^CO 
 
 Q^J 
 
 C () .At P A N I O N 
 
 BRYAN GALLERY 
 
 CHUISTIAN ART: 
 
 ( KiTK AL DEftCTUPTIONS OF THE PICTURES, AND BIOGRAPHICAL 
 SKETCHES OF THE PAINTERS ; 
 
 I \ I h-(i P 
 
 \ \ 1 » \ N 1 N I ) !•: \ 
 
 tM< tlA!M> CHANT WHITE. 
 
 ;ALLKUV, .s4:; P>1M)A1>WAV 
 
 NEW YORK: 
 
 HAKl.i:, (GODWIN & CO., PRINTERS, 
 
 ,ORNf \XD SPRITK STRKKTS, 
 
 1853. 
 
 m 
 
COMPANION 
 
 BRYA^i GALLERt 
 
 CHEISTIAN AKT: 
 
 CONTAINING 
 
 CRITICAL DESCEIPTIONS OF THE PICTUEES, AND BIOGRAPHICAL 
 SKETCHES OF THE PAINTERS ; 
 
 INTRODUCTORY ESSAY, AND AN INDEX, 
 BY 
 
 RICHARD GRAXT WHITE. 
 
 NEW YORK: 
 BAKER, GODWIN & CO., PRINTERS, 
 
 CORNER NASSAU AND SPRUCE STREKTS. 
 1853. 
 
/h'f. <^tfa7. 
 
 M. 
 
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 Tf 
 
 Digitized by the Internet Archive 
 
 in 2010 with funding from 
 
 Research Library, The Getty Research Institute 
 
 http://www.archive.org/details/companiontobryanOObrya 
 
PREFACE 
 
 The Proprietor of the Bryan Gallery having re- 
 quested the author to prepare a Hand-book for it 
 he undertook the task with pleasure ; but, though 
 not altogether without experience in such labors, he 
 did not foresee either the extent of the demand 
 which the work would make upon his time, or the 
 great satisfaction which would accompany the study 
 needful for the proper appreciation of the pictures 
 which he was called upon to describe. The product 
 of his labors seems comparatively small in bulk ; but 
 only those who have the knowledge given by expe- 
 rience can judge correctly of the time and the labor 
 required for such a close examination and comparison 
 of nearly two hundred and fifty pictures as must be 
 made before a proper description of them can be 
 written, or for the collection and condensation of 
 materials from various quarters for the preparation 
 of succinct biographical notices of one hundred and 
 
IV PREFACE. 
 
 fifty painters. The author's aim has been no more 
 ambitious than to present such a description of the 
 pictures as would insure a readier apprehension of 
 the designs of the painter, and such criticisms as 
 would suggest reflection upon their intrinsic and 
 distinctive merits and characteristics. The biogra- 
 phical notices of the painters cannot fail to be wel- 
 come to those who think with Kichakdson, that 
 " when one sees an admirable piece of art, it is a 
 part of the entertainment to know to whom to attri- 
 bute it, and then to know his history." 
 
 This Gallery has, in its historical character, an im- 
 portance not possessed by any other ever opened to 
 the public in this country. The rise and progress of 
 each of the great schools, the Italian, the German, 
 the Flemish, the Dutch, and the French, can be 
 traced by characteristic productions of those schools, 
 in all the stages of their development, which hang 
 npon these walls. This peculiarity of the Collection 
 is almost of equal importance with the intrinsic 
 beauty and excellence of a large portion of the 
 works which compose it. It will be noticed else- 
 where, that the author declines to express any opin- 
 ion upon the authenticity of the many pictures here 
 which bear some of the greatest names in art ; but 
 he wishes it to be understood that he does this solely 
 
PREFACE. 
 
 on account of bis entire want of confidence in liis 
 ability to speak witb tbe least autbority upon tbat 
 subject. It is almost needless to say tbat tbe intrin- 
 sic merits of a work of art bave notbing to do witb 
 tbe question wbetber it was painted by tbis or tbat 
 artist ; and it is to tbe consideration of tbese merits 
 tbat tbe autbor bas confined bimself, except in two 
 or tbree instances in wbicb tbe autbenticity of tbe 
 works seemed to be determinable by induction. 
 'Tbe knowledge necessary to determine tbe autben- 
 -ticity of pictures from tbe manner in wbicb tbey 
 are painted, involves long and close comparative 
 study of tbe best and tbe liistorically autbenticated 
 works of tbe masters to wbom tbey are attributed ; 
 witbout wbicb no one can, witb any semblance of 
 reason, pretend to decide sucb questions. Of tbis 
 study, tbe proprietor of tbis Gallery bas bad tbe ad- 
 vantage. From bis knowledge of tbe mecbanical 
 part of tbe art, and bis extended opportunities for 
 tbe observation of tbe works of tbe Great Masters 
 in Europe, be was, aside from bis cultivated taste, 
 eminently qualified for tbe labor wbicb be assumed, 
 and tbe admirable result of wbicb is now before 
 tbe public. Indeed, not tbe least interest wbicb 
 attacbes to tbe Collection arises from tbe manner in 
 wbicb it was luade. Mr. Bkyan bas boui^bt and 
 
Tl PREFACE. 
 
 cleaned his pictures himself; and of those which he 
 thus laboriously brought to light, he has rejected six 
 for every one which now hangs upon his walls. But, 
 in spite of his unwillingness to appear in the char- 
 acter of an expert in old paintings, the author would 
 not do himself justice, to say nothing of justice to 
 the Collection and its proprietor, did he not state 
 that his confidence in the correctness with which 
 the works have been attributed to the various Mas- 
 ters whose names they bear, as well as his admira- 
 tion for the intrinsic beauty of most of them, and 
 his interest in the Collection as a whole, has in- 
 creased, ^ctWj!?«^5'?^, with his study of the paintings. 
 
 The author is well aware that his labors will prove 
 in many respects unsatisfactory to those who may 
 visit the Gallery frequently enough to obtain a just 
 appreciation of the treasures it contains. Much 
 more might have been said about many of the pic- 
 tures : but it was desirable to compress the work 
 within a cheap and convenient form ; and more de- 
 tail would have prevented conformity with this de- 
 sign. To one person, however, the Companion must 
 justly and reasonably appear more unsatisfactory 
 than to any other ; and this is the proprietor himself. 
 For, as the accomplished Mrs. Jameson says, — 
 
 " Kot only it is impossible to flatter, but impos- 
 
PREFACE. Vll 
 
 sible even to satisfy the proprietor of a fine collec- 
 tion, by any catalogue raisonne of his pictures, how- 
 ever accurate or laudatory ; and this for reasons 
 which have nothing to do with the mere pride of the 
 owner in that which is his own^ but with worthier 
 and deeper feelings, in which we can truly sympa- 
 thize. All who possess fine pictures, and really love 
 them, are familiar with minute beauties, which it is 
 a mortification to have passed over. Every good 
 picture (by which I mean every picture which has 
 something good in it) is not mere surface and color ; 
 it lias a cmmtenance^ like the countenance of a 
 friend, or a lover, of which certain expressions are 
 revealed only to certain eyes at certain moments. 
 Then, there are the associations of long acquain- 
 tance ; accidental gleams of lamp or sunshine have 
 lighted up the shadowy nooks, and startled the eye 
 with revelations of hidden beauty and meaning ; — or 
 in hours of lassitude and sorrow — hours when the 
 "fretful stir unprofitable" of this painful, actual 
 world, has hung heavy on the spirit — the light 
 breaking from behind the trees, or far-off distance, 
 stretching away, away, and leading the fancy after 
 it, till it melts into Elysium, — or rural groups — rev- 
 els of satyrs or clowns — or face of pure- eyed virgin 
 or serene saint — has arrested the troubled course of 
 
VIU PREFACE. 
 
 thought, and stamped a consecration on certain pic- 
 tures, which it would be a pleasure to see commemo- 
 rated, but which no accidental visitor can enter 
 into," 
 
 " And then, again, there is some one favorite pic- 
 ture preferred, not so much for its intrinsic merit, 
 but because it has been obtained with difficulty, — 
 has been comj^eted for, conquered from some rival 
 amateur, — or it is a recent acquisition, and "the 
 honeymoon is not yet over,'- — or it has been picked 
 up for a trifle, and turned out a prize, — or it has been 
 rightfully or wrongfully doubted and abused, conse- 
 quently has assumed an exaggerated value and im- 
 portance in the mind of the possessor, even from 
 the force of contradiction — who knows ? iNow, one 
 cannot well put these delightful dilettante fancies 
 into a catalogue raisonne / but how truly, deeply, 
 cordially, one can understand and sympathize with 
 them !" 
 
 From that overweening confidence in the supreme 
 excellence of every work in their possession which 
 most owners of collections of pictures exhibit, Mr. 
 Bryan is singularly free; and the frankness with 
 which he points out an intrinsic defect or an injury 
 which accident or time has done to one or another of 
 his paintings, is as delightful as it is rare, and begets 
 
PREFACE. IX 
 
 a confidence in his judgment when he speaks with 
 unqualified praise with regard to any. On only 
 one point does the reader need to be protected from 
 a misunderstanding of the terms of praise, which, 
 on the authority of the proprietor, are bestowed in 
 these pages upon any work in the Collection. When 
 it is said of a picture that no finer exists, it must not 
 be understood that a more important composition 
 of the Master does not exist, but that the specimen 
 here, exhibits his highest quality of excellence. 
 Thus, there is one j)icture by Teniees which contains 
 more than twelve hundred figures ; but the reader 
 will easily understand that the Parable of the 
 Laborer in this Collection, which contains but ten 
 figures, may be an equally beautiful and character- 
 istic exhibition of the painter's power of embodying 
 character, his delicacy of touch, his pure rich color, 
 and his distribution of light. 
 
 It has been the aim of the proprietor to collect a 
 gallery which should not only give pleasure to cas- 
 ual visitants, but afibrd efficient aid to the student 
 of the history of Art : if the author have accom- 
 plished anything in this Companion which will in 
 any degree further that design, he w^ll be content. 
 
INTRODUCTION. 
 
 Hogarth lias a great many imitators in his contempt for 
 the works of the Great Masters of Painting. There is this 
 difference, however, between him and those who affect to 
 adopt his taste : he, by an overweening vanity and trust in 
 his great talents, was led to assume an indifference to the 
 great painters of the past, which ended in making him ridi- 
 culous in spite of his ability ; they, by a more overweening 
 vanity and trust in their great ignorance, assume a like in- 
 difference, which makes them ridiculous by reason of theu- 
 stupidity. How absurd to assume, because they do not 
 find at once all the beauty in a great painting which the 
 world has seen in it for centuries, that therefore mankind for 
 centuries has been wrong, and they alone are right ! But 
 beside these persons, there are many others, of intelligence, 
 and but a modest confidence in their powers of appreciating 
 art, who regard the claims of the Old Masters to superiority, 
 at least with suspicion ; and who think that it is unreasonable 
 to deny that the art of painting must have kept pace with 
 the worid's advance in other respects, and that it is not to be 
 believed that painters were of necessity more skillful three 
 hundred years ago than they are now. They are right in 
 one of these assumptions, and wrong in another. It is true, 
 that there is no reason that painters should have been more 
 accomplished in past than in present times. There has prob- 
 ably been an equal proportion of indifferent painters in the 
 world ever since the revival of Art. Hundreds, thousands of 
 
XU INTRODUCTION. 
 
 painters have passed away into oblivion, and their works 
 have followed them. It is only the great men and the 
 great works of each age which have borne unharmed the 
 wreck of time, and stand lifting their heads above the sea of 
 oblivion which has overwhelmed their contemporaries. As 
 Hazlitt pithily remarked of the works of the painters of ages 
 past to which the world does reverence, " They are not good 
 because they are old, but old because they are good." Were 
 it not for their superiority, they would not have survived, to 
 command, through centuries, the admiration of successive 
 generations of men. Common law is the fruit of the com- 
 mon sense and the common perception of justice in man- 
 kind, which is attained through the experience of ages. Just 
 this common consent of the world it is, which has set the 
 acknowledged stamp of greatness upon Raphael and 
 Rubens and Murillo and Poussin, and their fellows. 
 Just so, the common sense of beauty in succeeding ages will 
 set its mark upon the great painters of the present day, when 
 the mass of their contemporaries will long have been forgot- 
 ten. The exclusive admirer of modern Art, if born two hun- 
 dred years hence, would, for the same reasons which in- 
 fluence him now, refuse then to admit the superiority of the 
 very j^ainters whom now he glorifies. Mrs. Jameson quotes 
 aptly, and writes justly, when she says : 
 
 " It has been truly said, that if w^e now possessed painters 
 who were really equal to R,aphael, Van Dyck, Titian, 
 Claude or Teniers, ' yet they could not, nor ought they to, 
 be thought of in the same manner, because there could not be 
 the same proof of it, nor the same confidence in the opinion 
 of a man and his friends, or of any one generation, as in that 
 of successive generations and the voice of posterity. If it be 
 said that we pass over the faults of the former, and severely 
 
INTRODUCTION. XUl 
 
 scrutinize the excellences of the latter, this is also right and 
 necessary, because the one have passed their trial, and the 
 others are upon it. If we forgive or overlook the faults of 
 the ancients, it is because they have dearly earned it.' On 
 the other hand, the cant of ignorant depreciation has done 
 more harm, has fostered more self-conceit and more careless- 
 ness among our living artists, than the adulation of certain 
 partisans and admirers : it has made them, while they 
 worked for money, despise opinion ; and they have helped 
 to deprave the taste they have in their hearts despised. 
 How seldom have the most distinguished of the men I have 
 alluded to, painted up to their own power I" 
 
 Sir Joshua Reynolds says, with a true perception of that 
 which goes to form the truly great in Art, that " the duration 
 and stability of the fame of the old masters of painting is 
 sufficient to evince that it has not been suspended upon the 
 slender thread of fashion and caprice, but bound to the hu- 
 man heart by every cord of sympathetic approbation." 
 
 That our taste needs the invigoration which is imparted 
 by the contemplation of that which has had the strength to 
 live for ages, is too plainly evident in the character of most 
 of the pictures painted for our Art Unions, our fashionable 
 picture marts, and our legion of illustrated works. Feeble- 
 ness, and its sure accompaniment, exaggeration, are the chief 
 expression of these inane productions. Floras and Doras, 
 with big eyes and little mouths, big arms and little hands, 
 big busts and little waists, big bustles and little feet ; mani- 
 kin men, all forehead and favoris ; portraits of homely old 
 women flattered, in Books of Beauty, into a conventional 
 prettiness and unnatural youth, far more repulsive than their 
 own actual uncomeliness : such are the works of art which 
 ' sell.' These be thy Gods, Israel ! " Xo wonder that 
 
XIV INTRODUCTION. 
 
 the admirers of such should think the Delphic Sibyl ' mas- 
 culine,' and denounce the Hours in Guido's Aurora as 
 ' coarse.' " We are too apt to seek in pictures only one of the 
 appliances of wealth and luxury, or the food for a marrow- 
 less dilettanteism, or else the petty enjoyment of looking at 
 elaborately smooth representations of pretty people. And 
 even if we get beyond this, we are inclined to demand of 
 every picture that it shall be perfect in all points — composi- 
 tion, form, expression, color, light and shade, costume, every- 
 thing. We turn away with a sneer from a work miraculous 
 in chiaroscuro^ because the figures are fat and have big noses. 
 We are untouched by the most pathetic expression, because 
 of a badly foreshortened limb. We are blind to the most 
 charming eflfects of color, and the happiest disposition of 
 light, because there is an anachronism in dress. What pre- 
 posterous folly ! There is an English print of a picture, the 
 subject of which is Boaz and Huth, in which Boaz wears 
 top boots and a body coat, and Ruth a chip hat and muslin 
 slip. Droll as this extreme anachronism is, the picture 
 might be a jewel of art in spite of it. There are no such 
 things as perfect pictures. Every school has its characteris- 
 tic defects as well as its peculiar excellence ; and every 
 painter, his individual faults, as well as his particular merits. 
 Richardson, whose knowledge, taste, and genuine warmth 
 of feeling placed him so far above mere connoissiem-ship and 
 dilettanteism, said : 
 
 " If in a picture, the story be well chosen and finely told, 
 at least, if not improved ; — if it fill the mind with noble and 
 instructive ideas, I will not scruple to say it is an excellent 
 picture, though the drawing be as much short of precise cor- 
 rectness as that of Correggio, Titian, or Rubens ; the 
 coloring as disagreeable even as that of Polidore, Battista 
 Franco, or Michael Angelo : nay, though there is no other 
 
INTRODUCTION. XV 
 
 goodness but tliat of coloring and the pencil, I will venture 
 to call it a good picture — that is, that it is good in these 
 respects : — in the first instance, here is a fine story artfully 
 communicated to my imagination, not by speech nor writing, 
 but in a manner preferable to either of them : in the other, 
 there is a beautiful and delightful object, and a fine piece o 
 workmanship, to say no more of it. There never was a 
 picture in the world without some faults, and very rarely is 
 there one to be found which is not notoriously defective in 
 some of the parts of painting. In judging of its goodness, one 
 should pronounce it such in proportion to the number of the 
 good qualities it has, and their degrees of goodness. I will 
 add that, as a philosopher, one should only consider the 
 excellency we see, and enjoy that, as being all belonging to 
 it ; no more regretting what it has not, nor thinking of it so 
 much as to diminish our pleasure in that it has, than we do 
 want of taste in a rose, speech in a picture of Van Dyck, or 
 life in one of Raphael." 
 
 To correct the defects of taste at which we have glanced, 
 we could desire no better kind of discipline than the thought- 
 ful contemplation of a collection of old pictures of merit, 
 formed with the unprejudiced, truly catholic taste which has 
 guided the proprietor of this Gallery. And let not those 
 who can admire the productions of the mature and palmy 
 days of art, sneer at its feeble efforts, made when it had just 
 become conscious of its heaven-born inspiration. A brilliant 
 modern writer upon Art, and one not in the least inchned to 
 yield unduly to the claims of antiquity — Mr. Ruskin — has 
 well said, that " the early efforts of Cimabue and Giotto are 
 the burning messages of prophecy, delivered by the stam- 
 of infants." One of the finest features in this 
 
XVI INTRODUCTION. 
 
 Gallery, and one which it has in common with no other 
 private collection in the world, is the opportunity which it 
 affords, of tracing the development of the different schools 
 from the earliest ages. When the visitor looks at some cold 
 and formal composition, he should not turn away and wonder 
 why such rubbish is preserved, but should remember that 
 " there are pictures of little intrinsic beauty or merit, which 
 yet have great value and interest ; they mark the transition 
 from one style to another, or they mark a particular phase in 
 the life of the individual painter, or they illustrate a certain 
 aspect of faith, of civilization, of morals, in the country which 
 produced them. Boundless, beyond what the uninitiated 
 can imagine, are tlie associations connected with a taste for 
 the Fine Arts ! — the widening of the horizon round us, as 
 knowledge grows out of love and the clear vision perceiv^es 
 and embraces the relation which exists between things appa- 
 rently distant and dissimilar ! But do such, taste, such 
 knowledge, such extended vision, come at once, or by 
 chance? They are more frequently the acquisition of a 
 whole life," 
 
 This brief introduction, made up, in part, from the thoughts 
 of others, has been written chiefly from the sense there should 
 be a threshold over which to pass into such a gallery ; and 
 with the hope of doing somewhat to direct the attention of 
 those who have given little thought to Art, to the remarkable 
 opportunities which the Collection affords for the acquisition 
 of knowledge and the cultivation of taste in the art of 
 painting. The author sincerely trusts that it may be the 
 means of imbuing with this knowledge and taste, thousands 
 of his countrymen who, but for the tact, the knowledge, and 
 perseverance of Mr. Bryan, would never, perhaps, have wor- 
 shipped at the shrines of the Great Masters of the past. 
 
WORKS CONSULTED 
 
 IN 
 
 THE P K E 1' A K A T I N OF THIS \- O L U M E . 
 
 Abreg^ de la Vie cles plus fameux Peintres, par B' Argcnville- 
 
 3 vols., 4to. Paris : 1Y45. 
 Biographie des Peintres Flamands et Hollaudai^, par C. H. Balkema. 
 
 8yo. Paris: 1844. 
 Histoire des Peintres des toutes les Ecoles, par M. Charles Blanc. 
 
 4to. Paris: 1849. 
 Dictionnaire des Monogrammes, <fce., par Francois BrulUot. 3 vols. 
 
 4to. Munich: 1832. 
 Biographical and Critical Dictionary of Painters and Engravers, 
 
 by Michael Bryan ; edited by G, Stanley. 8vo. London : 
 
 1849. 
 Vie des Peintres Flamands et Hollandais, par JDescamps. 3 vols., 
 
 8vo. Marseille: 1842. 
 Nouveau Dictionnaire Ilistorique, par Chandon and Delandine. 
 
 13 vols., 8 vo. Lyon: 1804. 
 Guide des Amateurs de Peinture, par Gault de St. Germain. 
 
 8vo. Paris : 1835. 
 The Fine Ai-ts ; their Nature and Relation^-. Descriptive criticisms* 
 
 of certain pictures of the Italian and French Schools, by M. 
 
 Guizot ; translated by G. Grove. 4to. London: 1853. 
 1) 
 
XVlll WORKS CONSULTED. 
 
 Cnticisms on Art ; and Sketches of the Picture Galleries of Eng- 
 land, by William HazlitL 2 vols., 8vo. London : 1848. 
 The Schools of Painting in Italy, from the German of Kuyler ; 
 
 edited by Sir Ohas. Eastlake, P. JR. A. 2 vols., 12mo. 
 
 London: 1851, 
 Storia Pittorica della Italia, dell' Ahbate Luigi Lanzi. 3 vols., 4to. 
 
 Bassano: 1795. 
 Dictionary of Spanish Painters, by A. O'NeH. 2 vols., Svo. 
 
 London: 1833. 
 A Collection of Fac-similes of Rare and Curious Prints, <tc., by Win. 
 
 Young Ottley. Folio. London: 1826. 
 Dictionnaire des Peintres Espagnols, par F. Quillet, 8vo. Paris : 
 
 1835. 
 Ilistoire de la Vie et des Ouvrages de Raphael, par M. Quatremere 
 
 de Quincy. Svo. Paris; 1833. 
 The Works of Jonathan Jiichardson. 4to. Strawberry Hill : 
 
 1792. 
 Some Account of the Statues, Bas-reliefs, Drawings and Pictures in 
 
 Italy, <tc., b}- Mr. Richardson^ sen. and jun. 8vo. London : 
 
 1'722. 
 
 L' Abeeedario Pittorico, da Francesco Solimena. 4:to. Napoli : 
 
 1733. 
 Le Vite dei piu eecellenti Pittori, Scultori, e Architetti, da CHorgio 
 
 Va^ari. 3 vols., Svo. Fiorenza : 1568. 
 
*^* The statements with regard to the autheiiticity and the 
 history of pictures, -which will be found scattered through the 
 volume, in this type, and designated by this mark, afe made not 
 upon the authority of the author, but on that of the Proprietor of 
 the Collection. 
 
COMPANION 
 
 BRYAN GALLERY OF CHRISTIAN ART. 
 
 BYZANTINE SCHOOL. 
 
 Strange as it may at first appear, we have in the stiflf, soul- 
 Jess, ill-colored works of the Byzantine School, the only per- 
 petuation, by direct descent, of the great Greek School of art. 
 Byzantium (Constantinople) received within its imperial 
 walls the Greek painters and sculptors who sought there the 
 support which wealth and power alone could afford to art. 
 It was not more than two hundred years after Constantine 
 had made it the capital of the Eastern empire, that the style 
 of its painters asserted a supremacy, — superiority it could not 
 be called, — throughout Christendom. All the grace and ex- 
 pression of old Greek art had faded from the traditionary 
 rules which governed its only representatives ; and their 
 works became the mere mechanical filling up of set formulas, 
 in which the individual thought of the painter had no expres- 
 sion, and which therefore could do nothing to perpetuate his 
 name. The use of the productions of this School as the incen- 
 tives to devotion, if not the objects of it, in the dark ages, 
 caused its never-varying representations of sacred subjects to 
 be finally received as types, from which, in all their rigid 
 2 "' 
 
4 BRYAN GALLERY. 
 
 gracelessness of form and hideousness of color, the faitlifiil 
 would admit of no variation. And this feeling with regard 
 to sacred subjects extended itself into the most glorious era of 
 the art. Thus, there exists in the Museum of Berhn a Pieta, 
 the original of which is by the great Giovanni Bellini, the 
 founder of the Venetian School ; but this copy has been re- 
 produced in Byzantine style for devotional purposes. Such 
 being the sentiment of those ages, and the patrons of paint- 
 ing being almost exclusively churcli dignitaries, or others who 
 sought fitting adornment for churches, convents, chapels, or 
 oratories, it is not surprising that the art divested itself slow- 
 ly and painfully of the religion-rivetted fetters of supei-stitious 
 custom, and that the traditional types and compositions of 
 the Byzantine School can be traced through the works of all 
 the great modern regenerators of the art, even into the ma- 
 jestic creations of Raphael. 
 
 1. Virgin and Child. 
 
 The Virgin, clothed in a rich crimson drapery which cov- 
 ers the head, holds the infant Christ on her right arm. The 
 child has a gilt globe in his hand. Over his head is seen the 
 dateof the picture, M X C . Traces of the antique Greek 
 type are to be found in the Virgin's face ; but the picture is 
 utterly without life or spirit. It is painted upon a heavily 
 gilt ground. 
 
 *^* It was broiiglit from the East by the celebrated artist, P-apeti^ 
 who was sent to Greece and Turkey by the French government. 
 
 No. 16 is another and a very interesting specimen of this 
 School. 
 
ITALIAN SCHOOL. 
 
 GUIDO OF SIENNA. 
 
 CiMABUK is generally spoken of ns the first to raise the art of painting from the 
 depths to which it sunk in the dark ages ; but Guido of Sienna, who not less than 
 CiMABUE, showed an individual conception of a higher style of beauty than that 
 adopted universally ia his day, was in the maturity of his powers before the latter 
 was born. Nothing is known of him beyond the few of his works which have 
 escaped the ravages of time, which inform us that he painted them about A. D. 
 
 A Virgin and Child, witli four Saints. 
 
 The Virgin is sitting, with the infant Jesus standing on 
 her knee. On each side of her are two Saints. All the 
 figures have the circular, foliated aureola around the head ; 
 that around the head of the holy child including a cross 
 -vvithin the circle. The figures are formal, and the heads 
 tame ; but there is an expression of infantine sweetness in 
 the face of the child. The painting is upon a gold ground ; 
 the finely disposed draperies of the figures are adorned with 
 rich gold borders ; and under the feet of the Virgin is a 
 richly figured carpet, worked in the highest style of the 
 painter's epoch. 
 
 *^* This picture is in perfect condition, and is from the renowned 
 collection of M. Artaud de Montor, in the account of which it 
 was engraved. It is described in the work of Gault de St. Ger- 
 main (p. 51). 
 
6 BRYAN GALLERY. 
 
 CIMABUE. 
 
 This painter, the first of the Florentine School, was born of a noble family in 
 Florence, about A. D. 1240. He is said, upon not very reliable authority, to have 
 been the pupil of Giunta, the Pisan. But it matters not who was his instructor: 
 his only claim to the consideration of posterity rests upon his ability to forget a 
 little of what he was taught, and to rise somewhat above it. After his first, feeblo 
 steps, the art advanced rapidly. He died in the beginning of the fourteenth 
 century. 
 
 3. Virgin and Cliild, witli Saints. 
 
 The Virgin sits, liolding the infant Jesus. Ranged on 
 either side are St. John, St, Peter, St. Paul, a Bishop, and 
 two Angels. The child holds a bird. In a small superior 
 compartment the Savioul- appeal's, holding a book, and giving 
 his benediction. This picture shows on all points rather a 
 deterioration from the style of Guido than an advance. 
 
 *^* From the collection of M. Artaud de Montor. Described 
 by Gault de St. Germaix, (p. 52.) All from M. de Moxtor's colL 
 have been engraved. 
 
 GIOTTO. 
 
 Giotto di Bodone, sometimes called Ambrogiotto, was born at Vespignano- 
 near Florence, in 1276. He was the son of a shepherd, and became the pupil of 
 CiMABUE. He soon surpassed his master in the blending of his tints, and the sym- 
 metry and correctness of his design. Many of his works possess great positive 
 merit, irrespective of the early age in which they were produced. He painted 
 portraits as well as sacred compositions. Among others, one of Dante in the 
 Chapel of the Podesta, at Florence ; which, after having been two centuries covered 
 with whitewash, was recently brought to light. He died in 1336. 
 
 4. Kniglits at a Tournament. 
 
 "In the centre, Glory, standing upon a sphere, holds in 
 one hand a sword, and in the other a statue of Love darting 
 an arrow. Trumpets issue from the globe. Around the 
 Goddess, mounted knights raise their hands and take the 
 oath ; they represent the different populations of Italy, 
 wearing their various coiffures and costumes. This picture, 
 somewhat rudely painted, and destitute of harmony, is still 
 
ITALIAN SCHOOL. i 
 
 one of those cited by Gault de St. Germain (p. 54) as 
 displaying the type of the master. The horses show that 
 the artist did not study nature very closely ; the landscape, 
 besides, is more fantastic than real." 
 
 *^„* From the collection of M. Aktaud de Montok. The frame 
 is as ancient as the picture, of which it forms a part. It bears the 
 arms of the Medici family. 
 
 MEMMI. 
 
 SiMONE Memmi, sometimes called Martini, was bom, according to some, in 
 1274 ; by the statements of others, in 1285. He is stated by some to have been a 
 pupil of Giotto, in whose frescoes he was imdoubtedly an assistant; and by 
 others to have studied with Mino, a Siennese painter. He painted portraits and 
 sacred subjects, and has left some frescoes in the Campo Santo of Pisa. 
 
 5. Virgin and Cliild. 
 
 " Mary sits, holding her divine Sox, and surrounded by 
 six Angels ; one of the lastoffers Christ a little bird, and 
 the charminir nurslinir extends his hand to receive it. The 
 heads, full of elegance, are animated by a pious expression, 
 which recalls the best days of Christianity ; the epoch when 
 it animated with its poetry the monuments of architecture 
 and the works of the artist, the heart of simple minds and 
 the intellect of superior men." 
 
 The head of the Virgin presents the same type as that 
 exhibited in the portrait of Petrarch's Laura, painted by 
 Memmi, w^hich is in the Library of the Vatican. 
 *^* From the collection of M. Artaud de Montor. 
 
 6. The Last Judgment. 
 
 *' Christ, with the cruciform halo, and the elliptical aure- 
 ola, bordered with cherubim, appears in the heavens. iVbove 
 two angels, strangely enough, colored entirely blue, sound the 
 trumpet ; below, the Virgin and St. John kneel upon the 
 
8 BRYAN GALLERY. 
 
 gi'Oiind, from wliicli rises the cross, on which two Angels are 
 looking. On the left, the elect, wearing crowns of gold, 
 mount towards the sky, under the protection of a pitying 
 spirit; on the right, the damned covered with blood, are de- 
 livered to the demons by a minister of divine vengeance. 
 Jesus himself weai-s a terrible expression. Michael Angelo 
 is, therefore, not the first to have given him this menacing 
 aspect. The general color of the picture pleases the eye by 
 its extreme fineness ; the Virgin and St. John by the beauty 
 of their tv-pes." 
 
 *^* From the collection of M. Artaud de Montok. In the col- 
 lection Van Ertborn in the Eoyal Gallery at Antwerp, is a picture 
 signed "Simone," and known to be by Simoxe Memmi. It is consi- 
 dered very precious, and is carefully preserved under glass ; but, 
 save in consideration of its signature, it is no respect so important 
 in the histor}^ of Art, as are these two. 
 
 GADDI. 
 
 Taddko Gaddi was the son and pupil of the Florentine painter Gaddo GaddIt 
 and was born in 1300, In his works composition began to assume simplicity, and 
 form, gracefulness. Vasari, who saw his works when they were in good preser- 
 vation, speaks well of their color and the expression of the heads in them. 
 Taddko Gaddi was living in 1365. 
 
