deserve notice. In tlie Louvre are several, of which 
 Nos. 369, 70, 1 are excellent. One, No. 846, in our National 
 Gallery is a good specimen. In the Brussels Museum 
 there are also two works worthy of note by Isaac van 
 Ostade, the brother, Nos. 260 and 433 ; and another good 
 example by him occurs in the Trippenhuis at Amsterdam, 
 No. 292. An important one is No. 962 in the Hermitage. 
 In the Louvre are four works, Nos. 376-9 ; and three in 
 our National Gallery, No. 963 being a good example. 
 
 David Teniers, the elder (1582-1649), may be seen in 
 the Hague Gallery, at Dresden, in the Belvedere at Vienna, 
 and in the Hermitage, St. Petersburg : see catalogues at 
 the end of this volume. Our National Gallery possesses 
 three works by the elder Teniei s, Nos. 949, 50, 1. Those 
 of the younger and greater Teniers (1610-94) niay be 
 found in the Trippenhuis at Amsterdam, where are four 
 fine examples, Nos. 390, 1, 2, 3 ; and in the Hague Gallery, 
 Nos. 223, 4. In the gallery of the Steengracht family in 
 the same town there is one of his most celebrated works, 
 the 'Acts of mercy' (Plate XXX., 2). In the Van der 
 Hoop Museum at Amsterdam Nos. 116, 17 are good speci- 
 mens ; as are also Nos. 325 (Plate XXXIIL, 7), 449, 50 in 
 the Museum at Brussels. Our National Gallery contains 
 excellent examples — namely, Nos. 242, 805, 862, re- 
 markable for the finely painted still-life; No. 817, a 
 favourite outdoor subject ; and four charming small 
 pieces, Nos. 857-60. Numerous similar works are at 
 Munich, No. 229 is particularly interesting. At Dresden 
 examples abound, among which Nos. 915, 19, 23, 8, 34 may 
 be regarded as good and characteristic. The Hermitage, 
 St. Petersburg, has the richest collection of these works in 
 Europe. Here is the famous 'Feast of the archers and 
 halberdiers at Antwerp,' No. 672, supposed to be his 
 masterpiece : after this may be named the ' Kitchen of the 
 chateau,' No. 699 ; the ' Guard-room,' No. 673, in which the 
 armour and accoutrements are by Kessel ; the ' Kermess,' 
 twice, Nos. 674, 5; a fine 'Bridal feast,' No. 677; the 
 ' Card-players,' No. 688 ; a ' House and farmyard,' No. 700, 
 unusually warm in tone ; and a rare subject, viz., a ' Sea- 
 port and ships,' No. 710, with fully thirty other works. 
 
 A. van 
 
 Ostade, 
 
 I. van 
 
 Ostade, 
 
 D, Teniers^ 
 the elder. 
 
 D. Teniers, 
 the younger. 
 
128 
 
 THE BISE AND PROGBESS 
 
 D, Teniers 
 the younger. 
 
 Jan Steen, 
 
 A few good examples are at Berlin. At Vienna should be 
 noted the ' Tir an perroquet/ No. 51 Eoom VI. 1st floor, a 
 large and important composition ; for others, see catalogue. 
 The Louvre contains several important examples, among 
 them especially Nos. 512, 13 (Plate XXX., 2), 14, 18. A 
 very fine work, the 'Deliverance of S. Peter,' No. 117, is 
 in the Lyons Museum ; and an equally good example is in 
 the Musee Fabre at Montpellier, No. 480 ; while at Madrid, 
 among many inferior works, Nos. 1721, 4, 32, 44, 54 are 
 really fine. 
 
 After these Jan Steen (1626-79) pursued the same style 
 of art, which in his hands was marked by an unusual 
 power of delineating character, in scenes of humour or of 
 excitement, with some extravagances no doubt of feature 
 and gesture. Added to this he possessed remarkable 
 ability as a painter. It must, however, be admitted that 
 no genius or quality of workmanship can excuse the 
 vulgarity and coarseness displayed in some examples. 
 With him also as with others the interiors of kitchens 
 and small shops were depicted for the display of utensils, 
 vegetables, game, poultry, fish, &c., introduced in any 
 quantity for the purpose. These works are to be found 
 in almost every gallery, and it is scarcely necessary to do 
 more than name a few of the best as examples. Those 
 most worthy of notice at the Hague are Nos. 138, 9 : the 
 former an example of his family groups so often repeated ; 
 the second, known as ' La vie humaine,' or as the ' Oyster 
 feast,' is one of his finest productions. Among many in 
 the Trippenhuis at Amsterdam Nos. 376, 7 (Plate XXX., 5), 
 8, 9 especially deserve attention. Some examples are in 
 the Van der Hoop Museum and the Six Collection there. 
 Both at Antwerp and Brussels there are some of Steen's 
 works, while in our National Gallery No. 856 is a good 
 example, and in the Louvre there is another, No. 500. In 
 the Uffizi at Florence there is a fine work. No. 977 ; others 
 are at Munich, Nos. 842, 55 ; at Vienna, in the Belvedere, 
 No. 9 Eoom VL 1st floor (Plate XXX., 4); and at 
 Dresden, Nos. 1463, 4. One of his finest productions is 
 in the Cassel Gallery, the ' Bean-feast,' No. 576. In the 
 Hermitage Nos. 897, 8 may be named, and among others 
 
Plate XXX. 
 
 To face page 128. 
 
OF PAINTING IN HOLLAND. 
 
 129 
 
 an important but curious work, the ' Esther and Ahasuerus ' 
 ]Vo. 895. ' 
 
 It is to be observed that of all these masters a few fine 
 examples only have been given in illustration. The 
 reader should bear in mind that their names are unfortun- 
 ately applied in European galleries to numerous works 
 which have no pretension to the honour claimed for them. 
 
 Gerhard van Honthorst (1592-1660) was one of the 
 first Dutch masters to depict genre subjects, but, unlike 
 the group of painters just considered, almost always on a 
 scale of life-size. He is chiefly remarkable, however, for 
 choosing subjects illuminated by artificial light. Examples 
 are, at Dresden, No. 1122 ; a portrait of William II. of 
 Orange, No. 51 in the Gallery at the Hague ; and * Christ 
 before the High Priest,' No. 746 in the Hermitage, besides 
 No. 752, and several portraits. 
 
 ^ Another species of genre, peculiar to the Dutch school, 
 IS that which adopted as its favourite subject the interiors 
 of well-furnished houses, tenanted by women in satin, 
 silks, and furs, with cavaliers in the full dress of the time \ 
 thus a music lesson, or a doctor's visit, or a traveller's call 
 and the offer of refreshment, &c., formed occasions for the 
 most highly finished studies of drapery, furniture, glass, 
 and other objects, with effects of light- and shade according 
 to the taste of the painter. 
 
 Gerhard Terburg was one of the earliest as he was one 
 of the most successful of this school. Gerhard Dow and 
 Gabriel Metsu followed, each in his own manner, who 
 again were succeeded by Nicholas Maas, Cornelis Beo-a 
 Frans van Mieris, and others. Godfried Schalken paint'^ed 
 the same subjects under effects of candlelight. 
 
 By Terburg (1608-81) there are numerous fine works- 
 such as the ' Guitar lesson,' No. 864, and the celebrated 
 'Treaty of Munster,' No. 896, both in our National 
 Gallery. A beautiful example is at Amsterdam, known as 
 the ' Conseil paternel,' No. 396. Three somewhat similar 
 are at Berlin, Nos. 791, 791c, and Dresden, No. 1242. 
 Another fine example is in the Hague Gallery called * The 
 despatch,' No. 144 (Plate XXXL, 2), where is also a small 
 full-length portrait of himself, No. 145. The Trippenhuis 
 
 Jan Steen, 
 
 Honthorst, 
 
 Luxurious 
 interiors. 
 
 Terburg, 
 
130 
 
 THE BISE AND PRO GB ESS 
 
 ♦ 
 
 Terburg. ' contains two excellent portraits of himself and of liis wife, 
 Nos. 394, 5 ; while other works are in the Six Collection. 
 There are some charming specimens in the Louvre, Nos, 
 526 (Plate XXXL, 1), 7, 8 ; at Munich, Nos. 243, 1062; 
 and in the Uffizi at Florence, No. 958. In the Lyons 
 Gallery is a fine work by him. No. 115; in the Musee 
 Fabre at Montpellier is another, No. 482 ; and again in 
 the Cassel Gallery, Nos. 384, 5. The Hermitage, St. 
 Petersburg, which is particularly rich in fine examples of 
 the Dutch school, contains several of this master. The 
 ' Guitar lesson,' No. 874, stands at the head of the li^t, 
 followed by Nos. 872, 3, 5, and others. Two excellent 
 full-lengths, small, are Nos. 562, 3 in the Liechtenstein 
 Gallery at Vienna. 
 
 G.Dow. Gerhard Dow's (1613-75) small highly finished works 
 
 are very numerous. One example is in the Uffizi, No. 786 ; 
 another is in the Van der Hoop Museum at Amsterdam, 
 No. 30 ; while three well-known works are in the Trippen- 
 huis, Nos. 86, 7, 9. But his finest production is perhaps 
 that at the Hague, No. 28. Several capital examples are 
 in the Louvre — especially good are Nos. 121 (Plate 
 XXXL, 6), 3, excellent specimens also are Nos. 125-9 ; 
 while in the Musee Fabre at Montpellier may be seen a 
 good one. No. 131. A larger painting in the same style is 
 at Munich, No. 876 (Plate XXXL, 5). Many works of 
 high quality are in the Hermitage : among them several 
 very fine, as Nos. 903, 4-7. Others are at Berlin. In our 
 National Gallery are three, Nos. 192, 825, 968 ; and at 
 Dulwich two, Nos. 85 and 106. 
 
 Pieter de One man about this time was pre-eminent in a similar 
 
 Hooghe. style, but with a higher aim than that of executing faithful 
 representations of textile fabrics by patient labour. 
 Pieter de Hooghe, of whom it is only known that he 
 worked between 1628 and 1671, painted interiors and 
 courtyards with effects of light and shade of the most 
 subtle kind, and produced successful results in colour and 
 composition, attained in an equal degree by no other 
 Dutch artist, Jan van der Meer of Delft excepted. Ex- 
 amples of De Hooghe's work should never be passed without 
 careful examination by the student. Our National Gallery, 
 
Plate XXXI. 
 
 To face page 130. 
 
OF PAINTING IN HOLLAND. 
 
 131 
 
 to begin with, possesses three of the finest of his produc- Pieter de 
 tions, Nos. 794, 834, 5. In the Louvre are also two 
 charming works, Nos. 223, 4. At Amsterdam, in the 
 Trippenhuis, is a fine example known as the * Buttery 
 hatch,' No. 185. In the Van der Hoop Museum are Nos. 
 49, 60, 1, 2, 3 : the two last named being especiallj 
 admirable, and a fair specimen is in the Six Collection. 
 In the Pinacothek at Munich there is one example. 
 No. 1122 (Plate XXXI., 4); and the German Museum, . 
 Niirnberg, possesses an excellent work. Three interesting 
 pictures, but ilot equal to his finest, are in the Hermitage, 
 Nos. 860, 1, 2. But the greatest work perhaps of this 
 master is an interior, of larger size than usual, superbly 
 lighted by warm sunlight, No. 820b in the Berlin Museum. 
 I Not less admirable are the few existing works by that Van der 
 gifted master Jan van der Meer, or Vermeer, of Delft '^^f^.^^ 
 (1632-95), regarding whose history little is known, 
 although there is no doubt that pictures by him were 
 greatly esteemed by his Dutch contemporaries. Van der 
 Meer's works are very scarce, but deserve the closest 
 attention. In vigour, truth, and colour he excelled Pieter 
 de Hooghe, while in style of composition and in chiaro- 
 oscuro there is much resemblance between them. First at 
 the Hague there is a ' View of Delft,' No. 72, taken from 
 outside the town, with its red-brick buildings reflected in 
 the canal. In the Six Collection, Amsterdam, there are 
 two splendid works by him. One is an open-air scene in 
 Delft with marvellous strength and purity of colour, 
 broken nevertheless by a variety of tints. The other is 
 an interior with a woman pouring out milk, most simply 
 yet most forcibly presented. In the Van der Hoop 
 Museum there is a less powerful but charming work. No. 
 129. Two are in the Dresden Gallery, Nos. 1432, 3; the 
 former of these, painted when he was twenty-four years 
 of age, is extremely interesting, as being the only known 
 work in which the figures are life-size. The Queen 
 possesses a very fine interior, a ' Woman playing on a 
 harpsichord,' recently shown at one of the Exhibitions of 
 Old Masters at Burlington House. A remarkable study 
 of ' Dead game,' highly finished and admirable in colour, 
 
 K 2 
 
132 
 
 THE BISE AND PR0GEES8 
 
 Van der 
 Meer, 
 
 Mctsn, 
 
 iV. Maas. 
 
 'No. 1338 in the Hermitage, is attributed to this painter by 
 Dr. Waagen. An important signed composition of splendid 
 workmanship and great beauty, representing Jan van der 
 Meer painting from a model in his studio, may be seen in 
 the Czernin Gallery at Vienna, No. 96, there exhibited 
 under the name of Pieter de Hooghe. There cannot be 
 the slightest question as to its origin, any more than it 
 can be doubted that the small and very pleasing group of 
 a woman peeling apples with her child, catalogued as 
 Terburg, No. 16, Green Cabinet in the Belvedere, Vienna, is 
 a genuine production of this master. Both are mentioned 
 in M. Burger's list of his works. In the Berlin Museum 
 are three very interesting examples : a ' Boy blowing 
 bubbles in a courtyard,' No. 912a ; a ' Cottage with trees 
 and figures,' No. 796c ; and a ' Girl dressing before a glass,' 
 No. 912b. The Brunswick Gallery possesses an interior 
 with three figures, known as the ' Coquette,' No. 611, a 
 painting of the very highest quality, and marvellous for 
 tender gradations of tone. The Louvre has recently 
 acquired a small but beautiful work : a ' Girl making lace,' 
 No. 695. 
 
 Gabriel Metsu (1615-after 1667), one of the most 
 attractive painters of this class, executed many highly 
 finished works, generally small. Our National Gallery 
 contains two fair specimens, the ' Music lesson,' No. 839, 
 and the ' Duet,' No. 838. In the Louvre are several good 
 works : the best is a ' Cavalier receiving a young lady,' 
 No. 293 ; and the small gallery at Montpellier contains 
 two, Nos. 327, 8. At Brussels, in the Museum, No. 239 ; at 
 Amsterdam, in the Trippenhuis, Nos. 239, 40 ; and in the 
 Hague Gallery, No. 74 should be observed. Other ex- 
 cellent examples are Nos. 68, 9 in the Van der Hoop 
 Museum at Amsterdam, Nos. 1305-11 inclusive at Dresden, 
 and No. 9 in the Green Cabinet at Vienna. One fine 
 work by Metsu is in the Cassel Gallery, No. 448. None are 
 finer than the three in the Hermitage, Nos. 878, 80, 1. 
 The rarity of a life-size portrait by this painter makes 
 it necessary to mention No. 792b in the Museum at Berlin. 
 
 Nicholas Maas (1632-93) of Dordrecht was a pupil of 
 Kembrandt, whose influence is frequently indicated by the 
 
OF FAINTING IN HOLLAND, 
 
 133 
 
 strong effects of chiaro-oscuro which mark the genre N, Maas. 
 subjects treated by him. In our National Gallery the , 
 
 ■'Cradle,' No. 153, the ' Dutch housewife/ No. 159 (Plate 
 XXXL, 3), and the ' Idle servant,' No. 207, illustrate his 
 style well. Elsewhere some of the more important works 
 of Maas are, in the Brussels Museum, No. 232 ; in the 
 Louvre, No. 276 ; in the La Gaze GoUection at the Louvre, 
 No. 78 ; and in the Munich Pinacothek, two portraits, 
 Nos. 190, 1. The Steengracht GoUection at the Hagne 
 possesses a single work. In the Trippenhuis at Amsterdam 
 there are two, Nos. 235, 6, and in the Six GoUection the 
 same, while in the Van der Hoop Museum No. 66 is a good 
 example. There are two in the Hermitage, of which the 
 finer is No. 857. At Berlin he is represented by a life-size 
 figure, the * Philosopher,' No. 819. 
 
 A few only of the chief followers of these masters can be C. Bega. 
 mentioned. Gornelis Bega of Haarlem (1620-64) executed 
 
 • some excellent works somewhat in the style of Gerhard 
 Dow, but remarkable for low tones of colour. Such, f(T 
 example, are No. 24 in the Trippenhuis, Amsterdam ; No. 7 
 in the Van der Hoop Museum ; Nos. 886, 969, 986 in the 
 Uffizi at Florence; and No. 13 in the Louvre. Two 
 admirable interiors are Nos. 970, 1 in the Hermitage. 
 Three good examples are at Berlin, Nos. 871, 2, 4, and two 
 in the Stadel, Frankfort, Nos. 227, 8. Next in chrono- 
 logical order is Frans van Mieris of Leiden (1635-81), the VanMieris, 
 elder, so called to distinguish him from a grandson, also 
 named Frans. The elder Frans painted some excellent 
 interiors with figures very much in the manner of his 
 master, G. Dow, and was followed by his son Willem van 
 Mieris, who painted with less skill in the father's style. 
 In the hands of the younger Frans the manner was 
 repeated, but more feebly. Hence pictures of very different 
 quality with the name of Mieris attached are numerous in 
 most European galleries, especially in the Dutch, Louvre, 
 Munich, Berlin, Dresden, St. Petersburg, and Uffizi 
 Galleries ; for which see catalogues at the end of the 
 volume. Gaspar Netscher (1639-84), born at Heidelberg, Netscher, 
 painted in a smooth and highly finished style, and executed 
 some excellent small portraits : Nos. 282, 3 in the 
 
134 
 
 TEE RISE AND PROGRESS 
 
 detacher. 
 
 Van Slinge- 
 iand and 
 Dusart, 
 
 Schalkcn. 
 
 Van der 
 Werff, 
 
 Landscape- 
 painters. 
 
 Cuyp, 
 
 Trippenhuis, Amsterdam, are good examples of his work. 
 Two interiors, Nos. 358, 9, are in the Louvre; three 
 fine portraits are in the Hermitage, Nos. 882, 3, 4 ; other 
 good works are at Dresden, of which the best are Nos. 
 1527, 30 (Plate XXXIL, 3) -32 ; and, among others in our 
 National Gallery, the best is No. 843, 'Boys blowing 
 bubbles/ Pieter van Slingeland and Cornelis Dusart were 
 worthy followers respectively of Dow and Ostade. Good 
 examples of both are in the Trippenhuis at Amsterdam 
 and at Dresden, but a very fine work by Dusart is in the 
 Six Collection at Amsterdam. Slingeland is represented 
 in the Louvre by No. 486, a ' Dutch family.' The works 
 of that clever portrayer of candlelight, Godfried Schalken 
 (1643-1706), are often met with; perhaps that in the 
 Hague Gallery, No. 128, is one of the best. Another of his 
 finest is No. 923, in the Hermitage. Good examples are 
 Nos. 1565, 6 at Dresden. In the Louvre he is represented, 
 among others, by a ' Holy family,' No. 478, and a candle- 
 light subject. No. 480. In our National Gallery the best 
 are Nos. 997, 9. His well-known portrait of William III. 
 of Orange, by candlelight, is No. 424 in the Darmstadt 
 Gallery. The last of these masters of genre was Adrian 
 van der Werff (1651-1722), whose small works are 
 characterised by an extreme smoothness which has the 
 effect of painting on china. Pictures of a higher quality, 
 however, larger than those just referred to, are in the 
 Hermitage and at Munich ; such are Nos. 984, 6, 7, besides 
 others, in the first-named gallery ; while in the second an 
 entire cabinet is devoted to the master. Others are at 
 Amsterdam, the Hague, Dresden, and several are in the 
 Louvre. 
 
 Having noticed the chief Dutch masters of portraiture, 
 still-life, genre, and historical painting, we have yet to 
 consider another important group — namely, the landscape- 
 painters. 
 
 One of the earliest and best of those who studied land- 
 scape for its own sake, and not merely as an accessory, 
 was Albert Cuyp of Dordrecht (1605-91), whose power of 
 reproducing certain charming atmospheric effects is re- 
 markable. Our National Gallery contains excellent works, 
 
OF TAINTING IN HOLLAND. 
 
 135 
 
 Nos. 53, 960 (Plate XXXII., 1) : so also does the Dulwich Om/P* 
 Gallery, where Nos. 163, 9, 239 may be noted. There is 
 one in the Trippenhuis, No. 77; in the Van der Hoop 
 Museum one. No. 29 ; and in the Six Collection there are 
 two beautiful works by him, one a moonlight scene — all at 
 Amsterdam. An admirable landscape with cows, No. 104, 
 is in the Louvre. Sometimes Cuyp depicted poultry, 
 cattle, &G, ; as in the Museum at Brussels, No. 180, in the 
 Trippenhuis, No. 80, at Rotterdam, among others, Nos. 41, 
 2, 3, 5, in the Lyons Museum, No. 212, and in the Munich 
 Pinacothek, No. 1035. Sometimes he introduced figures 
 and horses into his open-air scenes ; as in Nos. 105, 6 in 
 the Louvre, No. 21 at the Hague, and No. 2355 at Dresden. 
 In the Hermitage there are good small examples of cows 
 and horses, Nos. 1101, 4, 5, 7 ; a ' Sea-piece with boats,' No. 
 1102 ; and a * Moonlight at sea,' No. 1106. Cujp painted 
 some excellent portraits also. One is in our National 
 Gallery, No. 797. Others are in the Louvre, Nos. 107, 8. 
 
 Jan and Andries Both (about 1610-56), who generally Both. 
 worked together, were also very successful in rendering 
 the warmth and glow of summer sunlight in their Italian 
 landscapes. In the Trippenhuis No. 49 is the best 
 example ; in the Van der Hoop Museum No. 20 is one of 
 their finest works ; while at the Hague there are two, Nos. 
 17, 18. Good examples are in the Louvre, particularly 
 No. 43 ; in our National Gallery, at Dulwich, Munich, and 
 Dresden ; and to be noticed as fine works are No. 26 in the 
 Antwerp Museum, Nos. 50, 1 in the Trippenhuis, and No. 
 124 in the Brussels Museum. In most of these the land- 
 scape is by Jan, and the figures are by Andries. While 
 the Boths chose their subjects from Italy, Jan van Goyen Van Got/en. 
 (1596-1656) executed many views of his native canals, 
 generally in a tender grey tone with misty atmosphere. 
 Such are Nos. 121, 2 in the Amsterdam Gallery, No. 173a 
 at Frankfort, and No. 1378 in the Munich Gallery. Other 
 works are to be seen in the Louvre, at Berlin, in the 
 Hermitage, and at Dresden. 
 
 Three Dutch landscape-painters, who were intimately 
 connected in their works, may be considered at the same 
 time. These are Jan Wynants and his two pupils, Philip 
 
136 
 
 '1 
 
 THE RISE AND PR0GBES8 
 
 Wynants. WoTiwerman and Adrian van de Velde. Wynants (about 
 1600-77) chiefly executed small and carefully finished 
 landscapes. Among others at Munich Nos. 309, 319, 1118 
 are the best; and in the Hermitage Nos. 1112-16. An 
 excellent small work is in the Amsterdam Museum, No. 476, 
 and similar examples are Nos. 350 (Plate XXXIII., 9), 1, 2 
 in the Brussels Museum, while No. 455 there is in a larger 
 style. Three fine specimens are in the Louvre, Nos. 579, 
 80, 1 — in the first two the figures are by Adrian van de 
 Velde; and a good one is No. 198 at Frankfort. In our 
 National Gallery are two excellent small landscapes, 
 Nos. 971, 2 ; and at Dulwich, Nos. 11, 12. 
 
 Philip Wouwerman (1619-68) was a clever painter of 
 groups of horsemen, and his subjects were general ly chosen for 
 the purpose of introducing them. Accordingly battles and 
 hunting-pieces were favourite productions. His landscape 
 was often admirable, and was sometimes not merely sub- 
 servient to the figures, but formed the motive of the work. 
 The pictures are generally of small size and highly finished, 
 but a far greater number than he could possibly have 
 painted are catalogued under his name in European 
 galleries. Many of these must have been the work either 
 of his two brothers, Pieter and Jan Wouwerman, or of 
 some more obscure followers, who copied the originals with 
 or without slight alteration to supply the demand for such 
 works. For instance, at Dresden sixty pictures are given 
 to Philip, at Munich seventeen, and in the Hermitage no 
 less than fifty, and so on in most other galleries. It is 
 impossible to notice all the best examples of Wouwerman's 
 work, but a few may be mentioned. In the Trippenhuis, 
 Amsterdam, Nos. 462, 5, 6, 8, 70 are excellent : so also is 
 a large one in the Six Collection. Some good pictures are 
 at the Hague, Nos. 184, 5, 6, 8 ; in the Louvre, Nos. 565, 
 7, 70 ; and in our National Gallery, Nos. 878, 80, 976. 
 Among several at Munich the ' Staghunt,' No. 208, and 
 the 'Watering place,' No. 998 (Plate XXXIL, 4), are 
 named. In the Hermitage, St. Petersburg, the finest are 
 Nos. 995, 8, 1006, 21, 7, 34, but many others might be 
 noticed, for which see catalogues at the end. At Dresden, 
 among several, Nos. 1368, 75 are the best. 
 
OF TAtNTma IN HOLLAND. 
 
 137 
 
 Adrian van de Velde (1639-72) executed many excellent 
 works, both in landscape and figures. In the Trippenhuis 
 at Amsterdam are two fine examples, Nos. 427, 8, admirably 
 painted. In the Hague Museum No. 165 may be noted; 
 one of the most perfect small works of the master is in the 
 Six Collection at Amsterdam ; and in the Van der Hoop 
 Museum may be seen an excellent work. No. 121. Other 
 good examples are in our National Gallery, at Dulwich, in 
 the Louvre, at Berlin, in the Hermitage, and at Dresden. 
 
 Two landscape-painters of this time, whose works are 
 always highly finished, though too often wanting in interest, 
 were Nicholas Berchem and his pupil Karel du Jardin. 
 They both visited Italy and painted chiefly small Italian 
 landscapes, introducing figures and cattle. Several good 
 examples of Berchem (1624-83) are in the Amsterdam 
 Trippenhuis; especially so is No. 31. Kemarkably fine 
 works are in the Hermitage, and in great number ; for 
 example, Nos. 1070-84 inclusive. Numerous works aTe at 
 Dresden, and in the Louvre, for which see catalogues. By 
 Karel du Jardin (1630-78) there is a large work. No. 195 
 at Amsterdam, much inferior to some smaller specimens, 
 such as Nos. 193, 6, 8. Both masters are well represented 
 at the Hague, in the Lonvre, in our National Gallery, in 
 the Dulwich Gallery, and indeed in most others. 
 
 In striking contrast to these somewhat conventional 
 painters is the young and vigorous Paul Potter (1625-54), 
 whose admirable studies of animals gained for him a place 
 among the best Dutch masters of this period. Everybody 
 knows the famous ' Young bull ' of life-size in the Hague 
 Gallery, No. Ill (Plate XXXII., 5) ; but his smaller works, 
 such as No. 113 there, for*instance, are, we think, still more 
 deserving of admiration. In the Trippenhuis at Amsterdam 
 are some excellent examples of the master's poWer land- 
 scape, Nos. 305, 6, 7, 8 ; and in the Van der Hoop Museum 
 two small works, Nos. 90, 1. In quite another style is 
 the large equestrian portrait of Professor Tulp in the Six 
 Collection. The Louvre contains four good works, Nos. 
 399-400, and two without numbers ; the Munich Gallery 
 one excellent specimen, No. 1103; and our National 
 Gallery two, Nos. 849 and 1009. At St. Petersburg are 
 
 Adrian van 
 de Velde, 
 
 Berchem, 
 
 K. du 
 Jardin* 
 
 Paul 
 Potter, 
 
188 
 
 THE BISE AND PB0GBE8S 
 
 JPaul 
 P(jtter, 
 
 Ruysdael, 
 Hohhema, 
 
 many works, of which should be noted a ' Woman with a 
 cow,' No. 1051, perhaps his finest work, although not 
 large ; another ' Landscape,' No. 1056 ; a noble ' Dog and 
 kennel,' No. 1055 ; a small ' Bull,' No. 1057 ; and a 
 remarkable picture in several compartments and highly 
 finished, the 'History of a hunter and his dogs,' 
 No. 1059 : the hunter is successful at first, but is at last 
 taken by the animals, tried before the elephant and lion, 
 condemned and executed by the bear, while the dogs are 
 hanged. In the Museum at Berlin is a picture of 
 marvellous finish, of the wood at the Hague with hunters, 
 No. 872a. 
 
 During the middle and end of the seventeenth century, 
 two most important landscape-painters flourished in 
 Holland— namely, Jacob Eujsdael of Haarlem (1625-81) 
 and his pupil Meindert Hobbema (1638-1709). These 
 were more truly masters of landscape proper than any of the 
 painters already mentioned. Kuysdael sought scenes of 
 more stirring character than the flats of Holland afforded, 
 and found in Norway the waterfalls and rocks which 
 form so many of his subjects. Hobbema's forest scenes 
 are remarkable, equally with those of his master, for 
 patient labour and careful rendering of the foliage and 
 other details. Euysdael's works are usually colder and 
 more sombre in tone than those of Hobbema, whose some- 
 what greater warmth of colour gives additional charm to 
 his landscape : which is, moreover, less conventional, and 
 studied from nature under more varied aspects. Many of 
 their best works are now in private collections, but a suffi- 
 cient number of admirable examples are to be found in public 
 galleries to illustrate their styles. In our National Gallery 
 there are fine specimens of both, especially a ' Landscape 
 in showery weather,' No. 685, and the admirable ' Avenue 
 Middelharnis,' No. 830, by Hobbema ; and by Euysdael 
 two,„Nos. 627 and 854. The Brussels Gallery possesses a 
 very important landscape. No. 296, by Kuysdael (Plate 
 XXXIIL, 1), in which the figures are by Adrian van de 
 Velde, and also a fine work of Hobbema, No. 419 (Plate 
 XXXIIL, 2). In the Trippenhuis at Amsterdam there is 
 a choice specimen, the ' Watermill,' No. 159, by Hobbema; 
 
OF PAINTING IN HOLLAND. 
 
 139 
 
 and by Kuysdael Nos. 337, 8 are characteristic, but Nos. 
 339, 41 are beautiful small works. Landscapes by both 
 masters are to be seen in the Van der Hoop and Six Collec- 
 tions. The Belvedere at Vienna contains good works also 
 — by Hobbema No, 57 Eoom II. 1st floor ; and by Euysdael 
 Nos. 6, 29, 36 in the same room. At Dresden, among many 
 by Euysdael, No. 1436, known as the 'Hunt,' No. 1437, 
 known as the 'Jews' cemetery,' and No. 1443, known as 
 the ' Monastery,' are excellent examples. A number of 
 Euysdael's finest works are in the Hermitage ; among 
 them may be mentioned Nos. 1136, 9, 43, 8. As excep- 
 tional examples of very small work and high finish, rarely 
 met with, are two in the Museum at Berlin — No. 885c, 
 Haarlem in the distance with minute details in the fore- 
 ground ; and Na 899d, a landscape. At Munich again we 
 find works by both painters— a landscape with a charming 
 distance by Hobbema, No. 1036 ; and numerous works by 
 Euysdael, of which Nos. 1038, 45 are the best. The Louvre 
 possesses several works by Euysdael, Nos. 470, 2, 3, and 
 one by Hobbema, No. 205. 
 
 Philip de Koning (1619-89) of Amsterdam was an ex- 
 cellent painter of distant and extensive landscape. He is 
 well represented at Amsterdam in the Trippenhuis by two 
 works, Nos. 210, 11 ; and in our National Gallery by good 
 examples, Nos. 836, 974. 
 
 This brief notice of Dutch landscape-painters cannot be 
 closed without a mention of such men as Artus van der 
 Neer of Goicum, the painter par excellence of moonlight 
 scenes : see Van der Hoop Museum, Amsterdam Museum, 
 the Hermitage, where there are no less than nine fine 
 examples, Berlin Museum, Brussels Museum, and our 
 National Gallery. Lastly must be named Jan van der 
 Hey den, also of Gorcum, the faithful portrayer of Dutch 
 streets with their red-brick houses bordering on the canals 
 — see the Louvre, National Gallery, the Hague, Amsterdam, 
 and the Hermitage for examples — and the two Dutch 
 painters Adam Pynacker and Lingelbach, of whom it is 
 only necessary to say that they both studied for some time 
 in Eome, and also frequently painted the figures in the 
 landscapes of other Dutch masters. For examples of their 
 
 Euysdael. 
 Hobbema. 
 
 De Koning, 
 
 Van der 
 Neer. 
 
 Van der 
 Heyden. 
 
 Pynacker. 
 Lingelbach, 
 
140 
 
 TEE RISE AND PROGRESS 
 
 Pynacker. 
 Lingelbach. 
 
 Marine- 
 painters, 
 
 Back- 
 huizen. 
 
 Willem mn 
 de Velde^ 
 
 Van de 
 Capelle* 
 
 work, see the Hague, Amsterdam, the Hermitage, the 
 Dulwich Gallery, and the Louvre. 
 
 It only now remains to speak of the Dutch marine- 
 painters, of whom but three rose to the first rank. These 
 were Ludolf Backhuizen, Willem van de Velde, called the 
 younger to distinguish him from his father, a painter of 
 the Bame name, and Jan van de Capelle. There are five 
 works by Backhuizen (1631-1709) in our National Gallery 
 — two are important, Nos. 204, 818. At Amsterdam is a 
 fine ' Embarkation of Jan de Witt,' No. 8, and in the Six 
 Collection is a remarkable painting of a boat tossing on the 
 sea in a storm. He is well represented in the Belvedere at 
 Vienna, in the Munich Gallery, No. 230, and in the Louvre. 
 Willem van de Velde (1633-1707) usually chose to render 
 the sea under its calm and peaceful aspects, and his works 
 are clearer and lighter in tone than those of Backhuizen. 
 Such a ' Calm ' is No. 168 at the Hague ; and two in our 
 National Gallery, respectively a ' Calm ' and a ' Storm,' 
 Nos. 149, 50, are excellent specimens. In the Amsterdam 
 Museum Nos. 421, 2 are small examples, and No. 420 is 
 very large. In the Van der Hoop Museum Nos. 124, 7 
 must be noticed. In the Louvre No. 542 is an admirable 
 work. Van de Capelle (born 1635) is nowhere better seen 
 than in our National Gallery, where Nos. 964, 5 are the 
 best. A fine example is 875a in the Museum at Berlin. 
 
 The Dutch school is remarkable for the great number of 
 artists who, within the limit of its scope, attained a certain 
 amount of celebrity, and whose works are found in the 
 museums not only of Holland but elsewhere on the Con- 
 tinent. The value of "work which consisted mainly in 
 copying the pictures of the first Dutch masters, or in re- 
 producing their style in pieces somewhat varied from the 
 originals, whether in still-life, domestic scenes, or land- 
 scape, is not sufficient to make the citation of examples 
 necessary. 
 
 A few names, however, of the best of these " little Dutch 
 masters " may be appended, and their dates are given in 
 the following Table, while illustrative examples of their 
 work will be found by reference to the catalogues at the end 
 of this volume. 
 
Plate XXXIII. 
 
 To J ace page 140. 
 
OF PAINTING IN HOLLAND. 
 
 In portraiture the following may be noted : Cor- 
 nells Janssen, Michael van Mnsscher, Adrian van der 
 Venne. 
 
 In genre the following : Poelenburg, Bloemart, Uchter- 
 veld, E. van der Poel, Moucheron, David Eyckaert, Bre- 
 kelenkamp, Hoogstraten, Salomon Koning, A. de Vols. 
 
 Landscape, marine, architectural, &c. : Dirk van Deelen, 
 Hackaert, Emanuel de Witte, Job Berckheyden, Gerrit 
 Berckheyden, Dierick Stoop, Hugtenburg, H. C. Vroom, 
 Van Everdingen, Hoeckgeest, Hendrik van Vliet, H. van 
 Steenwyk (father and son), A. Waterloo, Swanevelt, Simon 
 de Vlieger, Pieter van Laer. 
 
 Still-life, &c.: Jan van Os, Willem van Aelst. 
 
142 
 
 THE EI8E AND PROGBESS 
 
 A TABLE 
 
 Of the Dates of the Prixcipal Painters op th^ Dutch School. 
 
 Haarlem . 
 
 Leirlen . 
 Leiden . 
 Utrecht . 
 Haarlem . 
 Haarlem » 
 Haarlem . 
 Delft . . . 
 Amsterdam , 
 Utrecht , 
 Hague . 
 
 A ntwerp ♦ 
 Haarlem . 
 Utrecht . 
 Delft . . . 
 Hague , . 
 Utrecht . 
 Amsterdam . 
 
 Amsterdam » 
 Leiden , 
 Utrecht . 
 Haarlem . 
 Utrecht . 
 Kotterdam . 
 Delft . . . 
 Dordrecht 
 Leiden . 
 
 Haarlem . 
 
 Haarlem . 
 Amsterdam . 
 Utrecht . 
 
 Albert van Ouwater . . » ^ . 
 Gerhard or Geerrit van Haarlem, or 
 of St. Jans 
 
 Cornelis Engelbertsz 
 
 Lucas van Leiden 
 
 Jan Schoorel, or Schoorl .... 
 Mai tin van Heemskerck ... 4 
 Cornelis van Haarlem .... 
 Hendrik Vroom . . . . w . 
 Michad Janszoon, Van MiereVelt . 
 Abiaham Bloemart, about . . ^ 
 Paul Moreelse . . . . i ^ . 
 
 Jail van Eavesteyn 
 
 Hendrik van Steenwyk, about . 
 David Teniers, elder . . i . . 
 
 Frans Hals 
 
 Cornelis van Poelenbufg. 4 i 
 Adrian van der Venne .... 
 Daniel Mytens, elder, about . 
 Gerhard van Honthorst .... 
 Thomas de Keyser (often miscalled 
 
 Tiieodore) 
 
 Cornelis Janssen 
 
 Jun van Goyen ...... 
 
 ,laii David de Heem 
 
 Jan Wynants, about , ^ , , , 
 
 Jan de Heem . 
 
 Simon de Vlieger, about .... 
 Hendril^ Vliet, about . . i . . 
 
 Albert Cuyp 
 
 Eembraiidt van Ryn 
 
 Emanuel de Witte 
 
 Adrian Brouwer 
 
 Pitt r de Hooghe, painted 1628-71 
 
 Gerhard Terburg 
 
 Salomon Koning 
 
 Jan Both and Andries Both, about . 
 
 No date known, but 
 probably about the 
 middle of the 15th 
 
 centurv. 
 
 
 1468 
 
 1533 
 
 1494 
 
 1533 
 
 1495 
 
 1562 
 
 1498 
 
 1574 
 
 1562 
 
 1638 
 
 1566 
 
 1640 
 
 1567 
 
 1641 
 
 1567 
 
 1647 
 
 1571 
 
 1638 
 
 1572 
 
 1657 
 
 1580 
 
 1648 
 
 1582 
 
 1649 
 
 1584 
 
 1666 
 
 1586 
 
 1667 
 
 1589 
 
 1662 
 
 1590 
 
 1656 
 
 1592 
 
 1660 
 
 1595? 
 
 1659 
 
 1595? 
 
 1665 
 
 1596 
 
 1656 
 
 1600 
 
 1674 
 
 1600 
 
 1677 
 
 1603 
 
 1650 
 
 1604 
 
 
 1605 
 
 1661 
 
 1605 
 
 1691 
 
 1606 
 
 1669 
 
 1607 
 
 1692 
 
 1608 
 
 1640 
 
 1608 
 
 1681 
 
 1609 
 
 1668 
 
 1610 
 
 1656 
 
OF PAINTING IN HOLLAND. 
 
 143 
 
 School. 
 
 
 Birth. 
 
 Death. 
 
 Haarlem . 
 
 
 1610 
 
 1685 
 
 Dordrecht . 
 
 
 1610 
 
 1688 
 
 Antwerp. 
 
 David Teniers, younger .... 
 
 1610 
 
 1694 
 
 Amsterdam . 
 
 
 1611 
 
 1681 
 
 Haarlem . 
 
 Bartholomaus van der Heist. 
 
 1613 
 
 1670 
 
 Haarlem . 
 
 
 1613 
 
 1673 
 
 Leiden . 
 
 
 1613 
 
 1675 
 
 Amsterdam . 
 
 
 1615 
 
 1660 
 
 Leiden . 
 
 
 1615 
 
 1667 
 
 Haarlem , 
 
 
 1617 
 
 1671 
 
 Haarlem . 
 
 
 ]619 
 
 1668 
 
 Amsterdam . 
 
 
 1619 
 
 1683 
 
 Amsterdam . 
 
 
 1619 
 
 1689 
 
 Hajirlem . 
 
 
 1620 
 
 1664 
 
 Delft . . . 
 
 
 1620 
 
 1679 
 
 Amsterdam . 
 
 
 1621 
 
 1660 
 
 Delft . . . 
 
 
 1621 
 
 1673 
 
 Amsterdam . 
 
 Gerbrandt van den Eckhout . 
 
 1621 
 
 1674 
 
 Alkmaar . 
 
 Aldert van Everdingen .... 
 
 1621 
 
 1675 
 
 Utrecht . 
 
 
 1623 
 
 — 
 
 Rotterdam . 
 
 E. van der Poel, painted 1646-54 . 
 
 — 
 
 — 
 
 Haarlem . 
 
 
 1624 
 
 1683 
 
 Amsterdam . 
 
 Paul Potter 
 
 1625 
 
 1654 
 
 Haarlem . 
 
 
 1625 
 
 1681 
 
 Amsterdam . 
 
 
 1625 
 
 1687 
 
 Leiden . 
 
 
 1626 
 
 1679 
 
 Dordrecht . 
 
 Samuel van Hoogstraten .... 
 
 1627 
 
 1678 
 
 Amsterdam . 
 
 
 1630 
 
 1678 
 
 Amsterdam . 
 
 Willetn Kalf 
 
 1630 
 
 1693 
 
 Haarlem . 
 
 
 1630 
 
 1698 
 
 Amsterdam . 
 
 
 1631 
 
 1709 
 
 Dort . 
 
 Nicholas Maas, or Maes .... 
 
 1632 . 
 
 1693 
 
 Delft . . . 
 
 Jan van der Meer 
 
 1632 
 
 1695 
 
 Amsterdam . 
 
 
 1633 
 
 1686 
 
 Amsterdam . 
 
 
 1633 
 
 1707 
 
 Amsterdam . 
 
 
 1635 
 
 — 
 
 Leiden . 
 
 Frans van Mieris, elder .... 
 
 1685 
 
 1681 
 
 Utrecht . 
 
 Mcluhior Hondecoeter .... 
 
 1636 
 
 1695 
 
 Amsterdam . 
 
 
 1686 
 
 1708 
 
 Amsterdam . 
 
 
 1637 
 
 1712 
 
 Haarlem . 
 
 
 1638 
 
 1693 
 
 
 
 1638 
 
 1709 
 
 Amsterdam . 
 
 
 1M39 
 
 1672 
 
 Utrecht . 
 
 
 l«i39 
 
 1679 
 
 Hague 
 
 
 1639 
 
 1684 
 
 Leiden . 
 
 Pieter van Slingeland .... 
 
 1640 
 
 1691 
 
 Leiden . 
 
 Adrian de Vols, about .... 
 
 1641 
 
 1698 
 
 Alkmaar 
 
 i^iiK vail i^teieu, i/iu ceuiury . . 
 
 
 
 
 Brekelenkamp, 17th century 
 
 
 
 Dort . 
 
 
 1643 
 
 1706 
 
 
 Daniel Mytens, younger, about . 
 
 1644 
 
 1688 
 
144 
 
 THE RISE AND PHOGE^SS 
 
 OCUUOl. 
 
 
 jDirLO. 
 
 jjeatii. 
 
 
 •Tan TV^epmiir 
 
 1644 
 
 X \J JL X. 
 
 171Q 
 
 Rottprdam 
 
 TVTirliael van TVTiissnlier 
 
 1645 
 
 1705 
 
 Haarlena 
 
 fTflTi van HiiQ'teTilmre' 
 
 1646 
 
 1733 
 
 X. 1 KJtJ 
 
 Rottordam 
 
 Adrian van der Werif 
 
 1651 
 
 1722 
 
 Haarlem 
 
 Oornelis Dusart . ... 
 
 1660 
 
 1704 
 
 Leiden 
 
 Willem van Mieris 
 
 1662 
 
 1747 
 
 f X. I 
 
 Amsterdam . 
 
 
 1664 
 
 1750 
 
 Amsterdam . 
 
 
 1682 
 
 1749 
 
 Leiden . 
 
 Frans van Mieris, younger . 
 
 1689 
 
 1763 
 
 Hague 
 
 
 1744 
 
 1808 
 
OF PAINTING IN GERMANY. 
 
 145 
 
 THE EISE AND PROGRESS OF PAINTING IN GERMANY. 
 
 There was an early period in tlie history of German art 
 when, although its efforts were rude and uncouth, it 
 was unaffected by foreign influences, and soon developed 
 estimable qualities of its own. A taste for pictorial 
 representation was manifest in the Ehenish provinces, and 
 a school was established of which the centre was Cologne. 
 Certain records have been found there of one Wilhelm von 
 Koln, or Master Wilhelm — the earliest notice of his ex- 
 istence appearing soon after the middle of the fourteenth 
 century (1358) — who appears to have been greatly 
 esteemed, and who was appointed painter to the city. 
 Many productions of this early Ehenish school are attri- 
 buted to him — among them two pictures now in the 
 Museum Wallraf-Eichartz at Cologne — with probability, 
 but not with absolute certainty. There is more evidence, 
 however, to connect his name with some slight remains of 
 frescoes formerly in the Cologne Eathhaus, now in the 
 same museum. The two pictures referred to are Nos. 40, 1, 
 a small triptych of the ' Madonna,' and a large and fine 
 work, * Christ on the cross, the Virgin and eight apostles.' 
 The heads are remarkable for being finely modelled from 
 nature ; the extremities are less finished ; the limbs of 
 Christ, of extreme tenuity. The head of each saint has 
 an elaborately painted aureola bearing his name. The 
 work, like that of the early Cologne school generally, is 
 marked by softness of contour, blending of light and shade, 
 and high finish in the features and hair. Another of 
 these rare works is No. 160 in the Museum of Darmstadt, 
 a votive picture in five parts; where also are several 
 examples of the school. A considerable collection of 
 similar works are in the Pinacothek at Munich, in 
 Cabinet I. 
 
 L 
 
 Fourteenth 
 century. 
 Wilhelm 
 von Koln. 
 
146 
 
 THE BISE AND PBOGRESS 
 
 Fifteenth 
 
 century. 
 
 Loethener, 
 
 The Master 
 of the 
 Lyversberg 
 ' Passion.^ 
 
 Master of 
 Lieshorn, 
 
 The next prominent name is that of Stephen Loethener, 
 or Lochner, or " Master Stephen," who came from Constance 
 to Cologne, and took up his abode there in 1442. The 
 large triptych of the ' Adoration of the magi,' known as 
 the ' Dombild,' in the Cologne Cathedral, unquestionably 
 a very fine work, is believed to be a masterpiece of Loe- 
 thener, and shows a decided advance on the work of 
 Wilhelm in regard to the realistic treatment of the subject 
 (Plate XXXIL, 2). Another example by him is a small 
 picture of the 'Madonna of the Kosary,' No. 118, among 
 others, in the Cologne Museum. Another is ascribed to 
 him at Darmstadt, No. 168. 
 
 After Loethener the school declined for some time, until 
 the influence of the great Flemish advance in art under 
 the Van Eycks and Eogier van der Weyden made itself 
 largely felt here as elsewhere. The earliest signs of this 
 influence in different parts of Germany may be traced in 
 several works of the period (end of the fifteenth and 
 beginning of the sixteenth century), some of which have 
 been attributed, although without foundation, to Israel 
 von Meckenen, who was an engraver, but almost certainly 
 was not a painter. Among others, a large composition, 
 formerly in the Lyversberg Gallery at Cologne, and now 
 in the museum there, is no longer attributed to Meckenen, 
 but to a painter unknown, and hence referred to as the 
 " Master of the Lyversberg ' Passion ' (painted 1463-90). 
 The series consists of eight fine panels, Nos. 151-8, well 
 preserved, full of interesting detail, quaintness of character, 
 and painted with a finish and colour which point to the 
 influence of the Van Eycks. Catalogued under the same 
 name are a ' Conversion of S. Hubert,' No. 352 in the 
 National Gallery, Edinburgh ; and a ' Presentation in the 
 temple,' No. 706 in our National Gallery. Other examples 
 — namely, six panels, portions of an altarpiece, Nos. 613-18 
 — are with several other examples of the school in the 
 Pinacothek at Munich. 
 
 Some excellent works belonging to a master, name 
 unknown, were executed for the Monastery of Liesborn, 
 Westphalia, in 1465. He is spoken of therefore as the 
 " Master of Liesborn," and two panels by him may be seen 
 
OF PAINTING IN GERMANY. 
 
 147 
 
 in our National Gallery, Nos. 260, 1 ; and one in the 
 National Gallery, Edinburgh, No. 350, all originally 
 forming part of the Liesborn altarpiece, which was his 
 chief work. 
 
 Another master obtains distinction from a triptych of 
 the ' Death of the Virgin,' No. 207 in the Cologne Museum, 
 a highly interesting picture, painted early in the fifteenth 
 century. Other fine illustrations of the Cologne school, 
 by artists of great merit, whose names are unknown, are 
 Nos. 159 and 199. A beautiful example by the Master, of 
 the ' Death of the Virgin,' is a triptych, No. 578 at Berlin ; 
 another is No. 5 Koom II. 2nd floor in the Belvedere, 
 Vienna ; a third is at Munich, Nos. 661, 2, 3 ; and a fourth 
 is in the Stadel, Frankfort, No. 99. 
 
 The old cities of Colmar, Ulm, and Augsburg were at 
 about this period centres of a school of art recognised as 
 the Swabian, which received Flemish influence through 
 the Cologne school. The earliest painter and engraver of 
 note at Colmar was Martin Schongauer, or Schon (1420-99), 
 who studied under Van der Weyden, and thus ultimately 
 carried Flemish feeling, through his pupil Wohlgemuth, 
 into the future Niimberg school. 8ome fine paintings by 
 Schongauer exist : the ' Madonna ' in S. Martin's Church 
 at Colmar is generally regarded as his masterpiece. The 
 ' Death of the Virgin ' in our National Gallery, No. 658, 
 is also a remarkable example of this master. Several 
 works at Darmstadt are ascribed to him, of which Nos. 
 217, 18 should be noted. Two others are attributed to 
 him in the Moritz-Kapelle, Nurnberg, Nos. 66, 111. 
 
 At Ulm a worthy representative of the school was 
 Bartholomaus Zeitblom (records 1450-1517), some of 
 whose best works are in the Stuttgart Museum — viz., 
 parts of an altarpiece, &c., Nos. 421-7, and others : of 
 which No. 422 is the 'Visitation,' dated 1496. (See also 
 the catalogue at the end of the volume.) The predella of 
 the altarpiece is in the Berlin Museum, No. 606a ; where 
 also are the two panels ' S. Peter ' and ' S. Anne,' Nos. 561a 
 and 561b. He may be studied in the Moritz-Kapelle at 
 Nurnberg, Nos. 58, 65. An excellent work, in four panels 
 of large size, is the ' History of S. Valentine ' in the 
 
 L 2 
 
 Master of 
 Lie shorn. 
 
 Master of 
 the ' Death 
 of the 
 Virgin* 
 
 Swabian 
 school. 
 
 At Colmar. 
 Schon- 
 gauer, 
 
 At Ulm. 
 Zeitblom. 
 
148 
 
 THE RISE AND FB0GRES8 
 
 Zeithlom. 
 
 At Augs- 
 
 Holhein the 
 elder. 
 
 Sixteenth 
 century. 
 Holhein the 
 younger. 
 
 At Basle, 
 
 Augsburg Gallery, Nos. 79-82. Four works also may be 
 seen in the Cathedral there. There are several figures 
 of saints at Munich by him, and one at Darmstadt, a 
 ' S. Lawrence,' No. 223. 
 
 At Augsburg this school commences with the Holbeins, 
 who flourished as painters during three generations. Of 
 the first it is unnecessary to speak in detail, the second 
 and third alone being famous as " Holbein the elder " and 
 " Holbein the younger." The former (1460-1524) exe- 
 cuted some good pictures in the manner of the school, 
 several examples of which are in the Museum at Augsburg, 
 the three principal being altarpieces, Nos. 25-7, Nos. 84-6, 
 and Nos. 683-5. Four other works are in the Cathedral 
 there. There are numerous panels, parts of an altai piece 
 from S. Catharine's, Augsburg, now at Munich, of which 
 Nos. 15, 16, and 17 are the best. These, painted about 
 1515, were formerly supposed to be early works of the 
 younger Holbein, but are now regarded as the work of the 
 elder, probably assisted by his sons, or by his brother, 
 Sigismond. Other examples are in the Moritz-Kapelle, 
 Niirnberg ; and in the Stadel, Frankfort, there is a series 
 of seven panels relating to the Passion, Nos. 76-82. 
 
 But the style attained its highest perfection in the 
 works of Hans Holbein the younger (1497-1543), one of 
 the greatest painters Germany has produced. Until lately 
 an altarpiece of four sides painted in 1512 — the two inner 
 with S. Ulrich and S. Wolfgang, and the ' Death of S. 
 Catharine ; ' the outer a ' Martyrdom of S. Peter ' and a 
 'Madonna' — in the Augsburg Gallery, Nos. 673-6, was 
 regarded as his earliest production ; but most critics are 
 now in favour of ascribing it to the father, whose work it 
 certainly resembles. 
 
 The younger Holbein painted soon after this date an 
 altarpiece, now in the Pinacothek at Munich, of which the 
 finest portion is the 'Martyrdom of S. Sebastian,' No. 17. 
 He next settled in Basle, where in the Gallery may be 
 found many important early paintings, besides a large 
 number of drawings in pencil, tinted, and in pen and ink. 
 The preservation of these is due to the zeal of Holbein's 
 friend, Amerbach, a lawyer, and great lover of art, who 
 
OF PAINTING IN GERMANY. 
 
 149 
 
 devoted many years to the acquisition of Holbein's works. 
 Some of his earliest portraits are here, one of the most 
 admirable being that of Amerbach himself, No. 13, painted 
 in 1519, and among others, a group of Holbein's wife 
 with two children, on one panel, No. 20, supposed to have 
 been painted in 1529. Of later portraits a fine example is 
 that of 'Erasmus writing.' No. 16; another, that of a 
 merchant. No. 35, besides which are two highly finished 
 portraits of the same woman, the first, * Lais Corinthiaca,' 
 painted in 1526, No. 22; the second, less excellent, as a 
 Venus, No. 23. But nothing in the Museum is more re- 
 markable than the life-size painting of a corpse. No. 19, 
 fine in drawing and colour, and studied with extraordinary 
 fidelity, entitled a 'Dead Christ,' signed and dated 1521. 
 There also are his well-known scenes from the Passion, a 
 small altarpiece in eight compartments, No. 26, marked 
 by crude colour, intermingled with gilding, and highly 
 finished in every detail after the manner of the time. 
 The drawings in another room are well worthy of study. 
 Among them may be found his own portrait in pastel. 
 No. 15. During his residence at Basle, Holbein probably 
 executed the drawings for the well-known wood engrav- 
 ings of the ' Dance of Death,' a subject which had been 
 treated long before, among other places^ in fresco at the 
 Domenican Church at Basle, remains of which are still 
 preserved in the old chapter-house at the Cathedral. At 
 the same time he executed some wall paintings for the 
 Town Hall of Basle, a few fragments of which are pre- 
 served in the Museum, Nos. 27-33. Later still, when 
 Holbein was about thirty years of age, he painted one of 
 his finest devotional pictures, the ' Madonna ' of the Burgo- 
 master Meyer, now in the Koyal Palace of Darmstadt. 
 This work, although less generally known than the popular 
 and beautiful picture in the Dresden Museum, No. 1809 
 (Plate XXXIV., 1), is superior to the latter, which, since 
 the Holbein Exhibition at that city a few years ago, is 
 acknowledged not to be from the master's hand. The 
 picture at Darmstadt is free from the uniform dull red 
 tint of the Dresden work, is full of varied colour, has 
 more light and shade, finer modelling, and the expression 
 
 Holbein the 
 younger. 
 
 Later 
 works^ 
 
150 
 
 THE RISE AND PB0GRES8 
 
 of the figure is more perfectly rendered.* About 1526 it 
 appears that Holbein first visited England, where he soon 
 became attached to the Court of Henry VIII., and spent 
 most of the remaining seventeen years of his life. Here 
 he worked chiefly in portraiture, in which branch of art 
 he was a master of the first rank, as the exquisitely finished 
 portraits by him in many European galleries and in 
 numerous English mansions testify. It may be said in- 
 deed that he founded a school of portraiture, marked by a 
 thorough study of the sitter's character, and by earnest 
 work in the reproduction of its features both physical 
 and mental. The following list of examples may be 
 noted I' — 
 
 While no work of Holbein exists in our National Gallery, 
 many are attributed to him at Hampton Court, nearly 
 twenty according to the catalogue, of which some six or 
 seven may be genuine — mostly early works : such are the 
 pair of panels ' Frobenius ' the printer, No. 603, and 
 ' Erasmus,' No. 5'97 ; ' Erasmus writing,' No 594, and the 
 portraits of his father and mother on one panel. No. 608. 
 There is a fine collection of crayon portraits, nearly 
 ninety in number, in her Majesty's collection at Windsor, 
 chiefly of personages of the court of Henry VIII. The so- 
 called picture of the ' Barber surgeons' is still preserved 
 in the Court-room of the Barbers' Company, Monkwell 
 Street, London. A fine small early portrait of a young man 
 in red is No. 226 in the Darmstadt Gallery ; and another 
 early example is No. 83 in the Stadel at Frankfort : two 
 small portraits are Nos. 52b and 52r) in the Moritz-Kapelle, 
 Niimberg. The Louvre is very rich in fine examples ; 
 among them are the renowned portraits of Erasmus, No. 
 208, Nicholas Kratzer, No, 206, painted in 1528, Archbishop 
 Warham, No. 207, Sir Thomas More, No. 210, Anne of 
 Cleves, No. 211, and Sir Eichard Southwell, No. 212 (a 
 replica, of one in the Uffizi, No. 765) ; at the Hague may 
 be seen the admirable likeness of Cheseman, falconer to 
 Henry VIIL, No. 238 ; at Dresden is that splendid example 
 of the goldsmith Morett, No. 1810 (Plate XXXIV., 2); a 
 
 * The writer had the advantage of making careful examinations of 
 both pictures, with a very few days' interval between the two. 
 
 Holbein the 
 younger. 
 
 Portraits. 
 
OF PAINTING IN GEBMANY. 
 
 151 
 
 notable one among others wliicli are doubtful, in the 
 Museum of Berlin, is the magnificent half-length of George 
 Gyzen, No. 586, with details marvellously executed (Plate 
 XXXIV., 5) ; in the Belvedere, Vienna, the portrait, among 
 others, of the physician Chambers, No. 62 ; of a young 
 man, unnamed, No. 85, and the splendidly executed Jane 
 Seymour, No. 61 Eoom I. 2nd floor. 
 
 Augsburg also produced about this time, besides the 
 Holbeins, two worthy artists, Hans Burgkmair (1472-1559) 
 and Christopher Amberger (1490-1568). The former 
 executed numerous woodcuts, the best known being the 
 ' Triumph of the Emperor Maximilian.' Many paintings 
 by him are at Munich; among them a fine ' S. John at 
 Patmos,'No. 65. At Dresden is an altarpiece. No. 1739. 
 At Vienna the ' Life and passion of Christ,' a most 
 elaborate and comprehensive work, containing, besides the 
 centre-piece, a ' Crucifixion,' no less than 156 small scenes 
 from the gospel narratives ; it is No. 50 Koom I. 2nd 
 floor. Of several examples in the Augsburg Gallery, the 
 best are Nos. 19-22 and 24; others are in the Moritz- 
 Kapelle at Niirnberg, and in the German Museum there, 
 is a very fine ' Madonna,' dated 1509. 
 
 Amberger distinguished himself as a portrait-painter in 
 the manner of Holbein. Two fine examples are attributed 
 to him in the Berlin Gallery — portraits of Charles the 
 Fifth and of Sebastian Miinster, Nos. 556, 83 ; another is 
 No. 84 at Frankfort ; other works are at Amberg. There 
 is a beautiful altarpiece by him in a chapel at the east 
 end of the Cathedral at Augsburg ; another is ascribed to 
 him in the Moritz-Kapelle, Niirnberg. One portrait, in 
 the Gallery at Augsburg, long assigned to him, has recently 
 been given to B. Beham : see catalogue. 
 
 A third and very able portrait-painter of this period 
 may be mentioned here, viz., Bartholomaus Bruyn, of 
 Cologne (1492-1556). Examples of his work in portraiture 
 are to be found at Berlin, No. 588 ; at Frankfort, Nos. 101, 
 2, 3 ; at Cologne, No. 356 ; at Brussels, Nos. 4, 5 ; and in 
 the Hermitage, St. Petersburg, Nos. 470, 1 — all admirable 
 productions. Parts of an altarpiece by him are Nos. 687, 8 
 at Munich. 
 
 Holbein the 
 younger. 
 
 Burgkmair, 
 
 Amberger, 
 
 Bruyn, 
 
 I 
 
152 THE BISE AND PROGRESS 
 
 Franconian 
 school. 
 
 Wohlge- 
 muth, 
 
 A, Durer, 
 
 Meanwhile, besides the Swabian, another equally im- 
 portant school, which has been termed the Franconian, 
 took its rise in the picturesque old city of Niirnberg, 
 already the home of Adam Kraft and Peter Vischer, men 
 famous in the history of German plastic art. The master- 
 spirit of this school was Albrecht Diirer, but before con- 
 sidering his work we may first notice the productions of 
 his master, Michael Wohlgemuth (1434-1519). Most of 
 these are characterised by warmth and brightness of colour, 
 by forms and features which are unpleasing, often re- 
 pulsive, and by action which in some cases is almost 
 grotesque. In illustration may be named an altarpiece, 
 dated 1465, including a famous * Crucifixion,' Nos. 22, 7, 
 34, 9 in the Pinacothek at Munich, several panels in the 
 Moritz-Kapelle, and a fine triptych in the Frauenkirche at 
 Nurnberg. 
 
 Albrecht Diirer (1471-1528) studied under Wohlgemuth 
 for three years, and then travelled abroad before he finally 
 settled as a painter and an engraver in Nurnberg in 1494. 
 His most important works, however, the number of which 
 testify to his gre?i(t activity, were executed after a visit to 
 North Italy in 1506. Belonging to the earliest period of 
 his life is a series of woodcut designs illustrative of the 
 Kevelation of S. John ; after this he painted the portrait 
 of his father. No. 720, and that of himself. No. 716 (at 
 thirty years of age), now in the Pinacothek at Munich. 
 Another early portrait of his father is No. 87 in the 8tadel, 
 Frankfort. At a somewhat later period he executed the 
 beautiful * Adoration of the kings,' No. 1141, in the 
 Tribune of the Uffizi at Florence (Plate XXXIV., 4). In 
 the Belvedere, Vienna, there are two very large composi- 
 tions of the master full of delicately finished figures — 
 namely, the 'Martyrdom of christians in Persia,' No. 15, 
 and a representation of the ' Trinity surrounded by angels,' 
 No. 18 Room I. 2nd floor. Into both these works Diirer 
 has introduced his own portrait ; and in the latter there is 
 some beautiful landscape beneath. At Dresden may be 
 seen a fine ' Christ on the cross,' No. 1722a, dated 1500. 
 Belonging to a later period is a ' Madonna,' No. 851 in the 
 Uf&zi at Florence; where also is a fine portrait of himself 
 
OF PAINTING IN GERMANS. 
 
 153 
 
 at twenty-six years of age, No. 434, of which there is an 
 equally good repetition at Madrid, No. 1316. Many of his 
 most famous portraits were painted about this time ; for 
 example, the well-known head of his friend Pirkheimer, 
 that of Wohlgemuth, No. 731, and those of the Baum- 
 gartners, Nos. 1, 3 in the Munich Pinacothek. Another 
 fine example is No. 29 Eoom I. 2nd floor at Vienna. Our 
 National Gallery has one portrait only. No. 245, that of a 
 senator. Two grand full-length figures of Charlemagne 
 and Sigismund, recently in the Kathhaus, are now in the 
 German Museum, Niirnberg; where also is the highly 
 finished portrait of Holtzschuher, dated 1526. Then there 
 is a magnificently painted head of an earlier date, an ' Ecce 
 Homo,' No. 102 in the Moritz-Kapelle of that city. At 
 Madrid also are two fine single figures of Adam and Eve, 
 Nos. 1314, 15, which illustrate his work of the middle 
 period. Among his most celebrated and his latest works 
 are the two panels containing life-size full-lengths of the 
 Apostles ' SS. John and Peter,' ' SS. Paul and Mark,* Nos. 
 71, 6 in the Pinacothek at Munich. They are dignified 
 figures, painted in a broad style, and in this particular 
 differ from his earlier and more minutely finiahed pictures. 
 But Diirer's powers are also equally displayed in numerous 
 engravings and woodcuts, some of which rank among his 
 best productions. Such are the two series of woodcuts of 
 the ' Great and Little Passion,' the ' Life of the Virgin,' 
 the well-known engravings of the * Knight of Death,' the 
 'Melancholy,' and others. Also must be mentioned the 
 prayer-book decorated by him for the Emperor Maximilian, 
 now in the Koyal Library at Munich. 
 
 Albrecht Diirer had several followers in Niirnberg : the 
 chief of these was Albrecht Alt dorfer (1485-1538), who 
 subsequently became influenced by Italian art: He exe- 
 cuted some altarpieces, of which a fine example is that, 
 Nos. 47 to 51, in the Gallery at Augsburg, essentially 
 German in its feeling and manner. There is a good work, 
 dated 1529, at Munich, No. 761. Others are in the Moritz- 
 Kapelle, Niirnberg. After Altdorfer were the two Behams, 
 Hans Sebald (1500-50), and Bartholomaus (1496-1540) 
 and Georg Pencz. The first executed engravings; but 
 
 A, Diirer, 
 
 Engra- 
 vingSf ^c. 
 
 Altdorfer, 
 
 The 
 
 Behams, 
 
154 
 
 THE BI8E AND PROGRESS 
 
 The 
 
 Behams* 
 
 Fencz, 
 
 Lucas 
 Granach. 
 
 there are two good pictures by B. Beliam in the Pinacothek 
 at Munich, Nos. 72 and 98 ; and one in the Augsburg 
 Gallery, No 696. An example. No. 435 in the Gallery at 
 Stuttgart, ' S. Benedict in a landscape,' must be noted. 
 Three small and well-modelled portraits are attributed to 
 him at the Hague, Nos. 231, 2, 3, of which No. 232 appears 
 to be the best. A curious work by Hans Sebald Beham is 
 the ' History of David,' No. 14 in the Louvre, mounted as 
 the top of a table. Pencz (1500-50) was an excellent 
 portrait-painter in the style of Diirer. Three portraits are 
 in the German Museum, Niirnberg ; one is in the Uffizi, 
 Florence, No. 436 ; one at Vienna, No. 54, and a triptych, 
 Nos. 5, 8 Eoom I. 2nd floor; and three others are at Berlin, 
 Nos. 582, 5, 7. 
 
 The best among Albrecht Diirer's pupils was Lucas 
 Cranach (1472-1553), or properly Lucas Sunder, who 
 established a school of painting in Saxony, and was 
 appointed court painter. He executed several important 
 works, chiefly altarpieces : for example, one in a church at 
 Schneeberg; another in the Meissen Cathedral; and at 
 Weimar a third, in which Cranach has introduced his own 
 portrait, as well as that of Luther, for whom he had a great 
 veneration. Many of Cranach's smaller works, although 
 bearing his name, were partly executed by his pupils. A 
 ' Holy family ' in the Palazzo Sciarra at Eome is probably 
 by Crauach himself. Besides these compositions, he very 
 frequently painted the nude figure in a manner which was 
 often rather grotesque than beautiful. For this purpose 
 he chose the subject of Adam and Eve, several representa- 
 tions of which are to be seen in European galleries. The 
 best perhaps are those in the Tribune of the Uffizi at 
 Florence, Nos. 1138, 42, and those at Brussels, Nos. 365, 6 
 (Plate XXXIII., 8), while some others are very uncouth. 
 Several of this order are at Berlin. A better figure than 
 usual is that of a ' Venus with Cupid,' of life-size, No. 461 
 in the Hermitage, St. Petersburg ; there also is a good 
 ' Madonna under an apple-tree,' No. 459, with several 
 portraits. The Munich Gallery possesses some of his 
 best productions, both small and large : of the former a 
 ' Madonna,' No. 734, and an * Adam and Eve,' No. 729, and 
 
OF PAINTING IN GEBMANY, 
 
 155 
 
 of the latter the ' Woman taken in adultery,' No. 56 (Plate 
 XXXIV., 3), may be mentioned among others. In the 
 Gallery at Buda-Pesth are several excellent and charac- 
 teristic examples, of which perhaps the best is an 
 * Herodias,' No. 35. The Gallery at Dresden contains a 
 large number of Cranach's works ; among many in the 
 Belvedere, Vienna, is a ' Christ appearing to the holy 
 women,' No. 71 Eoom I. 2nd floor ; two small compositions, 
 from Scripture subjects, are ' Pharaoh's host destroyed in 
 the Ked Sea,' No. 13, and a ' Sacrifice of Isaac,' No. 15, in 
 the Augsburg Gallery; a larger work, dated 1537, is No. 
 348 at Brunswick ; while his skill as a portrait-painter is 
 manifested by the portraits of Luther and of the Elector of 
 Saxony, repeated at Paris, Munich, Niirnberg, Vienna, 
 Dresden and Florence. There is one small portrait in our 
 National Gallery, No. 291 ; and two good ones are at 
 Darmstadt, Nos. 244, 8. 
 
 Cranach had one son of the same name, called " the 
 younger" (1515-86), some of whose paintings are to be 
 seen at Vienna. One large work is at Berlin, No. 593, 
 another is at Brunswick, dated 1549, No. 351, and a good 
 portrait of Frederick III. of Saxony is No. 251 in the 
 Darmstadt Gallery. But after the elder Cranach the Saxon 
 school gradually decayed. 
 
 No other names of importance appear during the six- 
 teenth century in the history of painting in Germany ; and 
 it was not until the seventeenth century that some more or 
 less worthy representatives appeared in the persons of 
 Eottenhammer, Elzheimer, Sandrart, and Eoos, among 
 others who belonged to that period; while Balthasar 
 Denner, Christian Dietrich, Eaphael Mengs, and Angelica 
 Kaufmann flourished in the eighteenth century. 
 
 Of the first-named group, Johann Eottenhammer (1564- 
 1623) painted works of very varying size and quality, 
 chiefly religious, some mythological. He is best seen at 
 Munich and Vienna. Our National Gallery contains one 
 small example. No. 659, with a background painted by 
 Velvet Brueghel, a combination not uncommon. Two good 
 small examples are in the Hermitage, Nos. 510, 11; and 
 one is in the Louvre, No. 424. 
 
 Lucas 
 Cranach, 
 
 Cranach 
 the 
 
 younger. 
 
 Seventeenth 
 century. 
 
 Eotten- 
 hammer, 
 
 I 
 
15G 
 
 THE RISE AND PROGRESS 
 
 Elzheimer^ 
 
 Sandrart, 
 
 Boos, 
 
 Eighteenth 
 
 century. 
 
 Denner, 
 
 Dietrich^ 
 
 Raphael 
 Mengs, 
 
 Adam Elzheimer (1574—1620) painted chiefly in Italy, 
 where he was known as Adamo Tedesco. His subjects 
 were landscapes, often illuminated by artificial light, or 
 moonlight scenes. Examples of the former are in the 
 Louvre, No. 159, and in our National Gallery, No. 1014. 
 Others are at Munich and Vienna. 
 
 Joachim Sandrart (1606-88) painted few pictures 
 worthy of note, but was the author of a voluminous work 
 on the history of art. There are paintings by him at 
 Munich and Vienna, and a portrait in the Amsterdam 
 Trippenhuis, 
 
 Johann Heinrich Eoos (1631-85) was an animal-painter 
 of note in the latter half of the century, and his works may 
 be found in most continental galleries. 
 
 Commencing with the eighteenth-century group, Denner, 
 the earliest of these (1685-1749), was most celebrated 
 as a portrait-painter. He worked in a minute style, re- 
 producing every peculiarity of the sitter with the greatest 
 faithfulness, entirely sacrificing breadth of execution and 
 grace of form. Characteristic examples of Denner's work 
 are Nos. 767, 79 at Munich, No. 117 in the Louvre, and 
 others at Dresden. Several examples are in the Hermit- 
 age : see catalogue. 
 
 Christian Dietrich (1712-74) was a painter of marvellous 
 fertility and varied powers. He lived principally at Dres- 
 den, and executed a large number of works, mostly copies of 
 old masters, chiefly Dutch, in which he achieved a greater 
 success than as an original painter. In our National 
 Gallery the ' Itinerant mu&icians,' No. 205, is a good 
 example ; but at Dresden there are no less than fiftyTone 
 works by him, painted expressly for the King Augustus 
 III. in virtue of his appointment as court painter ; and 
 several others are in the Hermitage. 
 
 Anton Eaphael Mengs (1728-78) was one of the best 
 painters of his time. He began to study his art at a very 
 early age, his father taking him to Dresden first, and then 
 to Eome, for that purpose. He spent much of his after- 
 life in Eome, occasionally travelling back to Saxony and 
 paying a visit to Spain, at both of which courts he held 
 appointments. Most of his best works are now to b© 
 
OF PAINTING IN GERMANY, 
 
 157 
 
 found at Madrid. The large ' Apotheosis ' of Trajan ' 
 decorates the dining-room of the Eoyal Palace there ; and 
 his masterpiece, an ' Adoration of the shepherds,' No. 1435, 
 with several other works, is in the Museum at Madrid. 
 He is] also well represented in the Hermitage ; the best 
 example being a large ' Judgment of Paris,' No. 1302 ; for 
 several others, including his own portrait, see catalogue. 
 His own portrait occurs again in the Uffizi, No. 555, and 
 at Munich, No. 153. A large representation of ' Apollo 
 and the Muses' in the Villa Albani at Kome is a good 
 example of the master's fresco-painting. 
 
 Angelica Kaufmann (1742-1808) gained a wide-spread 
 reputation in her lifetime, chiefly as a portrait-painter. 
 She went to study in Italy, and came subsequently to 
 England, where she was elected one of the thirty-six 
 original members of the Eoyal Academy, so highly was 
 she esteemed here. Her works show no originality, nor 
 any great power of execution, and while sometimes grace- 
 ful, are generally weak and insipid. Her own portrait 
 may be seen in our National Portrait Gallery, S. Kensing- 
 ton, at Munich, No. 152, and also in the Uffizi, No. 471. 
 Three good specimens of her works are at Dresden, Nos. 
 1978, 9, 80. Three small examples are in the Hermitage, 
 Nos. 1304, 5, 6 ; and one work, with two life-size figures, 
 is in the Louvre, No. 678. At Hampton Court a full- 
 length portrait, No. 502, may be mentioned. 
 
 E. Mengs. 
 
 Angelica 
 Kaufmann, 
 
158 
 
 THE RISE AND PROGRESS 
 
 1 
 
 A TABLE 
 
 Op the Dates of the Principal Painters op the German Schools, 
 
 School. 
 
 Cologne . 
 Cologne . 
 
 Swabian . 
 Nurnberg 
 
 Westphalian . 
 
 Westphalian . 
 
 Cologne . 
 
 Ulm . 
 
 Augsburg 
 
 Swabian . 
 
 Nurnberg 
 
 Saxon 
 
 Augsburg 
 
 Nurnberg 
 
 Augsburg 
 
 Cologne , 
 
 Augsburg 
 
 Nurnberg 
 
 Nurnberg 
 
 Nurnberg 
 
 Ulm . 
 
 Saxon 
 
 Birth. 
 
 Wilhelm von Koln, first record 1358 
 
 Stephan Lochner, or Loethener, first 
 record 1426 
 
 Martin Schongauer, or Schon . 
 
 Michael Wohlgemuth .... 
 
 Israel von Meckenen 
 
 Master of Liesborn, date of altar- 
 piece 1465 
 
 Master of Lyversberg, painted 1463- 
 90 
 
 Master of the ' Death of the Virgin,' 
 15th century 
 
 Bartliolom'aus Zeitblom, first record 
 
 1450 
 
 Hans Holbein, elder 
 
 Matthaus Griinewald, about 
 
 Albrecht Diirer 
 
 Lucas Cranach, or Sunder . 
 
 Hans Burgkmair 
 
 Albrecht Altdorfer 
 
 Christopher Amberger .... 
 
 Bartholomaus Bruyn 
 
 Hans Holbein, younger .... 
 
 Bartholomaus Beham 
 
 Hans Sebald Beham 
 
 Georg Pencz 
 
 Martin Schafifner 
 
 Lucas Cranach, younger .... 
 Johann Rottenhammer .... 
 
 Adam Elzheimer 
 
 Joachim Sandrart 
 
 Johann H. Boos 
 
 Balthasar Denner 
 
 Christian Dietrich ..... 
 Anton Raphael Mengs .... 
 Angelica Kaufimann 
 
 1420 
 1434 
 1440 
 
 Death. 
 
 1378 
 
 1451 
 1499 
 1519 
 1503 
 
 
 1517 
 
 1460 
 
 1523^ 
 
 1460 
 
 1530 ~ 
 
 1471 
 
 1528 
 
 1472 
 
 1553 
 
 1472 
 
 1559 
 
 1485 
 
 1538 
 
 1490 
 
 1568 
 
 1492 
 
 1556 
 
 1497 
 
 1543 
 
 1496 
 
 1540" 
 
 1500 
 
 1550 
 
 1500 
 
 1550 
 
 1508 
 
 1535 
 
 1515 
 
 1586 
 
 1564 
 
 1623 
 
 1574 
 
 1620 
 
 1606 
 
 1688 
 
 1631 
 
 1685 
 
 1685 
 
 1749 
 
 1712 
 
 1774 
 
 1728 
 
 1778 
 
 1742 
 
 1808 
 
OF PAINTING IN SPAIN, 
 
 159 
 
 THE RISE AND PROGRESS OF PAINTING IN SPAIN. 
 
 The enterprise and wealth of Spain in the fourteenth and 
 fifteenth centuries attracted artists to its capital both from 
 Italy and the Low Countries. Following the demand for 
 pictures which royal patronage and the Church originated, 
 schools arose in different parts of the country, chiefly in 
 Toledo, Castile, Valencia, and Seville. The earliest native 
 artists, most of whom belonged to the priesthood, appeared 
 at the commencement of the fifteenth century ; Toledo 
 being perhaps the first spot in which a school was deve- 
 loped. The earliest names of note, however, are those of 
 men who lived in the latter half of the fifteenth century. 
 Two only can be mentioned : Antonio del Eincon (1446- 
 1500) and Berruguete, the latter beginning to paint in the 
 commencement of the sixteenth century. Of the former 
 no works exist in any public gallery, unless a doubtful 
 ' Madonna,' No. 345 in the Hermitage at St. Petersburg, 
 attributed to him by Dr. Waagen, can be admitted. 
 Portraits of Ferdinand and Isabella in a dark chapel of the 
 Cathedral at Granada, ascribed to him, are probably copies 
 by a later hand. 
 
 Berruguete (1480-1561) is best known as an architect 
 and sculptor : numerous examples of his admirable talent 
 may be found throughout Spain, especially in marble. No 
 works are extant in any gallery, although several paintings 
 by his pupils may be found in that of Madrid, Nos. 2142-8 : 
 and these doubtless indicate the style of the master. 
 
 Vicente Joanes, or Juan de Juanes (1506-79), was a 
 painter of note at Valencia. Several works are attributed 
 to him in the Madrid Museum, No. 755, a ' Last Supper/ 
 being the principal. The drawing and expression are 
 good : the head of Christ, pleasingly rendered, is repeated 
 by itself more than once, Nos. 759, 60 ; and of these he is 
 
 Fifteenth 
 
 century, 
 
 Eincon, 
 
 Sixteenth 
 
 century. 
 
 Berruguete, 
 
 Joanes, 
 
160 
 
 THE RISE AND PROGRESS 
 
 Joanes. 
 
 Luis 
 Morales, 
 
 Sanchez 
 Coello, 
 
 Becerra, 
 Mavarrete, 
 
 known to have painted several replicas. There is also a 
 series relating to the history of S. Stephen, Nos. 749-53 
 (Plate XXXV., 1). A good portrait example is No. 754* 
 A small work of high finish is No. 758. An excellent 
 composition is No. 602 at Dresden. Two good examples 
 are in the Hermitage, St. Petersburg, No. 328, a ' S. Anna,' 
 and No. 329, a ' S. Dominic' His finest works are in the 
 Museum and in the churches at Valencia. 
 
 Luis Morales (1510-86) was a painter of sacred subjects 
 exclusively, and generally treated in an ascetic spirit — 
 hence called " El Divino." Pictures are attributed to him 
 in the Madrid Museum, Nos. 847-51 ; but they have little 
 to recommend them, and are faulty in drawing and colour. 
 So also is a ' Piedad ' in the Accademia do S. Fernando at 
 Madrid. These works do not fairly represent his power. 
 He is better seen in the Hermitage, St. Petersburg, in 
 No. 400, a ' Madonna,' and No. 401, a ' Mater dolorosa ' : of 
 these the first named is the best. There is a good ' Ecce 
 Homo,' No 601, at Dresden, and a characteristic * Christ 
 bearing the cross,' No. 537 in the Louvre. 
 
 Alonso Sanchez Coello (about 1515-90), pupil of Antonio 
 Moro, was a portrait-painter of great ability. In the 
 Madrid Museum, No. 1032, Don Carlos, and No. 1033, his 
 sister, are good examples : the latter is very finely and 
 delicately painted, with high finish and admirable 
 execution of details. No. 1036 is also well worthy of 
 study. A portrait of Margaret of Parma, No. 402 in the 
 Hermitage, St. Petersburg, is attributed to him by 
 Dr. Waagen : the face appears to have been retouched. 
 Three excellent and characteristic female portraits by 
 him are in the Brussels Gallery, Nos. 157, 8, 9 (Plate 
 XXXIII., 5) ; and a full-length of Philip II. of Spain is 
 ascribed to the master in our National Portrait Gallery, S. 
 Kensington. 
 
 Becerra (1520-70) and his deaf and dumb pupil 
 Navarrete, hence called "El Mudo " (1526-79), must be 
 named. The former was a fresco-painter and sculptor. 
 The latter studied in Italy during many years, and is said 
 to have been a pupil of Titian. After his return to Spain 
 he became painter to Philip I., for whom he chiefly 
 
OF PAINTING IN SPAIN. 
 
 161 
 
 worked. Three works are attributed to liim in the 
 Madrid Museum, Nos. 905, 6, 7. His finest pictures are 
 not now to be seen : several have perished, others are in 
 collections not open to the public. 
 
 Luis de Vargas (1502-68) should be remembered as the 
 first to introduce oil-painting into Seville, and as an early 
 painter of that school. A well-known work by him, 
 entitled the ' Generation of Jesus Christ,' painted in 1561, 
 is in the Cathedral of Seville, often called *La Gamba,' 
 owing to the fine drawing of the leg of Adam, prominently 
 seen in the foreground. Frescoes painted by him on the 
 outer wall of the Court of Oranges and in niches of the 
 Giralda Tower have now disappeared. 
 
 Pablo de Cespedes (1538-1608), of Cordova, was a man 
 of great erudition and of many talents. He is said to 
 have been a sculptor and architect as well as a painter. 
 Moreover, he was a poet, and, like De Vargas and Eoelas, 
 a divine by profession. All his works are lost except a 
 ' Last Supper ' at Cordova. 
 
 Domenico Theotocopuli (1548-1625), better known as 
 Greco," belongs to the Italian school by education, 
 but is usually classed with the painters of his adopted 
 country, Spain, where he lived for nearly fifty years, and 
 died at Toledo. His works want colour and are very 
 unattractive. Examples may be seen ^t Madrid, but 
 superior to any of these is the study of a head in the 
 Hermitage, St. Petersburg, No. 411. 
 
 Francisco de Eibalta (about 1550-1628) was one of the 
 chiefs of the school of Valencia, and the master of Eibera. 
 In the Museum and churches of Valencia his best works 
 are still to be found. In the Madrid Museum four are 
 attributed to him. No. 947, ' S. Francis of Assisi,' is a 
 good example, and illustrates the rigid naturalism in details, 
 and is conspicuous for the deep dark shadows, of his school. 
 The angel in the picture is necessarily conventional, and 
 looks as if borrowed from an Italian source. In the 
 Hermitage, St. Petersburg, are two fair examples, Nos. 
 338, 40. His son Juan (1597-1628), who died early, was 
 a promising painter, and his works are often confounded 
 with those of his father. 
 
 M 
 
 Navarrete. 
 
 Luis de 
 Vargas, 
 
 Pablo de 
 Cespedes^ 
 
 Domenico 
 Theotoco^ 
 puli. 
 
 Eibalta. 
 
162 
 
 THE BISE AND PBOGRESS 
 
 Seventeenth 
 
 century. 
 
 Eihera, 
 
 Pacheco, 
 
 Roelas, 
 
 Jose de Eibera of Valencia (1588-1656), surnamed in 
 Italy " Lo^ Spagnoletto" (see also Italian schools, p. 84), 
 spent much of his time in that country, and chiefly studied 
 under Caravaggio there. A large number of his works is in 
 the Madrid Museum, Nos. 955 to 1012, chiefly single heads 
 on small canvases, of apostles and saints, but evidently 
 painted from models, and more or less portraits. The best 
 examples of these are Nos. 956, 9, 63, 78. A ' Magdalen,' 
 No. 981, is less happy. A good illustration of the strong 
 efifect of light with dark shadows which marked the 
 Neapolitan school is seen in No. 1006, a ' Hermit at prayer.' 
 The following are examples of his most powerful work in 
 large compositions. The ' Martyrdom of S. Bartholomew,' 
 No. 989, a fine picture for' drawing and composition. 
 No. 977 is an admirable single figure. No. 982, ' Jacob's 
 dream,' is finely painted (Plate XXIV., 5). In No. 983, 
 ' Isaac blessing Jacob,' the drapery and details are admirably 
 rendered. In the Academia de S. Fernando at Madrid are 
 two excellent single figures of saints and a small ' Head of 
 the Baptist.' Some fine examples are in the Hermitage, 
 St. Petersburg: particularly worthy of notice is No. 331, 
 a ' S. Sebastian after martyrdom,' a grand and large 
 composition finely painted ; also Nos. 330, 2, 3, 4. In the 
 Louvre is an ' Adoration of the shepherds,' No. 548, besides 
 two others, Nos. 549, 50. Several good examples are in the 
 Dresden G-allery, particularly Nos. 608, 10, 18. Those in our 
 National Gallery, Nos. 235, 44, are not good specimens. 
 
 Francisco Pacheco (1571-1654), of the school of Seville, 
 flourished about the same date as Eibera, and is interesting 
 not only on account of his own excellent and very care-: 
 ful work, but as being the master and father-in-law of 
 Velasquez. He is represented by four small pictures in the 
 Madrid Museum, Nos. 916-19 ; by a fine work, the ' Miracle 
 of S. Pedro Nolasco,' No. 16 in the Seville Gallery; and 
 by an ' Annunciation ' over the high altar of the University 
 Chapel at Seville. His masterpiece, an enormous ' Last 
 Judgment,' painted for the Nunnery of S. Isabel, is no 
 longer preserved. 
 
 Also of the school of Seville was Juan de las Eoelas 
 (1558-1625), the master of Zurbaran. His work is chiefly 
 
OF PAINTING IN SPAIN, 
 
 163 
 
 to be seen in his native city. In the Cathedral is a 
 vigorous painting of ' Santiago overthrowing the Moors,' 
 and in the Gallery the ' Martyrdom of S. Andrew/ No. 89. 
 Three good examples of the master are in the University 
 Chapel ; and in the Church of S. Isidoro is a large com- 
 position representing the death of the saint, ' El Transito,' 
 generally considered as the masterpiece of the painter. 
 
 The two Herreras of Seville, father and son, must next 
 he mentioned : their works are frequently met with 
 in Spain, although examples in other European countries 
 are rare. Francisco de Herrera el Viejo (born 1576) is 
 represented by several vigorous pictures in the Seville 
 Gallery, and by a large canvas of the * Last Judgment ' in 
 S. Bernardo there. A good example is in the Louvre, 
 No. 536. Also in the Seville Gallery are some of Herrera 
 " el Mozo," or the younger (1622-85), and in the Cathedral 
 a large altarpiece of the ' Apotheosis of S. Francis,' weakly 
 conceived and executed. Better still is the ' Assumption 
 of the Virgin ' in the Church of our Lady of Atocha at 
 Madrid. There is a finished work in the Hermitage, St. 
 Petersburg, No. 389, * Legend of the portrait of S. Dominic' 
 
 A gifted scholar of Pacheco was Alonso Cano, of Granada 
 (1601-67), who gained a reputation as sculptor, painter, 
 and architect, on which account he has sometimes been 
 regarded as the "Michael Angelo" of Spain. In the 
 Seville Cathedral there is a small and beautifully rendered 
 ' Madonna ' by him, and in the University Chapel at 
 Seville are two single figures over the high altar. In the 
 Madrid Museum are several good examples of his work, 
 especially a 'Dead Christ and angel,' No. 672; the figure 
 of ' S. Benito Abad,' No. 668 ; and a * Madonna,' No. 670. 
 In the Academia de S. Fernando is a ' Crucifixion ' by Cano. 
 At Munich there is a ' Madonna and S. Anthony,' No. 353. 
 In the Hermitage, St. Petersburg, two good examples of 
 the master may be seen, the * Legend of the portrait of S. 
 Dominic,' No. 354, and a replica of the 'Madonna' at 
 Seville, No. 352. An excellent specimen is a ' S. Agnes,' 
 No. 414b at Berlin. 
 
 Francisco Zurbaran, a native of Seville (1598-1662), is 
 known for simplicity, correctness, and breadth in treat- 
 
 M 2 
 
 Roelas, 
 
 The 
 
 Herreras, 
 
 Alonso 
 Cano, 
 
 Zurbaran, 
 
164 
 
 THE RISE AND PROGRESS 
 
 Zurbaran, 
 
 Velasquez. 
 
 At Madrid, 
 
 ment of single figures, mostly monks, of wliicli numerous 
 examples exist. The draperies in large and massive folds 
 are often, well rendered. He is best seen in the Gallery at 
 Seville, where his principal work, the ' Apotheosis of St. 
 Thomas Aquinas,' No. 1, is far in advance of other examples 
 of the master there — in some of which the treatment of 
 the subject and draperies is stiff and hard. Such, for 
 instance, are Nos. 46, 67, 74. A good series of five single 
 monks is in the Academia de S. Fernando at Madrid. 
 The series relating to Hercules is in the Madrid Museum, 
 where also is an admirable figure of a sleeping youth, 
 called ' A Christ,' No. 1133. Two examples, Nos. 351, 73, 
 are at Munich ; and one is at Dresden, No. 627. A very 
 fine life-size figure, in warm colour with high finish, is 
 the S. Lawrence,' No. 349 in the Hermitage, St. Peters- 
 burg ; there also is the ' Child-Virgin praying,' No. 348, an 
 excellent small work. Specimens of fair quality are in the 
 Louvre, Nos. 555, 6, 7, and in the National Gallery, Edin- 
 burgh, No. 98. A very fine figure of a monk at prayer, 
 No. 230, is in our National Gallery (Plate XXXV., 2). Zur- 
 baran became painter to the king before he was thirty- 
 five years old, and executed for him at Bnen Eetiro the ten 
 pictures of the ' Labours of Hercules ' referred to above. 
 
 Spain's greatest master, Don Diego Velasquez de Silva, 
 was born at Seville in 1599, and studied under Herrera el 
 Viejo and Pacheco. The power of reproducing human 
 character, great knowledge of chiaro-oscuro, vigorous 
 drawing, and broad masterly execution are evident in all 
 his works. As a youth he closely studied still-life and 
 the human model as he found them in the streets, and an 
 example, one of his earliest and most famous works, is the 
 ' Water-carrier,' belonging to the Duke of Wellington. 
 The finest compositions of Velasquez are at Madrid, for he 
 worked almost exclusively for his patron, Philip IV. of 
 Spain, and in its Museum alone the master can be ade- 
 quately studied. No less than thirty important works 
 are there, including portraits, &c., besides numerous other 
 less remarkable examples, sixty-four in all. Of these 
 perhaps none is so full of vigour, so rich in colour, and 
 so admirably composed as the celebrated ' Borrachos,' No. 
 
Plate XXXV. To face page 164. 
 
OF FAINTING IN SPAIN, 
 
 165 
 
 1058, a group of Spanish peasants making merry at a Velasquez. 
 vintage festival (Plate XXXVI., 1). This fine work, 
 executed when he was only twenty-five years old, is 
 painted solidly and carefully, and in this respect yields to 
 none of his later and more matured compositions, many 
 of which are slight in structure, although masterly in 
 execution. Next in order to the ' Borrachos,' but much 
 later in date (1645-48), comes the grand 'Surrender of 
 Breda,' No. 1060 (Plate XXXV., 3). It would be impossible 
 to admiie too much the pose of the two central figures, or 
 the knightly bearing and sympathetic expression of the 
 victor as he receives his former foe, whose deportment 
 while tendering the keys is rendered with equal grace 
 and intelligence. The best portrait known of the master 
 himself is found in the figure with a plumed hat to 
 the extreme left. In the no less fine composition * Las 
 Meninas,' No. 1062, so called from the maids of honour, 
 who with two dwarfs amuse the Infanta, the master's 
 power of chiaro-oscuro is very striking (Plate XXXVI., 2). 
 The figure of Velasquez himself at his easel is prominent, 
 while the background is admirably relieved by a looking- 
 glass which reflects the figures of the King and Queen, 
 whose presence in the chamber is thus made known. 
 It was painted in 1656, and was his last great work ; 
 while occupied on it, it is said that Philip IV. took the 
 painter's brush and decorated his portrait with the 
 Eed Cross of Santiago. The fourth of the large works 
 here is ' Las Hilanderas,' or ' The Tapestry-workers,' 
 No. 1061, marvellous for freedom and mastery of the 
 brush, full of airland light, and a fine study of com- 
 position and colour (Plate XXXV., 4). In these works 
 we see Velasquez at his best : he loved to delineate truth- 
 fully all objects around him in the ordinary circumstances 
 of daily life, and thus the intense realism of his style 
 prevented him from excelling equally in representations 
 of mythological scenes and in religious pictures, for which 
 latter his famous contemporary Murillo, as we shall see 
 hereafter, was so celebrated. An example of a mytho- 
 logical subject inadequately treated by Velasquez is the 
 * Forge of Vulcan,' No. 1059, painted at Kome, during a 
 
166 
 
 THE BI8E AND PROGRESS 
 
 Velasquez. 
 
 Sacred 
 subjects. 
 
 Single 
 figures. 
 
 Equestrian 
 portraits. 
 
 Landscape. 
 
 Portraits, 
 
 visit to Italy, about 1629-30 ; while equally unsuccessful 
 are an early ' Adoration of the kings,' No. 1054, and a 
 ' Coronation of the Virgin,' No. 1056. On the other hand, 
 the famous single figure of ' Christ on the cross,' No. 1055, 
 painted in 1639, although treated entirely in a naturalistic 
 manner, becomes a grand work in his hands. Some of 
 the single figures and portraits in the Madrid Museum 
 are marvellously powerful. First come the two life-size 
 and well-known figures of jiEsop and Menippus, Nos. 
 1100, 1. Then the admirable and life-like representation 
 of the ' Dwarfs of Philip IV.,' No. 1095, and its pendants, 
 Nos. 1096, 7. Also the characteristic studies of semi- 
 idiocy. No. 1098, known as *E1 Nino de Vallecas,' and 
 No. 1099, * El Bobo de Coria.' There are four large and 
 fine equestrian portraits by him in the Museum : the boy 
 Prince Baltasar Carlos, No. 1068 ; the Duke of Olivares, 
 No. 1069 ; Philip IV. and his Queen, Isabella of Bourbon, 
 Nos. 1066, 7. Portraits of Philip IV. often occur. Perhaps 
 the best is No. 1074, where he is represented standing 
 with his dog ; No. 1080 is a head, similar to that in our 
 National Gallery, No. 745. Another fine replica is in the 
 Hermitage, St. Petersburg, No. 420. Two full-lengths of 
 Dona Mariana and of the young Infanta Maria Teresa 
 of Austria are also in the Madrid Museum, Nos. 1078, 84 ; 
 the latter being the more delicate in treatment. Other 
 portraits here not to be passed over are Nos. 1073, 5, 6, 
 86, 91, 2. Examples of landscape are Nos. 1106, 8, and 
 others; the 'Aranjuez' was painted in 1642, which was 
 also probably the date of the ' Boar-hunt ' named later on. 
 Out of Spain, works by Velasquez are but rarely met 
 with in public galleries. It is commonly said that there 
 is only one work by him in Italy, namely, the grand life- 
 size portrait of Innocent X. seated, in the Doria Gallery 
 at Eome ; but there is undoubtedly another, a fine head, 
 hung rather high in the Gallery of the Capitol. A fine 
 study, doubtless from the life, of the Pope's head, is now 
 in the Hermitage, No. 418. In the Louvre are a beautiful 
 portrait of the Infanta Margaret of Austria, No. 551, and 
 another of Philip IV., No. 552; and in the Collection La 
 Caze one is ascribed to him of the Infanta Maria Teresa, 
 
OF FAINTING IN SPAIN, 
 
 167 
 
 No. 37. In our National Gallery is a * JBoar-hunt at 
 Aranjnez,' No. 197, his finest work of the kind, and an 
 ' Adoration of the shepherds ' is attributed to him, in his 
 early style, No. 232. In the Dulwich Gallery is a possibly 
 genuine portrait of Philip IV., No. 309 ; a fine full-length 
 of the King hangs in the Hermitage, No. 419, and a grand 
 one of the Duke of Olivares, No. 421, is there also; an 
 excellent head of the latter is No. 422. A very striking 
 full-length portrait, life-size, is that of a Spanish admiral. 
 No. 413a in the Berlin Museum. But the Belvedere at 
 Vienna contains the largest number of works, Madrid 
 excepted. The most important composition here is a 
 group of the * Painter and his family,' No. 14 Koom VII. 
 1st floor. No. 6 is a youthful portrait of Baltasar Carlos ; 
 No. 13, one of the Infanta Margaret ; No. 15, a full-length 
 of the Infanta Maria Teresa ; No. 47, the same ; and 
 No. 40 is a laughing idiot. These are all in the same 
 room. Another good replica of the Infanta Maria Teresa 
 is No. 61a in the Stadel, Frankfort ; where No. 51 is a 
 head of Cardinal Borgia. Three portraits are to be seen 
 in the Munich Pinacothek, Nos. 366, 366a, 367. 
 
 Juan de Pareja (1610-70), the faithful slave of Velasquez, 
 after studying painting in secret during many 3'ears, 
 ultimately received his freedom. He became a portrait- 
 painter of no great merit. He is represented at Madrid 
 by a single large picture, No. 935, ' The calling of 
 Matthew,' and in the Hermitage, St. Petersburg, by one 
 portrait. No. 427. 
 
 Juan Bautista Martinez del Mazo (died 1667), a favourite 
 pupil and the son-in-law of Velasquez, is represented at 
 Madrid by fifteen works, chiefly landscapes, Nos. 788 to 803. 
 He followed his mastea:'s style, for whose work Mazo's 
 copies are sometimes mistaken. 
 
 Bartolome Esteban Murillo (1618-82) was born at 
 Seville : in his twenty-fourth year he arrived in Madrid 
 and became a scholar of Velasquez. The large number of 
 important paintings, besides Waller works to be found in 
 many European galleries, are evidences of Murillo's great 
 fertility and steady labour. Just as Velasquez achieved 
 the !^ighest excellence in Spain by a realistic although 
 
 Vela$quez4 
 
 Portraits, 
 
 Pareja, 
 
 Del Mazo, 
 
 Murillo, 
 
168 
 
 THE BISE AND PROGRESS 
 
 Murillo. 
 
 His three 
 styles. 
 
 Feasants. 
 
 At Seville. 
 
 Sctcred 
 composi- 
 tions. 
 
 subtle study of nature, so Murillo is the most perfect 
 representative of Spanish ideal art. This remark is not 
 intended to apply to the earlier works of Murillo — for 
 nothing can be more naturalistic both in subject and ex- 
 ecution than his wonderful studies of beggar-boys — but 
 to later and more matured compositions, when his pencil 
 was occupied solely with religious subjects. The different 
 styles which Murillo adopted at various periods of his life 
 are commonly known as the " Frio," or cold style ; the 
 " Calido," or warm style ; and the " Vaporoso," or aerial 
 style. To find examples of Murillo's early work we must 
 look to galleries out of Spain, for not one of the ' Beggar- 
 boys ' remains in his native country. In the Louvre, 
 No. 547 is an excellent example (Plate XXXVI., 4). In 
 the Dulwich Gallery there are two fine paintings of 
 Spanish peasant-boys, Nos. 283, 6, and an admirably 
 painted flower-girl. No. 248. In the Munich Gallery 
 there are three groups of Spanish boys, Nos. 348 (the 
 best), 349, 357 ; besides two other paintings, one of 
 peasant-girls, the other a woman and boy, Nos. 368, 376 
 (Plate XXXVI., 5). The Hermitage, St. Petersburg, 
 possesses three excellent examples in No. 376, ' Boy and 
 dog,' No. 377, ' Peasant laughing at a dog,' and No. 378, 
 ' Girl with fruit.' It is at Seville, however, that the 
 master's finest compositions are still to be found. The 
 Cathedral contains one of his masterpieces, the ' Infant 
 Christ appearing to S.Anthony of Padua' (Plate XXXVI., 3), 
 a wonderful work in the " warm style."* In the Museum 
 some twenty-four works by Murillo are preserved. Chief 
 among these is the well-known ' S. Thomas of Villanueva dis- 
 tributing alms,' No. 84, which is perhaps the most complete 
 of all Murillo's compositions, although the *S. Elizabeth 
 of Hungary attending to the poor' may be preferred by some 
 (Plate XXXVII., 1). Certainly the ' S. Thomas ' conveys 
 an admirable lesson to any student of art in the grouping 
 of the figures and the masterly arrangement of light and 
 shade. Another of the best works in the Museum is a 
 
 * This is the picture from which the figure 'of S. Anthony was not 
 long ago cut out and carried away to America. It was recovered, and 
 has been well replaced. 
 
