Catalogue of the Collection of 
 
 Pictures and Bronzes 
 
 IN THE POSSESSION OF 
 
 MR. OTTO BEIT 
 
 INTRODUCTION AND DESCRIPTIONS 
 
 DR. WILHELM BODE 
 
 DIRECTOR-GENERAL OF THE ROYAL MUSEUMS AT BERLIN 
 
 LONDON 
 
 PRIVATELY PRINTED AT THE CHISWICK PRESS 
 
Of this Catalogue only One Hundred and 
 Twenty-Five Copies have been printed 
 
 This is No. 26 
 
 The Photogravure plates in this Catalogue 
 are by the Berlin Photographic Company of 
 London and Berlin. The plates and letterpress 
 are printed on handmade Japanese paper pro- 
 cured from Tokio. 
 
 TWf j P*W. 
 
INTRODUCTION 
 
 iORKS of art, and more especially pidfures, have always been 
 regarded as necessary adjundls to every well-appointed 
 English house since the days when Englishmen, making the 
 “ grand tour,” availed themselves of their opportunities for 
 acquiring art treasures in the Netherlands, Italy, France, and 
 Spain (in many cases diredf from private owners), works which in those days 
 were sold for nominal sums, and sometimes were pradlically given away. 
 Ridicule has been freely cast upon the English mania for picking up curios of 
 every description as mementoes of foreign travel, nevertheless it is to this 
 propensity that we owe the preservation of countless works of art which 
 would otherwise have perished; while the descendants of these colledfors 
 have thus become possessed of an inheritance, the value of which in these 
 days is almost incalculable. Pidures thus acquired on the continent, added 
 to innumerable family portraits by the best foreign artists, and later by the 
 leading masters of the British School, gradually filled the halls, corridors, 
 and galleries in the country seats and town houses of the English nobility and 
 gentry, and in this way a large number of important private colledions of 
 pidures came to be formed in Great Britain during the last two hundred years. 
 This time-honoured custom still prevails; of late indeed, an outcry has been 
 raised against the drain of works of art from England to foreign countries, 
 and notably to America; but those who raise this objedion, overlook the fad 
 that quite as many, and as a rule extremely choice examples, have been brought 
 into this country from the continent. The works of art brought to England 
 by two colledors alone. Sir Richard Wallace and Mr. George Salting, far out- 
 weigh in importance all that has left these shores for foreign countries in the 
 last decades. 
 
 V 
 
VI 
 
 INTRODUCTION 
 
 Both the methods of colledting and displaying works of art in England 
 are essentially different now from what they were two hundred years ago, 
 or even at the beginning of the last century. Formerly the walls of rooms 
 and corridors were hung from floor to ceiling with picilures of the most 
 heterogeneous nature; the quality of the work being rarely, if ever, taken into 
 consideration, as may still be seen in many colledtions in old country houses. 
 In the nineteenth century colledlors began to hang their pidlures in one or 
 more large rooms, lighted from above after the manner of a pidure-gallery; 
 but both these methods have now been abandoned. The aim of the modern 
 colledor is to acquire masterpieces in the best possible state of preservation, 
 which would harmonize with the style of his house. He seeks to exhibit these 
 pidures in the most favourable light, with due regard to their decorative effed 
 and in such a manner as to heighten the air of refinement and the aesthetic 
 charm of the surroundings. Foreigners who settle in London, and have both 
 the time and the disposition to become colledors, have usually adopted this 
 excellent method, and the late Mr. Alfred Beit was no exception to the rule, 
 when in 1895 he began to adorn his stately house in Park Lane, then recently 
 completed, with works of art on a scale of great magnificence. 
 
 Mr. Alfred Beit was not one of those to whom the acquisition of works 
 of art becomes an all-engrossing passion, and he was therefore able to steer 
 clear of the errors into which the professional colledor is prone to fall. The 
 sheer pleasure of colleding never induced him to make daily acquisitions which 
 often result in the accumulation of a great number of works of art of doubtful 
 authenticity; nor was he beguiled by preconceived notions or any pronounced 
 leanings. His principal aim was to render his house artistically beautiful, and 
 in seleding works of art, his first consideration was always the attradliveness 
 of the subjedt represented, and the decorative value of the composition. False 
 economy never deterred him from making purchases; but on the other hand 
 he was never recklessly extravagant. His acquisitions were always made with 
 deliberate and calm judgement, and good advice was never disregarded by 
 him. He had already gained considerable experience when collecting on a 
 much more modest scale, for his house at Hamburg, which he had built some 
 six years earlier. The adornment of the house in Park Lane was therefore 
 extremely choice in quality, and the whole presented an aspeCt of beauty 
 blended with comfort from which, moreover, a personal note was not lacking. 
 
INTRODUCTION 
 
 vii 
 
 for the owner always resolutely set his face against being hampered by slavish 
 adherence to the prevailing fashion, either in the building or in the arrangement 
 of his house. In some of the upper rooms, indeed, he simply reproduced the 
 plan and disposition of the Chambers in Pall Mall, which he had inhabited 
 some ten years previously, and here he re-hung the first modest fruits of 
 his zeal as a colledor; for no considerations of architedlural fitness would have 
 induced him to part from surroundings to which he had become attached 
 during a residence of ten years and with which many old associations were 
 bound up. Thus the contents of the house in Park Lane furnished a record 
 of Mr. Alfred Beit’s gradual development as a colledor. 
 
 But he was not long permitted to enjoy his treasures and the colledions 
 which he had formed, nor was he able to complete them as he would have 
 wished. The storm and stress of life in South Africa, the struggle for the 
 supremacy of the British Flag, and for the incorporation with the Empire of a 
 new and vast colonial dominion, among the founders of which Mr. Alfred Beit 
 must certainly be reckoned, had undermined his health, and in July igo6 he 
 succumbed to a painful illness. His colledion, with the exception of some 
 important items which he bequeathed to different museums and to friends, 
 passed to his only surviving brother and sole heir, Mr. Otto Beit. The house 
 in Park Lane, having been built for a bachelor, was unsuitable as a residence 
 for himself and his family, and he therefore removed the entire colledlion to 
 his own house in Belgrave Square (a Georgian edifice decorated internally in 
 the French style of the Louis XV and Louis XVI periods), making considerable 
 alterations in order to render the house more suitable for its reception. In 
 these excellently lighted apartments the pidlures and art treasures on the whole 
 are seen more eifedtively and show to greater advantage. Mr. Otto Beit, 
 following his brothers example, has gradually eliminated inferior works of art, 
 and has replaced them by pidtures of first-rate merit, thus increasing the value 
 of the colledlion and adding considerably to the decorative effedt of the rooms. 
 Besides augmenting the colledfion of Dutch Masters he has also acquired some 
 highly important examples of the English School for the adornment of the 
 dining-room. 
 
 Special attention has also been paid by him to improving the quality of 
 the art treasures at Tewin Water. This fine eighteenth-century country house 
 near Welwyn (the interior of which had just been arranged by its former 
 
INTRODUCTION 
 
 Vlll 
 
 owner in the style of the Renaissance) was purchased by Mr. Alfred Beit who, 
 by his acquisitions in Italian furniture, majolica, old tapestries, and good 
 pidures, especially of the Renaissance, was able to introduce yet further 
 improvements into the charming and tasteful arrangement of the house. His 
 brother has pursued the same course, so that Tewin Water now contains a 
 really admirable colledion, more especially of Italian paintings of the Quattro 
 and Cinquecento. 
 
 The writer of these lines has always taken a personal interest in the 
 colledion, almost as great as that of the owner himself. His long friendship 
 of many years standing with both brothers, enabled him to foster their taste 
 for early art, and to assist them adively, and with pradical advice. He is 
 moreover in part responsible for the contents and charader of the colledion, 
 and it therefore affords him the utmost satisfadion to give this general survey 
 and account of it as a whole and to describe in detail some of its principal 
 treasures. 
 
CONTENTS 
 
 PAGE 
 
 INTRODUCTION v 
 
 LIST OF PLATES xi 
 
 ILLUSTRATIONS IN THE TEXT xv 
 
 THE PAINTINGS i 
 
 THE BRONZES 51 
 
 INVENTORY OF THE COLLECTION; 
 
 Paintings .......... 71 
 
 Miniature Portraits in Oil . . . . . . .101 
 
 Antique Bronze . . . . . . . . .106 
 
 Italian Bronzes of the Renaissance . . . . .106 
 
 Plastic Works . , . . . . . . .123 
 
 Tapestries . . . . . . . . . .127 
 
 Clocks . . . . . . . . . .129 
 
 Enamels . . . . . . . . . .131 
 
 Miscellaneous Objects . . . . . . . .132 
 
 Recent Additions . . . . . . . .140 
 
 b 
 
LIST OF PLATES 
 
 PAINTINGS 
 
 BARTOLOME ESTEBAN MURILLO 
 
 REFERRED TO 
 ON PAGE 
 
 I. The Prodigal Son in the Harlot’s House 
 
 2 
 
 II. The Prodigal as a Swineherd ..... 
 
 2 
 
 FRANCISCO JOSE DE GOYA Y LUCIENTES 
 III. Portrait of Dona Antonia Zarate .... 
 
 ■ 2 , 3 ° 
 
 REMBRANDT HARMENSZ VAN RIJN 
 IV. Portrait of a Man ....... 
 
 6 
 
 NICOLAES MAES 
 
 V. The Milkmaid ........ 
 
 7 
 
 JAN VERMEER OF DELFT 
 VI. The Love Letter ....... 
 
 9 
 
 GABRIEL METSU 
 
 VII. The Letter Writer ....... 
 
 VIII. The Letter Reader ....... 
 
 ■ 11-13 
 • 11-13 
 
 JAN STEEN 
 
 IX. The Marriage in Cana ...... 
 
 14 
 
 ADRIAEN VAN OSTADE 
 
 X. The Adoration of the Shepherds .... 
 
 XL Peasants dancing in a Tavern ..... 
 
 16 
 
 16 
 
 ISAAK VAN OSTADE 
 
 XII. The Ford ........ 
 
 18 
 
 SALOMON VAN RUYSDAEL 
 XIII. River Landscape ....... 
 
 h 2 
 
 18 
 
LIST OF PLATES 
 
 xii 
 
 JACOB VAN RUISDAEL 
 
 XIV. The Castle of Bentheim . . . . . ig 
 
 XV. A Rough Sea . . . . . . . . ig 
 
 MEINDERT HOBBEMA 
 
 XVI. The Path on the Dyke . . . . . . 21 
 
 AERT VAN DER NEER 
 
 XVII. Winter Scene. Skaters on a frozen Canal ... 22 
 
 JAN VAN DE CAPPELLE 
 
 XVIII. Winter Scene. Breaking the Ice on a frozen Canal . 23 
 
 JAN VAN DER HEYDEN 
 
 XIX. The City Gate ........ 24 
 
 PHILIPS WOUVERMAN 
 
 XX. A Rustic Wedding, or Fete before a Village Inn . . 24 
 
 FRANS HALS 
 
 XXL The Young Flute Player ...... 26 
 
 XXII. The Lute Player ....... 27 
 
 DAVID TENIERS THE YOUNGER 
 XXIII. Rural Fete . . . . . . . . . 28 
 
 JEAN MARC NATTIER 
 
 XXIV. Mme. Victoire, daughter of Louis XV . . . . 2g 
 
 SIR JOSHUA REYNOLDS 
 
 XXV. Lady Talbot . . . . . . . . 31 
 
 XXVI. Lady Decies and her Son . . . . . 31 
 
 THOMAS GAINSBOROUGH 
 
 XXVII. Mme. Bacelli, the Dancer . . . . . . 32 
 
 XXVIII. Hon. Mrs. Watson ....... 33 
 
 XXIX. The Cottage Girl . . . . , . . 33 
 
 SIR HENRY RAEBURN 
 XXX. Sir John Clerk and his Wife, Rosemary Dacre 
 
 37 
 
LIST OF PLATES 
 
 RICHARD PARKES BONINGTON 
 XXXI. On the Beach ....... 
 
 GIUSEPPE PORTA, called SALVIATI 
 XXXII. Portrait of a Man ...... 
 
 PAOLO VERONESE.!’ (Ascribed to) 
 XXXIII. Portrait of Count Alessandro Alberti 
 
 JACOPO ROBUSTI, called TINTORETTO 
 XXXIV. A Venetian Senator ...... 
 
 SEBASTIANO LUCIANI, called SEBASTIANO 
 DEL PIOMBO 
 XXXV. Portrait of a Woman as St. Lucy 
 
 MARTEN VAN HEEMSKERK 
 XXXVI. Portraits of a Man and his Wife 
 
 SIR ANTHONY VAN DYCK 
 XXXVII. Portrait of Van der Heyden 
 
 xiii 
 
 REFERRED TO 
 ON PAGE 
 
 39 
 
 45 
 
 • 41, 48 
 
 46 
 
 50 
 
 TERRA-COTTA 
 
 MINO DA FIESOLE 
 XXXVIII. Madonna AND Child 
 
 BRONZES 
 
 PIER JACOPO ATARI BONACOLSI, called ANTICO 
 XXXIX. Apollo ..... 
 
 FLORENTINE, XVI CENTURY 
 XL. Two Children holding a Goose by the Neck . 
 
 XLI. The Startled Boy ...... 
 
 XLII. Cupid blindfolded on a Dolphin, about to draw his Bow 
 
 59 
 
 61 
 
 60 
 
 64 
 
ILLUSTRATIONS IN THE TEXT 
 
 PAINTINGS 
 
 DIEGO RODRIGUEZ DA SILVA Y VELAZQUEZ 
 
 PACE 
 
 The Kitchen Maid ......... 
 
 2 
 
 JAN VERMEER OF DELFT 
 
 Girl playing the Spinet ........ 
 
 3 (9) 
 
 GERARD TERBORCH 
 
 Portrait of a Lady ......... 
 
 10 
 
 ISAAK VAN OSTADE 
 
 The Pedlar .......... 
 
 17 
 
 JACOB VAN RUISDAEL 
 
 The Cornfield .......... 
 
 20 
 
 JEAN BAPTISTE GREUZE 
 Bust of a Child ....... 
 
 3 ° 
 
 SIR HENRY RAEBURN 
 
 Portrait of Mrs. Cay ....... 
 
 32 (37) 
 
 GEORGE ROMNEY 
 
 Portrait of Mrs. Henry Ainslie and her Child .... 
 
 3 + 
 
 JOHN HOPPNER 
 
 Portrait of Countess Poulett ....... 
 
 36 
 
 JOHN OPIE 
 
 The Peasant’s Family ...... 
 
 38 
 
 FLORENTINE SCHOOL. Early XVI century. Formerly ascribed 
 to RIDOLFO GHIRLANDAIO 
 The Adoration of the Shepherds .... 
 
 XV 
 
XVI 
 
 ILLUSTRATIONS IN THE TEXT 
 
 FLORENTINE SCHOOL. Last quarter of the XV century. 
 
 (Connefted with DOMENICO GHIRLANDAIO) 
 
 The Adoration of the Shepherds ...... 43 (42) 
 
 LORENZO DI CREDI 
 
 The Allegory of Chastity ........ 45 (43) 
 
 FRANCESCO UBERTINI, called BACCHIACCA 
 The Lute Player ......... 47 (45) 
 
 GIOVANNI ANTONIO BAZZI, called IL SODOMA 
 The Holy Family ......... 49 (46) 
 
 BONIFAZIO DEI PITATI 
 
 Allegory of the Pursuit of Fame . . . . . 71 (48) 
 
 BRONZES 
 
 ALESSANDRO LEOPARDI 
 
 Mortar ........... 51(58) 
 
 ANDREA BRIOSCO, called RICCIO 
 
 Equestrian Figure ......... 55 (54-56) 
 
 RICCIO (Workshop of) 
 
 Two-handled Bowl on godrooned Foot ..... 57 
 
 JACOPO SANSOVINO 
 
 Madonna and Child with the little St. John .... 62 
 
 Door Knocker . . . . . . . . . . 63 
 
 LORENZO BERNINI 
 
 Salt Cellar, Triton supporting a Shell ..... 68 
 
 VENETIAN. XVI century 
 
 Circular Casket ......... 70 
 
THE PAINTINGS 
 
 N forming his colledlion Mr. Alfred Beit, like his brother, the 
 present owner, made it a sine qua 7 ion that the works of art 
 which he acquired should harmonize with their surroundings. 
 Hence the objedls which adorn the house in Belgrave Square 
 (most of which were formerly in Park Lane) as well as those 
 in the country house at Tewin Water, were chosen more especially from the 
 point of view of suitability to their milieu, and consist principally of furni- 
 ture, bronzes, majolica, and paintings. The seledlion in the case of pictures 
 was almost exclusively confined to examples by painters whose works were 
 more particularly adapted to the decoration of the reception and other rooms, 
 that is to say examples of the Dutch schools of the XVII century, and of the 
 English and French schools of the XVIII century. At Tewin Water, on the 
 other hand, the early Italian masters predominate. The pidfures in Mr. Beit’s 
 study are all by the same master, and belong to a school which is otherwise 
 almost unrepresented in the colledion. They illustrate the history of the 
 “Prodigal Son,” and are the work of Murillo. These six paintings, which are 
 of medium size, form a strikingly beautiful room decoration, a purpose for 
 which they were originally intended, having been probably destined for the hall 
 of some religious order at Seville. Mr. Alfred Beit acquired them at the sale 
 of Lord Dudley’s pidlures, five of them having been bought by that colledfor 
 from the Salamanca Gallery in 1867. The sixth, “ The Return of the Prodigal,” 
 which had been presented to the Vatican Gallery in 1856 by Queen Isabella, 
 
 B 
 
 
2 
 
 THE PAINTINGS 
 
 was obtained by Lord Dudley by special arrangement with Pope Pius IX, who 
 received in exchange two valuable Italian pidlures. 
 
 The great Spanish artist has here treated a theme which the Dutch and 
 Flemish genre-painters of his day, or of a rather earlier period, had represented 
 with prediledlion. Murillo may, to some extent, have been influenced by these 
 representations, but how widely different is his conception and treatment of 
 the parable. The Netherlandish artists, those of the Spanish provinces as well 
 as those of the free States in the Low Countries, were wont to choose this 
 parable because it afforded them an opportunity of treating the subje<5l from 
 the standpoint of pure genre-painting, and for this reason the subject of the 
 “ Prodigal in the Harlot’s House ” found most favour with them. Murillo, 
 too, narrates the parable in the spirit of his own day, clothes it in Spanish 
 garb, and imparts to it a thoroughly Spanish setting. At the same time his 
 conception is simple and impressive, the different incidents are represented in 
 the true spirit of monumental art and all trivial detail and genre-like by-play, 
 such as are met with in similar pidtures of the Flemish School, are omitted. 
 Murillo’s “ Prodigal ” is never devoid of Spanish grandezza even in his 
 moments of deepest degradation, when clothed in the tattered garb of a swine- 
 herd. In “The Feast in the Harlot’s House” he has the stately bearing of a 
 prince, and the young girl at his side, who gazes tenderly at him, is a Spanish 
 beauty of high degree, lull of dignity and modest reserve. Both pictures show 
 the artist at his best, in tone and colouring as well as in all other particulars. 
 
 The Beit Collection contains a few other Spanish pictures, fine works by 
 the greatest masters of the school : a female portrait by Goya, to which we 
 shall return when dealing with the English portraits, as it hangs with them in 
 the Boudoir, and an early genre picture by Velazquez, “The Kitchen Maid,” 
 a realistic subjeCt for which he had a special predilection in the days when, as 
 a youth of about twenty, he began to paint at Seville under the influence of 
 Zurbaran. The composition is of the utmost simplicity: a young girl, unlovely 
 of face and clad in slovenly attire, stands behind a kitchen table strewn with 
 common pots and pans — a picture devoid of any outward beauty, meagre, 
 inadequate (as a composition), yet nevertheless a masterpiece by reason of its 
 astonishing truth and the refinement of observation which it displays, notably 
 as regards the values; a work which appeals to modern impressionists in a far 
 higher degree than would the most beautiful work of Raphael. 
 
THE PAINTINGS 
 
 3 
 
 Apart from the English XVIII century portraits, the main portion of the 
 Beit Colledion consists, as is the case with nearly all the private colleftions of 
 old masters in England, of works of the Flemish schools of the XVII century, 
 and more particularly of examples by Dutch masters. No other pidlures — even 
 from the standpoint of dimensions and subjedls treated — are so well adapted 
 
 for the adornment of a room as the works of this school. By no other school 
 were so many works for private owners produced, and of none other were 
 there so many examples existing and available for purchase, at least in former 
 days. For the English colleftor Holland, and afterwards Paris, where numerous 
 Dutch pidlures were brought together, were the nearest and best markets for 
 the acquisition of pidures. For these reasons English colledors have always 
 
THE PAINTINGS 
 
 shown a preference for Dutch pidtures, even at a time when the acquisition 
 of Italian masters was more in accordance with the taste and prevailing artistic 
 tendencies of the day. Of the pictures by Raphael, Titian, Correggio, or 
 other masters of the period when Italian art was at its zenith, the number 
 purchasable has always been extremely small, as compared with those by 
 Rembrandt, Rubens, Ruysdael, and the Dutch genre-painters. 
 
 The choice of artists has generally been determined by the taste prevailing 
 during particular epochs. Painters of finished execution like Gerard Dou or 
 Frans Mieris; witty raconteurs like Jan Steen and Philips Wouvermans, or 
 masters of landscape art such as Jan Both, Ludolf Backhuizen and many others, 
 were the painters most in vogue fifty or sixty years ago; but their art appeals 
 to the modern spirit in painting — with its leaning towards breadth of pidtorial 
 handling and telling effedls of light and atmosphere — in a far less degree than 
 does that of Pieter de Hooch or Vermeer of Delft, of Albert Cuyp or Jan van 
 der Capelle. 
 
 The paintings of these last-named artists, to which little or no attention 
 was formerly paid, are now much sought after, and their value, as compared 
 with what it was half a century ago, has increased ten, and even a hundred- 
 fold. Works by some of these artists are indeed scarcely obtainable now, and 
 the best are for the most part safeguarded in public colledtions. Mr. Alfred 
 Beit was therefore unable to acquire as many examples by these masters as he 
 desired owing to the high standard which he always maintained in his gallery. 
 Of late years, however, Mr. Otto Beit has been fortunate enough to be able to 
 fill most of these gaps; all the great masters of the Dutch school are now 
 represented in the collec^Iion, and by veritable masterpieces. 
 
 Foremost amongst them all is Rembrandt, that great master who brought 
 Dutch art in all its bearings to its highest development, and who, by the 
 individuality of his work, may be said to have exercised a determining influence 
 upon the development of the art and culture of the whole human race. 
 
 The agricultural crisis in England in the seventies and eighties was the 
 cause of radical changes in the ownership of many English colledions, and 
 numerous works of Rembrandt came into the market at that period. The 
 limited knowledge of the master then prevailing, and the fadl that dealing in 
 works of art had not then reached the high level to which it has since attained 
 
THE PAINTINGS 
 
 5 
 
 in England and in part also in France, are accountable for the ridiculously low 
 prices then obtained for some of these pidlures even if they were not regarded 
 as altogether unsaleable. About ten years ago, however, a readlion set in. It 
 is almost impossible in the present day to find a piilure by Rembrandt, and if 
 by chance an example appears in the Sale Room, it is almost always an early 
 work or some small study of comparatively little importance. Among the 
 latter are numerous examples which, if they do not merit the negleft and even 
 contempt which would have been meted out to them in former days, are 
 certainly not worthy of the high value now put upon them. Many of these 
 studies, especially those dating from the early years of Rembrandt’s aflivity, 
 were executed solely with a view to reproducing certain effedls of light or some 
 transient mood or phase of thought, with the utmost rapidity; hence they are 
 often slight and even crude in execution, and assuredly are not worth the 
 price (often ^2,000 and more) asked and frequently obtained. As a rule they 
 are simply curiosities, interesting only for the part they play in the develop- 
 ment of Rembrandt’s art. 
 
 Mr. Alfred Beit purchased his Rembrandts (originally he owned four, 
 but one has recently been exchanged) at an opportune moment, and before 
 American competition had caused the excessive, and often most unwarrant- 
 able, rise in the price of pictures generally, and more especially of works by 
 Rembrandt. 
 
 Two of the pidlures which are still in the colledlion are early works by 
 the master ; one represents “ S. Francis praying.” It is doubtful whether this 
 is the pifture once in the Orleans Gallery ; the engraving of that work differs 
 slightly from it but agrees exadlly with an unsigned replica in the Johnson 
 Colledlion at Philadelphia. The piffure in the Beit Colledlion is signed and 
 dated 1637. sombre, brownish colouring, almost uniform in tone, and 
 
 in the thin glazing of the dark shadows, the pidure is a charaderistic example 
 of this period. Proof of this is afforded by comparison with pidures like the 
 “Tobias” of 1637 in the Louvre, “Christ and the Magdalen” of 1638 at 
 Buckingham Palace, and others ; but the Beit pidure lacks the intimacy of 
 conception, the careful execution, and the brilliancy of tone which render 
 these small compositions veritable masterpieces of art. Pidorial effed is what 
 the painter has here aimed at, for the subjed in itself had little interest for 
 him. On the rare occasions when he took for his theme some legend of the 
 
6 
 
 THE PAINTINGS 
 
 saints, he sought to heighten the interest by dramatic touches, by giving 
 prominence to the landscape, or by introducing some special pidtorial effed; 
 for as a staunch Calvinist the subjeft, as such, did not appeal to him. 
 
 A second pidlure, a Biblical subjedl — “The Tribute Money” — was produced 
 eight years earlier; it bears the monogram of the master and the date 1629. 
 Here for the first time the young artist subordinates his figures to the general 
 effect of space, and thus develops that peculiar and mysterious chiaroscuro 
 which in the well-known “Simeon in the Temple” (painted shortly after) 
 attains complete freedom and produces so striking an effe£t. The movement 
 and expression in this little picture, more especially in the figure of the Saviour, 
 still reveal that somewhat exaggerated sentiment so chara£leristic of the early 
 work of this master. 
 
 The third pidure by Rembrandt — a masterpiece — is a portrait of his last 
 period, dated 1667. This is the latest work by Rembrandt at present known, 
 with the exception of his portrait of himself formerly belonging to Sir Audley 
 Neeld and now in the Marcus Kappel Colledtion in Berlin, which was painted 
 shortly before the artist’s death in 1669. The young man plainly garbed in 
 black, with long locks of fair hair and a round, fresh-coloured face, looks like 
 a prosperous master-baker. The woman holding a handkerchief, in the English 
 National Gallery, painted in the previous year, 1666, might, judging from the 
 type and the costume, represent his wife, though the dimensions of this pidhire 
 are smaller. The similarity in illumination of both pifrures — the strongest 
 light falling in each case upon the head and hands — the warm flesh-tones, the 
 vigorous pastose handling, which, though producing the effedt of broad brush- 
 work, in point of facfl reveals the most careful workmanship and masterly 
 execution — qualities typical of works belonging to the last years of this great 
 artist — render it probable that the two were companion pifrures. The tendency 
 of painting in the middle of the XIX century, with its predilection for severe 
 drawing, careful execution, and themes abounding in illustrative detail, and the 
 prevailing taste for art of this calibre, caused Rembrandt’s late works often to 
 pass unnoticed and even entirely unrecognized. It is only in the present day 
 that they are gradually coming more into favour and are now even preferred 
 to the works of his middle period. Some decades ago only a few great master- 
 pieces of this late period — such as the “ Staalmeesters ” and the so-called 
 “ Jewish Bride ” in the Rijks Museum at Amsterdam, and “ The Family ” in 
 
THE PAINTINGS 
 
 7 
 
 the Brunswick Gallery — were known and generally accepted; but now about 
 seventy piilures can be ascribed, either with certainty or at least with great 
 probability, to the last ten years of the Master’s life. 
 
 Among those pupils and followers of Rembrandt who devoted themselves 
 chiefly to the representation of scenes from domestic life, all the principal 
 masters are met with in the Beit Colleftion : Nicolas Maes, Pieter de Hooch, 
 and Jan Vermeer of Delft, the latter being represented moreover by two 
 examples. These three nearly contemporary masters, only one of whom — 
 Nicolas Maes — had a comparatively long life, all treated subjedls of a very 
 similar charader; simple scenes of everyday life in a Dutch interior, the 
 “ home life ” — for which the Dutch have the same feeling as the English — 
 with all its touches of individuality and comfort, with its atmosphere of peace, 
 contentment, and cheerful well-being. Each of these three artists has his own 
 individual conception of this phase of domestic life, but the one who most 
 nearly approaches Rembrandt in mise-en-scene, colouring, and chiaroscuro, is 
 his pupil, Nicolas Maes. His representations of young mothers beside the 
 cradle, of old women at the spinning wheel or in the subjed of “ Grace before 
 Meat,” his children at their household tasks, and similar themes with one or 
 more figures, approach Rembrandt’s Holy Families and allied Biblical motives 
 very closely, and were certainly produced under the immediate influence of 
 such works. They are indeed almost identical in subjed, but they lack the 
 magic charm with which Rembrandt’s genius was wont to invest his canvases. 
 Nevertheless Maes, too, succeeds in raising his simple subjeds above the level 
 of the commonplace. By his striking effed of incident rays of light gleaming 
 in the midst of deepest shadow, by his powerful colouring, in which a splendid 
 red predominates, and by his luminous and glowing tone, his works produce 
 a peculiarly pleasing, and at times even profoundly impressive, effed, and in 
 this resped show a close connedion with those of his great prototype. 
 
 The Beit Colledion contains a subjed unusual with this painter, a young 
 peasant girl carrying milk from house to house; she has set her brass pail on 
 the ground, and rings the bell while she turns and smiles archly at the spedator. 
 The brilliant red of her costume (even her straw hat is of the same shade) and 
 the powerful chiaroscuro, contrasted with the white of her sleeves and the 
 tones of the flesh, are most effedive, but the pidure lacks the intimate charm 
 so captivating in earlier works of this artist, though it far surpasses the numerous 
 
THE PAINTINGS 
 
 portraits by him which all belong to his later period. It was long before the 
 fa£t was realized that these conventional and formal portraits, mostly of small 
 dimensions, with their pale light effeds and insipid colouring, could be by the 
 same artist who was Rembrandt’s pupil and under his influence produced 
 those deeply emotional genre-pi<flures. 
 
 A second work in the collection, originally ascribed to Maes and as such 
 greatly admired in one of the recent Winter Exhibitions — a Dutch interior 
 with a young mother surrounded by her children — certainly shows the influence 
 of Maes. The author of this attractive picture is undoubtedly the Amsterdam 
 painter, Simon Kick, an older contemporary of Maes, whose name has only 
 recently been recovered from oblivion. In addition to pictures of military life 
 he occasionally, and probably under the influence of Rembrandt and his school, 
 treated those simple scenes of burgher life which are remarkable for their rich 
 and powerful tone and mellow and luminous colouring. The picture is one of 
 the best by Kick which has been preserved. 
 
 Pieter de Hooch, who was senior to Maes by two years, developed his 
 art on similar lines. He too, in his youth, after having first produced broad, 
 sketchy but effective pictures of military life, devoted himself during the space 
 of some ten years or more to painting Dutch interiors with a pictorial charm, 
 beauty of colour, and refinement of light- effect such as Vermeer alone (though 
 in a totally different style be it said) was capable of achieving. After a few 
 years, however, the art of this master deteriorated greatly. His pictures become 
 dull in colour and heavy in tone, are devoid of light and atmosphere, and are 
 so inferior in drawing and empty in expression that, judging from such examples, 
 he can .scarcely be ranked even with artists like Brekelenkam or Ochtervelt. 
 And yet those marvellous early works were produced by Dc Hooch when he 
 was acting as valet to an aristocratic adventurer, being unable to make a live- 
 lihood by his art. In the same way Hobbema, almost contemporaneously, was 
 obliged to earn his living as a tax-collector, to obtain which post he sought, 
 and successfully obtained, the aid of an intermediary — the cook of the Burgo- 
 master of Amsterdam. Pieter de Hooch’s picture in the Beit Collection dates 
 from the last years of his life, being of about 1675. Two ladies elegantly 
 attired are making music in a beautifully furnished apartment, while a young 
 man watches them from a balcony in the background. The colours are in- 
 harmonious, heavy, and lustreless, and the light and animation which in his 
 
THE PAINTINGS 
 
 9 
 
 earlier piftures exercised so fascinating an effedl upon the spedlator are altogether 
 absent here. 
 
 Jan Vermeer of Delft, in a still greater degree than Maes or Pieter de 
 Hooch, whom he most resembles, is the forerunner of our modern chiaroscuro 
 painting, and is therefore more sought after in the present day than these 
 artists. In America a Vermeer is more prized than a Raphael or a Rembrandt, 
 and his small pidtures command prices as high as works by these masters. 
 
 Rembrandt’s manner of illuminating his pidlures by incident rays of warm 
 sunlight was emulated by Maes and Dc Hooch; while in Vermeer’s pidlures 
 the light is more diffused. He was the first painter who made a study of cool 
 sunlight effefts, and portrayed them with consummate skill and delicacy. His 
 subjeffs are even simpler in charader than those of Pieter de Hooch: a single 
 figure; a young girl at her toilet, or reading or playing; a maidservant at her 
 work; or a scholar in his study. Rarely does he treat a company of young 
 people feasting or gambling, and a landscape or the view of a street or town by 
 him are quite exceptional. Although these themes in expression and arrangement 
 are never especially interesting, it is in the clever illumination of the figures, 
 in the wonderful distribution of light and its effed within the allotted space, 
 and in the exquisite harmony of colour, that he succeeds in producing master- 
 pieces of the utmost delicacy of tone. The Beit Colledion contains two pidures 
 by this master, the smaller of which represents a young girl clad in white and 
 yellow seated at a spinet; a white wall toning to grayish-lilac forms the back- 
 ground. It is the smallest pidure known to me by this artist and, on the whole, 
 not of great importance ; but his piquant charaderistics are apparent in it. 
 
 The second pidure, formerly in the Secretan Colledion, is on the other 
 hand one of the largest existing works by the master, and one of the few con- 
 taining life-size figures. Near the high window, which is half concealed by a 
 gray curtain, an attradive young girl is seated at a table covered by a bright- 
 coloured Ispahan rug, in the ad of writing a letter. In the background a 
 maid is waiting to take the letter. The keynote of the colouring is Vermeer’s 
 favourite shade of pale lemon yellow, which appears in the bodice of the young 
 girl. The highest lights are the white of her cap and sleeves, while the delicate 
 gray of the curtain and of the garb of the servant-maid, and the few touches 
 of cool blue and red in the background combine to produce an unusually 
 varied colour scheme. Here again it is the treatment of sunlight which makes 
 
lo THE PAINTINGS 
 
 the whole effed of the pidlure and rivets the attention of the spedator — 
 brilliant sunshine, the bright beams of which illumine even the deepest 
 shadows. The charming face of the young girl with its fresh colouring, 
 stands out in plastic roundness framed by the cold tones of the linen kerchief 
 which drapes her head; the various textures are rendered by colour with 
 astonishing fidelity yet with the utmost pidorial freedom. 
 
 In the same category of Dutch genre-painters as Vermeer and Pieter de 
 Hooch must also be classed Terborch and Metsu, though their art is not so 
 much in accordance with modern feeling as that of the two first-named 
 masters. In their artistic development they were more fortunate than those 
 painters. 
 
 Gerard Terborch is at present represented in the Beit Colledion by one 
 work only — the full-length portrait of a lady (the companion pidure, her 
 husband, hangs in the National Gallery). It is a charaderistic and admirable 
 
THE PAINTINGS 
 
 1 1 
 
 example of that refined, reserved, and extremely individual conception of 
 portraiture in which Terborch is surpassed by no other artist, not even by 
 Velazquez or Van Dyck. It is a masterpiece, both of pidlorial effedt and 
 delicacy of execution. 
 
 Gabriel Metsu is represented by two of his most important works, 
 pendants, and, as fiir as I know, the only existing examples of companion 
 pieces by his hand: “The Letter-Writer” and “The Letter- Reader.” Had 
 Goethe seen and described these pidlures he would doubtless have woven a 
 romance around them, as he did in the case of Terborch’s pidure “ Paternal 
 Admonition but Metsu’s work is infinitely more suggestive. 
 
 The simple, guileless relation between the subjeds of the two pidlures is 
 evident. In the one the young girl is deep in the perusal of a letter which the 
 maid at her side has just delivered to her. The artist wisely refrained from 
 further developing the story. It was not his intention to illustrate a romance, 
 but rather to treat the pidlorial elements of these simple motives with the 
 utmost perfedlion ; and in this he has succeeded admirably. 
 
 Metsu depidls for us, as no other artist before or since has done, the life 
 of the worthy Dutch burgher — his harmless pleasures, his peaceful existence, 
 and his domestic happiness, and at the same time he succeeds in producing 
 small masterpieces of pidlorial art. His works give us a most attradlive pidlure 
 of the Dutch burgher at his best; in the full enjoyment of his hard-earned 
 comfort after the misery of the long wars of independence, and before the age 
 of ultra-refinement and pedantry which succeeded these more fortunate years 
 had set in. Metsu’s artistic development took place during the Thirty Years’ 
 War, and his early works betray the effedls of the strife in Holland, for, under 
 pretext of representing a Biblical subjedl (the “ Prodigal Son,” for instance), he 
 really depidls some wild brawls in the manner of Weenix, subjedls such as 
 Terborch in his early time and the numberless Dutch painters of social life 
 were wont to represent. These rare examples by Metsu, coarsely and care- 
 lessly painted, are succeeded by piflures of larger dimensions, in which subjedls 
 such as the “ Game Dealer’s Shop,” “ The Fish Stall,” and the “ Blacksmith’s 
 Forge are dealt with, themes which afforded the painter so much scope for 
 treating dead game, birds, fish, and blacksmith’s tools, that they might almost 
 be designated still-life subjedls. In these broadly-treated studies, always har- 
 monious in tone, the young artist gradually develops his mastery of drawing 
 
 c 2 
 
 
2 
 
 THE PAINTINGS 
 
 and pi<ftorial treatment. But the most powerful fafior in the development of 
 Metsu’s art was the influence of Rembrandt ; and it was only after his removal 
 to Amsterdam in 1650 when in contaft with that great master, that he passed 
 from the study of pidlorial efleft to a closer observation of human nature, and 
 became the painter par excellence of Dutch middle-class life in its most vigorous 
 and happy phase. He did not, however, attain to this ideal of perfedlion 
 immediately. 
 
