A DESCRIPTIVE CATALOGUE OF THK PIOTUEES IN THE DULWICH COLLEGE GALLERY: WITH liagraj^^kal ^aiim of tfjc ^antlers. BT JOHN C. L. SPARKES, HEAD MASTER OF LAMBETH SCHOOL OF ART, AND OF THE ART DEPARTMENT OF DULWICH COLLEGE. "The hearts of men which fondly here admyre. Faire seeming shevves » » » »" » » may lift themselves up higher. And learne to love with zealous humble dewty Th' eternal fountaine of that heavenly beauty." Spenser '.—An Hynme of Heavenly Beauty. BY ORDER OF THE GOVERNORS. LONDON, 1876. PRINTED BY WILLIAM CLOWES AND SONS, STAMFORD STREET AND CHARING CROSS. LONDON : PIlINTKn BY WILLIAM CJ.OVVKS AND SONS. STAMI-OliD STKHHT AM) CJIAlilNd (JIIO^S. THE GETTY CIINTER L'PRARY INTRODUCTION. ^^^^HE greater number of the pictures in the Dulwich Gallery were collected before 1807, by the celebrated ^l^^ picture-dealer, Noel Joseph Desenfans,* for Stanis- laus, King of Poland. They were originally intended •for a National Gallery at Warsaw ; but the subsequent misfor- tunes of the King, which ended in the dismemberment of the Polish Kingdom, prevented the furtherance of the design, and after the death of the King in 1798, the pictures were left in possession of the Collector. In 1802-3 Desenfans sold several of the pictures,! but added considerably to the collection before his death, which took place in July 1807. He left the whole of his pictures to Sir Peter Francis Bourgeois,t who, it is said, acting on a suggestion made to him by John Philip Kemble, made a will in 18 10, by which he directed that his pictures (subject to a life interest of Mrs. Desenfans) should become the property of the Master, Warden, and Fellows of Dulwich College. He further left two sums of 10,000/. and 2000/, for [the care of the pictures, and for the purpose of extending the West wing of the * See notice of Noel Desenfans in body of the Catalogue, p. 108. t See Appendix A. (Extracts from his Introduction to the 2 vol. Catalogue.) X See Notice of Sir P. P. Bourgeois in body of Catalogue, p. 16. vi INTRODUCTIO:^. old College to provide for their reception. It is believed that he intended to have made further provision for the immediate prosecution of his desire to build and endow a Gallery at Dulwich, but he died before these wishes could be fulfilled. With a view to the due preservation of the pictures, his chief executrix, Mrs. Desenfans,* generously left 500/. to the Master, Warden, and Fellows of the College; out of the interest of which an Annual Dinner was to be provided for the President and Council of the Royal Academy, on the occasion of their official visit to the Gallery. She also left plate and linen for use on the same occasions. The Gallery was commenced in 18 12, Sir John Soane being the Architect ; it was finished in 1814 ; and in September of that year, just after the death of Mrs. Desenfans, the pictures were removed from 11. Charlotte Street, Portland Place, to the new Gallery at Dulwich. In March 181 5, the bodies of Mr. and Mrs. Desenfans, and Sir P. F. Bourgeois, were placed in the Mausoleum attached to the Gallery, in accordance with their wishes. The first Keeper of the Gallery was Mr. Ralph Cockburn ; he was in charge of the pictures from October 18 16, until his death in 1820. He was an engraver, and published a set of prints in mezzotint, or soft ground, coloured, of fifty of the pictures. On January 26, 1821, Mr. Stephen Pointz Denning was elected Keeper, and had the care of the Collection until his death in 1864, Since that date the Governors of Dulwich College have had charge of the Gallery. The Collection is open to the public every day, except Sunday, from 10 till 4 in winter, and 10 till 5 in summer. * See Appendix B. Extracts from the Wills of Noel Desenfana, Sir P. R. Bour- geois, and Margaret Desenfans. INTRODUCTION. vii HE GENERAL PLAN OF THIS CATALOGUE is found in the * Catalogue du Musee d'Anvers, 1849/ and reference has been made to that and subsequent editions of the same admirable book for the latest dates of Low Country painters, and others of that school. The various Dictionaries of Painters, and the more recent Biographies and other works on the subject, have been consulted. The writer gratefully acknowledges much aid from ' The Epochs of Painting,' by R. N. Wornum, and from the Catalogue of the National Gallery, by the same author. Both works are stored with facts and references to authorities, and pass far beyond the achievements of any similar publications in these particulars as well as by the evidence of profound research shown on every page. In all cases extracts, when not acknowledged, are placed between inverted commas. This section of the Catalogue must be imperfect, as every day brings to light some new fact respecting men whose works interest us all, but of whose private lives frequently little is recorded. N using this Catalogue it is necessary to refer from the painter's name on the frame, to the corresponding name at the head of the page in the Catalogue, where the order is alphabetical. The number on the picture-frame will be found in its proper order, in relation to the rest of the painter's works in the Gallery, below the biographical account of the artist. viii INTRODUCTION. If the number only of a picture is known, reference must be made to Table I. for