/ 
 
 / 
 
OF PAINTING IN SPAIN 
 
 169 
 
 beautiful ' Assumption of the Virgin,' No. 55, better known 
 as a ' Conception,' a subject which Murillo often chose and 
 always painted in his " vapor oso " style. Two others are 
 here also — a colossal painting. No. 68, and another of the 
 ordinary size, No. 93. Two fine male figures, SS. Leandro 
 and Buenaventura, No. 83^ and the two female saints 
 Justa and Kufina, No. 95, are admirable examples of his 
 second style. Equally good are four separate representa- 
 tions of ' Saints with the Infant Christ,' Nos. 45, 53, 60, 92. 
 Also a 'Madonna with St. Felix,' No. 90; the famous 
 ' Madonna,' No. 52, called ' La Servilleta,' from an erro- 
 neous tradition that it was painted on a napkin ; and 
 the fine early picture of the ' Madonna and S. Augustine,' 
 No. 59. Other important canvases are still to be seen in 
 the Hospital of the Santa Caridad at Seville, although 
 five of the eight which originally formed the series, 
 painted 1670-4,. have been dispersed. In the chapel there 
 hang two very fine works by Murillo — ' Moses striking the 
 rock,' and its pendant, the ' Miracle of the loaves and 
 fishes.' Besides these are the following : a smaller work 
 in the dark style approaching much to that of Ribera, and 
 known as ' S. Juan de Dios '; a fine ' Conception '; and two 
 small panels of an ' Infant Christ ' and the ' Child S. John.' 
 Many excellent examples are in the Madrid Museum. 
 Particularly fine compositions are the * Virgin appearing 
 to S. Bernard ' and the ' Virgin receiving S. Ildefonso,' Nos. 
 868, 9. The ' Holy family del Pajarito ' and the ' Adora- 
 tion of the shepherds,' Nos. 854, 9, are specimens of the 
 master's more naturalistic style. Three fine ' Conceptions ' 
 are here, each one difierent, Nos. 878,9, 80. The charming 
 and well-known picture of the ' Child Jesus and S. John,' 
 or ' Los Ninos de la Concha,' No. 866, is with many others 
 well worthy of notice. In the Academia de S. Fernando 
 is the afore-mentioned fine work of Murillo, ' S. Elizabeth 
 of Hungary attending to the poor ' (Plate XXX VIL, 1). 
 There besides are two large semi-lunar canvases, both noble 
 compositions, relating to the miracle of the snow ; of which 
 the ' Dream,' the finer of the two, is regarded as the first 
 example of his " vaporoso " style. The Hermitage, St. 
 Petersburg, is very rich in the master's works, among 
 
 Murillo, 
 
 Sacred 
 composi- 
 tions. 
 
 At Madrid. 
 
170 
 
 TEE BISE' AND PBOGRESS 
 
 MwHUo. 
 
 Sacred 
 composi- 
 tions. 
 
 Sebastian 
 Gomezi 
 
 De Tdbar, 
 
 De 
 
 Miranda, 
 
 which the following may be noted : No. 360, ' Isaac bless- 
 ing Jacob/ a large canvas, chiefly landscape; No. 361, an 
 ' Annunciation ' ; No. 362, one of his ' Conceptions,' a good 
 example, but not of the finest rank. A painting of extreme 
 beauty is a * Holy family,' or 'Eeposein Egypt,' No. 367 : 
 a large and good composition, the ' Deliverance of Peter,' is 
 No. 372; a S. Antony and child,' No. 373, is a lovely 
 picture ; while in his darker style, but a fine work, is the 
 ' Martyrdom of Pedro Arbuez,' No. 374. ' An Adoration 
 of the shepherds,' No. 363, presents a charming infant 
 amidst a group of rude Spanish peasants. Besides these 
 there are several small beautiful works. Our National 
 Gallery contains admirable examples in the ' Holy family,' 
 No. 13, and in the well-known 'S. John and the Lamb,' 
 No. 176, of which there is a fine replica in the Hermitage, 
 No. 379 : the Dulwich Gallery possesses the 'Madonna del 
 Eosario,' No. 347. In ^ the Louvre are three fine 'Con- 
 ceptions,' in the "vaporoso" style, Nos. 538, 539, 541 
 (Plate XXXVII., 6) ; also a beautiful ' Holy family,' 
 No. 543, similar to that in our National Gallery ; and a 
 ' Madonna,' No. 542, in his " cold " style. Another 
 'Madonna,' of his best period is No. 40 in the Pitti. 
 An admirable ' S. Anthony and child ' is No. 414 at 
 Berlin. A fine work, the ' Apotheosis of S. Eodrigue,* 
 forms No. 633 in the Dresden Gallery. Murillo's last 
 picture was a ' Marriage of S. Catharine,' an altarpiece 
 for the Church of the Capuchins at Cadiz, where it 
 remains, still unfinished: he stumbled on the scaffold 
 while painting it and received an injury of which he 
 soon after died. 
 
 Sebastian Gomez (about 1620) was Murillo's slave, and 
 painted after his master's manner : an example is No. 
 386 in the Hermitage, St. Petersburg. But a closer and 
 more accomplished imitator of JMurillo was Alonso Miguel 
 de Tobar (1678-1758). Some of his productions have 
 doubtless passed for those of the master : he is chiefly seen 
 in some churches in Spain. 
 
 J. Carreno de Miranda (1614-85) painted numerous 
 religious pictures and some excellent portraits. He be- 
 came one of the painters to Philip IV., and subsequently to 
 
OF FAINTING IN SPAIN, 
 
 171 
 
 Charles II. Examples of his portraiture may be seen in 
 the Madrid Museum : note Nos. 690, 2. 
 
 Diego Gonzales de la Vega (1622-97) was also a 
 court painter, but his works are feeble and need not be 
 enumerated. 
 
 Juan de ValdesLeal (1630-91) painted religious pictures 
 of considerable note. Examples of his work are to be 
 found in the Hermitage Nos. 391-4 ; at Dresden, No. 636 ; 
 and at Madrid, Nos. 1049, 50. 
 
 Claudio Coello, of the school of Castile (1635-93), has 
 rightly been termed in Spain the ' last of the old masters 
 for after him Spanish monarchs engaged foreign painters 
 to adorn their palaces, instead of employing native artists. 
 Coello held this post in the household of Charles II., for 
 whom he executed his principal work, the * Collocation 
 of the Host,' still preserved in the Escorial. His own 
 portrait is No. 431 in the Hermitage. 
 
 A long list of painters of very inferior merit, living in 
 the latter part of the seventeenth and in the beginning of 
 the eighteenth centuries, might follow here ; but a study 
 of their works is neither interesting nor instructive. Sir 
 W. Stirling Maxwell's very complete ' Annals of the 
 Artists of Spain ' will furnish all necessary details re- 
 specting them, if the reader wishes to pursue the subject 
 further. 
 
 The last painter to be mentioned here is Francisco Goya 
 y Lucientes (1746-1828). "Without systematic instruction 
 in his art, he studied the old masters almost solely and by 
 himself, and became a prolific painter. His nature appears 
 to have been -wild and eccentric, but he produced some 
 excellent works of different kinds, among them some large 
 compositions and some capital portraits. Several of the 
 former are found in the Madrid Museum, one salon there 
 being entirely devoted to large designs for tapestry. 
 Among the portraits are those of Charles IV. and Dona 
 Maria Luisa, which frequently occur. An admirable full- 
 length portrait of a man seated, No. 534, may be found in 
 the Louvre, and three characteristic examples are in the 
 Museum at Lille, Nos. 242, 3, 4. 
 
 It may not be out of place to say here, in reference to 
 
 De 
 
 Miranda, 
 
 De la 
 Vega. 
 
 Leal. 
 
 Claudio 
 Coello, 
 
 Eighteenth 
 
 century, 
 
 Goya, 
 
 Portugal, 
 
172 
 
 THE RISE AND PBOGRESS 
 
 Portugal any school of painting proper to Portugal, that the existence 
 of one has never been recognised. In fact, a history of the 
 schools of painting in Spain covers the art-history of the 
 entire Peninsula. There are moreover in Portugal no 
 public galleries worthy of mention ; and almost the only 
 known Portuguese painter is Gran Vasco, who flourished, 
 probably in the earlier part of the sixteenth century, and 
 to whom some productions of that age are chiefly 
 attributed. 
 
OF PAINTING IN SPAIN, 
 
 173 
 
 A TABLE 
 
 Of the Dates of the Principal Painters of the Spanish Schools. 
 
 School. 
 
 
 Birth. 
 
 Death. 
 
 Toledo . . 
 
 
 1446 
 
 1500 
 
 Castile . . 
 
 Alonso Berruguete 
 
 1480 
 
 1561 
 
 Seville . 
 
 
 1502 
 
 15B8 
 
 Valencia . 
 
 Vicente Joanes, about .... 
 
 1506 
 
 1579 
 
 Toledo . . 
 
 Luis de Morales, el JJivino . 
 
 1510 
 
 1586 
 
 Castile . 
 
 Alonso Sanchez Coello, about . 
 
 1515 
 
 1590 
 
 Castile . . . 
 
 Gaspar Becerra 
 
 1520 
 
 1570 
 
 Castile 
 
 Juan F. Navarrete, el Mudo 
 
 1526 
 
 1579 
 
 Seville 
 
 11 1 1 
 
 1538 
 
 1608 
 
 Toledo . . 
 
 Dom. Theotocopuli, 11 Greco " 
 
 1548 
 
 1625 
 
 Seville . . 
 
 A. Vasquez, painted about 1580- 
 
 — 
 
 — 
 
 Valencia . 
 
 ,^ • "1 -f-v • « f J 
 
 1550 
 
 1628 
 
 Castile . 
 
 Juan Pantoja de la Cruz .... 
 
 1551 
 
 1609 
 
 Seville . 
 
 
 1558 
 
 1625 
 
 Seville . 
 
 1 rancisco Pacneco 
 
 1571 
 
 16o4 
 
 Castile . 
 
 
 1572 
 
 1639 
 
 Seville . . 
 
 Francisco de Herrera, el Viejo . 
 
 1576 
 
 — 
 
 Castile 
 
 
 1577 
 
 1642 
 
 Toledo . . 
 
 
 1586 
 
 1640 
 
 Toledo . . 
 
 "T^ 1 J 
 
 — 
 
 1644 
 
 Valencia . 
 
 Jose de Kibera, Lo Spagnoletto . 
 
 1588 
 
 1656 
 
 Valencia . 
 
 Juan de Ribalta 
 
 1597 
 
 1628 
 
 Seville , 
 
 Francisco Zurbaran 
 
 1598 
 
 1662 
 
 Castile . 
 
 Collantes 
 
 1599 
 
 1656 
 
 Seville . 
 
 Diego Velasquez de Suva . 
 
 1599 
 
 1660 
 
 Castile . 
 
 J. B. Martinez del Maze 
 
 — 
 
 1667 
 
 Granada . 
 
 Alonso Cano 
 
 1601 
 
 1667 
 
 Seville . 
 
 Antonio del Castillo . . 
 
 1603 
 
 1667 
 
 Madrid . . 
 
 
 1608 
 
 1685 
 
 Seville 
 
 *w-x 1 t Ik /r 
 
 1610 
 
 1666 
 
 Castile 
 
 T Tpv • 
 
 1610 
 
 1670 
 
 Castile . 
 
 Juan Carreno de Miranda 
 
 1614 
 
 1685 
 
 beviiie 
 
 Bartolome Esteban Murillo . 
 
 1618 
 
 1682 
 
 Seville . . 
 
 Sebastian Gomez, Mulatto de 
 
 
 
 
 Murillo,*' about 
 
 1620 
 
 
 
 Qriarte 
 
 1620 
 
 3685 
 
 Seville , 
 
 Francisco de Herrera, el Mozo . 
 
 1622 
 
 1685 
 
 Castile . 
 
 Diego Gonzales de la Vega . 
 
 1622 
 
 1697 
 
 Seville . 
 
 J uan de Valdes Leal .... 
 
 1630 
 
 1691 
 
 Castile . 
 
 Claudio Coello 
 
 1635 
 
 1693 
 
 Seville . 
 
 Alonso Miguel de Tobar .... 
 
 1678 
 
 1758 
 
 Madrid . . 
 
 
 1746 
 
 1828 
 
174 
 
 THE BI8E AND PROGBESS 
 
 THE RISE AND PROGRESS OF PAINTING IN FRANCE. 
 
 Fifteenth 
 century. 
 
 Bene of 
 Anjou, 
 
 Jean 
 Fouquet, 
 
 Sixteenth 
 century. 
 School of 
 Fontaine- 
 bleau. 
 
 It was not a distinguishing feature of tlie French nation 
 or genius to produce early painters of great excellence, 
 like those who flourished in Italy, the Netherlands, and 
 Germany, during the thirteenth and fourteenth centuries. 
 It is true that a school of illuminators and miniaturists 
 existed in France from the time of Charlemagne (who 
 first encouraged this branch of painting) and continued 
 without interruption during several centuries, and that it 
 was modified by Italian influence on the removal of the 
 Papal See to Avignon by Pope Clement V., in 1305. In 
 the fifteenth century the painter ceased to be an illumina- 
 tor only; and the names 'of two artists were then dis- 
 tinguished, namely, Eene of Anjou (1408-80) and Jean 
 Fouquet of Tours, the latter of whom was evidently 
 influenced by the school of Van Eyck, and was illuminator 
 to Louis XI. The former was not exclusively a miniaturist, 
 but has left paintings which are now in Aix Cathedral, 
 at Villeneuve near Avignon, and in the Musee Cluny at 
 Paris. By Fouquet, besides numerous elaborately illus- 
 trated manuscripts, there is a ' Madonna ' at Antwerp, No. 
 132 ; while in the Louvre two life-size portraits have 
 recently been attributed to him, Nos. 652, 3. Four panels 
 also, the authors of which are unknown, are there exhibited. 
 No. 650 as work of the end of the fourteenth century, No. 
 651 and others as work of the fifteenth. 
 
 In the beginning of the sixteenth century, Francis I. 
 invited painters, chiefly from Italy, to decorate his 
 palaces, and in particular that of Fontainebleau. Among 
 those who painted there were II Eosso in 1530-41, with 
 Luca Penni and Bagnacavallo ; Primaticcio worked in 
 1531 and long afterwards; Pacchiarotto in 1535, and 
 Niccolo del' Abate. Their works, since destroyed, in- 
 
OF PAINTING IN FRANCE, 
 
 175 
 
 fluenced to a great extent the style of succeeding Frencli 
 painters, who, if they did not visit Eome, studied these 
 Italian productions at Fontainebleau. 
 
 At the same period the school of the Clouets arose in 
 portraiture, which was developed independently of the 
 former school and maintained a distinct style of its own. 
 There were three painters of this name — Jean or Jehan 
 Clouet, the father; his son, also called Jean; and his 
 grandson, Frangois Clouet. The father came originally 
 from Flanders, and brought with him to France much of 
 the manner and the feeling of the Van Eycks. Jean, his Jean, 
 son (1485-1545), painted small and delicately finished 
 portraits, of which may be mentioned those of Francis I., 
 one in the Louvre, No. 109, painted in 1528, the other in 
 the Uffizi, No 667, painted in 1524, By Frangois (about Frangois, 
 1510-74), the most important of the three, a few exquisite 
 portraits are still in existence. In the Louvre he is repre- 
 sented by two portraits of Charles IX. and of Elizabeth of 
 Austria, Nos. 107, 8. Some other small works are attri- 
 buted to him there, and to his followers. There is a fine 
 portrait by the master. No. 1487, in the Hermitage, 
 St. Petersburg; one of Francis II. of the year 1547 is No. 
 33 at Antwerp ; and two at Berlin, Nos. 472i, 5, are 
 c atalogued as of his school. Good small portraits are Nos. 
 561, 631 at Hampton Court, and No. 2420 at Dresden. 
 Still smaller, and like a gem for brightness and beauty, is 
 No. 429, the portrait of a lady, in the Stadel, Frankfort. 
 
 Jean Cousin (about 1501-89), born at Soucy near Sens, /. Cousin. 
 was a man of cultivated taste, and is generally considered 
 as the founder of the national French school of painting. 
 It is known that he worked as a sculptor and architect, 
 and also wrote a book on the proportions of the human 
 body. His largest undoubted work is the painting of the 
 ' Last Judgment,' No. 137 in the Louvre. 
 
 The two brothers Antoine (about 1593-1648) and Le Nam, 
 Louis Le Nain (about 1588-1648), inasmuch as they, like 
 Cousin, preserved the French characteristics and were not 
 affected either by the Fontainebleau or Flemish schools, 
 must be named first. They often painted together under 
 the surname of Le Nain, choosing subjects from peasant 
 
 School of 
 Fontaine- 
 bleau. 
 
 The 
 
 Clouets, 
 
176 
 
 THE RISE AND PROGRESS 
 
 Le Nain, 
 
 Freminet, 
 
 Seventeenth 
 
 century, 
 
 Vouet, 
 
 Blanchard. 
 
 Valentin. 
 
 life studied faithfully from nature. Examples are to be 
 seen in the Louvre, the best being the * Blacksmith,' No. 
 375 (Plate XXXVIL, 3), and an 'Adoration of the 
 shepherds/ in the Uffizi, No. 659. 
 
 Martin Freminet (1567-1619) was one of the first to be 
 attracted by Italian eclecticism. A work by him is in the 
 Louvre, ' Mercury, jS]neas, and Dido,' No. 211 ; and at 
 Fontainebleau he painted the ceiling of the chapel. 
 
 Simon Vouet (1590-1649) studied much in Rome, and 
 there admired and imitated successfully the works of the 
 Bolognese school. On his return to France he established 
 a large academy of painting, and thus influenced most of 
 the principal French painters of the seventeenth and 
 eighteenth centuries. Among his pupils were Laurent de 
 La Hyre, Le Sueur, Le Brun, Mignard, and Dufresnoy. 
 His own works are numerous ; among them may be 
 mentioned two in the Louvre, Nos. 641, 7, and a good com- 
 position in the Brussels Museum, ' S. Carlo Borromeo 
 praying for those stricken by the plague,' No. 343 (Plate 
 XXVIII., 3). 
 
 A contemporary painter, and in some degree rival of 
 Vouet, was Jacques Blanchard (1600-38). He was most 
 esteemed as a colourist, and took the works of the late 
 Venetian school as his models. Examples of his style may 
 be found in the Louvre, Nos. 14-17. 
 
 The next group comprises men who, although French 
 by nationality, were educated chiefly in Italy. Among 
 them may be named Valentin, La Hyre, Nicolas Poussin, 
 Gaspar Dughet (often erroneously called Gaspar Poussin), 
 Claude Gelee (known as Claude Lorraine), Dufresnoy, and 
 Sebastien Bourdon. 
 
 Moise Valentin (1601-32) left France at an early age for 
 Eome, where he studied and remained all his life. There 
 he was a friend and contemporary of Vouet, Gelee, and 
 Poussin, but he painted with great technical ability in the 
 manner of Caravaggio. The examples of his work in 
 the Louvre are not first rate, with the exception of the 
 ' Concert,' No. 586 (Plate XXXVIL, 2), and the ' Fortune- 
 teller,' No. 588. Two excellent canvases in this style are 
 in the Hermitage, Nos. 1490, 1, and a good composition is 
 
Plate XXXVII. 
 
 To face page 176. 
 
OF PAINTING IN FRANCE. 
 
 177 
 
 in the Museum at Nantes. He succeeded best, like many Valentin, 
 Italian artists in the seventeenth century, when he con- 
 fined himself to unambitious subjects. A large work by 
 him is in the Vatican, the ' Martyrdom of S. Processo ' : 
 the subject although drawn with care and skill is coarsely 
 treated and is unpleasant in colour. Somewhat similar 
 is a large 'Martyrdom of S. Lawrence/ No. 2075 in the 
 Museum at Madrid. 
 
 Laurent de La Hyre (1606-56) was a painter of little La Hyre, 
 originality who followed in turn the styles of several 
 masters. Two of his works may be noted in the Louvre, 
 Nos. 286, 90, and another is in the Belvedere, Vienna, No. 
 41 Green Cabinet. 
 
 Nicolas Poussin (1594-1665), bom in Normandy, is Nicolas 
 perhaps the greatest master of the French school. When ^^"s^*^- 
 still young, and in spite of many difficulties, he succeeded 
 in making his way to Eome, and there enrolled himself 
 among the pupils of Andrea Sacchi ; but he formed his 
 style chiefly from the study of the antique and of the 
 works of the great Kenaissance masters. He usually 
 chose subjects which could be treated classically, and 
 executed them with due regard to historical truth in dress 
 and details. His works are generally wanting in effective 
 distribution of light and shade, in depth, and in warmth 
 of colour. In consequence of the correctness of his com- 
 position and his excellent grouping, he has been termed 
 the ' Painter of Intellect.' Poussin is seen to the greatest 
 advantage in the treatment of mythological subjects. 
 Numerous works by the master are in the Louvre : Nos. 
 448-51 are representations of the four seasons, illustrated 
 by subjects taken from the Old Testament history. His 
 own portrait, No. 447, is interesting. Examples of 
 mythological subjects are a * Bacchanalia,' No. 440 ; the 
 ' Triumph of Flora,' No. 443 ; the ' Shepherds of Arcadia,' 
 No. 445 (Plate XXXVIL, 4) ; and a subject from Eoman 
 history. No. 436 : while the ' Diogenes,' No. 453, is a good 
 specimen of Poussin's landscape-painting. Besides these the 
 Louvre contains some large canvases of subjects from sacred 
 history : for example, ' Eleazar and Kebecca,' No. 41 5 ; 
 two compositions of the 'Finding of Moses,' Nos. 416, 17 ; 
 
 N 
 
178 
 
 THE RISE AND PEOGRESS 
 
 N. Poussin. 
 
 the * Ecstasy of S. Paul,' No. 433 ; and many others. 
 One fine example of Poussin, among many poor ones, in the 
 Madrid Gallery, is the ' Chase of Meleager,' No. 2051. A 
 few average examples are to be found at Berlin. He is 
 well seen in the Hermitage, St. Petersburg, in the 
 ' Triumph of Galatea,' No. 1400, and others ; and at 
 Dresden, where No. 648 may be noted. In the Vatican 
 there is a large and powerful composition, the ' Martyrdom 
 of S. Erasmus,' but it is unpleasing in colour and too uni- 
 form in tone. Good illustrations from mythology are in 
 our National Gallery: a 'Bacchanalian dance,' No. 62; 
 and a * Bacchanalian feast,' No. 42. At Dulwich similar 
 works are Nos. 305, 15. Poussin spent but a short portion 
 of his time in France, and returned to Eome for the re- 
 maining years of his life, where he died in 1665. 
 
 Gaspar Dughet (1613-75) was born in Eome, of French 
 parents ; his sister married Nicolas Poussin, so that the 
 two painters were intimately connected. Gaspar became 
 a landscape-painter, and doubtless received instruction 
 both from Nicolas Poussin and Paul Bril, the Flemish 
 landscape-painter. He studied effects from nature, and 
 was especially fond of representing storms and hurricanes. 
 There are some characteristic works by him in our National 
 Gallery, rather dark and sombre in tone, Nos. 31, 6, 95, 
 161. At Dresden, among many that are good, one may be 
 noted, No. 656a ; and in the Pitti Palace at Florence Nos. 
 421, 36, 41 are noble landscapes. Others are to be seen at 
 Madrid and at Munich. 
 
 But Claude Gelee (1600-82), called Lorraine from his 
 native province, has a far greater reputation as landscape- 
 painter than Gaspar Dughet. He executed classical land- 
 scapes and seaside pictures, and often gave a poetical 
 charm to an otherwise uninteresting subject. In the 
 Louvre are some fine works by the master : the ' Landing 
 of Cleopatra at Tarsus,' No. 223 — a successful adaptation of 
 an historical event ; the * Ulysses,' No. 225 ; a ' Sea-port,' 
 No. 226 ; the ' Village fair,' No. 221 ; and No. 224, ' David 
 anointed king by Samuel.' Still better works than these 
 are to be found in our National Gallery, notably the 
 ' Embarkation of the Queen of Sheba,' or the ' Bouillon 
 
OF PAINTING IN FRANCE. 
 
 179 
 
 Claude/ No. 14 ; * Dayid at the cave of Adullam/ known 
 as the ' Chigi Claude/ No. 6, and the ' Embarkation of S. 
 Ursula/ No. 30 (Plate XXXV III, 1). The ' Marriage of 
 Isaac with Eebecca/ No. 12, is a repetition of the large work 
 in the Doria Palace at Eome. Nos. 5, 30, 55 should also 
 be noticed. In the Dulwich Gallery he is fairly re- 
 presented by Nos. 244, 70, 5. In the Madrid Museum a 
 ' Hermit at prayer' and a * Magdalen/ Nos. 1989, 92, are 
 excellent works ; so also are the very fine examples in the 
 Hermitage at St. Petersburg — namely, four representations 
 of ' Morning,' ' Noon,' ' Evening,' and ' Night,' Nos. 1428- 
 31. There are two noble landscapes in the Uffizi, Nos. 
 774, 848 ; one in the Brussels Museum, No. 199 ; two in 
 the Dresden Gallery, Nos. 654, 5 ; and four at Munich, 
 Nos. 391, 9, 407, 16. 
 
 Charles Antoine Dufresnoy (1611-65) is better known 
 as the author of a poem on painting than as an artist. He 
 was very intimate with Pierre Mignard at Kome, and aided 
 him in some frescoes in the cupola of the Val-de-Grace at 
 Paris. Two of his works are in the Louvre, Nos. 212, 13. 
 
 Sebastien Bourdon (1616-71) adopted the style of 
 Poussin, and likewise studied at Kome. His best work is 
 the * Martrydom of S. Peter,' now in the Louvre, No. 42 ; 
 besides this are a ' Descent from the cross,' No. 40, 
 and two good examples of portraiture, Nos. 47, 8. In the 
 Cassel Gallery, No. 456, a ' Vivandiere and officers,' is a 
 characteristic work. Another is in the Hermitage, the 
 'Death of Dido,' No. 1421. He was, moreover, a land- 
 scape-painter, and is represented by a good specimen in 
 our National Gallery, No. 64. 
 
 Eustache Le Sueur (1616-55) was the first French 
 painter of note who studied chiefly in Paris, and did not 
 visit Rome. During his short and uneventful life, his 
 talents were little appreciated, and were overshadowed by 
 the greater fame of his ambitious rival Charles Le Brun. 
 Le Sueur executed numerous compositions, the most 
 important of which are to be seen in the Louvre. One of 
 his earliest works is the series of twenty-two paintings 
 relating to the ' History of S. Bruno,' Nos. 525-47. They 
 are for the most part commonplace both in design and 
 
 N 2 
 
 Claude 
 Lorraine, 
 
 Dufresnoy. 
 
 Bourdon, 
 
 Le Sueur, 
 
180 
 
 THE RISE AND PEOGRESS 
 
 Ze Sueur, 
 
 Le Brun, 
 
 Mignard, 
 
 execution ; Nos. 525, 7 being superior to the others. His 
 masterpiece is the well-known ' Preaching of S. Paul at 
 Ephesus,' No. 521 (Plate XXXVIII., 2). The 'Christ 
 bearing the cross,' No. 517, and the 'Descent from the 
 cross,' No. 518, are works of smaller size, but of excellent 
 quality. As examples of Le Sueur's paintings of another 
 character, the ' Nine Muses,' Nos. 558-62, and his latest 
 work, the ' History of Love,' Nos. 551-6, should be noted. 
 
 Charles Le Brun, born at Paris (1619-90), went to 
 Italy when young and entered the school of Poussin. On 
 his return he was appointed to fill some important posts 
 by Louis XIV. For the King he painted several vigorous 
 pictures of subjects from the ' Life of Alexander the 
 Great,' now preserved in the Louvre, Nos. 70-4, whioh 
 possesses all his best works, excepting the ' Massacre of 
 the innocents,' No. 252, and ' Horatius keeping the bridge,' 
 No. 319, in the Dulwich Gallery. Among those in the 
 Louvre there are several sacred subjects, the 'Sleeping 
 Jesus,' No. 56, a ' Holy family,' known as the ' Benedicite,' 
 No. 57, and four from the ' Life of Christ,' Nos. 58-61. In 
 the ' Descent of the Holy Ghost,' No. 64, Le Brun has 
 painted his own portrait as one of the assembled disciples ; 
 and his ' Eepentant magdalen,' No. 66, is said to have 
 been a portrait of Madame de la Valliere. The same 
 subject is repeated in the Munich Gallery, No. 392, with 
 others, and an excellent family group is at Berlin, No. 
 471. Examples are to be found at St. Petersburg, 
 Dresden, Vienna, and in the Uffizi. 
 
 A rival and successor of Le Brun in the King's favour 
 was Pierre Mignard (1610-95), best known as a portrait- 
 painter. He resided for a long period at Eome, and 
 obtained the name of ' Le Eomain ' to distinguish him 
 from his elder brother, Nicolas Mignard, called d' Avignon 
 (1605-68), who worked chiefly as engraver. The famous 
 ' Vierge a la Grappe,' by Pierre, No. 349 in the Louvre, 
 was painted under the influence of the Italian school ; 
 another fine work is a large canvas in the Hermitage, St. 
 Petersburg, ' Darius at the feet of Alexander,' No. 1456. 
 His principal work of this kind, however, is the fresco of 
 the ' Paradise,' in the Val-de-Grace at Paris, finished in 
 
Plate XXXYIU. 
 
 To face page 180. 
 
OF PAINTING IN FRANCE. 
 
 181 
 
 1663. The following are examples of portraiture, a large 
 group of Louis the Dauphin (son of Louis XIV.), his wife 
 and children, No. 358, and his own portrait, No. 360, in 
 the Louvre. Others are Nos. 670, 88 in the Uffizi ; No. 
 465] at Berlin; and in the Madrid Gallery, Nos. 2021, 
 3, 4, 5. 
 
 Noel Coypel (1628-1707) was the chief of a family of 
 painters of small note. He was one of the few French 
 masters who painted in a more simple and natural style 
 than that which prevailed at this time, which was the 
 result of a high regard for Italian eclecticism. The Louvre 
 possesses five of his works, of which No. 142 may be named. 
 
 BouUongne was the name of a family of which many 
 members w^ere painters. Louis (1609-74), the father, 
 chiefly copied the old masters, and taught his two sons, 
 Bon Boullongne (1649-1717) and Louis (1654-1733). 
 They worked together on the cupola of the Invalides, 
 Paris, and some paintings by the elder are in the Louvre. 
 
 Jean Jouvenet (1644-1717) was a pupil of Le Brun, and 
 rose to an important position as a painter. His master- 
 piece, a ' Deposition,' is No. 301 in the Louvre, which 
 contains other examples. Many of his works are to be 
 found in the Provincial Museums of France. 
 
 Jean-Baptiste Santerre (1651-1717) gained a reputation 
 in his time chiefly as a painter of single figures, often 
 nudes, and seldom attempted large compositions. He is 
 represented in the Louvre by a ' Susanna in the bath,' and 
 a 'Female portrait,' Nos. 496, 7. 
 
 Three painters of battle-pieces in the style of Falcone 
 and Salvator Eosa may be mentioned here : Jacques 
 Courtois, called Bourguignon (1621-76), his pupil Joseph 
 Parrocel (1648-1704), and Charles Parrocel, the son 
 (1688-1782). The first named executed a large number of 
 works, of which examples are to be found in most public 
 galleries. They display much sameness of treatment, and 
 it suffices to note those in the Louvre, of which No. 132 
 is the best. By Joseph. Parrocel there are two sketches in 
 the Louvre, Nos. 393, 4, and some large works by Charles 
 are preserved at Versailles. There were several painters 
 of this name of inferior merit. 
 
 Mignard. 
 
 Noel 
 Coypel, 
 
 The Boul- 
 longnes. 
 
 Jouvenet. 
 
 Santerre. 
 
 Bourguig- 
 non and the 
 Parroceh. 
 
182 
 
 THE BI8E AND PROGBESS 
 
 Le Moine. 
 
 Svbleyras, 
 
 Bigaud. 
 
 LargillQre. 
 
 €, van Loo. 
 
 J, B. van 
 Loo, 
 
 Frangois Le Moine (1688-1737) was a mannerist of the 
 Franco-Italian scliool of eclecticism before refer red to, and 
 painted history in a feeble style, not without a certain 
 elegance. One work by him is in the Louvre, No. 361 ; 
 another is in the La Gaze Collection, No. 225. 
 
 Pierre Subleyras (1699-1749) painted religious subjects 
 with considerable power, and was much esteemed during 
 his lifetime. One of his chief works is the ' Mass of S. 
 Basil,' No. 508 in the Louvre, which was reproduced in 
 mosaic in S. Peter's, Eome, but his masterpiece, also in the 
 Louvre, is No. 504, ' Christ in the house of Simon,' dated 
 1739 (Plate XXXVIIL, 3). 
 
 An able French portrait-painter was Hyacinthe Eigaud 
 (1659-1743), who executed a large number of portraits of 
 Louis XIV. and his courtiers. In the Louvre there is a 
 portrait of the monarch himself. No. 475 ; of Bossuet, No. 
 477 ; and of Charles Le Brun and Pierre Mignard on one 
 canvas. No. 480. Eignaud's portraits are frequently met 
 with. There are three in the Dulwich Gallery, Nos. 2, 
 98, 118 ; one in our National Gallery, No. 903 ; at Dresden 
 one, No. 676 ; and at Vienna another, No. 73 Green 
 Cabinet. 
 
 A contemporary of Eigaud was Largilliere (1656-1746), 
 one of the most successful portrait-painters of the time : 
 an example in the Louvre is No. 320, a portrait of Charles 
 Le Brun ; and in the La Caze Collection are a portrait 
 group. No. 224, a portrait. No. 221, and a small study. No. 
 216, for the large picture of the ' Conference,' No. 1537 in 
 the Hermitage, St. Petersburg. 
 
 Carle van Loo (1705-65), the most talented of a family 
 which produced several painters, was a pupil of Le Moine. 
 He painted a large number of mythological subjects and 
 some good portraits. In the Louvre is a full-length por- 
 trait of Marie, Queen of Louis XV., No. 330, besides other 
 works. His elder brother, J. B. van Loo (1684-1744), who 
 worked much in Italy, is represented by a large picture in 
 the Louvre, No. 324, and by two portraits at Hampton 
 Court. 
 
 In the end of the seventeenth century a species of 
 genre painting originated in Paris which was more or 
 
OF PAINTING IN FRANCE. 
 
 183 
 
 less successfully cultivated by a group of clever artists, and 
 whicii has always been regarded as characteristic of the 
 French school. Antoine Watteau (1684-1721), born at Watteau. 
 Valenciennes, was th'C first exponent of the new style, and 
 many followed at more or less distance in his steps. He 
 came to Paris at the early age of sixteen, and shortly after 
 apprenticed himself to Gillot, who was then chief decorator 
 and costumier at the opera. From this master Watteau 
 learned the technical portion of his art, and the time spent 
 as his assistant behind the scenes doubtless suggested 
 stage groups and costumes as subjects for his compositions. 
 The experience thus acquired enabled him to imagine and 
 depict with admirable grace and vivacity " reunions " and 
 " fetes galantes " ; crowding his small canvases with 
 groups of ladies and gentlemen in brilliant and fancy 
 costumes, love-making, dancing on the green turf, or 
 sauntering in ornamental grounds. In these subjects 
 Watteau gained deservedly a great reputation, but in the 
 hands of imitators of inferior taste such a form of art 
 easily became degraded. Most of Watteau's works have 
 the quality of excellent grouping, and contain some good 
 landscape ; all have the charm of fresh sparkling colour. 
 A fine example is in the Louvre, No. 649 ; others are in 
 the La Gaze Collection, Nos. 260, 3. Characteristic works 
 are in the Dulwich Gallery, Nos. 197, 210; two small 
 pictures in the National Gallery, Edinburgh, Nos. 64, 81 ; 
 at Berlin, Nos. 468, 70, 74a ; and two similar at Dresden, 
 Nos. 687, 8. At Madrid there are two charming specimens 
 of the master, Nos. 2083, 4 ; others are to be seen in the 
 Uffizi at Florence, No. 671 ; and at Munich, No. 1312. 
 Watteau had numerous followers, none of whom possessed 
 his brilliant qualities. There are three who, although 
 inspired by him, cannot be considered as servile copyists, 
 namely, Nicolas Lancret, J. B. Joseph Pater, and Frangois 
 Boucher, perhaps the best known of the three. 
 
 Lancret (1690-1743), while adopting the form of LancreU 
 Watteau's art, studied and faithfully reproduced the 
 manners, dress, and amusements of the members of the 
 ''Belle Societe" at the Court of Louis XIV. He lacked 
 the imagination and delicacy of Watteau, but his works 
 
184 
 
 THE BISE AND PROGRESS 
 
 Lancret. 
 
 Pater, 
 
 Boucher, 
 
 Fragonard. 
 
 Animal- 
 painters. 
 
 Desportes, 
 Oudry. 
 
 display more correctness in drawing and detail. A series 
 of no great merit, representing ' Infancy, Youtli, Manhood, 
 and Old Age,' is in our National Gallery, Nos. 101-4 ; ten 
 examples may he found in the Louvre and the La Gaze 
 Collection ; and three are at Dresden, Nos. 696, 7, 8. He 
 is well seen in the Hermitage in three important works, 
 Nos. 1507, 8, 10. 
 
 Pater (1695-1736), a native of Valenciennes, was poor 
 and uneducated, but possessed marvellous technical 
 facility. He occupied a very different position from that 
 of Watteau at the opera, or that of Lancret in society, and 
 his works accordingly differ. He chose his subjects from 
 low comedy or burlesque, and imparted to them a certain 
 amount of humour. Examples may be found at Dresden, 
 in the La Caze Collection at the Louvre, and in the 
 National Gallery, Edinburgh. 
 
 Eran9ois Boucher (1704-70) began his studies under Le 
 Moine, but soon found that the theatre had more attractions 
 for him. He therefore forsook all teaching and sought for 
 models among actresses and ballet girls, whom he called 
 Venuses or Shepherdesses and placed in landscapes equally 
 theatrical and false. He decorated china, and produced 
 numerous designs for tapestry, ceilings, &c. Of his 
 cabinet pictures there are fair examples in the Louvre. 
 A ' Diana and nymphs,' No. 24, a ' Einaldo and Armida,' 
 No. 23, and a larger ' Vulcan and Venus,' No. 25, should 
 be noted, besides others in the La Caze Collection. There 
 is a small portrait in the National Gallery, Edinburgh, 
 No. 70. J. Honore Fragonard (1732-1806), one oi 
 Boucher's scholars, was a rapid and fertile painter. Some 
 of his works are in the Louvre. For abundant illustra- 
 tions of work by this group of artists see the catalogues 
 at the end of this volume. 
 
 The animal-painters of the French school must not be 
 omitted. There were two contemporary with Watteau, 
 and who appeared somewhat to emulate the style of 
 Snyders, and executed some studies of game and hunting- 
 pieces. These were FranQois Desportes (1661-1743) and 
 J. B. Oudry (1686-1755). Several works of both masters 
 are to be seen in the Louvre ; among those by Desportes 
 
OF PAINTING IN FRANCE. 
 
 185 
 
 are studies of dogs for Louis XIV. ; Oudry succeeded him 
 at court, and painted dogs for Louis XV. Examples of 
 Desportes are Nos. 164, 80, 1 ; and of Oudry are Nos. 
 386, 7, 8. 
 
 One painter of flower-pieces, whose work recalls that 
 of the Dutch masters, was J. B. Monnoyer (1634-99), 
 generally called Baptiste." He is best seen in the 
 Louvre. Several examples are at Hampton Court. 
 
 It is a pleasure to turn from these somewhat mannered 
 and artificial works to the truly admirable and charming 
 studies of genre and still-life by J. B. Simeon Chardin 
 (1699-1779), one of the most successful portrayers of 
 " nature morte " belonging to his own or any other school. 
 All the works by him in the Louvre, and there are many, 
 are worthy of close study, although only a few of the 
 finest can be enumerated here. A genre painting, known 
 as the ' Blessing ' (Plate XXXVIIL, 5), and a ' Dead rabbit 
 with hunting-gear,' Nos. 99, 100, are two of the best in 
 this gallery. In the La Gaze Collection his works are still 
 more numerous. There is a somewhat inferior version of 
 the ' Blessing,' No. 170, but the still-life merits the highest 
 praise — note particularly Nos. 174, 5, 6, 9, 80, 1, 4. It is 
 interesting to observe the different methods Chardin 
 adopted in treating these subjects ; for example. No. 180 
 is for the most part thinly painted in transparent colour ; 
 while in No. 184 the colour is solidly laid on, and forms 
 throughout a thick impasto. Two works are attributed to 
 the master in the Dulwich Gallery, Nos. 27 and 308. An 
 admirable portrait of Madame Geoffrin is in the Musee 
 Fabre at Montpellier, No. 79, and a piece of still-life is in 
 the Museum at Eouen. In the Hermitage is a charming 
 small picture, the ' Washer-woman,' No. 1514 ; and there 
 is a replica of the * Blessing,' less good than the preceding. 
 No. 1513. The Liechtenstein Gallery, Vienna, possesses 
 four beautiful little works, Nos. 557-60. 
 
 Another painter of genre . subjects and portraits was J. B. 
 Greuze (1724-1805). One of his best works is perhaps 
 the ' Village betrothal,' No. 260 in the Louvre; but equally 
 good are the * Paternal curse,' No 261, and the 'Broken 
 jug,' No 263 (Plate XXXIX., 4), the study for which is in 
 
 Desportes. 
 Oudry, 
 
 Monnoyer, 
 
 Chardin^ 
 
 Greuze. 
 
 i 
 
186 
 
 THE RISE AND PHOGRESS 
 
 Greuze, the National Gallery, Edinburgli, No. 82. He gained a 
 great reputation in his lifetime as a painter of single 
 female heads, which are generally marked by affectation, 
 and display much mannerism. Numerous studies in this 
 style are in the Louvre. Three portraits are in our National 
 Gallery, Nos. 206, 1019, 1020; one at Hampton Court, 
 No. 413 ; and in the National Gallery, Edinburgh, four 
 works may be noted, Nos. 63, 112, 118, 370. Several 
 examples are to be found in the Musee Fabre at 
 Montpellier, especially Nos. 241, 6. A large composition, 
 the 'Death of the paralytic,' is No. 1520 in the Hermitage. 
 Most of the master's productions are, however, in private 
 galleries. 
 
 Vernet The best marine-painter of the French school was 
 
 Claude Joseph Vernet (1714r-89), whose works occur in 
 most European galleries. Our National Gallery contains 
 a fine example, a ' View of S. Angelo, Eome,' No. 236. 
 No fewer than forty of his compositions, chiefly marine- 
 pieces, are preserved in the Louvre, of which Nos. 596, 
 615, 17, 23 are the best. Others may be found at Dresden, 
 Munich, Florence, and Madrid, but they are as a rule 
 uninteresting. 
 
 Vien, Joseph Marie Vien (1716-1809) should be remembered 
 
 as having been the first to awaken a love for ancient classic 
 art, as a reaction against the miserable prettiness of the 
 Boucher school. Examples of his work are in the Louvre, 
 Nos. 634-7, of which the first named is the best. 
 
 David. Jacques Louis David (1748-1825) carried on the move- 
 
 ment commenced by Vien, and took tha remains of Greek 
 and Eoman art as models for figures and accessories in his 
 pictures. During the First Empire this taste was carried 
 to an extreme, and dominated not only the productions of 
 the artist, but those of the art-workman of every grade. 
 Of David's compositions in the Louvre, fourteen in all, 
 the * Oath of the Horatii,' No. 150, was one of the earliest. 
 The * Sabine women,' No. 149 (Plate XXXIX., 1), created 
 a great sensation when it appeared, but to the present 
 taste it appears to exhibit an affectation of classical 
 knowledge, and to be too forced in action. Some por- 
 traits are also in the Louvre ; one of Madame Eecamier, 
 
OF PAINTING IN FRANCE, 
 
 187 
 
 No. 160, and another of Pius VII., No. 159, should be l^ctvid, 
 noted. 
 
 The names of a few other French masters of minor 
 importance may be recorded here. Some of their works, 
 enumerated in the catalogues, are meritorious and im- 
 portant, but do not appear to be sufficiently so, or to 
 possess enough originality, to warrant the introduction 
 of any notes respecting the painters themselves into our 
 history. 
 
 Historical, Decorative : Jacques Callot, Jacques Stella, 
 Nicolas Le Noir, the Corneilles, Charles de La Fosse, 
 Nicolas Colombel, Antoine Coypel, J. Eaoux, Trioson, 
 J. F. de Troy, Casanova. 
 
 Landscape : Pierre Patel. 
 
 Portraits : Claude Lefebvre, J. M. Nattier, Louis Tocque, 
 J. B. van Loo, Antoine Pesne* 
 
 Genre, Still-life : Gillot, Etienne Jeaurat, Roland de la 
 Porte. 
 
188 THE BISE AND PROGBESS 
 
 A TABLE 
 
 Of the Dates of the Principal Painters of the French School. 
 
 Birth. 
 
 Death. 
 
 1408 
 — 
 
 1480 
 — 
 
 — 
 1485 
 
 — 
 1545 
 
 1501 
 
 1589 
 
 1510 
 
 1574 
 
 1567 
 
 1619 
 
 1588 
 
 1648 
 
 1590 
 
 1649 
 
 1592 
 
 1635 
 
 1593 
 
 1648 
 
 1594 
 
 1665 
 
 1596 
 
 1657 
 
 1600 
 
 1638 
 
 1600 
 
 1682 
 
 1601 
 
 1632 
 
 1603 
 
 1664 
 
 1605 
 
 1668 
 
 1606 
 
 1656 
 
 1609 
 
 1674 
 
 1610 
 
 1695 
 
 1611 
 
 1665 
 
 1613 
 
 1675 
 
 1616 
 
 1655 
 
 1616 
 
 1671 
 
 1619 
 
 1690 
 
 1620 
 
 
 1621 
 
 1676 
 
 1624 
 
 1679 
 
 1628 
 
 1707 
 
 1633 
 
 1675 
 
 1635 
 
 1699 
 
 1636 
 
 1716 
 
 1644 
 
 1717 
 
 1646 
 
 1708 
 
 1646 
 
 1717 
 
 1648 
 
 1704 
 
 School. 
 
 15th 
 
 Bene of Anjou .... 
 Jean Fouquet, first half of the 
 
 century , 
 
 Jehan Olouet, elder, settled in Tours 
 
 about 1480 
 
 Jehan Clouet, younger .... 
 
 Jean Cousin, about 
 
 Francois Clouet, about .... 
 
 Martin Fre'minet 
 
 Antoine Le Nain, about .... 
 
 Simon Vouet 
 
 Jacques Callot 
 
 Louis Le Nain, about .... 
 
 Nicolas Poussin 
 
 Jacques Stella 
 
 Jacques Blanchard 
 
 Claude Gelee (Lorraine) .... 
 Moise Valentin ...... 
 
 Paris Corneille 
 
 Nicolas Mignard 
 
 Laurent de La Hyre 
 
 Louis de Boullongne 
 
 Pierre Mignard 
 
 Charles Dufresnoy 
 
 Gaspar Dughet (Poussin) 
 
 Eustache Le Sueur 
 
 Sebastien Bourdon 
 
 Charles Le Brun 
 
 Pierre Patel 
 
 J. Courtois (Bourguignon) . 
 
 Nicolas Le Noir 
 
 Noel Coypel 
 
 Claude Lefebvre 
 
 Jean Baptiste Monnoyer .... 
 
 Charles de La Fosse 
 
 Jean Jouvenet 
 
 Michel Corneille 
 
 Nicolas Colombel 
 
 Joseph Parrocel 
 
OF PAINTING IN FRANCE. 189 
 
 Srhool 
 
 
 "Ri rfh 
 
 
 
 Bon Boullono^ne 
 
 1649 
 
 1717 
 
 -* # J- 1 
 
 
 
 1651 
 
 1717 
 
 
 L. de Boullongne, younger . 
 
 1654 
 
 1733 
 
 
 
 1656 
 
 1746 
 
 
 Hyacinthe Rigaud 
 
 1659 
 
 1743 
 
 
 Antoine Coy pel 
 
 1661 
 
 1722 
 
 
 
 1661 
 
 1743 
 
 
 (jrlllot 
 
 1673 
 
 1722 
 
 
 Jean Raoux 
 
 1677 
 
 1734 
 
 
 Jean Francois de Troy .... 
 
 1679 
 
 1752 
 
 
 Antoine Pesne 
 
 1683 
 
 1757 
 
 
 
 1684 
 
 1721 
 
 
 
 1684 
 
 1745 
 
 
 J. Marc Nattier 
 
 1685 
 
 1766 
 
 § 
 
 J. B. Oudry 
 
 1686 
 
 1755 
 
 
 Fran9ois Le Moine . , . . . 
 
 1688 
 
 1737 
 
 
 
 1688 
 
 1752 
 
 
 
 1690 
 
 1743 
 
 
 J. B Pater 
 
 1695 
 
 1736 
 
 
 L. TocQue 
 
 1696 
 
 1772 
 
 
 P. Subleyras 
 
 1699 
 
 1749 
 
 
 Simeon Ohardin 
 
 1699 
 
 1779 
 
 
 Etienne Jeaurat 
 
 1699 
 
 1789 
 
 
 Francois Boucher 
 
 1704 
 
 1770 
 
 
 Carle van Loo .... . . 
 
 1705 
 
 1765 
 
 
 Claude Joseph Vernet .... 
 
 1714 
 
 1789 
 
 
 Joseph Marie Vien 
 
 1716 
 
 1809 
 
 
 Roland de la Porte ..... 
 
 1724 
 
 1793 
 
 
 
 1724 
 
 1805 
 
 
 
 1727 
 
 1805 
 
 
 Jean Honore Fragonard .... 
 
 1732 
 
 1806 
 
 
 
 • 1748 
 
 1825 
 
190 
 
 THE JRISE AND PB0GRES8 
 
 Illumina- 
 tions, 
 
 Miniatures. 
 
 Sixteenth 
 century. 
 
 Hilliard. 
 The Olivers. 
 
 THE RISE AND PROGRESS OF PAINTING IN ENGLAND. 
 
 No native school of painting, in the ordinary sense of the 
 term, existed in England before the reign of Charles I., 
 who encouraged and patronised art in this country as no 
 monarch had done before him. In a certain department 
 of painting, however — that of illumination — there had 
 been a long line of successful painters, by whom we 
 possess many fine examples, some dating as far back as 
 the sixth and eighth centuries. Later on, under King 
 Alfred and then under the Conqueror, a flourishing school 
 existed which attained to a perfection perhaps unequalled 
 by any other European country in the eleventh, twelfth, 
 and thirteenth centuries. At this period, however, much 
 of this art- work was closely allied to that of " miniature- 
 painting; "so that it is difficult to determine precisely 
 the date at which this latter style commenced. At all 
 events it occupied a high position in the end of the 
 sixteenth century, when Nicholas Hilliard and Isaac 
 Oliver were accomplished representatives of the art, and 
 painted numerous portraits in miniature with great 
 success. They were succeeded by Oliver's son Peter, and 
 by John Hoskyns, who maintained the character of the 
 school, after which it declined. 
 
 The kings of England prior to the time of Charles I., 
 like those of France, invited foreign artists of celebrity to 
 visit their courts, and gave them commissions to execute. 
 Henry VII. employed Jan Mabuse in this manner; and 
 in Henry the Eighth's reign Hans Holbein took up his 
 residence in England, and remained here during the last 
 seventeen years of his life. Under Queen Mary, Queen 
 Elizabeth, and James I. several Flemish painters — viz., 
 Gerard Horembout, Sir Antonio Moro, Lucas de Heere, 
 Cornelis Janssens, and Daniel Mytens — occupied posts at 
 
OF PAINTING IN ENGLAND, 
 
 101 
 
 court; and in the reign of Charles I., Kubens and Van 
 Dyck were brought over, the latter residing here for a 
 long period. But in this reign there appeared also some 
 native artists whose names are worthy to be placed on 
 record. First must be named a miniature-painter of great 
 skill, Samnel Cooper (1609-72), whose works were in 
 much demand both in this country and abroad. He 
 painted a well-known portrait of the Protector. At the 
 same time two other painters appeared who were inspired 
 by Van Dyck, and proved worthy followers of that great 
 master — namely, William Dobson and Henry Stone, called 
 " Old Stone." 
 
 Dobson (1610-46) was an excellent painter of portraits, 
 the best of which are now in private collections. After 
 the death of Van Dyck he became one of the King's painters. 
 Portraits of himself and his wife in one frame are in the 
 Gallery at Hampton Court, No. 376. His own portrait 
 and that of Francis Quarles may be seen in our National 
 Portrait Gallery, South Kensington ; while a head, in- 
 teresting a& being that of the keeper of the gallery of King 
 Charles I., is preserved in the Hermitage, St. Petersburg, 
 No. 1387. 
 
 Stone (1616-53) worked both as sculptor and painter. 
 A good copy by him of Titian's * Cornaro family ' may be 
 seen at Hampton Court, No. 444. His copies of some of 
 Van Dyck's portraits are perhaps among the best of his 
 productions, and some are so good, indeed, as to have 
 passed for works of the master. 
 
 After Van Dyck two foreign painters succeeded him 
 at court. These were Sir Peter Lely and Sir Godfrey 
 Kneller. 
 
 Lely (1618-80), a Westphalian by birth, but of Dutch 
 extraction, gained a great reputation in England as a 
 painter of female portraits, and was employed by Charles 
 II. to paint the reigning beauties of the day. These works 
 are still in the Hampton Court Gallery. Good examples 
 of portraiture by Lely may be seen in our National 
 Portrait Gallery ; those of Mary Davis, Nell Gwynn, the 
 Countess of Shrewsbury, and the Duke of Buckingham 
 may be particularly mentioned. 
 
 Samuel 
 Cooper, 
 
 Seve7iteenth 
 
 century. 
 
 Dobson. 
 
 Stone. 
 
 Lely 
 
192 
 
 TR^ BISE AND PBOGBESS 
 
 Kneller, 
 
 Walker, 
 
 Eiley, 
 
 Bichardson , 
 
 Jervas, 
 
 Thornhill. 
 
 Godfrey Kneller (1646-1723) was a native of Liibeck, 
 but worked cMefly in this country, where he painted most 
 of the notable men of his time, and in particular some of 
 the members of the " Kit-Kat Club." Many good specimens 
 of portraiture are in the Hampton Court Gallery, among 
 which may be mentioned a full-length of Peter the Great 
 in armour, No. 57. Some of his portraits may be seen in 
 our National Portrait Gallery, those of the Duke of Bedford 
 and William Congreve being the best ; and there is one in 
 our National Gallery, No. 273. Two portraits in the 
 Hermitage may also be noted — one of Locke, No. 1388 ; 
 the other of Gibbons the sculptor. No. 1389. 
 
 An Englishman, Eobert Walker, painted portraits in 
 the seventeenth century, especially of the chiefs of the 
 Commonwealth. One of Cromwell is in the Hermitage, 
 No. 1386 ; and others may be found in our National 
 Portrait Gallery. A portrait of himself may be seen at 
 Hampton Court, No. 365. 
 
 Sir Peter Lely had one pupil of some note — ^namely 
 John Eiley (1646-91), born in London, by whom there is 
 a portrait at Hampton Court, No. 372. He was the master 
 of Jonathan Kichardson (1665-1745), who is better known 
 as a writer on art than as a painter. Both these painters 
 are represented in our National Portrait Gallery : the 
 former by portraits of Lord Kussell and King James IL ; 
 the latter by portraits of Anne Oldfield and Matthew 
 Prior. There also, among the portraits of great lawyers 
 recently presented by Serjeants' Inn, is one of Lord Chief 
 Justice Pratt by Kichardson. 
 
 Charles Jervas (1675-1739), born in Ireland, may be 
 named here as a pupil of Kneller, whose style he adopted. 
 An interesting portrait of Dean Swift by him may be seen 
 in our National Portrait Gallery. His friendship with 
 Pope should not be forgotten. 
 
 Sir James Thornhill (1676-1734) attained a certain 
 reputation by his large works. They possess, however, no 
 particular merit, being chiefly decorative, and following 
 the conventional style of the age. Examples are to be 
 seen on the ceilings of Hampton Court, in the cupola of St. 
 Paul's, and in the great hall of Greenwich Hospital. 
 
OF PAINTING IN ENGLAND. 
 
 193 
 
 William Hogarth (1697-1764), the son-in-law of 
 Thornhill, was educated as a painter and engraver, and 
 pursued his art in a style peculiar to himself. With him 
 it may be said that the English school began. It was his 
 object to expose certain follies, fashions, and political 
 usages then current in society. This he did in several 
 series of paintings and engravings, by which he depicted, 
 in a powerful manner and dramatic form, occurrences 
 illustrative of the evils he desired to satirise. The famous 
 series of paintings called the ' Marriage a la mode,' now 
 Nos. 113-18 in our National Gallery, are among his most 
 successful works, and, apart from their value as satires, 
 show Hogarth's mastery in grouping, expression and 
 colour (Plate XXXIX., 5). The first series that appeared 
 was that of the ' Harlot's progress,' six in number ; these 
 were followed by the ' Eake's progress,' eight in number, 
 now to be seen in Sir J. Soane's Museum, Lincoln's Inn 
 Fields ; but many of his original paintings have been 
 destroyed, and remain to us only in the form of prints. The 
 same Museum contains a series of four fine pictures, illustrat- 
 ing an Election, admirable examples not only of his humour 
 but of his talents as a painter. Hogarth also painted a 
 few portraits. That of himself, which he repeated more 
 than once, is in our National Gallery, No. 112 ; where 
 also is a small portrait of his sister Mary, No. 675, 
 and an interesting work, ' Sigismunda with the heart of 
 Guiscardo,' No. 1046. A charming small portrait of 
 himself seated at his easel may be seen in our National 
 Portrait Gallery. Two examples of less merit are in 
 the National Gallery, Edinburgh, Nos. 267, 70. The well- 
 known portrait of Captain Coram is still preserved in the 
 Foundling Hospital. 
 
 After Hogarth came Allan Eamsay (1713-84) and 
 Thomas Hudson (1701-79), who were good portrait- 
 painters of this period. The former worked in Edinburgh, 
 where in the National Gallery two examples of his work 
 are preserved, Nos. 43, 266. Hudson derives celebrity 
 chiefly from having been the master of Sir Joshua Reynolds, 
 who was destined to succeed Ramsay as painter to George 
 III., and whose fame soon overshadowed that of less 
 
 0 
 
 Eighteenth 
 
 century. 
 
 Hogarth. 
 
 Eamsay, 
 Hudson, 
 
194 
 
 THE BISE AND PROGRESS 
 
 Ramsay. 
 Hudson. 
 
 Reynolds. 
 
 favoured rivals and contemporaries. Two examples of 
 Hudson's work will suffice' — namely, the portrait of Handel 
 in our National Portrait Gallery, and that of Lord Chief 
 Justice Willes, which forms one of the new collection of 
 lawyers' portraits there. 
 
 Eeynolds (1723-92) was born at Plympton in Devonshire, 
 and at eighteen came to London to study under Hudson. 
 Before taking up his residence here, however, as a pro- 
 fessional painter, he spent some three years in travelling 
 on the Continent, where he saw and commented on the 
 masterpieces of Italian and Flemish art. Eeynolds 
 rapidly gamed reputation on his return to London in 1752, 
 and was employed to paint the portraits of most of the 
 celebrated men and many of the beauties of the day, who 
 considered it a privilege to sit to him. On the formation of 
 the society of painters which became the Royal Academy of 
 Arts, Eeynolds was appointed first president, and delivered 
 in that capacity his well-known ' Discourses on Art/ 
 Eeynolds's power displayed itself in a fine appreciation of 
 colour, and in a knowledge of the art of most gracefully 
 posing a sitter and very happily arranging the accessories 
 of a portrait. No doubt his drawing was weak, and in the 
 extremities often quite neglected ; but his mastery of the 
 brush, largeness of s-tyle, and cleverness in hinting what 
 he would not stay to define, sufficed in great measure to 
 cover the defect. His style was particularly suited to 
 express the delicate traits and unrivalled beauty of English 
 women, especially of those belonging to our noble families. 
 His canvases still charm us by their grace and elegance, 
 although not a few have lost the original tints with which 
 they were finished. Many of them, now pale and colour- 
 less, are reduced to the white and warm greys of the first 
 painting, because in many instances he depended entirely 
 upon thin glazes for the flesh-tints, and these were often 
 fleeting in their character. Sir Joshua also made many 
 experiments with vehicles of different kinds, in attempting 
 to obtain a thick and rich impasto, and the cracking of 
 these has fatally damaged several works. Those examples 
 of the master which are preserved in our National Gallery, 
 and they number twenty-three in all, are, however, for 
 
Plate XXXIX. 
 
 To face page 195. 
 
OF FAINTING IN ENGLAND. 
 
 195 
 
 the most part in excellent preservation. One of the most Beymlds, 
 important of these is the pleasing composition known as 
 the ' Graces decorating a terminal figure of Hymen/ 
 No. 79, portraits of the three daughters of Sir William 
 Montgomery, all beautiful women and admirably grouped. 
 A specimen of his 'Holy families' occurs in the Gallery, 
 No. 78 : it is simply a domestic group of English type. 
 Of the well-known 'Infant Samuel' there is an example 
 here, No. 162; but the subject was often repeated — one is 
 in the Dulwich Gallery, No. 285, and another may be 
 seen in the Mus6e Fabre at Montpellier, France, No. 416. 
 Similar to the ' Samuel' in size and treatment are two 
 other works in our National Gallery : the carefully ex- 
 ecuted but somewhat faded ' Age of Innocence,' No. 307 ; 
 and a girl with a robin and cage, known as ' Robinetta,' 
 No. 892. Another work to be noted is the ' Snake in the 
 grass,' No. 885 : and last, but not least, the Gallery 
 possesses several admirable male portraits. Perhaps the 
 most striking of these is the life-like and vigorous portrait 
 of ' Lord Heathfield holding the key of Gibraltar,' No. Ill ; 
 while scarcely less excellent as an example of honest 
 portraiture is that of two gentlemen in one frame. No. 754. 
 These testify to the power possessed by Eeynolds of seizing 
 and reproducing on canvas the character — in these ex- 
 amples so different — of his various sitters. The famous 
 portrait of Samuel Johnson, No. 887, and of his biographer, 
 James Boswell, No. 888, deserve close attention. The fine 
 head of the 'Banished lord,' No. 107, and the study of a 
 man's head in profile. No. 106, are illustrations of his rich 
 and powerful colouring. Finally there are two portraits 
 of Eeynolds himself, Nos. 306 and 889 ; while a third 
 occurs in the Dulwich Gallery, No. 146 ; a fourth is in 
 our National Portrait Gallery; and another is in the 
 Uffizi at Florence, No. 540. In the Dulwich Gallery is 
 also the famous portrait of Mrs. Siddons as the ' Tragic 
 Muse,' No. 340 (Plate XXXIX., 3), said to be a repetition 
 of that in the Grosvenor Gallery. It is in good preserva- 
 tion, and is one of the master's noblest productions, alike 
 as regards drawing, expression, and colour. The ' Mother 
 and her sick child,' No. 143, and the study from the larger 
 
 0 2 
 
196 
 
 TEE RISE AND PROGRESS 
 
 Reynolds, 
 
 Gains- 
 borough. 
 
 work of the ' Death of Cardinal Beaufort,' No. 254, both 
 at Dulwich, and the portraits of the Earl of Bath and 
 Lord Keppel in the Portrait Gallery, must not be passed 
 without mention. Eeynolds was honoured by a commis- 
 sion from the Empress Catharine of Eussia to paint a 
 composition of his own choice for her gallery at St. 
 Petersburg. After much consideration, he produced the 
 ' Infant Hercules strangling the serpents,' now in the 
 Hermitage at St. Petersburg, No. 1391, without doubt one 
 of his most successful compositions (Plate XXXIX., 6). 
 The same gallery contains two less happy works of the 
 master, a 'Venus and Cupid,' No. 1390, and the ' Continence 
 of Scipio,' No. 1392. Most of Keynolds's works are 
 naturally in private collections in this country, many 
 being still in the possession of the families for whose 
 ancestors they were originally painted. 
 
 But Eeynolds, in spite of his great reputation, was not 
 without successful rivals in his own branch of art — that 
 of portraiture. Two painters of note shared with him 
 the public favour — namely, Thomas Gainsborough and 
 George Eomney. 
 
 Gainsborough (1727-88) was bom at Sudbury in Suffolk, 
 and when still young Came to London and studied under 
 Francis Hayman, a painter of small note, who produced 
 some historical pictures. Both master and pupil were- 
 original members of the Eoyal Academy. Gainsborough's 
 portraits are generally less pleasing in colour than those 
 of Sir Joshua, and have an undue predominance of bluish 
 grey in the flesh-tint ; nevertheless they are always grace- 
 ful productions. He executed a great number of works 
 of various kinds, and in landscape was one of the first 
 masters in the English school. Most of his paintings are 
 in private galleries ; as, for instance, the Grosvenor, which 
 possesses two of the best known — the famous ' Blue-boy ' 
 and the ' Cottage-door.' Our National Gallery contains 
 some important works of the master both in portraiture 
 and in landscape. Among the single portraits, that of 
 Mrs. Siddons seated, in a blue striped dress. No. 683 ; that 
 of Dr. Schomberg, No. 684 ; and that of the Parish clerk, 
 No. 760 (Plate XLV., 2), are the best ; while No. 789 is 
 
Plate XL. 
 
 To face ] oge 19/. 
 
OF PAINTING IN ENGLAND. 
 
 197 
 
 an example of Gainsborough's portrait groups. The land- (rams- 
 scapes here are admirable, and exemplify the different ^^^^9^* 
 styles which the master adopted. That known as a ' Wood 
 scene, with the village of Cornard in Suffolk,' No. 925, is 
 treated in the style of the Dutch masters, and in the 
 carefully executed foliage and grey-brown tone reminds 
 one of Hobbema ; but the distance is rendered with far 
 more tenderness and delicacy than is visible in Hobbema's 
 work. The ' Market-cart,' No. 80, illustrates an entirely 
 different style. Gainsborough has in it paid more attention 
 to chiaro-oscuro than to highly finished detail, and the 
 general tone is dark and brownish in colour. The * Water- 
 ing-place,' No. 109, again differs in treatment from those 
 already noticed, and is distinguished by colour almost 
 Titianesque in its richness, and by large masses of dark 
 broadly executed trees (Plate XLV., 1). Gainsborough is 
 better seen as a worthy rival of Sir Joshua in the admir- 
 able family portraits in the Dulwich Gallery. The well- 
 known and charming group of the two daughters of 
 Thomas Linley — namely, Mrs. Sheridan and Mrs. Tickell 
 — No. 1, is one of his best works. Portraits of their father 
 and of two other members of the Linley family are 
 Nos. 358, 61, 2. Another very pleasing example is No. 366, 
 ' Portraits of Mrs. Moodey and her children.' His finest 
 work, however, is without doubt the beautiful full-length 
 ' Portrait of the Hon. Mrs. Graham,' now in the National 
 Gallery, Edinburgh, No. 269. 
 
 George Komney (1734^1802) also was much celebrated Eomney, 
 as a portrait-painter in his day, in spite of the popularity 
 of Eeynolds and Gainsborough. He was born in Lanca- 
 shire, and, after studying some years at Kendal, came to 
 London, where he lived and worked, with the exception 
 of a visit to Italy, till his death in 1802. His works, like 
 those of other English masters, are rarely found in public * 
 galleries, and it is only in the collection of Old Masters " 
 exhibited each winter at :^the Eoyal Academy that the 
 public has an opportunity of forming a fair estimate of 
 their worth. A single portrait by Komney is in our 
 National Gallery, that of the beautiful Lady Hamilton, 
 No. 312 (Plate XLV., 3). Another of the same lady and 
 
198 
 
 THE RISE AND PROGRESS 
 
 Wilson. 
 
 Bomney. one of Eicliard Cumberland should be mentioned in our 
 National Portrait Gallery. But lie was also distinguished 
 by his historical works and by his cartoons, some of 
 which, eighteen in number, are Nos. 150-67 in the Koyal 
 Institution, Liverpool. 
 
 Eichard Wilson (1713-82), born at Pinegas in Mont- 
 gomeryshire, was another gifted painter of the same 
 period. He began with portraiture, but his taste inclined 
 to landscape-painting, and with the intent of studying this 
 branch of art more especially he went to Kome and 
 resided there six years. On his return to London he was 
 made a member of the Eoyal Academy, but never 
 attained wealth or reputation during life, as many of his 
 contemporaries did. His landscapes are chiefly Italian, 
 harmonious in colour and poetic in feeling, and, with the 
 exception of Gainsborough, he ranks as the first landscape 
 painter of his day. One of his finest productions is in our 
 National Gallery, a 'View of the ruins of the Villa 
 Maecenas at Tivoli,' No. 108 — a subject which he frequently 
 repeated when it had become a favourite with the public. 
 One replica is to be seen in the Dulwich Gallery, No. 215. 
 Another admirable composition, also in our National 
 Gallery, is a 'Landscape with the destruction of Niobe's 
 children/ No. 110 ; besides many small Italian views, Nos. 
 267, 301-4, 1064, 71. The South Kensington Museum 
 contains one small and very charming example of landscape 
 by evening light. No. 246. 
 
 Joseph Wright (1734-97), called from his native town 
 Wright of Derby, worked first under Hudson the portrait- 
 painter, but his strength was in landscape and genre. 
 One portrait may be mentioned — namely, that of himself 
 in our National Portrait Gallery. A large example in his 
 characteristic style is in our National Gallery, a party 
 witnessing an experiment on the air-pump, by candlelight, 
 No. 725 (Plate XLV., 4). Artificial light effects were 
 attractive to him. 
 
 Some able portrait-painters flourished a few years later 
 than the three already mentioned : John Hoppner, John 
 Opie, and Henry Eaeburn. 
 Hoppner. Hoppner (1753-1810) was born in London, but did not 
 
 Wright of 
 Derby, 
 
OF PAINTING IN ENGLAND. 
 
 199 
 
 begin to study as an artist till his twenty-second year, 
 when lie became a student at the Royal Academy. Some 
 of his portraits are at Hampton Court, and three are in 
 our National Gallery — No. 133, the portrait of Mr. Smith 
 the actor; No. 233, that of William Pitt; and No. 900, 
 that of the Countess of Oxford. Others may be seen in our 
 National Portrait Gallery : note in particular those of 
 Lord Grenville and of Lord Lansdowne. 
 
 John Opie (1761-1807), born near Truro in Cornwall of 
 humble parents, showed signs of much talent when still 
 young, and came to London to be introduced to Sir Joshua. 
 He worked both as an historical and as a portrait-painter, 
 and ultimately succeeded Fuseli as Professor of Painting 
 to the Eoyal Academy, having previously been made a 
 member. The ' Death of Eizzio ' (Plate XLV., 6) was one 
 of his most important works, and he produced several 
 drawings for literary illustration. One portrait by him is 
 to be seen in our National Gallery, that of William Siddons, 
 No. 784, and a composition, 'Troilus and Cressida,' No. 
 1026. Opie's own portrait is preserved in the Dulwich 
 Gallery, No. 3, as well as in our National Portrait Gallery, 
 South Kensington. 
 
 Henry Eaeburn (1756-1823) was born near Edinburgh, 
 and became one of Scotland's best portrait-painters. He 
 worked chiefly in the North, after visiting London and 
 making a journey to Italy, and became a member of the 
 Eoyal Academy in 1814. His portraits are truthful repre- 
 sentations of his sitters' characteristics, and he succeeded 
 best in depicting the well-marked features of his own 
 countrymen. The National Gallery, Edinburgh, contains 
 several fine works, among which may be noted Nos. 2, 23, 
 39, and 45. Neither our National Gallery nor the Dulwich 
 Gallery possesses any of his works ; but three good por- 
 traits may be seen in our National Portrait Gallery, and 
 the painter is often represented at the Winter Exhibition 
 of Old Masters. 
 
 John Singleton Copley (1737-1815), born in America, 
 had to contend with many difficult circumstances in the 
 beginning of his artistic career, but, nothing daunted, he 
 worked steadily as a portrait-painter till he left America 
 
 Hoppner. 
 
 Opie. 
 
 Raehurn. 
 
 Copley, 
 
200 
 
 TR]^ RISE AND PROGRESS 
 
 West. 
 
 Copley, I in 1774. He then trayelled to England, the Low Conntries, 
 and Italy, but finally settled in London for the remainder 
 of his life. His ,two finest works are in our National 
 Gallery : the well-known ' Death of Chatham,' No. 100, in 
 which the assembled members of the House of Lords are 
 portraits ; and the admirable composition, the ' Death of 
 Major Pierson,' No. 733. Besides these large works there 
 is a small study for the painting at Guildhall of the 
 ' Siege and relief of Gibraltar,' No. 787. These and several 
 other important historical works Copley executed in London, 
 but he chiefly exhibited portraits in the Eoyal Academy, 
 of which he was a member. As examples of portraiture 
 a study of Lord Heathfield and a fine full-length of Lord 
 Mansfield should be noted in our National Portrait Gallery. 
 
 Benjamin West (1738-1820) was also an American by 
 birth. His talent for painting showed itself at a very 
 early age. At eighteen he worked independently as a 
 portrait-painter, a few years later went to Eome, and after 
 a stay of three years came to London, which he decided to 
 make his home. He was appointed President of the Eoyal 
 Academy on the death of Sir J. Eeynolds, and exhibited 
 a large number of works every year. He painted chiefly 
 historical subjects, both sacred and classical. Some of 
 these are now in our National Gallery : for example, 
 ' Pylades and Orestes brought as victims to Iphigenia,' 
 No. 126 ; * Cleombrotos banished by Leonidas II., King of 
 Sparta,' No. 121 ; and a large canvas, ' Christ healing the 
 sick in the temple,' No. 131. One of West's best works is 
 the ' Death of General Wolfe,' which belongs to the Duke 
 of Westminster : a replica. No. 320, may be seen in the 
 Queen's drawing-room at Hampton Court among other 
 large canvases (Plate XLV., 6). West was bold enough 
 in this work to make a great innovation — namely, that 
 of dressing his characters in modern costume, instead of 
 representing them in classical dress according to the 
 custom of the day. 
 Barry, James Barry (1741-1806) was born at Cork, and studied 
 
 art in Dublin, when Edmund Burke helped him to go to 
 England and to Italy to finish his studies. He eventually 
 settled in London, became a member of the Eoyal Academy, 
 
OF PAINTING IN ENGLAND. 
 
 201 
 
 and subsequently the Professor of Painting. His chief 
 works were those he executed for the Society of Arts at the 
 Adelphi. They are six in number, and illustrate the 
 history of the civilisation of man. Barry was a warm 
 advocate for the introduction of large paintings as a 
 decoration of St. Paul's, and was much annoyed at the 
 rejection of his suggestion by the Bishop of London. 
 Another example of the master's work may be seen in the 
 South Kensington Museum, an ' Adam and Eve ' of no 
 great merit ; his own portrait is in our National Portrait 
 Gallery. Barry died in 1806, after a short illness, and 
 was buried in St. Paul's Cathedral. 
 
 Henry Fuseli (1741-1825), a Swiss by birth, who 
 succeeded Barry as Professor of Painting, deserves a few 
 words, although both he and AVilliam Blake lived into the 
 first quarter of the nineteenth century, of which it is not 
 within the scope of our design to speak. Fuseli is better 
 known as a critic on art than as a painter, and his 
 addresses delivered to the students of the Academy were 
 interesting and valuable. His pictures, for the most part 
 historical, were remarkable for extravagance in design and 
 conception. He painted many subjects in illustration of 
 the dramas of Shakespeare, but no example of these or any 
 other of his works is in our National Gallery or in the 
 Dulwich Gallery. A Shakespearian subject may be seen 
 in the Liverpool Institution, No. 148. 
 
 William Blake (1757-1828) was the author of several 
 poetical works, and in order to illustrate them made 
 numerous drawings, most of which are extremely defective 
 as works of art, although some display a curiously wild and 
 original treatment of the subjects. He also illustrated the 
 book of Job, Young's ' Night thoughts,' and some of Milton's 
 works ; one of his best productions is the ' Canterbury 
 pilgrims,' painted in water-colour. 
 
 There are two animal-painters who must be noticed 
 before bringing this sketch to a close : namely, George 
 Stubbs of Liverpool (1724-1806) and George Moiiand of 
 London. The former had a remarkable talent for drawing 
 horses, and wrote a work on their anatomy. 
 
 Morland (1763-1804) painted small landscapes chiefly 
 
 Barry. 
 
 Fuseli, 
 
 Blake, 
 
 Stubbs. 
 
 Morland, 
 
202 
 
 THE BISE AND PBOGBESS 
 
 for the purpose of introducing different domestic animals, 
 in the portrayal of which he greatly excelled. His 
 favourite subjects were pigs, horses, and village interiors ; 
 but his career was ruined by dissolute and reckless habits, 
 and he died in the prime of life. As examples, may be 
 cited an excellent work, ' Interior of a stable,' No. 1030 in 
 our National Gallery ; a small portrait of himself in our 
 National Portrait Gallery, and three admirable and 
 characteristic works in the South Kensington Museum, 
 the 'Eeckoning,' No. 237, * Horses in a stable,' No. 403, 
 and ' Sea-shore and fishermen,' No. 1404, the two last named 
 having been painted in 1791. 
 
 Following the plan adopted with other schools, the names 
 of a few English painters will be mentioned, respecting 
 whom particulars are unnecessary. 
 
 Historical : Fr. Hayman. 
 
 Portraiture : George J ameson, Michael Wright, J. 
 Zoffany, David Allan, Nathaniel Dance. 
 
 Landscape : George Smith of Chichester, P. J. do 
 Loutherbourg, F. Zuccarelli, Francis Bourgeois. * 
 
 It suffices simply to name the following who painted 
 miniatures in the seventeenth century : Thomas Flatman, 
 Alexander Browne, and a little later Lewis Crosse. Early 
 in the eighteenth century, Bernard Lens, and later Jarvis 
 Spencer, followed by Nathaniel Hone. 
 
 The great English school of water-colour painting took 
 its rise in the latter part of the eighteenth century. It is 
 no part of our design to illustrate its history, but belonging 
 10 that period must be mentioned in connection with 
 landscape the names of those able artists Paul Sandby, 
 John Cozens, and Thos. Girtin. 
 
OF PAINTING IN ENGLAND, 
 
 203 
 
 A TABLE 
 
 Of the Dates of the Principal Painters of the English Schools. 
 
 School. 
 
 Nicholas Hilliard .... 
 
 Isaac Oliver 
 
 George Jameson .... 
 Peter Oliver . . . . . 
 Samuel Cooper .... 
 William Dobson .... 
 
 Henry Stone 
 
 Sir Peter Lely 
 
 Kobert Walker, painted 1G50 
 
 John Riley 
 
 Sir Godfrey Kneller . 
 Michael Wright .... 
 Jonathan Richardson 
 Charles Jervas .... 
 Sir James Thornhill . 
 William Hogarth .... 
 Thomas Hudson .... 
 F. Zuccarelli . ... 
 Francis Hay man .... 
 Richard Wilson .... 
 Allan Ramsay .... 
 George Smith of Chichester . 
 Sir Joshua Reynolds . 
 George Stubbs .... 
 
 Francis Cotes 
 
 Paul Sandby 
 
 Thomas Gainsborough 
 Nathaniel Hone .... 
 Nathaniel Dance .... 
 Joseph Wright of Derby 
 George Romney .... 
 Johann Zofiany .... 
 John Singleton Copley . 
 Benjamin West . . » . 
 P, J. de Loutherbourg 
 
 James Barry 
 
 Henry Fuseli 
 
 David Allan 
 
 John Cozens 
 
 Death. 
 
 1.^47 
 
 -1 «J A / 
 
 iniQ 
 
 X vJXi7 
 
 
 lf517 
 
 X U X 1 
 
 
 lfi44 
 
 X VJ X i 
 
 J. t^«7 X 
 
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 1 fi79 
 
 IfilO 
 
 lfi4fi 
 
 J. UX VJ 
 
 J \JtJtJ 
 
 
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 1 fifiO 
 
 X \J\J\J 
 
 
 X <Jt7 X 
 
 J. \J±.\J 
 
 172.S 
 
 
 ' 1700 
 
 X 1 \J\J 
 
 
 1745 
 
 X ( xtf 
 
 
 17^Q 
 
 
 17^4 
 
 XVJt/ 1 
 
 17fi4 
 
 1701 
 
 177Q 
 
 1702 
 
 1788 
 
 X f oo 
 
 1708 
 
 X / V/O 
 
 X f \J\J 
 
 171.S 
 
 X f X«J 
 
 1782 
 
 1713 
 
 1784 
 
 1714 
 
 1766 
 
 1723 
 
 1792 
 
 1724 
 
 1806 
 
 1725 
 
 1770 
 
 1725 
 
 1809 
 
 1727 
 
 1788 
 
 1730 
 
 1784 
 
 1734 
 
 
 1734 
 
 1797 
 
 1734 
 
 1802 
 
 1735 
 
 1810 
 
 1737 
 
 1815 
 
 1738 
 
 1820 
 
 1740 
 
 1812 
 
 1741 
 
 1806 
 
 1741 
 
 1825 
 
 1744 
 
 1796 
 
 1752 
 
 1799 
 
204 
 
 END OF ENGLISH SCHOOL. 
 
 
 
 jDirin. 
 
 ueatD. 
 
 
 Jolm HoDDDer 
 
 1753 
 
 1810 
 
 JL \J J. \7 
 
 
 Fr. Bourei'eois 
 
 1756 
 
 1811 
 
 A W A JL 
 
 
 
 1756 
 
 1823 
 
 
 
 1757 
 
 1828 
 
 
 
 1761 
 
 1807 
 
 
 
 1763 
 
 1804 
 
 
 
 1773 
 
 1802 
 
NOTES TO THE CATALOGUES. 
 
 205 
 
 INTEODUCTORY NOTES TO THE 
 CATALOGUES. 
 
 . »o* 
 
 The following pages are occupied with the condensed or 
 abbreviated catalogues (already referred to in the Preface) 
 of all the European Public Galleries of any note, and of the 
 chief collections in private mansions open to the public in 
 Italy and Holland. 
 
 The writer's object has been to point out the best works 
 of the leading masters, especially noting pictures which are 
 typical of a style or date or school. It has not been deemed 
 necessary to mention all the works bearing the names even 
 of the greatest painters. Thus some pictures have been 
 omitted : firstly, because, although genuine, they are of minor 
 value or unnecessary for the purpose of illustration ; secondly, 
 because they are works of doubtful origin about which critics 
 are not agreed;, and, lastly, because as sometimes happens 
 they have no claim whatever to the name by which they are 
 catalogued. 
 
 As a striking instance of the last-named error, from at 
 least a hundred such which might be mentioned, let one be 
 taken from the Hampton Court Gallery, where, of all the 
 works ascribed to Palma Vecchio, certainly not more than 
 one is genuine. 
 
 On the other hand, when a picture is fine and worthy to 
 be observed, although it is obviously not by the author 
 indicated, the picture is noted, but the words " attributed to " 
 are appended. Thus, continuing the reference to Hampton 
 Court, one of the so-called Palma Vecchios is (on the 
 
206 
 
 NOTES TO THE CATALOGUES. 
 
 authority of Crowe and Cavalcaselle *) a fine Jacopo 
 Bassano. 
 
 For the purpose of enabling the reader to find the catalogues 
 easily, they have been arranged in the order in which the 
 schools themselves have been considered. The Galleries of 
 Italy head the list, and are followed by those of Flanders. 
 Holland, Germany, Austria, Hungary, Spain, France, England 
 and Scotland, and Eussia ; and under the heading of each 
 country the towns containing Galleries are arranged in 
 alphabetical order. 
 
 * As heretofore, when the opinion of these erudite critics is specially- 
 referred to, the initials (C. and C.) will be appended to denote the 
 authority quoted. 
 
 # 
 
( 207 ) 
 
 CATALOaUES. 
 
 »o« 
 
 THE PICTURE GALLEEIES OF ITALY. 
 
 THE MUNICIPAL GALLERY AT AREZZO. 
 
 Pictures last examined in 1877. 
 
 There is a first room which contains some fragments of frescoes. 
 
 The large hall contains between forty and fifty pictures, a manuscript 
 catalogue of which is supplied to the visitor. 
 No. 
 
 2 4, 24, 6 C. P. Benvenuti . Cartoons of Marlz^ Luke^ John the Evangelisty 
 
 and John the Baptist, — Heroic size. 
 9 Girolamo della Gatta . S. Rocco praying to the Virgin to remove the 
 
 2)lague from Arezzo. 
 10 „ . S. Rocco at prayer. 
 
 12 G. Yasari .... Madonna in glory and saints. 
 15 Parri Spinello . . . Madonna della misericordiaj and predeUa. — 
 
 Much restored. 
 21 Margaritone . . . . >S'. Francis of Assisi. 
 28 Andrea of Arezzo . . Madonna and saints, with predella. 
 31 Luca Signorelli . . . A large altarpiece ; Madonna in glory ; David 
 
 playing on the harp, with saints and angels. — 
 
 In good condition. 
 
 33 Margaritone .... Madonna. — Removed from the church of S. 
 
 Francesco. 
 
 40 Rafaellino del Garbo . Annunciation. — Much injured. 
 44 Filippo Lippi . . . Madonna with flowers. 
 
 THE ACCADEMIA CARRARA AT BERGAMO. 
 
 Pictures last examined in 1875. 
 No. 
 
 Basaiti, M — Head of Christ. — Dated 1517. 
 
 Bellini, Gentile, attrib. . . 193 Portrait of Loredano,—By Catena: 
 
 and C. 
 
I 
 
 208 
 
 BERGAMO. 
 
 Bellini, Giovanni 
 
 >» 
 
 Bonconsiglio . 
 Borgognone . 
 Canaletto . 
 Carpaccio, V. 
 Crivelli, Carlo 
 Diirer, Albrecht 
 Fogolino, Marcello 
 Foppa, Yincenzo 
 
 Francia, attrib. . 
 Giorgione, attrib. 
 
 91 
 
 if 
 
 Guardi, Francesco 
 Jacobello del Fiore 
 Lotto, Lorenzo . 
 
 i» )» • 
 
 Mansueti . 
 
 . • .. 
 
 Mantegna, Andrea 
 
 »7 
 
 »7 
 
 Marcus Venetus, or 
 
 Belli . . . 
 Marziale, Marco . 
 Montagna, B. 
 Morone, Fr. . 
 Moroni, Giambattista 
 
 Palma Vecchio . 
 
 attrib. 
 
 V 
 
 3i 
 
 Marco 
 
 Piombo, Sebastiano del 
 Previtali 
 
 Kaphael, attrib. . 
 Santa Croce, Franc . 
 
 „ „ Girolamo . 
 Tura, Cosimo 
 Velasquez, Diego, attrib. 
 
 Vicentino, Girolamo 
 Vivarini, Antonio . 
 „ Bartolommeo 
 
 No. 
 
 216 Madonna. 
 4 A Pieta. 
 
 — S. Sebastian. 
 
 — Madonna. 
 
 38 A view of Venice. 
 
 217 A Nativity. 
 194 Madonna. 
 
 106 Christ bearing the cross. 
 223 Monks chanting a mass. 
 112 Crucifixion. 
 
 — S. Jerome. 
 104 Ecce Homo. 
 
 157 Portrait of a lady. — By Cariani : C. and C. 
 
 171 Portrait. — By Melone : C and C. 
 
 187 Portrait. — By Calisto di Lodi : C. and C. 
 
 31, 32, 63 Views in Venice. 
 
 17 An altar-piece. 
 154 Holy family. 
 
 222 The marriage of S. Catharine. 
 
 220 S. Jerome. 
 
 221 A Pieta. 
 
 187 Madonna. — Small. . 
 
 — A portrait. 
 
 209 The Madonna in a landscape. 
 
 — Madonna and donor. 
 
 — Madonna and two saints. — Dated 1487. 
 
 — Virgin and saints. — Dated 1520. 
 158, 185, 196, 212 Male portraits. 
 185, 196, 221 Female portraits. 
 
 144 Portrait of a child. 
 
 156 Madonna loith the Baptist and the magdalen. 
 285 Holy family and saints. — Perhaps by A. 
 
 Schiavone : C. and C. 
 191 Portrait. 
 
 142 Madonna and saints. — Dated 1506 ; an.d 
 
 others. 
 135 S. Stephen. 
 
 — Several examples. 
 
 — Several examples. 
 
 — Madonna enthroned. 
 28 Portrait. 
 
 169 Sketch of a decapitated head. 
 
 — Christ bearing the cross. 
 309, 10 Two saints. 
 
 218 Madonna. — Dated 1486 ; and another work. 
 
BOLOGNA, 
 
 209 
 
 THE PINACOTECA AT BOLOGNA. 
 
 Pictures last examined in 1878. 
 
 Albani, Francesco . . . 
 
 5? 
 
 Alnnno, Niccolo. 
 
 Aspertini, Amico 
 
 Avanzi, Jacopo da Bologna 
 
 11 11 • 
 
 Bugiardini, Giuliano 
 Cantarini, S. . 
 Caracci, Agostino • 
 
 »» 
 
 Annibale 
 
 •1 ») 
 
 11 11 
 
 „ Lodovico 
 
 11 »» 
 
 '5 11 
 
 Cavedone di Sassuolo 
 Cima da Conegliano 
 Cossa, Francesco 
 Costa, Lorenzo . 
 
 Cremona, Niccolo da 
 Domenichino (Zampieri) 
 
 11 V 
 
 Francia, Francesco . 
 11 11 ' ' 
 
 11 u ' • 
 
 11 
 
 11 
 
 Catalogue of 1876. 
 
 No. 
 
 1 Madonna and saints. 
 82 Baptism of Christ, 
 360 Ancona painted on both sides. On one an 
 Annunciation with the Eternal and angels 
 in lunette above. Reverse : Madonna and 
 saints, lunette as before. 
 297 Adoration with saints and donators. — Greatly 
 injured. 
 
 159 An Ancona. Scenes from the life of Christ. — 
 
 Much injured. 
 
 160 The crucifixion. 
 
 161 An Ancona in several compartments. 
 26 Marriage of S. Catharine. 
 
 29 Assumption and saints. 
 
 34 The last communion of S. Jerome. 
 
 35 The Assumption. 
 
 36 Madonna with saints in adoration. 
 
 37 Madonna enthroned and saints. 
 39, 40 The Annunciation. 
 
 42 Madonna and saints. 
 
 45 Birth of John the Baptist. — And others. 
 
 47 Conversion of S. Paul. 
 
 55 Madonna appearing to S. Peter, 
 
 61 Madonna. 
 
 64 Madonna and saints. — Dated 1474. 
 
 65 S. Peter as Bishop of Rome and saints. — 
 
 Dated 1502 ; and others, 
 122 A Pieta. 
 
 206 The martyrdom of S. Agnes. 
 
 207 Madonna of the rosary. 
 
 78 Madonna, saints, and donators. — Dated 
 
 1493. 
 
 79 Annunciation with Baptist and S. Jerome, 
 
 80 Madonna, Baptist, and S. Augustine. 
 
 81 Madonna in adoration, saints, and donators, 
 
 — Almost ruined by repainting. 
 83 Dead Christ and two angels. 
 
210 
 
 BOLOGNA. 
 
 No. 
 
 Prancia, Francesco . . . 371 
 
 9r 
 
 >» 
 
 Giotto , 
 
 Giacomo 
 
 Guercino . 
 
 Tmola, Innocenzo da 
 Jacopo di Paolo 
 
 Matteo 
 
 da 
 
 (Lambertini) 
 
 ?9 
 
 5> 
 
 Parmegiauino 
 Perugino, Pietro 
 Raphael . 
 Eeni, Guide 
 
 9» 
 »> 
 
 '? 
 
 Bologna 
 
 Simone da Bologna 
 
 Sirani, Elisabetta 
 Tiarini, Alessandro . 
 Vaaari, Giorgio . 
 Vitale da Bologna . 
 Viti, Timoteo 
 Vivarini, Antonio and 
 
 Bartolommeo . 
 
 N.B. — In Corridor C is a frame 
 by Fr. Francia. 
 
 ) 
 
 372 
 373 
 84 
 87 
 102 
 
 12 
 
 13 
 
 89 
 10, 
 328 
 103 
 
 104 
 116 
 197 
 52 
 134 
 135 
 136 
 137 
 138 
 139 
 140 
 141 
 142 
 162 
 163 
 ]75 
 183 
 198 
 203 
 204 
 205 
 
 The Annunciation and saints. — Dated 1500 ; 
 
 almost ruined by repainting. 
 Madonna with S. Paul and S. Francis. 
 Crucifixion. 
 
 Madonna and saints. — Dated 1526. 
 
 Madonna in glory and saints. 
 
 Four saints. — The wings of No. 310 in the 
 
 Brera, Milan. 
 The DuJce of Aquilaine receiving the cloah 
 
 of S. Felix. 
 S. Bruno and his companion in the desert. — 
 
 And others. 
 Madonna in glory and S. Michael. 
 11 The Crucifixion and Coronation. 
 S. Helena. 
 
 A Pieta and saints. An Ancona. — Dated 
 1462. 
 
 Madonna. — Dated 1469. 
 Madonna and saints. 
 Madonna enthroned with saints. 
 8. Cecilia. 
 
 Madonna della Pieta. 
 Massacre of the innocents. 
 Christ crucified. 
 Samson victorious. 
 Madonna of the rosary. 
 S. Andrea, bishop of Fiesole. 
 8. Sebastian. 
 Coronation of the Virgin. 
 Ecce Homo. — Crayon. 
 Crucifixion and saints. 
 An Ancona. 
 
 8. Anthony adoring the Madonna. 
 Marriage of 8. Catharine. — And others. 
 8. Gregory the Great and the poor. 
 Madonna and saints. 
 Magdalen. 
 
 Altarpiece in several compartments. — Dated 
 1450. 
 
 containing a nieUo by Brizzi and two nielli 
 
BBESCTA AND FERTtAHA. 
 
 211 
 
 THE GALLERIA TOSI OR MUSEO CIVIGO AT BRESCIA. 
 
 Fictures last examined in 1875. 
 Anteroom. 
 
 No. 
 
 Moretto — Ecce Homo. 
 
 Romanino — The supper at Emmaus. — Fresco. 
 
 „ — Magdalen in the house of Simon, — Fresco. 
 
 Room I. 
 
 Moretto ...... — An Annunciation. — Small. 
 
 Boom II. 
 
 Lotto, Lorenzo .... — The Nativity. 
 
 Moretto — The supper at Emmaus. 
 
 Moretto and Moroni . . — Portraits. 
 
 Boom III. 
 
 Moretto and Moroni . . — Portraits. 
 
 Raphael — Christ with wounded side. — Small. 
 
 Boom on the Ground Floor. 
 
 Moretto — An altarpiece. 
 
 „ ...... — The Madqnna in glory and saints. 
 
 Moroni — An altarpiece. 
 
 THE ATENEO AT FERRARA. 
 
 Pictures last examined in 1875. 
 Catalogue of 1875. 
 
 All the pictures in this gallery appear to have been recently cleaned and 
 varnished. 
 
 No. 
 
 Bononi, Carlo .... 19 The marriage at Cana. 
 Caracci, Annibale . , . 38 The Last Supper. 
 Carpaccio, Yittore ... 37 The burial of the Virgin. 
 Dossi, Dosso ..... 46 The Annunciation. 
 
 „ - „ 47 Madonna enthroned with saints. 
 
 Garofalo (Tisio) .... 63 The Madonna " del pilastro." 
 
 „ „ .... 64 Adoration of the hings. • 
 
 „ 65 Jesus at Gethsemane. 
 
212 
 
 FLOBENCE: THE ACADEMY. 
 
 Garofalo (Tisio) . 
 Mazzolino, Ludovico 
 Scarsellino 
 Tura, Cosimo 
 
 5> 
 
 Viti, Timoteo 
 
 No. 
 
 68 Massacre of the innocents. 
 
 — Adoration and saints. 
 113 The marriage at Cana. 
 121, 2 ;S^. Jerome, 
 
 123 A dead Christ 
 
 124 The assumjption of S. Mary of Egypt, 
 
 THE ACADEMY OF FINE ARTS AT FLORENCE. 
 
 Catalogue OF 1875. 
 
 Pictures last examined in 1877. 
 1. — Salle des Grands Tableaux. 
 
 Albertinelli, Mariotto . 
 Angelico, Fra (Fiesole) 
 Bartolommeo, Fra (Porta) 
 
 »» 
 
 »> 
 
 ?5 
 
 »1 
 
 Botticelli, Sandro 
 
 if 
 
 attrib. 
 
 Bronzino, Angelo . 
 Cardi, L. (Oigoli) 
 Castagno, Andrea del 
 Cimabue .... 
 Oredi, Lorenzo di 
 Gaddi, Agnolo . 
 
 5? 
 
 Taddeo 
 
 9» 
 
 attrib. 
 
 Gentile da Fabriano 
 
 Ghirlandajo, Domenico 
 „ Michele 
 
 No. 
 
 70 Boly Trinity, 
 
 72 Madonna enthroned with saints. 
 
 34 Deposition. — The side pilasters and the 
 
 pinnacles are by Lorenzo Monaco. 
 66 Madonna and saints. 
 69 S. Vincent. 
 
 78, 82 Saints. — And others in fresco. 
 47 Coronation of the Virgin, 
 
 49 The predella. 
 
 52 Madonna with saints. 
 
 46 Madonna and saints. — ^Probably by Andrea 
 
 del Castagno : C. and C. 
 102 Bead Christ. 
 
 115 S. Francis receiving the stigmata. 
 37, 8, 9 Three saints. 
 2 Madonna with eight angels, 
 51 The Nativity, 
 
 33 Madonna and saints, &c. — Large Ancona 
 
 in several compartments. 
 4-13 History of S. Francis. — Painted after 
 
 Giotto's designs. 
 18-29 Scenes from the life of Christ. — From 
 
 designs by Giotto. 
 
 31 An Entombment. — By Niccolo di Pietro 
 
 Gerini ; C. and C. 
 
 32 Adoration of the magi, with predella. — 
 
 Dated 1423. 
 
 50 Adoration of the shepherds. 
 76 Marriage of S. Catharine, 
 
FLORENCE: THE ACADEMY. 
 
 213 
 
 Giotto di Bondone • 
 
 Giovanni da Milano . 
 Granacci, Francesco 
 Llppi, Filippo 
 
 »» j> • • 
 
 Lippi, Filippino 
 Lorenzetti, Ambrogio 
 
 Lorenzo Monaco . 
 
 Lorenzo di Niccolo . 
 
 Masaccio\ 
 Paolino, Fra . 
 Perugino (Vannucci) 
 
 »» 
 
 5) 
 
 Pesellino 
 
 Eafaellino del Garbo 
 Santi di Tito . 
 Sarto, Andrea del . 
 Signorelli, Luca . 
 Verrocchio, A. del . 
 
 No. 
 
 15 Madonna with saints and angels. — From 
 
 the Ognissanti. 
 
 16 Pieta.— Bated 1365. 
 
 75 Madonna in glory with saints. 
 
 41 Coronation of the Virgin. 
 
 42 A predella. — Belongs to the Madonna and 
 
 saints, No 221 in the Louvre. 
 
 57 A Deposition. — Lower part by Perugino. 
 
 17 The presentation in the temple. — Dated 
 
 1342. 
 
 30 Annunciation. — Ancona in three compart- 
 ments. 
 
 35 Coronation of the Virgin. — Ancona in 
 
 three compartments. The panel to the 
 right is painted by Niccolo di Pietro, 
 the panel to the left by Spinello 
 Aretino. 
 
 36 Madonna, and S. Anna in glory. 
 71 Virgin appearing to S. Thomas. 
 
 53 The Agony. 
 
 55 Assumption of the Virgin, 
 
 56 Christ on the cross. 
 
 58 Dead Christ. — Altered by repainting. 
 
 48 Part of a predella. The remainder is No. 
 
 287 in the Louvre. 
 67 A Resurrection. 
 100 A Pieta. 
 
 59 Four saints. 
 
 54 Madonna with saints. 
 
 43 Baptism of Christ. — The first angel on 
 
 the left was painted by Leonardo da 
 Vinci. 
 
 11. — Salle des Anciens Tableaux. 
 
 Angelico, Fra (Fiesole) . 
 
 Baldovinetti, A. . 
 
 Botticelli, Sandro . 
 Ghirlandajo, Domenico . 
 Giusto d' Andrea 
 
 Lorenzo Veniziano . 
 
 Pacchiarotto . . . . 
 
 Signorelli, Luca . . 
 
 No. 
 
 19 Madonna with saints. 
 
 22 Madonna with saints. 
 
 2 Crucifixion. — Much injured. 
 24 Allegory of spring. — An early work. 
 17 Madonna with saints and predella. 
 
 23 Madonna and saints. 
 
 5 Ancona. — In three compartments. 
 
 Dated 1364. 
 16 ^ Visitation. 
 
 6 Crucifixion, 
 
214 
 
 FLORENCE: CONVENT OF 8, MARCO. 
 
 V 
 
 No. 
 
 Spinello Aretino 
 Ugolino da Siena 
 
 35 Altarpiece. — In three compartments. 
 Dated 1391. 
 1 Coronation of the Virgin, 
 
 III, — Salle des Petits Tableaux, 
 
 Angelico, Fra (Fiesole) 
 
 Bartolommeo, Fra 
 Credi, Lorenzo di 
 Lippi, Filippo . 
 
 5» 
 
 Xiorenzetti, Ambrogio . 
 
 Perugino 
 
 Puccio di Simone ,y 
 Signorelli, Lnca 
 
 There is a small room 
 Bartolommeo and others. 
 
 No. 
 
 11 Five panels with eighteen small scenes 
 from the life of Christ, 
 
 19 A predella. 
 
 20 Madonna. — Injured. 
 
 24 Three panels in seventeen compartments. — 
 
 40 An Entombment. 
 
 41 The Last Judgment, 
 28 Portrait of Savonarola. 
 13 An Adoration. 
 
 12 Madonna in adoration with saints. — 
 Early work. 
 
 2(^ A Nativity. — Early work. 
 60, 6 Two panels. — Much injured. 
 18 Two profile portraits, 
 4 Altarpiece. — In five compartments. 
 1 A predella. 
 beyond this containing some good cartoons by Fra 
 
 THE CONVENT OF S. MAECO AT FLORENCE. 
 
 Paintings last examined in 1877. 
 
 This building is now termed a " Museo,'* and contains chiefly the works of 
 Fra Angelico da Fiesole. 
 
 Among them in the first cloister are a fresco of * Christ on the cross,' and 
 a figure of S. Domenicjin a lunette. Opening out of the cloister is the old 
 Chapterhouse. The wall opposite the door is filled by a grand work in fresco, 
 the * Crucifixion,' nearly life-size, and in fine preservation. 
 
 Close by is the large refectory with a fresco by Sogliani at one end. In the 
 small refectory is a fresco of the * Last Supper ' by D. Ghirlandajo. Going 
 upstairs to the first floor, the corridor and its cells are entered. In the 
 corridor itself are three frescoes by Angelico, an ' Annunciation,' * Christ on 
 the cross,* and the ' Madonna enthroned with saints.* The remaining frescoes, 
 together with the three mentioned, twenty-six in number, are in the cells. 
 While all are vrell worthy of study, the finest perhaps are those in cells 2, 6, 
 7, 8, 9, 24, and 25. In a cell at the extreme end is also an excellent 
 * Adoration of the magi.* Three beautifully finished reliquaries are to be seen 
 by Angelico, as well as a splendid collection of illuminated books in the 
 library. 
 