 The great pidorial merits of Rembrandt’s art — his chiaroscuro, his 
 magnificent colouring and motives — were the qualities which Metsu first strove 
 to emulate, and only at a later period did he fall under the spell of the great 
 master’s new and strikingly impressive mode of conception. At Amsterdam 
 Metsu continued at first to produce Biblical subjedls, which, like the pidfures 
 of similar incidents by other pupils and followers of Rembrandt, are devoid of 
 psychological significance. After a few years, however, the artist returns once 
 more to the treatment ol subjedls of domestic life, and then rapidly developed 
 to the full his own remarkable individuality. During the space of ten years he 
 produced a great number of admirable little pidlures of this description, which 
 are reckoned among the gems of Dutch art in those public colledlions where 
 they are met with (for his works are by no means common). Then his art 
 suddenly declined j and when, in Odiober 1668, he died, at the age of thirty- 
 seven, Goethe’s words respedting all highly gifted natures may fitly be applied 
 to him: “Providence wisely ordained that during his short span of life he 
 should discharge his task to the full.” 
 
 Metsu’s two pidfures in the Beit Colledfion belong to this short period 
 when his art was in its zenith, and may be classed among his finest works. 
 The treatment of the theme is simple and to the point, and the little romance 
 is handled with great discretion. The bearing of the figures is of the utmost 
 distindion, yet unaffedled and pleasing, and both drawing and modelling are 
 of the highest excellence. The details are carefully chosen with due regard to 
 their surroundings, and are rendered with great skill and sureness of hand, 
 but they are given prominence only in so far as they contribute to complete 
 and perfedi the scheme of the composition, and to intensify the pidlorial effedl. 
 It is in the colouring and treatment of light, however, that the art of the 
 master culminates; and they are the means whereby that atmosphere of refine- 
 ment and domestic peace, which pervades both pidfures, is attained. The 
 
THE PAINTINGS 
 
 13 
 
 colours could not have been selected with greater delicacy nor have been more 
 exquisitely harmonized. Fusion of tone, and at the same time the utmost 
 lightness of touch, are combined with consummate truth in the rendering of 
 material details and with complete freedom of treatment. 
 
 The cool bluish-white light of early morning falling in through the 
 large window in the “ Letter-Reader,” and the harmonious and delicate effedl 
 of the tones of blue, pale yellow, gray and white, vividly recall the colour- 
 scheme and light-effedls of Vermeer of Delft. Metsu, who was then working 
 at Amsterdam contemporaneously with that master, was here evidently inspired 
 by piaures like “ The Milkmaid ” and “ The Woman in the Blue Morning 
 Jacket ’ in the Rijks Museum. Even the choice of subjea was probably not 
 uninfluenced by works of the great master of Delft, as proved by Vermeer’s 
 “ Letter-Writer ” in the Beit Colledion. But, in spite of this, Metsu preserves 
 his own individuality absolutely unimpaired. In his “ Letter-Writer ” the 
 magnificent colouring of the Persian table-cover is admirably contrasted with 
 the refined tones of the light black garb worn by the fair-haired young man. 
 The treatment of the light is similar in both piaures; as in the “Letter- 
 Reader," it falls in through a high window at the side of the piaure, though 
 in this case it is the brilliant light of noon-day sunshine. The treatment and 
 powerful colouring are in Metsu’s typical manner, but owing to the nearness 
 of the figure to the window, the whole scheme is brighter and the contrasts 
 of light and shade less pronounced than is usual in his renderings of interiors. 
 
 Of all the great Dutch genre-painters Jan Steen is the one most dia- 
 metrically opposed to Metsu and Terborch. The aim of these masters is to 
 set forth a theme with the utmost simplicity and diredlness. Steen, on the 
 other hand, crowds his canvases with figures and with a superabundance of 
 detail. While the first-named painters treat their subjedls in a reposeful and 
 simple manner, Steen’s compositions are instindl with agitation and movement. 
 In place of the tranquil mood, of the unostentatious careful rendering of 
 domestic scenes from the restridled circle of the worthy Dutch burgher’s 
 home-life, as depidled by Metsu and Terborch, we have in Steen’s representa- 
 tions, which are very varied in charaSer, a strain of sarcastic humour, at 
 times even of coarse satire. The motive is often ol more importance to him 
 than technical execution. His drawing is frequently careless and even slovenly, 
 the expression verges on the caricature, the colouring is hard and garish, and 
 
1 + 
 
 THE PAINTINGS 
 
 in sentiment, in spite of the semblance of morality with which he seeks to 
 invest his piftures by means of divers allusions and aphorisms, he sometimes 
 degenerates into laxity and even coarseness. 
 
 The lack of piftorial quality in many of his works account for the facft 
 that they do not always appeal to modern taste in art, since the trend of 
 artistic feeling now is towards purely pidorial effed. On the other hand, his 
 descriptive talents, his dramatic and humorous style, his varied and drastic 
 mode of charaderization, his delight in by-play, covert allusion and detail ol 
 every kind, and his gifts of graphic delineation caused Steen to be one of the 
 most popular among Dutch genre-painters in the first half of the XIX 
 century, and not without reason; for, though unequal in his work and in 
 spite of the fad that his reputation sufiiered by the produdion of many coarse 
 and carelessly executed pidures, his great qualities, to which we have just 
 alluded, nevertheless entitle him to be classed among the most gifted of 
 Dutch artists. In his best works he even displays pidorial qualities of a high 
 order, together with remarkably varied endowments, so that his paintings 
 occasionally recall Frans Mieris, Terborch, and Vermeer, and at times even 
 approach A. van Ostade. 
 
 Among Steen’s three pidures in the Beit Colledion the smallest, “ The 
 Patient,” is novelistic and cynical in charader, but is very delicately painted 
 and closely approaches Frans Mieris. A young woman suddenly seized with 
 illness in a tavern or shop lies on a canopied couch and is being attended by 
 a physician. The nature and cause of her indisposition may be inferred from 
 the attitude of the onlookers, whom the artist has depided standing round 
 with half-pitying, half-derisive gestures. The second, slightly larger pidure, 
 captivates the spedator by the humorous nature of the subjed ; the eldest 
 son of the artist laughingly drags a young servant girl, who has dropped a 
 dish of eggs, up to his father for judgement; the kindly smile of Steen, who 
 sits in the chimney corner filling his pipe, augurs well for the delinquent and 
 shows that the punishment will not be very severe. The keenest observation 
 of charader is here combined with good-natured mirth, and lightness of 
 pidorial treatment. The third and largest pidure, “ The Marriage in Cana,” 
 from the Walter Colledion, is in every resped one of Jan Steen’s master- 
 pieces. Nearly fifty figures are grouped on a canvas of little more than a 
 yard square, yet the composition is absolutely clear and of great individuality 
 
THE PAINTINGS 
 
 15 
 
 throughout. On a terrace, beneath a portico opening on to a garden, the 
 guests at this festive banquet are assembled. In the foreground are seen 
 the cellar-man, attendants, dwarfs, and other subordinate figures; in the 
 background, in a high gallery, are the musicians. Among the numerous 
 figures, many of them depidled in a sprightly and diverting manner, we notice 
 a young couple attired in the rich costume of the day, sauntering past the 
 table, probably the donors of the pidture. Among the guests seated at the 
 table is the painter himself, who raises his goblet laughingly and — horribile 
 diSlu — drinks to the Saviour. In the arrangement and treatment one seems 
 to recognize the influence of Rembrandt, an influence such as that exercised 
 by his pupil J. de Wet, who was highly esteemed as a teacher at Haarlem. 
 The effedl of evening light is rendered with great charm. The execution in 
 some parts is exceedingly finished, in others the touch is little more than a 
 brilliant impression. In no other pidure by this master are his individual 
 gifts so strikingly apparent. 
 
 The Beit Colledion also contains three admirable examples by an almost 
 contemporary Dutch genre-painter, Adriaan van Ostade. A whole generation 
 would seem to lie between the art of this master and that of Jan Steen; yet 
 in point of fad both painters lived for some time contemporaneously at 
 Haarlem, and Steen died before Ostade. In his first works Ostade belongs 
 entirely to the earliest school of Dutch genre-painting, which still shows a 
 connedion with contemporary Flemish art. Throughout his fifty years of 
 artistic adivity, varied as it was from its pidorial side, this influence ever 
 remained the determining fador in his art. His subjeds are always chosen 
 from peasant life, and these representations remain typical of the art of this 
 master even in his latest period. The variety of charaderization at which 
 Jan Steen always aimed, Ostade never even attempted either in his figures or 
 his subjeds ; but the course of his development is nevertheless as definitely 
 traceable in his works, as in those of Steen. The cottages which he painted 
 in his youth differ widely from the village homes of his later period. In the 
 former we see interiors with bare walls, roof open to the sky, and mere slits 
 for windows, more like a barn than a house, and often the abode equally of 
 man and beast. In the latter, snug dwellings with high windows sometimes 
 filled with stained glass, and pots of flowers on the sills; instead of the wild 
 revels and brawls of the meanly clad rabble in his early pidures, we see here 
 
i6 
 
 THE PAINTINGS 
 
 contented, prosperous people, going about their daily tasks and simple 
 pleasures in decorous and dignified manner. The principal charm and 
 intrinsic value of his piSures lie in their pidorial qualities. His earliest works 
 are clear in colour, the light cool and bluish in tone. Under the influence of 
 Rembrandt the chiaroscuro becomes intensified and the tone grows deeper 
 and warmerj little by little local colour begins to preponderate, the artist 
 introduces a wealth of detail and works up the whole with scrupulous care 
 and with a technique of enamel-like quality, until in his last period his 
 treatment of light degenerates, his colouring grows harder and more garish, 
 and his execution smoother. 
 
 The Adriaan Ostades of the Beit Colleftion belong to the artists middle 
 period and to the beginning of his later time. “ The Peasant at a Window 
 of the year 1656, is refined in the pale tone of its colouring, and pastose and 
 masterly in handling. The admirable “Adoration of the Shepherds’ of 1667 
 
 eleven years later in date — is one of the rare examples of a Biblical subjeft 
 
 by this artist, though in point of fa£t it is merely a scene of peasant life. The 
 shepherds, and even Mary and Joseph themselves, are simple rustics of the 
 type which we meet with constantly in Ostade’s pidlures; but the painter has 
 not treated his subjedl in a commonplace or boorish fashion. An atmosphere 
 of peace pervades the whole group, which almost recalls Rembrandt s 
 treatment of Biblical subjedfs. In chiaroscuro, colouring, and execution, the 
 pidlure is a masterpiece such as Ostade rarely succeeded in achieving. 
 “Peasants Dancing in a Tavern,” of 1678, larger and more elaborate in 
 composition, and on that account alone to be classed among the principal 
 works of this artist, is somewhat cooler in colour, but in pidlorial merit, it 
 approaches the “Adoration” very closely. 
 
 Adriaan van Ostade at times gave such prominence to the landscape 
 background in his piftures that they might almost pass as landscapes proper 
 with figures in the foreground ; and this is still more the case with the work 
 of his brother Isaak, who died at an early age. Very unequal m his work, in 
 the first years of his artistic career almost purely a genre-painter, he closely 
 resembled his brother Adriaan in his earliest pidlures, though they are warmer 
 in tone and slighter in technique. But in the last six or eight years of his life 
 Isaak produced a number of landscapes of medium size with numerous figures 
 in the foreground, works which in England have long been regarded as equal 
 
THE PAINTINGS 
 
 17 
 
 in value, both from an artistic and monetary point of view, to the masterpieces 
 of the great landscape and genre-painters. They usually represent a village 
 street, with carts standing before an inn, a small fair and peasants making 
 merry. 
 
 Not specially attraiftive, either in the charadler of the landscape or in the 
 coarse but typical figures, which closely resemble those of his brother, they 
 
 display a force of colouring, a luminous quality in the golden light and a 
 mastery in the piftorial handling, which fully justify the high estimate formed 
 of the painter in such works. 
 
 The Beit Gallery contains two piflures of this class. The smaller of the 
 two — in subjed closely conneded with the works of Adriaan — an itinerant 
 pedlar speaking to a peasant woman whose husband, standing at the open 
 door, listens to the conversation — is of great refinement in the treatment of 
 light, warm and luminous in colour and of unusual excellence in the drawing 
 
THE PAINTINGS 
 
 and charadterization of the figures. The second pifture is one of the largest 
 executed by this artist. It represents a group of peasants fording a narrow 
 river on their way to a distant village in carts, on horseback, and on foot. The 
 simple presentment of the subjedi, the accomplished treatment of chiaroscuro, 
 the deep, warm colour, the admirable drawing of the figures, and the delicacy 
 of the background, combine to make this one of the most perfedt of the 
 master’s works. It probably dates from his last years. 
 
 Most of the masterpieces of Dutch landscape art are hung together in 
 one room in the house in Belgrave Square, a small apartment lighted from 
 above and opening into the music-room. Few in number, they are especially 
 noteworthy, not only on account of their unwonted size, but primarily because 
 of their unusual excellence. Three generations of Dutch landscape painting 
 are here represented. Beside Salomon Ruysdael’s “River-scene” hangs an 
 equally important pidture by his nephew Jacob, “The Castle of Bentheim,” 
 the third example being a masterpiece by Jacob Ruisdael’s pupil, Meindert 
 Hobbema. In point of chronology these pidtures are not very far apart. The 
 “ River-scene ” was painted in 1650; “Schloss Bentheim” is dated 1653, and 
 Hobbema’s pidture 1663. 
 
 Salomon Ruysdael is one of those masters through whom landscape 
 painting attained to an independent position in Dutch art. He is at the same 
 time one of the pioneers of the national movement which discovered the 
 beauties of its own land and was able to portray them in a distindtively char- 
 adteristic manner. His results were achieved by very simple means, as proved 
 by the remarkably fine pidture in the Beit Colledlion. The wide river flowing 
 across the pidture and losing itself in the far distance gives depth to the pidture, 
 and the broad sky and the refledtions in the calm surface of the water bring 
 light and colour into the scene. Salomon Ruysdael was one of the first to 
 study the effedt of light and atmosphere in landscape, and to render it with 
 great individuality. Breadth and freedom of composition are, however, as 
 equally far removed from this artist as any conscious striving after the emotional. 
 Tone dominates his pidtures to such an extent that colour becomes a matter of 
 secondary importance. The treatment of detail follows conventional lines and 
 occasionally falls into mannerism. It was Salomon Ruysdael’s nephew Jacob, 
 however, who extended the possibilities of landscape painting in all these 
 diredlions and brought it to so high a pitch of excellence that even in these 
 
THE PAINTINGS 
 
 19 
 
 days, when the art for the most part follows a very different course, it has never 
 been surpassed. Jacob Ruisdael’s three superb pidures in the Beit Collection 
 show, each in its own way, wherein lie the merits of this great and poetic 
 master of landscape art, and what he was capable of achieving. Two of them 
 by their unusual size, produce a more overwhelmingly powerful and impressive 
 effect than almost any other work by this artist. The “ Castle of Bentheim ” is 
 one of his early works and reproduces with almost photographic accuracy this 
 picturesque Westphalian castle. Situated near the Dutch frontier and standing 
 on the crest of a wooded hill, it rears its massive towers into the clear air, while 
 the village, half hidden in orchards, extends down the slope of the hill to the 
 meadows below. In the foreground the artist, rather after the manner of scene- 
 painting, has piled up great boulders of rock, covered with creepers and 
 undergrowth, and at the side has introduced the light-coloured trunk of a 
 dead tree, means by which he, at that period, believed he could heighten 
 the perspective effeCt of his piClure. Apart from these scarcely perceptible 
 blemishes the young artist displays a vigour and freshness of representation, a 
 brilliancy of local colour, and a truthful interpretation of nature which produce 
 an effect of absolute spontaneity. Only on closer examination is it apparent 
 how cleverly he has utilized all the means at his disposal in order to achieve a 
 symmetrical composition, rich colouring, and an adequate rendering of line 
 and of aerial perspective. In his fidelity to nature and in the plastic effeCt of 
 his picture, Ruisdael here successfully rivals the masterpieces of Hobbema. 
 The emotional mood, typical in his landscapes as in those of Hobbema, is 
 already noticeable in this work and is still more apparent in the second picture, 
 “ The Rough Sea.” 
 
 In spite of what the most modern Impressionists may say, Ruisdael still 
 holds a very high place for the delicacy and consummate skill with which he 
 expresses atmospheric vitality in his works. The modern landscape painter 
 confines himself almost exclusively to studying the effeCt of light in nature, 
 more especially of sunlight, but Ruisdael displays far higher and more diver- 
 sified gifts of imagination. 
 
 His method of illumination, in landscapes of very divergent character, is 
 extremely varied; and his treatment of the conditions of the sky in their 
 relation to and effeCt upon the earth, of clouds and their shadows interspersed 
 with gleams of light, shows remarkable observation. It is by means of his 
 
 D 2 
 
 y 
 
20 
 
 THE PAINTINGS 
 
 charafleristic representation of aerial phenomena and by his rendering of the 
 fitful play of light, that the artist achieves the striking and poetic effeft of his 
 piflures and diffuses that peculiar sense of melancholy which awakens a 
 kindred feeling in the spe(Sator. 
 
 This treatment of atmosphere is more especially noticeable in his sea- 
 pieces, those representations of the Dutch coast and of the sea which breaks 
 
 upon its shores. Here the moist air and the vivid reflexion of sky and cloud 
 in the surface of the water, combine to produce those peculiar atmospheric 
 effcfts, almost depressing, yet irresistibly attrailive. “ The Rough Sea ” in the 
 Beit Colledlion, one of the largest and perhaps the finest of all the master’s 
 sea-pieces, unusually clear and full of colour, affords a striking illustration of 
 this. The same may be said of a pidlure of smaller dimensions recently acquired 
 by Mr. Otto Beit, “ The Cornfield,” which is masterly in composition, excep- 
 tionally powerful in colour, and vigorous in treatment. The “ poetic mood,” 
 
THE PAINTINGS 
 
 2 I 
 
 the most significant and salient feature in the art of Ruisdael, is absent in the 
 works of his great rival, his junior by some years, Meindert Hobbema. This 
 is apparent in one of his masterpieces, “ The Path on the Dyke.” 
 
 Waagen, who saw this pidure in the Dudley Colledion, writes of it as 
 follows : “ The pidure is worth a whole gallery. In its strid fidelity to nature, 
 in the delicacy of the light, in the effed of the bright afternoon sun, and in 
 the masterly ease of execution, there are few others in the world with which 
 it can compare.” This is no exaggeration. In its simplicity and truth, in the 
 vigour and plastic qualities of the painting, in the delicate rendering of light 
 and atmosphere, this landscape is almost unrivalled. The “ Avenue of Middel- 
 harnis ” in the National Gallery indeed surpasses it, as it does all other pidures 
 by Hobbema and by the entire school of Dutch landscape-painting, in the 
 wonderful scheme of the composition, and in its surprising and powerful effed; 
 but in truth and masterly skill of execution the Beit pidure ranks equally high. 
 A rather smaller pidure, quite as fine, which a few years ago passed from the 
 Holford Collodion into that of Mr. Pierpont Morgan, represents the same 
 distrid taken from a somewhat different point. Both pidures were painted in 
 1663, the year in which Hobbema became a member of the Painters’ Guild 
 at Amsterdam. 
 
 In former days Jan Wynants was ranked almost as high as Ruisdael and 
 Hobbema; now, however, his name is scarcely mentioned, and to American 
 colledors he is pradically unknown. His early works — wooded landscapes in 
 the manner of R. de Vires — are mostly poor and heavy in tone; his later work 
 is mere scene-painting, perfundory in charader. Occasionally — always in 
 pidures of small dimensions — he depids the country in the immediate neigh- 
 bourhood of his home with simplicity and truth like Philips Wouverman, who 
 is regarded as a pupil of Wynants and whose best works are landscapes pure 
 and simple. In the small landscapes by Wynants, such as the refined little 
 pidure in the Beit Colledion, and his masterpiece in the National Gallery, the 
 figures in the foreground were painted by his friend Adriaen van de Velde. 
 The light, life, and colour-effed of these simple landscapes is indeed due, in 
 the main, to the painting of the little figures and to the careful rendering of 
 the animals introduced. 
 
 Another painter of a poetic temperament like Ruisdael is Aert van der 
 Neer, who, by his constant repetition of certain tendencies in landscape, may 
 
22 
 
 THE PAINTINGS 
 
 be regarded as a specialist in this branch. He is renowned for his moonlight 
 landscapes, conflagrations at night, and winter scenes ; but these representa- 
 tions, by which he is best known, are sometimes surpassed by motives which 
 he treated less frequently : evening effedls or simple daylight landscapes, for 
 in these the composition is less studied and the artist appears to have worked 
 more direcflly from nature. Aert van der Neer was never influenced by 
 Ruisdael ; he was his senior by nearly a generation, and though he only 
 devoted himself to the study of art comparatively late in life, we have dated 
 works by him — moonlight and winter scenes — of a period when Ruisdael, 
 still a mere youth, was learning his art, and moreover at Haarlem; whereas 
 Aert van der Neer was a native of Amsterdam and always worked there. 
 
 The three pidures by this artist which Mr. Beit owns, are all admirable 
 in their several ways. One is a large landscape by evening light, representing 
 a broad river with a busy street bordered by trees on its bank, and a wide 
 reach of country stretching away into the far distance. The colouring is 
 warm and brown in tone, the whole is executed with breadth and sureness of 
 hand, even to the figures of somewhat large dimensions which, as is usually 
 the case in England, were erroneously ascribed to A. Cuyp, though they are 
 certainly by the hand of Aert van der Neer himself. Still more poetic in 
 feeling than this effedive pidure, is the small moonlight landscape with the 
 windmills; though simpler in composition it is equally admirable, very 
 vigorous in the moonlight effeds, but transparent in tone even in the deepest 
 shadows, qualities which, with the broad and masterly handling, are charader- 
 istic of the early work of this master, to which category this pidure belongs. 
 It bears the date 164.6. The “ Winter-Scene ” is appreciably smaller in size, 
 delicate in colour, and pastose in touch. The sky is black with banks of 
 heavy clouds, while the horizon glows with sunset tints. Here, too, we see a 
 canal bordered by small hamlets, while the frozen surface is gay with sledges 
 and skaters, motives which the artist has repeated in countless pidures. They 
 afforded him scope for combining, in a single pidure, the innumerable 
 delicate details apparent in a winter landscape. His manipulation is extremely 
 skilful, and superfluous touches which would mar the harmony of the whole 
 are rare in his work. The river flowing away into the distant landscape 
 imparts depth and a telling effed of perspedive to the pidure. The sky is 
 refleded in its clear waters, and by these means the artist obtains tone, 
 
THE PAINTINGS 
 
 23 
 
 colour, and an increased volume of light, and reproduces atmospheric eifedls 
 in a very typical manner. On the flat banks, which follow the course of this 
 winding water-way, small hamlets and sparse trees cast deep shadows contrast- 
 ing strongly with the great volume of light proceeding from sky and river, 
 and are illuminated by the rays of the sun or the refledled light of the moon- 
 beams. In colouring, Aert van der Neer remains true to the school in which 
 he was trained ; the brownish tone which, through the medium of Rembrandt, 
 was common to almost all the painters of Amsterdam between 1630 and 1650, 
 is dominant also in his pictures, but varies greatly in degree, being cool or 
 warm, light or dark, luminous or subdued, according to his mood; frequently, 
 too, the artist combines with it touches of colour which enliven his pidlure in 
 a remarkably telling manner. Some of his winter scenes and evening land- 
 scapes indeed are almost rich in colour effedls, and are then always extremely 
 harmonious in tone. 
 
 Connedted with Aert van der Neer’s scenes, are the rare winter land- 
 scapes of Jan van de Cappelle. This rich merchant and dyer of Amsterdam 
 was self-inspired, having learned his art “ of himself,” as his fellow-countryman, 
 G. van den Eckhout, tells us. That he was a great patron of art is proved 
 by the Inventory of his extensive colledlion of works of art which, among 
 other objedls, contained numerous drawings and several pidlures by Rembrandt, 
 one of them being his portrait of Van de Cappelle himself. As a painter 
 he may be classed with the best landscape artists of Holland. The majority 
 of his works are sea-pieces, remarkably brilliant and sunny in quality, 
 executed under the influence of the later works of his master, Simon de 
 Vlieger, a large number of whose pidlures and drawings were in the colledlion 
 of Van de Cappelle. 
 
 Among his winter landscapes, about a dozen of which are known to me, 
 the one belonging to Mr. Beit is a remarkably good example bearing the date 
 1652. It represents a frozen canal with several figures; on the bank are houses 
 and tall trees. The motive is very similar to those of A. van der Neer, but is 
 treated with greater simplicity, spontaneity, and breadth of handling, and the 
 wintry atmosphere is rendered with remarkable fidelity. 
 
 A. van der Neer found motives for his pidlures in the immediate neigh- 
 bourhood of Amsterdam; a younger landscape painter and native of this city, 
 Jan van der Heyden, took his subjedls almost exclusively from within its walls. 
 
24 
 
 THE PAINTINGS 
 
 and has left us works of small dimensions which in their way may be designated 
 masterpieces of unexampled perfeflion. Like Van der Neer, Hobbema, and 
 other of his fellow-countrymen, Van der Heyden’s adlivity as a painter covers 
 only a short period. After he had been appointed head of the city fire-brigade 
 — a position he obtained owing to his invention of a fire-engine which long 
 remained in use — he only devoted himself to painting in his leisure moments. 
 His views of buildings, more especially of subjedls in Amsterdam, are almost all 
 works of his youth, of c. 1660-1670, and belong therefore to the Golden Age 
 of Dutch painting of minute and finished detail. Many of his views — his 
 squares, canals, and streets — are faithful renderings of his subjedls, and being 
 chosen and grouped with much taste and skill they produce a very striking 
 effedl; others again are simply “ compositions.” Among these last-named 
 must be classed the very admirable little pidlure in the Beit Gallery in which 
 the artist has represented the outer walls of a city with a pidluresque old gate- 
 way. A young couple, attended by a servant from whom two pilgrims ask 
 alms, are, like the remainder of the very delicately executed little figures, 
 painted by his friend, Adriaen van de Velde. This alone would tend to prove 
 that the pidlure belongs to the earlier period of the painter as Adriaen died in 
 1672. 
 
 Another of the Dutch Little Masters who was once recognized as the 
 foremost amongst them all, and whose works, in consequence, fetched the 
 highest prices. Philips Wouverman, is so admirably represented in the Beit 
 Colledion that the prediledion for this master in the XVIII century may 
 be readily understood. The “ Rustic Wedding in front of a Village Inn,” 
 from the Pelham Clinton Hope Colledion, is a masterpiece. The Dresden 
 Gallery with sixty examples by this painter, and the Hermitage with about forty, 
 can scarcely boast of possessing anything better. If the artist is less thought 
 of now than formerly it must be attributed to the lack ot pidorial effed in the 
 majority of his pictures; they are also frequently heavy in tone, inharmonious 
 in colour, and exaggerated in execution. The striving after motives and the 
 overcrowding of incident, the illustrative charader of many of his compositions, 
 and the lack of fidelity to nature, diminish the artistic value of many of his 
 paintings, which moreover have often darkened much, while the priming has 
 become visible and the colours have deteriorated. But when the artist does 
 not fall into the errors alluded to, his creative power, the brilliancy of his 
 
THE PAINTINGS 
 
 25 
 
 imagination and his extraordinary memory render his pi( 5 tures worthy to rank 
 among the best works of Dutch art. This applies more particularly to his 
 landscapes pure and simple, which display such delicacy of aerial tone, luminous 
 quality in the treatment of light, individuality and truth in the observation of 
 Dutch landscape, and skill in composition, that, in spite of their unostentatious 
 form (they are usually of very small dimensions) they rank among the finest 
 examples of landscape in this school. The same applies to a number of land- 
 scapes with numerous figures in the foreground, mostly of medium size, light 
 in tone and clear and harmonious in colour — qualities which enable us to 
 appreciate to the full the varied character of the admirable composition. Among 
 such works must certainly be classed the “Rustic Wedding.” The picture is 
 full of incident, highly descriptive, and carries us along, but for these very 
 reasons the advocates of the most modern tendencies in art would view it 
 with disfavour. Those, however, who still consider that vivid imagination, 
 consummate drawing, and the highest proficiency in grouping and scenic 
 arrangement count for something in art and are indeed indissolubly bound up 
 with it, will assuredly find this pidture wholly admirable and will delight in its 
 many striking artistic qualities and the spirited, refined, and humorous portrayal 
 of the life of the time. 
 
 Some small and excellent sea-pieces by Willem van de Velde were 
 formerly, like the pifture by Wouverman, in the Hope ColleiSion, which 
 contained so many masterpieces of Dutch art. Two represent the sea with a 
 stiff breeze blowing and ships with coloured sails riding amid the breakers; 
 the whole scene is bathed in that delicate silvery haze, so charafleristic of the 
 best works of this excellent painter of sea-pieces. A third work by him, slightly 
 larger in size and of equal merit, represents a calm sea in bright sunshine. 
 
 A very large canvas in which a stormy sea is depifted — painted in 1671 
 and therefore still belonging to his earlier period — is one of his most important 
 piilures, admirable in the superb drawing of the waves, the clever composition, 
 and the delicate gray tone of the atmosphere veiling the red and yellow sails, 
 which shimmer through the mist with subdued but telling effedf. Pidures 
 such as these caused Van de Velde to be formerly regarded as the greatest 
 exponent of these subjefts, and though in the present day he is little esteemed, 
 his position as one of the best painters of the sea is unassailable. 
 
 Some other sea-pieces in the Beit Colledion were acquired in the days 
 
 E 
 
 
26 
 
 THE PAINTINGS 
 
 when Mr. Alfred Beit was living in a small apartment in Prince’s Chambers, 
 and was only laying the foundation of his colledlion, for instance, “ A Rough 
 Sea ” with a rocky coast, by Reinier Zeemann, closely resembling Simon de 
 Vlieger’s work, and “ A Calm Sea,” light and clear in tone, an excellent work 
 by the same rare artist; and by Ludwig Backhuisen, a “ Stormy Sea with 
 Boats ” and the town of Emden, the birthplace of this artist, in the distance. 
 At the same period Mr. Beit acquired a number of landscapes by other Dutch 
 masters of secondary importance, some of which, with the sea-pieces just named, 
 are now hung in the upper rooms at Tewin Water. For the works of Van 
 Goyen, that most gifted among the pioneers of landscape -painting in Holland, 
 Mr. Beit had a special predilection. Two out of the five pictures here by him 
 are particularly fine : a comparatively large work with the view of a wide 
 canal, on the banks of which lies a small village — the trees and bushes painted 
 in subdued tints of a golden hue — and a small evening landscape, a river-scene, 
 painted in the delicate gray tone characteristic of this artist’s last period, as 
 skilful in treatment and composition as it is refined in feeling, A wooded 
 landscape by Joris van der Hagen, especially noticeable for its warm and 
 glowing colour, is interesting also in subjeCt — a view of the “ Huis ten Bosch 
 (“The House in the Wood”) near the Hague. 
 
 Among Mr. Beit’s earliest acquisitions are two pictures which were both 
 ascribed to Frans Hals. In one case the attribution is certainly correCt: the 
 “ Young Flute-Player” is an enchanting little “ Ronqe ” by the great master 
 and of his early time between 1625 and 1630. The merry boy whose lank, 
 fair hair falls over his face, laughs heartily in pure delight at the sounds which 
 he succeeds in drawing from his instrument. With a few broad pastose touches 
 the forms are brushed upon the canvas with such sureness of hand and in a 
 manner so masterly as no other artist save Velazquez could have achieved. 
 The cool blond tone of the colouring is astonishingly luminous ; the humour 
 and truth of the expression are so amazingly fresh and naive that the spectator 
 feels irresistibly impelled to join in the laugh. No other artist has succeeded, 
 like Frans Hals, in catching an expression and in portraying it in so life-like a 
 manner, and this is more especially true of a laughing expression, whether the 
 shy smile of a young girl, or the coarse, boisterous laugh of an old fishwife; 
 each in its way is absolutely natural and wholly convincing. The second 
 picture is the bust of a little girl of the burgher class, whose string of coral 
 
THE PAINTINGS 
 
 27 
 
 beads gives a touch of colour to the harmonious gray tone pervading the 
 pidlure. Her shy smile is full of life and much in the manner of Hals; but 
 the general conception is almost too simple for the great master, the treatment 
 not sufficiently spirited. Several pupils are now known who at times approach 
 their master very closely, foremost among them Judith Leister, who later 
 became the wife of Jan M. Molenaer. Her genre-piftures, mostly consisting 
 of one or two figures of small dimensions or of half life-size, so closely approach 
 those of Frans Hals, that until very recently they passed under his name and 
 have fetched as much as ^^5000. Beside genuine works of Hals, however, 
 they appear comparatively feeble in expression, colouring, and treatment; they 
 display what might be termed a feminine charm and attradliveness, qualities 
 which more particularly appeal to the taste of the public. The pidlure in the 
 Beit Colledtion displays all these charadleristics, and the attribution to Judith 
 Leister may possibly be corred. 
 
 Another rather larger pidlure has lately been added to the colledtion, in 
 which the pre-eminent qualities of Frans Hals, as a genre-painter, are revealed 
 in a most attradive manner. This is the “ Lute-Player ” from the colledion 
 of Lord Howe, which, after having been shown at a Winter Exhibition at 
 Burlington House, achieved great popularity and soon became one of the best- 
 known and most admired among the master’s works. It is both a portrait and 
 a genre-pidure. The fair-haired young man is no street-singer, as is usually 
 the case with subjeds of this description treated by Frans Hals, but a man of 
 refined asped clad in the rich costume of the day, painted with all the truth 
 and vitality which this master alone was able to impart to his subjeds. The 
 young man, evidently a lover of music, has caused himself to be portrayed 
 with his favourite instrument, which gives the pidure its genre-like charader. 
 His pose and the manner in which he holds the lute and strikes the chords are 
 masterly, and display remarkable gifts of observations. We seem to hear the 
 notes reverberate beneath the player’s touch. The hands are broadly modelled, 
 but every line has its proper value, and in spite of the bold treatment the whole 
 produces the impression of a most carefully finished work. The blond tone 
 and the general charaderistics lead us to ascribe the pidure to the years 
 1625-1630, and this is confirmed by the costume. The master has signed the 
 pidure with his monogram, a proof that he was proud of his work. 
 
 With the Dutch scenes of peasant life may be classed the pidures of the 
 
28 
 
 THE PAINTINGS 
 
 Fleming, David Teniers. An excellent work of somewhat large dimensions by 
 this artist hangs surrounded by Dutch piflures in the Beit Colledlion. It 
 represents a “Rural Fete at the Gates of Antwerp,” the towers of the city 
 being visible in the distance. A number of peasants are seated at tables in 
 front of an inn, at the door of which an organ-grinder is playing. Rich in 
 colour and light in tone, the picture belongs to the artist s early time [c. 1645). 
 The drawing is more refined, the proportions more correft, and the types 
 more varied and individual than in the majority of his pictures, especially those 
 of his later period, in which the artist, merely repeating former motives, is too 
 apt to treat again and again the same figures and incidents with little variation. 
 An old copy of this pidlure, of small dimensions, is in the Suermondt Museum 
 at Aix-la-Chapelle. Another very small piflure by Teniers in the Beit 
 Colledlion, also executed about the same date (1640-1650), is the “Rural 
 Concert.” A young peasant with his arm round a shepherdess teaches her to 
 play the flute; the pidure has a pastoral charafter rare in the works of 
 Teniers. In the conception, in the varied colouring and blond tone, such 
 pidlures were later taken as models by Antoine Watteau. An old and admirable 
 copy of this piflure in a private colleflion at Berlin is so pronouncedly Watteau- 
 esque in charadler, that one is almost tempted to regard it as a copy by the 
 young Watteau of the original by Teniers. 
 
 With the Dutch picSures may also be mentioned a few very fine Dutch 
 miniature portraits. Several of them betray the manner of well-known artists, 
 which is rarely the case in miniature art. Thus the circular portrait of a man 
 in the prime of life, rather larger in size than is usual in a miniature, is a 
 charadteristic work of Frans Mieris the elder, of c. 1665. The remarkably 
 delicate portrait of an attradlive and youthful woman of the same period 
 clearly reveals the manner and treatment of Caspar Netscher. The young 
 man in a blue coat might be by F. Biset, a follower of Gonzales Coques. The 
 portrait of a youthful lady with fair hair, whose features seem to proclaim her 
 a member of the Medici family, may with probability be assigned to the 
 younger Frans Pourbus. Very charming is the portrait of an Italian girl, 
 coquettishly attired in rich garments of warm and powerful colouring, which 
 was probably produced about the year 1640. 
 
 For the reception rooms of the house in Park Lane, a number of portraits 
 by the great English masters of the XVIII century and certain French 
 
THE PAINTINGS 
 
 29 
 
 portraits of youthful women and children of the same period were acquired 
 by Mr. Alfred Beit. 
 
 In freshness and joyousness of conception and in their high sense of 
 beauty, the English masters of this period are not only on a level with their 
 French contemporaries, the creators of Rococo art — which almost in the 
 first stages of its development showed marked signs of decadence — but they 
 even surpass them in the refined bearing and decorative eifedt of their portraits, 
 though they are seldom endowed with an equal measure of artistic perception 
 and knowledge of nature as their French colleagues. Several of the finest 
 examples of the English School were bequeathed by Mr. Alfred Beit to various 
 public galleries, but the gaps thus created have since been filled. 
 
