THE J. PAUL GETTY MUSEUM LIBRARY 
 
Handbook of Paintings 
 
 | BY THE OLD MASTERS | 
 
Digitized by the Internet Archive 
 in 2016 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/handbookofpaintiOOdetr 
 
JAMES E. SCRIPPS, Esq. 
 
 Donor of the James E. Scripps’ Collection of Old Masters 
 
HANDBOOK 
 
 O F 
 
 PAINTINGS 
 
 BY THE OLD MASTERS 
 
 BELONGING TO THE 
 
 Detroit Museum of Art 
 
 19 10 
 
 M 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 THE J. PAUL GETTY MUSEUM LIBRARY 
 
PREFACE 
 
 In the following catalogue will be found a description of 
 the paintings by and attributed to the old masters, or pictures 
 painted before the beginning of the 19th century. With the 
 exception of the first picture in the catalogue, which is given 
 prominence as the first work of art acquired by the Detroit 
 Museum and from its having been a gift from Pope Leo XIII., 
 the old masters are arranged in chronological order, as they 
 appeared in a former catalogue issued in 1889. 
 
 It is believed that by a careful study of this catalogue in 
 connection with the pictures the educational value of the 
 collection will be greatly enhanced. 
 
 In order to encourage this the price of the catalogue has 
 been put at the small sum of ten cents. 
 
 Detroit, August 1st, 1910. 
 

 
 
 
 
 
 
 
 
INTRODUCTORY 
 
 THE JAMES E. SCRIPPS’ COLLECTION OF 
 OLD MASTERS 
 
 Presented to the Museum in 1889 
 
 The Scripps Collection of Old Master Paintings were per- 
 sonally selected by the late Janies E. Scripps. Their acquisi- 
 tion involved a great amount of time and labor covering a 
 period of four years. In the early efforts to obtain worthy 
 collections for the Detroit Museum of Art — then an infant 
 institution, — he turned his mind to perhaps the largest field 
 of any at that time, and tried to get representative works of 
 the early Italian, Spanish, Flemish, Dutch and French schools. 
 Unlike many collectors, Mr. Scripps showed no preference 
 for any one school or a few favorite masters, but secured 
 examples of those men and schools (where they were obtain- 
 able) as would be of the highest value historically. His 
 selection shows examples of great men and their schools, and 
 the pictures fairly portray the methods, coloring and general 
 qualities possessed by those men who have made the history 
 of painting. 
 
 There is much incredulity, naturally, as to the authenticity 
 of a collection of this kind, especially in the Italian and 
 Spanish masters whose work so seldom received their signa- 
 tures, and coming from an age when the works of pupils were 
 often copies of the paintings by the master. This skepticism 
 grows stronger every year owing to the grist of spurious 
 paintings both old and modern which have of late years 
 deceived even the best connoisseurs and critics. But this 
 collection was brought together, it must be remembered, 
 over twenty years ago, when old masters were not sought 
 with so much rivalry. 
 
 There are only two ways of determining with any accuracy 
 the genuineness of the old masters; one is the opinions of 
 experts, — men who have made so close a study of painting 
 that there is no doubt as to their judgment in passing upon 
 these works of art; the other and surer means of determining 
 the authenticity of one of these works is to trace its past 
 history. Books contemporary with the artist, and often 
 records left by the artists themselves, make it possible to 
 trace some of these works from the very day they left the 
 artist’s easel. 
 
 Almost without exception the James E. Scripps collection 
 bears this latter test of authenticity. A painting more than 
 any other household article is an heirloom, remaining in one 
 family for centuries. By this fortunate circumstance of few 
 changes in possession it is easy to trace the past history of a 
 genuine work of art. Many of them have undergone the close 
 and professional scrutiny of the expert as well. 
 
THE SPIRITUAL BETROTHAL OF ST. CATHERINE OF ALEXANDRIA WITH THE INFANT JESUS 
 School of Northern Italy of the XVI. Century 
 Gift of His Holiness Pope Leo XIII. 
 
OLD MASTERS 
 
 1 SCHOOL OF NORTHERN ITALY OF THE lGth CEN- 
 TURY. Painter unknown. [NOTE.— The inscription placed upon 
 it attributing it to the band of Fra Paolino, was the result of much careful re- 
 search by the late Richard Storrs Willis, and is believed to be reasonably correct. ] 
 
 The Spiritual Betrothal of St. Catherine of Alexandria with 
 the Infant Jesus; representing symbolically the mystic 
 union between Christ and the Church. In the center sits 
 the Blessed Virgin in a light red tunic and blue mantle, 
 facing to the right, with her right hand uplifted, while 
 with her left she holds the Infant Jesus, seated on a 
 cushion, upon her lap. The latter is nude but for a veil 
 lightly thrown over his left shoulder. In his right hand 
 he holds a ring. St. Catherine, in a rich robe and coronet 
 of pearls, stands or kneels at the right with bowed head. 
 She presents her right hand to the Savior, her left being 
 pressed to her breast. Behind her stands St. Joseph in 
 meditation, leaning upon his staff. At the left of the Vir- 
 gin stands St. Anthony of Padua, in the brown garb of the 
 Franciscan order, the nimbus about his head, and a bunch 
 of lilies in his hand. 
 
 St. Catherine, according to the legend, was an Egyptian 
 princess of great beauty and learning who lived in the 
 third century. When 14 years of age, by the death of her 
 father, she became queen. Being pressed to marry she 
 set her heart on the highest perfection to be found in a 
 husband. At this juncture a hermit gave her a picture of 
 the Blessed Virgin and her Son, for the latter of whom 
 she was immediately filled with love. Later she dreamed 
 that she was espoused to the Savior, and on awaking in the 
 morning found upon her finger a betrothal ring. She suf- 
 fered martyrdom in A. D. 307. 
 
 St. Anthony of Padua was born in Portugal and joined 
 the Franciscan order during the life-time of its founder. 
 He was a young man of great learning and eloquence. He 
 died in Padua in A. D. 1231. His appearance in the same 
 picture with St. Catherine, who lived 900 years earlier, is 
 one of those anachronisms so common with the older 
 painters. He is always represented as a youthful monk, 
 and the lily is his special emblem. 
 
 This picture is painted on canvas and is 36 inches high by 
 51 long. It was acquired by the Detroit Museum of Art in 
 this way: In 1883 when preparations were making for the 
 
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 DETROIT MUSEUM OF ART 
 
 great art loan exhibition of that year, Richard Storrs Willis, 
 through clerical friends, solicited of His Holiness Pope Leo 
 XIII. the contribution of a picture from the Vatican. In 
 response this one was received with the Pope’s blessing. It 
 was then in an old and inferior frame, and sadly needed 
 cleaning. Some time later the leading Catholics of Detroit 
 made up a subscription with which to provide for it the hand- 
 some frame, enriched above with the papal arms, which now 
 surrounds it. At the same time the late Lewis T. Ives care- 
 fully cleaned the canvas, developing a brilliancy little before 
 expected. 
 
 Various conjectures as to the name of the painter have 
 been hazarded, but all that can be said about it with certainty 
 is that it was painted in Northern Italy (perhaps Padua) by 
 some artist influenced both by Correggio and Titian. 
 
 BYZANTINE SCHOOL OF THE 13th CENTURY. The 
 artists of Constantinople, driven to seek new fields by 
 the opposition to pictures inculcated by the Greek 
 Church, found an asylum in the monasteries of Italy, 
 where they pursued their art. From this beginning 
 sprang the famous revival of art in Italy which culmi- 
 nated in the 15th century. These Byzantine paintings 
 are always on wood, usually cut to a convex surface, 
 and are always on a gold ground. 
 
 2 St. Mercurius. He wears a rich velvet tunic with flowing 
 gold chlamys, and is armed with a sabre, bow and arrows, 
 and a small round shield. The name of the subject 
 appears on the small red disc in the right upper corner 
 in Greek characters. 
 
 St. Mercurius was an officer in the service of the 
 Emperor Julian, the Apostate, by whom he was put to 
 death for his loyalty to the Christian faith. On the eve 
 of the battle with the Persians in which Julian lost his 
 life, St. Basil the Great had a vision in which the Virgin 
 Mary appeared to him and bade him go to the tomb of 
 Mercurius and awaken him that he might slay the apos- 
 tate. On reaching the tomb he found the body missing, 
 also the arms which had been laid by his side. The next 
 day he again visited the tomb, when he found the body at 
 rest in its place, but the lance freshly stained with blood. 
 It then transpired that in the course of the battle an 
 unknown warrior, bareheaded, pale and ghastly, and 
 mounted on a white horse, charged at Julian, and having 
 pierced him through the body vanished as suddenly as he 
 had appeared. 
 
 Size: h. 8% in., w. 6% in. Presented by J. E. Scripps, 
 
 Oct., 1889. 
 
COPYRIGHT BY DETROIT PUBLISHING CO. 
 
 THE VIRGIN ADORING THE INFANT SAVIOR 
 By Alessio Baldovinetti (1368-1448) Early Florentine School 
 Presented by James E. Scripps. Esq. 
 
12 
 
 DETROIT MUSEUM OF ART 
 
 GIOTTO DI BONDONE (attributed to) Early Florentine 
 School. Giotto (pronounced Jotto) was born in 1276 and 
 died in 1336. He was originally a shepherd boy. He was 
 discovered drawing a sheep upon a slab of stone by 
 Cimabue, who took him home and gave him lessons in 
 painting, in which art he soon excelled his master. He 
 became the greatest painter of his century. He was an 
 architect also, and designed the beautiful bell tower of 
 the cathedral at Florence, still known as Giotto’s tower. 
 
 3 A small triptych Altar-piece. Center compartment, the 
 Madonna and child enthroned under a baldacchino; at the 
 right a female saint with book and palm; at the left a male 
 saint with slender cross. Above, on either side of the 
 throne, another female saint. Left wing: the nativity and 
 angel appearing to the shepherds. Right wing: the cru- 
 cifixion. In the angles of the wings, the annunciation, 
 both the angel and the Virgin sitting. The predella con- 
 tains dragons in small quatrefoil panels. 
 
 Wood: Center compartment, h. 18% in., w. 8% in. From 
 
 the collection of the Marchese del Turco at Florence, where 
 it had for some generations been esteemed a genuine work of 
 Giotto. Presented by J. E. Scripps. 
 
 ALESSIO BALDOVINETTI (1368-1448) Early Florentine 
 School. 
 
 4 The Virgin adoring the Infant Savior. The latter lies in 
 the foreground with his head on a cushion. The Virgin 
 stands at the right, with her hands folded as in prayer, 
 gazing down upon the child. At the left is the infant 
 John the Baptist with a coat of skins and a small cross. 
 The heads of all three are encircled with nimbuses of gold. 
 Two other child heads are peeping from between the 
 principal characters. The Holy Ghost is descending from 
 above in form of a dove, and a broken pomegranate, the 
 symbol of eternal life, lies on the ground at the right. 
 
 Wood, arched: h. 28% in., w. 1G in. From the collection of 
 the Tassi family, Florence. Presented by J. E. Scripps. 
 
 FLEMISH SCHOOL OF THE 15th CENTURY. Painter 
 unknown, but the delicately shaded face of the mother, 
 the peculiarly shaped eyes and the long, slender fingers 
 suggest the style of Roger Van der Weyden (140(T1464). 
 
 5 The Virgin in a black velvet dress, with a rich jeweled 
 necklace and a blue mantle, holds the infant Savior on 
 her right knee. Her right hand supports the child, while 
 
THE VIRGIN AND INFANT JESUS 
 
 Flemish School of the 15th Century Suggests the style of Roger Vander Weyden 
 Gift of James E. Scripps, Esq. 
 
 COPYRIGHT BY DETROIT PUBLISHING CO. 
 