FLORENCE: THE PITTL 
 
 215 
 
 THE PITTI PALACE AT FLORENCE. 
 Catalogue of 1875. 
 
 Pictures last examined in 1877. 
 
 The pictures are numbered but not named, and they hang in numerical 
 order ; hence the catalogue will be more easily used if so arranged, and not 
 alphabetically. 
 
 No. 
 
 1, 20 Albrecht Diirer . . . Adam and Eve. 
 
 3 Tintoretto Vulcan, Venus, and Cupid, . 
 
 5 Garofalo (Tisio) . . . . S. James. 
 
 6 B. Manfredi The fortune-teller. 
 
 11 F. Bassano Martyrdom of S. Catharine. 
 
 12 Borgognone A battle. 
 
 13 Matteo Rosselli .... Triumph of David. 
 
 14 P. P. Rubens A landscape. 
 
 16 Rembrandt Portrait of an old man. 
 
 17 Titian Marriage of S. Catharine. 
 
 18 „ " Bella di Tiziano.*' 
 
 19 Ribera (Spagnoletto) ." . . Martyrdom of S. Bartholomew. 
 38 Palma Vecchio .... Pilgrims at Emmaus. 
 
 41 Cristofano Allori .... Hospitality of S, Julian. 
 40 Murillo Madonna. 
 
 42 Perugino Magdalen. 
 
 43 Francia Bigio ..... Male portrait. 
 
 49 Tiberio Titi Portrait of Leopold d^ Medici as infant. 
 
 51 L. Cardi (II Cigoli) . . . Deposition. 
 
 52 G. A. Pordenone .... Madonna and saints. 
 
 54 Titian Portrait of Aretino. — Painted in 1545. 
 
 56 Murillo Madonna of the rosary. 
 
 57 Giulio Romano .... Copy of the Lagarto Holy family by 
 
 Raphael, No. 371 at Madrid. 
 
 58 A. del Sarto Deposition. 
 
 59 Raphael Portrait of Maddalena Doni. 
 
 61 „ Portrait of Angelo Doni. 
 
 60 Rembrandt His own portrait. 
 
 62 A. del Sarto Holy family. 
 
 63 Raphael Portrait of Leo X. 
 
 64 Fra Bartolommeo . . . Deposition. 
 
 65 Tintoretto Male portrait. 
 
 67 Titian Magdalen. 
 
216 
 
 FLORENCE: THE PITTL 
 
 No. 
 
 71 Carlo Marat ta 
 75 Guido Oagnacci 
 
 79 Eaphael . . 
 
 80 Titian . . 
 
 81 A. del Sarto 
 
 82 A. van Dyck 
 
 84 Palma Vecchio 
 
 85 Rubens . 
 
 86 „ 
 
 87, 8 A. del Sarto 
 
 89 Paris Bordone 
 
 90 L. Cardi (II Cigoli) 
 92 Titian . . 
 94 Raphael . 
 96 Cristofano Allori 
 99 Guercino . 
 
 109 Paris Bordone 
 
 110 Titian, attrib. 
 
 Ill Salvator Rosa 
 113 Michael Angelo 
 118 A. del Sarto . 
 
 122 Garofalo . . 
 
 123 A. del Sarto . 
 125 Fra Bartolommeo 
 128 Domenico Morone 
 
 131 Tintoretto . . 
 
 132 G. M. Crespi. . 
 133, 5 Salvator Rosa 
 140 L. da Vinci . 
 
 148 Dosso Dossi . 
 
 149 Pont or mo 
 
 150 A. van Dyck 
 
 151 Raphael . 
 
 152 Andrea Schiavone 
 154 Carlo Dolci . . 
 
 156 Guercino . 
 
 157 Lorenzo Lotto 
 
 158 Raphael^ ... 
 
 159 Fra Bartolommeo 
 161 Giorgione, attrib. 
 
 attrib 
 
 164 Perugino. 
 
 165 Raphael . . 
 167 Giulio Romano 
 
 S. Philip Neri. 
 Assumption of the magdalen. 
 Madonna delta Sedia. 
 Portrait of Vesalius. 
 Holy family. 
 
 Portrait of Cardinal Bentivoglio. 
 Holy family. 
 
 Portraits of Rubens j his brother ^ LipsiuSy 
 
 and Grotius. 
 The effects of war. 
 The history of Joseph. 
 The repose in Egypt, 
 Ecce Homo. 
 Male portrait. 
 
 Holy family " delV Impannata.'' 
 Judith with the head of Holof ernes. 
 S. Sebastian. 
 Female portrait. 
 
 Copy of a part of the 'Bacchus and 
 
 Ariadne.^ 
 Conspiracy of Catiline. 
 The Fates. 
 
 His own portrait and that of his wife. 
 
 Augustus and the Sibyl. 
 
 Madonna in glory and saints. 
 
 S. Mark. 
 
 Female portrait. 
 
 Portrait of Viscount Zeno. 
 
 Holy family. 
 
 Battle-pieces. 
 
 Portrait — Known as * Leonardo's nun.' 
 A group. 
 
 Portrait of Ippolito de* Medici. 
 
 Portraits of Charles 1. and Henrietta Maria . 
 
 Portrait of Pope Julius II. 
 
 Death of Abel. 
 
 Sleeping S. John. 
 
 Madonna with the swallow. 
 
 Three ages of man. — Damaged. 
 
 Portrait of Cardinal Bibiena. 
 
 Risen Christ with saints. 
 
 Finding of Moses. — Is a fine Bonifazio : 
 
 C. and C. 
 Deposition. 
 
 Madonna del Baldacchino.'^ — Unfinished. 
 Dance of Apollo and the Muses. 
 
FLORENCE: THE PITTL 
 
 217 
 
 No. 
 
 171 Raphael . . . 
 
 172 A. del Sarto . . 
 174 Raphael . . . 
 176 Domenichino 
 
 178 GuidoReni . . 
 
 179 Sebast. del Piombo 
 
 184 A. del Sarto . . 
 
 185 Giorgione (Barbarelli) 
 
 186 P. Veronese . . 
 188 Salvator Rosa 
 
 190 Justus Sustermans 
 
 191 A. del Sarto . . 
 195 Giacomo Francia 
 199 Granacci . 
 
 201 Titian. . . . 
 
 202 Giovanni Biliverti 
 204, 6 Bronzino . 
 
 207 L. da Vinci, attrib. 
 
 208 Fra Bartolommeo 
 Maxiotto. 
 
 214 F. Baroccio . 
 
 216 P. Veronese . . 
 
 218 Salvator Rosa 
 
 219 Perugino . 
 
 223 Holbein, younger, attrib 
 
 224 Ridolfo Ghirlandajo 
 
 225 A. del Sarto . . 
 
 229 Raphael, attrib. . 
 
 230 Parmegianino 
 
 243 Velasquez 
 
 244 Franz Pourbus, young 
 246 Garofalo . . . 
 
 248 Tintoretto . . 
 
 254 Palma Vecchio . 
 
 255 B. van der Heist 
 
 256 Fra Bartolommeo 
 
 257 Paris Bordone . 
 
 265 A. del Sarto . . 
 
 266 Raphael . . . 
 
 269 P. Veronese . . 
 
 270 Carlo Dolci . . 
 290 L. Cardi (II Cigoli) 
 297 Paris Bordone . 
 301 L. Cardi . . . 
 
 and 
 
 Portrait of Tommaso Inghirami, 
 Dispute of the Trinity, 
 Vision of Ezekiel. 
 Magdalen. 
 Cleopatra. 
 
 Martyrdom of 8. Agatha, 
 
 Portrait. 
 
 A concert. 
 
 Baptism of Christ. 
 
 His own portrait. 
 
 Portrait of Frederick JJJ.'s son. 
 
 Assumption. — Unfinished, 
 
 Male portrait. 
 
 Holy family. 
 
 Portrait of Ippolito cZe' Medici. 
 Tobias and the angel. 
 Portraits. 
 
 Portrait of a jeweller. 
 
 Madonna enthroned. — A large altarpiece. 
 Copy of Correggio's " IZ Girolamo^ gallery 
 
 of Parma, No. 351. 
 Portrait of D, Barbara. 
 A warrior. 
 
 Madonna and S. John in adoration. 
 Male portrait. 
 Female portrait. 
 Assumption. 
 
 A finely painted head^ * La donna velata.' 
 Madonna *' au long cou." 
 Equestrian portrait of Philip IV. 
 A portrait. 
 
 " La zingarella.^* — By Boccaccino da Cre- 
 mona : C. and C. 
 Deposition. — And others. 
 Holy family. 
 Male portrait. 
 Holy family. 
 
 Tiburtine Sibyl and Augustus. 
 John the Baptist. 
 Madonna del Gran Duca. 
 Presentation in the temple. 
 Martyrdom of S. Andrew. 
 8. Francis. 
 Portrait of Paul III. 
 Male portrait. 
 
218 FLORENCE: THE PITTT. 
 
 No. 
 
 
 302 Carlo Dolci 
 
 Madonna, 
 
 306 Salvator Rosa . . , . 
 
 Landscape, 
 
 307 A. del Sarto 
 
 Madonna with saints. 
 
 316 Carlo Dolci 
 
 Portrait of a young man. 
 
 
 Vision of 8. Margaret. 
 
 338 Filippo Lippi . . . . 
 
 Madonna ; Birth of Virgin in distance. 
 
 
 Adoration of the magi. 
 
 345 Bald. Peruzzi . . . . 
 
 Holy family. 
 
 348 Botticelli 
 
 Holy family and angels. 
 
 353 „ 
 
 Portrait known as La hella Simonetta.^^ 
 
 355 Luca Signorelli . . 
 
 Holy family. 
 
 357 Botticelli 
 
 Holy family. 
 
 358 Domenico Ghirlandajo . 
 
 Adoration of the hings. 
 
 
 Holy family. 
 
 363 Garofalo 
 
 Holy family. 
 
 365 Mariotto Albertinelli . 
 
 Holy family. 
 
 371 Piero della Francesca . 
 
 Female portrait. — Believed to be by Bon- 
 
 
 signori of Verona: 0. and C. 
 
 372 Andrea del Castagno . 
 
 Male head. 
 
 373 Fra Angelico .... 
 
 Madonna with saints. 
 
 
 Male portrait. 
 
 377 Fra Bartolommeo . 
 
 Ecce Homo. 
 
 384 Antonio Pollajuolo . 
 
 S. Sebastian, 
 
 388 Filippino Lippi .... 
 
 Death of Lucretia. 
 
 394 Scarsella (Lo Scarsellino) . 
 
 Birth of a child. 
 
 400 Hondecoeter 
 
 Domestic poultry. 
 
 404 Carlo Doloi 
 
 Portrait of the Duchess of Bovera.— And 
 
 
 others. 
 
 409 Sebast, del Piombo . . . 
 
 Male portrait. 
 
 421 Gaspar Dughet . . . . 
 
 Landscape. 
 
 423 Titian, attrib 
 
 Jesus adored by shepherds. — By G. Savoldo : 
 
 
 0. and C. 
 
 436, 41 Gaspar Dughet . . , 
 
 Landscapes. 
 
 453 Salvator Rosa . . . . 
 
 Peace burning arms. 
 
 455 Rachel Ruysch . . . . 
 
 Flowers and fruit. 
 
 461, 76 Domenichino . . . . 
 
 Small mythological paintings. 
 
 462 Jan van Huysum 
 
 Flowers and fruit. 
 
 470 Salvator Rosa . . . . 
 
 Diogenes, 
 
 487 Dosso Dossi 
 
 Bepose in Egypt. 
 
FLORENCE: THE UFFIZL 
 
 219 
 
 THE EOYAL GALLERY OF THE UFFIZI AT FLOEENCE. 
 
 Catalogue of 1876. 
 Pictures last examined in 1877. 
 
 Albani, Francesco 
 
 »♦ 
 
 Albertinelli, Mariotto 
 AUori, Cristofano 
 
 J5 ?J 
 
 Angelico, Fra 
 
 5) 
 
 Baldovinetti . 
 Baroccio, Federigo 
 
 5» 
 
 Bartolommeo, Fra 
 
 Bassano (Jacopo da Ponte) 
 Bega, Cornelis . 
 
 if 
 
 Bellini, Giovanni 
 
 Bigio, Francia . 
 Bordone, Paris . 
 Botticelli, Sandro 
 
 9? 
 
 No. 
 
 1044 Dance of genii. 
 1094 T/ie ra^je o/ Europa. 
 1259 T/ie Visitation. 
 
 1149 Copy of the Magdalen by Correggio, No. 
 
 153 in the Dresden Gallery. 
 1165 Infant Christ. 
 1285 Adoration of the Icings. 
 17 Madonna. — By Lorenzo Monaco: C. 
 
 and C. 
 
 1162 Birth of John the Baptist. 
 
 1178 Marriage of the Virgin . ."i Predellas of 
 
 1184 Death of the Virgin . . .) No. 1290. 
 
 1290 The coronation of the Virgin. 
 
 1294 The predella of No. 17. 
 
 31 Madonna and saints in adoration. 
 
 169 Virgin interceding for the poor. 
 
 212 A noli me tangere. 
 1119 Portrait of the Duke of Urhino. 
 1126 The prophet Isaiah. 
 1130 Job. 
 
 1161 Two small paintings. 
 
 1265 Madonna enthroned with patron saints — In 
 grisaille. 
 
 593 Moses and the burning bush. 
 
 595 The painter* s family, 
 
 726 Group of players. 
 
 969 A man playing the lute. 
 
 986 A woman playing the lute. 
 
 583 Dead Christ. — In grisaille. 
 
 631 Madonna and saints in a landscape. 
 
 354 A portrait of himself. 
 1223 Temple of Hercules* 
 
 607, 13 Portraits. 
 
 39 The birth of Venus. 
 1156, 1158 Judith and Holof ernes. 
 1182 Calumny of Apelles. 
 1267 bis Madonna with angels. 
 
220 
 
 FLORENCE: TEE UFFIZL 
 
 Botticelli, Sandro 
 
 »» 
 
 »» 
 
 5) 
 
 Boucher, Fr. . 
 Bronzino, Angelo 
 
 »> 
 
 Brouwer, Adrian 
 Brueghel, Jan (Velours) 
 
 5? 
 
 »» 
 
 Brueghel, Pieter, elder . 
 
 Bugiardini 
 
 Caliari, Carletto .... 
 Canale, Antonio (Canaletto) 
 
 »» 
 
 Caracci, Annibale . 
 Cardi, Lodovico (Cigoli) 
 Casentino, Jac. di 
 Champaigne, P. de . 
 Chimenti, Jacopo 
 Claude Lorraine . 
 
 55 
 
 Clouet, F., attrib. . 
 Correggio (Allegri) . 
 
 55 
 
 Cranach, Lucas . 
 
 55 
 
 75 
 
 Credi, Lorenzo di 
 
 »5 
 
 15 
 
 Dolci, Carlo . 
 
 '5 55 • • • 
 
 Domenichino (Zampieri 
 Domenico Veneziano 
 Dossi, Dosso . 
 Dow, Gerhard . 
 Diirer, Albrecht , 
 
 55 
 
 55 
 
 Dyck, Anton van 
 
 55 
 
 55 
 
 Floris, Frans. 
 Francia, Francesco 
 
 No. 
 
 1286 Adoration of the kings. 
 1289 Madonna crowned by angels. 
 1299 Figure of Force. 
 1303 Madonna. 
 
 656 Infant Christ and 8. John. 
 
 154:^ d Male and female portraits. 
 1266 Male portrait. 
 1271 The descent into limbo. 
 
 959 Drinkers. 
 
 761 Landscape. 
 
 884 The four elements. 
 
 892 Christ bearing the cross. 
 
 213 Madonna nursing. 
 
 604 Madonna in glory and saints, 
 1064 View of the Ducal Palace. 
 1077 View in Venice. 
 
 1133 A bacchante. 
 
 1276 Martyrdom of 8. 8tephen. 
 1292 A predella in five parts. 
 
 695 Male portrait. 
 1261 8. Ives, protector of orphans. 
 
 774 A sea-port. 
 
 848 Landscape. 
 
 667 Francis L on horseback. — Small. By 
 Jean Clouet, according to Charles Blanc. 
 1118 The repose in Egypt. 
 
 1134 Madonna in adoration. 
 
 847 Portraits of Luther and Melancthon. 
 1138, 1142 Adam and Eve. 
 
 1150 Christ appearing to the magdalen. — A 
 
 replica is in the Louvre, No. 157. 
 1160 Annunciation of the Virgin. 
 1163 Portrait of Andrea Verrocchio. 
 1146, 66, 8, 1287 are good examples. 
 
 165 Madonna appearing to a monk, 
 
 186 Magdalen. 
 1109 Portrait of Cardinal Agucchia. 
 1305 Madonna with saints. 
 
 995 Massacre of the innocents. 
 
 786 The schoolmaster. 
 
 Ill, 8 88. James and Philip. 
 1141 Adoration of the kings. 
 1115 Portrait of John Montfort. 
 1128 Portrait of Charles V. on a white horse, 
 
 760 Adam and Eve. 
 1124 Portrait of 8cappi. 
 
FLORENCE: THE UFFIZL 
 
 221 
 
 No. 
 
 Gerino da Pistoia ... 41 
 
 Ghirlandajo, Domenico . 
 
 . 1295 
 
 J* >» • 
 
 . 1297 
 
 T?irlnlfn 
 XiitlUilU • 
 
 
 
 . 1277 
 
 Giorgio, Fr. di, attrib. . 
 
 . 1304 
 
 Giorgione, attrib. 
 
 . 571 
 
 »♦ • • 
 
 . 621 
 
 >5 »» • • 
 
 . 630 
 
 1* 5) • • 
 
 . 622 
 
 Giottino (Tomaso 
 
 di 
 
 Stefano) 
 
 7 
 
 Giotto, attrib. . . . 
 
 6 
 
 iTrnpc! rTnoT* vein Hpt* 
 
 
 Gozzoli, Benozzo . 
 
 . 1302 
 
 Granacci 
 
 1280 
 
 Guercino (Barbieri) . 
 
 . 1114 
 
 
 . 1137 
 
 Heyden, Jan van der 
 
 . 891 
 
 Holbein, Hans . 
 
 . 765 
 
 „ attrib. . 
 
 . • 784 
 
 Honthorst, Gerhard van 
 
 . 148 
 
 
 . 190 
 
 Horemans, Pieter . 
 
 . 836 
 
 Lanfranco, Giovanni 
 
 . 1106 
 
 Leiden, Lucas van . 
 
 . 1143 
 
 Lippi, Filippo . 
 
 . 1179 
 
 11 11 * ' 
 
 . 1307 
 
 Lippi, Filippino. 
 
 . 3257 
 
 11 11 • • 
 
 . 1268 
 
 j-ioo, v^antJ vail . 
 
 
 Lorenzo Monaco . 
 
 . 20 
 
 Lotto, Lorenzo . 
 
 . 575 
 
 Luini, Bernardino . 
 
 . 1135 
 
 Mantegna, Andrea . 
 
 . lUzo 
 
 '? . »» • • 
 
 . nil 
 
 „ „ attrib. 
 
 . 1121 
 
 Martini, Simone, andLipp< 
 
 
 Memmi .... 
 
 3| 8, 
 
 Masaccio, attrib. 
 
 . 1167 
 
 Memling, Hans . 
 
 . 703 
 
 Madonna enthroned with saints. — Dated 
 1529. 
 
 Adoration of the kings. — Dated 1487. 
 
 Madonna ivith saints. 
 
 Miracle of S. Zenohius. 
 
 Removal of the body of S. Zenohius. 
 
 A predella. 
 
 Portrait of a general. 
 
 Legend of Moses. 
 
 Judgment of Solomon. 
 
 Portrait of a knight of Malta. — Might be 
 by del Vecchia, according to 0. Miindler. 
 
 The deposition. 
 Agony in the garden. 
 Madonna. 
 A predella. 
 Madonna in glory. 
 The Samian Sibyl, 
 Endymion asleep. 
 View in Amsterdam. 
 
 Portrait of Richard Southwell. — Replica 
 
 in the Lonvre, No. 212. 
 Portrait of Zuinglius. 
 The supper. 
 Adoration of the magi. 
 Card-players. 
 S. Peter. 
 
 Christ crowned with thorns. 
 
 S. Augustine. 
 
 Madonna with angels. 
 
 Adoration of the kings. — Dated 1496. 
 
 Madonna with saints. — Dated 1485. 
 
 Madonna. 
 
 Adoration of the magi. 
 Holy family. 
 
 Beheadal of John the Baptist. 
 Madonna on a rock. — Small, 
 Triptych. 
 
 Female portrait. — Believed to be by 
 
 Bonsignori of Verona : C. and C. 
 9, 10 Annunciation with saints. — Dated 
 1333. 
 
 Portrait of an old man. — Probably by 
 
 Botticelli : C. and C, 
 Madonna. 
 
222 FLORENCE: THE UFFIZL 
 
 No. 
 
 Memling, Hans .... 769 Male portrait 
 
 Metsu, Gabriel . . . .918 Domestic scene. 
 „ „ .... 972 Lady and cavalier. 
 
 Michael Angelo (Buon- 
 arroti) . . . . . .1139 Holy family. 
 
 Mieris, Frans van . . . 854 The charlatan. 
 
 941 A young woman. 
 
 952 The old lover. 
 
 954 The drinkers. 
 
 976 His own portrait. 
 
 981 The painter and his family. 
 
 Mignard, Pierre .... 670, 8 Portraits. 
 Mignon, A 792 Fruit. 
 
 Milano, Giovanni da . . 1293 An Ancona in several compartments. 
 Moretto (Bonvicini) . . . 592 The death of Adonis. 
 Moroni, Gio. Battista . . 586, 629 Male 'portraits. 
 Nain, Antoine Le . . . 659 Adoration of the shepherds. 
 
 Neefs, Pieter 702, 17 Church interiors. — And others. 
 
 Neer, Eglon van der . . 893 Landscape. 
 
 Palma Vecchio . . . . 619 Judith. — Much injured by restoring. 
 „ . „ .... 623 Holy f amily. — Not by Palma : C. and C. 
 „ „ . attrib. . . 650 Portrait of a mathematician. — Dated 1555. 
 
 Palma died in 1528. 
 
 Palmezzano 1008 A crucifixion. 
 
 Perugino (Vannucci) . . 1122 Madonna and two saints. 
 
 Pesello, G 25 Annunciation. 
 
 „ 26 Adoration of the magi. 
 
 Piero di Cosimo , . , 1246 Perseus and Andromeda. 
 
 „ „ . . . . 1250 A Conception and saints. 
 
 Piero della Francesca . . 1300 Portraits of the Duhe of TJrhino and of his 
 
 wife. 
 
 Piombo, Sebast. del . . . 627 A warrior. — The authorship is questioned : 
 
 C. and C. 
 
 Polidoro Veniziano . . . 574 Madonna and S. Francis. 
 Pollaj nolo, Antonio. . . 1153 Two small panels of Hercules. 
 
 „ „ . . . 1301 Three saints. 
 
 „ . . . 1306 Figure of Prudence. 
 
 All these works are attributed to the two brothers, Antonio and Pieio 
 conjointly, by C. and C. 
 
 Pontormo (Carucci) . , . 1198 Birth of S. John Baptist. 
 
 „ „ . . . 1282 Joseph presenting his family to Pharaoh. 
 
 „ „ . . . 1284 Venus hissed by Love. 
 
 Pordenone, attrib. , . . 616 Conversion of Paul. — In the style of Boni- 
 
 fazio : C. and 0. 
 Raphael Sanzio . . . .1120 Portrait of a young woman, 
 
FLOBENCE: THE UFFIZI. 
 
 223 
 
 No. 
 
 Raphael Sanzio, attrib. . . 1123 Portrait of the Fornarina. — Believed to be 
 
 by Sebastiano del Piombo: C. and C, 
 and others. 
 
 „ , 1125 The Madonna " del Pozzo'' 
 
 ' ., . . . .1127/8'. John in the desert, 
 „ „ . . . . 1129 The Madonna of the goldfinch. 
 
 „ 1131 Portrait of Pope Julius 11. 
 
 Razzi, or Bazzi (II Sodoma) 1279 S. Sebastian. 
 
 Rembrandt van Ryn . . 922 Domestic interior, 
 
 „ , . 979 Landscape. 
 
 Reni, Guido 203 Subject from the Orlando Furioso. 
 
 „ „ 998 Madonna with S. John. 
 
 „ „ 1113 The Madonna. 
 
 Ribera, Jose 1104 ^. Jerome. 
 
 Romano, Giulio .... 1144 The Madonna. 
 
 Rosa, Salvator .... 1005 Landscape. 
 
 Rubens, P. P 140 Battle of Ivry. 
 
 .... 147 Entry of Henry IV. into Paris. 
 
 „ .... 180 Portrait of Helena Fourment. 
 
 „ .... 197 Portrait of Isabella Brandt. 
 
 „ .... 812 Venus and Adonis. — Small. 
 
 ,, .... 1140 Hercules between Vice and Virtue. 
 
 Ruysch, Rachel ..... 953 Fruit and flowers. 
 
 Salaino, A. del .... 211 Copy of L. da Vincrs Madonna and S. 
 
 Anne, No. 459 in the Louvre. 
 
 Sarto, A. del (Vannucchi) . 1112 Madonna with saints. 
 
 „ „ . 1176 His own portrait. 
 
 „ „ . 1254 S. James and two children. 
 
 Sassoferrato (Salvi) . . . 191 The sorrowing Virgin. 
 
 Savoldo, Girolamo . . . 645 The Transfiguration. 
 
 Schalken, Godfried . . . 934 Woman sewing by candlelight. 
 
 Signorelli, Luca .... 36 Madonna and shepherds. 
 
 „ „ . . . .1291 Holy family. 
 
 „ „ . . . . 1298 A predella. 
 
 Slingeland, Pieter van . . 888 The soap-bubbles, 
 
 Snyders, F 220 Boar-hunt. 
 
 Steen, Jan 977 The repast. 
 
 Sustermans, J 163 Portrait of Galileo. 
 
 Teniers, D., elder . . . 705 The doctor. 
 
 Terburg, Gerhard . . . 958 A Dutch lady. 
 
 Tintoretto (Robusti) . . 617 Marriage at Cana. — A smaller replica of 
 
 that in S. Salute, Venice. 
 
 „ ., . . 638 Portrait of Sansovino. 
 
 Titian (Vecellio) . . . 590 Madonna. [TJrbino. 
 
 „ „ ... 599, 605 Portraits of the Duchess and DuJce of 
 
 „ „ ... 609 Study for the battle of Cadore. — A copy : C. 
 
 and G, 
 
224 
 
 FLORENCE: THE VFFIZL 
 
 Titian (Vecellio ; . 
 
 ?i 
 
 >» 
 
 55 
 
 1» 
 
 51 
 55 
 »5 
 57 
 
 7> 
 
 5) 
 J» 
 
 7' 
 
 Uccello, Paolo . 
 Vanni .... 
 Velasquez, Diego 
 Vernet, C. J. . . 
 Veronese, Paolo (Caliari) 
 
 55 
 
 »> 
 
 55 
 
 Vinci, Leonardo da 
 
 55 
 
 51 
 
 »» 
 
 5? 
 
 55 
 
 attrib. 
 
 95 
 
 55 
 
 Volterra, Daniele da 
 Vos, Martin de . . . 
 Watteau, Antoine . 
 Werfif, Adrian van der . 
 
 55 
 
 Weyden, Kogier van der 
 
 No. 
 
 614 
 
 618 
 
 625 
 626 
 633 
 648 
 
 1002 
 1108 
 1116 
 1117 
 
 29 
 1283 
 210 
 655, 
 579 
 589 
 603 
 1136 
 1252 
 1157 
 1159 
 1288 
 1107 
 811 
 671 
 905 
 985 
 795 
 
 Portrait of Giovanni de' Medici. — Painted 
 
 in 1546. 
 Madonna, — Unfinished. 
 Madonna with S. Catharine. 
 Flora. — Painted about 1523. 
 Madonna and saints. 
 
 Portrait of Cattarina (7or?iaro. — Painted 
 
 1542. 
 Madonna. — Small. 
 Venus with Cupid and flowers. 
 The prelate ^eccacZeZZz.— Painted in 1552. 
 Venus. 
 
 A combat of hnights. 
 A Deposition. 
 
 Equestrian portrait of Philip IV. 
 665 Examples. 
 Annunciation. 
 Martyrdom of S. Justina. 
 Man's head. 
 
 Holy family with S. Catharine. 
 Adoration of the kings. — Unfinished. 
 A male portrait. 
 Medusa's head. 
 A^munciation, 
 
 The massacre of the innocents. 
 The Crucifixion. 
 Cavaliers and a lady. 
 The judgment of Solomon. 
 Adoration of the shepherds. 
 The Entombment. 
 
 Two rooms are occupied with the portraits of ancient and modern painters 
 of all schools, presumed to be painted by themselves, which, however, is not 
 the case in all instances. This interesting collection contains nearly 350 
 canvases : some of them are masterly studies. The numbers commence at 225 
 and end at 571, and the names of the most celebrated ancient masters — ending 
 with men of the present time — are given in alphabetical order in the catalogue 
 of the gallery. The following, hung within reach of the eye, are well worthy 
 to be seen : — 
 
 No. 
 
 No. 
 
 223 Van Dyck. 
 228 Rubens. 
 237 Q. Matsys. 
 280 A. del Sarto. 
 288 Raphael. 
 
 292 L. da Vinci. 
 
 293 Salvator Rosa. 
 
 354 Giovanni Bellini. 
 384 Titian. 
 439 Albrecht Diirer. 
 449 G. Dow. 
 
 549 Eliz. Louise La Vigee by Le 
 Brun. 
 
GENOA, 
 
 225 
 
 THE PALAZZO BRIGNOLI OR ROSSI AT GENOA. 
 Pictures last examined in 1874. 
 Room I. 
 
 No. 
 
 Guercino — Cleopatra. 
 
 Rubens ...... — Mars, Venus, and Cupid. 
 
 Stanza di Primavera. 
 No. 
 
 Bordone — Portrait of a wan in red sleeves. — And 
 
 others. 
 
 Moretto — Portrait of a botanist. 
 
 Van Dyck — Portraits. 
 
 Room III. 
 
 Caravaggio — Raising of Lazarus. 
 
 Guercino — Death of Cato, 
 
 Room IV. 
 
 Bonifazio . . . . • — Adoration of the kings. 
 
 Guercino — Holy family and saints. 
 
 Sarto, Andrea del ... — Holy family. 
 
 Room V, 
 
 Van Dyck — Christ and the pharisees. 
 
 Veronese — Judith. 
 
 Room VI. 
 
 Van Dyck — Portraits, 
 
 There are several smaller collections of pictures in the palaces of Genoa 
 which are open to the traveller, such as the Palazzo Reale, the Palazzo Balbi, 
 the Palazzo Durazzo della Scala, the Palazzo Spiuola, the Palazzo Adorno, and 
 the Palazzo Doria. In these are a few good pictures, and many also which are 
 inferior. Several excellent portraits by Van Dyck are scattered throughout 
 these galleries, which contain besides chiefly examples of the eclectic and 
 naturalistic schools of Italy. 
 
 Q 
 
226 
 
 LUCCA, 
 
 THE COMMUNAL GALLERY AT LUCCA, IN THE DUCAL 
 
 PALACE. 
 
 Pictures last examined in 1877. 
 
 This gallery has been recently formed, and no catalogue, except hand-lists 
 in the rooms, has appeared at present. The collection contains some very fine 
 works ; and for the most part, pictures of uncertain authorship are so marked, 
 a mode of treating them far from common, which cannot be too highly 
 commended. 
 
 Entrance HalL 
 No. 
 
 Domenichino, .... 9 Samson, 
 
 Bartolommeo, Era ... 3 The " Madonna delta Misericordia.^* — A 
 
 large altarpiece. Dated 1515. 
 „ „ ... 10 S, Catharine and the magdalen in adoration^ 
 
 the Eternal above. — A large altarpiece, 
 dated 1509. 
 
 Paolino, Era Pietro . . 2 Madonna with saints. 
 
 Sala II, 
 
 Lanfranco 10 Martyrdom of S, Lorenzo. 
 
 Paolino, Era Pietro ... 4: A martyrdom, 
 
 Sustermans, Justus . . 2 Portrait of cardinal G. C, de^ Medici, 
 „ „ . . 6 Portrait of cardinal Leop. de* Medici, 
 
 „ „ . . 8 Portrait of a young lady. 
 
 Sala JJT. 
 
 Lippi, Filippo .... 12 Madonna with four saints and the Eternal 
 
 in a lunette above. — An altarpiece in four 
 compartments. 
 
 Sala Grande IV, 
 
 Aspertini, Amico . . . 37 Madonna and four saints. 
 
 Bronzino, Angelo . . . 23, 5 Portraits of two children of the Medici 
 
 family. 
 
 „ ,, ... 70 Portrait of Cosimo de^ Medici, 
 
 Dutch school .... 31 Portrait of a boy. 
 
 Guide Reni 20 Christ on the cross and two saints, 
 
 Paolino, Era Pietro ... 63 The Nativity. 
 
 Perugino, school of . . . 42 Madonna and two saints. 
 
 Pontormo 5 Portrait of Giuliano de' Medici. 
 
 Terburg, attrib 26 Portrait of a youth. 
 
MANTUA AND MILAN. 
 
 227 
 
 No. 
 
 15 The miracle of S. Mark. — A masterly- 
 study (8 ft. by 6 ft.) for his large 
 painting in the Venetian Academy, 
 No. 45. 
 
 40 ^ male portrait 
 
 27 S. EustacMo. 
 
 29 The conception. — An altarpieee. 
 
 30 S, Biagio. 
 
 THE PALAZZO DEL AT MANTUA. 
 
 Fictures last examined in 1875. 
 
 Contains much work of Giulio Komano. 
 
 Camera dei Cavalli. — Six life-size horses by G. Romano. 
 
 Camera di Psyche. — Decorated by G. Romano. 
 
 Other rooms follow, containing frescoes as well as friezes designed by G. 
 Romano and executed by Primaticcio. 
 
 8ala dei Giganti. — Decorated in part by G. Romano, but chiefly by Rinaldo 
 Mantovano. 
 
 In all these works G. Romano's scholars largely shared. 
 
 THE DUCAL PALACE AT MANTUA. 
 Numerous apartments decorated by G. Romano and scholars. 
 
 THE CASTELLO DI CORTI AT MANTUA. 
 In the Council-room are frescoes by Andrea Mantegua. i 
 
 THE AMBROSIANA AT MILAN 
 
 Pictures last examined in 1877. 
 Sala della Santa Corona. 
 No. 
 
 Luini, Bernardino ... — A fresco of Christ crowned with thorns. 
 
 First Floor. 
 
 Bassano, Jacopo. . , . 161 The repose during the flight. 
 
 Beltraffio — Portrait. 
 
 Cesare da Sesto .... — Head of Christ, 
 
 Q 2 
 
 Tintoretto 
 
 Vasari, Giorgio . 
 
 »♦ »> 
 
228 
 
 MILAN: THE BBEEA, 
 
 No. 
 
 Dolci, Carlo 47 Madonna, 
 
 Dyck, A. van 
 Holbein, school of . 
 Leiden, Lucas van, attrib. 
 Mengs, Kaphael 
 
 25 Portrait of Henrietta Maria. 
 
 33 Portrait of Calvin. — Dated 1548. 
 
 — Adoration of the magi. 
 
 46 Portrait of Clement XIII, 
 
 Moroni, G. B 193 Portrait of a nobleman. 
 
 Kaphael . 
 Titian, attrib. 
 Vinci, Leonardo da 
 
 — Cartoon for the Scliool of Athens. 
 
 — Adoration of the shepherds. 
 
 — Profile portrait in oil of Bianca Maria, 
 second wife of Maximilian I. of 
 Austria. 
 
 attrib.. . — Por^ra^^ o/^/ie Unfinished. 
 
 There are besides two portraits in pastel, by L. da Vinci, and several heads 
 of good quality, attributed to Luinl and to Andrea Solario. 
 
 THE BRERA AT MILAN. 
 
 Albani, F. 
 
 Alunno, Niccolo 
 
 Baroccio, F. 
 Bassano, J. 
 
 Bellini, Gentile . 
 
 „ Giovanni 
 
 „ „ attrib 
 
 Bellotti, Bernardo . 
 Bonifazio Veneziano 
 
 Bonsignori, Francesco 
 
 Bordone, Pairis . . 
 Borgognone, A. . 
 Brueghel, J. (Velours) 
 Cairo, Francesco del 
 Campi, Antonio. 
 „ Bernardino • 
 
 Catalogue of 1875. 
 
 Pictures last examined in 1877. 
 No. 
 
 . 323 Cupids dancing. 
 , 459 8S. Boch and Sebastian, 
 , 156, 7, 76, 9, 96, 308, 17 An altarpiece in 
 
 fourteen parts. — ^Dated 1465. 
 . 402 Martyrdom of 8. Vitale.—Dsiied 1583. 
 . 219 S. Bocco visiting those smitten with the 
 plague. 
 
 , 164 8. Mark preaching in Alexandria, — Finished 
 
 by Giovanni Bellini. 
 . 291 Madonna.-^-BsitGd 1510. 
 . 278 A Pieta. 
 . 349, 50 Landscapes. 
 , 205 The finding of Moses, 
 . 211 Christ and His disciples at Emmaus. 
 . 166 88. Louis and Bernard^ with monogram of 
 Christ. 
 
 . 208 Baptism of Christ. 
 
 72 An assumption. — Dated 1522. 
 . 366 A birds' concert. 
 
 138 His own portrait. 
 , 425 Madonna and saints. 
 . 426 Pieta, 
 
MILAN: TEE BREBA, 
 
 229 
 
 Caracci, Annibale 
 „ Ludovico 
 Cariani, Giovanni 
 
 5> 
 
 Carpaccio, Vittore 
 Catena, V. . . 
 Cima da Conegliano 
 
 Contarini, G.. 
 Correggio, school of 
 Cortona, Pietro da 
 Costa, Benedetto 
 „ Lorenzo . 
 Crespi, Daniele . 
 Crivelli, Carlo . 
 
 »> 
 
 Domenichino . 
 Dossi, Dosso . 
 Dyck, A. van 
 
 5> 
 
 Ferrari, Gaudenzio 
 
 1^ i> 
 Foppa, Vincenzo. 
 
 Francia, Francesco 
 
 Fyt,J. . . . 
 
 Garofalo . 
 
 Gentile da Fabriano 
 
 Giordano, Lnca . 
 Giotto di Bondone 
 
 Guercino (Barbieri). 
 Liberale, II, da Verona 
 
 Longhi, Lnca 
 Lorenzo Veniziano . 
 
 Lotto, Lorenzo 
 
 t9 
 
 No. 
 
 460 Clirist and the woman of Samaria. 
 
 458 Christ with the woman of Canaan. 
 
 206 Madonna and seven saints, 
 
 258 Dedication of the Virgin. 
 
 260 Marriage of the Virgin. 
 
 282 S. Stephen disputing with the doctors. 
 
 233 S. Stephen. 
 
 188 S. Peter Ma/rtyr and saints. 
 294 S. Peter in glory. 
 
 280 >S^. Jerome and other saints. 
 
 227 ;S^. Jerome at prayer. 
 
 316 Madonna and saints, 
 
 399 Madonna enthroned with saints. 
 
 113 The Circumcision, 
 
 325 Adoration of the magi. — Dated 1499. 
 
 110 Christ led to Calvary. 
 
 277 Madonna with saints. 
 
 161 SS. Jerome and Augustine. 
 
 189 Madonna. 
 
 453 The Madonna enthroned. 
 
 330 S. Sebastian. 
 
 439 Madonna and S. Anthony. 
 443 Portrait of a lady, 
 
 24 Adoration of the kings (in fresco). — And 
 others. 
 
 104 The martyrdom of S. Catharine. 
 68 S. Sebastian. 
 
 331 The Annunciation. 
 367, 78 Dead game. 
 
 337 Crucifixion and saints. 
 155 Glorification of the Virgin. 
 186, 190, 307, 309 Four saints. 
 392 Madonna and saints. 
 
 310 Madonna. — Centre of an altarpiece. The 
 ■wings are in the gallery at Bologna, 
 No. 102. 
 
 328 The turning- aivay of Hagar. 
 80 Madonna enthroned with saints. — Dated 
 1502. 
 
 265 ;S'. Sebastian, 
 
 476 Madonna enthroned and saints. 
 
 160 Coronation of the Virgin. — By Stefano : 
 
 C. and C. 
 249 Portrait of a young lady, 
 250, 1 Portraits, 
 240 Pieta, 
 
230 
 
 MILAN: THE BREBA, 
 
 Luini, Bernardino . 
 
 Mansueti .... 
 Mantegna, Andrea . 
 
 »» » • 
 
 Marco d'Oggione 
 Mengs, Raphael . 
 Montagna, Bartolommeo 
 Moretto (Bonvicino) 
 
 »> 
 
 Morone, Francesco 
 Moroni, Giov. Battista 
 
 Palma Vecchio 
 
 >» 
 
 Palmezzano, Marco 
 
 Pietrino, Gian 
 Previtali . 
 Raphael Sanzio 
 Rembrandt . 
 Reni, Guido . 
 Romanino 
 Rondinelli, N. 
 Rosa, Salvator 
 Rubens, P. P. 
 Salaino, Andrea 
 Salmeggia, II 
 Santi, Giovanni 
 Sassoferrato, attrib. 
 Savoldo, Girolamo 
 Scarsellino . 
 
 Sesto, Cesare da 
 Signorelli, Luca 
 
 No. 
 
 79 Noah and his sons. 
 
 89 Madonna with the roses (in oil). — And 
 several good examples in fresco, of 
 which the following are the best, 
 Nos. 18, 46, 53, 69, 70, and four single 
 figures of saints, Nos. 54, 7, 61, 4. 
 95 Madonna and saints. — Dated 1515. 
 
 259 >S^. Mark baptising. 
 
 301 Dead Christ and Maries, 
 
 187 S. Luke and other saints. — Early, 1454. 
 93 Three archangels and Satan, 
 
 429 Male portrait,— Dsited 1752. 
 
 163 An altarpiece — Madonna and saints, 
 
 202 Madonna in glory with saints. 
 
 255 SS. Clara and Catharine, 
 
 247 8. Jerome and an apostle. 
 
 231 S. Francis of Assisi. 
 
 235 The Assumption of the Virgin, 
 
 290 Madonna and saints, 
 
 214 Assumption, 
 
 252 Madonna. 
 
 210, 46 Portraits. * 
 168 Adoration of the magi. — An altarpiece. 
 284 B. Helen, S, Constantine^ and others. — An 
 
 altarpiece in three compartments. 
 174 Coronation of the Virgin, 
 181 Madonna and saints, 
 
 97 Magdalen, 
 298 Christ on the mount, — Dated 1513. 
 
 305 Marriage of the Virgin — Lo SposaUzio. 
 446 Female portrait. — Dated 1632. 
 
 321 SS. Paul and Peter, 
 
 220 Madonna in adoration. 
 
 173 S. John appearing to Galla Plaeida, 
 
 388 S. Paul in the desert, 
 
 444 The Last Supper, 
 
 85 Madonna and saints, 
 486 Madonna and saints. — Dated 1604. 
 184 Annunciation. . 
 412 Madonna. 
 
 230 Madonna enthroned with saints and angels. 
 88 Madonna and saints, 
 475 The doctors of the church. 
 SOS Madonna, 
 304 Madonna. 
 
 306 Flagellation of our Lord, 
 
MOBENA, 
 
 231 
 
 No. 
 
 Snyders, F 381 ^ stag-hunt 
 
 Solario, Andrea .... 300 Male portrait. 
 
 „ „ .... 103 Madonna with saints. — Retouched. 
 Stefano da Ferrara . . . 175 Madonna enthroned icith saints. 
 Subleyras, Pierre . . . 403 S. Jerome. 
 „ „ . . . . 404 Crucifixion. 
 
 Tintoretto 213 ^ Pieta. 
 
 „ . , . . .226 Saints with the cross. 
 
 Titian 244 S. Jerome in the desert. 
 
 „ 243, 5 Studies of heads. 
 
 Veronese, Paolo .... 209 Christ in the house of the pharisee. 
 
 „ „ . . . , 215, 17 Large altarpiece in three compartments. 
 „ „ . . . . 223 S. Antonio with saints. 
 Vinci, Leonardo da . . . 308 Ecce Homo. — Drawn in pastel. 
 
 '„ school of . . . . 102 Madonna. — Unfinished. 
 Viti, Timoteo . . . .191 Annunciation and two saints. 
 Vivarini, John and Antonio^ 158 Madonna and saints. — An altarpiece in 
 
 da Murano . . . / fourteen compartments. 
 
 Wyck, T 359 The alchemist. 
 
 Zenale, Bernardo . . . 73-5 Saints. — Three panels, each in two parts, 
 
 much injured. 
 Zuccarelli 348 S. John preaching. 
 
 THE GALLERIA ESTENSE AT MODENA. 
 Pictures last examined in 1875. 
 
 Abate, Niccolb dell' 
 
 Bonifazio Veneziano 
 Canale, Antonio 
 Caravaggio (Amerighi) 
 Caroto, Francesco . 
 Cavedone (Giacomo di 
 
 suolo) .... 
 Cima da Conegliano 
 Claude (Lorraine) . 
 Correggio (AUegri) . 
 Dossi, Dosso . 
 
 Sas- 
 
 Catalogue of 1875. 
 No. 
 
 67, 71, 8, 83, 8, 9, 94, 5, 100 Nine of the twelve 
 
 cantos of the Mneid. — In bad condition. 
 107 A concert with portraits. 
 141 Adoration of the magi. 
 241 A sea-port. 
 205, 12 Officers drinking. 
 50 Madonna and S. John. 
 
 397 The Crucifixion, 
 143 A Deposition, 
 237 Landscape. 
 60 The rape of Ganymede. 
 173 Portrait. 
 176 The Nativity. 
 181-4 Genre scenes. 
 
2P,2 
 
 NAPLES: THE MUSEUM. 
 
 Dossi, Dosso . 
 Francia, Francesco . 
 Garofalo (Tisio) . 
 Giorgioiie, attrib. 
 Guercino (Barbieii) . 
 Pagano, Gaspar . 
 Palma Vecchio, attrib. 
 
 Pollajuolo, Antonio . 
 Reni, Guide . 
 Scarsellino . 
 Spada, Lionello . 
 Tintoretto 
 
 Tommaso da Modena 
 
 No. 
 366 
 36 
 189, 
 123 
 355 
 404 
 129 
 
 57 
 149 
 
 108- 
 32 
 
 Madonna with SS. Michael and George. 
 
 The Annunciation. 
 
 90 Madonna and saints. 
 
 Portrait of a young lady. 
 
 The marriage of S. Catharine, 
 
 The marriage of S. Catharine. 
 
 Madonna with saints. — An injured copy ; 
 
 C. and C. 
 ;S^. Sebastian, 
 Christ on the cross. 
 Several. 
 Several. 
 
 12, 115-18 Paintings of Ovid's Meta- 
 morphoses. 
 Altarpiece in six parts, — Repainted, 
 
 THE NAPLES MUSEUM. 
 
 Pictures last examined in 1877. 
 
 Contents of Museum recently rearranged, with new catalogues affixed Id 
 the walls ; no others. 1877. 
 
 Boman School, 
 
 No. 
 
 27 Sassoferrato Nativity. 
 
 46 Polidoro da Caravaggio . . Christ hearing the cross. 
 
 47, 53 Pannini Visit of Charles III. to Rome, 
 
 51 Raphael Mengs .... Portrait. 
 
 Parmese and Genoese Schools, 
 
 1, 7 Simon Vouet . . . . Angels, 
 
 2 B. Strozzi A monk. 
 
 16 Schidone Christian charity. 
 
 21 „ A cupid. 
 
 39 „ Madonna in glory and saints. 
 
 40 Castiglione S. John in a landscape. 
 
 Lombard and Parmese Schools, 
 
 12, 16 Parmegianino 
 
 15 School of L. da Vinci 
 
 17 Cesare da Sesto . 
 
 18 Beltraffio .... 
 
 Two portraits. 
 Annunciation. 
 Madonna and donors. 
 Adoration of the kings. 
 , Infant Christ and S. John. — After L. da 
 Vinci. 
 
 19 Niccolo deir Abate . . . Soly family. — After L. da Vinci. 
 
NAPLES: THE MUSEUM. 
 
 233 
 
 No. 
 
 33 Schidone Portrait 
 
 34 „ Massacre of the innocents. 
 
 1 Luigi Vivarini . 
 
 5 Bartolommeo Vivarini 
 
 8 Sebast. del Piombo . 
 11 Jacopo Bassano , 
 20 Titian .... 
 32 Moretto .... 
 40 School of Mantegna 
 43 Girolamo de S. Croce 
 
 46 Mantegna . . . 
 48 II Greco .... 
 52 Garofalo .... 
 56 Lorenzo Lotto . 
 
 Several Venetian 
 
 Venetian School, 
 
 , Madonna with two monks. — Dated 1485. 
 . Madonna enthroned with four saints. — 
 
 Dated 1465. 
 . Portrait of Pope Clement. — C. and C. 
 . Female portrait. 
 
 . Paul III. and attendants. — Unfinished. 
 
 Christ at the column. — Small. 
 
 Christ with instruments of the Passion. 
 , Martyrdom of S. Lawrence.— Ua^Vvca. of No. 
 
 214, at Dresden. 
 . 8. Euphemia. — Dated 1454. 
 . Portrait. 
 
 . Adoration of the magi, 
 , Madonna and S. Peter Martyr. 
 scenes here are attributed to Bellotti. 
 
 Sala di Correggio. 
 
 1 Salvator Rosa .... Christ and the doctors* 
 
 2 Sebast. del Piombo . .. , Madonna. 
 
 3 Correggio Madonna delta Zingarella, 
 
 4 Van Dyck ..... Male head, 
 
 5 Titian Danae, 
 
 7 Correggio Marriage of S. Catharine. — Small. 
 
 8 Titian Portrait of Paul ILL 
 
 9 Correggio Pieta, — A study. 
 
 11 Titian ...... Portrait of Philip II. of Spain. 
 
 12 Spagnoletto 8. Sebastian. 
 
 13 S. Jerome. 
 
 14 „ S. Jerome. 
 
 15 Guercino Magdalen, 
 
 In tbe next room are cartoons by Michael Angelo and Eaphael. 
 
 The 
 
 1 Annibale Caracci 
 3 Jacopo Bassano . 
 5 Giulio Romano . 
 
 7 Giovanni Bellini 
 
 8 Eaphael, attrib. . 
 
 10 Marcello Venusti 
 
 11 Perugino. 
 
 14 Bernardo Gatti . 
 
 Sala Grande, 
 A Pieta. 
 
 The raising of Lazarus. 
 
 Madonna delta Gatta. — A variation of the 
 
 Perla of Raphael at Madrid. 
 The Transfiguration. 
 Portrait of Christopher Columbus. 
 Copy of Michael Angelo's Last Judgment. 
 Madonna. 
 Crucifixion* 
 
234 
 
 NAPLES: TEE MUSEUM. 
 
 No. 
 
 15 Luini . 
 17 Kaphael, attrib. 
 19 
 
 21 
 
 22 
 
 »» 
 
 5> 
 
 24 Monrealese . 
 
 26 Garofalo . 
 
 28 Palma Vecchio . 
 
 30 Domenichino 
 
 32 Claude Lorraine 
 
 34 Pinturicchio . 
 
 36 Titian. 
 
 39 Luca Giordano . 
 
 41 Parmegianino 
 
 44 Andrea da Salerno 
 
 45, 9 Borgognone . 
 
 47 Guide Reni . 
 
 53 A. del Sarto, attrib. 
 
 55 Salvator Eosa 
 
 56 Sebast. del Piombo 
 
 57 Palma Giovane . 
 
 59 Spagnoletto (Ribera) 
 
 60 Annibale Caracci 
 
 61 Fra Bartolommeo 
 
 1 1 Guide Reni . 
 20 Luca Giordano . 
 
 22 Guarino da Solofra 
 
 23 Tintoretto . . 
 
 , Madonna. 
 
 . Portrait of Tibaldio. 
 
 , Leo X. and cardinals. — A copy by Andrea 
 del Sarto. 
 
 Portrait of Cardinal Passer ini. 
 . Madonna del Divino Amore. — Painted by 
 Giulio Romano, or by some other pupil. 
 . The Trinity. 
 
 The Deposition. 
 . Madonna and saints. . 
 
 The guardian angel. 
 
 Landscape. 
 
 Assumption, 
 . Magdalen. 
 
 Madonna and saints. 
 , Female portrait. — And others. 
 . S. Benedict and saints. 
 , Two battle-pieces. 
 
 The race of Atalanta. 
 
 Two portraits. 
 
 Battle-piece, 
 
 A portrait. 
 
 Madonna and saints. 
 . Silenus. 
 
 . Satyr and bacchante. 
 Assumption. 
 
 Hall of the Venuses. 
 
 . Four seasons. 
 Venus asleep. 
 Susannah at the bath. 
 Venus and the Graces, 
 
 Tuscan School, 
 
 4 Cosimo Rosselli, attrib. . Marriage of the Virgin. — By Zaganella : C. 
 
 and C, 
 
 27 Lorenzo di Credi . . . Madonna and others in adoration. 
 
 30 Ghirlandajo ..... Madonna enthroned and two saints. 
 
 31 Matteo da Siena .... Massacre of the innocents. — Dated 1418. 
 
 32 Botticelli, attrib. . . , Madonna and angels. — Converse position of 
 
 No. 1307 in the Uffizi by Filippo Lippi,' 
 who is probably the author of this. 
 37 Filippo Lippi .... Annunciation and two saints, — Injured. 
 
 Bolognese School, 
 
 1 Lavinia Fontana . . . Christ at the well, 
 7 Guide Infant Christ. 
 
NAPLES: THE MUSEUM. 
 
 235 
 
 No. 
 
 9 Guido Nausicaa. 
 
 12 Lanfranco Angel overthrowing Satan. — And others. 
 
 33 Annibale Caracci . . . Holy family, — And others. 
 
 Agostino and Lodovico. . Some examples. 
 
 44 Guido Vanity and Modesty, 
 
 Neapolitan School, 14:th, 15thy 16th centuries, 
 
 1, 3 Piero Donzello . , . The latter a Crucifixion, 
 7 Antonio Solario (Lo Zin- 
 
 garo) Madonna and saints. — Large altarpiece. 
 
 18, 23 Ippolito Donzello 
 21, 5 Simone Papa . 
 ^2 „ „ 
 24, 33 Andrea da Salerno 
 
 Crucifixion and an altarpiece. — And others. 
 . Two panels, 
 . S. Michael with saints, 
 . Examples. 
 
 Leading out of this is a small room, containing very few works of the same 
 school, among which are two examples of an early Neapolitan painter, 
 Silvestro di Buoni, Nos. 1, 7, a Magdalen and Baptist. A second small 
 room opening out of the large hall contains Byzantine and early Tuscan 
 works, among which may be noted nine portions of an altarpiece attributed to 
 Andrea del Verrocchio, Nos. 8, 13, 14, 19, 20, 40, 57, 58, 62 ; a triptych, dated 
 1336, by Agnolo Gaddi, No. 47 ; a small altarpiece by Neri di Bicci, Nos. 
 60, 2, 5. 
 
 Neapolitan School^ 16th, 17th, ISth centuries. 
 
 Contains several inferior canvases by Luca Giordano, of which the smaller 
 are the best. There are also several by Micco Spadaro, interesting as relating 
 to events in the history of Naples in the seventeenth century. Several by 
 Pacecco di Rosa, of which one may be noted, the Meeting of Jacob and 
 Bachel, No. 15. 
 
 Dutch and Flemish Schools. — Boom I. 
 
 3 Lucas d'Olanda .... Adoration. — Triptych. 
 1, 6 Niccolo Frumenti . . Two wings. 
 31 Diirer, attrib. .... Adoration and donors. — By some early 
 
 Flemish master. 
 37, 8, 42, 3 Portraits of early Dutch and German schools. 
 44 Van Eyck, attrib. . . , S. Jerome and the lion. — By some unknown 
 
 Flemish painter. 
 51 Holbein, attrib. , , . .A portrait, 
 
 53 Early Flemish .... J. triptych. 
 
 54 Peter Brueghel, elder . . The blind leading the blind, 
 
 Dutch and Flemish School. — Boom II, 
 
 12 Van Dyck Male portrait, 
 
 73 Mierevelt Male portrait. 
 
2315 
 
 PADUA AND PABMA. 
 
 THE MUSEO CIVIOO AT PADUA. 
 
 Pictures last examined in 1877. 
 
 Among a number of pictures there are few here worth seeing except the 
 following. It may be added that several canvases are not visible, owing to 
 alterations in the gallery, and will not be exhibited for about a year. (1877.) 
 
 Basaiti, Marco . 
 Bonifazio, attributed to 
 Catena, V. . . . 
 German school . 
 Lotto, Lorenzo, attrib. 
 Morone, Fr. . 
 Palma Vecchio, attrib. 
 
 5» 
 
 5» 
 
 Previtali . 
 Komanino, G. 
 
 Speranza, attrib. 
 
 No. 
 
 18 Madonna with saints, 
 
 22 Holy family. 
 668, 9 Two saints, 
 485 J. panel. 
 
 12 Madonna, saints, and donator, 
 
 36 Madonna. 
 480 Madonna and two donators. — Perhaps by 
 Previtali : C. and 0. 
 
 25 Madonna and two saints. — Small. 
 106 8. Agatha. 
 1215 Madonna enthroned with saints and angels. 
 
 — A large altarpiece. 
 765 Madonna enthroned between two saints, 
 no The Last Supper. 
 649 Madonna and 8. Catharine. 
 
 The chief attraction for the art-student at Padua is of course the celebrated 
 series of frescoes by Giotto in the church of S. M. dell' Arena. Very interesting 
 also are the beautiful frescoes by Altichiero and Jacopo Avanzi Veronese in 
 the Capella S. Felice of S. Antonio and in the Capella di S. Giorgio close by. 
 At the same time should be mentioned the fine frescoes by Mantegna and 
 assistants in the church of the Eremitani, close to the Capella dell' Arena. 
 
 THE PINACOTECA AT PARMA. 
 
 Catalogue op 1875. 
 
 Pictures last examined in 1877. 
 
 In this gallery there are many inferior pictures, and the names of great 
 painters are freely appended to some of them, tliose of Raphael, Titian, Van 
 Dyck, and Velasquez without the slightest warrant. 
 
 No. 
 
 Angelico, Fra . . , . 429 Madonna. — In bad condition. 
 Araldi (early painter of 
 
 Parma) 45 The Annunciation. — Dated 1514. 
 
 Bellini, Giov., attrib. . . 180 8. John, 
 
PERUGIA, 
 
 237 
 
 Casella or Cristoforo (early \ 
 painter of Parma) . . . i 
 Cima da Conegliano 
 
 5? 
 
 Correggio (Antonio AUegri) 
 
 V 
 
 ?» 
 
 Francia, Francesco 
 
 Garofalo . 
 Giotto, attrib. 
 
 Heist, Bart, van der 
 Holbein, Hans, attrib. 
 Mantegna, Andrea . 
 
 Mazzola, Filippo (early V 
 painter of Parma) . . / 
 Melchiore 
 
 Moro, Antonio . 
 Murillo, attrib. . 
 Parmegianino 
 
 >> • 
 
 Piombo, Sebast. del 
 Schedone, Bart. . 
 
 Toschi and Lis pupils 
 Yinci, L. da, attrib. . 
 
 No. 
 
 50 Madonna and two saints, — Painted befure 
 1489 : C. and 0. 
 
 360 Madonna enthroned with saints. 
 
 361 Madonna and saints with the ruined temple, 
 31 The Madonna delta Scala.'* — In fresco. 
 
 350 The Madonna delta Scodella, 
 
 351 The Madonna diS. Girolamo — ^^HGiorno,'* 
 
 352 The Deposition. 
 
 353 Martyrdom of SS. Flavia and Placidus, 
 123 The Deposition. 
 
 130 Madonna enthroned with saints. — Dated 
 1515. 
 
 359 Madonna and little S. John, 
 
 366, 9 Two small examples, 
 
 431 The death of the Virgin, — Is by Niccolo di 
 
 Pietro : C. and 0. 
 378 Male portrait, 
 355 Portrait of Erasmus, 
 
 437 Small study in oil for the frescoes in the 
 Eremitani, 
 
 46 Madonna enthroned with saints. — Dated 
 1491. 
 
 460 Altarpiece in five compartments. — Signed 
 
 and dated 1271. 
 300 Portrait of Alessandro Farnese in youth. 
 364 Figure of Job, 
 68 Three saints. 
 
 192 The marriage of S. Catharine. 
 302 Pope Clement giving the blessing. 
 120 Deposition. 
 
 133 The three Maries at the sepulchre. 
 — Drawings of Correggio's works in the 
 
 churches and elsewhere at Parma. 
 362 Female head in monochrome. 
 
 THE PINACOTECA AT PERUGIA, 
 
 No Catalogue. 
 
 Pictures last examined in 1877. 
 No. 
 
 Alfani, Domenico . , . 5 An altarpiece. 
 
 59 Holy family. — Painted from an original 
 drawing by Raphael, now in the museum 
 at Lille. 
 
 Alunno, Niccolo. ... 75 The Annunciation, 
 
 „ and Anselmi di 
 Giovanni 
 
238 
 
 PERUGIA. 
 
 Angelico, Fra • 
 
 Bartolo, Domenico • 
 
 Bernardo di Perugia 
 Boccati da Camerino 
 
 Bonfigli, Benedetto . 
 
 Eusebio di S. Giorgio 
 
 Fabriano, Gentile da 
 Fiorenzo di Lorenzo. 
 
 Gozzoli, Benozzo 
 Lo Spagna . . 
 Manui, Giovanni 
 Mantegna, school of, attrib, 
 
 Margaritone . 
 Meo da Siena 
 Perugino . 
 
 »» 
 
 5) 
 
 Piero della Francesca 
 
 Pinturicchio . 
 Raphael, attrib. . 
 Siena, early school of 
 Taddeo Bartoli . 
 
 „ „ attrib. 
 
 5, Gaddi, attrib. 
 
 No. 
 
 211-232 Portions of an altarpiece, formerly in 
 8. Domenico^ and predella, 
 
 — Ancona in five parts and predella. — Dated 
 
 1438. 
 
 44 Coronation, 
 
 3, 4 Altarpiece and predella. 
 
 21 Madonna and angels. 
 
 1 Virgin and S. Bernard ; people of Perugia 
 
 praying below. 
 18 Adoration of the magi. — And others. 
 8 Adoration of the magi. 
 37 An altarpiece. 
 165 Madonna. — Injured. 
 13 Five compartments of a large double altar- 
 piece, 
 
 29 A shrine, 
 
 50 A Nativity. — And others. 
 206 Altarpiece and predella. — Dated 1456. 
 
 25 Madonna and saints. 
 
 26 Christ in glory and numerous saints, 
 
 — Eight studies in tempera. — By Bonfigli and 
 
 Fiorenzo di Lorenzo : 0. and 0. 
 188 Colossal crucifix, 
 105 Ancona in numerous compartments, 
 
 2 Trans figuration. — Inj ured. 
 
 23 A Nativity. — This with Nos. 41, 56 are 
 parts of the famous altarpiece painted 
 for S. Agostino. Other portions are dis- 
 tributed in cl lurches at Perugia, and 
 in three provincial French galleries. 
 Painted between 1512-17. 
 27, 8 Large panel painted on two sides, a crucifix 
 on one. 
 
 33 Madonna and saints, 
 
 35 Madonna. 
 
 41 Baptism of Christ. 
 
 56 Two saints, 
 
 47 An Ancona in five compartments icith 
 Annunciation above. 
 
 30 An altarpiece in several compartments, 
 
 — Madonna. 
 106, 114 Anconas, 
 
 45 Ancona in five compartments. — Dated 1403. 
 
 22 Ancona in five compartments, 
 67 A large Ancona, 
 
PEBUGIA AND PISA. 
 
 239 
 
 THE SALA DEL CAMBIO AT PEEUGIA. 
 
 Decorative frescoes by Perugino, comprising a * Nativity' and * Transfigura- 
 tion/ Sibyls, Prophets, Sages, and Heroes. 
 Also Perugino's own portrait at the age of 54. 
 
 In the chapel adjoining are frescoes and an altarpiece by Gianniccola 
 Manni. 
 
 THE ACCADEMIA AT PISA. 
 
 Pictures last examined in 1877. 
 
 This small gallery is chiefly interesting for its examples of early work of 
 the fourteenth century, some of which are rude, and all are in bad condition. 
 There is no catalogue, and no numbers can be quoted. The names given here 
 rest principally on the authority of Messrs. Crowe and Cavalcaselle. , 
 
 Room I, 
 
 No. 
 
 Bruno, Giovanni 
 
 Deodati, Orlando, of Lucca 
 
 Cimabue 
 
 attrib. . 
 
 — S. Ursula and her companions, ' 
 
 — Madonna and saints in five arched compart- 
 ments. — Dated 1301. 
 
 — Madonna, with incidents at the side, arid S, 
 Martin on horseback, below the throne. 
 
 — Five half-length figures in arched com- 
 partments. — Probably by a third-rate 
 Lucchese : C. and C 
 
 Boom IL 
 
 — Madonna enthroned vnth six angels. — Life- 
 size. 
 
 — Two wings of another altarpiece. 
 
 Cecco di Pietro .... — A Crucifixion and saints. In several com- 
 partments and with predella. — Dated 
 1380. 
 
 — A single saint and seven small panels of 
 saints forming a pediment, 
 
 — Large figure of S, Domenic, 
 
 Barnaba of Modena . 
 
 >» ... 
 
 Simone Martini, or da ) 
 
 Siena J 
 
 Traini, Francesco . 
 
 Ambrogio d'Asti 
 
 Benozzo Gozzoli . . • 
 »> » 
 
 Boom III, 
 
 ■ Saviour enthroned — centre part of an altar- 
 piece. — Dated 1514. 
 A Conception. 
 
 Madonna enthroned with saints. 
 
240 
 
 P18A. 
 
 No. 
 
 Benozzo Gozzoli ... — Study for the fresco of the * Visit of the 
 
 Queen of Sheba * in the Campo Santo. 
 
 Gentile da Fabriano, attrib. — Coronation of the Virgin. — Perhaps by Neri 
 
 di Bicci : C. and 0. 
 
 Macliiavelli, Zanobi ... — Madonna and saints. 
 
 Masaccio, attrib. . . . . — S. Paul ivith the sword and booh. — ^More like 
 
 the work of a scholar : G. and C. 
 Thom^, Luca .... — A Crucifixion. — Dated 1366. 
 
 Room IV. 
 
 Bazzi (II Sodoma) ... — Madonna and saints. 
 
 Filippo Lippi .... — Madonna with saints and angels. — Life- 
 size. 
 
 THE CAMPO SANTO AT PISA. 
 
 Frescoes last examined in 1877. 
 
 The Campo Santo is in the form of a parallelogram, bounded by two long 
 walls and two short ones : the former face north and south, the latter east and 
 west. The interior is entered by the left of two gates on the south wall ; 
 turn to the right and walk to the beginning at the eastern end of the southern 
 wall, where are three large frescoes of the * Triumph of Death,* the * Last 
 Judgment,' and ' Hell,' .long supposed to be by Orcagna, but now assigned, 
 together with the large fresco of * Hermit life * which follows, to the Loren- 
 zetti. Proceeding farther westward an 'Assumption of the Virgin' may be 
 seen over the gateway, and bsyond along the same wall are the frescoes of the 
 life of S. Kaineri, by Andrea Firenze and Ant. Yeniziano, now smaller, and in 
 two rows instead of one ; then those of the lives of SS. Ephesus and Potitus, 
 by Spinello Aretino ; and lastly, at the extreme western end, those of the 
 history of Job, by Francesco da Volterra. A great portion of the lower tier of 
 these is invisible. The frescoes on the west wall are ruined, but occupying 
 the first space of the north wall at the western end is a large fanciful scheme 
 of the Creation, a series of circular rings, by Pietro Puccio, who continued the 
 History of Genesis along the upper range of the north wall as far as to the 
 door of the Capella dei tutti Santi. The lower range is filled by the fine 
 works of Benozzo Gozzoli, the best of which are at this end, namely, ' Noah 
 and his family,' the * Curse of Ham,' and the * Building of Babel.' Over the 
 door just alluded to are an ' Annunciation * and an * Adoration ' by the same 
 painter ; while the large remainder of the north wall is also covered with 
 frescoes by his hand, these being for the most part less admirable than those 
 already noted. The frescoes on the east wall, like those on the west, are 
 almost destroyed, and are cut up by monuments. The Capella dei tutti Santi 
 contains some fragments of frescoes originally executed by Giotto and 
 assistants for the church of the Carmine at Florence. 
 
PEA TO AND ROME: THE AGO AB EMI A. 
 
 241 
 
 THE MUNICIPAL GALLERY AT PRATO. 
 
 Andrea da Firenze . 
 
 Castagno, Andrea del 
 Gaddi, Taddeo . 
 
 Pictures last examined in 1877. 
 
 A single room with about forty pictures, of which a few are interesting. 
 Hand-catalogues only, 1877. 
 
 No. 
 
 19 Madonna enthroned. — An Ancona in three 
 compartments with a predella. 
 
 20 A Crucifixion. — A small panel. 
 2 History of the girdle of the Virgin. — 
 
 The girdle belongs to Prato, and is 
 the subject of the frescoes by Agnolo 
 Gaddi in the cathedral there; the 
 same incidents are similarly treated by 
 both artists. A predella in seven parts. 
 14 Madonna enthroned and saints. 
 
 11 Virgin presenting girdle to S. Thomas with 
 other saints. — Injured. 
 
 12 A Nativity. — Originally fine, but much 
 injured. 
 
 21 Madonna and two saints., with family of 
 donators. 
 
 18 Madonna with numerous saints. — An Ancona 
 with predella, greatly injured. 
 1 Madonna and saints. — Ancona in five 
 parts. 
 
 Giusto d' Andrea 
 Lippi, Filippo . 
 
 J5 
 
 Milano, Giovanni da 
 Pacino di Bonaguixia 
 
 THE ACCADEMIA DI SAN LUCA AT ROME. 
 No Catalogue or Numbers. 
 
 Pictures last examined in 1877. 
 
 The Long Gallery. 
 No. 
 
 Bonifazio — Female portrait. 
 
 Dughet, G. (Poussin) . . — Bacchus and Ariadne.. 
 
 Dyck,Van Holy famUy. 
 
 ' — Child's head. — Study in crayon. 
 
 Lorraine, Claude ... — Landscape. 
 
 Luti, B — Cupid and Psyche. 
 
 Maratta, C — Head of Cardinal Cerri, 
 
 jVXola — Female bust. 
 
 Titian, attrib. .... — S. Jerome. 
 
242 BOME: THE VILLA ALBANl. 
 
 No. 
 
 Titian, attrib — Venus reclining^ " Omnia Vanitas" — Much 
 
 repainted, by an imitator, perhaps by 
 Cesare Veccelli : C. and C. 
 
 Vernet — Several landscapes. 
 
 Yeronese, P. .... . — Venus with the mirror. 
 
 Sola di Rajphaelo. 
 
 Cagnacci, Guido ... — Tarquin and Lucretia. 
 
 Canaletto — A scene. 
 
 Guido Eeni ..... — Figure of Fortune. 
 
 „ „ — Bacchus and Ariadne. 
 
 „ „ . . , . . — A cupid. 
 Palamedes ..... — An interior, 
 
 Pussiui — Copy of Titian's Bacchus and Ariadne j in 
 
 the National Gallery, London. 
 
 "Baphael ...... — A child. — In fresco. 
 
 „ attrib. .... — 8. Luke painting the Virgin. — Much re- 
 painted. Probably by Timoteo Viti, 
 founded on a sketch of the master: C. 
 and 0. 
 
 Romano, Giulio . .. . . — Copy of the Galatea of Raphael. 
 Sassoferrato — Madonna. 
 
 Spagnoletto — 8, Jerome and the Jewish priest. 
 
 Titian, attrib — Calisto and nymphs. 
 
 „ „ .... — Female portrait. — Not by Titian. 
 
 „ „ .... — Tribute money. — The original is at Dresden, 
 
 No. 222. 
 
 Veronese, P. . . . . . — Marriage of S. Catharine. 
 
 ,, . .... — 8usannah at the hath. 
 
 THE VILLA ALBANl AT ROME. 
 
 In the Galleria Nobile the ceiling is painted by Raphael Mengs : the 
 subject is the * Parnassus.' 
 In an adjacent room : 
 
 No. 
 
 Perugino, Pietro . . . — An Adoration, and other subjects. 
 
HOME: THE BARBERINI AND BOBGHESE. 243 
 
 THE BAKBEKINI PALACE AT KOME. 
 
 Hand-catalogues only. 
 
 Pictures last examined in 1877. 
 Boom I, 
 
 No. 
 
 Caravaggio 9 J. Bieta. 
 
 PomeraDcio 15 Magdalen. 
 
 Vouet, Simon 
 
 Bellini, Giovanni, attrib. 
 
 Masaccio, attrib. 
 Sacchi, Andrea . 
 Sodoma, II, attrib. . 
 
 Botticelli, attrib. 
 Caravaggio . 
 Domenichino 
 Durer, A. 
 Guido Keni . 
 Poussin, Nicolas 
 Raphael, attrib. 
 Sarto, A. del 
 Titian, attrib. 
 
 11 The Pope S. Urban in glory. 
 Boom II. 
 
 58 Madonna. — Probably by Pasqualino : 0 
 and C. 
 
 67 A head. — Not genuine. 
 33 Portrait. 
 
 54 Madonna. — Not genuine. 
 
 Boom III. 
 
 93 Annunciation. — Small. 
 
 81 Mother of Beatrice Cenci. 
 74 Adam and Eve. 
 
 79 Christ among the doctors. — Dated 1506. 
 
 85 Portrait of Beatrice Cenci. 
 
 86 Death of Germanicus. 
 
 82 The Fornarina. 
 90 Holy family. 
 
 72 Female portrait, known as the ^'Slave.^' — By 
 Palma Vecchio : C. and G. 
 
 THE BORGHESE PALACE AT ROME. 
 
 Hand-catalogues only. 
 
 Pictures last examined in 1877. 
 Boom I. 
 
 No. 
 
 1 Botticelli Madonna, S. John, and angels. — Large 
 
 circular. 
 
 2 Credi, Lorenzo di . . . Holy family. 
 
 32 Vinci, L. da, school of . . S. Agatha. 
 
 33 „ „ „ , . Salvator Mundi. 
 
 R 2 
 
244 
 
 ROME: THE BORGRESE. 
 
 No. 
 
 34 Perugino, Pietro 
 
 35 Kaphael, attrib. . 
 
 43 Francia, Fr., attrib. 
 
 44 Crivelli, Carlo, attrib. 
 
 48 Perugino .... 
 49, 57 Pinturicchio . . 
 54 Credi, L. di., attrib. 
 
 61 Francia, Fr., attrib. 
 
 69 Pollajuolo, Antonio 
 72 Spinello Aretino . 
 
 Madonna. 
 
 His own portrait. — Not genuine. In 
 the manner of Ridolfo Ghirlandajo: C. 
 and C. 
 
 Madonna. 
 
 A Crucifixion. — By Fiorenzo di Lorenzo : 
 
 C. and 0. 
 >S^. Sebastian. 
 
 Panels of the history of Joseph. 
 
 S. Joseph and Madonna in adoration. — Of 
 
 his school : C. and C. 
 S. Anthony. — By Giacomo Francia : C. 
 
 and 0. 
 Holy family. 
 Annunciation. 
 
 Room II. 
 
 6 Garofalo Holy family. 
 
 9 „ Deposition. 
 
 18 Giulio Romano .... Copy of RaphaeVs Julius IL 
 
 21, 6 Eaphael, attrib. . . . Portraits. 
 
 24 „ copy of . . . Holy family. 
 
 29 Giulio Romano .... Venus. 
 
 32 Peruzzi, B Holy family. 
 
 38 Raphael The Entombment, 
 
 40 Bartolommeo, Fra, attrib. . Holy family. 
 
 43 Francia, Fr Madonna. 
 
 51 „ ^. Stephen. — Of his pre-Peruginesque 
 
 period : 0. and C. 
 
 55, 6 Garofalo Small panels. — And others. 
 
 59 Mazzolino of Ferrara . . Adoration of the magi. 
 
 65 Giulio Romano .... Copy of the Barber ini Fornarina. 
 
 Room III. 
 
 1 Solario, Andrea .... Christ bearing the cross. 
 
 11 Dosfei, Dosso Circe. ( 
 
 21 Parmegianino , . . . S. Catharine. 
 
 40 Correggio The Danae. 
 
 42 Bronzino, A Portrait of Cosimo de* Medici. 
 
 {Christ at the column. — A small replica of 
 the large work in S. Pietro in Montorio. 
 A copy by a later painter : C. and C. 
 
 {Several works are attributed to Andrea del Sarto, of which none are genuine . 
 
ROME: THE BORGHESF, 
 
 245 
 
 No. 
 
 1 Caracci, Annibale 
 
 2 Domenichino 
 
 3 Caracci, Ludovico 
 15 Cagnacci, Guido. 
 
 20 Guido . . . 
 
 21 Sirani, Elisabetta 
 28 Caracci, Annibale 
 36 Dolci, Carlo . . 
 43 Sassoferrato . 
 
 5 Gaetano, Scipio 
 11-14 Albani 
 15 Domenichino 
 21 Molo, Fr.. . 
 
 25 Zucchero, F. 
 
 26 Caravaggio . 
 
 27 Padovanino . 
 
 28 Cav. d'Arpino 
 
 Boom IV. 
 
 Deposition. 
 
 The Cumsean Sibyl. 
 
 S. Catharine of Siena, 
 
 Sibyl. 
 
 Head of Joseph. 
 
 Lucretia. 
 
 S. Francis. ' 
 
 Madonna. 
 
 Madonna. 
 
 Boom V. 
 
 Holy family. 
 The four seasons. 
 The chase of Diana. 
 Liberation of S. Peter. 
 Deposition. 
 Holy family. 
 Venus attiring. 
 Battle-piece. 
 
 Boom VI. 
 
 1 Guercino Mater dolorosa. 
 
 5 „ Beturn of the prodigal. 
 
 10 Spagnoletto (Ribera) . . S. Stanislas and infant Christ. 
 
 12 Valentin, Moise. . . . Moses interpreting the dream. 
 
 13 Sassoferrato Copy of the " Three Ages,'^ by Titian. 
 
 14 Caravaggio Portrait. 
 
 18 Sassoferrato . . . . . Madonna. 
 
 22 Baroccio Burning of Troy, 
 
 Boom VII. 
 
 Contains decorative work, the flowers by Mario dei Fiori (died 1673), and 
 the Putti by Ciroferri. 
 
 Boom IX. 
 
 1, 2 Baphael, school of 
 3 
 
 Marriage of Alexander and Boxana. 
 Group of archers. — Said to be designed by 
 Michael Angel o. Frescoes transferred 
 
 from the Villa Borghese. 
 
 Boom X. 
 
 2 Titian . . . 
 9 Pordenone, attrib. 
 
 VenuSj Cupid, and Graces. — Discoloured. 
 A portrait. — Is by Lorenzo Lotto: C. 
 and C. 
 
246 
 
 ROME: THE BORGHESE. 
 
 No. 
 
 13 Giorgione, attrib. . . . David and Saul. — Probably by Delia 
 
 Vecchia : 0. and C. 
 
 14 Veronese, P John the Baptist preaching. 
 
 16 Titian S. Dominic. 
 
 19 Bassano, Jacopo . . . Portrait. 
 
 21 Titian ...... Sacred and Profane Love. 
 
 22 Spada, Lionello . . . . concert, 
 
 30 Bassano, Leandro . . . The Trinity. — Small. 
 36 Bellini, Giovanni . . . Madonna. 
 
 Boom XL 
 
 1 Lotto, Lorenzo .... Madonna with a saint and a bishop.^ 
 
 Dated 1508. 
 
 3 Titian, attrib. .... Madonna. — By a German or Fleming, 
 
 imitating Venetian manner : C. and 0. 
 
 15 Bonifazio Christ in the house of Zebedee, 
 
 16 „ ..... Return of the prodigal. 
 
 19 Venetian school .... Madonna, saints, and donors. — Probably a 
 
 genuine Cariani : C. and C. 
 
 20 Veronese, P Venus and Cupid. 
 
 27 Bellini, Giovanni, attrib. . Male head, — Perhaps by Pasqualino or 
 
 Antonello da Messina : C. and C. 
 
 31 „ „ „ . Madonna and S. Peter. 
 
 32 Palma Vecchio and as- 
 
 sistants Holy family and saints. 
 
 33 Pordenone, B. Licinio da . Portrait of an artist and his family. — 
 
 Counterpart of the picture at Hampton 
 Court, No. 104, attributed to G. A. 
 Pordenone, but really by his brother. 
 
 39 Bellini Giovanni, attrib. . Female bust. — Of a later date : C. and C. 
 
 Room XIL. 
 
 1 Dyck, A. van .... Christ on the cross. — Small. 
 
 7 „ „ An Entombment. 
 
 20 Holbein, attrib Male portrait. • 
 
 22 Potter, Paul Landscape and cattle. 
 
 23 Backhuizen Sea-piece. 
 
 27 Dyck, Van Portrait of Maria de Medici. 
 
 41 Honthorst, G Lot and his daughters. 
 
 44 Cranach, Lucas .... Venus and Cupid. 
 
BOMB: THE CAPITOL MUSEUM. 
 
 247 
 
 THE GALLEEY OP THE CAPITOL AT EOME. 
 
 No Catalogue. 
 
 Albani 
 
 Bartolommeo, Era, attrib 
 
 Bellini, Gentile . 
 „ Giovanni . 
 
 attrib 
 
 9) 
 
 Bonatti, G. 
 
 Caracci, Ludovico . 
 Caravaggio . 
 Cortona, Pietro da . 
 Domenichino 
 Dyck, A. van 
 
 Garofalo (Tisio) 
 
 5> » 
 
 Guercino 
 
 Guido . 
 Michael Angelo, attrib 
 Perugino, attrib. 
 
 Rubens . 
 Sirani, Elisabetta 
 Tintoretto 
 
 Titian, attrib. 
 Velasquez 
 Veronese, P. . 
 
 Pictures last examined in 1877. 
 No. 
 
 9 Magdalen, 
 142 Nativity,. 
 27 Presentation in the temple. — Not unlike 
 Giacomo Francia : C. and C. 
 136 So-called portrait of Petrarch, 
 132 A male head. 
 
 207 Female head. — By Ercole Grande : C. 
 and C. 
 
 79, 87 SS. Sebastian and Nicholas. — More like 
 
 Dosso Dossi : C. and C. 
 70 Madonna and saints. — Copy of No. 519 in 
 the Venetian Academy by Veronese. 
 119 S. Sebastian. 
 
 — The fortune-teller, 
 
 — Several examples. 
 20 The Cumsean Sibyl. 
 
 iOO Two portraits in one frame. 
 106 Two portraits in one frame, 
 
 30 Holy family. 
 161 Annunciation, 
 164 Madonna in glory. 
 
 — The Persian Sibyl. 
 
 — S. Petronilla raised from the tomb. 
 13 S. John the Baptist. 
 
 117 Cleopatra and Octavius. 
 116 S. Sebastian. 
 134 His own portrait. 
 
 127 Madonna and two angels. — By a follower of 
 
 L, da Credi : C. and C. 
 89 Bomulus and Bemus. 
 81 Circe and Ulysses. 
 26 Magdalen. 
 108, 114, 176 Subjects from the Passion. 
 124 Baptism of Christ. 
 
 8 His own portrait, 
 224 Bape of Europa. — Replica of that in the 
 Ducal Palace, Venice. 
 
BOME: TEE COLONNA. 
 
 THE COLONNA PALACE AT ROME. 
 No Catalogues or Numbers. 
 
 Pictures last examined in 1877. 
 
 There are three rooms occupied with tapestry. The next room commences 
 the gallery proper, and will be called No. 1. Pictures will be found in the 
 order in which they are named. 
 
 Itoom I. 
 
 No. 
 
 Santi, Giovanni .... — A hoy in profile with red cap, 
 
 Bugiardini — Madonna. — Much repainted. 
 
 Avanzi, Jacopo da . . . — A Crucifixion. — On a gold ground. 
 Gentile da Fabriano, attrib. — Madonna with roses and angels. — By 
 
 Stefano da Verona ; C. and C. 
 Bassano, Jacopo ... — Holy family. 
 
 Boom IL — Tapestries, 
 
 Boom III. 
 
 Titian — Male portrait. 
 
 Girolamo da Treviso . , — Portrait of a man with a medal. 
 
 Albani, Fr — Bape of Europa, 
 
 Lo Spagna — S. Jerome, 
 
 Caracci, Annibale ... — The greedy eater. 
 
 Bordone, Paris .... — Holy family and 8. Sebastian. 
 
 Holbein, attrib — Portrait of Lorenzo Colonna, 
 
 Bonifazio — Holy family and saints. 
 
 Long Gallery. — Commencing on the left. 
 
 Eubens — Assumption, 
 
 Albani, Fr — Ecce Homo. 
 
 Van Dyck — Equestrian portrait. 
 
 Mola — Two subjects. 
 
 Lotto, Lorenzo .... — Portrait of Pompeo Colonna. 
 
 Palma Vecchio .... — Holy family. 
 
 Titian, attrib. .... — Holy family. — By Bonifazio : C. and C, 
 
 Moroni . . . , . . — Portrait of a man and dog, 
 
 Caravaggio ..... — Man drinking, 
 
 Salvator Rosa .... — The Baptist. — ^And others. 
 
 Tintoretto — A portrait group. 
 
 Alunno, Niccolo .... — Virgin saving a child from the devil. 
 
ROME: THE CORSINL 
 
 249 
 
 THE CORSINI PALACE AT ROME. 
 
 Hand-catalogues. 
 
 Fictures last examined in 1877. 
 Boom J. 
 
 No. 
 
 Battoni — A Nativity, 
 
 Room II, 
 
 » 
 
 Caracci, Ludovico ... 20-4 Fieta. 
 
 Room III. 
 
 Bartolommeo, Fra ... 26 Holy family, — Dated 1516. 
 
 Caravaggio 18 Madonna, 
 
 „ , ^ , , . 21 S. Feter paying the tribute money. 
 
 Cignani, Carlo .... 51 Infant Christ and S. John. 
 
 Dolci, Carlo ..... 49 S. Apollinaria. 
 
 „ ...... 88 Ecce Hom.0, 
 
 Dyck, A. van, attrib. . . 21 Madonna. 
 
 Guercino 1 Ecce Homo, 
 
 Saraceni 52 Vanity, 
 
 Sarto, A. del, attrib. . . 9 Madonna. — Dated 1509. Manner of Bugi- 
 
 ardini : C. and C. 
 Teniers, attrib. .... 55 Interior. 
 
 Titian, attrib 50 Fort/rait of Fhilip II, 
 
 Vasari 61 Holy family. 
 
 Room IV. 
 
 Baroccio, 22 Christ appearing to the magdalen. 
 
 Durer, A., attrib. ... 44 Study of a hare and still-life. 
 
 Guido Reni 11 Daughter of Herodias, 
 
 „ „ 19 Study for the crucifixion of S. Feter. 
 
 Lanfranco 32 Assumption of the magdalen. — Small. 
 
 Maratta, C 43 Holy family. 
 
 Romano, Giulio, attrib. . . 41 Copy of the Fornarina. 
 Titian, attrib. .... 21 Sons of Charles V. — By a painter of the 
 
 17th century : C. and C. 
 „ „ .... 28 iS'. Jerome. — A Venetian picture of the 17th 
 
 century : C. and C. 
 Opening out of this room is a small cabinet, chiefly containing early and 
 unknown work after the manner of the 14th century. 
 
250 ROME: THE CORSINL 
 
 Room 
 
 No. 
 
 Dolci, 0 . 12 8. Agnes, 
 
 Guercino 24 Christ at the well. 
 
 Guido Reni 37, 8, 9 Ecce HomOj Mater dolorosa^ 8. John* 
 
 Room VL 
 
 Diirer, A., attrib. ... 34 Birth of the Virgin. — Small. 
 
 „ „ ... 43 Portrait, 
 
 Dyck, A. van, attrib. . . 32 Portrait. 
 
 Gaetano, Scipio .... 36 Portrait, 
 
 Maratta, C — Head known as ** La Pittura.** 
 
 Murillo, attrib 26 A head. 
 
 Room VII. 
 
 Angelico, Fra .... 22 Descent of the Holy Ghost, 
 
 „ .... 23 Last Judgment, 
 
 „ „ .... 24 The Ascension. 
 
 Oaracci, Ludovico ... 26 Martyrdom of 8, Bartholomew. 
 
 Dughet, G. (Poussin) . . 13 Large landscape. 
 
 Garofalo 18 Christ hearing the cross, 
 
 Giordano, Luca . . . . 21 Jesus with the doctors, 
 
 Murillo 11 Madonna. 
 
 Orizzonte — 8everal landscapes, 
 
 Eubens 15 8, 8ebastian^ 
 
 Room VIII. 
 
 Ercole Grande .... 12 ^S'. George and the dragon. 
 
 Guercino 24/8'. Jerome. 
 
 Guido Reni 13 Contemplation. 
 
 Spagnoletto 25 8. Jerome. 
 
 Titian, attrib 30 Woman taken in adultery. — By Rocco 
 
 Marconi : C. and 0. 
 
 Room IX, 
 
 Cantarini 48 Holy family. 
 
 Cignani, Carlo .... 40 Mater dolorosa, 
 Giorgione, attrib. ... 30 Two heads. 
 Poussin, Nicolas .... 6 Triumph of Ovid. 
 
 Titian, attrib 36 Female portrait.— Bj a Venetian of the 
 
 17th century : C. and 0. 
 „ „ .... 55 Jupiter and Antiope. — A copy with variety 
 
 of that in the Louvre. By a painter of 
 the 17th century : C. and C. 
 
ROME: THE DORIA. 
 
 251 
 
 THE DORIA PALACE AT ROME. 
 Hand-catalogues only. 
 
 Pictures last examined in 1877. 
 
 In this large collection the greater number of pictures are without interest, 
 but there are a few extremely good, and others which should be noted. The 
 first room contains landscapes chiefly. Leaving it to the left, we enter the 
 second room, where the catalogue begins. 
 
 Boom II, 
 
 No. 
 
 5 Giovanni Bellini, copy of . The Circumcision. — Much injured. 
 
 15 Mantegna, attrib. . . . Part of a predella. — is by Parantino of 
 
 Modena: C. and 0. The two other 
 parts of it are in the Sala Grande. 
 23, 9 Pesellino Two small 'panels, 
 
 28 Filippo Lippi .... Annunciation, 
 
 43 Rondinelli Madonna, 
 
 80 Perugino, attrib. , , . 8. Sebastian, — By Marco Basaiti : C. and C. 
 
 Room V, 
 
 21 Beccafumi ..... Marriage of S. Catharine. 
 
 22 Titian, attrib Madonna and shepherd. — Manner of a 
 
 Trevisan painter : C. and C. 
 
 Room VI, 
 
 13 Carlo Maratta .... Madonna, 
 
 • 
 
 Room VIIL 
 22 Ludovico Caracci , , , S.. Sebastian, 
 Passing through Rooms IX. and X. we arrive at the 
 
 Sala Grande. 
 
 This is composed of foui' corridors, of which three contain pictures. 
 
 Corridor L 
 
 14 Titian Male portrait, 
 
 — Copy of the Three ages of Titian. 
 
 — Honthorst Several examples. 
 
 26 Garofalo The Visitation. 
 
 45 Guide Madonna, 
 
252 
 
 HOME: THE PALACES, 
 
 Corridor II. 
 
 No. 
 
 — Giovanni Bellini, attrib. . Madonna and Baptist. — Probably by Roii- 
 
 dinelli : C. and 0. 
 6 Francia, attrib. .... Madonna and two saints. 
 
 — Basaiti, attrib Madonna and four saints. — By Boccaccino : 
 
 C. and 0. 
 
 13 Mazzolino Christ with the doctors. 
 
 15 Caracci, attrib. . . . 8. Jerome. — By Lorenzo Lotto : C. and C. 
 
 17 Titian, manner of . . . Male portrait. — Suggests Romauiuo : C. 
 
 and C. 
 
 — Giorgione, attrib. . . . Daughter of Herodias. — Is by Pordenone : 
 
 0. and C. 
 
 18 Pordenone . . . . . Male portrait. 
 
 26 Titian, attrib Sacrifice of Isaac. — By Rembrandt's con- 
 
 temporary, Lievens : C. and 0. 
 25, 30, 60, 65 Brueghel, J. . The four elements. 
 34 Lorenzo Lotto .... Portrait. 
 
 52 Titian Portrait of Jansenins. 
 
 56 „ Magdalen. — Replica, with alterations, of 
 
 that in the Pitti. 
 69 Correggio A cartoon. 
 
 Corridor III, 
 
 12 Claude Lorraine . . . . Landscape, called JZ ilibZmo. 
 18 Annibale Caracci . . . A Pieta. 
 17, 22 ^ Gerard van der Meire . Two panels. 
 
 23 Claude Lorraine. . . . Landscape, called the Temple of Apollo. 
 26 Mazzola Portrait. 
 
 Opening out of this is a small Cabinet, which contains the gems of the 
 gallery : — 
 
 Memling — A Deposition. 
 
 Quiutin Matsys, school of . — The two misers. 
 
 Raphael — Two portraits in one frame. 
 
 Sebastiano del Piombo . . — Portrait of A. Doria. 
 Diegb Velasquez . . ' . — Portrait of Innocent X. 
 And a Dutch candlelight effect. 
 
 THE FARNESE PALACE AT ROME. 
 
 The Long Gallery is celebrated for its fine frescoes, which are well preserved. 
 The vaulted ceiling is decorated by Annibale Caracci and his assistants, and 
 contains numerous classical compositions, of which the centre is the ' Triumph 
 of Bacchus and Ariadne.* A large fresco at one end, of ' Perseus and 
 
BO ME: THE PALACES. 
 
 253 
 
 Andromeda/ is by Guido Keni; a similar one at the opposite end, of * Perseus 
 with the head of Medusa,' is by Giulio Komano. Several small medallions on 
 the walls below the ceiling are by Domenichino. 
 
 The Large Hall of the Guards is covered with frescoes by Salviati on one 
 side, by Vasari opposite, and by Zucchero at either end. 
 
 THE FARNESINA PALACE AT ROME. 
 
 Entrance Hall contains frescoes of the history of Cupid and Psyche, painted 
 by the scholars of Raphael under the direction of the master. 
 
 Hall IL of the Galatea. — Frescoes of the roof in the centre, of ' Perseus and 
 Medusa,' &c., with numerous figures in the vaultings, and architectural spaces 
 below, are by Baldassare Peruzzi. The lunettes are painted by Sebastiano 
 del Piombo, the one excepted containing the charcoal head by Michael 
 Angelo. On one of the walls is the famous fresco of the * Galatea ' by Raphael. 
 The landscape paintings, also on the walls, are by Gaspar Dughet. 
 
 Hall III. — Paintings without interest. 
 
 Upper Halls. I. — Ceiling painted by Peruzzi, with architectural decorations 
 and classical incidents. 
 
 Hall IL — Frescoes by Bazzi (11 Sodoma) of * Alexander and Roxana ' and 
 the ' Family of Darius before Alexander.' Others of less interest. 
 
 THE VILLA LUDOYISI AT ROME. 
 
 In the Casino, on the ground floor, a famous fresco by Guercino, * Aurora 
 driving away Night.' 
 
 In a saloon to the left small paintings on the ceiling by Guercino and 
 Domenichino. 
 
 In an upper saloon a fresco on the ceiling by Guercino, * Fame with Force 
 and Virtue.' 
 
 THE ROSPIGLIOSI PALACE AT ROME. 
 
 In the Casino in the garden, on the roof of the middle hall, is the famous 
 fresco of the * Aurora attended by the Hours * by Guido Reni. 
 In the hall to the right : 
 
 No. 
 
 Domenichino .... — Adam and Eve in Paradise, 
 
 In the hall to the left : 
 Domenichino • , . . — The triumph of David, 
 
254 
 
 F03IE: THE PALACES. 
 
 THE SCIARKA PALACE AT ROME. 
 
 The Palace has of late been closed to the public, and is so' for the present, 
 and the pictures no longer occupy their former places. 1877. 
 
 Bartolommeo, Fra, and 
 
 Mariotto — Madonna and S. John, 
 
 Bril, Paul — Two landscapes. 
 
 Caravaggio — The card-players. 
 
 Claude Gelee (Lorraine) . — Two small landscapes. 
 Cranach, Lucas .... — Holy family. 
 
 Giorgione, attrib. ... — Herodias and other figures. — Is by Porde- 
 
 none : C. and C. 
 Goes, Hugo van der ... — Death of the Virgin, 
 
 Mantegna — Male portrait, 
 
 Peru2:ino — S. Sebastian. 
 
 Raphael — The violin-player. 
 
 Sirani, Elisabetta ... — A Carita. — After the manner of Guide 
 
 Reni. 
 
 Titian. — Madonna with John the Baptist. 
 
 5, attrib — " La Bella di Tiziano.'' — Is a fine Palma 
 
 Vecchio : C. and C. 
 Yinci, L. da — Modesty and Vanity. 
 
 THE SPADA PALACE AT ROME. 
 
 Hand-catalogues only. 
 
 Bictures last examined in 1877. 
 
 Passing through Rooms I. and II., where there are no pictures of interest, 
 we enter Room HI. 
 
 No. 
 
 24 Guercino The death of Dido. 
 
 31 Titian, attrib Male portrait. — Looks like Girolamo da 
 
 Treviso : C. and C. 
 
 42 „ „ Male portrait, with violin. — Not genuine. 
 
 49 Palmegiani Christ hearing the cross. — An altarpiece. 
 
 48 „ ' The Eternal— The lunette. 
 
 51 Titian, attrib Bortrait of Cardinal Spada. — Probably by 
 
 Scipio Gaetano ; C. and C. 
 
 63 Guide Reni The rape of Helen, 
 
 66 Titian, attrib Bortrait of Orazio Spada. — Not genuine. 
 
 71 Moroni A portrait. 
 
BOME: THE VATICAN. 
 
 ?55 
 
 Room IV, 
 
 No. 
 
 — Guido. Portrait of Cardinal Spada. 
 
 3 Teniers, attiib Figures in a snowy landscape. 
 
 17 Venetian school .... Woman taken in adultery. — A copy of 
 
 Lorenzo Lotto : C. and C. 
 
 30 Caravaggio . . . . . S. Cecilia. 
 
 31 Maratta Portrait of Cardinal Spada. 
 
 ^ 54 French school .... Female portrait. 
 
 THE VATICAN COLLECTION AT KOME. 
 No Catalogue. 
 The pictures, now unnumbered, loere last examined in 1877. 
 
 Boom I. 
 
 No. 
 
 Angelico, Era . . . . — S. Nicholas of Pari. — Predella in two parts. 
 „ „ .... — Madonna and angels. — Small. 
 
 Bonifazio — Holy family and saints. 
 
 Cesare da Sesto .... — Madonna and saints. 
 Crivelli, Carlo .... — A Pieta. — A lunette. 
 
 Garofalo — Holy family. 
 
 Gozzoli, Benozzo ... — Miracles of S. Jacinto. 
 Mantegna, Andrea, attrib. — A Pieta. — Assigned to Giovanni Bellini by 
 
 C. and C. 
 
 Murillo — Marriage of S. Catharine. — And two others. 
 
 Perugino — Three saints. 
 
 Kaphael — Theological virtues. — In monochrome. 
 
 Small. 
 
 „ — Scenes from the Passion. — A predtUa. 
 
 Vinci, Leonardo da . . . — S. Jerome, — In monochrome. 
 
 Boom II. 
 
 Domenichino — The last communion of S. Jerome. 
 
 Eaphael — The Transfiguration, 
 
 „ — The Madonna da Foligno. 
 
 Boom III. 
 
 Alunno, Niccolo .... — Crucifixion and saints. — An altarpiece. 
 
 „ „ . . . . — Altarpiece in fourteen parts, and predella. 
 Caravaggio ..... — The Entombment. 
 Guercino — The incredulity of S. Thomas. 
 
256 ROME: THE VATICAN. 
 
 No. 
 
 Guercino * — 8. Margaret of Cortona, 
 
 „ — Magdalen. 
 
 Guido — Madonna in glory and two saints. 
 
 Melozzo da Forli ... — Audience of Sixtus IV. — In fresco. 
 
 Perugino — The Resurrection. 
 
 „ ...... — Madonna with four saints. — It is supposed 
 
 the hand of Eaphael may be seen in both 
 these works. 
 
 Pinturicchio . . . . . — Coronation of the Virgin. 
 
 Eaphael Sanzio .... — Coronation of the Virgin. — Early work. 
 
 Komano, Giulio, and Fran- 
 cesco Penni .... — Assumption of the Virgin ^^di Monte Luce J"* 
 
 Sassoferrato ..... — Madonna luith angels, 
 
 Spagna, Lo, attrib. . • . - The Adoration. — A work of the time and 
 
 school of Eaphael, of which the author- 
 ship is doubtful. 
 
 Spagnoletto — Martyrdom of S. Lawrence. 
 
 Titian — Madonna in glory ^ 8. 8ehastlan and other 
 
 saints below. — Injured. 
 „ — Portrait of a Doge of Venice, 
 
 Room IV. 
 
 BaroccLO, F — The Annunciation, 
 
 „ — The ecstasy of 8. Michelina, 
 
 Correggio, attrib. ... — The Redeemer in glory. 
 
 Guido — The crucifixion of 8. Peter. 
 
 Moretto ...... — Madonna enthroned with tivo saints, 
 
 Poussin, Nicolas. ... — Martyrdom of 8. Erasmus. 
 
 Sacchi, Andrea .... — 8. Romualdo and his brethren. 
 
 „ „ .... — 8. Gregory and others. 
 
 Valentin, Moise .... — Martyrdom of two saints, 
 
 Veronese, P — 8. Elena. 
 
 The LoGGiE are decorated by pupils of Eaphael after designs of the 
 master. 
 
 Three of the Stanze were painted principally by Eaphael, and one by 
 Giulio Eomano, Penni and Eaphael del Colle, after the death of the master. 
 
 J. — 8tanza of the Incendio del Borgo. 
 No. 
 
 Eaphael and scholars . . — The Incendio del Borgo. — Occupies the wall 
 
 opposite the window. 
 J, „ . . — Justification of Leo III. before Charle- 
 
 magne. — Occupies the spaces round the 
 window. 
 
 ; . — The coronation of CJiarlemagne by Leo III, 
 „ . . — The victory of Leo IV, 
 
 The four medallions ou the ceiling are by Perugino. 
 
ROME: THE VATICAN. 
 
 257 
 
 II. — Stanza delta Segnatura, 
 
 No. 
 
 Raphael ...... — Theology, or the Disputa del Sacramento. 
 
 „ — Poetry, or Mount Parnassus. — Opposite the 
 
 chief window. 
 
 „ — Philosophy, or the School of Athens, 
 
 „ — Jurisprudence. — Round the chief window. 
 
 The circular and square compartments of the ceiling are by Raphael. 
 
 III. — Stanza of Heliodorus. 
 
 Raphael — The expulsion of Heliodorus from the 
 
 Temple. 
 
 „ — The miracle of Bolsena. — Opposite the chief 
 
 window. 
 