 T. Tlie Crucifixion. 
 
 On a gilt back ground, between two rocks, is the crucified 
 Saviour. On the left is the Virgin swooning, surrounded by 
 six holy women. One of the soldiers is painted in gold, in 
 the knightly armor of the painter's day: an anachronism 
 common with the old artists. On the right are two Saints, 
 and the soldiers dividing the garments of Christ. The forms 
 are poor, and the heads without expression ; but there is some 
 grace in the grouping. In the points of costume, and the 
 history of the art, the picture is very interesting. 
 *^* From the collection of M. Artaud de Montor. 
 
ITALIAN SCHOOL. V 
 
 8. St. Jerome., St. Dominic, and St. Francis of 
 
 Assisa. 
 
 The tliree Saints stand side by side. There is dignity i n 
 the attitudes and the draperies, and harmony in the color of 
 this picture. 
 
 *jif* From the collection of M. Artaud dk Montor. 
 
 LORENZO IL MONACO. 
 
 Lorenzo, called II Monaco, a monk of the Convent of Camaldolcso, was a pupil 
 of Taddko Gaddi, lie lived in the latter part of the fourteenth century. Several 
 paintings by him and his scholars are in the monastery of the Angeli. His best 
 works are remarkable for the purity of expression and fervid religious feeling 
 which pervades them. 
 
 9. Two Wings of a TaLernacle. 
 
 In the left wing are the crucified Saviour, with three holy 
 women ; in an upper compartment, the Virgin kneeling : in 
 the right wing three Sainb^, with a fourth in the upper com- 
 partment. The type of the heads is fine, and the expression 
 is of that purity which is characteristic of the master. 
 *^* From the collection of M. Artaud de ^Iontdr, 
 
 GIOTTINO. 
 
 ToMMASo Di Stkfano was the son of a Florentine Artist of the same name. He 
 was born in 1324. He made Giotto his model ; and his works resembled those 
 of that master to such a degree that he was called Giottino (the little Giotto); 
 which name he has retained. His works are all of a sacred character. He died 
 at Florence in 1356. 
 
 10. A Tabernacle. 
 
 In the centre picture, the Virgin is seated with the infant 
 Jesus on her knees. He holds in his hand a bird. On each 
 side six Saints are formally ranged. In the upper compart- 
 ment is the Saviour, giving his benediction. In the left wing 
 is the Nativity, and St. CnRisiopnER bearing the infant 
 
10 BRYAN GALLERY. 
 
 Christ upon his shouldei-s ; on theriglit, the Crucifixion. In 
 the upper compartment of each wing is a Saint. The heads 
 have more individual expression than those of earHer mas- 
 ters. The painting is however, without variation from the 
 formal and elaborate style oftlie years immediately preceding 
 the life of the artist. It is worthy of remark, that in this early 
 work we find Mary Magdalen distinguished by the flowing 
 golden locks, and an approach to the voluptuous beauty, 
 which were bestow^ed upon her ever after, through the palmy 
 days of art, and even at the present time. 
 
 *^* From the collection of INI. Artaud de Moxtor, as are also 
 the foUoAving two. 
 
 11. St. Anthony. 
 
 The Saint holds a book and his staff. 
 
 12. St. Dominic. 
 
 He holds a black embossed book, at which he points with 
 an expression of admonition. Both these figures are painted 
 upon a gold ground within a trefoil. 
 
 BUFFALMACO. 
 
 BuoNAMico BuFFALMAco was boHi, accordiiig to Vasari, in 1262, and died in 
 1340, but Baldinucci says that he was living in 1351. He was a great wit and a 
 great spendthrift. A pupil of Andrka Taffi, he painted in the meagre style of 
 CiMABUE and his immediate successors. 
 
 13. Crucifixion. (Half of a Triptique.) 
 
 The Saviour is upon the Cross. Around him hover six 
 sprite-like angels. On the left, Mary swoons, surrounded by 
 six holy women ; on the right are eight male figures. We 
 notice here a yet further advance in the individuality and 
 expression of the heads. 
 
 *** From the collection of M. Artaud de Montor. 
 
ITALIAN SCHOOL. 
 
 11 
 
 14. A Tabernacle. 
 
 " 111 the centre picture is the Virgin holding the child in 
 her arras, St. John, St. Antony, and two Angels. The left 
 wing represents the Angel Gabriel above, and below, St. 
 Paul and a Bishop. The right wing represents the Virgin 
 of the Annunciation above, and below, St. Peter and an 
 evangelist." 
 
 *-^* From the collection of M. Artaud de Montor. 
 
 SCHOOL OF THE TWELFTH CENTURY. 
 
 15. A Tabernacle. 
 
 The carved arabesque work indicates the period of this 
 picture, which has been much injured by the hand of time. 
 *^* From the collection of M. Artaud de Montor. 
 
 BYZANTINE SCHOOL. 
 
 16. Triptiqiie. 
 
 • A very remarkable and elaborate work ; and of the 
 highest interest in the history of art. 
 
 ANCIENT VENETIAN SCHOOL. 
 
 The revival of painting in Venice doubtless commenced, as 
 Lanzi says, " about the year 1070, when the Doge Selvo 
 invited mosaic workers from Greece to adorn the magnificent 
 temple consecrated to St. Mark." But Paolo is the first 
 Venetian whose painting is in the style of the School, and of 
 whom we have a work remaining of undoubted authenticity. 
 He flourished in the early part of the fourteenth century. 
 It was in the fifteenth centuiy that the splendid color of the 
 Venetian School became its distinctive characteristic. 
 
12 BRYAN GALLERY. 
 
 17. Virgin adoring tlie Infant Jesus. 
 
 The Virgin kneels before her Divine Son. Around 
 are Angels, and behind her is Joseph. Above is a 
 company of Angels; and in the distant sky one is seen 
 appearing to the shepherds. The infant has a crimson, 
 cruciform aureola. In this rudely di-awn picture the future 
 glory of the Venetian School, its gorgeous color, is plainly 
 indicated. 
 
 UCCELLO. 
 
 Paolo Mazzoochi, called Uccello, was bom at Florence in 1349, and was a 
 pupil of Antonio Venkziano. He was one of the first to attempt the reduction 
 of the art of perspective to rule. He painted animals ; and his predilection for 
 birds got him his surname ( Uccello— a. bird) . He also painted architectural views 
 with figures. He is said to have died in 1432 ; but Zani says that he was living 
 in 1436, and also that his family name was not Mazzocchi. 
 
 18. The Birtli of Jolm tlie Baptist. 
 
 The painter has given a view of the interior of the house, 
 by removing an outer wall. Elizabeth, who has just given 
 birth to John, is sitting up in bed, in a close, black undei* 
 dress, over which is a loose, crimson robe. Three attendants 
 bring her refreshments. On the floor sits a nurse holding the 
 infant, and near her are three female minstrels, two of whom 
 are singing to the harp accompaniment of the third. Two 
 visitors of distinction — one in the dress of an abbess — are 
 entering the door of the chamber ; while in the porch of the 
 house is a group of pei*sons bringing presents. On the flat 
 roof are flower pots, at which a woman is looking from a 
 window which opens on the roof; over the roof we see the 
 rocky sea shore, and a vessel on the sea. This picture is highly 
 interesting as an early attempt at linear perspective. It will 
 be noticed that the lines converge at an absurdly acute angle. 
 
ITALIAN SCHOOL. i3 
 
 The picture is a twelve-sided salver. On either side are the 
 arms of distinguished Florentine families. 
 
 *^* From the collection of M. Artaud de Montor. 
 CASTAGNO. 
 
 Andrea, called del Castagno, from having been bom in that village of Tus- 
 cany, in 1409 or 1426, showed precocious talent for painting. lie was the pupil of 
 the best artists of Florence in his day, among others of Masaccio. lie is famous 
 for his remarkable talent, and infamous for having murdered his friend Domenico 
 Vknktiano, that himself might be the only possessor of the newly discovered 
 secret of painting in oil and varnish. His works are all upon sacred subjects. He 
 died in 1477 or 1480. 
 
 19. Christ in the Garden of Gethsemane. 
 
 This little picture is evidently a sketch for a larger com- 
 position. It has sufficient merit, both of color and form, to 
 make it not difficult of belief that tradition does not misre- 
 present Raphael in attributing to him a fondness for the 
 works of the master. 
 
 *^^* From the collection of M. Artaud de Montor. 
 DELLO. 
 
 Of Dello, little, if anything, is known, save that he was a Florentine painter 
 who flourished in the first years of the fifteenth century ; he having died about 
 1421, aged 49, according to Vasari. 
 
 20. Triumpli of Julius Caesar. 
 
 This complicated composition, which contains between 
 thirty-five and forty figures, is of the greatest interest, as well 
 to the student of antiquities as to the devotee of painting. 
 The figures, vnili the exception of the triumphing Emperor 
 and one or two others, are all in the costume of the painter's 
 day. At the extreme right of the picture stands a group of 
 citizens in the civic dress of the Florentines at that period. 
 Upon the triumphal car, before Cesar, sits a court fool. In 
 the procession, among other trophies, are elephants. The 
 painting is utterly without aerial perspective, but, the 
 
14 BRYAN GALLERY. 
 
 back ground s1io\ys a not entirely unsuccessful effort to 
 express distance by linear effects. 
 *^* From the collection of M. Artaud de Montor, 
 
 BOTTICELLI. 
 
 Alessandro Filipkpi, called Botticelli, was bom at Florence in 1437. He 
 was a pupil of Filippo Lippi. Although he approached nearly the golden age of 
 art, he painted chiefly in water colors. He died in 1515. He drew with great care 
 and remarkable accuracy for his day, and did much to elevate the style of design. 
 
 21. Tlie Crucifixion. 
 
 The painter has given the usual figures introduced by the 
 artists of this day, in treating this subject. Jesus on the 
 Cross ; two Angels in adoration ; the Centurion on horse- 
 back ; two soldiers ; the Virgin ; Mary Magdalen ; two 
 other holy women ; Saint Francis, of Assisa ; and another 
 Saint. We here find Mary Magdalen's chevelure becoming- 
 very flowing, and of a rich, ruddy, golden color. The faces 
 are very hard in their expression, but they have ceased to be 
 entirely without character and sentiment. 
 
 *** Described in the work of Gault be St. Germain (p. 66). 
 
 PERUGINO. 
 
 PiETRo Vannucci was called Perugino from having been educated in Perugiai 
 a small town near Celta del Reve, in which he was born, in 1446. He was taught 
 the rudiments of design by Benedetto Bonfigli. He surpassed his contempo- 
 raries in the simplicity of his compositions and the grace of his figures. In his 
 females is found the germ of that inexpressible grace, dignity, and loveliness, 
 which appear in the Madonnas and other female figures of his pupil, Raffaello, • 
 He was, nevertheless, like his fellows, ignorant of chiaroscuro, and knew little of 
 aerial perspective. He died in 1524. 
 
 22. Adoration of tlie Infant Clirist. 
 
 The Virgin Mary, St. John the Baptist, St. Jerome, St. 
 Joseph, St. Michael, and the Pope Julius II., are kneeling 
 before the divine infant. Three small Angels, also kneeling. 
 
ITALIAN GALLERY. 15 
 
 carry the nails and the Cross, emblems of the torture which 
 the new-born should suffer. The Christ is charming ; the 
 head, at once naive and intelligent, beai*s a striking resem- 
 blance to that of the little Jesus, so much admired, in a 
 painting of the same artist, now placed in the Louvre, after 
 having decorated the gallery of the King of Holland. St. 
 Michael strikes the beholder by his noble air, and his 
 martial type. The head is evidently the portrait of Gaston- 
 DE Foix, the model of the chivalry of the day. St. John is 
 the lean prophet of the desert, the ascetic, and the eater of 
 locusts and wild honey. At the top of the picture, three 
 Angels play upon different instruments. Its great dimen- 
 sions add to the importance of this work, and its state of 
 perfect preservation makes it almost priceless. In the back 
 gi-ound, are seen the Capitol, the image of Roman power, 
 and the vast ruins of the Coliseum. The head of Joseph, who 
 stands behind St. John, must strike the considerate observer 
 by its close resemblance to the type of Joseph which we find in 
 the Holy Families of Raphael. In the Cherub who holds 
 the Cross, we also find great similarity to the little Angel 
 who occupies so prominent a position in the famous Madonna 
 of Foglino, from the same divine pencil. 
 
 *** From the collection Errard. Signed and dated 1509. 
 
 LIONARDO DA YINCI. 
 
 LioNARDo DA ViNci was the son of Pietro da Vinci, a Notary. He was bom 
 in the Castle da Vinci, near Florence, in 1452. He early became a pupil ot 
 Akdrea Verocchio, and attained distinction with the first years of his manhood. 
 He painted for some time in Florence ; afterward at Milan. By the command of 
 Leo X. he visited Rome, in his sixty-first year. There he found Raphael and 
 Michael Angelo, in the plenitude of their powers, and from prudential reasons 
 did not enter the lists with them. Upon the invitation of Francis I, he went to 
 Paris, but fell immediately into a decline, and died at the Castle of Clot or Cloux, 
 near Ambroise, in 1519. Lionardo was not only the earliest in time of the four 
 great boasts of modem painting— the others being Coreggio, Raphael and 
 Titian— but an accomplished Engineer, Architect, Poet, Musician and Engraver. 
 
16 BRYAN GALLERY. 
 
 As a painter, bis style is marked by the discrimination, at once delicate and 
 strongly marked, in the character of his heads. His forms are noble, but are not 
 powerfully modelled; and his extremities are sometimes carelessly or feebly drawn. 
 The art of painting in chiaroscuroia said to owe its existence, or at least its perfec- 
 tion, to him. He did not study the antique, but evolved his magical grace of outline, 
 as well as his marvellous conceptions of character, from the study of nature and the 
 clear depths of his own consciousness. From his works Eaphael first received 
 that awakening of his own innate, but slumbering perceptions of beauty, which, 
 in their unrestrained action, elevated him to the empyrean of art, 
 
 23. St. Jolin, Weeping. 
 
 We see the head, hands, and upper part of the back of 
 the figure. The head is tui-ned over the right shoulder. 
 The countenance expresses a great and noble grief. The 
 picture is in a ^ery low tone ; the forms are fine, and the 
 modelling is quite bold. The strong individuality of the face 
 is a characteristic exhibition of the painter's pecuharity of 
 style. 
 
 *^* For the authenticity of this picture, we have the high 
 authority of Mr. Woodburn. 
 
 24. St. Jolin. 
 
 The youthful Saint looks pensively upon the ground. The 
 bust only is seen, clad in blue and red drapery. This picture 
 is, unfortunately, much injured ; but there remains enough of 
 the Master's work to make it valuable as a specimen of his 
 mode of treating chiaroscuro. 
 
 RAPHAEL. 
 
 Raffaello Sanzio, called da Urbino, was bom at Urbino.in 1483, and was the 
 son of a painter of moderate talent, whose instructions he soon left for those of 
 PiETRo Vannucci, Called Perugino ; an artist whose works are what is designated 
 the old style, and whose talents were eclipsed by those of his pupil ere the latter 
 was eighteen years old. Still, Raphael's early pictures all show the effect ot 
 Perugino's instruction and example ; and it was not until he went to Florence 
 and, by the study of Lionardo da Vinci and Michael Angelo, was aroused to 
 the full perception of that ideal beauty of form and expression, which was ever 
 
ITALIAN SCHOOL. IT 
 
 afterward his chief characteristic, that he wholly cast aside the hard and dry form- 
 aliy of the Perugine School. After accomplishiug more for the art than any 
 other painter who ever lived, he died in 1520, aged only thirty-seven years, on 
 his birth day, ere he had quite finished his great work—" The Transfiguration." 
 Raphael's name stands unquestioned at the head of his art, not, as Lanzi says, 
 because he excelled all others in every department of painting, but because no 
 other painter has ever possessed all the qualities for the art in so high a degree. 
 But besides this general excellence, he had merits peculiar to himself, in which 
 he has never been approached, and has been but feebly imitated. These merits, 
 loo, were of that high and noble order which place their possessor as well beyond 
 the reach of petty admiration as of trivial fault finding. The epithet " dmne," 
 which seems consecrated to him by the Italians, expresses, as well as whole pages 
 of criticism, the exquisite sweetness, purity, and devotion of his style. He is the 
 chief of the Ideal, as Murillo is of the Real School. He was not a great colorlst, 
 although there exist works of his which in this particular are worthy of his repu- 
 tation on all others. 
 
 25. Tlie Birtli and Kesurrection of Christ. 
 
 Two small compositions which fill two compartments in a 
 very old and richly-carved frame. In the centre of the upper 
 compartment, Christ, draped in red, and bearing the emblem- 
 atic banner of the Cross, rises from an open tomb. His 
 hand is raised with an expression of command. On each 
 side are two soldiers sleeping, and two starting away in 
 fright. A slender tree also is seen upon each side of the 
 tomb ; in the distance is a large hill. In the lower compart- 
 ment are eight figures, besides the infant Christ. Six kneel 
 in a semi-circle about the new-born Saviour, who lies in the 
 middle of the foreground. Three of these, on the left, are 
 shepherds. On the right are the Virgin mother and two 
 Angels. Kext to Mary sits Joseph ; and on the extreme 
 left, a fourth shepherd approaches. Two slender trees here 
 also appear on each side of the composition. In the distance 
 are heavily undulating hills. 
 
 There is a great stride between these compositions and 
 the Madonna di San Sisto, The Transfiguration^ The Holy 
 Family of the Louvre, and the Madonna della Sedia ; and 
 
18 BRYAN GALLERY. 
 
 if Art advanced by great strides, it might, ^sntli some appear- 
 ance of reason, be urged that the author of those grand works 
 could not have painted these meagre and formal composi- 
 tions. But progress in Art is not made by great strides : it 
 is by slow and cautious, though firmly planted steps. Every 
 art and every master in every art leaves vestiges by which 
 an advancement, at first with feeble and tottering pace, after- 
 ward with firmer and more confident movement, can be sure- 
 ly and instructively traced. The character of a great master's 
 style may be distinctly impressed upon the productions of his 
 earhest days of pupilage, just as the manner of a great school 
 shows itself in its earliest struggles to emerge from barbar- 
 ism ; though in both cases the connection between the per- 
 fect and the imperfect, the ripe fruit and the unopened bud, 
 may be discernible only by the eye of experience and culti- 
 vated taste. 
 
 It is worth while to examine the composition of these two 
 Httle pictures, and the character of the individual figures of 
 which they are made up. In the first place, it will be observ- 
 ed, that although they are formal, their formality is of a dif- 
 ferent kind from that which we have noticed in the earlier 
 pictures in the collection. In these we see, it is true, a fomial 
 and precise manner of composition, but in those the formality 
 amounts almost to the following of a formula of composi- 
 tion. And such, indeed, was the custom of the earliest paint- 
 ers. ISTot only in their grouping, but their figures, they 
 timidly adhered to the traditionary manner of their prede- 
 cessors. It required the nervous arm of genius to break 
 through these time-honored restrictions ; and although much 
 had been done for the enfranchisement of the art, before 
 them, it was only through the progressive efforts of Lionar- 
 DO, of Michael Angelo, and of Raphael, that entire free- 
 
ITALIAN SCHOOL. 19 
 
 dom was at last obtained. The compositions which we are 
 now considering show the formahty and timidity of a young- 
 painter, rather than of a young art ; for we find innovation 
 accompanied by timidity, and original thought without fertil- 
 ity of resource. Thus, the soldier who starts away on one 
 side, is almost the counterpart of the other, in the position of 
 every hmb ; but of one we have a front, and of the other a 
 back view : and of the two who sit asleep, both have the left 
 leg crossed over the right, and lean the head upon the left 
 hand, while the right arm is bent at right angles upon the 
 thigh. This is, evidently, an academical exercise in drawing, 
 as well as the introduction of a novel freedom of movement. 
 The eftect of sameness is sought to be removed by giving a 
 striking variety to the costumes and the figures. The two 
 trees show a disposition to balance the composition. These 
 are also found in the lower compartments ; where, too, it will 
 be seen that there are four figures on each side of the middle 
 of the picture. If we look at the attitudes of these figures, 
 we find a freedom and an attempt at variety not discernible 
 in the very early works with which, at first glance, they 
 would seem to have some affinity. In the heads, too, there 
 is an attempt at a natural and not a formal variety of expres- 
 sion ; and the anatomy is treated with a novel fidelity and 
 knowledge. The artist, young though he was, had evidently 
 studied nature with a keen and discriminating eye. His 
 timidity is plainly not the effect of a servile spirit, or a con- 
 scious weakness, but of a mind modestly doubtful in the use 
 of its untried power. The compositions are evidently, then, 
 those of a youthful painter of original genius ; and it is equal- 
 ly evident, from his attempts to free himself from the bonds 
 of the old formulas of ecclesiastical painting, that the compo- 
 sitions were produced in the latter part of the fifteenth cen- 
 
20 BRYAN GALLERY. 
 
 tury. Now, there is no young man of that day wlio fulfil? 
 these conditions, to whom these works cftn be attributed, 
 with a shadow of pretence, except Raff a el lo Sanzio, of 
 Urbino, whom we worship as Raphael. 
 
 But there are other and more positive traces of the 
 youthful hand of the divine painter to be found in these pic- 
 tures. The attitudes and movement of the two startled sol- 
 diers in the upper compartment, wei-e i-epeated by liim almost 
 literally, though of course with infinitely greater eftect, in his 
 Delivery of St. Peter from Prison. In that picture is a 
 sleeping sentinel, who sits in the same attitude, and wears the 
 same helmet which we see in the figure on the left of the 
 tomb. Thus do great painters revert in the maturity of their 
 powers, to the conceptions of their earlier days ; thus did 
 SiiAKSPERE, in writing Lear and Othello, not disdain to use 
 thouo"hts and images which we find in Venics and Adonis. 
 that " first heir of his invention." The type of the Madonna's 
 head, in the lower compartment, is identical with that of his 
 earliest existing Virgin and Child, painted for the Constable 
 of Perugia, and never removed from the house in which it 
 was fii-st placed. The head of Joseph indicates a similar pa- 
 ternity. In the shepherd in the middle of the three who are 
 kneeling, an unmistakable likeness to the great painter him- 
 self is to be traced ; while next to that of liis pupil, we see, in 
 the largest and most mature figure of the group, a porti'ait of 
 Perugino. It is worthy of remark that this figure alone weai*s 
 shoes and stockings. The youthful scholar, doubtless, thought 
 that it would be somewhat disrespectful to represent his hon- 
 ored master, with the denuded limbs of a poor shepherd. 
 Both these figures wear caps, which the others do not ; and 
 in that of the first we find the identical head-dress which the 
 young Raphael has given to himself in his earliest portrait. 
 
ITALIAN SCHOOL. 21 
 
 The drawing and positions of the hands and feet in this figure, 
 and in those of Mary, and Joseph, and the fourth shep- 
 herd, are also marked exhibitions of the style of Raphael. 
 Around the pictures, too, are quaint arabesques upon a black 
 ground, a kind of ornament which he was always fond of 
 painting. But, above all, there is a certain firm and flowing 
 outline in those parts of the picture which are unimpaired, 
 which can be found in the works of no artist of the day, save 
 one. From this mass of cumulative evidence, the unstrained 
 conclusion seems, that these compositions are eai-ly works of 
 Raphael ; painted, most probably, in his fourteenth or fif- 
 teenth year, during the first portion of his pupilage with 
 Perugino. It is needless to enlarge upon their historical in- 
 terest and value, as connected with the development of the 
 powers of the Prince of Paintei-s. 
 
 *#* Very few of this period exist. Those -svliieh are in the Vati- 
 can and the Louvre, show, in style and handhng, an exact similar- 
 ity to these pictures, which is absolutely conclusive. The propri- 
 etor wishes it to be understood, that in his opinion, and in that of 
 some of the accomplished and practiced experts in Europe, there is 
 not the slightest doubt of the authenticity of these pictures. Only 
 the inexperienced and the imcultivated fail to trace in them tlie 
 pencil of the divine Raphael. 
 
 26. Madonna and Child. (Copy.) 
 
 An old and admirably executed copy of the Bridge water 
 Madonna ; a picture so famous for its exquisite grace and 
 tender sentiment, that any remarks upon it are needless 
 here. 
 
 *^* There is reason to believe that this copy was made by the 
 artist whose copies pass for originals in many well-known galle- 
 ries. 
 
22 BRYAN GALLERY. 
 
 27. Dance of Cupids. (Copy.) 
 
 Nine Cupids dance in a ring. On the left, one plays 
 upon double pipes: on the right, another sits upon the 
 ground. The infantile grace of these little figures is exquis- 
 ite indeed, and has that unaffected simpHcity only to be 
 found in Raphael. This copy is very fine, as it may well 
 be, having been made by no less distinguished an artist than 
 Sassoferrato himself. 
 
 FERRARI. 
 
 Gaudenzio Ferrari was born at ValJugia, in 1484. He studied with Stefamo 
 ScoTTo and Bernardino Luini; and, as some say, with Perugino. It was from 
 a close observation of the works of Lionardo da Vinci and Raphael that he 
 derived his best instruction. With the latter artist he was frequently engaged 
 upon great works. Fertility of design, grandeur of form, and an ability and dis- 
 position to represent his figures in diflScult but striking positions, eeem to haxe 
 been his chief characteristics. He died in 1550. 
 
 28. St. George, and St. Antliony of Padua. 
 
 St. George is in the full dress of an unarmed knight of 
 the period. He wears only a sword, and carries a palm 
 branch. St. Anthony is in monastic robes, and carries a 
 lily. Behind the figures, two strips, one of green and the 
 other of red stuff, hang from the capitals of two columns. 
 The head of St. Anthony is a fine specimen of the religious 
 type. That of St. George is marked by manliness and 
 decision of character. There is a grandeur of style in these 
 figures which is best appreciated by looking at them from a 
 little distance. 
 
 FRA BARTOLOMEO. 
 
 The family name of this artist was Baccio, under which he was at first known, 
 with the addition " della Porta," because his studio was near the gate of the 
 city. He was born near Florence in 1469, and was one of the great painters who 
 made that city glorious at the end of the fifteenth and the beginning of the six- 
 
ITALIAN SCHOOL. 23 
 
 teenlh centurj-. He had attained distinction under bis own nanoe, when the mar- 
 tyrdom of his friend Savonarola so affected him, that he threw aside pallet and 
 pencil, and entered the cloister of Santo Marco. lie then took the name of Bar- 
 TOLOMKO, under which he was known for the rest of his life. He was a pupil of 
 CosiMO RosELLi, but studied the works of Lioxardi da Vinci with attention; 
 and the antique, devotedly. His pictures are rare, and consist altogether of sacred 
 compositions. They are distinguished by the tender, serious, and deeply religious 
 feeling which pervades them ; also for their richness and harmony of color. Fra 
 Bartolomeo was esteemed so good a colorist that he gave lessons in that art to 
 Raphael when the latter was in Florence, A. D. 1504, and received in return from 
 his pupil instructions in perspective. He visited Rome soon after, and in the 
 subsequent elevation of his style, showed the effects of a study of the works of 
 Michael Anqelo and Raphael. But it was with the spirit of Raphael, at once 
 his pupil and his master, that he had most sympathy. He died in 1517. 
 
 29. Martyrdom of St. Bartliolomew. 
 
 The Saint whose death is here represented was flayed 
 alive, and then beheaded. This picture is therefore \m- 
 pleasant, although interesting. The group on the right of 
 the picture is remarkably spirited and energetic. The land- 
 scape back gi'ound was evidently painted after the artist had 
 received the instructions of Raphael in perspective. 
 
 GIORGIONE. 
 
 Giorgio Barbarelli, called Giorgione, was born at Castelfranco, near Trevigi, 
 in 1477. He was a pupil of Bellini, and the fellow student of Titian. To his 
 Blaster he owed little save the rudiments of his art. The power of his genius soon 
 led him to free himself from the guidance of the timid Bellini, and to produce a 
 strong and flowing outline, a rich, harmonious color, and an effect of chiaroscuro 
 till then almost unknown. With almost all the great painters of his day, he was 
 largely indebted to the study of the works of Lionardi da Vinci. In breadth o^ 
 effect and high relief, his works have been rarely equalled. Even Titian was at 
 first carried away by the splendor of his style, and imitated him. He died in 1511, 
 in the fullness of his powers. 
 
 30. The Eepose in Egypt. 
 
 The Holy Family is represented seeking rest and refresh- 
 ment in the open air, sheltered by drapery which hangs from 
 a tree. The Virgin holds out the infant Jesus to Joseph, 
 
24: BKYAN GALLEKY. 
 
 who halt" reclines upon the ground. In color this picture is 
 glowing and vigorous ; the flesh tints being remarkably pure 
 and rich. The forms are noble, and the outhnes boldly 
 drawn, although not unimpeachably correct. 
 
 [No 17 is a specimen of the ancient Venetian style, which 
 should be examined in connection wdth these productions of 
 the glorious days of that school.] 
 
 31. A Peasant Holding a Flute. 
 
 A young man, clad in skins, and wearing a heavy head- 
 dress, holds a flute in his right hand, and stands in a listening 
 attitude. The head is admirable for its bold modelling, the 
 fine form of the features, its rich, strong color, and the clear 
 depth of chiaroscuro. The carnations are evidently from the 
 same palette which furnished those of Joseph's head in the 
 previous picture. 
 
 *^* From the collection of the Marquis Sommariva. 
 
 32. A Concert. (Copy.) 
 
 Two men and a naked female sit in the open air, diverting 
 themselves with music. Another female figure peers at the 
 group from the shrubbery. This old copy of the master 
 represents successfully his rich and harmonious color. 
 
 TITIAN. 
 
 TiziANO Vecelli, whose name we have unjustly anglicized into Titian, as we 
 have that of Raffaello into Raphael, was born at Cadore, on the borders of 
 Friuli, A. D. 1477. He received the education of one intended for a learned pro- 
 fession ; but having determined to become a painter, he studied at first with 
 Skbastiano Zuccati, afterward with Gian Bellini, and finally with Giorgione. 
 He stands at the head of the Venetian School, and is acknowledged as the greatest 
 colorist the world has seen ; for in his works color attains its noblest, most ideal 
 expression. That elevation of sentiment which in other great painters found its 
 vehicle in form, or liglit and shade, in him manifested itself in effects of color. 
 
ITALIAN SCHOOL. '25 
 
 His palette was extremely simple, the colors which he used being few in number^ 
 and very pure and decided in tint. It was by the power of contrast and harmony, 
 as well as by the mode of applying his colors, that he produced those wonderful 
 effects which enchant the world, and make some artists throw down pencils and 
 palette in despair, and others seize and use them with equal desperation. His 
 mode of painting has never been understood or imitated. lie produced a surface 
 such as no other artist has left lis, the pigments being thoroughly impasted 
 together, and looking as if they had been run into each other by fusion ; indeed 
 some have gone so far as to suppose that he used fire in his manipulations. His 
 figures have aji air of superb repose, but are not always perfectly drawn, espe- 
 cially in the works of his early life. He was doubtless the greatest portrait painter 
 that ever lived : his works in this department of the art have remained unap. 
 proached, for life and individuality of expression. lie was also a fine landscape 
 painter, and one of the first to make landscape a separate branch of art. This is a 
 meagre account of him ; but his life is well Icnown, and we have as little ability 
 as space to tell the lover of art anything new about the noble old painter whose 
 maulstick was picked up by a monarch, and who w as prevented only.by the 
 plague from completing his century of life. He Hved the friend of the sages and 
 poets, and honored by the nobles and princes, of his day. He painted until his 
 death ; and (let it be remembered by young artists who think to achieve fame by 
 a few strokes of genitis and the brush; was one of the most laborious of men. 
 lie died at Aretino, In 1576. 
 
 Tlie Repose in EgyiDt. 
 
 The Holy Family is sitting in the open fields. The 
 Virgin sustains the infant Jesus as he leans forward, attracted 
 by a lamb "svhich the young St. Johx presents to him. The 
 mother looks musingly upon the ground. Joseph regards 
 the group with profound interest, and endeavors to attract 
 the attention of the infant by offering him fruit. Above, 
 three cherubs watch the reposing travellers. Although the 
 principal attraction in this picture is its color, still the group 
 is remarkable for its graceful composition, for the unaffected 
 dignity of the figures, and for a correctness of form not always 
 found in Titian's works. As to the color, it seems as if 
 nothing could be richer, more sensuously beautiful, and, at 
 the same time, truthful. Its gradations in the limbs of the 
 St. John are of gi-eat delicacy, and are preserved even in the 
 
26 BRYAN GALLEET. 
 
 shadows with no less power of pencil than in the highest light. 
 The white drapery, upon which the young Christ stands, that 
 which half envelops St. John, and the deep orange-colored 
 robe of Joseph, are masterpieces of the use of the palette. 
 
