books N 1250 1882 GETTY MUSEUM CATALOGUE, DESCRIPTIVE AND HISTORICAL, OF THE WORKS OF ART IN THE NATIONAL GALLERY OF IRELAND, WITH SHORT BIOGRAPHICAL, DESCRIPTIVE AND CRITICAL NOTES. COMPILED BY THE LATE GEORGE F. MULVANY, R.H.A., (FIRST DIRECTOR OF THE GALLERY). CONTINUED AND REVISED BY HENRY E. DOYLE, O.B., R.H.A., DIRECTOR. $8 g-ntljoritg. DUBLIN: 0 0 O PRINTED BY ALEX. THOM & CO., 87, 88, & 89, ABBEY-ST., THE QUEEN’S PRINTING OFFICE. FOR HER MAJESTY’S STATIONERY OFFICE. 188-2, J. PAUL GETTY MUSEUM LIBRARY NATIONAL GALLERY OF IRELAND. Sicrarb of (gofenrors attir ©trarbiatts. The President of the Royal Dublin Society (The Duke of Leinster). The Senior Vice-President of the Royal Dublin Society (Lord Talbot de Malahide). The President of the Royal Hibernian Academy (Sir Thomas A. Jones). The President of the Royal Irish Academy (Sir Samuel Ferguson, Q.C.) The Chairman of the Board of Public Works (Colonel John G. M‘Kerlie, R.E., C.B.) The Viscount Powerscourt, K.P. Sir George F. J. Hodson, Bart., D.L. John Calvert Stronge, Esq., J.P. Bartholomew C. Watkins, Esq., R.H.A. Thomas Farrell, Esq., R.H.A. The Earl of Meath. The Earl of Portarlington, K. P. Sir John Crampton, Bart. Sir Bernard Burke, C.B., LL.D., Ulster. Sir Richard Wallace, Bart, M.P. The Viscount Gough. The Lord Ardilaun. treasurer : Lord Talbot de Malahide. Director : Henry E. Doyle, Esq., C.B., R.H.A. Eegt'gtrar : Philip W. Kennedy, Esq. CONTENTS Prefatory Notice. Donation Fund with List of Donors and Subscribers. Introduction to the Catalogue of Paintings. Rules and Regulations for Students. General Index Catalogue according to numerical rotation. Catalogue, Historical, Biographical, and Descriptive. Catalogue of National, Historical, and Portrait Gallery. Catalogue of Pictures of Modern Schools. Water Colour Drawings. Catalogue of National Portraits (Drawings, Engravings, Photo- graphs, &c.). Catalogue of Autotypes. Catalogue of Cliromo Lithographs. Introduction to Catalogue of Sculpture. Catalogue of Sculpture. PREFATORY NOTICE. The interest excited by the collection of Paintings brought together at the great Exhibition in Dublin, in 1853, suggested the feasibility of establishing a National Gallery, which had been long desired by all lovers of Art, and deemed essential to the advancement of Art in Ireland. At the close of that Exhibition a number of noblemen and gentlemen united to form an association designated “ The Irish Institution,” for the purpose of holding annual Exhibitions of contributed works, with the ultimate view of establishing a permanent Gallery. It held its first Exhibition at the Royal Hibernian Academy, in 1854, and continued its annual Exhibitions for several years. The Committee of the Dargan Testimonial Fund, in the year 1854, determined to vote a sum of £5,000 out of the funds contributed to commemorate the public services of William Dargan, Esq., as the Founder of the Exhibition of 1853, towards the erection of a Public Gallery of Art ; and aided by Act of Parliament, with the concurrence of the Royal Dublin Society, a site having been obtained on Leinster Lawn for the National Gallery of Ireland, the necessary addi- tional funds were contributed, from time to time, by Parlia- mentary Grants, to the amount of £21,500. By Acts 17 and 18 Vic., cap. 99 (1854), and 18 and 19 Vic., cap. 44 (1855), a Board of Governors and Guardians was incorporated. It consists of seventeen members, of whom, five are ex officio — namely, the President (the Lord Lieutenant for the time being) and the senior Vice-President of the Royal Dublin Society, the President of the Royal Hibernian Acad- emy, the President of the Royal Irish Academy, and the 6 PREFATORY NOTICE. Chairman of the Board of Works. Of the remaining twelve, two are to be Artists resident in Ireland, delegated by the Royal Hibernian Academy ; three are appointed by Govern- ment; and seven are to be elected, from time to time, as vacancies occur, by a constituency of all Annual Subscribers of One Guinea or upwards, all Donors of £10 or upwards as Life Members, and all Donors of Works of Art accepted by the Board and by them valued at £20 or upwards. These twelve Governors hold office for five years only; but are eligible for re-election. The collection of Paintings now brought together consists of works purchased by means of private subscriptions, aided by an annual Parliamentary Grant, of works presented or bequeathed, and others deposited by the Trustees of the National Gallery of England. The Casts after the Antique and other works of Sculpture have been obtained, by a Treasury Order foi a portion, from the British Museum, aided by the funds of the Ancient Art Society, and by private donations and subscriptions. The National Gallery of Ireland is open to the Public, subject to the regulations of the Board, on Mondays, Tues- days, Wednesdays, and Thursdays from noon to dusk (or 6 o’clock, p.m.), and on Sundays from 2 f.m. to 5 p.m., or dusk ; admission free. Reserved for Artists and Students on Fridays and Saturdays from 10 a.m. to 4 p.m. ; admission to the Public Six Pence. Subscribers and Donors to the Gallery, entitled to vote at Elections for Members of the Board, are admitted on reserved days, free. On such evenings, during periods as are fixed by the Board, and notified by advertisement, the Gallery, lighted by Gas, will be open from 8 to 10 o’clock. Admission, free. DONATIONS FOR THE PURCHASE OF WORKS OF ART FOR THE NATIONAL GALLERY OF IRELAND. It is important to state that the Lords Commissioners of Her Majesty’s Treasury have expressed their readiness to sanction grants of public money for the purchase of Works of Art equiva- lent to private donations, and to permit the money value of any Work of Art presented, as appraised by the Governors, to count as a pecuniary donation. (The names of Donors of Works of Art are in all cases affixed to the works themselves). Donations received to the 31st January, 1864, when the Gal- lery was opened to the public. DONATION FUND. £ s. # £ s. Her Majesty the Queen, 100 0 The Viscount Massereene and H.R.H. The Prince Consort (the Ferrard (the late), . 10 0 late), 50 0 The Viscount Palmerston, M.P. H.R.H. The Prince of Wales, . 50 0 (the late), by eight annual pay The Earl of Carlisle (the late), ments,£8 8s. (and £21 donation), 29 8 when Lord Lieutenant, . 100 0 The Viscount Powerscourt, 10 0 The Earl of Eglinton (the late), The Viscount Southwell (the late), 5 0 when Lord Lieutenant of Ire- The Bishop of Derry, &c.(the late), 10 0 land, 100 0 The Bishop of Limerick, &c. (the The Lord Primate of Ireland, . 10 0 late), 10 C The Lord Primate of Ireland (the The Lord Annaly, 5 0 late), 100 0 The Lord Carbery, 15 0 The Right Hon. Francis Black- The Lord Castlemaine (the late), 5 0 burne, Lord Chancellor, when The Lord Clarina, 5 0 Lord Justice of Appeal (the The Lord Clermont, . 10 0 late), 10 0 The Lord Cloncurry (the late), . 10 0 The Right Hon. Sir Maziere The Lord De Freyne (the late), . 10 0 Brady, Bart., when Lord Chan- The Lord Digby, 10 0 cellor of Ireland, . 1,250 0 The Lord Herbert oi Lea (the late), 10 0 The Duke of Devonshire (the late) , 60 0 The Lord Inchiquin, . 10 0 The Duke of Leinster, 50 0 The Lord Rossmore 'the late), . 5 0 The Marquis of Kildare, 10 0 The Lord Talbot de Malahide, . 10 10 The Marquis of Lansdowne (the The Right Hon. Baron Greene late), 10 0 (the late), 10 0 The Marquis of Londonderry, by The Right Hon. W. F. F. Tighe , . 10 0 nine annual payments, . 90 0 Sir Chas. H. Coote, Bart., D.L. by The Marquis of Waterford (the annual payments (the late), . 50 0 late), 20 0 Sir Compton Domvile, Bart, (the The Earl Annesley, . 10 0 late), 10 0 The Earl of Bective, . 5 0 Sir Richard J. Griffith, Bart., LL.D. 25 0 The Earl of Belmore, . 5 0 Sir George F. J. Hodson, Bart., The Earl of Charlemont (the late), 20 0 D.L., 5 5 The Earl Dudley, 5 0 Sir Bernard Burke, 5 0 The Earl of Egmont, . 10 0 Stewart Blacker, Esq., J.P. . 10 10 The Earl of Enniskillen, . 5 0 WilliamBrocas,Esq.,R.H.A. (the The Earl Fitzwilliam (the late), . 10 0 late), 10 0 The Earl of Lanesborough (the late), 10 0 William Brooke, Esq., M.C. 5 0 The Earl of Meath, 10 0 Colonel Maxwell Close, D.L. (the The Earl of Ranfurly (the late), 5 0 late), 5 0 The Earl of Roden, . 10 0 Anthony Cliffe, Esq., D.L. . 3 0 The Earl of Wicklow (the late), . 10 0 Edward J. Cooper, Esq., F.R.S. The Viscount Bangor, 5 0 (the late),. .... 10 0 8 DONATION FUND. £ S. £ 3. M. Corr Vander Maeren (Brussels), 5 0 John C. Lyons, Esq. . 5 0 Gallery of Ancient Art, 248 6 William Malone, Esq. . 1 1 Ven. Archdeacon of Glandelough Edward Nolan, Esq. . 5 0 (the late), 3 3 William Smith O’Brien, Esq. (the Sir Benjamin L. Guinness, Bart., late), first donation, . 2 0 LL.D. (the late), 100 0 Jonathan Pirn, Esq., M.P., 10 0 John Hamilton, Esq., M.D. 3 0 William Harvey Pim, Esq., 10 0 Henry Kemmis, Esq., Q.C. (the John G. V. Porter, Esq., D.L., . 10 0 late), ... 10 0 John Radcliff, Esq. (the late), . 5 0 Major-General Sir T. A. Larcom, Royal Irish Art-Union, 240 0 Bart., K.C.B 10 10 Lieut. -Colonel W. B. R. Smith, . 2 0 N. P. Leader, Esq., J.P., M.P., Edward Tighe, Esq. (the late), . 10 0 Dromagh Castle, 25 0 George Woods, Esq., J.P., . 10 10 James W. J. Lendrick, Esq., Q.C. 3 0 RECEIVED SINCE : Wm. Dargan, Esq. (the late), 2,000 0 Mrs. Grattan (the late) 5 0 Wm. Justin O’Driscoll, Esq. 10 0 Henry Bussell, Esq., . 1 1 T. Maxwell Hutton, Esq., 2 2 Gallery of Ancient Art(balance), . 29 0 Mrs. T. M. Hutton, 1 1 Right Hon. Sir J. Napier, Bart., 5 0 John Stevenson, Esq., 1 1 Right Hon. Sir Maziere Brady, Alex. Thom, Esq., 10 0 Bart., second donation, . 700 0 Duke of Leinster, 1 1 The Marquis of Londonderry, by Wm. Smith O’Brien (the late), three annual payments, . 30 0 second donation, 2 0 John Ribton Garstin, F.S.A., 10 0 Sir Robert L. Blosse, Bart. . 5 0 Dr. Barry, 100 0 E. II. Scriven, Esq., M.D., . 1 1 Donations may be lodged in the Bank of Ireland, or any of its local branches, to the credit of the Treasurer, (Lord Talbot de Malahide) ; or remitted to HENRY E. DOYLE, Director. National Gallery of Ireland, MaamoN-syuAuis, West, Dublin. INTRODUCTION. ANCIENT MASTERS. The important facts of the History of Painting may be con- densed within a short space. .From the earliest date, some knowledge and practice of design and use of colours can be traced. The drawing, indeed, at first, like that of children, was conven- tional or representative rather than imitative ; the colour uniform, sometimes flat or opaque ; but totally devoid of any treatment in light or shade. Such are the paintmgs in the ruins of Nineveh, Egypt, Etruria ; more or less advanced, but still merely symbolical or representative. The nice appreciation of form — the distinctions between generic characteristics and accidental details — beauty — expression — chiaro-scuro, and perspective — are the results of highly advanced civilization ; and centuries elapse in the process of development. In Greece, sculpture had been brought to great perfection, while painting was in a minor or ornamental phase. The brother of the great sculptor, Phidias, was, according to some authorities, merely a decorative artist ; others assert that he aided Phidias with historical paintings in the decoration of his temples. Pau- sanius describes Polignotus as decorating the walls of temples and other buildings in a style grand but dry ; hard and careful. Pliny describes Parrhasius, of Ephesus, as the first painter who gave symmetry to his figures, about four hundred years before Christ. Zeuxis was distinguished by daring truth of character and idea- lization. About seventy years after him, Apelles is said to have brought colouring to perfection, and to have astonished men by the expression of human emotions, and a grace and loveliness, as in the Venus Anadyomene, which inspired the verse of Ana- creon. No vestiges of these works remain, so that we must take their excellence on the authority of contemporary or subsequent writers. It is only fair to assume that a nation which arrived at great perfection in sculpture and architecture could not have failed to cultivate painting with success. It is important to remark how the development of the imitative arts was simultaneous with that of science and literature. In fact, the plastic arts gave visible form to the successive degrees of know- ledge which the philosophers attained in the study of man and nature. Socrates and Phidias, Sophocles and Polignotus were contemporaries. 10 INTRODUCTION. From the Grecian epoch of art, in which painting rose to its highest point of excellence under Apelles, about 368 years before Christ, no artist of note appeared — at least no marked develop- ment is recorded — until the thirteenth century of the Christian era. Painting was, nevertheless, continuously practised. When the Romans conquered Greece, they not only despoiled the temples and forums of their art decorations, but they brought Greek artists into Italy, whose skill was made to subserve the luxury rather than the taste of their conquerors. When Constanti- nople became the seat of empire, these Grecian artists followed in the train of their conquerors ; and thus the school of art known as the Byzantine grew up. In this school, something of the early Christian art of Rome, Asiatic symbolism, and the technical tradi- tions of Greek art, were combined ; conventionalism prevailed over truth of imitation or iconic force. During the tenth and eleventh centuries the Byzantine practice prevailed through Italy and Northern Europe, and its influence obtained to an advanced period in the Italian and German schools. In Tuscany, in the thirteenth century, under Cimabue and his pupil, Giotto, art received a new impulse, a more spiritual direc- tion. Nearly three centuries elapsed from their time to the culmi- nation of art under Leonardo da Vinci, Michel Angelo, and Raphael, about 1500-30. The earliest modes of painting were in tempera and fresco. In the former the colours were mixed with gluten or size, as in modern “body colours,” and the pictures were ultimately var= nished. In fresco the colours are mixed with water and laid upon fresh plaster. This method requires great mastery and certainty of execution, besides the careful preliminary preparation of tinted drawings the full size of the work, termed cartoons. To John Van Eyck, of Bruges, is attributed the discovery of oil painting in 1 410. Previous to the time of the Van Eycks, oil painting had been in common use for walls, wood-work, and statuary, exposed to the open air ; but pictures even on panels were painted in tempera and subsequently varnished. It is said that the oil varnish in use required exposure to the sun’s heat to expedite its drying, and thus that Van Eyck had a fine picture destroyed by the splitting of the panel. This was just as likely to occur in first painting with oil; and most probably the Van Eycks’ efforts were directed to the discovery of a good drying oil, or they incorporated an im- proved varnish with the linseed oil in ordinary use.* The monk, Theophilus, has described the oils and varnishes in use in house- painting and such ordinary use so early as the eleventh century Whatever be the claims of the Brothers Van Eyck to the first use of oil in easel or other pictures, it is quite certain that they intro- duced the best, most brilliant, and permanent manner of painting in oil, and that from their invention arose its general use. * See Merimee on the art of painting in oil and fresco. INTRODUCTION. n SCHOOLS OF PAINTING. The distinction of schools is somewhat arbitrary, even when in the broadest sense they include the painters of an entire country ; the description of their characteristics is even more so, especially when the minor schools of particular cities or districts, or the fol- lowers of any particular master are concerned. It is only intended to point out here the leading schools of Europe, the principal artists of these, and the salient distinctions of aim and development. Every spectator will be more or less influenced in his estimate of various works by the peculiar bent of his own mind, and be pleased in proportion as his sympathies are enlisted in the sub- ject, or his particular taste is satisfied by the performance. It is ever to be borne in mind as to the earlier masters, that they can be only justly appreciated having reference to the period at which they painted, the comparative excellence or inferiority of their predecessors, and the intention of their works in harmony with the spirit and the requirement of their age. The Italian schools are usually divided into four, viz. : — the Florentine, Roman, Venetian, and Lombard ; all the minor schools, such as those of Umbria, Parma, Ferrara, Cremona, Sienna, Milan, may be regarded as subdivisions of the four prin- cipal ; the Neapolitan showed an admixture, in a great degree, of Italian and Spanish influences. The Florentine or Tuscan School dates from an early period of the thirteenth century, commencing with Cimabue, assuming still more remarkable development with Giotto . Among the most distinguished artists of this school during the fourteenth and fifteenth centuries were Taddeo Gaddi, Fra Angelico, Paolo Uccello, Masaccio, Fra Filippo Lippi, Pesellino, Benozzo Gozzoli, Ghirlandajo, Roselli, Sandro Boticelli, and Lorenzo Credi. It reached its highest point of excellence in the sixteenth century under Leonardo Da Vinci and Michel Angelo. It may be observed of those Florentine artists, from Cimabue and Giotto to Da Vinci and Michel Angelo, that they were characterized by greatness of aim or motive; by severity of design, and intensity of expression. By the eaidiest artists individual form was closely imitated ; while Michel Angelo aimed at sublimity through abstract or ideal form and generic character, which sometimes seems overcharged and extravagant. In his works we look for grandeur, dignity, and power, rather than for grace or beauty. Out of Italy he is chiefly known through the copyist or engraver ; as he is said to have despised oil painting as “ an art only fit for women.” His designs have, however, been handed down in oil by Pontormo, Bronzino, Marcello Venusti, and others ; he evidently aided Sebastian del Piombo in his great work, the raising of Lazarus. He does not seem to have founded in any extended sense, a school. On the other hand, Da Vinci, who studied nature with a philosophic appreciation, gave expression to the emotions and passions, and cultivated a refined truth and richness of imitation, had a more 12 INTRODUCTION. extended influence on his cotemporaries and followers. His Last Supper, painted for the refectory of the convent St. Maria-delle Grazie, at Milan, was his greatest work. Of his immediate school, Cesare da Sesto, by whom a work of great perfection is in this collection, was esteemed the best ; Luini sedulously copied his manner, as did also Beltraffio, Melzi, and others. The Roman School would seem more properly a branch of the Florentine, for Raphael, who was its leader, had worked and studied long in Florence, and had much in common with Leonardo and Michel Angelo as to high invention and design ; though he cultivated ideal beauty more, and individual or generic character less, than either of his great contemporaries. The chief works of this great triumvirate are in fresco in Milan, in Florence, and in Rome ; easel works in oil, by Da Vinci and Raphael, are found in public and private galleries. In Raphael’s time the discovery of many remains of ancient sculpture gave a new direction to art development. From their study he improved his sense of ideal beauty ; adopted more freedom of truth and design, justness of expression, and more flowing and graceful treatment of drapery, than belonged to his early style, formed on that of his master, Perugino. Giulio Romano, Polidoro Caldara, Piero del Vaga, Andrea Sabattini, called da Salerno, and Giovani Udine, are the most distinguished of Raphael’s pupils ; of his imitators, who were numerous, the chief were Andrea del Sarto and Sassoferratto. We have seen that the course of the Tuscan or Florentine School was one of progress and ascension from the thirteenth to the six- teenth century, terminating then as a distinct school ; the Roman School first taking position in the sixteenth century, with Raphael as its head, declined thenceforth, albeit so many artists of great excellence belonged to it. The Venetian School, though dating from the thirteenth cen- tury, owes its real development to the Bellini, in the fifteenth century, more especially to Giovanni, who, it is said, first appre- hended the true scope and power of painting in oil, as it was introduced by Antonello da Messina, who is recorded to have visited the Van Eycks, and having acquired the knowledge of oil painting in their school to have imported it into Italy. Carlo Crivelli, Vivarini, Basaita, and Giambatista Cima, belong properly to that century; though exhibiting great beauty of colour and detail, partaking still of conventional stiffness. In the sixteenth century Giorgione, Titian, Pordenone, Sebastiano del Piombo, Bartolommeo Veneziano, 11 Moretti, G. B. Moroni, Paris Bordone, Ghirlandajo da Treviso, Jacopo Bassano, Tintoretto, and Paolo Veronese, formed a constellation, for vigour, power, and variety un- surpassed in any other school. If in the Florentine and Roman Schools form, expression, and ideal beauty were marvellously cul tivated, in the Venetian the full force of colour, as it aided in life- like representation, in enhancing the charm of form, in aiding, as Kugler says, “in the expression of characteristic and elevated conception,” was first fully exhibited. “ It is,” he says again, “ the INTRODUCTION. IS enjoyment of life and all its splendour which speaks in the noble production of their school.” If the Flemings invented or brought oil painting to perfection, the Venetian artists may be said to have used it to exhibit, by the aid of harmony and brilliancy of colour, the noblest conceptions of human life, of art, and nature. In portraiture they have never been surpassed. The chief faults of the school were sensuality of treatment, indifference to accurate design, anachronism in costume — faults sometimes exhibited even in the works of its great men. The Lombard School embraced at least three subdivisions — the School of Parma, with Correggio as its founder and chief, six- teenth century ; that of Cremona, commencing with Francesco and Philippo Tacconi in the fifteenth century, and more known as that of the Cam pi in the sixteenth century ; and that of Milan, commencing in the fifteenth, and distinguished as early as the sixteenth century by Ambrogio, Borgognone, Bramantino, Bel- traffio, Bernardino Lanini, and, towards its close, by Giulio Cesare Procaccini, who, with his brother, Camillo, founded a distinct school. Of all these, Antonio Allegri da Correggio stands foremost and unrivalled. With a true apprehension of life and colour, and the play of form, he aided their fullest expression by a thorough comprehension of the principles of light and shade, perspec- tive and foreshortening, so as to give the truest relief, repose, and space of any previous artist. His very excellence, however, led to extravagance and seeming affectation. Francesco Maria Bon- dani (see catalogue) was one of his few pupils; but he had many imitators, among whom Parmigiano was accounted the best. The School of Bologna should properly rank as one of the leading Italian schools, for it dates from the fifteenth century, with Francia and Lorenzo Costa ; while in the sixteenth and seventeenth, it was distinguished by the Caracci, Domenichino, Guido Beni, Guercino, and P. Francesco Mola. Lanfranco seems to have belonged equally to the Lombard and the Bologna school. The schools of which Annibale Carracci, G. Cesare Procaccini, and the Campi of Cremona, were the chief masters, have been termed Eclectic, because of their devotion to the works of other masters, selecting and seeking to unite in their own works some of their best qualities ; but not, however, ex- cluding the study of nature. Opposed to them were the Natura- listic who, as the term implies, based their study on nature - alone, or rather upon its individual types — of these, the most remarkable were Caravaggio, Bibera (called Lo Spagnoletto), and Salvator Bosa; the two latter being in fact the founders of the Neapolitan school. Works by most of the artists here referred to, will be found in this collection. The German School, of all others in Europe after the Italian, bears most the stamp of distinct generic characters. It origi- nated in the so-called Bhenan-Byzantine period. When the Roman arms expanded by conquest and colonization toward the north of Europe, across the Danube, and along the Bhme, they carried with them the arts, such as they existed amongst them. 14 INTRODUCTION. Cologne and Nuremberg were the first seats of Germanic art. In the former, towards the close of the fourteenth century, Meis- ter Wilhelm appeared, and awoke a new spirit of art from the cere-clothes of conventionality and mannerism. Kugler says of the works of the School of Cologne: “They are impressed with so pure, and, considering the general progress of art, so complete a feeling for beauty — ideal conception, and truthful imitation of nature, are blended so happily— that we look in vain in the succeeding periods of German art for so high a degree of perfection. A peculiar sweetness of expression and a child-like serenity and grace are shed over these figures.” The celebrated picture in the cathedral of Cologne, by Meister Stephan, pupil of Meister Wilhelm, sustains, in most respects, Kugler’s eulogistic criticisms. In the fifteenth and sixteenth centuries a School of Art arose in Westphalia, assuming as its type the motives and manner of the Van Eycks. Albert Durer, born in Nuremburg in 1471, died there in 1528. A style somewhat analogous to that of the School of Cologne had gradually been developed in that. city during the fifteenth century. Albert Durer brought it to its highest perfec- tion, and indelibly stamped his name and style on the Nurem- berg School. Contemporaneously, the School of Saxony, with Lucas Cranach at its head, assumed a distinct character. In the Dutch School the mechanical portion of painting was brought to the highest degree of excellence. In colouring, com- position, arrangement of light and shade, and truth of imitation, the Dutch painters have not been surpassed by any other. They eschewed ideal beauty, and copied nature just as they found it; hence, in their best works, much that is mean and commonplace may be found ; yet the truth and force of nature invests them with fascination. With Lucas Van Leyden, who died in 1 533, the early fame of Dutch art is linked; but its true development commenced with Mirevelt, Morelze, John Van Ravestyn, and Francis Hals, who all lived and practised between 1566 and 1666. These latter artists painted portrait almost exclusively — a branch of art in which Van der Heist reached great perfection in the same cen- tury. Rembrandt belongs to the same period, but stands alone by the originality of his style, the vigour of his pencil, and the magic arrangement of colour and chiaro-scuro ; while his pupils, Ferdinand Bol, Eckhout, and P. de Koning, well sustain the re- putation of his school. Teniers, Ostade, Bega, Jan Steen, Brauwer, Jan Molinacr, Gerard Dow, Metzu, and Terburg, are the exponents of a new development of painting in the seventeenth century. Genre- painting, as it is called, “comprises,” says Kugler, “the represen- tation of common life in its everyday relations, as opposed to religious and heroic subjects;” and we can easily comprehend how completely such a development was suited to the temperament and character of the Hollanders. INTRODUCTION, 15 Landscape painting, as a distinct branch of art, was first prac- tised in the close of the sixteenth or early in the seventeenth cen- tury. Its earliest phase, under Brueghel, Paul Bril, Roland Savery, and others, partook of a conventional treatment. Savery, indeed, infused a deep feeling and more poetic meaning than any one had previously done, into scenes studied faithfully after nature. Everdingen, Ruysdael, Hobbema, Both, Cuyp, Wouwer- man, Berghem, Adrian Van den Velde, and many more, culti- vated landscape with wonderful success. Some of these treated it as subsidiary to, or deriving interest from, groups of animal ; others, like Weenix, in connexion with dead game. De Heem, Van Huysum, and Mignon, painted fruit, flowers, and so-called still-life with wonderful truth and finish. The Flemish School, from the long connexion — the almost geographical unity of Holland and Flanders — is often confounded * with the Dutch ; yet the motives are as distinct as the characters of the people and their religious tendencies are different. Tavo distinct schools, and at distant intervals, arose in Belgium the first being the old Flemish, of which the brothers John and Hubert Van Eyck were the founders in the fifteenth century ; the second, called the School of Brabant, arose with Rubens, in the seventeenth century. John Van Eyck is the reputed inventor of painting in oil. But the improvements in the aim and power of art which he and Hubert, his elder brother, exhibited in their works, was of far greater importance to the progress of art. Instead of the stiff conventional figures — the gilded back grounds — the traditional legacies of Byzantine art— they gave an earnestness of life and individual character to their heads— rich mellow colouring to their figures, and introduced highly finished landscape back grounds. For luminous effect their works have never been sur- passed. The chief of these executed by the two brothers is at Ghent. Their works, as well as those of their most distinguished follower, Hans Memling, retained still something of the rigi- dity of their prototypes, and the geometrical symmetry of com- position. During the sixteenth century Flemish art may be said to have been in a state of transition. Italy had become the Mecca of art pilgrimage; and such men as Bernard Van Orley, Coxcie, Van Kalker, Mabuse, Pierre Koeck, Van Cleef, and Otto Venius, going to study in the Roman, Venetian, and Lombardic Schools, brought back the ideas and motives of their several developments, to com- bine them more or less happily with the practice of the Van Eyck School. Quentin Matsys did not visit Italy, yet in some of his works there is a spiritual treatment combined with wonderful elaboration of details. Rubens came, at the close of the sixteenth century, as the crowning point of its progressive transition, and burst forth in the seventeenth as a very phenomenon of art. Opposing the mannerism which had grown up by reason of the practice of his 16 INTRODUCTION. predecessors, in studying more the works of other artists than striving to evoke new principles, he dared a course for himself, and by the originality of his purpose, founded a second Flemish School, called, more properly, the School of Brabant. Vandyke was his most distinguished pupil. The French School was, until at least the seventeenth century, dependent upon foreign genius for its art. From Italy, on the one hand, and Flanders on the other, occasionally the best artists went to practise in France; and her nascent school partook largely oi the elements of both her neighbours. It is true, that through the means of illustrated manuscripts, native talent can be traced to a very early date. King Rene, of Anjou, was painter as well as poet, and is said to have imbibed somewhat of the style of Van Eyck, from a three years’ imprisonment at Dijon and Bracon, between 1431 and 1436. Another enlumineur, Jean Fouquet, of Tours, is mentioned as court painter of Louis XI. His works are spoken of by Dr. Waagen as well designed. It is well known that Leonardo da Vinci expired in France ; and that, previously, Giotto had painted some frescoes in Avignon, and also in other parts of France. Jean Cousin, horn in 1462, is said to have been the founder of the French School ; but though the names and works of several subsequent native artists are known, the first great one is that of Nicholas Poussin, who was horn in 1594. His style was formed entirely on the Italian type, and he seems to have venerated the antique as much as Rembrandt is said to have undervalued it. There is little doubt that his works would have been more effective had he conjoined the naturalism and luminousness of the Flemish School with Italian classicism. His nephew by marriage, Gaspar Dughet, known as Gaspar Poussin, and his contemporary, Claude Gelee de Lorraine, although both French, are more usually classed with the Italian School. Claude, although he was the pupil of Tassi, who studied under Paul Bril, a Flemish artist, evidently drew his inspirations more from Italian ideas and Italian skies than from those of France; which country has, however, the right to claim him as her son. Vouet was the jealous rival of Poussin, but time has assured the superiority of the latter artist. Le Sueur and Le Brun were both pupils of Vouet, and have enrolled their names among the notabilities of France. These artists, however, have little to dis- tinguish their school as essentially French — it was rather the reflex of the art of other countries. Between them and David numerous clever artists are found, the most distinguished being Jouvenet, Rigaud, Watteau, and Vernet. By the instrumentality of Le Brun and the celebrated Colbert, the Royal Academy of Fine Arts had been established in France in the year 1648. David, horn a century after, was the founder of a new French School, which had little reality or original force, and only exercised, for some time, an injurious influence on French art. The most distinguisiied amongst his followers wore INTRODUCTION. 