the name of the artist corresponding to the number. The ordinary name by which a painter is known is the one given in the body of the Catalogue, but the correct names are inserted in alphabetical order in the Index, at page 240, Table III. In the descriptions of the pictures, the terms " right " and " left " refer to the right and left sides of the picture as seen by the spectator when he is placed in front of it. The history of each picture, so far as it has been recorded, is given after the description. The name of the engraver who has engraved it is also added in those cases in which it can be given with reasonable probability. In both these sections it is feared that the work must be imperfect, as a competent knowledge of engravings is the attainment of half a life ; and to affix the engravers' names to each picture with absolute accuracy, is a result only to be hoped for in future editions of this book. It is even more difficult with regard to the history of the pictures ; for from the loss of records and other causes, it is almost impossible to trace a connected line of possessors for many of the works. The material on which each picture is painted has been noted. The size is measured within the frames as they now hang. In the case of pictures that have been enlarged, the original size is given in addition to the present size of the frame. The com- mercial value that a picture has reached has been noted when- ever it could be ascertained ; though in this section, as in others, more extended research would yield many more facts than this Catalogue contains. The writer desires to record his thanks for the kind assist- ance rendered by Mr. T. F. Hodgkins, the attendant of the Gallery, on whose intimate knowledge of the pictures he has had frequently to rely. THE CATALOGUE. I'iQ^ltxi ALBANL Born, 1578. Died, 1660. RANCESCO ALBANI was bor. -i Bologna, March 15; 1578. He was a distinguished pupil of the Carracci, although he received his first instructions from Denis Calvert (Dionji). Albani's great excel- lence lay in the delineation of female and childish beauty, which talent was said to have been improved by the study of the charm- ing models he possessed in his beautiful wife, Doralici Fioravanti, and their twelve lovely children. His subjects are generally fanciful and mythological : the figures of loves and graces painted by him are inimitable. Albani's work was so esteemed by the Carracci, that Annibale offered him 1800 scudi to assist him in the frescoes of the Farnese, &c., but Albani knowing that Annibale would himself receive but 2000 scudi, refused to accept more than 1000 as his share. This anecdote is honourable to both, Albani's work was always tasteful, clever, and ingenious: he executed several pieces from Ovid for the walls of the Verospi Palace, and being invited to the Court by the Duke of Mantua, he painted some fine pictures for that prince. This caused his fame to spread throughout Italy, and his works were eagerly purchased. In early life Guido Reni had been of some service to Albani they had been fellow-students, first under Calvert, and sub- sequently under Ludovici Carracci, and they remained firm friends throughout their lives. These painters were alike dis- ALBANI. tinguished by the bright beauty of their work ; but Wornum says, "the ornamental, the sentimental, and the picturesque, characterise the works of Guido ; the fanciful, the romantic, and the pretty, characterise those of Albani." Sir Joshua Reynolds describes Albani's style as of a " poetical fancy, with beautiful airy colouring." The pupils of Albani were Andrea Sacchi, the two Molas, Carlo Cignani, his own brother Baptista, and others of less note ; he had no female pupils, for, like Guercino, he despised female talent. His works are very numerous: there are twenty-two in the Louvre. The " Three Marys at the Sepul- chre," and two " Holy Families," have been engraved by Sir Robert Strange, His large pictures of sacred and mythological subjects, in churches and palaces of Italy, are of great merit, but it is on his small pictures of landscapes, with nude figures, that his reputation is chiefly founded. Albani died in Bologna, Oct. 4, 1660. No. 80. SALMACIS AND HEEMAPHEODITUS. The nymph of the pool, Salmacis, sits on the bank nearest the spectator, with her right leg in the water of the spring. The youth Hermaphroditns enters the pool from the opposite bank, farther in the picture, and on the spectator's right ; his attitude shows a reluctance to advance into the water. Behind him are two Cupids. Dark trees are distributed over the background ; the sky that is visible, is dark. On Canvas. 1 ft. 11| in. liigh; 2 ft. 5 in. wide. No. 165. THE HOLY FAMILY. Ascribed to Albani. The Virgin sits in the middle of the picture, in front of the spectator. She holds the child with her right hand ; she points with her left hand to the page of a book, which Joseph holds open, and at such an angle that she can read it by turning her head towards it. She is draped in the traditional colours of red and blue. The child sits on an amber-coloured cushion, which is on his mother's knees, and is placed in profile with regard to the spectator. He holds an apple in his left hand, and with his right grasps the edge of his mother's bodice. A dark foliage-covered background, with a glimpse of sky towards the left edge of the picture. On Copper. 