 %* This composition was repeated many times by Titiax, and 
 without great variation. This repetition is distinguished by the 
 absence of some figures in the back ground, and the introduction 
 of a rivulet in the foreground, and a butterfly upon a flower in the 
 right corner. It has twice been found necessary to remove the 
 picture from its canvas ; but although the drapery of the Virgin 
 lias suftered somewhat from this and other causes, the other parts 
 of tlie picture remain pure and unharmed. 
 
 34. St. Jerome, in liis Study. (School of Titian). 
 
 The Saint is represented writing at an antique desk. Upon 
 the wall hangs a cardinal's hat ; and he wears the red cape. 
 Behind him are cabinets, and his library, which consists of a 
 few parchment rolls sustained by a band against the wall. 
 From the ceiling hangs an enormous gourd. In the front is 
 the emblematic lion. The light falls in broad masses through 
 deeply recessed windows. 
 
 *^* This is a large copy of a print, by Albrecht Durer. Its 
 color shows it evidently to be of the Venetian School. 
 
 35. Virgin and Child. (School of Titian). 
 
 The child sits upon the knee of the mother, and, leaning 
 back to look up in her face, is sustained by her right arm. 
 He has fruit in each hand. The limbs of the child are grace- 
 fully disposed, and are quite grand in their lines, but the 
 heads of neither mother nor child are noble or divine in 
 their expression. The color is rich and harmonious, though 
 
ITALIAN SCHOOL. 27 
 
 not SO warm and glowing as is usually the case in the pro- 
 ductions of this school. 
 
 *^^* This picture came from the Gallery of Louis PmLUPE, and 
 on the back was written ^^ Dans la chamhre du Prince." 
 
 BREA. 
 
 LuDivico Brba, a painter of the Genoese School, was born at Nrzza, about 
 1460. It is not known by whom he was instructed. He painted small compo- 
 sitions and portraits chiefly. His last works are dated 1513. 
 
 36. Portrait of Cliarles, Constable de Bourbon. 
 
 To this treacherous person the painter has given a satanic 
 expression, which we willingly believe to be truthful. The 
 head-dress, in the style of Francis I., is very striking, being 
 composed of a yellow skull cap, surmounted by a black velvet 
 circle embroidered with pearls, over which falls a small ostrich 
 plume. The Constable has a letter in his gloved hand, — a 
 common incident in ancient portraits of persons of distinction. 
 The outlines are stiff, and the forms lack roundness. 
 
 SEBASTIANO DEL PIOMBO. 
 
 Sebastiano Luciano, called del Piombo, from his being the keeper of the 
 chancery seal, which was of lead, was born at Venice in 1485. His first profession 
 was music; but he afterward studied painting with Bellini and Giorgione. 
 He was the most successful imitator of the harmony and breadth of the latter's 
 style. Being invited to Rome, he became the friend and co-worker of Michael 
 Anoelo, who sought from his splendid color and fine chiaroscuro, aid against the 
 overshadowing genius of Raphael ; but in vain. He painted chiefly portraits 
 and sacred subjects. He died in 1547. 
 
 37. Christ Sliown to the Multitude. 
 
 Christ, bound, crowned with thorns, and bearing the reed, 
 is shown to the multitude by Pilate ; who, clad in the 
 costume of a magistrate of the painter's epoch, stands at his left 
 side ; while on his riirht an attendant, who holds the cord, 
 
28 BKYAN GALLERY. 
 
 removes a robe from his shoulders. The head of Christ is 
 finely formed, and is full of dignity and noble grief, — a grief 
 not for himself. The bust is fine, and the modelling strongly 
 marked. The self-seeking sluggishness of Pilate, and the 
 attendant's low leer of exultation, afford a fine and natural 
 contrast to the pensive dignity of Christ. We find in this 
 work an interest for the student of Art beyond its intrinsic 
 merits, as it is a link between the Venetian and Florentine 
 Schools ; its color belonging to the former, while its treat- 
 ment of form and its architecture are in the style of the 
 latter. 
 
 %* This picture, wliich is in very fine condition, and the prin- 
 cipal figure in which much resembles that in the famous picture of 
 Christ Looking into Hell, in the Eoyal Gallery of Madrid, was 
 2>urchased by the proprietor, in Rome. 
 
 ANDREA DEL SARTO. 
 
 Andrea Vannuc i, who is said to have been called del Sarto because be was the 
 son of a tailor, was born at Florence in 1488. He w^as placed at first with a goldsmith, 
 whom he left for the instructions of Giovane Barili, whom he again left for the 
 studio of PiKTRo Di CosiMo. But it was from the study of Masaccio, Ghirlan- 
 DAJo, LiONARDo, and Michael Angelo that he received his most valuable 
 instruction. He had great versatility of talent, and could imitate the style of 
 other artists with marvellous fidelity. His genius inclining him to the graceful 
 and the tender, he lacked boldness and decision in treating grand subjects. He 
 visited the principal cities of Italy, and was invited to Paris by Francis I. where 
 he was received with great distinction. He returned soon to Florence, however* 
 and led a life by no means without reproach. He died about 1550. 
 
 8. Virgin and Child, witli Angels. 
 
 The Virgin sits upon the ground, with the Holy Child 
 upon her knee. He is looking heavenward. On either side 
 stands an angel ; and behind is another figure, — perhaps St. 
 John. The head of the Virgin is sweet and tender in ex- 
 pression ; but the color is weak, and the forms are not fine 
 or the outlines bold or clear. 
 
ITALIAN SCHOOL. 29 
 
 EARLY FLORENTINE SCHOOL. 
 
 39. Virgin and Child Avith St. Jolin. (Painter 
 
 unknown : supposed to ])e Boateri.) 
 
 The Virgin stands before a carved stone ledge upon 
 which the infant Christ sits, receiving a cross from St. Joiix. 
 In a cave behind the Virgin sits St. Jerome, liis cardinal's 
 hat hanging before him. In the back ground are buildings 
 and figures. The expression of the Holy Child is sweet and 
 infantine ; the other heads are somewhat tame. It will be 
 noticed that gold is used freely in the halos, and upon the 
 draperies, which fall in somewhat stiff but ample and not un- 
 pleasing folds. 
 
 *^* This picture is from the collection of the Abbe Gexoude ; 
 known as the translator of the Bible, by which he accumulated a 
 fortune. 
 
 40. Adoration of the Shepherds. (Painter un- 
 
 known.) 
 
 The Virgin lifts a drapery from the infant Christ, who 
 lies upon a stone slab covered with straw. On the left kneels 
 an old shepherd, and behind, two others appear. On the 
 right, a cherub eagerly approaches the Di\ine Infant. The 
 group sits in the open gallery of a large, ruined building. In 
 the distant landscape, shepherds are seen, to whom the angel 
 appears. This embodiment of two incidents of a story upon 
 the same canvas, is common with the old painters. The ex- 
 pression of the Infant is sweet, and that of the mother refined 
 and pensive. The Child's limbs are disposed with much 
 freedom and grace. In color the picture is not well balanced, 
 
30 BRYAN GALLERY. 
 
 all the cool and quiet tints being upon one side, and all the 
 bright and glowing upon the other. 
 
 *^* This picture is from the collection of the Sylvestre fanoil}-, 
 and was once improperly attributed to Raphael. It bears many 
 of the marks of Garofalo's pencil. 
 
 MANTEGNA. 
 
 Andrea Mantkgna was born near Padua, in 1431, and was the son of a herds- 
 man. Francbsco Squarcionk, noticing his disposition to become a painter' 
 took him as his pupil. He rose rapidly to distinction. By the study of an 
 unrivalled collection of ancient Greek statues and bas-reliefs, in the possession o f 
 his master, he acquired a simple grandeur of composition, and a purity of form, 
 till then unknown among painters, and which constitute his distinguishing 
 excellence. Some of his figures are yet unsurpassed for grandeur, truth, and 
 decision of outline. It was to the study of his works that Correggio owed much 
 of his eminence. Although his design was classical and elegant, his manner of 
 painting was quite Gothic. He used gold freely in his draperies, and high lights. 
 To his talents as a painter, he added great skill as an engraver. He died at 
 Mantua, in 1506. 
 
 40. (A) Tlie Crucifixion. 
 
 A canvas filled with figures remarkable for expression and 
 character, exhibits Jesus crucified between the two robbers. 
 At the foot of the Cross the fainting Virgin is attended by 
 two women. On the left, Joseph of Arimathea regards the 
 group with deep concern. On the right, the soldiers cast lots 
 for the garments of Christ ; and in front, one of the party 
 raises the sponge dipped in vinegar to his mouth, upon a 
 reed. Behind the cross we see the Centurion. A mounted 
 soldier breaks the legs of one of the thieves with a mace. 
 Mr. MicHiELS, the distinguished critic employed by the Bel- 
 gian Government to prepare a history of Flemish Art, says of 
 this work : " The Christ has a nobility in his attitude which 
 few painters have been able to give him ; the expression of 
 the good robber is also grave and dignified. The whole pic- 
 ture bears the impress of a serene imagination ; the coloring 
 
ITALIAN SCHOOL. 31 
 
 is sombre, the attitudes are distinguished by an air of majes- 
 ty. We feel that the artist had at the commencement of his 
 career severely studied the ancients. Two cuirasses, and some 
 of the draperies, are gilded ; gold is mingled with the other 
 costumes, in the form of traits, designating the folds. We 
 are particular about these details, because they indicate the 
 primitive epoch in which the picture was painted, and the 
 manner in which they passed from the use of gold grounds 
 to the entire abandonment of tbat metal." 
 
 M. MiCHiELS might have added, that the figure of the 
 unrepentant robber shows a knowledge of anatomy, a skillful 
 treatment of form, and a masterly decision of outline which has 
 hardly been surpassed by the painters of the grand epoch 
 which succeeded Mantegna. It should be observed that the 
 Jewish type is preserved in the heads of many of the figures ; 
 which is the case of the works of very few other masters* 
 It will be observed, that there are in this crowded canvas no 
 two pieces of oflfensive or defensive armor alike. This is 
 worthy of particular remark, as Squarcioni, the master of 
 Mantegna, had the largest and most varied collection of 
 ancient arms which existed in his day. 
 
 Aside from its intrinsic merit, this picture is of the great- 
 est interest when considered in connection with the St. Jer- 
 ome (No. 41) by CoRREGGio, the disciple of Mantegna. In 
 the peculiar mode of introducing gold in the lights of that 
 noble painting we notice an unmistakable similarity to Man- 
 TEGNA'suse of the same material in the work before us ; thus 
 showing the direct connection between the manner of the two 
 painters. 
 
 *^* It is impossible to overrate the historical importance of the 
 juxtaposition of this work of Mantegna with that of Correggio. 
 There is afforded in no other gallery, public or private, in the 
 world, a similar opportunity to study the master and scholar side 
 
32 BRYAN GALLERY. 
 
 by side in works of unquestionable authenticity and tlie liighest 
 intrinsic merit. Should any person be inclined to dispute the au- 
 thenticity of the present work, the proprietor is ready to establish 
 and sustain liis opinion in every possible manner. 
 
 CORREGGIO. 
 
 Antonio Allegri, called da Corrkggio, the son of Pelligrini Allegri, a 
 merchant of Correggio, in the Duchy of Modena, was born in 1494. He was des- 
 tined for one of the learned professions, but his devotion to the art of painting 
 could not be controlled. He received some instructions from his uncle, Lorenzo 
 Allegri, and from Antonio Bartolotti, called Tognino. But from his long and 
 faithful study of the works of Mantegna, he derived instruction which he never 
 forgot, and which was of the greatest service throughout his career. His progress 
 was very rapid, for at twenty years of age he had attained celebrity. His genius 
 is regarded as one of the most marked and original known to the annals of the 
 art. His forms are finely modelled, and have an inexpressible grace of contour. 
 His heads have a sweet and tender air, which enchants the eye ; and he is beyond 
 all painters in the magical application of the mysteries of chiaroscuro to the human 
 form, and to the tints of flesh. His color is exquisitely delicate and pure ; and in 
 richness of tone and breadth, his pictures are unrivalled. To all his other excel- 
 lences, he adds this, that they all are his own. Many stories are current about his 
 life, referring generally to his poverty. They are all proved to be without founda- 
 tion. He lived prosperous and honored ; and, dying suddenly in 1534, he was 
 buried with pomp and solemnity, in the church of San Francisco, in his native 
 town. 
 
 41. The Virgin and Cliild, Mary Magdalen, and 
 St. Jerome (known as the St. Jerome). 
 
 The Virgin, seated upon a bank, liolds the infant Jesus, 
 who reads a book which is hekl by St. Jerome, and the 
 leaves of which are turned by an angel. Mary Magdalen, 
 half kneehng, raises the foot of the child to her lips. Behind 
 her is a httle cherub with a vase. A rich canopy of hmvm. 
 and yelloAv tapestry hangs over the group. Through the 
 small opening between this canopy and the heads of the 
 group, we see a distant landscape with a large castellated 
 building. In his light hand St. Jerome holds a scroll. This 
 composition, which varies remarkably, but in minor 
 points, from the famous St. Jeroiiie, now at Parma, by the 
 
ITALIAN SCHOOL. 66 
 
 same Master, is one of tlie most celebrated of his productions. 
 Its conception is grand, its forms noble. Not only are the 
 limbs of the gigantic saint modelled >vith the fine relief due 
 to their large proportions, but there is in the figure an 
 expression of dignity and power which is almost superhuman. 
 The countenance of the Magdalen expresses the depth of 
 repentant grief, without in any degree marring its superb and 
 voluptuous cast. The Virgin's head has a sweet dignity and 
 pensiveness ; and if in the Divine Infant we miss the blended 
 innocence and godhood which gazes in calm self-conscious- 
 ness from the face of the wondrous child who sits in the arms 
 of the Madonna di San Sisto, we should remember that 
 there is but one Raphael, and that even he was not perfect 
 in every province of the painter's art ; Correggio being all 
 accomphshed on these very points on which he was most 
 deficient. 
 
 Of this sketch M. Michiels remarks, that in it " burns in 
 all its grace, the talent of C orreggio. Never has the ecstacy 
 of piety, or the fervor of religious affection, been better 
 expressed." 
 
 This picture differs from the large one at Parma, in the 
 lack of the emblematic lion which stands in that by the side 
 of St. Jerome ; and also in the color of some of the draperies, 
 particularly in that of the canopy, which in this is striped, 
 while in that it is of one color. In this, too, we find gold 
 used in the halos and in the draperies, which is not the case 
 in the other ; a fact which points to the earlier production of 
 this picture, and which also connects it in a remarkable 
 manner with the Crucifixion by Mantegna (No. 40, A.), 
 a painter whose works Correggio studied profoundly, and 
 whose manner of painting had a marked and well-known 
 influence upon him. 
 
34 BRYAN GALLERY. 
 
 *;jt*' There can be no doubt that this picture is the finished 
 sketcli for the well-known St. Jerome^ at Parma. The marked 
 differences already alluded to in minor points, prove incontestably 
 that it could not be the work of a copyist, who would, of course, 
 reproduce his original with all possible fidelity. In the expression 
 of the Magdalen's face, this has the advantage of the larger work ; 
 as not unfrequently happens in the transferring of a composition 
 from the first sketch to the finished work. It is from the collection 
 of Marshal Sebastiani ; it having hung alone in his own cabinet. It 
 was at a remote day transferred from canvas to panel. Mr. Herris 
 has no doubt of tha authenticity of this picture. 
 
 42. Virgin and Child. 
 
 The Virgin sitting before a table, sustains her Son with 
 both arms. He leans upon her shoulder, and lays his hand 
 carelessly upon her breast. The face of the Virgin has that 
 timid, gi-aceful air, peculiar to the women of Correggio. 
 The chiaroscuro of the flesh is remarkably clear ; and in the 
 Virgin's robe we find a tint not known to exist in any 
 pictures but the productions of this Master. 
 
 %* In support of the authenticity of this picture, Ave have the 
 first authority in England, — that of Mr. Woodburx. 
 LOVINI. 
 
 Bernardino Lovini, sometimes called Luini, was born at Luino, on Lago 
 Maggiore, about 1480, or perhaps even earlier. He imitated Lionardo da Vincii 
 if he were not his pupil, and so successfully, that his works are sometimes mis- 
 taken, by competent judges, for those of his model. The well-known picture of 
 Christ disputing with the Doctors, in the British National Gallery, attributed to 
 LioNARDo, is decided by the most expert connoisseurs to be the work of Lovim. 
 He was living in 1530. 
 
 42. Virgin and Child. 
 
 The infant Christ, sitting in his mother's arms, raises his 
 right hand with a gesture of authority. The Virgin's face 
 expresses sweet humility and innocent pride. The child is 
 
ITALIAN SCHOOL. 
 
 35 
 
 inferior to the mother in this respect. Tlie flesh tints are 
 pure and soft, and the chiaroscuro is remarkably fine. 
 The draperies are rather ungracefully disposed, and some- 
 what crude in color. 
 
 SESTO. 
 
 C.DSARi DA Sksto was a native of Milan, and flourished about the beginning 
 of the sixteenth century. He is supposed to have studied wiih Lionardo da 
 Vinci, whose style, as well as that of Raphael, he emulated with success. He 
 died at Milan, about 15-2o. 
 
 44. Viro^in and Cliild, with St. John. 
 
 The Virgin sits beneath a tree, with her Divine Son upon 
 her knees. He holds a flower in his left hand, and stretches 
 out his right to the young St. John, who sits upon a lamb, 
 embracing its neck. The picture is chiefly remarkable for 
 the fine type and sweet expression of the Virgin's head. 
 
 *^* Tliis picture is attributed to C^sari da Sesto, solely upon 
 the authority of the proprietor. It is from the collection of Bishop 
 
 LUSCOMB. 
 
 BRONZING. 
 
 AoNOLO Bronzing was bom at Florence in 1511. He was the pupil of Jacopo 
 Carccci, but imitated Michael Angelo, and with some success. He excelled 
 in portraits. He died in 1580. 
 
 Portrait of a Princess of Florence. 
 
 Tlie Princess stands, resting her right hand upon a book, 
 which lies upon a table covered with gi-een cloth. She wears 
 a richly embroidered robe, over a curious jacket with sleeves 
 embroidered with gold. Around her neck is a ruff of very 
 wide-meshed lace, which also borders the handkerchief in her 
 left hand. Her features are fine, and the expression of her 
 4 
 
36 BRYAN GALLERY. 
 
 countenance is frank and noble. Her hands are beautiful and 
 finely drawn. The flesh tint has a soft and silvery lustre. 
 
 PALMA (VECCHIO.) 
 
 Jacopo Paljia (U Vecchio—i\\^ old) was born, according to some authorities, in 
 1510, according to others, in 1540, in Serinalta, in the Bergamese territory. He 
 studied chiefly the works of Belmni, Giorgione, and Titian. His pictures 
 chiefly excel in harmony of color, and in high finish. He died at forty years of 
 age. 
 
 46. Portrait of a Venetian Lady as Mary Magdalen. 
 (Ancient Copy.) 
 
 A young woman, in the bloom of beauty, sits by a table 
 x[\)0\\ which she* rests her right arm, while with her other hand 
 she tears a necklace of pearls from her neck. Her hair is of that 
 beautiful and j^eculiar red which is more common in Venice 
 than elsewhere. She is richly dressed : her sleeves, like those 
 of Katherine in the Taming of the Shreiv, being " curiously 
 cut." Over her shoulder, a picture of the Repentant Mag- 
 dalen is seen. The color in all parts of this portrait is very 
 rich and glowing. 
 
 GIUSEPPE D' ARPINAS. 
 
 Giuseppe Cesari was called d' Arpinas from having been born in the Castle of 
 Arpino, at Naples, in the year 1560 : or, according to some authorities, 1568. He 
 was the son of a very humble artist ; and having gone to Rome, determined to 
 become a painter, he was obliged, from poverty, to offer his services to arrange 
 the palettes of the artists employed in the Vatican by Gregory XIII. Some figures 
 which he sketched upon the wall were the cause of his being taken under the 
 protection of the Pope, and placed as a pupil with Pomarancio. He was one of 
 the most distinguished and fertile painters of his day. His works " possess an 
 appearance of grandeur in the composition, lightness and facility in the design, 
 and an alluring beauty of execution ;" but he is regarded by the best critics as 
 superficial, and prone to extravagance. He died at Rome in 1640. 
 
 4T. Charity. 
 
 Charity, represented, as usual, by a woman in the full 
 
ITALIAN SCHOOL. 37 
 
 bloom of matronly beauty, sits in the midst of a group of 
 young children, who seek nourishment from her breast. 
 The eager haste of the only successful one, and the struggle 
 between the others, is expressed with great spirit. The 
 draperies are finely disposed, and remarkable for rich and 
 harmonious contrast of color. 
 
 ANNIBALE CARACCI. 
 
 Annibale Caracci, the cousin of Ludovico, was born at Bologna, in 1560. He 
 became the pupil of hia cousin, and afterwards went to Parma to study the works 
 of CoRRKGGio. In Titian, Tintoretto, and Paolo Veronese, he found his 
 models for color. His works are distinguished by their nobility of form, and an 
 expression of energy. His draperies are ample and grandly disposed, and indicate 
 a justly proportioned figure beneath them. His imagination was vivid, but being 
 averse to letters, he sometimes felt injuriously his want of learning. He died in 
 1609. 
 
 48. Vii-giu and Cliild. 
 
 The infant Jescs sits upon his mother's knee, looking with 
 full face from the picture. She presents some small object 
 with her right hand, which he takes with his. 
 
 49. St. Josepli lidding tlie Infant Jesus. 
 
 The child, between three and four years old, hes asleep in 
 the arms of Joseph. 
 
 Both these little sketches are remarkable for bold, decided 
 drawing and high relief. The shadows are quite dark, but 
 are disposed with masterly knowledge. The heads are fine 
 and strongly marked types. It is worthy of notice, that in 
 the first there is a halo only around the head of the Virgin, 
 and in the second only around that of the child. 
 
 DOMENICHINO. 
 
 DoMENic o Zampieri, Called Domenichino, was bom at Bologna in 1581. la 
 his boyhood he studied with Denis Calvart ; but it was in the academy of the 
 
38 BRYAN GALLERY. 
 
 Caracci that he received his only formative instruction. He is considered their 
 best pupil, although Gcido and Albano were his fellow students. He studied 
 profoundly the works of Correggio and Raphael. His outline is grand and 
 flowing, his heads are fine in type and full of expression, and his coraposiiion is 
 learned and effective. The marked and striking character of his figures is hi* 
 distinguishing excellence. He died, by poifeon it is supposed, iu 1641. 
 
 50. St. Paul borne to Heaven by Angels. 
 
 " Three angels bear aloft the interpreter of the divine will : 
 one has the form of infancy, another of youth, the third of 
 adolescence. The minister of our Lord raises his hands to 
 heaven, on which he gazes with an expression of burning 
 hope. How he seeks to discover the first rays of the eternal 
 hght ! How he longs for the moment in which he shall ap- 
 pear before the Almighty ! What enthusiasm animates his 
 countenance ! I doubt if the ardor of faith could be better 
 shown. The little angel has those brilliant eyes, and that 
 expressive visage, which this master knew so well how to 
 paint; it is certainly not inferior to those which we admire in 
 the grand saloon of the Louvre. The angel of the second, 
 age charms the eye by a grace and an easiness of attitude- 
 extremely remarkable ; upon his countenance burn the ven. 
 eration and the love with which the Apostle inspires him. 
 The entire group seems actually to mount in the air. Mr. 
 Bryan had the good taste to purchase it at the sale of M. 
 Forbin-Janson." 
 
 To this just and graphic description, from the pen of M. 
 MiCHiELs, which appeared in the Gazette de France^ it is 
 needless to add anything more than to remark the noble out- 
 line and bold modelling of the hmbs, the perfectly truthful 
 foreshortening of the head — which is in a very difficult posi- 
 tion, the high relief of the figures and the expression of the 
 mighty power with which the apostle seems to be borne up- 
 
ITALIAN SCHOOL. 39 
 
 ward. A few moments' quiet contemplation of this picture 
 awakens in the observer a sensation of motion through illim- 
 itable space, which is a triumphant effect of the painter's 
 power. 
 
 *^* This picture was formerly in the Gallery of the Cardinal 
 LvMBRUScuiNi, and afterwards in the collection of M. Forbin-Jans ox, 
 Director of the Louvre, at whose sale it was purchased by the pro- 
 prietor. 
 
 SCHOOL OF GUIDO, (1515 to 1641.) 
 
 51. Magdalen in a trance. 
 
 The Magdalen, a noble and voluptuous figure, leans back 
 with clasped hands, and gazes heavenward with an expression 
 of wrapt fervor. She is entirely unconscious of the presence of 
 a person who bends over her with an air of concern. This 
 picture is one of the neblest productions of its school. The 
 form and the expression of the principal figure are truly 
 grand ; and the clasped fingers of the one and the half opened 
 hands of the other, are the work of a pencil inspired by na- 
 ture, and successfully emulative of Michael Angel o. The 
 head of the Magdalen is evidently a reminiscence of that 
 of the JViobe discovered at Rome about the epoch of the 
 painter. 
 *^* This picture is from the collection of Louis Philippe. 
 
 ARTEMISIA GENTILESCHL 
 
 Artemisia Gentilkschi was born at Pisa in 1590, and was the daughter and 
 pupil of the painter Orazio Lomi Gkntilesciii. She accompanied her father 
 to England, where she painted many fine portraits of distinguished persons ; but 
 she passed most of her time at Naples and Bologne. Her style was formed by the 
 study of the works of Guido aud Domenichino. She died in 1642. 
 
 52. Christ disjDnting witli tlie Doctors. 
 
 Christ, represented as a youth of noble and ingenuous 
 mien, stands in the midst of three doctors, in the attitude of 
 
40 BRYAN GALLERY. 
 
 argument and reckoniDg the points of tlie subject in dispute 
 upon his fingers. The figure to whom he particularly ad- 
 dresses himself is confused and enraged at his discomfiture. 
 Of the other two, one looks with scorn, the other with won- 
 der upon the presumption of the youthful prodigy. There is 
 much dramatic eflfect in this picture ; the heads are expres- 
 sive and characteristic ; and the coloring is rich, though not 
 clear. The crimson robe of the principal figure is well 
 painted. 
 
 SUSTERMANS. 
 
 Justus Sustkrmans, sometimes called Subtermans, although bom at 
 Antwerp in 1597, is considered as of the Italian School, from his having studied 
 in Florence, and formed his style upon Italian models. To the Italian style of 
 design, he added the rich color of his native schools. As a portrait painter, he is 
 deemed almost the equal of Vandyke. He died in 1681. 
 
 53. Portrait of Galileo Galilei. 
 
 This is a bold and characteristic portrait of the famous 
 philosopher who called through the key-hole of a dungeon 
 of the Inquisition, " The world turns round." He is repre- 
 sented in the costume which appears in all his other portraits, 
 and has in his right hand the telescope of which he was the 
 inventor. The color is rich, and the modelling bold and 
 skilful. 
 
 *^* From the collection of Louis PiiiLiprE. 
 
 UNKNOWN ARTIST. 
 
 54. Portrait of a Professor. 
 
 The painter of such a head as this should not lose the 
 credit of such an admirable performance. It represents a 
 grave, intelligent man, with a double pointed beard, wearing 
 a flat cap and a doctor's robe, and holding a book and a ferule. 
 
ITALIAN SCHOOL. 
 
 41 
 
 The tone of the flesh is too warm, and the tint is opaque ; but in 
 the life which looks from the eyes, and the true and decided 
 expression of the forms of the face, the picture has few 
 superioi-s even among the works of the greatest artists. 
 
 SASSOFERRATO. 
 
 It is probable that there were two or more painters of distinction to whom ibis 
 name was given, and whose works have been confounded. Giovanni Batist.v 
 Salvi, who was the greatest of the name, was the son of Tarquinio Salvi, a 
 painter little known ; and was born in 1605, according to general belief. He was 
 the pupil of his father and of Domknichino. Lanzi says of him : " lie painted 
 with a flowing pencil, was varied in his coloring, and had fine relief and chiar 
 oscuro, but in his local tints was somewhat hard." He painted much in the 
 styles of Gdido, Baroccio, Albano and Eapuael, whose works he often copied. 
 He died at Rome, in 1685. 
 
 55. Virgin and Child. 
 
 The infant Christ lies sleeping on his mother's right arm ; 
 she, leaning on the other, tenderly watches his slumbers. 
 The bright silvery tone of the flesh, the graceful and carefully 
 drawn extremities, and the expression of perfect repose in the 
 limbs and countenance of the infant, are the chief points 
 worthy of admiration in this picture, which is very charac- 
 teristic, in all points, of the Master. 
 
 SALVATOR ROSA. 
 
 Salvator Rosa was the sou of a land surveyor, and was born at Naples, in 
 1615 He was well educated in letters, and placed as a pupil in design with 
 Francesco Francazano, hia brother-in-law. He afterwards studied with 
 Falcone, and with Spagnoletto. He is chiefly distingui:shed as a painter of 
 wild and sombre landscapes, which he fills with a fascinating gloom, and at times 
 with a wildness almost savage in its expression. The figures which he introduces 
 are in admirable keeping with the scenes in which they appear. He was dis- 
 tinguished, also, as a poet, and even as an actor : but there is much romancing 
 about him which has no foundation. He died at Rome, in 1673. 
 
 56. Landscape, witli Historical Figures. 
 
 It has been found impossible to discover the subject of 
 
42 BRYAN GALLERY. 
 
 this grand landscape. From a ruined building, of large pro 
 portions, wliicli stands upon tlie bank of a small inlet, a 
 cavalcade issues, and is about to pass over a dead body whicli 
 lies in its way. This excites the horror of some armed men 
 in Eastern costume, who, with some women and children, 
 are beneath a large tree on the opposite side of the compo- 
 sition. Two boatmen have brought their bark up into the 
 little inlet, and sit upon the bank. The opposite shore of the 
 inlet rises into a high bluff, on the seaward side of which 
 several small vessels are moored. In the distance, hills, on 
 which are ruined buildings, roll heavily down to the sea. 
 The composition is full of the gloom, the ^ngor, and the 
 wildness which distinguish the Master from all other painters 
 of landscape. 
 
 57. Landscape. (Scliool of Salvator Rosa.) 
 
 In the foreground, on the right, is a pool of water 
 which lies before a ruined wall of an old building over- 
 shadowed by foliage. On the left is a dark clump of trees. 
 Five figures appear between these two points. In the back 
 ground is a hilly landscape, with figures and buildings. 
 
 CANALETTO. 
 
 Antonio Canal, called Canaletto, was born at Venice in 1C97, He was the son 
 and pupil of a scene painter, but visited Rome for the purposes of study. Returning 
 to Venice, he tbund in its canals, lagunes, and noble architecture, the objects upon 
 which he gladly exercised his light, truthful, and sparkling pencil. In truth of 
 aerial and linear perspective, and sparkling effects of light, his works are not sur- 
 passed. He died in 1768. 
 
 58. Marine View, with Architecture. 
 
 This is apparently a view on the lagune of Venice. A 
 stone quay, on ^\hich are the porch of a large building, a 
 small temple with a dome, and an obelisk, occupies the left of 
 
FLEMISH AND DUTCH SCHOOLS. 
 
 43 
 
 the composition; the right shows the open bay, on whose 
 calm surface are four vessels, two near the quay, and two in 
 the distance. On the quay in the foreground, are several 
 figures. In the remote distance is a large white building. 
 The fine perspective of the architecture and quay, and the 
 hmiinous sky, in which the lightest of clouds are floating with 
 changing shapes, are admirable points in this characteristic 
 specimen of a master who wiU doubtless hold his own in 
 spite of Mr. Ruskin's thunder. 
 
 FLEMISH AND DUTCH SCHOOLS. 
 
 VAN ARTOIS. 
 