14 
 
 DETROIT MUSEUM OF ART 
 
 with her left she presents him with a red rose. The 
 infant, in a single garment of white, holds a rosebud in 
 his right hand and extends the other to receive the 
 proffered flower. Ground of interlaced work of gold and 
 color. 
 
 Wood: h. 20% in., w. 13% in. Purchased in Cologne. Pre- 
 sented by J. E. Scripps. 
 
 HUGO VAN DER GOES (1405-1480), Pupil of Jan Van 
 Eyck. Early Flemish School. 
 
 6 The Virgin, seated on a marble throne under an open 
 portico, holds the Infant Savior on her right knee. She 
 holds a book in her left hand, the leaves of which the 
 child turns over. She wears a rich dark velvet dress with 
 an ample red mantle. The child wears a simple garment 
 of white. The heads of both are surrounded by nimbuses 
 of gold rays, those of the child taking the form of a cross. 
 In the background is seen a Flemish street, with churches 
 and chateaux, and three small, figures walking. 
 
 Wood: h. 27% in., w. 22 in. From the private collection of 
 a former director of the Uflizi Gallery, Florence. Presented 
 by J. E. Scripps. 
 
 FRA FILIPPO LIPPI (1406[?]-1469) (attributed to.) Flor- 
 entine School. Lippi was a monk, but gave up the cloister 
 to live with a nun whom he abducted from her convent 
 in 1459. His artistic talents procured him immunity for 
 the offense. He is reckoned one of the greatest of the 
 Italian painters. 
 
 7 The Virgin stands holding the infant Savior on her left 
 arm. She is clad in a red tunic and blue mantle, and has 
 a nimbus of gold about her head. The child has one of 
 red with three gold discs, suggesting the cross. Two 
 saints stand one on either side in attitudes of adoration. 
 
 Wood: Arched, h. 19% in., w. 14 in. Purchased of Luigi 
 Pisani, Florence. Presented by J. E. Scripps. 
 
 TOMMASO GUIDI (called MASACCIO) (1401-1428) Floren- 
 tine School. He is best known by his frescoes in the 
 Carmine Church, Florence. 
 
 8 Portrait of a man, supposed to be of the artist himself. 
 Monogram at right upper corner composed of the letters 
 A. F. P. C., followed by the letters A. S. M. 
 
 Wood: h. 15% in., w. 11% in. From the collection of the 
 Marchese Caruana, Florence. Presented by J. E. Scripps. 
 
PAINTINGS BY THE OLD MASTERS 
 
 15 
 
 THE VIRGIN AND CHILD 
 By Fra Filippo Lippi ( 14061?] -1469) Florentine School 
 Gift of James E. Scripps, Esq. 
 
 SANO DI PIETRO (attributed to) Sienese School of the 
 15th Century. 
 
 9 The Coronation of the Virgin. On a gold ground we see 
 a marble throne upon which Christ and the Virgin are 
 seated. The former places a crown upon the latter’s head, 
 who receives it with humility. On either side an adoring 
 angel. A winged cherub head above in a raised trefoil. 
 Below are four saints. At the left St. Peter with book and 
 keys, and next him St. John the Baptist, with cross, scroll 
 and garment of skins. On the right is St. Paul with sword 
 and scroll, and by him another aged saint with small cross 
 and book. Under the picture is the Latin inscription. 
 
16 
 
 DETROIT MUSEUM OF ART 
 
 PORTRAITS OF AN ITALIAN NOBLEMAN AND HIS WIFE 
 By Giovanni Bellini (1428-1516) Founder of the Venetian School 
 
 Presented by James E. Scripps, Esq. 
 
 GIOVANNI BELLINI (1428-1516), Founder of the Venetian 
 School and instructor of Titian. His finest works are his 
 madonnas, found in several of the churches of Venice. 
 
 10 Portraits of an Italian nobleman and his wife, with the 
 names of the subjects inscribed on tablets suspended 
 above. These are only partly legible; they read “Joanes 
 Paulus & Aug . . . nis,” the dots representing the 
 
 illegible characters. 
 
 Canvas: h. 15 in., 1. 21% in. From the collection of Henry 
 Wilkinson, of Enfield; England. Presented by J. E. Scripps. 
 
 “Veni de Libano ... Coronaberis,” a quotation from 
 the Vulgate, Canticle of Canticles, Chap. IV., ver. 8, trans- 
 lated, “Come from Libanus, thou shalt be crowned.” Still 
 below this is a predella, or base, on which, upon three 
 medalions appear: right, Mary Magdalene; center, Christ 
 rising from a sarcophagus; left, the Virgin Mary. 
 
 Wood, Gothc arched: h. 34% in., w. 20% in. Purchased in 
 Siena. Presented by J. E. Scripps. 
 
 COPYRIGHT BY DETROIT PUBLISHING CO. 
 
PAINTINGS BY THE OLD MASTERS 
 
 17 
 
 LEONARDO DA VINCI (1452-1519) (attributed to). Lom- 
 bard School. Leonardo worked in Milan, Florence and 
 Rome. He ranks with Raphael, Michelangelo, Titian and 
 Correggio as one of the five greatest of the Italian 
 painters. His best known work is the fresco of the Last 
 Supper at Milan. 
 
 11 Salvator Mundi (The Savior of the World). He is repre- 
 sented with long curling hair parted in the middle, and 
 short beard. The right hand is raised in the act of bless- 
 ing and the left holds a crystal globe. He wears a jeweled 
 robe. 
 
 Wood: h. 26 in., w. 19 in. This picture is reputed to have 
 belonged to the Kings of France down to the time of the 
 revolution of 1789. It was later purchased from a French 
 gentleman by a Mr. Parke, who died in 1821, and in whose 
 family it subsequently long remained. In 1889 it was sold at 
 Christie’s, in London. Presented by J. E. Scripps. 
 
 BERNARDO PINTURICCHIO (1454-1513) (attributed to). 
 Umbrian School. His most famous works are the fres- 
 coes in the library of the Cathedral of Siena. 
 
 12 The Marriage of the Virgin. According to the legend when 
 Mary was 14 years old an angel instructed the priest 
 Zacharias to call together all the widowers among the 
 people and require each to bring his rod. The several 
 rods were deposited in the temple over night, and next 
 morning that of Joseph was found to have budded and 
 flowered. He was accordingly assigned as the husband of 
 Mary and all the others broke their rods in despair. 
 
 Canvas: h. 2414 in., 1. 4014 in. Presented by J. E. Scripps. 
 
 QUENTIN MASSYS ( 1460 [ ?]-1530) . Connecting link be- 
 tween the early and later Flemish schools. Massys was 
 a blacksmith by trade, and a highly ornamental well- 
 pagoda of his work is still to be seen in the square in 
 front of the cathedral at Antwerp. In order to ingratiate 
 himself into the favor of a painter whose daughter he 
 wished to marry he took up painting and with great 
 success. His best known works are subjects taken from 
 common life, as his celebrated picture known as the 
 Misers in Windsor Castle. 
 
 13 The Virgin seated in the open air, with fawn colored dress, 
 fur cuffs, red mantle and white head dress, holds the 
 Infant Jesus on her left knee. The child embraces the 
 mother with animation. A peach and bunch of grapes on 
 
18 
 
 DETROIT MUSEUM OF ART 
 
 a ledge in the foreground. Background a rocky land- 
 scape with castle and city at the right, and minute figures 
 walking in a public square. 
 
 Wood: h. 21% in., w. 15% in. From the private collection 
 of Signor Casa Murata, director of the Pitti Palace Gallery, 
 Florence, under the last Grand Duke of Tuscany. Presented 
 by J. E. Scripps. 
 
 COPYRIGHT BY DETROIT PUBLISHING CO. 
 
 THE VIRGIN AND INFANT JESUS 
 By Quentin Massys (14601?] -1530) Flemish School 
 
 Gift by James E. Scriaps, Esq. 
 
 14 The Misers (a replica of the picture in Windsor Castle). 
 In a wainscoted room we see two aged persons sitting 
 before a table, the one at the left writing in an account 
 book, the other leaning the right arm on the shoulder of 
 the first. Before them they have a heap of gold and silver 
 coins and jewelry, also a portable inkstand with a cord fof 
 
THE MISERS 
 
 By Quentin Massys ( 1460 [ ?J -1530) Flemish School 
 
 Gift of James E. Scripps, Esq. 
 
20 
 
 DETROIT MUSEUM OF ART 
 
 carrying it, and a curious leather pouch with compart- 
 ments. A parrot sits on a perch at the left, and on a shelf 
 above we see a box of parchment documents with their 
 seals, also a candlestick. 
 
 There are several repetitions of this picture in different 
 public galleries, in the execution of which the artist is 
 believed to have been assisted by his son, Jan Massys 
 (1500-1570). 
 
 Canvas: h. 46% in., w. 38 in. From the Gatton Hall col- 
 lection formed in the early part of this century by Lord 
 Monson, and dispersed in 1888. Presented by J. E. Scripps. 
 
 THE MADONNA AND INFANT SAVIOR 
 By Giovanni Cima, called Conegliano (1489-1508) Venetian School 
 Gift of James E. Scripps, Esq. 
 
 GIOVANNI CIMA, called CONEGLIANO, Venetian School. 
 Pupil of Giovanni Bellini. Worked between the years 
 1489 and 1508. 
 
 15 The Madonna in a blue drapery adoring the Infant Savior, 
 who is seated on a ledge or parapet before her. The 
 mother’s hands are folded as if in prayer, as she gazes 
 down on the child. The latter is nude and reaches his left 
 hand to his mother’s as if to deprecate the homage ren- 
 dered. Rocks at the left in the background, with trees 
 
PAINTINGS BY THE OLD MASTERS 
 
 21 
 
 and a church on their summit. Signed at the right, 
 “Joannes Bta. Coneglanesis.” 
 
 Wood: h. 25% in., w. 19 in. From the collections success- 
 ively of M. de Bammeville, Rev. W. Davenport-Bromley and 
 Mrs. Sloane Stanley, of London. Presented by J. E. Scripps. 
 
 JEROME BOS, or BOSCHE ( 1470-1518 [?]). Early Dutch 
 School. Bos was famous for the grotesqueness of his 
 subjects. Although ridiculous they are treated with 
 singular ingenuity. 
 
 16 The Last Judgment. The picture consists of two parts, a 
 celestial and terrestrial. In the former the Savior occu- 
 pies the center, seated upon a rainbow with his feet on an 
 orb of crystal, which is borne by the three angels, who 
 are blowing the last trump. At his right (left of the pic- 
 ture) sits the Virgin in rich blue robes, with eleven female 
 attendants, who occupy carved stalls like those in a cathe- 
 dral. The Angel Gabriel presents a crown to the Virgin. 
 On the other side of the Savior sits an angel with the 
 sword of justice, and seven enstalled church dignitaries. 
 A figure clad in a loose brown robe with bare arms and 
 leg bare to the knee advances with outstretched hands as 
 if petitioning for mercy upon the world below. In the 
 lower portion of the picture we see in the distance on the 
 right an expanse of sea with ships; on the left Paradise, 
 with a fountain, trees, and figures dancing. In the fore- 
 ground on the left St. Peter with the keys, with eyes 
 uplifted to the Savior. Crowding about him are the nude 
 figures of the redeemed. In the center the dead rising from 
 their graves and three angels contending with demons for 
 their possession. At the right the great dragon with gap- 
 ing mouth, down whose throat is seen a great fire with a 
 cauldron filled with the bodies of the damned. Emanating 
 from the dragon are various fantastic demons. 
 
 Wood: h. 22% in., w. 23% in. This picture was formerly in 
 the collection of Louis Philippe, last King of the French, and 
 more recently in that of John Neuwenhuys, of Brussels, an 
 eminent connoisseur. Presented by J. E. Scripps. 
 