 First among the French works are two stately female portraits by Jean 
 Marc Nattier. One represents the Duchesse de Chartres (the pidlure was 
 exhibited at the Paris Salon in 1745), the other VicSoire, daughter of Louis 
 XV. The former is depi&d as Hebe ministering to the eagle of Jove; the 
 latter as a Water Nymph leaning her arm upon a vase from which water 
 pours. Both pidlures display the light, cool, bluish-green tone peculiar to this 
 artist, while the flowers introduced supply a few delicate touches of colour. 
 Both are admirable in the aristocratic grace and sujisance of the figures. 
 The impression which they leave upon the speftator is that these beings were 
 created solely to be admired and to lead a butterfly existence in a world of 
 ease and pleasure. Exalted to the skies by sycophants, their one aim was to 
 win the favour of their sovereign and to attain the highest social pinnacle, 
 despising all whom they considered their inferiors. This contempt for all 
 things human and divine was soon to meet with that terrible retribution by 
 which not only they, but untold numbers of innocent persons, were over- 
 whelmed. The colledtion contains another work of this period, the bust of a 
 child of about five years old, by Jean Baptiste Greuze. This artist, a younger 
 contemporary of Nattier, lived through the reign of Louis XVI and the 
 Revolution, and saw the Empire established. His art, however, was wholly 
 unalfedled by these upheavals; he always remains the same — a decadent, who, 
 under the mask of childlike innocence, which he imparts to his numerous 
 studies of heads and to a series of typical genre paintings, conceals false 
 sentiment and incipient sensuality, qualities which at times obtrude themselves 
 in his piftures in a manner positively repellent. Occasionally, however, the 
 
3 ° 
 
 THE PAINTINGS 
 
 naive and childlike expression is really spontaneous, and the light, golden 
 tone, and the broad and pastose handling combine to produce an effedl of 
 great pidorial charm. The study of the child in the Beit Colledion belongs 
 to this class. The black lace of the cap, contrasted with the light auburn hair, 
 and the bright-hued costume, produce an unusually refined and almost vigorous 
 colour-eifefl. 
 
 Near the small Greuze hangs a superb Goya, the portrait of Dona 
 
 Antonia Zarate, a beautiful young Spanish lady of full but shapely form, deep 
 black hair, large dark eyes, and warm olive complexion. The master, a 
 redoubtable squire of dames, has painted this portrait with especial care, and 
 has put forth all his powers in order to show off the beauty of his sitter to 
 the utmost advantage. Clad in black, with a fine black lace mantilla on her 
 curly hair, she is seated upon a couch covered with material of a deep yellow 
 tone, relieved against a wall of a duller shade of the same colour — a 
 “ symphony in black and yellow” as Whistler would have named the pidlure. 
 
THE PAINTINGS 
 
 31 
 
 The few pale gray and silvery touches in the girdle, the gloves, the tucker, 
 and the earrings, stand out brilliantly as the highest lights. Simple and 
 unafFedled in arrangement, yet composed with consummate skill, calm, almost 
 indifferent in expression, yet unfathomable in its depths of hidden passion. 
 
 The English pidures now in the boudoir, among which are hung the 
 Greuze and Goya, and the large portraits in the dining-room are by the 
 greatest painters of the XVIII century. Not one of the leading masters of 
 the English School is missing, and most of them are represented by several 
 works of the highest merit. The large pidure which dominates the whole 
 room, the portrait of Lady Talbot, is one of those imposing and repre- 
 sentative compositions by Sir Joshua Reynolds, which date from his late 
 period. The youthful lady, tall, slender, and typically English, clad in 
 flowing pseudo-classical attire, stands beside a small altar in the ad of making 
 a thank-offering. The motive is charaderistic of the Georgian period, but 
 is treated with so much dignity and spontaneity, that, together with the 
 attradive appearance of the sitter and the vigour of the golden colour-scheme, 
 the effed produced is surprisingly fine. It may be objeded that the motive 
 is mannered and lacking in vitality, that the forms are too indefinite, that all 
 has been subordinated to the composition as a whole, and that the warm tone, 
 though pleasing, is unreal; nevertheless the astonishing resplendence and 
 brilliancy of the colour, the beauty of the figure, and the distindion of the 
 entire composition are irresistibly attradive. These pidures are, as a rule, far 
 more effedive than those of earlier masters, and it is not surprising therefore 
 that colledors should prefer them, and that their financial value should be 
 incalculably higher. 
 
 A new acquisition, the portrait of Lady Decies and her child, has been 
 assigned a position in the same room. The young mother, delicate and 
 refined of feature, has just lifted her fair-haired little son out of his cot and 
 draws him towards her. Composition and colouring reveal a close study of 
 the old masters, for whom Reynolds had an enthusiastic admiration and 
 whose works he colleded with the utmost zeal. The motive is evidently 
 founded upon Raphael’s pidlure in the Louvre, known as the Madonna of 
 Francis I, while the brilliant colour betrays a study of Venetian prototypes; 
 but the whole is thoroughly charadleristic of Sir Joshua — elegant, charming, 
 and showing great refinement of decorative effed. In the portrait of Lady 
 
32 
 
 THE PAINTINGS 
 
 Talbot beauty of tone was the key-note of the whole; in this portrait, how- 
 ever, which even surpasses the first-named work, the richness, purity, and 
 luminous quality of the colouring produce a magical effedl. 
 
 Gainsborough — who though less esteemed in his own day now ranks 
 higher than his great rival Reynolds — is represented in the Beit Colleftion 
 
 by six pidlures, two of which even surpass the masterpieces by Sir Joshua, to 
 which allusion has just been made. In delicacy of tone and freedom of 
 handling the portrait of the dancer Bacelli is a marvel, but being only a small 
 sketch, it cannot be classed in the same category with the large portraits. Clad 
 in a dress of white tulle trimmed with blue, with fluttering ribbons ol the same 
 colour, her right hand upon her hip, her left holding up the hem of her 
 skirt, the beautiful Italian glides lightly along, casting coquettish glances at 
 
THE PAINTINGS 
 
 33 
 
 the spedator. The light, delicate tones, with occasional touches of a warm 
 golden hue, the cheeks slightly heightened in colour by the exhilarating 
 movement of the dance, combined with the all-pervading tone of silvery gray, 
 produce an impression of ethereal loveliness such as only Gainsborough could 
 achieve. The pastose colours are laid on with a light but masterly sureness 
 of touch; the painter in this rapid sketch has merely given us a first im- 
 pression for the large pidlure now belonging to Lord Masham, but from the 
 modern point of view, which ranks clever impressionism above carefully finished 
 workmanship, this pidlure produces an absolutely perfedi effedi ; and the 
 same applies to its pendant, formerly in the Rudolf Kann Colledlion. 
 
 Two recent acquisitions show us Gainsborough at his best. In the large 
 portrait of Mrs. Watson, daughter of Lord Sondes, the still youthful lady is 
 seen resting her head pensively on her left hand, a figure of the utmost 
 refinement and distindlion. The exquisite colouring of the tulle scarf, and 
 of the knots of bluish ribbon on the robe of pale yellow worn over blue, 
 the whole relieved against a red curtain, combine to produce a colour-scheme 
 of unexampled charm executed with inimitable lightness of touch and 
 delicacy. 
 
 Even more remarkable and typical, both from the point of view of genre 
 and landscape, is the “ Cottage Girl,” a little village maiden with a puppy 
 tucked under her arm and a pitcher in her right hand, who wanders dreamily 
 in a wooded landscape clad in a deep blue frock with dull brown overall. The 
 little figure stands out against the bluish-green tones of the background in 
 wonderful relief, the colour-efiedt is striking and recalls the landscapes of 
 Rubens. The delicate form of the child, the beautiful features, the dreamy, 
 pensive expression, have nothing of the peasant child, but betray the mode of 
 conception which prevailed in the age of Rousseau. Yet no decadent note, 
 such as is too often found in French pidures of this class by Greuze or 
 Fragonard, mars this exquisite idyll, for freshness and simplicity are here 
 united to ideal charm. 
 
 The portrait of Margaret Gainsborough, which hangs at right angles to 
 that of the dancer Bacelli, shows us a rather earlier phase of the master’s art; 
 judging from the age of the sitter it must have been produced towards the 
 close of Gainsborough’s “ Bath” period between 1770 and 17 7+. The artist, 
 who painted his daughters many times, has here represented the eldest nearly 
 
34 
 
 THE PAINTINGS 
 
 in profile and to the waist. She is clad in a dark coloured dress of an indefinite 
 hue, enlivened by touches of yellow; a white muslin collar, broadly painted, 
 falls over the bodice which is open in front showing the throat encircled by a 
 tiny band of velvet. She wears a hat turned up on the left side, the pre- 
 dominating tone of which is a light fawn colour, some touches of yellow 
 being again introduced. The painting of the flesh and of the hair is admirable, 
 and the profile stands out brilliantly against the dark background. 
 
 Very charafteristic examples of the art of Gainsborough are two small 
 landscapes, one of which, ‘‘The Pool in the Wood,” displays refined and 
 harmonious colour-effects and a light and vigorous touch. Gainsborough is 
 almost the first English artist who attempted to treat landscape as a subject; 
 but his work received scant recognition from his contemporaries. In their 
 estimation, the greatest exponents of landscape art of the day were the Italians. 
 Painters like Zuccarelli and Antonio Canale were even induced to come to 
 
THE PAINTINGS 
 
 35 
 
 England for a brief period, and every cultured Englishman who stayed for any 
 length of time in Rome or Venice, sought to obtain examples (painted if 
 possible under his eye) of works by these artists, and by Guardi, Belotto, 
 Pannini, and their imitators. This explains why we meet with so large a 
 number of paintings in England by these admirable artists. One of the 
 drawing-rooms in Mr. Beit’s house is entirely hung with examples by these 
 painters. Besides two views on the Arno at Florence, early works by Bernardo 
 Belotto, we meet with a number of excellent piftures by Francesco Guardi. 
 In the first place two views of Venice — the “ Piazza with a view of San 
 Marco ” and the “ Piazzetta with a view of the Harbour,” both with numerous 
 little figures. In the depth and richness of the colouring, the spirited pidlorial 
 treatment, and the refined and remarkably truthful rendering of tone, Guardi 
 here almost surpasses his master, Canaletto. 
 
 A third pidlure of larger dimensions, exceedingly luminous in colour, 
 represents the Grand Canal from the Madonna della Salute and looking 
 towards the Doge’s Palace. Another view of the Grand Canal near the 
 Palazzo Grimani is cooler in tone, but very striking in its clever rendering of 
 a gathering storm — the cold Borra so prevalent in Venice in the early spring. 
 Two small upright piftures with ruins and scattered figures, so-called Fan- 
 tasias, are composed by the artist from sketches made by him on the Terra 
 Ferma. 
 
 In the last twenty years or so, two other English portrait painters of 
 rather later date than Reynolds and Gainsborough have gradually come to 
 the fore in the estimation of connoisseurs and colleftors — Romney and 
 Hoppner. Their pidlures, which in former years had no sale and were indeed 
 scarcely noticed, now command high prices almost equal to those paid for 
 masterpieces by Reynolds and Gainsborough, and their more important works 
 are rarely to be purchased now. The present popularity of these two artists 
 may partly be explained by the fad: that good works by the greatest English 
 masters have long been pradlically unobtainable; but even beside Reynolds and 
 Gainsborough they have their own individual merits and a considerable 
 measure of charm. The Beit Colledion possesses several exceedingly good 
 examples by both these artists. By Romney we have the portrait of Mrs. Henry 
 Ainslie with her little girl upon her knee, very attradive in conception, 
 theme, and colour, but the manner of painting already displays that super- 
 
 F 2 
 
36 THE PAINTINGS 
 
 ficial, decorative, and somewhat unnatural treatment and the chalky tone 
 which charadterize most of this artist’s portraits. I am disposed to rank 
 Hoppner higher than Romney, especially as regards his pidlorial quality; an 
 opinion confirmed by the two pidlures in the Beit Colledlion, which are both 
 magnificent in colour. The portrait of the Countess of Aldborough with her 
 fantastic many-coloured hat and high waist-line — fashions which stamp the 
 
 pidlure as of the period of the French Revolution — is nevertheless most 
 attradlive in colour-effedl. The second Hoppner in the colledlion is the 
 portrait of Countess Poulett. A black lace mantilla falls over her white tulle 
 dress with its blue sash; this colour-scheme, with the delicate flesh-tints and 
 the tone of the landscape combine to produce a very striking effedl. A small 
 portrait by Sir William Beechey (now removed to Tewin Water) of the 
 celebrated adlress Mrs. Siddons, a full-length standing figure in a landscape 
 with sunset light, would form a good pendant to Gainsborough’s portrait of 
 
THE PAINTINGS 37 
 
 the dancer Bacelli, though pidlorially of far inferior quality. The adiress is 
 depidled in one of her rUes, probably as Lady Macbeth; clad in black pseudo- 
 classic garb she brandishes a dagger in her right hand and holds a bowl in her 
 left. 
 
 The portrait by Sir Thomas Lawrence of Mrs. Hillyer seems — judging 
 from the style of dress and the manner of painting — to belong to the earlier 
 period of the artist’s career, that is to the last decade of the eighteenth 
 century. The lady, who is seen to the waist and in three-quarter face looking 
 to the left, wears white with a black waist-band and a black gauze scarf which 
 falls over her left arm; round her throat is a necklace, and a blue ribbon 
 adorns her hair. The flesh painting is exceedingly bright and pure in quality, 
 and the eyes are of great vitality of expression; behind the figure is a curtain 
 of that brilliant shade of red for which this painter had a special predilcdlion. 
 
 The doyen of the Scottish School of Painting, Sir Henry Raeburn, long 
 remained unrecognized in England. Of late years, however, the tide has 
 turned in his favour and his portraits are now as highly prized as those by 
 Reynolds or Gainsborough; and justly so, for if Gainsborough has been called 
 the Van Dyck of English portrait-painting, Raeburn may well be termed the 
 Scotch Frans Hals, on account of the fresh naturalism of his conception and 
 the breadth and sureness of execution. The large double portrait of Sir John 
 Clerk and his wife, Rosemary Dacre, is one of his masterpieces. The wealthy 
 Laird stands on a hill pointing out to his wife the boundary of his property. 
 The evening light sheds its warm radiance over the group and over the 
 charming hilly landscape and intensifies the sense of peace and contentment 
 which pervades the scene. The unusually brilliant and striking effedl of light 
 which the artist succeeded in obtaining has caused him to finish the pidlure 
 with unwonted care. The expressive portrait of Mrs. Cay at Tewin Water 
 (one of the most recent acquisitions) is, on the other hand, treated with the 
 master’s accustomed breadth of touch, although the face shows careful execu- 
 tion. The rise of the earlier English School of portrait-painting is represented 
 by one example, a female portrait by Allan Ramsay, which was formerly 
 regarded as a work by Hogarth. Ramsay has here followed closely in the 
 steps of this great master who first raised English art to a position of complete 
 independence. 
 
 The connexion with Hogarth is emphasized by the fad that this youthful 
 
38 
 
 THE PAINTINGS 
 
 woman is not the beautiful and aristocratic type portrayed by Reynolds and 
 Gainsborough, but is a true descendant of those Roundheads who overthrew 
 the rule of the Stuarts and were instrumental in establishing the supremacy of 
 the Parliament in England. Rough-featured and certainly not beautiful, her 
 spirited and self-reliant mien gives the portrait a cachet which renders it by no 
 means unattradlive. 
 
 The colleftion also contains a large genre pidlure, “ The Peasant’s 
 
 Family,” one of the best works of another more modern artist who cannot be 
 classed among the greatest of English masters — John Opie. 
 
 A young girl holds a pitcher of water from which her little sister is 
 drinking, while another sister, who also holds a pitcher, stands by. For this 
 period and school the figures are unusually true to life and sympathetic in 
 expression, and the colouring, though of a uniform and somewhat monotonous 
 tint of brown, has considerable strength and depth of tone. The light is well 
 concentrated and in its effeft involuntarily recalls similar motives by Murillo. 
 
THE PAINTINGS 
 
 39 
 
 The earliest, almost tentative, attempts at landscape painting, of which, as 
 we have seen, the Beit Collection contains two examples, found so little 
 favour at the time that the art only attained to an independent position in 
 England towards the close of the XVIII century. Constable, Turner, and 
 Bonington were the founders of modern landscape art, and the French land- 
 scapists, even down to the most modern exponents of impressionism, are their 
 direct descendants. 
 
 The Beit Collection contains a study on the beach with figures by 
 Bonington; the effeCt of evening light upon the calm sea is so admirably 
 rendered that the picture may be regarded a masterpiece by this artist. 
 
jlHE charadler and style of Tewin Water, the country-house 
 acquired by Mr. Alfred Beit in 1900, induced him to turn 
 his attention to colledting earlier Masters of the Italian school. 
 The house, eredled towards the close of the XVIII century, 
 was furnished and decorated by Mr. Beit’s immediate pre- 
 decessor in the style of the Renaissance. The charm and liveable charadler of 
 the house induced its new owner by degrees to make further improvements 
 by adorning it with works of art of high quality; and Mr. Otto Beit has 
 carried on what his brother initiated. He has removed to Tewin Water the 
 only important example of XVI century art which hung in the house in Park 
 Lane — the portrait of Count Alberti with his page, signed with the name of 
 Paolo Veronese, to which we shall refer later — and he has also brought together 
 
 G 
 
42 
 
 THE PAINTINGS 
 
 there a small but choice colledlion of Italian pidlures of great interest for the 
 history of art, which, together with early tapestry, oriental carpets, antique 
 furniture, majolica and bronzes, produce an impression of considerable artistic 
 beauty as well as of comfort. The collector was aduated principally by a desire 
 to impart to the rooms a refined and decorative elPed; it was not his purpose 
 to acquire works by definite masters of the first rank, nor did he aim at any 
 system of completeness ; but he secured whatever presented itself in the shape 
 of good paintings of the Italian Renaissance which would harmonize well with 
 their surroundings. Hence several of these pidures, including some of the 
 best examples, still await definite classification, and are consequently of special 
 interest to the art-historian. 
 
 The earliest among them, three large panels of the close of the Quattro- 
 cento, are very difficult to determine with any certainty. A Tondo representing 
 the “ Adoration of the Shepherds ” with figures rather under life-size, was 
 attributed by its former owner to Ridolfo Ghirlandaio; since then it has been 
 ascribed to Piero di Cosimo; and even Signorelli, or at least some painter of 
 his immediate surroundings, might come under consideration. The warm, 
 glowing colour and the angular forms recall Signorelli, as do also the types in 
 part; while the drapery, the landscape, and the types of the Madonna and 
 Child, reveal a more decidedly Florentine influence. Another pidure of the 
 same subjedt, of larger dimensions and square in form, is in some respedts 
 connedled with the Tondo, but points more definitely to Florence as its place 
 of origin. It was bought as a Filippino Lippi, of whom we are certainly 
 reminded in the figures, though the pidlure does not display his bright, varied, 
 and inharmonious colouring, his light liquid touch, and his vitality of move- 
 ment and expression. The types recall Domenico Ghirlandaio, the square, 
 thickset Child has the form of Credi’s children, while the colouring is warmer 
 in tone and the touch firmer than is the case with this artist. The name of 
 Ridolfo Ghirlandaio might be suggested, but his well-authenticated pidlures (a 
 great variety of works difficult to class have of late years been ascribed to him) 
 display more powerfi.il effe<fis of chiaroscuro and a tone of greater depth and 
 brilliancy. The letters p.b. on the sandal of one of the shepherds probably 
 refer to the donor rather than to the artist. A third picture showing similar 
 tendencies, and of the same period, might more probably be brought into 
 relation with the master of Ridolfo : the long, narrow, tapestry-like pifture. 
 

 January 31s<; 1921. 
 
 As a result of the investigations which I have made with reference 
 to the authorship of the Tondo of the “ Adoration of the Shepherds ” in your 
 collection, I beg to state that in my opinion the picture is a work by 
 Piero di Cosimo. 
 
 A comparison with the works of this Master (which may be found 
 conveniently reproduced in Dr. F. Knapps monograph “Piero di Cosimo,” 
 Halle a. S. 1898) yields a number of most striking analogies with your picture. 
 Thus, the type of the Madonna is one which frequently appears in Piero di 
 Cosimo’s pictures ; it is especially akin to that of the “ Magdalene ” formerly 
 in the Baracco collection at Rome, and now in the Palazzo Corsini, indeed, 
 the two figures give me the impression of having been drawn from the same 
 model, all the more so as the hands are also very similar. The Infant Christ 
 is very similar indeed to that which occurs in the Tondo in the Hermitage 
 Gallery, Further, in the treatment of light and shade and the expressive, 
 animated play of hands, the picture has much in common with the 
 “Enthroned Madonna” in the Ospizio degli Innocenti at Florence; and to 
 mention a small but interesting detail, the ox in the background to the left 
 is extremely similar to the one seen in the “ Adoration of the Shepherds ” at 
 Berlin. Apart from details of form, the colouring also points definitely in the 
 direction of Piero di Cosimo, of whose delicate and sensitive imagination the 
 whole invention of the picture is indeed characteristic. 
 
 TANCRED BORENIUS. 
 
THE PAINTINGS 
 
 +3 
 
 “ The Allegory of Chastity,” formerly ascribed to Piero di Cosimo. There 
 is no doubt that composition and theme are closely connefted with him, the 
 pifture is strikingly reminiscent of such works as the “ Cephalus and Procris ” 
 of the National Gallery, and the “Mars and Venus” of the Kaiser Friedrich 
 Museum, but the rather clumsy figures and round forms, especially of the 
 children, are not of his type, but are more charadleristic of Lorenzo di Credi, 
 
 of whose manner the landscape with the groups of round-topped trees, the 
 rocks, and the bluish and brownish-gray tone of the colouring are also typical. 
 It was evidently designed as a “ sopraporta ” or as the front of a large cassone. 
 In the naivete of its graphic style, in the half timid, half affeded gestures of 
 the figures, this pidure is decidedly attradive and may well have been painted 
 by Credi himself. The subjed is difficult to explain. The youth on the 
 extreme right, clad in the costume of the period, who points upwards with an 
 
 G 2 
 
4 + 
 
 THE PAINTINGS 
 
 air of aloofness, is evidently repudiating the advances of the maiden in 
 diaphanous fluttering draperies who gazes ardently at him. In the centre of 
 the pidlure she is again seen appealing to the god of Love, who offers her an 
 arrow which the little cupid, standing between them with upraised arm, seems 
 to adjure her to receive. Two amorini are playing amid the flowers at her 
 feet, while a third lies outstretched upon the grassy sward. Love is the theme 
 and keynote of the whole, to which subordinate incidents such as the stag 
 roaring, the doves cooing, and other details seem also to allude. These three 
 pidlures belong to the close of the XV or the first years of the XVI century. 
 At this period we meet with a large number of paintings in Florence, which 
 recall many different contemporary masters such as Ghirlandaio, Mainardi, 
 Signorelli, Verrocchio, Credi, Botticelli, and others, though we are unable to 
 ascribe them to any of these artists, or even definitely to one of their respedive 
 workshops. It is certainly more reasonable to recognize in these followers of 
 great and well-known masters their “ amici ” or “ seguaci,” than to reconstrud 
 artistic personalities out of the master’s own paintings or those of his workshop, 
 and thus at times to deprive him of his best produdions. 
 
 Of the numerous unidentified painters of the Quattrocento who derived 
 their art from the great masters, some few have of late years gradually emerged 
 as definite personalities, such as Jacopo del Sellaio, the different Florentines 
 bearing the name of Raffael, and others, though many problems still remain 
 unsolved. This is even more the case when we come to the great pioneers of 
 art at the beginning of the XVI century. Pidures belonging to the immediate 
 entourage of Fra Bartolomeo and Andrea del Sarto, of Raphael and Bronzino, 
 have been preserved in great numbers ; for the most part they are incorredly 
 ascribed to one or other of these masters, but no satisfadory attribution has 
 thus far been found for them. The pidures at Tewin Water offer a number 
 of interesting and important problems of this description. Four small works 
 with scenes from the “ Life of the Virgin,” evidently parts of a predella, reveal 
 the period and the manner of Fra Bartolomeo and Albertinelli, but I am unable 
 to propose any definite name for them. Though not showing any specially 
 remarkable qualities they must nevertheless, by reason of their naive concep- 
 tion, local colour, easy descriptive style, and warm, rich tone, be designated 
 attradive works by a Tuscan artist of c. 1520. A follower of the Frate, an 
 artist of inferior calibre like Zacchia or Paolino da Pistoia, is the painter of a 
 
THE PAINTINGS 
 
 +5 
 
 Madonna with the little St. John. A very difficult question is that of the 
 classification of Florentine portraits in the first decades of the XVI century. 
 As a rule they pass under the names of Andrea del Sarto, Bronzino, Francia- 
 bigio, Pontormo, Bugiardini, Bacchiacca, Salviati, Rosso, Ridolfo Ghirlandaio, 
 Puligo, Allori, and others, colledlive appellations which often conceal the true 
 authors who are in point of fail other contemporary or later artists. As such 
 works are very rarely signed and to meet with historically authenticated 
 examples is quite exceptional, it is a matter of great difficulty to distinguish 
 between these artists who are so closely inter-connedled. Several admirable 
 portraits of this description are in the colledion at Tewin Water. Among 
 
 them is the portrait of a youth playing the lute, which may be definitely 
 attributed to Francesco Ubertini, called Bacchiacca. The uncertain and 
 defeaive drawing, the bright colouring, the treatment of the landscape with 
 the small figures in their fantastic costumes, are altogether typical of this 
 painter and are met with in his authenticated works. The youthful “ Lute- 
 Player ” is one of the few existing almost life-size portraits by his hand, and 
 may be charadlerized as the most important among them all. The landscape 
 with the “Triumph of Love” and “Apollo and Daphne” in the distance, is 
 particularly attradlive. Of greater importance is the portrait of a fine-looking 
 man in rich attire some twenty years later in date. We have ascribed it to 
 
THE PAINTINGS 
 
 46 
 
 Giuseppe Salviati, to whom the charafteristically Venetian method and delicate 
 luminous tone of the colouring seem to point. The motto of the person por- 
 trayed, SIC . TUTUS . AC . GRATUS . ERis . may be read on the marble pedestal on 
 which a porcupine lies close beneath the hand of the sitter. To a later artist 
 of this class, perhaps Alessandro Allori, the nephew of Bronzino, may be 
 ascribed the portrait of a Florentine lady caressing her two children who stand 
 before her ; the scheme of the colouring is dark and low-toned, and both in 
 conception and pose lacks the refined treatment of earlier masters of this class. 
 
 Among the most important examples of this small colledlion of classic 
 Italian piftures may be reckoned the large Tondo of the Holy Family with 
 St. Elizabeth and the little St. John, by Sodoma. The amplitude of the forms, 
 the somewhat conventional types, among which we detedl models of Leonardo 
 and more particularly of Raphael, prove that the picture belongs to the period 
 immediately succeeding the painter’s sojourn in Rome. The colours are 
 remarkably warm and luminous, and in their juxtaposition still reveal traces 
 of the Lombard tradition. The pidure has retained its original frame, magnifi- 
 cently carved with garlands of fruit; this is also the case with some of the 
 last-named Florentine portraits, the effed of which is still further enhanced 
 by their beautiful and richly decorated frames of the period. 
 
 The Venetian School is almost equally well represented in the Colledion 
 as the Florentine, by several large and effedive portraits as well as by some 
 figure-subjeds of a decorative charader. Two of the first-named are works of 
 Jacopo Tintoretto, and represent high State fundionaries of Venice, true types 
 of those refined but thrifty patricians who for centuries controlled the trade of 
 the world by their shrewd diplomacy, while the presence of highly cultured 
 envoys of the Republic at all the Courts of Europe, gave Venice an authoritative 
 voice in world politics. Remarkably effedive is the portrait of a Senator of 
 San Marco, clad in a light red velvet mantle lined with ermine; behind him 
 is a window with a view over the sea indicating that he was Governor of one 
 of the islands in the jEgean Archipelago. Another and less attradive asped 
 of Venetian life is presented to us in the portrait, ascribed to Domenico 
 Tintoretto, but more probably by one of the Bassani, of a youthful woman 
 richly attired about to strike her lute. No Venetian lady of high degree would 
 have been portrayed thus ; the artist would not have been permitted to paint 
 her portrait except in State attire. Traditionally this pidure, conceived and 
 
THE PAINTINGS 
 
 +7 
 
 treated in a genre-like manner, represents a Venetian courtesan named Battista 
 Franco; the treatment makes such a designation very probable. The almost 
 Oriental seclusion in which the women of Venice were kept at this date, caused 
 the courtesans to play a considerable role in Venetian life, especially at the 
 time of Aretino, to which period this pifture belongs. Carpaccio’s little panel 
 
 of two courtesans in the Correr Museum is well known ; and some were even 
 immortalized on medals. The Venetian artist represents them with his customary 
 simplicity, and without any suggestion of the sensuous ; the treatment is purely 
 pidlorial, naturalistic, and absolutely veracious — voluptuous and indolent as they 
 were, idling the day away with music and song. 
 
 A portrait of large dimensions should, judging from the name it bears, 
 be by one of the greatest masters of Venice. It is an imposing work of rich 
 
THE PAINTINGS 
 
 48 
 
 and brilliant colour effed:, representing, according to the inscription, a noble 
 belonging to one of the oldest patrician families of Florence — Alessandro 
 Alberti — attended by a youthful page. The address of a letter which lies on 
 the table at his side runs as follows: “Alessandro Alberti I’anno XXX della 
 sua etL Paolo Cagliari il ritrasse nel 1557. In Venetia.” The pidure, 
 formerly in the Palazzo Torregiani at Florence, has consequently been always 
 regarded as the work of Paolo Veronese. The master left his home at Verona 
 for Venice in 1555 and could therefore well have painted the portrait of 
 Alberti, who was then living in exile in that city ; but the pidure shows little 
 connedrion with the art of this master, even with his earlier works, those 
 especially in the church of S. Sebastiano in Venice, where he was then engaged 
 in painting ceiling frescoes and altar-pieces. In contradistindion to Paolo’s 
 wholly pidorial treatment and handling of his pigments, the colours here, in 
 which a light yellow predominates, are almost pure and somewhat hard in 
 contrast. The drawing is extremely decided, the execution careful, and in this 
 resped the pidure is far more reminiscent of the paintings of Parmegianino 
 though it does not altogether coincide with the manner of this artist. It is 
 undoubtedly by an Italian master of conspicuous ability belonging to the 
 Cinquecento. In spite of the signature, doubts as to the authorship of Paolo 
 Caliari are fully justified. The incorred spelling of the name is highly 
 suspicious and leads us to conjedure that the inscription may have been 
 tampered with and altered in later times. 
 
 Several Venetian pidures of large dimensions with numerous figures are 
 decorative and elFedive in their cheerful colour-scheme, and are specially 
 suitable for the purpose for which they were acquired. For instance, a “ Santa 
 Conversazione” of the workshop of Palma Vecchio with the Madonna and 
 Child adored by two saints; a hilly landscape in the background. The brilliant 
 colouring points to Palma’s latest period, but drawing and treatment prove 
 that it was only executed by one of his assistants. Far more spirited and 
 varied in episode are two long panels of large dimensions by Bonifacio, with 
 allegorical subjeds. They represent the allegories of “ The Pursuit of 
 Fortune” and “The Pursuit of Fame.” The painter has bestowed but little 
 care on the composition and on the allegorical side of the pidures, 
 but the splendour of the colouring is remarkable, a charaderistic peculiar 
 to Bonifacio which especially distinguishes his works from those of his 
 
THE PAINTINGS 
 
 49 
 
 Venetian contemporaries. Hence the effefl: they produce is exceptionally 
 decorative. 
 
 Two small Madonnas belong to the school, more or less dependent on 
 Venice, of the Terra Ferma. A “ Marriage of St. Catherine,” with St. Jerome 
 standing at the side, appears to me to be by Boccaccio Boccacino of Cremona, 
 and of his latest period when he was sojourning in his native city; a work 
 
 pleasing in composition and rich and luminous in colour. A small Madonna 
 which formerly passed as a Bartolomeo Montagna seems to be an early work 
 of the Ferrarese Ludovico Mazzolini. It displays the charadleristic fiery colour 
 and powerful chiaroscuro of this artist, but is still strongly influenced by 
 Venetian art and is consequently more true to life and more attradive in 
 charader than his later paintings. The latest addition to the colledion is a 
 remarkably interesting portrait by Sebastiano del Piombo — a life-size figure in 
 
 H 
 
5 ° 
 
 THE PAINTINGS 
 
 half-length of a young and beautiful woman who, judging from the costume, 
 more especially the white drapery on her head, appears to be a Roman. It 
 might be inferred that her name was “ Lucia,” as her eyes are very distindlly 
 refledled in the small silver vessel which she holds with one hand. The figure 
 was perhaps intended for a St. Lucy, the artist having taken as his model some 
 beautiful Roman woman. 
 
 That the work is of the master’s later period is proved by the academic 
 drawing and the cool though very telling effedl of the colour-scheme. The 
 brilliant green of the curtain forming the background to the figure is the only 
 indication of the Venetian origin of the painting. The general charadler of 
 the picture very strongly recalls Raphael’s “ Donna Velata in the Pitti, which, 
 however, lacks the freshness of colour and sureness of draughtsmanship appar- 
 ent in this portrait. In my opinion the portrait in the Pitti is not an original 
 by Raphael as is now usually assumed, but only a copy by Sassoferrato, to 
 whom the pifture was at one time attributed. 
 
 A plastic work of large dimensions, which hangs over a door on the 
 landing, is also deserving of mention, a painted terra-cotta of the Madonna 
 almost life-size, in high relief, by Mino da Fiesole. It is an early work of 
 remarkable excellence and spontaneity, and does not display that angularity of 
 form so frequently found in his work. This composition is not met with, as 
 far as I know, in marble or stucco. A recent acquisition of the same period 
 is the bust in painted terra-cotta of St. John Baptist as a child, originally 
 composed as the pendant to a similar composition of the Infant Saviour. In 
 busts of this description the Florentine nobles, for whose private chapels they 
 were produced, often caused the features ol their children to be perpetuated, 
 such works being among the most beautiful examples of the art of the 
 Renaissance. 
 
THE BRONZES 
 
 I LMOST contemporaneously with his earliest acquisitions of 
 Old Masters, Mr. Alfred Beit also made his first purchases 
 of bronzes, having been impelled thereto in 1891, when 
 the large and varied colledion of Mr. Isaac Falcke was 
 disposed of by private treaty in London, the greater part 
 being acquired by Mr. Beit and the Berlin Museum. Nearly the whole of the 
 very choice collection of Italian majolica was purchased by Mr. Beit, and thus 
 was formed the nucleus of what has since become one of the finest collections 
 of its kind in England, to which was added later an important collection of 
 Hispano-Moresque pottery. Mr. Beit also acquired from the Falcke Collec- 
 tion a small number of other objeCts, and from this period dates his predilec- 
 tion for early bronzes. Both he and his brother became enthusiastic collectors 
 of bronzes, and were singularly fortunate in their acquisitions. Since Mr. 
 Salting’s bronzes passed by bequest into the Victoria and Albert Museum, 
 Mr. Beit’s collection of Italian bronzes may be regarded as the most important 
 
 H 2 
 
 y 
 
52 
 
 THE BRONZES 
 
 in private ownership in England. In addition to the Italian statuettes, the 
 collection contains also some exquisite French groups of the XVIII 
 century, while at Tewin Water there are a large number of bronzes of a 
 decorative character, mostly Renaissance reproductions after the antique. 
 
 The predilection for collecting small bronzes is by no means an outcome 
 of modern taste; in Greek and Roman times they were also produced in 
 great numbers and were acquired by collectors; and with the re-awakened 
 feeling for the antique, the taste for this branch of art also revived and has 
 continued to flourish ever since. The great collections of bronzes in the 
 Bargello (the old Medici Collection) at Modena (the Este Collection), in the 
 Hofmuseum at Vienna (the collection of the Emperor Rudolph II), in the 
 museums of Brunswick, Cassel, and Dresden, and in the palaces of Detmold, 
 Arolsen, and elsewhere, all testify to the zeal and enthusiasm of wealthy 
 collectors from the XV century onwards. It is doubtless due to the en- 
 during character of bronze, a substance in itself of little value, that so 
 comparatively large a number of these works have been preserved; tor interest 
 in them has fluctuated greatly. Antique bronze statuettes of small dimensions 
 were at first the examples most highly prized. When a taste for more 
 modern bronzes developed, different schools and masters were sought for 
 with varying degrees of interest. Twenty, thirty, and still more so, fifty 
 years ago, little discrimination was exercised in the purchase of bronzes, 
 and the prices paid for them were extremely low; but in the present day 
 bronzes of the highest quality fetch extravagant prices, more particularly 
 Italian bronzes of the Quattrocento. 
 
 Small bronzes, especially statuettes, possess many qualities which render 
 them very desirable to the collector. They are both durable and decorative, 
 and their patina endows them with a peculiar and varied charm; artistically, 
 moreover, they are in some respeCts superior to large plastic works. At times, 
 for instance, they are very elaborately chased and have then the charm of the 
 highest finish, while in other cases the rough casting remains, and thus 
 preserves to us the artist’s own free handling in the model. The small bronzes 
 display, as a rule, correctness of observation in all these particulars, in contra- 
 distinction to large statues which, during the period of the Renaissance 
 (always excepting the works of some few artists of the Haute Renaissance), 
 were designed with due regard to their architectural surroundings, that is, to 
 
THE BRONZES 
 
 S3 
 
 the places they were to fill in niches or on monuments, and only quite 
 exceptionally were treated as free-standing figures. 
 
 The Early Renaissance, taking classic art as its prototype (small bronze 
 reprodudlions of antique models being especially prized at this period), may be 
 said to have re-discovered the beauty both of the single figure and of the 
 group in all its aspedfs; and the Haute Renaissance was able to invest these 
 compositions with still greater charm. With outward beauty in the classic 
 sense, i.e., the beauty of the human form (which these artists, unlike their 
 contemporaries the sculptors in marble, represented nude) they, as the dired: 
 descendants of mediaeval art, combine psychological qualities — beauty of soul 
 and depth and poignancy of feeling. In this resped these small Renaissance 
 bronzes have an altogether individual charader, even beside, and in part in 
 contradistindion to, their antique prototypes. 
 