17 Gerard and G^ricault. The first well known by his able picture of the “ Entrance of Henry IY. into Paris;” the second, by his “ Wreck of the Medusa.” In the Spanish School the development of art exhibited more of a national character than in that of France. The early re- cords of art in Spain are vague ; and although Palomino Velasco, in the third volume of his Treatise on Painting, has given the lives of Spanish Artists, and Cean Bermudez, a later and more reliable authority, has published a dictionary of painters, it is believed that the early history of art in Spain has not as yet been fully investigated. Cean Bermudez mentions the names of illuminators of manu- scripts so early as the tenth century ; and in the records of the painted chamber of Westminster, a payment is noted to Petrus de Hispania, in the 37th year of Henry III. (1253). From the inti- mate relations which subsisted between Spain and the Low Countries, it is but natural to infer that the art and artists of Flanders found encouragement and employment from the kings and grandees of Spain. Boger Van der Weyden, commonly called Roger of Bruges, a distinguished scholar of Van Eyck, is supposed to have practised in Spain in the fifteenth century, being known as Maestro Rogel; and John Van Eyck himself was sent into Portugal, by Philip the Good of Burgundy, to paint Isabel, daughter of John I. of Portugal, whose hand Philip sought in marriage. At the same time the German taste and practice was widely diffused in Spain, and native painters are named, such as Gallegos, whose works are said to have approached those of Albert Durer. In the sixteenth century the influence of Italian art permeated through the schools of Spain. Italian artists were received and practised there ; whilst Spanish painters frequented the schools of Italy, returning with refined taste, but still exhibiting the naturalist character of Spanish art in their works. The most distinguished of the foreign visitors was Titian,* who was invited and honourably received by Charles V. The native artist who was most celebrated in this period was Luis Morales, called the Divine. The true development of the national genius for art was in the seventeenth century, and the names of Alonzo Cano, Zurbaran, Velazquez, Murillo, rank in the history of European as well as Spanish art, amongst the most notable ; until lately their works have been little known out of Spain, and even still their full merits can only be tested by the works in that country. Murillo and Velazquez are, indeed, everywhere well known ; although it is more than suspected that a multitude of the works attributed to the former master are by his pupils Villavicencio, Meneses, and others. The great works of Cano and Zurbaran are characterized * This is contradicted by the Editor of the Louvre Catalogue, who says that, from correspondence between Titian and Aretin, the fact of his not being in Spain, at the time asserted, is proved. B 18 INTRODUCTIOK. by devotional fervour, pure and noble treatment, and by a vigorous and truthful pencil. The name of Josef Ribera should not be omitted; for though he settled in Naples, and is ranked amongst Italian artists, his agnomen , “ Lo Spagnoletto,” tells of his country equally as his works evince a Spanish treatment or feeling. It is curious, in tracing the history of art and its migrations, to find that Spanish influence gave birth to a school in Mexico. Sir Edmund Head quotes from a letter of Madame Calderon de la Barca : — “ In some of the convents fin Mexico) there still exist, buried alive like the inmates, various fine old paintings ; amongst others, some of the Flemish school, brought to Mexico by the monks at the time when the Low Countries were under Spanish dominion.” The names of Enriquez, Cabrera, and others, are given as native Mexican artists of very great ability. MODERN SCHOOLS. Regarding the history of art as a whole, it has been the custom to call the masters of the Fifteenth, Sixteenth, and Seventeenth Centuries moderns ; but as we pass on to the Nineteenth Century they become ancient to us, and we find it necessary to draw the line of distinction between them and the masters properly recog- nised by us as moderns. The close of the seventeenth century seems the most appropriate period to fix as the conclusion of the art era, which has been briefly sketched in the foregoing pages ; and of which the influences are traced through the various European schools. For the most part mediocrity may be said to be the characteristic of the art of the eighteenth century ; es- pecially in those countries on the Continent of Europe where the greatest previous development of art had obtained. Towards its close, and early in the present century, a new spirit seems to have awoken, indicating, in some countries, an art revival, or new art epoch. At home the history of art, as a native development, must date from the commencement of the eighteenth century. It has been almost simultaneous in Ireland, England, and Scotland. Previous to 1766 no distinct school existed, although from the revival of the arts in the sixteenth century, native portrait painters existed in England. The majority of distinguished artists were foreigners, invited principally by the reigning monarchs, living apart from tire nativeartists, and certainly forming no distinct schools. Hans Holbein, a native of Basle,* lived and practised in Eng- land during Henry the Eighth’s reign. The most distinguished foreigners who painted in England, after him, were Cornelius Jansens, Daniel Mytens, Rubens, Vandyck, Lely, and Kneller. The two latter, though foreigners, almost rank among the English School. Amongst the native artists of this period were the two Olivers ; Isaac, who flourished about the latter part of the reign * Dr. Kugler says he was born at Augsburg. INTRODUCTION. 10 . of Queen Elizabeth, and studied under Zucchero ; and Peter, his son, who painted several works for James I. Walker was the distinguished portrait painter of Cromwell and his contempo- raries. Dobson, who died prematurely in 1646, was styled the Father of the English School of Portrait Painting. After him came Riley, Richardson, Hudson, Sir James Thornhill, who painted the frescoes in St. Paul’s and the hall at Greenwich Hospital; and William Hogarth, the most original genius of his time, whom Walpole describes rather as “ a writer of comedy with a pencil than as a painter.” The Royal Academy of London was established under the presidency of Sir Joshua Reynolds in 1768. Among its original constituent members were two Irish artists, George Barrett, a native of Dublin, who exhibited great talent for landscape paint- ing — daring to think for himself and study nature in the pic- turesque neighbourhood of Powerscourt, although his distin- guished friend, Edmund Burke, is said to have urged him rather to study pictures; — and James Barry, a native of Cork, an his- torical painter of great genius, as his works in the Society of Arts, Adelphi, and elsewhere, attest. The records of his life exhibit him as a man cf very eccentric habits, of indomitable energy, struggling against public apathy towards high art — a man before his time. Both these artists had taken prizes offered for the promotion of Art by the Royal Dublin Society, whose schools were established in 1746, and materially tended to stimulate and educate the native art-mind of Ireland. Bindon, Latham, and others, practised portrait painting, in Dublin, early in the eighteenth century. Very many native artists of merit sprung up, although for the most part they went over to England, and so merged in the English School. Amongst these were Tresham, Peters, and Hamilton; the two former became members of the Royal Academy of London ; Sir Martin A. Shee, a pupil of the same school, became its President; Hamilton settled in Ireland. Although several societies of artists were formed, it was not till 1823 that a charter of incorporation was given to the Royal Hibernian Academy. Drawing schools were first established in Edinburgh in 1707; but the Royal Scottish Academy was not founded until 1838. George Jamieson, a pupil of Rubens, was the first painter no- ticed in the Scottish annals; Sir Henry Raeburn, the greatest portrait painter Scotland has produced; Sir David Wilkie, its pride and honour. Wilson and Gainsborough, contemporaneously with Barrett, developed in England the gusto for landscape painting — a branch of art which, since their time, has gradually expanded in practice in these countries, until it has reached a very high degree of ex- cellence, and forms one of the great features of the English School. Portrait painting has also been prominently developed ; history, in its highest acceptation, having never been much cultivated,, although within the last ten or fifteen years a greater demand seems to have arisen for works of that class. b 2 REGULATIONS TO BE OBSERVED BY PERSONS STUDYING IN THE GALLERIES. I All professional Artists shall be free to copy or study in the National Gallery of Ireland, subject to the regulations as to time, &c., laid down by the Governors and Guardians. II. — All Art Students, being Students of the Royal Hibernian Academy, shall be admissible on producing a written certificate of qualification from the Keeper of the Academy. III. All Students in the Government Schools of Design shall be admissible on producing a certificate of qualification from the Head Masters of such Schools. IV. All persons desirous to copy, not being professional Artists, or Students in the R. H. Academy, or any School of Design, will be required to produce some work of their own execution as an evidence of qualifica- tion, and shall be admissible on approval by the Director. V. All applications for permission to study must be made officially to the Director ; in the cases of Students or Amateurs, accompanied by the necessary certificate, or specimen. VI In all cases, measuring the original picture with any instrument and also all contact with it, is strictly prohibited. The persons in charge have directions to prevent such, and to report any breach of this rule 5 as the safety of valuable works, as well as the true objects of study, can only be secured by its observance. VII. No work can be removed from its place on the walls without the special leave of the Director ; and if removed, it must be by him, or by some responsible agent of the Institution, with his sanction. VIII. All persons painting in the Galleries will be required to pro- vide themselves with proper mats, easels, drawing boards, and stools. IX Persons studying in the Galleries will enter their names in the signature book on each occasion of visiting for the purpose of study. X —A bell will be rung a quarter of an hour previous to the termi- nation of the period allotted for study ; and all persons studying are expected to have their studies and painting apparatus removed without dehv. INDEX TO THE CATALOGUE OF PAINTINGS, WATER-COLOUR DRAWINGS, ENGRAVINGS, AUTOTYPES, Sc. [Memoirs of the Painters will be fouad at the pages in the Catalogue referred to in margin, and Descriptions of the Subjects follow the Memoirs.] The Numbers commence in the Principal Gallery at the entrance to the Small Galleries , North Side. No Subject. Artist's Name. Page. 1 St. Jerome in the Wilderness, Morales, .... 74 2 Vision of St. Ignatius Loyola, Rubens (attributed also to Vandyck), 92 3 Portrait of a Lady reading — called a Magdalene. B. Van Or ley, . 79 4 St. Luke sketching the Virgin, Dirk Von Haarlem, . 57 5 Virgin and Child, .... Mabuse, .... 70 6 Portrait of Count Montfort, . Altdorfer, .... 35 7 Palace of Dido, .... Steenwyck, 102 8 The Stadtholder going to the Chase, P. Molyn 73 9 Lady Elizabeth Woodville invited by Edward IV. to visit him in his tent. Bequeathed by the late Thomas Hutton, esq. Vandyck, .... 51 10 Italian Landscape, .... J. F. Van Bloemen (called Orizonte), 42 11 Eruit Piece, J. De Heem, 58 12 St. Joseph, Ribera, .... 89 13 Our Lord, Attributed to Vandergoes, 105 14 The Infanta, Donna Maria of Austria. Velazquez, 109 15 Portrait, Wolfgang Hauber, . 57 16 The Visitation, .... Schauefflein, 99 17 Portrait, Moro, or Coello, Antolinez, 113 18 St. Peter liberated from Prison, 36 19 Christ bearing the Cross, Westphalian School, . 111 20 Holy Family, .... — 37 21 Portrait of Katherina Knoblauchin, Hans Asper, 22 Scene on the Ice, .... A. Cuyp, .... 49 23 Hustle Cap, D. Teniers, jun., Francks (elder), 104 24 St. Christopher, .... 53 25 Boar Hunt, Franz Snyders, . 102 26 Portrait of an old Lady, presented by Viscount Powerscourt, k.p. View of the City of Alkmaar, Van der Werff, . 111 27 Solomon Ruysdael, . 95 28 Two men singing — An Interior, C. Bega, .... 38 29 Babbits at the mouth of a burrow, Attributed to Paul Potter and Jacob Ruysdael, 85 30 Portrait of Josua Van Belle, . Murillo, .... 75 31 Cattle Piece, Attributed to Cuyp, 48 92 INDEX TO THE CATALOGUE. No. Subject. Artist’s Name. Page. 32 Peasants drinking and singing, Adrian Ostade, 79 33 St. John and the Lamb, . Murillo, .... 76 34 A Legend of St. Anthony, Velasquez, 110 35 Stork and King Vulture, Weenix (the Younger), 111 36 Portrait of a Gentleman, C. Janssen, 62 37 A Woody Landscape, Jacob Ruysdael, 95 38 St. Peter finding the Tribute Money, Peter Paul Rubens, . 93 39 Portrait of a Lady of the Court of Charles I. Cornelius Janssen, . 62 40 Portraits, Herrera (attributed to), 59 41 Large Landscape, with Peasants Lucas Van Uden and David merrymaking. Teniers, Hondekoeter and Weenix, 105 42 Noah’s Ark, 61 43 Boar’s Head — a study, . Fyt, 54 44 A Sporting Party, Attributed to A. Cuyp, 49 45 Peasants playing with a cat and dog, Jan Molinaer, . 73 46 Theology, David’s dying charge to Solomon, . Jordaens, .... 63 47 F. Bol, .... 42 48 Head of an Old Man, Rembrandt, 88 49 Milking Cows, presented by John Heugh, esq. Albert Cuyp, 48 50 Flower Piece, .... J. Van Huy sum, 61 51 St. Francis of Assisi, Peter Paul Rubens, . 93 52 Landscape with sheep and herd, Moucheron, 74 53 The Windmill, .... Portraits of Ferdinand II. of Tuscany and hisWife, Vittoria della Rovere. J. Ruysdael, 94 54 Sustermans, 103 55 Portrait, B. Vander Heist, 58 56 Head of a young White Bull, Paul Potter, 85 57 The Supper of Emmaus, Jordeans, 63 58 The Embarkation of KingCharlesII., W. Van de Velde, the elder, no 59 The Old White Horse, . Dirk Van Bergen, 40 60 The call of the Sons of Zebedee, Bon Boulogne, . 43 61 Going to the Chase, Brandenburgh and Family, . H. Eglon Vander Neer, 78 62 Nicholas Maas, . 69 63 St. John in the Wilderness, . Salvator Rosa (after Titian), 91 64 Bathsheba’s appeal to King David, Flinck (Govaert), 52 65 Portrait, B. Vander Heist, 59 66 A Town on Fire, .... Art. Vander Neer, . 78 67 The Last Supper, .... Lanfranco, 65 68 The Virgin and Infant Christ glori- fied ; three Saints kneeling below in adoration. Palma (11 Giovanne), 80 69 Holy Family, Jordaens, .... 63 70 St. Cecilia, Dominichino (after Raphael) 97 71 St. J ohn in the Desert, . IlGuercino, . . .) 56 72 Miracle of the Loaves, . Lanfranco, . . J 65 73 View of Meissen, .... Bellotto (Bernardo), called also Canaletto, 40 74 Elijah invoking the sacred fire from Heaven. Tiepolo, .... 105 75 Death of Lucretia, Pietro da Cortona, . 46 76 The Queen of Sheba’s visit to Solo- mon. Lavinia Fontana, 52 77 Venus and Cupid, .... Bronzino (after Pontormo’s painting from Michel Angelo’s design), . 44 78 St. John the Evangelist, 11 Moretto (attributed to), 74 INDEX TO THE CATALOGUE. 23 No. Subject. Artist’s Name. Page. 79 St. Sebastian after Martyrdom, Caravaggio, 44 80 St. Bartholomew, . ... 11 Moretto (attributed to), 74 81 Europa, Carlo Maratti, . 72 82 Portrait of a Man, .... Bordone (Paris), 43 83 Madonna, Sassoferrato, 98 84 The Supper at Emmaus, Building of the Tower of Babel, Titian, .... 108 85 Leandro Bassano, 84 86 Portrait of Pellegrini Morosini, Pordenone, 67 87 Mother of Bianca Capello. iEneus and Meleager, 11 Padovapino, . 107 88 Portrait of a Count of Ferrara, Pordenone, 66 89 Christ on the Cross ; St. Francis and Annibale Carracci, . 45 90 St. Anthony of Padua kneeling in adoration. Portrait of a Nobleman, Tintoretto, 90 91 Holy Family — votive picture, Jacopo Bassano, 84 92 The Doge’s State Barge, Francesco Guardi, 56 93 Madonna and Child, Sassoferrato, 99 94 Timoclea brought before Alexander, Pietro della V ecchia, 77 Fete in the Piazza Navona, Koine, Panini, .... 81 96 97 Landscape — Baptism of Christ in the Jordan. Visit of the Queen of Sheba to Salvator Rosa (attributed to), .... Jacopo Bassano, 91 84 98 Solomon. Virgin, Infant Christ, and St. John Ridolfi Ghirlandajo, . 55 99 in a Landscape. Phineas and his followers turned to N. Poussin, 86 100 stone. Portraits of a Doge and Knight of Bellini (Giovanni), . 40 101 St. John of Jerusalem. View in Venice, .... Marieschi, 7.2 102 View in Venice, .... Marieschi, 72 103 Predella, in three parts, Andrea del Sarto, 106 104 Four other Saints belonging to Idem, .... 106 105 foregoing Predella. Portraits of a Gentleman and his Moroni, .... 74 106 Children. Infant Christ adored by the Virgin Cotignola, 46 107 and Saints. St. Joseph’s Dream, P. F. Mola, 72 108 4 4 Sacra Conversazione, ’ ’ — Madonna Macliiavelli, 70 11 with the Infant Christ, SS. J erome, Bernardin of Sienna, and others. History of Lucretia, a cassone, Adoration of the Shepherds, . Benozzo Di Gozzoli (attri- buted to), Scarcellino, 55 i 112 Adoration of the Magi, . Andrea del Sarto, y&. 113 Christ curing one possessed of a devil, A. Coypel, 47 114 1 14d 115 j- Classical Subjects, Madonna, with the Infant Christ and Schiavone, Cesare da Sesto, 101 116 117 St. John— Christ holding a bird. The Flower Offering, Madonna Enthroned, with Infant Carlo Caliari, . Marco Palmizano, 81 118 Christ, St. John the Baptist, and St. Lucia. St. Mark and St. Augustine, School of Fra Filippo Lippi, 68 119 120 Portrait of Count Navaggerini, The Transfiguration, G. B. Moroni, . Raphael. 24 INDEX TO THE CATALOGUE. National, Historical, and Portrait Gallery. No. Subject. 121 Marble Bust of D. Maclise, r. a. , . 122 Portrait of Catterson Smith, r.h.a., 123 Portrait of the Eight Hon. H. Grattan, presented by the Lady Laura Grattan. 124 Portrait of 1st Viscount Lifford, . 125 The Volunteers in College Green, 126 Portrait group of King George II. and family. 1 27 Portrait of Gustavus, Lord Boyne, presented by Mrs. Noseda. .128 Portrait of Edmund Burke, . 129 Portrait of Hugh, Duke of Nor- thumberland. 130 Portrait (Bust) of the Most Rev. Dr. Murray. 131 Portrait of the Marquis of Thomond, 132 | Portrait of Sir Maziere Brady, Bart., presented by Lady Brady. 133 ! Portrait of Lady Morgan, presented [ by her Executors. 134 | Bust of Thomas Moore, presented by the Earl of Charlemont, k.p. 135 Portrait of Sir H. Lawrence, k.c.b., 136 James, Duke of Ormond, presented by the Earl of Carlisle. 137 Portrait of Lord Mount Edge- ! cumbe. 138 Portrait of Dermody the poet, 139 Portrait group of the Sheridan family. 140 Portrait of Sir Thos. Wyse, k.c.b., 141 Portrait of William Dargan, esq., painted for and presented by the Dargan Committee. 142 Portrait of Samuel Lover, 143 Portrait of Arthur, 1st Duke of Wellington. 144 Portrait of C. Moore, r.h.a. , . 145 Portrait (Bust) of the Right Hon. Richard Sheil. 146 Small crayon portrait of the Duke of Ormonde. 147 Portrait (in crayon) of Thomas Moore. 148 Portrait (in crayon) of Clarence' Mangan. 149 Portrait (in crayon) of William Harvey. 150 Portrait (sketch) of Thomas Davis 151 Portrait (sketch) of Professor J. M‘Cullock. 162 Portrait of Grattan in Indian Ink, Artist’s Name. | Page. J. Thomas, . . .135 Himself, . . . . 101 T. A. Jones, p.r.h.a., . 62 Robert Lucius West, E. Wheally, r.a., . .112 W. Hogarth, . . .60 Attributed to Hogarth, . 61 J. Barry, r.a., ... 38 Thomas Gainsborough, r.a. 54 J. Hogan, r.h.a., . . 60 Sir Thos. Lawrence, r.a., 65 T. A. Jones, p.r.h.a., . 62 Berthon, . . . .41 C. Moore, r.h.a., . . 73 J. T. Dicksee, ... 50 Sir P. Lely, ... 66 Reynolds (Sir Joshua), . 89 C. Allingham, . Sir E. Landseer, r.a., . 64 John Partridge, . . 83 Catterson Smith, p.r.h.a., 101 Harwoo ... 57 John Lucas, ... 69 John Doyle, ... 50 C. Moore, r.h.a., . . 73 Sir Peter Lely, . G. Richmond, r.a., . . 89 F. W. Burton, r.h.a., Scott, of Liverpool INDEX TO THE CATALOGUE. 25 Modern Gallery. (B. North.) No. Subject. Artist’s Name. Pago. 153 View at Capri, .... M. G. Brennan, 43 154 J udgment of Paris, Stothard (after Rubens), . 103 155 Interior of a Church, M. G. Brennan, 43 156 Merry Christmas in the Olden Time, Daniel Maclise, r.a., 71 157 Landscape Composition, R. Wilson, r.a. , 112 158 Landscape— Moonlight, . J. A. O’Connor, r.h.a., After Sir J. Reynolds, by Martin Cregan, r.h.a., . 79 159 Portrait, 48 160 Portrait of Miss Boaden, Harlowe, .... 57 161 Paroquets, E. Murphy, 76 161a Horse drinking, .... J. F. Herring, . 49 162 Opening of the Sixth Seal, F. Danby, a.r.a. and r.h. a., 163 The Dargle, J. A. O’Connor, R.H.A., . 79 164 Glen Isla, Charles Grey, r.h.a., 56 165 Storm at the entrance of a Mediter- ranean Port. Loutherbourg, . 69 166 The Blind Piper, presented by the late W. S. O’Brien, esq. J. Haverty, 58 167 Death of Milo of Crotona, David, .... 50 168 Interior of St. Jacques at Antwerp, presented by the late Earl of Charlemont. Gennison and Willems, 54 169 Mortuary Chapel, .... Herman Dyck, . 51 170 Cupid chastised Prud’hon (attributed to), . 87 Gallery A. (North.) 171 172 Chiefly reserved for Loan Collection. St. Peter and St. John at the Beau- tiful Gate. Elymus the Sorcerer struck Blind, After Kaphael’s Cartoon, . After Raphael’s Cartoon, . (Both attributed to Galio Romano.) 97 97 INDEX TO THE CATALOGUE. 26 WATER COLOUR DRAWINGS. Collection of Water Colour Drawings bequeathed by the late Captain George Archibald Taylor. No. Subject. Artist’s Name. View of Dublin, taken from the spire of St. George’s Church in 1853. Mountjoy-square is seen to the left of the foreground ; the Ro- tundo Gardens to the right ; Kingstown Har- bour appears in the distance, with Sugar-loaf and the distant range of the Dublin Mountains. A Coast Scene, The Chapel, Beauchamp Castle, Warwickshire, Dancing Nymphs, Entrance to Edward the Confessor’s Chapel, Westminster Abbey. Shakespeare’s Cliff, Dover, .... A Squall, Interior of a Church, . ... A Shore Scene, A Wood, La Chiesa di San Benedetto, Subiano, Ruins of the Sallyport of Framlingham, . The Vigil, View near Howth, Oliver Cromwell and his Secretary — sketch, . Quentin Durward’s first meeting with Isabelle de Croye at the hostelry, Plessis-le-Tours. The Menai Straits, near Aber, Rue Martinville, Rouen, Street Scene in Jersey, View in Spain, The Canal side, On the Brachlin, Perthshire, .... Procession of the Host, Lowestoff, Norfolk, Dolbaddern Castle, North Wales, At Rochester, The Central Hall of the Dublin Exhibition — Queen’s private visit. Scene in the Dungeon — Faust — sketch, . View on the Thames, near Red House, Battersea, View in Venice, Pont-y-Groynd, near Snowdon, Mouth of the Nore, Interior of a Church, ... On the Conway, North Wales, View in Spain, The Beach at Hastings, Waterfall, co. Wicklow, Windsor Castle, Aber, North Wales, View on the Cork River above Monkstown, . J ames Mahony. Pritchett. J. Mahony. W. E. Frost J. Mahony. J. Callow. J. Callow. ' J. Mahony. Bright. H. O’Neill. J. Mahony. W. H. Kearney. Ince. H. Newton. J. Mahony. J. Mahony. Howse. E. Hassell. H. Newton. J. Mahony. Mapleson. C. Richardson. Warren. E. Callow. Howse. Howse. J. Mahony. T. A. Jones. Howse. J. C. Bentley. J. C. Bentley. J. Mahony. E. Hassell. J. Mahony. Howse. II. Newton. Howse. Howse. J. Mahony INDEX TO THE CATALOGUE No. Subject. Artist’s Name. Clock Tower, Rouen, E. Hassell. Pont du Paut, on the Sleden, .... Visit of the Queen and Prince Albert to the Great Dublin Exhibition, 1 853. E. Hassell. J. Mahony. Ophelia — a sketch — “There’s rosemary — that’s for remembrance.” T. A. Jones. Sea View, Herbert. Street View in Rouen, Howse. Dover Castle, Howse. View near Gorcum, Holland, .... Howse. Interior of Chapel Royal, Dublin Castle, . J. Mahony. Calais Fish-market, E. Sims. The Glen, H. Newton. The Rose, Harrison. Charles I. preparing for his controversial dis- cussion with the Marquis of Worcester, at Raglan Castle — sketch. J. Mahony. Rochester Castle, Howse. St. Malou, Rouen, E. Hassell. Faust and Margaret — a sketch, T. A. Jones. Kilgobbin Castle, on the Bandon River, co. Cork, J. Mahony.. Waterfall, co. Wicklow, H. Newton. Flemish Interior, Howse. The Holy Water Font, J. Mahony Croix de Pierre, Rouen, E. Hassell. River Scene, T. M. Richardson. View in Leicestershire, P. Corner. La Chiesa di San Cosma e Damino, Roma, J. Mahony. Mortlake, Howse. The Hodman, Phillips. View of Sugar-loaf, H. Newton. Church of St. Mark, Venice, . J. Mahony. London Stone, iHowse. Le Portrait Charmant, Howse. Steam-tug towing a Brig, .... J. Callow. Interior, Howse. Boulogne, . . . . . Howse. Grenville Bay, Jersey, J. Callow. La Chiesa di Sante Croce at Florence, J. Mahony. Prospero allaying the tempest, J. Mahony. Whitby, J. C. Bentley. Nella Chiesa di Santa Maria del Popolo, . J. Mahony. Wimbledon Common, E. Sims. I Cognoscenti, Howse. The Cavalier, Howse. O’Donoghue’s W hite Horse, Killarney, . J. Mahony. The Irish Mother, Topham. Sketch on the Thames, Forde. A Windmill, R. P. Noble* Esna Lara, Glenariflf, near Cushendall, co. Antrim. H. Newton. Blackwall Reach, River Tnames, E. Chambers. A Group of Figures, E. B. Campion. Sunset, ......... J. C. Buckley. Blackrock Castle, . ... J. Mahony. West Doorway, Corfe Castle, Howse. Welsh Interior, W. Lee. Bell Tower, Rouen, Howse. 38 INDEX TO TFIE CATALOGUE. No. Subject. Artist’s Name. Sandgate, Kent, . Sturry, near Canterbury, . Hormonden Green, ’ French Cavalry, " On the Look-out, View of Berwick-upon-Tweed, Roadside Sketch J. Callow. Forde. Gilbert. Hypol. Bellange. Howse. G. C. Bentley. Hypol. Bellange. A portion of this Collection is not liung, for want of space. Series of Water Colour Drawings of the British School, PRESENTED BY WlLLI AM SMITH, Esq., F.S.A. No. Subjeot View of St. Vincent’s Rock, . Chinese Junk, Woodyard, Windsor Park, . Oswestry Church, The North Gate at Yarmouth, Dane Castle, Fountain’s Abbey, Yorkshire, Malmesbury Abbey, View in Hyde Park, From Grey’s Elegy, The Thames at Battersea, From Thompson’s Seasons, . A country Road, . St. Alban’s Abbey, View of St. Asaph, Rustic Scene, View of The South Gate, Yarmouth, Southampton Quay, An Indian Canoe, Shanklin, Isle of Wight, View near Torquay, Thanethlede, Wales, View in Hyde Park, The Ponti Salaro, near Rome, Pie Du Midi, Jedburgh Abbey, . The Tholsel, Dublin, Part of the Colosseum, Rome, Eltham Palace, Lauffenburgh on the Rhine, . The City of Berne, View near Bala, Merionethshire, Othello and Desdemona, Boat and Figures, . Watermouth, Devonshire, A Landscape, View of the Avon, near Bristol, j View of Naples, . , . Artist’s Name. . Samuel H. Grimm. . William Alexander. . Paul Sandby, k.a. . i Michl. Angelo Rooker,A.R.A . | Michl. Angelo Rooker,A.R.A . j Thomas Hearne. . Edward Dayes. . Thomas Hearne. . Paul Sandby, r.a. . William Hamilton, r.a. . John Varley. . William Hamilton, r.a. . Paul Sandby, r.a. . J. M. W. Turner, r.a. . Thomas Girtin. . Francis Wheatley, r.a. . Thomas Rolandson. . Michl. Angelo Rooker,A.n.A . Edward Dayes. . John Webber, r.a. . J ohn Alexander. . D. M. Serres. . John Webber, r.a. . Paul Sandby, r.a. . Richard Cooper. . J olin Cozens. . Thomas Girtin. . James Malton. . William Marlow . Paul Sandby, r.a. . William Pars. . William Pars. . John Webber, r.a. . Samuel Shelley. . George Morland. . Anthony Devis. - M. A. Rooker, r.a. . Samuel H. Grimm, esq. . John Cozens. INDEX TO THE CATALOGUE. Q9 Leaves from a Sketch-book by J. A. O’Connor. Born in Dublin, 1790 ; died in London, 1840. Three Water Colours. Rochester Castle. View of Ospringe near Feversham. On the Beach at Sandgate. Three Sketches in Sepia. Dover Castle, from the London Road. Dover, Shakespeare’s Cliff in the dis- tance. Dover Cliff. One of the Ponds at Hampstead. A scene on Hampstead Heath. A group of Pines at Hampstead. The Boat-house. Sea-brook near Sandgate, Kent. A scene in Greenwich Park. Thames Ditton. Clifden Rock. Rownham Ferry, near Bristol. Part of Clifton Rock. Botleys. A scene from Botleys, near Chertsey. Botleys, near Chertsey. A sea-brook, near Sandgate. Break-water, near Tintern. A view on the Wye. Caldwell on the Wye. Seventeen Sketches in Pencil. Botleys, west front. Oaks at Botleys. East front, Botleys. North front, Botleys. A view from the Park, Botleys. A view from the House, Botleys. In the Park, Botleys. Chepstead, on the Wye. A view on the Wye. Hampstead. Botleys. A scene near Chertsey, Botleys. Botleys. Botleys. A scene from Batleys. Botleys. Hampstead. ORIGINAL DRAWINGS. Intermediate (new) Gallery. Five original Drawings presented by Hodder M. Westropp, esq. I. Figure of a Saint writing— black and white, chalk, shaded. By Rocca da Perugia. From Cosway and Esdaile collections. 12 in. h., 7| in. w. ... _ II. Infant Christ and St. John in a landscape— pen outline. By Annibale Carracci. 9f in. h., 12£ in. w. III. Martyrdom of St. Laurence— pen outline. By Domemchmo. 9 in h. 11 in. w. IV Holy Famiiy — pen outline. By G. Vasari. 12J in. h., 8| in. w. V. Study of a Male Head— in black chalk, shaded. By Baroccio. 12 in. h., 8 in. w. Drawings Purchased. VI The Last Judgment, part of the design for the Dome of the Cathedral at Parma— red and black chalk. Attributed to Cor- reggio. From Brett collection— two parts. 7| in. H., 10$ in. w. VII The Fall of Phaeton — bistre, heightened with chalk. Tintoretto. From Brett collection. 1 1 in. h., 8£ in. w. . VIII. A Female Head— red chalk. Domenichino. From Brett collection. 4| in. square. „ IX. Portrait of the Earl of Arundel— Indian ink, slightly coloured. By Vandyck. From the Lawrence and Brett collections. 7^ in. h., 5 in w. X. Four ’heads— black and red chalk— II Moro, Duke of Milan ; II Casa Sforza, Francesco Sforza, and Regina Di Casa. By Bassano. Bought at the Brett sale in London. 9 in. h., 6 in. w. 30 INDEX TO THE CATALOGUE. Additional Purchase for 1866. XI. Virgin seated with Infant Saviour on her lap. Angels on each side playing on musical instruments— in pen and bistre, heightened with white, pricked for the outline. By Guadenzio Ferrari. From Dr. Wellesley’s collection. 33 in. h., 21 J in. w. XII. Portrait of Ludovico Sforza, called II Moro, highly finished, head life size— in black chalk and wash. By Leonardo da Vinci. v tt From Cosway and Dr. Wellesley’s collections. 