 TITIAN (TIZIANO VECEDLIO) (1477-1576), Venetian 
 School. Especially famous as a colorist, in which he 
 excelled all his contemporaries, and for the perfection 
 of his portraits. He ranks as one of the greatest five 
 Italian painters. 
 
 17 The Entombment of Christ. The Savior enveloped in a 
 winding sheet is carried by Joseph of Arimathea, Nicode- 
 
22 
 
 DETROIT MUSEUM OF ART 
 
 mus and St. John. To the left Mary Magdalene supports 
 the Holy Virgin. 
 
 Canvas: h. 54 in., 1. 82*4 in. This picture corresponds 
 closely to Titian’s famous picture of the same subject in the 
 Louvre at Paris. It was formerly the property of Prince 
 Erizzo, and was purchased in Venice in 1838 by Lord Monson, 
 in whose collection at Gatton Park, Surrey, England, it re- 
 mained till the sale of the collection in May, 1888. Presented 
 by J. E. Scripps. 
 
 18 Nymph and Satyr. The nymph at the left, with mantle of 
 fur looped over her shoulder, long ear-drops, and wreath 
 of ivy in her hair, is embraced by a satyr, one of whose 
 long ears she playfully pulls. 
 
 Nymphs in mythology are female divinities of a lower 
 rank, represented in works of art as beautiful maidens, 
 partially or entirely nude. Satyrs or fauns are the gods 
 of the fields, and are represented with bristly hair, horns, 
 pointed ears and sometimes a tail. They are represented 
 as fond of wine, dancing and music. 
 
 Canvas: h. 39 in., w. 31% in. Claimed to have belonged to 
 an ancient family at Cadore, the birthplace of Titian. Pre- 
 sented by J. E. Scripps. 
 
 BENVENUTO TISIO, called GAROFALO (1481-1559) . 
 School of Ferrara. Pupil of Raphael. His character- 
 istics are a fantasticness of conception and vivid color- 
 ing. 
 
 19 The Annunciation. The Virgin kneels at the left with 
 folded hands before a green draped prie-dieu. The Angel 
 Gabriel approaches, supported by clouds, at the right, hold- 
 ing the symbolic lily in his left hand. Thirty-five angels 
 and cherub heads are seen in the clouds above. In a burst 
 of light over all we see the Holy Ghost descending in the 
 form of a dove. The draperies are richly embroidered with 
 gold. 
 
 Painted on copper: h. 18% in., w. 13% in. On the back of 
 the frame is an old inscription reading: “Benvenuto Garofalo, 
 Anno 1658.” Presented by J. E. Scripps. 
 
 BARTOLOMMEO RAMENGHI, called BAGNACAVALiLO 
 (about 1486-1542). Early Bologna School. Pupil of Fran- 
 cesco Francia and Raphael. His principal works are in 
 the churches at Bologna. 
 
PAINTINGS BY THE OLD MASTERS 
 
 23 
 
 20 The Virgin enthroned with St. Amadio and St. Anthony. 
 
 The Virgin sits on a marble throne holding a book in her 
 left hand. The Infant Savior, nude except for a necklace 
 and bracelet of pearls, sits on a cushion on her right knee. 
 St. Anthony of Egypt stands at the right of the picture with 
 his traditional emblems, the crutch, the bell, the black 
 pig, the fii^e and the Greek tau or T on his shoulder — the 
 first letter of the word Theos, God. St. Amadio stands at 
 the left in the robes of a bishop, holding the model of a 
 city in his gloved hands, which the Holy Child leans for- 
 ward to bless. On the pedestal of the Virgin’s throne is 
 an inscription in Latin, the literal rendering of which is: 
 “I, Peter Demeo, from Ceregia, had these figures made for 
 my devotion on the last of November, 1529. Beneo. Ram- 
 enghi fecit.” 
 
 St. Anthony, surnamed the Great, was born in Egypt in 
 251 and died in 3G5. He was rich and educated, but gave 
 all his property to the poor and retired into the desert, 
 where he spent many years in ascetic solitude. He later 
 organized a society of anchorites and thus became the 
 founder of the monastic system. The crutch seen in his 
 pictures symbolizes his age and feebleness, the bell his 
 power to exorcise evil spirits; the pig represents the 
 demon of sensuality which Anthony vanquished; the fire 
 signifies his spiritual aid as patron saint against fire in alf 
 shapes, in the next world as well as in this. 
 
 Wood: h. 53 in., w. 44 in. From, the collection of Giuseppi 
 Placidi, of Rome, connoisseur and intimate friend of Gibson, 
 the sculptor, and T. Buchanan Read, the painter. Presented 
 by J. E. Scripps. Unfortunately this picture has suffered 
 serious injury from the climate. 
 
 SCHOOL OF ANDREA DEL SARTO. Andrea Vanucchi, 
 called del (Sarto (1487-1531). Florentine School. Famous 
 for the boldness of his relief or his perfect knowledge 
 of the chiaroscuro. 
 
 21 The Deposition of Christ. A rocky background. The dead 
 Savior in the center is supported in a sitting position by a 
 young man at the left. The Virgin, kneeling behind, lifts 
 his left arm. Two kneeling female figures at the right 
 with folded or clasped hands look on in mournful adora- 
 tion. St. Peter stands behind the Savior gazing down in 
 sadness. Another male figure further to the right (prob- 
 ably Joseph of Arimathea) stretches out his right arm as 
 if giving directions to the young man at the left. In the 
 foreground a chalice, with paten and consecrated wafer. 
 
24 
 
 DETROIT MUSEUM OF ART 
 
 Wood: h. 28% in., w. 24 in. This painting is either a study 
 for the larger one of the same subject, No. 58, in the Pitti 
 Palace gallery at Florence, or is a copy of the same by one 
 of Del Sarto’s pupils. A change in the color of the dress of 
 the female at the Savior’s feet, in the Florence picture it being 
 a rose pink, in this a bright red, leads to the inference that it 
 is not a copy, but really a work of the master’s own hand. 
 Purchased of Luigi Pisani, Florence. Presented by J. E. 
 Scripps. 
 
 JOACHIM PATINIER (attributed to) (1490-1545). Early 
 Flemish School. By his habit of painting his figures 
 small in proportion to his landscape background, he 
 became the founder of landscape painting in the Nether- 
 lands. 
 
 22 A small triptych Altar-piece. Center compartment: the 
 Crucifixion, with a city (Jerusalem) in the distance; the 
 Virgin and St. John standing on either side of the cross. 
 Left wing: St. Jerome, kneeling in an open landscape with 
 an open book on the ground before him. His attendant 
 lion is dimly seen. Right wing: Mary Magdalene, kneeling 
 before an open book in a rocky landscape. 
 
 Wood: Center panel h. 7% in., w. 5% in.; side panels, h. 9% 
 in., w. 3 Vs in. From the collection of C. J. Knight, F. S. A., 
 of London. Presented by J. E. Scripps. 
 
 ANTONIO ALLEGRI, called CORREGGIO (1494-1534). 
 Parmesan School. His most important work is in the 
 interior of the dome of the cathedral at Parma, repre- 
 senting in fresco the assumption of the Virgin. It is 
 regarded as one of the most extraordinary productions 
 of the art. 
 
 23 Study for two angel heads for the dome of the cathedral 
 at Parma. (The figure at the left looks as if intended for 
 a young John the Baptist.) 
 
 Canvas, octagon: h. 23 in., w. 23 in. From the collection of 
 W. H. Aspinwall, of New York. Presented by J. E. Scripps. 
 
 ANNIBALE CARRACCI (1560-1609), one of the founders of 
 the Bologna School. His best work is the series of 
 frescoes in the Farnesina Palace at Rome. 
 
 24 The Triumph of Galatea, a replica in oil of one of the 
 Farnesina frescoes. In the right of the picture Galatea, 
 lightly draped, is drawn over the sea by dolphins, at- 
 tended by nymphs and sea gods. At the right Triton, son 
 
PAINTINGS BY THE OLD MASTERS 
 
 25 
 
 and herald of Neptune, blowing his shell trumpet; at the 
 left, bringing up the marine procession, nereids or sea 
 nymphs; above, cupids with torch, arrows, etc., symbolic 
 of love. 
 
 Canvas: h. 29 in., 1. 53 in. From the Duke, of Lucca’s col- 
 lection, sold in London in 1841. Presented by J. E. Scripps. 
 
 JAN BREUGHEL, called VELVET BREUGHEL (1568- 
 1625). Flemish School. Often worked in conjunction 
 with Rubens. A versatile painter, but excelled espe- 
 cially in landscape, and famous for his careful finish 
 and vigorous coloring. 
 
 25 A Village Scene. A large tree stands in front of a two- 
 storied house on the left; a windmill on an eminence on 
 the right; a road stretches away between rows of trees in 
 the center. In the foreground figures on foot, wagons and 
 horses, a sow and pigs, etc. 
 
 Copper: h. 9 % in., 1. 12^4 in. From the collection of Maj. 
 Corbett-Winder, of Vaynor Park, Berriew, Wales. Presented 
 by J. E. Scripps. 
 
 GUIDO RENI (1575-1642), Bologna School. Next to Do- 
 menichino the most worthy of the disciples of the 
 Carracci. His most famous work is the well-known 
 fresco of Aurora in the Rospigliosi palace at Rome. 
 
 26 Head of Christ crowned with thorns. 
 
 Wood, oval; h. 19 V 2 in., w. 16 in. In the opinion of an emi- 
 nent English expert this is a genuine work of Guido’s and in 
 a very fine state. Presented by J. E. Scripps. 
 
 PETER PAUL RUBENS (1577-1640). Greatest master of 
 the later Flemish School and an accomplished scholar 4 
 and diplomat. He excelled in his bold, spirited drawing 
 and warm transparent coloring. His greatest powers 
 were exercised in animal painting. Horses, dogs and 
 ravenous animals he rendered with inimitable mastery. 
 His greatest work is “The Descent from the Cross,” in 
 the cathedral at Antwerp. 
 
 27 Abigail meeting David with presents. Abigail is seen 
 alighted from her beast and bending on one knee before 
 David; her left hand is placed on her breast and her right 
 extended towards the present of bread, etc., brought to 
 appease David’s anger against her husband, Nabal. Her 
 attendants consist of two females, who stand on her 
 farther side (these are probably portraits of the artist’s 
 
ABIGAIL MEETING DAVID WITH PRESENTS By Peter Paul Rubens (1577-1640) Flemish School Gift of James E. Scripps, Esq. 
 
PAINTINGS BY THE OLD MASTERS 
 
 27 
 
 first and second wives), and three men servants. David, 
 clad in armor and wearing a scarlet mantle, has also dis- 
 mounted from his horse, which is held by a youth behind 
 him, and is bending forward to raise Abigail; a company 
 of two horse and three foot soldiers attend the future King 
 of Israel. The story is told in I Samuel, chapter xxv. 
 
 Max Rooses, the great authority on the works of Rubens, 
 is of the opinion that Rubens was aided in this work by 
 his pupils, but that he himself put the finishing touches to 
 the principal parts, especially the figures and the sky at 
 the right. He observes that the outlines are clear and 
 the tone warm. He judges the picture to have been painted 
 about 1618, which was Rubens’ best period. He traces its 
 history through the Duke of Richelieu, the Duke of Gram- 
 mont (1715), Jacques Meyers, of Rotterdam (1722), the 
 Count of Plettenberg and Wittem (1788), and Paul Meth- 
 uen (1830). At the sale of Methuen’s pictures it brought 
 1,500 guineas ($7,700). 
 