 — Leo I. preventing Attila's entrance to Rome. 
 
 „ —The deliverance of S. Peter.— Ower the chief 
 
 window. 
 
 The ceiling is by Baldassare Peruzzi. 
 
 IV. — Sala of Constantine. 
 
 Giulio Romano .... — Victory of Constantine at the Milvian 
 
 bridge. 
 
 „ .... — ■ The cross appearing to Constantine. 
 Francesco Penni .... — The baptism of Constantine. 
 Raphael del Colle ... — Constantine presenting Rome to the Pope. 
 
 A private door from this Sala leads into a large room, splendidly decorated 
 by Raphael and his pupils." Beyond is the little Capella di S. Lorenzo, 
 famous for the frescoes it contains, painted by Fra Angelico when he was 
 sixty years of age for Nicholas V. They are in admirable preservation, are 
 among the finest of his works, and relate to the histories of S. Stephen and 
 S. Lawrence. 
 
 In the SiSTiNE Chapel are the celebrated frescoes by Michael Angelo. 
 
 The roof is occupied with numerous subjects, from the * Creation of the 
 world,* to the * Deluge.' 
 
 At the four corners are the following incidents from Jewish history : (1) 
 * The brazen serpent ' ; (2) ' Punishment of Haman ' ; (3) * David and 
 Goliath ' ; (4) * Judith and Holofernes/ 
 
 Besides these there are twelve seated figures of the Prophets and Sibyls 
 In compartments around ; and subjects from the history of the Virgin occupy 
 the arches above the windows. 
 
 Lastly, the end wall exhibits the final work of the great series — namely, 
 the fresco of the ' Last Judgment.* 
 
 On the side walls are two sets of frescoes, six in each, one of subjects from 
 the Old Testament, the other from the New Testament. Each commences at 
 
 s 
 
258 
 
 SIENA. 
 
 the end of the chapel nearest the *Last Judgment.' The Old Testament 
 series is on the right and commences with 
 
 No. 
 
 1 Luca Signorelli .... The Circumcision. 
 
 2 Sandro Botticelli . . . Moses and the daughters of Jethro, &c. 
 
 3 Cosimo Rosselli .... Pharaoh and his host in the Bed Sea, 
 
 4 Signorelli ..... Puhlieation of the law and death of Moses. 
 
 5 Botticelli ..... Rebellion of Korah. 
 
 6 C. Rosselli . , . . . Israelites bringing their jewels, and Moses 
 
 giving the Commandments. 
 
 The New Testament series is on the left, and commences with 
 No. 
 
 1 Perugino The Baptism of Christ. 
 
 2 Botticelli. . . The Temptation. 
 
 3 D. Ghirlandajo .... Calling of the disciples. 
 
 4 G. Rosselli . . . ^ . The sermon on the mount. 
 
 5 Perugino ...... Delivery of the keys to S. Peter. 
 
 6 C. Rosselli The Last Supper. 
 
 Occupying the wall at the opposite end to the * Last Judgment ' are two 
 frescoes much damaged, the ' Resurrection ' by Ghirlandajo and the ^ Arch- 
 angel Michael ' by Salviati. 
 
 THE PALAZZO PUBBLICO AT SIENA. 
 Paintings last examined in 1877. 
 Sala dei Tribunale di Bicchema, 
 
 No. . 
 
 Sano di Pietro . .. . . — Fresco of the coronation of the Virgin. 
 
 Stanza del Gonfaloniere. 
 Bazzi, or II Sodoma . . — Fresco of the Besurrection. 
 
 Sala del Concistoro. 
 Beccafumi ..... — Frescoes on ceiling. 
 
 Sala di Balia. 
 
 Spinello Aretino ... — Fresco of the procession of Emperor 
 
 Frederick Barbarossa and Pope AleX' 
 ander III. 
 
 In the Vestibule hangs a fine small * Madonna and angels,' by Matteo da 
 Siena, dated 1484. 
 
 .Sala del Consiglio. 
 
 Bazzi, or Sodoma ... — Three frescoes of saints and clierubs. 
 
 Simone Martini .... — Fresco of Madonna and saints. 
 
 „ „ .... — The equestrian portrait of Guidoriccio. 
 
 Ambrogio Lorenzetti, \ — Two battle-pieces. — In brown mono- 
 
 attrib / chrome. 
 
SIENA. 
 
 259 
 
 In the chapel adjoining is a fine * Holy family ' by Sodoma, and frescoes by 
 Taddeo Bartoli, much restored. 
 
 Sola della Pace. 
 
 Ambrogio Lorenzetti . . — Frescoes representing the advantages of 
 
 Justice and Peace, and the effects of 
 good and had Judgment. — Almost ruined. 
 
 THE GALLERY OF FINE ARTS AT SIENA. 
 Catalogue of 1872. 
 
 Pictures last examined in 1877. 
 
 The pictures are numbered but not named, and they hang in numerical 
 order ; hence the catalogue will be more easily used if arranged in that order 
 and not alphabetically. p 
 
 Corridors and Booms of the Sienese School. 
 
 No. 
 
 6 Guido da Siena . 
 8 Unknown 
 
 14 
 
 18 Margaritone d' Arezzo 
 
 23 Duccio .... 
 
 24 „ attrib. . . 
 
 25 Segna 
 
 33 Gilio 
 
 41 Bernardo Daddi 
 
 42 
 
 45 Ambrogio Lorenzetti 
 46 
 
 55 Pietro 
 56, 7 „ 
 58 „ 
 
 66 Segna , . 
 
 79 Bartolo di Fredi 
 81-5 „ „ 
 
 90 Lippo Memmi 
 109 Jacopo di Mino 
 117 
 
 121 Bartolo di Fredi. . 
 125 Taddeo Bartoli . . 
 
 133 Domenico di Bartolo 
 
 134 Giovanni di Paolo . 
 135 
 
 5» 
 
 7? 
 
 18 Martino di Bolgarini 
 
 ?5 
 
 Madonna. 
 
 Christ seated. — Curious as being in low 
 
 relief, on wood. 
 A crucifix. 
 
 Portrait of S. Francis. 
 Madonna with saints. 
 A small triptych. 
 Four saints. — Signed. 
 A crucifix. 
 
 A triptych.— Dsited 1336. 
 
 Madonna and angels. — Part of a triptych. 
 
 The Annunciation. — Dated 1344. 
 
 An altarpiece. 
 
 Madonna enthroned. 
 
 Parts of a predella. 
 
 Madonna with angels. 
 
 A crucifix. — Dated 1345. 
 
 Adoration of the magi. 
 
 Portions of an altarpiece. 
 
 Madonna enthroned with saints and angels. 
 
 Madonna and saints. — Dated 1362. 
 
 Altarpiece and predella, 
 
 Predella. ' 
 
 Annunciation and others. — Small. 
 
 Madonna and angels. — Dated 1433. 
 
 Predella. 
 
 Altarpiece. — Dated 1453. 
 
 S 2 
 
260 
 
 SIENA. 
 
 No. 
 
 143,4 Sano di Pietro . . . Altarpiece, Assumption of the Virgin. — Dated 
 
 1479, and predella. 
 
 145 „ „ ... Altarpiece in three compartments. — Dated 
 
 1449. 
 
 151 „ „ ... Altarpiece in three compartments, — Dated 
 
 1444. 
 
 152 „ „ ... Altarpiece in three compartments. 
 
 166 Matteo da Siena .... Madonna and saints. 
 
 167 „ „ .... Madonna and saints. 
 
 168 „ Madonna and saints. 
 
 170 „ Madonna and angels. — Dated 1470. His 
 
 earliest work. 
 
 186 Vecchietta Altarpiece. 
 
 187 Sano di Pietro .... Altarpiece in three compartments. 
 205 Bazzi (Sodoma) .... Christ at the column. — Fresco. 
 219, 20 Luca Signorelli . . . Siege of Troy. 
 
 236 Spinello Aretino .... Coronation of the Virgin. 
 
 239 Sano di Pietro .... Madonna and saints. 
 
 255 Matteo da Siena . . . . Madonna^ saints, and angels. 
 
 294 Sano di Pietro .... Madonna and saints. 
 
 297 Lnca Thome . . . Altarpiece in five compartments. — Dated 1367. 
 
 341 Bazzi (II Sodoma) . . . Tlie Agony. — In fresco. 
 
 342 „ „ . . Descent into limbo. — In fresco. 
 
 344 Fungai and Pacchiarotto . Altarpiece by latter ; lunette by former, 
 
 352 Beccafumi Madonna and saints. — A circular. 
 
 373 Delia Pacchia .... Annunciation and Visitation. 
 
 377 Bazzi (Sodoma) .... Descent from the cross. 
 
 379 Fungai Assumption. 
 
 380 „ The predella. 
 
 A room for works of other schools. 
 
 32 Salvator Kosa .... Two figures, 
 
 36 Caravaggio Five figures. 
 
 37 Padovanino ..... The rape of Europa. 
 39 D. Morone A portrait. 
 
 45 Pinturicchio .... Holy family. — Circular. 
 
 49 B. Strozzi A monk. 
 
 54 C. Amberger ..... Portrait of Charles V. 
 
 63 Beccafumi S. Catharine receiving the stigmata. — Altar- 
 piece. 
 
 64, 5, 6 „ The predella. 
 
 81 Palma Vecchio .... Holy family. 
 
 85 Bazzi (II Sodoma) ... J. Nativity. — Circular. 
 
 86, 7 „ „ ... Two panels. 
 
 90 Paris Bordone .... Annunciation. 
 
 In another room are some of the original cartoons for the marble pavement 
 of the cathedral of Siena, by Beccafumi. 
 
TURIN, 
 
 261 
 
 THE ROYAL PINACOTECA AT TURIN. 
 
 Pictures last examined in 1878. 
 
 No. 
 
 Albani, Francesco 
 Aogelico, Fra 
 
 Badile, Antonio . 
 Barnaba da Siena 
 Bassano, Francesco 
 
 Bazzi (II Sodoma) 
 
 Bellini, Giovanni 
 Bellotto, Bernardo 
 Bembo, Bonifazio 
 Bigio, Francia . 
 Botticelli, Sandro 
 
 5> 
 
 attrib. 
 Bronzino, Angel o . 
 Brueghel, Jan (Velour.- 
 Bugiardini, G. . 
 Canale, Antonio. 
 Caracci, Agostino 
 
 „ Annibale . 
 Christus, Petrus . 
 Cignani, Carlo . 
 Credi, L. di . 
 Ciespi, G. B. (II Cerano) 
 Crespi, G. (Lo Spagnuolo) 
 
 Dow, G 
 
 Dughet, G 
 
 Dyck, A. van 
 
 »5 
 
 Engelbertsz, Cornells 
 Ferrari, Gaudenzio . 
 Flinck, G. . . . 
 Francia, Francesco . 
 Fjt, Jan .... 
 
 260, 4, 71, 4 The four elements. 
 
 93 Madonna. 
 
 94, 6 Angels adoring. 
 140 Presentation of Virgin in the temple. 
 784 Madmna.— Dated 1319. 
 167 ^ kitchen. 
 245 Rape of the Sahines. 
 
 50 Holy family. 
 376 Lucretia. 
 779 Madonna. 
 283, 8 Views of Turin. 
 136 The three Graces. 
 121 The Annunciation. 
 
 98 Tobit and the angel. 
 
 99 Madonna, 8. John and angel. 
 369 Triumph of Chastity. 
 
 374 Madonna. 
 
 127 Portrait of Eleanor of Toledo. 
 
 380 Marine-piece. 
 
 106 Holy family. 
 
 257 bis View in Venice. 
 
 160 Peasants. 
 
 158 S. Peter. 
 
 359 Madonna. 
 
 286 Charity, 
 
 103, 356 Madonnas. 
 
 170 Saints and the Virgin. 
 
 287 S. Giovanni Nepomuceno. 
 
 391 J. young Dutch woman. — Dated 1662. 
 
 237 The falls at Tivoli. 
 
 338 The three children of Charles I. 
 
 351 Princess Isabella of Spain. 
 
 363 Equestrian portrait of Prince Thomas of 
 
 Savoy. 
 384 Holy family. 
 
 306 Christ on Calvary. — Triptych. 
 49 S. Peter. 
 382 A burgomaster. 
 101 A Pieta. — Re-touched. 
 225 Fruit. 
 
 231 bis Animals and fruit. 
 
262 
 
 TURIN. 
 
 No. 
 
 Gandolfino 41 Triptych.— Dated 1493. 
 
 Garofalo 108 Jesus and the doctors. 
 
 Giovanone, G 42 Triptych. 
 
 Giotto 91 Madonna and angels. 
 
 Griffier, G 451, 2 Views. 
 
 Guercino . . . . . 239 S. Francesca. 
 
 „ 242 EcceHomo. 
 
 Heem, Jan David de . . 228, 365 Flowers and fruit. 
 
 Holbein, Hans .... 386 Portrait of Erasmus. 
 
 Honthorst G. .... 385 Samson taken hy the Philistines. 
 
 Lanino, B 51 Holy family. 
 
 „ „ 62 Madonna and saints. — And others. 
 
 Lievens 377 bis Interior with figure, 
 
 Lomi, Orazio .... 244 The Annunciation. 
 Macrino d'Alba .... S. Francis and a monh. 
 
 „ „ .... 50 bis Madonna with saints. — And others. 
 
 Mantegna, Andrea, attrib. . 355 Madonna and saints. 
 Memling, Hans . . . .358 The seven sorrows of the Virgin. 
 
 Mieris, F. van .... 379 His own portrait. 
 
 Mignon, A 227 Flowers. 
 
 Moretto (Bonvicino) . . 116 Madonna. 
 
 My tens, D 415 Charles I. of England. 
 
 Neefs, P., elder .... 418 Church interior. 
 
 „ „ younger . . . 444 CJiurch interior. 
 
 Netscher, G 394 The blacksmith of Antwerp. 
 
 Pannini, G 284 Interior of S. Peter^s, Rome. 
 
 „ 289, 94 Views in Rome. 
 
 Penni, F 122 The Entombment. 
 
 PoUajuolo, Antonio ... 97 Tobias and the angel. 
 
 Potter, P 377 Cattle in a landscape. 
 
 Eaphael, attrib 373 The Madonna della Tenda. 
 
 Ravesteyn, J. van . . . 367 Portrait of a princess. 
 
 Rembrandt 430 Portrait. 
 
 Eeni, Guido 235 Apollo and Marsyas. 
 
 „ „ 236 Group of cherubs. 
 
 Ribera (Spagnoletto) . . 397 S. Paul the hermit. 
 
 Sanredam, P 361 Church interior. 
 
 Sallaert, A 398 Procession at Brussels. 
 
 Savoldo, Girolamo . . . 118 Holy family. 
 
 „ „ ... 119 Adoration of the shepherds. 
 
 Sesto, Cesare da, attrib. . . 71 Madonna. 
 
 Sirani, Elisabetta . . . 241 Cain and Abel. 
 
 Strozzi, B 251 Homer, 
 
 Teniers, D., younger . . 364 'Interior of an inn. 
 
 „ „ . . 423 A tavern. 
 
 „ „ . . 428 Peasants playing cards. 
 
VENICE, 
 
 263 
 
 No. 
 
 Velasquez, D 392 Head of Philip IV. of Spain, 
 
 Veronese, P 157 Queen of Sheba and Solomon, 
 
 „ 234 Christ at the feast of Simon, 
 
 Werff, Ad. van der . . . 396 Small composition. 
 
 Wouwerman, P. ... 366 A battle, 
 
 Zachleven 448 Landscape, 
 
 THE ACADEMY OF FINE ARTS AT VENICE. 
 Catalogue of 1877. 
 
 Antonello da Messina 
 Avanzi Veronese 
 Basaiti, Marco . 
 
 5> 
 
 » 
 
 5» 
 
 Bassano, Jacopo . 
 
 „ Leandro 
 Belliui, Jacopo . 
 Gentile . 
 
 »♦ 
 
 Giovanni 
 
 Benedetto Diana 
 Bissolo, F. 
 
 »» 
 
 Boccaccino da Cremona 
 Bonifazio Veneziano 
 
 1? 
 
 Pictures last examined in 1878. 
 No. 
 
 . 264 Christ at the column, 
 . 410 A P^e^a.— SmaU, dated 1367. 
 4, 6 Tm;o saints, 
 
 7 A dead Christ, surmounting No, 8. 
 31 Calling of the sons of Zehedee, 
 534 The Agony in the garden. — Dated 1510. 
 484 A saint blessing the faithful. 
 . 494 Raising of Lazarus, 
 
 443 Madonna. — Early work and injured. 
 , 529 Miracle of the true cross, 
 543 The shrine. — Much injured. 
 555 Procession in the Piazza of S. Marco. 
 38 Madonna with six saints, 
 94 Madonna. — Dated 1487. 
 313 Madonna " of the Admiralty magistrates^ — 
 Retouched. 
 . 234-238 Allegories, 
 
 372 Madonna and the sleeping Christ. 
 424 Madonna and SS. Paul and George. 
 436 Madonna with the magdalen and S. Catha- 
 rine. 
 
 580 Madonna enthroned with saints, 
 . 186 Madonna, 
 
 337 Madonna and saints* 
 435 Madonna and saints. 
 . 541 The coronation of S. Catharine. 
 132 Madonna and saints, 
 26-29 Figures of saints. 
 57 The adoration of the magi. 
 . 326 Holy family and saints, 
 
 483 Madonna in glory and saints. 
 500 The rich man, 
 . 505 The Saviour enthroned. 
 
264: 
 
 VENICE. 
 
 Bonifazio Veneziano 
 >» »? 
 
 Bordone, Paris . 
 » »> 
 
 Buonconsiglii, Giov 
 Carpaccio, V. 
 
 »» 
 j» 
 
 >? 
 
 7» 
 
 Catena, V. 
 
 attrib. 
 
 Cesare da Sesto . 
 Cima da Conegliano 
 
 Contarini, Giovanni. 
 Cordegliaglii, Andrea, attrib. 
 
 Dyck, A. van 
 
 Engelbrechsten, Cornelia, 
 attrib 
 
 No. 
 
 516 Christ and Eis apostles, 
 524 Massacre of the innocents. 
 572 Adoration of the magi. 
 586 SS. Benedetto and Sebastian, — And 
 others. 
 
 428 The Tiburtine Sibyl. 
 
 492 Fisherman presenting the ring to the Doge 
 of Venice. 
 
 272, 601, 2 Portions of large worhs. 
 
 488 Presentation in the temple. 
 
 539 The ambassadors of England before the 
 Moorish king. 
 
 533 Dream of S. Ursula. — Dated 1475. 
 
 537 The king dismisses the English ambas- 
 sadors. 
 
 549 The English ambassadors return to their 
 
 king with the answer. 
 542 The English prince takes leave of his father. 
 
 —Dated 1495. 
 546 S. Ursula received at the gate of Rome by the 
 
 Pope. 
 
 544 S, Ursula and the virgins arrive at Cologne. 
 
 — Dated 1490. Inferior. 
 554 Martyrdom of S. Ursula and the virgins, 
 560 S. Ursula in glory. — Dated 1491. 
 
 This completes the series of nine subjects. 
 552 Meeting of Joachim and Anna. — Dated 
 
 1515. 
 
 559 Crucifixion of ten thousand martyrs. 
 564 Casting out a devil. — Eetouched. 
 11, 13 SS. Augustine and Jerome. 
 
 124 Madonna and two saints, 
 
 385 Madonna with saints. — By Benedetto 
 
 Diana : C. and C. 
 262 Madonna. 
 
 125 Madonna with saints. 
 
 421 Madonna. — Keplica of No. 17 at Berlin 
 and of No. 300 in our National Gallery. 
 
 429 A Pieta. 
 
 456 The Saviour^ S. Thomas, and another saint. 
 
 582 Madonna enthroned. 
 
 347 Excellent small copy of Titian's Venus. 
 
 110 Madonna and saints. 
 
 260 Small portrait of a child. 
 
 315 Crucifixion, 
 
VENICE. 
 
 2G5 
 
 Feti, Domenico . 
 Garofalo (Tisio) . 
 Gentile da Fabrian 
 Giambono, M. 
 Giordano, Luca 
 Holbein, Hans, attrib 
 Hondecoeter . 
 J acobello del Fiore 
 Lazari, S.. 
 Le Brnn, C. . 
 Lorenzo Veniziano 
 
 „ and Bissoli 
 Mansueti . 
 
 J' 
 
 Mantegna, A. 
 Marconi, Rocco 
 
 5> 
 
 Marziale, Marco 
 Matteo da Bologna 
 
 Mierevelt, M. . . 
 Modena, Toinmaso da 
 Montagna, Bartolommeo 
 Moretto (Bonvicino) 
 
 5> 
 
 Moroni, G. B. . . 
 Padovanino (Varottari) 
 
 J5 
 
 1* 
 
 Palm a Giovane 
 Palma Vecchio 
 
 J? 
 
 >» 
 
 Pellegrino da Udino 
 
 5» 
 
 Piero della Francesca 
 Pietro da Cortona 
 
 No. 
 
 95 Meditation. 
 
 452 Madonna and saints. — Dated 1518. 
 382 Madonna. 
 
 3 Saviour and four saints, 
 571 The Descent from the cross. 
 
 266 Portrait of a youug woman. 
 280, 1 Poultry, 
 
 22 Madonna and two saints. 
 545 Miracle of the holy cross. 
 597 Christ in the house of Simon, 
 373, 4, 5 Figures of saints. 
 389 Annunciation. — Dated 1371. 
 391, 2, 3 Saints. 
 
 5 Annunciation. — Dated 1357. 
 538 SS. Mark and Aniano. 
 540 S. Mark preaching at Alexandria. 
 548 Miracle of the cross. 
 584 Saints. 
 
 273 S. George.—Smol). 
 
 60 Christ and two saints. 
 495 Descent from the cross. 
 
 96 The supper at Emmaus. — Dated 1506. 
 
 2 Altar piece in many compartments^ icith a 
 predella, 
 338 Portrait. 
 
 352 S, Catharine.— Dated 1351. 
 
 361 Madonna enthroned with tico saints. 
 
 261 S. Peter. 
 
 267 S, John Baptist, 
 433 Male portrait. 
 
 47 Marriage at Cana. 
 
 87 Orpheus and Eurydice. 
 134 T/ie rape o/ Proserpine. 
 481 Descent of the Holy Ghost. 
 591 )S^. Diacre recovering his sight. 
 595 Madonna in glory. 
 
 40 Death on the pale horse. 
 
 593 /S. Pe^er enthroned with other saints. — Much 
 restored. 
 
 84 Christ heals the daughter of the Canaanitish 
 woman. 
 
 59 The Assumption. 
 532 The angel Gabriel. 
 562 The Virgin annunciate. 
 419 yS'. Jerome. — Small ; much injured. 
 473 Daniel in the lions* den. 
 
266 
 
 VENICE. 
 
 PordenoQe, B. 
 
 • • • • 
 
 Savoldo, Girolamo . 
 
 ?5 
 
 Steen, Jan . 
 Tintoretto (J. Robusti) 
 
 11 
 
 5» 
 »> 
 »» 
 »> 
 
 Titian 
 
 ?> 
 
 5» 
 
 5» 
 
 Veronese, Paolo . 
 
 »> 
 
 11 
 
 Vicentino, Andrea 
 Vivarini, Bartolommeo 
 Yivarini, Giovanni and 
 Antonio, known also 
 as G. and A. da Mu- 
 
 rano 
 
 5> 
 
 5' 
 
 Yivarini, Luigi, " elder," 
 attrib 
 
 11 
 » 
 
 younger, 
 
 No. 
 
 486 Madonna and saints. 
 
 490 jPowr saints. — Others attributed to hirn 
 here are by other painters ; C. and C. 
 
 258 SS. Peter and Paul. 
 
 16 Coronation of the Virgin in the centre. — By 
 Stefano, signed Stefan Plebanus, and 
 dated 1381. The small compartments 
 are by Semitecolo. 
 
 259 Madonna. 
 
 394 Coronation of the Virgin. — Signed and 
 
 dated 1351. 
 342 An interior. 
 
 25 Fall of man. 
 
 45 The miracle of S. Marh. 
 
 51 Portrait of a doge, 
 503 Madonna with senators. 
 
 568 Descent from the cross. 
 
 569 Two senators. 
 575 Two senators. 
 
 24 The Assumption of the Virgin. 
 33 The Entombment. — Chiefly Titian, but 
 finished by Palma Giovane, being 
 Titian's last work. 
 366 ;S^. John in the desert, 
 
 487 The presentation in the temple. 
 489 An Annunciation. 
 
 519 Madonna and saints. 
 547 The repast at Levies house. 
 603 An Assumption. — And others. 
 30 The Eternal and saints, 
 1 Madonna and four saints. — Dated 1463. 
 
 23 Madonna and the four doctors, 
 8 Coronation of the Virgin. 
 581 The angel Gabriel. 
 583 The Virgin annunciate, 
 
 10, 15-20 Single figures of saints, — These 
 more probably belong to the " School 
 of Luigi," the existence of an elder 
 Luigi being doubtful : C. and C. 
 
 354 S. Mark enthroned. 
 
 561 Madonna and saints. — ^Dated 1480. 
 
Venice. 
 
 267 
 
 THE CORKER MUSEUM. 
 
 No Catalogue. 
 Pictures last examined in 1878. 
 
 There are a few pictures of interest here, among many others which have no 
 claim to be noticed. 
 
 No. 
 
 Bellini, Gentile .... — Head of the doge Foscari, 
 
 „ Giovanni ... — Portrait of a doge. 
 Lorenzo Veniziano ... — The Saviour enthroned. — Dated 1369. 
 
 Stefano — Madonna. — Dated 1369. 
 
 Vivarini, Luigi .... — S. Anthony of Padua. — Small. 
 
 A * Madonna and saints/ signed N. Semitecolo, and dated 1400, is con- 
 sidered to be by that master by C. and C, although not named as such in the 
 museum. 
 
 THE DUCAL PALACE AT VENICE. 
 
 Paintings last examined in 1878. 
 
 On the first floor is the Great Hall of Council. Its walls are covered with 
 paintings, among which is the celebrated * Paradise ' by Tintoretto ; others 
 are by the sons of Paul Veronese ; by L. and F. Bassano, Palma the elder and 
 younger, Tintoretto, II Vicentino, and others. The frieze is adorned by 
 portraits of the * Doges,* chiefly by Tintoretto. 
 
 The paintings on the ceiling are by P. Veronese, Tintoretto, both of which 
 are particularly fine, by the younger Palma, and the two Bassanos. 
 
 The Hall of Scrutiny, on the same floor, contains, among many others, wall 
 paintings by Tintoretto, Vicentino, Bellotti, F. Bassano, and Palma the 
 younger. The * Last Judgment,' occupying one end of the hall, is one of the 
 chief works of the last-named painter. 
 
 In the Library is the famous * Grimani Breviary,' said to have been illus- 
 trated by Memling, Gerard van der Meire, and other early masters. 
 
 On the second floor are several apartments. In a small room by the 
 entrance-chamber of the Three heads of the Council of Ten is a good 
 * S. Christopher and two saints,' by Bonifazio, and a ' Madonna and saints,' by 
 Catena. The Hall of the Four Doors contains among other works the 
 famous picture of the * Doge Grimani kneeling before Faith,' by Titian, much 
 restored, but still fine. 
 
 In the Hall of the Senate is a large painting by Tintoretto occupying 
 the end wall above the throne, which cannot be regarded as one of his best 
 works. At the opposite end is another of the younger Palma's best achieve- 
 ments, * Christ adored by two doges.* Besides these there are other decorative 
 paintings on the walls and ceiling. 
 
268 
 
 VENICE AND VERONA, 
 
 In the ante-chamber leading to the chapel is a work by Bonifazio not easily 
 seen, and some well-painted saints by Tintoretto. In the Sala del Collegio a 
 fine painting by Paul Veronese adorns the end wall over the throne ; works by 
 Tintoretto and others are on the side walls. Perhaps few more admirable 
 examples of ceiling decoration exist than the ceiling of this hall, which is 
 entirely the work of Veronese. In the small Anti-Collegio are four works of . 
 Tintoretto, superior to anything else by him in Venice. The first, inferior to 
 the rest, is the * Forge of Vulcan opposite to it is ' Pallas repelling Mars by 
 one window the * Three Graces and Mercury lastly, opposite to it, and most 
 beautiful of all, ' Bacchus and Ariadne, Venus descending to crown the latter.' 
 In the same room are Veronese's * Kape of Europa,' and a good example of 
 Jacopo Bassano. 
 
 THE SOUOLA DI SAN EOCCO AT VENICE. 
 
 Paintings last examined in 1878. 
 
 This building contains a large collection of Tintoretto's works, which occupy 
 the lower hall, and the apartments upstairs ; almost all great compositions 
 from the history of Our Lord. On the landing of the staircase is a small 
 picture by Tintoretto, hung high, and an * Annunciation ' by Titian opposite. 
 Many of these paintings are not easily seen, from want of light. By some 
 they are held in very high estimation. In quality of workmanship it cannot 
 be denied that they are greatly inferior to choice examples at the Ducal 
 Palace and elsewhere. They have little or no claim to beauty of colour. The 
 painter's power of drawing the human form in every attitude is indisputable ; 
 exemplified as it is here by the energetic action which characterises almost 
 every figure. To a student of the present day this predominance of action is 
 incompatible with the repose and dignity which many of the subjects require. 
 A most notable instance is afforded by the excessive movement, noise, and 
 bustle displayed in the 'Last Supper.' The *Pool of Bethesda,' and the 
 ' Brazen serpent,' among others, exhibit a confusion of figures in every variety 
 of contortion. One of the best is the ' Assumption ' on the ground floor. The 
 most famous is the * Crucifixion ' in the Sala dell' Albergo on the second 
 floor, a crowded composition containing all the incidents of the narrative. 
 
 THE PINACOTECA AT VERONA. 
 
 Pictures last examined in 1877. 
 Old Collection. 
 
 No. 
 
 Badile, Giov 350 Altarpiecej Madonna and saints in seven 
 
 compartments. — Signed. 
 
 Benaglio, Giov 349 Altarpiece, Madonna and saints in three 
 
 compartments, and a predella, 
 
 Bonsignori, Francesco . . — Crucifixion, 
 
VERONA, 
 
 269 
 
 Caroto, Francesco 
 
 5? 
 
 5? 
 
 Cavazzola (P. Morandi) 
 
 >» 
 
 J) 
 
 Cima da Conegliano 
 Cimabue, attrib. 
 
 Crivelli, Carlo 
 Falconetto, G. M. 
 
 No. 
 
 251 >S^. Francis and saints, 
 263 S. Catharine. 
 
 272 Madonna in adoration. 
 
 273 Madonna and saints. 
 297 Christ washing the disciples' feet. 
 
 277 Large altarpiece. 
 
 299 Christ at the column. 
 
 300 Christ washing the feet. 
 319 Deposition, Verona in the distance. A 
 
 centre-piece. — Dated 1517. 
 318, 20 Two wings, the Agony and hearing the 
 cross. 
 
 307 Madonna and saints. 
 
 339 A series of small subjects, thirty in number, 
 from the Creation to the Acts of the 
 apostles. — On gold ground, very early 
 and quaint work. 
 43 Madonna with angels. — His early manner. 
 322 Augustus and the Sibyl. 
 276 Madonna with two saints. 
 
 278 Madonna under a laurel-tree. 
 275 An altarpiece. 
 
 331-4 small altarpiece in several compartments, 
 highly ornamented. — Signed and dated 
 1360. 
 
 257 An Entombment. 
 
 A large room contains numerous frescoes, including one by Fr. Morone, and 
 others from the Palazzo Contarini. 
 
 Under the same roof is the collection of Dr. Bernasconi, which contains few 
 works of merit ; the names attached to most of the pictures are not to be 
 accepted. The following examples may be noted. 
 
 No. 
 
 86 Presentation in the temple. 
 148 Madonna. 
 93 A child's head. 
 47 Female portrait. 
 
 155 Holy family. A school-piece. The 
 signature of the master's name is 
 recent. 
 153 Holy family. 
 28 Nativity. — The child in the centre is finely 
 painted, and may be accepted ; the 
 surrounding figures are inferior. 
 
 Tiepolo 70 Saints in adoration. 
 
 Titian 52 Holy family. — Injured by cleaning. 
 
 Libri, Girolamo dai 
 
 Morone, Francesco 
 Turone . 
 
 Veronese, Paolo 
 
 Bellini, Giovanni, attrib. 
 Bonsignori, Fr. . 
 Correggio 
 
 Dyck, Van, attrib. . 
 Francia, Fr., attrib. . 
 
 Parmegianino 
 Schidone, B., attrib. 
 
270 
 
 VICENZA. 
 
 THE MUSEUM IN THE PALAZZO CHIERICATI AT 
 
 VICENZA. 
 
 Pictures last examined in 1877. 
 
 Scattered amidst a large number of worthless canvases, to which good 
 names are freely attached, there are a few pictures of interest, and these only 
 to a student of the history of art. They are chiefly examples of early painters 
 of Vicenza, and are all in bad condition. 
 
 Sola, 
 
 No. 
 
 Bassano, Jacopo 
 
 • • • 
 
 Albani, Er 
 
 Bellini, Giovanni, attrib. 
 Cima da Conegliano 
 
 2 Madonna adored hy senators and others. 
 
 Stanza del Cima, 
 
 51 Child asleep. 
 15 Madonna and saints. 
 54 Madonna and two saints.- 
 Much injured. 
 
 -In tempera. 
 
 Stamina degli Antichi. 
 
 Antonello da Messina . . 12 Head of Christ crowned with thorns. 
 
 " Bernardino da Murano," (2 Madonna enthroned with four saints.- 
 
 attrib. 
 
 Eyck, Van, school of 
 Paulus Veniziano . 
 
 Probably by the school of Montagna : 
 C. and C. 
 
 1 A Crucifixion, 
 
 10 An Ancona, Death of the Virgin and 
 numerous compartments. — Dated 1323. 
 
 Stanza degli Vicentini. 
 
 4 Ancona. 
 20 A Pietd. — In tempera. 
 
 Battista da Vicenza 
 Buonconsiglio .... 
 Fogolino 22 Adoration of the magi. — Ruined. 
 
 Montagna, Bartolommeo 
 
 5» 
 
 9» 
 
 2 Madonna enthroned with saints. — Large 
 
 altarpiece with predella. 
 
 3 Madonna in adoration and two saints. 
 
 — A large altarpiece, an early example. 
 6 Madonna in adoration. — A small half- 
 length. 
 
 8 Presentation in the temple. 
 18, 19 Altarpiece with predella. 
 
ANTWERP: THE MUSEUM. 
 
 271 
 
 THE PICTURE GALLERIES OF BELGIUM. 
 
 THE MUSEUM AT ANTWERP. 
 Catalogue of 1875. 
 Pictures last examined in 1877. 
 
 No. 
 
 Aelst, W. van .... — Fruit, 
 Angelico, Fra .... 3 >S'. Romualdo and Otho IIL 
 Antonello da Messina . . 4 Crucifixion. 
 „ „ attiib. 5 Portrait. 
 
 Backhuizen, L 7 A war vessel. 
 
 Berckheyden, G. ... 11 View of Amsterdam. 
 
 Bles, H. de 47 Repose in Egypt. 
 
 Boeyermans, Th. . . . 21 Pool of BetJiesda, 
 
 „ ... 22 The visit. 
 
 Both, J. and A 26 Italian landscape. 
 
 Bouts, D., or Stuerboudt . 28 Madonna. 
 
 „ „ „ . 29 S. Christopher. 
 
 Brueghel, P., younger . . 31 Christ carrying the cross. 
 
 Clouet, Fr 33 Portrait of Francis IJ.— Painted in 1547. 
 
 Congnet, G 35-4 drummer. 
 
 Coxie, M 371, 2 Martyrdom of S. Sebastian and S, 
 
 George. 
 
 Craesbeeck, J. van . . . 377 Interior. 
 
 Cranach, L., elder ... 42 Adam and Eve. 
 
 „ ,, . . . 43 Charity, 
 
 Grayer, G. de . . . . 53 Elijah in the desert, 
 
 Dyek, Anton van . . . 401 Christ on the cross. 
 
 „ „ ... 403 Christ taken dovm from the cross. 
 
 „ ... 404 The Entombment. 
 
 „ „ ... 405 Portrait— Full length. 
 
 „ and Jan Fyt . 407 Child and dog. 
 
 Dunwege, V. and H. . . 123 Holy family. 
 
 Eyck, Jan van .... 410 S. Barbara. — In grisaille. 
 
 .... 411 Madonna. — Small. 
 
272 ANTWERP: THE MUSEUM. 
 
 No. 
 
 Eyck, Jan van attrib. . . 412 Madonna^ S, George^ and donator. — Copy of 
 
 the picture in the Bruges Academy. 
 
 „ „ copy of . . 413-24 The S. Bavon altarpiece, 
 
 Flinck, G 131 Portraits. 
 
 Floris, Frans . . . 112 Fall of the angels, 
 Fouquet, Jean . . . .132 Madonna. 
 Fyt, Jan 171 Eagles feeding. 
 
 „ „ 172 Two greyhounds. 
 
 Hals, Frans 188 A fisher-hoy. 
 
 Heem, J. de 54 Flowers. 
 
 Hobbema, M — Landscape. 
 
 Holbein, H., younger . . 198 Portrait of Erasmus. 
 Hondecoeter, M. ... — Poultry, 
 
 Jordaens, J. . . . . . 221 Adoration of the shepherds. — And others. 
 
 Justus of Ghent . . . 223 The Nativity. 
 
 „ ... 224 The Benediction. 
 Lucas van Leiden . . . 208, 9, 10 Triptych, — Centre, Adoration of the 
 
 magi. 
 
 Mabuse, Jan Gossaert . . 179 The four Maries. 
 
 „ „ . . 180 The just judges. 
 
 „ „ . . 181 Ecce Homo. 
 
 „ , „ . . 184 Female portrait. 
 Martini, Simone . . . 257-60 Four panels — Annunciation, Crucifixion, 
 
 Deposition. 
 
 Matsys, Quint in . . . 241, 2 Head of Christ and of the Virgin, 
 „ „ ... 245-9 Triptych — Entombment of Christ. 
 
 Meire, G. van der . . . 383-7 Altarpiece. 
 Memling, Hans .... 255, 6 Diptych. 
 
 „ „ attrib. . . 253, 4 Portraits. — Both these are by followers 
 
 of R. van der Weyden : C. and C. 
 
 Mostaert, J 263, 4 Male and female portraits. 
 
 Mytens, J 266 Female portrait. 
 
 Musscher, M. van ... — Family group. 
 Neer. Art. van der . . . 390 Moonlight. 
 Orley, B. van .... 461, 2 Portraits. 
 „ „ and Patinir . 464 Adoration of the magi. — Two wings, Nos. 
 
 65, 7, by De Rycker. 
 Ostade, A. van .... 466 The smoker. 
 
 Rembrandt 293 Female portrait. 
 
 „ attrib. . . . 294, 5 Small portraits. 
 
 Rubens 297 Christ between two thieves. 
 
 „ 298 Adoration of the magi. 
 
 „ 299 S. Theresa, a scene in purgatory, 
 
 „ 300 Triptych, — Centre, Dead Christ "a la 
 
 paiUeJ* 
 
 ,, 305 Communion of S. Francis, 
 
BRUGES. 
 
 273 
 
 No. 
 
 Rubens . . . . . . 306 S. Anna and the Virgin. 
 
 „ 307 Triptych — Incredulity of S. Thomas. 
 
 „ 312 Holy family^ 
 
 313 The Crucifixion. 
 
 „ 315 Study for descent from the cross. 
 
 „ 316, 17, 18 Three studies. 
 
 „ 650 Portrait of Gevartius. 
 
 „ and Brueghel . 319 ^ Pieta. — Small. 
 
 Ruysdael, J 646 The torrent. 
 
 Ryng, P. de 641 Still-life. 
 
 Seghers, D 3H1 Garland of flowers. 
 
 Snyders, Frans .... 335 Swans and dogs. 
 
 „ „ .... 336 Dead game. 
 
 Steen, Jan 338 Samson insulted by the Philistines. 
 
 „ „ 339 Village wedding. 
 
 Teniers, D., younger . . 344 Panorama. 
 
 „ „ . . . 346, 7, 8 Small panels. 
 
 Terburg 349 The mandolin-player. 
 
 Titian 357 The pope presents a bishop to S. Peter, 
 
 Valentin, M 358 The card-players. 
 
 Veen, Otho van .... 481,2 The deeds of S. Nicholas. 
 Vos, M. de, elder . . . 77-81 Triptych. — And many others. 
 
 „ C. de 104 Portrait of Abraham Grapheus. 
 
 „ „ 107 >S'. Norbert receiving the Host, 
 
 Weenix, J. B 497 View of an Italian port. 
 
 Weyden, R. van der . . 393-5 Triptych — The seven Sacraments. 
 
 „ „ . . 396 Annunciation. 
 
 „ „ . . 397 Portrait of Philip the Good. 
 
 Wouwerman, P 500 Halt of horsemen. 
 
 Wynants and A. van de 
 
 Velde 503 Landscape and animals. 
 
 Unknown early master. , 530, 1 A double diptych. 
 
 THE ACADEMY AT BRUGES. 
 Catalogue of 1875. 
 
 Pictures last examined in 1875. 
 
 It contains a fine specimen or two of Jan van Eyck and of Memling, but few 
 other works worthy of notice. 
 
 No. 
 
 Eyck, Jan van .... 1 Madonna with two saints and donator. 
 „ „ .... 2 Portrait of his wife. 
 
 T 
 
274 
 
 BRUGES AND BRUSSELS. 
 
 No. 
 
 Memling^ Hans . • . . 4 Triptych. — Centre, ;S^. Christopher and 
 
 Infant Clirist, with two saints. On the 
 wings, donator and sons, and wife and 
 daughters with patron-saints. 
 
 Gherardt David • . • 5 Baptism of Christ. — A triptych. 
 
 Pourbus, Peter . . . , 17 The Last Judgment. 
 
 „ „ . , » . 18 The Deposition, — A triptych. 
 
 THE MUSEUM IN THE HOSPITAL OF S. JOHN AT BRUGES. 
 
 Catalogue of 1869. 
 
 Pictures last examined in 1875. 
 No. 
 
 1 The marriage of S. Catharine. — A triptych. 
 
 2 The Chdsse, or Reliquary of S. Urs2ila. — A 
 chest, consisting of three panels on each 
 side, painted with scenes from the life of 
 the saint. There is a panel at each end ; 
 one is painted with a figure of S. Ursula, 
 the other with a figure of the Virgin. 
 The chdsse has a slanting roof adorned 
 by six medallions. 
 
 3 Adoration of the magi. 
 
 4 Madonna and donator, — A diptych. 
 
 5 The Sibyl Samhetha, 
 
 6 Descent from the cross. 
 
 11 A philosopher in meditation. 
 
 12 Descent from the cross. — And others. 
 — Several examples. 
 
 Memling, Hans . 
 
 Van Oost, Jacques, elder 
 „ „ younger 
 
 MUSEE NATIONAL AT BRUSSELS. 
 Catalogue op 1875. 
 Pictures last examined in 1877. 
 
 No. 
 
 Aertsen, Pieter .... 409 The coolc. 
 
 Albani, F 99 Adam and Eve — the Fall. 
 
 Alsloot, Van ..... 302, 3 Processions. 
 
 Amberger, C 362 Portrait of a man. 
 
 Arthois, J. d* . . . . 100-4 Landscapes. 
 
 Berchem, N. • . .. . . 410 Landscape and cows. 
 
 Bol, F 119, 20 Male and female portraits. 
 
 „ 121 Woman^ s portrait. 
 
BRUSSELS: THE MUSEUM. 
 
 275 
 
 Bol, F 
 
 Both, J. and A. . 
 
 BoutSj or Stuerboudt, Dirk 
 
 )> ?) 
 Brueghel, J. (Velours) . 
 
 „ P., elder . 
 
 „ youuger . 
 
 Bruyn, Bart .... 
 Cliampaigne, P. do . 
 
 Claude Gelee (Lorraine) 
 
 Coello, A. S 
 
 Conixloo, C. van 
 Coxie, Michael . 
 
 »5 97 ... 
 
 Cranach, L 
 
 ?> .... 
 Grayer, G. de ... 
 
 >j , • • • 
 
 „ ... 
 ♦) ... 
 
 Cuyp, A 
 
 Dossi, Dosso .... 
 
 Dow, G 
 
 Dughet, Gaspar . 
 Dutch School 
 Dvck, A. van 
 
 ?» ?» ... 
 
 >» >♦ ... 
 Eyck, H. and J. van 
 
 „ Jan van . 
 Flemish School . 
 
 >» • • * 
 
 . . . 
 
 »5 5) • • • 
 
 ?» )» • • • 
 
 Flinck, Govert . 
 Floris, Frans 
 German School . 
 
 91 ?1 ... 
 
 >» J1 . • , 
 
 >* if • • • 
 
 No. 
 
 122 Philosopher in meditation. 
 124 Landscape. 
 
 30 Injustice of the Emperor 0th o. 
 
 31 Justice of the Emperor Otho. 
 129 S, Norhert preaching. 
 
 2 Massacre of the innocents. 
 
 3 Fall of the rebel angels, 
 
 4, 5 Male and female portraits. 
 140, 1 Saints. 
 
 142-51 Legend of S. Benedict. 
 
 199 Landscape, 
 
 157, 8, 9 Female portraits. 
 
 367 The parentage of the Virgin. 
 
 163 Altarpiece. 
 
 164 Death of the Virgin, 
 364 Portrait of an old man. 
 365, 6 Adam and E»e, 
 
 167 The draught of fishes. 
 
 168 Martyrdom of a saint. 
 Assumption of S. Catharine, 
 
 170, 1 Saints. — And others. 
 180 Cow in stable with fowls. 
 
 185 Christ in the house of Simon, 
 
 186 Interior by candlelight. 
 
 187 Landscape. 
 458, 9 Portraits. 
 
 188 Crucifixion of S. Peter. 
 
 189 A satyr. 
 
 192 Portrait of Alexander de la Faille. 
 
 13 Adam and Et-e. — Part of the Adoration of 
 
 the Lamb in S. Bavon at Ghent. 
 
 14 Adoration of the magi. 
 
 42 Madonna. — May be by Petrus Christus : C. 
 
 and C. 
 51 Head of a man. 
 
 370 Christ and mourners. — A triptych. 
 
 378, 9, 84 A triptych, 
 
 382 Female portrait. 
 
 414 Female portrait, 
 
 196 Last Judgment. — A triptych. 
 
 84 The Crucifixion. 
 
 85 Scourging of Christ and the Ascension. — 
 
 These panels bear much resemblance to 
 the Liversberg * Passion * at Cologne. 
 
 403 Madonna enthroned tvith saints. 
 
 404, 5 Life-size figures of saints. 
 
 T 2 
 
 « 
 
276 
 
 BRUSSELS: TEE MUSEUM. 
 
 Geinian School . 
 Guercino . 
 Gysels, P. 
 Hals, Frans 
 
 Heem, J. de 
 „ 0. de 
 Heist, B. van der 
 Hobbema, M. 
 Holbein, Hans . 
 Hondecoeter, M. 
 
 Hugtenburg, J. van 
 Huysmans, C. 
 
 J. B. 
 
 Jordaens, Jacob . 
 
 Keyser, Tb. de . 
 Lombard, Lambert 
 Maas, N. . 
 Mabuse, J. (Gossaer 
 Maratta, 0. . 
 Matsys, Quintin 
 Meert, P. . . 
 Memling, Hans . 
 
 t) 
 
 attrib. 
 
 Metsu,- G. 
 
 Meulen, A. van der 
 Mieris, W. van . 
 Mostaert, Jan 
 Murillo . . 
 Neefs. P. . . . 
 Neer, Art. van der 
 
 »> 
 
 Nieulant, Adrian van 
 Orley, B. van 
 
 5» 
 
 Ostade, Adri^in van 
 Isaac van 
 
 »• 
 
 Palamedes . 
 Pannini . 
 Perugino . 
 
 No. 
 
 406 Christ and the apostles. — A predella. 
 112 Madonna, and patron-saints. 
 
 202 Dead game. 
 
 415 Male portrait, 
 
 416 Cavalier seated. — Small. 
 
 203 Fruit. — Several others. 
 
 418 Study of fruit. 
 
 205, 6 Male and female portraits, 
 
 419 Landscape. 
 
 19 Portrait of Sir T. More. 
 
 420 Peacock and poultry. 
 
 421 Coch crowing. 
 207,422 Battle-pieces, 
 
 208 Landscape, 
 
 209 Landscape. 
 
 216 The miracle of S. Martin. 
 
 217 An allegory. 
 
 218 A satyr. — And others. 
 424, 5 Female portraits, 
 
 20 Last Supper. 
 
 232 A woman reading, 
 15 Jesus in the house of Simon. — Triptych. 
 234 Mythological subject. 
 
 — History of S. Anne. — Triptych. 
 237 Portrait group. 
 
 21 Portrait of Wilhelm Moreel. 
 
 22 Portrait of his wife, 
 
 23 Male portrait, 
 
 239 The collation. 
 
 240 The army of Louis XIV. before Tournai. 
 243 Susannah and the elders. 
 
 24 A diptych. 
 
 251 Franciscan monJc. 
 
 253 Interior of Antwerp cathedral. 
 
 234 Moonlight, 
 
 — Skating scene, — Unnumbered. 
 256 Carnival at Antwerp. 
 
 25 Dead Christ. — A triptych. 
 27 Portrait of George de Zelle. 
 
 368 Altarpiece in five panels. 
 
 259 Peasant eating herrings, 
 
 260 Travellers resting, 
 433 Genre scene. 
 
 261 Male portrait. 
 
 263 Architectural ruins. 
 334 Madonna with S. John, 
 
BRUSSELS: THE MUSEUM. 277 
 
 No. 
 
 Pourbus, F., younger . . 268 Male portrait. 
 
 „ „ * . 269 S. MattJiew and an angel. 
 
 Pynacker, Adam . . . 273 Landscape. 
 
 Kavesteyn, Jan van . . 275, 6 Female portrait. 
 
 Eembrandt 277 Male portrait. 
 
 Bubens, P. P 285 Christ on the way to Calvary. 
 
 „ .... 287 Af^sumption of the Virgin. 
 
 .... 288 ^ Pieta. 
 
 „ .... 290 Adoration of the magi. 
 
 „ , . . . 292 Venus and Vulcan. 
 
 „ .... 294:, 4:37 Male portraits. 
 
 .... 295, 438 Female portraits. — And others. 
 
 Ruysdael, J 296 Landscape ; Figures hy A. van de Velde. 
 
 Ryckaert, D 298 Interior. 
 
 Sallaert 300, 1 Processions. 
 
 Schalken, G. .... 306 Candlelight effect. 
 Schoen, Martin .... 29 Ecce Homo. 
 
 Seghers and Quell inus . . 274: Flowers and figures. 
 Siberechts, Jan . . . .311 Farmyard. 
 
 Smeyers 312, 13 Large works, and others. 
 
 Snayers 441-5 Battle-pieces. 
 
 Snyders, F 314 Swan, deer, peacock, and fruit. 
 
 Steen, J 318 The rhetoricians. 
 
 „ 319 The operator. 
 
 „ ...... 320 Th3 feast of kings. 
 
 „ 447 Interior with figures. 
 
 Steenwyck, H. van . . .321 Church interior. 
 
 Stoop, Dierick .... 323 Landscape with figures. 
 
 Teniers, D., younger . . 324 The five senses. 
 
 „ „ . . 325 Village doctor. 
 
 „ . . 449 Flemish kermess. 
 
 „ . . 450 Interior of a picture gallery. 
 
 „ „ . . — • Hat and landscape. — Unnumbered. 
 
 Tilborg 331 Procession. 
 
 Tintoretto 281, 2 Portraits. 
 
 Veronese, Paolo .... 130 Decorative panel. — Large. 
 
 Vos, Cornelis de . . . . 453 Portrait group. 
 
 „ Martin de . . . . 341, 2 Portraits. 
 
 Vouet, Simon .... 313 S. Carlo Borromeo praying. 
 
 Weenix, Jan 454 Dead game and fruit. 
 
 „ J. B., attrib. . . 345 Dutch lady at her toilette. 
 Weyden, Rogier van der . 33 Head of a weeping woman. 
 
 „ „ attrib. 34-41 Scenes from the life of Christ. 
 
 Witte, Em. de . . . . 346 Interior of the church at Delft. 
 
 Wynants, J 350, 1, 2, 455 Landscapes. 
 
278 
 
 AMSTERDAM: THE TEIPPENHUIS. 
 
 THE PICTUEE GALLEEIES OF HOLLAND. 
 
 THE MUSEUM OF THE TRIPPENHUIS AT AMSTERDAM. 
 
 Catalogue of 1876. 
 
 Asselyn, J. van 
 Backhuizen, L. 
 
 Beerstraten 
 Bega, C. . 
 Berchem, N. 
 
 »» 
 
 Haereri 
 
 and 
 
 Berckheyden , 
 Bol, Ferdinand 
 
 »» 
 
 Van 
 
 der 
 
 Both, Jan and Andries 
 
 Bray, Jan de 
 Brekelenkarap . 
 Brouwer, Adrian 
 
 Brueghel, J. (Velonrs) 
 Cuyp, Albert 
 
 » »> 
 
 Pictures last examined in 1877. 
 No. 
 
 4 T/ie enraged swan. — An allegory. 
 
 8 Embarkation of Jan de Witt. 
 
 9 Port of Amsterdam. — Dated 1673. 
 11 The Zuiderzee.— Bsited 1694. 
 20 Old exchange of Amsterdam. 
 
 22 Naval combat. 
 
 23 The philosopher, 
 
 24 Peasants' concert, 
 27 Winter landscape. — Dated 1647. 
 
 29 The three flocks of sheep. 
 
 30 Cattle crossing a ford. — Dated 1G56. 
 
 31 The ferry-boat, 
 
 33 Landscape and figures, 
 35 Village of Haarlem. 
 42 His own portrait. 
 
 44 Portrait of Admiral Buy ter. — Dated 1667. 
 
 45 Mother and two children. 
 49 Italian landscape. 
 51, 2 Landscapes. 
 58 The syndics. — Dated 1675. 
 60, 1 Interiors, 
 
 64 A village revel. 
 
 65 Peasants fighting, 
 
 66 Town on the banks of a river, 
 70 Landscape and figures, 
 
 77 Landscape, 
 
 78 Shepherds in a landscape, 
 80 Cock and turkey fighting. 
 Si_A Dutch family. 
 
AMSTERDAM: THE TRIPFENHUIS. 
 
 279 
 
 Does, S. van der 
 Dow, G. . 
 
 if 
 
 »» 
 
 and Berchem 
 Ducq, J. le . 
 Dughet, G, . 
 Diirer, copy of 
 Dusart, Cornelis 
 
 51 
 
 >» 
 
 5? 
 
 Dyck, Anton van 
 
 Eeckhout, G. van den 
 Everdingen, Van 
 Fabritius, C. 
 Flinck, Go vert . 
 
 Francken, H., elder 
 Gelder 
 
 Goyen, J. van . 
 Haarlem, Cornelis van 
 
 » 5> 
 
 Hackaert and A. 
 
 Velde . 
 Hackaert and Lingelbach 
 Hagen, J. van der 
 Hals, Frans . 
 
 Heem, Jan de . 
 
 „ J. David de 
 Heist, B. van der 
 
 5» 
 
 >» 
 
 van 
 
 Heyden, Jan van der 
 
 de 
 
 No. 
 
 82, 3 Shepherdesses, 
 
 86 JJ/s own portrait, 
 
 87 T/ie wi'gf ht-schooL 
 
 88 J. hermit. 
 
 89 Curiosity. 
 
 90 Portraits in a landscape. 
 93 Cavalry stable. 
 
 94, 5 Landscapes. 
 
 96 Portrait of Pirkheimer. 
 
 97 Strolling musicians. 
 
 98 Tjte fish-marlzet, 
 
 99 Village hermess. 
 
 100 Village inn, 
 
 101 Full-length portrait. 
 
 102 Portraits of two children of Charles I. 
 
 106 TFbman faZceii m adultery. 
 
 107 Waterfall. 
 
 91 Herodias with the head of the Baptist. 
 
 110 Jaco?> blessing Isaac.' — Dated 1638. 
 
 111 T/ie ^^mc guard. — Dated 1645. 
 113 Abdication of Charles V. 
 
 117 Pefer Great. 
 
 121 ^ Wver.— Dated 1645. 
 
 122 View of Dordrecht. 
 
 129 Massacre of the innocents. 
 
 130 Adam and Eve, 
 
 131 The avenue. 
 
 132 The forest. 
 
 133 Dutch landscape. 
 
 134 Portraits of himself and of his ivife, 
 
 135 T^e jester. 
 
 136 The jolly fellow. 
 
 138 Still-life. 
 
 139 Flowers and fruit. 
 
 141 Banquet of the civic guard. — Dated 1648. 
 
 142 T/ie syndics of the arquebusiers, — Dated 
 
 1657. 
 
 143 Admiral van Nes. — Background by Back- 
 
 huizen.— 1668. 
 
 144 Wife of Admiral van Nes. 
 
 145 Portrait of Princess Maria. 
 146, 7 Male and female portraits. 
 
 149 Portrait of A. Biclier.— Babied 1642. 
 
 156 The drawbridge. 
 
 157 A Dutch canal. 
 
280 
 
 AMSTERDAM: THE TRIPPENHUIS. 
 
 
 No. 
 
 Hobbema, M 
 
 159 1 he water-mill. 
 
 Hondecoeter, M. ... 
 
 171 Dead birds. 
 
 .... 
 
 1 fro mi 1 '1 7 • • 
 
 173 J he philosophic magpie. 
 
 „ .... 
 
 174 The villa. 
 
 «, .... 
 
 175 Jt /ie duck-pond. 
 
 j» . . . • 
 
 t Try ^177 J} ' 1 A 7 7 
 
 177 The frightened hen. 
 
 .... 
 
 178 jt Vie floating feather. 
 
 Hontnorst, G 
 
 181, 2 2\(?o ^portraits, — Dated 1650. 
 
 Hooghe, Pieter de . . . 
 
 184 His own portrait. 
 
 »» >» • • • 
 
 185 Ihe buttery hatch. 
 
 Hugtenburg, J. van. 
 
 186 Portrait of William III. 
 
 Try T 
 
 Huysum, J . van .... 
 
 190, 1 Frmt and flowers. — ^Dated 1723. 
 
 Jardm, Karel du . . . 
 
 193 His own portrait. — Dated IboZ. 
 
 »> 
 
 194 Portrait of G. Beynst. 
 
 >» tf • • • • 
 
 195 T/ie s2/w(iics.— Dated 16b9. 
 
 »»•••• 
 
 198 1/ /ie muleteers. 
 
 »» »>••*• 
 
 196, 9 Landscape and cattle. 
 
 Jordaens, J 
 
 202 A satyr. 
 
 Kali, Wiilem .... 
 
 203 btill-life. 
 
 Keyser, in. de . 
 
 205 r amity portraits. 
 
 >» )» .... 
 
 207 Admiral Pieter s and family. 
 
 Koning, Jrn. de . . . . 
 
 210 Landscape. — Dated 1676. 
 
 »» »♦ .... 
 
 111 Lntry to the forest. 
 
 JLiairesse, ijr.de. 
 
 zzO beleucus and Antwchus. 
 
 Lingelbach, Jan 
 
 nckf\ mi • 7 • 7 7 
 
 229 1 he riding -school. 
 
 r> • • • • 
 
 230 Ihe camp. 
 
 Liotard 
 
 233n The countess of Coventry. —In pastel, i 
 
 
 many others. 
 
 HIT _ XT' I- 
 
 Maas, Nicnolas .... 
 
 not? /777 7 
 
 235 The dreamer. 
 
 »♦ »> .... 
 
 •I TXT" • • 
 
 236 Woman spinning. 
 
 Meer, J. v. d., of Haarlem . 
 
 238 Sleeping shepherd. — Dated 1678. 
 
 Metsu, G 
 
 239 The breakfast. 
 
 )» ..... 
 
 Z±\j Ihe Old drinker. 
 
 Mierevelt, M. van . 
 
 244 Prince of Nassau. — And others. 
 
 Miens, F. van .... 
 
 252 I he lute-player. 
 
 J, .... 
 
 253 Fragility. 
 
 „ W . van .... 
 
 254 Poultry-seller. — Dated 1733. 
 
 Mignon, A 
 
 257 lowers m a vase. 
 
 ♦» 
 
 259 Fruit. 
 
 Moeyart 
 
 260 Choosing a lover. 
 
 Moreelse, F 
 
 265 J^emale portrait. 
 
 » 
 
 267 T/ie little princess. 
 
 Moucheron and Ad. van de 
 
 
 Velde 
 
 270 Italian landscape. 
 
 Murillo ...... 
 
 272 Annunciation. 
 
 My tens, A 
 
 274, 5 Portraits of Admiral Tramp and wife 
 
V 
 
 AMSTERDAM: TEE TRIPPENHUIS. 
 
 281 
 
 No. 
 
 Neefs, Pieter, elder . . . 278 Interior of Notre Dame at Antwerp, 
 
 Neer, Artus van der * . 280 Winter landscape, 
 
 Netscher, G 282 Portrait. —^moAh 
 
 „ 283 Mother and her children, 
 
 Ostade, Adrian van . . . 288 A dudio. 
 
 „ ... 289 Travellers halt. 
 
 „ „ . . ' . 290 The charlatan. 
 
 „ „ ... 291 The baker. 
 
 „ Isaac van . . . 292 Village inn. 
 
 Peeters ...... 297 Destruction of English fleet at Chatham. 
 
 Poel, E. van der . . . 298 Interior. 
 
 Poelenburg, C 303 The bathers. 
 
 Potter, Paul . . . . . 305, 8 Shepherds and their flocks. 
 
 „ „ 307 Orpheus and his lute. 
 
 „ „ 309 The straio-culters. 
 
 Pynacker 312 Landscape. 
 
 Rembrandt . . . . . 348 The night watch. 
 
 „ 349 The syndics. 
 
 Romeyn, Willem . . . 33-1 Landscape and animals^ 
 
 Ruysdael, Jacob . . . 338 The waterfall. 
 
 „ ,y ... 339 Winter scene, 
 
 „ „ . . 340 Landscape. 
 
 „ Solomon . . . 341 View of Haarlem, 
 
 „ . . . 342 Landscape. 
 
 Ruysch, Rachel .... 344 The bouquet. 
 
 Sandrart ...... 356 Portrait. 
 
 Sandvoort . . . . . 357 Family group. 
 
 Savery, R 358 Poet crowned by the animals. 
 
 Schalken, G 359 William HI. with a candle. 
 
 „ 360, 3 Tastes differ, 
 
 Slingeland, P. van . . .368 The rehearsal. 
 
 „ . . . 369 2'he rich man. 
 
 „ „ . . . 370 Fruit and game. 
 
 „ „ ... 371 Dead game. 
 
 Spronck 372 Male portrait. 
 
 Steen, Jan 375 His awn portrait. 
 
 376 The fete. 
 
 „ 377 The fete of S. Nicholas. 
 
 „ 378 The parrofs cage, 
 
 „ „ ..... 379, 84 Charlatans. 
 
 „ 380 Village wedding. 
 
 „ 381 The happy return, 
 
 „ 382 The baker. 
 
 Teniers, D., younger . . 390 The guard-room. 
 
 „ ,« . . 391 The hour of rest, 
 
 „ „ . . 392 Village inn. 
 
282 AMSTERDAM: THE VAN DER HOOP, 
 
 Teniers, D., younger 
 Terburg, G. . . 
 
 19 
 
 Velde, Adrian van de 
 
 ?5 
 
 »> 
 
 »> 
 
 Vliet, H. van 
 Vois, Adrian de 
 Weenix* J. B. 
 
 7> 
 
 Werff, Adrian van der 
 
 Wouwerman, Philip 
 
 7) 
 
 5> 
 
 Wyck, T. 
 Wynants, Jan 
 
 No. 
 
 393 Temptation of S, Anthony. 
 
 394, 5 Portraits of the painter and Ms wife, 
 
 396 Paternal advice, 
 
 397 The peace of Munster. 
 
 427 The ferry-boat. 
 
 428 r/ie Tiw^. 
 
 420 Harbour of Amsterdam. 
 
 423 Taking of the * Royal Prince.^ 
 
 424 Bringing the * Royal Prince ' 2n^o pori. 
 426 TAe freeze. 
 
 440 0/(Z DeZ/^ church. 
 442 T^e violin-player. 
 
 447 T/ie country-seat, 
 
 448 Game and fruit. 
 
 449 Deac? game, 
 
 450 J?^s oii?n portrait. 
 
 453 ifoZ^ family, 
 
 454 P?:e^a. 
 
 462 TTie riding-school. 
 
 465 Stag-hunt, 
 
 466 Heron-hunting. 
 
 468 T/ie spirited white horse. 
 
 469 27ie encampment, 
 
 470 T/ie vjatering-place. 
 473 Rustic interior. 
 
 477 T/ie /arm. 
 
 478 Undulating la^idscape. 
 480 Interior. 
 
 Zorg 
 
 A special department in this Museum is devoted to the care of the very 
 complete collection of Rembrandt's etchings, which may be seen on application 
 to the keeper. 
 
 THE VAN DER HOOP MUSEUM AT AMSTERDAM. 
 
 Catalogue of 1876. 
 
 Pictures last examined in 1877. 
 No. 
 
 Adrian van Utrecht . . 120 Still-life. 
 Asselyn, J. van .... 2 Italian landscape. 
 
 Backer, J 3 The syndics. 
 
 Backhuizen, L 4, 5 Sea-pieces, 
 
 Bega, C 8 An interior. 
 
 Berchem, N 10 Italian landscape. 
 
AMSTEBDAM: THE VAN DEB HOOP, 
 
 283 
 
 Berckheyden 
 
 Bol, . . 
 Both, J. and A. 
 
 „ Jan. 
 Cuyp, A. . . 
 
 Dow, G. . . 
 Dyck, A. van 
 Everdingen, A. van 
 Hals, Dirk . 
 
 „ Frans . 
 Heyden and Van de Velde 
 Hobbema, M. 
 Hooghe, Pieter de . 
 
 Hoogstraeten, S. van 
 Huysum, Jan van . 
 Maas, Nicholas . 
 Meer, J. van der, of Delft 
 Metsu, G. . . . 
 Mierevelt, M. . . 
 Mieris, Frans van . 
 
 1$ 
 
 Mignon, A. . . . 
 Musscher, M. van . 
 Neer, Artus van der 
 
 » »» 
 Netscher, G. . 
 
 Ostade, Isaac van 
 
 Potter, Paul . 
 
 Kembrandt . 
 Kubens . 
 Ruysdael, Jacob 
 
 19 
 >» 
 )» 
 
 Steen, Jan 
 
 Teniers, David, younger 
 
 >» 
 
 No. 
 
 15, 16 Street views. 
 18 Church interior. 
 
 20 Portrait of Admiral Buyter, 
 
 21 Artist painting in a landscape. 
 
 22 Italian landscape. 
 
 29 Cattle. 
 
 30 View of Dordrecht. 
 
 31 Fish'Wonian, 
 36 Portrait, 
 
 38 Landscape. 
 
 44 Woman at the harpsichord. 
 
 43 Portrait of a woman. — Dated 1G39. 
 
 45 View of Amersfoort. 
 47, 8 Landscapes. 
 
 50, 1, 2 Interiors. 
 53 Dutch courti/ard. 
 55 The sick lady. 
 58 Flowers and fruit. 
 67 Woman spinning. 
 129 Woman reading. 
 
 69 Thehunters present. 
 
 70 Portrait of Jacob Cats. 
 
 73 Grocer s shop. 
 
 74 The pharmacy. 
 77 i^'rwi^. 
 
 80 Family party. 
 
 81 Skating scene. 
 
 82 Landscape. 
 85 -4 portrait. 
 88 Wayside inn. 
 
 90 Horses in afield. 
 
 91 Co^us *n afield. 
 
 95 T/ie betrothed Jewess. 
 
 93 Portrait of Helena Fourmcnt. 
 
 96 Landscape, 
 
 97 i?i«;er scene. 
 
 98 Northern landscape, 
 
 99 Landscape. 
 
 105 Family feast. 
 
 106 Tfee sicZc Zac??/. 
 
 107 Family picture, 
 
 108 -4//^^ drink. 
 
 109 ITie couple drinking, 
 
 115 Village fair. 
 
 116 Country work. 
 
 117 T/ie dice-players. 
 
284 AMSTERDAM: THE SIX. 
 
 No. 
 
 Terburg, G 118 Boy and dog. 
 
 Velde, A. van de . . . 121 The artist and Ms family. 
 
 „ „ . . . 122 Shooting party. 
 
 „ W. van de ... 124 The cannon shot. 
 
 „ „ ... 125, 6 Sea-pieces, 
 
 „ „ ... 127 The beach. 
 
 Victors, J 131 The dentist. 
 
 „ 1^2 The butcher. 
 
 Weenix, Jan 136 Dead game. 
 
 Witte, E. de .... 141 Church interior. 
 
 Wouwerman, Pli. . . . 144 Landscape. 
 
 Wynants, Jan . . . . 145, 7, 8 Landscapes. 
 
 Zorg, H. M 149 Fish-market. 
 
 „ „ .... 150 Fish-woman, 
 
 THE SIX VAN HILLEGOM COLLECTION AT AMSTERDAM. 
 
 « 
 
 No. 511 Heerengracht. 
 
 Berchem, Nicholas 
 Berckheyden, G. 
 Brekelenkamp . 
 Cuyp, Albert 
 
 5> J> 
 
 Dow, G. . 
 
 5> 
 
 „ ... 
 
 Dusart 
 
 Hals, Frans . 
 Hobbema . 
 Hooghe, Pieter de 
 Koning, Salomon 
 Maas, Nicholas . 
 Meer, Jan van der, of 
 
 ?5 
 
 Ostade, Adrian van 
 Potter, Paul 
 
 Bembrandt 
 
 5> 
 
 5> 
 
 Pictures last examined in 1875. 
 
 No. 
 
 Bombouts, Theodore 
 
 — One or two examples. 
 
 — One example. 
 
 — The three Ages. 
 
 — Vietn of Dort, 
 
 — Moonlight scene. 
 
 — The dentist. 
 
 — A girl with a bashet of fruit. 
 
 — A candlelight effect. 
 
 — One example. 
 
 — The guitar-player. 
 
 — Examples. 
 
 — The linen-press. 
 
 — Old man in his study. 
 
 — The eavesdropper. 
 Delft — ■ Woman pouring out milk. 
 
 — View in Delft, 
 
 — The fish-wife. 
 
 — Life-size equestrian portrait of Tulp. 
 
 — The dairymaid washing her milkpails. 
 
 — The burgomaster Six. 
 
 — The mother of the burgomaster Six. 
 
 — Study in bistre, 
 
 — Landscape, 
 
AMSTERDAM AND HAARLEM, 
 
 285 
 
 No. 
 
 Ruysdael — Examples. 
 
 Steen, Jan — The marriage. 
 
 Teniers, David .... — The drummer, &c. 
 Terburg, G — The duet. \ 
 
 „ — A girl loriting. 
 
 Velde, A . van de . . * . — Sea-coast at Scheveningen. 
 Wouwerman, Philip . . — A stable. 
 
 „ „ . . — Landscape. 
 
 „ and 
 
 Ruysdael — Landscape. 
 
 The pictures of the Van Loon Collection were dispersed during the year 
 1877, and have all passed into private galleries. 
 
 THE TOWNHALL OF AMSTERDAM. 
 
 Pictures last examined in 1875. 
 No. 
 
 Bol, Ferdinand . 
 Hals, Frans . 
 Heist, B. van der 
 
 — Four regents of the Leprosy Hospital. 
 
 — Arquebusiers. 
 
 — Arquebusiers. 
 
 THE TOWNHALL OF HAARLEM. 
 Catalogue of 1875. 
 
 Bray, Jan de 
 
 5> 
 
 Cornelis van Haarlem 
 Hals, Frans . 
 
 5» >» 
 »» 
 
 Heemskerck, Martin van . 
 
 >» 
 
 Heist, B. van der, attrib. 
 
 Verspronck, Jan. 
 Vroom, Henrick Cornelis 
 
 Pictures last examined in 1875. 
 No. 
 
 12 Group of old ladies. 
 
 13 Regents of the Leprosy Hospital. 
 
 14 Group of old ladies. 
 23 Feast of archers. — And others. 
 54 Feast of the archers of S. George. 
 55, 6, 7 Feast of the archers of S. Adrian. 
 
 58 Officers of the archers of S. George. 
 
 59 Regents of the Hospital of S. Elizabeth. 
 
 60 Regents of an Hospital. — Unfinished. 
 
 61 Female regents. — Unfinished. 
 63 S. Luke painting the Virgin. 
 67 Scourging of Christ. — And others. 
 70 Officers of the archers of S. Adrian. — This 
 
 may be by J. van Ravesteyn. 
 115, 16, 17 Portraits. 
 
 124 Arrival of Leicester at Flushing in 1586. 
 
286 THE HAGUE, 
 
 THE HOFJE VAN BERESTEYN AT HAARLEM. 
 
 Pictures last examined in 1875. 
 No. 
 
 Hals, Frans — A portrait of Nicholas van Beresteyn. 
 
 „ „ — Sister of Nicholas van Beresteyn. 
 
 „ — A family group, 
 
 „ „ attiib. ... — Portrait of a young child. — This may be by 
 
 J. van Ravesteyn. 
 
 MUSfiE COMMUNAL AT THE HAGUE. 
 
 No. 
 
 Jan van Goyen .... — View of the Hague. 
 
 Jan van Ravesteyn ... — Magistrates and arquehusiers in 1617-18. 
 „ „ ... — Magistrates of the Hague in 1Q36» 
 
 „ ti ... — Chief arquehusiers. 
 
 THE ROYAL MUSEUM AT THE HAGUE. 
 Catalogue of 1877. 
 Pictures last examined in 1877. 
 
 The pictures are numbered but not named, and they hang in numerical 
 order ; hence the catalogue will be more easily used if arranged in that order 
 and not alphabetically. 
 
 Dutch School, 
 
 No. 
 
 1 A. (J. W. V.) .... Salome, 
 
 3 Willem van Aelst . . . Still-life, 
 
 4 J. de Baen Portrait. 
 
 .5 L. Backhuizen .... William III. disemharJcing. 
 
 8 B. van Bassen .... Church interior. 
 
 10 N. Berchem The hoar-hunt. 
 
 12 „ ..... The travelling coach, 
 
 13, 14 Bloemart .... Mythological subjects, 
 
 15, 16 F. Bol Portraits of Euyter and his son. 
 
 17, 18 J. and A. Both . . . Italian landscapes, 
 
 19 Cornells van Haarlem . . Massacre of the innocents. 
 
 19b „ „ „ . . Mythological subject, 
 
 21 A. Cuyp Salmon-fishing. 
 
 22 Palamedes Meeting of the States General. 
 
THE SAGUE, 
 
 287 
 
 No. 
 
 28 G. Dow . . . 
 
 29 „ ... 
 
 33 C. van Everdingen 
 34a, b, c H. Goltzius 
 38, 9 J. D. de Heem 
 40 C. de Heem . . 
 
 40 bis, ter. M. van Heemskerck 
 
 41 J. van der Hey den . 
 
 42 B. van der Heist 
 45, 6 G. van Hoeekgeest 
 47 M. Hondecoeter . 
 49, 50 
 
 51 quater G. Hontliorst 
 
 52 S. van Hoogstraeten 
 56, 7 J. van Huysum . 
 58, 9 K. du Jardin 
 61 Th. de Keyser 
 62 
 
 68 J. Lingelbach 
 69 
 70 
 
 of Delft 
 
 72 J. van der Meer, 
 74 G. Metsu . . 
 76-84 M. Mierevelt 
 
 85 F. van Mieris 
 
 86 „ 
 
 87 „ 
 
 88 W. van „ 
 95 Ant. Moro 
 95 bis, 96, 97 P. Moreelse 
 
 100 M. van Musscher 
 
 100 bis P. Nason. . . 
 
 101 G. Netscher . . . 
 
 104 Ad. van Ostade . 
 
 105 „ „ . . 
 
 106 A. de Pape . . . 
 
 107 A. Pynacker . . . 
 Ill Paul Potter . . . 
 
 113 „ „ ... 
 113b-113z J. van Kavesteyn 
 
 114 Rembrandt 
 115 
 116 
 117 
 118 
 
 120, 1 Rachel Ruysch 
 
 The young mother. 
 
 Your^g woman holding a lamp. 
 
 Portraits. 
 
 Mercury, Hercules, Minerva. 
 Fruit and flowers. 
 Fruit. 
 
 An altarpiece. — ^Painted on both sides. 
 
 View in a Dutch town. 
 
 Portrait of Paul Potter. 
 
 Two church interiors. 
 
 The raven bereft of his horroioed plumes. 
 
 Poultry. 
 
 Portraits, 
 
 Dutch courtyard. 
 
 Fruit and flowers. 
 
 Landscapes. 
 
 Portrait of a magistrate. 
 
 The burgomasters of Amsterdam. 
 
 Peasants. 
 
 March of William 11. to Amsterdam. 
 
 Charles II. leaving for England. 
 
 View of Delft. 
 
 The musical amateurs. 
 
 Portraits. 
 
 The soap-bubbles. 
 
 A portrait. 
 
 Portraits of the painter and his wife. 
 Grocer s shop. 
 Male portrait. 
 Portraits. 
 
 Portraits of himself and family. 
 Portrait. 
 
 Portraits of himself and family. 
 
 Peasant in an inn. 
 
 The flddler. 
 
 Old woman. 
 
 The torrent. 
 
 The young bull. 
 
 Meadows and cattle. 
 
 A series of portraits, 
 
 Simeon in the temple. 
 
 The anatomy lesson. 
 
 Susannah in the bath. 
 
 Portrait of a youth. 
 
 His own portrait in officer's dress. 
 
 Flowers, 
 
2S8 
 
 THE HAGUE. 
 
 No. 
 
 122 J. Ruysdael 
 123 
 124 
 
 125 J. Savery . 
 128 G. Schalken 
 129 
 130 
 
 134 J. Steen 
 135 
 136,7 
 138 
 139 
 
 5) 
 
 The waterfall. 
 The beach. 
 View of Haarlem, 
 A fair. 
 
 Young woman at her toilette. 
 Interior, 
 The charlatan. 
 The dentist. 
 TJie menagerie. 
 The doctor s visit. 
 Portraits of his family. 
 . The tavern. — Also known as The oyster feast, 
 and as La vie humaine. 
 The despatch. 
 His own portrait, 
 . Numerous examples. 
 
 The fish-market, 
 , A Dutch beach, 
 A calm. 
 
 Church interior. 
 Dead game, 
 . Male portrait, 
 . Flight into Egypt, 
 Wood scene. 
 Leaving the stables. 
 Country riding-school. 
 The hay -cart. 
 Large battle-piece. 
 The camp. 
 Hunters reposing, 
 , Portrait of William III, of England, 
 
 Flemish School, 
 
 The offering to Cybele, 
 Garden of Eden. 
 Portrait, 
 , Interior of a picture gallery, 
 Male and female portraits. 
 Family group. 
 209 J. Jordaeus Faun and nymph, 
 
 212 P. and F. Pourbus, younger Moses with the tables of the law. 
 
 213 Rubens Portrait of Isabella Brandt, 
 
 214 „ ...... Portrait of Helena Fourment. 
 
 215 „ Portrait, 
 
 216 „ Adam and Eve in Paradise, — Landscape by 
 
 Brueghel. 
 
 144 G. Terburg 
 145 
 
 147-161B 0. Troost 
 162 J. Uchtervelt 
 165 Ad. van de Velde 
 
 168 W. „ 
 
 169 H. W. van Vliet . 
 173, 4 J. Weenix . . 
 175 Ad. van der Werff 
 176 
 
 179 J. Wynants . 
 182 P. Wouwerman 
 184 
 185 
 186 
 187 
 188 
 
 196a Unknown 
 
 197 H. van Balen . . 
 
 200 J. Brueghel (Velours) 
 
 201 Ph. de Champaigne . 
 
 202 Gonzales Cocques 
 203, 4, 6 A. van Dyck . 
 205 
 
 55 
 
THE HAGUE. 
 
 289 
 
 No. 
 
 221 F. Snyders Bead game. 
 
 222 „ Stag-hunt. — Landscape by Rubens. 
 
 223 D. Teniers, younger . . . The kitchen, 
 
 224 „ „ . . . The alchemist, 
 226 R. van der Weyden, elder . Deposition. 
 
 German School. 
 
 231, 2, 3 B. Beham .... Portraits of children. 
 
 237 H. Holbein, younger . . Portrait of a young woman. 
 
 238 „ „ ... Portrait of Robert Cheseman. 
 
 240 „ ... Male portrait. 
 
 241 „ copy of . . Jane Seymour. 
 
 French School, 
 
 250 S. Bourdon A group of merchants, 
 
 252 C. J. Vernet Port of Leghorn, 
 
 253 „ „ Tivoli. 
 
 Spanish School, ^ 
 
 255 Murillo Madonna, 
 
 256 „ Portrait of a youth. 
 
 257 Velasquez Portrait of Don Baltasar hs a child. 
 
 258 „ Landscape. 
 
 259 Matteo Zereso .... Magdalen, 
 
 Italian School, 
 
 These are principally copies, and the museum contains no Italian pictures 
 of great merit. 
 
 THE STEENGRACHT COLLECTION AT THE HAGUE. 
 
 Pictures last examined in 1875. 
 
 Room I. 
 Modem French Works. 
 
 Room II. 
 
 No. 
 
 — A landscape, 
 
 — An interior. 
 
 — Genre scene. 
 
 — Small example. 
 
 — Bathsheba. 
 
 — Infant Saviour. 
 
 — Small example. 
 
 IJ 
 
 Hackaert and Wynants 
 Hooghe, Pieter de . 
 Maas, Nicholas . 
 Potter, Paul . . . . 
 Rembrandt .... 
 
 Rubens 
 
 Velde, Adrian van de . 
 
290 
 
 LEIDEN AND ROTTERDAM. 
 
 Ostade, Adrian van 
 Steen, Jan . 
 Teniers, D., younger 
 Velde, Adrian van de 
 Wouwerman, Philip 
 
 Room III. 
 
 No. 
 
 — Examples. 
 
 - — Portraits of himself and family. 
 
 — The works of mercy. 
 
 — Two examples. 
 
 — Two examples. 
 
 THE STEDELYK MUSEUM AT LEIDEN. 
 
 Catalogue of 1876. 
 Pictures last examiried in 1877. 
 
 Engelbertsz, Comelis 
 
 >» 
 
 Lucas van Leiden 
 
 No. 
 
 9 Altarpiece in three compartments : The 
 Crucifixion in the centre ; The sacrifice of 
 Isaac on one wing ; The brazen serpent 
 on the other wing. 
 10 Altarpiece in three parts : A deposition 
 in the centre: S. Cecilia and the mag- 
 dalen on one wing; Gregory, bishop 
 of Utrecht, and others, on the other 
 wing. 
 
 17 Altarpiece in three compartments: The 
 Last Judgment. On the outer side 
 of the wings are Figures of SS. Peter 
 and Paul, 
 
 There are no other works of importance in this museum. 
 
 THE MUSEUM AT KOTTERDAM. 
 
 Aelst, W. van 
 Beerstraten, J. 
 Berckheyden 
 Bol, F. . . 
 Both, Jan 
 
 Catalogue of 1876. 
 Pictures last examined in 1877. 
 
 Dutch School, 
 
 No. 
 1 Still-life. 
 
 9 Old stadhuis of Amsterdam. 
 11 Old exchange at Amsterdam. 
 20, 1 Two portraits.— Bsited 1652. 
 25 Italian landscape. 
 
EOTTEBDAM: TEE MUSEUM. 
 
 291 
 
 Brackenburg, R. 
 Ceulen, C. van 
 Cuyp, Albert 
 
 9> 
 
 )» 
 >7 
 
 »1 
 
 J. Gr. . 
 
 Decker, C. . 
 Deelen, D. van 
 Delphius, Jacob 
 Eeckhout, G. van den 
 Eversdyck, C. 
 
 Fabritius, C. . 
 Flinck, G-. . 
 Hackaert, J. . 
 Hals, Prans . 
 Heem, J. D. de 
 Heist, B. van der 
 Hobbema, M. 
 Kalf, Willem 
 Kessel, J. van 
 Koning, Ph. de 
 „ Salomon 
 Leeuw, P. van dei 
 Maas, N. . 
 
 van 
 
 Meer, J. van der 
 
 lem 
 Mierevelt, M 
 Moreelse, P. 
 Mytens, D. 
 Nason, P. 
 Netscher, G. 
 
 Poorter, Willem 
 Pynacker, A. 
 Rembrandt . 
 
 of Haar 
 
 de 
 
 Ruysch, Rachel 
 Sandvoort 
 Steen, J., attrib. 
 Temple, A, van den 
 
 No. 
 
 329 Group of peasants, 
 34 Portrait, 
 
 40 Biver scene, 
 
 41 Interior with a forge. 
 
 42 Two grey horses. 
 43, 4 Fruit. 
 
 45 Game. 
 
 46 Poultry, 
 
 47 Study of a cow^s head. 
 37 Three children. 
 
 48 Landscape. 
 
 49 An interior with figures. — Dated 1636. 
 51 Por^rai^.— Dated 16i2. 
 
 311 Boaz and Buth, 
 60, 1, 2 Three portrait groups. — ^Dated 1616 to 
 1624. 
 
 65 Portrait. 
 
 66 Ti^o^gfMres.— Dated 1646. 
 75 Landscape. 
 
 77 Full-length portrait, 
 80 Fruit, &G. 
 82, 3 Portraits. 
 87 Landscape, 
 97 Interior of a cottage. 
 100-4 sluice at Amsterdam. 
 
 106 Landscape, 
 
 107 The gold-weigher. — Dated 1654. 
 112 Landscape. 
 
 117 Family portraits. 
 119 Female portrait. 
 
 122 Landscape. — Dated 1676. 
 
 128-4 portrait. 
 
 140 Pomona and Vertumnus, 
 
 145 Group of regents. — Dated 1653. 
 
 147, 8 Portraits. 
 
 152 Family group, 
 
 154 A portrait. 
 
 173 Still-life.—'Daiied 1636. 
 
 176 Landscape. 
 
 181 Allegory — representing the Union of the 
 
 Provinces. A sketch. — Dated 1640. 
 188 Flowers. 
 341, 2 Shepherds, 
 206, 7 Interiors. 
 213 Portraits, 
 
 U 2 
 
292 BOTTERDAM: THE MUSEUM, 
 
 No. 
 
 Velde, A. van de . . . 218 The shoe-smith. 
 
 „ E. van de . . . 217 Man on horseback. 
 
 Verboom, A. . . . . 222 Landscape. 
 
 Verkolye, J 224 The sportsman. 
 
 Vliet, H. van .... 228 Church interior. 
 
 Willaerts, A 245 River scene and figures. 
 
 Witte, Emanuel de . . . 249 The fish-seller. 
 
 Wyck, T 253 Interior. 
 
 Zanredam, P 322 A church. 
 
 Zorg, H. M 324 View of the marhet of Rotterdam. 
 
 Other Schools. 
 
 Champaigne, P. de . . . 309 Portraits. 
 
 Marcellis, 0 285 Still-life. 
 
 Murillo 272 Two boys and a negro. — Small. 
 
AUGSBURG: THE GALLERY. 
 
 293 
 
 THE PICTUEE GALLEKIES OF GEEMANY. 
 
 THE GALLERY OF PICTURES AT AUGSBURG. 
 Catalogue of 1869, by Prof. Rud. Mabggraff. 
 
 Altdorfer, Albrecht 
 
 Amberger, Christopher 
 
 >» 
 
 trib. 
 
 at- 
 
 Barbary, Jacob de . . . 
 Bourguignon . . . . 
 Brekelenkamp . . . . 
 Brueghel, Jan, and Rubens 
 Burgkmair, Hans . 
 
 >» 
 
 »» • 
 
 Cranach, Lucas, elder . 
 
 »» )> • • 
 
 » it • • 
 
 Pictures last examined in 1877. 
 No. 
 
 47-51. An • important altarpiece in five 
 panels, of which the centre is a Cruci- 
 fixion. The side panels represent each 
 one of the thieves ; the outside panels 
 the Annunciation. Painted in 1517. 
 59 Adoration of the kings. 
 ,696 So-called Portrait of Henry VIIL of 
 England. — This fine portrait is now be- 
 lieved to be the work of Barth. Beliam, 
 and to represent the Elector Otto Hein- 
 rich of Bavaria. — Painted in 1535. 
 382 Stilhlife.— Dated 1504. 
 313, 14 Two hattle-pieces. 
 534 The copper 'Smith. — Dated 1654. 
 119 Landscape and figures. 
 
 6, 7, 8 An altarpiece. In the centre Christ 
 and Virgin with angels and saints. On 
 the side-wings patriarchs, prophets, and 
 Baints. Painted in 1507. Inferior to his 
 later works. 
 
 19, 20, 1, 2 Four compartments for two of the 
 Seven Churches of Rome, painted for a 
 chapel in the convent. 
 24 Three panels for another of the Seven 
 
 Churches. And other works. 
 13 The host of Pharaoh in the Red Sea. — 
 
 Dated 1530. 
 15 Sacrifice of Isaac, — Dated 1530. 
 692 Ecce Homo. 
 
294 
 
 BASLE: THE GALLEBY, 
 
 Dyok, Anton van 
 
 5> 
 
 Fyt, Jan . 
 Goyen, Van . . 
 
 »» >» 
 
 Hobbema 
 
 Holbein, Hans, elder 
 
 J? 
 
 5» 
 
 5» 
 
 younger 
 
 ;» J? 5j at- 
 trib 
 
 Kneller, Sir Godfrey 
 
 Lastman, P 
 
 Moroni, G. B 
 
 Os, Jan van 
 
 Procaccini, Camillo . 
 
 Kembrandt 
 
 Kibera 
 
 Schalken, G 
 
 Steen, Jan 
 
 Tintoretto 
 
 Vinci, L. da, attrib. . . 
 Wohlgemuth .... 
 
 Zeitblom, B 
 
 Zurbaran 
 
 No. 
 
 104 Study of a man on horseback. 
 118 Portrait of the marine-painter Aertvelt. 
 147 The four repentant sinners before Christ, 
 612 Dead birds. 
 569 Landscape. 
 585, 6 Landscapes. 
 601 Landscape. 
 25, 6, 7 Three compartments for one of the 
 Seven Churches of Rome, painted for a 
 chapel in the convent. 
 84, 5, 6 A large altarpiece in three parts. 
 683, 4, 5 The Crucifixion. The Descent. The 
 
 Entombment. 
 672 Portrait of a woman. — Very small. 
 '673, 4, 5, 6 The Madonna and S. Anna. S. 
 JJlrich and S. Wolfgang. Martyrdom of 
 S. Peter. Beheadal of S. Catharine. — 
 Painted in 1512. Attributed with hesi- 
 tation in the catalogue to the youuger 
 Holbein, these are still regarded by 
 ^ some as the work of the elder. 
 169 Queen Henrietta Maria. — After Van Dyok. 
 143 Ulysses and Nausicaa. — Dated 1619. 
 274 Isabella of Portugal. 
 631 Flower-piece. 
 237 Holy family. 
 
 517 The Besurrection. — Dated 1647. 
 
 372 S. Sebastian. 
 
 103 Mocking of Christ. 
 
 120 The village poet. 
 
 265 Christ with Martha and Mary. 
 
 383 Head of a girl. 
 
 42 The Besurrection. 
 
 43 The Crucifixion. 
 
 79-82 The history of S. Valentin. 
 296 S. Francis. 
 
 THE GALLERY OF PICTURES AT BASLE. 
 
 Catalogue of 1876. 
 
 Pictures last examined in 1877. 
 
 Although Basle is in Switzerland, the collection of pictures contains little 
 of value besides works of early German masters, and of these but few worth 
 noting besides those of Hans Holbein, the younger, together with a few by the 
 
BASLE: TEE GALLERY, 
 
 295 
 
 elder. Hence its most appropriate place seems to be that following the Gallery 
 of Ausburg. 
 
 Among the early German masters may be named the following : three by 
 N. M. Deutsch, Nos. 42, 3, 4; two by J. B. Grien, Nos. 75, 6; a head by 
 Martin Schongauer, No. 65, among many others which are apocryphal ; a fine 
 • Coronation of the Virgin/ No. 104, by an unknown master, dnted 1457 ; two 
 full-length portraits by T. Stimmer ; and a fine half-length by Aldegrever, 
 No. 148. There are also a few inferior examples of the Dutch school among 
 numerous modem pictures. 
 
 No. 
 
 Holbein, Ambroise (brother 
 
 of Hans, the younger) 
 Holbein, Hans, elder . 
 
 younger 
 
 »» 
 
 1? 
 
 5? 
 
 » 
 >» 
 
 J> 
 5) 
 >» 
 » 
 
 ?» 
 75 
 
 55 
 
 J» 
 
 95 
 9? 
 t> 
 
 95 
 
 99 
 99 
 
 38, 9, 40 Examples. 
 1 The death of the Virgin, 
 2, 3, 4, 5, 6 may be early works, or executed 
 partly by the father or by the brother, 
 Ambroise. 
 7, 8 Two school-signs. Rude and early. 
 9, 10 Two heads of saints. 
 
 11 Adam and Eve, — On paper, dated 1517. 
 
 12 Portrait of Georg Schweiger, 
 
 13 Portrait of Amerhach, Painted 1519. 
 
 14 Portraits of the burgomaster Meyer and his 
 
 wife. 
 
 16 Portrait of Erasmus writing, 
 
 19 A dead Christ. — Dated 1521. 
 
 20 The wife and two children of HoThein, 
 
 Painted on paper. 
 
 21 Last Supper. Much injured, repainted, and 
 
 a portion lost. 
 
 22 Lais Corinthiaca. — Painted 1526. 
 
 23 Portrait of the same as Venus, 
 24, 25 A diptych in grisaille. 
 
 26 The Passion, An altarpiece in eight com- 
 partments. 
 
 27-33 Fragments of frescoes from the Town 
 Hall. 
 
 34 Portrait of Frohenius, the printer, 
 
 35 Portrait of a London merchant. 
 
 There is a tolerable copy of Hans Holbein's famous ' Meyer Madonna * at 
 Darmstadt, by Griider, No. 41. 
 
296 
 
 BEBLIN: THE MUSEUM. 
 
 THE ROYAL PICTURE GALLERY AT BERLIN. 
 
 Catalogue op 1878. 
 Pictures last examined in 1877. 
 
 Aelst, W. van 
 Aldegrever, H. . 
 Altdorfer, Albrecht 
 Amberger, C. 
 
 it 
 
 Angelico, Fra, attrib. 
 Antonello da Messina 
 
 Art, B. van der . 
 Baldung, H. (Griin) 
 Bartoli, Taddeo . 
 Bartolommeo, Fra, attrib. 
 
 Bassano, J. . 
 >? L. . 
 
 Bega, Comelis . 
 Bellini, Giovanni 
 
 7> 
 
 Bellotto, B. . 
 Beltraffio . 
 Berchem, N. . 
 
 Bigio, Francia 
 Bissolo . 
 Bol, F. . . 
 Bonifazio, attrib 
 Bordone, P. . 
 
 J* 
 
 Boigognone, A. 
 >» 
 
 Both, J. and A. 
 
 No. 
 
 975 Still-life. 
 
 556a Portrait. — Dated 1551. 
 638, 638a Two small works. 
 556 Portrait of Charles V. 
 583 Portrait of Sebastian Munster* 
 
 60 Madonna. 
 8 Head of S. Sebastian. 
 
 13 Madonna. 
 
 18 Small portrait— Dsiied 1478. 
 934b Flowers and still-life. 
 603a Altarpiece. 
 1122 Assumption of the Virgin. 
 249 Assumption of the Virgin. — Probably 
 
 assisted by Albertinelli. 
 314 The good Samaritan. 
 315, 18 Male portraits. 
 324 Crucifixion. 
 871, 2, 4 Genre subjects. 
 
 4 Dead Christ with Virgin and S. John. 
 11 Madonna. 
 
 28 Dead Christ and two angels. — In the style 
 of Mantegna. 
 503 Ducal Palace, Venice. 
 207 S. Barbara. — And others. 
 887 Shepherds and flocks. 
 896 Italian landscape, 
 245 Male portrait. 
 
 43 The Resurrection. 
 809 Female portrait.— Dsited 1642. 
 200 The woman taken in adultery. 
 169 Men playing chess. 
 177 Madonna and saints. 
 191 An altarpiece. 
 198 Portrait of a lady in a hat. 
 
 51 Madonna. 
 
 52 Madonna enthroned and saints. 
 863 Landscape, 
 
BERLIN: THE MUSEUM. 
 
 297 
 
 No. 
 
 Botticelli, S. . . . . 102 Madonna and angels. 
 
 „ .... 106 Madonna, and two saints. 
 
 „ .... 106a Portrait of a woman. 
 
 „ .... 1124 Venus. — Study for the figure in the 'Birth 
 
 of Venus/ No. 39 in the UflQzi, Florence. 
 
 „ .... 1128 ;S^. Sebastian. 
 
 Boucher, F 496a Venus and Cupid, 
 
 Bouts, Dierick .... 533 Elijah in the desert. [ 
 
 „ „ .... 539 Feast of the passover. 
 
 Brekelenkamp .... 796a The vegetable seller. 
 
 Bril, Paul 714 Landscape. 
 
 Bronzino, A 338 Male portrait. 
 
 „ .... 338a Portrait of Ugolino Martelli. 
 
 Brouwer, A 853b Landscape. — And others. 
 
 Brueghel, Jan 678 Venus and Vulcan. — Figures by H. van 
 
 Balen. 
 
 „ „ .... 688 Landscape. — Figures by Kottenhammer. 
 
 „ „.-... 688a a red vase with flowers. 
 
 „ „ ... . 742 Landscape and birds, 
 
 „ Pieter, younger . 721 Christ on the road to Calvary. 
 Bruyn, Bart. . . . . . 58S A portrait.— Ds^ted 1525. 
 
 Burgkmair, Hans . . . 584 Holy family. — Dated 1511. 
 
 Calcar, Johan von . . . 190 Male portrait. — Dated 1535. 
 
 Canale, Ant. (Canaletto) . 490, 3, 501, 3 Venetian scenes. 
 
 Cano, Alonso .... 414b S. Agnes, 
 
 Capelle, J. van de . . . 875a A calm, 
 
 Caracci, Annibale . . . 370 Holy family. 
 
 „ „ ... 372 Landscape. 
 
 Caravaggio (Amerighi) . . 859 Christ and his disciples. 
 
 „ „ . . 365 S. Matthew and an angel. 
 
 Caroto . . . . . . 40 Madonna. 
 
 Oarpaccio, V 14 Madonna and saints, 
 
 „ .... 23 iS. Peter and saints. 
 
 Carreno, Juan de . . . 407 Portrait. — Dated 1673. 
 
 Catena, V 32 Male portrait, 
 
 Cerezo, Matteo .... 408 Repentant magdalen, 
 
 Christus, Petrus . . . 529a Annunciation and Adoration. 
 
 „ „ ... 529b Last judgment. 
 
 Cima da Conegliano . . 2 Madonna enthroned with saints. 
 
 „ „ . . 7 Madonna and donator. 
 
 „ „ . . 15 Miracle of S. Mark. 
 
 „ „ . . 17 Madonna, ^B^eiplica. of No. 300 in our 
 
 National Gallery, and of No. 421 at 
 Venice. 
 
 Claude Gelee .... 428 A landscape. 
 
 Clouet, F., School of . . 472, 5 Portraits, 
 
298 
 
 BERLIN: THE MUSEUM. 
 
 No. 
 
 Coello, A. S 406b Philip 11. of Spain. 
 
 Cologne, Wilhelm of, School 1238 Altarpiece. 
 of 
 
 Cornelis van Haarlem , . 734 Bathsheha.—DsitedL 1617. 
 Correggio (AUegri) ... 218 Leda and nymphs. 
 
 » >j . . . 216 A copy or replica of the lo at Vienna, No. 
 
 19 Koom VI. 1st floor. 
 Cosimo, Piero di .... 107 Venus and sleeping Mars. 
 
 j» „ . . . . 204 A doration of the shepherds, 
 
 Costa, Lorenzo .... 112 Presentation in the temple.— BsLted. 1502. 
 
 o „ .... 115 ^ Pieta.—Bsiied 1504. 
 
 Coxie, Michael . . . . 52i Copy of Yo.n'Ejck^s Adoration of the Lamb. 
 
 » „ .... 525 Another portion of the same. 
 Cranach, Lucas, elder . . 590 A portrait. 
 
 j» ,, „ . . 594, 1190 Venus and Cupid. — And others. 
 
 ?» „ younger . 593 The fountain of youth. 
 
 Credi, Lorenzo di . . .100 Madonna in adoration. 
 „ „ ... 103 Mary of Egypt. 
 
 Cuyp, A 861 Small landscape and cows, 
 
 », ,) 861b River and cows. — Small. 
 
 >, J. G 7^3 An old woman. — Dated 1624. 
 
 David, Gerhardt ... 573 Crucifixion. 
 
 Denner, B 1014, 1014b Small portraits, 
 
 Dolci, Carlo 4c23 S. John writing his Gospel. 
 
 Dossi, Dosso 264 The fathers of the church. 
 
 Dow, G 843 Repentant magdalen. 
 
 ), 854 The larder. 
 
 Duck, A. J 864 Soldiers on forage. 
 
 Durer, A. attrib. ... 7 A head. — Perhaps by H. Baldung (Griin). 
 
 „ „ „ ... 8 His own portrait. — A replica of the well- 
 known original at Munich. 
 Dyck, Anton van . . . 770 The moclnng of Christ. 
 
 „ „ ... 778 A Pieta, 
 
 „ „ ... 782 Portrait of Prince Thomas of Carignan. 
 
 „ „ ... 794 Descent of the Holy Ghost. 
 
 „ „ School of 788 Portrait of Infanta Isabella of Spain. 
 
 „ „ „ 790 Children of Charles I. with dogs.—Axid 
 
 some small studies in brown. 
 Eeckhout, G. van den . . 820 Christ in the temple, 
 „ „ . . 829 Mercury and Argus, 
 
 „ „ School of 804 Jairus's daughter. 
 
 Everdingden, J. van . . 852 Landscape. 
 
 Eyck, H. and J, van . . 512-17 Six panels belonging to the famous 
 
 altarpiece, the Adoration of the Lamb, 
 in S. Bavon, Ghent, as seen attached to 
 the wall. 
 
BERLIN: TEE MUSEUM. 
 
 299 
 
 No. 
 
 Eyck, H. and J. van . . 518-23 The reverse sides, which may be seen 
 
 by application to an attendant. 
 „ Jan van .... 528 A head of Christ — Dated 1438. 
 
 „ .... 525a Man with pinks. — Almost life-size. 
 „ „ attrib. . . 525b Madonna with a hedge of roses and a 
 
 fountain. 
 
 Fiorenzo di Lorenzo . . 129 Madonna. 
 Flinck, Govert . . . .813a Female portrait. 
 
 „ „ .... 815 Abraham and Hagar. 
 
 Floris, FraDs .... 698 Mars and Venus in the net of Vulcan. 
 Forli, Melozzo da, attrib. . 54 Man kneeling before Wisdom. 
 