 Jacques Van Artois was bom at Brussels, in 1614, His works give evidence 
 that he was a pupil of Wildens. His landscapes are remarkable for the grand 
 forms of the trees, foliage which seems in motion, and lightly touched distances 
 and skies. He was an intimate friend of Teniers, who often added figures to his 
 compositions He died in 1665. 
 
 59. A Landscape. 
 
 Through a vista in the edge of a wood an undulating 
 country is seen. In the foreground is a fallen tree, on the 
 right of which is water, upon which are swans ; on the left is 
 a group of hunters. The foliage of the large tree on the left 
 is remarkable for its noble fonns. The sky and distance in 
 their light azure tint show the influence of Wildens ; and 
 the same traits may be traced in the next landscape by 
 
 HUYSMAN DE MaLINES. 
 
 ** From the collection of Marshal Oudinot. 
 
44: BRYAN GALLERY. 
 
 ASSELYK 
 
 Jan Asselyn, a pupil of E. Vandevelde, was bora at Antwerp, in 1610. He 
 visited Italy, and there imbibed some of the spirit, and acquired somewhat of the 
 manner of Claude. His works are admirable for the tender light which pervades 
 them. They generally contain figures and cattle, in the manner of Berghem, 
 He died in 16G0. 
 
 60. Landscape. 
 
 Figures and animals are passing along a road which leads 
 through a gateway. On the right is dense foliage, on the 
 left, water. 
 
 *^* This picture is of questionable merit, but unquestionable 
 originality. 
 
 BAKHUYSEN. 
 
 Louis Bakhuysen, one of the most celebrated of marine painters, was born at 
 Emden, in 1631. He became the pupil of E. Van Everdingen. No painter has 
 surpassed, perhaps we should say equalled him in representing the grandest 
 effects of sky and water. His pictm-es are eagerly sought at high prices. He died 
 at Amsterdam, in 1709. 
 
 61. Marine View. 
 
 A ship, with two luggers and a small boat, are the 
 prominent objects in a wide bay open to the sea. The w^ater 
 undulates gently under the influence of a light breeze. In 
 the distance are other vessels ; and upon the horizon appear 
 the spires and domes of a large city. 
 
 62. Marine View. 
 
 This picture, which is evidently cut from a larger compo- 
 sition, represents three vessels in a stiff breeze. The ship fii-es 
 a salute. Three figures are upon a rock in front. The 
 effects of the rising gale are given with spirit and truth, both 
 in the water and the rigging of the vessels. 
 
 *^* These are not satisfactory specimens of the Master, though 
 the proprietor considers them to be authentic. 
 
FLEMISH AND DUTCH SCHOOLS. 45 
 
 BEERESTRATEN. 
 
 Jan Bkerestratkn, a noted Dutch marine painter, hag left us no memoranda 
 of his birth, family or education. His views of ports and vessels at anchor were 
 sometimes decorated with figures by Linglebach. He died in 1687. 
 
 63. Winter Scene. 
 
 A frozen river, on -which are skaters and sleighs, occupies- 
 the front of the picture, and disappears in the distance on the 
 left. On the opposite side to the observer are ancient 
 buildings. The atmosphere and general aspect of the depth 
 of winter are admirably well expressed, and the action of the 
 figures is graceful and natural. 
 
 *^* This is the finest specimen of the Master ever seen by the 
 proprietor. It graced the collection of Cardinal Fzscir. 
 
 BEGA. 
 
 Cornelius Bega was born at Harlaem, in 1620. He was the scholar of Adrien 
 Van Ostade, whose manner of painting and style he successfully emulated. He 
 died at his native place in 1664. 
 
 64. Boors Regaling. 
 
 In a rude tavern six booi-s are drinking and smoking 
 round an upturned tub. A woman brings them schnapps in 
 a small bottle. This picture is somewhat dark and coarse in 
 color ; but what a truthful embodiment of the very spirit of 
 boorishness does it present, in form, attitude and expression ! 
 
 %* It is the finest specimen of the Master known to the pro- 
 prietor. 
 
 VAN BERGEN. 
 
 Thierry Van Bergen was bom at Harlaem, in 1645, and became the pupil of 
 Adrian Vandevelde. His landscapes are admired for their warmth of color 
 and pleasing design, but he failed to attain the finish and the truthfulness of his 
 master. He died at Amsterdam, in 1669. 
 
46 BRYAN GALLERY. 
 
 ^5. Landscape. 
 
 We look along a broad road, sheltered by trees, by 
 the side of \vliicli are small buildings of Grecian archi- 
 tecture. In the distance is a winding river, on the banks of 
 ■which is a large town. Equestrian figures occupy the fore" 
 ground. There is a semblance of reality about this picture, 
 but it is not composed or painted with the hand of genius. 
 
 *^* This is not a remarkable, though it is an authentic specimen 
 of the Master. 
 
 BERGHEM. 
 
 Nicolas Bergiiem's family name was Von Harlaem. He was born at Har- 
 laem,in 1624, and was successively the pupil of his father, VanGoyen, Moyakrt, 
 Grebbkr, and Weeninx. He is one of the greatest Flemish masters of land- 
 scape painting. His style of composition, his transparency of tint, and his 
 management of the efiTects of light and shade are not only so admirable but so 
 peculiar, that his works can never be mistaken by an eye of any accuracy and 
 experience. His pictures are distinguished by the excellence of the groups of 
 figures and animals which occupy a prominent place in them. He died at Har- 
 laem, in 1683. 
 
 66. Landscape, with Oxen at the plough. (Copy.) 
 
 The oxen are finely drawn and colored, and their action, 
 as well as that of their driver and the ploughman, is spirited. 
 The gradations of light in the sky are delicate and truthful, 
 and the glow of the horizon contrasts effectively with the dark 
 shrubbery. 
 
 *^* This picture was considered a Berghem by the Comte d e 
 TuRENNE ; but it is only an agreeable copy. 
 
 67. Cattle and Herdsmen. 
 
 Two cows and two goats stand with their keeper near 
 some ruins. The goats are painted with rich, clear color 
 
FLEMISH AND DUTCH SCHOOLS. 47 
 
 and a spirited touch, and the light falls broadly upon the 
 group, which is happily composed. 
 
 » 
 authentic. 
 
 ,* This little picture, thougli much injured, is unquestionably 
 
 VAN BLOEMEN. 
 
 Petrus Van Bloemen, who was called Standaert, was a native of Antwerp, 
 and brother to the celebrated Jan Franc von Bloemen. He studied in Italy, 
 where he acquired his surname, from his habit of painting battle pieces. His 
 pictures consist chiefly of cattle fairs, marches of cavalry, or battle pieces, and 
 are remarkable for a truthfulness of design worthy of the best Italian school. He 
 was born in 1649, and died in 1719. 
 
 68. Cattle Market. 
 
 The ruined buildings near which the cattle are grouped,, 
 are the remains of the Palace of the Cnesars, near Rome. 
 
 69. Halt of Soldiers. 
 
 The open space in front of a rambling, half finished, half 
 ruined Italian hostelry, is filled with cattle and the horses of 
 a troop of soldiers, some of whom are seen. The forms of 
 the animals are remarkable for their correctness, and the ac- 
 tion of each one for its characteristic truth. 
 
 YO. Halt of Cavaliers. 
 
 Two horses accoutred for the march, occupy nearly all 
 the canvas. In the background two hoi*seraen jcome up. 
 
 *^* The first two of these pictures were engraved as the works 
 of De Laer, b}" an English engraver, in 1769 : an error of names, 
 but not of appreciation at that time, when De Laer was rated with 
 WouvERMANS. Tlic proprietor is, however, willing to risk the state- 
 ment of his opinion, that for accuracy of observation as to the 
 characteristic action as well as the for^ of the horse, Van Bloe- 
 men is before "Wouvermans. 
 
48 BRYAN GALLERY. 
 
 BOTH. 
 
 Jan Both was born at Utrecht, in 1610, and painted his marvellous pictures in 
 coujuuction with his brother, Andre, who was five years his junior. Their first 
 master was their father, a painter on glass ; but they afterward became pupils 
 of Abraham Van Bloemart, and finally went to Rome. Here Jan Both devoted 
 himself to landscape painting with such success that he became a rival to Claude ; 
 while Andre, adopting the style of Bamboccio, enlivened his brother's pictures 
 with groups of figures equally charming in design and color. The warm, yet 
 fresh and harmonious color of Jan Both, has rarely been equalled. He died at 
 Utrecht, in 1650, five years after his brother, who was dj-owned in one of the 
 canals of Venice. 
 
 71. Landscaj)e. 
 
 A plain, through which a river flows, stretches away from 
 low bluffs which occupy the right of the composition. In the 
 foreground is a small clump of slender trees, on the brink of 
 a pool. The charm of this picture lies in the dreamy, slurnb- 
 rous air which pervades it, and in the warm, sunny haze 
 which hangs like a halo over its beauties. The atmosphere 
 is most seductive to an invalid ; the scene seems to be the 
 place of all others in which to seek the dolce far niente. 
 
 72. Landscape. 
 
 Three slender trees of graceful form principally occupy 
 the eye in this composition. In the foreground is an old 
 Roman arch ; and in the distance, looking between low, abrupt 
 hills and the edge of a wood, we see an undulating country 
 in finely marked aerial perspective. The outlines in this 
 composition are more clearly defined than in the former ; a 
 clear atmosphere is found in every part of it, and the foliage 
 is truthful and vigorous in color. 
 
 '73. Italian Landscape. Sunrise. 
 
FLEMISH AND DUTCH SCHOOLS. 49 
 
 ?4. Italian Landscape. Sunset. 
 
 These pleasing sketches have the tone of the master, but 
 are not to be regarded as fair specimens of his abihty. Their 
 comparative feebleness, however, results merely from the un- 
 finished state in which they were left. In design they are 
 admirable. The spirited figures are byLixGELBAcn. 
 
 BRAKENBURG. 
 
 Richard Brakenburg, a painter who distinguished himself in the style of 
 MiERis and Gerard Douw, was born at Harlaem, in 1650. He was the pupil of 
 MoMMERs and of Bernard Schendel. His touch is spirited, his color truth- 
 ful, and his composition ingenious and pleasing ; but his drawing is not always 
 correct. The works of Ostade were evidently not without their influence upon 
 him. He died in his native place, in 1702. 
 
 To. Interior of a Tavern. 
 
 A traveller, seated at a table, jests coarsely upon an ap- 
 proaching event with his young hostess, whom he has just 
 paid. Her seiTant raises his broad-leafed hat to enjoy her part 
 of his joke. In the back ground are four figures. The heads 
 are expressive and characteristic, and the color harmonious. 
 
 *^* It is signed botli by Brakenburg and Jan Steex, and bears 
 everywhere marks of the careful assistance of the latter, which 
 greatly enhances its value. 
 
 BRAMER. 
 
 Leonard Bramer was bora at Delft, in 1596 ; and it has been supposed that 
 he studied with Rembrandt, whose influence is evident in his works. He visited 
 France and Italy, and acquired a style remarkable for fine expression. His color 
 is excellent, and his management of light and shade striking. His pictures, which 
 are historical compositions, are often illuminated by fire light, or the rays which 
 pierce the gloom of caves. He died in his native place : it is not known exactly 
 when. 
 
 T6. Adoration of tlie Magi. 
 
 The Virgin, with the infant Christ and Joseph, sits in 
 
50 ERTAN GALLEEY. 
 
 front of a ruined building. Around them the Magi are 
 grouped in adoration. The distribution of the hght in this 
 httle picture is truly grand, and the color is rich and harmo- 
 nious. The influence of Rembrandt is apparent in every 
 touch. 
 
 CHAMPAGNE. 
 
 Philippb de Champagne, one of (he most di?tinguished artists of the Flemish 
 school, and almost without a superior as a painter of portraits and single figures, 
 was born at Brussels, in 16U2. He became the pupil of Bouillon, Bourdeaux, 
 and of FouQUiEREs, from whom alone be received much advantage. As he 
 passed most of his life in France, he is regarded by many, and claimed by the 
 French as of the French school. His pictures are remarkable for a faithful imita- 
 tion of nature. They produce all the effect of the actual object represented. His 
 mastery of color, particularly of flesh tints, is wonderful ; so much so, that he does 
 not hesitate to paint fair complexions, surrounded with white drapery only, — 
 and always with success. He died at Paris, in 1674. 
 
 11, Portrait of a Jansenist. 
 
 A gentleman, wearing flowing hair, and whose dress, ex- 
 cept the embroidered collar and ruSles, is covered by a black 
 cloak, holds a spaniel on his left arm and a paper in his 
 right hand. There is an expression of fidelity about this pic- 
 ture which becomes astonishing, almost oppressive, as it is 
 long and closely examined. The flesh tints have the purity 
 for which the Master is celebrated ; and the hand is worthy 
 the admiration of the connoisseur, and, it may be justly added, 
 the study of the artist. The portrait of the dog seems to 
 be as faithful as that of his master. 
 
 *** The picture is a fair specimen of the Master. — Coll. Vie.v. 
 
 IS. St. Paul. 
 
 The head, bust, and hands, of the Saint are seen. 
 The left hand holds and rests upon a book ; the right is 
 raised in an attitude of admonition. This picture might be 
 
FLEMISH AND DUTCH SCHOOLS. 51 
 
 classed in the Flemish School ; but its comparative coldness 
 of color and somewhat theatrical manner give it a place in 
 the French School, between which and the Flemish, Philip 
 DE Champagne is the connecting hnk. In the drawing of 
 the hand we see the work of the same accurate pencil which 
 produced that in No. 77, which is in the Flemish room. 
 
 KLOMP. 
 
 Albert Klomp painted landscapes with cattle, in the manner of Paul Potter. 
 His touch is free, and his drawing correct. The time and place of his birth and 
 death, and his master, are alike unknown. His works bear date from J 602 to 
 1G3-2. 
 
 T9. Cattle ill a Landscape. 
 
 An ox, with goats and sheep, occupy the greater portion 
 of the canvas. This Httle picture is but a tolerable specimen 
 of the blaster. The sheep and goats are natural, and truth- 
 fully painted. The huge and apparently disproportionate 
 ox, is probably a portrait of a prize animal, as the owner ap- 
 pears in the background soliciting the admiration of a lady 
 for his pet prodigy. 
 
 COQUES. 
 
 Gonzales Coques, a painter who emulated and sometimes rivalled Van Dyck, 
 was born at Antwerp, iu 1618. He studied with David Ryckakrt, but learned 
 nothing from him save the elements of his art ; not having followed the example 
 of his master in any important respect, except in the choice of his early subjects. 
 He painted many interiors in the manner of Tenikrs, Ostade, and his master; 
 but the bulk of his work is in portraiture, in which he had but one superior or 
 rival. Van Dyck. His flesh tints are remarkably pure, and the correctness of his 
 drawing astonishing. Although his heads are often very small, his style is so 
 grand that their miniature size is forgotten in a few moments' contemplation of 
 them. He died at Antwerp in 1684. 
 
 80. An Equestrian Portrait. 
 
 A person, evidently of some distinction, and dressed in the 
 5 
 
52 BRYAN GALLERY. 
 
 extreme of the fashion of the day, on horseback. The face 
 has character, but the horse is stiff and conventional. 
 
 %* The picture gives but a feeble idea of tlie merit of the 
 painter. 
 
 CUYP. 
 
 Albert Ccyp, who is perhaps the greatest landscape painter of the Flemish 
 school, was born at Dort, in 1606. He was the pupil of his father, Gerritze 
 CuYP, a painter of merit, but little distinction. His model was Nature as she 
 revealed herself in the vicinity of his native town ; his only actual teacher was 
 his own genius. He delighted in representing upon his canvas the fields upon 
 the border of the Maes river, studded with cattle and figures ; and in the exquisite 
 purity of his aerial tints in these scenes, and in the truthfulness with which he 
 distinguishes the skies of morning, noon, and evening, and moonlit night, he is 
 almost without a rival, even in the boast of Italy, Clavde, whose works surpass 
 his chiefly in their superiority of sentiment and grandeur of composition. He also 
 painted horse fairs, cavalry pieces, and figures. Indeed, there is no department 
 of his art, except the grand historical style, which he did not try. His color is 
 remarkable for its richness and transparency, and his touch for its decision. He 
 was living in 1672, but the time and place of his death is unknown. 
 
 81. Cattle and Figures in a Landscape. 
 
 Two cows and a dog stand in a pool, by the side of rocks 
 on which are stunted trees. Two figures sit in the first 
 distance : another is beyond them. The time is a mellow 
 summer afternoon. The glowing, though subdued tone of 
 this picture, its fine atmosphere, and the absolutely marvellous 
 touches of light upon the cattle, make it a fine specimen of 
 the Master's matured manner. 
 
 82. Portraits of the Burgomaster d'Eyselylm and 
 
 liis family. 
 
 The father, mother, two girls and a boy, and two goats, 
 are formally disposed in a landscape, without regard to 
 grouping. A picture evidently of perfect fidelity, and 
 infinitely amusing as an expression of Flemish formality and 
 primness. The artist has painted every fold and plait of 
 the freshly folded and plaited aprons upon those queer little 
 
FLEMISH AND DUTCH SCHOOLS. 53 
 
 pyramidal figures whom we call girls, by comiesy ; but who 
 look only a year or two younger than theu* hard-featured 
 mother. Even the stitches in the red soled shoes, which 
 terminate the holiday costume of the whole party as it 
 stands in ineffable primness, have been painfully reproduced. 
 The faces are remarkable for character and individuality, and 
 the extremities for careful drawing. 
 
 %* This picture is of a rare style with this Master, and was 
 painted while he was still under the influence of his father. Cer- 
 tain touches in the foreground and sky of the landscape, which is 
 by another hand, harmonize it with the figures, and announce Cuyp's 
 future eminence in that department of the art. 
 
 DEBOIS. 
 
 Of this painter's history nothing is known. 
 
 83. Landscape, with Figures. 
 
 Three equestrians are passing through a wooded glade. 
 The light foliage, fresh and juicy in color, and sharply 
 relieved against the sky, is much in the manner of Ruysdael. 
 
 *^* The simiLarity of many parts of this picture to the works of 
 RursDAEL is so great, that some dealer more keen than honest, had 
 placed his signature over that of the actual painter. Upon clean- 
 ing the picture, the fictitious signature, of course, disappeared, and 
 that of Debois, with the date, 1652, was brought to light. The 
 great likeness of the artist's style to that of Ruysdael, has, doubt- 
 less, induced many other tricks of the same nature ; and hence 
 results the unmerited obscurity of a landscape painter of no mean 
 powers, who preceded Ruysdael, and whose works are important 
 in the history of Art, as showing the origin of that Master's style 
 of treating the foliage and branches of trees. 
 
 DE VRIES. 
 
 Dk Vries is one of the best of the followers of Ruysdael. He flourishal 
 about the year 1600. His pictures have often been taken for thos? of Ruysdael 
 
54: BKYAN GALLERY. 
 
 84. A Landscape. 
 
 A rude house raised on piles, and sheltered by a single 
 tree, stands by the side of a small stream. In the foreground 
 are boats and a figure. 
 
 DIETRICH. 
 
 Christian "William Ernest Dietrich was bom at Weimar, in 1712. His 
 masters were his fiither, and a painter of landscapes, named Alexander Thiel. 
 His manner was not original; tlie works of Rembrandt, Ostade, Poelemberg, 
 and Salvator Rosa, being alternately the objects of his imitation. His chief 
 excellence was in color. As an engraver he attained some eminence. We do 
 not know when and where he died. 
 
 85. The Presentation at the Temple. 
 
 A composition of many figures. Simeon holds the infant 
 Christ, and Mary kneels before him. The hght falls in a 
 broad mass upon the group, and upon a table covered 
 with a white cloth, near by, producing a most brilliant effect. 
 The grouping is remarkable for its ease, and the shadows are 
 wonderfully clear. 
 
 *^* This is the first picture bought by the proprietor, in Europe. 
 
 86. Abraham Discarding Hagar. 
 
 The Patriarch stands upon the steps of his house, with 
 Sarah and Isaac behind him. Before him are the weeping 
 Hagar and Ishmael, laden for their journey into the 
 wilderness. In the back ground are two shepherds with 
 their flock, who regard the scene with interest. This 
 picture, though not so well composed or so fine in chiar- 
 oscuro as the former, is its superior in color. 
 
 VAN DYCK. 
 
 Anthony Van Dyck was born at Antwerp, in 1599. His first preceptor in the 
 art in which he was to win such unfading laurels, was Henry Van Balen ; but it 
 
FLEMISH AND DUTCH SCHOOLS. 55 
 
 was in the studio of Rlbkns that he received the traiuing which developed his 
 powers. He had not been long with that great master of color, when he repainted 
 so skillfully a face and arm, which had been injured by his fellow students, that 
 RiBENS, even after he discovered that the work was not his own, permitted it to 
 remain. He studied, in Italy, the works of Titian and Paul Veronese, and, 
 arriving in England, was covered with honors and rewards. He remained in 
 London till his death, which took place in 1G41. He is one of the great portrait 
 painters whose works in this department rise into the grandeur of historical pro- 
 ductions; and his strictly historical works often rival those of his master, who' 
 if he possessed more fire and power than his pupil, has certainly exhibited less 
 sentiment and delicacy. 
 
 87. Tlie Crucifixion. 
 
 The single figure of the dying Saviour on the cross. The 
 fine anatomy and the beautiful flesh tint of the body — upon 
 which the hght falls broadly — and the noble sorrow of the 
 countenance, demand the admiration of every one who looks 
 at this picture. It is evidently a finished sketch for a larger 
 work. The limbs, especially the left arm, and the head, 
 wbich are in shadow, are of a greenish gray tint, quite 
 characteristic of the Master. The successful treatment of 
 flesh tint in juxtaposition with white drapery, is one of the 
 triumphs of art attained only by its greatest Masters. 
 
 *^* Tliis picture is in the best possible condition, and must be 
 acknowledged to be a fine specimen of the Master's highest style. 
 
 88. Portrait of a Lady. 
 
 A three-quarter-length portrait of a beautiful and richly 
 dressed lady, sitting. She leans her head upon her left arm. 
 Over her right shoulder a cupid hovers, and lays his hand 
 upon her bosom. The fresh, clear flesh tints of this picture 
 delight alike the experienced and unexperienced eye. It is, 
 in composition and execution, one of the most charming and 
 characteristic of the Master's works ; and is almost without 
 spot or blemish. 
 
56 BRYAN GALLERY. 
 
 *^* This picture belonged to General D'Espinoy's large and 
 famous collection of portraits. It -was covered with the dust of 
 time ; and the ciipid, which the proprietor found in perfect preser- 
 vation, had been painted out by some sacrilegious hand. It is now 
 presented a farlessly to the most captious critic as a miracle of art, 
 and a work worthy of Ajvthoxy Yax Dtck. 
 From the collection of the General D'Espixoy, 
 
 89. Portrait of Charles I. 
 
 The monarch is represented on the same canvas in front, 
 profile, and three-quarter view. The object in presenting 
 such a picture was, as the reader will remember, to enable 
 the Italian sculptor, Bernini, who had not seen Cpiarles, 
 to model a bust. 
 
 *^* Tlie fact that George III. bought a portrait of Charles I., 
 purporting to be the original which had been sent to Bernini, is 
 not proof that Van Dyck painted but one ; and it is highly proba- 
 ble that so important a picture would be repeated. It is known 
 that Charles sent his portrait to the Court of Spain, where it was 
 ridiculed ; and that picture has never been found, or at least recog- 
 nized. 
 
 90. Vision of St Louis. 
 
 The sainted king starts from a canopied couch to gaze 
 upon the apparition of Pope Gregory IV., who appears 
 before him, cloud-borne and surrounded by angels. In the 
 back ground is a sentinel. This httle picture is noble in 
 style and harmonious in color. The action of the figures is 
 remarkably free and vigorous. 
 
 *5^* Tlie composition is known to be Vandyke's, and if he ever 
 painted a small picture this is it, as it is impossible to attribute it 
 to any other known master. The proprietor has never seen an 
 
FLEMISH AND DUTCH SCHOOLS. 57 
 
 authenticated miniature picture by Vandyke, but has been rehably 
 assured that they exist. 
 
 DOUW. 
 
 Gerard Dor \v was born at Leyden, in 1613, and learned the rudiments of his 
 art from a glass painter, named Kowknhoorn ; but his master was Rembrandt, 
 with whom he studied three years. His aim was to unite the powerful tones and 
 strongly opposed light and shade of Eembrandt, to the most delicate handling 
 and highest finish. He first painted portraits, but abandoned this department of 
 the art for fancy subjects. He is unequalled in his style. Pie died in 1G74. 
 
 91. The Artist in liis Atelier. 
 
 The Artist, in a robe and cap, sits before his easel, in a 
 room very bare of the usual furniture of a painter's working 
 room. On the table at his side are a statue of Cupid and a 
 violin. In the left corner is a dog, and in the right, a heap 
 of arms, books, and household utensils, touched with the ut- 
 most dehcacy of the pencil ; the light fairly sparkles on 
 them. 
 
 *^* This is a veritable specimen of the Master, although a large 
 portion of the left side of the picture has been much injured. The 
 right side is in perfect preservation. 
 
 EECKHOUT. 
 
 Gerbrandt van dkn Ekckhout was born in Amsterdam, in 1621, and became 
 the pupil of Rembrandt. His pictures are chiefly remarkable for their harmony 
 of color. He died in 1674. 
 
 92. The Continence of Scipio. 
 
 This picture tells, in a Dutcli way, the well-known story 
 of SciPio's continence and generosity. The victorious and 
 self-denying general stands upon a stone platform, surround- 
 ed by his officers and attendants. At the foot of the steps 
 leading to the platform, kneel the lovers, surrounded by their 
 friends ; and in the back ground are other less fortunate cap- 
 
58 BRYAN aALLERY. 
 
 tives, and the victorious army. A stronghold forms the 
 back ground of the composition. The anachronism of the 
 introduction of Dutch faces and the old Dutch costume in 
 the treatment of this tale of classic Rome, strikes the eye lu- 
 dicrously enough, but cannot blind it to the character and 
 expression of the figures, and the rich and harmonious color 
 of the picture. 
 
 *^* This is the most celebrated of the Master's compositions, and 
 is cited by Descamps as his chef d'ceuvre. His pictures having 
 been frequently clianged into Rembrandts by picture dealers, this 
 specimen is the finest and purest whicli the proprietor has met 
 with. 
 
 VAN EYCK. 
 
 Jan Van Eyck, called John of Bruges, was born at Maeseyk, in 1370, according 
 to generally received authority ; but there exists some doubt as to the date of his 
 birth, as well as that of , his brother, Hubert, with whom he worked. The 
 brothers have long had the reputation of being the first inventors of painting in 
 oil ; and it at least is certain that they discovered the art themselves, and were 
 among the very first to practice it successfully. The works of the Van Eycks are 
 wonderful exhibitions of elaborj^tion and color, and are of the highest historical 
 importance. Jan Van Eyck died, according to diflferent accounts, in 1440, or 
 1441. 
 
 93. Crucifixion. 
 
 The cross upon which the dead Christ is suspended 
 occupies the middle of the composition. On the left, St. 
 John sustains the fainting Virgin, behind whom kneels the 
 churchman for whom the picture was painted. His name, 
 Fr{ater) Aurelius de Emael^ is written across his figure. 
 Behind him is a weeping female figure ; on the left is a 
 group of dignitaries and soldiers. A landscape, in which the 
 towers of a distant city appear, closes the scene. Underneath 
 the left arm of the cross appears the legend, Vere Filius Dei 
 erat iste, which ceased to be used after the time when the 
 
FLEMISH AND DUTCH SCHOOLS. 59 
 
 custom of painting in oil commenced. The forms in the 
 Christ are somewhat meagre, but the anatomy is remarkably 
 correct and particular. The expression in the faces of the 
 several figures is marked, but lacks nobility ; and the features, 
 though carefully drawn, are somewhat rigid. The counten- 
 ance of the principal figure on the left is, however, an excep- 
 tion to these strictures. Modern art rarely shows us a finer 
 old head than this. 
 
 *^* Tlie picture is slightly but admirably restored in the left 
 arm of the cross, and a portion of the legend. It is of unquestion- 
 able authenticity, and the extremest rarity. 
 
 FOUQUIERES. 
 
 The Chevalier Jacqcks Focquieres was bora at Anvers, in 1600, and was the 
 pupil of De Momper, of Breughel (called Velvet Breughel), and of Rubens. 
 His talent was so great, that he was often permitted to paint the landscape back- 
 grounds of the works of his last and greatest master. His touch is free, and his 
 color clear, though too much pervaded with green tints. He died at Paris, in 
 1689. 
 
 94. Landscape, with Figures. 
 
 Two huntsmen, with a hoi-se and hounds, pass along a 
 road which leads over a rustic bridge. In the middle 
 distance is a clump of trees. 
 
 *^* This picture was attributed to Kubexs, until one which 
 proved the authorship ineontestably was shown to the proprietor, 
 who will be, as he always has been, grateful for any real informa- 
 tion respecting the authenticity of any or all of his pictures : his 
 serious object being to make his gallery an authority. 
 
 GLAUBER. 
 
 Jan Glauber, called Polidore was bom at Utrecht, in 1646. His master wag 
 Berghem ; and after proflUing by his inestimable instructions, he studied in 
 France and Italy, in which latter country he received his honorary surname. He 
 is eminent among the landscape painters of his country, but the tone of his com- 
 positions is decidedly Italian. He was an intimate of Gerard de Lairessk who 
 painted the figures in a large proportion of his landscapes. He died in 1726. 
 
60" BRYAN GALLERY. 
 
 95. Landscape. 
 
 From a broken and wooded foreground the eye is led to a 
 rugged and hilly middle distance. The view is bounded by 
 mountains. In the foreground are three figures ; a female 
 reclining, another playing the tambourine, and a man 
 bearing a vase. In the first distance, is a figure following a 
 goat. The color is rich and harmonious, and the light 
 breaks beautifully upon the rugged hills upon the left. The 
 figures are by Gerard de Lairesse. 
 
 *^* It is unrivalled by anj^ production of the Master known to 
 the proprietor, and is worthy of Claude, to whom it has been 
 attributed by some of the most distinguished experts of Europe. 
 
 GRIFF. 
 
 AnthonyJGriff painted wooded landscapes, hounds, and game, with such 
 truth and spirit, that it is much to be regretted that we linow nothing of him 
 beyond his works, except that they were produced about A. D. 1650. Some of 
 his pictures, in design and treatment of light and shadow, rival those of Snyders. 
 
 96. Dogs and Game. 
 
 A spaniel looks disdainfully upon a cur who approaches 
 some game hanging in the open air, near a large building. 
 
 *^* Tliis little picture is a fair specimen of the Master. 
 HEMLING. 
 
 Of Jan Hemling, called sometimes He mm k link, little was known till within 
 the last few years. He was born about the year 1440, as his works bear date from 
 1462 to 1485. He shares with the Van Eycks the dawning glories of the Flemish 
 School of painting ; and in the power and richness of his color, the delicacy of 
 his pencil, and his elaborate finish, surpasses their greatest efforts. It is not 
 known when or where he died; but hs was living in 1499. His works are held in 
 such esteem, that Dr. Waagen, perhaps the first critic in Europe, and Director 
 of the Royal Gallery at Berlin, in speaking of a small but exquisite specimen of 
 his art, says: "Unfortunately the demand of £3,000 sterling for this jewel is so 
 extravagant, that no offer has yet been made for it." 
 
