SUPPLEMENTARY CATALOGUE OF THE ADDITIONS TO THB NATIONAL GALLERY, MADE SINCE THE PUBLICATION OF THE 77th EDITION OF THE FOREIGN, AND THE 69th EDITION OF THE BRITISH SCHOOLS CATALOGUES. FOREIGN SCHOOLS. LONDON: PRINTED FOR HER MAJESTY^ STATIONERY OFFICE, AND SOLD AT THE GALLERY. March 1896. Price One Penny. SUPPLEMENTARY CATALOGUE OF THE ADDITIONS TO THE NATIONAL GALLERY, MADE SINCE THE PUBLICATION OF THE 77th EDITION OF THE FOREIGN, AND THE 69th EDITION OF THE BRITISH SCHOOLS CATALOGUES. FOEEIGN SCHOOLS. LONDON: PRINTED FOR HER MAJESTY’S STATIONERY OFFICE, AND SOLD AT THE GALLERY. March 1896. Price One Penny . NOTICE. This Supplement contains descriptions of all those works by the Old Masters which hare been acquired since the issue of the 77th Edition of the Descriptive and Historical Catalogue of the- Foreign Schools Pictures in the National Gallery to the 1st of January 1896. Where these pictures are by Painters previously unrepresented in the Gallery, biographical notices have been added. Where no biographical notice precedes the description of a picture in this Supplement, it will be found in the genera) Catalogue. U 90838. 500.— 9/96. W. 12081. A ( iy ) INDEX TO THE NAMES OE THE MASTERS OF THE PICTURES RECENTLY ADDED TO THE NATIONAL GALLERY, FOREIGN SCHOOLS, ARRANGED ACCORDING TO THE NUMBERS OF THE PICTURES. No. , 1427 Baldung, Hans 1429 Canale, Antonio 1430 Beccafumi, Domenico 1431 Vannucci, Pietro 1432 Da'vid, Gheeraert 1433 Flemish School. 1434 Velazquez 1436 Pisano, Vittore 1437 Barnaba da Modena 1438 Milanese School. 1439 Bmysdaelj&a/omo^ van 1440 Bellini, Giovanni 1441 Vannncci, Pietro 1442 Bakhnizen, Ludolf 1443 Steenwyck, Hendrick 1444 Honthorst, Gerar d van 1446 f Ru y sch > Rachel j No. 1447 Menlen, Adam F. van 1449 der Champaigne, Philippe 1450 de Lnciani, Sebastiano 1451 Berck-Heyde, Gerrit A . 1454 Guardi, Francesco 1455 Bellini, Giovanni 1456 Italian School. 1457 Theotocopnli, Do- 1459 menico Eeckhont, Gerbrand 1461 van den Matteo di Giovanni. 1462 Dubbels, Hendrik 1465 Ferrari, Gaudenzio 1466 Orsi, Lelio *; v ; LIST Or PAINTERS, ARRANGED ACCORDING TO SCHOOLS AND CHRONOLOGICALLY, SIENESE SCHOOL. Beccafumi, Domenico - 1486-1551 SCHOOLS OF LOMBARDY. Ferrari, Gaudenzio Orsi, Lelio Barnaba da Modena (PARMA.) (MODENA.) 1484-1549 - 1511-1587 2nd half of 14 th century. DUTCH SCHOOLS. Honthorst, Gerard van - Dnbbels, Hendrik - Eeckhout, Gerbrand van den Ruysch, Rachel - 1590-1656 1620 P-1676 1621-1674 1664-1750 FLEMISH SCHOOL. Meulen, Adam F. van der 1632-1690 CATALOGUE BAKHUIZEN (Ludolf) (1631-1708). No. 1442. Ships in a Gale. A three-masted vessel and a lugger are running before the wind with shortened sail, in a rough sea, off a hilly coast. In the foreground on the right is a fishing boat brought up in the wind in the act of going about. A large ship is seen on the horizon. On panel, 1 ft. 2f- in. h. by 1 ft. lOf in. w. Lent by the South Kensington Museum in exchange with several others for a collection of water-colour drawings lent by the National Gallery in 1895. BALDUNG (Hans). (1476P-1545.) No. 1427. The Dead Christ ; a Pietd. The figure of our Lord, supported by the Virgin and St. John, is seen at half length above the edge of a red marble tomb ; behind the group stands Joseph of Arimathea. The background is gold with some clouds, from which the Holy Spirit, in the form of a dove, is descending. Below, in small, are kneeling figures of the Donor and his family, with two coats of arms. Signed : — * iefi •' BALDWIN -iSI*. Ou panel 3 ft. in. h. by 2 ft. 10^ in. w. Purchased from Mr. George Donaldson from the interest of the “ Lewis Fund ” in 1894. BARNABA DA MODENA. This artist, as his surname implies, was born at Modena, bub appears to have worked principally in Piedmont and at Pisa, to which latter place he was summoned in 1380 to finish the series of frescoes of the story of S. Kanieri, in tho Campo Santo, begun in 1377 by Andrea di Firenze. In 1364 he had painted the chapel of the Ducal Palace at Genoa ; in 1370 he did a Madonna for S. Domenico at Turin, which is now in the Turin Gallery. In the Staedel Gallery at Frankfort, and in the (Jallery at Berlin, are pictures dated respectively 1377 and 1378 . These are the only dates known in connexion with his career. He does not appear to have finished, or perhaps even worked, on the frescoes of S. Eanieri, as these were afterwards given to another painter ; but there are in the Museo Civico at Pisa two pictures by his hand, taken from churches in that town. Barnaba was one of the good painters of his time ; his colouring is luminous and harmonious, and his Madonnas have much grace and charm.* No. 1437 . The Descent of the Holy Ghost. In a room with a raftered ceiling are seated the Virgin Mary and the Apostles. Their hands are folded as in prayer, and the tongues of flame are on their heads. All have gold nimbi. f The lower part of the picture is occupied by a decorative parapet. In tempera, on wood, 1 ft. 8f in. h. by 1 ft. 7|- in. w. Purchased in London from Mr. C. Simpson in 1895. BECCAFUMX (Domenico). According to Vasari this artist’s name was Mecherino, and he was called Beccafumi after his first patron ; but Mecherino may be merely a diminutive of Domenico. His father, Pacio, ac- cording to the same authority, was a labourer on the estate of Lorenzo Beccafumi, the patron in question, who found Domenico drawing with a stick in the sand and had him educated in art. Another account, however, makes Pacio an artist of some distinction. Domenico was born in the neigh- * See Crowe ancl Cavalcaselle. Hist, of Painting in Italy, Vol. II., p. 220-2, also the Catalogue of the Museo Civico di Pisa by the Cav. J. B. Supino 1894. t It is noticeable that the drapery of the Virgin Mary is treated in the hieratic or Byzantine manner, while that of the Apostles is in the naturalistic manner of Giotto. The same treatment may be observed in a picture by this master in the Museo Civico at Pisa (Room V., No. 6) ; see also the Transfiguration by Duccio di Buoninsegna (No. 1330) in our own Gallery. 3 bourhoocl of Siena in 1486. His style was first formed on Pietro Pemgino, two of whose pictures in Siena he copied. About the year 1510, when the ceiling of the Sixtine Chapel in the Vatican was completed, he went to Eome, and there devoted himself to the study of the works of Michel Angelo and Raphael and of the antique. He was at Siena again in 1512, and became for the time a close follower of Sodoma, who had recently arrived in that city ; at which time he painted the fa$ade of a house belonging to the Borghesi in rivalry with Sodoma, who was executing a similar work for Agostino Bardi. This seems to have made his reputation, as he was soon actively employed in painting altar-pieces for churches, among others one of St. Catherine receiving the stigmata for the convent of Monte Oliveto, which is considered his best work. The frescoes of classical subjects which he painted for the house of Marcello Agostini still remain, and are described at length by Vasari ; he was also employed in the same class of decorative work for a hall in the Palazzo Pubblico. In 1541 he went to Genoa in accordance with a request from Prince Doria that he