1 ft. 1| in. high ; 10^ in. wide. ALLORI. (Copied by Bourdon.) Born, 1577. Died, 162 i. RISTOFANO ALLORI, sometimes called Bronzino. was born in F"lorence, October 18, 1577. He studied under his father, Allesandro Allori, a portrait painter, who wrote a ' Treatise on Anatomy,' but taking a dislike to the school of Michael Angelo, of which his father was a zealous follower, he left home, and entered the studio of Gregorio Pagani, whose works he generally admired. Although Allori lived to middle age, his works are few : he was ''fastidious in his execution, and exceedingly elaborate." The extreme delicacy of his style was well suited to portraits, and his landscapes were considered superior to those of other painters of his time in Florence. His talent for imitation was so great, that his copies of Correggio's Magdalen have been often taken for duplicates from the hand of the great Master. There is but one of Allori's works in the Louvre, " Isabella of Arragon at the feet of Charles VHI.," and one only, a portrait, in the National Gallery. Cristofano Allori died in Florence, 162 1. The picture of "Judith with the head of Holofernes" is reckoned to be one of Allori's masterpieces, and has been engraved. This copy is by SEBASTIAN BOURDON, a very able and versatile painter, who was born in Montpelier, 1616. He studied first under his father, and was gifted with such* talent, that, at the age of fourteen, he painted a ceiling in fresco. After a short time passed under the tuition of a somewhat obscure painter, named Barthelemy, in Paris, he proceeded to Rome, and on his return, established his reputation by the celebrated picture of the "Crucifixion of St. Peter," which for many years occupied a prominent place in the Cathedral of Notre Dame, and was afterwards removed to the Louvre. This picture was painted in 1643, before Bourdon had attained his thirtieth year. He remained in Paris until his fear of the consequences of the Civil Wars induced him to leave that city, when he repaired in 1652 to Sweden, where he was appointed painter to Queen Christina. After a residence of some years. Bourdon returned to Paris, where he e^tercised his 'pencil on various subjects : — landscape, B 2 4 ALLORL genre, history, and portraits. Among the numerous pictures of his in the Louvre are two portraits of himself, represented with long hair flowing over his shoulders. Sebastian Bourdon was one of the original members of the old Academy of Painting in Paris, and was Rector at the time of his death, which happened May 8, 1671. Sir Joshua Reynolds speaks of Bourdon's " Return of the Ark from Captivity " as being " a fine example in which the poetical style of landscape may be seen happily executed," and this work is classed with the fine picture of " Joseph's Dream," by Salvator Rosa. Bourdon executed some fine etchings : the seven acts of Mercy are considered the best. He married a sister of Louis du Guernier, an enameller and miniature painter. No. 343. JUDITH WITH THE HEAD OF HOLOFERNES. (Copy Toy S. Bourdon. From the Original in the Pitti Palace, Florence.) Judith is placed in the centre of the picture, with a sword in her right hand. She holds the head in her left hand, and seems advancing towards the left edge of the picture. She is clothed in a yellow damask dress, a crimson mantle, white sleeves to the wrist; a white striped Algerian scarf is around her waist. An older woman, with white drapery enveloping her head, occupies that space of the picture that is between the principal figure and the picture edge to the right. A highly-finished copy of an original, which is almost photographic in its faithfulness to nature. The head of Holofornes is a portrait of AUori; that of Judith is the portrait of a mistress, La Mazzafierra, who was unfaithful to him, an event which probably prompted him to paint their heads in this apposition. Engraved by Gandolfi. On Copper. II5 in. high ; 9g in. wide. BAKHUIZEN. Born, 1631. Died, 1709. UDOLF BAKHUIZEN, the son of a government secretary in Embden, Westphalia, was born in that town, December 18, 163 1, He was at first engaged in business as clerk to his father ; afterwards, in 1650, he was placed with a merchant in Amsterdam, that he might acquire a knowledge of commerce. But he showed a greater talent for art ; all his spare moments were spent in drawing, and his sketches of shipping finding ready sale, he was much encouraged in the pursuit of his art. Freeing himself from the counting-house of the Amsterdam merchant, he entered the studio of Albert von Evandingen, and after a few years placed himself under the tuition of Hendrik Dubbels, from whom he acquired such great facility, that he came to be reckoned the chief of the "Dutch painters who have represented rough seas on a large scale," Bakhuizen's favourite subjects were storms and wrecks, and he would often peril his own life, and the lives of the boatmen with him, by venturing to sea in violent weather to sketch from nature. His style is hard, and not nearly equal in merit to the style and manner of many modern marine painters ; but he had several pupils and admirers, of whom the Czar Peter the Great was