 97. The Marriage of St. Catherine. 
 
 In the centre of the picture, the infant Christ, standing 
 
FLEMISH Al^D DUTCH SCHOOLS. 61 
 
 upon the Virgin's knee, turns to Saint Catherine, who 
 receives from him the ring of espousal. Upon her lap rests 
 a richly illuminated missal. A similar book is in the hands 
 of St. Anne, who sits upon the left of the Virgin. Between 
 these figures is the lamb of the former ; and behind the group 
 is an elaborately painted landscape with figures, which is in 
 very fair perspective, considering the date of the picture. 
 Above the Virgin two angels hover with a crown. The feet 
 of the group of Saints rest upon a richly tesselated pavement. 
 The Virgin wears a dark-green robe, lined with fur, over 
 which falls a scarlet mantle, the color of which is indescrib- 
 ably brilliant, rich, and pure.. The robe of St. Catherine 
 is of a dark crimson, trimmed with ermine, and elaborately 
 worked in arabesque and gold. She also wears a richly 
 jewelled coronet. St. Anne is dressed in a green robe 
 which has sleeves, apparently of changeable silk, the colors 
 being Hlac and red. Upon her head is folded a light, thin 
 kerchief, the transparency of which is wonderfully expressed. 
 Although formal in composition, and somewhat conventional 
 in expression, this picture is full of merit of a high order. 
 The heads show an advancement in the art of modelling, quite 
 remarkable for the time ; the drapery falh in folds of sim- 
 plicity and grace far beyond the attainment of the most dis- 
 tinguished of Hemling's successors ; and the little chiaroscuro 
 distributed through the picture is of magical clearness and 
 purity. The elaborateness of the artist's manner may be best 
 appreciated by a close examination of the chevelure of the 
 figures, " each particular hair " of which seems to have been 
 traced by his exact and laborious pencil. It is worthy of 
 remark, that the expression of these heads is altogether 
 wanting in that air of wrapt serenity which is the characteristic 
 
t)i5 BRYAN GALLERY. 
 
 of the contemporary Italian Masters, and even of those of yet 
 ruder days. 
 
 *^* The picture is in remarkably fine condition, and aside from 
 its intrinsic merit, is important in the history of Art. When pur- 
 chased by the present proprietor, its beauties Avere hidden beneath 
 the accumuhited blackness of ages ; otherwise a private American 
 fortune would have failed to obtain it, as the Director of the 
 IS'ational Academy of Brussels, partly sus2:>ecting its value, was a 
 competitor for its possession. It is immeasurably superior to any 
 other specimen of the Master which the proprietor met with in 
 Europe. It Avas purchased at the sale of the well known Collec- 
 tion Quedeville. 
 
 98. Tlie Conception. (Copy). 
 
 Joseph, who was " minded to put away Mary his wife," 
 haying been warned by an angel, kneels in adoration before 
 her. Two cherubs hover over the head of the Virgin. 
 The scene takes place in an open gallery with a tesselated 
 floor, from which we look out upon a meagre and formal 
 landscape, in which, after the manner of the artist's time, he 
 has represented the interview between the angel and Joseph, 
 the result of which is the subject of the composition. Behind 
 Mary, is a very remarkable specimen of Arras hanging, 
 Avorked in arabesque of black upon a gold ground. 
 
 *^* This picture, as well as the preceding, is from the Collection 
 Quedeville, and was supposed, for a long time, by some, to be an 
 original; but a comparison of it with the "Marriage of St. Cathe- 
 •rine," just noticed, will soon convince even the least practised eye 
 of the error of this belief. 
 
 HEYDE. 
 
 Jan van der Heydk, often called Van dkr Hkyden, was born at Gorcum, in 
 1637. He is one of the most minute and elaborate, and yet one of the most 
 spirited, of landscape painters. His works are marvels of finish, color, perspective 
 and chiaroscuro. He received the instructions of no eminent painter ; but he was 
 
FLEMISH AND DUTCH SCHOOLS. 63 
 
 intimate with Van der Veldb and Lingblbach, one of whom generally painted 
 the figures in his landscapes. He died in 1712. 
 
 99. View of an old city on the Rliine. 
 
 The river flows between hills, and divides the town, the two 
 portions of which are connected by a stone bridge of five 
 arches, having, after the ancient style, a tower at each end. 
 Boats are passing on the river. In the foreground on the 
 left stands a small tower. The accuracy of detail in this 
 picture is such, that not only do we find the figures in the 
 boats, and even on the bridge, carefully made out, but the 
 stones and bricks, and the sashes of the windows in the 
 buildings, far and near, are indicated with scrupulous nicety. 
 The eflfect of the work is that of a landscape seen in a camera- 
 obscura, or a Claude glass. The style is more worthy of 
 remark than approval or imitation. 
 
 HOBBEMA. 
 
 MiNDERT HoBBEMA was bom at Coevorden ; it is not known exactly when. He 
 was a pupil of Rlysdael, whom he rivals, and sometimes surpasses in the senti- 
 ment, the finish, and the rich color of his landscapes, which are not less remark- 
 able for the sentiment which breathes through them, than for their execution. 
 His works are often enriched with figures by Tan de Velde. The time of his 
 death is unknown. 
 
 100. Landscape. 
 
 An old mill with a wood at its back, and a figure fishing 
 in the water, which occupies the front of the picture, are the 
 simple elements of its great beauty. Hobbema was almost 
 forgotten until a comparatively recent period, on account of 
 the tricks of picture dealers, who effaced his signature, and 
 by altering his compositions slightly, passed them off for 
 those of RuYSDAEL. "We owe to Mr. Le Brun, a painter and 
 
64: BRYAN GALLERY. 
 
 an honest dealer, the pleasure of admmng this charming 
 artist's works for their own merits, and under his name. 
 
 *^^ This is not a fine specimen of the Master, though superior 
 to most of the pictures exhibited as his. The cool, gray tints, and 
 the peculiar quiet of the composition, mark it unmistakeably as 
 his. 
 
 DE HOOGHE. 
 
 Peter de Hooghe was born in 1643. We know nothing of his studies or his 
 life. His subjects were interiors with figures, usually with a bright light shining 
 through a window and brilliantly illuminating the room. Some of his pictures 
 are almost priceless. Sir David Wilkie never saw one without making a note 
 of it in his journal, as an event of importance. 
 
 101. A Lace Worker. 
 
 A young woman sits by an open window, with her hands 
 resting upon the cushion on which is her work. The light 
 falls in a broad mass upon one side of her face and figure, 
 while the other is in the half shadow of reflected light. This 
 little sketch, so unobtrusive in subject and treatment, will 
 impress the close observer with a sense of quiet power and 
 thorough knowledge, — knowledge which is content to know 
 without seeming learned. 
 
 HUYSMANS DE MALINES. 
 
 Cornelius Huysmans was born at Amsterdam, in 1648, and became the pupil 
 ofDE Witt and Van Artois. His landscapes merit the high estimation in 
 which they are held, by their noble style, their warmth and strength of color, the 
 spirited figures with which he enlivens them, and his remarkably truthful manner 
 of expressing the traits of mountainous scenery, in which he had a peculiar talent- 
 He died ai Malines, in 1727. The spirit of his works is altogether Italian. 
 
 102. A Landscape. 
 
 The principal portion of the picture is occupied by a 
 clump of trees overhanging a rugged road, the sides of which 
 form the foreground. Along this, peasants and cattle are 
 
FLEMISH AND DUTCH SCHOOLS. 65 
 
 passing. On the left, we look out upon not veiy distant 
 hills. The tone of this picture is deep, and the shadow which 
 covers most of it is beautifully clear. The texture of the bro- 
 ken ground, and the clear tints on cloud and sky, are re- 
 markable instances of mastery of the detail of landscape 
 painting. 
 
 *#* This is the finest easel picture of this master known to the 
 proprietor. One inferior to it in every respect was placed by the 
 side of a Hobbema at the last exhibition of the British Institution, 
 and sustained itself. The great French colorist, Desca^ips, has at- 
 tentively studied the works of this master in which culminate the 
 motives of the landscape school of Eubens. 
 
 DU JARDIN. 
 
 Karl Du Jardin, called in Italy Bakbe de Bouc, was born at Amsterdam, in 
 1640. He was the most gifted of the pupils of Bkrohem. His works are dis- 
 tinguished by the simplicity of the materials with which their remarkable eflFects 
 are produced. Exquisite purity of taste, and a profound knowledge of nature, 
 are manifested by everj' production of his pencil. His coloring is chaste, and the 
 tints have remained to us in remarkable freshness. He died at Venice, in 1678. 
 
 103. Portrait. 
 
 A young man in a slashed lead-colored doublet, with a 
 red cloak. His hair is very carelessly disposed, and he wears 
 a slight moustache. The head is finely modelled, and there 
 is a look of life in the face. Upon the left side, a fine reflect- 
 ed light is thrown. 
 
 *jt* Portraits by this master are rare. 
 
 104. Landscape, with Figures. 
 
 Near a ruined castle, sheep and goats are gi'ouped around 
 an old fountain, from which one of the goats drinks. Three 
 peasants are near. In the distance is a misty landscape. 
 Close observation of the foreground, and the sheep and goats 
 
66 BKTAN GALLERY. 
 
 will discover beauties enough to justify the estimation in 
 which the master is held. The heads of the sheep are paint- 
 ed with remarkable fidelity and finish. The picture is in the 
 Italian style of the master. 
 
 *jt* The signature is in script, K. Du Jardin ; an unusual one for 
 the Master, who almost always signed in Roman letters. 
 
 LELY. 
 
 Sir Peter Lely, the painter of the Beauties of the Court of Charles II. was 
 born at Soest, in Westphalia, in 1617, of a family named Van der Faes. His 
 father is said to have received the name of Lely because he lived in a house the 
 front of which was ornamented with a lily. He was the pupil of Grkbber, of 
 Harlaem, whose instructions became useless to him before he was twenty years 
 old. Upon the death of Van Dyck he went to England, where he first painted 
 landscapes. He soon took to portrait painting, and succeeded to the popularity 
 and court favor, if not to all the genius of his great predecessor. His color is 
 pure, his draperies gracefully disposed, and the expression of his heads that of 
 high breeding. His hands have an affected sameness, in spite of their delicate 
 forms , which seems to indicate that they were painted from one model. He died 
 in 1704. 
 
 105. Portrait. 
 
 A lady dressed in the style of the time of Charles II., stands 
 in a landscape; her head is relieved against a projecting rock, 
 and behind her is a shrub, the leaves of which are touched 
 quite in the style of Vandyke. The flesh tints are clear and 
 true, and the hair is painted with great naturalness and free- 
 dom. The lady was not a beauty ; but the unmistakeable 
 touch of Lely has perpetuated her lineaments and made 
 them interesting. 
 
 *^* This is the portrait of a sister to the Prince whose portrait, 
 representing him holding an orange, is in the Louvre, and which 
 was long attributed to Vandyke ; and the proprietor takes the lib- 
 erty of declaring both portraits to be painted by the same artist — 
 Sir Peter Lely. It is from the collection of Drolling. 
 
FLEMISH AND DUTCH SCHOOLS. 67 
 
 MAAS. 
 
 Nicolas Maas, or Maes, born at Dortrecht, in 1632, was a pnpil of Rem- 
 brandt. He at first painted history, which he abandoned for portraiture, in 
 which he distinguished himself by producing strong resemblances in clear and 
 vigorous color. He died in 1693, 
 
 106. Portrait. 
 
 A young man in a huge peruke, wearing the Roman lorica 
 with its straps, over which red drapery is, not very gracefully, 
 cast. The face does not afford us a favorable specimen of the 
 painter's color. The hand is freely drawn, but the arm is 
 somewhat dwindled. 
 I^IABUSE. 
 
 Jan de Mabusk, or Mabeuoius, whose family name was Gossaert, was bom 
 at Mabeuge, in 1492, 1496, or 1499, according to various authorities. We do not 
 know that he had any other master than nature and his own genius ; but he 
 studied in Italy, where he remained some time. He is said also to have visited 
 England, and to have left there portraits of some of the distinguished persons of 
 the day. He was the first to introduce the treatment of the naked figure, and alle- 
 gorical composition, into the Flemish School. His compositions are highly mer- 
 itorious, his finish exquisite ; and his correctness of drawing vies with that of 
 Albert DcRKR. After a dissolute life of vicissitude, he died at Antwerp, iu 
 1532. 
 
 107. Virgin and Cliild, with Cherubs. 
 
 The Virgin, robed in blue and with a white head-dress, sits 
 beneath an elaborately carved, gothic canopy, having the 
 Holy Child upon her knee. Around them cherubs sing, ac- 
 companied by others upon musical instruments. In the 
 distance, on the right, Joseph is seen. This picture is note- 
 worthy for the clearness of the flesh tints, the rich color, and 
 fine disposition of the Virgin's drapery, and, especially for 
 the elaborate and beautiful design of the canopy. 
 
 108. Virgin and Child. 
 
 The Virgin, draped in blue and red, holds the infant 
 5 
 
68 BRYAN GALLERY. 
 
 CHRIST on her left arm. He has an apple in his left hand, 
 and lays the other on her breast. Other fruit and a knife is 
 on a led2:e before them. From the window, a meagre land- 
 scape, with buildings, is seen. The forms of this picture are 
 truthful, if not noble ; and a trait of serene loveliness is dis- 
 cernible in the face of the Virgin. The flesh tints are also 
 pure; but the shadows are black and unpleasing. The pic- 
 ture, in composition and expression, shows the influence of 
 the painter's studies in Italy. , 
 
 MATSYS. 
 
 QuiNTis Matsys, Metsys, or Mkssis, called the Biacksmith of Antwerp, was 
 born in that city, in 1450. The story of his leaving the anvil for the easel, for the 
 love of a painter's daughter, is well known. It is not recorded who was his 
 instructor. He painted portrait, history, and s^nre pictures. His style is hard, 
 but yet full of expression. He died at his native city, in 1529. 
 
 109. A Triptique 
 
 In the centre compartment is Christ, crowned with 
 thorns, and holding up his bleeding hands. In the right leaf, 
 an angel, richly draped, holds the cross with the nails and 
 the spear ; and in the left, another angel similarly robed, 
 holds the pillar with the cord and the scourge. The whole 
 of this work is in the most elaborate style of the master ; 
 every detail of person or costume is made out with the most 
 laborious exactness. The flesh tints are of a cold, unpleasant 
 reddish hue, and the shadows abrupt, and by no means clear. 
 The expression of the head of Christ is one of the extremest 
 physical suflering. 
 
 On the outer side of the leaves are two figures of saints, 
 painted in simple light and shade. On the left leaf, with a 
 deer at his feet, and a horn in his hand, is St. Hubert, wear- 
 
FLEMISH AND DUTCH SCHOOLS. 69 
 
 ing the mitre and holding a crosier ; on the right, St. Cath- 
 erine, a crowned female figure, holding a sword in her right 
 hand, and having a broken wheel at her feet. Between 
 " them, divided by the dooi-s, is an emblazoned shield ; doubt- 
 less the arms of the pei-son in Avhose hunting chapel the trip- 
 tique hung. The drapery of these figures is quite grandly 
 disposed. They seem to the author to be of later date than 
 the painting within. 
 
 *^* Tlie picture is in absolutely perfect preservation, and may 
 be regarded as an unexceptionable specimen of the master. 
 
 MOLENAER. 
 
 Jan Molbnaer has left little record of himself, save his signature upon his pic- 
 tures of rustic interiors, which awaken admiration for their happy choice of 
 subject, and their fine color. He flourished about 1650. 
 
 110. Boors regaling. 
 
 Fom- boors drink and smoke round a barrel-head. It is 
 homely enough in subject ; but the grouping is easy, and the 
 color harmonious. It gives a fair idea of the master. 
 
 MOLNAER. 
 
 Nicolas Molnkar, a meritorious painter of rustic merry-makings in tho open 
 air, and of winter scenes, was bom at Amsterdam, in 1629. His landscapes, 
 covered with snow and ice, are of a marvellous truthfulness, and are enlivened 
 with spirited figures. He died at Amsterdam, in 1684. 
 
 111. Winter Scene. 
 
 The view is outside the walls of Harlaem ; and a dreary 
 view it is. Not even the spirited figures which are skillfully 
 scattered through it, can lend animation to the landscape. 
 The painter has, to complete the dreanness, put a promise of 
 a driving snow-storm in the clouds and sky, which are paint- 
 ed with great knowledge and skill. 
 
70 BRYAN GALLERY. 
 
 MOUCHERON. 
 
 Frkderic Moucheron, born at Embden, in 1633, was a worthy pupil of Johk 
 AssKLYN. He visited Paris, but passed the greater part of his life at Amster- 
 dam. His landscapes are admired for the fine forms of the trees, the foliage of 
 which is of remarkable lightness. His distances are skilfully arranged, and his 
 skies luminous. His best pictures have figures by Yan dk Velde or Lingel- 
 BAcu. He died at Amsterdam, in 168G. 
 
 112. Landscape. 
 
 A sluggish stream flows through the flat, alluvial fields 
 which lie around the roots of rugged hills. In the first 
 distance is a high precipitous rock, crowned by a castle. 
 Tlie sky is filled with light, vapory clouds. In composition, 
 this landscape is very skilful. The foreground is the top of 
 a hill in deep shadow ; and the eye, being attracted by figures, 
 looks over the sharply defined outline, upon the plains beyond 
 and below, which thus gain distance both in remoteness and 
 descent. The clouds are lightly touched, and the varying 
 hue of the sky is both truthful and beautiful. It is worth while 
 to observe and contrast this landscape with those of Both. 
 
 VAN NECK. 
 
 Jan Van Neck, born at Naarden, in 1C36, and a pupil of J. de Barker 
 painted history in the style of his master ; his compositions are pleasing, his color 
 truthful, and his drawing correct. He died at Amsterdam, in 1714. 
 
 113. Portrait. 
 
 A youug man, with dark, flowing hair, and draped in sad- 
 colored robes, leans against a tablet, holding in his right 
 hand a watch. Through an unglazed window we look out 
 upon a sombre landscape. The face is finely modelled, the 
 head very correctly drawn, and the position unites firmness 
 and grace. The picture is very characteristic of the painter, 
 ^nd by its large style vindicates his claim to a higher relative 
 
FLEMISH AND DUTCH SCHOOLS. 71 
 
 position than that usually awarded to him : higher, for 
 instance, than that due to Netscher, as will be seen by a 
 comparison of this portrait with No. 116. Meritorious as that 
 is, it lacks the strength of tliis. 
 
 *^* This picture is from tlie gallery of Cardinal Fesch, at the 
 sale of which it was purchased, — but not by the present proprietor, 
 — as by Xetscher, although the true signature was covered by the 
 false one of Netscher. 
 
 VAN DER NEER. 
 
 Aart, or Arnold van der Neer, was born at Amsterdam in 1619. We 
 do not know from whom he had learned the j^rinciples of his art. He is em in 
 ent among the first landscape painters of his school. His moonlight, twilight, and 
 firelit scenes are marvels of art. Such clear half-light has rarely been repre" 
 sented. But his pictures are so interesting in their composition, and so highly 
 finished, that their value does not depend upon their treatment of peculiar light. 
 They generally represent a fiat country by river sides. He died in 1683, 
 
 114. Landscape by Moonlight. 
 
 By dim twilight, a heavily undulating landscape is seen. 
 The sky is mottled with clouds ; and the moon rises over 
 a hill in the foreground, upon which is a windmill. The 
 heavy, confused appearance whicb the w^atery clouds give 
 the sky, and the struggling of the moon-beams through 
 them, will be recognized as eminently truthful, by close ob- 
 servers of nature. 
 NEEFS 
 
 Peter Neefs was born at Antwerp, in 1570, and was a scholar of Henry 
 Steenwyck. His architectural pieces are among the best in that department of 
 art. His truthful and laborious pencil represents with unswerving fidelity, the 
 minute details of ornament of the florid gothic school, and his effects of con- 
 trasted light and shadow are equally faithful and pleasing. The figures in his 
 picture? are often by Franck. He died at his native place, in 1651. 
 
 115. The Interior of a Cathedral. 
 
 We look up the nave of a Gothic Cathedral. In the 
 side aisles, worshippers at the different altars are seen. In the 
 
72 BRYAN GALLERY. 
 
 foreground is a group of persons about to leave the building. 
 The rays of torches and candles blend mysteriously with the 
 twilight of early evening. 
 
 *^* The figures are by Franck, and the picture is signed by both 
 masters. 
 NETSCIIER. 
 
 Caspar Netscher, was bora, according to some authorities, at Prague, ac- 
 cording to otliers, at Heidelberg, in 1636. He became the pupil of Tkrburg, and 
 after visiting France, settled himself at the Hague. He painted in the style of 
 MiERis and Gerard Douw ; next to whom his exquisitely delicate touch and 
 richness of color must rank him. He died at the Hague, in 1684. 
 
 116. Portrait of Madame de Montespan. 
 
 The Duchess, richly dressed, sits near a small table, play- 
 ing upon the harp. Her costume displays to great advan- 
 tage the ripe loveliness of her person. At her feet, wearing 
 a slight, blue drapery, sits her son, the Due De Maine. The 
 color of this picture is rich and mellow, the features and ex- 
 tremities are touched with exquisite delicacy, and the textures 
 are expressed with remarkable fidelity. The artist has in- 
 tended to represent the lady as St. Cecilia ; but there wa& 
 as Httle of the saint in her as of the Raphael in him ; and 
 so as we look, we think smiHngly of the pure, wrapt maiden 
 in the Gallery of Bologna, who hushes her own strains while 
 her soul is borne heavenward by angelic harmony. The 
 painter's design, however, accounts for the emblematic anvil, 
 hammers, and balance, which are allusions to the discovery of 
 Pythagoras ; and also for her sitting upon a celestial globe, 
 typical of the music of the spheres. 
 
 VAN COST. 
 
 Jacob Van Oost, was born of a distinguished family of Bruges, in 1600. 
 Nothing is known of his early studies. He visited Italy, where he devoted him- 
 self to tlie study of Annibalk Carracci. His style is somewhat Italian in char- 
 acter, and his treatment of his subjects free and spirited. He died at Bruges, in 
 1713. 
 
FLEMISH AND DUTCH SCHOOLS. T3 
 
 117. A Carnival Scene. 
 
 To a party of revellers, round a table, otliei*s approach 
 through an open door. The group is spirited, and the light 
 upon it well distributed. This picture contains strong internal 
 evidence in favor of the belief that the painter was a pupil of 
 Rubens. 
 VAN OCHTERYELDT 
 
 Jan Van Ochterveldt, or Uchterveldt, was bom about 1655. He is sup- 
 posed by some to have been a scholar of Terburg, by others to have studied 
 with Metzu. He painted more in the manner of the latter than the former. 
 He painted interiors, generally in cool, gray tones. He is remarkable for the 
 high finish of his silk and satin draperies. 
 
 lis. A Lady playing witli a Dog. 
 
 A lady, richly dressed, plays with the ears of a , spaniel 
 upon her lap. A servant maid brings a ewer and basin to 
 wash him. On the right, is a table covered with a rich 
 cloth, on which lies a ^nolin. This picture is worthy of admi- 
 ration, in spite of its pervading gray hue, which even invades 
 the flesh tints. The dog is very fine in attitude and expres- 
 sion, and the texture of his coat is well reproduced. The 
 satin petticoat of the lady, is well enough imitated for a silk 
 importer to estimate its cost " per yard." 
 
 OSTADE. 
 
 Adrian Van Ostade, was born at Lubeck, in 1610, but came early in life to 
 Harlaem, to study under Frank Hals, and remained in that hive of painters 
 during the most of his life. He was a fellow-student of Brauer. His interiors 
 with drinking boors and clownish children, are almost unrivalled for expression 
 of character, richness of color, and fine treatment of the chiaroscuro. He died in 
 1685, at Amsterdam. 
 
 119. Portraits of tlie Painter's Wife and Child. 
 
 The mother, whose embrowned face is shadowed by a 
 white head-dress, holds on her knee an infant sweltering in 
 
74 BKYAN GALLEEY. 
 
 woollen, after the Dutch fashion. Pictures of greater design 
 than this there are bj thousands, but there is not one in ten 
 thousand ^Yhich is so perfect in its kind. What words can 
 express the naturalness of the face of that Httle wheezy child ? 
 The flesh tints and the chiaroscuro are marvellous. 
 *#* From the collection of Cardinal Fesch. 
 
 SCHOOL OF OSTADE. 
 
 119. (A.) A Head. 
 
 An old peasant looks smiling over his shoulder. He 
 wears a shapeless hat. The face has character, and is 
 painted with a spirited pencil. Many a picture of no greater 
 merit is confidently bought as a true Ostade. But to judge 
 how misplaced such confidence is, compare the color and 
 disposition of light in this with the same points in No. 119. 
 
 OSTADE. 
 
 Isaac Van Ostade was the pupil of his brother Adrian, and was bora at 
 Lubeck, in 1613. He painted in the style of his brother, but added some skill as 
 a landscapist to his genre painting. He died at Amsterdam, in 1671. 
 
 120. A Dutcli School. 
 
 At the head of a school-room, filled with grotesque and 
 clownish scholars of almost all ages, a master, seeming not 
 much superior to his pupils, is disciplining one of them with 
 a somewhat odd looking instrument. 
 
 POELEMBURG. 
 
 Cornelius Poelemburg was born at Utrecht, in 1586. He studied under 
 Bloemart, and afterwards went to Italy. His landscapes charm by their fidelity 
 to nature, their graceful composition, and their sweetness of tint. He died at 
 his native place, in 1660, 
 
 121. Landscape, with Figures. 
 
 A view of a gently imdulating country. The foreground 
 
FLEMISH AND DUTCH SCHOOLS. 75 
 
 is occupied by five lialf-draped figures, relieved against a 
 wooded knoll on the left ; and in the middle distance are 
 moss-grown ruins. The effect of this exquisite httle picture 
 is that of repose, and quiet enjoyment of Italian skies 
 under their sweetest influences. The tone of the color 
 throughout is seductively tender and harmonious. The flesh 
 tint, the roundness, and the chiaroscuro of the principal 
 figure, are worthy of all admiration. 
 
 PORBUS. 
 
 Francis Porbus, the younger, was born at Antwerp, in 1570. He was the 
 pupil of his father. He painted history ; but his greatest success was in portraiture. 
 His heads are remarkable for individual expression and delicate finish ; and the 
 texture of his stufifs is very faithfully expressed. He went early to Paris, where 
 he remained until his death, which took place in 1622. 
 
 122. Portrait of Henri IV. 
 
 The gallant monarch is represented at full length, standing 
 in a pillared apartment with a tesselated floor. His left hand 
 rests upon his hip, his right upon an article of furnitui-e 
 covered with a rich, red and gold drapery. He is dressed en- 
 tirely in black, and wears the ine^^ table ruff. Behind him is a 
 heavy green curtain. The face is full of character, is boldly 
 modelled, and, with the extremities and draperies, is very highly 
 finished. 
 
 QUERFURT. 
 
 Augustus Querfurt (of Vienna) was born at Wolfenbattel, in 1696. His 
 preceptors were his father and Rugendas, of Augsbourg. His pictures are 
 battle pieces, in the style of Borgognonk, or Van der Meulen. He died at 
 Vienna, in 1761. 
 
 123. Battle Piece. 
 
 The whole space between the spectator and the foot of a 
 bluff", in the middle distance, is filled with combatants on 
 
76 BRYAN GALLERY. 
 
 horseback and on foot. Though the action of the figures is 
 spirited enough, the color is feeble, and it is hardly worthy 
 of the gallery. The group of Hercules and the lion, standing 
 upon a rude pedestal near the middle of the picture, will 
 interest the observer, and remind him of Rubens, No. 132. 
 
 REMBRANDT. 
 
 Paul Rembrandt Gerretz, was called Rembrandt van Ryn, from his being 
 the son of a miller who lived on the banks of the Rhine, between Leyderdorp 
 and Leyden, where the great master of chiaroscuro was born, in 160G. He was 
 successively the pupil of Peter Lastman, Jacob van Zwaanenberg, and 
 Jacob Pinas. Rembrandt painted history ; but his genius, wonderful as was 
 its power, was not suited to the grand style of composition. His forms in works 
 of this kind are gross, his sentiment grovelling ; but still, such is his wondrous 
 wealth of color, and the magic of his chiaroscuro,, that we forget his unfitness for 
 the task, and disregard his faults in admiration of his marvellous merits. In 
 portraiture the powers of his pencil found their most suitable exercise ; and his 
 representations of the notabilities of his day are among the greatest works of 
 this kind which the world possesses. He died at Amsterdam, in 1G74. 
 
 124. Portrait. 
 
 A man, past middle age, with close cut hair, moustache 
 and chill-tuft, in a black doublet and ruff. We have here 
 a specimen of this great master of chiaroscuro^ in the style 
 of his famous Lesson in Anatomy. It is evidently the 
 portrait of a person of some consideration ; and we do not 
 need to have seen him to be sure that the likeness is " for- 
 midable." Fearless fidelity is the ex2:)ression of every line 
 and tint. Here is no idealization of the subject, so called. 
 The heavy features of the Dutchman are duphcated with the 
 inexorable honesty of a daguerreotype, and yet the work is 
 one of wonderful art in the harmony of outhne and tint, and 
 the magic of chiaroscuro. 
 
 *^* This portrait is signed with the R., the early signature of 
 the Master. It was bought at the sale of the celebrated miniature 
 painter, Saixt, to whom it belonged, by Mr. Rcehn, the celebrated 
 
FLEMISH AND DUTCH SCHOOLS. 77 
 
 connoisseur, and was sold by him as Rembrandt's, to Mr. Jecker, the 
 same who left his important collection of prints to the Bibliotheque 
 National, at Paris. 
 
 125. Tobit and tlie Angel. (A cojDy.) 
 
 The sight of Tobit's father having been restored, the An- 
 gel flies heavenward. In the foreground, the old man bows 
 to the ground in thankfulness : his family is grouped behind 
 him. The light comes from the cloud which opens to re- 
 ceive the heavenly visitant. This picture is a successful copy 
 of the golden-toned period of the master. The original in 
 the Louvre, is well known, and famous. 
 
 *^* Copied by Sciiuermax. 
 
 126. Holy Family. (A copy.) 
 
 The Virgin is suckling the infant Christ. Elizabeth 
 watches them with interest. By the window of the humble 
 room, through which a flood of light poui*s in upon this group. 
 Joseph is at work. The picture is similar in tone to the pre- 
 ceding. 
 
 *^* The copy is also by Sciiuermax, who died in 1847. 
 
 127. Portrait of an Abbe. 
 
 A young Abbe, in a broad-leafed hat, a black doublet 
 and falling ruff. Half the face is in deep shadow. This pjicture, 
 though much injured by injudicious cleaning, which has 
 swept away with the dust all the half tints, is still an inter- 
 esting specimen of the effects of Rembrandt's school. 
 
 RUBENS. 
 
 Peter Paul Eubexs, or as the English delight to call him, Sir Peter Paul 
 Rubens, who stands preeminent in the Flemish School of Painting, was born at 
 
78 BRYAN GALLERY. 
 
 Cologne, m the year 1577, of a highly respectable family, and received au excel- 
 lent education. His first studies in painting were under Adam Van Oort, and 
 afterward under Octavio V5:nius ; but having surpassed his masters, he went to 
 Italy, and there studied the works of the Great Painters of the previous age, partic- 
 ularly those of Titian, Paolo Veronese, and Tintoretto. He visited England, 
 and painted there some of his finest works. His distinguishing traits are strength 
 and transparent richness of color, combined with marvellous freedom of pencil, 
 united to great learning, both as to the resources of his art and the use of costume 
 and accessories ; to these he added an expression of energy, spirit, and fervid 
 life, in which he has been approached by no other painter. 
 
 He had a predilection for excessively plump women, and the charge of gross- 
 ness is made with ch reason against his female figures. But though they have 
 too much flesh, it is of such freshness and purity of tint as has never been put 
 upon canvas by another painter, save perhaps Titian ; and there is such a look 
 of life and exuberant health, and consequent good humor, about them, that 
 they win our favor in spite of their unsentimental portliness of person. The 
 same objection does not apply, in so great a degree, to his male figures, which 
 are muscular and massive, but rarely gross; and always have an expression of 
 strength and self-reliance which makes us respect them. He was a prolific 
 painter, and excelled equally in History, Landscape, and Portraiture. Kcbens 
 died at Antwerp, in 1640, covered with honor and rewards. 
 
 128. St. Catlierine. 
 
 The Princess, very richly dressed, and holding a palm 
 branch in her right hand, stands looking upon the broken 
 wheel which, in memory of her raartjrdom, has become her 
 symbol. In this picture are united in an eminent degree, 
 the resplendent and harmonious color, the transparent hue of 
 health, and the defective drawing, characteristic of the 
 master. Although the subject is a sainted martyr, the 
 painter has given us a fresh, ruddy-\dsaged young woman, 
 who, if it were not for a shade of pensiveness in her face, 
 would seem never to have had a thought other than that 
 of the fullest enjoyment of this hfe. The freshness and 
 transparency of the flesh tints, and the harmonious disposi- 
 tion of so many and so brilliant colors upon one figure, are 
 
FLEMISH AND DUTCH SCHOOLS. 79 
 
 distinguisliing marks of the master's hand in the fullness of 
 his powers. 
 