would execute some paintings for his palace ; but he was never happy away from his native town, and after having done one painting he returned to Siena, stopping, however, at Pisa for a short time on his way home. His last paintings were for the apse behind the High Altar in the Duomo at Siena ; these seem to have occupied him from 1539 to 1544. The works, however, by which he is best known arc the designs in chiaroscuro executed in tinted marbles for the pavement of the Duomo. The first of these was done as early as 1517, and various other portions were carried out in 1521, 1525, 1544, and 1546. Six of the cartoons for these panels and friezes are pre- served in the Accademia aelle Belle Arti in Siena, where are also several of his pictures, including the altar-piece for Monte Oliveto alluded to above. Towards the end of his life he took to sculpture and executed eight angels in bronze for tho Duomo, but died before he was able to complete a further commission for the Twelve Apostles in the same material. His death took place in May 1551 as is proved by an existing document giving the expenses of his funeral. Beccafumi was much influenced by the various painters of his time ; he was an excellent master in perspective, and as has been seen, was, like so many other 4 artists of the Renaissance, sculptor as well as painter. He was a man of retiring habits, and occupied his leisure in cultivating a small property which he possessed outside the gates of Siena. He used to say that he could noc work cut of the air of his native city. No. 1430- Esther before Ahasuerus. This is probably a fantastic treatment of Esther brought before Ahasuerus, or possibly of the visit of the Queen of Sheba to Solomon. Under a dark arched building a female figure with others grouped round her is approaching a seated figure on a throne, and is introduced by a youth standing on the steps. Other figures apparently intended for Orientals follow in her train, and various groups in the forego and point with an appearance of interest to the scene taking place under the arch- way. On the right a lady is emerging from a litter. The background is filled up with isolated buildings and ruins, behind which is seen a river crossed by a bridge with mountains in the distance. On panel, 2 ft. 5 in. h. by 4 ft. 6 in. w. Presented in 1894 by Mr. Geo. Salting. BEX.X.IHI (Giovanni) (1428 P-1516). No, 144:0- St. Dominic. This head is a portrait of a monk in the character of St. Dominic. He wears the Dominican robe and a black skull cap. The right hand, which alone is seen above the red marble parapet, holds the lily and a book in red binding on which is a small white label with the words Sancts Dominies. Behind is a green curtain with a pattern of daisies and red flowers. On the parapet is a cartellino with the name : — IOANTS BELLIN' OP MDXY. and painted on the parapet is the following inscription (much effaced) : — Imago Eratris Theodori Urbinati. * Although this picture hears the name of Giovanni Bellini, Signor Frizzoni is of opinion that it is the work of his brother Gentile. On canvas, '2 ft. h. by 1 ft. 7 in. w. Lent by the South Kensington Museum in exchange with several others fora collection of water-colour drawings lent by the National Gallery in 1895. No. 1455. The Circumcision. The Infant Christ is supported by the Virgin Mother and St. Joseph on a table in the centre covered with a white damask cloth. On the left is the High Priest in a rich cope of white brocade with a broad coloured border of Oriental design, and a veil of a similar character over his head. Behind him a man with reddish hair and beard holds back the cope displaying its crimson lining and the sleeve of the tunic beneath, also covered with rich Oriental embroidery of great beauty of design. To the right is St. Catherine in a dark mantle, with a head-dress of pearls partly seen under a yellow veil which is wrapped round the head and shoulders.* Signed on a cartellino : — | IOANNES „ 1 beluNV £l j In oil, on wood, 2 ft 4^ in. h. by 3 ft. 4 in. w. Presented in 1895 by the Earl of Carlisle. BEKCK-HEYDE (Gerrit Adkiaensz) (1638-1698). No. 1451. Interior of a Church. The nave of a large Gothic church filled with people during sermon-time. The preacher is seen in the pulpit against one of the columns on the right. The women are seated on chairs in the central part of the nave, and the men arc in seats raised in tiers all round ; the men wear their hats. In the foreground are isolated figures. On the left an elderly man warns two children to be quiet. In the centre a boy is caressing a hound to which a woman is directing the attention of child dressed in * Replicas of this picture are to be met with in public fralleries in Italy, and one was exhibited at the Venetian Exhibition at the New Gallery in 1893. The High Priest is jilso to bo found in other Venetian pictures of the same period, generally with the remarkable Oriental embroidery on the cope, as in the Presentation i ti- the Temple by Uissolo in the Venice Academy. An earlier example is in a picture attributed 10 Mansueti in the Museo Civico lit Padua, but in tnio the cope is not embroidered. 6 white and holding a coral and bells. Others stand listening to the sermon. Signed on the pavement : — oj/ernt /S73 - On panel, 2 ft. Of in. h. by 2 ft. 9 in. w. Purchased in 1895 at the sale of Lord Clifden’s pictures. CANALE (Antonio) or CANALETTO (1697-1768). No. 142 .0. Interior of the Rotunda at Ranelagh in London. Showing the orchestra and musicians, and numerous groups promenading. On the back of the original canvas was the following inscription in Canaletto’s handwriting: — Fatto nel “ anno 1754 in Londra per la prima ed ultima volta con agni “ maggior attenzione ad istanza del Cavalier Hollis padrone “ mio stimatiss — Antonio del Canal detto il Canaletto.” The picture having been re-lined in 1850 this inscription was covered up- Engraved by N. Parr in the 18th century. On canvas, 1 ft. 6| in. h. by 2 ft. 5i in. w. Purchased from Mr. Horace Buttery in 1894. CHAMPAIGNS (Philippe de) (1602-1674). No. 1440. Portrait of Cardinal Richelieu. The cardinal in the crimson silk robes of his office with the cross of the Order of St. Louis hung by a blue ribbon round his neck, and wearing a crimson velvet skull-cap, stands as if just risen from the chair of state behind him and about to move forward. His face is turned to the spectator, and he holds up the skirt of his robe with his left hand, showing the crimson cas- sock and white lace-bordered surplice beneath, and in his right hand which is stretched out as if pointing, he holds his scarlet beretta. Behind is a massive curtain of dark material which throws out the figure in bold relief, and beyond is an open arch- way through which is seen part of a terrace with trees and sky behind. The central head in Ho. 798 was evidently used as a study for this picture. Ph. de Champaigne painted several portraits of the great Cardinal. One in the Salon Carre of the Louvre closely resembles this, but there are some differences, notably in the position of the left hand, which is somewhat more constrained in the Louvre picture. 