the most distinguished. He received instruction from Bakhuizen, visited him in his studio, and commissioned him to make a number of constructive drawings of ships. Besides drawing and paioting;, Backhuizen exercised his abilities on caligraphy, and not only invented a new method of writing, but himself gave lessoosi in the art He died in Amsterdam, Nov. 7, 1709, aged ^Si- There are five of Bak- huizen's pictures in the Louvre, sXl ^a-p ieces, and four in the 6 BEECHEY. National Gallery, of shipping. His portrait by Jacques Hon- braken has been engraved, as also one containing the likeness of his fourth wife,' Anne de Horgen, in medallion. Of his other wives, or of how many children he had, there is no mention. No. 75. BOATS IN A STOEM. A storm of wind has caught some Dutch river fishing-boats. Among them a large ferry-boat is trying to make head against the wind, but is too near the piles of an old pier, or remains of a campsheeted bank. Three small boats, all to windward of the piles, are in the same condition as the ferry-boat, in danger of being swamped by the waves which are beating into the woodwork of the pier with violence. A number of people on a sandy bank or dam behind the pier are making their way against the wind to lend assistance to the endangered boats. A church tower and the topmasts of small coasting craft show above the bank. On the left of the spectator the open river is seen, where two fishing-boats are beating down the stream. The view on this side is closed by the river's bank, on which is another church. There are dark storm-clouds, with a bright gleam of light on white clouds to the right. On Caiivati. 2 ft. \ in. liigh ; 2 ft. 7 in. wide. BEECHEY. Born, 1753. Died, 1839. IR WILLIAM BEECHEY was born at Burford iii Oxfordshire, Dec. 12, 1753. His father intending him for the law, articled him to a conveyancer at Stow, in Gloucestershire ; but the young man disliking the monotony of country practice, was shortly transferred to the office of Mr. Owen, of Tooke's Court, London. While with this gentleman, Beechey became accidentally acquainted with some students of the Royal Academy, whose studies so charmed him, that he at once sought for and obtained a substitute to serve out his apprenticeship, and in 1772 was permitted to enter the Royal Academy as a [student. By the study of Sir Joshua Reynolds' works, and by following the good advice of his friend Paul Sandby, he soon made rapid progress, chiefly in portraiture, painting small historical picture and conversation pieces in the BEECH EY. 7 manner of Zoffany ; but his first life-size portrait was not painted until 1 78 1, during his residence in Norwich, where he had lived five years. On his return to London, Beechey took Vander- . gucht's house, 20, Lower Brook Street, but as his fame increased he moved into more fashionable quarters. The patronage of the nobility led the way to royal patronage, and in the year 1793, when he was elected Associate of the Royal Academy, he was appointed portrait painter to Queen Charlotte. Li 1798 he was comniissioned by George III. to paint the large picture, now in Hampton Court, of the King and Prince of Wales reviewing the Dragoons, which work so satisfied His Majesty, that he bestowed the honour of knighthood on the painter, who was then elected a Royal Academician. Sir William Beechey was twice married, and had eight children : one of his sons, Captain Beechey, R.N., was a distinguished Arctic traveller ; another, W. H. Beechey, was known as the author of the * Life of Sir Joshua Reynolds.' Sir William Beechey died at Hampstead, Jan. 28, 1839. Celebrated as a painter whose works are remarkable for truth and simplicity, he was still more admired and esteemed as an honest and honourable man, and his death caused much regret. No. 97. POBTEAIT OF CHAELES SMALL PYBUS, Esq. Mr. Pybus was a Barrister-at-Law and Member of Parliament for Dover, and one of the Commissioners for the Office of Lord High Admiral from 1791 to 1795. On Canvas. 2 ft. 5i- in. higli ; 2 ft. wide. No. 153. POETKAIT OF JOHN PHILIP KEMBLE. The face is seen nearly ftill. Grey hair, dark deep-set eyes, aquiline nose, and firm, refined mouth. He wears a dark velvet coat and shirt rufaes ; hands crossed on a hook, which rests on a table on the left. On Canvas. 2 ft. 5 in. higli ; 2 ft. wide. This celebrated actor was the eldest son of Eoger Kemble, the manager of a company of comedians at Prescot in Lancashire, at which place he was born in 1757. He was educated at Donay, and at an early age showed his powers of elocution. Believing that his father intended him for the priesthood, he returned clandestinely to England, and joining a travelling company, acted with great success at Liverpool, Edinburgh, York, &c. In 1793 he appeared at Dniry BELUCCL Lane in the character of Hamlet. He was manager of Oovent Garden Theatre from 1802 to 1817, when he retired from the stage, after a long and honourable career. He died at Lausanne on February 26th, 1823, Ko. 356. POETRAIT OF SIE P. F. BOUEGEOIS, R.A. The lace ns three-quarters, towards the left. Grey hair and whiskers ; white cravat, shirt-ruffles and waistcoat, and white ribbon belonging to an Order passes across it; a dark coat, and ]-ed curtain background. See his biography, p. 16. On the back of the panel on which this head IS pamted is a sketch by Sir Joshua Reynolds, described under his name, page 138. Ou Panel. 