 The bronze statuette as an independent work of art is the creation of 
 the late XV century. Donatello and Ghiberti, it is true, produced small 
 figures in bronze, but they were either parts of the decorative scheme of some 
 tomb or monument, or were chance castings of wax models, which cannot, 
 stridly speaking, be classed among bronze statuettes proper. The masters who 
 were first adive in this diredion and who exercised a determining influence 
 in Florence, where the art of bronze casting in the period of the Renaissance 
 originally took its rise, are the pupils and followers of Donatello — Bertoldo 
 di Giovanni and Antonio del Pollaiuolo; perhaps, too, Andrea del Verrocchio. 
 From the school founded by Donatello at Padua proceeded a number of 
 rather later artists, foremost among them being Bellano and Riccio. With 
 this school also are associated the Venetian masters, notably Leopardi and the 
 younger Lombardi. Some few definite dates are now known relating to most 
 of the bronze sculptors of the Quattrocento, and a considerable number of 
 their works can be cited. They had, however, innumerable assistants, and in 
 addition to them a very large number of artists in bronze were working not 
 only in Florence, Padua, and Venice, but also sporadically in other cities, such 
 as Mantua, Siena, Milan, Rome and elsewhere, and to these artists must for 
 the most part be assigned the thousands of small Renaissance bronzes of 
 considerable merit which still exist. Thus far it has only been possible to 
 ascribe a limited number of these bronzes to definite masters, and even then 
 many attributions are hypothetical. As regards the Cinquecento, with Vasari’s 
 
5 + 
 
 THE BRONZES 
 
 “Lives” and other sources to guide us, it might be supposed that we should 
 be better instrudled; but the reverse is the case. Scarcely a single statuette 
 exists which could be ascribed with absolute certainty to Leonardo or Jacopo 
 Sansovino, to Benvenuto Cellini, Gianfrancesco Rustici, or other celebrated 
 sculptors in bronze of the day. More uncertainty reigns here than is the case 
 even with the earlier workers in bronze, and it is only in the late Renaissance 
 that we encounter fewer difficulties, and that the problems become less baffling. 
 It is at least possible, by means of works bearing signatures or the pedigrees 
 of which are traceable, to identify with some measure of certainty the small 
 bronzes of artists like Alessandro Vittoria, Gian Bologna, Elia Candido, and 
 other contemporary masters; but in spite of this, the number of allied, not 
 classified, and as yet undetermined works, is still very large. With the Baroque 
 period, the art of the sculptor of small bronzes decayed and gradually lost all 
 vitality. The very substance of bronze, severe and colourless as it is in quality, 
 was out of harmony with the taste of this period, with its prediledfion for 
 brilliant colour and movement, colossal proportions, and decorative effedf. It 
 was not until the Rococo period that the art was revived, at all events in 
 France, while in Germany, where the pleasing and less costly figures in 
 porcelain were in vogue, it found no favour. In the XIX century some 
 further attempts were made in France, but Barye was the only artist who, in 
 his admirable little animal bronzes, produced anything of permanent value. 
 
 The Beit ColleSion contains specimens of all these different periods, and 
 among the earlier bronzes are a number of excellent pieces, some indeed of 
 the highest quality. But even in this rich colleftion there are many gaps, so 
 that it is impossible to trace the history of this branch of art in its complete 
 development. I shall therefore confine myselt to singling out the most 
 important examples; and at the same time shall draw attention to certain 
 bronzes, the origin of which it is difficult to determine, and endeavour to 
 classify them to the best of my ability. The masterpiece of Antonio Pollaiuolo, 
 a Hercules on a three-sided base, was bequeathed by the late Mr. Alfred Beit 
 to the Berlin Museum, and there is therefore no example of any importance in 
 the Beit Colledlion by Florentine bronze-workers of the Quattrocento. On the 
 other hand, Andrea Riccio, the most celebrated Paduan sculptor in bronze, is 
 represented by a work as notable in its way as the Hercules an equestrian 
 
 statuette. 
 
THE BRONZES 
 
 55 
 
 The Hercules, like all Antonio Pollaiuolo’s bronzes, is unique; whereas 
 numerous repetitions of Riccio’s statuette are known, as, for instance, in the 
 Salting Colleftion (Viftoria and Albert Museum), in the Berlin Museum, 
 and in the colledlions of Prince Liechtenstein, Mr. Quincy A. Shaw (at 
 Boston), and Mr. Pierpont Morgan. Of these, the example in the Salting 
 
 Colledlion is of rather larger dimensions, and differs from the other statuettes 
 in the treatment of the horse, the lively movement of which is typical of 
 Riccio, whereas in all the other pieces the horse is a free reproduaion of one 
 of the antique horses on the fayade of S. Marco. These four magnificent 
 horses of finest Greek workmanship, which the Venetians brought back as 
 booty from Constantinople after one of the Crusades, exercised a powerful 
 
56 THE BRONZES 
 
 influence upon the modelling of the horse in the Early Renaissance, and they 
 were continually copied even at the close of the XV century. This small 
 equestrian figure has always been traditionally attributed to Riccio, and in this 
 instance tradition is undoubtedly right, for even details, such as the form of 
 the helmet with its volutes in front and at the back, the use of the small shell, 
 and other minor particulars, are charaderistic of Riccio. The Beit example 
 of “ The Horseman,” a typical warrior shouting his war-cry, is a remarkably 
 fine work, vigorous in form, finished throughout with the utmost care, yet 
 absolutely spontaneous. The quality of the patina is also exceptionally fine. 
 A second bronze of a warrior, the nude figure of a man with sword drawn 
 and upraised shield (both missing in this example), appears also to be from a 
 design by Riccio. Very attradive is another smaller work, also an “ Equestrian 
 Figure,” though humorously treated, a bearded faun riding upon a goat, whose 
 horns he grasps, while he holds a ewer in his left hand. A second example of 
 this original composition is in the Berlin Museum. Riccio had a special 
 prediledion for treating animals and their mythological accompaniment of 
 fauns and nymphs. He was the originator of a species of pastoral genre : 
 fauns, satyrs, nymphs, or fantastic denizens of the sea, whom he represents in 
 company with animals of pidorially attradive charader and mythical creatures 
 freely adapted from the antique — forms of representation wholly in accordance 
 with the taste and tendencies of the day, and the scholarship of the age. 
 
 A charaderistic little figure of this class is a faun, the pendant of which 
 was evidently a nymph, whom this sylvan deity is about to embrace. Such 
 figures are constantly met with in the fantastic ornamentation of innumerable 
 bronze objeds produced for domestic use, which may certainly be ascribed to 
 Riccio and his workshop. In these the artist shows much wit and cleverness 
 of invention, combined with tasteful execution. 
 
 The Beit Colledion contains a great number of interesting examples of 
 such objeds by Riccio and the large group of unknown artists who were 
 associated with him at Padua or became his imitators; for instance: an ink- 
 stand in the form of a crouching satyr who blows a long horn, the end of 
 which is fashioned as a head; a lamp formed as a bearded head, placed, 
 like a head of Goliath or of St. John Baptist, on a dish, which is supported 
 upon a gryphon’s claw; a sea-monster attacked by a serpent (clearly inspired 
 by the Laocoon group) holding between its fins a shell-shaped receptacle 
 
THE BRONZES 
 
 57 
 
 for sand, on its tail another shell to hold ink, and in its hand a flower, 
 evidently designed as the socket for a lamp (now missing); a pelican as a 
 lamp; a double lamp with two masks; and a sea-monster with a shell on its 
 tail, designed as an inkstand. The plaintive entreaty depidled on the face of 
 this monster is addressed to Neptune, who, in complete specimens, stands 
 upon the back of the creature and urges it forward with his trident. 
 
 Riccio s fertility of invention in producing objedts of this description for 
 daily use was remarkable. They consist of candelabra (among them one of 
 such gigantic proportions as the example in the Santo at Padua), vases, salt- 
 cellars, mortars, bells, candlesticks, lamps, inkstands, caskets, paxes, doors for 
 tabernacles, sword hilts and sword pommels, daggers, plaquettes, scissor- 
 sheaths, and many other objeds. Riccio was the originator of this branch of 
 art, and these small bronzes rapidly became so popular that they were soon 
 considered indispensable as ornaments for the writing-table by the savants and 
 
 I 
 
THE BRONZES 
 
 58 
 
 wealthy colleftors of Padua and Venice, and also took their place beside the 
 bronze statuettes as decorative objedls destined for the adornment of the room. 
 
 An immense number of these small bronzes were made in Riccio s 
 workshop, and many more must have been produced contemporaneously and 
 at a later period by his followers. The larger examples, such as vases, bowls, 
 and candlesticks, are those most eagerly sought for now among bronzes of 
 the Renaissance, but are extremely rare and costly. At the Bardini sale in 
 I goo, the sum of two thousand pounds was paid by Mr. Salting for a bowl 
 of this description. A good example, undoubtedly Paduan, and perhaps 
 produced in Riccio’s workshop, is the two-handled bowl in the Beit Colleftion. 
 An inkstand in the form of a casket, the decorative foliage of which in its 
 softer outline points to a somewhat later period, is of importance on account 
 of the inscription which it bears : federicus ravennas. This artist must have 
 developed under Paduan-Venetian Influence, but I know of no other works 
 of his, nor of any documentary notices concerning him. 
 
 Several mortars of attraftive form, decorated with very delicately executed 
 garlands of fruit and flowers, point to the workshop of Alessandro Leopardi ; 
 the principal example, of unusual size, is probably the finest specimen of a 
 mortar in existence. 
 
 Reproduaions of the antique in small bronzes were also very popular. 
 One of the earliest of the Renaissance bronze sculptors, Filarete, made a small 
 copy in bronze (now in the Albertinum in Dresden and bearing his signature) 
 of the Marcus Aurelius. Of this celebrated Roman statue, which exercised 
 a determining influence upon the equestrian statues of the Renaissance and 
 even upon those of the Baroque period, a great number of small reprodudlions 
 of the XV and XVI centuries have been preserved, one of which is in the 
 Beit Colleftion. The shell on the base shows that it was designed for a 
 praftical purpose, namely for an inkstand. The Spmario was another com- 
 position very frequently copied ; Mr. Beit owns two examples, differing from 
 one another in size and in other particulars. Both are Paduan, and were 
 produced towards the close of the XV or the beginning of the XVI 
 century. The curious reproduftion of large dimensions of a Roman 
 emperor bears on the base the inscription : germanicus caesar. The bronze 
 displays that characfleristic artificial green patina which in the late XV 
 century and throughout the XVI century, was so much employed in these 
 
THE BRONZES 
 
 59 
 
 copies of antique bronzes. Of greater rarity are the reproduiitions of cele- 
 brated torsos, or of small classic busts. An admirable example of the latter 
 is the head of the diva julia in the Beit Colledtion, dating from the close of 
 the XV century; and among copies of torsos, that of the Belvedere Torso 
 is also of interest. The fine reprodudtion of the satyr with the youthful 
 Bacchus in the Museum at Naples — a light wax cast — probably belongs to 
 the XVII, or even the XVIII century, and to the same period should be 
 ascribed a series of bronzes, of larger dimensions, from the antique, mostly at 
 Tewin Water. The bronzes which principally appealed to the taste of the 
 day, and are consequently most frequently met with, are copies of different 
 figures of Hercules, several of which are in the Beit Colledfion; for instance, 
 a very delicately executed little reprodudtion of the Farnese Hercules belong- 
 ing to the early Cinquecento. Some examples of this figure dating even 
 from the Quattrocento are known, which proves that other antique copies 
 of this Hercules must have been already in existence, as the colossal statue at 
 Naples was only discovered at a much later date. A work showing more 
 independence of treatment is the larger composition of Hercules with the 
 apples, an admirable rough cast of the close of the Quattrocento. A repro- 
 dudlion of the Apollo Belvedere of medium size was formerly regarded as an 
 Empire bronze. Undoubtedly, however, it belongs to the Renaissance, and 
 dates from the period when this celebrated statue was discovered and set up 
 in its place. The treatment, which is somewhat lacking in quality, and the 
 chasing, which displays an unusually high degree of finish, undoubtedly led 
 to this mistaken attribution. Several other copies of the Apollo, of similar 
 size and charadfer, are known to me. One is in the Museo Archeologico in 
 the Ducal Palace at Venice, and another is in the Pierpont Morgan Colledfion. 
 That they were greatly prized in their day is proved by the gilding of certain 
 details, such as the hair, the quiver, etc. Several other small bronze figures, 
 all nearly similar in size and founded upon the antique, reveal the hand of 
 the same artist in the very careful finish and patination, in the gilding of 
 details, in the lack of feeling, and in a certain want of skill in the treatment 
 of the proportions; the shortness of the arms being especially noticeable. 
 This applies more particularly to a “ Cupid drawing his bow,” examples of 
 which are met with in the Carrand Colledfion (Bargello) and in the Pierpont 
 Morgan Colledfion; to a recumbent female figure holding a wheel — the 
 
 I 2 
 
6o 
 
 THE BRONZES 
 
 goddess of Commerce — in the Berlin Museum, and others. These statuettes 
 all point to North Italy, and to the period of transition from the XV to 
 the XVI century. Ten years ago, on the evidence of certain documents, 
 and of the character of the bronzes mentioned in them, I expressed the 
 opinion that the author of all these works was Pier Jacopo Alari Bonacolsi, 
 called Antico, the celebrated goldsmith employed at the court of the Gonzaga, 
 and this has now been confirmed by a discovery in the Hofmuseum at Vienna. 
 On one of these bronze statuettes founded upon the antique, was discovered 
 the impress of Isabella Gonzaga, for whom Antico is known (from records) 
 to have executed a number of statuettes. A careful comparison between this 
 bronze and other statuettes of a similar charadter in the Hofmuseum, has 
 proved that all these small figures are, in point of fadt, identical with those 
 executed for Isabella by the Mantuan artist. 
 
 In addition to the Apollo, the Beit Colledtion contains a second statuette 
 by Antico. It is the replica of a similar composition in the Hofmuseum: a 
 nude female figure resting her foot upon the stump of a tree. The form is 
 of great charm and the movement full of grace, but its significance is now 
 difficult to explain, as the objedl once held by this figure is missing. A third 
 example — perhaps the most charming of all Antico’s compositions — is in the 
 Ashmolean Museum. The classic epoch of the Haute Renaissance was not 
 propitious to the development of sculpture in bronze on a small scale. The 
 taste and feeling of the day, awakened and fostered by great masters like 
 Leonardo, Michelangelo, and Raphael, was for art on a monumental and 
 colossal scale, and work of small and minute dimensions found no favour. It 
 is true that we have small reprodudlions in bronze of certain statues by 
 Michelangelo, who in his day was as highly esteemed as the greatest masters 
 of antiquity, but these reprodudlions are of later date and have nothing to do 
 with the master himself; and certain statuettes of horses and small figures in 
 bronze also exist which clearly reveal the style of Leonardo, but are probably 
 workshop reprodudlions after studies and models by the master. Original 
 statuettes in bronze of this period on a level of artistic merit with the figures 
 of Pollaiuolo, Bertoldo, or Riccio, are extremely rare. We have one example, 
 however, in the little figure of “The Startled Boy,” several repetitions of which 
 exist owing mainly to the attradlive nature of the subjedl. A nude boy starts 
 back at sight of a litde cupid who lies asleep on the ground in front of him, a 
 
THE BRONZES 
 
 6i 
 
 tiny form modelled on lines precisely similar to those of the principal figure. 
 In several other examples with which I am acquainted, the figure of the boy 
 is almost identical, while the objed: on the ground, at which he gazes, differs 
 in each one. In the specimen which passed with the Salting Colledion into 
 the Vidoria and Albert Museum, the boy treads upon a small flute which lies 
 on the ground. In a third version, he starts back terrified at sight of a snake 
 which rears itself up in front of him. All these different versions are so 
 cleverly treated, that each in turn produces the impression of being the 
 original. The beauty of form in the figure, and the refinement of pose and 
 gesture are reminiscent of Raphaelesque art. 
 
 Slightly later in date, but differing altogether from the composition just 
 named, is the small group of two children with arms entwined, holding a 
 goose between them by the neck, the model for a large group (almost iden- 
 tical in composition) in the Vidoria and Albert Museum, which is there 
 ascribed to Tribolo. The powerful and florid charader of the forms is 
 exaggerated and unnatural in a representation of children, but composition 
 and treatment are very original. 
 
 At Florence, in this most brilliant epoch of her artistic development, 
 small bronzes attraded no attention, and were indeed hardly ever executed. 
 In Padua and Venice, on the other hand, this plastic art on a small scale was 
 pradised by some of the most eminent artists, such as Riccio and Tullio 
 Lombardi, and the art continued to flourish up to 1530-1540. Two artists 
 whose work displays great individuality and charm of form and expression, 
 and who represent a new and distind tendency, are Francesco di Sant’ Agata 
 and Maffeo Olivieri. The art of Olivieri may be studied in the Beit Colledion 
 in the fine figure of small dimensions of a dancer, who moves with rhythmic 
 grace, clad in long and flowing garments. This very charming form of art, 
 however, never developed further, for when, after the sack of Rome in 1527, 
 Jacopo Sansovino migrated to Venice, the new Roman style took root there 
 also. The Venetian prediledion for plastic art on a small scale was very 
 favourable to the development of the art of the bronze worker, which soon 
 entered upon a second period of remarkable adivity. The churches of Venice 
 still contain a number of large and magnificent candelabra and statuettes, 
 dating from the middle and second half of the Cinquecento, which adorn the 
 altars and fonts, and innumerable objeds such as fire-dogs of large dimensions, 
 
62 
 
 THE BRONZES 
 
 mortars, bells, ink-stands, and small single figures of the school which pro- 
 ceeded from Sansovino are met with in all public and private colledions of 
 bronzes. Thus far it has not been possible to prove satisfadorily which of 
 these many objeds are by Sansovino himself. The signed statuettes of the 
 seated Evangelists in the choir of San Marco, and the celebrated figures of 
 larger dimensions in the niches of the Loggetta, are known to be works of 
 
 Sansovino, but as a rule much 
 of what is ascribed to him 
 must be charaderized as in- 
 authentic. Mr. Alfred Beit 
 owned an example which 
 certainlyapproached Sansov- 
 ino closely and was in every 
 resped worthy of him — the 
 very fine, large statuette of 
 St. John, a work which after- 
 wards passed by bequest into 
 the colledion of his friend, 
 the late Sir Julius Wernher. 
 Mr. Otto Beit, however, has 
 recently acquired a small 
 bronze which is proved by 
 the inscription, JAC. sansovini 
 OPUS, to be a work of this 
 artist — the standing figure of 
 the Madonna with the little 
 St. John at her feet. Judging 
 from the slender forms this is a later work by the artist; very similar groups in 
 marble or terra-cotta are met with in Venetian churches. Closely conneded 
 with the later art of Sansovino, which was strongly influenced by Michelangelo, 
 is the interesting figure of Neptune in a small chariot drawn by sea-horses, 
 the best and most complete example among the dilFerent versions of this 
 composition known to me. The clever rendering of movement, the powerful 
 modelling and remarkable expression of the head, render this one of the best 
 of existing small bronzes conneded with Sansovino, and it may indeed be by 
 
THE BRONZES 
 
 63 
 
 his own hand. Still more notable in its way is the large knocker which shows 
 an equally close connedHon with the master. The fantastic composition — 
 creatures half human, half reptile, tearing each other to pieces while a 
 hermeanlike faun in the centre holds them together, and a large mask 
 of a satyr lying on the ground completes the group — is one of the most 
 
 admirable examples of that decorative style of art which drew its inspiration 
 from Michelangelo. The group must have been well known in its day 
 as a great number of repetitions exist, the date of which in some cases 
 is not above suspicion. One is in the Hofmuseum at Vienna; another was 
 in the Spitzer Colledlion; a third in the Kunstgewerbemuseum at Berlin; 
 and a fourth, at the time of writing, is in the possession of a dealer in 
 Florence. None of them can compare with the example in the Beit 
 
64 THE BRONZES 
 
 Colleflion, which not long since is said to have been on the door of a palace 
 at Padua. 
 
 A charafteristic specimen of Venetian art based on that of Sansovino is 
 the large three-sided bronze inkstand in this colledtion, with the figure of 
 Hope on the cover. The extreme slenderness of the form, the sharp ex- 
 aggerated turn of the figure, the decorative motive of putti and masks, all 
 point to an artist of the calibre of Alessandro Vittoria, and probably to his 
 own hand. The piece is not rare, though it is not often found in so perfeft a 
 condition and displaying such good casting and chasing as in this example. 
 The three winged putti at the base are typically Venetian and of a charadter 
 frequently met with towards the close of the XVI century, especially in small 
 bronzes. The slender forms with small hands and feet, the charadleristic type 
 of head with curly hair are lacking in childlike qualities and recur with very 
 slight variations in the works of nearly all the Venetian sculptors of the period. 
 It has become customary to ascribe all bronzes of this charadler to Roccatagliata, 
 because in his large signed candelabra in the church of the Redentore at 
 Venice, putti of similar charader are met with; but such types occur also in 
 the works of Vittoria, Cattaneo, and others, as may be seen in authentic 
 examples by these artists. The most attraftive of the various bronzes of this 
 class in the Beit Colledion, is a small allegorical group of two children. A 
 larger group, representing two winged putti each holding a cornucopia, 
 designed as a candle-socket, is broader and more sketchy in treatment. I have 
 never met with repetitions of either of these groups. Probably Venetian also, 
 and of this period, is the large statuette of St. John Baptist as a child, holding 
 the baptismal bowl in his upraised hand. Superior to this in artistic quality 
 is the small Cupid on a dolphin, blindfolded and in the ad of drawing his 
 bow, a rather larger example of which is in the Wallace Colledion. The 
 little form which displays the chubby roundness of childhood, the vigorous 
 life-like movement and the spirited composition, point to a Florentine of the 
 middle of the Clnquecento, or at least to Florentine influence. A repetition of 
 this motive reveals the hand of a decidedly inferior artist. Small bronzes of 
 this class, with nude figures riding on sea-monsters or dolphins, some of them 
 displaying great delicacy of execution and beauty of movement, are not 
 infrequently met with, but I am unable to attribute them to any definite artist. 
 They were mostly designed as inkstands. In these compositions the figures 
 
THE BRONZES 65 
 
 are occasionally omitted; tor instance, in the admirable example in the Beit 
 Collediion, of a dolphin holding a large shell, which was also designed as an 
 inkstand. Two small and very fine groups in the colledtion are closely allied 
 to the “ Cupid on a dolphin.” In the smaller of the two compositions, Venus is 
 represented crouching on the back of a dolphin and drawing Cupid, who is 
 also seated on a dolphin, towards her. The pendant to this little group 
 represents Adonis with his hounds beside him. Examples of both groups, of 
 considerably larger dimensions, though otherwise almost identical, are met 
 with in the Benda and Figdor Colledlions in Vienna, in the Heseltine Collec- 
 tion in London, in the Salting Colledlion in the Vidloria and Albert Museum, 
 and elsewhere. The last-named museum also contains a variation of the 
 smaller composition, in which Venus and Adonis are represented in one group. 
 These works are charadlerized by the soft modelling of the flesh and the 
 clever pidlorial grouping; all are wax casts of remarkable excellence. A 
 group of Venus with the dolphin, emerging from the bath, pradlically a 
 solid cast and almost too elaborately chased, is met with only in the Berlin 
 Museum. By the same hand and superior in quality is the figure of a shepherd 
 which was recently in the possession of a dealer at Munich. Conneded with 
 this is a group of medium size in Mr. Beit’s Colledion in which the same theme 
 rather differently treated occurs — Venus with Cupid beside her, endeavouring 
 to detain Adonis. The figures are similar in charader to those in the groups 
 just mentioned, but are more slender in build and more energetic and life- 
 like in movement. Hence we are constrained to ascribe them to a different 
 artist who, however, shows an intimate connedion with the author of the 
 groups alluded to above. These last were certainly produced in the first half 
 of the Cinquecento, while the group under discussion belongs to the close of 
 the XVI century or to the early years of the XVII century. In the coquettish 
 movement and arrangement of the composition, this example appears to be 
 the immediate forerunner of the porcelain groups of the XVIII century. 
 
 Individual in charader, and not revealing the influence either of Florence 
 or Padua, is a composition of larger dimensions, the motive of which also 
 displays distind originality. It represents a beautiful and youthful woman, 
 partially undraped, holding a tablet and seated on a rock from which water 
 pours into a trough; opposite is a unicorn which, by striking the rock with 
 its horn, has caused the water to gush forth. This is one of the emblems 
 
66 
 
 THE BRONZES 
 
 of the House of Este, the symbolic significance of which appealed in a special 
 degree to the sentiment of the Quattrocento. 
 
 Benvenuto Cellini has hitherto been credited with the authorship of this 
 group, as all the best bronzes of this period have been usually ascribed to him 
 by reason of his fame as a goldsmith, which has never waned even down to 
 the present day, owing in a great measure to his celebrated autobiography. 
 Since the bronze inkstand from the Borghese Collection (now belonging to 
 Baron A. de Rothschild at Vienna) has become more generally known, how- 
 ever, and a number of bronze studies for this work have been identified, it has 
 become possible to form a more definite conception of this artist as a sculptor 
 also of small bronzes, and we are now able to point to a small male figure in 
 the Beit Collection, fleshy in form and somewhat indefinite in gesture, as a 
 charafteristic work of Cellini. It proves to be the pendant of a nude female 
 figure holding an apple, undoubtedly representing Eve, which I formerly 
 published as a work by Cellini. The significance of the two figures becomes 
 at once apparent on placing them together, as it is clear that they represent 
 “ The Fall.” 
 
 Cellini’s influence upon the new development of the plastic art of the 
 small bronze in Florence was, however, of far less importance than was that 
 of several foreigners who in that city became naturalized Italians, notably 
 Gian Bologna. Plastic art in bronze at Florence during the period of the late 
 Renaissance was altogether determined by this artist, who was born and bred 
 in that distrift of Flanders which is now a part of France. But other good 
 Flemish artists who were contemporaneous with, or rather later than, Gian 
 Bologna, also praaised this art in Florence, sojourning there for a time or 
 permanently settling in the city, such as Elia Candido and Francavilla. The 
 period when the culture of Europe was permeated by Italian influence and all 
 national art was Italianized, had now passed away and the reaaion had set in. 
 Northern elements, especially Flemish and French, began to mingle with the 
 Italian, and the result was by no means so unfavourable as is usually assumed. 
 These conditions prepared the way for the Baroque, and on this foundation 
 the art of Rubens, Claude, and the two Poussins was built up. 
 
 Gian Bologna cannot of course be compared with the masters of the 
 early Renaissance in earnestness of treatment or in truthful imitation of nature, 
 nor with the great artists of the Haute Renaissance in grandeur of conception 
 
THE BRONZES 67 
 
 and style; but in addition to the great decorative effedt which his bronzes 
 achieve they also exercise a remarkable fascination, by reason of their 
 elegance of form, spirited movement, and charm of composition. Technically 
 they display the highest finish in casting, chasing, and patination. Gian 
 Bologna is the first artist who, in place of a thick opaque patina, coats his 
 bronzes with a thin, transparent medium which is at times dark and brownish 
 in tone and at others light and golden, a quality of patina which, until 
 recently, has been erroneously considered to have been first employed in the 
 XVIII century. A number of small bronzes by this master have therefore 
 been regarded as works of that epoch or even of the Empire period. 
 
 Gian Bologna’s small bronzes were greatly sought after in his day, and 
 most of his large sculptures are met with in bronze reprodudtions of small 
 dimensions. Still more numerous are the reprodudlions of his original com- 
 positions in bronze, notably of his statuettes. 
 
 The master employed his pupils, especially Susini and Tacca, to execute 
 these reprodudlions, which were produced in large numbers. Thus among the 
 bronzes of the Beit Colledtion we have in the first place the graceful “Bather,” 
 the large original of which (not known and perhaps never executed] was 
 probably designed for a fountain. More rarely met with and possibly designed 
 for a similar purpose, is the “ Susanna,” if indeed this crouching figure of a 
 nude woman who gazes upwards with an afirighted expression is intended to 
 represent this subjedt. The nude standing figure of a “Bather” resting her 
 leg against a pedestal as she dries the sole of her foot, is also ascribed, and 
 rightly it would seem, to Gian Bologna. The Beit Colledlion contains two 
 different versions of this motive, one of which, with the high pedestal, is rare. 
 Here the fuller forms and the divergency in the treatment of the hair seem to 
 point to another Elemish artist, though certainly connected with Gian Bologna. 
 Casts of the various small models for his celebrated Mercury (now in the 
 Bargello) are also often met with, one of them being in the Beit Colledtion. 
 Of frequent occurrence, too, and showing slight differences of treatment are 
 the statuettes of Morgante, the favourite dwarf of the Grand Duke Cosimo I, 
 always (as in this example) represented nude and holding a staff, a trumpet, 
 a goblet, or some objedt of this description. The square head and corpulent 
 form surmounting the short and feeble legs, produce a comic but by no means 
 unpleasing effedl. As a surprise for distinguished guests at the ducal banquets, 
 
 K 2 
 
68 
 
 THE BRONZES 
 
 this quaint figure would spring wholly nude from a huge pasty, which 
 had just been placed before them on the table, to the secret delight of the 
 ladies of the court. In his groups Gian Bologna shows a special predileftion 
 for accentuating the beauty and rhythmic grace of female forms by contrasting 
 
 them with the powerful and muscular build of male figures, or even with 
 fantastic representations of monsters. One of his favourite groups of this class 
 was the “Rape of Deianira by Nessus,” an example of which is at Tewin 
 Water. Imitations of this group by contemporary artists exist, several of 
 which are also in the Beit ColleSion ; for example, Nessus still holding 
 Deianira on his back, though seemingly at the point of death, endeavouring 
 
THE BRONZES 
 
 69 
 
 to extraft the fatal arrow from his breast; another group, in which the monster 
 seeks to draw the struggling Deianira towards him ; and a third, in which she 
 rides complacently on his back. The small figure of “ Christ at the Column ” 
 is also by an imitator of Gian Bologna. 
 
 A younger contemporary of this master, a native of the Netherlands, 
 was Francois Duquesnoy, known as Fiammingo. He was one of the last of 
 those artists who brought with them from Italy a taste for plastic works in 
 bronze and pra£Hsed the art in their native land; but he preserved his Flemish 
 charafler to a greater degree than his elder fellow-countrymen. His small 
 bronzes show his skill in modelling types of childhood which seem pure 
 produfts of Rubens. The life-size bronze bust of a “Weeping Child” in the 
 Beit Colledion is a work by this artist; its pendant (not met with in this 
 colledlion) was a “Laughing Child.” A group of two children holding a bowl 
 and a bunch of grapes is also in the manner of this artist. 
 
 With the advent of the Baroque the art of the bronze sculptor in Italy 
 was thrust into the background. In France, on the other hand, it enjoyed 
 great popularity. Mr. Beit is fortunate enough to possess one of the very 
 rare small bronzes by Bernini — a salt-cellar, with much gilding, in the 
 form of a youthful Triton holding up a shell. The figure, of remarkably 
 life-like movement, may be designated a masterpiece of the Baroque period, 
 displaying a powerful development of form, rare even with Bernini. Two 
 large bronzes showing a connexion with this work — candelabra formed of 
 palms and reeds among which tritons and naiads disport themselves — are in 
 the possession of the German Emperor. All these small Italian bronzes of the 
 XVII century were made for domestic use, and the figures were introduced 
 more or less as decorative accessories. In France, however, this was not the 
 case. Here the colleftor sought originally to acquire bronzes by Tacca, Gian 
 Bologna, Francavilla, and others, but in the XVIII century, when a rapid 
 development took place in French plastic art, the high qualities of bronze 
 also came to be appreciated and utilized to the full. Small bronzes are among 
 the most beautiful produftions of this period and are greatly prized. Mr. Beit 
 owns two admirable groups by Clodion, the greatest master of his day; they 
 represent two satyrs, male and female, with their offspring. Barye, the leading 
 French artist in bronze of modern times, is also represented by the following 
 works; An advancing lioness; a lion and snake; a small seated lion; and two 
 
70 
 
 THE BRONZES 
 
 groups : A lioness and stag, and a lion tearing an antelope to pieces, all 
 showing the most careful observation of animal life and supreme excellence 
 in grouping. 
 
 Among decorative obje61s in Mr. Beit’s Colledion, a few are deserving of 
 special attention, being in their way works of art of a high order. The Italian 
 Room contains a magnificent marble chimney-piece which came from a 
 Florentine palacej the fantastic ornamentation of the wide frieze betrays the 
 hand of an artist of the beginning of the Cinquecento, in the style of Benedetto 
 da Rovezzano. A large Italian mortar of the same period stands in the entrance 
 hall, and is used for plants, a work unequalled, as far as I know, in the ex- 
 quisite taste of its form and decoration. The ornamentation is thoroughly 
 Venetian, and a comparison with the bronze sockets of the flag-staffs in the 
 Piazza San Marco inclines me to attribute the mortar to the same artist, 
 Alessandro Leopardi. A work by a Venetian craftsman of this period, equally 
 important and unique in its way, is a small standing mirror adorned through- 
 out with Venetian enamel, as original in form as it is delicate in decorative 
 ornament and colour. 
 
Plate I 
 MURILLO 
 THE PRODIGAL SON 
 
 Page 2 
 
THE BRON2ES 
 
 A lioQCtt siDct sdLg, and a lion tearing an antelope to pieces, all 
 «Hiv<og 4>e caieful observation of anioial life and supreme excellence 
 
 ■ A . • decoiutivc olgc£l$ in Mr, Bde's OjUeAi'jft, a fear are deserving of 
 
 •' -m A'cention, being in their way works of art of a hij^ orrfrr. TJbe Italian 
 • r si i i^taiaa a nugniiicent mafUe chirniKjr -piece wbi*fc « from a 
 pitw , ; *)se iaMastir 'r- losentatl' < of «!*■ <»W# fe)n v£|l^ the 
 j, . / a>di>f <trra»i4M«^- vi i Vj- , . ^ s, .tsie ^ ifewtfeno 
 
 . i|«lf HpvctM— I ;r^ |ir fiud 'Unit', m the entrance 
 
 «]!, end is isw lf for plants, a work oncs^uaHed, ss far as I know, in iVe ex< 
 M nwte of its form and decoration. The ornamentation is thoroughly 
 '/enctirui, and a comparison with the bronze sockets of the ilag-stafli in the 
 Eia/.a San Marco inclines me to attribute the mortar to the same artist, 
 \l<»und»r> Ij*sp*-»d*. A work by a Venetian craftsman of tl«» period, equally 
 s,iip<w -■ WSJ, SI a mif.'ac . ■ vj»|| 
 
 o*st wkts ■ ■ es ^«s4 • •• j ‘v itckccr' *♦ dtooradve 
 
 ormmem a c ^ >^» 
 
 1 3TAJS 
 CUJlilUM 
 Moa jAoiaosiH hht 
 
 » I >s«i 
 
Plate II 
 MURILLO 
 THE PRODIGAL SON 
 Page 2 
 
II otkiH 
 OJJIHUM 
 aoa JADIUOHI 3HT 
 
Plate III 
 GOYA 
 
 PORTRAIT OF DONA ANTONIA 
 ZARATE 
 
 Pages 2, 30 •* 
 
ni HTJuSt 
 AYOD 
 
 AI/OTMA Atoa HO TIAilTHOH 
 HTAHAS 
 
TKANCISCO GOYA 
 
Plate IV 
 REMBRANDT 
 PORTRAIT OF A MAN 
 Page 6 * 
 

Pi. ATE V 
 
 NICHOLAES MAES 
 
 THE MILKMAID 
 
 Page 7, 
 
 f. 
 
V hta-iT 
 
 a3AM aHAJOHDlH 
 aiAM/IJIM HHT 
 
Plate VI 
 
 VERMEER OF DELFT 
 THE LOVE LETTER 
 
IVhtaj*! 
 
 T^JHQ HO aaaMHHV 
 
 a3TT3J 3VOJ 3HT 
 
 * oi ^ »=8«H 
 
1 
 
Plate VII 
 GABRIEL METSU 
 THE LETTER WRITER 
 
 Page 1 1 
 
 
II V 3tajT 
 U2TEM JHiaaAO 
 jiaTiaw «aTT3J hht 
 
 1 1 9a«s 
 


 f 
 
Plate VIII 
 GABRIEL METSU 
 THE LETTER READER 
 
 Pages II, 13 f 
 
11 IV aTA-T*I 
 U3THM JHIJiaAO 
 aaoAaa aarraj awT 
 
 » ti ,11 oa*"! 
 

 ‘’i 
 
Plate IX 
 
 JAN STEEN 
 
 THE MARRIAGE IN CANA 
 
 Pages 14. 15 V 
 
 
XI aTAJ*! 
 
 MHHTa MAI 
 
 AMAO MI aOAIaaAM 3HT 
 
Plate X 
 
 ADRIAEN VAN OSTADE 
 THE ADORATION OF THE 
 SHEPHERDS 
 
 Page 1 6 
 
 
X HTA-fl 
 
 HOATaO VIAV HaAiaaA 
 3HT 30 HOITAHOOA 3HT 
 aaa3H<iaH8 
 
 dl ssfiH 
 
Plate XI 
 
 ADRIAEN VAN OSTADE 
 PEASANTS DANCING IN A 
 TAVERN 
 
I ■ 
 
 V.I 
 
 
 IX 3Taj4 
 
 aaATao hav MHAiflaA 
 
 A VII OHIDHAQ aT'/AEASq 
 
 naavAT 
 
 d t 3^^ 
 
Plate XII 
 
 ISAAK VAN OSTADE 
 
 the ford 
 
 Page 1 8 ; 
 
Plate XIII 
 
 SALOMON VAN RUYSDAEL 
 
 RIVER LANDSCAPE 
 
 Page l8 ' 
 
vw. 
 
 
 inx aTAjq 
 
 JHACia/UM HAV I/10M0JA2 
 aiAoeunAJ aavifl 
 
 • 8i 
 
■f' 'itA* II kdiLiriiL 
 
Plate XIV 
 
 JACOB VAN RUISDAEL 
 
 THE CASTLE OE BENTHEIM 
 
 Page 19 
 
VI X btajH 
 
 JHAaSIUJl MAV aODAJ. 
 MiaHTnaa ao aaraAO 3HT 
 01 
 
Plate XV 
 
 JACOB VAN RL ISDAEL 
 A ROUGH SEA 
 Pages 19, 20 ■* 
 
VX sta-iT 
 
 JHAaSIUfl k!AV ao3Ai 
 A38 HOUOJl A 
 
 ^ OC ^1 «9SS*1 
 
Plate XVI 
 HOBBEMA 
 
 THE PATH ON THE DYKE 
 
 Page 21 , 
 
Plate XVII 
 
 AERT VAN DER NEER 
 WINTER SCENE 
 
A 
 
 
 IIVX hta-iT 
 
 H3HM H3Q KAV TSSA 
 3M3Da 33TMIW 
 
 « S£ 33JlS 
 
Platk XVIII 
 
 JAN VAN DE CAPELLE 
 WINTER SCENE 
 Page 23 
 
Plate XIX 
 
 JAN VAN DER HEYDEN 
 THE CITY GATE 
 Page 34 4. 
 