14 in. h., 9 in. w.' XIII. Head of a young female, nearly life size, circle — pen and sepia By Lorenzo di Credi. From the collection of Dr. Wellesley 9 in diameter. XIV. XV. XVI. XVII. XIX. XX. XXI. XXII. A Landscape with trees and buildings along the hanks of a wide river, in which vessels are seen ; the sun setting over distant mountains. _ To the right on a rising ground Magdalen praying — pen. By Titian. From the collections of Cosway, Holditch and Dr. Wellesley. lOf in. h., 7 J in. w. ’ Part of the triumphs of Julius Caesar. Soldiers carrying trophies —pen and sepia. By Mantegna. From the collections of Lord Spencer, M. Esdaile, and Rev. Dr. Wellesley. 10 in. h., 104 in. w. Life-sized head, profile of young man in a cap— black chalk, outlines pricked, the head subsequently cut out, but carefully inlaid ; on the reverse a study of feet. By Antonio Pollajuolo. From the Wellesley collection. 13f in. h., Ilf in. w. Landscape. Night effect, a road to the left, a bank to the right with trees and herbage— highly finished in chalk and wash. By Elzheimer. From the collections of Hibbert, Esdaile, and Dr Wellesley. 5f in. h., 10J in. w. ApoHo— in red chalk, apparently a study from a youth posed as the Apollo. By Correggio. From Dr. Wellesley’s collection. 13 n h., in. w. Cupid seated fondling an Eagle— in red chalk. By Correggio. On the back studies of two figures for the Dome of Parma. From the collections of Benjamin West, Richardson, and Dr. Wellesley 5f in. h., 3f in. w. J 1 A Rabbit, highly finished— wash and pen in bistre. To the left is written, Albrecht Diirer in Nuremberg. From Dr. Wellesley’s collection. 7f in. h., 5f in. w. J Figure of a man ; in his right hand a book which rests upon his knee, looking to the right. Probably a prophet or evangelist in pen. By Raphael. From the Lawrence collection. 10 in. h 5 in. w. ’’ Four Drawings , presented by F. W. Burton Esq., r.h.a. XXIII. The Virgin’s visit to St. Elizabeth— in wash. By Andrea del Sarto. From the Lawrence collection. 9 in. h., Ill in. w. XXIV. Study of a kneeling figure, fallen prostrate— in red chalk. By F Primaticcio. From the Lawrence collection. 5 in. h., 71 in w ' XXV. Studies of drapery— in red and white chalk. By F. Primaticcio From the Lawrence collection. 8 in. h., 6 in. w. XXVI. Studies of nude male figures. By F. Primaticcio. From the Lawrence collection. 6 in. h., 7 a in. w. School of Athens. After Raphael. Sketch of a Greenwich Pensioner. By T. Gainsborough, r.a. Sketches on the same sheet of paper. By Sir E Landseer ’ r a Sir George Hayter, and Martin Cregan, r.h.a. ’ INDEX TO THE CATALOGUE. 81 * National Historical, and Portrait Gallery — (Engravings). No. Subject. | King William III., Queen Mary, SirRobt. Southwell, Kt., Mr. Moody, the actor, . William Congreve, The Right Hon. Joseph Addison. King James II., Second Duke of Ormond, Lord Lucan, 1788, Sir William Petty, Kt., Sir Richard Steele, Oliver Goldsmith, . •Laurence Sterne, . Rt. Hon. Edmund Burke, Duke of Leinster, . Rt. Hon. Henry Grattan. Dr. John Hoadly, Arch bishop of Dublin. The Right Hon. Anthony Malone. George Marquis Towns- end. Daniel O’Connell, . Arthur, Duke of W elling- ton. RtHon.Richard Brinsley Sheridan, Mr. Quin, the actor, Right Hon. Hely Hutchi- son. Paint*v. Sir Godfrey Rneller, . Sir Godfrey Kneller, . Sir Godfrey Kneller, . Sir Godfrey Kneller, . Sir Godfrey Kneller, . Sir Godfrey Kneller, . Sir Godfrey Kneller, . Sir Joshua Reynolds, J. Clostewnan, Sir Joshua Reynolds, J. Richardson, 1712, Sir Joshua Reynolds, Sir Joshua Reynolds, Sir Joshua Reynolds, Sir Joshua Reynolds, F. Wheatley, . Isaac Whood, 1733, . Sir Joshua Reynolds, Sir Joshua Reynolds, J. Haverty, Sir T. Lawrence, Sir Joshua Reynolds, Sir Joshua Reynolds, Thomas Hudson, Sir Joshua Reynolds, Carolan, Irish Bard, Lord Plunket, Mrs. Woffington, . Sir P. Crampton, Bart., . Marquis Wellesley, Charles Kendal Bushe, . Sir R. Mayne, k.c.b., . C. Lucas, m.d., William Sharman Craw- ford, esq., m.p. The Right Hon. J. Phil- pot Curran. The Earl of Charlemont, Duke of Leinster, . Viscount Castlereagh, . The Right Hon. George Canning. The Volunteer s of Ireland, R. Rothwell, . A. Pond, . Catterson Smith, Sir T. La wrence,r. R. a . W. Stevenson, Sir Joshua Reynolds, John P. Knight, R. a., J. B. Lane, Sir Martin Shee, Sir T.Lawrence,p.R. a. Sir T.Lawrence,p.R.A. F. Wheatley, r.a. Engraver. J. Smith. J. Smith. J. Smith. T. Hardy. J. Smith. J. Smith. J. Smith. J. Smith. John Jones. J. Smith. J. R. Smith. J. Smith. Jos. Marchi. J. Fisher. James Watson. John Dixon. V, Green. T. Faber. J. R. Smith. C. Turner. W. M. Ward. Samuel Cousins. John Jones. John Hall. John Faber. James Watson. J. Martin. James M‘Ardel. D. Lucas. L. Gruner. James M‘Ardel. Thomas Lupton. S. Freeman. J. Collyer. 35 INDEX TO THE CATALOGUE. No. Subjest Painter. Engrarcr. Installation Dinner at the Institution of the Most Illustrious Order of St. Patrick, in St. Patrick’s Hall, within the Dublin Castle, 17th March, 1783. J. K. Sherwyn, J. K. Sherwyn. The Siege of Athlone, 1G91. (A rare print.) Johanus Langena, . — Chromo Lithographs chiefly from the Arundel Society. No. Subjeot. Name of Artist. The Fall, Filippino Lippi. Expulsion, Masaccio. St. Peter Preaching, Christ and St. Mary Magdalane. Fra Angelico. The Last Supper, Ghirlandajo. St. Anthony, . Titian. St. Peter and St. Paul, .... Masaccio and Filippino Lippi. St. Francis Preaching, . Giotto. Mount Parnassus, . Raphael. The Crucifixion, Pietro Perugino. Death of St. Francis, Dom Ghirlandajo. Preaching of St. John the Baptist. . Dom Ghirlandajo. The Fall, Filippino Lippi. The Ecstasy of St. Catherine, . San Domenico. The Figure of the Saviour, Gianantonio. St. Peter and St. Paul before Nero, Filippino Lippi. Angel, Metzzo Da Forli. The Presentation in the Temple, Luini. St. Peter in Prison, Marianicci. Two Heads of Saints, Ghirlandajo St. Peter and St. John, . Marianicci. The Raising of St. Petronella, . Marianicci. Two Heads, .... Heads of St. Peter and St. Paul, St. Peter and St. John, . Masolino. The Apostles John and Peter, . Albert Durer. The Madonna, Hans Holbein. The Prophet Jeremiah, . Michael Angelo. St. Peter Baptized, . Masolino. Jesus and His Disciples at Emmeaus, Fra Bartolomeo. St. Peter and John Healing the Sick by their Shadows. Christ taken down from the Cross, . Fra Angelico da Fiesole. Annunciation, . . Giottos Chapel at Padua, The Adoration of the Lamb— Tryptich with four wings. Jan Van Eyck. Adoration of the Magi, Hans Hemling. Entombment Quinlin Matsys. Autotpyes from the frescos of Michael Angelo in the Sistine Chapel. Autotypes from the statues of the Medici Tomb. ALPHABETICAL CATALOGUE OF ARTISTS. CATALOGUE IggT This Catalogue is arranged on the model of those of the Louvre and National Gallery, London, Alphabetically, according to the Names op Painters. After the short memoir of each Painter will be found the title and particulars of the picture or pictures by or attributed to him. The dimensions of pictures given in this Catalogue are exclusive of frames. Reference should be made from the Names on the Frames to the same in the Catalogue, or from the Numbers to those in the Index. A reference is also made to the portion of the Gallery in which the pictures will be found if not in the large Gallery. National Historical and Portrait Gallery — Gallery C, south. Modern Gallery — Gallery B, north. It is perhaps needless to observe that the short descriptive notes where they occur are intended chiefly for the information of those into whose hands the catalogue may fall, who have not the opportunity of seeing the pictures themselves. ALTDORFER (Albert); born, 1488, at Altdorf, near Landshuth, in Bavaria ; died, 1538, at Ratisbon. He was one of the most important and original of Albert Durer’s scholars. His principal work is in the Munich Gallery, Cat. No. 169, representing the Victory of Alexander the Great over Darius. The landscape in his works rivals that of his contemporaries of the Netherlands, Patenier and others. Other works of his are to be found in the Chapel of St. Maurice, at Nurem- berg, in the Augsburg Gallery, and in Ratisbon. He was also eminent as an engraver. According to Bartsch he was born in 1440, and died in 1533. 6 , Portrait of Count Montfort and Roetenfels. 1 ft. h., 8 in. w. On panel. The count is represented here with a mantle and chain of office, looking to the right, and holding the keys of a city, or castle, in his hand. He wears a slouched hat of the period, on which is a monogram. An inscription attached at foot, in German, is to the following effect : — “John, Count of Montfort and Rotenfels, Royal Privy Councillor and Ambassador, 1523.” A very highly finished landscape — background shows a town in front, a chateau or castle on the sloping high grounds, and dark hanging woods on the mountain side. Purchased in Paris in 1866. AMERIGHX, or MORIGI, (Michel Angiolo), called II Caravaggio; painter and engraver ; bora at Caravaggio, near Milan, in 1569; died at Porte Ercole in 1609. Lombard School. His father, who was a mason, brought him to Naples at the age of 12 or 1 5. While assisting him to prepare the walls for the fresco painters, the young Amerighi conceived the project of becoming himself a painter, and 0 2 36 AMERIGHI — ANTOLINEZ. soon contrived (it has been said, without any instruction) to he able to paint portraits. He went to Venice after a while, and there studied Gior- gione, adopting, at the commencement of his course, that subdued style of shadow which he had learned from the works of that great master, and in which some of the most highly prized works of Caravaggio are executed. He then went to Rome, and very soon became the head of the Naturalisti School, taking nature exclusively as the model to be followed, and reject- ing with disdain and violence all the doctrines of Raphael, M. Angelo, Carracci, and those who chose to look for something spiritual in that nature. Forced by poverty to assist the Cavalier d’Arpino in some of his works, he soon became his rival and enemy. Caravaggio’s character was sombre, ferocious, envious, and quarrelsome ; he was forced to fly from Rome on account of a homicide which he committed there, and he then settled in Naples, where he long resided. Subsequently he went to Malta, and, after having been given the Cross by the Grand Master, for the talent displayed in a picture of the decollation of St. John, in the oratory of the Church of the Conventuals there, he quarrelled with one of the Knights, and was thrown into prison. He succeeded, however, in escaping, and resided for some time in Sicily, but died of a malignant fever before he could again reach Rome. He left numerous works in all these places. , He had always a great number of admirers and followers, gained by his original and vigorous style, particularly his extraordinary relievo, and a certain often strange grandeur, which caused his other defects to be par- doned. His principal success was in the representation of the manners of the lower classes — musicians, gipsies, drinking parties, feasts, conjurors — and nightly broils and quarrels, in which he himself was no stranger, and by which he is said to have rendered his life scandalous. He exercised a great influence over his cotemporaries, and even on already celebrated artists. Ribera and Guercino studied his works, and Lionel Spada, Man- fredi, Carlo Saracini, Valentin, and Simon Vouet were his pupils or imi- tators. His school does not afford a single instance of a bad colourist, however it may be accused of neglect in design and grace. 79 . Saint Sebastian , after Martyrdom. 5 ft. h., 4 ft. 2 in. w. On canvas. The martyred Saint has been taken down from the tree to which he had been bound, and is tended by a female, probably St. Irene, and supported by an aged man, whose head is seen to the left of the spectator. The nude figure painted with singular force and freedom. The whole picture in fine condition. Presented by His Grace the late Duke of Leinster. ANGELO, (Michel). [See BUONAROTTI, No. 114-118.] ANTOLINEZ, (Don Josef) ; born at Seville, 1639 ; died at Madrid, 1676. Spanish School. At an early age he was sent to Madrid, to study under Don Francisco Rizi, one of the painters of Philip IV. Painted History, Sacred Subjects and Portraits ; the landscapes introduced with his figures were much admired. In the Church of Magdalena, at Madrid, there are two pictures by this master, favourably spoken of by Palomino, representing the “ Miraculous Conception” and the “ Good Shepherd.” 18 . St. Peter liberated from Prison. 5 ft. 5f in. h., 4 ft. 1 in. w. On canvas. The figures are nearly life-size, and occupy the whole field of the canvas leaving but little background. An Angel, in varied coloured drapery’ stoops over Saint Peter, who looks up amazed, and with outstretched hands. On a cartel on the wall above Saint Peter's head, is inscribed Josef- Antolinez. Purchased in Dublin, in 1859. ASlPER BARBIERI. 37 ASPER, (Hans); born at Zurich in 1499 ; died 1571. German School. He was a contemporary, according to Adolph Siret, a pupil, of Hans Holbein the younger, whose manner he imitated with great success ; his portraits were highly esteemed, and are much sought after ; but his repu- tation is less than it deserves, because many of his works are attributed to Holbein. He also painted charming subject pictures. He was made a member of the great council of Zurich in 1545, and his compatriots struck a medal in his honour ; yet he died poor. Two of his sons, Hans Rodolph and Rodolph, practised painting, and their works have been confounded with those of their father. In the Belvedere at Vienna, there is a portrait of a young man by Asper, one also, signed, in Munich, and portraits of Zuinglius and his wife, in Zurich. 21 . Portrait of Margaret Knoblauchin of Zurich 1 ft. 8 in. h., 1 ft. 2 in. w. On panel. The lady, with hands crossed, looks out of the picture towards her right ; her face painted with great delicacy of drawing and finish, and exhibiting very strong individuality of character, with acharm- ing simplicity of expression. She wears a rich crimson dress, with a white under-dress coming up to her throat, richly embroidered in gold. The dress is embroidered also with gold and jewels ; rich rings are on her fingers, and on her head a marvellously embroid- ered gold cap. A background with mountain and lake scenery, and towns upon the border of the lake, is finished with the wonderful detail which distinguished Asper’s fancy works. On the back of the panel are painted the family arms, the chief feature being a great clove of garlick — in German Knoblauch, whence doubtless the family name — an inscription below Katherina Knoblauchin, “ yr es alters xix., MDxxxii. On a shield in one corner, the letter A, possibly the monogram of the artist. Purchased at the sale of the late Mr. Farrer in London, 1866, in whose collection was a companion picture, portrait of Friederich Rorbach, bear- ing same date, 1532 ; he was probably Margaret’s husband. BARBIERI, (Giovanni Francesco); called II Goercino; born at Cento, a small town in the province of Bologna, 8tli February, 1591; died in 1666. Bolognese School. He was styled Guerciuo in consequence of the injury to one of liis eyes. His first master was Paolo Zagnoni, a mediocre painter in Bologna. He is known to have taken lessons from Cremonini. He did not enter the school of the Caracci ; but he studied the works of Ludovico, whom he admired much, and formed for himself a vigorous style. The high esteem in which his works were held in Italy, and the numerous commissions which he obtained, forced him to decline the proffered honour of being Chief Painter to the Kings of England and France. He passed two years in Rome, but returned to his native place in 1642, where he had already established an academy, enriched with a collection of casts from the antique;' which was much frequented by Italian and foreign artists. He had great facility and power of execution ; but changed his style from a forcible Caravaggiesque manner to a somewhat feeble imitation of the manner of Guido. 38 BARBIER1 BEGA. 71 . St. John in the Desert. 4 ft. h., 3 ft. w. On canvas. The Saint is here represented in the act of preaching, seated, with his right hand upraised, and his countenance towards the spectators. The figure is half length, life size, and a scarlet drapery thrown over the knees. From the collection of the Marquis Campana, Rome. Purchased in Rome in 1864. BARRY, (James, r.a.) ; born 1741 ; died, 1806. British School. Was the son of a ship master of Cork, where he was born in 1741. Showed genius for art at an early age, and was allowed to follow his bent, being sent to Dublin to study under Mr. West, then Master of the Schools of the Royal Dublin Society, where he gained the prize for historical painting at the age of 22. His merit attracted the notice of his great countryman Edmund Burke, through whose kindness he was enabled to travel in Italy, where he studied, in Rome and in the Academy of Bologna, of which he became a member. On his return he settled in London in 1770, and devoted himself to painting subjects of a high and imaginative aim, caring little for money. A few years subsequently he offered to paint gratuitously the great room of the Society of Arts, with subjects of heroic size, and actually accomplished this great work, upon which his reputation chiefly rests, within three years, and they form a noble monument of genius and industry. In 1777 he became a Royal Academician, and a few years later was elected Professor of Painting at the Academy. He engraved many of his own works with great vigour and spirit. He died in 1806. ] 28 . Portrait of the Right Hon. Edmund Burke , Statesman, orator, writer, patriot, and philosopher : born 1729 : died, 1797. 5 ft. 2 in. h., 3 ft. \ in. w. Three-quarters length, in deep chocolate coloured dress ; right hand resting on table, left on hip, looking to left ; curtain and bookshelves in background. The face expressive of great power, apparently a more literal likeness than the portraits by Reynolds. The picture was exhibited at the Royal Academy the year of the artist’s election a member. Purchased for the Gallery, in Lor don, 1873. (In Historical and Portrait Gallery.) BASSANO, II. [See Ponte, Nos. 27, 33, 41, 44, 45, 122.J BEGA, or BEGYN, (Cornelis) ; painter and engraver ; born at Haarlem, 1620 ; died of the plague in the same city, 27 August, 1664. Dutch School. His father, Peter Begyn, a sculptor, placed him in the school of Adrian Von Ostade, whose style he fully adopted in depicting the amuse- ments and drolleries of Dutch peasant life. If he did not equal his master, in point of execution he was not far inferior to him, and his works are highly esteemed in private collections, although but few are to be found in public galleries. He is said to have led an irregular life, which forced him from the paternal mansion, and induced his change of name. Whatever his early delinquencies may have been, he met his death in a manner which did him honour, if, as it is said, he was seized with the plague while tending a young person with whom he was on the eve of mar- riage, and who, when attacked by this fearful disorder hi 1664, was Sega — Bellini. 39 deserted by every one but the painter, Bega. He is entitled to notice, also, as an engraver, and left some thirty-four or thirty-five plates, executed with spirit and ingenuity, after him. 28 . Two Men Singing — an Interior. 1 ft. 11 in. h., 1 ft. w. On panel. Two men are leaning over a piece of music singing, evidently to the top of their voices ; around are strewed musical books and instruments. Painted with the blackish tone characteristic of the master, with high and careful finish. In a pure state. — Signed C. Bega, 1662. Purchased in London in 1863 ; formerly in Mr. Wm. Hope’s collection. BELLINI, (Giovanni); born in Venice in 1422; died there in 1516. Venetian School. This illustrious artist, who may be said to have been the father of the Venetian school, was son of Jacopo Bellini, a painter, not indeed without merit, but who still adhered to the hard, conventional style of his predeces- sors and cotemporaries. Giovanni soon sought to emancipate himself from this dry manner, and infused more of nature and refinement, with a richer feeling of colour, into his works. The discovery of oil painting, or its admirable perfection, achieved by the Van Eycks early in the fifteenth century, wrought a great revolution in European art. Antonello da Messina is reported to have made himself master of the art under the Van Eycks ; his works, still extant, are undoubted evidence of his mastery. From him Giovanni Bellini is said to have acquired the secret of the use of oil colours, and thus attained a range of power and varied attractiveness denied to the practitioner in simple tempera. No doubt the transition from tempera painting, which always involved a pure white ground and previous thorough preparation for the work to be executed, facilitated the early oil painters in the richness and purity of execution. They obtained thereby luminousness of effect, which, coupled with the certainty of touch which the mastery of hand and thought gives, secured to their works bril- liancy and durability. Giovanni practised much in conjunction with his brother Gentile, and the fame of the brothers was so diffused by their works, that Mahomet I. asked, through the Ambassador of the Republic, one of the brothers for his service. Gentile accepted the mission, as being best adapted to sustain the inconveniences of distant travelling. Many of Bellini’s finest works adorned the churches of Venice, and some still re- main ; but one of the finest, “ The Virgin and Infant Christ enthroned with Saints,” in the Church of S. Giovanni e Paolo, called San Zanipolo, has been recently destroyed in company with one of Titian’s masterpieces, the Peter Martyr. Giorgione and Titian were the illustrious pupils of Giovanni, who in his advanced years did not disdain to improve his style by the study and adaptation of the manners of his own disciples. In the later years of his life he cultivated portrait-painting to a great extent, and the most illustrious sovereigns, statesmen, and men of letters were the subjects of his pencil. To his industry and high position in his art when even approaching his ninetieth year, a graceful testimony is borne by Albert Durer, who, being in Venice, writes of Giovanni, “He is old, ex- ceedingly old ; nevertheless none of the Venetian painters can vaunt them- selves on being as vigorous (vert) as he.” He was employed on a work for the Duke of Ferrara, a group of Bacchanalians, in the year 1516 ; when, in his ninetieth year, he died. Titian is said to have sought to complete this work with the zeal and devotion of an admiring pupil, and no doubt other works unfinished at Bellini’s death were completed by Titian and Giorgione. Giovanni was interred in the Church of S. Giovanni e Paolo. 40 BELLINI — BERGEtt. 100 . Portraits of Two Venetian Personages. 2 ft. 1 in. h., 3 ft. 2 in. w. On panel. A Venetian Noble or Senator, wearing a robe of cloth of gold, lined with ermine, and a black cap, looks, seemingly in conversa- tion, towards a gentleman wearing the gown of some charitable confraternity, holding a red cap in his hand. Nothing is known as to the identity of the persons represented, the only clue being an inscription on the back of the panel as follows : “ Beazzano et Navagero poetes,” with the name of Giorgione, the date of which is unknown, but probably not earlier than the time when the picture formed part of the collection of Cardinal Bosch. Beazzano was highly esteemed as a statesman as well as a poet, and was trusted by the Venetians as an envoy to Rome. He is recorded as having been in Venice in 1514, intimately engaged with Bembo, afterwards cardinal, for whom Bellini painted several pictures of his friends. In later times the picture has been ascribed to Giovanni Bellini. It is no doubt in reality the joint production of both masters, having probably been commenced by the elder and finished by his pupil the younger painter. The difference of style and manipulation in the painting of the two figures is striking. The one exhibiting all the masterly freedom and glowing tones of Giorgione, while the other shows the dry, careful, and stippled touch of Bellini. The picture was brought to Paris from the Pesch sale by M. Aguado ; subsequently was purchased by Count Pourtales, and by him pre- sented to Paul Delaroche, who preserved it until his death. It was purchased at his sale in 1857, by M. Auguiot, Paris, from whom it was bought for the National Gallery of Ireland, in 1867. BELLOTTO, (Bernardo, called Canaletto) ; born at Venice, 1724; died at Warsaw, 1780. Venetian School. He was a pupil of his uncle, Antonio Canal (called Canaletto), and imitated his manner. Bernardo travelled through Italy, where he painted the most remarkable buildings of the different towns ; he then went to Vienna, afterwards to the court of Dresden, and finally to Warsaw. He is known in England by the name Canaletto, and in Germany as the Count Bellotti. 73 . Landscape. View of Meissen. 2 ft. 4 in. H., 3 ft. 1 in. w. On canvas. Presented to the Gallery by Robert Clooston, Esq. BENOZZO, [See Gozzoli, No. 4.] BERGEN (Dirk, or Theodore, Van); born at Haarlem, 1645 ; died, 1689. Dutch School. He was a pupil of Adrian Van den Velde; painted landscapes and cattle; and although he never equalled his master in reputation, his best works are frequently attributed to Van den Velde. He settled in London about 1673; but returned to his native country. BERGEN — BERTHON. 59 . The Old White Horse. 1 ft. 11 in. h., 1 ft. 8| in. w. On canvas. An old white horse stands in an enclosed landscape, with cattle and sheep around him ; a shepherd and female are seated in the background, in conversation. Formerly in the collection of M. Zachary ; purchased in London at the Anderson Sale in 1864. BERRETINI (Pietro), DA CORTONA ; commonly called Pietro da Cortona ; a painter, architect, and writer ; was born at Cortona, 1st November, 1596, and died at Rome, 16th May, 1669. Roman School. Though this artist was a Florentine by birth, he belongs more to the Roman School as a painter. At the age of 13 he left Florence and his first master, Andrea Commodi, to repair to Rome, where he entered the studio of Baccio Ciarpi, a Florentine painter. The works of Raphael, of M. Angelo, and of Polidoro, the antique statues, and particularly the bas-reliefs of the column of Trajan, became objects of assiduous study to him. He painted for Urban VIII., and afterwards was employed in the Barberini Palace, upon a great work, which may be called his chef d'auvre. He subsequently travelled in Lombardy and in the Venetian States ; and after having painted for some time in the Pitti Palace, in Florence, returned to Rome. Here he proceeded to destroy what he had previously done, and re-painted the Barberini Palace, besides executing a great number of frescoes, as well as easel pictures. He was created a Knight of the Golden Spur, by Alexander VII. During his life he enjoyed an immense reputation, and he left considerable property after him. He was buried in the Church of St. Martin, of which he was the architect, and to which he left a legacy of 100,000 crowns. Lanzi says of him, that he is reckoned the inventor and chief artist of a style which, in the opinion of Mengs, combines facility with taste ; and that his skill in foreshorten- ing, in the disposition of his figures, and the play of light, must always fascinate the soul. A crowd of painters followed his manner, which, however, afterwards degenerated into negligence and affectation. His principal pupils were Romanelli, Ciro Ferri, Pietro Testa, and Giordano. 75 . Death of Lucretia. 3 ft. 2 in. H., 4 ft. 6 in. w. On canvas. The moment selected by the artist is that in which Lucretia has just plunged the fatal dagger into her bosom. Her hus- band, Collatinus, clasps his hands, as he leans forward towards her in horror. Behind stands another helmeted warrior. Purchased in Rome, in October, 1866, for the National Gallery of Ireland. BERTHON (Rene Theodore); born, 1778, at Tours. French School. 133 . Portrait of Lady Morgan. (In Historical and Portrait Gallery.) 4 ft. 3 in. h., 3 ft. in. w. Painted in 1808. Bequeathed by the late Lady Morgan to the Nation, and presented by her Executors to the National Gallery of Ireland. 42 BLOEMEN — BORDONk. BLOEMEN, or BLOOM, (John, or Julius Francis, Van), called Orizonte ; painter and engraver ; born at Antwerp in 1656; died at Rome in 1748 or 1749. Flemish School. The name of his master is unknown, as is also the period of his going to Italy. The Academy of Saint Luke at Rome received him among its members, and gave him the title of Orizonte, because he so thoroughly understood and represented the gradations of landscape. At first he imitated the manner of Van der Kabel, then that of Gaspar Dughet or Poussin, but ultimately created a style peculiarly his own. He, particu- larly, painted the environs of Rome and Tivoli. He was brother of P. Van Bloemen. Another brother, Norbert Van Bloemen, was born at Antwerp in 1672, studied in his own country, then made the voyage of Italy, and died at Amsterdam in 1748. Norbert painted familiar scenes and portraits. 10. Italian Landscape. 1 ft. 7 in. h., 3 ft. 1 in. w. A long flat middle distance, with a river flowing towards the foreground — an Italian villa in the plain, with mountain back- ground. This picture is evidently in Orizonte’s second or Gaspar Poussin manner. Presented by Thomas Beery, Esq., LL.D. BOL, (Ferdinand) ; painter and engraver. Born at Dordrecht, about 1610 ; died at Amsterdam, 1681. Dutch School. Bol was one of the best pupils of Rembrandt, whose manner he imitated with much art, even in his etchings, which are justly esteemed. He painted many historical pieces, and a great number of portraits. 47. David's Dying Charge to Solomon. (Kings, ii. 1, 2.) 5 ft. 7£ in. h., 7 ft. 6J in. w. On canvas. David, scarcely able to raise his head from his death pillow, places one feeble hand upon the crown and sceptre, while with the other he enforces his admonition to Solomon, who looks upon him from the further 3ide of the bed : “ I go the way of all the earth, be thou strong, therefore, and show thyself a man.” Bathsheba is seated at the near side. Signed and dated — F. Bol ; fecit, 1643. A good example of the luminous depth of shadow colour and smooth finish so characteristic of one period of Rembrandt’smanner, and which Bol imitated more successfully than any of his other pupils. In a perfectly pure state. Deposited with the Irish Institution, in 1854, for the National Gallery of Ireland, by the Earl of St. Germans, then Lord Lieutenant. B0RD0NE, (Paris) ; born at Treviso, in 1500 ; died in Venice, 1571. Venetian School. He was of noble family, a cavalier e, and was a pupil of Titian ; but aimed more at the style of Giorgione. He painted history and sacred subjects ; but excelled in portraiture. His most celebrated historical work is in the Academy of Venice, “ The Fisherman presenting to the Doge the ring received from S. Mark.” He was some time in France, where he went on the invitation of Francis I. He painted many public works in Milan, Genoa, and Florence. BORDONE— BRENNAN. 48 82 . Portrait of a man. 1 ft. 10 in. h., 1 ft. 6 in. w. On canvas. The expression of the head looking fixedly at the spectator is somewhat stern ; it may, possibly, be a portrait of Bor done him- self. Great force and freedom of execution. Purchased in Paris, in 1867. BOULOGNE (Bon) the Elder; painter and engraver. Born at Paris in 1649 ; died 16 May, 1717. French School. We find the name differently written— Boullogne, Boullongue ; but Bon always signed himself “ Boulogne aine.” He was pupil ot his father, Louis de Boulogne, who, taking advantage one day of a visit of Colbert to the Aca- demy, presented a half figure of St. J ohn, executed by his son, to the Min- ister, who was much pleased with it, and accorded a pension at Borne to the young painter, although he had not competed for the grand prize of the Academy. He passed five years at Borne, copying the great masters, and endeavouring to adopt their style. He was received in the Academy of France the 27thNovember, 1677; his picture of reception or diploma-work being Hercules combating the Centaurs (No. 33 in the Louvre Catalogue). He worked at the staircase at Versailles under Le Brun ; painted in fresco, in 1702, the Chapel of St. Jerome in the Church of the Invalides, and many other public works. He has sometimes executed pasticcios in imi- tation of the great masters. He was extremely laborious, and worked constantly by lamplight. He exhibited in the Salons of 1699 and 1704. 