 Francia, Francesco . . . 122 Madonna in glory. — Dated 1502. 
 
 „ „ ... 125 Holy family. 
 
 „ „ ... 127 S8. Stephen and John Baptist. 
 
 Fyt, Jan 883a Dog and game. 
 
 „ „ 967 Diana and dead game. 
 
 „ „ 989 The hunt. 
 
 Gaddi, Taddeo .... 1064, 79, 80, 1 Small panels. 
 
 Ghirlandajo, Dom. . . . 74,5,6 Portion of the altar piece from the choir 
 
 of S. M. Novella, Florence. 
 
 ,, and Granacci . 88 Madonna and saints. 
 
 Giordano, Luca .... 441 The judgment of Paris. — Similar to No. 
 
 294 in the Hermitage. 
 
 Giorgione, attrib. . . . 152 Two portraits in one frame. 
 
 Giotto 1073, 4 Small panels. 
 
 Goyen J. van .... 865d Landscape. — Large. And others. 
 
 Granacci, Francesco . . 97 Madonna and saints. 
 
 Greuze 494c A head. 
 
 Guido 373 Madonna and two saints. 
 
 Hackaert 892 Landscape. — Figures by Van de Velde. 
 
 Hals, Frans 766, 7 Small portraits. — Dated 1627. 
 
 „ „ 800, 1 Male and female portraits. 
 
 „ „ 801a Boy with music. 
 
 „ „ 801b Boy smoking and drinking. 
 
 „ „ 801c Woman with an owl. — Hille Bobbe, the 
 
 witch of Haarlem. 
 
 „ „ 801e Portrait of an old man. 
 
 „ „ 80lP Portrait— Daied 1625. 
 
 „ „ ..... 801g Nurse and child. 
 
 „ „ 80 1h Portrait. 
 
 „ „ younger . . . 905a Still-life. 
 
 Heem, C. de 874a Fruit. 
 
 „ J. D. de . . . . 906 Fruit and flowers. 
 
 Heemskerck, M. van . . 655 Mythological subject — Dated 1561. 
 
 Heerschop, H 825 Portrait of a Moor.— Dated 1659. 
 
 Hobbema, M 886 Small landscape. 
 
300 
 
 BERLIN: THE MUSEUM. 
 
 Holbein, Hans, younger . 
 
 » 
 
 5» 
 
 Hondecoeter . 
 Hooghe, Pieter de 
 Horst, G. . . 
 
 »» 
 
 Huysum, J. van 
 
 Jardin, Karel du 
 Keyser, Theod. de 
 
 J5 
 
 Koning, Salomon 
 
 »> 
 
 Kulmbach, Hans von 
 Lambert Lombard 
 Lancret . . 
 Le Brim, C. . 
 Libri, Girolamo dai 
 Lippi, Filippino 
 
 5) 
 
 attrib 
 
 Filippo . 
 
 attrib. 
 Lorenzetti, Ambrogio 
 Lotto; Lorenzo , 
 
 »5 
 
 } 
 
 Lucas van Leiden , . . 
 Maas, N. . . ■. . ■. 
 Mabuse, J. (Gossaert) . 
 
 >» j> • • 
 
 „ ,^ at- 
 
 trib. ..... 
 
 Mainardi, S 
 
 Mantegna, Andrea . 
 
 » '5> ... 
 
 „ „ attrib. . 
 Maratta, C. . . . . 
 Master of the * Death of the 
 Virgin' ..... 
 Matsys, Q 
 
 )> 
 
 Meer, Jan van der, of Delft 
 
 No. 
 
 586 Portrait of George Gyzen. — ^Dated 1532. 
 
 586b Portrait of a young man. — Dated 1541. 
 
 586c Portrait of a young man. — Dated 1533. 
 
 876a Pelican and poultry, 
 
 820b a Dutch interior. 
 
 807 Jacob blessing Isaac. 
 
 824 The generosity of Soipio. 
 
 972a, b Flowers. 
 
 998 Flower-piece. 
 
 848b a portrait, 
 
 750 Family group. 
 
 750b, 753b Life-size portraits. 
 
 750o Two wings of an altarpiece.—T>OTiator3. 
 
 821 Portrait. 
 
 826 Croesus and Solon. 
 
 596a Adoration of the Mntfs. 
 
 653 Madonna. 
 
 473 Landscape and figures. 
 
 471 Family group. — Life-size. 
 
 30 Madonna enthroned with saints. 
 
 78 Male portrait, 
 
 82 Madonna. 
 
 96 Crucifixion. 
 
 69 Madonna in a wood. 
 
 58 Madonna. 
 284, 5 Small examples. 
 
 S23 SS. Sebastian and Christopher. — Dated 
 1531. 
 
 153, 182, 820 Portraits. 
 584a ;S^. Jerome. — Small. 
 819 A philosopher. — Life-size. 
 650 Madonna. 
 
 656a Woman weighing money. 
 640, 2, 6, 8, 61 Subjects nearly life-size^ 
 nude. 
 
 86 Portrait. 
 
 27 Madonna. 
 
 29 Presentation in the temple, 
 
 9 A head. 
 426a Portrait. 
 
 578 Adoration and two sdints. — A triptych. 
 561 Madonna. — Nearly life-size. 
 574b S. Jerome. 
 
 796c Cottage with trees and figures. 
 
BERLIN: THE MUSEUM. 
 
 301 
 
 No. 
 
 Meer, Jan van der, of Delft 912a ^ courtyard with a hoy hiowing bubbles. 
 >, „ „ 912b Girl dressing before a glass. 
 
 Melzi, F 222 Pomona and Vertumiius, 
 
 Memling, Hans .... 528b Madonna. 
 
 Metsu, G 792 J[ family group. 
 
 „ 792a a cook. 
 
 „ 792b Female portrait. — Life-size. 
 
 Mierevelt, School of. . . 748 Female portrait. 
 
 Mignard, P 465 Female portrait. 
 
 Mommers, H 845 Landscape and herds. 
 
 Montagna, Bartolommeo . 44 Madonna enthroned with saints. 
 
 Moretto 187 Adoration of the shepherds. 
 
 ,» 197 Madonna and S. Elizabeth above, the 
 
 donators below. 
 
 Moro, Antonio .... 585a Two heads. 
 Morone, Francesco ... i6 A Madonna. 
 
 Moroni 167 Portrait of a young man. 
 
 193, 193a Portraits. 
 
 Murillo 410a Madonna. 
 
 ,f 414 /S^. Anthony and child. 
 
 Nason, P 977 SlilUife. 
 
 Neer, Van der .... 840 A conflagration. 
 
 „ .... 840a a conflagration in Amsterdam. 
 
 „ „ .... 842a, b Moonlight scenes. 
 
 Netscher, G 848 u4 cook in a kitchen. 
 
 Palamedes 758a A fete in a garden. 
 
 Palma Vecchio . . . .174 Portrait. 
 
 „ „ .... 197a Portrait of one of his daughters. 
 
 Palmezzano 1129 A good example. — Dated 1503. 
 
 Patinir, Joachim de . . . 508 A Madonna in a landscape. 
 
 „ „ ... 620 yS. Hubert in a landscape. 
 
 Pencz, G 582, 5, 7 Portraits. 
 
 Perugino 146 Madonna enthroned with sainis. 
 
 Pesne, Antoine .... 494 Two portraits. — Dated 1748. 
 
 Pierson 948, 85a Still-life. 
 
 Pinturicchio 142, 49 History of Tobias. 
 
 „ 132 Adoration of the magi. 
 
 Piombo, S. del ... . 237 A Pieta. 
 
 „ „ .... 259a Man ivith red cross on his breast. 
 
 „ „ attrib. . . 234 Portrait. — By Francia Bigio : C. and C. 
 Pollajnolo, Piero ... 73 An Annunciation. 
 
 Pordenone, School of . . 196 Woman taken in adultery. 
 
 Potter, Paul 872a The wood and hunters at the Hague. — 
 
 Dated 1652. 
 
 „ Pieter .... 921a Still-life. 
 
 Poussin, N 467 Infancy of Jupiter. 
 
802 BERLIN: THE MUSEUM. 
 
 No. 
 
 Poussin, N 478a 8. Matthew in a landscape. 
 
 Procaccini, G. 0. . . . 355 Joseph! s dream. 
 Kaffaellino del Garbo . . 90 Madonna and angels. 
 
 „ „ . . 98 Madonna enthroned and saints, 
 
 Eamenghi (H. Bagnaca- 
 
 vallo) 238 Bishop, 8. Louis and Agnes. 
 
 Kaphael Sanzio . . . .141 The Colonna Madonna. 
 
 „ „ . . . . 145 A Madonna with 8. Joseph and a cardinal. 
 „ „ .... 150 Adoration of the magi. — In tempera on 
 
 linen, much injured. Considered as the 
 work of Lo Spagna by C. and 0. — The 
 tapestries in the centre hall are after 
 Raphael's designs in South Kensington. 
 „ „ .... 247a Madonna, the Baptist and another. — 
 
 Painted 1505. 
 „ attrib. . . 147 Madonna with 8. John, 
 
 Eavesteyn, Jan van . . . 757, 757a Portraits. 
 Rembrandt van Ryn . . 802 8amson and his father-in-law. 
 
 „ „ . . 805, 6 Interiors. — Very small. — Dated 1645. 
 
 „ „ . . 806a Landscape, Ruth and Boaz, 
 
 ,, . . 808, 10 His own portrait. 
 „ „ . . 812 His wife 8askia. — Dated 1643. 
 
 „ „ . . 823 Rape of Proserpine. — Figures small. 
 
 „ „ . . 828a Portrait of a Rahhi.—BsLted 1645. 
 
 Ribera 403 8. Jerome. 
 
 „ 405b 8. Sebastian. 
 
 „ attrib 416 Martyrdom of 8. Bartholomew. — A replica 
 
 of No. 989 at Madrid. 
 
 Ring, L. van 708 Marriage at Gana — Details of a kitchen. 
 
 Romanino 151 Dead Christ, women, and apostles. 
 
 „ 155 Judith. 
 
 „ 157 Madonna enthroned. 
 
 Rosa, Salvator . . . .421 Sea dashing on a wild coast. 
 Rosselli, Cosimo .... 59-4 Madonna in glory. 
 „ „ .... 71 A dead Christ. 
 
 Rubens, P. P 762 Coronation of the Virgin. 
 
 .... 763 Head of a child. 
 „ .... 779 Group of children with fruit, 
 
 „ .... 780 Study for a Madonna and saints. 
 
 „ .... 781 Helena Fourment as 8. Cecilia. 
 
 „ .... 783 The raising of Lazarus. 
 
 „ .... 785 Andromeda. 
 
 „ .... 798f Male portrait. — A nd sketches. 
 
 Ruysch, Rachel .... 999 A flower-piece. — Numerous other flower- 
 pieces by Segbers, Van Huysum, De 
 Heem, and Quellinus. . 
 
BERLIN: TEE MUSEUM. 
 
 303 
 
 No. 
 
 Ruysdael, Jacob . . . 885b Light and shade at sea. 
 
 885o Haarlem in the distance. 
 
 893 Cottage and trees. 
 
 „ 899c Bridge and trees. 
 
 „ 899d a wood. 
 
 Sacchi, Fr 53 Crucifixion. 
 
 „ 116 )S^. Jerome. 
 
 Sallaert, Antonio . . . 702 A view of Antwerp. 
 
 Santa Croce 22 Adoration of the kings. 
 
 Santi, Giovanni . . . .139 Madonna and saints. 
 
 Sarto, A. del 240 Portrait of his wife. 
 
 „ „ 246 Madonna and saints. 
 
 Sassoferrato . . ' . . . 458 Holy family. 
 
 Savoldo, Girolamo . . . 307 Girl enveloped in a cloak. 
 
 Schalken, G 837 Boy fishing. 
 
 Signorelli, Luca .... 79 Six saints. 
 
 „ „ . . . . 79a Pan and Music. 
 
 „ „ . . . . 79b Holy family. — Circular. 
 
 Snyders 878 Fighting cocks. 
 
 774a Heads of dogs. 
 
 „ 774b Still-life. 
 
 and Rubens . . 774 A stag-hunt. 
 
 Steen, Jan 795 A garden scene. 
 
 „ 195b Quarrel at play, 
 
 „ 795c Merry company. 
 
 Tenters, D., younger . . 853 The alchemist. 
 
 „ „ . . 856 The tric-trac players. 
 
 „ „ . . 857 Portraits of himself and family. 
 
 „ „ . . 859 Temptation of S. Anthony. 
 
 „ „ . . 866b Music at a feast. 
 
 „ „ . . 866c A kermess. — And others. 
 
 Terburg, G 791 The paternal counsel. — Replica of No. 322 
 
 at Amsterdam. 
 
 „ 791a, B Small portraits. 
 
 „ 791c The consultation. 
 
 „ 79 Id Portrait. 
 
 „ 791e Small full-length portrait. 
 
 „ 79 If The smoker. 
 
 „ 793 The smithes shop. 
 
 Thulden, T. van . . . 955 Triumph of Galatea. 
 
 Tiepolo, G. B 454, 9, b Three examples. 
 
 Tintoretto 300 A Madonna in glory and two apostles. 
 
 „ 310 Luna and the Hours. 
 
 „ 316/8'. Mark.— Dated 1569. And a few por- 
 traits. 
 
 „ , ^ . . . 160a Female portrait. 
 
304 BERLIN: THE MUSEUM, 
 
 No. 
 
 Titian . . . . . .161 Portrait of Admiral Mauro. 
 
 „ . 163 Hi$ own portrait, when old, 
 
 „ ....... 166 His daughter Lavinia, with fruit. 
 
 „ — Several portraits. , 
 
 „ School of . . . . 159, 60 Sketches of amorini. 
 
 „ „ .... 170a, 170b Two parables. — Small studies. 
 
 Tura, Cosimo . . . .111-4 Madonna and saints, with an elaborate 
 
 architectural background. 
 Valkenborg, Martin van . 731 The building of Babel, 
 
 Velasquez, D 413a Portrait of Alessandro del Borro. 
 
 , 4130 Sister of Philip IV. 
 
 Velde, A. van de . . . 884a Landscape. 
 
 „ „ ... 922b River scene. 
 
 Venne, Ad. van de . . . 741a, b Summer and winter, 
 
 Verkolie, R 1012 The gift refused, 
 
 Veronese, School of . . . 303, 4, 9, 11 Fine decorative works from the 
 
 Fondaco, Venice. 
 
 „ „ ... — The panels on the ceiling of the room. 
 
 Verrocchio, Andrea . . . 104a Madonna. 
 
 Verspronck, Jan . . . 877a Female portrait. 
 
 Victor, Jan 826a Eli and Samuel. 
 
 Viti, Timoteo . . . . 120, 4 Two subjects. 
 Vivarini, Antonio ... 5 Adoration of the kings. 
 
 „ Bart 1160 S. George and the dragon. — Dated 1485. 
 
 „ Luigi .... 38 Madonna enthroned with saints, 
 
 Vliet, H. van .... 830a Church interior. 
 
 Vos, Cornells de ... 831 Portraits of a man and wife, 
 
 „ „ ... 832 Portrait of his daughter. 
 
 „ M. de, attrib. . . . 709 Jonah cast to the whale. 
 
 „ Simon de . . . . 704 Cupid chastised. 
 
 Watteau, Ant 468, 70 Small examples. 
 
 „ ...... 474a The breakfast. 
 
 „ „ . . . . 974a Dead hare and birds, 
 
 "Weenix, Jan 1001 J. flower-piece. 
 
 Werff, A. van der ... — A few examples. 
 
 AVeyden, Rogier van der . 534a Triptych — Deposition, Nativity, and Re- 
 surrection, 
 
 „ „ . 534b Triptych — Life of S. John Baptist. 
 
 „ „ „ . 535 Triptych — The Nativity and the Epiphany 
 
 of the East and West. — Each centre and 
 wing has its subject complete and full of 
 details. 
 
 Willaerts, Adam . . . 711 Sea-shore. 
 
 Witte, Eman. de ... 904a Interior of a synagogue. 
 
 Wouwerman, Ph. . . . 899 The riding school. — And others. 
 
 Zeitblom, Bart 561a, 561b S. Peter and S. Arme. 
 
BERLIN AND BRUNSWICK, 
 
 305 
 
 No. 
 
 Zeitblom, Bart. .... 606a Angels with the head of S. Veronica. 
 
 Zurbaran 404a S. Pedro Nolasco in his cell. — Dated 
 
 1629. 
 
 THE GALLERY AT BRUNSWICK. 
 
 Catalogue of 1868, very imperfect. 
 
 Pictures last examined in 1877. 
 
 The gallery contains upwards of nine hundred pictures^ of which the great 
 majority consists of works possessing little interest or merit. 
 
 Adrian v. Utrecht 
 Berchem, N. . 
 Bol, Fred. . . 
 Brekelenkamp . 
 Bronkhorst, Jan 
 Bruyn, B. 
 Callot. . . . 
 Ceulen, C. van . 
 Cornells van Haarlem 
 Cranach, L., elder 
 
 »» 
 
 9i 
 
 9? 
 
 Dietrich 
 
 »» 
 
 younger 
 
 Dow, G 
 
 Diirer, A., attrib. . 
 Dyck, A. van 
 
 Eeckhout, G. van den . 
 
 Fabritius, Bernhart . 
 
 Flinck, Govert . 
 Florentine, early school 
 German, early school . 
 Giorgione, attrib. 
 
 Hals, Frans . 
 Heem, J. D. de . 
 
 No. 
 
 864, 
 
 546 
 
 141 
 
 608 
 
 506, 
 
 12, 
 200 
 149, 
 440 
 348 
 350 
 351 
 
 352 
 401 
 587 
 
 109 
 
 473 
 155 
 534 
 532 
 
 152 
 
 344 
 225 
 
 119 
 876 
 
 5 Fruit. 
 
 Pomona and Vertumnus. 
 Male portrait. 
 
 Old woman with vegetables. — And others. 
 7 Groups. 
 
 13 Two portraits. — Dated 1539. 
 Plundering a kitchen. 
 50, 1 Portraits. 
 The golden age. 
 
 Hercules and Omphale. — Dated 1537. 
 Adam and Eve. 
 
 John the Baptist preaching. — A large por- 
 trait group, Melanclithon as the 
 Baptist. Dated 1549. 
 
 Herodias and the head of the Bajytist, 
 
 Abraham, Sarah, and Hagar. 
 
 His own portrait. 
 
 Several examples, none genuine. 
 
 Male portrait. 
 
 Madonna. 
 
 Male portrait. 
 
 Solomon sacrificing to the gods, 
 
 Peter at the house of Cornelius. — Dated 
 
 1653. 
 Female portrait. 
 A few unimportant examples. 
 Altarpiece. — In three parts. And others. 
 Adam and Eve. — By Palma Vecchio : C, 
 
 and C. 
 
 Male portrait. — Full-length. 
 Fruit and crab. 
 
306 CA8SEL: TUB GALLERY. 
 
 No. 
 
 Hey den, J. van der . . . 710 Landscape. 
 Holbein, younger ... 9 Male portrait. — Dated 1533. 
 M „ attrib. . 10 Male portrait. 
 
 Hondecoeter 882 Animals of the arJc. 
 
 Koning, S 523 An old philosopher. 
 
 Lairesse, J. G. do . . . 481 Achilles and the daughter of Lycomedes. 
 
 Largilliere ..... .. 187 Full-length portrait. 
 
 Lievens 515 Sacrifice of Isaac. 
 
 Meer, J. van der, of Pelft . 611 The coquette, — Known as the * Girl with 
 
 the drinking-glass.* 
 
 Metsu, G 590 A Dutch woman. 
 
 Mieris, W. van ..... 623 A cook with fish. 
 
 Mignon, A 842 Flowers. 
 
 Moro, Antonio . . . . 118 Male portrait, j 
 
 Pencz, G 15 Portrait of Erasmus. — Dated 1537. 
 
 Pietro del Eomano . . . 286 Holy family. 
 
 Kavesteyn, J. van . . . 124 Family group. 
 
 Kembrandt 130 Family group. — Late work. 
 
 131 2 Two portraits.— Dsited 1631 and 1633. 
 
 „ 133 Man in armour, — Dated 1658. 
 
 „ ... . . ... 134 ^ warrior. 
 
 „ 516 The Entombment, 
 
 „ 518 Noli me tangere. 
 
 „ 519 A philosopher. 
 
 „ School of . . 517 The Circumcision. 
 
 Eeni, Guido, attrib. . . . 292 Procris and Cephales. 
 
 Kigaud, H. ..... . 19a Portrait of Louis XIF.— And others. 
 
 Euysch, Kachel ..... 887, 8 Flowers, 
 
 Kuysdael 700 Landscape, — And others. 
 
 Schwarz, C. . . . . . . 355 A man in a fur cap. 
 
 Steen, Jan 599 The signing of the marriage contract. 
 
 „ „ attrib. . . . 600 A party. — Not genuine. 
 
 Stevens 420 Battle of the Amalehites. 
 
 Teniers, younger . . . 582 The alchemist. 
 
 yictors, Jan 529 Esther and Haman, 
 
 THE GALLERY AT OASSEL 
 Catalogue of 1878. " 
 Pictures last examined in 1873, 
 
 No. ' " 
 
 Adriaenssen, A 608 Still-life, 
 
 Adrian van Utrecht . . 289 A kitchen. — Dated 1629. • 
 Aelst, W. van . * . . 504 J'riiiY.— Dated 1677. 
 
CAS8EL: THE GALLEBY. 
 
 307 
 
 Aertsen, P. van 
 Agricola, C. L. 
 Albin, Eleazar 
 Apshoven, Th. 
 Asselyn, J. 
 Backer, J. 
 Balen, H. van 
 
 Bassano, Fr. . 
 „ Jacopo 
 
 Bega, C. 
 
 Bellotti, B. . 
 Berchem, N. 
 Berckheyden, G 
 Biset, C. E. . 
 Bourdon, S. . 
 Bourguignon 
 Breenberg, B. 
 
 it 
 
 Brouwer, A. 
 Brueghel, J. 
 
 >» 
 
 5» 
 
 Camphuysen, attrib 
 Caracci, Agostino 
 Annibale 
 
 5» 
 
 Caravaggio 
 Cignani, C. 
 
 Cima da Conegliano 
 Cologne School . 
 
 Cocques, Gonzales 
 
 Cornelissen van Oostzanen 
 
 Cranach, L., elder 
 Grayer, G. de 
 Dolci, Carlo . 
 Douven, J. F. van 
 
 »> 
 
 No. 
 
 81 Vegetables and fruit, 
 731, 2 Landscapes. 
 914 Lazarus and the rich man, 
 411 Peasants dancing. 
 1021 Landscape. 
 383 Venus and Adonis. 
 121, 2 Diana and Acteon, i 
 123 Herse and attendants. 
 106 Christ at Bethany. 
 
 63, 6 Entombments, 
 
 67 Male portrait, 
 
 462 Interior. 
 
 463 The chemist,— Da,ted 1661. 
 892, 3, 4 Views in Venice. 
 
 518 tI forge. 
 
 583b OZcZ gateway. 
 
 558 Almsgiving, 
 
 456, 7 Interiors. 
 
 512, 13, 14 Battle-pieces. 
 
 493, 5 Landscapes, 
 
 494 Camillus and the schoolmaster of Veii, — And 
 
 others. 
 380, 1 Peasants. 
 
 104 Winter landscape, 
 
 105 Sea-piece. 
 
 154, 5, 6 Landscapes. 
 
 233 Landscape, 
 
 120 Hagar and Ishmael, 
 
 125 Totias. 
 
 126 Hercules, 
 
 148 9 -4 violin and a lute player. 
 
 543 Bacchus and Erigone. 
 
 544 ^ero awe? ^/ie 6oc2?/ o/ /lis mother. 
 
 545 Achilles and Ulysses, 
 327 Madonna. 
 
 49, 50 il!faZe awe? female portraits. — Date 
 1525, 6. 
 
 458 Philosopher and his wife, 
 
 459 Family group. 
 
 58 Adoration of the magi. — On the outer side 
 of the wings are saints by L. Cranach. 
 
 15 Male portrait, 
 230 Adoration of the shepherds, 
 450 S, Cecilia. 
 685 Bathsheba, —Bd^ied 1725. 
 789 Three Graces. 
 
 X 2 
 
308 CASSEL: TEE GALLEBY. 
 
 No. 
 
 Dow, G 430, 1 Male and female portraits. 
 
 Drost 379 Noli me tangere. 
 
 Dubbels, J 517 Calm at sea. 
 
 Dubois, C 860 Wood and figures. 
 
 Diirer, A 7 Portrait of Elizabeth Tucher.— Dented 1499. 
 
 Dyck, A. van .... 290 Portraits of Snyders and his wife, 
 
 „ 291, 4 Male portraits. 
 
 „ „ 293 Family group. 
 
 ,, „ 295 Portraits of a man and his wife, 
 
 „ „ 297 Lucas and Cornelius de Wael. 
 
 „ „ 300 Portrait of an ecclesiastic. 
 
 „ „ 301 Female portrait. 
 
 „ attrib 304 An old ivoman. — A fine work by Rubens. 
 
 „ Philip van . . . 764 Family group. 
 
 „ „ .... 765 Repentant magdalen. 
 
 Elzheimer, A 161 Elijah and Ohadiah. 
 
 Everdingen, A. van . . 1023 Landscape. 
 
 French School .... 4, 16, 17, 18 Porfra^^s. 
 
 Eyt, J 532, 3 Animals. 
 
 Glauber (Polydor) . . . 617 Landscape. 
 
 Guido Reni — Examples. 
 
 Hackaert 862 Landscape and figures. 
 
 Hals, Frans 222 Laughing peasant. 
 
 „ „ 224, 5 Portraits of a man and his wife. 
 
 „ „ 22Q, 7, 8 Male portraits. 
 
 Heem, J. D. de . . . . 317, 18 Still-life, 
 
 Heemskerck, M. van . . 48 Family group. 
 
 Heist, B. van der . . . 4:36 Male portrait— Dsited 16 \2, 
 
 Heusch, W. de . . . . 814 Landscape. 
 
 Heyden, J. van der . . . 582 View in Brussels. 
 
 „ „ . . . 582a Landscape. 
 
 Holstein, C 653 A hath-room. 
 
 Hondecoeter, G. ... 221 Concert of birds. 
 
 „ M. ... 578 Cocks fighting, 
 
 „ „ . . . 579,80 Poultry. 
 
 Honthorst, G. van . . . 258 Nymph and satyr. 
 
 Huysmans, C 678, 9 Landscapes. 
 
 Janssens, A. .... 196 Diana and nymphs. 
 
 Jardin, Karel du ... 565 Charlatans. 
 
 Jordaens, J 266 Pan and the peasant. 
 
 „ 271 Education of Bacchus. 
 
 „ 272 The bean-feast. 
 
 „ 273 Merchant and a Moor. 
 
 Juncker, Justus . . . . 819 J philosopher. 
 
 „ „ . . . . 820 The artist teaching. — Dated 1752. And 
 
 others. 
 
CAS8EL: THE GALLEBY. 
 
 309 
 
 Kaupfer, N. 
 Laar, P. van 
 Lairesse, G. de . 
 
 Looten, J. van . 
 Lys, J. (Pan) 
 Master of * Death 
 
 Virgin * 
 Metsu, G. . . 
 
 of 
 
 Meulen, A. F. van der 
 Mieris, F. van, younger 
 
 >» T) J» 
 
 „ Willem van 
 Mignon, A. . 
 Molenaer, N. 
 Moreels, J. . 
 More, Antonio . 
 
 the 
 
 »» 
 
 Moucheron, F. . 
 Neefs, Pieter. 
 Near, Art van der 
 Netscher, G. 
 
 Neuchatel (Lucidel) 
 Ostade, A. van . 
 
 » >» • 
 
 Palma Giovane . 
 
 Parmegianino . 
 Platzer, J. van . 
 
 n 
 
 Poelemburg, 0. 
 
 » 
 
 Poorter, W. de 
 Potter, Paul . 
 
 >» 
 
 5» 
 
 Poussin, Nicholas 
 Kavesteyn, J. van 
 Rembrandt . 
 
 No. 
 
 341 The seven works of mercy. 
 426 Fair. 
 
 602 Bacchanalian feast. 
 604 Male portrait. 
 568 Landscape and figures. 
 163 Drinking party. 
 
 6 ilifaZe portrait. 
 
 447 Giving alms. 
 
 448 Z>ac?z/ playing on the zither. 
 560 Entry of Duke Alba to Brussels. 
 
 787 ^ 6a/i:er. 
 
 788 Old woman selling fruit. 
 706 A shop. 
 
 596, 7 i^rwe^. 
 
 855 Landscape. 
 
 541, 2 Sfill-life.— Dated 1675. 
 
 74, 7 iWaZe portraits. 
 
 75, 6 Portraits of a man and his wife. — Dated 
 
 1559. 
 
 740, 1, 2, Landscapes. 
 — Several church interiors, 
 374 A sunset. 
 
 586 Portrait of a lady. — Dated 1670. 
 
 587 Portrait of a young lady. 
 
 589 Portrait of a young lady, — Dated 1667. 
 
 591 Mudcians. 
 
 592 Two ladies in masks. — Dated 1668. 
 51 Male portrait. 
 
 399 Peasants outside an inn. — Dated 1676. 
 400, 1 Peasants drinking. 
 
 97, 101 Venus and Cupid. 
 
 98 Perseus and Andromeda, 
 
 60 Male portrait. 
 
 817 Bacchus and Ariadne. 
 
 818 Wedding feast. 
 237 Children dancing. 
 
 239 Madonna surrounded by a wreath. — And 
 
 others. 
 511 The Circumcision. 
 
 525 Landscape and cattle. — Dated 1 64S. 
 
 526 Landscape and cows. — Dated 1644. 
 
 527 Figures and cattle. — Dated 1651. 
 280 Bacchanalian feast. 
 
 444, 5 Male and female portraits, 
 347 A young girl with a pink. 
 
310 CASSEL: THE GALLERY. 
 
 No. 
 
 Kembrandt 348,9 Male portraits. 
 
 „ 350 Portrait of an old man. — ^Dated 1656. 
 
 „ ..... S5l The poet Jan Krul.—Dsited 1633. 
 
 „ 355, 65 Male portraits.— Dated 1632. 
 
 356 Portrait of his wife, Saskia. 
 
 „ ..... 357 Male portrait— Doiied 1634. 
 
 J, 358 Portrait of Koppenol. 
 
 „ 359 Nicolaus Bruynink. 
 
 „ 360 His own portrait. 
 
 „ ..... 364 Portrait of a man in black. — Dated 1 639. 
 
 „ ..... 366 A wood-cutter s family. — Dated 1348. 
 
 „ 367 Jacob blessing Ephraim and Manasseh. — 
 
 Dated 1656. 
 
 „ 368, 72 Landscapes. 
 
 Ribera (Spagnoletto) . . 263 Mater dolorosa. — Dated 1638. 
 
 Eoghman, R 353, 4 Landscapes. 
 
 Roos, J. H. . . . . . 552 Angels appearing to the shepherds. — And 
 
 many others. 
 
 Rottenhammer, J. . . . — Several examples. 
 
 Rubens 176 Flight into Egypt— mted 1614. 
 
 „ ...... 177 Jupiter and Calisto. — Dated 1613. 
 
 181 Drunken Silenus and faun. 
 
 „ 183 Portrait of an oriental. 
 
 „ 187 Holy family and saints. 
 
 188 An allegory. 
 
 Ruysdael, Jacob . . . 566 Landscape and figures. — Dated 1647. 
 
 „ ,, ... 567 Rocky landscape. 
 
 „ Salomon . . . 857 Wood with flocks. 
 
 Sassoferrato 344 Madonna. 
 
 Schiitz, C. G — Several examples. 
 
 Schalken, G 611 Female portrait. 
 
 „ 614, 15 Venus and Cupid. 
 
 Snyders, F 198 Game in a kitchen. 
 
 Steen, Jan 576 The bean-feast. — Dated 1668. 
 
 Steenwyck, H. van ... — Several examples. 
 
 Temple, A. van den . . 460 Female portrait. 
 
 Teniers, D., elder . . . 216 Peasants in a landscape. 
 
 „ younger . . 404 A bath-room. 
 
 „ „ . . . 405 The dentist. 
 
 „ „ . . . 406, 7 Triumphal entries. 
 
 „ „ , . . . 408 Pilate and the Jews. 
 
 Terburg, G. ..... 384 The lute-player. 
 
 V ... . 385 Lady and gentleman playing, 
 
 Tintoretto 70 Male portrait 
 
 Titian 25 Portrait of the Marquis del Vasto. 
 
 „ attrib 23 Cleopatra. — By Cesare Vecelli : C. and C. 
 
CASSEL AND COLOGNE. 311 
 
 _i , . — , — ■ — - 
 
 No. 
 
 Tol, D. van . . . . .907 Girl with fowl 
 
 Trevisani, F 680 Triumph of Galatea. 
 
 „ 683 Venus and naiads. 
 
 Unknown 995 Male portrait. — Possibly by Antonio Moro. 
 
 Velde, Ad. van de . . . 593 Coast at Scheveningen. — Dated 1638. 
 
 „ „ ... 594 Landscape. — Dated 1662, 
 
 „ W. „ ... 390 Sea-piece.— D'dted 1653. 
 
 „ „ „ ... 391 Coast scene. 
 
 Venne, A. van der . . ,. 245 Landscape, 
 
 Veronese, P 88 Belshazzar s feast. 
 
 „ 91 Female portrait. 
 
 Vliet, H. van .... 858 Church interior. 
 Vois, Ad. de . . . . . 607 Man smoking, 
 Vos, C. de . . . . . 316 Male portrait, 
 Weenix, Jan . . . . 625 Dead game, &c. 
 Wer£f, A. van der . . . 697 Flora. 
 
 „ „ ... 699, 8 Genii. 
 
 „ „ ... 723 Madonna and youthful Baptist. 
 
 „ „ ... 724 Three maidens. 
 
 Witte, J. de 796, 7, 8, 9 The four seasons.— Dated 1751-2 
 
 And others. 
 
 Wouwerman, Ph. . . . 465 Starting for the hunt, 
 
 „ ... 468 Sea-coast, 
 
 „ ... 474, 5 Hiders. 
 
 „ ... 478 The corn-harvest. 
 
 Wyck, Th. ..... 452, 8, 4 Alchemists in their laboratories. 
 
 Zeeman 906 Large sea-piece. 
 
 Zereso, Matteo . . . .562 Jb/m the Baptist. 
 
 Zorg, H 507, 8 Dutch vegetable and fish markets. 
 
 THE MUSEUM WALLRAF-KICHARTZ AT COLOGNE. 
 
 Catalogue of 1875. 
 Pictures last examined in 1877. 
 The Cologne School. 
 No. 
 
 Lochner, or Loethener, 
 
 Stephan 118 The Madonna of the rosary. 
 
 „ 119 /S'. Ambrose and others. 
 
 „ ..... 120 /S. Mark and others. — A similar panel is 
 
 No. 705 in our National Gallery, and 
 the centre portion is in the Darmstadt 
 Gallery. 
 
 „ attrib. . . . 121 The Last Judgment. — A triptych. 
 
 0 
 
312 BAEMSTADT: THE GALLEBY. 
 
 Meister Wilhelm von Koln 
 
 Master of the 
 tke Virgin * 
 
 Death of 
 
 Master of the Lyversherg 
 'Passion ' . .- 
 
 No. 
 
 40 Madonna and two saints, — A triptych. 
 
 41 Christ on the cross^ Virgin, and eight 
 
 apostles. 
 
 207 Death of the Virgin,— The work from 
 which this unknown painter takes his 
 title. On the wings are donators and 
 patron-saints. 
 
 Unknown Master 
 
 »» 
 
 151 The Last Stepper. 
 
 152 The Betrayal. 
 
 153 Christ before Pilate. 
 
 154 The Mocking of Christ. 
 
 155 Christ hearing the cross. 
 
 156 The Crucifixion. 
 
 157 The Descent and Entombment. 
 
 158 The Resurrection. 
 
 — The series from which this unknown 
 painter takes his title. 
 
 159 A Deposition. — Painted 1480. 
 160, 1 The wings. 
 
 199 Marriage of S. Catharine. — A triptych. 
 
 There are in a room helow the ground floor remains of the frescoes origin- 
 ally painted for the Kathhaus by Wilhelm von Koln. 
 
 There is a collection of third-rate pictures on the first floor, chiefly Flemish 
 and Dutch, among which may be noted the following i 
 
 No. 
 
 654a Male portrait. 
 633 Prometheus. 
 611, 12, 13 Portraits. 
 
 617 S. Francis receiving tHe stigmata'. 
 
 618 Holy family. 
 
 810 A small copy of the great altarpiece of 
 the Pesaro family in S. M. dei Frari at 
 Venice. 
 
 Van Dyck, Anton . . . 624 Male portrait 
 
 Fabritius, Karel 
 Jordaens, Jacob 
 Moreelse, Paul , 
 Rubens, P. P. 
 
 Titian, attrib. 
 
 THE PICTURE GA>LLERY AT DARMSTADT.. 
 
 Catalogue of 1875. 
 
 Pictures last examined in 1877. 
 
 The chief source of interest in this Gallery, as in that of Cologne, is the 
 collection of numerous excellent examples of early German masters, few of 
 whom can be identified with certainty, although the dates of the works them- 
 
DARMSTADT: THE GALLERY. 
 
 313 
 
 selves are known. After the best of these have been noted, a few of the 
 other pictures, chiefly Dutch and Flemish, which have any merit are named. 
 The large remainder of nearly 700 pictures here will not repay the visitor's 
 attention. 
 
 No. 
 
 Bruyn, Bartholomaus . , 198 Female portrait. 
 
 „ In his manner . . 200 Christ on the cross. 
 Cologne, Ancient School of 167 Altarpiece with wings. — From the Church 
 
 of Ortenberg. 
 
 Cologne, School of, under 
 Flemish influence 
 
 Cranach, Lucas, elder 
 
 J? 
 
 7» 
 
 5? 91 
 
 Johann Lucas 
 
 186 S. Bruno and his followers, 
 
 187 S. Bruno and his followers with the hermit. 
 244 Cardinal Albrecht von Brandenburg. 
 
 248 Female portrait. 
 
 249 Madonna under an apple-tree. 
 
 251 Portrait of Frederick IIL of Saxony. 
 226 Portrait of a young man. 
 191 Madonna. 
 
 Holbein, Hans, younger 
 Leiden, Lucas van . 
 Lochner, Stephan, or Loeth- 
 
 ener 168 Presentation in the temple. 
 
 . 189 Madonna. — Closely approaching in quality 
 to the master, and has been attributed to 
 Gerhard Horembout. 
 193 Madonna in a landscape. 
 
 Memling, School of 
 
 Patinir, Joachim de 
 Klienish Middle School, 
 
 about year 1500 . 
 Khenish Middle School, wilh 
 
 the influence of the School 
 
 of Colmar . 
 Eheniih Lower School 
 
 9J 
 
 »> 
 
 »> 
 
 Schongauer, Martin 
 
 Wilhelm von Koln . 
 Wohlgemuth, M., School of 
 Zeitblom, Bart. . 
 Bellotti, Bernardo . 
 Brueghel, Pieter, elder 
 Canale, Antonio 
 Carraci, Annibale . 
 Eeckhout, G. van den 
 Gyssels, Pieter . 
 Heda, W. C. 
 Keyser, Thos. de 
 
 211-15 A fine altarpiece. 
 
 216 An altarpiece. 
 175 Christ on the C7'oss. 
 
 182 Three panels in one frame. 
 185 Death of the Virgin. 
 196, 7 Female and male portraits. 
 2*09 Votive pictures. — And others. 
 
 217 21ie scourging of Christ. 
 
 218 Dead Christ. — And others. 
 160 Votive pictures in five parts. 
 229 Two wings of an altarpiece. 
 223 S. Lawrence. 
 
 631 Venetian scene.- 
 271 Landscape. 
 619 Venetian scene. 
 541 Portrait of Domenichino. 
 386,7 Portraits. 
 390 Dead game. 
 321 Still-life. 
 356, 7 Portraits. 
 
 -And others. 
 
314 
 
 DARMSTADT AND DRESDEN, 
 
 No. 
 
 Neer, A. van der . . . 883 Moonlight. 
 Ostade, A. yan .... 362 Feasants dancing. 
 Potter, P., attrib. . . . 395 Interior of stable. 
 
 Rembrandt 347 MocJcing of Christ. 
 
 5, 348 Female portrait.- — A good copy. 
 
 Rubens, P. P 296 Diana and nymphs. 
 
 Santvort 350a Fortrait of a girl. 
 
 Schalken, G 424 Fortrait of William III 
 
 Titian 520 Venus. 
 
 „ attrib 519 Fortrait. — Probably by Tiatoretto. 
 
 THE ROYAL GALLERY AT DRESDEN. 
 
 Catalogue of 1872. 
 Fictures last examined in 1877. 
 
 The following catalogue relates to the fine collection occupying the first 
 floor of this gallery, and notes the numbers of the large series of views by 
 Bernardo Bellotti, as w^ell as the copies and other works by Dietrich which 
 are placed on the ground floor. There also is a large series of works in pastel 
 and a collection of miniatures. 
 
 Furthermore a large number of canvases is to be found on the upper story, 
 very few of which are worth seeing, most being inferior copies wholly unworthy 
 of the names attached to the frames. 
 
 No. 
 
 Abate, Niccolo dell* . . 169 Martyrdom of saints. 
 Aelst, W. van . . . .1186 Fish, &c. 
 
 Albani, F 494 Cupids dancing, &c. 
 
 „ 495 Diana and nymphs. 
 
 „ 496 Galatea and cupids. 
 
 „ 497 Venus and Vulcan. 
 
 „ 500 Creation of Eve. 
 
 „ 502 Flight into Egypt. 
 
 Antonello da Messina . . 2382 S. Sebastian. 
 
 Bagnacavallo (Ramenghi) . 84 Madonna in glory with saints. 
 
 Barocci, F 85 Hagar in the desert. 
 
 „ 87 Madonna and two saints. 
 
 Bassano, F. . . . . . 276 Christ cleansing the temple. 
 
 ..... 277 A doration of the shepherds. 
 
 Leandro . . . 285 Male portrait. 
 Battoni, P. G 129 Repentant magdalen. 
 
 Bellini, Giovanni, attrib. . 210 Loredano, Doge of Venice. — By Catena : C. 
 
 and C. 
 
 »» 
 
DRESDEN: THE GALLERY. 
 
 315 
 
 No. 
 
 Bellini, Giovanni, attrib. . 2387 Holy family. — By Previtale ; C. and C. 
 
 . 2325-42 Views of Dresden. 
 . 2343-53 Views of Pima. 
 . 1404 Angels appearing to the shepherds. 
 . 1405-7 Landscapes. — And others. 
 . 2366 Interior of cathedral at Haarlem. 
 
 41 JBathsheha. 
 . 1266 Repose in Egypt. 
 . 1267 Jacobs dream. 
 
 . 1268 Joseph introduces his father to Pharaoh, 
 212 Madonna and saints. 
 
 261 Finding of Moses. 
 
 262 Madonna and saints. 
 256 Diana and a nymph. 
 
 . 1272 Landscape. 
 
 26a Miracle of S. Zenohius. 
 . 777, 8 Landscapes. 
 . 784 Tobias and the angel. 
 
 730, 5 Landscapes. 
 . 736 Carriages and horsemen at an inn, 
 
 745 Landscape with figures. 
 . 756 Siege of a fortress. 
 
 . 2363 Adoration of the magi. — And many other 
 good examples. 
 
 Bruyn, B 2418 Descent from the cross. 
 
 Burgkmair, Hans . . . 11^^ Death of S. Ursula.— AMqx^iqcq. 
 
 Calvaert, D 69 Copy of Kapbael's >S^. Cecilia. 
 
 Cano, Alonso .... Q^l Apostle S. Paul. 
 
 Cantarini 525 Joseph and Potiphars wife. 
 
 Caracci, Annibale ... 449 The Genius of glory. 
 
 9» », ... 450 Assumption of the Virgin. 
 
 j> ... 451 Madonna enthroned with saints. 
 
 ?♦ ... 452 S. Roch distributing alms. 
 
 Caravaggio (Ameriglii) . 175 S. Sebastian. 
 
 ?> „ . . 176, 7 Card-players. 
 
 >» . . 178 Fortune-telling. 
 
 Cardueho, V 606 Three saints. 
 
 Catena, V 211 Madonna with saints. 
 
 Cavazzola (Morando, P.) . 2411 Female portrait. 
 
 Ceulen, C. J. van . . . 1212, 13 Por/ra/^s. 
 
 Cignani, Carlo .... 528 Joseph and Potiphar's wife. 
 
 Cima da Conegliano . . 215 Figure of Christ. 
 
 >» >» . . 216 Presentation of Mary in the temple. 
 
 Clouet, Francois . . . 2420 Female portrait. 
 
 Correggio 151 The Madonna enthroned with four saints, 
 
 >» 152 Madonna in glory with three saints. 
 
 Bellotti, Bernardo . 
 
 Berchem, N. . . . 
 ., . . . 
 
 Berckheyden, J. . 
 Bigio, Francia 
 Bol, Ferdinand . 
 
 sy J, . . . 
 
 »> ») . . . 
 
 Bonconsiglio . . . . 
 
 Bonifazio 
 
 . . . . . 
 Bordone, Paris . 
 Both, Jan . . . . 
 Botticelli, Sandro . 
 Bril, Matthew . . . 
 
 „ Paul .... 
 Brueghel, Jan (Yelours) 
 
 >» »» j> 
 
 » » 5) 
 
316 DBESDEN: THE GALLERY. 
 
 No, 
 
 Correggio . . » » . 153 Repentant magdalen. 
 
 „ 154 Adoration of the shepherds, ** La Notte^ 
 
 „ 155 Madonna enthroned with four saints, 
 
 „ 156 Correggids doctor* 
 
 Cranach, Lucas, elder . . — Numerous works are attributed to this 
 
 Blaster, many of which are very inferior, 
 and need not be noted. 
 
 Credi, L. di 2385 Madonna in adoration, 
 
 „ 2386 Madonna and saints. — And others. 
 
 Cuyp, A 2355 Hunting scene, 
 
 „ 2427 Portrait, 
 
 Denner, B — Several portraits, 
 
 Dietrich, C. . i . . . 2257- 2309a Various examples. 
 
 Dolci, Carlo 61 Herodias with head of the Baptist, 
 
 „ 62 /S. Cecilia playing upon an organ. 
 
 ...... 63 Oar Saviour blessing the Elements, 
 
 Domenichino .... 482 Charity. 
 
 Dossi, Dosso 135 Fathers of the church. 
 
 Dow, G 1134-49 inclusive. Various examples. 
 
 Dughet, G. (Poussin) . . 656a Landscape near Rome. 
 » • • 657-9 Landscapes, 
 
 Diirer, A 1722a Christ on the cross, 
 
 ^ „ 1723 Christ bearing the cross. 
 
 „ 1725 Portrait of Bernhard de Kessen. 
 
 Dusart, Cornells . . . . 1671, 2 Genre. 
 Dyck, Anton van . . . 982 S, Jerome. 
 
 , 985, 6 Charles I. and Henrietta Maria, 
 
 , 987 Group of iheir three children. 
 
 988 Portrait of a man in black. 
 
 , 990 Portrait of the painter Martin Ryckaert. 
 
 , 991 Portrait. 
 
 , 992 Portrait of a man in armour, 
 
 , 994-8 Portraits, 
 
 Eyck, Jan van .... 1713 Triptych — Madonna with saints. 
 Fabriano, Gentile da . . 2383 Madonna enthroned. 
 Feti, Domenico .... 94 David and Goliath. — And others. 
 Fliuck, Govert .... 1313a David and Uriah, 
 
 „ „ .... 1314, 16 Portraits. 
 
 Franceschini, M. A. . . 530 Magdalen and woman, 
 Francia, Francesco . . . 435 A predella. 
 
 „ ... 436 Madonna and S. John, 
 
 „ „ ... 437 Baptism of Christ. 
 
 Fyt, Jan 1032 Live game and still-life, 
 
 „ „ 1033 Dead game, 
 
 „ „ 2379 Dog, 
 
 Garofalo (Tisio) .... 140 Mars, Venus^ and Cupid, 
 
DRESDEN: THE GALLERY. 
 
 317 
 
 Garofalo (Tisio) . 
 
 5) 
 
 5> 
 
 J* 
 
 5> 
 
 Ghirlandajo, D. 
 Giordano, Luca 
 
 91 
 
 Giorgione, attrib. 
 
 5» 
 
 9? 
 99 
 99 
 J9 
 
 Goyen, Jan van 
 Grandi, Ercole 
 
 99 
 
 Greuze, J. B. 
 Guercino . 
 
 99 
 »9 
 »' 
 »9 
 
 Hals, Frans . 
 
 9» 
 
 99 
 
 99 
 
 9* 
 
 Heda, W. 0. . 
 Heem, Jan David de 
 
 99 
 
 9» 
 
 9' 
 
 Jan de 
 
 99 
 
 „ Cornelis de . 
 Heist, B. van der 
 Heyden, J. van der . 
 Hobbema, M. 
 Holbein, Hans, younger 
 
 9» 9» 
 
 Hondecoeter . 
 Honthorst, G. van 
 Huysum, J. van 
 Jordaens, Jacob 
 
 99 
 
 99 
 
 99 
 
 99 
 
 Juanes, Juan de 
 Kalf, Willem 
 
 No. 
 
 141 Neptune and Pallas, 
 
 142 Marriage of Bacchus and Ariadne, 
 
 145 Madonna in adoration. 
 
 146 Madonna appearing to saints. 
 29 The Nativity. 
 
 568 Hercules and Omphale. 
 
 569 Perseus and the head of Medusa. 
 572 Lucretia and Tarquin, 
 
 575 The rejection of Hagar. 
 
 218 Jacob saluting Rachel. — Attributed to 
 
 Cariani : C. and C. 
 
 219 Adoration of the shepherds. 
 
 220 Man and woman. 
 
 221 Supposed portrait of Aretino. 
 2389 Subject from ' Orlando Furioso.' 
 1131 Skaters on the ice. — And others. 
 
 148 Christ on the way to Calvary. 
 
 149 The Betrayal. 
 2377 Family group. 
 
 506, 8 Venus' finding the body of Adonis, 
 
 509 Cephale and the body of Procris. 
 
 510 Diana. 
 
 511 Semiramis. 
 
 512 Tlie wounded Dorinda. 
 938-40 Portraits. 
 
 2368 Fish-sellers. 
 
 2425 Portrait. 
 
 2426 Still-life. 
 1156, 9, 61 ^ Still-life. 
 
 1164 Floivers in a vase, 
 
 1165 Still-life. 
 1166, 7 Stiil-life. 
 2430 Female portrait. 
 1512 View in a town. 
 2375, 2435 Landscapes. 
 
 1809 Madonna and burgomaster Meyer and 
 
 family. 
 
 1810 Morett, jeweller to Henry VIII. 
 1480, 1 Poultry. 
 
 1122 The dentist. 
 1704 Flowers. 
 
 954 Ariadne with fauns, satyrs, &c. 
 959 Presentation in the temple, 
 961 Satyr and nymph. 
 602 Death of the Virgin. 
 1454 Still-life. 
 
318 
 
 DRESDEN: THE GALLERY, 
 
 Kaufmann, Angelica 
 
 Lancret, Nicolas 
 Lanfranco 
 Lippi, Filippino 
 Lorraine, Claude 
 
 Maas, N. 
 Maratta, Carlo . 
 Matsys, Quintin . 
 Meer of Delft, Jan v 
 
 9» 
 
 Memling, H. 
 Metsu, G. 
 
 Meulen, J. van der 
 Mierevelt, P. 
 Mieris, Frans van 
 
 Willem van 
 
 Mignon, A. 
 
 »* 
 
 Morales (El Divino) 
 Moreelse, P. . 
 Moretto (Bonvicino) 
 Moro, Antonio . 
 Moroni, G. B. . 
 Murillo, Esteban 
 
 5? 
 
 Neefs, Pieter 
 Netscher, G. 
 
 Orley, B. van 
 Ostade, A. van 
 Padovanino, II 
 
 No. 
 
 1978 A Sibyl. 
 
 1979 J. Vestal. 
 
 1980 Ariadne abandoned by Theseus. 
 696, 7, 8 Pastoral dances . 
 
 182 ^. Pefer repentant. 
 35 Madonna. 
 
 654 i^%7i^ ^?^^o Egypt. 
 
 655 Landscape, &c. 
 
 2372 Ti^jo women in a kitchen. 
 118 Madonna. — And others. 
 1721 J[ banker and clients. 
 
 1432 Group of four figures. — Life-size. 
 
 1433 A young girl at an open window. 
 2417 S. Christopher and Infant Christ. 
 
 1305 Man and woman in an inn. 
 
 1306 Man selling a fowl. 
 1308 Woman and game-dealer, 
 1311 Woman reading. — And others. 
 1044, 5 Court of Louis XIV. 
 1098, 9 Male and female portraits. 
 
 1465-79. — Several good, especially Nos. 1471, 4, 
 5, 6. 
 
 1650-61. — Several good, especially Nos. 1650, 
 61. 
 
 1492, 3, 6 Flowers and fruits, 
 
 1497 Fruit and birds, 
 
 1502 Game and fruit, 
 
 1505 Dead game, — And others. 
 
 601 Ecce Homo. 
 2424 Male portrait. 
 
 254a Appearance of the Virgin. 
 
 1085, 1085a Portraits. 
 
 267 Male portrait. 
 
 633 The apotheosis of S. Rodrigue, 
 
 634 Madonna, 
 
 1049 Interior of a church, 
 
 1527 Lady and cavalier at a harpsichord. 
 
 1529 Doctor and patient. 
 
 1530 Gentleman and lady with guitar, 
 
 1531 Portrait of Madame de Montespan. 
 
 1532 The same playing the harp, 
 
 1533 Lady and dog, 
 2421 Holy family. 
 
 1283, 7 Interiors with peasants. 
 340 Judith with the head of Holofernes, 
 
 Palma, Jacopo (Vecchio) . 242 Holy family. 
 
DBFS DEN: THE GALLERY. 
 
 319 
 
 Palma, Jacopo (Vecchio) . 
 
 11 
 1* 
 1? 
 
 Parmegianino 
 
 Pater, J. B. . . . 
 Piombo, S. del . 
 Pordenone, Bernardino 
 
 G. A. . 
 Pottenburg, 0. . 
 Potter, Paul . . 
 
 Poiissin, Nicolas 
 Procaccini, Camillo . 
 
 G. G. . 
 
 Kapha el Sanzio . 
 Kavesteyn, Jan van, attrib. 
 Kembrandt van Ryn 
 
 1* 
 11 
 
 n 
 >» 
 11 
 11 
 11 
 
 19 
 »> 
 
 11 
 19 
 11 
 >» 
 
 11 
 
 Keni, Guido 
 
 »» 
 
 J' 
 >» 
 
 V 
 
 »» 
 »» 
 »» 
 )> 
 
 Eibera (Lo Spagnoletto 
 
 1* 
 11 
 1* 
 
 11 
 »» 
 >• 
 
 5> 
 
 Kigaud, Hyacinthe 
 King, P. de . . 
 Komano, Giulio . 
 Kosa, Salvator . 
 Kubens, P. P. . 
 
 No. 
 
 243 The three Graces, — His own daughters. 
 
 244 Venus in a landscape. 
 
 245 Madonna and saints. 
 
 246 Madonna with saints. 
 
 162 Madonna enthroned with saints. 
 
 164 Madonna " della Bosa.** 
 
 699, 700 Dancers. 
 2390 Christ with the cross. 
 
 254 Portrait of a Venetian lady. 
 
 252 Lady in mourning. 
 2429 Still-life. 
 
 1420 Forefit and hunters. — An inferior repetition 
 of No. 872a at Berlin. > 
 648 Venus and Cupid. 
 
 442 S. Boch healing the diseased. 
 
 443 Figures in a boat. 
 
 444 Holy family. 
 
 67 The '* Madonna di San Sisto.'' 
 1106 Male portrait. 
 1214 Bust of a young woman. 
 
 1216 Ganymede carried off by the eagle. 
 
 1217 Samson and others feasting. 
 
 1219 Portrait of his wife. 
 
 1220 Manoe and his wife sacrificing. 
 1223, 8 Portraits of old men. 
 
 1225 Portrait of himself and wife. 
 1232 Landscape. 
 470 Venus and Cupid. 
 
 472 Ninus and Semiramis. 
 
 473 Madonna in adoration. 
 
 474 Christ crowned with thorns. 
 476 The risen Saviour and women. 
 
 478 Madonna enthroned with saints. 
 
 479 Christ crowned with thorns. — Oval. 
 608 S. Mary of Egypt and an angel. 
 610 An angel appearing to S. Francis^ 
 612 Martyrdom of S. Lawrence. 
 
 613, 15 S. Paul the hermit. 
 
 618 Diogenes with his lantern. 
 
 619 Philosopher in meditation. — And otherSi 
 676 Augustus III., King of Poland. 
 
 1170 Fruit, &c. 
 
 82 Holy family, " della Catina." 
 2413, 14 Landscapes. 
 825 Diana and her nymphs. 
 
320 
 
 DRESDEN: THE GALLERY, 
 
 Kubens, P. P. 
 
 »» 
 
 > 
 
 »? 
 >> 
 
 a 
 »» 
 » 
 
 ?' 
 ?> 
 
 Kuysdael, Jacob 
 
 »» 
 
 5) 
 
 Byckaert, David 
 
 j» »> • 
 
 Santa Croee, G. 
 Sarto, Andrea del 
 
 Schalken, G. 
 Signorelli, Luca . 
 Slingeland, Pieter van 
 
 ?5 
 
 >9 
 
 Snyders, Frans 
 
 5» 
 
 Steen, Jan 
 
 5» >5 
 
 51 
 
 9» 
 
 Strozzi, B. . 
 
 Subleyras, P. 
 Teniers, D., elder 
 
 younger 
 
 9» 
 
 No. 
 
 829 Mythological subject, 
 
 830 /S'. Jerome. 
 
 831 Salome with head of the Baptist. 
 
 832 ivoman and hoys, 
 
 834 Tigress and lion, 
 
 835 Satyrs. 
 
 836 Fi'e^y o/ ^7ie Escurial^ Spain. 
 
 837 Boar-hunt, 
 
 838 Judgment of Paris. — Small. 
 
 839 27te garden of Love. 
 
 840 Mercury and Argus. — Small. 
 842 Study for the * Last Judgment.^ 
 845 ffis two sons, Albert and Nicholas. 
 846, 7 Female and. male portraits. 
 
 848 Portrait of a lady and her child. 
 
 849 Portrait of a man. 
 
 852, 3 Portraits of Helena Fourment. 
 
 1436 Landscape, * 77ie Tiwnt' 
 
 1437 Landscape, * Cemetery of the Jews.* 
 1439, 2365 Landscapes. 
 
 1443 Landscape, * T/ie monastery.* 
 1447 F*e?i? o/ a castle. 
 1016, 17 Peasants, 
 1019 Still-life. 
 
 214 Martyrdom of S. Lawrence. 
 
 43 Marriage of S. Catharine. 
 
 44 Sacrifice of Isaac. — The original, or a fine 
 
 repetition : another is No. 387 at Madrid. 
 113 Madonna with cherubs. — And others. 
 1565, 6 Young girl with a light. 
 
 21 Holy family. 
 1537 The interrupted lesson, 
 1538, 9 Genre. 
 887, 9 Dead game, &c. 
 
 891 Boar-hunt. — Figures by Kubens. 
 
 892 Game in a Tcitchen. — And others. 
 
 1463 Marriage at Cana. 
 
 1464 Woman feeding her child, 
 2432 Abraham and Hagar. 
 
 548 David and Bathsheba. 
 
 549 David and Goliath. 
 
 701 Christ in the house of Simon, 
 907-913. — Various examples. 
 915 Flemish hermess. 
 919, 23 Peasants round a table. 
 926 Peasants in a village inn. 
 
DRESDEN: THE GALLERY. 
 
 321 
 
 Teniers, D., younger 
 
 5> 
 
 Terburg, G. 
 
 >5 
 
 5? 
 
 Tiarini, Alessandro 
 Tintoretto 
 
 5»- 
 
 Titian 
 
 5J 
 55 
 5» 
 
 55 
 55 
 55 
 
 ?) 
 
 Turchi, Alessandro 
 Valdes Leal, J. de 
 Velasquez de Silva 
 
 attrib 
 
 55 55 
 
 Velde, Adrian van de 
 
 55 5» 5> 
 
 5» 5> >» 
 
 5> 55 55 
 
 55 5» 5? 
 
 „ Willem van de 
 
 Vernet, C. J. 
 Veronese, Paolo 
 
 5) 
 
 )» 
 
 5» 
 55 
 55 
 55 
 55 
 
 55 
 51 
 55 
 55 
 55 
 5? 
 55 
 55 
 
 Vinci, Leonardo da 
 Watteau, Antoine 
 
 No. 
 
 928 The alchemist 
 
 929 Temptation of 8. Anthony. 
 . 931 A village fete. 
 
 , 934 A dentist. 
 
 1242 Two soldiers. — An interior. 
 , 1243 Two female figures. — An interior. 
 , 1244 The lesson on the lute. 
 , 1245 A study for the * Paternal counsel.* 
 489 Medor and Angelica. 
 
 287 Madonna enthroned with saints. 
 
 288 Two portraits. 
 
 . 289 Knight and two women. 
 
 . 290 The fallen angels. 
 
 . 293 The woman taken in adultery. 
 
 . 222 The tribute-money — * II Oristo delta moneta.' 
 
 . 223 Madonna with saints. 
 
 . 224 Holy family and donators. 
 
 . 225 Venus reclining with Cupid, and a young 
 
 man playing the lute. 
 . 226 Portrait of a young woman. 
 . 227 A lady in black, 
 . 228 Portrait. 
 . 229 A fair woman in white. 
 
 230 Lavinia^ his daughter. 
 . 336 Venus and Adonis. — And others. 
 
 636 Miracle of a saint. 
 
 624 Portrait of a man in hlach. 
 . 622, 3 Portraits. — Probably copies, 
 . 1521 A woman drinking. 
 . 1522 Landscape, 
 . 1523 Ruins. 
 . 1524 Skating, 
 . 1525 Landscape and cattle. 
 . 2434 Vessels on the sea, 
 , 706 A conflagration. 
 . 299 Adoration of the magi. 
 
 300 The marriage at Cana, 
 
 301 Madonna enthroned with saints, 
 . 302 Jesus on the way to Calvary. 
 
 . 303 The centurion before Clirist, 
 . 304 The finding of Moses, 
 
 309 Jesus at Emmaus. 
 . 314 Portrait of Daniel Barbaro. 
 , 315 Presentation in the temple. — And others. 
 30 Madonna and S. John. 
 
 687 View on a terrace with figures. 
 
 I 
 
S22 
 
 DRESDEN AND FRANKFORT. 
 
 Watteau, Antoine . 
 Weenix, J. • . . 
 WerfF, Adrian van der 
 
 »> 
 
 Weyden, Rog^er van 
 
 attrib , 
 Wouwerman, P. 
 
 J* 
 
 >* 
 »> 
 
 der, 
 
 Zurbaran, F. 
 
 No. 
 
 688 A fete cliampetre, 
 1577, 9 Dead game, 
 1640 Magdalen. 
 
 1642 Infant Jesus and S. John. 
 
 1645 Abraham and Hagar. 
 
 1646 A lady and gentleman playing chess. 
 
 1718 Christ on the cross. 
 
 1325-89. Among these numerous works the 
 
 following are the best : — 
 1339 Cavaliers at a forge. 
 
 1355 Departure for the hunt, 
 
 1356 Return from the hunt. 
 
 1357 Horsemen at a village inn. 
 1368 Hawking party. 
 
 1375 Cavalry skirmish. 
 627 A saint refusing the papal crown. 
 
 THE STADEL PICTURE GALLERY AT FRANKFORT. 
 Catalogue of 1873 and a Supplement of 1877. 
 Pictures last examined in 1877. 
 
 Amberger, C. . • . 
 Angelico, Fra, da Fiesole 
 Antonello da Messina . 
 Baldovinetti, Alessandro 
 Bamaba da Modena 
 Bega, Cornelis . 
 
 Bellini, Giovanni, School of 
 
 Berckheyden, Gerrit 
 Bol, Ferdinand . 
 Botticelli, Sandro 
 
 Bronwer, Adrian 
 
 Bruyn, Bartholom'aus 
 
 Canale, Antonio 
 Carpaccio, Vittore 
 Cesare da Sesto . 
 
 No. 
 
 84 Portrait of a young man. 
 
 7 Madonna enthroned with angels. 
 16 Head of S. Sebastian, 
 426 Madonna and saints in adoration. 
 ' 1 Madonna. 
 227, 8 Interiors. 
 IS S. Jerome as a cardinal. — A good repetition 
 of No. 694 in the National Gallery, 
 London, also a school copy. 
 267 The stadhuis, Amsterdam. 
 150 , 1 Two portraits. 
 
 10 Large portrait in profile. 
 
 11 Madonna with the Baptist. 
 233,4 Peasants. 
 
 234a a man taking medicine. 
 101, 2 Male portraits. 
 103 Female portrait. 
 
 33, 5 Venetian scenes. 
 
 18a Madonna with S. John. 
 
 36 S, Catharine. 
 
FBANKFOBT: THE STADEL. 
 
 Ceulen, J. van . 
 Christus, Petrus 
 Cima da Conegliano 
 Clouet, Fran9ois 
 Crivelli, Carlo . 
 Cuyp, Albert 
 
 Dow, G 
 
 Diirer, Albrecht 
 
 Dyck, Anton van 
 Eeckhout, Gerb. van den 
 Everdingen, Aldert van 
 Eyck, Jan van . 
 Florentine School . 
 Francia, Francesco . 
 Garofalo (Tisio) . 
 German School, 16th cen 
 
 tury . . . 
 Goyen, Jan van . 
 Hals, Frans , 
 
 ?> )»•••• 
 
 Heem, Jan D. de 
 
 Hobbema, Meindert. 
 Holbein, Hans, elder . 
 
 younger 
 
 Hondecoeter, Melchior 
 Kalf, Willem . . . 
 Koning, Philip de . 
 Lippi, Fra Filippo . 
 Lochner, Stephan, attrib. 
 
 Lucas van Leiden 
 Macrino d'Alba . 
 Mantegna, Andrea 
 Master of the ' Death of the 
 
 Virgin ' 
 Memling, Hans . 
 Millet, Frangois . 
 Moretto . . . 
 Moroni, G. B. . 
 Neefs, Pieter. 
 Netscher, Gaspar 
 Perugino, P. 
 Piombo, Sebast. del 
 Rembrandt . 
 
 No. 
 
 121 Portrait 
 
 60 Madonna. 
 
 19 Madonnai 
 429 A small portrait. 
 
 14,15 The Annunciation. 
 166 Portrait of a hoy . 
 244a Candlelight scene. 
 
 86 Portrait of a girl. 
 
 87 Portrait of his father. 
 117 Portrait of a young man. 
 149 Portrait. 
 
 201 Landscape. 
 59 The Madonna, " del Luca. 
 11a Portrait of a girl. 
 41 Portrait of a young man. 
 43 Holy family. 
 
 89-92 Portraits. 
 173a a canal with boats. 
 158,9 Portraits of a man and his wife. 
 160 Female portrait 
 270 Fruit-piece. 
 203, 203a Landscapes. 
 
 76-82 The history of the Passion. 
 
 83 Portrait. 
 
 83a Portrait. — Probably early work. 
 
 276 Poultry. 
 
 277 Still-life. 
 155 Landscape. 
 
 8 A Crucifixion. 
 57, 58 Two series of small works relating 
 
 the martyrdom of the twelve apostles. 
 70a Christ on the cross. 
 
 6 Three compartments in one frame. 
 13 S. Mark, 
 
 99 Altarpiece with wings. 
 
 63 Portrait 
 
 55 Landscape. 
 
 25, 6 Altar pieces. 
 
 27 Portrait 
 262, 3 Church interiors. 
 2:^6 Portrait 
 
 39 Madonna with S. John* 
 
 22 Female portrait. 
 144 A small Scripture subject. 
 
 Y 2 
 
324: 
 
 MUNICH: THE PINACOTHEK. 
 
 No. 
 
 Eibera, J 52 Susannah and the elders. 
 
 Kubens, P. P 112 King David and the harp. 
 
 J, .... 113a Diogenes. — A sketch. 
 
 „ .... 115 Portrait of a child, 
 
 Kuysch, R 273 A flower-piece, 
 
 Ruysdael, Jacob . . . . 191 J. landscape. 
 
 Sassoferrato 45 Virgin praying. 
 
 Schalken, G 246 Candlelight subject. 
 
 Slingeland, P. van . . . 168 Interior of a slaughter-house. 
 
 Snyders, F 127 Fight of animals. 
 
 Steen, Jan 231 Man and woman joking, 
 
 „ „ 232 An alchemist. 
 
 Stuerboudt, D., or Bouts . 58a Augustus and the sibyl. 
 
 Teniers, David, younger . 134 The smoker. 
 ,i „ „ .135 Landscape, 
 
 Terburg, G 235 Figure in an interior. 
 
 Tiepolo, G. B 32 ^ group. 
 
 Titian, attrib 23 Portrait. 
 
 Velasquez, D 51 Portrait of Cardinal Borgia. 
 
 f, 51a Portrait of the Infanta Maria Teresa. 
 
 Veronese, P 30 Mars and Venus. 
 
 Weenix, Jan 278 Dead game. 
 
 99 „ 279 Male portrait. 
 
 Weyden, R. van der, elder . 61 Madonna and saints. 
 
 „ „ „ . 62 Three panels, from the life of S. John 
 
 Baptist. — Small replicas of the larger 
 work at Berlin, No. 534b. 
 
 Weyden, R. van dtr, 
 
 * younger \ 67-9 Three large panels, 
 
 ,, 70 The thief on the cross, 
 
 Wynants, Jan .... 198 Landscape. 
 
 THE ROYAL PINACOTHEK AT MUNICH. 
 
 Catalogue of 1875. 
 
 Pictures last examined in 1877. 
 No. 
 
 Albani, F 1235 Venus and Adonis in a landscape. 
 
 Albertinelli, Mariotto . . 545 An Annunciation, 
 
 Altdorfer, Albrecht . . . 761 Alexander's victory over Darms.— Dated 
 
 1529. 
 
 Angelico, Era .... 1204, 5, 7, 8 Predella. 
 
MUNICH: THE FINACOTHEK. 
 
 325 
 
 No. 
 
 Angelico, Fra, attrib. . . 1203 The eternal in glory with angels, — Not 
 
 genuine : C. and C. 
 Bartoli, Taddeo .... 1143 A triptych — The Ascension. 
 Bassano, Jacopo .... 1225 8. Jerome, 
 
 Baroccio, F 494 Saviour appearing to the magdalen. — Dated 
 
 1590. 
 
 Bega, C. . . i . . 950 Interior. 
 
 Beham, B 72 Woman brought to life in the presence of the 
 
 true cross. 
 
 „ 98 The devotion of Marcus Curtius. 
 
 Bellini, Giovanni, attrib. . 1196 His own portrait. — Probably by Gentile: 
 
 0. and 0. 
 
 Bellotti, Bernardo . . . 476 View of Munich. 
 
 Berchem, N 223, 8, 1023, 7, 30 Landscapes. 
 
 Bles, Hendrik de . . . 683 Adoration of the magi. 
 
 Bol, F 179 Sacrifice of Isaac. 
 
 Both, A. and Jan . . . 173, 330, 479, 970 Italian landscapes. 
 
 Botticelli, S 555 The Entombment. 
 
 Bouts, Dierick .... 636 Israelites gathering manna. 
 
 „ „ .... 647 Meeting of Abraham and Melchisedelc. 
 
 „ „ .... 650 The kiss of Judas. 
 
 Bril, Paul 805 Landscape. 
 
 Brouwer, A 273, 1107 Interiors. — And others. 
 
 Brueghel, Jan .... — Several in Cabinets VIII. and IX. 
 „ Pieter . . . 784 Preaching of John Baptist. 
 „ „ .... 801 Village fair. 
 Bruyn, B 687, 8 Wings of a triptych. 
 
 „ 704, 5, 6 Altar piece. 
 
 Burgkmair, Hans ... 65 yS. John on the Isle of Patmos. 
 
 „ „ ... 73 Esther before king Ahasuerus. 
 
 Canale, Antonio . . . 1209, 10, 13, 14 Views of Venice. 
 Cano, Alonso .... 353 Appearance of the Virgin to 8. Anthony. 
 Caracci, Agostino . . 422 S. Francis receiving the stigmata. 
 
 „ Annibale . . . 440 Susannah at the bath. 
 
 „ „ ... 1252 A Pieta. 
 
 „ Ludovico . . . 435 yS^. Francis. 
 
 Caravaggio 532 Christ crowned with thorns. 
 
 Cignani 1281 Magdalen. 
 
 Cima da Conegliano, School] 1200 Madonna and saints. — Probably by Basaiti : 
 
 of j 0. and C. 
 
 Claude Lorraine .... 391, 9, 407, 16, 32, 3 Landscapes. 
 
 Coello, C 379 Miracle of S. Peter of Alcantara. 
 
 Cologne, Master of . . . 630, 1, 2 A triptych. 
 „ Wilhelm of . . 607 S. Veronica. 
 
 „ School of . . . 593-607 in cabinet I. illustrate the early masters 
 
 of this school, between 1360 and 1460. 
 
326 
 
 MUNICH: TEE PINACOTHEK. 
 
 Cologne, School of . 
 
 Cranach, Lucas, elder 
 
 » 
 i> 
 
 ?» 
 
 5? 
 
 manner of 
 Grayer, G. de 
 Credi, Lorenzo di 
 
 Cuyp, A. 
 
 Denner, B. 
 Dolci, 0. . 
 
 Dow, G. 
 
 5> 
 
 Dughet, G. (Poussin 
 Diirer, Albrecbt . 
 
 >» 
 
 ?> 
 
 »» 
 
 Dyck, Anton van 
 
 »> 
 
 »> 
 
 No. 
 
 609-26 in cabinet II. illustrate the early 
 masters influenced by Flanders, between 
 1460 and 1520. Among them is an altar- 
 piece by the master of the Lyversberg 
 Passion Nos. 613-18. 
 
 56 Woman taken in adultery, 
 
 83 Lucretia. — Dated 1524. 
 729 Adam and Eve. 
 
 733 Portraits of Luther and Melancthon, 
 
 734 Madonna, 
 
 736 Lot and his daughters. 
 749 The Crucifixion — A triptych. 
 1282 Portrait. 
 
 314 Madonna enthroned with saints. 
 
 553 A Nativity. — Almost identical with No. 
 1287 in the Uffizi, Florence. 
 1004 Near a camp. 
 1035 Fowls in a stable, 
 
 769, 79 Portraits, 
 
 453 Madonna. 
 
 471 Magdalen. 
 
 864 His own portrait 
 
 869 Woman at her toilette. 
 
 876 The charlatan. — And others. 
 1259 Landscape. — And others. 
 
 1 Portrait of Stepha7j> Baumgartner. 
 
 2 The Nativity. 
 
 3 Lucas Baumgartner, 
 71 SS. John and Peter, 
 76 SS. Paul and Mark. 
 93 Lucretia. — Dated 1518. 
 
 712 Portrait of Krell.—J)a,ted 1499. 
 716 His own portrait. — Dated 1500. 
 720 Portrait of his father.— Bsited 1497. 
 731 Portrait of Wohlgemuth. — Dated 1516. 
 739 Portrait of a young man. — Dated 1500. 
 175 Holy family. 
 
 193 Portrait of Liberti, organist of Antwerp. 
 
 198 S. Sebastian, 
 
 203, 12 Pietas. 
 
 206, 7 Portraits. 
 
 209 Portrait of Charles Malery, 
 
 217 Two portraits. 
 
 313, 15 Burgomaster of Antwerp and his wife. 
 
 333, 45,7 Male portraits, 
 
 927 Portrait of Maria de' MedicL 
 
MUNICH: THE PINACOTHEK, 
 
 327 
 
 Dyck, Anton van 
 
 5) 
 
 ?5 
 
 » 
 » 
 >» 
 
 Eeckhout, G. van den 
 Engelbrechsten . 
 Everdingen, Yan 
 Eyck, Van, copy of . 
 Francia, F. 
 
 Fyt" J. 
 
 »> 
 
 Garofalo 
 Ghirlandajo, D 
 
 Giordano, Luca . 
 Giorgione, attrib. 
 
 attrib 
 
 Giotto, attrib. 
 
 5> 
 
 »> 
 
 J) 
 
 Goes, Hugo vail der . 
 Goyen, Jan van . 
 Granacci .... 
 Griinewald . 
 Guido Keni . 
 Haarlem, Gerhard van 
 Hals, Frans . 
 Heem, J. de . 
 Heist, B. van der 
 Hobbema, M. 
 Holbein, Hans, elder 
 
 „ younger, attrib 
 Hondecoeter, M. 
 
 Honthorst, G. 
 
 9) 
 
 Hooghe, Pieter de 
 
 No. 
 
 928 Portrait of Alexander Scaglio, 
 
 929 Count John of Nassau. 
 
 930 Gustavm Adolphus of Sweden, 
 934 The painter Palamedes, 
 
 940 Count of Wallenstein, 
 1308, 1414 Female portraits. 
 926, 7, 34, 5, 6 Small studies. — And others. 
 871 Christ among the doctors, 
 91 Crucifixion, 
 225 Landscape, 
 
 55, 61 Queen of heaven and S. John Baptist, 
 
 575 Madonna. 
 
 577 Madonna in adoration. 
 
 325 Game guarded by dogs, 
 
 339 Boar-hunt. 
 
 341 Game, 
 1172 Madonna. 
 1333 Pieta. 
 
 556, 7, 8 An altarpiece. — Formerly in S. IM. 
 
 Novella, Florence. 
 538 Pieta. — By Filippino Lippi : C. and C. 
 
 442 Massacre of the innocents. 
 569 Christ at the well. 
 
 582 Portrait. — By Palma Vecchio : C. and C. 
 470 Woman with the mirror. — In the spirit of 
 
 Pordenone : C. and C. 
 1148 The Last Supper. 
 1152 Christ on the cross, 
 1420 Christ in Umbo. 
 635 Annunciation, 
 1378, 1417 Landscapes. 
 533, 5, 6, 40 Four saints. 
 
 69 S. Matthew. — And others. 
 527 Assumption of the Virgin, 
 84, 5, 6 A triptych, 
 311 Family group, 
 938, 1012 Flowers and fruit. 
 1002, 1287 Two portraits, 
 1036 Landscape, 
 15, 16, 17 An altarpiece. — And several others. 
 97 Male portrait. 
 219, 344 Poultry. 
 1298 A park with poultry, 
 310, 342 Two subjects. 
 328, 1301 Two subjects, 
 1 122 An interior. 
 
328 
 
 MUNICH: THE PINACOTHEK. 
 
 Jardin, Karel du 
 Jordaens, Jacob . 
 
 99 
 
 99 
 
 Kalf, Willem . . 
 Kaufmann, Angelica 
 Keyser, Th. de . 
 Kulmbach, Hans (Wagner) 
 Le Brun, C. . . . 
 
 Leiden, Lucas van . 
 Lippi, Filippo . 
 
 99 >» • • 
 
 ,, Filippino 
 Lotto, Lorenzo . 
 
 Luini, B., attrib. 
 Lyversberg 'Passion/ 
 
 ter of . 
 Maas, Nicholas . 
 Mabuse, Jan Gossaert 
 
 99 
 
 99 
 
 99 
 
 99 
 
 Mas- 
 
 No. 
 
 242 Figures in a landscape, 
 
 181 Twelfth day, a banquet, 
 
 324 Satyr and peasant. 
 
 384 Still-life. 
 
 152 Her own portrait. 
 1010 An interior. — Dated 1658. 
 40-6 Two saints. 
 
 392 Repentant magdalen. — Said to be a por- 
 trait of Madame la Valliere. 
 
 743 An altar piece. 
 
 554 Annunciation, 
 1169 Madonna. 
 
 563 Christ appearing to the Virgin. 
 
 552 Marriage of S. Catharine, 
 
 565 S. Catharine. — By Andrea Solario: C.and C. 
 
 Mantegna, Andrea, attrib. . 
 
 Maratta, Carlo .... 
 
 Marinus 
 
 Masaccio, attrib. 
 Masolino, attrib. 
 
 Master of 'Death of the 
 
 Virgin ' 
 
 Matsys, Quintin .... 
 Melem, Hans van . 
 Memling, Hans .... 
 
 613- 
 190, 
 99 
 633 
 707 
 549 
 
 1230 
 44 
 1150 
 1164 
 
 660, 
 80 
 668- 
 640 
 
 641 
 
 99 5J • • • • 
 
 „ „ . . . . 665 
 
 Mengs, A. K 153 
 
 Metsu, G 957 
 
 1121 
 
 Mieris, Frans van, elder . 879 
 
 99 99 99 » 
 
 . 1014 
 
 »» 99 99 • 1015 
 
 . 1040 
 
 -18 An altar piece. 
 1 Portraits. 
 
 S. Michael and a donor. 
 
 Jupiter and Danae. — Dated 1527. 
 
 Madonna, 
 
 Madonna and saints. — By Bono of Ferrara : 
 
 C. and C. 
 Sleeping child, 
 A version of the Misers.*' 
 His own portrait. — Not genuine. 
 Annunciation. — Probably an early Filippo 
 
 Lippi : C. and 0. 
 
 2, 3 An altarpiece. 
 The money-changers, 
 -74 An altarpiece, 
 
 S. John Baptist. — Painted in 1470 : C. 
 
 and 0. 
 Adoration of the magi. 
 S. Christopher. 
 
 The seven joys of the Virgin. — Painted in 
 
 1480. 
 His own portrait. 
 Kitchen interior. 
 The feast. 
 The sick woman. 
 " La hotte de Mieris.'* 
 Interior, 
 
 Lady before the glass. 
 The breakfast. 
 
MUNICH: THE PINACOTEEK. 329 
 
 No. 
 
 Mieris, Frans van, elder . 1058 A man seated. — And others. 
 
 Mignon, A 108, 11 Still-life, 
 
 Monnoyer 1324 Flowers: 
 
 Moretto 152 Portrait 
 
 „ attrib 1211 Portrait — Dated 1523. 
 
 Moro, Antonio .... 1293 Male portrait. 
 
 Moroni 452 Portrait. 
 
 Murillo .... . 348, 9, 57 Beggar-hoys. 
 
 „ 368 A fruit-girl. 
 
 „ 371 S. Francis healing a paralysed man. 
 
 „ 376 An old woman and hoy. 
 
 Neefs, Pieter .... 1065 Church interior, 
 Neer, Artus van der . . 1379 Moonlight. 
 „ Eglon van der . . 1055 A lady fainting. 
 
 Netscher, G 777 A concert. 
 
 „ 780 An interior. — And others. 
 
 Neuchatel, N 1424 Female portrait 
 
 Ostade, A. van . ... . 835, 78 Interiors. — And others. 
 
 „ Isaac van . . . 843 The skaters. 
 Palma Vecchio .... 588 Madonna worshipped hy S. Roch. 
 
 Palmezzano 541 Madonna hetween saints. — Dated 1513. 
 
 Pantoja della Cruz . . . 370, 8 Two portraits. 
 
 Paudiss, Ch 113 Wolf devouring a lamh. 
 
 Perugino 561 Madonna appearing to S. Bernard. 
 
 „ 590 Madonna in adoration. 
 
 Piombo, Seb. del, attrib. . 579 Three saints. — Not genuine. 
 Pollajuoli, The .... 1157, 62, 7 Three small ivories in tempera. 
 Pordenone, G. A., attrib. . 482 A concert. — Suggests Florigerio : C. and C. 
 
 Potter, Paul 1103 Landscape with cattle. 
 
 Poussin, N 408 Midas and Bacchus, 
 
 417 Pieta. 
 
 Procaccini, G. C. . . . 426 Holy family, 
 „ ... 1287 Madonna. 
 
 Pulzone, S 1227 Female portrait 
 
 Raphael Sanzio .... 534 Holy family " del Canigiani.*' 
 „ „ .... 547 Madonna " della Tenda.'* 
 
 „ „ . . . . 585 Portrait, 
 
 „ „ . . . .1206 Madonna " di Tempi." 
 
 „ „ attrib. . . 1173, 80, 5 Predella. — By Perugino : C. and C. 
 „ in the manner of . 1189 Madonna. 
 Ravesteyn, Jan van . . , 182, 4 Two portraits, 
 Rembrandt . . . * . . 196 His own portrait, 
 
 „ 323, .9 Portrait of Govert Flinch and his 
 
 wife, 
 
 337, 43 Portraits, 
 
 „ ...... 847 The Ascension, 
 
330 
 
 MUNICH: THE PINACOTHEK, 
 
 Rembrandt . 
 
 Eeni, Guido . 
 Ribera, Jose (Spa 
 
 Rubens, P. P. 
 
 »» 
 » 
 
 >» 
 »» 
 
 5J 
 J) 
 5> 
 J> 
 >» 
 » 
 
 » 
 ?> 
 
 Ruysch, Rachel 
 
 5> 
 
 Ruysdael, Jacob 
 
 >» 
 J) 
 
 J) 
 
 >5 
 
 gnoletto) 
 
 Sarto, Andrea del, attrib. 
 
 No. 
 
 848 The Nativity. 
 
 849 Deposition, 
 
 850 Christ raised on the cross. 
 
 851 T^e Resurrection. 
 
 852 27ie Entombment, 
 860 Autumn landscape. 
 882 Jesi^s *w temple. 
 
 1299 iroZ?//amz7^/.— Dated 1663. 
 527 Assumption. 
 
 354 Death of Seneca,— Dsited 1645. 
 363 Martyrdom of S. Andrew, 
 381, 5, 6 ^amfs. 
 
 244 Count Arundel and his wife. 
 
 245 TAe lion-hunt. 
 
 246 iS'/S'. Pe^er a?ic? PawZ. 
 250 J'aW o/ condemned. 
 253 Portrait of Philip IV. 
 
 255 Samson and Delilah, 
 
 256 Portrait of himself and his wife. 
 258 ias^ Judgment. 
 
 260, 79, 920 Portraits of Helena Fourment. 
 
 262 Crucifixion. 
 
 263 Seven cupids. 
 267, 8 Tifjo portraits. 
 
 269 Massacre of the innocents. 
 271 Meleager and Atalanta. 
 281 Triumph of Religion over Vice. 
 284 J. landscape. 
 
 287 Rubens and Helena Fourment, 
 
 288, 9 TitJO smaZZ studies, 
 
 291 T/ie daughters of Leucippe. 
 
 889 Study for the Last Judgment. 
 
 908 T/ie resurrection of the just, 
 
 916, 22 Landscapes, 
 
 917 Rattle of the Amazons. 
 1303 ^sai^ awcZ Jacob. 
 1307, 85 ITioo studies, 
 
 862 Flowers in a crystal vase, 
 1001 Still-life. 
 1016, 1117 Flowers, &c. 
 
 322 Landscape, 
 1038, 45 Landscapes. * 
 1096 Winter scene. — And others. 
 
 576 Pwsi o/ >S'. Joseph. 
 
 548 ^oZ?/ family. — A copy of that in the Louvre, 
 not genuine : C. and 0. 
 
MUNICH: THE FINACOTHEK. 
 
 331 
 
 No. 
 
 Sarto, Andrea del, attrib. . 1174, 5, 81, 6 Studies for the Scalzo frescoes 
 
 at Florence. — Authorship doubtful : G. 
 and C. 
 
 Schaffner, Martin . . , 7, 21, 5, 36 Folding doors of an organ. 
 
 Schidone, B 1219 Magdalen. 
 
 Schongauer, Martin . . . 738 His own portrait. 
 Schuhlein, Hans . . . 11, 13 Parts of an altarpiece. 
 Snyders, Frans . . . , 205 Still-life. 
 
 >j „ .... 297 Two lionesses pursuing a hid. 
 
 j> „ .... 305 A lioness and a wild hoar. 
 
 5> „ . . . . 317 A hoar-hunt. 
 
 Sodoma, II (Bazzi) . . . 11^^ Holy family. 
 
 Steen, Jan 842 ^ quarrel. 
 
 5» ^, 855 The doctor's visit. 
 
 Teniers, David, younger , "1^^ Italian fair. 
 
 j» „ „ . 840 Peasants playing cards. 
 
 >j „ „ , 844 Players and drinkers in an inn. 
 
 >j „ „ .1125 Players and drinkers in an inn. — And 
 
 others. 
 
 Terburg, G 243 Interior of a peasants room. 
 
 if ..... 1029 Boy and dog, 
 
 j> 1062 Interior. 
 
 Tiarini, Alessandro . . . 433 A mythological suhject. 
 
 Tiepolo, J. B 1397 Adoration of the magi. 
 
 Tintoretto (Robusti) . . 1223 Portrait of Vesalius. 
 Titian 467 Male portrait. 
 
 „ 496 Portrait of Charles F.— Dated 1548. 
 
 „ ...... 524 Venus and a hacchante. — Painted subse- 
 quently to Titian's time : 0. and C. 
 
 „ . . . . . . 587 Holy family.— Ps^mied between 1520-5: 
 
 0. and C. 
 
 „ 591 Madonna. — Late work. 
 
 „ 1238 Jupiter and Antiope. 
 
 „ ...... 1329 The crowning with thorns. 
 
 „ attrib. 489 A portrait. — By Tintoretto : C. and C. 
 
 Valentin, M 406 Queen Artemisia and the hashet-maher. 
 
 „ 1399 Soldiers gambling. 
 
 Veen, Otho van .... 827-32 The triumph of the church, 
 
 Velasquez 366 His own portrait. 
 
 „ 366a a portrait, 
 
 „ 367 Portrait of Card. Rospigliosi, 
 
 „ 1311 An infanta of Spain. 
 
 „ .*.... 1414a The Duke of Olivares. 
 
 Velde, A. van de . . . 194 Landscape and cattle, 
 
 Vernet, 0. J — Several examples. 
 
 Veronese, P 495 Repose in Egypt^ 
 
332 
 
 MUNICH AND NURNBEBG, 
 
 Veronese, P. 
 
 5J 
 
 Vinci, Leonardo da, 
 of ... . 
 
 Vos, Cornells de . 
 Waterloo, Ant. . 
 Watteau, Antoine 
 Weenix, Jan 
 
 >5 
 
 9> >» 
 
 Werff, Ad. van der 
 Weyden, Kogier van der 
 
 School 
 
 J? 
 
 Wohlgemuth, Michael 
 
 Wouwerman, P. 
 
 Wynants, Jan 
 
 Zeitblom, Bart. 
 
 Zurbaran, Francisco 
 
 5> 
 
 No. 
 
 1224 Adoration of the magi. 
 1332 The centurion of Capernaum, 
 
 1335 Madonna. 
 
 231 A family group. 
 
 210,1375 Landscapes. 
 1312 Ladies and gentlemen in a park. 
 
 227, 34, 320 Dead game. 
 
 235 A hoar-hunt. 
 
 326 A dog overthrows a cage of pigeons. 
 332 Dead game and poultry, 
 340 Dead game and dogs. 
 1070-99, filling Cabinet XVI. 
 
 627 The Annunciation. 
 
 628 Adoration of the magi. 
 
 629 Presentation in the temple. 
 634 S. Luke painting the Virgin. 
 
 22 Christ in the garden 
 27 The Crucifixion. 
 34 Descent from the cross, 
 39 The Resurrection. 
 82 The marriage of 8. Catharine, 
 1415 The Uoelve apostles departing, 
 1423 A crucifixion. 
 208 The stag-hunt. 
 989 Cavaliers in a stable. 
 998 The watering place. 
 1011 A camp. — And others. 
 309 Landscape, morning. 
 319 Landscape, evening, 
 1118 Landscape. 
 714, 18 Two saints. 
 1373, 4 Two saints. — And others. 
 351 Return of the Virgin and S. John from the 
 tomb. 
 
 373 A saint in meditation. 
 
 An 
 altar- 
 piece. 
 
 Parts of an 
 altarpiece.— 
 Dated 1465. 
 
 THE GERMAN MUSEUM, NURNBERG. 
 Pictures last examined in 1877. 
 
 In the German Museum, Niirnberg, are numerous pictures, chiefly of the 
 early German schools, which are referred to in the general catalogue of 
 the museum; the majority, however, are by unknown masters, and such art 
 as they exhibit is of a rude kind. A few pictures are choice, and will be 
 named with their numbers from the catalogue (date 1877). Very recently the 
 
NVRNBERG: THE GALLERY, 
 
 333 
 
 pictures formerly in the Kathhaus have been removed to the museum ; but they 
 are not yet catalogued, and have no numbers. 
 At the end of the gallery are 
 
 No. 
 
 Diirer, Albrecht. . . . 1348 The 'portrait of Hieronymus Holzschulier. — 
 
 Dated 1526. 
 
 „ „ atlrib. . 1351 A fine male head. 
 „ „ „ . 1349 A Hercules with bow. — Much injured. 
 Pencz, G 1352, 3 Two portraits. 
 
 In the same gallery are a few heads, by Lucas Cranach, Nos. 1326-9, and 
 some fair examples of the school of Wohlgemuth, Nos. 1343-7. 
 
 In another room, among the pictures from the Eathhaus, are two portraits, 
 larger than life-size, of the Emperors Charlemagne and Sigismund, by 
 Albrecht Diirer ; a fine Madonna, by Burgkmair, dated 1509 ; an Interior, by 
 Pieter de Hooghe ; a Portrait of Erasmus, by G. Pencz ; a Head of a youth, 
 by Rembrandt ; several good portraits by Kupetzky ; among many others of 
 less interest. 
 
 THE ROYAL GALLERY IN THE MORITZ-KAPELLE, NURNBERG. 
 
 Catalogue without Date. 
 
 Pictures last examined in 1877. 
 
 No. 
 
 4b Early German School 
 
 4c Wohlgemutli . 
 
 6 Israel van Meckenen 
 12 Albrecht Altdorfer . 
 12c Mabuse, attrib. 
 
 15 „ school of . 
 
 16 Engelbrechsten, C. . 
 19 J. H. de Bles . . 
 
 21 Martin van Heemskerck 
 21b Cranach 
 
 22 Jan van Eyck, attrib. 
 22b Lucas van Leiden . 
 
 23 Hans Memling . 
 25 J. H. de Bles . . 
 27 Martin van Heemskerck 
 
 35 Quintin Matsys, attrib. 
 
 36 M. van Heemskerck 
 38 A. Altdorfer . . . 
 40e Holbein, elder, attrib. 
 44 Hans Burgkmair 
 
 S. Hubert, 
 
 S. Bridget, 
 
 Death of the Virgin. 
 
 Martyrdom of S. Stephen, 
 
 Allegory of life and death. — A diptych. 
 
 Presentation in the temple. 
 
 Descent from the cross. 
 
 A king^s retinue. 
 
 A votive altarpiece. 
 
 Portrait of Luther, 
 
 Male portrait, 
 
 A portrait. 
 
 The Resurrection, 
 
 A hinges retinue. 
 
 A votive altarpiece. 
 
 Christ and the cross. 
 
 Crucifixion. 
 
 Crowning with thorns. 
 
 Stephen before the high-priest. 
 
 Madonna. 
 
 S, Christopher and Infant Cltrist. 
 
334 
 
 NUBNBERG: THE GALLERY. 
 
 No. 
 
 45, 53, 74, 80 Wohlgemuth . . Saints, 
 
 49, 50 Holbein, elder . . . Martyrdom of saints, 
 
 52 Martin Schaffner . . . Adoration of the kings. 
 
 52b, 52d Holbein, younger . . Portraits. 
 
 52o A. Altdorfer Crucifixion. 
 
 55, 6 Holbein, elder .... Portraits. 
 57, 71 Hans Kulmbach 
 
 (Wagner) Saints, 
 
 58 Zeitblom ;S'. Margaret. 
 
 64 A. Diirer Descent from the cross. 
 
 65 Zeitblom ....... S. Ursula. 
 
 66 M. Schongauer or Schoa . Joachim and Anna teaching the Virgin, 
 69 L. Cranach Portrait. 
 
 71b Burgkmair S. Sebastian, 
 
 73 Cranach ...... The woman tahen in adultery. — An altered 
 
 replica of No. 56 at Munich. 
 
 74b Wohlgemuth .... Crucifixion. 
 
 76 G, Pencz Saint. 
 
 77, 83 H. Schaufelin . . . Two altarpieces, 
 
 78, 9 M. Ostendorfer . . . Martyrdom of two saints, 
 89 Holbein, younger . . . Portrait of Calvin, 
 
 98 C. Amberger Martyrdom of S. Sebastian. — Another sub- 
 ject on the other side. 
 
 102 A. Diirer Ecce Homo, 
 
 107 Cranach, younger . . . David in the desert. 
 
 Ill M. Schongauer .... Saints and children. 
 
 114 A. Altdorfer S. Jerome. 
 
 117 Cranach, elder . . . .An old man and a girl, 
 
 118 Hans Schopfer .... Portrait, 
 124 Baldung Griin .... Madonna, 
 124a Niirnberg painter . . . Portrait, 
 
 1 24b Holbein Portrait of Luther's wife. 
 
 129, 31 Cranach, elder . . . Two Depositions. — Cranach has painted 
 
 himself as Joseph of Arimathea, and 
 Luther as Nicodemus. 
 
 134d School of Holbein . . . Portrait. 
 
 133, 5 Unknown Donators, father and son, mother and 
 
 daughters. 
 
 138 Burgkmair Marriage of the Virgin. 
 
8TUTTGABT: THE GALLERY. 
 
 THE KOYAL GALLERY OF PICTURES AT STUTTGART. 
 
 Catalogue of 1876. 
 
 Pictures last examined in 1877. 
 
 The chief object of a visit to this gallery is to attain a knowledge of the 
 works of Bartholomaus Zeitblom, the most distinguished master at Ulm of 
 the Swabian school, as well as of some by his followers. A few other pictures 
 will be mentioned among the 700 canvases, most of them without any merit, 
 which form this collection* 
 
 Boom III. 
 
 No. 
 
 Beham, Barth 435 8. Benedict in a landscape. 
 
 Cranach, Lucas, elder . . 368, 457 Female and male portraits. 
 
 Vos, C. von Ulm . . . 430-2 Sacred subjects. 
 
 Zeitblom, Barth. . . .411, 12, 29 John Baptist and others. 
 
 „ „ ... 421-7 An altarpiece, of which the principal 
 
 subject is the Visitation^ dated 1496. 
 The other subject is the Miracle of S. 
 Valentine. The remaining panels are 
 saints. 
 
 „ „ ... 439, 40, 3, 4, 6 Figures of saints. 
 
 „ „ ... 452 Birth of Christ. 
 
 In this room there are several good works by unknown masters of the 
 Swabian school. 
 
 Boom IT. — Italian School. 
 No. 
 
 Bellini, Giovanni, attrib. . 4 Dead Christ. 
 
 Titian, attrib. , , , . 5 Bepentant magdalen. — A good school copy 
 
 of the Naples original. 
 
 Cabinet F. 
 
 No. 
 
 Does, J. van der . . . 272 Sheep and dog. 
 
 Boom II. — Netherlandish School, 
 No. 
 
 Hobbema, M 362 Landscape. 
 
 Hondecoeter, M. . . . 259, 64 Fowls, <Scc. 
 
 Murillo, attrib 316 Boifs portrait. 
 
 Neer, A. van der . . . 334 Landscape. 
 Rubens, P. P 262 Weeping magdalen. 
 
 Corridor, 
 
 No. 
 
 Netscher, G 561-73 Portraits, 
 
336 
 
 VIENNA: THE (GALLERY. 
 
 THE GALLERY IN THE ROYAL ACADEMY OF ARTS 
 
 AT VIENNA. 
 
 Pictures last examined in 1879. 
 
 This collection contains a large number of pictures of very inferior quality : 
 all are at present without numbers, a new catalogue being in preparation. 
 The works most worthy of notice are the following : — 
 
 Aelst, W. van .... Three studies of still-life, 
 
 Bassano, J Moses striking the rock, 
 
 Bonifazio Two studies of saints, 
 
 Carnietto, Ant Single figure. 
 
 Cima da Conegliano . . S. Mark and two saints, 
 
 Cranach, L. elder . . . Female portrait. — And others. 
 
 „ younger . . Development of childhood, 
 
 „ „ . . Male portrait. 
 
 Dyck, A, van .... Full-length portrait. 
 
 Francia, F Madonna and saints, 
 
 Guardi, F Several studies, 
 
 Heem, J. D. de . . . . Still-life, 
 
 Heyde, J. van der . . . Still-life, 
 
 Hondecoeter, M. . . . Fight between turkey and cock. 
 
 „ ... Hawk in a poultry yard. — And others. 
 
 Huysum, J. van . . . Flowers. 
 
 Jordaens, J Paul and Barnabas, 
 
 Meer, J. van, der, of Delft, Courtyard with figures. — Certainly not by J. van 
 
 attrib / der Meer ; probably by Pieter de Hooghe. 
 
 Murillo Beggar-boys. 
 
 Padovanino Venus reclining. 
 
 Rembrandt, attrib. . . . Female portrait, 
 
 Rubens Tigress and cubs. 
 
 „ Several sketches. 
 
 Ruysch, R Two flower-pieces. 
 
 Ruysdael, J Landscape, 
 
 Veronese, P Decorative canvas. 
 
 Weenix, J Dead birds and landscape, 
 
 Wouwerman, Ph. , . . Horsemen, 
 
 Besides these there are several Early Florentine panels, some canvases of 
 no great merit attributed to Tintoretto, and niany small works by Teniers, 
 Van Goyen, Van Everdingen, J. Le Ducq, Em. de Witte, Van Vliet and 
 others. 
 
VIENNA: THE BELVEDERE. 
 
 337 
 
 THE BELVEDEKE GALLEKY AT VIENNA. 
 
 Catalogue of 1878. 
 Pictures last examined in 1879. 
 First Floor, 
 Italian Schools, — Boom 1. 
 
 
 No. 
 
 Bassano, Jacopo . 
 
 , , j7 omaii composition. 
 
 
 , LA ine gooa oamai ttan^ 
 
 
 40 Pagan sacrifice. 
 
 Palma Vecchio . 
 
 10 J. young hero. 
 
 Schiavone, Andrea . 
 
 4/ A.aoration oj ine sfiepfieras. 
 
 Ti nf nrpf t.n 
 
 22 Portrait 
 
 
 44 Portrait 
 
 
 f>R dhrifit iJiiitK tJie crofis — And some Dortrriita. 
 
 Titian 
 
 6 Allenorical loortraiture. 
 
 
 48 Portrait of a Venetian lady. 
 
 Veronese. P 
 
 23 Annunciation 
 
 
 34 .Tudith. 
 
 
 
 
 fiO T^hfi Virnin. S> C^,nfTinr'i'np. n.nd vtmsi 
 
 
 f)2 C/hrtfft in fhp, hfiiistp nf .IniniR 
 
 
 Sfi WfncltiYi'nn nnrJ ntinplft "Ofifpd 14SQ 
 
 
 Boom II. 
 
 rsasaiti, iviarco , . , 
 
 ► . lyautng oj James ana jonn. — jjaieci ioio. 
 
 x>eiiiui, \jrio vdiiiuL . . 
 
 . TtO r oILUb. JrcllUlC/tl lU xOLO. 
 