7 On canvas, 8 ft. in. A. by 5 ft, 9 in. w. Presented by Mr. Charles Butler in 1895, by whom it was bought for the purpose at the Lyne Stephens sale. DAVID (Gheeraert) (1450 P-1523). No. 1432 . The Mystic Marriage of St Catherine. The scene is laid in a fenced garden with flowers, surrounded by a walled vineyard, beyond which are seen the buildings of a town. The Virgin is seated in the centre on a Throne covered with scarlet drapery between two columns of red marble. She is dressed in a dark blue tunic lined with fur, and a mantle of the same colour with a narrow border of gold embroidery; behind her hangs a cloth of black and gold brocade. The infant Christ is seated on her knee. He has a coral rosary round His neck, and with His right hand places the ring on St. Catherine’s finger, who, kneeling on one knee, bends forward to receive it. She is dressed in crimson and gold brocade with ermine lining, and wears a beautifully designed crown of gold and jewels. On the right of the picture are seated St. Barbara holding an open book 'in her hands, and St. Mary Magdalene with the vase of precious ointment in her lap. In front of St. Catherine on the left kneels the Canon Richard van der Capelle, the donor of the picture, attired in a furred cassock and a* lawn surplice, and accompanied by his greyhound, on whose collar is a Rhield bearing the canon’s arms. Before him on a floor of rich marble lie a bre- viary of blue velvet and his cantor’s staff*.* In the vineyard is an angel gathering grapes. 4J The details of this picture are carried out with marvellous care and finish, and the whole display s the utmost perfection of execution. On panel, 3 ft. 5£- in. h. by 4 ft, 8§ in. w. This picture was painted for Richard de Visch van der Capelle, Canon and cantor of the Collegiate Church of St. Donatian at Bruges, and adorned the altar of St. Catherine in that church until 1793. It was bequeathed to the National Gallery in 1895 by Mrs. Lyne Stephens. * This staff is surmounted by a group representing the Holy Trinity adored by a monk and a cardinal, and was painted from one of two given to the church of St. Donatian by Canon Nicholas van Bonchont in 1338. The staff was melted down in 1578. It is exactly described in an inventory of the church property of 1539 : “ Duo “ baculi argentei, quibus utuntur domini eantoros in sollennibus festis ; in uno “ illorum est imago Sancte Trin iiatis, et adhuc due adorantium argentei doaurate, “ &c.” See the account of the picture written by Mr. \V. H. James Weale in 1878. at the time that it was exhibited at a loan exhibition in Paris under the namo of Hugo van der Goes, and contributed to the Academy of that year (Vol. XIV., p. 391). See also Mr. Weale’s publication of the inventories of St. Donatian ’s Church in Le lieffroi (Vol. I., p. 337). See also "Gerard David, painter and illuminator,” by the same author in No. 24 of The Portfolio, Dec. 1895. 8 DXJBBELS (Hendrik). But little is known respecting this painter who lived at Amsterdam at the end of the 17th century. There were three artists of the name, Hendrik, Dirk, and Jan, but in what way they were related to each other is unknown. Jan was living in 1715. The initials on the barge-board of one of the boats in the picture mentioned below identify the painter with Hendrik. He was born at Amsterdam in 1620 or 1621.* His interment in the Noord Kerk at Amsterdam on the 9th June 1676 is recorded.f No. 1462 . A Sea-piece with Shipping. Various vessels are distributed over a calm sea„ On the left a barge is lying on a sand bank, with figures grouped about it. Sigaed on the barge-board I. H. D. On panel, 1 ft. Of in. h. by 1 ft. 4f in. w. Presented by Mr. Arthur Kay in 1895. EECKHOXJT (Gerbrand van den). Was the son of a goldsmith of Amsterdam and was born on the 19th August 1621. He was one of the first who entered the School of Bembrandt, and of all the pupils formed in that School Eeckhout was his closest imitator. His first picture was a portrait of his own father the skill of which surprised Bembrandt himself. He was best in portrait, as in his historical and biblical compositions he merged all originality in a close imitation of his master, missing, however, the profound depth of feeling and the poetical imagination which vivifies the work of the great Bembrandt. His works are to be found in most of the principal galleries abroad. He died on the 22nd July 1674. No. 1459 . The Wine Contract. This group represents the four chiefs of the Wine Guild of Amsterdam seated in conversation over some deeds which are * According to Dr. Woerman, see the Catalogue of the Dresden Gallery 1892. t See Oud Holland , Vol. III., p. 141. spread out on a table in the centre. They are all dressed in black, and three of them wear their hats. A pug dog is seated on the floor by the side of the figures on the left. Signed In oil, on canvas, 5 ft. 3^ in. h. by 6 ft. in. w. Purchased of Mr. Martin Colnaghi in 1895. FEBJELAXl! (Gatjdenzio). This most indefatigable painter was born at Yalduggia in the Duchy of Milan, probably about 1481.* He is said by Lomazzo with some probability to have studied under Stefano Scotto, a painter of whom little is known, but who is said by Lomazzo to have excelled in arabesques, in which, however, his pupil Gaudenzio surpassed him. Ho doubt in the early part of his life he was much under the influence of a group of painters working at the end of the 15th century at Yercelli and in the neighbourhood. He began to paint at a very early age, being employed at that time at the Sacro Monte at Varallo, where he was afterwards to give so many and such splendid examples of his talent; but of the numerous works done there at that time but little remains. He frequently signed his works in his earlier years Gaudentius Yincius, it is supposed from the family name of his mother ; this has led to a supposition that there was a painter of that name distinct from Ferrari, and works so signed have been attributed to that unknown artist, f Early in the 16th century Gaudenzio appears to havo gone to Milan and to have come under the influence of Luini, and to have adopted * In the life of Graudenzio Ferrari by Otiuseppo Colombo, from which this short account is mostly derived, reasons arc given tor supposing this the most probable date. ( Vita ed op ere di Gaudenzio Ferrari con documenti inediti, per Giusenne Colombo Bta. Torino. Fr. Bocca, 1881.) t See the work cited above, pp. 41, 42. 10 with snrprising readiness the principles of the new school founded by Leonardo da Vinci. Among works supposed to be - executed during this period of transition from his earlier manner to his full development are four pictures in the Royal Gallery at Turin, and some much injured frescoes in the Cappella della Pieta at Varallo. In 1508-9 he was working at Vercelli, where he produced numerous pictures and frescoes with his usual activity ; amongst them the fresco of the Last Sujpjper in the refectory of the convent of S. Cristoforo, believed to have been painted at this period.