Plate XX 
 WOUVERMAN 
 A RUSTIC WEDDING 
 
 Pages 24, 25 ^ 
 
XX aTA,!*! 
 VIAM5i3VUOV/ 
 omaciaw oiraua a 
 
 . js Kia**! 
 
Plate XXI 
 FRANS HALS 
 
 THE YOUNG FLUTE-PLAYER 
 
 Page 26 < 
 
IXX aTAjq 
 aJAH aHAMH 
 aHYAJ'J-aTUJT OKUOY 3HT 
 
Plate XXII 
 FRANS HALS 
 THE LUTE-PLAYER 
 Page 27 a 
 

 nXX nxAjT 
 ajAH axiAMH 
 a3YAJ'l-3TUJ 3HT 
 
Plate XXIII 
 DAVID TENIERS THE 
 YOUNGER 
 RURAL FETE 
 Page 28 
 
IllXX htajT 
 HHT eaamaT qivaq 
 aaoHuoY 
 
 3X41 JAHUfl 
 
Plate XXIV 
 NATTIER 
 
 MME. VICTOIRE, DAUGHTER OF 
 LOUIS XV 
 Page 29 X 
 
Plate XXV 
 
 SIR JOSHUA REYNOLDS 
 LADY TALBOT 
 
 Page 31 
 

Plate XXVI 
 
 SIR JOSHUA REYNOLDS 
 LADY DECIES AND HER SON 
 Page 3 1 
 
r/XX ar/uT 
 
 aajoMYaa AUHao^ aia 
 
 MOS }I3H QUA 831330 YUA3 
 J> n ss**! 
 
Plate XXVII 
 GAINSBOROUGH 
 MME. BACELLI, THE DANCER 
 Page 32 
 
IIVXX ar/wiT 
 
 HouoMoaamAO 
 
 fla'JHAU 3HT ,IJJ3DAa .3MK 
 
 S£ as*"* 
 
Plate XXVIII 
 GAINSBOROUGH 
 HON. MRS. WATSON 
 
 Page 33 
 
niVXX htajT 
 
 HO jofloaaviiAO 
 
 H02TAW .2flM ./OH 
 
Plate XXIX 
 GAINSBOROUGH 
 THE COTTAGE GIRL 
 Page 33 v 
 
XIXX HTAJ’l 
 
 HOTjoaoaavnAO 
 
 JMIO aOATTOD 3HT 
 
 M Hasal 
 
Plate XXX 
 
 RAEBURN 
 
 SIR JOHN CLERK AND HIS 
 WIFE, ROSEMARY DACRE 
 Page 37 
 
XXX htajH 
 VIHUaHAJl 
 
 2IH a/A xaaJD HHOi ai?. 
 aaoAa vaAMaaoa ,aaiw 
 w »a*‘> 
 

IXXX HTAjn 
 MOTOumMoa 
 HDA3a 3HT HO 
 >- eeagti 
 

Plate XXXII 
 
 GIUSEPPE PORTA, called 
 SALVIATI 
 
 PORTRAIT OF A MAN 
 Page 45 -i 
 
%L 
 
 ■i 
 
 IlXXXaTA-iS 
 
 aajJAD ^THOq a^'^H^UID 
 ITAIVJA8 
 
 MAM A HO TIAHTflOH 
 
 Mdlii 
 
 
 

Plate XXXIII 
 PAOLO VERONESE (?) 
 
 (ascribed to) 
 PORTRAIT OF COUNT 
 ALESSANDRO ALBERTI 
 
 Pages 41, 48 
 
nixxx sTiui 
 
 (S)H2anoaav ojoah 
 
 (or oaaiJiSi'A) 
 TMUOD 10 TIAflT^OH 
 iTJiaaaA oflanAaaajA 
 
 ,if »g«i 
 
■T'T' '^•r , 
 
 V-'- 
 
 A 
 
 ■fl-'i 
 
 ..V ■ 
 
 . I 
 
 VrXXX arjuT 
 OTTaaOTVSIT 
 JlOTAHHg HAIT3M3V A 
 8 ^ 
 

Plate XXXV 
 
 SEBASTIANO DEL PIOMBO 
 PORTRAIT OF A WOMAN AS 
 ST. LUCY 
 Page 50 
 
^ '1 
 
Plate XXXVI 
 
 MARTEN VAN HEEMSKERK 
 PORTRAITS OF A MAN AND HIS 
 WIFE ^ 
 

 
 
 / 
 
 t « 
 
 r 
 
 t 
 
 IVXXX utajH 
 
 MAV MHTiJAM 
 
 aiH UMA MAM A HO aTIA>IT5lOS 
 
 > aniw 
 
\ 
 
 I* 
 
 I 
 
Plate XXXVII 
 VAN DYCK 
 
 PORTRAIT OF VAN DER 
 HEYDEN n: 
 
IIVXXX HT/ul 
 X3YQ MAY 
 
 aaa may ao TiAaraoa 
 
 >> MHaVHH 
 

 ANTCN VAN DYCK 
 

Pl-ATE XXXVIII 
 Terra-Cotta 
 MINO DA FIESOLE 
 MADONNA AND CHILD 
 Page so 
 
invxxx htaiH 
 
 ATTOD-AdJiaT 
 HJOP.HIH Aa OXIM 
 ajlHO aXA AXMOaAM. 
 
 O! 
 
Plate XXXIX 
 Bronze 
 
 PIER JACOPO ALARI BONACOLSI, 
 CALLED ANTICO 
 APOLLO 
 Page 59 
 
Plate XL 
 Bronze 
 
 FLORENTINE. XVI CENTURY 
 TWO CHILDREN HOLDING A 
 GOOSE BY THE NECK 
 
 Page 6i 
 
JX aTA-iT 
 sxnojiH 
 
 YMUTViaO IVX ,HHITV;HH(Ua 
 A OVimjOH VIHMQJIHD OWT 
 aO'M 3HT YH aeooo 
 ^ id 93*4 
 
Plate XLI 
 Bronze 
 
 FLORENTINE, XVI CENTURY 
 
 'I'HE STARTLED BOY 
 
 Page 6o V 
 
IJX hta-iH 
 axuoafl 
 
 YHUTM33 IVX ,aHITO3H(U3 
 Yoa QHJTaATE HHT 
 
 V od 9^^ 
 
Plate XI, 1 1 
 Bronze 
 
 FLORExXTINE, XVI CENTURY 
 CUPID BLINDFOLDED ON A DOLPHIN, 
 ABOUT TO DRAW HIS BOW 
 

 11 . 1 / 3TA.I'1 
 :hs«o«H 
 
 Y«'JT/HD ivy. .-miT/HHOJ-l 
 .yiH'Uoci f. 'AO (i3UJO-iuyiJa uihud 
 woa am v/A«a or tudha 
 
INVENTORY OF THE COLLECTION 
 
 PAINTINGS 
 
 I. SPANISH SCHOOL 
 
 GOYA. Francisco J osc dc Cjo^a ^ Fncicnlcs. Bom at Fucndctodos in Tcxtj p. 3^* 
 Aragon, 1746; died at Bordeaux, 1828. 
 
 1. Dona Antonia Zarate. Half-length portrait of a lady seated on a settee; 
 
 the hands folded, resting on the lap, and holding a fan. She wears a 
 black dress, cut low at the neck, with short sleeves and long white 
 lace mittens. A black lace mantilla falls from the head on to the 
 shoulders. 
 
 Canvas, 40I x 324 inches. 
 
 MURILLO. Bartolome Esteban Murillo. Born at Seville, 1618; died pp. i and 2. 
 there 1682. 
 
 THE HISTORY OF THE PRODIGAL SON; 
 
 2. The Prodigal receiving his Inheritance. The father is seated in a room, 
 
 at a table to the left, on which are papers and money. The Prodigal, 
 standing to the right, holds a bag of money, which he has received 
 
 71 
 
72 
 
 INVENTORY 
 
 from his father. Behind the father, the elder son and a daughter. 
 On the right, a red curtain and columns. 
 
 Canvas, 40^ x 52^ inches. 
 
 3. Departure from his Father’s House. To the left, the Prodigal, wearing a 
 
 bright red mantle, is seen riding away; he waves his hat in farewell. 
 The father is standing to the right on the steps leading up to the house- 
 door; beside him, the mother in tears, the elder son and a daughter. 
 In the distance, to the left, a landscape. 
 
 Canvas, 40! x 52! inches. 
 
 4. The Feast in the Harlot’s House. The Prodigal is seated on a terrace, at 
 
 a table, on which the feast is spread, his arm round a young girl, who 
 sits beside him. A servant on the left offers him a goblet of wine. In 
 the foreground is a mandolin-player. To the right, at the table, is 
 another girl, and behind her a servant carrying in a dish. In the back- 
 ground on the right, a courtyard; behind the table a red curtain and 
 trees in the distance. 
 
 Canvas, 40^ x 52^ inches. 
 
 5. The Prodigal driven out by the Harlots. On the left is a house, from 
 
 which the Prodigal has fled, followed by a dog; he is pursued by two 
 young women with a stick and a broom and by a man with a drawn 
 sword. In the doorway to the left, an old woman. 
 
 Canvas, 40^ x 524 inches. 
 
 6. The Prodigal as a Swineherd. Scantily clad and kneeling in prayer, 
 
 turned towards the right. On the left a ruined building, on the right 
 the swine are feeding. Landscape background. 
 
 Canvas, 40^ x 52^ inches. 
 
 7. The Return of the Prodigal. In front of a house, the Prodigal, nearly 
 
 naked, kneels before his father, who embraces him; behind stands the 
 mother. In the porch, to the left, the elder son and two men. On the 
 right is a courtyard, with figures and a man leading the fatted calf 
 through a gateway. 
 
 Canvas, 40^ x 52J inches. 
 
 The whole series was formerly in the Colleiition of the Earl of 
 Dudley, London. 
 
INVENTORY 
 
 73 
 
 VELAZQUEZ. Diego Rodriguez da Silva y Velazqu ez. Born at Seville, 
 * 599 ) d'sd Madrid, 1660. 
 
 8. The Kitchen Maid. In the centre of the pifture, the figure of a girl is p. =. 
 seen to the waist, standing behind a kitchen table on which are various 
 pots and pans, a jug in her left hand, her right resting upon the 
 edge of the table; she wears a white cap, a brown jacket and a dull 
 reddish-brown skirt. A small white cloth falls over the edge of a 
 basket which is hanging on the wall to the right. Dark background. 
 
 Canvas, 22x44 inches. 
 
 II. FLEMISH AND DUTCH SCHOOLS 
 
 BAKHUIZEN. Ludolf Bakhuizen. Dutch School. Born at Emden, 1631; 
 died at Amsterdam, 1708. 
 
 9. Stormy Sea with Boats. In the distance a town; in the foreground a p. 26. 
 
 brig under full sail, and a little boat with several people. 
 
 Canvas, 20^x26^ inches. 
 
 BERCHEM. Nicholaas Berchem. Dutch School. Born at Haarlem, 1620; 
 died at Amsterdam, 1683. 
 
 10. Landscape, with Water in the Distance. A group of three trees to the 
 
 right, and a cross; a shepherd in the foreground to the left. Hazy sky 
 with sunset tints. 
 
 Signed and dated, N. Berchem, f. 1646. 
 
 Panel, pi x 13d inches. 
 
 CAMERARIUS. Adam Camerarius. Dutch School. Flourished 1650-1685. 
 
 11. Portrait of a Young Man. He wears a black brocaded robe with large 
 
 lace-edged collar and a black mantle and hat. He holds a letter and 
 rests his right elbow on a balustrade. Dark gray background. 
 
 Panel, 41x32 inches. 
 
 CAPPELLE. Jan van de Cappelle. Dutch School. Born at Amsterdam, 
 
 1624; died there 1679. 
 
 J 12. Winter Scene in a Village. On the frozen surface of a canal, which is p. 23. 
 bordered by houses and trees, peasants are seen breaking the ice. 
 
 Signed and dated 1652. 
 
 Canvas, i8x2ii inches. 
 
7 + 
 
 INVENTORY 
 
 DUTCH SCHOOL. XVII century. In the manner of Aelbert Cuyp. 
 
 13. Portrait of a Boy. Bust to the right; three-quarter face. 
 
 Panel, I5ix iii inches. 
 
 DUTCH SCHOOL. XVII century. In the manner of Palamedesz. 
 
 14. Portrait of a Youthful Woman. She is seen standing to the right, 
 
 holding her gloves in her left hand. The portrait is surrounded by an 
 oval frame-work painted to imitate stone. 
 
 Panel, loxSf inches. 
 
 DYCK. Sir Anthony van Dyck. Flemish School. Born at Antwerp, 1599; 
 died in London, 1641. 
 
 . 15. Portrait of Van der Heyden. Glancing slightly to the right; he wears 
 
 a black doublet, and a cloak thrown back from the shoulders; a large 
 white rulF and white culFs turned back at the wrists; reddish hair, and 
 a small pointed beard; behind the figure a red curtain. To the right, 
 in the distance, a landscape. 
 
 Three-quarter length figure. 
 
 Canvas, 48^x34^ inches. 
 
 . 16. Portrait of the Wife of Van der Heyden. Seated in a chair, her hands 
 resting on her lap. Black dress and stomacher of rich gold brocade, 
 deep lace cuffs, and a high white ruff; her dark brown hair drawn 
 smoothly back from the forehead and adorned with a jewelled band. 
 Background a red curtain and a column; landscape in the distance. 
 Three-quarter length figure. 
 
 Canvas, 48ix 34!! inches. 
 
 GOYEN. Jan van Goyen. Dutch School. Born at Leyden, 1596; died at 
 the Hague, 1656. 
 
 17. The Road. A country road leading past some low cottages. In the p. 26. 
 
 foreground, on the left, a group of trees and a fence, beside which 
 stand three peasants. Trees and meadows on the right and above, a 
 broad expanse of cloudy sky. 
 
 Panel, i x 24^ inches. 
 
 18. At the Mouth of the River. A large sailing boat full of people and 
 
 two smaller craft are seen on a wide river. On the bank to the right 
 a church and windmills. Brilliant evening sky to the left. 
 
 Panel, 11^x15^ inches. 
 
INVENTORY 
 
 75 
 
 19. The Canal. Boats on a broad sheet of water. In the foreground, to p. 26. 
 
 the right, on the bank, a little village with a church; in the distance, 
 to the left, a town. 
 
 Signed V. Goyen, 1640. 
 
 Panel, 25x38 inches. 
 
 20. The Canal. A number of boats on a broad canal in rough weather. On 
 
 the left bank a small village with a church; on the right bank, in the 
 distance, a building with great towers. 
 
 Signed with the monogram, and dated 1638. 
 
 Panel, 15x22! inches. 
 
 21. Landscape. A cottage in the middle distance to the left and a tall tree on 
 
 the extreme left. To the right in the foreground some figures are 
 seated in shadow. A wall almost in the centre of the pidure, in the 
 middle distance. 
 
 Signed with the monogram, and dated 1630. 
 
 Panel, 13x21 inches. 
 
 HAGEN. Joris van der Hagen or Verhagen. Dutch School. Born between 
 1615 and 1620; died at the Hague, 1669. 
 
 22. Wooded Landscape. A sheet of water overshadowed by tall trees. A p. 26. 
 
 castle is seen above the bushes, probably the residence of the Dutch 
 Princes, the “ Huis ten Bosch,” near the Hague. On the road a few 
 small figures. Evening light, warm and glowing in tone. 
 
 Panel, i9^x 26I inches. 
 
 HALS. Frans Hals. Dutch School. Born at Antwerp, 1580 or 1581; died 
 at Haarlem, 1666. 
 
 23. The Young Flute-player. A boy, with lank fair hair falling over his p. 26. 
 
 forehead, has just ceased playing, and laughing heartily holds his flute 
 in his right hand. 
 
 Life-size. Circular panel. Diameter, inches. 
 
 24. The Lute-player. Half-length figure of a fair-haired young man playing p- 27. 
 
 the lute. He wears a black broad-brimmed hat and black doublet 
 slashed with white, a deep white collar and white lace cuffs. 
 
 Produced between 1625 and 1630. Signed with the monogram. 
 
 Canvas, 31^x28^ inches. 
 
 From Lord Howe’s Colledion. 
 
 L 2 
 
76 
 
 INVENTORY 
 
 HEEMSKERK (ascribed to). Maerten van Heemskerk. Born at Heemskerk, 
 near Haarlem, 1498; died at Haarlem, 1574. 
 
 25. Portrait of a Man. Bust, to the right; he wears a black cloak lined 
 
 with fur. Landscape background. 
 
 Panel, I5^x 12^ inches. 
 
 26. Portrait of a Lady. To the left; she wears a black dress and white cap 
 
 with long streamers. Landscape background. 
 
 Companion piece to the preceding. Panel, x i2i inches. 
 
 HEYDEN. Jan van der Heyden. Dutch School. Born at Gorkum, 1637; 
 died at Amsterdam, 1712. 
 
 y. 27. The City Gate. A youthful couple, attended by a servant, are walking p, 24. 
 beneath the outer walls of a city and passing an ancient half-ruined gate- 
 way and a small shrine. Two pilgrims by the roadside beg of them; other 
 figures in the background and a man and a dog drinking at a fountain. 
 
 Painted before 1672. The figures are by the artist’s friend, 
 Adrian van de Velde. 
 
 Panel, i li x 14 inches. 
 
 From the Walter Colleftion, Bearwood. 
 
 HOBBEMA. Meindert Hobbema. Dutch School. Born at Amsterdam, 1638; 
 died there 1709. 
 
 28. The Path on the Dyke. A wide road thickly wooded, leads along the p. 21 
 
 top of an embankment. In the foreground a woman seated by the 
 roadside, two boys standing beside her, and cattle grazing. On a 
 path below the dyke leading to a cottage, a man and woman are 
 walking. In the near foreground to the left, a sheet of water and 
 beyond, stretching into the far distance, low-lying country with trees 
 and meadows. 
 
 Signed Meyndert Hobbema f. 1663. The cattle are by A. van 
 de Velde. 
 
 Canvas, 37x51 inches. 
 
 HOOCH. Pieter de Hooch. Dutch School. Born at Rotterdam, 1630; died 
 at Amsterdam after 1677. 
 
 29. Lady Playing the Violoncello. A youthful lady clad in white is seen p. 8. 
 
 standing in a room, with her back to the spedtator, near a table which 
 is covered with a bright red oriental rug; on the table a small silver 
 box. To the right, seated rather in the background and half in shadow. 
 
INVENTORY 
 
 77 
 
 is a young girl in a red dress, who plays the violoncello. At the back 
 a low staircase leads to a balcony, on which a young man is seen. 
 
 A late work of c. 1675. 
 
 Small full-length figures. 
 
 Canvas, 25^x20 inches. 
 
 KICK. Simon Kick. Dutch School. Born at Delft, 1603; died at Amsterdam, 
 1651, 
 
 30. Dutch Interior. A young mother surrounded by her children; she wears 
 a black dress with red sleeves, white apron and cap, and combs the 
 hair of a child who sits before her ; behind them to the left, a baby, 
 in a high chair gaily painted, and an elder girl. In front, a chair 
 covered with some bright material and a cat and dog. 
 
 Small full-length figures. 
 
 Panel, 24^ x i8^ inches. 
 
 p. 8. 
 
 LEISTER. Judith Leister. Dutch School. Born soon after 1600, at Haarlem 
 or at Zaandam; died at Heemstede, 1660. 
 
 31. Portrait of a Young Girl. The face turned towards the left. She looks p. ay 
 straight before her, and wears a black dress, with a close-fitting cap 
 and flat collar, and a string of coral beads round her neck. 
 
 Bust, without hands, rather under life-size. 
 
 Panel, I5fx iiJ inches. 
 
 MAES. Nicolaes Maes. Dutch School. Born at Dordrecht, 1632; died at 
 Amsterdam, 1693. 
 
 , 32. The Milkmaid. She stands at the door of a house about to pull the bell, p. 7. 
 
 and looks at the speflator. She wears a scarlet skirt, white sleeves 
 rolled up above the elbow, a dark green over-dress gathered up on the 
 right side, and a broad-brimmed straw hat. In front, below the door- 
 step, is a brass milk can and a bucket, from which a dog is drinking. 
 
 Full-length figure. 
 
 Canvas, 22x16^ inches. 
 
 From the Walter Colledlion, Bearwood. 
 
 METSU. Gabriel Metsu. Dutch School. Born at Leyden, 1630; died at 
 Amsterdam, 1667. 
 
 J 33. The Letter- Writer. A man with long fair hair, clad in a rich dark- pp. n 
 coloured costume, is seated by an open window writing a letter at a 
 table which is covered by an oriental rug of a brilliant shade of red. 
 
?8 
 
 INVENTORY 
 
 His broad-brimmed hat is on the back of his chair. On the gray wall 
 hangs a picture by S. van der Does in an elaborately carved frame. 
 Behind the open casement is a globe. 
 
 Full-length figure. 
 
 Signed G. Metsu. 
 
 Panel, 20^x6 inches. 
 
 From the Hope Colledion. 
 
 34. The Letter-Reader. A young girl is seated to the left on a dais by a 
 
 window absorbed in reading a letter. She wears a light yellow jacket 
 trimmed with ermine, a pale pink dress, and an apron which is drawn 
 to one side. To the right is the maid-servant, who has brought the 
 letter, clad in a dark-coloured gown, blue apron and close-fitting cap, 
 her arm thrust through the handle of a pail which she rests on her 
 hip. She stands with her back to the spectator looking at a picture 
 which hangs on the wall and drawing back a corner of the green 
 curtain by which it is protedled. A little dog with its forepaws on 
 the dais watches her. 
 
 Companion piece to the preceding and from the same colledfion. 
 
 Signed on the envelope of the letter, Metsu. 
 
 Panel, 20^ x 16 inches. 
 
 MOREELSE. Paulus Moreelse. Dutch School. Born at Utrecht, 1571; 
 died there 1 63 8. 
 
 35. Portrait of a Lady. To the waist; three-quarter face, looking to the 
 
 left. She wears a black dress, with large white rufF; her brown hair, 
 covered by a small cap edged with lace, is drawn smoothly back from 
 the forehead. In the top right-hand corner is a coat of arms with the 
 date 1629; above are the figures 37, possibly indicating the 
 
 lady’s age. 
 
 Panel, 27x22^ inches. 
 
 MOUCHERON. Isaac Moucheron. Dutch School. Born at Amsterdam, 
 1670; died there 1744- 
 
 36. Landscape. In the centre of the pidture a tall tree; to the right, a 
 
 mountain road with a shepherdess on a mule, and flocks and herds 
 descending into the valley below; in the foreground on the right a 
 woman in a red dress is seated beside a man with a broad-brimmed 
 hat. Extensive view over hill and plain to the left. 
 
 Canvas, 29^x38 inches. 
 
 pp. 11-13. 
 
INVENTORY 
 
 79 
 
 NEER. Aert van dcr Neer. Dutch School. Born at Amsterdam, 1603; 
 died there 1677. 
 
 37. Evening Landscape. A village street on the bank of a wide river. Before p. 22- 
 
 the inn a cart and horses, and a rider who speaks to a man in black 
 standing in the road; a woman is seen in the doorway of the inn. In 
 the distance, buildings on the banks of the river and mountains. 
 
 Signed with the monogram. 
 
 Canvas, 321x48 inches. 
 
 38. Moonlight Landscape. On the right, on the bank of a wide river, is a 
 
 village with a windmill in the foreground; a second windmill is seen 
 on the opposite bank on a promontory jutting out into the water. 
 
 Signed with the monogram and dated 1646. 
 
 Canvas, 21x27 inches. 
 
 39. Winter Landscape. A frozen canal with skaters and sledges. On the 
 
 banks windmills, houses and a church; two figures in the foreground 
 on the right. Sunset tints on the horizon and heavy clouds on the 
 right. 
 
 Canvas, 16x20^ inches. 
 
 OSTADE. Adriaen van Ostade. Dutch School. Born at Haarlem, 1610; 
 died there 1685. 
 
 40. Peasant at a Window. A peasant wearing a dull red cap, a dark waistcoat p. 16. 
 
 and light brown sleeves, is leaning out of a window, his left hand 
 resting on the sill. Vine tendrils are seen above the window to the left. 
 
 Small half-length figure. 
 
 Signed A. v. Ostade and dated 1656. 
 
 Panel, 8^x7^ inches. 
 
 41. The Adoration of the Shepherds. The Virgin is seated on the left gazing 
 at the Infant Saviour who lies sleeping on straw in a rough wooden 
 crib; St. Joseph standing behind the Virgin bends forward to look at 
 the Child. Around the crib on the right are peasants kneeling and 
 standing in attitudes of deep devotion. The scene takes place in a 
 barn; just inside the open door stands the ass, and in the gloom behind 
 the crib the head of the ox is visible. 
 
 Small full-length figures. 
 
 Signed on the left A. v. Ostade and dated 1667. 
 
 Panel, 18x16 inches. 
 
8o 
 
 INVENTORY 
 
 4-2. Scene in a Tavern. Peasants making merry in a village inn; in the p- i6. 
 centre a couple dancing a country dance while a fiddler standing at 
 the back plays for them. A group of figures seated at a table by the 
 open door, drinking and smoking, watch the dancers; on the right a 
 woman and two men, one of whom is seated on an inverted tub, are 
 talking; other figures are seen in the background seated in the chimney 
 corner. 
 
 Signed below on the right A. v. Ostade and dated 1678. 
 
 Panel, 21x28^ inches. 
 
 OSTADE. Isaak van Ostade. Dutch School. Born at Haarlem, 1621; died 
 there 1649. 
 
 43. The Pedlar. He stands talking to a woman who is seated at her cottage p. 17 
 
 door, her child beside her. Her husband stands at the door looking 
 out and listening to the conversation. Trees on the left. 
 
 Small full-length figures. 
 
 Panel, 17IX13 inches. 
 
 44. The Ford. A group of peasants — one in a two-wheeled cart, others on p. 18 
 
 horseback and on foot, are winding down a country road to the ford; 
 a rider with a plumed hat is just entering the water, some are already 
 fording the stream and others have reached the opposite bank. Trees 
 in the middle distance and a low hill on the left. Two seated figures 
 in the foreground on the right. 
 
 Small full-length figures. 
 
 Panel, 29^x42^ inches. 
 
 PALAMEDESZ. Anthonie Palamedesz. Dutch School. Born at Delft, 1601 ; 
 died at Amsterdam, 1673. 
 
 45. Portrait of a Gentleman. He is seen standing in a room to the right, 
 
 beside a table covered with a crimson cloth, on which lie his hat and 
 two books; he holds his gloves in his right hand, his left rests on the 
 hat. Black marble column in the background. 
 
 Small full-length figure. 
 
 Panel, 1 5 x 1 2 j inches. 
 
 REMBRANDT. Rembrandt Harmensz van Rijn. Dutch School. Born at 
 Leyden, 1606; died at Amsterdam, 1669. 
 
 46. The Tribute Money. Christ stands surrounded by a group of men, looking p. 6. 
 
 to the left, with right hand uplifted ; near by stands a Pharisee holding 
 
INVENTORY 
 
 out a coin; in the background are several figures, including one who 
 looks down upon the scene from a window. 
 
 Signed with monogram, and dated 1629 on the stonework of the 
 archway, to the right of the pidlure. 
 
 Panel, i6xi2| inches. 
 
 747. St. Francis. He kneels in prayer before the crucifix. A dark rocky p. 5. 
 landscape in the background. 
 
 Small full-length figure. 
 
 Signed Rembrandt f. and dated 1637. 
 
 Panel, 23x18 inches. 
 
 - 48. Portrait of a Man. He is seated with his hands on the arms of the p. 6. 
 chair, wearing black with brown under-sleeves, a white collar tied 
 in front with a twisted cord and tasselled ends, and small white cuffs. 
 
 His fair hair falls in curls over his shoulders; a red curtain behind 
 him on the right. 
 
 Half-length figure, life size. 
 
 Signed Rembrandt f. and dated 1667. 
 
 Canvas, 42x35 inches. 
 
 RUBENS. Peter Paul Rubens. Flemish School. Born at Siegen, 1577; died 
 at Antwerp, 1640. 
 
 / 49. King Philip IV of Spain. He wears a dark costume embroidered with 
 gold, and looks straight before him. Background a brown-red curtain. 
 
 Half-length figure, without hands, life size. 
 
 Canvas, 29fx 24^ inches. 
 
 RUISDAEL. Jacob van Ruisdael. Dutch School. Born at Haarlem, 1628 or 
 1629; died there 1682. 
 
 50. The Castle of Bentheim. The Castle, with massive walls and towers, p. 19. 
 stands on the summit of a wooded hill, on the slope of which lies the 
 village of Bentheim half hidden in the trees. A windmill silhouetted 
 against the sky stands on a rocky spur of the hill; a stream flows 
 through the meadows below. In the foreground on the right, a tree 
 with sparse foliage and the fallen trunk of another; on the left, broken 
 ground with boulders and undergrowth. 
 
 Signed J. v. R. and dated 1653. 
 
 Canvas, 44x571 inches. 
 
 From the Walter Colledlion, Bearwood. 
 
 M 
 
Erratum. 
 
 51. Read size of canvas y- . 
 
 82 INVENTORY 
 
 J 51. Rough Sea. A stormy sky and choppy sea; a sailing ship in the distance pp. 19,10. 
 and numerous boats, the most prominent of which has a large sail and 
 flies a red, white and blue flag. 
 
 Signed J. v. Ruisdael. 
 
 Canvas, 42x284 inches. 
 
 52. The Cornfield. Three figures, with dogs, on a winding road; on the p. 20. 
 
 right a hillock with clumps of stunted trees; on the left a cornfield; 
 in the distance an undulating landscape. 
 
 Signed Ruisdael f. 
 
 Canvas, 184x244 inches. 
 
 53. The Torrent. A castle is seen on a hill to the right. Cloudy sky. 
 
 Canvas, 29x33 inches. 
 
 RUYSDAEL. Salomon van Ruysdael. Dutch School. Born at Haarlem, 
 i6oo; died there 1670. 
 
 54. A River Landscape. A shady road with numerous figures — peasants with p. 18. 
 
 carts, a couple on horseback, and others — leads past a tarm-house and 
 along the bank of a wide river which stretches into the far distance 
 and is bordered by houses, towers and a high water-wheel. In the 
 foreground trees by the water’s edge; a ferry boat, laden with people 
 and cattle, is crossing to the opposite bank. 
 
 Signed on the boat S. v. Ruysdael, 1650. 
 
 Canvas, 414x59 inches. 
 
 STEEN. Jan Steen. Dutch School. Born at Leyden, c. 1626; died there 
 1679. 
 
 55. The Patient. A youthful woman, richly dressed, who has suddenly been p. 14. 
 
 taken ill, lies on a canopied bed, the foot of which is covered by an 
 oriental rug, in the room of an inn. Beside her the dodtor, wearing a 
 high hat, and a young woman. In the background on the right a 
 table, at which four peasants and a woman are seated; by the table is 
 the jovial-looking cellar-man carrying a jug of ale and a dish. 
 
 Small full-length figures. 
 
 Canvas, 19 x 144 inches. 
 
 56. The Broken Eggs. A woman in the centre of a kitchen, looking ruefully p. h- 
 at some broken eggs which with a frying-pan are lying on the floor; 
 a young man, seated, tries to drag her towards his father, who is seated 
 
INVENTORY 
 
 83 
 
 on the right with another man drinking and smoking. In the back- 
 ground, to the left, a boy. Landscape seen through a latticed window. 
 Signed J. Steen on the end of the wooden bench. 
 
 Canvas, i6fxi4| inches. 
 
 '/ 57- The Marriage in Cana. A flight of steps leads up to a terrace where the pp. 14, 
 
 wedding guests are seated at a table. Near the top of the steps on the 
 right, stands the figure of Christ blessing the water jars and bidding 
 the boy, who kneels at His feet, draw out the wine. At the far end 
 of the table are the bride and bridegroom, seated beneath a canopy; 
 in the centre a guest, with the features of Jan Steen, looks across at 
 the Saviour and smilingly raises his glass. On the right in a gallery 
 supported by columns are the musicians; below, a young couple attired 
 — in the costume of the day (perhaps the donors of the pidfure) are 
 seen walking towards the table. Numerous figures are grouped about 
 the steps and on the extreme right is a youth in red pointing to the 
 fountain whence the water was drawn. Evening light with a vista 
 of trees seen through the arches of the colonnade in the background. 
 
 Canvas, 24^x32 inches. 
 
 From the Walter Colledlion, Bearwood. 
 
 TEMPEL. Abraham van den Tempcl. Dutch School. Born at Leeuwarden, 
 1622 or 1623; died at Amsterdam, 1672. 
 
 58. Portrait of a Lady. She is seen to the left, holding the wide sleeve 
 of her dress in her right hand; diamond ornaments in her hair which 
 falls in long ringlets over her shoulders. She wears ear-rings, bracelets, 
 and a necklace of pearls. View of a house, beyond a river, in the 
 background. 
 
 Canvas, 45^x33 inches. 
 
 TENIERS. David Teniers, the Younger. Flemish School. Born at Antwerp, 
 1610; died at Brussels, 1690. 
 
 59. Rural Fete. A number of peasants are seated in the yard of an inn p. 
 drinking and making merry; in the centre a couple are dancing, while 
 a man standing on a little mound beneath a tree plays the hurdy- 
 gurdy. Over the wooden paling of the yard are seen the roofs of 
 buildings, a church tower and trees; at the end of the paling an open 
 door through which some drunken men stagger into the road; beyond 
 
 M 2 
 
INVENTORY 
 
 on the right an avenue of trees and in the distance the towers of 
 Antwerp are seen. 
 
 Small full-length figures. 
 
 Signed on the right David Teniers F. Painted c. 1645. 
 
 Copper, 22 X inches. 
 
 From the Walter Colleftion, Bearwood. 
 
 . 60. The Concert. A peasant in a red cap is seated teaching a young girl, p. 28. 
 
 clad in blue and yellow who sits beside him, to play the flute. In 
 front of them sits a man playing the bagpipes, clad in blue and gray. 
 
 He turns his head to speak to the girl. Landscape background. 
 
 Small full-length figures. 
 
 Painted 1640-1650. 
 
 Panel, lO^xS inches. 
 
 IN THE MANNER OF TENIERS. 
 
 61. Landscape. Small upright landscape with a stream; houses to the left. 
 A peasant with a bundle of brushwood under his arm. 
 
 Panel, 9 x 6i inches. 
 
 N TERBORCH. Gerard ter Borch. Dutch School. Born at Zwolle, 1617; 
 died at Deventer, 1681. 
 
 62. Portrait op a Lady. Full-length figure of a lady standing beside a red- pp. 10, 11. 
 covered table, in a black dress with short sleeves, showing white 
 under-sleeves with ruffles; a deep white collar tied with four bows in 
 front; on the head a black close-fitting cap. On the left a chair 
 upholstered in red. Dark background. 
 
 Canvas, 2yfx22i inches. 
 
 Companion pidure to the “ Portrait of a Gentleman ” in the 
 National Gallery. 
 
 j. 63. The Lute-Player. A young girl at a table, playing the lute, her music- 
 book open before her. The table is covered with an oriental rug. 
 Dark background. 
 
 Small half-length figure. 
 
 Canvas, 8fxyf inches. 
 
 Note to No. 62. 
 
 The subjedi portrayed is Hermanna van der Cruysse. 
 
INVENTORY 85 
 
 VELDE. Willem van de Velde, the Younger. Dutch School. Born at 
 Leyden, 1633; died at Greenwich, 1707. 
 
 64. Sea-piece. Two ships lying at anchor, and luggers running for harbour; p. 25. 
 in the distance, to the left, is dimly seen a low-lying coast; in the 
 foreground, to the right, a jetty. Stormy sky. 
 
 Signed W. v. d. Velde and dated 1671. 
 
 Canvas, 43 x 64J inches. 
 
 65. Calm Sea. To the left lies a large vessel becalmed, with boats near it; 
 
 to the right and in the distance another large ship and sailing boats. 
 
 Canvas, 15x191 inches. 
 
 66. A Stormy Day. Ships and boats with coloured sails on a stormy sea. 
 
 Canvas, 13x15^ inches. 
 
 67. Heavy Sea. Ships battling with the waves 
 
 boat driven before the wind. 
 
 Companion piece to the preceding. 
 
 Canvas, 13x15^ inches. 
 
 VERMEER. Johannes Vermeer or Van der Meer of Delft. Dutch School. 
 
 Born at Delft, 1632; died there 1675. 
 
 68. Lady at a Spinet. A youthful lady, seated at a spinet, turns her head to p. 9. 
 
 look at the spectator. She wears a gray dress, pale yellow drapery 
 over her shoulders and red ribbons in her hair. A light gray wall 
 forms the background. 
 
 Small three-quarter length figure. 
 
 Canvas, 9x7 inches. 
 
 69. The Love Letter. Full-length figure of a lady seated at a table, which pp. 9, 10. 
 
 is covered with an oriental rug, writing; behind her, slightly to the 
 left, stands a maid-servant, with folded arms, waiting for the letter. 
 
 On the wall behind is a picture, apparently representing the Finding 
 of Moses. Signed, on a sheet of paper which hangs over the edge of 
 the table. 
 
 Canvas, 28x23 inches. 
 