 %* There are but six pictures of this quality by Rubens, known 
 to the proprietor. Three are in the Louvre, one is over the paint- 
 er's tomb, one is the famous Chapeau de Faille, and the other is 
 before us. It was brought from a church in the neighborhood of 
 Brussels, by Nieuwemiuysex, the elder, and sold to the Count Per- 
 
 REGEAU. 
 
 129. Christ bearing the Cross. 
 
 The Saviour of the World stands bearing the Cross upon 
 his left shoulder. His hands and feet are pierced, and from 
 his right side the blood spouts into a goblet at his feet. Red 
 drapery falls from the shoulders. The picture is evidently 
 intended to be symbolical of the Eucharist : " This is my 
 blood : drink ye all of it." The imnaturalness and absurdity 
 of the composition in this respect, should not blind us to the 
 strength of the color, and the expression of grandeur in the 
 figure. The picture is especially valuable for historical con- 
 siderations, as being the only one which Rubens is known to 
 have painted on cedar panel. It formed one compartment 
 of a triptique in the Cathedral of Antwerp. The centre 
 compartment represented the Flagellation of Christ. 
 
 *^* The proprietor has the authority of Mr. IIeris for the au- 
 thenticity of this picture, and the locality from which it was stolen. 
 
 130. Portrait of a Knight of the Order of the Gol- 
 
 den Fleece. 
 
 A middle-aged man, with close-cut hair, and small mous- 
 tache and beard, wearing a black doublet and cloak, and stiff 
 ruffs at the neck and wrists, stands resting his left hand upon 
 the steel hilt of his sw^ord, and the right upon his hip. The head 
 is one of those, the truthful expression of which strikes the 
 
80 BEY AN GALLERY. 
 
 observer at a glance. Without knowing the original, we can 
 see that this is no feeble generalization of his features, but a 
 faithful transcript of the individuality of his every trait of 
 pei'son and expression. Being thus literal, it is at the same 
 time so vivid a representation of a class and a time, that it 
 rises into the high rank of historical portrait-painting. 
 
 *^* This picture is from the collection of Louis PniLLiprE, King 
 of the French. 
 
 131. Susannali and tlie Elders. 
 
 The story of this composition is too well known, and the 
 picture tells the story too vi\ndly to make any description of 
 it necessary. The character of the heads, the rich glow of 
 the flesh, and the expression of \-igorous life in all of the 
 figures, command unquestioning, if not unqualified admira- 
 tion. 
 
 *^* The picture is much injured, probably by fire, as none of 
 the original canvas exists where the stretchers passed, except 
 where they crossed each other. K"o person in Europe has disputed 
 its originality in the presence of the proprietor ; and a close exam- 
 ination of it will forbid any expert to risk his reputation by deny- 
 ing the proofs of the Master's hand in every part that is pure. 
 The heads of the Elders, the head, arms, and lands of Susaxxah, 
 and, above all, the statue of Cupid, are irresistible. It was pur- 
 chased by the proprietor, in a most forlorn condition, from the 
 Valet de Chambreoi Tvince Talleyrand. 
 
 132. Hercules strangling the Nemean Lion. 
 
 The brawny god, with one foot upon a huge leopard, 
 whose dying gasp beai-s one witness to his prowess, throws 
 his left arm round the lion's neck, holding his head in the re- 
 verse position of that called by sporting men " in chancery." 
 The tremendous muscular action of the 2:od, the asfonv of the 
 
FLEMISH AND DUTCH SCHOOLS. 81 
 
 lion, and the fierceness of the desperate contest, are forcibly 
 pourtrayed. This group, an engraving of which neither the 
 proprietor nor the author have ever met with, is found as an 
 appropriate monument in a Battle Piece, No. 123, by Quer- 
 FURT, a scholar of Rubens, and an imitator of Wouver- 
 
 MANS. 
 
 %* Several persons, whose opinions the proprietor highly re- 
 spects, have denied the authenticity of this picture ; but he thinks 
 that, on a careful examination, its wonderful energy and muscular 
 movement can be attributed to no other hand, no other head, 
 than that of Rubens. It is the Belvidere Torso — that only ac- 
 knowledged Master of Michael Axgelo — put into action, and was 
 doubtless painted in Italj-. It is known that Rubens attempted to 
 draw the lion from nature, when he was irritated by his keeper. 
 He made a hasty sketch ; but, thinking that a repetition might be 
 dangerous, prudently refrained from prosecuting his studies in the 
 Van Amburgh school. 
 
 133. Landscape, with Figures. 
 
 A shepherd, with a few sheep, have stopped at a water 
 trough, which is supplied by a tiny stream brought down a 
 hill side. We must admire the fine masses of foliage, the 
 sparkle of the water, and the richness of the color ; and no 
 less, the large and free style of composition in this little 
 sketch. 
 
 *^* From an old chateau in Xormandy. 
 
 134. Ascension of the Virgin. (Copy.) 
 
 The Virgin, supported by cherubs, is borne heavenward, 
 from the wondering crowd which is gathered round her 
 tomb. This little picture is a superb piece of color, and is an 
 admirable copy of the great original, made by PcELEMBURa, 
 the painter of the exquisite little Italian scene, with ruins 
 and figures (No. 121). 
 
82 BRYAN GALLERY. 
 
 RUYSDAEL. 
 
 Jacob Rcysdael, was born at Harlaem, in 1G40. It is not known with whom 
 he studied, and although he was intimate with Berghem, who advised him to 
 become a painter, there is little indication in his works of the influence of his 
 elder friend. He is one of the most admired of the old landscape painters. He 
 charms by his variety of outline, his free, spirited touch, his chaste, clear color, 
 and his happy disposition of masses of light and shade. The figures in his laud- 
 scapes are sometimes by Berghem, Yxs de Velde, or Wodvermans. He died 
 at his native 1681. 
 
 135. Distant View of Harlaem. 
 
 We have nothing here but a flat country, the monotony 
 of which is reheved only by a few patches of copse wood ; 
 and yet by the happy disposition of hght, by a skillful lead- 
 ing of the eye along the far-stretching plain, and by a har- 
 mony of sky and landscape, the painter has made a picture 
 at which we look with pleasure and admiration. It is to his 
 power alone that these are due ; for he is great in spite of his 
 subject. Three figures, by Van de Yelde, introduced in 
 the foreground, give some life to the scene without disturb- 
 ing its quiet. 
 
 136. Marine View. 
 
 Two ships and two luggers are near the shore. A storm 
 is coming up. In the foreground, on the beach are three 
 figures. The effect of the gust is happily indicated by the 
 sails and rigging of the vessels, and the foreboding tone of 
 the sky is very true to nature. The peculiar form of the 
 waves shows careful observation on the part of the artist. 
 *** Tlie figures are by Yaxdevelde. 
 
 137. Landscape witli Cattle. 
 
 A herdsman on a colt, drives cattle from a shaded stream. 
 The cattle are by Berghem ; and in the light which sparkles 
 upon them, we have an indication of his early style, as in 
 
FLEMISH AND DUTCH SCHOOLS. bo 
 
 the foliage against the sky, we find the earliest traces of Euys- 
 dael's characteristic treatment of such passages. 
 
 SNYDERS. 
 
 Francis Snydkrs was born at Antwerp, in 1579. He was the pupil of IIknry 
 Van Baliin. As a painter of fruit he has few rivals, and as a painter of animals, 
 uo equal. He gives with fidelity not onl)' the form, the texture of the skin, and 
 the action of the animals, but their very spirit and individual expression. Ru- 
 bens and JoRDAENs frequently interchanged their labors with hira. He died 
 at Antwerp in 1037. 
 
 138. Dogs Worrying a Cat. 
 
 Six dogs are amusing themselves by worrying poor puss, 
 ■who has taken to a tree. In the portrayal of the character- 
 istic traits of the animals, as well as in the forms and the 
 texture of their coats, this picture justifies the exalted repu- 
 tation of the master. The landscape is by Wildens : the 
 cat, by OuDRY ; by whom it was added, and to whom the 
 picture belonged. The hound, upon the left, has dog writ- 
 ten so plainly in every form and lineament, that he might 
 stand as the representative of his race. Bishop Beverly 
 might have considered him the embodiment of "the abstract 
 idea of dog." 
 
 *^* From the Collection Drolling. 
 
 139. StiULife. 
 
 A dead deer lies upon a table, surrounded by fruit and 
 vegetables. A dog thrusts his head from under the table. 
 This picture contrasts with the other by the same master, not 
 only in the absence of life, of which that is so full, but in 
 having its light fall from a single point only, thus forming 
 shadows not found in the first. In color and form it is 
 wonderfully true to nature. 
 
 »^* Collection of Marshal Oudinot. 
 6 
 
84: BRYAN GALLERY. 
 
 STEEN. 
 
 JiN Steen was bom at Leyden, in 1636. He studied with Van Ostadk and 
 Van Goyen. He was the son of a brewer, a brewer and a tavern-keeper him- 
 self. Euined in his business by liis carelessnes?, drunkenness, and trusting spi- 
 rit, he kept his chin above beer by painting the subjects around him with a 
 fidelity and humor rarely equalled. He died at Leyden in 1689. 
 
 140. Interior : Family Scene. 
 
 The centre of the group is a young woman, whom a phy- 
 sician is bleeding : around her are gathered the male and 
 female members of her family. As she has not the air 
 of an invalid, and the circle appears to be in a merry mood, 
 it is probable that she promises to add one to it, as bleeding, 
 strangely enough, was, even in times not very remote, thought 
 advisable in such circumstances. At a table, on which are 
 grapes and wine, sits a female attendant ; and in the back 
 ground two young people seem to be doing something which 
 is the Dutch for flirting. The figures are full of character, 
 and the color decided and vigorous. The richly figured 
 table cloth is remarkable for its brilliance of tint, and its suc- 
 cessful imitation of texture. The patient is the painter's own 
 wife ; on her right, are the Van Gotens, (her father and 
 mother,) and Jan Steen himself stands on her left hand, re- 
 garding the operation with interest. 
 
 *j^* This picture, which is superior to the only specimen of the 
 master in the Louvre, was purchased from the Gallery of the 
 Count De Turenne, the last of the family of the celebrated Mar- 
 shal. 
 
 TENIERS. 
 
 David Teniers, the younger, was the son of a painter of the same name, and 
 born at Antwerp, in 1610. He was the pupil of his father and of Brauer, and 
 finally of Rubens. The works of this great painter are chiefly village festivals, 
 fairs, anil drinking parties, though he occasionally devoted his pencil to graver 
 subjects. The spirit, the ease and the truthfulness of his compositions, the genuine 
 
FLEMISH AND DUTCH SCHOOLS. 85 
 
 good feeling which pervades them, the lightuess and fineness of his touch, and 
 the charming contrasts of his pure color, make them, in spile of their great num- 
 ber, most eagerly sought. He died at Brussels in 1694. 
 
 141. Incantation Scene. 
 
 A composition of many figures, some of which are of the 
 most uncouth and grotesque forms. In the centre of the 
 picture sits a young woman, who looks with a startled air 
 upon the shapes which the incantations of an old crone at her 
 side have called up. In the back ground another wierd and 
 withered sister stii-s a boiling cauldron ; and before the huge 
 fire-place stands a young woman stripped of her clothing and 
 riding, witch-fashion, the stick of a broom in which is a light- 
 ed candle. A third hag urges her to mount the chimney, 
 after a companion w^ho, in her ascent, has changed into a cat. 
 The room is filled with figures, of monstrous forms and dia- 
 bohcal expression. It is Teniers' mother-in-law whom he 
 has here represented as bewitching, by her infernal counsel, 
 his own wife. Poor Teniers ! what dreadful experience 
 drove him thus to unite revenge and satire and warning in 
 one matchless work ! The transparency of tint, the rich tone, 
 and the combined delicacy and sharpness of touch in this pic- 
 ture, make it one which commands instantaneously the un- 
 qualified admiration of those whose cultivated taste enables 
 them fully to appreciate the details of the painter's art. One 
 of the most distinguished painters in America said, after 
 standing mute before it for some time, " If that picture were 
 mine, I would go a good while without hat or shoes before I 
 parted with it." 
 
 *** This picture is unsurpassed by any other of tlie Master; and 
 if ever equalled, it is only by one in the Gallery of Madrid, repre- 
 senting Teniers himself, painting the portrait of the Grand Duke 
 
«6 BRYAN GALLERY. 
 
 Leopold and bis family ; a picture which makes painters wonder 
 and despair. Collection Sylvestre, 
 
 142. Village Fete. 
 
 A large party of peasants, of both sexes, are feasting and 
 dancing in the court-yard of an inn. The inevitable bag- 
 piper is mounted on a barrel, near a tree, and the almost 
 equally inevitable dog scampers across the foreground. 
 What an admirable embodiment of homely, but honest 
 mirth and hilarity ! How heartily those dancers do their 
 part ! They must needs do it heartily ; else how could such 
 heavy-heeled creatures dance at all ! Boorish as the 
 assembly is, there is little grossness in the scene, in spite of 
 the one drunken fellow whom his friend and his wife lead 
 through the gateway. There is a charming harmony of 
 color in this picture, and the painter's magical pencil has 
 made it sparkle with light. Let the curious and critical 
 remark the points of light w^hich flash from the head and 
 wing of the cock on the left of the picture. 
 
 *^* Collection Marshal Sebastiam. 
 
 143. Village Fete. 
 
 A picture similar in subject and treatment to the preceding : 
 less open to the sky, and more in shadow, however. 
 
 144. Boors Regaling. 
 
 In the foreground is a group of peasants drinking and 
 smoking round a rude table, in the yard of an inn. The 
 landlord brings some addition to their refreshment. In the 
 background, other peasants play at skittles. In this picture, 
 
FLEMISH AND DUTCH SCHOOLS. 87 
 
 the clear gray tints of open day, so cliaracteristic of Teniers' 
 pictures, are very noteworthy. 
 %* Collection Due de Berri. 
 
 145. Charles Y. leaving tlie town of Dort. 
 
 The Emperor, in full armor, is about to descend the steps 
 of a large building. The Archbishop gives him his blessing. 
 Persons of dignity, in church and state, are grouped on all 
 sides. In the background is the ship in which tjie Emperor 
 is about to embark. This composition is filled with portraits ; 
 among which, in the figure bearing the standard on the 
 extreme right, we recognize that of the Painter himself. 
 
 %* Collection d'Espixoy. 
 
 146. Parable of the Laborer who received a Penny. 
 
 The gi'umbhng laborer stands, leaning on his spade, before 
 the master of the vineyard, around whom are grouped his 
 two sons and three other figures. In the background three 
 other laborers are seen. The figures of the discontented 
 workman, the master, and the person at his right hand, are 
 masterpieces of expression in attitude. Surliness in the firet, 
 dignified remonstrance in the second, and a puzzled consider- 
 ation of the question in the third, could hardly have been 
 more clearly portrayed. In harmonious color the picture is 
 a jewel. Who cares for the anachi-onisms in such a work ? 
 What matter is it that the master has the head of Rubens, 
 and that he weai-s a scarlet hat with blue and white plumes, 
 while his principal attendant is clothed in the robes and tur- 
 ban of the East ! As historical records, such erroi-s may 
 affect the value of such pictures, but not as works of art. 
 
 *i.^ Collection Louis Piiileppe. 
 
88 BRYAN GALLERY. 
 
 TERBURG. 
 
 Gerard Tkrburo was bora at Zwol, in Switzerland, in the year 1608. He was 
 the son of an indififerent painter, who instructed him, and whom he left to visit 
 Italy, France, Spain, and England. He painted gtnre and portraits. His pictures 
 are remarkable for their high finish, and for the exquisite manner in which the 
 stufifs of the draperies are painted. His drawing was not correct, neither had he 
 much power to embody sentiment. He died at Deventer, in 1681. 
 
 147. Portrait of William, Prince of Orange (William 
 III.), 
 
 The prince, dressed in an orange-colored doublet, with 
 elaborate sleeves, and hose and sash of the same color, and 
 wearing a long peruke, stands upon a ledge of rock. Behind 
 him is a greyhound ; at his side a helmet, watch and trun- 
 cheon ; at his feet other arms, shells, a skull, an hour-glass, 
 and a spaniel. A serpent thrusts its head from the rock 
 toward the prince. In the cool, self-possessed boy represented 
 here, we have the " father of the man" who was the crafty 
 schemer and the prudent king. The picture is remarkable 
 for its elaborate treatment of detail. 
 
 *^* This is the portrait cited by Descamp as the one which 
 "William insisted that the artist should paint ; he being a burgo- 
 master devoted to the prince's cause. It is signed ' G. Terborch/ 
 which is the only genuine signature of the Master. 
 
 VAN DE YELDE. 
 
 William Van dk Velde, who has no superior as a marine painter, was born 
 at Amsterdam, in 1G33. His father, who was also a painter of sea pieces, gave 
 him his first instructions in the art, but he afterward studied with Simon de 
 Vlieger. After acquiring a great reputation in Holland, he joined his father, 
 who was in London. He is distinguished by his power of expressing the spirit 
 of the scene he depicts, whether it be calm or Btorm ; by the pleasing manner in 
 which he groups his vessels ; and by the delicate accuracy, removed from stiff- 
 ness, with which he draws the rigging. He was a very fertile artist ; but his 
 works, though often occurring, maintain a high 'value. Some of his early pictures 
 were designed by his father. He died in 1707. 
 
FLEMISH AND DUTCH SCHOOLS. 89 
 
 148. Marine View. 
 
 The water is hardly rippled, and the five vessels nearest 
 the eye lie motionless, with sails dropping idly to the mast. 
 Porpoises are sporting round the nearest ship. The air is 
 filled with a' light purple haze, half-hiding in the distance the 
 sails of other vessels, which begin to feel the effects of a rising 
 breeze. The tints of water and sky are truthful and beautiful, 
 and the tone of the picture induces pleasant reverie. 
 
 149. Marine View. 
 
 Small vessels are becalmed in shallow water. In a boat, 
 lying in a narrow passage through exposed flats in the front, 
 are two figures ; a third, on the flats, carries a basket to the 
 boat. The picture presents the scene with an unsurpassable 
 truthfulness and simplicity. 
 
 *i^* Collection Giroud. 
 VAN DER VELDE. 
 
 Adrian Van dkr Veldk, born at Amslerdam in 1639, was the pupil of Wy- 
 NANTs, whose landscapes he often enriched with figures. He was a devoted and 
 loving student of nature, whose effects he reproduced with powerful truth and an 
 enchanting simplicity. His pictures are generally landscapes with figures ; but 
 his genius was versatile, and he even painted an altar-piece which is highly es- 
 teemed. His landscapes are remarkable for their rich and juicy color, and his 
 figures for their correctness of design. He died at Amsterdam, in 1C72. 
 
 150. Landscape, with Animals. 
 
 A few horses, cows, sheep, and goats in repose or crop- 
 ping the scanty herbage of a somewhat barren field. In 
 color, this charming little picture is luxuriously rich ; and the 
 forms of the animals are given with profound knowledge of 
 nature and mastery of design. Added to this, there is a keep- 
 
90 BKYAN GALLERY. 
 
 ing- between tlie composition and the tone in ^vllicll it is 
 painted, which contains within itself an indescribable charm. 
 
 *^* This picture, thougli small, gives a just idea of the power of 
 the master, from whose pencil the proprietor lias never seen a fee- 
 ble work ; though Adrian may have adorned with his figures the 
 compositions of inferior masters. This picture, together with the 
 small landscape by Rubens, is from an old chateau in N^ormandy. 
 
 VERBOOM. 
 
 Of Vkrboom little is known, but that he flourished about the middle of the 
 17th century, living probably at Harlaera, and that he has left a few very charm- 
 ing landscapes, in which Wouvkrmans or Lingelbacu generally painted the 
 figures. 
 
 151. Landscape, witli Figures. 
 
 A hunting party, consisting of two mounted figures, with 
 a huntsman and dogs, emerge from a darkly shaded wood- 
 path. On the left, is a glimpse of open country, with a riv- 
 ulet. 
 
 *^* So fine a specimen of the master is rarely to be found. The 
 group of figures, by Lingelbacu, is almost worthy of Wouver- 
 
 MANS. 
 
 WEENINX. 
 
 Jan Baptist Weeninx, was born at Amsterdam in 1621. He studied with 
 Michel, with Bloemart, and with Moyakrt. He also visited Italy. He paint- 
 ed all kinds of subjects, and imitated various masters, always with surprising 
 success. In his landscapes with ruins and figures, he has been surpassed only 
 by Bkrghem. He died in 1660. 
 
 152. Ruins, Avith Figures. 
 
 A cat has stolen a bird from a huckster, who plies her 
 trade in the shadow of a large, ruined building. In starting 
 up, she has overturned her stall. A boy at her right, enjoys 
 the theft and her excitement. Beyond, a semi-circular porch 
 
FLEMISH AND DUTCU SCHOOLS. 91 
 
 of the building is seen, near which are other figures. The 
 boy's head is full of mischievous spirit, the woman's head 
 and attitude fine, and the color of this portion of the picture 
 very harmonious ; but the perspective is bad, and the cat is a 
 huge, nondescript animal, with a mastiflf's body and action, 
 and the head of a tiger. 
 
 *4j* In the opinion of the proprietor, this picture, though strik- 
 ing at first, is extremely false in everything, like most others of 
 this painter's works. It is from the collection of Cardinal Fesch. 
 
 WOUVERMANS. 
 
 Philip Wocvkrm.vns was born at Ilarlaem in 16-20, and became the pupil of 
 Wyn.vnts. He painted landscapes, with horses at fairs, in marches, charges of 
 cavalry, in short, in every imaginable situation, with a fidelity of design and rich- 
 ness and softness of color which place him in the first rank of the painters of his 
 school. He died at Harlaem, in 1668. 
 
 153. Travellers, by a River-side. 
 
 Several figures, one in the water, one on horseback, wait 
 at a river-side; some are engaged in putting luggage on 
 board a small vessel. This picture has unfortunately been 
 much injured in many places ; but in the head and shoul- 
 dei-s of the white hoi^se may be found a specimen of the mas- 
 ter's best style of painting. 
 
 *^* The signature is unquestionably genuine. 
 
 154. The Burning and Sacking of a Town. 
 
 Not far from the burning buildings, soldiers are butcher- 
 ing the wretched, flying inhabitants, who even seek death by 
 water rather than meet their conquerors. 
 
 *^* It is an early picture of the master, and though meritorious, 
 gives no idea of the fullness of his powers. 
 
yli BRYAN GALLERY. 
 
 WYNANTS. 
 
 Jan Wynants was born at Harlaem, about IGOO. We do not know who was 
 the instructor of this great master of landscape. His pictures, the subjects of 
 which are not always well chosen, never fail to strike the observer by their won- 
 derful truthfulness, as well of expression as of design and color. His works are 
 often enriched by the figures of Wouvkrmans, Van de Velde, Linoklbach, 
 ScHELLiNGS, Wyntranck, and Barknt Gaal. He died in 1670, 
 
 155. Landscape. 
 
 A view, apparently in the park of some old mansion, the 
 ruined gateway and wall of which are conspicuous in the 
 foreground. The composition is not very pleasing, but the 
 treatment is so delicate and pleasing that the eye rests with 
 satisfaction upon the picture. The equestrians and beggar 
 in the foreground are by Barent Gaal. 
 
 *^* It is a fair specimen of the master. Collection Giroud. 
 ZORG. 
 
 Henry Martin Rokks, who inherited the name of Zorg (careful), from his 
 father, was born at Rotterdam, in 1621. He became a pupil of Teniers, and 
 painted in the same style; but he was first instructed by Buytenweg, of Rotter- 
 dam. His composition is pleasing, his design correct, and his color warm. He 
 died in 1682. 
 
 156. Still Life. 
 
 This picture shows us that the hand of genius can invest 
 with interest even a collection of pots and pans and green 
 groceries, in an old cellar. In delicacy of touch, and har- 
 mony of color, the picture is a marvel. 
 
 *^* It, as well as the 'Sorcery Scene' by Teniers, ornamented 
 the collection of Mons. Sylvestre, whose ancestors have been either 
 artists or connected with art since the year 1490. A noble 
 pedigree. 
 
FLEMISH AND DUTCH SCHOOLS. OS- 
 
 UNKNOWN MASTER. 
 
 156. (A). Kuins, with Figures. 
 
 In tlie foreground are three women, a man, and a group 
 of animals. One of the women is upon an ass, who drinks 
 from a fountain. Most of the rest of the canvas is occupied 
 by ruins. This picture is signed J. R. The unknown 
 painter was evidently a Flemish artist who had studied in 
 Italy. The color is warm, harmonious, and pleasing in tone. 
 
 UNKNOWN MASTER. 
 156. (B.) St. Jolin Preacliing. 
 
 St. John stands upon the steps of a small, ruined temple. 
 Around him is a gi'oup of about forty figures, some of whom 
 are on horseback. On the left, we look into the recess of a 
 wood, on the skirts of which the temple stands ; on the right, 
 the eye follows a road, on which figures are seen, into a wild 
 and broken country. It has been found impossible to deter- 
 mine who was the painter of this charming picture, in which 
 we know not whether most to admire the efi"ective grouping, 
 the individual character and easy position of the figures, the 
 fine creative power shown in the composition of the land- 
 scape and the painting of the sky, in which the light, vapory 
 clouds fairly float, or the rich and juicy color which appears 
 in every part of the canvas. The excellence of every part of 
 the picture amounts almost to the fault of leaving it no chief 
 point of attraction. The eye wanders from the principal 
 group, to stray musingly away into the wilderness on the one 
 hand, or to peer into the clear shadows of the forest on the 
 other. Some of the figures look like the work of Wouver- 
 MANS ; some are worthy of the pencil of Ostade ; the man 
 
94 BRYAN GALLERY. 
 
 with a stick, walking away on the left, might have been 
 drawn by Teniers ; but the picture is not, in composition or 
 color, in the style of either of these masters. 
 *^* From the collection of General DEsroRr. 
 
 GERMAN SCHOOL. 
 
 CRANACH. 
 
 Lucas Cranach, whose family name was Sunder, took his designation from bis 
 native place, Cranach, in Bamberg, where he was born, in 1470. He painted in 
 the stiff and formal style which prevailed before Albert Durer's reformation 
 of the art. His works are chiefly historical pictures and portraits, in which his 
 warm color and faithful endeavors to represent nature, attract our admiration. 
 He died in 1553. 
 
 157. Venus and Cnpid. 
 
 Cupid has in his liand a honey-comb, taken from a hollow 
 tree behind him, and appears to be asking his mother if he 
 may taste his prize. The goddess has no other costume than 
 a heavy necklace, and a small scarf of such extreme tenuity 
 that its substance is scarcely perceptible. The forms are very 
 poor, but in the flesh tints is a somewhat nearer approach to 
 nature. 
 
 158. Portrait. 
 
 This is an elaborate, but dry, flat portrait, of an old Ger- 
 man lady of rank, whose head-dress will interest observers of 
 
GERMAN SCHOOL. 95 
 
 her own sex. Over her right shoulder her family arms are 
 blazoned. 
 
 *5it* Collection d'Espinoy. 
 
 DENNER. 
 
 Balthazar Desner was born at Hamburgh, in 1685. He received no- 
 instniction from any painter of the least note. He travelled through Germany, 
 and visited England. His works are chiefly remarkable for their painstaking ae^- 
 -curacy and elaborate finish. He died in 1747. 
 
 159. Portrait. 
 
 An old lady, with a silk hood. The marks of age are 
 given with great accuracy and truthfulness. 
 
 160. Miniature Portrait. 
 
 An old man, wearing a cap, and a breastplate over a rich 
 doublet. This head is painted with an elaborateness of de- 
 tail worthy of Gerard Douw, while at the same time it is 
 modelled with a free and learned hand. 
 *^* Collection General Cotint Turexxe. 
 
 DURER. 
 
 Albert Ditrer was the son of a Nuremberg goldsmith, and was born in 
 1471. He was the pupil of Michael Wolgemuth. He first gave life and form to 
 the German School. His invention is fertile, his color good, and his finishing very 
 elaborate. He is, nevertheless, not free from the formal conventionalisms of his 
 day ; his color is not always well blended, and his high finish often produces the 
 effect of hardness. His drapery is well disposed, but is too much broken into- 
 quaint and curious forms. He attained great distinction as an engraver. He 
 painted history and portrait. He died in 1528, at the place of his birth. 
 
 161. Triumph of Christianity. 
 
 It is almost always extremely difficult to reconcile and 
 systematize the incongruous elements of Albert Durer's 
 crowded compositions. Some of them are to this day sealed 
 
■96 BBTAN GALLEEY. 
 
 books to the astiitest critics. It would be hardly profitable to 
 attempt more than a description of this picture. In the fore- 
 ground an angel brings a large salver of fruit to a young 
 woman clothed in voluminous red drapery, and having upon 
 her lap an infant, around whose neck is' a rosary. Before 
 her lie a covered basket with a lock, a sack, and a staff. 
 Behind her, on the right, an angel shakes fruit into the robe 
 of an old man, while another gathers that which falls upon 
 the ground, and a caparisoned mule browses beneath the 
 trees. Were there nothing more, the subject would evident- 
 ly be the Repose in Egypt. On the left of the picture is a 
 richly ornamented fountain, which has been surmounted by 
 a gilded statue of an emperor. This has been broken, and 
 the upper portion, (the head bearing the imperial laurel,) lies 
 at the base. Still further on, we see a husbandman harrow- 
 ing a field with just such an implement as is used now in 
 New England or New York. The lane which skirts the 
 field, is also shut by a barred gate, which shows us that 
 for three hundred and fifty years gate-makers have been 
 conservative. Yet further on, along this lane, is a body of 
 men-at-arms, whose leader questions a reaper who has made 
 a slight impression upon a ripe field of corn. In the dis- 
 tance, on this side, are villas of strange forms, and finally a 
 precipitous mountain ; on the other, a mill stream, with a 
 sharp-gabled, brick mill, and a level country beyond.'' The 
 tranquil security of the Holy Family, the broken statue of a 
 pagan emperor, and the baffled troops, are evidently typical, 
 and have given the composition its name. The color is crude 
 and inharmonious, the flesh tints cold and forbidding. The 
 Virgin's face expresses purity and placid happiness. The 
 composition is formal, and the perspective not true, though 
 good for the date of the picture. The work is finished with 
 
GERMAN SCnOOL. 97 
 
 the most laborious making out of details ; witness the flower 
 of the Iris lily in the foreground. 
 
 *»* This picture is from the collection Quedeville, Although 
 the D-sliaped padlock on the basket, may be taken for the signa- 
 ture of the artist, the authenticity of the work is questionable. 
 
 162. St. George and tlie Dragon. 
 
 The hero of England, mounted on an armed hoi-se, in 
 gilded plate armor, and under a forest of variegated plumes, 
 attacks with his sword, a somewhat diminutive and by 
 no means fierce-looking dragon, which has already broken 
 his lance. Hard by is the lady ; and a castle-crowned 
 rock closes the scene. The figures are painted with almost 
 painful elaboration ; and in the peculiar form of the knight's 
 drapery, the hand of Durer is easily traced. 
 
 UYTENWAEL. 
 
 Joachim Uytknwael was born at Utrecht, in 1566, and was a pupil of Joseph 
 DE Beer. He painted somewhat in the style of Henri Goltzius, whose afifected 
 attitudes and mannered outline he often reproduced. 
 
 163. The Judgment of Paris. 
 
 A little rivoilet di\ades the three goddesses, Paris and 
 Mercury, from a group of fauns and wood-nymphs, which 
 occupies the immediate foreground. The flesh tints are 
 warm, transparent, and pleasing in tone, but the drawing and 
 modelling of the figures is full of error. The classical 
 observer will remark the substitution of a broad-leafed crim- 
 son hat for the Phrygian bonnet of the Idan shepherd, and 
 of a similar head-dress for the winged cap of Mercury. 
 
 SCHCEN. 
 