60 . The Call of the Sons of Zebedee. 10 ft. 4 in. h., 8 ft. H in- On canvas. Figures— life size. Christ stands by the water side, with outstretched hand toward James and John, one of whom is springing from the boat. Zebe- dee is seated in the boat, and all the countenances are expressive of laith and enthusiasm. Formerly in the Fesch collection at Borne, where it was brought from France. Purchased at Borne in 1856, for the National Gallery of Ireland. BRENNAN, (Michael G.) ; died, 1871. A native of Sligo. Became a student of the Schools of the Boyal Dublin Society, and of the Boyal Hibernian Academy, where he early distinguished himself ; subsequently studied in Italy. Exhibited with great success at the Boyal Academy. Died in Algiers of consumption, from which he had been suffering for some years, in 1871. A notable loss to Irish art. 153 . View in a Vineyard at Capri — sunset. 2 ft. 5| in. w., 1 ft. 10 in. h. (In Modern Gallery.) Purchased for the Gallery, in London, in 1873. 155 . The interior of a Church at Capri. 2 ft. 5^ in. h., 1 ft. 11 J in. w. (In Modern Gallery.) Purchased for the Gallery, in London, in (873. 44 BRUVN — CARAVAGGIO. BRTJYN, (Bartolomaeus de) ; flourished between 1520 and 1550. School of Cologna. The A doration of the Kings. 2 ft. 2 in. h., 1 ft. 9J in. w. On panel. In this picture the Blessed Virgin sits in the porch of a ruin, holding the Infant Christ on her lap ; the Child leans forward to one of the kings, who kneels before him, holding and kissing his hands. St. J oseph stands behind the king. The other kings and their retinue come in through a porch behind the Blessed Virgin and Child on the right. Through the front arch is seen a Rhine landscape with figures. This picture was in the Kruger collection at Minden, and has also been attributed to Schwartz. (See Schwartz.) Deposited in the Gallery by the Trustees of the National Gallery of London. J BTJONAROTTI, (MICHEL ANGELO). BRONZINO. [After Michel Angelo’s design.] 77 . Venus and Cupid. 4 ft. 5J in. h., 6 ft. 4 in. w. On panel. Venus, recumbent, turns to kiss her son, Cupid, from whom she takes an arrow and who springs toward her. His bow and quiver are suspended from a pedestal, from which also hang two coloured masks. A vase of flowers rests upon the pedestal ; landscape and sky background. Of a similar picture by Pon- tormo, which is in Hampton Court, Mrs. Jameson writes : “We have here no voluptuous and attractive queen of loves and graces, but the great goddess of the antique world — the mighty mother of gods and men — the Venus Urania, daughter of Coelus and Terra, who, when Saturn and the elder gods were de- throned, made way for her younger rival, the Paphian Venus, as Hyperion made way for Apollo.” The original design of this picture was made by Michel Angelo for his friend, Bartolommeo Bettini, to be executed in oil by Jacopo Carucci da Pontormo; which work is in the Palazzo Colonna, at Rome. More than one of these were painted, as one is said to be in Berlin, and one certainly was brought into Eng- land. It was purchased, according to Mrs. Jameson, by Queen Charlotte for XI, 000. She mentions another as being in the pos- session of a Professor D’Alton, of Bonn. The picture No. 118 is believed to be a copy, by Bronzino, whose manner is easily recognizable in it. Presented by Viscount Powerscourt in 1864. CANALETTO. [See Bellotto.] CARAVAGGIO. [See Amerighi.] OARRACOI — CLAESSBNS. 45 CARRACCI, (Annibale) ; born at Bologna, 3rd November, 1560 ; died at Rome, July, 1609. Bolognese School. Annibale Carracci was at first destined for his father’s business, that of a tailor ; but his cousin, Ludovico Carracci, already a painter of great eminence, seeing his inclination and taste for drawing, took him into his own house and educated him carefully in the art. Annibale profited so well by his instructions that he was soon able to assist his master ; and, leaving Bologna, he went to Parma, where he studied the works of Cor- reggio • then to Venice, where, becoming personally intimate with Tinto- retto and Paul Veronese, he neglected no means of fathoming the secrets of the Venetian colouring. After some time he returned to Bologna, and joined his brother, Agostino Carracci, and his cousin, Ludovico, who gene- rously acknowledged the superiority of his former pupil. Tne three Carracci there founded a School of Painting which soon became celebrated for its excellence. Annibale was afterwards invited to Rome by the Cardinal Odoardo Farnese, to paint the ceiling of his palace, upon which splendid W0 rk he spent eight years ; but the injustice done him, in paying but the small sum of 800 crowns for it, affected his professional pride so much, notwithstanding his extreme disinterestedness of character, that he fell into a profound melancholy from which he never recovered. He died soon after at Rome, where he prayed to be buried beside Raphael. 89 . Christ on the Cross. 10 ft. 3 in. H., 7 ft. 9i in. w. On canvas. On the right of the cross, St. Francis; on the left, St. Anthony of Padua ; both kneeling. Above, on each side, an adoring angel floating on the clouds, towards the upper part of the cross. This picture was painted by order of the Farnese Family, for a Church in their Bisentine Isle, on the frontier of Naples. It is noted in the “ Artistic Memoirs of the House of Farnese.” Was subsequently in the possession of Gott, the Sculptor. Few works of the master show such grand simplicity of conception, or such a sober dignity of execution. The solemn grey tones prevailing through the picture are peculiarly in harmony with the subject. The drawing very noble without being too academic, the master s usual defect. Purchased in Rome, in 1856, for the National Gallery of Ireland. CLAESSENS, (Antony), the Elder. Fifteenth century. SchoolofVan Eyclc. This artist belonged to the latest followers of the Van Eyck School, and is not to be confounded with a younger painter of the same name, belonging to the Dutch School, of about 1550. Two of the elder Claes- sens’ pictures are preserved in the Academy at Bruges, and were for- merly in the Town-hall. They represent the Judgment of Cambyses : in the first he causes the unjust judge to be seized, and in the other orders him to be flayed. Both compositions are correct in drawing and powerful in colouring, but deficient in genuine life. The Nativity. 2 ft. 1£ in. h., 1 ft. 6J in. w. On panel : in oil. The Blessed Virgin kneels, adoring the Infant Christ as he lies on the ground ; four angels kneel round him, and three hover in 46 CLAESSENS — COTIGNOLA. the air over his head. St. Joseph enters with a candle, but per- ceives that light proceeds from the Child sufficient to illuminate the scene. Two richly dressed persons follow, one holding a lantern ; and in the background the Birth of Christ is announced to both the shepherds and the kings. The dresses in this pic- ture are singular ; the Blessed Virgin wearing a robe of a very dark green, almost black ; St. Joseph, red ; and the little angels, long surplices, one of them a priest’s cope. When seven angels are represented in this subject by the early painters, they are always understood as the Seven Spirits that stand before the throne of God \ and of these Raphael is always painted wearing the robes of a priest. Deposited by the Trustees of the National Gallery of London. [For- merly in the Kruger Collection, at Minden.] CORTONA, (Pietro da). [See Berretini, No. 50.] COSTANZI, (Placido) ; painter of history ; born at Rome in 1 688 ; died, 1759. ( Roman School.) . Of his large works that of S. Camillo in S. Maria Madalena is the most esteemed ; in it he imitated Domenichino. He also painted in fresco the Tribune in S. Maria in Campo Marzio, and was much employed in painting figures in the landscapes of other artists, particularly in those of Gio. Francesco Van Bloemen, called Orizonte. Saint Pancrazio with the Infant Christ . 9 ft. 3 in. h. , 6 ft. 7 in. w. At the right, Saint Pancrazio holds the Infant Christ in his arms, while monks in white robes kneel adoring ; the Blessed Virgin, Saint Joseph, and Saint John the Baptist to the right, and angels above. This picture was originally painted for the Church of Saint Pancrazio, in Rome. It became the property of the late Cardinal Fesch, in 1843, on the taking down of this church. Purchased in Rome, in 1856, for the National Gallery of Ireland. COTIGNOLA, (Francesco da), called Zaganelli ; flourished about the year 1518 ; school of Parma. This painter resided chiefly at Ravenna. He was a scholar of Nicolo Rondinello. Both Lanzi and Yasari speak highly of works by Francesco, particularly a “Resurrection of Lazarus,” which is at Classe, and a “Baptism of Christ” at Faenza. One of his most extraordinary works is a large altar picture at the Osservanti at Parma, representing the Virgin, with several saints. He had a brother named Bernardino, with whom he painted, in 1504, a picture representing the Virgin between St. Francesco and the Baptist, placed in the interior chapel of the Padri Osservanti in Ravenna; and another at Imola, in the Church of the Reformati, dated 1509. Some have confounded the two brothers, from the names Francesco and Bernardino appearing on the same picture. COTIGNOLA — COYPEL. 47 106 , The Infant Christ adored by the Virgin and Saints. 5 ft 11 in. h., 5 ft. w. On canvas, transferred from panel. The Infant Christ is seated on a pedestal ; the Virgin kneels be- fore him at one side, a Franciscan saint behind her ; on the opposite side St. Francis and St. Anthony of Padua. There is an inscription on a cartel on the pedestal, partly obliterated, but apparently attributing the work to Francesco Bernardino Cotignola, dated 7th April, 1509. This may be the work referred to by Lanzi as being at Imola. It was brought to England by Mr. Wigram, and was subsequently in possession of M. Nieuwenhuys, Purchased in London, in 1864. COYPEL, (Antoine); painter and engraver; born at Paris, 11th April, 1661 ; died, 7th January, 1722. French School. He was son and pupil of Noel Coypel, who when named Director of the French Academy at Rome, brought him with him, although only eleven years of age. He exhibited talent very early, and devoted himself much to the study of the works of Raphael, of Michel Angelo, and Annibale Carracci. He carried off a prize in the Academy of St. Luke, which in- sured him the friendship of the Chevalier Bernier and of Carlo Maratti. He obtained other prizes, and executed many works for churches before he was twenty years of age. He was received into the Academy of France in 1681, being scarcely twenty. His diploma picture was Louis XIV. reposing in the arms of glory, after the peace of Nimiguen. He was ap- pointed by the King, in 1710, director of the paintings and drawings be- longing to the crown. He was on the point of accepting advantageous offers for visiting England, when he was urged by the Duke of Chartres not to quit France. The Duke subsequently becoming Duke of Orleans, and Regent of the kingdom, appointed him his principal painter, and con- fided to him the decoration of the new gallery of the Palais Royal, where he painted fourteen subjects taken from the Ahieid. As a mark of his ap- probation of these works, the Duke presented Coypel with a carriage and a pension of 1,500 livres, besides desiring to become his pupil. Coypel made the designs for the medals of Louis XIV., and composed an essay on painting, addressed to his son. His death prevented the completion of a set of compositions from the Iliad and from the Holy Scriptures, in- tended to be executed in tapestry. He was buried in St. Germain l’Aux- errois. Antoine Coypel produced a great number of works for churches and royal palaces, many of which have been engraved by Poilly, Tardieu, Desplaces, B. Picart, Duchange, Edelinck, Andran, Simonneau, and Drevet. He exhibited in the Salons in 1699 and 1704. 113 . Christ curing one possessed by a Devil. 11 ft. 10 in. h., 8 ft. 4£ in. w. On canvas; figures life size. Christ, standing in the centre of the picture, with hand upraised, exorcises the evil spirit ; the man possessed, a figure nearly nude, writhes in agony ; to the right of Christ stands fet. John, with arms crossed ; a High Priest and other spectators look on in wonder. Signed A. C. Coypel, anno 1717. Formerly in the Fesch collection. Purchased in Rome, in 1856, for the National Gallery of Ireland. 48 CREGAN OUTP. CREGAN (Martin, r.h.a.); born, 1788; died, 1870. British School. A native of Dublin, who early distinguished himself as a portrait painter, and gained, and for many years kept, the foremost place in that branch of art in his native city. He was also for many years President of the Royal Hibernian Academy. 159 . Master Crewe. 12 ft. Ilf in. w., 2 ft. in. . From tbe celebrated picture by Sir Joshua Reynolds, in the possession of Lord Crewe, and well known from the mezzotint engraving ; an admirable example of copying, in which not only the drawing and colour are reproduced faithfully, but also the method of handling. Purchased for the Gallery, in Dublin, 1871. In Modern Gallery. CUYP (Aalbert) ; painter and engraver ; born at Dort, 1605 ; date of his death uncertain living in 1672. Dutch School . He was the son and disciple of Jakob Gerritz Cuyp, whom, however, he far excelled. He painted landscape and cattle, also frequently seaports with shipping, and especially drew the scenes along the banks of the river Maes ; but he diversified his style and subjects, painting portrait with great power, and cavaliers on horseback. His pictures are distinguished by luminous atmosphere. Among the many subjects which he painted he particularly succeeded in river scenes and frost pieces, with numerous figures on a small scale. During his life, and for more' than a century subsequent to his death, his works were comparatively little valued • since then they have risen enormously in price, 49 . Milking Cows. 2 ft, 2i in. w., 1 ft. 8 in, h. Formerly in the Gillott Collection. A girl with a straw hat sit tmg in foreground milking a dun coloured cow ; two elaborately finished large brass milk cans, such as they still use in Holland beside her ; other cows and figures in background; beautiful silvery effect. The principal group, including the milk cans, almost identi- cal with that of the large picture in the Bridgewater Collection. ofTuSd e geWeul Nati ° nal of Ireland ’ by John Hetioh, Esq., 31 . Small Cattle Piece. 1 ft. in. w., 1 ft. 3J in.in. Also from the Gillott Collection. Two cows and some sheen m a marshy landscape, with cloudy sky. The authenticity of this picture is doubtful, the sheep and foreground reminding one more strongly of the manner of Nicholas Berghem, J Purchased for the Gallery in 1873. CUYP — DAVID. 49 44. A Shooting Party (attributed to). 2 ft. 8J in. w., I ft. 10£ in. h. Panel. A sunny evening effect. A servant in blue dress holding a brown horse, another in red in foreground crouching and holding two dogs; a lady behind on a dun palfrey, shading her eyes from the sun ; a sportsman in the middle distance shooting apparently at sitting. game, at which a dog is setting. Large sandy hills in distance, with a chateau in the plain. A rich warm glow of sun, the figures highly finished, but with a free touch. Purchased for the Gallery, in London, in 1873. 22. Scene on the Ice ; Port in the Distance. 1 ft. 6| in. h., 2 ft. w. Oval ; on panel. Numerous figures are depicted in all the varieties of enjoy- ment and traffic on the frozen highway. A booth is erected on the ice, in front of which a sledge, full of travellers, is preparing to start ; a woman has fallen just in front, with her basket of eggs rolling on the ice. Purchased in London in 1864. DANBY, (Francis, a.r.a. and r.h.a.) ; born at Wexford, 1793 ; died, 1861. He was a student in the schools of the Royal Dublin Society, and ex- hibited his first works in Dublin. Went to England in 1819, where he resided at Bristol for some time. Exhibited his first picture at the Royal Academy the folio wingyear, after which he rapidly rose in public estimation, excelling in poetical and imaginative landscape; and from that time till his death was a frequent exhibitor. Was early elected an associate of the Academy. 162. The Opening of the Sixth Seal. 8 ft. in. w., 6 ft. 1 in. h. One of the most famous of the works of the master, exhibiting as it does, in the highest degree, all his best characteristics. The picture is well known from the engraving Purchased for the Gallery, in London, in 1871. DAVID, (Jacques Louis) ; born at Paris, 1748 ; died at Brussels 1825. French School. At twenty-one, David became a pupil of Vien, and after two years (in 1771) he successfully competed for the prize of the French Academy of Rome, the subject being the classic one of the combat of Minerva against Mars and Venus. After some years of labour he accompanied his master Vien, to Rome, in 1776, upon the appointment of the latter to be Director of the French Academy there ; and during his stay in Rome (until 1780) David devoted himself exclusively to the study of the antique, drawing in outline much oftener than painting. On his return, his picture of 1 Belisarius was accepted at the Academy in Paris, and in 1783 he was elected an Academician on the exhibition of his “Death of Hector.” After this he again visited Italy, and subsequently Flanders ; and he was ap- D 50 DAVID DOYLE. pointed Assistant Professor of Painting in July 1792. On the breaking out of the Revolution, however, David resigned the practice of art for a time, to plunge into the exciting scenes of political life, and united himself to the party of Robespierre. He was imprisoned upon the fall of Robes- pierre, and after having been twice incarcerated for several months, was only released in October, 1795, from which time he renounced politics and applied himself exclusively to his profession for the remainder of his life. On the creation of the Institute of France, David was, with Yan Spendonk, appointed to name the first members of the class of the Fine Are - , wd it was at the Institute that he became at this time acquainted with Napoleon Bonaparte, ever afterwards his friend, and, as Emperor, his patron and supporter. During the Empire he was decorated with the Cross of the Legion of Honour, and during the Hundred Days promoted to be commander in that illustrious Order. But on the restoration of the Bourbons, under the law of proscription of 1816, the great painter was obliged to exile himself from France for ever, at sixty-eight years of age. He then settled at Brussels, where he resided till his death. David was the great support of the Classical Academic School in France, and had numerous disciples, since celebrated among the most distinguished ol modern painters ; such as Girodet, Drouais, Gros, Gerard, Isabey, Ingres, Leopold Robert, Granet, &c. 167. The Death of Milo the Crotonian. 8 ft. h., 6 ft. 3 in. w. On canvas. The powerful figure of the Greek athlete is exhibited in an attitude of strained exertion, as he struggles to tear his hand from the split oak tree, which has caught him with irresistible power in his attempt to rend it a'sunder. Two wolves have seized upon him below ; one of them he has succeeded in tramp- ling on the ground, but the other has fastened himself on his victim. Presented to the Irish Institution, for the National Gallery of Ireland by Arthur L. Guinness, Esq., 1856. DICKSEE, (J. T.) of London. 135. Portrait of Sir Henry Montgomery Lawrence, k.c.b. Born in Londonderry, 1806 ; died at Lucknow, 1857. States- man and soldier. 3 ft. 1 J in. h., 2 ft. in. w. In Historical and Portrait Gallery. DOMENICHINO. [See ZAMPJERI, No. 7.] DOYLE, (John) ; born in Dublin, 1797 ; died, 1868. Studied in Dublin under Comerford and others. Went to London in 1823, where he soon afterwards commenced the publication of the famous series of political sketches known only by the signature IIB, which con- tinued to appear until about 1844. lie painted a few portraits in oil. 144. Portrait of Christopher Moore , r.ila. Born in Dublin, 1790 ; died, 1863. Sculptor. 1 ft. 1 If in. h., 1 ft. 7J in. w. In Historical and Portrait Gallery. DYCK — EVERDINGEN. 51 DYCK, (Anton van) ; painter and engraver ; born at Antwerp, the 22nd March, 1599, died at Blackfriars, London, 10th December, 1 G 4 1 . Flem ish School. His father, Frans Van Dyck, a painter upon glass, placed him under Van Balen, in 1610 . Subsequently he entered the School of Rubens, and made such rapid progress as to be soon able to aid him in his great works. He was made a member of the confraternity of Saint Luke on the 11th Feb- ruary, 1618 . Van Dyck went to Italy in October, 1621 , and on his arrival at Genoa, executed a number of portraits which brought him into great repute. In 1622 he went to Rome, where he copied the chefs d’ceuvre ; passed on to Florence, to Bologna, and to Venice, where he studied with ardour the works of the great colourists, and returned by Mantua to Rome in 1623 . Returned to Genoa, he was invited by Emmanuel Philibert, of Savoy, Viceroy of Sicily, to his court at Palermo, where he made a long stay. After a residence of more than three years in Italy, where he left a number of remarkable works, especially portraits of rare excellence, Van Dyck returned to Antwerp in 1625 , by way of Paris, where he stayed a short time. He arrived in London towards the close of 1627 ; but dis- appointed at not receiving the encouragement he had expected under Charles I., he returned to Antwerp, and for six years continued painting numerous works in the Low Countries. The immense reputation which he thus acquired, induced Charles I. to recall him to England, and soon after his arrival in 1632 , he was loaded with riches and honours. He received from the king a considerable salary, was knighted on the 5th July, 1632 , and appointed Principal Painter to the King. He died at Blackfriars, at the age of forty -two ; it is said from the effects of overwork. He was buried in Saint Paul’s Church, near the tomb of John of Gaunt. 9. Lady Elizabeth Woodville invited by Edward IV. to visit him in his Tent (attributed to). Bequeathed by the late Thomas Hutton, Esq DYCK, (Herman). Living in Munich. 169. The Last of the Brotherhood. Presented by Thomas Berry, Esq., ll.d. In Modern Gallery. EVERDINGEN, (Albert Van); painter and engraver; born at Alkmaar, 1621, died there in November, 1675. Dutch School. His first masters were Roland Savery and Peter Molyn (called Tempesta). Everdingen painted landscapes, animals, and sea pieces, and particularly excelled in representing storms, pine forests and waterfalls. Having been thrown by a tempest on the coast of Norway, during a voyage which he made on the Baltic Sea, he was enabled to make numerous studies, which were of the greatest use to him in the style of which he was the creator. Bakhuysen was his pupil ; and he appears to have had much influence on the manner of Ruysdael, who evidently copied him intentionally. Albert Everdingen had two brothers, who were also clever painters. Cesar, painter, designer, and architect, born in 1606 , died in 1679 , was a pupil of Jan van Bronkorst, and painted portraits and historical subjects. John, the second brother, was Cesar’s pupil, and painted chiefly subjects of still life. He was by profession a lawyer, and his artistic works are rare. He died in 1656 . 52 EVERDINGEN — FONTANA. Landscape Study. 2 ft. 1 in. h., 2 ft. 7-| in. w. On canvas. A dark mountain torrent, with broken trees lying across. Presented to the Gallery by Robert Clocston, Esq. FLINCK, (Govaert) ; born at Gleves, in 1614 ; died, 1660. Dutch School • His father was treasurer of his native town, and destined him for com- mercial pursuits; but his predilections for art were too strong, and he ultimately devoted himself to it. He was first a scholar of Lambert Jacobs ; afterwards entered the school of Rembrandt, and became one of his most distinguished followers. He painted historical subjects and por- traits with great success. He received important commissions from the magistrates of Amsterdam for the Stadt House. His style varied from that of his great master, being far behind him in poetic conception and depth of effect ; but his works are characterized by truthfulness in compo- sition and colour, which are gradually raising them in the esteem of connoisseurs. 64 . Bathsheba s appeal to David. 3 ft. 8 in. H., 5 ft. w. On canvas. The painter has here sought to illustrate the 15th, 16th, and 17th verses of first chapter of 1 Kings, which record Bathsheba’s appeal to David in favour of her son Solomon : — “ And Bathsheba went in unto the king into the chamber ; now the king was very old, and Abishag the Shunammite ministered unto the king. And Bathsheba bowed and did obeisance to the king. And the king said to her, What wouldest thou ? And she said unto him, My lord, thou swarest by the Lord thy God unto thine handmaid, saying Assuredly Solomon thy son shall reign after me, and he shall sit upon my throne.” The aged king leans towards Bath- sheba, placing his hand upon the regalia upheld upon a cushion by the Shunammite woman, in assurance of assent to the claim of Solomon’s mother. Signed and dated, G. Flinck, f. 1651. Purchased in London, in 1867. FONTANA, (Lavinia) ; born, 1552; died, 1614. Bolognese School. She was one of a Bolognese family of painters, daughter of Prospero Eontana, an artist of some eminence, who was also her master. She painted many large pictures in the churches of Bologna, and in other places, but obtained more reputation for portraiture than for historical subjects. She painted many portraits in Rome, where she spent the latter portion of her life. 76 . The Visit of the Queen of Sheba to Solomon. 10 ft. 7f in. w., 8 ft. 5 in, h. The picture is in reality a portrait group of the Duke of Mantua of the time, with his wife and family, and is most in- teresting as a representation of the costume of the period, the FONTANA — FYT. 53 ladies dresses especially being finished with much elaboration and being of the greatest magnificence; the jewelry alone in the picture would be an interesting study for the antiquary. The drawing on the whole is good, and the colouring excellent. The state is very pure, the picture having only left the palace for which it was painted a few years ago, when it was purchased by H.I.H. Prince Napoleon. It formed part of his collection in the Palais Royale when it was burned by the Communists in 1872, on which occasion a few pictures were saved, and subsequently sold at Christie and Manson’s in London, wdien this one was pur- chased for the Gallery, 1872. FRANCIA. [See Raibolini, No. 5.] FRANCKEN, FRANCK, or VRANCK, (Feanz); called the Elder, or more commonly, “ Old Francks ;” horn at Herenthals, or at Antwerp, about 1544; died at Antwerp, 1616. Flemish School. His father, Nicholas Franck (died at Herenthals in 1591), who was but an inferior painter, placed him in the studio of Franz Florio. He was member of the confraternity of Saint Luke in 1566, and deacon of it in 1588 and 1589. The Francks form a numerous family of artists, whose works, spread through all the galleries of Europe, are executed in nearly the same style, and are frequently confounded one with another. The genealogy of the Franck family, for want of sufficient documents, is not established in any certain manner, and their biographers do not agree as to either their precise relationship, or the dates of their births and deaths. 24 . Saint Christopher and the Infant Christ. 4 in. h., 5| in. w. On copper: in oil. The picture represents, in the foreground, Saint Christopher in the act of raising the Infant Christ to carry him across a river. The saint, according to his legend, is of gigantic stature, using an uprooted palm tree as a staff. A hermit, hearing a torch, stands a little behind, and a group of people, seated on the opposite bank, wait to be carried over. A troop of demons, and a house on fire, in the background, have also reference to the details of his story, which was a very favourite subject among the early painters. See Mrs. Jameson’s “Sacred and Legendary Art,” vol. ii. Formerly in the Kr'iiger collection, at Minden. Deposited in the Gallery by the Trustees of the National Gallery of London. FYT, (Jan.) ; born at Antwerp, 1625 ; died, 1671. Flemish School . One of the most eminent animal painters of his time, distinguished by the fidelity with which he painted from nature, as well living as dead animals. Singularly easy and spirited in touch. jffYT”GHIRLANi>AjO. Hi 43. Study of a Wild Boar's Head. 1 ft. 8J in. h., 2 ft. 3 in. w. Evidently painted from the life, and exhibiting great mastery in treating the varied surfaces of hair, teeth, tongue, &c. Purchased for the Gallery, in Dublin, in 1866. GAINSBOROUGH, (Thomas, r.a.) ; born, 1727 ; died, 1788. British School. A native of Suffolk. Developed a genius both for landscape and portrait painting at a remarkably early age, and rapidly rose to the highest popu- larity and success in the latter branch, retaining his position till his death. Was one of the original members of the Royal Academy. His pictures are distinguished by a facility and masterly simplicity of execu- tion, and an unfailing sentiment of colour that is most delightful ; and unlike his great contemporary, Reynolds, he was happy in adopting early in his practice a simple material and method of paintiug which is equally remarkable for brilliant purity of colour and durability ; his pictures generally retaining all their freshness unimpaired. He is esteemed by many the greatest colourist of the British School. 129. Portrait of Hugh, Duke of Northumberland, k.g. ; born 1712; died 1786. 2 ft. 5 in. H., 2 ft. w. Was Lord Lieutenant of Ireland, and as such, distinguished by the interest he took in the charitable and benevolent institutions of Dublin. Oval, with corners filled in, head and shoulders, in crimson dress with ribbon and star of the garter. A fine full- length portrait of His Grace was painted by Reynolds for the Corporation of Dublin, and is now in the Mansion House. Purchased for the Gallery, in London, 1872. GENISSON. [Living.] Flemish School. 168. Interior of the Church of St. Jacques , at Antwerp. Painted in conjunction with M. Willems. 5 ft. 3 in. h., 4 ft. 2 in. w. On canvas. Presented to the Irish Institution, for the National Gallery of Ireland, by the Earl of Charlemont, 1853. GHIRLANDAJO (Ridolfi Corradi), called ; born at Florence in 1485 ■ died in 1560. Florentine School. lie was son of Domenico Corradi, called Ghirlandajo from his father who had been a flower or garland maker. Ridolfi’s father having died when he was young, lie was taken in charge by his uncle, Davide Corradi. He studied under Fra Bartolommeo; and Raphael, when he visited Florence, was so satisfied with his ability as to have desired to enlist him as an assistant in his great works in the Vatican. His works have the stamp of transition of style, from the dry Peruginesque to the more developed style of Raphael and Michael Angelo. 98. Virgin , Infant Christ , and St. John , in a landscape. 3 ft. 3J in. h., 2 ft. 4 in. w. On panel. The Virgin, Infant Christ, and St. John, form a group in the foreground of the picture, while the figure of St. Joseph in the CHIRLANDAJO — GOZZOLI. 