 J> »» • • 
 
 . UO IfXiXU/Uilll/U/ U/UU/ o(JLCil/Lb, 
 
 "Rat* 1 TQ "71 
 
 • O ItXUiUjU ll/ll/tlU XAiHIa/ OU/l/lliliO* 
 
 »5 . . • . 
 
 * «Ju ji t*/(y bazniSm 
 
 Bordone, P 
 
 15,66 Decorative panels. 
 
 Catena, V 
 
 33 ilfa7i zTi a feZacA; cap. 
 
 Giorgione . . . . 
 
 57 The three mathematicians. — Said to have 
 
 
 been finished by Seb. del Piombo. 
 
 „ attrib. 
 
 10 Youth attacked hy a soldier. — Suggests 
 
 
 Cariani : C. and C. 
 
 Lotto, Lorenzo . 
 
 • 47 Madonna and saints. 
 
 Moretto 
 
 7 S. Justina martyr. 
 
 Palma Vecchio . 
 
 2 Visitation of the Virgin. 
 
 ft J) . . . 
 
 6 Madonna with saints. — Inj ured. 
 
 i> ), . . . 
 
 9 A young Venetian lady. 
 
 >» j» . . . 
 
 11 Female portrait. — Injured by repainting. 
 
 >» tf . . . 
 
 12 Female portrait. 
 
 z 
 
338 
 
 VIENNA : THE BELVEDEBE. 
 
 No. 
 
 Palma Vecchio .... 13 Lucretia, 
 
 „ .... 14 -4 girl. 
 
 Titian ...... 19 Ecce Homo.— A large composition dated 
 
 1543. 
 
 „ ...... 27 Portrait of Giacomo Strada. — Painted 
 
 1566. 
 
 „ 29 Portrait of Isabella d'Este, 
 
 „ 30 Young Jesuit at prayer. 
 
 „ 35 '* ia bella di Tiziano.*' 
 
 „ 36 Danae. 
 
 I „ 37 Por^ra^^.— About 1550 : C. and C. 
 
 39 Madonna with three saints. — Early work 
 
 and injured. 
 
 ;„ 40 Portrait. 
 
 „ ...... 41 Madonna. — ^Early. 
 
 „ 46 John Frederick of Saxony. — -Painted in 
 
 1548. 
 
 „ 48 Portrait of Titian at 50 years, 
 
 „ 59 Allegorical portraiture. 
 
 „ 60 Woman taken in adultery. — Unfinished. 
 
 Probably not genuine : 0. and C. 
 
 „ 64 Holy family with cherries. 
 
 „ attrib. .... 17 Diana and Calisto. — Probably by a 
 
 follower : C. and 0. 
 Vivarini, Bart 58 Aliarpiece in five parts. — Dated 1477. 
 
 Boom III. 
 
 Caravaggio 5 David with the head of Goliath, 
 
 „ 27 Madonna ^* of the Bosary J* 
 
 Cortona, Pietro da . . . 33 Hagar returns to Abraham. 
 
 Feti, D 10 Market with many figures, 
 
 „ 47 Marriage of S. Catharine. 
 
 Maratta, Carlo .... 1 Death of Joseph. — And others. 
 
 Perugino 12 Madonna and two saints. 
 
 „ 19 Baptism of Christ. 
 
 „ 31 Madonna enthroned with saints, 
 
 Kaphael ...... 55 Madonna. — Painted in 1505. 
 
 Komano, Giulio .... 18 Allegory. 
 
 „ „ .... 51 /S'. Margaret and the dragon, 
 
 Eosa, Salvator . . . . 56, 7 Battle-pieces, 
 
 Sassoferrato 9 Madonna, 
 
 Boom IV. 
 
 Allori, Cristofano ... 20 Judith and Holof ernes. — A poor copy of 
 
 No. 96 in the Pitti. 
 Bartolommeo, Fra - . ^ 29 Presentation, 
 
VIENNA: THE BELVEDERE, 
 
 339 
 
 Bazzi, (n Sodoma) 
 Bronzino, A. 
 Dolci, Carlo . . 
 
 ?> >9 • • 
 Florentine School 
 Gozzoli, Benozzo 
 Luini, B . , . 
 Sarto, Andrea del 
 
 No. 
 
 18 Holy family, 
 21 Portrait, 
 
 6 Sincerity, allegorical, 
 
 9 Madonna, 
 56 A head, 
 
 43 Madonna and saints. 
 12 Herodias. — Much injured. 
 4 Tohit and the awt/eZs.— Injured. The only 
 genuine example here ; C. and 0. 
 
 Room V, 
 
 Caracci, Ag 17 S. Francis receiving the stigmata, 
 
 „ Lod 20 8. Francis in contemplation. 
 
 Cignani, Carlo .... 3 Madonna, 
 
 Francia, Francesco, attrib. . 18 Madonna with saints. — Ruined by re- 
 painting : C. and C. 
 
 Guercino SO Return of the prodigal. 
 
 „ 32 Tlie prodigal son. 
 
 Reni, Guido 1 Baptism of Christ. 
 
 „ „ 15 Allegory of the four seasons. 
 
 „ „ 25 Madonna, 
 
 „ „ 31 Ecce Homo. — And others. 
 
 Sirani, Elizabetta ... 34 Martha and Mary, 
 
 Caracci, Ann. 
 Correggio 
 
 5> 
 5) 
 
 Mantegna, Andrea 
 
 Antonello da Messina 
 Bonifazio . 
 
 Carpaccio, V. 
 Correggio 
 Giordano, Luca 
 Palma Vecchio 
 
 J5 
 
 Schiavone, A. 
 Signorelli, Luca 
 Tintoretto 
 
 Room VI. 
 
 12 Christ and the woman of Samaria. 
 9 Madonna, " La Zingarella,'* 
 10 Male portrait, 
 19 Jupiter and lo. 
 21 Ganymede carried by the eagle. 
 
 25 Ecce Homo. 
 46 S. Sebastian, 
 
 42-5, 47-50 Studies for the * Triumph of Julius 
 Cassar.* 
 
 Room VII, 
 
 60 Dead Christ and angels. — Retouched, 
 
 24 SS. Francis and Andrew. 
 
 26 S. Jerome and the Baptist. 
 
 25 Christ adored by angels. — Dated 1496. 
 17 S. Sebastian. — Bust. 
 
 44 Archangel Michael and fallen angels, 
 12 Venetian girl. 
 49 Venetian lady. 
 19 Holy family. 
 
 7 Adoration, 
 46 Portrait, 
 
 Z 2 
 
340 
 
 VIENNA: THE BELVEDERE. 
 
 No. 
 
 Velasquez, Diego . . . 6 Baltasar Carlos as a child. 
 
 „ „ . . . 13 Infanta Margarita Teresa. 
 
 „ ... 14 The family of Velasquez. 
 
 „ „ ... 15 Infanta Maria Teresa. 
 
 „ „ , . . 40 An idiot. 
 
 „ „ ... 47 Infanta Maria Teresa. 
 
 First Floor. 
 
 Flemish and Dutch Schools. — Boom I. 
 No. 
 
 Backhuizen, L. . . ... 37, 53 Sea-pieces. 
 
 Bramer, L 44 Vanity. 
 
 „ . . . . . 48 Instability. 
 
 Champaigne, Ph. de . . 2 Adam and Eve mourning for Abel. 
 
 Es, Van ...... 14, 15 Fish, (fee— Figures by Jordaens. 
 
 Flinck, G. . . . .. 11 An old man. , . 
 
 Eyt, Jan 20 Large composition. 
 
 „ 24 Dead game. — And others. 
 
 Hamilton, J. G 22 Study of horses. 
 
 Hoogstraeten, S. van . . 9 Man looking out of a window. 
 
 Hondecoeter 21 Birds. 
 
 Eembrandt 28 S. Paul. 
 
 „ 38 Portrait, 
 
 >9 39 Portrait of his mother. 
 
 r» ... . . 40 Portrait of a rich Dutchman. 
 
 >»- ..... 41 Portrait of a young man. 
 
 42 Portrait of himself at the age of 45. 
 
 » 45 Portrait of himself in old age. 
 
 Snyders,,F 27 Boar-hunt. 
 
 Sustermans, J. . . . . 50 An old woman. 
 
 Boom II, 
 
 Backhuizen, Ludolph . . — Several examples. 
 Capelle, Van de . . . . 54 Sea-piece. 
 Hobbema 57 Landscape. 
 
 Moucheron 5, 8 Landscapes. — Figures by Van de 
 
 Velde. 
 
 Neer, Artus van der . . 9, 16 Landscapes. 
 
 Ruysdael, J 6, 29, 36 Landscapes. 
 
 Vernet, J 42 View of Bome. 
 
 Wynants 55 Landscape. 
 
 Boom III. 
 
 Grayer, G. de .... 14 Virgin and S. Theresa. — And others. 
 Dyck, Anton van ... 2 Madonna and saints. 
 9f 9i ... 4, 5 Portraits. 
 
VIENNA: THE BELVEDERE, 
 
 341 
 
 Dyck, Anton van 
 
 Rubens, P. P. 
 
 » 
 55 
 55 
 55 
 55 
 55 
 55 
 
 No. 
 
 8 Virgin and donator. 
 10 Portrait of a young man in armour. 
 18 Fe/iws and Vulcan. 
 
 32 Samson and Delilah. 
 
 33 jHoZ?/ family. 
 
 34 Magdalen. — And many portraits. 
 
 Boom IV. 
 
 1 2^^e exorcism of 8. Ignatius Loyola. 
 
 2 T/ie Assumption of the Virgin. 
 
 3 S. Francis Xavier working miracles. 
 4, 5, 6 Three figures. 
 
 7 Boar-hunt. 
 
 8 >S^. Ambrose and Theodore the Great. 
 
 10 The four quarters of the globe. 
 
 11 ffis oiyw portrait at the age of 60. 
 13 ^ Pie^a. 
 
 16 Cimon and Iphigenia. 
 22 Elizabeth, wife of Philip IV. of Spain. 
 And many studies. 
 
 The White Cabinet. 
 
 Beeke, A. van . . . . 19 Still-life. 
 
 Brueghel, J. (Velours) . 27 Flowers, &c. 
 
 Heem, C. de 24 Still-life. 
 
 „ J. de 18, 21 Fruit. 
 
 Huysum, J. van . . . . 16, 17 Flowers. 
 
 Ruysch, R. 29 Flowers. 
 
 Savery, R 15 Flowers. 
 
 Berchem, N. . 
 Brueghel, J. (Velours) 
 Deelen, D. van 
 Denner, B. 
 Dow, G. . 
 
 55 
 
 Ducq, J. le 
 Dusart, 0. 
 Hyre, L. de La 
 Metsu, G. 
 Mieris, F. van 
 
 55 
 
 55 
 
 Neefs, Pieter, elder 
 Rigaud, Hyacinthe 
 Schalken, G. . . 
 
 The Green Cabinet. 
 
 92, 3 Landscapes with herds. 
 45 Adoration of the magi. 
 
 1 Palace and gardens. 
 104 Portrait. 
 20 Doctor and old women. 
 52 Old woman at a window. 
 38 Interior with figures. 
 98 Inn interior. 
 41 Assumption of the Virgin. 
 
 9 The lace-maker. 
 14 A shop. 
 18 The doctor's visit, 
 68 Interior of a cathedral. 
 73 Duchess Elizabeth of Lorraine 
 11 Candlelight scene. 
 
342 
 
 VIENNA: THE BELVEDERE, 
 
 Snayers . 
 Terburg, G., attrib. 
 
 Werfif, A. van der . . . 
 
 Balen, J. van 
 
 Dyck, A. van 
 Kubens 
 
 ?7 
 9> 
 
 Clouet,.Fr. . 
 Ehrenberg, W. 
 Goyen, J. van 
 Hals,, Frans 
 Honthorst, G 
 Kyckaert . 
 
 Steen, Jan 
 Teniers, DavM, younger 
 
 »> 
 
 >» 
 
 Wouwerman, P. 
 
 No. 
 
 56 Battle-piece. — And others. 
 
 16 Young woman peeling an apple. — There is 
 
 little doubt that this is the wcw:k of Jan 
 van der Meer of Delft. 
 
 17 Portrait 
 
 Room V. 
 
 2 Copy of Rubens^ Garden of Love. 
 25 Madonna and saints. 
 
 16, 17 Portraits. 
 
 1 Retahlo with two wings. — S, IldepJionso. 
 
 3 Four children and a lamb, 
 7 Feast of Venus. 
 
 11 Portrait of Helena Fourment. 
 13 Large landscape. 
 19 Vieid in a park, 
 
 21 Holy family, — Part of No. 1. — And many 
 others. 
 
 Room VI, 
 
 47 Portrait of Charles IX, 
 
 52 Church interior. 
 
 39 Landscape^ ] 
 
 4 Portrait of a young man, 
 46 Effect of candlelight, 
 
 24 Village festival, 
 
 28 Soldiers pillaging. — And others. 
 
 9 Peasants* wedding. 
 
 3 Peasants* wedding. 
 
 5 Sacrifice of Isaac. 
 
 7 Brigands pillaging. 
 10 Butcher s shop. 
 
 15 Interior. 
 
 16 Kermess. 
 
 34 Gallery of pictures, 
 37 Dancing peasants, 
 
 51 Popular festival at Brussels. — And others. 
 
 8 Cavaliers in a landscape. 
 
 Room VII, 
 
 Bourguignon .... 15, 18 Battle-pieces, 
 Brueghel, Jan, and Rotten- 
 hammer 56 TTie four elements. 
 
 Diepenbeck 2 Allegory, 
 
 Jordaens, J 27 ^ Dutch feast, 
 
 „ 47 Mythological composition. 
 
VIENNA : THE BELVEDERE. 
 
 343 
 
 No. 
 
 Leux 12 Allegory, 
 
 Moro, Antonio .... 8, 9, 49, 52 Portraits, 
 
 Steen, Jan ..... 32 Interior. 
 
 Second Floor. 
 Boom I, 
 
 Amberger, C 78 Head of the Baptist. 
 
 „ ^ ... 88, 94 Male ^portraits, — And others. 
 
 Asper, J. ..... . 35 Portrait. 
 
 Burgkmair 50 Life and Passion of Christ. — A large 
 
 retablo. 
 
 „ 104 Two portraits on one canvas. 
 
 Cranach, L., elder ... 64 Portrait. 
 
 „ „ ... 71 Christ with the holy women. — And others. 
 
 „ younger . . — Several examples. 
 
 Diirer, A 5 Portrait of Maximilian I. 
 
 King of Persia persecuting the Christians. 
 
 „ 18 The Trinity surrounded by angels. — Dated 
 
 1511. 
 
 „ 26 Madonna. 
 
 ...... 28 Madonna. 
 
 „ 29 Young man's portrait. 
 
 „ SO Portrait of Johann Kleberger. — Dated 1526. 
 
 Early Flemish School . . 96, 8 Small triptych and wings, 
 
 German School .... 47 Fine altarpiece. 
 
 Griinewald — Several portraits. 
 
 Holbein, A 17 Portrait. 
 
 Holbein, Hans, elder . . 59 Portrait. 
 
 „ „ younger . 27 Portrait of a young woman. — Small. 
 
 „ „ „ . 61 Jane Seymour. 
 
 „ „ „ . 62 John Chambers. 
 
 „ „ „ . 67, 8 Male and femxile portraits. 
 
 „ „ „ . 83 Geryck Tybis. 
 
 „ „ „ . 85 Portrait of a young man. — Dated 1541. 
 
 Memling, H. ^'i, Diptych. 
 
 Mutina, Th. von ... 1 Madonna and saints, 
 
 Pencz, G 54 Portrait, 
 
 „ 58 Triptych, 
 
 Schongauer, M 23 Holy family, 
 
 Weyden, E. van der . . . 81 Triptych: Crucifixion in the centre. 
 
 Boom II. 
 
 Bles, H. de 20 Landscape. 
 
 Cock, M 77 Building of Babel. 
 
 Early Flemish School . . 75 Bepose in Egypt, 
 
 Eyek, Jan van .... 13 Jan van der Leeuw^ — Dated 1436. 
 
344 
 
 VIENNA: THE BELVEDERE. 
 
 Eycb, Jan van . 
 Goes, H. van der 
 
 >» 
 
 5» 
 
 attrib. . 
 
 Haarlem, Gerhard van . 
 
 Leiden, L. van . 
 Mabuse, J. Gossaert 
 
 Master of the * Death of the 
 
 Virgin * 
 
 Matsys, Q. . . . . 
 Memling, Hans . 
 Orley, B. van 
 Patinir, J. de . 
 Pourbus, P., younger . 
 Savery, R 
 
 5) 
 
 Schoorl, Jan .... 
 "Weyden, R. van der, attrib 
 
 »> 
 
 Brueghel, Jan . 
 
 „ Peter, elder 
 Floris, Frans . 
 Franken, F., elder . 
 Moro, A. . . » . 
 Pourbus, F., elder . 
 
 younger 
 P., elder . 
 younger 
 Valkenburg, L. de . 
 
 5? 
 55 
 55 
 
 No. 
 
 42 Jodocus Vydts. — Catalogued as Cardinal 
 della Croce. 
 6 Madonna, 
 
 A triptych by Mem- 
 ling: C. and C. 
 
 10 Two saints, 
 61 Adam and Eve. 
 
 58 Pieta, 
 
 60 Legend of S. John Baptist, 
 39 Portrait. 
 
 9 Madonna. 
 10 Two saints. 
 
 5 Large triptych, 
 37 Portrait, 
 
 12 Descent from the cross. 
 
 59 A large panel. 
 
 48 Baptism of Christ. 
 
 43 Portrait. 
 
 24 Landscape. | 
 70 Animals. 
 
 66, 7 Male and female portraits, 
 
 18 Madonna, | . 
 
 22 8. Catharine. / ^ ^^^^^ * ^' ^^"^ ^' 
 
 Boom III. 
 
 61 Landscape. 
 
 44 Peasants dancing. — And others. 
 16, 17 Adam and Eve. 
 
 33, 4, 5 Large works, 
 20, 9 Portraits. 
 13, 14, 19 Portraits. 
 30 Portrait. 
 28 Portraits. 
 23, 4 Portraits. 
 
 49, 50, 2 Landscapes. — And others. 
 
 Boom IV. 
 
 Juvenal 57 View of Borne. 
 
 Kupetzky ..... 90 His own portrait. 
 Rottenhammer .... Several. 
 
 Rugendas 79, 81 Battle-pieces. 
 
 And many inferior works. 
 
 Ground Floor. 
 
 Boom I. — Italian. 
 
 Bonifazio IS. Jerome and 8. James. 
 
 Bordone, P 30 Women bathing, 
 
 Veronese, P. .... • 4 Adam and Eve, — ^And others. 
 
VIENNA: THE CZERNIN, 
 
 345 
 
 Boom II, 
 
 No. 
 
 Poussin, N 4 Titus pillaging the temple, 
 
 Tiarini 1 Christ bearing the cross, ' 
 
 Boom III. — Flemish and Spanish. 
 
 Coello 29 Female portrait. — Dated 1571. 
 
 Spanish School .... 28 Female portrait. 
 
 THE GALLEKY OF COUNT CZERNIN YON CHUDENITZ AT 
 
 VIENNA. 
 
 Pictures last examined in 1879, 
 
 No. 
 
 4 N. Poussin . . . . . The plague, 
 
 5 Sassoferrato Holy family. 
 
 13 Agostino Caracci . . . ;S'. Dominic. 
 
 38 Titian Portrait of doge Venieri. 
 
 48 Murillo Christ on the cross. 
 
 50 Guercino S. Sebastian. 
 
 51 „ Harpagus and Mithridates. 
 
 54 Tintoretto Portrait of a doge, 
 
 58 Pedro Moya Male portrait. 
 
 73 Jan Weenix, eh^er . . . Departure of the prodigal son. 
 
 74, 5 R. Ruysch Flowers and fruit. 
 
 76 J. de Heem Still-life. 
 
 77 C. de Heem Still-life. 
 
 85 N. Berchem ..... Landscape. 
 
 en 
 
 89 Gaspar Dughet . 
 
 96 Pieter de Hooghe, attrib. 
 
 97 Ph. Wouwerman 
 
 98 A. Cuyp . . . 
 Ill Rembrandt, attrib. 
 112, 13 A. van Everdin 
 
 124 A. Pynacker . 
 
 125 Claude Gelee 
 
 126 J. Ruysdael . 
 147 Rubens . . 
 
 150 J. van Huysum 
 
 151 M. Hondecoeter 
 180 J. Ruysdael . 
 
 197 J. van Artois 
 
 198 A. van Dyck 
 206, 7 D. Ryckaert 
 
 Landscape. 
 
 Painter in his studio. — This is a magnificent 
 work of Jan van der Meer of Delft, 
 and is signed. 
 
 Beturn from hunting. 
 
 Landscape and* cows. 
 
 Portraits of his family. 
 
 Landscapes. 
 
 Landscape. 
 
 Wooded landscape. 
 
 Storm at sea. 
 
 The women at the sepulchre. 
 
 Flowers. 
 
 Poultry, 
 
 Landscape, 
 
 Landscape. 
 
 Male portrait. 
 
 Interiors, 
 
346 
 
 VIENNA: TME KAHMCH. 
 
 No. 
 
 218 B. van der Heist . . 
 222 E. de Witte .... 
 227 Primaticcio ...» 
 
 230 A. Brouwer .... 
 
 231 A. van Ostade . . . 
 
 232 Rembrandt . . . , 
 
 233 G. Metsu 
 
 234 Teniers 
 
 236 „ 
 
 239 C. Dusart . . . . 
 242 P. van der Werff . . 
 
 247 Jan v. Eyck, School of . 
 
 248 F. Verwilt .... 
 261 A. van der Neer . 
 
 265 J. Ruysdael . . . . 
 
 266 P. Potter 
 
 267 Hobbema . . . . 
 
 272 G. Dow 
 
 273 „ 
 
 275 J. van der Heyden . 
 286 D. Teniers, younger 
 
 Female portrait 
 Church interior. 
 The three Graces, 
 Peasants. 
 
 Smoker and drinher. 
 Portrait of his mother, — Small. 
 A smoker, 
 A piper. 
 
 Gipsies and peasant. 
 
 Peasants, 
 
 Portrait, 
 
 Presentation in the temple. 
 Flight into Egypt. 
 Fire at night. 
 Landscape, 
 
 Landscape and cattle, — ^Dated 1647. 
 
 Landscape. 
 
 His own portrait. 
 
 Party playing at cards. 
 
 Landscape. 
 
 Guard-room, 
 
 THE GALLERY OF COUNT HARRACH AT VIENNA. 
 
 Pictures last examined in 1879. 
 
 This gallery, containing nearly 400 pictures, has few of any interest. 
 Besides numerous canvases erroneously attributed to the best masters, there 
 are some genuine examples of the small Dutch painters and one or two early 
 Flemish and German. Among the Italian pictures may be noted a single 
 Perugino, Madonna and two saints, and some studies by Paolo Veronese. The 
 French school is represented by a large seaport by Claude, and by examples 
 of Le Sueur and J. Vernet. 
 
 THE GALLERY OF PRINCE LIECHTENSTEIN AT VIENNA. 
 
 Pictures last examined in 1879. 
 
 In this large gallery of 1500 pictures there are some very fine works, among 
 a large proportion which it is unnecessary to notice. They are distributed 
 throughout numerous rooms, and it will be more convenient to follow the 
 order of these than to arrange the few works to be named in alphabetical 
 order. 
 
VIENNA: THE LIECHTENSTEIN, 
 
 347 
 
 The First or Principal Story. 
 
 Boom I. contains works of a decorative and mythological character, Nos. 1 
 to 13, by Marc Antonio Franceschini (1648-1729). 
 
 Guido Reni 
 
 Boom 11, 
 
 No. 
 
 19 S, Jerome, 
 23 Magdalen, 
 
 Caravaggio 30 Youth. 
 
 Dolce, C 31 Female head, 
 
 Moretto 34 Holy family. — Small. 
 
 Guercino 35 Saint and angel. 
 
 5? 
 
 Bellini, Gentile . 
 
 35a a head. 
 
 Perugino, P 40 Madonna, 
 
 Sassoferrato .... 
 Bolognese School . 
 Pasinelli . . . . 
 Sarto, A. del, attrib. 
 Maratta, Carlo . 
 Caravaggio, A. . . . 
 Correggio, or Procaccini ? 
 Raphael, attrib. . 
 Guido Reni .... 
 Cagnacci, G. . . . 
 Guido Reni .... 
 
 Cima da Conegliano 
 Domenichino 
 
 Rubens, P. P. 
 
 Van Dyck, Anton 
 
 5» 
 
 » 
 
 99 
 »» 
 
 99 
 
 5) 
 
 Boom III, 
 
 49 Virgin, 
 
 50 Copy of Baphael, 
 
 51 Virgin. 
 
 53 Head of the Baptist, 
 56 Bathsheha. 
 61 The lute-player, 
 65 Venus. 
 
 67 Portrait. 
 
 68 The Baptist. 
 
 74 Jacob and Lahan, 
 
 75 Adoration of the shepherds. 
 
 76 Antiope and Jupiter. 
 
 77 Madonna. 
 
 78 Sihyl. — A replica or copy. 
 Boom, IV, 
 
 89-94 History of the death of the consul Decius. 
 — Designs for tapestry, of which No. 91 
 is the finest. 
 
 Boom V, 
 
 115, 51 Female portraits. 
 
 118 Portrait of Wallenstein, 
 
 126 A Pieta. 
 
 142 An ecclesiastic. 
 
 143-4 portrait of an old man, 
 
 146 A portrait of an old lady, 
 
 147 Duke Albrecht of Austria, 
 
 148 David Byckaert, 
 
348 
 
 VIENNA : TEE LIECHTENSTEIN, 
 
 No. 
 
 Van Dyck, Anton . . . 149 An old man. And others. 
 
 Kubens, P. P — Several sketches and studies. 
 
 Hals, Frans 150 Full-length portrait 
 
 Pourbus, F 152 Female portrait. 
 
 Boom VI. 
 
 Rubens, P. P 168 Assumption of the Virgin. 
 
 „ 177 Male portrait. 
 
 „ 191 Mythological subject. — Large. 
 
 „ 193 Head. 
 
 „ 194 Portraits of his two sons. — Replica at 
 
 Dresden. 
 
 „ 195 Two heads. 
 
 „ 204 Venus and the mirror. — And others. 
 
 Rembrandt van Ryn . . 172 Diana and Endymion. 
 
 „ „ . . 173 His own portrait when old. 
 
 „ „ . . 174 His own portrait when young. 
 
 Dow, G 176 His own portrait. — Life-size. 
 
 Gelder, A. van . . . .179 Portrait of a young man. 
 Keyser, Th. de . . . . 184 Portrait. 
 Vliet, W. van .... 188 Female head. 
 
 Room VII. 
 
 Quellinus 208 Esther and Ahasuerus, 
 
 Berchem, Nicholas . . . 216 Death of Dido. 
 
 Terburg, G 230, 2 Small full-length portraits. 
 
 Dyck, A. van .... 239 Head. 
 
 The Second Story. 
 Boom I. 
 
 Fouquet, Jean, attrib. . . 276 Head. 
 
 Volterra, D. da . . . . 277 Madonna and saints. 
 
 Caravaggio, Polidoro da , 278 Copy in grey of Raphael's Holy family in 
 
 the Louvre. 
 
 Canale, Ant. . . ... 252, 3, 283-6 Views in Venice. 
 
 Bellotti, Bernardo . . . 289 View in Pima, 
 
 Boom II, 
 
 Poussin, N. . . . . . 307 The flight into Egypt. 
 
 Bassano, Jacopo .... 314 Shepherd and flocks. 
 
 Sirani, Elisabetta . . . 339, 42 Cupids, 
 
 Boom III, 
 
 Caracci, Ann. . . . . 387 Madonna. 
 
 And many inferior works. 
 
VIENNA : THE LIECHTENSTEIN. 
 
 349 
 
 Boom V. 
 
 No. 
 
 Guido Reni . . . . . 455 David and the head of Goliath, 
 Rubens — Studies. 
 
 And many inferior examples of the Dutch School. 
 
 Boom VI, 
 
 Es, Jacob van .... 553 Fruit-piece. 
 
 Chardin, J. B. . . . . 557 Mother and her son. — Dated 1739. 
 
 „ .... 558, 9, 60 Interiors with figures. 
 Terburg, G 562, 3 Portraits of W. Marienburg and wife. 
 
 Boom VII. 
 
 Procaccini, Cesare . . . 621 Angels. 
 
 Poussin, N 637 Holy family. — And others. 
 
 Boom VIIL 
 
 Yan Dyck, Ant. . . . 693, 766 Two studies. 
 Neer, E. van der . . . 721 Lady seated. 
 
 Poelenburg, C 723 Landscape. 
 
 Jordaens, Jacob . . . . 778 Satyrs and animals. 
 Berchem, Nicholaa . . . 781 Landscape. — And others. 
 
 And many inferior Dutch paintings. 
 Boom IX. 
 
 Huysum, Jan van . . . 821, 4 Flower-pieces. 
 Teniers, D., youugcr . . 822 Peasants playing cards. 
 „ „ . . 823 At an inn. — And others. 
 
 Ducq, A. le 827 An adventure, 
 
 Ryckaert, David . . . 883 Party with music. 
 Ostade, Adrian van . . . 862 Peasants dancing. 
 Ruysch, Rachel .... 878, 80 Flower-pieces, 
 
 Mignon, Ab 891 Fruit. 
 
 Werff, A 893 Entombment. 
 
 Boom X. 
 
 Eeckhout, G. van den . . 929 A royal repast. 
 Rembrandt, attrib. . . . 932 A calm sea. 
 
 Boom XI. 
 
 Holbein, younger, attrib. . 1043 Portrait. . 
 Brueghel, Jan .... 1052 Landscape, 
 Orley, B. v., attrib. . . . 1112, 14 Side panels of an altarpiece. 
 Several works attributed to early German and Flemish painters 
 
350 
 
 VIENNA AND BUDA-PESTK 
 
 Room XIL 
 
 No. 
 
 Hondecoeter 1151, 9 Poultry. — And others. 
 
 Fyt, Jan 1153, 63, 7 Live and dead game, — And others. 
 
 Heem, J. D. de . . . .1169, 70, 86 Fruit-pieces. 
 Weenix, Jan 1180, 5, 7 Dead game. 
 
 Rooms XIII., XIV., XV., and XVI. contain numerous works of no interest, 
 chiefly of the Dutch and later French schools ; the only examples requiring 
 notice are in Room XIII., a ' Feast of the gods,' No. 1239, by J. Rotten- 
 hammer, and a 'Wooded Landscape,' No. 1258, by Karel du Jardin, and in 
 Room XVI. the ' Portrait of an admiral/ No. 1396, by C. Le Brun. 
 
 THE GALLERY OF PICTURES AT BUDA-PESTH, OR FORMER 
 
 ESTERHAZY COLLECTION. 
 
 Catalogue of 1879. 
 Pictures last examined in 1879. 
 Second Floor. 
 Boom Z 
 
 No. 
 
 1, 2, 3 H. Zeitblom . . , 
 12, 13 Early Flemish . . 
 
 And many less important works of this school. 
 
 AUarpiece^ Death of the Virgin and saints. 
 Donators and S. Nicholas. 
 
 18 L. Cranach . 
 
 20 R. van der Weydsn 
 
 21 L. Cranach . 
 23 Hans Memling . 
 26 L. Cranach . 
 29 
 30 
 
 31, 3 
 
 34 L. van der Leyden 
 
 35 L. Cranach . 
 
 37 V. Heemskerk . 
 
 38 Niirnberg School 
 51 H. Holbein, attrib. 
 55 C. Amberger 
 61 N. Lucidel (Neufchatel) 
 68 
 
 >5 
 
 5> 
 
 J) 
 
 Room II. 
 
 Herodias with the BaptisVs head. 
 The Crucifixion. 
 
 The woman taken in adultery. — Dated 1532. 
 Crucifixion, 
 
 Old woman and a young man. 
 Marriage of 8. Catharine. 
 Madonna protecting saints. 
 Old man and a young girl. 
 Lucretia. 
 
 Herodias with head of the Baptist. 
 
 Christ before Pilate. 
 
 The Crucifixion. 
 
 Female portrait. 
 
 Portrait. 
 
 Full length portrait, — Dated 1561. 
 Female portrait. 
 
 And many inferior portraits and works of the early German School. 
 
BUDA-PESTH. 
 
 351 
 
 No. 
 
 69, 70 Spinello Aretino 
 79 Giotto . . . 
 
 83 Guidoccio Cozzareli. 
 
 84 Niccol5 da Foligno . 
 86 Pinturicchio . 
 98 Pietro Lorenzetti, attrib. 
 
 104 Sienese School . 
 
 120 School of Filippo Lippi 
 
 121 Fr. SigDorelli . . 
 
 123 G. Mansueti . . . 
 
 124 Carlo Crivelli . . 
 
 125 Cima da Conegliano 
 
 126 Gentile Bellini . . 
 
 127 A. Borgognone . 
 
 128 Girolamo da Treviso 
 
 129 A. Previtale . . 
 
 And several paintings 
 
 131 Piero da Cosimo 
 
 133 Giovanni Bellini 
 
 134 Giacomo Francia 
 
 135 Kidolfo Ghirlandajo 
 
 136 Palma Yecchio 
 
 137 Marco Bello . 
 
 138 V. Catena . 
 141, 2 Bonifazio . 
 143 Giorgione, attrib 
 
 145 Tintoretto . 
 
 146 Bonifazio . 
 
 147 P. Veronese . 
 150 Andrea Schiavone 
 
 152 B. Licinio (Pordenone) 
 
 153 Polidoro Lanzani 
 
 156 Fr. Morone . . 
 
 157 Tintoretto . . 
 
 158 Titian . . . 
 
 159 Lorenzo Lotto . 
 
 160 P. Veronese . . 
 163 Fra Bartolommeo 
 168 Bugiardini . . 
 
 170 Unknown 
 
 171 Follower of C. da Sesto 
 173 Bernardino Luini . 
 
 Room III, 
 
 . Altarpiece and predella, 
 
 . Female head. — A fragment of fresco from 
 
 S. Francesco at Assisi. 
 . Madonna and saints. — Dated 1486. 
 . S. Bernard.— Bsited 1497. 
 . Madonna. — A small altarpiece. 
 . Hermits in the desert. 
 
 Diptych. 
 . Holy family. 
 . Subject from Roman history. 
 . S. Catharine. 
 . Madonna. 
 . Madonna. 
 
 . Portrait of Catharine Cornaro. 
 
 The Entombment. 
 . John the Baptist. 
 . Madonna. 
 
 ascribed to the Early Sienese School. 
 
 Room IV. 
 
 . Madonna and S. Catharine. 
 . Portrait of the doge Barberigo. 
 . Madonna. 
 
 The Nativity, 
 
 Female portrait. 
 . Madonna. 
 . Holy family. 
 . Holy families. 
 
 Two blind men, 
 . Portrait. 
 
 Christ with the cross, 
 . Portrait. 
 . Madonna. 
 . Female portrait, 
 . Holy family, 
 . Portrait. 
 . Portrait. 
 
 . Portrait of Cardinal Bembo, 
 . Portrait. 
 
 Venice crowned. 
 , Madonna. 
 . Madonna, 
 . Portrait. 
 
 . 8. John the Evangelist, 
 
 . Madonna and two female saints. 
 
352 
 
 BUDA'PESTK 
 
 No. 
 
 175 Beltraffio Madonna. 
 
 176 B. Luini Holy family. 
 
 177 Gt. Pedrini Madonna and S. Jerome. 
 
 178 Correggio Madonna. 
 
 179 Eaphael, School of . . . Portrait of a youth. 
 
 180 Raphael Madonna and infant 8. John. 
 
 181 Fr. Francia Madonna and infant S. John. — Small, in- 
 
 complete. 
 
 Boom V. 
 
 182 Angelo Bronzino . . . Venus and Cupid. 
 
 183 „ „ ... Fem,ale portrait. 
 
 184, 5 „ attrib. . . Entombment and Annunciation. 
 
 189 G. Vasari The three Graces. 
 
 195 C. Dolci The Virgin. 
 
 197 L. Cigoli Madonna. 
 
 203 Raphael, school of . . . Holy family. 
 
 205 Andrea da Salerno . . . Apostles surrounding the dead body of the 
 
 Virgin. 
 
 206 F. Baroccio Holy family. 
 
 211 D. Feti A sleeping girl. 
 
 Room VI. 
 
 219 Correggio Portrait. 
 
 225 Caravaggio His own portrait. 
 
 233, 4 Zuccarelli Landscapes, 
 
 Boom VII. 
 
 237 L. Giordano Venus and Adonis. 
 
 241 G. Billiverti ..... Copy of G. Cagnacci's Tarquin and Lucretia 
 
 in the Accademia S. Luca, Rome. 
 
 243 B. Strozzi Woman praying. 
 
 245 L. Giordano Flight into Egypt. 
 
 Third Floor. 
 
 Room VIII. 
 
 252 Guide Reni Descent from the cross. — And several others 
 
 attributed to the master. 
 258 C. Cignani Adam and Eve. 
 
 263 B. Gennari Rest in Egypt. 
 
 264 Fr. Albani Nymph and faun. 
 
 268 F. Furini Venus and Adonis. 
 
 Room IX. 
 
 278 Matteo Rosselli .... Guardian angel. 
 
 288 J. B. Tiepolo .... Ferdinand overthrowing the Moors, 
 
 298 D, Ricci Lute player. 
 
BUDA'PESTH. 
 
 No. 
 
 300 F. Solimena . 
 309 B. Strozzi . 
 311, 13 B. Bellotti 
 317 A. Oanaletto . 
 319, 20 J. Bassano 
 
 Madonna. 
 
 Christ and the Pharisee. — And others. 
 Views of Florence, 
 View in Venice, 
 Annunciation and AdoraUon . 
 
 Boom X. 
 
 331 K. du Jardin .... Landscape. 
 
 335 Moucheron Landscape. 
 
 336 N. Berchem ..... Landscape. — And others. 
 
 339 W. Komeyn Cattle and landscape, 
 
 345 C. de Witte Landscape. 
 
 347 A. Verboom A wood. 
 
 349 J. Both Landscape. 
 
 — Pynacker Several examples. 
 
 Boom XL 
 
 Contains many very inferior works by the Dutch School, 
 
 Boom XII. 
 
 434, 9 C. Netscher .... Portraits, 
 441, 2 Van der Wei-ff . . . Two examples. 
 
 And several inferior pictures. 
 
 BoomXIII. 
 
 456 N. Largilliere .... Portrait. 
 
 463 S. Vouet Apollo and the Muses. 
 
 480, 1 Ph. de Champaigne . . Portraits. 
 
 500, 2 J. B. Weenix .... Portraits. 
 
 501 G. Metsu Interior with figures. 
 
 And many unimportant examples of the French and Dutch Schools. 
 
 Boom XIV, 
 
 Several inferior examples of the French School. 
 
 Boom XV' 
 
 532 M. Hondecoeter 
 536 D. Teniers . . 
 560 Ph. Wouwerman 
 563, 4 A. van der Neer 
 585 Albert Cuyp 
 589 „ „ . . 
 602 Jan Steen 
 607, 9 Mierevelt . . 
 
 Poultry. 
 
 The village doctor. 
 
 Horsemen. 
 
 Two examples. 
 
 Landscape and cattle. 
 
 Portraits of himself and family. 
 
 Peasants feasting. 
 
 Portraits, 
 
 2 
 
 I 
 
354 
 
 BVDA-FESTR. 
 
 No. 
 
 611 Van der Heist . . . . Portrait, 
 
 620 Molenaer Peasants feasting, 
 
 624 Dusart and Van Kessel. . Fishwoman, 
 
 635 P. Rembrandt .... Young woman with a fan, — ^Dated 1660. 
 
 636 F. Hals Portrait 
 
 638 Rembrandt Young woman, 
 
 641 A. Brouwer Peasants. 
 
 642, 5 A. van Ostade . . . Interiors. 
 
 643 Rembrandt . . . . . Man seated, — ^Dated 1642. 
 
 Boom XVL 
 
 647 Rubens Mutius Scsevola before Porsenna, 
 
 650 P. Snayers ..... Camp scene. 
 
 652 Rubens Three angels. 
 
 659 J. Jordaens Portrait. 
 
 669, 70 Fr, Goya .... Two studies. 
 
 683 Alonso Cano, attrib. . . Christ and the magdalen, 
 
 686 „ „ . . . S. Thomas, 
 
 687 Murillo Holy family, 
 
 688 „ Madonna and angels, 
 
 689 „ Madonna and three missionaries. I 
 
 690 Unknown Portrait. 
 
 692 Murillo ...... Flight into Egypt. 
 
 694 „ His own portrait. 
 
 695 Velasquez Study of a man on horsebach. 
 
 697 Pedro Moya His own portrait, 
 
 698 Luis de Vargas .... Madonna. 
 
 705 Murillo . . ... . . S. Joseph and Infant Christ, — Small. 
 
 707 J. Rlbera (Spagnoletto) . Martyrdom of S. Andrea, 
 
 712 Fr. Zurbaran, attrib. . . The Virgin.— Dated 1661. 
 
 717 Rubens Portrait of Ferdinand of Spain. 
 
 718 Dutch School .... Portrait, 
 
 721 R. van Leux .... Portrait. 
 
 722 A. van Dyck .... Male and female portraits. 
 724 Gonzales Cocquts . . . Family portraits. 
 
 726 C. de Vos Portraits of Mierevelt and his family. 
 
MADRID: SAN FERNANDO AND THE MUSEUM, 355 
 
 THE PICTUEE GALLERIES OF SPAIN. 
 
 ACADEMIA DE SAN FEKNANDO, MADKID. 
 
 Pictures last examined in 1876. 
 No. 
 
 Cano, Alonso .... — A Crucifixion. 
 Morales, Luis de ... — A Pieta. 
 
 Murillo — Queen Elizabeth of Hungary attending to 
 
 the sick and poor. 
 
 „ — Madonna appearing to the sleeping Roman. 
 
 ,, — The Roman explains his dream to the Pope. 
 
 „ — A female praying. 
 
 Ribera, Jose — S, Jerome and a pendant. 
 
 „ „ — Head of tJie Baptist in a dish. 
 
 Zurbaran — Five single figures of monks. 
 
 THE ROYAL MUSEUM AT MADRID. 
 Catalogue of 1877. 
 
 Adriaenssen, A. 
 Angelico, Era 
 
 Bassano, Jacopo 
 
 7J 
 
 Francesco 
 Leandro 
 
 »» 
 
 Bellini, Giovanni, attrib. 
 Bias del Prado • • • 
 
 Pictures last examined in 1876. 
 No. 
 
 1147 Dead game. 
 14 Annunciation and predella. — Replica of 
 that in the Convent of S. Marco, Florence. 
 
 22 The covenant made to Adam by God. 
 
 23 The animals entering the ark. 
 31 Christ clearing the temple. 
 39 The adoration of the kings. 
 45 The prodigal son. 
 49 Assumption of the Virgin. 
 52 The forge of Vulcan. 
 60 Madonna with two saints. — Injured. 
 
 994 Virgin and saints, 
 
 2 A 2 
 
356 
 
 MADRID: THE MUSEUM, 
 
 Bles, Hendrik de . . 
 
 Bosch 
 
 Brouwer, A. . 
 Brueghel, Pieter, elder 
 Jan (Velours) 
 
 11 
 11 
 11 
 
 11 
 >> 
 »» 
 i1 
 11 
 
 11 
 11 
 11 
 11 
 11 
 
 Cano, Alonso 
 
 11 
 
 11 
 
 11 11 • • 
 
 Carreno de Miranda 
 
 11 
 
 19 
 
 11 
 
 Caxes, Eugenic . 
 Christus, Petrus 
 Claude (Lorraine) 
 
 11 
 11 
 11 
 11 
 
 11 
 11 
 11 
 
 19 
 
 Coello, Alonso Sanchez 
 
 11 
 11 
 11 
 
 11 
 
 11 
 11 
 
 11 
 11 
 11 
 
 Correa, D 
 
 Correggio (Ant. Allegri) 
 Cranach, L., elder . 
 Dughet, G. (Poussin) . 
 Diirer, Albrecht 
 
 attrib. 
 
 *i 
 
 11 19 >> 
 
 Dyck, Anton van . 
 
 99 
 •« 
 
 11 
 91 
 99 
 
 • 1 
 
 99 
 99 
 It 
 91 
 99 
 5» 
 it 
 It 
 
 No. 
 
 1171 Triptych.— ^moM. 
 1175 Adoration of the kings, 
 1219 Interior, 
 
 1221 The triumph of Death, 
 1233 The four elements. 
 
 1244 Paradise, 
 
 1245 Landscape, &c, 
 1258 Flowers. 
 
 1277, 8 Marriage feasts. 
 
 1279 Landscape in Holland. — And others. 
 
 668 S. Benito in meditation, 
 
 670 Madonna in adoration. 
 
 672 Dead Christ and angel. 
 
 690 Full-length male portrait. 
 
 692 Portrait of the buffoon of Charles II. 
 
 703 Charles II, 
 
 697 English, disembarking at Cadiz. ^ 
 1291 Annunciation, 
 1985, 6, 8 Landscapes, 
 1987 Sea-port, 
 
 1989 Landscape with an anchorite, 
 
 1991 Landscape by moonlight. 
 
 1992 Landscape with the magdalen. 
 
 1032 Portrait of Prince Carlos, 
 
 1033 The sister of Prince Carlos, 
 1036 Female portrait. 
 
 1039 Portrait. 
 
 2154 Death of the Virgin, 
 
 132 Noli me tangere, 
 1304, 5 Charles V. hunting, 
 
 151-5 Landscapes, 
 1314, 15 Adam and Eve, 
 
 1316 His own portrait. — A replica or copy of 
 
 that in the Uffizi, Florence, 
 
 1317 Portrait. 
 
 1319 The crowning with thorns. — An altered 
 
 copy of Titian's picture at Munich, 
 No. 1329. 
 
 1320 Portrait of David Byckaert, 
 
 1321 Portrait, 
 
 1322 The Countess of Oxford, 
 
 1325 Charles I. on horseback, 
 
 1326 Portrait of a lady, 
 
 1327 Count Henry de Berg, 
 1328, 9 Male portraits, 
 
 1330 Van Dyck and the Count of Bristol, 
 
MADRID: THE MUSEUM. 
 
 357 
 
 Dyck, Anton van 
 
 5» 
 
 5J 
 
 5> 
 
 5> 
 
 Escalante 
 Essen, Jacob van 
 Eyck, Jan van . 
 Falcone, Aniello 
 
 Fyt, Jan 
 
 >» 
 
 Giordano, Luca 
 Giorgione, attrib 
 
 Goya y Lncientes 
 
 >5 
 
 5) 
 55 
 
 Guercino 
 
 55 
 
 Guido Eeni . 
 
 55 55 
 
 55 
 
 55 
 
 Haarlem, Cornelis van 
 Heem, Jan David de 
 Herrera, F. de, younger 
 Holbein, School of 
 Joanes, Vicente de 
 
 55 
 55 
 55 
 55 
 55 
 
 Jordaens, Jacob 
 
 59 
 55 
 
 55 
 
 55 
 55 
 55 
 
 Leal, Valdes J. . 
 
 55 
 
 55 
 
 Lotto, Lorenzo . 
 Luini, Bernardino, attrib 
 
 No. 
 
 , 1331 Henry Liberti, organist of Antwerp, 
 
 . 1335 The betrayal of Christ, 
 
 . 1337 S. Francis. 
 
 . 1338 Female portrait. 
 
 — Infant Christ and 8. John, 
 . 1346, 7 SiilUife. 
 . 2188 The triumph of Christianity, 
 . 156 Battle. 
 
 157 Combat between Turks and Christians. 
 . 1369 Dead game. 
 . 1370 Still-life. 
 . 1371 Hares pursued by dogs. 
 . 1372 Wildfowl. 
 . 1373 Dead game and fruit, 
 
 — Several attributed to him. 
 
 236 Madonna with S. Bridget and another saint. 
 — An early Titian. 
 . 731 Equestrian portrait of Charles IV. 
 , 734, 5 Episodes of the French invasion, 
 . 738 Dona Maria Luisa. 
 . 2164 Fernando VI 1. — Young. 
 . 2165 The Crucifixion. — Designs for tapestry in 
 
 the Sala de Goya ; and others. 
 . 249 Susannah at the bath, 
 
 254 Diana. 
 . 259 The Madonna of the SiUa." 
 
 260 S. Sebastian. 
 
 261 S. James. 
 
 , 1390 The tribunal of the gods. 
 , 1391, 2 Fruit. 
 
 — Triumph of S, Hermenegildo. 
 
 . 1399, 1400 Portraits.— Dsited 1531. 
 
 . 749-53 History of S. Stephen. 
 
 . 754 Male portrait. 
 
 . 755 The Last Supper. 
 
 . 756 The Visitation. 
 
 . 758 Coronation of the Virgin. ' 
 
 . 759, 60 Ecce Homo. 
 
 , 1404 The judgment of Solomon.' 
 
 , 1405 The marriage of S. Catharine. 
 
 . 1407 Meleager and Atalanta. 
 
 . 1410 Family group, 
 
 . 1049 Presentation of the Virgin. 
 
 . 1050 Emperor Constantine. 
 
 . 288 Marsilio and his bride^ and a cupid. 
 
 . 291 The daughter of Herodias* 
 
358 
 
 MADRID: THE MUSEUM, 
 
 Luini, Bernardino, attrib. 
 Malombra, P. . . . 
 Mantegna, Andrea, attrib. 
 Mazo, J. B. del . 
 
 5> 
 
 Menendez 
 Mengs, Anton Raphael 
 Metsu, G. 
 Mignard, Pierre 
 Morales, Luis de 
 
 Moro, Antonio 
 
 19 
 J? 
 
 19 
 
 ?9 
 99 
 99 
 99 
 
 Murillo, Esteban 
 
 99 J> 
 99 99 
 99 9> 
 
 99 »> 
 99 »> 
 »> >» 
 
 99 
 95 
 »9 
 9» 
 99 
 J9 
 9» 
 95 
 99 
 
 99 
 9» 
 5» 
 95 
 99 
 »5 
 99 
 59 
 99 
 
 Navarrete (El Mudo) 
 
 »5 
 
 95 
 
 Neefs, Pieter, the elder 
 Orrente, P. . . , 
 Pacheco, Francisco . 
 Palma Vecchio, attrib. 
 
 Pantoja .... 
 Pareja, Juan de . 
 Parmegianino 
 
 55 • • 
 
 No. 
 
 290 Holy family. 
 
 292 Doge receiving an ambassador, 
 295 The death of the Virgin, 
 
 788 View of Zaragoza, 
 
 789 Portrait, 
 
 790 Dona Maria of Austria, — And others. 
 818. 28 Still-life. 
 
 1435 Adoration of the shepherds. — And others. 
 1441 Dead game, 
 2021, 3, 4, 5 Portraits. 
 
 847 Ecce Homo. 
 
 848 Mater dolorosa, 
 
 1483 Portrait. 
 
 1484 Queen Mary. 
 
 1485 Queen Catharine of Portugal. 
 1487 Maximilian II. 
 
 1488, 9, 90, 1, 2 Female portraits, 
 
 854 Holy family *' del Pajarito.*' 
 
 855 Bebecca at the well. 
 
 859 Adoration of the shepherds, 
 861 Christy Virgin^ and S. Francis — " La Por- 
 ciuncula." 
 
 864 Infant Christ. 
 
 865 The child S. John. . 
 
 866 Jesus and S, John — " Los Ninos de la 
 
 Concha." 
 
 867 Annunciation, 
 
 868 Appearance of the Virgin to S. Bernard. 
 
 869 Virgin appearing to S. Hdefonso. 
 
 870 The Madonna of the Bosary.*' 
 877, 8, 9, 80 Concepcions, 
 
 890 S, Francisco de Paula, 
 
 895 Ecce Homo. 
 
 896 Mater dolorosa. 
 
 897 Friar Cavanilles. 
 
 905 The Baptism of Christ, 
 906, 7 S. Paul. 
 
 500, 1 Church interiors. — And others. 
 
 914 Adoration of the shepherds. 
 
 916-19 Single figures of saints. 
 
 322 Adoration of the shepherds. — By Bonifazio 
 
 Veronese. 
 926 Margaret of Austria, 
 935 The calling of S, Matthew, 
 
 332 Portrait, 
 
 333 Portrait group. 
 
MADRID: THE MUSEUM. 
 
 359 
 
 Patinir, J. de .... 
 
 »5 
 
 Peeters, Clara .... 
 Piombo, Sebastiano del 
 
 „ „ attrib. 
 
 Pordenone, G. A., attrib. . 
 
 9J 
 
 5» 
 
 Poussin, Nicolas 
 Kaphael Sanzio 
 
 >» 
 
 9> ?» • • 
 
 »» I) • • 
 
 »> }» • • 
 
 Eembrandt . 
 Kibalta, Francisco de 
 
 ?5 
 
 >» 
 
 Ribera, Jose de . 
 
 5» 
 
 }» 
 
 Rizi, Francesco . 
 Roelas, Juan de las, 
 Rubens, P. P. 
 
 »> 
 
 » 
 
 9> 
 
 attrib 
 
 No. 
 
 1519 Rest after the flight into Egypt. 
 1523 Temptation of S. Anthony. 
 1525 S. Francis. 
 1526-9 Studies of still-life. 
 
 396 The descent of CJirist to limbo. 
 
 395 Christ hearing the cross. 
 
 341 Madonna and two saints. — Probably by 
 
 Giorgione. 
 
 342 Portrait. — By B. Licinio Pordenone. 
 2043 Mount Parnassus. 
 
 2051 The chase of Meleager. 
 
 364 Holy family " del Cordero.^' 
 
 365 The Virgin del Pesce." 
 
 366 Christ hearing the cross — "io Spasimo di 
 
 Sicilia.*^ 
 
 367 Portrait of a cardinal. 
 
 368 The Visitation. 
 
 369 Holy family ^^1u Perla.^^ — Designed by 
 
 Raphel and probably executed by a 
 pupil. 
 
 370 Holy family " la Rosa.'' 
 
 ^11 Holy family del LagartoJ" — Designed 
 by Raphael and probably executed by 
 a pupil. 
 1544 Queen Artemisia. 
 
 946 Christ and angels. 
 
 947 S. Francis of Assisi. 
 956, 9, 63, 78 Single heads. 
 977 S. Bartholomew. 
 
 982 Jacob's dream. 
 
 983 Isaac blessing Jacob. 
 
 989 Martyrdom of S. Bartholomew. 
 
 998 ;S'. Francis. 
 1006 Hermit at prayer. 
 1011, 12 Heads. 
 
 1016 An ''Auto da Fe" in 1680. 
 1021 Moses and the bitter waters, 
 
 1558 The brazen serpent, 
 
 1559 Adoration of the kings. 
 1560, 1 Holy families. 
 
 1565 S. George and the dragon, 
 
 1566 Legend of Rodolph of Hapsburg. 
 1569 Portrait. 
 
 1583 Atalanta and Meleager. 
 
 1584 Perseus and Andromeda, 
 
 1585 Ceres and Pomona, 
 
360 
 
 MADRID: THE MUSEUM. 
 
 Rubens, P. P. 
 
 »» 
 
 »? 
 ?» 
 
 attrib. 
 Euysdael .... 
 Ryckaert, David 
 Sarto, Andrea del . 
 
 »» 
 
 »» 
 
 5? 
 
 1> 
 
 Snyders, Frans . 
 
 »» >» • • 
 
 Teniers, David, younger 
 
 »» 
 
 57 
 » 
 
 Tintoretto 
 
 Titian . 
 
 >» • 
 
 »» • 
 
 ») • 
 
 >■• • 
 
 « • 
 
 »» 
 
 »> 
 »> 
 
 »> 
 5» 
 
 No. 
 
 1586 Diana and nymphs. 
 
 1590 Judgment of Paris. 
 
 1591 !Z7i6 G^races. 
 
 1592 Diana and Calisto. 
 
 1593 Ceres anc? Pan. 
 
 1594 Mercury and Argos, 
 
 1606, 10 Female portraits. 
 
 1607, 8 Equestrian portraits. 
 
 1611 T/ie garden of Love. 
 
 1612 Peasants^ dance. 
 
 1613 Copy of Titian's Adam and Eve. 
 
 1614 Copy of Titian's Europa. 
 1609 Portrait of Sir Thomas More. 
 1655, 6 Landscapes. 
 
 1657 T/ie alchemist. 
 
 383 Portrait of the painter's wife. 
 
 385 Soly family and angel. 
 
 387 T/ie sacrifice of Isaac. — Eeplica of No. 44 
 at Dresden. 
 
 384, 8 Holy families, 
 1677 Dogs and eatables. 
 1684 jFVwi^ and eatables, — And others. 
 1721 A feast. 
 1724 A soldier drinMng. 
 1726 Smokers in an inn. 
 1730 The feast of Ungs. 
 
 1732 Interior of a Mtchen, 
 
 1733 T/ie scullery maid, 
 
 1744 Soldiers and armour. 
 
 1745 ^rmo?^r aw(Z a dog. 
 
 1754, 5 T/ie temptation of S. Anthony. 
 
 410 Large battle-piece. 
 
 411 Sebastiano Veniero. 
 412, 19, 29 Male portraits.'^ 
 413 T/ie Baptism of Christ. 
 
 415 Purification of the Midianite captives. 
 422 Joseph and Potiphars wife^ 
 428 Sketch for the ' Paradise * at Venice. 
 434 Male portrait, 
 
 450 T/ie bacchanal. — Painted in 1520. 
 
 451 T7^e /eas^ of Venus. — Painted before 1518. 
 
 452 Portrait of Alfonso d'Este, 
 
 453 Full-length of Charles V. 
 
 454 Full-length of Philip JJ.— Painted in 1551. 
 465 Venus and Adonis. — Probably aided by 
 
 Orazio: C. and C, 1554, 
 
MADRID: THE MUSEUM. 
 
 861 
 
 Titian .... 
 
 . . 456 
 
 
 . . 457 
 
 
 , . 458 
 
 
 . , 459 
 
 
 461 
 
 
 462 
 
 
 463 
 
 
 
 
 . . 467 
 
 
 
 
 469 
 
 
 470 
 
 
 , . 476 
 
 
 477 
 
 
 , , 480 
 
 
 A d 4 
 
 
 485 
 
 
 487 
 
 
 460 
 
 7/ 7 ' 
 
 . . 465, 
 
 
 478 
 
 Tobar, Alonso . 
 
 . . 1044 
 
 
 1048 
 
 
 515 
 
 Valentin, Moise 
 
 . . 2075 
 
 
 . , 1786 
 
 
 . 1788 
 
 "Velasquez da Silva . 
 
 . . 1054 
 
 ft n * ' 
 
 7/ 77 
 
 . . 1055 
 
 5> »> • • ' 
 
 . . 1056 
 
 »J • ' 
 
 . . 1057 
 
 ?» >» • ' 
 
 . . 1058 
 
 ^1 99 * * 
 
 . 1059 
 
 )9 * ' 
 
 . . 1060 
 
 
 . . 1061 
 
 77 '7 
 
 . . 1062 
 
 ?5 • ' 
 
 . . 10.66 
 
 99 * 
 
 . . 1067 
 
 }» J9 . . 
 
 . . 1068, 
 
 >♦ J> • • 
 
 , . 1069 
 
 ?> J» • ' 
 
 . . 1073 
 
 ?> »» • 
 
 . . 1074, 
 
 » J> • « 
 
 . . 1075 
 
 Adam and Eve. 
 
 Charles V, on horseback. — Painted in 1548. 
 
 Danae. — Painted in 1554. 
 
 Venus with organ-player and dog. 
 
 His daughter Lavinia as Salome. 
 
 The Trinity and heavenly hosts. 
 
 Portrait of a knight of Malta. 
 
 An Entombment. — Painted in 1559. 
 
 Ecce Homo. 
 
 75 Mater dolorosa. 
 
 S. Margaret. 
 
 Allegory of Lepanto with Philip II. and 
 his son. 
 
 Christianity succoured by Spain. — Chiefly 
 
 by a scholar : C. and C. 
 His own portrait, 
 Male portrait. 
 
 Adoration of the magi. — Painted in 1560. 
 The Empress Isabella. — Painted in 1544. 
 Christ bearing the cross. 
 Venus with Cupid. — Not by him. 
 6 Sisyphus and Prometheus. — Copies by S. 
 Coello. 
 
 S. Jerome. — Perhaps by L. Lotto. 
 
 Portrait of Murillo. 
 
 Portrait. 
 
 Apotheosis of S. Gennaro. 
 
 Martyrdom of S. Lawrence, 
 
 Landscape with figures. 
 
 View of a palace in Brussels. 
 
 Adoration of the kings. 
 
 Christ on the cross. 
 
 Coronation of the Virgin, 
 
 SS, Anthony and Paul. 
 
 Los Borrachos, or the drinkers. 
 
 The forge of Vulcan. 
 
 The surrender of Breda, ** Las Lanzas.'' 
 
 Las Hilanderas, or the tapestry-workers. 
 
 Las Meninas, or the maids of honour. 
 
 Equestrian portrait of Philip IV, 
 
 Equestrian portrait of Queen Isabella. 
 
 76, 83 Portraits of Prince Baltasar Carlos. 
 
 Equestrian portrait of the Duke of Olivares, 
 
 Don Carlos as a boy. 
 
 80 Portraits of Philip IV, 
 
 Don Fernando of Austna, . . ' 
 
362 
 
 SEVILLE: THE MUSEUM, 
 
 Velasquez da Silva 
 
 9» 
 
 5? 
 » 
 )» 
 J? 
 5> 
 
 ^> 
 J> 
 »9 
 ?» 
 5> 
 J? 
 » 
 
 Vernet, Claude Joseph 
 Veronese, Paolo 
 
 attrib. 
 
 Watteau, A 
 
 Weyden, Rogier van der 
 
 Wouwerman, P. 
 
 39 
 
 Zurbaran, Francisco de 
 
 ?9 
 5* 
 
 No. 
 1078 
 1084 
 1086 
 1090, 
 1095 
 1096 
 1097 
 1098 
 1099 
 1100, 
 1106 
 1108 
 
 526 
 527 
 528 
 531 
 532 
 534 
 540 
 544 
 533 
 2083, 
 2189- 
 
 1830, 
 
 1833 
 
 1834 
 
 1120 
 
 1121 
 
 1122- 
 
 1132 
 
 1133 
 
 Dona Mariana of Austria. 
 Dona Maria Teresa of Austria. 
 The wife of Velasquez. 
 1, 2 Male portraits. 
 El Primo. 
 
 Don Sebastian de Mora, 
 
 D. Antonio el Ingles. 
 
 El Nino de Vallecas, 
 
 El Boho de Coria. 
 
 1 jEsop and Menippus, 
 
 View in the garden of Villa Medici, 
 
 View in Borne. — And others. 
 
 Several. 
 
 Venus and Adonis, 
 Christ among the doctors. 
 Jesus and the centurion. 
 Madonna with saints, 
 Magdalen. 
 Marriage at Cana,' 
 Cain and his wife. 
 Portrait of a young lady. 
 Moses saved from the waters, 
 4 Fetes champetres. 
 
 93 Triptych. — In the centre a Crucifixion : 
 the Last Judgment and Expulsion of 
 Adam and Eve on the wings. 
 
 1, 5 Hunting parties. 
 
 Hawking party. 
 
 Departure from an inn. 
 
 Vision of S. Pedro Nolasco. 
 
 S. Peter appearing to S, Pedro Nolasco, 
 
 •3 1 History of Hercules, 
 
 Sta. Casilda, 
 
 Sleeping Jesus, 
 
 THE PROVINCIAL MUSEUM AT SEVILLE. 
 
 Catalogue of 1876. 
 
 Pictures last examined in 1876. 
 No. 
 
 Cano, Alonso .... 34 Souls in purgatory. 
 Herrera, P., el Viejo . . — Several works. 
 
 „ el Mozo . . — Several works. 
 Murillo 4:5 8, Joseph and the Child Jesus, 
 
SlUVILLE: THE MUSEUM. 
 
 363 
 
 No. 
 
 Murillo 52 Madonna " de la Servilleta." 
 
 „ 53 >S^. Felix and the Child Jesus, * 
 
 „ 55 A Concepcion. 
 
 „ ...... 59 Madonna and 8. Augustine. 
 
 „ 60 S. Anthony and the Child Jesus. 
 
 „ ...... 6S A Concepcion. — Colossal. 
 
 J, 83 SS. Leandro and Bonaventura, 
 
 84 >S'. Thomas of Villanueva giving alms. 
 
 J, 88 Christ on the cross and S. Francis. 
 
 „ 90 Madonna and S. Felix. 
 
 ., 92 iS^. Anthony of Padua with the Child. 
 
 „ 93-4 Concepcion. 
 
 „ 95 SS. Justa and Rufina. 
 
 „ 96 An Annunciation. 
 
 Pacheco, Francisco de . , 16 Legend of S. Pedro Nolasco,, 
 
 Koelas, Juan de las . . 89 Martyrdom of S. Andrew. 
 
 Vasquez, Alonso ... 26 Martyrdom of S. Serapio. 
 
 „ „ ... 27 >S^. Pedro N. redeeming the captives, 
 
 Zurbaran ..... 1 The apotheosis of S. TJiomas Aquinas, 
 
 „ 7, 8 Single saints. 
 
 4:6 S. Bruno conferring with the Pope, 
 
 67 >S^. Hugo and the Carthusians. 
 
 5, 74 Virgin and Carthusians, 
 
 * 
 
 V 
 
3G4 
 
 BORDEAUX AND LILLE. 
 
 THE PICTUEE GALLEKIES OF FEANCE. 
 
 THE MUSEUM AT BORDEAUX. 
 
 The only work of any importance is by 
 
 No. 
 
 Perugino — Altarpiece, 
 
 THE GALLERY OF PICTURES AT LILLE. 
 
 Catalogue of 1875. 
 
 ' Pictures last examined in 1877. 
 The museum contains several good copies of the old Italian masters, chiefly 
 
 No. 
 
 523 The symbolic fountain. 
 119 FemMe portrait. 
 137 Female head. — Not genuine. 
 143 Martyrs buried alive. — And others. 
 193 Christ on the cross, 
 
 195 Female portrait. 
 
 196 Portrait of Maria de* Medici, 
 233 Madonna " a Veglantine." 
 
 242 Young girls. 
 
 243 Old women. 
 
 244 A criminal garotted. 
 
 245 Marine-piece. 
 257 Portrait of Hille Bobbe. • 
 267, 8 Male and female portraits. 
 279 Dutch interior. 
 310 S. Gregory, 
 344 An interior. 
 
 436, 7 Male and female portraits, 
 
 460 Descent from the cross. 
 
 461 Death of the magdalen. 
 
 Raphael and Guide. 
 
 Bouts, D., or Stuerboudt . 
 Clouet, Fr., attrib. . 
 Costa, L., attrib. 
 
 Crayer, Gaspar de . . . 
 Dyck, Anton van 
 
 ?9 J? . . . 
 
 ?1 57 ?1 . . . 
 
 Ghirlandajo, D. . . . 
 Goya y Lucientes . ' . 
 
 J5 »9 ' . . . 
 
 9) . . . 
 
 Goyen, J. van . . . . 
 
 Hals, Frans 
 
 Heist, B. van der 
 
 Hooghe, Pieter de . . . 
 
 Lan franco 
 
 Meer, J. van der, of Delft . 
 Ravesteyn, J. van . 
 
 Rubens 
 
 j» • 
 
LYONS: THE MUSEUM. 
 
 365 
 
 No. 
 
 Kubens 462 S. Francis and the Virgin. — And others. 
 
 Siisterman, Lambert . . 649 Judith. 
 
 „ „ . . 650 Noli me tangere. 
 
 Tilborg, elder .... 538 Village fete. 
 
 Unknown 653 Child's portrait. — Suggesting the manner 
 
 of Coello. 
 
 Velde, W. van de . . . 550 A calm sea. 
 
 Veronese, Paul .... 98 Martyrdom of S. George. 
 
 „ „ . . . . 100, 1 Decorative paintirigs. 
 
 Victoors, J 558 Fowls and pigeons. 
 
 Vries, A. de 571 Portrait. 
 
 Vuez, A. de . . . . . 572-613 Numerous pictures and portraits. 
 
 A separate portion of the gallery is devoted to the celebrated collection of 
 drawings by old masters which was left to the town of Lille by J. B. Wicar, a 
 painter born at Lille in 1762. These works, nearly 1500 in number, are 
 admirably arranged and exhibited. Some of them are extremely interesting 
 as studies for well-known pictures. No less than 67 are attributed to Raphael, 
 and there are a few by Perugino, Fra Bartolorameo, Titian, Guido, Carlo 
 Dolci, and many others. Among them are nearly 200 by Michael Angelo, but 
 these are chiefly architectural designs. 
 
 THE MUSEUM AT LYONS. 
 
 No printed catalogue exists of this Museum. The following notes 
 
 were made in 1876. 
 
 No. 
 
 Brueghel, Jan (Velours) . 89, 90, 1, 2 The four elements. 
 
 Champaigne, Philippe de . 105 Finding the relics of S. Gervais. 
 
 Cuyp, Albert . . . . 212 Nature morte. 
 
 Huysum, Jan van . . . 150 Fruit, &c. 
 
 Perugino, Pietro . . . 155 SS. James and Gregory. 
 
 „ „ ... 156 Ascension, with the Virgin and apostles. — 
 
 The predella is at Rouen. 
 
 Rubens, P. P S2 S» Francis and saints protecting the world 
 
 from the vengeance of Christ, 
 
 „ 83 Adoration of the magi, 
 
 Snyders, F 85 Dead game, 
 
 Teniers, D., younger . . 117 Deliverance of S, Peter, 
 Terburg, G 115 The messenger, 
 
 Veronese, P 177 Adoration. — Others here are not genuine. 
 
 There are many admirable Dutch flower-paintings in this Museum, 
 exceeding in number and condition what are generally found in a , collection 
 of this size. 
 
366 
 
 MAB8EILLE8 AND MONTPELLIER. 
 
 THE GALLERY AT MARSEILLES. 
 
 The only work of any importance is by 
 
 No. 
 
 Perugino — Madonna and saints. 
 
 THE MUSEE FABRE AT MONTPELLIER. 
 Catalogue of 1866. 
 
 Pictures last examined in 1876. 
 No. 
 
 Chardin 79 Madame Geoffrin, 
 
 Dow, G 131 The mousetrap, 
 
 Dughet, G. (Poussin) . . 203, 4, and others. 
 
 Greuze 241 Girl at prayer. 
 
 „ 246 Head. — And other examples. 
 
 Hondecoeter, M. ... 273 Hen and cMchens. 
 
 Huysmans 275, 275a Landscapes. 
 
 Metsu, G 327 The writer. 
 
 „ 328 Fishwoman. 
 
 Mieris, F., elder . . . 334 Genre scene. 
 
 Poussin, Nicolas .... — Several. 
 
 Raphael, attrib 404 Portrait of Lorenzo de' Medici. 
 
 „ „ .... 405 Portrait of a young man. 
 
 Reynolds, Sir Joshua . . 416 Child Samuel at prayer, 
 
 Rosa, Salvator .... 436 Landscape. 
 
 Steen, Jan 456 Family group. 
 
 Teniers, D., younger . . 480 Group of smoJcers. 
 
 „ „ . . 481 Genre scene, 
 
 Terburg, G 482 Girl seated, pouring out wine, 
 
 Wouwerman, P 524, 7 Landscapes, 
 
 Wynants, Jan .... 531 Landscape, 
 
 THE MUSEE BERNARD is a valuable collection of Dutch and modern 
 pictures and numerous copies presented to the town of Montpellier in 1875, 
 and at present (October 1876) without a catalogue. 
 
 The following list contains the names of the principal masters represented 
 here : — 
 
 Berchem, Nicholas. 
 
 Brekelenkamp. 
 
 Brueghel, Jan (Velours). 
 
 Brouwer. 
 
 Chardin. 
 
 Dusart, C. 
 
 Goyen, Van. 
 
 Netscher. 
 
 Ruysdael, 
 
 Schalken. 
 
 Wouwerman. 
 
 Zorg. 
 
 Also a few French works by Descamps and Lancret. 
 
PARIS: THE LOUVRE, 
 
 3G7 
 
 THE GALLEEY OF THE LOUVRE AT PARIS. 
 Catalogue of 1878. 
 
 Pictures last examined in 1879. 
 
 First Part. — Italian and Spanish Schools, 
 
 Albani, Francesco . 
 
 5» 
 
 »5 
 
 »» 
 
 Albertinelli, Mariotto 
 Allori, Cristofano . 
 Alunno, Niccolo 
 Angelico, Fra . 
 Anselmi, Michael Angelo 
 Antonello da Messina 
 Barocci, F. . . . 
 
 Bartolommeo, Fra 
 
 »5 
 
 Bartoli, T. . . 
 Bassano, Jacopo 
 
 Bellini, Gentile . 
 
 91 
 
 „ Giovanni 
 Beltraffio . 
 Bonifazio . 
 
 Bordone, Paris . 
 Borgognone, Ambrogio 
 Botticelli, Sandro . 
 Bronzino, Angelo . 
 Cagnacci, Guido 
 Canale, A. (Canaletto) 
 Cantarini ... 
 Caracci, Annibale . 
 
 99 
 99 
 9* 
 »J 
 J» 
 
 No. 
 
 1 The Eternal. — Small. 
 
 2 The Annunciation, 
 
 11 The cupids disarmed, 
 
 12 Adonis J Venus, and cupids. — And others. 
 16 S. Jerome adoring the Madonna. 
 
 22 Isabella of Aragon before Charles VIIL 
 
 23 Six scenes from the life of Christ. 
 182 The crowning of the Virgin. 
 
 36 Madonna with saints. 
 
 37 Male portrait. 
 
 52 The Circumcision, 
 
 53 Madonna in glory with saints. 
 
 56 The Salutation. 
 
 57 The marriage of S. Catharine. 
 55 S. Peter. 
 
 298 The marriage at Cana. 
 300 The Entombment. 
 
 59 Portraits of himself and his hrotJier. 
 
 60 Reception of Venetian ambassador at Con- 
 
 stantinople. 
 
 61 Madonna with two saints. 
 72 Madonna with donators, 
 
 74 Holy family with magdalen and saints. 
 
 75 Madonna and saints, 
 82 Male portrait. 
 
 84 Presentation in the temple. 
 184 Madonna and S. John. 
 
 87 Male portrait. 
 108 John Baptist. 
 105 View of S. Salute. 
 110 Repose of the Holy family. 
 
 119 The Madonna of the " Cherry.** 
 
 120 Madonna, 
 
 121 The Madonna appearing to S. Lulce, 
 123 Dead Christ. 
 
 130 S. Sebastian. 
 
 132 Diana and Calisto, 
 
 134 The fishing. 
 
368 
 
 PARIS: THE LOUVBE, 
 
 Caracci, Annibale . 
 
 „ Lodovico 
 Caravaggio (Amerighi) 
 
 55 
 
 Carpaccio, Vittore . 
 Cimabue . . . . 
 Cima da Oonegliano 
 Correggio (Allegri) . 
 
 55 
 
 55 
 
 Costa, Lorenzo . 
 Credi, Lorenzo di 
 
 »5 
 
 55 
 
 Domenichino (Zampieri) . 
 
 55 
 55 
 55 
 55 
 
 55 
 55 
 J> 
 5? 
 
 55 5) 
 
 Dossi, Dosso 
 
 Ferrari, Gaudenzio . 
 Feti, Domenico .... 
 Florentine School, 15th 
 
 century 
 
 Francia, F. (Kaibolini) 
 
 5< 
 
 55 
 
 Gaddi, Agnolo .... 
 
 „ Taddeo .... 
 Garofalo (Tisio) .... 
 
 55 55 
 
 Gentile da Fabriano 
 
 5» 
 
 55 
 
 Ghirlandajo, Domenico 
 Giordano, Luca . 
 Giorgione (Barbarelli), 
 attrib 
 
 ( 
 
 55 5» 
 
 Giotto da Bondone . 
 Gozzoli, Benozzo 
 Guardi, Francesco . 
 
 »> 
 
 »» 
 
 55 
 
 Guercino (Barbieri) 
 
 No. 
 
 135 The hunting, — And others. 
 139 Madonna, 
 
 25 The fortune-teller, 
 
 26 A concert. 
 
 27 Portrait of the Grand Master of Malta. 
 113 S. Stephen preaching. — Injured. 
 
 153 Madonna with angels. 
 152 Madonna with saints. 
 
 19 Mystic marriage of S. Catharine. 
 
 20 Antiope asleep. 
 
 154 Court of Isabella d'Este, 
 
 156 Madonna with saints. 
 
 157 Noli me tangere. — Replica of No. 1150 in 
 
 the Uffizi. 
 
 469 Adam and Eve. 
 
 470 David playing the harp, 
 
 473 The ecstasy of S. Paul. 
 
 474 S. Cecilia. 
 
 477 The triumph of love, 
 
 478 Binaldo and Armida, — And others., 
 167 Holy family. — Small. 
 
 177 S. Paul in meditation. 
 180 Figure of Melancholy, 
 
 496 Madonna enthroned with saints. 
 
 306 A Nativity. — Small. 
 
 307 The Crucifixion. — Restored. 
 
 187 Annunciation. 
 
 1 88 Predella in three parts. 
 412, 13, 14 Small works. 
 415 Madonna. — And others. 
 
 170 Presentation in the temple. — Predella of 
 
 Adoration in the Brera Ko. 155. 
 
 171 Madonna. — Small. 
 
 202 The visit of Mary to Elizabeth, 
 
 191 Mars and Venus. — Small. 
 
 38 Holy family with saints and donator. — 
 
 By Pellegrini da San Daniele : C. and C. 
 
 39 Rustic concert. — Not genuine. > 
 
 192 S. Francis of Assist. 
 
 199 Triumph of S. Thomas Aquinas, 
 208 Doge going in state to the Salute. 
 
 211 Doge going in state to S. Zacharias, 
 
 212 Interior in Jhe Ducal Palace, — And 
 
 others. 
 
 40 Lot and his daughters. . 
 
PARIS: TEE LOUVRE, 
 
 369 
 
 Guercino (Barbieri) 
 
 5» 
 
 Italian Schools, 16th cen- 
 tury. 
 
 Lippi, Fra Filippo . 
 
 99 
 
 attrib 
 
 Lotto Lorenzo . 
 Luini, Bernardino 
 
 99 
 99 
 
 99 
 99 
 99 
 
 Mainardi, S. 
 Mantegna, Andrea 
 
 Maratta, Carlo . 
 Mola, Pietro Franc. 
 
 99 99 99 
 
 Montagna, B. 
 Moretto (Bonviciuo) 
 Palma Vecchio . 
 Palmezzano, Marco 
 Pan in i, Giovanni 
 
 >» 
 
 99 
 
 Perue:ino 
 
 »> 
 
 Pesellino 
 
 Piero di Cosimo 
 Pietro da Cortona 
 
 »» 
 
 Pinturicchio, B. 
 Piombo, S. del . 
 Pontormo (Carucci) 
 Procaccini, G. C. 
 
 No. 
 
 42 The resurrection of Lazarus. 
 
 46 Madonna and patron saint of Modena, 
 
 48 Circe, 
 
 49 His own portrait, 
 51 S. Cecilia. 
 
 523 Portrait of a young man. — This has been 
 
 assigned to Raphael, Bugiardini, Francia 
 
 and Francia Bigio. 
 221 Madonna with saints. — The predella is in 
 
 the Florentine Academy, No. 42. 
 220 A Nativity,— ^l&y be by the Peselli : C. 
 
 and C. 
 
 227 S. Jerome in the desert, 
 
 230 Holy family. 
 
 231 Madonna. 
 
 232 Salome with the head of the Baptist. 
 
 — Several good frescoes in a room adjoining 
 
 the Salon Carre'. 
 243 Holy family. 
 
 250 Christ between the two thieves, 
 
 251 The Madonna of " Victory'' 
 
 252 The Parnassus. 
 
 253 Expulsion of the Vices, 
 256 Female portrait. 
 
 268 The Baptist preaching. 
 
 269 Vision of S. Bruno. 
 
 270 Ecce Homo, 
 78, 9 Saints. 
 
 274 Adoration of the shepherds. 
 
 275 A dead Christ. 
 
 283 Interior of S. Peter s at Ronne, 
 
 284 Concert given at Rome, &c, 
 
 285 Piazza Navona at Rome. 
 426, 7 Madonna icith saints. 
 
 429 Combat between Love and Chastity. 
 287 Part of a predella. — The remainder is in 
 the Florentine Academy, No. 48. 
 
 289 Coronation of the Virgin. 
 64 Birth of the Virgin. 
 
 66 Holy family. 
 
 67 Madonna and S. Martin. 
 
 69 Dido and ^neas. — And others. 
 
 290 Madonna and saints. 
 229 Visitation of the Virgin. 
 1 3 Portrait of a man, 
 
 305 Madonna and saints, 
 
 2 B 
 
370 
 
 PARTS: THE LOUVBE. 
 
 Raffaellino del Garbo 
 Raphael Sanzio 
 
 >> 
 
 >1 
 
 ■J5 
 
 attrib. 
 
 Reiii, Guido 
 
 >» 5» 
 
 5> 
 
 Ricci, Sebastiano 
 
 Riccio, Felice 
 Romano, Giulio . 
 
 »» 
 
 Rosa, Salvator . 
 
 Rosselli, Cosirao 
 Saccbi, P. F. 
 Sarto, A. del (Vannucchi) 
 
 Sassoferrato • 
 
 Signorelli, Luca 
 
 Solario, Andrea 
 
 »» 
 
 Spada, Lionello 
 Spagna, Lo . 
 
 Tiarini, Alessandro 
 Tiepolo, G. B. . 
 Tintoretto (Robust i) 
 Titian (VecelUo) . 
 
 No. 
 
 189 Coronation of the Virgin. 
 
 362 Madonna, La belle Jardiniere.'* 
 
 363 Madonna in adoration. 
 
 364 Holy family. 
 
 368 S. Michael— Smalh 
 
 369 S. George.— ^moM. 
 
 370 S, Michael overcoming Satan. 
 
 371 Balthasar Castiglione. 
 
 373 Princess of Aragon. — Chiefly by Giulio 
 
 Romano. 
 
 374 Portrait group. 
 
 372 Portrait of a young man. — By Francia 
 
 Bigio : C. and C. 
 318 Ecce Homo. 
 319, 20 Magdalen. 
 321 S. Sebastian. 
 
 324 Combat of Hercules. 
 
 325 Nessus and Dejanira. 
 
 327 The rape of Helen. — And others. 
 
 331 Polyxenes before the tomb of Achilles. 
 
 332 The continence of Scipio. 
 334 Holy family. 
 
 291 The Nativity. 
 
 293 Triumph of Titus and of Vespasian. 
 
 344 A large battle-piece. 
 
 345 Landscape. 
 
 347 Madonna in glory. 
 
 354 The doctors of the church. — Dated 1516. 
 379 Charity. 
 
 380, 1 Holy families. 
 
 355 The Madonna. 
 
 356 Assumption of the Virgin. 
 
 389 Birth of the Virgin. — A predella. 
 
 390 Adoration of the magi. 
 
 391 Group of figures. 
 
 394 The Madonna " au Coussin vert.** 
 
 395 Portrait of Charles d'Amboise. 
 
 396 The Crucifixion. 
 
 397 Head of the Baptist— Deiied 1507. 
 400 Martyrdom of S. Christopher, 
 
 403 The birth of Christ, 
 
 404 Madonna. 
 
 410 The repentance of S. Joseph. 
 
 411 Last Supper. — Small. 
 337 His own portrait. 
 
 439 Madonna with §aints, , 
 
PARIS: THE LOUVRE. 
 
 371 
 
 Titian (Vecellio) 
 
 )» 
 
 99 
 99 
 it 
 JJ 
 •? 
 ?> 
 
 »» 
 
 »» 99 
 19 99 
 
 attrib 
 
 99 
 
 Tura, Cosimo 
 Uccello, P. , 
 
 99 
 
 Unknown 
 Vanni, Francesco 
 „ Turino . 
 Vasari, Giorgio . 
 Veronese (Caliari) 
 
 99 
 J? 
 5? 
 99 
 «» 
 99 
 99 
 
 99 
 99 
 
 99 
 99 
 99 
 99 
 
 99 
 
 Vinci, Leonardo da 
 
 99 
 99 
 99 
 99 
 
 99 
 >» 
 99 
 99 
 
 Volterra, Daniele da 
 
 No. 
 
 440 JSoly family au Lapin/^ — Painted 1530. 
 
 441 Madonna with saints. — Perhaps partly by 
 
 Cesare : C. and C. 
 443 Christ at Emmaus. 
 
 445 The crowning with thorns. 
 
 446 The Entombment. 
 
 449 Jupiter and Antiope, Venus del Pardo.*' 
 
 450 Francis I. 
 
 451 Allegorical portraits of Marquis del Vasto 
 
 and his mistress. 
 
 452 Portrait of Laura Dianti at her toilette. — 
 
 Painted 1523. 
 453, 4 Male portraits. 
 456 Portrait of the commander of Malta. 
 455 Portrait. — Fine example of G. A, Porde- 
 
 none : C. and C. 
 
 442 Holy family. — Not genuine. 
 419 A monk. 
 
 165 Portrait group. 
 
 166 Battle-piece. 
 523 Male portrait. 
 
 424 The martyrdom of 8. Irene. 
 426 Madonna and angels. 
 437 The angeVs salutation. 
 
 92 Esther before Ahasuerus. 
 
 93 Madonna with saints. 
 
 95 The marriage at Cana, 
 
 96 The feast in the house of Simon. 
 
 97 Christ bearing the cross. — Small. 
 99 The pilgrims of Emmxius. 
 
 100 Jupiter destroying Crime. 
 
 101 Female portrait. — And others. 
 
 458 The Baptist. 
 
 459 Madonna and S. Anne. — Unfinished. 
 
 460 The " Vierge aux Rochers.** 
 
 461 Female portrait, La belle FeronniereJ' 
 
 462 Portrait of Mona Lisa (La Joconde). 
 333 David and Goliath. 
 
 Spanish School, 
 
 Goya, Fr 534 Male portrait— VvlWexigih. 
 
 Herrera, F. el Viejo . . 536 S. Basil teaching. 
 Morales, Luis (El Divino) . 537 Christ bearing the cross. 
 Murillo, Esteban . . . 538, 9 Conceptions. 
 
 „ „ ... 540 Birth of the Virgin, . 
 
 2 B 2 
 
•372 
 
 PABIS: THE LOUVBE. 
 
 Murillo, Esteban 
 
 >» 
 
 Kibera, Jose 
 
 Velasquez, Diego 
 
 1* 
 
 Zurbaran, Francisco 
 
 »» 
 
 >9 
 
 No. 
 
 541 Madonna in glory. 
 
 542 Madonna. 
 
 543 ^oZi/ family. 
 
 546 Miracle of S. Diego. 
 
 547 T/ie beggar 'hoy. 
 
 548 Adoration of the shepherds. — Dated 1050. 
 
 549 Pieta. — Life-size. 
 
 550 S. Paul, the hermit. 
 
 551 Infanta Margarita Teresa. 
 
 552 Philip IV. of Spain. 
 
 553 Portrait.— Dated 1633. 
 
 554 Group of portraits. — Small. 
 
 555 Legend of S. Pedro Nolasco, 
 
 556 The funeral of a bishop. 
 
 557 S, Polonia, — Small. 
 
 Second Part. — German, Flemish, and Dutch Schools. 
 
 Backhuizen, Ludolf 
 
 Bega, Oornelis . 
 Beham, Hans Sebald 
 Berchem, Nicholas . 
 
 1* 
 
 Bol, Fcrd. 
 
 ft 
 
 »> 
 
 Both, Jan and Andries 
 Bril, Paul 
 Brouwer, Adrian 
 Brueghel, Jan (Velours) 
 
 yy 
 
 Ghampalgne, Philippe de 
 
 yy 
 yy 
 
 yy 
 yy 
 
 yy 
 »t 
 
 yy 
 yy 
 >♦ 
 
 yy yy 
 
 Cranach, Lucas, elder . 
 Grayer, G. de . . . 
 
 No. 
 
 5 The Dutch squadron, 
 7 Marine-piece. 
 
 13 Interior. 
 
 14 The history of David* 
 17 View near Nice. 
 
 18, 21, 5, 7 Landscapes with figures. 
 
 19 Coifjs and figures. — Small. 
 
 24 Cattle. 
 
 39 Philosopher. 
 
 41 Portrait of a mathematician. 
 
 42 Portrait. — And others. 
 43, 4 Landscapes. 
 
 67, 8 Landscapes. 
 47 Interior. 
 
 58 Paradise. 
 
 59 Mythological piece. 
 
 60 Battle of Arbellas. — And others. 
 76 Christ in the house of Simon. 
 
 79 Dead Christ. 
 83 Portraits of two nuns. 
 86 Portrait of Louis XIII. 
 87, 91, 3 Portraits. 
 
 88 Portrait (f Bobert Arnaud d'Andilly. 
 94 Portraits of Mansard and Perraidt. 
 99, 100 Portraits. 
 
 102 <S^. Augustine in ecstasy, 
 
 103 Equestrian portrait. 
 
PARIS: THE LOUVBE, 
 
 373 
 
 Cuyp, A. . . 
 
 Denner, Balthasar 
 Dow, G. . . 
 
 »» 
 
 Ducq, J. le 
 
 Diirer, Albrecht 
 Dyck, Anton van 
 
 » 
 »» 
 
 >1 
 
 'J 
 
 ?? 
 ?» 
 »» 
 
 J5 
 
 ?» 
 
 ?5 
 
 Elzheimer, Adam 
 Eyck, Jan van 
 Fliack, Govert 
 
 Fyt, Jan . 
 
 5» 
 
 Goyen, Jan van 
 Hals, Frans . 
 Heem, Jan David de 
 Heist, Bart, van der 
 
 1? 
 
 Heyden, Jan van der 
 
 No. 
 
 104 Cowes in a landscape. 
 105, 6 Starting for a ride, 
 
 107 Group of children, 
 
 108 Male portrait 
 117 Female portrait, 
 
 121 jT/ie vi8tY of the doctor, 
 
 123 Tlie village grocer, 
 
 124 The trumpeter. 
 
 125 The Dutch cooh, 
 
 126 A woman hanging up a cock. 
 
 127 The gold-weigher, 
 
 128 The dentist. 
 
 129 Reading the Bible, 
 
 130 oimi portrait, 
 
 134 Guard-room, 
 
 135 T^e brigands, 
 
 672 ilfan in a re(i cap. — Dated 1520. 
 
 136 Madonna. 
 
 137 Madonna and donators, 
 
 138 Deari C/iris^.— Small. 
 
 139 >S'. Sebastian. 
 
 141 Rinaldo and Armida. 
 
 142 Charles I. of England. 
 
 143 Children of Charles I. — Small. 
 
 144 Two portraits in one frame, 
 
 145 Isabella of Spain, 
 
 146 Equestrian portrait, 
 
 148, 9 Male and female portraits. 
 
 150 Richardot and his son, 
 
 151 Duke of Richmond, 
 
 152 His own portrait, 
 
 153, 4, 5 Male portraits. — And others. 
 159 The flight into Egypt, 
 162 Madonna and donator, 
 
 171 The angel and the shepherds, 
 
 172 Portrait of a little girl, 
 111 Game and fruit, 
 
 178 Dead game. 
 181-4 Views in Holland^ &c, 
 190 Portrait of Descartes, 
 192, 3 Fruits, 
 
 197 The Arquebusiers, — Study for No. 142 at 
 
 Amsterdam. 
 198, 9 Male and female portraits, 
 202 View in Amsterdam, 
 203, 4 Dutch towns. 
 
374 
 
 PARIS: TEE LOUVRE. 
 
 Hobbema, Meindert 
 Holbein, Hans, younger 
 
 »> 
 
 »1 
 »» 
 
 9> 
 
 Honthorst, G. 
 
 „ attrib. 
 
 Hoogho, Pieter de 
 Huysum, Jan van 
 Jardin, Karel du 
 
 Jordaens, Jacob 
 
 Kalf, Willem 
 Lingelbach, J. 
 
 Maas, Nicholas 
 Mabuse, Jan Gossaert 
 
 »» 
 
 >» 
 
 Matsys, Quintin 
 
 „ „ attrib. 
 Meer of Delft, Jan van der 
 Memling, Hans 
 
 Metsu, Gabriel 
 
 »» 
 »» 
 
 Meulen, Van der 
 
 »» 
 
 »> 
 
 No. 
 
 205 Landscape. 
 675 Landscape. 
 
 206 Nicholas Kratzer, 
 
 207 William Warham. 
 
 208 Erasmus. 
 
 210 >S^^V Thomas More. 
 
 211 o/ Cleves. 
 
 212 iS'ir Richard Southwell. — Keplica of No. 7G5 
 
 in the UflSzi. 
 
 213 Portrait of a man. 
 
 209 u4 Tieafi. 
 
 215 Pilate washing his hands. 
 
 219 Portrait. 
 
 223, 4 Dutch interiors. 
 
 238, 9 Flowers and fruit. — And others. 
 
 243 Italian charlatans. 
 
 245, 6 Ca<^Ze. 
 
 247 Landscape and animals ^ 
 
 249 T/ie /ord. 
 
 250 Portrait. — And others. 
 
 251 Christ driving out the money-changers. 
 
 254 Infancy of Jupiter. 
 
 255 Feast of kings. 
 
 256 The concert after the feast, 
 259 Interior. 
 
 270 Market at Rome, 
 
 271 Italian port. 
 
 273 Landscape and figures. 
 
 276 Soldiers gaming. 
 
 277 Portrait of Carondelet. 
 
 278 Madonna. 
 
 279 Banker and his wife. 
 
 280 Descent from the cross. 
 695 TFoman making lace. 
 
 288 /S'. Jo/iw Baptist. 
 
 289 Magdalen. 
 
 680 Madonna and donaiors. 
 
 292 T/ie market-place at Amsterdam. 
 
 293 officer receiving a lady. 
 
 294 TAe music lesson. 
 
 295 illaw a windmv. 
 
 296 Dutch woman. 
 
 297 ^ cooA:. 
 
 301 Triumphal entrance of Louis XIV, 
 304 Court of Louis XIV. 
 308 Passage of the Rhine. 
 
PARIS: THE LOUVRE. 
 
 Meulen, Van der 
 
 >» j» 
 Mieris, F. van, elder 
 
 j> » 
 
 „ Willem van . 
 
 »» 
 
 »> 
 
 Mignon, A. . . . 
 Moro, Antonio . . 
 Neefs, Pieter 
 Neer, Artus van der 
 
 Netscher, Gaspar 
 
 Os, Jan van . 
 Ostade, Adrian van 
 
 >» 
 It 
 
 V 
 
 »> 
 
 91 
 >» 
 
 >» 
 
 Isaac van 
 
 >» 
 
 Potter, Paul . 
 
 » 
 
 Pourbus, Pieter 
 
 „ Frans, younger 
 
 »> 
 
 5> 
 
 5» 
 
 Kembrandt van Kyn 
 
 » 
 » 
 
 » 11 
 
 Kottenhammer 
 Bubens, P. P. 
 
 19 
 19 
 11 
 9i 
 
 No. 
 
 314 View of Fontainehleau. 
 317, 18 Battle-pieces, 
 322 Portrait. 
 324 The tea. 
 
 326 T/ie soap-huhhles. 
 
 327 T/ie game-merchant, 
 
 328 The shop. 
 329, 34 Still-life. 
 
 342 Dwarf of Charles V. and dog. 
 347 Interior of a cathedral, 
 
 354 Dutch canal. 
 
 355 Moonlight. 
 
 358 T/ie singing lesson. 
 
 359 jT/ie lesson on the viol. 
 
 368 Flowers and fruit. 
 
 369 Group of the painter^s family. 
 
 370 T^e schoolmaster. 
 
 371 The fish market. 
 
 372 Interior of a cottage, 
 
 373 Man reading. 
 
 376 Arrival of travellers at an inn. 
 
 377 Wayside inn, 
 
 378, 9 Frozen canals in Holland. 
 
 399 Animals in landscape. 
 
 400 The field. 
 
 688 -4 gfrey /iorse, 
 
 689 Cattle under trees, 
 
 391 jT/ie Resurrection. 
 
 392 T/ie Xas^ /Sapper. 
 
 394, 5 Full-length portraits. — Small. 
 
 396 Portrait of Maria de' Medici. 
 
 397 Portrait. 
 
 404 T7ie awgfeZ Raphael leaving Tobias. 
 407 The pilgrims of Emmaus. — Small. 
 408, 9 Philosophers in meditation, — Small, 
 410 interior, 
 
 412, 13, 14, 15 Portraits of Remhraridt. 
 416, 17, 18 Male portraits. 
 419 Female portrait. 
 
 690 Study in a slaughter-house. 
 
 424 Death of Adonis. 
 
 425 The flight of Lot. 
 
 427 Adoration of the magi. 
 
 428 T/ie Madonna '* awx anges.^^ 
 
 429 Virgin in a garland of flowers. 
 432 Triumph of Religion, 
 
376 
 
 PAEIS: TEE LOUVRE, 
 
 Kubens, P. P. 
 
 5) 
 
 » 
 »> 
 J> 
 5> 
 
 Ruysdael, Jacob 
 
 9) 
 
 Ryckaert, D. 
 Schalken, G. 
 
 Slingeland, P. van 
 Snyders, F. . 
 
 Sprong, G. . 
 Steen, Jan . 
 Teniers, David, younger 
 
 ?> >9 
 ?? 
 
 5? 59 
 
 99 • 
 5» • 
 
 99 
 
 9J ?9 
 ?? 
 
 99 
 99 
 
 »9 ?? 
 
 99 • 
 
 
 
 
 
 Veen, Otho van . 
 
 • « * 
 
 Velde, Adrian van 
 
 de . 
 
 5» >» 
 
 
 „ Willem van 
 
 • • 
 
 de . 
 
 Venne, Adrian van de . 
 
 Verkolie, J. . . . 
 Vois, Ary de 
 Weenix, Jan . 
 Werff, A. van der . 
 Weyden, R. van der 
 
 No. 
 
 433 Tomyris with the head of Gyrus, 
 
 434-54 Large works relating to the history of 
 
 Maria de' Medici. 
 450 Elizabeth of France, 
 
 455 Francois de' Medici. 
 
 456 Jeanne d' Autriche. 
 
 460 Helena Fourment and two children. 
 
 461 Portrait of a lady, 
 
 462 Village fete, 
 465 Landscape. 
 
 470 The forest. 
 
 471 Sea-piece. 
 
 472 Landscape^ * The thicket.* 
 
 473 Landscape, ^'Ray of sunlight.* 
 693 A painter's studio. 
 
 478 Holy family, 
 480 Candlelight piece. 
 486 Dutch family. 
 
 488 Still-life.— Small. 
 
 489 Animals. 
 
 490 Animals entering the arh. 
 492 Boar-hunt. 
 
 498 Female portrait. 
 500 A Flemish feast. 
 
 512 The prodigal son. 
 
 513 The works of mercy. 
 
 514 The temptation of S. Anthony. 
 
 515 A village fair, 
 
 516 Outside an inn. — Large. 
 518 Interior of an inn. 
 
 520 The heron-hunt. — And others. 
 
 526 An officer presenting gold to a woman, 
 
 527 The music lesson. 
 
 528 The concert. 
 
 535 Group of himself and family. 
 
 536 The beach at Scheveningen, 
 
 539 Landscape and animals. 
 
 540 Figures and cows. 
 542 A marine-piece. 
 
 545 Feast in honour of the armistice declared 
 between the Dutch and Albert of Austria, 
 547 Dutch interior. 
 551 Full-length portrait, — Small. 
 554, 5 Dead game, 
 557-69 Various examples. 
 698 A Pieta with three figures. 
 
PARIS: THE LOUVRE. 
 
 377 
 
 Wouwerman, Philip 
 
 Wynants, Jan . 
 Zorg . 
 
 No. 
 
 565 The ' Bo&uf gras: 
 
 567 Hunting -yarty. 
 
 570 T/ie riding-school. — And others. 
 
 579 Forest scene. 
 
 580, 1 Landscapes. 
 
 421 Interior with still-life. 
 
 Blanchard, J. 
 
 9? 
 
 Boucher, Francois 
 
 5? 
 
 5> 
 
 ?5 
 
 BouUongne, Boii 
 Bourdon, Sebastien 
 
 Bourguignon, Jacqu 
 Brun, Charles Le 
 
 99 
 99 
 99 
 
 ?9 
 '» 
 99 
 99 
 99 
 99 
 >9 
 99 
 
 Casanova, Fran9ois 
 Chardin, J. B. 
 
 99 
 99 
 9) 
 99 
 
 Claude (Lorraine) 
 
 » 
 
 »9 
 99 
 99 
 99 
 99 
 
 Clouet, Fran9oi8 
 
 Third Part, — The French School. 
 No. 
 
 14, 15 Holy families. 
 
 16 Charity. 
 
 17 S. Paul. 
 
 23 Rinaldo and Armida. 
 
 24 Diana leaving the hath. 
 
 25 Venus applies to Vulcan for arms. 
 26, 7 Shepherdesses. 
 33 Hercules and the centaurs, 
 40 Descent from the cross, 
 42 jT/ie martyrdom of S. Peter, 
 
 47 i^ewe Descartes. 
 
 48 Portrait of the painter, 
 es . . 132 Cavalry combat. — And several others. 
 
 56 Infant Jesus asleep. 
 
 57 Holy family, the " Benedicife." 
 58-61 Series from the life of Christ, 
 62 Christ on the cross and angels. 
 
 64 The descent of the Holy Spirit. 
 
 65 The martyrdom of Stephen. 
 
 66 A repentant magdalen. 
 70-4 Scenes from the history of Alexander. 
 75 Meleager and Atalanta, 
 91, 2 Battle-pieces. 
 
 96 Kitchen utensils. 
 
 97 Fruits, animals, &c. 
 99 The blessing. 
 
 100 Dead rabbit and hunting-gear. 
 lOL 2 Kitchen utensils. — And others num- 
 
 bered and unnumbered. 
 219, 26 Sea-ports. 
 
 220 View of the Campo Vaccino, Rome. 
 
 221 Village fair. 
 
 223 The landing of Cleopatra at Tarsus. 
 
 224 David anointed king by Samuel. 
 
 225 Ulysses restoring Chryseis to her father. 
 231 The ford. 
 
 107 Portrait of Charles IX. of France, 
 
378 
 
 PABIS: THE LOUVRE. 
 
 5> 
 
 Clouet, Fraii9ois . 
 
 „ attrib 
 Jean . 
 „ F., School of 
 Cochereau 
 Cousin, Jean . 
 Coypel, Noel . 
 
 „ Antoine . 
 David, Jacques Louis 
 
 » 
 »» 
 
 9> 
 
 ?1 
 
 )> 
 >» 
 5? 
 
 5> 
 JJ 
 
 Desportes, Francois 
 
 JJ 
 
 >» 
 JJ 
 JJ 
 JJ 
 
 Dufresnoy, C. 
 
 JJ 
 
 Febvre, Claude le 
 Fouquet, Jean, attrib. 
 Fragonard 
 Freminet, Martin 
 French School, Early 
 Greuze, J. B. 
 
 JJ 
 j» 
 JJ 
 >? 
 