 'Canvas: h. 69 in., 1. 98 in. Described in Smith’s Catalogue 
 Raisonne, Vol. II, p. 170. It was last sold with M. Secretan’s 
 other pictures in Paris, July 2, 1889, when, according to the 
 French paper La Diberte it was bid for by the French govern- 
 ment up to 115,500 francs. It was finally knocked down at 
 117,000 francs ($23,520). Presented by J. E. Scripps. 
 
 FRANCESCO ALBANO (1578-1660). Bologna School; pupil 
 of the Carracci. Elegance, cheerful subjects and playful 
 fancy are the characteristics of this painter. His re- 
 ligious subjects are considered his best works. 
 
 28 The Immaculate Conception. The Almighty Father is rep- 
 resented in the clouds above surrounded by cherubs; at 
 the left is the Blessed Virgin standing upon the crescent 
 moon with the great dragon at her feet; to the right a 
 group of admiring angels. 
 
 [See remarks in connection with No. 48 of this catalogue.] 
 
 Canvas: h. 37 in., w. 28% in. Formerly in the Duke of Mo- 
 dena’s collection. Presented by J. E. Scripps. 
 
 CORNELIUS DE VOS (1585-1651). Flemish School. Bril- 
 liant painter of portrait groups. 
 
 29 Portraits of Franz Snyders, the great Flemish animal 
 painter, and his wife, seated hand in hand; life size; half 
 length. 
 
 Snyders was the contemporary and friend of Rubens, 
 who frequently employed him to paint the animals, fruit, 
 etc., in his pictures. He was born in 1579 and died in 1657. 
 
28 
 
 DETROIT MUSEUM OF ART 
 
 His works are held in high estimation. The couple in this 
 picture appear to be 28 or 30 years old, which would make 
 the date of the picture about 1008. 
 
 Canvas: h. 47 in., 1. 60 in. Formerly in the collection of 
 Henry Nugent Banks, a well-known English connoisseur. Pre- 
 sented by J. E. Scripps. 
 
 CORNELIUS POELEMBURG (1586-1667). Dutch School. 
 Excelled in small landscapes with figures, frequently 
 nude, rendered with great tenderness of warm coloring. 
 His pictures are found in almost all European galleries. 
 
 30 A landscape with women bathing. Five nude figures seen 
 to the left of the picture. 
 
 Wood: h. 5% in., 1. 8% in. From the collection of Major 
 Corbett-Winder. Presented by J. E. Scripps. 
 
 JOSEPH RIBERA, called SPAGNOLETTO (1588-1656). 
 Neapolitan School. He delighted in gloomy and austere 
 subjects. In tragic compositions such as martyrdoms, 
 executions and tortures he particularly excelled. He 
 possessed a bold, free style, having powerful effect. His 
 drawing was correct and he excelled in portraiture. 
 
 31 Head of an Old Man. 
 
 Canvas: h. 21% in., w. 19 in. Formerly in the collection of 
 Louis Philippe, King of the French. Presented by J. E. 
 Scripps. 
 
 COPYRIGHT BY DETROIT PUBLISHING CO. 
 
 HEAD OF OLD MAN 
 
 By Joseph Ribera, called Spagnoletto (1588-1656) Neapolitan School 
 Gift of James E. Scripps, Esq. 
 
PAINTINGS BY THE OLD MASTERS 
 
 29 
 
 CHRIST IN THE HOUSE OF MARY AND MARTHA 
 By Henry Steenwyck, the Younger (1589-1642) 
 
 Gift of James E. Scripps, Esq. 
 
 HENRY STEENWYCK, the YOUNGER (1589-1642). Flem- 
 ish School. Intimate friend of Van Dyck and protege of 
 Charles I of England. He painted chiefly interiors of 
 churches and other edifices. 
 
 32 Christ in the house of Martha and Mary. At the right 
 background, a Dutch kitchen, with cook and boy turning 
 a spit. At the left effects of light shining through a 
 leaded glass window. Shelf with books turned with their 
 backs to the wall, as was the custom of the 16th century. 
 Christ sits near the window and a woman kneels before 
 him. In the center of the spacious hall another woman 
 stands regarding him. Signed “H. V. S., 1620,” in lower 
 right hand corner. 
 
 Copper: h. 13% in., 1. 19% in. A similar picture by the 
 same artist but on canvas and 25% inches high by 38 long is 
 in the gallery of the Louvre at Paris. This also bears the 
 date 1620, but the signature, “Henri V. Steinwick,’’ is spelled 
 out in full. The Detroit picture was purchased of Martin 
 Colnaghi, London, one of the best living experts in old paint- 
 ings. Presented by J. E. Scripps. 
 
30 
 
 DETROIT MUSEUM OF ART 
 
 GIOVANNI FRANCESCO BARBIERI, called GUERCINO 
 (1591-1G66). Bologna School. Pupil of the Carracci. He 
 was a most industrious painter and bold in drawing and 
 sweet in coloring. 
 
 33 The Erythraean Sibyl. She sits with upturned face weep- 
 ing. At the left of the picture is a long tablet or book of 
 wax tablets, upon which is inscribed the title, “JVDICIJ 
 SIGNVM TELLVS SVDORE MADESCET,” and at the foot 
 the words “Sibij Erithrsea,” the literal translation being 
 “The sign of judgment, the earth shall be moistened with 
 sweat,” with the name of the Sibyl. 
 
 The Sibyls were prophetesses who foretold the coming of 
 Christ to the Gentiles, as the prophets did to the Jews. 
 They were regarded as holy virgins, who lived in caves 
 and grottoes, with power to read the future. Varro, who 
 wrote 100' years before Christ, gives their number as ten, 
 and their names are taken from the locality of their habi- 
 tation. The Sibyl Erythrasa is the prophetess of Divine 
 vengeance. She predicted the Trojan w T ar, in which char- 
 acter she holds a naked sword. But she also foretold the 
 annunciation and in this representation she has a white 
 rose. 
 
 Canvas: h. 44% in., 1. 60 ^ in. Formerly in the Mecarini 
 palace at Pisa; later in the collection of W. H. Aspinwall, of 
 New York. Presented by J. E. Scripps. 
 
 MATHIEU LE NAIN (1593-1G77). French School. Little 
 is known of his history, which is surprising, as his works 
 have always been exceedingly popular. 
 
 34 Portrait of Tycho Brahe, the eminent astronomer, decor- 
 ated with the cross of the order of St. Lazarus. Nearly full 
 face, half length, life size. 
 
 Tycho Brahe was born in Denmark in 154G. He was 
 attracted to the study of astronomy by a great eclipse of 
 the sun in 15G0. Six years later he lost his nose in a duel 
 and ingeniously replaced it by one of the precious metals. 
 He married a peasant girl in 1573, and having now become 
 famous, under the patronage of the Danish king, erected 
 his celebrated observatory on the island of Huen. Becom- 
 ing the victim of neglect and persecution he took refuge in 
 Prague, in Bohemia, where he died in 1G01. 
 
 The order of St. Lazarus was a military and religious 
 order, dating from the occupation of Jerusalem by the 
 first crusaders. In time it became a French civil corpora- 
 tion, and continued till superseded by the Legion of Honor. 
 
PAINTINGS BY THE OLD MASTERS 
 
 31 
 
 Canvas: h. 32% in., w. 26 in. Oval. Formerly in the collec- 
 tion of the Earl of Hardwick, at Wimpole, Cambridgeshire. 
 Presented by J. E. Scripps. 
 
 ANDREA SACCHI (1594-1661). Roman School. Pupil of 
 Albano. 
 
 35 The Apparition of the Virgin to St. Philip Benozzi. The 
 
 Virgin at the right is carried upon a cloud as in a chariot 
 surrounded by angels and cherubs. She holds the child on 
 her right knee and both gaze down with loving interest 
 upon the kneeling saint to the left, who in the black velvet 
 scholar’s gown of the period extends his hands in adora- 
 tion. Two cherubs appear at the Virgin’s feet, the one 
 holding the symbolic lily, the other an open book, to a 
 passage in which he is calling the attention of the saint. 
 
 St. Philip Beniti or Benozzi, the principal ornament and 
 propagator of the religious order of the Servites in Italy, 
 was a member of a noble Florentine family. Once at mass 
 he heard the words “Draw near and join thyself to the 
 chariot” read in the epistle for the day. Applying them 
 to himself he considered it an invitation to put himself 
 under the patronage of the Blessed Virgin in the order of 
 the Servites. The following night he thought he beheld 
 the Virgin, seated in a chariot, calling him to this new 
 order. He took the vows in 1233. 
 
 Canvas: h. 53% in., w. 39 in. From the collection of the 
 late Giusseppi Placidi of Rome. Presented by J. E. Scripps. 
 
 JAN VAN GOYEIN (1596-1656) . Dutch School. He excelled 
 in his drawing, but painted in a subdued tone. Water is 
 a prominent feature in all his pictures. 
 
 36 A River Scene, with chateau, trees and windmill to the 
 right; a fishing boat, net and lobster pot in the foreground. 
 
 Wood: h. 15% in., 1. 24 in. From the collection of T. J. Ire- 
 land, Esq., M. P., of Suffolk, England. Presented by J. E. 
 Scripps. 
 
 SIMON DE VLIEGER (1600-1656). Dutch School. He was 
 the first to represent the ocean under its different 
 aspects with great truth; his atmosphere is equally true 
 and fresh. 
 
 37 A calm on the banks of the Meuse. On the right a tower 
 overhung by trees and a wharf upon which a man sits 
 observing two fishermen in boats below; a lobster crate 
 
32 
 
 DETROIT MUSEUM OF ART 
 
 suspended in the water; to the left a man-of-war and four 
 smaller vessels. Signed at lower right corner “S. DeVlie- 
 ger, 1642.” 
 
 An inscription on the back reads, “Perspective is well 
 contrived and painted with much transparency. A chef 
 d’ceuvre.” 
 
 Wood: h. 18% in., 1. 26% in. Presented by J. E. Scripps. 
 
 CLAUDE GELEE, called LORRAINE (1600-1682). French 
 School. He has been called the prince of landscape 
 painters. He excelled in his coloring and atmospheric 
 effects, also in his architectural representations. Few of 
 his pictures are an exact transcript of any one scene; 
 they are rather combinations of beautiful objects bor- 
 rowed from different points and united with consummate 
 skill and taste. 
 
 38 A Seaport, represented under the appearance of sunrise. 
 This picture is distinguished by a lofty portico on the 
 right, only three columns of which are seen. On the far- 
 ther side of it lies a vessel at anchor, and nearer the 
 spectator are two men in conversation, one of whom is 
 seated on the pavement pointing to some distant object. 
 Its opposite side is bounded by cliffs, surmounted by clus- 
 ters of trees. Several vessels ride at anchor under the 
 shelter of this high land, near the termination of which is 
 a tower. In the center of the foreground are three men in 
 conversation; a fourth, with a package on his back, is 
 going through the water to a boat in which are two sailors. 
 A portion of the shaft of a column, a plank and a log of 
 wood are seen on the right. 
 
 Canvas: h. 39 in., 1. 53 in. Referred to in Smith’s Catalogue 
 Raisonne, Vol. VIII, p. 194. It is a replica with slight varia- 
 tions of No. 2 of Claude’s Liber Veritatis, an illustrated cata- 
 logue kept by the artist of his own works. Long in the col- 
 lection at Leigh Court, Somersetshire, England, at the sale of 
 which, in 1884, it was purchased for the Detroit Museum of 
 Art. Presented by J. E. Scripps. 
 
 HENRY VAN VLIET (1605-1671). Dutch School. He ex- 
 celled in painting church interiors. 
 
 39 Interior of a Dutch church of typical architecture, with 
 figures strolling about and a flagstone removed in prepar- 
 ation for the digging of a grave. 
 
 Wood: h. 10 in., w. 8% in. From the collection of Major 
 Corbett-Winder. Presented by J. E. Scripps. 
 