2 ft. 5^ in. high ; 2 ft. I in. widu. BELUCCL Born, 1654. Died, 1726. [NTONIO BELUCCI was born 1654, at Lodigo on the Pieve, in Lombardy. He studied and worked in Germany. Under his master, Domenico Definico, he learned a good manner of handling and colouring besides an elegant taste for historical composition, and his pamtmgs soon procured for him general commendation. The Emperor Joseph I. invited him to his Court, and not only sat to him for his portrait, but appointed him his principal painter. After some years spent in Vienna, Belucci obtained permission to return to Lombardy, where he resided a long time in great esteem, not only on account of his merits as a painter, but also for his numerous personal acquirements. In 1716, says Walpole, he came to England, and executed many great works in this country. He painted a ceiling in Buckingham House, now Buck- ingham Palace, for which the Duchess of Buckingham, to whom It then belonged, paid him 500/. ; and he was much patronised by the Duke of Chandos, for whom he worked in the Chapel of Canons. Belucci's chief excellence was, however, in the painting of small figures, and he frequently embellished the landscapes of Pieter Molyn (Tempesta). He delighted in strong contrasts of hght and shade, but used them so skilfully that he never marred the beauty of his colouring. Late in life Belucci suffered much from gout ; and when he had passed his seventieth year, pining ' for home, he returned to Lombardy, and there died dn 1726. BERCHEM. 9 No. 365. ST. SEBASTIAN AND lEENE. The half-length figure of the dead saint reclines on the shoulder of a woman, dressed in white; her right hand supports the body under the right arm. She holds a wooden cross and silver cup in the left hand. A piece of red drapery falls across the middle of the figure and under the arm, and upon a casque and piece of armour, which, with an arrow that is piercing the body, occupy the left lower corner of the picture. Irene holds the saint's left hand in her own, and delicately draws an arrow from his side with her right. She wears a golden cope lined with green. Golden-coloured clouds form the background. This picture was presented to the gallery by the Eev. T. B. Murray, of Lincoln's Inn Fields, in April, 1852. See notice of St. Sebastian under the heading of Guido, No. 339. On Canvas. 4 ft. 8 iu. high ; 4 ft. 4 in. -wide. BERCHEM. BokN, 1624. Died, 1683, iICOLAS KLAASZE, better known by his nickname ' of BERCHEM, was born in Haarlem, 1624. His I father, Pieter Klaasze, was his first instructor ; his ' several subsequent masters were Van Goyen, Weenix, Jan Wils, Mojaert, Gubber, and others of less note. Berchem's chief excellence was in landscapes both large and small, embel- lished with figures and cattle ; but he painted portraits, battles, and genre, excelling in all ; and he likewise executed some very fine etchings. Eleven of this master's works are in the Louvre, and there are six in this gallery. The National Gallery possesses but two, one a very good specimen of his style. Berchem married the daughter of one of his masters, Jan Wils, a careful woman, who, it is said, on account of her husband's extravagance in the continual purchase of Italian drawings, allowed him but little money out of the proceeds of his labour ; so that in the zenith of his fame, 1665, he hired himself out to work ten hours a day for as many florins. Nicolas Berchem died February 18, 1683, at Amsterdam, and w^as interred in the Westerkirk. His pictures were sold after his death for 12,000 florins, and his sketches for 800. His greatest imitator was Soolemaker, whose works are often taken for those of Berchem. The portrait of Berchem at the age of twenty, and that of his wife, painted BERCHEM. by Rembrandt, date 1644, are in the gallery of the Duke of Westminster at Grosvenor House. No. 17. LANDSCAPE WITH FIGUEES. The foreground is occupied hy the bank of a small stream, up which a woman on a donkey IS riding at walking pace. A man on her left/ Goats precede, and cows follow her. Below this point a man is seen fording the stream with his sheep. A cow and sheep which have not yet crossed are looked after by a man_ on the distant bank, down which is a road corresponding to the fordmg-place on this side. The bank of the other side is clothed with oaks and alders. On the right the stream expands into a pool, on the farther side of which the rocky and earthy bank, covered with trees, closes the view. Stormy clouds overhead show the gathering up of a wet day settling into a fine evening. Signed. Engraved by E. Cockburn. On Panel. 