* The date of many of these works, however, is difficult to fix, for he was at Vercelli for many years at a later period of his life. A fancied resemblance to the works of Perugino and Raffaelle gave rise to a belief that he was at one time a pupil of Perugino, and to a still more circum- stantial story that he went to Rome and worked with Raffaelle as his assistant in the Vatican and the Parnesina Palace, but the facts advanced rest on no evidence whatever and may indeed be disproved by a comparison of dates, f Gatjdenzio next went to Arona in 1510, where he painted an altar-piece in six compart- ments for the parish church, the contract for which dated February 25th is in existence. The centre compartment of this altar-piece, one of his most beautiful compositions, representing the Nativity with the Virgin adoring the Infant Christ , he repeated with variations more than twenty times, £ and in the course of the two years he spent in the neighbourhood of the Lago Maggiore he did many other works. After this he was again at Varallo, where he acquired a permanent residence, and here received the commission to paint the great wall in the Madonna delle Grazie, which he divided into twenty compartments, with scenes of the Passion, completing the whole work in the years 1512 and 1513. He also covered the roof with the arabesque paintings for which he is so extolled by Lomazzo and Bordiga, those in the chapel of Sta. Margherita being the only ones remaining. In Novara in the next year he painted the ancona of the great altar in S. Gaudenzio, at which time he had as his * This with most of the works mentioned in this account is engraved by Pianazzi in his book Le Ojpere del Pittore, &c., Gaud. Ferrari, disegnate ed incise da Sil- vestro Pianazzi, dirette da Sand. Bordiga, Milano, 1835. t See the work by Giuseppe Colombo, cited above. Chapters IV. and IX. t One of these is in the collection belonging to Capt. Holford in Dorchestei’ House. 11 pupil Guiseppe Giovenone, brother of the better known Girolamo Giovenone.* Prom 1514 to 1526 no certain date can be put to any of his works ; we only kno^ that he was in Novara in 1515 and at the end of 1517 ; and again in 1521, in which year he was also at Yercelli. About 1524 he went to Yarallo, and from that time to 1 528 he painted in the Sanctuary of the Sacro Monte the famous work by which he is perhaps best known, namely, the Crucifixion in the chapel of that name. Here he enhanced the dramatic effect of the great fresco by a group of twenty-three life-sized figures modelled in plaster and coloured by his own hand, which form the foreground to the picture. The other equally famous fresco in the chapel of the Magi, which is treated in the same way with groups of modelled figures, was probably done ten years later. Many works done at Yalduggia. his native place, at this period of his life, are now lost. In the year 1528 he moved to Yercelli, where he remained till 1535 or 1536. Here he painted many important works in the Church of S. Oristoforo, in which he was assisted by Bernardino Lanino, who became his pupil in 1528. In 1535 he went to Saronno, where he painted the dome of the Madonna de’ Miracoli with choirs of angels adoring the Almighty, one of his most exquisite conceptions. It is supposed that he left Yercelli and settled in Milan in 1536 ; it is known that he sold his house in Yarallo in 1539. It is impossible! to enumerate all the works done by Gaudenzio during his life in Milan ; among them is a Last Supper in the church of the Passione ; but the best known is the celebrated but somewhat over-rated picture of the Martyrdom of St ^ Catherine in the Brera Gallery, painted between 1540 and 1545. He went again to Saronno and painted the lower part of the dome mentioned above, and did his last work in the Chapel of Sant’ Anna della Pace in Milan. There is no mention of him after 1545, and he is supposed to have died in 1547, Lomazzo mentioning him as already dead in 1548. Contrary to the statements of earlier writers, who said that Gaudenzio remained a bachelor, he was twice married. * It was falsely asserted, on the strength of an inscription on the back of a picture by Gaudenzio, tnat Girolamo Giovenone was his first master, and the assertion was repeated without inquiry by a host of writers. Giovenone, however, was born 10 or 11 years after Gaudenzio. TJ 90838. ft 12 This great painter, who in the course of his life of 67 years stands almost alone for the immense amount which he produced, is the subject of almost extravagant encomium by Bordiga and Colombo and other writers ; and he cannot be denied great power and facility in combining numbers of figures in vast compositions, and an amazing skill of execution. Besides these he was a master of the higher qualities of expression and of grace, with the charm of varied colour; his angels especially are frequently of exquisite beauty. But a calmer judgment must allow that in these qualities he was excelled by Luini, in whom the feeling for nature is more genuine. Gaudenzio’s grace frequently degenerates into affectation, especially in his figures of old men, who sometimes have the affected airs of girls, and he is too apt to repeat the same faces, as indeed must necessarily be the result of so enormous a facility and fertility in production. His compositions are sometimes overcrowded and confused ; often the draperies are involved and unnatural, and the actions of his figures extravagant to grotesqueness, more especially in his later works, as may be seen in the Martyrdom of St. Catherine referred to above, where the exaggerated attitudes and expressions are enhanced by bad drawing and preposterous costumes, the face of St. Catherine alone having the sweetness which we are accustomed to find in Gaudenzio at his best time. No. 1465* The Resurrection. The figure of our Lord holding the banner in His hand, and with an ample white drapery floating round Him, is rising from the tomb, which is in the form of a sarcophagus of purplish marble. The background is a simple blue sky with mountains low down on the horizon. In oil, on wood, 5 ft. h. by 2 ft. 9 in. zv. This picture formed the centre compartment of an altar-piece in a church at Magianico, near Lecco, on the Lake of Como. It passed from thence to the gallery of the Cav. Scarpa, at Motta, near Treviso. Purchased in 1895 at the sale of the Scarpa Collection at Milan. 