55 background advancing with an ass, would indicate the prepara- tion for the flight into Egypt. Painted in tempera. Purchased in 1866 in Paris, at the sale of the Comte de Choiseul’s collection. GIORGIONE, (Giorgio Barbarelli) ; born, 1477; died, 1511. Venetian School. He was born at Trevigi, and showing talent for art when a youth, was placed as a pupil with Giovanni Bellini, somewhat before the time at which Titian entered his school. He was the first to break away from the some- what stiff manner of his master, and in his short life carried breadth and mastery of handling, and rich and harmonious colouring, to its highest point ; he may claim to have been in these qualities more than Bellini, the real master of Titian. Very few of his oil pictures remain, and his frescoes have, for the most part, either disappeared, or are much injured. The figure on the left in the pictui’e No. 100 under the name of Bellini. A thoroughly characteristic and powerful piece of painting. GOZZOLI, BENOZZO DI LESE ; born at Florence in 1424 ; still living in 1485. Florentine School. He was a pupil of Fra Giovanni da Fiesole, (called Fra Angelico), with whom he worked at Orvieto, in 1447, and whose style he imitated in the paintings which he made from 1460 to 1452, in the churches of Monte- Falco, a little town of Umbria. He afterwards painted in a less stiff man- ner at Florence ; but it was at the Campo Santo of Pisa that he accom- plished his greatest work. He painted there, in fresco, on a wall which occupies the whole length of the edifice, a series of twenty-four pictures from the Old Testament — a colossal enterprise, which was commenced in 1469, and terminated in 1485, not finished in two years, as has been pre- tended. The Pisans erected a tomb to him during his lifetime ; it is in the middle of the Campo Santo, with the date 1478, and bears an epitaph, whicli Vasari has preserved. 110 . History of Lucretia. 1 ft. in. h., 4 ft. 11 in. w. On panel. According to tbe fashion of the very early period of the art to which this work is to be referred, several incidents are repre- sented in the same picture. It is divided into three compart- ments : the first containing the Suicide of Lucretia ; the second, the Oath of Brutus over her dead body ; and the third, the Ex- pulsion of the Tarquins. It was formerly customary in Italy to send wedding presents in chests or boxes painted with suitable scenes, often by the best masters of the day ; and this appears to be a panel from such a chest. The story of Lucretia was very frequently chosen as one of the subjects for this species of decora- tion. This picture has also been attributed to Filippo, and to Filippino Lippi [see Lippi.] It possesses something of his silvery delicacy of colour, and is full of fine dramatic expression. In good state. Purchased in Eome, 1856, for the National Gallery of Ireland. 56 GOSSAERT — GUEROINO. GOSSAERT, (John, called Jan de Mabuse); born at Mabeuge (Mabuse), in Hainault, about 1470 ; died in Antwerp, in 1532. Flemish School. The exact date of his birth, and the name of his master, are alike unknown. He travelled a good deal ; first in England, where his earliest known picture is still extant at Hampton Court — portraits of the three children of Henry VII., dated 1495. He followed Philip de Bourgogne, Ambassador of Maximilian, to the court of Pope Julius II., where he sojourned for upwards of twelve years, copied the remains of ancient art, and the works of the modern painters; and, on his return to the Low Countries, accomplished the revolution in art which had been commenced by Quentin Matsys. He inhabited Utrecht and Middelburgh for a long time, and was much engaged in painting portraits and subjects from his- tory. After the death of the prelate, Philip of Bourgogne, he entered the service of the Marquis de Veere. His pictures possess great interest from the wonderful detail and power of colour ; and also as exhibiting, after his sojourn in Italy, the influence of Italian study. The finest work of his perhaps extant, is the well-known “ Adoration of the Magi,” at Castle Howard, which was obtained by the late Earl of Carlisle from the Orleans collection. 5. Virgin and Infant Christ. ] 1 J in. n., 9| in. w. On panel. The Virgin is seated in a niche ; the Infant on her lap, spring- ing forward, with outstreched arms, looking upwards ; round the arch of the niche is inscribed G e. 3. Mulieris Semen IHS. Serpentis Caput Contrivit. Mabuse has repeated this treat- ment several times. A signed picture is in Munich. Similar works in the Belvedere at Vienna, and in Madrid. From the Beaucousln collection. Deposited by the Trustees of National Gallery of England. GREY, (Charles, r.ii.a.). British School. 164. Glen Isla; in the Highlands of Scotland. Presented to the Gallery by Alexander Thom, esq. (In Modern Gallery.) GUARDI (Francesco); born at Venice in 1712; died in 1793. Venetian School. He was a pupil of Canaletto’s, whose style he followed ; but his works are distinguishable by a freedom of pencil and of motion superior to other scholars of this master, and in many respects preferable to the laboured conventionalism of Antonio Canal himself, in some of his works. tf2. The Doge's State Barge. 1 ft. 3J in. h., 1 ft. iO-J in. w. On canvas. The gilded barge is represented in full speed, bearing, pre- sumably, the Doge to his espousal of the Adriatic. The scene is alive with gondolas in motion. Purchased in London in 1864. GUERCINO. [See Barbieri.] HAARLEM — HAUBER. 57 HAARLEM (Dirk, Theodore Van); born at Haarlem about 1410 ; died, 1470. Dutch School. Although Van Mander speaks very highly of this painter, as one of the earliest founders of the Dutch School, he makes no mention of his master. Yet his style evidently points to the school of Van Eyck and Memling Niewenhuys indeed, in describing pictures undoubtedly by him in the collection of the King of Holland, points out the decided similarity of style. His proper name was Stuerbout, and he was called Dirk Von Haarlem from his birth in that town, and Dirk de Louvain from practice of his art there. From the similarity of style, his works at Louvain and elsewhere have been attributed to Memling. 4 . St. Luke sketching the Virgin. ] ft. 1 \ in. h., 1 ft. 2 in. w. On panel. The saint, as depicted here, is almost a da capo of St. Luke, in the well-known picture by Van Eyck, in the Munich Gallery. The picture, obviously of the time and school, was attributed to Memling ; but is probably more correctly attributed to Stuerbout. Purchased in 1866 at the Choiseul sale in Paris. HARLOWE, (George Henry) ; born 1787 ; died 1819. British School. Born in Loudon ; a pupil and assistant of Sir Thomas Lawrence, whose style he imitated in his portraits, to which, however, he did not confine himself, having painted historical subjects with great success, the chief of which, “ Wolsey receiving the Cardinal’s hat,’’ is well known from an excellent engraving. Had lie lived, he would doubtless have taken a high place in the British School. 160 . Portrait of Miss Boaden (a singer), sketch. 1 ft. 1 in. h., 10 in. w. In Modern Gallery. HARWOOD. [Living.] British School. 142 . Portrait of Samuel Lover, r.h.a. ; born 1797 ; died 1868. Painter, Novelist, Musician, and Lyrical Poet. Purchased for the Gallery, in Dublin, 1872. In Historical and Portrait Gallery. HAUBER, (Wolfgang) ; flourished about 1515 to 1540. South German School. This painter, whose merits may be j udged from the present example, which, in the qualities of accurate drawing, high finish, and strong indi- viduality, falls little short of the works of Hoibien or Albert Durer, is but little known from his pictures, which are few, although his engravings are known and prized by collectors. He was a pupil of Altdorfer. 15 . Portrait of Anthony Ilundertpfundt. 2 ft, 2 in. h., I ft. 6J in. w. Panel. A gentleman, in the loose robe of the time, lined with thick black fur, looking to right, dull red sleeves, hands easily clasped ; a stone wall back ground in perspective, with the following in- scription and signature on tablet : — Anttai-Hundertpfunt-ist all! 51 lav-Dx-MA.N 1526 WH 58 II AVERT! — HELST. Above the wall is seen a blue sky with fleecy clouds. In singularly perfect state for a picture of the time. Purchased for the Gallery, in London, 1872. From the collection of the Marquis de Blasil. HA VERT Y, (Joseph) ; born ; died British School. 166 . The Blind Piper. Presented to the Gallery by William Smith O’Brien. (In Modern Gallery.) HEEM (Johan Davidsz he) ; born at Utrecht, 1600, or according to some, in 1604 ; died at Antwerp, 1674. Dutch School. He was pupil of his father, David de Htem, whose manner he followed, but excelled. He painted fruit, flowers, still life, gold and silver plate, and crystal vases, with a rare perfection. In 1670 he quitted his country, in order to escape the troubles of the war, and settled with his family in Antwerp. He had two sons, Cornelius and John, who painted in his style, but were far inferior to him. Many pictures are known, signed by Cor- nelius, but very few by John ; because it is said the father retouched them so adroitly, that they passed for works entirely by his own hand. John David de Ileem had also for pupils, Abraham Mignon and Henry Schook. 11 . Fruit Piece. 2 ft. in. h., 2 ft. 1 in. w. On canvas. A group of grapes and other fruit suspended from a blue rib- bon ; a crucifix, skull, serpent, bread, and wine, on a marble slab. There seems to have been an intention on the part of the painter to symbolize life, death, sin, and salvation. The elements of life, bread and wine; the skull, with a fly settled upon it, death; and the crucifix, round which a serpent twines, rising above it, sin and salvation. Signed J. De heem, A.D. 1653. From the collection of M. Schamps, Ghent. Purchased inLondon in 1863. HELST, (B. Vander), painter; born at Haerlem in 1613, died in 1670. Dutch School. Little is known of this master, save that he resided constantly at Am- sterdam, and was highly distinguished and in good practice there as a portrait painter. His chief work is in the Stadthouse, and may fairly rank with the masterpieces of the world. It represents a company of trained bands, about thirty figures, whole length ; the Spanish Ambassador is introduced, and is shaking hands with the chief of the band. It was painted in 1648. Vander Heist also painted subject pictures; but his great reputation rests upon his portraits. lie married at an advanced age, and had one son, who also painted portraits, but with little success. 55 . Portrait of a Man in Black Dress. 3 ft. 4| in. h., 2 ft. 9 in. w. On canvas. Half-length, life-size, of a person of middle age, with moustache, and hair combed down upon his forehead ; looks full out of the picture ; the left hand rests upon the hip, and in the right he holds his hat, which he seems to have just removed from his head. Signed, B. Vanderhelst. 1645. Purchased in Paris in 1864. HEtST— HERKING. 59 65 . Portrait of an old Lady. Oval ; 2 ft. 3£ in. h., 1 ft. 1 \\ in. w. On panel. Life size bust of a lady, aged 54, in a black silk dress, witli cap and large neck ruff, looking full at the spectator. Signed and dated B. Vander Heist, 1647. From the collection of William Brocas, Esq., R.H.A. Purchased in Dublin in 1866 HERRERA (Francisco de), called el Mozo, or the younger; painter and architect; born in Sevilla, in Spain, 1622 ; died in Madrid, 1685. Spanish School {of Seville). Herrera the younger was the son, and in boyhood the pupil, of Fran- cisco de Herrera, el viejo, or the elder, a distinguished artist of the early school of Seville. The severity of his father’s character, however, early drove him from his home, and he fled very young to Rome. Here, instead of studying Raffaelle, and the other greater masters, he attended to colouring alone, and devoted himself to architecture, and in particular to the science of perspective. He became celebrated for his graceful and easy representation of still life, game, and meats— the subjects called by the Spanish, bodegones — and his fish were considered so excellent, that he was called in Italy, emphatically, il Spagnuolode gli pesci, or “the Spaniard of the Fish,” among the painters. Returning to Seville, after his father’s death, Herrera el Mozo competed with Murillo in more ambitious works, and was in 1660, on the foundation of the Academy of Seville, named Second President, or Director— Murillo being the First President. Passing afterwards to Madrid, he undertook and successfully completed a great work of painting— the Assumption of the B. Virgin, in the cupola of the chapel of Atocha— which gained Herrera the appointment of Painter to the King, Philip IV. Cean Bermudez (vol. ii., p. 283), observes that Herrera’s excellence m painting does not go beyond an agreeable style of colouring (in which he is fond of reidish tints), bold contrasts of light and shade, and a certain fire and vigour of composi- tion. He is different from his father in his mode of laying on his colours, but he imitated his style in still life subjects ( bodegoncillos ), and excelled him in his painting of flowers. HERRERA, [Attributed to]. 40 . Sportsmen returned from the Chase. 4 ft. lOf in. h., 6 ft. 8J in. w. On canvas. Apparently a family group ; figures nearly life size. It is not known with certainty who painted this powerful picture, but it has been attributed to Herrera. Presented to the Trustees of the National Gallery in London, by Robert Goff, Esq., 1856. Deposited by them in the National Gallery of Ireland, 1857. HERRING, (J. F. senior); born, 1795; died, 1870. British School. An animal painter of eminence. A Black Horse Drinking from a Trough. 1 ft | in. h., 1 ft. 5| in. w. Presented to the Gallery by Dr. Barry. In Modern Gallery. 60 HOGAN HOGARTH. HOGAN, (John) (Sculptor); born, 1800; died, 1857. British School. A native of Cork, where he acquired considerable proficiency in his art, and gained some reputation ; he, however, was enabled to go to Rome to complete his studies, and there produced original works which won him a high position in his profession. On his return to Ireland he settled in Dublin, and was much employed, chiefly in portraiture. Ilis own bent was, however, towards the higher and more imaginative aims of his art, and he excelled both in classical and religious subjects. ISO. Portrait (marble bust) of the Most Rev. Dr. Murray , R C. A rchbishop of Dublin. Presented to the Gallery by the Rev. Christopher Burke, p.p. In Historical and Portrait Gallery. HOGARTH, (William) ; born, 1698 ; died, 1764. British School. Born in London, the son of a schoolmaster, he commenced his artistic training in the service of a silversmith, for whom he engraved coats of arms, &c., on plate. He afterwards studied drawing from the living model at the academy in St. Martin’s-lane, and rapidly developed a genius which places him in an unique position in the British, and entitles him to a high rank amongst the famous of all schools. He may be said to have invented the method of telling an original story by a series of pic- tures, and in those of the “ Rake’s Progress” and the “Marriage ala mode,” produced works which in their way have never been approached, whether we consider the original invention displayed, the power with which the story is told, the admirable character of all the figures, the grouping, or the drawing and colour. It was, however, chiefly by his engravings from these and other works that he was known and famed in his own time, and that he made a good income. He also excelled in his portraits, some of which will bear comparison with those of any of his contemporaries. His reputation as a painter is perhaps greater now than at any previous period. He died at his house in Leicester Fields in 1764. 126. Portrait Group of. King George II., his Queen, Caroline , Frederick, Prince of Wales, his Son, afterwards George III., and Daughters, the Princess of Hesse. 1 ft. 21 in. w., 1 ft. 7f in. h. This picture is the sketch or design for a larger work, which was never painted. Hogarth offended the King shortly after making it, by the publication of bis print of the March to Finchley,” which his majesty took to be a caricature of his guards, and he never again employed him. In this sketch, evidently from life, the painter seems to have been influenced by the atmosphere of the court, for there is an elegance and refinement about every touch of it which is not usual in his works, but which recalls the unfinished pictures of Watteau and Pater. It was formerly in the Willet collection, so famous for its Hogarths, and is engraved by Ryder in “ Ireland’s Graphic Illustrations.” Purchased for the Gallery in 1874. In Historical and Portrait Gallery. HOGARTH — JANSSEN. 127 . Portrait of Gustavus Lord Boyne. Small full length, of which several repetitions are known. This one was purchased at the Willett sale. Presented to the Gallery by Mrs. Noseda. In Historical and P ortrait Gallery. HONDEKOETER (Melchior) ; born at Utrecht, 1636 ; died there, 1695. Dutch School. He was at first a pupil of Gysbert Hondekoeter, his father, a painter of birds. Afterwards, at 17 years of age, he placed himself under the direc- tion of his uncle, J. B. Weenix. From his youth he endeavoured to represent the various species of birds with great accuracy, and particularly hens, cocks, and ducks, in which he was very skilful. 42 . Noalis Ark. 5 ft. 7| in. h., 7 ft. 11 in. w. On canvas. The picture represents the landing of the various creatures from the ark; in the foreground barn fowl and animals. These are by Hondekoeter; tbe landscape by J. B. Weenix. [See Weenix/] Deposited with the Irish Institdtion, in 1854, for the National Gallery of Ireland, by the Earl of St. Germans, then Lord Lieutenant. HUYSUM, (Jan Van) ; born at Amsterdam in 1682 ; died in 1749. Dutch School. He was a scholar of his father, Justus Van Huysum, and for some time painted scenes and decorations in conjunction with or in the manner of his father. Ultimately he became distinguished as a flower painter almost unrivalled. He also painted landscapes ; but his flower pieces were sought after with avidity, and realized very high prices. There is wonderful pre- cision and beauty of colour in most of his works ; while others are scattered in composition, and inharmonious in arrangement. His most distinguished pupil was Margaret Haverman ; and it is said that many of her works have been sold for those of her master. 61 . Bouquet of Flowers suspended from the Branch of a Tree. 2 ft. 2i in. h., 1 ft. 10 in. w. On canvas. This picture was in the collection of Wynne Ellice, Esq. Purchased in London, 1864 ; an exquisite example, and in perfect condition. JANSSEN, (Cornelis J.) ; born at Amsterdam, in 1590 ; died in 1665. Dutch School. Some say that Janssen was born in England ; at all events, he visited England in 1618, and remained there until 1648. He was distinguished, as a portrait painter, for fidelity, clearness of colour, and great finish. He was much employed in London, where, during the reign of James I., and early in that of Charles I. he held the first place, but after the arrival oi 62 JANSSEN — JORDAENS. Van Dyck his practice ell off. After his return to Holland he continued to paint portraits, with much success, up to the period of his death. He painted chiefly on panel. 36 . Portrait of a Gentleman. 2 ft. 21 in. h., 1 ft. 10 in. w. Bead and shoulders. A young man with long brown hair, looking out of picture, black dress, one hand visible holding up cloak. Painted with great force and firmness. Purchased for the Gallery, in Dublin, 1874. 39 . Portrait of a Lady of the Audley Family. 2 ft. 2J in, h., 1 ft. 9i in. w. The lady is in the dress of the latter part of James I. or early part of Charles I.’s reign : square cut body, lace standing ruff. The face finished with exquisite delicacy, and up to the highest standard of this master’s works. One hand only is seen. Purchased for the Gallery, in London, 1872. JONES, (Thomas Alfred) ; President of the Royal Hibernian Academy. 123 . Portrait of the Right Hon. Henry Grattan ; born, 1750; died, 1820. Patriot, Statesman, and Orator. 3 ft. 7 in. Copied from the portrait by Ramsay in the possession of the Grattan Family, and presented to the Gallery by the Lady Laura Grattan in 1873. In Portrait and Historical Gallery. 132 . Portrait of the Right Hon. Sir Maziere Brady, hart., Lord Chancellor of Ireland, &c. ; born, 1796 ; died, 1871. 7 ft. in. h., 4 ft. 3f in. w. Solicitor-General for Ireland, 1837 ; Attorney-General, 1839 ; Chief Baron of the Exchequer, 1840 ; and three times Lord Chancellor of Ireland — 1846, 1853, and 1859. One of the founders and chief benefactors of the National Gallery of Ireland. Presented to the Gallery by his widow, Lady Brady, in 1874. In Historical and Portrait Gallery. JORDAENS, or JORDAANS (Jacob) ; painter and engraver; born at Antwerp, 20th May, 1593 ; died in the same city, 18tli October 1678. Flemish School. In 1663 he entered the atelier of Adam van Noort, and was admitted into the Confraternity of Saint Luke, in 1616. He married Catherine von Noort, his master’s daughter ; and shortly after his marriage, he and his JORDAENS 63 father-in-law adhered to the Reformed Church. Rubens ever gave him friendly counsels, and engaged him sometimes to carry out his designs from cartoons. He passed all his life in his native town, where he enjoyed a high reputation and a considerable fortune. Endowed with great facility, assiduous at his work, he produced a quantity of remarkable works, which place him among the first painters of his country. 69 . Holy Family. 4 ft. h., 3 ft. w. On panel. The Virgin holds the infant Christ, standing upright, with a string of beads hanging in his hands; Saint John the Baptist looks out at his feet; and Saint Joseph looks over the infant’s shoulder. Presented to the National Gallery of England, in 1838, by the Duke of Northumberland. Deposited by the Trustees. 46 . Theology. 9 ft. 2 in. h., 7 ft. 7 in. w. A female figure seated on a lion, high up in the centre of the picture, supports the Eucharist ; the Holy Spirit, in shape of a dove, appears above her head, whilst angels hover around in the clouds. Below sits the infant Christ, with a cross upon his shoulder, seated on a globe, and holding out a burning heart. Saint Jerome, Saint Augustine, Saint Gregory, and Saint Ambrose, the four Fathers of the Church, kneel in various attitudes of ado- ration. To the left of the picture stand Saints Peter and Paul ; on the right Saints Sebastian, Agatha, and Catherine, leaning on the wheel, with the palm of martyrdom in her hand. This picture has also been attributed to Rubens, and it can scarcely be doubted that parts of it are from his hand; for instance, the nude figure of Saint Sebastian, which for flesh painting and drawing is equal to his finest works, and far surpasses the known figures of the same kind by Jordaens. The composition also possesses more dignity than is exhibited in similar subjects by the latter. Purchased in London, in 1863. 57 . The Supper of Emmaus. Our Lord sitting at table with the two disciples ; he is in profile, breaking the bread, with the face raised and the eyes turned up ; a finely painted head, worthy of Rubens. The disciples in atti- tudes of astonishment, expressed with all the rough vigour of the master. A typical inn-keeper is pouring wine from a flagon into a glass ; a paroquet, which Jordaens often introduced into his pictures, perched on a rod over his head, against an opening in the wall through which the sky is seen. A woman in the back- ground raises a dish from the table, her head seems at some time to have been badly repainted after some injury. On the whole a characteristic picture of the master, only redeemed from boorish coarseness by the refined and elevated expression in the head of Our Lord. An opportunity is afforded for a very instructive study of the 64 LANDSEER. different characteristics of the Flemish and Italian schools, by comparing this picture with that of the same subject, attributed to Titian, on the opposite wall. The contrast between the mode of apprehending and treating the event represented could hardly be greater or more illustrative of the spirit of the two nations. It must be acknowledged, however, that in the one point of the ex- pression of the chief head we find an unexpected superiority in the Flemish master. LANDSEER, (Sir Edwin, r.a.) ; born, 1802 ; died, 1873. British _ Distinguished for singular precocity of genius, having exhibited his first picture, which in some qualities he never excelled, when little more than fourteen, and gained the rank of Associate of the Royal Academy at the age of twenty-four, and academician at twenty-eight. He continued till his death a prolific exhibitor at the Royal Academy. He was, perhaps, the greatest animal painter that ever lived, for although in some qualities he may have been surpassed by others, yet in his minute knowledge of and insight into animal nature, and the great popular sympathy with animals which his pictures excited, in the intense and varied expression he imparted to them, in the wide range of his subjects, in the thorough knowledge of drawing, and masterly handling of the brush, he is unrivalled, and his place in art is a special one. Perhaps no painter was ever more thoroughly and widely appreciated in his own time by all ranks and classes, and certainly none have enjoyed, in an equal degree, the advantage of reproduction by engraving, very few of his works remaining unengraved, and no artist has had greater justice done to him in reproduction. The engravings of his father, of his brother, Thomas, and of the more famous Samuel Cousins, having done for him all that was possible by that art. He will also be known to posterity as a sculptor, by the crouching lions round the base of the Nelson Column in Trafalgar- square. He was knighted by the Queen in 1 850. 139 . A Portrait Group. (Members of the Sheridan This painfully interesting picture, painted in 1847, and never finished, represents Mr. Charles Sheridan, grandson of the Right Hon. Richard Brinsley Sheridan, during an illness from which he never recovered. Fie was in the diplomatic service, was a young man of the highest promise, and died at a villa near Paris, where the picture was painted. Fie reclines languidly in an invalid chair, with a spaniel on his lap, while a little King Charles dog sleeps by his side. Beside him sits his sister-in-law, Mrs. Thomas Sheridan, with a little girl, her daughter, sitting on her knee, whose sad expression shows that she is conscious that something is amiss ; she has just been called to cease her play, and her mother, who has been reading the paper to the invalid, looks to see if even that may not have fatigued him. The ease and grace of the whole composition is striking, as also the masterly execution, every touch bearing the stamp of having been done from nature. Landseer kept the picture in his own room till his death, and it was purchased for the Gallery at the sale of the works which he left behind him, in 1874. In Historical and Portrait Gallery. School. LANFRANCO — LAWRENCE. 65 LANFRANCO, II Cat. Giovanni di Stefano ; born at Parma, in 1580, according to Passeri ; in 1581 and 1582 according to other biographers ; died, 29 November, 1647. Lombard School. Lanfranco’s parents placed him as a page in the service of Count Scotti, at Plaisance. The Count remarking his happy talent for drawing, sent him to the atelier of Augustino Carracci, then in the service of the Duke Ramiccio, at Ferrara. He made rapid progress, and one of his works was immediately deemed worthy of being placed in the church of Saint Augustin of Plaisance. He studied with ardour the works of Correggio. At the age of twenty he went to Rome, and put himself under the direction of Annibale Carracci, who employed him in his works in the Farnese Gallery. He was much patronized, subsequently, by Paul Y.,and acquired great reputation by his pictures in ditferent churches, above all by those which he executed in the dome of Santo Andrea della Valle. Called to Naples to paint other domes, he united with Ribera and the other artists of the country against Domenichino. The troubles which broke out in Naples in 1646 sent him back to Rome. He was knighted by Urban VIII., and died the very day that the pictures were uncovered which he had just finished in the tribune of Carlo Catinari. Lanfranco seemed born for colossal enterprizes, and his frescoes were far superior to his oil paintings, particularly to those of moderate size. 72 . The Miracle of the Loaves. 7 ft. 6 in. h., 14 ft. w. On canvas ; figures in foreground larger than life. Christ stands in the centre of the picture, pointing to a basket of loaves borne aloft by one of the Disciples. In the foreground variously disposed groups express their wonder. In the middle distance the multitude are grouped on a hill. 67 , The Last Supper. 7 ft. 6 in. h., 14 ft. w. On canvas ; figures full life size. Christ, seated in the midst of the Twelve, is in the act of bless- ing bread. Painted with immense spirit and force, with strong light, and which seems to indicate the influence of Ribera, and therefore places them in the period of his residence at Naples. These two pictures were formerly in the Fesch collection — See George’s Catalogue. Purchased in Rome for the National Gallery of Ireland m 1856. LAWRENCE, (Sir Thomas, r.a.) ; born, 1769; died, 1830. British School. Born at Bristol. His family settled in Bath in 1782, where he studied art under Mr. Hoare, and at the age of thirteen gained the prize of a silver palette from the Society of Arts for a copy in chalk of Raphael’s Transfiguration. Settled in London in 1787, where he became acquainted with Sir Joshua Reynolds, and in the same year exhibited several portraits at the Royal Academy, they at once gained him great popularity and practice, which he retained in an almost unprecedented degree until his death in 1830. He was elected associate of the Royal Academy in 1791, and Academician shortly afterwards. In 1792, on the death of Reynolds, he was appointed principal painter in ordinary to the King, and also in succession to him, painter to the Dilettante Society. He was knighted in 1815 after having completed for the King the fine series of full length portraits of the sovereigns, chief statesmen and generals of Europe, which adorn St. George’s Hall, Windsor Castle. In 1820 ho succeeded West as President of the Royal Academy. His portraits are distinguished by much grace and dignity, which sometimes degenerated into affectation and in his later works his colouring had a glaring and almost meretricious character, which rather injured his reputation. His drawing of the face is almost always admirable, E 66 LAWRENCE LICINO. 65. Portrait oj Morrough O'Brien , fifth Earl of and Marquis of Thomond ; born, ; died, 1808. The intimate friend of Burke and Reynolds, he married the niece of the latter. In Historical and Portrait Gallery. LELY, (Sir Peter) ; born 1617; died 1680. Dutch School. Born in Westphalia ; lie received his art education at Haarlem under Felix Grebber, and came to England upon the death of Vandyck in 1640. He was patronized by King Charles I., and remaining in England through all the vicissitudes of the latter part of his reign and the Commonwealth, became on the Restoration court painter to Charles II., and. remained in great fashion and practice until liis death. It is in connexion with his paintings of this period, and especially of the beauties of the court, that his name is chiefly known. He began by imitating Yandyck, some of his best pictures rivaling those of the latter, but fell into a much more artificial style, probably due to the influences by which he was surrounded. 