1 ft. 5 in. liigli ; 1 ft. 91 in. wide. No. 132. A FAREIEE SHOEING AN ASS. The foreground is occupied by a group of three sheep. A smith kneels and shoes the hmd loot of a donkey, which turns his head back with objecting looks and ears towards the operator. A white-faced red cow feeds out of the donkey's panniers while he is thus helpless. A herdsman behind points this out to a woman on a donkey. She is dressed in a blue skirt and amber-coloured bodice ; by her looks and gestures she tells the beast to move away from the stolen meal. Behind her is a herds- man with a goad. A huge Eoman vault in ruins, covered with plants and hanging boughs, occupies two-thirds of the background of the picture. Withm the shadow of this mass, on the left, two men are visible, one leads a white horse, one is lying asleep. On the right a rocky path is seen winding about ; on it is a woman on a donkey, with a child in her arms ; a man by her side on foot and a dog ; they are followed by a shepherd, on foot. Sheep wander about the path and by the side of a stream running in a rocky bed A country house on the right, in warm light on the side of a blue hill completes and fills the distance. Cool morning light with a stormy sky. Signed. ^ On Canvas. 2 ft. 1^ in. high ; 2 ft. 7^ in. wide. No. 160. A WOOD SCENE. On the skirts of a beech wood is seen a foreground of a fallen tree and a boulder ; beyond is a path overflowed with rain-water. A red cow with a white face, driven bv a woman m a red skirt, black bodice, white head-dress and sleeves comes towards the left edge of the picture down a pathway • the woman is attended by a man, who talks and gesticulates as he walks by her side, stepping out to keep pace with her. Farther to the rie:ht a man and a dog drive three cows, which turn in towards the centre of the picture. Three large trunks of ash-trees take the eye across BERCHEM. the canvas towards the right, where two horsenieu canter, splashing through the water. The way tnnis from this side of the picture towards the left, where it disappears behind the rough ground and boulders, which form a bank on which smaller oak trees grow. A cow walks alone up this pathway. A warm, cloudy sky. Signed. Lent to the Koyal Academy in 1854. Ou Canvas. 3 ft. 10 in. high ; 2 ft. 10 \ in. wide. No. 198. LANDSCAPE WITH FIGUEES. (Ascribed to this painter.) In the foreground, close to the frame, is a pool, in which a kneeling woman washes linen. She speaks to another woman, who stands in the middle line of the picture holding a basket of washed clothes under her left arm ; her brown petticoat is partly covered by a tucked-up black dress; a red waistbelt confines another coloured upper garment with short sleeves. The kneeling figure has a red skirt, with her dress tucked up at her back. Behind her, on the left, are a goat, and a red cow with a white face turned towards the edge of the picture. A brown cow rests her nose across the back of the red cow ; behind them a herdsman in a slouch hat. A ruin, with large blocks of stone and rank growths, behind a part of which a donkey's head and a man's face are partly seen, fills up the right of the picture. On the left a valley. A worn rock or hill with a grey top, comes against a cloudy sky; a strip of warm light passes behind the hill top. Signed. On Panel. 1 ft. 1^ in. high ; 1 ft. 5 in. wide. No. 200. LANDSCAPE WITH CATTLE AND FIGUEES. A beautifully coloured view from Northern Italy or South Tyrol. In the foreground is a woman, dressed in a blue skirt, amber-coloured bodice with white sleeves, showing the elbow, who rides on a donkey, which also carries a sack of corn ; on the woman's right a dog trots beside the animal. On her left hand is a herdsman in leather jacket and slouch hat ; he has a wallet slung around him, and walks by the woman's side, and points with his left hand across her donkey to a woman who is fording a stream on the extreme left of the picture. The latter holds up her red skirt with her right hand, using a stick with her left, her arms are bare to the elbow ; a baby is in a bundle at her back. A white cloth serves as headdress. Slie drives before her a goat, a red cow with a white face looking out of the picture ; behind is a second cow, quite white. They pass close behind the donkey of the advancing figure first described. Farther to the right of this central group is another cow, stopped by a herdsman in a blue cloak, who contemplates the group in front of him while resting on his goad. The landscape is a bank, extending from the left edge of the picture, and half-way up that edge, to the middle distance, where it softens off into the plain. It carries three clumps of trees ; one, the nearest, is a mere bush. The middle distance has a cottage half-plastered below and of stone above, with small out-buildings in front. In the extreme distance is a " scar " of moorland of softened form. A clear western light illumines the whole with a summer evening's softness. Clouds are on the hill ; the western sky is clear. Signed. 12 BERRETTINL Engraved by Dequevauviller and by E. Cockbiirn. This picture was No. 18 in Smith's Catalogue, called "Le Soir " a companion to the one below, ' On Panel. 1 ft. \\ in. high ; 1 ft. 5f in. wide. A ^nT?1?^AT^'^^aP^.^^'^?^• ^^^^^ CATTLE AND FIGUEES AT A F OUNTAIN. The principal object in the picture is the so-called tountam— a curious structure surmounted by a broken architrave in the gap of which IS a bust, on a shield-shaped pedestal. Two pilasters one on each side of a niche, complete the elevation of this unique piece o± architecture.