 Formerly in the Secretan and Marinoni Colledlions; for full 
 particulars see Hofstede de Groot’s ‘‘ Catalogue of Dutch Painters,” 
 vol. i, pp. 597-8 (Vermeer’s Works, No. 35). 
 
 In the foreground a sailing 
 
86 
 
 INVENTORY 
 
 VERSPRONCK. Johannes Cornelisz Verspronck. Dutch School. Born 
 at Haarlem, 1597; died there 1662. 
 
 70. Portrait of a Lady. Rather more than three-quarter face, looking to 
 
 the left; the figure seen to just below the waist. She wears black, 
 with a deep white collar edged with lace lying flat on the shoulders; 
 a gold chain wound several times round the neck; her dark hair is 
 drawn smoothly back from the forehead and covered by a gray cap 
 edged with lace. 
 
 Signed |. v. Spronck, and dated 1641. 
 
 Panel, 251x21] inches. 
 
 WOUWERMAN. Philips Wouwerman. Dutch School. Born at Haarlem, 
 
 1619; died there 1668. 
 
 71. A Rustic Wedding, or Fete before the Village Inn. A troop of dancing pp. 24, 25. 
 
 and drinking peasants comes from the left, preceded by a man playing 
 the bagpipes; to the right, in front of the inn, are a lady and two 
 gentlemen on horseback, one of whom turns his head to speak to 
 the innkeeper, who offers him wine. A wide river is seen in the 
 middle distance, with a town on the opposite bank. 
 
 Signed with the monogram. 
 
 Canvas, 23x33] inches. 
 
 WYNANTS. Jan Wynants. Dutch School. Born at Haarlem about 1625; 
 said to have died at Amsterdam after 1682. 
 
 72. A Hilly Landscape. Figures of a man and woman driving sheep and p. 21. 
 
 cattle over a pasture; on the right, a bank with trees. 
 
 The figures and animals by Van de Velde. 
 
 Canvas, 9|x 13]- inches. 
 
 ZEEMAN. Reinier Zeeman. Dutch School. Born probably at Amsterdam, 
 
 1623; died before 1668. 
 
 73. Stormy Sea. To the right, rocky coast. Several large ships battling p. 26. 
 with the waves. 
 
 Panel, 15x21]- inches. 
 
 74. Calm Sea. Ships in smooth water; some have hoisted sail. A boat with 
 people in the foreground. 
 
 Canvas, 16x21 inches. 
 
INVENTORY 
 
 87 
 
 III. FRENCH SCHOOL 
 
 J GREUZE. Jean Baptiste Greuze. Born at Tournus, 1725; died in Paris, 
 1805. 
 
 75. Portrait of a Little Girl. Aged about six, turned to the left, her 
 head inclined towards her right shoulder. She wears a light-coloured 
 frock and white kerchief ; a small black lace cap on her fair curls. 
 Life-size bust without hands. 
 
 Canvas, 141x12 inches. 
 
 l!!l! !| 
 
 pp. 29, 30. 
 
 NATTIER. Jean Marc Nattier. Born in Paris, 1685; died there 1766. 
 
 76. Madame Victoire, Daughter of Louis XV, as a Water Nymph. Seated 
 in an easy position lacing the spedfator; she rests her left arm upon 
 a vase which lies on its side and from which water pours, the wrist 
 supporting the right hand and the arm, which is bare from the elbow. 
 Her white dress is cut low in front and adorned with pearls. A blue 
 drapery falls over her knees. Background of sky with a clump of 
 water-plants on the right. 
 
 Life-size figure, to the knees. 
 
 Canvas, 38x30; inches. 
 
 p. 29. 
 
 77 ' The Duchesse de Chartres, as Hebe, Seated, turned towards the right, 
 and looking straight before her. She wears a white dress cut low at 
 the neck and adorned with a garland of flowers; steel-blue drapery 
 falls over the skirt. She holds in her left hand a bowl, out of which 
 an eagle drinks; in her right hand is a ewer. The hair is slightly 
 powdered and adorned with a small wreath of flowers. 
 
 Exhibited at the Salon in 1745. 
 
 Life-size figure, to the knees. 
 
 Canvas, 491x38 inches. 
 
 UNKNOWN. French School. XVIII century. 
 
 78. The Gardens of the Luxembourg. Numerous figures of ladies and gentle- 
 men are seen promenading. 
 
 Canvas, 22^x33 inches. 
 
88 INVENTORY 
 
 VESTIER. Antoine Vestier. French School. Born at Avallon, 1740; died 
 in Paris, 1824. 
 
 79. Madame de Lamballe. The figure turned to the left, the head seen almost 
 in full face, with powdered hair dressed high and adorned with pink 
 roses and pearls. The bodice, which is cut low at the neck, is of 
 a deep red-brown tone of colour; over it is worn a small white fichu. 
 
 Oval canvas, 277x224 inches. 
 
 IV. ENGLISH SCHOOL 
 
 BEECHEY. Sir William Beechey. Born at Burford, 1753 ; died at Hampstead, 
 
 1839. 
 
 80. Miss Louise Giffard. Standing, to the left. She wears a yellow dress, and 
 
 cloak lined with blue; her left hand holding a scarf on her shoulder. 
 
 Short brown hair. 
 
 Canvas, 29', x24l inches. 
 
 81. Mrs. Siddons as Lady Macbeth. Standing; clad entirely in black with pp. 36, 37. 
 
 white drapery on her head. In her right hand she holds a dagger, in 
 her left a bowl. To the right a sleeping Cupid and several masks 
 beside him; to the left landscape, with evening light. 
 
 Small full-length figure. 
 
 Canvas, 264 x 18I inches. 
 
 BONINGTON. Richard Parkes Bonington. Born at Arnold, 1801; died 
 in London, 1828. 
 
 / 82. On the Beach. In the foreground on the left a woman in red and brown p. 39. 
 is leading a donkey, and beyond her a man in a blue coat and red 
 cap is taking his cart and horse across the sands to the sea. A large 
 vessel is seen in the distance on the right and other ships on the 
 horizon. 
 
 Canvas, I3vx 19; inches. 
 
 GAINSBOROUGH. Thomas Gainsborough. Born at Sudbury, 1727; died 
 in London, 1788. 
 
 83. The Path through the Wood. Light clouds on the blue sky. p. 34. 
 
 Canvas, 1 34 x i of inches. 
 
INVENTORY 89 
 
 84. The Pool in the Wood. By the water four cows with a herdsman. In 
 
 the distance a hilly landscape. 
 
 Canvas, 13 tn nl inches. 
 
 85. The Dancer Baccelli. Clad in white tulle trimmed with blue and dancing pp- 32, 33- 
 
 forward, her left arm raised holding up the end of a filmy transparent 
 drapery, which is fastened at her waist. She turns her head towards 
 her right shoulder and looks smilingly at the spedfator. Landscape 
 background. 
 
 Small full-length figure. 
 
 Canvas, 22x15; inches. 
 
 86 . Hon. Mrs. Watson. Seated figure, slightly inclined to the right, leaning p- 33. 
 
 her left arm upon a table and resting her head upon her hand; her 
 right hand lies in her lap. Her dress, which is cut low at the neck, 
 
 IS of a light shade of yellow worn over blue; a knot of blue ribbons is 
 fastened at her breast, and a gauze scarf drapes her arms. Her hair 
 falls over her right shoulder. Background, a red curtain. 
 
 Three-quarter length figure. 
 
 Canvas, 50x40 inches. 
 
 87. Margaret Gainsborough. Seen to the waist, the figure nearly facing the pp. 33, 34. 
 
 spedlator, but the head turned to the left. Dark dress; a white muslin 
 fichu falls over the bodice, which is cut low in front; round the throat 
 a narrow band ot velvet. The hair dressed high, with curls falling on 
 the shoulders, and surmounted by a large hat, turned up at the side 
 and adorned with feathers. Dark background. 
 
 On the right the letters M.G., and below them the signature 
 T.G. and the date 1777. 
 
 Canvas, 29x24; inches. 
 
 88. The Cottage Girl. Full-length figure of a child in torn overall and blue p. 33. 
 
 skirt; she stands in the foreground of a wooded landscape, looking 
 pensively towards the left, a puppy under her left arm; in her right 
 hand a brown earthenware pitcher. 
 
 Canvas, 69 x 49 inches. 
 
 HOPPNER. John Hoppner. Born in London, 1759; died there 1810. 
 
 89. The Countess of Aldborough. Seen to the waist; three-quarter face p. 36. 
 
 looking to the left. Powdered hair with curls falling on the shoulders; 
 
 N 
 
go 
 
 INVENTORY 
 
 on her head a large blue hat with white feathers, behind her a red 
 curtain. Her white dress, cut low at the neck with a ruff at the back, 
 is adorned with knots of pale blue ribbons. Landscape baekground. 
 Canvas, 29 x 24; inches. 
 
 90. The Countess Poulett. At a window, the head turned to the left. She 
 
 wears a white dress, open at the throat and finished with a small fichu 
 with frilled edge, a blue sash, and a small white cap on her powdered 
 hair, which falls in ringlets on the nape of her neck; a red curtain 
 behind her. Through the open window a landscape is seen. 
 
 Half-length figure, life size, without hands. 
 
 Canvas, 29 x 24a inches. 
 
 LAWRENCE. Sir Thomas Lawrence. Born at Bristol, lybgj died in 
 London, 1830. 
 
 91. Mrs. Hillyer. She is seated to the left, wearing a white dress with black p. 37. 
 
 sash and gauze scarf; a pale blue ribbon in her hair and a necklace 
 round her throat. Gray background, with red curtain. 
 
 Canvas, 29 J x 24 inches. 
 
 NASMYTH. Patrick Nasmyth. Born at Edinburgh, 1787; died in London, 
 1831. 
 
 92. Boats in the Estuary of a River. A stormy sky with a fresh wind 
 blowing. 
 
 Signed, Paff Nasmyth, 1820. 
 
 Panel, 7 t>' itf inches. 
 
 OPIE. John Opie. Born at St. Agnew, near Truro, 1761; died in London, 
 
 1 807. 
 
 93. The Peasant’s Family. Three girls in a wooded landscape; the youngest p. 38. 
 drinks from a pitcher held by the elder sister, a dog standing on his 
 hind legs endeavours to do the same. The third child stands by, 
 carrying a pitcher in her left hand, the right outstretched to balance 
 herself. The children are clad in dresses of red and brown, with bare 
 necks and arms ; the youngest is barefoot. Cottages in the middle 
 distance to the right. 
 
 Full-length figures. 
 
 Canvas, 59x71 inches. 
 
INVENTORY 
 
 91 
 
 RAEBURN. Sir Henry Raeburn. Born at Stockbridge, near Edinburgh, 
 
 1756; died there 1823. 
 
 94- Sir John Clerk and his Wife, Rosemary Dacre. Three-quarter length p. 37. 
 
 figures standing on a hill to the right; to the left, undulating landscape, 
 through which a river winds. Lady Clerk, clad in white, turns to 
 listen to what her husband is saying, her right hand resting on his 
 shoulder; her curly hair, a lock of which falls on her left shoulder, is 
 unpowdered. Sir John, who stands on the left, wears a brown coat, 
 white cravat and broad-brimmed hat and looks towards his wife; his 
 right arm is raised, pointing to the landscape. 
 
 Canvas, 57 x 8 oi inches. 
 
 95- Mrs. Cay. She is seated to the left, in a red chair; a greenish-gray shawl 
 
 round her shoulders, a white cap on her gray hair; in her left hand 
 she holds a book, and in her gloved right, her spectacles. 
 
 Canvas, 347^ x27 inches. 
 
 RAMSAY. Allan Ramsay. Born at Edinburgh, 1713; died at Dover, 1784. 
 
 96. Portrait of a Young Girl. She wears a pale blue dress cut low at the pp. 37, 38. 
 
 neck with lace collar and sleeves puffed and slashed; jewelled orna- 
 ments in her dark hair, which is combed back from the forehead. In 
 an oval of painted stone-work. 
 
 Life size bust, without hands. 
 
 Canvas, 29-4 x24 inches. 
 
 REYNOLDS. Sir Joshua Reynolds. Born at Plympton, 1723; died in 
 London, 1792. 
 
 97. Lady Talbot. She stands before a small altar, on which burns the sacri- p. 31. 
 
 ficial flame, clad in a long white robe veiled with a transparent gauze 
 scarf. In her left hand she holds a small circular dish; with her right 
 she places on the altar a slender-necked golden vase. On the ground, 
 to the left, is a brazier from which to feed the flame. In the back- 
 ground on the right, a deep red curtain and an open portico through 
 which a landscape is seen; on the left a statue of Minerva standing in 
 a garden. Evening light. 
 
 Full-length figure, life size. 
 
 Canvas, 98x61 inches. 
 
 98. Mrs. Beresford, afterwards Lady Decies, and her eldest Son, John. The pp. 31, 32. 
 
 lady, seated, bends forward in the adt of lifting the child from the ground. 
 
 She wears white with a blue-green cloak lined with fur and thrown 
 back, pearls in her hair and pink ribbons at her waist. On the left 
 
 N 2 
 
92 
 
 INVENTORY 
 
 a red curtain drawn back from an open window, through which a land- 
 scape is seen. 
 
 Painted in 1775. 
 
 Full-length figure. 
 
 Canvas, 52x44; inches. 
 
 From the Hope Colledlion. 
 
 ROMNEY. George Romney. Born at Dalton, 1734; died at Kendal, 1 802. 
 gg. Mrs. Henry Ainslie and her Child. The lady seated, turned to the right, 
 and looking straight before her, holds her child on her knee; in her 
 right hand is a watch. She wears white, with a pale red sash and a large 
 cap with pink ribbons on her brown curls. On the right, background 
 of sky with sunset tints. 
 
 Half-length figure, life size. 
 
 Canvas, 29; x 24!- inches. 
 
 UNKNOWN. English School. XVIII century. 
 
 100. Portrait of a Young Girl. Seated, to the right, at a spinet; landscape 
 
 background. 
 
 Canvas, 2gx 24 inches. 
 
 101. Portrait of a Lady. Seated, turned to the left and looking down. She 
 
 wears a pink bodice with blue bow, a black silk mantle and brown 
 gloves, and a lace cap with blue ribbon on her powdered hair. Gray 
 background. 
 
 Canvas, 2gfx25 inches. 
 
 102. Portrait of a Lady. Seated, turned to the left and looking out of the 
 
 pifture. She wears a white dress and a red cloak lined with gray 
 which falls over her knees. Gray background. 
 
 Canvas, 30x24;- inches. 
 
 103. Bust Portrait of a Youth with Powdered Hair. He wears a blue-green 
 
 coat with brass buttons and white lace stock. Dark background. 
 Canvas, tgx 14; inches. 
 
 V. ITALIAN SCHOOL 
 
 BACCHIACCA. Francesco Ubertini dei Verdi, called II Bacchiacca. Floren- 
 tine School. Born at Florence, 1494; died there 1557. 
 
 104. Portrait of a Young Man. Seated to the right, holding a lute; a vase 
 
 containing jessamine to the left, and an hour-glass to the right. In 
 
 Note to 104. 
 
 Werner Weisbach in “Trionfi,” G. Grote, Berlin, 1919, calls this 
 pifture “ Youth,” as figuring in the Benson Colledtion, London. 
 
 A pendant to “ Age” in the Gallery at Cassel. 
 
 '■ 35 - 
 
 P- 45 - 
 
INVENTORY 
 
 93 
 
 the distance is seen a triumphal car, with the figure of Love; and 
 below this, seated on the ground, are the figures of Samson and 
 Delilah. Apollo and Daphne are seen in the distant landscape, to 
 the right. 
 
 Panel, 38x28 inches. 
 
 BAZZI, IL SODOMA. Giovanni Antonio Bazzi, called II Sodoma. Lombard 
 School. Born at Vercelli, 1477; died at Siena, 1549. 
 
 105. The Holy Family, with St. Elizabeth and the little St. John. In p. 46. 
 
 the foreground, the Infant Saviour is sleeping supported between the 
 knees of the Madonna; St. Elizabeth on the left holds in her arms 
 the Infant St. John who offers a small cross to the Virgin. To the right, 
 
 St. Joseph leaning on his staff; behind him a ruined building. Land- 
 scape background on the left. 
 
 Circular panel, diameter 41 inches. 
 
 BELLOTTO. Bernardo Bellotto, called Canaletto. Venetian School. Born at 
 Venice, 1720; died at Warsaw, 1780. 
 
 106. The Arno at Florence with the Ponte alla Carraia. In the fore- p. 3j. 
 
 ground a weir, below which are figures, with boats unloading; the 
 churches of S. Frediano and Santo Spirito are seen on the right, with 
 Monte Oliveto and Bellosguardo in the distance. 
 
 Canvas, 194x29 inches. 
 
 107. The Ponte Vecchio at Florence. In the foreground, boats on the 
 
 river and figures ; the river flows away under the bridge, into the 
 distance; on the banks are buildings, and to the right is seen the 
 Tower of the Palazzo Vecchio. 
 
 Canvas, igfxag inches. 
 
 BONIFACIO. Bonifacio dei Pitati. Venetian School. Born at Verona, 
 
 1487; died in Venice, 1553. 
 
 108. Allegory of the Pursuit of Fortune. Fortune is seated on a globe in p. 48. 
 
 the middle distance. To the right is a prison, before which is seated 
 the figure of an old woman holding a scourge in her right hand. 
 Numerous figures are grouped round the figure of Fortune and along 
 the road leading to the prison. Mountain landscape in the background. 
 Canvas, 57x90 inches. 
 
 From the Manfrin Colledlion. 
 
9 + 
 
 INVENTORY 
 
 109. Allegory of the Pursuit of Fame. A long procession of figures is seen p. 48- 
 winding through a narrow defile and climbing to the summit of a rock 
 on the right. In the foreground are four female figures clad in 
 diaphanous draperies. Low hills in the background. 
 
 Canvas, 57x98; inches. 
 
 From the Manfrin Colledlion. 
 
 CREDI. Lorenzo di Credi. Florentine School. Born at Florence, 1459; 
 died there 1537. 
 
 no. Allegory of Chastity. On the extreme right a youth, clad in red pp. 43. 44 - 
 doublet with gray sleeves and red hose, holding his girdle in his left 
 hand and pointing upwards with his right, appears to be repudiating 
 the advances of a maiden who is clad in transparent draperies. In the 
 centre of the pidlure she is seen again appealing to the god of Love, 
 who offers her an arrow; between them stands a little Cupid with 
 upraised arm; three amorini are playing in the grass at their feet. In 
 the background a landscape with hills and water. The subordinate 
 incidents introduced in the background, such as the cooing doves, the 
 roaring stag, the dogs attaching a bull, and others, all play their part 
 in the allegorical significance of the pidure, the theme of which is 
 Love. 
 
 Canvas, 361x82 inches. 
 
 FERRARESE SCHOOL. Early XVI century. (Probably Lodovico Mazzo- 
 lino, I48 i(?)-I 528; formerly ascribed to Bartolomeo Montagna.) 
 
 111. Madonna and Child. The Infant Saviour is seated on the Virgin’s p- 49- 
 
 knee, with his feet resting on her left arm. On the parapet in front 
 is a book, on which the Virgin’s left hand rests ; her right hand 
 supports the Child. She wears a crimson dress and gray mantle with 
 olive-coloured lining. Crimson curtain to the right, and landscape 
 with a church to the left. 
 
 Panel, zbj xzi inches. 
 
 FERRARESE SCHOOL. Early XVI century. (Possibly Giovanni Battista 
 Benvenuto, called Dell’ Ortolano; c. 1490 to c. 1525.) 
 
 1 12. Madonna and Child. The Virgin is seated, her hands folded in prayer, 
 
 the Infant Saviour lying on her lap. Behind her a parapet, beyond 
 which is seen an open landscape with hills on the left. A curtain is 
 drawn back to the right. 
 
 Panel, igfx 15 inches. 
 
INVENTORY 
 
 95 
 
 FLORENTINE SCHOOL. Last quarter of the XV century. (Connedled 
 with Domenico Ghirlandaio, 14.49-1494.) 
 
 1 13. The Adoration of the Infant Saviour. On the left kneel the Madonna 
 and St. Jerome, on the right St. Joseph and two shepherds. The 
 Infant Saviour lies on the ground supported by a stone which is 
 covered with drapery; on the extreme right the crib with the ox and 
 ass beneath a ruined building with marble columns. On a hill on the 
 left the Annunciation to the Shepherds. In the middle distance a 
 town, in the open square of which moves a procession of numerous 
 figures on horseback and on foot. Others are seated at the foot of a 
 column; on the left a bridge over a river and hills above; in the far 
 distance a rock surmounted by a castle. 
 
 Panel, 63 x 65 inches. 
 
 FLORENTINE SCHOOL. Early XVI century. (Formerly ascribed to 
 Ridolfo Ghirlandaio, 1483-1561.) 
 
 1 14. The Adoration of the Infant Saviour, with the Madonna, St. Joseph, 
 and two donors, one of whom is kneeling on the right; the kneeling 
 figure wears a dark olive garment and a white mantle; the younger 
 man, standing behind, is clad in scarlet with touches of green and a 
 reddish-olive cloak; he lifts his hands in amazement. The Infant 
 Christ lies on drapery in the foreground supported by a small pillow; 
 St. Joseph, who holds his staff in his right hand, is seated on the left, 
 leaning against a pack-saddle. Landscape background with a ruined 
 building in the middle distance to the left. 
 
 Circular panel, diameter 44 inches. 
 
 FLORENTINE SCHOOL. Early XVI century. (In the manner of 
 Albertinelli, 1474-1515.) 
 
 Scenes from the Life of the Virgin 
 
 1 15. The Birth of the Virgin. 
 
 1 1 6. The Presentation in the Temple. 
 
 1 1 7. The Annunciation. 
 
 1 18. The Adoration of the Shepherds. 
 
 Four panels, portions of a predella, 17 ’ x i 61 inches. 
 
INVENTORY 
 
 96 
 
 FLORENTINE SCHOOL. Early XVI century. (Follower of Fra Bar- 
 tolomeo, perhaps Paolino del Signoraccio, called Paolino da Pistoia, 
 1490-1547.) 
 
 iig. Virgin and Child, with the Infant St. John. Landscape background, p. 44 
 In a polygonal frame. Panel, diameter 33 inches. 
 
 FLORENTINE SCHOOL. Late XVI century. (Perhaps Alessandro Allori, 
 i535-i6°7)- 
 
 120. Portrait of a Lady with two Children. The lady wears a black fur- p. 46 
 
 lined cloak, and a jewelled coif edged with pearls. The younger child 
 is in red and black, and the elder in purple; they hold a bird between 
 them. In the background a green and gold curtain. 
 
 Panel, 33 x 24 inches. 
 
 GUARDI. Francesco Guardi. Venetian School. Born at Venice, 1712; died 
 there 1793. 
 
 1 2 1 . The Piazza looking towards San Marco. p. 35 
 
 Canvas, 13x1 Ji inches. 
 
 122. The Piazzetta with a view of San Giorgio. 
 
 Companion piece to the preceding pidure, and of similar dimen- 
 sions. 
 
 123. The Grand Canal with a view of the Palazzo Grimani and other 
 
 buildings, gondolas in the foreground. A cold day in early spring 
 with a gathering storm. 
 
 Canvas, 1 8 x 3 2 ; inches. 
 
 124. A “Fantasia.”' Landscape with figures and ruins in the foreground; 
 
 in the distance a church and tower. 
 
 Panel, yi x 6 inches. 
 
 125. A “ Fantasia.” Landscape with figures in the foreground, and buildings 
 
 on the left; to the right a tall column surmounted by the figure of a 
 soldier, holding aloft a sword. 
 
 Panel, 71x6 inches. 
 
 126. Santa Maria della Salute. The church in the foreground to the right 
 
 with the Dogana beyond. On the left the Grand Canal with numerous 
 buildings, and gondolas in the foreground. 
 
 Canvas, 21x29 inches. 
 
 ‘ That is, compositions by the master adapted from sketches made by him on the Terra Ferma. 
 
INVENTORY 
 
 97 
 
 ITALIAN SCHOOL. XVI century. 
 
 127. Portrait of a Young Man. Standing to the left. He wears an olive 
 
 coloured doublet, trunk-hose, and ruff. His right hand rests upon his 
 helmet, which is adorned with white and red plumes; his left hand 
 grasps his sword-hilt. Columns to the left, and an orange-coloured 
 curtain to the right. 
 
 Panel, 46x32 inches. 
 
 128. Portrait of a Lady. Standing to the left, clad in a black dress and 
 
 large ruff open in front; she holds a handkerchief and a red book in 
 her right hand, and gloves in her left; a veil over her head. 
 
 Panel, 37-1x27 inches. 
 
 129. Head of a Youthful Woman. In profile, to the right, wearing a coif. 
 
 Background an arch with festoons. 
 
 Panel, 18 x 131 inches. 
 
 NORTH ITALIAN SCHOOL. Early XVI century. (Probably Boccaccio 
 Boccaccino of Cremona, flourished 1497-15 10.) 
 
 130. The Mystic Marriage of St. Catherine. St. Catherine is standing to p. 49. 
 
 the right, clad in a yellow dress with crimson mantle; the Infant 
 Christ is placing the ring on her finger. The Virgin wears a gray 
 mantle with yellow lining and a crimson robe; St. Jerome is seen on 
 the left. In the background is a green curtain; a closed window to 
 the right. 
 
 Panel, 151x24 inches. 
 
 
 LOTTO, SCHOOL OF. Lorenzo Lotto. Venetian School, 1480-1556. 
 
 131. Madonna and Saints. The Virgin embracing the Child, who lies on a 
 crimson cushion, in the centre. Two Franciscan saints on the left, a 
 nun and another youthful saint on the right. The figures of the Virgin 
 and of the four saints are seen to the shoulders only. 
 
 Panel, 18x38 inches. 
 
 MARIESCHI. Jacopo Marieschi. Venetian School. Born at Venice, 17 1 1 ; 
 died in 1794. 
 
 132. The Rialto and Palazzo Grimani. 
 
 Canvas, 22x33 inches. 
 
 133. The Ducal Palace, Venice. 
 
 Canvas, 22x33 inches. 
 
 o 
 
g8 INVENTORY 
 
 MORONI. Giovanni Battista Moroni. School of Brescia. Born at Bondio, 
 near Albino, about 1523; died at Bergamo, 1578. 
 
 134. Portrait of a Gentle.man in a Black Cap. He is seen standing to the 
 
 left near a table covered with a green cloth, on which lie parchment- 
 covered books. In his right hand he holds a letter, in his left a 
 handkerchief. Gray background. 
 
 Canvas, 39^x31 inches. 
 
 PALMA (Workshop of). Jacopo Palma, called Palma Vecchio. Venetian 
 School. Born at Serinalta, 1480 (?); died at Venice, 1528. 
 
 135. The Holy Family in a Landscape. The Virgin holding the Child on p. 48. 
 
 her knees. To the left, St. Joseph; to the right St. Mary Magdalen 
 holding her emblem, the vase of ointment. Background a hilly land- 
 scape. 
 
 Panel, 305 x37 inches. 
 
 ROBUSTI, D. (ascribed to but more probably by one of the Bassano family). 
 Domenico Robusti. Venetian School. Born at Venice, 1562; died 
 there 1637. 
 
 136. Portrait of Veronica Franco. She wears a deep red robe, the sleeves pp. 46. 47 
 
 and stomacher of which are adorned with lace; flowers in her hair, 
 and sprays of coral in her ears. Round her neck a pearl necklace 
 with jewelled pendant. She is seated at a table, covered with a richly 
 embroidered cloth, on which is a lute. A crimson curtain in the 
 background. 
 
 Canvas, 38x31 inches. 
 
 SALVIATI. Giuseppe Porta, called Giuseppe Salviati.' Venetian School. 
 
 Born c. 1520, died c. 1570. 
 
 137. Portrait of a Gentleman. Seated, wearing a crimson doublet and pp. 45, 46 
 
 trunk-hose, a black cloak with a high collar, and a plumed cap adorned 
 with gold. A collar embroidered in scarlet is worn over the doublet, 
 and a gold chain hangs round the neck. The right hand rests upon 
 a hedgehog which crouches upon a stone pedestal, the front of which 
 is inscribed “Sic . Tutus . Ac . Gratus . Eris ”. The pommel of a 
 sword is visible on the right above the edge of the pedestal. Dark 
 gray background. 
 
 Canvas, 44x33 inches. 
 
 * After his master, the Florentine Francesco Salviati, but the use of this name is apt to cause 
 confusion. As an artist, Giuseppe Porta belongs to the Venetian School. 
 
INVENTORY 
 
 99 
 
 SCHIAVONE. Andrea Meldolla, called II Schiavone. Venetian Sehool. 
 
 Born at Zara in Dalmatia, 1522; died at Venice, 1563. 
 
 138. The Judgment of Paris. Paris is seen with Venus on the right, Diana 
 
 and Juno in the centre. Two dogs are depided to the right and left 
 of Paris. A river-god to the left. Landscape background. 
 
 This pidlure is partly adapted from Raphael’s composition. 
 
 Canvas, 141x45,; inches. 
 
 139. Diana and Act.eon. Adlason is seen kneeling, in the centre; Diana 
 
 and her attendants to the left. To the right, Adason transformed into 
 a stag and pursued by his hounds. In the background, to the right, 
 a city on a hill; hills in the distance. 
 
 Panel, circular at either end, 15x45 inches. 
 
 140. Diana and Act.eon. Diana surprised by Adason while bathing. She is 
 
 seen with her attendants to the left. In the distance, to the right, 
 
 Adason, transformed into a stag, is pursued by his hounds. An 
 extensive landscape is seen through trees. Background a wooded 
 landscape. 
 
 Panel, 10; x 42^ inches. 
 
 14 1. The Rape of Europa. In the centre, Europa, assisted by her attendants 
 
 to mount the bull, which she is crowning with a garland. A kneeling 
 figure is gathering flowers; other figures to the right. A herd of 
 cattle in the distance, to the left. 
 
 Panel, 1OX42J inches. 
 
 142. The Triumph of Chastity. The figure of Chastity seated in a triumphal 
 
 car drawn by unicorns. Love is bound in front of the chariot. 
 Landscape background. 
 
 Panel, 9; x 301 inches. 
 
 On either side of the large composition, two small panels with 
 representations of female figures holding mirrors. 
 
 Small panels: left, 91x41 inches; right, 95 x41 inches. 
 
 SEBASTIANO DEL PIOMBO. Sebastiano Luciani, called Sebastiano del 
 Piombo. Venetian School. Born at Venice, 1485; died in Rome, 
 iS+7- 
 
 143. Portrait of a Lady as Santa Lucia. She wears a Roman headdress, a pp. 49, jo. 
 
 robe of a shade of golden brown, and a mantle of palest pink. In her 
 o 2 
 
lOO 
 
 INVENTORY 
 
 right hand she holds a silver cup, in which her eyes are reflefted. 
 
 Green curtain in the background. 
 
 30^- X 23 inches. 
 
 TINTORETTO. Jacopo Robusti, called II Tintoretto. Venetian School. 
 
 Born at Venice, 1516; died there 159+. 
 
 144. Portrait of a Young Man. He is seen standing to the left, clad in 
 
 black and wearing a lace-edged ruff; his right hand extended, his left 
 on his sword-hilt. In front of him a table with a red cloth, to the 
 right, a dark curtain with gold fringe. 
 
 Canvas, 401x30 inches. 
 
 145. Portrait of a Venetian Senator. He is seen standing clad in his robes p. 46- 
 
 of office, behind him a dark green curtain. To the left, through an 
 open window, a view of the sea with islands in the distance, perhaps 
 an allusion to the fad that he was the governor of one of the jTgean 
 islands. 
 
 Canvas, 47x39; inches. 
 
 146. Portrait of a Venetian Senator. Standing in his robes, his right hand 
 
 extended showing the palm. Dark gray background. 
 
 Canvas, 44x37; inches. 
 
 VECCHIA. Pietro della Vecchia. Venetian School. Born at Venice, 1605; 
 died there 1678. 
 
 147. Portrait of a Man. Seen in profile to the right, wearing a cap and a 
 
 dark doublet with white sleeves. Gray background. 
 
 Canvas, 25 x 19; inches. 
 
 VERONESE (?). Ascribed to Paolo Caliari, called Veronese. Venetian School. 
 
 1528-1588. (More probably by a painter conneded with Parmegia- 
 nino.) 
 
 148. Portrait of Alessandro Alberti with his Page. Standing figure clad in pp. 4'. 48- 
 
 an elaborate and close-fitting costume of white and red silk, resting his 
 right hand on a table on which lies a letter inscribed “ Alessandro 
 Alberti I’anno XXX della sua eta Paolo Cagliari il ritrasse nel 1557. 
 
 In Venetia.” A young page in a yellow suit is about to complete the 
 toilet of his master. 
 
 Life size to the knees. 
 
 Canvas, 48 X40 inches. 
 
INVENTORY 
 
 lOI 
 
 VENETIAN SCHOOL. Late XVI century. 
 
 149. Five Figures, two of whom are in armour, are seated in the foreground; 
 a third is curiously attired in a white linen cap and shirt. In the 
 distance a fortified town, with a hill in the background. In the middle 
 distance a man on horseback and other figures. 
 
 Panel, 25x30 inches. 
 
 VI. GERMAN SCHOOL 
 
 BRUYN. Bartholomaus Bruyn. School of the Lower Rhine. Born at Wesel, 
 1493; died in 1555. 
 
 150. Portrait of a Gentleman. He is seen standing to the right, clad in 
 
 black with a black cap; his left hand in his girdle, his right holding 
 his gloves. Green background. In the upper left-hand corner is a 
 black shield with the letters P. G. and cipher 1 M in white. 
 
 Panel, 18x13 inches. 
 
 UNKNOWN. German School. XVI century. 
 
 1 5 1. “ Der Her von Fro.” Portrait of a gentleman wearing a black velvet 
 
 cap; a black doublet, fur cloak and white ruff. Round his neck, 
 hanging from a ribbon, a small gold medallion portrait surmounted by 
 a crown. Gray background. 
 
 Panel, 231x18 inches. 
 
 The inscription “ Der Her von Fro ” is probably a later addition. 
 
 MINIATURE PORTRAITS IN OIL 
 
 FLEMISH AND DUTCH 
 
 BISET. Karel Emmanuel(.?) Biset. Flemish School. Born at Mechlin, 1 633 ; 
 died at Breda, 1680. 
 
 J', 166. Bust Portrait of a Man. Dark curly hair. He wears a light blue p, 28. 
 
 mantle and lace tie. 
 
 Oval, 3 |x 2 v inches, copper. 
 
102 
 
 INVENTORY 
 
 FLEMISH SCHOOL. XVII century. 
 
 167. Portrait of a Lady. With curly auburn hair, wearing a red dress and p. 28 
 
 large lace collar fastened with a jewel; pearl ornaments in her hair. 
 
 Signed w_. 
 
 Copper, 2 |x2t inches. 
 
 JANSENS. Cornelis Jansens (or Jonson) van Ceulen. Dutch School. Born 
 in London, 1593; died at Utrecht, 1664. 
 
 1 68. Bust Portrait of a Man. In armour, with long fair hair. He wears a 
 
 white collar over his armour. Brown background. 
 
 Copper, 3|x 2} inches. 
 
 MIERIS. Frans Van Mieris the Elder. Flemish School. Born at Delft, 
 1595; died at Leyden, 1681. 
 
 J i6g. Bust Portrait of a Man. He has a mantle over his left shoulder, and p. 28 
 slashed sleeves. Brown background. Painted c. 1665. 
 
 Circular, diameter 4 inches, copper. 
 
 POURBUS. Franz Pourbus the Younger. Flemish School. Born at Antwerp, 
 1569; died in Paris, 1622. 
 
 170. Bust Portrait of a Lady. Seen in full face wearing a large white ruff; 
 
 red background. Perhaps a member of the Medici family. In turned 
 ivory frame. 
 
 Oval, 2 yx li inches. 
 
 UNKNOWN. Dutch School. XVII century. 
 
 1 71. Small Bust Portrait of a Man. Said to represent Admiral Van Tromp 
 
 (1599-1653). 
 
 Oval, If X i| inches. 
 
 VOIS. Ary (Arie) de Vois. Dutch School. Born at Utrecht, 1 63 1 ; died at 
 Leyden, 1680. 
 
 172. Portrait of a Lady. Clad in a dress of gold brocade cut low at the 
 
 neck; her hair, which is adorned with pearls, falling over her shoulders; 
 her bodice studded with gems, a large pear-shaped pearl in the 
 centre. 
 
 Oval, 2J X 2f inches. 
 
INVENTORY 
 
 103 
 
 ENGLISH 
 
 IN THE STYLE OF COOPER. XVII century. 
 
 173. Stuart Portraits. James I, Mary Queen of Scots, Charles II and 
 James II, set in tortoiseshell with the Royal Crown in the centre. 
 Odagonal frame with rope pattern design in gold. 
 
 BONE. Henry Pierce Bone. Born 1779; died in London, 1855. 
 
 - I 74 " Enamel portrait of the Duchesse de Fontanges; copied by Bone from the 
 original in the colledlion of Lord Spencer. Tortoiseshell frame. 
 
 ENGLEHEART. George Engleheart. Born at Kew, 1750; died at Black- 
 heath, 1829. 
 
 175. Portrait of a Lady. She wears a lavender-blue dress with white fichu 
 
 and sleeves. Powdered hair dressed high and falling in curls over the 
 shoulders. Background of sky. At the back hairwork adorned with 
 pearls. 
 
 PLIMER. Andrew Plimer. Born at Wellington (Shropshire), 1763; died at 
 Brighton, 1837. 
 
 176. Portrait of a Young Man. With dark eyes and long hair slightly 
 
 powdered; he wears a blue coat with black collar and white stock. 
 Background of sky. 
 
 177. Portrait of a Lady. In a white dress, cut low at the neck, with high 
 
 waist line; brown curly hair and dark gray eyes. Background of sky. 
 Companion to the preceding. 
 
 RAEBURN (ascribed to). Sir Henry Raeburn. Born at Stockbridge near 
 Edinburgh, 1756; died there 1823. 
 