13 FLEMISH SCHOOL. XV. CENTURY. No. 14b33» Portrait of a Lady. She wears a transparent starched muslin head-dress which, coming down as low as the eyebrows and covering the ears, yet allows the forehead and ears, and a high cap of gold and white brocade to be seen through its thin texture. She holds her hands folded in front of her and wears a brown cloth dress with dark green lapels, confined at the waist by a leather belt, and open in front to show a crimson velvet stomacher and a white muslin guimjoe. On panel, 1 ft. 2 in. h. by 10f in. w. Bequeathed in 1895 by Mrs. Lyne Stephens. GUARDI (Francesco) (1712-1793). No. 1454=. A Gondola. Sketch of a gondola on the lagoon at Venice, rowdd by two rowers and with a small party sealed in the “ felse.” The shore (probably the Lido) with a tower and indication of other build- ings is seen in the middle distance, and the open sea beyond. On canvas, Ilf in. h. by 1 ft. 5f in. w. Purchased in 1895 at the sale of Lord Clifden’s pictures. HONTHORST (Gerard van). Was born at Utrecht in 1590, and was a scholar of Abraham Bloemart; but his principal studies were at Rome where he completely acquired the style of Michael Angelo da Caravaggio. During his stay in Italy he executed a number of religious works, and decorated with frescoes the Church of Santa Maria della Scala. BLe was called Gherardo della Notte from his pictures generally representing subjects by torchlight. In 1623, on his return to Utrecht, he was electod dean of the guild of St. Luko. In 1628, Hontiiorst passed some time in England and was in favour with Charles I., who employed him n 2 14 to decorate the Palace of Whitehall with allegorical pictures ; he also painted the portraits of Charles, the Queen, and their children, and many of the nobility of the time. On his return to Holland he was commissioned to decorate the Palace of the Hague. In the latter years of his life he devoted himself entirely to portrait painting. Honthorst’s pictures are generally on a large scale, and boldly painted with broad effects of light and shade. He died at Utrecht in 1656. No. Peasants warming themselves. An old man and an old woman are warming their hands over a small fire on which an earthen pot is placed on a trivet. The old man holds a jug in his left hand. The figures are half length of the size of life. On canvas, 3 ft. 2 in. h. by 2 ft. 7f in. w. Lent by the South Kensington Museum, in exchange with several others, for a collection of water-colour drawings lent by the National Gallery in 1895. ITALIAN SCHOOL . XV. CENTURY. No. £45 Virgin and Child with Angels. The Virgin, crowned and in a blue dress lined with white fur through the open sleeves of which are seen the full sleeves of an undertunic of cloth of gold, stands in the centre holding the Infant Christ on her left arm. The Child is also fully dressed in gold tunic and over dress lined with ermine, and He holds up His right hand in the attitude of blessing. Three angels in male costume of the XVth Century stand on each side, and above are two six-winged cherubs drawn in outline only on the gold background. All have nimbi. Below is a portion of the original frame with three small quatre-foil medallions in which are half-length figures of the Saviour, the Virgin Mary, and Saint John. The picture appears to be of the School of Gentile da Fabriano. In tempera, on wood, 2 ft. 9f in. h. by 1 ft. in. w. Presented by Mr. John Postle Heseltine in 1895. 15 LUCXANI (Sebastiano) called SEBASTIAN DEL FIOMBO (1485 ?r-1457). No. The Holy Family. The Madonna in a reddish dress with a white veil over her head and shoulders and a dark blue mantle lined with red over her knees embraces with her left hand the Infant Christ, who with one knee on hers advances the other foot as if to leap to the ground. Her right arm is thrown round the kneeling figure of the donor of the picture. He wears a dark dress and has a dark beard and long dark hair. He crosses his hands in adoration on his breast and looks up to the Infant Saviour with an ex- pression of intense devotion. Behind to the left is St. John the Baptist with the cross leaning against his shoulder, and on the right is St. Joseph asleep. The background is dark. On panel, 3 ft. 2 in. In, by 3 ft. 6 in. w. Purchased from the Earl of Northbrook in 1895. Formerly in the collection of the Senator Cambiaso at Genoa. Later in that of Sir Thomas Baring who purchased it from M. le Brun in 1808 ; he sold it to Mr Coningliam in 1843, from whom it was purchased by the late Mr. Thomas Baring. MATTEO DI GIOVANNI (1435 ?-1495). No. @1- St. Sebastian. The Saint pierced with numerous arrows in the upper part of his body and holding the crown of martyrdom in his right hand and in the left the palm-branch, stands in a picturesque landscape of rocky cliffs between which is seen an open country. Above, two angels place a crown on hi3 head. The panel which is arched above is surrounded by the original gilt mouldings. In tempera, unvarnished, on wood, 4 ft. If in. h . by 1 ft. 11^ in. tv. Purchased in 1895 from Signor Bardini, of Florence. MEULEN (Adam Frans van der). Was born at Brussels on the l'lth January 1632 and was a pupil of Pieter Snaycrs. He early acquired a great facility in painting landscapes, hunting scenes, and. battle pieces. His skill in the latter subjects was the cause of his fortune. Some 16 of his pictures, which had found their way to France, came under the notice of the painter Le Brun who advised Colbert to invite the painter to Paris. Here he was assigned an apartment in the Gobelins, and a salary of 2,000 francs a year. He accompanied Louis XIY. on his campaigns and sketched incessantly the scenes of battles, sieges, and encampments, and from these studies made numerous pictures recording the history of Louis* victorious career in Flanders. He was intimately allied with Le Brun and married his niece in second marriage. Van deb. Meulen’s pictures are faithful renderings of the scenes which he painted, and are treated with much sense of atmosphere and of the picturesque, qualities which were of value, as he was thus able to impart artistic feeling to the great battle scenes and perspectives of sieges with which he had to deal, many of which would have otherwise degenerated into mere formal diagrams and bird’s-eye views. His figures and horses are full of animation ; the latter especially are painted with much skill. He was made a member of the French Academy in 1673 and died at Paris on the 15th October 1690. His works are principally to be fcund in the Louvre and at Versailles. No. 1447 - A Hunting Party. A carriage with six white horses is drawn up at the foot of a rising ground covered with trees. A personage of importance, possibly Louis XIV., is seated at the window of the carriage, and two horsemen approach him hat in hand ; the carriage is surrounded by a suite of persons on horseback and on foot, all bareheaded, and on the right, at the side of the road, is a group of dogs in charge of a hunting valet apparently asleep. An open country with blue distance, and sky with flying clouds form the background. Signed : — A. T*V.M.EVILW.TEC: 1 6 6l- BRVXEL. In oil, on panel, 1 ft. 11 in. h. by 2 ft. *l\ in. w. Purchased in 1895 at the sale of the Lyne Stephens Collection. 17 MILANESE SCHOOL. XVI. CENTURY. No. 1438- Head of John the Baptist. The head of the Saint, of great beauty of expression and features, lies in a dish of white faience standing on a high foot, which is placed on a red marble slab. On the dark background is the inscription in large capitals : — MDXI. II. KL. FEB * On panel, 1 ft. 5-| in. h. by 1 ft. 3| in. w. Purchased in 1895 of Mr. James C. Watt, who brought it from the collection of the late Prof. Geromini of Cremona. Earlier it was in the collection of Cardinal Stoppani of Rome. ORSI (Lelio). Called also Lelio of Novellara in the Duchy of Parma. There still seems to be some question whether he was a native of that town or of Reggio, a neighbouring city. He was probably a son of Bernardino Orsi, an artist known as the painter of a picture still existing in the Duomo at Reggio, and was born in 1511. The earliest record of him is that he assisted in 1536 in decorating some triumphal arches erected in honour of a visit to Reggio of the Duke Ercole Gonzaga £1. Although it is not certain that he was a pupil of Correggio, there is no doubt that he came under his influence, and he is known to have been his personal friend, and to have painted a copy of the celebrated “ La Notte ” by that master. His first work was at Reggio where he was actively employed and painted many pictures and frescoes, recorded by Tiraboschi as existing in his time, but they have since all perished. What was formerly only a matter of conjecture is now proved for certain, that he was banished for some unknown offence from Reggio in 1546, various letters * A Replica of this picture bearing on a curtellino the (late "1511 die 2-t Nov.” is in the Rorromco Collection at Milan. 