^ A large stone basin at its base gives occasion for the assembly of animals and figures. The immediate foreground to the right IS occupied by a rock, beyond which is a kid facing the spectator. T o the left of this, and exactly in the middle of the foreground, is a goat which is being milked by a milkmaid in a blue skirt, yellow bodice white sleeves to the elbow, and a white handkerchief about her head and shoulders. She turns her head to the left in conversation with another milkmaid, who, having set down her pail and its yoke, stands and talks with moderate gesticulation to the first girl - her red skirt IS covered with a white apron ; she has a slaty-grey bodice with long sleeves. A red cow close behind her has drunk at the basm and now quietly ruminates. A dog on this side and a sheep beyond the cow, fill this portion of the foreground ; still beyond these to the lett, are two cows lying down, and one standing sheep. A woman kneels on the edge of the tank engaged in washing some- thing, as It seems, and a white cow half turns towards the spectator while her body is towards the tank. Behind this animal a woman is seen m red bodice, with white sleeves, handkerchief and cap riding on a donkey ; a man m slouched hat walks by her side. The landscape behind the fountain consists, in the first 'place, of a bank of bushes ; beyond this are furze-covered hills, which dip awav to the horizon by a broken line of bank and bushes. On the left the rugged ground leads to a similar bank in the blue distance. A clear western light glows from a sky partly covered with warm summer clouds. Signed. Engraved by Dequevauviller and by E. Cockburn. _ This picture is No. 17 in Smith's Collection, called "Le Midi"- sold m Pans m 1768 for £160, worth 400 guineas. On Panel. 1 ft. 1\ in. high ; 1 ft. 6^ in. wide. BERRETTINL lETRO BERRETTINI DE CORTONA, a painter, writer, and architect, was born November i, 1596 at Cortona, in Tuscany. His masters were Andrea Commodi and Bacclo Carpi, or Ciarpi, whom he excelled in every branch of his art, and subsequently acquired BERRETTINL 13 a brilliant reputation. His florid compositions gained for him a host of imitators, both in Rome and Florence, and as the great leader of the school of the machinists he became the popular rival of Andrea Sacchi. This style of painting, especially in frescoes, obtained extraordinary celebrity during the times of Popes Urban VIII. and Innocent X., and Wornum observes that, " Cortona was one of the most active agents of the decay of painting in Italy in the 17th century." His colouring was " bright and beautiful," with great variety, but his imitators were far behind him, and frequently produced effects far from pleasant by exaggeration of his mannerism ; an example of this exagge- ration is at Hampton Court, the "Triumph of Bacchus," by Giro Ferri. Cortona's chief frescoes are the ceiling of the Palazzo Barberini at Rome, and those in the Pitti Palace in Florence. In the Louvre are seven of his works, chiefly subjects from sacred history. Cortona died in Rome, May 16, 1669. No. 161. VESPASIAN REWARDING HIS SOLDIERS. The emperor sits on a raised seat on the right ; he leans forward and gives a golden-leaved crown, or wreath, to the soldiers as they come up to him. An officer, crowned, stands near the men, his hack to the spectator ; men are crowding up from the distance, with standards and a banner. A round temple is on the left. A woman in ample blue and red drapery, and beside her a man, sit amid a quantity of spoil, such as a hattering-ram, helmets, armour, vases, &c. A blue, curdled, thundery-looking sky. This picture has been attributed to the hand of Sebastian Ricci. On Canvas. 2 ft. Hi in. high ; 2 ft. wide. No. 164. SAINT LAWRENCE. A Imeeling figure, richly clad, with a palm-branch in his right hand ; his left holds his gridiron. He kneels towards the left, but the head is turned upwards and away, towards the right. On Canvas. 1 ft. 2| in. high ; llf in. wide. No. 318. ST. MARTHA TRIUMPHING OVER THE IDOLS. The saint kneels on the steps outside a heathen temple ; the columns of the portico are seen behind ; her body is turned towards the spectator, her face uplifted to heaven, her hands crossed, and both cover her heart, in the conventional attitude understood to mean devotion or resignation. Her hair, around which is a slight golden nimbus, blows about over her golden-coloured dress ; this covers a white skirt and sleeves, a blue cloak, all blown about in the gust of wind which accompanies the supernatural power that has overthrown the idols. These are but partly seen, as a smoke or cloud, edged with 14 BOTH. liglit, Lulcs all detail : nevertheless, a tripod is visible, oft' its luilaiice with its spioke and fire driven earthward ; a priest is seen raising himself from the ruins. To the right two other figures, one certainly a priest with a bay-wreath on his head, stagger away with wild looks turned back on the scene of destruction. In the distance, across a field, are a pediment of a temple shaded by a tree, and an obelisk a lake, and a hillside, with blue sky above. ' At the top of the canvas, five angelic heads are dimly seen, peerino- through the golden clouds and looking down on the saint, who with upturned glance welcomes the assurances of support and comfort which are thus brought to her. This picture was No. 17 in Desenfans' Catalogue. On Canvas. 