136. Portrait of James, first Duke of Ormonde. The famous statesman who played so prominent a part in the history of Ireland during the reigns of Charles I. and II. Full length, a replica of a portrait at Kilkenny Castle. Presented to the Gallery by the Earl of Carlisle, when Lord Lieutenant. LICINO, (Gio. Antonio, called II Pordenone) ; born at Pordenone, a city of the Friuli, 1484; died, 1539. Venetian School. He assumed the name of Regillo, it has been said, because of renounc- ing his family name of Caticello, when wounded in the hand by his brother. He is, however, commonly called II Pordenone. He studied in liis youth the works of Pelligrino at Udine, and subsequently adopted the manner of Giorgione, but following always the bias of his own genius. He painted at Udine and Piacenza, and has left a great many frescoes, in the latter of which he displayed the highest degree of merit. His fancy was rich and vigorous, and he possessed an extraordinary skill in the arts of perspective and foreshortening. He was a rival of Titian ; and so great was the hostility between the rival artists of his day in Venice, that he was accustomed for some time even to paint with arms by his side. The emulation between Pordenone and Titian was said to have been most useful to both artists. Licino was highly favoured, and presented with the title of knight by Charles V. ; he was afterwards invited to the court of Ercole, the second Duke of Tuscany, where he died, not without sus- picion of having been poisoned. Three relatives of the name of Licino were his pupils, and have been much commended. 88. Half-length Portrait of a Count of Ferrara ( with a dog.) 3 ft. 7 in. h., 3 ft. 2| in. w. On canvas. A fine example of the master. Three-quarters length, stand- ing, his left hand resting on a dog’s head, the face showing a young man of about twenty; full of interesting character, with a strong Venetian glow of colour. Purchased in Rome, October, 1856, for the National Gallery of Ireland. LIOINO LIESBORN. 67 86 , Half-length Portrait of Pellegrini Morosini , wife of Bartolommeo Capello, and mother of the celebrated Bianca Capello. 3 ft. 2 1 in. h., 2 ft. 7f in. w. On canvas. Purchased in Venice, December, 1855, by the Government, from the heirs of the Signori Capello. Deposited in the Gallery by the Trustees of the National Gallery of London, 1857. LIESBORN (The Master of). Early Westphalian School. St. Margaret. 2 ft. 7 in. h., 1 ft. 6| in. w. On panel: in distemper. The saint is seated on a dragon, and holds a chain by which it is bound. She wears the robes of a queen, and a crown of pearls, in allusion to her name (. Margarita , a pearl). The dragon is always introduced in the pictures of this saint, according to a very ancient legend (5th century), which states, that on being imprisoned, as part of her martyrdom, Satan appeared to her in the form of a frightful dragon, to terrify her into apostasy, and swallowed her alive; but that the beast immediately burst asunder, and she come forth unhurt. In these legends the Dragon is used as a type of Sin ; and the power of faith and innocence to overcome sin is the evident meaning of the allegory. [See Mrs. Jameson.] Formerly in the Kruger Collection, at Minden. Deposited in the Gallery by the Trustees of the National Gallery of London, 1857. St. Dorothea. 2 ft. 7 in. h. , 1 ft. 6 J in. w. On panel : in distemper. The saint sits on a flowery bank, in an open landscape, with a wreath of red and white roses on her head, a rose in one hand, and a basket of roses in the other. These, and three apples, are her particular attributes ; her story being, that while she was led to martyrdom, a young lawyer scoffingly asked her to send him some fruit and flowers from the Paradise of the Heavenly Bride- groom, whose dwelling she had described so well ; and Dorothea promised to do so. When she received her death-stroke, an angel appeared to the young man with a basket of fresh roses and apples, though it was winter ; and struck by the miracle, he also became a Christian. [See Mrs. Jameson.] Formerly in the Kruger Collection, at Minden. Deposited in the Gallery by the Trustees of the National Gallery of London, 1857. The two foregoing curious paintings are especially remarkable as representatives of the style of very early German art. They are the works of one of the first scholars of an unknown Westphalian master, who is recognised only under the title of the Master of Liesborn. They were taken from an ancient and now disused chapel in Lippstadt. LIESBORN, ( Early Westphalian School of). Unknown Master, 68 LIESBORN — LIPPI. Christ before Pilate. 3 ft. 2| in. h., 2 ft. 2 in. w. On panel ; in distemper. Our Lord wears liis crown of thorns, a coarse gray robe, and a cord round his waist, and is barefooted. He bends forward with an expression of weariness and pain, and does not look towards Pilate as he is pushed before him by the soldiers. Pilate, wearing furred robes and a golden chain, sits in the judgment chair, and looks at Christ, while he stretches out his hands to the other side that an attendant may pour water on them. His wife, richly dressed, touches him on the shoulder. Formerly in the Kruger Collection at Minden. Deposited in the Gallery by the Trustees of the National Gallery of London, 1857. Christ carrying the Cross. 1 ft. 5 in. h., 1 ft. w. ; arched at the top. On panel; in oil. Christ carries his cross, bending under it ; an executioner holds a cord by which he is bound, and seems about to strike our Lord with a stick. Three others also seem to hurry him on. The group is seen through an arch, or from within the porch of a house; and a landscape, with a town and steeple, appears in the distance. Formerly in the Kruger Collection at Minden. Deposited in the Gallery by the Trustees of the National Gallery of London, 1857. The two foregoing singular specimens of an early form of German Art were found in the Cathedral Church of Liesborn (or Marienfield), and date about the middle of the 16th century. They are chiefly remarkable as curious specimens of this school. LIPPI, (Fra Filippo) ; born at Florence about the year 1412, died at Spoleto, October 8, 1469. Florentine School. Filippo Lippi was left an orphan at the age of two years, and spent his youth in the convent called “Del Carmine,” at Florence, where he was formally received at an early age. His life was full of romantic adventures. When about seventeen years of age, he left the convent to amuse himself in a boat on the sea, and chanced to be seized by Moors, who carried him off as a slave to Barbary. After many years of captivity, he succeeded in returning to Italy, and he painted in Florence in 1438. He executed many important works for Cosmo de Medicis, and for the churches and convents of Florence and of Prato. From the convent of St. Margaret, in the latter town, he carried away Lucrezia Buti, a young girl whom he had seen and admired while painting there ; and the fruit of his union with her was his namesake, Filippo the younger, called (to distinguish him among painters from his father) Filippino Lippi. Filippo the elder work ed in the choir of the cathedral, at Spoleto, with Fra Diamante, when lie died (it is believed of poison) at the age of 57. 118 . St. Mark and St. Augustine. ( School of Fra Filippo Lippi.) 4 ft. 2 in. h., 1 ft. 8| in. w. In tempera on wood. This picture, arched at the top, represents the two saints standing, and is supposed to be a portion of the Barbadori altar- piece, No. 586, in Catalogue of National Gallery of London, with which it was obtained, at Montepulciano. Purchased in Florence from the Lombardi-Baldi collection, in 1857, by the Trustees of LIPPI — MAAS. 69 the London Gallery, and by them deposited in the National Gallery of Ireland. LOUTHERBOURG, (Philip Jambs, de) ; born at Strasbourg, circa 1740; died at Chiswick, near London, in 1812. French and English School. He was the son of a miniature painter, who ultimately settled in Paris. According to Bryan, young Loutherbourg was placed under the tuition of Francesco Casanova, and became a popular painter of battles, sea-pieces, and landscapes with figures. He subsequently settled in London, where he was much employed as a scene painter, and eventually became a mem- ber of the Royal Academy. His easel pictures were much esteemed, but the habit of scene-painting seems to have induced a loose style of execution in direct contrast with his earlier works. 165. Storm at the entrance of a Mediterranean Port. 3 ft. 2 in. h., 5 ft. 3 in w. On canvas. A wild sea is breaking into a port, evidently one of those in the south of France ; a vessel struggling against the force of wind and waves in the middle distance, and in the foreground of rocks, on which the waves are breaking, the remains of a wrecked vessel and her crew struggling for escape. Signed and dated, P. J. de Loutherbourg, 1768. Formerly in the collection of Lord Palmerston. Purchased in London, in 1867. In Modern Gallery. LUCAS, (John) ; died, 1873. British School. Was for many years a portrait painter in great practice in London ; he was remarkable for the number of times that he was employed to paint portraits of the great Duke of Wellington, who sat to him frequently, and is said to have highly approved of his portraits, several of which are engraved. He had a strong faculty for catching a likeness, but was deficient in original and distinctively artistic treatment. 143. Portrait of F. M. Arthur , first Duke of Wellington. Original study to waist, for an equestrian portrait ; in cocked hat, and field-marshal’s uniform ; a pleasing likeness. Purchased for the Gallery at the sale of the artist’s pictures, in 1875. In Historical and Portrait Gallery. MAAS, (Nicholas) ; born, 1632; died, 1693. Dutch School. Was a pupil of Rembrandt, and greatly esteemed for his small domestic scenes, painted with a great force of colour. He seems later to have become a portrait painter and adopted the somewhat artificial style of Netcher, and was employed by many of the distinguished personages of his time. 62. Portrait group representing Frederick William , the Last Elector of Brandenburgh , known as the Great Elector, his 1st Wife, Daughter of Frederick Henry, Prince of Orange, their Son Frederick, afterwards 1st King of Prussia, and Daughter , with Attendants, Sfc. An excellent specimen of the painter’s later style ; in fine con- dition, signed and dated. Purchased for the Gallery, in Paris, 1873. 70 MABUSE — MACLISE. MABUSE. [See Gossaert, Nos. 93 and 95.] MACHIAVELLI, (Zenobio de) painted about 1473. Florentine School. He is mentioned by Vasari as the only pupil of Benozzo Gozzoli worthy of note ; but no details are given of his life. The Cavalier Toinmaso Puc- cini describes two works by Zenobio Machiavelli as formerly existing in a church of Santa Croce, in Bossabonda, a hamlet outside the gates of Pisa. Of these, one, a Coronation of the Virgin, was transported to the Louvre ; the other is in the Academy (Istitute delle belle Arti) of Pisa. The picture now in the National Gallery of Ireland was brought over from Italy in 1859 by Mr. Uzielli. 108 . The Madonna enthroned with the Infant Saviour and Saints. 4 ft. 5 in. h., 4 ft. 11 in. w. In tempera on panel. The composition consists of six figures, small life-size. In the centre is the Virgin seated on a throne, with the infant Saviour standing on her lap. In her left hand she holds a white rose. On her right stands St. Bernardin of Sienna, holding a medallion, inscribed with the monogram of Christ, and another Saint, probably St. Mark, with a book in his hand, 'but without any other emblem. On the left of the Virgin is a sainted Bishop, with a crozier, and the border of his cope embroidered with fleurs de lys, St. Louis of Toulouse, and St. Jerome in the habit of a car- dinal, with a book and pen in his hand. In the right hand lower corner is written, “ Opus Cenobii de Machiavelli.” A picture of singular interest, proving this master to have been one of the first of his time. Bull of delicacy and refinement of feeling, and the heads beautifully drawn. Purchased at the Uzielli sale in London in 1861. MACLISE, (Daniel, r.a.) ; born 1811; died 1871. British School. A native of Cork. Prom a very early age he manifested a strong ten- dency to art, and although destined for commercial pursuits was allowed to avail himself of such means of study as Cork afforded, the chief one being a collection of casts from the antique sculptures of the Vatican, which had been sent by Pope Tius VII. to King George IV., and by His Majesty pre- sented to the city of Cork. By carefully copying these, and closely observing nature, he soon attained considerable proficiency in drawing in black and white, and got into some practice in taking likenesses with pencil, on a small scale, and book illustrations. At the age of sixteen he was sent to London, and entered the schools of the Koyal Academy, where he soon carried off all the prizes that were open to him, and commenced his contributions to its annual exhibitions, which he continued until his death. He rapidly rose to the front rank amongst his contemporaries, and was elected associate of the Academy in 1836, academician in 1840, and upon the death of Sir Charles Eastlake in 1 866, was offered the presidency, but declined that high honour. During his whole life he was entirely devoted to his art, and gave an example of the most indefatigable industry. His chief qualities were a great wealth of power in drawing, immense fertility of invention, and unfailing conscientiousness of finish, and accuracy in the study of detail. He was deficient in feeling for colour, and wanted freedom of hand, and breadth of effect. It is an instructive suggestion in connexion with the utility of institutions such as this Gallery, that Maclise owed his successful career to the opportunity for study afforded him by the existence of a collection of casts in his native city, and it is quite open to question w liether he might not afterwards have excelled as much in colour as in M A CLISE MARATTI. 71 drawing, had he in his early days, while his eye was being formed, been able to see and copy a few pictures by great colourists, as for instance, by a Titian, a Giorgione, a Palma, a Rubens, or a Rembrandt. He was a spirited etcher, and contributed an interesting series of portraits of contem- porary celebrities to Frazer’s Magazine, under thenom de plume of Alfred Croquis, under which lie also occasionally wrote both in prose and verse. 156. Merry ■ Christmas in the Barons Hall — bringing in the Boar s Head , 12 ft. w., 6 ft. H. This picture, which was exhibited in the Royal Academy in the season of 1839, gives a very good example both of the merits and the defects of the painter. The interior of an English Baron’s has in the olden time towards Christmas evening, it is crowded with figures of various ranks and degrees, each engaged in some appro- priate action. On a dais in the background sits the Baron at table, surrounded by his family and guests of rank, while the procession of the boar’s head enters by a staircase from above, led by the lord of misrule singing a carol. On the right surrounding a table groaning under its good cheer, is a motley group of retainers and mummers who have formed part of the Christmas pageant. Old Christmas himself about to recruit his strength from a tempting punch bowl. The jester on his hobby horse usefully engaged upon a noble piece of beef. St. George having made truce with the dragon for the nonce, pours wine down bis throat \ a pair of con- jurers are doing their tricks, one that of the egg and ring, while a young lady who has lent her ring for the occasion, feels her finger with a rueful expression, as though she doubted as to its ever find- ing its way there again ; a child crowing with delight. On the left of the picture, on the floor, a lively group of pages and waiting maids are playing at hunt the slipper, the hunter being a bashful looking youth who has very little chance with the more daring spirits about him ; in the chimney corner an old dame is telling fortunes from cards ranged on her knees, while a happy couple look over her evidently but little anxious as to the result, &c. The whole picture is full of varied expression, complicated grouping, and original invention. Purchased for the Gallery, in London, 1872. MARATTI, or MARATTA, (Carlo) ; painter and engraver ; born at Camerano, in the parish of Ancona, in 1625 ; died at Rome, 15 December, 1713. Roman School . He went to Rome at eleven years of age, and entered the school of Andrea Sacchi, where he remained for nineteen years, copying assiduously the works of Raphael, the Carracci, and the great masters. He returned to his country, and did not revisit Rome until 1650, when he went with Cardinal Albrizio, Governor of Ancona, and ior the first time exhibited a picture in public. He acquired a great reputation in painting Madonnas, and was surnamed Carluccio delle Madonne. He was employed by many Popes ; had charge of the paintings by Raphael in the Vatican, and was commissioned to restore them, and to retouch in watercolours the frescoes of the Farnesine. Clement XI. made him a Knight of the Order of Christ, and Louis XIV. named him his Painter-in- Ordinary. Few artists enjoyed when living so high a reputation, but posterity has not confirmed the eulogies of his cotemporaries. His pupils were numerous 72 MARATTI — MOLA. 81. Europa. 8 ft. 1 in. h., 13 ft. II in. w. On canvas. Figures life size. Europa has just seated herself on the white bull, into which Jupiter has transformed himself, holding a wreath of flowers on his brow. Her companions, who have been engagedin wreathing flowers, look on in pleased surprise. This large picture was probably painted for the hall of some palace. Purchased in Pome, in 1856, for the National Gallery of Ireland. MARXESCHI, (Jacopo); born at Venice, 1711; died, 1794. He was the son of Michele Marieschi, who, as well as Jacopo, painted architectural views in the style of Canaletto. He was instructed by his father in design and perspective, and subsequently became a scholar of Gasparo Diziano. He imitated the style of Canaletto, some think more successfully than Guardi ; but the latter had a freer and fuller pencil than either. 101. View in Venice. ) . ™ rr- . T t ■ r Companion pictures. 102. View in Venice. ) 1 ft. 3 in. h., I ft. 6 in. w. Both on canvas. Formerly in the Beauconsin collection. Deposited by the Trustees of the National Gallery, London. MOLA, (Pietro Francesco) ; painter and engraver ; born at Coldre, in the diocese of Como, in the Milanese, in 1612, according to Passeri, his cotemporary ; died at Rome, 1668. Bolognese School. His father, who was an architect, had him taught the elements of draw- ing by Prospero Orsi (called the Grotesque) , and then placed him in the studio of Giuseppe d’Arpino, whom he left in order to study in Venice the works of the great colourists. On returning to Borne, he painted for a time in Bassano’s manner, but afterwards went to Bologna, where he at- tached himself to the Carracci school, and particularly to Albano, whose style had much influence on him. Mola finally established himself in Borne, where he was much employed and benefited by Innocent X. and Alexander VII. He was made chief of the Academy of. Saint Luke ; and Louis XIV. invited him to Paris, but he died while preparing for the journey. This artist is often confounded with Giovanni Battista Mola di Francia, who, however, was neither his relation nor even countryman, and whose true name was Mollo or Molli. Pietro Francesco possessed more vigour and less dryness of pencil. In his works the influence of the Venetian school and of the Carracci is evident. 107. St. Josephs Dream. 6 ft. 3§ in. n., 5 ft. 2J in. w. On canvas. St. Joseph sleeps, seated on steps, in the open air, — a broken column beside him, on the right of the picture, — his head resting upon his left hand. An angel indicates in his dream the land of refuge. The Blessed Virgin close behind, on the left, stoops fondly over the infant Christ, while angels hover around. Purchased in Borne, October, 1856, for the National Gallery of Ireland. Landscape, with the Flight into Egypt. 11 in. h., 1 ft. 4 in. w. Presented by Antonio Brady Esq., London, 1864. MOLINAER — MOORE. 73 MOLINAER, (Jan.) ; between 1625 and 1660. Dutch School. A painter of the school of Ostade and Brower, chiefly known tor his winter open air scenes, skating subjects, &c. Distinguished hy an original and delicate humour. 45. Peasants teaching a Cat and Dog to dance. 1 ft. 9 in. h., 2 ft. 3f in. w. Panel. A group sitting round a cottage table, on the right a young man in profile wearing the buff jerkin of a soldier, holds up a dog by the fore paws, who stands, with a resigned expression of face, on the table. A man in loose cap stands facing us, holding up a cat on its hind legs by the ears, causing it to dance and howl, trying to release its ears with its fore paws ; a woman sits between them, smiling, while a little girl on the left, stands making rough music with two spoons upon the helmet of the young man, which lies on the table ; two other figures complete the group. Painted with great spirit and freedom upon a transparent warm brown ground. The full signature is delicately traced upon the cross member of the table. The whole in an untouched state. Purchased for the Gallery, in London, 1873. MOLYN, (Peter, the Elder) ; born at Haarlem, about the year 1600 ; died in 1654, according to Balkema. Dutch School. He was one of the earliest landscape painters ; hut he also painted figures well, and with much fife and movement. Little is known of his life. He was the father of Peter Molyn, called Tempesta. 8. The Stadtholder going to the Chase. 1 ft. 1| in. h., 1 ft. 10 in. w. On panel. A Stadtholder and numerous suite, some on horseback, some on foot, are represented issuing from a distant town, in front of a chateau, with dogs and implements of the chase. Although the figures are quaint in costume and delineation, there is great animation in the scene. Signed, P. Molyn, fecit, 1625. Purchased in Paris, 1864. MOORE, (Christopher, r.h.a.) : born, 1790; died, 1863. A native of Dublin ; he settled in London about 18 , and for many years practised as a sculptor with great success. He excelled especially in portraiture, and modelled many of the most famous men of his time, his busts being unsurpassed even by those of his contemporary Chantry. He executed some imaginative works. 145. Portrait (marble bust) of the Right Honorable Richard Lalor Shiel ; born, 1791 ; died, 1851. Orator, Writer, Politician and Diplomatist. In Historical and Portrait Gallery. Presented to the Gallery by the Lord Taunton. 134. Portrait (marble bust) of Thomas Moore ; borr> : 1779; died, 1852. The Poet. Presented to the Gallery by the Lari of Cliarlemont, k.p. In Historical and Portrait Gallery. 74 MORALES MOUCHERON. MORALES, (Luis, called II Divino) ; born, 1509. Spanish School. A native of Badayos. He devoted his pencil exclusively to subjects of a religious and chiefly ascetic character, the “ Ecce Homo,” “Flagellation,” and “Mater Doloroso,” being his favourites, and many times repeated by him. He seldom introduced more than the head and shoulders of the figures represented, but Spain contains a few of his pictures with full figures and life size. He was commonly called II Divino, probably in consequence of the great devotional feeling which characterizes his works, although it is possible that the extreme beauty of his execution, surpassing that of all his Spanish contemporaries, may have contributed to gain him the title. His best pictures combine in a singular degree almost miscroscopic finish with great force and breadth of colour. 1 . St. Jerome in the Wilderness. 2 ft. £ in. h., 1 ft., 6 in. w. Panel Bust ; head almost bald ; he holds a crucifix in his hands which rest upon a skull ; the eyes are raised and streaming with tears, the expression of painful intensity. The colouring deep, rich, and transparent, especially in the flesh shadows. In fine preservation. Purchased for the Gallery, in London, 1872. MORONI, (Giovanni Battista); native of Albino, Bergamese State ; flourished 1557-1578. Venetian School. He was a scholar of Alessandro Bonvicino (called II Moretto), and according to Tassi was one of the most assiduous and successful of his pupils. His pictures are, however, not equal to his master, being, in par- ticular, deficient in the graceful expression which distinguishes the works of II Moretto. He was an excellent colourist. Among his works the most esteemed, at Bergamo, are the Crowning of the Virgin, in the Church of La Trinita ; the Assumption, with the Apostles, in S. Benedetto ; and at the Cappucini, the Dead Christ, in the arms of the Virgin, with several Saints. He was esteemed, as a portrait painter, next to Titian. Bryan mentions a picture by him m the Duke of Sutherland’s collection, called Titian’s Schoolmaster, as giving a just idea of his powers in portraiture. 105 . Portraits of a Gentleman and his two Children. 4 ft. 1£ in. h., 3 ft. 2§. in w. On canvas. A gentleman in black dress, seated, leaning on a table with his hands on the shoulders of his two children, who stand at his knees dressed in the quaint but brilliant costume of the period. On the table are letters, one evidently addressed to the person represented ; unfortunately the superscription is illegible ; but on the other letter the word Albino is legible ; it was the birthplace of the artist. The sad expression on his face with the protecting action towards the children, together with the plain black dress, suggests the idea that he has lately become a widower. Purchased in London in 1866. MOTJCHERON, (Frederick) ; born at Embden, in 1632 or 1633 ; died at Amsterdam, in 1686. Dutch School. He was a pupil of Asselyn, and went to Paris, where his pictures were much sought after. Ilelmbrecker painted figures and animals in his land- scapes. After many years sojourn in France, he returned to Holland, and settled in Amsterdam, where Adrian Van de Velde and Lingelbach aided him, as Helmbrecker had done. His landscapes are pleasing; his MOUOHERON — MURILLO. 75 foliage graceful and breezy ; he generally introduced 'waterfalls and build- ings in his scenery. Though inferior to Both his best pictures are highly prized. His son and pupil, Isaac, was a painter and engraver ; born in Amsterdam in 1670 ; he lost his father at sixteen years of age. At twenty- four he visited Italy, and passed many years in painting constantly the environs of Rome and Tivoli. He was received in the academy of Rome, and on account of the accuracy of his drawing and perspective, got the surname of Ordonnance. On his return to Amsterdam, he painted many large landscapes ; he also painted figures and animals, but was generally aided in that department by De Wit and Verkolie. 52 . Landscape , with Sheep and Herd. 3 ft. 8| in. h., 3 ft. w. On canvas. In the foreground of the picture, trees rise high up against the sky ; under their shade, some sheep, with a herd ; in the middle distance a waterfall, descending from distant mountains. Purchased at Archdeacon Thorpe’s sale at Durham, in 1863. Italian Landscape , with Muleteers. 1 ft. 4 in. h., 1 ft. 1 in. w. On panel. An Italian villa crowns a high hill in the centre of the picture, while through an arch below, and to the right, a distant view of country is obtained ; a train of muleteers passes along the road in front. This is most probably the work of Isaac Moucheron. Purchased in London in 1863. MURILLO (Don Bartolome Estevan); born in Seville in 1618 ; died in that town on the 3rd of April, 1682. School of Seville. According to Palomino he was born at Pilas, about five leagues from Seville; Cean Bermudez, however, has found on record that he was baptized in the Church of St. Mary Magdalen in Seville, on the 1 st of January, 1618. He studied in that city, first in the school of his uncle, Juan del Castillo. In 1643 he went to Madrid, and through the instru- mentality of Velazquez, then painter to the king, under whose instruction he placed himself, he had ample opportunity of studying and copying the principal works in the Escurial and other royal residences. Titian, Rubens, Vandyck, Ribera, and Velazquez, were his chosen models. He returned to Seville in 1645. Thenceforth he produced numerous works, which were held in high esteem, and brought him much money, although it is said that he died in narrow circumstances. His best works are said to have been pro- duced from 1670 to 1682. He founded at Seville an Academy of Drawing, which was opened in 1660. Murillo was a most prolific painter, excelling in all works of art, depicting the peasant and the beggar with a happy fidelity, and treating the highest subject with a poetic realism totally dis- tinct from all conventional idealism. His portraits, though not numerous, are faithful and noble in treatment. The Spaniards attribute to him three manners of painting, distinguished as the cold (or silvery), the warm, and the vapoury. But he seems rather to have adopted and applied these manners as proper to the particular subjects, than to have formed them at various periods of his practice. He was summoned to Cadiz in 1681, to execute the paintings for the chief altar of a convent, where, unfortunately he fell from a high scaffold, returned to Seville, where he died. 30 . Portrait of Josua Van Belle. . 4 ft. 1 in. h., 3 ft. 4 in. w. On canvas. A half length portrait, life size, of a gentleman in a peculiar costume, black doublet, and cloak with a falling neck collar, and white sleeves shown through the slashes of the doublet. He is fair, with long falling hair, looks straight to the spectator, car- 1 6 MURILLO — MURPHY. ries his gloves in his left hand, and his hat in his right, falling by his side. A background of curtain and gray silvery sky. There is great relief and simple dignity about the picture. On the back of the original canvas is inscribed in large characters, painted freely, with a brush : — 6 leaving two sons. In 1621, Rubens was called to Paris, to undertake, in the Luxembourg, the series of vast pictures, now in the Louvre, comme- morative of the principal events in the history of Mary of Medicis the mother of Louis XIII. The great painter accordingly p/oceeded to Paris where he made sketches for these works ; and returning to Antwerp he completed the pictures themselves in four years, with the assistance of an able staff of pupils. Subsequently to this time Rubens was employed as ambassador, in several important political negotiations— for which his singular ability and the manly tone of his mind eminently qualified him m 1628 at Madrid, and afterwards at Paris, and in Londom Having suc- ceeded in arranging peace between Philip IV. of Spain and Charles I of Lngland, he was, in 1629, created a Privy Councillor at Brussels, and a Londor1 ’ besides receiving great gifts from both monarchs. In 1630 Rubens married again, in Antwerp: his second wife was Helene hourment, by whom he had three daughters and two sons. After 1635 frequent attacks of the gout caused Rubens finally to retire from court life, and to devote himself exclusively to his art; and after this period he gave up also the habit of painting very large subjects, and worked almost exclusively at small-sized pictures. The great characteristic of Rubens' genius (says the able compiler of the Louvre Catalogue) is force, motion passion— carried to the highest point of artistic perfection. He is never weak, never hesitating: his drawing is always skilful, rapid, strongly marked; his colouring brilliant to a degree ; his attitudes energetic even to an extreme. Rubens had little of the finer taste, the delicate sensi- bility , the religious feeling of the Italian and Spanish schools ■ but he possessed a richness of invention that was quite inexhaustible, and a hand to which the most prodigious difficulties seemed only an easy play Rubens left many great scholars and imitators, among whom the principal were Anton Van Dyck, Jakob Jordaens, David Teniers the younger, &c • and his imitators are innumerable. 6 ’ ’ uu 2 . Vision of Saint Ignatius Loyola. Sketch. 2 ft. 1 in. h., 1 ft. 10 in. w. On panel. Evidently a design for the altar-piece of some Jesuit Church To the left of the foreground kneels the Saint with an open book; while two infant angels bear a tablet with the motto of the RUBENS. 