18 to a cousin having been preserved* in one of which, dated October 18, 1552, he expresses his joy at being pardoned and permitted to return to Reggio. During these years he seems to have resided chiefly at Novel lara, where also he executed numerous works of which, prolific as he was, but few examples remain. It is also said that he was pupil of Michel Angelo, but this is more than doubtful ; it is certain, however, that he went to Rome, possibly during his banishment from Reggio, and certainly later in 1554, and that there he studied the works of Michel Angelo and adopted his style. This is evident from a series of fresco paintings transferred to canvas now in the possession of Frau Gerard of Wiesbaden, widow of the artist of that name, and which are the most important works of Lelio Orsi which remain. They are part of the decorations of the “ Casino di Sopra ”f a villa of the Gonzagas, in the neighbour- hood of Novellara, and consist of allegorical figures combined with architecture and imitation reliefs, which show in a marked degree the influence of both Correggio and Michel Angelo. He lived till 1586, working chiefly, if not almost exclusively, at Novellara. Lelio Orsi was also an architect of distinction, and there is no doubt that he enjoyed a great reputation among the artists of his time. The inscription on his tomb refers to him as “ in Architectura magno, in Pictura majori, et in Delineamentis optimo.” That the name of this active artist has remained obscure is no doubt due, as Lanzi points out, to the fact that his life work was confined to Novellara and Reggio, and that his reputation being therefore almost entirely local, he was unknown to and unrecorded by Vasari, Lomazzo, and other writers. Besides a few pictures in the Gallery at Modena, and the frescoes mentioned above, there is a picture by him at Berlin, and one at Vienna. The small picture mentioned below shows a certain originality of conception, and some influence of Michel Angelo in the types and in the semi-idealized costumes of the figures. * See an article by Francesco Malaguzzi in the Archivio Storico dell Arte for 1891, p. 370. t See an article by Henry Thode in the Archivio Storico for 1890, p. 366, for an account of these paintings, and for fuller details of the life of Lelio Orsi. 19 No. 1466a The Walk to Emmaus. The Saviour and the two disciples /engaged in earnest conversa- tion are walking along a road in a mountainous country. They wear broad brimmed hats. The Saviour is in a white dress, the two disciples are dressed as peasants. A dark sky with black clouds and bursts of light form a picturesque setting to the scene. In oil, on canvas, 2 ft. 3^ in. h. by 1 ft. 9|^ in. w. Purchased in 1895 at the sale of the Scarpa Collection at Milan. PISAN© (Vittore) (1380-1451 or 1452). No. 1436 * The Vision of St. Eustace. The Saint seated on a horse covered with rich trappings sees before him a stag with the crucified Saviour between the horns. The background is a landscape of wood and rocks through which runs a small stream ; over the trees at the top of the picture is seen a lake or marsh. At the foot of the picture a greyhound is chasing a hare and other dogs are following. Various animals and birds are disposed about thq landscape ; prominent among them is another stag on the left, and a bear among the rocks on the right. In the marsh above are aquatic birds. At the bottom of the picture is a scroll, on which no doubt the artist meant to have painted an inscription, an intention which, how- ever, was never carried out. The minute but unobtrusive finish of the picture is astonishing. Of the coats of the horse, dogs, stags, and other wild animals introduced every hair is drawn, and of the wild birds every feather ; nor are they less remark- able for the beauty of the drawing and the admirable character displayed, in vhich it may be truly said that this painter has never been excelled.* Numerous studies of animals of the highest beauty are to be found in collections of drawings throughout Europe, some of them evidently done in preparation for this picture. In tempera, cn wood, 1 ft. 9 in. h. by 2 ft. 1 i in. u\ Purchased from the Earl of Ashburnham in 1895. * Fazio (Facius) the contemporary of Pisano, who so highly extols him, says: “in pingemlis eqnis cseterisque anivnalibus, peritorum judicio caotcros anteccssit.” De Viris illustribus. Florence, 1745, p. 45. 20 HUYSCH (Eachel). The daughter of Frederick Euysch, a professor of anatomy ; she was born at Amsterdam in 1664. At an early age she showed a decided taste for drawing and studied under William van Aelst, a skilful painter of flowers, but soon surpassed that painter in excellence of finish. She was more successful in painting flowers than fruit, and it was in the grouping of rare exotics that she displayed such admirable taste and judgment. She was fond of introducing in her pictures the insects that prey on each particular plant or flower ; and these she depicted with minute accuracy and finish. Eachel Euysch married Jurian Pool, a portrait painter, by whom she had a large family. Continuing to practice her art until she reached ail advanced age, she died at Amsterdam on the 11th of October 1750, aged 86. Her works may be met with in various collections — as at Amsterdam, Berlin, Brussels, Dresden, Munich, and Eotterdam. No. 1445. A Study of Flowers. A bunch of roses and other flowers lying on a table against a dark background. On panel, 1 ft. f in. h. by 10| in. w. No. 1446- A Study of Flowers. The companion picture to the above. A butterfly is settled on one of the leaves of the white rose. On panel, 1 ft. ■§ in. h. by 10|- in. w . Lent by the South Kensington Museum in exchange with several others for a collection of water-colour drawings lent by the Rational Gallery in 1895. RUYSDAEX, (Salomon van) (1600 P-1670). No. 1439- Fishing in the River. On a broad and smooth river, occupying the whole foreground of the picture, is a boat full of men engaged in fishing. The 21 bank of the river, fringed with trees and bushes, trends away to the left in perspective to the distance ; a small stream or canal making an opening in the bank is spanned by a wooden bridge on which are two figures, also fishing. Nearer to the foreground a wayfarer with a bundle and stick lies down to rest. The sky is partly covered with soft grey clouds, and the whole scene gives the