 178. Sir John Courteney Honywood. As a boy standing in a garden leaning 
 
 his arm on a large marble vase. He wears a gray-blue coat, and holds 
 a hunting crop in his left hand. 
 
 SMART. John Smart. Born 1746; died in London, 1 8 1 1. 
 
 179. Portrait of a Lady. With blue eyes and curly brown hair. She wears 
 
 white with a knot of blue ribbons on the frill of her bodice. Back- 
 ground of sky. 
 
 Signed J. S. 1791 I. (India). 
 
104 
 
 INVENTORY 
 
 UNKNOWN. XVIII century. 
 
 i8o. Portrait of a Young Girl. With blue eyes and fresh complexion, 
 dressed in white and looking towards her right shoulder. Background 
 of sky. 
 
 Frame set with pearls. 
 
 FOREIGN MINIATURISTS WORKING IN ENGLAND 
 
 K.VUFFMANN. Angelica Kauffmann. Born at Chur, 1741 ; died in Rome, 
 1 807. 
 
 1 8 1. Bust Portrait of the Artist by herself. She wears a light-coloured 
 
 dress cut low at the neck and turns her head to look over her right 
 shoulder. Her hair is bound with a fillet of pink ribbon. Background 
 of sky. 
 
 Circular. 
 
 MEIER. Jeremias Meier (Meyer). Born at Tubingen, 1735; died at Kew, 
 1789. 
 
 182. Portrait of the Duke of Marlborough. In armour, wearing a full- 
 
 bottomed wig and the Chain and George of the Garter. Gray back- 
 ground. 
 
 Signed, Meier. 
 
 PASTELS 
 
 FRENCH SCHOOL. XVIII century. 
 
 190. Portrait of a Young Lady. In a gray dress, the sleeves and stomacher 
 
 adorned with lace. Her arm rests on a red cushion, a green paroquet 
 is perched upon her left hand; the right is raised. Cornflowers in 
 her hair. Gray background. 
 
 23x191 inches. 
 
 ROSALBA (ascribed to). Rosalba Carriera. Born at Venice, 1675; died 
 there 1757. 
 
 191. Portrait of a Boy. He is seen nearly in full face to the right, in a blue 
 
 coat; long hair tied with a ribbon. Blue-gray background. 
 
 19x15 inches. 
 
INVENTORY 
 
 105 
 
 192. Portrait of a Young Girl. Seated, to the left, her head turned towards 
 
 the speftator. White dress, cut low at the neck, and rose-coloured 
 mantle. A bunch of flowers in her right hand. Blue-gray background. 
 19x15 inches. 
 
 193. Portrait of a Gentleman. Bust, to the left, his head turned towards 
 
 the speiftator. He wears a gray coat and cravat and a blue-gray cloak 
 thrown over his shoulders. Gray background. 
 
 19x15 inches. 
 
 UNKNOWN. English School (?), XVIII century. 
 
 194. Portrait of a Lady. Bust, to the left. She wears a pink dress, and 
 
 black mantilla ; a black ruche round her neck. Her hair is tied with 
 a black and white ribbon. Landscape background, with dark sky. 
 24x1 yJ inches. 
 
 195. Portrait of a Young Girl. Seated, to the left, the head turned to the 
 
 right. She wears a white dress with yellow sash, and pearl ornaments 
 in her dark hair. Blue-gray background. 
 
 2 ly X 1 8 inches. 
 
 ig6. Portrait of a Child with Fair Hair. Bust, to the right. She wears a 
 violet-coloured frock. Gray background. 
 
 I3|x II inches. 
 
 197. Portrait of a Young Lady. Bust, to the left. She wears a gray cloak, 
 
 shot with pink ; her hair is tied with a pink ribbon fastened under the 
 chin. Dark gray background. 
 i6tx 12; inches. 
 
 198. Pastel Copy of the Portrait of Miss Haverfield, from the pidlure by 
 
 Gainsborough in the Wallace Colleftion. 
 
 43x33 inches. 
 
 p 
 
ANTIQUE BRONZE 
 
 
 201. Venus. Nude, standing figure, with a diadem in her hair; extending 
 the right hand. 
 
 Height, 5 inches. 
 
 ITALIAN BRONZES OF THE RENAISSANCE 
 
 1. FLORENTINE SCHOOL 
 
 GIAN BOLOGNA, jean de Boulogne, called in Italy Giovanni da Bologna 
 or Gian Bologna. Born at Doiiai, 1524; died at Florence, 1605. 
 
 202. The Bather. Nude, standing figure, resting her left foot on a pedestal ; p. 67. 
 
 with her left hand she holds a drapery against her breast. 
 
 Examples of this small bronze figure are frequently met with. 
 
 Height, io| in. 
 
 203. Susanna. Nude, crouching female figure looking upwards with an p. 67. 
 
 affrighted expression and raising her left hand. 
 
 Height, 4 inches. 
 
 204. Morgante. The dwarf at the court of Cosimo I, Grand Duke of Tuscany, p. 67. 
 
 Nude, standing figure, holding in his left hand a crooked staff, in his 
 right hand a long pipe through which he blows. 
 
 Height, 5 in. 
 
 Several replicas of this figure are known, displaying slight differ- 
 ences such as the substitution of a cup for the pipe. 
 
 205. The Bather. Nude, standing figure, about to extradl a thorn from her p. 67. 
 
 right foot, which she rests upon a triangular pedestal. 
 
 Height, 4| in. 
 
 206. The Rape of Deianira by Nessus. The Centaur holding on his back the p. 68. 
 
 struggling Deianira. 
 
 Height, 1 8 inches. 
 
INVENTORY 
 
 107 
 
 AFTER GIAN BOLOGNA. 
 
 207. Nessus and Deianira. The Centaur, struck by the arrow of Hercules, p. 68. 
 
 falls, holding on his back the lamenting Deianira. 
 
 Height, 8; in. 
 
 208. The Rape of Deianira by Nessus. The Centaur has seized the nude p. 69. 
 
 and struggling Deianira with both arms and holds her aloft. 
 
 Height, 10 inches. 
 
 209. Nessus and Deianira. On the back of the Centaur is seated the nude p. 69. 
 
 figure of Deianira, her left arm resting upon the shoulder of the 
 Centaur, who clasps her hand, turning his head towards his right 
 shoulder. (Probably Venetian.) 
 
 Height, 7I- inches. 
 
 210. Mercury. After the celebrated original in the Bargello, Florence. p. 67. 
 
 Height, 12; in. 
 
 IMITATORS OF GIAN BOLOGNA. 
 
 2 1 1. Christ at the Column. The body bent forward, the head turned p. 69. 
 
 towards the left shoulder, the hands crossed behind the back. 
 
 Height, 6| inches. 
 
 Portion of a well-known composition; a complete group is at 
 Vienna. 
 
 212. Lucretia. Full-length nude figure plunging the dagger into her breast 
 
 and holding a small drapery with her left hand. 
 
 Height, 6 inches. 
 
 213. The Bather. Nude female figure standing on her left leg and leaning p. 67. 
 
 her right foot against a high pedestal as she extrads a thorn from the 
 sole with her right hand, while she supports the ankle with her left. 
 
 Height, 4.; inches. 
 
 Fuller in form than No. 205, but otherwise almost identical. 
 
 IMITATOR OF GLAN BOLOGNA. (Probably Francavilla. Pierre Franche- 
 ville, called Francavilla. Born at Cambrai, 1558; died in Paris, c. 1618.) 
 
 214. Venus. Full-length figure resting her left foot on a dolphin and looking 
 
 down over her right shoulder. Nude, except for a small drapery which 
 she draws round the lower part of her body and throws over her left 
 p 2 
 
io8 
 
 INVENTORY 
 
 knee. Her hair is dressed high at the back and bound in front with 
 a fillet. 
 
 Height, 27 inches. 
 
 FLEMISH IMITATORS OF GIAN BOLOGNA WORKING IN 
 FLORENCE. 
 
 215. The Bather. Nude female figure, seated on the stump of a tree which 
 
 is covered with drapery, turning and taking her right foot in her right 
 hand. 
 
 Height, 5|- inches. 
 
 216. Pacing Horse. Moving to the right; small head, long mane and tail. 
 
 Height, 12 inches. 
 
 CELLINI. Benvenuto Cellini. Florentine School. Born in Florence, 1 500; 
 died there 1572. 
 
 217. Adam. Full-length nude figure, the head turned and looking towards 
 
 the right shoulder, the left foot raised on a stone, the right planted on 
 the ground. Pendant to a figure of Eve by the same master. The 
 circular base rests on a triangular stand which is supported on winged 
 heads and scroll feet. 
 
 Height, 10 inches. 
 
 FLORENTINE SCHOOL. XVI century. Ascribed to Tribolo (1476-1 550). 
 
 218. Model for a Fountain. Two nude Putti with arms entwined holding 
 
 a goose between them by the neck; the open bill forms the spout for 
 the water. 
 
 Height, io| inches. 
 
 AFTER MICHELANGELO. 
 
 219. Bacchus. Full-length nude standing figure, the head turned towards the 
 
 left shoulder and encircled with a garland of grapes. In the right 
 hand a shell as a drinking cup, held downwards; the left arm is raised. 
 Height, 26 inches. 
 
 UNKNOWN FLORENTINE ARTISTS. Middle of XVI century. 
 
 220. The Startled Boy. Nude boy, his hair bound with a fillet, starts back 
 
 in astonishment at the sight of Cupid, who lies sleeping on the ground, 
 his quiver beside him. In other examples, while the figure of the boy 
 is almost identical, the objed at which he gazes varies, being sometimes 
 a snake and sometimes a flute or Pan-pipes. 
 
 Height, 7i inches. 
 
 p. 67. 
 
 p. 66. 
 
 p. 61. 
 
 pp. 60, 61. 
 
INVENTORY 
 
 109 
 
 / 
 
 221. Cupid standing on a Dolphin. 
 Height, 4: inches. 
 
 Blindfolded, about to let fly an arrow. 
 
 p. 64. 
 
 222. Shell as an Inkstand (gilt). A Triton astride of a dolphin holding a 
 
 shell, which rests on the head of the dolphin. 
 
 Height, 6 inches. 
 
 UNKNOWN FLORENTINE ARTISTS, Late XVI century. 
 
 223. Saltcellar (gilt). Nude youth kneeling on his right knee and support- 
 
 ing a large shell on his back with both hands. Oval base cast with 
 the figure. 
 
 Height, 7I inches. 
 
 Both this composition and a very similar companion piece are 
 frequently met with. 
 
 224. Reproduction of the Venus de’ Medici. 
 
 Height, 2 1 ; in. 
 
 ^ 225. Laocoon Group. Cast with the lower base which is decorated with 
 
 foliage. 
 
 Extreme height with base, 22; in. 
 
 226. Atalanta. In the adl of running, poised on the toes of the left foot, the 
 right leg raised high in the air. 
 
 Height, 16 inches. 
 
 II. PADUAN SCHOOL 
 
 BELLANO. Bartolomeo Bellano. Born at Padua, c. 1430; died there 1490. 
 
 227. David with the Head of Goliath. Full-length standing figure of a 
 
 youth with long hair, wearing a short tunic confined at the waist by a 
 girdle, the sling across his shoulder. He looks down at the head of 
 Goliath, which lies at his feet, and grasps the hilt of his sword, the 
 point of which rests upon the giant’s head. 
 
 Height, gt in. 
 
 RICCIO. Andrea Briosco, called Riccio. Padua, 1470-1532. 
 
 228. Warrior on Horseback. Riding barebacked, clad in antique richly- pp. 55, j6, 
 
 ornamented armour. The horse is a free copy of one of the Greek 
 
1 lO 
 
 INVENTORY 
 
 horses on the fa9ade of St. Mark’s at Venice. Replicas in the collec- 
 tion of Prince Liechtenstein, Vienna; in the Victoria and Albert 
 Museum (Salting Collection), London; and in the Royal Museum, 
 
 Berlin. 
 
 Height, 1 2 inches. 
 
 229. Faun on a Goat. A bearded Faun, holding a ewer in his left hand, is p. ;6. 
 
 seated on a goat, grasping its right horn. 
 
 Another example in the Berlin Museum. 
 
 Height, 7| in. 
 
 230. Faun. With ram’s horns and goat’s legs, moving forward with arms p. 56. 
 
 outstretched. 
 
 Height, 14I inches. 
 
 WORKSHOP OR SCHOOL OF RICCIO. 
 
 231. A Gladiator. Nude, full-length figure, the left arm raised, the right p. 56. 
 
 hand holding some objeCl now missing (originally the figure held a 
 drawn sword and upraised shield). 
 
 Height, 12 inches. 
 
 232. Inkstand. A crouching satyr blowing a long pipe which terminates in a p. ;6. 
 
 head forming a receptacle tor ink; he holds the head between his 
 hoofs. 
 
 Height, 6 inches. 
 
 233. Bearded Head as a Lamp. Head of a satyr, with wide-open jaws sup- p. ;6. 
 
 ported on a gryphon’s claw, which forms the stem of the lamp ; a 
 handle is affixed to the back of the head. 
 
 Height, 8 inches. 
 
 234. Sea Monster attacked by a Serpent. A shell on the tail is intended for p. 56. 
 
 ink and a second shell, held between the front fins, forms a receptacle 
 for sand. 
 
 Height, 6 in. 
 
 235. Lamp. A pelican tearing its breast with its beak. On its back, between p. 57. 
 
 the wings, a cavity forming a lamp, the body of which is decorated 
 with a fantastic dolphin’s head terminating in a funnel-shaped snout, 
 designed to hold the wick. 
 
 Height, 4; inches. 
 
INVENTORY 
 
 III 
 
 J . 236. Double Lamp. Two grotesque heads united at the back, resting upon p. 57. 
 
 foliage which springs from a vesica-shaped base. On the top, at the 
 jundfure of the heads, a cavity formed the receptacle for the oil, and 
 the open jaws with protruding tongue held the wick. 
 
 Height, 2 t inches ; length, 7 inches. 
 
 , 237. Inkstand. Recumbent human-headed sea-monster, with a shell on its p. 57. 
 
 tail for ink. It raises its head and looks upwards with an expression of 
 pain. In a complete example in the National Museum, Florence, 
 Neptune stands on the back of the monster. 
 
 Height, 4| inches; length, gt inches. 
 
 . 238. Two-handled Bowl on Foot. The body decorated with arabesques, the p. 58. 
 foot gadrooned. 
 
 Height, gT inches; diameter, ii‘ inches. 
 
 UNKNOWN PADUAN ARTISTS. Late XV or early XVI century. 
 
 23g. Mortar. Adorned with a decorative design terminating in dolphins’ 
 heads and alternating with equestrian figures in the style of Riccio, 
 and other subjedls. Bright brown patina. 
 
 Height, 51 inches; diameter, 6} inches. 
 
 240. Marcus Aurelius. In his left hand a cornucopia, designed to hold a p. 58. 
 candle-socket (now missing); on the bronze stand a shell for ink. A 
 free copy of the well-known Roman equestrian statue. 
 
 Height, 8 inches. 
 
 . 241. Spinario. a youth bending forward and extrading a thorn from his left p. 58. 
 foot, which he rests on his right leg. A free copy of the antique. 
 
 Height, 2 t inches. 
 
 242. Spinario. Nude youth seated on a dwarf column with circular base, his p. 58. 
 right leg crossed over the left, about to remove a thorn from his foot. 
 
 A free copy of the well-known antique. 
 
 Height, 8 inches. 
 
 Numerous small replicas of similar charader, dating from the XV 
 and early XVI centuries, are known. 
 
 ^ - 243. Germanicus C.ESAR. In classic attire, his right arm extended, his left p. 58. 
 
 hand holding some objed now broken. The base decorated with reliefs 
 representing: the Emperor in the Quadriga, inscribed “ Germanicus 
 
I 12 
 
 INVENTORY 
 
 C$sar”; and the Emperor in a chariot drawn by elephants. In front 
 is the inscription: “ signis receptis de victis germanis.” 
 
 Height, 15 inches. 
 
 244. Bust of Julia Faustina. The head of a youthful woman, with wavy p. 59. 
 
 hair, turned slightly towards the left. It bears the inscription, “ Diva 
 Faustina.” Free copy of an antique bust. 
 
 Height, 5 } inches. 
 
 245. Torso of Hercules. Imitation of the Torso of the Belvedere. p. 59. 
 
 Height, y\ inches. 
 
 246. Hercules resting, leaning on his Club. On an elegant bronze base of p. 59. 
 
 the middle of the XVI century. Free copy oi the well-known antique, 
 the most famous example of which is the Farnese Hercules. 
 
 Height, 10 inches. 
 
 247. Hercules with the Apples of the Hesperides in his left Hand. Standing p. 59. 
 
 figure, turned to the right and grasping his club with his right hand. 
 Height, 13 inches. 
 
 248. Mercury as God of Commerce. Full-length nude figure holding a bag 
 
 of money in his left hand and some objed:, the purpose of which is 
 not clear, in his right. Charaderized as Mercury by the wings on his 
 head. 
 
 Height, 9I inches. 
 
 249. Lamp. Satyr standing on a triangular base and supporting on his head a 
 
 shell, designed to hold a lamp; a bunch of grapes in his left hand. 
 
 Height, 10 inches. 
 
 250. Double Lamp. The lamp, boat-shaped, decorated with oak-leaves, stands 
 
 on a high tripod with slender feet terminating in lion’s claws. The 
 whole is surmounted by a small figure of Jael. 
 
 Height, 1 1 j inches. 
 
 251. Inkstand. Three-sided, supported on lion’s claws. Each panel contains 
 
 ^ a dancing figure — Pan, Bacchus, and a Bacchante — a form of com- 
 
 position derived from the reliefs on a classic sarcophagus. 
 
 3I inches. 
 
 Standing with raised head and drooping tail. 
 
 5-8 inches. 
 
 Height, 
 
 252. A Greyhound. 
 
 Height, 
 
INVENTORY 
 
 1 1 
 
 3 
 
 III. VENETIAN SCHOOL 
 
 LEOPARDI, Alessandro Leopardi. Born second half of XV century ; died 
 before 1545. 
 
 253. Mortar. Decorated with garlands and suspended trophies. pp. 52, 70. 
 
 Height, 162' inches; diameter, 19 J inches. 
 
 / 
 
 WORKSHOP OF LEOPARDI. 
 
 254. Mortar. Bowl on foot, adorned with garlands; 
 acanthus leaves. 
 
 Height, 5]- inches; diameter, yl- inches. 
 
 handles formed of p. 58. 
 
 255. Mortar. Decorated with animals and with garlands, from which are p. 58. 
 
 suspended masks. The rim is adorned with a palmette design; dolphins 
 form the handles. 
 
 Vase-shaped, height, 6:; inches; diameter, 7 inches. 
 
 OLIVIERI. Maffeo Olivieri of Brescia. Flourished first half of XVI century, p. 61. 
 
 256. The Dancer. A draped female figure of slender proportions dancing, 
 
 her right arm raised high in the air. 
 
 Height, 8^ mches. 
 
 ROCCATAGLIATA (?). Francesco Roccatagliata. Lived in Venice at the 
 close of the XVI century. 
 
 257. Candelabrum. Two winged putti, standing on a six-sided pedestal and p. 64. 
 
 embracing one another, support two large cornucopiae, from which 
 spring prickets for the candles. 
 
 Height, 14 inches to the top of the pricket. 
 
 ^ 258. Group of Children. A nude boy, holding flowers in his left hand, stands p. 64. 
 with his arm round the waist of another boy, who puts his finger on 
 his lips and holds an apple in his right hand. Base, copper-gilt with 
 four sea-horses at the angles. 
 
 Height, 4I inches, with base, 7I inches. 
 
 Q. 
 
14 
 
 INVENTORY 
 
 SANSOVINO. Jacopo Tatti, called Sansovino. Born at Florence, i486; died 
 at Venice, 1 5 70. 
 
 259. The Madonna and Child. Full-length hgure oi the Madonna with the p. 62 . 
 
 Infant Saviour in her arms; the little Sr. John stands beside her with 
 his lamb. Shows traces of gilding. 
 
 Signed, Jac. Sansovini Opus. 
 
 Height, 4J- inches. 
 
 260. Neptune in a Chariot drawn by Seahorses. Full-length nude figure p. 62. 
 
 standing ereft and holding the trident (which is here missing) in his 
 right hand; a spirited figure full of animation and movement. 
 
 Height, 1 2r inches. 
 
 CONNECTED WITH SANSOVINO. 
 
 261. Door Knocker. Two fantastic human-headed creatures with long fish 
 
 ^ • tails curving upwards and serpents coiled round them are held apart 
 
 by a terminal figure. A large mask completes the group and forms 
 the base of the knocker. 
 
 From the door of a Palace at Padua. 
 
 Other inferior examples in the Hof Museum, Vienna, the Kunst- 
 gewerbe Museum, Berlin, and elsewhere. 
 
 Height, I 2 inches. 
 
 VITTORIA. Alessandro Vittoria. BornatTrent, 1525; died at Venice, 1608. 
 '^262. Inkstand. Three seated winged putti support the vessel for the ink, p. 64. 
 which is ornamented with masks; on the cover stands the figure of 
 Hope. 
 
 Height, 1 1 1 inches. 
 
 VITTORIA (ascribed to). 
 
 263. Mars. Full-length figure in classical garb holding a sword and wearing 
 a helmet. 
 
 Height, 2il inches. 
 
 / 264. Bellona. Full-length draped female figure with inverted torch. 
 
 Height, 2 1 1 inches. 
 
 UNKNOWN VENETIAN ARTISTS. XVI century. 
 y 265. Inkstand. In the form of a circular casket elaborately decorated with 
 arabesques and masks, supported on the bodies of three human-headed 
 tortoises. 
 
 Diameter, 6| inches. 
 
INVENTORY 
 
 15 
 
 /^. 266. Candlestick. Nude youth supporting on his head a two-handled vase 
 ^ which formed the socket lor the candle. 
 
 Height, 7 inches. 
 
 ^^^267. Group of two nude Putti. Now adapted as a stand for penholders. 
 Height, 4 inches. 
 
 268. Candlestick. The socket, vase-shaped and ornamented with three masks 
 
 of children; the base is supported on the wings of three Sirens. 
 Height, 7 inches. 
 
 269. Triton. Blowing a shell trumpet which he holds with his left hand. 
 
 Cast in one piece with the circular base. 
 
 Height, 8 inches. 
 
 . 270. Triton. Blowing a shell trumpet. 
 
 Companion piece to the preceding; the shell is held in the right 
 
 hand. 
 
 Height, 74- inches. 
 
 271. Inkstand. A small vase ornamented with three masks, supported by 
 three mermaids resting upon a triangular base. 
 
 Height, 5I inches. 
 
 272. Satyr with Tortoise. The satyr seated, leaning against the tortoise; a 
 
 serpent coiled round his left arm attacks the tortoise in the mouth. 
 Height, 4 inches. 
 
 273. Circular Plaque. Siren holding a fleur-de-lis terminating in a rake 
 
 enclosed in a shield, the form of which is Venetian. 
 
 Diameter, 6^ inches. 
 
 274. Caritas. a female figure holding a child in her arms; a second stands 
 
 beside her looking up. 
 
 Height, 10 inches. 
 
 275. 276. Pair of Candlesticks. Each supported by three winged putti. 
 
 Height, 5 inches. 
 
 277. Rearing Horse. To the right. Only the head and one side are complete, 
 the off side is hollow. 
 
 Height, 8-1 inches. 
 
 0,2 
 
ii6 
 
 INVENTORY 
 
 278. Bell. Bearing a coat of arms and ornamented with birds and garlands 
 
 in delicate low relief. The form of the shield stamps the work as 
 Venetian. 
 
 Height, 5f inches. 
 
 VENETIAN. Late XVI century. 
 
 279. St. John the B.^ptist. As a youth clad in a garment of skins and holding p. 64 
 
 a shell (the baptismal bowl) aloft in his right hand. The Lamb (head 
 damaged) at his left side. 
 
 Height, 181 inches. 
 
 IV. ITALIAN ARTISTS OF THE XV— XVII CENTURY 
 
 ANTICO. Pier Jacopo Alari Bonacolsi, called Antico. North Italian School. 
 Living in Mantua, c. 1500. 
 
 280. Apollo. Full-length figure wearing a mantle, the left arm extended, p - 59 
 
 The mantle, hair, and sandals are gilded. After the Apollo Belvedere. 
 Height, 16 inches. 
 
 281. Venus. Nude standing figure, resting her left foot on the stump of a p. 60 
 
 tree. Her left arm raised, her right resting on her knee. 
 
 Height, 1 1 ,! inches. 
 
 BERNINI. Giovanni Lorenzo Bernini. South Italian School. Born at 
 Naples, 1598; died in Rome, 1680. 
 
 282. Saltcellar (gilt). Youthful Triton supporting a shell on his back to p. 69 
 
 contain the salt. 
 
 Height, 6 inches. 
 
 FEDERICO DA RAVENNA. North Italian School. Early XVI century. 
 
 283. Inkstand. Oblong casket adapted as an inkstand, resting on claw feet p- 5* 
 
 and decorated with masks, arabesques, and acanthus leaves. 
 
 Signed inside the lid, Federicus Ravennas. 
 
 Height, 31 inches; length, 8^ inches. 
 
 MODERNO. North Italian School, c. 1500. 
 
 284. Orpheus charming the Animals. Orpheus, a nude figure seated beneath 
 
 a tree, surrounded by animals and playing the viol. 
 
 Circular plaquette, diameter, 4I inches. 
 
 Erratum. 
 
 281. This is more likely a figure of Atropos (one of the Parc®) with scissors 
 (broken) in her right hand, cutting the thread of life, strained from her 
 left hand. 
 
INVENTORY 
 
 117 
 
 UNKNOWN 
 
 CENTRAL ITALIAN. XVI century. 
 
 285. Female Figure and Unicorn at a Rocky Spring. A youthful female p. 65. 
 
 figure partially draped seated on a rock, holding a tablet. Opposite to 
 her a unicorn with head bent down appearing to strike the rock from 
 which water flows into the trough below. 
 
 A device of the House of Este. 
 
 Height, 8] inches; length, 14 inches. 
 
 NORTH ITALIAN. XVI century. 
 
 286. Candlestick. Nude youth kneeling on his right knee and holding a 
 
 cornucopia for a candle. 
 
 Height, 12^ inches. 
 
 287. Candlestick. Nude youth kneeling on his left knee and holding a 
 
 cornucopia. 
 
 Companion piece to the preceding. 
 
 Height, 12^ inches. 
 
 ITALIAN (probably Florentine). XVI century. 
 
 288. Inkstand. Shell borne by a dolphin, its head supported on a smaller p. 65. 
 
 shell. 
 
 Height, 3 inches. 
 
 289. Group of Venus and Cupid. Nude figure of Venus, seated on a dolphin p. 65. 
 
 and turning sharply to the left; beside her Cupid seated on another 
 dolphin, clasping her hand. Companion piece to an Adonis group. 
 
 Larger examples of both groups are met with in the Vidoria and 
 Albert Museum (Salting Colledlion), in the Von Benda Colledlion, 
 Vienna, and elsewhere. 
 
 Height, 3^ inches. 
 
 290. Cupid and Dolphin (gilt). Cupid seated astride of a dolphin in the adl 
 
 of drawing his bow (now missing). 
 
 Height, including stand, 3^ inches. 
 
 291. Cupid. In the adt of drawing his bow, the quiver suspended from his 
 
 left shoulder. 
 
 Height, 4 inches. 
 
 / 
 
 292. 293. Inkstand and Sand-Box (now adapted as ash-trays). Decorated 
 
 with a design in low relief and coats of arms. 
 
 Height, 3f inches. 
 
ii8 
 
 INVENTORY 
 
 ITALIAN. Close of XVI or early XVII century. 
 
 294. Group of Atalanta and Meleager (?).' Atalanta, a nude female figure, p. 65. 
 
 is seated holding an apple in her right hand and looking up at a youth 
 who bends over her. He wears a broad-brimmed hat and drapery 
 over his shoulders, and a hunting horn slung at his side; a dog lies at 
 his feet; his right arm raised holds a hunting spear, which is missing; 
 on the ground between the two figures is a dead boar. Cupid is seated 
 beside Atalanta stroking a dog. 
 
 ITALIAN. XVII century. 
 
 295. Artemis. Draped female figure in the adf of running, her right hand 
 
 raised, her left holding a broken objedt, probably the fragment of a 
 bow. A hunting knife in a long sheath is suspended at her left side; 
 her quiver hangs on a tree stump near her. 
 
 Height, 18 inches. 
 
 ITALIAN. Middle of XVII century. 
 
 296. Bust of a Man in Armour. His casque and breastplate engraved with 
 
 foliated ornament. On the front of the casque a mask, at the back 
 a feather curling outwards. 
 
 Height, with base, 2 feet. 
 
 ITALIAN (probably Florentine). Second half of XVII century. 
 
 297. Equestrian Group. The Emperor Leopold I, overcoming a Turk; a 
 
 group commemorating the victory of this monarch over the Turks in 
 1664. The Emperor, clad in armour and wearing a laurel wreath 
 upon his long hair, is mounted on a rearing horse. The vanquished 
 Turk lies on the ground at his feet. 
 
 Height, 16 inches. 
 
 ITALIAN. XVII or XVIII century. 
 
 298. Satyr with the Infant Bacchus in his arms. Leaning against a tree p. 59. 
 
 stump round which is twined a vine. After the antique group in the 
 Museum at Naples. , 
 
 Height, 9i inches. 
 
 299. Victory. Draped figure of a winged Vidlory with upraised arms. Free 
 
 copy after the antique. 
 
 Height, 5f inches. 
 
 ^ This group is described in the text as “Venus endeavouring to detain Adonis," but it more 
 probably represents Atalanta and Meleager. 
 
INVENTORY 
 
 I 19 
 
 AFTER THE ANTIQUE 
 FLORENTINE. Early XVII century. 
 
 300. Cymbal-playing Faun. Nude male figure with head bent down and arms 
 
 raised holding the cymbals, his right foot resting upon a small organ 
 which lies on the ground. After a statue formerly in the Medici 
 garden. 
 
 Height, 13 inches. 
 
 ITALIAN. XVIII century. 
 
 301. Apollo Belvedere. Green patina. After the statue in the Vatican 
 
 Museum. 
 
 Height, 13 inches. 
 
 302. Antinous. Full-length nude figure. After the statue in the Naples 
 
 Museum. 
 
 Height, 13 inches. 
 
 303. A Centaur. He holds a branch in his left hand; the Pan-pipes lie on 
 
 the ground between his hoofs. 
 
 Height, y l inches. 
 
 304. Flora. Green patina. Draped female figure holding flowers in her left 
 
 hand, her right extended. A wreath adorns her hair, which is dressed 
 low on the nape of her neck. After a statue at Naples. 
 
 Height, 1 3 inches. 
 
 305. Flora. Female figure, fully draped, holding a wreath in her left hand; 
 
 with her right, which hangs by her side, she slightly raises her drapery. 
 Her head is turned towards her left shoulder. After a statue at Naples. 
 Height, 1 3 inches. 
 
 306. Hermes in Repose. Green patina. Nude figure seated on Mount Ida, his 
 
 right hand resting upon the rock, his left upon his thigh. On his feet 
 are winged sandals, the clasps of which (in the original) pass under the 
 ball of the foot in such a position as to render walking impossible, 
 thus indicating that the artist intended to convey the idea of a flying 
 figure. From the bronze, after Lysippus, in the Naples Museum. 
 Height, 8 inches. 
 
 307. Venus Callipygus. Venus emerging from the bath; she draws a drapery 
 
 across her right shoulder; the lower part of her body, seen from the 
 back, is nude. Her left foot is planted on the ground, the right is 
 
120 
 
 INVENTORY 
 
 slightly raised, resting on the toes. She turns her head and looks over 
 her right shoulder. After the statue in the Naples Museum. 
 
 Height, 13 inches. 
 
 V. FLEMISH SCHOOL 
 
 FIAMMINGO. Franyois Duquesnoy, called Fiammingo. Born at Brussels, 
 1594; died at Leghorn, 1644. Aftive in Rome and Brussels. 
 
 308. Bust of a Weeping Child. Looking upwards, with the eyes full of 
 
 tears. 
 
 Height, with base, i 2 inches. 
 
 309. Infant Bacchus.' In the aft of pouring wine from a ewer into a goblet. 
 
 n/ Height, 5 inches. 
 
 310. Infant Bacchus.' Holding a wine cup and a bunch ot grapes. 
 
 Height, 5f inches. 
 
 UNKNOWN FLEMISH ARTIST. Late XV century. 
 
 . 31 1 . Candelabrum. Two small figures, male and female, in Flemish costume, 
 standing on a branched candlestick holding the sockets. 
 
 Height, 10; inches. 
 
 FLEMISH. XVI century. 
 
 312. Fire-Dogs. Pale bronze. Eagles with outspread wings surmounting 
 richly decorated columns which rest on lion’s claws. 
 
 Height, 3 feet 6 inches. 
 
 VI. FRENCH SCHOOL 
 
 BARYE. Antoine Louis Barye. Born 1795; died 1875. Lived in Paris. 
 
 313. Seated Lion. Turned to the right. 
 
 Height, 1\ inches. 
 
 314. Advancing Lioness. 
 
 Height, 8.1 inches. 
 
 315. Lion and Snake. A lion, crushing with his right paw the body of a 
 
 snake, which hisses at him. 
 
 Height, 105 inches. 
 
 ‘ By an oversight these single figures are referred to in the text as “a group of two children.” 
 
 >. 69. 
 
 ). 69. 
 
 p. 69. 
 
 p. 69. 
 
INVENTORY 
 
 I 2 I 
 
 316. Lioness and Stag. A lioness has seized a stag by the back of its neck, p. 70. 
 
 and drags it down. 
 
 Height, 14 inches. 
 
 317. Lion and Antelope. A lion has sprung upon the back of a young ante- p. 70. 
 
 lope, and is tearing it to pieces. 
 
 Companion piece to the preceding. 
 
 Height, 12 ! inches. 
 
 CLODION. Claude Michel, called Clodion. Born 1738; died 1814. Adtive 
 in Paris and Nancy. 
 
 318. Satyr and Fauns. Seated, holding a dish of fruit in his left hand, which p. 69. 
 
 a little faun leaning against his right knee endeavours to reach; 
 another is playing beside him on the ground. 
 
 Height, 19 inches. 
 
 319. Female Satyr and Fauns. Seated, holding on her left knee a little faun, 
 
 who shows a goblet to another lying on the ground. 
 
 Companion group to the preceding. 
 
 Height, 17J inches. 
 
 PERREAL. Jehan Perreal, or Jehan de Paris. Born at Lyons, 1460 or 1463; 
 died 1529. 
 
 320. Medal. Obverse, Louis XII, King of France (from 1498 to 1515), dated 
 
 1499 - 
 
 Reverse, Anne of Bretagne. First wife of Louis XII (died 1514). 
 Commemorative medal of the marriage of Louis XII and Anne 
 of Bretagne, presented to the Queen by the Consulate ol Lyons, 
 Designed by Perreal, modelled by Nicholas Leclerc and Jehan de 
 Saint Priest, sculptors, and Jehan Lepere, goldsmith.^ 
 
 Diameter, 4^ inches. 
 
 FRENCH. XVI century. 
 
 321. Bell. Decorated with a composition of Orpheus playing a musical 
 
 instrument and surrounded by animals. Dated 1552. 
 
 It bears a coat of arms and the motto: Son. Mot. tenir.” 
 
 Height, 4 inches. 
 
 '■ See L. Torrer, “ Dictionary of Medallists,” vol. iv. 
 
122 
 
 INVENTORY 
 
 BRONZES ADAPTED FOR DECORATIVE PURPOSES 
 FRENCH. Period of Louis XIV. 
 
 322, 323. Pair of Candelabra. Two seated putti, each holding a cornucopia 
 . supporting a five-branched ormolu candelabra. Ormolu base, adorned 
 in Iront with female masks. Figures ascribed to Boulle. 
 
 Height, 3 feet 9 inches. 
 
 FALCONNET. French. Late XVIII century, 
 
 324. Pair of Candelabra in bronze dore. Nude female figure (Venus) 
 
 kneeling with one knee on clouds on which are a pair of turtle 
 doves; she holds with her left arm a cornucopia from which spring 
 lilies and other flowers forming the sockets for the lights, and steadies 
 it with her right hand. On a circular base of red marble and ormolu 
 decorated with a band of foliated ornament d jour on a blue ground. 
 Height, with base, 38 inches. 
 
 325. The Companion Figure supports the cornucopia with her right arm; 
 
 and torch, quiver, and flowers take the place of the doves. 
 
 Height, 37^ inches. 
 
 VII. GERMAN SCHOOL 
 
 SOUTH GERMAN. Second half of the XVI century. 
 
 326. Bell (gilt). Surmounted by a lion supporting an enamelled shield of arms 
 which is protected by a crystal. The body of the bell is decorated in 
 relief with mythological and sacred subjedfs. 
 
 Height, 5 inches. 
 
INVENTORY 
 
 123 
 
 PLASTIC WORKS 
 
 TERRA-COTTA 
 
 MINO DA FIESOLE. Mino di Giovanni da Fiesole. Florentine School. 
 Born at Poppi, 1431 ; died at Florence, 1484. 
 
 401. Madonna and Child. The Virgin, wearing a red robe and blue mantle, 
 
 seated, holding the Child in an upright position on her knee and 
 turning to the right. High relief on a dark background; almost life- 
 size, to the knees. The bracket supporting the framework is formed 
 of a cherub’s head with extended wings. 
 
 2 feet 1 1 inches x i toot 1 1 inches. 
 
 ROSSELLINO. Antonio Gamberelli, called Rossellino. Florentine School. 
 Born 1427; died c. 1479. 
 
 402. Bust of St. John the Baptist as a Child. He wears a red and green 
 
 drapery over his left shoulder; the goatskin shirt is seen over his 
 right. He turns his head smiling towards the left. On the base is 
 inscribed “ loannes est nomen eius.” 
 
 Painted terra-cotta. 
 
 Height, 13 ! inches. 
 
 This little bust formerly adorned the Buck family pew in Bideford 
 Church, Devonshire, where it had been for centuries. According to 
 local tradition it was brought to Bideford by Vice-Admiral Sir Richard 
 Grenville (1541-1591). 
 