93 order, “ Ad majorem Dei gloriam inscribed, before which three others kneel. On an upper or middle plane the Saviour, with only a garment of white falling from his figure, as if risen from the grave, leans with the palm of martyrdom over his Mother, who kneels before him, and from whom an angel withdraws her mantle. Christ is followed by a procession of saints and martyrs. King David with his lyre, and other figures are introduced, as if to signify the fulfilment of the Law and the Prophets. From above angels descend, bearing a crown and a banner inscribed — “ Mater dolo- rosa lsetari, Allelujah.” This sketch is attributed to Rubens ; and, indeed, on the back of the panel is inscribed “Rubbens.” In general composition it is quite in Rubens’ manner, while in other respects it resembles the pencil of Vandyke. Purchased at the sale of the Carr Collection, in Yorkshire, in 1863. 51 . Saint Francis receiving the Stigmata. 5ft. Ilf in. h., 3 ft. £ in. w. This picture doubtless formed one of the wings of a tryptich altar-piece, the centre subject of which is missing ; the other wing representing St. Dominick with the traditional dog, being in the collection of the Marquis of Bristol. This is remarkable for its sober gray tones of colour, not generally characteristic of the master, but his hand is unmistakeably apparent in every stroke of the brush, the execution being of the most energetic and spirited character. The Saint is represented apparently in the act of receiving the stigmata, and the ecstacy of the moment seems to have driven all the blood from his face and hands. The type is coarse and commonplace. Purchased for the Gallery, in London, 1871. 38 . Saint Peter finding the piece of Tribute Money in the fish. 6 ft. 6$ in. h., 7 ft. 2 in. w. A group of six men and one woman upon the sea-shore. St. Peter having apparently just landed from a boat, has cut open the fish which he supports with his left hand, while with bis right he holds up the piece of money that he has just taken out from it, and examines it attentively, while the other disciples also look with excited and surprised expressions. A young woman with a tub of fish on her head looks over his shoulder. One of the disciples is kneeling in the foreground, his back turned to us, holding a rope in his hand, which is attached to the boat. With the exceptions mentioned below, this picture is a reproduction of one painted in a series for the chapel of the Fishmonger’s Guild in the church of Notre Dame at Malines. The chief difference being the kneeling figure, which is absent in that picture, the latter 94 RUBENS — RUYSDAEL. also includes the complete outline of the woman. A contemporary engraving of the present picture by N. Lauwers exists, and is alluded to in Smith’s Catalogue, supplement, page 255. It is doubtless from the studio of Eubens, as no pupil would have dared to make so striking an alteration, although probably great part is the work of his assistants filling in his outlines, but a few spirited finishing touches are at least recognizable as from his own hand. Such being the method upon which, as we know from his own letters, much of the work which left his studio was accomplished. Formerly in tlie Desenfans Collection. Purchased for the Gallery, in London, ’1872. EUBENS, [After]. 154 . Judgment of Paris. 4 ft. 9 in. h., 6 ft. 1 in. w. On canvas. At the nuptials of Thetis and Peleus an apple was thrpwn among the guests by Discord, to be given to the most beautiful ; Juno, Minerva, and Venus were competitors for the prize, and Paris, the son of Priam, was ordered by Jupiter to decide the contest. Paris decided in favour of Venus, and his decision was the cause of all the consequent misfortunes of Troy. Discord is seen already hovering in the clouds above, spreading fire and pestilence around. This copy of the celebrated picture, formerly in the Orleans collection, now in the National Gallery, London, is attributed to Thomas Stothard, b.a. Many copies of it exist; one of which is in the Louvre. It is engraved by J. Oouchfi and Dambrin for the Galerie du Palais Royal. Presented by the late William Lecky Browne, Esq. (In Modern Gallery.) RUYSDAEL, or Ruisdael, (Jakob) ; painter and engraver ; born at Haarlem, about 1630 ; died in the same town, 16th November 1681. Dutch School. Much uncertainty prevails as to the date of this distinguished painter’s birth; Waagen gives it as 1625. The name of his master is equally unknown, but he is supposed to have studied under his elder brother Solomon Ruysdael. It is stated that his father was a maker of frames in ebony wood then much sought after, and that he was sufficiently inde- pendent to bring up Jacob as a medical doctor. His true vocation was that of art ; and he is unique as a landscape painter, many of his works being conceived with truly poetic feeling. He was varied in his style • painting, sometimes, the flat scenery, the sedgy pools, the windmills and roads about Haarlem. Forest scenes, waterfalls, and the sea in commo- tion were favourite subjects of his pencil. A Van de Velde, Berchem Philipps, Wouwermann, and Lingelbach illustrated his landscapes with figures ; but his greatest fame will rest on works imbued with poetic feel- ing independent of extraneous aid, such as the Jewish Cemetery, in the Dresden Gallery, or the Storm, a sea-piece, in Lord Lansdowne’s collec- tion. RUBENS RUYSDAEL. 95 53 . The Windmill. 3 ft. 4 in. H. , 4 ft. 3 in. w. On canvas. A long- winding road, with water at either side, leads to a wind- mill and miller’s residence. The mill rises up against the sky, which is massed with rain-clouds, and the whole scene is indic- ative of rain passing off. The road and foreground are brown and dark, but much relief is given by the water, and the reflection of the mill and trees. The tone very fine, and the truth of atmospheric effect in dull cloudy weather, especially admirable. It is in excellent condition. The work is signed J. R., 1663. It belonged to the late Bishop of Ely. Purchased in London in 1864. 37 . A Woody Landscape. 2 ft. h., 2 ft. 6 in. w. It is thus described in Smith’s Catalogue, Part 6, Page 62. “A mountainous and well-wooded landscape, divided by a winding road on the left, on which is a man carrying a pack on his back, led by a dog, and beyond him are seen a man and a boy approaching. A pond of water covers the right, on which are three swans ; the view is bounded on the side by a lofty hill well clothed with trees, whose dark umbrageous foliage is strikingly relieved by a brilliant mass of fleecy clouds.” A fine example of the master’s deeper toned and more elabor- ately finished manner. The mass of white cloud rising above the trees is especially admirable. Signed with the full signature and dated. Formerly in the Collection of Mr. W. Becktord at Fonthill Abbey. Purchased for the Gallery, in London, 1873. RUYSDAEL, (Solomon Van) ; born, 1616 ; died, 1670. Dutch School. Was an elder brother (by twenty years) of Jacob Ruysdael. Believed to have been a pupil of Van G-oyen, whose peculiar style he imitated, and for whose work his pictures are often taken. He possessed some admirable qualities, notably a strong feeling for atmospheric effect and aerial per- spective. 27 . View of the town of Alkmaar in Holland , with the river frozen and figures skating , dec. This town is made famous by the heroic and successful resis- tance of its inhabitants to the Spaniards during the Dutch War of Independence. An excellent specimen of the painter’s style, and well exemplifies the qualities mentioned above. Signed with initials. Purchased for the Gallery, in Paris, IS 7 3 96 SANZIO. SANZIO (Raffaello, Raphael) ; commonly called The Diviner painter and architect; born at Urbino, on Good Friday, 28th March, 1483 ; died at Rome, on Good Friday, 6th April, 1520, Roman School. The true family name of Raphael* was De Santi or Santo, but his name has always been spelled .Sanzio since his time. He was the son of Giovanni Santi, from whom he first learned the rudiments of drawing ■ for Raphael was the fifth painter in his family in a direct line. Giovanni however, died, when his son was only in his twelfth year, in 1494. Raphael is supposed to have had early lessons from Timoteo della Vite, and from Luca Signorelli, who were both engaged in the churches of Urbino in 1494 and 1 495 ; hut at the end of 1495, or beginning of 1496, he finally placed himself under the direction of Pietro Vanucci, called Perugino, one of the most celebrated artists of the time at Perugia. Here he soon surpassed all his fellow-students. In 1500, Perugino having gone to Florence, Raphael left liira, and went to Citta di Castollo, whore ho painted many original pictures, and where, in 1504, he finished the celebrated Sposalizio 9 or Mar- riage of the Blessed Virgin, now at Milan. After this he spent some time at Urbino and at Sienna, and then proceeded to Florence, where his study of the works of Masaccio, and his intimacy with Fra Bartolommeo, produced a marked effect on the bent of his genius. Here he began really to study colour, as well as the art of drapery in painting. During the two follow- ing years he divided his time between Perugia and Florence ; and it was at this period that took place the singular connexion of friendship between him and the illustrious painter of Bologna, Francesco Raibolini, called II Francia, of which so interesting an account is to he found in the various lives of Raphael. In 1508 he went to Rome, when he was presented to the Pope, Julius II., by his relative the distinguished architect, Bramante. His first great fresco, at the Vatican, was the Dispute of the Blessed Sacrament ; a work which at once placed him at the head of all the artists then known in Rome ; and this absolute pre-eminence Raphael has ever since been allowed by the world, with the solitary exception of Michel Angelo Buonarotti, whose greater power, though never allied with Raphael’s delicacy of taste and sweetness of imagination, has gained for him the highest crown of all. It would be out of place here to recount, or even to name, the astonishing succession of magnificent chefs d’ceuvre of art which Raphael was destined to accomplish in so short a life ; nor is it possible to sketch here, with the minuteness which its interest deserves, that life itself Memoirs of Raphael, long and short, are to be found in almost all the works which treat of the history of painting. [See, particularly, Quatremere de Quincy’s Memoir, translated for Bohn’s Library (London, 1846) ■ see also Vasari and Lanzi, whose Lives of the Painters are translated in Bohn’s series ; and see Kugler’s Schools of Painting in Italy, translated by Sir C Eastlake (London, 1851), in which are to be found illustrations and memo" randa of all the celebrated Madonnas of Raphael, as well as of his extra- ordinary frescoes at the Vatican ; see, above all, Raphael D’ Ur bin by j" D. Passavant]. He was the chief of what has been called the Roman School, a school famous for having produced, according to Vasari fifty painters, all good and able. Among these the most remarkable’ were the celebrated Giulio Romano (see Pippi)— the copyist, after Raphael of the specimen, No. 40, in the present collection— Polidoro Pierino del Vago, Andrea Sabatini, Giovanni da Udine, &c. “The destiny of Raffaello ” justly remarks the editor of the Louvre Catalogue, “is unique in the annals of painting. In a few years he exhausted the favours of fortune • his premature death was a mourning affliction to the art itself- and nos terity, for once just, hastened to make his very name divine. If he proved * There is much difference as to the writing of Raphael’s name He him self wrote Raphael, and sometimes Rapliaelo ; the modern Italian is Raffaelle or Raffaello, but in English Raphael seems more correct, and is the writing of the ancient Hebrew name. ue 3ANZI0. 97 himself worthy of this apotheosis, it was not that he united in his works, as has often been erroneously said, the different qualities which shine with so great a brilliancy in those of Leonardo da Vinci, Titian, Michel Angelo, and Correggio ; it was not, in a word, because he was the most accurate and the most scientific of all painters ; but it was because he alone was always elevated without effort, human without triviality, graceful without affectation, full of passion without exaggeration ; it was because his simplest and his most gigantic compositions bear alike the impress of a spontaneous creation, full of life, grandeur, and beauty.” SANZIO, (Raffabllo) ; [after]. The Transfiguration. 13 ft. 2 in. h., 9 ft. w. On canvas. This full-sized copy is attributed to Raphael Mengs. It was purchased by the Earl of Bristol in Rome more than one hundred years ago. It is in some parts faded in colour, but, on the whole, is sufficiently harmonious, and is a truthful copy of the great original in the Vatican. Purchased in London in 1864. 70 . St. Cecilia. 7 ft. in. h., 4 ft. 9 in. w. On canvas. The saint in the middle of the picture with eyes upturned listens to the heavenly song of the angels. A small organ almost falls from her hands, as she seems wrapt in ecstasy. At her feet are musical instruments scattered and broken, as betokening the comparative worthlessness of all earthly things. To the right of St. Cecilia stands St. Paul resting on his sword ; behind him St. John the Evangelist ; to the immediate left behind is St. Augus- tine, one of the Fathers of the Church, and in front Mary Mag- dalene, with her vase of perfumes in her left hand. This copy, in the finest preservation, was painted by Domeni- chino from the original painted by Raphael for the chapel of St. Cecilia, in the church of St. Giovanni in Monte, near Bologna. The original was on panel, but being brought to Paris, it was then transferred to canvas ; it is now in the Pinacothek at Bologna. Passavant refers to this copy as being in the possession of Bozzotti, a goldsmith in Milan, from whom it was purchased by the late Viscount Powerscourt in 1836 ; it had been in the collection of the Count Serbelloni. Presented in 1866 by the Viscount Powerscourt, k.p. 171 . Peter and John at the beautiful Gate — Cartoon. 12 ft. 4 in. h., 17 ft. 9 in. w. 172 . Elymas the Sorcerer struck with Blindness — Cartoon. 12 ft. 4 in. h., 14 ft. 1 1 in. w. These cartoons — full-sized copies of those by Raphael in the series at Hampton Court, are supposed to have been executed by Giulio Romano. They were found by Sir Joshua Reynolds, during his tour in the Low Countries, at some town where they .had lain from the time they had been used as models for tapestry. G 98 SANZIO — SASSOFERATO. They remained in Sir Joshua’s possession until his death, and were so highly esteemed that Holloway, the engraver, is said to have finished his plates after them. They became, by purchase, the property of Nicolay, Esq., who proposed to present them to Stewart Blacker, Esq., for a National Gallery in Ireland. Sub- sequent to his death his intention was fulfilled by his widow, who presented them in trust to Mr. Blacker, until a suitable gallery should be established. The School of Athens ; drawing in red chalk. 2 ft. 9 in. h., 4 ft. w. This drawing — most carefully executed — bears the following inscription : — “Sanctissimo spirito del mio benefattore, altissimo Monsignore Camillo Massimi. “ Gio. Cesre. Maj., Dona, a.d. 1650. It was formerly the property of the late Sir Thomas Wyse, and is supposed to have been brought from Italy by a member of the Napoleon family. Purchased in Waterford, in 1860. 112 . Large Photograph from the original picture , called the Madonna de San Sistopn the Modern Gallery. In the Intermediate (new) Gallery. SARTO, (Andrea del). [See VANNUGCHI, Nos. 1, 10, 160, and 160a.] 111 . Adoration of the Shepherds. 1 ft. 1 in. h., 10 in. w. From the Beaucousin collection. Deposited by the Trustees of the National Gallery of London. SASSOFERATO (Giovanni Batista Salvi) ; born, 1 605 ; died, 1685. Roman School. Born at Urbino ; studied first under his father, Tarquinio Salvi, but completed his art education at Rome and Naples, where he is said to have been a pupil of Dominichino, but little is known with certainty as to his history, although he painted much, and his pictures are to be found in all the best Continental galleries. In his larger and more original subjects he is distinguished by a dry, cold, and staringly clear style of colouring, every part of the picture being very distinctly made out ; but his small heads of the Madonna, of which he painted a great number, have a good deal of depth of tone, and a softness that seems as though imitated from Correggio. The two pictures described below fairly illustrate the two manners alluded to. 83 . Head of the Madonna. Replica of a well-known picture at Florence — the face half in shadow, looking out from below dark blue drapery with a sad expression, though not a Mater Doloroso, the hands clasped. Formerly in the Koncheleff Besborodeo collection ; purchased for the Gallery in Paris, 1869. SASSOEERATO — SCHIAVONE. 99 93 , The Madonna and Infant Saviour seated in clouds. This group, which is almost line for line a copy from the chief group in Raphael’s Madonna da Foligno, or rather from Mark Antonio’s engraving from it, as the latter has tbe two little cherubs on each side, is a fine example of the master’s bright dry manner. Purchased for the Gallery at Milan, 1873. SCHATJFFELEIN, (Hans); born at Nor diingen; died 1540. Early German School. He was a pupil of Albert Durer, and in many of his works imitated the manner of his master successfully. He is very unequal; many of his works being but slight productions. Among his pictures preserved in Nuremberg, a St. Brigid, in the Chapel of St. Maurice, is commended by Kugler, as being prettily and neatly painted, and having some preten- sion to grandeur of style. The subject of “ Christ mocked,” a work of the year 1 5 1 7 , an animated picture of very large size, painted on the wall in tem • pera, is in the Castle. “ The History of Judith,” is also there, as well as in the Town Hall of Nordlingen, painted in tempera. His finest work in his native town, the chief theatre of his performance, is an altar-piece, exe- cuted in 1521 for Nicholas Ziegler, Vice-Chancellor of Charles V. Kugler writes of it, “ the centre, a pieta, is in point of feeling, sense of beauty, and clearness of golden tone, one of the finest pictures of the German school of that period.” The clever designs for the woodcuts in the Teuerdank, are by his hand See further in “ Kunst and Kunstler in Deutschland,” vol. i. pp. 349 and 355. 16 . The Visitation. 1 ft. 4 in. h., 1 ft. 1 in. w. On panel. This picture represents Mary’s journey into the hill country to a city of Judea, and her arrival at the house of Zacharias and Elizabeth, his wife, as related in St. Luke, chap. 1. It formed part of an altar-piece evidently ; as on the back are two saints, St. Anthony and probably St. John, painted en grisaille , as was the habit of the time; dated on front and back, 1520. Purchased in London, 1863. SCHIAVONE, (Andrea) ; born in Sebenico, in Dalmatia, in 1522; died, 1582. Venetian School. His parents, who had established themselves in Venice, were very poor, and unable to place him, as they wished, under the direction of a good master. Andrea, however, copied the engravings of Parmigianino, and the works of Griorgione and Titian ; but, unfortunately, from his poverty be was obliged to paint for bread before he was well grounded in the knowledge of design, and only under the patronage of some house and wall painters, who were able to recommend him and employ him as an assistant. Titian obtained leave for him to work, along with others, in orna- menting the library of St. Mark, where he drew more correctly, perhaps, than in any other place. Tintoretto, also, often assisted him in his labours, to observe his manner of colouring, and praised it highly. Still, it is said that he lived in misery, and did not leave enough of money to bury him ; but after his death his fame increased, and his paintings were re- moved from the chests and benches on which they were originally painted, to adorn the cabinets of connoisseurs. His works had much elegance and spirit, and his colours were beautiful. Some biographers have given him the name of Medulo or Medola, but this seems to be very uncertain. 100 SCHIAVONE — SEBASTIANO DEL PIOMBO. Others, calling him Meldolla, have confounded him with Andrea Mel- dolla, who engraved a great number of Parmigianino’s works. There was also a Gregorio Schiavone, called, by mistake, Girolamo, who painted, from 1460 to 1490, in a style resembling Mantegna and G. Bellini, and a Luca Schiavone, a good painter of decorations, working in Milan in 1450. A Sketch. Mythological Subject. Idem. 7 £ in. h., 7J in. w. Both on canvas. Purchased with the remainder of the Beaucousin collection in 1 859, and deposited by the Trustees of the National Gallery, London. SCHWARTZ, (Christopher); born, 1550; died, 1597. He taught at Munich, and Liister was one of his pupils. Christopher Schwartz was one of those masters of the German School who applied themselves particularly to the 6tudy of Italian art, and especially to the colouring of the Venetians ; and he is said to have formed his style on that of Titian, in Venice. He is often confounded with M. Schoevaerdts, who lived in the middle of the seventeenth century. [See No. 104, Bruyn. J SEBASTIANO DEL PIOMBO ; born at Venice, 1485, died at Rome 1547. Venetian School. His proper name was Luciani, but he was commonly called Sebastiano del Piombo from his office as Keeper of the Leaden Seals under Clement VII- His first profession was music, but he devoted himself to painting, and acquired the first principles of that art from Giovanni Bellini, whom, however, he soon deserted to place himself under Giorgione, the vividness and harmony of whose colouring delighted him, and with whom he re- mained long enough to imbibe much of his feeling for colour. He was in- vited to Borne by Agostino Ghigi, about 1512 ; was much esteemed by Michel Angelo, who employed him to paint many of his designs, and in return is said to have aided him by designs in many of his paintings. Admittedly his greatest work is the “Raising of Lazarus,” now in the Na- tional Gallery of London, which he painted in rivalry with Raphael in his last and greatest work, the “ Transfiguration.” Michel Angelo is said to have aided him in the design of this work ; and the figure of Lazarus is evidently Michel Angelo’s design. Vasari writes that from the period he assumed the office of Frate del Piombo he neglected his art and gave him- self up to “ good cheer” and to society, for which he was peculiarly fitted by his powers of conversation and his musical talents. 80 . Saint Bartholomew. 5 ft. 7 in. h., 3 ft. 3 in. w. Small life-size, whole length. The Saint looks up, his left hand crosses his body, and the hand rests upon an open book upon his right knee ; in the right hand he holds the knife, his attribute as being the instrument of his martyrdom. 78 . Saint John the Evangelist. 5 ft. 7 in. h., 3 ft. 3 in. w. The Saint, with his left hand upon his breast, and head inclined to the right shoulder, looks out of the picture ; in his right hand he bears the martyr-palm, commemorative of his having been immersed in boiling oil, from which he was miraculously pre- served. SBBASTIANO DELPIOMBO — SMITH. 101 These two pictures have been attributed to Sebastian de Piombo, though Waagen attributes them to Moretto di Brescia. Purchased at the sale of Archdeacon Thorpe’s collection, at Durham, in 1863. SESTO, Cesare Da ; (or Cesare Milanese), flourished from 1500 to 1524. Florentine School. He was esteemed one of the best pupils of Leonardo da Vinci, and was intimate with Baldassare Peruzzi, and Raphael, whom he is said to have rivalled, for some time, in easel pictures. Raphael is reported once to have said to him, “ It is strange that, being bound in such strict ties of friendship as we two are, we do not in the least respect each other with our pencils;” as if they had been on a sort of equality. Lomazzo holds up Cesare da Sesto as a model in design, in attitude, and particularly in the art of using bis lights. Lanzi mentions having seen a copy of an Herodias described by Lomazzo as the work of Cesare da Sesto, and says that the coun- tenance bore a strong resemblance to Raphael’s Fornarina. The original, at the first occupation by the French, was adjudged to Madame la Pagine, wife of General Buonaparte, and passed into France. Many other im- portant works of his pencil exist in Italy, but they are very rare in European collections. Some of his works are so beautiful in softness, brightness, and harmony of colouring, that they might have easily been ascribed to Raphael himself. He painted in the landscapes of his friend, Bernazzano, fables and histories, in which he displayed all his power. 115, The Madonna , with the Infant Christ and Saint John. 3 ft 2 in. H., 2ft. 5 in. w. On panel. Christ holds a small bird upon his hand — emblem of spiritual life — which St. John holds out his hand to take. A green curtain is disposed behind the Virgin’s head, and a small glass vase with flowers stands near. Purchased in Rome, October, 1856, for the National Gallery of Ireland. SMITH (Catterson, r.h.a.); born, 1806 ; died, 1872. British School. Born at Shipton in Yorkshire. He came to Ireland in 1 839, residing at Londonderry, and settling in Dublin in 1844, where he enjoyed until his death, the first position as a portrait painter. Was soon afterwards elected a member of the Royal Hibernian Academy, of which he became President in 1859, and with one year’s interval retained that distinction until he resigned it in 1866. 141. Portrait of William Darg an ; born, 1799 ; died, 1867. To whose munificence was due the great Dublin Exhibition of 1853, which was carried out at his sole cost, and to commemorate which, and as a testimonial to him, the fund was raised and the project started, out of which the National Gallery of Ireland has grown. This picture was painted for it by the order of the Board of Governors and Guardians. In Historical and Portrait Gallery. 122. Portrait of Himself. An unfinished picture, but painted with great force and firm- ness, and an admirable likeness. Purchased for the Gallery in Dublin, 1873. In Historical and Portrait Gallery. 102 Snyders — stothaed. SNYDERS, Sneyders, or Snyers, (Frans) ; born at Antwerp in 1579 ; died in 1657. Flemish School. He studied under Peter Breughel in 1593, and subsequently under Van Balen. At first he painted fruit and flowers, and afterwards devoted himself to the study of animals of every kind, which he painted with a truth of drawing, vigour of colour, and lightness of pencil which few artists have equalled and none have surpassed. Philip III. of Spain com- missioned him to paint scenes of the chase and battlepieces ; and the Archduke Albert, Governor of the Low Countries, named him his prin- cipal painter, and loaded him with honours and gifts. Snyders frequently painted animals, flowers, and fruit in the pictures of Rubens and Jordaens, who in turn painted figures in his works. He also painted larders, kitchens, dead game ; but his great fame is derived from his boar and stag hunts, and his wonderful power in delineating animals. A very fine portrait of Snyders by Van Dyck was formerly in the Orleans collection, and is now in that of the Earl of Carlisle, at Castle Howard. 25 . Boar Hunt. 4 f. 2 in. h., 6 f. 8| in. w. On canvas. The boar is in his lair ; one dog turns upon a bank snarling at him, while another makes off, evidently having received his death- wound. This work, though somewhat slight and sketchy, bears the stamp of originality. Purchased in London in 1864. STEENWYCK, Steinwyck, or Steinweyck, the Younger (Hendrik Van) ; born at Amsterdam in 1589, died in London, date un- known ; but pictures of his are known, dated 1642. Dutch School. He was a pupil of his father, Hendrik Van Steen wyck the elder, whom he surpassed by superior delicacy of execution and clearness of colour. He painted architectural scenes, but principally interiors of churches, where he showed great knowledge of perspective. He was fond of night effects, and frequently represented interiors lighted with flambeaux. J. Breughel, M. Van Thulden, Stalbem, Poelenburg, and Van Bassen have often painted figures in his pictures. He worked a good deal in England. Van Dyck, who had a high opinion of his talent, and who employed him to paint architecture in the backgrounds of his portraits, presented him to Charles I., for whom he executed many paintings. After his death, his widow established herself in Amsterdam, and painted perspective views in the same style. 7 . Palace of Dido. 1 ft. 3 in. h., 2 ft. 3 in. w. On copper. A group of figures occupies the foreground of an extensive ter- race, while long colonnades stretch away from the spectator, and distant pleasure-grounds are seen beyond. Bequeathed to the nation by Lieut.- Colonel Ollney. Deposited by the Trustees of the National Gallery, London. STOTHARD, (Thomas, R.a.) ; born, 1755 ; died, 1834. British School. Born in London. He was originally employed in designing patterns for brocaded silks, but at an early age began to illustrate books for London publishers, and gradually attracted notice, and became first a student and afterwards an exhibitor at the Royal Academy, of which he was elected an associate in 1785, and academician in 1794, and librarian in 1812. He is 8T0THARD — TENIERS. 103 distinguished beyond all other artists of the British School, by inexhaustible fertility of invention, great refinement of conception, and grace of pencil. He is said to have made 5,000 designs, 3,000 of which have been engraved, and it would not be easy to find one of them from which these rare qualities are absent. He was an excellent colourist, taking Rubens, for whom he had an unbounded admiration, for his model, and a correct draughtsman. It need not be added that he showed an example of steady and untiring industry. His reputation never stood higher than of late years. 154. The Judgment of Paris (attributed to). [See RUBENS, page 94.] 4 ft. 9 in. h., 6 ft. 1 in. w. A copy from the celebrated picture in the National Gallery, formerly in the Orleans collection. Those who are conversant with the touch and manner of Stothard will easily recognise it in this fine reproduction of his favourite master. Presented to the Gallery by William Lecky Brown, esq. (In Modern Gallery). SUSTERMANS, or SUTTERMANS (Justus) ; horn at Antwerp, in 1597 ; died, 23 April, 1681. He was the scholar of Willem de Yos in Antwerp, and worked with Frans Pourbus the younger, in Paris. In 1620 he established himself in Florence, and entered the service of the Grand Duke Cosmo II., and of his successors, Ferdinand II. and Cosmo III. He received a yearly salary of 25 scudi, besides apartments and maintenance in the palace, and payment for all his works. In 1 624 Sustermans was invited to Vienna to paint the portraits of the Imperial family ; and in 1627 he visited Rome, and painted the portrait of Pope Urban VIII., who presented him with the Cross of Malta. His reputation was now European: in 1638 he received the great picture of “Tragedy,” or “ The Horrors of War,” sent to him by Rubens from Antwerp ; in 1641 he exchanged portraits with Vandyck; in 1645 he was summoned to Rome to paint Innocent X. •, and in 1649 he accompanied the Cardinal Giovanni Carlo de’ Medici to Spain, in the suite of the Queen of Philip IV- Among the numerous distinguished sitters of Sustermans were Galileo, and Viviani the mathematician. He was three times married, and left a considerable fortune at his death, com- prising an extensive collection of pictures and other works of art, including the large picture by Rubens above-mentioned, now in the Pitti Palace. 54. Portraits — Supposed to represent Ferdinando //., Duke of Tuscany , and his wife, Vittoria della Rovere. 4 ft. 8 in. h., 4 ft. 2 in. w. On canvas. This picture was formerly attributed to Velazquez. Three- quarter length, life size. Engraved by W.Holl, for Jones’s National Gallery. Eormerly in the Angerstein collection, with which it was pur- chased for the nation in 1824. Deposited by the Trustees of the National Gallery, London. TENIERS, David, the Young ; born at Antwerp in 1610; died at Perk village, between Malines and Alonde, in 1694. Flemish School. 