 Martin Schongauer, called Martin Scii3N,was one of the earliest German 
 painters. His pictures are very scarce, and little is known of him. The time of 
 
96 BRYAN GALLERY. 
 
 his birth is variously supposed to liave been about the years 1445 to 1453. It is 
 equally uncertain whether the event took place at Culmbach, Colmar, or 
 Augsbourg. His works afford little gratification to the mere seeker after beauty 
 of form, in the present day; but they are invaluable in the history of art, and won 
 him the admiration of Albert Di-rkr, Perugino, and of Michael Angelo, is 
 his youth. Schongauer attained eminence as an engraver. He died in 1499. 
 
 164 Adoration. 
 
 In the air, the Virgin appears, with Jier Divine Son. She 
 sits, resting her feet upon the crescent moon, and surrounded 
 by a flamboyant aureola. Below, in what are apparently 
 the pleasure grounds of a palace, is a group of seven figures, 
 the principal of which appears to be a person of regal rank, 
 fulfilling a vow, and who, having laid aside his crown, swings a 
 burning censer before the Virgin. On the left is a lady, 
 apparently his consort, with two attendants ; on the right 
 are three of his counsellors ; one of whom, it will be seen, 
 is a priest. This is supposed to be a portrait of Luther, in 
 his youth. The grouping is formal and tasteless, the six 
 heads being in one unbroken line ; but the action of the 
 individual figures is quite natural and graceful. The color 
 is also somewhat harmonious. 
 
 *** Collection General d'Espinoy. 
 
 VALKENBURG. 
 
 Martin and Lucas Valkenburg were brothers, bom at Malines, between 
 1530 and 1540. They painted landscape, of which, as a distinct branch of the 
 art, they were the first masters. Their pictures, like all those of very early date,, 
 are filled with the minutest detail. 
 
 1(35. Landscape, witL. Figures. 
 
 In the distance, bodies of troops are seen laying waste the 
 country, and harrying the inhabitants. In the foreground, 
 some of the latter appear, armed for resistance, others bring in 
 property for safe keeping. 
 
 The management of the distance, the strength of the fore- 
 
SPANISH SCHOOL. 
 
 $9 
 
 ground, and the line action of the figures, seem almost incon- 
 sistent with the very early date of this work. 
 
 166. Landscape. 
 
 From a hill in the foreground we look off upon a plain 
 watered by a large river. Two large trees are upon the left, 
 and past them flows a brook, on which we see wild fowl, and 
 in which we see fish. A man sits upon the side of the hill, 
 and a woman carrying eggs passes him upon the road. The 
 detail of this picture is in the oldest German style. Not only 
 do we see rabbits and birds and butterflies, and even fish and 
 vermin and worms, but even the scales upon the fish. 
 
 *^* This picture possesses great interest in being the earhest 
 known landscape painted otherwise than as a mere accessory to 
 some historical, rehgious, or other subject. Both these landscapes 
 are from the Collection Quedeville. 
 
 SPANISH SCHOOL. 
 
 VELASQUEZ. 
 
 Diego Rodrigxjkz dk Silva y Velasqvez was born of a noble family, at 
 Seville, in 1594. He was liberally educated, and became a pupil of Francisco 
 IlERRER V, the elder, whose studio he left for that of Francisco Pacheco, whose 
 daughter he married. Leaving Seville for Madrid, in 1622. he received the 
 hi-hest honors of his profession, and was appointed painter to the King, and 
 subsequently one of his chamberlains. The visit of Rubens to Spain, and that 
 of Velasqcez to Italv, had a marked effect in enriching the color and chastemng 
 the design of the latter. On his return from Italy, he received the order of San- 
 tiago, one of the very highest honors in the gift of the King. "Velasquez 
 essayed almost every subject within the province of his art, and succeeded m all 
 he undertook." His strong, harmonious color, his flesh tint of pure red and 
 white, and his great power in giving character to his J^^f J^^dll'S ' 
 traits in him who was excellent in every thing. He died at Madrid, in 1660. 
 
 7 
 
100 BEYAN GALLERY. 
 
 167. Philip IV. of Spain, as David witli Goliali's 
 
 Head. 
 
 The victorious shepherd-boy is represented with the head 
 of the giant in his left hand, and the sword in his right. His 
 position expresses calm confidence, and his face is the index 
 of an ingenuous spirit. He wears a tawny under-vest, a 
 slashed, purple doublet, and a red cap and feather. The flesh 
 "has the tints of " blood and milk," which are proverbially 
 characteristic of the Master; and the hues of the drapery, 
 though sober, are rich and harmonious. 
 
 *** From the collection of Marshal Sebastianl 
 
 168. Landscape. 
 
 In the foreground is an equestrian hunting group of five 
 figures, with a dog. On the right, a mass of foliage boldly 
 and freely painted. In the first distance, two figures cross a 
 bridge. The silvery tone of the distance is peculiar to the 
 country. 
 
 *^* Found at Rome. A picture of a similar style, the only one 
 ever seen by the proprietor, is in the possession of Mr. Madrazo, 
 the Director of the Royal Gallery of Madrid. 
 
 MURILLO. 
 
 Bartolome Esteban Murillo was born near Seville, in the year 1613. His- 
 parents, though well descended, were poor, and he was destined for the life of a 
 man of business; but his propensities for painting were so strong, even in his 
 childhood, that his maternal relative, Juan de Pastillo, a painter, took him aa 
 a pupil. From so inferior an artist, Murillo could learn nothing but the rudi- 
 ments of his art, but he derived great benefits from the study of the works of 
 Pedro de Moya, a former pupil of Juan, but who had studied afterward with 
 Vandyke, whom he made his model. Murillo, by the scanty profits of the sale 
 of a few genre pictures, managed to reach Seville, and by the further exercise of 
 his pencil for the famous fair held at that city, he secured enough to defray the 
 trifling expenses of a journey on foot to Madrid. Here he became the pupil and 
 protege of Velasquez, the study of whose works, as well as those of Titian, 
 
SPANISH SCHOOL. 101 
 
 brought by Vklasqukz to Madrid, had much influence upon his style. He was 
 a painter of the Real, as opposed to the Ideal School. He sought to paint that 
 which was before him ; but his genius redeemed even the ordinary faces of his 
 models, so full are his pictures of the purest and most genuine expression of the 
 best feelings of human, and even of Divine nature. He had a power, in which he 
 is unrivalled, of embodying the most elevated feeling without clothing it in ideal 
 beauty. Murillo stands among the first colorists the world has known. He 
 had three styles: the first adopted while under the influence of Spagnolktto, 
 (Ribkra) ; the second, in emulation of Titian; and the third and last, adopted 
 about 1655, in imitation of Vandyke, which is cool, tender and silvery, and is 
 both delicate and rich, sweet and powerful. 
 
 Mdrillo never left Spain, although he had opportunities to do so. He clung 
 to his native Seville with a fond attachment. In IGGO, he established the Aca- 
 demy of that city, and was made its head. His greatest picture. The Immaculate 
 Conception^ of the Church of the Venerables at Seville, was painted in 1670. 
 Twelve years after, he fell from the scafi".)ld on which he stood, while painting an 
 altar-piece for the Church of the Capuchins, at Cadiz. He lingered for some time, 
 and died on the 12ih of April, 1682, in that city. 
 
 169. Adoration of tlie Magi. 
 
 The Virgin, with the child and Joseph, sit in the porch of 
 a large, ruined building. Before them kneel two of the 
 Magi, with gifts, while another, an Ethiopian, approaches 
 through the arched entrance. Beyond, is the armed escort 
 of the company, and on one side two figures lean through a 
 window, looking upon the newly-born Saviour. The clear, 
 silvery tone of the lights, and a slight tendency to opacity in 
 the shadows, indicate the last period of the Master. The 
 harmony of the broad masses of color in the robes of the 
 kneeling figures, is very grateful to the eye. The head of 
 the older one is of a fine type, and is colored with a full and 
 tender pencil. 
 
 170. Adoration of tlie Sheplierds. 
 
 The infant Christ is laid upon a hamper. On one side 
 the Virgin kneels in adoration, and on the other are Joseph 
 and three shepherds. Joseph and one of the shepherds are 
 
102 BRYAN GALLERY. 
 
 kneeling, and two others are bending over the group. A child 
 kneels with one of the shepherds. Behind the Virgin hover 
 two cherubs. There is a homely earnestness of feeling in 
 this picture, quite characteristic of Murillo. The color 
 assigns it to his last period. 
 *^* From the gallery of Marshal Soult. 
 
 171. Tlie Vision of St. Francis. 
 
 The saint looks heavenward, with an ecstatic expression of 
 wrapt devotion. The ascetic and the enthusiast are finely 
 embodied in this well-modelled head, which is warm in 
 color, and belongs to the second or middle period of the 
 Master. 
 
 LLANOS Y. VALDES. 
 
 SebastiaK Llanos y Valdes was one ot the pupils of Herrkra the elder. 
 The time and place of his birth and death are not known. He contributed much, 
 by his efforts, to the establishment of the Royal Academy of Madrid, and was 
 chosen first Vice President, and, afterward;^, President. His style is somewhat 
 mannered ; but his design is correct, and his color rich and pleasing. He painted 
 but very few large pictures. 
 
 1^72. The Entombment of Christ. 
 
 The subject is treated with mingled tenderness and power. 
 The body of Christ, just removed from the cross, lies on a 
 white cloth, and rests upon his mother's knees. A youthful 
 figure supports the Virgin ; while at the feet of the Saviour 
 Mary Magdalen kneels, and kisses his hand. Behind her 
 stand Joseph of Arimathea and another old man, engaged 
 in reading the " writing " which Pilate had caused to be 
 placed over the head of Christ. The gloom of twilight 
 falls upon the group. The composition is fine ; the figure of 
 Christ more anatomically correct than is generally the case 
 
FltENCH SCHOOL. 103 
 
 in the works of Valdes ; the Virgin's face expresses a great 
 and noble maternal sorrow ; and the heads of the two old 
 men are boldly modelled, and richly and strongly colored. 
 *** From the gallery of Marshal Soult. 
 
 FEENCH SCHOOL. 
 
 EARLY UNKNOWN ARTISTS. 
 
 173. The Entombment of Christ. 
 
 Joseph of Arimathea, and an assistant, are placing the 
 body of Christ, which lies in a winding-sheet, in a stone 
 sepulchre. The Virgin and two holy women look on ^vith 
 profound grief. 
 
 174. The Resurrection. 
 
 Christ, surrounded by the elliptical halo, appears in mid- 
 air, rising from the tomb. Three of the sentinels start away 
 in fright : one has fallen to the ground in a swoon. 
 
 These two pictures are parts of a triptique ; and are among 
 the earliest specimens of the French school. They display a 
 considerable knowledge of form, and skill in composition. 
 The heads have individuahty, and some expression. 
 
 175. Head of Christ. 
 
 A full front view of the face, tolerably correct, but utterly 
 
104 BRYAN GALLERY. 
 
 without character or expression. It is upon leather, which, 
 after the head was painted, was stamped and gilded so as to 
 form around it a strange quadrangular halo, in which fleur 
 de lis are prominent. Upon the edge is an inscription, of 
 which only Adoro — Redentor, I. H. S., is legible. It is 
 probably not older than the latter part of the fourteenth 
 century, and was, doubtless, an object of adoration to some 
 devout Catholic. 
 
 FREMINET. 
 
 Martin Frkminet, born in Paris, in 1567, was the son of a poor painter, under 
 whose insufficient instructions he made great proficiency. He went to Italy, and 
 endeavored to emulate Michael Angelo, but only succeeded in being extrava- 
 gant. He had a ready invention, and was a bold, rather than an accurate 
 designer. 
 
 176. Diana of Poictiers, as Juditli witli tlie Head 
 Holofernes. 
 
 Judith is about to place the head of Holofernes in a sack, 
 which is held by her nurse. She is dressed in a flaunting 
 blue tunic, and wears a gaudy, jewelled cap. The face, 
 though wanting in relief, and feeble in color, gives us the 
 idea of a beautiful woman ; and the arm, though much too 
 short, and put on the body without the intervention of a 
 shoulder, was evidently painted from a fine model. The 
 head of the old nurse has much character. After the fashion 
 of the very early painters, both figures appear utterly uncon- 
 cerned in the action in which they are engaged. 
 
 *^* The ornaments in gold, and precious stones, are from the 
 compositions of the celebrated Benvenuto Cellini. 
 
 POUSSIN (NICHOLAS.) 
 
 Nicholas Poussin was born in Normandy, in 1594, of a noble family. He 
 studied first with Quintin Varin. His next studies were directed by some 
 
FEENCH SCHOOL. 105 
 
 prints after Raphael and Giulio Romano, whose works he was at last enabled 
 to study in Rome itself, and the first of whom was his model. He had attained 
 such eminence in 1639, as to be invited to return to France by Louis XFII. 
 himself. He went, but soon returned to Rome, where he passed the remainder 
 of his life in the tranquil and successful pursuit of his art. He is distinguished 
 by the pleasing correctness of his composition, the purity of his forms, and the 
 great knowledge of classic art and literature which his works display. He has 
 been called '■•le peintre des gens (Tesprit, the most complete of all artistic minds, 
 though not the most interesting." His color was feeble, save in his landscapes. 
 He was a prolific painter. He died in I660. 
 
 111. The Eepose in Egypt. 
 
 Joseph and the Virgin sit at the foot of a clump of 
 trees, only the trunks of which are seen. The Child lies 
 upon the Mother's lap in all the thoughtless abandonment 
 of infancy. In the distance is a mountainous landscape. The 
 head of the Child will strike every one acquainted with the 
 works of PoussiN, as identical in type with that which ap- 
 pears in his most famous Holy Families. The attitude of 
 the Virgin is remarkable, not only for its graceful dignity, 
 but for its perfect expression of the fact that she is listening 
 calmly but intently to the naiTative which Joseph is evid- 
 ently relating. His arm and hand are also admirable in pos- 
 ition and in foreshortening. The landscape, though not 
 highly finished, is grandly composed ; and upon it the twi- 
 light of dawn is made to fall with sweet solemnity. 
 
 178. Tlie Daughter of Pharaoli about to batlie in 
 the Nile. 
 
 Two attendants are about to disrobe the Princess ; a 
 third kneels at her feet with a vase of anointing oil. Before 
 her is a figure emblematic of the liver. The group is finely 
 composed, and the forms and attitudes are simple and chaste 
 almost to statuesqueness. 
 
 *«* Both these pictures display the knowledge of form, the clas- 
 
106 BRYAN GALLERY. 
 
 sical taste, and the feebleness of color which are characteristic of 
 the Master. Tliis vigorous sketch is in the best manner of Poussix, 
 and was formerly in the collection of the M. de St. Aubin. 
 
 179. Classic Landscape. 
 
 The foreground is in deep shadow. A road by the side 
 of a brook passes through it. A little to the left, three trees 
 stand close together ; under them is a figure in a Greek tunic. 
 In the first distance, upon which the light falls, a group of 
 figures dance before the statue of a sylvan deity. Farther 
 on, a procession enters a small temple half hid by trees. Be- 
 yond, is a cluster of large buildings and an obelisk. Precipit- 
 ous hills close the scene. The composition of this landscape 
 is equally indicative of classic taste, fine imagination, and 
 masterly power of combination. The forms of the trees are 
 remarkably true, unconstrained and beautiful. 
 
 POUSSIN (GUASPRE.) 
 
 GuAspRK DuGHKT was bom at Rome, of a French family, in 1613. He became 
 tbe pupil of NicoLO Pocssin, who had married his sister, and from these circum- 
 stances he received the name ofPocssiN. Guided by the counsels of his brother- 
 in-law, and influenced by the example of Claude, he became one of the greatest 
 of landscape painters. The fertility of his invention, and the vigor and freedom 
 of his touch, are without a parallel in the history of this department of the art. He 
 always conveys an expression of power and grandeur, even in his smallest 
 pictures. He died at Rome in 1675. 
 
 180. Landscape. 
 
 A brook in the foreground flows at the foot of a rocky 
 hill, which rises into the distance, and completes the picture. 
 Upon the hill is an extensive, ruined building. The 
 rays of the setting sun partially light up the large, heavy 
 clouds, which nearly fill the heavens. The broken fore- 
 ground of this picture has an air of fidelity which gives it 
 
FRENCH SCHOOL. 107 
 
 the appearance rather of a transcript from nature than of a 
 composition. 
 
 181. Landscape. 
 
 A level country, shut in by low, irregular hills. In the 
 foreground, three small trees. The time, dawn. These two 
 companion pictures, though small, are grand in style, and 
 convey an impression of power. The skies are remarkably 
 truthful and beautiful, both in tone and in the forms of the 
 clouds. 
 
 182. Grand Landscape. Hagar in tlie Desert. 
 
 From a rugged foreground, in which are the figures 
 which give the name to the picture, the eye passes beyond 
 a clump of trees, with thick and heavy fohage, upon the right, 
 to a broad, open plain, on which are some large buildings- 
 A range of mountains shuts out the horizon. In spite of the 
 buildings, and of the road on the right and the cattle under 
 the trees, the gloom and sadness of the desert fills the can- 
 vas. 
 
 *^* This picture, which has been engraved, is in the finest man- 
 ner of the Master. The figures are by Philippe Lauri. It is from 
 the collection of the Marshal Sebastiani. 
 
 CLAUDE LORRAINE. 
 
 Claude Gklkk, called Lorraink, was born at Charaagne, in Lorraine, in 
 1600. His parentage was obscure, and his first preceptor was his brother, an en- 
 graver on wood, to whom he went after the death of his father, which happened 
 when he was twelve years old. His next master was Godfrey Waal, of Naples, 
 with whom he remained two years, and whom he lett to place himself under the 
 tuition of Agostino Tasso, at Rome. A journey through Italy, the Tyrol, and 
 the southern part of France, undertaken in his twenty-sixth and twenty-seventh 
 years, filled his creative mind with rich stores of observation : at thirty years 
 of age he was the greatest landscape painter the world had seen ; and hia 
 posthumous fame is without a rival. His works exhibit the fruits of the 
 
108 BRYAN GALLERY. 
 
 most careful study of the efifects of nature ; yet they are not transcripts of nature, 
 but ideal compositions of the highest class. He was not less eminent as a ma- 
 rine than as a classical painter ; and architecture received no small share of 
 ihis attention. He is preeminent as a painter of sunlight and atmospheric 
 effect. He died of gout, in 1682. 
 
 183. Landscape, with Figures. 
 
 In the foreground are three herdsmen ; just beyond them, 
 and between two clumps of trees, are two of their com- 
 panions and the cattle which they watch. A river, broken 
 by two falls, separates the foreground from the middle dis- 
 tance, which is filled by a broad meadow bordered by a 
 wood, from which the eye is led to hills and mountains which 
 close the scene. The sky is almost filled with hazy clouds. 
 This landscape is in the early manner of the Master, who at 
 first made his foregrounds dark, and his distances of a cool, 
 blue tint. The peasants, in the foreground, are designed af- 
 ter DoMENicHiNO ; but the figure who leans against a tree, 
 in the shadow on the left, and plays upon a pipe, is all 
 Claude. Claude was so conscious of the want of merit in 
 his figures, he used to say that he sold his landscapes and 
 gave away the people in them. 
 *^* Collection Marshal Sebastiani. 
 
 184. Landscape, witli a Sea View. 
 
 "VVe look seaward from the shore of a little bay. In the 
 distance is a ship. A large barge lies near the beach, upon 
 which are several figures. A castle stands at the foot of a 
 bold promontory in the middle distance. This picture is in 
 the matured manner of the Master. The foreground is 
 bathed in yellow light, which gilds the innumerable little 
 waves which kiss the shore. The distance and the sky have, 
 unfortunately, been much injured. 
 
FEENCn SCHOOL. 109 
 
 184. (A.) Landscape. 
 
 In the foreground is a herdsman watching three cows, upon 
 the side of a gently flowing river. Beyond is a hill, upon which 
 is a castle. This little sketch is also in the first manner of 
 the Master. 
 
 MIGNARD. 
 
 PiERRB MioNARD was bom at Troyes, in IGIO, and showed precocious talent 
 for painting. His first instructor was Jean Boucher, of Bruges, whom, after 
 two years, he left for Simon Volet. But Rome was the principal scene of his 
 study and his labor. He lived there twenty-two years. The works of Raphakl 
 and GciDo were the chief objects of his contemplation; but he attained only 
 to correctness of design, a pleasing manner, and harmonious color, without 
 marked originality. He died at Paris, in 1695. 
 
 185. Portrait of a Lady at Iter Toilet. 
 
 A lady, in the costume of the time of Louis XIV., sits 
 before a toilet-table, combing her curled tresses. The color 
 is truthful and pleasing ; the arms and hands, though too fat 
 for elegance, are well modelled, and the costume is carefully 
 painted. 
 
 186. Holy Family. 
 
 The infant Christ, encircled by his mother's arms, sits 
 upon the base of a fallen pillar, and points to a serpent, which, 
 with an apple in its mouth, encircles the world. Joseph 
 leans from behind, and directs his attention to a flaming 
 cross in the heavens. The flesh tint is rich and warm, and 
 the figure of the child very correctly designed. 
 
 . LE SUEUR. 
 
 EusTACHE Le Suecr was born at Paris, in 1G17. Ho was the son of an ob- 
 scure sculptor, who placed him in the studio of Simon Voukt. His style, 
 however, was formed by the study of the classic statues and paintings of the Ro- 
 
110 BRYAN GALLERY. 
 
 man School in Paris ; and such was the nobility and simplicity of his composi- 
 tions, the purity of his forms, and the grandeur of his draperies, that he received 
 the appellation of the French Raphael. He died in 1G55. 
 
 187. The dead Clirist supported by the Virgin. 
 
 The Lead of Christ rests upon the knees of his mother, 
 who sits upon the ground, and looks heavenward with 
 gestures of despair. A weeping cherub *on the left has 
 removed the cro^^Ti of thorns ; another, kneeling, kisses the 
 left hand of Christ. In the body of Christ the forms are 
 very noble, and the anatomy excellent. The face of the 
 Virgin is of a fine type, but lacks a just expression of grief. 
 
 *:,,* From the collection of the Abbe Genoud. 
 
 LE BRUN. 
 
 Charles Le Brum, the son of a sculptor, was born at Paris, in 1619, and be- 
 came the pupil of Simon Vouet. He studied in Italy, and returned to Paris to 
 be appointed first painter to the King. He possessed a fertile imagination, and 
 had complete command of the mechanism of his art. His compositions are 
 spirited, and the individual figures very correctly drawn. He died at Paris, in 1690. 
 
 188. Portrait. 
 
 The portrait of a young man of a swarthy complexion and 
 thick, black, flowing hair. The features are large, but pleasing 
 and manly in their expression, and the eyes are full of intelli- 
 gence. The head is fine in modeUing and color. 
 
 *^* Collection Par.\xt. 
 
 COURTOIS. 
 
 Jacques Courtois, called il Borgognone, was born in the Francbe Comtc, 
 in 1621. From his father, an obscure painter, he learned the elements of the art, 
 which he put in practice, during a three years' military service, by sketching 
 battles, skirmishes, marches, and the like. Quitting the army, he learned much 
 in his art from GciDo and Albano, whose acquaintance he formed in Bologna. 
 He at first attempted historical works, but soon abandoned himself to the paint- 
 ing of battle pieces, in which he is without a rival for spirit, vigor, and the 
 
FRENCH SCHOOL. Ill 
 
 expression of tumultuous movement. It is to be regretted that the shadows of 
 his pictures have sunk and blackened. He died at Home, in 1676. 
 
 189. Battle Piece. 
 
 190. Battle Piece. 
 
 Descriptions of battle pieces, like descnptions of battles, 
 rarely accomplish more than the utter confounding and con- 
 fusion of the reader ; and therefore the visitor is left to study 
 out alone the composition of these very spirited sketches, in 
 which there is more movement and tumult than it would 
 seem possible to express in so small a space. 
 
 LE FEVRE. 
 
 Ci.ACDK LE Fkvrk was bom at Fontainbleau, in 1633. He was successively the 
 scholar of Lk Sukur and Lk Brcn. He distinguished himself as a portrait painter, 
 by ability to seize a likeness, correct drawing, and pleasing color. He died at 
 London, in 1675. 
 
 191. Portrait of Puget, the Frencli Sculptor. 
 
 He holds the model of a cylindrical bas-relief. The head 
 is national in its characteristics, full of inteUigence, and 
 painted with a free and spirited touch. 
 
 *jt* Collection Gen. d'Espinoy. 
 
 DE LA FOSSE. 
 
 Charles de la Fosse was born at Paris, in 1G40. He studied with Le Brum, 
 and having taken the academy prize, w.is sent to Italy. Here, becoming enamored 
 of the works of Titian and Paolo Veronese, he made himself one of the best 
 colorists of his day, and of the French School. He was not wanting in imagina- 
 tion, and composed with great spirit ; but his design was sometimes inelegant and 
 incorrect. He died at Paris, in 1716. 
 
 192. Christ in the Wilderness, ministered to by 
 
 Angels. 
 
 Christ, seated upon a bank, looks heavenward, absorbed 
 
112 BRYAN GALLERY. 
 
 in contemplation. Before him is a group of seven angels ; 
 some bringing fruits, and some in attitudes of adoration. A 
 fine composition, full of grace in the forms and spirit in the 
 attitudes ; very pleasing and harmonious in color. 
 
 *^* This picture was formerly in the collection of Cardinal 
 Fesch. After its arrival in Paris, in the possession of the present 
 proprietor it was demanded for the Gallery of the Louvre. 
 
 JOUVENET. 
 
 Jean Jouvenkt, descended from a family of painters, was born at Rouen, in 1644. 
 He received his first instructions from his father, and perfected himself in the art, 
 in Paris. He was one of the most distinguished painters of his day. His design 
 is correct; his pencil decided and vigorous; his attitudes are well chosen, and his 
 draperies well cast. His color is somewhat feeble. He died at Paris, in 1717. 
 
 193. \ Scenes from tlie Life of St. diaries de 
 
 194. ) Borromeo. 
 
 The first of these sketches represents Charles laying 
 aside his ducal coronet and robes, and receiving the monk's 
 cowl and frock : the second shows him working one of those 
 miracles which placed him among the canonized saints of the 
 Roman Church. Both are full of spirit, and display great 
 knowledge of form and composition. The drawing of the 
 nude figures is bold, but sometimes exaggerated. 
 
 DE LARGILLIERE. 
 
 Nicholas de La.rgillierk was born at Paris, in 1656. He studied his art in 
 Antwerp, under Francis Gobeau, a painter of landscapes and still life. He 
 painted many portraits of personages of high rank, both at the English and 
 French courts. His coloring is rich and pure ; but his drawing is not always cor- 
 rect. He died at Paris, in 1746. 
 
 195. Portraits of two Ladies. 
 
 The principal figure reclines in front, caressing a spaniel. 
 
FRENCH SCHOOL. 113 
 
 Altbough in the loose silk and satin robes of the time of 
 Louis XIV., she is represented as Diana ; but it is safe to 
 look in her face and say, that her crescent and her dogs are 
 all she has in common with the goddess of chastity. Behind 
 her, an attendant, — evidently the worthy Calisto to such a 
 Diana^ — in the powdered hair and costume of Louis XV., 
 hangs up her bow and quiver. Aside from the sentiment of 
 this picture, it is admirable in all its parts ; the spirited 
 attitudes of the heads and limbs, the rich, clear tint of the 
 flesh, the characteristic types of the heads, the draperies, and 
 the spirited figure of the dog, combine to make it a perfect 
 work in its kind. 
 
 *jt* This picture was also sought from the proprietor, for the 
 Gallery of the Louvre. 
 
 RIGAUD. 
 
 Hyacinthe Rigaud was born at Perpignan, on the 20th of July, 10.59. It is 
 not known with whom he studied, but he became the most eminent of the por- 
 trait painters of France. He has with justice been calle<l the French Vandtkb. 
 His heads are finely modelled and full of character, and his tints are fresh and 
 lively. He finished highly, without an appearance of labor. He was a wit as well 
 as painter. He did not like to paint women, " for," said he, " if I paint them as 
 they are, they think the portraits not handsome enough : if I flatter them, the 
 portraits are not like." A lady complaining that he did not use a color fine 
 enough to paint her cheek, the bloom on which was borrowed,— " Madam," he 
 replied, " my vermilion cannot possibly be bad, for we both deal at the same 
 shop." It was he also who told the lady who endeavored to make her mouth as 
 small as possible, not to trouble herself, for if she wished, he would paint her 
 without any mouth at all. He died in December, 1743. 
 
 196. Portrait of a Marshal of France. 
 
 The Mai-shal is in full armor, and wears a large, full-bot- 
 tomed wiof. In the lineaments of the countenance, as well as 
 the details of the costume, this portrait is remarkably char- 
 acteristic of the time of Louis XIV. 
 
 *^* From the Collection Viex. It is a very fine specimen of the 
 Master. 
 
114: BKYAN GALLERY. 
 
 WATTEAU. 
 
 Antoink Wattkau was born at Valenciennes, In 1684, of very poor parents. 
 He first painted the panels of coaches, then became a scene painter, struggling 
 always with extreme poverty. A painter of grotesques, named Claude Gillot? 
 became acquainted with and befriended him ; and thence dates his success. He 
 painted ball?, masquerades, gallant and pastoral subjects. His works are 
 remarkable for gracefulness in the figures, ease of composition, and, above all, 
 splendor of color. He died in 1721. 
 
 19?. Musicians. 
 
 Two young men sit upon a bank ; one plays the bag- 
 pipes, the other the flute-a-bec. Beyond is a hilly country, 
 slightly sketched. The color is very warm, rich and har- 
 monious. This picture is evidently cut from a large and im- 
 portant work. 
 
 198. Landscape, witli Figures. 
 
 In the foreground, two boys attempt to lift a girl, so that 
 she may reach some grapes which hang upon a tree, upon 
 which the vine is trained. On the other side, a woman 
 gathers flowers. This is but a sketch, in the style of Gior- 
 GioNE. The color is wonderfully rich and juicy. 
 
 PATER. 
 
 Jean Baptiste Patkr was born at Valenciennes, in 1695. He became a pupil 
 of VVatteau. His color is good, but his design incorrect. He died in 1736. 
 
 199. Landscape, witli Figures. 
 
 In the foreground is a group of peasants and cows, on the 
 bank of a brook. In the distance is an old chateau, which 
 stands on the farther side of a broad meadow, upon which 
 cattle are pasturing. A pleasant composition, and, though 
 slightly painted, with fine aerial perspective. The color, 
 thouirh feeble, is not untruthful. 
 
FRENCH SCHOOL. 115 
 
 ' BArroNi. 
 
 PoMPEo Battoni was born at Lucca, in 1708. It is not known with whom he 
 atudied. His pleasing color, End the agreeable air of his heads, won him favor, 
 although he had not much academic skill. He died at Rome, in 1787. His birth 
 and education would seem to give him a place in the Italian School ; but all his 
 characteristics are, nevertheless, decidedly French. 
 
 200. Portrait of the Cardinal de Eocliecliouart. 
 
 The cardinal, in the full dress of his order, stands by a 
 table, on the verd-antique marble top of which, are writing 
 materials. In his right hand is his scarlet cap, in his left a 
 book. The face is one of great intelligence and self-com- 
 mand. The hands are beautifully modelled and painted, and 
 the texture of the drapery very finely expressed. The lace 
 is a marvel of laborious exactness. 
 
 %* From the Chateau Coureelle, the seat of the Cardinal's 
 family. 
 
 201. Small Portrait. 
 
 The head of a boy, sweetly colored, and highly finished. 
 He wears a pilgrim's costume, and cames a staff in his right 
 hand. 
 
 CHARDIN. 
 
 202. StiU Life. 
 
 The viands for a. jour maigre under the rule of the Church 
 of Rome. They are painted with great fidelity. 
 
 SCHOOL OF GREUZE. 
 
 203. Portrait of Louis XVII., Dauphin. 
 
 He is represented as seven or eight years old. He wears 
 8 
 
116 BRYAN GALLERY. 
 
 a blue scarf. The color is gray and feeble, but the head bears 
 the impress of truth. This picture has acquired an interest 
 additional to its merits, from the recent discussion as to the 
 fate of the Dauphin, who is confidently believed by many to 
 be yet Hving, and in this country. A comparison of this 
 portrait "with the gentleman supposed to be Louis XVII., 
 shows as much likeness betwe^ them as there can be 
 between a boy and an elderly man. 
 