PAINTINGS BY THE OLD MASTERS 
 
 33 
 
 GIOVANNI BATISTA SALVI, called SASSOFERRATO 
 (1605-168i5). Roman School. His pictures are mostly 
 confined to the Madonna and child and are painted with 
 great sweetness of expression. They are found in all 
 the leading galleries. 
 
 40 The Virgin, with blue robe, holds a bunch of pinks in her 
 left hand, while with her right she presents one flower to 
 the infant Jesus, who sits upon a cushion on her lap. The 
 latter is nude except for a thin gauze around his loins. A 
 landscape, with buildings, is seen through an open window 
 at the upper right corner. 
 
 Canvas: h. 29 in., w. 23% in. Formerly in the Gillott col- 
 lection, sold in 1872. Presented by J. E. Scripps. 
 
 ALBERT CUYP (1605-1691). Dutch School. His favorite 
 subjects were landscapes with a river and cattle lying 
 or standing on its banks. His principal charm is the 
 beauty of the lighting of his pictures. His early works 
 are signed “A. C.,” but in his later and best period he 
 signed his pictures “A. Cuyp.” His work has always 
 been particularly popular in England. 
 
 41 A woman seated on the ground, milking a dun cow, while 
 conversing with a cavalier before a ruined building. To 
 the left a river and herdsmen with eight other cows, all 
 but one reposing. Signed in the middle, near the bottom, 
 “A. Cuyp.” 
 
 Canvas: h. 39% in., 1. 52% in. Exhibited at the Royal Irish 
 Art Union exhibition of ancient masters in 1847, when it was 
 the property of John La Touche. Presented by J. E. Scripps. 
 
 EMANUEL DE WITTE (1607-1692). Dutch School. He 
 excelled in church interiors and brought this class of art 
 to the same perfection that Ruysdael did landscape and 
 William Van der Velde marine painting. The figures are 
 well drawn and are introduced with picturesque effect. 
 
 42 Interior of a Protestant Church in Holland; two figures 
 wearing hats in conversation at the left; other figures near 
 the door and two dogs. 
 
 Wood: h. 17 in., w. 13% in. From the collection of Major 
 Corbett-Winder. Exhibited at the Royal Academy exhibition 
 of old masters in 1879. Presented by J. E. Scripps. 
 
 REMBRANDT HARMENZ VAN RYN (1607-1669). Recog- 
 nized as the greatest painter of the Dutch School. He 
 was a close student of nature and especially excelled in 
 
34 
 
 DETROIT MUSEUM OF ART 
 
 his portraits. But Rembrandt is most famous for his 
 magnificent warmth, power and clearness of color. His 
 most noted paintings are “The Night Watch,” at Amster- 
 dam; “The Anatomy Lecture,” at the Hague, and others. 
 
 43 The Death of Lucretia. Lucretia, richly dressed, with a 
 blood stain on her breast, is raised to a reclining posture 
 by an old man at the left in a flat cap, shaggy whiskers 
 and beard, ermine cape and voluminous robe. Another 
 figure in a plumed hat kneels before the dying woman, 
 with arms extended towards her. The short dagger with 
 which the suicide has been accomplished lies by her side 
 in the foreground of the picture. 
 
 Lucretia was the beautiful wife of Collatinus, a near 
 relative of Tarquin the Proud, King of Rome. Sextus Tar- 
 quinius, the king’s son, inspired by a passion for her, 
 forcibly effected her dishonor while a guest at her house 
 in the absence of her husband. She summoned her hus- 
 band and father from the camp where they were serving 
 against the Rutulians and, having recounted the indignity 
 she had been the victim of, plunged a dagger into her own 
 heart. The witnesses of the tragedy swore over her body 
 to expel the Tarquins from Rome and, having effected this, 
 the republic was established in B. C. 509. 
 
 Canvas: h. 67 in., 1. 86% in. Formerly in the possession of 
 the Farsetti family at Venice, from whom it was purchased by 
 Woodburn, the celebrated dealer and expert, in 1838, for 600 
 guineas. It was sold by him to Lord Monson, who was form- 
 ing a very valuable collection at Gatton Park, Surrey, Eng- 
 land, which collection was dispersed in 1888. Nos. 14 and 17 
 of this catalogue were acquired from the same important col- 
 lection. A picture of the death of Lucretia by Rembrandt is 
 mentioned by Vosmaer and Scheltema as being in the collec- 
 tion of Abraham Wijs and Sara di Potter in 1658. A Lucretia 
 by Rembrandt was sold in Mr. Zachary’s collection in 1826, 
 and was bought by Sir Thomas Lawrence, president of the 
 Royal Academy, for £199 10s. Presented by J. E. Scripps. 
 
 HERMAN SAFT-LEVEN (1609-1685). Dutch School. Pupil 
 of Jan Van Goyen. His pictures are mostly of Rhine 
 scenery, and are well drawn and carefully executed. 
 
 44 A Winter Scene. A valley with high rocks to the right, 
 and a cottage; castle on opposite hill; people skating on 
 the frozen stream and others driving sleds on the road 
 which leads to the right. 
 
 Wood: h. 10% in., 1. 14 in. From the collection of C. J 
 Knight, F. S. A., of London. Presented by J. E. Scripps. 
 
PAINTINGS BY THE OLD MASTERS 
 
 35 
 
 JAN BOTH (1610-1651). Dutch School. Influenced by 
 Claude Lorraine. Excelled in Italian mountain scenery, 
 with the effect of golden light. His brother Andrea 
 usually painted the figures in Jan’s landscapes. 
 
 45 A View in the Apennines. At the left, a torrent, crossed 
 by a wooden bridge; a tall pine rises from its border. At 
 the right, lofty rocks, down the side of which a road 
 descends. Two shepherds in conversation, with a herd of 
 goats in a pen composed of network stretched on stakes. 
 The effect of a setting sun. Signed at lower right hand 
 corner. 
 
 Wood: h. 16% in., 1. 24 in. From the collection of M. 
 Tenc6, of Lille, sold December, 1881. Presented by J. E. 
 Scripps. 
 
 DAVID TENIERS, the younger (1610 16-90). Flemish 
 School. His favorite subjects were village festivals and 
 merrymakings, fairs and kermesses, gypsies, incanta- 
 tions, interiors of cabarets, with peasants smoking and 
 regaling, etc. Though extremely numerous, his pictures 
 are held in the highest estimation. 
 
 A ROOM IN AN INN 
 
 By David Teniers, the Younger (1610-1690) Flemish School 
 Gift of James E. Scripps. Esq. 
 
36 
 
 DETROIT MUSEUM OF ART 
 
 46 A Room in an Inn. Three peasants smoking. One at the 
 left holds a large beer mug in his hand and rests his foot 
 on a box upon which we see the monogram D. T. F. (David 
 Teniers, fecit), a second sits at a table preparing some 
 tobacco, while a third stands behind. A cartoon on the 
 wall bears the date 1644. 
 
 Canvas: h. 13 % in., 1. 16% in. Purchased in Leipsic, where 
 its genuineness was attested in writing by Dr. Schreiber, 
 director of the Leipsic gallery, and Prof. Anton Springer, well- 
 known writer on art. Presented by J. E. Scripps. 
 
 MINDERHOUT HOBBEMA (1638-1709). Dutch School. 
 Believed to have been a pupil of Solomon Ruysdael, and 
 a friend and companion of the more famous Jacob Ruys- 
 dael. He painted landscapes only, generally woody 
 scenes. His coloring is extremely natural, and his skies 
 light and floating. He is regarded as second only to 
 Ruysdael as a landscape artist. 
 
 47 A River Scene, with a peasant and dog crossing a rustic 
 bridge at the right; in the center, near a cottage, a man 
 seated angling, and two peasants on a road leading to a 
 village, with a church seen in the distance to the left. 
 Signed in lower left hand corner, “M. Hobbema, 1648.” 
 (The third figure is indistinct.) 
 
 Wood: h. 18% in., 1. 24% in. Presented by J. E. Scripps. 
 
 BARTOLOME ESTEBAN MURILLO (1618-1682). Spanish 
 School. Pupil of Velasquez. His most famous pictures 
 are his representations of the Immaculate Conception, 
 so-called, of which there are known to be 25 in existence, 
 no two entirely alike. One of the best of these is in the 
 Louvre in Paris. In those in which the Virgin is repre- 
 sented with dark hair the artist is said to have taken 
 his daughter Francisca as a model. Murillo also painted 
 Holy Families, Madonnas, religious scenes and beggar 
 boys. All his figures are strikingly Spanish, and a great 
 sweetness of expression and tender beauty usually char- 
 acterizes his women. His style has been said to hold a 
 middle rank between the unpolished naturalness of the 
 Flemish and the grace of the Italian School. 
 
 48 The Immaculate Conception. The Virgin, standing in the 
 hollow of a crescent with one horn visible, looks up to her 
 left; the right wrist covers the thumb and tip of the fore- 
 finger of the left hand on her breast; her mantle floats out 
 on her left in a heavy fold; seven cherubs beneath hold 
 
THE IMMACULATE CONCEPTION 
 By Bartolome Esteban Murillo (1618-1682) Spanish School 
 Gift of James E. Scripps. Esq. 
 
38 
 
 DETROIT MUSEUM OF ART 
 
 palm, lily, roses and olive branch; five cherub heads on 
 each side above. The Virgin has dark hair. The elaborate 
 frame bears the royal arms of Spain. 
 
 The doctrine of the Immaculate Conception, or sinless 
 nature of the Virgin Mary, was agitated as early as the 
 5th century. In the 11th century it was proposed to make 
 it an article of belief, but it was postponed through the 
 influence of St. Bernard. In the 13th century it was advo- 
 cated by the learned Duns Scotus, but was successfully 
 opposed by the great theologian, St. Thomas Aquinas. In 
 1615 the teaching of a contrary doctrine was prohibited 
 by papal bull. About the same time Pacheco, a Spanish 
 inquisitor and inspector of sacred pictures, laid down rules 
 to be followed in pictorial representations of the dogma. 
 The Virgin was to be portrayed in the bloom of youth, with 
 all the beauty painting can express, her hands to be folded 
 on her bosom or joined in prayer. She was to be sur- 
 rounded by a flood of light with the moon under her feet; 
 her robe to be of spotless white, the mantle, or scarf, blue. 
 Around her were to hover cherubs, bearing roses, palms 
 and lilies. Murillo did not always adhere rigidly to these 
 rules, but his orthodoxy was never questioned. 
 
 Canvas: h. 78 in., w. 53 in. This picture was taken from the 
 Royal Palace, Madrid, during the Peninsular war, by the 
 French General Desolle, whose daughter sold it to Woodburn, 
 a well-known London dealer. He in turn sold it to the King 
 of Holland for £4,000 ($20,000). At the sale of the King’s 
 pictures, August 12, 1850, it was bid in at about $15,480. In 
 1857 it was sold to W. H. Aspinwall, of New York, at whose 
 death it was sent to London to be sold, where it was pur- 
 chased for the Detroit Museum. A wood engraving of it 
 appeared in Harper’s Weekly, June 30, 185 8. It is No. 84 in 
 Charles B. Curtis’s catalogue of the works of Murillo, page 
 132. Presented by J. E. Scripps. 
 
 49 The Martyrdom of St. Andrew. The aged saint, naked 
 except for a linen cloth, is raised in the center on a saltier 
 cross formed of the trunks of trees, to which he is fastened 
 with cords; his white hair and beard stream loosely in the 
 air as he looks up to the sky, where cherubs appear with 
 the crown and palm of martyrdom; beneath are execution- 
 ers, two of whom are tightening the cords that bind the 
 martyr’s feet; on the left, in front, is a group of spectators, 
 among them women and a weeping boy; on the right, two 
 soldiers on horseback and others on foot with lances. 
 Painted in the latest manner of the artist. This picture 
 is replete with power and pathos. There is a tragic reality 
 in the whole scene rarely surpassed in art. 
 