1-Ie was pupil of his father, David the Elder ; some say afterwards of Adrian Brouwer, and of Rubens, but these points are contested. He was certainly intimate with Rubens, and his first wife was Anne Breughel daugh- 104 TENIERS — TIEPOLO. ter of Velvet Breughel, to whom Rubens stood in the relation of master and guardian. At first he was not successful, and the works of inferior artists. Van Thilborg Artoisand Van Heil, were preferred to his. Fortune, however, soon favoured him, and few artists enjoyed greater or more deserved popularity. Archduke Leopold was his first patron ; he named him court painter, chamberlain, and director of his picture gallery, and sent many of his works to the several courts of Europe, whereby his reputation was extended. The King of Spain admired his works so much as to construct a gallery solely for their reception. Queen Christiana of Sweden obtained some of his works, and recompensed him liberally, sending him, besides, her own portrait with a chain of gold. Don Juan of Austria was the pupil and friend of Teniers. Such was the demand for his works that although he painted with marvellous rapidity, often commencing and finishing a picture in the same day, he could not meet the demands of the nobles and art lovers of the country. He acquired a considerable fortune, and built a chateau in the village of Perk, where it is said he studied the habits of peasant life, and brought about him in social intercourse the nobles and most distinguished men in literature, the sciences, aud arts. Although Teniers painted large works, he excelled in compositions of moderate cabinet size. His kermesses, or village fetes, his landscapes, smoking booths, card-players, guard-rooms, chemists, and quacks, silvery in tint and touched with a light and vivid pencil, exhibit great power and originality. He executed imitations of other masters, termed pasticci, with great effect ; bu t it is believed that many of these sup- posed imitations were but able copies of works in the Archduke Leopold’s collection. The line examples of his power bring very large prices. 23 . Hustle Cap. 9 in. h., 1 f. 1 ,in. w. On panel. A man seated at a table shuffles a hat in which coins are placed while others interested in the game look on. The principal figure sits without his coat, in his shirt sleeves ; other figures are represented round the fire-place in the background smoking. Formerly in the Harberton collection, and purchased at the sale of that collection, in London, in 1864. Peasants Merrymaking. [In the large landscape by Lucas Van Uden.] The figures put in with the greatest spirit and masterly freedom. The chief couple, who are dancing a kind of jig, have extraordinary life ; while the old fellow on the left inviting the milkmaid to dance, and her figure and brass milk-can, show great brilliancy of touch. The old grey-bearded piper, who, from the frequent portraits of him to be found in Tenier’s pictures of his own family and chateau, was probably a retainer, is standing making music for the dancers, of whom an eager couple are running down the hill towards him. The delicate harmony of colour in all these figures is very pleasing to the eye, and admirably adapted to relieve the large masses ot green and brown which pervade the picture, Near the foot of the woman dancing may be found the monogram of the artist. TIEf 0L0, (Giovanni Batista) ; born, 1693 ; died, 1770. Venetian School. A Venetian painter of the later period, who imitated, at a very great dis- TIEPOLO — VANNtJOCHI. 106 tance, tlie manner and general style of Veronese, but was much more artificial in composition, and paler in his colouring, which has a meretricious char- acter. He was chiefly employed in the decoration of churches and palaces in fresco, and was in great fashion in his day, being invited to the Court of Madrid, where he was employed by the king. He died there in 1770. 74 . Elijah invoking , hy Prayer , the Sacred Fire from Heaven. 2 ft. 6^ in. h., 4 ft. 8 in. w. On canvas. This is an oval composition sketch for a ceiling picture. A great pyramid of stairs rises up in the centre of the picture, on which stands King Achab, with upraised head and hands — Elijah at his altar, praying, “ Hear me, 0 Lord, hear me, that this people may learn that thou art the Lord God,” while the fire of the Lord descends from heaven on the pure sacrifice, to the confusion of the false priests and worshippers of Baal. — ILL Book of Kings, chapter xviii. Purchased in Dublin, 1859. TINTORETTO. [See Robusti.] EDEN, (Lucas Yan) ; born, 1595 ; died, 1662. Flemish School. Born at Antwerp ; the son of a painter of little repute, who gave him his first teaching ; he distinguished himself early by his love of nature, and his indefatigable study of all her various phases of wood, sky, and cloud, and gained great repute in his native city, where his works attracted the admiration of Rubens, who frequently employed him to paint the back- ground of his pictures, and in return often put in the figures for him in his landscapes, as did also Teniers, Joi'daens, and others. His early style seems to be founded upon Velvet Breughel, but he seems to have developed more breadth and strength of handling under the influence of Rubens, to whom some of his pictures are often attributed. 41 . An extensive Woody Landscape , with Peasants Merrymaking. 3 ft. 6 in. H., 6 ft. 10 in. w. The combined work of Yan Uden and Teniers ; this picture gives a very good idea of the characteristic qualities of the for- mer, great part of it being in the style of Rubens, while parts, more especially in the extreme distance, remind one forcibly of Breughel. The scene is probably in the neighbourhood of An- twerp, the house in the distance resembling the chateau of Teniers, as often introduced into his own pictures. The scene of country life is very English in its character, as one may imagine it in the olden time ; the squire’s house snugly buried in trees, the parish church at a short distance from it, and the home farm almost equally near, with the cultivated land, and hedge-divided fields. Signed with the full autograph in the left corner. Purchased for the Gallery, in London, 1874. VANNUCCHI, (Andrea); called Andrea del Sarto ; born at Florence, 1488 ; died there, 1530. Florentine School. Andrea, called Del Sarto (the son of the tailor), from his father’s pro- fession, was placed at seventeen years of age as apprentice to a goldsmith 106 VANNtTCCHI. whom he soon left to study drawing with Gio. Barile, a skilful carver in wood but an inferior painter. He afterwards entered the studio of Pietro di Cosimo, and studied with ardour the works of Massaccio and Ghirlan- dajo_, of Leonardo da Vinci, and Michel Angelo. Andrea and his friend and intimate, Franciabigio, had for some time a studio iii common between them, and executed together many works. In a few years he made great progress, and painted a considerable number of pieces, almost all on reli- gious subjects, his style being so full of sweetness and elegance that in his own time he was surnamed “Andrea the Faultless and he would have become very prosperous but for the violence and caprice of his wife, Lucrezia del Fede, who was a source of continual misfortune to him. Vasari says, that from the time of his marriage with her he was abandoned by his employers and despised by his friends, and that she drove away all his scholars. In 1518 Andrea went to France, invited by Francis I., where honours were heaped upon him, and he was magnificently rewarded for his works. He might have enjoyed a brilliant fortune at the French court, but for the complaining letters of his wife, which induced him to return to her. He left France, solemnly pledging himself to return, and intrusted by the king with a sum of money to be expended for him in the acquisition of objects of art. This money he disgracefully wasted in his own or his wife’s extravagance ; and though he afterwards repented deeply, and exerted all his energy, he could never regain his former repu- tation ; and so he lived miserably till 1530, when he died of the plague abandoned by his wife and by every attendant, in the 42nd year of his age. 98. The Adoration of the Magi. 3 in. h., 1 ft. 9-| in. w. On panel. This little picture was either a panel in some altar decoration, or else formed part of a domestic cabinet, such as it was the custom at the time to have ornamented by even the greatest painters. Purchased in Rome, October, 1856, for the National Gallery of Ireland. 103. A Pieta and two Saints in a Predella . Pieta — 8| in. h., 1 ft. 6£ in. w. Saints— 7 in. h., 7 in. w. On panel. This Predella contains in the centre a Pieta, with St. John sup- porting the head of the dead Christ, and Mary Magdalene weeping at Plis feet. In the right compartment St. Peter, in the left St. Appolonia. Originally six other Saints were contained in the Predella, which belonged to the family of Menichini, at Perugia. Purchased in Rome in 1864. 104. Case containing four of the six Saints referred to under the foregoing number , as originally belonging to the same Altar-piece in Perugia. The Saints represented here are St. Francis, St. Lawrence, St. Jerome, and St. Dominick. These exquisite little pictures are distinguished by a charm of freshness of handling and sentiment of colour scarcely equalled in the larger and more finished works of the master. Two others are in the possession of the Earl of Warwick. Purchased in Rome in 1865. VaROTARI — VECELLIO. 107 VAROTARI, (Alessandro) ; called II Padovanino, poet, painter, and engraver born at Padua, 1590 j died, 1650. Venetian School. His father, Doria Yarotari, a good painter, born at Verona, gave him some instructions ; but he died when Alessandro was a child. The hoy shortly after set out for Venice, and soon began to distinguish himseil there, taking Titian as his particular model, and penetrating, gradually, so far into this great master’s peculiar character, that he is preferred by many to any other of Titian’s disciples. He was remarkable lor the grace and beauty of his women and boys, and the dignity of his heroic pieces ; he also succeeded admirably in landscapes. His sister, Chiara Dona, was a good portrait painter, and his son, Dario, was a painter, poet, and en- graver, and besides, a physician. 87 . (Eneus and Meleager. 6 ft. 5 in. h., 7 ft. 9 in. w. On canvas. According to the mythological Grecian history, it happened to (Eneus (King of Calydon in .ffitoiia), that in a general harvest sacrifice to all the Gods, he forgot Diana, the Goddess of the Chase ; upon which Diana, indignant at his neglect, denounced vengeance against him, and sent into Calydon a huge hoar to devastate the country. For several years the people of Calydon, assisted by the neighbouring tribes, endeavoured to destroy the monster, but without success ; till at last Meleager, the. young son of King (Eneus, grew up, and a great hunt was organized, m which, under his leadership, all the adventurous youths of the country took part, and the boar was finally killed by Meleager s spear. The subject of the picture seems to be the appearance ot the Goddess Diana, in person, before (Eneus, at a feast ; threaten- ing her vengeance for his neglect of her divinity. Purchased in Rome, 1856, for the National Gallery ot Ireland. The Madonna and Infant Christ. (After Titian). 2 ft. 9 in. h., 2 ft. 2 in. w. This seems a copy of a group, or part of the picture by Titian, No 635 in National Gallery in London. A similar work is in Hampton Court, No. 409, and has upon it a similar coat of arms, bearing argent, a tower gules , thereon two batons jleurs de hs m saltier* which Mrs. Jameson says are those of the Tornam family. Purchased in Dublin in 1860 for the National Gallery of Ireland. VECCHIA, (Pietro Della). [See Muttoni, No. 55.] VECELLIO, (Tiziano) ; born in the town of Pieve, chief town of the ancient province of Cadore, in 1477 ; died of the plague, the 27th August, 1576. ( Venetian School.) He showed from the earliest period the greatest propensity for painting, and learned, it is said, the first elements of drawing from Antonio Rossi, a painter of his country. About ten years of age his father sent him to Venice in order to continue his studies. Titian studied first under Gentili Bellini, then under Giovanni, his brother, with whom he appears to have remained until he was eighteen or twenty years of age. He com- menced by imitating his master, and painted in his somewhat formal manner, a great number of subject pictures and ot portraits, boon, however, he enlarged his style, and emulated his co-disciple, Giorgione, contending 108 VECELLtO. the palm with him in works on the facade of the Fondaco de’ Tedeschi at Venice in 1507 . After the death of Giorgione, Titian, then without a rival, was commissioned to complete the painting in the ducal palace, left un- finished by that great artist. After the death of Giov. Bellini, he was put in possession of an annual pension of 100 ducats, which he had pos- sessed from la Senseria del Fondaco de’ Tedeschi, for painting in the great Council Hall the Battle of the Venetians at Cad ore. He painted for the Church de’ Frari, at Venice, his celebrated Assumption, which was placed over the chief altar the 20tli May, 1518, and a great number of other works about the same time, which perished in the fire of the ducal palace in 1577. Charles V. having come to Rome, in order to be crowned as Emperor by Clement VII., Titian, by the recommendation of his great friend, Aretin, was summoned to court to paint his portrait. Thence- forth Titian’s works were amply rewarded, above all by the Emperor, who took him into high favour, and his career was one long triumph. His industry and zeal abated not with his advance in years ; and when Henry III. quitted the throne of Poland, and passing through Venice, previous to taking possession of the throne of France, visited Titian in 1574 at his own house, he found him occupied at a picture which he wished to have placed over his tomb— a picture subsequently finished by Palma (11 Giovanne), and now in the Academy of Venice. Titian ranks as the first of colourists, and his drawing shows knowledge combined with refinement and nature. He was great in landscape, and no one has surpassed him in portraiture. He was cherished by princes and potentates, and numbered among his friends the illustrious personages of his age. He painted until his last hour ; and even when dying of the plague at ninety-nine years of age, he is said to have exclaimed, that “he only began to comprehend what painting was.” His scholars and followers were numerous. He had a brother, a son, and a nephew, painters of some note. Nearly all the Venetian artists frequented his school. Of the Flemish artists, Jean Calcar, Barent, and Lambert Zeustris, imitated his manner perfectly, and multiplied his pictures by fine copies, which he frequently retouched. 84 . The Supper of Emrnaus. A design similar in general arrangement to the famous picture in the Louvre — and to that in Lord Yarborough’s collection, which differs slightly from both— but varied in all details, the heads, especially, having a distinct character of their own, and being apparently portraits. It is thus described in the catalogue of the Demidoff collection, sold in Paris in 1870. This important picture by Titian, after having belonged to several of the Patrician Galleries oi Venice, became, towards 1836, the property of the Abbate Celotti, a connoisseur and writer upon art, who remarks that Titian has in this version shown himself more faithful to the text of the Evangelist than in other representations of the same subjoct. “ But they restrained Ilim saying, stay with us because it is towards evening.” The picture became the property of the late Prince Demidoff in 1836, and continued until 1870 to form one of the chief attractions of his collection at the Villa San Donato near Florence. It was sold with the rest of his collection in that year at Paris, and was then purchased for the National Gallery of Ireland. Although some parts of this picture quite come up to one’s expectation from the greatest of colourists, yet it is not equally satisfactory throughout, notably the principal head is inferior, apparently having suffered from restoration ; nothing can be finer than the evening glow in the sky behind the VEOELLIO — VELAZQUEZ. 109 old disciple, just throwing a last gleam upon the tower on the opposite side, or than the handling of the tablecloth and the still life that is on it. In the background the outline of the Dolomite mountains may be recognised, which were within view of Titian’s birthplace, and which he so often introduced into his pictures. There is a beautiful engraving of this picture by Roselli in the Gazette des Beaux Arts. The frame of this picture is a remarkable specimen of modern Florentine design and carving, bringing in objects appropriate to the subject.. The style is very florid and not in the best taste. VELAZQUEZ, (Don Diego Rodriguez de Silva) ; born at Sevilla, in Spain, 6th June, 1599 ; died at Madrid, 7th August, 1660. Spanish School. He was first taught by Herrera the elder, and afterwards by Fran. Pacheco. He studied closely the Italian and Flemish paintings, which, about this period, began to appear in Seville, and in an especial manner the works of Luis Tristan de Toleda, whose style, warmed by that of the Flemish masters, had nothing of the coldness and dryness of Velazquez’ former teachers. In 1622 he went to Madrid, and the next year Philip IV. attached him to his court. This king was so much charmed by his talent, that he soon created him his own painter, with other appointments in the palace, and about his person ; and he fixed a sum of 1,000 ducats as his pension, independently of the price of his works. Rubens, on his visit to Madrid in 1 628, advised Velazquez not to confine himself to mere por- trait painting, but to attempt great subjects, and to travel in Italy. Velaz- quez took this advice, and went to Venice in 1629, where he studied the colourists, and then to Rome, where he copied a great part of the Last Judgment of M. Angelo, and the School of Athens and Parnassus of Raphael. He afterwards visited Naples, and returned to Madrid in 1631. After this time he was looked on as the first painter in Spain. He remained at the Court of Madrid for seventeen years (except during two excursions into the province of Aragon). In 1648 he was sent by Philip IV. to purchase, in Italy, objects of art for an academy which that king wished to found. It was during this journey that he painted the so much admired portrait of the Pope, Innocent X. He visited several of the Ita- lian cities, and wished much to go to Paris ; but the breaking out of war between France and Spain prevented his executing this project. He ac- cordingly returned to Madrid, where he remained till 1660. In March, in this year, he accompanied Philip IV. and his daughter, Maria Teresa, the betrothed of Louis XIV., to Irun, where he designed, in the “Isle of Pheasants,” the pavilion in which the two kings met ; but he died on his return to Madrid, from this journey, at the age of 64. Velazquez painted fruits, flowers, animals, interiors, landscapes, portraits, and historical scenes, and excelled in all these styles. His portraits alone would suffice to render his name illustrious. He is perhaps the only Spanish artist who has very seldom represented religious subjects. 14 . Portrait of the Infanta Donna Maria of Austria, Daughter of Philip IV. 2 ft. 10 in. h., 1 ft. 11 in. w. On canvas. The Infanta is represented at full length looking to the spec- tator ; her right hand resting on the back of a chair, in her left a handkerchief. The face, at no time very pleasing, has suffered by cleaning. This is the Infanta who was the object of King Charles’s visit to Madrid. Purchased in Madrid in 1864. no VELASQUEZ — VIOLA, 34 , A Legend of Saint Benedict. (Attributed to.) A very dark, highly finished picture iu Velazquez’ early manner, if by him. The saint is represented apparently taking small dead fishes from a dish held by a young man at his side, and placing them in a fountain of water, which brings them to life again ; a youth on his left looks on in an attitude of astonishment. Purchased for the Gallery, at Leeds, in 1868. VELDE, (William van den the Elder); born, 1610 ; died, 1693^ Dutch School. A native of Leyden ; he was in early life a sailor, but before he reached the age of twenty began to be known for his clever marine sketches in black and white, and soon afterwards was employed by the Government of the States of Holland, who, to assist and encourage him in his study of naval subjects, allowed him the use of a government yacht to enable him to accompany the fleets and follow their movements, which he did even during battles, having thus been present in several historical actions. After the Restoration he was invited to England by King Charles II., and regularly employed by his Majesty, by King James II., and by William III. , until his death. He was the father and master of the more famous William Van de Velde the younger, who accompanied him to England, and was employed to assist him in the colouring of his “ draughts,” to use the quaint expression of the Royal Order, at an equal salary, viz., £100 a year, as that assigned to his father. 58 . The Embarkation of King Charles II., on his return to England after the Restoration. 3 ft. 7 in. h., 5 ft. 10 in. w. 'The scene is represented with great life and spirit by the painter, who doubtless was present. The large man-of-war, with the Royal Standard flying at the masthead, which is to receive His Majesty, is in the middle distance, the sails being unfurled, and other ships making ready to start, while the sea is covered with boats, either conveying passengers on board the fleet or with spectators to witness its start ; the king is just about to ascend the companion ladder, and the sailors in the rigging above are seen cheering and waving their caps. The sea is rough and the whole scene is expressive of great life and movement; portions of the picture, especially in the extreme distance, are painted with so much delicacy as to suggest the belief that the hand of the younger Van de Velde is traceable, and that it may be one of those pictures that are alluded to in the royal order mentioned above. Purchased for the Gallery, in London, 1874. VERONESE, (Paolo Caliari). [See CALIARI, Nos. 113 & 185. VIOLA, (Giovanni Battista); born atBologna, 1576 ; died at Rome, 1622. Bolognese School. He was a scholar of Annibale Carracci, and very successfully adopted his manner of painting landscape. He visited Rome in company with his fellow VIOLA— WERF. Ill student, Francesco Alban o, and was employed in ornamenting, in conjunc- tion with him, the palaces of the nobility. Many of his landscapes were embellished with figures by Albano. Bryan states that the first of his works which brought him into repute was a large landscape, painted for the Yigna of Cardinal Alessandro Montalto, where Paul Bril was em- ployed at the same time. The grandeur both of the style and subject of Viola’s landscape excelled the work of the Fleming, and gained him great reputation. Some of his most admired performances are in the saloon of Apollo, in the Villa Aldobrandini. Landscape — Jacob wrestling with the Angel. 5 ft. 7 in. h., 7 ft. 1 in. w. On canvas. A large tree rises in the centre of the picture, with massive foliage against the sky ; beyond, a river flows through the middle distance. In the middle of a road, which winds up a hill to the right of the picture, Jacob wrestles with the Angel. Purchased in Rome, in 1856. WERF (Adrian Vander) ; born, 1659 ; died, 1722. Dutch School. Born at Kralinger-Ambacht, near Rotterdam. He acquired his art education chiefly from Eglon Vander Neer, whose smooth high finish he imitated. He is chiefly known from his small very minutely finished pictures of classical subjects. Following Italian traditions in his forms and draperies more than any other painter of the Dutch School, they were greatly admired in his own time, and procured him great emolument and fashion. His portraits are few, and chiefly of persons of great rank or distinction. 26. Portrait of an Old Lady. A very good specimen of the master’s peculiar style. Singular delicacy of finish in the face. The identity of the person repre- sented is not known, but the lady bears a strong resemblance to the portraits of the Electress Sophia. Presented to the Gallery by Viscount Powerscourt, k.p., in 1873. WESTPHALIAN SCHOOL, (Early). Unknown Master. The Blessed Virgin and Child , {with the Donor.) 3 ft. 10 Jin. n., 1 ft. 8 in. w. On panel ; in oil. The Blessed Virgin stands in a sort of niche, with the Child in her arms. He leans to the right to bless a young Monk who kneels beside ; a scroll comes from the Monk’s lips, beginning, “ Miserere mei, clementissime.” Two angels hold a crown of red and white roses over the Virgin’s head. In early religious pic- tures, it is very common to find the figures of the persons for whom they were painted introduced, in very small size, kneeling at one side. Deposited in the Gallery by the Trustees of the National Gallery of Lon- don. [Formerly in the Kruger Collection, at Minden.] 112 WHEATLY — ZAMPIERI. WHEATLY (Francis, r.a.) ; born, 1740 ; died, 1801. British School. 125 . The Volunteers Meeting in College-green, 1779 . This historical picture, in the truest sense of the word, having been painted at the time, for the chief actor in the event repre- sented, contains portraits of the following personages : — The Duke of Leinster, Colonel of the 1 st Regiment of Dublin Volunteers. Sir Edward Newenham, Colonel of the 2nd Regiment. Right Hon. Luke Gardiner, Colonel of Dublin Light Horse. Sir John Allen Johnston, Captain of Rathdown Light Horse. John Fitzgibbon (afterwards Earl of Clare). The Right Hon. David La Touche. John Armit, Accountant-General. Captain Schomberg, r.n. Councillor Pethard, Captain of Lawyer’s Corps. Councillor Caldbeck, Captain of Goldsmiths’ Co. James Napper Tandy. Jasper Joly. &c. , &c., &c. And the famous Princess Daschkow, who was then travelling in Ireland, Deposited in the National Gallery of Ireland by His Grace the Duke of Leinster. In Historical and Portrait Gallery. WILLEMS [living]. Flemish School. (See No. 137, GENISSON.) WILSON (Richard, r.a.); born, 1714; died, 1782. British School. A native of Wales. He rose to a high position in the British School as a landscape painter ; his style is characterised by much poetic imagination. 157 . A Landscape Composition. Purchased for the Gallery in Dublin, 1872. ZAMPIERI (Domenico), called II Domenichino ; born October 21, 1581 ; died, at Naples, April 13, 1611. Bolognese School. After several years of severe study at the school of D. Calvaert, at Bologna, where he was acquainted with Guido, Domenichino went to Par- ma, to study the Lombard works, and thence to Rome, to enrol himself as a pupil of the Carracci. Domenichino was timid and melancholy by nature, and always diffident of his own powers. He shunned all society, the better to devote himself to his art, and only frequented the public places to observe the expression of every feeling in the countenances of the people, and to commit it to his tablets. Hence he has become one of the most successful of all the masters, in giving the most varied and vivid ■expression to liis pictures. His representations of the Scourging of Christ, in San Gregorio, in Rome, and still more his later works, the Communion of Saint Jerome, and the Martyrdom of Saint Agnes, show his extraor- dinary genius for depicting the very thoughts and feelings of his figures ; and the accessories of these paintings are exquisitely beautiful and grace- ful. His frescoes, also, were soft and harmonious, and are the ornaments of many churches in Rome. Albano and Annibale Carracci were his warmest friends and admirers ; but unfortunately he had few others during his lifetime ; and he even suffered the most bitter persecution at the hands of Lanfranco and other rivals. He was invited to Naples, to paint the Church of San Gennaro, and was promised magnificent remuneration for it, as well as protection from the cabal of the Neapolitan painters, who, headed by Spagnoletto and Bellisario, had by violence driven away Anni- ZAMPIERI — UNKNOWN. 113 bale Carracci, Guido, and Gessi. They harassed him by calumnies, by secretly mixing injurious ingredients with his colours, and by every malicious fraud ; so that Domenichino at last secretly fled from Naples ; but he was subsequently persuaded to return, and he again made great progress in the work. Before he could complete it, however, he died, and many believe that he was poisoned. Among his imitators, the most dis- tinguished is Lionel Spada, whose works have often been attributed to Domenichino. Copy of the celebrated St. Cecilia of Raphael in the Gallery of Bologna. A fine reproduction in the colouring, of which the hand of the copier is more distinctly traceable than that of the original master. (See No. ). Presented to the Gallery by Viscount Powerscourt, k.P. UNKNOWN. Sixteenth century. 17 . Portrait of Don Carlos , son of Philip II. of Spain. 3 ft. 6 in. h., 2 ft. 7 in. w. On canvas. A youth is here represented in the rich costume of the sixteenth century, and is supposed to be Don Carlos, son of Philip II. of Spain. A short mantle hangs upon his right shoulder ; with his right hand he is drawing on the glove on his left, which rests upon his sword handle. From the collection of the Duke Braschi, Rome. A similar picture is engraved in the Galerie de Versailles, attributed to Antonio Moro. This picture attributed to Pulzone is either by Moro or Coello. Purchased in Rome in 1864. 114 NATIONAL HISTORICAL, AND PORTRAIT GALLERY. NATIONAL HISTORICAL, AND PORTRAIT GALLERY. The pictures, busts, &c., here brought together, are intended to form the nucleus of a collection of portraits and authentic historical pictorial records, comprising not only the portraits of eminent Irishmen and Irishwomen, but also of statesmen and others who were politically or socially connected with Ireland, or whose lives serve in any way to illustrate her history, or throw light on her social or literary or artistic records. It will he added to as > opportunities occur, and as the resources at the disposal of the 1 Gallery permit ; but it is hoped that the existence of such a col- lection in a permanent form, may lead to gifts and deposits which will give it a more rapid development, and enlarge the scope of its public interest and utility. The collection of engravings will be found in the Intermediate (new) Gallery. A list of the contents of this Gallery is here brought together for the convenience of visitors, who are referred to the foregoing alphabetical catalogue of painters for details. X. James, first Viscount Lifford. Born, 1709; died, 1789. Lord Chancellor of Ireland, 1767. Robert Lucius West. (After Sir Joshua Reynolds.) 2 . Hugh, Earl of Northumberland, (afterwards Duke). Bom, 1712; died, 1786. Lord Lieutenant of Ireland, 1763. Thomas Gainsborough, R.A. 3 . The Right Honorable Edmund Burke. Born, 1729; died, 1797. Statesman, Orator, Author, {Patriot, and Philosopher. James Barry, R.A . 4 . George, Earl of Mount Edgcumbe. Vice-Treasurer of Ireland. Sir Joshua Reynolds, P.R.H.A, 5. The Volunteers of Ireland Meeting in College-green, with 'portraits of the Duke of Leinster, dc. Francis Wheatly, R.A. NATIONAL HISTORICAL, AND PORTRAIT GALLERY. 115 6. King George II., Queen Caroline, Frederick, Prince of Wales, his son, ajterwards King George III., and daughters, the Princess oj Hesse, &c. William Hogarth. 7. The Right Honorable Henry Grattan. Bom, 1750; died, 1820. Orator and Patriot. Ihomas Alfred Jones , P.R.H.A. (After Ramsey.) 8. Murrough O’Brien, Marquis of Thomond. Sir Thomas Lawrence , P.R.A. 9. The Right Honorable Sir Maziere Brady, bart. Lord Chancellor of Ireland,