 *^* From the collection of M. de Mont Lens, a devoted legi- 
 timist, who died at a very advanced age, in 1850. In the catalogue 
 of M. DE MoxT Louis, this picture is entered as of the school of 
 Greuze. It bears much resemblance to the works of Chardin. 
 
 ROBERT. 
 
 HuBER Robert was born at Paris, in 1733. He studied both in Paris and 
 Rome. He painted views with architecture, aad endeavored to blend the styles 
 of Pannini and Joseph Vkrnet. 
 
 204. Park of St. Cloud. 
 
 A slight but very spirited sketch of this magnificent plea- 
 sure ground. 
 
 VERNET. 
 
 Clattde Joseph Vernet was born at Avignon in 1712. He went to Rome, 
 and became the pupil of Adrian Manglard. His pictures are highly prized by 
 most collectors. They are generally marine views of landscapes by river sides. 
 He was employed by Louis XV. to paint a series of the ports of France. He was 
 the father of the celebrated painter Antoise Charles Horack Vernet, who 
 was the father of the great Horace Vernet of our own day, who is the father-in- 
 law of Paul de la Rochk. Joseph Vernet died in 1789. 
 
 205. Italian Scenery, with Figures. 
 
 In the foreground are groups of women washing clothes 
 in a river, which flows through rocks and the heavy masonry 
 of some ancient work. The horizon is shut out by a rising 
 
FRENCH SCHOOL. 117 
 
 ground, on which is seen a castellated gateway. The foliage 
 is finely relieved against the sky, but the picture is crude in 
 color, and wanting in atmospheric effects. 
 
 *^* Painted by the artist for his friend Balthazar, the architect, 
 rom. whose collection it came. It is a fair specimen of an over- 
 rated Master. 
 
 206. Baia, by Moonlight. 
 
 In the foreground is a boat moored by the shore, on which 
 figures are grouped round a fire. The ruins of an ancient 
 mole stretch from a building partly seen on the right, far into 
 the bay. The moon is just emerging from heavy clouds. 
 The light is very truthfully represented : in other respects 
 the picture is not very interesting. 
 
 TOURNIERE. 
 
 Robert Tournikrk was born at Caen, in 1676. He studied in Paris with 
 Bon Boullonquk. He painted history and portrait a little; but preferred to 
 imitate the style and choose the subjects of Douw and Schalkkn. Hedi ed at 
 Caen, in 1752. 
 
 207. Portrait of a Receiver General. 
 
 His receivership, magnificently dressed in the fashion of 
 Louis XV., stands by a table, holding in a most dainty and 
 receiver-like manner, a letter between the forefinger and 
 thumb of his right hand. It is richly colored, and highly 
 finished. 
 
 GREUZE. 
 
 Jean Baptiste Greuze was born at Tonneins, in 1726. His manner, and 
 particularly the style of his heads, is eminently French. His design of the figure 
 is very correct, and his color remarkable for a tender richness of tone. He was a 
 painter of sentiment, and, unfortunately, fell sometimes into sentimentalism. His 
 best works are pictures of nymphs, and the heads of young girls in the inno- 
 cence of early maidenhood; but some of his scenes of the tragedy of domestic 
 
118 BRYAN GALLERY. 
 
 life are deeply touching, and full of tragic power. All his pictures bear a very 
 high price. He died at Paris, in 1805. 
 
 208. A JSFympli of Diana. 
 
 A girl in tlie early bloom of maidenly beauty, sits npon the 
 sea-shore, holding in her left hand a shell and a branch of 
 coral. Her head is crowned with lam-el. She looks out of 
 the picture over her left shoulder. Her sandals, a leopard's 
 skin, and a quiver of arrows lie near her. Nothing could be 
 more imbued with the pure spirit of virginal modesty than 
 this entirely naked figure. Compare it with the Diana and 
 Nymph by De Largilliere, No. 195. They are draped 
 and coiffed ; yet so unchaste, that this maiden in her 
 unveiled loveliness would blush to look at them. Her figure 
 is exquisitely formed ; round and full, yet lithe and supple , 
 as becomes the votaress of the virgin huntress. The type of 
 the face is, perhaps, a little too dreamy for a nymph of the 
 chase ; but we can forgive that for its intrinsic beauty. It was 
 not in Greuze's nature to paint a naked female Nimrod, — 
 a Lady Gay Spanker without i-iding robe and et ceteras. 
 We admire in this picture the exquisite tone of the flesh, the 
 careful and accurate modelling of the figure, the clear chia- 
 roscuro , in which the local color is perfectly preserved, and 
 the disposition of the limbs, which are so skilfully arranged 
 that all the beauties of the form are displayed with grace 
 and heightened with modesty. It is a work of rare and 
 peculiar beauty. 
 
 209. Portrait of tlie Due de Choiseul. 
 
 The duke was the patron of Greuze. He is represented 
 in a rich, peach-blossom coat, laced cravat and powdered 
 hair. The duke was certainly no beauty ; and his protege 
 
FRENCH SCHOOL. 119 
 
 dared to make his canvass tell the truth. The head is finely 
 colored. 
 
 *^* From the collection of Paraxt, who painted on porcelain 
 tlie heads of the celebrities of France. This head was probably 
 procured for that purpose. 
 
 210. Head of a Young Girl. 
 
 A young girl, with her hair drawn back from her fore- 
 head, raises her finger with an expression of merry warning. 
 The bright, strong tints show the influence of the study of 
 Rubens upon the Master. 
 
 211. Virginie. (A study.) 
 
 The painter has represented the head and bust of Vir- 
 ginie in a position which evidently shows that her hands are 
 clasped upon her knees as she looks up in a transport of af- 
 fection. Her hair falls dishevelled upon her shoulders. A 
 more characteristic specimen of Greuze's sentimental style 
 could hardly be found. As usual with this Master's works, 
 the flesh tints and the chiaroscuro command our admiration. 
 It is worth while to notice here the power possessed by 
 Greuze, of painting single figures with the mouth open, 
 without making them ridiculous. Only two or three other 
 painters, Sir Thomas Lawrence among them, share this 
 ability with him. 
 
 212. SketcL. of a Female Head. 
 
 A young girl looks up with an expression of ecstatic 
 hope. This sketch is highl]^ interesting, as it shows the 
 Master's manner of painting his heads: putting them in at 
 
120 BKYAN GALLERY, 
 
 first in strong opaque color, over which he laid soft and more 
 transparent tints. 
 
 *^* The celebrated miniature painter Saint purchased this sketch 
 at the sale of Greuze's own collection after his death. 
 
 LEPICIER. 
 
 Nicolas Bernard Lepicier was bom in 1735. lie was first taught the art 
 of engraving by his father, but abandoned it for the pallet and the easel. He stud- 
 ied with Gael Vanloo. He painted in many styles. He died in 1784. 
 
 213. The Sister. 
 
 A young girl, who wears a Charlotte Corday cap, sits 
 in a chair, looking down with an air of tender sympathy. 
 The inspiration of this picture is evidently drawn from 
 Greuze. 
 
 PRUD'HOK 
 
 Pierre Paul Prud'hon, one of the most eminent of French painters, was 
 born at Clugny, in the year 1768. He first studied with Devogks, and after- 
 ward at Rome, where he remained until 1789. His works are remarkable for 
 elegance and correctness of design; and the purity of his color, the clearness of 
 his chiaroscuro, and the enchanting grace of many of his figures, have procured 
 for him the title of the French Corregio. His fancy was luxuriant, and his taste 
 purely classic. His works are chiefly historical, classical, and allegorical. He 
 died in 1823. 
 
 214. France Triumpliant. 
 
 It would he difiicult to trace out the connection of this 
 complicated allegorical composition. In the middle of the 
 lower part of the picture sits France, enthroned upon a cloud. 
 At her feet, on one side, is Saturn, a figure of grand pro- 
 portions : he is eating one of his children. On the other 
 side are the Fates. On either side of the principal figure, 
 a little in the back ground, are the Muses. A winged 
 figure bearing a circle, the symbol of eternity, connects the 
 
FRENCH SCHOOL. 121 
 
 lower with the upper part of the composition in which three 
 figures sustain an enormous wreath ; while, still above, a 
 figure on one side bears the standards of France, a sword, 
 and a Marshall's baton ; and on the other, a winged Minerva 
 bears the laurel, which crowns the whole. We hardly know 
 whether to admire most, the grand style of composition in 
 the picture, or the masterly design of the individual figures. 
 The grouping and the attitudes show inexhaustible fertility 
 of resource, and an imagination able to create endless and 
 ever-varying forms of grace ; and in the whole range of mod- 
 em art, there are few figures superior in power to that of 
 Saturn, or in classic grace to that of France, and the Muse of 
 painting. These, however, are only eminent amid a host of 
 beauties. A composition combining power and grace in 
 such a high degree, has rarely been produced since the days 
 of the gi-eat painters of the fifteenth century. 
 
 *^* This picture is the finished sketch of a plafond now at 
 Dijon, the birth place of the painter. It is from the collection of 
 M. ViEX, artist. The proprietor knows of few finer or more char- 
 acteristic specimens of the Master. It was sought of him by the 
 Director of the Louvre, for that Gallery. 
 
 VERNET. 
 
 Horace Verset, the grandson of Joseph Vernet, and the son of Claude 
 Vernet, is still living. He is, perhap?, the most distinguished painter of France^ 
 His battle pieces are so well known by engravings, that a description of his stjlg 
 is needless here. 
 
 215. Napoleon at Cliarleroi. 
 
 Napoleon stands in the foreground, with a map of the 
 plain of Waterloo lying upon a ruined wall at his side. Be- 
 hind him are his horse and a group of officers. 
 
 * . * This little picture ornamented the private study of Louis 
 Phillippe. 
 
122 BRYAN GALLERY. 
 
 215. (A) The Duke of Orleans and Ms Huntsman. 
 
 The Duke is giving orders to his huntsman. He is at- 
 tended by a negro page and two greyhounds. In the back 
 ground are a postchaise and horses. 
 
 *^* This is a very early picture of the Master; but certain 
 points about the horses are unmistakable. One of the post 
 horses in the back ground will be recognized in all the works of 
 
 Vern 
 
 ET. 
 
 TALLIN. 
 
 Valun was a scholar of Prudhomme. We know nothing else of him. 
 
 216. ISTymplis and Cupids. 
 
 A nymph pours water playfully upon a sleeping com- 
 panion. Three cupids look laughing on. The forms are 
 pleasing, though not always correct, and the color is sweet 
 and warm. 
 
 SCHAAL. 
 
 ScHAAL was a painter of some distinction, who flourished about the time of 
 the French Revolution. He painted miniatures as well as easel pictures. 
 
 217. Portrait of a Lady, as a Water Nympli. 
 
 She is dressed in the costume of the close of the last cen- 
 tury, and sits resting her left arm upon an urn, from which 
 water flows. The picture is pleasing in expression and color. 
 It has been engraved as La Belle Source, and is supposed 
 to be the portrait of the wife of a revolutionary character of 
 some note, named Source. 
 *^* From the Collection Paeant. 
 
 BOUCHER. 
 
 Francois Boucher was born at Paris, in 1704. He was a pupil of the cele- 
 brated Le Moink, and the master of David. Most of his works were for decora- 
 
FJJENCH SCHOOL. 123 
 
 tivo purposes. They are gracefully composed, dr^wn with remarkable correctness, 
 and touched with a light and spirited pencil. When David's formal classical 
 style was in vogue, it was also the fashion to decry Boucher. This being done 
 in David's presence, he answered it, saying "Not every one can be a BoncnER 
 who would." 
 
 211. Portrait of a young girl. 
 
 A girl, just blooming into womanliood, sits in an ann 
 chair, and leans back her bead in reverie. She wears a satin 
 spencer laced in front, over which is a loose gown of yellow 
 silk. The color of this picture is veiy charming, and the ex- 
 pression naive and sweet. It is more highly finished than 
 Boucher's works usually are. 
 
 MICHEL. 
 
 Michel died recently in poverty. A painter of charming landscapes, which 
 now are appreciated and highly prized,|he merited a better fate. 
 
 218. LandscajDe. 
 
 A loaded wain, drawn by two horses, and a few trees 
 under which sits a figure, occupy the foregTOund, from which 
 a level countiy stretches into the distance. A very truthful 
 and pleasing landscape. The figures, by Swielbach, are 
 very sphited. 
 
 CHRYSEUNING. • 
 
 Chryseuning, a painter of repute in Belgium, was still living in 1845, the date 
 of this picture. He was a scholar of Koekoek. 
 
 219. Landscape. 
 
 A cottage, sheltered by stunted trees, stands by a road 
 side on the right of the picture. On the right is a grain 
 field, with laborers. The view to the horizon is over a flat 
 country. This Httle landscape is very pleasing in its compo- 
 sition, and is filled with light. 
 
124 BRYAN GALLEKY. 
 
 VAN DER EYCKEK 
 
 Van Dkr Eycken is still living. 
 
 :220. Tlie Inheritance. 
 
 An Interior. An old peasant sits at a table counting 
 the gold and silver pieces -which he has found hidden away 
 in an earthen vessel. His wife closely examines one to satisfy 
 herself of its genuineness. Both are evidently much pleased 
 with their occupation. Their daughter sits opposite, eating 
 a frugal meal. The light is admirably disposed, the color 
 rich, the heads are full of character, and the details painted 
 with great fidelity. 
 
 *jfc* Painted for the proprietor. 
 OMMEGANCK. 
 
 Balthasar Ommkganck was bora at Antwerp, in 1755. He studied with 
 Antonisskn. He attained eminence as a painter of landscapes with animala, 
 principally sheep and goats. His pictures show the effect of a close and docile 
 study of nature. His animals embody the characteristic expression of their spe- 
 cies. He received very large prices for them, and since his death, they have 
 risen greatly in value. He died at his native place, in 1826. 
 
 221. Landscape, witli Slieep. 
 
 Two sheep by the bank of a sluggish stream, which flows 
 through a meadow, occupy the foreground. One is reclin- 
 ing ; the other nibbles the leaves from the tips of the branches 
 of a stunted tree. The tone of the picture is very pleasing ; 
 and the sheep, to which the rest is but accessory, are marvels 
 of fidelity and knowledge. How much of the character of the 
 animal is embodied in the head of the one which is lying 
 down ! 
 
 DYKEMANS. 
 
 M. Dykemans, of Antwerp, is a living painter of eminence, whose works are 
 80 highly appreciated in Europe, that he cannot supply the demand for them. 
 They bear incredibly high prices. 
 
MODERN PAINTERS. 125 
 
 222. Portrait of an old Man. 
 
 An oldman, clresse d in black, and wearing a fur cap, sits 
 in a high-backed arm chair. The head is boldly modelled, 
 and the light sparkles upon its rugged surface. The hands 
 are only sketched, but with a masterly freedom. 
 
 SULLY. 
 
 Thomas Sully is a distinguished artist of Philadelphia, whose name and 
 works are well known to the public. 
 
 223. Poi-trait. 
 
 An old gentleman sits with his left arm leaning on 
 a table. He holds a letter. This portrait is one of the 
 happiest efforts of Mr. Sully. The style is large and free ; 
 and there is a truthfulness in the sunny-toned flesh which is 
 of rare attainment. 
 
 WEST. 
 
 Mr. W. West is a well known painter, residing in New York, 
 
 224. The Confessional. 
 
 A young lady kneels at the side of her old father-confessor^ 
 in a dark corner of a cathedral. The light falls upon them from 
 a small window. The effect is brilliant and judiciously 
 managed. The head of the fair penitent, which must strike 
 every one by the beauty of its type, in spite of some stiffness 
 in the outline, and hardness of the flesh tones, is a portrait. 
 
 BROWN. 
 
 Mr. George L. Brown, a landscape painter, is a native of Boston, who has for 
 some time been living in Europe. His works are well known to all lovers of 
 American art. 
 
126 BRYAN GALLEBY. 
 
 225. Landscape. 
 
 This view is from nature, in the island of Capri a, Vesuvius 
 being seen in the distance. The hght upon the broken 
 surface of the rugged hill, which occupies most of the canvas, 
 is disposed with admirable skill ; and the atmospheric effects 
 of all this part of the composition, as well as of the distance, 
 are very fine. Mr. Brown's coloring is rich, and when 
 sobered a little by time, will be much admired. 
 
 HOGARTH. 
 
 William Hogarth was the son of a schoolmaster, and was born in 1G98, 
 His first instructions in drawing were received during his apprenticeship to a 
 silversmith, where he was set to engraving arras, &c., on plate. He was more 
 distinguished as an engraver than as a painter. He abounded in humor, the 
 satire of his pencil was bitter, and his power of expressing character has hardly 
 been equalled ; but his design was inelegant and incorrect, his color crude and 
 feeble, and his chiaroscuro was simply the oscuro without the chiaro. He wrote 
 an Analysis of Beauty, which contains much that is interesting to the student of 
 art. This coarse, uncultivated man of genius, died in 1764, 
 
 226. A Midnio^lit Conversation. 
 
 This is a repetition of a picture of grossness and revelry, in 
 which the Master's powers of satire are eminently displayed ; 
 and which is too well known by numerous engravings to 
 need detailed description. The drunken clergyman ladling 
 out punch is a portrait of the poet Churchill. 
 
 227. From tlie ' Harlot's Progress.' (Copy.) 
 
 This is a copy of one of the famous series known to all the 
 world through engravings of all sorts and sizes, as ' The 
 Harlot's Progress.' The copyist has seen fit to make some 
 variations from the print, as it generally appears. Perhaps 
 he copied from an earlier design, as it is known that 
 
ENGLISH SCHOOL. 
 
 127 
 
 Hogarth himself made very great alterations in his plates, — 
 and not always for the better. 
 
 REYNOLDS. 
 
 Sir Joshua Reynolds was born at Plympton, on the 16th of July, 1723. He 
 ■was the son of a clergyman. He evinced, very early, his predilection for tho art 
 in which he attained so eminent a position. His first master was Mr- Hudson, a 
 distinguished portrait painter, whose studio he entered at seventeen years of age. 
 The talents he evinced brought him many admirers and patrons, and nine years 
 after this event, he went to Italy, where he remained for three years, absorbed in 
 the study of the works of the great Masters. On the instituiion of the Royal 
 Academy, in 1768, he was chosen its president, and received the honor of 
 kni'-hthood, which it has ever since been the custom to bestow upon his successors 
 in that office. His works are chiefly remarkable for sweetness and richness of 
 color and truth of chiaroscuro. His invention was not fertile in original works ; 
 but in his portraits, which constitute the bulk of his labors, he is never at a loss 
 for graceful positions and pleasing effects. He never attained eminence, or even 
 remarkable accuracy, in design. He died on the 23d of February, 1792. 
 
 228. Portrait. 
 
 A young lady, in a white satin robe, cut in the formless 
 fashion of the close of the last century, stands by a stone 
 balustrade. Behind her is a park with a castle in the dis- 
 tance. In her right hand is a blue scarf ; near her left stands 
 a vase. The rich-toned, pulpy flesh, and the animated ex- 
 pression of the eyes, are characteristic of the master, as also 
 is the somewhat defective drawing of the latter features. ^ A 
 httle primness must certainly have been the characteristic 
 expression of that time among the ladies ; for all Sir Joshua's 
 loosely-robed dames have it. This is not without it. 
 
 WEST. 
 
 <?ir Benjamin West was born at Springfield, in Pennsylvania, on the 10th of 
 October 1738. He early showed a fondness for drawing, and it is said that he 
 ^eceted his first lessons in coloring from the Indians. He became a portrait 
 nainter in Philadelphia and New York, and, meeting with success, resolved to 
 Cto Rome He remained in Italy three years, under very advantageous circum- 
 s^cef He was furnished with money by his friends, Mr. K.l.v, Mr. Allen, 
 
128 BRYAN GALLERY. 
 
 and Governor Hamilton. He stopped in London on his way home, and was 
 received with such favor, that he determined to remain in England, and finally 
 succeeded Sir Joshua Reynolds as President of the Royal Academy. Hischief 
 merit as a painter, is now admitted to be the breaking down of the conventiona 
 use of classic costume in historical pictures. He died in 1820. 
 
 229. Pallas aj^p earing to Achilles, after tlie death 
 
 of Patroclus. 
 
 The wrathful hero sits by the body of his dead compan- 
 ion. Minerva approaches him bearing his helmet and shield, 
 and lays her hand reproachfully upon his shoulder. The 
 tone of this picture is pleasing ; but the flesh has a hardness 
 and the forms an artificiality which, if painters were apt to 
 be self-appreciative, would account for Sir Benjamin's pref- 
 erence of the modern over the ancient classical style of 
 dress : coats and trowsers cover a multitude of sins. 
 
 DUG DE MONPENSIER. 
 
 230. View of Genessee Falls. 
 
 This sketch is quite faithful as a representation of the 
 locality. Its chief interest, however, consists in its having 
 been made by the brother of Louis Phillippe, when the 
 two princes were on their visit to this country, after the first 
 French Revolution. 
 
 *** Collection Louis Philliti'e. 
 
INDEX. 
 
 This Index will enable tbe reader to find the works of any Master who is 
 represented in the Gallery, as well as any bioarraphical notice or particular de- 
 scription in the volume it^folf. The first numbers are those of the pictures : those 
 in the last column refer to the pages in which the notices and descriptions com- 
 mence. 
 
 Andrea del Sarto, No. 38, 
 Artois (Van) No. 59, 
 Asselyn, No. 60, 
 
 B 
 
 Bartolomeo (Fra.) No. 29, 
 Battoni, Nos. 200 and 201, 
 Bakhuysen, Nos. 61 and 62, 
 Beerestraten, No. 63, 
 Bega, No. 64, 
 Bergen, (Van) No. 65, 
 Berghem, Nos. 66 and 67, 
 Bloemen, (Van) 68, 69 and 70, 
 Botticelli, No. 21, 
 Both, Nos. 71, 72, 73 and 74, 
 Boucher, No. 217, 
 Brakenburg, No. 75, 
 Bramer, No, 76, . 
 Brea, No. 36, 
 Bronzino, No. 45, 
 Brown (G. L.)No. 225, 
 Brun (Le) No. 188, 
 Buffalinaco, Nos. 13 and 14, 
 Bvzantine School, Nos. 1 and 16, 
 
 Page. 
 28 
 43 
 44 
 
 22 
 
 115 
 
 44 
 
 45 
 
 45 
 
 45 
 
 46 
 
 47 
 
 14 
 
 48 
 
 122 
 
 49 
 
 49 
 
 27 
 
 35 
 
 125 
 
 110 
 
 10 
 
 3 
 
130 
 
 INDEX. 
 
 c. 
 
 Canaletto, No. 58, 
 
 42 
 
 Caracci (Annibale) Xos. 48 and 49, 
 
 . 37 
 
 Castagno, No. 19, 
 
 13 
 
 Champagne, Nos. 'FT and 78, 
 
 . 50 
 
 Chardin, No. 202, 
 
 115 
 
 Chryseuning, No. 219, 
 
 . 123 
 
 Cimabue, No. 3, ... 
 
 6 
 
 Claude, Nos. 183, 184, and 184 A. . 
 
 . 107 
 
 Coques, No. 80, ... 
 
 51 
 
 Correggio, Nos. 41 and 42, . 
 
 . 32 
 
 Courtois, Nos. 189 and 190, 
 
 110 
 
 Cranach, Nos. 157 and 158, 
 
 . 94 
 
 Cuyp, Nos. 81 and 82, 
 
 52 
 
 D. 
 
 Debois, No. 83, ... 
 
 . 53 
 
 Dello, No. 20, . 
 
 13 
 
 Denner, Nos. 159 and 160, . 
 
 . 95 
 
 Dietrich, Nos. 85 and 86, 
 
 54 
 
 Domeniehino, No. 50, ... 
 
 . 37 
 
 Douw, No. 91, . 
 
 57 
 
 Durer, Nos. 161 and 162, 
 
 . 95 
 
 Dyek (Van) Nos. 87, 88, 89 and 90, 
 
 54 
 
 Dykemans, No. 222, 
 
 . 124 
 
 E. 
 Eeekhout (Van den) No. 92, 
 
 57 
 
 Eyck (Van) No. 93, ... 
 
 . 58 
 
 Eycken (Yander) No. 220, 
 
 F 
 Ferrari, No. 28, ... 
 
 124 
 
 22 
 
 Feyre(Le)No. 191, 
 
 . Ill 
 
 Florentine School (Early) Nos. 39 and 40, 
 
 29 
 
 Fosse (Dela)No. 192, 
 
 . Ill 
 
 Fouquieres, No. 94, . . . 
 
 59 
 
 Freminet, No. 176, 
 
 . 104 
 
INDEX. 
 
 131 
 
 G. 
 
 Gaddi, Xos. 1 and S, 
 
 Gentileschi, Xo. 52, 
 
 Glauber, Xo. 95, 
 
 Giuseppe d'Arpinas, Xo. 47, 
 
 Giorgione, Xos. 30, 31 and 32, (copy), 
 
 Giottino, Xos. 10, 11 and 12, 
 
 Giotto, Xo. 4, . 
 
 Guido of Sienna, Xo. 2, 
 
 Guido (School of) Xo. 51, 
 
 Greuze, Xos. 208, 209, 210, 211, 212, 
 
 (School of ) Xo. 203, 
 Griff, No. 96, ... 
 
 8 
 39 
 59 
 30 
 23 
 9 
 6 
 
 39 
 117 
 115 
 
 60 
 
 H. 
 
 Hemling, No. 97 and 98, (copy), 
 Heyde (Yander) No. 99, 
 Hobbema, No. 100, 
 Hogarth, Nos. 226 and 227 (copy), 
 Hooghe (De) No. 101, 
 Hnysmans, No. 102, . 
 
 60 
 62 
 63 
 126 
 64 
 64 
 
 J. 
 
 Jardin (Du.), Xos. 103 and 104, 
 Jouvenet, Xos. 193 and 194, 
 
 Klomp, Xo., 79 
 
 K. 
 
 L. 
 
 Llanos y Valdes, Xo. 172, 
 
 Largilliere, (De), Xo. 195. 
 
 Lely, Xo. 105, . 
 
 Lepicier, Xo. 213, 
 
 Lionardo da Vinci, Xos. 23 and 24, 
 
 Lorenzo, il Monaco, Xo. 9, . 
 
 Lovini, Xo. 43, 
 
 
 
 65 
 112 
 
 51 
 
 102 
 112 
 
 66 
 120 
 
 15 
 9 
 
 34 
 
132 
 
 INDEX. 
 
 M. 
 
 Maas, Ko. 106, 
 Mabiise, Xos. 107, and 108, 
 Mantegna, Xo. 40 (xi.), 
 Matsjs, No. 109, 
 Memmi, K'os. 5 and 6, 
 Michel, K"o. 218, 
 Mignard, jS'os. 185 and 186, 
 Molnaer, (Jan.) K'o. 110, 
 Molnaer, (Nicholas,) No. Ill, 
 Montpensier, (Due de,) No 230, 
 Moucheron, No. 112, 
 Murillo, Nos. 169, IVO and 111, 
 
 K. 
 
 Neck, (Van,) No. 113, 
 Neefs, No. 115, 
 Neer, (Van der,) No. 114, 
 Netscher, No. 116, 
 
 O. 
 
 Ocbterveldt, (Van,) No. 118, 
 Ommeganck, No. 221, 
 Cost, (Van,) No. llT, . 
 Ostade, (Adrian Van,) No. 119, 
 do do (School < 
 
 Ostade, (Isaac Van,) No. 120, 
 
 P. 
 
 Palma, (il Vecchio,) No. 46, 
 
 Pater, No. 199, 
 
 Perugino, No. 22, 
 
 Poelembnrg, No. 121, 
 
 Porbus, No. 122, 
 
 Poussin, (Nicholas,) Nos. 177, 178 and 179, 
 
 Poussin, (Guaspre,) Nos. 180, 181 and 182 
 
 Prnd'hon, No. 214, 
 
 . 
 
 67 
 
 
 . 67 
 
 . 
 
 30 
 
 
 . 68 
 
 . 
 
 7 
 
 . 
 
 . 123 
 
 . 
 
 109 
 
 . 
 
 . 69 
 
 . 
 
 69 
 
 
 . 128 
 
 , 
 
 70 
 
 • 
 
 . 100 
 
 
 . 70 
 
 , 
 
 71 
 
 . 
 
 . 71 
 
 • 
 
 72 
 
 
 . 78 
 
 . 
 
 124 
 
 , 
 
 . 72 
 
 
 73 
 
 . 119 A. 
 
 . 74 
 
 • 
 
 74 
 
 
 . 3(; 
 
 . 
 
 114 
 
 . 
 
 . 14 
 
 . 
 
 74 
 
 , 
 
 . 75 
 
 179, . 
 
 104 
 
 182, 
 
 . 106 
 
 
 120 
 
INDEX. 133 
 
 Q. 
 
 Querfurt, Xo. 123, . . . . T5 
 
 R. 
 
 Raphael, ]S'os. 25, 26 (copy) and 27 (copy), . . 16 
 
 Rembrandt, K'os. 124, 125 (copy), and 126 (copy), 76 
 
 (School of), K"o. 127, . . .77 
 
 Reynolds, (Sir Joshua), Iso. 228, . . 127 
 
 Rigaud, ]!s"o. 196, . . . . .113 
 
 Robert, K'o. 204, . . . . . 116 
 Rokes, see Zorg, 
 
 Rubens, Xos. 128, 129, 130, 131, 132, 133 and 134(copy) 77 
 
 Ruysdael, ^""03. 135, 136, and 137, . . .82 
 
 S. 
 
 Salvator Rosa, 'No. 56, . . . . 41 
 
 (School of) Xo. 57 . . . 42 
 
 Sassoferrato, l!s"o. 55, . . . . 41 
 
 Sehaal, No. 217, 122 
 
 Schoen, No. 164, . . . . . 97 
 
 Sebastiano del Piombo, Xo. 37, . . . 27 
 
 Sesto, No. 44, ..... 35 
 
 Snyders, Xos. 138 and 139, ... 83 
 
 Steen, Xo. 140, . . . . .84 
 
 Sueur, (Le) Xo. 187, . . . ' 109 
 
 Sully, Xo. 223, 126 
 
 Sustermans, Xo. 53, . . . . 40 
 
 T. 
 
 Teniers, Xo. 141, 142, 143, 144, 145, and 146, . 84 
 
 Terburg, Xo. 147, . . • • .88 
 
 Titian, Xo. 33, . . . . . 24 
 
 (School of) Xo3. 34 and 3.5, . . .26 
 Tourniere, Xo. 207, . . . ,117 
 
 Twelfth Century, (School of) Xo. 15, . .11 
 
134 
 
 INDEX. 
 
 u. 
 
 Uccello, Xo, 18, . . . . . 12 
 Unknown Artists, (French School), Xos. 1Y3, 174, and 
 
 115, .... lO.-i 
 (Flemish School), Xos. 15G A, and 
 
 156 B, . . . 93 
 
 (Italian School), Xo. 54, . . 40 
 
 Uytenwael, Xo. 103, . . . . 97 
 
 Valkenburg, Xos.165 and 166, . 
 
 Vallin, No. 216, . 
 
 Vandyck — see Dyck, 
 
 Venetian School (Ancient), No. 17, 
 
 Velasquez, Nos. 167 and 168, . 
 
 Velde (Adrian Van de), Xo. 150, 
 
 " (William " ), Nos. 148 and 149, 
 Verboom, No. 151, 
 Vernet (Joseph) Nos. 205 and 206, 
 Vernet (Horace) Nos. 215, and215 (A) 
 Vries (De) No. 84, . . 
 
 W. 
 
 Watteau, Nos. 197 and 198, 
 Weeninx, No. 152, 
 AVest (Sir Benjamin) No. 229, 
 West, (W.) No. 224, 
 Woiivermans, No. 153 and 154. 
 Wynants, No. 155, 
 
 98 
 122 
 
 11 
 99 
 89 
 88 
 90 
 116 
 121 
 53 
 
 114 
 90 
 127 
 125 
 91 
 92 
 
 Zorg, No. 156. 
 
 92 
 
^^■,