PAINTINGS BY THE OLD MASTERS 
 
 39 
 
 Canvas: h. 51 in., 1. 66 in. From the collection of Sir Philip 
 Miles, of Leigh Court, Somersetshire, England, sold in 1884. 
 It is numbered 238 in Curtis’s Catalogue, p. 210. A replica, a 
 little smaller in size, is in the royal gallery of the Prado, in 
 Madrid. Presented by J. E. Scripps. 
 
 CARLO DOLCI (1616-1686). Late Florentine School. He 
 painted heads chiefly, and excelled in the softness and 
 tranquility with which he expressed the character of 
 devotion. 
 
 50 Head of St. Mary Magdalene. 
 
 Canvas: h. 16% in., w. 13% in. From the collection of the 
 late Marchese Caruana, of Florence. Presented by J. E. 
 Scripps. 
 
 SOLOMON RUYSDAEL (1616-1670). Dutch School. Ruys- 
 dael much resembles Van Goyen in subjects and style, 
 his pictures consisting of rivers and canals bordered 
 with houses and trees, usually willows. He was inferior 
 to his brother (or nephew), Jacob, in force of coloring. 
 
 51 A View of Dort, Holland, with ferry boat and figures. 
 Foreground, the river Maas; at the right, a chateau, with 
 road, horses and wagon, and men drawing in a net; center, 
 large willows overhanging the water. Signed and dated 
 1643. 
 
 Canvas: h. 39 in., 1. 53% in. From the collection of Major 
 Corbett-Winder. A picture answering this description was 
 sold in the collection of Robert Strange, the famous engraver, 
 in 1771. Presented by J. E. Scripps. 
 
 AART VAN DER NEER (1619-1692 [?]). Dutch School. He 
 excelled particularly in canals and rivers, lighted by the 
 moon. Few other painters have so well depicted the 
 effect of light on water. His pictures are highly 
 esteemed. 
 
 52 A River Scene; effect of morning light. 
 
 Wood: h. 12% in., 1. 19% in. From the Corbett-Winder 
 collection. Exhibited in the Royal Academy exhibition of the 
 works of the old masters in 1888. Presented by J. E. Scripps. 
 
 PHILIP WOUVERMANS (1619-1668). Dutch School. In 
 most of his pictures horses are a prominent feature. In 
 the course of a short life he produced nearly 800 works. 
 
 53 Man mounted on a white horse, observing three children 
 at play at the foot of a tree. 
 
 Wood: h. 9% in., 1. 11% in. Presented by J. E. Scripps. 
 
40 
 
 DETROIT MUSEUM OF ART 
 
 JACQUES COURTOIS, called BORGOGNONE (1621-1676). 
 French School, Pupil of Albano and Guido. He devoted 
 himself to battle scenes, which he painted with rare 
 vigor. While at the height of his popularity his wife 
 died suddenly, and he was accused by enemies of poison- 
 ing her. This cruel charge led him to abandon society 
 and join the order of Jesuits. 
 
 54 A Battle Scene. 
 
 Copper: h. 16 in., 1. 2214 in. From the Duke of Hamilton’s 
 collection. Presented by J. E. Scripps. 
 
 THE VIRGIN AND CHILD AND ST. JOHN 
 By Carlo Maratti (1625-1713) Roman School 
 
 Gift of James E. Scripps, Esq. 
 
 CARLO MARATTI (1625-1713). Roman School; pupil of 
 Andrea Sacchi. His work is seen in many of the altaT 
 pieces in the churches at Rome. 
 
 55 The Virgin and Child and St. John. The Virgin wearing a 
 green veil, holds the infant Jesus on her knee, who is 
 attracted by the child John at the left, with his little 
 cross and a scroll bearing the words, “Ecce Agnus Dei,” 
 which he extends to the infant Savior. 
 
 Copper: h. 3414 in., w. 2614 in. Formerly the property of 
 Prince di Gonzaga. Presented by J. E. Scripps. 
 
PAINTINGS BY THE OLD MASTERS 
 
 41 
 
 JACOB RUYSDAEL (1625-1682). Dutch School; pupil of 
 Solomon Ruysdael. He stands almost unrivaled as a 
 landscape painter. He excelled particularly in cascades 
 and waterfalls and rocky scenery. 
 
 56 A Woody Landscape, with horseman and dog. 
 
 Wood: h. 15% in., w. 13% in. Unauthenticated and prob- 
 ably not a genuine Ruysdael. Presented by J. E. Scripps. 
 
 KAREL DU JARDIN (1625 or 1630-1678). Dutch School; 
 pupil of N. Berchem. His landscapes are pleasing and 
 his figures and animals possess all the truth and finish 
 of Paul Potter’s work. His pictures are scarce and 
 valuable. 
 
 57 The Return of the Holy Family from Egypt. In the fore- 
 ground is a stream, which the group, consisting of Joseph, 
 Mary, and the young Jesus, an ass, and three sheep, are 
 beginning to ford. The ass, to the right, is laden with a 
 panier filled with carpenters’ tools. Joseph, behind it, is 
 bareheaded, with shaggy hair and beard. The Virgin, in 
 the center, in a blue mantle, points upward with her right 
 hand as she addresses her son, who appears to be about 
 five or six years old, and who caresses one of the three 
 sheep. A mountainous country in the background. Signed 
 on a stone at the left, K. DV. JARDIN fe 1662. 
 
 Canvas: h. 24% in., w. 20 in. Two similar subjects are 
 described in Smith’s Catalogue Raisonne, but both differ from 
 this in some particulars. From the collection of James Saun- 
 ders, Esq., of Taplow House, near Maidenhead, England, 
 where it was seen by De Waagen and mentioned in his 
 Treasures of Art in Great Britain. Formerly in the collection 
 of Count Pourtales, in Paris. Presented by J. E. Scripps. 
 
 JAN STEEN (1626-1679). Dutch School; pupil of Ostade 
 and Van Goyen; married the daughter of the latter; an 
 extraordinary genius, but unfortunately given to dissi- 
 pation. He depicted the pleasures of eating and drink- 
 ing, song, card-playing and love-making directly from 
 nature and with rare spirit and humor. 
 
 58 Gamblers Quarreling. Interior of an ale house; a violin 
 player standing in the center background, laughing, while 
 two men in front are indulging in a violent quarrel; one 
 has been thrown down and the other is drawing his sword 
 to finish his prostrate opponent. Two women are striving 
 to keep them apart, while three men sit in the chimney 
 enjoying the scene. Two others are wrestling at the left. 
 From the ceiling hangs a frame, wreathed with grapevine 
 
42 
 
 DETROIT MUSEUM OF ART 
 
 sprays, and upon which is inscribed “Prov. cap. 20, ver. 1.” 
 (The text is, “Wine is a mocker, strong drink is raging; 
 and whosoever is deceived thereby is not wise.”) From the 
 frame depends a bell. On the floor are a trictrac board, 
 cards strewn about, broken vessels, etc. Signed: J. Steen, 
 the J and S forming a monogram. 
 
 Canvas: h. 27*4 in., 1. 34 y 2 in. Described in Smith’s Cata- 
 logue Raisonne, Vol. IV, p. 25, No. 80. Sold in the collection 
 of M. Van der Pot in 1808 for 500 florins. Lately in the 
 collection of Major Corbett-Winder. Exhibited in the Royal 
 Academy exhibition of old masters in 1879. Presented by 
 J. E. Scripps. 
 
 LUCA GIORDANO (1632-1705). Neapolitan School; pupil 
 of Ribera; one of the greatest geniuses in the history of 
 art, but one who made ill use of his gifts. With the 
 greatest capabilities, he sacrificed everything to a slight, 
 rapid style, and thus produced no great works. 
 
 59 The Nativity. The infant Savior lies in a manger of 
 straw, and from his body emanates all the light with 
 which the picture is illumined. Over him stand Joseph, 
 Mary and another female, while at each end of the manger 
 stand two cherubs, stretching their necks to gain a view 
 of the holy infant. 
 
 Canvas: h. 22% in., 1. 29% in. From the collection of 
 Hans Stanley, who was a Lord of the British Admiralty from 
 1757 to 1763, and in 1765 went as English ambassador extra- 
 ordinary to the Empress of Russia. Presented by J. E. 
 Scripps. 
 
 WILLIAM VAN DER VELDE, THE YOUNGER (1633- 
 1707). Dutch School; pupil of his father and of Simon 
 de Vlieger. He is recognized as the greatest marine 
 painter of the whole Dutch School. 
 
 60 A Marine View. Right foreground, a low sandy beach, 
 with a yawl boat drawn up upon it, and two men engaged 
 with the boat. In the middle distance, a man-of-war at 
 anchor, with her bow headed out to sea. To the left, two 
 sloop-rigged fishing smacks at anchor, but with sails set, 
 the latter being reflected in the water. Sea gulls flying 
 about. In the distance numerous fishing boats under sail. 
 Signed in the lower right corner, “W. V. V.’’ 
 
 Wood: h. 5% in., 1. 7% in. Sold in the J. E. Fordham col- 
 lection in 1867 for 200 guineas (over $1,000). Presented by 
 J. E. Scripps. 
 
PAINTINGS BY THE OLD MASTERS 
 
 43 
 
 ADRIAN VAN DER VELDE (1635 or 1636-1672). Dutch 
 School; pupil of his father, Jan Wynants, and Philip 
 Wouvermans. Almost as famous as a cattle painter as 
 his brother William was as a marine artist. 
 
 61 Landscape with Cattle. A man leading a spotted cow and 
 a goat into a stream. A woman riding an ass, with a dun 
 cow, a calf, a sheep, and a dog following behind; trees and 
 ruins at the left with a sitting figure; hills to the right 
 with a boy driving a cow. 
 
 Canvas: h. 15 in., 1. 19% in. From the collection of C. J. 
 Knight, F. S. A., of London. Not an authenticated work of 
 the master, and possibly the work of one of his pupils. Pre- 
 sented by J. E. Scripps. 
 
 GERARD BERKHEYDEN (1638-1698). Dutch School; 
 pupil of Franz Hals. Berkheyden painted street scenes 
 in Holland with great neatness and well colored. 
 
 62 The Groote Kerk, or Cathedral of St. Bavon, at Haarlem, 
 seen from the corner of the great market square near the 
 town hall, which stands to the left of the picture. Numer- 
 ous figures are seen in the square. Signed in lower left 
 corner. 
 
 Canvas: h. 31% in., w. 16% in. From the Corbett-Winder 
 collection. Presented by J. E. Scripps. 
 
 WILLIAM DE HEU.SCH (1638-1712). Dutch School; pupil 
 of Jan Both. A pleasing painter of Italian scenery. 
 
 63 An Italian Landscape, with peasants and animals on a road. 
 
 Wood: h. 17 in., w. 14% in. From the Corbett-Winder col- 
 lection. Presented by J. E. Scripps. 
 
 PETER DE HOOGH (1630-1681). His best works were 
 painted between 1658 and 1670. His favorite subjects 
 were the interiors of Dutch apartments, with figures 
 habited in the dress of his time, in which he represented 
 with wonderful success the sun shining through a win- 
 dow, by which part of the room is brilliantly illuminated. 
 He is considered the greatest of all painters of sunlight. 
 As a colorist he ranks among the best of the Dutch 
 School. His pictures are greatly esteemed. 
 
 64 A Dutch Interior. In the foreground a woman sits nursing 
 an infant closely wrapped in a blanket. A wicker cradle 
 stands by her side with the artist’s signature, “P. d. 
 Hoogh,” on the rocker. Her foot rests on a foot warmer, 
 
44 
 
 DETROIT MUSEUM OF ART 
 
 COPYRIGHT BY DETROIT PUBLISHING CO. 
 