impression of a still and peaceful summer’s day. Signed: — On panel, l ft. 2^ in. h. by 2 ft. 1 in. iv. Lent by the South Kensington Museum in exchange with several others for a collection of water-colour drawings lent by the National Gallery in STSENWYCK (Hendrik) Junior (1580-1649?). No. 1443 = Interior of a Church. A view looking up the nave and choir of a large Gothic church. Over the entrance to the right aisle is an organ, and numerous pictures hang on the piers and walls. A funeral service is being celebrated in the nave, and in the foreground to the right two boys with tapers precede a christening procession. A group of women and children is coming away from service on the left, and other figures are walking and standing about the church. Two dogs play in the immediate* foreground. On wood, 1 ft. 2 in. h. by 1 ft. in. w. Lent by the South Kensington Museum in exchange with several others for a collection of water-colour drawings lent by the National Gallery in 1895. THEOTOCOPULI (Domenico) (1548-1625). No. 1457 . Christ driving out the Traders from the Temple. The figure of the Saviour, with raised arm, occupies the centre of the picture. To the left in various attitudes of dismay, the traders in the Temple are carrying away their goods, and on the right are other figures, probably the disciples, who, by their gestures, approve of the Saviour’s action. Through an open 1895. 22 archway in the centre is seen a street with buildings. There is much energetic action with very faulty drawing in the picture. In oil, on canvas, 3 ft. 5^ in. h. by 4 ft. 2-f in. w. Presented by Sir J. Charles Robinson in 1895. VAHMTJCCI (Pietro), called PSB.UG-IHO (1446-1523). No. 1431. The Baptism of our Lord. St. John the Baptist in the centre of the picture is pouring water from a cup on the head of the Saviour, who stands with His feet in the shallow river. Two angels kneel to the right and two to the left ; and behind them again stand four of the disciples, two on each side of the picture. The River Jordan occupies the centre of a landscape of rocks, hills, and dark trees against an evening sky, and winds away to the extreme distance. On panel, 1 ft. f in. h. by 1 ft. 11^ in. w. Purchased in Rome from Mr. Godfrey Kopp, in 1894. No. 1441. The Adoration of the Shepherds. In the centre the Infant Christ lies supported by a cushion on a purple drapery on the open ground. Behind is a shed surrounded by a fence within which cattle are lying. On the right and left kneel the Holy Mother and St. Joseph, and behind them the Shepherds approach with offerings. The background is an open hilly landscape with a few scattered trees, and an angel is seen on each side in the sky. This fresco was removed from the Church at Fontignano in the year 1843, and is said to be the last work of the painter. It was purchased by the South Kensington Museum in 1862 from Mr. W. B. Spence, of Florence. In fresco, transferred to canvas, 8 ft. in. h. by 19 ft. 5f in. u. Lent by the South Kensington Museum, in exchange with several others for a collection of water-colour drawings, lent by the ^National Gallery in 1895. VELASQUEZ (Don Diego de Silya y) (1599-1660). No. A Betrothal. At a table on an elevated platform is seated a cavalier, with long hair, and an aquiline nose, dressed in dark brown cloth, and 23 wearing a mantle on which is the cross of St. Iago. He holds a pen in his right hand, with which he is evidently about to write on a paper lying on a de^k before him. His left hand rests on the shoulder of a child gaily dressed in a scarlet robe adorned with bows of ribbon and lace ruffles. She wears a necklace of pearls, and holds a lace handkerchief in her left hand, while with her right she holds up a rose to some personage in front of her, not in the picture. Behind her, on the extreme right, a duenna or attendant seems to be presenting her to the same unseen personage, and looks towards the gentleman seated at the table who has his head turned to her as if addressing her. To the left, and behind the table, are two young men also looking out towards the unseen person. Below, in front of the platform, the upper part of two figures of the size of life are seen. The one on the right in a black dress, and with large spectacles, appears to be a portrait of the poet Quevedo. He points with his right hand to the scene being enacted above. From behind him springs a lap-dog to bark at a negro who is advancing from the left bearing a basket of fruit. The whole picture is very broadly, and most of it very slightly painted, being hardly more than a bold sketch, and it is apparently only a portion of a larger composition. It seems certain that the scene represents a betrothal.* In oil, on canvas, 6 ft. 7 in. h, by 5 ft. 11^ in. iv. Formerly in the possession of Sif Edwin Landseer, R.A. Presented by Lord Savile in 1895. * The picture was originally entitled c * Signing the marriage contract between the “ Infanta Margarita Maria, daughter of Philip IY. and the Emperor Leopold.” The costumes are not sufficiently magnificent for such an occasion. Lord Savile, in a letter to the Times of the 11th May 1895, gives reasons for supposing that the scene represents the betrothal of Velasquez’s own daughter to the painter El Mazo ; the Knight of Santiago, who is seated at the table, being none other than Velasquez himself ; and that the picture was begun the year before his death— that being the year in which the habit of the Order was conferred upon him— and left unfinished. 24 Lists op Pictures, of the FOREIGN SCHOOLS, purchased POR, PRESENTED AND BEQUEATHED TO, THE NATIONAL GrALLERY ; ARRANGED ACCORDING TO THE ORDER OP THEIR ACQUISITION. Pictures Purchased. No. Subject. Painter’s Name. When acquired. 1427 The dead Christ ; a Pieta - - - Baldung - - - j 1894 1429 Interior of the Rotunda at Pane- 1 Hgh / The Baptism of our Lord - - - Canaletto - — 1431 Vannucci (Peru- \ gino) - - - J — 1436 The Vision of St. Eustace - - - Pisano - - - - 1895 1437 The Descent of the Holy Ghost - Barnaba da Modena 1438 Head of St. John the Baptist - - Milanese School - 1447 The Hunting Party - - - - 1 Meulen, A. F. van! der - - - - j — 1450 The Holy Family { Luciani (Seb. del 1 Piombo) - - j — 1451 Interior of a Church - - - - Berck-Heyde, G. - 1454 A Gondola - Guardi - - - - 1459 The Wine Contract - - - - Eeckhout, G. van 1 den - - - - J — 1461 St. Sebastian crowned by Angels Matteo di Giovanni 1465 The Resurrection Ferrari, G. - - - 1466 The Walk to Emmaus - - - - Orsi, L. - - - - — Pictures of Foreign Schools Presented. No. Subject. Painter’s Name. By whom Presented. When. 1430 Esther before King! Ahasuerus - j Beccafumi - - ^ Mr. George 1 Salting - - j 1894 1434 A Betrothal - - - Velazquez - Lord Savile, ") G.C.B. - -/ 1895 25 Pictures oe Foreign Schools Presented. — continued. No. Subject. Painter’s Name. By whom Presented. When. 1439 Fishing in the River Ruysdael, S. - 1 *South Kensing- 1 ton Museum - J . — 1440 St. Dominic - - - Bellini, G. - * — 1441 The Virgin, St. Jo-"| seph, and Shep- 1 Vannucei(Peru- \ * herds adoring the j Infant Saviour -J gino) - - - J 1442 Ships in a Gale - - Bakhuizen - - * — 1443 Interior of a Church Steenwyck, H. - * — • 1444 Peasants warming 1 themselves - - J Honthorst, G. - * 1445 A Study of Flowers Ruysch, R. - - * — 1446 Do. do. — * — 1449 Portrait of Cardi-I nal de Richelieu J Champaigne - Air. Charles \ Butler - - - J — 1455 The Circumcision - Bellini, G. - The Earl of 1 Carlisle - - J — 1456 j The Virgin and! Child with An- l Italian School j" Mr. John P. 1 Heseltine - J — gels - - - - J 1457 Christ driving out ] the Traders from V the Temple - - J Theofocopuli ■£ Sir J. C. Robin- \ son ----- J — 1462 Sea-piece with \ Shipping - - - J j Dubbels - - - Mr. Arthur Kay - 1 “ *In exchange for a collection of water-colour drawings by De Wint, Cattermole, &c. Pictures of Foreign Schools Bequeathed. No. Subject. Painter’s Name. By whom Bequeathed. 