 A seventeenth-century inscription on the back attributes the bust 
 to Donatello, but authoritative critics agree that it is undoubtedly the 
 work of Antonio Rossellino and that it displays all the charaderistics 
 of this master, who “ revelled in the presentment of childhood and 
 youth.” 
 
 (See Bode, “ Florentine Sculptors of the Renaissance,” p. 146, 
 ed. 1908, tor an account of Rossellino and his treatment of composi- 
 tions of this description.) 
 
 UNKNOWN FLORENTINE ARTIST. XVI century. 
 
 403. Bust of St. John the Baptist. On wooden base, carved and gilded. 
 
 Height, 1 1 inches. 
 
 p. 50. 
 
 ). JO. 
 
124 
 
 INVENTORY 
 
 VENETIAN. XVI century. 
 
 404. Baldacchino. Gesso duro. Adapted as a chandelier in the form of a 
 garland supporting demi-figures of gods and goddesses. 
 
 WORKS IN MARBLE AND STONE 
 
 ITALIAN. XVII century. 
 
 405. Bust of a Roman Empress. Black marble with alabaster drapery on a 
 
 pedestal of white marble veined with black. 
 
 Height, 2 feet 2 inches. 
 
 406. Bust of a Woman. Wearing drapery over her head, which is slightly 
 
 thrown back, and looking upwards. On a pedestal of black marble 
 veined with white. 
 
 Height, I foot lO-J inches. 
 
 407. Bust of a Boy. In white marble. Said to represent a young Roman 
 
 emperor. 
 
 Height, I 3 inches. 
 
 FLEMISH. Late XV or early XVI century. 
 
 408. The Magdalen. White Caen stone. Full-length standing female figure 
 
 richly attired, wearing a close-fitting cap, from beneath which her 
 hair escapes falling over the nape of the neck, a robe open at the neck 
 and adorned with bands of jewelled embroidery, and a long mantle 
 which drapes her figure; she holds her emblem, the vase of ointment, 
 in her left hand and raises the cover with her right. 
 
 Height, 26; inches. 
 
 FRENCH. XVII century. 
 
 409. Paris. Small life-size. White marble. Full-length figure partially draped 
 
 with a goatskin, leaning against a tree stump, and holding a long 
 staff; the apple in his right hand; his dog beside him. 
 
 Boy, in white marble. Nude child seated on a rock looking down at a 
 bird which is perched on his right knee. He strokes it with his right 
 hand and raises his left; a drapery falls over his left knee. 
 
 Height, lyi inches. 
 
 410. 
 
INVENTORY 
 
 125 
 
 41 1. Bov, in white marble. Nude child seated on a rock resting his right 
 
 hand on the stump of a tree and holding a dead bird in his left. 
 Companion piece to the preceding. 
 
 Height, i']\ inches. 
 
 Each on a modern base of carved and gilded wood. 
 
 412. Boy, in white marble. Nude child seated on clouds, holding a drapery 
 
 and looking towards the right. On a moulded base of dove-coloured 
 marble. 
 
 Height, 20 inches. 
 
 LORTA. Jean Fran9ois Lorta. French, XVIII century. 
 
 413. Bacchante. White marble. Dancing female figure with cymbals; 
 
 partially draped, a leopard’s skin falling over her left arm, her right 
 arm raised above her head. Mounted on a modern green marble and 
 ormolu pedestal. 
 
 Height, 3 feet 2 inches. 
 
 414. Nude Female Figure. A drapery, which she raises above her head, falls 
 
 over her left arm; she holds a small bowl in her right hand. Sandals 
 on her feet; the right foot is raised and thrust forward, the left is 
 planted on the ground. 
 
 Companion piece to the preceding. 
 
 Height, 3 feet 2 inches. 
 
 SOUTH GERMAN (Nuremberg?). Under Italian influence. First half of 
 XVI century. 
 
 415. Orpheus AND Eurydice. Small marble plaque in high relief. Full-length 
 
 nude figures. Orpheus with a dog beside him, turns his head to look 
 at Eurydice, who stands behind him with Cupid beside her. The 
 composition is often met with in bronze plaquettes of the workshop 
 of Peter Vischer. 
 
 6| X 6 inches. 
 
 PLASTIC WORKS IN WOOD 
 
 GERMAN. Early XVI century. 
 
 416. The Magdalen. Carved oak. Full-length figure clad in ample draperies, 
 and holding the vase of ointment. From beneath her headdress, which 
 is bound with jewelled bands, her hair falls in two long plaits over her 
 
26 
 
 INVENTORY 
 
 right arm. A mantle envelops her figure, and a long drapery attached 
 to her headdress hangs down over her left arm. 
 
 Height, 3oi inches. 
 
 GERMAN (School of the Lower Rhine?). Early XVI century. 
 
 417. Madonna and Child. Boxwood. The Virgin standing on the crescent 
 moon holding the Infant Saviour on her left arm, a book in her right 
 hand. Her long hair is covered with a drapery; a low crown adorned 
 with roses encircles her brow. A mantle drapes her figure and falls 
 about her in broken crumpled folds. 
 
 Height, 6| inches. 
 
INVENTORY 
 
 127 
 
 TAPESTRIES 
 
 FLEMISH. Circa 1490. 
 
 424. Large Panel with numerous figures representing scenes from the life of 
 
 Alexander the Great, (Centre and two borders missing.) 
 
 This is the work of Flemish weavers, but tapestries of this class 
 are generally claimed by French writers as being the work of Flemish 
 subjeds of the King of France. 
 
 FLEMISH. Circa 1540-50. Two tapestries of the Months. 
 
 425. July. Harvesting, with a figure of Ceres above. Inscribed “Julius ” and 
 
 “ Rumana Concine.” Border of fruit and flowers with the sign of the 
 Zodiac “ Leo.” 
 
 426. September. Vintage. Inscribed “ Septembre ” with the sign of the 
 
 Zodiac “ Libra.” Border of fruit and flowers. 
 
 The designs are by a Flemish artist (not at present identified) of 
 the first half of the XVI century. They differ from Van Orley’s series 
 of the months known as the “ Chasses de Maximilien ” and from 
 another contemporary series known as the “ Mois Lucas.” The tapestries 
 are fine examples of Brussels weaving. There is evidence that the 
 cartoons were still in use at a later date. A tapestry showing the central 
 part of the ‘‘July ” subjed, with the signs of the Zodiac and allegorical 
 figures around, was shown at the Brussels Exhibition of 1905. (Illus- 
 trated in J. Ddtree, “ Tapisseries et Sculptures Bruxellois,” PI. XXII.) 
 
 BEAUVAIS. XVII century. 
 
 427. Large Decorative Hanging divided into three compartments. One of 
 
 a set made by Philippe Behagle at the end of the century. 
 
 Right side. A servant leading a camel before the throne of a 
 crowned and turbaned monarch, who is seated beneath a canopy. In 
 front of him is a child playing with a lion; a tiger crouches on the 
 ground at the side of the throne. 
 
 Centre. A decorative composition — a vase of flowers and peacock. 
 
128 
 
 INVENTORY 
 
 Above, two winged children balancing on ropes which are suspended 
 from a central ornament. 
 
 Left side. A group of musicians and a rope dancer. Floral 
 decoration above. 
 
 Golden brown ground and conventional border. 
 
 BRUSSELS. XVII century. Three panels of a reduced version of “ The 
 Continents ” woven at the end of the century. 
 
 428. Africa. Figure of a Queen seated in a garden, draped, wearing a head- 
 
 dress of feathers and holding a sceptre. On the right a female attendant; 
 on the left a figure of a negress holding a sheaf of corn in her right 
 hand and a scorpion in her left; a lion at her feet. 
 
 429. Asia. Female figure seated in a garden and holding a sceptre. A second 
 
 figure on the left, crowned with flowers, is seated on a richly caparisoned 
 recumbent camel. On the right a third female figure is descending 
 some steps into the garden and holding out a sceptre. Palm trees in 
 the background and an obelisk on the left. 
 
 430. Europe. A seated female figure richly attired, rests her left hand on a 
 
 lamp which stands upon a small pedestal; her right arm leans upon a 
 table which is covered with a brocaded cloth; books are lying on the 
 ground at her feet. A second figure wearing a red mantle stands beside 
 her holding a sceptre. Background on the right, a renaissance building; 
 on the left a garden with a palace in the distance. 
 
 The floral borders of these tapestries have been adapted for 
 window hangings. 
 
INVENTORY 
 
 129 
 
 CLOCKS 
 
 SOUTH GERMAN. Showing Italian influence. 
 
 435. Augsburg Astronomical Clock. Gilded bronze. The circular plaque 
 \ surrounding the dial is engraved with the points of the compass, the 
 
 names of the winds, etc.; on the reverse are the signs of the Zodiac. 
 The clock stands on a high circular base richly decorated with strap- 
 work partly d jour\ from this rises a baluster-shaped stem adorned 
 with acanthus leaves. The clock is surmounted by a smaller dial of 
 translucent silver enamel, enclosed in a delicately engraved square 
 framework. The whole is crowned by a coat of arms in verre 
 eglomis'e. The arms are those of Johann Friedrich Hund von 
 Saulheim, Grand Prior of the Order of St. John in Germany; Prince 
 of Heidersheim, 1612-1625. The drum and other parts are elabor- 
 ately engraved with strapwork and foliated designs. 
 
 SOUTH GERMAN. Second half of XVI century. 
 
 \436. Augsburg Circular Clock. Copper gilt. Supported by the figure of a 
 Wild Man seated on a dome-shaped stand, richly decorated with an 
 arabesque design. 
 
 437- Augsburg Circular Clock. Similar to the preceding with the exception 
 of the figure of the Wild Man, for which a vase is here substituted. 
 
 SOUTH GERMAN. Middle of XVII century. 
 
 > 438. Turret -SHAPED Clock. Copper gilt. The dome supported by small 
 spiral columns. The base decorated with figures intended to represent 
 the quarters of the globe. 
 
 Height, 20 inches. 
 
 NORTH GERMAN. XVIII century. 
 
 439. Hexagonal Table Clock. Copper gilt. Standing on six claw feet. 
 
 The numerals of the dial in blue and white raised enamel. 
 
 FRENCH. Early XVIII century (Louis XIV). 
 
 440. Boulle Clock. Red tortoiseshell inlaid with brass and richly mounted 
 
 in ormolu. The dial supported by an ormolu group of two draped 
 
130 
 
 INVENTORY 
 
 female figures with Cupid in the centre resting his hands on a globe. 
 The whole surmounted by two cupids. Demi figures of sphinxes 
 support the body of the clock, which is placed on a bracket adorned 
 in the centre with a female mask. 
 
 Movement by Gilles Marie a Paris. 
 
 FRENCH. Early XVIII century. 
 
 441. Vase-shaped Clock. Bronze dore. A movable horizontal dial surrounds 
 
 the body of the vase. Serpents are coiled about the handles; the 
 heads are brought round to the front of the vase, the uppermost being 
 so disposed that the fang points to the hour. The centre of the 
 base is decorated with a small composition in relief emblematic of 
 astronomy. 
 
 442. Ormolu Clock. A recumbent Bacchante holding grapes in her left 
 
 xA hand looks up at a goat surmounting the drum of the clock, which 
 
 is wreathed with vine. An infant Bacchus on the right is gathering 
 grapes. 
 
 Inscribed on the dial : Dubuc le Jeune. A Paris. 
 
 FRENCH. XVIII century. (Louis XV.) 
 
 443. Ormolu Bracket Clock. The dial is placed immediately over the 
 
 bracket; above it trellis work surmounted by a mask; on either side 
 are rams’ heads. The whole is surmounted by a garlanded vase. 
 Inscribed : Viger a Paris. 
 
 FRENCH. Late XVIII century. 
 
 444. Ormolu Directoire Clock, by Molliena. The dial is supported by two 
 
 seated figures representing Sculpture and Painting. 
 
INVENTORY 
 
 131 
 
 ENAMELS 
 
 VENETIAN. XVI century. 
 
 447, 448. Candlesticks. Pair of pricket candlesticks, enamel on copper. 
 Triangular base with a leaf at each corner, above which is a platform 
 supporting the baluster stem which terminates in a spreading grease- 
 pan. The predominating colours are dark blue, green, and white, the 
 whole covered with designs in gilding. 
 
 Height, 21 inches. 
 
 449. Dish. Enamel on copper. The centre, which is raised, bears a coat of 
 
 arms surrounded by a spiral godroon in blue on a white ground, the 
 border having a concave spiral godroon in white on a blue ground, 
 the white covered with a delicate design in gold. 
 
 Diameter, 12 inches. 
 
 450. Monstrance. Enamel on copper. The base, which is broad and spreading, p. 70. 
 
 is of blue enamel and has a knop of copper chased and gilt, on which 
 are eight beads of faceted crystal; above this is a circle of blue enamel 
 surrounded by a wreath of leaves, the outer sides of which are white; 
 each pair of leaves encloses a crystal bead. The whole of the enamel 
 is crowned with an intricate design of gilding; the centre has been 
 filled in with a mirror. 
 
 Height, 18 inches. 
 
 FRENCH. XVI century. Anonymous. 
 
 451. Small Oblong Plaque of Limoges enamel in grisaille, representing a 
 
 Pagan Sacrifice. A seated figure on the left holding the gilt figure of a 
 Winged ViSory; three other figures on the right with a bull being led 
 to sacrifice. In a black enamel frame of later date. 
 
 PIERRE RAYMOND. Flourished at Limoges, 1534-1578. 
 
 452. Small Circular Grisaille Plaquette. Hat ornament, representing a 
 
 combat between horsemen and foot soldiers. 
 
 s 2 
 
132 
 
 INVENTORY 
 
 MISCELLANEOUS OBJECTS 
 
 460. Pierced Gothic Liturgical Double Comb. Boxwood. Adorned with 
 
 small panels on which are represented a doe and a heart transfixed 
 by two darts. Italian, XV century. 
 
 461. Verre Eglomis6. Square glass plaque in ebony frame with a composition 
 
 representing the Rape of Helen (?). Italian, XVI century. 
 
 462. Eglomis^; Picture on crystal. Circular in form representing the Adoration 
 
 of the Shepherds. The plain ground of a brilliant shade of redj the 
 draperies and other details in gold. French, XVI century. 
 
 463. Eglomis^ Picture on crystal. The Adoration of the Magi, surrounded 
 
 by an ornamental border very delicately executed in gold. Octagonal 
 silver-gilt frame with floral design. French, XVI century. 
 
 464. Octagonal Pendant in gold and coloured enamel; pierced frame. On 
 
 one side the Procession to Calvary, superimposed with a small plaque 
 of the Noli me tangere; on the reverse the Betrayal and Agony in the 
 Garden, superimposed with a small plaque of the Crucifixion. Spanish, 
 
 XVI century. 
 
 465. Octagonal Pendant suspended from a fleur-de-lis. Eglomise on crystal 
 
 in blue and black enamel with gold enamel frame. In the centre the 
 Crucifixion with the Madonna and St. John; the sun and moon above. 
 Background of black enamel. On the reverse, full-length figure of a 
 female Saint holding a palm. Florentine, XVI century. 
 
 471. Knife and Two-Pronged Fork in a case, the handles in ivory adorned 
 with a pyramidal group of children holding garlands. South German, 
 
 XVII century. 
 
INVENTORY 
 
 133 
 
 472. Silver-gilt Spoon with ivory handle adorned with the demi figure of 
 
 a winged cupid. The bowl of the spoon is marked “ N ” (Nuremberg). 
 South German, XVII century. 
 
 473. Carving in Narwal horn, coloured and gilt. In the form of a pilgrim’s 
 
 shell, the interior of which is carved with a small relief of the Nativity; 
 over the Dove, which hovers above, is the figure of the Almighty 
 holding the sphere. Spanish, XVII century. 
 
 474. Oblong Ivory Plaque finely carved in high relief representing an eques- 
 
 trian combat; a cross is seen in the sky. The subjedl perhaps intended 
 to represent the Battle of Constantine. Ebony frame. German, 
 XVIII century. 
 
 477. Oval gilt-bronze Medallion Portrait in high relief (ronde bosse) of 
 
 the Emperor Ferdinand I, holding sceptre and sphere. On the plaque 
 forming the background an inscription with the name of the Emperor 
 and the date 1558. 
 
 478. Hilt of a Dress Sword with broken blade richly decorated in the 
 
 baroque style. Gold. French, XVIII century (Louis XV). 
 
 479. Miniature copper-gilt Powder Flask with reliefs of St. George slaying 
 
 the dragon. German, XVI century. 
 
 480. Microscope. Gilt-bronze. Vase-shaped, of slender form, elaborately 
 
 chased and engraved, surmounted by an eagle killing a snake. French 
 style, of the Louis XIV period, but signed Angelo Gozzi feci in 
 Parma 1772, In a walnut case with ormolu mounts. 
 
 Said to have been presented to Marie Antoinette by the City of 
 Parma as a wedding gift. 
 
 Height, 14 inches. 
 
 481. Small flat Case for holding needles, in gilded copper, with niello 
 
 plaques containing small profile portraits of a youth on the one side, 
 and of a girl on the reverse. North Italian, XV century, 
 
 482. Allegorical Group. Small chased silver figure of an Amazon holding a 
 
 broken column and overcoming a prostrate male figure who lies on 
 
INVENTORY 
 
 13 + 
 
 the ground beneath her feet. Mounted on a lapis lazuli base. Part of 
 the decoration of a casket. Late XVI century; probably by Abraham 
 Jamnitzer. 
 
 483. Gold Ring with three intagli on cornelian. Late XVIII century. 
 
 484. Signet Ring. Gold hoop with coat of arms engraved upon a topaz and 
 
 surmounted by a coronet and three feathers; the inner side is of green 
 enamel and chased gold with the interlaced monogram A.B. South 
 German, XVIII century. 
 
 485. Seal. Chinese crystal seal set in virgin gold and engraved with the 
 
 royal arms of England and the initials E. R., which recur also on the 
 inner side; round the eight-sided setting is engraved the motto: 
 “ Dieu et mon Droit.” Chinese ciphers are engraved on the upper 
 part of the setting. 
 
 486. Gold enamelled Book Cover of small dimensions decorated with single 
 
 flowers in enamel, each placed upon a small lozenge. The narrow 
 clasps are enriched with lask diamonds.' German, XVII century. 
 
 487. Tortoiseshell and gold pique Etui, decorated with trophies and coats of 
 
 arms and the royal Spanish crown. French, XVIII century (Louis XIV). 
 
 488. Parcel-gilt Pomander, forming a globe when closed with small panels 
 
 engraved with figures of goddesses. When open, the eight compart- 
 ments, which are engraved with the names of dilferent spices in German, 
 fall apart like the seftions of an orange. South German (Augsburg), 
 XVI century. 
 
 489. Small Knife and Fork in silver and blue enamelled sheath, which is 
 
 decorated with silver portrait heads in relief of women, and with 
 the royal arms of Hungary four times repeated on the blue enamelled 
 ground. The handles of the knife and fork are of blue enamel and 
 silver. 
 
 490. Small pear-shaped Silver Watch in silver case. Dial elaborately engraved 
 
 and protedled by rock crystal. Signed, David du Chemin a Rouen. 
 French, second half of XVII century. 
 
 ' For the “ Book of Hours ” of which this little case formed the binding, see No. 500. 
 
INVENTORY 
 
 135 
 
 491. Large metal gilt Watch in pierced case. The dial engraved with two 
 
 nude figures, male and female, on an arabesque patterned ground. 
 Each figure raises one hand to support a baldacchino and holds in the 
 other a branch of laurel. Inscribed Jacques Bulck. Netherlandish or 
 French, first half of XVII century. 
 
 492. Profile Medallion Portrait of a lady wearing a deep red dress 
 
 embroidered with pearls and open at the neck; on her dark hair a 
 pearl-embroidered cap; round her neck a string of pearls, and on her 
 right shoulder an ornament enamelled in black and white. Low relief 
 in coloured wax on a circular plaque of slate, by Alexander Abondio, 
 who worked for the Emperor Rudolph II in 1606 and later. 
 
 493. Profile medallion Portrait of a bearded man wearing a flat cap, dark 
 
 background. Low relief in wax on a plaque of dark glass. Ebony frame. 
 German, middle of the XVI century. 
 
 Miniatures on Parchment. Fragments cut probably from an antiphonary or 
 choral book. 
 
 494. Three-quarter length Figure of St. James the Great seen in profile 
 and turned towards the right. He holds the pilgrim’s staff in his left 
 hand and a book in his right. Background a low red wall and trees. 
 Above blue sky and stars of gold. Italian, XV century. 
 
 ^495. Three-quarter length Figure of a saint turned towards the left, holding 
 an open book. 
 
 Companion piece to the preceding with a similar background. 
 
 Both in XIX century Florentine frames, in the style of the 
 Renaissance, 
 
 496. Book of Hours. “ Offitium beate Marie virginis.” In Latin. Roman 
 use. Italian (Milan), circa 1500. 
 
 Vellum, 6x4 inches; 173 ff- with 2 ff. additions; 16 lines to a 
 page, in a very clear, large Roman hand; black and red inks; margins 
 wide. 
 
 There are both penwork and illuminated initials; the former, in 
 red and blue, have calligraphic frames and fillings, from which spring 
 
136 
 
 INVENTORY 
 
 lateral flourishes extending in red or violet ink, to the entire height of 
 the page. 
 
 The illuminations include a full page miniature (38 verso) to the 
 Office proper, depicting the Annunciation, in which the Virgin is seen 
 at a ledlern, in a Renaissance loggia with landscape background. The 
 opposite page has an initial and a border of developed Renaissance 
 arabesque, in gold and blue upon a red ground, containing a chamfron 
 shield azure, bearing the monogram IHS in gold, supported by tritons. 
 Similar illuminated initials and arabesque sprays occurring throughout 
 the book are representative of the style employed, of which a very 
 perfedl example may be cited in the Hours of Bona Sforza (Add. 
 34,294) in the British Museum. The small miniatures are less successful. 
 
 At the end of the text is an inquisitor’s certificate by Canon Paul 
 Bon, probably of Venice. On the next leaf is a prayer in a later hand, 
 facing which has been affixed the illuminated arms of the Schnellen 
 family, of Westphalia, probably cut from an Album Amicorum of the 
 XVII century. 
 
 Modern green velvet binding. 
 
 From the colleftion of the Rev. W. Sneyd; sale (Sotheby) 
 18 December 1903, No. 558. 
 
 497. Book of Hours. “ Beatiss. Mariae virg. oh” \sic for Ho(rae) ?]. In 
 Latin. Roman use. Italian (Florence), early XVI century. 
 
 Vellum, 5|x3 inches; 203 IT., 15 lines to a page, in a neat 
 Roman hand, brownish and red inks, with small initials throughout 
 the text in gold upon panes of colour; wide margins. 
 
 After the calendar the six sedtions of the manuscript have each an 
 illuminated first page with an initial and a frontispiece with a large 
 miniature; the borders are of Renaissance arabesque combined with 
 natural flowers relieved by medallions with figures of saints and symbols, 
 etc.; all in colour upon gold. 
 
 The miniatures are : 
 
 The Annunciation (13 v.); Bathsheba leaving the bath (91 v., 
 this probably modern work); Christ raising Lazarus to life, with Mary 
 Magdalen kneeling in the foreground (120 v.) ; the Crucifixion (173 
 V.); the Descent of the Holy Ghost (182 v.); the youthful Christ 
 repairing to the temple (igi v.). 
 
 In the first two borders are the arms : Azure, a double-headed 
 lamb argent, for Alessandri. Bendy counter-embattled gules and 
 argent, for Salviati. There were two alliances between these Floren- 
 
INVENTORY 
 
 137 
 
 tine houses in the early XVI century; the one indicated (by a clue to 
 the name Catherine in the calendar^) is the alliance in 1501 of Carlo 
 degli Alessandri (1482-1562) with Caterina di Giuliano Salviati, who 
 died in 1526." 
 
 The modern binding is of brown calf with clasps, bosses and 
 pointille ornament in gold, black strapwork and inset enamels of the 
 Madonna and Child, and Evangelists. 
 
 On the back are the family insignia in enamel. 
 
 498. Book of Hours. “ Hore beate Marie virg.” In Latin. Flemish, but 
 probably written for N. France (? Rouen use), early XVI century. 
 
 Vellum, 6fx4-f- inches; 151 IF.; 19 lines to a page, in lettres 
 bdtardes^ with a profusion of delicately executed small capitals in 
 grisaille upon red, diapered in gold; line endings, etc. 
 
 The calendar is in gold, red, and blue, the last two colours used 
 alternately; SS. Denis and Nicasius, but no Netherlandish patrons, are 
 given in gold. French diredions are given in the text, R. 86-90 
 verso. 
 
 Each full-page miniature and principal opening section of the 
 MS. has a yellow border strewn with natural flowers (rose, cornflower, 
 pink, pansy, etc.) interspersed with strawberries, birds, small animals, 
 and insedts. 
 
 The miniatures are of a high order of excellence throughout. 
 The painter was an accomplished figure draughtsman; the draperies 
 and accessories are executed with great skill, and the colouring bright 
 and harmonious. 
 
 The principal miniatures are: 
 
 A male donor with St. John Baptist (29 v.). 
 
 A female donor with St. Margaret (3 i v.). 
 
 The Almighty in the burning bush appearing to Moses (36 v,). 
 
 A man in the stocks squeezing the fruit of an overhanging vine 
 into a cup; and an onlooker (46 v.). 
 
 The Sibyl of Tivoli and the Emperor Augustus (56 v.). 
 
 Jacob’s dream (61 v.). 
 
 The Wise Men observing the Star (65 v.). 
 
 Abraham about to sacrifice Isaac (69 v.). 
 
 The Transfiguration (73 v.). 
 
 ' The occurrence in red of “ See. Catherine uirginis ” on November 19. Whereas the calendar has 
 a Franciscan tendency, this is S. Catherine of Alexandria, not the Saint of Siena. 
 
 ^ Another alliance was in 1516 between Girolamo degli Alessandri {1492-1530) and Margherlta di 
 Alamanno Salviati, cousin of the mother of Grand Duke Cosimo I, 
 
 T 
 
138 
 
 INVENTORY 
 
 Bathsheba in the bath (91 v.). 
 
 The Psychostasis (here, the weighing of deeds in the soul’s 
 presence : 1 1 3 v.). 
 
 Coronation of the Virgin (13 i v.). 
 
 Many of the smaller miniatures are of great beauty and in style 
 recall the best South Netherlandish compositions of the latter part of the 
 XV century, e.g., the Madonna (f. 30), the Annunciation (f. 37), the 
 Massacre of the Innocents (f. 77), St. Nicholas and the three children 
 (f. 147), and St. Catherine (f. 149). 
 
 There are no marks by which the original owners (John and 
 Margaret) may be identified. They were apparently wealthy but not 
 noble. 
 
 The binding, of dark blue morocco by Trautz-Bauzonnet, has 
 clasps, gilt tooling, and central ovals with a slightly incorreft rendering 
 of the arms of Bazelaire of Lorraine. 
 
 499. Book of Hours. “ Die getiden van onser liever Vrouwen.” In Dutch. 
 Dutch, late XV century. 
 
 Vellum, 7f X 5! inches; 136 If. ; 22 lines to a page, in a Gothic 
 hand; black and red inks with small initials in gold and blue; ample 
 margins. 
 
 Calendar in black and red. In red are SS. Servaes, Bonifaes, 
 Odulphus, Martin (twice), Lambrecht, Willibrort, etc., bishops; also 
 St. Lebuijn, confessor (twice), etc. 
 
 The illuminations include elaborate borders and initials; the 
 former in most cases crowded with extremely fine renderings of 
 acanthus in vivid reds, blue, gold, pink, etc., akin, for the elasticity of 
 its convolution, to the finest heraldic mantling, and interspersed with 
 natural flowers, monsters, insedls, and animals. 
 
 There are six large miniatures : 
 
 The Annunciation (13 v.); the Crucifixion (43 v.); the Trinity 
 (63 V.); Pentecost (82 v.) ; the Resurredion ot the Dead (108 v.); 
 the Harrowing of Hell (108 v.). 
 
 The smaller miniatures in the initials ate also very successfully 
 rendered in some cases (cf. 28 v. and 72), but in general the borders 
 are the principal feature of the book. 
 
 There is a grotesque element in several places (IF. 87, 88, 90, 
 92) and a gruesome motive in the lower border, f. tog. 
 
 The binding, of calf-covered oak boards with clasps, is con- 
 temporary. 
 
INVENTORY 
 
 39 
 
 500. Book of Hours. “ Officium B. Mariae.” (Office of the B. Virgin for the 
 period from the Feast of the Purification to vespers on the Saturday 
 before the First Sunday of Advent.) In Latin. South Germany 
 (possibly Bohemia), XVII century. 
 
 Vellum, 2-s'X 2-,V inches; comprising 174 ff. script, of which 148 
 are in a remarkably clear and uniform Roman print hand with rubri- 
 cated borders and initials. 
 
 There are three pen-drawings : 
 
 i. The arms of the counts of Waldstein-Warttenberg with the 
 
 order of the Golden Fleece in base and a scroll above 
 inscribed: ill. et. ecce. d. d. max. herr. d. wald. s.r.i. com. 
 {i.e.y “ the illustrious and excellent lord, lord Maximilian, 
 lord [Herr, teutonice ?lord] of Waldstein, count of the 
 Holy Roman Empire”). 
 
 ii. The Virgin and Child. 
 
 iii. St. Barbara (f. 144). 
 
 Blank leaves at the beginning and end of the volume contain 
 dated autographs of German imperial princes of the old Austrian 
 house; of the houses of Prussia, Wurttemberg, etc., the earliest in date 
 being 1631, possibly obituary, and the latest 1880. 
 
 According to a note on the back of the armorial leaf the Count 
 Maximilian von Waldstein was one of the sons of Count Adam 
 (Viceroy of Bohemia, d. 1638). He was Governor of Prague, and 
 was elected to the order of the Golden Fleece by Philip IV of Spain, 
 but, like his father, Maximilian died (1654) ere he had received the 
 insignia of the order. 
 
 The Waldsteins were created Counts of the Holy Roman Empire 
 in 1628. 
 
 For description of gold enamelled cover see No. 486. 
 
 T 2 
 
40 
 
 INVENTORY 
 
 RECENT ADDITIONS 
 
 BRONZE 
 
 VENETIAN. First half of XVI century. 
 
 327. Eros. Full-length standing winged figure, the head turned towards the 
 left shoulder; the left foot is planted on the ground, the right is 
 raised high in the air. He holds his bow against his left side, and an 
 arrow in his upraised right hand. 
 
 Dark patina showing traces of green, suggesting imitation of the 
 antique. 
 
 Height, 1 1 inches. 
 
 PAINTING 
 
 153. Romney. Portrait of Master Thomas Thornhill. Seated to the left, on 
 a stone beneath a tree. He wears a white dress, cut low at the neck, 
 with short sleeves, a broad red sash, and red shoes with buckles; 
 his hair falls over his shoulders. A Pomeranian dog lies by his side. 
 Landscape on the right. 
 
 From the Colleaion of Sir Thomas Thornhill, Bart., formerly in 
 the Colleaion of Mr. Alfred Beit but bequeathed by him to a friend. 
 Engraved as “Rustic Meditation” by James Scott. 
 
 Canvas, 49 x 39 inches. 
 
Note, 
 
 Nos. 70, 58, and 146 no longer form part of the Colle£tion. 
 
 RECENT ADDITIONS 
 
 BRONZE 
 
 VENETIAN. First half of XVI century. 
 
 327. Eros. Full-length standing winged figure, the head turned towards the 
 left shoulder; the left foot is planted on the ground, the right is 
 raised high in the air. He holds his bow against his left side, and an 
 arrow in his upraised right hand. 
 
 Dark patina showing traces of green, suggesting imitation of the 
 antique. 
 
 Height, 1 1 inches. 
 
 PAINTING 
 
 152. Romney. Portrait of Master Thomas Thornhill. Seated to the left, on 
 a stone beneath a tree. He wears a white dress, cut low at the neck. 
 
 PAYE. Richard Morton Paye. English School. Born at Botley, Kent, 
 about the middle of the eighteenth century; died about 1821. 
 
 / 153. Boys playing at Peg Top. 
 
 154. Boys playing at Marbles. 
 
 Both scenes are laid in the cloisters of Westminster School. 
 
 Canvas, 27; by 35^ inches each. 
 
 CUYP. Albert Cuyp. Dutch School. Born at Dordrecht 1620; died 
 there i6gi. 
 
 Y 155. Cavaliers halting outside a Castle. On a height in front of a castle 
 with two turrets two men on horseback, whilst another, dismounted, 
 is seated on the ground, his white horse being held by an undersized 
 man. Another horseman to the right. In the distance a river, beyond, 
 an undulating landscape with windmills. 
 
 From the colledlion of Lord Petre. 
 
 Signed. 
 
 Panel, 23 by 29 inches. 
 
 RUISDAEL. Jacob van Ruisdael. 
 
 156. A Waterfall. In the foreground the water rushes over boulders and 
 stones. In the distance a wooden bridge leads to a cottage amongst 
 trees on the right. Four peasants walking along the hilly path. 
 Canvas, 30; by 23; inches. 
 
MORO. Sir Antonio Moro. Flemish School. Born at Utrecht ijta; died 
 at Antwerp before 1582. 
 
 I 57. Portrait of Ja.s Baptista Castii.an. Probably the mysterious wealthy 
 Italian artist “Jean Baptista” with whom Antonio Moro was at one 
 time associated, and who was the master of Conrad Schot (see Hymans, 
 “ Antonio Moro," pp, 24, 25, and 36-+0), He is seen to the right, 
 his left hand on his sword hik. He is wearing a black velvet cloak 
 with brown fur collar and a buff doublet, over which is a belt, the 
 same that Moro himself wears in his self-portrait painted for Philip II 
 in 1558 or 1559, and which now belongs to Earl Spencer, as well as 
 an order which seems to be the Order of St. James of Compostclla. It 
 is not improbable that this “ Jean Baptista” who, as wc know, had 
 very powerful friends, and was a wealthy man, was given the honour 
 of knighthood. 
 
 From the Clayton colleAion, having belonged about t8oo to 
 Sir Richard Clayton. 
 
 Painted about 1558. 
 
 Panel, 425 by 32J inches. 
 
 BREKELENKAM. Quiryn Brckelenkam, Dutch School. Signed works 
 from 1663 to 1669. 
 
 158. Portrait op a Lady. To the waist. She wears a black corsage with 
 deep white batiste collar. Dark hair with black coif. 
 
 Panel, 6f by 4^ in. 
 
 SIGNORELLI. Luca Signorelli. Central Italian School. Born at Cortona 
 about 14415 died there 1523- 
 
 159. The Holy Family. The Virgin seated with the Christ Child on her 
 knee behind a table, at which is seated the white-robed figure of 
 St. Bernard. He turns to listen intently to the Virgin’s discourse, one 
 hand resting on some sheets of japer. In front, on the table, lie two 
 books. Behind St. Bernard the figure of the aged and bearded 
 St. Joseph. A young man, tonsured and wearing a grey monastic 
 robe, leans over the Virgin’s shoulder, holding a heart in his left hand. 
 The figure appears to represent St. Bernardino of Siena. 
 
 Painted about 1490. 
 
 Circular panel (poplar wood), diameter, 34 inches. 
 
 RAFFAELINO DEL GARBO. Rafiaellino (di Bartolommeo) Capponi. 
 Florentine School. Born ciVm 1476. Died c/rc« 1524. 
 
 160. Portrait op a Lady. She is represented as St. Mary Magdalen in front 
 of a window opening, and wearing a red cloak over a dark blue bodice. 
 Round her neck a scarf is loosely knotted, on the end of which she holds 
 the pot of ointment. Her hair is falling in long golden curls partly 
 covered by a white linen cap and short veil with a slight halo around 
 her head. 
 
 Florentine landscape, woods and water with a small village and 
 church in the middle distance. 
 
 The rays of die godhcail, representing divine grace, in the right- 
 hand corner. 
 
 Panel, 29 by 20 inches. 
 
 This piSure has also been tentatively ascribed to Piero di Cosimo. 
 
 RUBENS. Peter Paul Rubens. 
 
 161 Portrait of a Dominican Monk. A life-size bust of a Dominican priest 
 in front view, turned a little to the left, but regarding the speftator, m 
 a white habit; with dark, short hair, moustache, and beard; greyish 
 background. 
 
 Panel, 2 2i by 18 inches. 
 
 Painted at Antwerp probably soon after his return from Italy, 
 circa 1610. 
 
 WHEATLEY. Francis Wheatley. Born in London 1 747. Died 1801. 
 
 / .6*. T»o young womon, u girl, .nd boy. .lunding u rhO 
 
 back of and around a barrow from which the gingerbread vendor, an 
 elderly clean-shaven man, sells his wares. A dog in the foreground. 
 The background is formed to the left by two round columns of a portico, 
 and the remainder is occupied by the arcaded walls ot a building in 
 late classical style. 
 
 Canvas, 14x11 inches. 
 
 This is the original painting for the rarer of two states of engraving. 
 
 Engraved by Vendramini. 
 
 See Catalogue of Japanese Colour Prints and other Engravings in 
 theColleaion of Sir Otto Beit, Bart. Seftion: “The Cries of London. 
 Introduaion by Lt.-Col. E. F. Strange, and Catalogue No^ta. 
 
 RUBENS. Pp-TER Paul Rubens. 
 
 163 Head of a Man. Life size portrait of the head of a bearded man, 
 evidently in thoughtful mood; he is painted in semi-frontal view turned 
 to the right, reddish beard, black dress with white linen collar. 
 
 From the collection of Dr. von Frey, Paris, and previously Comte 
 Serguiew, Belgrade. 
 
 Painted between 1613 and 1630, 
 
 Panel, 20I by 16; inches. 
 
 Engraved by Paul Pontius. A reproduction of the Engraving is 
 included in “ P. P- Rubens” by Max Rooses (Antwerp, 1892), vol. v, 
 plate 353. 
 
CHISWICK press: CHARLES WHITTINGHAM AND CO. 
 TOOKS COURT. CHANCERY LANE, LONDON. 
 
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