 JJ 
 
 Hyre, Laurent de La 
 
 JJ >» 
 
 Jouvenet, Jean 
 
 JJ JJ 
 
 JJ 'J 
 JJ JJ 
 
 JJ 
 
 JJ 
 
 Lancret, Nicolas 
 Largilliere, Nicolas 
 Loo, Carle van . 
 
 JJ 
 
 JJ 
 
 JJ 
 
 JJ 
 
 „ Jean Baptiste van 
 Mignard, Pierre 
 
 No. 
 
 108 The wife of Charles IX. of France. 
 115 f 16 Male portraits. 
 
 109 Portrait of Francis I. 
 — Several good examples. 
 
 127 Students painting from a model. 
 137 The Last Judgment. 
 
 142 Cain the murderer. 
 
 143 Athaliah turned out of the temple. 
 
 148 Leonidas at Thermopylse. 
 
 149 The Sabine women. 
 
 150 The oath of the Horatii. 
 
 151 Brutus with the bodies of his two sons. 
 
 159 Pitts VIL 
 
 160 Madame Recamier. 
 162 His own portrait. 
 
 164 Wolf-hunt. 
 
 165 Boar-hunt, 
 
 166 Stag-hunt. 
 
 180, 1 Game and dogs. — And others. 
 
 212 ;S'. Margaret. 
 
 213 The nymphs. 
 195 Two portraits. 
 652, 3 Portraits. 
 
 208 Classical design for tapestry. 
 211 Mneas abandons Dido. 
 650^ 1, 4 Portraits. 
 
 260 The village bride. 
 
 261 The paternal curse, 
 
 262 The punished son. 
 
 263 The broken pitcher. 
 
 264 His own portrait, 
 
 265 Portrait. 
 286 Madonna. 
 
 290 Pope Nicholas and the body of S. Francis. 
 
 297 The draught of fishes. 
 
 298 The raising of Lazarus, 
 
 301 The Descent from the cross, 
 
 302 The Ascension. 
 306 Portrait. 
 
 310-13 The four seasons. 
 
 320 Portrait of Charles Le Brun. 
 
 326 Marriage of Joseph and the Virgin. 
 
 329 Rest f rom hunting. 
 
 330 Marie Leczinsha, Queen of France, 
 
 324 Institution of the order of the Holy Ghost, 
 349 Madonna with the grapes. 
 
PABIS: TEE LOUVRE. 
 
 Mignard, Pierre 
 
 »> 
 
 9» 
 
 Moine, F. Le 
 Nain, Le 
 
 Oudry, J. B. 
 
 Parrocel, J. . 
 Patel, Pierre 
 Pater, J. B. . 
 Porte, Roland de lla 
 Poussin, Nicolas 
 
 5> 
 
 »» 
 »5 
 
 Rigaud, Hyacinthe 
 
 5> 
 5^ 
 
 Santerre, J. B. . 
 
 Subleyras, P. 
 
 )> • 
 
 Sueur^ Eustache Le 
 
 >» 
 >» 
 
 >» 
 
 »> 
 
 No. 
 
 358 Group of Louis the Dauphin and family, 
 
 360 Eis own portrait. 
 
 361 Eercules. 
 
 375 Blacksmith at his forge, 
 
 377 A village scene. 
 
 378 Procession of priests. 
 
 386 Pointer. 
 
 387 Wolf-hunt. 
 
 388 Dogf guarding game. 
 393, 4 Sketches of battles. 
 395, 6 Landscapes. 
 
 4:03 Fustic feast, 
 
 413 Still-life. 
 
 415 Eliezer and Rebecca. 
 
 416, 17 The finding of Moses. 
 
 421 Phdlistines stricken with the plague. 
 
 426 Sealing the blind. 
 
 433 The ecstasy of S. Paul. 
 
 434 Miracle of S. Frangois Xavier. 
 
 436 Roman subject. 
 
 437 Pyrrhus saved. 
 440 Bacchanalia. 
 
 443 Triumph of Flora, 
 
 445 TTie shepherds of Arcadia. 
 
 446 Triumph of Truth. 
 
 447 ffis OM/Ti portrait. 
 448-51 T/ie /owr seasons. 
 453 Diogenes. 
 
 475 Low^s ZIF. 
 
 476 Philip V. of Spain. 
 
 477 Bossuet. 
 
 479 Desjardins. 
 
 480 ^rww awe? Mignard. 
 
 496 Susannah at the bath. 
 
 497 Female portrait. 
 
 504 Christ in the house of Simon. 
 508 3fass o/ >S'. Basil. — And others. 
 
 517 Christ bearing the cross, 
 
 518 Descent from the cross: 
 
 519 Christ and the magdalen. 
 
 520 Saints refusing to sacrifice to Jupiter. 
 
 521 T/ie preaching of S. Paul. 
 
 525-47 T/ie history of S. Bruno. — Nos. 525 and 
 
 527 are the best. 
 551-6 The history of Love. 
 558-62 Representations of the nine Muses, 
 
380 
 
 PARIS: THE LOUVRE. 
 
 Tocque, Louis 
 Troy, J. F. de 
 Valentin, Moise 
 
 5> 
 
 5> 
 
 5» 
 
 Vernet, Joseph 
 
 Vien, Joseph Marie 
 
 5> 
 
 Vouet, Simon 
 
 9> 
 
 95 
 
 5J 
 
 5> 
 
 Watteau, Antoine 
 
 No. 
 
 577 Marie Leczinsha, Queen of France. 
 581 Henry IV, and courtiers, — And others. 
 
 583 Innocence of Susannah, 
 
 584 Judgment of Solomon, 
 
 586 A concert. 
 
 587 Group of musicians. 
 
 588 The fortune-teller. 
 
 592-632 Views of French marine ports and 
 marine pieces^ of which Nos. 596, 615, 17, 
 23 are the best. 
 
 634 SS. Germain and Vincent. 
 
 636 The sleeping hermit. 
 
 637 Cupids and flowers. 
 
 641 Presentation of Jesus in the temple. 
 
 642 Holy family. 
 645 Roman charity. 
 647 Allegory of riches. 
 
 649 Embarkation for the island of Cythera. 
 
 One of the lofty halls contains several decorative works, chiefly by Boucher, 
 Natoire, Verdier, and others. Above these hang four large works by C. Le 
 Brun. 
 
 The Collection of M. Louis La Gaze. 
 Italian School. 
 
 Guardi, Francesco • 
 Tintoretto (Robusti) 
 
 Ribera, Jose . 
 Velasquez, Diego 
 
 J5 
 
 attrib. 
 
 No. ' 
 
 11 Vieio of the Salute, Venice, 
 19 Portrait of a Venetian senator. 
 
 Spanish School. 
 No. 
 
 32 The beggar. 
 
 39 Portrait of a young woman, 
 37 The Infanta Maria Teresa, 
 
 Flemish, Dutch, and German Schools. 
 No. 
 
 Brekelenkamp .... 46 The doctor's visit. 
 Brouwer, Adrian ... 44 The operation. 
 Champaigne, Philippe de . 51 Jean Antoine de Mesme. 
 Denner, Balthasar ... 53 An old woman. 
 Fyt, J. ..... . 61 Bead game. 
 
 Hals, Frans 65 The gipsy. 
 
 „ „ 66 Portrait of a woman. 
 
 Kalf, Willem .... 76 Still-life, 
 
PARIS: THE LOUVRE. 
 
 881 
 
 Maas, Nicholas . 
 
 Mol, P. van .... 
 
 Ostade, Adrian van 
 
 „ Isaac van . 
 Pynackcr, A. . . . 
 Ravesteyn, Jan van 
 Rembrandt van Eyn 
 
 Rubens, P. P. 
 Snyders, Frans . 
 
 »t . . . 
 Steen, Jan . . . . 
 Teniers, David, youDger 
 
 >» >j 
 
 Terburg, G 
 
 Wouwerman, P. . 
 
 Boucher, Fran9ois 
 
 Bourdon, S. . 
 Chardin, J. B. . 
 
 • 
 
 • 
 
 » • 
 
 Fragonard 
 
 Greuze, J. B. 
 
 Lancret . 
 Largilliere 
 
 ?> 
 
 »» • • 
 
 Moine, F. Le 
 Nain, Le . 
 
 No. 
 
 78 The blessing, 
 
 80 Head of a young man. 
 
 82 The drinker. 
 
 87 The schoolroom. 
 
 91 Landscape in winter. 
 
 93 Landscape. 
 
 94 Female portrait. 
 
 96 ^ icoman at the hath. 
 
 98 Male portrait. 
 100 Portrait of Maria de* Medici. 
 116 A fish merchant. 
 120 Friii7s. 
 122 T/ie family meal. 
 124, 8 Village fairs. 
 133 T/ie collector of alms. 
 145 reading lesson. 
 152 The pilgrims. 
 
 French School. 
 
 161 Vulcan and Venus. 
 
 162 TTie i^retf Graces. 
 164 T/ie /or^e o/ FiiZcan. 
 
 166 interior. ' 
 
 170 T/ie blessing. 
 
 171 ^07/ i<?i7/i cards. — Life-size. 
 
 1 72 Monke y painting. 
 173, 4, 5, 7, 8 Still-life. 
 176 T/ie 6rass fountain. 
 
 179 Different utensils. 
 
 180 Fruit and glass. 
 
 181 The silver goblet. 
 
 183 T/ie basket of grapes. 
 
 184 Kitchen utensils. 
 194 Bathers. 
 
 196 Venus. 
 
 198, 9 Studies. 
 
 201 His own portrait. 
 
 206 Head o/ a young girl. — And others. 
 
 213 Dramatic scene. 
 
 216 Study for the * Conference * in the Her- 
 mitage. 
 221 Portrait, 
 
 224 Portrait group. 
 
 225 Hercules and Omphale. 
 227 Peasants' repast. 
 
382 
 
 PABIS: THE LOUVRE, 
 
 No. 
 
 Pater, J. B 234 'A reunion of comedians. . 
 
 „ 235 The toilette. 
 
 „ 236 Garden party, 
 
 Porte, Roland de la . , 238 Still-Jife. 
 
 Rigaud, H 241, 2 Portraits, 
 
 Watteau, Ant 260 Portrait of Gilles, 
 
 „ „ .... 261 L' Indifferent. 
 
 „ „ .... 263 An assembly in the parJc. 
 
 „ „ .... 264 The conjurer. 
 
DULWICE: THE GALLERY. 
 
 383 
 
 THE PICTUEE GALLEEIES OF ENGLAND. 
 
 THE DULWICH GALLERY AT DULWICH. 
 Catalogue op 1876. 
 
 Pictures last examined in 1877. 
 No. 
 
 Berchem, N 17 Landscape with figures, 
 
 „ 160 Wood scene. 
 
 „ 200 Landscape, — Called Le soir. 
 
 „ 209 Landscape. — Called Le midi. 
 
 Both, J. and A. ... 30, 199, 205 Landscapes with figures. 
 „ „ .... 36, 41 Landscapes with figures and cattle. 
 
 Brouwer, A 54 Interior of an alehouse. 
 
 Chardin, S 27 Girls at work. 
 
 „ 308 Woman with a hurdy-gurdy. 
 
 Claude Galea (Lorraine) . 24:4: Landscape — Jacob and Lahan, 
 
 „ „ „ . 270 Embarkation of S. Paula. 
 
 „ „ „ . 275 Sea-port. 
 
 Cuyp, A 9, 83, 163, 9 Landscapes with figures and 
 
 cattle. 
 
 141 Landscape with figures. 
 
 „ , 145 Winter scene. 
 
 „ 239 Landscape with cattle, 
 
 „ 241 View of Dort. 
 
 Dolci, Carlo 337 Mater dolorosa. 
 
 Domenichino .... 226 Venus gathering apples. 
 
 Dow, G 85 An old woman eating porridge. 
 
 „ 106 A lady playing on a spinet. 
 
 Dughet, Gaspar (Poussin) . 269 Destruction of Niobe and her children, 
 
 Dusart 104 An old building with figures. 
 
 Dyck, A. van . . . .135 Madonna. 
 
 „ „ .... 214 The Earl of Pembroke, 
 
 Gainsborough .... 1 Mrs. Sheridan and her sister, 
 
 „ .... 358 Thomas Linley, 
 
 .... 361 Samuel Linley, 
 
384 
 
 DULWICH: THE GALLERY. 
 
 No. 
 
 Gainsborough .... 362 Thomas Lt'nley. 
 
 „ .... 366 Mrs. Moodey and her children. 
 
 Guercino 324 JS. Cecilia. 
 
 Guido Reni 331 >S'. John in the wilderness. 
 
 „ „ 339 S. Sebastian, 
 
 Hobbema, M 131 Landscape with a water-mill. 
 
 Holbein, attrib. . . . 353 Portrait of an old man. — Ascribed to 
 
 Amberger by Mr. Wornum. 
 Huysum, J. van . . . 140 Flowers. 
 
 Jardin, Karel du ... 62 Landscape with cattle and figures. 
 „ „ ... 229 Smith shoeing an ox, 
 
 Le Brun, C 252 The massacre of the innocents. 
 
 „ 319 Horatius Codes defending the bridije. 
 
 Murillo 248 The Spanish flower-girl, 
 
 „ ...... 283, 6 Spanish boys. 
 
 „ 347 The Madonna " del Rosario.'' 
 
 Neefs, P., elder .... 79 Interior of a cathedral, 
 
 Neer, Artus van der . . 112 Moordight scene, 
 Opie, J. ..... . 3 His own portrait, 
 
 Ostade, A. van .... 107 An interior. 
 
 „ „ .... 152 man smoking, 
 
 „ „ . . . . 190 Boors making merry. 
 
 Poelenburg 14 Landscape with figures. 
 
 Poussin, Nicholas . . . 279 Landscape. 
 
 „ „ ... 291 The adoration of the magi. 
 
 „ „ ... 295 The inspiration of a poet. 
 
 „ „ ... 300 Education of Jupiter, 
 
 „ „ ... 305 Triumph of David. 
 
 „ „ ... 310 The flight into Egypt, 
 
 „ „ ... 315 Rinaldo and Armida. 
 
 „ ... 336 Assumption of the Virgin. 
 
 Pynacker 130, 50 Landscapes and figures. 
 
 Eaphael 306, 7 Portions of a predella, belonging to an 
 
 altar piece painted in 1504 for the convent 
 of S. Anthony at Perugia. 
 
 Rembrandt 179 Jacob's dream. 
 
 „ 189 Portrait— Small, 
 
 206 Portrait of his serving-maid. 
 
 J, 282 Portrait. — Said to be that of Wouwerman. 
 
 Reynolds, J 143 Mother and her sick child. 
 
 ,j 146 His own portrait. 
 
 ,j ..... 254 Sketch for the death of Cardinal Beaufort. 
 
 285 Samuel, 
 
 „ 340 Mrs. Siddons as the tragic Muse. 
 
 Rigaud, H 2 Louis XIV, 
 
 98 Boileau, 
 
EDINBURGH: TEE NATIONAL GALLERY. 
 
 385 
 
 Eigaud, H. . 
 Rosa, Salvator 
 >» 
 
 Rubens . 
 
 j> • 
 
 Ruysdael . 
 Sarto, A. del, attrib. 
 
 Slingeland . 
 Teniers, David, elder 
 D., younger 
 
 »» 
 »» 
 >» 
 
 Tiepolo . 
 
 >» ... 
 
 Velde, A. van de 
 „ W. van de 
 
 Velasquez, Diego, attrib 
 
 »> >> 
 
 Vernet, C. J. 
 Watteau, A. 
 Werflf, Van der . 
 Wilson, R. . 
 Wouwerman, P. 
 
 Wynants, Jan 
 
 )» »» • 
 
 Zuccarelli 
 
 No. 
 
 118 Male portrait 
 
 159 Landscape. 
 
 271 Soldiers gaming, 
 
 351 Venus f Mars, and Cupid, 
 
 355 Portrait of his mother. 
 
 154 J. waterfall. 
 
 327 Holy family. — Supposed to be a fine copy 
 
 of No. 81 in the Pitti, Florence. 
 151 Boy with bird's nest. 
 
 18 Winter. 
 
 60 Soiv and pigs. 
 116 A winter scene. 
 119, 39 Landscapes with figures. 
 185 The chaff-cutter. — And others. 
 
 99 Joseph and Pharaoh. 
 233, 6 Sketches for a ceiling. 
 
 72 Landscape with cattle. 
 113, 86 A calm. 
 166-4 brisk gale. 
 194 Prince Baltasar Carlos. 
 309 Philip IV. of Spain. 
 202 View near Rome. 
 197, 210 Fetes champetres. 
 191 Judgment of Paris. 
 215 View of Tivoli. 
 137 The farrier and the convent. 
 173, 228 Landscapes with figures. 
 
 11, 12 Landscapes. 
 278 Landscape. — Figures by A. van de Velde. 
 231 Landscape and figures. 
 
 THE NATIONAL GALLERY AT EDINBURGH. 
 Catalogue of 1878. 
 Pictures last examined in 1878. 
 
 Allan, David 
 
 British School to the end of the ISth century. 
 Ko. 
 
 3 His own portrait. 
 
 4 Portrait of James Tassie. 
 . . . 5 Portrait of Mrs. Tassie. 
 
 83 Origin of painting. — Small oval. 
 269 The Honourable Mrs. Graham. 
 Hogarth , . . . . . 267, 70 Mr. and Mrs. Dawson of Durham. 
 
 2 C 
 
 9» 
 
 1> 
 
 Gainsborough 
 
386 BDINBTJBGE: THE NATIONAL GALLERY. 
 
 Kaebum, Sir H. 
 
 9t . • 
 
 »J • 
 
 »5 . . . 
 
 »» • . . 
 
 V . . . 
 
 J» . . . 
 
 9» . . , 
 
 Kamsay, Allan . 
 
 »» >» • • 
 
 Keynolds, Sir J. 
 
 . . < 
 
 Runciman, J. 
 Wilson, Eichard 
 
 »i i» • • " 
 
 99 »» • • ' 
 
 Backhuizen, L. . . , 
 Bassano, J. . . . , 
 Bonifazio, attrib. 
 Bordone, Paris . 
 Both, J. and A. . 
 Boucher, Fr. 
 Bourguignon, J. 
 Canaletto . . . . 
 Caracci, L. . . . 
 
 Castagno, A. del, attrib, 
 
 Deelen, Van . . . , 
 Ducq, J. le . 
 Dughet, Gaspar 
 Dyck, A. van 
 
 >» )> • • ' 
 
 Furini, F 
 
 Fyt, J 
 
 Garofalo , . . . , 
 Giogione, attrib. 
 
 if » • • 
 
 No. 
 
 2 Professor Wilson at the age of 20. 
 
 19 Lady Miller. 
 
 20 Francis Horner, 
 23 Neil Gow. 
 
 36 Mrs. Scott Moncrieff. 
 
 38 Mrs. Hamilton. 
 
 39 Alexander Adam. 
 45 Mrs. Kennedy. 
 47 Lord Newton. 
 
 43 David Hume. 
 266 The artisVs wife. 
 
 12 Sir David Lindsay. 
 
 29, 30 Sir Th. and Mrs. Miller. 
 
 49 Edmund Burke. — Unfinished. 
 
 25 His own portrait. 
 
 97 Landscape. 
 250 J2^^;er scene. 
 369 Italian landscape. 
 
 Foreign Schools. 
 
 361 Sea-piece and boats. 
 
 90 Male portrait. 
 
 68 I>asf Supper. 
 106 iad?/ Tier toilette. 
 110, 351, 92 Landscapes. 
 
 70 Madame de Pompadour. 
 
 80 Small battle-piece. 
 
 88 Fiei» Fen^ce. 
 121 Deai/i o/^&eZ. 
 330 i^cce Homo. — After Correggio. 
 397 Saints. — Schools of Domenico di Bartolo 
 and Vecchietta : C. and C. 
 
 62 Architectural subject. 
 404 Party at cards. 
 359 Land storm. 
 315 Martyrdom of S. Sebastian. 
 
 318 Male portrait. 
 
 319 The Lomellini family. 
 73 A poetess. 
 
 85 S. Sebastian. 
 
 95 Dead wolf. 
 
 96 Christ purging the temple. 
 
 113 Portrait. — A fine Delia Vecchia ; C. 
 and C. 
 
 373 Young noble and lady. — A doubtful Delia 
 Vecchia : C. and C. 
 
EDINBURGH: TEE NATIONAL GAJLLEBY. 387 
 
 No. 
 
 Greuze, J, B 63 Boy with lesson hooh. 
 
 „ .... 82 Girl and pitcher, — Study for No. 263 in the 
 
 Louvre. 
 
 „ .... 112 Young girl. 
 
 „ .... 118 Girl with dead canary. 
 
 „ .... 370 Cottage interior with figures. 
 
 Guido Keni 87 Venus and Graces. 
 
 „ „ 384 Ecce Homo. 
 
 Heist, B. van der . . . 395 Male portrait. 
 
 Hobbema, M 360 Wooded landscape. 
 
 „ attrib. • . 357 Landscape. 
 
 Jardin, K. du .... Halt of horsemen. 
 
 Liesborn, Meister von . . 350 Fragment of the Liesborn altarpiece. 
 
 Lippi, Filippo .... 396 Saints. 
 
 Lyversberg, Master of . . 352 Conversion of S. Hubert. 
 
 Meulen, van der . . . 323 Progress of Louis XIV. 
 Michael Angelo .... 23, 4, 5 Wax models for figures in the Medici 
 
 Chapel of S. Lorenzo^ Florence. 
 
 Murillo, attrib 119 Boy drinking. 
 
 Neefs, Pieter .... 402 Cathedral interior. 
 
 Pannini, G. P 67 Interior of hasilica of S. Paolo. 
 
 „ .... 115 Interior of S. Feter^s. 
 
 Pater, J. B 79 Ladies bathing. 
 
 Poussin, N 354 Copy of Bellini's * Gods upon earth.^ 
 
 Pynacker, A 391 Forest scene. 
 
 Kembrandt, attrib. . . . 349, 67 Landscapes. 
 
 Romano, G., attrib. . . 372 Study for part of the battle of Constantine 
 
 in the Vatican. 
 Rosa, Salvator .... 74, 86 Soldiers in armour. 
 
 „ „ .... 410, 11 Landscapes. 
 
 Ruysdael, J 353, 405 Landscapes. 
 
 Sirani, Elisabetta . , . 313 Infant S. John. 
 
 Snyders, F 126, 8, 390 Bear-., wolf-, and boar-hunts. 
 
 „ 324 Mischievous monkeys, 
 
 Steen, Jan 362 Doctor's visit. 
 
 Sustermans, J 102 Male portrait. 
 
 Teniers, D., younger . . 364 Peasants at skittles. 
 
 Tiepolo, G. B 78 Finding of Moses. 
 
 „ .... 383 Small sketch. 
 
 Tintoretto, atti ib. . . . 91, 214, 310 Winter, Summer, and Autumn. 
 
 „ „ ... 114 Jesus and the mother of Zebedee^s children. 
 
 Titian 378 Ariadne in Naxos. — Replica of No. 450 at 
 
 Madrid. 
 
 „ attrib. ... 71 Holy family. 
 
 „ „ ... 145 Adoration of the magi. — By Jacopo 
 
 Bassano. 
 
 2 c 2 
 
388 GLASGOW: THE GALLERY. 
 
 No. 
 
 Titian, attrib 116 Landscape, — Flemish : C. and C. 
 
 „ „ .... 374 Madonna and S. Catharine, 
 
 Unknown 109 Male portrait. 
 
 Velasquez, attrib. ... 69 Small study. 
 
 Velde, W. van de . . . 94 Naval engagement. 
 
 „ „ . . . 365 Fishing boats in a calm. 
 
 Veronese, P 309 Mars and Venus. 
 
 „ .... 377 Venus and Adonis. 
 
 Watteau, Antoine ... 64 Pastoral. 
 
 „ „ ... 81 Fete champetre. 
 
 „ „ attrib. . 72 Boy and girl at play. 
 
 Werflf, A. van der . . .355 Burgomaster and his wife. 
 
 Zurbaran, F 98 Virgin in glory. 
 
 THE GALLEKY OF PIOTUKES AT GLASGOW. 
 
 No catalogues. Unfortunately some of the paintings are for the present 
 (1878) not visible. 
 
 No. 
 
 Amiconi 2, 4 Cupids. 
 
 Baroccio, F 396 Madonna in glory. 
 
 Bordone, P., attrib. . . — Madonna^ saints^ and Lamb. 
 
 Canaletto 394 Piazzetta of S. Marco. Venice. 
 
 Oignani, 0 208 Death of Cleopatra. 
 
 Gorreggio, copy of . . . 424 Altarpiece of S. Girolamo, * II Giorno.^ 
 
 Giordano, L — Triumph of Amphitrite, 
 
 Giorgione, attrib. . . . 401 Madonna enthroned^ saints, and angels. — 
 
 By a painter of the 16th century : 0. 
 
 and C. 
 
 Guardi, F 387 Island of S. Giorgio. 
 
 Guercino, attrib. . . . 397 Salvator Mundi. 
 
 Guido, after — Mater dolorosa. 
 
 Lucatelli 252 Small landscape. 
 
 Mola — Landscape and figures. 
 
 Murillo — Repose in Egypt. 
 
 Procaccini, G. C. . . . 393 S. Michael and fallen angels. 
 Kaphael, after .... — Holy family del Lagarto.^' 
 
 Ricci, S 169 Elijah and the widow of Sarepta. 
 
 Solimene 425 Justice and Peace. 
 
 Spada, L — A muse. — Small circular. 
 
 Titian, attrib. . . . . — Holy family. 
 
GBEENWIGH AND HAMPTON. 
 
 389 
 
 THE GREAT HALL AT GREENWICH HOSPITAL. 
 
 This large hall is finely decorated on the walls and ceiling by Sir James 
 Thornhill. It contains also several paintings of naval engagements, among 
 which should be noted two by P. J. de Loutherbourg and one by Turner, 
 besides numerous portraits, painted by Sir P. Lely, Sir Godfrey Kneller, Sir 
 J. Reynolds, Gainsborough, Opie, Romney, Nathaniel Dance, Knapton, and 
 Stone. 
 
 Aelst, W. van 
 Bassano, Jacopo 
 
 »> 
 
 »> 
 
 >5 
 
 THE COLLECTION IN HAMPTON COURT PALACE. 
 
 Catalogue of 1876. 
 Pictures last examined in 1878. 
 
 A few pictures are referred to here as interesting on account of their 
 relation to English history rather than as specimens of art work. In this 
 gallery the names of the great masters are attached without warrant to 
 numerous pictures. 
 
 No. 
 
 468 Still-life. 
 72 A sculptor. 
 78 Portrait of a gentleman. 
 160 The deluge. 
 
 354 George III. reviewing cavalry, 
 
 117 His own portrait. — Injured. 
 5 Lord Anson, — And others. 
 
 137 Woman of Samaria. 
 146 The shepherd's offering, 
 
 118 Madonna and donors. — By a follower: 
 C. and C. 
 
 182 Portrait. 
 
 235 Lucretia. — Old copy of a Lucre tia by 
 Palma Vecchio at Vienna : C. and C. 
 66 Portrait of himself and family. 
 748 The massacre of tJie innocents. 
 539,44 Fruit. 
 9 The Colosseum at Rome. 
 
 Beechey, Sir William 
 Bellini, Giovanni . 
 Bookman 
 Bonifazio, attrib. 
 
 j> • • 
 
 Bordone, P., attrib. . 
 
 Bray, De 
 
 Brueghel, Pieter, elder 
 Campidoglio 
 Canaletto 
 Clouet, Francois (cata 
 logued as Janet) . 
 
 Clouet, School of 
 Cornells . 
 Dance, Wm. . 
 Denner . 
 Dobson, Wm. 
 
 561 The Queen of Francis I. 
 
 631 Mary Queen of Scots. 
 
 632 Francis II. of France. 
 566 Francis I. and lady. 
 564, 5, 7 Portraits. 
 
 374 Bishop of Winchester. 
 35, 6 Ttvo heads. 
 376 Portrait of himself 
 others. 
 
 and wife, — ^Aad 
 
390 
 
 HAMPTON COURT: THE GALLERY, 
 
 Dossi, Dosso, attrib. 
 Dyck, Anton van 
 
 5J ?> . . . 
 
 >» 1) . . . 
 
 Eyck, Jan van, School of . 
 Francia, Francesco . 
 
 Gainsborough . . . . 
 
 »» . . . . 
 
 Gerhard, Marc . . . . 
 Giorgione, attrib. 
 
 >> »» . . . 
 
 » j> . , . 
 
 >» »> . . . 
 
 Greuze 
 
 j» 
 
 Guido, attrib 
 
 Hals, Frans 
 
 >» »> 
 
 Heem, Jan David de 
 
 Heemskerck, M. . . . 
 
 Heere, L. da 
 
 Heist, Van der . . 
 
 Holbein, Hans . . . . 
 
 9> ?> . . . . 
 
 5> » . . . . 
 >> 
 
 J> >» . . . . 
 
 „ „ attrib. 
 
 jf ?» » • • 
 
 »9 *♦ J5 • • 
 
 >? ?» • • 
 
 >» ?> »J • • 
 
 »> J5 )» • • 
 
 Hondecoeter 
 
 No. 
 
 80 Male portrait, 
 47 Mrs, Lemon. 
 
 85 Equestrian portrait of Charles I. 
 387 Samson and Delilah. 
 590 Head of a young man. 
 307 The Baptism in Jordan. — Keplica of No. 
 437 at Dresden. 
 
 352 Fischer the musician, 
 
 353 Colonel St. Leger, 
 619 Queen Elizabeth, 
 
 60 Male head. 
 
 79 Holy family. — An inferior copy. 
 124 Mars, Venus, and Cupid. — By a follower of 
 
 Bordone : 0. and C. 
 158 Portrait. — And others not genuine, such as 
 
 Nos. 73, 183. 
 413 Louis XVI. of France, 
 429 Madame de Pompadour. 
 301 Judith and Holofernes. 
 676 Sketch of a man, 
 682 Laughing hoy. 
 467, 9 Still-life, 
 587 Death and Last Judgment. 
 635 Queen Elizabeth in a fancy dress, 
 770 A Dutch gentleman, 
 594 Erasmus writing, 
 
 597 Erasmus, 
 
 603 Frobenius the printer. 
 
 608 Portraits of his father and mother, 
 
 6 1 0 Reskemeer or Reskimer, 
 
 559 Countess of Lennox. 
 
 563 Henry VIII. when young. 
 
 592 A French nobleman. 
 
 593 His own portrait. 
 
 598 Francis I. of France. 
 
 606 Henry VIII. — Numerous others are 
 ascribed to Holbein here which have 
 no claim whatever to be regarded as 
 his work. Some large compositions 
 also in the Queen^s audience-chamber 
 bearing his name are interesting con- 
 temporary productions, as containing 
 costumes and illustrating events of 
 the time: vide Nos. 331, 7, 9, 40, 
 2, 5. 
 
 463 Poultry, 
 
HAMPTON COVET: THE GALLEBY, 
 
 391 
 
 Honthorst 
 Hoppner . 
 
 James 
 
 Kaufmann, Angelica 
 Knapton .... 
 Kneller, Sir Godfrey 
 
 >» 
 
 Leiden, Lucas van, attrib. 
 Lely, Sir Peter . . . 
 
 attrib. . 
 
 Longhi, Pietro . 
 
 »» 
 
 Lotto, Lorenzo . 
 
 „ attrib. . 
 
 Mabuse, J., attrib. . 
 
 Mantegna 
 
 Millans .... 
 Monnoyer (Baptiste) 
 Moro, A., attrib. 
 Mytens .... 
 
 Palamedes . 
 Palma Vecehio . 
 
 5J 
 
 attrib. 
 
 No. 
 
 58 DuJce of BucMngham and family. 
 330 Christian, Duhe of Brunswick. 
 355 Francis, Duke of Bedford, 
 
 358 The Earl of Moira. 
 
 359 The comic Muse. 
 
 883, 4, 5, 914, 19, 21, 3, 5 Views in and about 
 
 Old London. 
 502 The Duchess of Brunswick. 
 361 Family of Frederick, Prince of Wales. 
 29 King William landing at Torbay. 
 40 Miss Pitt. 
 46 Duchess of Grafton, 
 50 Countess of Dorset. 
 57 Peter the Great, when young. 
 — Several 'portraits of court beauties, 
 106 The Crucifixion. — A triptych. 
 190-207 Several portraits of the beauties of 
 King Charles IV s court; the Countess 
 of Grammontf No. 207, is a good 
 example. 
 
 185 Portrait of Lady Byron or of Lady 
 Bellasys. — This fine portrait is more pro- 
 bably by Jacob Huysman of Antwerp. 
 
 549 Blind mans buff. 
 
 551 Attending the sick. 
 
 148 Portrait of a sculptor, — Dated 1527. 
 
 144 A concert. 
 
 385 Adam and Eve. — Suggestive rather of the 
 
 work of the Cranachs. 
 797 Nine cartoons, the Triumph of Julius 
 
 Cxsar. 
 818 Child's portrait. 
 457, 9, 530, 4, 47 Flower-pieces. 
 633, 40, 2, 4 Portraits.— And others. 
 44 Portrait of the first Marquis of Hamilton. 
 
 — And others. 
 334 Coast at Scheveningen, 
 115 Holy family. — Perhaps by the master. 
 
 No other work assigned to him in the 
 
 gallery can possibly be considered as 
 
 genuine. 
 
 79 Not by Palma ; but a second-rate copy 
 of the Holy family of Titian, No. 236 at 
 Madrid. 
 
 163 The shepherd* 8 offering. — A fine Bassano : 
 C. and 0. 
 
392 
 
 HAMPTON COURT: THE GALLEBY. 
 
 No. 
 
 Piombo, S. del, attrib. . . 70 An Italian lady. — Spurious: C. and 0. 
 Pordenone, attrib. ... 71 Lady and spinet. — By B. Licinio : C. and C. 
 „ „ . . . 92, 102 Male portraits. 
 
 „ „ . . . 104 Portraits of himself and family. — A 
 
 replica by Bernardino Licinio of the 
 original in the Borghese Gallery at 
 Kome. 
 
 Poussin, Nicolas « . « 380 Mythological painting. 
 
 Kaphael, attrib 710 A head. — Very finely painted, but is by 
 
 no means necessarily by an Italian 
 
 master. 
 
 Kead 769 James 1. — Miniature. 
 
 Kembrandt, attrib. . . . 381, 2 Male and female portraits. 
 
 Ricci, S. . . . . . . 121 Healing the sick. 
 
 „ ...... 131 Woman taken in adultery, 
 
 Riley, John 372 Mrs. Elliott. 
 
 Roestraten ..... 744 Still-life, 
 
 Savoldo, G. . . . . . 139 Madonna and saints in adoration. 
 
 Snayers, P 329 Battle of the Forty. 
 
 Somer, Paul van ... 98 Christian, King of Denmarki 
 Stone, Henry, called " Old 
 
 Stone 444 A copy of the Cornaro family of Titian. 
 
 Thornhill, Sir James . . — The ceiling of the Queen's bedroom. 
 
 Tintoretto 69 Esther and Ahasuerus. 
 
 „ 77 The Mmes. 
 
 „ attrib. . . . 91 Knight of Malta. 
 
 Titian 116 Titian* s uncle. 
 
 122 Marquis del Vasto and page. 
 
 149 Portrait of Allessandro de^ Medici. — 
 Many others are attributed to Titian, 
 but none of them, such as Nos. 109, 
 12, 33, can be admitted as genuine, 
 and the foregoing are greatly injured by 
 retouching. 
 
 „ attrib 113 Ignatius Loyola. — By a follower of Bor- 
 
 done : C. and 0. 
 
 „ „ 164 Venus. — Copy by Padovanino of the original 
 
 at Darmstadt. 
 
 Velasquez 82 Philip IV. 
 
 „ attrib. ... 90 Queen of Philip IV. 
 Velde, W. van de, attrib. . — Numerous large naval battle-pieces in the 
 
 Queen's presence-chamber. 
 
 Verdussen 657 View of Windsor Castle. 
 
 Vinci, L. da, attrib. . . 61 Flora. — A copy. 
 
 „ „ „ . . . 64 Infant Christ and S. John. — A replica. 
 
 Walker, Robert .... 365 His own portrait. 
 
LIVERPOOL: THE INSTITUTION. 
 
 393 
 
 No. 
 
 West 320 Death of General Wolfe. 
 
 „ 318, 21 Full-leDgth portraits. — And others. 
 
 Wright 369 John Lacy^ comedian. 
 
 Zucehero, F 20 Queen Elizabeth's porter. 
 
 ,f 349 Queen Elizabeth in fancy dress. 
 
 THE ROYAL INSTITUTION AT LIVERPOOL. 
 
 Pictures last examined in 1878. 
 
 Assereto, G. . . . 
 Bellini, Gentile, attrib. 
 
 Giovanni, attrib. . 
 
 Jacopo, attrib. 
 
 Bol, F 
 
 Botticelli, S., attrib. 
 
 Bourdon, S 
 
 Canale, A., copy of . 
 Caracci, Ludovico, attrib. 
 Carpaccio, V., attrib. . 
 Catena, V. . . . ^ 
 Cranach, Lucas . 
 Credi, L. di, attrib. . 
 Diirer, A., copy of . 
 Eyck, J. van. School of 
 Fuseli, Henry . 
 Gentile da Fabriano, attrib 
 German School . 
 Giorgione, attrib. 
 Giotto and followers 
 
 Girolamo dai Libri, attrib 
 Holbein, H.» attrib. 
 
 Hondecoeter, M. 
 
 Huysman 
 
 Leiden, Lucas van . 
 Lippi, Filippino 
 
 attrib. 
 
 No. 
 
 123 Christ and the doctors. 
 
 31 Madonna. — In the style of Pasqualino : C. 
 
 and C. 
 
 32 Madonna and saints. — Reminiscent of 
 
 Santa Croce : C. and 0. 
 
 33 His own portrait. 
 
 30 Virgin and saints. — In the hard style of the 
 Palmezzano School : C. and C. 
 130 Angel appearing to Hagar. 
 
 — Adventures of Ulysses. — Injured. 
 127 Bacchanalian scene, 
 120 The arsenal J Venice, 
 103 Magdalen. 
 
 34 Small panel. — Probably by Santa Croce. 
 
 87 Madonna and donator. — Early : C. and C. 
 50 A Venus or Diana. — Dated 1534. 
 
 25 Madonna. — A school-piece : C. and C. 
 47 Birth of the Virgin. 
 38 Entombment. 
 148 The nursery of ShaJcespeare. 
 13 Saints, an altarpiece. 
 40b Virgin and Ecce Homo. 
 
 88 Male portrait. — Tuscan School. 
 
 5, 6 Fragments of fresco from the Carmine^ 
 
 Florence, 
 37 Madonna and 8, John, 
 
 55 Prodigal son. 
 
 56 Female portrait, 
 134b Poultry. 
 
 139 Landscape, 
 
 53 Portrait of a young nobleman, 
 
 22 Birth of S. John. 
 
 23 Madonna and angels. 
 
394 
 
 LIVERPOOL: THE INSTITUTION. 
 
 Lippi, Filippino, attrib. 
 
 9> 
 
 Mans, F. H. . . . 
 Mantegna, A., attrib. 
 
 Margaritone, attrib. 
 Martini, Simone 
 
 Masaccio, attrib. 
 Masolino, attrib. 
 Matteo da Siena, attrib 
 Michael Angelo, attrib. 
 Northcote, James . 
 Orley, B. van, attrib. 
 Pesellino .... 
 Poussin, Nicolas 
 
 „ „ attrib 
 Eaphael, attrib. 
 Komano, G. . 
 
 Komney, G. 
 
 Kosa di Tivoli 
 „ Salvator 
 Kubens, copy of 
 Santa Croce . 
 Sassoferrato . 
 Signorelli, Luca 
 Silvestro, Don 
 Solimene, C. F. 
 Tintoretto, attrib 
 
 Titian, attrib. 
 
 Vasari, G. . . . 
 Velasquez, attrib. . 
 Weyden, K. van der, attrib 
 Wohlgemuth 
 
 Wright of Derby, attrib. 
 
 No. 
 
 17, 18 Two predella panels. — By Fr. di 
 Giorgio : C. and C. 
 
 19 Female portrait 
 133 Winter scene. 
 
 29 Pieta. — May be by Ercole Grandi : C. 
 and C. 
 
 4 Coronation of the Virgin. 
 7 Return of Jesus from the temple. — Dated 
 1342. 
 
 15, 16 Two worhs. — Not genuine. 
 14 Madonna. 
 24 Madonna and angels. 
 69 Christ at the well. — In monochrome. 
 147 His own portrait. 
 59, 60 Female saints. 
 
 20 ;S^. Bernardino preaching. 
 126 Arcadian shepherds. 
 126b Landscape and figures. 
 
 79 Holy family.— Trobohlj by I. da Imola. 
 
 80 Procession of figures and animals. — Mono- 
 
 chrome. 
 149 Child's head. —Sketch. 
 150-2 Orpheus and Eury dice.— Csirtoons. 
 153-9 Cupid and Psyche. — Cartoons. 
 137 Stag-hunt. 
 
 119 Landscape.— ¥igurea by Luigi Garzi. 
 128 Christ on the cross. 
 
 86 The Resurrection. 
 106 Female figure. 
 
 26 Madonna. 
 
 12 Birth of S. John. — A miniature. 
 118 Madonna and angels. 
 
 90 Court of Heaven.—Skeichy injured. 
 
 91 Entombment. 
 92a Last Judgment. 
 
 89 Repose in Egypt— Be^licsi of the Friulian 
 
 School : C. and 0. 
 72 Three saints. 
 124: A Spanish general. 
 39 Triptych. 
 
 42 Christ before Pilate. 
 
 43 Deposition. 
 149b Ruined castle. 
 
LONDON: THE NATIONAL GALLERY. 
 
 395 
 
 THE NATIONAL GALLEKY AT LONDON. 
 Catalogue of 1877. 
 
 Pictures last examined in 1880. 
 
 Albertinelli, Mariotto 
 AUori, Cristofano, attrib 
 Alunno, Niccolo 
 Angelico, Fra Giovanni 
 Antonello da Messina 
 Backhuizen, L. . 
 
 Barocci, F. . 
 Basaiti, Marco 
 
 J) 
 
 Bassano, Jacopo 
 
 5J 5> 
 
 Bellini, Giovanni 
 
 5» 
 »> 
 
 attrib. 
 
 School of . 
 
 Beltraffio ... 
 Benvenuto da Siena 
 Berchem, N. . 
 
 Bigio, Francia . 
 Bissolo, Francesco . 
 Bles, H. de . 
 Boccaccino, B. . 
 Bol, Ferd. . . . 
 Bono Ferrarese . 
 Bonsignori, Francesco 
 Bordone, Paris . 
 
 >» 
 
 Borgognone, Ambrogio 
 
 Foreign Schools. 
 No. 
 
 645 Madonna. 
 21 Portrait of a lady. 
 247 Ecce Homo. 
 
 663 Christ in glory with saints and angels* 
 
 673 The Saviour. 
 204 Dutch shipping. 
 818 Coast scene. 
 
 1000 Shipping. 
 
 29 Holy family *' del Gatto." 
 281 S. Jerome. 
 599 Madonna. 
 
 228 Christ driving out the money-changers. 
 
 277 The good Samaritan. 
 
 173 Male portrait. 
 
 189 The doge Loredano. 
 
 280 Madonna. 
 
 726 T/ie Agony in the garden. — Early. 
 808 S. Peter Martyr^ the Dominican. 
 812 Martyrdom of S. Peter Martyr — Landscape. 
 694 S. Jerome in his study. — By Catena: C. 
 and C. 
 
 234 Warrior adoring the Infant Christ. — By 
 
 Catena : C. and C. 
 728 Madonna. 
 909 Madonna enthroned. 
 240 Crossing the ford. 
 820 Landscape. 
 1035 A knight of Malta. 
 631 Portrait of a lady. 
 718, 19 Two subjects. 
 806 Procession to Calvary. 
 679 Portrait of an astronomer. 
 771 S. Jerome in the desert, 
 736 Portrait. 
 637 Daphnis and Chloe. 
 
 674 Portrait of a Genoese lady. 
 298 The marriage of S. Catharine. 
 
396 
 
 LONDON: THE NATIONAL GALLERY. 
 
 Borgognone, Ambrogio 
 
 9f 
 
 Both, Jan 
 
 » ?> • • 
 
 Botticelli, Sandro 
 
 >5 '» 
 
 „ attrib. 
 
 Bourdon, Sebastien 
 
 Bouts, Dierick . 
 
 Bramantino, attrib. 
 
 Bronzino, Angelo 
 
 Canale, Antonio 
 
 »> 
 
 >» 
 
 Capelle, Van de 
 
 Caracci, Annibale 
 
 9J 
 i1 
 
 „ Lodovico 
 Caravaggio, M. da 
 Carpaccio, V. 
 Casentino, Jacopo di 
 Chainpaigne, Philippe de 
 Cima da Conegliano 
 
 5> 
 
 55 
 
 Cimabue .... 
 Claude Gelee (Lorraine) 
 
 55 55 
 ♦5 55 
 55 55 
 
 55 
 55 
 55 
 
 No. 
 
 779, 80 Family portraits. Fragments of a silk 
 
 standard^ attached to wood. 
 1077 Triptych. 
 
 71 Landscape. — Figures by Poelenburg. 
 209, 959 Landscapes. 
 226 Madonna and angels. 
 275 Madonna^ S. John, and angel. 
 
 782 Madonna. 
 
 915 Mars and Venus. 
 1034 The Nativity. 
 
 916 Venus reclining with cupids. 
 
 64 Return of the ark from captivity. 
 
 783 Exhumation of S. Hubert. 
 
 729 Adoration of the kings. — By Foppa : C. 
 and C. 
 
 650 Female portrait. 
 
 651 Venus, Cupid, Folly, and Time, 
 670 A knight of 8. Stephen. 
 
 704 Portrait of Cosmo L 
 
 127 View in Venice. 
 
 163 View on the Grand Canal. 
 
 937 The Scuola di San Rocco. — Figures by 
 
 Tiepolo. 
 940 Ducal Palace. 
 942 View of Eton College. 
 964, 5 River scenes. 
 966, 7 Shipping. 
 
 9 Legend of S. Peter, " Domine quo vadis ?" 
 
 25 S. John in the vnlderness. 
 
 56 Landscape with figures. 
 
 88 Erminia and the shepherds. 
 
 28 Susannah and the elders. 
 172 Christ at Emmaus. 
 750 Madonna enthroned, saints, and doge. 
 580 S. John lifted up into heaven. 
 798 Three portraits of Richelieu on one canvas. 
 300 Madonna. — Replica of No. 421 at Venice, 
 
 and of No. 17 at Berlin. 
 634 Madonna. 
 
 816 The incredulity of S. Thomas. 
 565 Madonna enthroned with angels. 
 2 Pastoral landscape with figures. 
 
 5 A sea-port at sunset. 
 
 6 Landscape.— Gsk,\\ed Chigi Claude. 
 
 12 Landscape with figures. — Altered replica of 
 "11 Molino " in the Doria, Rome. 
 
LONDON: THE NATIONAL GALLERY. 397 
 
 No. 
 
 Claude Gelee (Lorraine) . 14 EmbarJcation of the Queen of Sheha, — Called 
 
 Bouillon Claude. 
 „ „ „ . 30 Embarkation of S. Ursula. 
 
 „ „ „ . 61 Landscape and figures. 
 
 „ „ „ . 1018 Classical landscape. 
 
 Clouet, Francois . . . 660 Male portrait. 
 Cocques, Gonzales . . . 821 Family portraits. 
 
 99 „ ... 1011 Female portrait. 
 
 Cologne, School of . . . 705 Three saints. 
 
 Correggio 10 Mercury instructing Cupid in the presence 
 
 of Venus. 
 
 „ 15 Ecce Homo. 
 
 „ 23 Holy family au panier." 
 
 „ 76 The Agony in the garden. — Keplica or copy 
 
 of the original in possession of the Duke 
 of Wellington. 
 Costa, Lorenzo .... 629 Madonna enthroned. 
 Cranach, Lucas , . . .291 Small female portrait. 
 Credi, Lorenzo di . . . 593 Madonna. 
 
 „ „ ... 648 Madonna. 
 
 Crivelli, Carlo .... 724 Madonna enthroned — " della Rondine.** 
 „ ,, » . . . 602 A Pieta. 
 
 „ „ .... 739 The Annunciation. — Dated 1486. 
 „ „ .... 668 The Beato Ferrefti adoring the Madonna. 
 „ „ .... 788 Madonna enthroned with saints. — Dated 
 
 1476. 
 
 „ „ .... 807 Madonna and saints. — Dated 1491. 
 
 „ „ .... 906 Virgin in ecstasy. — Dated 1492. 
 Cuyp, A 53 Evening. — Landscape with figures. 
 
 „ 823 Water and cattle. 
 
 „ 824 Ruined castle and lake. 
 
 „ 960 Landscape with windmills. 
 
 „ 961 Cattle. 
 
 Deelen, Dirk van . . .1010 Architectural subject. 
 
 Dietrich 205 Itinerant musicians. 
 
 Domenichino .... 48 Tobias and the angel. 
 
 „ . . . . S5 S. Jerome and the angel. 
 
 Dow, G 192 His own portrait. 
 
 „ 825 The poulterer's shop. 
 
 „ 968 His wife^s portrait. 
 
 Duccio da Siena . . . 566 Madonna^ saints, and others. — A triptych. 
 Dughet, G. (Poussin) . . 31 Landscape— Abraham and Isaac. 
 „ . , 95 Dido and Mneas in the storm. 
 
 „ . . 161 Italian landscape. 
 
 Diirer, A 245 Portrait of a senator. 
 
 Dyck, Van , . ♦ . , 49 Portrait of Rubens. 
 
398 LONDON: THE NATIONAL GALLERY. 
 
 No. 
 
 Dyck, Van 50 Emperor Theodosius and 8. Ambrose, 
 
 „ „ 52 So-called portrait of Gevartius. 
 
 „ „ 680 Miraculous draught of fishes. — Study, 
 
 „ „ 877 His own portrait. 
 
 Elzheimer, Adam . . . 1014 Martyrdom of 8. Lawrence. 
 Engelbertsz, attrib. . . 714 Madonna. 
 
 Eyck, Jan van . . . .186 Portraits of Arnolflni and his wife. 
 
 „ „ .... 222 J. man in a green hood. 
 
 „ „ .... 290 A man in a red headdress- 
 Ferrarese School, 16th cent. 1062 Battle. 
 Flemish School .... 1036 Male portrait. 
 
 Francia, Francesco . . . 179 Madonna and 8. Anne enthroned with 
 
 saints. 
 
 „ „ ... 180 A Pieta. — A lunette. 
 
 „ „ ... 638 Madonna with two saints. 
 
 Fyt, Jan 1003 Dead birds. 
 
 Gaddi, Taddeo, School of . 215, 16 8aints. 
 „ „ „ . 579 Baptism of Christ. 
 
 Garofalo 81 Vision of 8. Augustine, 
 
 „ 170 Holy family, 
 
 ^ 642 Christ in the garden, 
 
 „ 671 Madonna enthroned with saints, 
 
 Gherardt, David . . . 1045 Canon of the church and patron saints. 
 
 Giorgione 269 A knight in armour. — Study for the figure 
 
 of S. Liberale in the Castelfranco altar- 
 piece. 
 
 Giotto 276 Two apostles. — A fragment of fresco from 
 
 the Carmine, Florence. 
 „ School of . . . . 568 Coronation of the Virgin, 
 Goes, Van der .... 710 Portrait of a dominican. 
 
 „ „ . . . . 774 Madonna and saints. 
 
 Gozzoli, Benozzo . . . 283 Madonna enthroned. 
 
 „ „ ... 591 The rape of Helen. 
 
 Greuze 206,1019 Female heads. 
 
 „ 1020 Girl with an apple. 
 
 Guardi 210 View of Piazza di 8. Marco, Venice, 
 
 Guercino 22 Angels weeping over the dead Christ. 
 
 Guido Reni 177 Magdalen. 
 
 J, 193 Lot and his daughters. 
 
 ,j J, 214 Coronation of the Virgin. 
 
 271 Ecce Homo. 
 
 Hackaert and Berchem . 829 Hunting a stag. 
 
 Hals, Frans 1021 J woman's portrait. 
 
 Hemessen, Catharina van . 1042 Male portrait. — Dated 1552. 
 
 Heyden, Van der . . . 866 View in Cologne. 
 
 „ ... 992 Gothic and classic buildings. 
 
LONDON: THE NATIONAL GALLERY. 
 
 399 
 
 Heyden, Van der 
 Hobbema, M. 
 
 »» 
 
 Hondecoeter 
 Hooghe, Pieter de 
 
 5» 
 
 Huysman, 0. 
 Huysum, Van 
 Italian School . 
 Jardin, Karel du 
 
 »» 
 
 Justus of Padua 
 Keyser, Th. de . 
 Koning, Ph. de . 
 
 Lancret . 
 Lanini, B. 
 Libri, Girolarao dai 
 L'Ingegno (A. di Luigi) 
 Lippi, Filippino . 
 
 >» 
 
 5» 
 
 >» 
 
 >» 
 »» 
 
 attrib 
 
 Filippo 
 
 Jjochner, Stephan 
 Lotto, Lorenzo 
 
 Maas, N. 
 
 Mabuse, Jan 
 Mantegna, A. 
 
 Fr. 
 
 Maratta, Carlo ^ 
 
 No. 
 
 994 jS'^reef scene. 
 
 685 Landscape — Showery weather. 
 
 830 The avenue at Middelharnis, Holland, 
 
 831 Ruins of a castle, 
 
 832 Village and water-mills. 
 
 833 Forest scene. 
 
 995 TFooii scene and cottages. 
 202 Domestic poultry. 
 
 794 Courtyard of a Dutch house. — Dated 
 1665. 
 
 834 Interior of a Dutch house. 
 
 835 Court of a Dutch house. — Dated 1658. 
 954 Landscape. 
 
 796, 1001 Vase with flowers. 
 1048 Portrait of a cardinal. 
 
 826 Figures and animals. 
 
 827 Fording the stream. 
 985 Sheep and goats. 
 
 701 A triptych. 
 
 212 Merchant and clerk. 
 
 836 View in Holland. 
 974 Distant view. 
 
 101-4 The four ages of man. 
 700 Holy family. ^Bated 1543. 
 748 Madonna and S. Anne. 
 
 702 Madonna in glory. 
 293 Madonna with saints. 
 
 592 The adoration of the magi. 
 598 S. Francis in glory. — Dated 1492. 
 927 Angel. — In fresco. 
 1033 Adoration of the magi. — Circular. 
 586 Madonna enthroned with saints. 
 589 Madonna and angel. 
 
 666 The Annunciation. 
 
 667 The Baptist with six saints. 
 705 Three saints. 
 
 699 Agostino and Niccold delta Torre. 
 1047 Family group. 
 153 The cradle. 
 159 The Dutch housewife. 
 207 The idle servant. 
 656, 946 Male portraits. 
 274 Madonna enthroned with saints. 
 902 The triumph of Scipio. 
 639 Noli me tangere, 
 174 Cardinal Cerri. 
 
400 
 
 LONDON: THE NATIONAL GALLERY. 
 
 No. 
 
 Margaritone of Arezzo . . 564 Madonna. — With scenes from the lives of 
 
 saints. 
 
 Marziale, Marco . . . 803 The Circumcision. — Dated 1500. 
 
 „ „ ... 804 Madonna enthroned with saints. — Dated 
 
 1507. 
 
 Master of Liesborn . , . 260, 1 Saints, 
 Master of the Lyversberg 
 
 ' Passion ' 706 Presentation in the temple. 
 
 Matsys, Quiatin .... 295 Salvator Mundi and Virgin. 
 Mazzolino da Ferrara . . 169 Holy family. 
 
 Meire, Van der .... 264 Count of Hennegau and patron saint. 
 Melozzo da Forli, attrib. . 755 A female enthroned and man hneeling. 
 
 „ „ . 756 A companion subject. 
 
 Memling, Hans .... 686 Madonna. 
 
 „ . . . . 709 Madonna, 
 „ „ . . . . 747 The Baptist and S. Lawrence. 
 
 „ „ . . . . 943 Male portrait, 
 
 Metsu, G 838 The duet. 
 
 „ 839 The music lesson. 
 
 „ 970 The drowsy landlady. 
 
 Michael Angelo, attrib. . 790 The Entombment. 
 
 „ „ „ . . 809 Madonna. 
 
 Mieris, Frans van . . . 840 A lady feeding a parrot. 
 
 „ Willem van . . . 841 Fish-shop. — Called Le chat. 
 Milanese School, 15th cent. 1052 Male portrait. 
 
 Morando (Cavazzola) . . 735 S. Roch and the angel, — Dated 1518. 
 
 „ „ . . 777 Madonna. 
 
 Moretto di Brescia . . . 299 Count Sciarra. 
 
 „ „ . . . 625 Madonna with saints. 
 
 „ „ . . . 1025 An Italian nobleman. — Dated 1526. 
 
 Moro, Antonio . . . .184 Jeanne d*Archel, 
 Morone, Francesco . . . 285 Madonna. 
 Moroni, Giambattista . . 697 Portrait of a tailor. 
 
 „ „ . . 742 Portrait of a lawyer. 
 
 „ „ . . 1022 An Italian nobleman, 
 
 „ . . 1023 Portrait of a lady. 
 
 „ „ . . 1024 Canon L. di Terzi, 
 
 Moucheron 842 A garden scene. 
 
 Murillo 13 Holy family. 
 
 „ 74 Spanish peasant-boy. 
 
 „ 116 S. John and the Lamb. 
 
 Neer, Van der .... 152 Landscape and figures. 
 „ „ .... 239 Moonlight, 
 
 „ „ .... 732 Canal scene in Holland, 
 
 Netscher, G 843 Blowing bubbles. 
 
 „ 844 Maternal instruction. 
 
LONDON: THE NATIONAL GALLERY, 
 
 Netscher, G. . . . 
 Orcagna, Andrea 
 
 Os, Jan van . . . . 
 
 Ostade, Adrian van . 
 „ Isaac van 
 
 ?> »» • • 
 
 Pacchiarotto . . . . 
 
 Padovanino . . ► ► 
 Palmezzano, Marco . 
 
 Parmegianino 
 Patinir, J. de . . , 
 » ... 
 Pellegrino da San Daniele 
 Perugino, Pietro 
 
 J5 
 
 Peruzzi, B. . 
 
 „ attrib. 
 Pesellino . 
 Piero di Cosimo . 
 Piero della Francesca 
 
 5» 
 
 Pinturicchio, B. 
 
 »» 
 
 Piombo, Sebastiano del 
 
 Pisano of Verona 
 Poel, Edg. van der . 
 Poelenburg . 
 Pollajuolo, Antonio . 
 
 5» 
 
 Pontormo, Jacopo 
 Potter, Paul . . 
 Poussin, Nicolas 
 
 J? 
 
 No. 
 
 845 Lady at a spinning-wheel, 
 569 Coronation of the Virgin. 
 570-8 Portions of an altarpiece, 
 
 1015 Fruit, flowerSj &c. 
 
 846 The alchemist. 
 
 847 Village scene. 
 963 A frost scene. 
 246 Madonna, 
 
 70 Cornelia and her children. 
 596 The Deposition. — Lunette of an altarpiece 
 of 1506 at Forli. 
 33 Vision of S. Jerome. 
 
 716 S. Christopher and Infant Christ. 
 
 717 S. John on the island of Patmos. 
 778 Madonna, saints, and donator, 
 181 Madonna with S. John. 
 288 In the centre panel Madonna in adora- 
 tion. — S. Michael, and Raphael with 
 Tobias, on the two side panels. 
 
 1075 Madonna and two saints, 
 167 Drawing for ' Adoration of the hings.^ 
 218 Adoration of the magi. 
 727 The Trinity. 
 698 The death of Procris, 
 585, 758 Female portraits. 
 665 Baptism of Christ. 
 908 The Nativity. 
 703 Madonna, : 
 
 9 1 1 Return of Ulysses to Penelope. — Fresco. 
 912-14 The story of Griselda. 
 
 1 Raising of Lazarus. — ^Partly designed by 
 
 Michael Angelo. 
 20 Portraits. 
 attrib. 24 Portrait of a lady. 
 
 776 SS. Anthony and George. 
 1061 Delft after the explosion of 1654. 
 955 Women bathing. 
 292 Martyrdom of S. Sebastian. 
 296 Madonna in adoration. — More probably by 
 
 L. di Credi : C. and C. 
 781 Angel Raphael and Tobias, 
 928 Apollo and Daphne, 
 
 649 Portrait of a youth. • 
 849 Landscape and cattle. 
 40 Landscape, 
 
 42, 62 Bacchanalian festivals, 
 
 2 D 
 
402 
 
 LONDON: THE NATIONAL GALLERY. 
 
 Previtali . 
 Raphael . 
 
 9> 
 
 after 
 
 Rembrandt 
 
 »» 
 »» 
 j> 
 
 »» 
 
 5> 
 
 attrib. 
 
 Rigaud, Hyacinthe 
 Romanino, Girolamo 
 Romano, Giulio . 
 
 „ attrib. 
 Romerswale, Marinus van 
 Rosa, Salvator 
 
 >» 
 
 Rosselli, Cosimo, 
 Rottenhammer, J 
 Rubens, P. P. 
 
 » 
 >» 
 
 » 
 
 »> 
 ♦» 
 
 Ruysdael, Jacob 
 
 5» 
 
 attrib 
 
 No. 
 
 695 Madonna. 
 
 168 iS^. Catharine of Alexandria, 
 
 213 T/ie vision of a knight, 
 
 744 r/^e " Garvagh " or " Aldobrandini ' 
 
 27 Pope Julius II, 
 929 Madonna, 
 43 Deposition. — Small study. 
 
 45 T/ie woman taken in adultery. 
 54 Woman bathing, 
 
 72 Landscape with figures. — Small. 
 190 A Jewish rabbi. 
 221 Bis own portrait, when old, 
 243 Portrait of an old man, 
 672 His own portrait at 32 years of age. 
 775 Portrait of an old lady. — Dated 1634. 
 850 Male portrait. 
 
 289 The night ivatch. — A small copy. 
 
 757 Christ blessing little children, 
 
 903 Cardinal Fleury, 
 
 297 The Nativity, 
 
 624 The infancy of Jupiter. 
 
 643-4 Four small compositions. 
 
 944 The money-changers. 
 
 84 Mercury and the dishonest woodman. 
 811 Landscape — Tobias and the angel. 
 227 8. Jerome and other saints, 
 659 Pan and Syrinx, 
 
 38 Abduction of the Sabine women, 
 
 46 Peace and War. 
 
 57 Conversion of S. Bavon, — Small. 
 59 The brazen serpent, 
 
 66 Autumn landscape, 
 
 67 Holy family and saints. 
 
 187 Apotheosis of William the Taciturn. — 
 
 Sketch. 
 194 The judgment of Paris. 
 
 278 The triumph of Julius Csesar. — After 
 
 Mantegna's cartoon at Hampton Court. 
 
 279 Horrors of war. — Study for No. 86 in the 
 
 Pitti at Florence. 
 
 852 Portrait known as the Chapeau de poil or 
 
 Felt hat. 
 
 853 Triumph of Silenus. 
 627, 737 Landscapes, 
 
 854 Forest scene. 
 
LONDON: THE NATIONAL GALLERY, 403 
 
 No. 
 
 Ruysdael, Jacob . . . 986, 9 Water-mills, ^ 
 
 „ „ ... 990 View over a stretch of flat country. 
 
 „ „ ... 991 The broken tree, 
 
 Santa Croce 632, 3 Saints, 
 
 Santi, G., attrib. . . 751 Madonna. 
 
 Sarto, Andrea del . . . 690 His own portrait. 
 
 „ „ attrib. . 17 Holy family. 
 
 Sassoferrato 200 Madonna. 
 
 „ attrib. . . . 740 Madonna. 
 
 Savery, R 920 Orpheus. 
 
 Savoldo, Girolamo . . . 1031 Mary Magdalen going to the Sepulchre. 
 
 Schalken, G. . . . 997 Woman scouring a kettle, 
 
 „ .... 998 The duet, 
 
 „ .... 999 Candlelight, 
 
 Schiavone, G 630 Madonna enthroned with saints. 
 
 „ .... 904 Madonna, 
 
 Schoen, Martin .... 658 Death of the virgin, 
 
 Schoorel, Jan, attrib. . . 720 Repose in Egypt. 
 
 „ „ „ . . 721 Portrait. 
 
 Segna di Bonaventura . . 567 A crucifix. 
 
 Signorelli, Luca .... 910 Triumph of Chastity. — Fresco. 
 Solario, Andrea . . . .734 Cristoforo Longono. 
 
 „ „ .... 923 A Venetian senator. 
 
 Sorg, Hendrik .... 1055 Group of card-players. 
 
 „ .... 1056 Man and woman drinking. 
 
 Spagna, Lo 282 Glorification of the Virgin. 
 
 ,, „ 691 Ecce Homo. 
 
 Spinello Aretino . . . 581 Three saints. 
 
 Steen, Jan 856 The music-master, 
 
 Teniers, David, elder . . 950 Dutch scene — a conversation, 
 
 „ „ . . 951 Playing at howls. 
 
 „ younger . 155 The money-changers. 
 
 „ „ „ ' . 242 Players at tric-trac. 
 
 „ „ „ . 805 Interior — Woman peeling a pear, 
 
 „ „ „ . 817 Chateau of Teniers at Perch, 
 
 „ „ „ . 857-60 The four seasons. 
 
 „ „ . 861 River scene. 
 
 „ „ „ . 862 The surprise, 
 
 „ „ „ . 863 Dives. — Known as Le mauvais riche. 
 
 „ „ „ . 952 Village fete. 
 
 Terburg, G 864 The guitar lesson. 
 
 „ 896 The peace of Miinster. 
 
 Tintoretto 16 S. George destroying the dragon. 
 
 Titian 4 Holy family with a shepherd adoring. 
 
 „ 34 Venus and Adonis. — A replica. 
 
 2 D 2 
 
40i 
 
 LONDON: THE NATIONAL GALLERY. 
 
 Titian 35 Bacchus and Ariadne, 
 
 „ 270 Noli me tangere. 
 
 „..-.... 635 Madonna, S, John, and S. Catharine. 
 
 „ 636 Ariosto. ' 
 
 Treviso, Girolamo da . . 623 Madonna enthroned. 
 
 Tura, Cosimo .... 590 The Deposition. 
 
 „ .... 772 Madonna enthroned with angels. 
 
 „ .... 773 S. Jerome. 
 
 Uccelio, Paolo .... 583 Battle of S. Egidio. 
 
 Umbrian School . . . 1032 Agony in the garden. 
 
 „ „ 1051 Christ and saints. 
 
 Unknown 947 Male portrait. 
 
 Velasquez, Diego . . . 197 Boar-hunt at Aranjuez. — Damaged. 
 
 „ „ ... 232 Adoration of the shepherds. 
 
 „ „ ... 745 Philip IV. of Spain. 
 
 Velde, Adrian van de . . 868 The ford. 
 
 „ „ „ . . 869 Frost scene. 
 
 „ „ „ . . 867 The farm. 
 
 „ „ . . 983 Bay horse, cow, and goats. 
 
 „ „ „ . . 984 Cattle. 
 
 „ Willem van de . . 149 A calm at sea. 
 
 „ „ „ . . 150 A gale at sea, 
 
 „ „ „ . . 870, 1 Shipping in a calm. 
 
 „ „ „ . . 872 Shipping off the coast. 
 
 „ „ „ . . 873 Coast of Scheveningen. 
 
 „ „ „ . . 876 A gale. 
 
 „ „ „ . . 977 Ships at anchor. 
 
 „ „ „ . . 978 Biver scene. 
 
 „ „ „ . . 980 Ships of war. 
 
 „ „ . . 981 Ships in a storm. 
 
 Venetian School . . . 234 Holy family and knight. 
 
 Veneziano, B 287 Male portrait. — Dated 1530. 
 
 „ Domenico . . 766, 7 Heads. 
 
 Vernet, Claude J. . . . 236 Castle of S. Angelo, Borne. 
 
 Veronese, P 26 Consecration of S. Nicholas. 
 
 „ 268 Adoration of the magi. 
 
 „ 294 Family of Darius before Alexander. — 
 
 Portraits of the Pisani family. 
 
 „ 1041 Vision of S. Helena. 
 
 Vinci, L. da. School of . . 18 Christ with the doctors. — Generally con- 
 sidered as a work of Luini. 
 
 Vivarini, Antonio . . . 768 SS. Peter and Jerome. — A fragment. 
 
 „ Bartolommeo . . 284 Madonna with two saints, 
 
 Weenix, Jan .... 238 Dead game and a dog, 
 Westphalia, School of, 16th 
 
 cent 1049 Crucifixion, 
 
LONDON: THE NATIONAL GALLEBY, 
 
 405 
 
 "Weyden, K. van der, elder 
 ' younger,* attrib.* 
 
 9> 
 
 1» ?J 
 
 Wilhelni von Koln 
 Witte, Em. de . 
 Woawerman, P. 
 
 7> 
 
 Wynants, Jan 
 
 No. 
 
 667 T/ie Deposition. — In tempera on linen. 
 
 653 Portraits of himself and of Ms wife. 
 711, 12 Mater dolorosa and Ecce Homo, 
 
 654 Magdalen. 
 
 687 The Santa Veronica, 
 1053 Church interior. 
 
 878 Ba?^ o/ officers. — Called La helle laitiere, 
 
 879 Interior of a stable. 
 
 880 On the sea-shore, 
 
 975 Stag-hunt. 
 
 976 Battle-piece. 
 
 1060 Tioo vedettes on the watch. 
 884 Landscape and figures. 
 971, 2 ffiZZy landscapes. 
 595 Female portrait. 
 597 ^. Dominic. 
 230 Franciscan monlc. 
 
 Zelotti, Battista 
 Zoppo, Marco 
 Zurbaran, F. 
 
 * In our National Gallery these are attributed to a younger Kogier v. d. Weyden, of whom, 
 however, nothing is known. 
 
 THE NATIONAL GALLERY AT LONDON. 
 
 Catalogue of 1876. 
 Pictures last examined in 1880. 
 English Schools down to the end of the Eighteenth Century. 
 
 Copley, J. Singleton 
 
 9> 
 
 Crome, John 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 Gainsborough 
 
 Hogarth, W. 
 
 yy 
 
 No. 
 
 100 Death of Lord Chatham. 
 733 Death of Major Peirson. 
 787 Siege and relief of Gibraltar, 
 689 Mousehold heath. 
 897 View at Norwich. 
 926 The windmill. 
 1037 Landscape : slate quarries. 
 80 The market-cart, 
 109, 309 The watering-place. 
 311 Rustic children. 
 
 683 Mrs. Siddons. 
 
 684 Dr. Schomberg. 
 760 The parish cleric. 
 
 789 Mr. Baillie and family. 
 
 925 Landscape with view of Cornard in Suffolk, 
 
 112 His own portrait. 
 
 113-18 Marriage a la mode. 
 
 \ 
 
406 LONDON: THE NATIONAL GALLERY, 
 
 No. 
 
 Hogarth, W 675 Portrait of Ms slster.—mted 1746. 
 
 „ .....] 046 Sigismonda with the heart of Guiscardo, 
 Hoppner, J 133 Mr. Smith, 
 
 „ 233 William Pitt. 
 
 „ 900 The Countess of Oxford. 
 
 Kneller, Sir Godfrey . . 273 John Smith. 
 
 Lely, Sir P 916 Girl feeding a 'parrot, 
 
 Morland, George . . . 1030 Inside a stable. 
 
 j9 „ ... 1067 Quarry and peasants. 
 
 Opie, Jolm 784 William Siddons. 
 
 „ „ 1026 Troilus and Cressida, 
 
 Reynolds, Sir J. . . . 1^ Holy family, 
 
 „ „ ... 79 The Graces decorating a figure of Hymen. — 
 
 Portraits. 
 
 „ „ ... 106 A man^s head. 
 
 „ „ ... 107 The banished lord. 
 
 „ „ ... Ill Lord Heathfield, 
 
 „ „ ... 162 Infant Samuel. 
 
 „ „ ... 306, 889 His own portrait 
 
 „ „ ... 307 The age of innocence. 
 
 „ „ ... 754 Portraits of two gentlemen. 
 
 „ „ ... 885 The snahe in the grass. — Replica in Sir John 
 
 Soane's Museum. 
 „ „ ... 887 Dr. Samuel Johnson. 
 
 „ „ ... 888 James Boswell. 
 
 „ „ ... 891 Portrait of a lady and child. 
 
 Romney 312 Study of Lady Hamilton. 
 
 „ 1068 The parson* s daughter. 
 
 West, Benjamin .... 121 The banishment of Cleombrotus. 
 „ „ .... 126 Pylades and Orestes before Iphigenia. 
 „ .... 131 Christ healing the sick. 
 
 Wilson, R 108 View near Tivoli. 
 
 110 Landscape — Destruction of Niobe^s children. 
 
 „ ..... 302, 3 Views in Italy, 
 
 „ 304 Lake Avernus. 
 
 „ 1064 On the river Wye, 
 
 ,y 1071 Landscape. 
 
 Wright of Derby . . .725 Experiment with the air-pump. 
 
KENSINGTON: THE PORTRAIT GALLERY. 
 
 407 
 
 THE NATIONAL PORTRAIT GALLERY AT SOUTH 
 
 KENSINGTON. 
 
 No Catalogue. 
 
 Pictures last examined in 1880. 
 
 This collection contains several interesting portraits, among which the 
 following may be named. 
 
 The Chandos portrait of Shakespeare. 
 
 Barry, James 
 Beale, Mrs. . 
 
 Coello, attrib. 
 Copley, J. S. 
 
 Dance, Nathaniel 
 Dobson, William 
 
 Dyck, A. van 
 
 School of 
 
 Flemish School, 15th century 
 French „ 
 
 Gerard, Marc 
 
 Hales .... 
 Hilliard, N. . 
 Hogarth, William 
 
 Holbein, H., School 
 Hone, N. 
 Honthorst 
 Hoppner . 
 
 of 
 
 Hudson 
 
 Huysman 
 Jervas 
 Kaufman, Angelica 
 Kneller, Sir Godfrey 
 
 11 
 »» 
 
 i» 
 i» 
 
 No. 
 
 — His own portrait* 
 
 — King Charles II. 
 
 — Abraham Cowley, poet. 
 
 — Philip II. of Spain. — Full length. 
 
 — Lord Heathfleld. 
 
 — Earl of Mansfield. 
 
 — Lord Chancellor Camden. 
 
 — His own portrait. 
 
 — Francis Quarles. 
 
 — Sir Kenelm Dighy. 
 
 — Children of Charles I. 
 
 — King Henry VII. 
 
 — Mary, Queen of Scots. — The Eraser Tytler 
 
 portrait. 
 
 — Lord Burghley. 
 
 — Countess of Pembroke. 
 
 — Samuel Pepys. 
 
 — Queen Elizabeth. — Miniature. 
 
 — His own portrait. — Small. 
 
 — Lord Lovat, 
 
 — Edward VI, 
 
 — His own portrait. 
 
 — Elizabeth of Bohemia, 
 
 — Lord Grenville. 
 
 — Marquis of Lansdowne, 
 
 — George F. Handel, 
 
 — Lord Chief Justice Willes, 
 
 — Colonel W. Legge, 
 
 — Jonathan Swift. 
 
 — Her own portrait, 
 
 — Duke of Bedford, 
 
 — William Congreve. 
 
 — Sir Christopher Wren. 
 
 — Viscount Torrington* 
 
408 
 
 KENSINGTON: THE PORTRAIT GALLERY. 
 
 Kneller, Sir Godfrey 
 Lefebvre, 0. . 
 Lely, Sir Peter 
 
 5> 
 
 5> 
 
 Loo, C, van . 
 
 9> 
 
 9> 
 
 Mierevelt, M. 
 Mignard . 
 Morland, George 
 Moro, Antonio 
 Nasmyth, Alex. 
 Opie, John . 
 
 Oudry . • 
 Kaeburn, Henry 
 
 »7 
 57 
 
 Keynolds, Sir Joshua 
 
 of 
 
 Kichardson . 
 
 9> 
 
 Kigaiid, H. . 
 Jliley, John . 
 
 5> 
 
 55 
 
 »5 
 
 55 55 
 
 Eomney 
 
 55 
 
 55 
 
 Walker 
 
 Wright of Derby 
 Wright, J. M. 
 Zucchero . 
 Unknown 
 
 Scholar 
 
 No. 
 
 — Lord Chancellor Jeffreys. 
 
 — Dr. Isaac Barrow. 
 
 — Duke of Albemarle. 
 
 — Dulce of Buchingham, 
 
 — Mary Davis. 
 
 — Sir H. Grimston, 
 
 — Nell Gwynn. 
 
 — Countess of Shrewsbury. 
 
 — Thomas Stanley. 
 
 — Lady Russell. 
 
 — Viscount Cohham,. 
 
 — Sir Robert Walpole. 
 — • Earl of Southampton. 
 — ■ Duchess of Portsmouth, 
 
 — His own portrait. 
 
 — Sir Thomas Gresham, 
 
 — Robert Burns. 
 
 — His own portrait, 
 
 — Thomas Holcroft. 
 
 — Mary, Queen of Scots. — Painted in 1578. 
 
 — Rev. John Home. 
 
 — Henry Mackenzie, 
 
 — Sir John Sinclair. 
 
 — Earl of Bath, 
 
 — Viscount Keppel, 
 
 — His own portrait, 
 
 — Oliver Goldsmith. 
 
 — Anne Old field. 
 
 — Matthew Prior. 
 
 — Lord Chief Justice Pratt. 
 
 — Sir Richard Steele. 
 
 — Viscount Bolingbroke. 
 
 — King James II. 
 
 — Lord Russell. 
 
 — Bishop of Barnet. 
 
 — Edmund Waller, 
 
 — Eichard Cumberland. 
 
 — John Flaxman. 
 
 — Lady Hamilton. 
 
 — John Lambert. 
 
 — Ireton. 
 
 — His own portrait. 
 
 — Thomas Hobbes. 
 
 — Sir Walter Raleigh. 
 
 — Dudley t Earl of Leicester. 
 
LINCOLN'S INN: THE MUSEUM. 
 
 409 
 
 No. 
 
 Unknown ..... — King Henry VIIL 
 
 „ — Princess, afterwards Queen Mary. 
 
 „ — Queen Elizabeth. 
 
 „ ..... — Oliver Cromwell. 
 
 SIR JOHN SOANE'S MUSEUM, 13 LINCOLN INN FIELDS. 
 
 Pictures last examined in 1878. 
 
 This Museum well deserves a visit on account of the important paintings 
 by Hogarth which it contains, together with a few others mentioned below. 
 
 Dining-room. 
 No. 
 
 Sir Joshua Reynolds . . — The snake in the grass. 
 
 Picture Room. 
 
 Canaletto — Three views in Venice. 
 
 Fuseli — The Italian count. 
 
 Hogarth — A series of four paintings, * Tlie election.* 
 
 Watteau — The wedding. 
 
 Drawing-room. 
 
 Hogarth — A series of eight paintings, * The rake's 
 
 progress.* 
 
 THE PICTURE GALLERIES OF DENMARK AND SWEDEN. 
 
 Two European Galleries only have not been visited by the author, viz., 
 those of Copenhagen and Stockholm. Each has a collection of pictures which 
 are of small importance. That of Copenhagen possesses about 700 works, of 
 which more than two-thirds are attributed to old masters ; and among these 
 the Dutch school is best represented. The National Museum of Stockholm 
 contains upwards of 1000 works, cliiefly attributed to masters of the seventeenth 
 and eighteenth centuries ; but without merit, a few Dutch and Flemish 
 pictures excepted. The best examples in the two galleries are those by 
 Rembrandt, Metsu, Ostade, P. Potter, Ruysdael, Van Goyen, Rubens, and 
 Teniers. 
 
410 
 
 ST, PETERSBURG: THE HERMITAGE, 
 
 THE PICTUEE GALLEKY OF KUSSIA. 
 
 THE GALLERY OF THE HERMITAGE AT 
 ST. PETERSBURG. 
 
 Dr. Waagen s Catalogue. 
 
 Pictures last examined in 1877. 
 
 No. 
 
 Albani, Francesco 
 
 5> 
 
 J5 
 
 Albertinelli, Mariotto 
 Allori, Cristofano 
 
 Antolinez, Jose . 
 
 5J 
 
 Baroccio, Federigo 
 
 5» 
 
 Bartolommeo, Fra 
 Bassano, Leandro 
 Bega, Cornelis . 
 Bellini Giovanni^ 
 Bellotto, Bernardo 
 Berchem, Nicholas 
 
 91 
 
 5> 
 
 Berckheyden 
 
 95 
 
 Bol, Ferdinand 
 
 99 
 
 99 
 
 9» 
 
 »9 
 
 99 99 
 
 Bonifazio Veneziano 
 
 203 The Baptism of Christ, 
 
 204 Europa and the hull. 
 
 21 Holy family and saints. 
 248 Judith and Holofernes. — Inferior replica of 
 No. 96 in the Pitti. 
 
 397 A sleeping Christ, 
 
 398 Peasants under a tree. — Small. 
 
 128 The Birth of Christ, 
 
 129 Madonna. 
 
 130 Male portrait, 
 
 20 Madonna with angels. 
 
 158 Christ with Mary and Martha, 
 
 970, 1 Interiors, 
 
 4 Madonna and saints, — Small. 
 
 320 View of the Rialto, Venice. 
 1070 Angels appearing to the shepherds^ — Large. 
 1072 The rape of Europa. — Large. 
 1073, 4, 5 Italian scenes. — Large. 
 1076, 7, 8, 81, 2 Italian landscapes,— heir^e. 
 1084 Italian peasants, — Small. 
 
 1214 Houses on a canal, 
 
 1215 Hawking party, 
 
 845 The Countess of Nassau-Siegon, 
 
 848, 9 Portraits of a man and his wife, 
 
 850 Male portrait. 
 
 851, 2, 3, 4 Portraits. 
 
 109 Adoration of the shepherds. 
 
ST. PETERSBURG: THE HERMITAGE, 
 
 411 
 
 Bordone, Paris 
 
 99 
 
 99 
 
 Borsum, Abraham van 
 Botticelli, Sandro, attrib 
 Boucher, Fran9ois . 
 
 )» 99 
 
 Bourdon, Sel)astien . 
 Bourguignon 
 Brekelenkamp . 
 
 99 
 
 Bronzino, Angelo 
 Brouwer, Adrian 
 
 *9 
 
 Brueghel, Jan (Velours) 
 Bruyn, Bartholomaus 
 
 99 
 
 99 
 
 Cagnacci; Guido 
 Oanale, Antonio 
 
 Cano, Alonso 
 
 19 
 
 99 
 
 Capelle, J. van de 
 Caracci, Annibale 
 
 )» 
 
 99 
 99 
 99 
 99 
 99 
 
 99 
 99 
 99 
 99 
 »> 
 99 
 
 99 99 
 
 Lodovico 
 
 Caravaggio, II (Araerighi) 
 
 99 
 
 99 
 
 »> 
 
 99 
 
 Cardi, L. (II Cigoli) 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 Castillo, Antonio del 
 Catena, Vincenzo . 
 Champaigne, P. de . 
 Chardin, Simeon 
 
 No. 
 
 110 Madonna and saints. 
 
 111 Portraits of a lady and child. 
 1362 Still-life. 
 
 3 Adoration of the kings. — Small. 
 1486 Holy family. — Large. 
 1486a Venus and Adonis. 
 1421 The death of Dido. 
 530, 1 Studies for battle-pieces, 
 
 927 A hermit. 
 
 928 Interior and stiU-life. 
 124, 5 Portraits. 
 
 937 Two figures. 
 
 941 Peasants in a kitchen. — And others. 
 513, 14 Landscapes. 
 
 470 Portraits of a man and his three sons. 
 
 471 Portraits of the wife and one daughter, 
 194 Assumption of Mary Magdalen. 
 
 318 The reception of Count Gergi at Venice. 
 
 319 The marria{ie of the doge with the Adriatic. 
 352 Madonna. — A good replica of that in the 
 
 Seville Cathedral. 
 354 Legend of the dominican painting the 
 
 portrait of S. Dominic. 
 831 Sea and boats. 
 166 Anointing the dead Christ. 
 169 Holy family. 
 
 172 Dead Christ and angels. 
 
 173 The woman at the sepulchre. 
 
 174 Christ and the three Maries. 
 
 176 His own portrait. 
 
 177 A sleeping maiden. 
 
 178 Landscape. 
 
 165 Christ bearing the cross. 
 
 215 Christ crowned with thorns. 
 
 216 The crucifixion of S. Peter. 
 
 217 Boy playing on a guitar. 
 
 218 Study of a head, 
 
 244 David with the head of Goliath. 
 
 245 Tobias and the angel. 
 
 246 The Circumcision of Christ. 
 
 247 The marriage of S. Catharine. 
 357 The Visitation. 
 
 9 Madonna and saints. 
 664 Moses with the tables of the laiv, 
 
 1513 The blessing. 
 
 1514 The washerwoman. 
 
412 ST. PETER8BUBG: THE HERMITAGE. 
 
 No. 
 
 Christus, Petrus . . . 444 A Crucifixion and the last judgment. — 
 
 Two wings of a triptych. 
 Claude Lorraine (Gelee) . 1428 Landscape — Morning. 
 „ „ „ . 1429 Landscape — Noon. 
 
 „ „ „ . 1430 Landscape — Evening. 
 
 „ „ „ . 1431 Landscape — Night. 
 
 5, „ „ . 1438, 9 Landscapes with figures. 
 
 Clouet, Francois . . . 1487 Portrait of the Due d'Alencon, 
 
 „ „ School of . 1487a Mary, Queen of Scots. 
 Coello, Alonso Sanchez . . 402 Portrait of Margaret of Parma. — The face 
 
 appears to have been retouched. 
 „ Claudio .... 431 His own portrait. 
 Cornelis van Haarlem . . 505 The Baptism of Christ. 
 
 „ . . 506 Cimon and Iphigenia. 
 
 Coreggio, Ant 81 The Madonna " del Latte.'* 
 
 „ , 82 Study for the * Assumption ' in the dome of 
 
 the Cathedral of Parma. 
 „ „ . . . . 82a Apollo and Marsyas. — Small. 
 
 Cortona, Pietro da . . . 280 Christ and the magdalen. 
 
 „ „ ... 281 The martyrdom of S. Stephen, 
 
 Cranach, Lucas, elder . . 459 Madonna under an apple-tree. 
 „ „ „ . . 461 Life-size Venus and Cupid. 
 
 ,y „ „ . . 262, 3, 4 Portraits. 
 
 Grayer, Gaspar de . . . 598, 9 Portraits. 
 
 Crespi, G. M 313 Holy family. 
 
 M „ .... 314 The death of S. Joseph. 
 
 Cuyp, Albert .... 1101, 4 Cows and water, 
 
 „ ., 1102 Sea and boats. 
 
 „ ., 1105,7 Horses and cows. 
 
 „ „ 1106 Moonlight at sea. 
 
 Denner, Balthasar . . . 1284-8 Portraits. 
 
 Dietrich — Several works. 
 
 Dolci, Carlo 252 The magdalen. 
 
 „ „ 254 S. Catharine. 
 
 „ ,, 255 S. Cecilia. 
 
 Domenichino ..... 180 Cupid. 
 
 attrib. . . . 179 Assumption of the magdalen. 
 
 Dow, G 903 The quach and patient. 
 
 „ 904, 5 The fish-sellers. 
 
 „ 906 His own portrait. 
 
 „ 907 Portrait of a man with a booh. 
 
 „ 910, 11, 12 Bathers. 
 
 Ducq, J. le 933 Interior of stables. — Large. 
 
 „ 934, 5, 6 Interiors. 
 
 Dusart, Cornelis . . . 966 Cottage and donlcey. 
 Djck, Anton van . . . 603 Holy family. 
 
ST. PETERSBURG: TEE HERMITAGE. 
 
 413 
 
 Dyck, Anton van 
 
 ?5 
 
 ?5 
 J) 
 
 5) 
 5» 
 
 75 
 
 5» 
 •5 
 
 Eeckhout, G. van den 
 
 75 5) 
 
 Escalante, Juan Antonio 
 Everdingen, A. van 
 
 7) 
 
 1^ 
 
 Eyck, Jan van . 
 Faes, P. van der 
 Feti, Domenico . 
 
 '1 
 
 7? 
 
 Flinck, Govert . 
 Fraucia, Francesco 
 
 Fyt, Jan . 
 Garofalo (Tisio) 
 
 5J 
 
 7» 
 
 Giordano, Luca 
 
 n J) 
 
 No. 
 
 607 T/ie incredulity of S. Thomas. 
 
 608 The martyrdom of S. Sebastian. 
 
 609, 30 Charles 1. and Henrietta Maria. — Full 
 length. 
 
 611 William of Orange as a hoy. 
 
 612 Archbishop Laud. — The original is at 
 
 Lambeth. 
 
 614 Study for the family picture of the Herberts 
 
 at Wilton. — Another is in the possession 
 of Lord Carnarvon. 
 
 615 Earl Danby. 
 
 616, 22, 4, ho; 2 Portraits. 
 
 617 Sir Thomas Wharton. 
 
 618 Two children of the Wharton family. 
 
 620 Sir Thomas Challoner. 
 
 621 Lord Wandesford. 
 626 Inigo Jones. 
 
 628, 38 Portraits. 
 
 633, 4 Portraits of English ladies, 
 
 635 A lady and child. 
 
 636 Naked boys blowing soap-bubbles. 
 753 A candlelight subject. 
 
 837 Croesus and Solon. 
 
 838 Alexander and the family of Darius. 
 840 Interior with one figure. 
 
 433 S, Joseph and Infant Christ, 
 1133 A'waterfall. 
 
 1135 A rough sea, with boats and town. 
 443 The Annunciation. 
 643, 4 Small full-length portraits. 
 231 David and Goliath, 
 
 235 Dsedalus and Icarus. 
 
 236 Portrait. 
 
 842 William III. as a youth with Jacob Cats. 
 
 68 Madonna, 
 
 69 Madonna enthroned and saints. 
 1334 Fruit, &c. 
 
 59 Adoration of the shepherds. 
 
 60 Holy family. 
 
 61 Christ bearing the cross. 
 291 ^ Pi'e^a. 
 
 293 Sleeping Bacchus, nymphs and animals, 
 293e Diana and Calisto. 
 
 294 The judgment of Paris. — Eeplica of No. 441 
 
 at Berlin. —Another large work without 
 a number. 
 
414 
 
 ST. PETERSBURG: THE HERMITAGE. 
 
 Goltzius, Hendrik 
 
 5> 
 
 Gomez, S. . . 
 Goyen, Jan van . 
 
 Granacci, F., attrib. 
 
 Greuze, J. B. 
 
 55 
 
 Greco, II (Theotocopuli) 
 Guercino . 
 
 5> 
 
 Gysels, Pieter 
 Hackaert, Jan 
 Hals, Frans . 
 Heem, J. D. de 
 
 55 
 
 55 
 
 Heemskerck, Martin 
 Heist, B. van der 
 
 55 
 
 5» 
 
 van 
 
 Herrera (el Mozo) 
 
 Heyden, Jan van der 
 
 55 
 
 55 
 
 5» 55 
 
 Holbein, Hans, 
 
 attrib. . 
 
 „ School of 
 Hondecoeter, M. 
 Honthorst, G. 
 
 55 
 
 Hooghe, Pieter de 
 
 55 
 
 55 
 
 55 
 
 55 
 
 Horembout, Gerard 
 Huysum, J. van 
 Janssens, C. . 
 Jardin, Karel du 
 Jones, Thomas 
 Jordaens, Jacob 
 
 55 
 ?5 
 
 5'' 
 t5 
 
 »» 
 5) 
 
 ?5 
 
 younger 
 
 No. 
 
 495 Adam and Eve. 
 
 496 Baptism of Christ. 
 386 ' S. Francis. 
 
 1126 Sea-piece. — Large. 
 1129 The skaters. 
 22 Madonna and saints in adoration, — By 
 Ghirlandajo : C. and C. 
 1520 The death of the paralytic. 
 1580 Head of a youth. — And others. 
 411 Portrait. 
 
 239 Assumption of the Virgin. 
 
 240 Martyrdom of 8. Catharine, 
 
 241 S. Jerome. 
 
 1351 Fruit-piece on a terrace. 
 1161 A wood and hunters. 
 770, 1, 2, 3, 4 Male portraits. 
 1353, 5 Still-life. 
 1375 Flowers. 
 
 490 A Crucifixion and donators. 
 
 777 Group of portraits. — Life-size. 
 
 778 Paul Potter and his family, 
 
 779 Family group. — Life-size. — And others. 
 389 Legend of the dominican painting the 
 
 portrait of S. Dominic. 
 1207, 9, 10 Houses and figures. 
 1208 View of a town. 
 1213 Landscape with chateau. 
 
 465 Erasmus. — ^Life-size. 
 467 Small portrait of Edward VI. 
 1339, 40, 2 Poultry. 
 746 Christ before the High Priest. 
 752 Woman spinning. — And others. 
 
 860 On a garden terrace. 
 
 861 An interior. 
 
 862 Woman making lace. 
 
 458 A Pieta, surrounded by flowers. 
 1378, 9 Flower-pieces. 
 
 641 Portrait of a lady. 
 1091 Landscape and animals. 
 1393 JEneas and Dido. — A landscape. 
 
 647 Paul and Barnabas at Lystra. 
 
 649 Diana and nymphs. 
 
 650 Fable of the man and satyr. 
 
 651 Portraits of his family* 
 
 652 A family group. 
 
ST. PETEBSBUBG: THE HERMITAGE. 4irv 
 
 No. 
 
 Jordaens, Jacob .... 653 His own portrait, 
 Juanes, Vicente .... 328, 9 S, Anna and S. Dominic. 
 
 Kalf, W 1369 Still-life. 
 
 Kaufmann, Angelica . . 1304-6 Small works. 
 Keyser, Thomas de . . . 788 Portrait. 
 
 Kneller, SirG 13S8 Head of Loclce. 
 
 „ .... 1389 Portrait of Gibbons the sculptor. 
 
 Lancret, Nicolas . . . 1506 The song. 
 
 „ „ .... 1507 A fete. — Large. 
 
 „ „ .... 1508 Nymphs bathing. — Large. 
 
 „ „ .... 1510 Two figures, 
 
 Largilliere 1537 A conference. 
 
 Leal, Juan de Valdes . . 391-3 Small works. 
 „ „ „ . . 394 A female head. 
 
 Le Brum 1454 Christ on the cross. — Small. 
 
 Lingelbach 1272 Market-place of an Italian town. 
 
 „ 1276 Mounted horsemen. — And others. 
 
 Lombard L. (Sustermaun) . 491 Adoration of the kings. 
 Loo, Jacob van .... 1252 On a terrace, 
 
 „ „ . . . , 1253 Interior, 
 
 Lotto, Lorenzo . . . . 115 ^ male portrait. 
 Luini, Bernardino ... 71 Madonna. 
 „ „ ... 72 S. Catharine. 
 
 „ ... 73 S. Sebastian. — A portrait. 
 
 „ „ attrib. . 74 The Columbine. — A lovely girl. — Formerly 
 
 catalogued as L. da Vinci. Attributed 
 to A. Solario by C. and C. 
 
 Luti, B 289 Boy playing on a lute. 
 
 Maas, Nicholas .... 857 Interior — mother and child. 
 Maratta, Carlo .... 297 Adoration of the shepherds. 
 
 „ 300 Holy family. 
 
 „ „ . . . . 304 Madonna. — A copy of Guido. 
 „ „ .... 306 Holy family. 
 
 „ „ . . . . 307 Portrait of Clement IX. 
 
 Matsys, Quintiu . . . 449 Madonna in glory, saints^ and others. 
 Meer, J. van der, of Delft, 
 
 attrib 1338 Game with a cat and dog. 
 
 Mengs, Anton R. . . . 1298 John the Baptist — Life-size. 
 
 „ „ ... 1301 Perseus and Andromeda. — Life-siz.'. 
 
 „ „ ... 1302 The judgment of Paris. — Life-size. 
 
 „ ... 1303 His own portrait. — And others. 
 
 Metsu, G 878 Sick woman and doctor. 
 
 „ 880 Lady eating oysters. 
 
 881 Family at a meal, 
 
 Meulen, A. F. van der . . 728, 9 Battle-pieces, — Large. 
 Mierevelt 740-3 Portraits, 
 
416 
 
 ST. PETERSBUBG: THE HERMITAGE. 
 
 No. 
 
 Mieris, F. van, elder . . 916 Interior — Lady and gentleman, 
 
 „ „ „ . . 918 Portrait of a lady, 
 
 „ J. van .... 1241 Surgeon dressing a wound, 
 
 „ W. van .... 1242 Abraham turning away Hagar. 
 
 „ „ .... 1245 Two women. 
 
 Mignard P 1456 Alexander and the family of Darius. 
 
 MigQon, A 1358, 9 Flower-pieces, 
 
 Morales, Luis de . . . 400 Madonna. 
 
 „ „ ... 401 Mater dolorosa, 
 
 Moreelse, P 744, 5 Portraits, 
 
 Moretto 113 Faith. — A fine female portrait. 
 
 „ attrib 112 Judith and Holofernes. — This is by some 
 
 considered, as the school of Kaphael. 
 Moro, Antonio . .* . . 480, 1 Sir Thomas Gresham and his ivife, 
 
 Moroni, G 154 Portrait. 
 
 Moucheron 1169 Landscape, 
 
 Moya, P. de 368 The Virgin. 
 
 „ „ 359 JacoVs ladder. 
 
 Murillo 360 Landscape — Isaac blessing Jacob. 
 
 „ . .... 361 The Annunciation, 
 
 „ 362 A conception. 
 
 „ 363 Adoration of the shepherds. 
 
 „ 366 /S'. Joseph and Infant Christ. 
 
 „ 367 Holy family or Repose in Egypt. 
 
 „ 370 A Crucifixion. — Small. 
 
 „ 372 The deliverance of S. Peter. 
 
 J, 373 S. Anthony and Infant Christ. 
 
 „ 374 Death of the Inquisitor Don Pedro 
 
 Arbuez. 
 
 375 Two heads behind a grating. 
 
 „ 376, 7 Boy and dog. 
 
 ,, 378 Girl with fruit. 
 
 „ 379 S. John and the Lamb. — Copy of No. 176 in 
 
 our National Gallery. 
 
 „ 380 Three saints, 
 
 Neefs, Pieter, elder . . 1201 Interior of a church, 
 Neer, Artus van der . . 1117 Canal and mills. 
 „ „ . . 1119, 20, 1, 3, 4 Moonlight, 
 
 „ „ „ . . 1122 Skating. \ 
 
 Netscher, Constantin , . 888 Portrait. 
 
 „ Gaspar . . . 882 Queen Mary of Orange. 
 
 „ . . . . 883 Portrait of the painter, 
 ,, „ .... 884 Portrait of a lady. 
 
 Ochtervelt, Jacob . . . 889, 90 Figures in a gateway. 
 
 ,, „ ... 892 Two figures. 
 
 Oost. J. van, elder . . . 663 Madonna adored by donators. 
 
ST. PETERSBURG: THE HERMITAGE. 
 
 417 
 
 Orley, B. van. . 
 Ostade, Adrian van 
 
 5> 5» 
 
 „ Isaac van 
 Palma Vecchio . 
 
 ?» 
 
 5) 
 
 5» 
 
 Pareja, J. de . 
 Piombo, Seb. del 
 
 5> 
 
 »> 
 
 5» 
 
 attrib 
 
 Poel, Van der 
 Poelenburg, C. 
 
 7» 
 
 Pordenone, G. A 
 
 5» 
 
 B. 
 
 Potter, Paul . 
 
 5> 
 
 }» 
 
 5> 
 
 >» 
 
 17 
 
 Pourbus, F. . 
 Poussin, Nicolas 
 
 7> 
 5» 
 
 attrib, 
 
 Procaccini, Camillo . 
 
 Giulio Cesare 
 
 5) 
 
 Pynacker, Adam 
 
 >5 
 
 5> 
 
 ?5 
 
 Raphael Sanzio 
 
 9> 
 
 »> 
 
 Rembrandt 
 
 No. 
 
 474 Descent from the cross. 
 
 945 Peasants with music and dancing, 
 
 947-50 Four single heads. 
 
 951-4 Interiors. — And others, 
 
 962 Landscape with figures. 
 
 90 Adoration of the shepherds. 
 
 91 Holy family and S. Catharine. 
 
 92 Holy family and saints, 
 427 Portrait. 
 
 17 Christ and the cross. 
 
 18 The Deposition. 
 
 19 Cardinal Pole. — This may be of the school 
 
 of Raphael. 
 978 Interior and still-life. 
 767 Repose in Egypt. — Large. 
 761 Diana and Calisto. — And others. 
 116 Portraits of a man and looman, 
 117, 18 Decorative pictures. 
 
 119 Adoration of the magi. 
 
 120 Group of portraits. 
 1051 Woman and cow. 
 
 1055 A dog and Icennel. 
 
 1056 Landscape. 
 
 1057 Small hull. 
 
 1059 History of a hunter and his dogs, 
 487, 8 Heads. 
 
 1394 Moses striking the rock, 
 
 1398 Holy family. 
 
 1400 Triumph of Galatea. 
 
 1413, 14 Landscape and figures. — And others. 
 
 262 Holy family and angels. 
 
 263 Madonna. 
 
 264 Marriage of S. Catharine, 
 
 1162 Barge on smooth water. 
 
 1163 Italian scene. 
 1165 Landscape. 
 
 36e Madonna. — Conestabile. 
 
 37 Madonna and S. Joseph — Imharhe. 
 
 38 Madonna and S. John — Casa d^Alha, 
 
 39 S. George and the dragon, — Small. 
 
 40 Portrait of Sanazaro. 
 
 47-55 Frescoes. — Probably designed by 
 Raphael and executed by G. Romano and 
 others. 
 
 791 Abraham and the angels. — Large. 
 
 792 Sacrifice of Isaac, — Large. 
 
 2 E 
 
418 
 
 ST, PETERSBUBG: THE HERMITAGE, 
 
 Kembrandt 
 
 »> 
 
 » 
 
 » 
 
 » 
 ?> 
 
 Keni, Guido . 
 
 »» 
 »> 
 
 Reynolds 
 
 Sir Joshua 
 
 7» 
 
 Ribalta, F. de . ^ 
 
 Ribera, Jose 
 
 >» »♦ 
 
 Rigaud, H . . . 
 Rincon, Ant. del, attrib. 
 Roelaa, J. de las . 
 Romano, Giulio . 
 
 5> 
 
 Rombouts, T. . 
 
 793 Jucob ivitJi tlie coat of many colours, 
 
 794 Joseph and Potiphar^s tvife, 
 
 796 Holy family. 
 
 797 Beturn of the p^^odigal. — Large. 
 
 798 Far able of the labourers. — Small. 
 
 799 Denial of S. Peter. — Large. 
 
 800 Descent from the cross. 
 
 801 Incredulity ofS. Thomas. — Small. 
 
 802 Danae. — Large. 
 
 803 Ashing a blsssing. — Small. 
 805 An old ivoman. — Large. 
 
 807 Mother of the painter. — Small. 
 
 808 Portrait of Koppenol, 
 
 809, 10, 13, 18, 21 Male portraits. 
 
 811 His own portrait. 
 
 812 Portrait of Saslcia, 
 814 A small portrait. 
 
 817 Female portrait. — Small. 
 
 819, 23, 9 Female portraits. 
 