 A DUTCH INTERIOR 
 
 By Peter de Hooch ( 1630-1681) Dutch School 
 
 Presented by James E. Scripps, Esq. 
 
 and a spaniel dog stands at her feet. She wears a bright 
 red petticoat. In the background, to the left, is an open 
 stairway with a window through which the sun shines 
 in brightly. At the right is an alcove containing a bed. 
 
 Canvas: h. 31 % in., w. 23% in. From the collection of 
 Count Montgermont, of Paris. Presented by J. E. Scripps. 
 
PAINTINGS BY THE OLD MASTERS 
 
 45 
 
 QUIRENUS BREKELENKAMP (1648-1668). Dutch School; 
 pupil of Gerard Dow. He painted Dutch interiors with 
 figures. His works are found in the choicest collections 
 and are greatly esteemed. 
 
 65 A Vegetable Stall, with cabbages, carrots and cucumbers. 
 An old man with spectacles is counting change, for which 
 a pretty Dutch girl, with a pail filled with vegetables, and 
 who is holding a flower to her nose, is waiting. A fash- 
 ionably dressed boy in the background is watching the 
 motions of the old man. 
 
 Wood: h. 18% in., w. 14% in. From the Corbett-Winder 
 collection. Considered a fine example of Brekelenkamp’s work. 
 Presented by J. E. Scripps. 
 
 PHILIP ROOS, called ROSA DA TIVOLI (1657-1705). 
 Dutch School. A masterly painter of landscapes with 
 cattle, horses, etc. 
 
 66 A Military Encampment. At the right officers’ tents; an 
 officer giving directions to a negro courier mounted on a 
 white horse. Two other white horses resting. Another 
 officer directing the disposition of a lot of sheep which 
 have been brought in by foragers. 
 
 Canvas: h. 5 0 in., 1. 64 in. Presented by J. E. Scripps. 
 
 PETER VAN DER WERFF (1665-1718). Dutch School; 
 pupil of his celebrated brother Adrian Van der Werff. 
 While not equalling his brother in this respect his pic- 
 tures are very highly finished. Adrian’s naked figures 
 have the appearance of ivory, so polished are his sur- 
 faces. 
 
 67 The Magdalene. She kneels to the left with her hands 
 folded on her breast, reading from a scroll, which lies 
 spread upon a rock before her. 
 
 Wood: h. 14% in., w. 10% in. From the Corbett-Winder 
 collection. Presented by J. E. Scripps. 
 
 GIOVANNI PAOLO PANNINI (1691-1764). Late Italian 
 School. Famous for his views of Roman ruins enlivened 
 with figures. 
 
 68 A ruined Triumphal Arch dedicated to the Emperor Ves- 
 pasian; with figures. 
 
 Canvas: h. 29 in., w. 24% in. From the Corbett-Winder col- 
 lection. Presented by J. E. Scripps. 
 
COPYRIGHT BY DETROIT PUBLISHING CO. 
 
 THE MAGDALENE 
 
 By Peter Van Der Werff (1665-1718) Dutch School 
 Gift of James E. Scripps, Esq. 
 
PAINTINGS BY THE OLD MASTERS 
 
 47 
 
 ANTONIO CANALE, called CANALETTO (1697-1768). 
 Late Venetian School. Excelled in the canal scenery of 
 his native city. The most successful Italian painter 
 of the 18th century. 
 
 69 View of Venice from St. Mark’s quay. To the right, the 
 palace of the Doges; left, church of St. Maria della Salute. 
 
 Canvas: h. 45 in., 1. 46% in. Presented by J. E. Scripps. 
 
 FRANCIS BOUCHER (1703-1770). French School. Prin- 
 cipal painter to Louis XV. His pictures are highly 
 decorative. 
 
 70 Venus ordering of Vulcan arms for Aeneas. In the fore- 
 ground, at the left, Vulcan sits on a rock beside an anvil, 
 holding a shield, with his face directed towards Venus 
 sitting in the clouds above to the right. She is sur- 
 rounded by cupids and her chariot is seen behind. At the 
 lower right corner cyclops are seen engaged at their forge. 
 
 JEneas was the son of Venus by Anchises. He was one 
 of the principal figures in the defense of Troy, and after 
 the destruction of that city by the Greeks founded a 
 colony in Italy which later became Rome. Vulcan, the 
 blacksmith of the gods, was the husband of Venus, and 
 had his home in the subterranean regions, where he was 
 employed in forging thunderbolts for Jupiter. 
 
 Canvas: h. 24% in., w. 20 in. From the collection of the 
 late Wm. Henry Hurlbut, of New York. This picture is very 
 similar in treatment to a large picture in the Louvre at Paris, 
 in which the figures are life size. The latter is dated 1732, 
 and this work is no doubt of the same period, if not indeed 
 a study for the larger picture. Presented by J. E. Scripps. 
 
 CHRISTIAN WILLIAM ERNEST DIETRICH, or DIETRICY 
 (1712-1742). Late German School, A successful imitator 
 of the works of the older Dutch masters, and a brilliant 
 colorist. There is a large collection of his works in the 
 royal gallery at Dresden. 
 
 71 The Expulsion of Hagar. Hagar and Ishmael are seen 
 departing at the left, the latter with his bow and arrows. 
 Behind them stands Abraham, with turbaned head and 
 staff in hand. Sarah occupies the center of the picture, 
 standing in the door of a cottage, holding aside a portier, 
 while Isaac, in alarm at Ishmael’s defying attitude, clings 
 to her. A white dog barks at the departing couple, and a 
 maid with a pitcher, at the right, observes the scene, while 
 another looks on from an open casement. Signed and 
 dated 1767. 
 
 Copper: h. 13% in., 1. 19% in. Presented by J. E. Scripps. 
 
QUEEN PHILLIPA INTERCEDING FOR THE LIVES OF THE BURGHERS OF CALAIS 
 By Benjamin West (1732-1820) Gift of James E, Scripps, Esq. 
 
PAINTINGS BY THE OLD MASTERS 
 
 49 
 
 FRANCESCO GUARDI (1712-1793). Late Venetian School; 
 pupil of Caneletto. Excelled in architectural views of 
 Venice. 
 
 72 View on the Grand Canal, Venice. 
 
 Canvas: h. 14% in., 1. 19% in. From the collection of T. J. 
 Ireland, M. P., of Ousden Hall, Suffolk, England. Presented 
 by J. E. Scripps. 
 
 BENJAMIN WEST (1738-1820). English School; native of 
 Pennsylvania; studied in Italy; patronized by George 
 III.; succeeded Sir Joshua Reynolds as President of the 
 Royal Academy; buried in St. Paul’s Cathedral. Famous 
 as a historical painter. 
 
 73 Queen Philippa, interceding for the lives of the burghers 
 of Calais. At the right, Queen Philippa, wife of Edward III., 
 of England, attended by two maidens, pleading with her 
 husband, who appears in full armor, with battle axe in his 
 left hand; by him stands a boy holding the gauntlet which 
 he has removed from his right hand, and behind him the 
 Black Prince, his son, between two other armed knights; 
 at the left stand six burghers, with ropes about their necks 
 and their hands pinioned behind them, guarded by armed 
 soldiers. Calais had surrendered to the English after a 
 long siege, and the keys of the city had been brought to the 
 victorious Edward by its six most noble burghers. The 
 surrender occurred in 1347. The picture is signed and 
 dated 1788. 
 
 Canvas: h. 39% in., 1. 52% in. Considered an admirable 
 example of the work of Benjamin West. 
 
 74 Portrait of the donor, Mr. James E. Scripps, by Robert J. 
 Wickenden. Gift of the Executors of the James E. Scripps 
 Estate. 
 
MRS. HARRIET J. SCRIPPS’ GIFTS 
 
 The paintings which follow in this catalogue were presented 
 to the Detroit Museum of Art in 1909, by Mrs. Harriet J. 
 Scripps in memory of her husband, the late James E. Scripps. 
 
 Among them are a number of important examples by mas- 
 ters not represented in the James E. Scripps collection and 
 rarely found outside the cabinets of the public and private 
 galleries of Europe. 
 
 75 The Crucifixion. 
 
 Wood: arched, h., 35 in., w., 21 in. Painted on gesso or a 
 preparation of plaster anciently used as a groundwork for the 
 colors. Probably a small altar-piece of the 15th century or 
 earlier. Has been attributed to Perugino (1446-1524). From 
 the Stowe House Sale, 1848. 
 
 KESSEiL (Jan Van). Old Dutch School. Born at Antwerp, 
 1626. Pupil of Jan Breughel. Master of the Guild, 1644. 
 Died, 1679. He imitated the highly finished style of Jan 
 Breughel and painted small landscapes, birds, reptiles, 
 etc., with extraordinary neatness and precision. 
 
 76 Water. A small lake, with otters and various kinds of fish 
 and eels on the bank nearest the spectator. On the oppo- 
 site side a cave and grotesque animals. 
 
 Copper: h. 8 in., 1. liy 2 in. From the collection of Major 
 Corbett-Winder, of Vaynor Park, Berriew, Montgomeryshire, 
 Wales. Sold in London in 1889. 
 
 LUNDENS (Gerrit). Old Dutch School. A Dutch genre 
 painter who flourished about 1652-73. His works are 
 found in the Dresden and other European galleries. His 
 work much resembles that of Peter de Hoogh, one of the 
 greatest masters in the treatment of light. 
 
 77 Housewife Cleaning Fish. The cabbage in this picture 
 greatly resembles one in a picture in the Brussels Museum, 
 by Quiryn Brekelenkamp, a Dutch painter who died in 
 1668, while the general character of the work is very much 
 the same. 
 
 Panel: h. 17 in., 1- 28 in. Signed in left lower corner. 
 From the Ehrich sale, 1895. 
 
PAINTINGS BY THE OLD MASTERS 
 
 51 
 
 MURILLO (Eartolome Esteban). Born at Seville, Spain, 
 in 1G18. Founded the academy at Seville in 1660. Died 
 1682. He shares with Velasquez the highest position in 
 the Spanish School. 
 
 78 St. Francis of Assisi. St. Francis was born at Assisi, Italy, 
 in 1182. He founded the famous Franciscan Order about 
 1210. He visited Palestine as a crusader in 1220 and died 
 in 1226. 
 
 Canvas: h. 22% in., w. 18% in. Purchased of Charles Sedel- 
 meyer, Paris, 1897. From the collection of H. A. J. Munro, 
 sold in London, 1878. No. 300 in C. B. Curtis’s catalogut of 
 the works of Murillo. 
 
 NEEFS (Peter). Old Dutch School. Peter Neefs, the 
 elder, was probably a native of Antwerp, where he died 
 in 1656 at an advanced age. He was a pupil of Hendrik 
 Van Steenwyck the elder, and, like him, excelled as a 
 painter of church interiors. He was famous for his 
 perspectives and distribution of light. His pictures are 
 highly finished and are usually enriched with figures by 
 Franz Francken, Teniers the elder, or Jan Breughel. 
 
 Peter Neefs, the younger, was born in Antwerp in 
 1620, and died there after 1675. He painted the same 
 subjects as his father, and with almost equal excellence. 
 
 79 Interior of a Gothic Cathedral, with More than 40 Carefully 
 Painted Figures. 
 
 Panel: h. 10% in., 1. 14% in. From the Corbett-Winder 
 collection, sold in London, 1889. The excellence of the figures 
 would indicate a work by the elder Neefs. 
 
 NEER (Aart Van Der.) Old Dutch School. Born in Am- 
 sterdam, 1619. Died there 1683. Eminent for his moon- 
 light effects. 
 