3 ft. 9 in. high ; 2 ft. 9f in. wide. BOTH. Born, 1610-11. Died, 1656. JAN AND ANDRIES BOTH, born in Utrecht, were the sons of a painter on glass, who, not esteeming himself of sufficient capacity to afford them the necessary instruction, placed them when very young in the studio of Abraham Bloemart. From their master they went to France, thence to Italy, making a sojourn of some years in Rome. They lived together and worked together, Jan painting landscapes, and Andries embellishing them with figures, until the year 1650, when Andries was accidentally drowned in a canal in Venice. This misfortune caused his brother Jan so much grief, that he immediately returned to his native town Utrecht, and there died six years after Andries, in 1656. These masters acquired eminent rank among the painters of Holland. A fine example of their work is in the National Gallery. Polemberg sometimes added the figures to the landscapes of Jan Both, whose morning scenes are reckoned the best, for their close imitarion of the beauty of nature. Jan and Andries were both engravers ; their works are not numerous. Abraham Willaerts painted the portrait, which has been engraved. No. 30. A LANDSCAPE WITH FIGURES. A wooded bank passes from right to left into the picture, brightened by a gleam of BOTH. light ; a figure is washing his feet in a pool which, with rocks, forms the foreground of the picture. Another figure stands near, with a wretched dog. Three cows find their own way home by the right edge of the pool, past the steepest part of the bank. Farther is a man baiting three pack-mules from a box of hay on four legs. The road passes on into the picture towards the left ; it is bordered with bushes. A slope in a park half conceals a house behind trees, which serve to fill up a second bank. Blue fair-weather distance and summer sky. Signed. Engraved by E. Cockburn. This picture may be No. 113 of Smith's Catalogue. On Canvas. 1 ft. 9 in. high ; 2 f t. 1 in. wide. No. 36. LANDSCAPE WITH CATTLE AND FIGURES. On the right a mountain stream flows directly out of the picture ; rocks and boulders occupy the foreground. A sandy mound is crowned by a huge Tor, a principal feature in the picture. Behind this, a long gently-falling line of hills dies away to the left, with cold, grey, long evening shadows down the slopes. Copse-wood and a large timber tree occupy the. space to the right edge of the picture. The Tor before mentioned occupies the middle of the picture, and is seen between a group of trees to the right and another on the left bank of the stream, formed by two large and two small oaks, with some other trees. A road on the left leads into the plains beyond at the foot of the hills. At the edge of the road are two beggars resting ; a man on a donkey passes a man on foot, who drives a cow towards the front. Beyond, a traveller speaks with a packman who rides on a donkey, and is followed by another laden, and driven by a man. A low bank closes in the extreme left of the picture. A middle group is formed by two men, who lead and drive a white horse over the boulders and across the stream beyond the oaks. Clear sky, with clouds over the hills. Signed. On Canvas. 2 ft. 4 in. high ; 3 ft. 7 in. wide. No. 41. A PIECE OF EOUGH GROUND NEAR A LAKE. A stream finds its course through stony puddles, and drops away through the foreground of brambles. A bank runs parallel to the picture's edge, on which are two clumps of trees. Two other trees fill the comer to the right. Behind is seen a hill, and a series of hills, all passing away into the summer distance. The lake is to the left. ' A man, partly hidden by a rock in front, drives a laden donkey and a cow ; behind him a man drives two cows. Farther back still, two men converse at the foot of the bank ; another, with a bundle over his shoulder, prepares to descend the bank. The sun is on the right ; bright summer, with filmy clouds flying about. On Canvas. 1 ft. %\ in. high ; 2 ft. 1\ in. wide. No. 199. LANDSCAPE AND FIGURES. A road leads from the foreground into the picture and down hill; a waggon drawn by two oxen, the more visible one white, is passing down it. The i6 BOURGEOIS, R.A. immediate foreground is occupied with a donkey lyina; on the ground and a red mastiff sniffing at his nose. Behind them a man in red sleeves sheepskin coat, and black hat, drives a grey horse towards the road m the middle of the picture. The bank on the left is covered with copse-wood and small timber trees. The middle distance is a warm ochre-coloured heathery hill, with a small castle tower on its top. In the middle of the canvas is a distant blue mountain. A summer sky with evening light, with filmy clouds behind the trees on the bank. Over all is a delicate effect of hot weather. , Engraved by E. Cockburn. This picture is No. 114 in Smith's Catalogue. On Canvas. 1 ft. 1\ in. high ; ] ft. 3| in, wide. No 205 A LANDSCAPE. A road passes into the picture by the edge of a lake, the water of which is hidden by a cluntp of dark bushes at the left edge; at the head of the water there is a stretch of meadow with hedges about it. A grey hill fills the distance. In the ioreground a man waters a pack-horse from a pail. A man rides sideways on another horse into the picture. Behind is a shed and a horizontal paling under a young ash tree. In the middle distance a man drives three cows home. A clear summer sky, with a SThe pfcto ^®^^*'^"^ly-P^i^*e