 820 Portrait of Manasseh Ben Israel. 
 
 826 Child with a broom, 
 
 830 Landscape. 
 
 833 Lady with a glass. — And others. 
 181 David and Goliath. 
 
 183 Adoration of the kings. 
 
 184 S. Joseph and Infant Christ. 
 
 185 Madonna and S. Francis. 
 
 186 S. Peter. 
 
 187 Dispute of the fathers of the church. 
 191 The youthfid Virgin loith maidens, 
 
 1390 Venus and Cupid. 
 
 1391 Infant Hercules strangling the serpents, 
 
 1392 llie continence of Scijno. 
 
 338 Meeting of SS. Anna and Joachim, 
 340 Apostles and saints at the tomb. 
 
 330 S. Sebastian taken down after death, 
 
 331 >S'. Sebastian after martyrdom, 
 332, 3 S. Jerome. 
 
 334 ;S'. Processo of Bohemia, 
 1538 Portrait of Fontenelle. 
 345 Madonna. 
 
 347 Communion of S. Theresa. 
 43 Copy of the Lagarto Holy family of Raphael 
 
 at Madrid. 
 56, 7 Madonnas., 
 
 601 Group of card-players,: — Life-size. 
 
ST, PETEBSBUBG: THE HERMITAGE, 419 
 
 Eombouts, T. 
 Kosa di Tivoli 
 Eosa, Salvator 
 
 » ?» 
 
 5> 
 
 Eottenhammer 
 Kubens, P. P. 
 
 »> 
 >» 
 »> 
 »» 
 
 >» 
 
 >» 
 
 Kuysdael, J. . 
 
 Sarto, Andrea del 
 
 »> » 
 Sassoferrato • 
 
 „ attrib. 
 
 No. 
 
 602 Group in a Idiclien, 
 1280,1 Landscapes and cattle, ; 
 
 220 The prodigal son. — Large. 
 
 221 Odysseus and Nausicaa, 
 
 222 Vemocritus. 
 
 223 Group of soldiers, 
 224, 5 Portraits. 
 
 226 A warrior. 
 510, 11 Small works. 
 
 535 Turning away of Hagar. 
 
 536 Adoration of the hings.^The Virgin is a 
 
 portrait of Helena Fourment. 
 
 540 Madonna and saints. 
 
 541 Madonna ivith saints. — Large. 
 
 513 Christ in the house of Simon. — Large. 
 546 Descent from the cross. — Large. 
 
 549 Venus and Adonis. — Small. 
 
 550 Bacchus and nymph — Large. 
 
 551 Drunken Silenus. — Small. 
 
 552 Perseus and Andromeda. — Small. 
 
 554 Abundance and river Tigris. — Large. 
 
 555 Bape of Sahines. — Large. 
 
 559 Philip IV. 
 
 560 Elizabeth of Bourbon. 
 
 561-6 Sketches for triumphal arches. — Made in 
 1635 for tlie entry of the Infante Ferdi- 
 nand of Spain into Antwerpt 
 557, 69, 70, 90, 3 Studies for large icorks, 
 572, 3 Studies for the ceiling of Whitehall' 
 
 575 Isabella Brandt seated. 
 
 576 Helena Fourment. — Full-length. 
 578, 81 Female portraits. 
 
 580, 4 Male portraits. 
 
 591 Satyr and nymph — Portrait of Helena 
 
 Fourment. 
 
 592 Lions fighting. 
 
 594 Landscape luith figures by moonlight. 
 
 595 Landscape and rainbow. 
 
 1136, 8, 9, 42 Landscapes with loater, 
 1143, 4, 5 Landscapes, 
 
 1147 Mountain scenery, 
 
 1148 Country road. 
 
 24 Holy family and saints. 
 
 25 S. Barbara. 
 257 Madonna. 
 259 Madonna. 
 
 2 E 2 
 
420 
 
 ST. PETEESBURG: TEE HERMITAGE. 
 
 Schalken, G.. 
 Schedone, B. 
 
 Schiavone, Andrea 
 
 J? 
 
 9J 
 
 Schoorel, Jan 
 Sirani, Elizabetta 
 
 55 
 
 Snyders, Frans 
 
 5» 
 ?» 
 
 » 
 
 »5 
 5? 
 ?» 
 
 Staveren, J. A. 
 Steen, Jan 
 
 »» 55 
 
 55 
 
 5> 
 
 55 
 
 55 
 
 Strozzi, B. 
 
 No. 
 
 923 T/ie herring-seller. • 
 266 T/ie Baptist. 
 
 271 Diana and Actxon. 
 
 272 Cupid reclining. 
 
 221 Jupiter and lo. — Landscape. 
 
 122 Madonna enthroned. 
 
 478, 9 Portraits of a man and his loife. 
 
 199 A subject after Guido. 
 
 200 Infant Christ 
 
 1312 Fruit-seller. — Life-size. 
 
 1 313 Vegetable-seller. — Life-size. 
 
 1314 Fish-seller. — Life-size. 
 
 1315 Game-seller. — Life-size. * 
 1317 Swan and other game. 
 1320 The fish-stall. — Life-size. 
 1324 A concert of birds. 
 
 926 The herring-seller. 
 895 Esther before Ahasuerus. 
 896, 8 Interiors and, figures. 
 897 Music in a garden. 
 
 899 An invalid. 
 
 900 His own portrait. 
 
 901 Peasants^ ivedding, 
 219 Tobias. 
 
 Teniers, David, elder . 
 
 . 669, 70 Cottages and landscape. — Large. 
 
 55 ?J 
 
 younger . 
 
 . 672 Feast of the archers and halberdiers 
 
 • 
 
 
 Antwerp. — His masterpiece. 
 
 55 55 
 
 55 • 
 
 673 The guard-room. 
 
 55 ?> 
 
 55 
 
 , 674, 5 A kermess. 
 
 55 55 
 
 55 • 
 
 677 A bridal feast. 
 
 55 55 
 
 55 • 
 
 683 Landscape. 
 
 55 n» 
 
 55 • 
 
 684 Village dance. 
 
 55 ^5 
 
 55 
 
 . 688 Card-players, 
 
 55 55 
 
 55 • 
 
 697 Interior and a figure. 
 
 55 55 
 
 55 
 
 . 699 Kitchen of his chateau at Perch. 
 
 55 55 
 
 55 
 
 700 House and farmyard. ' 
 
 55 55 
 
 55 • 
 
 . 706, 7 Farmyard and animals. 
 
 55 55 
 
 55 
 
 710 Sea-port and ships. 
 
 55 55 
 
 »5 • 
 
 . 685, 6, 9, 90-6 Small \vorks. 
 
 Terburg, G. . 
 
 - • • 
 
 871 The violin-player. ' 
 
 55 • 
 
 
 . 872, 3 The letter and messenger. 
 
 
 
 874 The guitar lesson. 
 
 
 
 875 Two figures. 
 
 
 
 , 876 Portrait. - • 
 
 Tiepolo,G B 
 
 
 317 The banquet of Cleopatra! 
 
 Tintoretto 
 
 • • • 
 
 . 132 Birth of the Baptist. 
 
ST. PETER8BUBG: THE HERMITAGE. 
 
 421 
 
 No. ■ 
 
 Tintoretto 133 Study for the 'Paradise^ in the Ducal 
 
 Palace at Venice. 
 
 „ 134: S. George and the dragon, 
 
 „ 135 Perseus and Andromeda. 
 
 „ — Several portraits. 
 
 Titian • 93 Madonna in an arched recess, 
 
 „ 95 Christ in benediction, 
 
 „ ,96 Madonna and magdalen. 
 
 „ 98 Magdalen. — Painted in 1560. 
 
 99 Venus ivith looking-glass and cupids. — 
 
 *' Barherigo Venus.^' — Portrait of" Laura 
 Dianti. 
 
 102 Portrait of Pallavicino. — About 1545. — 
 
 C. and C. 
 
 105 The * Bella di Tiziano.* 
 
 „ 100 Danae. 
 
 „ attrib 94 Ecce Homo. 
 
 „ „ 104 Head of Lavinia. 
 
 Tristan, Luis . . . .413 Lope de Vega, 
 Utrecht, Adrian van . . 1350 Fruit. 
 Yaccaro, Andrea . . . 290 Magdalen. 
 Valentin, Moi'se .... 1490, 1 Soldiers gaming, 
 
 Velasquez, Diego . . . 418 Study from life of Innocent X. for the 
 
 portrait in the Doria, Rome. 
 
 „ „ ... 419 Full-length portrait of Philip IV. 
 
 „ „ ... 420 Head of Philip IV. — Replica of similar 
 
 heads in our National Gallery,] and at 
 Madrid. 
 
 „ „ ... 421 Fall-lengih portrait of Dulce Olivares, 
 „ „ ... 422 Head of Duke Olivares, 
 
 Velde, Adrian van de . . 1062 Landscape and cows. 
 „ „ „ . . 1184b Calm sea-piece. 
 
 „ „ „ . . 1185 River and sea-piece. 
 
 Veronese, Paolo .... 138 Finding of Moses. — Small. 
 „ „ . . . . 139, 49, 50 Small works. 
 
 „ „ . . . . 140 Repose in Egypt. 
 
 „ „ . . . . 143 A banquet. — Small. 
 
 „ „ . . . . 144 Christ on the cross. — Small. 
 
 „ „ . . . . 145 A Pieta. 
 
 „ „ . . . . 146 Holy family and S. Catharine, 
 
 „ „ .... 151 Mars and Venus. 
 
 „ „ . . . . 152 Male portrait. 
 
 Verrocchio, Andrea ... 1 Madonna enthroned with angels. 
 Vinci, Leonardo da . . . 13a Madonna. 
 
 „ „ attrib, . 14 Madonna and two saints. 
 
 » . • 15 Nude bust of a woman. 
 
422 
 
 ST. 
 
 PETERSBURG: THE HERMITAGE. 
 
 Walker, Eobert . 
 Watteau 
 Weenix, Jan . 
 Werff, A. van der 
 
 9> 
 99 
 
 5» 
 
 9» 
 
 Wouwerman, Ph. 
 
 5> 
 ?> 
 
 ?J 
 5> 
 
 5> 
 
 Wynants, Jan . 
 
 5> 
 
 5J 
 
 Zurbaran, F. . 
 
 No. 
 
 1386 Portrait of Cromwell. 
 1503 The lute-player. 
 1347, 8, 9 Dead game. 
 984 ^ group. 
 
 986 Christ brought before the people. 
 987, 8 Depositions. 
 990 Magdalen reading. 
 992 jfTis oit^n portrait. 
 
 995 Chase of the cat. 
 
 996 Riding party. 
 
 998, 1029 Hawking parties. 
 1001 Interior of a stable. 
 1002, 30, 7 G^-owj^s. 
 
 1006 Single horseman. 
 
 1007 Village inn. 
 1017 Landscape. 
 1021, 4 Battle-pieces. 
 1025 ^rowp of horsemen. 
 1027 r/ie trumpeter. 
 
 1033 T/ie ford—HaicUng. 
 
 1034 Landscape and hunting party. 
 
 1035 Death of the deer. 
 1043 TAe /ore?.— And others. 
 1112, 13 Country with trees. 
 1114, 15, 16 Landscapes. 
 
 348 T/ie child- Virgin praying. 
 
 349 /S*. Lawrence. — Large. 
 
I 
 
 ( 423 ) 
 
 INDEX. 
 
 Abate, Niccolo dell', 174 : Works of, 
 
 231, 232, 314 
 Adriaenssen, 113 ; Works of, 306, 355 
 Aelst, Willem van, 141 ; Works of, 
 
 271, 286, 290, 296, 306, 314, 336, 389 
 Aertsen, Pieter, Works of, 274, 307 
 Agricola, C. L., Works of, 307 
 Albani, 78; Works of, 209, 219, 228, 
 
 245, 247, 248, 261, 270, 274, 314, 324, 
 
 352, 367, 410 
 Albertinelli, Mariotto, 47 ; Works of, 
 
 212, 217, 218, 219, 254, 324, 367, 395, 
 . 410 
 
 Albin, Eleazer, Works of, 307 
 Aldegrever, Works of, 295, 296 
 Alemannus — see Vivarini. 
 Alfani, Domenico, Works of, 237 
 
 „ Anselmi di G., Works of, 237 
 Allan, David, 202 ; Works of, 385 
 AUori, Cristofano, 82 ; Works of, 216, 
 
 219, 338, 367, 395, 410 
 Alsloot, Van, Works of, 274 
 Altdorfer, 153; Works of, 293, 296, 
 
 324, 333, 334 
 Altichiero, 14 ; Works of, 236 
 Alunno, Niccolo, 38 ; Works of, 209, 
 
 228, 237, 248, 255, 351, 367, 395 
 Amberger, 151 ; Works of, 260, 274, 
 
 293, 296, 322, 334, 343, 350 
 Amiconi, Works of, 388 
 Amsterdam — 
 
 The Trippenhuis, 278 
 Van der Hoop Museum, 382 
 Six Van Hillegom Collection, 284 
 Townhall, 285 
 Andrea da Firenze, 9 ; Works of, 240, 
 
 •241 
 
 Andrea da Salerno, Works of, 234, 235 
 ■ „ Giusto d', 26 ; Works of, 213, 
 241 
 
 Angelico, Fra, 16 ; Works of, 212, 213, 
 214, 218, 219, 236, 238, 250, 255, 257, 
 261, 271, 296, 322, 324, 355, 367, 395 
 
 Anselmi, Mich. Aug., Works of, 367 
 
 Antolinez, Jose, Works of, 410 
 Antonello da Messina, 29 ; Works of, 
 
 263, 270, 271, 296, 314, 322, 339, 367, 
 
 395 
 
 Antwerp, The Museum, 271 
 
 Apshoven, Th., Works of, 307 
 
 Araldi, 38 ; Works of, 236 
 
 Aretino — see Spinel lo. 
 
 Arezzo, School of 14th century, 9 
 „ Muncipal Gallery, 207 
 ,, Andrea of. Works of, 207 
 
 Arpino, Cav. d'. Works of, 245 
 
 Art, B. van. Works of, 296 
 
 Arthois, J. d', 113 ; Works of, 274, 345 
 
 Asper, J., Works of. 343 
 
 Aspertino, Amico, Works of, 209, 226 
 
 Asselt, Van d', 94 
 
 Asselyn, Jan van, Works of, 278, 282, 
 307 
 
 Assereto, G., Works of, 393 
 Asti, Ambrogio d'. Works of, 239 
 Augsburg, Gallery of, 293 
 Avanzi, Jacopo, 14; Works of, 209, 
 236, 248 
 
 Avanzi Veronese, 15 ; Works of, 263 
 
 I Backer, J., Works of, 282, 307 
 { Backhuizen, 140; Works of, 246, 271, 
 278, 282, 286, 340, 372, 386, 395 
 Badile, Giovanni, Works of, 261, 268 
 Baen, J. de. Works of, 286 
 Baerse, Jacques de. Works of, 94 
 Bagnacavallo, 174 ; Works of, 302, 314 
 I Baldovinetti, Alessandro, 21, 23 ; 
 I Works of, 219, 322 
 ! Balen, H. van, 113; Works of, 288, 
 307, 342 
 Balen, J. van. Works of, 342 
 Barbary, Jacob de, W orks of, 293 
 Barbieri — see Guercino. 
 Baroccio, 74, 82 ; Works of, 217, 219, 
 228, 245, 249, 256, 314, 325, 352, 
 367, 388, 395, 410. 
 I Barry, 200 ; Works of, 407 
 
424 
 
 INDEX. 
 
 Bartoli, Taddeo, 13; Works of, 238, 
 
 259, 296, 325, 367 
 Bartolo, Domenico, AVorks of, 238, 259 
 
 „ di Fredi, Works of, 259 
 Bartolommeo, Fra, 47 ; Works of, 212, 
 
 214, 215, 216, 217, 218, 219, 226, 234, 
 
 244, 247, 249, 254, 296, 351, 365, 367, 
 
 410 
 
 Basaiti, 34 ; Works of, 207, 236, 252, 
 
 263, 337, 395 
 Basle, Gallery of, 294 
 Bassano, Jacopo II, 71 ; Works of, 219, 
 
 228, 233, 246, 248, 263, 268, 270, 296, 
 
 307, 325, 336, 337, 348, 353, 355, 367, 
 
 386, 389, 395 
 Bassano, Francesco, Works of, 215, 261, 
 
 267, 307, 314, 355 
 Bassano, Leandro, 72 ; Works of, 246, 
 
 263, 267, 296, 314, 355, 410 
 Bassen, B. van, Works of, 286 
 Battoni, Works of, 249, 314 
 Bazzi (II Sodoma), 56 ; Works of, 
 
 223,240, 253, 258, 260, 261, 339 
 Beale, Mrs., Works of. 407 
 Beccafumi, Works of, 218, 251, 258, 260 
 ]Secerra 160 
 
 Beechey, Sir William, Works of, 389 
 Beeke, A. van, Works of, 341 
 Beerstraten, Works of, 278, 291 
 Bega, Cornelis, 129, 133; Works of, 
 
 219, 278, 282, 296, 307, 322, 325, 372, 
 
 410 
 
 Beham, Bartholomaus, 151, 153; Works 
 
 of, 289, 293, 325, 335 
 Beham, H. S., 153 ; Works of, 372 
 Belgium, Galleries of, 271 
 Bellini, Jacopo, 31 ; Works of, 263, 393 
 „ Gentile, 31, 60; Works of, 
 
 208, 228, 247, 263, 267, 325, 347, 351, 
 
 367, 393 
 
 Bellini, Giovanni, 31,32, 57, 68 ; Works 
 of, 208, 219, 224, 228, 233, 236, 243, 
 246, 247, 251, 252, 255, 261, 263, 267, 
 269, 296, 315, 322, 325, 335, 337, 351, 
 355, 367, 389, 393, 395, 410 
 Bellotto,86; Works of, 228, 233, 261, 267, 
 
 296, 307, 314, 315, 325, 348, 353, 410 
 Beltraffio, 46 ; Works of, 227, 232, 296, 
 
 352, 367, 395 
 Bembo, B., Works of, 261 
 Benaglio, Giovanni, Works of, 268 
 Benedetto, Diana, Works of, 263, 264 
 Benvenuti, Works of, 207, 395 
 Berchem, 137 ; Works of, 274, 278, 282, 
 284, 286, 296, 305, 307, 315, 325, 341, 
 345, 348, 349, 353, 366, 372, 383, 395, 
 398, 410 
 
 Berckheyden, Gerrit, Works of, 271, 
 278, 283, 284, 290, 307, 322, 410 
 
 Berckheyden, Job, Works of, 315 
 Bergamasco, II — see Lotto. 
 Bergamo, Accademia Carrara, 207 
 Berlin, Royal Gallery, 296 
 Berlinghieri, 3 
 
 Bernardo di Perugia, Works of, 238 
 Berruguete, 159 
 
 Bicci, Neri di, 26, 27 ; Works of, 235, 
 240 
 
 Bigio, Francia, 48 ; Works of, 215, 219, 
 
 261, 296, 301, 315, 370 
 Biliverti, Giovanni, Works of, 217, 352 
 Biset, C. E., Works of, 307 
 Bissolo, 34 ; Works of, 263, 265, 296, 
 
 395 
 
 Blake, William, 201 
 
 Blanchard, Jacques, 176 ; Works of, 377 
 
 Bias del Prado, Works of, 355 
 
 Bles, H. de. Works of, 271, 325, 333, 
 
 343, 355, 395 
 Bloemart, 141 ; Works of, 286 
 Boccaccino da Cremona, Works of, 217, 
 
 252, 263, 395 
 Boccati da Camerino, Works of, 238 
 Bockman, Works of, 389 
 Boeyermans, Th., Works of, 271 
 Bol, Ferdinand, 123 ; Works of, 275, 
 
 278, 283, 285, 286, 290, 296, 305, 315, 
 
 322, 325, 372, 393, 395, 410 
 Bolgarini, Martino di, Works of, 259 
 Bologna, School of, 14th century, 14 
 „ ,, 15th century, 41 
 
 „ Jacopo da, 14 
 „ Matteo da, 14; Works of, 
 
 210, 265 
 
 Bologna, Simone da, 14 ; Works of, 210 
 
 „ Pinacoteca, 209 
 Bonatti, G., Works of, 247 
 Bonconsiglio, Works of, 208, 315 
 Bonfiglii, Benedetto, 39 ; Works of, 238 
 Bonifazio Veneziano, 64; Works of, 
 
 216, 222, 225, 228, 231, 236, 241,. 
 246, 248, 255, 264, 267, 268, 296, 
 315, 336, 337, 339, 344, 351, 367, 386, 
 389, 410 
 
 Bono da Ferrara, Works of, 328, 395 
 Bononi, Carlo, Works of, 211 
 Bonsignori, 36; Works of, 218, 221, 
 
 228, 269, 268, 395 
 Bonvicino — see Moretto. 
 Bordeaux, Museum, 364 
 Bordone, Paris, 68; Works of, 216, 
 
 217, 219, 225, 228, 248, 260, 264, 296, 
 315, 332, 337, 344, 367, 386, 388, 389, 
 395, 411 
 
 Borgognone, 45; Works of, 208, 215, 
 
 228, 234, 296, 351, 367, 395, 396 
 Borsum, A. van. Works of, 411 
 Bosch, Works of, 356 
 
INDEX. 
 
 425 
 
 Both, Jan, 135 ; Works of, 271, 275, 
 
 278, 283, 286, 290, 296, 315, 325, 353, 
 
 372, 383, 386, 396 
 Both, Andries, 135 ; Works of, 271, 275, 
 
 278, 283, 286, 296, 325, 372, 383, 386 
 Botticelli, 19, 22; Works of, 212, 218, 
 
 220, 221, 234, 243, 258, 261, 296, 297, 
 
 315, 322, 325, 367, 393, 396, 411 
 Boucher, 184 ; Works of, 220, 297, 377, 
 
 381, 386, 411 
 Boullongnes, The, 181 ; Works of, 377, 
 Bourdon, 179 ; Works of, 289, 307, 377, 
 
 381, 393, 396, 411 
 Bourgeois, Sir Francis, 202 
 Bourguignon, 181; Works of, 293, 307, 
 
 342, 377, 386, 411 
 Bouts, Dierick, 100 ; Works of, 271, 
 
 275, 297, 324, 325, 364, 396 
 Brackenburg, R., Works of, 291 
 Bramantino, Works of, 396 
 Bramer, L., Works of, 340 
 Bray, Jan de, 120: Works of, 278, 285, 
 
 389 
 
 Breenberg, B., Works of, 307 
 Brekelenkamp, 141; Works of, 278, 
 
 284, 293, 305, 366, 380, 411 
 Brescia, Galleria Tosi, 211 
 Bril, Paul, 104, 178 ; Works of, 254, 
 
 297, 315, 325, 372 
 Bril, Matthew, Works of, 315 
 Briazi, Works of, 210 
 Broederlam, 94 
 
 Bronkhorst, Jan, Works of, 305 
 Bronzino, 50 ; Works of, 212, 217, 220, 
 
 226, 244, 261, 297, 339, 352, 367, 396,41 1 
 Brouwer, Adrian, 126; Works of, 220, 
 
 278, 297, 307, 322, 325, 346, 353, 356, 
 
 366, 372, 380, 383, 411 
 Browne, Alexander, 202 
 Brueghel, Pieter, elder, 103 ; Works of, 
 
 220, 235, 275, 313, 325, 344, 356, 389 
 Brueghel, Pieter, younger, 103 ; Works 
 
 of, 271, 275, 297 
 Brueghel, Jan, 103, 155; Works of, 
 
 220, 228, 252, 261, 273, 275, 278, 288, 
 
 293, 297, 307, 315, 325, 337, 341, 342, 
 
 344, 349, 356, 365, 366, 372, 411 
 Bruges — 
 
 Academy, 273 
 Museum of S. John, 274 
 Brun — see Le Brun. 
 Bruno, Giovanni, Works of, 239 
 Brunswick, Gallery of, 305 
 Brussels, Musee National, 274 
 Bruyn, B., 151 ; Works of, 275, 297, 
 
 305, 313, 315, 322, 325, 411 
 Buda-Pesth, Gallery of, 350 
 Bugiardini, 47 ; Works of, 209, 220, 
 
 248,. 249, 261, 351 
 
 Buonarroti — see Michael Angelo. 
 Buonconsigli, 36;; Works of, 264, 270 
 Buoni, Silvestro di. Works of, 235 
 Burgkmair, 151; Works of, 293, 297, 
 
 315, 325, 333, 334, 343 
 Byzantine Influence, 2 
 
 Cagnacci, Guido, 81 ; Works of, 242, 
 245, 347, 367, 411 
 
 Cairo, Francesco del, Works of, 228 
 
 Calcar, Johan von, Works of, 297 
 
 Caliari, Carletto, Works of, 220 
 
 Calisto di Lodi, Works of, 208 
 
 Callot, 187 ; Works of, 305 
 
 Calvaert, D., Works of, 315 
 
 Camphuysen, Works of, 307 
 
 Campi, Giulio, 82 
 
 „ Antonio, Works of, 228 
 „ Bernardino, Works of, 228 
 
 Campidoglio, Works of, 389 
 
 Canale [Canaletto], 86 ; Works of, 208, 
 220, 231, 242, 261, 297, 313, 322, 325, 
 348, 353, 367, 386, 388, 389, 393, 396, 
 409, 411 
 
 Cano, 163: Works of, 297, 315, 325, 
 
 354, 355, 356, 362, 411 
 Cantarini, S., Works of, 209, 250, 315, 
 
 367 
 
 Capelle, Van de, 140 ; Works of, 340, 
 396, 411 
 
 Caracci, Agostino, 75 ; Works of, 209, 
 
 261, 307, 325, 339, 345 
 Caracci, Annibale, 75 ; Works of, 209, 
 
 211, 220, 229, 233, 235, 245, 249, 252, 
 
 261, 297, 307, 313, 315, 325, 339, 348, 
 
 367, 396, 411 
 Caracci, Ludovico, 75 ; Works of, 209, 
 
 229, 245, 247, 249, 250, 251, 252, 325, 
 
 339, 368, 386, 393, 396, 411 
 Caravaggio, Polidoro da, 55 ; Works 
 
 of, 225, 232, 243, 297, 307, 348 
 Caravaggio, Amerighi da, 83 ; Works 
 
 of, 231, 245, 247, 248, 249, 254, 255, 
 
 260, 315, 325, 338, 347, 352, 368, 396, 
 
 411 
 
 Cardi, L. — see Cigoli. 
 
 Carducho, Works of, 315 
 
 Cariani, 58; Works of, 208, 229, 246, 
 
 317, 337 
 Carnieto, A., Works of, 336 
 Caroto, 37 ; Works of, 231, 269, 297 
 Carpaccio, 34; Works of, 208, 211, 
 
 229, 264, 297, 322, 339, 368, 393, 396 
 Carreiio — see Miranda. 
 Carucci — see Pontormo. 
 Casanova, 187 ; Works of, 377 
 Casentino, Jacopo di, 9; Works of, 
 
 220, 396 
 Cassel, Gallery of, 306 
 
426 
 
 INDEX. 
 
 Cassella, 37 ; Works of, 237 
 Castagno, Andrea del, 19 ; Works of, 
 
 212, 218, 241, 386 
 Oastiglione, Works of, 232 
 • Castillo, Ant. del. Works of, 411 
 Catalogue to Galleries of — 
 
 Amsterdam, 278 
 
 Antwerp, 271 
 
 Arezzo, 207 
 
 Augsburg, 293 
 
 Basle, 294 
 
 Bergamo, 207 
 
 Berlin, 296 
 
 Bologna, 209 
 
 Bordeaux, 364 
 
 Brescia, 211 
 
 Bruges, 273 
 
 Brunswick, 305 
 
 Brussels, 274 
 
 Buda-Pesth, 350 
 
 Cassel, 306 
 
 Cologne, 311 
 
 Darmstadt, 312 
 
 Dresden, 314 
 
 Dulwich, 383 
 
 Edinburgh, 385 
 
 Ferrara, 211 
 
 Florence, 212 
 
 Frankfort, 322 
 
 Genoa, 225 
 
 Glasgow, 388 
 
 Greenwich, 389 
 
 Haarlem, 285 
 
 Hague, 286 
 
 Hampton Court, 389 
 
 Leiden, 290 
 
 Lille, 364 
 
 Liverpool, 393 
 
 London, 395 
 
 Lucca, 226 
 
 Lyons, 365 
 
 Madrid, 355 
 
 Mantua, 227 
 
 Marseilles, 366 
 
 Milan, 227 
 
 Modena, 231 
 
 Montpellier, 366 
 
 Munich. 324 
 
 Naples, 232 
 
 Niirnberg, 332 
 
 Padua, 236 
 
 Paris, 367 
 
 Parma, 236 
 
 Perugia, 237 
 
 Pisa, 239 
 
 Prato, 241 
 
 Rome, 241 
 
 Rotterdam, 290 
 
 Seville, 362 
 
 Catalogue to Galleries of — continued. 
 
 Siena, 258 
 
 St. Petersburg, 410 
 
 Stuttgart, 335 
 
 Turin, 261 
 
 Venice, 263 
 
 Verona, 268 
 
 Vicenza, 270 
 
 Vienna, 336 
 Catena, Vicenzo, 34; Works of, 207, 
 229, 236, 264, 267, 297, 314, 315, 337, 
 351, 393, 395, 411 
 Cavallini, 4 
 
 Cavazzola, 371; Works of, 260, 315,400 
 Cavedone di Sassuolo, Works of, 209, 
 231 
 
 Caxes, Eugenio, Works of, 356 
 Century, The term, 1 
 
 ,, Thirteenth J Italian School 
 of, 2 
 
 Century, Fourteenth, Schools of : 
 
 Italian, 5 ; Flemish, 94 ; German, 145 
 Century, Fifteenth, Schools of : 
 
 Italian, 16 ; Flemish, 94 ; German, 
 
 145; Dutch, 116; Spanish, 159; 
 
 French, 174 
 Century, Sixteenth, Schools of : 
 
 Italian, 46 ; Flemish, 101 ; German, 
 
 148; Dutch, 117; Spanish, 159; 
 
 French, 174; English, 190 
 Century, Seventeenth, Schools of : 
 
 Italian, 75 ; Flemish, 104 ; German, 
 
 155; Dutch, 118; Spanish, 159; 
 
 French, 174; English, 190 
 Century, Eighteenth, Schools of : 
 
 Italian, 85 ; German, 155 ; Spanish, 
 
 171 ; French, 192 
 Cesare da Sesto, Works of, 227, 230, 
 
 232, 255, 262, 264, 322, 351, 371 
 Cespedes, Pablo de, 161 
 Ceulen, C. van. Works of, 291, 305, 
 
 315 
 
 Ceulen, J. van, Works of, 323 
 Champaigne, P. de, 112; Works of, 
 220, 275, 288, 292, 340, 353, 365, 372, 
 
 380, 396, 411 
 
 Chardin, 185 ; Works of, 349, 366, 377, 
 
 381, 383, 411 
 
 Chimenti. Jacopo, Works of, 220 
 Christus,' Petrus, 97; Works of, 261, 
 
 275, 297, 323, 356, 412 
 Chronological Tables of Painters : 
 
 Italian, 88; Flemish, 114; Dutch, 
 
 142; German, 158; Spanish, 173; 
 
 French, 188 ; English, 203 
 Cignani, Carlo, Works of, 249, 250, 
 
 261, 307, 315, 325, 339, 388 
 Cigoli, 82 ; Works of, 212, 216, 217, 
 
 220, 352, 411 
 
INDEX. 
 
 427 
 
 Cima— s^^ Conegliano. 
 Cimabue, 4 ; Works of, 212, 239, 269, 
 368, 396 ' > > > 
 
 Cinquecento, The term, 1 
 
 Ciroferri, Works of, 245 
 
 Claude Lorraine, 178 ; Works of, 220, 
 231, 234, 241, 252, 254, 275, 297, 318 
 325, 345, 346, 356, 377, 383, 397, 412 
 220*' Works of, 
 
 Clouet, Jean, j^ounger, 174 ; Works of, 
 378 
 
 Clouet, Fran9ois, 175 ; Works of, 271, 
 297, 315, 323, 342, 364, 377, 389, 397, 
 412 
 
 Cochereau, Works of, 378 
 Cock, M., Works of, 343 
 Cocques, 113 ; Works of, 288, 307, 354, 
 397 
 
 Coello, Alonso Sanchez, 160; Works 
 of, 275, 345, 356, 365, 407, 412 
 
 Coello, Claudio, 171 ; Works of, 325, 
 412 ' ' 
 
 Colle — see Raphael. 
 
 Cologne, School of, 145, 307, 313, 325, 
 397 J > > 
 
 Cologne Museum, Wallraf-Rlchartz, 
 311 
 
 Cologne, Master of. Works of, 325 
 
 „ Wilhelm of. Works of, 325 
 Colombel, 187 
 
 Conegliano, Cima da, 33 ? Works of 
 209, 229, 231, 237,264, 269, 270, 297,' 
 307, 315, 323, 325, 336, 347, 351, 368, 
 
 Congnet, G., Works of, 271 
 Conixloo, C. van, Works of, 275 
 Contarini, G., Works of, 229, 264 
 Cooper, S., 191 
 
 Copley, 200 ; Works of, 405, 407 
 Cordegliaghi, Andrea, Works of, 264 
 Corneille, 187 
 Cornells, Works of, 389 
 Cornelissen van Oostzanen, Works of 
 
 307 ' 
 Correa, D., Works of, 356 
 Correggio, 72 ; Works of, 220, 229, 231, 
 
 233, 237, 244, 252, 256, 269, 298 315 
 
 339, 347, 352, 356, 368, 388, 397, 412 
 Cortona, Pietro da, 80 ; Works of, 229, 
 
 247, 265, 338, 369, 412 
 Cosimo, Piero di, 27: Works of, 222 
 
 298, 351, 369, 401 ' 
 Cosmati, 4 
 
 Cossa, 36 ; Works of, 209 
 
 Costa, Lorenzo, 41, 42 ; Works of, 209 
 
 218, 229, 298, 364, 368, 39,7 
 Costa, Benedetto, Works of, 229 
 Cousin, Jean, 175 ; Works of, 378 
 
 Coxie, Michael, 101 : Works of, 271, 
 
 275, 298 
 
 Coypel, Noel, 181 ; Works of, 378 
 
 „ Antoine, 187 ; Works of, 378 
 Cozens, John, 202 
 Cozzareli, G., Works of, 351 
 Craesbeeck, J. van. Works of, 271 
 Cranach, Lucas, elder, 154 ; Works of, 
 220, 246, 254, 271, 275, 293, 298, 305, 
 307, 313, 316, 326, 333, 334, 335, 336, 
 343, 350, 356, 372, 391, 393, 397, 
 412 J > 5 J 
 
 Cranach, Lucas, younger, 155 ; Works 
 
 of, 298, 305, 313, 333, 336, 343, 391 
 Crayer, Gaspard de, 112; Works of, 
 
 271, 275, 307, 326, 340, 364, 372 
 Credi, Lorenzo di, 23 ; Works of, 212, 
 214, 220, 234, 243, 244, 261, 298, 374, 
 316, 326, 368, 393, 397 
 Cremona, Niccolb da, Works of, 209 
 
 „ School of, 82 
 Crespi, G. M., Works of, 216, 261, 412 
 ,, G. B., Works of, 261 
 „ Danielef Works of, 229 
 Cristoforo — see Casella. 
 Crivelli, Carlo, 31 ; Works of, 208 
 
 229, 244, 255, 269, 323, 351, 397 
 Crocefissi, 14 
 
 Crome, John, Works of, 405 
 
 Crosse, Lewis, 202 
 
 Crucifixes, The early, 2 
 
 Cuyp, Albert, 134 ; Works of, 275, 278, 
 283, 284, 286, 291, 298, 316, 323, 326 
 345, 353, 365, 373, 383, 397, 412 
 
 Cuyp, J. G., Works of, 291, 298 
 
 Daddi, Bernardo, Works of, 259 
 Dance, Nathaniel, 202 ; Works of, 389, 
 407 ' > ) 
 
 Dance, William, Works of, 389 
 
 Darmstadt, Gallery of, 312 
 
 David, Jacques Louis, 186 : Works of, 
 378 ^ 1 , 
 
 David — see Gherardt. 
 
 Decker, C, Works of, 291 
 
 Deelen, D. van, Works of, 291. 341, 
 
 386, 397 1 , •> 
 
 Delphius, Jacob, Works of, 291 
 Denner, 156 ; Works of, 298, 316, 326, 
 
 341, 373, 380, 389, 412 
 Deodati, Works of, 239 
 Descamps, Works of, 366 
 Desportes, Francois, 184: Works of, 
 
 378 ' 
 
 Deutsch, N. M., Works of, 295 
 
 Diamante, Fra, 20 
 
 Diana— scY? Benedetto. 
 
 Diepenbeck, A. van, 113; Works of, 
 342 J J > 
 
428 
 
 INDEX. 
 
 Dietrich, 156 ; Works of, 305, 316, 397, 
 412 
 
 Divino, El — see Morales. 
 Dobson, 191 ; Works of, 389, 407 
 Does, S. van der, Works of, 279 
 Dolci, Carlo, 83 ; Works of, 216, 217, 
 218, 220, 228, 245, 249, 298, 307, 316, 
 326, S(39, 347, 352, 365, 383, 412 
 Domenichino, 76; AVorks of, 209, 
 
 217, 218, 220, 226, 229, 234, 243, 245, 
 247, 253, 316, 347, 368, 383, 397, 412 
 
 Domenico — see Veniziano. 
 Donzello, Piero, Works of, 235 
 
 ,, Ippolito, Works of, 235 
 Dossi, Dosso, 56 ; Works of, 211, 216, 
 
 220, 229, 231, 244, 247, 275, 298, 316, 
 
 368, 390 
 
 Douven, J. F. van, Works of, 307 
 Dow, Gerhard, 130 ; Works of, 220, 
 
 224, 261, 275, 279, 283, 284, 287, 298, 
 
 305, 308, 316, 323, 326, 341, 346, 348, 
 
 366, 373, 383, 397, 412 
 Dresden, Royal Gallery, 314 
 Drost, Works of, 308 
 Dubbels, J., Works of, 308 
 Dubois, C, Works of, 338 
 Duccio da Siena, 5; Works of, 259, 
 
 397 
 
 Duck, A. J., Works of, 298 
 
 Ducq, J. le. Works of, 279, 336, 341, 
 
 373, 386, 412 
 Ducq, A. le. Works of, 349 
 Dufresno}^ 176, 179 ; Works of, 378 
 Dughet, Gaspar, 178 ; Works of, 
 
 218, 241, 250, 253, 261, 275, 279, 316, 
 326, 345, 356, 366, 383, 386, 397 
 
 Dulwich, Gallery of, 383 
 Dunwege, V. and H., Works of, 271 
 Diirer, 152 ; Works of, 208, 215, 320, 
 324, 235, 243, 249, 250, 279, 305, 308, 
 316, 323, 326, 333, 334, 343, 356, 373, 
 393, 397 
 
 Dusart, 134 ; Works of, 279, 284, 316, 
 
 341, 346, 354, 366, 383, 412 
 Dutch- 
 Portraiture, 117 
 Still-life, 124 
 Marine, 140 
 Interiors, 129 
 Landscape, 134 
 Dyck, Anton van, 110 ; Works of, 216, 
 220, 224, 225, 228, 229, 233, 235, 236, 
 241, 247, 248, 249, 250, 261, 264, 269, 
 271, 275, 279, 283, 288, 294, 298, 305, 
 308, 312, 316, 323, 326, 327, 336, 340, 
 341, 342, 345, 347, 348, 349, 354, 356, 
 357, 364, 373, 383, 386, 390, 397, 398, 
 407, 412, 413 
 Dyck, Philip van. Works of, 308 
 
 Eclectics, The term, 75 
 
 „ The School of Bologna, 75 
 „ The School of Cremona 
 and Milan, 82 
 Eclectics, The School of Rome, 82 
 Edinburgh, National Gallery, 385 
 Eeckhout, G. van den, 123 ; Works of, 
 279, 291, 298, 305, 313, 323, 327, 349, 
 413 
 
 Ehrenberg, W., Works of, 342 
 Elzheimer, 156; Works of, 308, 373, 398 
 Engelbertsz, 116; Works of, 261, 290, 
 398 
 
 Engelbrechsten, Cornells, Works of, 
 
 264, 327, 333 
 England, Painting in, 190 
 „ Galleries of, 383 
 Ercole Grande, Works of, 247, 250, 317, 
 
 394 
 
 Es, Van, Works of, 340, 349 
 Escalante, J. A., Works of, 357, 413 
 Essen, Jan van, 113 
 
 „ Jacob van. Works of, 357 
 Eusebio di S. Giorgio, Works of, 238 
 Everdingen, A. van, 141 ; Works of, 
 
 279, 283, 308, 323, 327, 336, 345, 413 
 Everdingen, C. van. Works of, 287 
 „ J. van. Works of, 298 
 
 Eversdyck, 120; Works of, 291 
 Eyck, Hubert van, 95, 116 ; Works of, 
 
 275 299 327 
 Eyck ' Jan van, 95 ; Works of, 235, 
 
 270, 271, 272, 273, 275, 299, 316, 323, 
 
 333, 343, 344, 346, 357, 373, 390, 393, 
 
 398, 413 
 
 Fabriano, School of, 14 
 
 Gentile da, 29, 30 ; Works 
 of, 212, 229, 238, 240, 248, 265, 316, 
 368, 393 
 
 Fabritius, C, Works of, 279, 291, 
 312 
 
 Fabritius, Bernhart, Works of, 305 
 Faes, P. van der. Works of, 413 
 Falcone, Aniello, 84 ; Works of, 357 
 Falconetto, G. M., Works of, 269 
 Farinato, P., Works of, 337 
 Febvre — see Lefebvre. 
 Ferrara, School of, 15th century, 35 
 
 „ „ 16th century, 55 
 
 „ The Ateneo, 211 
 Bono— see Bono. 
 Stefano da, 35; Works of, 
 
 295 
 
 Ferrari, Gaudenzio, 46 ; Works of, 229, 
 
 261, 368 ^ 
 Feti, Domenico, 83; Works of, 265, 
 
 316, 338, 352, 368, 413 
 Fiore — see Jacobello. 
 
INDEX. 
 
 429 
 
 Fiori, Mario dei, Works of, 245 
 Fiorenzo di Lorenzo, 39 ; Works of, 
 
 238, 244, 299 
 Firenze — see Andrea. 
 Flanders, Painting in, 94 
 Flatman, 202 
 
 Flinck, 124; Works of, 261, 272, 275, 
 291, 299, 305, 316, 340, 373, 413 
 
 Florence, School of, 13th century, 4, 
 305 
 
 Florence, School of, 14th century, 5 
 ,, School of, 15th century, 16, 
 
 368 
 
 Florence, School of, 16th century,' 47, 
 
 339 
 
 Florence, Academy, 212 
 
 „ Convent S. Marco, 214 
 „ Pitti Palace, 215 
 Uffizi Gallery, 219 
 Florigerio, Works of, 329 
 Floris, Frans, 102; Works of, 220, 
 
 272 275 299 344 
 Fogolino, Marcello, Works of, 208, 270 
 Fontainebleau, School of, 174 
 Fontana, Lavinia, Works of, 234 
 Foppa, Vincenzo, Works of, 208, 229, 
 396 
 
 Forli — see Melozzo. 
 Fosse, C. de la, 187 
 
 Fouquet, 174 ; Works of, 272, 348. 378 
 Fragonard, 184; Works of, 378, 381 
 France, Painting in, 174 
 ,, Galleries of, 364 
 Francesca, Piero della, 27 ; Works of, 
 
 218, 222, 238, 265, 401 
 Franceschini, Works of, 316, 347 
 Francia, Francesco, 55 ; Works of, 
 
 208, 209, 210, 220, 229, 232, 237, 244, 
 
 252, 261, 269, 299, 316, 323, 327, 336, 
 
 339, 352, 368, 390, 398, 413 
 Francia, Giacomo, 42 ; Works of, 209, 
 
 217,, 244, 247, 351 
 Francia, Jacopo, Works of, 351 
 
 „ Giulio,42 
 Francken, H., Works of, 279 
 „ F., Works of, 344 
 Franconian School, 73 
 Frankfort, Stadel Gallery, 322 
 Freminet, 176 ; Works of, 378 
 Frumenti, Niccolb, Works of, 235 
 Fungai^ 56 ; Works of, 260 
 Furini, F., Works of, 352, 386 
 Fuseli, 201 ; Works of, 393, 409 
 Fyt, Jan, 109; Works of, 229, 261, 
 
 272, 294, 299, 308, 316, 327, 340, 350, 
 
 357, 373, 380, 381, 386, 398, 413, 426 
 
 Gaddi, Taddeo, 8; Works of, 212, 
 238, 241, 299, 368, 398 
 
 Gaddi, Agnolo, 8 ; Works of, 212, 235, 
 
 241, 368 
 Gaddi, Gaddo, 4 
 
 Gaetano, Scipio, Works of, 245, 250, 
 254 
 
 Gainsborough, 196 ; Works of, 384, 
 
 385, 390, 405 
 Gandolfino, Works of, 262 
 Garbo, Rafaellino del, 27; Works of, 
 
 207, 302, 370 
 Garofalo, 55 ; Works of, 211, 212, 215, 
 
 216, 217, 218, 229, 232, 233, 234, 237, 
 244, 247, 250, 251, 255, 262, 265, 316, 
 317, 323, 327, 368, 386, 398, 413 
 
 Garzi, Luigi, Works of, 394 
 Gatta, Bart, della, 25 
 
 ,, Girolamo della. Works of, 207 
 Gatti, Bernardo, Works of, 233 
 Gaudenzio — see Ferrari. 
 Gelder, Works of, 279, 348 
 Gelee — see Claude. 
 Gennari, B., Works of, 352 
 Genoa, Palazzo Brignoli, 225 
 Gerard, Marc, 113 ; Works of, 390, 407 
 Gerini, Niccolb di Pietro, 10 ; Works 
 of, 212 
 
 Gerini, Lorenzo di Niccolb, 10 ; Works 
 of, 213 
 
 Gerino, da Pistoia, Works of, 221 
 Germany, Painting in, 145 
 ,, Galleries of, 293 
 Gherardt, David, 100 ; Works of, 274, 
 
 298, 398 
 
 Ghirlandajo, Domenico, 23; Works of, 
 212, 213, 214, 218, 221, 234, 258, 299, 
 317, 327, 364, 368, 414 
 
 Ghirlandajo, Michele, 25 ; Works of, 
 212 
 
 Ghirlandajo, Ridolfo, 24 ; Works of, 
 
 217, 221, 351 
 Giambono, M., Works of, 265 
 Gilio, Works of, 259 
 Gillot, 187 
 
 Giordano, Luca, 84; Works of, 229, 
 
 234, 235, 250, 265, 299, 317, 327, 339, 
 
 352, 357, 368, 3«^, 413 
 Giorgio, Fr. di, Works of, 221, 394 
 Giorgione, 57, 58, 64 ; Works of, 208, 
 
 216, 221, 232, 246, 250, 252, 254, 299, 
 
 305, 317, 327, 337, 351, 357, 368, 386, 
 
 388, 390, 393, 398 
 Giottino, 8; Works of, 221 
 Giotto, 6; Works of, 210, 213, 221, 
 
 229, 236, 237, 240, 262, 299, 327, 350, 
 
 368, 393, 398 
 Giotto, School of, 8 
 Giovanni da Pisa, 2 
 
 ,, daMilano, 9 ; Works of, 213, 
 
 222 241 
 
INDEX. 
 
 Giovanone, Works of, 262 
 Girolamo — see Treviso. 
 
 „ „ Libri. 
 Girtin, 202 
 Giunta — see Pisano. 
 Giusto Giovanni, 15 
 Glasgow Gallery, 388 
 Glauber [Polydor], Works of, 303 
 Goes, Hugo van der, 98 ; Wprks of, 
 
 221, 254, 327, 344, 398 
 Goltzius, Works of, 287, 414 
 Gomez, 170 ; Works of, 414 
 Gossaert, Jan — see Mabuse. 
 Goya, 171 ; Works of, 354, 357, 364, 371 
 Goyen, J. van, 135; Works of, 279, 
 
 286, 294, 299, 317, 323, 327, 336, 
 
 342, 364, 373, 409, 414 
 Gozzoli, Benozzo, 25; Works of, 221, 
 
 238, 240, 255, 339, 368, 398 
 Granacci, Franc, 24 ; Works of, 213 
 
 217, 221, 299, 327, 414 
 Grande — see Ercole. 
 Greco, II — see Theotocopuli. 
 Greenwich Hospital, 389 
 Greuze, 185 ; Works of, 299, 317, 366, 
 
 378, 381, 387, 390, 398, 414 
 Grien, J. B., Works of, 295 
 Griffier, G., Works of, 262 
 Griider, Works of, 295 
 Grun, Baldung, Works of, 296, 334 
 Griinewald, Works of, 327, 343 
 Guardi, 87; Works of, 208, 336, 368, 
 
 380, 388, 398 
 Guariento, 15 
 
 Guarino da Solofra, Works of, 234 
 
 Guercino, 79 ; Works of, 210, 216, 221, 
 225, 229, 232, 233, 245, 247, 249, 253, 
 254, 255, 256, 262, 276, 317, 345, 347, 
 357, 368, 384, 388, 398, 414 
 
 Guido Reni, 77 ; Works of, 210, 217, 
 223, 226, 230, 232, 235, 242, 243, 245, 
 247, 249, 250, 251, 253, 254, 255, 256, 
 262, 299, 306, 308, 319, 327, 330, 339, 
 347, 349, 352, 357, 365, 384, 387, 388, 
 390, 398; 418 
 
 Guido da Siena, 4 ; Works of, 259 
 ,, — see Cagnacci. 
 
 Gysels, P., Works of, 276, 313, 414 
 
 Haarlem, Townhall, 285 
 
 ,, Hofje van Beresteyn, 286 
 
 Geerrit van, 116 ; .Works of, 
 
 327, 344 
 
 Haarlem, Cornelis van, 117 ; Works of, 
 279, 285, 286, 298, 305, 357, 412 
 
 Hackaert, J., Works of, 279, 289, 291, 
 299, 308, 398, 414 
 
 Hagen, Van der, Works of, 278, 279 
 
 Hague, lioyal Museum, 286 
 
 Hague, Musee Communal, 286 
 Steengracht, 289 
 
 Hals, Frans, elder, 118 ; Works of, 272, 
 276, 279, 284, 285, 286, 291, 299, 305, 
 308, 317, 323, 327, 342, 348, 354, 364, 
 
 373, 380, 398, 414 
 
 Hals, F., younger. Works of, 299 
 
 „ Dirk, Works of, 283 
 Hamilton, J. G., Works of, 340 
 Hampton Court Palace, 389 
 Hales, Works of, 407 
 Hayman, 196 
 
 Heda, W. C, Works of, 313, 317 
 Heem, Jan David de, 124 ; Works of, 
 
 262, 279, 287, 291, 299, 302, 305, 308, 
 
 317, 323, 336, 350, 357, 373, 390, 414 
 Heem, Cornelis de, 125 ; Works of, 276, 
 
 287, 299, 317, 341, 345 
 Heem, Jan de, 125; Works of, 272, 
 
 276, 279, 317, 327, 341, 345 
 Heemskerck, Martin van, 117; Works 
 
 of, 285, 287, 299, 308, 333, 350, 390, 
 
 414 
 
 Heere, L. de, 190 ; Works of, 390 
 
 Heerschop, H., Works of, 299 
 
 Heist, Van der, 123 ; Works of, 217, 237, 
 
 276, 279, 285, 287, 291, 308, 317, 327, 
 
 346, 354, 364, 373, 387, 390, 414 
 Hemessen, C. van, Works of, 398 
 Herrera, The elder, 163, 164; Works - 
 
 of, 362, 371, 414 
 Herrera, The younger, 163 ; Works of, 
 
 357, 362 
 Heusch, W. de. Works of, 308 
 Heyden, Van der, 139 ; Works of, 221, 
 
 279, 283, 287, 306, 308, 317, 336, 346, 
 373 399 414 
 
 Hilliard, Nicholas, 190 ; Works of, 407 
 jjjj^g see Hyre. 
 
 Hobbema, M., 38 ; Works of, 272, 276, 
 
 280, 283, 284, 291, 294, 299, 317, 323, 
 327, 340, 346, 374, 384, 387, 399 
 
 Hoeckgeest, G. van, 141 ; Works of, 
 287 
 
 Hogarth, 193; Works of, 385, 407, 
 409 
 
 Holbein, The elder, 148 ; Works of, 294, 
 
 295, 323, 327, 333, 343 
 Holbein, The younger, 148 ; Works of, 
 
 217, 221, 235, 237, 246, 248, 262, 265, 
 272, 276, 289, 294, 295, 300, 306, 313, 
 317, 323, 327, 334, 343, 349, 350, 357, 
 
 374, 384, 390, 393, 407, 414 
 Holbein, Ambroise, Works of, 295, 343 
 Holland, Painting in, 116 
 
 „ Galleries of, 278 
 Holstcin, C, Works of, 308 
 Hondecoeter, Melchior, 125 ; Works of, 
 
 218, 265, 272, 276, 280, 287, 300, 306, 
 
431 
 
 308, 317, 323, 327, 335, 336, 345, 350, 
 
 353, 366, 390, 393, 399, 414 
 Hondecoeter, G., "Works of, 308 
 Hone, Nathaniel, 202 ; Works of, 407 
 Honthorst, Gerhard van, 129 ; Works 
 
 of, 221, 246, 251, 262, 280, 287, 308, 
 
 317, 327, 342, 374, 391, 407, 414 
 Hooghe, Pieter de, 130 ; Works of, 280, 
 
 283, 294, 289, 300, 327, 333, 336, 345, 
 
 364, 374, 399, 414 
 Hoogstraeten, S. van, Works of, 283, 
 
 287 340 
 
 Hoppner, 198; Works of, 391, 406, 407 
 Horemans, Pieter, Works of, 221 
 Horembout, Gerard, 94, 190 ; AVorks 
 
 of, 414 
 Horst, G., Works of, 300 
 Hoskyns, John, 190 
 Hudson, Thomas, 193 ; Works of, 407 
 Hugtenburg, 141 ; Works of, 276, 280 
 Huysum, Jan van, 125 ; Works of, 
 
 218, 280, 283, 287, 300, 302, 317, 336, 
 
 341, 345, 349, 365, 374, 384, 399, 414 
 Huysmans, C, 113; Works of, 276, 
 
 308, 366, 393, 399 
 Huysmans, J. B., Works of, 276, 407 
 Hyre, L. de La, 228, 229 ; Works of, 
 
 341, 378 
 
 IMOLA, I. da, 55 ; Works of, 210, 394 
 Italy, Painting in, 1 
 „ Galleries of, 207 
 
 Jacobello del Fiore, 30, 31 ; Works 
 
 of, 268, 265 
 Jacopo di Paolo, Works of, 208 
 James, Works of, 391 
 Jameson, George, 203 [414 
 Janssen, Cornelis, 141, 190 ; Works of, 
 Janssens, A., Works of, 308 
 Jardin, K. du, 179 ; Works of, 280, 287, 
 
 300, 308, 328, 353, 374, 384, 387, 399, 
 
 414 
 Jeaurat, 187 
 
 Jervas, 192 ; Works of, 407 
 Jones, Thomas, AVorks of, 414 
 Jordaens, Jacob, 109 ; Works of, 272, 
 
 276, 280, 308, 312, 317, 328, 336, 342, 
 
 349, 354, 357, 374, 415 
 Jouvenet, 181 ; Works of, 378 
 Juanes, Vicente, 159 ; Works of, 317, 
 
 357, 415 
 Juncker, Justus, Works of, 308 
 Justus of Ghent, 98 ; Works of, 272 
 
 „ of Padua, Works of, 399 
 Juvenal, Works of, 344 
 
 Kalf, 125 ; Works of, 280, 291, 317, 
 323, 328, 374, 380, 415 
 
 Karel — see Jardin. 
 
 Kaufmann, 157 ; Works of, 318, 328, 
 
 391, 407, 415 
 Kessel, J. van, 127 ; Works of, 291,354 
 Keyser, T. de, 119; Works of, 276, 
 
 280, 287, 300, 313, 328, 348, 399, 415 
 Knapton, Works of, 389, 391 
 Kneller, Sir Godfrey, 192 ; Works of, 
 
 294, 389, 391, 406, 407, 408, 415 
 Knupfer, N., Works of, 309 
 Koln, W. von, 145; Works of, 312^ 
 
 313, 405 
 
 Koning, Philip de, 139; Works of,. 
 
 280, 291, 323, 399 
 Koning, Salomon, Works of, 284, 29 K 
 
 300, 306 
 
 Kulmbach, Hans, Works of, 300, 328^ 
 334 
 
 Kupetzky, Works of, 333, 344 
 
 Laer, P van, 141 ; Works of, 309 
 Lairesse, J. G. de, 113: Works of, 280, 
 306, 309 
 
 Lambertini — see Bologna, Matteo da. 
 Lancret, 184 ; Works of, 300, 318, 366, 
 
 378, 381, 399, 415 
 Lanfranco, 80; Works of, 218, 221, 
 
 226, 235, 249, 318, 361 
 Lanini, B., Works of, 262, 399 
 Lanzani, P., Works of, 351 
 Largilliere, 182; Works of, 306, 353, 
 
 378, 381, 415 
 Lastman, P., Works of, 294 
 Lazari, S., Works of, 265 
 Leal, J. de Valdes, 171 ; Works of, 
 
 321, 357, 415 
 LeBrun, 176, 180; Works of, 224, 265, 
 
 300, 328, 350, 377, 380, 384, 415 
 Leeuw, P. van der. Works of. 291 
 Lefebvre, Claude, 187 ; Works of, 378, 
 
 408 
 
 Leiden, L. van, 117; Works of, 221, 
 228, 272, 290, 300, 313, 323, 328, 333, 
 344, 350, 391, 393 
 Leiden, Stedelyk Museum, 290 
 Lely, Sir P., 191 ; Works of, 389, 391,. 
 406, 408 
 
 Le Moine, 182 ; Works of, 379, 381 
 
 Le Nain, Antoine and Louis, 176 ;. 
 
 Works of, 222, 379, 381 
 Le Noir, 187 
 Lens, Bernard, 202 
 Leonardo— Si?(? Vinci. 
 Le Sueur, 176, 179; Works of, 346,379' 
 Leux, Works of, 343, 354 
 Liberale da Verona, 48 ; Works of, 229 
 Libri, Girolamo dai, 37 ; Works of,. 
 
 269, 300, 393, 399 
 Licinio — see Pordenonc. 
 
432 
 
 INDEX, 
 
 Lievens, Works of, 252, 262, 306 
 Lille, Gallery of, 364 
 li'I-ngegno, Works of, 399 
 Lingelbach, 139 ; Works of, 279, 280, 
 
 287, 374, 415 
 Liotard, Works of, 280 
 Lippi, Filippo, 19 ; Works of, 207, 213, 
 
 214, 218, 221, 226, 234, 240, 241, 251, 
 
 300, 323, 328, 351, 369, 387, 399 
 Lippi, Filippino, 19, 22, 27 ; Works of, 
 
 213, 218, 221, 300, 318, 327, 328, 393, 
 
 394, 399 
 
 Liverpool, Royal Institution, 393 
 Lochner, Steplian, 146 ; Works of, 311, 
 
 313, 323, 398 
 Lodi — see Calisto. 
 Loethener — see Lochner. 
 Lombard, School of, 15th century, 43 
 „ Lambert — see Susterraann. 
 Lomi, Works of, 262 
 London, National Gallery, 395 
 ,, South Kensington, 407 
 „ Soane's Museum, 409 
 Xonghi, Luca, Works of, 229 
 
 „ Pietro, Works of, 391 
 Xoo, C. van, 182 ; Works of, 221, 378, 
 408 
 
 Xoo, X B. van, 182, 187 ; Works of, 
 
 378, 415 
 Looten, J. van, Works of, 309 
 Xorenzetti, Ambrogio, 10, 13 ; Works 
 
 of, 213, 214, 258, 259, 300 
 Xorenzetti, Pietro, 10, 13 ; Works of, 
 
 258, 259, 351 
 Xorenzo — see Veniziano. 
 „ — see Monaco. 
 ,, di Niccolb — see Gerini. 
 Xorraine — see Claude. 
 Xoschi, Jacopo, 37 
 
 Xotto, Lorenzo, 66 ; Works of, 208, 
 211, 216, 221, 229, 233, 236, 246, 248, 
 252, 255, 300, 328, 337, 351, 357, 369, 
 391 399 415 
 
 Louth'erbourg, 202 ; Works of, 389 
 
 Xucatelli, Works of, 388 
 
 Xucca, Communal Gallery, 226 
 
 Xuini, Bernardino, 44; Works of, 221, 
 227, 230, 234, 328, 339, 352, 357, 358, 
 369, 404, 415 
 
 Luti, B., Works of, 241, 415 
 
 Lyons, Museum, 365 
 
 Lys, Works of, 309 
 
 Maas, Nicholas, 129, 132 ; Works of, 
 276, 280, 283, 284, 291, 300, 318, 328, 
 374, 381, 399, 415 
 
 Mabuse, Jan, 133 ; Works of, 272, 276, 
 300, 328, 333, 344, 374, 391, 399 
 
 3Iacchiavelli, Zanobi, 26 ; Works of .240 
 
 Macrino d'Alba, Works of, 262, 323 
 Madrid, Academia de San Fernando, 
 
 355 
 
 Madrid, Royal Museum, 355 
 Mainardi, 25 ; Works of, 300, 369 
 Malombra, Works of, 358 
 Malwel, 94 
 
 Manfredi, B., Works of, 215 
 Manni, Giovanni, Works of, 238 
 
 ,, Gianniccola, Works of, 239 
 Mans, F. H., Works of, 394 
 Mansueti, 34 ; Works of, 208, 230, 265, 
 
 351 
 
 Mantegna, Andrea, 34, 35, 36 ; Works 
 of, 208, 221, 227, 230, 233, 236, 237, 
 
 238, 251, 254, 255, 262, 265, 296, 300, 
 323, 328, 339, 358, 369, 391, 394, 399 
 
 Mantovano, Rinaldo, Works of, 227 
 Mantua, Palazzo del Tfe, 227 
 „ Ducal Palace, 227 
 „ Castello di Corti. 227 
 Maratta, 104 ; Works of, 216, 241, 249, 
 
 250, 251, 255, 276, 300, 318, 328, 338 , 
 
 347, 369, 399, 415 
 Marco Bello, Works of, 351 
 Marcellit, O., Works of, 292 
 Marconi, Rocco, Works of, 250, 265 
 Marcus Venetus, Works of, 208 
 Margaritone d'Arezzo, 3; Works of, 
 
 207, 238, 259, 394, 400 
 Marinus, Works of, 328 
 Mariotto — see Albertinelli. 
 Marseilles, Gallery of, 366 
 Martini, Simone, 12 ; Works of, 221, 
 
 239, 258, 272, 394 
 
 Marziale, Marco, Works of, 208, 265, 
 400 
 
 Masaccio, 18 ; Works of, 213, 221, 240, 
 
 243, 328, 394 
 
 Masolino, 18 ; Works of, 328, 394 
 Master of ' Death of the Virgin,' 147 ; 
 
 Works of, 300, 309, 312, 323, 328, 
 
 344 
 
 Master of ' Liesborn,' 147 ; Works of, 
 387, 400 
 
 Master of * Lyversberg Passion,' 146 ; 
 Works of, 348, 312, 326, 328, 387, 
 400 
 
 Matsys, Quintin, 101 ; Works of, 224, 
 
 252, 272, 276, 300, 318, 328, 333, 344, 
 
 374, 400, 415 
 Matteo, da Siena, 38; Works of, 234, 
 
 258, 260, 394 
 Mazo, Del, 167 ; Works of, 358 
 Mazzola, Filippo, 37; Works of, 237, 
 
 252 
 
 3Iazzolino, Ludovico, Works of, 212, 
 
 244, 252, 400 
 
 Mazzuoli — see Parmegianino. 
 
INDEX. 
 
 433 
 
 Meckenen, I. von, 146 ; Works of, 333 
 Meer, Van der, of Delft, 131 ; Works 
 
 of, 283, 284, 287, 300, 301, 306, 318, 
 
 336, 342, 345, 364, 374, 415 
 Meer, Van der, of Haarlem, Works of, 
 
 280, 291 
 Meert, P., Works of, 276 
 Meire, Gerard van der, 97 ; Works of, 
 
 252, 267, 272, 400 
 Melchiore, Works of, 237 
 Melem, Hans van, Works of, 328 
 Melone, Works of, 208 
 Melozzo da Forli, 28 ; Works of, 256, 
 
 299, 400 
 Melzi, F., Works of, 301 
 Memling, Hans, 99 ; Works of, 221, 
 
 252, 262, 267, 272, 274, 276, 301, 313, 
 
 318, 323, 328, 343, 344, 350, 374, 400 
 Memmi, Lippo, 12 ; Works of, 259 
 Menendez, Works of, 358 
 Mengs, Raphael, 156; Works of, 228, 
 
 230, 232, 242, 328, 358, 415 
 Meo da Siena, Works of, 238 
 Metsu, G., 129, 132 ; Works of, 222, 
 
 276, 280, 283, 287, 301, 306, 309, 318, 
 
 328, 341, 346, 353, 358, 366, 374, 400, 
 
 409, 415 
 
 Meulen, A. van der, 113 ; Works of, 
 
 276, 309, 374, 375, 387, 415 
 Meulen, J. van der. Works of, 318 
 Michael Angelo, 48, 69 ; Works of, 
 
 222, 233, 245, 247, 253, 257, 365, 387, 
 
 394, 400, 401 
 Michele, Lambertini, 14 
 Mierevelt, Michael van, 118 ; Works 
 
 of, 235, 265, 280, 283, 287, 291, 301, 
 
 353, 408, 415 
 Mierevelt, P. van. Works of, 318 
 Mieris, Frans van, elder, 129, 133 ; 
 
 Works of, 222, 262, 280, 283, 287, 318, 
 
 328, 329, 341, 366, 375, 400, 416 
 Mieris, Frans van, younger, 133 ; 
 
 Works of, 309 
 Mieris, Willem van, 133 ; Works of, 
 
 276, 280, 287, 306, 309, 318, 375, 400, 
 
 416 
 
 Mieris, J. van. Works of, 416 
 Mignard, Pierre, 176, 179, 180; 
 
 Works of, 222, 301, 358, 378, 379, 408, 
 
 416 
 
 Mignard, Nicholas, 180 
 
 Mignon, 125 ; Works of, 222, 262, 280, 
 
 283,306, 309, 318, 329, 349, 375, 416 
 Milan, Ambrosiana, 227 
 
 ,, Brera, 228 
 Milano — see Giovanni da. 
 Millans, Works of, 391 
 Millet, 113; Works of, 323 
 Mino, Jacopo di. Works of, 259 
 
 Miranda, De, 170 ; Works of, 356, 297 
 Modena, School of, 14th century, 14 
 ,, Galleria Estense, 231 
 „ Tommaso da, 14 ; Works of, 
 232, 265 
 
 Modena, Parantino da. Works of, 251 
 ,, Barnaba da, 14; Works of, 
 
 239, 322 
 Moeyart, Works of, 280 
 Mola, Works of, 241, 245, 248, 369, 388 
 Molenaer, N., Works of, 309, 354 
 Mommers, H., Works of, 301 
 Monaco, Lorenzo, 17; Works of, 212, 
 
 213, 219, 221 
 Monnoyer, 185 ; Works of, 329, 391 
 Monrealese, Works of, 234 
 Montagna, Bart., 36; Works of, 208, 
 
 230, 265, 270, 301, 369 
 Montpellier, Musee Fabre, 366 
 
 ,, ,, Bernard, 366 
 
 Morales, 160; Works of, 318, 355, 
 
 358, 371, 416 
 Morandi — see Cavazzola. 
 Moreels, J., Works of, 309 
 Moreelse, 118; Works of, 280, 287, 
 
 291, 312, 318, 416 
 Moretto, II, 66; Works of, 211, 222, 
 
 225, 230, 233, 256, 262, 265, 301, 318, 
 
 323, 329, 337, 347, 369, 400, 416 
 Morland, 201 ; Works of, 406, 408 
 Moro, Antonio, 102; Works of, 190, 
 
 237, 287, 301, 306, 309, 311, 318, 329, 
 
 343, 344, 358, 391, 400, 408, 416 
 Morone, Domenico, 37 ; Works of, 
 
 216, 260 
 
 Morone, Francesco, 37 ; Works of, 208, 
 
 230, 236, 269, 301, 351,400 
 Moroni, Giov. Batt., 67 ; Works of, 
 
 208, 211, 222, 228, 230, 248, 254, 265, 
 
 294, 301, 318, 323, 329, 400, 416 
 Mostaert, J., Works of, 272, 276 
 Moucheron, 141 ; Works of, 280, 309, 
 
 340, 353, 400, 416 
 Moya, Pedro de, Works of, 345, 354, 416 
 Mudo, El — see Navarrete. 
 Munich, Royal Pinacothek, 324 
 Murano, School of, 15th century, 30 
 ,, Giov. and Anton, da — see 
 
 Vivarini. 
 Murano, Andrea da, 31 
 
 ,, Bernardino da. Works of, 
 
 270 
 
 Murillo, 167; Works of, 215, 237, 250, 
 255, 276, 280, 289, 292, 301, 318, 329, 
 336, 345, 354, 355, 358, 362, 371, 384, 
 387, 388, 400, 416 
 
 Musscher, M. van, 141 ; Works of, 
 272, 283, 287 
 I Mutina, Th. van. Works of, 343 
 
 2 F 
 
434 
 
 INDEX. 
 
 Mytens, Daniel, 119, 190; Works of. 
 
 262, 291, 391 
 Mytens, younger, 119 
 
 „ J., Works of, 272 
 
 „ A., Works of, 280 
 
 Nain — see Le Nain. 
 Naples, Museum, 232 
 Nasmyth, A., Works of, 408 
 Nason, P., Works of, 287, 291, 301 
 Natoire, Works of, 380 
 Nattier, 187 
 
 Naturalist, The term, 75, 83 
 
 „ The School of Naples, 83 
 Navarrete, 160 ; Works of, 358 
 Neefs, Pieter, elder, 113; Works of, 
 
 222, 262, 276, 281, 309, 318, 323, 329, 
 
 341, 358, 375, 384, 387, 416 
 Neefs, Pieter, younger, 113; Works of, 
 
 262 
 
 Neer, Artus van der, 139; Works of, 
 272, 276, 281, 283, 301, 309, 314, 329, 
 335, 340, 346, 375, 384, 400, 416 
 
 Neer, Eglon van der, Works of, 222, 
 329, 349 
 
 Netscher, Gaspar, 133 ; Works of, 262, 
 281, 283, 287, 301, 309, 318, 323, 329, 
 335, 353, 375, 400, 401, 416 
 
 Netscher, Constantin, Works of, 416 
 
 Neuchatel, Works of, 309, 329, 350 
 
 Niccola da Pisa, 2 
 
 Nieulant, Adrian van. Works of, 276 
 Northcote, James, Works of, 394 
 Niirnberg, Museum, 332 
 
 „ Gallery of Moritz-Kapelle, 
 333 
 
 Nuzi, Allegretto, 14, 29 
 
 OCHTERVELT, JACOB, Works of, 416 
 Oggione, Marco d', 43 ; Works of, 230 
 Olanda, Lucas d'. Works of, 235 
 Oliver, Isaac, 190 
 
 „ Peter, 190 
 Oost, Jacques van, elder, 113; Works 
 
 of, 274, 416 
 Oost, Jacques van, younger, 113 ; 
 
 Works of, 274 
 Oostzanen — see Cornelissen. 
 Opie, John, 199 ; Works of, 384, 389, 
 
 406, 408 
 
 Orcagna, 11 ; Works of, 240, 401 
 
 Orizzonte, Works of, 250 
 
 Orley, Bernard van, 101 ; Works of, 
 
 272, 276, 318, 344, 349, 394, 417 
 Orrente, Works of, 353 
 Os, Jan van, 141 ; Works of, 294, 373, 
 
 401 
 
 Ostade, A. van, 126, 127 ; Works of, 
 272, 276, 281, 284, 287, 290, 309, 314, 
 
 318, 329, 346, 354, 375, 381, 384, 40b 
 409, 417 
 
 Ostade, Isaac van, 127 ; Works of, 276, 
 
 281, 283, 329, 375, 381, 401, 417 
 Ostendorfer, M., Works of, 334 
 Oudry, 184; Works of, 379, 408 
 Ou water, A. van, 116 
 
 Pacchia, Del, 56 ; Works of, 260 
 Pacchiarotti, 56, 174 ; Works of, 213, 
 260, 401 
 
 Pacheco, 162, 164 ; Works of, 358, 363 
 Pacino di Bonaguida, Works of, 241 
 Padovanino, Works of, 245, 260, 265, 
 
 318, 336, 392, 401 
 Padua, School of 15th century, 34 
 
 ,, Museo Civico, 236 
 Pagano, Gaspar, Works of, 232 
 Palamedes, Works of, 242, 276, 286, 
 
 301, 391 
 
 Palma Vecchio, 59 ; Works of, 208, 
 215, 216, 217, 222, 230, 232, 234, 
 236, 243, 246, 248, 254, 260, 265, 267, 
 301, 305, 319, 327, 329, 337, 338, 358, 
 369, 391, 417 
 
 Palma, The younger, Works of, 234, 
 265, 266, 267, 309 
 
 Palmegiani, Works of, 254 
 
 Palmezzano, 28; Works of, 222, 230, 
 301, 329, 369, 393, 401 
 
 Pannini, Works of, 232, 262, 276, 369, 
 387 
 
 Pantoja della Cruz, Works of, 329, 358 
 Paolino, Fra, Works of, 213, 226 
 Paolo, Jacopo di, 14 
 
 „ Giovanni di. Works of, 259 
 Papa — see Simone. 
 Pape, O. de. Works of, 287 
 Pareja, 167 ; Works of, 358, 417 
 Paris, The Louvre, 367 
 Parma, School of 15th century, 38 
 
 ,, Pinacoteca, 237 
 Parmegianino, II, 74; Works of, 210, 
 
 217, 232, 234, 237, 244, 269, 309, 319, 
 
 358, 401 
 
 Parrocel, Joseph, 181 ; Works of, 379 
 
 ,, Charles, 181 
 Pasinelli, Works of, 347 
 Pasqualino, Works of, 243, 246, 393 
 Patel, Pierre, 187 ; Works of, 379 
 Pater, J. B., 184 ; Works of, 319, 379, 
 382, 387 
 
 Patinir, 100, 102; Works of, 272, 301, 
 
 313, 344, 359, 401 
 Paudiss, Ch., Works of, 329 
 Paulus, 15 ; Works of, 270 
 Pedrini, G., Works of, 352 
 Peeters, 113; Works of, 281, 359 
 Pellegrino, 68 ; Works of, 265, 368, 401 
 
435 
 
 Pencz, 154; Works of, 301, 306, 333, 
 334, 343 
 
 Penni, G. Fran., 53, 55 ; Works of, 
 
 256, 257, 262 
 Penni, Luca, 174 
 Perugia, Pinacoteca, 237 
 
 „ Sala del Cambio, 239 
 Perugino, 39 ; Works of, 210, 213, 214, 
 215, 216, 217, 222, 226, 233, 238, 239, 
 242, 244, 247, 251, 254, 255, 256, 258, 
 276, 301, 323, 329,338, 346, 347, 364, 
 365, 369, 401 
 Peruzzi, 57 ; Works of, 218, 244, 253, 
 
 257, 401 
 
 Pesello, 20 ; Works of, 222 
 
 Pesellino, 20 ; Works of, 213, 251, 369, 
 
 394, 401 
 Pesne, 187 ; Works of, 301 
 Pierson, Works of, 301 
 Pietrino, Gian., Works of, 239 
 Pietro, Sano di, 38 ; Works of, 258, 260 
 „ Niccolo di, Works of, 237 
 „ Cecco di. Works of, 239 
 Pinturicchio, 40 ; Works of, 218, 334, 
 
 238, 244, 256, 260, 301, 351, 369, 401 
 Piombo, Sebastiano del, 59 ; Works of, 
 
 208, 217, 218, 222, 233, 234, 237, 244, 
 
 252, 301, 319, 323, 329, 337, 359, 369, 
 
 392, 401, 417 
 Pisa, School of, 13th century, 3 
 
 ,, ,, 14th century, 14 
 
 ,, Campo Santo, 10, 240 
 Accademia, 239 
 Pisano Giunta, 3 
 
 ,, of Verona, Works of, 401 
 Platzer, J. van. Works of, 309 
 Poel, E. van der, 141 ; Works of, 231, 
 
 401, 417 
 
 Poeienburg, 141 ; Works of, 281, 309, 
 
 349, 384, 396, 401, 417 
 Pollajuolo, Antonio, 21 ; Works of, 
 
 218, 222, 232, 244, 262, 301, 329, 401 
 Pollajuolo, Pietro, 21 ; Works of, 222, 
 
 301, 329 
 Pomerancio, Works of, 243 
 Ponte — see Bassano. 
 Pontormo, Jacopo, 50 ; Works of, 216, 
 
 222, 226, 369, 401 
 Poorter, Willem de, Works of, 291, 
 
 309 
 
 Pordenone, Giovanni, 65 ; Works of, 
 
 215, 222, 246, 252, 254, 319, 327, 329, 
 
 359, 371, 392, 417 
 Pordenone, Bernardino, 65 ; Works 
 
 of, 246, 266, 301, 319, 351, 392, 417 
 Porta — see Bartolommeo. 
 Porte, R. de la, 187 ; Works of, 379, 
 
 382 
 
 Portugal, Painting in, 171 
 
 Pottenburg, C, Works of, 319 
 Potter, Paul, 137; Works of, 246, 
 
 262, 281, 283, 284, 287, 289, 301, 309, 
 
 314, 319, 329, 346, 375, 401, 409, 417 
 Potter, Pieter, Works of, 301 
 Pourbus, Peter, 103 ; Works of, 274, 
 
 288, 344, 375 
 Pourbus, P., younger. Works of, 344 
 ,, Frans, elder, 103 ; Works 
 
 of, 344, 417 
 Pourbus, Frans, younger, 103 ; Works 
 
 of, 277, 288, 344, 348, 375 
 Poussin, 176, 177; Works of, 243, 
 
 250, 256, 301, 302, 309, 319, 329, 
 
 345, ,349, 359, 366, 379, 384, 387, 
 
 392; 394, 417 
 Prato, Municipal Gallery, 241 
 Previtale, 34; Works of, 208, 230, 
 
 236, 315,351, 402 
 Primaticcio, 55, 174; Works of, 227, 
 
 346 
 
 Procaccini, Ercole, 82 
 
 „ Camillo, 82 ; Works of, 
 
 294, 319, 347, 417 
 Procaccini, Giulio Cesare, 82 ; Works 
 
 of, 302, 319, 329, 349, 369, 388, 417 
 Puccio, Pietro di, 11 ; Works of, 240 
 
 „ di Simone, Works of, 214 
 Pulzone, S., Works of, 329 
 Pussini, Works of, 242 
 Pynacker, 139; Works of, 231, 287, 
 
 291, 345, 353, 381, 384, 387, 417 
 
 QUATTROCENTISTI Masters, 16 
 ,, The term, 1 
 
 Quellinus, 113; Works of, 277, 302, 
 I 348 
 
 I Raeburn, 199 ; Works of, 386, 403 
 
 ! liafaellino — see Garbo. 
 
 i llamenghi — see Bagnacavallo. 
 
 Kamsay, 193; Works of, 386 
 
 Uaoux, 187 
 
 Raphael, 51 ; Works of, 208, 210, 
 211, 215, 216, 217, 222, 223, 224, 
 228, 230, 234, 238, 242, 244, 245, 
 252, 254, 255, 256, 257, 262, 302, 
 319, 329, 338, 347, 352, 359, 365, 
 366, 370, 384, 388, 392, 394, 402, 417 
 
 Raphael del CoUe, 53 ; Works of, 
 256, 257 
 
 Ravesteyn, 118; Works of, 262, 277, 
 286, 287, 302, 306, 309, 319, 329, 364, 
 381 
 
 Read, Works of, 392 
 
 Rembrandt, 120 ; Works of, 215, 223, 
 230, 262, 272, 277, 281, 282, 283, 
 284, 287, 289, 291, 294, 302, 306, 
 309, 310, 314, 319, 323, 329, 336, 
 
\ 
 
 436 INDEX. 
 
 345, 348, 349, 354, 359, 375, 381, 
 384, 387, 392, 402, 409, 417, 418 
 
 Kenaissance, The term, 16 
 
 Rene d'Anjou, 174 
 
 Reni — see Guido. 
 
 Reynolds, Sir Joshua, 194 ; Works of, 
 366, 384, 386, 389, 406, 408, 409, 418 
 
 Ribalta, Francisco de, 161 ; Works of, 
 359, 418 
 
 Ribalta, Juan de, 161 
 
 Ribera, Jose de [Spagnoletto], 84, 
 162 ; Works of, 215, 223, 233, 234, 
 242, 245, 250, 256, 262, 294, 302, 
 310, 319, 324, 330, 354, 359, 372, 
 380, 418 
 
 Ricci, Sebastiano, Works of, 370, 
 
 388, 392 
 Ricci, D., Works of, 352 
 Riccio, Felice, Works of, 370 
 Richardson, 192 ; Works of, 408 
 Rigaud, 182 ; Works of, 306, 319, 
 
 341, 379, 382, 384, 385, 402, 408, 418 
 Riley, 192 ; Works of, 392, 408 
 Rincon, 159 ; Works of, 418 
 Ring, L. van. Works of, 302 
 Rizi, F., Works of, 359 
 Robusti, Jacopo — see Tintoretto. 
 Roelas, 162 ; Works of, 359, 363, 418 
 Roestraten, Works of, 392 
 Roghman, R., Works of, 310 
 Romano, Giulio, 53, 54; Works of, 
 
 215, 216, 223, 227, 233, 242, 244, 
 
 249, 253, 256, 257, 319, 338, 370, 
 
 387, 394, 402, 417, 418 
 Romano, Pietro del, Works of, 306 
 Romanino, 11, 67 ; Works of, 211, 230, 
 
 236, 252, 302, 402 
 Rombouts, Theodore, 113; Works of, 
 
 284, 419 
 
 Rome, School of, 16th century, 51 
 
 „ Accademia di San Luca, 241 
 
 „ Villa Albani, 242 
 
 ,, Barberini Palace, 243 
 
 ,, Borghese Palace, 243 
 
 „ Gallery of Capitol, 247 
 
 ,, Colonna Palace, 248 
 
 ,, Corsini Palace, 249 
 
 ,, Doria Palace, 251 
 
 ,, Farnese Palace, 252 
 
 „ Farnesina Palace, 253 
 
 ,, Ludovisi Villa, 253 
 
 ,, Rospigliosi Palace, 253 
 Sciarra Palace, 254 
 
 ,, Spada Palace, 254 
 
 ,, Vatican Collection, 255 
 Romerswale, M. van, Works of, 402 
 Romeyn, Willem, Works of, 281, 353 
 Romney, 198; Works of, 389, 394, 
 
 406, 408 
 
 Rondinelli, N., Works of, 230, 251 
 Roos, 156 ; Works of, 310 
 Rosa, Salvator, 84 ; Works of, 217, 
 218, 223, 224, 230, 233, 248, 260, 302, 
 
 319, 338, 366, 370, 385, 387, 394, 402, 
 419 
 
 Rosa di Tivoli, Works of, 394, 419 
 ,, Pacecco di. Works of, 235 
 
 Rosselli, Cosimo, 23, 26, 27, 47 ; Works 
 of, 234, 258, 302, 370, 402 
 
 Rosselli, Matteo, Works of, 215, 352 
 
 Rosso, II, 174 
 
 Rottenhammer, 155 ; Works of, 297, 
 310, 342, 375, 402, 419 
 
 Rotterdam, Museum, 290 
 
 Rubens, 104; Works of, 215, 216, 223, 
 224, 230, 247, 248, 250, 272, 273, 277, 
 283, 288, 289, 302, 310, 312, 314, 319, 
 
 320, 324, 330, 336, 341, 345, 347, 348, 
 349, 354, 359, 360, 365, 375, 376, 381, 
 385, 394, 402, 409, 419 
 
 Rugendas, Works of, 345 
 
 Runciman, J., Works of, 386 
 
 Rusutti, 4 ' 
 
 Russia, Galleries of, 410 
 
 Ruysch, 125 ; Works of, 218, 223, 281, 
 
 287, 291, 302, 306, 324, 330, 336, 341, 
 
 345, 349 
 
 Ruysdael, Jacob, 138 ; Works of, 273, 
 277, 281, 283, 285, 288, 303, 306, 310, 
 320, 324, 330, 336, 340, 346, 360, 376, 
 385, 387, 402, 403, 409, 419 
 
 Ruysdael, Solomon, Works of, 281, 
 310, 346 
 
 Ryckaert, D., 141 ; Works of, 277, 
 
 320, 342, 345, 349, 360, 376 
 Rycker, D., Works of, 272 
 Ryng, P. de. Works of, 273, 319 
 
 Sacchi, Fr., Works of, 303, 370 
 
 „ Andrea, 79, 177 ; Works of, 
 243 256 
 
 Salaino, A. del. Works of, 223, 230 
 Salerno, Andrea da, Works of, 235, 352 
 Sallaert, Works of, 262, 277, 303 
 Salmeggia, II, Works of, 230 
 Salviati, Works of, 253, 258 
 Sandby, 202 
 
 Sandrart,156 ; Works of, 281 
 Sandvoort, Works of, 281, 291, 314 
 Santa Croce, Franc, Works of, 208 
 
 ,, Girolamo, Works of, 208) 
 
 303, 393, 394, 403 
 Santerre, 181 ; Works of, 379 
 Santi, Giovanni, 28 ; Works of, 230, 
 
 248, 303, 403 
 Santi di Tito, Works of, 213 
 Sanzio — see Raphael. 
 Saraceni, Works of, 249 
 
INDEX. 
 
 437 
 
 Sarto, Andrea del, 49 ; Works of, 213, 
 216, 217, 218, 223, 224, 225, 234, 243, 
 244, 249, 320, 330, 331, 347, 360, 370, 
 385, 403, 419 
 
 Sassoferrato, 81 ; Works of, 223, 230, 
 232, 242, 245, 256, 303, 310, 324, 338, 
 345, 347, 370, 394, 403, 419 
 
 Sassuolo — see Cavedone. 
 
 Savery, 113; Works of, 281, 288, 341, 
 344, 403 
 
 Savoldo, G., Works of, 218, 223, 230, 
 
 262, 266, 303, 392, 403 
 Scarsellino, Works of, 212, 218, 230, 
 
 232 
 
 Schaffner, Martin, Works of, 331, 334 
 Schalken, 134 ; Works of, 223, 277, 
 
 281, 288, 294, 303, 310, 314, 320, 324, 
 
 341, 376, 403, 420 
 Schaufelin, H., Works of, 334 
 Schedone, 80 ; Works of, 232, 233, 237, 
 
 269, 331, 420 
 Schiavone, Gregorio, 35 ; Works of, 
 
 403 
 
 Schiavone, Andrea, 66 ; Works of, 208, 
 
 215, 337, 339, 351, 420 
 Schongauer, Martin [Schon.], 147 ; 
 
 Works of, 277, 295, 313, 331, 334, 343, 
 
 403 
 
 School, The term, 210 
 Schoorl, Jan, 117 ; Works of, 344, 403, 
 420 
 
 Schopfer, Hans, Works of, 334 
 Schuhlein, Hans, Works of, 331 
 SchUtz, C. G., Works of, 310 
 Schwarz, C, Works of, 306 
 Seghers, 302 ; Works of, 113, 273, 277 
 Segna, 5 ; Works of, 259, 403 
 Semitecolo, Niccolo, 16 ; Works of, 266, 
 267 
 
 Sesto, see Cesare. 
 Seville, Provincial Museum, 362 
 Siberechts, Jan, Works of, 277 
 Siena, School of, 13th century, 3, 5 
 14th „ 12 
 „ „ 15th „ 39 
 
 16th „ 56 
 ,, Palazzo Pubblico, 258 
 ,, Gallery of Fine Arts, 259 
 ,, Barnaba da. Works of, 261 
 Signorelli, 17, 25 ; Works of, 207, 213, 
 214, 218, 223, 230, 258, 260, 303, 320, 
 339, 351, 370, 394, 403 
 Silvestro, Don, Works of, 394 
 Simone Papa, Works of, 235 
 Sirani, 108 ; Works of, 210, 245, 247, 
 
 254, 262, 339, 348, 387, 420 
 Slingeland, Van, 134 ; Works of, 223, 
 
 281, 330, 324, 376, 385 
 Smeyers, Works of, 227 
 
 Smith, 202 
 
 Snayers, PieteV, 113; Works of, 277, 
 
 342, 354, 392 
 
 Snyders, Frans, 109; Works of, 223, 
 231, 273, 277, 289, 303, 310, 320, 324, 
 331, 340, 360, 365, 381, 387, 420 
 
 Sodoma, II — see Bazzi. 
 
 Sogliani, Works of, 214 
 
 Solario, Andrea, 46 ; Works of, 228, 
 231, 244, 328, 370, 403, 415 
 
 Solario, Antonio (Lo Zingaro), Works 
 of, 235 
 
 Solimene, Works of, 353, 388, 394 
 Solofra, Guarino da. Works of, 234 
 Somer, Paul van. Works of, 392 
 Sorg — see Zorg. 
 
 Spada, 81; Works of, 232, 246, 370, 
 388 
 
 Spadaro, Micco, Works of, 235 
 Spagna, Lo, 40; Works of, 238, 248, 
 
 256, 302, 370, 403 
 Spagnoletto, 1*0— see Ribera. 
 Spain, Painting in, 159 
 
 ,, Galleries of, 355 
 Spencer, 202 
 Speranza, Works of, 236 
 Spinello Aretino, 10 ; Works of, 213, 
 
 214, 240, 244, 258, 269, 350, 403 
 Spinello, Parri, Works of, 207 
 Spronck, Works of, 281 
 Sprong, G., Works of, 376 
 Squarcione, 34 
 
 Staveren, J. A., Works of, 420 
 Steen, Jan, 167 ; Works of, 223, 266, 
 273, 277, 281, 283, 285, 288, 290, 291, 
 294, 303, 306, 310, 320, 324, 331, 342, 
 
 343, 353, 366, 376, 381, 387, 403, 420 
 Steenwyk, H. van, elder, 141 ; Works 
 
 of, 277, 306 
 Steenwyk, H. van, younger, 141 
 Stefano, Tommaso di — see Giottino. 
 
 „ 15, 16 ; Works of, 229, 266, 267 
 Stella, 187 
 
 Stevens, Works of, 306 
 
 Stimmer, T., Works of, 295 
 
 Stone, 191 ; Works of, 389, 392 
 
 Stoop, D., 141 ; Works of, 277 
 
 St. Petersburg, The Hermitage, 410 
 
 Strozzi, B., Works of, 232, 260, 262, 
 
 320, 352, 353, 420 
 Stubbs, 201 
 
 Stuttgart, Royal Gallery, 335 
 Subleyras, 182; Works of, 231, 320, 
 379 
 
 Sueur — see Le Sueur. 
 
 Sustermann, Lambert, 102; Works of, 
 
 276, 365, 415 
 Sustermans, Justus, 112 ; Works of, 
 
 217, 223, 226, 340, 387 
 
 1 
 
438 
 
 INDEX. 
 
 Swabian School, 147 
 Swanevelt, 141 
 
 Tafi, Andrea, 4 
 Tedesco — see Elzheimer. 
 Temple, A. van den, Works of, 291, 
 310 
 
 Teniers, The elder, 127; Works of, 
 
 223, 310, 320, 385, 403, 420 
 Teniers, The younger, 127 ; Works of, 
 249, 255, 262, 273, 277, 282, 283, 285, 
 289, 290, 303, 306, 310, 320, 321, 324, 
 331, 336, 342, 346, 349, 353, 360, 365, 
 366, 376, 381, 385, 387, 403, 409, 420 
 Terburg, 129; Works of, 223, 226, 
 273, 282, 284, 285, 288, 303, 310, 321, 
 324, 331, 342, 348, 349, 365, 366, 376, 
 381, 403, 421 
 Theotocopuli, 161 ; Works of, 414 
 Thome', Luca, Works of, 240, 260 
 Thornhill, Sir James, 192 ; Works of, 
 389, 392 
 
 Thulden, Theodore van, 113; Works 
 of, 303 
 
 Tiarini, 81 ; Works of, 210, 321, 331, 
 345, 370 
 
 Tiepolo, 87 ; Works of, 269, 303, 324, 
 
 331, 352, 370, 385, 387, 420 
 Tilborg, Works of, 277, 365 
 Tintoretto, 69; Works of, 215, 216, 
 
 217, 223, 227, 231, 232, 234, 247, 248, 
 t 266, 268, 277, 294, 303, 310, 314, 321, 
 
 331, 336, 337, 339, 345, 351, 360, 370, 
 380, 387, 392, 394, 403, 421, 421 
 
 Tisio — see Garofalo. 
 
 Titi, Tiberio, Works of, 215 
 
 Titian, 60, 69; Works of, 215, 216, 217, 
 
 218, 223, 224, 228, 231, 233, 234, 242, 
 243, 245, 246, 247, 248, 249, 250, 251, 
 252, 254, 256, 266, 267, 268, 269, 273, 
 304, 310, 312, 314, 321, 324, 331, 335, 
 337, 338, 345, 351, 360, 361, 365, 370, 
 371, 387, 388, 392, 394, 403, 404, 421 
 
 Tobar, De, 170; Works of, 361 
 
 Tocque, 187 ; Works of, 380 
 
 Tol, D. van. Works of, 311 
 
 Toorenvliet, 7 
 
 Toschi, 73 ; Works of, 237 
 
 Traini, Francesco, Works of, 239 
 
 Trevisani, F., Works of, 311 
 
 Treviso, Girolamo da, Works of, 248, 
 
 254, 351, 404 
 Trioson, 187 
 
 Tristan, Luis, Works of, 361, 421 
 Troost, C, Works of, 288 
 Troy, J. F. de, 187 ; Works of, 380 
 Tura, Cosimo, 36 ; Works of, 208, 212, 
 
 304, 371, 404 
 Turchi, Alessandro, Works of, 321 
 
 Turin, The Pinacoteca, 261 
 Turone, Works of, 269 
 Tuscan School, 2 
 
 UoCELLO, Paolo, 19; Works of, 224, 
 
 371, 404 
 Uchterveld, 141 ; Works of, 288 
 Udine — see Pellegrino. 
 Ugolino da Siena, 5 ; Works of, 214 
 Umbrian School, 28, 38 
 Utrecht, A. van, 113; Works of, 282, 
 
 305, 306, 421 
 
 Vaccaro, Andrea, Works of, 361, 421 
 
 Vaga, Perino del, 55 
 
 Valentin, Moise, 176 ; Works of, 245, 
 
 256, 273, 331, 361, 380, 421 
 Valkenborg, Martin van. Works of, 304 
 Valkenburg, L. de. Works of, 344, 361 
 Vanni, Turino, 14; W^orks of, 224,371 
 
 ,, Francesco, Works of, 371 
 Vannucci — see Perugino. 
 Vargas, Luis de, 161 ; Works of, 354 
 Vasari, 50; Works of, 207, 210, 227, 
 
 249, 253, 352, 371, 394 
 Vasco, Gran., 172 
 
 Vecellio, Cesare, Works of, 242, 310 
 „ Orazio, Works of, 360 
 „ — see Titian. 
 Vecchla, Del, Works of, 221, 246, 386 
 Vecchietta, Works of, 260, 386 
 Veen, Otho van, 105 ; Works of, 273, 
 
 331, 376 
 Vega, De la, 171 
 
 Velasquez, 164; Works of, 208, 217, 
 224, 247, 252, 263, 289, 304, 321, 324, 
 331, 340, 354, 361, 362, 372, 380, 385, 
 388, 392, 394, 404, 421 
 
 Velde, Adrian van de, 137, 138 ; Works 
 of, 273, 279, 280, 282, 284, 285, 288, 
 290, 292, 299, 304, 311, 321, 331, 340, 
 370, 385, 404, 421 
 
 Velde, Willem van de, 140 ; Works of, 
 284, 288, 311, 321, 365, 376, 385, 388, 
 392, 404 
 
 Velde, E. van de. Works of, 292 
 Venice, Origin of School, 28 
 
 School of 14th century, 15 
 School of 15th century, 31 
 16th „ 57 
 „ 18th „ 86 
 
 „ Academy, 263 
 
 Correr Museum, 267 
 Ducal Palace, 267 
 Scuola di San Rocco, 268 
 Veniziano, Domenico, 19 ; Works of, 
 404 
 
 Veniziano, Polidoro, Works of, 222 
 
 Antonio, 9 ; Works of, 240 
 
 5? 
 5» 
 
 5) 
 
INDEX, 
 
 439 
 
 Veniziano, Lorenzo, 15 ; Works of, 213, 
 
 229, 265, 267 
 Veniziano — see Bonifazio. 
 Venne. A. van der, 141 ; Works of, 304, 
 
 311,' 376 
 
 Venusti, Marcello, Works of, 233 
 Verboom, A., Works of, 292, 353 
 Verdier, Works of, 380 
 Verdusseri, Works of, 392 
 Verkolye, J., Works of, 292, 304, 376 
 Vernet, Claude J., 186 ; Works of, 224, 
 
 242, 289, 321, 331, 340, 346, 362, 380, 
 
 385, 404 
 
 Verona, School of, 14th century, 14 
 
 15th „ 36 
 „ Pinacoteca, 268 
 
 Liberale da— see Liberale. 
 ,, Stefano da. Works of, 248 
 Veronese, Paolo, 69, 70; Works of, 
 217, 224, 225, 231, 242, 246, 247, 256, 
 263, 266, 267, 268, 269, 277, 304, 311, 
 321, 324, 331, 332, 336, 337, 344, 346, 
 351, 362, 365, 371, 388, 404, 421 
 Veronese — see Avanzi. 
 Verrocchio, Andrea, 21 ; Works of, 
 
 213, 235, 304, 421 
 Verspronck, 120; Works of, 285, 304 
 Verwilt, P., Works of, 346 
 Vicentino, Girolamo, Works of, 267 
 
 ,, Andrea, Works of, 266, 267 
 Vicenza, School of, 15th century, 36 
 ,, Palazzo Chiericati, 270 
 „ Battista da. Works of, 270 
 Victors, J., Works of, 284, 304, 306, 365 
 Vien, 186 ; Works of, 380 
 Vienna, Academy, 336 
 „ Belvedere, 337 
 
 Czernin, 345 
 ,, Harrach, 346 
 ,, Liechtenstein, 346 
 Vinci, Leonardo da, 43 ; Works of, 
 213, 216, 224, 228, 231, 232, 237, 243, 
 254, 255, 294, 321, 332, 371, 392, 404, 
 421 
 
 Vitale da Bologna, 14 ; Works of, 210 
 Viti, 55 ; Works of, 210, 212, 231, 242, 
 304 
 
 Vivarini, Giovanni, 30 ; Works of, 
 231, 266 
 
 Vivarini, Antonio, 30 ; Works of, 208, 
 
 210, 231, 266, 304,404 
 Vivarini, Bartolommeo, 30 ; Works of, 
 
 208, 210, 233, 266, 304, 338, 404 
 Vivarini, Luigi, 30 ; Works of, 233, 
 
 266, 267, 304, 337 
 Vlieger, Simon de, 141 
 Vliet, H. van, 141 ; Works of, 282, 288, 
 
 292, 304, 311, 336, 348 
 Vois, Adrian de, Works of, 282, 311 
 
 Vois, Ary de. Works of, 376 
 Volterra, Francesco da, 10 ; Works of, 
 240 
 
 Volterra, Daniele da, 49 ; Works of, 
 
 224, 348, 371 
 Vos, Martin de, 104; Works of, 224, 
 
 273, 277, 304 
 Vos, Cornelis de, 104 ; Works of, 273, 
 
 277, 304, 311, 332, 335, 354 
 Vos, Simon de. Works of, 304 
 Vouet, 176; Works of, 232, 243, 277, 
 
 353, 380 
 Vries, A. de. Works of, 365 
 Vroom, 141 ; Works of, 285 
 Vuez, A. de. Works of, 365 
 
 Walker, 192 ; Works of, 392, 408, 422 
 Waterloo, 141 ; Works of, 332 
 Watteau, 183; Works of, 224, 304, 321, 
 
 322, 332, 362, 380, 382, 385, 388, 409, 
 
 422 
 
 Weenix, Jan, 125 ; Works of, 277, 284, 
 288, 304, 311, 322, 324, 332, 336, 350, 
 
 376, 422 
 
 Weenix, J. B., Works of, 273, 277, 282, 
 
 345, 353 
 
 Werlf, Van der, 134 ; Works of, 224, 
 263, 282, 288, 304, 311, 322, 332, 342, 
 
 346, 349, 353, 376, 385, 388, 422 
 West, 200 ; Works of, 393, 406 
 Weyden, Rogier van der, 98, 99 ; 
 
 Works of, 224, 273, 277, 289, 304, 
 322, 324, 332, 343, 344, 350, 362, 394, 
 405 
 
 Wicar, J. B., Works of, 365 
 Willaerts, Works of, 292, 304 
 Wilson, 198 ; Works of, 385, 406 
 Witte, J. de, Works of, 311 
 
 „ Em. de, Works of, 277, 284, 292, 
 
 304, 336, 346, 405 
 Witte, C. de. Works of, 353 
 Wohlgemuth, 147, 152 ; Works of, 294, 
 
 313, 332, 333, 334, 394 
 Wouwerman, Philip, 136; Works of, 
 
 263, 273, 282, 285, 288, 290, 304, 31 1, 
 
 322, 332, 336, 342, 345, 353, 362, 377, 
 
 381, 385, 405, 422 
 Wouwerman, Pieter, 136 
 
 ,, Jan, 136 
 
 Wright of Derby, 198 ; Works of, 393, 
 
 394, 406, 408 
 Wright, Michael, 202 ; Works of, 408 
 Wyck, T., Works of, 231, 282, 292, 311 
 Wynants, 135 ; Works of, 273, 277, 
 
 282, 284, 288, 289, 324, 332, 340, 366 
 
 377, 385, 405, 422 * 
 
 Zachleven, Works of, 263 
 Zaganella, Works of, 234 
 
440 
 
 INDEX. 
 
 Zanredam, P., Works of, 262, 292 
 
 Zeeman, Works of, 311 
 
 Zeitblom, 147 ; W^orks of, 294, 304, 305, 
 
 332, 335, 350 
 Zenale, Bernardo, Works of, 231 
 Zereso, Matteo, Works of, 289, 297, 311 
 Zingaro — see Solario. 
 Zoffany, 202 
 
 Zoppo, Marco, 41 ; Works of, 405 
 
 Zorg, Works of, 282, 284, 292, 311, 
 377, 403 
 
 Zuccarelli, 202; Works of, 231, 352, 
 385 
 
 Zucchero, F., Works of, 245, 253, 393, 
 408 
 
 Zurbaran, 164; Works of, 294, 305, 
 322, 332, 354, 355, 362, 363, 372, 388, 
 405, 422 
 
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