 80 Moonlight Scene in Amsterdam. A broad canal bordered 
 on either side by a row of large trees, and a street lined 
 with tall gabled houses, the gables of which, with lights 
 in the windows, peep out over the trees. Moon reflected 
 in the water. 
 
 Panel: h. 8 in., 1. 12 in. From the F. Ricketts collection, 
 London. 
 
 POEL (Egbert Van Der). Old Dutch School. Born at 
 Delft in 1621. Died at Rotterdam, 1664. He treated 
 conflagrations and the effects of artificial light with great 
 ability. 
 
52 
 
 DETROIT MUSEUM OF ART 
 
 81 The Oyster Stall. An oyster stall lighted by a large lan- 
 tern. Moon rising at the right. Signed at lower left 
 corner. 
 
 Panel: h. 10% in., w. 10% in. Prom the Corbett-Winder 
 collection, sold in London in 1889. 
 
 UNKNOWN DUTCH ARTIST of the 17th Century. 
 
 82 A Fortress, River and Party Landing Boats. Perhaps a 
 view on the Rhine. 
 
 Panel: h. 16 in., 1. 21% in. Indistinctly signed and dated 
 169 — , the last figure being undecipherable. Resembles the 
 work of Jan Griffer, a Dutch landscape painter, 1656-1718. 
 Purchased in Dresden, 1887. 
 
 WILSON (Richard) R. A. Born in Wales 1713. Died 1782. 
 One of the original members of the Royal Academy, and 
 regarded as one of the greatest of English landscape 
 painters. Several of his works are in the National gal- 
 lery. 
 
 83 A Classical Landscape and Ruins. 
 
 Canvas: h. 14 in., 1. 21 in. Signed. From the collection of 
 Gilbert Craig, Esq., Edinburgh. Lamoriniere sale, 1899. 
 
 WOUWERMANS (Philip). Old Dutch School. Born in 
 Haarlem, 1619. Pupil of Wynants. Excelled especially 
 in his figures and horses. Was an industrious painter, 
 nearly 800 of his works being known. Died in Haarlem, 
 1668. 
 
 84 Repose of the Hawking Party. 
 
 Panel: h. 19 in., 1. 25% in. Signed Ph. W. in lower left cor- 
 ner. Prom the Ehrich sale, 1895. 
 
 WYNANTS (Jan). Old Dutch School. Born in Haarlem, 
 1615. Died after 1679. Painter of landscapes notable 
 for their truthfulness, fine aeriel perspective, silvery 
 toned backgrounds and careful execution of details. The 
 figures and animals in his pictures were usually sup- 
 plied by other eminent painters of his day, as Adrian 
 Van de Velde, Lingelbach, Wouwermans and others. 
 
 85 A Landscape with Figures. At the left a sandy road with 
 a girl and dog, a man and woman, the latter carrying a 
 basket on her head, and a few sheep. A cottage peeping 
 over the hill. Center, a tree overhanging a brook in which 
 
PAINTINGS BY THE OLD MASTERS 
 
 53 
 
 a number of ducks are swimming, a river and distant hills 
 to the right. 
 
 Panel: h. 15% in., 1. 19% in. Purchased from Charles Sedel- 
 meyer, 1900. 
 
 BERCK-HEYDE (Job). Old Dutch School. Born at Haar- 
 lem, 1630. Pupil of Franz Hals. Master of the Guild, 
 1654. Died at Haarlem, 1693. Landscape, architectural 
 and genre painter. 
 
 86 The Farm Well. 
 
 Panel: h. 15% in., 1. 19 in. From the Louis R. Ehrich col- 
 lection, sold in New York, January, 1895. 
 
 CORREGGIO (Antonio Allegri). Old Italian School. Born 
 at Correggio, Italy, 1494. Studied at Ferrara. Influenced 
 by Francesco Francia. His most important w r orks are 
 the frescoes in the dome of the cathedral at Parma, fin- 
 ished in 1530. Died at Correggio, 1534. He is noted for 
 the life and animation of his pictures, his skill in fore- 
 shortening and his successful chiaroscuro. The pathetic 
 story will be recalled of how Correggio, being in great 
 destitution, was wantonly paid by the monks of a cer- 
 tain convent for whom he had executed a painting, in 
 copper coin, the labor of carrying which home to his 
 needy family brought on a fever which ended his life at 
 the early age of 40. 
 
 87 The Virgin and Child. The Virgin sits at the left under a 
 tree. A basket containing a pair of shears is at her side. 
 The infant Jesus sits in her lap, facing to the left, and her 
 right suports his right arm, the hands being raised in the 
 attitude of blessing. To the right St. Joseph is seen en- 
 gaged in planing a board. In both mother and child the 
 nimbus is lacking. 
 
 Panel: h. 12% in., w. 9% in. This picture is an exact 
 replica of the similar subject in the National Gallery, Lon- 
 don, even to size. It was in the possession of Dr. Hinde, 
 lecturer at University College Hospital, London, for more 
 than fifty years, and was given as a wedding present to Mrs. 
 Hinde by one of the Colnaghi family who brought it from 
 Florence. Sir Charles Eastlake, president of the Royal 
 Academy, and English editor of Kugler’s Handbook of Paint- 
 ing of the Italian School, who was a frequent visitor at Dr. 
 Hinde’s, believed it to be a genuine work of Correggio, or at 
 least painted in his studio. 
 
54 
 
 DETROIT MUSEUM OF ART 
 
 COURTOIS (Jacques) called Borgognone. Old Italian 
 School. Born in France, 1621. Served for some time in 
 the French army, making numerous sketches of battles, 
 a branch of art to which he subsequently devoted him- 
 self. Being cruelly charged with poisoning his wife, he 
 abandoned the world and became a member of the Jesuit 
 order. Died, 1676. His finest works are in the Pitti 
 Palace at Florence. Unfortunately many of his pictures 
 have blackened since they were painted. 
 
 88 A Battle Scene. 
 
 Canvas: h. lS 1 ^ in., 1. 22 in. From the collection of T. J. 
 
 Ireland, Esq., M. P. Sold in London, 1889. 
 
 DOW (Gerard) attributed to. Born at Leyden, 1613; pupil 
 of Rembrandt, whose coloring and chiaroscuro he ac- 
 quired. His most famous work is the “Dropsical Woman” 
 in the Louvre. He died in 1675. 
 
 89 The Annunciation. Purchased of Charles Sedelmeyer, 
 Paris, 1897, who said of it: “I think this picture can be 
 ascribed to Gerard Dow when he worked in the studio of 
 Rembrandt, although it differs from the artist’s works of 
 his later period. It is not so highly finished in details and 
 is much more vigorous in effect and richer in tone. It has 
 evidently been executed under Rembrandt’s influence, and 
 there are some paintings of Gerard Dow’s early time 
 which show the same qualities. The color of the dress of 
 the Virgin is most characteristic of Dow. Dr. Bode and 
 Dr. Julius Meyer of Berlin think also that it is possible 
 that Dow has painted this picture. It was in the Reimer 
 collection and afterwards in that of Herr van Kauffman, 
 Berlin.” 
 
 Panel: h. 21 y 2 in., w. 17 X A in. 
 
INDEX OF ARTISTS 
 
 Page. 
 
 Allegri, Antonio (Correggio) 24 
 
 Albano, Francesco 27 
 
 Bagnacavallo 
 
 Baldovinetti, Alessio 
 
 Barbieri, Giovanni Francesco. . . . 
 
 Bellini, Giovanni 
 
 Berck-Heyde, Job 
 
 Berkhej^den, Gerard 
 
 Borgognone, (Jacques Courtois).. 
 
 Bos or Bosche, Jerome 
 
 Both, Jan 
 
 Boucher, Francois 
 
 Breklenkamp, Quirenus 
 
 Breughel, Jan 
 
 Byzantine School 
 
 22 
 
 12 
 
 30 
 
 16 
 
 40, 54 
 . . 21 
 
 47 
 
 10 
 
 Canaletto, (Antonio Canale) 47 
 
 Carracci, Annibale 24 
 
 Cima, Giovanni 20 
 
 Conegliano 20 
 
 Correggio, Antonio Allegri 24,53 
 
 Courtois, Jacques 40, 54 
 
 Cuyp, Albert 33 
 
 Page. 
 
 Masaccio . 14 
 
 Massys, Quentin 17, 18 
 
 Murillo, Bartolome Esteban 
 
 36, 37, 38, 51 
 
 Neefs, Peter . . 51 
 
 Neer, Aart VanDer 39, 51 
 
 Pannini, Giovanni Paolo 45 
 
 Paolino, Fra 9 
 
 Patinier, Joachim 24 
 
 Perugino 50 
 
 Pinturicchio, Bernardo . . . 17 
 
 Poel, Egbert VanDer 51 
 
 Poelemburg, Cornelius 28 
 
 Ramenghi. Bartolommeo 
 
 Rembrandt. Van Ryn 33 
 
 Reni, Guido 25 
 
 Ribera, Joseph 28 
 
 Roos, Philip 45 
 
 Rubens, Peter Paul 25 
 
 Ruysdael, Solomon 39 
 
 Ruysdael, Jacob 41 
 
 De Vos, Cornelius. 27 
 
 Dietrich, C. W. E 47 
 
 Dole), Carlo 39 
 
 Dow, Gerard • 54 
 
 Garofalo 22 
 
 Gellee, Claude (Lorraine) 32 
 
 Giordano, Luca 42 
 
 Giotto di Bondone 12 
 
 Goes, Hugo Van Der 14 
 
 Goyen, Jan Van 31 
 
 Griffer, Jan 52 
 
 Guardi, Francesco . 49 
 
 Guercino 30 
 
 Guidi, Tommaso (Masaccio) 14 
 
 Guido Reni 25 
 
 Heusch, William De 43 
 
 Hobbema, Minderhout 36 
 
 Hoogh, Peter De 43 
 
 Jardin, Karel Du 41 
 
 Kessel, Jan Van 50 
 
 LeNain, Mathieu 30 
 
 Leonardo'Da Vinci 17 
 
 Lippi, Fra Filippo 14 
 
 Lorraine, Claude 32 
 
 Lundens, Gerrit 50 
 
 Maratti, Carlo 10 
 
 Sacchi, Andrea „ 31 
 
 Saft-Leven, Herman 3 4 
 
 Salvi, Giovanni Batista 33 
 
 Sano di Pietro 15 
 
 Sarto, Andrea del 23 
 
 Sassoferrato 33 
 
 Spagnoletto, (Joseph Ribera) 28 
 
 Steen, Jan 41 
 
 Steenwyck, Henry 29 
 
 Teniers, David (the younger) 35 
 
 Tisio, Benvenuto, (Garofalo) 22 
 
 Titian 21, 22 
 
 VanDer Neer, Aart 39, 
 
 VanDer Velde, William. . . . 
 
 VanDer Velde. Adrian 
 
 VanDer Werff, Peter 
 
 VanGoyen, Jan 
 
 Vanucci, Andrea (del Sarto) 
 
 VanVliet, Henry 
 
 Vlieger, Simon De 
 
 Werff, Peter VanDer 
 
 West, Benjamin 
 
 Weyden, Roger VanDer 
 
 Wilson. Richard 
 
 Witte, Emanuel De 
 
 Wouvermans, Philip 39, 
 
 Wynants, Jan 
 
 51 
 
 42 
 
 43 
 45 
 
 31 
 
 45 
 
 49 
 
 12 
 
THE CHAS. F. MAY CO., PRINTERS 
 DETROIT 
 

 
ETTY CENTER LIBRARY 
 
 N 560 A5 1910 ^ 
 c Detroit Institute of 
 Handbook of paintings by the old masters 
 
 MAIN 
 
 3125 00176 5938 
 

 
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