1 When. 1432 The Mystic 1 Marriage of > David, Ghee- \ raert - - J Mrs. Lyne Stephens 1895 St. Catherine - J 1433 Portrait of a Lady - Flemish School - — — 27 SUPPLEMENT TO THE 69th Edition OP THE BRITISH AND MODERN SCHOOLS CATALOGUE OP THE PICTURES IN THE NATIONAL GALLERY. U 908.38. C 29 INDEX TO THE NAMES OF THE MASTERS OF THE PICTURES RECENTLY ADDED TO THE NATIONAL GALLERY BRITISH AND MODERN SCHOOLS, ARRANGED ACCORDING TO THE NUMBERS OE THE PICTURES. No. 1460 Ibbetson, Julius Caesar. 1463 Muller, William J 1464 Hogarth, William , 1467 La&broolce, Robert . 30 CATALOGUE. HOGARTH (William) (1697-1764). No. 1464i Calais Gate (called also “ The Roast Beef of Old England ”). The subject of this picture is based on an incident which occurred during Hogarth’s trip to France in 1748, where the painter was arrested for sketching the City gate at Calais. In the centre of the scene a man cook, bearing in his arms a sirloin of beef, is accosted by a portly friar who, with an unctuous smile, lays his hand upon the joint. A French soldier in tattered uniform follows the cook with a grotesque gesture of admiration. Close to him a shabbily dressed Irishman is eating soup from a bowl, while further to the right two others are carrying away a large cauldron. In the right-hand corner of the foreground lies a man clad in Scotch dress, wringing his hands. These two figures represent the Irish and Highland mercenaries then serving in France. In the opposite corner three fish-wives crouch over their market ware. Close behind them a French sentinel stands on guard, while further to the rear appears Hogarth himself taking a sketch. In the background is Calais Gate, through the open portal of which is seen a religious procession passing along the street. On the summit of the gateway is perched a crow. On canvas, 2 ft. 7{ in h. by 3 ft. 1|- in. w. Presented in 1895 by His Grace the Duke of Westminster, K.G. IBBETSON (Julius Caesar). A painter of landscape, marine, and figure subjects, was born at Masham, Yorkshire, in 1759. A theatrical scene which he executed in early youth seems to have attracted notice by its ability. He came to London, where he was at first content to work for picture dealers. Between 1785 and 1787 he exhibited three pictures at the Boyal Academy, where in later years he 31 became a constant contributor. In 1788 be accompanied Colonel Catbcart, who had been despatched as envoy to China. On his return to England Ibbetson continued to follow his art, and pro- duced numerous works in oil and water-colour, including coast- scenes, cattle-pieces, &c., which were sent to the Royal Academy and the British Institution. In 1794 the death of his wife and other domestic troubles seriously affected his health and habits. He became involved in debt, and for some years absented himself from London, but returned there in 1800. Having married shortly afterwards for the second time, he removed to his native village, where he died in 1817. No. 140 ®. Smugglers on the Irish Coast. On the left of the composition a rocky promontory stretching into the sea bisects a creek, on the shores of which men are land- ing kegs of liquor, &c. In the foreground a number of peasants, some mounted on ponies or donkeys, have assembled to barter with the smugglers, while others are drinking. In the distance a hilly coast is seen through a hazy atmosphere. Above, a summer sky, across which fleecy clouds are drifting. On canvas, 1 ft. 9| in. h. by 2 ft. 9| in. w. Purchased in 1895 (out of the interest of the “ Lewis Fund ”) from Messrs. Dowdeswell & Co. LABBUOOKE (Robert). A landscape painter of the “ Norwich School,” was born in 1770. He is said to have begun life as a printer, a business which he soon abandoned in favour of art. While a young man he made the acquaintance of the elder Crome, who was about the same age as himself, and whose style of work appears to have influenced his own. The two friends married two sisters', and while in close association helped to found the Norwich Society of Artists. In the first decade of this century they were among the most notable members of this woll- known local coterie , but at a later period they became estranged and headed rival societies at Norwich. Ladbrooke seems to have painted a few portraits, but his brush was chiefly devoted to rural scenery and views on the coast of Norfolk. Between 1809 and 1816 he exhibited several works at the Royal Academy 32 and British Institution. He also published five volumes containing “Views of Norfolk Churches.” He died at Norwich in 1842. The following picture, signed R. H. L., is ascribed to him : — No. 1 ^ 67 *. Landscape, with a view of Oxford. In the outskirts of a wood, under the shade of large and thickly foliaged oak trees, three cows stand in a stream or pool of water. On the left of the foreground lie felled tree trunks. On the right, a wooden paling crossed by a stile separates a pathway from an enclosed plantation. In the middle distance between the trees is open country, beyond which are seen the towers and spires of Oxford rising against a stormy sky. On canvas, 1 ft. 8 in. h. by 2 ft. 4 in. w. Purchased in 1895 from Mr. George Donaldson out of the interest of the “ Lewis Bund.” MULLEE ( William J.) (1812-45). No, £ 463 - A Street in Cairo. Towards the centre of the foreground a group of men, clad in Oriental dress, and standing on a carpet, appear to converse with a white-robed Arab Chief, while close to them a negro servant, kneeling, offers a cup of coffee to a seated personage. In the rear towards the right other figures sit or stand under an awning of striped cloth. On the left a native merchant sits cross-legged on his stall. In the background are several old and picturesque buildings, above the roofs of which rises a machicolated tower of Romanesque character, beyond which is seen a dome. Deep blue sky with cloud cumuli apparently illuminated by sunset. On canvas, 1 ft. Ilf in. h. by 2 ft. 11^ in. w. From the collection of the late Sir Joseph Weston, M.P., Clifton, Bristol. Presented in 1895 by Lady Weston. 33 PlCTUBES PUBCHASED. No. Subject. Painter’s Name. When Purchased. 1460 1 Smugglers on the Irish Coast - J. C. Ibbetson - 1895. 1467 Landscape ------- R. Ladbrooke - — Picttjbes Presented. No. Subject. Painter’s Name. By whom Presented. When. 1463 A Street in Cairo - W. J. Muller - Lady Weston 1895 1464 “ Calais Gate ” W. Hogarth - The Duke of West- minster. GETTY CENTER LIBRARY 3 3125 00806 1661